resistless energy. Now sings a new discourse of warring phrases that are dimly traced to the phase of the blissful melody, above the theme of upward striving.
They wing an eager course, undaunted by the harsh intruding chords. Into the midst presses the forceful martial theme. All four elements are clearly evident. The latest gains control, the other voices for the nonce merely trembling in obedient rhythm. But a new phase of the wistful motive appears, masterful but not o'ermastering, fiercely pressing upwards,—and a slower of the changed phrase of blissful song. The former attains a height of sturdy ascending stride.
In spite of the ominous stress of chords that grow louder with the increasing storm, something of assurance comes with the ascending stride. More and more this seems the dominant idea.
A new paroxysm of the warring themes rises to the first great climax where the old symbol of wondering and striving attains a brief moment of assured ecstatic triumph.
In a new scene (meno mosso), to murmuring strings (where the theme of striving can possibly be caught) the blissful melody sings in full song, undisturbed save by the former figure that rises as if to grasp,—sings later, too, in close sequence of voices. After a short intervening verse—leicht bewegt—where the first vision appears for a moment, the song is resumed, still in a kind of shadowy chase of slow flitting voices, senza espressione. The rising, eager phrase is disguised in dancing pace, and grows to a graceful turn of tune. An end comes, poco agitato, with rude intrusion of the hymnal march in harsh contrast of rough discord; the note of anxious fear, too, strikes in again. But suddenly, etwas breiter, a new joyous mood frightens away the birds of evil omen.
Right in the midst of happenings, we must be warned against too close a view of individual theme. We must not forget that it is on the contrasted pairs and again the separate groups of phrases, where all have a certain common modal purpose, that lies the main burden of the story. Still if we must be curious for fine derivation, we may see in the new tune of exultant chorus the late graceful turn that now, reversing, ends in the former rising phrase. Against it sings the first line of blissful theme. And the first tune of graceful beauty also finds a place. But they all make one single blended song, full of glad bursts and cadences.
Hardly dimmed in mood, it turns suddenly into a phase of languorous passion, in rich setting of pulsing harp, where now the later figures, all but the blissful theme, vanish before an ardent song of the wondering phrase. The motive of passionate desire rises and falls, and soars in a path of "endless melody," returning on its own line of flight, playing as if with its shadow, catching its own echo in the ecstasy of chase. And every verse ends with a new stress of the insistent upward stride, that grows ever in force and closes with big reverberating blasts. The theme of the vision joins almost in rough guise of utmost speed, and the rude marching song breaks in; somehow, though they add to the maze, they do not dispel the joy. The ruling phase of passion now rumbles fiercely in lowest depths. The theme of beauty rings in clarion wind and strings, and now the whole strife ends in clearest, overwhelming hymn of triumphant gladness, all in the strides of the old wondering, striving phrase.
The whole battle here is won. Though former moments are fought through again (and new melodies grow out of the old plaint), the triumphant shout is near and returns (ever from a fresh tonal quarter) to chase away the doubt and fear. All the former phrases sing anew, merging the tale of their strife in the recurring verse of united paean. The song at last dies away, breaking like setting sun into glinting rays of celestial hue, that pale away into dullest murmur.