Compositor (composer): Ludwig van Beethoven (17701827)
Título (title): Sinfonia n.º 5 em Dó menor, Op. 67 (Symphony No. 5 in C minor, Op. 67)
Modalidade (genre): Sinfonia (Symphony)
Instrumentos (instrumentation): http://pt.wikipedia.org/wiki/Sinfonia...

Movimento (movements):

Mov. II: Allegro (4º movimento)

Descrição (description):

A Sinfonia n.º 5 em Dó menor Op. 67 de Ludwig van Beethoven, escrita entre 1804 e 1808, é uma das composições mais populares e mais conhecidas em todo repertório da Música Erudita Européia, assim como é também uma das sinfonias mais executadas hoje em dia.

Tratase da primeira sinfonia do autor composta em tonalidade menor, o que só voltaria a acontecer em 1824 com a Sinfonia n.º 9, em Ré menor op. 125. A Sinfonia n.º5 em Dó menor ainda hoje é considerada como um "monumento" da criação artística.

Os quatro movimentos constituem a particularidade de uma homogeneidade orquestral, sendo que, ao mesmo tempo, um exemplo de alternância. O primeiro andamento, revelando grande tensão, tensão essa denunciada pelas cordas, eleva um dramatismo extremo. O segundo andamento revela solenidade; uma marcha fúnebre que se eleva pela sua emoção e beleza. O terceiro andamento, uma crispação. O quarto andamento: magnificência.
(http://pt.wikipedia.org/wiki/Sinfonia...)



The Symphony No. 5 in C minor of Ludwig van Beethoven, Op. 67, was written in 18041808. It is one of the most popular and bestknown compositions in classical music, and one of the most frequently played symphonies. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterwards. E. T. A. Hoffmann described the symphony as "one of the most important works of the time".

The triumphant and exhilarating finale begins without interruption after the scherzo. It is written in an unusual variant of sonata form: at the end of the development section, the music halts on a dominant cadence, played fortissimo, and the music continues after a pause with a quiet reprise of the "horn theme" of the scherzo movement. The recapitulation is then introduced by a crescendo coming out of the last bars of the interpolated scherzo section, just as the same music was introduced at the opening of the movement. The interruption of the finale with material from the third "dance" movement was pioneered by Haydn, who had done the same in his Symphony No. 46 in B, from 1772. It is not known whether Beethoven was familiar with this work.
The Fifth Symphony finale includes a very long coda, in which the main themes of the movement are played in temporally compressed form. Towards the end the tempo is increased to presto. The symphony ends with 29 bars of C major chords, played fortissimo. Charles Rosen, in The Classical Style suggests that this ending reflects Beethoven's sense of Classical proportions: the "unbelievably long" pure C major cadence is needed "to ground the extreme tension of [this] immense work."
It was shown recently that this long chord sequence was a pattern that Beethoven borrowed from the French composer Luigi Cherubini, whom Beethoven "esteemed the most" among his contemporary musicians. Cherubini employed this pattern consistently to close his overtures, which Beethoven knew well. The ending of his famous symphony repeats almost note by note and pause by pause the conclusion of Cherubini's overture to his opera Eliza, composed in 1794 and presented in Vienna in 1803.

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