ith which Wotan is ushered in. Some
beautiful modulatory developments of the march theme, with which the
original horn calls are united, lead to the impassioned theme in E
major, sung by an English horn, which is the message of Orpheus to the
sons of men, _e.g._

[Music]

The theme is expanded by means of striking modulations until, in
measure 102, it is presented by the full orchestra. Some rather
meaningless repetitions, in detached phrases, of the Orpheus theme
bring us, in measure 130, to a return of the original march which is
finally proclaimed _ff_ with great power and sonority. It seems to
typify the triumphant justification of Orpheus's appearance. The
dissonant modulations in the following passage, beginning measure 155,
(in which the double basses take a dramatic part) have been thought by
some to represent realistically the uncouth roars of forest monsters.
These outcries finally subside and in the Coda, beginning at measure
180, we have first a beautiful reminiscence of Orpheus's message and
then a last announcement of the march theme, which is now presented in
the form of a long diminuendo, as if the God-like apparition were
slowly withdrawing from our sight. A series of shifting modulations
(adagio and pianissimo) seems to bring a cloud before our enraptured
senses, and the work closes with a long sustained chord in C major,
_ppp_, giving an elemental idea of peace and satisfaction. From the
standpoint of musical structure the work is a crescendo followed by a
diminuendo and, poetically considered, is a convincing picture in
terms of music of the effect made upon Liszt's imagination by the
legend of Orpheus. Observe that, although the composition is free in
form, it is _not_ formless.[247] The main lines are the familiar ones
of statement, contrast and restatement, _i.e._, three-part form, and
the key-relationship is clear and carefully planned.

[Footnote 247: An allegation often brought against Liszt's work by
those whose conception of "form" is that of a cast-iron mould.]

THE FAUST SYMPHONY

This work, although embodying Liszt's favorite ideas of dramatic
characterization and transformation of theme as found in the Symphonic
Poems, more nearly resembles the ordinary symphony in that it is in
three distinct movements--with pauses between--which stand,
respectively, for the three chief characters in Goethe's drama: Faust,
Gretchen and Mephistopheles. In the _Faust_ Symphony the principle of
tra