in its height approaches the mode of secular song. With
all the power of broad rhythm, and fulness of harmony and volume, the
feeling is of conventional worship. With all the purity of shimmering
harmonies the form is ecclesiastical in its main lines and depends upon
liturgic symbols for its effect and upon the faith of the listener for
its appeal.

At the end of the hymn, on the entering _Hosanna!_ and _Hallelujah!_ we
catch the sacred symbol (of seven tones) in the path of the two vocal
parts, the lower descending, the higher ascending as on heavenly scale.
In the second, optional ending the figure is completed, as the bass
descends through the seven whole tones and the treble (of voices and
instruments) rises as before to end in overpowering _Hallelujah!_ The
style is close knit with the earlier music. A pervading motive is the
former brief phrase of aspiration; upon it the angelic groups seem to
wing their flight between verses of praise. By a wonderful touch the
sigh, that appeared inverted in the plaintive chant of the _Purgatorio_,
is finally glorified as the motive of the bass to the words of
exultation.

CHAPTER V

THE SYMPHONIC POEMS OF LISZT

Liszt was clearly a follower of Berlioz in the abandon to a pictorial
aim, in the revolt from pure musical form, and in the mastery of
orchestral color. If we feel in almost all his works a charming
translation of story in the tones, we also miss the higher empyraean of
pure fancy, unlimited by halting labels. It is a descent into pleasant,
rich pastures from the cosmic view of the lofty mountain. Yet it must be
yielded that Liszt's program-music was of the higher kind that dwells in
symbols rather than in concrete details. It was a graphic plan of
symbolization that led Liszt to choose the subjects of his symphonic
poems (such as the "Preludes" and the "Ideals") and to prefer the poetic
scheme of Hugo's "Mazeppa" to the finer verse of a Byron. Though not
without literal touches, Liszt perceived that his subjects must have a
symbolic quality.

Nevertheless this pictorial style led to a revolution in the very nature
of musical creation and to a new form which was seemingly intended to
usurp the place of the symphony. It is clear that the symphonic poem is
in very essence opposed to the symphony. The genius of the symphony lies
in the overwhelming breadth and intensity of its expression without the
aid of words. Vainly decried by a later age of shallower per