Analysis : ' Adagio Molto '

2020 Words Dec 11th, 2014 9 Pages
Introduction (mm. 1-12) Adagio molto
Although the symphony is written in the key of C major, Beethoven begins the introduction with a PAC in F major in measure 1. He immediately moves away from this key as measure 2 begins with a V7 (G7 chord), which looks as thought it might resolve to the expected I chord in C major. However, this forms an interrupted cadence (V-vi), as Beethoven substitutes an A minor chord for the expected C major chord on beat 3 of the second measure. There also seems to be a modulation to G major with the use of F# in mm. 3-4, but this is immediately neutralized it in the violin parts in measure 4. The sense of an established key is further negated by the violin melody in measure 4 with a G#, which rises to an A, thus acting as a chromatic passing note. This completes a rising chromatic melodic line (F# – G – G# – A) in the violin parts, which also weakens any sense of G major tonality. Although measure 5 seems to move toward the C major tonality with the V7 (G7 chord), the effect is weakened by the 1st inversion resolution in measure 6, as well as the C# passing tones in the violin part. In mm. 8-10, there are G#s in the bass and bassoon parts leading to an A minor chord in measure 10 instead of C major. The tonal ambiguity continues though measure 12 with F#s occur in a rising G major scale in the strings, only to be dismissed at the last second with naturalized F in a descending flurry which leads into the Allegro.
Exposition (mm. 13-109)…
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