dividual composer. There is here an error that we fall into frequently
in the music of such men as Grieg and Tschaikowsky. The prevailing mood
of the Pathetic Symphony is in large measure personal. Some of the more
recent Russian symphonies are charged with buoyant joyousness. And,
indeed, the burden of sadness clearly distinguishes the last symphony of
Tschaikowsky from its two predecessors, the Fourth and the Fifth.

The tune of the _valse_, _Allegro moderato_, is first played by the
violins, _dolce con grazia_, with accompanying strings, horns and
bassoon. In the second part, with some loss of the lilt of dance, is a
subtle design--with a running phrase in _spiccato_ strings against a
slower upward glide of bassoons. The duet winds on a kind of _crescendo_
of modulations. Later

[Music: (_Spiccato_)
(Strings)
(Horns)
(Bassoon)]

the themes are inverted, and the second is redoubled in speed. The whole
merges naturally into the first waltz, with a richer suite of adorning
figures. The dance does not end without a soft reminder (in low
woodwind) of the original sombre phrase.

Almost for the first time a waltz has entered the shrine of the
symphony. And yet perhaps this dance has all the more a place there. It
came on impulse (the way to visit a sanctuary), not by ancient custom.
But with all its fine variety, it is a simple waltz with all the
careless grace,--nothing more, with no hidden or graphic meaning (as in
Berlioz's Fantastic Symphony).

The middle episode, though it lacks the dancing trip, is in the one
continuing mood,--like a dream of youthful joys with just a dimming hint
of grim reality in the returning motto.

In the Finale the main legend of the symphony is transformed and
transfigured in a new, serener mood, and is brought to a full melodic
bloom. Indeed, here is the idealization of the original motto. _Andante
maestoso_ it begins in the tonic major. When the theme ceases, the brass
blow the rhythm on a monotone, midst an ascending _obligato of strings_.

[Music: (Brass and lower woodwind)
(See page 139, line 1.)]

In answer comes a new phrase of chorale. Later the chorale is sounded
by the full band, with intermediate beats of rhythmic march.

Once more there is a well-marked episode, with a full share of melodic
discussion, of clashing themes, of dramatic struggle. First in the tonic
minor a theme rises from the last casual cadence in resonant march,
_Allegro vivace_. Then follows a duet,