of art; it leaves us confused.” Poor Beethoven! But why all this
pother? If the inner evidence of the music itself be any justifica-
tion for structural classification, this wonderful, inspired Finale
is a series of free Variations[144] on a double theme of which the
parts are related to each other as Soprano and Bass,e.g.
[Music]
[Footnote 144: The variations are not numbered and the demar-
cations indicated only by certain cadential objective points.]
By beginning the first two variations with the less important of
the two melodies (i.e., thebass) Beethoven is simply indulging in
his fondness for piquing the fancy of the hearer by starting him
on a false trail—not giving away, as it were, his real purpose too
soon. Yet from the first announcement of the leading melody in
the Third Variation it assumes increasing importance, through
successive appearances in E-flat major, B minor, D major and C
major, until after a long fugal development we reach the inspired
passage (Poco Andante con espressione),e.g.,
[Music]
in which the main theme is stated first in its noble simplicity
and then enhanced by an obligato melody on the oboe. It is one
of the most eloquent passages in all symphonic literature. At
its last appearance the real theme comes fully to its own—for
thefirsttime in thebass, that fundamental voice—where it is
declaimedffin gorgeous splendor by all the lower instruments
of the orchestra. It is evident that not even the most inspired
genius can sustain such a flight for ever, and after this magnif-
icent paean the workings of Beethoven’s imagination resemble
those of Nature herself. Following a tranquil intermediary pas-
sage in A-flat major we enter upon one of those long, myste-
rious periods of hushed suspense which may be compared to a
long expanse of open country or to the fading lights on the sea
at sunset. The last page, beginning with the Presto, is sheer
orchestral jubilation of the most intoxicating kind. We may
picture an enthusiastic gathering, with hats thrown aloft and
shouts of triumph ringing from every throat. It is of historical
interest to know that the theme of this Finale must have been
a favorite with Beethoven, for he had used it in three former
works: aContre-dance, as the basis for a set ofPianoforte Vari-
ationsand in theBallet Music to Prometheus. It may not be
too fanciful to trace a dramatic relationship between its use in