nter, out of which spring aspires
and ascends.

Paine's symphony, though aiming to shape the molten gold of April
fervor in the rigid mold of the symphonic form, has escaped every
appearance of mechanism and restraint. It is program music of the most
legitimate sort, in full accord with Beethoven's canon, "Mehr Ausdruck
der Empfindung als Malerei." It has no aim of imitating springtime
noises, but seeks to stimulate by suggestion the hearer's creative
imagination, and provoke by a musical telepathy the emotions that
swayed the nympholept composer.

The first movement of the symphony has an introduction
containing two motives distinct from the two subjects of the
movement. These motives represent Winter and the Awakening.
The Winter motive may be again divided into a chill and icy
motif and a rushing wind-motif. Through these the timid
Awakening spirit lifts its head like the first trillium of
the year. There is a silence and a stealthy flutter of the
violins as if a cloud of birds were playing courier to the
Spring.

Suddenly, after a little prelude, as if a bluebird were
tuning his throat, we are enveloped in the key of the
symphony (A major) and the Spring runs lilting up the 'cellos
to the violins (which are divided in the naif archaic
interval of the tenth, too much ignored in our over-colored
harmonies). The second subject is propounded by the oboes
(in the rather unusual related key of the submediant). This
is a lyrical and dancing idea, and it does battle with the
underground resistance of the Winter motives. There is an
elaborate conclusion of fiercest joy. Its ecstasy droops, and
after a little flutter as of little wings, the elaboration
opens with the Spring motive in the minor. In this part,
scholarship revels in its own luxury, the birds quiver about
our heads again, and the reprise begins (in A major of
course) with new exultance, the dancing second subject
appears (in the tonic), overwhelming the failing strength of
the Winter with a cascade of delight. Then the conclusion
rushes in; this I consider one of the most joyous themes ever
inspired.

There is a coda of vanishing bird-wings and throats, a
pizzicato chord on the strings--and Spring has had her
coronation.

"The May Night Fantasy" is a moonlit revel of elves caught by
a musical reporter, a surreptitious "chie