ment has a multiplicity of ideas that seem to grow out of each other rather than out of a formal scheme. A tense development sec- tion occurs in the middle, but it seems al most irrelevant to call it that, not only be- cause another new theme is introduced in its tumultuous midst but because through- out the movement each theme spreads out and "develops" on the spot. The newness of all this has been pungently summarized by George Bernard Shaw: "Haydn would have recoiled from the idea of composing- or perpetrating, as he would have put it- the first movement of Beethoven's 'Eroica/ and would have repudiated all part in lead- ing music to such a pass." The remainder of the work continues to pile one epic experiment and gesture on top of another. The Funeral March, with its infinite shadings of grief, represents a new kind of slow movement that Stretches to Mahler and beyond. The Scherzo is Beethoven's alternative to the classical Minuet. An example of Beethoven's inno- vations in Orchestration can be heard in the fiendishly treacherous fanfare for horns in The great names intravel American Express Travel Service sells them all. Airlines, cruise lines, hotels, rental car Companies, well-known tours (ours and others). We can make your reservations and seil you the I tickets. And chances are there will I be an American Express Travel Service office to take care of you II wherever you’re going. American Express Travel Service... I we want to be your travel agent. Middlesex Travel Bureau & Cruise Center 814 Raritan Avenue. Highland Park, New Jersey 572-0221 the trio, which Bernstein calls "every horn player's nightmare." The finale begins with Haydnesque humor but uses it as a springboard for another larger-than-life experiment. This set of variations (once frequently criticized for providing a "weak" ending for such a huge work), confronts us in the sharpest possible way with the co-existence of Beethoven the epic symphonist and Beethoven the uninhibited prankster. In a droll reversal of normal Variation proce- dures, Beethoven begins with three frag- mented, rather trivial variations before introducing the full-blown theme. This theme in tum launches a series of episodes that are less "variations" than self-con- tained worlds of energy and feeling. Beethoven's fondness for complex, dra- matic fugues (which increasingly come to saturate his late works) is allowed full play here, as is his fondness for asymmetrical rhy thms. At the end, the same wild scramble of notes that opened the movement ushers in the ecstatic coda. -Jack Sullivan TARRICONE &TARRICONE Insurance Services Peter G. Tarricone President Christopher C. Tarricone Vice President P.O. Box 2450 85 Park Avenue • Flemington, NJ 08822 (908) 788-5089 • Tclefax'(908) 788-7454 T A E G P E T AN AdERfCAN ' CAPE ' Representative 5 UVINGSTON AVENUE NEW BRUNSWICK, N.J. 08901 1908)828-4444
