agitato closing
portion as before, and then the Coda proper, beginning at measure 421,
emphasizes with fiery accents the mood of storm and stress
characteristic of the movement as a whole. After the fury has
subsided, the dramatic motto asserts itself in the closing measures,
poco sostenuto; the problem is still unsolved and the last C major
chord is but a ray of light cast on troubled waters.

The second movement, andante sostenuto--in three-part form--begins
with a tender melody expressing a mood of deep resignation and
religious hope. No sooner has it started, however, than there creeps
in the sinister motto, as if to remind us that life is undeniably
stern and grim, _e.g._

[Music]

In measure 17 there enters a closing theme, sung by the oboe, of
ineffable beauty which is used in the third part as the climax of the
movement. It surely seems to come from another world and is one of the
most sublime melodies by Brahms or any one else. Its climax is
impressively united with the main theme in the bass, _e.g._

[Music]

The middle portion, beginning in measure 38, is a meditation--in
dialogue form--for solo oboe and clarinet, worked up to an eloquent
climax in the key of the relative minor, C-sharp. The third part,
beginning measure 66, with the addition of some lovely modulatory
changes, corresponds to part one; save that the melody is varied by
Brahms's favorite device of three notes to a beat in one voice against
two in another. Beginning in measure 90, the wondrous closing theme of
the first part is sung by a solo violin, reinforced by oboe and horn.
It is finally entrusted, in the home key, to the horn alone, above
which the solo violin soars in ecstacy, _e.g._

[Music]

Some diminuendo, descending passages lead to a reminiscent portion of
the first theme and then, in measure 116, the grim motto enters, but
this time without prevailing; for, in measures 122-124, it is finally
exorcised and the movement closes with the seraphic calm of a soft,
rich chord in E major, above which is heard a star-like note on the
solo violin.

The third movement is an Allegretto; it being Brahms's custom in
each[259] of his symphonies to substitute a movement of this type in
place of the conventional Scherzo or Minuet. This movement clearly in
three-part form, is thrown in to furnish relief after the emotional
tension of the movement preceding. It has no obvious organic
connection with the other movements, but is just the ri