Part 12 (2/2)

A lack of space prevents the inclusion in the Suppleed tomovements: the Marcia Funebre, the Scherzo and the Finale The Funeral March is justly ranked with that of Chopin in his B-flat ner in the last act of the _Gotterda_ as one of thethat they could have come only from the very soul of Beethoven Especially noteworthy is the aspiring iore) where the spirit, freed from earthly dross, seems to mount to the skies in a chariot of fire

The third part, where the minor mode is resual passage, where the ecclesiastical tone, cos before us soeant in a vast,in A-flat nation, illustrates at its close a psychological use of programmistic effect; for the first therates before our very eyes--beco can showof the expressive powers of enius of Beethoven The sahtly different dramatic purpose is found at the end of the _Coriolanus_ Overture

The Scherzo, allegro vivace, in triple time, but marked _one_ beat a measure = 116 (almost two measures per second!), is unsurpassed for sustained brilliancy and daring rhythes It is so idiomatically conceived for orchestra that only the barest idea can be gained froround is a s, ainst this stands out a buoyant, folk-song type of melody on the oboe After some mysterious and fantastic modulations a _ff_ clie where the orchestra see_

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The Trio, with its three hunting horns, gives a fresh, woodland note typifying Beethoven's love of nature Some mysterious modulations lead us back fro animation of the Scherzo In this part of the movement Beethoven plays one of his characteristic practical jokes; for, just where we expect the saed fro the sa_

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This effect iant The Coda has a clear reminiscence of the dra_

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[Footnote 143: D-flat being the enharmonic equivalent of C-sharp

[Transcriber's Note: The anic connection between ins to be very frequent in Beethoven's works

The Finale, Allegro molto, has caused considerable difficulty to the commentators for reasons known only to thened to it by different critics; one regrets the falling off of inspiration, another asserts that the movement ”does not fulfill the requirements which the human mind makes of art; it leaves us confused” Poor Beethoven! But why all this pother? If the inner evidence of the music itself be any justification for structural classification, this wonderful, inspired Finale is a series of free Variations[144] on a double theme of which the parts are related to each other as Soprano and Bass, _eg_

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[Footnote 144: The variations are not numbered and the demarcations indicated only by certain cadential objective points]

By beginning the first two variations with the less important of the twoin his fondness for piquing the fancy of the hearer by starting hi away, as it were, his real purpose too soon

Yet froih successive appearances in E-flat al develope (Poco Andante con espressione), _eg_,

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in which the main theme is stated first in its noble siato es in all symphonic literature At its last appearance the real theme comes fully to its own--for the _first_ time in the _bass_, that fundaeous splendor by all the lower instruments of the orchestra It is evident that not even the ht for ever, and after this ination rese a tranquil intere in A-flat , mysterious periods of hushed suspense whichexpanse of open country or to the fading lights on the sea at sunset

The last page, beginning with the Presto, is sheer orchestral jubilation of the athering, with hats thrown aloft and shouts of triu from every throat It is of historical interest to know that the theme of this Finale must have been a favorite with Beethoven, for he had used it in three former works: a _Contre-dance_, as the basis for a set of _Pianoforte Variations_ and in the _Ballet Music to Prometheus_ It may not be too fanciful to trace a dra the daring spirit who first stole fire frolorify all heroic endeavor A thorough familiarity with thisBeethoven's freedom of expression but indeed as a point of departure for so many modern works in free variation form See Supplement No 45

To illustrate Beethoven's Pianoforte compositions we shall now analyze the _Seventh Sonata in D major_, op 10, No 3 Only wholesale hero-worshi+pers consider all of the thirty-two Sonatas of equal significance It is true that, taken as a whole, they are a storehouse of creative vitality and that in each there is so which Beethoven wrote was staenius burns more steadily in soenius to have its transcendent moments; only mediocrity preserves a dead level It is therefore no spirit of fault finding which leads us to centre our attention upon those Sonatas which have best stood the test of time and which never fail to convince us of their ”raison d'etre”: the _Appassionata_, the _Waldstein_, the _C-sharp minor_, the _Pathetique_, the _Sonata in G major_, op 14, No 2, and _all_ the last five, especially the glorious one in _A-flat major_, op 119 It is futile to deny that some of the early sonatas are experimental and that certain others do not represent Beethoven at his best, beinge which had to be expressed The D h cohly characteristic, and because its perforent amateur The full beauty of the later Sonatas can be realized only by great virtuosi who devote to them years of study The work is in four movements: the first, complete Sonata-form; the second, modified Sonata-form; the third, Three-part; the Finale, a freely treated Rondo-Sonata-fororous presentation of the main theme which ends in measure 22 with the last of three _ff_ octaves The unusually long transition, containing a subsidiary the excitement and for the playful false leads which usher in the second theme After a brilliant cadence in the doht be announced in measure 53, but not so; after three roup of descending octave leaps

A second attempt is now made, this time in A minor, only to be thwarted by a still more capricious octave descent This time, however, after a dramatic pause, we are rewarded with a clear-cut, periodic ainst which the rhythentle undercurrent So octaves which, acco portion This brilliant passage accentuates the dominant key of the second theme

After a short tranquillo phrase and some free io on to the Develope to the mediant key of B-flat major After several appearances of the main theme in the bass, Beethoven takes a leaf out of D Scarlatti's book and revels in so of the hands and some wide leaps The Recapitulation corresponds exactly with the first part until we reach the Coda inexa period of suspense an imitative treatment of the first theendo ascending passage which closes with two crashi+ng dissonances and two peculiarly grouped chords, _eg_

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They have a hard, cutting brilliance all their own and give just the touch of color needed to finish this dazzlingis carefully planned Note in perforested by these final chords and the so chords of the Slow Moveo e Mesto, there is a depth of emotion quite unparalleled in the early history of music[146] Certainly no coe As soon as the ins we are convinced that it represents the outpouring of a soul capable of deep meditations upon life and its mysteries, and with the eloquence at its cohts upon the hearer

The number of themes and their key relationshi+p are those of Sonata-form, but instead of the usual developreat pathos in the _,