Kretschmar says that it reminds one of a story of the olden time, an
impression due to the archaic tonality, the first version of the theme
being in the Gregorian Phrygian mode--a key of E in which all the notes
are naturals. On its repetition it is given a different turn, the
scale having a major seventh, but minor third and sixth.

Kretschmar says: "In the middle of this movement, where the triplets
begin, the music forsakes this neutral tone and shows a friendly spirit
and breaks out into heart-felt lamentations." In other words, a
subordinate subject is introduced which Mr. Apthorp characterizes (in
the Boston Symphony Orchestra programs) as "a grave, solemn melody,
harmonized and scored in the richest coloring."

A third melodic idea still remains to be mentioned. It is the melody
for 'cello, which is delicately accompanied by the higher strings.
Later the first subject returns in a variety of treatment, always
cumulative in its character, and frequently with strange
transformations. The impression of the whole is, after all, that
already mentioned; it is a story of the olden times, into which a
modern thread has been woven, and through which the modern heart still
thrills and vibrates none the less powerfully for the strange-sounding
accents of the ancient tonality.

The third movement, allegro giocoso (giocoso primarily means jokingly),
opens with full orchestra. This movement takes the place of a scherzo.
It is earnest, vigorous, and free; at times, as Mr. Apthorp says,
"almost fierce"; and for straightforward directness stands in manly
contrast to the movements preceding.

The fourth movement, again, is marked allegro energico epassionato
(quick, energetically, and passionately). It opens with eight measures
for all the brass. The melody lies in the upper voice.

Upon this as cantus firmus Brahms has developed what is known as a
passacaglia; originally a rather slow and stately dance, but in musical
use denoting a movement developed over a ground bass, or single
harmonic foundation, the final result partaking somewhat of the nature
of variations; but more of a sort of cumulative playing with musical
elements, finally reaching a great degree of complexity, which, if well
done, should also be a complexity of idea and a fullness and richness
of expression. It was in this spirit that Bach handled the form in his
great C minor Passacaglia for organ, now transcribed for orchestra, and
played occasional