Analysis for Composers #10 - Momentum and Interruption in Beethoven's Fifth Symphony

[@wingflanagan]

Magnificent. When I was a child, two Beethoven fifths were my constant companions. I listened to them until I wore the records out (yes, vinyl; I'm that old). the fifth symphony, of course, and the fifth piano concerto ("Emperor"). The Emperor concerto is among my favorites because it has the long, long, teasing intro, which keeps promising the entry of the piano (only heard in the first couple bars to the this point), only to withdraw again and again. Then the piano sneaks in like a cat, as if to announce, quietly and elegantly, "Why, here I am!". Sublime. But back to the fifth symphony - so glorious and powerful, It's almost a cliche in the repertoire, being played so often. So it's gratifying to see a cogent analysis that brings something new to the table. Another excellent analysts is Leonard Bernstein's tour of the first movement which was televised. Look it up; it's here on KZbin. Many thanks, Alan! EDIT * * * On the Emperor Concerto: did I say intro? My bad. Memory plays tricks. The intro DOES feature the piano; it's the first statement of the main theme that is the tease. And a lovely one it is. But I have always thought of it as introductory.

[@charlesgaskell5899]

Great analysis! You are right to point out how much the various fermata literally punctuate the piece throughout - something I'd not noticed before - thank you! Another aspect that I don't think I've seen discussed in analyses of the movement is the discrepancy in the lengths of the two main themes. It is necessary that the shorter theme comes first for the piece to feel balanced, which is to do with our perception of time, which does not stay constant. Rather we compare the length of the musical theme with the amount of time that the piece has currently occupied. Ideas heard at the outset are typically more memorable and distinct than ideas of the same temporal duration which are only introduced later on. Given that the initial idea is so short - a mere two bars, without the interruptions you rightly draw attention to - and so memorable, through multiple repetition, the second main theme needs to much longer - firstly in the horn call building on the initial motive, then further extended in the quarter / crotchet note reply to the call, doubling its length again - in order to make the second theme independently memorable as the primary theme is. As a thought experiment, imagine how the piece would sound and work if the two main theme were switched round. Whilst the second theme (promoted to principal theme) is memorable (you haven't hear anything else yet), the first theme, demoted to subsidiary theme would cease to be a motto, instead turning into a bit of clever passagework based on the opening four notes of a longer tune. the piece would become monothematic, lacking contrast and feeling unbalanced.

[@maxjohn6012]

Fascinating video! Thank you very much.

[@garyeskow9695]

Nice work...thank you.

[@LeonnardoMelo]

Very good expanation. thanks

[@MichelSchallenberg]

What is meant by neapolitan harmony? I've heard of the neapolitan chord, but don't know what neapolitan harmony has to do with it. Such great videos, thanks a lot ! :)

[@enocdiaz3248]

In this case, both concepts are synonymous.

[@nandoflorestan]

There’s no such thing as Neapolitan harmony: harmony only became more than one in the XX century. There’s the Neapolitan sixth chord, a neat trick which was already well-known before the Baroque period even. Used mostly in minor keys, and mostly near the end of a piece, as the first chord of a heart breaking cadence. The composer goes, oh you are still not crying? Then take this. Let’s see, we’re in C minor, so the chord is Fa, La bemol, Re bemol. And writes this dark substitute for the subdominant, usually resolving on the dominant or the tonic in second inversion which also calls for the dominant. When Chopin wrote a treatise on the Neapolitan Sixth, his first Ballade was born.

[@name6401]

Haha