Symphony, concerto, and sonata, as the sketch-books of the master show, were in process of creation at the same time.
His Seventh Symphony.
Thus far we have been helped in identifying a melody and studying relationships by the rhythmical structure of a single motive. The demonstration might be extended on the same line into Beethoven's symphony in A major, in which the external sign of the poetical idea which underlies the whole work is also rhythmic—so markedly so that Wagner characterized it most happily and truthfully when he said that it was "the apotheosis of the dance." Here it is the dactyl,
, which in one variation, or another, clings to us almost as persistently as in Hood's "Bridge of Sighs:"
"One more unfortunate
Weary of breath,
Rashly importunate,
Gone to her death."
Use of a dactylic figure.
We hear it lightly tripping in the first movement:
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