III. THE SCHERZOS OF BEETHOVEN'S SYMPHONIES.

The third movement of the first symphony, though called "Minuetto," is marked "allegro molto e vivace," and with its spirited theme, fascinating harmonies, and striking rhythms, is essentially a scherzo. Perhaps the most interesting single feature of it is the completely Beethovenish means adopted for getting back to the theme and the home key of C-major after the section of contrast.

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FIGURE LIX.

The passage is shown in Figure LIX, and merits careful study. From D-flat major, a key far distant from C, return is made by imperceptible degrees. At the same time there is a crescendo of power, until finally the theme breaks out vigorously in the home-key. It will be noted that the brief phrases played by the left hand in this passage are made from the first two notes of the theme itself. Thus closely does Beethoven stick to his text.

The forcible syncopated rhythms and dissonant harmonies near the end of this movement also deserve notice. They give it a rugged character strangely at variance with its title of "minuet."

In the second symphony the name scherzo is adopted, and the phials of mirth are freely opened. Sudden alternations of loud and soft are especially conspicuous, as will be seen by referring to the theme, quoted in (a) in Figure LX. Each new measure, here, brings something unexpected and deliciously piquant.

Violent shifts of accent on to ordinarily unimportant parts of the measure will be noticed in the twenty-first and twenty-fifth measures, affording relief from what might without them become monotonous.

A little later, after the reappearance of the theme, Beethoven indulges in one of those passages which puzzle us and pique our curiosity (Figure LX (b).) Where is he going? we ask ourselves, what will he do next? But after a few moments' suspense, in which the music seems to be spinning about in an eddy, so to speak, it falls into the current again, and all goes cheerfully to the end.

(a)

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(b)

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FIGURE LX.

In the trio, the student should note the whimsicality of the long hold on an F-sharp through six entire measures, pianissimo, followed by a sudden loud chord on A.

Indeed, the prankishness of the entire movement is inexhaustible.

We do not reach the full stature of the Beethoven scherzo, however, until we get to that of the third or "Eroica" symphony. In this wonderful movement we have a perfect masterpiece of irresistible, tireless, kaleidoscopic humor, a great epic of irresponsibility which must be ranked with such unique expressions of the humorous spirit in literature as Shakespeare's Falstaff plays, Sterne's "Sentimental Journey," or Stevenson's "New Arabian Nights." Well may Sir George Grove say of it, that it is "perhaps the most Beethovenish of all his compositions," and that in it "the tragedy and comedy of life are startlingly combined."

It begins with a stealthy, soft succession of staccato chords in the strings, uniformly pianissimo and yet most insistent in rhythm. Against this is presently outlined the most piquant little theme by the oboe ((a) in Figure LXI); the chords go on again, and then sounds above them once more this incisive little theme. In the contrast section after the double-bar comes first more playing with the rapid soft chords, and then a charming bit of "imitation" of the theme from one voice to another ((b) in Figure LXI). The note D is finally reached in this way, and then Beethoven, instead of making some trite and uninteresting modulation back to E-flat, whither he wishes to go in order to begin his restatement, simply goes on sounding D for ten measures, piano, and then without warning drops down to B-flat, pianissimo, for four measures, and therewith proceeds with his theme again. The mystery and charm of this return to key are indescribable; the persistent pianissimo adds much to its extraordinary effectiveness.

(a)

(b)

(c)

(d)

FIGURE LXI.

Now, however, with the return of the theme, we at last get a good ear-filling fortissimo, the whole orchestra taking part in a vigorous game of musical tag (the theme made into a canon—(c) in Figure LXI). A fine climax is reached in a passage of bold leaping melody in the strings, in which the accents are dramatically placed on the second instead of the first beats of the measures, followed and completed by staccato chords on the wood-wind instruments ((d) in Figure LXI). This is enormously vigorous, and makes a fitting culmination for this first part of the movement, besides giving an opportunity for still greater effect later, as we shall see in a moment. After it, a cadence is soon reached, though not before the strings and wood-wind instruments have had a brief whimsical dialogue on the subject of the staccato chords.

So far all is bantering merriment, iridescent color, and energetic high spirits. But in the trio, one of the most wonderful of all Beethoven's strokes of genius, the mood changes, and while the quick three-four measure is still felt underneath, the long notes, and the deep mellow tones of the horns, give an almost tragic quality to the music. The theme, given out by three horns alone, with a brief cadence by the strings, does not reach its full stature until its recurrence near the end of the trio. In its second phrase the lowest horn reaches, and holds for two measures, a D-flat which is of almost unearthly solemnity of effect. This passage repays careful study, so wonderfully does it use the simplest means to gain the highest beauty. Sir George Grove well says of it: "If ever horns talked like flesh and blood, they do it here."

The scherzo, on its return, goes on much as at first. Yet Beethoven still has one last shot in reserve, as we suggested a moment back. When he comes to that splendidly proud passage of descending leaps in the strings (Figure LXI, d.), instead of repeating it, as he did at first, in the same rhythm, he suddenly transforms it into even half notes, which crash downwards like an avalanche, quite irresistible. (See Figure LXII.) The effect is again indescribable in words; its gigantesque vigor is of a kind to be found nowhere but in Beethoven, and in him only in his inspired moments.

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FIGURE LXII.

In this wonderful movement the Beethoven scherzo first reaches its full stature. It may be questioned whether he ever achieved anything finer.

Yet in its own way the scherzo of the Fifth Symphony [51] is equally original and characteristic, and as we have already analyzed two movements of that symphony we will now make a detailed analysis of this movement too.