Behind this the viola, cellos and later double basses play a 6 note fragment, which could be derived from the fragmentation and augmentation of the ascending scale of motif 1.
Symphony No.1, Op (Beethoven, Ludwig van) .. 1, 2, 3 and 4 in Full Score . 4 more: 1. Adagio molto - Allegro con brio • 2. Andante cantabile con moto • 3. Name Translations, Симфония № 1; Symphonie nº 1 de Brahms; Symphony No. 1; 第1号交响曲 (勃拉姆斯); Simfonija br. 1 (Brams).
This material ends with a cadence in C major in bar The cadence while strong does not indicate a section change because motif 2 is then introduced in the woodwinds, first in the bassoon, then the oboes and flutes. This material bar is reorchestrated repetition of bar Bar remains in the tonic and uses an ascending figure which I have labeled motif 3. This is used in the oboes, trumpets and trombones and represents the end of the first subject group and remains in the tonic throughout.
We begin the transition or bridge section in bar 38 with a sequenced inversion of semi-motif 1. We begin to modulate at this point, beginning in A minor in bar , passing through D Major in bar 42, G Major in bar 43 cadencing on C Major in the end of bar Then through G Major for the rest of bar 44 and into D Major in bar 45 ending in G Major in bar 47 through to the end of the bridge in bar 55, ending with an imperfect cadence.
We then begin the second subject group in bar 56 with the introduction of theme 2. As we would expect theme 2 is more lyrical than theme 1.
As we would expect, we are clearly in G Major, which is the overall dominant. Towards the end of this section, we begin to head towards C Major with F naturals in bar In bar 70 we get a stark contrast in texture and intensity. We modulate chromatically from D Major to G Major. The homophonic texture builds tension, which is released with perfect cadence in bar This texture and harmony is reminiscent of a similar section from the first movement of the symphony, alluding to the larger structure of the work.
In bar 78 we jump again into a new texture. A series of perfect cadences begin which adds both security of the G Major key and a sense of closure to the second subject group. The characteristic perfect cadences are new material that shall be called motif 4.
In bar 86 we begin the codetta, which lasts until the end of the first time ending. This is in G Major, which was used for the second subject, as we would expect. In bar 96 first time ending the dominant seventh chord is used to modulate to the tonic C Major ready for the repeat of the exposition. The codetta is made up from an ascending sequence of motif 1. Beethoven has ended this section with motif 1 leading into theme 1. We can interpret the codetta to include either first and second time ending or just the first time ending, with the second time ending either using motif 1 to lead into the development section, or the second time ending starting the development section.
An important structural change takes place in bar 98 where the development section begins. Motif 1 is used in different transpositions between short chordal phrases. Because Beethoven uses diminished sevenths in the chordal phrases, the tonality is ambiguous. Bar brings a new texture and a new key as well as sharp dynamic contrast.
The B b pedal roots the tonality in B b Major. The homophonic texture is accompanied by an arpeggic melody. In bar we see familiar material; a fragment motif 2 can be seen in the violin I part. Motif 1 can also be seen supporting this in the cello part. We also modulate to the dominant of the current key, F Major. Descending scales are used antiphonally to balance motif I. This scalic passage can also be seen as a shortened inversion of Motif I. By Bar we see the continuation of scales combined with the introduction of the rhythmic cell from motif 4in bassoons and the full motif 4 in the flute and oboe parts.
We then move from F Major towards G Major through the cycle of fifths. In bar we see another change in texture. The upper winds show an augmented motif 3. This section is firmly rooted in the tonic minor C Minor. In bar we see the restatement of motif 1 in the violins. The violas and cellos antiphonally balance this. This is halted in bar with an elaborate cadential pattern in G Minor ending on bar To add further closure to this section in bar the bass line from this cadential pattern is taken up by the winds and harmonised in thirds.
The end of this section overlaps with the emergence of the recapitulation.
The appearance of motif 1 in the tonic in the violin I is significant because it leads again into theme 1 at bar This is unchanged from the exposition. Bar brings motif 2. This differs from the exposition however; this is shortened by the cadence that appears in bar but motif 2 appears in the bassoons, which leads into an extension of the motif 2 sequence.
We then add the descending scale or possible shorten inversion of motif 1 in bar in violin I, as well as a possible reference to motif 3 with the upper woodwind. In bar we get the familiar trill like phrase we see in bar 54; this arrives earlier than it previously did in the exposition as the transitional section is omitted from the recapitulation. At this point, we are heading again towards the tonic, C Major. At bar we see the reintroduction of theme 2, and the beginning of the repetition of the second subject group.
Theme 2 is, as we would expect in the tonic key of C Major. Theme 2 has been extended to bar Bar brings a repeat of the homophonic texture heard in bar in the tonic key. This is again followed in Bar with the perfect cadences of motif 4 to finish the second subject group firmly in the tonic in case of ambiguity caused by the chromatic movement in bars The codetta is repeated at bar including motif 1 in the violins.
Bar adds double dotted rhythms to build into the cadences at bars and A big imperfect cadence in G minor the tonic minor of the dominant is heard first, followed by an imperfect cadence in the tonic.
At bar we see ascending scales implying a shortened motif 1, which is then shown in its entirety in , leading into a repeat of theme 1 beginning bar We are now repeating the section as we did with the exposition, due to the changes in the material Beethoven has chosen to notate the repeat of the section, contrasting the exposition where the material was repeated exactly with the exception of the first and second time endings.
This is because Beethoven repeats only the first subject group; omitting the transitional section, second subject group and codetta. The descending sequence of motif 2 heard in the upbeat to bar 15 is repeated at bar After a brief bar delay motif 2 is then moved to woodwinds as in the exposition. In bar a new cadence is introduced ending the first subject group and introducing the coda.
This concludes the recapitulation, which is where we would expect to end the piece according to strict sonata form procedure, but to add more substantial closure to the significant duration of the symphony a coda is added beginning bar The cadences initially heard establish key and begin to provide the closure we would expect from the piece. Duration 25 minutes Composer Time Period Comp. Retrieved from " http: Symphonies ; For orchestra ; Scores featuring the orchestra ; For flute, violin, cello, piano arr ; Scores featuring the flute ; Scores featuring the violin ; Scores featuring the cello ; Scores featuring the piano ; For 4 players ; For violin, cello, piano 4-hands arr ; Scores featuring the piano 4 hands ; For 3 players ; For 2 pianos 8 hands arr ; For 2 clarinets arr ; Scores featuring the clarinet ; For 2 players ; For violin, piano arr ; For 2 pianos arr ; For piano 4 hands arr ; For piano arr ; For 1 player ; For violin, cello, piano arr ; For wind band arr ; For orchestra without strings ; Scores featuring wind band ; For 2 recorders arr ; Scores featuring the recorder ; For organ arr ; Scores featuring the organ.
Contents 1 Performances 1. Allegro molto e vivace 2. Adagio - Allegro molto e vivace 2. Performer Pages Papalin recorder ensemble. Javascript is required for this feature. These file s are part of the Werner Icking Music Collection. Ludwig van Beethovens Werke, Serie 1: Originally scanned at about pi, converted to dpi monocrome. Editor Henry Charles Litolff Henry Litolff's Verlag , n. Dover Publications , Editor Max Unger These files are part of the Orchestra Parts Project. Arranger Johann Nepomuk Hummel This file is part of the Sibley Mirroring Project.
Arranger Carl Burchard Arranger August Horn — Arranger Hans Sitt Arranger Otto Singer II Arranger Wilhelm Meves Arranger Jean Henri Ravina Publication noted in the Bibliographie de la France: Arranger Julien Schaeffer — Arranger Xaver Scharwenka Universal Edition , n. This file is part of the Gaylord Library Mirroring Project.