On the performance of Beethoven's symphonies . i r^TirVr^ 1* 7 ^^ fTM^.*) yu laf r I Jfe^ Lsj-M^-s^j cresc.*) =9- r^ror r ^/ ^ff 7 p s^ *^ cresc.*) ;=— p ^=i ^ • i^ i ^^^;P=t^ f espr. ^ />•• ^ , * ^^ fc^± espr. y. in ^ * ^ ^ I ^ i^rl ^•g i^ T ^ \i^m^\^ f i|^ NINTH SYMPHONY. 155. *) From the beginning of the general crescendo, the prescribed -< =-sare executed with constantly increasing energy. From the 6* bar of page 58 the whole orchestra swellsto _^ in a powerful gradation, and when the ff is reachedthe remaining wood-wind is reinforced just as the secondclarinet has been already
On the performance of Beethoven's symphonies . i r^TirVr^ 1* 7 ^^ fTM^.*) yu laf r I Jfe^ Lsj-M^-s^j cresc.*) =9- r^ror r ^/ ^ff 7 p s^ *^ cresc.*) ;=— p ^=i ^ • i^ i ^^^;P=t^ f espr. ^ />•• ^ , * ^^ fc^± espr. y. in ^ * ^ ^ I ^ i^rl ^•g i^ T ^ \i^m^\^ f i|^ NINTH SYMPHONY. 155. *) From the beginning of the general crescendo, the prescribed -< =-sare executed with constantly increasing energy. From the 6* bar of page 58 the whole orchestra swellsto _^ in a powerful gradation, and when the ff is reachedthe remaining wood-wind is reinforced just as the secondclarinet has been already for the three last notes. In thefirst bar of page 59 the auxiliary first flute takes the ^flatand the A in the higher octave. In the last bar of page 59 the doubling of the wood-windceases. Continuing his remarks on this symphony, Wagnersays in regard to this passage: Here too, on account of thedynamic disproportion of the instrumental organisation, atthe return of the similar passage in the last bar of page 59the first two bars must he played entirely piano ^ the twofollowing with a strong cresendo by the horns, and with a 156 NINTH SYMPHONY. weaker one by the stringed instruments which should onlyreceive a decisive increase of strength in the last two barsbefore the forte. Pag
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Keywords: ., bookcentury1900, bookdecade1900, bookidcu3192408884, bookyear1906
