Of subtle art is the woof of derived phrases. A
companion melody, that seems fraught of the text of the second subject,
sings with rising passion, while the lower brass blow lustily in
eccentric rhythm of the Allegro phrase and at the height share in the
dual triumph.
We feel a kinship of mood rather than of theme, a coherence that we
fear to relate to definite figures, though the descending symbol is
clear against the ascending. An idyllic dialogue, with the continuing
guise of the Allegro phrase turns to a gayer revel in the original pace,
with a brilliant blare of trumpets.
The free use of themes is shown in the opposite moods of the triplet
phrase, of sadness, as in Andante, or buoyant, in Allegro. Here are both
in close transition as the various verses return from the beginning,
entwined about the first strain of the Andante, gliding through the
descending tone into the second soothing song with the Parnassian
ascent.
A full verse of the first Andante melody sings at the heart of the plot,
followed by the strange daemonic play that keeps the mood within bounds.
Indeed, it returns once more as at first, then springs into liveliest
trip and rises to an Olympian height, with a final revel of the triplet
figure.
_II._--With a foreshadowing drop of tone begins the prelude, not unlike
the first notes of the symphony,
[Music: _Adagio, ma non troppo_
(_espressivo_ Clar.)
(Strings)
(Clar'ts and bassoons)]
answered with a brief phrase.
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