On the performance of Beethoven's symphonies . esides this, both horns and wood-wind might be doubledin the four bars under discussion (page 16, bars 14 and 15and page 17, bars 2 and 3). I should advise the doublingof the wood-wind (if it is possible) for the passage whichshortly follows. I M ifi=t^ !Jf-H 7to I F^te=1 »/ »/ sf Page 18, bar 10 to page 19, bar 8. I have succeededin obtaining a very good effect in this powerful gradationby distributing the sustained crescendo of the horns in sucha way amongst the stringed-instruments, that the volume ofsound in the sustained notes increased in a
On the performance of Beethoven's symphonies . esides this, both horns and wood-wind might be doubledin the four bars under discussion (page 16, bars 14 and 15and page 17, bars 2 and 3). I should advise the doublingof the wood-wind (if it is possible) for the passage whichshortly follows. I M ifi=t^ !Jf-H 7to I F^te=1 »/ »/ sf Page 18, bar 10 to page 19, bar 8. I have succeededin obtaining a very good effect in this powerful gradationby distributing the sustained crescendo of the horns in sucha way amongst the stringed-instruments, that the volume ofsound in the sustained notes increased in a quite specialdegree, whereas the figurations began each time with asomewhat diminished sound, and started the crescendo course these special crescendi on the long notes must begraduated among themselves in such a way that they areweakest the first time and strongest the third time. Anattempt at a notation would be somewhat as follows: SEVENTH SYMPHONY. 103 Violins Violas, Violoncellos and Contrabasses I u. iffmf^^. fe f-:j0f-i^ v 1^. Page 19, bars q —12. Here too the second horn playsthe lower B flat. Then in the last bar both wood-wind andhorns, or at any rate the latter, come in doubled and remainso until bar 4 of page 23. After the piano of course everythingbecomes single again. I need not mention that the entry ofthe Z>minor, which is preceded by a crescendo o{ two bars,must be of gigantic force. The trumpets and kettle-drumsin particular must play with absolutely elemental strength. Page 21, bar 4. After the enormous display of powerin the preceding passage we still have a fiii f here, which I04 SEVENTH SYMPHONY. leads on to the ff of the returning original theme. It seemstherefore absolutely necessary to obtain a diminution of thesound beforehand. The place most adapted to this seems tome to be the second half of the 13 bar on page 20. Theshort preceding phrases of the wood-wind and string (from bar10) must still be played with great energy, but the passage
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