With few interruptions, such as a theme for a “symphony without drums,” “good triplets of another sort,” the Allegretto and Finale of the Seventh Symphony are the subjects of the studies for more than forty pages. That modest gem—the theme of the Allegretto—is still the same throughout; but how astonishing the number and variety of forms for its setting, that were tested, before the majestic, the sublime simplicity was attained, which satisfied the exquisite taste of its creator!
On page 71 begin the sketches for the first, on page 83, for the last movement of the Eighth Symphony. These two Symphonies, then, were the grand orchestral works in preparation for the proposed concert. Scattered along this part of the sketchbook are divers subjects for pianoforte works; as if Beethoven had in mind a companion piece to the E-flat Concerto for the farther display of his powers. In our notes we find, “Overture-Concerto,” p. 73; p. 83 “Concerto in G”—“Concerto in G or E minor”—“Adagio in E-flat”—“Finale Tutti”; and near the bottom of the same page—“Polonaise for Pianoforte alone.” But the master had no new vocal work for the occasion. Do not the following memoranda—accompanied in the sketchbook by numerous studies—show how the deficiency was to be supplied? Immediately following the “Polonaise” we read:
Freude schöner Götter Funken Tochter. Work out the overture.
Again on leaf 43:
Freude schöner Götter Funken Tochter aus Elysium. Detached fragments, like princes are beggars, etc., not the whole.
On the same page again:
Detached fragments from Schiller’s Freude brought together in a whole.
One of the sketches (according to our copy) begins thus:
