ing on the quicker phrases. It is brought to a
dramatic halt by the original prelude of trumpet legend, in all its
fulness. Though the march-song recurs, the close is in the ruder humor
of the main themes.

_THE "MANFRED" SYMPHONY_

Schumann and Tschaikowsky are the two most eminent composers who gave
tonal utterance to the sombre romance of Byron's dramatic poem.[A] It is
interesting to remember that Byron expressly demanded the assistance of
music for the work. If we wish to catch the exact effect that is sought
in the original conception, Schumann's setting is the nearest approach.
It is still debated whether a scenic representation is more impressive,
or a simple reading, reinforced by the music.

[Footnote A: Prefixed are the familiar lines:

"There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy."]

Tschaikowsky's setting is a "symphony in four pictures, or scenes (_en
quatre tableaux_), after Byron's dramatic poem." In the general design
and spirit there is much of the feeling of Berlioz's "Fantastic"
Symphony, though the manner of the music shows no resemblance whatever.
There is much more likeness to Liszt's "Faust" Symphony, in that the
pervading recurrence of themes suggests symbolic labels. Moreover, in
the very character of many of the motives, there is here a striking line
of descent.

_Lento lugubre_, the first scene or picture, begins with a theme in
basses of reeds:

[Music: _Lento lugubre_
(Woodwind)
(Strings)]

with later _pizzicato_ figure of low strings.

An answering strain is one of the most important of all the melodies:

[Music]

On these, a bold conflict and climax is reared. If we care to indulge in
the bad habit of calling names, we might see "Proud Ambition" in the
first motives, intertwined with sounds of sombre discontent. The pace
grows _animando_,--_piu mosso_; _moderato molto_. Suddenly Andante sings
a new, expressive song, with a dulcet cheer of its own, rising to
passionate periods and a final height whence, _Andante con duolo_, a
loudest chorus of high wood and strings, heralded and accompanied by
martial tremolo of low wood, horns, basses, and drums, sound the fateful
chant that concludes the first scene, and, toward the close of the work,
sums the main idea.

[Music: (Strings and flutes)
(Basses, wood and horns)
(Same continuing rhythm)]

The apparition of the Witch of the Alps is pictured in daintiest,
sparkling pl