s a faint reminder
of the hymn of the first Allegro. Indeed, the combining strains before
the close seem sprung all of one parental idea. The motto of the
beginning sings in fittest answer to the latest phrases. The very maze
of the concert forbids our turning to their first origin. The end is in
joyous chanting of the Finale melody.

CHAPTER VIII

D'INDY AND THE FOLLOWERS OF FRANCK

Perhaps the noblest essay in symphonic music of the followers of Franck
is the second symphony of Vincent D'Indy.[A] His vein is indeed
throughout nearest akin of all the disciples to the serious muse of the
master.

[Footnote A: Vincent d'Indy was born in Paris on March 27, 1852.]

Though D'Indy is surpassed in a certain poetic originality by some of
his compatriot contemporaries, there is in this symphony a breadth of
design and detail, a clear melodic quality and a sustained lofty feeling
that seem to mark it the typical French symphony of its time. The
strength of the work lies in a unity that is not merely of figure and
outline. If we must measure a symphony mainly by the slow movement, we
cannot avoid, with all the languorous beauty, a certain conventionality
of mood, stressed with an exotic use of the appoggiatura, while in the
Scherzo is a refined savagery of modern cacophony.

The directions are all in French; we are reminded of Schumann's
departure from the Italian fashion.

Each movement, save the third, has its prelude: a gathering of threads
before the new story. The first notes of basses, together with the
answer on high, sound a prophetic legend of the whole.

The harmonic lucubrations are profoundly subtle. Indeed the very nature
of the first phrase is of dim

[Music: _Extremement Lent._ (Woodwind)
(Strings and harps)]

groping; it ends in a climax of the answer and merges into the main song
of the Allegro (_tres vif_) in horns, with rapid trip of strings.

[Music: _Tres vif_ (Horns)
(Strings)]

Throughout (from a technical view) is a fine mastery of the device of
ornamental notes, and secondary harmonies; there is also a certain
modern sense of chords and their relations. Together with an infinite
brilliance of these resources there is not only no weakness in cogency
of form, but there is a rare unity of design. The movements are bound
together, at least in themal relation, as strictly as in any symphony.
While the first phrase of the Allegro theme may hark back to the answer
of original motto, the