Beethoven's seventh symphony . and the Introduction ends. The transition from the introduction to the firstmovement proper, the Vivace, by an E sixty-onetimes repeated, and echoed backwards and forwardsbetween the Flutes and Oboes and the Violins,mixed with groups of semi-quavers, for which thelast quotation has prepared us,— a passage now lis- 13 tened for with delight as one of the most character-istic in the whole work,— was for a long time a greatstumbling-block to the reception of the Symphonyboth in London and Paris. The Vivace itself, intowhich the passage just alluded to leads, is a mo
Beethoven's seventh symphony . and the Introduction ends. The transition from the introduction to the firstmovement proper, the Vivace, by an E sixty-onetimes repeated, and echoed backwards and forwardsbetween the Flutes and Oboes and the Violins,mixed with groups of semi-quavers, for which thelast quotation has prepared us,— a passage now lis- 13 tened for with delight as one of the most character-istic in the whole work,— was for a long time a greatstumbling-block to the reception of the Symphonyboth in London and Paris. The Vivace itself, intowhich the passage just alluded to leads, is a move-ment of wonderful fire and audacity. The principaltheme, in its character, and in the frequent employ-ment of the Oboe, has a quasi-rustic air; but thereis nothing rustic about the way in which it is treatedand developed: on the contrary, it is not surpassedin dignity, variety, and richness by any of Beetho-vens first It is thus given out by theFlute:— / Flutes. PNo. 5. ^£r£-,tf_^Ji + +J1A. BEpgSEf 14
Size: 1915px × 1304px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1880, booksubjectbeethov, bookyear1882
