hat as soon as the music ceases,
handclapping should begin; whereas a complete silence is often the
very means the composer employs for intensifying what has been said
and preparing for what is to come. Let us ponder the cryptic remark
attributed to Mozart that "the rests in music are more important than
the notes."]

[Footnote 201: This was afterwards withdrawn as impracticable. What a
pity that Schumann wrote before the harp as a member of the orchestra
had come into its own. For the mood which he was trying to establish
compare the scoring of this Romanza with that in the Slow movement of
Franck's Symphony.]

At first the 'cellos, also, re-enforce this melody.

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The effect is that of an ethereal voice commenting on the beauty of
the main theme. This obligato part is of special significance, since
with rhythmic change it forms the chief theme of the Trio in the
following movement. The Romanze closes with a simple return to the
plaintive oboe melody, this time in D minor. The tonality is purposely
indefinite to accentuate the wistful feeling of the movement--the last
chords having the suspense of a dominant ending. After a short pause
we are at once whirled into the dashing Scherzo which seems to
represent the playful badinage of a Romantic lover. The Trio affords a
delightful reminiscence of the Romanze and, from a structural point of
view, is an early example of the principle of "transformation of
theme"[202] which plays so important a role in the works of Liszt,
Franck, Tchaikowsky and Dvo[vr]ak. For the melody, _e.g._,

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is a rhythmic variant of the former obligato of the solo violin, and
has this characteristic, which gives a peculiar note of surprise, that
it always begins on the third beat of the measure. Following a
repetition of the Scherzo the movement ends eloquently with a
coda-like return to the Trio which, after some modulatory changes, is
broken up into detached fragments, seeming to vanish into thin air.
There is no pause between the end of the Scherzo and the introduction,
based on the theme of the first movement, which ushers in the Finale.
This movement is in Sonata-form with a modified Recapitulation--_i.e._,
the first theme is not repeated--and with a passionate closing theme,
_e.g._,

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which atones for the intentional incompleteness with which the first
movement ends. The main theme is a compound of a vigorous march-like
motive, closely related to one of the sub