Page:Rolland - Beethoven, tr. Hull, 1927.pdf/143

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THE NINE SYMPHONIES

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subject is much firmer and the subjects themselves are more striking.

$\new GrandStaff << \new Staff { \key d \major \tempo "Allegro con brio" \acciaccatura s8 d'8 \fp d'8 d'8 d'8 d'8 d'8 d'8 d'8 \bar ".|:" d'8 d'8 d'8 d'8 d'8 d'8 d'8 d'8 | d'8 d'8 d'8 d'8 d'8 d'8 d'8 d'8 } \new Staff { \clef bass \key d \major \acciaccatura d,8 (d2.) d16 (cis16 d16 e16) \bar ".|:" fis2. fis16 (e16 fis16 g16) | a4 \staccato a4 \staccato fis4 \staccato fis4 \staccato } >>$

The Larghetto is full of lovely curves,

$\new GrandStaff << \new Staff { \tempo Larghetto \clef violin \key a \major \time 3/8 <cis' e'>8 \p (<e' a'>8 <e'~ gis' b'>8) << <a' cis''>4. {e'4 r8}>> | << \new Voice { \voiceOne \trill cis''8 e''16. d''32 cis''8 } \new Voice { \voiceTwo r8 b' cis''8 } >> | <gis' b'>4. } \new Staff { \clef bass \key a \major \time 3/8 << \new Voice { \voiceOne [a8 cis'8 r8]} \new Voice { \voiceTwo a4.} >> a8 (cis'8 e'8) a'8 (gis'8 a'8) e'8 (dis'8 d'8) } >>$

and there is some charming conversational work between the wood-wind instruments. The horn passage is the precursor of many fine symphony subjects of a martial nature for the horns.

Whilst the chromatic harmony is purely Mo-zartian, the Scherzo is a genuine Beethovenian outburst, full of verve and piquant in touch.

$\new GrandStaff << \new Staff { \tempo Allegro \clef violin \key d \major \time 3/4 d'2. \f | fis''4 \staccato \p g''4 \staccato a''4 | << { <d' e'>2.} \f {b2 r4} >> | g''4 \p a''4 b''4 r2. | } \new Staff { \clef bass \key d \major \time 3/4 < d, \staccato d>4 < e, \staccato e>4 < fis, \staccato fis>4 r2. | < g, \staccato g>4 < a, \staccato a>4 < b, \staccato b>4 r2. | < a e'>4 < d' \staccato fis'>4 < e' \staccato g'>4 } >>$

There is a feeling of broadness about the brilli-ant and energetic Finale which is absent from the Finale of the First Symphony.