n Mason's _From Grieg to Brahms_.]

[Music]

The melody itself seldom moves above middle C, and its effect is
enhanced by the quality of the clarinets in their chalumeau register.
The first theme of the movement proper (beginning at the Allegro con
anima), on the same harmonic basis as the motto and derived from it
rhythmically, is given out _pp_ by a solo clarinet and solo bassoon,
accompanied by very light detached chords in the strings, _e.g._

[Music]

This is elaborately and brilliantly developed until, in measure 79
(counting from the Allegro), we reach a transitional, subsidiary theme
in B minor. This is followed by some striking sequences, exquisitely
scored, and then (at un pochettino piu animato) there is a quickened
presentation of the transitional theme, interspersed by syncopated
calls--on the horns and wood-wind--a presentation which introduces the
second theme in D major, marked molto piu tranquillo. This melody,
sung by the violins against an obbligato in the wood-wind, is clearly
Italian in its grace and suavity and establishes that wonderful
contrast so prominent in Tchaikowsky--the warmth and exuberance of the
South set against the grim austerity of the North.

[Music]

This theme, expanded (stringendo and crescendo) into a series of
exciting climaxes _fff_ leads, after some modulatory phrases derived
from the transitional theme, to the Development which begins in B-flat
major. Throughout this is a fine piece of work--with real thematic
growth, bold modulations and no "padding." It should refute completely
any erroneous opinion that Tchaikowsky was lacking in power of organic
treatment. The connection between the Development and the
Recapitulation is skilfully managed and the third part does not bore
us but is welcomed as something we would gladly hear again. There is a
long and stormy Coda--a second development in true Beethoven
style--which finally ends _ppp_ in the lowest depths of the orchestra,
in the same mood as the opening measures.

The second movement, Andante cantabile, con alcuna licenza, with its
melting theme on the solo horn, _e.g._,

[Music]

--accompanied later by answering phrases on the clarinet--might seem a
bit too "luscious" were it not for the beauty and finish of the
orchestration. The movement is in rather loose three-part form--as the
title would imply--the joints being somewhat obvious in certain
places, _e.g._, measures 39-45. The themes, however, have that
int