But the first
is the sovereign figure of the story. It enters into the pattern of
every new phase, it seems the text of which all the melodies are
fashioned, or a sacred symbol that must be all-pervading. In a broader
pace (_Alla breve_) is a mystic discussion of the legend, as of dogma,
ending in big pontifical blast of the answering theme.
The whole movement is strangely frugal of joyous abandon. Instead of
rolling, revelling melody there is stern proclamation, as of oracle, in
the solemn pauses. The rhythm is purposely hemmed and broken. Restraint
is everywhere. Almost the only continuous thread is of the meditative
fugue.
A single dulcet lyric verse (of the motto) is soon
[Music: (Cellos with _tremolo_ of lower strings)]
banished by a sudden lively, eccentric phrase that has an air of forced
gaiety, with interplay of mystic symbols. At last, on a farther height,
comes the first
[Music]
joyous abandon (in a new mask of the motto), recurring anon as recess
from sombre brooding.
Here the second subject has a free song,--in gentle chase of pairs of
voices (of woodwind and muted strings and harp) and grows to alluring
melody. As
[Music: (Lower reed, with _tremolo_ of lower strings)]
from a dream the eccentric trip awakens us, on ever higher wing. At the
top in slower swing of chords horn and reeds chant the antiphonal
legend, and in growing rapture, joined by the strings, rush once more
into the jubilant revel, the chanting legend still sounding anon in
sonorous bass.
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