finds Zerlina, Anna
and "The Countess" in the music.]

To some extent Strauss clearly follows the separate parts of his
quotation. Fervent desire, sudden indifference are not to be mistaken.

The various love scenes may be filled with special characters without
great harm, save that the mind is diverted from a higher poetic view to
a mere concrete play of events. The very quality of the pure musical
treatment thus loses nobility and significance. Moreover the only
thematic elements in the design are the various "motives" of the hero.

_Allegro molto con brio_ begins the impetuous main theme in dashing
ascent,

[Music: _Allegro molto con brio_
(Unison strings)
(Doubled in higher 8ve.)]

whimsical play

[Music: (Woodwind doubled in higher 8ve.)]

and masterful career.

[Music: (Doubled in higher 8ve.)]

The various phases are mingled in spirited song; only the very beginning
seems reserved as a special symbol of a turn in the chase, of the sudden
flame of desire that is kindled anew.

In the midst of a fresh burst of the main phrase are gentle strains of
plaint (_flebile_). And now a tenderly sad motive in the wood sings
against the marching phrase, amidst a spray of light, dancing chords.
Another song of the main theme is spent in a vanishing tremolo of
strings and harp, and buried in a rich chord whence rises a new song
(_molto espressivo_) or rather a duet, the first of the longer
love-passages.

The main melody is begun in clarinet and horn and instantly followed (as
in canon) by violins. The climax of this impassioned scene is a titanic
chord of minor, breaking the spell; the end is in a distorted strain of
the melody, followed by a listless refrain of the (original) impetuous
motive (_senza espressione_).

The main theme breaks forth anew, in the spirit of the beginning. It
yields suddenly before the next episode, a languorous song of lower
strings (_molto appassionato_), strangely broken into by sighing phrases
in the high wood (_flebile_). After further interruption, the love song
is crowned by a broad flowing melody (_sehr getragen und
ausdrucksvoll_)--the main lyric utterance of all. It has a full length
of extended song, proportioned to its distinguished beauty. The dual
quality is very clear throughout the scene. Much of the song is on a
kindred phrase of the lyric melody sung by the clarinet with dulcet
chain of chords of harp.

Here strikes a climactic tune in forte unison of the four hor