Symphonies and their meaning . , Schu-berts C Major belongs in a small group whichwould not contain all of Beethovens sym-phonies. The C Major is certainly far superiorto Beethovens Pastoral, not to go further. So complete is this unity in Schuberts sym-phony, a unity transparent in its very breadthand depth and continuous purpose, that the firstmovement, with all its dimensions and supremeperfection of form, seems like a great fanfare,prelude to the rest. The movement itself begins with a prologue,Andante, in a curious prophetic way (like theImpromptu for piano in C Minor), withoutcharm of rh
Symphonies and their meaning . , Schu-berts C Major belongs in a small group whichwould not contain all of Beethovens sym-phonies. The C Major is certainly far superiorto Beethovens Pastoral, not to go further. So complete is this unity in Schuberts sym-phony, a unity transparent in its very breadthand depth and continuous purpose, that the firstmovement, with all its dimensions and supremeperfection of form, seems like a great fanfare,prelude to the rest. The movement itself begins with a prologue,Andante, in a curious prophetic way (like theImpromptu for piano in C Minor), withoutcharm of rhythm or wealth of harmony, alonein solemn horns: 20I SYMPHONIES AND THEIR MEANING Andante. ^m- ii FpftrB U ^T- pT Horns. f t I -^T W As the strain is taken up by others, and thestrings sing an answer in many-voiced hymn,it is like an invocation. Soon there is a loudconfident chorus in the original strain. Thena dainty answering melody from the oboe, withstrange irruptions on the gentle song by the Woodwind. Tutti (with Drums).. Strings. whole orchestra, ever and again in eccentricalternation,—a kind of refusal to be committed 202 SYMPHONIES AND THEIR MEANING to either humor. The echoes, continuingthrough gray changes of tonal color, finallybreak into a clear melodious close in the origi-nal key; slowly the prophetic atmospherechanges to one of joyful confidence. The firstphrase is sung by the woodwind, with newmovement in accompanying strings. Thewhole has some of that promise of comingrhythm which we saw in the prelude of theSeventh Symphony, and a similar gradualgathering of all to join in the great dance ofthe Allegro. There seemed to be in Beethovenand Schubert in the beginning of their sym-phonies a common feeling of solemn dedi-cation to high purpose, which broke gentlyand with increasing momentum into exuberantsong. Suddenly there is a burst into that indefinitejoyousness, just like the Finale of BeethovensFifth in its vague and boisterous literal mind m
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