Publisher's Synopsis
Excerpt from Short Studies of Great Masterpieces, Vol. 3
Just what Elgar means by the somewhat cryptic saying that through and over the whole set another and larger Theme 'goes' but is not played has been the subject of some discussion. It sounds almost like one of those mystifying utterances with which Strauss enjoys launching a new orchestral work. How it can be taken to mean, as some critics have thought, that the real Theme, unheard, is a counterpoint to the Theme given - that is, a melody that can be played simultaneously with it and counter to it is hard to see: for, aside from the unusual harmomc basis chosen, with the major section in the middle and the minor start and finish, the phraseology is so peculiar - phrases of six, four, and seven measures respectively - that no commonplace popular melody in square-cut four-measure phrases would fit with it. It seems probable that Elgar has in mind some subtler relationship than that of counter point.
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