[Music:  Andante (Melody in flute and violas) (Violins) (Cellos with basses in lower 8ve.)]

remember[A] how first with the symphony came a clear sense of tonal residence.  It was like the age in painting when figures no longer hung in the gray air, when they were given a resting-place, with trees and a temple.

[Footnote A:  See Vol.  I, Chapter I.]

Here we find just the opposite flight from clear tonality, as if painting took to a Japanese manner, sans aught of locality.  Where an easy half-step leads gently somewhere, a whole tone sings instead.  Nothing obvious may stand.

It marks, in its reaction, the excessive stress of tonality and of simple colors of harmony.  The basic sense of residence is not abandoned; there is merely a bolder search for new tints, a farther straying from the landmarks.

Soon our timid tune is joined by a more expressive line that rises in ardent reaches to a sudden tumult, with a fiery strain of trumpets where we catch a glimpse of the triplet figure.  After a dulcet lullaby

[Music:  (Flute with tremolo of high strings) (New melody in ob. and violas) (Cellos with sustained lower B of basses)]

of the first air, the second flows in faster pace (Allegro commodo) as the real text, ever with new blossoming variants that sing together in a madrigal of tuneful voices, where the descending note still has a part in a smooth, gliding pace of violins.

In gayer mood comes a verse of the inverted (Allegro) tune, with other melodic guises hovering about.  When the theme descends to the bass, the original Andante phrase sings in the trumpet, and there is a chain of entering voices, in growing agitation, in the main legend with the quicker sprites dancing about.  At the height, after the stirring song of trumpets, we feel a passionate strife of resolve and regret; and immediately after, the descending tone is echoed everywhere.

A balancing (second) theme now appears, in tranquil

[Music:  (Horn) Allegro dolce (Violas & cellos) (Sustained harmony in violins, bassoons and flute)]

flow, but pressing on, at the end, in steady ascent as to Parnassian summit.  Later comes a new rejoinder in livelier mood, till it is lost in a big, moving verse of the Andante song.  But pert retorts from the latest new tune again fill the air, then yield in attendance upon the returning Allegro theme.  Of subtle art is the woof of derived phrases.  A companion melody, that seems fraught of the text of the second subject, sings with rising passion, while the lower brass blow lustily in eccentric rhythm of the Allegro phrase and at the height share in the dual triumph.

We feel a kinship of mood rather than of theme, a coherence that we fear to relate to definite figures, though the descending symbol is clear against the ascending.  An idyllic dialogue, with the continuing guise of the Allegro phrase turns to a gayer revel in the original pace, with a brilliant blare of trumpets.