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164 Heinrich Schenker [The First Movement] 165
but rather the combination of four pitches in mm. 1-5;
HEINRICH SCHENKER 3”
-__=====m-_====
<1.I-‘-‘-==-=:===
Nw ’ h’m
1 Because m. 1 of the score must be understood as a weak meas-
nt l
[AnalyszsoftheFtho1/eme ] ‘ ure-the repetition of the expos1t1on (see pp. 180-81) shows that 1t 15
the eighth, and thus a weak measure, of the group beginning at m.
Heinrich schenker (1868-1935) was a remarkable Austrian theorist, whose 1 18-the motive is four measures long, mm. 2-5, with m. 1 as an upbeat.
methods of analysis and mUSical thinking have had a tremendm‘s when,“ Here is an overall view of the primary transformations of the main motive:
on the writings of many subsequent theorists. F1rst a composer and p1a- . E 3
nist, he later turned to the theoretical work for Wthh he 15 Justlyi famous. x- W
His writings include articles both on composinonal techniques an on spe- m in mm. H t… “pm, m
cific works and he also edited many compositions, includmg the Bee- “mum” l1===.=r_===-=_===
u-.-f
thoven piano sonatas. Schenker’s preoccupauon was wnh the total shape mm. 478-482 V
of a piece as an extension of the tonic triad of the key 1n whtch the prece
was set. . ‘ 1m ‘ .228-232
Included here is Schenker’s analysis of the first movement of the fifth “‘ 398402 fg;======__==_
Symphony. Although this analysis represents a relattvely early stage of h1s , 33:33 L.‘-=’-_-__=-=~-=: e a-
progress towards a highly linear conception of music (a conception that p q
develops visibly in the course of the analysis of the complete symphony,
which was first published in installments between 1921 and 19:4) ,d1.tfioffers
a o o t ‘ in mm. . -t,‘
many valuable 1n51ghts mm the structure of the work, at a rat er 1 eren .18 _ 8 ggz==‘=5=5=-1==
level from those represented by the Tovey and Hoffman essays. . “‘m 0′ 4
The sonata form of the first movement is self-evident, as follows:
n’.
Firstsubject: “wmmwm
Antecedent mm… 1-21 ‘ g
Consequent and modulation mm. 22-59 A
NB:
second subject mm. 60-125 , ,c, in mm .26-,” .rau==-==g===m
IN;I‘l-“TZ“-
Development mm. 126-248 7 ‘ ‘ 19V? m.
Recapitulation mm- 249’373 ‘9
0″” ‘”m’374’5m – W
Id) In mm.23~24
EXPOSITION
The main motive of the first movement is not. as has been CFYO’ The first version-Ia, with repeated notes in its upbeat measure and its
UCOllSly assumed until now, merely the [Wo PitChCS Of mm. 1 and 2 of the second measure [1″6. in the first and third measures of the work] and
score; I with fematas in its first and fourth measures-is the most powerful ver-
E l sion, and serves as the introductory motto for the first subject group; as
X. . . o o o
the most powerful vers1on, 1t returns at the begmmng of the recap1tula-
m tion and also toward the end of the coda, in order to establish musical
rhyme, as it were, with the beginning of the movement.
1 From Der Tonwille. I (1921). 27-37- Reprinted with chmissi‘)“ ‘1’; Em???“ . The second version, Ib, retains the definitive skips of a third found
a 01′
2:12:23. ‘5: Yrs: assess;assesses: 1‘ m the am but the 1mm
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