[Music:  Andante amoroso. (Tempo rubato) dolce con intimo sentimento (Melody in first violins; arpeggios of harp and violas; lower woodwind and strings)]

With the rising passion, as the refrain spreads in wider sequences, the choirs of wood and strings are drawn into the song, one group answering the other in a true love duet.

The last cadence falls into the old sigh as the dread oracle sounds once more the knell of hope.  Swirling strings bring us to a new scene of the world of shades.  In the furious, frenetic pace of yore (Tempo primo, Allegro, alla breve) there is a new sullen note, a dull martial trip of drums with demonic growls (in the lowest wood).  The sigh is there, but perverted in humor.  A chorus of blasphemous mockery is stressed by strident accents of lower wood and strings.[A]

[Footnote A:  We are again assisted by the interpreting words in the score.]

Gradually we fall into the former frenzied song, amid the demon cacchinations, until we have plunged back into the nightmare of groans.  Instead of the big descending phrase we sink into lower depths of gloom, wilder than ever, on the first tripping motive.  As the sighing strain resounds below in the midst of a chorus of demon shrieks, there enters the chant of inexorable fate.  Mockery yields to a tinge of pathos, a sense almost of majestic resignation, an apotheosis of grief.

II.  PURGATORIO

A state of tranquillity, almost of bliss, is in the opening primal harmonies (of harp and strings and

[Music:  Andante con moto quasi Allegretto.  Tranquillo assai (Oboe molto espressivo) Sempre piano e legato (Full arpeggic harp and muted strings)]

soft horns).  Indeed, what else could be the mood of relief from the horrors of hell?  And lo! the reed strikes a pure limpid song echoed in turn by other voices, beneath a rich spray of heavenly harmonies.

This all recurs in higher shift of tone.  A wistful phrase (piu lento, in low strings) seems to breathe

[Music:  Un poco meno mosso (English horn, clarinets, bassoons, French horn)]

a spoken sob.  Then, as in voices of a hymn, chants a more formal liturgy of plaint where the phrase is almost lost in the lowest voice.  It is all but articulate, with a sense of the old sigh; but it is in a calmer spirit, though anon bursting with passionate grief (lagrimoso).

[Music:  Lamentoso (In fugue of muted strings)]

And now in the same vein, of the same fibre, a fugue begins of lament, first in muted strings.

It is the line of sad expressive recitative that heralded the plaint and the love-scene.  There is here the full charm of fugue:  a rhythmic quality of single theme, the choir of concerted dirge in independent and interdependent paths, and with every note of integral melody.  There is the beauty of pure tonal architecture blended with the personal significance of the human (and divine) tragedy.