The Beethoven Symphony

Without exception, the typical classical symphony begins with a sonata form movement. In the hands of Beethoven the form becomes exceptionally elongated, much to the consternation of some of his contemporaries. Development of short motives is one of his most notable traits.

The Theme and Variation was an ideal form for the classicist who sought to create a movement with limited means. After a theme was presented, the composer then runs the theme through a series of permutations called variations. In each variation the theme was discernible, yet the composer was free the vary the harmony, rhythm, orchestration, or countless other musical elements. It was popularly used in the second movement, though it could also appear in the forth as well.

The minuet was always used in the third movement of a traditional classical symphony. Beethoven was no traditionalist however. Beginning with Beethoven the minuet is replaced with a scherzo. Where the minuet was elegant, the scherzo was fast and furious. No doubt, it better captured the flavor of the revolutionary age.

The rondo was a popular way to end a symphony. The composer opens with a theme in which he then moves away from to a contrasting theme. After returning to the opening theme, again the composer moves away to state a new contrasting theme. This process can continue as long as the composer desires - stating news thematic ideas after always returning to the original opening theme.

An orchestral genre
Normally written in four movements
Structure of the typical classical symphony

Movement I - Sonata Form
Introduction	Exposition P ~ ~ S ~ ~		Development P & S	Recapitulation P' ~ ~ S' ~ ~			Coda P/S
An optional section to the form, here the composer presents a slow introduction as a dramatic precursor to the opening Exposition.	Opens with a statement of the Primary theme followed by a contrasting Secondary theme in the dominate key. The Exposition is always played twice.		Here the composer develops the themes first presented in the Exposition by changing keys, harmony, orchestration, etc.	A restatement of the Exposition. The Recapitulation provides a symmetrical balance to the form.			Technically optional, but effectively always there, the coda extends to form long enough for the composer to round out the work with a good ending.

Movement II - Theme and Variations
Theme	Variation I		Variation II	Variation III			Variation IV...

Movement III - Scherzo
Scherzo		Trio			Scherzo
Fast, demonically playful section. A musical "joke."		A contrasting section, usually using a reduced orchestra..			True to the symmetrical preferences of the style, the Scherzo repeats.

Movement IV - Rondo
A	B		A	C		A etc...
The "A" theme is stated.	The composer then moves away from the "A" theme with a contrasting "B" theme		In rondo form, the composer always returns to the original"A" theme after a diversion to another theme.	A totally new theme is presented, but as expected...		...the composer then returns to the "A" theme. This process can continue as long as he wants - always introducing a new theme between each statement of the "A" theme.

Beethoven Symphony 2 in D Major, Op.36
"A gross enormity, an immense wounded snake, unwilling to die, but writhing in its last agonies, and in the Finale, bleeding to death." - A Critic

Beethoven Symphony 3 in E-flat Major, Op. 55
"Is he too nothing more than an ordinary man? Now he too will trample on all human rights." - Beethoven

Humanities Resource of Mark Hunter