I do not recollect anything remarkable with regard to the manner of performing the other movements of this Symphony. The tempi as marked may be adhered to.
I have already observed that Beethoven marked the second movement of the A major Symphony with the direction Andante, quasi Allegretto. But at the part in C major the time may be somewhat quickened, which will be found to produce an extremely pleasing effect, forming likewise a fine contrast to the mysterious character of the introduction. The passage in A minor, which prepares the conclusion, demands, particularly in those parts where the violins answer the wind-instruments, little breaks of the time, which the subject and the declamation render indispensable. The right colouring is thus given to the back-ground of the picture, and the deepest impression produced on the hearer.
Concerning the Symphonia Eroica, Beethoven wished that the first movement should be taken in more moderate time than is indicated by the direction, allegro con brio, which in the course of performance is usually converted into a presto. This detracts from the elevated character of the composition, and transforms it into a concertante display. On the contrary, a perfectly tranquil movement should prevail from beginning to end, even in the loudest parts. The tempo should be somewhat retarded in this phrase:—
and this measure should be maintained to the following pianissimo passage,—
where a gentle accelerando brings back the original time of the movement. This latter time must be rigidly observed as far as the forte phrase in B major. The same changes of time should be observed in the corresponding phrases of the second part of the movement.
Before I proceed to comment on the second movement, the Marcia funebre, I must bring to the reader's recollection Beethoven's declaration in reference to this movement, given in the Second Period. Whether this declaration be taken as jest or earnest, it contains a great deal of truth. Though Beethoven said he composed the music appropriate to the tragical end of the great Emperor seventeen years prior to the event, yet the extent of his fancy is more powerfully manifested in the manner in which he has portrayed the catastrophe. Does not, for example, the middle movement in C major plainly point to the rising of a star of hope? Further on, does not this same middle movement indicate the firm resolution of the hero to overcome his fate? The succeeding fugue-movement, also, still pictures out a conflict with fate. After this there is perceptibly a decline of energy, which, however, again revives, until in this phrase:
resignation is expressed, the hero gradually sinks, and at length, like other mortals, is consigned to the grave.