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works. The delicious effect of the peculiar tones of the Oboe in this place must be heard to be understood. Berlioz is not far wrong when he classes it with the effect produced by the fresh morning air and the first rays of the rising sun in May.
In the Coda—after the repetition of the first portion of the Trio—the whole Orchestra comes into play; and the effect of the great crescendo and diminuendo, with the grand clang of Horns and Trombones, and Trumpets in low register (somewhat unusual with Beethoven), is truly splendid. After this, the Scherzo is repeated throughout; and then, with short allusion to the Trio, this long but most interesting and exhilarating movement comes to a close.
The slow movement is absolutely original in form, and in effect more calmly, purely, nobly beautiful than anything that even this great master—who knows so well how to search the heart and try the spirit and elevate the soul—has accomplished elsewhere in his symphonies.
It consists of two distinct pieces—distinct in tune, in key, and in speed—which are heard alternately, until the one yields as it were to the superior charms of the other, and retires. The first of the two is in B-flat and in common time. Adagio molto e cantabile. A prelude of two bars introduces this
