The whole
merges naturally into the first waltz, with a richer suite of adorning
figures. The dance does not end without a soft reminder (in low
woodwind) of the original sombre phrase.
Almost for the first time a waltz has entered the shrine of the
symphony. And yet perhaps this dance has all the more a place there. It
came on impulse (the way to visit a sanctuary), not by ancient custom.
But with all its fine variety, it is a simple waltz with all the
careless grace,--nothing more, with no hidden or graphic meaning (as in
Berlioz's Fantastic Symphony).
The middle episode, though it lacks the dancing trip, is in the one
continuing mood,--like a dream of youthful joys with just a dimming hint
of grim reality in the returning motto.
In the Finale the main legend of the symphony is transformed and
transfigured in a new, serener mood, and is brought to a full melodic
bloom. Indeed, here is the idealization of the original motto. _Andante
maestoso_ it begins in the tonic major. When the theme ceases, the brass
blow the rhythm on a monotone, midst an ascending _obligato of strings_.
[Music: (Brass and lower woodwind)
(See page 139, line 1.)]
In answer comes a new phrase of chorale. Later the chorale is sounded
by the full band, with intermediate beats of rhythmic march.
Once more there is a well-marked episode, with a full share of melodic
discussion, of clashing themes, of dramatic struggle. First in the tonic
minor a theme rises from the last casual cadence in resonant march,
_Allegro vivace_.
Pages:
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120