se; the ending is
in a

[Music]

return to the first. Over the whole symphony is cast the hue of this
rhapsody, both in mood and in the literal tone.

All opposite, with sudden spring of buoyant strings, strikes the
Allegro tune ending in a quick, dancing trip. The first voice is
immediately pursued by another

[Music: _Allegro energico_
(2d violins)
_Piu forte_
(Violins with higher 8ve.)
(Cellos with higher 8ve. in violas)]

in similar phase, like a gentler shadow, and soon rises to a passionate
chord that is the main idiom of the movement.

[Music: (Strings, wood and horns)]

A second theme in clear-marked tones of reed and horns, as of stern
chant, is taken up in higher wood and grows to graceful melody in
flowing strings.

[Music: _marcato_]

There is a series of flights to an ever higher perch of harmony until
the first Allegro motive rings out in fullest chorus, again with the
companion tune and the cadence of poignant dissonance.

A new episode comes with shimmering of harp and strings, where rare and
dainty is the sense of primal

[Music: _marcato_
(Flutes)
(Strings with chord of harp)]

harmony that lends a pervading charm to the symphony. Here the high
wood has a song in constant thirds, right from the heart of the
rhapsody, all bedecked as melody with a new rhythm and answer. Soon this
simple lay is woven in a skein of pairs of voices, meeting or diverging.
But quickly we are back in the trance of lyric song, over palpitating
strings, with the refrain very like the former companion phrase that
somehow leads or grows to a

[Music: _Tranquillo_
(Oboe, with other wood)
(Strings with higher E)]

rhythmic verse of the first strain of the rhapsody. Here begins a long
mystic phase of straying voices (of the wood) in the crossing figures of
the song, in continuous fantasy that somehow has merged into the line of
second Allegro theme, winging towards a brilliant height where the
strings ring out the strain amid sharp cries of the brass in startling
hues of harmony and electric calls from the first rhapsody.

From out the maze and turmoil the shadowy melody rises in appealing
beauty like heavenly vision and lo! is but a guise of the first strain
of rhapsody. It rises amid flashes of fiery brass in bewildering blare
of main theme, then sinks again to the depth of brooding, though the
revery of the appealing phrase has a climactic height of its own, with
the strange, palpitating harmonies.

I