This time the ruggedness of the second strain of the scherzo has all disappeared, and it remains delicate, almost ethereal, through measures 258 to 330, with which the scherzo proper ends. As has been stated, no complete pause is reached before the finale, but instead of the cadence we have placed at the end, there is a long passage leading over into the splendid march-like theme of the last movement. How this passage is made out of the themes of the scherzo itself will be seen by referring to Figure LXIII.

[PNG] [[audio/mpeg]]

[PNG] [[audio/mpeg]]

FIGURE LXIII.

With this scherzo from the Fifth Symphony we may take our farewell of Beethoven for the present, and also of the art in which he represents one of the great culminating points. After him it seemed to musicians for a while as if the triumphs of organic musical structure could no further go, and they turned their attention in other directions, and sought for other kinds of interest. But to follow them on these new paths is not a part of our present undertaking.

IV. GENERAL SUMMARY.

We have now followed the continuous and unbroken course of the development of music from the most primitive sounds grouped together in rude patterns by savages, up to the symphonies of Beethoven, which must always remain among its most wonderful and perfect monuments. We have seen how all music, which has any beauty or interest, is based on certain short characteristic groups of tones called motives, and how these are made to take on variety, without losing unity, by being "imitated," "transposed," "restated after contrast," "inverted," "augmented" or "diminished," "shifted in rhythm," and otherwise manipulated. We have examined simple cases of this treatment of musical ideas in representative folk-songs. We have seen how the polyphonic style of Bach, in which these bits of melody occur everywhere throughout the tissue of the music, arose and reached its perfection. We have studied the simple dances which, adopted by the musicians of the seventeenth and eighteenth centuries, were developed by them and combined in "suites." Then, proceeding to a higher stage of artistic evolution, we have examined the various plans which composers devised for making longer pieces in which variety and unity were still able to coexist—such forms as the minuet, the theme and variations, the rondo, and the sonata-form. In conclusion, we have analyzed representative examples of music composed in these typical forms during the great classical period of Haydn, Mozart, and Beethoven.