almost

[Music: _Allegro vivace_
(Strings and low wood)
(Trill of kettle drums)]

a harsh grating of an eccentric figure above against

[Music: (Solo oboe)
(Strings)
(Low wood)
(_Pizz._ cellos)]

the smoother course of the latest Allegro motive. The themes are
inverted. Presently out of the din rises a charming canon on the
prevailing smoother phrase, that soars to a full sweep of song. A new

[Music: (Violins)
(Wind)
(Basses 8va.) (Low strings)]

hymnal melody comes as a final word. Though the main motto returns in
big chorus, in full extension, in redoubled pace and wild abandon, still
the latest melody seems to contend for the last say. Or, rather,

[Music: (Woodwind doubled above and below)
_espr._
(Strings)
(See page 141, line 2.)]

it is a foil, in its simple flow, to the revel of the motto, now grown
into a sonorous, joyous march. And we seem to see how most of the other
melodies,--the minor episode, the expressive duet--have sprung from bits
of the main text.

To return for another view,--the Finale begins in a mood that if not
joyous, is religious. Out of the cadence of the hymn dances the Allegro
tune almost saucily. Nor has this charming trip the ring of gladness,
though it grows to great momentum. As a whole there is no doubt of the
assurance, after the earlier fitful gloom, and with the resignation an
almost militant spirit of piety.

In the dulcet canon, an exquisite gem, bliss and sadness seem
intermingled; and then follows the crowning song, broad of pace,
blending the smaller rhythms in ecstatic surmounting of gloom. In
further verse it doubles its sweet burden in overlapping voices, while
far below still moves the rapid trip.

But the motto will return, in major to be sure, and tempered in mercy.
And the whole hymn dominates, with mere interludes of tripping motion,
breaking at the height into double pace of concluding strain. Before
falling back into the thrall of the legend the furious race rushes
eagerly into the deepest note of bliss, where in sonorous bass rolls the
broad, tranquil song. And though the revel must languish, yet we attend
the refrain of all the melodies in crowning rapture. Then at last, in
stern minor, sounds the motto, still with the continuing motion, in a
loud and long chant.

In blended conclusion of the contending moods comes a final verse of the
legend in major, with full accoutrement of sounds and lesser rhythm, in
majestic pace. And there is a followi