Beethoven's seventh symphony . with the no less sudden escape into E-natural. Another is the very characteristic passage of theViolins, with which the second subject is empha-sized, like a blow into which Beethoven has put all his strength: — No. 10. 18 The second subject itself, in the course of whichthe passage just quoted occurs, begins as follows : — Viol, and Flute. No. 11. fc* m H*^ n *?-*? Jtx iff T^-r^- W=* t=& g v) f sf &c. and (recurring to the former rhythm) proceeds : — Flute. No. 12. I J, 1 I. («J strings, dolce. &c. — stamping itself effectually on the memory by thepassage quoted
Beethoven's seventh symphony . with the no less sudden escape into E-natural. Another is the very characteristic passage of theViolins, with which the second subject is empha-sized, like a blow into which Beethoven has put all his strength: — No. 10. 18 The second subject itself, in the course of whichthe passage just quoted occurs, begins as follows : — Viol, and Flute. No. 11. fc* m H*^ n *?-*? Jtx iff T^-r^- W=* t=& g v) f sf &c. and (recurring to the former rhythm) proceeds : — Flute. No. 12. I J, 1 I. («J strings, dolce. &c. — stamping itself effectually on the memory by thepassage quoted as No. io, and by the broad, massivephrase (a) in which the subject itself is accompaniedby the whole of the Strings in unison. The rhythm is marked as strongly as possiblethroughout the movement, and there is hardly a barwhich does not contain its two groups of dotted trip-let quavers, varied and treated in the most astonish-ingly free and bold manner. When Beethoven doesonce abandon it, in the Coda at the close of themovement, it is to introduce the celebrated passagewhich at one time excited the wrath and laughter ofthe best of his contemporaries, though now univer- 19 sally regarded as perfectly effective, characteristic,and appropriate. In this passage, the Violos andBasses repeat the following figure for twenty-twobars : — i
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectbeethov, bookyear1882
