| I think there are two views possible
on the structure of the first theme of this movement. I sketch them
briefly below:
View 1:
The first theme ends in measure 21, with a half cadence. This is certainly
not uncommon around 1800; after the half cadence at the end of the first
theme we then mostly find a modulation to the key of the second group during
the transition (in this interpretation: measures 22-58).ann
In the first theme is then, among other things, the following notable:
Apart of the 'clarion blasts' in the first five measures (in which
the 'motto' is stated unisono) the theme clearly forms a sentence: We see
two groups 4 measures, forming a model and a sequence (together: presentation),
and thereafter a group of 8 measures in which at first the initial motif
is shortened (2 + 2), followed by approaching the half cadence in measure
21. Therefore, the second half of the sentence forms a small sentence in
itself. The structure of the entire first theme can be represented
in this diagrams:
( 2
+ 3
) +
( 4
+ 4
) +
( 2 +
2 ) +
4
model
sequence
model sequence
model repeat
close
|____________________________________________|
small sentence (sentence by repetition)
|______________________| |__________________________________________________________________________|
'motto'
sentence (sentence by developing) |
-
The harmony of the theme is actually very simple. Only the harmonic interpretation
of the first five measures is somewhat complicated, as they are in unisono.
And the most 'complex' chord is the Italian augmented ( #IVdv6 ), from
which, at the very end of the theme, V is approached (and thus: the half
cadence). See measures 20/21.
(The enharmonic modulatie is via het verminderd seventh chord: In some
other examples in this section FOOTNOTE an altered chord is deployed at
the end of a transition to emphasize the dominant of the new key. It's
nice to see that precisely this does not happen in Beethoven's Fifth:
After an enharmonic modulation in measures 52-56 the tradition closes with
V6/5 in Eb major (and the enharmonic modulation is via the dimished seventh
chord:
|
C minor: |
|
Eb major: |
|
|
A
F#
Eb
C |
= enharmonisch: |
A
Gb
Eb
C |
|
|
(VII4/3) --> V |
|
(VII6/5) --> V |
) |
View 2:
The first theme ends only in measure 44, with an authentic cadence.
Around
1800, this is of course very common as well. The main reasons to consider
measures 22-44 as part of the theme are:
-
They clearly respond to, and are developed from the previous 21 measures
-
We do not see a modulation until measure 44
-
Because measures 22-44 end with an authentic cadence in C minor (and because
there was a half cadence in 21) they can be seen as consequent of
a large period of 44 measures (or 36, if we substract measures 1-5 and
22-24).
We could describe the internal stucture of 22-44 for example like this:
(
3
) +
( 4
+ 4
) +
( 2 +
2 ) +
7
( 1 + 1 + 1 + 1 + 1 + 1 + 1 )
model repeat
model sequence
shortenings / ascending sequences / close
|____________________________________________|
sentential
|_________________|
|______________________________________________________________________________|
'motto'
(on a different
sentential (similar to sentence by repetition)
pitch, shortened) |
If we assume that the theme is until measure 44 the transition is comparatively
very short: only 15 measures.ann
And we could then summurize the structure of the complete first theme
as follows:
5
+
16
+
3
+
20
'motto'
sentence
'motto'
sentential
|_______________________________________|
|_______________________________________________|
antecedent
consequent
|
|
together form a period; this period is so to speak 'introduced'
and interrupted
by the 'motto' |
|
