It features two motto themes, one is an ascending four-note motive heard in the introduction and first voiced by the oboe, the other launches in the Allegro in the guise of an accompaniment, a scurrying sixteenth line in the violins and later reappears, doubly transformed, in the lovely slow section.
It features two motto themes, one is an ascending four-note motive heard in the introduction and first voiced by the oboe, the other launches in the Allegro in the guise of an accompaniment, a scurrying sixteenth line in the violins and later reappears, doubly transformed, in the lovely slow section. Presented in an unorthodox two-part layout, this work's four movements remain unbroken during its performance. Perhaps the best known part of this work, whose score was dedicated to Franz Liszt [*], is the triumphant fortissimo section of the finale, while the most beautiful moment comes with the hushed lyricism of a certain instrument's pedal tones in the Adagio, FTP, what is this work named for a keyboard instrument, a symphony by Saint-Saens.
It features two motto themes, one is an ascending four-note motive heard in the introduction and first voiced by the oboe, the other launches in the Allegro in the guise of an accompaniment, a scurrying sixteenth line in the violins and later reappears, doubly transformed, in the lovely slow section.
{Symphony No. 3}, in C Minor or The {Organ} Symphony