Grove's dictionary of music and musicians

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SYMPHONY
V79
metheus music a3 that of the pianoforte variations
in E[> (op. 35). The basis of the whole
movement is mainly the variation-fonn, interspersed
with fugal episodes ; and a remarkable
feature is the long Andante variation immediately
before the finale Presto—a somewhat unusual
feature in such a position, though Haydn introduced
a long passage of Adagio in the middle of
the last movement of a symphony in F written
about 1777, but of course in a very different
spirit. The Finale of the Eroioa as a whole is
so unusual in form, that it is not wonderful that
opinions have varied much concerning it. As
a piece of art it is neither so perfect nor so convincing
as the other movements ; but it has
very noble and wonderful traits, and, as a grand
experiment in an almost totally new direction,
has a decided historical importance.
It is not necessary to go through the whole
series of Beethoven's Symphonies in detail, for
one reason because they are so generally familiar
to musicians and are likely to become more and
more so ; and for another because they have been
so fully discussed from different points of view in
this Dictionary. Some short simple particulars
about each may, however, be useful and interesting.
The order of composition of the works
which succeeded the Eroica Symphony is almost
impossible to unravel. By opus-number the 4th
Symphony in Bb, comes very soon, being op. 60;
but the sketches for the last movement are in
the same sketch-book as parts of 'Fidelio,' which
is op. 72, and the Concerto in G, which is
all.
op. 58, was begun after ' Fidelio ' was finished.
It can only be seen clearly that his works were
crowded close together in this part of his life,
and interest attaches to the fact that they represent
the warmest and most popular group of
Close to the Bi> Symphony come the Overture
to 'Coriolan,' the three Sti-ing Quartets,
op. 59, the Violin Concerto, the PF. ditto in
G major, the Symphony in C minor, and the
'Sinfonia Pastorale.' The B|> is on a smaller
scale than its predecessor, and of lighter and
gayer cast. The opening bars of the Introduction
are almost the only part which has a trace
of sadness in it ;
and this is probably meant to
throw the brightness of the rest of the work into
stronger relief. Even the Slow Movement contains
more serenity than deep emotion. The
Scherzo is peculiar for having the Trio repeated
—altogether a new point in symphony-wntmg,
and one which was not left unrepeated or unimitated.
What the symphony was meant to
express cannot be kno^vn, but it certainly is as
complete and consistent as any.
The C minor which followed has been said to
be the first in which Beethoven expressed himself
freely and absolutely, and threw away all
traces of formalism in expression or development
•to give vent to the perfect utterance of his
musical feeling. It certainly is so far the most
forcible, and most remote from conventionalism
of every kind. It was probably written very
nearly about the same time as the B|). Nottebohm
says the first two movements were written
in 1805 ; and, if this is the fact, his work on
theB|> and on the C minor must have overlapped.
Nothing, however, could be much §tron^r than
the contrast between the two. .'The C minor^
is, in the first and most striking inoveroehT,
rugged, terrible in force ; a sort of struggle
with fate, one of the most thoroughly characteristic
of Beethoven's productions. The second
is a contrast : peaceful, though strong and
earnest. The Scherzo again is one of his most
'
original movements ; in its musical spirit as
utterly unlike anything that had been produced
before as possible. Full of fancy, fun, and
humour, and, notwithstanding the pauses and
changes of time, wonderful in swing ; and containing
some devices of orchestration quite
magical in their clearness, and their fitness to
the ideas. The last movement, which follows
without break after the Scherzo, is triumphant
seeming to express the mastery in the wrestling
and striving of the first movement. It is
historically interesting as the first appearance
of trombones and contrafagotto in modern
symphony ; and the most powerful in sound
up to that time. The next symphony, which
is also the next opus-number, is the popular
Pastoral,' probably written in 1808, the second
of Beethoven's which has a definitely stated
idea as the basis of its inspiration, and the
first in which a programme is suggested for
each individual movement ; though Beethoven
is careful to explain that it is mehr Empfindung
'
als Malerei.' Any account of this happy inspiration
is clearly superfluous. The situations
and scenes which it brings to the mind are
familiar, and not likely to be less beloved as
the world glows older. The style is again in
great contrast to that of the C minor, being
characterised rather by serenity and contentment
;
which, as Beethoven had not heard of
all the troubles of the land question, might
naturally be his feelings about country life.
He used two trombones in the last two movements,
but otherwise contented himself with
the same group of instruments as in his earliest
symphonies.
After this there was a pause for some years,
during which time appeared many noble and
delightful works on other lines, including the
pianoforte trios in D and Efcr, the Mass in C
minor, op. 86, the music to 'Egmont,' op. 84,
and several sonatas. Then in one year, 1812,
two symphonies appeared. The first of the
two, in A major, numbered op. 92, is looked
upon by many as the most romantic of all of
them ; and certainly has qualities which increase
in attractiveness the better it is known and
understood. Among specially noticeable points
are the unusual proportions and great interest
of the Introduction (foco sostenuto) ; the singular