[Music:  (Strings) (Wood & strings doubled below) (Horns and trumpets)]

the soaring flight through flashes of new chords.  There is, we must yield, something Promethean, of new and true beauty, in the bold path of harmonies that the French are teaching us after a long age of slavish rules.

The harking back is here better than in most modern symphonies with their pedantic subtleties:  in the resurgence of joyous mood, symbolized by the inversion of phrase, as when the prankish elfin theme rises in serious aspiration.

Out of these inspiriting reaches sings a new melody in canon of strings (though it may relate to some shadowy memory), while in the bass rolls the former ending phrase; then they romp in jovial turn of rhythm.

[Music:  (Oboes, doubled below in bassoons) (Strings, doubled below) (Horns) (Pizz. cello doubled below)]

A vague and insignificant similarity of themes is a fault of the work and of the style, ever in high disdain of vernacular harmony, refreshing to be sure, in its saucy audacity, and anon enchanting with a ring of new, fiery chord.  As the sonorous theme sings in muted brass, picking strings mockingly play quicker fragments, infecting the rest with frivolous retorts, and then a heart-felt song pours forth, where the accompanying cries have softened their mirth.  Back they skip to a joyous trip with at last pure ringing harmonies.

At the fervent pitch a blast of trumpets rises in challenging phrase, in incisive clash of chord, with the early sense of Parnassian ascent.  At the end of this brave fanfare we hear a soft plea of the descending tone that prompts a song of true lyric melody, with the continuing gentlest touch of regret, all to a sweetly bewildering turn of pace.  So tense

[Music:  (Continuing organ pt. of violins) (Fl. & clar. dolce) Animando (Melody in ob. dolce) (Strings)]

and subtle an expression would utterly convert us to the whole harmonic plan, were it not that just here, in these moving moments, we feel a return to clearer tonality.  But it is a joy to testify to so devoted a work of art.

With the last notes of melody a new frisking tune plays in sauciest clashes of chord, with an enchanting stretch of ringing brass.  A long merriment ensues in the jovial trip, where the former theme of horns has a rising cadence; or the tripping tune sings in united chorus and again through its variants.  After a noisy height the dulcet melody (from the descending tone) sings in linked sweetness.  In the later tumult we rub our eyes to see a jovial theme of the bass take on the lines of the wistful melody.  Finally, in majestic tread amid general joyous clatter the brass blow the gentle song in mellowed tones of richest harmony.

CHADWICK.[A] SUITE SYMPHONIQUE (IN E FLAT).

[Footnote A:  George W. Chadwick, American, born in 1854.]