Everything is concentrated in the highest degree and the assault upon our consciousness is of corresponding power. A tempestuous transition leads to two short sf chords and then in measure 59, announced ff by the horns, appears the first phrase of the second theme, based on the same motive as the first, but in the relative major (E-flat), e.g.
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It is answered by a second phrase of marked simplicity and loveliness—a mood, indeed, of resignation. This is only momentary, however, for the relentless rhythm of the chief motive continues to assert itself in the basses until, as it gathers headway after a short closing phrase (95-99), it is thundered out ff by the full orchestra in a series of descending groups. The Development continues the same resistless impetuosity. Note the grim effect of the empty fifths and fourths in measures 126-127. Once only is there a slackening of the titanic, elemental drive—in the mysterious passage (212-239) where the pent-up fury of the composer seems to have exhausted itself. It is only, however, a lull in the storm which breaks forth with renewed energy in the Recapitulation and Coda. Observe the pathetic commentary which the solo oboe makes upon the main theme at the outset of the third part (268)—a flower growing out of the débris of the avalanche. The Coda begins, at measure 374, with a passionate insistence upon the fundamental rhythm, driven home with sharp hammer-blows and, as in all Beethoven's symphonic movements, furnishes an overpowering climax, not a mere perfunctory close. The second Movement, in A-flat major, is a series of free[154] Variations (five in number) based on a theme, Andante con moto,[155] of great rhythmic vitality, peculiarly rich and suave—announced, as it is, by 'celli and violas in unison, e.g.
The first two presentations of the theme are in each case followed by a passage of martial character which bursts triumphantly into C major. There is an orchestral touch of great beauty and originality in the first and second variations (beginning in measures 49 and 98 respectively), where a solo clarinet—later a flute, oboe and bassoon—prolongs a single tone which seems to float above the melody like a guiding star.[156] A passage of special significance is that in measures 123-146, where Beethoven indulges in a touching soliloquy upon his main theme. It is mysteriously introduced by the repetition, eight times, pp, of the dominant chord (the simplest medium of suspense) which seems to say "Hush, I have something most intimate reveal." The Coda (Più Moto) begins with a mood of wistful reverie, but the clouds are soon dispelled and the movement ends in radiant sunshine.
The salient structural feature in the last two movements[157] is that they are merged together; there is no pause after the Scherzo; and the movements are further interlocked by an interpolation, in the middle of the Finale, of a portion of the preceding Scherzo—a kind of inter-quotation or cross reference. This composite movement is a striking example of the organic relationship which Beethoven succeeded in establishing—between the different movements of the symphony. Prior to him, it is fair to say—to use a homely simile—that a sonata or a symphony resembled a train of different cars merely linked together, one after the other; whereas the modern work, as foreshadowed by Beethoven, is a vestibuled train: one indivisible whole from beginning to end.[158] But before the Fifth Symphony there had been no such systematic unification; for it is not too much to say that the whole work is based upon the persistent iteration of a single note in varied rhythmic groups. Thus in the first movement we find continually the rhythm
; in the second, in several places