Assignment Five REVISED

Ms Suncica Lazic, Student ID: Suncica516098 Assignment Five

Analysis of Ludwig van Beethoven’s Symphony No. 6 in F major, Op. 68. (also known as Pastoral Symphony). 1808. Analytical Essay with charts, 2000 words

Over the stylistic techniques course, we have covered many different composers, pieces, styles and techniques.

Your final assignment is to write an essay of 2000 words on Beethoven’s Pastoral symphony, with a focus on the first movement.

Use the investigative techniques employed in this course book and others you have discovered to explore the music itself and its context.

You may include some biographical information but be careful to balance this more ‘factual’ research with the more investigative and discursive content which is the real purpose of this assignment.

Discuss the form and include a harmonic-thematic structural analysis of the first movement similar to the one for Haydn’s Emperor and Mozart’s Sonata No. 15 in this chapter. Include a discussion about what your analysis reveals about the music and its composer, if anything. Include musical examples as appropriate to illustrate your points.

Discuss the cultural and historical context of the piece and the effect these factors may have had in influencing the composition and the composer.

Include a paragraph discussing your analytical methodology and a brief personal reflection upon what you have learned in this assignment about the Pastoral, and your own skills and abilities.

Assignment Five

Historical background, sociopolitical and personal context:

The German composer Ludwig van Beethoven (1770 –1827) is generally considered one of the most important and innovative composers of Western Art music. He began composing in the classical period and helped usher in and define the romantic era. Typically, his work is divided into three periods, early, middle (‘heroic’) and late. His early classical style was reminiscent of Mozart and Haydn. He even studied under Haydn for a while. The middle period saw him innovate and develop the classical style towards romanticism and his later period led him to further innovations and experimentations with form and expression.

It is during his mid period that Symphony No. 6 in F major, Op. 68. (also known as Pastoral Symphony) was published. The premier itself has become one of his legendary shambolic concerts, held at the freezing ‘Theater an der Wien’ in Vienna on 22 December 1808 and premiered alongside his Fifth Symphony and several other works, adding up to over 4 hours of under-rehearsed performances. (Steinberg, 1995)

As the nickname ‘Pastoral’ suggests the Sixth Symphony is Beethoven’s ode to nature. Throughout his life he had shown a preference for composing in nature and had even devised special sketchbooks to facilitate this method of working. (Suchet, 2020)

‘… A countryman of ours, the late Mr. Chas. Neate, one of the founders of the Philharmonic Society, who lived in intimate friendship with Beethoven in Vienna for eight months in 1815, has given us a remarkable testimony to this fact: he had ‘never met anyone who so delighted in Nature, or so thoroughly enjoyed flowers or clouds or other natural objects. Nature was almost meat and drink to him; he seemed positively to exist upon it.’ Other friends have recorded the same thing.’ (Grove, 2016)

The period leading up to the composition of the Pastoral Symphony had been a particularly dark time in his life due to the gradual onset of deafness and in an un-mailed letter, now named ‘the Heiligenstadt Testament’, from 1802 he admitted to even contemplating suicide:

“For my brothers, Carl and …, to read and to execute after my demise. “Heiligenstadt, October 10th, 1802.” ‘…But what a humiliation, when any one standing beside me could hear at a distance a flute that I could not hear, or any one heard the shepherd singing and I could not distinguish a sound! Such circumstances brought me to the brink of despair and had well nigh made me put an end to my life: nothing but my art held my hand. “ (Schindler, 1841)

In addition to the onset of deafness Beethoven also wrestled with current political and social issues. The French were on the verge of invading and within two years Vienna was occupied, making music performances and publishing more difficult. Beethoven who had initially admired both Napoleon and the revolutionary sentiments in France, was bitterly disappointed by Napoleons megalomania.

‘Beethoven’s sympathies for political and social alternatives to the remnants of feudalism and unenlightened absolutism that he loathed in his own Austria. He glimpsed such alternatives in the republican strivings of the French Revolution…’ (Glenn, 2000)

Suffice to say, the political and cultural climate along with his health struggles precipitated Beethoven’s escape to the countryside and immersion in music where he found solace.

Fig1. *Front Page of the score of ‘Le Portrait musical de la Nature ou Grande Symphonie’ by Justin Heinrich Knecht*. (1784)

It is in this context that the Pastoral came to be. The sixth symphony is generally considered Beethoven’s main ‘pictorial’ work. The titles of each of the five movements, themselves borrowed from a 1784 five-movement composition ‘Le Portrait musical de la Nature ou Grande Symphonie’ by Justin Heinrich Knecht, suggest a typical programmatic pastoral work as had been in fashion since Baroque times (Grove, 2016).

Beethoven’s Pastoral was however less concerned with mimicking or ‘Mickey Mousing’, than describing his emotional response to nature.

According to Beethoven: ‘the Sixth Symphony is “more the expression of feeling than painting‘ (Grove, 2016)

Fig. 2. Extract from Beethoven and his nine Symphonies Vol 2. by George Grove. The translated 1st page of Beethoven’s Pastoral Score. (2016)

It is only a few motifs and melodies, for example the birdcalls in Movement 3, which are imitations of nature.

Fig. 3. Movement III ‘Birdcalls’. *Sheet music **Symphony No. 6 in F major, Op. 68**.* *(1808).* (2020)

‘In the second movement we hear the babbling brook. Famously, towards the end of this movement Beethoven imitates bird calls in the orchestra – nightingale on flute, quail on oboe, cuckoo on clarinet. The merry dancing of country folk Beethoven will have witnessed for himself in one of the villages of the Vienna Woods. In the middle section of this movement the bassoon interrupts with downward notes, inspired by a drunken musician Beethoven saw playing in a musical group in a tavern. Gathering clouds herald the storm, which causes the dancers to flee inside for shelter. Then, with one of his loveliest melodies, Beethoven has the shepherds give thanks for coming through the storm unscathed.’ (Suchet, 2020)

Analysis of 1st movement (sonata form)

Structural/ harmonic analysis:

Fig. 4. *Structural/harmonic overview chart.* (2020)

KEY to theme and motif labels	Exposition 1st subject area	Transition	Exposition 2nd subject area	Recapitulation
Themes labeled	Principal theme P1	Transition theme T1 (a triplet theme)	Subsidiary theme S1	All themes are Prefixed with an R (i.e. RP1, RT1, RS1)
Motifs labeled with an additional small italic letter in alphabetical order: a, b, c, d (i.e. P1a, P1b, P1c)	Themes derived from P1 labeled with small letter ‘p‘ (i.e. p2, p3, p4)	Themes derived from T1 labeled with small letter ‘t‘ (i.e. t2, t3, t4)	Themes derived from S1 labeled with small letter ‘s‘ (i.e. s2, s3, s4)	All themes are Prefixed with an R (i.e. Rp2, Rt2, Rs2)

EXPOSITION:

Fig. 5. *1st page of score*. *Annotated Sheet music **Symphony No. 6 in F major, Op. 68**.* *(1808).* (2020)

The movement is structurally divided into an Exposition section with a first subject area in the tonic key of F Major. A variation of the second motif, P1b repeats 10 times starting at bar 16, over a static V pedal functionally similar to a bagpipe drone. The dynamics however are not static but constantly changing: crescendo- diminuendo- crescendo.

Fig. 6. *Fragmentation and drone examples*. *2nd page of score*. *Annotated Sheet music **Symphony No. 6 in F major, Op. 68**.* *(1808). © 2011 Ernst Eulenburg & Co.* (2020)

A modulatory Transition episode follows at bar 53 where a new triplet theme T1 is first introduced in clarinets and bassoons. The rising theme p÷ begins in Violin I at bar 64 and leads into the Subsidiary theme S1 starting at the top of the 2nd subject area in the dominant key of C Major commencing at bar 67.

Fig. 7. *Modulating transition section*. 4th page of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. © 2011 Ernst Eulenburg & Co.* (2020)

Fig. 8. *Second subject area of Exposition*. 5th page of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808) *. © 2011 Ernst Eulenburg & Co.* (2020)

THE DEVELOPMENT SECTION

The Exposition is repeated once more before the Development section at bar 139 which starts in the tonic key of F Major before migrating through several keys.

Fig. 9. *Development section*. 8th page of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. © 2011 Ernst Eulenburg & Co.* (2020)

There are far away key changes Bb Major (bars 151-162) to D Major (bars 163-190) going up a third, later mirrored when key changes G Major (bars 191-208) to E Major (bars 209-236) going down a third.

Fig. 10. *Development section continues. Bb Major to D Major* . 9th page of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. © 2011 Ernst Eulenburg & Co.* (2020)

Fig. 11. *Development section continues. G Major to E Major*. 11th page of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. © 2011 Ernst Eulenburg & Co.* (2020)

Fig. 12. *Development section continues. G Major to E Major continues*. 12th page of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. © 2011 Ernst Eulenburg & Co.* (2020)

Fig. 13. *Development section continues. A Major*. 13th page of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808). © 2011 Ernst Eulenburg & Co. (2020)

Whilst staying largely in the major domain, there is a short foray into the key of G minor (bars 257-260) forming the only minor section in the entire piece:

Fig. 14. *Development section continues. Transition. G Minor*. 14th page of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. © 2011 Ernst Eulenburg & Co.* (2020)

Fig. 15. *Development section continues. IV-I, Bb Major to F Major*. 15th page of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. © 2011 Ernst Eulenburg & Co.* (2020)

THE RECAPITULATION

*All themes restated during Recapitulation are prefixed with an R .

The Recapitulation is safely back in the tonic key of F Major as expected, the only unusual thing to note is the lack of the usual cadential V-I preparation. The recapitulation is instead ushered in by the subdominant key of Bb Major (bars 275-278) IV-I leading into a premature F Major section (bars 279-289) with the start of the Recapitulation somewhat vague and obscured at bar 289 (Michele Kishlansky, 2014), but not truly felt until the principal theme RP1 re-enters loudly (ff) in several instruments at bar 312.

Fig. 16. Recapitulation section ‘soft start”. Subject area 1 theme **RP1**. 16th page of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. © 2011 Ernst Eulenburg & Co.* (2020)

Fig. 17. Recapitulation section ‘audible start’. Subject area 1 theme **RP1** and triplet theme **Rt2**. 17th page of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. © 2011 Ernst Eulenburg & Co.* (2020)

There is a ‘mock’ transition episode at bar 328 with the reoccurrence of the triplet theme RT1 (it doesn’t really modulate like in the exposition) which leads to the restatement of the subsidiary theme RS1 at bar 346, this time in the Tonic.

Fig. 18. *Recapitulation section continues. Re-transition*. 18th page of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. © 2011 Ernst Eulenburg & Co.* (2020)

Fig. 19. *Recapitulation section continues. Second subject area restated in tonic*. 19th page of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. © 2011 Ernst Eulenburg & Co.* (2020)

After this the recapitulation proceeds as normal presenting the themes in the tonic but differing from the exposition in orchestration groupings and through inverting the dynamics: diminuendo-crescendo-diminuendo.

CODA

The movement ends with a majestic Coda which begins at bar 418 in Bb Major then working it’s way back to tonic area and peaking, before fading away and ending with a clear V- I cadence.

Fig. 21. *CODA continues*. Final chord and V-I cadence. 26th page of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. © 2011 Ernst Eulenburg & Co.* (2020)

Motivic/thematic analysis:

It is however motivic/thematic development rather than harmonic development which drives this movement forward.

KEY to theme and motif labels	Exposition 1st subject area	Transition	Exposition 2nd subject area	Recapitulation
Themes labeled	Principal theme P1	Transition theme T1 (a triplet theme)	Subsidiary theme S1	All themes are Prefixed with an R (i.e. RP1, RT1, RS1)
Motifs labeled with an additional small italic letter in alphabetical order: a, b, c, d (i.e. P1a, P1b, P1c)	Themes derived from P1 labeled with small letter ‘p‘ (i.e. p2, p3, p4)	Themes derived from T1 labeled with small letter ‘t‘ (i.e. t2, t3, t4)	Themes derived from S1 labeled with small letter ‘s‘ (i.e. s2, s3, s4)	All themes are Prefixed with an R (i.e. Rp2, Rt2, Rs2)

Fig. 22. *Exposition motivic/thematic chart*. (2020)

Fig. 23. *Recapitulation motivic/thematic chart*. (2020)

The transformation devises used to develop the motifs of the 1st theme are transposition, inversion, retrograde and augmentation. Other types of development techniques are sequencing see fig, rhythmical changes, layering and many others.

Fig. 24. Transformation devices for motivic development. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808) *. © 2011 Ernst Eulenburg & Co.*(2020)

In places rhythms are superimposed over each other creating interesting atmospheres. For example: setting a triplet theme t2 against motif P1b, which creates a sort of murmuring or fluttering sensation:

Fig. 25. Layering of rhythms creating ‘combo themes’.Annotated Sheet music **Symphony No. 6 in F major, Op. 68.** (1808) *. © 2011 Ernst Eulenburg & Co.* (2020)

The one transformation technique Beethoven makes the most use of is fragmentation. These fragments are reassembled, layered and repeated in new configurations. In this sense there are similarities to Haydn’s integrated compositional method as discussed in this unit, but Beethoven takes this approach even further. In spite of seemingly endless repetitions he creates a sense of growth and expansion reminiscent of the organic growth and pattern repetition inherent in nature.

Fig. 26. *More layering of themes creating ‘combo themes’. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808). © 2011 Ernst Eulenburg & Co.* (2020)

A CLOSER LOOK AT INDIVIDUAL THEMES AND MOTIFS

The 1st Subject area Principal theme P1, presented in the first four bars, is broken up into three separate short motifs, P1a, P1b, P1c plus a lone semibreve in bar 4:

Fig. 27. *Exposition Subject Area 1. Principal Theme P1*. (2020)

Fig. 28. *Violin II joins Violin I Theme P1 a third below at end of bar 3 and bar 4.* (2020)

These motifs are then used as building blocks from which new themes are formed. The answering theme p2 at bars 5-8 is itself derived from the first theme and is comprised of motifs in both Violin I and II:

So is the underlying theme p3 in the viola part at bar 5-8:

Fig. 30. *Theme p3 ‘viola theme’ bars 5-8.* (2020)

The theme p4 at bars 9-12 is also variation and amalgamation of the themes listed above:

A new flute motif enters at bar 42, sounding like a bird call, adding interest and flavour.

Fig. 32. *New **flute motif**, bar 42.* (2020)

A triplet theme first appears in the clarinets and bassoons during the Exposition Transition episode at bar 53, theme T1.

Fig. 33. *Exposition Transition Episode, Transition Theme, ‘triplet’ theme T1, bar 53.* (2020)

A rising theme p6 created out of variations of motif P1a can be heard in Violin I from bar 54 and eventually leads into the Subsidiary theme S1 at bar 67.

Fig. 34. *Theme p6, ‘rising theme’, bar 54.* (2020)

The Subsidiary theme S1 first appears in Violin I at bars 67–70 of the 2nd Subject Area of the Exposition.

Fig. 35. *Exposition* *2nd Subject Area.* *Subsidiary Theme S1, enters at bar 67.* (2020)

Simultaneously at bar 67–74 a theme p5 can be heard in the cello.

Fig. 36. *Theme p5 in cello, at *bar 67*–74.* (2020)

Another triplet theme t2 enters at bar 83 in Violin I. II and Violas.

Fig. 37. *Theme t2. Variation on triplet theme .* (2020)

RP1 is heard in Violin II at the beginning of the Recapitulation at bar 287, but is somewhat obscured through the layering of both a triplet theme Rt2 in Violin I and the ‘viola theme’ Rp3 in viola and cello.

Fig. 38. *Themes at beginning of the Recapitulation*. (2020)

RT1 the ‘triplet theme’ from the transition (T1) re-enters in the Re-transition at bar 328 in several instruments; clarinets, bassoons, horns and viola. Here is the viola part as an example:

Fig. 39. Re-entry of triplet theme **RT1** *at the Re-Transition of the Recapitulation*. (2020)

The subsidiary theme RS1 comes in at bar 346 of the Recapitulation, again in Violin I, This time however it is at a different pitch.

Fig. 40. Re-entry of Subsidiary theme **RS1** *at bar 346 of the Recapitulation*. (2020)

The theme Rp5 also re-enters at the same point of the 2nd subject area of the Recapitulation at bar 346.

Fig. 41. Re-entry of theme **Rp5** *at bar 346 of the Recapitulation*. (2020)

Textural analysis:

The texture is constantly changing: melody with accompaniment / two-part / three-part harmony / polyphony/ homorhythmical chords and tutti sections / solo voices. The accompaniment varies too: drones, pedal tones, and scalic figures:

Fig. 42. *Texture example 1. Pedal Notes, Drones, Polyphony, chords. *Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. *© 2011 Ernst Eulenburg & Co.*(2020)

Fig. 43. *Texture example 2 Melody, Scalic figures. *Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. *© 2011 Ernst Eulenburg & Co.* (2020)

Fig. 44. *Texture example 3. Chords, homorhythmic tutti section. *Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. *© 2011 Ernst Eulenburg & Co.* (2020)

Dynamic/orchestration analysis:

Aside from tonal/harmonic structuring Beethoven uses orchestration and dynamics to superimpose and juxtapose alternative structures. In the example below, the 24 bar block (I51- 174) dynamically forms two ‘12 bar blocks’, whilst orchestrally forming three ‘8 bar blocks’. Several 24 bar blocks then in turn combine and overlap to form ever larger sections. (Bernstein, 2018)

Fig. 45. *Overlapping 8 and 12 bar block sub structures* part I. page 9 of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. © 2011 Ernst Eulenburg & Co.* (2020)

Fig. 46. *Overlapping 8 and 12 bar block sub structures* part II. page 10 of score. *Annotated Sheet music* **Symphony No. 6 in F major, Op. 68.** (1808)*. © 2011 Ernst Eulenburg & Co.* (2020)

Beethoven further varies the sonic landscape by inverting the dynamic arch. In this way there is a constant ebb and flow both in terms of dynamics, tessitura and density of instruments.

Reflective account and analytical conclusions:

My analytical skills have progressed immensely during this module, prior to which I was barely able to perceive the structure nor capable of clearly defining themes. I have gained a lot of new confidence in my own analytical abilities by adopting the methodology explained in the coursework. I closely followed the analytical method outlined in the exercises as I undertook a harmonic/thematic/textural structural investigation. At first, I simply listened for key changes and repeated themes/motifs before referring to the score. After annotating the motifs and sections on the score I entered my findings in the tables above. Since I am finding the definition/classification of themes somewhat subjective, I read and watched several lectures for alternative points of view and hints to elements I might have missed, which further broadened my perspective. This extensive analysis revealed the possibility of endless variations through fragmentation, repetition and orchestration techniques. Beethoven demonstrates his immense capacity for innovation irrespective of working within a standardised Classical form and in spite of using a relatively static underlying harmonic structure. His method of combining theme fragments and the layering/ inversion of ‘dynamic arches’ reminds me of modern-day mixing techniques. In order to increase excitement over the duration of a mix, a sound engineer creates interest out of small building blocks (or loops) and variation through continuous volume level adjustments (fades). It very much resembles Beethoven’s compositional devices in the Pastoral. He really was ahead of his time.

LIST OF ILLUSTRATIONS

Figure 1. Heinrich, J. (1784) Front Page of the score of ‘Le Portrait musical de la Nature ou Grande Symphonie’ by Justin Heinrich Knecht. (1784) [Illustration] In: possession of: The author: London.

Figure 2. Grove, G. (2016) Extract from Beethoven and his nine Symphonies Vol 2. by George Grove. The translated 1st page of Beethoven’s Pastoral Score.[JPEG KINDLE download] From: Amazon.co.uk

Figure 4. Lazic, S. (2020) Structural/harmonic overview chart. [Illustration] In: possession of: The author: London.

Figure 5. Lazic, S. (2020) 1st page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). [Illustration] In: possession of: The author: London.

Figure 6. Lazic, S. (2020) Fragmentation and drone examples. 2nd page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 7. Lazic, S. (2020) Modulating transition section. 4th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 8. Lazic, S. (2020) Second subject area of Exposition. 5th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 9. Lazic, S. (2020) Development section. 8th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co [Illustration] In: possession of: The author: London.

Figure 10. Lazic, S. (2020) Development section continues. Bb Major to D Major. 9th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 11. Lazic, S. (2020) Development section continues. G Major to E Major. 11th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 12. Lazic, S. (2020) Development section continues. G Major to E Major continues. 12th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co [Illustration] In: possession of: The author: London.

Figure 13. Lazic, S. (2020) Development section continues. A Major. 13th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 14. Lazic, S. (2020) Development section continues. Transition. G Minor. 14th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 15. Lazic, S. (2020) Development section continues. IV-I, Bb Major to F Major. 15th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 16. Lazic, S. (2020) Recapitulation section ‘soft start”. Subject area 1 theme RP1. 16th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 17. Lazic, S. (2020) Recapitulation section ‘audible start’. Subject area 1 theme RP1 and triplet theme Rt2. 17th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 18. Lazic, S. (2020) Recapitulation section continues. Re-transition. 18th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 19. Lazic, S. (2020) Recapitulation section continues. Second subject area restated in tonic. 19th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 20. Lazic, S. (2020) CODA starts. 22th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 21. Lazic, S. (2020) CODA continues. Final chord and V-I cadence. 26th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 22. Lazic, S. (2020) Exposition motivic/thematic chart. [Illustration] In: possession of: The author: London.

Figure 23. Lazic, S. (2020) Recapitulation motivic/thematic chart. [Illustration] In: possession of: The author: London.

Figure 24 Lazic, S. (2020) Transformation devices for motivic development. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 25. Lazic, S. (2020) Layering of rhythms creating ‘combo’ themes. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 26. Lazic, S. (2020) More layering of themes creating ‘combo’ themes. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 27. Lazic, S. (2020) Exposition Subject Area 1. Principal Theme P1. [Illustration] In: possession of: The author: London.

Figure 28. Lazic, S. (2020) Violin II joins Violin I Theme P1 a third below at end of bar 3 and bar 4. [Illustration] In: possession of: The author: London.

Figure 29. Lazic, S. (2020) Theme p2 , bar 5-8. [Illustration] In: possession of: The author: London.

Figure 30. Lazic, S. (2020) Theme p3, ‘viola theme’, bar 5-8. [Illustration] In: possession of: The author: London.

Figure 31. Lazic, S. (2020) Theme p4, bar 9-12. [Illustration] In: possession of: The author: London.

Figure 32. Lazic, S. (2020) 32. New flute motif, bar 42. [Illustration] In: possession of: The author: London.

Figure 33. Lazic, S. (2020) Exposition Transition Episode, Transition Theme, ‘triplet’ theme T1, bar 53. [Illustration] In: possession of: The author: London.

Figure 34. Lazic, S. (2020) Theme p6, ‘rising theme’, bar 54.[Illustration] In: possession of: The author: London.

Figure 35. Lazic, S. (2020) Exposition Second Subject Area . Subsidiary Theme S1, enters at bar 67. [Illustration] In: possession of: The author: London.

Figure 36. Lazic, S. (2020) Theme p5 in cello, at bar 67–74. [Illustration] In: possession of: The author: London.

Figure 37. Lazic, S. (2020) Theme t2. Variation on triplet theme. [Illustration] In: possession of: The author: London.

Figure 38. Lazic, S. (2020) Themes at beginning of the Recapitulation. [Illustration] In: possession of: The author: London.

Figure 39. Lazic, S. (2020) Re-entry of triplet theme RT1 at the Re-Transition of the Recapitulation. [Illustration] In: possession of: The author: London.

Figure 40. Lazic, S. (2020) Re-entry of Subsidiary theme RS1 at bar 346 of the Recapitulation. [Illustration] In: possession of: The author: London.

Figure 41. Lazic, S. (2020) Re-entry of theme Rp5 at bar 346 of the Recapitulation. [Illustration] In: possession of: The author: London.

Figure 42. Lazic, S. (2020) Texture example 1. Pedal Notes, Drones, Polyphony, chords. Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 43. Lazic, S. (2020) Texture example 2. Melody, Scalic figures. Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 44. Lazic, S. (2020) Texture example 3. Chords, homorhythmic tutti section. Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 45. Lazic, S. (2020) Overlapping 8 and 12 bar block sub structures part I. page 9 of score. Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 46. Lazic, S. (2020) Overlapping 8 and 12 bar block sub structures part II. page 10 of score. Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

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