is a motto, often recurring in the work, which (whatever it may
mean) is evidently—like the theme of the C minor symphony—
some fierce protest against fate. The symphony, as a whole,
represents a triumphant progress from darkness to light; and
this meaning is made evident by the ever-brightening mood of
the successive movements, the tone of which is strengthened by
the scheme of key-relationship—based on an ascending series of
major thirds,e.g.
[Music: C Minor, E major, A-flat major, C major.]
[Footnote 258: The eloquence of the work is so integrally in-
volved with its orchestral dress that it should always be stud-
ied, if possible, in the full score. For class-room work excellent
editions are available for two and four hands.]
The work is somewhat uneven—never weak—but at times a bit
labored; as if the composer were consciously wrestling with great
thoughts. This, however, is nothing against it, because equally
true of large works in other fields of art,e.g., the Agamemnon
of Aeschylus or Wagner’s Tetralogy. It cannot be understood,
much less appreciated, without close attention and earnest thought,
for it presents the struggles and aspirations of mankind and is
not meant solely to delight or entertain. When the hearer has
made it his own it is a priceless possession for all time. The Pre-
lude 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
dominant. It proclaims that a serious meaning is to be revealed,
and this meaning is accentuated by the orchestration which with
its stratified grouping of melodic lines has a grim strength char-
acteristic of Brahms.
[Music]
The first movement proper, Allegro, in complete sonata-form,
begins with aff announcement of the impassioned, chromatic
motto,e.g.
[Music]
Note the cutting effect of the dissonant tones F-sharp and A-
flat! From this motto grows the melodic part of the first theme
in two balancing phrases,e.g.
[Music]