Symphonies and their meaning . ^ /T % r ?A -fZ. tz t= Then it swings with bolder plaint out into themajor, but quickly returns to the stern themeof the beginning. There is a very similar rela-tion of objective and subjective, of fate and 317 SYMPHONIES AND THEIR MEANING victim, to the first Allegro of Beethovens FifthSymphony, though we have no thought of asimilar extension of such an idea. But therepeated prayer of the second and the sternprogress of the first melody suggest the analogyfor the moment. But right here there is asudden glad complexion of the main figure,that spoils the continuin
Symphonies and their meaning . ^ /T % r ?A -fZ. tz t= Then it swings with bolder plaint out into themajor, but quickly returns to the stern themeof the beginning. There is a very similar rela-tion of objective and subjective, of fate and 317 SYMPHONIES AND THEIR MEANING victim, to the first Allegro of Beethovens FifthSymphony, though we have no thought of asimilar extension of such an idea. But therepeated prayer of the second and the sternprogress of the first melody suggest the analogyfor the moment. But right here there is asudden glad complexion of the main figure,that spoils the continuing symbol, while itenhances the charm of the poem. From thehigh-spirited burst—on through a phrase whichsustains the feeling in more meditative suddenly back to stern business, with therapid run, with relentless power, in fff, inter-rupted anon with curious, delicate cogitationson the echoed phrase. Now follows the secondmelody with a new profundity. For, as itsings on high in woodwind, out of the depths Strings. 3i8 SYMPHONIES AND THEIR MEANING
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