verpowering climax, not
a mere perfunctory close. The second Movement, in A-flat major, is a
series of free[154] Variations (five in number) based on a theme,
Andante con moto,[155] of great rhythmic vitality, peculiarly rich and
suave--announced, as it is, by 'celli and violas in unison, _e.g._

[Music]

[Footnote 154: Free, in that they are not numbered and are not
separated by rigid cadences; in that episodical passages--often of a
rhapsodic nature--are interpolated.]

[Footnote 155: The tempo is often taken by conductors too slowly, thus
losing much of its buoyancy.]

The first two presentations of the theme are in each case followed by
a passage of martial character which bursts triumphantly into C major.
There is an orchestral touch of great beauty and originality in the
first and second variations (beginning in measures 49 and 98
respectively), where a solo clarinet--later a flute, oboe and
bassoon--prolongs a single tone which seems to float above the melody
like a guiding star.[156] A passage of special significance is that in
measures 123-146, where Beethoven indulges in a touching soliloquy
upon his main theme. It is mysteriously introduced by the repetition,
eight times, _pp_, of the dominant chord (the simplest medium of
suspense) which seems to say "Hush, I have something most intimate
reveal." The Coda (Piu Moto) begins with a mood of wistful reverie,
but the clouds are soon dispelled and the movement ends in radiant
sunshine.

[Footnote 156: While listening to this passage one is instinctively
reminded of Keats's "Bright and steadfast star, hung aloft the
night."]

The salient structural feature in the last two movements[157] is that
they are merged together; there is no pause after the Scherzo; and
the movements are further interlocked by an interpolation, in the
middle of the Finale, of a portion of the preceding Scherzo--a kind of
inter-quotation or cross reference. This composite movement is a
striking example of the organic relationship which Beethoven succeeded
in establishing--between the different movements of the symphony.
Prior to him, it is fair to say--to use a homely simile--that a sonata
or a symphony resembled a train of different cars merely linked
together, one after the other; whereas the modern work, as
foreshadowed by Beethoven, is a vestibuled train: one indivisible
whole from beginning to end.[158] But before the Fifth Symphony there
had been no such systematic unification;