It is in an expanded ternary form with considerable development along the way, with a brief B section in the major. This very slow and sombre funeral march is very different in tone to the Andante movements more typical of Haydn and Mozart second movements. Both of these features destabilise the movement greatly. Two features of this movement are worth noting in terms of overall development of first movements: 1) the development is much longer in relation to the exposition than in Haydn 2) the coda is also much extended and is written almost as a second development. The music subsides into a gentle theme in E minor, but there is much more turbulence to come as this is a long way from the home key of Eb:
#Sibelius 5 th symohony 3rd movement full#
Beethoven lands on what turns out to be a Neapolitan 6th chord (F in E minor) but adds a major seventh to it and then hammers it out in a full orchestral tutti. Įverything about this movement is larger and more dramatic than earlier symphonies, and one example can be found in the development, in which there is a moment of extraordinary violence. This moment apparently caused one of its first listeners to presume the horn had made a mistake – the gesture is superficially similar to the humorous touches that Haydn often indulges in but the effect is more jarring and disturbing. The movement ends with a simplified diatonic version of the theme – the ‘problem’ of the C# has been overcome, This dramatising of sonata form is an important part of Beethoven’s style: Ī horn comes in a few bars before the recapitulation trying to play the main theme in the tonic against the dominant harmonies. This ‘problem’ turns out to have consequences, for example the modulation in Db major – enharmonically the same as C# – in the recapitulation (before finally getting to back to Eb): After the diatonic opening, there is an unexpected C# in bar 8: Beethoven takes a simple arpeggio theme but manages to give it a heroic, weighty feel through both its orchestral presentation and the dramatic journey undergone in the symphony. Sonata form is hugely expanded in this first movement and made much more dramatic. The middle movements are somewhat different in tone but the traditional four-movement pattern is retained. The idea of the symphony moving towards a last movement that then provides a culmination of what has gone before is very important in the Romantic era. Like Mozart 41, the finale of Eroica is much more relatively weighty than in earlier symphonies and there are clear thematic and other links between the first three movements and the finale.
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