. Programme . Beethoven played the pianoforte concert began at half-past six. We know nothing about thepecuniary result. The symphony is scored for two flutes, two oboes, two clarinets,two bassoons, two horns, two trumpets, kettledrums, strings; and inthe last movement piccolo, double-bassoon, and three trombones areadded. Instead of inquiring curiously into the legend invented by Schind-ler,—and for this reason a statement to be doubted, as Billow said,—that Beethoven remarked of the first theme, So knocks Fate on thedoor! * instead of investigating the statement that the rhythm ofth
. Programme . Beethoven played the pianoforte concert began at half-past six. We know nothing about thepecuniary result. The symphony is scored for two flutes, two oboes, two clarinets,two bassoons, two horns, two trumpets, kettledrums, strings; and inthe last movement piccolo, double-bassoon, and three trombones areadded. Instead of inquiring curiously into the legend invented by Schind-ler,—and for this reason a statement to be doubted, as Billow said,—that Beethoven remarked of the first theme, So knocks Fate on thedoor! * instead of investigating the statement that the rhythm ofthis theme was suggested by the note of a bird,—oriole or goldfinch,—heard during a walk; instead of a long analysis, which is vexation andconfusion without the themes and their variants in notation,—let usread and ponder what Hector Berlioz wrote:— * It is said that Ferdinand Ries was the author of this explanation, and that Beethoven wasgrimly sarcastic when Ries, his pupil, made it known to The comfort and long service you enjoy in wearingthe Boston Garter are the result of our fixed policy— Quality First GEORGE FROST COMPANY, miakers, BOSTON 403 The most celebrated of them all, beyond doubt and peradventure,is also the first, I think, in which Beethoven gave the reins to his vastimagination, without taking for guide or aid a foreign thought. Inthe first, second, and fourth, he more or less enlarged forms alreadyknown, and poetized them with all the brilliant and passionate inspi-rations of his vigorous youth. In the third, the Eroica, there is atendency, it is true, to enlarge the form, and the thought is raised to amighty height; but it is impossible to ignore the influence of one ofthe divine poets to whom for a long time the great artist had raised atemple in his heart. Beethoven, faithful to the Horatian precept,Nocturna versate manu, versate diurna, read Homer constantly, and inhis magnificent musical epopee, which, they say, I know not whetherit be t
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