The Wichita daily eagle. [volume] (Wichita, Kan.) 1890-1906, 1902-04-13
GOSSIP FOR HOME PEOPLE
TALK OF
THE TOWN

Of JOY IN the first theme flashes forth
again, and is exclusively employed in the
fantasia part. TIL IN major. th7se bright
genu-appear, exercising a yet more po-
tent spell They usher in the third part
and the return to the final theme, with
the recurrence of the same train of feel
ings that we had in the first part. At
the entrance of the Coda, the first theme
appears in the greatest intensity, the
happy feeling rises TO a magnificent eli
max. till the agitation checks itself with
the chord Of the dominant seventh. The
light, self-contented form Of the second
theme is heard once again in the quiet
depth, then another outburst Of the cleo
trical first motive, followed by rolling
thunder-and all is silent. IF we now ex-
anime IN detail the musical structure of
this movement, we shall be astonished at
the wealth Of means employed. at the in
exhaustiveness of the master in ever new
harmonic and rythmicaI changes; in a
word, at the gigantic structure which he
has reared on those two motives. Thus in
the Coda, especially, all possible harmon
ic and rhythmical means are employed
to intensity the sentiment to the ut
most. There follows. a. a second move
ment intrOduzione adagio motto, F major,
with rondo allegretto moderate c ma or
The slow Introduction has an aphoristic
fragmentary character, and with the ex-
ception OF eight bars in the middle. il
consists. so TO speak. of musical inter-
rogations, and bold, harmonious, even
mystical interrogations. and bold. har-
monious, even mystical changes which
lead to the rondo The adagio. which
Marx calls meditative forms a striking
contrast TO the happy character Of the
preceding and following movements, and
thus enhances their vivacity, so pale and
wan in the coloring that il seems as if the
smiling face OF heaven were suddenly
overcast with shadow and cloud. Then
the mists suddenly dispense. the brightest
sunshine comes back again. when the
chief theme of the rondo is heard. This
motive is thoroughly imbued with the
blissfuI spirit Of the second theme in the
first movement. it is at the same time
very homely and simple. and even naive
turns, and so firm is its hold that IL
turns, and so form is its hold that II
springs up ever anew. with fresh har-
monte and rythmicaI embellishments.
always the same, yet ever in a fresh
dress. like the former theme adorned with
delicate and exquisite figure Suddenly
from a passage of rolling. wave-Iike triIls
there arises vigorous manly power, re-
vealing deep current of emotion which
In A minor grows gloomy and stern.
Who can explain what it IS that suddenly
imost painfully. agitates the soul? AL
belt. the night is but short. for the ten
Ger, blissful feeling of the first theme
soon comes out VIGOROUSLY. Once more
a violent storm arises in c minor. dark
shadows close around the scene. but they
also vanish The chief theme appears /
gain in a shortened form, but in the
Utmost intensity. the expression almost I
Using 70 sublimity. a moment. and the +
arrest feeling passes away in enchant-
rs modulations, breathing supreme ten
ierness and bliss. This feeling reaches .
IS first climax IN G fat and D fat major.
rom which musing train OF feeling
cads back 70 the fundamental thought
The chief theme grows more and r.ere
trising and expressive up till the ar
wal Of the marvellous climax with the
ubilant trills This is the second climax
f joyful ecstacv. the third and highest
.eing attained in celebrated shakes Of
he pesstssimo which afford the dearest
most striking and most effective express
ion Of the fundamental thought.