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Symphoy no.5: 3rd movement (Allegro)

Form scheme 3rd movement

The 3rd and 4th movements are closely linked without any break between them. According to its form the 3rd movement is a Scherzo, but Beethoven has not denoted it as such, he has only marked the tempo "Allegro".

bars 1-18

From the dark depth the celli and double basses raise a theme that develops from the fragmented C-minor triad.

19-45

This is followed by the 2nd theme, played on the horns, which is unmistakably the fate motif from the 1st movement, there in 2/4 measure, here in 3/4 measure. The alternation between theme 1 and 2 is carried on. The modified fate motif, transformed into 3/4 measure. The first section of the 3rd movement ends with a combination of both themes: the opening bars of theme 1 and 2 are played, followed by a transformation of theme 1 (bars 4-7), to be concluded by theme 2.

bars 140-160

The Trio (maggiore) in C major proposes a theme in the double basses and celli, which is then picked up by the violas and 2nd violins and finally by the 1st violins. Starting with double bass and celli is a technical difficulty as the deep strings need a certain amount of time to vibrate properly. That is why many conductors choose a somewhat slower tempo at the beginning of the Trio. The last fortissimo marking in the movement occurs in the bars 196/197 (C major). The trio theme returns to the groping triad motifs from the beginning of the movement; pianissimo prevails. The free scherzo recapitulation in C minor is totally submerged in pianissimo. That is why the effect of the brilliant C major chord at the beginning of the 4th movement is all the more stunning. Theme 1 is restated first, Theme 2 alternates between clarinet, 1st violin (Pizzicato) and oboe. Theme 1 reappears, combined twice with theme 2. In the bassoon - only brief notes and still in extreme pianissimo - the derivation from the main theme (bars 4-7). The unbroken transition from the end of the 3rd movement to the beginning of the 4th movement contains several elements to enhance the effect: a) dynamism - a crescendo starting from pianissimo b) the use of pedal points, i.e. a constant bass tone on which escalations can be built up easily c) harmony - by the transition from C minor to C major, which creates in the listener the impression that he is being led from darkness to dazzling light d) the additional use of 3 trombones, the piccolo and the double bassoon. These 3 instruments are only introduced in the 4th movement. The 3rd movement seems to have collapsed. On the pedal point of A flat (celli and double bass) the fate motif can be heard pulsing only in the drums.

bars 339-379

The slightly modified 1st theme (from the beginning of the movement) can be heard on the violins. During repetitions the theme tends to move upwards, in bar 355 there is a change from minor to major, the fate rhythm assumes regular quarter-notes, later on even eighth-notes. With a majestic crescendo on dominant G jubilation breaks out, the light of the beginning C-major 4th movement. One of the most fascinating passages of the world’s symphonies. From nothingness to light, to triumph, to splendour, to victory.

Turn over to 4th movement