ial order. But it is not so clear which of them
constitute the true text. The multiplicity of tunes and motives is
amazing.

Of the Wagner influence with which Bruckner is said to be charged,
little is perceptible in his second symphony. On the contrary, a strong
academic tradition pervades. The themes are peculiarly symphonic.
Moreover they show so strikingly the dual quality that one might say, as
a man may see double, Bruckner sang double. Processes of augmenting and
inverting abound, together with the themal song in the bass. Yet there
is not the sense of overloaded learning. There is everywhere a clear and
melodious polyphony.

But with all masterly architecture, even enchanting changes of harmony
and a prodigal play of melody, the vacuity of poetic ideas must preclude
a permanent appeal. Bruckner is here the schoolmaster: his symphony is a
splendid skeleton, an object lesson for the future poet.

In the FOURTH (ROMANTIC) SYMPHONY the main light plays throughout on the
wind. The text is a call of horns, that begins the work. It is a
symphony

[Music: _In tranquil motion_
(Horns, _espressivo_)
(Strings)]

of wood-notes, where the forest-horn is sovereign,--awakening a widening
world of echoes, with a murmuring maze of lesser notes. One has again
the feeling that in the quiet interweaving of a tapestry of strains lies
the individual quality of the composer,--that the _forte_ blasts, the
stride of big unison figures are but the interlude.

In the Andante the charm is less of tune than of the delicate changing
shades of the harmony and of the colors of tone. We are ever surprised
in the gentlest way by a turn of chord or by the mere entrance of a horn
among the whispering strings. The shock of a soft modulation may be as
sudden as of the loud, sudden blare. But we cannot somehow be consoled
for the want of a heart-felt melody.

The Scherzo is a kind of hunting-piece, full of the sparkle, the color
and romance of bugles and horns,--a spirited fanfare broken by hushed
phrases of strings or wood, or an elf-like mystic dance on the softened
call of trumpets. The Trio sings apart, between the gay revels, in soft
voices and slower pace, like a simple ballad.

The Finale is conceived in mystical retrospect, beginning in vein of
prologue: over mysterious murmuring strings, long sustained notes of the
reed and horn in octave descent are mingled with a soft carillon of
horns and trumpets in the call of the Scherzo. In