Analysis of Beethoven's Symphony no. 5 in C minor, op.67 (Free Essay Sample)

Throughout the three given concerts, I strictly analyze which one spoke to me personally. With that being said the symphony chosen was “Ludwig van Beethoven's Symphony No.5 in C minor, Op. 67- Leonard Bernstein.” This symphony from 1808, is one of the most notorious symphonies composed to this day because of the eye-catching performance instantly from the start with the four notes. I recognize Symphony No. 5 from when I was younger watching “Little Einsteins”. I recall being fascinated with this symphony at such a young age. This piece endures multiple emotions, more notably during the symphony while Bernstein is composing. During this one-of-a-kind piece, there are four movements: Andante con brio, Andante con, Allegro with trio and scherzo, and the finale sonta with an intense coda.

Symphony No.5 was written between the years 1804 to 1808 (classical period) and finally premiered in Vienna, on December 22, 1808. It was dedicated to Count Rasumovsky and Prince J.F.M. Lobkowitz. The theme of this symphony is the courageous struggle Beethoven endeavored while composing his third symphony, which is expressed over the four movements in Symphony No. 5. Transcribe as “fate knocking at the door” with redemption and sorrow. The most fascinating discovery is that when Beethoven composed this symphony, it was when we began losing his hearing. 

While watching the symphony, I could feel through the screen how engrossed Berstein was conducting such an impeccable symphony. With each beginning movement, Berstein guaranteed that it rolled fluently, it was well executed. Comparing Berstines to other conductors I could vividly see the difference, the performance was not rushed nor too slow. The tempo was consistent throughout each movement, the dynamics were well implemented in the appropriate tempo, and phrasing was done precisely throughout the symphony.

This symphony is scored for 2 flutes, 2 clarinets in B flat and C, 2 oboes,2 bassoons, Timpani G-C, and strings throughout. Only in the finale movement, there is piccolo, trombones (tenor, bass, and alto), and contrabassoon. In the opening movement, it begins with world-renowned 4 notes with clarinets and lower strings: GGGF, short-short-short-long. It is replicated but at a lower step. As I previously stated this movement is Andante con bri, then established the theme between two different keys. First theme noticeable fortissimo phrase to adjure the audience's attention. After the first four notes, he dilates the theme into reflecting rhythm to form a single flowing melody. The second movement is Andante con moto in A flat major. This is the double variation that processes the themes in alternation. Cellos and violas are backed by double basses. The second theme is introduced with harmony with bassoons, triple arpeggio in bass and violas, violins, and clarinets. Then circling with the third theme with cellos that counter in the flute, obe, Basson, and violas. Towards the end of the second movement, the orchestra unites in fortissimo and used coda to conclude this movement. The third movement is Scherzo. Allegro in the ternary form incorporating trio and scherzo. As the scherzo is the main sequence it contradicts trio, remitting scherzo and concluding with coda. Beethoven broke away from the traditions in the third movement by using an advanced trio and scherzo instead of the  conventional. The finale in the fourth movement is Allegro with the victorious transition from the third movement. The finale is not like any other finale, it is written in a different sonata form, when it is concluding the music interval dominant cadence is achieved with fortissimo and continues with “horn theme” reiterate crescendo in the last remaining bars pf interpolated scherzo, resembling the begging of the movement.