A new world is revealed in the so-called Rhenish Symphony in E-flat. There Schumann begins at once with the Allegro, the first subject of the movement bearing a vigorous character with effective syncopations and clad in all the splendor of the full orchestra, the second being a charming melody in G minor. Omitting the usual repetition of the first part, he extends the working-out portion by new and ingenious combinations of the two subjects. Here again we are often reminded of Beethoven. After the brilliant Coda a lovely intermezzo follows with a sweet, almost popular melody for the 'celli, alternating with a lively staccato figure of the string and wood instruments and a romantic song for two horns, the whole suggesting perhaps a pleasant trip on the Rhine at sunset. And is there anything more delicate and touching in any modern symphony than the Andante in A-flat, where every instrument seems to have a soul and to sing directly into our inmost heart, now plaintive and sad, now consoling with an indescribable delicacy of feeling. Still the composer does not hasten to the finale, but puts in another slow movement in E-flat minor in the character of a solemn ceremony (suggested by the installation of the archbishop in Cologne), highly effective by its spirit, and vastly interesting by its masterly counterpoint and rich instrumentation. It touches us like liberty regained from such mysteries when the finale opens with its brilliant, vigorous theme, and the whole glorious movement fills our hearts with its own enthusiastic spirit. Yet this great work was written when Schumann's powers began to decay, and when he was occupied with many less successful efforts in other musical fields. The fifth symphonic work, written directly after the first symphony, but revised and published later under the title "Overture, Scherzo and Finale," has also become a favorite because of its charming, inspiriting character, especially prominent in the scherzo, which is an excellent revival of the old gigue form. [Illustration: KAPELLMEISTER KREISLER. An imaginary and fantastic character introduced in various novels and sketches by E. T. A. Hoffman, impersonating a true musician devoted to the highest ideals in conflict with the banale and frivolous world and ending in insanity. This sketch is by Hoffman himself, showing Kreisler amusing himself blowing soap-bubbles, seeming to say: "What is the world after all, but a soap-bubble?" The figure of Kreisler and his various moods depicted in Hoffman's novels induced Schumann to write his Op. 16 Kreisleriana, dedicated to F. Chopin. A prototype of Schumann's own life and sad end.]