Beethoven Fifth Symphony

Analysis of Beethoven’s Fifth Symphony demonstrates that this work is the quintessential example of the sonata form, as well as an embodiment of the most fundamental principle in symphonic composition that follows the classical pattern, which is the “flowering of an extended composition from a kernel by a process of organic growth” (Machlis 224). The first movement, which is marked Allegro con brio, which means “lively, with vigor,” is based on a motif that is rhythmic in nature and consists of “’three shorts and a long’” (Machlis 224). This rhythmic idea is a feature that dominates the entire work. It is announced initially by both the strings and the clarinet, as Beethoven holds the full force of the orchestra in reserve. These opening

Emerging from the “depths of the bass,” there is a feature which is characteristic of Beethoven, a “rocket theme,” which is played by the double basses and cellos (Machlis 227). At this point, the basic motive of the first movement, the “three shorts and a long,” is loudly restated (fortissimo) by the horns. As with the first movement, the music, which is nourished by “dynamic changes and a crescendo,” increasingly gains power and drive (Machlis 228). At this point, there is a “humorous motive of running eighth notes stated by the cellos and double basses,” which is then repeated in higher registers by the “violas, second violins and first violins” (Machlis 228). Berlioz once described this motive as the “’gambols of a frolicsome elephant’” (Machlis 228). The Scherzo (section A) is represented again, but in a modified form and this is followed by a “mysterious transitional passage” that evolves from both the Scherzo theme and a restatement of the basic rhythm, which is first presented by a variety of instruments and then “tapped out” by the kettledrums (Machlis 228). The Scherzo theme then undergoes “motivic expansion of its last three notes” (Machlis 228). Tension mounts until the entire orchestra, “in a blaze or light,” breaks into the “triumphal Allegro in C major” (Machlis 228). Machlis also notes that Beethoven has dramatic changes of tonal color through this symphony. The first movement is written in a “somber minor,” while the second conveys serenity through the use of a major and the third returns to the minor before the darkness of C minor is dispelled through the triumphal finale (Machlis 229). In the finale, three instruments are played for the first time in the work—the piccolo, double bassoon and the trombone—which creates a brilliance and fullness to the