mighty in stride. There is a curious perversity of scale in the First
Subject as though Beethoven was no longer satisfied with the ordinary
major. The marvellous stride of the Bass at the end is not the least
amazing of the features in this wonderful movement. Perhaps, this
symphony holds together as one complete whole more than any other. It
gives one the impression of having been written uninterruptedly from
the first movement to last.
8th SYMPHONY, in F major, Opus 93.
_Allegro vivace e con brio--Allegretto--Presto--Allegro vivace._
"The little one," as Beethoven affectionately called this symphony,
was written during four months of the summer and early autumn of 1812.
It is smaller in scale, slighter in texture, than the other symphonies.
Erroneously regarded as a return to an earlier style, and labouring
for some time under the absurd title of "Ballet-Symphony," it has been
somewhat neglected in the past. Without the grandeur of the Fifth or
the romance of the Seventh, it contains a lasting, if less easy, charm,
perfect finish, and a rich fund of good humour. Only a small orchestra
is used, but it is handled in a masterly way, as the octave drums in
the masterly finale, the charming _staccato_ chords for wood-wind
with boisterous interjections from the full orchestra, the running
conversations between the violins and the basses, fully testify.
The first movement is in the usual development form.
[Music score]
A sprightly _Allegretto_ takes the place of the slow movement. The
third movement goes back to the early minuet, instead of the Scherzo.
[Music score]
The final movement is a masterpiece of construction and development
which its astounding interruptions so amply justifies finally.
[Music score]
9th SYMPHONY, in D minor, With Final Chorus on Schiller's "Ode to
Joy." (Op. 125).
_Allegro ma non troppo un poco maestoso--Molto vivace--Adagio molto e
cantabile--Choral Finale._
It is important to remember, as M. Romain Rolland has reminded us,
that this is not a Choral Symphony in the strict sense of the term,
but a "Symphony with a Final Chorus." The choral _Finale_ was written
by Beethoven in a separate MS., and, as with most of his other final
movements, he seems to have expected no closer connection with the
preceding three movements than that of general suitability. His
original idea for a last movement to this Symphony was the Finale of
the String Quartet in A minor, Opus 132, but for some reason or other
his sketches for voices on Schiller's Ode were taken up again and
worked into a _Finale_ for this Symphony. Ten years had elapsed between
the completion of the Eighth Symphony and the consummation of the
Ninth, the colossal first three movements of which are on the highest
plane of all music. As to the complete success of the choral numbers,
opinions differ widely. The first movement, colossal in conception and
dignified in tone, has moods of great passion and wonderful tenderness.
The opening theme is mighty in aspiration, rugged in power.
[Music score]
The second movement is the _Scherzo_, one of Beethoven's longest, and
perhaps his very finest. It is all brought about by the little germ
theme of three notes, which, amongst other things, suggests an unusual
tuning of the drums in octaves. A _fugato_ follows, after which the
second subject enters in the unorthodox key of C major. It is here that
many conductors take upon themselves to thicken Beethoven's wood-wind
melody, with the brass instruments. The _Trio_ is built up on a
delightful double theme ushered in by the very first entry of the bass
trombone.
[Music score]
The _Adagio_ opens with a melody of the utmost nobility, perfect in
curve, and of a marvellous serenity.
[Music score]
A sudden modulation brings us to a new subject in D major in 3/4 time.
[Music score]
The first subject then re-appears in G major, this is followed by a
mystic passage in E flat major, in which fragments of the first theme
appear after the manner of a dreamy meditation in which there is some
magnificent work for the horn. The first subject then appears in the
original key and gradually passes over into a solemn and majestic
_coda_. The form is original, even with Beethoven.
Immediately a huge hubbub breaks out from the whole of the wood-wind
instruments. A short hasty review of a few bars from each of the first
three movements follows, and after the bass instruments had commented
rather brusquely on these appearances, the famous tune in D major
breaks in on the cellos and basses alone. The melody gradually unfolds
itself but finally is suddenly broken off by the discordant hubbub
again, and the solo baritone voice enters with the words, "O brothers,
not these tones."
[Music score]
The opening quartet and chorus is based entirely on the famous tune.
The following number is a tenor solo and chorus to the accompaniment of
a military band with all the appurtenances thereof--big drum, triangle
and cymbals. A broad chorus follows, _Andante maestoso, a capella_ in
style; and as movement after movement enters, the devout feeling of
mysticism and awe increases, until the final chorus
_Chant one greeting, myriads countless_
caps with warm dazzling sunlight one of the highest peaks in all music.
THE PIANOFORTE SONATAS
THE PIANOFORTE SONATAS
1st SONATA, Op. 2, No. 1, in F minor.
The first Sonata has the usual four movements of the Haydn form:
_Allegro--Adagio--Menuetto and Trio--Prestissimo_. The first and the
last are in the usual Sonata form proper. The slow movement follows
Mozartian lines. This Sonata is the first of the set of three in this
Opus, which are all dedicated to Joseph Haydn, and the fact of such a
superscription points to the respect which Beethoven had for the older
composer, although he could not find it in his heart to continue with
him long as his pupil. The whole of the Sonata, which appeared for the
first time in 1796 and was probably written much earlier, is decidedly
conventional in form, and shews us Beethoven starting on the lines laid
down by those who went before him--Philip Emanuel Bach, Haydn, and
Mozart.
The first movement is pure Haydn music, and the only glimmer of the
future Beethoven comes in with that lovely little tune at the _Coda_.
The development portion is thin and characterless. The first subject
of the second movement was adapted from an early pianoforte quartet.
A similar process was resorted to in the first movement of the third
Sonata of this set for the second subject. The expression of this
movement is not deep, nor does it sound that note of serenity which we
regard as the chief characteristic of a Beethoven slow movement of the
mature period.
The _Minuet and Trio_ is purely Mozartian, especially in its double
counterpoint and its inversion of parts. Some characteristic touches
are found in the second subject of the last movement, which is in two
parts, and the use of an altogether new subject in the development
portion. This device is next used in the Sonata in F, Opus 10, No.
2--a device carried to great perfection in the development portion of
the first movement of the _Eroica Symphony_. The use of this broad
subject does away with any idea of development, although the movement
is built up on a figure of three chords, a point referred to in both
codas. The first part of the second subject has that weird, foreboding
feeling, which we feel frequently in Schumann's music. Already he shews
a striking fondness for the diminished third; but the passage is not
particularly striking. Far otherwise is the beautiful little tune of
eight bars which forms the second part of this subject.
2nd SONATA, Op. 2, No. 2, in A.
_Allegro vivace--Largo appassionata--Scherzo and Trio--Rondo grazioso._
There is a distinct advance in the second Sonata. Although there are
still the accepted four movements, the Minuet has now become a Scherzo.
This Sonata was probably written shortly after the first, and in it
we see how quickly Beethoven took a firm hold of form and design in
construction. There is a feeling of considerable power about the first
subject, and its short, pithy figures promise well for the development
portion, a fact of which Beethoven takes immediate advantage.
The second subject has a dual tonality, beginning in E minor and ending
in E major. This, of course, re-appears in the final section in A minor
and major. There is considerable double counterpoint, and we have the
characteristic rumblings in the bass. The canon in three parts at
the octave, in the development portion, taxes the right hand of most
players. The recapitulation is shortened and considerably altered.
In the _Largo Appassionata_ we get very near to the grandeur of
Beethoven's middle style. The opening subject has serenity, and there
is scarcely anything passionate in the whole movement which breathes of
solemn yet tender earnestness. This movement may be regarded as either
in Rondo form or in Ternary form. There is a powerful episode in flats
near the end, but the music closes with an epilogue full of tender
feeling.
We find a right boisterous joy in the _Scherzo_, which is evolved from
one single little figure. The sequence of dominant seventh chords in
the bridge, however, was already somewhat hackneyed even at that time.
The final Rondo is a graceful movement which owes much to Mozart. An
episode leads to the second subject in E major, and this in its turn
to the re-appearance of the first subject in varied form. Then comes a
stormy episode in the minor which gradually subsides into the return
of the first subject, then of the second subject, and finally winds up
with a long _coda_ containing reminiscences of all the subjects.
3rd SONATA, Opus 2, No. 3, in C major.
_Allegro con brio--Adagio--Scherzo--Allegro assai._
This, the third of the set of the three early Sonatas dedicated to
Haydn, appeared for the first time on March 9th, 1796, when Beethoven
was twenty-six years of age. Eugen d'Albert regards this Sonata as
essentially a virtuoso piece. This is saying rather much, although he
is right in warning the interpreter against any attempts to render it
mysterious by hyper-critical subtleties.
The first subject of the opening movement is a typical Beethoven
one, evolved from a short figure of two bars. Some brilliant passage
work then occurs. It was certainly Beethoven's custom at this early
period to regard such passages in a more physical sense. The second
subject enters with a dominant minor section, followed by a major
section, in which appears some fine canonic work. The minor part of
this subject, which was adapted from an early pianoforte quartet which
Beethoven had written in his youthful period, abounds in the turns and
trills characteristic of that time. The broken octaves in the coda are
frequently rendered now-a-days by alternate double octaves between the
two hands in demisemiquavers.
The development is much more Beethovenish, containing some striking
double octave cataclysms. There is also a very fine enharmonic change
from an F minor chord to F sharp minor. The Coda is noteworthy as it
includes some fine arpeggio effects and a striking slow _cadenza_.
The second movement, _Adagio_ in E major, opens with one of
Beethoven's dignified slow themes, which is sandwiched in Rondo fashion
with disturbing episodes throughout. The first episode (in E minor)
contains conversational work between the bass and the treble, the left
hand crossing the right for the latter. At the end of the return of
the first theme, there is a very striking example of an interrupted
cadence--the dominant chord of E major being followed by the tonic
chord of C.
The _Scherzo_ (three-four time) is in C major, and should be taken at
a fast rate. It is one of those movements which would have been better
written in six-four time by running two bars into one.
The final movement is a grandiose Rondo--six-eight time--in C major,
which requires a good technique, especially for the left hand. The
second subject is somewhat conventional, but the next episode contains
one of those lovely hymn-like tunes in which Beethoven delights. For
the third episode, the subject of the first episode is repeated, but
here in the tonic key; thus making the form what is known as Modern
Rondo or Sonata Rondo, in contrast to the old Rondo in which every
episode was different. The _Coda_ is remarkable and is certainly of
the virtuoso order. I never play it without thinking of the _Coda_ to
Mendelssohn's _Wedding March_. The sequences at the 15th bar after the
_Vivacissimo_ are not easy to finger. D'Albert fingers the upper part,
3, 4, 5, and the lower three notes with the thumb. Larger hands will
produce a better effect by fingering the right hand top notes, 4, 5,
5, and the alto, 2, 1, 1. The triple shake near the end is frequently
played by an alternation of six-four chords in either hand. There is
a remarkable example of an interrupted cadence here, where D becomes
D sharp leading to an A major chord. These unexpected rallentandos
and calando before the strepitous rush home become a standing
characteristic in Beethoven's music.
4th SONATA, Opus 7, in E flat.
_Allegro molto e con brio--Largo con gran espressione--Allegretto
Minore--Rondo._
This Sonata which appeared for the first time on October 7, 1797, is
dedicated to the Countess Babette von Keglevics. The composer, at the
age of twenty-seven was rapidly winning his spurs, but still wrote on
the old lines and with the customary four movements. His Minuet however
has now become a lively movement and lost all traces of its origin in
the stately dance. It is quite likely, however, that the Minuets of
Haydn and Mozart were also taken at a lively rate, incompatible with
the dance.
The first movement in regular "Sonata Form" is in six-eight time, in
happy mood. The joyous rhythm is occasionally emphasised by sforzando
syncopations. The subjects are all very taking, and there are some
striking modulations in the development.
The _Largo_ is full of religious calm. There is a striking interrupted
cadence at bar 19, and one of those majestic march-like movements for
the second subject, which on its return at the end, appears as a tenor
melody. The movement is full of rich colouring. The tones of the flutes
and other wood-wind instruments, may be imitated in parts also the song
of birds.
The first part of the _Allegro_, which takes the place of the Minuet
movement, is much more extended than usual. In place of the Trio, we
have a movement in the tonic minor of low broken chords, full of that
brooding sadness to which Schumann and Brahms in later days became so
prone. This is linked up, however, to the return of the first joyous
theme to which it forms an effective foil. The final Rondo in E flat is
real Mozart, and Mozart at his best. Play the first subject through,
sixteen bars in length. Still the bridge passage which follows is real
Beethoven. He seems fairly obsessed with his little figure, unable to
let it alone, repeating it no less than thirteen times in succession.
There is a virile second subject. The middle episode is stormy and
difficult to play unless one divines intuitively the right action.
There is a remarkable enharmonic change on the last page but one, where
the tonality is moved up a semitone from B flat to B natural (a device
of which the composer is fond), returning seven bars later on by the
chameleon-like "diminished seventh" chord. Reference is made in the
_Coda_ to the rhythm of the stormy middle episode which is here turned
to good use in the brilliant peroration.
5th SONATA, Opus 10, No. 1, in C minor.
_Allegro molto e con brio--Adagio molto--Prestissimo._
This Sonata is dedicated to the Countess von Brovne, and appeared for
the first time on September 26, 1798. It is in three movements--the
slow movement in A flat major. There is no _Minuet_ or _Scherzo_, the
_Finale_ instead being instilled with the spirit of the _Scherzo_.
The first movement is the usual development form, the first subject
being composed in Beethoven's usual manner of two figures here, (a)
upward flight, (b) soft chords. It ends with a decided perfect cadence,
the bridge subject entering after a bar's silence. It is noteworthy
that the second subject on its return appears in F major, before
settling down finally into C minor. This first movement, although
in the minor, breathes a happy contented spirit, which deepens into
seriousness in the Adagio. This opens with a beautiful 16 bar phrase.
We then pass straight into the second subject, a florid one in a
lighter vein of thought, closing in E major. A sprinkled dominant
seventh takes the place of the development section, and the whole is
then repeated. For the Coda, the first subject has passed into that
serene happy atmosphere which only Beethoven's spirit seems to have
penetrated. The Finale is again cast into development form, and is
typical of the way Beethoven expands his movements from the smallest
idea. There is a beautiful hymn-like second subject. Characteristically
enough, just before finishing this bubbling movement joyfully, the
composer falls into a deep reverie, but only to brush it aside almost
impatiently by returning to the original idea.
6th SONATA, Opus 10, No. 2, in F major.
_Allegro--Allegretto--Presto._
The tenth Opus, which first appeared on September 26th, 1798, contains
three Sonatas, all dedicated to the Countess von Brovne. The Sonata is
in three movements--the first a movement of development, the second
a _Scherzo_, and the third a playful _Presto_. The whole Sonata is
cast in happy mood. The mysterious and somewhat eerie feeling of the
Minuet being completely dispelled by the happiness of the Trio (which,
curiously, enough, Brahms seems to have written over again in his
Scherzo in E flat minor). The mood at the first part of this _Scherzo_
has a close relationship with the _Scherzo_ in the _Eroica Symphony_.
There are several noteworthy points about the development of the first
movement. It opens with a treatment of the last three notes of the
exposition in capricious manner. The development closes, too, with this
idea, but it also contains a completely new subject in D minor. The
prevalence of this tonality brings in the return section irregularly in
D major. The _Presto_ is one of those playful movements, full of fun
and written broadly in Sonata form lines.
7th SONATA, Opus 10, No. 3, in D major.
_Presto--Largo e mesto--Menuetto--Trio--Rondo._
This Sonata is one of the greatest works of the first period, if not,
indeed, the greatest of them all. The first movement is a wonderful
evolution from the first four-note figure, the development full of
all kinds of strong devices, the stormy episode in the middle based
on the rhythm of the opening phrase of the Sonata and the marvellous
slow movement full of passion and tenderness, from its opening five-bar
phrase to its beautiful close with those amazing tonic pedal chords.
The spirited Minuet, really a _Scherzo_ with two bars taken as one, is
admirably contrasted with the Hunting Song of the _Trio_. Did Beethoven
ever use the horse which Count Brovne gave him? The fine Rondo is cast
on the old lines but filled with such new feeling.
The structure of the slow movement is in song form with five sections:--
(a) Theme in D minor in two parts with cadences in C major and A minor.
(b) Modulatory section from F to D minor.
(c) Theme in D minor with cadences in B flat and in D.
(d) Development of the (a) and (b) sections.
(e) Concluding portion.
8th SONATA, (Pathétique), Opus 13, in C minor.
_Grave--Allegro di molto e con brio--Adagio cantabile--Rondo._
Published for the first time in 1799, and dedicated to the Prince
Carl von Lichnovsky. Although one of the few authentic titles, it is
difficult to see the meaning of its bearing of the Sonata as a whole,
unless indeed it is applied to the sad and dramatic introduction theme
which, indeed, deserves as a leading motive to the first movement being
introduced before the development section, and it ends just before the
coda. The slow movement is of wonderful serenity and breathes a great
religious calm. Still, it was a great offence against good feeling
to make the single a double chant out of it as one of our cathedral
organists has done. The Rondo does not quite reach the high plains of
the first two movements, it was probably written much earlier; note
the reflective mood again just before the final whirlwind. There is no
Scherzo or Minuet in this Sonata.
9th SONATA, Opus 14, No. 1, in E major.
_Allegro--Allegretto--Rondo._
The two Sonatas in this Opus, which is dedicated to the Baroness
von Braun, are not very interesting. No. 9 has no slow movement. The
meditative feeling having, apparently, crept into the _Allegretto_,
which should again be taken as two bars in one. The Rondo in E is of
great beauty and finish. The middle episode has again the feeling of a
hunting song.
They appeared for the first time in December, 1799.
10th SONATA, Opus 14, No. 2, in G major.
_Allegro--Andante--Scherzo._
The first movement, in Sonata form, is a remarkable example of the
growth of a whole movement from a single germ.
The Andante is an air with variations. The form of this is really
ternary, although if the second part be repeated, it will throw the
theme into five sections, A, B, A, B, A. The first variation places
the air in the tenor, the second divides the harmony rhythmically, the
third breaks up the harmony into semiquavers. Purists hold that this
movement is wrongly barred throughout, the first beat coming where the
third now is.
In the last sprightly movement, the _Scherzo_ and _Finale_ seem to have
run into one.
The only other examples of Beethoven's use of the designation
_Scherzo_ for a movement not in Scherzo and Trio form are in the
pianoforte sonata Opus 31 No. 3, and in the string quartet in C minor.
11th SONATA, Opus 22, in B flat.
_Allegro con brio--Adagio con molta espressione--Minuetto--Rondo._
Dedicated to the Countess von Brovne.
This Sonata is the finest since the Opus 10, No. 3 in D. It is not so
deep in feeling as some of the preceding pieces, and the composer's
preoccupation with development somewhat duly prolongs the first
movement. It is full, however, of characteristic vigour for its own
sake, and the _Adagio_, long-drawn as it is, possess a great charm.
This long-drawn meditative piece is the only case in the Sonatas
of a slow movement having all the elements of the true Sonata
forms--exposition and development, recapitulation, coda. If the
_Adagio_ breathes of the open country, the Minuet savours of the salon.
In this rather old-fashioned Minuet, the _Trio_ is styled "Minore." The
Rondo with four refrains, the last two varied.
12th SONATA, Op. 26, in A flat.
_Andante con variazioni--Scherzo--Marcia funèbre--Rondo._
Dedicated to the Prince Carl von Lichnovsky.
This Sonata was announced for the first time on March 3rd, 1802.
Two of the movements are in slow time--an Air with Variations, and a
"Funeral March on the death of a hero." The March is said to have been
written as a set-off to the popular one of that day in Paer's opera,
_Achilles_.
It is not a lamentation, but rather a tragic elegiac picture set
in an impressive frame. One feels the throb of brass, the blare of
trumpets, the roll of muffled drums, the impressive pageantry of
death. The opening _Andante_ is beautiful, and in the variations the
theme breathes as it were through a thin lovely veil. The technique
looks backwards rather than forwards, and the movement ends with a
calm phrase. The final Rondo bubbles with life ceaselessly until it
disappears in a faint whisper.
13th SONATA, Opus 27, No. 1, in E flat.
_Sonata quasi una Fantasia._
_Andante--Allegro--Andante--Allegro molto e vivace--Adagio con
espressione--Allegro vivace._
Dedicated to Princess Lichtenstein.