Beethoven and his nine symphonies . iT3*** Wind#p= JJJ2. This is a difference far more pronounced than that in whichBeethoven has indulged himself at the return of the subjecteither in No. 5, 6, 7, or even No. 8, where the theme comesback in the bass; and it shows—if such a thing wantedshowing—how entirely the prescriptive forms of music hadbecome subordinated in Beethovens mind to the expressionof the thoughts and emotions which were animating him. The ben marcato phrase (No. 20) is next given, but with adifference, and on a pedal D—six times over. The second subj ect(No. 22) follows on this,
Beethoven and his nine symphonies . iT3*** Wind#p= JJJ2. This is a difference far more pronounced than that in whichBeethoven has indulged himself at the return of the subjecteither in No. 5, 6, 7, or even No. 8, where the theme comesback in the bass; and it shows—if such a thing wantedshowing—how entirely the prescriptive forms of music hadbecome subordinated in Beethovens mind to the expressionof the thoughts and emotions which were animating him. The ben marcato phrase (No. 20) is next given, but with adifference, and on a pedal D—six times over. The second subj ect(No. 22) follows on this, in D major, and then the variouspassages and episodes already enumerated, with correspondingchanges of keys, and important modifications in the FIRST MOVEMENT. THE CODA. 851 distribution of the instruments. At length the repetition ofthe first portion of the movement is concluded, not as beforein B flat, but in D minor, and now begins a peroration, or Coda,which is so immense in its proportions, so dignified, noble,and passionate in its sentimen
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectsymphon, bookyear1896
