cooing of voices in mournful bits of the motto, with a timid upper phrase in the descending tone.
On we go in the piling of Ossa on Pelion, where the motto and even the Scherzo dance lend their text. Yet all is fraught with sentient beauty as, rising in Titanic climb, it plunges into an overwhelming cry in the Adagio melody. Throughout, the ascending and descending tones, close interwoven, give a blended hue of arduous striving and regret.
After a pause follow a series of refrains of solo voices in the melody, with muted strings, with mingled strains of the motto. In the bass is an undulation that recalls the second theme of former movement. And the clarinet returns with its mystic madrigal of melody; now the Adagio theme enters and gives it point and meaning. In one more burst it sings in big and little in the same alluring harmony, whence it dies down to soothing close in brilliant gamut as of sinking sun.
IV.—Allegro vivace. Throwing aside the clinging
fragments of fugue in the prelude we rush into a gaiety long sustained. Almost strident is the ruthless merriment; we are inclined to fear that the literal coherence of theme is greater than the inner connection of mood. At last the romp hushes to a whisper of drum, with strange patter of former dance. And following and accompanying it is a new hymnal (or is it martial) line, as it were the reverse of the other
chant. The gay figures flit timidly back,—a struggle 'twixt pleasure and fate,—but soon regain control.
If we cared to interpret, we might find in the Finale a realized aspiration. The truth is the humors of the themal phrases, as of the movements, jar: they are on varying planes. The coarser vein of the last is no solace to the noble grief of the foregoing.
Again the change or series of moods is not clearly defined. They seem a parade of visions. The hymn may be viewed as a guise of the former chant of the Scherzo, with the dance-trip in lowest bass.