Chapter 18

SYMPHONY NO.

5[150]

[Footnote 150: This is not given in the Supplement. See pre-
ceding remarks apropos of the Third Symphony. The comments
are based, as usual, on the full orchestral score.]

TheFifth Symphony in C minor, op. 67, is deservedly popular
because it is so human; a translation, in fact, of life itself into
the glowing language of music. Beethoven’s emotional power
was so deep and true that, in expressing himself, he spoke, like
every great philosopher, poet or artist, for all mankind. Which
one of us in his own experience, has not felt the same protests
against relentless Fate that find such uncontrollable utterance in
the first movement? Who, again, is untouched by that angelic
message, set before us in the second movement, of hope and
aspiration, of heroic and evenwarlike[151] resolution, mingled
with the resignation which only great souls know? The third
movement (Allegro)—in reality a Scherzo of the most fantas-
tic type, though not so marked—might well typify the riddle of
the Universe. We indeed “see through a glass darkly,” and yet
there is no note of despair. Amid the sinister mutterings of the
basses there ring out, on the horns and trumpets, clarion calls
to action. While we are in this world we must live its life; a
living death is unendurable. The Finale, Allegro maestoso, is
a majestic declaration of unconquerable faith and optimism—
the intense expression of Beethoven’s own words, “I will grapple