ns (_molto
espressivo e marcato_). It is the clear utterance of a new mood of the
hero,--a purely

[Music: (Four horns in unison) (Full orchestra)]

subjective phase. With a firm tread, though charged with pathos, it
seems what we might venture to call a symbol of renunciation. It is
broken in upon by a strange version of the great love song, _agitato_ in
oboes, losing all its queenly pace. As though in final answer comes
again the ruthless phrase of horns, followed now by the original theme.
_Rapidamente_ in full force of strings comes the coursing strain of
impetuous desire. The old and the new themes of the hero are now in
stirring encounter, and the latter seems to prevail.

The mood all turns to humor and merrymaking. In gay dancing trip serious
subjects are treated jokingly (the great melody of the horns is
mockingly sung by the harp),--in fits and gusts. At the height the
(first) tempestuous motive once more dashes upwards and yields to a
revel of the (second) whimsical phrase. A sense of fated renunciation
seems to pervade the play of feelings of the hero. In the lull, when the
paroxysm is spent, the various figures of his past romances pass in
shadowy review; the first tearful strain, the melody of the first of the
longer episodes,--the main lyric song (_agitato_).

In the last big flaming forth of the hero's passion victory is once more
with the theme of renunciation,--or shall we say of grim denial where
there is no choice.

Strauss does not defy tradition (or providence) by ending his poem with
a triumph. A final elemental burst of passion stops abruptly before a
long pause. The end is in dismal, dying harmonies,--a mere dull sigh of
emptiness, a void of joy and even of the solace of poignant grief.

_TILL EULENSPIEGEL'S MERRY PRANKS_

_In the Manner of Ancient Rogues--In Rondo Form_

Hardly another subject could have been more happy for the revelling in
brilliant pranks and conceits of a modern vein of composition. And in
the elusive humor of the subject is not the least charm and fitness.
Too much stress has been laid on the graphic purpose. There is always a
tendency to construe too literally. While we must be in full sympathy
with the poetic story, there is small need to look for each precise
event. We are tempted to go further, almost in defiance, and say that
music need not be definite, even despite the composer's intent. In other
words, if the tonal poet designs and has in mind a group of g