movement, in which certain very strong chords with
occasional triplet octaves in the bass impart a singularly driving and
forceful character to the music. After the double bar at the beginning
of the fifth measure a new motive appears, which sets in operation a
series of sequences, and this period ends in D-flat.

The next period begins in the same manner, but the modulation is
differently conducted, and the period now ends in the key of A. Now
comes in what he calls the trio, a lovely lyric melody in the key of F.
This is developed to quite a length, after which the main theme of the
novelette returns, and the period ends in the key of F. Now ensues a
curious sort of intermezzo, in the key of D-flat, where one voice
starts out with a little melodic subject and another takes it up and
imitates it, and this in turn is followed by another, quite in the
manner of fugue, only that here the motive itself is very short and the
imitations follow so fast, one after another, that only the beginning
of each is to be made out. For the rest, it is a question of mystery.
When he has carried this as far as he cares, the first subject returns;
and after this again the trio, but now in the key of A major. At the
end of this, again the original subject, and so finally the end. The
most notable features of this novelette are its vigor, the different
forms in which the subjects return, and the persistence of the two main
ideas--the march and the lyric trio--which form the substance of it.
The mystic and fugue-like interlude is merely an interlude. It perhaps
represents one of those moments when the mind is too full for clear
utterance--a condition more celebrated in fiction than desirable in
reality.

The Fantasy Pieces, opus 12, are among the most happy of the smaller
works of this composer. Their general character is sufficiently
indicated by their titles. "In the Evening" represents one of those
mystic moods suitable to twilight. "Soaring" has also been translated
"Excelsior," which perhaps more truly represents its spirit. "Why?" is
a question, just like the word; nevertheless this has become the
greatest favorite of all the smaller Schumann pieces. "Whims" also is
well named, since in this quickly moving little piece one mood follows
another irrepressibly; among them are some which are highly poetic.
Last of all, "The End of the Song"--a very vigorous and strongly marked
movement which appeals to every one.

The Schum