with later a slower counter-song, almost a madrigal of pastoral answers, till we are back in the ruder original dance. The gay cycle leads to a height of rough volume (where the mystic brass sound in the midst) and a revel of echoing chase.
In sudden hush of changed tone on fastest fairy trip, strings and wood play to magic harmonies. In calming motion the violins sing a quieter song, ever
echoed by the reed. Though there is no gripping force of themal idea, the melodies are all of grateful charm, and in the perfect round of rhythmic design we may well be content. The original dance recurs with a full fine orgy of hostile euphony.
III.—Adagio. Feierlich,—awesome indeed are these first sounds, and we are struck by the originality
of Bruckner's technic. After all we must give the benefit at least of the doubt. And there is after this deeply impressive introit a gorgeous Promethean
spring of up-leaping harmonies. The whole has certainly more of concrete beauty than many of the labored attempts of the present day.