very deep. Continually tormented by grief, this unfortunate man had always aspired to sing the excellence of Joy; and from year to year he put off his task, held back ceaselessly by the whirlwind of his passion and grief. It was only at the very last that he succeeded. But with what a success!
At the moment when the Theme of Joy appears for the first time, the orchestra stops abruptly, thus giving a sudden unexpected character to the entrance of the Song. And this is a true touch; this theme is rightly divine. Joy descends from heaven enveloped in a supernatural calm; it soothes the suffering with its cool breath; and the first impression that it makes, is so tender as it steals into the sorrowing heart, that a friend of Beethoven has said "One feels inclined to weep, as one looks into those soft, calm eyes of his." When the Theme passes first to the voices, it is the Basses who present it first with a solemn and rather weighty character. But, little by little, Joy takes possession of us. It is a real battle, a fight with sorrow. We can hear the rhythms of the marching armies. In the ardent panting song of the tenor, in all these quivering pages we can almost feel the breath of Beethoven himself, the rhythm of his breathing and his inspired cries as he wandered across the fields, composing the work, transported by a demoniacal fury like King Lear in the middle of a storm. After the warlike joy comes religious ecstacy.
