[191] As the music is readily procurable the student should make himself familiar with the entire set.
[192] A beautiful contrast may be made by playing the section in F major with the "una corda" pedal throughout.
[193] The [poem] is easily procured in a volume of Everyman's Library.
[194] These chords are an amusing example of a "paper effect," for unless you watch the conductor's beat, it is impossible to feel the syncopation. There being no first beat proper, the chords are syncopated against the air!
[195] For pertinent comments on this point see Newman's essay on Program Music, pp. 134-135, in his Musical Studies.
[196] In studying this work consult, if possible, the orchestral score. For those who need a condensed two-hand arrangement, the Litolff edition is to be recommended.
[197] It is more than a matter of mere chronology to realise that the D minor Symphony was composed in the same year as the B-flat major. It was afterwards revised and published as No. 4, but the vitality and spontaneity of its themes come from the first gush of Schumann's inspiration.
[198] We find traces of this tendency in the First Symphony, where the Slow Movement and the Scherzo are linked together, likewise in the Second, where the motto of the first movement is repeated at the end of the Scherzo.
[199] The analysis is based, as usual, on the orchestral score; for class-room study there are excellent editions for two and four hands.
[200] Concert-goers may well be reminded that there should be no applause between the movements of this work. One of the most pernicious ideas of the public is that as soon as the music ceases, handclapping should begin; whereas a complete silence is often the very means the composer employs for intensifying what has been said and preparing for what is to come. Let us ponder the cryptic remark attributed to Mozart that "the rests in music are more important than the notes."