There can be no
questioning; it is all written in the book.
It is at least not hazardous to guess the three figures in the domestic
symphony. Now in jolly Scherzo (_munter_) begin the tricks and sport of
babyhood. There is of course but one theme, with mere comments
[Music: _Gaily. Scherzo_
(Oboe d'Amore)
(Strings)]
of parental phrases in varying accents of affection. Another noisy scene
mars all the peace; father and child have a strong disagreement; the
latter is "defiant"; the paternal authority is enforced. Bed-time comes
with the stroke of seven, a cradle-song (Wiegenlied) (where the child's
theme hums faintly below). Then, "slowly and very quietly" sings the
"dreamy" phrase of the first theme, where
[Music: _Rather slowly_ (Cradle song) (Clarinets singing)
(Oboe d'Amore)
(Fagots)]
the answer, in sweeping descent, gives one of the principal elements of
the later plot. It ends in a moving bit of tune, "very quietly and
expressively" (_sehr ruhig und innig_).
Adagio, a slow rising strain plays in the softer
[Music: _Very quietly and expressively_
(Strings)]
wood-notes of flute, oboe d'amore, English horn, and the lower
clarinets; below sings gently the second theme, quite transformed in
feeling. Those upper notes, with a touch of impassioned yearning, are
not new to our ears. That very rising phrase (the "dreamy" motive), if
we strain our memory, was at first below the more vehement (second)
figure.
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