ully present throughout in the essential rhythm and harmony.

In the Finale, _Allegro non troppo_, we are really clear, at the outset,
of the toils of musing melancholy.

[Music: _Allegro non troppo_
_Dolce cantabile_]

After big bursts of chords, a tune rolls pleasantly along, _dolce
cantabile_, in basses of wood and strings. Expressive after-phrases
abound, all in the same jolly mood, until the whole band break
boisterously on the simple song, with a new sonorous phrase of basses.
Then, in sudden remove, sounds the purest bit of melody of all the
symphony, in gentlest tones

[Music: _Dolce cantabile_
(In the brass)]

of brass (trumpet, trombone and tuba). But, though in complete recoil
from the rhythmic energy of Allegro theme, it is even farther from the
reflective mood than the latter. It shows, in this very contrast, the
absence of the true lyric in the meditative vein, frequent with Cesar
Franck. The burst of melody blossoms ever fairer. In its later musing
the tune browses in the bass. A waving phrase grows in the violins,
which continues with strange evenness through the entrance of new song
where we are surprised by the strange fitness of the Allegretto melody.
And the second phase of the latter follows as if it belonged here. So,
almost listless, without a hair of rhythmic change (_les temps ont
toujours la meme valeur_), the Finale theme sings again most softly in
the strings. It has, to be sure, lost all of its color, without the
original throb of accompanying sounds. The phase of the movement is a
shadowy procession of former ideas, united in the dreamy haze that
enshrouds them. The stir that now begins is not of the first pale hue of
thought, rather the vein of big discussion, brewing a storm that breaks
finally in full blast on the gentle melody (of the brass) transfigured
in ringing triumph, in all the course of the song. Nor is the succeeding
phase the mystic habit of our poet; it is a mere farther digestion of
the meat of the melody that leads once more to a height of climax whence
we return to first course of themes, tuneful afterphrase and all, with
the old happy motion. The counterpoint here is the mere joyous ringing
of many strains all about.

Against all rules comes a new chorusing paean on the theme of
Allegretto, led by stentorian basses, together with an enchanting
after-strain, which we might have remarked before. And still another
quarter, long hushed, is heard anew, as a voice sound