It goes on at some length with increasing sadness and richer harmonic and instrumental colouring (indescribable is the effect of a muted horn heard off the platform). Soon comes a deep and solemn bass uttering, heart-shaking in its grief. We give it with the passage leading up to it:--
After a while the music rises with the same lonely mournfulness to an outburst of despair:--
The sad opening phase follows and after this the solemn bass figure. The close is mysterious but piercing in its sobbing, inconsolable grief.
This _Dirge_ is indisputably the cry of a great soul, and there is little in music which expresses grief so effectively. The sense it gives of loneliness and sombreness has never been quite equalled by any other composer. The piece is not a funeral oration weighed down with pomp, but the spontaneous grief of elemental humanity. The scene is of a mother mourning for her son; its significance is of a world sorrow. The music would honour any composer, living or dead.
5. _Village Festival_ (_Swift and light_). This number is the longest of the Suite. It opens with the tune of a squaws' dance of the Iroquois Indians:--
This is soon followed by another of festivity:--
The music proceeds, rich in harmonic and instrumental colouring, and vividly suggesting the wild orgies of the village festivities of the Red Indians. The whole works up to frenzied power until exhaustion comes and it dies down again. Indicated as _slightly broader_, the opening tune is now heard softly over mysterious tremolos. Particularly subdued is the wild and sombre after thought:--
After a time, the striving figure first heard early in the first number of this suite, _Legend_, appears. The thumping accents of the festal dance are now heard again, softly, and soon we hear the opening tune. The wild excitement begins to return, growing to a frenzy in which a reminiscence of the first theme of the _Legend_ may be noticed. Soon the music sinks down again, but never losing its strongly-marked accents, and now hastening its course. The second festive theme is heard softly, high in the scale. Faster and faster, but still subdued, grows the music, the striving figure of the _Legend_ being prominent. A broadening out then comes and with it a magnificent, raw strength, in which is heard the romantic call that opens the whole work in the introduction to the first movement. The bare tonic is now struck with a gesture of great force. A roll of sound follows. Again the bare note is sounded, and again the roll of sound succeeds. The last dozen bars thunder solely on the tonic note, with a rude, but stern and manly elemental absence of harmonic colouring, typifying with undeniable dignity the savage, but often impressive and noble figure of the Red Man, forgotten now that his great race has been succeeded by the greatest and most striking nation of the white races--the Republic of the West.