nably to be found in the idea of Beethoven's "Choral
Fantasie," which was subsequently developed in the choral symphony on a
still larger and grander scale. The instrumental elements of the "Spring
Fantasie" are unquestionably the most prominent. They do not play the
subordinate part of accompaniment, but really enunciate the ideas of the
poem, which are still further illustrated by the voices, acting as the
interpreters of the meaning of the instrumentation.

The "Fantasie" was written in 1850, its subject being a poem by Edmund
Lobedanz, which of itself might appropriately be called a fantasy. The
work consists of four movements, for four solo voices, orchestra, and
piano-forte. The prominence which Gade has given to the instrumental
parts is shown by his characterizing the movements,--I. _Allegro moderato
e sostenuto_; II. _Allegro molto e con fuoco_; III. _Allegro vivace_. The
poem in the original is one of more than ordinary excellence. The
translation in most common use is one made by Mrs. Vander Weyde for a
performance of the work in London in 1878 at the Royal Normal College and
Academy of Music for the Blind, under the direction of Herr von Buelow.

The first movement is in the nature of an invocation to spring, in which
the longing for May and its flowers is very tenderly expressed. The
second movement depicts with great vigor the return of the wintry storms,
the raging of the torrents, the gradual rolling away of the clouds, the
approach of more genial breezes, and the rising of the star, typifying
"the joy of a fair maiden's love." The closing movement is full of
rejoicing that the spring has come. Voices and instruments share alike in
the jubilation:--

"For the spring-time has come, the May is here,
On hill and in vale all is full of delight.
How sweet is the spring-time, how lovely and bright,--
Its kingdom is over us all."

The Erl King's Daughter.

"The Erl King's Daughter" was written in 1852. Its story differs from
that told in Goethe's famous poem, and set to music equally famous by
Schubert in his familiar song. In Goethe's poem the father rides through
the night clasping his boy and followed by the Erl King and his
daughters, who entice the child unseen by the parent. In vain he assures
him that the Erl King's voice is but the "sad wind sighing through the
withered leaves," that his train is but the mist, and that his daughters
are the aged gray willows deceiv