original motives until the highest point
is reached, where, to quicker calls of the brass, in broadest pace the
main subject strikes its inverted tune in the trebles, while the bass
rolls its majestic length in a companion melody; trombones, too, are
blaring forth the call of the second theme.

Brief interludes of lesser agitation bring a second chorus on the
reunited melodies in a new tonal quarter.

In mystic echoing groups on the former descending answer of main theme
the mood deepens in darkening scene. Here moves in slow strides of
lowest brass a shadowy line of the second melody answered by a poignant
phrase of the first. Striking again and again in higher perches the dual
song reaches a climax of feeling in overpowering burst of fullest brass.
In masterful stride, still with a burden of sadness, it has a solacing
tinge as it ends in a chord with pulsing harp, that twice repeated leads
back to the stirring first song of main theme.

Thence the whole course is clear in the rehearsal of former melodies.
Only the pensive air has lost its melancholy. Here is again the lyric of
warm-hued horns with plaintive higher phrase, and the full romance of
second melody with its timid answer, where the nervous trip rouses
slowly the final exultation. Yet there is one more descent into the
depths where the main melody browses in dim searching. Slowly it wings
its flight upwards until it is greeted by a bright burst of the second
melody in a chorus of united brass. And this is but a prelude to the
last joint song, with the inverted theme above. A fanfare of trumpets on
the second motive ends the movement.

The Romanze is pure song in three verses where we cannot avoid a touch
of Scottish, with the little acclaiming phrases. The theme is given to
the saxophone (or cello) with obligato of clarinet and violas; the bass
is in bassoons and _pizzicato_ of lower strings. One feels a special
gratitude to the composer who will write in these days a clear, simple,
original and beautiful melody.

The first interlude is a fantasy, almost a variant on the theme in a
minor melody of the wood, with a twittering phrase of violins. Later the
strings take up the theme in pure _cantilena_ in a turn to the
major,--all in expressive song that rises to a fervent height. Though it
grows out of the main theme, yet the change is clear in a return to the
subject, now in true variation, where the saxophone has the longer notes
and the clarinet and obo