In Bar 48 of the fourth movement - "Ode to Joy", Symphony no. 9, opus 125, in this extract from the piano transcription by Franz Liszt, there are three counterpoint melodies, marked in the blue box.
I am puzzled by the motivation of the arrangement in the middle of the red box?
What logic/reasons explain:
the chord progression?
this particular contrary motion in counterpoint (the red box melody somehow has a tension with the remained melodies.)
More precisely, how A3(red) and B4, then B3(red) and A4, have the whole-tone AB and AB, go back to back. Why does Beethoven mean to do with this arrangement?