Identifier: beethovencritica00indy (find matches)
Title: Beethoven; a critical biography
Year: 1913 (1910s)
Authors: Indy, Vincent d', 1851-1931
Subjects: Beethoven, Ludwig van, 1770-1827
Publisher: Boston, Mass., The Boston music company New York, G. Schirmer
Contributing Library: Boston Public Library
Digitizing Sponsor: Internet Archive

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o of the chords of Z) or Bflat, the two tonal bases of the work; one might, therefore,consider this arpeggio as the real cyclic theme of the NinthSymphony. The entire work is nothing but a conflict be-tween the various states of this theme, restless and change-able in the first two movements, tranquilized in the Adagio,and definitely fixed in the Finale, where words finally enterto explain its intent. The first movement, constructed after an impeccable sona-ta plan, leaves an impression of agitation, of breathless pur-suit, almost bordering on despair. The analogy of the themeto that of the storm in the Pastoral Symphony arousesthe idea of a tempest, not out of doors, this time, but in theheart of a man; and the mysterious question conveyed inthe second theme, here remaining unanswered, seems thusto find a fitting explanation. It is the soul, fallen a prey to * A very interesting commentary on the genesis of thework may befound in Prodhommes book on Les Symphonies de Beethoven. ( IH )
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BEETHOVEN MONUMENT AT VIENNA LUDWIG VAN BEETHOVEN the cruel tortures of doubt. Then, to escape this torment,the man plunges into the torrent of passions, and the feverishactivity of the Scherzo, incessantly changing in rhythm andplace, would give expression to this new soul-state. Butnow, in the Trio, a call is heard, several times repeated, whichalready foreshadows the brotherly love motive in thetheme; but it passes on, carried away by the tempestuousgust of passion, and the whirlwind recommences in full force.The movement of this Trio has hitherto been variouslyexecuted. Most conductors of orchestra slow down reck-lessly, and transform it into an amiable villanella wholly atvariance with the composers intentions. A mere glance atthe original manuscript will dissipate all doubts concerningthe movement therein indicated by Beethoven — pre-stissimo; which ought, considering the similarity of the twotimes, to continue without change the pace set by thepreceding stringendo. The third

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