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 in the flabbergasting magic of the orchestration. There are some moments in "Elektra" when sounds come out of the orchestra that tug at the very roots of the hair, sounds so unearthly that they suggest a caroling of dragons or bierfisch—and yet they are made by the same old fiddles that play the Kaiser Quartet, and by the same old trombones that the Valkyrie ride like witch's broomsticks, and by the same old flutes that sob and snuffle in Tit'l's Serenade. And in parts of "Feuersnot"—but Roget must be rewritten by Strauss before "Feuersnot" is described. There is one place where the harps, taking a running start from the scrolls of the violins, leap slambang through (or is it into?) the firmament of Heaven. Once, when I heard this passage played at a concert, a woman sitting beside me rolled over like a log, and had to be hauled out by the ushers.

Yes; Strauss is the man to reorchestrate the symphonies of Schumann, particularly the B flat, the Rhenish and the Fourth. I doubt that he could do much with Schubert, for Schubert, though he is dead nearly a hundred years, yet remains curiously modern. The Unfinished symphony is full of exquisite color effects—consider, for example, the rustling figure for the strings in the first movement—and as for the C major, it is so stupendous a debauch of melodic and harmonic beauty that one scarcely notices the colors at all. In its slow movement mere