As far as this, the voice had been supported by simple, full-sounding
harmonies. Now, from out the depths, still of F minor, rose a
hesitating theme, which seemed to grope its way: in imagination, one
heard it given out by the bass strings; then the violas reiterated it,
and dyed it purple; voice and violins sang it together; the high
little flutes carried it up and beyond, out of reach, to a half close.


Weh spricht: vergeh!


Suddenly and unexpectedly, there entered a light yet mournful phrase
in F major, which was almost a dance-rhythm, and seemed to be a small,
frail pleading for something not rightly understood.


Doch alle Lust will Ewigkeit,
Will tiefe, tiefe Ewigkeit.


The innocent little theme passed away, and the words were sung again
to a stern and fateful close in D flat major.

The concluding section of the work returned to these motives,
developed them, gathered them together, grouped them and interchanged
them, in complicated thermatic counterpoint. Schilsky was barely able
to cope with the difficulties of the score; he exerted himself
desperately, laboured with his head and his whole body, and surmounted
sheerly unplayable parts with the genial slitheriness that is the