sion of its refrain, loses assurance and ends in a
tragic burst.

Suddenly a very new kind of solace appears _Dolce grazioso_, in a
phrase of the clarinet that leads to a duet of wood and _cantabile_
strings, impersonal almost in the sweetness of its flowing song.

[Music: _Moderato assai_
(Oboe doubled in flute)
(Strings)]

In such an episode we have a new Tschaikowsky,--no longer the subjective
poet, but the painter with a certain Oriental luxuriance and grace. It
is interesting to study the secret of this effect. The preluding strain
lowers the tension of the storm of feeling and brings us to the attitude
of the mere observer. The "movement of waltz" now has a new meaning, as
of an apparition in gently gliding dance. The step is just sustained in
leisurely strings. Above is the simple melodic trip of clarinet, where a
final run is echoed throughout the voices of the wood; a slower moving
strain in low cellos suggests the real song that presently begins, while
high in the wood the lighter tune continues. The ripples still keep
spreading throughout the voices, at the end of a line. The tunes then
change places, the slower singing above.

With all the beauty, there is the sense of shadowy picture,--a certain
complete absence of passion. Now the lower phrase appears in two
companion voices (of strings), a hymnal kind of duet,--_ben sostenuto
il tempo precedente_. Here, very softly in the same timid pace, enters a
chorus, on high, of the old sighing motive. Each melody breaks upon the
other and

[Music: _Bel sostenuto il tempo (moderato)_
(Strings)
(Woodwind doubled above)
(Kettle-drums)]

ceases, with equal abruptness. There is no blending, in the constant
alternation, until the earlier (lamenting) motive conquers and rises to
a new height where a culminating chorale sounds a big triumph, while the
sighing phrase merely spurs a new verse of assurance.

[Music: (Strings and flutes)
(Doubled above and below)]

A completing touch lies in the answering phrase of the chorale, where
the answer of original motto is transformed into a masterful ring of
cheer and confidence.

As is the way with symphonies, it must all be sung and striven over
again to make doubly sure. Only there is never the same depth of lament
after the triumph. In a later verse is an augmented song of the answer
of trumpet legend, in duet of thirds, in slow, serene pace, while the
old lament sounds below in tranquil echoes and united strains. B