The coarser vein of the last
is no solace to the noble grief of the foregoing.
Again the change or series of moods is not clearly defined. They seem a
parade of visions. The hymn may be viewed as a guise of the former chant
of the Scherzo, with the dance-trip in lowest bass.
Straight from the rush and romp we plunge anew into a trance of sweet
memories. The lyric vein here binds together earlier strains, whose
kinship had not appeared. They seemed less significant, hidden as
subsidiary ideas. If we care to look back we find a germ of phrase in
the first Prelude, and then the answer of the second (Allegro) theme of
first movement. There was, too, the sweep of dual melody following the
rude dance of Scherzo. Above all is here the essence and spirit of the
central Adagio melody of the symphony.
The answering strain is of high beauty, with a melting sense of
farewell. From the sad ecstasy is a
[Music: (Strings with higher and lower 8ve.)
(Wood and horns in 8ves.)
(Basses of strings and reeds)]
descent to mystic musing, where abound the symbols of rising and falling
tones. More and more moving is the climactic melody of regret with a
blended song in large and little. Most naturally it sinks into a full
verse of the Adagio tune--whence instantly is aroused a new battle of
moods.
While the dance capers below, above is the sobbing phrase from the heart
of the Adagio. The trip falls into the pace of hymnal march.
Pages:
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147