The main theme breaks forth anew, in the spirit of the beginning.  It yields suddenly before the next episode, a languorous song of lower strings (molto appassionato), strangely broken into by sighing phrases in the high wood (flebile).  After further interruption, the love song is crowned by a broad flowing melody (sehr getragen und ausdrucksvoll)—­the main lyric utterance of all.  It has a full length of extended song, proportioned to its distinguished beauty.  The dual quality is very clear throughout the scene.  Much of the song is on a kindred phrase of the lyric melody sung by the clarinet with dulcet chain of chords of harp.

Here strikes a climactic tune in forte unison of the four horns (molto espressivo e marcato).  It is the clear utterance of a new mood of the hero,—­a purely

[Music:  (Four horns in unison) (Full orchestra)]

subjective phase.  With a firm tread, though charged with pathos, it seems what we might venture to call a symbol of renunciation.  It is broken in upon by a strange version of the great love song, agitato in oboes, losing all its queenly pace.  As though in final answer comes again the ruthless phrase of horns, followed now by the original theme. Rapidamente in full force of strings comes the coursing strain of impetuous desire.  The old and the new themes of the hero are now in stirring encounter, and the latter seems to prevail.

The mood all turns to humor and merrymaking.  In gay dancing trip serious subjects are treated jokingly (the great melody of the horns is mockingly sung by the harp),—­in fits and gusts.  At the height the (first) tempestuous motive once more dashes upwards and yields to a revel of the (second) whimsical phrase.  A sense of fated renunciation seems to pervade the play of feelings of the hero.  In the lull, when the paroxysm is spent, the various figures of his past romances pass in shadowy review; the first tearful strain, the melody of the first of the longer episodes,—­the main lyric song (agitato).

In the last big flaming forth of the hero’s passion victory is once more with the theme of renunciation,—­or shall we say of grim denial where there is no choice.

Strauss does not defy tradition (or providence) by ending his poem with a triumph.  A final elemental burst of passion stops abruptly before a long pause.  The end is in dismal, dying harmonies,—­a mere dull sigh of emptiness, a void of joy and even of the solace of poignant grief.

TILL EULENSPIEGEL’S MERRY PRANKS

In the Manner of Ancient Rogues—­In Rondo Form