erywhere.

A balancing (second) theme now appears, in tranquil

[Music: (Horn)
_Allegro dolce_
(Violas & cellos)
(Sustained harmony in violins, bassoons and flute)]

flow, but pressing on, at the end, in steady ascent as to Parnassian
summit. Later comes a new rejoinder in livelier mood, till it is lost in
a big, moving verse of the Andante song. But pert retorts from the
latest new tune again fill the air, then yield in attendance upon the
returning Allegro theme. Of subtle art is the woof of derived phrases. A
companion melody, that seems fraught of the text of the second subject,
sings with rising passion, while the lower brass blow lustily in
eccentric rhythm of the Allegro phrase and at the height share in the
dual triumph.

We feel a kinship of mood rather than of theme, a coherence that we
fear to relate to definite figures, though the descending symbol is
clear against the ascending. An idyllic dialogue, with the continuing
guise of the Allegro phrase turns to a gayer revel in the original pace,
with a brilliant blare of trumpets.

The free use of themes is shown in the opposite moods of the triplet
phrase, of sadness, as in Andante, or buoyant, in Allegro. Here are both
in close transition as the various verses return from the beginning,
entwined about the first strain of the Andante, gliding through the
descending tone into the second soothing song with the Parnassian
ascent.

A full verse of the first Andante melody sings at the heart of the plot,
followed by the strange daemonic play that keeps the mood within bounds.
Indeed, it returns once more as at first, then springs into liveliest
trip and rises to an Olympian height, with a final revel of the triplet
figure.

_II._--With a foreshadowing drop of tone begins the prelude, not unlike
the first notes of the symphony,

[Music: _Adagio, ma non troppo_
(_espressivo_ Clar.)
(Strings)
(Clar'ts and bassoons)]

answered with a brief phrase. On the descending motive the main melody
is woven.

Tenderly they play together, the melody with the main burden, the
lighter prelude phrase in graceful accompaniment. But now the latter
sings in turn a serious verse, rises to a stormy height, the horns
proclaiming the passionate plea amid a tumultuous accord of the other
figures, and sinks in subdued temper. In a broader pace begins a new
line, though on the thread of the descending motive, and with the
entering phrase of the prelude winds to a climax of pas