Beethoven and his nine symphonies . Another new passage, in the freakish figure which wasemployed before (see Nos. 10 and 15), equally gay, and equally 70 THIRD SYMPHONY—EKOICA. grounded on the original subject, this time in the horns, is asfollows— No. 25. „. Between the two passages last quoted is a cello solo, whichmight have given Mendelssohn the cue to those which he isso fond of introducing into his Symphonies— No. ? ? t ? i *^ P Viol. 2. &c. decres. P Cello ^ &Fag2=L« fcsL. d § \Sf- £ :£:: :(£=«£ --££$ 3^3 ^0£ :g=5$ P —ar&5~; 5^- *i I-*? a*= % -T* n S „. _L5S_ ^^ ? n q *^r j
Beethoven and his nine symphonies . Another new passage, in the freakish figure which wasemployed before (see Nos. 10 and 15), equally gay, and equally 70 THIRD SYMPHONY—EKOICA. grounded on the original subject, this time in the horns, is asfollows— No. 25. „. Between the two passages last quoted is a cello solo, whichmight have given Mendelssohn the cue to those which he isso fond of introducing into his Symphonies— No. ? ? t ? i *^ P Viol. 2. &c. decres. P Cello ^ &Fag2=L« fcsL. d § \Sf- £ :£:: :(£=«£ --££$ 3^3 ^0£ :g=5$ P —ar&5~; 5^- *i I-*? a*= % -T* n S „. _L5S_ ^^ ? n q *^r j i^pc pW jf— ? p- fi^— jj- fJL -f -*=— X*C m—1 _»*_ *# ftp r*>> ?? One might go on commenting on this Coda for an hour,but it is time to stop. After aU is said, the music itself, asSchumann is so fond of insisting, is the best and only thing ;at any rate, the sole end of these remarks is to make thatmore intelligently heard and better understood. II. The second *movement, very slow, Adagio assai, is inthe form of a funeral march, and bears the title of Mar da * The cello and double bass parts are to a great extent distinct throughoutthis March, and have separate lines in the score. THE FUNERAL MABCH
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectsymphon, bookyear1896
