FIGURE LI.
In the quotation from Mozart's symphony it will be observed that the two-measure phrases exactly balance each other, but that the second phrase is melodically unrelated to the first, and is, furthermore, a somewhat trivial figure. One feels in listening to the whole theme that the real significance of it lies in the opening phrase, and this conclusion is justified by reference to the development section of the movement, where the composer altogether discards the second phrase. The style of this theme is, therefore, largely dictated by the convention of perfect phrase balance. The style of the two Beethoven themes, on the contrary, is vigorous and terse. The outward symmetry is dictated by the inner sense.
In the sonata theme Beethoven presses home his idea with greater and greater intensity until the climax is reached, after which the tension is gradually abated; in the theme from the string quartet an almost identical method is pursued. For a further illustration of the terseness of Beethoven's style reference may be made to the development sections of this sonata and string quartet, where most interesting use is made of the short motives from which these themes are derived. These methods of writing give evidence of the fine economy Beethoven continually displays. There is, in his music, nothing redundant—no unnecessary word—and it is this quality of style that produces such an effect of life and vigor.
Beethoven carries out these methods in whole movements, and even in complete symphonies. We have already seen how, in the Path?ique Sonata, a theme in the finale is derived from one in the first movement, but a much more interesting example of the process[40] may be found in the Fifth Symphony.
EXAMPLE FOR ANALYSIS, No. 20.
Beethoven: The Fifth Symphony.[41] First movement.
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