The Andante, in pure lyric mood, is heavily charged with a certain Oriental languor. The clarinet
leads the song, to rich strum of harp and strings, with its note of sensuous melancholy. Other, more external signs there are of Eastern melody, as in the graceful curl of quicker notes. Intermediate strains between the verses seem gently to rouse the slumbering feeling,—still more when they play between the lines of the song. The passion that is lulled in the languor of main melody, is somehow uttered in the later episode,—still more in the dual song of both
melodies,—though it quickly drops before a strange coquetry of other strains. Yet the climax of the main song is reached when the lighter phrase rings fervently in the high brass. Here the lyric beauty is stressed in a richer luxuriance of rhythmic setting. Once more sings the passionate tune; then in midst of the last verse of the main song is a quick alarm of rushing harp. The languorous dream is broken; there is an air of new expectancy. Instead of a close is a mere pause on a passing harmony at the portals of the high festival.
With a clear martial stress the "Russian Theme" is sounded (in low strings), to the full a national
tune of northern race. Enriched with prodigal harmony and play of lesser themes it flows merrily on, yet always with a stern pace, breaking out at last in a blare of warlike brass.
Nor does the martial spirit droop in the second tune, though the melodies are in sheer contrast. In faster rhythm, the second is more festal so that the first returning has a tinge almost of terror. An
