end, broken only by the
dialogue of the lover themes. At the close a last strain of the Antar
melody is followed by the fairy phrase and soft vanishing chord of harp
and strings.

_"SCHEREZADE," AFTER "A THOUSAND AND ONE NIGHTS." SYMPHONIC SUITE_

Prefixed to the score is a "program," in Russian and French: "The Sultan
Schahriar, convinced of the infidelity of women, had sworn to put to
death each of his wives after the first night. But the Sultana
Scherezade saved her life by entertaining him with the stories which she
told him during a thousand and one nights. Overcome by curiosity, the
Sultan put off from day to day the death of his wife, and at last
entirely renounced his bloody vow.

"Many wonders were told to Schahriar by the Sultana Scherezade. For the
stories the Sultana borrowed the verses of poets and the words of
popular romances, and she fitted the tales and adventures one within the
other.

"I. The Sea and the Vessel of Sindbad.

"II. The Tale of the Prince Kalender.

"III. The Young Prince and the Young Princess.

"IV. Feast at Bagdad. The Sea. The Vessel is Wrecked on a Rock on which
is Mounted a Warrior of Brass. Conclusion."

With all the special titles the whole cannot be regarded as close
description. It is in no sense narrative music. The titles are not in
clear order of events, and, moreover, they are quite vague.

In the first number we have the sea and merely the vessel, not the
voyages, of Sindbad. Then the story of the Prince Kalender cannot be
distinguished among the three tales of the royal mendicants. The young
prince and the young princess,--there are many of them in these Arabian
fairy tales, though we can guess at the particular one. Finally, in the
last number, the title mentions an event from the story of the third
Prince Kalender, where the vessel (not of Sindbad) is wrecked upon a
rock surmounted by a warrior of brass. The Feast of Bagdad has no
special place in any one of the stories.

The truth is, it is all a mirroring in tones of the charm and essence of
these epic gems of the East. It is not like the modern interlinear
description, although it might be played during a reading on account of
the general agreement of the color and spirit of the music. But there is
the sense and feeling of the story, _das Maerchen_, and the romance of
adventure. The brilliancy of harmony, the eccentricity and gaiety of
rhythm seem symbolic and, in a subtle way, descriptive. As in the
su