continuing hum of the bells, are singing a responsive song that rises in fervor as the horns and later the woodwind join the strings. Anon will sound the simple tune of the bells with soft harmonies, like echoes of the song,—or even the chant without the chimes.
In more eager motion,—out of the normal measure of bells and hymn, breaks a new song in minor with a touch of passion, rising to a burst of ardor. But it passes, sinking away before a new phase,—a bucolic
fantasy of trilling shepherd's reed (in changed, even pace), supported by strumming strings. The sacred calm and later passion have yielded to a dolorous plaint, like the dirge of the Magyar plains. Suddenly the former fervor returns with strains of the second melody amidst urging motion (in the triple pace) and startling rushes of harp-strings. At the height, trumpets blare forth the first melody, transformed from its earlier softness, while the second presses on in higher wood and strings; the trombones relieve the trumpets, with a still larger chorus in the romantic song; in final exaltation, the basses of brass and strings sound the first melody, while the second still courses in treble voices.
Of a sudden, after a lull, falls again the tinkle of sacred chimes, with a verse each of the two main melodies.
The Scherzo begins with a Saltarello humor, as of airy faun, with a skipping theme ever accompanied by a lower running phrase and a prancing trip of
strings, with a refrain, too, of chirruping woodwind. Later the skipping phrase gains a melodic cadence. But the main mood is a revel of gambols and pranks of rhythm and harmony on the first phase.
In the middle is a sudden shift of major tone and intimate humor, to a slower pace. With still a semblance of dance, a pensive melody sings in the cellos; the graceful cadence is rehearsed in a choir