TABULAR VIEW OF STRUCTURE OF THE ANDANTE OF THE
FIFTH SYMPHONY.[45]

Sections.Themes.Measures.
1.Theme I in A-flat major1-23
Theme II in A-flat and C-major23-50
2.First variation of theme I, A-flat major50-72

Second part of theme I as before but with
more elaborate accompaniment
72-99
3.
Second variation of theme I, A-flat major
(theme given out three times: cellos, violins and basses)
99-124
Episode, founded on initial motive from theme I124-148
Theme II in C-major (first two phrases lengthened)148-158
Episode, founded on motive from theme I158-167
Theme I in A-flat minor167-177
Transition passage leading to return of theme I177-186
4.Theme I, A-flat major186-206
5.Coda206-248

The foregoing table may be compared with that of the Haydn variations in Chapter VII. While the general scheme is the same—for the two themes are in each case presented several times—the Beethoven variations are much more concise, and at the same time much more fully expressive and illustrative of the original theme. Haydn's variations are na?e; Beethoven's are conscious. Beethoven presents his themes from widely different points of view; Haydn presents charmingly elaborate versions of the same melodies. "Composers did not for a long while," says Parry,[46] "find out the device of making the same tune or 'theme' appear in different lights, so as to make studies of different aspects of the same story under changing conditions, as in Robert Browning's Ring and the Book."

These entirely distinct presentations of the original idea give to this movement an especial charm, placing it far above any of Haydn's or Mozart's variations.

III. INDIVIDUALITY OF THE ANDANTE OF THE FIFTH SYMPHONY.

The peculiar charm of this andante lies not so much in its melodies, beautiful as they are, as in the individuality of their treatment. The first version of the theme as it appears in Beethoven's sketch-book is shown in Figure LVI (a), and at (b) is given the first part of the completed theme.

(a)

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