ing on
the strenuous motive and of fateful submission in the marching strain,
that is massed in higher and bigger chorus. As gathers the stress of
climax, the brass blowing a defiant blast, the very vehemence brings a
new resolution that is uttered in the returning strenuous phrase.

Again rises the towering pile. At the thickest the high horns blow loud
a slow, speaking legend,--the farewell motive, it seems, from the end of
Adagio, fierce energy struggling with fatal regret gnawing at the heart.

Gripping is the appeal of the sharp cry almost of anguish into which the
toiling energy is suddenly resolved. Again the fateful march enters, now
in heroic fugue of brass and opposite motion of strings and reed,--all
overwhelmed with wild recurring pangs of regret.

And so "double, double, toil and trouble," on goes the fugue and follows
the arduous climb (into the sad motto in the horns), each relieving the
other, till both yield again to the heart-breaking cry.

The cheerier melody here re-enters and raises the mood for the nonce.
Soon it falls amid dim harmonies. Far in the depths now growls the dull
tread, answered by perverted line of the hymn.

A mystic verse sounds over pious chords of harp in the tune of the
march, which is sung by antiphonal choirs of strings,--later with fuller
celestial chorus, almost in rapture of heavenly resignation. Only it is
not final; for once again returns the full struggle of the beginning,
with the farewell-legend, and in highest passion the phrase of regret
rung again and again--till it is soothed by the tranquil melody. The
relentless stride of march too reaches a new height, and one last,
moving plaint. When the fast chasing cries are in closest tangle,
suddenly the hymn pours out its benediction, while the cries have
changed to angelic acclaim. Here is the transfigured song in full
climactic verse that fulfils the promise of the beginning. A touch of
human (or earthly joy) is added in an exultant strain of the sweeping
melody that unites with the hymn at the close.

CHAPTER XXI

SYMPHONIES IN AMERICA

When we come to a view of modern music in symphonic design, written in
America, we are puzzled by a new phase of the element of nationalism.
For here are schools and styles as different as of far corners of
Europe. Yet they can be called nothing else than American, if they must
have a national name. In the northern centre whence a model orchestra
has long shed a benefice