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The structure of the 1st movement
is one of the finest examples of the "sonata
form" of Beethoven's second period: grandeur
of scale (the 1st movement alone
is as long as - and longer in some cases - than
entire symphonies by Haydn and Mozart), clearly
articulated form (each Theme has its own distinctive
"character" and one grasps its great importance
as soon as it is heard).Developing material
from a mere six motifs (A, B, C, D, E and F),
Beethoven creates one of the most sublime concerto
"movements" in the history of music, achieving
perfect equilibrium.
The movement is constructed symmetrically:
each Section has the same outline (two dialectically
opposed parts) containing the complete motif
(A+B, C, D, E).
The movement follows the standard "sonata
form" of Beethoven's predecessors almost to
the letter. It is divided into three parts:
the Exposition (orchestra and soloist), Development
and Refrain (with Coda). Since the Exposition
is often repeated in classical sonatas, it is
nearly always played by the orchestra alone
and then by the orchestra with the soloist.
This "bias" towards the first of the three parts
is set off by an extended Coda which is no longer
an appendix to the Refrain but a section in
its own right.
The introduction of a new motif ("f" in the
description below) towards the end of the Development
section is a highly personal touch which is
also found in other works of the same period
(including the Third Symphony). As well as breaking
the monotony (the sheer length of the movement
means that the material is repeated), the new
motif has a great psychological impact which
Beethoven cleverly uses to lay the ground for
the triumphant return of the First Theme in
the Refrain.
The structure of the remaining part of the
movement is extremely linear and clearly articulated:
the description below contains a summary of
form and characteristics, outlining the traditional
SECTIONS of the Sonata Form, the PartS which
make up each section, the musical MOTIFS and
the TONALITIES it contains. A short explanation
of the movements and Beethoven's APPROACH to
composition is given below.
|
Section
|
Part
|
Motif
|
Tonality
|
Approach |
|
O
R
C
H
E
S
T
R
A
L
E
X
P
O
S
I
T
I
O
N
|
First
Theme
|
A
"timpani"
bar 1
|
D Maj.
|
The first phrase, which links the timpani
motif to that of the woodwinds, consists
of symmetrical antecedents and consequents
(bars 1-9). |
|
B
"woodwinds"
bars
2-5
|
D Maj.
|
In the next phrase, the strings take up
the timpani motif (bars 10-17). In the following
10 bars, neutral devices (scales, arpeggios)
prepare the next part..... |
|
Transition
|
C
"Tutti"
bars
28-31
|
B b Maj.
|
A coup de théâtre, typical of Beethoven,
with surprises in the form of melody, harmony
and dynamics (bars 28-42). |
|
Second
Theme
|
D
bars
43-46
|
D Maj.
|
The 2nd theme is introduced
by the woodwinds; a variation on the "timpani
theme" is heard constantly in the background.
The following phrase develops the 2nd
theme in D minor, leading in to a variation
on the 1st theme and returning
to the main key (D major)..... |
|
E
bars
77-80
|
D Maj.
|
Epilogue (conclusion of Exposition). |
|
S
O
L
O
I
S
T
E
X
P
O
S
I
T
I
O
N
|
First
Theme
|
X
bars
89-93
|
|
The soloist comes in on neutral, almost
improvised, notes. |
|
A
|
D Maj.
|
Repeat of 1st theme (timpani
and woodwind motif), over which the solo
violinist weaves ornamental variations. |
|
B1
bars
102-105
|
D Maj.
|
This section mirrors the orchestral Exposition,
although the transition is played by the
solo violin. |
|
Transition
|
|
Modulating
|
|
|
Second
Theme
|
D1
bars
144-151
|
A Maj.
|
The 2nd theme is taken up first
by the woodwinds and immediately after by
the soloist.
This part also mirrors the orchestral Exposition,
with the addition of the violin which develops
the themes on ornamental notes, building
up to a moment of suspense which leads us
in to next section. |
|
D
E
V
E
L
O
P
M
E
N
T
|
First
Part
|
A'
bars
205-210
|
Modulating
|
Variations on the timpani motif. |
|
C'
bars
224-227
|
F Maj.
|
Transitional Motif, in a different tonality |
|
D'
bars
239-250
|
A Maj.
a min.
|
2nd theme motif, suddenly developed
in a "tutti" by the orchestra, "fortissimo". |
|
E'
|
C Maj.
|
2nd theme ending, in a new
tonality |
|
Second
Part
|
X
|
|
The soloist comes in, like in the Exposition,
but in a different tonality |
|
A+B2
bars
301-304
|
h min.
|
The 1st theme melodic material
is transformed in this episode in "minor";
in background we hear the "timpani" theme,
now played by the other sections.
The motifs A and B are eleborated in a diminished
form (i.e. rithmically faster), with ornamental
figurations draw by the soloist. |
|
F
bars
331-335
|
g min.
|
New, lyrical, episode (in the background
the horns play the motif A). It's the heart
of the 1st movement, by which
Beethoven brings us back to the beginning
in a glorious way. |
|
Retransition
|
bars
357-364
|
Pedale
on A
|
Long pause, to increase tension, on melodical
fragments (motif A) by trumpets and timpani,
while the soloist goes back to the 1st
theme by a continous ascent to the high
register of the violin, reaching the bright
D maj. tonality. |
|
R
E
C
A
P
I
T
U
L
A
T
I
O
N
|
First
Theme
|
A+B
bars
364-373
|
D Maj.
|
Triumphant version of the 1st
theme, played fortissimo by the entire orchestra.
The soloist comes back in, playing ornamental
variations on the initial themes. |
|
Transition
|
C variation
|
Pedale
on A
|
|
|
Second
Theme
|
D
bars
418-425
|
D Maj.
|
The 2nd theme is introduced
by the woodwinds then taken up by the soloist;
the development is the same as in the Exposition. |
|
E
|
|
Epilogue to 2nd theme (now
in D major) and build-up to the same moment
of suspense as at the end of the solo Exposition,
this time leading into the Coda. |
|
C
O
D
A
|
First
Part
|
A''
bars
479-483
|
Modulating
|
Variation on motif A (same as at the start
of the Development) which leads in to the
tutti of the Coda. |
|
C''
bars
497-500
|
B b Maj.
|
The transitional motif which leads in
to the soloist's Cadenza. |
|
Cadenza
|
|
|
Free solo part (composed by Fritz Kreisler) |
|
Second
Part
|
D''
bars
511-514
|
D Maj.
|
The orchestra comes back in and the soloist
plays the 2nd theme for the last
time. |
|
E''
bars
523-526
|
D Maj.
|
The bassoon takes up the theme from the
Epilogue and the movement, with a repeated
cadence, ends on a crescendo. |
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Presentation
and musical analysis
