epilogue

[Music: (Trio) _Poco meno mosso_
(Strings)]

of the ballad appears over a drone, as of bagpipe, through all the
harmony of the madrigal. Strangest of all is the playful last refrain in
the high piccolo over the constant soft strumming strings.

The Andante, in pure lyric mood, is heavily charged with a certain
Oriental languor. The clarinet

[Music: (Clarinet)
_Andante_
(Strings with harp)]

leads the song, to rich strum of harp and strings, with its note of
sensuous melancholy. Other, more external signs there are of Eastern
melody, as in the graceful curl of quicker notes. Intermediate strains
between the verses seem gently to rouse the slumbering feeling,--still
more when they play between the lines of the song. The passion that is
lulled in the languor of main melody, is somehow uttered in the later
episode,--still more in the dual song of both

[Music: (Violins doubled below)
(Horns and bassoons doubled above in wood)
(Strings and horns)]

melodies,--though it quickly drops before a strange coquetry of other
strains. Yet the climax of the main song is reached when the lighter
phrase rings fervently in the high brass. Here the lyric beauty is
stressed in a richer luxuriance of rhythmic setting. Once more sings the
passionate tune; then in midst of the last verse of the main song is a
quick alarm of rushing harp. The languorous dream is broken; there is an
air of new expectancy. Instead of a close is a mere pause on a passing
harmony at the portals of the high festival.

With a clear martial stress the "Russian Theme" is sounded (in low
strings), to the full a national

[Music: _Allegro moderato_
Finale _Theme Russe_
(Cellos with basses in lower 8ve.)]

tune of northern race. Enriched with prodigal harmony and play of lesser
themes it flows merrily on, yet always with a stern pace, breaking out
at last in a blare of warlike brass.

Nor does the martial spirit droop in the second tune, though the
melodies are in sheer contrast. In faster rhythm, the second is more
festal so that the first returning has a tinge almost of terror. An

[Music: (Cl't)
(Strings)]

after-strain of the second has a slightest descent to reflective
feeling, from which there is a new rebound

[Music: (Cellos)
(Strings and harp with sustained chord of horns)]

to the buoyant (festal) melody.

Here in grim refrains, in dim depths of basses (with hollow notes of
horns) the national tune has a free fantasy until