resistible contrast to the first movement.
Whereas, before, there was nothing but conflict, now all is triumphant
joy. This movement is laid out on a vast scale, with a wealth of
material, including a long Prelude with a distinct theme of its own
and an extended Coda. The body of the movement is in abridged sonata
form, _i.e._, there is a complete Exposition with first, second and
closing themes, and the usual Recapitulation, but _no_ Development
proper. This lack is made good by considerable variation and expansion
in the first part of the Resume. The Prelude begins Adagio with some
strains which, like smouldering embers, remind us of the sinister
motto of the first movement--note the same dissonant tones A-flat and
F-sharp. The following measures are of indefinite nature, beginning
piano and pizzicato as if a great body were gathering headway slowly.
The pace gradually quickens and we are led through a series of
impetuous stringendo runs to a _ff_ chord which, accompanied by a _ff_
roll on the kettle-drums, sounds like a clap of thunder and which, as
the reverberations die away, ushers in a most moving theme[262]--given
out forte and sempre passionato on the horn over a _pp_ muted tremolo
on the strings with a background of _pp_ trombones, _e.g._

[Music]

[Footnote 262: There is a striking analogy between the intervals of
this theme and those of a well-known peal in a cathedral chime, _e.g._

[Music]

In both the same elemental effect is produced by using the natural
tones of the harmonic series (see page 193).]

This inspired passage[263] has been eloquently described by W.F.
Apthorp as follows:

"Amid hushed, tremulous harmonies in the strings, the horn and
afterward the flute pour forth an utterly original melody, the
character of which ranges from passionate pleading to a sort of wild
exultation according to the instrument that plays it. The coloring is
enriched by the solemn tones of the trombones, which appear for the
first time in this movement. It is ticklish work trying to dive down
into a composer's brain, and surmise what special outside source his
inspiration may have had; but one cannot help feeling that this whole
wonderful episode may have been suggested to Brahms by the tones of
the Alpine horn, as it awakens the echoes from mountain after mountain
on some of the high passes in the Bernese Oberland. This is certainly
what the episode recalls to any one who has ever heard those poetic
tones and