Symphony No. 5, op. 67 Flashcards

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1
Q

What is the genre of <u>Symphony No. 5</u>?

A

symphony

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2
Q

What are the performing forces of <u>Symphony No. 5</u>?

A
symphony orchestra 
(strings, 
piccolo, 
flutes, 
oboes, 
clarinets, 
bassoons, 
contrabassoon, 
trumpets, 
Fr horns, 
trombone, 
timpani)
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3
Q

When was <u>Symphony No. 5</u> composed?

A

1807 - 1808 (middle period)

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4
Q

What is the key of the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

C minor

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5
Q

What is the form of the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

sonata form

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6
Q

What is the tempo of the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

<i>Allegro con brio</i>

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7
Q

What is the time signature for the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

2/4

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8
Q

How does the <b>First Theme</b> of the <b>Exposition</b> in the <u>First Movement</u> from <u>Symphony No. 5</u> being?

A

four-note motive - short - short- short- long rhythm

stated in unison by clarinets and strings

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9
Q

How is the <b>descending third</b> treated in the <b>First Theme</b> of the <b>Exposition</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>

A

sequentially a step lower

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10
Q

What do the <b>fermatas</b> do in <b>First Theme</b> of the <b>Exposition</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

arrest forward drive, tension, restlessness

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11
Q

How is the first theme developed in the <b>First Theme</b> of the <b>Exposition</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>

A

grows out of initial statement,

repeated sequentially in series of descending statements

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12
Q

How does the <b>Bridge</b> of the <b>Exposition</b> in the <u>First Movement</u> from <u>Symphony No. 5</u> being?

A

grows out of first theme material

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13
Q

Which instrument plays the <b>Bridge</b> of the <b>Exposition</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

<i>fortissimo</i> by Fr horns

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14
Q

What is the new key of the <b>Second Theme</b> of the <b>Exposition</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

E flat major (relative major)

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15
Q

which instruments play the <b>Second Theme</b> of the <b>Exposition</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

woodwinds and first violins

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16
Q

How is contrast created in the <b>Second Theme</b> of the <b>Exposition</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

<i>piano</i> and <i>legato</i> phrases,

more lyrical

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17
Q

How does the <b>Second Theme</b> of the <b>Exposition</b> in the <u>First Movement</u> from <u>Symphony No. 5</u> provide <b>persistence</b>?

A

four-note motive in the cellos and basses

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18
Q

What material dominates the <b><i>Codetta</i> Theme</b> of the <b>Exposition</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

first theme material

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19
Q

How does the <b>Development</b> open in the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

boldly by Fr horns

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20
Q

What is the <b>Development</b> principally based on in the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

1st theme

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21
Q

How is tension drawn in the <b>Development</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

manipulation and breaking-down of the four-note figure,

filling-in o the interval of a third

inverting the motive

expanding the passage through forceful repetition

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22
Q

How is dramatic energy generated in the <b>Development</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

abrupt dynamic contrasts

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23
Q

What does the orchestra do near the end of the <b>Development</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

tension builds through repetition of basic theme

played <i>fortissimo</i>

by full orchestra in unison

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24
Q

How does the <b>Recapitulation</b> start in the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

first theme returns, followed by melancholy oboe solo that resembles a <i>cadenza</i>

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25
Q

How does the <b>Bridge</b> return in the <b>Recapitulation</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>

A

altered to stay in tonic key

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26
Q

How does the <b>second theme</b> return in the <b>Recapitulation</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>

A

surprisingly in C major instead of C minor

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27
Q

How does the <b><i>Codetta</i></b> return in the <b>Recapitulation</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

<i>Codetta</i> also in C major, but followed by length <i>Coda</i> that restores C minor

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28
Q

What does the <b><i>Coda</i></b> do in the <b>Recapitulation</b> in the <u>First Movement</u> from <u>Symphony No. 5</u>?

A

continues to fragment and expand on firs theme

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29
Q

What is the key of the <u>Second Movement</u> from <u>Symphony No. 5</u>?

A

Ab major

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30
Q

What is the form of the What is the key of the <u>Second Movement</u> from <u>Symphony No. 5</u>?

A

two themes with variations

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31
Q

What is the tempo of the What is the key of the <u>Second Movement</u> from <u>Symphony No. 5</u>?

A

<i>Andante con moto</i>

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32
Q

What is the time signature of the What is the key of the <u>Second Movement</u> from <u>Symphony No. 5</u>?

A

3/8

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33
Q

What does <b>Theme A</b> grow out of in the <u>Second Movement</u> from <u>Symphony No. 5</u>?

A

ascending broken tonic triad in low strings

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34
Q

What is the rhythm like in <b>Theme A</b> of the What is the key of the <u>Second Movement</u> from <u>Symphony No. 5</u>?

A

elegant dotted rhythms

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35
Q

What is the markings on <b>Theme A</b> of the <u>Second Movement</u> from <u>Symphony No. 5</u>?

A

<i>dolce</i> and <i>legato</i>

36
Q

Which instruments present <b>Theme B</b> of the <u>Second Movement</u> from <u>Symphony No. 5</u>?

A

woodwinds and violins

37
Q

How does <b>Theme B</b> of the <u>Second Movement</u> from <u>Symphony No. 5</u> demonstrate <b>cyclical structure</b>?

A

based on four-note motive

38
Q

What are the markings at the beginning of <b>Theme B</b> of the <u>Second Movement</u> from <u>Symphony No. 5</u>?

A

<i>dolce</i> and <i>legato</i>

39
Q

How does <b>Theme B</b> of the <u>Second Movement</u> from <u>Symphony No. 5</u> change?

A

begins in Ab major, but shifts boldly to C major

40
Q

How is <b>Theme A</b> changed in <b>Variation I</b> of the <u>Second Movement</u> from <u>Symphony No. 5</u>?

A

now played by violas and cellos in sooth, running 16th notes

41
Q

How is <b>Theme B</b> changed in <b>Variation I</b> of the <u>Second Movement</u> from <u>Symphony No. 5</u>

A

unchanged

42
Q

How is <b>Theme A</b> changed in <b>Variation II</b> of the <u>Second Movement</u> from <u>Symphony No. 5</u>

A

now in running 32nd notes played in low strings

43
Q

How is <b>Theme B</b> changed in <b>Variation II</b> of the <u>Second Movement</u> from <u>Symphony No. 5</u>?

A

unchanged

44
Q

How is <b>Theme A</b> changed in <b>Variation III</b> of the <u>Second Movement</u> from <u>Symphony No. 5</u>

A

now presented by woodwinds in contrary motion

45
Q

How is <b>Theme B</b> changed in <b>Variation III</b> of the <u>Second Movement</u> from <u>Symphony No. 5</u>

A

suddenly, without preparation, occurs in C major

46
Q

How is <b>Theme A</b> changed in <b>Variation IV</b> of the <u>Second Movement</u> from <u>Symphony No. 5</u>V

A

now played in Ab minor (tonic minor)

in a clipped, march-like fashion

47
Q

How is the <b><i>Coda</i></b> of the <u>Second Movement</u> from <u>Symphony No. 5</u> marked?

A

<i>più mosso</i>

48
Q

How does the the <b><i>Coda</i></b> of the <u>Second Movement</u> from <u>Symphony No. 5</u> begin?

A

bassoons begin playing Theme A material

49
Q

What is the key for the <u>Third Movement</u> from <u>Symphony No. 5</u>

A

C minor

50
Q

What is the form of the <u>Third Movement</u> from <u>Symphony No. 5</u>?

A

ABA (ternary form) - Scherzo and Trio replaces the traditional Menuet and Trio

51
Q

What is the tempo of the <u>Third Movement</u> from <u>Symphony No. 5</u>?

A

<i>Allegro</i>

52
Q

What is the time signature of the <u>Third Movement</u> from <u>Symphony No. 5</u>?

A

3/4

53
Q

What does <b>Theme 1</b> of the <b>Scherzo</b> in the <u>Third Movement</u> from <u>Symphony No. 5</u> outline?

A

rocket theme by low strings

54
Q

What is the dynamic for <b>Theme 1</b> of the <b>Scherzo</b> in the <u>Third Movement</u> from <u>Symphony No. 5</u>?

A

pp

55
Q

How is boldness shown in <b>Theme 2</b> of the <b>Scherzo</b> in the <u>Third Movement</u> from <u>Symphony No. 5</u>?

A

boldly played in f by the Fr horns

56
Q

How does <b>Theme 2</b> of the <b>Scherzo</b> in the <u>Third Movement</u> from <u>Symphony No. 5</u> demonstrate <b>cyclical structure</b>?

A

recalls the four-note motive from first movement

57
Q

What is the new key of the <b>Trio</b> in the <u>Third Movement</u> from <u>Symphony No. 5</u>?

A

C major (tonic major)

58
Q

Which instruments are featured in the <b>Trio</b> in the <u>Third Movement</u> from <u>Symphony No. 5</u>?

A

strings and woodwinds

59
Q

What is the texture like in the <b>Trio</b> in the <u>Third Movement</u> from <u>Symphony No. 5</u>?

A

imitative

60
Q

What is the rare move that Beethoven did in the <b>Trio</b> in the <u>Third Movement</u> from <u>Symphony No. 5</u>?

A

he gave the theme to the double basses; they usually only play supporting roles

61
Q

What is the character of the <b>Trio</b> in the <u>Third Movement</u> from <u>Symphony No. 5</u> like?

A

playful, energetic,

in contrast to dark scherzo

62
Q

How does <b>Theme 1</b> return in the <b>Scherzo returns</b> in the <u>Third Movement</u> from <u>Symphony No. 5</u>?

A

abbreviated

63
Q

How does <b>Theme 2</b> return in the <b>Scherzo returns</b> in the <u>Third Movement</u> from <u>Symphony No. 5</u>?

A

<i>pianissimo</i>,

now played by <i>pizzicato</i> strings and <i>staccato</i> winds

64
Q

How is suspense achieved at the end of the <b>Scherzo returns</b> in the <u>Third Movement</u> from <u>Symphony No. 5</u>?

A

<b>deceptive cadence</b> leads into <b>transitional passage</b>

65
Q

What is the <b>transitional passage</b> of the <b>Scherzo returns</b> in the <u>Third Movement</u> from <u>Symphony No. 5</u> like?

A

timpani plays the four-note motive softly,

a blazing <i>crescendo</i> leads directly into the final movement (without a break)

66
Q

What is the key of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>?

A

C major (tonic major of the entire work)

67
Q

What is the form of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>?

A

sonata form

68
Q

What is the tempo of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>?

A

<i>Allegro</i>

69
Q

What is the time signature of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>?

A

C

70
Q

What chord does the <b>First Theme</b> in the <b>Exposition</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u> outline?

A

tonic chord

71
Q

What character is the <b>First Theme</b> in the <b>Exposition</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>?

A

<b><i>ff</i></b> trumpets add a majestic touch

72
Q

Which instrument begins in the <b>Bridge</b> in the <b>Exposition</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>?

A

Fr horns

73
Q

What key does the <b>Bridge</b> in the <b>Exposition</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u> lead to?

A

G major

74
Q

What rhythmic figures are introduced in the <b>Second Theme</b> in the <b>Exposition</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>?

A

new triplet figures

75
Q

What feeling does the <b>Second Theme</b> in the <b>Exposition</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u> give?

A

vigorous feeling

76
Q

How is the theme treated in the <b>Second Theme</b> in the <b>Exposition</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>?

A

the theme ascends in <b>stepwise motion</b>,

echoed by descending figures

77
Q

How is contrast created <u>within</u> the <b>Second Theme</b> in the <b>Exposition</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>?

A

dramatic contrasts between <b><i>ff</i></b> and <b><i>pp</i></b>

78
Q

What are the triplet figures in the <b>Second Theme</b> in the <b>Exposition</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u> based on?

A

four-note motive

79
Q

Which instruments initiate the <b><i>Codetta</i></b> in the <b>Exposition</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>

A

woodwinds and violas

80
Q

What direction is the <b><i>Codetta</i></b> in the <b>Exposition</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>?

A

descends in four-note fragments

81
Q

What material is the <b>Development</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u> based on?

A

2nd theme;

inverted, expanded, treated imitatively between instruments

82
Q

What unexpectedly happens towards the end of the <b>Development</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>?

A

<b>Scherzo theme</b> (from third movement) unexpectedly recalled,

now played <b><i>pp</i></b>, gently by woodwinds and <i>pizzicato</i> strings

83
Q

What happens right before the ending of the <b>Development</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>?

A

extended <b>dominant preparation</b> on note G leads to Recapitulation

84
Q

What happens in the <b>Recapitulation</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>

A

all material returns but remains in C major

85
Q

What dies the <b>piccolo</b> do in the <b>Coda</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>

A

piccolo stands out above orchestra, playing rapid ascending scales

86
Q

What happens at <i>Presto> in the <b>Coda</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>?</i>

A

<i>codetta</i> theme is played quickly, leading to bold and dramatic conclusion

87
Q

What happens the final tonic chord in the <b>Coda</b> of the <u>Fourth Movement</u> from <u>Symphony No. 5</u>?

A

final tonic chord reiterated many times