Beethoven and his nine symphonies . erregronde de loin, et lorage approche a pas lents. 4 8. Lorage accompagne des vents murmurans et des pluiesbattans gronde avec toute la force, les sommets des arbresfont un murmure, et le torrent roule ses eaux avec un bruitepouvantable. 4 4. Lorage sappaise peu a peu, les nuages se dissipent etle ciel devient clair. 4 5. La Nature transported de la joie eleve sa voix vers le ciel,et rend au createur les plus vives graces par des chants doux etagreables. The work is still in existence, and an examination of itshows that beyond the titles there is no likenes
Beethoven and his nine symphonies . erregronde de loin, et lorage approche a pas lents. 4 8. Lorage accompagne des vents murmurans et des pluiesbattans gronde avec toute la force, les sommets des arbresfont un murmure, et le torrent roule ses eaux avec un bruitepouvantable. 4 4. Lorage sappaise peu a peu, les nuages se dissipent etle ciel devient clair. 4 5. La Nature transported de la joie eleve sa voix vers le ciel,et rend au createur les plus vives graces par des chants doux etagreables. The work is still in existence, and an examination of itshows that beyond the titles there is no likeness betweenthe two compositions. We may now proceed to the examination of this masterpieceof Beethovens:— I. The Symphony opens without other introduction orpreliminary than a double pedal on F and 0 in the violas andcellos—with the principal theme in the violins, as sweet and THE ALLEGRO. THE PRINCIPAL SUBJECT. 193 soft as the air of May itself, with buds and blossoms andnew-mown grass :— Allegro ma non tmppo. nS Viol. 1. This beautiful subject may almost be said to contain in itsown bosom the whole of the wonderful movement which itstarts, and which is 512 bars long. As the piece proceedseach joint, so to speak, of the theme germinates, and throwsoff phrases closely related to the parent stem in rhythm orinterval. It would be difficult to find in Art a greater amountof confidence, not to say audacity, than Beethoven hasfurnished by his incessant repetition of the same or similarshort phrases throughout this long movement; and yet theeffect is such that when the end arrives, we would gladly hearit all over again. The Violin Concerto gives another exampleof the same practice. As an instance of this boldness inrepetition in the Symphony, we may quote a phrase of fivenotes, formed out of theme No. 1:— No. 1. g^gt^? &c. 194 SIXTH SYMPHONY. which first occurs at the sixteenth bar, and is then repeatedno less than ten times successively. At the 116th bar asomewha
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectsymphon, bookyear1896
