The first of the Finale is pure fanfare, as if to let loose the steeds of war; still it recurs as leading idea.  There is a kind of sonorous terror, increased by the insistent, regular notes of the brass, the spirited pace of the motive of strings,—­the barbaric ring we often hear in Slav music.  At the height

[Music:  Allegro con fuoco
(Wood doubled above and below)
(Violins)
(Pizz. strings)]

the savage yields to a more human vein of joyousness, though at the end it rushes the more wildly into a

[Music:  Tutti (Doubled above and below)]

series of shrieks of trebles with tramping of basses.  The real battle begins almost with a lull, the mere sound of the second tune in the reeds with light strum of strings and triangle.  As the theme is redoubled (in thirds of the wood), the sweep of strings of the first motive is added, with chords of horns.  A rising figure is now opposed to the descent of the second melody, with shaking of woodwind that brings back the old trumpet legend.  Here the storm grows apace, with increasing tumult of entering hostile strains, the main song now ringing in low brass.

In various versions and changes we seem to see earlier themes briefly reappearing.  Indeed there is a striking kinship of themes throughout, not so much in outline as in the air and mood of the tunes.  This seems to be proven by actual outer resemblance when the motives are developed.  Here in a quiet spot—­though the battle has clearly not ceased—­is the answer of old trumpet motto, that pervaded the first Allegro.  There is a strong feeling of the Scherzo here in the pizzicato answers of strings.  The second theme of the Andante is recalled, too, in the strokes of the second of the Finale.  In the thick of the fray is a wonderful maze of versions of the theme, diminished and augmented at the same time with the original pace.  Yet it is all a clear flow of melody and rich harmony.  The four beats of quarter notes, in the lengthened theme, come as high point like the figure of the leader in battle.  A later play of changes is like the sport of the Scherzo.  This insensibly leads to the figure of the fanfare, whence the earlier song returns with the great joyous march.

The final height of climax is distinguished by a stentorian, fugal blast of the theme in the bass, the higher breaking in on the lower, while other voices are raging on the quicker phrases.  It is brought to a dramatic halt by the original prelude of trumpet legend, in all its fulness.  Though the march-song recurs, the close is in the ruder humor of the main themes.

THE “MANFRED” SYMPHONY

Schumann and Tschaikowsky are the two most eminent composers who gave tonal utterance to the sombre romance of Byron’s dramatic poem.[A] It is interesting to remember that Byron expressly demanded the assistance of music for the work.  If we wish to catch the exact effect that is sought in the original conception, Schumann’s setting is the nearest approach.  It is still debated whether a scenic representation is more impressive, or a simple reading, reinforced by the music.