Beethoven's seventh symphony . *^» PfOsempre. Another example of the same arresting, romanticeffect is the sudden change from the key of C-sharpto that of E-flat, earlier in the movement: — No. 9. strings 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=*

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Beethoven's seventh symphony . *^» PfOsempre. Another example of the same arresting, romanticeffect is the sudden change from the key of C-sharpto that of E-flat, earlier in the movement: — No. 9. strings 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

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Keywords: ., bookcentury1800, bookdecade1880, booksubjectbeethov, bookyear1882