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Ninth Symphony ce I pretion imedilalion more tn rt, edny be rrked, which, bu for l Ninth Symphony, ghte een evolv s vies leed bye t tt Wagner hiller's ‘,lelo regarded lhe last movement of, that work Joy, Beeto whole ekest ekes a statemen to ts effeel life. The pke iti remakable leter to Liszt written fro Lonlon in 1855, which virLually co" luisa full confession e oks of 198, h. The trof thot followel i that recurs 1,u etsws that his oljeln to the lst mvement HN,,,IN to h,lve į"llu(nced i" differenl ways bolli the of the® Ninth," n'icl to :l":llo olis movじml.nl Pro Overture, Op d the C tsie, th jeete by i or D Sympony, rested lual text of which had cerlnǐnly n slendar eo", on ethical and not on purely artistic grounds. It 111'(' lion with tlu, niusį('. Ni.verthcless, lhe position wns, 111 fil(t, the ideu f Pur: Ulise us Coll('eived by of Sehillers Ode s the basis of the cols Bectioveny Liszt, d not the musicl form of eNinh Symphony a llly es o whieh he objected tene letter contns lished lill ilu, very Inst moment, when Ihe Ihr("(. İnnnotliei. Place lhe admissi)" (I. the inost unquali lirst mots were already conpleto nl ed uatens ia t the 1822e d the pls distt he wiseposlles of gr the v,ויי'homes 111 his head. Roclililz millilains llinl syml,hony "as not Beelhoven's last word in music e Ias Beelhoven's tty for ts, tess w spoke te lt Qtes, nd used materiat keths ellly abin the n lusion. At grat n, Johs Brahm "","lent we hear of n Nyi"Pluny (leslin(1 ir Ninth SyiPliony isin the Wngnerian lheory of Engd widing of eeell art is s faet, morover, that cr, teo yp ed weras Wagners mie ipilly econ the the presen, Becthovensttus, urg to inorpote Sles Ode, the l la US ss, of te setoen wel ke they would huv wait, for ! '''y with İns' rinne,า nl linnle. The recordof Ilu. (luokcned Perception only 10 be reached by theseus clnges of purpse, o aetat me serius sludy ol art which, boasted nnl reensl eaterin, d of the ndvace rt euure notwithstandng, is sl too hesitation wheh prceded theiv nnl ellort for ary ith Te tenatic maleria of the nt Syphony theloiacion, he wavered, as if dimly cone of se grent iss ogc ty of purpose, in e inslrumental at slake, and propetaly alive lo coseqs i movementss at e wh te C or, the I the far tre whch pe eiter a ine, ad oer o Beethoven's compositios culable gain or an irreparable injury lo musica rt. s tr hat the suject for the second movement That Beethdd ovete the pteof was joe dos carly as 1815, long before there iden of ils incorporalion as pt ou it ee, orms ne of he mst deeply im ssive elaplerseoven's istory. To the last shos eme iLs the step lklast and hns been mply proe yeuen course only in l he great sy"iplu", itself bul enholil ill tan, lhal lliough the work ,rrevs in stature, nnd fohe co of, poelry, ad pro symph, the c conlusion w LS The incalculabl i s come lo us not deided he vo st. Nevertheless it is cer s of the gret whose artistie ereed pnded to its presen gig proportions gradually of work, ted d was g on e se ighest develop of frthe irstned in the irst m