40. Heinrich Schenker, “The Representation of Chaos from Haydn’s Creation,” 97. In a sense, the opening bars of the Ninth Symphony echo the opening bars of Opus 31 no. 2: the bare fifth on A will be heard soon enough as a dominant, while the conspicuously absent C# in the bass will sound only when the passage is recalled at the outset of the finale. On this latter point, see my “Between Cavatina and Ouverture: Opus 130 and the Voices of Narrative,” in Beethoven Forum 1 (1992): 170.