the Neo-Russian School.]

The national idea shines throughout, apart from the "Russian Theme" that
forms the main text of the Finale. One may see the whole symphony
leading up to the national celebration.

As in the opening phrase (in solemn _Largo_) with

[Music: (Lower reed, with strings in three 8ves.)
_Largo_]

its answer are proclaimed the subjects that presently

[Music: (Flute and strings)]

appear in rapid pace, so the whole movement must be taken as a big
prologue, forecasting rather than realizing. There is a dearth of
melodic stress and balance; so little do the subjects differ that they
are in essence merely obverse in outline.

Mystic harmonies and mutations of the motto lead to a quicker guise
(_Allegro vivo_). Independently of themes, the rough edge of tonality
and the vigorous primitive rhythms are expressive of the Slav feeling.
Withal there is a subtlety of harmonic manner that could come only
through the grasp of the classics common to all nations. Augmentation
and diminution of theme abound, together with the full fugal manner. A
warm, racial color is felt in the prodigal use of lower reeds.[A]

[Footnote A: Besides the English horn and four bassoons there are four
clarinets,--double the traditional number.]

In all the variety of quick and slower melodies a single phrase of five
notes, the opening of the symphony, pervades. In all kinds of humor it
sings, martial, solemn, soothing, meditative, or sprightly. Poetic in
high degree is this subtle metamorphosis, so that the symphony in the
first movement seems to prove the art rather than the national spirit of
the Neo-Russians.

Of the original answer is wrought all the balance and foil of second
theme, and like the first it reaches a climactic height. But the first
is the sovereign figure of the story. It enters into the pattern of
every new phase, it seems the text of which all the melodies are
fashioned, or a sacred symbol that must be all-pervading. In a broader
pace (_Alla breve_) is a mystic discussion of the legend, as of dogma,
ending in big pontifical blast of the answering theme.

The whole movement is strangely frugal of joyous abandon. Instead of
rolling, revelling melody there is stern proclamation, as of oracle, in
the solemn pauses. The rhythm is purposely hemmed and broken. Restraint
is everywhere. Almost the only continuous thread is of the meditative
fugue.

A single dulcet lyric verse (of the motto) is soon

[Music: