A final element, independent of the notes themselves, is the official numbering of themes. Strauss indicates a first, second and third theme, obviously of the symphony, not of a single movement. The whole attitude of the composer, while it does not compel, must strongly suggest some sort of guess of intending meaning.[73]
The "first theme" in "comfortable" pace, gliding
into a "dreamy" phrase, begins the symphony. Presently
a "peevish" cry breaks in, in sudden altered key; then on a second, soothing tonal change, a strain sings "ardently" in upward wing to a bold climax and down to gentler cadence, the "peevish" cry still breaking in. The trumpet has a short cheery
call (lustig), followed by a brisk, rousing run in wood and strings (frisch). A return of the "comfortable" phrase is quickly overpowered by the "second theme," in very lively manner (sehr lebhaft), with an answering phrase, grazioso, and light trills above.
The incidental phrases are thus opposed to the main humor of each theme. The serene first melody has "peevish" interruptions; the assertive second yields to graceful blandishments. A little later a strain appears gefühlvoll, "full of feeling," (that plays a frequent part), but the main (second) theme breaks in "angrily." Soon a storm is brewing; at the height the same motive is sung insistently. In the lull, the first phrase of all sings gaily (lustig), and then serenely (gemächlich) in tuneful tenor. Various