He often thought, If Beethoven or Chopin had centuries to compose music, imagine the treasures we would have.
Otherwise, when Beethoven has anything special for the violoncellos to say, he invariably softens and deepens their singularly incisive cantabile tones by doubling them with the violas.
Similar principles apply in infinite detail to the treatment of wind instruments, and we must never lose sight of them in speculating as to the reasons why the genius of Beethoven was able to carry instrumentation into worlds of which Haydn and Mozart never dreamt, or why, having gone so far, it left anything unexplored.
It is in E major, while Beethoven chooses to use trumpets in C. The only note which these can play in E major is the tonic, to which they are accordingly confined until the recapitulation of the second subject.
The modern Wagnerian conductor is apt to complain that Beethoven, in his four-bar phrase, drowns a melody which lies in the weakest register of the clarinet by a crowd of superfluous notes in oboes, horns and flutes.