[ HENRY HADLEY. SYMPHONY NO. 3, B MINOR.[80]
With virile swing the majestic melody strides in the strings, attended by trooping chords of wood and brass, all in the minor, in triple rhythm. In
the bass is a frequent retort to the themal phrase. For a moment a dulcet line steals in, quickly broken by the returning martial stride of stentorian horns, and of the main theme in full chords. Strange, though, how a softer, romantic humor is soon spread over the very discussion of the martial theme, so that it seems the rough, vigorous march is but the shell for the kernel of tender romance,—the pageant that precedes the queenly figure. And presently, piu tranquillo, comes the fervent lyric song that may indeed be the chief theme in poetic import, if not in outer rank. After a moving verse in the strings,
with an expressive strain in some voice of the woodwind or a ripple of the harp, it is sung in tense chorus of lower wood and horns,—soon joined by all the voices but the martial brass, ending with a soft echo of the strings.
Now in full majesty the stern stride of first theme is resumed, in faster insistence,—no longer the mere tune, but a spirited extension and discussion, with retorts between the various choirs. Here the melodious march is suddenly felt in the bass (beneath our feet, as it were) of lowest brass and strings, while the noisy bustle continues above; then, changing places, the theme is above, the active motion below.
Long continues the spirited clatter as of warlike march till again returns the melting mood of the companion melody, now sung by the expressive horn, with murmuring strings. And there are enchanting flashes of tonal light as the song passes to higher choirs. The lyric theme wings its rapturous course to a blissful height, where an intrusion of the main motive but halts for the moment the returning tender verse.
When the first vigorous phrase returns in full career, there is somehow a greater warmth, and the dulcet after-strain is transfigured in a glow greater almost than of the lyric song that now follows with no less response of beauty. In the final spirited blending of both melodies the trumpets sound a quicker pace of the main motive.
In the Andante (tranquillo) the sweet tinkle of church-bells with soft chanting horns quickly defines the scene. Two voices of the strings, to the