ons of the first chant of the spirits.

A dulcet plaint follows, _Adagio_, in muted strings, answered by a note
of horn and a chord of harp.

[Music: _Adagio_
(Muted strings answered by horn and harp)]

It all harks back to the gentler strains of the first movement. In the
ethereal _glissando_ of harps we see the spirit of Astarte rise to give
the fatal message. The full pathos and passion of the _lento_ episode of
first scene is heard in brief, vivid touches, and is followed by the
same ominous blast with ring of horn, as in the first picture.

A note of deliverance shines clear in the final phrase of joined
orchestra and organ, clearer perhaps than in Manfred's farewell line in
the play: "Old man! 'tis not so difficult to die." To be sure, Schumann
spreads the same solace o'er the close of his setting, with the Requiem.
The sombre splendor of romance is throughout, with just a touch of
turgid. In the poignant ecstasy of grief we feel vividly the
foreshadowing example of Liszt, in his "Dante" and "Faust" Symphonies.

_FIFTH SYMPHONY (E MINOR)_

With all the unfailing flow of lesser melodies where the charm is often
greatest of all, and the main themes of each movement with a chain of
derived phrases, one melody prevails and reappears throughout. The
fluency is more striking here than elsewhere in Tschaikowsky. All the
external sources,--all the glory of material art seem at his command. We
are reminded of a certain great temptation to which all men are subject
and some fall,--however reluctantly. Throughout there is a vein of
daemonic. The second (Allegro) melody grows to a high point of
pathos,--nay, anguish, followed later by buoyant, strepitant, dancing
delight, with the melting answer, in the latest melody. The daemon is
half external fate--in the Greek sense, half individual temper. The end
is almost sullen; but the charm is never failing; at the last is the
ever springing rhythm.

[Music: _Andante_
_pesante e tenuto sempre_
(Clarinet)
(Low strings)]

The march rhythm of the opening Andante is carried suddenly into a quick
trip, _Allegro con anima_ (6/8), where the main theme of the first
movement now begins, freely extended as in a full song of verses. New
accompanying figures are added, contrasting phrases or counter-melodies,
to the theme.

[Music: _Allegro con anima_
Solo clarinet (doubled below with solo bassoon.)
(Strings)]

One expressive line plays against the wilder rhythm of the theme,