with the gambols of a delighted elephant—and their spasmodic
attempts at assertion, produce an effect irresistibly droll. The
humour is as broad as that of Aristophanes or Rabelais. Words
are powerless to describe the thrill of the last fifty measures
which launch us into the Finale. We may merely observe that
this long passage,ppthroughout until the last molto crescendo,
and with the rhythmic element reduced to a minimum, makes
more of an impact upon our imagination than that of the loud-
est orchestral forces ever conceived. We are reminded of the
effect of the “still, small voice” after the thunders on Sinai. The
Finale, with its majestic opening theme in fanfare, contains a
wealth of material and is conceived throughout in the utmost
spirit of optimistic joy and freedom.[161] The Exposition has
a subsidiary theme of its own, beginning at measure 26, which
reappears with rhythmic modification (diminution), and most
eloquently announced by the bassoons, in the first section of
the final Coda. After the brilliant second theme (45-63) there is
an impressive closing theme (with some bitingfpdissonances)
which forms the basis of the Presto portion of the Coda. The
Development is a marvellous treatment of the second theme, in
imitation, modulation and climactic growth; the rhythm [Mu-
sic], so vitally connected with the whole work, persisting with
stupendous energy. In the final measures it would seem as if
Beethoven were storming the very heavens. Here occurs the
quotation from the preceding Scherzo which binds the move-
ments together and serves as a point of departure for a still
greater climax. It seems unreasonable to expect a higher flight,
but the genius of Beethoven is equal to the effort. If, before,
we have reached the heavens, now we pierce them. The bril-
liant Coda—note the ascending runs for the piccolo—is in three
sections, the first based on the subsidiary theme,e.g.,
[Music]
the second on the closing theme in quickened tempo,e.g.,
[Music[B]]
and the third, a canonic treatment of the opening fanfare,e.g.,
[Music]
in which the orchestra seems to tumble head over heels in a
paroxysm of delight. The movement closes with prolonged shouts
of victory and exultation.[162]