In to hear. Symphony no. 5 is

In year 1801, Beethoven was in age of 30 had faced the fate
of his life.  He lost his hearing and
stated in a letter that he would “seize fate by
the Throat; it shall not bend or crush me completely”. Beethoven’s personal life was marked by a struggle against deafness, and
some of his most important works were composed during the last 10 years of his
life, when he was quite unable to hear.

Symphony no. 5 is one of the most popular and well know
composition in classical era. It
had a long development process. The first “sketches” of his music
idea was dated from 1804 following the completion of the 3rd
Symphony. At the same time, Beethoven also work on his Symphony no.5 and
other compositions, including the first version of Fidelio, Symphony No.4, Symphony No.6, Piano Concerto No.4. Symphony no. 5
is his first Symphony in minor key. The
influence of Haydn can be heard in the symphony’s movement from C minor to C
major. Mozart’s influence is exhibited in the tragic mood expressed by the
first three movements. Position in modern repertoire was started with a premiere
performance, which took place under adverse conditions. The orchestra did not
play well with only one rehearsal before the concert. So, Beethoven had to stop
the music and start it again. The symphony soon acquired its status as a
central item in the orchestral repertoire. It was played in the many places
including concerts of the New
York Philharmonic and
the US National Symphony Orchestra . The first time
recorded at the Odeon Orchestra under Friedrich Kark in 1910. The Identity of the four note motive,
short-short-short-long had frequently appears in popular culture, for example,
disco to rock and roll, from films to television.

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This symphony have four movements. The first and second
movements have a complete stop, but third movement directly proceed to fourth
movement. In first movement the form is Sonata allegro. The form in second
movement is Andante con moto. While the next is Scherzo;Allegro for third
movement and the fouth movement is Allegro-Presto.

The main structure of Sonata Allegro form of the first
movement are the exposition, development, recapitulation and coda. The symphony
start with the famous four- note motive. Three short notes on the same pitch
than descend to a third longer note. Beethoven swered this motive as “Fate
knocking at the door”. The first theme then grows from overlapping of the basic
motive by the second violins, violas, and first violins in turn.


This opening motive maintain in the whole orchestra in
unison by descending and ascending form to create a dramatic climax in this
pieces. The first theme consist of descending version of the theme presented
and repeated. At bar 25, violins is the one that begin an ascending pattern
with the motive, then it alter with cello and basses. In bar 59, the horn then
present an intro of fanfare of the original motive in the new key of Eb major
in the second therm. At bar 63, it begins with gentle, lyrical phrase,
accompanied by the motive in the lower string. The phrase is played by violins,
clarinet and flute. At the same time the rhythm of the basic motive continues
in lower strings. At the peak of the climax, a strong closing theme emerges,
starting with a descending scale then becoming more disjunct, in violins. The
rhythm of basic motive returns and the exposition ends with a great power and
complete pause at bar 123.

The development begin with the first motive bar 125 played
by horns and clarinet. Start bar 126 strings acts as a answering, and the
different section of instruments play the first motive imitatively in rising
sequence. The motive developed with imitation, sequence, changing
instrumentation and keys. After that fanfare motive recurs 3 times. Than the
rhythmic motion become slow, the motive start disappears and dynamic became
quite. At the climax of the development, the basic motive was pounded out by
the entire orchestra. The basic motive then return to close the development
section and start of the recapitulation.

The recapitulation return to the basic motive. Start with oboe
solo at bar 268. Motive returns and move hurry to a climax. After that a descending
arpeggios recur. In the second theme, bassoons play the fanfare based on
opening motive at bar 303. This theme is in the key of C major with
accompaniment by the lower strings. At the peak of climax, rhythm of basic
motive had return to end the recapitulation.

Coda start with basic motive followed by scales.
At coda there was also a new motive added and developed. It introduce a new,
four-note melodic motive played in sequence. Coda end with a strong cadence
with rhythm of the motive followed by repeating V- I progression