Written between 1804-1807, although likely that he was still tweaking ideas until the premier performance in 1808.
Premiered in the Theater an der Wien on 22nd December 1808 at a benefit concert to raise money for Beethoven.
Fast, with spirit
Flutes
Oboes
Clarinets in Bb
Bassoons
French horns in Eb
Trumpets in C
Timpani in C & G
Double bass
Motto theme ( A1)
Known as the 'x' rhythm
(A2) - contrapuntal
Exposition: 1st subject
C minor tonality
Dominates the 1st subject
Loud, dramatic unison statements
Imitative texture
Most famous motto theme there is. Also sometimes known as the 'fate' motif.
Not a programmatic piece but Beethoven is said to have described the opening motive as 'fate knocking at the door'. May have been based on a secret programme.
Using horns in Eb and trumpets in C meant that between them they could play more notes than if they were both crooked to the same key.
Symphony No. 5 in C Minor, Op. 67
2
17
34
A1
A2
Transition to 2nd subject
T1 - arpeggios
Imperfect cadence: ending on chord V
Subdominant statement
Tonic pedal on C
Rising sequence
Descending sequence in violins
Sustained chords in the wind
Flute adds brilliance - plays higher than 1st violins
Oboes usually play in the tessitura between flutes and clarinets - mutual range
Clarinets have more demanding parts than in early Classical period
Only Handstopped note in the movt
Symphony No. 5 in C Minor, Op. 67
3
49
65
Sweetly
Exposition: 2nd subject
Modulation to Eb major has occurred
Dominant to tonic enforcement in Eb major
B1 - horn call (extended version of A1)
Both players together
B2 - legato crotchets
known as the 'y' rhythm
Lyrical idea in crotchets
Use of sequence
Reminiscent of A1 in the bass line
Just one player
Dominant pedal (Bb)
Symphony No. 5 in C Minor, Op. 67
4
83
98
B3 - quavers, accented appoggiaturas
Codetta
T1
Tonic pedal (Eb)
Tenor clef - middle C where the point crosses a line
Just 1 oboe player
Just 1 flute player
Symphony No. 5 in C Minor, Op. 67
5
113
130
A1
Development
Tenor clef
Modulation to F minor (subdominant)
A2
Descending arpeggio idea (T1)
Three emphatic perfect cadences to the rhythm of A1
Imitation of clarinet opening in strings
Descending sequence
Repeats back to the opening
Tonic pedal - new tonality of F minor
Symphony No. 5 in C Minor, Op. 67
6
145
158
Plucked
Bowed
Tremolo - even quavers
Symphony No. 5 in C Minor, Op. 67
7
171
188
B1
Downward arpeggio figure in staccato crotchets
B1
Antiphonal exchanges between wind and strings
Shortened version of B1
Highest note clarinet plays in the 1st movt.
Homophonic texture
Symphony No. 5 in C Minor, Op. 67
8
206
228
Always getting quieter
A1
Antiphonal exchanges become shorter and quieter
Abrupt interruption - variation of B1
Extremes of dynamics used
Highest note the oboe plays in the 1st movt.
Get quieter
Symphony No. 5 in C Minor, Op. 67
9
247
262
Slowly
Recapitulation: 1st subject
Back in C minor
Countermelody in the bassoons
Cadenza-like oboe solo - replaces subdominant statement of A1
Symphony No. 5 in C Minor, Op. 67
10
274
288
Transition
G major (1st inversion) rather than Bb (1st inversion), allowing the music to stay in the tonic rather than modulate to the relative major
sudden loud accent
Symphony No. 5 in C Minor, Op. 67
11
303
321
Recapitulation: 2nd subject
C major tonality
B1 now played on the bassoon rather than horns
Change to B2 - sequential development - in antiphonal two-bar phrases
Bassoons moving together in 3rds or octaves
Melody given to bassoons instead of horns due to the new tonality and the nature of two Handstopped notes creating an undesirable uneven sound.
Symphony No. 5 in C Minor, Op. 67
12
338
353
Highest note the flute plays in the movt.
Timpani trills
Symphony No. 5 in C Minor, Op. 67
13
366
382
C pedal
Diminished 7th chord
Symphony No. 5 in C Minor, Op. 67
14
398
413
Coda
C minor tonality
Descending sequence based on bars 2-3 of B1
Descending sequence - reminiscent of crotchets in B2
129 bars worth of coda - 1/4 of the length of the whole movement. Takes this long to shift from C major back to C minor.
Angular melody in violins requiring rapid string crossing to play
Symphony No. 5 in C Minor, Op. 67
15
430
452
Flutes, oboes and bassoons moving in octaves
Symphony No. 5 in C Minor, Op. 67
16
472
489
Dominant pedal - repeated quavers
Restatement of A1 motto theme
A ghostly section based on imitative A2 idea
Tonic and dominant pedal
Ghostly idea abruptly ended with repeated perfect cadence to the rhythm of A1
![Symphony No.25 in G Minor [K.183] - Free-scores.com No.25 in G Minor, K.183 19. Title: Symphony No.25 in G Minor [K.183] Author: Mozart, Wolfgang Amadeus - Publisher: Leipzig: Breitkopf](https://static.documents.pub/doc/80x56/5ad007b47f8b9a4e7a8d6c87/symphony-no25-in-g-minor-k183-free-no25-in-g-minor-k183-19-title-symphony.jpg)
