is a poetic background as for the play
of legend. We seem to be watching the sea from a window in the castle of
_Pelleas_. For there is a touch of dim romance in a phrase of the
clarinet.

The movement of waves is clear, and the unconscious concert of
sea-sounds, the deeper pulse of ocean (in the horns), the flowing
ripples, the sharp dash of lighter surf (in the Glockenspiel), all with
a constant tremor, an instability of element (in trembling strings). We
cannot help feeling the illusion of scene in the impersonal play of
natural sounds. Anon will come a shock of exquisite sweetness that must
have something of human. And then follows a resonant clash with spray of
colliding seas.

Here the story of the waves begins, and there are clearly two roles.

To light lapping and cradling of waters the wood sings the simple lay,
while strings discourse in quicker, higher phrase. The parts are
reversed. A shower of chilling wave (in gliding harps) breaks the
thread.

[Music: _Con anima_
(Highest and lowest figure in strings.
Middle voices in octaves of wood)]

Now golden tones (of horns) sound a mystic tale of one of the former
figures. The scene shimmers

[Music: (With rhythmic harps and strings)
(Flutes)
(Eng. horn) _espressivo_
(Strings)
(Horns)]

in sparkling, glinting waters (with harp and trilling wood and strings).
But against the soothing background the story (of English horn) has a
chill, ominous strain.

With the returning main song comes the passionate crisis, and we are
back in the mere plash and play of impersonal waves.

On dancing ripples, a nixie is laughing to echoing horns and lures us
back to the story.

[Music: (Strings with lower 8ve.)
(Cl.) _grazioso_ (Horns)]

Later, it seems, two mermaids sing in twining duet. In a warm hue of
light the horns sound a weird tale. It is taken up by teasing chorus of
lighter voices. In the growing volume sounds a clear, almost martial
call of the brass.

In a new shade of scene we recover the lost burden of song; the original
figures appear (in the slower air of trembling strings and the quicker
play of reed, harp and bells), and wander through ever new, moving
phases. A shower of chords (in strings and shaking brass) brings back
the ominous melody, amidst a chorus of light chatter, but firmly resting
on a warm background of harmony. And the strain roves on generous path
and rises out of all its gloom to a burst of profound cheer.

[Music: (1st violins