lude to the first movement,
un poco sostenuto, is of impressive solemnity, developed from the
motto, and based on the almost persistent iteration of the pedal notes
C and G--the tonic and dominant. It proclaims that a serious meaning
is to be revealed, and this meaning is accentuated by the
orchestration which with its stratified grouping of melodic lines has
a grim strength characteristic of Brahms.

[Music]

The first movement proper, Allegro, in complete sonata-form, begins
with a _ff_ announcement of the impassioned, chromatic motto, _e.g._

[Music]

Note the cutting effect of the dissonant tones F-sharp and A-flat!
From this motto grows the melodic part of the first theme in two
balancing phrases, _e.g._

[Music]

Then follow some stormy measures of dissonant chords and warring
rhythms until the theme rages itself out, in measure 52. The
transition begins with some sharp staccato chords, as if summoning to
further attention. It gradually cools down through a series of
beautiful modulations and, in measure 84, the second theme--introduced
by calls on the horn and sung by the oboe--enters in the relative
major key of E-flat. This also is based on the ascending, chromatic
line of the _motto_; still further organic unity being gained by the
bass, which has the same melodic figure as the second phrase of the
first theme, _e.g._

[Music]

Much of the previous fierceness, however, has abated and the remainder
of the second theme is of a rare loveliness, with mysterious answering
calls between oboes, clarinets and horns. The _pp_ dominant ninth
chords at the beginning of the closing portion (measures 120-122) give
a positively shuddering effect and then the combat of clashing rhythms
is renewed. The development begins with a series of shifting
harmonies, at first _ff_ and then _pp_--a lull before the storm--as if
preparing the way for a still more terrific assault upon our emotions.
It is tempestuous throughout; based at first on material taken from
the preceding codetta and ending with an extended presentation of the
motto over an iterated pedal note on the dominant, _e.g._

[Music]

The fusion of the development with the recapitulation is skillfully
handled, and the motto is proclaimed, beginning at measure 298, in a
series of ascending strata, with overwhelming force. The third part,
with slight abridgment and necessary adjustment of key-relationship,
conforms exactly to the exposition. There is the same