acts of the tragedy. It is clearly the Antar motive,—here amidst ruin and desolation.
The fairy theme is also unmistakable, that first plays in the flute, against soft horns, Allegro giocoso,
and is lost in the onrushing attack, furioso, of a strain that begins in murmuring of muted strings.
Other phrases are merely graphic or incidental. But the Antar motive is throughout the central moving figure.
The scene of the desert returns at the end of the movement.
In the second (Allegro, rising to Molto allegro, returning allargando) the Antar motive is seldom absent. The ending is in long notes of solo oboe and first violins. There is no trace of the fairy queen throughout the movement.
The third movement has phases of mighty action (as in the beginning, Allegro risoluto alla Marcia), of delicate charm, and even of humor. The Antar melody plays in the clangor of big climax in sonorous tones of the low brass, against a quick martial phrase of trumpets and horns. Again there is in this movement no sign of the fairy queen.
In the fourth movement, after a prelude, Allegretto vivace, with light trip of high flutes, a melody, of actual Arab origin, sings Andante amoroso in the