s out in the symphony with a subtler design than all the
rest, though it does not lack the ringing note of jubilation.

The Andante is a pure lyric somewhat new in design and in feeling. It
shows, too, an interesting contrast of opposite kinds of slower
melody,--the one dark-hued and legend-like, from which the poet wings
his flight to a hymnal rhapsody on a clear choral theme, with a rich
setting of arpeggic harmonies. A strange halting or limping rhythm is
continued throughout the former subject. In the big climax the feeling
is strong of some great chant or rite, of vespers or Magnificat. Against
convention the ending returns to the mood of sad legend.

The Scherzo is a sparkling chain of dancing tunes of which the third, of
more intimate hue, somehow harks back to the second theme of the first
movement.

A Trio, a dulcet, tender song of the wood, precedes the return of the
Scherzo that ends with the speaking cadence from the first Allegro.

A Serenata must be regarded as a kind of Intermezzo, in the Cantilena
manner, with an accompanying rhythm suggesting an ancient Spanish dance.
It stands as a foil between the gaiety of the Scherzo and the jubilation
of the Finale.

The Finale is one festive idyll, full of ringing tune and almost bucolic
lilt of dance. It reaches one of those happy jingles that we are glad to
hear the composer singing to his heart's content.

_GIUSEPPE MARTUCCI. SYMPHONY IN D MINOR._[A]

[Footnote A: Giuseppe Martucci, 1856-1911.]

The very naturalness, the limpid flow of the melodic thought seem to
resist analysis of the design. The listener's perception must be as
naive and spontaneous as was the original conception.

There is, on the one hand, no mere adoption of a classical schedule of
form, nor, on the other, the over-subtle workmanship of modern schools.
Fresh and resolute begins the virile theme with a main charm in the
motion itself. It lies not in a tune here or there, but in a dual play
of responsive phrases at the start, and then a continuous flow of
further melody on the fillip of the original rhythm, indefinable of
outline in a joyous chanting of bass and treble.

A first height reached, an expressive line in the following lull rises
in the cellos, that is the essence of the contrasting idea, followed
straightway by a brief phrase of the kind, like some turns of peasant
song, that we can hear contentedly without ceasing.

[Music: (Cellos)
(Lower reed, horns and strings)