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Each one is answered by an eccentric phrase that had its origin in the first movement and is now extended to a fugal theme. In Bruckner's later works appears the unique instance of a discipline grounded in the best traditions, united to a deft use of ephemeral devices.
At this mystic stage, to pure dance trip of low strings the waltz reënters very softly in constant growing motion, soon attaining the old pace and a new fulness of sound. A fresh spur is given by a wild motion of strings, as in the fugal episode; a new height of tempest is reached where again the distorted shreds of first dance appear, with phrases of the second.
This is the best part of it a fugal Gloria, ending with a pedal-point. Here you are, you see a tonic pedal-point, this D flat, the very last raised note in my new pedal-board, held down right through." And he set his left foot on the pedal. "What do you think of that for a Magnificat?" he said, when it was finished; and Westray was ready with all the conventional expressions of admiration.
With the simple airs then in use, a partially harmonious fugue might not improbably thus result: and a very partially harmonious fugue satisfied the ears of that age, as we know from still preserved examples. The idea having once been given, the composing of airs productive of fugal harmony would naturally grow up; as in some way it did grow up out of this alternate choir-singing.
There is still, compared with Beethoven, a huge amount of formalistic padding; but so far as he dared and could, he was loading his rifts with ore. Such a subject as this is far removed from his earlier folk-song themes, but it is further still from the old fugal type of subject. It is suited to symphonic development, and to no other kind.
She drew attention to herself by carrying off the prize for fugal work at the Conservatoire, at a time when women were expected to take a more modest place in composition. Her "Fantasie Symphonique" and "Jeanne D'Arc" are often given before French audiences.
One of the greatest fugal episodes of symphonies, it is yet a mere prelude to the real movement, where the light theme is drawn from a phrase of latest cadence. And the dim hue of minor which began the symphony, and all overspread the prelude, at last yields to the clear major. There is something of the struggle of shadow and light of the great third symphony of Brahms. of old passacaglia.
In spite of his remarks in Playford's book, it is plain that he looked at music horizontally as well as vertically, and constructed it so that it is good no matter which way it is considered. His counterpoint has a freedom and spontaneity not to be found in the music of the later contrapuntal, fugal, arithmetical school.
His subsequent disappearance, leaving nothing behind but an empty piano case, it might be more difficult to account for. And yet even that was susceptible of explanation. For, suppose Jimson had gone mad over a fugal passage, and had thereupon destroyed the accomplice of his infamy, and plunged into the welcome river? What end, on the whole, more probable for a modern musician?
This is suddenly changed to the guise of a fugal theme, with new close, that starts a maze of disputation. Right from the full fire of the rough dance, sad-stressed chords plunge into a moving plaint with much sweetness of melody and higher counter-melody. Then returns again the original wild rhythm. In the last movement the composer confesses the "Fantasy" in the title.
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