The _Finale_ is also planned on the big scale, colossal in force and mighty in stride. There is a curious perversity of scale in the First Subject as though Beethoven was no longer satisfied with the ordinary major. The marvellous stride of the Bass at the end is not the least amazing of the features in this wonderful movement. Perhaps, this symphony holds together as one complete whole more than any other. It gives one the impression of having been written uninterruptedly from the first movement to last. 8th SYMPHONY, in F major, Opus 93. _Allegro vivace e con brio--Allegretto--Presto--Allegro vivace._ "The little one," as Beethoven affectionately called this symphony, was written during four months of the summer and early autumn of 1812. It is smaller in scale, slighter in texture, than the other symphonies. Erroneously regarded as a return to an earlier style, and labouring for some time under the absurd title of "Ballet-Symphony," it has been somewhat neglected in the past. Without the grandeur of the Fifth or the romance of the Seventh, it contains a lasting, if less easy, charm, perfect finish, and a rich fund of good humour. Only a small orchestra is used, but it is handled in a masterly way, as the octave drums in the masterly finale, the charming _staccato_ chords for wood-wind with boisterous interjections from the full orchestra, the running conversations between the violins and the basses, fully testify. The first movement is in the usual development form. [Music score] A sprightly _Allegretto_ takes the place of the slow movement. The third movement goes back to the early minuet, instead of the Scherzo. [Music score] The final movement is a masterpiece of construction and development which its astounding interruptions so amply justifies finally. [Music score] 9th SYMPHONY, in D minor, With Final Chorus on Schiller's "Ode to Joy." (Op. 125). _Allegro ma non troppo un poco maestoso--Molto vivace--Adagio molto e cantabile--Choral Finale._