[[70]] On leaving the scene of some special mischief, Till would draw a chalk picture of an owl on the door, and write below, Hic fuit. The edition of 1519 has a woodcut of an owl resting on a mirror, that was carved in stone, the story goes, over Till's grave.
[[71]] It is like the Finale of Brahms' Fourth Symphony, where an older form (of passacaglia) is reared together with a later, one within the other.
[[72]] Strauss told the writer that this was the march of the jurymen,—"der Marsch der Schöffen." Reproached for killing Till, he admitted that he had taken a license with the story and added: "In the epilogue,—there he lives."
[[73]] At the first production, in New York, in obedience to the composer's wish, no descriptive notes were printed. When the symphony was played, likewise under the composer's direction, in Berlin in December, 1904, a brief note in the program-book mentions the three groups of themes, the husband's, the wife's and the child's, in the first movement. The other movements are thus entitled:
II.—Scherzo. Parents' happiness. Childish play. Cradle-song (the clock strikes seven in the evening).
III.—Adagio. Creation and contemplation. Love scene. Dreams and cares (the clock strikes seven in the morning).
IV.—Finale. Awakening and merry dispute (double fugue). Joyous conclusion.
[[74]] In the field of the Lied the later group of Italians, such as Sinigaglia and Bossi, show a melodic spontaneity and a breadth of lyric treatment that we miss in the songs of modern French composers.
In his Overture "Le Baruffe Chiozzote" (The Disputes of the People of Chiozza) Sinigaglia has woven a charming piece with lightest touch of masterly art; a delicate humor of melody plays amid a wealth of counterpoint that is all free of a sense of learning.
[[75]] Born in 1843.