Page:Beethoven's Ninth Symphony (Grove).djvu/51

47 And now, that he may carry out consistently the plan which he had conceived for introducing Schiller's poem, Beethoven again suddenly dismisses his irresolution, and allows his music to be interrupted by the horrible cry which we have twice already heard, and which might well be an impersonation of the opposite to all that is embodied in the "Ode to Joy." But, this time, out of the chaos emerges—like Venus rising from the sea—the human voice. The rebuke of the prophet finds articulate speech; and Beethoven addresses us, in his own words and through the Bass singer, in a noble strain of florid recitative:—

With which exhortation, we enter the vocal portion of the Symphony. The whole of the following six numbers are formed on the great melody so recently played (No. 35), or on motifs formed out of it or upon it.

1. Quartet and Chorus: Allegro assai (D major):—