The ‘long’ in the pattern is a lower pitch
restate a variation of the first theme. Keep
than the ‘short-short-short.’ Inversion
listening for the many different ways that
would use the same rhythmic pattern,
Beethoven writes each theme!
but have the shorts leading to a higher
In the third movement, Beethoven adds a
pitched ‘long.’ Listen closely — you will
fresh perspective to the more traditional
hear short-short-short-long examples throughout the entire symphony. The first movement is structured in Sonata Form, the predominant structure in instrumental music between the Classical and 20th Century eras of music. The second movement is a slower, lyrical contrast to the opening movement, and is of the Theme & Variation form (playing many variations of a central theme). Unlike a typical theme & variation, this movement actually contains variations on two themes. The first theme is stated by the low strings, who are soon joined by the upper strings, and accompanied by the winds. A short second theme follows, after which the winds and brass
Minuet & Trio form (ternary), implementing instead a Scherzo & Trio. Returning to our home key of C minor, you’ll certainly also notice a return of our short-shortshort-long motif. The final movement, also in a version of sonata form, follows the third without pause (attaca). Some have alluded to the short-shortshort-long motif representing fate knocking at the door. This triumphant movement is in C major (rather than the expected C minor of the first movement), and contains a long concluding passage making it exciting to the last note.
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16–17
THE 69TH SEASON