Beethoven Symphony No 1 In C Major - Introduction

Front 1

The background

- Beethoven, Symphony no.1 in C major -

Back 1

Symphony no.1 in C major was published as Op.21 in 1801

It follows the example of Haydn (Beethoven's on and off mentor) in a number of ways. These are:

1) use of a slow introduction (bars 1-12)
2) an orchestra that resembles that of Haydn's later symphonies.

the symphony follows the 'sonata' principle

Front 2

The Orchestra

Back 2

Double Woodwind - although Beethoven follows Mozart in the 2nd movement where he asks for 1 flute.

2 flutes
2 oboes
2 clarinets in C
2 bassoons (fagotti)
2 horns in C (corni)
2 trumpets in C (trombe)
2 timpani (tuned to tonic C, and dominant G)
The usual Classic string section

Front 3

Introduction
Bars 1-12

(bars 1-4)

Back 3

Adagio Molto - very slow

pizzicato strings, gradually getting louder until use of the bow in bar 4 (con arco - with bow)

The symphony is in C major, yet Beethoven chooses to begin with a perfect cadence in F major

perfect F cadence (bar 1),
G7 (bar 2),
A minor to G major

The violins as a result of this harmonic teasing have a climbing chromatic melody line in bars 3 and 4 (G, G#, A)

This makes the key appear to be G major, opposed to C major

Front 4

Introduction
Bars 1-12

(bars 5-12)

Back 4

Bar 5 - Suggests G, and G7 harmonies, which do eventually resolve onto the C chord (1st inv.)

THE KEY OF 'C' IS FINALLY REACHED! (bar 6)

C major used (bar 8)

Beethoven outlines C major in the horn parts (bars 11-12) but C major is still not fully established until the exposition

Front 5

Introduction
Bars 1-12

(tonal ambiguity)

Back 5

Use of dominant 7 chords suggests perfect cadences, yet the introduction does not establish a full sense of key

tonal ambiguity is emphasised by:
-texture
-instrumentation (e.g. pizzicato strings)
-dynamics (e.g. forte and piano markings)

yet... The brass and timpani parts play C and G - harmonically settled character based around C major