Page 182 - ESSENTIAL LISTENING TO MUSIC

The second theme offers a moment of escape from the rush of the “fate” motive, but even here the pattern of three shorts and a long lurks beneath like a ticking time bomb (Example 10.6).
Example 10.6 > second theme with motive beneath (0:45)
b 2violins œ œ œ œ & b b 4 pœ
LiSTeN TO . . . Example 10.6 online.
œ
œœ ?bbb24∑ ∑‰œœœœŒ
LiSTeN TO . . . Example 10.7 online.
Example 10.7 > closing theme (1:17) œœœ œœœœ œ
The closing theme, too, is none other than the motive once again, now pre- sented in a more heroic guise (Example 10.7).
low strings
&bbb J Jœœœ˙œ J
LiSTeN TO . . . Example 10.8 online.
Example 10.8 > motive developed (2:54)
bb ‰ bb ‰œœœ ˙ bb ‰œœœ ˙
bb œnœ & b
œ œ
In the development section, the opening motive returns, recapturing, and even surpassing, the force it had at the beginning. Beethoven now inverts the motive—he makes it go up as well as down, though the rhythmic shape remains the same (Example 10.8).
& b bœœœ ˙ & b & b ƒ
As the motive rises, so does the musical tension. A powerful rhythmic cli- max ensues and then gives way to a brief imitative passage. Soon Beethoven re- duces the six-note motive of the transition to merely two notes, and then just one, passing these figures around pianissimo between the strings and winds (Example 10.9).
Exambple 10.9 > transition “de-composed” (3:30 and 3:40) bƒßn˙ n˙n˙
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& b œ œ œ ˙ ß ß˙ A ˙ chapter ten beethoven: bridge to romanticism
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becomes
becomes