hoven's passionate insistence on the right to
speak out just what he felt that in one stupendous passage (measures
246-277) it seems as if the very Heavens were falling about our heads.
At measure 282 a theme of ideal repose is interpolated--just the
contrast needed after the preceding cataclysm. The Development proper
is renewed in measure 298 and after a repetition of the interpolated
theme in measures 320-335 the rhythm of the first theme asserts itself
in all its majesty, carrying us upward to a veritable table-land of
sublimity. From this we are brought down through a series of
decrescendo, modulatory chords, like drifting mists, to an almost
complete cessation of musical life--nothing but a pianissimo tremolo
on the strings. From this hush there floats in upon us the rhythmic
motive of the first theme; then, with a _ff_ chord of the dominant, we
are suddenly brought back into the sunshine of the main theme, and the
Recapitulation has begun. This portion with certain happy changes in
modulation--note the beautiful variant on the horn in measures
406-414, _e.g._,

[Music]

--preserves the customary emphasis on the main tonality of E-flat
major, ending in measures 549-550 with the same dissonances which
closed the Exposition. Then are declaimed by the full orchestra those
two dramatic outbursts which usher in the Coda and which may be
likened to "Stop! Listen! the best is yet to come." The blunt,
intentional disjunction of the harmony adds weight to the assertion,
_e.g._

[Music]

Here we have a convincing illustration of Beethoven's individual
conception that the Coda should be a second and final development;
special points of interest and treatment being held in store, so that
it becomes a truly crowning piece of eloquence. Observe how the
reappearance of the interpolated theme balances the Coda with the
Development proper and how the various rhythms of the Exposition are
concentrated in the last page. Finally a series of bold, vibrato leaps
in the first violins--based on the dominant chord--brings this
impassioned movement to a close.

A lack of space prevents the inclusion in the Supplement of the rest
of the Symphony, but the student is urged to make himself familiar
with the three remaining movements: the Marcia Funebre, the Scherzo
and the Finale. The Funeral March is justly ranked with that of Chopin
in his B-flat minor Sonata and that of Wagner in the last act of the
_Goetterdaemmerung_ as one of the