This motive, of simple octave call, indeed pervades the earlier symphony in big and little.  And now, above a steady, sombre melodic tread of strings it rises in a fray of eager retorts, transfigured in wonderful harmony again and again to a brilliant height, pausing on a ringing refrain, in sombre hue of overpowering blast.

A soft interlude of halting and diminishing strings leads to the romantic melody as it first appeared, where the multiple song again deepens and ennobles the theme.  It passes straight into the waving, elemental motion, where again the hallowed horn utters its sibyl phrase, again rising to resonant height.  And again merges the intimate song with the continuing pulse of the sea, while the trumpet softly sounds the legend and a still greater height of rhapsody.

Dull brooding chords bring a sombre play of the awing phrase, over a faint rocking motion, clashing in bold harmony, while the horns surge in broader melody.  The climactic clash ends in a last verse of the opening phrase, as of primal, religious chant.

II.—­Scherzo. In the dazzling pace of bright clashing harmonies, the perfect answers of falling and rising phrases, we are again before the semblance, at

[Music:  Vivace
(Flute with pizz. violins)
(Flute)
(Pizz. strings)]

least, of a great poetic idea.  To be sure there is a touch of stereotype in the chords and even in the pinch and clash of hostile motives.  And there is not the distinctive melody,—­final stamp and test of the shaft of inspiration.  Yet in the enchantment of motion, sound and form, it seems mean-spirited to cavil at a want of something greater.  One stands bewildered before such art and stunned of all judgment.

A delight of delicate gambols follows the first brilliant dance of main motive.  Amid a rougher trip of unison sounds the sonorous brass, and to softest jarring murmur of strings a pretty jingle of reed,

[Music:  grazioso (Oboe) (Pizz. strings with soft chord of wind and rhythmic bassoon)]

with later a slower counter-song, almost a madrigal of pastoral answers, till we are back in the ruder original dance.  The gay cycle leads to a height of rough volume (where the mystic brass sound in the midst) and a revel of echoing chase.

In sudden hush of changed tone on fastest fairy trip, strings and wood play to magic harmonies.  In calming motion the violins sing a quieter song, ever

[Music:  Piu tranquillo
Dolce
(Violins)
(Oboe)
(Violins)
(Oboes with sustained strings)]

echoed by the reed.  Though there is no gripping force of themal idea, the melodies are all of grateful charm, and in the perfect round of rhythmic design we may well be content.  The original dance recurs with a full fine orgy of hostile euphony.

III.—­Adagio. Feierlich,—­awesome indeed are these first sounds, and we are struck by the originality