ons we select the first
movement of the _Third_ or _Heroic_ Symphony; the _Seventh Sonata in D
major_ for Pianoforte; the _Fifth Symphony in C minor_ (entire) and
the _Coriolanus_ Overture. In regard to the symphonies it is
understood that the emphasis on certain ones and the omission of
others implies no ultra-critical attitude. Each of Beethoven's
symphonies has its characteristic attributes and each is the work of a
genius. But just as in Nature some mountains are more majestic than
others, so concerning the nine symphonies we may say that their order
of excellence as endorsed by the consensus of mankind would be as
follows. The First Symphony is somewhat experimental, composed when
Beethoven was working out his technique of expression. It is closely
modeled on the style of Haydn and, though showing certain daring
touches and though perfectly direct and sincere, is not of marked
individuality. In the Second Symphony a long advance is made, for we
find numerous traits which are thoroughly distinctive of the genius of
Beethoven: the exciting Prelude to the first movement; the heavenly
Larghetto, one of the first slow movements of real emotional power;
the rollicking Scherzo (note the fantastic touches in the Trio) and
the splendor of the last pages of the Finale, which can only be
compared to a sunset with its slowly fading colors and its last burst
of glory. The general style of the Second Symphony however is that of
Haydn and Mozart, though raised to the highest pitch of eloquence. In
the Third Symphony the complete Beethoven steps forth. It was his
declaration of independence, and in this work, as he himself said, he
began a completely new line of activity; it was also his own favorite
among the symphonies.[136] Heretofore there had been no such
impassioned utterance as is revealed in the first movement of this
Third Symphony and there have been few, if any, to equal it since. The
Fourth Symphony is an entrancing work and shows Beethoven's
inexhaustible variety of mood; since, save for the "grand manner"
peculiar to all his works, it differs strikingly from the Third and
the Fifth. It was composed during the happiest period of Beethoven's
life and is related in its whole character to his emotions and
aspirations at that time.[137] The slow movement is the most sublime
love-song in music. The Fifth Symphony is undoubtedly the most popular
of them all, in the true sense of the term.[138] The reason for this
verdict is