We do not reach the full stature of the Beethoven scherzo, however, until we get to that of the third or "Eroica" symphony. In this wonderful movement we have a perfect masterpiece of irresistible, tireless, kaleidoscopic humor, a great epic of irresponsibility which must be ranked with such unique expressions of the humorous spirit in literature as Shakespeare's Falstaff plays, Sterne's "Sentimental Journey," or Stevenson's "New Arabian Nights." Well may Sir George Grove say of it, that it is "perhaps the most Beethovenish of all his compositions," and that in it "the tragedy and comedy of life are startlingly combined."
It begins with a stealthy, soft succession of staccato chords in the strings, uniformly pianissimo and yet most insistent in rhythm. Against this is presently outlined the most piquant little theme by the oboe ((a) in Figure LXI); the chords go on again, and then sounds above them once more this incisive little theme. In the contrast section after the double-bar comes first more playing with the rapid soft chords, and then a charming bit of "imitation" of the theme from one voice to another ((b) in Figure LXI). The note D is finally reached in this way, and then Beethoven, instead of making some trite and uninteresting modulation back to E-flat, whither he wishes to go in order to begin his restatement, simply goes on sounding D for ten measures, piano, and then without warning drops down to B-flat, pianissimo, for four measures, and therewith proceeds with his theme again. The mystery and charm of this return to key are indescribable; the persistent pianissimo adds much to its extraordinary effectiveness.
(a)
![[PNG]](#5102994518728001825_pag215_score1.png.id-1309493509243852842.wrap-0.html.html){kind=link}
(b)
![[PNG]](#5102994518728001825_pag215_score2.png.id-7759238528190502079.wrap-0.html.html){kind=link}
