[257] For literature on Brahms the following works are recommended: the comprehensive Life by Fuller-Maitland; the essay in Hadow's Studies in Modern Music; that in Mason's From Grieg to Brahms; that by Spitta in Studies in Music by Robin Grey; the first essay in Mezzotints in Modern Music by Huneker; the biographical and critical article in Grove's Dictionary; Chapter IX in Volume 8 of the Art of Music, and Chapter XIII in Volume 2. There are also some stimulating remarks on Brahms's style in general, and on the attitude of a past generation towards his work, in those delightful essays, in 2 volumes, By the Way, About Music by the late well-known critic, W.F. Apthorp.
[258] The eloquence of the work is so integrally involved with its orchestral dress that it should always be studied, if possible, in the full score. For class-room work excellent editions are available for two and four hands.
[259] The only slight exception is the third movement of the Fourth Symphony which, being marked Allegro giocoso, partakes somewhat of the nature of a Scherzo.
[260] "Those eternal sixths and thirds." Weingartner later publicly recanted and became a whole-souled convert to Brahms. (See The Symphony since Beethoven, latest edition.)
[261] A similar effect may be found in the closing measures of the first movement of Beethoven's Eighth Symphony.
[262] There is a striking analogy between the intervals of this theme and those of a well-known peal in a cathedral chime, e.g.
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In both the same elemental effect is produced by using the natural tones of the harmonic series (see [page 193]).
[263] See also a similar eulogy by Weingartner in his The Symphony since Beethoven.