This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1904 Excerpt: ...From this develops the first movement proper, Allegro non troppo, in which the principal theme, intensified rhythmically, although still subdued in color--violas and violoncellos--gradually develops in power, and heightened in effect by acceleration of tempo leads into a magnificent climax, from which it recedes, thus preparing for the entrance of the second theme, than which nothing more beautiful can be cited from any of his works. Following this enters a new motive of idyllic charm, leading to a re-statement of the second subject, which gradually dies away, to be succeeded by the powerful treatment of the development section, in which he exhibits all the resources of a master of symphonic routine. This in turn, through a most ingenious blending with the recapitulation section, leads to a wonderful coda, or closing section. The usual scherzo is replaced by a movement--D major, 5-4 time, Allegro con grazia--with a most bewitching first subject in the violoncellos, a melody which, once heard, lingers in the memory. After a development worthy of the theme comes the trio, in which we meet a new melody for flutes, first violins and violoncellos, over a persistent organ point, sustained by the basses and bassoons and enforced by the drums with their insistent accentuation of the rhythm. The theme quoted above introduces the third movement which is full of the most daring and occasionally commonplace treatment of the orchestra, which oftentimes seems to have broken away from all restraint, until, introduced tentatively at first but gradually gaining ascendency, the second theme with its distinctive marchlike character appears. Again appears the brilliant first subject, and in its development the orchestra is worked up to the most furious utterances, leading to a...