for it is not too much to say
that the whole work is based upon the persistent iteration of a single
note in varied rhythmic groups. Thus in the first movement we find
continually the rhythm [Music]; in the second, in several places
[Music]; in the Scherzo [Music]; and in the Finale [Music].
Furthermore a C, repeated by the kettle-drums for fifty measures, is
the chief factor in the connecting link between the Scherzo and the
Finale. We shall observe this tendency to interconnection still
further developed by Schumann in his Fourth Symphony, by Liszt in the
Symphonic Poem[159] (to be treated later), and a climax of attainment
reached in such highly unified works as Cesar Franck's D minor
Symphony and Tchaikowsky's Fifth. To return to the Scherzo, well
worthy of note is the Trio, in free fugal form (its theme announced by
the ponderous double basses), because it is such a convincing
illustration of the humorous possibilities inherent in fugal style.
The way in which the voices chase each other about--compared by
Berlioz[160] with the gambols of a delighted elephant--and their
spasmodic attempts at assertion, produce an effect irresistibly droll.
The humour is as broad as that of Aristophanes or Rabelais. Words are
powerless to describe the thrill of the last fifty measures which
launch us into the Finale. We may merely observe that this long
passage, _pp_ throughout until the last molto crescendo, and with the
rhythmic element reduced to a minimum, makes more of an impact upon
our imagination than that of the loudest orchestral forces ever
conceived. We are reminded of the effect of the "still, small voice"
after the thunders on Sinai. The Finale, with its majestic opening
theme in fanfare, contains a wealth of material and is conceived
throughout in the utmost spirit of optimistic joy and freedom.[161]
The Exposition has a subsidiary theme of its own, beginning at measure
26, which reappears with rhythmic modification (diminution), and most
eloquently announced by the bassoons, in the first section of the
final Coda. After the brilliant second theme (45-63) there is an
impressive closing theme (with some biting _fp_ dissonances) which
forms the basis of the Presto portion of the Coda. The Development is
a marvellous treatment of the second theme, in imitation, modulation
and climactic growth; the rhythm [Music], so vitally connected with
the whole work, persisting with stupendous energy. In the final
measures it would