A mystic verse sounds over pious chords of harp in the tune of the march, which is sung by antiphonal choirs of strings,—­later with fuller celestial chorus, almost in rapture of heavenly resignation.  Only it is not final; for once again returns the full struggle of the beginning, with the farewell-legend, and in highest passion the phrase of regret rung again and again—­till it is soothed by the tranquil melody.  The relentless stride of march too reaches a new height, and one last, moving plaint.  When the fast chasing cries are in closest tangle, suddenly the hymn pours out its benediction, while the cries have changed to angelic acclaim.  Here is the transfigured song in full climactic verse that fulfils the promise of the beginning.  A touch of human (or earthly joy) is added in an exultant strain of the sweeping melody that unites with the hymn at the close.

CHAPTER XXI

SYMPHONIES IN AMERICA

When we come to a view of modern music in symphonic design, written in America, we are puzzled by a new phase of the element of nationalism.  For here are schools and styles as different as of far corners of Europe.  Yet they can be called nothing else than American, if they must have a national name.  In the northern centre whence a model orchestra has long shed a beneficent influence far afield, the touch of new French conceits has colored some of the ablest works.  Elsewhere we have cited a symphony more in line with classical tradition.[A]

[Footnote A:  A symphony by Wm. W. Gilchrist.  Vol.  II, Appendix.]

Perhaps most typical is a symphony of Hadley where one feels, with other modern tradition, the mantle of the lamented MacDowell, of whom it may be said that he was first to find in higher reaches of the musical art an utterance of a purely national temper.

HENRY HADLEY.  SYMPHONY NO. 3, B MINOR.[A]

[Footnote A:  Opus 60, Henry Hadley, American, born 1871.]

With virile swing the majestic melody strides in the strings, attended by trooping chords of wood and brass, all in the minor, in triple rhythm.  In

[Music:  Moderato e maestoso
(Harp and wind)
(All the trebles)
(Strings with lower 8ve.)]

the bass is a frequent retort to the themal phrase.  For a moment a dulcet line steals in, quickly broken by the returning martial stride of stentorian horns, and of the main theme in full chords.  Strange, though, how a softer, romantic humor is soon spread over the very discussion of the martial theme, so that it seems the rough, vigorous march is but the shell for the kernel of tender romance,—­the pageant that precedes the queenly figure.  And presently, piu tranquillo, comes the fervent lyric song that may indeed be the chief theme in poetic import, if not in outer rank.  After a moving verse in the strings,

[Music:  Piu tranquillo (Strings) (Pizz. basses 8va.) (Added woodwind)]