One element which characterizes Beethoven's compositions is the way in which he compresses his musical elements. First, he introduces these elements spaced relatively far from one another (as with the two initial pronouncements in the motive which open the Symphony), and then plays them in a condensed form (as in the sequences which follow). This gives a feeling of acceleration and heightens the dramatic effect. Here too, the climbing sequences are compressed again.
All this leads to a clear establishment of C minor, before we leave it.
Astonishing, isn't it? An entire theme is built upon two clear melodious phrases, meticulously constructed by the continuous accumulation of a tiny motivic rhythmic germ, repeated in a rich variety of forms. In the first 44 bars of the Symphony, this motive appears not less than 33(!) times. But, we can still feel the flowing of the melodies, and have no difficulty in repeating them. It is logical, and forces us to listen to whatever Beethoven is preparing for us.
Let's take a look at the two phrases of the first theme.
By examining the arrows, it is possible to notice the interesting balance of directions between the two phrases.
Most classical themes are symmetrical and usually 8 bars long (or a multiple of 8), with symmetrical divisions between them. Let's examine the length and divisions of this theme: the first phrase of this theme is 21 bars long, while the second phrase is 23 bars long:
(a) 2-3-97 = 21
(b) 3-9-4-7 = 23
Did you note the asymmetry while listening to the music?
Try to listen again to the entire first theme, and enjoy the feeling of listening with a new understanding.
