their echoes. A short, solemn, even ecclesiastical
interruption by the trombones and bassoons is of more thematic
importance. As the horn-tones gradually die away, and the cloud-like
harmonies in the strings sink lower and lower--like mist veiling the
landscape--an impressive pause ushers in the Allegro."

[Footnote 263: See also a similar eulogy by Weingartner in his _The
Symphony since Beethoven_.]

After the flute has repeated this theme there is an interpolation of
an important choral-like phrase (referred to above), _e.g._

[Music]

for it is later used as the climax of the Finale--in fact, of the
whole work--and its tone of religious fervor, accentuated by the
scoring for trombones and bassoons, is a clear indication of the ideal
message which Brahms meant to convey. The body of the movement,
Allegro non troppo ma con brio, begins with a majestic, sweeping
theme[264] of great rhythmic vitality and elasticity announced by the
strings, _e.g._

[Music]

[Footnote 264: There is a statement in many books that this is a
reminiscence of the theme in the Finale of the Ninth Symphony. How
such a legend started it is difficult to say; it must be due to what
the late W.F. Apthorp called "purblind criticism." For my part I see a
resemblance in only one measure--save that both melodies are in
quadruple rhythm--between the theme of Brahms and the following:--

[Music]]

It is at once repeated with richer scoring and then some exciting
transitional passages lead, after a slight phrase taken from the chief
theme of the prelude, to the second theme, animato, in G major, _e.g._

[Music]

This has some rhythmical expansion and then a quieter part, dolce e
piano, beginning measure 71. Some rushing _ff_ passages bring us, in
measure 107, to the brilliant closing theme with its staccato, triplet
rhythm. The Exposition ends in E minor, in measure 122, after a series
of forte, staccato chords. The Recapitulation begins at once after two
modulatory chords, and though sufficient stress is laid on the _first
theme_, there is so much development of previous material that it
serves for both the customary second and third parts. A good deal of
adverse criticism has been expended on this portion of the movement
and it is possible that Brahms's remarkable technique in handling his
material ran away with him. But the music is always striving toward
some goal, and even if it has to plough through desperate seas, there
is no weakness