ment. Whereas, before, there was nothing but conflict, now all
is triumphant joy. This movement is laid out on a vast scale,
with a wealth of material, including a long Prelude with a dis-
tinct theme of its own and an extended Coda. The body of the
movement is in abridged sonata form,i.e., there is a complete
Exposition with first, second and closing themes, and the usual
Recapitulation, butnoDevelopment proper. This lack is made
good by considerable variation and expansion in the first part
of the Résumé. The Prelude begins Adagio with some strains
which, like smouldering embers, remind us of the sinister motto
of the first movement—note the same dissonant tones A-flat
and F-sharp. The following measures are of indefinite nature,
beginning piano and pizzicato as if a great body were gather-
ing headway slowly. The pace gradually quickens and we are
led through a series of impetuous stringendo runs to aff chord
which, accompanied by affroll on the kettle-drums, sounds like
a clap of thunder and which, as the reverberations die away, ush-
ers in a most moving theme[262]—given out forte and sempre
passionato on the horn over appmuted tremolo on the strings
with a background ofpptrombones,e.g.
[Music]
[Footnote 262: There is a striking analogy between the intervals
of this theme and those of a well-known peal in a cathedral
chime,e.g.
[Music]
In both the same elemental effect is produced by using the nat-
ural tones of the harmonic series (see page 193).]
This inspired passage[263] has been eloquently described by
W.F. Apthorp as follows:
“Amid hushed, tremulous harmonies in the strings, the horn
and afterward the flute pour forth an utterly original melody,
the character of which ranges from passionate pleading to a sort
of wild exultation according to the instrument that plays it.
The coloring is enriched by the solemn tones of the trombones,
which appear for the first time in this movement. It is ticklish
work trying to dive down into a composer’s brain, and surmise
what special outside source his inspiration may have had; but
one cannot help feeling that this whole wonderful episode may
have been suggested to Brahms by the tones of the Alpine horn,