The real battle
begins almost with a lull, the mere sound of the second tune in the
reeds with light strum of strings and triangle. As the theme is
redoubled (in thirds of the wood), the sweep of strings of the first
motive is added, with chords of horns. A rising figure is now opposed to
the descent of the second melody, with shaking of woodwind that brings
back the old trumpet legend. Here the storm grows apace, with increasing
tumult of entering hostile strains, the main song now ringing in low
brass.
In various versions and changes we seem to see earlier themes briefly
reappearing. Indeed there is a striking kinship of themes throughout,
not so much in outline as in the air and mood of the tunes. This seems
to be proven by actual outer resemblance when the motives are developed.
Here in a quiet spot--though the battle has clearly not ceased--is the
answer of old trumpet motto, that pervaded the first Allegro. There is a
strong feeling of the Scherzo here in the _pizzicato_ answers of
strings. The second theme of the Andante is recalled, too, in the
strokes of the second of the Finale. In the thick of the fray is a
wonderful maze of versions of the theme, diminished and augmented at the
same time with the original pace. Yet it is all a clear flow of melody
and rich harmony. The four beats of quarter notes, in the lengthened
theme, come as high point like the figure of the leader in battle. A
later play of changes is like the sport of the Scherzo.
Pages:
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110