the answer, in sweeping descent, gives one of the principal elements of the later plot. It ends in a moving bit of tune, "very quietly and expressively" (sehr ruhig und innig).
Adagio, a slow rising strain plays in the softer
wood-notes of flute, oboe d'amore, English horn, and the lower clarinets; below sings gently the second theme, quite transformed in feeling. Those upper notes, with a touch of impassioned yearning, are not new to our ears. That very rising phrase (the "dreamy" motive), if we strain our memory, was at first below the more vehement (second) figure. So
now the whole themal group is reversed outwardly and in the inner feeling. Indeed, in other places crops out a like expressive symbol, and especially in the phrase, marked gefühlvoll, that followed the second theme in the beginning. All these motives here find a big concerted song in quiet motion, the true lyric spot of the symphony.
Out of it emerges a full climax, bigger and broader now, of the first motive. At another stage the second has the lead; but at the height is a splendid verse of the maternal song. At the end the quiet, blissful tune sings again "sehr innig."
Appassionato re-enters the second figure. Mingled in its song are the latest tune and an earlier expressive phrase (gefühlvoll). The storm that here ensues is not of dramatic play of opposition. There are no "angry" indications. It is the full blossoming in richest madrigal of all the themes of tenderness and passion in an aureole of glowing harmonies. The morning comes with the stroke of seven and the awakening cry of the child.
The Finale begins in lively pace (sehr lebhaft) with
