From this tiny germ the whole of this fierce stormy movement is evolved. Not even the beautiful tender second subject, nor the lovely little unbarred oboe cadenza can win it away from this rugged fierce mood. When this second subject appears in the recapitulation, still in the minor, the atoning major outburst which immediately follows is quickly brushed aside by the impatience of the reinstated first theme. Even the limitations of the old-fashioned horns and trumpets in those days seemed to be turned to advantage in the colossal bare thirds and fourths of the "Fate" notes. The chief theme of the _Andante_, wonderfully sad, yet wonderfully beautiful, is further enhanced by one of those majestic marching subjects which only Beethoven could conceive. The beauty of the wood-wind work is remarkable and the coda is full of strange fancies. [Music score] The _Scherzo_ has some eloquent bass passages, and its rhythmic horn figures are full of veiled mystery and heavy with some dark foreboding. [Music score] The trio is a fiery _Fugato_ with strange outbursts on the basses. The curious hesitations on its re-appearance and the weird bridge passages at the end, with the long sustained chord on the strings and the mysterious drum tapping, cause the movement to veer gradually round to the fiery march-like coda, with its light, graceful, contrasted episodes. The _Scherzo_ theme insinuates itself into the _Finale_ near the coda, which is of amazing brilliancy, ending with a _Presto_ which fairly sweeps the hearer away with it. The orchestra is the largest the composer has used so far. It includes three trombones, double bassoon, and piccolo, which, however, are only used for the brilliant _Finale_. 6th SYMPHONY (Pastoral) in F, Opus 68. Dedicated to Prince von Lobkovitz and Count von Rasumovsky. _Pastoral Symphony, or a recollection of country life. More an expression of feeling than a painting._ _Allegro ma non troppo--Andante molto moto--Allegro--Allegretto._ This Symphony, often slighted on account of its so-called realisms and its classification amongst "programme music," is, nevertheless, one of the finest pieces in the whole range of absolute music. The labelling of the various movements by Beethoven--"Joyous sensations roused by arrival in the country," "Scene by the brook," "Merry gathering of country peasants," "Thunderstorm," "Glad and grateful feeling after the storm"--is quite superfluous. How artistically Beethoven has introduced the bird calls--the quail, the nightingale, and the cuckoo--into just the right place--the coda of the _Andante_. And the thunder-storm. What a magnificent introduction to the _Finale_ it makes! Beethoven has never once transgressed the great principles of form and balance in this Symphony. The opening movement is a true country picture, full of the tonics and dominants of summer happiness.