of mood, stressed with an exotic use of the appoggiatura, while in the
Scherzo is a refined savagery of modern cacophony.

The directions are all in French; we are reminded of Schumann's
departure from the Italian fashion.

Each movement, save the third, has its prelude: a gathering of threads
before the new story. The first notes of basses, together with the
answer on high, sound a prophetic legend of the whole.

The harmonic lucubrations are profoundly subtle. Indeed the very nature
of the first phrase is of dim

[Music: _Extrêmémént Lent._ (Woodwind)
(Strings and harps)]

groping; it ends in a climax of the answer and merges into the main song
of the Allegro (_très vif_) in horns, with rapid trip of strings.

[Music: _Très vif_ (Horns)
(Strings)]

Throughout (from a technical view) is a fine mastery of the device of
ornamental notes, and secondary harmonies; there is also a certain
modern sense of chords and their relations. Together with an infinite
brilliance of these resources there is not only no weakness in cogency
of form, but there is a rare unity of design. The movements are bound
together, at least in themal relation, as strictly as in any symphony.
While the first phrase of the Allegro theme may hark back to the answer
of original motto, the second is the main thread of narrative.