Cellos and double basses introduce the first theme, and are answered by the strings and winds.
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The third movement takes us back to the somber key of C minor, the principal key of the whole symphony. It is written in the Scherzo form, which usually includes three major sections: Scherzo-Trio-Scherzo.
The Scherzo opens with one of the most mysterious themes ever written by Beethoven. Its first strain, played by cellos and double basses, seems to rise from the depths of the soul, then answered by the first violins, and accompanied by many other instruments.
The theme begins on an unaccented note, while the violin's reply begins solidly on the first beat of the bar (which is the most accented note). A reply? Is it really an answer? No, of course not. The violins complement the first strain with a new question, ending on the dominant chord (G-B-D).
This relatively rapid passage came quite as a surprise for the cello and double bass players of Beethoven's time. However, today the orchestral techniques of double bass players include the agility required for playing bass stringed instruments.
The first strain is based on an ascending broken chord, while the violin's reply is an almost step-by-step cadence.
