yses. It is in this
division that the genius of a composer has fullest play, and there is
no greater pleasure, no more delightful excitement, for the
symphony-lover than to follow the luminous fancy of Beethoven through
his free fantasias. The third division is devoted to a repetition,
with modifications, of the first division and the addition of a close.

[Sidenote: _Introductions._]

[Sidenote: _Keys and Titles._]

First movements are quick and energetic, and frequently full of
dramatic fire. In them the psychological story is begun which is to
be developed in the remaining chapters of the work--its sorrows,
hopes, prayers, or communings in the slow movement; its madness or
merriment in the scherzo; its outcome, triumphant or tragic, in the
finale. Sometimes the first movement is preceded by a slow
introduction, intended to prepare the mind of the listener for the
proclamation which shall come with the _Allegro_. The key of the
principal subject is set down as the key of the symphony, and unless
the composer gives his work a special title for the purpose of
providing a hint as to its poetical contents ("Eroica," "Pastoral,"
"Faust," "In the Forest," "Lenore," "Pathetique," etc.), or to
characterize its style ("Scotch," "Italian," "Irish," "Welsh,"
"Scandinavian," "From the New World"), it is known only by its key, or
the number of the work (_opus_) in the composer's list. Therefore we
have Mozart's Symphony "in G minor," Beethoven's "in A major,"
Schumann's "in C," Brahms's "in F," and so on.

[Sidenote: _The second movement._]

[Sidenote: _Variations._]

The second movement in the symphonic scheme is the slow movement.
Musicians frequently call it the Adagio, for convenience, though the
tempi of slow movements ranges from extremely slow (_Largo_) to the
border line of fast, as in the case of the Allegretto of the Seventh
Symphony of Beethoven. The mood of the slow movement is frequently
sombre, and its instrumental coloring dark; but it may also be
consolatory, contemplative, restful, religiously uplifting. The
writing is preferably in a broadly sustained style, the effect being
that of an exalted hymn, and this has led to a predilection for a
theme and variations as the mould in which to cast the movement. The
slow movements of Beethoven's Fifth and Ninth Symphonies are made up
of variations.

[Sidenote: _The Scherzo._]

[Sidenote: _Genesis of the Scherzo._]

[Sidenote: _The Trio._]

The Scherzo is, a