appearance of the interpolated theme. This theme, with rhyth-
mic modifications, serves also as the basis for the brilliant Coda;
for there is no Recapitulation proper, and it is evident that the
movement is an extended prelude for what is to come—a first
portion of the work as a whole. After a dramatic pause,[200]
which enhances the feeling of expectancy (so prominent in the
first movement) followed by a sustained modulatory chord, the
Romanze begins with a plaintive theme in A minor. The mood
is that of an idealized serenade, and in the original score the ac-
companiment for the oboe melody was given to the guitar[201]
to secure the appropriate atmosphere. After the first statement
of the theme there is an interpolated quotation of the char-
acteristic passage from the introduction, which serves to bind
the movements together both in structure and in relationship
of mood. The movement is in clear-cut three-part form and
the middle contrasting section in the major mode reveals a sus-
tained descending melody played by the body of strings, which
is delicately embellished by an obligato variant given to a solo
violin,e.g.
[Music]
[Footnote 200: Concert-goers may well be reminded that there
should benoapplause between the movements of this work.
One of the most pernicious ideas of the public is that as soon
as the music ceases, handclapping should begin; whereas a com-
plete silence is often the very means the composer employs for
intensifying what has been said and preparing for what is to
come. Let us ponder the cryptic remark attributed to Mozart
that “the rests in music are more important than the notes.”]
[Footnote 201: This was afterwards withdrawn as impracticable.
What a pity that Schumann wrote before the harp as a member
of the orchestra had come into its own. For the mood which
he was trying to establish compare the scoring of this Romanza
with that in the Slow movement of Franck’s Symphony.]
At first the ’cellos, also, re-enforce this melody.
[Music]
The effect is that of an ethereal voice commenting on the beauty
of the main theme. This obligato part is of special significance,
since with rhythmic change it forms the chief theme of the Trio
in the following movement. The Romanze closes with a simple