# Understanding Beethoven's Ninth, Third Movement Adagio



## Mahlerian (Nov 27, 2012)

Understanding Beethoven's Ninth

_*III. Adagio molto e cantabile*_*

Form*

0:00~3:02 Introduction and first theme (B-flat major)
3:02~4:25 Second theme (D major)

4:25~6:37 First theme variation (B-flat major)
6:37~7:56 Second theme variation (G major)

7:56~9:34 First theme development (E-flat major/minor->C-flat major)

9:34~12:05 Themes combined and transformed (B-flat major)
12:05~14:12 Fanfares (B-flat major with modulatory accents->E-flat minor)

14:12~17:17 Coda (B-flat major)

Note that this older recording does not follow Beethoven's metronome marking, which is considerably faster.

*Themes*

The long-breathed primary theme, the pauses in which are punctuated by the winds.









The shorter dance-like second theme.









*Analysis*

A series of appoggiaturas in the bassoons and clarinets, backed by strings, gradually form a dominant chord, briefly disturbed by a chromatic motion in the cellos. With a lilting rhythm that will define many of the movement's cadences, the chord gently gives way to the tonic, and the appearance of the lyrical main theme in the violins unfurls slowly, each phrase answered by the winds. The pulse quickens to eighth notes as the melody approaches its climax, which is echoed in full by the winds, now accompanied by strings, including the heretofore silent basses. A hush falls over the orchestra, as the key slips into D major. A faster, more dance-like theme now appears in the second violins and violas, accompanied by an A held in the cellos like a folk drone. Bassoons add accents, and the winds enter one at a time to double parts of the theme. A repetition of the theme brings a simple but effective violin accompaniment, but this leads to a pause on the dominant of B-flat.

The first theme returns, once again in B-flat, but embroidered with sixteenth note runs and appoggiaturas against a staccato pizzicato background with harmonic and melodic support from the clarinets. The theme closes with the lilting rhythm of the opening, not sped up to match the rest of the variation. The climax leads, as before, to a D major chord, but this is now reinterpreted as the dominant of G major, in which the winds present the second theme to a lightly stepping string accompaniment. The key becomes unsettled once more.

The opening of the theme is heard in the clarinets, in the key of E-flat major, but this immediately gives way to developmental variation as the horn takes up the same motif against a rippling pizzicato B-flat in the strings. The mode shifts into the minor, and then, as the horn takes up the melody, into C-flat major. A series of pizzicato triplets signals a pause in the orchestra, and the horn plays a full scale in C-flat, pausing on F-flat as another cascade of pizzicato shifts the tonality back towards B-flat.

The main theme returns, now in 12/8, backed by countermelodies in the upper winds and a pizzicato accompaniment that rests on the dominant as in the second theme, the triple-meter dance rhythm of which has been subsumed into the main theme. As it reaches its close, the melody grows ever more rhythmically free and rhapsodic in character, while the accompaniment remains as measured as before. The full orchestra rises to a crescendo over the closing bars of the theme, leading to a tutti fanfare on the dominant of B-flat. Unadorned violins play the opening theme, now in C minor, echoed by the winds and horns. The orchestra once again moves towards a cadence on B-flat, but the fanfares reappear, now leading suddenly into the key of E-flat minor. The second violins play the fanfare rhythm amidst the churning of the surrounding strings and winds, a tattoo like the ones that dominated the first two movements. But even as a darkened hush falls over the orchestra, the tonality shifts once more back to B-flat.

The flutes and strings play the main theme, which refuses to come to a rhythmic close, continually urged on by outbursts from the violins. After a series of averted cadences, an ostinato pattern in the low strings and timpani plays against triplets in the violas and second violins. The melody emerges, and the final bars merge the opening theme with the closing rhythm as the movement comes to a contented close.

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## shangoyal (Sep 22, 2013)

This is excellent, much appreciated. My favourite movement and I have never found any analysis even nearly as detailed and clear.


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## Mahlerian (Nov 27, 2012)

Thanks for the comment. I'm glad you enjoyed it. Hopefully I'll have the analysis of the finale up soon!


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## Lord Lance (Nov 4, 2013)

Mahlerian, thank you so much! The third movement was always the odd movement for me. You have bridged a gap. I may not understand Music Theory but I know the symphony well enough to understand you. [Too many listens!]

Keep working on these posts.


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