return to the first. Over the whole symphony is cast the hue of this rhapsody, both in mood and in the literal tone.
All opposite, with sudden spring of buoyant strings, strikes the Allegro tune ending in a quick, dancing trip. The first voice is immediately pursued by another
in similar phase, like a gentler shadow, and soon rises to a passionate chord that is the main idiom of the movement.
A second theme in clear-marked tones of reed and horns, as of stern chant, is taken up in higher wood and grows to graceful melody in flowing strings.
There is a series of flights to an ever higher perch of harmony until the first Allegro motive rings out in fullest chorus, again with the companion tune and the cadence of poignant dissonance.
A new episode comes with shimmering of harp and strings, where rare and dainty is the sense of primal
