Beethoven and his nine symphonies . * The phrasing of this beautiful passage appears to have been somewhataltered in the Complete Edition, but without any notice to that effect. 254 SEVENTH SYMPHONY. and almost hear him exclaim, I wont have it, as hereturns to the key of A minor, and to the former melody (), given in three octaves by the flute, oboe, and bassoon,with a semiquaver accompaniment in the strings. Duringthis, as well as during the truly heavenly melody whichwe have- been describing and quoting (No. 20), the bass,with a kind of grim repose, keeps up inexorably therhythm— No. 22
Beethoven and his nine symphonies . * The phrasing of this beautiful passage appears to have been somewhataltered in the Complete Edition, but without any notice to that effect. 254 SEVENTH SYMPHONY. and almost hear him exclaim, I wont have it, as hereturns to the key of A minor, and to the former melody (), given in three octaves by the flute, oboe, and bassoon,with a semiquaver accompaniment in the strings. Duringthis, as well as during the truly heavenly melody whichwe have- been describing and quoting (No. 20), the bass,with a kind of grim repose, keeps up inexorably therhythm— No. 22. jM. with which the movement started, the One fatal remembrance, one sorrow that throwsIts black shade alike oer oar joys and our woes,* and maintains it even through the fugato which so effectivelycontinues the latter half of the movement— No. 23. Viol. 2 vioi. a • » r .. * Berliozs quotation from Moore (Voyage musical, Paris, 1844, i., 326).The passage shows how finely Berlioz can appreciate, when he can prevent hiimagination from running riot. THE ALLEGRETTO. A FAVOURITE IN FRANCE. 255 » ? t i i— s—- mmma^rit ? m~*
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectsymphon, bookyear1896
