"He cries out with terror, in agony grasping,
Yet ever the mane of his Pegasus clasping,
They heavenward spring;
Each leap that he takes with fresh woe is attended;
He totters—falls lifeless—the struggle is ended—
And rises as King!"[12]
"He cries out with terror, in agony grasping,
Yet ever the mane of his Pegasus clasping,
They heavenward spring;
Each leap that he takes with fresh woe is attended;
He totters—falls lifeless—the struggle is ended—
And rises as King!"[12]
"He cries out with terror, in agony grasping,
Yet ever the mane of his Pegasus clasping,
They heavenward spring;
Each leap that he takes with fresh woe is attended;
He totters—falls lifeless—the struggle is ended—
And rises as King!"[12]
The original Allegro agitato in broad 6/4 time (aptly suggestive of the unbridled motion) grows
more rapid into an alla breve pace (in two beats), with dazzling maze of lesser rhythms. Throughout the work a song of primeval strain prevails. Here and there a tinge of foreshadowing pain appears, as the song sounds on high, espressivo dolente. But the fervor and fury of movement is undiminished. The brief touch of pathos soon merges in the general heroic mood. Later, the whole motion ceases, "the horse sinks and dies," and now an interlude sings a pure plaint (in the strain of the main motive). Then, Allegro, the martial note clangs in stirring trumpet and breaks into formal song of war, Allegro marziale.
In the wake of this song, with a relentless trip and tramp of warrior hordes, is the real clash and jingle of the battle, where the sparkling thrill of strings and the saucy counter theme are strong elements in the stirring beauty.
There is a touch here of the old Goth, or rather the Hun, nearer akin to the composer's race.
At the height rings out the main tune of yore, transformed in triumphant majesty.