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wind Instruments. At the end of this period both strings and brasses vigorously announce the subject, the other wind instruments giving it new color. An express ive passage for the solo instrument, much in the nature of a cadenza, except that it is accompanied, leads to the second subject in the key of E major. This is a charm- ingly graphic theme accompanied by sustained tones in the strings, horns and flutes. After a beautiful working out the return of the first theme is made by the strings pizzicato, while the solo instrument sustains the tone E. This second ap- pearance of the first theme furnishes the solo instrument with many opportunities for brilliant passage work, accompanied by the strings and wood-winds. At the close of this expansion of the first theme, the cadenza-like passage returns, and leads again to the second theme, but this time in B major. This development Position is made, as usual, out of positions of the different themes. The wood-winds are especially prominent in the closing measures of the movement. The second theme is of a pastoral character and is scored for strings, wood wind and two horns. After four measures of prelude the solo violin gives out the copation. The various phases of this theme are usually completed or augmented by imitation of the last few notes by the first violin, clarinet or flute. The second theme continues in the pastoral mood. The whole movement is dainty and light, and a fine example of the French school. The third movement begins with an introduction which partakes of the nature of a recitative sung by the solo violin. After the recitative the solo instrument gives out a strongly-marked subject, which it continues to develop while the accompani- ment gradually becomes stronger. After a full close the solo violin again takes up the theme, more in the form of a cantilena, accompanied by the strings with a de- cided contrasting triplet-figure. The composer then dwells at some length on this episode, gradually strengthening the importance and expressive quality of the wood- winds, and finally uses it as a means for some brilliant passage-work before con- tinuing upon the second subject. This second subject, in D major, is also first sung by the solo instrument, accompanied by the lower wood winds and brasses, and leads to a return to the first subject, but this time in D major. The first theme is then elaborated by the orchestra in various ways, the rhythmic spirit of the theme being especially prominent. A quiet and beautiful cantabile episode follows, leading to a development period of considerable length. The recitative-like phrases of the introduction appear again in various forms, and fragments of these, with some rapid passage-work in the solo instrument, lead to a return of the first subject, which is then elaborated in several ways. Gradually the toneity brightens, and a brilliant coda based upon the second subject, brings the movement to a close.
