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LAB-51 : First Nigh ts

Beethoven’s Ninth Symphony, Second Movement


Listening Guide for John Eliot Gardiner Recording

Overall: A-B -A (ternary / “sch erzo an d trio”) form , with A section in sonata form

A Section (Scherzo)
Exposition
0:00 Introduction (with metric “fake out”) {mm . 1-8}

0:05 (1:17) A. Theme 1 (d minor) presented as a five-voice fugal exposition (“polyphonic”); entrances every 4 beats {mm. 9-56}

0:29 (1:41) Restatement of Theme 1 (“hom ophonic,” fortissimo) {mm. 57-76}

0:39 (1:51) tr. Transition (modulating) to Theme 2 {mm . 77-92}

0:47 (1:59 ) B. Theme 2 (C major pedal poin t, fortissimo) {mm. 93-116}

1:00 (2:12) Variant of Theme 2 (piano) {mm. 117-126}

1:05 (2:17 ) k.t. Cadential matter, with statement of opening motive {mm. 127-138}

1:13 (2:25) End of Exposition (pianissimo) {mm. 139-150} (Repeat of Exposition starts at 1:17, see above)

Development
2:29 (4:37) Picks up on end of Exposition; sequencing motive (to e minor), crescendo, to a fermata {mm . 151-176}

2:45 (4:47) Imitation with Theme 1 (new metric grouping of 3); starts in woodwinds w/ strings pizzicato accomp. {mm.177-194}

2:54 (4:57) Timpani interru ption (to F m ajor); 4 times on 1st in groups of 3 , but 5 th time is late (an other “fake out”!) {mm. 195-209}

3:02 (5:05) Theme is passed back and forth (in groups of 3), starting with strings {mm. 210-224}, then crescendo {mm. 225-233}....

3:13 (5:16) .... to a return to groups of 2 (=4, but it’s hard to hear), which is the transition into the Recapitulation {mm. 234-271}

Recapitulation
3:31 (5:35) A. Theme 1 (d m inor, fortissimo) {mm. 272-295} (N.B. crescendo on opening mo tive in the few seconds before 3:31/5:35)

3:44 (5:47) tr. Transition to Theme 2 (unstable harmony but not modulating) {mm. 296-329}

4:01 (6:04) B. Theme 2 (pedal point in D major then d minor) {mm. 330-363}

4:19 (6:22) k.t. Cadential matter {mm. 364-387}

4:30 End of Recapitulation (first time, repeat development; second time, continue to Coda) {mm . 388a.-399a}

6:33 Coda, cadential {mm. 388b-413}

B Section (“Trio”)
6:50 Main them e (legato w ood wind s with staccato b assoo n underneath) is stated tw ice {m m.41 6-423 a, repeat}

7:02 (7:51) Secondary theme (legato strings) {mm . 422b-437}

7:13 (8:04) Main theme elaborated (horns and strings, then oboe and bassoons) {mm.438-474}

7:40 (8:29) Main theme (flute and violins; staccato accompaniment in bassoons and lower strings) {mm . 475-491a}
(Return to Secondary theme {mm.422b} at 7:51 to repeat,)

(8:41) Main them e; ped al po int on D ; parts juggle d (m elod y in violas, cellos, clarinets, and accompaniment in flutes, oboes,
basso ons); then slowing to cadence and finally moving into the A section via “Introduction” material {mm . 491b-530}

A Section (as would be indicated by “Da Capo”)


Exposition: 9:13-10:29 (no rep eat in this record ing!)
Development: 10:30-11:34
Recapitulation: 11:35-12:43 (no repeat in this reco rding!)
Coda: 12:44-en d (N .B. return of B section m aterial 12:51-13:00 – another “fake out”!)