stral
score there are adequate arrangements for 2 hands, 4 hands and for 2
pianofortes in several standard editions. Those who have an advanced
pianoforte technique should certainly become familiar with the
virtuoso-transcriptions of the Beethoven Symphonies by Franz Liszt.]

After a varied repetition of the first motive of the theme, there
occurs a passage (measures 23-33)[142] which illustrates one of the
most characteristic features in all Beethoven's work, _i.e._, those
sharp dislocations of the rhythm, indicated by the sforzando accents
(_sf_) on beats usually _unaccented_ and often coupled with strong
dissonances. Although the basic rhythm is triple, the beats for
several measures are in groups of two quarter notes or their
equivalent, one half note, _e.g._

[Music]

[Footnote 142: It is an excellent practise to number the measures of a
score in groups of _10_.]

No longer can we drift along in dreamy apathy; our vitality is
quickened as by the gusts of a tornado. There have been those who for
the first time in their lives were jarred from the even tenor of their
way by these impassioned onslaughts. When Beethoven's Symphonies were
first played in Paris, it is reported that the operatic composer
Boieldieu was much disconcerted, because, as he said, he liked
"musique qui me berce." The transition (measures 43-81) is a
remarkable example of Beethoven's power of creating ever more and more
excitement and expectancy. It contains _three_ subsidiary melodic
phrases, each of increasing rhythmic animation, _e.g._,

[Music]

and fairly whirls us into the beautiful contemplative theme at measure
81. This theme embodies some entrancing modulations into remote keys,
and then, after one of Beethoven's typical passages of hushed
pianissimo (beginning in measure 97) we are led through a series of
sforzandos, crescendos and titanic ejaculations to the overpowering
dissonances in measure 145, which with the tonic chord close the
Exposition in the dominant key. The Development (measures 164-396) is
extremely long and varied, but a perfect manifestation of spontaneous,
organic treatment--each portion growing inevitably from what has
preceded and marching irresistibly onward to its objective goal. Every
modulatory, rhythmic and polyphonic device is employed to vary and
intensify the message; yet, notwithstanding the diversity of the
material, we are held spellbound by the directness and coherence of
the thought. Such is Beet