Beethoven and his nine symphonies . n gets back out of the * Dr. H. Riemaim, in his analysis of the Symphony in the programme-bookof the Berlin Philharmonic Concerts, states that out of this rhythmical figureis developed the principal subject of the Vivace (No. 6); and, indeed, that allthe movements of the work have the closest relation to this passage. It is, sayshe, the thematic tie of unity (einheitliclie motivische Band) which runs throughthe entire composition in various forms. In accordance with this idea heagain finds the same rhythm in the first four bars of the Finale. I confessthat J
Beethoven and his nine symphonies . n gets back out of the * Dr. H. Riemaim, in his analysis of the Symphony in the programme-bookof the Berlin Philharmonic Concerts, states that out of this rhythmical figureis developed the principal subject of the Vivace (No. 6); and, indeed, that allthe movements of the work have the closest relation to this passage. It is, sayshe, the thematic tie of unity (einheitliclie motivische Band) which runs throughthe entire composition in various forms. In accordance with this idea heagain finds the same rhythm in the first four bars of the Finale. I confessthat J have failed to discover the connection. THE INTRODUCTION. THE VIVACE. 243 key of 0 by one of those sudden changes which are socharacteristic of this Symphony, and the scales (No. 2)begin again in the treble and bass alternately. They landus in F, in which the third subject (No. 3) is repeated byboth wind and strings; and then, by the charming phrasewhich finishes our quotation, the original key is regained— No. 5. ViSS Wind f* ^. —and in seven bars more the Introduction ends. Then comes the First Movement proper, the Vivace; andthe transition from the Introduction to it, by an E sixty-onetimes repeated, and echoed backwards and forwards betweenthe flutes and oboes and the violins, mixed with pauses andwith groups of semiquavers, for which the last quotation hasprepared us—a passage now listened for with delight as oneof the most characteristic in the work—was for a long timea great stumbling-block to the reception of the Symphonyboth in London and Paris. It gave Beethoven some trouble,and sketches for it are quoted in Zweite Beethoveniana,page 106. II. The Vivace itself, 6-8, into which the passage justalluded to leads, is a movement of wonderful fire and , in his * Etudes sur Beethoven, wishes us to believethat it is a Ronde des Paysans, and would have been so entitledif Beethoven had disclosed his intention, as he did in the Pastoral. But this is only
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectsymphon, bookyear1896
