[Music: _In stirring motion. With greatest vehemence_
(Brass and strings)
(Bass of wood and string)
(Trumpets)]
Throughout the whole symphony is the dual theme, each part spurring the
other. Here presently are phrases in conflicting motion, countermarching
in a stormy maze. It is all, too, like noisy preparation,--a manoeuvring
of forces before the battle. Three distinct figures there are before a
blast of horn in slower notes, answered by shrill call in highest wood.
There enters a regular, rhythmic gait and a clearer tune, suggested by
the call.
[Music: (Horns, oboes and 1st violins, G string)
(Strings and wood)
(Tuba and strings)
(Second violins)]
In the brilliant medley there is ever a new figure we had not perceived.
So when the tune has been told, trumpets and horns begin with what seems
almost the main air, and the former voices sound like mere heralds.
Finally the deep trombones and tuba enter with a sonorous call. Yet the
first rapid trip of all has the main legend.
As the quicker figures gradually retire, a change of pace appears, to
the tramp of funeral. Yet the initial and incident strains are of the
former text. Out of it weaves the new, slower melody:
[Music: _Much slower_ (in the tempo of the former funeral march)
(Oboes)
(Flutes and clarinets)
(Cellos)
_molto cantando_]
Throughout, the old shrill call sounds in soft lament. Hardly like a
tune, a discourse rather, it winds along, growing and changing naively
ever to a new phrase.
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