First movement proper, from
_Lebhaft_, seems at first as if it were to be in the customary
Sonata-form; the Exposition beginning with two themes in the normal
relationship of minor and relative major, though to be sure the second
theme is more of a supplementary expansion of the first than one which
provides a strong contrast. But after the double bar and repeat, this
first theme is developed in a free preludial manner as if it were
continually leading up to a climax. We are finally rewarded by a new
theme of great warmth which amply makes up for any lack of
individuality in the second theme proper, _e.g._

[Music]

[Footnote 198: We find traces of this tendency in the First Symphony,
where the Slow Movement and the Scherzo are linked together, likewise
in the Second, where the motto of the first movement is repeated at
the end of the Scherzo.]

[Footnote 199: The analysis is based, as usual, on the orchestral
score; for class-room study there are excellent editions for two and
four hands.]

The rest of the movement consists of additional improvisations, rather
too rigidly sectionalized, on the first theme and a second appearance
of the interpolated theme. This theme, with rhythmic modifications,
serves also as the basis for the brilliant Coda; for there is no
Recapitulation proper, and it is evident that the movement is an
extended prelude for what is to come--a first portion of the work as a
whole. After a dramatic pause,[200] which enhances the feeling of
expectancy (so prominent in the first movement) followed by a
sustained modulatory chord, the Romanze begins with a plaintive theme
in A minor. The mood is that of an idealized serenade, and in the
original score the accompaniment for the oboe melody was given to the
guitar[201] to secure the appropriate atmosphere. After the first
statement of the theme there is an interpolated quotation of the
characteristic passage from the introduction, which serves to bind the
movements together both in structure and in relationship of mood. The
movement is in clear-cut three-part form and the middle contrasting
section in the major mode reveals a sustained descending melody played
by the body of strings, which is delicately embellished by an obligato
variant given to a solo violin, _e.g._

[Music]

[Footnote 200: Concert-goers may well be reminded that there should be
_no_ applause between the movements of this work. One of the most
pernicious ideas of the public is t