A loveliest verse is of this
further song where, in a dual chase of tune, the melody moves in
contained rapture. In the cadence is a transfigured phase of the
ascending tone, mingled with the retiring melody, all woven to a
soothing cadence.
But the struggle is not over, nor is redemption near. The dulcet phrases
sink once more to sombre depth where there is a final, slow-gathering
burst of passion on the motto, with a conclusive ring almost of fierce
triumph.
_II._--The second movement, _Allegro molto_, is a complete change from
introspection and passion to an
[Music: _Allegro molto_
(Insistent strum of strings)
_Marcato_]
abandon as of primitive dance. Strings stir the feet; the horns blow the
first motive of the savage tune; the upper wood fall in with a dashing
jingle,--like a stroke of cymbals across the hostile harmonies.
Whether a recurring idiom is merely personal or belongs to the special
work is difficult to tell. In reality it matters little. Here the
strange rising tone is the same as in the former (second) melody. In
the rude vigor of harmonies the primitive idea is splendidly stressed.
Right in the answer is a guise of short, nervous phrase, that gets a new
touch of bizarre by a leap of the seventh from below. In this figure
that moves throughout the symphony we see an outward symbol of an inner
connection.--Bells soon lend a festive ring to the main tune.
In quieter pace comes a tranquil song of lower voices with a companion
melody above,--all in serene major.
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