.g._

[Music[A]]

[Footnote 151: This interpretation of d'Indy is based upon the
prevalence in the movement of the conventional martial rhythm [Music]
and carries, we must acknowledge, considerable weight. It is, however,
distinctly subjective and prevents no one from gaining quite a
different impression. We should be more inclined to accept the views
of the noted French scholar had he not been so wide of the mark, while
speaking of the Seventh Symphony, as to deny any appearance of
dance-rhythm in the first movement But the Irish composer, Villiers
Stanford, has shown conclusively that the theme is based upon the
rhythm of an Irish Hornpipe. Thus do the wise ones disagree!
Meanwhile, we others have the _music itself_.]

[Footnote 152: _Beethoven and his Nine Symphonies_ by Sir George
Grove.]

[Footnote 153: Beethoven's favorite mark of tempo and expression.]

[Footnote A: There are also some _p_ holding notes on the bassoons.]

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._

[Music]

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 debris 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 o