cognition to the imagination and the
feelings of the listener. Nevertheless, it is an element in every
truly great symphony, and I have already indicated how it may
sometimes become patent to the ear alone, so it be intelligently
employed, and enjoy the co-operation of memory.

[Sidenote: _The first movement._]

[Sidenote: _Exposition of subjects._]

[Sidenote: _Repetition of the first subdivision._]

It is the first movement of a symphony which embodies the structural
scheme called the "sonata form." It has a triple division, and Mr.
Edward Dannreuther has aptly defined it as "the triune symmetry of
exposition, illustration, and repetition." In the first division the
composer introduces the melodies which he has chosen to be the
thematic material of the movement, and to fix the character of the
entire work; he presents it for identification. The themes are two,
and their exposition generally exemplifies the principle of
key-relationship, which was the basis of my analysis of a simple folk
tune in Chapter II. In the case of the best symphonists the principal
and second subjects disclose a contrast, not violent but yet distinct,
in mood or character. If the first is rhythmically energetic and
assertive--masculine, let me say--the second will be more sedate, more
gentle in utterance--feminine. After the two subjects have been
introduced along with some subsidiary phrases and passages which the
composer uses to bind them together and modulate from one key into
another, the entire division is repeated. That is the rule, but it is
now as often "honored in the breach" as in the observance, some
conductors not even hesitating to ignore the repeat marks in
Beethoven's scores.

[Sidenote: _The free fantasia or "working-out" portion._]

[Sidenote: _Repetition._]

The second division is now taken up. In it the composer exploits his
learning and fancy in developing his thematic material. He is now
entirely free to send it through long chains of keys, to vary the
harmonies, rhythms, and instrumentation, to take a single pregnant
motive and work it out with all the ingenuity he can muster; to force
it up "steep-up spouts" of passion and let it whirl in the surge, or
plunge it into "steep-down gulfs of liquid fire," and consume its own
heart. Technically this part is called the "free fantasia" in English,
and the _Durchfuehrung_--"working out"--in German. I mention the terms
because they sometimes occur in criticisms and anal