ieces suggest the path of much of this
license. Again, as passing notes may run without heed of harmony, since
ancient days, so long sequences of other figures may hold their moving
organ-point against clashing changes of tonality.

Apart from all this is the modern "counterpoint," where, if it is quite
the real thing, Strauss has outdone the boldest dreams of ancient school
men. But with the lack of cogent form, and the multitude of small
motives it seems a different kind of art. We must get into the
view-point of romantic web of infinite threads, shimmering or jarring in
infinite antagonism (of delayed harmony). By the same process comes
always the tremendous accumulation towards the end. As the end and
essence of the theme seems a graphic quality rather than intrinsic
melody, so the main pith and point of the music lies in the weight and
power of these final climaxes.

_TOD UND VERKLAeRUNG (DEATH AND TRANSFIGURATION), TONE POEM_

It may be well to gather a few general impressions before we attempt the
study of a work radical in its departure from the usual lines of tonal
design.

There can be no doubt of the need of vigilance if we are to catch the
relevance of all the strains. To be sure, perhaps this perception is
meant to be subconscious. In any case the consciousness would seem to
ensure a full enjoyment.

It is all based on the motif of the Wagner drama and of the Liszt
symphonies, and it is carried to quite as fine a point. Only here we
have no accompanying words to betray the label of the theme. But in the
quick flight of themes, how are we to catch the subtle meaning? The
interrelation seems as close as we care to look, until we are in danger
of seeing no woods for the trees.

Again the danger of preconception is of the greatest. We may get our
mind all on the meaning and all off the music. The clear fact is the
themes do have a way of entering with an air of significance which they
challenge us to find. The greatest difficulty is to distinguish the
themes that grow out of each other, as a rose throws off its early
petals, from those that have a mere chance similarity. Even this
likeness may have its own intended meaning, or it may be all beside the
mark. But we may lose not merely the musical, but even the dramatic
sequence in too close a poring over themal derivation. On the other hand
we may defy the composer himself and take simply what he gives, as if on
first performance, before the commentator