attempt at illustration such as the following may perhaps prove
possible, at least up to a certain degree; whereas it would
hardly be feasible during an actual performance. For, whilst
listening to the work, we are bound to eschew any definite
comparisons, being solely conscious of an immediate revelation
from another world. Even then, however, the animation of the
picture, in its several details, has to be left to the reader's
fancy, and an outline sketch must therefore suffice. The longer
introductory Adagio, than which probably nothing more melancholy
has been expressed in tones, I would designate as the awakening
on the morn of a day that throughout its tardy course shall
fulfil not a single desire: not one. [FOOTNOTE: "Den Tag zu
sehen, der Mir in seinem Lauf Nicht einen Wunsch erfullen wird,
nicht Einen." Faust.] None the less it is a penitential prayer, a
conference with God in the faith of the eternally good. The eye
turned inwards here, too, sees the comforting phenomena it alone
can perceive (Allegro 6/8), in which the longing becomes a sweet,
tender, melancholy disport with itself; [FOOTNOTE: Ein Wehmuthig
holdes Spiel.] the inmost hidden dream-picture awakens as the
loveliest reminiscence. And now, in the short transitional
Allegro moderate it is as though the Master, conscious of his
strength, puts himself in position to work his spells; with
renewed power he now practises his magic (Andante 2/4), in
banning a lovely figure, the witness of pure heavenly innocence,
so that he may incessantly enrapture himself by its ever new and
unheard of transformations, induced by the refraction of the rays
of light he casts upon it. We may now (Presto 2/2) fancy him,
profoundly happy from within, casting an inexpressibly serene
glance upon the outer world; and, again, it stands before him as
in the Pastoral Symphony. Everything is luminous, reflecting his