Beethoven-Symphony No. 1 in C Major, op. 21 Part II
Completed at the turn of the century in 1800, Beethoven’s Symphony No. 1 in C Major followed hot on the heels of Haydn and Mozart. Unlike his predecessors, Beethoven presents his audience with unprecedented musical tricks- an ambiguous introduction to both the first and fourth movements, a “Minuet” that is much to fast for a dance movement, and orchestration (in particular the extensive use of wind instruments) that remainsfairly standard to the present day.
Dedicated to Baron van Swieten, one of Beethoven’s many patrons (who was also a patron of Mozart and Haydn), it was premiered on April 2, 1800 in Vienna. It remained Beethoven’s most popular symphony in his lifetime.
- Adagio molto- Allegro con brio
- Andante cantabile con moto
- Menuetto
- Adagio- Allegro molto e vivace
III. Menuetto
Minuet and Trio form.
Theme one is a long ascent that ends with a convincing 4-note motive. At 0:09 theme two appears, which eventually quiets with rising motives in the low strings and flute before the orchestra returns with theme one (0:28). A syncopated, lilting cadence begins at 0:35 which returns to the beginning of theme two (0:46). After the cadence plays through for the second time, theme three (1:25) enters with a sustained wind chord followed by a violin line that makes me think of a mouse trying to get out of the way of a larger animal. Theme three is repeated once. Theme four (1:53) is a dialogue between the winds playing a shortened version of theme three’s first motive again accompanied by the “mousy” violins. Theme three returns at 2:03 and soon crescendos before another syncopated cadence signals the repeat of the entire section from theme four. The music then returns to the top (2:32), to be played through the second repetition of theme one.
IV. Adagio- Allegro molto e vivace
The movement opens with a forceful orchestral unison, sustained for several seconds. While this would normally be a portent for a grand introduction, all we get are timid violins that play a sequence of upward motives- each one a note longer and a little bit faster than the one before it. Finally at 0:29 they get their act together and quickly usher us into the exposition. The introduction is almost like a “hah, got you!” statement- it’s almost like it’s just a huge joke.
Anyways, the exposition is totally different than the introduction. The melody in the strings is light and fluffy which soon turns into a series of eigth notes over a bassoon playing the same scale the violins couldn’t quite eek out in the introduction. This is followed by the cadence chords and a series of stately, slowly rising brass motives accompanied by wildly descending strings. Powerful rising and falling lines in the low strings over high string tremolos lead to theme two (1:08), a happy melody in the strings played over a walking bass line. Theme two is short-lived, however, as a chromatically rising line from the high strings followed by four tutti chords brings us into the cadence (1:24). The cadence itself features tutti fanfares and rapidly rising string lines. The exposition then repeats (1:40).
The development (2:49) starts off quietly and somewhat mysteriously before a sudden burst of sound from the orchestra is followed by arpeggios in the violins over a thrumming bass. This is followed by a quiet section before the timid, scurrying motives return over the walking bass before the entire orchestra enters at 3:23. Rapid violin scales and tutti chords follow before a lovely, bird-like flute passage (3:39) signals the beginning of the recapitulation.
Theme one is restated, with the second phrase being played first in major and then in minor. Theme two returns almost the same as in the exposition before tutti cadence chords with frantically rising string figures build momentum, almost like a wave about to crest (4:42). But just like the opening chord, the grand build-up is for naught as scurrying strings precede theme one, this time supported by a thrumming string section. After the second restatement of the second phrase of theme one, the winds play a quiet fanfare (5:08) with intermittent fluttering winds and strings. Tutti chords and more rapid string ascents followed by a grand series of brass chords (5:29) end the symphony.
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Beethoven’s Symphony No. 1 in C Major introduces us to some aspects of his compositional style that can be found throughout his work. Simple motives that reappear throughout the work, ambiguous melodic figures that later are revealed to be central melodic or harmonic figures, and a disdain for adherence to the pre-established forms and rules of Haydn and Mozart. Make no mistake- while on the surface this appears to be a symphony composed in homage, it is just the “most tame” of the nine greatest symphonies ever written.
If you are interested in listening to a recording, I recommend Leonard Bernstein’s 2004 release with the Vienna Philharmonic on Deutsche Grammophone. You can buy this recording from Amazon by clicking on the image below. Alternatively, you can purchase this recording from the iTunes Music Store often at a reduced price by following the link below.
This article is part of the Music 365 series. To find out more about this project, please visit the project homepage.
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