Beethoven Symphony No. 1 in C Major Op. 21 Movement 2

EXPOSITION (bars 1 - 64)

1st Subject (bars 1 - 26)

2nd Subject (bars 26 - 53)

Codetta (bars 53 - 64)

DEVELOPMENT (bars 64 - 100)

RECAPITULATION (bars 100 - 195)

1st Subject (bars 100 - 126)

2nd Subject (bars126 - 153)

Coda (bars 153 - 195)

Andante cantabile con moto (at a walking pace, singingly with movement)

quaver = 120

1 flute

2 oboe

2 clarinet in C

2 bassoon

2 horn in F

2 trumpet in C

timpani in C and G

violin 1 section

violin 2 section

viola section

cello and bass section

Exposition

1st Subject

(1 - 7) melodic idea

(19 - 26) melodic idea

2nd subject

(26 - 34) antecedent (strings)

(34 - 42) consequent (woodwind and 2nd violins)

Codetta

(53) melody (1st violins and flute)

(61 - 64) reference to opening notes of the 1st subject

Development

(64) reference to opening notes of the 1st subject

(81) melodic fragment from 1st subject

Recapitulation

(101) countermelody (cellos)

Coda

(162 - 169) material from the 1st subject (12 - 19)

(71 - 80) opening of 1st subject (1st oboe)

(184 - 186) decending scale (1st violins)

(188 - 190) contrary motion (1st violins and flute)

(190 - 193) two note motif (horns) and acciaccaturas (violins and flute)

Exposition

1st subject

(1) F major

(1 - 26) tonic dominant relationship

(15 - 23) dominant C pedal (horns)

(16 and 19) inverted dominant pedal (flutes)

(25) C chord

2nd subject

(26 - 29) C major to D minor

(30) C major

(34) imperfect cadence

(41 - 42) perfect cadence in C major

(43 - 44) C major, A minor

(44 - 45) D minor

(45 - 46) cadential 6/4 cadence in C major

(49 - 52) sequential modulation before following the pattern in 45 - 46

(52 - 53) cadential 6/4 cadence Codetta

(53) G pedal note (timpani) supported by dominant pedal notes (cellos, basses, 2nd violins, brass and 2nd bassoon)

(53) harmony centred around the tonic (C) and dominant

(61 - 64) C major Development

(64) C minor

(71) modulaion to Db major

(81) dominant C pedal (timpani) as the melody explores F minor

(93) dominant Recapitulation 1st subject

(100) F major

(125) C major chord 2nd subject

(126) F major

(134) imperfect cadence

(142) perfect cadence in F major

(142 - 153) cadence in F major Coda

(153) F major

(153) brass notes now C (dominant of F major)

(167 - 170) G minor (emphasis on donminant D), Bb major

(181 - 182)perfect cadence in F major

(184 - 186) dominant tonic harmonies

(193 - 195) perfect cadence in F major

Exposition

1st Subject

(1) texture increases

(1 -26) tonal imitation (viola, cello, bass and bassoon)

2nd Subject

(26 - 42) antecedent and consequent (strings, woodwind and 2nd violins)

(42 - 49) question and answer (string section)

Development

(64) texture increases

(71) imitation (flutes, 1st oboe and 1st bassoon)

Recapitulation

(100) imitation

(101) imitation

(125) antecedant and consequent

Exposition

1st Subject

(19 - 26) dotted semiquaver demisemiquaver rhythm developed

(26) quaver rest

2nd Subject

(34 - 42) semiquavers (1st violins)

(42) dotted semiquaver demisemiquaver rhythm

(43 - 46) rhythm from bar 3

(46) rhythm taken up by bassoons and oboes

(49 - 52) syncopated

Codetta

(53) dotted semiquaver demisemiquaver rhythm (timpani)

(53) triplets (1st violins and flute) Development

(71) dotted semiquaver demisemiquaver rhythm (strings)

(89) dotted semiquaver demisemiquaver rhythm (1st violins) Recapitulation

(142 - 153) rhythmic and syncopated motifs Coda

(181 - 182) semiquaver rhythm (violins)

(182) dotted semiquaver demisemiquaver rhythm (2nd violins and violas)

(153 -162) pitches changed according to timpani rhythm

Development

(71) crescendo

(89) crescendo to forte

(190 - 193) pianissimo (violins and flute)

(191 -195) pianissimo - forte - piano

Coda

(184 - 186) pizzicato bass