are, impresses us as its latent possibilities are
revealed, we have a series of lyric, periodic melodies which make
their instant appeal. In Schubert everything sings; thus in the first
part of the Exposition of the Allegro we have _three_ distinct
melodies: the introductory phrase, the accompaniment figure which has
a melodic line of its own, and the first theme proper. In any
consideration of this work from a pianoforte version we must always
remember how much the beauty and eloquence of the themes depend upon
the solo instruments to which they are assigned. For Schubert was one
of the first, as well as one of the greatest, of "Colorists." By the
use of this pictorial term in music we mean that the tone-quality of
certain instruments--the mellow, far-echoing effect of the horn, the
tang of the oboe, the passionate warmth of the clarinet[183]--appeals
to our sense of hearing in the same way in which beautiful colors--the
green grass, the blue sky, the hues of a sunset--delight our sight. A
striking example of Schubert's genius in utilizing tone-color to suit
structural needs is found in the transition beginning at measure 38.
This is a single tone on the horn (with a modulatory ending) announced
_forte_ and then allowed to die away, _i.e._, _sf_ [decrescendo
symbol]. So powerful is the horn in evoking a spirit of suspense and
revery that this tone introduces the beautiful, swaying second theme
more impressively than a whole series of routine modulations. The
Development speaks for itself. Though there is little polyphonic
treatment, it holds our interest by reason of the harmonic variety and
the dramatic touches of orchestration. In Schubert we do not look for
the development of a complicated plot but give ourselves up
unreservedly to the enjoyment of pure melodic line, couched in terms
of sensuously delightful tone-color. The transitional passage of the
Recapitulation (measures 231-253) illustrates Schubert's fondness for
modulation just for its own sake; we care not what the objective point
of the music may be--enthralled, as we are, by the magical shifts of
scene. In the Second Movement, likewise, the chief beauty--especially
of the second theme--consists in the lyric quality, in the color of
the solo instruments, the oboe, clarinet and horn, and in the
enharmonic changes, _e.g._, where, in measures 80-95, the theme
modulates from C-sharp minor to D-flat major. Note in the orchestral
score the charming dialogue in th