bre motto is transformed into a stately, march-like theme.
This is presented twice with continually richer scoring and more
rhythmic animation. The closing measures of the prelude are a specific
instance of that protracted mood of depression spoken of above. The
movement proper begins at the Allegro vivace with a fierce,
impassioned theme,

[Music]

which leads, in measure 25, to a subsidiary theme treated at first in
free double counterpoint[314] and later canonically.

[Music]

[Footnote 314: By double counterpoint is meant such a grouping of the
voices that they may be inverted (the upper voice becoming the lower
and vice versa) and sound equally well. For further comments, together
with illustrative examples, consult Chapter IX of Spalding's _Tonal
Counterpoint_.]

[Music]

This is developed with more and more animation until the announcement,
in measure 71, of the second theme in D major. Here we see the first
instance of that organic relationship for which the movement is noted;
for this theme

[Music]

is evidently derived by rhythmic modification from that of the
preceding slow movement. It is brilliantly expanded and leads
directly--there being no double bar and repeat--to the development in
measure 115. This part of the movement evades description; it is
throughout most eloquent and exciting. In measures 153-160 all the
bells of Russia seem to be pealing! With measure 177 begins (marcato
largamente) an impressive treatment in the bass of the second theme,
answered shortly after in the upper voice. This is developed to a
climax which, in turn, is followed by one of those long periods of
"cooling down" which prepare us for the Recapitulation in measure
239. This corresponds exactly with the Exposition, ending with two
passages (poco meno mosso and molto vivace),--based upon the rhythm of
the motto--which usher in the long, elaborate Coda. This begins,
maestoso, with an impressive statement of the march theme, scored in
brilliant fashion, with rushing figures in the wood-wind instruments.
It seems to portray some ceremonial in a vast cathedral with trumpets
blaring and banners flying. A still more gorgeous treatment (marziale,
energico, con tutta forza) leads to the Presto based on the subsidiary
theme (cited on page 312), which fairly carries us off our feet. The
last portion of the Coda (molto meno mosso) is an animated yet
dignified proclamation of the main theme of the first movement--the
work th