nt, exquisite in accent and in the changing hues of
its periods, is robbed of true effect by its direct reflection of
Wagnerian ecstasies.

As if in recoil, a firm hymnal phrase sounds in the strings, ending in a
more intimate cadence. Another chain of rarest fairy clashes, on the
motive of the prelude, leads to the central verse, the song of the first
main melody in the midst of soft treading strings, and again descends
the fitting answer of poignant accent.

And now, for once forgetting all origin and clinging sense of
reminiscence, we may revel in the rich romance, the fathoms of mystic
harmony, as the main song sings and rings from the depths of dim legend
in lowest brass, amidst a soft humming chorus, in constant shift of
fairy tone.

A flight of ascending chords brings the big exaltation of the first
prophetic phrase, ever answered by exultant ring of trumpet, ending in
sudden awing pause. An eerie train of echoes from the verse of prelude
leads to a loveliest last song of the poignant answer of main song, over
murmuring strings. It

[Music: (_Tremolo_ violins with lower 8ve.)
(Reeds)
(Horns)
(Violas)]

is carried on by the mystic choir of sombre brass in shifting steps of
enchanting harmony and dies away in tenderest lingering accents.[A]

[Footnote A: In place of the uncompleted Finale, Bruckner is said to
have directed that his "_Te Deum_" be added to the other movements.]

CHAPTER XVI

HUGO WOLFF[A]

_"PENTHESILEA." SYMPHONIC POEM_[B]

[Footnote A: Hugo Wolff, born in 1860, died in 1903.]

[Footnote B: After the like-named tragedy of Heinrich von Kleist.]

An entirely opposite type of composer, Hugo Wolff, shows the real
strength of modern German music in a lyric vein, sincere, direct and
fervent. His longest work for instruments has throughout the charm of
natural rhythm and melody, with subtle shading of the harmony. Though
there is no want of contrapuntal design, the workmanship never obtrudes.
It is a model of the right use of symbolic motives in frequent
recurrence and subtle variation.

In another instrumental piece, the "Italian Serenade," all kinds of
daring suspenses and gentle clashes and surprises of harmonic scene give
a fragrance of dissonant euphony, where a clear melody ever rules.
"Penthesilea," with a climactic passion and a sheer contrast of tempest
and tenderness, uttered with all the mastery of modern devices, has a
pervading thrall of pure musical beauty. We are