On the performance of Beethoven's symphonies . ay play ^?poco espressivo^whilst the first violins give their descending semi-quaverpassage //. Page 20, last bar. Oboes and bassoons begin to playforte at the. C and do not wait for the G. which is a correc-tion that I was once surprised to find. The same holds withreference to the F and C for all blowers on page 25, bar 20. Page 21, bar 11. In this bar a diminuendo can be intro-duced, then the four following bars may be played slightlymore piano than the three bars which precede the diminuendo,thus forming a kind of softly dying echo. At the thi
On the performance of Beethoven's symphonies . ay play ^?poco espressivo^whilst the first violins give their descending semi-quaverpassage //. Page 20, last bar. Oboes and bassoons begin to playforte at the. C and do not wait for the G. which is a correc-tion that I was once surprised to find. The same holds withreference to the F and C for all blowers on page 25, bar 20. Page 21, bar 11. In this bar a diminuendo can be intro-duced, then the four following bars may be played slightlymore piano than the three bars which precede the diminuendo,thus forming a kind of softly dying echo. At the thirdquaver of the is bar we return to the normal/ prescribed,which closes the first part so gracefully. The direction to repeat should not be observed. From about the 3^ bar of page 22 a slight quickening ofthe time will naturally occur until the original tempo of theprincipal theme is reached by about the last bar of this pagethrough a series of gradations. For the 10^ to the 13 barof page 23 I have adopted the following manner of execution:. but I always warned the first violins against a sentimentalmode of expression in the last two bars. If I supportedthe execution of the short oboe- and bassoon-phrases by 12 FIRST SYMPHONY. means of a slight ritenuto, I allowed the original time to comein already in the two bars in question and did not wait forthe return of the principal theme. The figurations accompanying the return, which begin inthe violoncellos at bar 14, page 23, cannot be performedtoo tenderly and gracefully. I have therefore inserted a ppalso in the 6 bar of page 24 for the second bassoon andalso for the violas, violoncellos and contrabassos. Page 24, bar 10. Here too only poco cresc. at first, andpiu cresc. not before bar 15. Page 25, bars i—12. See what has been said for page 20,bars 4—15. Page 26, bars 9—13. Same as for page 21, bars 11—15. Page 26, bars 15 and 16. The little solo for the firstoboe to be played with expression and a fairly marked cre-scendo
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