_Haydn: Andante with Variations, in F-minor_ 104
_Philip Emanuel Bach: Piano Sonata in F-minor, first movement_ 115
_Haydn: "Surprise Symphony," first movement_ 131
_Mozart: Symphony in G-minor, first movement_ 136
_Haydn: Adagio in E-flat major, from the String Quartet in G-major, op. 77, No. 1_ 149
_Mozart: Andante from String Quartet in C-major_ 156
I. GENERAL CHARACTER OF BEETHOVEN'S WORK 161
_Beethoven: Pathétique Sonata, first movement_ 166
_Beethoven: Pathétique Sonata, second movement_ 170
_Beethoven: Pathétique Sonata, third movement_ 171
_Beethoven: The Fifth Symphony, first movement_ 181
III. THE DRAMATIC ELEMENT IN BEETHOVEN'S MUSIC 185
IV. THE SIGNIFICANCE OF THE FIRST MOVEMENT OF THE FIFTH SYMPHONY 187
I. THE SLOW MOVEMENT BEFORE BEETHOVEN 191
II. THE SLOW MOVEMENTS OF BEETHOVEN'S EARLY SYMPHONIES 192
_Beethoven: The Fifth Symphony. Slow movement_ 195
III. INDIVIDUALITY OF THE ANDANTE OF THE FIFTH SYMPHONY 198
V. THE UNIVERSALITY OF BEETHOVEN'S GENIUS 203
II. SCHERZOS FROM BEETHOVEN'S SONATAS 209
_Beethoven: Scherzo from the Twelfth Sonata_ 209
_Beethoven: Scherzo from the Fifteenth Sonata_ 210
III. THE SCHERZOS OF BEETHOVEN'S SYMPHONIES 211
_Beethoven: Scherzo from the Fifth Symphony_ 218
Of the thousands of people who consider themselves lovers of music, it is surprising how few have any real appreciation of it. It is safe to say that out of any score of persons gathered to hear music, whether it be hymn, song, oratorio, opera, or symphony, ten are not listening at all, but are looking at the others, or at the performers, or at the scenery or programme, or are lost in their own thoughts. Five more are basking in the sound as a dog basks in the sun--enjoying it in a sleepy, languid way, but not actively following it at all. For them music is, as a noted critic has said, "a drowsy reverie, relieved by nervous thrills." Then there are one or two to whom the music is bringing pictures or stories: visions of trees, cascades, mountains, and rivers fill their minds, or they dream of princesses in old castles, set free from magic slumber by brave heroes from afar. Perhaps also there is one who takes a merely scientific interest in the music: he is so busy analysing themes and labelling motives that he forgets to enjoy. Only two out of the twenty are left, then, who are actively following the melodies, living over again the thoughts of the composer, really appreciating, by vigorous and delightful attention, the beauties of the music itself.