January 17, 1810 in No. 16 [Columns 241-253]:

"R E V I E W

Sinfonie Pastorale pour 2 Violons, 2 Violes, Violoncelle et Contre-Violon, 2 Flutes, petite Flute, 2 Hautbois, 2 Clarinettes, 2 Bassons, 2 Cors, 2 Tropettes, Timbales et 2 Trompes, composee et dediee a son Altesse Serenissime Monseigneur le Prince regnant de Obkowitz, Duc de Raudnitz, et a son Excellence Monsieur le Comte de Rsumofsky, par LOuis van Beethoven.  Propriete des Editeurs, No. 6. Oeuvr. 68.  a Leipsic, chez Breitkopf et Härtel. (Pr. 4 Thlr. 12 Gr.)

This wonderful, original, lively work B's that, without hesitation, can be set beside his other masterworks, has been described more closely by the reviewer in the last volume of this periodical, when it was performed from the manuscript, in Leipzig; at that time, the reviewer discussed the purpose and nature of this work from an aesthetic viewpoint, so that he would only have to repeat it here if he did not wish to use the space that is available to him here, for something else.  Here, he wants to look at another aspect of this work, namely, in the narrower sense of the word, the artistic aspect;  of it, in order to avoid misunderstandings, a word should be said beforehand.   

    The work contains, in symphonic form, a painting of country life.  "A painting?"--"Is music supposed to paint?  have we not "already for a long time moved beyond the times in which musical painting was considered of value?"  Indeed, by now, it is quite clear to us that the depiction of outer subjects by music is not in good taste and that one should not think very highly of such means to create an effect.  However, these contentions have nothing to do with the work at hand which is not a depiction of spatial subjects of the country-side, but rather a depiction of the feelings that we have when being confronted with these subjects.   Everyone who has thought about this art as well as about the nature of the feelings that are supposed to be expressed with this music will realize that such a painting is not in bad taste. 

    Let us now move on to the closer look at the work we promised; and while a written description of it does not provide us with a complete idea of the value of this composition, since it, in order to be properly enjoyed, has to be heard, an examination of it can evoke in the wider public the wish to listen to it more attentively, and to thinking musicians it cam provide material and stimulation to many pleasant and instructive ideas.   

    The whole consists of five movements of which each one forms a small whole, by itself.  The first movement--Allegro, ma non troppo, (F-major, 3/4 time)--begins with a simple, pleasant song that expresses the pleasant feelings that are evoked in us when we wander from the city out into the country-side.  After the first measures, the theme is repeated with ever-changing accompaniment and with the gradual entry of the wind instruments, first in weaker and then in stronger intonations, in order to represent the feelings that are gradually growing in us and that become stronger and stronger the closer we come to our destination.  At measure 55, a different song sets in that, in the same way as the first, excellently describes a person's feelings that are growing stronger and stronger, first with simple violin accompaniment, then with triples by an added flute, and finally in sixteenths, with the addition of all wind instruments.  Towards the end of the first part, strength and life is in all voices, that, however, towards the end, decreases again.  The second part begins with the two opening measures of the first, which are supported by the muted sounds of the clarinets, bassoons and horns.  Then also all other wind instruments are added, one after another, which, more strongly, support the theme that is played in alternation between the first and second violins and the violoncellos, with mixed-in trills.  The transition from B-Major to D-Major, at measure 25, has a splendid effect; a single dominant chord that is held for 27 measures does tire the ear too much.  Probably the composer felt this, himself, and wanted to remedy this by having the theme played alternately by the string instruments and by the wind instruments, with alternating force: nevertheless, the ear wants to be stimulated by a new harmony that, entering with measure 55, in the reviewer's opinion, comes somewhat too late.  With this measure, the theme in G-Major pleasantly addresses us, to which the second violins play a fine counter-theme, for two measures, which is imitated by the violoncellos.   The modulation from G-Major to E-major, as the dominant of A is the same as that from F-Major to D-Major, and has the same, wonderfully surprising effect; however, the following measures, also due to their too long rest on the dominant chord E, are equally unpleasant to the ear as the final return to the theme that is now repeated in A.  After its repetition, the artist--in order to avoid his listeners' ears getting tired  by constantly listening to one movement--takes up another stretch of four measures that he had only hinted at at the beginning of the first part, and leads us back to the beginning theme by first presenting this passage in a simple manner, then with accompanying sixteenths, and finally with the force of all wind instruments, with a long tremolo in the first violins.  Now, this beginning theme appears to us like an old acquaintance of whom we can not grow tired, since he shows us his presence in many ways and if he might get boring, he rather removes himself for a while in order to let us enjoy his return, all the more.  With these various kinds of repetitions of the main theme we arrive, never feeling any kind of redundancy--with the exception of the above-noted instances--at the end of the first piece, not aware what a long way we have already come.  According to the intentions of the composer, No. 2 is supposed to depict a scene by the brook.  Indeed, we feel everything that such a remote place in nature that inspires in us contentment and contemplation invites us to, and the entire piece speaks to the heart in a tremendous way by awakening soft feelings in it.   The choice of the B-Major key, the remaining on 12/8 time, the natural, yet not any less surprising and not any less pleasant diversions into related keys, all of this has to evoke in the sensitive listener a turning from more lively joy to the calm of a more inward-oriented contemplation.   The second violins and the violas begin a gentle song that is held in thirds and that, doubled by two violoncellos in the lower octave, is splendidly accentuated.  To this, for four measures, the first violins play a short, purposeful contrast as introduction which never is menat be an execution.  With the fifth measure, the accompanying movement of the second violins, violas and of the two violoncellos is getting faster, and, indeed, be believe to hear the soft murmur of a brook.  The song of the first violins becomes more flowing and coherent, the feelings become more pronounced.  With the seventh measure, the first clarinet and the first bassoon take up the passage with which the first violins had begun.  The 'murmur' in the violoncellos and in the second violins continues, and the first violins, with short trills, seem to be hinting at birdsong in the shadows of the brook.   To this, the horns play their own figure that consists of "Rucknoten"-- [Translator's note: no adequate translation was found for this term, at this time; the components of this German word are "Ruck" and "Noten", whereby, of course, "Noten" translates to "notes"; literal English dictionary translations of "Ruck" do not make sense in connection with the combination of this word with musical notes; the closest equivalent would be an incremental move forward]--which are then (measure 25 ff.) taken up by the two bassoons, then the clarinets and flutes, in an effective manner. After measure 52, we expect the finale in the dominant F; however, the ingenious artist has not yet run out of ideas.  He is holding the finale back and modulates from C-Major, as the dominant of F-Major, to A-Major, the dominant of D-Major, which he is often alternating with the subdominants D-major, G-Major and C-major, in a pleasant melodious passage, that is taken up by the first bassoon and the violas and then, in measure 41, by the first violins, with a changed cello accompaniment, and, in proceeding thus, he is only fulfilling our often disappointed expectation of the finale with the transition to the dominant of the tonic in measure 50.  Now, we are again confronted by the introductory theme, but in what a changed form!  The first violins vary the brief introductory passage.  The lovely song that is played in thirds, and that, at the beginning of the piece. was played by the second violins, the violas and the violoncellos,  is now carried by the clarinets and bassoons.  Not satisfied with this, the composer still adds the original figure that consists of "Rucknoten" [see translator's note above], at the first introduction of which we did not think of anything less than a similarity with the main theme and surprises us in such a pleasant way with this combination that we are reminded of a surprise meeting of friends that have come from here and there, to meet at a certain point in order to share their stories that are of mutual interest to them, in brotherly love.  The entire passage from measure 50 on, in this changed, although not unrecognizable form, creates an indescribably beautiful effect and gives us a lofty idea of the artist's mind. The passage that follows immediately [from measure 54 to measure 58] is, in its simplicity, not any less beautiful than the previous, artful one.  The following four measures have pleased the reviewer less, and he believes to find the reason for this in the seconds that are too close together and that are formed by the playing of the first and second violins.  To demonstrate and document this, the mentioned measures are featured here:   

[Note sample]

For the same reason, the reviewer did not like measures 91 to 94.  Everything else is praiseworthy; one passage towards the end of this piece should be particularly pointed out, in which, as a lark, the calls of the nightingale, of the quail, and of the cuckoo have been imitated in such a fortunate manner that,  like a portrait from a mirror, makes everyone smile and, partially for this reason, will not be criticized by anyone; this will be so also due to the fact that this passage, aside from any other consideration, is good and pleasant and can not be criticized.  The idea of depicting bird calls in music is not new, but the way in which our artist has accomplished it is his alone.  He is featuring all three bird calls that form a pleasant ensemble of three voices, whereby each voice is singing its own song.  The passage is too original that its featuring here would be out of order: 

[Note sample]

The reviewer found the third piece, which is an Allegro in F-Major, in 3/4 time--on account of its featuring less original ideas, less change in harmonies and instrumentation, on account of less unity in time and on account of the fact that certain passages are repeated too often--less appealing in comparison to the previous and the following movements.  Right at the beginning, before we have settled in the tonic, with the 9th measure, we are rudely removed from our home and thrown towards D-Major.   Here, we can also not remain very long, since already with measure 17 our new property is taken away from us and the old one is returned to us.  With measure 24, we have to experience this unpleasant dispossession once again, and only after we have gone through it can we find firm ground.   While we will not hear the tonic for a while, our ears will be insulted by garish transitions when the unisono, that is held for 44 measures and that is only inhibited by the play of the basses, bassoons and horns, here and there, is growing tired; for there, where it ends and where the movement is heard in many parts, the progression gains variety and interest.    In the reviewer's opinion, the passage that is interjected from measure 91 on, is equally tiring, and that partly due to its frequent repetition and partly due to its lack of harmonic elaboration.   The passage from measure 165 to measure 204 appears to hold the same lack of interest, to which is added that the transformation of the [illegible fraction] measure into 2/4 time and the dissimilarity of the figures of this passage with those of the main passage, which distracts from unity, is harming the overall impression too much.  Due to this, this movement can not win the competition with the other movements.      

    However, with the following two movements, we are richly compensated.  No. 4 depicts a thunderstorm in the most vivid colors.  Undoubtedly, this piece is the best among the rest of this depiction of the country-side, and of a thoroughly sublime effect.    As manifold as the single features are that are offered to us with such a subject and that have already been presented so often by other composers, partially with success, partially without, as simple and as new is the form with which Beethoven's genius presents this imposing drama of nature.  Usually, lesser composers, whenever they want to depict a storm for us, they pick up its peak and, in order to be very natural, they will neither give the performing musicians, particularly the percussionists, the trumpet and flute players, nor the listeners, any opportunity to catch their breath; after they, in their opinion, have raged enough, they suddenly stop so that the entire musical noise has the effect of the appearance and disappearance of a poltergeist that, at his appearance, excites all elements at once while, when he smells the morning air, disappears with a bang, followed by deadly silence.   Not so Beethoven. While he, too, depicts the strongest winds, he enters into and out of them gradually.  Thus, with the two first measures in the tremolo of the double-basses and violoncellos, we hear faraway thunder, in the next five measures, the violins paint the soft, restless movement in the air, as a precursor to the thunderstorm.   Gradually, the thunderstorm is approaching, and by the 21st measure it is fully upon us with the strong entry of the wind instruments and a whirl of the kettledrums, over four measures.  The high-octave notes f, e, g-flat that are played by the first violins; the uninterrupted screaming of the oboes, horns, bassoons and trumpets that is depicting the howling storm; the striving sixteenth-notes in the basses, imitating the rolling of thunder, the frequent dissonances, particularly the diminished-seventh chord with its exchanges--a true image of feelings of dread and horror--everything fills us with great and sublime feelings.  Alone, as gradually as they have arisen, the strong gusts of wind vanish, again.  Then, the violins continue in slower motion, the wind instruments sound quieter, more sparse and with intermingled solo passages, showing hopeful rays of sunshine; in the last 12 measures, the trumpets are entirely silent and will not be heard again until the next number where they will accompany the joyful feelings of the peasants after the storm.   So much about this wonderful piece that is entirely geared towards effect.  To describe all particular beauties would go too far and would be impossible, indeed.  One should listen to them, and here, one will get to know the composer in his entire greatness!    

    No. 5., (F-Major, 6/8) the content of which has already been mentioned, begins with a passage that is played by the clarinet and that imitates a cattle roundup.  What could be more natural, more beautiful and more appropriate to the character of a peasant than such an expression of joy?  This passage starts in C-Major, the dominant of F-major and at the fifth measure, it is repeated by the horn in an original manner with the freely entering [illegible symbol] chord that will only be dissolved with the fifth eighth of the 8th measure.  If, with this, the artist wanted to express the different tones of the peasants' instruments in different places of the village, he has successfully achieved his purpose.  With the 9th measure, a simple, beautiful song of the first violins sets in that is created out of the first measure and that, since it only moves in fourths and eights, depicts the degree of joy excellently.  With the 17th measure, the second violins take this song over and present it one octave lower.  The first violins accompany it in figures of sixteenths.  The faster movement and the changed accompaniment of the wind instrument that, previously played in half-beats and fourths, now proceeds in eights, present to us the second moment of joy.  With the 24th measure, the violas and the violoncellos take the song over that is emphasized by the doubling of the clarinets and horns, while the first violins take over the accompaniment with trills of sixteenths; the other wind instruments lend strong support by holding the notes--in short, everything paints for us the highest degree of joy that is reaching loud jubilation.  With the 56th measure, the composer, by means of a piece of the theme that is first presented by the violins, then by the flutes, oboes and clarinets, leads us back into the main theme that appears in that original, freely entering [illegible symbol] harmony, anew.  Also, the melody that had begun with the 9th measure, is speaking to us again, but in Beethoven's own, peculiar manner, with changed accompaniment that is now being provided in an alternating manner by the second violins and violas.  This is followed, after a modulation in B-major, by an intermittent passage, over 15 measures and the entry of which saves us from being "bored" by the main theme, by to its removal.   Then it [the main theme] returns, but only in a passage that the artist is executing in the most varied manner.   Thus, we also hear the more "imagined" intermittent song again, in another form.  Presented by the violoncellos and by the bassoons, it is first taken up by the second violins, and then by the first violins, namely first alone and then by the figure that shortly before had acted as the leader of the main theme, accompanied in the garment of a counter-theme which ends with the first passage, the melody of the cattle roundup, in an impressive manner.  

    And now enough of our description of this witty product, the listening-to of which will certainly provide more pleasure to every connoisseur than any detailed description can do.  May the genius of Beethoven present us with such a masterwork again, very soon.--Alas, is this request even needed, since the artist who is endowed with as much persevering diligence as he is endowed with genius, has hitherto pre-empted all of our wishes!"   

July 1810: Columns 630 - 642

"REVIEW

"Sinfonie pour 2 Violons, 2 Violes, Violoncelle et Contre-Violon, 2 Flutes, petite Flute, 2 Hautbois, 2 Clarinettes, 2 Bassons, Contrebasson, 2 Cors, 2 Trompettes, Timbales et 5 Trompes, composée de dediée etc. par Louis van Beethoven.  a Leipsic, chez Breitkopf et Härtel, Oeuvre 67. No. 5.   des Sinfonies.  (Pr. 4 Rthlr. 12 Gr.)

    The reviewer has before him one of the most important works of that master of whom no-one will deny that he holds the first-rank position among instrumental composers; he is permeated by the topic which he is to discuss, and no-one may blame him if he, stepping beyond the boundaries of customary reviews, strives to put everything into words that this composition made him feel deeply. -- Whenever music is discussed as an independent art, it should always be referred to as instrumental music which, refusing the aid of any other art, expresses the unique essence of art that can only be recognized in it.  It is the most romantic of all arts, one would almost want to say, the only truly romantic one.-- Orpheus' lyre opened the gates of the underworld.  Music opens to man an unknown realm, a world that has nothing in common with the outer sensual world that surrounds him, a realm in which he leaves behind all of his feelings of certainty, in order to abandon himself to an unspeakable longing.  How little did those instrumental composers who tried to depict those certain emotions or even events recognize the unique essence of music, trying instead to treat that art that is diametrically opposed to the plastic arts in a plastic way! Dittersdorf's symphonies of this kind, as well as all newer Bateilles des trois Empereurs etc. are, as ridiculous aberrations, to be punished by being entirely forgotten. --  In song, where poetry indicates certain affects, the magic power of music works like the miraculous elixir of the wise, a few drops of which make every drink delicious and wonderful.  Every passion -- love -- hatred -- anger -- despair etc., as opera gives it to us, envelops music in the purple shimmer of romanticism and even that which has been felt in real life leads us out of it into the realm of the infinite.  So strong is the magic of music, and working ever more powerful, that it had to break every restraint of other forms of art. -- It was certainly not only the improvement of the means of expression (perfection of the instruments, greater virtuosity of the players), but also the deeper, more profound realization of the essence of music that caused great composers to elevate it to its present height.  Mozart und Haydn, the creators of contemporary instrumental music, showed this art in its full glory, for the first time; who looked at it with all of his love and penetrated to its innermost essence, is--Beethoven.  The instrumental compositions of all of these three masters breathe the same romantic spirit, which lies in the same inner grasp of the peculiar essence of this art; however, the character of their compositions differs noticeably.--The expression of a child-like, serene mind, governs Haydn's compositions. His symphonies lead us  to endlessly green pastures, to a merry, colorful throng of happy people.  Dancing youths and maidens are floating by; laughing children, hiding behind trees and rose bushes, throw flowers at each other.  A life full of love, of bliss, like before original sin, in eternal youth; no suffering, no pain, only a sweet, melancholy longing for a figure that floats by in the distance, at dusk, and does not come nearer, does not vanish, and, as long as it is present, does not turn into night, since it is the evening glow, itself, in which mountains and fields are steeped.  Mozart leads us into the realm of spirits, but without pain, it is more of an anticipation of the infinite.  Love and melancholy sound in lovely spirit voices; night arrives in a purple glow, and with unspeakable longing,  we move towards them who wave at us to join their ranks and to fly with them through the clouds in their eternal  dance of the spheres.  (Mozart's Symphony in E-flat Major which is known by the name of swan song.)  Beethoven's instrumental music, too, opens to us the realm of the gigantic and unfathomable.  Glowing rays of light shoot through the dark night of this realm, and we see gigantic shadows swaying back and forth, encircling us closer and closer, destroying us, but not the pain of infinite longing in which every delight, rising up in joyful voices, sinks and drowns, and only in this pain, consuming love, hope, joy, but not destroying it and aiming at bursting our chests with its unison of all passions, do we live on and are we rapturous seers of the realm of spirits.   Romantic taste is rare, and even more rare is the romantic talent; this is probably why there are so few who can play the lyre whose sound opens up the wonderful realm of romanticism.  Haydn sees the human in human life in a romantic fashion; his music is more commensurable, more comprehensible to the majority.  Mozart evokes the super-human, the wonderful that dwells in the innermost of spirit.  Beethoven's music moves the levers of fear, of shudder, of horror, of pain and thus awakens that infinite longing that is the essence of romanticism.  Beethoven is a purely romantic composer (and therefore a truly musical) composer, and it may be because of it, that to him, vocal music that does not allow for the character of infinite longing,--but, through words, achieves certain affects, as they are not present in the realm of the infinite, is harder for him and that his instrumental music seldom attracts the multitudes.  These multitudes that can not penetrate Beethoven's profound nature are the very ones who do not deny him a high degree of fantasy; in contrast to this, in his works, they only see the products of a genius who, oblivious of form and choice of ideas, relented to his fire and to the momentary inspirations of his fantasy.  Nevertheless, he, with respect to reflection, is quite Haydn's and Mozart's equal.  He separates his ego from the inner realm of music and reigns over it as its supreme master.  Just as aesthetic nitpickers have often complained about a total lack of unity and inner cohesion in Shakespeare, and just as only a profound onlooker can see a beautiful tree, buds, leaves and fruits in a seed, thus also deep immersion into the inner structure of Beethoven's music will reveal that reflection of the master that is inseparable from this true genius and that is nourished by the continuing study of art.    Deep in his innermost, Beethoven his carrying the romanticism of music that he expresses with a high genius and with a high degree of reflection in his music.  The reviewer has never felt this more strongly than in the case of the symphony before him which, in a climax that gradually ascends up to its very end, unfolds Beethoven's romanticism more than any of his other works, and that irresistibly transports its listener into the miraculous, infinite realm of spirits.--  The first Allegro, 2/4 time in C minor, begins with a principal idea that consists of only two measures, and that, in the course of what follows, continually reappears in many different forms.  In the second measure a fermata; then a repetition of this idea a tone lower, and again a fermata; both times only string instruments and clarinets.  Even the key cannot yet be determined, the listener surmises E-flat major.  The second begins the principal idea once again, and in the second measure the fundamental note of C, struck by the violoncello and bassoon, delineates the key of C minor, in which the viola and violin enter in imitation, until these finally juxtapose two measures with the principal idea, which, three times repeated (the final time with the entry of the full orchestra), and dying out in a fermata on the dominant, give to the listener's soul a presentiment of the unknown and the mysterious.  The beginning of the Allegro, up to this point of rest, determines the character of the entire piece and for this reason the reviewer inserts it here for his readers to examine:  

[Note Sample]

After this fermata, the violins and violas imitate the principal idea, remaining in the tonic, while the bass now and then strikes a figure that resembles that idea. A constantly mounting transitional passage, which once again arouses that presentiment, even stronger and more urgently than before, then leads to a tutti the theme of which once again has the rhythmic content of the principal idea and is intimately related to it:    

[Note Sample]

The sixth chord based on D prepares the related major key of E-flat, in which the horn once again recalls the principal idea.  The first violin takes up a second theme, which is certainly melodious, but still remains true to the character of that anxious, restless longing that the whole movement expresses.  The violin carries this theme forward in alternation with the clarinet, and each time in the third measure the bass strikes that first mentioned recollection of the principal idea, by means of which this theme is again completely interlaced into the artistic web of the whole.  In the further extension of this theme, the first violin and the violoncello repeat five times, in the key of E-flat minor, a figure that consists of only two measures, while the basses climb chromatically upward, until at last a new transitional passage leads to the conclusion, in which the wind instruments repeat the first tutti in E-flat major, and finally the full orchestra closes in E-flat major with the often mentioned recollection of the principal theme.  The principal theme once again begins the second part in its initial form, only transposed a third higher and played by the clarinets and horns.  The phrases of the first part follow in F minor, C minor, G minor, only differently arranged and orchestrated, until at last, after a transition once again made up of only two measures, which the violins and the wind instruments take up in alternation, while the violoncellos play a figure in contrary motion and the basses climb upwards, the following chords enter in the full orchestra:  

[Note Sample]

They are sounds, by means of which the breast, oppressed and alarmed by presentiments of the gigantic, vents itself powerfully, and like a friendly form, which radiantly illuminating the deep night moves through the clouds, a theme now enters that was only touched upon by the horn in E-flat major at the 58th measure of the first part.  First in G major, then in C major, the violins play this theme alla 8va, while the basses play an upward-climbing figure that somewhat recalls the tutti passage that began at the 44th measure of the first part.

[Note Sample]

The wind instruments begin this theme fortissimo in F minor, but after the third measure, the string instruments take up the two final measures, and, imitating these measures, string and wind instruments alternate yet another five times and then strike individual chords, always diminuendo and once again in alternation.  

    After the sixth chord [note sample] the reviewer would have expected G-flat major in the chord progression that followed, which then, in the manner in which things are done here, would lead back to G major, having been enharmonically transformed into F-sharp minor.  The wind instruments, however, which strike the chord that follows that sixth chord, are written: 

Flauti

Clarinetti  [Note Sample

Fagotti.                                    Immediately thereafter, the string instruments strike this F-sharp minor chord [note sample] which is then repeated for four measures alternately by strings and wind instruments.  The chords of the wind instruments are always written as was indicated above, for no reason that the reviewer can perceive.  The sixth chord [note sample] now likewise follows, ever weaker and weaker.  This has an unsettling and terrifying effect!-- The full orchestra now strikes up a theme that is almost identical to that which was heard forty-one measures earlier, while only the flutes and trumpets hold the dominant, D.  This theme, however, comes to rest after only four measures, and the string instruments and horns, and then the remaining wind instruments, strike the diminished chord [note sample] pianissimo seven times in alternation.  In the next measure the basses then take up the first principal idea for two measures, with the remaining instruments unisono.  Bass and upper voices imitate each other in this manner through five measures, followed by three measures in unison, and in the fourth measure, the full orchestra, with trumpets and drums, sounds the principal theme in its original form.  The first part is now repeated with minor variations, the theme that first began in E-flat major now appears in C major and leads to a triumphant close in C major with trumpets and drums.  This very conclusion, however, turns the music into F minor [note sample].  Through five measures of full orchestra on the chord, clarinets, bassoons, and horns strike, piano, an imitation of the principal idea.  One measure of general pause, then for six measures [note sample]  all the wind instruments resume as before; and now the violas, violoncellos, and bassoons take up a theme that was heard previously in the second part in G major, while the violins, entering unisono in the third measure, perform a new countersubject.  The music now remains in C minor, and, with small variations, the theme, that began in measure 71 of the first part is repeated first by the violins alone, and then in alternation with the wind instruments. The alternations become ever closer and closer, first one measure, than a half measure; it is a thriving urgency--a surging storm, the waves of which strike higher and higher--until finally, twenty-four measures before the end, the beginning of the Allegro is repeated once again.  There follows an organ point over which the theme is imitated until, at last, the final conclusion follows strongly and powerfully.-- 

    There is no simpler idea than that which the master laid as the foundation of this entire Allegro [note sample] and one realizes with wonder how he was able to align all the secondary ideas, all the transitional passages with the rhythmic content of this simple theme in such a way that they continually served to unfold the character of the whole, which the theme could only suggest.  All phrases are short, consisting of only two or three measures, and are divided up even further in the ongoing exchange between the string and the wind instruments.  One might believe that from such elements only something disjointed and difficult to comprehend could arise; nevertheless, it is precisely this arrangement of the whole, as well as the repetitions of the short phrases and individual chords that follow continually upon one another, which hold the spirit firmly in an un-nameable longing.--Completely apart from the fact that the contrapuntal treatment shows deep study of the art, it is also the transitional passages and the continual references to the principal theme that show how the master did not simply conceive the whole, with all its characteristic features, in his mind, but thought it through as well.--  

    Like a charming spirit voice, which fills our breast with comfort and hope, sounds next the lovely (and yet meaningful) theme of the Andante in A-flat major, 3/8 time, which is performed by the viola and violoncello.  The further development of the Andante recalls numerous middle movements from Haydn's symphonies, inasmuch as, just as frequently happens there, the principal theme is varied in many different ways, after interjected transitional phrases.  It cannot be equated with the first Allegro in terms of originality, although the idea of continually interrupting the transitions back to A-flat major, by allowing an imposing phrase in C major with trumpets and drums to intervene, produces a striking effect.  The transition to C major occurs twice in the midst of enharmonic exchanges:

[Note sample] 

whereupon the grandiose theme enters and then the modulation to the dominant chord of A-flat major is completed in the following manner: 

[Note Sample]

In a simpler, but very effective way, the flutes, oboes and clarinets prepare for the third transition to this C major theme:

Flauti e

Oboe,   [Note  sample]

Clarinetti.                       Corni.

All the phrases of the Andante are very melodious, and the principal theme is even beguiling, but the very progress of this theme, which goes through A-flat major, B-flat minor, F minor, and B-flat minor before first returning to A-flat, the continual juxtaposition of the major tonalities A-flat and C, the chromatic modulations, express once again the character of the whole, and by virtue of this the Andante is part of that whole.  It is as if the frightful spirit, which in the Allegro gripped and unsettled the soul, were to step forth and threaten every moment from the storm clouds into which it had disappeared, and the friendly forms that had surrounded us comfortingly were to flee quickly from its sight.

[The conclusion will follow.]" (AMZ July 1810: columns 630 - 642].

                                                                                                "R E V I E W .

                                                                                      Beethoven's Symphony No. 5.

                                                                                      (Conclusion from No. 40)

    The Minuet that follows the Andante is once again as original, as gripping to the listener's soul, as one might expect from this master in the composition of that part of the symphony that, according to the example of Haydn, which he was following, should be the most piquant and ingenious of all.  It is primarily the distinctive modulations, closes to the dominant-major chord, whose bass note is taken up by the bass as the tonic of the following theme in minor--the theme itself, which always extends itself by only a few measures, that strongly express the character of Beethoven's music, as the reviewer has described it above, and arouse anew that restlessness, that presentiment of the wonderful spirit kingdom with which the phrases of the Allegro assailed the listener's soul.  The theme in C minor, played by the basses alone, turns in the third measure toward G minor, the horns sustain the G, and the violins and violas, joined in the second measure by the bassoons, and then by the clarinets, perform a four-measure phrase that cadences in G.  The basses now repeat the theme, but after the B minor of the third measure, it turns into D minor and then to C minor, where the violin phrase is repeated.  The horns now perform a phrase that leads into E-flat major, while the string instruments strike chords in quarter notes at the beginning of each measure.  The orchestra, however, leads the music farther, into E-flat minor, and closes on the dominant, B-flat major.  In the same measure, however, the bass begins the principal theme and performs it just as at the beginning in C minor, only now it is in B-flat minor [measure 53].  The violins, etc., too, repeat their own phrases, and there follows a point of rest in F major.   The bass repeats the same theme, extending it, however, going through F minor, C minor, G minor, and then returning to C minor, whereupon the tutti, which first appeared in E-flat minor, leads through F minor to a C major chord.  However, just as it went before from B-flat major to B-flat minor, the bass now takes up the bass note C as tonic of the theme in C minor [measure 96].  Flutes and oboes, imitated by the clarinets in the second measure, now take up the phrase that was first performed by the string instruments, while these repeatedly strike a single measure from the previously mentioned tutti; the horns sustain the G, the violoncellos begin a new theme, which is connected first to a further development of the violins' opening phrase, then to a new phrase in eighth notes [which had not yet been heard].  Even the new theme of the violoncellos contains allusions to the principal phrase and is thereby intimately related to it, as it is also through the similar rhythm.  After a brief repetition of the tutti, this section of the minuet concludes fortissimo in C minor with trumpets and drums.  The second part [the trip] is begun by the basses with a theme in C minor, which is imitated fugally by the violas in the dominant, then by the second violin in a shortened form, and then similarly shortened by the first violins.  The first half of this part closes in G major.  In the second part, the basses begin the theme twice and stop again, continuing forward the third time.  To many this may seem humorous, but in the reviewer it awakened an uncanny feeling.-- After much imitation of the principal theme, it is taken up by the flutes, supported by oboes, clarinets, and bassoons, over the bass note G, which is sustained by the horns, and it dies out in individual notes, which are struck first by the clarinets and bassoons and then by the basses.  Now follows the repetition of the theme of the first part by the basses; in place of the violins the wind instruments have the phrase now in short notes, concluding it with a point of rest.  Hereupon follows, as in the first part, the extended principal phrase, but in place of the half notes there are now quarter notes, and quarter-note rests.  In this form, and for the most part abbreviated, the other phrases of the first part also return.--  The restless longing, which the theme carried within itself, is now raised to the point of anxiety, which presses powerfully upon the breast so that only individual, broken sounds can escape from it.  The G-major chord seems to point to the conclusion, but the bass now sustains the bass note A-flat pianissimo through fifteen measures [measures 324 ff], and violins and violas likewise sustain the third, C, while the kettledrum strikes the C, first in the rhythm of that often mentioned tutti, then for four measures once in each measure, then for four measures twice, and then in quarter notes.  The first violin finally takes up the first theme and leads through twenty-eight measures in which this theme is continually heard, up to the seventh of the dominant of the fundamental note.  The second violins and the violas have sustained the C continually with the kettledrum playing the C in quarter notes; the bass, however, after having run through the scale from A-flat to F-sharp and back to A-flat, has struck the fundamental note G.  Now enter first the bassoons, then one measure later the oboes, then three measures later the flutes, horns, and trumpets, while the kettledrum continually strikes the C in eighth notes, whereupon the music goes directly into the C-major chord, whereupon the final Allegro begins.-- The reason why the master continued the dissonant C of the kettledrum up to the conclusion is clarified by the character that he was striving to give to the whole. The heavy strokes of this dissonance, sounding like a strange, frightening voice, excite terror of the extraordinary--the fear of spirits.  The reviewer has already mentioned somewhat earlier the mounting effect produced by the theme being extended for several measures, and in order to make this effect even more vivid, he will place these extensions together, here:      

          [Note sample]

At the repetition of the first part, this phrase appears in the following manner:

[Note sample]

Just as simple, and yet, when it reappears in later passages, just as gripping in its effect as the theme of the first Allegro, is the idea with which the tutti of the minuet begins.

[Note sample]

The full orchestra, to which piccolos, trombones, and contrabassoons are now added, enters with the splendid, triumphant theme of the concluding movement, in C major--like radiant, blinding sunshine that suddenly illuminates the deep night.  The phrases of this Allegro are treated more broadly than those that came before.  They are not so much melodious as they are powerful, and suited to contrapuntal imitation.  The modulations are unaffected and understandable; the first part has, for the most part, almost the feeling of an overture.  Throughout thirty-four measures this part remains a tutti of the full orchestra in C major; then, to the accompaniment of a powerful, rising figure in the bass, a new theme in the upper voices modulates to G major and leads to the dominant chord of this key.  Now begins yet another theme, consisting of quarter notes separated by triplets, which, in regard to its rhythm and its character, departs completely from what has gone before, and once again urges and impels like the phrases of the first Allegro or of the minuet:

[Note sample]

Through this theme and through its further working-out through A minor toward C major, the soul is once again placed into a mood of foreboding, which had momentarily departed from it during the jubilation and rejoicing.  With a short, rushing tutti the music turns once again to G major, and violas, bassoons, and clarinets begin a theme in sixths [measures 64 ff], which is later taken up by the entire orchestra, and, after a short modulation to F minor, the first part concludes in C major with a powerful bass figure, which is then taken up by the violins in C major and then again by the basses al rovescio.   The figure just mentioned is continued at the beginning of the second part in A minor, and that characteristic theme consisting of quarter notes and triplets enters once again.  In shortened and restricted forms, this theme is now extended through thirty-four measures, and in the course of this working-out, the character that was already expressed in its original form, is thoroughly worked out, to which no small contribution is made by the secondary phrases that are mixed in, in the sustained tones of the trombones, and the triplet strokes in the kettledrums, trumpets, and horns.  The music at last comes to rest on an organ point G [measure 132 ff], which is struck first by the basses, and then by the bass trombones, trumpets, horns, and kettledrums, while the basses are performing a concluding figure unisono with the violins [measures 132 ff].  Now, for the length of fifty-four measures, this simple theme from the minuet returns [note sample] and there follows, in the two concluding measures, the transition from the minuet to the Allegro, only in a shorter from than before.  With minor variations, and remaining in the principal key, the phrases of the first part now return, and a rushing tutti seems to lead to the conclusion. After the dominant chord, however, the bassoons, horns, flutes, oboes, and clarinets take up this theme, which was first only touched upon, one after another [measures 317 ff] [note sample].  There follows yet another concluding phrase, the strings take up this phrase anew, after which it is played by the oboes, clarinets, and horns, and then again by the violins.  The end seems near once again, but with the concluding chord in the tonic the violins take up, Presto [a piu stretto begun several measures earlier], the phrase that was first heart at measure 64 of the Allegro, while the bass figure is the same one that they struck up in measure 28 of the first Allegro, and that, as has often been remarked above, is closely related to the principal theme through its rhythm, and strongly recalls it.  The full orchestra [the basses enter a measure later, imitating the upper voice] canonically leads with the first theme of the last Allegro to the conclusion, which, shored up by many splendid, jubilant figures, follows after forty-one measures.  The concluding chords themselves are written in a unique way; namely, after the chord that the listener takes for the last comes a measure rest, the same chord, a measure rest, once again the chord, a measure rest, then the same chord in quarter notes once every measure for three measures, a measure rest, the chord, a measure rest, and then C unisono struck by the entire orchestra.  The perfect calm of the soul, brought about by various cadential figures following one after another, is abolished by these individual chords, struck between pauses, which recall the individual strokes in the Allegro of the symphony, and the listener is made eager anew by the final chords.  They are like a fire, which was believed to have been put out, and which continually strikes out into the heights again in brightly blazing flames.

     Beethoven has retained the customary succession of movements in the symphony.  They appear to be put together in a fantastic way, and the whole rushes past many people like an inspired rhapsody; but the soul of every sensitive listener will certainly be deeply and closely gripped by a lingering feeling, which is precisely that un-nameable, foreboding longing, and sustained in it until the final chord.  Indeed, for many more moments after it, he will not be able to depart from the wonderful spirit kingdom, where pain and joy surrounded him in musical form.  Apart from the inner construction, the instrumentation, etc., it is primarily the intimate relationship that the individual themes have to one another that produces that unity that holds the listener's soul firmly in a  single mood.  In Haydn's and in Mozart's music, this unity dominates everywhere.  It becomes clearer to the musician when he then discovers a fundamental bass that is common to two different passages, or when the connection between two passages reveals it; but a deeper relationship, which cannot be demonstrated in this manner, is often only expressed from the spirit to the spirit, and it is this relationship that prevails among the passages of both Allegros and of the minuet, and magnificently announces the master's presence of mind and genius.  The reviewer believes that he can bring together his judgment about this magnificent work of art in a few words when he says that, ingeniously conceived and worked out with deep presence of mind, it expresses musical romanticism to a very high degree.--

    No instrument has difficult passagework to perform, but only an orchestra that is extraordinarily confident, practiced, and inspired by a single spirit, can venture to perform this symphony; for each moment that is in the least bit inadequate will spoil the whole irreparably.  The continuous alternations, the exchanges between the string and wind instruments, the chords that are to be struck individually after rests, and so forth, demand the highest precision, on account of which the conductor should also be advised not, as often does occur, to play along more loudly than is appropriate with the first violins, but much rather to hold the whole orchestra constantly in his eye and hand.  The first violin part is useful for this purpose, as it contains the entries of the obbligato instruments within itself.-- The engraving is correct and clear.  The same publisher has released this same symphony in an arrangement for pianoforte four-hands under the title 

                 Cinquieme Sinfonie des Louis van Beethoven, arrangee pour le Pianoforte a quatre mains.  Chez Breikopf et

                 Härtel a Leipsic. (Pr. 2 Rthlr. 12 Gr.).

The reviewer is not otherwise much in favor of arrangements; nevertheless, it cannot be denied that the enjoyment of a masterwork, which one hears with the full orchestra, often excites the imagination as much as before in a lonely room, and sets the soul in the same mood.  The pianoforte produces the great work like a sketch does a great painting, which the imagination enlivens with the colors of the original.  What is more, the symphony has been arranged for the pianoforte with understanding and insight, so that the necessities of the instrument are taken appropriately into account without obscuring the peculiarities of the original" [AMZ July 1810, columns 652 -659]. 

AMZ August 1811, Column 548:

1. Fantaisie p. le Pianoforte -- Oeuvr. 77. (Price 16 Gr.) und

2. Sonate p. le Pianoforte -- Oeuvr. 78. (Price 16 Gr.) both by L. v. Beethoven and published by Breitkopf und Härtel in Leipzig.

AMZ August 1811, Columns 593-595:

Six Songs with Pianoforte Accompaniment, set to music --- --- by L. van Beethoven. Property of the Publishers. Oeuvr. 75. Leipzig, by Breitkopf und Härtel. (Price 1 Thlr.)