; in the Scherzo
; and in the Finale
. Furthermore a C, repeated by the kettle-drums for fifty measures, is the chief factor in the connecting link between the Scherzo and the Finale. We shall observe this tendency to interconnection still further developed by Schumann in his Fourth Symphony, by Liszt in the Symphonic Poem[159] (to be treated later), and a climax of attainment reached in such highly unified works as César Franck's D minor Symphony and Tchaikowsky's Fifth. To return to the Scherzo, well worthy of note is the Trio, in free fugal form (its theme announced by the ponderous double basses), because it is such a convincing illustration of the humorous possibilities inherent in fugal style. The way in which the voices chase each other about—compared by Berlioz[160] with the gambols of a delighted elephant—and their spasmodic attempts at assertion, produce an effect irresistibly droll. The humour is as broad as that of Aristophanes or Rabelais. Words are powerless to describe the thrill of the last fifty measures which launch us into the Finale. We may merely observe that this long passage, pp throughout until the last molto crescendo, and with the rhythmic element reduced to a minimum, makes more of an impact upon our imagination than that of the loudest orchestral forces ever conceived. We are reminded of the effect of the "still, small voice" after the thunders on Sinai. The Finale, with its majestic opening theme in fanfare, contains a wealth of material and is conceived throughout in the utmost spirit of optimistic joy and freedom.[161] The Exposition has a subsidiary theme of its own, beginning at measure 26, which reappears with rhythmic modification (diminution), and most eloquently announced by the bassoons, in the first section of the final Coda. After the brilliant second theme (45-63) there is an impressive closing theme (with some biting fp dissonances) which forms the basis of the Presto portion of the Coda. The Development is a marvellous treatment of the second theme, in imitation, modulation and climactic growth; the rhythm
, so vitally connected with the whole work, persisting with stupendous energy. In the final measures it would seem as if Beethoven were storming the very heavens. Here occurs the quotation from the preceding Scherzo which binds the movements together and serves as a point of departure for a still greater climax. It seems unreasonable to expect a higher flight, but the genius of Beethoven is equal to the effort. If, before, we have reached the heavens, now we pierce them. The brilliant Coda—note the ascending runs for the piccolo—is in three sections, the first based on the subsidiary theme, e.g.,
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