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Symphony no.5: 4th movement (Allegro)

Form scheme 4th movement

The 4th movement is the epitome of a Finale. It is the climax and culmination of the work, a true song of jubilation.

bars 1-6

The C-major triad in the main theme of the movement sounds mighty and majestic. Amplified by 3 trombones, a piccolo and a double bassoon, the sound gains in richness and intensity, which provides this Finale with the character of a mass appeal that transcends the scope of an ordinary concert auditorium. The main theme with the orchestra in tutti signalises the concept of French revolutionary music.

bars 6-25

The thematic continuations carry on the character of the main theme. The model (French battle songs) becomes obvious in the dotted passages.

bars 26-33

The theme of the bridge is gained from the fragmentation of the C-major triad. The bridge is carried on with a theme of its own; by introducing F sharp Beethoven reaches G major, the key of the secondary theme.

bars 44-63

The secondary theme in G major has ist musical corein the fate motif of the 1st movement. From a battle-like motif the mood changes into exuberant joy. A new message grows from the 4-note formula. In the epilogue a theme occurs within a 4-tone frame, which creates a certain repose and easing of the musical diction. This calm does not last for long. The theme is repeated in forte in the style of a fast march. The development is reached with dashing verve. The development is mainly based on the secondary theme, which is confronted with a contrasting motif. The following bars are like a period of calm before a tempest, before the great upsurge with the contrasting motif. Motifs from the secondary theme (the 4-tone formula of the fate motif) weave around the thematic process. Rising thirds are counterpointed by the fate motif. The climax of the development is shown in full musical splendour. After such a powerful outburst of music a break is needed. Beethoven leads us back to the 3rd movement, as the emotional escalation was so great that a further climax would be unimaginable. This also explains the necessity of a close link between the 3rd and the 4th movement. The gentle beat of the fate motif can be heard in the background. The recapitulation corresponds to the rules, all the themes occur in the root key of C major. The transition to the Coda is formed by the contrasting motif taken from the development. The Coda begins with an appeal by the bassoon. It is the theme from the bridge, slightly altered and with an upbeat. The motif is taken over by the horns and flutes. The piccolo closes this section with ascending scales. The strings re-enter with the theme of the bridge. The piccolo sets in with ist solo-like scale. The speed increases, the Allegro changes into a final Presto. The epilogue motif, now in presto, again in C major. The head of the main theme of the 4th movement turns up again.

bars 394-434

12 beats of the orchestra, followed by 7 further "tutti" beats, close the symphony in majestic C major. A forward-looking principle has been realised here: the symphonic point of gravity has been transferred from the 1st movement to the Finale, which sums up the spiritual content of the work: from darkness to light.

Turn over to 6th symphony