height of rhapsody.

Dull brooding chords bring a sombre play of the awing phrase, over a
faint rocking motion, clashing in bold harmony, while the horns surge in
broader melody. The climactic clash ends in a last verse of the opening
phrase, as of primal, religious chant.

_II.--Scherzo._ In the dazzling pace of bright clashing harmonies, the
perfect answers of falling and rising phrases, we are again before the
semblance, at

[Music: _Vivace_
(Flute with _pizz._ violins)
(Flute)
(_Pizz._ strings)]

least, of a great poetic idea. To be sure there is a touch of stereotype
in the chords and even in the pinch and clash of hostile motives. And
there is not the distinctive melody,--final stamp and test of the shaft
of inspiration. Yet in the enchantment of motion, sound and form, it
seems mean-spirited to cavil at a want of something greater. One stands
bewildered before such art and stunned of all judgment.

A delight of delicate gambols follows the first brilliant dance of main
motive. Amid a rougher trip of unison sounds the sonorous brass, and to
softest jarring murmur of strings a pretty jingle of reed,

[Music: _grazioso_
(Oboe)
(_Pizz._ strings with soft chord of wind and rhythmic bassoon)]

with later a slower counter-song, almost a madrigal of pastoral answers,
till we are back in the ruder original dance. The gay cycle leads to a
height of rough volume (where the mystic brass sound in the midst) and a
revel of echoing chase.

In sudden hush of changed tone on fastest fairy trip, strings and wood
play to magic harmonies. In calming motion the violins sing a quieter
song, ever

[Music: _Piu tranquillo_
_Dolce_
(Violins)
(Oboe)
(Violins)
(Oboes with sustained strings)]

echoed by the reed. Though there is no gripping force of themal idea,
the melodies are all of grateful charm, and in the perfect round of
rhythmic design we may well be content. The original dance recurs with a
full fine orgy of hostile euphony.

_III.--Adagio._ _Feierlich,--awesome_ indeed are these first sounds, and
we are struck by the originality

[Music: _Molto lento (Solenne)_
(Violins, G string)
_broadly_
(Strings with choir of tubas, later of trombones and contrabass-tuba)]

of Bruckner's technic. After all we must give the benefit at least of
the doubt. And there is after this deeply impressive _introit_ a
gorgeous Promethean

[Music: (Woodwind and low brass with _tremolo_ strings)
(3 trumpets)
(4 horns)]

spri