[A score appears here]
is no other than the reproduction of the motive which was given
in the Adagio by flute and clarinet,
[a score appears here]
just as the concluding passage is a Variante [various reading]
and working up in the major of the motive of the Scherzo,
[a score appears here]
until finally the first motive
[a score appears here]
on the dominant pedal B flat, with a shake accompaniment,
[a score appears here]
comes in and concludes the whole.
The Scherzo in E flat minor, from the point where the triangle
begins, I employed for the effect of contrast.
[a score appears here] As regards the triangle I do not deny that
it may give offence, especially if struck too strong and not
precisely. A preconceived disinclination and objection to
instruments of percussion prevails, somewhat justified by the
frequent misuse of them. And few conductors are circumspect
enough to bring out the rhythmic element in them, without the raw
addition of a coarse noisiness, in works in which they are
deliberately employed according to the intention of the composer.
The dynamic and rhythmic spicing and enhancement, which are
effected by the instruments of percussion, would in more cases be
much more effectually produced by the careful trying and
proportioning of insertions and additions of that kind. But
musicians who wish to appear serious and solid prefer to treat
the instruments of percussion en canaille, which must not make
their appearance in the seemly company of the Symphony.
