In a new shade of scene we recover the lost burden of song; the original
figures appear (in the slower air of trembling strings and the quicker
play of reed, harp and bells), and wander through ever new, moving
phases. A shower of chords (in strings and shaking brass) brings back
the ominous melody, amidst a chorus of light chatter, but firmly resting
on a warm background of harmony. And the strain roves on generous path
and rises out of all its gloom to a burst of profound cheer.
[Music: (1st violins with lower 8ve.)
(2d violins; percussion with cellos below)
(Harp with violas)
(Flutes with higher 8ve.)
(See page 104, line 11.)]
As in all fairy tales, the scene quickly vanishes. On dancing rays and
ripples is the laughing nixie; but suddenly breaks the first song of the
main figures. A climactic phrase of trumpets ends with a burst of all
the chorus on stirring harmony, where in diminishing strokes of bells
long rings the melodic note.
The teasing motive of the nixie returns while the trumpet sounds a
shadowy echo of its phrase, again to dying peal of bells. A chorus of
eerie voices sing the mocking air, and again sounds the refrain of
trumpet as in rebuke. On a tumult of teasing cries flashes a delivering
burst of brilliant light, and we are back in the first scene of the
story. Only the main figure is absent. And there is in the eager tension
of pace a quivering between joy and doubt. Then, in answer to the
lighter phrase of the other, is the returning figure with a new song now
of blended longing and content that soars into higher flights until a
mighty chorus repeats the strain that rises to triumphant height of joy
and transforms the mocking motive to the same mood.
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