[Music.]

Vivid in effect is the following striving figure:—­

[Music.]

The Indian theme is now elaborated at some length with much richness, and is wild in effect.  After this a tender MacDowell-like second subject appears:—­

[Music.]

This contemplative atmosphere is soon broken as the influence of the native theme is felt, and the striving figure is also heard.  The music grows more and more wild and intricate, working up to a tearing intensity and then dying away until only a few deep murmurs remain.  The striving figure is heard twice, and then follows a small bridge to a repetition of the tender second subject, now heard pianissimo under a swaying, chord accompaniment.  After a time it grows in intensity and imperceptibly merges into the romantic call of the introduction, the influence of which, however, is at once felt.  The music now mounts to a tremendous pose of strength, double fortissimo, the final bars striking the same attitude in a deeper and more stolid form.  There is little in music of such iron-like force as the conclusion of this Legend.  The thundering tremolos and chords are not intricate or beautiful, their very splendour lying in their stark, magnificent elemental power.

2. Love-Song (Not fast.  Tenderly).  This opens with the tune of a love song of the Iowa Indians:—­

[Music.]

This little after thought brings a touch of romance:—­

[Music.]

A new and equally tender theme follows:—­

[Music.]

Although not of great importance, this little episode is notable for its poetic suggestion of the Red Indian atmosphere:—­

[Music.]

The music now goes on its way, rich in harmonic and instrumental colour, but always clear, now soft and lulling, now approaching the passionate.  The first theme is heard again, and the Love-Song is then concluded by the little after thought.

3. In War Time (With rough vigour, almost savagely).  A rude war song of the Iroquois Indians opens this movement:—­

[Music.]

The rhythm of its continuation is afterwards made much of, particularly the active semiquaver figure:—­

[Music.]

The opening theme is now repeated with the implied harmonies, the whole progressing with increasing intensity, the figure of the second illustration being prominent.  The music surges wildly, undulating in a manner that suggests a Redskin scalp dance, the hideous, painted figures now bending low, now holding their weapons high above their heads.  At length the fury of the war dance reaches an elan that exhausts it, the barbaric figure referred to in our second illustration becoming more and more prominent, then sinking lower and lower until it is nothing more than a series of thudding accents, broken by periods of silence of increasing length.  The effect is one of horses galloping further and further away into the distance.  After this the whole atmosphere changes, and a mournful, lonely cry is heard:—­