first in muted strings.

It is the line of sad expressive recitative that heralded the plaint and
the love-scene. There is here the full charm of fugue: a rhythmic
quality of single theme, the choir of concerted dirge in independent
and interdependent paths, and with every note of integral melody. There
is the beauty of pure tonal architecture blended with the personal
significance of the human (and divine) tragedy.

The fugue begins in muted strings, like plaintive human voices, though
wood and brass here and there light up the phrases. Now the full bass of
horns and wood strikes the descending course of theme, while higher
strings and wood soar in rising stress of (sighing) grief.

[Music: (In double higher 8ves.)
_With lower 8ves._
(Strings, with enforcing and answering wind)]

A hymnal verse of the theme enters in the wood answered by impetuous
strings on a coursing phrase. The antiphonal song rises with eager
stress of themal attack. A quieter elegy leads to another burst, the
motive above, the insistent sigh below. The climax of fugue returns to
the heroic main plaint below, with sighing answers above, all the voices
of wood and brass enforcing the strings.

Then the fugue turns to a transfigured phase; the theme rings triumphant
retorts in golden horns and in a masterful unison of the wood; the wild
answer runs joyfully in lower strings, while the higher are strumming
like celestial harps. The whole is transformed to a big song of praise
ever in higher harmonies. The theme flows on in ever varying thread,