Information: This is an old - not maintained - article of the AEIOU. In the Austria-Forum you find an updated version of this article in the new AEIOU.
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bars 59-75 |
Beethoven introduces a melodic counterpoint to this theme. |
bars 75-83 |
Then he forms a fugato out of the bass theme. |
bars 84-107 |
The theme gained in this way is played by the whole orchestra in forte. |
bars 107-116 |
The following modulation to C minor is partly shaped from the 1st bar of the newly gained theme.
Variation 4 replays the theme in C major, accompanied by the sixteenth notes on the first violins, soon shifting to C minor. In the 2nd violins and violas the bass theme recurs in fugato - in its original form but also as a reflection. Beethoven does not keep to the traditional form of variations. He elaborates freely on the basis of the bass theme and the descant theme he has added.
In variation 5 the speed slows down to a "Poco Andante". As if the symphony could be contained in one idea the theme spreads choral-like, with the annotation "con espressione e legato". The 6th variation shows how much the character of a theme can be transformed within a musical process. The theme he had used at first to counterpoint the bass is now sounded in fortissimo.
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bars 431-442 |
The Coda - at the speed of Presto - is started with a series of jubilant sixteenth notes, similar to the beginning of the movement. The descant theme is restated. |
bars 443-473 |
The movement proceeds jubilantly and at great speed to its end. E-flat major, the heroic key, is predominant: in the basic cord, in the fragmented chord or in the E-flat scale. It is a brilliant ending. |
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