FIGURE XXVIII-f.
FIGURE XXVIII-g.
In Figure XXVIII are put down a few of the more important modifications of the first subject of the Eroica Symphony, as an illustration of the inexhaustibility of fancy displayed by Beethoven in this sort of development. (a) is the theme in its initial form. Note how, with that mysterious C-sharp in the bass, in the fifth measure, the outline is momentarily blurred, and the insistence on the tones of the triad relaxed, until with measure 7 the key is re-entered and the sentence soon brought to a firm conclusion. No one but Beethoven could ever have conceived that C-sharp. In (b), which follows, in the score, immediately on (a), the second half of the motif is made the subject of a development by repetition, at a higher and higher pitch. In (c), which occurs after the second subject, and near the end of the first section of the entire movement, the same portion of the motif is further exploited. For the first four measures it is thrown back and forth in imitation. In the fifth, sixth and seventh measures it is given to the bass, in diminution (note how piquantly) and in the eighth measure it is both diminished and inverted, yet without giving the slightest impression of artificiality. The subject appears at (d), which is a part of the working-out portion of the movement, in the minor key, and rapidly modulating to distant keys, as is appropriate in that part of the composition the aim of which is to contrast with the definiteness, orderliness, and precision of the Exposition. At (e) the subject, still in minor, is heard in the bass, while the treble has as a counterpoint to it a tripping rhythm derived from another part of the original material. At (f), becoming emphatic, magniloquent, the theme is sounded forte, and in unison by the whole orchestra, and extended by a natural magnification to an eight-measure phrase. This is developed at some length in the score. (g) is the beginning of the Coda. In one of Beethoven’s breathless pianissimos, the subject is given by the second violins on their G-strings, the first violins meanwhile embroidering in an elastic staccato the most indescribably merry, light-hearted little counter-melody. From the freshness of this, one might fancy that the work was just opening rather than drawing to its close. Truly, Beethoven’s imagination is like some friendly genie of the Arabian Nights, filling our cup of enjoyment as fast as it is drained.
The mental power that in the preliminary parts of composition reveals itself merely as a remarkable ingenuity, inventiveness, and elasticity of mind, appears, when contemplated in its larger action, almost superhuman in its breadth of grasp. In the conception and execution of a great symphonic work, as an integral whole of many and diverse parts, Beethoven is unapproachable. All the successive movements in a long work, all the themes and transitions, all the rhythmic changes, all the modulations, temporary or prolonged, are foreseen and adjusted with perfect control. There is no feature of any moment that has not its relation to the whole. Often the reason of some apparent whim will not appear for pages; but at last it will appear, and when it does it will be seen to fulfil a purpose never lost sight of. As a turret or window at the extreme end of a building may balance a similar feature at the other end, so Beethoven’s treatment of a given theme, early in a movement, may be determined and illuminated by what he finally does to it in the Coda. So integral is his work, so firmly held in the grip of his inexorable artistic logic.
Beauty, in the great compositions of his prime, is therefore as omnipresent as expression; and their supreme greatness is in fact due to the perfect balance, in them, of these two equally important elements of musical effect. Before passing on to the consideration of his later years, it will be well to make still clearer the fact of this balance of qualities by a brief reference to the highly interesting and significant attitude of Beethoven towards program music.