ter future. The
form and the technic still seem, as with most modern symphonies, too
great for the message. It is another phase of orchestral virtuosity, of
intellectual strain, but with more of poetic energy than in the
symphonies of the French or other Germans.

In other forms we see this happy reaction towards ancient art, as in the
organ music of a Reger. But in the Finale of Mahler's Fifth Symphony
there is a true serenity, a new phase of symphony, without the climactic
stress of traditional triumph, yet none the less joyous in essence.

We cannot help rejoicing that in a sincere and poetic design of
symphony is blended a splendid renaissance of pure counterpoint, that
shines clear above the modern spurious pretence. The Finale of Mahler's
Fifth Symphony is one of the most inspired conceptions of counterpoint
in all music. In it is realized the full dream of a revival of the art
in all its glorious estate.

_SYMPHONY NO. 5_

I.--1. _Funeral March._
2. _In stormy motion (with greatest vehemence)._
II.--3. _Scherzo (with vigor,--not too fast)._
III.--4. _Adagietto (very slowly)._
5. _Rondo-Finale (allegro)._

Mahler's Fifth Symphony, whatever be its intrinsic merit, that can be
decided only by time and wear, undoubtedly marks a high point of
orchestral splendor, in the regard of length and of the complexity of
resources. By the latter is meant not so much the actual list of
instruments as the pervading and accumulating use of thematic
machinery.[A]

[Footnote A: The symphony is probably the longest instrumental work that
had appeared at the time of its production in 1904. The list of
instruments comprises 4 flutes, 3 oboes, 3 clarinets, 2 bassoons,
contra-bassoon, 6 horns, 4 trumpets, 3 trombones, tuba, kettle-drums,
cymbals, bass-drum, snare-drum, triangle, glockenspiel, gong, harp and
strings.

Compared with D'Indy's Second Symphony, the Fifth of Mahler has a larger
body of brass as well as of woodwind.]

The plan of movements is very original and in a way, two-fold. There are
three great divisions, of which the first comprises a Funeral March,
and an untitled Allegro in vehement motion. The second division has
merely the single movement, Scherzo. In the third are an Adagietto and a
Rondo Finale.

_I.--1. Funeral March._--A call of trumpet, of heroic air and tread, is
answered by strident chords ending in a sonorous motive of horns that
leads to the funeral trip, of low brass. The mou