Sur le rendement des symphonies de Beethoven, tant cette . esides Cornes et bois-énergie éolienne pourrait être doubledin les quatre barres en discussion (page 16, 14 et 15 bars et 17 bars, page 2 et 3). Je dois dire à la doublingof le bois-wind (si c'est possible) pour le passage whichshortly suit. Je m'ifi =t^ Jf-H 7D J F^te =1 "/ "/ sf Page 18, bar 10 à la page 19, bar 8. J'ai succeededin l'obtention d'un très bon effet dans cette puissante gradationby la distribution des cornes crescendo soutenue à sucha chemin parmi les instruments de lutherie, que le volume en ofsound les notes soutenues ont augmenté dans un

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On the performance of Beethoven's symphonies . esides this, both horns and wood-wind might be doubledin the four bars under discussion (page 16, bars 14 and 15and page 17, bars 2 and 3). I should advise the doublingof the wood-wind (if it is possible) for the passage whichshortly follows. I M ifi=t^ !Jf-H 7to I F^te=1 »/ »/ sf Page 18, bar 10 to page 19, bar 8. I have succeededin obtaining a very good effect in this powerful gradationby distributing the sustained crescendo of the horns in sucha way amongst the stringed-instruments, that the volume ofsound in the sustained notes increased in a quite specialdegree, whereas the figurations began each time with asomewhat diminished sound, and started the crescendo anew.Of course these special crescendi on the long notes must begraduated among themselves in such a way that they areweakest the first time and strongest the third time. Anattempt at a notation would be somewhat as follows: SEVENTH SYMPHONY. 103 Violins Violas, Violoncellos and Contrabasses I u. iffmf^^. fe f-:j0f-i^ v 1^. Page 19, bars q —12. Here too the second horn playsthe lower B flat. Then in the last bar both wood-wind andhorns, or at any rate the latter, come in doubled and remainso until bar 4 of page 23. After the piano of course everythingbecomes single again. I need not mention that the entry ofthe Z>minor, which is preceded by a crescendo o{ two bars, must be of gigantic force. The trumpets and kettle-drumsin particular must play with absolutely elemental strength. Page 21, bar 4. After the enormous display of powerin the preceding passage we still have a fiii f here, which I04 SEVENTH SYMPHONY. leads on to the ff of the returning original theme. It seemstherefore absolutely necessary to obtain a diminution of thesound beforehand. The place most adapted to this seems tome to be the second half of the 13 bar on page 20. Theshort preceding phrases of the wood-wind and string (from bar10) must still be played with great energy, but the passage

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