. It cannot be maintained that the
perception of the modern audience has kept pace with the complexity of
scores. Yet there is no gainsaying an alluring beauty of these waves of
sound rising to fervent height in the main melody that is expressive of
a modern wistfulness.

But at the close is a fierce outbreak of the first motto, with a
defiance of regret, in faster, reckless pace, brief, but suddenly
recurring. Exquisite is this

[Music: (Ob.) _cantabile_
(Strings, wood and horns)]

cooing of voices in mournful bits of the motto, with a timid upper
phrase in the descending tone.

On we go in the piling of Ossa on Pelion, where the motto and even the
Scherzo dance lend their text. Yet all is fraught with sentient beauty
as, rising in Titanic climb, it plunges into an overwhelming cry in the
Adagio melody. Throughout, the ascending and descending tones, close
interwoven, give a blended hue of arduous striving and regret.

After a pause follow a series of refrains of solo voices in the melody,
with muted strings, with mingled strains of the motto. In the bass is an
undulation that recalls the second theme of former movement. And the
clarinet returns with its mystic madrigal of melody; now the Adagio
theme enters and gives it point and meaning. In one more burst it sings
in big and little in the same alluring harmony, whence it dies down to
soothing close in brilliant gamut as of sinking sun.

_IV.--Allegro vivace._ Throwing aside the clinging

[Music: _Allegro vivace_
_Molto marcato_
(Strings, wood and horns with reinforced harmonies)]

fragments of fugue in the prelude we rush into a gaiety long sustained.
Almost strident is the ruthless merriment; we are inclined to fear that
the literal coherence of theme is greater than the inner connection of
mood. At last the romp hushes to a whisper of drum, with strange patter
of former dance. And following and accompanying it is a new hymnal (or
is it martial) line, as it were the reverse of the other

[Music: (Reeds and horns)
(Strings with the quicker dance phrase of 2d movement)]

chant. The gay figures flit timidly back,--a struggle 'twixt pleasure
and fate,--but soon regain control.

If we cared to interpret, we might find in the Finale a realized
aspiration. The truth is the humors of the themal phrases, as of the
movements, jar: they are on varying planes. The coarser vein of the last
is no solace to the noble grief of the foregoing.

Again the change or se