The slow solemn prelude _(Largo)_ opens with the
[Music: _Largo_
(Strings)]
chief phrase of the work in lowest strings to ominous chords, and treats
it with passionate stress until the main pace of Allegro.
[Music: _Espr_. (Violins)
(Wood and horns)]
But the germ of prevailing legend lies deeper. The work is one of the
few symphonies where the whole is reared on a smallest significant
phrase. The first strain (of basses) is indeed the essence of the
following melody and in turn of the main Allegro theme. But, to probe
still further, we cannot help feeling an ultimate, briefest motive of
single ascending tone against intrinsic obstacle, wonderfully expressed
in the harmony, with a mingled sense of resolution and regret. And of
like moment is the reverse descending tone. Both of these symbols
reappear throughout the symphony, separate or blended in larger melody,
as principal or accompanying figures. Aside from this closer view that
makes clear the tissue of themal discussion, the first phrase is the
main melodic motto, that is instantly echoed in violins with piquant
harmony. In the intricate path of deep musing we feel the mantle of a
Schumann who had himself a kind of heritage from Bach. And thus we come
to see the national spirit best and most articulate through the medium
of ancient art.
The main Allegro melody not so much grows out of the Largo prelude, as
it is of the same fibre and
[Music: _Allegro moderato_
4 times
_molto expr.
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