Each movement, save the third, has its prelude: a gathering of threads
before the new story. The first notes of basses, together with the
answer on high, sound a prophetic legend of the whole.
The harmonic lucubrations are profoundly subtle. Indeed the very nature
of the first phrase is of dim
[Music: _Extremement Lent._ (Woodwind)
(Strings and harps)]
groping; it ends in a climax of the answer and merges into the main song
of the Allegro (_tres vif_) in horns, with rapid trip of strings.
[Music: _Tres vif_ (Horns)
(Strings)]
Throughout (from a technical view) is a fine mastery of the device of
ornamental notes, and secondary harmonies; there is also a certain
modern sense of chords and their relations. Together with an infinite
brilliance of these resources there is not only no weakness in cogency
of form, but there is a rare unity of design. The movements are bound
together, at least in themal relation, as strictly as in any symphony.
While the first phrase of the Allegro theme may hark back to the answer
of original motto, the second is the main thread of narrative.
[Music: (Flutes, oboes and clarinets)
_Sempre staccato_]
Again and again is the climax rung on the first high note of the theme.
Then, in lieu of cadence, out of a bright dissonance the quick notes
dance upward in sturdy pace, the answer of the Allegro in sharp
disguise. And then from the height descends a refreshing spray of
subtlest discords, ending in another masterful burst of new harmony.
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