An end comes, _poco
agitato_, with rude intrusion of the hymnal march in harsh contrast of
rough discord; the note of anxious fear, too, strikes in again. But
suddenly, _etwas breiter_, a new joyous mood frightens away the birds of
evil omen.
Right in the midst of happenings, we must be warned against too close a
view of individual theme. We must not forget that it is on the
contrasted pairs and again the separate groups of phrases, where all
have a certain common modal purpose, that lies the main burden of the
story. Still if we must be curious for fine derivation, we may see in
the new tune of exultant chorus the late graceful turn that now,
reversing, ends in the former rising phrase. Against it sings the first
line of blissful theme. And the first tune of graceful beauty also finds
a place. But they all make one single blended song, full of glad bursts
and cadences.
Hardly dimmed in mood, it turns suddenly into a phase of languorous
passion, in rich setting of pulsing harp, where now the later figures,
all but the blissful theme, vanish before an ardent song of the
wondering phrase. The motive of passionate desire rises and falls, and
soars in a path of "endless melody," returning on its own line of
flight, playing as if with its shadow, catching its own echo in the
ecstasy of chase. And every verse ends with a new stress of the
insistent upward stride, that grows ever in force and closes with big
reverberating blasts.
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