Snatches they
are of fancy, of illusion, as, says the priest in Oedipus, is all of
life.
It may be worth while, too, to see how pairs of themes ever occur in
Strauss, the second in answer, almost in protest, to the first. (It is
not unlike the pleading in the Fifth Symphony of the second theme with
the sense of doom in the first.) So we seem to find a motive of fate,
and one of wondering, and striving; a theme of beauty and one of
passion,--if we cared to tread on such a dangerous, tempting ground.
Again, we may find whole groups of phrases expressive of one idea, as of
beauty, and another of anxious pursuit. Thus we escape too literal a
themal association.
Trying a glimpse from the score pure and simple, we find a poem,
opposite the first page, that is said to have been written after the
first production. So, reluctantly, we must wait for the mere
reinforcement of its evidence.
_Largo_, in uncertain key, begins the throb of irregular rhythm (in
strings) that Bach and Chopin and Wagner have taught us to associate
with suffering. The first figure is a gloomy descent of pairs of chords,
with a hopeless cry above (in the flutes). In the recurrence, the turn
of chord is at last upward. A warmer hue of waving sounds (of harps) is
poured about, and a gentle vision appears on high, shadowed quickly by
a theme of fearful wondering. The chords return as at first. A new
series of descending tones
[Music: (Flute an 8ve.
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