According to the view of Goethe and Beethoven there is no other healing for the unhappy man's tormented spirit but in the simple, untroubled influences of nature. Such, in addition to its musical beauties, is the ethical lesson of the Pastoral Symphony. [Sidenote: =The Seventh Symphony.= _March 3, 1899._] One quality differentiating Beethoven's Seventh Symphony from the rest of the nine is well expressed by Sir George Grove in his famous book ("Beethoven and his Nine Symphonies") when he calls it the most rhythmical of them all. Beyond question the rhythm is on the whole more strongly marked in the seventh than in any of the others. The slow movement is not called a march; yet it has a far more definite tramping rhythm than the movement that is called a march in the Heroic Symphony. In the finale the rhythmical emphasis attains a degree of reckless violence that has never been surpassed by any composer except Tchaïkovsky. A scherzo is always strongly rhythmical; but in the scherzo of this symphony one finds a kind of frenzied rushing, whirling movement that is rare in Beethoven's works. Another differentiating quality of the symphony is grotesque expression, which is strong in the vivace, stronger in the scherzo, and goes all lengths in the finale. As with the later works of many other great artists, it is hard to divine the poetic intention of this symphony. One perceives a marvellous design, for the most part grotesque in character; one perceives the work of a gigantic imagination, smelting the stubborn tone-masses as in a furnace and moulding them to its purposes with a kind of superhuman plastic force. But what the mighty design illustrates is not, at present, obvious. The grotesqueness of the first, third, and last movements is all the more striking from the character of the slow movement, which is absolutely remote from the grotesque. The quality of the expression in that slow movement eludes all classification. It is not exactly a funeral march, and not exactly a dirge, though it is undoubtedly mournful in character. A kind of unearthly rhythmical chant one might imagine it to be, accompanying some mysterious function among the gods of the dead. There is perhaps no slow movement left by Beethoven the beauty of which is more penetrating or more imposing. After a fine and spirited rendering of the introduction and vivace, the slow movement--inscribed "allegretto" in the score, though the composer afterwards expressed a desire that the indication should be changed to "andante quasi allegretto"--was played with fine expression, though perhaps a trifle too quickly. The scherzo was entirely admirable. At the opening of the finale the rushing semiquavers in the violin part were, for some reason, not quite clear, though later in the movement, when the music had become more complex, the same figure sounded clear enough. On the whole, the rendering of the symphony well maintained the success that had previously attended the series.