Page:Beethoven's Ninth Symphony (Grove).djvu/35

 link or "inter-chapter" of eight bars brings us into E-flat, and the second portion of the movement. And here, under the same form as before, we encounter a great deal of modulation, and pass from E-flat, through A-flat, D-flat, G-flat, C-flat, E major, A and F-sharp, into B minor. In this key, the original theme (No. 19) starts off with great drollery in the Bassoons, and, as Beethoven has marked the score, in the rhythm of three beats, "ritmo di tre battute" the phrases being three bars long. In the course of this, it will not escape notice how the Drum, with characteristic audacity, puts the composer's direction at defiance by coming in four times at intervals of three bars, and the fifth time making the interval four. The rhythm of three bars is succeeded by a "rhythm of four bars," containing some charming effects of the Horns and Trumpets.

The pianissimo is maintained almost throughout, and this part of the work contains some truly splendid music. It is wonderful with what persistence the original figure is maintained, and how it is made to serve for melody, accompaniment, filling-up, and every other purpose. The second portion of the Scherzo is repeated. We then have another "inter-chapter" of twenty-four bars, by which we reach the Trio, though in this case called simply a Presto. This Presto is in the key of D major, and in common time of four crotchets. In the original MS. of