A certain
trace of revery does find a vent in the traditional art of contrary
melodies. But a constant singing in pairs is less art than ancient
folk-manner, like primal music in the love or dance songs of savages.
The symphony begins with a quiet rhapsody of solo clarinet in wistful
minor, clear without chords, though there is a straying into major.
There is no accompaniment save a soft roll of drum, and that soon dies
away.
[Music: _Andante, ma non troppo_
_espress._
(Clarinet)]
The rhapsody seems too vague for melody; yet there are motives, one in
chief, winding to a pause; here is a new appealing phrase; the ending is
in a
[Music]
return to the first. Over the whole symphony is cast the hue of this
rhapsody, both in mood and in the literal tone.
All opposite, with sudden spring of buoyant strings, strikes the
Allegro tune ending in a quick, dancing trip. The first voice is
immediately pursued by another
[Music: _Allegro energico_
(2d violins)
_Piu forte_
(Violins with higher 8ve.)
(Cellos with higher 8ve. in violas)]
in similar phase, like a gentler shadow, and soon rises to a passionate
chord that is the main idiom of the movement.
[Music: (Strings, wood and horns)]
A second theme in clear-marked tones of reed and horns, as of stern
chant, is taken up in higher wood and grows to graceful melody in
flowing strings.
[Music: _marcato_]
There is a series of flights to an ever higher perch of harmony until
the first Allegro motive rings out in fullest chorus, again with the
companion tune and the cadence of poignant dissonance.
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