, and his soul's protest against the
ingratitude and persecution of his enemies. His willing
attendant Ariel is briefly indicated in the closing measures.
The Pastoral furnishes an atmosphere or stage setting for the
lovers, Miranda and Ferdinand, whose responsive love-song
follows the droning of a shepherd's pipe in the distance.
Prospero's interruption to their passionate assurances of
devotion, and the imposition of the unpleasant task, are
briefly touched upon, and the movement closes with a repeat
of the pastoral, and alternate reiteration of the lover's
song. The Finale, after a short introduction, in most sombre
vein, indicates the flitting about of Ariel and his companion
sprites as they gather for revelry. The presence of the
master is soon made apparent by the recurrence, in a
subdued manner, of Prospero's first theme from the Adagio,
the fantastic tripping of the elves continuing, as though the
controlling spirit were conjuring up the fete for the
amusement of the lovers and himself.

"'Ye elves of hills, brooks, standing lakes and groves;
And ye that on the sand, with printless foot
Do chase the ebbing Neptune, and do fly him
When he comes back.'

"The dance then begins, and continues in a fantastic, at
times grotesque and furious manner, the theme of the lovers
being interwoven at times, in an unobtrusive way. At length,
Caliban is heard approaching, singing his drunken song.

"''Ban, 'Ban, Ca-caliban
Has a new master: get a new man.'

"Ariel and his companions flit about, ridiculing, mocking,
and laughing at him; eventually prodding and pinching him
until, shivering, with aching joints, he staggers away. The
revelry then continues, the song of the lovers becoming more
and more prominent until, somewhat broadened out, it asserts
itself triumphantly above all, Ariel and his companions
flitting about, Prospero happy, and Caliban subjugated, all
the chief themes being united to form the climax and close of
the work."

Although Pratt intentionally omitted the English horn and the bass
clarinet, the scoring is remarkable for its color and faery. The work
is highly lyrical in effect, and the woodsiness is beautifully
established. The solemnity of Prospero, the adroitness of the lovers
and the contrasting natures of the volatile Ariel and t