The slow introduction in C minor begins with a long, deep
sigh, followed by a downward passage in the violas and
'cellos that seems to indicate the steps that bring Dante and
Vergil down to the edge of the precipice past which the
cyclone of the damned rolls eternally. There is some
shrieking and shuddering, and ominous thudding of the
tympani (which are tuned to unusual notes), then follows a
short recitative which might represent Dante's query to
Francesca how she came to yield to love. Suddenly out of the
swirling strings the first subject is caught up; it is a
frenzy passionately sung by the first violins, reenforced by
the flutes at the crises. The second subject appears after a
sudden prelude by the brass; it is a very lyric waltz-tune in
the relative major, and doubtless depicts the joy recalled in
sorrow. The conclusion is quite lengthy; it is also in waltz
form, and is first announced by a single flute over the
violins and violas, the first violins keeping to the gloomy
G string. This air is now given to a solo horn, and a fierce
and irresistible dance fervor is worked up. The elaboration
begins with the first subject in F sharp minor, caught up
fiercely from a downward rush. The reprise is not long
delayed, and the second subject appears, contrary to custom,
in the tonic major instead of the tonic minor. The coda is
deliciously tender and beautiful, possibly because, being a
prologue, the work must prepare for a drama that begins
cheerfully; possibly because after all there is comfort in
bliss remembered in sorrow.

Tschaikowski has written a symphonic poem on the same subject, which
has been also the inspiration of numberless dramas, and is one of the
most pathetic pages in all literature; even the stern old Dante says
that when he heard Francesca tell her story he almost died of pity,
and fell to the ground as one dead.

A Serenade for string orchestra (op. 25) contains a Prelude, a tender
Air, a luscious Intermezzo in the rich key of B major with soli for
violin and 'cello, a Romance with a good climax, and a gallant Gavotte
with special attention to the too much slighted violas.

Opus 36 is a suite for full orchestra. It has been played by the
Boston Symphony, and consists of a brilliant Allegro; an Adagio of
deep sincerity and beautifully varied color, a period wherein the
brass choir, heavi