rm; a slow movement which is
a meditation of the profundity of Bach himself; a third movement,
allegretto, based on a delightful waltz of the Viennese Laendler type
and a Finale of a Mozartian freshness and vigor--the second theme
being specially notable for its broad sweep. The whole work is a
convincing example of Brahms's vitality and "joie de vivre." The Third
symphony is a marvel of conciseness and virile life. The Fourth,
though not in all respects so inspired as the others, is famous for
its beautiful slow movement--with an impressive introduction in the
Phrygian mode (Brahms often showing a marked fondness for old modal
harmony)--and for the Finale, which is an illustration of his
polyphonic skill in modernizing the variation form, the Passacaglia or
ground bass. But the First,[258] it seems to us, is the greatest, in
scope, in wealth of material, in its remarkable combination of
dramatic, epic and lyric elements and in an intensity of feeling and
sublimity of thought peculiar to Brahms. It is extremely subjective,
of deep ethical value, and sets forth a message of optimism and
undying hope. The structural basis is a motto, often recurring in the
work, which (whatever it may mean) is evidently--like the theme of the
C minor symphony--some fierce protest against fate. The symphony, as a
whole, represents a triumphant progress from darkness to light; and
this meaning is made evident by the ever-brightening mood of the
successive movements, the tone of which is strengthened by the scheme
of key-relationship--based on an ascending series of major thirds,
_e.g._

[Music: C Minor, E major, A-flat major, C major.]

[Footnote 258: The eloquence of the work is so integrally involved
with its orchestral dress that it should always be studied, if
possible, in the full score. For class-room work excellent editions
are available for two and four hands.]

The work is somewhat uneven--never weak--but at times a bit labored;
as if the composer were consciously wrestling with great thoughts.
This, however, is nothing against it, because equally true of large
works in other fields of art, _e.g._, the Agamemnon of Aeschylus or
Wagner's Tetralogy. It cannot be understood, much less appreciated,
without close attention and earnest thought, for it presents the
struggles and aspirations of mankind and is not meant solely to
delight or entertain. When the hearer has made it his own it is a
priceless possession for all time. The Pre