Nor has he ever had the power to express and objectify himself completely, and achieve vital form. In performance, most of his works shrink and dwindle. The central and sustaining structure, the cathedral which is behind every living composition and manifests itself through it, is in these pieces so vague and attenuated that it fades into the background of the concert-hall, is like gray upon gray. The gems and gold thread and filigree with which this work is sewn tarnish in the gloom. Something is there, we perceive, something that moves and sways and rises and ebbs fitfully in the dim light. But it is a wraithlike thing, and undulates and falls before our eyes like flames that have neither redness nor heat. Even the terrible bagpipe of the second rhapsody for oboe; even the caldron of the "Pagan Poem," that transcription of the most sensual and impassioned of Virgil's eclogues, with its mystic, dissonant trumpets; even the blasphemies of "La Villanelle du Diable," and the sundown fires that beat through the close of "Hora mystica" are curiously bloodless and ghostly and unsubstantial. Pages of sustained music occur rarely enough in his music. The lofty, almost metaphysical, first few periods, the severe and pathetic second movement of the "Music for Four Stringed Instruments"; certain songs like "Le Son du cor," that have atmosphere and a delicate poetry, are distinctly exceptional in this body of work. What chiefly lives in it are certain poignant phrases, certain eloquent bars, a glowing, winey bit of color here, a velvety phrase for the oboe or the clarinet, a sharp, brassy, pricking horn-call, a dreamy, wandering melody for the voice there. His music consists of scattered, highly polished phrases, hard, exquisite, and cold. He is pre-eminently the _precieux_.