[264] There is a statement in many books that this is a reminiscence of the theme in the Finale of the Ninth Symphony. How such a legend started it is difficult to say; it must be due to what the late W.F. Apthorp called "purblind criticism." For my part I see a resemblance in only one measure—save that both melodies are in quadruple rhythm—between the theme of Brahms and the following:—
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[265] It is used at the beginning of three other well-known melodies, e.g., the slow movement of Beethoven's Ninth Symphony, in the middle part of Schumann's Aufschwung and in the first phrase of Wagner's Preislied.
[266] This practice he has adopted in several other works and it is also the structural feature in the slow movement of César Franck's D minor Symphony.
[267] It is to be understood that this is a purely personal interpretation and if any one wishes to consider the piece merely as absolute music with a strong masculine theme in the minor, a lyric melody in the major for the natural contrast, and a coda referring in a general way to the first theme, there is no way to disprove the contention. That Brahms, however, was not entirely averse to out and out programmistic treatment is seen from his two pieces on specific poetic texts, i.e., the first number in op. 10 on the Scottish Ballads of Edward and the Lullaby in op. 117 on the Scottish Folk-song Sleep Soft, My Child.
[268] The same key that Wagner uses for the end of Tristan and Isolde and César Franck for the gorgeous Finale of the Prelude, Chorale and Fugue.
[269] The subject is the same as the story of the Sirens in the Odyssey or of the Lorelei in German Legend.
[270] For further comments on the phraseology see The Rhythm of Modern Music by Abdy Williams, pp. 75-77. We may add that the pieces called Intermezzi, are generally of a meditative, somber nature; whereas the Capriccios are more sprightly, even whimsical in spirit.
[271] For further comments on the style and influence of Saint-Saëns see the essay Mason's From Grieg to Brahms; the article by Professor E.B. Hill in the third volume of the Art of Music; and, for some pungent and witty remarks, the Program Book of the Boston Symphony Orchestra (edited by Philip Hale) for Nov. 22, 1918.