the unparalleled combination in a single work of the
emotional intensity found in the first movement, the touching appeal
of the slow movement, the mystery, followed by the reckless display of
spirit, in the Scherzo and the paean of rejoicing which rings through
the Finale. The Sixth or Pastoral, Beethoven's one excursion into the
realm of tone-painting based on natural phenomena, is of interest more
as a point of departure for the work of his successors than for its
intrinsic message. The conception of the possibilities of musical
description has so widened since Beethoven, and the facilities for
orchestral color so increased, that this symphony, though it has many
characteristic beauties, sounds a bit old-fashioned. The Seventh is
one of the most original of them all, incomparable for its rhythmic
vitality--the Apotheosis of the Dance, as Wagner called it.[139] If
rhythm be the basis of music and of life itself, this symphony is
thoroughly alive from start to finish, hence immortal. The Eighth is
the embodiment of Beethoven's (possibly) most individual trait--his
abounding humor. Never before had symphonic music played such pranks
as are found here, especially in the Finale. The Symphony is in fact a
prolonged Scherzo[140]--the third movement (a Minuetto) being merely
for contrast. The Ninth Symphony, composed in the philosophic period
of Beethoven's life, when he was attempting still greater heights, is
a vast work, the first three movements purely instrumental, and the
Finale, for the first time in symphonic literature, a union of solo
voices and chorus with the instrumental forces. The text was taken
from Schiller's "Ode to Joy." The spirit of the poem made a strong
appeal to Beethoven's humanitarian and democratic aspirations and
there is no question of the grandeur of his conception. But it is not
carping criticism to say that his thoughts were too heaven-soaring for
a perfect realization through any earthly means. Beethoven moreover
was seldom happy in writing for the human voice--he thought in terms
of the instruments--and it is not to be denied that there are several
passages in the Finale which consist of mere boisterous shouting. No
one save believers in plenary inspiration can give to this Finale the
whole-hearted admiration that is paid to the three instrumental
movements which are pure gold; especially the seraphic Adagio and the
Gargantuan Scherzo with its demoniacal rhythmic energy. To sum up the
forego