II. THE SLOW MOVEMENTS OF BEETHOVEN'S EARLY SYMPHONIES.

The early sonatas and symphonies of Beethoven are largely constructed on the old model. The first piano sonata, referred to in Chapter XII, has a sectional slow movement that might almost have been written by Mozart. The slow movement of the first symphony is simplicity itself, both in form and content; and even the adagio of the Path?ique Sonata (see Chapter XI) is a straightforward sectional piece with a lyric melody presented several times, with varying accompaniment, and with the usual contrasting middle section.

(a)

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(b)

(c)

(d)

(e)

(f)

(g)

FIGURE LV.

In Figure LV is shown the first theme of the andante of the first symphony, (a) themes from the larghetto of the second symphony, (b) and (e) and portions of the middle section of the same (c), (d), (f), and (g). Each of these themes is distinctly strophic; each has perfect phrase balance, charm of contour or outline, and simplicity of harmonization. Not so highly organized as the theme from the Path?ique Sonata (see Chapter XI, Figure XLVII) they resemble the themes of the older masters, but bear, nevertheless, some evidence of the individuality that so fully characterizes Beethoven's later music. But in the treatment of the theme from the second symphony that individuality is clearly manifested. Instead of a mere restatement varied by new harmonization or by elaboration of the theme itself, there is a free play of fancy, one or two short motives from the first theme being tossed about in the orchestra from one instrument to another in delightful by-play.

All sorts of devices are resorted to to keep the interest of the listener at its height. The chief motive (Figure LV, (b)) passes from calm serenity to playfulness, and again to splendid sonorous grandeur; a phrase from this same motive becomes the subject of an almost crabbed discussion (Figure LV, (d)), while the charming secondary theme (Figure LV, (e)), whose whimsical gayety animates the early part of the movement, is given a plaintive quality by a change to minor (Figure LV, (f)) and the touching contrapuntal phrases that are set against it. A little later a single phrase from the same theme becomes the subject of a bit of vigorous by-play between the different instruments (Figure LV, (g)).

Thus the slow movement, even in Beethoven's early works, becomes vivified by his intense individuality. In his more mature compositions in this form the whole body of the music pulsates with life—no single part stagnates.