(four solo instruments) which is one of many touches in individ-
ual treatment. The Finale, in accordance with modern practise,
although containing themes of its own, finally becomes aré-
suméof preceding material. The two main themes are striking
and well contrasted; but Dvo[vr]ák was a mediocre architect
and the movement, in comparison with the Finales of Franck
and Tchaikowsky, is more of a potpourri than a firmly knit or-
ganic whole. The final page is stimulating in its bold use of
dissonances. But we must take Dvo[vr]ák as he is. There is
no question of his genius, for his music is spontaneous, never
labored, and he has expressed with convincing artistic skill the
emotions and ideals of his gifted race.
[Footnote 329: The author has heard this symphony played in
Prague and other continental cities under Bohemian conduc-
tors. It is always welcomed as being thoroughly characteristic
of Bohemia.]
[Footnote 330: For detailed analytical comment consult Vol. III
ofShort Studies in Great Masterpiecesby D.G. Mason.]
[Footnote 331: Note for example the chords at the opening of
the slow movement.]
Scandinavian music, ethnologically considered, would comprise
that of the three related nations, the Swedes, the Danes and the
Norwegians; some would include even the Finns, with their elo-
quent spokesman Sibelius. Although the Danes have consider-
able folk-music, and as a people love music, they have produced
no composer of distinction save Niels Gade (1817-1890), who
was so encrusted with German habits of thought that his music
is neither one thing or the other—certainly it is not characteris-
tically Danish. The best known of the Swedish composers is Sjö-
gren from whom we have some poetic songs. He also attempted
the larger instrumental forms but without notable success.
Scandinavian music, as far as the outside world is concerned,
practically centres about the Norwegian composer Grieg[332]
(1843-1907) just as its dramatic art centres about Ibsen. The
names, however, of four other Norwegian composers deserve
mention: the pioneers Kjerulf (1815-1868) noted for his melo-
dious songs; Svendsen (1840-1911) endowed with a fine sense
for orchestral color; and Nordraak (1842-1866) the first self-
conscious representative of the Norwegian spirit: a talented mu-
sician who exerted a marked influence upon Grieg—his promise