Music: An Art and a Language

by Walter Raymond Spalding

[A] There are also some p holding notes on the bassoons. [Transcriber's Note: In the original, the footnote marker is in the music notation, bar 6.]

[154] Free, in that they are not numbered and are not separated by rigid cadences; in that episodical passages—often of a rhapsodic nature—are interpolated.

[155] The tempo is often taken by conductors too slowly, thus losing much of its buoyancy.

[156] While listening to this passage one is instinctively reminded of Keats's "Bright and steadfast star, hung aloft the night."

[157] Taken separately, the movements are perfectly normal; the Scherzo in the usual Three-part form and the Finale in complete Sonata-form.

[158] There are traces of this striving for organic unity in several of the early Sonatas, notably in the Sonata Pathétique, where the motive of the first theme of the Finale is identical with that of the second theme of the opening movement e.g.

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