Beethoven and his nine symphonies . e he had something to say about his hero whichhe had not said in the other three movements. Surelythat something becomes gloriously evident in the PocoAndante near the close, which forms so grand a climax to thework; and to which the pages that precede it, with all theiringenuity and beauty, act as a noble introduction, rising stepby step until they culminate in the very Apotlieosis of theHero. * *Il suo proprio e proposto effetto. Beethovens own expression in hispreface to the Symphony. See beginning of this chapter (p. 56, last line). THE FINALE. PROMETHEU
Beethoven and his nine symphonies . e he had something to say about his hero whichhe had not said in the other three movements. Surelythat something becomes gloriously evident in the PocoAndante near the close, which forms so grand a climax to thework; and to which the pages that precede it, with all theiringenuity and beauty, act as a noble introduction, rising stepby step until they culminate in the very Apotlieosis of theHero. * *Il suo proprio e proposto effetto. Beethovens own expression in hispreface to the Symphony. See beginning of this chapter (p. 56, last line). THE FINALE. PROMETHEUS. 81 The movement consists entirely of a set of variations,thus early anticipating so far the method adopted in thevocal movements of Beethovens latest Symphony, TheNinth, twenty years later. The subject chosen is anair in the Finale of his own * Prometheus music, where itstands, as far as melody, bass, and key are concerned, asfollows— No. 47. P fc* 52:£=i£ *1 3=E g^rS*^ p cres. P m Efc=S* I z^^zqr^z^s: -?FW- (* if ^^ rifrg ^. In our ignorance of the libretto of the Prometheus music,it is impossible to say whether this theme was not thereidentified with that ancient hero, and whether that fact, orsome subtle connection, may not have induced Beethoven tochoose it for the Finale to his Symphony on Bonaparte. Atany rate, the theme must have been a special favouritewith its composer, since he has used it four times—in aContretanz, in the Prometheus music, as the theme of anoble set of Variations for piano (Op. 35), and here in theSymphony. The method which Beethoven has adopted in the treatmentof this air as the theme of the Finale is very ingenious,and, as far as I am aware (though the Variation literature isof such enormous extent that it is impossible to be sure),entirely original. After a short introductory passage of elevenbars to fix the key, ending with a pause on the dominant 82 THIRD SYMPHONY—EROICA. seventh of E flat, the strings, in octaves and pizzicato, giveo
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