Slow intros in Beethoven symphonies....

[euphony131]

Symphonies 1,2, 4 & 7 all start with slow intros. In the 7th it seems to reach its apogee, its so long and seems to have its own sonata form. Could someone please clarify if it is indeed sonata form (or a sort of one)? Also, each slow intro is longer than the one before (if I'm not mistaken).

PS: I'm not including the 9th with those slow mysterious strings that open the work. Not sure if that's a true "intro." But again, if anyone wants to chime in I'm all ears!

[Chris]

The first movement Vivace is in sonata form, but the slow introduction to it is not a separate sonata form by itself. I can see why you might think that, because there are two distinct themes that appear in different keys and with some variation in them, but it does not fit into the exposition-development-recapitulation organization of sonata form. But it is substantial enough to seem like almost a short movement in itself! These slow introductions (a technique used very effectively by Haydn as well) are wonderful, and they do grow in scope with the symphonies themselves.

[Quijote]

Symphonies 1,2, 4 & 7 all start with slow intros. In the 7th it seems to reach its apogee, its so long and seems to have its own sonata form. Could someone please clarify if it is indeed sonata form (or a sort of one)? Also, each slow intro is longer than the one before (if I'm not mistaken).

PS: I'm not including the 9th with those slow mysterious strings that open the work. Not sure if that's a true "intro." But again, if anyone wants to chime in I'm all ears!

Chris has given the right reply as far as I'm concerned.
What would constitute a "true intro" for you, then, Euphony?

[Henrik Stromberg]

The first movement Vivace is in sonata form, but the slow introduction to it is not a separate sonata form by itself. I can see why you might think that, because there are two distinct themes that appear in different keys and with some variation in them, but it does not fit into the exposition-development-recapitulation organization of sonata form. But it is substantial enough to seem like almost a short movement in itself! These slow introductions (a technique used very effectively by Haydn as well) are wonderful, and they do grow in scope with the symphonies themselves.

Thank you for explanation Chris! Very interesting!