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for it is later used as the climax of the Finale—in fact, of the whole work—and its tone of religious fervor, accentuated by the scoring for trombones and bassoons, is a clear indication of the ideal message which Brahms meant to convey. The body of the movement, Allegro non troppo ma con brio, begins with a majestic, sweeping theme[264] of great rhythmic vitality and elasticity announced by the strings, e.g.
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It is at once repeated with richer scoring and then some exciting transitional passages lead, after a slight phrase taken from the chief theme of the prelude, to the second theme, animato, in G major, e.g.
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This has some rhythmical expansion and then a quieter part, dolce e piano, beginning measure 71. Some rushing ff passages bring us, in measure 107, to the brilliant closing theme with its staccato, triplet rhythm. The Exposition ends in E minor, in measure 122, after a series of forte, staccato chords. The Recapitulation begins at once after two modulatory chords, and though sufficient stress is laid on the first theme, there is so much development of previous material that it serves for both the customary second and third parts. A good deal of adverse criticism has been expended on this portion of the movement and it is possible that Brahms's remarkable technique in handling his material ran away with him. But the music is always striving toward some goal, and even if it has to plough through desperate seas, there is no weakness or faltering. This part of the work is not beautiful in the popular sense of the term, but no one can fail to be impressed with its character. A climax is finally reached, in measure 224, with a fortissimo statement of the chief theme of the prelude, and then, after this has cooled down, diminuendo e calando, the second theme enters in the home key. The rest of the recapitulation corresponds closely with the exposition. The Coda begins, in measure 306, with a shadowy outline of modulatory chords, as if slumbering forces were slowly awakening; and, becoming more crescendo and stringendo, reveals its full glory at the Più Allegro. This portion, based on quickened phrases of the first theme, seems charged with superhuman energy, and mounting higher and higher culminates in a majestic proclamation of the choral-like motto of the prelude, e.g.