Beethoven's seventh symphony . 25 in the key of F; but, before the first fifteen bars arewell over, it is in A, in which unusually remote keythe first division ends. Out of this region, Beetho-ven escapes by a daring device: — No. I ff\ which brings him at a blow into C, and pleases himso much that he immediately repeats the operationin the new key, and so gets into B-flat. The wholeof this Scherzo is a marvellous example of the graceand lightness which may be made to play over a sub-stratum of enormous strength, and also of Beetho-vens audacity in repeating his phrases and subjec
Beethoven's seventh symphony . 25 in the key of F; but, before the first fifteen bars arewell over, it is in A, in which unusually remote keythe first division ends. Out of this region, Beetho-ven escapes by a daring device: — No. I ff\ which brings him at a blow into C, and pleases himso much that he immediately repeats the operationin the new key, and so gets into B-flat. The wholeof this Scherzo is a marvellous example of the graceand lightness which may be made to play over a sub-stratum of enormous strength, and also of Beetho-vens audacity in repeating his phrases and —Presto meno assai (slightly slower) —isan absolute contrast to the Scherzo in every is one of those movements, like the Andante inthe G major piano-forte Concerto of the same com-poser, which are absolutely original, were done byno one before, and have been done by no one begins with a melody (which it is difficult to be- 26 lieve was not floating in Schuberts mind when hewrote the first phrase of his Fantaisie-Sonata in Gfor piano-forte solo) in the Clarinets, accompanied asa Bass by the Horns and Bassoons, and also by along holding A in the Violins. Of this, we quote anoutline of the first portion :
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectbeethov, bookyear1882
