a mere prelude to the real
movement, where the light theme is drawn from a phrase of latest
cadence. And the dim hue of minor which began the symphony, and all
overspread the prelude, at last yields to the clear major. There is
something of the struggle of shadow and light of the great third
symphony of Brahms.

The continuous round of the theme, in its unstable pace (of 5/4), has a
strange power of motion, the feeling

[Music: (Ob.)
(Strings)]

of old passacaglia. To be sure, it is the mere herald and companion of
the crowning tune, in solo of the reeds.

From the special view of structure, there is no symphony, modern or
classic, with such an overpowering combination and resolution of
integral themes in one movement. So almost constant is the derivation of
ideas, that one feels they must be all related. Thus, the late rush of
rhythm, in the Finale, is broken by a quiet verse where with enchanting
subtlety we are carried back somewhere to the idyll of third movement.

Above, rises another melody, and from its simple outline grows a fervor
and pathos that, aside from the basic themes of the whole work, strike
the main feeling of the Finale.

[Music: _Un peu moins vite_]

The martial trip from the Andante joins later in the return of the
whirling rhythm. At last the motto strikes on high, but the appealing
counter-melody is not easily hushed.

[Music: (Ob.)
(Cellos with _tremolo_ violins)]

It breaks out later in a verse of exalted beauty and passion. The
struggle of the two ideas reminds us of the Fifth Symphony. At last the
gloom of the fateful motto is relieved by the return of the original
answer, and we seem to see a new source of latest ideas, so that we
wonder whether all the melodies are but guises of the motto and answer,
which now at the close, sing in united tones a hymn of peace and bliss.

CHAPTER IX

DEBUSSY AND THE INNOVATORS

At intervals during the course of the art have appeared the innovators
and pioneers,--rebels against the accepted manner and idiom. The mystery
is that while they seem necessary to progress they seldom create
enduring works. The shadowy lines may begin somewhere among the Huebalds
and other early adventurers. One of the most striking figures is Peri,
who boldly, almost impiously, abandoned the contrapuntal style, the only
one sanctioned by tradition, and set the dramatic parts in informal
musical prose with a mere strumming of instruments.

It is not easy t