A last romp is in polacca step on the tune of the Russian Theme.

RIMSKY-KORSAKOW.[A] “ANTAR,” SYMPHONY

[Footnote A:  Nicholas Rimsky-Korsakow, Russian, 1844-1908.]

The title-page tells us that “the subject is taken from an Arabian tale of Sennkowsky.”  Opposite the beginning of the score is a summary of the story, in Russian and in French, as follows: 

I.—­Awful is the view of the desert of Sham; mighty in their desolation are the ruins of Palmyra, the city razed by the spirits of darkness.  But Antar, the man of the desert, braves them, and dwells serenely in the midst of the scenes of destruction.  Antar has forever forsaken the company of mankind.  He has sworn eternal hatred on account of the evil they returned him for the good which he intended.

Suddenly a charming, graceful gazelle appears.  Antar starts to pursue it.  But a great noise seems pulsing through the heavens, and the light of day is veiled by a dense shadow.  It is a giant bird that is giving chase to the gazelle.

Antar straightway changes his intent, and attacks the monster, which gives a piercing cry and flies away.  The gazelle disappears at the same time, and Antar, left alone in the midst of ruins, soon goes to sleep while meditating on the event that has happened.

He sees himself transported to a splendid palace, where a multitude of slaves hasten to serve him and to charm his ear with their song.  It is the abode of the Queen of Palmyra,—­the fairy Gul-nazar.  The gazelle that he has saved from the talons of the spirit of darkness is none other than the fairy herself.  In gratitude Gul-nazar promises Antar the three great joys of life, and, when he assents to the proffered gift, the vision vanishes and he awakes amid the surrounding ruins.

     II.—­The first joy granted by the Queen of Palmyra to Antar are the
     delights of vengeance.

     III.—­The second joy—­the delights of power.

IV.—­Antar has returned to the fallen remains of Palmyra.  The third and last gift granted by the fairy to Antar is the joy of true love.  Antar begs the fairy to take away his life as soon as she perceives the least estrangement on his side, and she promises to do his desire.

After a long time of mutual bliss the fairy perceives, one day, that Antar is absent in spirit and is gazing into the distance.  Straightway, divining the reason, she passionately embraces him.  The fire of her love enflames Antar, and his heart is consumed away.

     Their lips meet in a last kiss and Antar dies in the arms of the
     fairy.

The phases of the story are clear in the chain of musical scenes, of the movements themselves and within them.  In the opening Largo that recurs in this movement between the visions and happenings, a melody appears (in violas) that moves in all the