yed by the Ophicleide or
Serpent (now obsolete).]

The free fantasia, an improvisation on the first theme--although
containing a few perfunctory manipulations--sustains interest, as a
whole, by its modulations and by the suggestive orchestral effects.
The closing measures, where the pizzicato 'cellos and double basses
seem to imitate the light, tripping footsteps of the elves, is
genuinely realistic. The Recapitulation, which begins with the same
chords as the Introduction, is an illustration of bondage to classic
practise; for here they have no dramatic significance and are merely a
concession to routine procedure.[210] The first theme and the
transition, however, are effectively abridged so that the second
theme, by far the most appealing in the whole work, stands out in
greater prominence. Then follows a brilliant expansion of the closing
portions of the second theme, until we reach the Coda. This begins
with a reminiscence of the first theme which fades away into a
modified presentation of the Duke Theseus theme, followed by four
long-drawn out Amens.[211] These may signify the blessing which, in
the play, the elves bestow upon the Ducal house. The Introductory
chords dissolve the dream which the music has evoked, and we are back
once more in the world of reality.

[Footnote 210: This, after all, is a rather subtle point for a boy of
seventeen to be called upon to consider. Perhaps if he had been that
kind of a boy he might not have written the Overture at all!]

[Footnote 211: The ecclesiastical formula for an Amen being the
so-called Plagal cadence of subdominant and tonic chords.]

To suggest the attitude which we of to-day should take towards
Mendelssohn--he may justly be admired as a musician of great natural
gifts, of high ideals and of unusually finished technique in many
branches of composition. It is ungracious to censure him because he
lacks the gripping emotional power of a Beethoven or a Wagner. Those
who indulge in such narrow criticism condemn only themselves.

CHAPTER XIV

CHOPIN AND PIANOFORTE STYLE

Although Chopin (1809-1849) was less aggressively romantic than others
of the group we have been considering, in many respects his music
represents the romantic spirit in its fairest bloom. Not even yet has
full justice been done him--although his fame is growing--since he is
often considered as a composer of mere "salon-pieces" which, though
captivating, are too gossamer-like to merit s