Composed again in a solid sonata form, Beethoven uses the scale as the prevailing motivic element in this movement which, by character, pays most of all tribute to the customary finale established by Haydn in the preceding decades. After finally reaching an F, outlining a dominant seventh chord in C major, the real start of the finale Allegro molto e vivace begins in C major with a theme similar (both in rhythm and character) to the 4th movement of Haydn's Symphony No. The finale opens with another introduction consisting only of scale fragments played slowly by the first violins alone (an unusual effect) beginning on G and gradually adding more notes. Given the tempo, a listener would hear that dramatic shift only about 15 seconds into the movement. While many opening themes of symphonic writing of the Classical period typically stayed within diatonic harmony, Beethoven shifts chromatically from C major up to D flat major only about 36 bars into the movement. One notable element of this movement is the sudden change of tonal center very early in the movement. Secondly, as an inherent element of the scherzo, it does not customarily display new melodies or motives, but instead uses the musical scales and triads from the first movement as motivic material which render this movement's momentum and wit. The third movement is on the one hand remarkable because, although it is indicated as Menuetto, it is marked Allegro molto e vivace and, consequently, to be played so fast that it is essentially a Scherzo – a description mostly used after Beethoven's first symphony.
In contrast to the tradition, Beethoven uses the entire instrumentation of the orchestra (2nd flute tacet) and, consequently, displays a vast spectrum of sound in this movement which, as well, is composed in sonata form. The development is elaborate and mainly based on the first subject of the movement and explores a long harmonic progression (starting from A major, reaching B ♭ major, passing F major at the end) it also refines the juxtaposition and combination of the orchestral instruments (woodwinds and strings) the recapitulation is almost coherent with the exposition the coda reminisces the motivic work of the development before it closes the movement with strongly repeated chords played by the whole orchestra.ĭue to Beethoven's metronome markings and the addition of the indication of con moto ("with motion"), the Andante (in F major, the subdominant of the symphony's home key) of the second movement is played considerably faster than the general concept of that tempo.
Here, as a new element, Beethoven uses the more lyrical second subject to display and intertwine the woodwind with the string instruments.
In correlation to the tradition, however, the first movement is composed exemplarily in sonata form. The symphony is scored for the following instrumentation:
This concert effectively served to announce Beethoven's talents to Vienna. Most sources agree that the concert program also included Beethoven's Septet as well as a symphony by Mozart, but there is some disagreement as to whether the remainder of the program included excerpts from Haydn's oratorio The Creation or from The Seasons and whether Beethoven's own Piano Concerto No. The premiere took place on 2 April 1800 at the K.K. Sketches for the finale are found among the exercises Beethoven wrote while studying counterpoint under Johann Georg Albrechtsberger in the spring of 1797. The symphony is clearly indebted to Beethoven's predecessors, particularly his teacher Joseph Haydn as well as Wolfgang Amadeus Mozart, but nonetheless has characteristics that mark it uniquely as Beethoven's work, notably the frequent use of sforzandi, as well as sudden shifts in tonal centers that were uncommon for traditional symphonic form (particularly in the 3rd movement), and the prominent, more independent use of wind instruments.
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