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S a characteristic passage for solo French horn and bass piccolo:

[Illustration: Musical Score] The dotted half notes for the horn obviously come from the motive of brooding, in augmentation, but the bass piccolo part is new. It soon appears, however, in various fresh aspects, and in the end it enters into the famous quadruple motive of “sulphur-yellow truth”—_schwefelgelbe Wahrheit_, as we shall presently see. Its first combination is with a jaunty figure in A minor, and the two together form what most of the commentators agree upon denominating the Zarathustra motive: [Illustration: Musical Score] I call this the Zarathustra motive, following the weight of critical opinion, but various influential critics dissent. Thus, Dr. Ferdinand Bierfisch, of the Hochschule fuer Musik at Dresden, insists that it is the theme of “the elevated mood produced by the spiritual isolation and low barometric pressure of the mountains,” while Prof. B. Moll, of Frankfurt a/M., calls it the motive of prowling. Kraus himself, when asked by Dr.

Fritz Bratsche, of the Berlin _Volkszeitung_, shrugged his shoulders and answered in his native Hamburg dialect, “_So gehts im Leben! ‘S giebt gar kein Use_”—Such is life; it gives hardly any use (to inquire?). In much the same way Schubert made reply to one who asked the meaning of the opening subject of the slow movement of his C major symphony:

”_Halt’s Maul, du verfluchter Narr!_”—Don’t ask such question, my dear sir! But whatever the truth, the novelty and originality of the theme cannot be denied, for it is in two distinct keys, D major and A minor, and they preserve their identity whenever it appears. The handling of two such diverse tonalities at one time would present insuperable difficulties to a composer less ingenious than Kraus, but he manages it quite simply by founding his whole harmonic scheme upon the tonic triad of D major, with the seventh and ninth added. He thus achieves a chord which also contains the tonic triad of A minor. The same thing is now done with the dominant triads, and half the battle is won. Moreover, the instrumentation shows the same boldness, for the double theme is first given to three solo violins, and they are mut

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Rd the music of her voice; he remembered the look in her eyes—eyes that were filled with tears, yet shining like stars, and he thought again and again of her words: “There’