. Programme. emes (A majorand A minor), or these motives may be described as the secondand third members of the first theme. The whole is repeated withmore elaborate harmonization and instrumentation. A third repetitionis begun, but there is a modulation to F major for the entrance of thesecond theme, which is developed at length. Soft chords in the stringsare answered by horn tones, and there is a repetition of all that precededthe second theme, but with still greater contrapuntal elaboration. Anepisodic phrase for violoncellos, answered by the oboe, leads to an em-broidered return of the sec
. Programme. emes (A majorand A minor), or these motives may be described as the secondand third members of the first theme. The whole is repeated withmore elaborate harmonization and instrumentation. A third repetitionis begun, but there is a modulation to F major for the entrance of thesecond theme, which is developed at length. Soft chords in the stringsare answered by horn tones, and there is a repetition of all that precededthe second theme, but with still greater contrapuntal elaboration. Anepisodic phrase for violoncellos, answered by the oboe, leads to an em-broidered return of the second theme, now in A major, which leads to along coda built on the first theme in A minor, III. Scherzo: Allegro vivace, C major, 3-4. Mr. EdmondstouneDuncan writes, in his Schubert, of this movement: Schubert han-dles Beethovens weapons with all apparent skill and ease. The formalone is eloquent of Beethoven, the inner spirit is wholly and sadness are most curiously blended throughout this move-.
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Keywords: ., bookauthorbostonsy, bookcentury1800, bookdecade1880, bookyear1881
