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.
A sprightly Allegretto takes the place of the slow movement. The third movement goes back to the early minuet, instead of the Scherzo.
The final movement is a masterpiece of construction and development which its astounding interruptions so amply justifies finally.
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.
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.
The Adagio opens with a melody of the utmost nobility, perfect in curve, and of a marvellous serenity.
A sudden modulation brings us to a new subject in D major in 3/4 time.
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."
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