On the descending motive the main melody
is woven.
Tenderly they play together, the melody with the main burden, the
lighter prelude phrase in graceful accompaniment. But now the latter
sings in turn a serious verse, rises to a stormy height, the horns
proclaiming the passionate plea amid a tumultuous accord of the other
figures, and sinks in subdued temper. In a broader pace begins a new
line, though on the thread of the descending motive, and with the
entering phrase of the prelude winds to a climax of passion. The true
episode, of refuge and solace from the stress of tempest, is in a song
of the trumpet through a shimmering gauze of strings with glinting harp,
to a soft murmuring in the reeds.
[Music: _Animando_ (Violins)
(_Trem._ violins doubled above in oboes)
(Cellos with sustained lower B of basses)
Main melody in trumpets]
In a new shade of tone it is echoed by the horn, then in a fervent close
it is blended with a guise of the prelude phrase, that now heralds the
main melody, in a duet of clarinet and violins. At last in the home
tone the horn sings amid the sweet tracery the parting verse, and all
about sounds the trist symbol of the first (descending) motive.
_III._--The Scherzo is in one view a mad revel of demon pranks in a new
field of harmonies. Inconsequential though they may seem, there is a
real coherence, and, too, a subtle connection with the whole design.
To be sure, with the vagueness of tune that belongs to a school of
harmonic exploits a certain mutual relation of themes is a kind of
incident.
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