not named as such. The main theme appeared in the early Sketches with the Suggestion of fugal development; the solo timpani interruptions are the strikingly characteristic idea that sums up Beethoven’s boundless energy and capacity for surprise - little wonder that the first audience broke into spontaneous applause at the later appearance of the timpani. With all repeats played this movement is a vast construction, equal in length to the long opening movement. The central Presto section marks the entrance of the trombone for the first time in the symphony and also allows for some prolonged woodwind solos, harking back to atmosphere of the equivalent section of the Pastoral’s peasants’ merrymaking. 3. Adagio molto e cantablile - Andante moderato As early as 1818 Beethoven had considered inserting what he termed an Adagio cantique in the form of a pious song and whilst he may not have pursued this to the letter, the idea does appear to have borne fruit in the Adagio molto e cantabile. Again, there are similarities with the aforementioned A minor String Quartet and the Holy Song of Thanksgiving that forms its slow movement. The opening Adagio theme is indeed hymn-like and reminds one of that holy song; the second Andante theme is more expressive (marked espressivo') and introduces a heartfelt warmth to the music, aided by the mediant key-shift from B flat major to D major. This Andante section only returns the once in varied scoring and so this is not the traditional double- variation form that seemed to be implied at first hearing. The rarefied atmosphere is interrupted twice by trumpet and drum fanfares but nothing really breaks the serenity of this visionary scene. Until, that is, we come to what Wagner termed the ‘terror fanfare' and the start of the unprecedented finale which makes füllest impact when it follows without a break. 4. Presto; Allegro assai This opening depiction of chaos is perhaps a tribute to a work that Beethoven admired, Haydn’s Creation. And then the recitative passage where all three earlier movements are suggested, only to be angrily rejected by cellos and basses, (although slightly more forgiving of the Adagio') before we finally arrive at the ‘joy’ theme. And the rest, as they say, is history. This is surely one of most famous passages in all music, ubiquitous, being adopted as the European anthem and indeed promoted as an anthem for the world with its theme of universal brotherhood and joy. However, Beethoven still finds room for his rough humour - just when the ‘joy’ theme reaches an exultant climax as 'the Cherub Stands before God’, the double bassoon enters for the first time with a low fart to introduce a drunken march. But the central theme remains that of universal celebration with the emphasis on joy, the celebration of creation, marvel at the world and beyond with an exhortation to sense the Creator
