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This movement is in the large ternary form, or scherzo and trio form. Beethoven did not mark this movement as scherzo, possibly to avoid the connotation of a light, airy character usually associated with the term scherzo, but merely marked it allegro. The first part has two statements of the first and second themes, with a development section utilizing theses themes leading directly to the trio. The trio utilizes the same theme in both sections; the first section is repeated as is, and in the second section, Beethoven deviates from the usual design by repeating the second section with an added coda instead of returning to the first section of the trio. He then returns to the scherzo section with variation in instrumental color and adds a transitional passage which leads directly into the finale movement.
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Boyd, Earl, "Analysis of Scherzo - Beethoven's Symphony No. 5" (1951). Papers. 4.