gical derivation of the fabric from the first intervals of the main
theme is obvious, _e.g._

[Music]

The fourth variation, in F-sharp major, scored for pizzicato strings
and staccato wood-wind, with light touches on horns, trumpets,
cymbals, triangle and harps, introduces the scherzo mood into the work
and with its persistent 5/4 rhythm is of fascinating effect.

[Music]

The loveliest variation for warmth and emotional appeal is the sixth,
in A-flat major (at O in the orchestral score) for strings with the
gradual addition of the wood-wind and harps. Its climax certainly does
much to atone for any dryness found in d'Indy's other works.

[Music]

In the next variation, at P, the trend of the work becomes
increasingly manifest for it is written in only two voices, scored for
flute and violins and is a dramatic preparation for the announcement
of the complete main theme which is now proclaimed in unison by the
full orchestra. The work closes with a transformation of the opening
march into F major, its majestic rhythm symbolizing the successful
result of Istar's quest (See Supplement No. 62.)

Debussy, Claude Achille, (1862-1918) is certainly the embodiment, as a
composer, of Pater's saying that "Romanticism[290] is the addition of
strangeness to beauty"; for when we listen to his music we are
conscious of material and of forms of treatment which we have never
heard before. Debussy has listened to the promptings of his own subtle
imagination and has evolved a style as novel as it is beautiful. As
with all real originators, Debussy at the outset was fiercely
challenged, and his music even to-day calls forth intolerant remarks
on the part of those who are suspicious of all artistic progress and
evolution. In this connection it is worthy of note that the French,
notwithstanding their national doctrine of liberty, have been chary of
applying this to composers who were departing from the beaten path.
Berlioz, whom now they acclaim as one of their greatest artists, was
welcomed as he deserved only after his fame had been established among
the Germans. Bizet was but slightly appreciated during his life.
Franck met with fierce opposition from the routine members of the
profession; and Debussy, although the work by which he won the "Prix
de Rome" in 1884 was acknowledged to be one of the most interesting
which had been heard at the Institute for years, was afterwards
severely criticized for the setting made in Rome to Ro