The Indianapolis times. [volume] (Indianapolis [Ind.]) 1922-1965, 1929-02-09

latter a ballad by Goetne) Paul Dukus
1.-THE Three-cornered Hat" De FalIa
Tie history of Symphony No. 5
in c Minor, one of Beethovens
greatest works, follows:
It had long been in Beethoven's mind
before he actually began serious work upon
it at the end Of 1904. There are, lnoeeo'
sketches for such a work which Bee
thoyen made as early as 1885, and one
of these is not unrelated to the scherSo
of the symphony which is performed on
this occasion.
The master was still working on the
score of his C Minor symphony in 1896,
when. for some reason which has remained
unexplained, he put his manuscript aslae
and began and completed the symphony
which was later published as NO. 4, opus
go. Having set down the last note Oh
the latter work, Beethoven returned 10
the symphony in C Minor and he finished
it at Heiligelstadt. little village in the
neighbothood of Vienna, in 1907
The first performance of the new work
was given at the Theater Amber Wlen'
Dec. %. 1908. The concert had oeen
advertised as an Academic Musicale III
the Wiener Zeitung Of Dec. II. and Bee
thoyen stated that all the pieces on the
program were of his own composition, that
they were entirely new and had not yet
been published. The subscribers TO TINS
matchmaking could have been in no
doubt as to the value in quality ana
quantity which they would receive Tor the
price.
I. Allegro Can Brio, minor. "a time.
The movement begins without lntroduc-
ton, with the following arresting theme:
On being asked the significance OF TINS
portentous motif, Beethoven informed
Anton SCHNEIDER that it was intended TO
represent Fate knocking at the door.
The master did not always take the
questions of his friends seriously, put
whether or not he intended the four open
ing notes of his symphony to represent
the blows of fate, those notes held some
significance to him, for Beethoven mace
use of them in other works-in the
finale of the early sonata for piano IN
C minor. in the first movement OF the
Sonata Appassionata, in the scherzo OF
the strong quartet. Opus IA. etc
A transitional passage. making use OF
the same material leads to the second
theme. in E fat major, given out by the
horn fl:
1t should be observed that the first four
notes of the subject quoted above are
taken from the principal theme, which,
indeed. makes its influence felt through
out the movement as we'll as in other
portions of the symphony. The exposition
having come to an end and having been
repeated. the development section fol-
lows It's matter being concerned with
the two chief themes. The reorganization
enters with the principal subject in the
full orchestra Fortissimo. The second
theme appears in C minor and toward
the end there is an extensive coda made
up of the opening motive.
II. Andante Con Motto. A fat major, 3-S
| time. The design of this movement is a
double theme with variations. The first
theme is given out by the violas and
violcncellos. the double BASES accompany
| ing pizzicato: The second theme appears
| in the clarinets and bassoons:
There are three variations, free in style
with episodical interiudes. At the end
there is a coda (Piu motol, its material
given first to the bassoon and afterward
to the violoncellos.
III. Allegro, C minor, "a time. This
moyement-in reality Scherzo, although
not so entitled by Beethoven--is con-
structed in the usual three part form
peculiar to such divisions Of symphonies.
Its opening theme. given out mysteriously
by the BASES. is as follows:
Following this there comes, in the horn
another motive, clearly derived from the
four opening notes of the first movement
Beethoven then proceeds to develop this
WI -
hustle IN the double BASES. is an admirable
example of Beethovens humor. A long
diminuendo toward the close of the trio
leads back to modified repetition of the
! Seherzo. A new melody makes its ap-
pearance in the strings pizzicato and this
is followed by mysterious passage which
with pulsations of the kettledrum over {
long-held fat IN the BASES, leads with
out pause into the finale.
". Allegro. G major, "A time. tri-
umphal march subject opens the move.
ment: After twenty-four measures of thi,
a new idea makes its appearance in The
wind. This leads TO the second theme
heard in the string in C major.
There is another section OF this subiec
which. given to the clarinet and the violss
completes the thematic material from
which the music OF the movement is de
rived. The development is concerned
mainly with the second theme. At IT
close there is crescendo, a great out
burst and. following lull. the ulateria
of the Scherzo Is reintroduced. The tri
/ umphal first theme brings forward thl
reorganization. the second subject appear
ing as before. but now in major. III.