[Footnote 157: Taken separately, the movements are perfectly
normal; the Scherzo in the usual Three-part form and the Finale
in complete Sonata-form.]
[Footnote 158: There are traces of this striving for organic unity
in several of the early Sonatas, notably in theSonata Pathétique,
where the motive of the first theme of the Finale is identical with
that of the second theme of the opening movemente.g.
[Music: 1st Movement]
[Music: Finale]
Also in the C-sharp minor Sonata, op. 27, we find a case of
melodic relationship between a phase in the introductory med-
itation and the main theme of the Minuet.]
[Footnote 159: A Symphonic Poem is a descriptive composi-
tion for orchestra which incorporates many of the customary
symphonic moods; but the form is free, largely dependent on
the poetic basis, and the structure is without stops, being one
continuous whole.]
[Footnote 160: His exact words are—“Le milieu (the trio) ressem-
ble assez aux ébats d’un éléphant en gaieté—mais le monstre
s’éloigne et le bruit de sa folle course se perd graduellement.”]
[Footnote 161: Its motto might well be Browning’s famous lines:
“How good is man’s life, how fit to employ all the heart and the
soul and the senses forever in joy.”]
[Footnote B: This pianoforte figure being a very inadequate sub-
stitute for the restless tremolo of the violas,i.e., [Music].]
[Footnote 162: For suggestive comments by the noted critic
E.T.A. Hoffmann, one of the first to realize the genius of Beethoven,
and for a complete translation of his essay on the Fifth Sym-
phony see the article by A.W. Locke in the Musical Quarterly
for January, 1917.]