On the performance of Beethoven's symphonies . onlyin this bar, not before. The flow of the melody also de-mands a very fine and gentle retardation of the speed, butnot a sentimental ritetmto. EIGHTH SYMPHONY. 121 Page 6, last bar and page 7, bars 3, 4, 5 and 7. Thesecond horn, and in the last bar the second trumpet also,takes the lower D. It is very important that the sf should be executed onlyvery moderately at first and then gradually increased to theff, so that the crescendo starting from the last bar but twoon page 6 may be preserved. See also page 18, bars 12and following. Page 7, bars 1
On the performance of Beethoven's symphonies . onlyin this bar, not before. The flow of the melody also de-mands a very fine and gentle retardation of the speed, butnot a sentimental ritetmto. EIGHTH SYMPHONY. 121 Page 6, last bar and page 7, bars 3, 4, 5 and 7. Thesecond horn, and in the last bar the second trumpet also,takes the lower D. It is very important that the sf should be executed onlyvery moderately at first and then gradually increased to theff, so that the crescendo starting from the last bar but twoon page 6 may be preserved. See also page 18, bars 12and following. Page 7, bars 11—17. These bars must remain/ through-out. The sudden entry of the ff which follows must not beprepared by any crescendo. See also page ig, bars 3—9. Page 8, bars 8 and 10. Second horn and second trumpettake the lower D. Page 8, bars 11—14. These, and the four similar barslater on, must be played straight off with strong ff withoutan attempt at rhythmic marking. I only mention this becauseI once found the following meaningless notation:. Page ID, bars 13—16. In order to render the wood-wind distinctly audible, it is advisable to perform the cre-scendo in the string-quartett very moderately. In view ofthe fact that the wood-wind remains dolce throughout, thereis no harm at all in giving the following fortissimo-Qntty inA major a certain character of suddenness, which correspondsto the previous fortissimo-tatnes. Page 15, bars i—8. The theme in the bassi and bassoonscannot always be heard distinctly here. alteration which 122 EIGHTH SYMPHONY. I have often heard made, and have sometimes made myself,is to support the first and second bars by means of fourkettle-drums thus: ^ but I admit that it is a very rough and ready a true understanding of the theme is what we have toaim at in this passage, there is really no other choice butto let only the violoncellos, basses and bassoons play withtheir full strength, and to adopt the following notation forajl the
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