And the soft calls about seem part of the melody.
An expressive line rising in the clarinet harks back to one of the later
strains of the funeral march.
The second melody or answer (in low octaves of strings) is a scant
disguise of the lower tune in the stormy duet of the first movement. Yet
all the strains move in the gentle, soothing pace and mood until
suddenly awakened to the first vehement rhythm.
Before the slower verse returns is a long plaint of cellos to softest
roll of drums. The gentle calls that usher in the melody have a
significant turn, upwards instead of down. All the figures of the solemn
episode appear more clearly.
On the spur of the hurrying main motive of trumpets the first pace is
once more regained.
A surprise of plot is before us. In sudden recurrence of funeral march
the hymnal song of the first movement is heard. As suddenly, we are
plunged into the first joyful scene of the symphony. Here it is most
striking how the call of lament has become triumphant, as it seems
without a change of note. And still more wonderful,--the same melody
that first uttered a storm of grief, then a gentle sadness, now has a
firm exultant ring. To be sure, it is all done with the magic trip of
bass,--as a hymn may be a perfect dance.
Before the close we hear the first fanfare of trumpet from the opening
symphony, that has the ring of a motto of the whole. At the very end is
a transfigured entrance,--very slowly and softly, to a celestial touch
of harp, of the first descending figure of the movement.
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