)]
of tragedy. Opposite in feeling is the descending motive of strings,
_Moderato con anima_ (9/8). First gently expressive, it soon rises in
passion (the original
[Music: _Moderato con anima_
_in movimento di valse_
(Strings and one horn, the melody doubled below)]
motto always sounding) to a climax whence an ascending motive, in lowest
basses, entering in manner of fugue, holds a significant balance with
the former. Each in turn rears a climax for the other's
[Music: (Horns doubled below)
(Cellos and bassoons)]
entrance; the first, lamenting, leads to the soothing hope of the second
that, in the very passion of its refrain, loses assurance and ends in a
tragic burst.
Suddenly a very new kind of solace appears _Dolce grazioso_, in a
phrase of the clarinet that leads to a duet of wood and _cantabile_
strings, impersonal almost in the sweetness of its flowing song.
[Music: _Moderato assai_
(Oboe doubled in flute)
(Strings)]
In such an episode we have a new Tschaikowsky,--no longer the subjective
poet, but the painter with a certain Oriental luxuriance and grace. It
is interesting to study the secret of this effect. The preluding strain
lowers the tension of the storm of feeling and brings us to the attitude
of the mere observer. The "movement of waltz" now has a new meaning, as
of an apparition in gently gliding dance. The step is just sustained in
leisurely strings. Above is the simple melodic trip of clarinet, where a
final run is echoed throughout the voices of the wood; a slower moving
strain in low cellos suggests the real song that presently begins, while
high in the wood the lighter tune continues.
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