[Music:  Alla breve Tutti (Bass doubled below)]

resistless energy.  Now sings a new discourse of warring phrases that are dimly traced to the phase of the blissful melody, above the theme of upward striving.

[Music:  (Theme in woodwind) espress. (Strings) (Answer in basses)]

They wing an eager course, undaunted by the harsh intruding chords.  Into the midst presses the forceful martial theme.  All four elements are clearly evident.  The latest gains control, the other voices for the nonce merely trembling in obedient rhythm.  But a new phase of the wistful motive appears, masterful but not o’ermastering, fiercely pressing upwards,—­and a slower of the changed phrase of blissful song.  The former attains a height of sturdy ascending stride.

In spite of the ominous stress of chords that grow louder with the increasing storm, something of assurance comes with the ascending stride.  More and more this seems the dominant idea.

A new paroxysm of the warring themes rises to the first great climax where the old symbol of wondering and striving attains a brief moment of assured ecstatic triumph.

In a new scene (meno mosso), to murmuring strings (where the theme of striving can possibly be caught) the blissful melody sings in full song, undisturbed save by the former figure that rises as if to grasp,—­sings later, too, in close sequence of voices.  After a short intervening verse—­leicht bewegt—­where the first vision appears for a moment, the song is resumed, still in a kind of shadowy chase of slow flitting voices, senza espressione.  The rising, eager phrase is disguised in dancing pace, and grows to a graceful turn of tune.  An end comes, poco agitato, with rude intrusion of the hymnal march in harsh contrast of rough discord; the note of anxious fear, too, strikes in again.  But suddenly, etwas breiter, a new joyous mood frightens away the birds of evil omen.

Right in the midst of happenings, we must be warned against too close a view of individual theme.  We must not forget that it is on the contrasted pairs and again the separate groups of phrases, where all have a certain common modal purpose, that lies the main burden of the story.  Still if we must be curious for fine derivation, we may see in the new tune of exultant chorus the late graceful turn that now, reversing, ends in the former rising phrase.  Against it sings the first line of blissful theme.  And the first tune of graceful beauty also finds a place.  But they all make one single blended song, full of glad bursts and cadences.