Symphony No. 1

The symphony opens with a bold harmonic gesture—a series of dominant seventh chords that don't immediately establish the home key of C major. This unconventional introduction, marked Adagio molto, creates a sense of anticipation before the lively Allegro con brio bursts forth. The main body of the movement is in sonata form, featuring a sprightly first theme and a more lyrical second theme. Beethoven's use of dynamic contrasts and rhythmic vitality throughout the movement foreshadows the dramatic flair that would become his hallmark in later works.

The second movement, in F major, is a graceful Andante that showcases Beethoven's gift for melody. The movement begins with a stately theme in the strings, punctuated by wind instruments. As it progresses, Beethoven introduces more complex textures and harmonies, demonstrating his ability to develop simple themes into rich musical tapestries. The movement's cantabile (singing) style reflects the influence of Italian opera on Beethoven's melodic writing.

While titled a Menuetto, this movement is more akin to the scherzo form that Beethoven would later develop. Its quick tempo (Allegro molto e vivace) and vigorous character depart from the stately minuets of his predecessors. The movement features playful exchanges between instrument groups and unexpected dynamic shifts. The contrasting trio section provides a moment of relative calm before the return of the main theme.

The finale begins with another slow introduction, echoing the structure of the first movement. This Adagio opening teases the listener with fragmentary hints of the main theme before launching into a spirited Allegro molto e vivace. The movement proper is a sonata-form structure brimming with energy and wit. Beethoven's handling of the orchestra is particularly impressive here, with rapid scales and arpeggios passed between different sections, creating a sense of exuberance and forward momentum.