Beethoven and his nine symphonies . pf? Fag. cres. Nothing more picturesque and seizing can well be imagined. 34 SECOND SYMPHONY. The Trio—still in D, and wanting no subtle change of keyto make it interesting—begins with the following melodyharmonized in four parts for oboes and bassoons, reinforcedat the sixth bar by the horns— No. 24. •^ CYhn, 42- Oboe p P This is repeated, making sixteen bars in all. We are then,without an instants warning, plunged head over ears into Fsharp major, and, as it were, held there till the water runsinto our eyes and ears— No. P decres. then as suddenly bac
Beethoven and his nine symphonies . pf? Fag. cres. Nothing more picturesque and seizing can well be imagined. 34 SECOND SYMPHONY. The Trio—still in D, and wanting no subtle change of keyto make it interesting—begins with the following melodyharmonized in four parts for oboes and bassoons, reinforcedat the sixth bar by the horns— No. 24. •^ CYhn, 42- Oboe p P This is repeated, making sixteen bars in all. We are then,without an instants warning, plunged head over ears into Fsharp major, and, as it were, held there till the water runsinto our eyes and ears— No. P decres. then as suddenly back again into D, fortissimo— No. 26. gg ^.. Ob. ^- ,-Uj m 3—H—I 1- &k ~PZ- 3fcP fif^ f i ?=p: The spirit and vigour of these two little movements are reallyastonishing. The music seems sometimes almost to fly at yourthroat. Note the constant sudden contrasts both in amountand quality of sound. In amount we find/, p, ff, pp alternatelyalmost throughout. In quality we have first the fall orchestra,then a single violin, then two horns, then two violins, thenthe full orchestra again, all within the space of half-a-dozenbars. But the end is chiefly gained by all kinds of unexpectedchanges of key, not mere senseless freaks, but changes both EIGHTEENTH CENTURY MUSICIANS. 85 sudden and suitable, such as at once to rouse the attention, and,with all their oddity, to convince the reason and satisfy thetaste. We start in D; then in a moment are in B flat, thenin A, then in D, then in F. Then there is the change alreadynoticed in the Trio, into F sharp, an
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectsymphon, bookyear1896
