the Tempo di Menuetto, the familiar "Scherzo" and, as the two
movements thus interpreted seemed rather paltry, and none of the
usual effects could be got with them, our musicians came to
regard the entire symphony as a sort of accidental hors d'oeuvre
of Beethoven's muse--who, after the exertions with the A major
symphony had chosen "to take things rather easily." Accordingly
after the Allegretto Scherzando, the time of which is invariably
"dragged" somewhat, the Tempo di Minuetto is universally served
up as a refreshing "Landler," which passes the ear without
leaving any distinct impression. Generally, however, one is glad
when the tortures of the Trio are over. This loveliest of idylls
is turned into a veritable monstrosity by the passage in triplets
for the violoncello; which, if taken at the usual quick pace, is
the despair of violoncellists, who are worried with the hasty
staccato across the strings and back again, and find it
impossible to produce anything but a painful series of scratches.
Naturally, this difficulty disappears as soon as the delicate
melody of the horns and clarinets is taken at the proper tempo;
these instruments are thus relieved from the special difficulties
pertaining to them, and which, particularly with the clarinet, at
times render it likely to produce a "quack" [FOOTNOTE: Anglice,
"a goose,"] even in the hands of skilful players. I remember an
occasion when all the musicians began to breathe at ease on my
taking this piece at the true moderate pace: then the humorous
sforzato of the basses and bassoons at once produced an
intelligible effect; the short crescendi became clear, the
delicate pianissimo close was effective, and the gentle gravity
of the returning principal movement was properly felt. Now, the
late Capellmeister Reissiger, of Dresden, once conducted this
symphony there, and I happened to be present at the performance