Timbral Analysis of Beethoven's 5th Symphony in C Minor
Tyler Martin
Advanced Orchestration
Symphony no. 5 in C minor Beethoven’s intent behind this piece is creating diversity out of unity. The unifying idea of the work is a series of three short notes followed by one long note. The diversity of the simple unifying idea therein is generated by the use of timbral development techniques and expansion of the orchestra; however, there are several performance practices and technical issues that impact the work’s total realization. The score referenced throughout this essay is the Kalmus Miniature Orchestra Scores version. Beethoven takes his initial motif, which is quite simple, and fleshes it out via timbral orchestration. Throughout each movement, he carefully places developmental and accompanimental material within each section to generate the most impact over the course of the symphony. The first movement naturally bears the first examples of that practice. After giving the theme a rather loud introduction with strings and (curiously) clarinet in the opening measures, the string section bounces the repeated section from violin to viola to violin and so on (mm. 6 – 17) before including the entire orchestra in a harmonized statement of the theme which is itself incased in a macro series of three short chords followed by a long dominant chord (mm. 19 – 24). The textures again thins out to just strings that carry a downward falling of the motif which is ended by a double bass So to Do motion. The rapturous textural crescendo that follows the downward line is met with ever increasing attacks from the strings section still plowing along with the motif which is now not literally being played since the last note of every measure – the long note in the motif - is just an eighth note, but the agogic accent that occurs on the first of each measure gives the feel of more weight than the three previous(mm. 37 – 43). In the first great climax of the piece, the violins carry the motif played out in a descending line that again
Advanced Orchestration
Symphony no. 5 in C minor Beethoven’s intent behind this piece is creating diversity out of unity. The unifying idea of the work is a series of three short notes followed by one long note. The diversity of the simple unifying idea therein is generated by the use of timbral development techniques and expansion of the orchestra; however, there are several performance practices and technical issues that impact the work’s total realization. The score referenced throughout this essay is the Kalmus Miniature Orchestra Scores version. Beethoven takes his initial motif, which is quite simple, and fleshes it out via timbral orchestration. Throughout each movement, he carefully places developmental and accompanimental material within each section to generate the most impact over the course of the symphony. The first movement naturally bears the first examples of that practice. After giving the theme a rather loud introduction with strings and (curiously) clarinet in the opening measures, the string section bounces the repeated section from violin to viola to violin and so on (mm. 6 – 17) before including the entire orchestra in a harmonized statement of the theme which is itself incased in a macro series of three short chords followed by a long dominant chord (mm. 19 – 24). The textures again thins out to just strings that carry a downward falling of the motif which is ended by a double bass So to Do motion. The rapturous textural crescendo that follows the downward line is met with ever increasing attacks from the strings section still plowing along with the motif which is now not literally being played since the last note of every measure – the long note in the motif - is just an eighth note, but the agogic accent that occurs on the first of each measure gives the feel of more weight than the three previous(mm. 37 – 43). In the first great climax of the piece, the violins carry the motif played out in a descending line that again