On the performance of Beethoven's symphonies . and he will thus be able to introduce the new theme. Page 153, bar 2 to page 155, last bar. I should recom-mend a pp for the violins and violas throughout this passage,and the omission of the crescendo everywhere. These purephrases are so full of expression that they are quite sufficientin themselves without extraneous aid, whereas the crescenditend to destroy the effect of the principal melody in thewind-instruments, especially if they are executed with a littletoo much energy. In the third and fourth bars the flute,which is written unmelodically
On the performance of Beethoven's symphonies . and he will thus be able to introduce the new theme. Page 153, bar 2 to page 155, last bar. I should recom-mend a pp for the violins and violas throughout this passage,and the omission of the crescendo everywhere. These purephrases are so full of expression that they are quite sufficientin themselves without extraneous aid, whereas the crescenditend to destroy the effect of the principal melody in thewind-instruments, especially if they are executed with a littletoo much energy. In the third and fourth bars the flute,which is written unmelodically with good reason, might bothbecome less prominent and at the same time bring out withgreater expression the part which passes so beautifully intothe melodic leading, by means of the following gradation:. The same method of procedure holds good for bars 5 and6 of page 154, where the four quaver-notes C and the Bin the flute should also be played pp, so as not to take theattention away from the melody which is here suddenly en-trusted to the first oboe alone. Page 155, bars 4 and following. I think We may takethe time just a very little quicker here than at the beginniflgof the movement. The justification for this change lies inthe absence of the molto after the word adagio, and inthe transparent character of this whole passage, which isrendered particularly lucid through the employment of thepizzicati, especially where these pass over into the the same time there must be a slackening of the time ^aNTH SYMPHONY. 169 compared with the previous 8/4 time. The waves of sensationare so delicate here that they can scarcely be expressed inwords. In this whole symphony Beethoven has made use of thestopped note i d? for the horns more frequently than in any of his earlierorchestral w
Size: 3015px × 829px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, bookidcu3192408884, bookyear1906
