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sentiment, and so crowded with beauties of every sort as almost to put out of mind even the noble music we have already heard. This coda begins with the descending phrase of the first subject (No. 2), harmonized as before by pizzicato Basses in contrary motion, but treated at much greater length than before and with constant variety. Next, a great deal is made of the stormy phrase,—quoted as No. 8. The two favorite bars which formed so prominent a feature in the working-out (No. 14) are once more brought forward and worked between the Horns and Oboe, over a holding A in the Strings, then by the Strings themselves in unison, with the holding A in the Horns. Then the stormy phrase recurs with an astonishing passage in contrary motion in the Violins, and then the ritardando twice given. So far, Beethoven is dealing with previous materials. But, before finishing, he has something to tell us entirely different from all he has already said. The earlier portions of this movement paint, in unmistakable colors, the independence and impatience which characterize him throughout life, and which had now increased to an almost morbid degree. They show all the nobility and vigor, and much of the tenderness and yearning, which go to make up that individual being who was called Beethoven. But this the former symphonies do also in their degree. He will now show a side of himself which he has hitherto
