Compositional Approach and the Five-Movement Form: An Analytical Investigation of Three Different Approaches to the Five-Movement Form by Beethoven, Bartók, and Shostakovich

Abstract

The three principal works subject to this project’s analytical and meta-analytical investigation represent three distinct approaches to composing multi-movement works, using the five-movement form as a paradigm. Although each work is a result of varying factors, they all serve as quintessential examples of each composer’s specific and unique approach to the five-movement form. Beethoven’s Symphony No.6 “Pastoral”, Op.68 (1808) explores how various manifestations of musical depiction can be incorporated into a serious piece of instrumental music. Consequently, it became one of the most significant precursors to the type of music that later became defined as ‘program music’. Bartók’s Fourth String Quartet (1928) explores the employment of symmetrical and asymmetrical geometric proportions in harmony, rhythm, phrase structure, and form, based on musical principles derived from numerical sequences appearing in nature. Finally, Shostakovich’s Eighth String Quartet, Op.110 (1960) uses a wealth of musical quotations and references to realise an emotionally charged work imbued with personal and hidden meaning within the five-movement form. In addition to these three works, examples of alternative approaches using the five movement form composed after the Pastoral Symphony to the present day are presented to provide a greater understanding of the potential possibilities for the composition of multi-movement works.