Secondary subject. E minor 07:17 r.31. After all the frenzy, the music rapidly changes the volume and texture. The theme is given to the melancholy and sarcastic bassoon. The character of the theme is ambiguous: both gloomy and awkwardly silly. Its tonality is also ambiguous: the beginning of the melody sets the expectation to A major, however bass implies E minor with a flat second and major sixth in the melody. At the end of the theme the new motif is introduced: a short harp “ritornello”. 07:56 r.32. A new lyrical theme, passionately excited and with pathetique risings, of cellos and violas. Soon the rest of the strings join in and at 08:18 a new important intonation is given (phrase “f”). After the harp ritornello, the theme elaborates over itself. 09:10 r.36. The theme reoccurs in bass clarinet but is soon withdrawn by quirky solos of piccolo and flute. 09:40 r.38. Another lyrical episode, this time much shorter and the harp motif is given to celesta. 10:03 r.40. The theme is given to solo French horn. This statement is increasingly hampered by the unusual combination of a horn with an E-flat clarinet, as if imitating a cuckoo squeal. Further, the clarinet introduces a distant counter-melody, after which the music overtakes a new surge, overshadowed by the hoarse, unkind croaks of muted trombones, the piercing sound of high woodwinds, fanfare cries of muted trumpets (motive "g"). 10:50 r.43. For a brief moment the cello expressive lyricism takes over. 11:05 r.44. The further development of the secondary subject is sharply dramatized. At r.47. the intonation of the phrase "f" born in the first lyrical episode is transformed into an angry, almost fatal intonation, which is repeated with tragic tenacity by powerful unisons with the participation of heavy brass. 11:48 r.48. At the end of the exposition, at perhaps its most acute conflict point, the secondary subject emerges menacingly, entrusted to two tubas (!!!!). It is opposed by convulsive signals - the "pecks" of all the other instruments of the orchestra torment the theme. Climax. DEVELOPMENT: First section. Polka. 12:30 r.51. The primary subject is changed beyond recognition by reincarnating into a humorous and flirtatious polka. All phrases from section A of the primary subject are stated and developed sequentially. With its toy and somewhat mechanical, chilly coloring (only woodwinds, piccolo flute and clarinet in E-flat solo), this polka is perceived as a kind of interlude. This is where the dramaturgic mechanism underlying this part of the symphony is revealed: ‘developmentness’ completely took over the exposition, but the development itself as a section is built on the principle of peculiar characteristic variations either on the primary or on the secondary subject. Of course, the puppet idyll cannot remain undisturbed: the polka turns into a rough cancan with a shamelessly trembling rhythm on r.58. The tension grows and leads, as it has happened more than once, to a decisive replica of the trumpets, and after it to the “pecks” of the entire orchestra (a short reference to the second subject) - a signal of a new stage act. Second section. Fugatto. 14:23 r.63. Violins interrupt with a sharp contrast, they play new material, not so much a new melodic line, but rather the depiction of continuous and chaotic movement by the composer. The theme of fugato intonationally gravitates towards the primary subject by the predominance of a second stepwise movement with a sharp tritone leap breaking it (here in c - g-flat, in the primary theme in d - a-flat) and unshakable aspiration. The most important factors of fugato expressiveness are rhythm, texture and timbre "thickening" - whirlwind movement of sixteenth notes and avalanche layering, winding the lines of string instruments into one grandiose tangle. This sections marks and leads to the most cruel, violent and brutal section of the entire symphony. Third section. Procession. 15:41 r.72. The climactic, decisive section of development. In ecstasy and fever from the fugato section, the upper strings and woodwinds continue to rush in a swift whirlwind, alternating between strict sixteenth notes and ragged galloping rhythms. String and woodwind basses, together with the brass section, intonate in absolute cacophony and rhythmic incoherence all the main elements of the primary subject. At r.75 under the incessant combat rumble of drums, a frightening five-voice canon in sevenths based on phrase (a) is introduced, with the inclusion of all brass voices in turn (horn, then trumpets, trombones and tuba). At r.77 the canon theme in augmentation is stated by all the orchestra basses: bass clarinets, bassoons, contrabassoons, trombones, tubas, cellos and double basses. At.r.78. Climax. The frightening picture is completed by the heart-rending and drilling cries of the tutti. Fourth section. Mazurka-waltz. 16:54 r.81. The climactic ending of the previous section does not collapse the music, but instead it pushes the string section to continue the further development relentlessly. The 8th notes steady pulse grounds the melody in violins, which elaborate on separate primary subject intonations. Later, mazurka turns into an elegant and lively waltz with a bass clarinet added. This is there we get a variation on the secondary subject in violins and bass clarinet. Soon the violins are distracted from the statement, leaving the bass clarinet with the "stub" of the secondary subject. The modestly accompanying basses, as if on enthusiasm, intercept a fragment of the theme over the flute frullato, the muffled rumblings of the timpani do not come from afar. Final section. 18:39 r.90. Louder and rougher, reaching the limit of physically possible volume, signals of muted brass arise - cacophonous chords. They are answered by the woodwind recitative, permanently leading into the recapitulation. RECAPITULATION: 19:30 r.92. The opening shriek of the woodwinds is further aggravated by the roaring trumpet. Strings, woodwind basses and 4 French horns now answer them, as it were, from a «running start». 19:52 r.93. All the characteristic and most important features of the primary subject are established: militant (and here also additionally distorted by mutes) timbres of pipes and trombones, a strong-willed unshakable accompaniment "hammering" with 8th notes, the home key of C minor. Very soon it becomes clear that the theme of the primary subject is not here! Instead, the secondary subject emerges! The development does not leave the music, and introduces into the recapitulation one more variation on the secondary subject: in the style of the primary subject. At the end of the statement, a several bars of the secondary subject’s cello lyrical episode appears (r.43) 20:43 r.96. After the theme is fully stated, the tension instantly subsides, as it has already happened more than once in the exposition and development, and the English horn takes over the reprise of the secondary subject: the first lyrical episode of the strings sounds (r.32). 21:37 r.99. The secondary subject is completely dispassionately intoned by the violas, the staccato violin solo gives a «cuckooing» undertone. 22:06 r.101. Affectionately and sincerely, the solo violin sings a touching, slightly sad melody. It sounds new. There has never been such a direct and soulful-deep lyricism in the symphony. The image itself is indeed new, but the melody varies an already known melody from the first episode of the primary subject (r.7). In this context, this episode serves as a link between the reprises of the two subjects. 23:20 r.103. Here the genius of the reprise of this symphony is revealed to us. The primary subject has now completely lost its offensive passion, also it its huge scale and complexity of structure, its steep waves and internal contrasts. Quietly, mysteriously, almost humorously, but at the same time mournfully, with a hidden threat, the theme sounds from the solo bassoon to the accompaniment of a bass drum. The melodic construction of the theme is almost identical to the expositional section A of the primary subject: only the last phrase has been dropped. The dramatic core of the entire movement was finally revealed to us: the ‘developmentness’ took possession of the exposition, development as a section offered a way for the developing both themes by varying them within certain genre frameworks. Recapitulation takes this approach to its logical conclusion: after stating the themes in different genre variations, the only outcome left for them is to compose variations in each other's stylistics. This leads to a unique paradox within the recapitulation itself: thematically, it is a mirrored recap (reversed order: secondary subject first, then the primary one), although the stylistic and figurative order remains direct as in the exposition. CODA: 24:40 r.107. Another sudden and final explosion of energy: the woodwinds shout out the initial intonation of the primary subject (the phrase "a"), they are responded by the muted brass with a flashing and immediately fading dynamics (like blinding electrical discharges). A fourth of an English horn hangs in space, persistent, like a pendulum of time, which "works" throughout the coda, and suddenly slows down, stops. The g-d fourth hangs over the tonic sounding C minor, over the deep basses (trombones, tuba, contrabassoon) and under the lonely voice of the oboes. This conclusion of the movement hurts and stirs the mind almost more than the frantic drama of its beginning and stormy climaxes.
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Secondary subject. E minor
07:17 r.31. After all the frenzy, the music rapidly changes the volume and texture. The theme is given to the melancholy and sarcastic bassoon. The character of the theme is ambiguous: both gloomy and awkwardly silly. Its tonality is also ambiguous: the beginning of the melody sets the expectation to A major, however bass implies E minor with a flat second and major sixth in the melody. At the end of the theme the new motif is introduced: a short harp “ritornello”.
07:56 r.32. A new lyrical theme, passionately excited and with pathetique risings, of cellos and violas. Soon the rest of the strings join in and at 08:18 a new important intonation is given (phrase “f”). After the harp ritornello, the theme elaborates over itself.
09:10 r.36. The theme reoccurs in bass clarinet but is soon withdrawn by quirky solos of piccolo and flute.
09:40 r.38. Another lyrical episode, this time much shorter and the harp motif is given to celesta.
10:03 r.40. The theme is given to solo French horn. This statement is increasingly hampered by the unusual combination of a horn with an E-flat clarinet, as if imitating a cuckoo squeal. Further, the clarinet introduces a distant counter-melody, after which the music overtakes a new surge, overshadowed by the hoarse, unkind croaks of muted trombones, the piercing sound of high woodwinds, fanfare cries of muted trumpets (motive "g").
10:50 r.43. For a brief moment the cello expressive lyricism takes over.
11:05 r.44. The further development of the secondary subject is sharply dramatized. At r.47. the intonation of the phrase "f" born in the first lyrical episode is transformed into an angry, almost fatal intonation, which is repeated with tragic tenacity by powerful unisons with the participation of heavy brass.
11:48 r.48. At the end of the exposition, at perhaps its most acute conflict point, the secondary subject emerges menacingly, entrusted to two tubas (!!!!). It is opposed by convulsive signals - the "pecks" of all the other instruments of the orchestra torment the theme. Climax.
DEVELOPMENT:
First section. Polka.
12:30 r.51. The primary subject is changed beyond recognition by reincarnating into a humorous and flirtatious polka. All phrases from section A of the primary subject are stated and developed sequentially. With its toy and somewhat mechanical, chilly coloring (only woodwinds, piccolo flute and clarinet in E-flat solo), this polka is perceived as a kind of interlude. This is where the dramaturgic mechanism underlying this part of the symphony is revealed: ‘developmentness’ completely took over the exposition, but the development itself as a section is built on the principle of peculiar characteristic variations either on the primary or on the secondary subject. Of course, the puppet idyll cannot remain undisturbed: the polka turns into a rough cancan with a shamelessly trembling rhythm on r.58. The tension grows and leads, as it has happened more than once, to a decisive replica of the trumpets, and after it to the “pecks” of the entire orchestra (a short reference to the second subject) - a signal of a new stage act.
Second section. Fugatto.
14:23 r.63. Violins interrupt with a sharp contrast, they play new material, not so much a new melodic line, but rather the depiction of continuous and chaotic movement by the composer. The theme of fugato intonationally gravitates towards the primary subject by the predominance of a second stepwise movement with a sharp tritone leap breaking it (here in c - g-flat, in the primary theme in d - a-flat) and unshakable aspiration. The most important factors of fugato expressiveness are rhythm, texture and timbre "thickening" - whirlwind movement of sixteenth notes and avalanche layering, winding the lines of string instruments into one grandiose tangle. This sections marks and leads to the most cruel, violent and brutal section of the entire symphony.
Third section. Procession.
15:41 r.72. The climactic, decisive section of development. In ecstasy and fever from the fugato section, the upper strings and woodwinds continue to rush in a swift whirlwind, alternating between strict sixteenth notes and ragged galloping rhythms. String and woodwind basses, together with the brass section, intonate in absolute cacophony and rhythmic incoherence all the main elements of the primary subject. At r.75 under the incessant combat rumble of drums, a frightening five-voice canon in sevenths based on phrase (a) is introduced, with the inclusion of all brass voices in turn (horn, then trumpets, trombones and tuba). At r.77 the canon theme in augmentation is stated by all the orchestra basses: bass clarinets, bassoons, contrabassoons, trombones, tubas, cellos and double basses. At.r.78. Climax. The frightening picture is completed by the heart-rending and drilling cries of the tutti.
Fourth section. Mazurka-waltz.
16:54 r.81. The climactic ending of the previous section does not collapse the music, but instead it pushes the string section to continue the further development relentlessly. The 8th notes steady pulse grounds the melody in violins, which elaborate on separate primary subject intonations. Later, mazurka turns into an elegant and lively waltz with a bass clarinet added. This is there we get a variation on the secondary subject in violins and bass clarinet. Soon the violins are distracted from the statement, leaving the bass clarinet with the "stub" of the secondary subject. The modestly accompanying basses, as if on enthusiasm, intercept a fragment of the theme over the flute frullato, the muffled rumblings of the timpani do not come from afar.
Final section.
18:39 r.90. Louder and rougher, reaching the limit of physically possible volume, signals of muted brass arise - cacophonous chords. They are answered by the woodwind recitative, permanently leading into the recapitulation.
RECAPITULATION:
19:30 r.92. The opening shriek of the woodwinds is further aggravated by the roaring trumpet. Strings, woodwind basses and 4 French horns now answer them, as it were, from a «running start».
19:52 r.93. All the characteristic and most important features of the primary subject are established: militant (and here also additionally distorted by mutes) timbres of pipes and trombones, a strong-willed unshakable accompaniment "hammering" with 8th notes, the home key of C minor. Very soon it becomes clear that the theme of the primary subject is not here! Instead, the secondary subject emerges! The development does not leave the music, and introduces into the recapitulation one more variation on the secondary subject: in the style of the primary subject. At the end of the statement, a several bars of the secondary subject’s cello lyrical episode appears (r.43)
20:43 r.96. After the theme is fully stated, the tension instantly subsides, as it has already happened more than once in the exposition and development, and the English horn takes over the reprise of the secondary subject: the first lyrical episode of the strings sounds (r.32).
21:37 r.99. The secondary subject is completely dispassionately intoned by the violas, the staccato violin solo gives a «cuckooing» undertone.
22:06 r.101. Affectionately and sincerely, the solo violin sings a touching, slightly sad melody. It sounds new. There has never been such a direct and soulful-deep lyricism in the symphony. The image itself is indeed new, but the melody varies an already known melody from the first episode of the primary subject (r.7). In this context, this episode serves as a link between the reprises of the two subjects.
23:20 r.103. Here the genius of the reprise of this symphony is revealed to us. The primary subject has now completely lost its offensive passion, also it its huge scale and complexity of structure, its steep waves and internal contrasts. Quietly, mysteriously, almost humorously, but at the same time mournfully, with a hidden threat, the theme sounds from the solo bassoon to the accompaniment of a bass drum. The melodic construction of the theme is almost identical to the expositional section A of the primary subject: only the last phrase has been dropped. The dramatic core of the entire movement was finally revealed to us: the ‘developmentness’ took possession of the exposition, development as a section offered a way for the developing both themes by varying them within certain genre frameworks. Recapitulation takes this approach to its logical conclusion: after stating the themes in different genre variations, the only outcome left for them is to compose variations in each other's stylistics. This leads to a unique paradox within the recapitulation itself: thematically, it is a mirrored recap (reversed order: secondary subject first, then the primary one), although the stylistic and figurative order remains direct as in the exposition.
CODA:
24:40 r.107. Another sudden and final explosion of energy: the woodwinds shout out the initial intonation of the primary subject (the phrase "a"), they are responded by the muted brass with a flashing and immediately fading dynamics (like blinding electrical discharges). A fourth of an English horn hangs in space, persistent, like a pendulum of time, which "works" throughout the coda, and suddenly slows down, stops. The g-d fourth hangs over the tonic sounding C minor, over the deep basses (trombones, tuba, contrabassoon) and under the lonely voice of the oboes. This conclusion of the movement hurts and stirs the mind almost more than the frantic drama of its beginning and stormy climaxes.