Beethoven and his nine symphonies . ffect of his deafness, which by 1812 had become serious,though not so bad as it was in 1824, when he had to beturned round towards the audience that he might see theapplause which they were bestowing on his Choral Symphony(see page 385). But to return. The reprise is treated with thegreatest freedom. The same subjects are employed as inthe corresponding earlier portion, but not always in thesame proportions; while the instrumentation and effectsare often entirely changed and the phrases are made morepiquant by the use of staccato—as has been already noticedi
Beethoven and his nine symphonies . ffect of his deafness, which by 1812 had become serious,though not so bad as it was in 1824, when he had to beturned round towards the audience that he might see theapplause which they were bestowing on his Choral Symphony(see page 385). But to return. The reprise is treated with thegreatest freedom. The same subjects are employed as inthe corresponding earlier portion, but not always in thesame proportions; while the instrumentation and effectsare often entirely changed and the phrases are made morepiquant by the use of staccato—as has been already noticedin the Scherzo of the C minor Symphony. A new phraseis introduced as the accompaniment to the subject quoted * The only instances that I am aware of in Beethoven are the two referredto above and on p. 291; Overture, Op. 115, fifth bar from end; Overture to Leonora, No. 2/ twic* in final Presto; Overture to Leonora, No. 3, one*fe ditto. 290 EIGHTH SYMPHONY. as No. 8, the phrase being most effectively placed in thebasses :— No. 12. The Coda, which is long—seventy-seven bars—is mosteffective. It begins with the figure in No. 7, given withirresistible effect to the bassoon. A new feature of greatingenuity and charm is formed out of five notes of thequotation No. 1:— No. 13.
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectsymphon, bookyear1896
