nt influence far afield, the touch of new French
conceits has colored some of the ablest works. Elsewhere we have cited a
symphony more in line with classical tradition.[A]

[Footnote A: A symphony by Wm. W. Gilchrist. Vol. II, Appendix.]

Perhaps most typical is a symphony of Hadley where one feels, with other
modern tradition, the mantle of the lamented MacDowell, of whom it may
be said that he was first to find in higher reaches of the musical art
an utterance of a purely national temper.

_HENRY HADLEY. SYMPHONY NO. 3, B MINOR._[A]

[Footnote A: Opus 60, Henry Hadley, American, born 1871.]

With virile swing the majestic melody strides in the strings, attended
by trooping chords of wood and brass, all in the minor, in triple
rhythm. In

[Music: _Moderato e maestoso_
(Harp and wind)
(All the trebles)
(Strings with lower 8ve.)]

the bass is a frequent retort to the themal phrase. For a moment a
dulcet line steals in, quickly broken by the returning martial stride of
stentorian horns, and of the main theme in full chords. Strange, though,
how a softer, romantic humor is soon spread over the very discussion of
the martial theme, so that it seems the rough, vigorous march is but the
shell for the kernel of tender romance,--the pageant that precedes the
queenly figure. And presently, _piu tranquillo_, comes the fervent lyric
song that may indeed be the chief theme in poetic import, if not in
outer rank. After a moving verse in the strings,

[Music: _Piu tranquillo_
(Strings)
(_Pizz._ basses _8va._) (Added woodwind)]

with an expressive strain in some voice of the woodwind or a ripple of
the harp, it is sung in tense chorus of lower wood and horns,--soon
joined by all the voices but the martial brass, ending with a soft echo
of the strings.

Now in full majesty the stern stride of first theme is resumed, in
faster insistence,--no longer the mere tune, but a spirited extension
and discussion, with retorts between the various choirs. Here the
melodious march is suddenly felt in the bass (beneath our feet, as it
were) of lowest brass and strings, while the noisy bustle continues
above; then, changing places, the theme is above, the active motion
below.

Long continues the spirited clatter as of warlike march till again
returns the melting mood of the companion melody, now sung by the
expressive horn, with murmuring strings. And there are enchanting
flashes of tonal light as the song passes to higher choirs.