A Comparative analysis of Beethoven's symphony No. 5

The thesis, A Comparative Analysis of Beethoven's Symphony No. 5 contains three chapters. Chapter I is a word analysis, chapter II contains comparative analysis charts for each of the movements and chapter II contains (a) thematic material and key to number on graphs as well as (b) a graphic analysis of each of the movements.

AJutl,el !j. Co' par tlve ·of A fh.d.6 Su.Dmltteti t. Ue D. al't.nt Qt Mllile , .. "', ' of ualV.lll of ijab tultil ment of t;he :r.qu.1r$l1umt. .. l).i.. of " stet' ot Art a fb 'bflU. obaft4 ,0. I)oru, 1s on . 19S3 LIBRARY iDft"oL....__._ SITY O :U:TAij !he lt.r wiehts 10 .xpes$ his gratitude and ..,pre,­ QlatloR to tnt toll.wl., p'eople tt> 'their assist'lincs in tht coivplet1.on of this hes1$t Profel,IOJ?' tlror J Raber-'s 41 mGsf1 $rH(nlag'ement and help _de the eompletlf)n O.f tMs 'besis po alb ffJr his t,ampara:tlv. tspeele:llr t!'m the t.he's and 180 to. the SYlIph.n" aaalysle, the alll\lho!ta ot Delbert Oewald on , ,"OJ'lt ot W1111am F<lw1e:p • - 111 - 32:L555 e. on dra; Ii! Symphon:r, No. . the, El'Glea fITLE PAG! .. . .. AeCltPT.AJCI ,_ .. .. • ! v, • .. l'!' weQ . .. . . AI1U",YSl', . . . . .. .. .. .. _. . .. . .. ..• INTRODYOfION (l'nlFACE) 0'b4rpter . ! . fABLE OF COJFfENT' • ... • ..• • t· • .. . .. t • • .. • .. .. . .. . .. .. '" " . . .. .. .. <I • . 'I . ,. .. .. 1v - . • .. .. .... 111 "." 1v • • " - • •. ..'. .' to . • .. oc .. ,11 !l ...... (a) fheaatle Mat'e'rlal $lnd -.'. ,., ,,, Mubers en Q.:rapiu (b) fl".pble Ju:talrs1a of Mo'vement' .. . .. •.•.•.• . ., . • • .. . . . .. .. Ii a' V 1 '-"1 .;;/' "',, 36 41 , "b." ttt"EdJI" A e()lI"pa.patle Ane.lr.1, 1Fm1'kOA, .10,.., " tGatliln$ t:b.ee oh.p't$. of B$s'ha'left"" Oha:pt I 1$ ,fa wori s;fuil,'sls, ehapte:p It o(Uat.l1ul «tJttmJ>4f¥atl ..e a».&11a1' eha.!r'i/a.t tor .aoh the ••,VfiIUlftte amtl t ehapter III e,,'a',d.As (a), 'luutlc mt,plQl ad kef ,,, nUll,"!'. Oft "".phe anal,sll of .aea et th. mOV.Dts ap'e,. $8 wsll as ! 4es$rlbe i'ft d,,'.11 ., t,a of moveJl,el;\,Ut 7 the theme., 'ttS'fbi sn4 1:he ( .. ) a lphlC Qt th. •• 011 li.,. •. C"@ II is eo.pos,_' .1.' he eo.a1tat'f'. ,aflu1st.e ehAl*'1hl ,,.,ilng 'he al\.l,,",. <0 t m'fans, f..e'.h1,u$ f Vie!', Q..... \t"s,14 art4 the #.thJIi. OJta,ter III e.,;ntalftl ',.) ti1ematle .a'e1al .na ke, ttt . tt_lnlPJ $)ia 1;ht ,apa.piu an' (b) fUlh ,ot •• f.tlr M"•• $.,t,11 of t)!, A t'Qt 1,f1$ Oil .'1 ".,h(iut,. h •. 14Ph lndleat1e, ·tbft ,'Hfeo'lne@ of 1mpetnt iih,... tie J1rua'.ltil. a7 I!'ahlle, $,ft,tAl"i$ a A ,hi. Ibnt Indica1U!ui 8.00.4- Materia,111 1 , Cka,t.r I Wor4 .Anal1.11 - Edwin Evans oa11$ the first five has lled it art of tht 1$$ wey 1 tenters n lr out of the - throtAghout tand "fep. to 1 t thus the 3 sre$ th'(i) mov mell' Subject reeapltulat me J sienal The author art t bee use of the It on. .. a '0 grOl-l direct­ em s developm$nt., the: author hal divided the first Qubje,ct frto to pa7ts b e use of the Gantr to of the 1st &.& ting oontonre $u''bJeet part I. end1n n of eSt,eli. m lfbe con 21, sur" ap aI'S fellows t b. contour of the let aubjeet part .eaS 44 t fll)pe·ars at tGll()W m,easur besins 4,,4 a.nd eOlltinues ir,"ns tl<Ul tev $ tbe on a la the second throligh halt l1tirpo·se nd'Ag en t D91bet Clew-ald called this !he transition. IX. o1. Gf M()du1st1 me pe:r:iou..4 double elghtb,ote in sura ;8" 'be the .. The !'e'l tl ve 4 - __ _. iMf< _ ....... 4..... _... _ ...... ogle 1 1 ot of the 1st SUbject prt II. It grows On the s$cond tou.rth of m.aeut'-e 5' the lnt1"oductlon .. ",0 the •• Qoad th••$ 'bec1nfJ. l' appea. e.$ ,follows: It ,ervrts the pH,e ot chang,lnc the .ood bet" . sttJect and the ,6, th" ls$ secon4 th me. !he I,end theme ,.t !. begin. .easurt en aad ell,ds 08 1M.QUi,.. 71+. on the fir t beat of It appear, as, t.,llows: ........ < f. flat .aJo. 'e k., l h ••• ,eou4 th ...e part IX Xt ft,peal"S' $1 melunare 82. As cUl'.fu,lon .t the aNY. as beClaa, at tel1.ws tllV' 10 •• asure p.ar... of a... tbe.. 1,. m.asve ,10n ••OWA $Q tA. p.vt .r tbe «iasr__ 15 ani eftd; IUtaSUJ1lTe 'fll. l.l '3 1t\1 the ap­ oClulJrls.s .tae ext.ft n'.w tat •• has be_• .-11e& .It' •• sloa t\tle M th.. "'.,. 111 1Ih1Gh the tl$t .t 1$. ext.aa1sh ·-dovo.,. ".11$ lD't 1 t as f,ollo'Ws l)' t .' tbe It.e,. &,.. m.. • .,,; i;$, 62 , Id;.aop" 1 'lat Id.•o", "btl .I.,$ve .... m<ta$\lr.' 82. i.e "" t) 'It 110. «ttlf&S,ftIUlt uea l fia1, .. taa3ol'. the eo4..$'I. bflClas l1eat of ••• s\t"e oa 'h. ,i!nl$r.ul4.h.lt 0'1 tb$ firlit, 110 eft .1'141 o. the tl,.., .. t of., meQsure 114 fbe e4.'tta 11 tilt .. t'PO. tbe 1st sulttJ.<ct ,art 11. 11 J-'$p"tltlo11 at the o.d,tt. to ·.,lor. m&a$\ll'tt 14·. .. ... i. fh(tJ It:e, 1& I-nat I ., - ... rh)"thin1c motive 'r, m.asne 168 to 11' 'ISh p%'*e ent but 1n s the following. tor; '!"be ltr·i ar-e; nU!h"sure lJ·8 ,., 168. .. m);noJ' I .asre 16·8 'e 180, toward & JleJr. S$atlefl III Is ••a. u, 0f two 41stlnc't t$aturea. Flr$t. material trom 'be introd:u.etlQn 'bo th. seoond 'the, s 'cona, a, 'tl«ttre l\"a,$llr8 lSa to G tBajor 4erl'1e4 !"Pq. ttu 't·ran$11l1oJ\. 190 f JQr: ,Itey are 203, , minott"; to to 240, do towar-d t&lloWI' 195 to 1", m$4att'e 20, to 211, ;e,.,flat 1l1no:r; (1 major; meaure 199 to .ea.t1. 11 217 to 22'8. iowar(i; G major; saaalA!'. 228 to l,2. dominant 19$, are" introduction Sllre me 211. C-flat major; measure as .'1 And 19$. dev81o'1h.1J the ldea troll vbt It .pp,ea to thee II. The and .$alfl)n 1,0 t. This stetlGn ends on measlU·' i.leetlo11 rJI th. e ee nant e.ea C maJo:r. G m jor; and me lure 2,2 10 .. theme • to Sotlon III 1s lIade seoond. theme . 41S. gtlat tn_Jar; u. of nUlte:rial the figure ap .rt I,. ars &\ r} IrE I Q I r m.a$,422 !he keys are: are . a tnlnoi 1I1nc.r; to nUlesure 460 to 469, 0 m 4,0, to an aasure I 4,,9. delve' [1 I'll from the follows:' .s 450. C minor; to mee.slIr I to meaeure 4,. d$m!nant aree <' dlilnant area C lIinOt': and mea(tl,tPe nor. SctlQn IV makes 1st $oQnd 0 minor. 422. toward domlnnt the t llowst !he ke,s e-re# measure 407 to 41;' 1ntroduc'tion o the Section XI davel P .. subJaet l't. 1 use It ap of the ee: It rhr1dmic t\\tO foma; met1ve of the - 'lhe phY'tbmlc motive t)t aeem'f.)an1ment. meaSu:re 28 to !he k0y 4€H me6UJ'e 22 to ,1. to'wa:rd 'S maJor· present 1 28, A,.t'lat lMJ(UtJ;" ,n<l !ll6laau:re I eQmpeHui the )1 to ,)8, et 1hl#) small seetions. eetlon 1 'fh$ keys are: 49. .. 'tihe tlpst movem,.llt 1$ fhe 't .... n.1'ion 1s 'h tlst 1) nletUae )8 'toward A-flt major &fl. C maJc>r; and measll.-e 41 to . ., riat10n I theme ends at meat e 11 J to If Whioh be,iftl l>peara as follow' •. t, measure 4, an' S$otlon I. , .1ob bee tnt(H",ttn ot ttl$. la.t to110" 'oct1on I. mea$ur The last fhe kel' is ure aa With the 1 <11d 1. of seetlon t appara as 1. fvom the. 21), to.(t as ma'e,.1al ia th$ .1aor 20$ to' Mod., der-lved 210, A.tlat maJ,l't.arld udo.lnant Se(l,,cft 1.11, m. fUH1P. .. It appears a$ tol10wet '!he key. Q: l'I6aSl.tre 210 ttl t1:1,,' ae<u.lrlpan1mea' tOJ! (u,ot1c. which begins at meturure 20; and ends at l', 'Qtl11.(;!s ·sure ears tl1e$e 1 ll.p:pCia,J" me· as b-la' major S$clon II, me and ends at $1 Ttl, above figure C()"t1lule, II. lS, Ie,,, 1. oo·.,r!med. of Variation XlX t.tualle IO! me.,,nare part I at measur n of A.-fl.8." which lMt;1ftS at majo·r. me$;a all atl ends a1i 229 • .alao del'lves 1'0 material from. theme I. followei mea6e It ap­ - fhe k$y$ ar: measure 11 -. 21) to. 217. A.tlat maJor; to measure . 22" dm1na.n aPea ,A.-·tle.t maJt.u and .esSllre 2Z) tG 229. A--flat .6Jor. Sect 242. on tV J which beglQ9 s .. t 2?'9 u'U.l11l1IEUf mat$rlal tr0m theme t. Md. ends at m$8.aur" e key 1$ A-tlat ma,JoJ'. See1Jion V. whieh eiiru at measu;r'$ 242 and endre a't me$Qre 247, from tbeme il as is e4antlal. It uses the following figure 19 .. - The l'tl'trd.• _ot'l..,. Gt thlJ tips' .ov_eat tl;utm,. X1'. 'The ke,. fl ••!h'Ulr. 19, to Z"..fla1i .111JiJ and. m.a.tlre 4.1, Is lJ):t mea5ttre e$ltat.m,e.t of th•• J a !_* G senae4 1a .laerz 26 to 34, .. fl.' lIir1os-. 4" '0 %11, wIlleh lf,'llU;4 '&Jt' fJ )4 can be *J $n4 eadf,t at .tra­ A vap1s.'tlon oce. 1. the 1 •• t six measufle, ', '"he ke, 1, .. 'tl' muor,., ;r IV I whi$ , IV. ''0 1a lIeg'latJ a' m••.&re 62 aft4 _Ads at. .ew t,..t:. letlt) \l8itll matelrtal t1""11 tbelJUlt 1:. a ke, I, 'o_4, e « ma.,•• 'pt ' .. -,,.-htch ",.«lft$ at .,.au". 11 and. snd, a', .. a .. . !'ett.mat o ltt •••.n tP*e '? • Wf-,. 11 ,. ?fa,. a .llt.r; to to 1. a meantPe lb.. ,kIt'" a,_ ., .1.rl a!'tlH mO$,• JUh'UUt"f! 89 91j towrd C m1ntfP. p. 11.4, " S 81, 'I, wtl.1G. "i'.glns at m.:al fM'Jlt'b1ut1OD fJt if1\... I and It alJP...F-e •• tol1ewIllH " " a_a. fI!li ••• &$ po;rtlGn at theme XI. 21 .. Q\u,\$Ll .,()u1d"AlIatl.n quar'te)\ ot'.$· wbl,e:tl later ap.,aa;:p wl a .$ m.o41tle €H'11fl1Utl'*-8ti1)Jeet. 8- 146, e IU\Jor'; 'th mal;re &r :mea 3"'1'. brldi.. 1ft fte' kft,.m 146 to meaSlU'8 e,lod. to t·OW$N t) ma.' or. 160 te 161, l'e".,t. tlUJ eloel .. whioh .eeUf'$ $·hr.elJ th loh begin devel.ett expalt1on end. at measre 1'1 and end$ at i: : 169j ,c,e."r'l,ges pt IX. .eUiUP 161, 1fUhUJUre 141 are: pat't 1. !be In ana - It ap, •• lPS, as I t-&11ont A fh. key 111ft the deln&nt .eastlX'(t far' XII. 191, Is 'he Jlhe key* r:H 117. F II. e,l area &f 0 bel:bHJ 16,9 16 m'asure to 117 17), to 0 majo%'1 eada .t tbf) arlUl reo&.p1tulatlot1, nds.,t me6tall!'. 223, 18 ma$ure 113 t() 191, Q maJo. ode wieh OCCUI-S lMltwfuUl the or ••,4 devrttlopllent ..tiQn Of. the t\tllut'1;O. 'the k '1 16 in the dGtnbJ.ant nd -JGr. at .eaGw. reeapltulat1 •• t(uo:prls$8 ,at IV. PQ;rt V 205 \Ii11h ea$llr maJoI ani rh. the I dt)'(f(tl0ltmell t It 1$ th same a' aac:l part ot C major. which begins at me,uttre 1:rregular 1a form beCUlU.U$i ths ,I f1 key it Q ai80 •. Pat't I¥ uus ,1\$ tol1$rial tlgu.1 ft\e ke, 11 i tke avib.·4om1a$l'lt l,e. G lno I I .. : ,_ (lot,tta de%*1 ves 1 ,. ..:t.)'t.•.1 trent 'he., II. ke, is til '11e 40.1t!dlt are'a S muo!'. the file o:Gd$tta love-ii,ails 11\\(') .he 'tll'P;n·$111QR,. ',ul ,324 tit) me-a$llJle poi,., "t. see"tla app:e",r$ ." 11 _.$4 1.• 'the 'tiluJ11d.t}),11 tPQ). auaIU,:r.' A t...... , or the." Il:easure ;,8. I CIt .. fhs t11lU'e 18t ,rlmcipal I' I - - ...___ 4 _ .... r- ... _ __ 2j - _ . It gjHj_]fu--EJ-fcJT; ThfIJ fourth t,U And tht tifth Is: ...------l_ -- 'he kef is C maJoP. transition !he dova tal1t itl-to the ..... melo.1c 11fte tised fof" the 'i;f'&ftsi M on is .. fh k., 44, te 'ari G are: 63. XI, which begina IA,P a:rs !be rhythm1e .0t1.v the e II. ;stAre , 54, 0), 40, the tol1&ws: C maJor; aad mea lire 40 '0 maJo-r. !JUM•• •• at.pe mea:,ure 26 '0 as eXl>os1tlOA a. at IUI$$Urt 44 aR<i ends .t f.l1.'(4' ot the fl1"si ... vemant The k 18 3J':$t Ilea$ur* 44 to A mln; 'me·.$tle 't$ward{ t ,4 'IG e·an be lens.' in ,,2 •• "J.l" 59. Q .$kJerl e-n4 't<) mea­ 'fI.asUP. 5' m&J&. The tbird theme. (_lo$1m3) .. 64 and eaos at n1fUU9llre 85, appears whioh at belin$ at follttwe t mEulsur'$ The key 1$ e maJo;:p. dominant $..1"89. C key is in fh free a$ot1on. Seotion III 1s th maJo:r. the th.ird thme 11l diminution. 11ls S Ot10A IV cont the ke, 1s C lluljo;r., laee; ttl"'e Section Y, whleh 389, 6 1s 1:), gins at trfHt seetit'Ul.. ' •••ru,rte ,'I and ,ndfll ., The kel 1m C majo. Seotion VI. 'Whlqh btgins at l1i$fUitU"e '90 d ends .'i 441}. &.,. Qtl. peart! as is d,erl vtd from the follaw _-- ,rlnoj,pal the... - ------------------ flge form-imc • C •.tUU\. mov&m.'n: af caietttlal. C ma.Jr; 406, m C Ilave to ma8ure hJOJ a,' z tn& v,lo1ctueIlo$ ud (tontJ'l'a.'bo.ss enter &'1 Uise 2 above ,it 40,5, te fftlUt$ntre 'Th. laat fop" $D meaettre ot the Tho ke1. a..: metts'Ql's. ,'0 '0 do.tRaIlt are.a 1+01 * domInant 407 to 441. C .ajofJ'. a taaJor:t ar"'& the 404, to melUltl:r(t C fI&jor'; $ft($. I Ohe.p'e II e."mpa,ifattve Aal'81s abe-pt, AttJ n\.lll"b$t' appeann, 1n ,h. Iaph. lAdle&t,e$ 'tht, thlle '.pr'e$ent.4 'by tbat rua.beXt'. It. plq. (+) 111ft tol­ lo'wtS the Autaber !.t l.ndioe.t$$ t;hat tbe matla!'ial 1, dfJ'lY$d fro', the them. o·(l,rflesPQmd.1111 to the n_bEtt .. ne thEua.. tJ"Otlt (J!loll $t '&he t()ut? Utove••ftt, &t tile S,mphon, tll$tu · Ist MOVEMENT 3. 5. 7. &\ ED I j I j I J I =±J 1: : FII>rr1rrrll=-=r £:11!!=rHFI=FERFIHrqF1+-rF1========= ;b\=-=r '@Wt fP! ffflrqr crl E'r crl tc:&lo:e)lan'IJ s:..- ...... ' /' 8. 9. @+l2ik)'grf=:lrdr1=±t===:Egrr- -fr=- -r F-tERrb+=-r __,..._----- -'--1 > 't f !l _2;+s;_._t./ 2nd MOVEMENT § b · 3rd MOVEMENT f): Ott J 1. IJ r rIt f f' I 'r I F" I . \ 4tF F Fir· I F F FI r'l F F ft#WFfkt¥ ;j. IF Jdl D 5. @Wt r r r I CPIu I r cC FE 4f¥¥fRE r r I erg F I l;,/: fL, 4th MOVEMENT )0+ lw-t. J (2 _ ' Th a.rts an thus the 'thrQugh shown gr31'hs relate the immaterial the on eye Ot:Ht p$..ge pI te form.. .This tiotlal mehed of l\ compost t on. ean be ebeerv(lJd AD eatl:t?e mOvemtltlt of ttl eym hony being oan 1),o is held be fere th " Imp8$1le. when one 'Uses zu in l to .... only the nQtQ­ aa' 6ve!t en tirety in. &11 Vision fJf \"lQS whictl emt)ha laed he s'tlated1: a by mQvernent Be ethoYen ffWi .. e leh sH,dl"i''bert aueh In m.lfter IstrtUluf1·nta1musik, h* t.h lm1ner d.a &eftz·e "Or" Attge,n.-2 even , .ion in its CCHJj rere$elltatlo'hl in his lett·er to freUi·sohke gewohrrt 'b1n the tla,tfJrial cGn$'truetlon 'of the m\ul1e 'he 'llee'$sai t1' tr 01' erta t th et"" .. 46 .. wr1tln 1, my inn front of my eye." 2. ,. 'owl ::r, William L. a· 410 fo·et.EJch. us" , pecy •. !l.'P1191 m<>, ,·till•. tileh IX" j. ete.. - o. - 47 - Lelp-