ries of moods is not clearly defined. They seem a
parade of visions. The hymn may be viewed as a guise of the former chant
of the Scherzo, with the dance-trip in lowest bass.

Straight from the rush and romp we plunge anew into a trance of sweet
memories. The lyric vein here binds together earlier strains, whose
kinship had not appeared. They seemed less significant, hidden as
subsidiary ideas. If we care to look back we find a germ of phrase in
the first Prelude, and then the answer of the second (Allegro) theme of
first movement. There was, too, the sweep of dual melody following the
rude dance of Scherzo. Above all is here the essence and spirit of the
central Adagio melody of the symphony.

The answering strain is of high beauty, with a melting sense of
farewell. From the sad ecstasy is a

[Music: (Strings with higher and lower 8ve.)
(Wood and horns in 8ves.)
(Basses of strings and reeds)]

descent to mystic musing, where abound the symbols of rising and falling
tones. More and more moving is the climactic melody of regret with a
blended song in large and little. Most naturally it sinks into a full
verse of the Adagio tune--whence instantly is aroused a new battle of
moods.

While the dance capers below, above is the sobbing phrase from the heart
of the Adagio. The trip falls into the pace of hymnal march. The shadows
of many figures return. Here is the big descending scale in tragic minor
from the first movement. Large it looms, in bass and treble. Answering
it is a figure of sustained thirds that recalls the former second
(Allegro) melody. And still the trip of dance goes on.

Sharpest and strongest of all these memories is the big sigh of sombre
harmonies from the first Largo prelude, answered by the original legend.
And the dance still goes tripping on and the tones rumble in descent.

The dance has vanished; no sound but the drone of dull, falling tones,
that multiply like the spirits of the sorcerer apprentice, in large form
and small, with the big rumbling in a quick patter as of scurrying mice.

Suddenly a new spirit enters with gathering volume and warmer harmony.
As out of a dream we gradually emerge, at the end with a shock of
welcome to light and day, as we awake to the returning glad dance. And
here is a new entrancing counter-tune above that crowns the joy.

Once again the skip falls into the ominous descent with the phantom of
Scherzo dance in basses. Now returns the strange hymnal line of m