IV.—The beginning is in lowest depths (Largo). First is the stalking figure of earliest movement, from the moment of despond. It is answered by a steadily striding theme, almost martial, save for the
slowness of pace. Not unlike the hymn of the first prologue in line of tune, it bears a mood of dark resignation that breaks presently into the touching plea of the wistful cadence.
The whole is a reflective prologue to the Finale: a deep meditation from which the song may roll forth on new spring. The hymn has suddenly entered with a subtly new guise; for the moment it seems part of the poignant sigh; it is as yet submerged in a flood of gloom and regret; and the former phrases still stride and stalk below. In a wild climax of gloom we hear the former sob, earlier companion of the stalking figure.
Hymnal strains return,—flashes of heavenly light in the depths of hell, and one passionate sigh of the melting cadence.
Allegro,—we are carried hack to the resolute vigor of the earlier symphony, lacking the full fiery charm, but ever striving and stirring, like Titans rearing mountain piles, not without the cheer of toil itself. At the height comes a burst of the erst yearning cadence, but there is a new masterful accent; the wistful edge does not return till the echoing phrases sink away in the depths.
A new melody starts soaring on the same wing of
blended striving and yearning of which all this song is fraught. In its broader sweep and brighter cheer it is like the queenly melody of the first movement.
The Titan toil stirs strongly below the soft cadence; the full, fierce ardor mounts heavenward. Phases now alternate of insistent rearing on the strenuous motive and of fateful submission in the marching strain, that is massed in higher and bigger chorus. As gathers the stress of climax, the brass blowing a defiant blast, the very vehemence brings a new resolution that is uttered in the returning strenuous phrase.