Part 21 (1/2)

This, however, is nothing against it, because equally true of large works in other fields of art, _eg_, the Agay It cannot be understood, much less appreciated, without close attention and earnest thought, for it presents the struggles and aspirations of ht or entertain When the hearer has made it his own it is a priceless possession for all time The Prelude to the first movement, un poco sostenuto, is of impressive solemnity, developed from the motto, and based on the almost persistent iteration of the pedal notes C and G--the tonic and do is to be revealed, and thisis accentuated by the orchestration which with its stratified grouping of th characteristic of Brahro, in coins with a _ff_ announce_

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Note the cutting effect of the dissonant tones F-sharp and A-flat!

Frorows the _

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Then follow so rhythes itself out, in ins with so to further attention It gradually cools down through a series of beautiful modulations and, in measure 84, the second the by the oboe--enters in the relative , chroained by the bass, which has the saure as the second phrase of the first the_

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Much of the previous fierceness, however, has abated and the remainder of the second the calls between oboes, clarinets and horns The _pp_ do portion ( effect and then the coins with a series of shi+fting harmonies, at first _ff_ and then _pp_--a lull before the stor the way for a still more terrific assault upon our ehout; based at first onwith an extended presentation of the _

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The fusion of the development with the recapitulation is skillfully handled, and theatstrata, with overwhelment and necessary adjustment of key-relationshi+p, conforitato closing portion as before, and then the Coda proper, beginning at measure 421, emphasizes with fiery accents the mood of storm and stress characteristic of the movement as a whole After the fury has subsided, the dra measures, poco sostenuto; the problem is still unsolved and the last C ht cast on troubled waters

The second ins with a tender ious hope No sooner has it started, however, than there creeps in the sinister ri_

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Inby the oboe, of ineffable beauty which is used in the third part as the climax of the movement It surely seems to come from another world and is one of the most sublime melodies by Brahms or any one else Its climax is i_

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Thein ue form--for solo oboe and clarinet, worked up to an eloquent climax in the key of the relativees, corresponds to part one; save that the melody is varied by Brahainst two in another Beginning inthe by a solo violin, reinforced by oboe and horn

It is finally entrusted, in the home key, to the horn alone, above which the solo violin soars in ecstacy, _eg_

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Soes lead to a reminiscent portion of the first theri; for, in measures 122-124, it is finally exorcised and the movement closes with the seraphic calm of a soft, rich chord in E major, above which is heard a star-like note on the solo violin

The thirdBrahms's custom in each[259] of his symphonies to substitute a movement of this type in place of the conventional Scherzo or Minuet This movement clearly in three-part form, is thrown in to furnish relief after the e It has no obvious organic connection with the other s, with a note of vitality which does hten the scene and to prepare the way for the Finale The opening theme in A-flat major is in two phrases of _five_ iven out by the clarinet over a pizzicato bass in the 'cellos The melodic formation is unusual in that the latter phrase is an inversion of the first, _eg_

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[Footnote 259: The only slight exception is the third iocoso, partakes somewhat of the nature of a Scherzo]

After soes in thirds and sixths--one of the characteristic[260] effects in Brahms's style--the the The descending passage returns and this time leads to the entrance of a subsidiary theme in F minor In erenuine _creative_ artist The arian zest sounds like soically derived fro_

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[Footnote 260: ”Those eternal sixths and thirds” Weingartner later publicly recanted and became a whole-souled convert to Brahms (See _The Symphony since Beethoven_, latest edition)]