Symphonies and their meaning . * :l. FJ P3 m ?&. 4# 1- 4* JT <f p b r f Basses, pizz. Back again to the fateful legend in the basses, reiterated in minor, suddenly relieved again, as 104 SYMPHONIES AND THEIR MEANING before. But the new phrase expands in clario-nets and fagots ^ 1 */ to ± t*= Pi 15 «5 =t pt ^ SE -•„ *^d &=&l: * ^SB F -TT7T at=g=M: t^gp5^fi-^ S: P into a new song, sung responsively betweenflutes and violins: Flutes and First Violins. X, J ^ -< ? e^tti -s* -j———«v Second Violins ?-*„ *m*m mm &-± i<§—#—0. jSL. ^ffccr bJ SH y- _J_UL4-J4 —bH 1 1- —90—9 0- =3= at v— fat: 105
Symphonies and their meaning . * :l. FJ P3 m ?&. 4# 1- 4* JT <f p b r f Basses, pizz. Back again to the fateful legend in the basses, reiterated in minor, suddenly relieved again, as 104 SYMPHONIES AND THEIR MEANING before. But the new phrase expands in clario-nets and fagots ^ 1 */ to ± t*= Pi 15 «5 =t pt ^ SE -•„ *^d &=&l: * ^SB F -TT7T at=g=M: t^gp5^fi-^ S: P into a new song, sung responsively betweenflutes and violins: Flutes and First Violins. X, J ^ -< ? e^tti -s* -j———«v Second Violins ?-*„ *m*m mm &-± i<§—#—0. jSL. ^ffccr bJ SH y- _J_UL4-J4 —bH 1 1- —90—9 0- =3= at v— fat: 105 SYMPHONIES AND THEIR MEANING Now comes the real discussion of the mainsubject, the vigorous strife in clear stretto ofwoodwind, with rhythmic stress: Flutes and Oboes. too mazed for our sight, until it is merely thelight oboe striking the phrase with resoundingecho of the rest: Woodwind doubled aboveand below. Oboe. i Efc: In 3d $ 3^3 fczd Trembling of strings below. Then more hammer-blows on the chord, sud-denly quieting before the melody, enteringsimply and cheerfully as at first. But here is asudden serene humor for our moody subjectin jolliest duet between horns and basses: Horns, SYMPHONIES AND THEIR MEANING with the other strings humming away to thedancing rhythm; the duet is taken up byflutes and violins, then through loud cadenceinto a return to the first part of the movement,with all its themes and phrases, principal andsecondary, and its changing moods, enrichedwith fuller treatment. Withal there is the elemental simplicity andchildlike exuberance of Beethoven. It iswrong to think him oercast with intellectualmotives. At once he seems charged with pro-foundest emotion and lightest joy. It is thebalance of depth and of humanity th
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