1 Moderato 2. Allegretto 3. Largo 4.Allegro non troppo
Cellos and double basses open the symphony with a declamatory theme characterized by wide leaps, the violins stating the same theme antiphonally. A short descending figure for first violins soon appears, of which much is made later in the movement. Then the violins begin a lengthy and melodious theme, leading to a passage in which the horns and woodwind are prominently employed. A brief and dissonant climax is reached and a second theme is introduced over a persistent rhythmic figure for lower strings, and the harp. The theme itself, stated by the first violins (espressivo), is again characterized by the wide leaps and plunges in intervals that distinguish the entire movement. Divided violas and cellos antiphonally end this part of the movement with a brief phrase from which proceed solo passages for flute and clarinet. Horns now enter with a pretentious theme over a persistent rhythm for lower strings and piano. The animation increases as strings and woodwind expand the brief descending phrase that occurred at the beginning of the movement. A rapid march section now ensues, brass and wind presenting a jaunty version of presented material, leading to an impassioned return on strings and wind of the opening theme and a tremendous climax in unison for strings and wind. Now the second theme returns presented by flute and born over the insistent rhythm of the strings. Woodwind plays a prominent part; the clarinet, oboe, and bassoon engaging in an extended passage, which leads to a quiet closing section, in which fragments of the leaping theme are presented by trumpet and lower strings, while the celesta adds a somewhat chilling effect as the movement ends. After the heroic cast of the first movement, the second movement (Allegretto) has a gay and boisterous quality that furnishes much needed diversion. The rhythm alternates between ¾ and 4/4 and times; the themes are obvious enough and they recur in more or less the conventional manner of the classical scherzo with its trios and repeats. The solo violin, flute, and bassoon are used with exhilarating effect during the course of the movement; the quartet of horns is prominently employed and the xylophone brightens the texture of music periodically.
For his intense and Rhapsodic slow movement, the composer has dispensed with the brass instruments all together, has divided his violins into three sections, violas and cellos into two, respectively, and relies on harp, piano, and celesta to add bright glints to his orchestral palette. Third violins, first violas, and second cellos begin the movement with an expressive, and at times almost liturgical, section, presenting the main thematic material. This leads to an episode, memorable for its beauty, for the harp and two flutes. The strings again take up the burden of the movement and are soon joined by wind in an impressive passage (largamente). A new and intense episode is now presented by solo oboe and clarinet over a string tremolo. The fervor of the movement is caught by all the instruments as they join in a string proclamation. A new episode is brought forward by the lower strings to the accompaniment of a semiquaver figure by the clarinets and the persisting violin tremolo, which ends in a brief and powerful climax. A descending figure on the cellos restores the quiet intensity of the opening; harp and celesta combine magically with the tremolo of the first violins as the movement ends.
Timpani and brass, as if they had been silent too long, open the finale of the symphony with a stirring them in march rhythm, which is to return periodically to this rondo-like movement. Strings and woodwind soon join in a subsidiary theme, but quickly the march theme makes itself heard from the trombones, bassoons, and lower strings. This is expanded at length, leading to a passage (accelerando) for horns and strings. After a short while, the main theme of the first movement is hinted at by the solo trumpet over a rushing semiquaver accompaniment for wind and string and this material is transformed into a passage of tremendous power. Then a diminuendo brings a contrasting section, opening with a passage for solo horn, which gradually re-establishes the mood of the slow movement.
But the urgency of the march theme is not to be denied and soon timpani and side drum are heard. The excitement mounts as brass and woodwind play with thematic material, while the strings remain silent for a time as the initial enthusiasm of the movement is recaptured. Finally the strings re-enter; the piano and an assortment of percussion instruments join in an apotheosis of the march theme—a musical affirmation of compelling power and sweeping grandeur, for a parallel to which one must go back to Sibelius’s second symphony or some of the symphonies of the nineteenth-century masters.
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