A.K. What have you called your new symphony?

C. N. Nothing! (Carl Nielsen strokes his hand through his bristly hair and the bright smiling eyes look directly at his questioner. He continues.) My First Symphony was also untitled. But then came ‘The Four Temperaments’, ‘The Espansiva’ and ‘The Inextinguishable’, actually just different names for the same thing, the only thing that music in the end can express: resting forces in contrast to active ones [de hvilende Kræfter i Modsæ:tning til de aktive]. If I could find a designation for my new Fifth Symphony it would express something similar. I just haven't been able to come up with the word which would be characteristic and not too pretentious – so I've done without.

A. K. But the basic idea or thought?

C. N. Well, how shall I put it? I'm rolling a stone up a hill, I'm using the powers in me to bring the stone to the top. The stone lies there so still, powers are wrapped in it, until I give it a kick and the same powers are released and the stone rolls down again. But you mustn't take that as a programme! Long explanations and indications as to what music ‘represents’ are just evil [kun af det onde], they distract the listener and destroy the absolute dedication.

This time I have changed the form and made do with two parts instead of the usual four movements.