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Still rises the thread of pulsing strings to higher empyraean and then floats forth in golden horns, as we hang in the heavens, a melody tenderly solemn, as of pent delight, or perhaps of a more fatal hue, with the solar orb encircled by his satellites. Still on to a higher pole spins the dizzy path; then at the top of the song, it turns in slow descending curve.
In big accoutrement the double theme moves with double answers, ever with the sharp pinch of harmonies and heroic mien. With growing spirit they ascend once more to the triumphant clash of empyraean chords, that may suffice for justifying beauty. Instead of the first, the second melody follows with its delicate grace.
Liszt was clearly a follower of Berlioz in the abandon to a pictorial aim, in the revolt from pure musical form, and in the mastery of orchestral color. If we feel in almost all his works a charming translation of story in the tones, we also miss the higher empyraean of pure fancy, unlimited by halting labels. It is a descent into pleasant, rich pastures from the cosmic view of the lofty mountain.