If the second theme, let us say, were in the same key as the
first, it would sound like the beginning of a new movement, and at once
we should have the continuity broken. As a passage between two passages
in the original key it sounds perfectly in its place, and, no matter how
contrasted in character, is a kind of continuation of the first passage.
At the same time it creates a strong desire, that must be restrained
till the time comes, for what follows. We listen to the second theme and
to the "working-out" section, knowing we are far from home, but
perfectly aware that we shall get there, and that a certain feeling of
suspense will be relieved. Thus the music is like a great arch that
supports itself. The unity got in the fugue by continuous motion is got
here by one key perpetually leading the ear to ask for another key. It
seems simplicity itself; its underlying idea--that of making the ear
always expect something, and gratifying it by bits, and only fully
towards the close of the movement--is that by which unity is combined
with variety in modern music, though we have long since got rid of the
"legitimate" series of keys.
The grouping of the movements need not detain us long. Many groupings
had been tried; but it seems natural to open with an allegro--preceded
or not preceded by a few bars of slow introduction--to follow this with
a slow movement of some sort; then to insert or not to insert a movement
of medium rapidity as a change from the bustle of the first and the
quiet of the second; and finally to end with a merry dancing movement.
Pages:
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38