it of Franck
(as it is of Richard Strauss). The rough motto at each turn has a new

[Music: _Allegro non troppo_
(Strings)
(Wind)]

phase and frequently is transfigured to a fresh tune. So out of the
first chance counter-figures somehow spring beautiful melodies, where we
feel the fitness and the relevance though we have not heard them before.
It is a quality that Franck shares with Brahms, so that in a
mathematical spirit we might care to deduce all the figures from the
first phrase. This themal manner is quite analogous to the harmonic
style of Franck,--a kaleidoscope of gradual steps, a slow procession of
pale hues of tone that with strange aptness reflect the dim religious
light of mystic musing.

More and more expressive are the stages of the first figures until we
have a duet _molto cantabile_ in the strings. Much of the charm of the
movement lies in the balance of the new rhythms, the eccentric and the
flowing. By some subtle path there grows a song

[Music: _Allegro. Molto cantabile_]

in big tones of unison, wood and strings and trumpets, that is the real
hymnal refrain of the movement. Between this note almost of exultation
and all shades of pious dreaming the mood is constantly shifting.

[Music: _Allegro_]

Another phrase rises also to a triumphant height (the clear reverse of
the former tuneful melody) that comes now like a big _envoi_ of assuring
message.

Though the whole movement is evenly balanced between Allegro and
Penseroso (so far as pace is concerned), the mood of reflection really
finds full vent; it has no reason for a further special expression.

Simple as the Allegretto appears in its suggestion of halting dance, the
intent in the episodes is of the subtlest. The slow trip of strings and
harp is soon given a new meaning with the melody of English horn.
Throughout we are somehow divided between pure dance and a more
thoughtful muse. In the first departure to an episode in major, seems to
sing the essence of the former melody in gently murmuring strings, where
later the whole chorus are drawn in. The song moves on clear thread and
wing right out of the mood of the dance-tune; but the very charm lies in
the mere outer change of guise. And so the second episode is still far
from all likeness with the first dance beyond a least sense of the old
trip that does appear here and there. It is all clearly a true scheme of
variations, the main theme disguised beyond outer semblance, yet
faithf