(Continued)
THE Fifth Symphony is so often performed that its outlines are becoming very familiar. It will suffice to remind listeners that a ' Motto ' theme, of sombre character in most of its appearances, is heard in each of the Movements.
FIRST MOVEMENT. An Introduction (Moving gently) gives out the 'Motto' Tune (Clarinet, with Strings accompanying). After thirty-two bars comes the FIRST MOVEMENT proper. (Quick, spirited).
Clarinet and Bassoon have the First Main Tune. Strings and Woodwind continue the mood. The Second Main Tune comes in on the Strings, in gentler manner, with a touch of syncopation in it : a pleading theme, one might say. This material is dealt with at no great length. and the ' Recapitulation ' of the Theme comes in the usual way, the Movement dying away.
SECOND MOVEMENT. (Gently moving, in a singing style). The Lower Strings have sustained chords, over which Horn gives out the flowing First Main Tune. An Oboe has a continuation of this, in rather brighter mood. The Strings' opening of the Second Main Time echoes a four-note figure of the Oboe, and continues with new material. With a change of time from the swaying three-to-a-beat of the opening, a Clarinet Third Tune enters. Soon the Motto Tune pushes its way in, giving way quickly to the earlier Themes, which are reviewed, the Movement ending peacefully.
THIRD MOVEMENT. (Waltz. Moderately quick). Violins have the First Main Tune, Bassoons a Second Tune. The Trio, or middle section of the Waltz, has a dancing Violin Theme, in rapidly-running short notes. After the usual repetition of the matter in the beginning of the Movement, the Motto Tune is impressed upon us. even in the midst of gaiety, by Clarinets and Bassoon.
FOURTH MOVEMENT. (Introduction. Moving with dignity). The Motto is transformed into a cheerful, solid, major-key Tune through this longish Introduction, which leads straight into the quick, vivacious
LAST MOVEMENT proper. Its First Main Tune has a connection with the Motto, in the scale passage, descending, that we heard repeated in the latter. The Oboe has a leaping subsidiary portion, and the Second Main Tune comes on Oboe and Flute. After much sonorous treatment of these Themes, with quick changes of mood for a moment or two, we meet the Motto Tune for the last time, in the summing-up, in the most majestic spirit.