Then follow some stormy measures of dissonant chords and war-
ring rhythms until the theme rages itself out, in measure 52. The
transition begins with some sharp staccato chords, as if sum-
moning to further attention. It gradually cools down through a
series of beautiful modulations and, in measure 84, the second
theme—introduced by calls on the horn and sung by the oboe—
enters in the relative major key of E-flat. This also is based on
the ascending, chromatic line of themotto; still further organic
unity being gained by the bass, which has the same melodic
figure as the second phrase of the first theme,e.g.
[Music]
Much of the previous fierceness, however, has abated and the
remainder of the second theme is of a rare loveliness, with mys-
terious answering calls between oboes, clarinets and horns. The
ppdominant ninth chords at the beginning of the closing por-
tion (measures 120-122) give a positively shuddering effect and
then the combat of clashing rhythms is renewed. The develop-
ment begins with a series of shifting harmonies, at firstff and
thenpp—a lull before the storm—as if preparing the way for a
still more terrific assault upon our emotions. It is tempestuous
throughout; based at first on material taken from the preceding
codetta and ending with an extended presentation of the motto
over an iterated pedal note on the dominant,e.g.
[Music]
The fusion of the development with the recapitulation is skill-
fully handled, and the motto is proclaimed, beginning at mea-
sure 298, in a series of ascending strata, with overwhelming
force. The third part, with slight abridgment and necessary ad-
justment of key-relationship, conforms exactly to the exposition.
There is the same agitato 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 dramatic
motto asserts itself in the closing measures, poco sostenuto; the
problem is still unsolved and the last C major chord is but a ray
of light cast on troubled waters.
The second movement, andante sostenuto—in three-part form—
begins with a tender melody expressing a mood of deep resig-
nation and religious hope. No sooner has it started, however,
than there creeps in the sinister motto, as if to remind us that