is the Tzar of the Forest Orel car Iesu! This motif, the symbol of the freedom most of them will never enjoy, reappears again at the end of the opera: one notes, however, that the chord of "doom" is heard in the orchestra at its climax. The insanely violent Major storms in, insulting and threatening the convicts, and the "doom" chord accompanies the guards' shouts of "do prac! do prac!" ("Off to work! Off to work!") ([15] + 15 and 16) . SCENE 5. CONVICT SONGS, ETC. (PP. 30-40) After this noisy outburst both on the stage and in the orchestral pit, the ensuing adagio presentation of the Destiny theme is particularly welcome. First, we hear it high in the treble on an E flat clarinet with tremolo violins (p. 30): then in middle register on cor anglais and tremolo strings, followed by an extended presentation ([16]), in a mood of bitterness and despair on trombone and strings. It is infinitely pathetic and moving. The fullest expressive use is made of this theme here and in the next few pages during the choral episode. One feels an upsurge of hope as the melody rises in a crescendo to the fifth above where it is held for a moment in a kind of exaltation. Here is hope for a new life, for a life of freedom, of opportunities, of things which make life worth living. But when the melody wilts and falls back to a lower note the dream has vanished;