the picturesque, the curious, and the whimsical, expressed in plastic materials like carved wood and above all stucco (as in the work of the Wessobrunner School). Walls, ceiling, furniture, and works of metal and porcelain present a unified ensemble. The Rococo palette is softer and paler than the rich primary colors and dark tonalities favored in Baroque tastes. A few anti-architectural hints rapidly evolved into full-blown Rococo at the end of the 1720s and began to affect interiors and decorative arts throughout Europe. The richest forms of German Rococo are in Catholic Germany (illustration, above). Rococo plasterwork by immigrant Italian-Swiss artists like Bagutti and Artari is a feature of houses by James Gibbs, and the Franchini brothers working in Ireland equalled anything that was attempted in Great Britain.
The fourth movement (Larghetto), a weighty contrast, Raid is looking inward. The succinctness is increased and expressed by several base points. In the final bars, pure D7 of A minor sounds like a hopeful question. The beginning: Example 67. From the two components of the initial theme, both the chords which constitute harmony and from the curves of harmony, Raid is further shaping variants in different tonalities. The final bars with expiring contemplation create a certain connection with the initial theme of the Finale in Raid’s First Symphony. The fifth and last movement (Allegro moderato e risoluto) does not sound very resolute or eager. In the march-like theme and in its further treatment one can detect stylistic influences from Tubin (Fifth Symphony, first movement). In the last bars it seems as if an attempt is being made to direct all the previous ruminations, hardships
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