In the third part,
the themes of the first are again taken up, but by modulation they are
made to take on a new significance, and bring peace in the end. Although
the movement is cast for double chorus as regards the vocal part, the
voices are given a subordinate place, the portrayal being carried on by
the orchestra in true symphonic style. Notable in this movement is the
rhythm. In all the storm and stress, a rhythmic motion, a systole and
diastole, a surging to and fro, as of vast masses of beings in the last
extremity of peril, is apparent.
To read meanings and design into the work of such a composer as
Beethoven is the inevitable result of the transcendent nature of it. It
was seldom that he vouchsafed any explanation of his musical intent in
his compositions. Schindler, who thoroughly appreciated his genius, and
who was eager for enlightenment on this phase of his art, was in the
habit of drawing Beethoven out, as occasion offered, but it was always a
difficult process. Simple and childlike in most matters, the master was
wary and suspicious to an incredible degree when the conversation
touched on the subject of his compositions.
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