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“ The first movement employs the Charleston rhythm [ introduced by winds after the brash opening fanfare ]. It is quick and pulsating , representing the young enthusiastic spirit of American life … The principal theme is announced by the bassoon . Later , a second theme is introduced by the piano .” That second theme , a gorgeously romantic Gershwin tune , is the concerto ’ s signature theme and will return , played grandioso by the full orchestra , to conclude both the first movement and the finale . Throughout , we hear Gershwin the great keyboard improviser in the piano part .
He continues : “ The second movement has a poetic nocturnal atmosphere , which has come to be referred to as the American blues , but in a purer form than that in which they are usually treated .” With its first mournful theme introduced by muted trumpet , this movement is a masterpiece of atmosphere and perhaps the highlight of the entire work .
“ The final movement reverts to the style of the first . It is an orgy of rhythms , starting violently and keeping to the same pace throughout .” The piano ’ s relentless hammering gives way periodically to reminiscences of the second movement ’ s themes and in a spectacular conclusion to the first movement ’ s big romantic theme as well . With its joyous bravura , the Concerto ’ s last moments express the confidence of a young , vital America and of the fearless young genius who gave it a voice all its own .
Instrumentation : Two flutes , piccolo , two oboes , English horn , two clarinets , bass clarinet , two bassoons , four horns , three trumpets , three trombones , tuba , timpani , percussion and strings .
Symphony No . 5 in C minor
Ludwig van Beethoven
Born in Bonn , Germany , December 16 , 1770 ; died in Vienna , Austria , March 26 , 1827
For two centuries , Beethoven ’ s Fifth has defined the symphonic experience in the popular imagination , just as Hamlet stands for classical drama and Swan Lake for the ballet . It established the dramatic scenario of the symphony as a heroic progression from tragedy to triumph — and musically here from the minor mode to the major — that was imitated by countless later composers from Brahms to Shostakovich . Moreover , it wages its epic battle with a breathtaking swiftness and a concentrated power that its imitators could not match .
Europe was a troubled place when Beethoven wrote this work between 1806 and 1808 . The Napoleonic Wars surged across Europe , and the martial tone of many of the Fifth ’ s themes as well as the prominent role for trumpets and timpani reflected a society constantly on military alert . And , until Napoleon ’ s defeat in 1815 , Beethoven lived on the losing side . In July 1807 , when he was in his most intense phase of work on the Fifth , the signing of the Treaty of Tilsit brought a temporary truce with the capitulation of Prussia and the cession of all lands between the Rhine and Elbe to France . This humiliation stimulated an uprising of patriotic feeling among the Germanspeaking countries , and Beethoven shared in this fervor . Thus , it is not surprising that the triumphant song of the Fifth ’ s finale seems as much a military victory as a spiritual one .
Beethoven himself gave the description of the four-note motive that pervades the Allegro con brio first movement : “ Thus Fate knocks at the door !” he told his amanuensis Anton Schindler . This is the most famous of the pithy rhythmic ideas that animated many of Beethoven ’ s middle-period masterpieces ; its dynamism as entrance is piled upon entrance drives this movement on its relentless course . The terseness and compression of this music are astonishing , conveying the maximum of expressive power with the minimum of notes . Beethoven pauses only briefly for breath as the violins introduce a gentler , more feminine second theme , and more tellingly later as the solo oboe interrupts the recapitulation of the Fate theme — brought back with pulverizing power by the entire orchestra — with a plaintive protest .
18 Overture | www . bsomusic . org