Beethoven and his nine symphonies . It is strange at this early date to meet with the arpeggio ofthe chord of D minor, in a shape which almost textuallyanticipates the Ninth Symphony— No. 3. m. The opening of the principal theme of the Allegro is one ofthe passages just alluded to as belonging to the old school inthe distinct definition and regularity of its construction— i No. 4. Allegro eon brio. Violin ^ r <Hfr r r ri ere*. f Grove.—Beethovens Nine Symphonies.—Novellos Edition. 0 26 SECOND SYMPHONY. But though square in cut it is by no means wanting inspirit; and
Beethoven and his nine symphonies . It is strange at this early date to meet with the arpeggio ofthe chord of D minor, in a shape which almost textuallyanticipates the Ninth Symphony— No. 3. m. The opening of the principal theme of the Allegro is one ofthe passages just alluded to as belonging to the old school inthe distinct definition and regularity of its construction— i No. 4. Allegro eon brio. Violin ^ r <Hfr r r ri ere*. f Grove.—Beethovens Nine Symphonies.—Novellos Edition. 0 26 SECOND SYMPHONY. But though square in cut it is by no means wanting inspirit; and the fiery flash of the fiddles in the interval betweenthe two sections of the subject (bar 4 of the quotation) issplendid, and gives a good specimen of the extraordinaryenergy which imbues that seraphic instrument throughoutthe entire work. The passage which connects this theme with the second,though broad and free, has not entirely lost the character of padding, which these connecting links too often bear in theSymphonies of the earlier masters; and does not spring outof the vital material as it does in Beethovens subsequentwork—
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectsymphon, bookyear1896
