Symphonies and their meaning . J 9 3 Bass doubled below. all carried along with that logic of sequenceand narrative that makes all seem equally worthquoting. Almost the essence of the movementis contained in the rhythm which appears every-where, especially in horns and basses: zm& =^EE £ Now the subject enters again with wonderful depth of device, as the oboes, clarionets, and fagots are singing the melody a whole beat behind flutes, brass, and violins, and yet, instead 316 SYMPHONIES AND THEIR MEANING of conflict, there is but a richer feeling of depth of unconscious design i
Symphonies and their meaning . J 9 3 Bass doubled below. all carried along with that logic of sequenceand narrative that makes all seem equally worthquoting. Almost the essence of the movementis contained in the rhythm which appears every-where, especially in horns and basses: zm& =^EE £ Now the subject enters again with wonderful depth of device, as the oboes, clarionets, and fagots are singing the melody a whole beat behind flutes, brass, and violins, and yet, instead 316 SYMPHONIES AND THEIR MEANING of conflict, there is but a richer feeling of depth of unconscious design isgrowing upon us, in step with the symbolicmusic. Again comes the fluent phrase, whichhelps to a cadence, simmering down to thequiet lyric feeling of the second melody, mostlyin woodwind, with but faintest reminders ofmore solemn background. Woodwind (with the low strings sustaining the harmony).. i d&£ IP 3 z&~ 1 f P its ?£- S~ ^ /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 h
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Keywords: ., bookcentury1800, bookdecade1890, bookpublisherlondonjblippincott
