[138] Vox populi, vox Dei.
[139] D'Indy, however, in his Beethoven (p. 61, English translation) dissents from this view; not at all convincingly, it would seem to us. For the basic rhythm of each movement is on a definite dance metre and the theme of the first movement is a regular Irish jig (Beethoven at one time being very much interested in Irish folk-dances) with its typical three final notes, e.g.
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[140] It was written, to use Beethoven's own words, in an "aufgeknöpft" (unbuttoned) condition, i.e., free, untramelled, rather than straight-laced, swaddled in conventions.
[141] These are based in this work and in all Symphonic compositions on the full orchestral score (in the Peters edition); the student is therefore recommended to adopt this practise. For in Beethoven and all orchestral writers the thought and expression are so integrally bound up with the tone color and idiom of the various instruments that when their works are reduced to another medium much of the eloquence is lost. For those who cannot handle an orchestral score there are adequate arrangements for 2 hands, 4 hands and for 2 pianofortes in several standard editions. Those who have an advanced pianoforte technique should certainly become familiar with the virtuoso-transcriptions of the Beethoven Symphonies by Franz Liszt.
[142] It is an excellent practise to number the measures of a score in groups of 10.
[143] D-flat being the enharmonic equivalent of C-sharp. [Transcriber's Note: In the original, the footnote marker is in the music notation, bar 3.]
[144] The variations are not numbered and the demarcations indicated only by certain cadential objective points.
[145] By Beethoven everything is carefully planned. Note in performance the contrast of mood suggested by these final chords and the sombre register of the opening chords of the Slow Movement.