Symphony No. 5 Op.

67, 4th movement: Allegro

Key: C major
Structure: Sonata form
No. of bars: 444
Bar

What Happens

Comment

1-25

The main motif is presented in bars 1-6 To increase the impact of this last
by the full orchestra. The harmony used movement, Beethoven has added three
in these opening bars is entirely made trombones, a contra-bassoon and a
up of chords I and V, giving the theme piccolo, giving a greater depth to the
the intended feeling of strength and
texture and facilitating a truly
triumph. Bars 6-12 contain a repeated magnificent sound. Though the texture is
rising figure (consisting of scalic 4-note thick, there is little in the way of
cells) in the 1st violins and upper
counterpoint and the thematic interest is
woodwind, with decorative
entirely in the top line.
appoggiaturas added to the second
repeat. The figure at 12.4-14.2 is then
played three times, the last time
staccato for variation. This is followed by
alternating Ic and V chords over a
dominant pedal (G) for four bars, until
bar 22, where the strings launch a
descending figure in octaves, based on
scalic 4-note cells (thus mirroring the
rising figure in bars 6-8?). Between bars
22 and 25 more instruments join in with
each 4-note cell.

26-44

The previous falling figure ends on a C,

launching a new theme in the oboes,
clarinets, bassoons and horns. They
play two-bar phrases which are then
answered by a larger body of
instruments, led by the cellos, basses
and contra-bassoon, which scurry up
and down a dominant seventh chord in
bars 28-30 and a tonic chord in 32-33.
This theme is then developed by the
violins, taking the music into the
dominant key of G major. This
culminates in bars 41-42 with a quick
reference back to the descending figure
of bar 22. Imitation of small figure in
bars 43 and 44 is based on a D major
harmony (the dominant of the
dominant), leading to the first strong
cadence in the new key at the start of
bar 45.

Up until bar 35 the music has remained

entirely in C major (the tonic), but the Fsharps in the strings and bassoons in
bar 35 indicate the beginning of a move
to G major (the dominant), as is typical
of a sonata-based form.

45-63

A new theme is introduced by the first

violins in the dominant key (G major),
which forms the second subject. The
first four bars of this theme can be

Beethoven has created a new theme

from elements that seemed to be
unimportant when they were first
presented, giving a strong organic

broken down into two smaller phrases aspect to the structure. Because of the
(44.4-46.3 and 46.4-48.3), the second new key, this material can be considered
being an inversion of the first idea. The as the second subject.
theme's use of scalic four-note cells,
however, relates it further back to the
figure at bar 22, and thus ultimately to
bars 6-7. Beethoven uses textural
contrasts for each half of this new theme
when it is repeated at bars 49-52. A
rising sequence in bars 51-55,
developing the new theme, threatens to
destabilise the new key by passing
through a minor and cadencing back
into C major at bar 58. A rising
chromatic line in bar 60 shifts the
tonality back towards the dominant
before the use of staccato C major
(chord IV) and D major (chord V) chords
- broken up by dramatic silences prepares the listener for an anticipated
loud resolution onto G major in bar 64.
64-85

The listener is surprised by the

The f minor-G major progression in bars
weakness of the resolution back onto a 77-85 is unusual in that we are
G major harmony in bar 64, where there approaching the double bar and,
is a sudden reduction in texture. Here, therefore, the end of the exposition.
the violas and clarinets introduce some There are two points to note about this:
new thematic material, which seems to (a) In a traditional sonata form
be derived from the melodic material in movement the ending of the exposition
bars 2-3 of the movement (the same
is indicated by a strong cadential
rhythm and similar falling shape). The passage, but here there is no resolution
first violins add a flurry of commentary to onto the tonic implied by this dominant
this idea before the whole orchestra
seventh harmony, as one would expect;
takes it up in bar 72. This leads onto an (b) The exposition usually ends firmly in
f minor harmony at bar 77, which lasts the new key of the second subject
for 5 bars, followed by a 4-bar dominant material, but here this progression
seventh harmony in C major (i.e. a G
appears to be trying to move towards
major harmony).
the tonic of C. Therefore Beethoven
seems to be blurring the traditionally
clear boundary line between exposition
and development section.

86-106

The previous dominant seventh

Keeping true to the principles of sonata
harmony resolves not onto its tonic, C form, Beethoven immediately starts to
major, but onto an E major chord which destabilise the tonality, passing through
is sustained for 4 bars. This takes the
many keys but settling in none.
tonality into A major at bar 90, where the
second subject reappears. This then
becomes the most predominant material
of the development section, as the
tonality becomes gradually more fluid
(e.g. there is an immediate change to a
minor in bar 93, then F major in 96). The
opening rhythm of the second subject is
developed using imitation, noticeably in
the wind parts in bars 96-100 and
cascading through the strings in bars
100-102. In bars 99-100 and 103-104
the wind introduce the same rhythm and
then fall down a scale through a fifth,
possibly relating to the falling scalic fifth

in the first subject in bars 2-3. In bars

95.4-97 the bass line that accompanied
the second subject in the preceding bars
(and also in the original at bars 46-48) is
taken up by the first violins (also
rhythmically by second violins and
violas). This motif (motif A) will prove
more important in the approaching
passage. It should also be noted that if
the first note is removed from this motif,
it has the same rhythm as the opening
of the first subject (minim-minim-dotted
minim).
107-131

The tonality reaches B-flat major, and

Beethoven's economy in using material
then veers further flatward through b-flat for development is shown to great effect
minor and D-flat major (the Neapolitan here; not only has he developed the
of C major). The second subject
second subject, but also its
material being developed is confined
accompaniment.
mostly to the strings, the wind providing
harmonic padding. However, at bar 112
motif A is loudly announced by the
trombones and bassoons, then repeated
with the horns added, and again on the
trumpets (in a stretto-like imitation of the
first violins in the previous bar). The
rhythm of this figure, especially its
crotchet upbeat, is then developed by
the violins, and imitated by the lower
strings and contra bassoon. Here, the
wind, brass and timpani alternate with
the opening rhythm of the second
subject. The texture rises, building
tension, and arriving on a D major
dominant seventh harmony (dominant of
the dominant) in bars 130-131.

132-152

The D major harmony resolves onto its The sustained G is a dominant pedal, as
tonic, G major. G is then held as a pedal G is the dominant of C, the original key
note in various sections of the orchestra of the movement. Therefore, the use of
for 21 bars. During this passage the
this pedal is to prepare the way for a
wind and brass proclaim motif A. The
return to the tonic key for the
second violins, violas, cellos develop the recapitulation.
falling part of the second subject (see
first violins in bars 46-47). The piccolo
adds fleeting references to the second
subject to the top of the texture. There is
a slight harmonic divergence in bars
141-143, with an f minor harmony
followed by a diminished seventh chord,
but the G pedal note in the bass
underpins both of these. The dominant
harmony of G major comes to a halt in
bars 150-152 with three semibreve
chords in the strings underneath a
sustained harmony in the rest of the
orchestra.

153-207

As a complete surprise, there is a

In a stroke of genius, Beethoven
change in time signature, key (c minor) surprises the listener by replacing the
and a sudden reduction in texture to just expected triumphant return of the first

the first violins. Their repeated notes

create a feeling of suspense until bar
160, where they start to recall the horn
theme from the beginning of the third
movement (bar19). However, the bold,
striding character of the original theme
has been replaced by a hushed,
creeping one. Two clarinets finish off the
first phrase, an oboe completing the
second phrase, and the music veers
from the original theme to develop its
rhythmic characteristics, although
maintaining a relatively sparse texture.
From bar 183 the music settles on a
dominant seventh harmony in C, which
once again prepares the listener for a
return to the tonic for the recapitulation.

subject with material contrasting in

mood and key. Note the similarity of
rhythm between this theme and the
opening of the second subject (and
especially the opening of the first
movement!). This shows Beethoven
cross-referencing his themes throughout
the symphony, creating a more unified
and organic structure.

207-231

The change of time signature back to

common time heralds the start of the
recapitulation, which reproduces the
original music exactly.

232-253

The second theme (not the second

subject) is restated at bar 232, but at
238 diverges from the original through
the use of a dominant seventh harmony
on C, drawing the music then towards F
major instead of the original G major.
The reference to F major is short lived,
however, and C major returns at 244,
with a pedal note of G held in the first
violins, horns and trumpets. Underneath
this the violas, cellos, basses and
contrabassoon take over the
development of this second tune from
the violins, with some help from the
bassoons, oboes and flutes. The piccolo
adds a subtle rhythmic reference to the
opening rhythm of the second subject
(but also relating to the opening of the
first movement). F-sharps in bars 251252 highlight the dominant chord, but
this is not a modulation, as shown by
the immediate return of f-naturals in bar
253.

254-272

The second subject begins, transposed

into C major (the tonic). This passage is
very similar to the corresponding part of
the exposition, with more interest in the
wind parts added in bars 261-264. The
passage ends with the repetition of the
dramatic IV - V progression
corresponding to bars 62-63, this time in
the tonic key of C major.

273-317

The new theme reappears, as expected, The hammered chords in bars 312-317
in C major, but this time round the
are a false ending; Beethoven has
orchestration is altered, the main
restated all the main melodic material in
melodic material being given entirely to the tonic key of C major, so there
the wind section with no doubling in the appears to be little else to say.

violas. Horns are added to thicken the Therefore, he appears to be writing the
texture. At bar 281 the full orchestra
final cadences of the piece here, but
takes up the theme, leading to a
then ends the sequence of chords on a
chromatic chord progression in bars
dominant.
287-294 (note the chromatically rising
bass line). This takes the music onto a
tonic chord (C major) in second
inversion at bar 294. The G in the bass
is then until the end of bar 302 as a
pedal note, whilst the strings play
around with the second subject. Before
the first violins take over motif A from the
cellos in bar 299. Motif A is then taken
up in harmony by the whole of the wind
and brass sections (except the piccolo).
The first violins continue to develop the
second subject, whilst the rest of the
strings keep the texture busy with their
repeated quavers and provide harmonic
padding. Between bars 305 and 312
there is a bass line that moves in steps
(C-sharp - D - E - F - G), creating a build
up of tension. This tension is heightened
through the use of diminished seventh
chords such as in bar 306. The tension
is then released through a series of
hammered perfect cadences in bars
313-317, ending in mid-air on a
dominant.
318-361

The sudden cut-off in texture leaves the

bassoons to play a rhythmically
compressed version of the theme that
first appeared in the exposition at bar
26. This is taken up by the horns, and
then each wind instrument in turn
(except the contrabassoon) using
imitation. A falling scale leads most of
the orchestra to play a repeated rhythm
(dotted minim with crotchet upbeat),
which alludes to motif A. Bars 335-349
basically amount to a repeat of 318-332,
with different orchestration and less
imitation of the motif. At bar 350 the
chattering woodwind chords begin to
propel the music forward with a four bar
progression that is repeated twice.
During these repeats there is an
increase in tempo and a crescendo,
building up a sense of excitement and
urgency.

362-444

The resolution onto the tonic chord at

bar 362 sees a change of time signature
to split common time, and a marking of
presto, taking the music into the final
straight. The first violins play an agitated
version of the motif that originally
appeared at bar 64. As it is harmonised
and repeated, the wind section joins in.
At bar 378 the progression that occurred

The theme being developed here did not

feature in the development section, so
Beethoven is taking the opportunity to
exploit it here instead.

at bar 350-353 is restated three times,

with the full orchestra playing on the last
of these. At bar 390 the opening of the
first subject is played and then
developed in a rising, climactic run. Note
here the canonic writing between the
main melodic line and the bass line (ie
cellos, basses and contrabassoon).
After a four bar sustained C major chord
at bars 400-403 there is a series of
hammered perfect cadences, similar to
those at bar 313 (except faster). The
final resolution on to C major at bar 416
is the start of a massive 29 bar
consolidation of the tonic chord,
punctuated by dramatic empty bars in
the last 13 bars.