The slow movements of the sonatas and symphonies of Haydn and Mozart were essentially lyric pieces in which the composer relied for his effect on the beauty of his melodies. These melodies, usually two in number, were varied by being presented in different keys and by being ornamented with passing-notes, scale passages, trills, etc. Each section was clearly separated from the others by cadence chords, so that the total effect was of a series of separate divisions, each, as it were, independent and complete in itself. There are, of course, exceptions to this method of procedure, particularly in the string quartets of Haydn and Mozart, which are more highly developed than is usual in their piano sonatas, but as a general rule this was their way of treating slow movements.
This lyric, sectional form of slow movement served as a foil to the more involved first movement. The lovely, serene melodies were not disturbed by passion, nor sacrificed for picturesque effect of any kind. In the string quartets and symphonies they were enlivened by a certain amount of polyphony (see Chapter X), and in the piano sonatas they occasionally departed from the simpleregular form, but they seldom dealt with tragedy and seldom presented any evidence of that idiosyncrasy and intense individuality that marks the slow movement of later times.
The early sonatas and symphonies of Beethoven are largely constructed on the old model. The first piano sonata, referred to in Chapter XII, has a sectional slow movement that might almost have been written by Mozart. The slow movement of the first symphony is simplicity itself, both in form and content; and even the adagio of the Path?ique Sonata (see Chapter XI) is a straightforward sectional piece with a lyric melody presented several times, with varying accompaniment, and with the usual contrasting middle section.
(a)
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(b)
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(c)
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(d)
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(e)
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(f)
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(g)
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FIGURE LV.
In Figure LV is shown the first theme of the andante of the first symphony, (a) themes from the larghetto of the second symphony, (b) and (e) and portions of the middle section of the same (c), (d), (f), and (g). Each of these themes is distinctly strophic; each has perfect phrase balance, charm of contour or outline, and simplicity of harmonization. Not so highly organized as the theme from the Path?ique Sonata (see Chapter XI, Figure XLVII) they resemble the themes of the older masters, but bear, nevertheless, some evidence of the individuality that so fully characterizes Beethoven's later music. But in the treatment of the theme from the second symphony that individuality is clearly manifested. Instead of a mere restatement varied by new harmonization or by elaboration of the theme itself, there is a freeplay of fancy, one or two short motives from the first theme being tossed about in the orchestra from one instrument to another in delightful by-play.
All sorts of devices are resorted to to keep the interest of the listener at its height. The chief motive (Figure LV, (b)) passes from calm serenity to playfulness, and again to splendid sonorous grandeur; a phrase from this same motive becomes the subject of an almost crabbed discussion (Figure LV, (d)), while the charming secondary theme (Figure LV, (e)), whose whimsical gayety animates the early part of the movement, is given a plaintive quality by a change to minor (Figure LV, (f)) and the touching contrapuntal phrases that are set against it. A little later a single phrase from the same theme becomes the subject of a bit of vigorous by-play between the different instruments (Figure LV, (g)).
Thus the slow movement, even in Beethoven's early works, becomes vivified by his intense individuality. In his more mature compositions in this form the whole body of the music pulsates with life—no single part stagnates.
Beethoven: The Fifth Symphony, Slow movement.
We have already pointed out in Chapter X that the slow movement is usually written in some sectional form. Beethoven followed the old models in this respect in the majority of his slow movements, but his enrichment of the content of the music and his skill in avoiding conventional endingsand other platitudes makes his pieces less rigid in effect than those of Haydn and Mozart. He was particularly fond of leaving his listeners until the last moment in doubt of the ultimate conclusion of a passage, leading them away from his point and coming back to it by an unexpected modulation or turn of phrase; he frequently ends the section of a movement with one or two brusque chords suddenly inserted after a passage full of sentiment. In short, his sectional movements are less obvious in design, and more flowing and continuous, than was the custom before his day.
The andante of the Fifth Symphony is in free variation form, the divisions—unlike those in the variations referred to in Chapter VII—not being clearly marked nor regular in form. The theme has two parts, but Beethoven skillfully avoids that prolixity sometimes evident in Haydn's "Andante with Variations;" nor does he lengthen his two themes to such an extent as to make them a little doubtful as proper subjects for variation treatment, as did Haydn. Furthermore, although the second part of Beethoven's theme is a better subject than Haydn's "Trio" theme, being more terse and more characteristic, Beethoven presents it in nearly its original form each time it appears, making the first and more important subject serve as the basis of his variations. Such changes as do occur in the second theme will be noted later. The complete movement may be tabulated as follows: