One of the things that makes a great tune (or melody, for that matter) in
CM is the context of its first appearance.  This is one aspect, outside of
the tune itself, that makes the Brahms "Ode to Joy" ploy so effective: the
horn theme fading away and everything nearly coming to a halt for the grand
entrance.

There are many forms of "grand entrance," not just the (1) "coming
to a halt" type in the Brahms (another example of which is start of the
very long lyric theme in the last movement of Bruckner's 9th, by the way).
Other "grand-entrance" types that appeal to me are (2) the RETURNS, not as
much the first appearance of a tune (e.g.  Bartok's intermezzo theme after
being churlishly interrupted by Shostakovich's 7th in the Concerto for
Orchestra, the return of the "heavenly choir" theme in the first movement
of Mathis der Maler, etc.), or (3) the "transformation" type so fabulously
done by Wagner between scenes in Rheingold when the Ring motive climbs up
to the Vahalla tune, tainting the nobility of it by revealing its origin.

Perhaps other can contribute additional "grand entrance" types or favorite
examples.

Jeff Dunn
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