the concerto springs from the nature of the violin itself, where the twelve-tone row arpeggiates
the open strings and continues up the circle of fifths, G-D-A-E then B.
Then, in a compressed version of the entire process, the flute alludes to the D-C[MUSCAL NOTES NOT REPRODUCIBLE] motion from measure 39, recalls the sustained F[MUSCAL NOTES NOT REPRODUCIBLE] from measure 40 (now doubled in register by both of the other instruments), and finally ascends again to the G[MUSCAL NOTES NOT REPRODUCIBLE], sustaining that pitch while the bass clarinet arpeggiates
furiously in its low register, constantly altering pitches so that no clear harmony emerges (Example 6).
Like the Marseillaise, the melody conspicuously arpeggiates
the tonic chord, evokes state power with its dotted rhythms, achieves a climax on the high tonic, and darkens the mood with the parallel minor.