ith such integration of metricalstructure and thematic invention as does the first movement; the grand balancing ofblocks of sound comes, as everyone knows, from a proverbial four-note idea, an ideaunusable by others, and in that sense a asocial , rather like the opening of Coriolan(1807),the overture for Collins tragedy, with its powerful swelling unisons that explode intochords.(236) This explains the why Beethovens opening to Symphony No. five is sopowerful and dominating to the listeners ear. His use of only four notes to introduce hissymphony is an original one, giving it extreme distinction from any other composerswork of the Classical Period. In the second movement a few C Major fanfare figure as some of the closestpoints of contact between Beethoven and the revolutionary plein air, and if the swift,tiptoeing type of scherzo had been born in the Eroica, the Fifth generates the ghostly type. For the first time the device of linking the two final movements, already employed in thepiano sonata, finally appeared in the symphony. Here the point at which they join is filledwith a beam of light blazing which makes it cleat to everyone, whether or not they areexperts, the great theme of light triumphing over darkness already treated in a crypticway by Hayden and Mozart.(Pestelli p. 237). The energy which fills the whole finale iscompressed into fifty bars of motionless, traumatic tension; this movement is couched inthe same language as the final chorus of Fidelio, and like it-indeed more so, in spite ofthe absence of words- is a celebration of the supreme and completely secular value ofhuman dignity.(Pestelli p.237)....
