the even tenor of their way by these impassioned onslaughts.
When Beethoven’s Symphonies were first played in Paris, it is
reported that the operatic composer Boieldieu was much dis-
concerted, because, as he said, he liked “musique qui me berce.”
The transition (measures 43-81) is a remarkable example of
Beethoven’s power of creating ever more and more excitement
and expectancy. It containsthreesubsidiary melodic phrases,
each of increasing rhythmic animation,e.g.,
[Music]
and fairly whirls us into the beautiful contemplative theme at
measure 81. This theme embodies some entrancing modula-
tions into remote keys, and then, after one of Beethoven’s typi-
cal passages of hushed pianissimo (beginning in measure 97) we
are led through a series of sforzandos, crescendos and titanic
ejaculations to the overpowering dissonances in measure 145,
which with the tonic chord close the Exposition in the domi-
nant key. The Development (measures 164-396) is extremely
long and varied, but a perfect manifestation of spontaneous,
organic treatment—each portion growing inevitably from what
has preceded and marching irresistibly onward to its objective
goal. Every modulatory, rhythmic and polyphonic device is em-
ployed to vary and intensify the message; yet, notwithstanding
the diversity of the material, we are held spellbound by the
directness and coherence of the thought. Such is Beethoven’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 interpo-
lated 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
ffchord 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.,