It is important to remember, as M. Romain Rolland has reminded us, that this is not a Choral Symphony in the strict sense of the term, but a "Symphony with a Final Chorus." The choral _Finale_ was written by Beethoven in a separate MS., and, as with most of his other final movements, he seems to have expected no closer connection with the preceding three movements than that of general suitability. His original idea for a last movement to this Symphony was the Finale of the String Quartet in A minor, Opus 132, but for some reason or other his sketches for voices on Schiller's Ode were taken up again and worked into a _Finale_ for this Symphony. Ten years had elapsed between the completion of the Eighth Symphony and the consummation of the Ninth, the colossal first three movements of which are on the highest plane of all music. As to the complete success of the choral numbers, opinions differ widely. The first movement, colossal in conception and dignified in tone, has moods of great passion and wonderful tenderness. The opening theme is mighty in aspiration, rugged in power. [Music score] The second movement is the _Scherzo_, one of Beethoven's longest, and perhaps his very finest. It is all brought about by the little germ theme of three notes, which, amongst other things, suggests an unusual tuning of the drums in octaves. A _fugato_ follows, after which the second subject enters in the unorthodox key of C major. It is here that many conductors take upon themselves to thicken Beethoven's wood-wind melody, with the brass instruments. The _Trio_ is built up on a delightful double theme ushered in by the very first entry of the bass trombone. [Music score] The _Adagio_ opens with a melody of the utmost nobility, perfect in curve, and of a marvellous serenity. [Music score] A sudden modulation brings us to a new subject in D major in 3/4 time. [Music score] The first subject then re-appears in G major, this is followed by a mystic passage in E flat major, in which fragments of the first theme appear after the manner of a dreamy meditation in which there is some magnificent work for the horn. The first subject then appears in the original key and gradually passes over into a solemn and majestic _coda_. The form is original, even with Beethoven. Immediately a huge hubbub breaks out from the whole of the wood-wind instruments. A short hasty review of a few bars from each of the first three movements follows, and after the bass instruments had commented rather brusquely on these appearances, the famous tune in D major breaks in on the cellos and basses alone. The melody gradually unfolds itself but finally is suddenly broken off by the discordant hubbub again, and the solo baritone voice enters with the words, "O brothers, not these tones." [Music score]