Beethoven and his nine symphonies . The dignity, originality, and grace of this third theme,especially when repeated pianissimo by the fiddles, with agraceful descending arpeggio to introduce it, and a deliciousaccompaniment in the oboes and bassoons, as thus— No. 4. Ob. & Fag, pp. Viol. 28va -are quite *wonderful. Beethoven gets back out of the * Dr. H. Riemaim, in his analysis of the Symphony in the programme-bookof the Berlin Philharmonic Concerts, states that out of this rhythmical figureis developed the principal subject of the Vivace (No. 6); and, indeed, that allthe movements of the wor
Beethoven and his nine symphonies . The dignity, originality, and grace of this third theme,especially when repeated pianissimo by the fiddles, with agraceful descending arpeggio to introduce it, and a deliciousaccompaniment in the oboes and bassoons, as thus— No. 4. Ob. & Fag, pp. Viol. 28va -are quite *wonderful. Beethoven gets back out of the * Dr. H. Riemaim, in his analysis of the Symphony in the programme-bookof the Berlin Philharmonic Concerts, states that out of this rhythmical figureis developed the principal subject of the Vivace (No. 6); and, indeed, that allthe movements of the work have the closest relation to this passage. It is, sayshe, the thematic tie of unity (einheitliclie motivische Band) which runs throughthe entire composition in various forms. In accordance with this idea heagain finds the same rhythm in the first four bars of the Finale. I confessthat J have failed to discover the connection. THE INTRODUCTION. THE VIVACE. 243 key of 0 by one of those sudden changes which are socharacteristic of this Symphony, and the scales (No. 2)begin again in the treble and bass alternately. They landus in F, in which the third subject (No. 3) is repeated byboth wind and strings; and then, by the charming phrasewhich finishes our quotation, the origina
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectsymphon, bookyear1896
