od, while the second sinks to a
rude clattering rhythm in the bass. But out of the clash, where the
descending phrase recurs in the basses, the second melody emerges in
full sonorous song. Suddenly at the top of the verse rings out in
stentorian brass the first theme of all the symphony to the opening
chord of the Finale, just as it rang at the climax in the beginning.

A gentle duet of violins and clarinet seems to bring back the second
melody of the first movement, and somehow, in the softer mood, shows a
likeness with the second of the Finale. For a last surprise, the former
idyll (of the first Allegro) returns and clearly proves the original
guise of our latest main melody. As though to assure its own identity as
prevailing motto, it has a special celebration in the final joyous
revel.

CHAPTER XX

EDWARD ELGAR. AN ENGLISH SYMPHONY[A]

[Footnote A: Symphony in A flat. Edward Elgar, born in 1857.]

There is a rare nobility in the simple melody, the vein of primal hymn,
that marks the invocation,--in solemn wood against stately stride of

[Music: (_Andante nobilmente e semplice_)
(Woodwind)
(Basses of strings, _staccato_)]

lower strings. A true ancient charm is in the tune, with a fervor at the
high point and a lilt almost of lullaby,--till the whole chorus begins
anew as though the song of marching hosts. Solemnity is the essence
here, not of artificial ceremony nor of rhymeless chant,--rather of
prehistoric hymn.

In passionate recoil is the upward storming song (Allegro) where a group
of horns aid the surging crest of strings and wood,--a resistless motion
of massed melody. Most thrilling after the first climax is the sonorous,
vibrant stroke of the bass in the

[Music: _Allegro appassionato_
(Strings, wood and horns)
(See page 308, line 10.)]

recurring melody. As it proceeds, a new line of bold tune is stirred
above, till the song ends at the highest in a few ringing, challenging
leaps of chord,--ends or, rather merges in a relentless, concluding
descent. Here, in a striking phrase of double

[Music: (Violins and clarinets in succession)
(Harp)
(Strings, the upper 3d doubled in higher reed)]

song, is a touch of plaint that, hushing, heralds the coming gentle
figure. We are sunk in a sweet romance, still of ancientest lore, with a
sense of lost bliss in the wistful cadence. Or do these entrancing
strains lead merely to the broader melody that moves with queenly tread
(of descending vio