On the performance of Beethoven's symphonies . t in the main-key, and so the tonic relation isdifferent. The second trumpet there however may take thelower D throughout. Page 73, bars 13 and following. Here the conductor,by means of special marking if necessary, should see thatthe crescendo is not made for itself alone in each group ofthe string-quartett, but that one group takes it from theother, so that these figurations right up to the ff (page 74,bar 4) are given in one single, uniformly growing and careful rehearsals are necessary here and alsoin the similar passage on
On the performance of Beethoven's symphonies . t in the main-key, and so the tonic relation isdifferent. The second trumpet there however may take thelower D throughout. Page 73, bars 13 and following. Here the conductor,by means of special marking if necessary, should see thatthe crescendo is not made for itself alone in each group ofthe string-quartett, but that one group takes it from theother, so that these figurations right up to the ff (page 74,bar 4) are given in one single, uniformly growing and careful rehearsals are necessary here and alsoin the similar passage on pages 84 and 85. Page 74, bar 13. The sudden cessation of the brass-instruments and kettle-drums here on account of the limitednumber of natural notes, is very disturbing. All the chordsare. marked sf and it is evident from the appearance of thewhole passage that they were all intended to be played withthe same degree of strength. Some remedy is urgentlyneeded here and I have ventured to fill in the bar inquestion as follows: Horns Trumpets .. The fact that the A of the kettle-drum produced, to a cer-tain extent, a chord of the ninth which Beethoven had notcontemplated, did not disturb me in the least, as no hearer,however musical he may be, can possible distinguish it. IfI have been too bold, I think it is a lesser evil than eitherto allow the kettle-drum suddenly to cease, which would 8* Ii6 SEVENTH SYMPHONY. strike every sensitive ear disagreably, or to introduce a thirdkettle-drum for the sake of this one note, which would becontrary to the style of the piece. Page 75, bars 14—17, then bars 21 and 22; page 76,bars 1—6. The semibreves, together with the tied crotchetswhich precede them, must be sustained with the utmoststrength so that there is no trace of a weakening diminuendo,such as i fe ^ ^ which would be utterly wrong. A slight pause might evenbe made on these notes, but then it is absolutely necessaryfor the dotted quavers with the semi-quaver to be playedthrougho
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