hears the steady beat of
the motive of waiting in 4-4!

This gigantic development of materials is carried to a thrilling climax,
with the whole orchestra proclaiming the Zarathustra motive
_fortissimo_. Then follows a series of arpeggios for the harps, made of
the motive of warning, and out of them there gradually steals the tonic
triad of D minor, sung by three oboes. This chord constitutes the
backbone of all that follows. The three oboes are presently joined by a
fourth. Against this curtain of tone the flutes and piccolos repeat the
theme of brooding in F major, and then join the oboes in the D minor
chord. The horns and bassoons follow with the motive of disaster and
then do likewise. Now come the violins with the motive of lamentation,
but instead of ending with the D minor tonic triad, they sound a chord
of the seventh erected on C sharp as seventh of D minor. Every tone of
the scale of D minor is now being sounded, and as instrument after
instrument joins in the effect is indescribably sonorous and imposing.
Meanwhile, there is a steady _crescendo_, ending after three minutes of
truly tremendous music with ten sharp blasts of the double chord. A
moment of silence and a single trombone gives out a theme hitherto not
heard. It is the theme of tenderness, or, as the German commentators
call it, the _Biermad'l Motiv_: Thus:

[Illustration: Musical Score]

Again silence. Then a single piccolo plays the closing cadence of the
composition:

[Illustration: Musical Score]

_Ruhm und Ewigkeit_ presents enormous difficulties to the performers,
and taxes the generalship of the most skillful conductor. When it was in
preparation at the Gewandhaus the first performance was postponed twelve
times in order to extend the rehearsals. It was reported in the German
papers at the time that ten members of the orchestra, including the
first flutist, Ewald Loewenhals, resigned during the rehearsals, and that
the intervention of the King of Saxony was necessary to make them
reconsider their resignations. One of the second violins, Hugo
Zehndaumen, resorted to stimulants in anticipation of the opening
performance, and while on his way to the hall was run over by a taxicab.
The conductor was Nikisch. A performance at Munich followed, and on May
1, 1913, the work reached Berlin. At the public rehearsal there was a
riot led by members of the Bach Gesellschaft, and the hall was stormed
by the mounted police. Many arrests were made, an