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 mo-
mentary, however, for the relentless rhythm of the chief motive
continues to assert itself in the basses until, as it gathers head-
way after a short closing phrase (95-99), it is thundered outff
by the full orchestra in a series of descending groups. The De-
velopment 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 débris of
the avalanche. The Coda begins, at measure 374, with a pas-
sionate insistence upon the fundamental rhythm, driven home
with sharp hammer-blows and, as in all Beethoven’s symphonic
movements, furnishes an overpowering climax, not a mere per-
functory 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 uni-
son,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 orig-
inality 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