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+*** START OF THE PROJECT GUTENBERG EBOOK 12903 ***
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations of the
+      parts of the musical scores referred to in the text.
+      See 12903-h.htm or 12903-h.zip:
+      (https://www.gutenberg.org/1/2/9/0/12903/12903-h/12903-h.htm)
+      or
+      (https://www.gutenberg.org/1/2/9/0/12903/12903-h.zip)
+
+
+
+
+
+SYMPHONIES AND THEIR MEANING
+
+THIRD SERIES: MODERN SYMPHONIES.
+
+by
+
+PHILIP H. GOEPP
+
+1913
+
+
+
+
+
+
+
+PREFACE
+
+
+Criticism of contemporary art is really a kind of prophecy. For the
+appreciation of the classical past is an act of present perception, not
+a mere memory of popular verdicts. The classics live only because they
+still express the vital feeling of to-day. The new art must do
+more,--must speak for the morrow. And as the poet is a kind of seer, the
+true critic is his prophetic herald.
+
+It is with due humility that we approach a view of the work of our own
+time, with a dim feeling that our best will be a mere conjecture. But we
+shall the more cheerfully return to our resolution that our chief
+business is a positive appreciation. Where we cannot praise, we can
+generally be silent. Certain truths concerning contemporary art seem
+firmly grounded in the recorded past. The new Messiah never came with
+instant wide acclaim. Many false prophets flashed brilliantly on the
+horizon to fall as suddenly as they rose. In a refracted view we see the
+figures of the great projected in too large dimension upon their day.
+And precisely opposite we fail to glimpse the ephemeral lights obscuring
+the truly great. The lesson seems never to be learned; indeed it can, of
+course, never be learned. For that would imply an eternal paradox that
+the present generation must always distrust its own judgment.
+
+Who could possibly imagine in Schubert's time the sway he holds to-day.
+Our minds reel to think that by a mere accident were recovered the
+Passion of Bach and the symphonies of Schubert. Or must we prayerfully
+believe that a Providence will make the best prevail? And, by the way,
+the serious nature of this appreciation appears when we see how it was
+ever by the greatest of his time that the future master was heralded.
+
+The symphony of the present age has perhaps fallen somewhat in estate.
+It was natural that it should rush to a high perfection in the halcyon
+days of its growth. It is easy to make mournful predictions of
+decadence. The truth is the symphony is a great form of art, like a
+temple or a tragedy. Like them it has had, it will have its special eras
+of great expression. Like them it will stay as a mode of utterance for
+new communities and epochs with varying nationality, or better still,
+with vanishing nationalism.
+
+The tragedy was not exhausted with Sophocles, nor with Shakespeare nor
+with Goethe. So the symphony has its fallow periods and it may have a
+new resurgence under new climes. We are ever impatient to shelve a great
+form, like vain women afraid of the fashion. It is part of our constant
+rage for novelty. The shallower artist ever tinkered with new
+devices,--to some effects, in truth. Such is the empiric course of art
+that what is born of vanity may be crowned with highest inspiration.
+
+The national element will fill a large part of our survey. It marks a
+strange trait of our own age that this revival of the national idea
+falls in the very time when other barriers are broken. Ancient folk-song
+grew like the flower on the battle-field of races. But here is an
+anxious striving for a special dialect in music. Each nation must have
+its proper school; composers are strictly labelled, each one obedient to
+his national manner. This state of art can be but of the day. Indeed,
+the fairest promise of a greater future lies in the morrow's blending of
+these various elements in the land where each citizen has a mixed
+inheritance from the older nations.
+
+In the bewildering midst of active spirits comes the irresistible
+impulse to a somewhat partisan warfare. The critic, if he could view
+himself from some empyraean perch, remote in time and place, might smile
+at his own vehemence. In the clash of aims he must, after all, take
+sides, for it is the tendency that is momentous; and he will be excited
+to greater heat the stronger the prophet that he deems false. When the
+strife is over, when currents are finally settled, we may take a more
+contented joy in the impersonal art that remains.
+
+The choice from the mass of brilliant vital endeavor is a new burden and
+a source almost of dismay. Why should we omit so melodious a work as
+Moskowski's _Jeanne d'Arc_,--full of perhaps too facile charm? It was,
+of course, impossible to treat all the wonderful music of the Glazounows
+and the Kallinikows. And there is the limpid beauty of the Bohemian
+_Suk_, or the heroic vigor of a _Volbach_. We should like to have
+mentioned _Robert Volkmann_ as a later Romanticist; and _Gade_ has ever
+seemed a true poet of the Scandinavian symphony.
+
+Of the modern French we are loth to omit the symphonies of _Chausson_
+and of _Dukas_. In our own America it is a still harder problem. There
+is the masterly writing of a _Foote_; the older _Paine_ has never been
+fully valued in the mad race for novelty. It would have been a joy to
+include a symphony of rare charm by _Martinus van Gelder_.
+
+A critical work on modern art cannot hope to bestow a crown of laurels
+among living masters; it must be content with a view of active
+tendencies. The greatest classic has often come into the world amid
+least expectation. A critic in the year 1850 must need have omitted the
+Unfinished Symphony, which was then buried in a long oblivion.
+
+The present author prefers to treat the main modern lines, considering
+the special work mainly as example. After all, throughout the realm of
+art the idea is greater than the poet, the whole art more than the
+artist,--though the particular enshrinement in enduring design may
+reflect a rare personality.
+
+PHILIP H. GOEPP.
+
+NOTE: Especial thanks are owed to the Philadelphia Orchestra for a free
+use of its library, and to Messrs. G. Schirmer Company for a like
+courtesy.--P.H.G.
+
+
+
+
+CONTENTS
+
+
+CHAPTER I.--The Symphony during the Nineteenth Century
+
+CHAPTER II.--Berlioz and Liszt
+
+CHAPTER III.--Berlioz. "Romeo and Juliet." Dramatic Symphony
+
+CHAPTER IV.--A Symphony to Dante's "Divina Commedia"
+
+CHAPTER V.--The Symphonic Poems of Liszt
+  "Les Préludes"
+  "Tasso"
+  "Mazeppa"
+  "Battle of the Huns"
+
+CHAPTER VI.--The Symphonic Poems of Saint-Saëns
+  "Danse Macabre"
+  "Phaeton"
+  "The Youth of Hercules"
+  "Omphale's Spinning Wheel"
+
+CHAPTER VII.--César Franck
+  Symphony in D minor
+
+CHAPTER VIII.--D'Indy and the Followers of Franck
+  D'Indy's Second Symphony
+
+CHAPTER IX.--Débussy and the Innovators
+  "The Sea"--Débussy
+  "The Sorcerer's Apprentice"--Dukas
+
+CHAPTER X.--Tschaikowsky
+  Fourth Symphony
+  "Manfred" Symphony
+  Fifth Symphony
+
+CHAPTER XI.--The Neo-Russians
+  Balakirew. Symphony in C
+  Rimsky-Korsakow
+    "Antar" Symphony
+    "Schérézade." Symphonic Suite
+  Rachmaninow. Symphony in E minor
+
+CHAPTER XII.--Sibelius. A Finnish Symphony
+
+CHAPTER XIII.--Bohemian Symphonies
+  Smetana. Symphonic Poem: "The Moldau River"
+  Dvôrák. Symphony: "From the New World"
+
+CHAPTER XIV.--The Earlier Bruckner
+  Second Symphony
+  Fourth (Romantic) Symphony
+  Fifth Symphony
+
+CHAPTER XV.--The Later Bruckner
+  Ninth Symphony
+
+CHAPTER XVI.--Hugo Wolff
+  "Penthesilea." Symphonic Poem
+
+CHAPTER XVII.--Mahler
+  Fifth Symphony
+
+CHAPTER XVIII.--Richard Strauss. Symphonic Poems
+  "Death and Transfiguration"
+  "Don Juan"
+  "Till Eulenspiegel's Merry Pranks"
+  "Sinfonia Domestica"
+
+CHAPTER XIX.--Italian Symphonies
+  Sgambati. Symphony in D major
+  Martucci. Symphony in D minor
+
+CHAPTER XX.--Edward Elgar. An English Symphony
+
+CHAPTER XXI.--Symphonies in America
+  Henry Hadley. Symphony No. 3
+  Gustav Strube. Symphony in D minor
+  Chadwick. Suite Symphonique
+  Loeffler. "The Devil's Round." Symphonic Poem
+
+
+
+
+SYMPHONIES AND THEIR MEANING
+
+MODERN SYMPHONIES
+
+
+
+
+CHAPTER I
+
+THE SYMPHONY DURING THE NINETEENTH CENTURY
+
+
+After the long dominance of German masters of the musical art, a
+reaction could not fail to come with the restless tendencies of other
+nations, who, having learned the lesson, were yet jealous of foreign
+models and eager to utter their own message. The later nineteenth
+century was thus the age of refraction of the classic tradition among
+the various racial groups that sprang up with the rise of the national
+idea. We can see a kind of beginning in the Napoleonic destruction of
+feudal dynasties. German authority in music at the beginning of the
+century was as absolute as Roman rule in the age of Augustus. But the
+seed was carried by teachers to the various centres of Europe. And, with
+all the joy we have in the new burst of a nation's song, there is no
+doubt that it is ever best uttered when it is grounded on the lines of
+classic art. Here is a paramount reason for the strength of the modern
+Russian school. With this semi-political cause in mind it is less
+difficult to grasp the paradox that with all the growth of
+intercommunication the music of Europe moves in more detached grooves
+to-day than two centuries ago. The suite in the time of Bach is a
+special type and proof of a blended breadth and unity of musical thought
+in the various nations of Europe of the seventeenth century. In the
+quaint series of dances of the different peoples, with a certain
+international quality, one sees a direct effect of the Thirty Years'
+War,--the beneficent side of those ill winds and cruel blasts, when all
+kinds of nations were jostling on a common battle-ground. And as the
+folk-dances sprang from the various corners of Europe, so different
+nations nursed the artistic growth of the form. Each would treat the
+dances of the other in its own way, and here is the significance of
+Bach's separate suites,--English, French and German.
+
+Nationalism seems thus a prevailing element in the music of to-day, and
+we may perceive two kinds, one spontaneous and full of charm, the other
+a result of conscious effort, sophisticated in spirit and in detail. It
+may as well be said that there was no compelling call for a separate
+French school in the nineteenth century as a national utterance. It
+sprang from a political rather than an artistic motive; it was the itch
+of jealous pride that sharply stressed the difference of musical style
+on the two sides of the Rhine. The very influence of German music was
+needed by the French rather than a bizarre invention of national traits.
+The broader art of a Saint-Saëns here shines in contrast with the
+brilliant conceits of his younger compatriots, though it cannot be
+denied that the latter are grounded in classic counterpoint. With other
+nations the impulse was more natural: the racial song of the
+Scandinavians, Czechs and other Slavs craved a deliverance as much as
+the German in the time of Schubert. In France, where music had long
+flourished, there was no stream of suppressed folk-song.
+
+But the symphony must in the natural course have suffered from the very
+fulness of its own triumph. We know the Romantic reaction of Schumann,
+uttered in smaller cyclic forms; in Berlioz is almost a complete
+abandonment of pure music, devoid of special description. Liszt was one
+of the mighty figures of the century, with all the external qualities of
+a master-genius, shaking the stage of Europe with the weight of his
+personality, and, besides, endowed with a creative power that was not
+understood in his day. With him the restless tendency resulted in a new
+form intended to displace the symphony: the symphonic poem, in a single,
+varied movement, and always on a definite poetic subject. Here was at
+once a relief and a recess from the classic rigor. Away with sonata form
+and all the odious code of rules! In the story of the title will lie all
+the outline of the music.
+
+Yet in this rebellious age--and here is the significance of the
+form--the symphony did not languish, but blossomed to new and varied
+flower. Liszt turned back to the symphony from his new-fangled device
+for his two greatest works. It has, indeed, been charged that the
+symphony was accepted by the Romantic masters in the spirit of a
+challenge. Mendelssohn and even Schumann are not entirely free from such
+a suspicion. Nevertheless it remains true that all of them confided to
+the symphony their fairest inspiration. About the middle of the century,
+at the high point of anti-classical revolt, a wonderful group of
+symphonies, by Berlioz, Mendelssohn, Schumann, and Liszt, were presented
+to the world. With the younger Brahms on a returning wave of
+neo-classicism the form became again distinctively a personal choice.
+Finally, in the spontaneous utterance of a national spirit on broad
+lines, as in the later Russian and Finnish examples, with the various
+phases of surging resolution, of lyric contemplation and of rollicking
+humor, the symphony has its best sanction in modern times.
+
+To return to the historical view, the course of the symphony during the
+century cannot be adequately scanned without a glance at the music-drama
+of Richard Wagner. Until the middle of the century, symphony and opera
+had moved entirely in separate channels. At most the overture was
+affected, in temper and detail, by the career of the nobler form.
+
+The restless iconoclasm of a Liszt was now united, in a close personal
+and poetic league, with the new ideas of Wagner's later drama. Both men
+adopted the symbolic motif as their main melodic means; with both mere
+iteration took the place of development; a brilliant and lurid
+color-scheme (of orchestration) served to hide the weakness of intrinsic
+content; a vehement and hysteric manner cast into temporary shade the
+classic mood of tranquil depth in which alone man's greatest thought is
+born.
+
+But a still larger view of the whole temper of art in Europe of the
+later century is needed. We wander here beyond the fine distinctions of
+musical forms. A new wave of feeling had come over the world that
+violently affected all processes of thought. And strangely, it was
+strongest in the land where the great heights of poetry and music had
+just been reached. Where the high aim of a Beethoven and a Goethe had
+been proclaimed, arose a Wagner to preach the gospel of brute fate and
+nature, where love was the involuntary sequence of mechanical device and
+ended in inevitable death, all overthrowing the heroic idea that teems
+throughout the classic scores, crowned in a greatest symphony in praise
+of "Joy."
+
+Such was the intrinsic content of a "Tristan and Isolde" and the whole
+"Nibelungen-Ring," and it was uttered with a sensuous wealth of sound
+and a passionate strain of melody that (without special greatness of its
+own) dazzled and charmed the world in the dramatic setting of mediaeval
+legend. The new harmonic style of Wagner, there is good reason to
+suppose, was in reality first conceived by Liszt, whose larger works,
+written about the middle of the century, have but lately come to
+light.[A] In correspondence with this moral mutiny was the complete
+revolt from classic art-tradition: melody (at least in theory), the
+vital quality of musical form and the true process of a coherent thread,
+were cast to the winds with earlier poetic ideals.
+
+[Footnote A: The "Dante" Symphony of Liszt was written between 1847 and
+1855; the "Faust" Symphony between 1854 and 1857. Wagner finished the
+text of _Tristan und Isolde_ in 1857; the music was not completed until
+1859. In 1863 was published the libretto of the _Nibelungen-Ring_. In
+1864 Wagner was invited by King Ludwig of Bavaria to complete the work
+in Munich.]
+
+If it were ever true that a single personality could change an opposite
+course of thought, it must be held that Richard Wagner, in his own
+striking and decadent career, comes nearest to such a type. But he was
+clearly prompted and reinforced in his philosophy by other men and
+tendencies of his time. The realism of a Schopenhauer, which Wagner
+frankly adopted without its full significance (where primal will finds a
+redemption in euthanasia), led by a natural course of thought to
+Nietzsche's dreams of an overman, who tramples on his kind.
+
+In itself this philosophy had been more of a passing phase (even as
+Schopenhauer is lost in the chain of ethical sages) but for its strange
+coincidence with the Wagnerian music. The accident of this alliance gave
+it an overwhelming power in Germany, where it soon threatened to corrupt
+all the arts, banishing idealism from the land of its special
+haunts.[A] The ultimate weakness of the Wagnerian philosophy is that it
+finds in fatalism an excuse for the surrender of heroic virtue,--not in
+the spirit of a tragic truth, but in a glorification of the senses; just
+as in Wagner's final work, the ascetic, sinless type becomes a figure
+almost of ridicule, devoid of human reality. It is significant that with
+the revival of a sound art, fraught with resolute aspiration, is
+imminent a return to an idealistic system of philosophy.
+
+[Footnote A: In literature this movement is most marked, as may be seen
+by contrasting the tone of Goethe with that of Sudermann; by noting the
+decadence from the stories of a Chamisseau and Immermann to those of a
+Gottfried Keller; from the novels of Freytag to the latest of Frenssen
+and Arthur Schnitzler; from the poems of Heine to those of Hoffmansthal,
+author of the text of Strauss' later operas.
+
+Or, contrast merely the two typical dramas of love, Goethe's "Faust" and
+Wagner's "Tristan and Isolde."]
+
+In the musical art even of Germany the triumph was never complete. The
+famous feud of Brahms and Wagner partisans marked the alignment of the
+classical and radical traditions. Throughout the second half of the
+century the banner of a true musical process was upheld; the personal
+meeting of the youthful Brahms with the declining Schumann is
+wonderfully significant, viewed as a symbol of this passing of the
+classic mantle. And the symphonies of Gustav Mahler seem an assurance of
+present tendencies. The influence of Bach, revived early in the century,
+grew steadily as a latent leaven.
+
+Nevertheless in the prevailing taste and temper of present German
+music, in the spirit of the most popular works, as those of Richard
+Strauss (who seems to have sold his poetic birthright), the aftermath of
+this wave is felt, and not least in the acclaim of the barren symphonies
+of a Bruckner. It is well known that Bruckner, who paid a personal
+homage to Wagner, became a political figure in the partisan dispute,
+when he was put forth as the antagonist of Brahms in the symphony. His
+present vogue is due to this association and to his frank adoption of
+Wagner idiom in his later works, as well as, more generally, to the
+lowered taste in Germany.
+
+In all this division of musical dialect, in the shattering of the
+classic tower among the diverse tongues of many peoples, what is to be
+the harvest? The full symbol of a Babel does not hold for the tonal art.
+Music is, in its nature, a single language for the world, as its
+alphabet rests on ideal elements. It has no national limits, like prose
+or poetry; its home is the whole world; its idiom the blended song of
+all nations.
+
+In such a view there is less hope in the older than in the newer world.
+No single, limited song of one nation can in the future achieve a second
+climax of the art. It is by the actual mingling of them all that the
+fairest flower and fruit must come. The very absence of one prevailing
+native song, held a reproach to America, is in reality her strength; for
+hers is the common heritage of all strains of song. And it may be her
+destiny to lead in the glorious merging of them all.
+
+
+
+
+CHAPTER II
+
+BERLIOZ AND LISZT
+
+
+The path of progress of an art has little to do with mere chronology.
+For here in early days are bold spirits whose influence is not felt
+until a whole generation has passed of a former tradition. Nor are these
+patient pioneers always the best-inspired prophets; the mere fate of
+slow recognition does not imply a highest genius. A radical innovation
+may provoke a just and natural resistance. Again, a gradual yielding is
+not always due to the pure force of truth. Strange and oblique ideas may
+slowly win a triumph that is not wholly merited and may not prove
+enduring.
+
+To fully grapple with this mystery, we may still hold to the faith that
+final victory comes only to pure truth, and yet we may find that
+imperfect truth will often achieve a slow and late acceptance. The
+victory may then be viewed in either of two ways: the whole spirit of
+the age yields to the brilliant allurement, or there is an overweighing
+balance of true beauty that deserves the prize of permanence. Of such a
+kind were two principal composers of the symphony: Franz Liszt and
+Hector Berlioz. Long after they had wrought their greatest works, others
+had come and gone in truer line with the first masters, until it seemed
+these radical spirits had been quite rejected.
+
+Besides the masters of their own day, Schumann and Mendelssohn, a group
+of minor poets, like Raff and Goetz, appeared, and at last Brahms, the
+latest great builder of the symphony, all following and crowning the
+classical tradition.
+
+The slow reception of the larger works of Liszt strangely agrees with
+the startling resemblance of their manner to the Russian style that
+captivated a much later age. It seemed as if the spirit of the Hungarian
+was suddenly revived in a new national group. His humor wonderfully
+suited the restless and sensational temper of an age that began after
+his death.
+
+The very harmonies and passionate manner that influence modern audiences
+evoked a dull indifference in their own day.[A] They roused the first
+acclaim when presented in the more popular form of the music-drama. It
+may well be questioned whether Liszt was not the fountain source of the
+characteristic harmonies of Wagner's later opera.
+
+[Footnote A: Compare the similarity of the themes of the Faust Symphony
+of Liszt and of the _Pathétique_ of Tschaikowsky in the last chapter of
+vol. ii, "Symphonies and Their Meaning."]
+
+Historically considered, that is in their relation to other music
+preceding and following them, the symphonies of Liszt have striking
+interest. They are in boldest departure from all other symphonies, save
+possibly those of Berlioz, and they were prophetic in a degree only
+apparent a half-century later. If the quality of being ahead of his time
+be proof, instead of a symptom, of genius, then Liszt was in the first
+rank of masters. The use of significant motif is in both of his
+symphonies. But almost all the traits that startled and moved the world
+in Tschaikowsky's symphonies are revealed in this far earlier music: the
+tempestuous rage of what might be called an hysterical school, and the
+same poignant beauty of the lyric episodes; the sheer contrast, half
+trick, half natural, of fierce clangor and dulcet harmonies, all painted
+with the broad strokes of the orchestral palette. Doubly striking it is
+how Liszt foreshadowed his later followers and how he has really
+overshadowed them; not one, down to the most modern tone-painters, has
+equalled him in depth and breadth of design, in the original power of
+his tonal symbols. It seems that Liszt will endure as the master-spirit
+in this reactionary phase of the symphony.
+
+Berlioz is another figure of a bold innovator, whose career seemed a
+series of failures, yet whose music will not down. His art was centred
+less upon the old essentials, of characteristic melody and soul-stirring
+harmonies, than upon the magic strokes of new instrumental grouping,--a
+graphic rather than a pure musical purpose. And so he is the father not
+only of the modern orchestra, but of the fashion of the day that revels
+in new sensations of startling effects, that are spent in portraying the
+events of a story.
+
+Berlioz was the first of a line of _virtuosi_ of the orchestra, a
+pioneer in the art of weaving significant strains,--significant, that
+is, apart from the music. He was seized with the passion of making a
+pictured design with his orchestral colors. Music, it seems, did not
+exist for Berlioz except for the telling of a story. His symphony is
+often rather opera. A symphony, he forgot, is not a musical drama
+without the scenery. This is just what is not a symphony. It is not the
+literal story, but the pure musical utterance. Thus Berlioz's "Romeo and
+Juliet" symphony is in its design more the literal story than is
+Shakespeare's play. And yet there is ever a serious nobility, a heroic
+reach in the art of Berlioz, where he stands almost alone among the
+composers of his race. Here, probably, more than in his pictured
+stories, lies the secret of his endurance. He was, other than his
+followers, ever an idealist. And so, when we are on the point of
+condemning him as a scene-painter, we suddenly come upon a stretch of
+pure musical beauty, that flowed from the unconscious rapture of true
+poet. As the bee sucks, so may we cull the stray beauty and the more
+intimate meaning, despite and aside from this outer intent.
+
+
+
+
+CHAPTER III
+
+BERLIOZ. "ROMEO AND JULIET."
+
+_DRAMATIC SYMPHONY_
+
+
+In the sub-title we see the growing impulse towards graphic music. A
+"dramatic symphony" is not promising. For, if music is the most
+subjective expression of the arts, why should its highest form be used
+to dramatize a drama? Without the aid of scene and actors, that were
+needed by the original poet, the artisan in absolute tones attempts his
+own theatric rendering. Clearly this symphony is one of those works of
+art which within an incongruous form (like certain ancient pictures)
+affords episodes of imperishable beauty.
+
+Passing by the dramatic episodes that are strung on the thread of the
+story, we dwell, according to our wont, on the stretches where a pure
+musical utterance rises to a lofty height of pathos or of rarest
+fantasy.
+
+In the first scene of the Second Part is the clear intent of a direct
+tonal expression, and there is a sustained thread of sincere sentiment.
+The passion of Romeo shines in the purity rather than in the intensity
+of feeling. The scene has a delicate series of moods, with subtle
+melodic touches and dramatic surprises of chord and color. The whole
+seems a reflection of Romeo's humor, the personal (_Allegro_) theme
+being the symbol as it roams throughout the various phases,--the sadness
+of solitude, the feverish thrill of the ball. Into the first phrase of
+straying violins wanders the personal motive, sadly meditative.
+
+[Music: _Allegro._
+(Choir of wood, with sustained chords of strings)]
+
+Sweeter dreams now woo the muser, warming into passion, pulsing with a
+more eager throb of desire, in changed tone and pace. Suddenly in a new
+quarter amid a quick strum of dance the main motive hurries along. The
+gay sounds vanish, ominous almost in the distance. The sadness of the
+lover now sings unrestrained in expressive melody (of oboe), in long
+swinging pace, while far away rumbles the beat of festive drum.
+
+The song rises in surging curves, but dies away among the quick festal
+sounds, where the personal motive is still supreme, chasing its own
+ardent antics, and plunges headlong into the swirl of dance.
+
+II Penseroso (in his personal rôle) has glided into a buoyant,
+rollicking Allegro with joyous answer. Anon the outer revel breaks in
+with shock almost of terror. And now in climax of joy, through the
+festal strum across the never-ceasing thread of transformed meditation
+resound in slowest, broadest swing the
+
+[Music: _Larghetto espressivo_
+(Ob. with fl. and cl. and arpeggic cellos)]
+
+warm tones of the love-song in triumph of bliss.[A] As the song dies
+away, the festal sounds fade. Grim meditation returns in double
+figure,--the slower, heavier pace below. Its shadows are all about as in
+a fugue of fears, flitting still to the tune of the dance and anon
+yielding before the gaiety. But through the returning festal ring the
+fateful motive is still straying in the bass. In the concluding revel
+the hue of meditation is not entirely banned.
+
+[Footnote A: In unison of the wind. Berlioz has here noted in the score
+"_Réunion des deux Thémes, du Larghetto et de L'Allegro_," the second
+and first of our cited phrases.]
+
+The Shakespearian love-drama thus far seems to be celebrated in the
+manner of a French romance. After all, the treatment remains scenic in
+the main; the feeling is diluted, as it were, not intensified by the
+music.
+
+The stillness of night and the shimmering moonlight are in the delicate
+harmonies of (_Allegretto_) strings. A lusty song of departing revellers
+breaks upon the scene. The former distant sounds of feast are now near
+and clear in actual words.
+
+[Music: _Adagio_
+(Muted strings)
+(_Pizz._ basses an 8ve. lower)]
+
+There is an intimate charm, a true glamor of love-idyll about the
+Adagio. On more eager pulse rises a languorous strain of horn and
+cellos. The flow
+
+[Music: (Horn and cellos with murmuring strings)]
+
+of its passionate phrase reaches the climax of prologue where, the type
+and essence of the story, it plays about the lovers' first meeting. As
+lower strings hum the burden of desire, higher wood add touches of
+ecstasy, the melting violins sing the wooing song, and all break into an
+overwhelming rapture, as though transfigured in the brightness of its
+own vehemence, in midst of a trembling mystery.
+
+The restless spirit starts (_allegro agitato_) in fearsome agitation on
+quick nervous throb of melody; below, violas sing a soothing answer;
+there is a clear dialogue of wistful lovers.
+
+Instead of the classic form of several verses led by one dominant melody
+to varied paths and views, here almost in reverse we seem to fall from a
+broader lyric mood to a single note of sad yearning that
+
+[Music: (Fl. with Eng. horn an 8ve. below)
+(Muted violins with sustained lower strings)]
+
+grows out of the several strains. Upon such a motive a new melody sings.
+The delicate bliss of early love is all about, and in the lingering
+close the timid ecstasies of wooing phrase. But this is a mere prelude
+to the more highly stressed, vehement song of love that follows on the
+same yearning motive. Here is the crowning, summing phase of the whole
+poem, without a return to earlier melody save that, by significant
+touch, it ends in the same expressive turn as the former languorous
+song.
+
+The first melody does not reappear, is thus a kind of background of the
+scene. The whole is a dramatic lyric that moves from broader tune to a
+reiterated note of sad desire, driven to a splendid height of crowned
+bliss. The turbulence of early love is there; pure ardor in flaming
+tongues of ecstasy; the quick turn of mood and the note of omen of the
+original poem: the violence of early love and the fate that hangs over.
+
+Berlioz has drawn the subject of his Scherzo from Mercutio's speech in
+Scene 4 of the First Act of Shakespeare's tragedy. He has entitled it
+"Queen Mab, or the Fairy of Dreams," and clearly intends to portray the
+airy flight of Mab and her fairies. But we must doubt whether this, the
+musical gem of the symphony, has a plan that is purely graphic,--rather
+does it seem to soar beyond those concrete limits to an utterance of the
+sense of dreams themselves in the spirit of Mercutio's conclusion:
+
+          "... I talk of dreams
+    Which are the children of an idle brain,
+    Begot of nothing but vain fantasy;
+    Which is as thin of substance as the air;"
+
+And we may add, as elusive for the enchanted mind to hold are these
+pranks and brilliant parade of tonal sprites. It stands one of the
+masterpieces of program-music, in equal balance of pure beauty with the
+graphic plan.
+
+Imps they are, these flitting figures, almost insects with a
+personality. In pace there is a division, where the first dazzling
+speed is simply the fairy rhythm (halted anon by speaking pauses or
+silences), and the second, a kind of idyll or romance in miniature. It
+is all a drama of fairy actors, in a dreamland of softest tone. The main
+figure leads its troop on gossamer thread of varied journey.
+
+[Music: (Violins) _Prestissimo_]
+
+Almost frightening in the quickest, pulsing motion is the sudden
+stillness, as the weird poising of trembling sprites. Best of all is the
+resonant beauty of the second melody in enchanting surprise of tone.
+
+[Music: (Strings without basses)]
+
+Anon, as in a varied dance, the skipping, mincing step is followed by a
+gentle swaying; or the figures all run together down the line to start
+the first dance again, or the divided groups have different motions, or
+one shouts a sudden answer to the other.
+
+Much slower now is the main song (in flute and English horn) beneath an
+ariel harmony (of overtones), while a quicker trip begins below of the
+same figure. And in the midst is a strange concert of low dancing
+strings with highest tones of harp,--strange mating of flitting sprites.
+
+We are suddenly back in the first, skipping dance, ever faster and
+brighter in dazzling group of lesser figures. And here is the golden
+note of fairy-land,--the horn in soft cheery hunter's lay, answered by
+echoing voices. For a moment the call is tipped with touch of sadness,
+then rings out brightly in a new quarter. Beautiful it sings between the
+quick phrases, with a certain shock of change, and there is the terror
+of a sudden low rumbling and the thrill of new murmuring sounds with
+soft beat of drum that hails the gathering fairies. There is a sudden
+clarion burst of the whole chorus, with clash of drum and clang of
+brass, and sudden pause, then faintest echoes of higher voices.
+
+A new figure now dances a joyous measure to the tinkling of harp and the
+sparkling strokes of high
+
+[Music: (Harp in higher 8ve.)
+(Clarinet with chord of horns)
+(Violas)]
+
+cymbals and long blown tone of horns. The very essence it is of fairy
+life. And so the joy is not unmixed with just a touch of awe. Amidst the
+whole tintinnabulation is a soft resonant echo of horns below, like an
+image in a lake. The air hangs heavy with dim romance until the sudden
+return to first fairy verse in sounds almost human. Once more come the
+frightening pauses.
+
+The end is in a great crash of sweet sound--a glad awakening to day and
+to reality.
+
+
+
+
+CHAPTER IV
+
+A SYMPHONY TO DANTE'S "DIVINA COMMEDIA"
+
+_FOR ORCHESTRA AND CHORUS OF SOPRANOS AND ALTOS_
+
+
+The "Divina Commedia" may be said in a broad view to belong to the great
+design by which Christian teaching was brought into relation with
+earlier pagan lore. The subject commands all the interest of the epics
+of Virgil and of Milton. It must be called the greatest Christian poem
+of all times, and the breadth of its appeal and of its art specially
+attest the age in which it was written, when classic pagan poetry broke
+upon the world like a great treasure-trove.
+
+The subject was an ideal one in Dante's time,--a theme convincing and
+contenting to all the world, and, besides, akin to the essence of pagan
+poetry. The poet was needed to celebrate all the phases of its meaning
+and beauty. This is true of all flashes of evolutionary truth. As in the
+ancient epics, an idea once real to the world may be enshrined in a
+design of immortal art.
+
+To-day we are perhaps in too agnostic a state to be absorbed by such a
+contemplation. The subject in a narrower sense is true at most to those
+who will to cherish the solace of a salvation which they have not fully
+apprehended. And so the Liszt symphony of the nineteenth century is not
+a complete reflection of the Dante poem of the fourteenth. It becomes
+for the devout believer almost a kind of church-liturgy,--a Mass by the
+Abbé Liszt.
+
+Rare qualities there undoubtedly are in the music: a reality of passion;
+a certain simplicity of plan; the sensuous beauty of melodic and
+harmonic touches. But a greatness in the whole musical expression that
+may approach the grandeur of the poem, could only come in a suggestion
+of symbolic truth; and here the composer seems to fail by a too close
+clinging to ecclesiastic ritual. Yet in the agony of remorse, rising
+from hopeless woe to a chastened worship of the light, is a strain of
+inner truth that will leave the work for a long time a hold on human
+interest.
+
+Novel is the writing of words in the score, as if they are to be sung by
+the instruments,--all sheer aside from the original purpose of the form.
+Page after page has its precise text; we hear the shrieks of the damned,
+the dread inscription of the infernal portals; the sad lament of lovers;
+the final song of praise of the redeemed. A kind of picture-book music
+has our symphony become. The _leit-motif_ has crept into the high form
+of absolute tones to make it as definite and dramatic as any opera.
+
+
+I. INFERNO
+
+The legend of the portal is proclaimed at the outset in a rising phrase
+(of the low brass and strings)
+
+[Music: (Doubled in two lower 8ves.)
+_Lento_
+(3 trombones and tuba: violas, cellos and brass)]
+
+    _Per me si va nella cit-ta do-lente;
+    Per me si va nell'eterno dolore;_
+
+and in still higher chant--
+
+    _Per me si va tra la perduta gente._
+
+Then, in antiphonal blast of horns and trumpets sounds the fatal doom in
+grim monotone (in descending harmony of trembling strings):
+
+[Music: (Chant in octaves of trumpets and horns)
+La-scia-te ogni spe-ran- - -za.
+(Brass, wood and _tremolo_ strings)]
+
+    _Lasciate ogni speranza mi ch' entrate!_[A]
+
+[Footnote A:
+
+    "Through me the way is to the city dolent;
+    Through me the way is to eternal dole;
+    Through me the way among the people lost.
+    All hope abandon, ye who enter in!"
+
+--_From Longfellow's translation._]
+
+A tumult on a sigh (from the first phrase) rises again and again in
+gusts. In a violent paroxysm we hear the doom of the monotone in lowest
+horns. The fateful phrases are ringing about, while pervading all is
+the hope-destroying blast of the brass. But the storm-centre is the
+sighing motive which now enters on a quicker spur of passionate stride
+(_Allegro frenetico, quasi doppio movimento_). In its winding
+
+[Music: _Alla breve_
+_Allegro frenetico (quasi doppio movimento)_
+(Theme in violins and cellos)
+(Woodwind and violas)]
+
+sequences it sings a new song in more regular pace. The tempest grows
+wilder and more masterful, still following the lines of the song, rising
+to towering height. And now in the strains, slow and faster, sounds the
+sigh above and below, all in a madrigal of woe. The whole is surmounted
+by a big descending phrase, articulate almost in its grim dogma, as it
+runs into the line of the first legend in full tumult of gloom. It is
+followed by the doom slowly proclaimed in thundering tones of the brass,
+in midst of a tempest of surging harmonies. Only it is all more fully
+and poignantly stressed than before, with long, resonant echoes of the
+stentorian tones of lowest brass.
+
+Suddenly we are in the dulcet mood (_Quasi Andante, ma sempre un poco
+mosso_) 'mid light waving strings and rich swirling harp, and soothing
+tones of flutes and muted horns. Then, as all other voices are hushed,
+the clarinet sings a strain that ends in lowest notes of expressive
+grief (_Recit., espressivo dolente_)--where we can almost hear the
+words. It is answered by a sweet plaint of other wood, in
+
+[Music: _Quasi Andante, ma sempre un poco mosso_
+_dolce teneremente_
+(Clarinets and bassoons)]
+
+questioning accents, followed by the returning waves of strings and
+harp, and another phrase of the lament; and now to the pulsing chords of
+the harp the mellow English horn does sing (at least in the score) the
+words,--the central text of all:
+
+[Music: _Poco agitato_
+(English horn, with arpeggic flow of harp)
+Nes-sun mag-gior do-lo-re che ri-cor-dar-si del tem-po fe-li-ce.[A]]
+
+[Footnote A: "There is no greater sorrow than to be mindful of the happy
+time in misery."--_From Longfellow's translation._]
+
+Other voices join the leader. As the lower reed start the refrain, the
+higher enter in pursuit, and then the two groups sing a melodic chase.
+But the whole phrase is a mere foil to the pure melody of the former
+plaint that now returns in lower strings. And all so far is as a herald
+to the passage of intimate sentiment (_Andante amoroso_) that lies a
+lyric gem in the heart of the symphony. The melting strain is stressed
+in tenderness by the languor of harmonies, the delicate design of
+elusive rhythm and the appealing whisper of harp and two
+violins,--tipped by the touch of mellow wood.
+
+[Music: _Andante amoroso. (Tempo rubato)_
+_dolce con intimo sentimento_
+(Melody in first violins; arpeggios of harp and violas;
+lower woodwind and strings)]
+
+With the rising passion, as the refrain spreads in wider sequences, the
+choirs of wood and strings are drawn into the song, one group answering
+the other in a true love duet.
+
+The last cadence falls into the old sigh as the dread oracle sounds once
+more the knell of hope. Swirling strings bring us to a new scene of the
+world of shades. In the furious, frenetic pace of yore (_Tempo primo,
+Allegro, alla breve_) there is a new sullen note, a dull martial trip
+of drums with demonic growls (in the lowest wood). The sigh is there,
+but perverted in humor. A chorus of blasphemous mockery is stressed by
+strident accents of lower wood and strings.[A]
+
+[Footnote A: We are again assisted by the interpreting words in the
+score.]
+
+Gradually we fall into the former frenzied song, amid the demon
+cacchinations, until we have plunged back into the nightmare of groans.
+Instead of the big descending phrase we sink into lower depths of gloom,
+wilder than ever, on the first tripping motive. As the sighing strain
+resounds below in the midst of a chorus of demon shrieks, there enters
+the chant of inexorable fate. Mockery yields to a tinge of pathos, a
+sense almost of majestic resignation, an apotheosis of grief.
+
+
+II. PURGATORIO
+
+A state of tranquillity, almost of bliss, is in the opening primal
+harmonies (of harp and strings and
+
+[Music: _Andante con moto quasi Allegretto. Tranquillo assai_
+(Oboe _molto espressivo_)
+_Sempre piano e legato_
+(Full arpeggic harp and muted strings)]
+
+soft horns). Indeed, what else could be the mood of relief from the
+horrors of hell? And lo! the reed strikes a pure limpid song echoed in
+turn by other voices, beneath a rich spray of heavenly harmonies.
+
+This all recurs in higher shift of tone. A wistful phrase (_piu lento_,
+in low strings) seems to breathe
+
+[Music: _Un poco meno mosso_
+(English horn, clarinets, bassoons, French horn)]
+
+a spoken sob. Then, as in voices of a hymn, chants a more formal liturgy
+of plaint where the phrase is almost lost in the lowest voice. It is all
+but articulate, with a sense of the old sigh; but it is in a calmer
+spirit, though anon bursting with passionate grief (_lagrimoso_).
+
+[Music: _Lamentoso_ (In fugue of muted strings)]
+
+And now in the same vein, of the same fibre, a fugue begins of lament,
+first in muted strings.
+
+It is the line of sad expressive recitative that heralded the plaint and
+the love-scene. There is here the full charm of fugue: a rhythmic
+quality of single theme, the choir of concerted dirge in independent
+and interdependent paths, and with every note of integral melody. There
+is the beauty of pure tonal architecture blended with the personal
+significance of the human (and divine) tragedy.
+
+The fugue begins in muted strings, like plaintive human voices, though
+wood and brass here and there light up the phrases. Now the full bass of
+horns and wood strikes the descending course of theme, while higher
+strings and wood soar in rising stress of (sighing) grief.
+
+[Music: (In double higher 8ves.)
+_With lower 8ves._
+(Strings, with enforcing and answering wind)]
+
+A hymnal verse of the theme enters in the wood answered by impetuous
+strings on a coursing phrase. The antiphonal song rises with eager
+stress of themal attack. A quieter elegy leads to another burst, the
+motive above, the insistent sigh below. The climax of fugue returns to
+the heroic main plaint below, with sighing answers above, all the voices
+of wood and brass enforcing the strings.
+
+Then the fugue turns to a transfigured phase; the theme rings triumphant
+retorts in golden horns and in a masterful unison of the wood; the wild
+answer runs joyfully in lower strings, while the higher are strumming
+like celestial harps. The whole is transformed to a big song of praise
+ever in higher harmonies. The theme flows on in ever varying thread,
+amidst the acclaiming tumult.
+
+But the heavenly heights are not reached by a single leap. Once more we
+sink to sombre depths not of the old rejection, but of a chastened,
+wistful wonderment. The former plaintive chant returns, in slower,
+contained pace, broken by phrases of mourning recitative, with the old
+sigh. And a former brief strain of simple aspiration is supported by
+angelic harps. In gentle ascent we are wafted to the acclaim of heavenly
+(treble) voices in the _Magnificat_. A wonderful utterance, throughout
+the scene of Purgatory, there is of a chastened, almost spiritual grief
+for the sin that cannot be undone, though it is not past pardon.
+
+The bold design of the final Praise of the Almighty was evidently
+conceived in the main as a service. An actual depiction, or a direct
+expression (such as is attempted in the prologue of Boito's Mefistofele)
+was thereby avoided. The Holy of Holies is screened from view by a
+priestly ceremony,--by the mask of conventional religion. Else we must
+take the composer's personal conception of such a climax as that of an
+orthodox Churchman. And then the whole work, with all its pathos and
+humanity, falls to the level of liturgy.
+
+The words of invisible angel-chorus are those of the blessed maid
+trusting in God her savior, on a theme for which we are prepared by
+preluding choirs of harps, wood and strings. It is sung on an ancient
+Church tone that in its height approaches the mode of secular song. With
+all the power of broad rhythm, and fulness of harmony and volume, the
+feeling is of conventional worship. With all the purity of shimmering
+harmonies the form is ecclesiastical in its main lines and depends upon
+liturgic symbols for its effect and upon the faith of the listener for
+its appeal.
+
+At the end of the hymn, on the entering _Hosanna!_ and _Hallelujah!_ we
+catch the sacred symbol (of seven tones) in the path of the two vocal
+parts, the lower descending, the higher ascending as on heavenly scale.
+In the second, optional ending the figure is completed, as the bass
+descends through the seven whole tones and the treble (of voices and
+instruments) rises as before to end in overpowering _Hallelujah!_ The
+style is close knit with the earlier music. A pervading motive is the
+former brief phrase of aspiration; upon it the angelic groups seem to
+wing their flight between verses of praise. By a wonderful touch the
+sigh, that appeared inverted in the plaintive chant of the _Purgatorio_,
+is finally glorified as the motive of the bass to the words of
+exultation.
+
+
+
+
+CHAPTER V
+
+THE SYMPHONIC POEMS OF LISZT
+
+
+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. Yet it must be
+yielded that Liszt's program-music was of the higher kind that dwells in
+symbols rather than in concrete details. It was a graphic plan of
+symbolization that led Liszt to choose the subjects of his symphonic
+poems (such as the "Préludes" and the "Ideals") and to prefer the poetic
+scheme of Hugo's "Mazeppa" to the finer verse of a Byron. Though not
+without literal touches, Liszt perceived that his subjects must have a
+symbolic quality.
+
+Nevertheless this pictorial style led to a revolution in the very nature
+of musical creation and to a new form which was seemingly intended to
+usurp the place of the symphony. It is clear that the symphonic poem is
+in very essence opposed to the symphony. The genius of the symphony lies
+in the overwhelming breadth and intensity of its expression without the
+aid of words. Vainly decried by a later age of shallower perception, it
+achieved this Promethean stroke by the very magic of the design. At one
+bound thus arose in the youngest art a form higher than any other of
+human device,--higher than the epic, the drama, or the cathedral.
+
+Bowing to an impatient demand for verbal meaning, Liszt invented the
+Symphonic Poem, in which the classic cogency yielded to the loose thread
+of a musical sketch in one movement, slavishly following the sequence of
+some literary subject. He abandoned sheer tonal fancy, surrendering the
+magic potency of pure music, fully expressive within its own design far
+beyond the literal scheme.[A]
+
+[Footnote A: Mendelssohn with perfect insight once declared,--"Notes
+have as definite a meaning as words, perhaps even a more definite one."]
+
+The symphonic poems of Liszt, in so far as his intent was in destructive
+reaction to the classic process, were precisely in line with the drama
+of Wagner. The common revolt completely failed. The higher, the real
+music is ever of that pure tonal design where the fancy is not leashed
+to some external scheme. Liszt himself grew to perceive the inadequacy
+of the new device when he returned to the symphony for his greatest
+orchestral expression, though even here he never escaped from the thrall
+of a literal subject.
+
+And strangely, in point of actual music, we cannot fail to find an
+emptier, a more grandiose manner in all these symphonic poems than in
+the two symphonies. It seems as if an unconscious sense of the greater
+nobility of the classic medium drove Liszt to a far higher inspiration
+in his melodic themes.
+
+Yet we cannot deny the brilliant, dazzling strokes, and the luscious
+harmonies. It was all a new manner, and alone the novelty is welcome,
+not to speak of the broad sweep of facile melody, and the sparkling
+thrills.
+
+
+_LES PRÉLUDES_
+
+This work has a preface by the composer, who refers in a footnote to the
+"_Méditations poétiques_" of Lamartine.
+
+"What else is our life than a series of preludes to that unknown song of
+which the first solemn note is struck by death? Love is the morning glow
+of every heart; but in what human career have not the first ecstasies of
+bliss been broken by the storm, whose cruel breath destroys fond
+illusions, and blasts the sacred shrine with the bolt of lightning. And
+what soul, sorely wounded, does not, emerging from the tempest, seek to
+indulge its memories in the calm of country life? Nevertheless, man will
+not resign himself for long to the soothing charm of quiet nature, and
+when the trumpet sounds the signal of alarm, he runs to the perilous
+post, whatever be the cause that calls him to the ranks of war,--that he
+may find in combat the full consciousness of himself and the command of
+all his powers."
+
+How far is the music literally graphic? We cannot look for the "unknown
+song" in definite sounds. That would defeat, not describe, its
+character. But the first solemn notes, are not these the solemn rising
+phrase that reappears in varying rhythm and pace all about the beginning
+and, indeed, the whole course
+
+[Music: _Andante_
+(Strings, doubled in two lower 8ves.)]
+
+of the music. Just these three notes abound in the mystic first
+"prelude," and they are the core of the great swinging tune of the
+Andante maestoso, the beginning and main pulse of the unknown song.
+
+[Music: _Andante maestoso_
+(Basses of strings, wood and brass, doubled below; arpeggic
+harmonies in upper strings; sustained higher wood)]
+
+Now (_dolce cantando_) is a softer guise of the phrase. For death and
+birth, the two portals, are like
+
+[Music: (Strings, with arpeggic violins)
+_dolce cantando_
+(_Pizz._ basses)]
+
+elements. Even here the former separate motive sounds, and so in the
+further turn of the song (_espressivo dolente_) on new thread.
+
+The melody that sings (_espressivo ma tranquillo_) may well stand for
+"love, the glow of dawn in every heart." Before the storm, both great
+motives (of love and death) sound together very beautifully, as in
+
+[Music: _espress. ma tranquillo_
+_dolce._
+(Horns and lower strings, with arpeggic harp and violins)]
+
+Tennyson's poem. The storm that blasts the romance begins with the same
+fateful phrase. It is all about, even inverted, and at the crisis it
+sings with the fervor of full-blown song. At the lull the soft guise
+reappears, faintly, like a sweet memory.
+
+The Allegretto pastorale is clear from the preface. After we are lulled,
+soothed, caressed and all but entranced by these new impersonal sounds,
+then, as if the sovereign for whom all else were preparing, the song of
+love seeks its recapitulated verse. Indeed here is the real full song.
+Is it that in the memory lies the reality, or at least the realization?
+
+Out of the dream of love rouses the sudden alarm of brass (_Allegro
+marziale animato_), with a new war-tune fashioned of the former soft
+disguised motive. The air of fate still hangs heavy over all. In
+spirited retorts the martial madrigal proceeds, but it is not all mere
+war and courage. Through the clash of strife break in the former songs,
+the love-theme in triumph and the first expressive strain in tempestuous
+joy. Last of all the fateful original motto rings once more in serene,
+contained majesty.
+
+On the whole, even with so well-defined a program, and with a full play
+of memory, we cannot be quite sure of a fixed association of the motive.
+It is better to view the melodic episodes as subjective phases, arising
+from the tenor of the poem.
+
+
+_TASSO_
+
+Liszt's "Tasso" is probably the earliest celebration, in pure tonal
+form, of the plot of man's suffering and redemption, that has been so
+much followed that it may be called the type of the modern symphony.[A]
+In this direct influence the "Tasso" poem has been the most striking of
+all of Liszt's creations.
+
+[Footnote A: We may mention such other works of Liszt as "Mazeppa" and
+the "Faust" Symphony; the third symphony of Saint-Saëns; Strauss' tone
+poem "Death and Transfiguration"; Volbach's symphony, besides other
+symphonies such as a work by Carl Pohlig. We may count here, too, the
+Heldenlied by Dvôrák, and Strauss' Heldenleben (see Vol. II).]
+
+The following preface of the composer accompanies the score:
+
+     "In the year 1849 the one hundredth anniversary of Goethe's birth
+     was celebrated throughout Germany; the theatre in Weimar, where we
+     were at the time, marked the 28th of August by a performance of
+     'Tasso.'
+
+     "The tragic fate of the unfortunate bard served as a text for the
+     two greatest poets produced by Germany and England in the last
+     century: Goethe and Byron. Upon Goethe was bestowed the most
+     brilliant of mortal careers; while Byron's advantages of birth and
+     of fortune were balanced by keenest suffering. We must confess that
+     when bidden, in 1849, to write an overture for Goethe's drama, we
+     were more immediately inspired by Byron's reverential pity for the
+     shades of the great man, which he invoked, than by the work of the
+     German poet. Nevertheless Byron, in his picture of Tasso in prison,
+     was unable to add to the remembrance of his poignant grief, so
+     nobly and eloquently uttered in his 'Lament,' the thought of the
+     'Triumph' that a tardy justice gave to the chivalrous author of
+     'Jerusalem Delivered.' We have sought to mark this dual idea in the
+     very title of our work, and we should be glad to have succeeded in
+     pointing this great contrast,--the genius who was misjudged during
+     his life, surrounded, after death, with a halo that destroyed his
+     enemies. Tasso loved and suffered at Ferrara; he was avenged at
+     Rome; his glory still lives in the folk-songs of Venice. These
+     three elements are inseparable from his immortal memory. To
+     represent them in music, we first called up his august spirit as he
+     still haunts the waters of Venice. Then we beheld his proud and
+     melancholy figure as he passed through the festivals of Ferrara
+     where he had produced his master-works. Finally we followed him to
+     Rome, the eternal city, that offered him the crown and glorified in
+     him the martyr and the poet.
+
+     "_Lamento e Trionfo_: Such are the opposite poles of the destiny
+     of poets, of whom it has been justly said that if their lives are
+     sometimes burdened with a curse, a blessing is never wanting over
+     their grave. For the sake not merely of authority, but the
+     distinction of historical truth, we put our idea into realistic
+     form in taking for the theme of our musical poem the motive with
+     which we have heard the gondoliers of Venice sing over the waters
+     the lines of Tasso, and utter them three centuries after the poet:
+
+    "'Canto l'armi pietose e'l Capitano
+    Che'l gran Sepolcro liberò di Christo!'
+
+     "The motive is in itself plaintive; it has a sustained sigh, a
+     monotone of grief. But the gondoliers give it a special quality by
+     prolonging certain tones--as when distant rays of brilliant light
+     are reflected on the waves. This song had deeply impressed us long
+     ago. It was impossible to treat of Tasso without taking, as it
+     were, as text for our thoughts, this homage rendered by the nation
+     to the genius whose love and loyalty were ill merited by the court
+     of Ferrara. The Venetian melody breathes so sharp a melancholy,
+     such hopeless sadness, that it suffices in itself to reveal the
+     secret of Tasso's grief. It lent itself, like the poet's
+     imagination, to the world's brilliant illusions, to the smooth and
+     false coquetry of those smiles that brought the dreadful
+     catastrophe in their train, for which there seemed to be no
+     compensation in this world. And yet upon the Capitol the poet was
+     clothed with a mantle of purer and more brilliant purple than that
+     of Alphonse."
+
+With the help of the composer's plot, the intent of the music becomes
+clear, to the dot almost of the note. The whole poem is an exposition of
+the one sovereign melody, where we may feel a kindred trait of Hungarian
+song, above all in the cadences, that must have stirred Liszt's patriot
+heart. Nay,--beginning as it does with melancholy stress of the phrase
+of cadence and the straying into full rhythmitic exultation, it seems
+(in strange guise) another
+
+[Music: _Adagio mesto_
+(With rhythmic harp and horns)]
+
+of Liszt's Hungarian rhapsodies,--that were, perhaps, the greatest of
+all he achieved, where his unpremeditated frenzy revelled in purest
+folk-rhythm and tune. The natural division of the Hungarian dance, with
+the sad _Lassu_ and the glad _Friss_, is here clear in order and
+recurrence. The Magyar seems to the manner born in both parts of the
+melody.[A]
+
+[Footnote A: A common Oriental element in Hungarian and Venetian music
+has been observed. See Kretschmar's note to Liszt's "Tasso" (Breitkopf &
+Haertel).]
+
+In the accents of the motive of cadence (_Lento_) we feel the secret
+grief of the hero, that turns _Allegro strepitoso_, in quicker pace to
+fierce revolt.
+
+In full tragic majesty the noble theme enters, in panoply of woe. In the
+further flow, as in the beginning, is a brief chromatic strain and a
+sigh of descending tone that do not lie in the obvious song, that are
+drawn by the subjective poet from the latent fibre. Here is the modern
+Liszt, of rapture and anguish, in manner and in mood that proved so
+potent a model with a later generation.[A]
+
+[Footnote A: See note in the final chapter of Volume II.]
+
+The verse ends in a prolonged threnody, then turns to a firm, serenely
+grave burst of the song in major, _Meno Adagio_, with just a hint of
+martial grandeur. For once, or the nonce, we seem to see the hero-poet
+acclaimed. In a middle episode the motive of the cadence sings
+expressively with delicate harmonies, rising to full-blown exaltation.
+We may see here an actual brief celebration, such as Tasso did receive
+on entering Ferrara.
+
+And here is a sudden fanciful turn. A festive dance strikes a tuneful
+trip,--a menuet it surely is, with all the ancient festal charm, vibrant
+with tune and spring, though still we do not escape the source of the
+first pervading theme. Out of the midst of the dance sings slyly an
+enchanting phrase, much like a secret love-romance. Now to the light
+continuing dance is joined a strange companion,--the heroic melody in
+its earlier majestic pace. Is it the poet in serious meditation at the
+feast apart from the joyous abandon, or do we see him laurel-crowned, a
+centre of the festival, while the gay dancers flit about him in homage?
+
+More and more brilliant grows the scene, though ever with the dominant
+grave figure. With sudden stroke as of fatal blast returns the earlier
+fierce burst of revolt, rising to agitation of the former lament,
+blending both moods and motives, and ending with a broader stress of the
+first tragic motto.
+
+Now, _Allegro con brio_, with herald calls of the brass and fanfare of
+running strings (drawn from the personal theme), in bright major the
+whole song bursts forth in brilliant gladness. At the height the
+exaltation finds vent in a peal of simple melody. The "triumph" follows
+in broadest, royal pace of the main song in the wind, while the strings
+are madly coursing and the basses reiterate the transformed motive of
+the cadence. The end is a revel of jubilation.
+
+
+_MAZEPPA_
+
+The Mazeppa music is based upon Victor Hugo's poem, in turn founded upon
+Byron's verse, with an added stirring touch of allegory.
+
+The verses of Hugo first tell how the victim is tied to the fiery
+steed, how--
+
+    "He turns in the toils like a serpent in madness,
+    And ... his tormentors have feasted in gladness
+        Upon his despair.
+
+           *       *       *       *       *
+
+    "They fly.--Empty space is behind and before them
+
+           *       *       *       *       *
+
+    "The horse, neither bridle nor bit on him feeling,
+    Flies ever; red drops o'er the victim are stealing:
+        His whole body bleeds.
+    Alas! to the wild horses foaming and champing
+    That followed with mane erect, neighing and stamping,
+        A crow-flight succeeds.
+    The raven, the horn'd owl with eyes round and hollow,
+    The osprey and eagle from battle-field follow,
+        Though daylight alarm.
+
+           *       *       *       *       *
+
+    "Then after three days of this course wild and frantic,
+    Through rivers of ice, plains and forests gigantic,
+        The horse sinks and dies;
+
+           *       *       *       *       *
+
+    "Yet mark! That poor sufferer, gasping and moaning,
+    To-morrow the Cossacks of Ukraine atoning,
+        Will hail as their King;
+
+           *       *       *       *       *
+
+    "To royal Mazeppa the hordes Asiatic
+    Will show their devotion in fervor ecstatic,
+        And low to earth bow."
+
+In his splendid epilogue the poet likens the hero to the mortal on whom
+the god has set his mark. He sees himself bound living to the fatal
+course of genius, the fiery steed.
+
+    "Away from the world--from all real existence
+    He is borne upwards, despite his resistance
+        On feet of steel.
+    He is taken o'er deserts, o'er mountains in legions,
+    Grey-hoary, thro' oceans, and into the regions
+        Far over the clouds;
+    A thousand base spirits his progress unshaken
+    Arouses, press round him and stare as they waken,
+        In insolent crowds
+
+           *       *       *       *       *
+
+    "He cries out with terror, in agony grasping,
+    Yet ever the mane of his Pegasus clasping,
+        They heavenward spring;
+    Each leap that he takes with fresh woe is attended;
+    He totters--falls lifeless--the struggle is ended--
+        And rises as King!"[A]
+
+[Footnote A: The English verses are taken for the most part from the
+translation of F. Corder.]
+
+The original _Allegro agitato_ in broad 6/4 time (aptly suggestive of
+the unbridled motion) grows
+
+[Music: (In brass and strings with lower 8ve.)
+(With constant clattering higher strings and
+chord of low wind on the middle beat)]
+
+more rapid into an _alla breve_ pace (in two beats), with dazzling maze
+of lesser rhythms. Throughout the work a song of primeval strain
+prevails. Here and there a tinge of foreshadowing pain appears, as the
+song sounds on high, _espressivo dolente_. But the fervor and fury of
+movement is undiminished. The brief touch of pathos soon merges in the
+general heroic mood. Later, the whole motion ceases, "the horse sinks
+and dies," and now an interlude sings a pure plaint (in the strain of
+the main motive). Then, _Allegro_, the martial note clangs in stirring
+trumpet and breaks into formal song of war, _Allegro marziale_.
+
+[Music: (Brass and strings)
+_Allegro marziale_
+(With lower 8ve.)]
+
+In the wake of this song, with a relentless trip and tramp of warrior
+hordes, is the real clash and jingle of the battle, where the sparkling
+thrill of strings and the saucy counter theme are strong elements in the
+stirring beauty.
+
+There is a touch here of the old Goth, or rather the Hun, nearer akin to
+the composer's race.
+
+At the height rings out the main tune of yore, transformed in triumphant
+majesty.
+
+The musical design embraces various phases. First is the clear rhythmic
+sense of the ride. We think of other instances like Schubert's
+"Erl-King" or the ghostly ride in Raff's "Lenore" Symphony.
+
+The degree of vivid description must vary, not only with the composer,
+but with the hearer. The greatest masters have yielded to the variety of
+the actual graphic touch. And, too, there are always interpreters who
+find it, even if it was never intended. Thus it is common to hear at the
+very beginning of the "Mazeppa" music the cry that goes up as starts the
+flight.
+
+We are of course entitled, if we prefer, to feel the poetry rather than
+the picture. Finally it is probably true that such a poetic design is
+not marred merely because there is here or there a trick of
+onomatopoeia; if it is permitted in poetry, why not in music? It may be
+no more than a spur to the fancy, a quick conjuring of the association.
+
+
+_HUNNENSCHLACHT--"THE BATTLE OF THE HUNS"_
+
+Liszt's symphonic poem, "Hunnenschlacht," one of the last of his works
+in this form, completed in 1857, was directly inspired by the picture of
+the German painter, Wilhelm Kaulbach, which represents the legend of the
+aerial battle between the spirits of the Romans and Huns who had fallen
+outside of the walls of Rome.[A]
+
+[Footnote A: A description of the picture is cited by Lawrence Gilman in
+his book, "Stories of Symphonic Music," as follows:
+
+"According to a legend, the combatants were so exasperated that the
+slain rose during the night and fought in the air. Rome, which is seen
+in the background, is said to have been the scene of this event. Above,
+borne on a shield, is Attila, with a scourge in his hand; opposite him
+Theodoric, King of the Visigoths. The foreground is a battle-field,
+strewn with corpses, which are seen to be gradually reviving, rising up
+and rallying, while among them wander wailing and lamenting women."]
+
+The evidence of the composer's intent is embodied in a letter written in
+1857 to the wife of the painter, which accompanied the manuscript of an
+arrangement of the music for two pianos. In the letter Liszt speaks of
+"the meteoric and solar light which I have borrowed from the painting,
+and which at the Finale I have formed into one whole by the gradual
+working up of the Catholic _choral_ 'Crux fidelis,' and the meteoric
+sparks blended therewith." He continues: "As I have already intimated to
+Kaulbach, in Munich, I was led by the musical demands of the material to
+give proportionately more place to the solar light of Christianity,
+personified in the Catholic _choral_ ... than appears to be the case in
+the glorious painting, in order to win and pregnantly represent the
+conclusion of the Victory of the Cross, with which I both as a Catholic
+and as a man could not dispense."
+
+The work begins _tempestuoso_ (_allegro non troppo_), with a nervous
+theme over soft rolling drums and
+
+[Music: _Tempestuoso. Allegro non troppo_
+(Bassoons with _tremolo_ cellos and roll of kettle-drums)]
+
+trembling low strings, that is taken up as in fugue by successive groups
+and carried to a height where enters a fierce call of the horns. The
+cries of battle spread with increasing din and gathering speed. At the
+first climax the whole motion has a new energy, as the strings in
+feverish chase attack the quickened motive with violent stress. Later,
+though the motion has not lessened, the theme has returned to a
+semblance of its former pace, and again the cries of battle (in brass
+and wood) sound across its path.
+
+[Music: (Strings, _tremolo_, doubled above)
+(Horns)]
+
+In the hush of the storm the full-blown call to arms is heard in lowest,
+funereal tones. Of a sudden, though the speed is the same, the pace
+changes with a certain terror as of a cavalry attack. Presently amid the
+clattering tramp sounds the big hymn,--in the ancient rhythm that moves
+strangely out of the rut of even time.[A]
+
+[Footnote A: Quoted on the following page.]
+
+A single line of the hymn is followed by a refrain of the battle-call,
+and by the charge of horse that brings back the hymn, in high pitch of
+trumpets. And so recur the former phases of battle,--really of threat
+and preparation. For now begins the serious fray in one long gathering
+of speed and power. The first theme here grows to full melodic song,
+with extended answer, led by strepitous band of lower reed over a heavy
+clatter of strings. We are in a
+
+[Music: (Trombones with lower 8ve)
+_Marcato_]
+
+maze of furious charges and cries, till the shrill trumpet and the
+stentorian trombone strike the full call in antiphonal song. The tempest
+increases with a renewed charge of the strings, and now the more distant
+calls have a slower sweep. Later the battle song is in the
+basses,--again in clashing basses and trebles; nearer strike the broad
+sweeping calls.
+
+Suddenly over the hushed motion in soothing harmonies sings the hymn in
+pious choir of all the brass. Then the gathering speed and volume is
+merged in a majestic tread as of ordered array (_Maestoso assai;
+Andante_); a brief spirited prelude of martial motives is answered by
+the soft religious strains of the organ on the line of the hymn:
+
+    "Crux fidelis, inter omnes
+    Arbor una nobilis,
+    Nulla silva talem profert
+    Fronde, flore, germine.
+    Dulce lignum, dulces clavos,
+    Dulce pondus sustinet."[A]
+
+[Footnote A:
+
+    Faithful cross, among the trees
+    Thou the noblest of them all!
+    Forest ne'er doth grow a like
+    In leaf, in flower or in seed.
+    Blessed wood and blessed nails,
+    Blessed burden that it bears!]
+
+As in solemn liturgy come the answering phrases of the organ and the big
+chorus in martial tread. As the hymn winds its further course, violins
+entwine about the harmonies. The last line ends in expressive strain and
+warm line of new major tone,--echoed in interluding organ and violins.
+
+Suddenly a strict, solemn tread, with sharp stress of violins, brings a
+new song of the _choral_. Strings alone play here "with pious
+expression"; gradually reeds add support and ornament. A lingering
+phrase ascends on celestial harmonies. With a stern shock the plain hymn
+strikes in the reed, against a rapid course of strings, with fateful
+tread. In interlude sound the battle-cries of yore. Again the hymn ends
+in the expressive cadence, though now it grows to a height of power.
+
+Here a former figure (the first motive of the battle) reappears in a
+new guise of bright major,[A] in full, spirited stride, and leads once
+more to a blast of the hymn, with organ and all, the air in unison of
+trumpets and all the wood. The expressive cadence merges into a last
+fanfare of battle, followed by a strain of hymns and with reverberating
+Amens, where the organ predominates and holds long after all other
+sounds have ceased.
+
+[Footnote A: In the whole tonality we may see the "meteoric and solar
+light" of which the composer speaks in the letter quoted above.]
+
+
+
+
+CHAPTER VI
+
+THE SYMPHONIC POEMS OF SAINT-SAËNS
+
+
+There is something charming and even ideal in a complete versatility,
+quite apart from the depth of the separate poems, where there is a
+never-failing touch of grace and of distinction. The Philip Sydneys are
+quite as important as the Miltons, perhaps they are as great. Some poets
+seem to achieve an expression in a certain cyclic or sporadic career of
+their fancy, touching on this or that form, illuminating with an elusive
+light the various corners of the garden. Their individual expression
+lies in the _ensemble_ of these touches, rather than in a single
+profound revelation.
+
+A symptom of the eminence of Saint-Saëns in the history of French music
+lies in his attitude towards the art as a whole, especially of the
+German masters,--the absence of national bias in his perceptions. He was
+foremost in revealing to his countrymen the greatness of Bach, Beethoven
+and Schumann. Without their influence the present high state of French
+music can hardly be conceived.
+
+It is part of a broad and versatile mastery that it is difficult to
+analyze. Thus it is not easy to find salient traits in the art of M.
+Saint-Saëns. We are apt to think mainly of the distinguished beauty of
+his harmonies, until we remember his subtle counterpoint, or in turn
+the brilliancy of his orchestration. The one trait that he has above his
+contemporaries is an inbred refinement and restraint,--a thorough-going
+workmanship. If he does not share a certain overwrought emotionalism
+that is much affected nowadays, there is here no limitation--rather a
+distinction. Aside from the general charm of his art, Saint-Saëns found
+in the symphonic poem his one special form, so that it seemed Liszt had
+created it less for himself than for his French successor. A fine
+reserve of poetic temper saved him from hysterical excess. He never lost
+the music in the story, disdaining the mere rude graphic stroke; in his
+dramatic symbols a musical charm is ever commingled. And a like poise
+helped him to a right plot and point in his descriptions. So his
+symphonic poems must ever be enjoyed mainly for the music, with perhaps
+a revery upon the poetic story. With a less brilliant vein of melody,
+though they are not so Promethean in reach as those of Liszt, they are
+more complete in the musical and in the narrative effect.
+
+
+_DANSE MACABRE_
+
+Challenged for a choice among the works of the versatile composer, we
+should hit upon the _Danse Macabre_ as the most original, profound and
+essentially beautiful of all. It is free from certain lacks that one
+feels in other works, with all their charm,--a shallowness and almost
+frivolity; a facility of theme approaching the commonplace.
+
+There is here an eccentric quality of humor, a daemonic conceit that
+reach the height of other classic expression of the supernatural.
+
+The music is founded upon certain lines of a poem of _Henri Calais_
+(under a like title), that may be given as follows:
+
+          Zig-a-zig, zig-a-zig-a-zig,
+    Death knocks on the tomb with rhythmic heel.
+          Zig-a-zig, zig-a-zig-zig,
+    Death fiddles at midnight a ghostly reel.
+
+    The winter wind whistles, dark is the night;
+      Dull groans behind the lindens grow loud;
+    Back and forth fly the skeletons white,
+      Running and leaping each under his shroud.
+    Zig-a-zig-a-zig, how it makes you quake,
+    As you hear the bones of the dancers shake.
+
+           *       *       *       *       *
+
+    But hist! all at once they vanish away,
+    The cock has hailed the dawn of day.
+
+The magic midnight strokes sound clear and sharp. In eager chords of
+tuned pitch the fiddling ghost summons the dancing groups, where the
+single fife is soon followed by demon violins.
+
+Broadly sings now the descending tune half-way between a wail and a
+laugh. And ever in interlude is the skipping, mincing step,--here of
+reeds answered by solo violin with a light clank of cymbals. Answering
+the summoning fifes, the unison troop of fiddlers dance the main step
+to bright strokes of triangle, then the main ghostly violin trips in
+with choir of wind. And broadly again sweeps the song between tears and
+
+[Music: _In waltz rhythm_
+(Flute)
+(Harp, with sustained bass note of strings)]
+
+smiles. Or Death fiddles the first strain of reel for the tumultuous
+answer of chorus.
+
+Now they build a busy, bustling fugue (of the descending song) and at
+the serious moment suddenly
+
+[Music: (Solo violin)
+_Largamente_
+(_Pizz._ strings)]
+
+they skip away in new frolicsome, all but joyous, tune: a shadowy
+counterfeit of gladness, where the sob hangs on the edge of the smile.
+As if it could no longer be contained, now pours the full passionate
+grief of the broad descending strain. Death fiddles his mournful chant
+to echoing, expressive wind. On the abandon of grief follows the revel
+of grim humor in pranks of mocking demons. All the strains are mingled
+in the ghostly bacchanale. The descending song is answered in opposite
+melody. A chorus of laughter follows the tripping dance. The summoning
+chords, acclaimed by chorus, grow to appealing song in a brief lull. At
+the height, to the united skipping dance of overpowering chorus the
+brass blows the full verse of descending song. The rest is a mad storm
+of carousing till ... out of the whirling darkness sudden starts the
+sharp, sheer call of prosaic day, in high, shrill reed. On a minishing
+sound of rolling drum and trembling strings, sings a brief line of
+wistful rhapsody of the departing spirit before the last whisking steps.
+
+
+_PHAETON_
+
+On a separate page between title and score is a "_Notice_,"--an epitome
+of the story of Phaeton, as follows:
+
+"Phaeton has been permitted to drive the chariot of the Sun, his father,
+through the heavens. But his unskilful hands frighten the steeds. The
+flaming chariot, thrown out of its course, approaches the terrestrial
+regions. The whole universe is on the verge of ruin when Jupiter strikes
+the imprudent Phaeton with his thunderbolt."
+
+There is a solemn sense at first (_Maestoso_), a mid-air poise of the
+harmony, a quick spring of resolution and--on through the heavens. At
+the outset and always is the pervading musical charm. In the beginning
+is the enchantment of mere motion in lightest prancing strings and harp
+with slowly ascending curve. In farther journey comes a spring of the
+higher wood and soon a firm note of horns and a blast of trumpets on a
+chirruping call, till the whole panoply of solar brilliance is
+shimmering. Now with the continuing pulse (of saltant strings) rings a
+buoyant,
+
+[Music: _Allegro animato_
+(Violins)
+_Marcato_ (Trumpets and trombones)]
+
+regnant air in the brass. A (canon) chase of echoing voices merely adds
+an entrancing bewilderment, then yields to other symbols and visions.
+
+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. Almost to Avernus seems the
+gliding fall when the first melody rings anew. But there is now an
+anxious sense that dims the joy of motion and in the
+
+[Music: (With trembling of violins in high B flat)
+(Horns)]
+
+returning first motive jars the buoyant spring. Through the maze of
+fugue with tinge of terror presses the fatuous chase, when--crash comes
+the shock of higher power. There is a pause of motion in the din and a
+downward flight as of lifeless figure.
+
+Now seems the soul of the sweet melody to sing, in purest dirge, without
+the shimmer of attendant motion save a ghostly shadow of the joyous
+symbol.
+
+
+_THE YOUTH OF HERCULES_
+
+The "Legend" is printed in the score as follows:
+
+"Fable tells us that upon entering into life Hercules saw the two paths
+open before him: of pleasure and of virtue.
+
+"Insensible to the seductions of Nymphs and Bacchantes, the hero devotes
+himself to the career of struggle and combat, at the end of which he
+glimpses across the flames of the funeral pyre the reward of
+immortality."
+
+We can let our fancy play about the score and wonderfully hit an
+intention of the poet. Yet that is often rather a self-flattery than a
+real perception. In the small touches we may lose the greater beauty.
+Here, after all, is the justification of the music. If the graphic
+picture is added, a little, only, is gained. The main virtue of it lies
+in our better grasp of the musical design.
+
+In the muted strings, straying dreamily in pairs, is a vague line of the
+motto,--a foreshadowing of the heroic idea, as are the soft calls of the
+wind with wooing harp a first vision of delight.
+
+[Music: _Allegro moderato_
+(Strings)]
+
+Now begins the main song in sturdy course of unmuted strings. The wood
+soon join in the rehearsing. But it is not all easy deciphering. The
+song wanders in gently agitated strings while the horns hold a solemn
+phrase that but faintly resembles the motto.[A] Lesser phrases play
+about the bigger in rising flight of aspiration, crowned at the height
+with a ray of glad light.
+
+[Footnote A: It is well to resist the vain search for a transnotation of
+the story. And here we see a virtue of Saint-Saëns himself, a national
+trait of poise that saved him from losing the music in the picture. His
+symphonic poems must be enjoyed in a kind of musical revery upon the
+poetic subject. He disdained the rude graphic stroke, and used dramatic
+means only where a musical charm was commingled.]
+
+As the dream sinks slowly away, the stern motto is buried in quick
+flashes of the tempting call. These are mere visions; now comes the
+scene itself of temptation.
+
+To ripples of harp the reed sings enchantingly in swaying rhythm; other
+groups in new surprise of
+
+[Music: (Flutes, oboe, clarinets and harp)]
+
+scene usurp the melody with the languishing answer, until one Siren
+breaks into an impassioned burst, while her sisters hold the dance.
+
+Straight upon her vanished echoes shrieks the shrill pipe of war, with
+trembling drum. We hear a yearning sigh of the Siren strain before it is
+swept away in the tide and tumult of strife. Beneath the whirl and
+motion, the flash and crash of arms, we have glimpses of the heroic
+figure.
+
+Here is a strange lay in the fierce chorus of battle-cries: the Siren
+song in bright insistence, changed to the rushing pace of war.
+
+The scene ends in a crash. Loud sings a solemn phrase; do we catch an
+edge of wistful regret? Now returns the sturdy course of the main
+heroic melody; only it is slower (_Andante sostenuto_), and the high
+stress of cadence is solemnly impassioned.
+
+As if to atone for the slower pace, the theme strikes into a lively
+fugue, with trembling strings (_Allegro animato_).
+
+There is an air of achievement in the relentless progress and the
+insistent recurrence of the masterful motive. An episode there is of
+mere striving and straining, before the theme resumes its vehement
+attack, followed by lusty echoes all about as of an army of heroes.
+There is the breath of battle in the rumbling basses and the shaking,
+quivering brass.
+
+At last the plain song resounds in simple lines of ringing brass, led by
+the high bugle.[A]
+
+[Footnote A: Saint-Saëns employs besides the usual 4 horns, 2 trumpets,
+3 trombones and tuba, a small bugle (in B-flat) and 2 cornets.]
+
+Yet the struggle, the inner combat, is not over. At the very moment of
+triumph sings on high over purling harp the mastering strain of Sirens,
+is buried beneath martial clash and emerges with its enchantment. But
+here the virile mood and motive gains the victory and strides on to
+final scene.
+
+We remember how Hercules built and ascended his own funeral pyre. In
+midst of quivering strings, with dashing harp and shrieking wood, a roll
+of drum and a clang of brass sounds the solemn chant of the trombone,
+descending in relentless steps. As the lowest is reached, there comes a
+spring of freedom in the pulsing figures, like the winging of a spirit,
+and a final acclaim in a brief line of the legend.
+
+
+_OMPHALE'S SPINNING WHEEL_
+
+Between title and score is this _Notice_:
+
+"The subject of this symphonic poem is feminine witchery, the triumphant
+struggle of weakness. The spinning wheel is a mere pretext, chosen from
+the point of view of rhythm and the general atmosphere of the piece.
+
+"Those persons who might be interested in a study of the details of the
+picture, will see ... the hero groaning in the toils which he cannot
+break, and ... Omphale mocking the vain efforts of Hercules."
+
+The versions of the story differ slightly. After the fulfilment of his
+twelve labors Hercules is ordered by the oracle to a period of three
+years' service to expiate the killing of the son of King Eurytus in a
+fit of madness. Hermes placed him in the household of Omphale, queen of
+Lydia, widow of Tmolus. Hercules is degraded to female drudgery, is
+clothed in soft raiment and set to spin wool, while the queen assumes
+the lion skin and club.
+
+In another version he was sold as slave to Omphale, who restored him to
+freedom. Their passion was mutual. The story has a likeness to a similar
+episode of Achilles.
+
+The spinning-wheel begins _Andante_ in muted strings alternating with
+flutes and gradually hurries into a lively motion. Here the horn accents
+the spinning, while another thread (of higher wood) runs through the
+graceful woof. A chain of alluring harmonies preludes the ensnaring
+song, mainly of woodwind above the humming strings, with soft dotting of
+the harmony by the horns. The violins, to be sure, often enforce the
+melody.
+
+[Music: _Andantino_
+(Fl. and muted violins)
+_Grazioso_
+(Strings, muted)]
+
+In the second verse, with fuller chorus, the harp adds its touches to
+the harmony of the horns, with lightest tap of tonal drum. Later a
+single note of the trumpet is answered by a silvery laugh in the wood.
+Between the verses proceeds the luscious chain of harmonies, as with the
+turning of the wheel.
+
+Now with the heavily expressive tones of low, unmuted strings and the
+sonorous basses of reed and brass (together with a low roll of drum and
+soft clash of cymbals) an heroic air sings in low strings and brass, to
+meet at each period a shower of notes from the harp. The song grows
+intense with the
+
+[Music: (Wood and _trem._ violins doubled above)
+(Horns)
+_espress. e pesante_
+(Cellos, basses, bassoons and trombone, doubled below)]
+
+added clang of trumpets and roll of drums,--only to succumb to the more
+eager attack of the siren chorus. At last the full effort of strength
+battling vainly with weakness reaches a single heroic height and sinks
+away with dull throbs.
+
+In soothing answer falls the caressing song of the high reed in the
+phrase of the heroic strain, lightly, quickly and, it seems, mockingly
+aimed. In gently railing triumph returns the pretty song of the wheel,
+with a new buoyant spring. Drums and martial brass yield to the laughing
+flutes, the cooing horns and the soft rippling harp with murmuring
+strings, to return like captives in the train at the height of the
+gaiety.
+
+
+
+
+CHAPTER VII
+
+CÉSAR FRANCK
+
+
+The new French school of symphony that broke upon the world in the
+latter part of the nineteenth century had its pioneer and true leader in
+César Franck.[A] It was he who gave it a stamp and a tradition.
+
+[Footnote A: If language and association, as against the place of birth,
+may define nationality, we have in César Franck another worthy
+expression of French art in the symphony. He was born at Liège in 1822;
+he died in 1890.]
+
+The novelty of his style, together with the lateness of his acclaim (of
+which it was the probable cause), have marked him as more modern than
+others who were born long after him.
+
+The works of Franck, in other lines of oratorio and chamber music, show
+a clear personality, quite apart from a prevailing modern spirit. A
+certain charm of settled melancholy seems to inhere in his wonted style.
+A mystic is Franck in his dominant moods, with a special sense and power
+for subtle harmonic process, ever groping in a spiritual discontent with
+defined tonality.
+
+A glance at the detail of his art discloses Franck as one of the main
+harmonists of his age, with Wagner and Grieg. Only, his harmonic manner
+was blended if not balanced by a stronger, sounder counterpoint than
+either of the others. But with all the originality of his style we
+cannot escape a sense of the stereotype, that indeed inheres in all
+music that depends mainly on an harmonic process. His harmonic ideas,
+that often seem inconsequential, in the main merely surprise rather than
+move or please. The enharmonic principle is almost too predominant,--an
+element that ought never to be more than occasional. For it is founded
+not upon ideal, natural harmony, but upon a conventional compromise, an
+expedient compelled by the limitation of instruments. This over-stress
+appears far stronger in the music of Franck's followers, above all in
+their frequent use of the whole tone "scale" which can have no other
+_rationale_ than a violent extension of the enharmonic principle.[A]
+With a certain quality of kaleidoscope, there is besides (in the
+harmonic manner of César Franck) an infinitesimal kind of progress in
+smallest steps. It is a dangerous form of ingenuity, to which the
+French are perhaps most prone,--an originality mainly in details.
+
+[Footnote A: Absolute harmony would count many more than the semitones
+of which our music takes cognizance. For purpose of convenience on the
+keyboard the semitonal raising of one note is merged in the lowering of
+the next higher degree in the scale. However charming for occasional
+surprise may be such a substitution, a continuous, pervading use cannot
+but destroy the essential beauty of harmony and the clear sense of
+tonality; moreover it is mechanical in process, devoid of poetic fancy,
+purely chaotic in effect. There is ever a danger of confusing the novel
+in art with new beauty.]
+
+And yet we must praise in the French master a wonderful workmanship and
+a profound sincerity of sentiment. He shows probably the highest point
+to which a style that is mainly harmonic may rise. But when he employs
+his broader mastery of tonal architecture, he attains a rare height of
+lofty feeling, with reaches of true dramatic passion.
+
+The effect, to be sure, of his special manner is somewhat to dilute the
+temper of his art, and to depress the humor. It is thus that the
+pervading melancholy almost compels the absence of a "slow movement" in
+his symphony. And so we feel in all his larger works for instruments a
+suddenness of recoil in the Finale.
+
+One can see in Franck, in analogy with his German contemporaries, an
+etherealized kind of "Tristan and Isolde,"--a "Paolo and Francesca" in a
+world of shades. Compared with his followers the quality of stereotype
+in Franck is merely general; there is no excessive use of one device.
+
+A baffling element in viewing the art of Franck is his remoteness of
+spirit, the strangeness of his temper. He lacked the joyous spring that
+is a dominant note in the classic period. Nor on the other hand did his
+music breathe the pessimism and naturalism that came with the last
+rebound of Romantic reaction. Rather was his vein one of high spiritual
+absorption--not so much in recoil, as merely apart from the world in a
+kind of pious seclusion. Perhaps his main point of view was the
+church-organ. He seems a religious prophet in a non-religious age. With
+his immediate disciples he was a leader in the manner of his art, rather
+than in the temper of his poetry.
+
+
+_SYMPHONY IN D MINOR_
+
+The scoring shows a sign of modern feeling in the prominence of the
+brasses. With all contrast of spirit, the analogy of Franck with the
+Liszt-Wagner school and manner is frequently suggestive.
+
+The main novelty of outer detail is the plan of merely three movements.
+Nor is there a return to the original form, without the Scherzo. To
+judge from the headings, the "slow" movement is absent. In truth, by way
+of cursory preamble, the chronic vein of César Franck is so ingrainedly
+reflective that there never can be with him an absence of the meditative
+phrase. Rather must there be a vehement rousing of his muse from a state
+of mystic adoration to rhythmic energy and cheer.[A]
+
+[Footnote A: The key of the work is given by the composer as D minor.
+The first movement alone is in the nominal key. The second (in B flat)
+is in the submediant, the last in the tonic major. The old manner in
+church music, that Bach often used, of closing a minor tonality with a
+major chord, was probably due to a regard for the mood of the
+congregation. An extension of this tradition is frequent in a long coda
+in the major. But this is quite different in kind from a plan where all
+of the last movement is in insistent major. We know that it is quite
+possible to begin a work at some distance from the main key, leading to
+it by tortuous path of modulation; though there is no reason why we may
+not question the composer's own inscription, the controlling point is
+really the whole tonal scheme. Here the key of the second movement is
+built on a design in minor,--would have less reason in the major. For it
+rests on a degree that does not exist in the tonic major. To be sure,
+Beethoven did invent the change to a lowered submediant in a succeeding
+movement. And, of course, the final turn to the tonic major is virtually
+as great a license.]
+
+_Lento_ in basses of the strings a strain sounds like a basic motive,
+answered with harmonies in the wood. In further strings lies the full
+tenor of quiet reflection, with sombre color of tonal scheme. Motives
+are less controlling probably in Franck than in any other
+symphonist,--less so, at any rate, than his one
+
+[Music: _Lento_]
+
+special mood and manner. Yet nowhere is the strict figural plot more
+faithful in detail than with César Franck.
+
+The theme has an entirely new ring and answer when it enters Allegro
+after the Lento prelude. The further course of the tune here is in
+eccentric, resolute stride in the descending scale. Our new answer is
+much evident in the bass. The Allegro seems a mere irruption; for the
+Lento prelude reappears in full solemnity. Indeed, with all the title
+and pace, this seems very like the virtual "slow" movement. A mood of
+rapt, almost melancholy absorption prevails, with rare flashes of joyous
+utterance, where the Allegro enters as if to break the thrall of
+meditation. A very striking inversion of the theme now appears. The
+gradual growth of phrases in melodious instalments is a trait of Franck
+(as it is of Richard Strauss). The rough motto at each turn has a new
+
+[Music: _Allegro non troppo_
+(Strings)
+(Wind)]
+
+phase and frequently is transfigured to a fresh tune. So out of the
+first chance counter-figures somehow spring beautiful melodies, where we
+feel the fitness and the relevance though we have not heard them before.
+It is a quality that Franck shares with Brahms, so that in a
+mathematical spirit we might care to deduce all the figures from the
+first phrase. This themal manner is quite analogous to the harmonic
+style of Franck,--a kaleidoscope of gradual steps, a slow procession of
+pale hues of tone that with strange aptness reflect the dim religious
+light of mystic musing.
+
+More and more expressive are the stages of the first figures until we
+have a duet _molto cantabile_ in the strings. Much of the charm of the
+movement lies in the balance of the new rhythms, the eccentric and the
+flowing. By some subtle path there grows a song
+
+[Music: _Allegro. Molto cantabile_]
+
+in big tones of unison, wood and strings and trumpets, that is the real
+hymnal refrain of the movement. Between this note almost of exultation
+and all shades of pious dreaming the mood is constantly shifting.
+
+[Music: _Allegro_]
+
+Another phrase rises also to a triumphant height (the clear reverse of
+the former tuneful melody) that comes now like a big _envoi_ of assuring
+message.
+
+Though the whole movement is evenly balanced between Allegro and
+Penseroso (so far as pace is concerned), the mood of reflection really
+finds full vent; it has no reason for a further special expression.
+
+Simple as the Allegretto appears in its suggestion of halting dance, the
+intent in the episodes is of the subtlest. The slow trip of strings and
+harp is soon given a new meaning with the melody of English horn.
+Throughout we are somehow divided between pure dance and a more
+thoughtful muse. In the first departure to an episode in major, seems to
+sing the essence of the former melody in gently murmuring strings, where
+later the whole chorus are drawn in. The song moves on clear thread and
+wing right out of the mood of the dance-tune; but the very charm lies in
+the mere outer change of guise. And so the second episode is still far
+from all likeness with the first dance beyond a least sense of the old
+trip that does appear here and there. It is all clearly a true scheme of
+variations, the main theme disguised beyond outer semblance, yet
+faithfully present throughout in the essential rhythm and harmony.
+
+In the Finale, _Allegro non troppo_, we are really clear, at the outset,
+of the toils of musing melancholy.
+
+[Music: _Allegro non troppo_
+_Dolce cantabile_]
+
+After big bursts of chords, a tune rolls pleasantly along, _dolce
+cantabile_, in basses of wood and strings. Expressive after-phrases
+abound, all in the same jolly mood, until the whole band break
+boisterously on the simple song, with a new sonorous phrase of basses.
+Then, in sudden remove, sounds the purest bit of melody of all the
+symphony, in gentlest tones
+
+[Music: _Dolce cantabile_
+(In the brass)]
+
+of brass (trumpet, trombone and tuba). But, though in complete recoil
+from the rhythmic energy of Allegro theme, it is even farther from the
+reflective mood than the latter. It shows, in this very contrast, the
+absence of the true lyric in the meditative vein, frequent with César
+Franck. The burst of melody blossoms ever fairer. In its later musing
+the tune browses in the bass. A waving phrase grows in the violins,
+which continues with strange evenness through the entrance of new song
+where we are surprised by the strange fitness of the Allegretto melody.
+And the second phase of the latter follows as if it belonged here. So,
+almost listless, without a hair of rhythmic change (_les temps ont
+toujours la même valeur_), the Finale theme sings again most softly in
+the strings. It has, to be sure, lost all of its color, without the
+original throb of accompanying sounds. The phase of the movement is a
+shadowy procession of former ideas, united in the dreamy haze that
+enshrouds them. The stir that now begins is not of the first pale hue of
+thought, rather the vein of big discussion, brewing a storm that breaks
+finally in full blast on the gentle melody (of the brass) transfigured
+in ringing triumph, in all the course of the song. Nor is the succeeding
+phase the mystic habit of our poet; it is a mere farther digestion of
+the meat of the melody that leads once more to a height of climax whence
+we return to first course of themes, tuneful afterphrase and all, with
+the old happy motion. The counterpoint here is the mere joyous ringing
+of many strains all about.
+
+Against all rules comes a new chorusing paean on the theme of
+Allegretto, led by stentorian basses, together with an enchanting
+after-strain, which we might have remarked before. And still another
+quarter, long hushed, is heard anew, as a voice sounds a faint reminder
+of the hymn of the first Allegro. Indeed, the combining strains before
+the close seem sprung all of one parental idea. The motto of the
+beginning sings in fittest answer to the latest phrases. The very maze
+of the concert forbids our turning to their first origin. The end is in
+joyous chanting of the Finale melody.
+
+
+
+
+CHAPTER VIII
+
+D'INDY AND THE FOLLOWERS OF FRANCK
+
+
+Perhaps the noblest essay in symphonic music of the followers of Franck
+is the second symphony of Vincent D'Indy.[A] His vein is indeed
+throughout nearest akin of all the disciples to the serious muse of the
+master.
+
+[Footnote A: Vincent d'Indy was born in Paris on March 27, 1852.]
+
+Though D'Indy is surpassed in a certain poetic originality by some of
+his compatriot contemporaries, there is in this symphony a breadth of
+design and detail, a clear melodic quality and a sustained lofty feeling
+that seem to mark it the typical French symphony of its time. The
+strength of the work lies in a unity that is not merely of figure and
+outline. If we must measure a symphony mainly by the slow movement, we
+cannot avoid, with all the languorous beauty, a certain conventionality
+of mood, stressed with an exotic use of the appoggiatura, while in the
+Scherzo is a refined savagery of modern cacophony.
+
+The directions are all in French; we are reminded of Schumann's
+departure from the Italian fashion.
+
+Each movement, save the third, has its prelude: a gathering of threads
+before the new story. The first notes of basses, together with the
+answer on high, sound a prophetic legend of the whole.
+
+The harmonic lucubrations are profoundly subtle. Indeed the very nature
+of the first phrase is of dim
+
+[Music: _Extrêmémént Lent._ (Woodwind)
+(Strings and harps)]
+
+groping; it ends in a climax of the answer and merges into the main song
+of the Allegro (_très vif_) in horns, with rapid trip of strings.
+
+[Music: _Très vif_ (Horns)
+(Strings)]
+
+Throughout (from a technical view) is a fine mastery of the device of
+ornamental notes, and secondary harmonies; there is also a certain
+modern sense of chords and their relations. Together with an infinite
+brilliance of these resources there is not only no weakness in cogency
+of form, but there is a rare unity of design. The movements are bound
+together, at least in themal relation, as strictly as in any symphony.
+While the first phrase of the Allegro theme may hark back to the answer
+of original motto, the second is the main thread of narrative.
+
+[Music: (Flutes, oboes and clarinets)
+_Sempre staccato_]
+
+Again and again is the climax rung on the first high note of the theme.
+Then, in lieu of cadence, out of a bright dissonance the quick notes
+dance upward in sturdy pace, the answer of the Allegro in sharp
+disguise. And then from the height descends a refreshing spray of
+subtlest discords, ending in another masterful burst of new harmony.
+
+The dainty, dazzling play is stopped by a rough thud of basses and a
+fierce clang of chords. In the sharp blare of brass on the ascending
+phrase is almost lost the original motto in lowest basses. It is now
+heard in gradually quickened speed, while the rising phrase runs more
+timidly. At last the quickened motto sinks gently into lulling motion,
+_un peu plus modéré_. Above, in strings and horns, the melody haunts us
+with a dim sense that takes us to the first languishing answer of the
+original legend. And the whole is strong-knit; for the very Allegro
+theme began in resolute mood of a like figure. A counter-strain rises to
+meet the main phrase. The whole episode is an intertwining of song in
+the vein of the first answer of motto.
+
+The quick rising notes suddenly return with snatches of the main motive,
+the chain of echoing phrases runs a gamut of moods, fitful, anxious,
+soothed, until the bright upward trip begins anew, with the enchanting
+burst of chord and descending harmonies. A climactic height is stressed
+by a rough meeting of opposing groups, in hostile tone and movement,
+ending in a trill of flutes and a reëntry of the episode.
+
+In the returning Allegro the thread is still the same, though richer in
+color and texture. Again there is the plunge into dark abyss, with
+shriek of harp, and the ominous theme in the depths. The slow ascending
+phrase here has a full song and sway. The end is in spirited duet of two
+quick motives.
+
+The second movement, _modérément lent_, begins in revery on the answer
+of original motive, and the stately pathos of the theme, in horns,
+clarinets and violas, with rhythmic strings, grows naturally out of the
+mood.
+
+_Plus animé_, in subtle change of pace (from 6/4 to 3/2), the episode
+begins with eccentric stride of harps (and added woodwind), that serves
+as a kind of
+
+[Music: _Modérément Lent._
+(Melody in horns, clarinets and violas)
+(Acc'd in strings)]
+
+accompanying figure and foil for the sweeping song of the real second
+melody (in oboe solo, succeeded by the clarinet).
+
+[Music: (Oboe solo)
+_Très espress._
+(Violins)
+(Acc't in bassoons, horns, harps and basses)]
+
+In the clash of themes and harmonies of the climax, the very limits of
+modern license seem to be invoked. Later the three themes are entwined
+in a passage of masterly counterpoint.
+
+There is a touch of ancient harmony in the delicate tune of third
+movement, which has the virtue of endless weaving. It is sung by solo
+violin, mainly supported by a choir of lower strings.
+
+A final conclusive line is given by the solo flute. Besides the constant
+course of varying tune, there is a power of ever changing harmony that
+seems to lie in some themes.
+
+[Music: _Modéré_
+(Viola solo)
+_Très simplement_]
+
+One can hardly call it all a Scherzo. It is rather an idyll after the
+pathos of the Andante. Or, from another view, reversing the usual order,
+we may find the quality of traditional Trio in the first melody and a
+bacchanale of wild humor in the middle. For, out
+
+[Music: _Très animé_
+(Woodwind and strings)]
+
+of a chance phrase of horns grows of all the symphony the boldest
+harmonic phrase (repeated through ten bars). Above rings a barbarous
+cry, in defiance of common time and rhythm.
+
+Suddenly we are surprised by the sound of the martial stride of the
+second theme of the Andante which moves on the sea of rough harmony as
+on a native element. One whim follows another. The same motion is all
+there, but as if in shadow, in softest sound, and without the jar of
+discord; then comes the fiercest clash of all, and now a gayest dance of
+the first tune, _assez vif_, in triple rhythm, various figures having
+their _pas seul_. A second episode returns, brilliant in high pace but
+purged of the former war of sounds. At the end is the song of the first
+tune, with new pranks and sallies.
+
+The beginning of the Finale is all in a musing review of past thoughts.
+The shadow of the last tune lingers, in slower pace; the ominous dirge
+of first motto sounds below; the soothing melody of the Andante sings a
+verse. In solemn fugue the original motto is reared from its timid
+phrase to masterful utterance, with splendid stride. Or
+
+[Music: _Modéré et solennel_
+(Cellos and basses)]
+
+rather the theme is blended of the first two phrases, merging their
+opposite characters in the new mood of resolution. The strings prepare
+for the sonorous entrance of woodwind and horns. One of the greatest
+fugal episodes of symphonies, it is yet a mere prelude to the real
+movement, where the light theme is drawn from a phrase of latest
+cadence. And the dim hue of minor which began the symphony, and all
+overspread the prelude, at last yields to the clear major. There is
+something of the struggle of shadow and light of the great third
+symphony of Brahms.
+
+The continuous round of the theme, in its unstable pace (of 5/4), has a
+strange power of motion, the feeling
+
+[Music: (Ob.)
+(Strings)]
+
+of old passacaglia. To be sure, it is the mere herald and companion of
+the crowning tune, in solo of the reeds.
+
+From the special view of structure, there is no symphony, modern or
+classic, with such an overpowering combination and resolution of
+integral themes in one movement. So almost constant is the derivation of
+ideas, that one feels they must be all related. Thus, the late rush of
+rhythm, in the Finale, is broken by a quiet verse where with enchanting
+subtlety we are carried back somewhere to the idyll of third movement.
+
+Above, rises another melody, and from its simple outline grows a fervor
+and pathos that, aside from the basic themes of the whole work, strike
+the main feeling of the Finale.
+
+[Music: _Un peu moins vite_]
+
+The martial trip from the Andante joins later in the return of the
+whirling rhythm. At last the motto strikes on high, but the appealing
+counter-melody is not easily hushed.
+
+[Music: (Ob.)
+(Cellos with _tremolo_ violins)]
+
+It breaks out later in a verse of exalted beauty and passion. The
+struggle of the two ideas reminds us of the Fifth Symphony. At last the
+gloom of the fateful motto is relieved by the return of the original
+answer, and we seem to see a new source of latest ideas, so that we
+wonder whether all the melodies are but guises of the motto and answer,
+which now at the close, sing in united tones a hymn of peace and bliss.
+
+
+
+
+CHAPTER IX
+
+DÉBUSSY AND THE INNOVATORS
+
+
+At intervals during the course of the art have appeared the innovators
+and pioneers,--rebels against the accepted manner and idiom. The mystery
+is that while they seem necessary to progress they seldom create
+enduring works. The shadowy lines may begin somewhere among the Huebalds
+and other early adventurers. One of the most striking figures is Peri,
+who boldly, almost impiously, abandoned the contrapuntal style, the only
+one sanctioned by tradition, and set the dramatic parts in informal
+musical prose with a mere strumming of instruments.
+
+It is not easy to see the precise need of such reaction. The radical
+cause is probably a kind of inertia in all things human, by which the
+accepted is thought the only way. Rules spring up that are never wholly
+true; at best they are shifts to guide the student, inadequate
+conclusions from past art. The essence of an art can never be put in
+formulas. Else we should be content with the verbal form. The best
+excuse for the rule is that it is meant to guard the element of truth in
+art from meretricious pretence.
+
+And, we must not forget, Art progresses by slow degrees; much that is
+right in one age could not come in an earlier, before the intervening
+step.
+
+The masters, when they had won their spurs, were ever restive under
+rules.[A] Yet they underwent the strictest discipline, gaining early the
+secret of expression; for the best purpose of rules is liberation, not
+restraint. On the other hand they were, in the main, essentially
+conservative. Sebastian Bach clung to the older manner, disdaining the
+secular sonata for which his son was breaking the ground.
+
+[Footnote A: Some of the chance sayings of Mozart (recently edited by
+Kerst-Elberfeld) betray much contempt for academic study: "Learning from
+books is of no account. Here, here, and here (pointing to ear, head, and
+heart) is your school." On the subject of librettists "with their
+professional tricks," he says: "If we composers were equally faithful to
+our own rules (which were good enough when men knew no better), we
+should turn out just as poor a quality in our music as they in their
+librettos." Yet, elsewhere, he admits: "No one has spent so much pains
+on the study of composition as myself. There is hardly a famous master
+in music whom I have not read through diligently and often."]
+
+The master feels the full worth of what has been achieved; else he has
+not mastered. He merely gives a crowning touch of poetic message, while
+the lighter mind is busy with tinkering of newer forms. For the highest
+reaches of an art, the poet must first have grasped all that has gone
+before. He will not rebel before he knows the spirit of the law, nor
+spend himself on novelty for its own sake.
+
+The line between the Master and the Radical may often seem vague. For,
+the former has his Promethean strokes, all unpremeditated, compelled by
+the inner sequence,--as when Beethoven strikes the prophetic drum in the
+grim Scherzo of the Fifth Symphony; or in the Eroica when the horn
+sounds sheer ahead, out of line with the sustaining chorus; or when Bach
+leaps to his harmonic heights in organ fantasy and toccata; or Mozart
+sings his exquisite clashes in the G Minor Symphony.
+
+As the true poet begins by absorption of the art that he finds, his
+early utterance will be imitative. His ultimate goal is not the
+strikingly new but the eternally true. It is a question less of men than
+of a point of view.
+
+It seems sometimes that in art as in politics two parties are needed,
+one balancing the weaknesses of the other. As certain epochs are
+overburdened by the spirit of a past poet, so others are marred by the
+opposite excess, by a kind of neo-mania. The latter comes naturally as
+reaction from the former. Between them the poet holds the balance of
+clear vision.
+
+When Peri overthrew the trammels of counterpoint, in a dream of Hellenic
+revival of drama, he could not hope to write a master-work. Destructive
+rebellion cannot be blended with constructive beauty. An antidote is of
+necessity not nourishment. Others may follow the path-breaker and slowly
+reclaim the best of old tradition from the new soil. The strange part of
+this rebellion is that it is always marked by the quality of stereotype
+which it seeks to avoid. This is an invariable symptom. It cannot be
+otherwise; for the rejection of existing art leaves too few resources.
+Moreover, the pioneer has his eye too exclusively upon the mere manner.
+
+A wholesome reaction there may be against excess. When Gluck dared to
+move the hearts of his hearers instead of tickling their ears, he
+achieved his purpose by positive beauty, without actual loss. In this
+sense every work of art is a work of revolution. So Wagner, especially
+in his earlier dramas,[A] by sheer sincerity and poetic directness,
+corrected a frivolous tradition of opera. But when he grew destructive
+of melody and form, by theory and practice, he sank to the rôle of
+innovator, with pervading trait of stereotype, in the main merely adding
+to the lesser resources of the art. His later works, though they contain
+episodes of overwhelming beauty, cannot have a place among the permanent
+classics, alone by reason of their excessive reiteration.
+
+[Footnote A: The "Flying Dutchman," "Lohengrin" and "Tannhäuser" seemed
+destined to survive Wagner's later works.]
+
+One of the most charming instances of this iconoclasm is the music of
+Claude Débussy.[A] In a way we are reminded of the first flash of
+Wagner's later manner: the same vagueness of tonality, though with a
+different complexion and temper. Like the German, Débussy has his own
+novel use of instruments. He is also a rebel against episodic melody.
+Only, with Wagner the stand was more of theory than of practice. His
+lyric inspiration was here too strong; otherwise with Débussy. Each
+article of rebellion is more highly stressed in the French leader, save
+as to organic form, where the latter is far the stronger. And finally
+the element of mannerism cannot be gainsaid in either composer.[B]
+
+[Footnote A: Born in 1862.]
+
+[Footnote B: Some recurring traits Wagner and Débussy have in common,
+such as the climactic chord of the ninth. The melodic appoggiatura is as
+frequent in the earlier German as the augmented chord of the fifth in
+the later Frenchman.]
+
+Among the special traits of Débussy's harmonic manner is a mingling with
+the main chord of the third below. There is a building downward, as it
+were. The harmony, complete as it stands, seeks a lower foundation so
+that the plain tower (as it looked at first) is at the end a lofty
+minaret. It is striking that a classic figure in French music should
+have stood, in the early eighteenth century, a champion of this idea, to
+be sure only in the domain of theory. There is a touch of romance in the
+fate of a pioneer, rejected for his doctrine in one age, taken up in the
+art of two centuries later.[A]
+
+[Footnote A: Rameau, when the cyclopaedic spirit was first stirring and
+musical art was sounding for a scientific basis, insisted on the element
+of the third below, implying a tonic chord of 6, 5, 3. Here he was
+opposed by Fétis, Fux and other theoretic authority; judgment was
+definitively rendered against him by contemporary opinion and prevailing
+tradition. It cannot be said that the modern French practice has
+justified Rameau's theory, since with all the charm of the enriched
+chord, there is ever a begging of the question of the ultimate root.]
+
+A purely scientific basis must be shunned in any direct approach of the
+art whether critical or creative,--alone for the fatal allurement of a
+separate research. The truth is that a spirit of fantastic experiment,
+started by the mystic manner of a César Franck, sought a sanction in the
+phenomena of acoustics. So it is likely that the enharmonic process of
+Franck led to the strained use of the whole-tone scale (of which we have
+spoken above) by a further departure from tonality.[A] And yet, in all
+truth, there can be no doubt of the delight of these flashes of the
+modern French poet,--a delicate charm as beguiling as the bolder, warmer
+harmonies of the earlier German. Instead of the broad exultation of
+Wagner there is in Débussy the subtle, insinuating dissonance. Nor is
+the French composer wanting in audacious strokes. Once for all he stood
+the emancipator of the art from the stern rule of individual vocal
+procedure. He cut the Gordian knot of harmonic pedagogy by the mere
+weapon of poetic elision. He simply omitted the obvious link by a
+license ancient in poetry and even in prose. He devised in his harmonies
+the paradox, that is the essence of art, that the necessary step somehow
+becomes unnecessary. Though Wagner plunges without ceremony into his
+languorous chords, he carefully resolves their further course. Débussy
+has them tumbling in headlong descent like sportive leviathans in his
+sea of sound. Moreover he has broken these fetters of a small punctilio
+without losing the sense of a true harmonic sequence. Nay, by the very
+riotous revel of upper harmonies he has stressed the more clearly the
+path of the fundamental tone. When he enters the higher sanctuary of
+pure concerted voices, he is fully aware of the fine rigor of its rites.
+And finally his mischievous abandon never leads him to do violence to
+the profoundest element of the art, of organic design.[B]
+
+[Footnote A: As the lower overtones, discovered by a later science,
+clearly confirm the tonal system of the major scale, slowly evolved in
+the career of the art,--so the upper overtones are said to justify the
+whole-tone process. At best this is a case of the devil quoting
+scripture. The main recurring overtones, which are lower and audible,
+are all in support of a clear prevailing tonality.]
+
+[Footnote B: In the drama Débussy avoids the question of form by
+treating the music as mere scenic background. Wagner, in his later
+works, attempted the impossible of combining a tonal with the dramatic
+plot. In both composers, to carry on the comparison beyond the technical
+phase, is a certain reaching for the primeval, in feeling as in
+tonality. Here they are part of a larger movement of their age. The
+subjects of their dramas are chosen from the same period of mediaeval
+legend, strongly surcharged in both composers with a spirit of fatalism
+where tragedy and love are indissolubly blended.]
+
+
+_"THE SEA." THREE SYMPHONIC SKETCHES_
+
+_I.--From Dawn to Noon on the Sea._ In awesome quiet of unsoothing
+sounds we feel, over a dual elemental motion, a quick fillip as of
+sudden lapping wave, while a shadowy air rises slowly in hollow
+intervals. Midst trembling whispers descending (like the soughing
+wind), a strange note, as of distant trumpet, strikes in gentle
+insistence--out of the other rhythm--and blows a wailing phrase. The
+trembling whisper has sunk to lowest depths. Still continues the lapping
+of waves--all sounds of unhuman nature.
+
+[Music: (Muted trumpet, with Eng. horns in lower 8ve.)
+_Very slowly_
+_Espressivo_
+(Cellos with basses in lower 8ve.)]
+
+On quicker spur the shadowy motive flits faster here and there in a slow
+swelling din of whispering, to the insistent plash of wave. Suddenly the
+sense of desolation yields to soothing play of waters--a _berceuse_ of
+the sea--and now a song sings softly (in horn), though strangely jarring
+on the murmuring lullaby. The soothing cheer is anon broken by a shift
+of new tone. There is a fluctuation of pleasant and strange sounds; a
+dulcet air on rapturous harmony is hushed by unfriendly plash of chord.
+
+Back again in the quieter play of rhythm the strange, sweet song (of
+horns) returns.
+
+In a ravishing climax of gentle chorus of quick plashing waves and
+swirling breeze the song sings on and the trumpet blows its line of tune
+to a ringing phrase of the clarinet.
+
+[Music: (Strings and horns)
+_ad lib. faster_]
+
+When this has died down, the lapping waves, as in concert, strike in
+full chord that spreads a hue of warmth, as of the first peep of sun. It
+is indeed as though the waves rose towards the sun with a glow of
+welcome.
+
+In the wake of the first stirring shock is a host of soft cheering
+sounds of bustling day, like a choir of birds or bells. The eager
+madrigal leads to a final blast (with acclaiming chorus of big rocking
+waves), echoed in golden notes of the horns. One slight touch has
+heightened the hue to warmest cheer; but once do we feel the full glow
+of risen sun.
+
+The chilling shadows return, as the wistful air of hushed trumpet
+sounds again. We hover between flashes of warming sun, until the waves
+have abated; in soothing stillness the romantic horn[A] sings a lay of
+legend.
+
+[Footnote A: English horn.]
+
+Now to friendly purling of playful wavelets, the sea moves in shifting
+harmonies. In sudden climax the motion of the waves fills all the brass
+in triumphant paean, in the gleam of high noon.
+
+
+_II.--Play of the Waves._ There is a poetic background as for the play
+of legend. We seem to be watching the sea from a window in the castle of
+_Pelléas_. For there is a touch of dim romance in a phrase of the
+clarinet.
+
+The movement of waves is clear, and the unconscious concert of
+sea-sounds, the deeper pulse of ocean (in the horns), the flowing
+ripples, the sharp dash of lighter surf (in the Glockenspiel), all with
+a constant tremor, an instability of element (in trembling strings). We
+cannot help feeling the illusion of scene in the impersonal play of
+natural sounds. Anon will come a shock of exquisite sweetness that must
+have something of human. And then follows a resonant clash with spray of
+colliding seas.
+
+Here the story of the waves begins, and there are clearly two roles.
+
+To light lapping and cradling of waters the wood sings the simple lay,
+while strings discourse in quicker, higher phrase. The parts are
+reversed. A shower of chilling wave (in gliding harps) breaks the
+thread.
+
+[Music: _Con anima_
+(Highest and lowest figure in strings.
+Middle voices in octaves of wood)]
+
+Now golden tones (of horns) sound a mystic tale of one of the former
+figures. The scene shimmers
+
+[Music: (With rhythmic harps and strings)
+(Flutes)
+(Eng. horn) _espressivo_
+(Strings)
+(Horns)]
+
+in sparkling, glinting waters (with harp and trilling wood and strings).
+But against the soothing background the story (of English horn) has a
+chill, ominous strain.
+
+With the returning main song comes the passionate crisis, and we are
+back in the mere plash and play of impersonal waves.
+
+On dancing ripples, a nixie is laughing to echoing horns and lures us
+back to the story.
+
+[Music: (Strings with lower 8ve.)
+(Cl.) _grazioso_ (Horns)]
+
+Later, it seems, two mermaids sing in twining duet. In a warm hue of
+light the horns sound a weird tale. It is taken up by teasing chorus of
+lighter voices. In the growing volume sounds a clear, almost martial
+call of the brass.
+
+In a new shade of scene we recover the lost burden of song; the original
+figures appear (in the slower air of trembling strings and the quicker
+play of reed, harp and bells), and wander through ever new, moving
+phases. A shower of chords (in strings and shaking brass) brings back
+the ominous melody, amidst a chorus of light chatter, but firmly resting
+on a warm background of harmony. And the strain roves on generous path
+and rises out of all its gloom to a burst of profound cheer.
+
+[Music: (1st violins with lower 8ve.)
+(2d violins; percussion with cellos below)
+(Harp with violas)
+(Flutes with higher 8ve.)
+(See page 104, line 11.)]
+
+As in all fairy tales, the scene quickly vanishes. On dancing rays and
+ripples is the laughing nixie; but suddenly breaks the first song of the
+main figures. A climactic phrase of trumpets ends with a burst of all
+the chorus on stirring harmony, where in diminishing strokes of bells
+long rings the melodic note.
+
+The teasing motive of the nixie returns while the trumpet sounds a
+shadowy echo of its phrase, again to dying peal of bells. A chorus of
+eerie voices sing the mocking air, and again sounds the refrain of
+trumpet as in rebuke. On a tumult of teasing cries flashes a delivering
+burst of brilliant light, and we are back in the first scene of the
+story. Only the main figure is absent. And there is in the eager tension
+of pace a quivering between joy and doubt. Then, in answer to the
+lighter phrase of the other, is the returning figure with a new song now
+of blended longing and content that soars into higher flights until a
+mighty chorus repeats the strain that rises to triumphant height of joy
+and transforms the mocking motive to the same mood.
+
+But it is all a play of the waves. And we are left once more to the
+impersonal scene where yet the fragrance of legend hovers over the dying
+harmonies.
+
+
+_III.--Dialogue of the Wind and the Sea._ Tumultuous is the humor of the
+beginning; early sounds the stroke of wave of the first hour of the sea.
+The muted trumpet blows a strain (to trembling strings) that takes us
+back to the first (quoted) tune of the symphony in the wistful mood of
+dawn. For a symphony it proves to be in the unity of themes and thought.
+Now unmuted and unrestrained in conflict of crashing chords, the trumpet
+blows again the motto of the roving sea. In various figures is the
+pelagic motion, in continuous coursing strings, in the sweeping phrase
+of the woodwind, or in the original wave-motion of the horns, now
+unmuted.
+
+The main burden is a plaint
+
+[Music: (Woodwind in lower octaves
+and touches of horns)
+(_Animato_) _poco rit._
+(Strings in higher and lower octaves)]
+
+(in the wood) against the insistent surge (of strings), on a haunting
+motive as of farewell or eventide, with much stress of pathos. It is
+sung in sustained duet against a constant churning figure of the sea,
+and it is varied by a dulcet strain that grows out of the wave-motive.
+
+Indeed, the whole movement is complementary of the first, the obverse as
+it were. The themes are of the same text; the hue and mood have changed
+from the spring of dawn to the sadness of dusk. The symbol of noontide
+peace reappears with minor tinge, at the hush of eve. The climactic
+motive of the sea acclaiming the rising sun is there, but reversed.
+
+The sea too has the same tempestuous motion (indeed, the plaintive song
+is mainly of the wind), unrestrained by the sadder mood. At the
+passionate climax, where the higher figure sinks toward the rising
+lower, it is as if the Wind kissed the Sea.
+
+The concluding scene begins as in the first movement, save with greater
+extension of expressive melody. And the poignant note has a long song
+against a continuous rippling (of harps).
+
+More elemental figures crowd the scene; the first melody (of trumpet)
+has a full verse, and the dulcet phrase (of wave-motive).
+
+Toward the end the plaintive song has an ever-growing chorus of
+acclaiming voices. In the fever of united coursing motion the phrase
+loses the touch of sadness until in eager, spirited pace, as of
+galloping steeds, it ends with a shout of victory.
+
+
+_DUKAS. "THE SORCERER'S APPRENTICE"_
+
+Chief among the companions of Claude Débussy in his adventures is Paul
+Dukas.[A] Though he lags somewhat in bold flights of harmonies, he shows
+a clearer vein of melody and rhythm, and he has an advantage in a
+greater freedom from the rut of repeated device.
+
+[Footnote A: Born in 1865.]
+
+It is somehow in the smaller forms that the French composer finds the
+trenchant utterance of his fancy. A Scherzo, after the ballad of Goethe,
+"The Sorcerer's Apprentice," tells the famous story of the boy who in
+his master's absence compels the spirit in the broom to fetch the
+water; but he cannot say the magic word to stop the flood, although he
+cleaves the demon-broom in two.
+
+After the title-page of the score is printed a prose version (by Henri
+Blaze) of Goethe's ballad, "Der Zauberlehrling."
+
+Of several translations the following, by Bowring, seems the best:
+
+    THE SORCERER'S APPRENTICE
+
+    I am now,--what joy to hear it!--
+      Of the old magician rid;
+    And henceforth shall ev'ry spirit
+      Do whatever by me is bid:
+        I have watch'd with rigor
+          All he used to do,
+        And will now with vigor
+          Work my wonders, too.
+
+            Wander, wander
+            Onward lightly,
+            So that rightly
+            Flow the torrent,
+          And with teeming waters yonder
+          In the bath discharge its current!
+
+    And now come, thou well-worn broom,
+      And thy wretched form bestir;
+    Thou hast ever served as groom,
+      So fulfil my pleasure, sir!
+        On two legs now stand
+          With a head on top;
+        Water pail in hand,
+          Haste and do not stop!
+
+            Wander, wander
+            Onward lightly,
+            So that rightly
+            Flow the torrent,
+          And with teeming waters yonder
+          In the bath discharge its current!
+
+    See! he's running to the shore,
+      And has now attained the pool,
+    And with lightning speed once more
+      Comes here, with his bucket full!
+        Back he then repairs;
+          See how swells the tide!
+        How each pail he bears
+          Straightway is supplied!
+
+            Stop, for lo!
+            All the measure
+            Of thy treasure
+            Now is right!
+          Ah, I see it! woe, oh, woe!
+          I forget the word of might.
+
+    Ah, the word whose sound can straight
+      Make him what he was before!
+    Ah, he runs with nimble gait!
+      Would thou wert a broom once more!
+        Streams renew'd forever
+          Quickly bringeth he;
+        River after river
+          Rusheth on poor me!
+
+            Now no longer
+            Can I bear him,
+            I will snare him,
+            Knavish sprite!
+          Ah, my terror waxes stronger!
+          What a look! what fearful sight!
+
+    Oh, thou villain child of hell!
+      Shall the house through thee be drown'd?
+    Floods I see that widely swell,
+      O'er the threshold gaining ground.
+        Wilt thou not obey,
+          O thou broom accurs'd!
+        Be thou still, I pray,
+          As thou wert at first!
+
+            Will enough
+            Never please thee?
+            I will seize thee,
+            Hold thee fast,
+          And thy nimble wood so tough
+          With my sharp axe split at last.
+
+    See, once more he hastens back!
+      Now, O Cobold, thou shalt catch it!
+    I will rush upon his track;
+      Crashing on him falls my hatchet.
+        Bravely done, indeed!
+          See, he's cleft in twain!
+        Now from care I'm freed,
+          And can breathe again.
+
+            Woe oh, woe!
+            Both the parts,
+            Quick as darts,
+            Stand on end,
+          Servants of my dreaded foe!
+          O ye gods, protection send!
+
+    And they run! and wetter still
+      Grow the steps and grows the hall.
+      Lord and master, hear me call!
+    Ever seems the flood to fill.
+
+        Ah, he's coming! see,
+          Great is my dismay!
+        Spirits raised by me
+          Vainly would I lay!
+
+            "To the side
+            Of the room
+            Hasten, broom,
+            As of old!
+          Spirits I have ne'er untied
+          Save to act as they are told."
+
+In paragraphs are clearly pointed the episodes: the boy's delight at
+finding himself alone to conjure the spirits; the invocation to the
+water, recurring later as refrain (which in the French is not addressed
+to the spirit); then the insistent summons of the spirit in the broom;
+the latter's obedient course to the river and his oft-repeated fetching
+of the water; the boy's call to him to stop,--he has forgotten the
+formula; his terror over the impending flood; he threatens in his
+anguish to destroy the broom; he calls once more to stop; the repeated
+threat; he cleaves the spirit in two and rejoices; he despairs as two
+spirits are now adding to the flood; he invokes the master who returns;
+the master dismisses the broom to the corner.
+
+There is the touch of magic in the first harmonics of strings, and the
+sense of sorcery is always sustained in the strange harmonies.[A]
+
+[Footnote A: The flageolet tones of the strings seem wonderfully
+designed in their ghostly sound for such an aerial touch. Dukas uses
+them later in divided violins, violas and cellos, having thus a triad of
+harmonics doubled in the octave.
+
+The remaining instruments are: Piccolo, 2 flutes, 2 oboes, 2 clarinets,
+bass-clarinet, 3 bassoons, contra-bassoon (or contra-bass sarrusophon);
+4 horns, 2 trumpets (often muted); 2 cornets-à-pistons; 3 trombones; 3
+kettle-drums; harp; glockenspiel; big drum, cymbals and triangle.]
+
+After a mystic descent of eerie chords, a melodious cooing phrase begins
+in higher wood, echoed from one voice to the other, while the
+spirit-notes are still sounding.
+
+Suddenly dashes a stream of descending spray, met by another ascending;
+in the midst the first phrase is rapidly sounded (in muted trumpet). As
+suddenly the first solemn moment has returned, the phrase has grown in
+melody, while uncanny harmonies prevail. Amidst a new feverish rush a
+call rings
+
+[Music: (Wood and _pizz._ strings)
+_Vivace_
+(Horns and trumpets)]
+
+loud and oft (in trumpets and horns) ending in an insistent, furious
+summons. The silence that ensues is as speaking (or in its way as
+deafening) as were the calls.
+
+After what seems like the grating of ancient joints, set in reluctant
+motion, the whole tune of the first wooing phrase moves in steady gait,
+in comic bassoons, to the tripping of strings, further and fuller
+extended as other voices join. The beginning phrase of chords recurs as
+answer. Ever the lumbering trip continues, with strange turn of harmony
+and color, followed ever by the weird answer. A fuller apparition comes
+with the loud, though muffled tones of the trumpets. The original tune
+grows in new turns and folds of melody, daintily tipped with the ring of
+bells over the light tones of the wood. The brilliant
+
+[Music: _Vivace_
+(Melody in 3 bassoons)
+(Acc't in _pizz._ strings)]
+
+harp completes the chorus of hurrying voices. Now with full power and
+swing the main notes ring in sturdy brass, while all around is a rushing
+and swirling (of harps and bells and wood and strings). And still more
+furious grows the flight, led by the unison violins.
+
+A mischievous mood of impish frolic gives a new turn of saucy gait. In
+the jovial answer, chorussed in simple song, seems a revel of all the
+spirits of rivers and streams.
+
+At the top of a big extended period the trumpet sends a shrill defiant
+blast.
+
+But it is not merely in power and speed,--more in an infinite variety of
+color, and whim of tune and rhythmic harmony, that is expressed the
+full gamut of disporting spirits. Later, at fastest speed of tripping
+harp and wood, the brass ring out that first, insistent summons, beneath
+the same eerie harmonies--and the uncanny descending chords answer as
+before. But alas! the summons will not work the other way. Despite the
+forbidding command and all the other exorcising the race goes madly on.
+
+And now, if we are intent on the story, we may see the rising rage of
+the apprentice and at last the fatal stroke that seemingly hems and
+almost quells the flood. But not quite! Slowly (as at first) the hinges
+start in motion. And now, new horror! Where there was one, there are now
+two ghostly figures scurrying to redoubled disaster. Again and again the
+stern call rings out, answered by the wildest tumult of all. The shouts
+for the master's aid seem to turn to shrieks of despair. At last a
+mighty call overmasters and stills the storm. Nothing is heard but the
+first fitful phrases; now they seem mere echoes, instead of
+forewarnings. We cannot fail to see the fine parallel, how the masterful
+command is effective as was the similar call at the beginning.
+
+Significantly brief is the ending, at once of the story and of the
+music. In the brevity lies the point of the plot: in the curt dismissal
+of the humbled spirit, at the height of his revel, to his place as broom
+in the corner. Wistful almost is the slow vanishing until the last
+chords come like the breaking of a fairy trance.
+
+
+
+
+CHAPTER X
+
+TSCHAIKOWSKY
+
+
+The Byron of music is Tschaikowsky for a certain alluring melancholy and
+an almost uncanny flow and sparkle. His own personal vein deepened the
+morbid tinge of his national humor.
+
+We cannot ignore the inheritance from Liszt, both spiritual and musical.
+More and more does the Hungarian loom up as an overmastering influence
+of his own and a succeeding age. It seems as if Liszt, not Wagner, was
+the musical prophet who struck the rock of modern pessimism, from which
+flowed a stream of ravishing art. The national current in Tschaikowsky's
+music was less potent than with his younger compatriots; or at least it
+lay farther beneath the surface.
+
+For nationalism in music has two very different bearings. The concrete
+elements of folk-song, rhythm and scale, as they are more apparent, are
+far less important. The true significance lies in the motive of an
+unexpressed national idea that presses irresistibly towards fulfilment.
+Here is the main secret of the Russian achievement in modern music,--as
+of other nations like the Finnish. It is the cause that counts. Though
+Russian song has less striking traits than Hungarian or Spanish, it has
+blossomed in a far richer harvest of noble works of art.
+
+Facile, fluent, full of color, Tschaikowsky seems equipped less for
+subjective than for lyric and dramatic utterance, as in his "Romeo and
+Juliet" overture. In the "Manfred" Symphony we may see the most fitting
+employment of his talent. Nor is it unlikely that the special
+correspondence of treatment and subject may cause this symphony to
+survive the others, may leave it long a rival of Schumann's "Manfred"
+music.
+
+With Tschaikowsky feeling is always highly stressed, never in a certain
+natural poise. He quite lacks the noble restraint of the masters who, in
+their symphonic lyrics, wonderfully suggest the still waters that run
+deep.
+
+Feeling with Tschaikowsky was frenzy, violent passion, so that with all
+abandon there is a touch of the mechanical in his method. Emotion as the
+content of highest art must be of greater depth and more quiet flow. And
+it is part or a counterpart of an hysterical manner that it reacts to a
+cold and impassive mood,--such as we feel in the Andante of the Fourth
+Symphony.
+
+The final quality for symphonic art is, after all, less the chance flash
+of inspiration than a big view, a broad sympathy, a deep well of feeling
+that comes only with great character.
+
+Nay, there is a kind of peril in the symphony for the poet of uncertain
+balance from the betrayal of his own temper despite his formal plan.
+Through all the triumph of a climax as in the first movement of the
+Fourth Symphony, we may feel a subliminal sadness that proves how subtle
+is the expression in music of the subjective mood. There is revealed not
+the feeling the poet is conscious of, but, below this, his present self,
+and in the whole series of his works, his own personal mettle. What the
+poet tries to say is very different from what he does say. In a
+symphony, as in many a frolic, the tinge of latent melancholy will
+appear.
+
+
+_SYMPHONY NO. 4_
+
+Reverting to a great and fascinating question as to the content of art,
+we may wonder whether this is not the real tragic symphony of
+Tschaikowsky, in the true heroic sense, in a view where the highest
+tragedy is not measured by the wildest lament. There may be a stronger
+sounding of lower depths with a firmer touch (with less of a conscious
+kind of abandon),--whence the recoil to serene cheer will be the
+greater.
+
+There is surely a magnificent aspiration in the first Allegro, a
+profound knell of destiny and a rare ring of triumph. Underlying all is
+the legend of trumpets, _Andante sostenuto_ (3/4), with a dim touch
+
+[Music: _Andante sostenuto_
+(Horns and bassoons doubled in 8va.)]
+
+of tragedy. Opposite in feeling is the descending motive of strings,
+_Moderato con anima_ (9/8). First gently expressive, it soon rises in
+passion (the original
+
+[Music: _Moderato con anima_
+_in movimento di valse_
+(Strings and one horn, the melody doubled below)]
+
+motto always sounding) to a climax whence an ascending motive, in lowest
+basses, entering in manner of fugue, holds a significant balance with
+the former. Each in turn rears a climax for the other's
+
+[Music: (Horns doubled below)
+(Cellos and bassoons)]
+
+entrance; the first, lamenting, leads to the soothing hope of the second
+that, in the very passion of its refrain, loses assurance and ends in a
+tragic burst.
+
+Suddenly a very new kind of solace appears _Dolce grazioso_, in a
+phrase of the clarinet that leads to a duet of wood and _cantabile_
+strings, impersonal almost in the sweetness of its flowing song.
+
+[Music: _Moderato assai_
+(Oboe doubled in flute)
+(Strings)]
+
+In such an episode we have a new Tschaikowsky,--no longer the subjective
+poet, but the painter with a certain Oriental luxuriance and grace. It
+is interesting to study the secret of this effect. The preluding strain
+lowers the tension of the storm of feeling and brings us to the attitude
+of the mere observer. The "movement of waltz" now has a new meaning, as
+of an apparition in gently gliding dance. The step is just sustained in
+leisurely strings. Above is the simple melodic trip of clarinet, where a
+final run is echoed throughout the voices of the wood; a slower moving
+strain in low cellos suggests the real song that presently begins, while
+high in the wood the lighter tune continues. The ripples still keep
+spreading throughout the voices, at the end of a line. The tunes then
+change places, the slower singing above.
+
+With all the beauty, there is the sense of shadowy picture,--a certain
+complete absence of passion. Now the lower phrase appears in two
+companion voices (of strings), a hymnal kind of duet,--_ben sostenuto
+il tempo precedente_. Here, very softly in the same timid pace, enters a
+chorus, on high, of the old sighing motive. Each melody breaks upon the
+other and
+
+[Music: _Bel sostenuto il tempo (moderato)_
+(Strings)
+(Woodwind doubled above)
+(Kettle-drums)]
+
+ceases, with equal abruptness. There is no blending, in the constant
+alternation, until the earlier (lamenting) motive conquers and rises to
+a new height where a culminating chorale sounds a big triumph, while the
+sighing phrase merely spurs a new verse of assurance.
+
+[Music: (Strings and flutes)
+(Doubled above and below)]
+
+A completing touch lies in the answering phrase of the chorale, where
+the answer of original motto is transformed into a masterful ring of
+cheer and confidence.
+
+As is the way with symphonies, it must all be sung and striven over
+again to make doubly sure. Only there is never the same depth of lament
+after the triumph. In a later verse is an augmented song of the answer
+of trumpet legend, in duet of thirds, in slow, serene pace, while the
+old lament sounds below in tranquil echoes and united strains. Before
+the end, _molto piu vivace_, the answer rings in new joyous rhythm.
+
+Somewhat the reverse of the first movement, in the second the emotional
+phase grows slowly from the naïve melody of the beginning. Against the
+main melody that begins in oboe solo (with _pizzicato_ strings),
+_semplice ma grazioso_, plays later a rising
+
+[Music: _Andantino in modo di canzone_
+(Clarinet with lower 8ve.)
+(Cello)
+_Grazioso_
+(Bassoons, with _pizz._ basses)]
+
+counter-theme that may recall an older strain. The second melody, in
+Greek mode, still does not depart
+
+[Music: (Strings, wood and horns)]
+
+from the naïve mood, or lack of mood. A certain modern trait is in this
+work, when the feeling vents and wastes itself and yields to an
+impassive recoil, more coldly impersonal than the severest classic.
+
+A sigh at the end of the second theme is a first faint reminder of the
+original lament. Of it is fashioned the third theme. A succeeding climax
+strongly
+
+[Music: _Piu mosso_
+(Clarinet doubled below in bassoons)
+(Strings)]
+
+brings back the subjective hue of the earlier symphony. A counter-theme,
+of the text of the second melody of Allegro,--now one above, now the
+other--is a final stroke. Even the shaking of the trumpet figure is
+there at the height, in all the brass. Yet as a whole the first melody
+prevails, with abundant variation of runs in the wood against the song
+of the strings.
+
+The Scherzo seems a masterly bit of humor, impish, if you will, yet on
+the verge always of tenderness. The first part is never-failing in the
+flash and sparkle of its play, all in _pizzicato_ strings, with a
+wonderful daemonic quality of the mere instrumental effect. Somewhat
+suddenly the oboe holds a long note and
+
+[Music: _Pizzicato ostinato_
+_Scherzo Allegro_
+(Strings)
+(_Pizzicato sempre_)]
+
+then, with the bassoons, has a tune that is almost sentimental. But
+presently the clarinets make mocking
+
+[Music: (Oboes and bassoons)]
+
+retorts. Here, in striking scene, all the brass (but the tuba) very
+softly blow the first melody with eccentric halts, in just half the old
+pace except when they take us by surprise. The clarinet breaks in with
+the sentimental tune in faster time while the brass all the while are
+playing as before. There are all kinds of pranks, often at the same
+time. The piccolo, in highest treble, inverts the second melody, in
+impertinent drollery. The brass has still newer surprises. Perhaps the
+best of the fooling is where strings below and woodwind above share the
+melody between them, each taking two notes at a time.
+
+The first of the Finale is pure fanfare, as if to let loose the steeds
+of war; still it recurs as leading idea. There is a kind of sonorous
+terror, increased by the insistent, regular notes of the brass, the
+spirited pace of the motive of strings,--the barbaric ring we often hear
+in Slav music. At the height
+
+[Music: _Allegro con fuoco_
+(Wood doubled above and below)
+(Violins)
+(_Pizz._ strings)]
+
+the savage yields to a more human vein of joyousness, though at the end
+it rushes the more wildly into a
+
+[Music: _Tutti_
+(Doubled above and below)]
+
+series of shrieks of trebles with tramping of basses. The real battle
+begins almost with a lull, the mere sound of the second tune in the
+reeds with light strum of strings and triangle. As the theme is
+redoubled (in thirds of the wood), the sweep of strings of the first
+motive is added, with chords of horns. A rising figure is now opposed to
+the descent of the second melody, with shaking of woodwind that brings
+back the old trumpet legend. Here the storm grows apace, with increasing
+tumult of entering hostile strains, the main song now ringing in low
+brass.
+
+In various versions and changes we seem to see earlier themes briefly
+reappearing. Indeed there is a striking kinship of themes throughout,
+not so much in outline as in the air and mood of the tunes. This seems
+to be proven by actual outer resemblance when the motives are developed.
+Here in a quiet spot--though the battle has clearly not ceased--is the
+answer of old trumpet motto, that pervaded the first Allegro. There is a
+strong feeling of the Scherzo here in the _pizzicato_ answers of
+strings. The second theme of the Andante is recalled, too, in the
+strokes of the second of the Finale. In the thick of the fray is a
+wonderful maze of versions of the theme, diminished and augmented at the
+same time with the original pace. Yet it is all a clear flow of melody
+and rich harmony. The four beats of quarter notes, in the lengthened
+theme, come as high point like the figure of the leader in battle. A
+later play of changes is like the sport of the Scherzo. This insensibly
+leads to the figure of the fanfare, whence the earlier song returns
+with the great joyous march.
+
+The final height of climax is distinguished by a stentorian, fugal blast
+of the theme in the bass, the higher breaking in on the lower, while
+other voices are raging on the quicker phrases. It is brought to a
+dramatic halt by the original prelude of trumpet legend, in all its
+fulness. Though the march-song recurs, the close is in the ruder humor
+of the main themes.
+
+
+_THE "MANFRED" SYMPHONY_
+
+Schumann and Tschaikowsky are the two most eminent composers who gave
+tonal utterance to the sombre romance of Byron's dramatic poem.[A] It is
+interesting to remember that Byron expressly demanded the assistance of
+music for the work. If we wish to catch the exact effect that is sought
+in the original conception, Schumann's setting is the nearest approach.
+It is still debated whether a scenic representation is more impressive,
+or a simple reading, reinforced by the music.
+
+[Footnote A: Prefixed are the familiar lines:
+
+    "There are more things in heaven and earth, Horatio,
+    Than are dreamt of in your philosophy."]
+
+Tschaikowsky's setting is a "symphony in four pictures, or scenes (_en
+quatre tableaux_), after Byron's dramatic poem." In the general design
+and spirit there is much of the feeling of Berlioz's "Fantastic"
+Symphony, though the manner of the music shows no resemblance whatever.
+There is much more likeness to Liszt's "Faust" Symphony, in that the
+pervading recurrence of themes suggests symbolic labels. Moreover, in
+the very character of many of the motives, there is here a striking line
+of descent.
+
+_Lento lugubre_, the first scene or picture, begins with a theme in
+basses of reeds:
+
+[Music: _Lento lugubre_
+(Woodwind)
+(Strings)]
+
+with later _pizzicato_ figure of low strings.
+
+An answering strain is one of the most important of all the melodies:
+
+[Music]
+
+On these, a bold conflict and climax is reared. If we care to indulge in
+the bad habit of calling names, we might see "Proud Ambition" in the
+first motives, intertwined with sounds of sombre discontent. The pace
+grows _animando_,--_piu mosso_; _moderato molto_. Suddenly Andante sings
+a new, expressive song, with a dulcet cheer of its own, rising to
+passionate periods and a final height whence, _Andante con duolo_, a
+loudest chorus of high wood and strings, heralded and accompanied by
+martial tremolo of low wood, horns, basses, and drums, sound the fateful
+chant that concludes the first scene, and, toward the close of the work,
+sums the main idea.
+
+[Music: (Strings and flutes)
+(Basses, wood and horns)
+(Same continuing rhythm)]
+
+The apparition of the Witch of the Alps is pictured in daintiest,
+sparkling play of strings and wood, with constant recurrence of mobile
+figures above and below. It seems as if the image of the fountain is
+fittest and most tempting for mirroring in music. Perhaps the most
+beautiful, the most haunting, of all the "Manfred" music of Schumann is
+this same scene of the Witch of the Alps.
+
+Here, with Tschaikowsky, hardly a single note of brass intrudes on this
+_perpetuum mobile_ of light, plashing spray until, later, strains that
+hark back to the first scene cloud the clear brilliancy of the cascade.
+Now the play of the waters is lost in the new vision, and a limpid song
+glides in the violins, with big rhythmic chords of harps, is taken up in
+clarinets, and carried on by violins in new melodic verse, _con
+tenerezza e molto espressione_. Then the whole chorus sing the tune in
+gentle volume. As it dies away, the music of the falling waters plash as
+before. The returning song has phases of varying sadness and passion. At
+the most vehement height,--and here, if we choose, we may see the stern
+order to retire,--the fatal chant is shrieked by full chorus in almost
+unison fierceness.
+
+Gradually the innocent play of the waters is heard again, though a
+gloomy pall hangs over. The chant sounds once more before the end.
+
+The third, "Pastoral," scene we are most free to enjoy in its pure
+musical beauty, with least need of definite dramatic correspondences. It
+seems at first as if no notes of gloom are allowed to intrude, as if the
+picture of happy simplicity stands as a foil to the tragedy of the
+solitary dreamer; for an early climax gives a mere sense of the awe of
+Alpine nature.
+
+Still, as we look and listen closer, we cannot escape so easily, in
+spite of the descriptive title. Indeed, the whole work seems, in its
+relation to the poem upon which it is based, a very elusive play in a
+double kind of symbolism. At first it is all a clear subjective
+utterance of the hero's woes and hopes and fears, without definite
+touches of external things. Yet, right in the second scene the torrent
+is clear almost to the eye, and the events pass before us with sharp
+distinctness. Tending, then, to look on the third as purest pastoral,
+we are struck in the midst by an ominous strain from one of the earliest
+moments of the work, the answer of the first theme of all. Here notes of
+horns ring a monotone; presently a church-bell adds a higher note. The
+peaceful pastoral airs then return, like the sun after a fleeting storm.
+
+The whole of this third scene of Tschaikowsky's agrees with no special
+one in Byron's poem, unless we go back to the second of the first act,
+where Manfred, in a morning hour, alone upon the cliffs, views the
+mountains of the Jungfrau before he makes a foiled attempt to spring
+into the abyss. By a direction of the poet, in the midst of the
+monologue, "the shepherd's pipe in the distance is heard," and Manfred
+muses on "the natural music of the mountain reed."
+
+The last scene of the music begins with Byron's fourth of Act II and
+passes over all the incidents of the third act that precede the hero's
+death, such as the two interviews with the Abbot and the glorious
+invocation to the sun.
+
+From Tschaikowsky's title, we must look for the awful gloom of the
+cavernous hall of Arimanes, Byron's "Prince of Earth and Air." The gray
+figure from most ancient myth is not less real to us than Mefistofeles
+in "Faust." At least we clearly feel the human daring that feared not to
+pry into forbidden mysteries and refused the solace of unthinking faith.
+And it becomes again a question whether the composer had in mind this
+subjective attitude of the hero or the actual figures and abode of the
+spirits and their king. It is hard to escape the latter view, from the
+general tenor, the clear-cut outline of the tunes, of which the
+principal is like a stern chant:
+
+[Music: (Wood, strings and horns)]
+
+The most important of the later answers lies largely in the basses.
+
+[Music: (Low wood)
+(Rhythmic chords in strings)]
+
+There is, on the whole, rather an effect of gloomy splendor (the
+external view) than of meditation; a sense of visible massing than of
+passionate crisis, though there is not wanting a stirring motion and
+life in the picture. This is to speak of the first part, _Allegro con
+fuoco_.
+
+The gloomy dance dies away. _Lento_ is a soft fugal chant on elemental
+theme; there is all the solemnity of cathedral service; after the
+low-chanted phrase follows a tremendous blare of the brass. The
+repeated chant is followed by one of the earliest, characteristic themes
+of the first scene. And so, if we care to follow the graphic touch, we
+may see here the intrusion of Manfred, at the most solemn moment of the
+fearful revel.
+
+As Manfred, in Byron's poem, enters undaunted, refusing to kneel, the
+first of the earlier phases rings out in fierce _fortissimo_. A further
+conflict appears later, when the opening theme of the work sounds with
+interruptions of the first chant of the spirits.
+
+A dulcet plaint follows, _Adagio_, in muted strings, answered by a note
+of horn and a chord of harp.
+
+[Music: _Adagio_
+(Muted strings answered by horn and harp)]
+
+It all harks back to the gentler strains of the first movement. In the
+ethereal _glissando_ of harps we see the spirit of Astarte rise to give
+the fatal message. The full pathos and passion of the _lento_ episode of
+first scene is heard in brief, vivid touches, and is followed by the
+same ominous blast with ring of horn, as in the first picture.
+
+A note of deliverance shines clear in the final phrase of joined
+orchestra and organ, clearer perhaps than in Manfred's farewell line in
+the play: "Old man! 'tis not so difficult to die." To be sure, Schumann
+spreads the same solace o'er the close of his setting, with the Requiem.
+The sombre splendor of romance is throughout, with just a touch of
+turgid. In the poignant ecstasy of grief we feel vividly the
+foreshadowing example of Liszt, in his "Dante" and "Faust" Symphonies.
+
+
+_FIFTH SYMPHONY (E MINOR)_
+
+With all the unfailing flow of lesser melodies where the charm is often
+greatest of all, and the main themes of each movement with a chain of
+derived phrases, one melody prevails and reappears throughout. The
+fluency is more striking here than elsewhere in Tschaikowsky. All the
+external sources,--all the glory of material art seem at his command. We
+are reminded of a certain great temptation to which all men are subject
+and some fall,--however reluctantly. Throughout there is a vein of
+daemonic. The second (Allegro) melody grows to a high point of
+pathos,--nay, anguish, followed later by buoyant, strepitant, dancing
+delight, with the melting answer, in the latest melody. The daemon is
+half external fate--in the Greek sense, half individual temper. The end
+is almost sullen; but the charm is never failing; at the last is the
+ever springing rhythm.
+
+[Music: _Andante_
+_pesante e tenuto sempre_
+(Clarinet)
+(Low strings)]
+
+The march rhythm of the opening Andante is carried suddenly into a quick
+trip, _Allegro con anima_ (6/8), where the main theme of the first
+movement now begins, freely extended as in a full song of verses. New
+accompanying figures are added, contrasting phrases or counter-melodies,
+to the theme.
+
+[Music: _Allegro con anima_
+Solo clarinet (doubled below with solo bassoon.)
+(Strings)]
+
+One expressive line plays against the wilder rhythm of the theme, with
+as full a song in its own mood as the other. A new rhythmic motive, of
+great charm, _un pocchetino piu animato_, is answered by a bit of the
+theme. Out of it all grows, in a clear
+
+[Music: _Molto espr._
+(Strings)]
+
+welded chain, another episode, where the old rhythm is a mere gentle
+spur to the new plaint,--_molto piu tranquillo, molto cantabile ed
+espressivo_.
+
+[Music: _Molto piu tranquillo_
+_Molto cantabile ed espr._]
+
+To be sure, the climax has all of the old pace and life, and every voice
+of the chorus at the loudest. In the answering and echoing of the
+various phrases, rhythmic and melodic, is the charm of the discussion
+that follows. Later the three melodies come again in the former order,
+and the big climax of the plaintive episode precedes the end, where the
+main theme dies down to a whisper.
+
+
+_Andante cantabile, con alcuna licenza._ After preluding chords in
+lowest strings a solo horn begins a
+
+[Music: _Andante cantabile, con alcuna licenza_
+(Horn)
+_dolce con molto espr._
+(Strings)]
+
+languishing song, _dolce con molto espressione_. It is a wonderful
+elegy, a yearning without hope, a swan-song of desire, sadder almost
+than the frank despair of the Finale of the _Pathétique_
+symphony,--pulsing with passion, gorgeous with a hectic glow of
+expressive beauty, moving too with a noble grace. Though there is a foil
+of lighter humor, this is overwhelmed in the fateful gloom of the
+returning main motto.
+
+The abounding beauty with all its allurement lacks the solace that the
+masters have led us to seek in the heart of a symphony. The clarinet
+presently twines a phrase about the tune until a new answer sounds in
+the oboe, that now sings in answering and chasing duet with the horn.
+The phrase of oboe proves to be the main song, in full extended
+periods, reaching a climax with all the voices.
+
+[Music: _Con moto_
+(Solo oboe)
+_dolce espr._]
+
+Well defined is the middle episode in minor reared on a new theme of the
+clarinet with an almost fugal polyphony that departs from the main lyric
+mood.
+
+[Music: _Moderato con anima_
+(Solo clar.)
+(Strings)]
+
+At the height all the voices fall into a united chorus on the original
+motto of the symphony. The first melodies of the Andante now return with
+big sweep and power, and quicker phrases from the episode. The motto
+reappears in a final climax, in the trombones, before the hushed close.
+
+We must not infer too readily a racial trait from the temper of the
+individual composer. There is here an error that we fall into frequently
+in the music of such men as Grieg and Tschaikowsky. The prevailing mood
+of the Pathetic Symphony is in large measure personal. Some of the more
+recent Russian symphonies are charged with buoyant joyousness. And,
+indeed, the burden of sadness clearly distinguishes the last symphony of
+Tschaikowsky from its two predecessors, the Fourth and the Fifth.
+
+The tune of the _valse_, _Allegro moderato_, is first played by the
+violins, _dolce con grazia_, with accompanying strings, horns and
+bassoon. In the second part, with some loss of the lilt of dance, is a
+subtle design--with a running phrase in _spiccato_ strings against a
+slower upward glide of bassoons. The duet winds on a kind of _crescendo_
+of modulations. Later
+
+[Music: (_Spiccato_)
+(Strings)
+(Horns)
+(Bassoon)]
+
+the themes are inverted, and the second is redoubled in speed. The whole
+merges naturally into the first waltz, with a richer suite of adorning
+figures. The dance does not end without a soft reminder (in low
+woodwind) of the original sombre phrase.
+
+Almost for the first time a waltz has entered the shrine of the
+symphony. And yet perhaps this dance has all the more a place there. It
+came on impulse (the way to visit a sanctuary), not by ancient custom.
+But with all its fine variety, it is a simple waltz with all the
+careless grace,--nothing more, with no hidden or graphic meaning (as in
+Berlioz's Fantastic Symphony).
+
+The middle episode, though it lacks the dancing trip, is in the one
+continuing mood,--like a dream of youthful joys with just a dimming hint
+of grim reality in the returning motto.
+
+In the Finale the main legend of the symphony is transformed and
+transfigured in a new, serener mood, and is brought to a full melodic
+bloom. Indeed, here is the idealization of the original motto. _Andante
+maestoso_ it begins in the tonic major. When the theme ceases, the brass
+blow the rhythm on a monotone, midst an ascending _obligato of strings_.
+
+[Music: (Brass and lower woodwind)
+(See page 139, line 1.)]
+
+In answer comes a new phrase of chorale. Later the chorale is sounded
+by the full band, with intermediate beats of rhythmic march.
+
+Once more there is a well-marked episode, with a full share of melodic
+discussion, of clashing themes, of dramatic struggle. First in the tonic
+minor a theme rises from the last casual cadence in resonant march,
+_Allegro vivace_. Then follows a duet, almost
+
+[Music: _Allegro vivace_
+(Strings and low wood)
+(Trill of kettle drums)]
+
+a harsh grating of an eccentric figure above against
+
+[Music: (Solo oboe)
+(Strings)
+(Low wood)
+(_Pizz._ cellos)]
+
+the smoother course of the latest Allegro motive. The themes are
+inverted. Presently out of the din rises a charming canon on the
+prevailing smoother phrase, that soars to a full sweep of song. A new
+
+[Music: (Violins)
+(Wind)
+(Basses 8va.) (Low strings)]
+
+hymnal melody comes as a final word. Though the main motto returns in
+big chorus, in full extension, in redoubled pace and wild abandon, still
+the latest melody seems to contend for the last say. Or, rather,
+
+[Music: (Woodwind doubled above and below)
+_espr._
+(Strings)
+(See page 141, line 2.)]
+
+it is a foil, in its simple flow, to the revel of the motto, now grown
+into a sonorous, joyous march. And we seem to see how most of the other
+melodies,--the minor episode, the expressive duet--have sprung from bits
+of the main text.
+
+To return for another view,--the Finale begins in a mood that if not
+joyous, is religious. Out of the cadence of the hymn dances the Allegro
+tune almost saucily. Nor has this charming trip the ring of gladness,
+though it grows to great momentum. As a whole there is no doubt of the
+assurance, after the earlier fitful gloom, and with the resignation an
+almost militant spirit of piety.
+
+In the dulcet canon, an exquisite gem, bliss and sadness seem
+intermingled; and then follows the crowning song, broad of pace,
+blending the smaller rhythms in ecstatic surmounting of gloom. In
+further verse it doubles its sweet burden in overlapping voices, while
+far below still moves the rapid trip.
+
+But the motto will return, in major to be sure, and tempered in mercy.
+And the whole hymn dominates, with mere interludes of tripping motion,
+breaking at the height into double pace of concluding strain. Before
+falling back into the thrall of the legend the furious race rushes
+eagerly into the deepest note of bliss, where in sonorous bass rolls the
+broad, tranquil song. And though the revel must languish, yet we attend
+the refrain of all the melodies in crowning rapture. Then at last, in
+stern minor, sounds the motto, still with the continuing motion, in a
+loud and long chant.
+
+In blended conclusion of the contending moods comes a final verse of the
+legend in major, with full accoutrement of sounds and lesser rhythm, in
+majestic pace. And there is a following frolic with a verse of the
+serene song. The end is in the first Allegro theme of the symphony, in
+transfigured major tone.
+
+We must be clear at least of the poet's intent. In the Fifth Symphony
+Tschaikowsky sang a brave song of struggle with Fate.
+
+
+
+
+CHAPTER XI
+
+THE NEO-RUSSIANS
+
+
+For some mystic reason nowhere in modern music is the symphony so
+justified as in Russia. Elsewhere it survives by the vitality of its
+tradition. In France we have seen a series of works distinguished rather
+by consummate refinement than by strength of intrinsic content. In
+Germany since the masterpieces of Brahms we glean little besides the
+learnedly facile scores of a Bruckner, with a maximum of workmanship and
+a minimum of sturdy feeling,--or a group of "heroic" symphonies all cast
+in the same plot of final transfiguration. The one hopeful sign is the
+revival of a true counterpoint in the works of Mahler.
+
+Some national song, like the Bohemian, lends itself awkwardly to the
+larger forms. The native vein is inadequate to the outer mould, that
+shrinks and dwindles into formal utterance. It may be a question of the
+quantity of a racial message and of its intensity after long
+suppression. Here, if we cared to enlarge in a political disquisition,
+we might account for the symphony of Russians and Finns, and of its
+absence in Scandinavia. The material elements, abundant rhythm, rich
+color, individual and varied folk-song, are only the means by which the
+national temper is expressed. Secondly, it must be noted as a kind of
+paradox, the power of the symphony as a national utterance is increased
+by a mastery of the earlier classics. With all that we hear of the
+narrow nationalism of the Neo-Russians, we cannot deny them the breadth
+that comes from a close touch with the masters. Mozart is an element in
+their music almost as strong as their own folk-song. Here, it may be,
+the bigger burden of a greater national message unconsciously seeks the
+larger means of expression. And it becomes clear that the sharper and
+narrower the national school, the less complete is its utterance, the
+more it defeats its ultimate purpose.
+
+The broad equipment of the new Russian group is seen at the outset in
+the works of its founder, Balakirew. And thus the difference between
+them and Tschaikowsky lay mainly in the formulated aim.[A]
+
+[Footnote A: In the choice of subjects there was a like breadth.
+Balakirew was inspired by "King Lear," as was Tschaikowsky. And amid a
+wealth of Slavic legend and of kindred Oriental lore, he would turn to
+the rhythms of distant Spain for a poetic theme.]
+
+The national idea, so eminent in modern music, is not everywhere equally
+justified. And here, as in an object-lesson, we see the true merits of
+the problem. While one nation spontaneously utters its cry, another,
+like a cock on the barnyard, starts a movement in mere idle vanity, in
+sheer self-glorification.
+
+In itself there is nothing divine in a national idea that needs to be
+enshrined in art. Deliberate segregation is equally vain, whether it be
+national or social. A true racial celebration must above all be
+spontaneous. Even then it can have no sanction in art, unless it utter a
+primal motive of resistance to suppression, the elemental pulse of life
+itself. There is somehow a divine dignity about the lowest in human
+rank, whether racial or individual. The oppressed of a nation stands a
+universal type, his wrongs are the wrongs of all, and so his lament has
+a world-wide appeal. And in truth from the lowest class rises ever the
+rich spring of folk-song of which all the art is reared, whence comes
+the paradox that the peasant furnishes the song for the delight of his
+oppressors, while they boast of it as their own. Just in so far as man
+is devoid of human sympathy, is he narrow and barren in his song. Music
+is mere feeling, the fulness of human experience, not in the hedonic
+sense of modern tendencies, but of pure joys and profound sorrows that
+spring from elemental relations, of man to man, of mate to mate.
+
+Here lies the nobility of the common people and of its song; the
+national phase is a mere incident of political conditions. The war of
+races is no alembic for beauty of art. If there were no national lines,
+there would still be folk-song,--merely without sharp distinction. The
+future of music lies less in the differentiation of human song, than in
+its blending.
+
+Thus we may rejoice in the musical utterance of a race like the Russian,
+groaning and struggling through ages against autocracy for the dignity
+of man himself,--and in a less degree for the Bohemian, seeking to hold
+its heritage against enforced submergence. But we cannot take so
+seriously the proud self-isolation of other independent nations.
+
+
+_BALAKIREW.[A] SYMPHONY IN C_
+
+[Footnote A: Mili Alexeivich Balakirew was born at Nizhni-Novgorod in
+1836; he died at St. Petersburg in 1911. He is regarded as the founder
+of the Neo-Russian School.]
+
+The national idea shines throughout, apart from the "Russian Theme" that
+forms the main text of the Finale. One may see the whole symphony
+leading up to the national celebration.
+
+As in the opening phrase (in solemn _Largo_) with
+
+[Music: (Lower reed, with strings in three 8ves.)
+_Largo_]
+
+its answer are proclaimed the subjects that presently
+
+[Music: (Flute and strings)]
+
+appear in rapid pace, so the whole movement must be taken as a big
+prologue, forecasting rather than realizing. There is a dearth of
+melodic stress and balance; so little do the subjects differ that they
+are in essence merely obverse in outline.
+
+Mystic harmonies and mutations of the motto lead to a quicker guise
+(_Allegro vivo_). Independently of themes, the rough edge of tonality
+and the vigorous primitive rhythms are expressive of the Slav feeling.
+Withal there is a subtlety of harmonic manner that could come only
+through the grasp of the classics common to all nations. Augmentation
+and diminution of theme abound, together with the full fugal manner. A
+warm, racial color is felt in the prodigal use of lower reeds.[A]
+
+[Footnote A: Besides the English horn and four bassoons there are four
+clarinets,--double the traditional number.]
+
+In all the variety of quick and slower melodies a single phrase of five
+notes, the opening of the symphony, pervades. In all kinds of humor it
+sings, martial, solemn, soothing, meditative, or sprightly. Poetic in
+high degree is this subtle metamorphosis, so that the symphony in the
+first movement seems to prove the art rather than the national spirit of
+the Neo-Russians.
+
+Of the original answer is wrought all the balance and foil of second
+theme, and like the first it reaches a climactic height. But the first
+is the sovereign figure of the story. It enters into the pattern of
+every new phase, it seems the text of which all the melodies are
+fashioned, or a sacred symbol that must be all-pervading. In a broader
+pace (_Alla breve_) is a mystic discussion of the legend, as of dogma,
+ending in big pontifical blast of the answering theme.
+
+The whole movement is strangely frugal of joyous abandon. Instead of
+rolling, revelling melody there is stern proclamation, as of oracle, in
+the solemn pauses. The rhythm is purposely hemmed and broken. Restraint
+is everywhere. Almost the only continuous thread is of the meditative
+fugue.
+
+A single dulcet lyric verse (of the motto) is soon
+
+[Music: (Cellos with _tremolo_ of lower strings)]
+
+banished by a sudden lively, eccentric phrase that has an air of forced
+gaiety, with interplay of mystic symbols. At last, on a farther height,
+comes the first
+
+[Music]
+
+joyous abandon (in a new mask of the motto), recurring anon as recess
+from sombre brooding.
+
+Here the second subject has a free song,--in gentle chase of pairs of
+voices (of woodwind and muted strings and harp) and grows to alluring
+melody. As
+
+[Music: (Lower reed, with _tremolo_ of lower strings)]
+
+from a dream the eccentric trip awakens us, on ever higher wing. At the
+top in slower swing of chords horn and reeds chant the antiphonal
+legend, and in growing rapture, joined by the strings, rush once more
+into the jubilant revel, the chanting legend still sounding anon in
+sonorous bass.
+
+The climax of feeling is uttered in a fiery burst of all the brass in
+the former dulcet refrain from the motto. In full sweep of gathering
+host it flows in unhindered song. Somehow by a slight turn, the tune is
+transformed into the alluring melody of the second theme. When the
+former returns, we feel that both strains are singing as part of a
+single song and that the two subjects are blended and reconciled in
+rapture of content.
+
+A new mystic play of the quicker motto, answered by the second theme,
+leads to an overpowering blast of the motto in slowest notes of brass
+and reed, ending in a final fanfare.
+
+All lightness is the Scherzo, though we cannot escape a Russian vein of
+minor even in the dance. A rapid melody has a kind of perpetual motion
+in the strings, with mimicking echoes in the wood. But the strange part
+is how the natural accompanying voice below (in the bassoon) makes a
+haunting melody of
+
+[Music: _Vivo_
+(Violins doubled below in violas)
+(Bassoon)
+(_Pizz._ cellos)]
+
+its own,--especially when they fly away to the major. As we suspected,
+the lower proves really the principal song as it winds on in the
+languorous English horn or in the higher reed. Still the returning dance
+has now the whole stage in a long romp with strange peasant thud of the
+brass on the second beat. Then the song rejoins the dance, just as in
+answering glee, later in united chorus.
+
+A quieter song (that might have been called the Trio) has still a
+clinging flavor of the soil,--as of a folk-ballad, that is not lost with
+the later madrigal nor with the tripping figure that runs along.
+
+Strangely, after the full returning dance, an epilogue
+
+[Music: (Trio) _Poco meno mosso_
+(Strings)]
+
+of the ballad appears over a drone, as of bagpipe, through all the
+harmony of the madrigal. Strangest of all is the playful last refrain in
+the high piccolo over the constant soft strumming strings.
+
+The Andante, in pure lyric mood, is heavily charged with a certain
+Oriental languor. The clarinet
+
+[Music: (Clarinet)
+_Andante_
+(Strings with harp)]
+
+leads the song, to rich strum of harp and strings, with its note of
+sensuous melancholy. Other, more external signs there are of Eastern
+melody, as in the graceful curl of quicker notes. Intermediate strains
+between the verses seem gently to rouse the slumbering feeling,--still
+more when they play between the lines of the song. The passion that is
+lulled in the languor of main melody, is somehow uttered in the later
+episode,--still more in the dual song of both
+
+[Music: (Violins doubled below)
+(Horns and bassoons doubled above in wood)
+(Strings and horns)]
+
+melodies,--though it quickly drops before a strange coquetry of other
+strains. Yet the climax of the main song is reached when the lighter
+phrase rings fervently in the high brass. Here the lyric beauty is
+stressed in a richer luxuriance of rhythmic setting. Once more sings the
+passionate tune; then in midst of the last verse of the main song is a
+quick alarm of rushing harp. The languorous dream is broken; there is an
+air of new expectancy. Instead of a close is a mere pause on a passing
+harmony at the portals of the high festival.
+
+With a clear martial stress the "Russian Theme" is sounded (in low
+strings), to the full a national
+
+[Music: _Allegro moderato_
+Finale _Thème Russe_
+(Cellos with basses in lower 8ve.)]
+
+tune of northern race. Enriched with prodigal harmony and play of lesser
+themes it flows merrily on, yet always with a stern pace, breaking out
+at last in a blare of warlike brass.
+
+Nor does the martial spirit droop in the second tune, though the
+melodies are in sheer contrast. In faster rhythm, the second is more
+festal so that the first returning has a tinge almost of terror. An
+
+[Music: (Cl't)
+(Strings)]
+
+after-strain of the second has a slightest descent to reflective
+feeling, from which there is a new rebound
+
+[Music: (Cellos)
+(Strings and harp with sustained chord of horns)]
+
+to the buoyant (festal) melody.
+
+Here in grim refrains, in dim depths of basses (with hollow notes of
+horns) the national tune has a free fantasy until it is joined by the
+second in a loud burst in the minor.
+
+Now the latter sings in constant alternation with the answering strain,
+then descends in turn into the depths of sombre musing. There follows a
+big, resonant dual climax (the main theme in lower brass), with an edge
+of grim defiance. In the lull we seem to catch a brief mystic play of
+the first motto of the symphony (in the horns) before the last joyous
+song of both melodies,--all with a power of intricate design and a
+dazzling brilliancy of harmony, in proud national celebration.
+
+A last romp is in polacca step on the tune of the Russian Theme.
+
+
+_RIMSKY-KORSAKOW.[A] "ANTAR," SYMPHONY_
+
+[Footnote A: Nicholas Rimsky-Korsakow, Russian, 1844-1908.]
+
+The title-page tells us that "the subject is taken from an Arabian tale
+of Sennkowsky." Opposite the beginning of the score is a summary of the
+story, in Russian and in French, as follows:
+
+     I.--Awful is the view of the desert of Sham; mighty in their
+     desolation are the ruins of Palmyra, the city razed by the spirits
+     of darkness. But Antar, the man of the desert, braves them, and
+     dwells serenely in the midst of the scenes of destruction. Antar
+     has forever forsaken the company of mankind. He has sworn eternal
+     hatred on account of the evil they returned him for the good which
+     he intended.
+
+     Suddenly a charming, graceful gazelle appears. Antar starts to
+     pursue it. But a great noise seems pulsing through the heavens, and
+     the light of day is veiled by a dense shadow. It is a giant bird
+     that is giving chase to the gazelle.
+
+     Antar straightway changes his intent, and attacks the monster,
+     which gives a piercing cry and flies away. The gazelle disappears
+     at the same time, and Antar, left alone in the midst of ruins, soon
+     goes to sleep while meditating on the event that has happened.
+
+     He sees himself transported to a splendid palace, where a multitude
+     of slaves hasten to serve him and to charm his ear with their song.
+     It is the abode of the Queen of Palmyra,--the fairy Gul-nazar. The
+     gazelle that he has saved from the talons of the spirit of darkness
+     is none other than the fairy herself. In gratitude Gul-nazar
+     promises Antar the three great joys of life, and, when he assents
+     to the proffered gift, the vision vanishes and he awakes amid the
+     surrounding ruins.
+
+     II.--The first joy granted by the Queen of Palmyra to Antar are the
+     delights of vengeance.
+
+     III.--The second joy--the delights of power.
+
+     IV.--Antar has returned to the fallen remains of Palmyra. The third
+     and last gift granted by the fairy to Antar is the joy of true
+     love. Antar begs the fairy to take away his life as soon as she
+     perceives the least estrangement on his side, and she promises to
+     do his desire.
+
+     After a long time of mutual bliss the fairy perceives, one day,
+     that Antar is absent in spirit and is gazing into the distance.
+     Straightway, divining the reason, she passionately embraces him.
+     The fire of her love enflames Antar, and his heart is consumed
+     away.
+
+     Their lips meet in a last kiss and Antar dies in the arms of the
+     fairy.
+
+The phases of the story are clear in the chain of musical scenes, of the
+movements themselves and within them. In the opening Largo that recurs
+in this movement between the visions and happenings, a melody appears
+(in violas) that moves in all the
+
+[Music: (Violas) _Largo_
+(Woodwind)]
+
+acts of the tragedy. It is clearly the Antar motive,--here amidst ruin
+and desolation.
+
+The fairy theme is also unmistakable, that first plays in the flute,
+against soft horns, _Allegro giocoso_,
+
+[Music: (Flute) _Allegro giocoso_
+(Horns) (Harp)]
+
+and is lost in the onrushing attack, _furioso_, of a strain that begins
+in murmuring of muted strings.
+
+Other phrases are merely graphic or incidental. But the Antar motive is
+throughout the central moving figure.
+
+The scene of the desert returns at the end of the movement.
+
+In the second (_Allegro_, rising to _Molto allegro_, returning
+_allargando_) the Antar motive is seldom absent. The ending is in long
+notes of solo oboe and first violins. There is no trace of the fairy
+queen throughout the movement.
+
+The third movement has phases of mighty action (as in the beginning,
+_Allegro risoluto alla Marcia_), of delicate charm, and even of humor.
+The Antar melody plays in the clangor of big climax in sonorous tones of
+the low brass, against a quick martial phrase of trumpets and horns.
+Again there is in this movement no sign of the fairy queen.
+
+In the fourth movement, after a prelude, _Allegretto vivace_, with light
+trip of high flutes, a melody, of actual Arab origin, sings _Andante
+amoroso_ in the
+
+[Music: (Arabian melody)
+_Andante amoroso_
+(Eng. horn)
+(Bassoon)]
+
+English horn, and continues almost to the end, broken only by the
+dialogue of the lover themes. At the close a last strain of the Antar
+melody is followed by the fairy phrase and soft vanishing chord of harp
+and strings.
+
+
+_"SCHÉRÉZADE," AFTER "A THOUSAND AND ONE NIGHTS." SYMPHONIC SUITE_
+
+Prefixed to the score is a "program," in Russian and French: "The Sultan
+Schahriar, convinced of the infidelity of women, had sworn to put to
+death each of his wives after the first night. But the Sultana
+Schérézade saved her life by entertaining him with the stories which she
+told him during a thousand and one nights. Overcome by curiosity, the
+Sultan put off from day to day the death of his wife, and at last
+entirely renounced his bloody vow.
+
+"Many wonders were told to Schahriar by the Sultana Schérézade. For the
+stories the Sultana borrowed the verses of poets and the words of
+popular romances, and she fitted the tales and adventures one within the
+other.
+
+"I. The Sea and the Vessel of Sindbad.
+
+"II. The Tale of the Prince Kalender.
+
+"III. The Young Prince and the Young Princess.
+
+"IV. Feast at Bagdad. The Sea. The Vessel is Wrecked on a Rock on which
+is Mounted a Warrior of Brass. Conclusion."
+
+With all the special titles the whole cannot be regarded as close
+description. It is in no sense narrative music. The titles are not in
+clear order of events, and, moreover, they are quite vague.
+
+In the first number we have the sea and merely the vessel, not the
+voyages, of Sindbad. Then the story of the Prince Kalender cannot be
+distinguished among the three tales of the royal mendicants. The young
+prince and the young princess,--there are many of them in these Arabian
+fairy tales, though we can guess at the particular one. Finally, in the
+last number, the title mentions an event from the story of the third
+Prince Kalender, where the vessel (not of Sindbad) is wrecked upon a
+rock surmounted by a warrior of brass. The Feast of Bagdad has no
+special place in any one of the stories.
+
+The truth is, it is all a mirroring in tones of the charm and essence of
+these epic gems of the East. It is not like the modern interlinear
+description, although it might be played during a reading on account of
+the general agreement of the color and spirit of the music. But there is
+the sense and feeling of the story, _das Märchen_, and the romance of
+adventure. The brilliancy of harmony, the eccentricity and gaiety of
+rhythm seem symbolic and, in a subtle way, descriptive. As in the
+subject, the stories themselves, there is a luxuriant imagery, but no
+sign of the element of reflection or even of emotion.
+
+_I._--The opening motive, in big, broad rhythm, is clearly the Sea. Some
+have called it the Sindbad motive. But in essence these are not very
+different. The Sea is here the very feeling and type of adventure,--nay,
+Adventure itself. It is a necessary part of fairy stories. Here it
+begins and ends with its rocking theme, ever moving onward. It comes in
+the story of the Prince Kalender.
+
+The second of the main phrases is evidently the motive of the fairy tale
+itself, the feeling of "once upon a time," the idea of story, that leads
+us to the events themselves. It is a mere strumming of chords of the
+harp, with a vague line, lacking rhythm, as of musical prose. For rhythm
+is the type of event, of happenings, of the adventure itself. So the
+formless phrase is the introduction, the narrator, _Märchen_ in an
+Oriental dress as Schérézade.
+
+The first number passes for the most part in a rocking of the motive of
+the sea, in various moods and movements: _Largo e maestoso, Allegro non
+troppo,--tranquillo_. At one time even the theme of the story sings to
+the swaying of the sea.[A]
+
+[Footnote A: We remember how Sindbad was tempted after each fortunate
+escape from terrible dangers to embark once more, and how he tells the
+story of the seven voyages on seven successive days, amid luxury and
+feasting.]
+
+_II._--In the tale of the Prince Kalender Schérézade, of course, begins
+the story as usual. But the main thread is in itself another interwoven
+tale,--_Andantino Capriccioso, quasi recitando_, with a solo in the
+bassoon _dolce e espressivo_,--later _poco piu mosso_, in violins.[A]
+There is most of happenings here. A very strident phrase that plays in
+the brass _Allegro molto_, may be some hobgoblin, or rather an evil
+jinn, that holds the princess captive and wrecks the hero's vessel. The
+sea, too, plays a tempestuous part at the same time with the impish
+mischief of the jinn.
+
+[Footnote A: In the old version the word "Calender" is used; in the new
+translation by Lane we read of "The Three Royal Mendicants." In certain
+ancient editions they are called "Karendelees,"--i.e., "miserable
+beggars." Each of the three had lost an eye in the course of his
+misfortunes. The story (of the Third Kalender) begins with the wreck of
+the prince's vessel on the mountain of loadstone and the feat of the
+prince, who shoots the brazen horseman on top of the mountain and so
+breaks the charm. But there is a long chain of wonders and of troubles,
+of evil enchantments and of fateful happenings.]
+
+_III._--The third number is the idyll,--both of the stories and of the
+music. Here we are nearest to a touch of sentiment,--apart from the mere
+drama of haps and mishaps.[A] But there are all kinds of special
+events. There is no prelude of the narrator. The idyll begins
+straightway, _Andantino quasi allegretto_, winds through all kinds of
+scenes and storms, then sings again _dolce e cantabile_. Here, at last,
+the Schérézade phrase is heard on the violin solo, to chords of the
+harp; but presently it is lost in the concluding strains of the love
+story.
+
+[Footnote A: The story, if any particular one is in the mind of the
+composer, is probably that of the Prince Kamar-ez-Zemán and the Princess
+Budoor. In the quality of the romance it approaches the legends of a
+later age of chivalry. In the main it is the long quest and the final
+meeting of a prince and a princess, living in distant kingdoms. Through
+the magic of genii they have seen each other once and have exchanged
+rings. The rest of the story is a long search one for the other. There
+are good and evil spirits, long journeys by land and sea, and great
+perils. It is an Arab story of the proverbial course of true love.]
+
+_IV._--The last number begins with the motive of the sea, like the
+first, but _Allegro molto_, again followed by the phrase of the story
+teller. The sea returns _Allegro molto e frenetico_ in full force, and
+likewise the vague motive of the story in a cadenza of violin solo. Then
+_Vivo_ comes the dance, the pomp and gaiety of the Festival, with
+tripping tambourine and strings and the song first in the flutes.[A]
+Presently a reminder of the sea intrudes,--_con forza_ in lower wood and
+strings. But other familiar figures flit by,--the evil jinn and the
+love-idyll. Indeed the latter has a full verse,--in the midst of the
+carnival.
+
+[Footnote A: We may think of the revels of Sindbad before the returning
+thirst for adventure.]
+
+Right out of the festival, rather in full festal array, we seem to
+plunge into the broad movement of the surging sea, _Allegro non troppo e
+maestoso_, straight on to the fateful event. There are no sighs and
+tears. Placidly the waves play softly about. And _dolce e capriccioso_
+the siren Schérézade once more reappears to conclude the tale.
+
+
+_RACHMANINOW. SYMPHONY IN E MINOR_[A]
+
+[Footnote A: Sergei Rachmaninow, born in 1873.]
+
+_I._--The symphony begins with the sombre temper of modern Russian art;
+at the outset it seems to throb with inmost feeling, uttered in subtlest
+design.
+
+The slow solemn prelude _(Largo)_ opens with the
+
+[Music: _Largo_
+(Strings)]
+
+chief phrase of the work in lowest strings to ominous chords, and treats
+it with passionate stress until the main pace of Allegro.
+
+[Music: _Espr_. (Violins)
+(Wood and horns)]
+
+But the germ of prevailing legend lies deeper. The work is one of the
+few symphonies where the whole is reared on a smallest significant
+phrase. The first strain (of basses) is indeed the essence of the
+following melody and in turn of the main Allegro theme. But, to probe
+still further, we cannot help feeling an ultimate, briefest motive of
+single ascending tone against intrinsic obstacle, wonderfully expressed
+in the harmony, with a mingled sense of resolution and regret. And of
+like moment is the reverse descending tone. Both of these symbols
+reappear throughout the symphony, separate or blended in larger melody,
+as principal or accompanying figures. Aside from this closer view that
+makes clear the tissue of themal discussion, the first phrase is the
+main melodic motto, that is instantly echoed in violins with piquant
+harmony. In the intricate path of deep musing we feel the mantle of a
+Schumann who had himself a kind of heritage from Bach. And thus we come
+to see the national spirit best and most articulate through the medium
+of ancient art.
+
+The main Allegro melody not so much grows out of the Largo prelude, as
+it is of the same fibre and
+
+[Music: _Allegro moderato_
+4 times
+_molto expr._ (Violins)
+(Wood with _tremolo_ strings)
+(Strings with clarinets and bassoons)]
+
+identity. The violins sing here against a stately march of harmonies.
+Such is the fine coherence that the mere heralding rhythm is wrought of
+the first chords of the Largo, with their descending stress. And the
+expressive melody is of the same essence as the original sighing motto,
+save with a shift of accent that gives a new fillip of motion. In this
+movement at least we see the type of real symphony, that throbs and
+sings and holds us in the thrall of its spirit and song.
+
+Moments there are here of light and joy, quickly drooping to the darker
+mood. Following the free flight of main melody is a skein of quicker
+figures, on aspirant pulse, answered by broad, tragic descent in minor
+tones.
+
+Milder, more tranquil sings now the second melody, a striking embodiment
+of the sense of striving ascent. Chanted in higher reeds, it is
+immediately
+
+[Music: (Oboes and clarinets)
+(Violins) (Oboes and clar'ts)
+(Horns) (Bassoons)
+_dolce_
+(_Pizz._ strings)]
+
+followed and accompanied by an expressive answer in the strings. On the
+wing of this song we rise to a height where begins the path of a brief
+nervous motive (of the first notes of the symphony) that with the
+descending tone abounds in various guise. As a bold glance at the sun is
+punished by a sight of solar figures all about, so we feel throughout
+the tonal story the presence of these symbols. An epilogue of wistful
+song leads to the repeated melodies.
+
+The main figure of the plot that follows is the first melody, now in
+slow, graceful notes, now in feverish pace, though the brief (second)
+motive moves constantly here and there. A darkest descent follows into
+an Avernus of deep brooding on the legend, with an ascending path of the
+brief, nervous phrase and a reverse fall, that finally wears out its own
+despair and ends in a sombre verse of the prelude, with new shades of
+melancholy, then plunges into an overwhelming burst on the sighing
+phrase. Thence the path of brooding begins anew; but it is now
+ascendant, on the dual pulse of the poignant motto and the brief,
+nervous motive. The whole current of passion is thus uttered in the
+prelude strain that at the outset was pregnant with feeling. At the
+crisis it is answered or rather interwoven with a guise of the second
+theme, in hurried pace, chanted by stentorian brass and wood in
+hallooing chorus that reaches a high exultation. To be sure the Russian
+at his gladdest seems tinged with sense of fate. So from the single
+burst we droop again. But the gloom is pierced by brilliant
+shafts,--herald calls (of brass and wood) that raise the mood of the
+returning main melody, and in their continuous refrain add a buoyant
+stimulus. And the verse of quicker figures has a new fire and ferment.
+All absent is the former descent of minor tones. Instead, in solemn hush
+of tempest, without the poignant touch, the tranquil second melody
+returns with dulcet answer of strings. A loveliest verse is of this
+further song where, in a dual chase of tune, the melody moves in
+contained rapture. In the cadence is a transfigured phase of the
+ascending tone, mingled with the retiring melody, all woven to a
+soothing cadence.
+
+But the struggle is not over, nor is redemption near. The dulcet phrases
+sink once more to sombre depth where there is a final, slow-gathering
+burst of passion on the motto, with a conclusive ring almost of fierce
+triumph.
+
+_II._--The second movement, _Allegro molto_, is a complete change from
+introspection and passion to an
+
+[Music: _Allegro molto_
+(Insistent strum of strings)
+_Marcato_]
+
+abandon as of primitive dance. Strings stir the feet; the horns blow the
+first motive of the savage tune; the upper wood fall in with a dashing
+jingle,--like a stroke of cymbals across the hostile harmonies.
+
+Whether a recurring idiom is merely personal or belongs to the special
+work is difficult to tell. In reality it matters little. Here the
+strange rising tone is the same as in the former (second) melody. In
+the rude vigor of harmonies the primitive idea is splendidly stressed.
+
+Right in the answer is a guise of short, nervous phrase, that gets a new
+touch of bizarre by a leap of the seventh from below. In this figure
+that moves throughout the symphony we see an outward symbol of an inner
+connection.--Bells soon lend a festive ring to the main tune.
+
+In quieter pace comes a tranquil song of lower voices with a companion
+melody above,--all in serene major. Though it grew naturally out of the
+rude
+
+[Music: _Molto cantabile_]
+
+dance, the tune has a contrasting charm of idyll and, too, harks back to
+the former lyric strains that followed the second melody. When the dance
+returns, there is instead of discussion a mere extension of main motive
+in full chorus.
+
+But here in the midst the balance is more than restored. From the dance
+that ceases abruptly we go straight to school or rather cloister. On our
+recurring nervous phrase a fugue is rung with all pomp and ceremony
+(_meno mosso_); and of the dance there are mere faint echoing memories,
+when the
+
+[Music: _Meno mosso_
+(Oboe) _molto marcato_
+(Violins) staccato]
+
+fugal text seems for a moment to weave itself into the first tune.
+
+Instead, comes into the midst of sermon a hymnal chant, blown gently by
+the brass, while other stray
+
+[Music: _Leggiero_]
+
+voices run lightly on the thread of fugue. There is, indeed, a playful
+suggestion of the dance somehow in the air. A final tempest of the
+fugue[A] brings us back to the full verse of dance and the following
+melodies. But before the end sounds a broad hymnal line in the brass
+with a dim thread of the fugue, and the figures steal away in solemn
+stillness.
+
+[Footnote A: It is of the first two notes of the symphony that the fugal
+theme is made. For though it is longer in the strings, the brief motion
+is ever accented in the wood. Thus relentless is the themal coherence.
+If we care to look closer we see how the (following) chant is a slower
+form of the fugal theme, while the bass is in the line of the
+dance-tune. In the chant in turn we cannot escape a reminder, if not a
+likeness, of the second theme of the first movement.]
+
+_III._--The Adagio has one principal burden, first borne by
+violins,--that rises from the germ of earlier
+
+[Music: _Adagio_
+(Strings with added harmony in bassoons and horns)]
+
+lyric strains. Then the clarinet joins in a quiet madrigal of tender
+phrases. We are tempted to find here an influence from a western
+fashion, a taint of polythemal virtuosity, in this mystic maze of many
+strains harking from all corners of the work, without a gain over an
+earlier Russian simplicity. Even the Slavic symphony seems to have
+fallen into a state of artificial cunning, where all manners of greater
+
+[Music: (Solo clarinet)
+_espress._
+(Divided strings) _dolce_]
+
+or lesser motives are packed close in a tangled mass.
+
+It cannot be said that a true significance is achieved in proportion to
+the number of concerting themes. We might dilate on the sheer inability
+of the hearer to grasp a clear outline in such a multiple plot.
+
+There is somehow a false kind of polyphony, a too great facility of
+spurious counterpoint, that differs subtly though sharply from the true
+art where the number entails no loss of individual quality; where the
+separate melodies move by a divine fitness that measures the perfect
+conception of the multiple idea; where there is no thought of a later
+padding to give a shimmer of profound art. It is here that the symphony
+is in danger from an exotic style that had its origin in German
+music-drama.
+
+From this point the Rachmaninow symphony languishes in the fountain of
+its fresh inspiration, seems consciously constructed with calculating
+care.
+
+There is, after all, no virtue in itself in mere themal
+interrelation,--in particular of lesser phrases. One cogent theme may
+well prevail as text of the whole. As the recurring motives are
+multiplied, they must lose individual moment. The listener's grasp
+becomes more difficult, until there is at best a mystic maze, a sweet
+chaos, without a clear melodic thought. It cannot be maintained that the
+perception of the modern audience has kept pace with the complexity of
+scores. Yet there is no gainsaying an alluring beauty of these waves of
+sound rising to fervent height in the main melody that is expressive of
+a modern wistfulness.
+
+But at the close is a fierce outbreak of the first motto, with a
+defiance of regret, in faster, reckless pace, brief, but suddenly
+recurring. Exquisite is this
+
+[Music: (Ob.) _cantabile_
+(Strings, wood and horns)]
+
+cooing of voices in mournful bits of the motto, with a timid upper
+phrase in the descending tone.
+
+On we go in the piling of Ossa on Pelion, where the motto and even the
+Scherzo dance lend their text. Yet all is fraught with sentient beauty
+as, rising in Titanic climb, it plunges into an overwhelming cry in the
+Adagio melody. Throughout, the ascending and descending tones, close
+interwoven, give a blended hue of arduous striving and regret.
+
+After a pause follow a series of refrains of solo voices in the melody,
+with muted strings, with mingled strains of the motto. In the bass is an
+undulation that recalls the second theme of former movement. And the
+clarinet returns with its mystic madrigal of melody; now the Adagio
+theme enters and gives it point and meaning. In one more burst it sings
+in big and little in the same alluring harmony, whence it dies down to
+soothing close in brilliant gamut as of sinking sun.
+
+_IV.--Allegro vivace._ Throwing aside the clinging
+
+[Music: _Allegro vivace_
+_Molto marcato_
+(Strings, wood and horns with reinforced harmonies)]
+
+fragments of fugue in the prelude we rush into a gaiety long sustained.
+Almost strident is the ruthless merriment; we are inclined to fear that
+the literal coherence of theme is greater than the inner connection of
+mood. At last the romp hushes to a whisper of drum, with strange patter
+of former dance. And following and accompanying it is a new hymnal (or
+is it martial) line, as it were the reverse of the other
+
+[Music: (Reeds and horns)
+(Strings with the quicker dance phrase of 2d movement)]
+
+chant. The gay figures flit timidly back,--a struggle 'twixt pleasure
+and fate,--but soon regain control.
+
+If we cared to interpret, we might find in the Finale a realized
+aspiration. The truth is the humors of the themal phrases, as of the
+movements, jar: they are on varying planes. The coarser vein of the last
+is no solace to the noble grief of the foregoing.
+
+Again the change or series of moods is not clearly defined. They seem a
+parade of visions. The hymn may be viewed as a guise of the former chant
+of the Scherzo, with the dance-trip in lowest bass.
+
+Straight from the rush and romp we plunge anew into a trance of sweet
+memories. The lyric vein here binds together earlier strains, whose
+kinship had not appeared. They seemed less significant, hidden as
+subsidiary ideas. If we care to look back we find a germ of phrase in
+the first Prelude, and then the answer of the second (Allegro) theme of
+first movement. There was, too, the sweep of dual melody following the
+rude dance of Scherzo. Above all is here the essence and spirit of the
+central Adagio melody of the symphony.
+
+The answering strain is of high beauty, with a melting sense of
+farewell. From the sad ecstasy is a
+
+[Music: (Strings with higher and lower 8ve.)
+(Wood and horns in 8ves.)
+(Basses of strings and reeds)]
+
+descent to mystic musing, where abound the symbols of rising and falling
+tones. More and more moving is the climactic melody of regret with a
+blended song in large and little. Most naturally it sinks into a full
+verse of the Adagio tune--whence instantly is aroused a new battle of
+moods.
+
+While the dance capers below, above is the sobbing phrase from the heart
+of the Adagio. The trip falls into the pace of hymnal march. The shadows
+of many figures return. Here is the big descending scale in tragic minor
+from the first movement. Large it looms, in bass and treble. Answering
+it is a figure of sustained thirds that recalls the former second
+(Allegro) melody. And still the trip of dance goes on.
+
+Sharpest and strongest of all these memories is the big sigh of sombre
+harmonies from the first Largo prelude, answered by the original legend.
+And the dance still goes tripping on and the tones rumble in descent.
+
+The dance has vanished; no sound but the drone of dull, falling tones,
+that multiply like the spirits of the sorcerer apprentice, in large form
+and small, with the big rumbling in a quick patter as of scurrying mice.
+
+Suddenly a new spirit enters with gathering volume and warmer harmony.
+As out of a dream we gradually emerge, at the end with a shock of
+welcome to light and day, as we awake to the returning glad dance. And
+here is a new entrancing counter-tune above that crowns the joy.
+
+Once again the skip falls into the ominous descent with the phantom of
+Scherzo dance in basses. Now returns the strange hymnal line of march
+and the other anxious hue.
+
+But quickly they are transformed into the tempest of gaiety in full
+parade. When a new burst is preparing, we see the sighing figure all
+changed to opposite mood. The grim tune of Scherzo dance enters
+mysteriously in big and little and slowly takes on a softened hue,
+losing the savage tinge.
+
+After the returning dance, the farewell melody sings from full throat.
+Before the ending revel we may feel a glorified guise of the sombre
+legend of the symphony.
+
+
+
+
+CHAPTER XII
+
+SIBELIUS. A FINNISH SYMPHONY[A]
+
+[Footnote A: Symphony No. 1, in E minor, by Jan Sibelius, born in 1865.]
+
+
+We must expect that the music of newer nations will be national. It goes
+without saying; for the music comes fresh from the soil; it is not the
+result of long refined culture. There is the strain and burst of a
+burden of racial feeling to utter itself in the most pliant and eloquent
+of all the languages of emotion. It is the first and noblest sentiment
+of every nation conscious of its own worth, and it has its counterpart
+in the individual. Before the utterance has been found by a people,
+before it has felt this sense of its own quality, no other message can
+come. So the most glorious period in the history of every country (even
+in the eyes of other nations) is the struggle for independence, whether
+successful or not.
+
+All on a new plane is this northernmost symphony, with a crooning note
+almost of savage, and sudden, fitful bursts from languorous to fiery
+mood. The harmony, the turn of tune have a national quality, delicious
+and original, though the Oriental tinge appears, as in Slav and Magyar
+music, both in bold and in melancholy humor. Though full of strange and
+warm colors, the harmonic scheme is simple; rather is the work a tissue
+of lyric rhapsody than the close-woven plot of tonal epic. A certain
+trace of revery does find a vent in the traditional art of contrary
+melodies. But a constant singing in pairs is less art than ancient
+folk-manner, like primal music in the love or dance songs of savages.
+
+The symphony begins with a quiet rhapsody of solo clarinet in wistful
+minor, clear without chords, though there is a straying into major.
+There is no accompaniment save a soft roll of drum, and that soon dies
+away.
+
+[Music: _Andante, ma non troppo_
+_espress._
+(Clarinet)]
+
+The rhapsody seems too vague for melody; yet there are motives, one in
+chief, winding to a pause; here is a new appealing phrase; the ending is
+in a
+
+[Music]
+
+return to the first. Over the whole symphony is cast the hue of this
+rhapsody, both in mood and in the literal tone.
+
+All opposite, with sudden spring of buoyant strings, strikes the
+Allegro tune ending in a quick, dancing trip. The first voice is
+immediately pursued by another
+
+[Music: _Allegro energico_
+(2d violins)
+_Piu forte_
+(Violins with higher 8ve.)
+(Cellos with higher 8ve. in violas)]
+
+in similar phase, like a gentler shadow, and soon rises to a passionate
+chord that is the main idiom of the movement.
+
+[Music: (Strings, wood and horns)]
+
+A second theme in clear-marked tones of reed and horns, as of stern
+chant, is taken up in higher wood and grows to graceful melody in
+flowing strings.
+
+[Music: _marcato_]
+
+There is a series of flights to an ever higher perch of harmony until
+the first Allegro motive rings out in fullest chorus, again with the
+companion tune and the cadence of poignant dissonance.
+
+A new episode comes with shimmering of harp and strings, where rare and
+dainty is the sense of primal
+
+[Music: _marcato_
+(Flutes)
+(Strings with chord of harp)]
+
+harmony that lends a pervading charm to the symphony. Here the high
+wood has a song in constant thirds, right from the heart of the
+rhapsody, all bedecked as melody with a new rhythm and answer. Soon this
+simple lay is woven in a skein of pairs of voices, meeting or diverging.
+But quickly we are back in the trance of lyric song, over palpitating
+strings, with the refrain very like the former companion phrase that
+somehow leads or grows to a
+
+[Music: _Tranquillo_
+(Oboe, with other wood)
+(Strings with higher E)]
+
+rhythmic verse of the first strain of the rhapsody. Here begins a long
+mystic phase of straying voices (of the wood) in the crossing figures of
+the song, in continuous fantasy that somehow has merged into the line of
+second Allegro theme, winging towards a brilliant height where the
+strings ring out the strain amid sharp cries of the brass in startling
+hues of harmony and electric calls from the first rhapsody.
+
+From out the maze and turmoil the shadowy melody rises in appealing
+beauty like heavenly vision and lo! is but a guise of the first strain
+of rhapsody. It rises amid flashes of fiery brass in bewildering blare
+of main theme, then sinks again to the depth of brooding, though the
+revery of the appealing phrase has a climactic height of its own, with
+the strange, palpitating harmonies.
+
+In a new meditation on bits of the first Allegro theme sounds suddenly a
+fitful burst of the second, that presently emerges in triumphant,
+sovereign song. Again, on a series of flights the main theme is reached
+and leaps once more to impassioned height.
+
+But this is followed by a still greater climax of moving pathos whence
+we descend once more to lyric meditation (over trembling strings).
+Follows a final tempest and climax of the phrase of second theme.
+
+The movement thus ends, not in joyous exultation, but in a fierce
+triumph of sombre minor.
+
+The Andante is purest folk-melody, and it is strange how we know this,
+though we do not know the special theme. We cannot decry the
+race-element as a rich fount of melody. While older nations strive and
+strain, it pours forth by some mystery in prodigal flow with less
+tutored peoples who are singing their first big song to the world. Only,
+the ultimate goal for each racial inspiration must be a greater
+universal celebration.
+
+The lyric mood is regnant here, in a melody that, springing from distant
+soil, speaks straight to every heart, above all with the concluding
+refrain. It is of the purest vein, of the primal fount, deeper than mere
+racial turn or trait. Moreover, with a whole coronet of gems of modern
+harmony, it has a broad swing and curve that gives the soothing sense of
+fireside;
+
+[Music: _Andante ma non troppo lento_
+(Muted violins)
+(Sustained horns and basses with lower 8ve.; constant stroke of harp)
+(Clarinets)]
+
+it bears a burden of elemental, all-contenting emotion. In the main, the
+whole movement is one lyric flight. But there come the moods of musing
+and rhapsodic rapture. In a brief fugal vein is a mystic harking back to
+the earlier prelude. In these lesser phrases are the foil or
+counter-figures for the bursts of the melody.
+
+It is the first motive of the main tune that is the refrain in ever
+higher and more fervent exclamation, or in close pressing chase of
+voices. Then follows a melting episode,--some golden piece of the melody
+in plaintive cellos, 'neath tremulous wood or delicate choirs of
+strings.
+
+But there is a second tune, hardly less moving, in dulcet group of
+horns amid shimmering strings and harp, with a light bucolic answer in
+playful reed.
+
+[Music: _Molto tranquillo_
+(Violins)
+_dolce_ (Horns)
+(With arpeggic harp)]
+
+And it has a glowing climax, too, with fiery trumpet, and dashing
+strings and clashing wood.
+
+Gorgeous in the warm depth of horns sound now the returning tones of the
+first noble melody, with playful trill of the wood, in antiphonal song
+of trumpets and strings. And there are revels of new turns of the tune
+(where the stirring harmony seems the best of all) that will rise to a
+frenzy of tintinnabulation. A quicker counter-theme lends life and
+motion to all this play and plot.
+
+A big, solemn stride of the middle strain (of main melody) precedes the
+last returning verse, with all the tender pathos of the beginning.
+
+The Scherzo is wild race-feeling let loose--national music that has not
+yet found a melody. Significantly the drums begin the tune, to a dancing
+strain of _pizzicato_ strings. The tune is so elemental that the
+
+[Music: _Allegro_
+(Violins)
+(_Pizz._ cellos double above in violas)]
+
+drums can really play it; the answer is equally rude,--an arpeggic
+motive of strings against quick runs of the higher wood. Out of it grows
+a tinge of tune with a fresh spring of dance,--whence returns the first
+savage motive. This is suddenly changed to the guise of a fugal theme,
+with new close, that starts a maze of disputation.
+
+Right from the full fire of the rough dance, sad-stressed chords plunge
+into a moving plaint with much sweetness of melody and higher
+counter-melody. Then returns again the original wild rhythm.
+
+[Music: _Lento ma non troppo_]
+
+In the last movement the composer confesses the "Fantasy" in the title.
+It begins with a broad sweep of the returning rhapsody, the prologue of
+the symphony, though without the former conclusion. Now it sings in a
+strong unison of the strings _largamente ed appassionato_, and with
+clang of chord in lower brass. The appealing middle phrase is all
+disguised in strum as of dance. The various strains sing freely in
+thirds, with sharp punctuating chords. Throughout is a balance of the
+pungent vigor of harmonies with dulcet melody.
+
+In sudden rapid pace the strumming figure dances in the lower reed, then
+yields to the play (in the strings) of a lively (almost comic) tune of a
+strong national tinge,--a kind that seems native to northern countries
+and is not unlike a strain that crept into
+
+[Music: _Allegro molto_]
+
+American song. A tempest of pranks is suddenly halted before the
+entrance of a broad melody, with underlying harmonies of latent passion.
+The feeling of fantasy is in the further flow, with free singing chords
+of harp. But ever between the lines creeps in the strumming phrase, from
+the first prelude, returned to its earlier mood.
+
+[Music: _Andante assai_
+(Violins) _cantabile ed espressivo_
+(Horns)
+(Clarinets)
+(_Tremolo_ cellos, with lower C in basses)]
+
+With baffling mystery anon come other appealing phrases from the
+beginning, that show the whole to be the woof almost of a single figure,
+or at least to lie within the poetic scope of the prologue. A fugal
+revel of the comic phrase with the quick strum as counter-theme ends in
+a new carnival,--here a dashing march, there a mad chase of strident
+harmonies. Now sings the full romance and passion of the melody through
+the whole gamut from pathos to rapture. It ends with poignant stress of
+the essence of the song, with sheerest grating of straining harmonies.
+In the midst, too, is again the mystic symbol from the heart of the
+prelude. Then with a springing recoil comes a last jubilation, though
+still in the prevailing minor, with a final coursing of the quick theme.
+
+The whole is a broad alternation of moods, of wild abandon and of tender
+feeling,--the natural dual quality of primal music. So, at least in the
+Finale, this is a Finnish fantasy, on the very lines of other national
+rhapsody.
+
+
+
+
+CHAPTER XIII
+
+BOHEMIAN SYMPHONIES
+
+
+In the music of modern Bohemia is one of the most vital utterances of
+the folk-spirit. The critic may not force a correspondence of politics
+and art to support his theory. Yet a cause may here be found as in
+Russia and Finland. (Poland and Hungary had their earlier song). There
+is a sincerity, an unpremeditated quality in Bohemian music that is not
+found among its western neighbors. The spirit is its own best proof,
+without a conscious stress of a national note. Indeed, Bohemian music is
+striking, not at all in a separate tonal character, like Hungarian, but
+rather in a subtle emotional intensity, which again differs from the
+wild abandon of the Magyars. An expression it must be of a national
+feeling that has for ages been struggling against absorption. Since
+ancient times Bohemia has been part of a Teutonic empire. The story of
+its purely native kings is not much more than legendary. Nor has it
+shared the harder fate of other small nations; for the Teuton rule at
+least respected its separate unity.
+
+But the long association with the German people has nearly worn away the
+racial signs and hall-marks of its folk-song. A Bohemian tune thus has a
+taste much like the native German. Yet a quality of its own lies in the
+emotional vitality, shown in a school of national drama and, of late, in
+symphony. It is not necessary to seek in this modern culmination a
+correspondence with an impending danger of political suppression. Art
+does not follow history with so instant a reflection.
+
+The intensity of this national feeling appears when Smetana himself, the
+minstrel of the people, is charged at home with yielding to the foreign
+influence. Here again is the hardship of the true national poet who
+feels that for the best utterance of his message he needs the grounding
+upon a broader art; here is the narrow Chauvinism that has confined the
+music of many lands within the primitive forms.
+
+Two types we have in Bohemian music of later times: one, Smetana, of
+pure national celebration; a second, Dvôrák, who with a profound
+absorption of the German masters, never escaped the thrall of the
+folk-element and theme.
+
+
+_SMETANA. SYMPHONIC POEM, "THE MOLDAU RIVER"_[A]
+
+[Footnote A: Friedrich Smetana, 1824-1884, foremost among Bohemian
+dramatic composers, wrote a cycle of symphonic poems under the general
+title "My Country." Of these the present work is the second.]
+
+Simplicity is uppermost in these scores; yet the true essence is almost
+hidden to the mere reader. With all primitive quality they are more
+difficult than many a classic symphony. The latent charm of folk humor
+and sentiment depends more on tradition and sympathy than on notation.
+
+The naïvely graphic impulse (that we find throughout the choral works of
+Bach) that merely starts a chance themal line, as here of the first
+branch of the Moldau, does not disturb the emotional expression. And
+while the feeling is sustained, the art is there, not to stifle but to
+utter and set free the native spring of song.
+
+It must be yielded that the design is not profound; it smacks of the
+village fair rather than of grand tragedy. Song is ever supreme, and
+with all abundance of contrapuntal art does not become sophisticated.
+The charm is not of complexity, but of a more child-like, sensuous kind.
+
+It must all be approached in a different way from other symphonic music.
+The minstrel is not even the peasant in court costume, as Dvôrák once
+was called. He is the peasant in his own village dress, resplendent with
+color and proud of his rank.
+
+We cannot enjoy the music with furrowed brow. It is a case where music
+touches Mother Earth and rejuvenates herself. Like fairy lore and
+proverbs, its virtue lies in some other element than profound design.
+For any form of song or verse that enshrines the spirit of a people and
+is tried in the forge of ages of tradition, lives on more surely than
+the fairest art of individual poet.
+
+The stream is the great figure, rising from small sources in playful
+flutes, with light spray of harp and
+
+[Music: _Allegro commodo non agitato_
+_lusingando_
+(Flute with chord of _pizz._ strings)]
+
+strings. The first brook is joined by another (in clarinets) from a new
+direction. Soon grows the number and the rustle of confluent waters. The
+motion of the strings is wavelike, of a broader flow, though underneath
+we scan the several lesser currents. Above floats now the simple, happy
+song, that expands
+
+[Music: _dolce_
+(Reeds and horns with waving strings and stroke of triangle)]
+
+with the stream and at last reaches a glad, sunny major.
+
+Still to the sound of flowing waters comes the forest hunt, with all the
+sport of trumpets and other brass.
+
+It is descriptive music, tonal painting if you will; but the color is
+local or national. The strokes are not so much of events or scenes as of
+a popular humor and character, which we must feel with small stress of
+each event. The blowing of trumpets, the purling of streams, the swaying
+of trees, in primal figures, all breathe the spirit of Bohemia.
+
+The hunt dies away; emerging from the forest the jolly sounds greet us
+of a peasant wedding. The
+
+[Music: _Tempo moderato_
+(Reeds and strings)]
+
+parade reaches the church in high festivity and slowly vanishes to
+tinkling bells.
+
+Night has fallen; in shifted scene the stream is sparkling in the
+moonlight still to the quiet sweet harmonies. But this is all background
+for a dance of nymphs, while a dulcet, sustained song sounds through the
+night. At last, to the golden horns a faintest harmony is added of
+deeper brass. Still very softly, the brass strike a quicker phrase and
+we seem to hear the hushed chorus of hunt with the call of trumpets, as
+the other brass lead in a new verse that grows lustier with the livelier
+song and dance, till--with a flash we are alone with the running stream
+with which the dance of nymphs has somehow merged.
+
+On it goes, in happy, ever more masterful course, a symbol of the
+nation's career, surging in bright major and for a moment quieting
+before the mighty Rapids of St. Johann. Here the song of the stream is
+nearly lost in the rush of eddies and the strife of big currents, with
+the high leaps of dashing spray,--ever recurring like unceasing battle
+with a towering clash at the height of the tempest. At last all meet in
+overpowering united torrent, suddenly to hush before the stream, at the
+broadest, rushes majestically along in hymnal song of exalted harmonies
+and triumphant melody, with joyous after-strains.
+
+As the pilgrim to his Mecca, so the waters are wafted into the climactic
+motive of the Hradschin, the chant of the holy citadel. The rest is a
+long jubilation
+
+[Music: _Motiv Vyserad_
+(Full orchestra, with rapid figures in the strings)]
+
+on quicker beats of the chant, amid the plash of waters and the shaking
+of martial brass. Strangely, as the other sounds die away, the melody of
+the stream emerges clear and strong, then vanishes in the distance
+before the jubilant Amen.
+
+In the general view we must feel a wonderful contrast here with the
+sophomoric state of the contemporary art in other lands where the
+folk-song has lost its savor,--where the natural soil is exhausted and
+elegant castles are built in the air of empty fantasy, or on the sands
+of a vain national pride.
+
+
+_DVÔR�K. SYMPHONY, "FROM THE NEW WORLD."_[A]
+
+[Footnote A: Anton Dvôrák, 1841-1904.]
+
+It is a much-discussed question how far Dvôrák's American symphony is
+based on characteristic folk-song. Here are included other questions: to
+what extent the themes are based on an African type, and whether negro
+music is fairly American folk-song. Many, perhaps most people, will
+answer with a general negative. But it seems to be true that many of us
+do not really know the true negro song,--have quite a wrong idea of it.
+
+To be sure, all argument aside, it is a mistake to think that folk-song
+gets its virtue purely from a distinctive national quality,--because it
+is Hungarian, Scandinavian, or Slavonic. If all the national modes and
+rhythms of the world were merged in one republic, there would still be a
+folk-song of the true type and value. There is a subtle charm and
+strength in the spontaneous simplicity, all aside from racial color. It
+is here that, like Antaeus, the musician touches Mother Earth and renews
+his strength. So, when Dvôrák suddenly shifts in the midst of his New
+World fantasy into a touch of Bohemian song, there is no real loss. It
+is all relevant in the broad sense of folk feeling, that does not look
+too closely at geographical bounds. It is here that music, of all arts,
+leads to a true state of equal sympathy, regardless of national
+prejudice. What, therefore, distinguishes Dvôrák's symphony may not be
+mere negro melody, or even American song, but a genuine folk-feeling, in
+the widest meaning.
+
+In one way, Dvôrák's work reminds us of Mendelssohn's Scotch Symphony:
+both exploit foreign national melody in great poetic forms. One could
+write a Scotch symphony in two ways: one, in Mendelssohn's, the other
+would be to tell of the outer impression in the terms of your own
+folk-song. That is clearly the way Mendelssohn wrote most of the Italian
+Symphony,--which stands on a higher plane than the Scotch. For folk-song
+is the natural language of its own people. It is interesting to see the
+exact type that each theme represents; but it is not so important as to
+catch the distinction, the virtue of folk-song _per se_ and the purely
+natural utterance of one's own. Of course, every one writes always in
+his folk-tones. On the other hand, one may explore one's own special
+treasures of native themes, as Dvôrák himself did so splendidly in his
+Slavic Dances and in his Legends. So one must, after all, take this
+grateful, fragrant work as an idea of what American composers might do
+in full earnest. Dvôrák is of all later masters the most eminent
+folk-musician. He shows greatest sympathy, freedom and delight in
+revelling among the simple tones and rhythms of popular utterance,
+rearing on them, all in poetic spontaneity, a structure of high art.
+Without strain or show, Dvôrák stood perhaps the most genuine of late
+composers, with a firm foot on the soil of native melody, yet with the
+balance and restraint and the clear vision of the trained master.[A]
+
+[Footnote A: The whole subject of American and negro folk-song is new
+and unexplored. There are races of the blacks living on the outer reefs
+and islands of the Carolinas, with not more than thirty whites in a
+population of six thousand, where "spirituals" and other musical rites
+are held which none but negroes may attend. The truest African mode and
+rhythm would seem to be preserved here; to tell the truth, there is
+great danger of their loss unless they are soon recorded.]
+
+In a certain view, it would seem that by the fate of servitude the
+American negro has become the element in our own national life that
+alone produces true folk-song,--that corresponds to the peasant and serf
+of Europe, the class that must find in song the refuge and solace for
+its loss of material joys. So Dvôrák perhaps is right, with a far seeing
+eye, when he singles the song of the despised race as the national type.
+
+Another consideration fits here. It has been suggested that the
+imitative sense of the negro has led him to absorb elements of other
+song. It is very difficult to separate original African elements of song
+from those that may thus have been borrowed. At any rate, there is no
+disparagement of the negro's musical genius in this theory. On the
+contrary, it would be almost impossible to imagine a musical people that
+would resist the softer tones of surrounding and intermingling races.
+We know, to be sure, that Stephen Foster, the author of "The Old Folks
+at Home," "Massa's in the Cold, Cold Ground," and other famous ballads,
+was a Northerner, though his mother came from the South. We hear, too,
+that he studied negro music eagerly. It is not at all inconceivable,
+however, Foster's song may have been devoid of negro elements, that the
+colored race absorbed, wittingly or unwittingly, something of the vein
+into their plaints or lullabies,--that, indeed, Foster's songs may have
+been a true type that stirred their own imitation. From all points of
+view,--the condition of slavery, the trait of assimilation and the
+strong gift of musical expression may have conspired to give the negro a
+position and equipment which would entitle his tunes to stand as the
+real folk-song of America.
+
+The eccentric accent seems to have struck the composer strongly. And
+here is a strange similarity with Hungarian song,--though there is, of
+course, no kinship of race whatever between Bohemians and Magyars. One
+might be persuaded to find here simply an ebullition of rhythmic
+impulse,--the desire for a special fillip that starts and suggests a
+stronger energy of motion than the usual conventional pace. At any rate,
+the symphony begins with just such strong, nervous phrases that soon
+gather big force. Hidden is the germ of the first, undoubtedly the chief
+theme of the whole work.
+
+It is more and more remarkable how a search will show the true
+foundation of almost all of Dvôrák's themes. Not that one of them is
+actually borrowed, or lacks an original, independent reason for being.
+
+Whether by imitation or not, the pentatonic scale of the Scotch is an
+intimate part of negro song. This avoidance of the seventh or leading
+tone is seen throughout the symphony as well as in the traditional
+jubilee tunes. It may be that this trait was merely confirmed in the
+African by foreign musical influence. For it seems that the
+leading-note, the urgent need for the ascending half-tone in closing,
+belongs originally to the minstrelsy of the Teuton and of central
+Europe, that resisted and conquered the sterner modes of the early
+Church. Ruder nations here agreed with Catholic ritual in preferring the
+larger interval of the whole tone. But in the quaint jump of the third
+the Church had no part, clinging closely to a diatonic process.
+
+The five-toned scale is indeed so widespread that it cannot be fastened
+on any one race or even family of nations. The Scotch have it; it is
+characteristic of the Chinese and of the American Indian. But,
+independently of the basic mode or scale, negro songs show here and
+there a strange feeling for a savage kind of lowering of this last note.
+The pentatonic scale simply omits it, as well as the fourth step. But
+the African will now and then rudely and forcibly lower it by a
+half-tone. In the minor it is more natural; for it can then be thought
+of as the fifth of the relative major. Moreover, it is familiar to us in
+the Church chant. This effect we have in the beginning of the Scherzo.
+Many of us do not know the true African manner, here. But in the major
+it is much more barbarous. And it is almost a pity that Dvôrák did not
+strike it beyond an occasional touch (as in the second quoted melody). A
+fine example is "Roll, Jordan Roll," in E flat (that opens, by the way,
+much like Dvôrák's first theme), where the beginning of the second line
+rings out on a savage D flat, out of all key to Caucasian ears.
+
+We soon see stealing out of the beginning _Adagio_ an eccentric pace in
+motion of the bass, that leads to the burst of main subject, _Allegro
+molto_, with a certain
+
+[Music: _Allegro molto_
+(Strings)
+(Horns)
+_Pizz._ (Strings)
+(Clarinets doubled below in bassoons)
+(Strings)]
+
+ragged rhythm that we Americans cannot disclaim as a nation. The working
+up is spirited, and presently out of the answer grows a charming jingle
+that somehow strikes home.
+
+[Music: (Violins, with harmony in lower strings)]
+
+It begins in the minor and has a strange, barbaric touch of cadence.
+Many would acknowledge it at most as a touch of Indian mode. Yet it is
+another phase of the lowered seventh. And if we care to search, we find
+quite a prototype in a song like "Didn't My Lord Deliver Daniel." Soon
+the phrase has a more familiar ring as it turns into a friendly major.
+But the real second theme comes in a solo tune on the flute, in the
+major,
+
+[Music: (Solo flute)
+(Strings)]
+
+with a gait something like the first.[A] Less and less we can resist the
+genuine negro quality of these melodies, and, at the same time, their
+beauty and the value of the tonal treasure-house in our midst.
+
+[Footnote A: Again it is interesting to compare here the jubilee song,
+"Oh! Redeemed," in the collection of "Jubilee and Plantation Songs," of
+the Oliver Ditson Company.]
+
+The whole of the first Allegro is thus woven of three melodious and
+characteristic themes in very clear sonata-form. The second, Largo,
+movement is a lyric of moving pathos, with a central melody that may not
+have striking traits of strict African song, and yet belongs to the type
+closely associated with the negro vein of plaint or love-song. The
+rhythmic
+
+[Music: _Largo_
+(English horn solo)]
+
+turns that lead to periods of excitement and climaxes of rapid motion,
+are absent in the main melody. But
+
+[Music: (Oboe and clarinets)
+(Basses _pizz._ with _tremolo_ figures in violins)]
+
+they appear in the episode that intervenes. Even here, in the midst, is
+a new contrast of a minor lament that has a strong racial trait in the
+sudden swing to major and, as quickly, back to the drearier mode. This
+is followed by a rhapsody or succession of rapid, primitive phrases,
+that leads to a crisis where, of a sudden, three themes sing at once,
+the two of the previous Allegro and the main melody of the Largo, in
+distorted pace with full chorus. This excitement is as suddenly lulled
+and soothed by the return of the original moving song.
+
+The Scherzo starts in a quick three-beat strum on the chord we have
+pointed to as a true model trait of negro music, with the lowered
+leading-note. The
+
+[Music: _molto vivace_ (Fl. and oboes)
+(Strings) (Cl't.)]
+
+theme, discussed in close stress of imitation, seems merely to mark the
+rapid swing in the drone of strange harmony. But what is really a sort
+of Trio (_poco sostenuto_) is another sudden, grateful change to major,
+perfectly true to life, so to speak, in this turn of mode and in the
+simple lines of the tune. The lyric mood all but suppresses the dance,
+the melody sounding like a new verse of the Largo. The trip has always
+lingered, but not too much for the delicious change when it returns to
+carry us off our feet.
+
+The Scherzo now steals in again, quite a piece, it seems, with the Trio.
+As the rising volume nears a crisis, the earliest theme (from the first
+Allegro) is heard in the basses. In the hushed discourse of Scherzo
+theme that follows, the old melody still intrudes. In mockery of one of
+its turns comes an enchanting bit of tune, as naïve an utterance as any,
+much like a children's dancing song. And it returns later with still new
+enchantment of rhythm. But the whole is too full of folk-melody to trace
+out, yet is, in its very fibre, true to the idea of an epic of the
+people.
+
+Presently the whole Scherzo and Trio are rehearsed; but now instead of
+the phase of latest melodies is a close where the oldest theme (of
+Allegro) is sung in lusty blasts of the horns and wood, with answers of
+the Scherzo motive.
+
+In the last movement, _Allegro con fuoco_, appears early a new kind of
+march tune that, without special
+
+[Music: _Allegro con fuoco_
+(Horns and trumpets with full orchestra)]
+
+trick of rhythm, has the harsh note of lowered leading-note (in the
+minor, to be sure) in very true keeping with negro song. The march is
+carried on, with flowing answer, to a high pitch of varied splendor and
+tonal power. The second theme is utterly opposed in a certain pathetic
+rhapsody. Yet it rises, at the close, to a fervent burst in rapid
+motion. We
+
+[Music: (Solo clarinets)
+(_tremolo_ strings)]
+
+may expect in the Finale an orgy of folk-tune and dance, and we are not
+disappointed. There is, too, a quick rise and fall of mood, that is a
+mark of the negro as well as of the Hungarian. By a sudden doubling, we
+are in the midst of a true "hoe-down," in jolliest jingle, with that
+naïve iteration, true to life; it comes out clearest when the tune of
+the bass (that sounds like a rapid "Three Blind Mice") is
+
+[Music: (Strings, wood and brass)
+(See page 205, line 9.)]
+
+put in the treble. A pure idealized negro dance-frolic is here. It is
+hard to follow all the pranks; lightly as the latest phrase descends in
+extending melody, a rude blast of the march intrudes in discordant
+humor. A new jingle of dance comes with a redoubled pace of bits of the
+march. As this dies down to dimmest bass, the old song from the Largo
+rings high in the wood. Strangest of all, in a fierce shout of the whole
+chorus sounds twice this same pathetic strain. Later comes a redoubled
+speed of the march in the woodwind, above a slower in low strings. Now
+the original theme of all has a noisy say. Presently the sad second
+melody has a full verse. Once more the Largo lullaby sings its strain
+in the minor. In the close the original Allegro theme has a literal,
+vigorous dispute with the march-phrase for the last word of all.
+
+The work does less to exploit American music than to show a certain
+community in all true folk-song. Nor is this to deny a strain peculiar
+to the new world. It seems a poet of distant land at the same time and
+in the same tones uttered his longing for his own country and expressed
+the pathos and the romance of the new. Dvôrák, like all true workers,
+did more than he thought: he taught Americans not so much the power of a
+song of their own, as their right of heritage in all folk-music. And
+this is based not merely on an actual physical inheritance from the
+various older races.
+
+If the matter, in Dvôrák's symphony, is of American negro-song, the
+manner is Bohemian. A stranger-poet may light more clearly upon the
+traits of a foreign lore. But his celebration will be more conscious if
+he endeavor to cling throughout to the special dialect. A true national
+expression will come from the particular soil and will be unconscious of
+its own idiom.
+
+The permanent hold that Dvôrák's symphony has gained is due to an
+intrinsic merit of art and sincere sentiment; it has little to do with
+the nominal title or purpose.
+
+
+
+
+CHAPTER XIV
+
+THE EARLIER BRUCKNER[A]
+
+[Footnote A: Anton Bruckner, born at Annsfelden, Austria, 1828; died in
+Vienna in 1896.]
+
+
+Whatever be the final answer of the mooted question of the greatness of
+Bruckner's symphonies, there is no doubt that he had his full share of
+technical profundity, and a striking mastery of the melodious weaving of
+a maze of concordant strains. The question inevitably arises with
+Bruckner as to the value of the world's judgments on its contemporary
+poets. There can be no doubt that the _furore_ of the musical public
+tends to settle on one or two favorites with a concentration of praise
+that ignores the work of others, though it be of a finer grain. Thus
+Schubert's greatest--his one completed--symphony was never acclaimed
+until ten years after his death. Even his songs somehow brought more
+glory to the singer than to the composer. Bach's oratorios lay buried
+for a full century. On the other hand, names great in their day are
+utterly lost from the horizon. It is hard to conceive the _éclat_ of a
+Buononcini or a Monteverde,--whose works were once preëminent. There are
+elements in art, of special, sensational effect, that make a peculiar
+appeal in their time, and are incompatible with true and permanent
+greatness. One is tempted to say, the more sudden and vehement the
+success, the less it will endure. But it would not be true. Such an
+axiom would condemn an opera like "Don Giovanni," an oratorio like the
+"Creation," a symphony like Beethoven's Seventh. There is a wonderful
+difference, an immeasurable gulf between the good and the bad in art;
+yet the apparent line is of the subtlest. Most street songs may be poor;
+but some are undoubtedly beautiful in a very high sense. It is a problem
+of mystic fascination, this question of the value of contemporary art.
+It makes its appeal to the subjective view of each listener. No rule
+applies. Every one will perceive in proportion to his capacity, no one
+beyond it. So, a profound work may easily fail of response, as many
+works in the various arts have done in the past, because the average
+calibre of the audience is too shallow, while it may deeply stir an
+intelligent few. Not the least strange part of it all is the fact that
+there can, of necessity, be no decision in the lifetime of the poet.
+Whether it is possible for obscure Miltons never to find their meed of
+acclaim, is a question that we should all prefer to answer in the
+negative. There is a certain shudder in thinking of such a chance; it
+seems a little akin to the danger of being buried alive.
+
+The question of Bruckner's place can hardly be said to be settled,
+although he has left nine symphonies. He certainly shows a freedom, ease
+and mastery in the symphonic manner, a limpid flow of melody and a sure
+control in the interweaving of his themes, so that, in the final
+verdict, the stress may come mainly on the value of the subjects, in
+themselves. He is fond of dual themes, where the point lies in neither
+of two motives, but in the interplay of both; we see it somewhat
+extended in Richard Strauss, who uses it, however, in a very different
+spirit. The one evident and perhaps fatal lack is of intrinsic beauty of
+the melodic ideas, and further, an absence of the strain of pathos that
+sings from the heart of a true symphony. While we are mainly impressed
+by the workmanship, there is no denying a special charm of constant
+tuneful flow. At times this complexity is almost marvellous in the clear
+simplicity of the concerted whole,--in one view, the main trait or trick
+of symphonic writing. It is easy to pick out the leading themes as they
+appear in official order. But it is not so clear which of them
+constitute the true text. The multiplicity of tunes and motives is
+amazing.
+
+Of the Wagner influence with which Bruckner is said to be charged,
+little is perceptible in his second symphony. On the contrary, a strong
+academic tradition pervades. The themes are peculiarly symphonic.
+Moreover they show so strikingly the dual quality that one might say, as
+a man may see double, Bruckner sang double. Processes of augmenting and
+inverting abound, together with the themal song in the bass. Yet there
+is not the sense of overloaded learning. There is everywhere a clear and
+melodious polyphony.
+
+But with all masterly architecture, even enchanting changes of harmony
+and a prodigal play of melody, the vacuity of poetic ideas must preclude
+a permanent appeal. Bruckner is here the schoolmaster: his symphony is a
+splendid skeleton, an object lesson for the future poet.
+
+In the FOURTH (ROMANTIC) SYMPHONY the main light plays throughout on the
+wind. The text is a call of horns, that begins the work. It is a
+symphony
+
+[Music: _In tranquil motion_
+(Horns, _espressivo_)
+(Strings)]
+
+of wood-notes, where the forest-horn is sovereign,--awakening a widening
+world of echoes, with a murmuring maze of lesser notes. One has again
+the feeling that in the quiet interweaving of a tapestry of strains lies
+the individual quality of the composer,--that the _forte_ blasts, the
+stride of big unison figures are but the interlude.
+
+In the Andante the charm is less of tune than of the delicate changing
+shades of the harmony and of the colors of tone. We are ever surprised
+in the gentlest way by a turn of chord or by the mere entrance of a horn
+among the whispering strings. The shock of a soft modulation may be as
+sudden as of the loud, sudden blare. But we cannot somehow be consoled
+for the want of a heart-felt melody.
+
+The Scherzo is a kind of hunting-piece, full of the sparkle, the color
+and romance of bugles and horns,--a spirited fanfare broken by hushed
+phrases of strings or wood, or an elf-like mystic dance on the softened
+call of trumpets. The Trio sings apart, between the gay revels, in soft
+voices and slower pace, like a simple ballad.
+
+The Finale is conceived in mystical retrospect, beginning in vein of
+prologue: over mysterious murmuring strings, long sustained notes of the
+reed and horn in octave descent are mingled with a soft carillon of
+horns and trumpets in the call of the Scherzo. In broad swing a free
+fantasy rises to a loud refrain (in the brass) of the first motive of
+the symphony.
+
+In slower pace and hush of sound sings a madrigal of tender phrases. A
+pair of melodies recall like figures of the first Allegro. Indeed, a
+chain of dulcet strains seems to rise from the past.
+
+The fine themal relevance may be pursued in infinite degree, to no end
+but sheer bewilderment. The truth is that a modern vanity for subtle
+connection, a purest pedantry, is here evident, and has become a baneful
+tradition in the modern symphony. It is an utter confusion of the letter
+with the spirit. Once for all, a themal coherence of symphony must lie
+in the main lines, not in a maze of unsignificant figures.
+
+Marked is a sharp alternation of mood, tempestuous and tender, of
+Florestan and Eusebius. The lyric phase yields to the former heroic
+fantasy and then returns in soothing solace into a prevailing motive
+that harks back to the second of the beginning movement. The fantasy,
+vague of melody, comes
+
+[Music: (Wood and horns)
+(Strings)]
+
+(in more than one sense) as relief from the small tracery. It is just to
+remember a like oscillation in the first Allegro.
+
+When the prologue recurs, the phrases are in ascent, instead of descent
+of octaves. A climactic verse of the main dulcet melody breaks out in
+resonant choir of brass and is followed by a soft rhapsody on the
+several strains that hark back to the beginning. From the halting pace
+the lyric episode rises in flight of continuous song to enchanting lilt.
+Now in the big heroic fantasy sing the first slow phrases as to the
+manner born and as naturally break into a paean of the full motive,
+mingled with strains of the original legend of the symphony, that flows
+on to broad hymnal cadence.
+
+In mystic musing we reach a solemn stillness where the prologue phrase
+is slowly drawn out into a profoundly moving hymn. Here we must feel is
+Meister Bruckner's true poetic abode rather than in the passion and
+ecstasy of romance into which he was vainly lured.[A]
+
+[Footnote A: Bruckner's Fifth Symphony (in B flat) is a typical example
+of closest correlation of themes that are devoid of intrinsic melody.
+
+An introduction supplies in the bass of a hymnal line the main theme of
+the Allegro by inversion as well as the germ of the first subject of the
+Adagio. Throughout, as in the Romantic Symphony, the relation between
+the first and the last movement is subtle. A closing, jagged phrase
+reappears as the first theme of the Finale.
+
+The Adagio and Scherzo are built upon the same figure of bass. The theme
+of the Trio is acclaimed by a German annotator as the reverse of the
+first motive of the symphony.
+
+In the prelude of the Finale, much as in the Ninth of Beethoven, are
+passed in review the main themes of the earlier movements. Each one is
+answered by an eccentric phrase that had its origin in the first
+movement and is now extended to a fugal theme.
+
+The climactic figure is a new hymnal line that moves as central theme of
+an imposing double fugue.]
+
+
+
+
+CHAPTER XV
+
+THE LATER BRUCKNER
+
+
+In Bruckner's later works appears the unique instance of a discipline
+grounded in the best traditions, united to a deft use of ephemeral
+devices. The basic cause of modern mannerism, mainly in harmonic
+effects, lies in a want of formal mastery; an impatience of thorough
+technic; a craving for quick sensation. With Bruckner it was the
+opposite weakness of original ideas, an organic lack of poetic
+individuality. It is this the one charge that cannot be brought home to
+the earlier German group of reaction against the classic idea.
+
+There is melody, almost abundant, in Wagner and Liszt and their German
+contemporaries. Indeed it was an age of lyricists. The fault was that
+they failed to recognize their lyric limitation, lengthening and padding
+their motives abnormally to fit a form that was too large. Hence the
+symphony of Liszt, with barren stretches, and the impossible plan of the
+later music-drama. The truest form of such a period was the song, as it
+blossomed in the works of a Franz.
+
+Nor has this grandiose tendency even yet spent its course. A saving
+element was the fashioning of a new form, by Liszt himself,--the
+Symphonic Poem,--far inferior to the symphony, but more adequate to the
+special poetic intent.
+
+Whatever be the truth of personal gossip, there is no doubt that
+Bruckner lent himself and his art to a championing of the reactionary
+cause in the form that was intrinsically at odds with its spirit. Hence
+in later works of Bruckner these strange episodes of borrowed romance,
+abruptly stopped by a firm counterpoint of excellent quality,--indeed
+far the best of his writing. For, if a man have little ideas, at least
+his good workmanship will count for something.
+
+In truth, one of the strangest types is presented in Bruckner,--a pedant
+who by persistent ingenuity simulates a master-work almost to
+perfection. By so much as genius is not an infinite capacity for pains,
+by so much is Bruckner's Ninth not a true symphony. Sometimes, under the
+glamor of his art, we are half persuaded that mere persistence may
+transmute pedantry into poetry.
+
+It seems almost as if the Wagnerians chose their champion in the
+symphony with a kind of suppressed contempt for learning, associating
+mere intellectuality with true mastery, pointing to an example of
+greatest skill and least inspiration as if to say: "Here is your
+symphonist if you must have one." And it is difficult to avoid a
+suspicion that his very partisans were laughing up their sleeve at their
+adopted champion.
+
+We might say all these things, and perhaps we have gone too far in
+suggesting them. After all we have no business with aught but the music
+of Bruckner, whatever may have been his musical politics, his vanity,
+his ill judgment, or even his deliberate partisanship against his
+betters. But the ideas themselves are unsubstantial; on shadowy
+foundation they give an illusion by modern touches of harmony and rhythm
+that are not novel in themselves. The melodic idea is usually divided in
+two, as by a clever juggler. There is really no one thought, but a
+plenty of small ones to hide the greater absence.
+
+We have merely to compare this artificial manner with the poetic reaches
+of Brahms to understand the insolence of extreme Wagnerians and the
+indignation of a Hanslick. As against the pedantry of Bruckner the style
+of Strauss is almost welcome in its frank pursuit of effects which are
+at least grateful in themselves. Strauss makes hardly a pretence at
+having melodic ideas. They serve but as pawns or puppets for his
+harmonic and orchestral _mise-en-scène_. He is like a play-wright
+constructing his plot around a scenic design.
+
+Just a little common sense is needed,--an unpremeditated attitude. Thus
+the familiar grouping, "_Bach_, _Beethoven_ and _Brahms_" is at least
+not unnatural. Think of the absurdity of "_Bach_, _Beethoven_ and
+_Bruckner_"![A]
+
+[Footnote A: A festival was held in Munich in the summer of 1911, in
+celebration of "Bach, Beethoven and Bruckner."]
+
+The truth is, the Bruckner cult is a striking symptom of a certain
+decadence in German music; an incapacity to tell the sincere quality of
+feeling in the dense, brilliant growth of technical virtuosity. In the
+worship at the Bayreuth shrine, somehow reinforced by a modern national
+self-importance, has been lost a heed for all but a certain vein of
+exotic romanticism, long ago run to riotous seed, a blending of hedonism
+and fatalism. No other poetic message gets a hearing and the former may
+be rung in endless repetition and reminiscence, provided, to be sure, it
+be framed with brilliant cunning of workmanship.
+
+Here we feel driven defiantly to enounce the truth: that the highest
+art, even in a narrow sense, comes only with a true poetic message. Of
+this Bruckner is a proof; for, if any man by pure knowledge could make a
+symphony, it was he. But, with almost superhuman skill, there is
+something wanting in the inner connection, where the main ideas are
+weak, forced or borrowed. It is only the true poetic rapture that
+ensures the continuous absorption that drives in perfect sequence to
+irresistible conclusion.
+
+
+_SYMPHONY NO. 9_
+
+_I.--Solenne._ Solemn mystery is the mood, amid trembling strings on
+hollow unison, before the eight
+
+[Music: _Misterioso_
+(Eight horns with _tremolo_ strings on D in three octaves)]
+
+horns strike a phrase in the minor chord that in higher echoes breaks
+into a strange harmony and descends into a turn of melodic cadence. In
+answer is another chain of brief phrases, each beginning
+
+[Music: (1st violins)
+(Lower reeds with strings _tremolo_ in all but basses)]
+
+with a note above the chord (the common mark and manner of the later
+school of harmonists[A]) and a new ascent on a literal ladder of
+subtlest progress, while hollow intervals are intermingled in the pinch
+of close harmonies. The bewildering maze here begins of multitudinous
+design, enriched with modern devices.
+
+[Footnote A: See Vol. II, note, page 104.]
+
+A clash of all the instruments acclaims the climax before the unison
+stroke of fullest chorus on the solemn note of the beginning. A favorite
+device of Bruckner, a measured tread of _pizzicato_ strings with
+interspersed themal motives, precedes the romantic episode. Throughout
+the movement is this alternation of liturgic chorale with tender melody.
+
+[Music: _Molto tranquillo_
+(Strings) _espressivo_
+(Oboes and horns)]
+
+Bruckner's pristine polyphonic manner ever appears in the double strain
+of melodies, where each complements, though not completes the other.
+However multiple the plan, we cannot feel more than the quality of
+_unusual_ in the motives themselves, of some interval of ascent or
+descent. Yet as the melody grows to larger utterance, the fulness of
+polyphonic art brings a beauty of tender sentiment, rising to a moving
+climax, where the horns lead the song in the heart of the madrigal
+chorus, and the strings alone sing the expressive answer.
+
+[Music: (Violins doubled in 8ve.)
+(Strings, woods and horns)]
+
+A third phrase now appears, where lies the main poetry of the movement.
+Gentle swaying calls of
+
+[Music: _Tranquillo_ (Wood and violins)
+(4 horns in 8ve.)
+(Horns)
+(Strings with bassoons)]
+
+soft horns and wood, echoed and answered in close pursuit, lead to a
+mood of placid, elemental rhythm, with something of "Rheingold," of
+"Ossian" ballad, of the lapping waves of Cherubini's "Anacreon." In the
+midst the horns blow a line of sonorous melody, where the cadence has a
+breath of primal legend. On the song runs, ever mid the elemental
+motion, to a resonant height and dies away as before. The intimate,
+romantic melody now returns, but it is rocked on the continuing pelagic
+pulse; indeed, we hear anon a faint phrase of the legend, in distant
+trumpet, till we reach a joint rhapsody of both moods; and in the never
+resting motion, mid vanishing echoes, we dream of some romance of the
+sea.
+
+Against descending harmonies return the hollow, sombre phrases of the
+beginning, with the full cadence of chorale in the brass; and beyond,
+the whole prelude has a full, extended verse. In the alternation of
+solemn and sweet episode returns the tender melody, with pretty
+inversions, rising again to an ardent height. The renewed clash of
+acclaiming chorus ushers again the awful phrase of unison (now in octave
+descent), in towering majesty. But now it rises in the ever increasing
+vehemence where the final blast is lit up with a flash of serene
+sonority.
+
+This motive, of simple octave call, indeed pervades the earlier symphony
+in big and little. And now, above a steady, sombre melodic tread of
+strings it rises in a fray of eager retorts, transfigured in wonderful
+harmony again and again to a brilliant height, pausing on a ringing
+refrain, in sombre hue of overpowering blast.
+
+A soft interlude of halting and diminishing strings leads to the
+romantic melody as it first appeared, where the multiple song again
+deepens and ennobles the theme. It passes straight into the waving,
+elemental motion, where again the hallowed horn utters its sibyl phrase,
+again rising to resonant height. And again merges the intimate song with
+the continuing pulse of the sea, while the trumpet softly sounds the
+legend and a still greater height of rhapsody.
+
+Dull brooding chords bring a sombre play of the awing phrase, over a
+faint rocking motion, clashing in bold harmony, while the horns surge in
+broader melody. The climactic clash ends in a last verse of the opening
+phrase, as of primal, religious chant.
+
+_II.--Scherzo._ In the dazzling pace of bright clashing harmonies, the
+perfect answers of falling and rising phrases, we are again before the
+semblance, at
+
+[Music: _Vivace_
+(Flute with _pizz._ violins)
+(Flute)
+(_Pizz._ strings)]
+
+least, of a great poetic idea. To be sure there is a touch of stereotype
+in the chords and even in the pinch and clash of hostile motives. And
+there is not the distinctive melody,--final stamp and test of the shaft
+of inspiration. Yet in the enchantment of motion, sound and form, it
+seems mean-spirited to cavil at a want of something greater. One stands
+bewildered before such art and stunned of all judgment.
+
+A delight of delicate gambols follows the first brilliant dance of main
+motive. Amid a rougher trip of unison sounds the sonorous brass, and to
+softest jarring murmur of strings a pretty jingle of reed,
+
+[Music: _grazioso_
+(Oboe)
+(_Pizz._ strings with soft chord of wind and rhythmic bassoon)]
+
+with later a slower counter-song, almost a madrigal of pastoral answers,
+till we are back in the ruder original dance. The gay cycle leads to a
+height of rough volume (where the mystic brass sound in the midst) and a
+revel of echoing chase.
+
+In sudden hush of changed tone on fastest fairy trip, strings and wood
+play to magic harmonies. In calming motion the violins sing a quieter
+song, ever
+
+[Music: _Piu tranquillo_
+_Dolce_
+(Violins)
+(Oboe)
+(Violins)
+(Oboes with sustained strings)]
+
+echoed by the reed. Though there is no gripping force of themal idea,
+the melodies are all of grateful charm, and in the perfect round of
+rhythmic design we may well be content. The original dance recurs with a
+full fine orgy of hostile euphony.
+
+_III.--Adagio._ _Feierlich,--awesome_ indeed are these first sounds, and
+we are struck by the originality
+
+[Music: _Molto lento (Solenne)_
+(Violins, G string)
+_broadly_
+(Strings with choir of tubas, later of trombones and contrabass-tuba)]
+
+of Bruckner's technic. After all we must give the benefit at least of
+the doubt. And there is after this deeply impressive _introit_ a
+gorgeous Promethean
+
+[Music: (Woodwind and low brass with _tremolo_ strings)
+(3 trumpets)
+(4 horns)]
+
+spring of up-leaping harmonies. The whole has certainly more of concrete
+beauty than many of the labored attempts of the present day.
+
+The prelude dies down with an exquisite touch of precious
+dissonance,--whether it came from the heart or from the workshop. The
+strange and tragic part is that with so much art and talent there should
+not be the strong individual idea,--the flash of new tonal figure that
+stands fearless upon its own feet. All this pretty machinery seems
+wasted upon the framing and presenting, at the moment of expectation, of
+the shadows of another poet's ideas or of mere platitudes.
+
+In the midst of the broad sweeping theme with a
+
+[Music: (Strings, with cl't and oboe)
+_Very broadly_
+(G string)]
+
+promise of deep utterance is a phrase of horns with the precise accent
+and agony of a _Tristan_. The very semblance of whole motives seems to
+be taken from the warp and woof of Wagnerian drama. And thus the whole
+symphony is degraded, in its gorgeous capacity, to the reëchoed rhapsody
+of exotic romanticism. It is all little touches, no big thoughts,--a
+mosaic of a symphony.
+
+[Music: (Horns)]
+
+And so the second theme[A] is almost too heavily laden with fine detail
+for its own strength, though
+
+[Music: (Violins, reeds and horns)
+_Poco piu lento_
+_dolce_
+(_Pizz._ of lower strings)]
+
+it ends with a gracefully delicate answer. The main melody soon recurs
+and sings with a stress of warm feeling in the cellos, echoed by glowing
+strains of the horns. Romantic harmonies bring back the solemn air of
+the prelude with a new counter melody, in precise opposite figure, as
+though inverted in a mirror, and again the dim moving chords that seem
+less of Bruckner than of legendary drama. In big accoutrement the double
+theme moves with double answers, ever with the sharp pinch of harmonies
+and heroic mien. Gentlest retorts of the motives sing with fairy
+clearness (in horns and reeds), rising to tender, expressive dialogue.
+With growing spirit they ascend once more to the triumphant clash of
+empyraean chords, that may suffice for justifying beauty.
+
+[Footnote A: We have spoken of a prelude, first and second theme; they
+might have been more strictly numbered first, second and third theme.]
+
+Instead of the first, the second melody follows with its delicate grace.
+After a pause recurs the phrase that harks from mediaeval romance, now
+in a stirring ascent of close chasing voices. The answer, perfect in its
+timid halting descent, exquisite in accent and in the changing hues of
+its periods, is robbed of true effect by its direct reflection of
+Wagnerian ecstasies.
+
+As if in recoil, a firm hymnal phrase sounds in the strings, ending in a
+more intimate cadence. Another chain of rarest fairy clashes, on the
+motive of the prelude, leads to the central verse, the song of the first
+main melody in the midst of soft treading strings, and again descends
+the fitting answer of poignant accent.
+
+And now, for once forgetting all origin and clinging sense of
+reminiscence, we may revel in the rich romance, the fathoms of mystic
+harmony, as the main song sings and rings from the depths of dim legend
+in lowest brass, amidst a soft humming chorus, in constant shift of
+fairy tone.
+
+A flight of ascending chords brings the big exaltation of the first
+prophetic phrase, ever answered by exultant ring of trumpet, ending in
+sudden awing pause. An eerie train of echoes from the verse of prelude
+leads to a loveliest last song of the poignant answer of main song, over
+murmuring strings. It
+
+[Music: (_Tremolo_ violins with lower 8ve.)
+(Reeds)
+(Horns)
+(Violas)]
+
+is carried on by the mystic choir of sombre brass in shifting steps of
+enchanting harmony and dies away in tenderest lingering accents.[A]
+
+[Footnote A: In place of the uncompleted Finale, Bruckner is said to
+have directed that his "_Te Deum_" be added to the other movements.]
+
+
+
+
+CHAPTER XVI
+
+HUGO WOLFF[A]
+
+_"PENTHESILEA." SYMPHONIC POEM_[B]
+
+[Footnote A: Hugo Wolff, born in 1860, died in 1903.]
+
+[Footnote B: After the like-named tragedy of Heinrich von Kleist.]
+
+
+An entirely opposite type of composer, Hugo Wolff, shows the real
+strength of modern German music in a lyric vein, sincere, direct and
+fervent. His longest work for instruments has throughout the charm of
+natural rhythm and melody, with subtle shading of the harmony. Though
+there is no want of contrapuntal design, the workmanship never obtrudes.
+It is a model of the right use of symbolic motives in frequent
+recurrence and subtle variation.
+
+In another instrumental piece, the "Italian Serenade," all kinds of
+daring suspenses and gentle clashes and surprises of harmonic scene give
+a fragrance of dissonant euphony, where a clear melody ever rules.
+"Penthesilea," with a climactic passion and a sheer contrast of tempest
+and tenderness, uttered with all the mastery of modern devices, has a
+pervading thrall of pure musical beauty. We are tempted to hail in Wolff
+a true poet in an age of pedants and false prophets.
+
+
+
+PENTHESILEA.--A TRAGEDY BY HEINRICH VON KLEIST.[A]
+
+[Footnote A: German, 1776-1811.]
+
+As Wolff's work is admittedly modelled on Kleist's tragedy, little known
+to the English world, it is important to view the main lines of this
+poem, which has provoked so divergent a criticism in Germany.
+
+On the whole, the tragedy seems to be one of those daring, even profane
+assaults on elemental questions by ways that are untrodden if not
+forbidden. It is a wonderful type of Romanticist poetry in the bold
+choice of subject and in the intense vigor and beauty of the verse.
+Coming with a shock upon the classic days of German poetry, it met with
+a stern rebuke from the great Goethe. But a century later we must surely
+halt in following the lead of so severe a censor. The beauty of diction
+alone seems a surety of a sound content,--as when Penthesilea exclaims:
+
+    "A hero man can be--a Titan--in distress,
+    But like a god is he when rapt in blessedness."
+
+An almost convincing symbolism has been suggested of the latent meaning
+of the poem by a modern critic,[A]--a symbolism that seems wonderfully
+reflected in Wolff's music. The charge of perverted passion can be based
+only on certain lines, and these are spoken within the period of madness
+that has overcome the heroine. This brings us to the final point which
+may suggest the main basic fault in the poem, considered as art. At
+least it is certainly a question whether pure madness can ever be a
+fitting subject in the hero of a tragedy. Ophelia is an episode;
+Hamlet's madness has never been finally determined. Though the Erinnys
+hunted Orestes in more than one play, yet no single Fury could, after
+all, be the heroine of tragedy. Penthesilea became in the crisis a pure
+Fury, and though she may find here her own defense, the play may not
+benefit by the same plea. On the other hand, the madness is less a
+reality than an impression of the Amazons who cannot understand the
+heroine's conflicting feelings. There is no one moment in the play when
+the hearer's sympathy for the heroine is destroyed by a clear sense of
+her insanity.
+
+[Footnote A: Kuno Francke. See the notes of Philip Hale in the programme
+book of the Boston Symphony Orchestra of April 3-4, 1908.]
+
+For another word on the point of symbolism, it must be remembered that
+the whole plot is one of supernatural legend where somehow human acts
+and motives need not conform to conventional rule, and where symbolic
+meaning, as common reality disappears, is mainly eminent. It is in this
+same spirit that the leading virtues of the race, of war or of peace,
+are typified by feminine figures.
+
+The Tragedy is not divided into acts; it has merely four and twenty
+scenes--upon the battle-field of Troy. The characters are Penthesilea,
+Queen of the Amazons; her chief leaders, Prothoe, Meroe and Asteria, and
+the high priestess of Diana. Of the Greeks there are Achilles, Odysseus,
+Diomede and Antilochus. Much of the fighting and other action is not
+seen, but is reported either by messengers or by present witnesses of a
+distant scene.
+
+The play begins with the battle raging between Greeks and Amazons.
+Penthesilea with her hosts amazes the Greeks by attacking equally the
+Trojans, her reputed allies. She mows down the ranks of the Trojans, and
+yet refuses all proffers of the Greeks.
+
+Thus early we have the direct, uncompromising spirit,--a kind of
+feminine Prometheus. The first picture of the heroine is of a Minerva in
+full array, stony of gaze and of expression until--she sees Achilles.
+Here early comes the conflict of two elemental passions. Penthesilea
+recoils from the spell and dashes again into her ambiguous warfare. For
+once Greeks and Trojans are forced to fight in common defence.
+
+    "The raging Queen with blows of thunder struck
+    As she would cleave the whole race of the Greeks
+    Down to its roots....
+
+           *       *       *       *       *
+
+    "More of the captives did she take
+    Than she did leave us eyes to count the list,
+    Or arms to set them free again.
+
+           *       *       *       *       *
+
+    "Often it seemed as if a special hate
+    Against Achilles did possess her breast.
+
+           *       *       *       *       *
+
+    "Yet in a later moment, when
+    His life was given straight into her hands,
+    Smiling she gave it back, as though a present;
+    His headlong course to Hades she did stay."
+
+In midst of the dual battle between Achilles and the Queen, a Trojan
+prince comes storming and strikes a treacherous blow against the armor
+of the Greek.
+
+    "The Queen is stricken pale; for a brief moment
+    Her arms hang helpless by her sides; and then,
+    Shaking her locks about her flaming cheeks,
+    Dashes her sword like lightning in his throat,
+    And sends him rolling to Achilles' feet."
+
+The Greek leaders resolve to retreat from the futile fight and to call
+Achilles from the mingled chase of love and war.
+
+Achilles is now reported taken by the Amazons. The battle is vividly
+depicted: Achilles caught on a high ledge with his war-chariot; the
+Amazon Queen storming the height from below. The full scene is witnessed
+from the stage,--Penthesilea pursuing almost alone; Achilles suddenly
+dodges; the Queen as quickly halts and rears her horse; the Amazons fall
+in a mingled heap; Achilles escapes, though wounded. But he refuses to
+follow his companions to the camp; he swears to bring home the Queen
+wooed in the bloody strife of her own seeking.
+
+Penthesilea recoils with like vehemence from the entreaties of her
+maids, intent upon the further battle, resolved to overcome the hero or
+to die. She forbids the Festival of Roses until she has vanquished
+Achilles. In her rage she banishes her favorite Prothoe from her
+presence, but in a quick revulsion takes her back.
+
+In the next scene the high priestess and the little Amazon maids prepare
+the Feast, which Penthesilea had ordered in her confident attack upon
+the fleeing Greeks. One of the Rose-maidens recounts the passing scene
+of the Queen's amazing action. The indignant priestess sends her command
+to the Queen to return to the celebration. Though all the royal suite
+fling themselves in her path, Penthesilea advances to the dual
+battle.[A]
+
+[Footnote A: The law of the Amazons commanded them to wage war as told
+them by the oracle of Mars. The prisoners were brought to the Feast of
+Roses and wedded by their captors. After a certain time they were sent
+back to their homes. All male children of the tribe were put to death.]
+
+In a renewal of her personal contest, regardless of the common cause,
+and in her special quest of a chosen husband, Penthesilea has broken the
+sacred law.
+
+The flight now follows of the Amazon hosts. When the two combatants meet
+in the shock of lances, the Queen falls in the dust; her pallor is
+reflected in Achilles' face. Leaping from his horse, he bends o'er her,
+calls her by names, and woos life back into her frame. Her faithful
+maids, whom she has forbidden to harm Achilles, lead her away. And here
+begins the seeming madness of the Queen when she confesses her love. For
+a moment she yields to her people's demands, but the sight of the
+rose-wreaths kindles her rage anew. Prothoe defends her in these lines:
+
+    "Of life the highest blessing she attempted.
+    Grazing she almost grasped. Her hands now fail her
+    For any other lesser goal to reach."
+
+In the last part of the scene the Queen falls more and deeper into
+madness. It is only in a too literal spirit that one will find an
+oblique meaning,--by too great readiness to discover it. In reality
+there seems to be an intense conflict of opposite emotions in the
+heroine: the pure woman's love, without sense of self; and the wild
+overpowering greed of achievement. Between these grinding stones she
+wears her heart away. A false interpretation of decadent theme comes
+from regarding the two emotions as mingled, instead of alternating in a
+struggle.
+
+Achilles advances, having flung away his armor. Prothoe persuades him to
+leave the Queen, when she awakes, in the delusion that she has conquered
+and that he is the captive. Thus when she beholds the hero, she breaks
+forth into the supreme moment of exaltation and of frenzied triumph. The
+main love scene follows:
+
+Penthesilea tells Achilles the whole story of the Amazons, the conquest
+of the original tribe, the rising of the wives of the murdered warriors
+against the conquerors; the destruction of the right breast (_A-mazon_);
+the dedication of the "brides of Mars" to war and love in one. In
+seeking out Achilles the Queen has broken the law. But here again
+appears the double symbolic idea: Achilles meant to the heroine not love
+alone, but the overwhelming conquest, the great achievement of her life.
+
+The first feeling of Penthesilea, when disillusioned, is of revulsive
+anger at a kind of betrayal. The Amazons recover ground in a wild desire
+to save their Queen, and they do rescue her, after a parting scene of
+the lovers. But Penthesilea curses the triumph that snatches her away;
+the high priestess rebukes her, sets her free of her royal duties, to
+follow her love if she will. The Queen is driven from one mood to
+another, of devoted love, burning ambition and mortal despair.
+
+Achilles now sends a challenge to Penthesilea, knowing the Amazon
+conditions. Against all entreaty the Queen accepts, not in her former
+spirit, but in the frenzy of desperate endeavor, in the reawakened rage
+of her ambition, spurred and pricked by the words of the priestess.
+
+The full scene of madness follows. She calls for her dogs and elephants,
+and the full accoutrement of battle. Amidst the terror of her own
+warriors, the rolling of thunder, she implores the gods' help to crush
+the Greek. In a final touch of frenzy she aims a dart at her faithful
+Prothoe.
+
+The battle begins, Achilles in fullest confidence in Penthesilea's love,
+unfrightened by the wild army of dogs and elephants. The scene, told by
+the present on-lookers, is heightened by the cries of horror and dismay
+of the Amazons themselves.
+
+Achilles falls; Penthesilea, a living Fury, dashes upon him with her
+dogs in an insane orgy of blood. The Queen in the culminating scene is
+greeted by the curses of the high priestess. Prothoe masters her horror
+and turns back to soothe the Queen. Penthesilea, unmindful of what has
+passed, moves once more through the whole gamut of her torturing
+emotions, and is almost calmed when she spies the bier with the hero's
+body. The last blow falls when upon her questions she learns the full
+truth of her deed. The words she utters (that have been cited by the
+hostile critics) may well be taken as the ravings of hopeless remorse,
+with a symbolic play of words. She dies, as she proclaims, by the knife
+of her own anguish.
+
+The last lines of Prothoe are a kind of epilogue:
+
+    "She sank because too proud and strong she flourished.
+    The half-decayèd oak withstands the tempest;
+    The vigorous tree is headlong dashed to earth
+    Because the storm has struck into its crown."[A]
+
+[Footnote A: Translations, when not otherwise credited, are by the
+author.]
+
+The opening scene--"Lively, vehement: Departure of the Amazons for
+Troy"--begins impetuous and hefty with big strokes of the throbbing
+motive,
+
+[Music: (_Tutti_ with higher 8ves.)
+(Piccolo in 8ve.)
+(Bass in 8ve.)]
+
+the majestic rhythm coursing below, lashed by a quicker phrase above.
+Suddenly trumpets sound, somewhat more slowly, a clarion call answered
+by a choir of other trumpets and horns in enchanting retort of changing
+harmonies. Ever a fresh color of
+
+[Music: (Flutes and oboes)
+(Answering groups of brass)
+(Lower strings _pizz._)]
+
+tone sounds in the call of the brass, as if here or yonder on the
+battle-field. Sometimes it is almost too sweetly chanting for fierce
+war. But presently it turns to a wilder mood and breaks in galloping
+pace into a true chorus of song with clear cadence.
+
+[Music: (Flutes with reeds in lower 8ve.)
+(Violins with upper 8ve.)
+(Lower strings and brass with lower 8ve.)]
+
+The joyful tinge is quickly lost in the sombre hue of another phase of
+war-song that has a touch of funeral trip (though it is all in 3/4
+time):
+
+[Music: (Muted strings)
+(Horns and bassoons)]
+
+A melody in the minor plays first in a choir of horns and bassoons,
+later in united strings, accompanied by soft rolls of drums and a touch
+of the lowest brass. Harp and higher woodwind are added, but the volume
+is never transcendent save in a single burst when it is quickly hushed
+to the first ominous whisper. Out of this sombre song flows a romance of
+tender sentiment, _tranquillo_ in strings, followed by the wood. The
+crossing threads of expressive melody
+
+[Music: _Tranquillo_
+(Strings)
+(In the midst enters a strain of solo horn)]
+
+rise in instant renewal of stress and agitation. The joy of battle has
+returned, but it seems that the passion of love burns in midst of the
+glow of battle, each in its separate struggle, and both together in one
+fatal strife. The sombre melody returns in full career, dying down to a
+pause.[A]
+
+[Footnote A: In a somewhat literal commentary attributed to Dr. Richard
+Batka, the Amazons here, "having reached their destination, go into
+night-encampment--as represented by the subdued roll of the
+kettle-drums, with which the movement concludes."]
+
+_Molto sostenuto_, in changed rhythm of three slow beats, comes
+"Penthesilea's Dream of the Feast of Roses." Over a thick cluster of
+harmonies in harp and strings the higher wood sing a new song in long
+drawn lyric notes with ravishing turns of tonal color,--a
+
+[Music: _Molto sostenuto_
+(Flutes, oboes and clarinets)
+(Rapid arpeggic figures of harps and muted strings)]
+
+dual song and in many groups of two. The tranquil current of the dream
+is gradually disturbed; the main burden is dimmed in hue and in mood.
+Faster, more fitful is the flow of melody, with hostile intruding motive
+below; it dashes at last into the tragic phase--Combats; Passions;
+Madness; Destruction--in very rapid tempo of 2/2 rhythm.
+
+In broad, masterful pace, big contrary figures sweep up and down,
+cadencing in almost joyous chant, gliding, indeed, into a pure hymn, as
+of triumph (that harks back to the chorussing song in the beginning).
+
+Throughout the poem the musical symbols as well as the motives of
+passion are closely intertwined. Thus the identity of the impetuous
+phrase of the very beginning is clear with the blissful theme of the
+Dream of the Feast of Roses. Here, at the end of the chorussing verse is
+a play or a strife of phrases where we cannot escape a symbolic intent.
+To _tremolo_ of violas the cellos hold a tenor of descending melody over
+a rude rumbling phrase of the basses of wood and strings, while the oboe
+sings in the treble an expressive answer of ascending notes. A conflict
+is
+
+[Music: (_Molto vivace_)
+(cello _molto espressivo_)
+(Violas)
+(Basses and bassoons with upper 8ve.)
+(Oboe) _espressivo_]
+
+evident, of love and ambition, of savage and of gentle passion, of chaos
+and of beauty. At the height, the lowest brass intrude a brutal note of
+triumph of the descending theme. To the victory of Pride succeeds a
+crisis of passionate yearning. But at the very height is a plunge into
+the fit of madness, the fatal descending phrase (in trombones) is ever
+followed by furious pelting spurts in the distorted main theme.
+
+At last the paroxysm abates, throbbing ever slower, merging into the
+tender song of the Dream that now rises to the one great burst of
+love-passion. But it ends in a wild rage that turns right into the
+war-song of the beginning. And this is much fuller of incident than
+before. Violins now ring an hostile motive (the former rumbling phrase
+of basses) from the midst of the plot against the main theme in
+trumpets. Instead of the former pageantry, here is the pure frenzy of
+actual war. The trumpet melodies resound amidst the din of present
+battle. Instead of the other gentler episodes, here is a more furious
+raving of the mad Queen (in the hurried main motive), where we seem to
+see the literal dogs of war let loose and spurred on,--each paroxysm
+rising to a higher shock.
+
+Great is the vehemence of speed and sound as the dull doom of
+destruction drones in the basses against a grim perversion of the
+yearning theme above, that overwhelms the scene with a final shriek.
+
+Slowly the dream of love breathes again, rises to a fervent burst, then
+yields to the fateful chant and ends in a whisper of farewell.
+
+
+
+
+CHAPTER XVII
+
+MAHLER[A]
+
+[Footnote A: Gustav Mahler, 1860-1911.]
+
+
+In Mahler the most significant sign is a return to a true counterpoint,
+as against a mere overlading of themes, that began in Wagner and still
+persists in Strauss,--an artificial kind of structure that is never
+conceived as a whole.
+
+While we see in Mahler much of the duophonic manner of his teacher,
+Bruckner, in the work of the younger man the barren art is crowned with
+the true fire of a sentient poet. So, if Bruckner had little to say, he
+showed the way to others. And Mahler, if he did not quite emerge from
+the mantle of Beethoven, is a link towards a still greater future. The
+form and the technic still seem, as with most modern symphonies, too
+great for the message. It is another phase of orchestral virtuosity, of
+intellectual strain, but with more of poetic energy than in the
+symphonies of the French or other Germans.
+
+In other forms we see this happy reaction towards ancient art, as in the
+organ music of a Reger. But in the Finale of Mahler's Fifth Symphony
+there is a true serenity, a new phase of symphony, without the climactic
+stress of traditional triumph, yet none the less joyous in essence.
+
+We cannot help rejoicing that in a sincere and poetic design of
+symphony is blended a splendid renaissance of pure counterpoint, that
+shines clear above the modern spurious pretence. The Finale of Mahler's
+Fifth Symphony is one of the most inspired conceptions of counterpoint
+in all music. In it is realized the full dream of a revival of the art
+in all its glorious estate.
+
+
+_SYMPHONY NO. 5_
+
+  I.--1. _Funeral March._
+      2. _In stormy motion (with greatest vehemence)._
+ II.--3. _Scherzo (with vigor,--not too fast)._
+III.--4. _Adagietto (very slowly)._
+      5. _Rondo-Finale (allegro)._
+
+Mahler's Fifth Symphony, whatever be its intrinsic merit, that can be
+decided only by time and wear, undoubtedly marks a high point of
+orchestral splendor, in the regard of length and of the complexity of
+resources. By the latter is meant not so much the actual list of
+instruments as the pervading and accumulating use of thematic
+machinery.[A]
+
+[Footnote A: The symphony is probably the longest instrumental work that
+had appeared at the time of its production in 1904. The list of
+instruments comprises 4 flutes, 3 oboes, 3 clarinets, 2 bassoons,
+contra-bassoon, 6 horns, 4 trumpets, 3 trombones, tuba, kettle-drums,
+cymbals, bass-drum, snare-drum, triangle, glockenspiel, gong, harp and
+strings.
+
+Compared with D'Indy's Second Symphony, the Fifth of Mahler has a larger
+body of brass as well as of woodwind.]
+
+The plan of movements is very original and in a way, two-fold. There are
+three great divisions, of which the first comprises a Funeral March,
+and an untitled Allegro in vehement motion. The second division has
+merely the single movement, Scherzo. In the third are an Adagietto and a
+Rondo Finale.
+
+_I.--1. Funeral March._--A call of trumpet, of heroic air and tread, is
+answered by strident chords ending in a sonorous motive of horns that
+leads to the funeral trip, of low brass. The mournful song of the
+principal melody appears presently in the strings, then returns to the
+funeral trip and to the strident chords. The first trumpet motive now
+sounds with this clanging phrase and soon the original call abounds in
+other brass. The deep descending notes of the horns recur and the full
+song of the funeral melody much extended, growing into a duet of cellos
+and high woodwind,
+
+[Music: (Strings, bassoons and clarinets)]
+
+and further into hymnal song on a new motive.
+
+[Music: (Wood, horns and strings)
+(Bass notes in lowest wood and strings)]
+
+So the various melodies recur with new mood and manner. Suddenly, in
+fierce abandon, a martial tramp of the full band resounds, in gloomy
+minor,
+
+[Music: _Suddenly faster. Impassioned_
+(Rapid descending figure in violins)
+(Trumpet)
+(Trombones)
+(Tuba and strings)]
+
+the violins in rapid rage of wailing figure: the trumpet strikes the
+firm note of heroic plaint.
+
+Wild grief breaks out on all sides, the strings singing in passionate
+answer to the trumpet, the high wood carrying on the rapid motion. At
+the height of the storm the woodwind gain control with measured rhythm
+of choral melody. Or perhaps the real height is the expressive double
+strain, in gentle pace, of the strings, and the wood descending from on
+high.
+
+[Music: (Woodwind doubled below)
+(Strings doubled above)
+_espressivo_
+(Brass and strings)]
+
+The duet is carried on in wilder mood by most of the voices.
+
+A return to the solemn pace comes by imperceptible change, the softer
+hues of grief merging with the fiercer cries. Now various strains sound
+together,--the main funeral melody in the woodwind.
+
+In the close recurs the full flow of funeral song, with the hymnal
+harmonies. In the refrain of the stormy duet the sting of passion is
+gone; the whole plaint dies away amid the fading echoes of the trumpet
+call.
+
+_I.--2._ The second movement, the real first Allegro, is again clearly
+in two parts. Only, the relative paces are exactly reversed from the
+first movement. In tempestuous motion, with greatest vehemence, a
+rushing motive of the basses is stopped by a chord of brass and
+strings,--the chord itself reverberating to the lower rhythm.
+
+[Music: _In stirring motion. With greatest vehemence_
+(Brass and strings)
+(Bass of wood and string)
+(Trumpets)]
+
+Throughout the whole symphony is the dual theme, each part spurring the
+other. Here presently are phrases in conflicting motion, countermarching
+in a stormy maze. It is all, too, like noisy preparation,--a manoeuvring
+of forces before the battle. Three distinct figures there are before a
+blast of horn in slower notes, answered by shrill call in highest wood.
+There enters a regular, rhythmic gait and a clearer tune, suggested by
+the call.
+
+[Music: (Horns, oboes and 1st violins, G string)
+(Strings and wood)
+(Tuba and strings)
+(Second violins)]
+
+In the brilliant medley there is ever a new figure we had not perceived.
+So when the tune has been told, trumpets and horns begin with what seems
+almost the main air, and the former voices sound like mere heralds.
+Finally the deep trombones and tuba enter with a sonorous call. Yet the
+first rapid trip of all has the main legend.
+
+As the quicker figures gradually retire, a change of pace appears, to
+the tramp of funeral. Yet the initial and incident strains are of the
+former text. Out of it weaves the new, slower melody:
+
+[Music: _Much slower_ (in the tempo of the former funeral march)
+(Oboes)
+(Flutes and clarinets)
+(Cellos)
+_molto cantando_]
+
+Throughout, the old shrill call sounds in soft lament. Hardly like a
+tune, a discourse rather, it winds along, growing and changing naïvely
+ever to a new phrase. And the soft calls about seem part of the melody.
+An expressive line rising in the clarinet harks back to one of the later
+strains of the funeral march.
+
+The second melody or answer (in low octaves of strings) is a scant
+disguise of the lower tune in the stormy duet of the first movement. Yet
+all the strains move in the gentle, soothing pace and mood until
+suddenly awakened to the first vehement rhythm.
+
+Before the slower verse returns is a long plaint of cellos to softest
+roll of drums. The gentle calls that usher in the melody have a
+significant turn, upwards instead of down. All the figures of the solemn
+episode appear more clearly.
+
+On the spur of the hurrying main motive of trumpets the first pace is
+once more regained.
+
+A surprise of plot is before us. In sudden recurrence of funeral march
+the hymnal song of the first movement is heard. As suddenly, we are
+plunged into the first joyful scene of the symphony. Here it is most
+striking how the call of lament has become triumphant, as it seems
+without a change of note. And still more wonderful,--the same melody
+that first uttered a storm of grief, then a gentle sadness, now has a
+firm exultant ring. To be sure, it is all done with the magic trip of
+bass,--as a hymn may be a perfect dance.
+
+Before the close we hear the first fanfare of trumpet from the opening
+symphony, that has the ring of a motto of the whole. At the very end is
+a transfigured entrance,--very slowly and softly, to a celestial touch
+of harp, of the first descending figure of the movement.
+
+_II.--3. Scherzo._ Jovial in high degree, the Scherzo begins with the
+thematic complexity of modern fashion. In dance tune of three beats
+horns lead off with a jolly call; strings strike dancing chords; the
+lower wind play a rollicking answer, but together with the horns, both
+strains continuing in dancing duet. Still the saucy call of horns seems
+the main text, though no single tune reigns alone.
+
+[Music: (Horns)
+_Scherzo. With vigor, not too fast_
+(Strings and flutes)
+(Strings)
+(Clarinets and basses)]
+
+The violins now play above the horns; then the cellos join and there is
+a three-part song of independent tunes, all in the dance. So far in
+separate voices it is now taken up by full chorus, though still the
+basses sing one way, trebles another, and the middle horns a third. And
+now the high trumpet strikes a phrase of its own. But they are all in
+dancing swing, of the fibre of the first jolly motive.
+
+A new episode is started by a quicker _obligato_ of violins, in
+neighboring minor, that plays about a fugue of the woodwind on an
+incisive theme where the cadence has a strange taste of bitter sweet
+harmony in the modern Gallic manner.
+
+[Music: (Clarinets)
+(Violas)
+(Violins)
+(Bass of brass and wood)]
+
+Horns and violins now pursue their former duet, but in the changed hue
+of minor where the old concords are quaintly perverted. But this is only
+to give a merrier ring to the bright madrigal that follows in sweetly
+clashing higher wood, with the trip still in the violins. Thence the
+horns and violins break again into the duet in the original key. Here
+the theme is wittily inverted in the bass, while other strings sing
+another version above.
+
+So the jolly dance and the quaint fugue alternate; a recurring phrase is
+carried to a kind of dispute, with opposite directions above and below
+and much augmented motion in the strings.
+
+In the dance so far, in "three time," is ever the vigorous stamp on the
+third beat, typical of the German peasant "_Ländler_." Here of a sudden
+is a change as great as possible within the continuing dance of three
+steps. "More tranquil" in pace, in soft strings, without a trace of the
+_Ländler_ stamp, is a pure waltz in pretty imitation of tuneful theme.
+
+[Music: _More gently_ (G string) (D string)
+(Strings)
+acc't _pizzicato_]
+
+And so the return to the vigorous rough dance is the more refreshing.
+The merry mood yields to a darker temper. "Wild" the strings rush in
+angry fugue on their rapid phrase; the quaint theme is torn to shreds,
+recalling the fierce tempest of earlier symphony.
+
+But the first sad note of the Scherzo is in the recitative of horn,
+after the lull. A phrase of quiet reflection, with which the horn
+concludes the episode as with an "_envoi_," is now constantly rung; it
+is wrought from the eerie tempest; like refined metal the melody is
+finally poured; out of its guise is the theme now of mournful dance.
+
+"Shyly" the tune of the waltz answers in softest oboe. In all kinds of
+verses it is sung, in expressive duet of lower wood, of the brass, then
+of high reeds; in solo trumpet with counter-tune of oboe, finally in
+high flutes. Here we see curiously, as the first themes reappear, a
+likeness with the original trumpet-call of the symphony. In this guise
+of the first dance-theme the movements are bound together. The _envoi_
+phrase is here evident throughout.
+
+At this mystic stage, to pure dance trip of low strings the waltz
+reënters very softly in constant growing motion, soon attaining the old
+pace and a new fulness of sound. A fresh spur is given by a wild motion
+of strings, as in the fugal episode; a new height of tempest is reached
+where again the distorted shreds of first dance appear, with phrases of
+the second. From it like sunshine from the clouds breaks quickly the
+original merry trip of dance.
+
+The full cycle of main Scherzo returns with all stress of storm and
+tragedy. But so fierce is the tempest that we wonder how the glad mood
+can prevail. And the sad _envoi_ returns and will not be shaken off.
+The sharp clash of fugue is rung again and again, as if the cup must be
+drained to the drop. Indeed, the serious later strain does prevail, all
+but the final blare of the saucy call of brass.[A]
+
+[Footnote A: In the Scherzo are chimes, accenting the tune of the dance,
+and even castanets, besides triangle and other percussion. The second
+movement employs the harp and triangle.]
+
+_III.--4. Adagietto._[A] "Very slowly" first violins carry the
+expressive song that is repeated by the violas.
+
+[Footnote A: The Adagietto is scored simply for harp and strings; nor
+are the latter unusually divided.]
+
+[Music: _Adagietto_
+(Strings and harp)]
+
+A climax is reached by all the violins in unison. A new glow, with
+quicker motion, is in the episode, where the violins are sharply
+answered by the violas, rising to a dramatic height and dying away in a
+vein of rare lyric utterance.
+
+It is all indeed a pure lyric in tones.
+
+_III.--5. Rondo-Finale._ The whole has the dainty, light-treading humor
+that does not die of its own vehemence. Somewhat as in the Ninth
+Symphony of Beethoven,--tyrant of classical traditions, the themes
+appear right in the beginning as if on muster-roll, each in separate,
+unattended song. A last chance cadence passes down the line of voices
+and settles into a comfortable rhythm as prevailing theme, running in
+melodious extension, and merging after a
+
+[Music: (Clarinets, horns and bassoons) (Flutes and oboes)
+_Allegro commodo_]
+
+hearty conclusion in the jovially garrulous fugue.
+
+Here the counter-theme proves to be one of the initial tunes and takes a
+leading rôle until another charming strain appears on high,--a pure
+nursery rhyme crowning the learned fugue. Even this is a guise of one
+of the original motives in the mazing medley, where it seems we could
+trace the ancestry of each if we could linger and if it really mattered.
+And yet there is a rare charm in these subtle turns; it is the secret
+relevance that counts the most.
+
+The fugue reaches a sturdy height with one of the first themes in lusty
+horns, and suddenly falls into a pleasant jingle, prattling away in the
+train of important figures, the kind that is pertinent with no outer
+likeness.
+
+[Music: _Grazioso_
+(Strings, bassoons and horns)]
+
+Everywhere, to be sure, the little rhythmic cadence appears; the whole
+sounds almost like the old children's canon on "Three Blind Mice";
+indeed the themal inversion is here the main tune. Then in the bass the
+phrase sounds twice as slow as in the horns. There are capers and
+horseplay; a sudden shift of tone; a false alarm of fugue; suddenly we
+are back in the first placid verse of the rhythmic motive.
+
+Here is a new augmentation in resonant horns and middle strings, and the
+melodious extension. A former motive that rings out in high reed, seems
+to have the function of concluding each episode.
+
+A new stretch of fugue appears with new counter-theme, that begins in
+long-blown notes of horns. It really is no longer a fugue; it has lapsed
+into mere smooth-rolling motion underneath a verse of primal tune. And
+presently another variant of graceful episode brings a delicious
+lilt,--_tender, but expressive_.
+
+[Music: _Grazioso_
+_espressivo_
+(Strings)]
+
+With all the subtle design there is no sense of the lamp, in the gentle
+murmur of quicker figure or melodious flow of upper theme. Moving is the
+lyric power and sweetness of this multiple song. As to themal
+relation,--one feels like regarding it all as inspired madrigal, where
+the maze and medley is the thing, where the tunes are not meant to be
+distinguished. It becomes an abandoned orgy of clearest counterpoint.
+Throughout is a blending of fugue and of children's romp, anon with the
+tenderness of lullaby and even the glow of love-song. A brief mystic
+verse, with slow descending strain in the high wood, preludes the
+returning gambol of running strings, where the maze of fugue or canon
+is in the higher flowing song, with opposite course of answering tune,
+and a height of jolly revel, where the bright trumpet pours out the
+usual concluding phrase. The rhythmic episode, in whimsical change, here
+sings with surprise of lusty volume. So the merry round goes on to a big
+resonant _Amen_ of final acclaim, where the little phrase steals out as
+naturally as in the beginning.
+
+Then in quicker pace it sounds again all about, big and little, and
+ends, after a touch of modern Gallic scale, in opposing runs, with a
+last light, saucy fling.
+
+Mahler, we feel again, realizes all the craving that Bruckner breeds for
+a kernel of feeling in the shell of counterpoint. Though we cannot deny
+a rude breach of ancient rule and mode, there is in Mahler a genuine,
+original, individual quality of polyphonic art that marks a new stage
+since the first in Bach and a second in Beethoven. It is this bold revel
+in the neglected sanctuary of the art that is most inspiriting for the
+future. And as in all true poetry, this overleaping audacity of design
+is a mere expression of simplest gaiety.
+
+
+
+
+CHAPTER XVIII
+
+RICHARD STRAUSS[A]
+
+[Footnote A: Born in 1864.]
+
+
+Much may be wisely written on the right limits of music as a depicting
+art. The distinction is well drawn between actual delineation, of figure
+or event, and the mere suggestion of a mood. It is no doubt a fine line,
+and fortunately; for the critic must beware of mere negative philosophy,
+lest what he says cannot be done, be refuted in the very doing. If
+Lessing had lived a little later, he might have extended the principles
+of his "Laocöon" beyond poetry and sculpture into the field of music.
+Difficult and ungrateful as is the task of the critical philosopher, it
+must be performed. There is every reason here as elsewhere why men
+should see and think clearly.
+
+It is perhaps well that audiences should cling to the simple verdict of
+beauty, that they should not be led astray by the vanity of finding an
+answer; else the composer is tempted to create mere riddles. So we may
+decline to find precise pictures, and content ourselves with the music.
+The search is really time wasted; it is like a man digging in vain for
+gold and missing the sunshine above.
+
+Strauss may have his special meanings. But the beauty of the work is
+for us all-important. We may expect him to mark his scenes. We may not
+care to crack that kind of a nut.[A] It is really not good eating.
+Rather must we be satisfied with the pure beauty of the fruit, without a
+further hidden kernel. There is no doubt, however, of the ingenuity of
+these realistic touches. It is interesting, here, to contrast Strauss
+with Berlioz, who told his stories largely by extra-musical means, such
+as the funeral trip, the knell of bells, the shepherd's reed. Strauss at
+this point joins with the Liszt-Wagner group in the use of symbolic
+motives. Some of his themes have an effect of tonal word-painting. The
+roguish laugh of Eulenspiegel is unmistakable.
+
+[Footnote A: Strauss remarked that in _Till Eulenspiegel_ he had given
+the critics a hard nut to crack.]
+
+It is in the harmonic rather than the melodic field that the fancy of
+Strauss soars the freest. It is here that his music bears an individual
+stamp of beauty. Playing in and out among the edges of the main harmony
+with a multitude of ornamental phrases, he gains a new shimmer of
+brilliancy. Aside from instrumental coloring, where he seems to outshine
+all others in dazzling richness and startling contrasts, he adds to the
+lustre by a deft playing in the overtones of his harmonies, casting the
+whole in warmest hue.
+
+If we imagine the same riotous license in the realm of tonal
+noise,--cacophony, that is, where the aim is not to enchant, but to
+frighten, bewilder, or amaze; to give some special foil to sudden
+beauty; or, last of all, for graphic touch of story, we have another
+striking element of Strauss's art. The anticipation of a Beethoven in
+the drum of the Scherzo of the Fifth Symphony, or the rhythmic whims of
+a Schumann in his Romantic piano pieces suggest the path of much of this
+license. Again, as passing notes may run without heed of harmony, since
+ancient days, so long sequences of other figures may hold their moving
+organ-point against clashing changes of tonality.
+
+Apart from all this is the modern "counterpoint," where, if it is quite
+the real thing, Strauss has outdone the boldest dreams of ancient school
+men. But with the lack of cogent form, and the multitude of small
+motives it seems a different kind of art. We must get into the
+view-point of romantic web of infinite threads, shimmering or jarring in
+infinite antagonism (of delayed harmony). By the same process comes
+always the tremendous accumulation towards the end. As the end and
+essence of the theme seems a graphic quality rather than intrinsic
+melody, so the main pith and point of the music lies in the weight and
+power of these final climaxes.
+
+
+_TOD UND VERKLÄRUNG (DEATH AND TRANSFIGURATION), TONE POEM_
+
+It may be well to gather a few general impressions before we attempt the
+study of a work radical in its departure from the usual lines of tonal
+design.
+
+There can be no doubt of the need of vigilance if we are to catch the
+relevance of all the strains. To be sure, perhaps this perception is
+meant to be subconscious. In any case the consciousness would seem to
+ensure a full enjoyment.
+
+It is all based on the motif of the Wagner drama and of the Liszt
+symphonies, and it is carried to quite as fine a point. Only here we
+have no accompanying words to betray the label of the theme. But in the
+quick flight of themes, how are we to catch the subtle meaning? The
+interrelation seems as close as we care to look, until we are in danger
+of seeing no woods for the trees.
+
+Again the danger of preconception is of the greatest. We may get our
+mind all on the meaning and all off the music. The clear fact is the
+themes do have a way of entering with an air of significance which they
+challenge us to find. The greatest difficulty is to distinguish the
+themes that grow out of each other, as a rose throws off its early
+petals, from those that have a mere chance similarity. Even this
+likeness may have its own intended meaning, or it may be all beside the
+mark. But we may lose not merely the musical, but even the dramatic
+sequence in too close a poring over themal derivation. On the other hand
+we may defy the composer himself and take simply what he gives, as if on
+first performance, before the commentators have had a chance to breed.
+And this may please him best in the end.
+
+We must always attend more to the mood than to themal detail as
+everywhere in real music, after all. Moments of delight and triumph we
+know there are in this work. But they are mere instants. For it is all
+the feverish dream of death. There can be no earlier rest. Snatches they
+are of fancy, of illusion, as, says the priest in Oedipus, is all of
+life.
+
+It may be worth while, too, to see how pairs of themes ever occur in
+Strauss, the second in answer, almost in protest, to the first. (It is
+not unlike the pleading in the Fifth Symphony of the second theme with
+the sense of doom in the first.) So we seem to find a motive of fate,
+and one of wondering, and striving; a theme of beauty and one of
+passion,--if we cared to tread on such a dangerous, tempting ground.
+Again, we may find whole groups of phrases expressive of one idea, as of
+beauty, and another of anxious pursuit. Thus we escape too literal a
+themal association.
+
+Trying a glimpse from the score pure and simple, we find a poem,
+opposite the first page, that is said to have been written after the
+first production. So, reluctantly, we must wait for the mere
+reinforcement of its evidence.
+
+_Largo_, in uncertain key, begins the throb of irregular rhythm (in
+strings) that Bach and Chopin and Wagner have taught us to associate
+with suffering. The first figure is a gloomy descent of pairs of chords,
+with a hopeless cry above (in the flutes). In the recurrence, the turn
+of chord is at last upward. A warmer hue of waving sounds (of harps) is
+poured about, and a gentle vision appears on high, shadowed quickly by
+a theme of fearful wondering. The chords return as at first. A new
+series of descending tones
+
+[Music: (Flute an 8ve. higher) (Oboe)
+_Largo_
+_dolce_
+(Harp with arpeggio groups of six to the quarter)]
+
+intrude, with a sterner sense of omen, and yield to a full melodic
+utterance of longing (again with the
+
+[Music: (Solo violin muted)
+(Horns)
+(Harp with arpeggio groups of six to the quarter)]
+
+soothing play of harp), and in the midst a fresh theme of wistful fear.
+For a moment there is a brief glimpse of the former vision. Now the
+song, less of longing than of pure bliss, sings free and clear its
+descending lay in solo violin, though an answering phrase (in the horns)
+of upward striving soon rises from below. The vision now appears again,
+the wondering monitor close beside. The melancholy chords return to dim
+the beauty. As the descending theme recedes, the rising motive sings a
+fuller course on high with a new note of eager, anxious fear.
+
+All these themes are of utmost pertinence in this evident prologue of
+the story. Or at least the germs of all the leading melodies are here.
+
+In sudden turn of mood to high agitation, a stress of wild desire rings
+out above in pairs of sharp ascending chords, while below the wondering
+theme rises in growing tumult. A whirling storm of the two phrases ends
+in united burst like hymn of battle, on the line of the wondering theme,
+but infused with
+
+[Music: _Alla breve_
+_Tutti_
+(Bass doubled below)]
+
+resistless energy. Now sings a new discourse of warring phrases that
+are dimly traced to the phase of the blissful melody, above the theme of
+upward striving.
+
+[Music: (Theme in woodwind)
+_espress._
+(Strings)
+(Answer in basses)]
+
+They wing an eager course, undaunted by the harsh intruding chords. Into
+the midst presses the forceful martial theme. All four elements are
+clearly evident. The latest gains control, the other voices for the
+nonce merely trembling in obedient rhythm. But a new phase of the
+wistful motive appears, masterful but not o'ermastering, fiercely
+pressing upwards,--and a slower of the changed phrase of blissful song.
+The former attains a height of sturdy ascending stride.
+
+In spite of the ominous stress of chords that grow louder with the
+increasing storm, something of assurance comes with the ascending
+stride. More and more this seems the dominant idea.
+
+A new paroxysm of the warring themes rises to the first great climax
+where the old symbol of wondering and striving attains a brief moment
+of assured ecstatic triumph.
+
+In a new scene (_meno mosso_), to murmuring strings (where the theme of
+striving can possibly be caught) the blissful melody sings in full song,
+undisturbed save by the former figure that rises as if to grasp,--sings
+later, too, in close sequence of voices. After a short intervening
+verse--_leicht bewegt_--where the first vision appears for a moment, the
+song is resumed, still in a kind of shadowy chase of slow flitting
+voices, _senza espressione_. The rising, eager phrase is disguised in
+dancing pace, and grows to a graceful turn of tune. An end comes, _poco
+agitato_, with rude intrusion of the hymnal march in harsh contrast of
+rough discord; the note of anxious fear, too, strikes in again. But
+suddenly, _etwas breiter_, a new joyous mood frightens away the birds of
+evil omen.
+
+Right in the midst of happenings, we must be warned against too close a
+view of individual theme. We must not forget that it is on the
+contrasted pairs and again the separate groups of phrases, where all
+have a certain common modal purpose, that lies the main burden of the
+story. Still if we must be curious for fine derivation, we may see in
+the new tune of exultant chorus the late graceful turn that now,
+reversing, ends in the former rising phrase. Against it sings the first
+line of blissful theme. And the first tune of graceful beauty also finds
+a place. But they all make one single blended song, full of glad bursts
+and cadences.
+
+Hardly dimmed in mood, it turns suddenly into a phase of languorous
+passion, in rich setting of pulsing harp, where now the later figures,
+all but the blissful theme, vanish before an ardent song of the
+wondering phrase. The motive of passionate desire rises and falls, and
+soars in a path of "endless melody," returning on its own line of
+flight, playing as if with its shadow, catching its own echo in the
+ecstasy of chase. And every verse ends with a new stress of the
+insistent upward stride, that grows ever in force and closes with big
+reverberating blasts. The theme of the vision joins almost in rough
+guise of utmost speed, and the rude marching song breaks in; somehow,
+though they add to the maze, they do not dispel the joy. The ruling
+phase of passion now rumbles fiercely in lowest depths. The theme of
+beauty rings in clarion wind and strings, and now the whole strife ends
+in clearest, overwhelming hymn of triumphant gladness, all in the
+strides of the old wondering, striving phrase.
+
+[Music]
+
+The whole battle here is won. Though former moments are fought through
+again (and new melodies grow out of the old plaint), the triumphant
+shout is near and returns (ever from a fresh tonal quarter) to chase
+away the doubt and fear. All the former phrases sing anew, merging the
+tale of their strife in the recurring verse of united paean. The song at
+last dies away, breaking like setting sun into glinting rays of
+celestial hue, that pale away into dullest murmur.
+
+Still one returning paroxysm, of wild striving for eluding bliss, and
+then comes the close. From lowest depths shadowy tones sing herald
+phrases against dim, distorted figures of the theme of beauty,--that
+lead to a soft song of the triumphant hymn, _tranquillo_, in gentlest
+whisper, but with all the sense of gladness and ever bolder straying of
+the enchanting dream. After a final climax the song ends in slow
+vanishing echoes.
+
+The poet Ritter is said to have added, after the production of the
+music, the poem printed on the score, of which the following is a rather
+literal translation:
+
+    In the miserable chamber,
+    Dim with flick'ring candlelight,
+    Lies a man on bed of sickness.
+    Fiercely but a moment past
+    Did he wage with Death the battle;
+    Worn he sinks back into sleep.
+    Save the clock's persistent ticking
+    Not a sound invades the room,
+    Where the gruesome quiet warns us
+    Of the neighborhood of Death.
+    O'er the pale, distended features
+    Plays a melancholy smile.
+    Is he dreaming at life's border
+    Of his childhood golden days?
+
+    But a paltry shrift of sleep
+    Death begrudges to his victim.
+    Cruelly he wakes and shakes him,
+    And the fight begins anew,--
+    Throb of life and power of death,
+    And the horror of the struggle.
+    Neither wins the victory.
+    Once again the stillness reigns.
+
+    Worn of battle, he relapses
+    Sleepless, as in fevered trance.
+    Now he sees before him passing
+    Of his life each single scene:
+    First the glow of childhood dawn,
+    Bright in purest innocence,
+    Then the bolder play of youth
+    Trying new discovered powers,
+    Till he joins the strife of men,
+    Burning with an eager passion
+    For the high rewards of life.--
+    To present in greater beauty
+    What his inner eye beholds,
+    This is all his highest purpose
+    That has guided his career.
+
+    Cold and scornful does the world
+    Pile the barriers to his striving.
+    Is he near his final goal,
+    Comes a thund'rous "Halt!" to meet him.
+    "Make the barrier a stepping,
+    Ever higher keep your path."
+    Thus he presses on and urges,
+    Never ceasing from his aim.--
+    What he ever sought of yore
+    With his spirit's deepeth longing,
+    Now he seeks in sweat of death,
+    Seeks--alas! and finds it never.
+    Though he grasps it clearer now,
+    Though it grows in living form,
+    He can never all achieve it,
+    Nor create it in his thought.
+    Then the final blow is sounded
+    From the hammer-stroke of Death,
+    Breaks the earthly frame asunder,
+    Seals the eye with final night.
+    But a mighty host of sounds
+    Greet him from the space of heaven
+    With the song he sought below:
+    Man redeemed,--the world transfigured.
+
+
+_DON JUAN. (TONE POEM.)_
+
+A score or more of lines from Lenau's poem of the same title stand as
+the subject of the music.
+
+    O magic realm, illimited, eternal,
+    Of gloried woman,--loveliness supernal!
+    Fain would I, in the storm of stressful bliss,
+    Expire upon the last one's lingering kiss!
+      Through every realm, O friend, would wing my flight,
+    Wherever Beauty blooms, kneel down to each,
+      And, if for one brief moment, win delight!
+
+           *       *       *       *       *
+
+    I flee from surfeit and from rapture's cloy,
+    Keep fresh for Beauty service and employ,
+    Grieving the One, that All I may enjoy.
+
+    My lady's charm to-day hath breath of spring,
+    To-morrow may the air of dungeon bring.
+      When with the new love won I sweetly wander,
+    No bliss is ours upfurbish'd and regilded;
+      A different love has This to That one yonder,--
+    Not up from ruins be my temple builded.
+      Yea Love life is, and ever must be now,
+    Cannot be changed or turned in new direction;
+    It must expire--here find a resurrection;
+      And, if 'tis real, it nothing knows of rue!
+    Each Beauty in the world is sole, unique;
+    So must the love be that would Beauty seek!
+    So long as Youth lives on with pulse afire,
+    Out to the chase! To victories new aspire!
+
+           *       *       *       *       *
+
+    It was a wond'rous lovely storm that drove me:
+    Now it is o'er; and calm all round, above me;
+      Sheer dead is every wish; all hopes o'ershrouded,--
+    It was perhaps a flash from heaven descended,
+    Whose deadly stroke left me with powers ended,
+      And all the world, so bright before, o'erclouded;
+    Yet perchance not! Exhausted is the fuel;
+    And on the hearth the cold is fiercely cruel.[A]
+
+[Footnote A: Translation by John P. Jackson.]
+
+In the question of the composer's intent, of general plan and of
+concrete detail, it is well to see that the quotation from Lenau's poem
+is twice broken by lines of omission; that there are thus three
+principal divisions. It cannot be wise to follow a certain kind of
+interpretation[A] which is based upon the plot of Mozart's opera. The
+spirit of Strauss's music is clearly a purely subjective conception,
+where the symbolic figure of fickle desire moves through scenes of
+enchantment to a climax of--barren despair.
+
+[Footnote A: In a complex commentary William Mauke finds Zerlina, Anna
+and "The Countess" in the music.]
+
+To some extent Strauss clearly follows the separate parts of his
+quotation. Fervent desire, sudden indifference are not to be mistaken.
+
+The various love scenes may be filled with special characters without
+great harm, save that the mind is diverted from a higher poetic view to
+a mere concrete play of events. The very quality of the pure musical
+treatment thus loses nobility and significance. Moreover the only
+thematic elements in the design are the various "motives" of the hero.
+
+_Allegro molto con brio_ begins the impetuous main theme in dashing
+ascent,
+
+[Music: _Allegro molto con brio_
+(Unison strings)
+(Doubled in higher 8ve.)]
+
+whimsical play
+
+[Music: (Woodwind doubled in higher 8ve.)]
+
+and masterful career.
+
+[Music: (Doubled in higher 8ve.)]
+
+The various phases are mingled in spirited song; only the very beginning
+seems reserved as a special symbol of a turn in the chase, of the sudden
+flame of desire that is kindled anew.
+
+In the midst of a fresh burst of the main phrase are gentle strains of
+plaint (_flebile_). And now a tenderly sad motive in the wood sings
+against the marching phrase, amidst a spray of light, dancing chords.
+Another song of the main theme is spent in a vanishing tremolo of
+strings and harp, and buried in a rich chord whence rises a new song
+(_molto espressivo_) or rather a duet, the first of the longer
+love-passages.
+
+The main melody is begun in clarinet and horn and instantly followed (as
+in canon) by violins. The climax of this impassioned scene is a titanic
+chord of minor, breaking the spell; the end is in a distorted strain of
+the melody, followed by a listless refrain of the (original) impetuous
+motive (_senza espressione_).
+
+The main theme breaks forth anew, in the spirit of the beginning. It
+yields suddenly before the next episode, a languorous song of lower
+strings (_molto appassionato_), strangely broken into by sighing phrases
+in the high wood (_flebile_). After further interruption, the love song
+is crowned by a broad flowing melody (_sehr getragen und
+ausdrucksvoll_)--the main lyric utterance of all. It has a full length
+of extended song, proportioned to its distinguished beauty. The dual
+quality is very clear throughout the scene. Much of the song is on a
+kindred phrase of the lyric melody sung by the clarinet with dulcet
+chain of chords of harp.
+
+Here strikes a climactic tune in forte unison of the four horns (_molto
+espressivo e marcato_). It is the clear utterance of a new mood of the
+hero,--a purely
+
+[Music: (Four horns in unison) (Full orchestra)]
+
+subjective phase. With a firm tread, though charged with pathos, it
+seems what we might venture to call a symbol of renunciation. It is
+broken in upon by a strange version of the great love song, _agitato_ in
+oboes, losing all its queenly pace. As though in final answer comes
+again the ruthless phrase of horns, followed now by the original theme.
+_Rapidamente_ in full force of strings comes the coursing strain of
+impetuous desire. The old and the new themes of the hero are now in
+stirring encounter, and the latter seems to prevail.
+
+The mood all turns to humor and merrymaking. In gay dancing trip serious
+subjects are treated jokingly (the great melody of the horns is
+mockingly sung by the harp),--in fits and gusts. At the height the
+(first) tempestuous motive once more dashes upwards and yields to a
+revel of the (second) whimsical phrase. A sense of fated renunciation
+seems to pervade the play of feelings of the hero. In the lull, when the
+paroxysm is spent, the various figures of his past romances pass in
+shadowy review; the first tearful strain, the melody of the first of the
+longer episodes,--the main lyric song (_agitato_).
+
+In the last big flaming forth of the hero's passion victory is once more
+with the theme of renunciation,--or shall we say of grim denial where
+there is no choice.
+
+Strauss does not defy tradition (or providence) by ending his poem with
+a triumph. A final elemental burst of passion stops abruptly before a
+long pause. The end is in dismal, dying harmonies,--a mere dull sigh of
+emptiness, a void of joy and even of the solace of poignant grief.
+
+
+_TILL EULENSPIEGEL'S MERRY PRANKS_
+
+_In the Manner of Ancient Rogues--In Rondo Form_
+
+Hardly another subject could have been more happy for the revelling in
+brilliant pranks and conceits of a modern vein of composition. And in
+the elusive humor of the subject is not the least charm and fitness.
+Too much stress has been laid on the graphic purpose. There is always a
+tendency to construe too literally. While we must be in full sympathy
+with the poetic story, there is small need to look for each precise
+event. We are tempted to go further, almost in defiance, and say that
+music need not be definite, even despite the composer's intent. In other
+words, if the tonal poet designs and has in mind a group of graphic
+figures, he may nevertheless achieve a work where the real value and
+beauty lie in a certain interlinear humor and poetry,--where the labels
+can in some degree be disregarded.
+
+Indeed, it is this very abstract charm of music that finds in such a
+subject its fullest fitness. If we care to know the pranks exactly, why
+not turn to the text? Yet, reading the book, in a way, destroys the
+spell. Better imagine the ideal rogue, whimsical, spritely, all of the
+people too. But in the music is the real Till. The fine poetry of
+ancient humor is all there, distilled from the dregs of folk-lore that
+have to us lost their true essence. There is in the music a daemonic
+quality, inherent in the subject, that somehow vanishes with the
+concrete tale. So we might say the tonal picture is a faithful likeness
+precisely in so far as it does not tell the facts of the story.
+
+Indeed, in this mass of vulgar stories we cannot help wondering at the
+reason for their endurance through the centuries, until we feel
+something of the spirit of the people in all its phases. A true mirror
+it was of stupidity and injustice, presented by a sprite of owlish
+wisdom, sporting, teasing and punishing[A] all about. It is a kind of
+popular satire, with a strong personal element of a human Puck, or an
+impish Robin Hood, with all the fairy restlessness, mocking at human rut
+and empty custom.
+
+[Footnote A: On leaving the scene of some special mischief, Till would
+draw a chalk picture of an owl on the door, and write below, _Hic fuit_.
+The edition of 1519 has a woodcut of an owl resting on a mirror, that
+was carved in stone, the story goes, over Till's grave.]
+
+It is perhaps in the multitude of the stories, paradoxical though it
+seem, that lies the strength. In the number of them (ninety-two
+"histories" there are) is an element of universality. It is like the
+broom: one straw does not make, nor does the loss of one destroy it;
+somewhere in the mass lies the quality of broom.
+
+In a way Till is the Ulysses of German folk-lore, the hero of trickery,
+a kind of _Reinecke Fuchs_ in real life. But he is of the soil as none
+of the others. A satyr, in a double sense, is Till; only he is pure
+Teuton, of the latter middle ages.
+
+He is every sort of tradesman, from tailor to doctor. Many of the
+stories, perhaps the best, are not stories at all, but merely clever
+sayings. In most of the tricks there is a Roland for an Oliver. Till
+stops at no estate; parsons are his favorite victims. He is, on the
+whole, in favor with the people, though he played havoc with entire
+villages. Once he was condemned to death by the Lübeck council. But
+even here it was his enemies, whom he had defrauded, that sought
+revenge. The others excused the tricks and applauded his escape. Even in
+death the scandal and mischief do not cease.
+
+The directions in Strauss' music are new in their kind and dignity. They
+belong quite specially to this new vein of tonal painting. In a double
+function, they not merely guide the player, but the listener as well.
+The humor is of utmost essence; the humor is the thing, not the play,
+nor the story of each of the pranks, in turn, of our jolly rogue. And
+the humor lies much in these words of the composer, that give the lilt
+of motion and betray a sense of the intended meaning.
+
+[Music: _Gemächlich_]
+
+The tune, sung at the outset _gemächlich_ (comfortably), is presumably
+the rogue _motif_, first in pure innocence of mood. But quickly comes
+another, quite opposed in rhythm, that soon hurries into highest speed.
+These are not the "subjects" of old tradition.
+
+[Music: (Horn)]
+
+And first we are almost inclined to take the "Rondo form" as a new
+roguish prank. But we may find a form where the subjects are independent
+of the basic themes that weave in and out unfettered by rule--where the
+subjects are rather new grouping of the fundamental symbols.[A]
+
+[Footnote A: It is like the Finale of Brahms' Fourth Symphony, where an
+older form (of _passacaglia_) is reared together with a later, one
+within the other.]
+
+After a pause in the furious course of the second theme, a quick piping
+phrase sounds _lustig_ (merrily) in the clarinet, answered by a chord of
+ominous
+
+[Music: _Molto allegro_
+(Clar.)
+_lustig_]
+
+token. But slowly do we trace the laughing phrase to the first theme.
+
+And here is a new whim. Though still in full tilt, the touch of demon is
+gone in a kind of ursine clog of the basses. Merely jaunty and clownish
+it would be but for the mischievous scream (of high flute) at the end.
+And now begins a rage of pranks, where the main phrase is the rogue's
+laugh, rising in brilliant gamut of outer pitch and inner mood.
+
+At times the humor is in the spirit of a Jean Paul, playing between
+rough fun and sadness in a fine spectrum of moods. The lighter motive
+dances harmlessly about the more serious, intimate second phrase. There
+is almost the sense of lullaby before the sudden plunge to wildest
+chaos, the only portent being a constant trembling of low strings. All
+Bedlam is let loose, where the rogue's shriek is heard through a
+confused cackling and a medley of voices here and there on the running
+phrase (that ever ends the second theme). The sound of a big rattle is
+added to the scene,--where perhaps the whole village is in an uproar
+over some wholesale trick of the rogue.
+
+And what are we to say to this simplest swing of folk-song that steals
+in naïvely to enchanting strum of rhythm. We may speculate about the
+Till as the
+
+[Music: (_Gemächlich_)]
+
+people saw him, while elsewhere we have the personal view. The
+folk-tunes may not have a special dramatic rôle. Out of the text of
+folk-song, to be sure, all the strains are woven. Here and there we
+have the collective voice. If we have watched keenly, we have heard how
+the tune, simply though it begins, has later all the line of Till's
+personal phrase. Even in the bass it is, too. Of the same fibre is this
+demon mockery and the thread of folk legend.
+
+We cannot pretend to follow all the literal whims. And it is part of the
+very design that we are ever surprised by new tricks, as by this saucy
+trip of dancing phrase. The purely human touches are clear, and almost
+moving in contrast with the impish humor.
+
+An earlier puzzle is of the second theme. As the composer has refused to
+help us, he will not quarrel if we find our own construction. A possible
+clue there is. As the story proceeds, aside from the mere abounding fun
+and poetry, the more serious theme prevails. Things are happening. And
+there come the tell-tale directions. _Liebeglühend_, aflame with love, a
+melody now sings in urgent pace, ending with
+
+[Music: _Liebeglühend_]
+
+a strange descending note. Presently in quieter mood, _ruhiger_, it
+gains a new grace, merely to dash again, _wütend_, into a fiercer rage
+than before. Before long we cannot escape in all this newer melody a
+mere slower outline of the second theme. A guess then, such as the
+composer invites us to make, is this: It is not exactly a Jekyll and
+Hyde, but not altogether different. Here (in the second theme, of horn)
+is Till himself,--not the rogue, but the man in his likes and loves and
+suffering. The rogue is another, a demon that possesses him to tease
+mankind, to tease himself out of his happiness. During the passionate
+episode the rogue is banned, save for a grimace now and then, until the
+climax, when all in disguise of long passionate notes of resonant bass
+the demon theme has full control. But for once it is in earnest, in dead
+earnest, we might say. And the ominous chord has a supreme moment, in
+the shadow of the fulfilment.
+
+A new note sounds in solemn legend of lowest wood, sadly beautiful, with
+a touch of funeral pace.[A]
+
+[Footnote A: Strauss told the writer that this was the march of the
+jurymen,--"_der Marsch der Schöffen_." Reproached for killing Till, he
+admitted that he had taken a license with the story and added: "In the
+epilogue,--there he lives."]
+
+The impish laugh still keeps intruding. But throughout the scene it is
+the Till motive, not the rogue, that fits the stride of the death-march.
+To be sure the rogue anon laughs bravely. But the other figure is in
+full view.
+
+[Music: (Lowest woodwind)]
+
+The sombre legend is, indeed, in a separate phase, its beauty now
+distorted in a feverish chase of voices on the main phrase. It is all a
+second climax, of a certain note of terror,--of fate. In the midst is a
+dash of the rogue's heartiest laugh, amid the echoes of the fearful
+chord, while the growing roar of the mob can be heard below. Once again
+it rings out undaunted, and then to the sauciest of folk-tunes,
+_leichtfertig_, Till dances gaily and jauntily. Presently, in a mystic
+passage, _schnell und schattenhaft_
+
+[Music: _Leichtfertig_
+(Strings reinforced by clarinets and horns)]
+
+(like fleeting shadow) a phantom of the rogue's figure passes
+stealthily across the horizon.
+
+_Etwas gemächlicher_, a graceful duet weaves prettily out of the Till
+motive, while the other roars very gently in chastened tones of softest
+horns.
+
+[Music]
+
+The first course of themes now all recurs, though some of the roguery is
+softened and soon trips into purest folk-dance. And yet it is all built
+of the rascal theme. It might (for another idle guess) be a general
+rejoicing. Besides the tuneful dance, the personal phrase is laughing
+and chuckling in between.
+
+The rejoicing has a big climax in the first folk-song of all, that now
+returns in full blast of horns against a united dance of strings and
+wood. After a roll of drum loud clanging strokes sound threatening
+(_drohend_) in low bass and strings, to which the rascal pipes his theme
+indifferently (_gleichgültig_). The third time, his answer has a
+simulated sound (_entstellt_). Finally, on the insistent thud comes a
+piteous phrase (_kläglich_) in running thirds. The dread chords at last
+vanish, in the strings. It is very like an actual, physical end. There
+is no doubt that the composer here intends the death of Till, in face of
+the tradition.
+
+Follows the epilogue, where in the comfortable swing of the beginning
+the first melody is extended in full beauty and significance. All the
+pleasantry of the rogue is here, and at the end a last fierce burst of
+the demon laugh.
+
+
+_"SINFONIA DOMESTICA."_
+
+The work followed a series of tone-poems where the graphic aim is shown
+far beyond the dreams even of a Berlioz. It may be said that Strauss,
+strong evidence to the contrary, does not mean more than a suggestion of
+the mood,--that he plays in the humor and poetry of his subject rather
+than depicts the full story. It is certainly better to hold to this view
+as long as possible. The frightening penalty of the game of exact
+meanings is that if there is one here, there must be another there and
+everywhere. There is no blinking the signs of some sort of plot in our
+domestic symphony, with figures and situations. The best way is to lay
+them before the hearer and leave him to his own reception.
+
+In the usual sense, there are no separate movements. Though "Scherzo" is
+printed after the first appearance of the three main figures, and later
+"Adagio" and "Finale," the interplay and recurrence of initial themes is
+too constant for the traditional division. It is all a close-woven drama
+in one act, with rapidly changing scenes. Really more important than the
+conventional Italian names are such headings as "Wiegenlied"
+(Cradle-song), and above all, the numerous directions. Here is an almost
+conclusive proof of definite intent. To be sure, even a figure on canvas
+is not the man himself. Indeed, as music approaches graphic realism, it
+is strange how painting goes the other way. Or rather, starting from
+opposite points, the two arts are nearing each other. As modern painting
+tends to give the feeling of a subject, the subjective impression rather
+than the literal outline, we can conceive even in latest musical realism
+the "atmosphere" as the principal aim. In other words, we may view
+Strauss as a sort of modern impressionist tone-painter, and so get the
+best view of his pictures.
+
+Indeed, cacophony is alone a most suggestive subject. In the first place
+the term is always relative, never absolute,--relative in the historic
+period of the composition, or relative as to the purpose. One can hardly
+say that any combination of notes is unusable. Most striking it is how
+the same group of notes makes hideous waste in one case, and a true
+tonal logic in another. Again, what was impossible in Mozart's time, may
+be commonplace to-day.
+
+You cannot stamp cacophony as a mere whim of modern decadence. Beethoven
+made the noblest use of it and suffered misunderstanding. Bach has it in
+his scores with profound effect. And then the license of one age begets
+a greater in the next. It is so in poetry, though in far less degree.
+For, in music, the actual tones are the integral elements of the art.
+They are the idea itself; in poetry the words merely suggest it.
+
+A final element, independent of the notes themselves, is the official
+numbering of themes. Strauss indicates a first, second and third theme,
+obviously of the symphony, not of a single movement. The whole attitude
+of the composer, while it does not compel, must strongly suggest some
+sort of guess of intending meaning.[A]
+
+[Footnote A: At the first production, in New York, in obedience to the
+composer's wish, no descriptive notes were printed. When the symphony
+was played, likewise under the composer's direction, in Berlin in
+December, 1904, a brief note in the program-book mentions the three
+groups of themes, the husband's, the wife's and the child's, in the
+first movement. The other movements are thus entitled:
+
+II.--_Scherzo._ Parents' happiness. Childish play. Cradle-song (the
+clock strikes seven in the evening).
+
+III.--_Adagio._ Creation and contemplation. Love scene. Dreams and cares
+(the clock strikes seven in the morning).
+
+IV.--_Finale._ Awakening and merry dispute (double fugue). Joyous
+conclusion.]
+
+The "first theme" in "comfortable" pace, gliding
+
+[Music: 1st Theme
+_Pleasantly_
+(Cellos and fagots)
+_Dreamily_
+(Oboe)
+(Cellos, bassoons and horns)]
+
+into a "dreamy" phrase, begins the symphony. Presently
+
+[Music: _Peevishly_
+(Clarinets)]
+
+a "peevish" cry breaks in, in sudden altered key; then on a second,
+soothing tonal change, a strain sings "ardently" in upward wing to a
+bold climax and down to gentler cadence, the "peevish" cry still
+breaking in. The trumpet has a short cheery
+
+[Music: _With fire_
+(Strings)]
+
+call (_lustig_), followed by a brisk, rousing run in wood and strings
+(_frisch_). A return of the "comfortable" phrase is quickly overpowered
+by the "second theme," in very lively manner (_sehr lebhaft_), with an
+answering phrase, _grazioso_, and light trills above.
+
+[Music: 2d Theme _With great spirit_
+(Strings, wood, horns and harps)
+_grazioso_]
+
+The incidental phrases are thus opposed to the main humor of each theme.
+The serene first melody has "peevish" interruptions; the assertive
+second yields to graceful blandishments. A little later a strain appears
+_gefühlvoll_, "full of feeling," (that plays a frequent part), but the
+main (second) theme breaks in "angrily." Soon a storm is brewing; at the
+height the same motive is sung insistently. In the lull, the first
+phrase of all sings gaily (_lustig_), and then serenely (_gemächlich_)
+in tuneful tenor. Various
+
+[Music: (Largely in strings)]
+
+parts of the first theme are now blended in mutual discourse.
+
+Amidst trembling strings the oboe d'amore plays the "third theme." "Very
+tenderly," "quietly," the
+
+[Music: 3d Theme _Quietly_ (Strings)
+(Oboe d'Amore)]
+
+second gives soothing answer, and the third sings a full melodious
+verse.
+
+Here a loud jangling noise tokens important arrivals. Fierce, hearty
+pulling of the door-bell excites the parents, especially the mother, who
+is quite in hysterics. The father takes it decidedly more calmly. The
+visitors presently appear in full view, so to speak; for "the aunts," in
+the trumpets, exclaim: "Just like Papa," and the uncles, in the
+trombones, cry: "Just like Mama" (_ganz die Mama_). There can be no
+questioning; it is all written in the book.
+
+It is at least not hazardous to guess the three figures in the domestic
+symphony. Now in jolly Scherzo (_munter_) begin the tricks and sport of
+babyhood. There is of course but one theme, with mere comments
+
+[Music: _Gaily. Scherzo_
+(Oboe d'Amore)
+(Strings)]
+
+of parental phrases in varying accents of affection. Another noisy scene
+mars all the peace; father and child have a strong disagreement; the
+latter is "defiant"; the paternal authority is enforced. Bed-time comes
+with the stroke of seven, a cradle-song (Wiegenlied) (where the child's
+theme hums faintly below). Then, "slowly and very quietly" sings the
+"dreamy" phrase of the first theme, where
+
+[Music: _Rather slowly_ (Cradle song) (Clarinets singing)
+(Oboe d'Amore)
+(Fagots)]
+
+the answer, in sweeping descent, gives one of the principal elements of
+the later plot. It ends in a moving bit of tune, "very quietly and
+expressively" (_sehr ruhig und innig_).
+
+Adagio, a slow rising strain plays in the softer
+
+[Music: _Very quietly and expressively_
+(Strings)]
+
+wood-notes of flute, oboe d'amore, English horn, and the lower
+clarinets; below sings gently the second theme, quite transformed in
+feeling. Those upper notes, with a touch of impassioned yearning, are
+not new to our ears. That very rising phrase (the "dreamy" motive), if
+we strain our memory, was at first below the more vehement (second)
+figure. So
+
+[Music: _Adagio_]
+
+now the whole themal group is reversed outwardly and in the inner
+feeling. Indeed, in other places crops out a like expressive symbol, and
+especially in the phrase, marked _gefühlvoll_, that followed the second
+theme in the beginning. All these motives here find a big concerted song
+in quiet motion, the true lyric spot of the symphony.
+
+Out of it emerges a full climax, bigger and broader now, of the first
+motive. At another stage the second has the lead; but at the height is a
+splendid verse of the maternal song. At the end the quiet, blissful tune
+sings again "_sehr innig_."
+
+_Appassionato_ re-enters the second figure. Mingled in its song are the
+latest tune and an earlier expressive phrase _(gefühlvoll)_. The storm
+that here ensues is not of dramatic play of opposition. There are no
+"angry" indications. It is the full blossoming in richest madrigal of
+all the themes of tenderness and passion in an aureole of glowing
+harmonies. The morning comes with the stroke of seven and the awakening
+cry of the child.
+
+The Finale begins in lively pace (_sehr lebhaft_) with
+
+[Music: (Double Fugue) 1st theme
+(Four Bassoons)
+_marcato_]
+
+a double fugue, where it is not difficult to see in the first theme a
+fragment of the "baby" motive. The second is a remarkably assertive
+little phrase from the cadence of the second theme (quoted above). The
+son is clearly the hero, mainly in sportive humor, although he is not
+free from parental interference. The maze and rigor of the fugue do not
+prevent a frequent appearance of all the other themes, and even of the
+full melodies, of which the fugal motives are built. At the climax of
+the fugue, in the height of speed and noise, something very delightful
+is happening, some furious romp, perhaps, of father and son, the mother
+smiling on the game. At the close a new melody that we might trace, if
+we cared, in earlier origin, has a full verse "quietly and simply"
+(_ruhig und einfach_) in wood and horns, giving the crown
+
+[Music: _Quietly and simply_ (Woodwind and horns)
+(With sustained chord of cellos)]
+
+and seal to the whole. The rest is a final happy refrain of all the
+strains, where the husband's themes are clearly dominant.
+
+
+
+
+CHAPTER XIX
+
+ITALIAN SYMPHONIES
+
+
+The present estate of music in Italy is an instance of the danger of
+prophecy in the broad realm of art. Wise words are daily heard on the
+rise and fall of a nation in art, or of a form like the symphony, as
+though a matter of certain fate, in strict analogy to the life of man.
+
+Italy was so long regnant in music that she seems even yet its chosen
+land. We have quite forgotten how she herself learned at the feet of the
+masters from the distant North. For music is, after all, the art of the
+North; the solace for winter's desolation; an utterance of feeling
+without the model of a visible Nature.
+
+And yet, with a prodigal stream of native melody and an ancient passion
+of religious rapture, Italy achieved masterpieces in the opposite fields
+of the Mass and of Opera. But for the more abstract plane of pure tonal
+forms it has somehow been supposed that she had neither a power nor a
+desire for expression. An Italian symphony seems almost an anomaly,--as
+strange a product as was once a German opera.
+
+The blunt truth of actual events is that to-day a renascence has begun,
+not merely in melodic and dramatic lines; there is a new blending of the
+racial gift of song with a power of profound design.[A] Despite all
+historical philosophy, here is a new gushing forth from ancient fount,
+of which the world may rejoice and be refreshed.
+
+[Footnote A: In the field of the _Lied_ the later group of Italians,
+such as Sinigaglia and Bossi, show a melodic spontaneity and a breadth
+of lyric treatment that we miss in the songs of modern French composers.
+
+In his Overture "_Le Baruffe Chiozzote_" (The Disputes of the People of
+Chiozza) Sinigaglia has woven a charming piece with lightest touch of
+masterly art; a delicate humor of melody plays amid a wealth of
+counterpoint that is all free of a sense of learning.]
+
+In a SYMPHONY BY GIOVANNI SGAMBATI,[A] IN D MAJOR, the form flows with
+such unpremeditated ease that it seems all to the manner born. It may be
+a new evidence that to-day national lines, at least in art, are
+vanishing; before long the national quality will be imperceptible and
+indeed irrelevant.
+
+[Footnote A: Born in 1843.]
+
+To be sure we see here an Italian touch in the simple artless stream of
+tune, the warm resonance, the buoyant spring of rhythm. The first
+movement stands out in the symphony with a subtler design than all the
+rest, though it does not lack the ringing note of jubilation.
+
+The Andante is a pure lyric somewhat new in design and in feeling. It
+shows, too, an interesting contrast of opposite kinds of slower
+melody,--the one dark-hued and legend-like, from which the poet wings
+his flight to a hymnal rhapsody on a clear choral theme, with a rich
+setting of arpeggic harmonies. A strange halting or limping rhythm is
+continued throughout the former subject. In the big climax the feeling
+is strong of some great chant or rite, of vespers or Magnificat. Against
+convention the ending returns to the mood of sad legend.
+
+The Scherzo is a sparkling chain of dancing tunes of which the third, of
+more intimate hue, somehow harks back to the second theme of the first
+movement.
+
+A Trio, a dulcet, tender song of the wood, precedes the return of the
+Scherzo that ends with the speaking cadence from the first Allegro.
+
+A Serenata must be regarded as a kind of Intermezzo, in the Cantilena
+manner, with an accompanying rhythm suggesting an ancient Spanish dance.
+It stands as a foil between the gaiety of the Scherzo and the jubilation
+of the Finale.
+
+The Finale is one festive idyll, full of ringing tune and almost bucolic
+lilt of dance. It reaches one of those happy jingles that we are glad to
+hear the composer singing to his heart's content.
+
+
+_GIUSEPPE MARTUCCI. SYMPHONY IN D MINOR._[A]
+
+[Footnote A: Giuseppe Martucci, 1856-1911.]
+
+The very naturalness, the limpid flow of the melodic thought seem to
+resist analysis of the design. The listener's perception must be as
+naïve and spontaneous as was the original conception.
+
+There is, on the one hand, no mere adoption of a classical schedule of
+form, nor, on the other, the over-subtle workmanship of modern schools.
+Fresh and resolute begins the virile theme with a main charm in the
+motion itself. It lies not in a tune here or there, but in a dual play
+of responsive phrases at the start, and then a continuous flow of
+further melody on the fillip of the original rhythm, indefinable of
+outline in a joyous chanting of bass and treble.
+
+A first height reached, an expressive line in the following lull rises
+in the cellos, that is the essence of the contrasting idea, followed
+straightway by a brief phrase of the kind, like some turns of peasant
+song, that we can hear contentedly without ceasing.
+
+[Music: (Cellos)
+(Lower reed, horns and strings)]
+
+Again, as at the beginning, such a wealth of melodies sing together that
+not even the composer could know which he intended in chief. We merely
+feel, instead of the incisive ring of the first group, a quieter power
+of soothing beauty. Yet, heralded by a prelude of sweet strains, the
+expressive line now enters like a queenly figure over a new rhythmic
+motion, and flows on through delighting glimpses of new harmony to a
+striking climax.
+
+[Music: (Flute and oboe, doubled below in clarinet)
+(Horn)
+(Strings)]
+
+The story, now that the characters have appeared, continues in the main
+with the second browsing in soft lower strings, while the first (in its
+later phase) sings above in the wood transformed in mildness, though for
+a nonce the first motive strikes with decisive vigor. Later is a new
+heroic mood of minor, quickly softened when the companion melody
+appears. A chapter of more sombre hue follows, all with the lilt and
+pace of romantic ballad. At last the main hero returns as at the
+beginning, only in more splendid panoply, and rides on 'mid clattering
+suite to passionate triumph. And then, with quieter charm, sings again
+the second figure, with the delighting strains again and again
+rehearsed, matching the other with the power of sweetness.
+
+One special idyll there is of carolling soft horn and clarinet, where a
+kind of lullaby flows like a distilled essence from the gentler play--of
+the heroic tune, before its last big verse, with a mighty flow of
+
+[Music: _dolce e tranquillo_
+(Horn) (Two horns)
+(Clarinet)]
+
+sequence, and splendidly here the second figure crowns the pageant. At
+the passionate height, over long ringing chord, the latter sings a
+sonorous line in lengthened notes of the wood and horns. The first
+climax is here, in big coursing strains, then it slowly lulls, with a
+new verse of the idyll, to a final hush.
+
+The second movement is a brief lyric with one main melody, sung at first
+by a solo cello amidst a weaving of muted strings; later it is taken up
+by the first violins. The solo cello returns for a further song in duet
+with the violins, where the violas, too, entwine their melody, or the
+cello is joined by the violins.
+
+Now the chief melody returns for a richer and varied setting with horns
+and woodwind. At last the first violins, paired in octave with the
+cello, sing the full melody in a madrigal of lesser strains.
+
+An epilogue answers the prologue of the beginning.
+
+Equally brief is the true Scherzo, though merely entitled Allegretto,--a
+dainty frolic without the heavy brass, an indefinable conceit of airy
+fantasy, with here and there a line of sober melody peeping between the
+mischievous pranks. There is no contrasting Trio in the middle; but just
+before the end comes a quiet pace as of mock-gravity, before a final
+scamper.
+
+A preluding fantasy begins in the mood of the early Allegro; a wistful
+melody of the clarinet plays more slowly between cryptic reminders of
+the first theme of the symphony. In sudden _Allegro risoluto_ over
+rumbling bass of strings, a mystic call of horns, harking far back,
+spreads its echoing ripples all about till it rises in united tones,
+with a clear, descending answer, much like the original first motive.
+The latter now continues in the bass in large and smaller pace beneath a
+new tuneful treble of violins, while the call still roams a free course
+in the wind. Oft repeated is this resonation in paired harmonies, the
+lower phrase like an "obstinate bass."
+
+Leaving the fantasy, the voices sing in simple choral lines a hymnal
+song in triumphal pace, with firm cadence and answer, ending at length
+in the descending
+
+[Music: _Allegro risoluto_
+_deciso_
+(Strings, with added wood and horns)]
+
+phrase. The full song is repeated, from the entrance of the latter, as
+though to stress the two main melodies. The marching chorus halts
+briefly when the clarinet begins again a mystic verse on the strain of
+the call, where the descending phrase is intermingled in the horns and
+strings.
+
+There is a new horizon here. We can no longer speak with
+half-condescension of Italian simplicity, though another kind of primal
+feeling is mingled in a breadth of symphonic vein. We feel that our
+Italian poet has cast loose his leading strings and is revealing new
+glimpses through the classic form.
+
+Against a free course of quicker figures rises in the horns the simple
+melodic call, with answer and counter-tunes in separate discussion. Here
+comes storming in a strident line of the inverted melody in the bassoon,
+quarrelling with the original motive in the clarinet. Then a group sing
+the song in dancing trip, descending against the stern rising theme of
+violas; or one choir follows on the heels of another. Now into the play
+intrudes the second melody, likewise in serried chase of imitation.
+
+The two themes seem to be battling for dominance, and the former wins,
+shouting its primal tune in brass and wood, while the second sinks to a
+rude clattering rhythm in the bass. But out of the clash, where the
+descending phrase recurs in the basses, the second melody emerges in
+full sonorous song. Suddenly at the top of the verse rings out in
+stentorian brass the first theme of all the symphony to the opening
+chord of the Finale, just as it rang at the climax in the beginning.
+
+A gentle duet of violins and clarinet seems to bring back the second
+melody of the first movement, and somehow, in the softer mood, shows a
+likeness with the second of the Finale. For a last surprise, the former
+idyll (of the first Allegro) returns and clearly proves the original
+guise of our latest main melody. As though to assure its own identity as
+prevailing motto, it has a special celebration in the final joyous
+revel.
+
+
+
+
+CHAPTER XX
+
+EDWARD ELGAR. AN ENGLISH SYMPHONY[A]
+
+[Footnote A: Symphony in A flat. Edward Elgar, born in 1857.]
+
+
+There is a rare nobility in the simple melody, the vein of primal hymn,
+that marks the invocation,--in solemn wood against stately stride of
+
+[Music: (_Andante nobilmente e semplice_)
+(Woodwind)
+(Basses of strings, _staccato_)]
+
+lower strings. A true ancient charm is in the tune, with a fervor at the
+high point and a lilt almost of lullaby,--till the whole chorus begins
+anew as though the song of marching hosts. Solemnity is the essence
+here, not of artificial ceremony nor of rhymeless chant,--rather of
+prehistoric hymn.
+
+In passionate recoil is the upward storming song (Allegro) where a group
+of horns aid the surging crest of strings and wood,--a resistless motion
+of massed melody. Most thrilling after the first climax is the sonorous,
+vibrant stroke of the bass in the
+
+[Music: _Allegro appassionato_
+(Strings, wood and horns)
+(See page 308, line 10.)]
+
+recurring melody. As it proceeds, a new line of bold tune is stirred
+above, till the song ends at the highest in a few ringing, challenging
+leaps of chord,--ends or, rather merges in a relentless, concluding
+descent. Here, in a striking phrase of double
+
+[Music: (Violins and clarinets in succession)
+(Harp)
+(Strings, the upper 3d doubled in higher reed)]
+
+song, is a touch of plaint that, hushing, heralds the coming gentle
+figure. We are sunk in a sweet romance, still of ancientest lore, with a
+sense of lost bliss in the wistful cadence. Or do these entrancing
+strains lead merely to the broader melody that moves with queenly tread
+(of descending violins) above a soft murmuring of lower figures? It is
+taken up
+
+[Music: (Violins)
+(Harp and wood doubled above)]
+
+in a lower voice and rises to a height of inner throb rather than of
+outer stress. The song departs as it came, through the tearful plaint of
+double phrase. Bolder accents merge suddenly into the former impassioned
+song. Here is the real sting of warrior call, with shaking brass and
+rolling drum, in lengthened swing against other faster sounds,--a revel
+of heroics, that at the end breaks afresh into the regular song.
+
+Yet it is all more than mere battle-music. For here is a new passionate
+vehemence, with loudest force of vibrant brass, of those dulcet strains
+that preceded the queenly melody. An epic it is, at the least, of
+ancient flavor, and the sweeter romance here rises to a tempest more
+overpowering than martial tumult.
+
+It is in the harking back to primal lore that we seem to feel true
+passion at its best and purest, as somehow all truth of legend, proverb
+and fable has come from those misty ages of the earth. The drooping
+harmonies merge in the returning swing of the first solemn hymn,--a mere
+line that is broken by a new tender appeal, that, rising to a moving
+height,
+
+[Music: (Strings)
+_teneramente_]
+
+yields to the former plaint (of throbbing thirds).
+
+A longer elegy sings, with a fine poignancy, bold and new in the very
+delicacy of texture, in the sharp impinging of these gentlest sounds. In
+the depths of the dirge suddenly, though quietly, sounds the herald
+melody high in the wood, with ever firmer cheer, soon in golden horns,
+at last in impassioned strings, followed by the wistful motive.
+
+A phase here begins as of dull foreboding, with a new figure stalking in
+the depths and, above, a brief sigh in the wind. In the growing stress
+these figures sing from opposite quarters, the sobbing phrase below,
+when suddenly the queenly melody stills the tumult. It is answered by a
+dim, slow line of the ominous motive. Quicker echoes of the earlier
+despond still flit here and there, with gleams of joyous light. The
+plaintive (dual) song returns and too the tender appeal, which with its
+sweetness at last wakens the buoyant spirit of the virile theme.
+
+And so pass again the earlier phases of resolution with the masterful
+conclusion; the tearful accents; the brief verse of romance, and the
+sweep of queenly figure, rising again to almost exultation. But here,
+instead of tears and recoil, is the brief sigh over sombre harmonies,
+rising insistent in growing volume that somehow conquers its own mood. A
+return of the virile motive is followed at the height by the throbbing
+dual song with vehement stress of grief, falling to lowest echoes.
+
+Here begins the epilogue with the original solemn hymn. Only it is now
+entwined with shreds and memories of romance, flowing tranquilly on
+through gusts of passion. And there is the dull sob with the sudden
+gleam of joyous light. But the hymn returns like a sombre solace of
+oblivion,--though there is a final strain of the wistful romance, ending
+in sad harmony.
+
+_II.--Allegro molto._ The Scherzo (as we may venture to call it) begins
+with a breath of new harmony, or is it a blended magic of rhythm, tune
+and chord? Far more than merely bizarre, it calls up a vision of Celtic
+warriors, the wild, free spirit of Northern races. The rushing jig or
+reel is halted
+
+[Music: _Allegro molto_
+(Strings with kettle-drum)]
+
+anon by longer notes in a drop of the tune and instantly returns to the
+quicker run. Below plays a kind of drum-roll of rumbling strings. Other
+revelling pranks appear, of skipping wood, rushing harp and dancing
+strings, till at last sounds a clearer tune, a restrained war-march with
+touch of terror in the soft subdued chords, suddenly growing to
+expressive
+
+[Music: (Violas and clarinets)
+(Wood, basses and strings)]
+
+volume as it sounds all about, in treble and in bass.
+
+At last the war-song rings in full triumphant blast, where trumpets and
+the shrill fife lead, and the lower brass, with cymbals and drums (big
+and little) mark the march. Then to the returning pranks the tune roars
+in low basses and reeds, and at last a big conclusive phrase descends
+from the height to meet the rising figure of the basses.
+
+Now the reel dances in furious tumult (instead of the first whisper) and
+dies down through the slower cadence.
+
+An entirely new scene is here. To a blended tinkle of harp, reeds and
+high strings sounds a delicate air, quick and light, yet with a tinge of
+plaint that may be a part of all Celtic song. It were rude to spoil
+
+[Music: (Woodwind, with a triplet pulse of harp and rhythmic strings)]
+
+its fine fragrance with some rough title of meaning; nor do we feel a
+strong sense of romance, rather a whim of Northern fantasy.
+
+Over a single note of bass sings a new strain of elegy, taken up by
+other voices, varying with the
+
+[Music: (Clarinets)]
+
+tinkling air. Suddenly in rushes the first reel, softly as at first; but
+over it sings still the new sad tune, then yields to the wild whims and
+pranks that lead to the war-song in resonant chorus, joined at the
+height by the reel below. They change places, the tune ringing in the
+bass. In the martial tumult the tinkling air is likewise infected with
+saucy vigor, but suddenly retires abashed into its shell of fairy sound,
+and over it sings the elegy in various choirs. The tinkling melody falls
+suddenly into a new flow of moving song, rising to pure lyric fervor.
+The soft air has somehow the main say, has reached the high point, has
+touched the heart of the movement. Expressively it slowly sinks away
+amid echoing phrases and yields to the duet of elegy and the first reel.
+But a new spirit has appeared. The sting of war-song is gone. And here
+is the reel in slow reluctant pace. After another verse of the fairy
+tune, the jig plays still slower, while above sings a new melody. Still
+slower the jig has fallen almost to funeral pace, has grown to a new
+song of its own, though, to be sure, brief reminders of the first dance
+jingle softly here and there. And now the (hushed) shadow of the
+war-song in quite slower gait strides in lowest basses and passes
+quietly straight into the Adagio.
+
+[Music: (Strings with lower reeds and horns)
+_Adagio_
+_cantabile_]
+
+_III._--Assured peace is in the simple sincere melody, rising to a glow
+of passion. But--is this a jest of our poet? Or rather now we see why
+there was no halt at the end of the Scherzo. For the soothing melody is
+in the very notes of the impish reel,--is the same tune.[A] Suddenly
+hushing, the song hangs on high over delicate minor harmonies.
+
+[Footnote A: There seems to be shown in this feat at once the
+versatility of music as well as the musician in expressing opposite
+moods by the same theme. The author does not feel bound to trace all
+such analogies, as in the too close pursuit we may lose the forest in
+the jungle.]
+
+In exquisite hues an intimate dialogue ensues, almost too personal for
+the epic vein, a discourse or madrigal of finest fibre that breaks (like
+rays of setting sun) into a melting cadence of regret. We are doubly
+thrilled in harking back to the sweet, wistful romance, the strain of
+the first movement.
+
+[Music: (Harp, wood and strings)]
+
+Across the gauzy play, horns and wood blow a slow phrase, like a motto
+of Fate in the sombre harmony, with one ardent burst of pleading.
+
+In clearer articulation sings a dual song, still softly o'ercast with
+sweet sadness, ever richer in the harmonies of multiple strings, tipped
+with the light mood,--and again the wistful cadence. Siren figures of
+entrancing grace that move amid the other melody, bring enchantment that
+has no cheer, nor escape the insistent sighing phrase. Once more come
+the ominous call and the passionate plea, then assurance with the
+returning main melody in renewed fervor. Phases of dual melody end again
+with the wistful cadence. The tranquil close is like one sustained fatal
+farewell, where the fairy figures but stress the sad burden.
+
+_IV._--The beginning is in lowest depths (Largo). First is the stalking
+figure of earliest movement, from the moment of despond. It is answered
+by a steadily striding theme, almost martial, save for the
+
+[Music: _Lento_
+(_Pizz._ cellos with _stacc._ bassoons)]
+
+slowness of pace. Not unlike the hymn of the first prologue in line of
+tune, it bears a mood of dark resignation that breaks presently into the
+touching plea of the wistful cadence.
+
+The whole is a reflective prologue to the Finale: a deep meditation from
+which the song may roll forth on new spring. The hymn has suddenly
+entered with a subtly new guise; for the moment it seems part of the
+poignant sigh; it is as yet submerged in a flood of gloom and regret;
+and the former phrases still stride and stalk below. In a wild climax of
+gloom we hear the former sob, earlier companion of the stalking figure.
+
+Hymnal strains return,--flashes of heavenly light in the depths of hell,
+and one passionate sigh of the melting cadence.
+
+_Allegro_,--we are carried hack to the resolute vigor of the earlier
+symphony, lacking the full fiery charm, but ever striving and stirring,
+like Titans rearing mountain piles, not without the cheer of toil
+itself. At the height comes a burst of the erst yearning cadence, but
+there is a new masterful accent; the wistful edge does not return till
+the echoing phrases sink away in the depths.
+
+A new melody starts soaring on the same wing of
+
+[Music: (Strings and clarinets)
+_Allegro_
+_cantabile_
+(_Staccato_ strings _con 8ve._)]
+
+blended striving and yearning of which all this song is fraught. In its
+broader sweep and brighter cheer it is like the queenly melody of the
+first movement.
+
+The Titan toil stirs strongly below the soft cadence; the full, fierce
+ardor mounts heavenward. Phases now alternate of insistent rearing on
+the strenuous motive and of fateful submission in the marching strain,
+that is massed in higher and bigger chorus. As gathers the stress of
+climax, the brass blowing a defiant blast, the very vehemence brings a
+new resolution that is uttered in the returning strenuous phrase.
+
+Again rises the towering pile. At the thickest the high horns blow loud
+a slow, speaking legend,--the farewell motive, it seems, from the end of
+Adagio, fierce energy struggling with fatal regret gnawing at the heart.
+
+Gripping is the appeal of the sharp cry almost of anguish into which the
+toiling energy is suddenly resolved. Again the fateful march enters, now
+in heroic fugue of brass and opposite motion of strings and reed,--all
+overwhelmed with wild recurring pangs of regret.
+
+And so "double, double, toil and trouble," on goes the fugue and follows
+the arduous climb (into the sad motto in the horns), each relieving the
+other, till both yield again to the heart-breaking cry.
+
+The cheerier melody here re-enters and raises the mood for the nonce.
+Soon it falls amid dim harmonies. Far in the depths now growls the dull
+tread, answered by perverted line of the hymn.
+
+A mystic verse sounds over pious chords of harp in the tune of the
+march, which is sung by antiphonal choirs of strings,--later with fuller
+celestial chorus, almost in rapture of heavenly resignation. Only it is
+not final; for once again returns the full struggle of the beginning,
+with the farewell-legend, and in highest passion the phrase of regret
+rung again and again--till it is soothed by the tranquil melody. The
+relentless stride of march too reaches a new height, and one last,
+moving plaint. When the fast chasing cries are in closest tangle,
+suddenly the hymn pours out its benediction, while the cries have
+changed to angelic acclaim. Here is the transfigured song in full
+climactic verse that fulfils the promise of the beginning. A touch of
+human (or earthly joy) is added in an exultant strain of the sweeping
+melody that unites with the hymn at the close.
+
+
+
+
+CHAPTER XXI
+
+SYMPHONIES IN AMERICA
+
+
+When we come to a view of modern music in symphonic design, written in
+America, we are puzzled by a new phase of the element of nationalism.
+For here are schools and styles as different as of far corners of
+Europe. Yet they can be called nothing else than American, if they must
+have a national name. In the northern centre whence a model orchestra
+has long shed a beneficent influence far afield, the touch of new French
+conceits has colored some of the ablest works. Elsewhere we have cited a
+symphony more in line with classical tradition.[A]
+
+[Footnote A: A symphony by Wm. W. Gilchrist. Vol. II, Appendix.]
+
+Perhaps most typical is a symphony of Hadley where one feels, with other
+modern tradition, the mantle of the lamented MacDowell, of whom it may
+be said that he was first to find in higher reaches of the musical art
+an utterance of a purely national temper.
+
+
+_HENRY HADLEY. SYMPHONY NO. 3, B MINOR._[A]
+
+[Footnote A: Opus 60, Henry Hadley, American, born 1871.]
+
+With virile swing the majestic melody strides in the strings, attended
+by trooping chords of wood and brass, all in the minor, in triple
+rhythm. In
+
+[Music: _Moderato e maestoso_
+(Harp and wind)
+(All the trebles)
+(Strings with lower 8ve.)]
+
+the bass is a frequent retort to the themal phrase. For a moment a
+dulcet line steals in, quickly broken by the returning martial stride of
+stentorian horns, and of the main theme in full chords. Strange, though,
+how a softer, romantic humor is soon spread over the very discussion of
+the martial theme, so that it seems the rough, vigorous march is but the
+shell for the kernel of tender romance,--the pageant that precedes the
+queenly figure. And presently, _piu tranquillo_, comes the fervent lyric
+song that may indeed be the chief theme in poetic import, if not in
+outer rank. After a moving verse in the strings,
+
+[Music: _Piu tranquillo_
+(Strings)
+(_Pizz._ basses _8va._) (Added woodwind)]
+
+with an expressive strain in some voice of the woodwind or a ripple of
+the harp, it is sung in tense chorus of lower wood and horns,--soon
+joined by all the voices but the martial brass, ending with a soft echo
+of the strings.
+
+Now in full majesty the stern stride of first theme is resumed, in
+faster insistence,--no longer the mere tune, but a spirited extension
+and discussion, with retorts between the various choirs. Here the
+melodious march is suddenly felt in the bass (beneath our feet, as it
+were) of lowest brass and strings, while the noisy bustle continues
+above; then, changing places, the theme is above, the active motion
+below.
+
+Long continues the spirited clatter as of warlike march till again
+returns the melting mood of the companion melody, now sung by the
+expressive horn, with murmuring strings. And there are enchanting
+flashes of tonal light as the song passes to higher choirs. The lyric
+theme wings its rapturous course to a blissful height, where an
+intrusion of the main motive but halts for the moment the returning
+tender verse.
+
+When the first vigorous phrase returns in full career, there is somehow
+a greater warmth, and the dulcet after-strain is transfigured in a glow
+greater almost than of the lyric song that now follows with no less
+response of beauty. In the final spirited blending of both melodies the
+trumpets sound a quicker pace of the main motive.
+
+In the Andante (_tranquillo_) the sweet tinkle of church-bells with
+soft chanting horns quickly defines the scene. Two voices of the
+strings, to the
+
+[Music: (Bells and harp in continuous repetition)
+_Andante tranquillo_
+_Espress._ (Cellos)
+(Strings, with added choir of lower reeds)]
+
+continuing hum of the bells, are singing a responsive song that rises in
+fervor as the horns and later the woodwind join the strings. Anon will
+sound the simple tune of the bells with soft harmonies, like echoes of
+the song,--or even the chant without the chimes.
+
+In more eager motion,--out of the normal measure of bells and hymn,
+breaks a new song in minor with a touch of passion, rising to a burst of
+ardor. But it passes, sinking away before a new phase,--a bucolic
+
+[Music: _Poco piu mosso_
+(Oboe)
+(Clar'ts & horns)
+(Strings)]
+
+fantasy of trilling shepherd's reed (in changed, even pace), supported
+by strumming strings. The sacred calm and later passion have yielded to
+a dolorous plaint, like the dirge of the Magyar plains. Suddenly the
+former fervor returns with strains of the second melody amidst urging
+motion (in the triple pace) and startling rushes of harp-strings. At the
+height, trumpets blare forth the first melody, transformed from its
+earlier softness, while the second presses on in higher wood and
+strings; the trombones relieve the trumpets, with a still larger chorus
+in the romantic song; in final exaltation, the basses of brass and
+strings sound the first melody, while the second still courses in treble
+voices.
+
+Of a sudden, after a lull, falls again the tinkle of sacred chimes, with
+a verse each of the two main melodies.
+
+The Scherzo begins with a Saltarello humor, as of airy faun, with a
+skipping theme ever accompanied by a lower running phrase and a prancing
+trip of
+
+[Music: _Allegro con leggerezza, ben sostenuto_
+(Cl.)
+(_Pizz._ strings)
+(Bassoon)]
+
+strings, with a refrain, too, of chirruping woodwind. Later the skipping
+phrase gains a melodic cadence. But the main mood is a revel of gambols
+and pranks of rhythm and harmony on the first phase.
+
+In the middle is a sudden shift of major tone and intimate humor, to a
+slower pace. With still a semblance of dance, a pensive melody sings in
+the cellos; the graceful cadence is rehearsed in a choir
+
+[Music: _Poco meno mosso_
+(Strings)
+(Cello)]
+
+of woodwind, and the song is taken up by the whole chorus. As a pretty
+counter-tune grows above, the melody sings below, with a blending of
+lyric feeling and the charm of dance. At a climactic height the horns,
+with clumsy grace, blare forth the main lilting phrase.
+
+The song now wings along with quicker tripping counter-tunes that slowly
+lure the first skipping tune back into the play after a prelude of high
+festivity. New pranks appear,--as of dancing strings against a stride of
+loud, muted horns. Then the second (pensive) melody returns, now above
+the running counter-tune. At last, in faster gait, to the coursing of
+quicker figures, the (second) melody rings out in choir of brass in
+twice slower, stately pace. But the accompanying bustle is merely
+heightened until all four horns are striking together the lyric song. At
+the end is a final revel of the first dancing tune.
+
+The Finale, which bears the unusual mark _Allegro con giubilio_, begins
+with a big festive march that may seem to have an added flavor of old
+English merrymaking. But as in the other cantos of the poem there
+
+[Music: _Allegro con giubilio_
+_Tutti_
+(Basses in 8ve.)]
+
+is here, too, an opposite figure and feeling. And the more joyous the
+gaiety, the more sweetly wistful is the recoil. Nay there is in this
+very expressive strain, beautifully woven in strings, harp, woodwind and
+horns, a vein of regret that grows rather than lessens, whenever the
+melody appears alone. It is like the memory, in the midst of festival,
+of some blissful moment lost forever.
+
+Indeed, the next phase seems very like a disordered chase of stray
+memories; for here a line of martial air is displaced by a pensive
+strain which in
+
+[Music: (Cello and harp with harmony of wood, horns and strings)
+_Piu tranquillo_
+_Molto espress._]
+
+turn yields to the quick, active tune that leads to a height of
+celebration.
+
+But here is a bewildering figure on the scene: Lustily the four horns
+(helped by the strings) blow in slow notes against the continuing motive
+an expressive melody. Slowly it breaks upon our ears as the wistful air
+that followed the chimes of Sunday bells. It has a stern, almost sombre
+guise, until it suddenly glows in transfigured light, as of a choir of
+celestial brass.
+
+Slowly we are borne to the less exalted pitch of the first festive
+march, and here follows, as at first, the expressive melody where each
+hearer may find his own shade of sadness. It does seem to reach a true
+passion of regret, with poignant sweet sighs.
+
+At length the sadness is overcome and there is a new animation as
+separate voices enter in fugal manner in the line of the march. Now the
+festive tune holds sway in lower pace in the basses; but then rings on
+high in answer--the wistful melody again and again, in doubled and twice
+redoubled pace.
+
+When we hear the _penseroso_ melody once more at the end, we may feel
+with the poet a state of resigned cheer.
+
+
+A remarkable work that shows the influence of modern French harmony
+rather than its actual traits, is a SYMPHONY BY GUSTAV STRUBE.[A] It is
+difficult to resist the sense of a strain for bizarre harmony, of a
+touch of preciosity. The real business of these harmonies is for
+incidental pranks, with an after-touch that confesses the jest, or
+softens it to a lyric utterance. It cannot be denied that the moving
+moments in this work come precisely in the release of the strain of
+dissonance, as in the returning melody of the Adagio. Only we may feel
+we have been waiting too long. The desert was perhaps too long for the
+oasis. _Est modus in rebus_: the poet seems niggardly with his melody;
+he may weary us with too long waiting, with too little staying comfort.
+He does not escape the modern way of symbolic, infinitesimal melody, so
+small that it must, of course, reappear. It is a little like the
+wonderful arguments from ciphers hidden in poetry.
+
+[Footnote A: Of Boston,--born in Germany in 1867.]
+
+It cannot he denied that the smallness of phrase does suggest a
+smallness of idea. The plan of magic motive will not hold _ad
+infinitesimum_. As the turn of the triplet, in the first movement,
+twists into a semblance of the Allegro theme, we feel like wondering
+with the old Philistine:
+
+    ... "How all this difference can be
+    'Twixt tweedle-dum and tweedle-dee!"
+
+But there is the redeeming vein of lyric melody with a bold fantasy of
+mischievous humor and a true climax of a clear poetic design. One reason
+seems sometimes alone to justify this new license, this new French
+revolution: the deliverance from a stupid slavery of rules,--if we would
+only get the spirit of them without the inadequate letter. Better, of
+course, the rules than a fatal chaos. But there is here in the bold
+flight of these harmonies, soaring as though on some hidden straight
+path, a truly Promethean utterance.
+
+It is significant, in the problem of future music, that of the
+symphonies based upon recent French ideas, the most subtly conceived and
+designed should have been written in America.
+
+_I._--In pale tint of harmony sways the impersonal phrase that begins
+with a descending tone. We may
+
+[Music: _Andante_ (Melody in flute and violas)
+(Violins)
+(Cellos with basses in lower 8ve.)]
+
+remember[A] how first with the symphony came a clear sense of tonal
+residence. It was like the age in painting when figures no longer hung
+in the gray air, when they were given a resting-place, with trees and a
+temple.
+
+[Footnote A: See Vol. I, Chapter I.]
+
+Here we find just the opposite flight from clear tonality, as if
+painting took to a Japanese manner, sans aught of locality. Where an
+easy half-step leads gently somewhere, a whole tone sings instead.
+Nothing obvious may stand.
+
+It marks, in its reaction, the excessive stress of tonality and of
+simple colors of harmony. The basic sense of residence is not abandoned;
+there is merely a bolder search for new tints, a farther straying from
+the landmarks.
+
+Soon our timid tune is joined by a more expressive line that rises in
+ardent reaches to a sudden tumult, with a fiery strain of trumpets where
+we catch a glimpse of the triplet figure. After a dulcet lullaby
+
+[Music: (Flute with _tremolo_ of high strings)
+(New melody in ob. and violas)
+(Cellos with sustained lower B of basses)]
+
+of the first air, the second flows in faster pace (_Allegro commodo_) as
+the real text, ever with new blossoming variants that sing together in a
+madrigal of tuneful voices, where the descending note still has a part
+in a smooth, gliding pace of violins.
+
+In gayer mood comes a verse of the inverted (Allegro) tune, with other
+melodic guises hovering about. When the theme descends to the bass, the
+original Andante phrase sings in the trumpet, and there is a chain of
+entering voices, in growing agitation, in the main legend with the
+quicker sprites dancing about. At the height, after the stirring song
+of trumpets, we feel a passionate strife of resolve and regret; and
+immediately after, the descending tone is echoed everywhere.
+
+A balancing (second) theme now appears, in tranquil
+
+[Music: (Horn)
+_Allegro dolce_
+(Violas & cellos)
+(Sustained harmony in violins, bassoons and flute)]
+
+flow, but pressing on, at the end, in steady ascent as to Parnassian
+summit. Later comes a new rejoinder in livelier mood, till it is lost in
+a big, moving verse of the Andante song. But pert retorts from the
+latest new tune again fill the air, then yield in attendance upon the
+returning Allegro theme. Of subtle art is the woof of derived phrases. A
+companion melody, that seems fraught of the text of the second subject,
+sings with rising passion, while the lower brass blow lustily in
+eccentric rhythm of the Allegro phrase and at the height share in the
+dual triumph.
+
+We feel a kinship of mood rather than of theme, a coherence that we
+fear to relate to definite figures, though the descending symbol is
+clear against the ascending. An idyllic dialogue, with the continuing
+guise of the Allegro phrase turns to a gayer revel in the original pace,
+with a brilliant blare of trumpets.
+
+The free use of themes is shown in the opposite moods of the triplet
+phrase, of sadness, as in Andante, or buoyant, in Allegro. Here are both
+in close transition as the various verses return from the beginning,
+entwined about the first strain of the Andante, gliding through the
+descending tone into the second soothing song with the Parnassian
+ascent.
+
+A full verse of the first Andante melody sings at the heart of the plot,
+followed by the strange daemonic play that keeps the mood within bounds.
+Indeed, it returns once more as at first, then springs into liveliest
+trip and rises to an Olympian height, with a final revel of the triplet
+figure.
+
+_II._--With a foreshadowing drop of tone begins the prelude, not unlike
+the first notes of the symphony,
+
+[Music: _Adagio, ma non troppo_
+(_espressivo_ Clar.)
+(Strings)
+(Clar'ts and bassoons)]
+
+answered with a brief phrase. On the descending motive the main melody
+is woven.
+
+Tenderly they play together, the melody with the main burden, the
+lighter prelude phrase in graceful accompaniment. But now the latter
+sings in turn a serious verse, rises to a stormy height, the horns
+proclaiming the passionate plea amid a tumultuous accord of the other
+figures, and sinks in subdued temper. In a broader pace begins a new
+line, though on the thread of the descending motive, and with the
+entering phrase of the prelude winds to a climax of passion. The true
+episode, of refuge and solace from the stress of tempest, is in a song
+of the trumpet through a shimmering gauze of strings with glinting harp,
+to a soft murmuring in the reeds.
+
+[Music: _Animando_ (Violins)
+(_Trem._ violins doubled above in oboes)
+(Cellos with sustained lower B of basses)
+Main melody in trumpets]
+
+In a new shade of tone it is echoed by the horn, then in a fervent close
+it is blended with a guise of the prelude phrase, that now heralds the
+main melody, in a duet of clarinet and violins. At last in the home
+tone the horn sings amid the sweet tracery the parting verse, and all
+about sounds the trist symbol of the first (descending) motive.
+
+_III._--The Scherzo is in one view a mad revel of demon pranks in a new
+field of harmonies. Inconsequential though they may seem, there is a
+real coherence, and, too, a subtle connection with the whole design.
+
+To be sure, with the vagueness of tune that belongs to a school of
+harmonic exploits a certain mutual relation of themes is a kind of
+incident. The less defined the phrases, the easier it is to make them
+similar.
+
+Undoubted likeness there is between the main elfin figure and the first
+phrase of the symphony.
+
+[Music: (Oboes, with lower 8ve. and higher 8ve. of piccolo)
+_Allegro vivace_
+(Strings)]
+
+The triplet is itself a kind of password throughout. With this multiple
+similarity is a lack of the inner bond of outer contrast.
+
+The mood of demon humor finds a native medium in the tricks of new
+Gallic harmony. Early in the prelude we hear the descending tone, a
+streak of sadness in the mirth. Answering the first burst is a strange
+stroke of humor in the horn, and as if in
+
+[Music: (_Tremolo_ 1st violins)
+(1st horn) (Clarinets doubled above in strings)]
+
+serious balance, a smooth gliding phrase in the wood. Now the first
+figure grows more articulate, romping and galloping into an ecstasy of
+fun. A certain spirit of Till Eulenspiegel hovers about.
+
+Out of the maze blows a new line in muted trumpets, that begins with the
+inverted triplet figure, and in spite of the surrounding bedlam rises
+almost into a tune. At the height the strange jest of the horns reigns
+supreme.
+
+From the mad gambols of the first figure comes a relief in sparkling
+calls of the brass and stirring retorts in pure ringing harmonies. In
+the next episode is a fall into a lyric mood as the latest figure glides
+into even pace, singing amid gentlest pranks. Most tuneful of all
+sounds is the answer in dulcet trumpet while, above, the first theme
+intrudes softly.
+
+The heart of the idyll comes in a song of the clarinet
+
+[Music: (Cl. _espressivo_)
+(_Pizz._ strings with higher 8ve. of upper voice)
+(Wood and horn and strings) (Clar. and bassoons)]
+
+against strange, murmuring strings, ever with a soft answer of the lower
+reed.
+
+New invading sprites do not hem the flight of the melody. But at the
+height a redoubled pace turns the mood back to revelling mirth with
+broken bits of the horn tune. Indeed the crisis comes with a new rage of
+this symbol of mad abandon, in demonic strife with the fervent song that
+finally prevails.
+
+The first theme returns with a new companion in the highest wood. A
+fresh strain of serious melody is now woven about the former dulcet
+melody of trumpet in a stretch of delicate poesy, of mingled mirth and
+tenderness.--The harmonies have something of the infinitesimal sounds
+that only insects hear. With all virtuous recoil, here we must confess
+is a masterpiece of cacophonic art, a new world of tones hitherto
+unconceived, tinkling and murmuring with the eerie charm of the
+forest.--In the return of the first prelude is a touch of the descending
+tone. From the final revelling tempest comes a sudden awakening. In
+strange moving harmony sings slowly the descending symbol, as if
+confessing the unsuccessful flight from regret. Timidly the vanquished
+sprites scurry away.
+
+_IV._--The first notes of the Finale blend and bring back the main
+motives. First is the descending tone, but firm and resolute, with the
+following triplet in
+
+[Music: _Allegro energico_ (Higher figure in strings & wood)
+(Wood, horns and lower strings) (Strings and wood)]
+
+inversion of the Scherzo theme.
+
+It is all in triumphant spirit. From the start the mood reigns, the art
+for once is quite subordinate. Resonant and compelling is the motive of
+horns and trumpets, new in temper, though harking back to the earlier
+text, in its cogent ending. Splendid is
+
+[Music: (Strings)
+(Wood & strings doubled below)
+(Horns and trumpets)]
+
+the soaring flight through flashes of new chords. There is, we must
+yield, something Promethean, of new and true beauty, in the bold path of
+harmonies that the French are teaching us after a long age of slavish
+rules.
+
+The harking back is here better than in most modern symphonies with
+their pedantic subtleties: in the resurgence of joyous mood, symbolized
+by the inversion of phrase, as when the prankish elfin theme rises in
+serious aspiration.
+
+Out of these inspiriting reaches sings a new melody in canon of strings
+(though it may relate to some shadowy memory), while in the bass rolls
+the former ending phrase; then they romp in jovial turn of rhythm.
+
+[Music: (Oboes, doubled below in bassoons) (Strings, doubled below)
+(Horns) (_Pizz._ cello doubled below)]
+
+A vague and insignificant similarity of themes is a fault of the work
+and of the style, ever in high disdain of vernacular harmony, refreshing
+to be sure, in its saucy audacity, and anon enchanting with a ring of
+new, fiery chord. As the sonorous theme sings in muted brass, picking
+strings mockingly play quicker fragments, infecting the rest with
+frivolous retorts, and then a heart-felt song pours forth, where the
+accompanying cries have softened their mirth. Back they skip to a joyous
+trip with at last pure ringing harmonies.
+
+At the fervent pitch a blast of trumpets rises in challenging phrase, in
+incisive clash of chord, with the early sense of Parnassian ascent. At
+the end of this brave fanfare we hear a soft plea of the descending tone
+that prompts a song of true lyric melody, with the continuing gentlest
+touch of regret, all to a sweetly bewildering turn of pace. So tense
+
+[Music: (Continuing organ pt. of violins) (Fl. & clar. _dolce_)
+_Animando_
+(Melody in ob. _dolce_)
+(Strings)]
+
+and subtle an expression would utterly convert us to the whole harmonic
+plan, were it not that just here, in these moving moments, we feel a
+return to clearer tonality. But it is a joy to testify to so devoted a
+work of art.
+
+With the last notes of melody a new frisking tune plays in sauciest
+clashes of chord, with an enchanting stretch of ringing brass. A long
+merriment ensues in the jovial trip, where the former theme of horns has
+a rising cadence; or the tripping tune sings in united chorus and again
+through its variants. After a noisy height the dulcet melody (from the
+descending tone) sings in linked sweetness. In the later tumult we rub
+our eyes to see a jovial theme of the bass take on the lines of the
+wistful melody. Finally, in majestic tread amid general joyous clatter
+the brass blow the gentle song in mellowed tones of richest harmony.
+
+
+_CHADWICK.[A] SUITE SYMPHONIQUE (IN E FLAT)._
+
+[Footnote A: George W. Chadwick, American, born in 1854.]
+
+With a rush of harp and higher strings the Suite begins on ardent wing
+in exultant song of trumpets (with horns, bassoons and cellos) to quick
+palpitating violins that in its higher flight is given over to upper
+reeds and violas. It is answered by gracefully drooping melody of
+strings and harps topped by the oboes, that lightly descends from the
+heights with a cadence long delayed, like the circling flight of a great
+bird before he alights. Straightway begins a more pensive turn of phrase
+(of clarinet and lower strings) in distant tonal scene where now the
+former (descending) answer sings timidly in alternating groups. The
+pensive melody returns for a greater reach, blending with the original
+theme (in all the basses) in a glowing duet of two moods as well as
+melodies, rising to sudden brilliant height, pressing on to a full
+return of the first exultant melody with long, lingering, circling
+descent.
+
+The listener on first hearing may be warned to have a sharp ear for all
+kinds of disguises of the stirring theme and in a less degree, of the
+second subject. What seems a new air in a tranquil spot, with strum of
+harp,--and new it is as expression,--is our main melody in a kind of
+inversion. And so a new tissue of song continues, all of the original
+fibre, calming more and more from the first fierce glow. A tuneful
+march-like strain now plays gently in the horns while the (inverted)
+expressive air still sounds above.
+
+[Music: (Oboe with 8ve. flute) (Oboe)
+(Horns) _Calmato ed espressivo assai_]
+
+When all has quieted to dim echoing answers between horn and reed, a
+final strain bursts forth (like the nightingale's voice in the
+surrounding stillness) in full stress of its plaint. And so, in most
+natural course, grows and flows the main balancing melody that now
+pours out its burden in slower, broader pace, in joint choirs of wood
+and strings.
+
+[Music: _Meno mosso e largamente_
+(Woodwind above, strings below)
+(_pizz._ basses)]
+
+It is the kind of lyric spot where the full stream of warm feeling seems
+set free after the storm of the first onset. In answer is a timid,
+almost halting strain in four parts of the wood, echoed in strings. A
+new agitation now stirs the joint choirs (with touches of brass), and
+anon comes a poignant line of the inverted (main) theme. It drives in
+rising stress under the spurring summons of trumpets and horns to a
+celebration of the transfigured second melody, with triumphant cadence.
+Nor does the big impulse halt here. The trumpets sound on midst a
+spirited duet of inverted and original motives until the highest point
+is reached, where, to quicker calls of the brass, in broadest pace the
+main subject strikes its inverted tune in the trebles, while the bass
+rolls its majestic length in a companion melody; trombones, too, are
+blaring forth the call of the second theme.
+
+Brief interludes of lesser agitation bring a second chorus on the
+reunited melodies in a new tonal quarter.
+
+In mystic echoing groups on the former descending answer of main theme
+the mood deepens in darkening scene. Here moves in slow strides of
+lowest brass a shadowy line of the second melody answered by a poignant
+phrase of the first. Striking again and again in higher perches the dual
+song reaches a climax of feeling in overpowering burst of fullest brass.
+In masterful stride, still with a burden of sadness, it has a solacing
+tinge as it ends in a chord with pulsing harp, that twice repeated leads
+back to the stirring first song of main theme.
+
+Thence the whole course is clear in the rehearsal of former melodies.
+Only the pensive air has lost its melancholy. Here is again the lyric of
+warm-hued horns with plaintive higher phrase, and the full romance of
+second melody with its timid answer, where the nervous trip rouses
+slowly the final exultation. Yet there is one more descent into the
+depths where the main melody browses in dim searching. Slowly it wings
+its flight upwards until it is greeted by a bright burst of the second
+melody in a chorus of united brass. And this is but a prelude to the
+last joint song, with the inverted theme above. A fanfare of trumpets on
+the second motive ends the movement.
+
+The Romanze is pure song in three verses where we cannot avoid a touch
+of Scottish, with the little acclaiming phrases. The theme is given to
+the saxophone (or cello) with obligato of clarinet and violas; the bass
+is in bassoons and _pizzicato_ of lower strings. One feels a special
+gratitude to the composer who will write in these days a clear, simple,
+original and beautiful melody.
+
+The first interlude is a fantasy, almost a variant on the theme in a
+minor melody of the wood, with a twittering phrase of violins. Later the
+strings take up the theme in pure _cantilena_ in a turn to the
+major,--all in expressive song that rises to a fervent height. Though it
+grows out of the main theme, yet the change is clear in a return to the
+subject, now in true variation, where the saxophone has the longer notes
+and the clarinet and oboe sing in concert.
+
+There follows a pure interlude, vague in motive, full of dainty touches.
+The oboe has a kind of _arioso_ phrase with trilling of flutes and
+clarinets, answered in trumpets and harp.
+
+Later the first violins (on the G string) sing the main air with the
+saxophone.
+
+A double character has the third movement as the title shows, though in
+a broadest sense it could all be taken as a Humoreske.
+
+With a jaunty lilt of skipping strings the lower reeds strike the
+capricious tune, where the full chorus soon falls in. The answering
+melody, with more of sentiment, though always in graceful swing with
+tricksy attendant figures, has a longer song. Not least charm has the
+concluding tune that leads back to the whole melodious series.
+Throughout are certain chirping notes that form the external connection
+with the Humoreske that begins with strident theme (_molto robusto_) of
+low strings, the whole chorus, xylophon and all, clattering about, the
+high wood echoing like a band of giant crickets,--all in whimsical,
+varying pace. The humor grows more graceful when the first melody of the
+Intermezzo is lightly touched. The strange figure returns (in roughest
+strings and clarinet) somewhat in ancient manner of imitation. Later the
+chirruping answer recurs. Diminishing trills are echoed between the
+groups.
+
+Slowly the scene grows stranger. Suddenly in eerie harmonies of newest
+French or oldest Tartar, here are the tricks and traits where meet the
+extremes of latest Romantic and primeval barbarian. In this motley
+cloak sounds the typical Yankee tune, first piping in piccolo, then
+grunting in tuba. Here is Uncle Sam disporting himself merrily in
+foreign garb and scene, quite as if at home. If we wished, we might see
+a political satire as well as musical.
+
+After a climax of the clownish mood we return to the Intermezzo
+melodies.
+
+The Finale begins in the buoyant spirit of the beginning and seems again
+to have a touch of Scotch in the jaunty answer. The whole subject is a
+group of phrases rather than a single melody.
+
+Preluding runs lead to the simple descending line of treble with
+opposite of basses, answered by the jovial phrase. In the farther course
+the first theme prevails, answered with an ascending brief motive of
+long notes in irregular ascent. Here follows a freer flow of the jolly
+lilting tune, blending with the sterner descending lines.
+
+Balancing this group is an expressive melody of different sentiment. In
+its answer we have again the weird touch of neo-barbarism in a strain of
+the reed, with dancing overtones of violins and harp, and strumming
+chords on lower strings. Or is there a hint of ancient Highland in the
+drone of alternating horns and bassoons?
+
+Its brief verse is answered by a fervent conclusive line where soon the
+old lilting refrain appears with new tricks and a big celebration of its
+own and then of the whole madrigal of martial melody. It simmers down
+with whims and turns of the skipping phrase into the quiet
+(_tranquillo_) episode in the midst of the other stress.
+
+[Music: (With lower 8ve.)
+_Tranquillo_
+(With _pizz._ quarter notes in basses and strings)]
+
+The heart of the song is in the horns, with an upper air in the wood,
+while low strings guard a gentle rhythm. A brief strain in the wind in
+ardent temper is followed by another in the strings, and still a third
+in joint strings and wood. (Again we must rejoice in the achievement of
+true, simple, sincere melody.) The final glowing height is reached in
+all the choirs together,--final that is before the brass is added with
+a broader pace, that leads to the moving climax. As the horns had
+preluding chords to the whole song, so a single horn sings a kind of
+epilogue amid harmony of strings and other horns. Slowly a more vigorous
+pulse is stirred, in an interlude of retorting trumpets.
+
+Suddenly in the full energy of the beginning the whole main subject
+sounds again, with the jolly lilt dancing through all its measures,
+which are none too many. The foil of gentle melody returns with its
+answer of eerie tune and harmonies. It seems as if the poet, after his
+rude jest, wanted, half in amends, half on pure impulse, to utter a
+strain of true fancy in the strange new idiom.
+
+A new, grateful sound has again the big conclusive phrase that merges
+into more pranks of the jaunty tune in the biggest revel of all, so that
+we suspect the jolly jester is the real hero and the majestic figures
+are, after all, mere background. And yet here follows the most tenderly
+moving verse, all unexpected, of the quiet episode.
+
+The end is a pure romp, _molto vivace_, mainly on the skipping phrase.
+To be sure the stately figures after a festive height march in big,
+lengthened pace; but so does the jolly tune, as though in mockery. He
+breaks into his old rattling pace (in the Glockenspiel) when all the
+figures appear together,--the big ones changing places just before the
+end, where the main theme has the last say, now in the bass, amidst the
+final festivities.
+
+
+
+_LOEFFLER.[A] LA VILLANELLE DU DIABLE_
+
+_(The Devil's Round)_
+
+(After a poem by M. Rollinat. Symphonic poem for Orchestra and Organ)
+
+[Footnote A: Charles Martin Loeffler, born in Alsace in 1861.]
+
+Few pieces of program music are so closely associated with the subject
+as this tone picture of the Devil's Round. The translation of M.
+Rollinat's "Villanelle," printed in the score is as follows:[A]
+
+     Hell's a-burning, burning, burning. Chuckling in clear staccato,
+     the Devil prowling, runs about.
+
+     He watches, advances, retreats like zig-zag lightning; Hell's
+     a-burning, burning, burning.
+
+     In dive and cell, underground and in the air, the Devil, prowling,
+     runs about.
+
+     Now he is flower, dragon-fly, woman, black-cat, green snake; Hell's
+     a-burning, burning, burning.
+
+     And now, with pointed moustache, scented with vetiver, the Devil,
+     prowling, runs about.
+
+     Wherever mankind swarms, without rest, summer and winter, Hell's
+     a-burning, burning, burning.
+
+     From alcove to hall, and on the railways, the Devil, prowling, runs
+     about.
+
+     He is Mr. Seen-at-Night, who saunters with staring eyes. Hell's
+     a-burning, burning, burning.
+
+     There floating as a bubble, here squirming as a worm, the Devil,
+     prowling, runs about.
+
+     He's grand seigneur, tough, student, teacher. Hell's a-burning,
+     burning, burning.
+
+     He inoculates each soul with his bitter whispering: the Devil,
+     prowling, runs about.
+
+     He promises, bargains, stipulates in gentle or proud tones. Hell's
+     a-burning, burning, burning.
+
+     Mocking pitilessly the unfortunate whom he destroys, the Devil,
+     prowling, runs about.
+
+     He makes goodness ridiculous and the old man futile. Hell's
+     a-burning, burning, burning.
+
+     At the home of the priest or sceptic, whose soul or body he wishes,
+     the Devil, prowling, runs about.
+
+     Beware of him to whom he toadies, and whom he calls "my dear sir."
+     Hell's a-burning, burning, burning.
+
+     Friend of the tarantula, darkness, the odd number, the Devil,
+     prowling, runs about.
+
+     --My clock strikes midnight. If I should go to see Lucifer?--Hell's
+     a-burning, burning, burning; the Devil, prowling, runs about.
+
+[Footnote A: A few translated verses may give an idea of the original
+rhythm:
+
+    Hell's a-burning, burning, burning.
+    Cackling in his impish play,
+    Here and there the Devil's turning,
+
+    Forward here and back again,
+    Zig-zag as the lightning's ray,
+    While the fires burn amain.
+
+    In the church and in the cell
+    In the caves, in open day,
+    Ever prowls the fiend of hell.
+
+But in the original the first and last lines of the first verse are used
+as refrains in the succeeding verses, recurring alternately as the last
+line. In the final verse they are united.--The prose translation is by
+Philip Hale.]
+
+In the maze of this modern setting of demon antics (not unlike, in
+conceit, the capers of Till Eulenspiegel), with an eloquent use of new
+French strokes of harmony, one must be eager to seize upon definite
+figures. In the beginning is a brief wandering or flickering motive in
+furious pace of harp and strings, ending ever in a shriek of the high
+wood. Answering
+
+[Music: _Presto (il piu possibile)_
+(Woodwind)
+(Strings with rhythmic chords in the tonic)
+(With opposite descending chords)]
+
+is a descending phrase mainly in the brass, that ends in a rapid jingle.
+
+[Music: (Brass with quicker figures in strings and wood)]
+
+There are various lesser motives, such as a minor scale of ascending
+thirds, and a group of crossing figures that seem a guise of the first
+motive. To be sure the picture lies less in the separate figures than in
+the mingled color and bustle. Special in its humor is a soft gliding or
+creeping phrase of three voices against a constant trip of cellos.
+
+After a climax of the first motive a frolicking theme begins (in English
+horn and violas). If we were forced to guess, we could see here the
+dandy devil, with pointed mustachios, frisking about. It is probably
+another guise of the second motive which presently appears in the bass.
+A little later, _dolce amabile_ in a madrigal of wood and strings, we
+may see the gentlemanly devil, the gallant. With a crash of chord and a
+roll of cymbals re-enters the first motive, to flickering harmonies of
+violins, harp and flutes, taken up by succeeding voices, all in the
+whole-tone scale. Hurrying to a clamorous height, the pace glides into a
+_Movimento di Valzer_, in massed volume, with the frolicking figure in
+festive array.
+
+To softest tapping of lowest strings and drums, a shadow of the second
+figure passes here and there, with a flash of harp. Soon, in returning
+merriment, it is coursing in unison strings (against an opposite motion
+in the wood).
+
+At the height of revel, as the strings are holding a trembling chord, a
+sprightly Gallic tune of the street pipes in the reed, with intermittent
+flash of the harp, and, to be sure, an unfamiliar tang of harmonies and
+strange perversions of the tune.[A] In the midst is the original
+flickering figure. As the whole chorus is singing the tune at the
+loudest, the brass breaks into another traditional air of the
+Revolutionary Song of 1789.[B] While the trip is still ringing in the
+strings, a lusty chorus breaks into the song[C] "La Carmagnole," against
+a blast of the horns in a guise of the first motive.
+
+[Footnote A: "A la villette," a popular song of the Boulevard. Mr.
+Philip Hale, who may have been specially inspired, associates the song
+with the word "crapule," "tough," as he connects the following
+revolutionary songs, in contrapuntal use, with the word "magister,"
+"teacher,"--the idea of the pedagogue in music. It may be less remote to
+find in these popular airs merely symbols or graphic touches of the
+swarming groups among which the Devil plies his trade.]
+
+[Footnote B: The famous "Ca ira."]
+
+[Footnote C: In the wealth of interesting detail furnished by Mr. Hale
+is the following: "The Carmagnole was first danced in Paris about the
+liberty-tree, and there was then no bloody suggestion.... The word
+'_Carmagnole_' is found in English and Scottish literature as a nickname
+for a soldier in the French Revolutionary army, and the term was applied
+by Burns to the Devil as the author of ruin, 'that curst carmagnole,
+auld Satan.'"]
+
+Grim guises of the main figures (in inverted profile) are skulking about
+to uncanny harmonies. A revel of new pranks dies down to chords of muted
+horns, amid flashing runs of the harp, with a long roll of drums. Here
+_Grave_ in solemn pace, violas and bassoon strike an ecclesiastical
+incantation, answered by the organ. Presently a Gregorian plain chant
+begins solemnly in the strings aided by the organ while a guise of the
+second profane motive intrudes. Suddenly in quick pace against a fugal
+tread of lower voices, a light skipping figure dances in the high wood.
+And now loud trumpets are saucily blowing the chant to the quick step,
+echoed by the wood. And we catch the wicked song of the street (in the
+English horn) against a legend of hell in lower voices.[A]
+
+[Footnote A: The religious phrases are naturally related to the "priest
+or sceptic." In the rapid, skipping rhythm, Mr. Hale finds the
+tarentella suggested by the "friend of the tarantula."]
+
+In still livelier pace the reeds sound the street song against a trip of
+strings, luring the other voices into a furious chorus. All at once, the
+harp and violins strike the midnight hour to a chord of horns, while a
+single impish figure dances here or there. To trembling strings and
+flashing harp the high reed pipes again the song of the Boulevard,
+echoed by low bassoons.
+
+In rapidest swing the original main motives now sing a joint verse in a
+kind of _reprise_, with the wild shriek at the end of the line, to a
+final crashing height. The end comes with dashes of the harp, betwixt
+pausing chords in the high wood, with a final stifled note.
+
+*** END OF THE PROJECT GUTENBERG EBOOK 12903 ***
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+The Project Gutenberg eBook, Symphonies and Their Meaning; Third Series,
+Modern Symphonies, by Philip H. Goepp
+
+
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+Title: Symphonies and Their Meaning; Third Series, Modern Symphonies
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+Author: Philip H. Goepp
+
+Release Date: July 13, 2004  [eBook #12903]
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+Language: English
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+THIRD SERIES, MODERN SYMPHONIES***
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+
+SYMPHONIES AND THEIR MEANING
+
+THIRD SERIES: MODERN SYMPHONIES.
+
+by
+
+PHILIP H. GOEPP
+
+1913
+
+
+
+
+
+
+
+PREFACE
+
+
+Criticism of contemporary art is really a kind of prophecy. For the
+appreciation of the classical past is an act of present perception, not
+a mere memory of popular verdicts. The classics live only because they
+still express the vital feeling of to-day. The new art must do
+more,--must speak for the morrow. And as the poet is a kind of seer, the
+true critic is his prophetic herald.
+
+It is with due humility that we approach a view of the work of our own
+time, with a dim feeling that our best will be a mere conjecture. But we
+shall the more cheerfully return to our resolution that our chief
+business is a positive appreciation. Where we cannot praise, we can
+generally be silent. Certain truths concerning contemporary art seem
+firmly grounded in the recorded past. The new Messiah never came with
+instant wide acclaim. Many false prophets flashed brilliantly on the
+horizon to fall as suddenly as they rose. In a refracted view we see the
+figures of the great projected in too large dimension upon their day.
+And precisely opposite we fail to glimpse the ephemeral lights obscuring
+the truly great. The lesson seems never to be learned; indeed it can, of
+course, never be learned. For that would imply an eternal paradox that
+the present generation must always distrust its own judgment.
+
+Who could possibly imagine in Schubert's time the sway he holds to-day.
+Our minds reel to think that by a mere accident were recovered the
+Passion of Bach and the symphonies of Schubert. Or must we prayerfully
+believe that a Providence will make the best prevail? And, by the way,
+the serious nature of this appreciation appears when we see how it was
+ever by the greatest of his time that the future master was heralded.
+
+The symphony of the present age has perhaps fallen somewhat in estate.
+It was natural that it should rush to a high perfection in the halcyon
+days of its growth. It is easy to make mournful predictions of
+decadence. The truth is the symphony is a great form of art, like a
+temple or a tragedy. Like them it has had, it will have its special eras
+of great expression. Like them it will stay as a mode of utterance for
+new communities and epochs with varying nationality, or better still,
+with vanishing nationalism.
+
+The tragedy was not exhausted with Sophocles, nor with Shakespeare nor
+with Goethe. So the symphony has its fallow periods and it may have a
+new resurgence under new climes. We are ever impatient to shelve a great
+form, like vain women afraid of the fashion. It is part of our constant
+rage for novelty. The shallower artist ever tinkered with new
+devices,--to some effects, in truth. Such is the empiric course of art
+that what is born of vanity may be crowned with highest inspiration.
+
+The national element will fill a large part of our survey. It marks a
+strange trait of our own age that this revival of the national idea
+falls in the very time when other barriers are broken. Ancient folk-song
+grew like the flower on the battle-field of races. But here is an
+anxious striving for a special dialect in music. Each nation must have
+its proper school; composers are strictly labelled, each one obedient to
+his national manner. This state of art can be but of the day. Indeed,
+the fairest promise of a greater future lies in the morrow's blending of
+these various elements in the land where each citizen has a mixed
+inheritance from the older nations.
+
+In the bewildering midst of active spirits comes the irresistible
+impulse to a somewhat partisan warfare. The critic, if he could view
+himself from some empyraean perch, remote in time and place, might smile
+at his own vehemence. In the clash of aims he must, after all, take
+sides, for it is the tendency that is momentous; and he will be excited
+to greater heat the stronger the prophet that he deems false. When the
+strife is over, when currents are finally settled, we may take a more
+contented joy in the impersonal art that remains.
+
+The choice from the mass of brilliant vital endeavor is a new burden and
+a source almost of dismay. Why should we omit so melodious a work as
+Moskowski's _Jeanne d'Arc_,--full of perhaps too facile charm? It was,
+of course, impossible to treat all the wonderful music of the Glazounows
+and the Kallinikows. And there is the limpid beauty of the Bohemian
+_Suk_, or the heroic vigor of a _Volbach_. We should like to have
+mentioned _Robert Volkmann_ as a later Romanticist; and _Gade_ has ever
+seemed a true poet of the Scandinavian symphony.
+
+Of the modern French we are loth to omit the symphonies of _Chausson_
+and of _Dukas_. In our own America it is a still harder problem. There
+is the masterly writing of a _Foote_; the older _Paine_ has never been
+fully valued in the mad race for novelty. It would have been a joy to
+include a symphony of rare charm by _Martinus van Gelder_.
+
+A critical work on modern art cannot hope to bestow a crown of laurels
+among living masters; it must be content with a view of active
+tendencies. The greatest classic has often come into the world amid
+least expectation. A critic in the year 1850 must need have omitted the
+Unfinished Symphony, which was then buried in a long oblivion.
+
+The present author prefers to treat the main modern lines, considering
+the special work mainly as example. After all, throughout the realm of
+art the idea is greater than the poet, the whole art more than the
+artist,--though the particular enshrinement in enduring design may
+reflect a rare personality.
+
+PHILIP H. GOEPP.
+
+NOTE: Especial thanks are owed to the Philadelphia Orchestra for a free
+use of its library, and to Messrs. G. Schirmer Company for a like
+courtesy.--P.H.G.
+
+
+
+
+CONTENTS
+
+
+CHAPTER I.--The Symphony during the Nineteenth Century
+
+CHAPTER II.--Berlioz and Liszt
+
+CHAPTER III.--Berlioz. "Romeo and Juliet." Dramatic Symphony
+
+CHAPTER IV.--A Symphony to Dante's "Divina Commedia"
+
+CHAPTER V.--The Symphonic Poems of Liszt
+  "Les Préludes"
+  "Tasso"
+  "Mazeppa"
+  "Battle of the Huns"
+
+CHAPTER VI.--The Symphonic Poems of Saint-Saëns
+  "Danse Macabre"
+  "Phaeton"
+  "The Youth of Hercules"
+  "Omphale's Spinning Wheel"
+
+CHAPTER VII.--César Franck
+  Symphony in D minor
+
+CHAPTER VIII.--D'Indy and the Followers of Franck
+  D'Indy's Second Symphony
+
+CHAPTER IX.--Débussy and the Innovators
+  "The Sea"--Débussy
+  "The Sorcerer's Apprentice"--Dukas
+
+CHAPTER X.--Tschaikowsky
+  Fourth Symphony
+  "Manfred" Symphony
+  Fifth Symphony
+
+CHAPTER XI.--The Neo-Russians
+  Balakirew. Symphony in C
+  Rimsky-Korsakow
+    "Antar" Symphony
+    "Schérézade." Symphonic Suite
+  Rachmaninow. Symphony in E minor
+
+CHAPTER XII.--Sibelius. A Finnish Symphony
+
+CHAPTER XIII.--Bohemian Symphonies
+  Smetana. Symphonic Poem: "The Moldau River"
+  Dvôrák. Symphony: "From the New World"
+
+CHAPTER XIV.--The Earlier Bruckner
+  Second Symphony
+  Fourth (Romantic) Symphony
+  Fifth Symphony
+
+CHAPTER XV.--The Later Bruckner
+  Ninth Symphony
+
+CHAPTER XVI.--Hugo Wolff
+  "Penthesilea." Symphonic Poem
+
+CHAPTER XVII.--Mahler
+  Fifth Symphony
+
+CHAPTER XVIII.--Richard Strauss. Symphonic Poems
+  "Death and Transfiguration"
+  "Don Juan"
+  "Till Eulenspiegel's Merry Pranks"
+  "Sinfonia Domestica"
+
+CHAPTER XIX.--Italian Symphonies
+  Sgambati. Symphony in D major
+  Martucci. Symphony in D minor
+
+CHAPTER XX.--Edward Elgar. An English Symphony
+
+CHAPTER XXI.--Symphonies in America
+  Henry Hadley. Symphony No. 3
+  Gustav Strube. Symphony in D minor
+  Chadwick. Suite Symphonique
+  Loeffler. "The Devil's Round." Symphonic Poem
+
+
+
+
+SYMPHONIES AND THEIR MEANING
+
+MODERN SYMPHONIES
+
+
+
+
+CHAPTER I
+
+THE SYMPHONY DURING THE NINETEENTH CENTURY
+
+
+After the long dominance of German masters of the musical art, a
+reaction could not fail to come with the restless tendencies of other
+nations, who, having learned the lesson, were yet jealous of foreign
+models and eager to utter their own message. The later nineteenth
+century was thus the age of refraction of the classic tradition among
+the various racial groups that sprang up with the rise of the national
+idea. We can see a kind of beginning in the Napoleonic destruction of
+feudal dynasties. German authority in music at the beginning of the
+century was as absolute as Roman rule in the age of Augustus. But the
+seed was carried by teachers to the various centres of Europe. And, with
+all the joy we have in the new burst of a nation's song, there is no
+doubt that it is ever best uttered when it is grounded on the lines of
+classic art. Here is a paramount reason for the strength of the modern
+Russian school. With this semi-political cause in mind it is less
+difficult to grasp the paradox that with all the growth of
+intercommunication the music of Europe moves in more detached grooves
+to-day than two centuries ago. The suite in the time of Bach is a
+special type and proof of a blended breadth and unity of musical thought
+in the various nations of Europe of the seventeenth century. In the
+quaint series of dances of the different peoples, with a certain
+international quality, one sees a direct effect of the Thirty Years'
+War,--the beneficent side of those ill winds and cruel blasts, when all
+kinds of nations were jostling on a common battle-ground. And as the
+folk-dances sprang from the various corners of Europe, so different
+nations nursed the artistic growth of the form. Each would treat the
+dances of the other in its own way, and here is the significance of
+Bach's separate suites,--English, French and German.
+
+Nationalism seems thus a prevailing element in the music of to-day, and
+we may perceive two kinds, one spontaneous and full of charm, the other
+a result of conscious effort, sophisticated in spirit and in detail. It
+may as well be said that there was no compelling call for a separate
+French school in the nineteenth century as a national utterance. It
+sprang from a political rather than an artistic motive; it was the itch
+of jealous pride that sharply stressed the difference of musical style
+on the two sides of the Rhine. The very influence of German music was
+needed by the French rather than a bizarre invention of national traits.
+The broader art of a Saint-Saëns here shines in contrast with the
+brilliant conceits of his younger compatriots, though it cannot be
+denied that the latter are grounded in classic counterpoint. With other
+nations the impulse was more natural: the racial song of the
+Scandinavians, Czechs and other Slavs craved a deliverance as much as
+the German in the time of Schubert. In France, where music had long
+flourished, there was no stream of suppressed folk-song.
+
+But the symphony must in the natural course have suffered from the very
+fulness of its own triumph. We know the Romantic reaction of Schumann,
+uttered in smaller cyclic forms; in Berlioz is almost a complete
+abandonment of pure music, devoid of special description. Liszt was one
+of the mighty figures of the century, with all the external qualities of
+a master-genius, shaking the stage of Europe with the weight of his
+personality, and, besides, endowed with a creative power that was not
+understood in his day. With him the restless tendency resulted in a new
+form intended to displace the symphony: the symphonic poem, in a single,
+varied movement, and always on a definite poetic subject. Here was at
+once a relief and a recess from the classic rigor. Away with sonata form
+and all the odious code of rules! In the story of the title will lie all
+the outline of the music.
+
+Yet in this rebellious age--and here is the significance of the
+form--the symphony did not languish, but blossomed to new and varied
+flower. Liszt turned back to the symphony from his new-fangled device
+for his two greatest works. It has, indeed, been charged that the
+symphony was accepted by the Romantic masters in the spirit of a
+challenge. Mendelssohn and even Schumann are not entirely free from such
+a suspicion. Nevertheless it remains true that all of them confided to
+the symphony their fairest inspiration. About the middle of the century,
+at the high point of anti-classical revolt, a wonderful group of
+symphonies, by Berlioz, Mendelssohn, Schumann, and Liszt, were presented
+to the world. With the younger Brahms on a returning wave of
+neo-classicism the form became again distinctively a personal choice.
+Finally, in the spontaneous utterance of a national spirit on broad
+lines, as in the later Russian and Finnish examples, with the various
+phases of surging resolution, of lyric contemplation and of rollicking
+humor, the symphony has its best sanction in modern times.
+
+To return to the historical view, the course of the symphony during the
+century cannot be adequately scanned without a glance at the music-drama
+of Richard Wagner. Until the middle of the century, symphony and opera
+had moved entirely in separate channels. At most the overture was
+affected, in temper and detail, by the career of the nobler form.
+
+The restless iconoclasm of a Liszt was now united, in a close personal
+and poetic league, with the new ideas of Wagner's later drama. Both men
+adopted the symbolic motif as their main melodic means; with both mere
+iteration took the place of development; a brilliant and lurid
+color-scheme (of orchestration) served to hide the weakness of intrinsic
+content; a vehement and hysteric manner cast into temporary shade the
+classic mood of tranquil depth in which alone man's greatest thought is
+born.
+
+But a still larger view of the whole temper of art in Europe of the
+later century is needed. We wander here beyond the fine distinctions of
+musical forms. A new wave of feeling had come over the world that
+violently affected all processes of thought. And strangely, it was
+strongest in the land where the great heights of poetry and music had
+just been reached. Where the high aim of a Beethoven and a Goethe had
+been proclaimed, arose a Wagner to preach the gospel of brute fate and
+nature, where love was the involuntary sequence of mechanical device and
+ended in inevitable death, all overthrowing the heroic idea that teems
+throughout the classic scores, crowned in a greatest symphony in praise
+of "Joy."
+
+Such was the intrinsic content of a "Tristan and Isolde" and the whole
+"Nibelungen-Ring," and it was uttered with a sensuous wealth of sound
+and a passionate strain of melody that (without special greatness of its
+own) dazzled and charmed the world in the dramatic setting of mediaeval
+legend. The new harmonic style of Wagner, there is good reason to
+suppose, was in reality first conceived by Liszt, whose larger works,
+written about the middle of the century, have but lately come to
+light.[A] In correspondence with this moral mutiny was the complete
+revolt from classic art-tradition: melody (at least in theory), the
+vital quality of musical form and the true process of a coherent thread,
+were cast to the winds with earlier poetic ideals.
+
+[Footnote A: The "Dante" Symphony of Liszt was written between 1847 and
+1855; the "Faust" Symphony between 1854 and 1857. Wagner finished the
+text of _Tristan und Isolde_ in 1857; the music was not completed until
+1859. In 1863 was published the libretto of the _Nibelungen-Ring_. In
+1864 Wagner was invited by King Ludwig of Bavaria to complete the work
+in Munich.]
+
+If it were ever true that a single personality could change an opposite
+course of thought, it must be held that Richard Wagner, in his own
+striking and decadent career, comes nearest to such a type. But he was
+clearly prompted and reinforced in his philosophy by other men and
+tendencies of his time. The realism of a Schopenhauer, which Wagner
+frankly adopted without its full significance (where primal will finds a
+redemption in euthanasia), led by a natural course of thought to
+Nietzsche's dreams of an overman, who tramples on his kind.
+
+In itself this philosophy had been more of a passing phase (even as
+Schopenhauer is lost in the chain of ethical sages) but for its strange
+coincidence with the Wagnerian music. The accident of this alliance gave
+it an overwhelming power in Germany, where it soon threatened to corrupt
+all the arts, banishing idealism from the land of its special
+haunts.[A] The ultimate weakness of the Wagnerian philosophy is that it
+finds in fatalism an excuse for the surrender of heroic virtue,--not in
+the spirit of a tragic truth, but in a glorification of the senses; just
+as in Wagner's final work, the ascetic, sinless type becomes a figure
+almost of ridicule, devoid of human reality. It is significant that with
+the revival of a sound art, fraught with resolute aspiration, is
+imminent a return to an idealistic system of philosophy.
+
+[Footnote A: In literature this movement is most marked, as may be seen
+by contrasting the tone of Goethe with that of Sudermann; by noting the
+decadence from the stories of a Chamisseau and Immermann to those of a
+Gottfried Keller; from the novels of Freytag to the latest of Frenssen
+and Arthur Schnitzler; from the poems of Heine to those of Hoffmansthal,
+author of the text of Strauss' later operas.
+
+Or, contrast merely the two typical dramas of love, Goethe's "Faust" and
+Wagner's "Tristan and Isolde."]
+
+In the musical art even of Germany the triumph was never complete. The
+famous feud of Brahms and Wagner partisans marked the alignment of the
+classical and radical traditions. Throughout the second half of the
+century the banner of a true musical process was upheld; the personal
+meeting of the youthful Brahms with the declining Schumann is
+wonderfully significant, viewed as a symbol of this passing of the
+classic mantle. And the symphonies of Gustav Mahler seem an assurance of
+present tendencies. The influence of Bach, revived early in the century,
+grew steadily as a latent leaven.
+
+Nevertheless in the prevailing taste and temper of present German
+music, in the spirit of the most popular works, as those of Richard
+Strauss (who seems to have sold his poetic birthright), the aftermath of
+this wave is felt, and not least in the acclaim of the barren symphonies
+of a Bruckner. It is well known that Bruckner, who paid a personal
+homage to Wagner, became a political figure in the partisan dispute,
+when he was put forth as the antagonist of Brahms in the symphony. His
+present vogue is due to this association and to his frank adoption of
+Wagner idiom in his later works, as well as, more generally, to the
+lowered taste in Germany.
+
+In all this division of musical dialect, in the shattering of the
+classic tower among the diverse tongues of many peoples, what is to be
+the harvest? The full symbol of a Babel does not hold for the tonal art.
+Music is, in its nature, a single language for the world, as its
+alphabet rests on ideal elements. It has no national limits, like prose
+or poetry; its home is the whole world; its idiom the blended song of
+all nations.
+
+In such a view there is less hope in the older than in the newer world.
+No single, limited song of one nation can in the future achieve a second
+climax of the art. It is by the actual mingling of them all that the
+fairest flower and fruit must come. The very absence of one prevailing
+native song, held a reproach to America, is in reality her strength; for
+hers is the common heritage of all strains of song. And it may be her
+destiny to lead in the glorious merging of them all.
+
+
+
+
+CHAPTER II
+
+BERLIOZ AND LISZT
+
+
+The path of progress of an art has little to do with mere chronology.
+For here in early days are bold spirits whose influence is not felt
+until a whole generation has passed of a former tradition. Nor are these
+patient pioneers always the best-inspired prophets; the mere fate of
+slow recognition does not imply a highest genius. A radical innovation
+may provoke a just and natural resistance. Again, a gradual yielding is
+not always due to the pure force of truth. Strange and oblique ideas may
+slowly win a triumph that is not wholly merited and may not prove
+enduring.
+
+To fully grapple with this mystery, we may still hold to the faith that
+final victory comes only to pure truth, and yet we may find that
+imperfect truth will often achieve a slow and late acceptance. The
+victory may then be viewed in either of two ways: the whole spirit of
+the age yields to the brilliant allurement, or there is an overweighing
+balance of true beauty that deserves the prize of permanence. Of such a
+kind were two principal composers of the symphony: Franz Liszt and
+Hector Berlioz. Long after they had wrought their greatest works, others
+had come and gone in truer line with the first masters, until it seemed
+these radical spirits had been quite rejected.
+
+Besides the masters of their own day, Schumann and Mendelssohn, a group
+of minor poets, like Raff and Goetz, appeared, and at last Brahms, the
+latest great builder of the symphony, all following and crowning the
+classical tradition.
+
+The slow reception of the larger works of Liszt strangely agrees with
+the startling resemblance of their manner to the Russian style that
+captivated a much later age. It seemed as if the spirit of the Hungarian
+was suddenly revived in a new national group. His humor wonderfully
+suited the restless and sensational temper of an age that began after
+his death.
+
+The very harmonies and passionate manner that influence modern audiences
+evoked a dull indifference in their own day.[A] They roused the first
+acclaim when presented in the more popular form of the music-drama. It
+may well be questioned whether Liszt was not the fountain source of the
+characteristic harmonies of Wagner's later opera.
+
+[Footnote A: Compare the similarity of the themes of the Faust Symphony
+of Liszt and of the _Pathétique_ of Tschaikowsky in the last chapter of
+vol. ii, "Symphonies and Their Meaning."]
+
+Historically considered, that is in their relation to other music
+preceding and following them, the symphonies of Liszt have striking
+interest. They are in boldest departure from all other symphonies, save
+possibly those of Berlioz, and they were prophetic in a degree only
+apparent a half-century later. If the quality of being ahead of his time
+be proof, instead of a symptom, of genius, then Liszt was in the first
+rank of masters. The use of significant motif is in both of his
+symphonies. But almost all the traits that startled and moved the world
+in Tschaikowsky's symphonies are revealed in this far earlier music: the
+tempestuous rage of what might be called an hysterical school, and the
+same poignant beauty of the lyric episodes; the sheer contrast, half
+trick, half natural, of fierce clangor and dulcet harmonies, all painted
+with the broad strokes of the orchestral palette. Doubly striking it is
+how Liszt foreshadowed his later followers and how he has really
+overshadowed them; not one, down to the most modern tone-painters, has
+equalled him in depth and breadth of design, in the original power of
+his tonal symbols. It seems that Liszt will endure as the master-spirit
+in this reactionary phase of the symphony.
+
+Berlioz is another figure of a bold innovator, whose career seemed a
+series of failures, yet whose music will not down. His art was centred
+less upon the old essentials, of characteristic melody and soul-stirring
+harmonies, than upon the magic strokes of new instrumental grouping,--a
+graphic rather than a pure musical purpose. And so he is the father not
+only of the modern orchestra, but of the fashion of the day that revels
+in new sensations of startling effects, that are spent in portraying the
+events of a story.
+
+Berlioz was the first of a line of _virtuosi_ of the orchestra, a
+pioneer in the art of weaving significant strains,--significant, that
+is, apart from the music. He was seized with the passion of making a
+pictured design with his orchestral colors. Music, it seems, did not
+exist for Berlioz except for the telling of a story. His symphony is
+often rather opera. A symphony, he forgot, is not a musical drama
+without the scenery. This is just what is not a symphony. It is not the
+literal story, but the pure musical utterance. Thus Berlioz's "Romeo and
+Juliet" symphony is in its design more the literal story than is
+Shakespeare's play. And yet there is ever a serious nobility, a heroic
+reach in the art of Berlioz, where he stands almost alone among the
+composers of his race. Here, probably, more than in his pictured
+stories, lies the secret of his endurance. He was, other than his
+followers, ever an idealist. And so, when we are on the point of
+condemning him as a scene-painter, we suddenly come upon a stretch of
+pure musical beauty, that flowed from the unconscious rapture of true
+poet. As the bee sucks, so may we cull the stray beauty and the more
+intimate meaning, despite and aside from this outer intent.
+
+
+
+
+CHAPTER III
+
+BERLIOZ. "ROMEO AND JULIET."
+
+_DRAMATIC SYMPHONY_
+
+
+In the sub-title we see the growing impulse towards graphic music. A
+"dramatic symphony" is not promising. For, if music is the most
+subjective expression of the arts, why should its highest form be used
+to dramatize a drama? Without the aid of scene and actors, that were
+needed by the original poet, the artisan in absolute tones attempts his
+own theatric rendering. Clearly this symphony is one of those works of
+art which within an incongruous form (like certain ancient pictures)
+affords episodes of imperishable beauty.
+
+Passing by the dramatic episodes that are strung on the thread of the
+story, we dwell, according to our wont, on the stretches where a pure
+musical utterance rises to a lofty height of pathos or of rarest
+fantasy.
+
+In the first scene of the Second Part is the clear intent of a direct
+tonal expression, and there is a sustained thread of sincere sentiment.
+The passion of Romeo shines in the purity rather than in the intensity
+of feeling. The scene has a delicate series of moods, with subtle
+melodic touches and dramatic surprises of chord and color. The whole
+seems a reflection of Romeo's humor, the personal (_Allegro_) theme
+being the symbol as it roams throughout the various phases,--the sadness
+of solitude, the feverish thrill of the ball. Into the first phrase of
+straying violins wanders the personal motive, sadly meditative.
+
+[Music: _Allegro._
+(Choir of wood, with sustained chords of strings)]
+
+Sweeter dreams now woo the muser, warming into passion, pulsing with a
+more eager throb of desire, in changed tone and pace. Suddenly in a new
+quarter amid a quick strum of dance the main motive hurries along. The
+gay sounds vanish, ominous almost in the distance. The sadness of the
+lover now sings unrestrained in expressive melody (of oboe), in long
+swinging pace, while far away rumbles the beat of festive drum.
+
+The song rises in surging curves, but dies away among the quick festal
+sounds, where the personal motive is still supreme, chasing its own
+ardent antics, and plunges headlong into the swirl of dance.
+
+II Penseroso (in his personal rôle) has glided into a buoyant,
+rollicking Allegro with joyous answer. Anon the outer revel breaks in
+with shock almost of terror. And now in climax of joy, through the
+festal strum across the never-ceasing thread of transformed meditation
+resound in slowest, broadest swing the
+
+[Music: _Larghetto espressivo_
+(Ob. with fl. and cl. and arpeggic cellos)]
+
+warm tones of the love-song in triumph of bliss.[A] As the song dies
+away, the festal sounds fade. Grim meditation returns in double
+figure,--the slower, heavier pace below. Its shadows are all about as in
+a fugue of fears, flitting still to the tune of the dance and anon
+yielding before the gaiety. But through the returning festal ring the
+fateful motive is still straying in the bass. In the concluding revel
+the hue of meditation is not entirely banned.
+
+[Footnote A: In unison of the wind. Berlioz has here noted in the score
+"_Réunion des deux Thémes, du Larghetto et de L'Allegro_," the second
+and first of our cited phrases.]
+
+The Shakespearian love-drama thus far seems to be celebrated in the
+manner of a French romance. After all, the treatment remains scenic in
+the main; the feeling is diluted, as it were, not intensified by the
+music.
+
+The stillness of night and the shimmering moonlight are in the delicate
+harmonies of (_Allegretto_) strings. A lusty song of departing revellers
+breaks upon the scene. The former distant sounds of feast are now near
+and clear in actual words.
+
+[Music: _Adagio_
+(Muted strings)
+(_Pizz._ basses an 8ve. lower)]
+
+There is an intimate charm, a true glamor of love-idyll about the
+Adagio. On more eager pulse rises a languorous strain of horn and
+cellos. The flow
+
+[Music: (Horn and cellos with murmuring strings)]
+
+of its passionate phrase reaches the climax of prologue where, the type
+and essence of the story, it plays about the lovers' first meeting. As
+lower strings hum the burden of desire, higher wood add touches of
+ecstasy, the melting violins sing the wooing song, and all break into an
+overwhelming rapture, as though transfigured in the brightness of its
+own vehemence, in midst of a trembling mystery.
+
+The restless spirit starts (_allegro agitato_) in fearsome agitation on
+quick nervous throb of melody; below, violas sing a soothing answer;
+there is a clear dialogue of wistful lovers.
+
+Instead of the classic form of several verses led by one dominant melody
+to varied paths and views, here almost in reverse we seem to fall from a
+broader lyric mood to a single note of sad yearning that
+
+[Music: (Fl. with Eng. horn an 8ve. below)
+(Muted violins with sustained lower strings)]
+
+grows out of the several strains. Upon such a motive a new melody sings.
+The delicate bliss of early love is all about, and in the lingering
+close the timid ecstasies of wooing phrase. But this is a mere prelude
+to the more highly stressed, vehement song of love that follows on the
+same yearning motive. Here is the crowning, summing phase of the whole
+poem, without a return to earlier melody save that, by significant
+touch, it ends in the same expressive turn as the former languorous
+song.
+
+The first melody does not reappear, is thus a kind of background of the
+scene. The whole is a dramatic lyric that moves from broader tune to a
+reiterated note of sad desire, driven to a splendid height of crowned
+bliss. The turbulence of early love is there; pure ardor in flaming
+tongues of ecstasy; the quick turn of mood and the note of omen of the
+original poem: the violence of early love and the fate that hangs over.
+
+Berlioz has drawn the subject of his Scherzo from Mercutio's speech in
+Scene 4 of the First Act of Shakespeare's tragedy. He has entitled it
+"Queen Mab, or the Fairy of Dreams," and clearly intends to portray the
+airy flight of Mab and her fairies. But we must doubt whether this, the
+musical gem of the symphony, has a plan that is purely graphic,--rather
+does it seem to soar beyond those concrete limits to an utterance of the
+sense of dreams themselves in the spirit of Mercutio's conclusion:
+
+          "... I talk of dreams
+    Which are the children of an idle brain,
+    Begot of nothing but vain fantasy;
+    Which is as thin of substance as the air;"
+
+And we may add, as elusive for the enchanted mind to hold are these
+pranks and brilliant parade of tonal sprites. It stands one of the
+masterpieces of program-music, in equal balance of pure beauty with the
+graphic plan.
+
+Imps they are, these flitting figures, almost insects with a
+personality. In pace there is a division, where the first dazzling
+speed is simply the fairy rhythm (halted anon by speaking pauses or
+silences), and the second, a kind of idyll or romance in miniature. It
+is all a drama of fairy actors, in a dreamland of softest tone. The main
+figure leads its troop on gossamer thread of varied journey.
+
+[Music: (Violins) _Prestissimo_]
+
+Almost frightening in the quickest, pulsing motion is the sudden
+stillness, as the weird poising of trembling sprites. Best of all is the
+resonant beauty of the second melody in enchanting surprise of tone.
+
+[Music: (Strings without basses)]
+
+Anon, as in a varied dance, the skipping, mincing step is followed by a
+gentle swaying; or the figures all run together down the line to start
+the first dance again, or the divided groups have different motions, or
+one shouts a sudden answer to the other.
+
+Much slower now is the main song (in flute and English horn) beneath an
+ariel harmony (of overtones), while a quicker trip begins below of the
+same figure. And in the midst is a strange concert of low dancing
+strings with highest tones of harp,--strange mating of flitting sprites.
+
+We are suddenly back in the first, skipping dance, ever faster and
+brighter in dazzling group of lesser figures. And here is the golden
+note of fairy-land,--the horn in soft cheery hunter's lay, answered by
+echoing voices. For a moment the call is tipped with touch of sadness,
+then rings out brightly in a new quarter. Beautiful it sings between the
+quick phrases, with a certain shock of change, and there is the terror
+of a sudden low rumbling and the thrill of new murmuring sounds with
+soft beat of drum that hails the gathering fairies. There is a sudden
+clarion burst of the whole chorus, with clash of drum and clang of
+brass, and sudden pause, then faintest echoes of higher voices.
+
+A new figure now dances a joyous measure to the tinkling of harp and the
+sparkling strokes of high
+
+[Music: (Harp in higher 8ve.)
+(Clarinet with chord of horns)
+(Violas)]
+
+cymbals and long blown tone of horns. The very essence it is of fairy
+life. And so the joy is not unmixed with just a touch of awe. Amidst the
+whole tintinnabulation is a soft resonant echo of horns below, like an
+image in a lake. The air hangs heavy with dim romance until the sudden
+return to first fairy verse in sounds almost human. Once more come the
+frightening pauses.
+
+The end is in a great crash of sweet sound--a glad awakening to day and
+to reality.
+
+
+
+
+CHAPTER IV
+
+A SYMPHONY TO DANTE'S "DIVINA COMMEDIA"
+
+_FOR ORCHESTRA AND CHORUS OF SOPRANOS AND ALTOS_
+
+
+The "Divina Commedia" may be said in a broad view to belong to the great
+design by which Christian teaching was brought into relation with
+earlier pagan lore. The subject commands all the interest of the epics
+of Virgil and of Milton. It must be called the greatest Christian poem
+of all times, and the breadth of its appeal and of its art specially
+attest the age in which it was written, when classic pagan poetry broke
+upon the world like a great treasure-trove.
+
+The subject was an ideal one in Dante's time,--a theme convincing and
+contenting to all the world, and, besides, akin to the essence of pagan
+poetry. The poet was needed to celebrate all the phases of its meaning
+and beauty. This is true of all flashes of evolutionary truth. As in the
+ancient epics, an idea once real to the world may be enshrined in a
+design of immortal art.
+
+To-day we are perhaps in too agnostic a state to be absorbed by such a
+contemplation. The subject in a narrower sense is true at most to those
+who will to cherish the solace of a salvation which they have not fully
+apprehended. And so the Liszt symphony of the nineteenth century is not
+a complete reflection of the Dante poem of the fourteenth. It becomes
+for the devout believer almost a kind of church-liturgy,--a Mass by the
+Abbé Liszt.
+
+Rare qualities there undoubtedly are in the music: a reality of passion;
+a certain simplicity of plan; the sensuous beauty of melodic and
+harmonic touches. But a greatness in the whole musical expression that
+may approach the grandeur of the poem, could only come in a suggestion
+of symbolic truth; and here the composer seems to fail by a too close
+clinging to ecclesiastic ritual. Yet in the agony of remorse, rising
+from hopeless woe to a chastened worship of the light, is a strain of
+inner truth that will leave the work for a long time a hold on human
+interest.
+
+Novel is the writing of words in the score, as if they are to be sung by
+the instruments,--all sheer aside from the original purpose of the form.
+Page after page has its precise text; we hear the shrieks of the damned,
+the dread inscription of the infernal portals; the sad lament of lovers;
+the final song of praise of the redeemed. A kind of picture-book music
+has our symphony become. The _leit-motif_ has crept into the high form
+of absolute tones to make it as definite and dramatic as any opera.
+
+
+I. INFERNO
+
+The legend of the portal is proclaimed at the outset in a rising phrase
+(of the low brass and strings)
+
+[Music: (Doubled in two lower 8ves.)
+_Lento_
+(3 trombones and tuba: violas, cellos and brass)]
+
+    _Per me si va nella cit-ta do-lente;
+    Per me si va nell'eterno dolore;_
+
+and in still higher chant--
+
+    _Per me si va tra la perduta gente._
+
+Then, in antiphonal blast of horns and trumpets sounds the fatal doom in
+grim monotone (in descending harmony of trembling strings):
+
+[Music: (Chant in octaves of trumpets and horns)
+La-scia-te ogni spe-ran- - -za.
+(Brass, wood and _tremolo_ strings)]
+
+    _Lasciate ogni speranza mi ch' entrate!_[A]
+
+[Footnote A:
+
+    "Through me the way is to the city dolent;
+    Through me the way is to eternal dole;
+    Through me the way among the people lost.
+    All hope abandon, ye who enter in!"
+
+--_From Longfellow's translation._]
+
+A tumult on a sigh (from the first phrase) rises again and again in
+gusts. In a violent paroxysm we hear the doom of the monotone in lowest
+horns. The fateful phrases are ringing about, while pervading all is
+the hope-destroying blast of the brass. But the storm-centre is the
+sighing motive which now enters on a quicker spur of passionate stride
+(_Allegro frenetico, quasi doppio movimento_). In its winding
+
+[Music: _Alla breve_
+_Allegro frenetico (quasi doppio movimento)_
+(Theme in violins and cellos)
+(Woodwind and violas)]
+
+sequences it sings a new song in more regular pace. The tempest grows
+wilder and more masterful, still following the lines of the song, rising
+to towering height. And now in the strains, slow and faster, sounds the
+sigh above and below, all in a madrigal of woe. The whole is surmounted
+by a big descending phrase, articulate almost in its grim dogma, as it
+runs into the line of the first legend in full tumult of gloom. It is
+followed by the doom slowly proclaimed in thundering tones of the brass,
+in midst of a tempest of surging harmonies. Only it is all more fully
+and poignantly stressed than before, with long, resonant echoes of the
+stentorian tones of lowest brass.
+
+Suddenly we are in the dulcet mood (_Quasi Andante, ma sempre un poco
+mosso_) 'mid light waving strings and rich swirling harp, and soothing
+tones of flutes and muted horns. Then, as all other voices are hushed,
+the clarinet sings a strain that ends in lowest notes of expressive
+grief (_Recit., espressivo dolente_)--where we can almost hear the
+words. It is answered by a sweet plaint of other wood, in
+
+[Music: _Quasi Andante, ma sempre un poco mosso_
+_dolce teneremente_
+(Clarinets and bassoons)]
+
+questioning accents, followed by the returning waves of strings and
+harp, and another phrase of the lament; and now to the pulsing chords of
+the harp the mellow English horn does sing (at least in the score) the
+words,--the central text of all:
+
+[Music: _Poco agitato_
+(English horn, with arpeggic flow of harp)
+Nes-sun mag-gior do-lo-re che ri-cor-dar-si del tem-po fe-li-ce.[A]]
+
+[Footnote A: "There is no greater sorrow than to be mindful of the happy
+time in misery."--_From Longfellow's translation._]
+
+Other voices join the leader. As the lower reed start the refrain, the
+higher enter in pursuit, and then the two groups sing a melodic chase.
+But the whole phrase is a mere foil to the pure melody of the former
+plaint that now returns in lower strings. And all so far is as a herald
+to the passage of intimate sentiment (_Andante amoroso_) that lies a
+lyric gem in the heart of the symphony. The melting strain is stressed
+in tenderness by the languor of harmonies, the delicate design of
+elusive rhythm and the appealing whisper of harp and two
+violins,--tipped by the touch of mellow wood.
+
+[Music: _Andante amoroso. (Tempo rubato)_
+_dolce con intimo sentimento_
+(Melody in first violins; arpeggios of harp and violas;
+lower woodwind and strings)]
+
+With the rising passion, as the refrain spreads in wider sequences, the
+choirs of wood and strings are drawn into the song, one group answering
+the other in a true love duet.
+
+The last cadence falls into the old sigh as the dread oracle sounds once
+more the knell of hope. Swirling strings bring us to a new scene of the
+world of shades. In the furious, frenetic pace of yore (_Tempo primo,
+Allegro, alla breve_) there is a new sullen note, a dull martial trip
+of drums with demonic growls (in the lowest wood). The sigh is there,
+but perverted in humor. A chorus of blasphemous mockery is stressed by
+strident accents of lower wood and strings.[A]
+
+[Footnote A: We are again assisted by the interpreting words in the
+score.]
+
+Gradually we fall into the former frenzied song, amid the demon
+cacchinations, until we have plunged back into the nightmare of groans.
+Instead of the big descending phrase we sink into lower depths of gloom,
+wilder than ever, on the first tripping motive. As the sighing strain
+resounds below in the midst of a chorus of demon shrieks, there enters
+the chant of inexorable fate. Mockery yields to a tinge of pathos, a
+sense almost of majestic resignation, an apotheosis of grief.
+
+
+II. PURGATORIO
+
+A state of tranquillity, almost of bliss, is in the opening primal
+harmonies (of harp and strings and
+
+[Music: _Andante con moto quasi Allegretto. Tranquillo assai_
+(Oboe _molto espressivo_)
+_Sempre piano e legato_
+(Full arpeggic harp and muted strings)]
+
+soft horns). Indeed, what else could be the mood of relief from the
+horrors of hell? And lo! the reed strikes a pure limpid song echoed in
+turn by other voices, beneath a rich spray of heavenly harmonies.
+
+This all recurs in higher shift of tone. A wistful phrase (_piu lento_,
+in low strings) seems to breathe
+
+[Music: _Un poco meno mosso_
+(English horn, clarinets, bassoons, French horn)]
+
+a spoken sob. Then, as in voices of a hymn, chants a more formal liturgy
+of plaint where the phrase is almost lost in the lowest voice. It is all
+but articulate, with a sense of the old sigh; but it is in a calmer
+spirit, though anon bursting with passionate grief (_lagrimoso_).
+
+[Music: _Lamentoso_ (In fugue of muted strings)]
+
+And now in the same vein, of the same fibre, a fugue begins of lament,
+first in muted strings.
+
+It is the line of sad expressive recitative that heralded the plaint and
+the love-scene. There is here the full charm of fugue: a rhythmic
+quality of single theme, the choir of concerted dirge in independent
+and interdependent paths, and with every note of integral melody. There
+is the beauty of pure tonal architecture blended with the personal
+significance of the human (and divine) tragedy.
+
+The fugue begins in muted strings, like plaintive human voices, though
+wood and brass here and there light up the phrases. Now the full bass of
+horns and wood strikes the descending course of theme, while higher
+strings and wood soar in rising stress of (sighing) grief.
+
+[Music: (In double higher 8ves.)
+_With lower 8ves._
+(Strings, with enforcing and answering wind)]
+
+A hymnal verse of the theme enters in the wood answered by impetuous
+strings on a coursing phrase. The antiphonal song rises with eager
+stress of themal attack. A quieter elegy leads to another burst, the
+motive above, the insistent sigh below. The climax of fugue returns to
+the heroic main plaint below, with sighing answers above, all the voices
+of wood and brass enforcing the strings.
+
+Then the fugue turns to a transfigured phase; the theme rings triumphant
+retorts in golden horns and in a masterful unison of the wood; the wild
+answer runs joyfully in lower strings, while the higher are strumming
+like celestial harps. The whole is transformed to a big song of praise
+ever in higher harmonies. The theme flows on in ever varying thread,
+amidst the acclaiming tumult.
+
+But the heavenly heights are not reached by a single leap. Once more we
+sink to sombre depths not of the old rejection, but of a chastened,
+wistful wonderment. The former plaintive chant returns, in slower,
+contained pace, broken by phrases of mourning recitative, with the old
+sigh. And a former brief strain of simple aspiration is supported by
+angelic harps. In gentle ascent we are wafted to the acclaim of heavenly
+(treble) voices in the _Magnificat_. A wonderful utterance, throughout
+the scene of Purgatory, there is of a chastened, almost spiritual grief
+for the sin that cannot be undone, though it is not past pardon.
+
+The bold design of the final Praise of the Almighty was evidently
+conceived in the main as a service. An actual depiction, or a direct
+expression (such as is attempted in the prologue of Boito's Mefistofele)
+was thereby avoided. The Holy of Holies is screened from view by a
+priestly ceremony,--by the mask of conventional religion. Else we must
+take the composer's personal conception of such a climax as that of an
+orthodox Churchman. And then the whole work, with all its pathos and
+humanity, falls to the level of liturgy.
+
+The words of invisible angel-chorus are those of the blessed maid
+trusting in God her savior, on a theme for which we are prepared by
+preluding choirs of harps, wood and strings. It is sung on an ancient
+Church tone that in its height approaches the mode of secular song. With
+all the power of broad rhythm, and fulness of harmony and volume, the
+feeling is of conventional worship. With all the purity of shimmering
+harmonies the form is ecclesiastical in its main lines and depends upon
+liturgic symbols for its effect and upon the faith of the listener for
+its appeal.
+
+At the end of the hymn, on the entering _Hosanna!_ and _Hallelujah!_ we
+catch the sacred symbol (of seven tones) in the path of the two vocal
+parts, the lower descending, the higher ascending as on heavenly scale.
+In the second, optional ending the figure is completed, as the bass
+descends through the seven whole tones and the treble (of voices and
+instruments) rises as before to end in overpowering _Hallelujah!_ The
+style is close knit with the earlier music. A pervading motive is the
+former brief phrase of aspiration; upon it the angelic groups seem to
+wing their flight between verses of praise. By a wonderful touch the
+sigh, that appeared inverted in the plaintive chant of the _Purgatorio_,
+is finally glorified as the motive of the bass to the words of
+exultation.
+
+
+
+
+CHAPTER V
+
+THE SYMPHONIC POEMS OF LISZT
+
+
+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. Yet it must be
+yielded that Liszt's program-music was of the higher kind that dwells in
+symbols rather than in concrete details. It was a graphic plan of
+symbolization that led Liszt to choose the subjects of his symphonic
+poems (such as the "Préludes" and the "Ideals") and to prefer the poetic
+scheme of Hugo's "Mazeppa" to the finer verse of a Byron. Though not
+without literal touches, Liszt perceived that his subjects must have a
+symbolic quality.
+
+Nevertheless this pictorial style led to a revolution in the very nature
+of musical creation and to a new form which was seemingly intended to
+usurp the place of the symphony. It is clear that the symphonic poem is
+in very essence opposed to the symphony. The genius of the symphony lies
+in the overwhelming breadth and intensity of its expression without the
+aid of words. Vainly decried by a later age of shallower perception, it
+achieved this Promethean stroke by the very magic of the design. At one
+bound thus arose in the youngest art a form higher than any other of
+human device,--higher than the epic, the drama, or the cathedral.
+
+Bowing to an impatient demand for verbal meaning, Liszt invented the
+Symphonic Poem, in which the classic cogency yielded to the loose thread
+of a musical sketch in one movement, slavishly following the sequence of
+some literary subject. He abandoned sheer tonal fancy, surrendering the
+magic potency of pure music, fully expressive within its own design far
+beyond the literal scheme.[A]
+
+[Footnote A: Mendelssohn with perfect insight once declared,--"Notes
+have as definite a meaning as words, perhaps even a more definite one."]
+
+The symphonic poems of Liszt, in so far as his intent was in destructive
+reaction to the classic process, were precisely in line with the drama
+of Wagner. The common revolt completely failed. The higher, the real
+music is ever of that pure tonal design where the fancy is not leashed
+to some external scheme. Liszt himself grew to perceive the inadequacy
+of the new device when he returned to the symphony for his greatest
+orchestral expression, though even here he never escaped from the thrall
+of a literal subject.
+
+And strangely, in point of actual music, we cannot fail to find an
+emptier, a more grandiose manner in all these symphonic poems than in
+the two symphonies. It seems as if an unconscious sense of the greater
+nobility of the classic medium drove Liszt to a far higher inspiration
+in his melodic themes.
+
+Yet we cannot deny the brilliant, dazzling strokes, and the luscious
+harmonies. It was all a new manner, and alone the novelty is welcome,
+not to speak of the broad sweep of facile melody, and the sparkling
+thrills.
+
+
+_LES PRÉLUDES_
+
+This work has a preface by the composer, who refers in a footnote to the
+"_Méditations poétiques_" of Lamartine.
+
+"What else is our life than a series of preludes to that unknown song of
+which the first solemn note is struck by death? Love is the morning glow
+of every heart; but in what human career have not the first ecstasies of
+bliss been broken by the storm, whose cruel breath destroys fond
+illusions, and blasts the sacred shrine with the bolt of lightning. And
+what soul, sorely wounded, does not, emerging from the tempest, seek to
+indulge its memories in the calm of country life? Nevertheless, man will
+not resign himself for long to the soothing charm of quiet nature, and
+when the trumpet sounds the signal of alarm, he runs to the perilous
+post, whatever be the cause that calls him to the ranks of war,--that he
+may find in combat the full consciousness of himself and the command of
+all his powers."
+
+How far is the music literally graphic? We cannot look for the "unknown
+song" in definite sounds. That would defeat, not describe, its
+character. But the first solemn notes, are not these the solemn rising
+phrase that reappears in varying rhythm and pace all about the beginning
+and, indeed, the whole course
+
+[Music: _Andante_
+(Strings, doubled in two lower 8ves.)]
+
+of the music. Just these three notes abound in the mystic first
+"prelude," and they are the core of the great swinging tune of the
+Andante maestoso, the beginning and main pulse of the unknown song.
+
+[Music: _Andante maestoso_
+(Basses of strings, wood and brass, doubled below; arpeggic
+harmonies in upper strings; sustained higher wood)]
+
+Now (_dolce cantando_) is a softer guise of the phrase. For death and
+birth, the two portals, are like
+
+[Music: (Strings, with arpeggic violins)
+_dolce cantando_
+(_Pizz._ basses)]
+
+elements. Even here the former separate motive sounds, and so in the
+further turn of the song (_espressivo dolente_) on new thread.
+
+The melody that sings (_espressivo ma tranquillo_) may well stand for
+"love, the glow of dawn in every heart." Before the storm, both great
+motives (of love and death) sound together very beautifully, as in
+
+[Music: _espress. ma tranquillo_
+_dolce._
+(Horns and lower strings, with arpeggic harp and violins)]
+
+Tennyson's poem. The storm that blasts the romance begins with the same
+fateful phrase. It is all about, even inverted, and at the crisis it
+sings with the fervor of full-blown song. At the lull the soft guise
+reappears, faintly, like a sweet memory.
+
+The Allegretto pastorale is clear from the preface. After we are lulled,
+soothed, caressed and all but entranced by these new impersonal sounds,
+then, as if the sovereign for whom all else were preparing, the song of
+love seeks its recapitulated verse. Indeed here is the real full song.
+Is it that in the memory lies the reality, or at least the realization?
+
+Out of the dream of love rouses the sudden alarm of brass (_Allegro
+marziale animato_), with a new war-tune fashioned of the former soft
+disguised motive. The air of fate still hangs heavy over all. In
+spirited retorts the martial madrigal proceeds, but it is not all mere
+war and courage. Through the clash of strife break in the former songs,
+the love-theme in triumph and the first expressive strain in tempestuous
+joy. Last of all the fateful original motto rings once more in serene,
+contained majesty.
+
+On the whole, even with so well-defined a program, and with a full play
+of memory, we cannot be quite sure of a fixed association of the motive.
+It is better to view the melodic episodes as subjective phases, arising
+from the tenor of the poem.
+
+
+_TASSO_
+
+Liszt's "Tasso" is probably the earliest celebration, in pure tonal
+form, of the plot of man's suffering and redemption, that has been so
+much followed that it may be called the type of the modern symphony.[A]
+In this direct influence the "Tasso" poem has been the most striking of
+all of Liszt's creations.
+
+[Footnote A: We may mention such other works of Liszt as "Mazeppa" and
+the "Faust" Symphony; the third symphony of Saint-Saëns; Strauss' tone
+poem "Death and Transfiguration"; Volbach's symphony, besides other
+symphonies such as a work by Carl Pohlig. We may count here, too, the
+Heldenlied by Dvôrák, and Strauss' Heldenleben (see Vol. II).]
+
+The following preface of the composer accompanies the score:
+
+     "In the year 1849 the one hundredth anniversary of Goethe's birth
+     was celebrated throughout Germany; the theatre in Weimar, where we
+     were at the time, marked the 28th of August by a performance of
+     'Tasso.'
+
+     "The tragic fate of the unfortunate bard served as a text for the
+     two greatest poets produced by Germany and England in the last
+     century: Goethe and Byron. Upon Goethe was bestowed the most
+     brilliant of mortal careers; while Byron's advantages of birth and
+     of fortune were balanced by keenest suffering. We must confess that
+     when bidden, in 1849, to write an overture for Goethe's drama, we
+     were more immediately inspired by Byron's reverential pity for the
+     shades of the great man, which he invoked, than by the work of the
+     German poet. Nevertheless Byron, in his picture of Tasso in prison,
+     was unable to add to the remembrance of his poignant grief, so
+     nobly and eloquently uttered in his 'Lament,' the thought of the
+     'Triumph' that a tardy justice gave to the chivalrous author of
+     'Jerusalem Delivered.' We have sought to mark this dual idea in the
+     very title of our work, and we should be glad to have succeeded in
+     pointing this great contrast,--the genius who was misjudged during
+     his life, surrounded, after death, with a halo that destroyed his
+     enemies. Tasso loved and suffered at Ferrara; he was avenged at
+     Rome; his glory still lives in the folk-songs of Venice. These
+     three elements are inseparable from his immortal memory. To
+     represent them in music, we first called up his august spirit as he
+     still haunts the waters of Venice. Then we beheld his proud and
+     melancholy figure as he passed through the festivals of Ferrara
+     where he had produced his master-works. Finally we followed him to
+     Rome, the eternal city, that offered him the crown and glorified in
+     him the martyr and the poet.
+
+     "_Lamento e Trionfo_: Such are the opposite poles of the destiny
+     of poets, of whom it has been justly said that if their lives are
+     sometimes burdened with a curse, a blessing is never wanting over
+     their grave. For the sake not merely of authority, but the
+     distinction of historical truth, we put our idea into realistic
+     form in taking for the theme of our musical poem the motive with
+     which we have heard the gondoliers of Venice sing over the waters
+     the lines of Tasso, and utter them three centuries after the poet:
+
+    "'Canto l'armi pietose e'l Capitano
+    Che'l gran Sepolcro liberò di Christo!'
+
+     "The motive is in itself plaintive; it has a sustained sigh, a
+     monotone of grief. But the gondoliers give it a special quality by
+     prolonging certain tones--as when distant rays of brilliant light
+     are reflected on the waves. This song had deeply impressed us long
+     ago. It was impossible to treat of Tasso without taking, as it
+     were, as text for our thoughts, this homage rendered by the nation
+     to the genius whose love and loyalty were ill merited by the court
+     of Ferrara. The Venetian melody breathes so sharp a melancholy,
+     such hopeless sadness, that it suffices in itself to reveal the
+     secret of Tasso's grief. It lent itself, like the poet's
+     imagination, to the world's brilliant illusions, to the smooth and
+     false coquetry of those smiles that brought the dreadful
+     catastrophe in their train, for which there seemed to be no
+     compensation in this world. And yet upon the Capitol the poet was
+     clothed with a mantle of purer and more brilliant purple than that
+     of Alphonse."
+
+With the help of the composer's plot, the intent of the music becomes
+clear, to the dot almost of the note. The whole poem is an exposition of
+the one sovereign melody, where we may feel a kindred trait of Hungarian
+song, above all in the cadences, that must have stirred Liszt's patriot
+heart. Nay,--beginning as it does with melancholy stress of the phrase
+of cadence and the straying into full rhythmitic exultation, it seems
+(in strange guise) another
+
+[Music: _Adagio mesto_
+(With rhythmic harp and horns)]
+
+of Liszt's Hungarian rhapsodies,--that were, perhaps, the greatest of
+all he achieved, where his unpremeditated frenzy revelled in purest
+folk-rhythm and tune. The natural division of the Hungarian dance, with
+the sad _Lassu_ and the glad _Friss_, is here clear in order and
+recurrence. The Magyar seems to the manner born in both parts of the
+melody.[A]
+
+[Footnote A: A common Oriental element in Hungarian and Venetian music
+has been observed. See Kretschmar's note to Liszt's "Tasso" (Breitkopf &
+Haertel).]
+
+In the accents of the motive of cadence (_Lento_) we feel the secret
+grief of the hero, that turns _Allegro strepitoso_, in quicker pace to
+fierce revolt.
+
+In full tragic majesty the noble theme enters, in panoply of woe. In the
+further flow, as in the beginning, is a brief chromatic strain and a
+sigh of descending tone that do not lie in the obvious song, that are
+drawn by the subjective poet from the latent fibre. Here is the modern
+Liszt, of rapture and anguish, in manner and in mood that proved so
+potent a model with a later generation.[A]
+
+[Footnote A: See note in the final chapter of Volume II.]
+
+The verse ends in a prolonged threnody, then turns to a firm, serenely
+grave burst of the song in major, _Meno Adagio_, with just a hint of
+martial grandeur. For once, or the nonce, we seem to see the hero-poet
+acclaimed. In a middle episode the motive of the cadence sings
+expressively with delicate harmonies, rising to full-blown exaltation.
+We may see here an actual brief celebration, such as Tasso did receive
+on entering Ferrara.
+
+And here is a sudden fanciful turn. A festive dance strikes a tuneful
+trip,--a menuet it surely is, with all the ancient festal charm, vibrant
+with tune and spring, though still we do not escape the source of the
+first pervading theme. Out of the midst of the dance sings slyly an
+enchanting phrase, much like a secret love-romance. Now to the light
+continuing dance is joined a strange companion,--the heroic melody in
+its earlier majestic pace. Is it the poet in serious meditation at the
+feast apart from the joyous abandon, or do we see him laurel-crowned, a
+centre of the festival, while the gay dancers flit about him in homage?
+
+More and more brilliant grows the scene, though ever with the dominant
+grave figure. With sudden stroke as of fatal blast returns the earlier
+fierce burst of revolt, rising to agitation of the former lament,
+blending both moods and motives, and ending with a broader stress of the
+first tragic motto.
+
+Now, _Allegro con brio_, with herald calls of the brass and fanfare of
+running strings (drawn from the personal theme), in bright major the
+whole song bursts forth in brilliant gladness. At the height the
+exaltation finds vent in a peal of simple melody. The "triumph" follows
+in broadest, royal pace of the main song in the wind, while the strings
+are madly coursing and the basses reiterate the transformed motive of
+the cadence. The end is a revel of jubilation.
+
+
+_MAZEPPA_
+
+The Mazeppa music is based upon Victor Hugo's poem, in turn founded upon
+Byron's verse, with an added stirring touch of allegory.
+
+The verses of Hugo first tell how the victim is tied to the fiery
+steed, how--
+
+    "He turns in the toils like a serpent in madness,
+    And ... his tormentors have feasted in gladness
+        Upon his despair.
+
+           *       *       *       *       *
+
+    "They fly.--Empty space is behind and before them
+
+           *       *       *       *       *
+
+    "The horse, neither bridle nor bit on him feeling,
+    Flies ever; red drops o'er the victim are stealing:
+        His whole body bleeds.
+    Alas! to the wild horses foaming and champing
+    That followed with mane erect, neighing and stamping,
+        A crow-flight succeeds.
+    The raven, the horn'd owl with eyes round and hollow,
+    The osprey and eagle from battle-field follow,
+        Though daylight alarm.
+
+           *       *       *       *       *
+
+    "Then after three days of this course wild and frantic,
+    Through rivers of ice, plains and forests gigantic,
+        The horse sinks and dies;
+
+           *       *       *       *       *
+
+    "Yet mark! That poor sufferer, gasping and moaning,
+    To-morrow the Cossacks of Ukraine atoning,
+        Will hail as their King;
+
+           *       *       *       *       *
+
+    "To royal Mazeppa the hordes Asiatic
+    Will show their devotion in fervor ecstatic,
+        And low to earth bow."
+
+In his splendid epilogue the poet likens the hero to the mortal on whom
+the god has set his mark. He sees himself bound living to the fatal
+course of genius, the fiery steed.
+
+    "Away from the world--from all real existence
+    He is borne upwards, despite his resistance
+        On feet of steel.
+    He is taken o'er deserts, o'er mountains in legions,
+    Grey-hoary, thro' oceans, and into the regions
+        Far over the clouds;
+    A thousand base spirits his progress unshaken
+    Arouses, press round him and stare as they waken,
+        In insolent crowds
+
+           *       *       *       *       *
+
+    "He cries out with terror, in agony grasping,
+    Yet ever the mane of his Pegasus clasping,
+        They heavenward spring;
+    Each leap that he takes with fresh woe is attended;
+    He totters--falls lifeless--the struggle is ended--
+        And rises as King!"[A]
+
+[Footnote A: The English verses are taken for the most part from the
+translation of F. Corder.]
+
+The original _Allegro agitato_ in broad 6/4 time (aptly suggestive of
+the unbridled motion) grows
+
+[Music: (In brass and strings with lower 8ve.)
+(With constant clattering higher strings and
+chord of low wind on the middle beat)]
+
+more rapid into an _alla breve_ pace (in two beats), with dazzling maze
+of lesser rhythms. Throughout the work a song of primeval strain
+prevails. Here and there a tinge of foreshadowing pain appears, as the
+song sounds on high, _espressivo dolente_. But the fervor and fury of
+movement is undiminished. The brief touch of pathos soon merges in the
+general heroic mood. Later, the whole motion ceases, "the horse sinks
+and dies," and now an interlude sings a pure plaint (in the strain of
+the main motive). Then, _Allegro_, the martial note clangs in stirring
+trumpet and breaks into formal song of war, _Allegro marziale_.
+
+[Music: (Brass and strings)
+_Allegro marziale_
+(With lower 8ve.)]
+
+In the wake of this song, with a relentless trip and tramp of warrior
+hordes, is the real clash and jingle of the battle, where the sparkling
+thrill of strings and the saucy counter theme are strong elements in the
+stirring beauty.
+
+There is a touch here of the old Goth, or rather the Hun, nearer akin to
+the composer's race.
+
+At the height rings out the main tune of yore, transformed in triumphant
+majesty.
+
+The musical design embraces various phases. First is the clear rhythmic
+sense of the ride. We think of other instances like Schubert's
+"Erl-King" or the ghostly ride in Raff's "Lenore" Symphony.
+
+The degree of vivid description must vary, not only with the composer,
+but with the hearer. The greatest masters have yielded to the variety of
+the actual graphic touch. And, too, there are always interpreters who
+find it, even if it was never intended. Thus it is common to hear at the
+very beginning of the "Mazeppa" music the cry that goes up as starts the
+flight.
+
+We are of course entitled, if we prefer, to feel the poetry rather than
+the picture. Finally it is probably true that such a poetic design is
+not marred merely because there is here or there a trick of
+onomatopoeia; if it is permitted in poetry, why not in music? It may be
+no more than a spur to the fancy, a quick conjuring of the association.
+
+
+_HUNNENSCHLACHT--"THE BATTLE OF THE HUNS"_
+
+Liszt's symphonic poem, "Hunnenschlacht," one of the last of his works
+in this form, completed in 1857, was directly inspired by the picture of
+the German painter, Wilhelm Kaulbach, which represents the legend of the
+aerial battle between the spirits of the Romans and Huns who had fallen
+outside of the walls of Rome.[A]
+
+[Footnote A: A description of the picture is cited by Lawrence Gilman in
+his book, "Stories of Symphonic Music," as follows:
+
+"According to a legend, the combatants were so exasperated that the
+slain rose during the night and fought in the air. Rome, which is seen
+in the background, is said to have been the scene of this event. Above,
+borne on a shield, is Attila, with a scourge in his hand; opposite him
+Theodoric, King of the Visigoths. The foreground is a battle-field,
+strewn with corpses, which are seen to be gradually reviving, rising up
+and rallying, while among them wander wailing and lamenting women."]
+
+The evidence of the composer's intent is embodied in a letter written in
+1857 to the wife of the painter, which accompanied the manuscript of an
+arrangement of the music for two pianos. In the letter Liszt speaks of
+"the meteoric and solar light which I have borrowed from the painting,
+and which at the Finale I have formed into one whole by the gradual
+working up of the Catholic _choral_ 'Crux fidelis,' and the meteoric
+sparks blended therewith." He continues: "As I have already intimated to
+Kaulbach, in Munich, I was led by the musical demands of the material to
+give proportionately more place to the solar light of Christianity,
+personified in the Catholic _choral_ ... than appears to be the case in
+the glorious painting, in order to win and pregnantly represent the
+conclusion of the Victory of the Cross, with which I both as a Catholic
+and as a man could not dispense."
+
+The work begins _tempestuoso_ (_allegro non troppo_), with a nervous
+theme over soft rolling drums and
+
+[Music: _Tempestuoso. Allegro non troppo_
+(Bassoons with _tremolo_ cellos and roll of kettle-drums)]
+
+trembling low strings, that is taken up as in fugue by successive groups
+and carried to a height where enters a fierce call of the horns. The
+cries of battle spread with increasing din and gathering speed. At the
+first climax the whole motion has a new energy, as the strings in
+feverish chase attack the quickened motive with violent stress. Later,
+though the motion has not lessened, the theme has returned to a
+semblance of its former pace, and again the cries of battle (in brass
+and wood) sound across its path.
+
+[Music: (Strings, _tremolo_, doubled above)
+(Horns)]
+
+In the hush of the storm the full-blown call to arms is heard in lowest,
+funereal tones. Of a sudden, though the speed is the same, the pace
+changes with a certain terror as of a cavalry attack. Presently amid the
+clattering tramp sounds the big hymn,--in the ancient rhythm that moves
+strangely out of the rut of even time.[A]
+
+[Footnote A: Quoted on the following page.]
+
+A single line of the hymn is followed by a refrain of the battle-call,
+and by the charge of horse that brings back the hymn, in high pitch of
+trumpets. And so recur the former phases of battle,--really of threat
+and preparation. For now begins the serious fray in one long gathering
+of speed and power. The first theme here grows to full melodic song,
+with extended answer, led by strepitous band of lower reed over a heavy
+clatter of strings. We are in a
+
+[Music: (Trombones with lower 8ve)
+_Marcato_]
+
+maze of furious charges and cries, till the shrill trumpet and the
+stentorian trombone strike the full call in antiphonal song. The tempest
+increases with a renewed charge of the strings, and now the more distant
+calls have a slower sweep. Later the battle song is in the
+basses,--again in clashing basses and trebles; nearer strike the broad
+sweeping calls.
+
+Suddenly over the hushed motion in soothing harmonies sings the hymn in
+pious choir of all the brass. Then the gathering speed and volume is
+merged in a majestic tread as of ordered array (_Maestoso assai;
+Andante_); a brief spirited prelude of martial motives is answered by
+the soft religious strains of the organ on the line of the hymn:
+
+    "Crux fidelis, inter omnes
+    Arbor una nobilis,
+    Nulla silva talem profert
+    Fronde, flore, germine.
+    Dulce lignum, dulces clavos,
+    Dulce pondus sustinet."[A]
+
+[Footnote A:
+
+    Faithful cross, among the trees
+    Thou the noblest of them all!
+    Forest ne'er doth grow a like
+    In leaf, in flower or in seed.
+    Blessed wood and blessed nails,
+    Blessed burden that it bears!]
+
+As in solemn liturgy come the answering phrases of the organ and the big
+chorus in martial tread. As the hymn winds its further course, violins
+entwine about the harmonies. The last line ends in expressive strain and
+warm line of new major tone,--echoed in interluding organ and violins.
+
+Suddenly a strict, solemn tread, with sharp stress of violins, brings a
+new song of the _choral_. Strings alone play here "with pious
+expression"; gradually reeds add support and ornament. A lingering
+phrase ascends on celestial harmonies. With a stern shock the plain hymn
+strikes in the reed, against a rapid course of strings, with fateful
+tread. In interlude sound the battle-cries of yore. Again the hymn ends
+in the expressive cadence, though now it grows to a height of power.
+
+Here a former figure (the first motive of the battle) reappears in a
+new guise of bright major,[A] in full, spirited stride, and leads once
+more to a blast of the hymn, with organ and all, the air in unison of
+trumpets and all the wood. The expressive cadence merges into a last
+fanfare of battle, followed by a strain of hymns and with reverberating
+Amens, where the organ predominates and holds long after all other
+sounds have ceased.
+
+[Footnote A: In the whole tonality we may see the "meteoric and solar
+light" of which the composer speaks in the letter quoted above.]
+
+
+
+
+CHAPTER VI
+
+THE SYMPHONIC POEMS OF SAINT-SAËNS
+
+
+There is something charming and even ideal in a complete versatility,
+quite apart from the depth of the separate poems, where there is a
+never-failing touch of grace and of distinction. The Philip Sydneys are
+quite as important as the Miltons, perhaps they are as great. Some poets
+seem to achieve an expression in a certain cyclic or sporadic career of
+their fancy, touching on this or that form, illuminating with an elusive
+light the various corners of the garden. Their individual expression
+lies in the _ensemble_ of these touches, rather than in a single
+profound revelation.
+
+A symptom of the eminence of Saint-Saëns in the history of French music
+lies in his attitude towards the art as a whole, especially of the
+German masters,--the absence of national bias in his perceptions. He was
+foremost in revealing to his countrymen the greatness of Bach, Beethoven
+and Schumann. Without their influence the present high state of French
+music can hardly be conceived.
+
+It is part of a broad and versatile mastery that it is difficult to
+analyze. Thus it is not easy to find salient traits in the art of M.
+Saint-Saëns. We are apt to think mainly of the distinguished beauty of
+his harmonies, until we remember his subtle counterpoint, or in turn
+the brilliancy of his orchestration. The one trait that he has above his
+contemporaries is an inbred refinement and restraint,--a thorough-going
+workmanship. If he does not share a certain overwrought emotionalism
+that is much affected nowadays, there is here no limitation--rather a
+distinction. Aside from the general charm of his art, Saint-Saëns found
+in the symphonic poem his one special form, so that it seemed Liszt had
+created it less for himself than for his French successor. A fine
+reserve of poetic temper saved him from hysterical excess. He never lost
+the music in the story, disdaining the mere rude graphic stroke; in his
+dramatic symbols a musical charm is ever commingled. And a like poise
+helped him to a right plot and point in his descriptions. So his
+symphonic poems must ever be enjoyed mainly for the music, with perhaps
+a revery upon the poetic story. With a less brilliant vein of melody,
+though they are not so Promethean in reach as those of Liszt, they are
+more complete in the musical and in the narrative effect.
+
+
+_DANSE MACABRE_
+
+Challenged for a choice among the works of the versatile composer, we
+should hit upon the _Danse Macabre_ as the most original, profound and
+essentially beautiful of all. It is free from certain lacks that one
+feels in other works, with all their charm,--a shallowness and almost
+frivolity; a facility of theme approaching the commonplace.
+
+There is here an eccentric quality of humor, a daemonic conceit that
+reach the height of other classic expression of the supernatural.
+
+The music is founded upon certain lines of a poem of _Henri Calais_
+(under a like title), that may be given as follows:
+
+          Zig-a-zig, zig-a-zig-a-zig,
+    Death knocks on the tomb with rhythmic heel.
+          Zig-a-zig, zig-a-zig-zig,
+    Death fiddles at midnight a ghostly reel.
+
+    The winter wind whistles, dark is the night;
+      Dull groans behind the lindens grow loud;
+    Back and forth fly the skeletons white,
+      Running and leaping each under his shroud.
+    Zig-a-zig-a-zig, how it makes you quake,
+    As you hear the bones of the dancers shake.
+
+           *       *       *       *       *
+
+    But hist! all at once they vanish away,
+    The cock has hailed the dawn of day.
+
+The magic midnight strokes sound clear and sharp. In eager chords of
+tuned pitch the fiddling ghost summons the dancing groups, where the
+single fife is soon followed by demon violins.
+
+Broadly sings now the descending tune half-way between a wail and a
+laugh. And ever in interlude is the skipping, mincing step,--here of
+reeds answered by solo violin with a light clank of cymbals. Answering
+the summoning fifes, the unison troop of fiddlers dance the main step
+to bright strokes of triangle, then the main ghostly violin trips in
+with choir of wind. And broadly again sweeps the song between tears and
+
+[Music: _In waltz rhythm_
+(Flute)
+(Harp, with sustained bass note of strings)]
+
+smiles. Or Death fiddles the first strain of reel for the tumultuous
+answer of chorus.
+
+Now they build a busy, bustling fugue (of the descending song) and at
+the serious moment suddenly
+
+[Music: (Solo violin)
+_Largamente_
+(_Pizz._ strings)]
+
+they skip away in new frolicsome, all but joyous, tune: a shadowy
+counterfeit of gladness, where the sob hangs on the edge of the smile.
+As if it could no longer be contained, now pours the full passionate
+grief of the broad descending strain. Death fiddles his mournful chant
+to echoing, expressive wind. On the abandon of grief follows the revel
+of grim humor in pranks of mocking demons. All the strains are mingled
+in the ghostly bacchanale. The descending song is answered in opposite
+melody. A chorus of laughter follows the tripping dance. The summoning
+chords, acclaimed by chorus, grow to appealing song in a brief lull. At
+the height, to the united skipping dance of overpowering chorus the
+brass blows the full verse of descending song. The rest is a mad storm
+of carousing till ... out of the whirling darkness sudden starts the
+sharp, sheer call of prosaic day, in high, shrill reed. On a minishing
+sound of rolling drum and trembling strings, sings a brief line of
+wistful rhapsody of the departing spirit before the last whisking steps.
+
+
+_PHAETON_
+
+On a separate page between title and score is a "_Notice_,"--an epitome
+of the story of Phaeton, as follows:
+
+"Phaeton has been permitted to drive the chariot of the Sun, his father,
+through the heavens. But his unskilful hands frighten the steeds. The
+flaming chariot, thrown out of its course, approaches the terrestrial
+regions. The whole universe is on the verge of ruin when Jupiter strikes
+the imprudent Phaeton with his thunderbolt."
+
+There is a solemn sense at first (_Maestoso_), a mid-air poise of the
+harmony, a quick spring of resolution and--on through the heavens. At
+the outset and always is the pervading musical charm. In the beginning
+is the enchantment of mere motion in lightest prancing strings and harp
+with slowly ascending curve. In farther journey comes a spring of the
+higher wood and soon a firm note of horns and a blast of trumpets on a
+chirruping call, till the whole panoply of solar brilliance is
+shimmering. Now with the continuing pulse (of saltant strings) rings a
+buoyant,
+
+[Music: _Allegro animato_
+(Violins)
+_Marcato_ (Trumpets and trombones)]
+
+regnant air in the brass. A (canon) chase of echoing voices merely adds
+an entrancing bewilderment, then yields to other symbols and visions.
+
+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. Almost to Avernus seems the
+gliding fall when the first melody rings anew. But there is now an
+anxious sense that dims the joy of motion and in the
+
+[Music: (With trembling of violins in high B flat)
+(Horns)]
+
+returning first motive jars the buoyant spring. Through the maze of
+fugue with tinge of terror presses the fatuous chase, when--crash comes
+the shock of higher power. There is a pause of motion in the din and a
+downward flight as of lifeless figure.
+
+Now seems the soul of the sweet melody to sing, in purest dirge, without
+the shimmer of attendant motion save a ghostly shadow of the joyous
+symbol.
+
+
+_THE YOUTH OF HERCULES_
+
+The "Legend" is printed in the score as follows:
+
+"Fable tells us that upon entering into life Hercules saw the two paths
+open before him: of pleasure and of virtue.
+
+"Insensible to the seductions of Nymphs and Bacchantes, the hero devotes
+himself to the career of struggle and combat, at the end of which he
+glimpses across the flames of the funeral pyre the reward of
+immortality."
+
+We can let our fancy play about the score and wonderfully hit an
+intention of the poet. Yet that is often rather a self-flattery than a
+real perception. In the small touches we may lose the greater beauty.
+Here, after all, is the justification of the music. If the graphic
+picture is added, a little, only, is gained. The main virtue of it lies
+in our better grasp of the musical design.
+
+In the muted strings, straying dreamily in pairs, is a vague line of the
+motto,--a foreshadowing of the heroic idea, as are the soft calls of the
+wind with wooing harp a first vision of delight.
+
+[Music: _Allegro moderato_
+(Strings)]
+
+Now begins the main song in sturdy course of unmuted strings. The wood
+soon join in the rehearsing. But it is not all easy deciphering. The
+song wanders in gently agitated strings while the horns hold a solemn
+phrase that but faintly resembles the motto.[A] Lesser phrases play
+about the bigger in rising flight of aspiration, crowned at the height
+with a ray of glad light.
+
+[Footnote A: It is well to resist the vain search for a transnotation of
+the story. And here we see a virtue of Saint-Saëns himself, a national
+trait of poise that saved him from losing the music in the picture. His
+symphonic poems must be enjoyed in a kind of musical revery upon the
+poetic subject. He disdained the rude graphic stroke, and used dramatic
+means only where a musical charm was commingled.]
+
+As the dream sinks slowly away, the stern motto is buried in quick
+flashes of the tempting call. These are mere visions; now comes the
+scene itself of temptation.
+
+To ripples of harp the reed sings enchantingly in swaying rhythm; other
+groups in new surprise of
+
+[Music: (Flutes, oboe, clarinets and harp)]
+
+scene usurp the melody with the languishing answer, until one Siren
+breaks into an impassioned burst, while her sisters hold the dance.
+
+Straight upon her vanished echoes shrieks the shrill pipe of war, with
+trembling drum. We hear a yearning sigh of the Siren strain before it is
+swept away in the tide and tumult of strife. Beneath the whirl and
+motion, the flash and crash of arms, we have glimpses of the heroic
+figure.
+
+Here is a strange lay in the fierce chorus of battle-cries: the Siren
+song in bright insistence, changed to the rushing pace of war.
+
+The scene ends in a crash. Loud sings a solemn phrase; do we catch an
+edge of wistful regret? Now returns the sturdy course of the main
+heroic melody; only it is slower (_Andante sostenuto_), and the high
+stress of cadence is solemnly impassioned.
+
+As if to atone for the slower pace, the theme strikes into a lively
+fugue, with trembling strings (_Allegro animato_).
+
+There is an air of achievement in the relentless progress and the
+insistent recurrence of the masterful motive. An episode there is of
+mere striving and straining, before the theme resumes its vehement
+attack, followed by lusty echoes all about as of an army of heroes.
+There is the breath of battle in the rumbling basses and the shaking,
+quivering brass.
+
+At last the plain song resounds in simple lines of ringing brass, led by
+the high bugle.[A]
+
+[Footnote A: Saint-Saëns employs besides the usual 4 horns, 2 trumpets,
+3 trombones and tuba, a small bugle (in B-flat) and 2 cornets.]
+
+Yet the struggle, the inner combat, is not over. At the very moment of
+triumph sings on high over purling harp the mastering strain of Sirens,
+is buried beneath martial clash and emerges with its enchantment. But
+here the virile mood and motive gains the victory and strides on to
+final scene.
+
+We remember how Hercules built and ascended his own funeral pyre. In
+midst of quivering strings, with dashing harp and shrieking wood, a roll
+of drum and a clang of brass sounds the solemn chant of the trombone,
+descending in relentless steps. As the lowest is reached, there comes a
+spring of freedom in the pulsing figures, like the winging of a spirit,
+and a final acclaim in a brief line of the legend.
+
+
+_OMPHALE'S SPINNING WHEEL_
+
+Between title and score is this _Notice_:
+
+"The subject of this symphonic poem is feminine witchery, the triumphant
+struggle of weakness. The spinning wheel is a mere pretext, chosen from
+the point of view of rhythm and the general atmosphere of the piece.
+
+"Those persons who might be interested in a study of the details of the
+picture, will see ... the hero groaning in the toils which he cannot
+break, and ... Omphale mocking the vain efforts of Hercules."
+
+The versions of the story differ slightly. After the fulfilment of his
+twelve labors Hercules is ordered by the oracle to a period of three
+years' service to expiate the killing of the son of King Eurytus in a
+fit of madness. Hermes placed him in the household of Omphale, queen of
+Lydia, widow of Tmolus. Hercules is degraded to female drudgery, is
+clothed in soft raiment and set to spin wool, while the queen assumes
+the lion skin and club.
+
+In another version he was sold as slave to Omphale, who restored him to
+freedom. Their passion was mutual. The story has a likeness to a similar
+episode of Achilles.
+
+The spinning-wheel begins _Andante_ in muted strings alternating with
+flutes and gradually hurries into a lively motion. Here the horn accents
+the spinning, while another thread (of higher wood) runs through the
+graceful woof. A chain of alluring harmonies preludes the ensnaring
+song, mainly of woodwind above the humming strings, with soft dotting of
+the harmony by the horns. The violins, to be sure, often enforce the
+melody.
+
+[Music: _Andantino_
+(Fl. and muted violins)
+_Grazioso_
+(Strings, muted)]
+
+In the second verse, with fuller chorus, the harp adds its touches to
+the harmony of the horns, with lightest tap of tonal drum. Later a
+single note of the trumpet is answered by a silvery laugh in the wood.
+Between the verses proceeds the luscious chain of harmonies, as with the
+turning of the wheel.
+
+Now with the heavily expressive tones of low, unmuted strings and the
+sonorous basses of reed and brass (together with a low roll of drum and
+soft clash of cymbals) an heroic air sings in low strings and brass, to
+meet at each period a shower of notes from the harp. The song grows
+intense with the
+
+[Music: (Wood and _trem._ violins doubled above)
+(Horns)
+_espress. e pesante_
+(Cellos, basses, bassoons and trombone, doubled below)]
+
+added clang of trumpets and roll of drums,--only to succumb to the more
+eager attack of the siren chorus. At last the full effort of strength
+battling vainly with weakness reaches a single heroic height and sinks
+away with dull throbs.
+
+In soothing answer falls the caressing song of the high reed in the
+phrase of the heroic strain, lightly, quickly and, it seems, mockingly
+aimed. In gently railing triumph returns the pretty song of the wheel,
+with a new buoyant spring. Drums and martial brass yield to the laughing
+flutes, the cooing horns and the soft rippling harp with murmuring
+strings, to return like captives in the train at the height of the
+gaiety.
+
+
+
+
+CHAPTER VII
+
+CÉSAR FRANCK
+
+
+The new French school of symphony that broke upon the world in the
+latter part of the nineteenth century had its pioneer and true leader in
+César Franck.[A] It was he who gave it a stamp and a tradition.
+
+[Footnote A: If language and association, as against the place of birth,
+may define nationality, we have in César Franck another worthy
+expression of French art in the symphony. He was born at Liège in 1822;
+he died in 1890.]
+
+The novelty of his style, together with the lateness of his acclaim (of
+which it was the probable cause), have marked him as more modern than
+others who were born long after him.
+
+The works of Franck, in other lines of oratorio and chamber music, show
+a clear personality, quite apart from a prevailing modern spirit. A
+certain charm of settled melancholy seems to inhere in his wonted style.
+A mystic is Franck in his dominant moods, with a special sense and power
+for subtle harmonic process, ever groping in a spiritual discontent with
+defined tonality.
+
+A glance at the detail of his art discloses Franck as one of the main
+harmonists of his age, with Wagner and Grieg. Only, his harmonic manner
+was blended if not balanced by a stronger, sounder counterpoint than
+either of the others. But with all the originality of his style we
+cannot escape a sense of the stereotype, that indeed inheres in all
+music that depends mainly on an harmonic process. His harmonic ideas,
+that often seem inconsequential, in the main merely surprise rather than
+move or please. The enharmonic principle is almost too predominant,--an
+element that ought never to be more than occasional. For it is founded
+not upon ideal, natural harmony, but upon a conventional compromise, an
+expedient compelled by the limitation of instruments. This over-stress
+appears far stronger in the music of Franck's followers, above all in
+their frequent use of the whole tone "scale" which can have no other
+_rationale_ than a violent extension of the enharmonic principle.[A]
+With a certain quality of kaleidoscope, there is besides (in the
+harmonic manner of César Franck) an infinitesimal kind of progress in
+smallest steps. It is a dangerous form of ingenuity, to which the
+French are perhaps most prone,--an originality mainly in details.
+
+[Footnote A: Absolute harmony would count many more than the semitones
+of which our music takes cognizance. For purpose of convenience on the
+keyboard the semitonal raising of one note is merged in the lowering of
+the next higher degree in the scale. However charming for occasional
+surprise may be such a substitution, a continuous, pervading use cannot
+but destroy the essential beauty of harmony and the clear sense of
+tonality; moreover it is mechanical in process, devoid of poetic fancy,
+purely chaotic in effect. There is ever a danger of confusing the novel
+in art with new beauty.]
+
+And yet we must praise in the French master a wonderful workmanship and
+a profound sincerity of sentiment. He shows probably the highest point
+to which a style that is mainly harmonic may rise. But when he employs
+his broader mastery of tonal architecture, he attains a rare height of
+lofty feeling, with reaches of true dramatic passion.
+
+The effect, to be sure, of his special manner is somewhat to dilute the
+temper of his art, and to depress the humor. It is thus that the
+pervading melancholy almost compels the absence of a "slow movement" in
+his symphony. And so we feel in all his larger works for instruments a
+suddenness of recoil in the Finale.
+
+One can see in Franck, in analogy with his German contemporaries, an
+etherealized kind of "Tristan and Isolde,"--a "Paolo and Francesca" in a
+world of shades. Compared with his followers the quality of stereotype
+in Franck is merely general; there is no excessive use of one device.
+
+A baffling element in viewing the art of Franck is his remoteness of
+spirit, the strangeness of his temper. He lacked the joyous spring that
+is a dominant note in the classic period. Nor on the other hand did his
+music breathe the pessimism and naturalism that came with the last
+rebound of Romantic reaction. Rather was his vein one of high spiritual
+absorption--not so much in recoil, as merely apart from the world in a
+kind of pious seclusion. Perhaps his main point of view was the
+church-organ. He seems a religious prophet in a non-religious age. With
+his immediate disciples he was a leader in the manner of his art, rather
+than in the temper of his poetry.
+
+
+_SYMPHONY IN D MINOR_
+
+The scoring shows a sign of modern feeling in the prominence of the
+brasses. With all contrast of spirit, the analogy of Franck with the
+Liszt-Wagner school and manner is frequently suggestive.
+
+The main novelty of outer detail is the plan of merely three movements.
+Nor is there a return to the original form, without the Scherzo. To
+judge from the headings, the "slow" movement is absent. In truth, by way
+of cursory preamble, the chronic vein of César Franck is so ingrainedly
+reflective that there never can be with him an absence of the meditative
+phrase. Rather must there be a vehement rousing of his muse from a state
+of mystic adoration to rhythmic energy and cheer.[A]
+
+[Footnote A: The key of the work is given by the composer as D minor.
+The first movement alone is in the nominal key. The second (in B flat)
+is in the submediant, the last in the tonic major. The old manner in
+church music, that Bach often used, of closing a minor tonality with a
+major chord, was probably due to a regard for the mood of the
+congregation. An extension of this tradition is frequent in a long coda
+in the major. But this is quite different in kind from a plan where all
+of the last movement is in insistent major. We know that it is quite
+possible to begin a work at some distance from the main key, leading to
+it by tortuous path of modulation; though there is no reason why we may
+not question the composer's own inscription, the controlling point is
+really the whole tonal scheme. Here the key of the second movement is
+built on a design in minor,--would have less reason in the major. For it
+rests on a degree that does not exist in the tonic major. To be sure,
+Beethoven did invent the change to a lowered submediant in a succeeding
+movement. And, of course, the final turn to the tonic major is virtually
+as great a license.]
+
+_Lento_ in basses of the strings a strain sounds like a basic motive,
+answered with harmonies in the wood. In further strings lies the full
+tenor of quiet reflection, with sombre color of tonal scheme. Motives
+are less controlling probably in Franck than in any other
+symphonist,--less so, at any rate, than his one
+
+[Music: _Lento_]
+
+special mood and manner. Yet nowhere is the strict figural plot more
+faithful in detail than with César Franck.
+
+The theme has an entirely new ring and answer when it enters Allegro
+after the Lento prelude. The further course of the tune here is in
+eccentric, resolute stride in the descending scale. Our new answer is
+much evident in the bass. The Allegro seems a mere irruption; for the
+Lento prelude reappears in full solemnity. Indeed, with all the title
+and pace, this seems very like the virtual "slow" movement. A mood of
+rapt, almost melancholy absorption prevails, with rare flashes of joyous
+utterance, where the Allegro enters as if to break the thrall of
+meditation. A very striking inversion of the theme now appears. The
+gradual growth of phrases in melodious instalments is a trait of Franck
+(as it is of Richard Strauss). The rough motto at each turn has a new
+
+[Music: _Allegro non troppo_
+(Strings)
+(Wind)]
+
+phase and frequently is transfigured to a fresh tune. So out of the
+first chance counter-figures somehow spring beautiful melodies, where we
+feel the fitness and the relevance though we have not heard them before.
+It is a quality that Franck shares with Brahms, so that in a
+mathematical spirit we might care to deduce all the figures from the
+first phrase. This themal manner is quite analogous to the harmonic
+style of Franck,--a kaleidoscope of gradual steps, a slow procession of
+pale hues of tone that with strange aptness reflect the dim religious
+light of mystic musing.
+
+More and more expressive are the stages of the first figures until we
+have a duet _molto cantabile_ in the strings. Much of the charm of the
+movement lies in the balance of the new rhythms, the eccentric and the
+flowing. By some subtle path there grows a song
+
+[Music: _Allegro. Molto cantabile_]
+
+in big tones of unison, wood and strings and trumpets, that is the real
+hymnal refrain of the movement. Between this note almost of exultation
+and all shades of pious dreaming the mood is constantly shifting.
+
+[Music: _Allegro_]
+
+Another phrase rises also to a triumphant height (the clear reverse of
+the former tuneful melody) that comes now like a big _envoi_ of assuring
+message.
+
+Though the whole movement is evenly balanced between Allegro and
+Penseroso (so far as pace is concerned), the mood of reflection really
+finds full vent; it has no reason for a further special expression.
+
+Simple as the Allegretto appears in its suggestion of halting dance, the
+intent in the episodes is of the subtlest. The slow trip of strings and
+harp is soon given a new meaning with the melody of English horn.
+Throughout we are somehow divided between pure dance and a more
+thoughtful muse. In the first departure to an episode in major, seems to
+sing the essence of the former melody in gently murmuring strings, where
+later the whole chorus are drawn in. The song moves on clear thread and
+wing right out of the mood of the dance-tune; but the very charm lies in
+the mere outer change of guise. And so the second episode is still far
+from all likeness with the first dance beyond a least sense of the old
+trip that does appear here and there. It is all clearly a true scheme of
+variations, the main theme disguised beyond outer semblance, yet
+faithfully present throughout in the essential rhythm and harmony.
+
+In the Finale, _Allegro non troppo_, we are really clear, at the outset,
+of the toils of musing melancholy.
+
+[Music: _Allegro non troppo_
+_Dolce cantabile_]
+
+After big bursts of chords, a tune rolls pleasantly along, _dolce
+cantabile_, in basses of wood and strings. Expressive after-phrases
+abound, all in the same jolly mood, until the whole band break
+boisterously on the simple song, with a new sonorous phrase of basses.
+Then, in sudden remove, sounds the purest bit of melody of all the
+symphony, in gentlest tones
+
+[Music: _Dolce cantabile_
+(In the brass)]
+
+of brass (trumpet, trombone and tuba). But, though in complete recoil
+from the rhythmic energy of Allegro theme, it is even farther from the
+reflective mood than the latter. It shows, in this very contrast, the
+absence of the true lyric in the meditative vein, frequent with César
+Franck. The burst of melody blossoms ever fairer. In its later musing
+the tune browses in the bass. A waving phrase grows in the violins,
+which continues with strange evenness through the entrance of new song
+where we are surprised by the strange fitness of the Allegretto melody.
+And the second phase of the latter follows as if it belonged here. So,
+almost listless, without a hair of rhythmic change (_les temps ont
+toujours la même valeur_), the Finale theme sings again most softly in
+the strings. It has, to be sure, lost all of its color, without the
+original throb of accompanying sounds. The phase of the movement is a
+shadowy procession of former ideas, united in the dreamy haze that
+enshrouds them. The stir that now begins is not of the first pale hue of
+thought, rather the vein of big discussion, brewing a storm that breaks
+finally in full blast on the gentle melody (of the brass) transfigured
+in ringing triumph, in all the course of the song. Nor is the succeeding
+phase the mystic habit of our poet; it is a mere farther digestion of
+the meat of the melody that leads once more to a height of climax whence
+we return to first course of themes, tuneful afterphrase and all, with
+the old happy motion. The counterpoint here is the mere joyous ringing
+of many strains all about.
+
+Against all rules comes a new chorusing paean on the theme of
+Allegretto, led by stentorian basses, together with an enchanting
+after-strain, which we might have remarked before. And still another
+quarter, long hushed, is heard anew, as a voice sounds a faint reminder
+of the hymn of the first Allegro. Indeed, the combining strains before
+the close seem sprung all of one parental idea. The motto of the
+beginning sings in fittest answer to the latest phrases. The very maze
+of the concert forbids our turning to their first origin. The end is in
+joyous chanting of the Finale melody.
+
+
+
+
+CHAPTER VIII
+
+D'INDY AND THE FOLLOWERS OF FRANCK
+
+
+Perhaps the noblest essay in symphonic music of the followers of Franck
+is the second symphony of Vincent D'Indy.[A] His vein is indeed
+throughout nearest akin of all the disciples to the serious muse of the
+master.
+
+[Footnote A: Vincent d'Indy was born in Paris on March 27, 1852.]
+
+Though D'Indy is surpassed in a certain poetic originality by some of
+his compatriot contemporaries, there is in this symphony a breadth of
+design and detail, a clear melodic quality and a sustained lofty feeling
+that seem to mark it the typical French symphony of its time. The
+strength of the work lies in a unity that is not merely of figure and
+outline. If we must measure a symphony mainly by the slow movement, we
+cannot avoid, with all the languorous beauty, a certain conventionality
+of mood, stressed with an exotic use of the appoggiatura, while in the
+Scherzo is a refined savagery of modern cacophony.
+
+The directions are all in French; we are reminded of Schumann's
+departure from the Italian fashion.
+
+Each movement, save the third, has its prelude: a gathering of threads
+before the new story. The first notes of basses, together with the
+answer on high, sound a prophetic legend of the whole.
+
+The harmonic lucubrations are profoundly subtle. Indeed the very nature
+of the first phrase is of dim
+
+[Music: _Extrêmémént Lent._ (Woodwind)
+(Strings and harps)]
+
+groping; it ends in a climax of the answer and merges into the main song
+of the Allegro (_très vif_) in horns, with rapid trip of strings.
+
+[Music: _Très vif_ (Horns)
+(Strings)]
+
+Throughout (from a technical view) is a fine mastery of the device of
+ornamental notes, and secondary harmonies; there is also a certain
+modern sense of chords and their relations. Together with an infinite
+brilliance of these resources there is not only no weakness in cogency
+of form, but there is a rare unity of design. The movements are bound
+together, at least in themal relation, as strictly as in any symphony.
+While the first phrase of the Allegro theme may hark back to the answer
+of original motto, the second is the main thread of narrative.
+
+[Music: (Flutes, oboes and clarinets)
+_Sempre staccato_]
+
+Again and again is the climax rung on the first high note of the theme.
+Then, in lieu of cadence, out of a bright dissonance the quick notes
+dance upward in sturdy pace, the answer of the Allegro in sharp
+disguise. And then from the height descends a refreshing spray of
+subtlest discords, ending in another masterful burst of new harmony.
+
+The dainty, dazzling play is stopped by a rough thud of basses and a
+fierce clang of chords. In the sharp blare of brass on the ascending
+phrase is almost lost the original motto in lowest basses. It is now
+heard in gradually quickened speed, while the rising phrase runs more
+timidly. At last the quickened motto sinks gently into lulling motion,
+_un peu plus modéré_. Above, in strings and horns, the melody haunts us
+with a dim sense that takes us to the first languishing answer of the
+original legend. And the whole is strong-knit; for the very Allegro
+theme began in resolute mood of a like figure. A counter-strain rises to
+meet the main phrase. The whole episode is an intertwining of song in
+the vein of the first answer of motto.
+
+The quick rising notes suddenly return with snatches of the main motive,
+the chain of echoing phrases runs a gamut of moods, fitful, anxious,
+soothed, until the bright upward trip begins anew, with the enchanting
+burst of chord and descending harmonies. A climactic height is stressed
+by a rough meeting of opposing groups, in hostile tone and movement,
+ending in a trill of flutes and a reëntry of the episode.
+
+In the returning Allegro the thread is still the same, though richer in
+color and texture. Again there is the plunge into dark abyss, with
+shriek of harp, and the ominous theme in the depths. The slow ascending
+phrase here has a full song and sway. The end is in spirited duet of two
+quick motives.
+
+The second movement, _modérément lent_, begins in revery on the answer
+of original motive, and the stately pathos of the theme, in horns,
+clarinets and violas, with rhythmic strings, grows naturally out of the
+mood.
+
+_Plus animé_, in subtle change of pace (from 6/4 to 3/2), the episode
+begins with eccentric stride of harps (and added woodwind), that serves
+as a kind of
+
+[Music: _Modérément Lent._
+(Melody in horns, clarinets and violas)
+(Acc'd in strings)]
+
+accompanying figure and foil for the sweeping song of the real second
+melody (in oboe solo, succeeded by the clarinet).
+
+[Music: (Oboe solo)
+_Très espress._
+(Violins)
+(Acc't in bassoons, horns, harps and basses)]
+
+In the clash of themes and harmonies of the climax, the very limits of
+modern license seem to be invoked. Later the three themes are entwined
+in a passage of masterly counterpoint.
+
+There is a touch of ancient harmony in the delicate tune of third
+movement, which has the virtue of endless weaving. It is sung by solo
+violin, mainly supported by a choir of lower strings.
+
+A final conclusive line is given by the solo flute. Besides the constant
+course of varying tune, there is a power of ever changing harmony that
+seems to lie in some themes.
+
+[Music: _Modéré_
+(Viola solo)
+_Très simplement_]
+
+One can hardly call it all a Scherzo. It is rather an idyll after the
+pathos of the Andante. Or, from another view, reversing the usual order,
+we may find the quality of traditional Trio in the first melody and a
+bacchanale of wild humor in the middle. For, out
+
+[Music: _Très animé_
+(Woodwind and strings)]
+
+of a chance phrase of horns grows of all the symphony the boldest
+harmonic phrase (repeated through ten bars). Above rings a barbarous
+cry, in defiance of common time and rhythm.
+
+Suddenly we are surprised by the sound of the martial stride of the
+second theme of the Andante which moves on the sea of rough harmony as
+on a native element. One whim follows another. The same motion is all
+there, but as if in shadow, in softest sound, and without the jar of
+discord; then comes the fiercest clash of all, and now a gayest dance of
+the first tune, _assez vif_, in triple rhythm, various figures having
+their _pas seul_. A second episode returns, brilliant in high pace but
+purged of the former war of sounds. At the end is the song of the first
+tune, with new pranks and sallies.
+
+The beginning of the Finale is all in a musing review of past thoughts.
+The shadow of the last tune lingers, in slower pace; the ominous dirge
+of first motto sounds below; the soothing melody of the Andante sings a
+verse. In solemn fugue the original motto is reared from its timid
+phrase to masterful utterance, with splendid stride. Or
+
+[Music: _Modéré et solennel_
+(Cellos and basses)]
+
+rather the theme is blended of the first two phrases, merging their
+opposite characters in the new mood of resolution. The strings prepare
+for the sonorous entrance of woodwind and horns. One of the greatest
+fugal episodes of symphonies, it is yet a mere prelude to the real
+movement, where the light theme is drawn from a phrase of latest
+cadence. And the dim hue of minor which began the symphony, and all
+overspread the prelude, at last yields to the clear major. There is
+something of the struggle of shadow and light of the great third
+symphony of Brahms.
+
+The continuous round of the theme, in its unstable pace (of 5/4), has a
+strange power of motion, the feeling
+
+[Music: (Ob.)
+(Strings)]
+
+of old passacaglia. To be sure, it is the mere herald and companion of
+the crowning tune, in solo of the reeds.
+
+From the special view of structure, there is no symphony, modern or
+classic, with such an overpowering combination and resolution of
+integral themes in one movement. So almost constant is the derivation of
+ideas, that one feels they must be all related. Thus, the late rush of
+rhythm, in the Finale, is broken by a quiet verse where with enchanting
+subtlety we are carried back somewhere to the idyll of third movement.
+
+Above, rises another melody, and from its simple outline grows a fervor
+and pathos that, aside from the basic themes of the whole work, strike
+the main feeling of the Finale.
+
+[Music: _Un peu moins vite_]
+
+The martial trip from the Andante joins later in the return of the
+whirling rhythm. At last the motto strikes on high, but the appealing
+counter-melody is not easily hushed.
+
+[Music: (Ob.)
+(Cellos with _tremolo_ violins)]
+
+It breaks out later in a verse of exalted beauty and passion. The
+struggle of the two ideas reminds us of the Fifth Symphony. At last the
+gloom of the fateful motto is relieved by the return of the original
+answer, and we seem to see a new source of latest ideas, so that we
+wonder whether all the melodies are but guises of the motto and answer,
+which now at the close, sing in united tones a hymn of peace and bliss.
+
+
+
+
+CHAPTER IX
+
+DÉBUSSY AND THE INNOVATORS
+
+
+At intervals during the course of the art have appeared the innovators
+and pioneers,--rebels against the accepted manner and idiom. The mystery
+is that while they seem necessary to progress they seldom create
+enduring works. The shadowy lines may begin somewhere among the Huebalds
+and other early adventurers. One of the most striking figures is Peri,
+who boldly, almost impiously, abandoned the contrapuntal style, the only
+one sanctioned by tradition, and set the dramatic parts in informal
+musical prose with a mere strumming of instruments.
+
+It is not easy to see the precise need of such reaction. The radical
+cause is probably a kind of inertia in all things human, by which the
+accepted is thought the only way. Rules spring up that are never wholly
+true; at best they are shifts to guide the student, inadequate
+conclusions from past art. The essence of an art can never be put in
+formulas. Else we should be content with the verbal form. The best
+excuse for the rule is that it is meant to guard the element of truth in
+art from meretricious pretence.
+
+And, we must not forget, Art progresses by slow degrees; much that is
+right in one age could not come in an earlier, before the intervening
+step.
+
+The masters, when they had won their spurs, were ever restive under
+rules.[A] Yet they underwent the strictest discipline, gaining early the
+secret of expression; for the best purpose of rules is liberation, not
+restraint. On the other hand they were, in the main, essentially
+conservative. Sebastian Bach clung to the older manner, disdaining the
+secular sonata for which his son was breaking the ground.
+
+[Footnote A: Some of the chance sayings of Mozart (recently edited by
+Kerst-Elberfeld) betray much contempt for academic study: "Learning from
+books is of no account. Here, here, and here (pointing to ear, head, and
+heart) is your school." On the subject of librettists "with their
+professional tricks," he says: "If we composers were equally faithful to
+our own rules (which were good enough when men knew no better), we
+should turn out just as poor a quality in our music as they in their
+librettos." Yet, elsewhere, he admits: "No one has spent so much pains
+on the study of composition as myself. There is hardly a famous master
+in music whom I have not read through diligently and often."]
+
+The master feels the full worth of what has been achieved; else he has
+not mastered. He merely gives a crowning touch of poetic message, while
+the lighter mind is busy with tinkering of newer forms. For the highest
+reaches of an art, the poet must first have grasped all that has gone
+before. He will not rebel before he knows the spirit of the law, nor
+spend himself on novelty for its own sake.
+
+The line between the Master and the Radical may often seem vague. For,
+the former has his Promethean strokes, all unpremeditated, compelled by
+the inner sequence,--as when Beethoven strikes the prophetic drum in the
+grim Scherzo of the Fifth Symphony; or in the Eroica when the horn
+sounds sheer ahead, out of line with the sustaining chorus; or when Bach
+leaps to his harmonic heights in organ fantasy and toccata; or Mozart
+sings his exquisite clashes in the G Minor Symphony.
+
+As the true poet begins by absorption of the art that he finds, his
+early utterance will be imitative. His ultimate goal is not the
+strikingly new but the eternally true. It is a question less of men than
+of a point of view.
+
+It seems sometimes that in art as in politics two parties are needed,
+one balancing the weaknesses of the other. As certain epochs are
+overburdened by the spirit of a past poet, so others are marred by the
+opposite excess, by a kind of neo-mania. The latter comes naturally as
+reaction from the former. Between them the poet holds the balance of
+clear vision.
+
+When Peri overthrew the trammels of counterpoint, in a dream of Hellenic
+revival of drama, he could not hope to write a master-work. Destructive
+rebellion cannot be blended with constructive beauty. An antidote is of
+necessity not nourishment. Others may follow the path-breaker and slowly
+reclaim the best of old tradition from the new soil. The strange part of
+this rebellion is that it is always marked by the quality of stereotype
+which it seeks to avoid. This is an invariable symptom. It cannot be
+otherwise; for the rejection of existing art leaves too few resources.
+Moreover, the pioneer has his eye too exclusively upon the mere manner.
+
+A wholesome reaction there may be against excess. When Gluck dared to
+move the hearts of his hearers instead of tickling their ears, he
+achieved his purpose by positive beauty, without actual loss. In this
+sense every work of art is a work of revolution. So Wagner, especially
+in his earlier dramas,[A] by sheer sincerity and poetic directness,
+corrected a frivolous tradition of opera. But when he grew destructive
+of melody and form, by theory and practice, he sank to the rôle of
+innovator, with pervading trait of stereotype, in the main merely adding
+to the lesser resources of the art. His later works, though they contain
+episodes of overwhelming beauty, cannot have a place among the permanent
+classics, alone by reason of their excessive reiteration.
+
+[Footnote A: The "Flying Dutchman," "Lohengrin" and "Tannhäuser" seemed
+destined to survive Wagner's later works.]
+
+One of the most charming instances of this iconoclasm is the music of
+Claude Débussy.[A] In a way we are reminded of the first flash of
+Wagner's later manner: the same vagueness of tonality, though with a
+different complexion and temper. Like the German, Débussy has his own
+novel use of instruments. He is also a rebel against episodic melody.
+Only, with Wagner the stand was more of theory than of practice. His
+lyric inspiration was here too strong; otherwise with Débussy. Each
+article of rebellion is more highly stressed in the French leader, save
+as to organic form, where the latter is far the stronger. And finally
+the element of mannerism cannot be gainsaid in either composer.[B]
+
+[Footnote A: Born in 1862.]
+
+[Footnote B: Some recurring traits Wagner and Débussy have in common,
+such as the climactic chord of the ninth. The melodic appoggiatura is as
+frequent in the earlier German as the augmented chord of the fifth in
+the later Frenchman.]
+
+Among the special traits of Débussy's harmonic manner is a mingling with
+the main chord of the third below. There is a building downward, as it
+were. The harmony, complete as it stands, seeks a lower foundation so
+that the plain tower (as it looked at first) is at the end a lofty
+minaret. It is striking that a classic figure in French music should
+have stood, in the early eighteenth century, a champion of this idea, to
+be sure only in the domain of theory. There is a touch of romance in the
+fate of a pioneer, rejected for his doctrine in one age, taken up in the
+art of two centuries later.[A]
+
+[Footnote A: Rameau, when the cyclopaedic spirit was first stirring and
+musical art was sounding for a scientific basis, insisted on the element
+of the third below, implying a tonic chord of 6, 5, 3. Here he was
+opposed by Fétis, Fux and other theoretic authority; judgment was
+definitively rendered against him by contemporary opinion and prevailing
+tradition. It cannot be said that the modern French practice has
+justified Rameau's theory, since with all the charm of the enriched
+chord, there is ever a begging of the question of the ultimate root.]
+
+A purely scientific basis must be shunned in any direct approach of the
+art whether critical or creative,--alone for the fatal allurement of a
+separate research. The truth is that a spirit of fantastic experiment,
+started by the mystic manner of a César Franck, sought a sanction in the
+phenomena of acoustics. So it is likely that the enharmonic process of
+Franck led to the strained use of the whole-tone scale (of which we have
+spoken above) by a further departure from tonality.[A] And yet, in all
+truth, there can be no doubt of the delight of these flashes of the
+modern French poet,--a delicate charm as beguiling as the bolder, warmer
+harmonies of the earlier German. Instead of the broad exultation of
+Wagner there is in Débussy the subtle, insinuating dissonance. Nor is
+the French composer wanting in audacious strokes. Once for all he stood
+the emancipator of the art from the stern rule of individual vocal
+procedure. He cut the Gordian knot of harmonic pedagogy by the mere
+weapon of poetic elision. He simply omitted the obvious link by a
+license ancient in poetry and even in prose. He devised in his harmonies
+the paradox, that is the essence of art, that the necessary step somehow
+becomes unnecessary. Though Wagner plunges without ceremony into his
+languorous chords, he carefully resolves their further course. Débussy
+has them tumbling in headlong descent like sportive leviathans in his
+sea of sound. Moreover he has broken these fetters of a small punctilio
+without losing the sense of a true harmonic sequence. Nay, by the very
+riotous revel of upper harmonies he has stressed the more clearly the
+path of the fundamental tone. When he enters the higher sanctuary of
+pure concerted voices, he is fully aware of the fine rigor of its rites.
+And finally his mischievous abandon never leads him to do violence to
+the profoundest element of the art, of organic design.[B]
+
+[Footnote A: As the lower overtones, discovered by a later science,
+clearly confirm the tonal system of the major scale, slowly evolved in
+the career of the art,--so the upper overtones are said to justify the
+whole-tone process. At best this is a case of the devil quoting
+scripture. The main recurring overtones, which are lower and audible,
+are all in support of a clear prevailing tonality.]
+
+[Footnote B: In the drama Débussy avoids the question of form by
+treating the music as mere scenic background. Wagner, in his later
+works, attempted the impossible of combining a tonal with the dramatic
+plot. In both composers, to carry on the comparison beyond the technical
+phase, is a certain reaching for the primeval, in feeling as in
+tonality. Here they are part of a larger movement of their age. The
+subjects of their dramas are chosen from the same period of mediaeval
+legend, strongly surcharged in both composers with a spirit of fatalism
+where tragedy and love are indissolubly blended.]
+
+
+_"THE SEA." THREE SYMPHONIC SKETCHES_
+
+_I.--From Dawn to Noon on the Sea._ In awesome quiet of unsoothing
+sounds we feel, over a dual elemental motion, a quick fillip as of
+sudden lapping wave, while a shadowy air rises slowly in hollow
+intervals. Midst trembling whispers descending (like the soughing
+wind), a strange note, as of distant trumpet, strikes in gentle
+insistence--out of the other rhythm--and blows a wailing phrase. The
+trembling whisper has sunk to lowest depths. Still continues the lapping
+of waves--all sounds of unhuman nature.
+
+[Music: (Muted trumpet, with Eng. horns in lower 8ve.)
+_Very slowly_
+_Espressivo_
+(Cellos with basses in lower 8ve.)]
+
+On quicker spur the shadowy motive flits faster here and there in a slow
+swelling din of whispering, to the insistent plash of wave. Suddenly the
+sense of desolation yields to soothing play of waters--a _berceuse_ of
+the sea--and now a song sings softly (in horn), though strangely jarring
+on the murmuring lullaby. The soothing cheer is anon broken by a shift
+of new tone. There is a fluctuation of pleasant and strange sounds; a
+dulcet air on rapturous harmony is hushed by unfriendly plash of chord.
+
+Back again in the quieter play of rhythm the strange, sweet song (of
+horns) returns.
+
+In a ravishing climax of gentle chorus of quick plashing waves and
+swirling breeze the song sings on and the trumpet blows its line of tune
+to a ringing phrase of the clarinet.
+
+[Music: (Strings and horns)
+_ad lib. faster_]
+
+When this has died down, the lapping waves, as in concert, strike in
+full chord that spreads a hue of warmth, as of the first peep of sun. It
+is indeed as though the waves rose towards the sun with a glow of
+welcome.
+
+In the wake of the first stirring shock is a host of soft cheering
+sounds of bustling day, like a choir of birds or bells. The eager
+madrigal leads to a final blast (with acclaiming chorus of big rocking
+waves), echoed in golden notes of the horns. One slight touch has
+heightened the hue to warmest cheer; but once do we feel the full glow
+of risen sun.
+
+The chilling shadows return, as the wistful air of hushed trumpet
+sounds again. We hover between flashes of warming sun, until the waves
+have abated; in soothing stillness the romantic horn[A] sings a lay of
+legend.
+
+[Footnote A: English horn.]
+
+Now to friendly purling of playful wavelets, the sea moves in shifting
+harmonies. In sudden climax the motion of the waves fills all the brass
+in triumphant paean, in the gleam of high noon.
+
+
+_II.--Play of the Waves._ There is a poetic background as for the play
+of legend. We seem to be watching the sea from a window in the castle of
+_Pelléas_. For there is a touch of dim romance in a phrase of the
+clarinet.
+
+The movement of waves is clear, and the unconscious concert of
+sea-sounds, the deeper pulse of ocean (in the horns), the flowing
+ripples, the sharp dash of lighter surf (in the Glockenspiel), all with
+a constant tremor, an instability of element (in trembling strings). We
+cannot help feeling the illusion of scene in the impersonal play of
+natural sounds. Anon will come a shock of exquisite sweetness that must
+have something of human. And then follows a resonant clash with spray of
+colliding seas.
+
+Here the story of the waves begins, and there are clearly two roles.
+
+To light lapping and cradling of waters the wood sings the simple lay,
+while strings discourse in quicker, higher phrase. The parts are
+reversed. A shower of chilling wave (in gliding harps) breaks the
+thread.
+
+[Music: _Con anima_
+(Highest and lowest figure in strings.
+Middle voices in octaves of wood)]
+
+Now golden tones (of horns) sound a mystic tale of one of the former
+figures. The scene shimmers
+
+[Music: (With rhythmic harps and strings)
+(Flutes)
+(Eng. horn) _espressivo_
+(Strings)
+(Horns)]
+
+in sparkling, glinting waters (with harp and trilling wood and strings).
+But against the soothing background the story (of English horn) has a
+chill, ominous strain.
+
+With the returning main song comes the passionate crisis, and we are
+back in the mere plash and play of impersonal waves.
+
+On dancing ripples, a nixie is laughing to echoing horns and lures us
+back to the story.
+
+[Music: (Strings with lower 8ve.)
+(Cl.) _grazioso_ (Horns)]
+
+Later, it seems, two mermaids sing in twining duet. In a warm hue of
+light the horns sound a weird tale. It is taken up by teasing chorus of
+lighter voices. In the growing volume sounds a clear, almost martial
+call of the brass.
+
+In a new shade of scene we recover the lost burden of song; the original
+figures appear (in the slower air of trembling strings and the quicker
+play of reed, harp and bells), and wander through ever new, moving
+phases. A shower of chords (in strings and shaking brass) brings back
+the ominous melody, amidst a chorus of light chatter, but firmly resting
+on a warm background of harmony. And the strain roves on generous path
+and rises out of all its gloom to a burst of profound cheer.
+
+[Music: (1st violins with lower 8ve.)
+(2d violins; percussion with cellos below)
+(Harp with violas)
+(Flutes with higher 8ve.)
+(See page 104, line 11.)]
+
+As in all fairy tales, the scene quickly vanishes. On dancing rays and
+ripples is the laughing nixie; but suddenly breaks the first song of the
+main figures. A climactic phrase of trumpets ends with a burst of all
+the chorus on stirring harmony, where in diminishing strokes of bells
+long rings the melodic note.
+
+The teasing motive of the nixie returns while the trumpet sounds a
+shadowy echo of its phrase, again to dying peal of bells. A chorus of
+eerie voices sing the mocking air, and again sounds the refrain of
+trumpet as in rebuke. On a tumult of teasing cries flashes a delivering
+burst of brilliant light, and we are back in the first scene of the
+story. Only the main figure is absent. And there is in the eager tension
+of pace a quivering between joy and doubt. Then, in answer to the
+lighter phrase of the other, is the returning figure with a new song now
+of blended longing and content that soars into higher flights until a
+mighty chorus repeats the strain that rises to triumphant height of joy
+and transforms the mocking motive to the same mood.
+
+But it is all a play of the waves. And we are left once more to the
+impersonal scene where yet the fragrance of legend hovers over the dying
+harmonies.
+
+
+_III.--Dialogue of the Wind and the Sea._ Tumultuous is the humor of the
+beginning; early sounds the stroke of wave of the first hour of the sea.
+The muted trumpet blows a strain (to trembling strings) that takes us
+back to the first (quoted) tune of the symphony in the wistful mood of
+dawn. For a symphony it proves to be in the unity of themes and thought.
+Now unmuted and unrestrained in conflict of crashing chords, the trumpet
+blows again the motto of the roving sea. In various figures is the
+pelagic motion, in continuous coursing strings, in the sweeping phrase
+of the woodwind, or in the original wave-motion of the horns, now
+unmuted.
+
+The main burden is a plaint
+
+[Music: (Woodwind in lower octaves
+and touches of horns)
+(_Animato_) _poco rit._
+(Strings in higher and lower octaves)]
+
+(in the wood) against the insistent surge (of strings), on a haunting
+motive as of farewell or eventide, with much stress of pathos. It is
+sung in sustained duet against a constant churning figure of the sea,
+and it is varied by a dulcet strain that grows out of the wave-motive.
+
+Indeed, the whole movement is complementary of the first, the obverse as
+it were. The themes are of the same text; the hue and mood have changed
+from the spring of dawn to the sadness of dusk. The symbol of noontide
+peace reappears with minor tinge, at the hush of eve. The climactic
+motive of the sea acclaiming the rising sun is there, but reversed.
+
+The sea too has the same tempestuous motion (indeed, the plaintive song
+is mainly of the wind), unrestrained by the sadder mood. At the
+passionate climax, where the higher figure sinks toward the rising
+lower, it is as if the Wind kissed the Sea.
+
+The concluding scene begins as in the first movement, save with greater
+extension of expressive melody. And the poignant note has a long song
+against a continuous rippling (of harps).
+
+More elemental figures crowd the scene; the first melody (of trumpet)
+has a full verse, and the dulcet phrase (of wave-motive).
+
+Toward the end the plaintive song has an ever-growing chorus of
+acclaiming voices. In the fever of united coursing motion the phrase
+loses the touch of sadness until in eager, spirited pace, as of
+galloping steeds, it ends with a shout of victory.
+
+
+_DUKAS. "THE SORCERER'S APPRENTICE"_
+
+Chief among the companions of Claude Débussy in his adventures is Paul
+Dukas.[A] Though he lags somewhat in bold flights of harmonies, he shows
+a clearer vein of melody and rhythm, and he has an advantage in a
+greater freedom from the rut of repeated device.
+
+[Footnote A: Born in 1865.]
+
+It is somehow in the smaller forms that the French composer finds the
+trenchant utterance of his fancy. A Scherzo, after the ballad of Goethe,
+"The Sorcerer's Apprentice," tells the famous story of the boy who in
+his master's absence compels the spirit in the broom to fetch the
+water; but he cannot say the magic word to stop the flood, although he
+cleaves the demon-broom in two.
+
+After the title-page of the score is printed a prose version (by Henri
+Blaze) of Goethe's ballad, "Der Zauberlehrling."
+
+Of several translations the following, by Bowring, seems the best:
+
+    THE SORCERER'S APPRENTICE
+
+    I am now,--what joy to hear it!--
+      Of the old magician rid;
+    And henceforth shall ev'ry spirit
+      Do whatever by me is bid:
+        I have watch'd with rigor
+          All he used to do,
+        And will now with vigor
+          Work my wonders, too.
+
+            Wander, wander
+            Onward lightly,
+            So that rightly
+            Flow the torrent,
+          And with teeming waters yonder
+          In the bath discharge its current!
+
+    And now come, thou well-worn broom,
+      And thy wretched form bestir;
+    Thou hast ever served as groom,
+      So fulfil my pleasure, sir!
+        On two legs now stand
+          With a head on top;
+        Water pail in hand,
+          Haste and do not stop!
+
+            Wander, wander
+            Onward lightly,
+            So that rightly
+            Flow the torrent,
+          And with teeming waters yonder
+          In the bath discharge its current!
+
+    See! he's running to the shore,
+      And has now attained the pool,
+    And with lightning speed once more
+      Comes here, with his bucket full!
+        Back he then repairs;
+          See how swells the tide!
+        How each pail he bears
+          Straightway is supplied!
+
+            Stop, for lo!
+            All the measure
+            Of thy treasure
+            Now is right!
+          Ah, I see it! woe, oh, woe!
+          I forget the word of might.
+
+    Ah, the word whose sound can straight
+      Make him what he was before!
+    Ah, he runs with nimble gait!
+      Would thou wert a broom once more!
+        Streams renew'd forever
+          Quickly bringeth he;
+        River after river
+          Rusheth on poor me!
+
+            Now no longer
+            Can I bear him,
+            I will snare him,
+            Knavish sprite!
+          Ah, my terror waxes stronger!
+          What a look! what fearful sight!
+
+    Oh, thou villain child of hell!
+      Shall the house through thee be drown'd?
+    Floods I see that widely swell,
+      O'er the threshold gaining ground.
+        Wilt thou not obey,
+          O thou broom accurs'd!
+        Be thou still, I pray,
+          As thou wert at first!
+
+            Will enough
+            Never please thee?
+            I will seize thee,
+            Hold thee fast,
+          And thy nimble wood so tough
+          With my sharp axe split at last.
+
+    See, once more he hastens back!
+      Now, O Cobold, thou shalt catch it!
+    I will rush upon his track;
+      Crashing on him falls my hatchet.
+        Bravely done, indeed!
+          See, he's cleft in twain!
+        Now from care I'm freed,
+          And can breathe again.
+
+            Woe oh, woe!
+            Both the parts,
+            Quick as darts,
+            Stand on end,
+          Servants of my dreaded foe!
+          O ye gods, protection send!
+
+    And they run! and wetter still
+      Grow the steps and grows the hall.
+      Lord and master, hear me call!
+    Ever seems the flood to fill.
+
+        Ah, he's coming! see,
+          Great is my dismay!
+        Spirits raised by me
+          Vainly would I lay!
+
+            "To the side
+            Of the room
+            Hasten, broom,
+            As of old!
+          Spirits I have ne'er untied
+          Save to act as they are told."
+
+In paragraphs are clearly pointed the episodes: the boy's delight at
+finding himself alone to conjure the spirits; the invocation to the
+water, recurring later as refrain (which in the French is not addressed
+to the spirit); then the insistent summons of the spirit in the broom;
+the latter's obedient course to the river and his oft-repeated fetching
+of the water; the boy's call to him to stop,--he has forgotten the
+formula; his terror over the impending flood; he threatens in his
+anguish to destroy the broom; he calls once more to stop; the repeated
+threat; he cleaves the spirit in two and rejoices; he despairs as two
+spirits are now adding to the flood; he invokes the master who returns;
+the master dismisses the broom to the corner.
+
+There is the touch of magic in the first harmonics of strings, and the
+sense of sorcery is always sustained in the strange harmonies.[A]
+
+[Footnote A: The flageolet tones of the strings seem wonderfully
+designed in their ghostly sound for such an aerial touch. Dukas uses
+them later in divided violins, violas and cellos, having thus a triad of
+harmonics doubled in the octave.
+
+The remaining instruments are: Piccolo, 2 flutes, 2 oboes, 2 clarinets,
+bass-clarinet, 3 bassoons, contra-bassoon (or contra-bass sarrusophon);
+4 horns, 2 trumpets (often muted); 2 cornets-à-pistons; 3 trombones; 3
+kettle-drums; harp; glockenspiel; big drum, cymbals and triangle.]
+
+After a mystic descent of eerie chords, a melodious cooing phrase begins
+in higher wood, echoed from one voice to the other, while the
+spirit-notes are still sounding.
+
+Suddenly dashes a stream of descending spray, met by another ascending;
+in the midst the first phrase is rapidly sounded (in muted trumpet). As
+suddenly the first solemn moment has returned, the phrase has grown in
+melody, while uncanny harmonies prevail. Amidst a new feverish rush a
+call rings
+
+[Music: (Wood and _pizz._ strings)
+_Vivace_
+(Horns and trumpets)]
+
+loud and oft (in trumpets and horns) ending in an insistent, furious
+summons. The silence that ensues is as speaking (or in its way as
+deafening) as were the calls.
+
+After what seems like the grating of ancient joints, set in reluctant
+motion, the whole tune of the first wooing phrase moves in steady gait,
+in comic bassoons, to the tripping of strings, further and fuller
+extended as other voices join. The beginning phrase of chords recurs as
+answer. Ever the lumbering trip continues, with strange turn of harmony
+and color, followed ever by the weird answer. A fuller apparition comes
+with the loud, though muffled tones of the trumpets. The original tune
+grows in new turns and folds of melody, daintily tipped with the ring of
+bells over the light tones of the wood. The brilliant
+
+[Music: _Vivace_
+(Melody in 3 bassoons)
+(Acc't in _pizz._ strings)]
+
+harp completes the chorus of hurrying voices. Now with full power and
+swing the main notes ring in sturdy brass, while all around is a rushing
+and swirling (of harps and bells and wood and strings). And still more
+furious grows the flight, led by the unison violins.
+
+A mischievous mood of impish frolic gives a new turn of saucy gait. In
+the jovial answer, chorussed in simple song, seems a revel of all the
+spirits of rivers and streams.
+
+At the top of a big extended period the trumpet sends a shrill defiant
+blast.
+
+But it is not merely in power and speed,--more in an infinite variety of
+color, and whim of tune and rhythmic harmony, that is expressed the
+full gamut of disporting spirits. Later, at fastest speed of tripping
+harp and wood, the brass ring out that first, insistent summons, beneath
+the same eerie harmonies--and the uncanny descending chords answer as
+before. But alas! the summons will not work the other way. Despite the
+forbidding command and all the other exorcising the race goes madly on.
+
+And now, if we are intent on the story, we may see the rising rage of
+the apprentice and at last the fatal stroke that seemingly hems and
+almost quells the flood. But not quite! Slowly (as at first) the hinges
+start in motion. And now, new horror! Where there was one, there are now
+two ghostly figures scurrying to redoubled disaster. Again and again the
+stern call rings out, answered by the wildest tumult of all. The shouts
+for the master's aid seem to turn to shrieks of despair. At last a
+mighty call overmasters and stills the storm. Nothing is heard but the
+first fitful phrases; now they seem mere echoes, instead of
+forewarnings. We cannot fail to see the fine parallel, how the masterful
+command is effective as was the similar call at the beginning.
+
+Significantly brief is the ending, at once of the story and of the
+music. In the brevity lies the point of the plot: in the curt dismissal
+of the humbled spirit, at the height of his revel, to his place as broom
+in the corner. Wistful almost is the slow vanishing until the last
+chords come like the breaking of a fairy trance.
+
+
+
+
+CHAPTER X
+
+TSCHAIKOWSKY
+
+
+The Byron of music is Tschaikowsky for a certain alluring melancholy and
+an almost uncanny flow and sparkle. His own personal vein deepened the
+morbid tinge of his national humor.
+
+We cannot ignore the inheritance from Liszt, both spiritual and musical.
+More and more does the Hungarian loom up as an overmastering influence
+of his own and a succeeding age. It seems as if Liszt, not Wagner, was
+the musical prophet who struck the rock of modern pessimism, from which
+flowed a stream of ravishing art. The national current in Tschaikowsky's
+music was less potent than with his younger compatriots; or at least it
+lay farther beneath the surface.
+
+For nationalism in music has two very different bearings. The concrete
+elements of folk-song, rhythm and scale, as they are more apparent, are
+far less important. The true significance lies in the motive of an
+unexpressed national idea that presses irresistibly towards fulfilment.
+Here is the main secret of the Russian achievement in modern music,--as
+of other nations like the Finnish. It is the cause that counts. Though
+Russian song has less striking traits than Hungarian or Spanish, it has
+blossomed in a far richer harvest of noble works of art.
+
+Facile, fluent, full of color, Tschaikowsky seems equipped less for
+subjective than for lyric and dramatic utterance, as in his "Romeo and
+Juliet" overture. In the "Manfred" Symphony we may see the most fitting
+employment of his talent. Nor is it unlikely that the special
+correspondence of treatment and subject may cause this symphony to
+survive the others, may leave it long a rival of Schumann's "Manfred"
+music.
+
+With Tschaikowsky feeling is always highly stressed, never in a certain
+natural poise. He quite lacks the noble restraint of the masters who, in
+their symphonic lyrics, wonderfully suggest the still waters that run
+deep.
+
+Feeling with Tschaikowsky was frenzy, violent passion, so that with all
+abandon there is a touch of the mechanical in his method. Emotion as the
+content of highest art must be of greater depth and more quiet flow. And
+it is part or a counterpart of an hysterical manner that it reacts to a
+cold and impassive mood,--such as we feel in the Andante of the Fourth
+Symphony.
+
+The final quality for symphonic art is, after all, less the chance flash
+of inspiration than a big view, a broad sympathy, a deep well of feeling
+that comes only with great character.
+
+Nay, there is a kind of peril in the symphony for the poet of uncertain
+balance from the betrayal of his own temper despite his formal plan.
+Through all the triumph of a climax as in the first movement of the
+Fourth Symphony, we may feel a subliminal sadness that proves how subtle
+is the expression in music of the subjective mood. There is revealed not
+the feeling the poet is conscious of, but, below this, his present self,
+and in the whole series of his works, his own personal mettle. What the
+poet tries to say is very different from what he does say. In a
+symphony, as in many a frolic, the tinge of latent melancholy will
+appear.
+
+
+_SYMPHONY NO. 4_
+
+Reverting to a great and fascinating question as to the content of art,
+we may wonder whether this is not the real tragic symphony of
+Tschaikowsky, in the true heroic sense, in a view where the highest
+tragedy is not measured by the wildest lament. There may be a stronger
+sounding of lower depths with a firmer touch (with less of a conscious
+kind of abandon),--whence the recoil to serene cheer will be the
+greater.
+
+There is surely a magnificent aspiration in the first Allegro, a
+profound knell of destiny and a rare ring of triumph. Underlying all is
+the legend of trumpets, _Andante sostenuto_ (3/4), with a dim touch
+
+[Music: _Andante sostenuto_
+(Horns and bassoons doubled in 8va.)]
+
+of tragedy. Opposite in feeling is the descending motive of strings,
+_Moderato con anima_ (9/8). First gently expressive, it soon rises in
+passion (the original
+
+[Music: _Moderato con anima_
+_in movimento di valse_
+(Strings and one horn, the melody doubled below)]
+
+motto always sounding) to a climax whence an ascending motive, in lowest
+basses, entering in manner of fugue, holds a significant balance with
+the former. Each in turn rears a climax for the other's
+
+[Music: (Horns doubled below)
+(Cellos and bassoons)]
+
+entrance; the first, lamenting, leads to the soothing hope of the second
+that, in the very passion of its refrain, loses assurance and ends in a
+tragic burst.
+
+Suddenly a very new kind of solace appears _Dolce grazioso_, in a
+phrase of the clarinet that leads to a duet of wood and _cantabile_
+strings, impersonal almost in the sweetness of its flowing song.
+
+[Music: _Moderato assai_
+(Oboe doubled in flute)
+(Strings)]
+
+In such an episode we have a new Tschaikowsky,--no longer the subjective
+poet, but the painter with a certain Oriental luxuriance and grace. It
+is interesting to study the secret of this effect. The preluding strain
+lowers the tension of the storm of feeling and brings us to the attitude
+of the mere observer. The "movement of waltz" now has a new meaning, as
+of an apparition in gently gliding dance. The step is just sustained in
+leisurely strings. Above is the simple melodic trip of clarinet, where a
+final run is echoed throughout the voices of the wood; a slower moving
+strain in low cellos suggests the real song that presently begins, while
+high in the wood the lighter tune continues. The ripples still keep
+spreading throughout the voices, at the end of a line. The tunes then
+change places, the slower singing above.
+
+With all the beauty, there is the sense of shadowy picture,--a certain
+complete absence of passion. Now the lower phrase appears in two
+companion voices (of strings), a hymnal kind of duet,--_ben sostenuto
+il tempo precedente_. Here, very softly in the same timid pace, enters a
+chorus, on high, of the old sighing motive. Each melody breaks upon the
+other and
+
+[Music: _Bel sostenuto il tempo (moderato)_
+(Strings)
+(Woodwind doubled above)
+(Kettle-drums)]
+
+ceases, with equal abruptness. There is no blending, in the constant
+alternation, until the earlier (lamenting) motive conquers and rises to
+a new height where a culminating chorale sounds a big triumph, while the
+sighing phrase merely spurs a new verse of assurance.
+
+[Music: (Strings and flutes)
+(Doubled above and below)]
+
+A completing touch lies in the answering phrase of the chorale, where
+the answer of original motto is transformed into a masterful ring of
+cheer and confidence.
+
+As is the way with symphonies, it must all be sung and striven over
+again to make doubly sure. Only there is never the same depth of lament
+after the triumph. In a later verse is an augmented song of the answer
+of trumpet legend, in duet of thirds, in slow, serene pace, while the
+old lament sounds below in tranquil echoes and united strains. Before
+the end, _molto piu vivace_, the answer rings in new joyous rhythm.
+
+Somewhat the reverse of the first movement, in the second the emotional
+phase grows slowly from the naïve melody of the beginning. Against the
+main melody that begins in oboe solo (with _pizzicato_ strings),
+_semplice ma grazioso_, plays later a rising
+
+[Music: _Andantino in modo di canzone_
+(Clarinet with lower 8ve.)
+(Cello)
+_Grazioso_
+(Bassoons, with _pizz._ basses)]
+
+counter-theme that may recall an older strain. The second melody, in
+Greek mode, still does not depart
+
+[Music: (Strings, wood and horns)]
+
+from the naïve mood, or lack of mood. A certain modern trait is in this
+work, when the feeling vents and wastes itself and yields to an
+impassive recoil, more coldly impersonal than the severest classic.
+
+A sigh at the end of the second theme is a first faint reminder of the
+original lament. Of it is fashioned the third theme. A succeeding climax
+strongly
+
+[Music: _Piu mosso_
+(Clarinet doubled below in bassoons)
+(Strings)]
+
+brings back the subjective hue of the earlier symphony. A counter-theme,
+of the text of the second melody of Allegro,--now one above, now the
+other--is a final stroke. Even the shaking of the trumpet figure is
+there at the height, in all the brass. Yet as a whole the first melody
+prevails, with abundant variation of runs in the wood against the song
+of the strings.
+
+The Scherzo seems a masterly bit of humor, impish, if you will, yet on
+the verge always of tenderness. The first part is never-failing in the
+flash and sparkle of its play, all in _pizzicato_ strings, with a
+wonderful daemonic quality of the mere instrumental effect. Somewhat
+suddenly the oboe holds a long note and
+
+[Music: _Pizzicato ostinato_
+_Scherzo Allegro_
+(Strings)
+(_Pizzicato sempre_)]
+
+then, with the bassoons, has a tune that is almost sentimental. But
+presently the clarinets make mocking
+
+[Music: (Oboes and bassoons)]
+
+retorts. Here, in striking scene, all the brass (but the tuba) very
+softly blow the first melody with eccentric halts, in just half the old
+pace except when they take us by surprise. The clarinet breaks in with
+the sentimental tune in faster time while the brass all the while are
+playing as before. There are all kinds of pranks, often at the same
+time. The piccolo, in highest treble, inverts the second melody, in
+impertinent drollery. The brass has still newer surprises. Perhaps the
+best of the fooling is where strings below and woodwind above share the
+melody between them, each taking two notes at a time.
+
+The first of the Finale is pure fanfare, as if to let loose the steeds
+of war; still it recurs as leading idea. There is a kind of sonorous
+terror, increased by the insistent, regular notes of the brass, the
+spirited pace of the motive of strings,--the barbaric ring we often hear
+in Slav music. At the height
+
+[Music: _Allegro con fuoco_
+(Wood doubled above and below)
+(Violins)
+(_Pizz._ strings)]
+
+the savage yields to a more human vein of joyousness, though at the end
+it rushes the more wildly into a
+
+[Music: _Tutti_
+(Doubled above and below)]
+
+series of shrieks of trebles with tramping of basses. The real battle
+begins almost with a lull, the mere sound of the second tune in the
+reeds with light strum of strings and triangle. As the theme is
+redoubled (in thirds of the wood), the sweep of strings of the first
+motive is added, with chords of horns. A rising figure is now opposed to
+the descent of the second melody, with shaking of woodwind that brings
+back the old trumpet legend. Here the storm grows apace, with increasing
+tumult of entering hostile strains, the main song now ringing in low
+brass.
+
+In various versions and changes we seem to see earlier themes briefly
+reappearing. Indeed there is a striking kinship of themes throughout,
+not so much in outline as in the air and mood of the tunes. This seems
+to be proven by actual outer resemblance when the motives are developed.
+Here in a quiet spot--though the battle has clearly not ceased--is the
+answer of old trumpet motto, that pervaded the first Allegro. There is a
+strong feeling of the Scherzo here in the _pizzicato_ answers of
+strings. The second theme of the Andante is recalled, too, in the
+strokes of the second of the Finale. In the thick of the fray is a
+wonderful maze of versions of the theme, diminished and augmented at the
+same time with the original pace. Yet it is all a clear flow of melody
+and rich harmony. The four beats of quarter notes, in the lengthened
+theme, come as high point like the figure of the leader in battle. A
+later play of changes is like the sport of the Scherzo. This insensibly
+leads to the figure of the fanfare, whence the earlier song returns
+with the great joyous march.
+
+The final height of climax is distinguished by a stentorian, fugal blast
+of the theme in the bass, the higher breaking in on the lower, while
+other voices are raging on the quicker phrases. It is brought to a
+dramatic halt by the original prelude of trumpet legend, in all its
+fulness. Though the march-song recurs, the close is in the ruder humor
+of the main themes.
+
+
+_THE "MANFRED" SYMPHONY_
+
+Schumann and Tschaikowsky are the two most eminent composers who gave
+tonal utterance to the sombre romance of Byron's dramatic poem.[A] It is
+interesting to remember that Byron expressly demanded the assistance of
+music for the work. If we wish to catch the exact effect that is sought
+in the original conception, Schumann's setting is the nearest approach.
+It is still debated whether a scenic representation is more impressive,
+or a simple reading, reinforced by the music.
+
+[Footnote A: Prefixed are the familiar lines:
+
+    "There are more things in heaven and earth, Horatio,
+    Than are dreamt of in your philosophy."]
+
+Tschaikowsky's setting is a "symphony in four pictures, or scenes (_en
+quatre tableaux_), after Byron's dramatic poem." In the general design
+and spirit there is much of the feeling of Berlioz's "Fantastic"
+Symphony, though the manner of the music shows no resemblance whatever.
+There is much more likeness to Liszt's "Faust" Symphony, in that the
+pervading recurrence of themes suggests symbolic labels. Moreover, in
+the very character of many of the motives, there is here a striking line
+of descent.
+
+_Lento lugubre_, the first scene or picture, begins with a theme in
+basses of reeds:
+
+[Music: _Lento lugubre_
+(Woodwind)
+(Strings)]
+
+with later _pizzicato_ figure of low strings.
+
+An answering strain is one of the most important of all the melodies:
+
+[Music]
+
+On these, a bold conflict and climax is reared. If we care to indulge in
+the bad habit of calling names, we might see "Proud Ambition" in the
+first motives, intertwined with sounds of sombre discontent. The pace
+grows _animando_,--_piu mosso_; _moderato molto_. Suddenly Andante sings
+a new, expressive song, with a dulcet cheer of its own, rising to
+passionate periods and a final height whence, _Andante con duolo_, a
+loudest chorus of high wood and strings, heralded and accompanied by
+martial tremolo of low wood, horns, basses, and drums, sound the fateful
+chant that concludes the first scene, and, toward the close of the work,
+sums the main idea.
+
+[Music: (Strings and flutes)
+(Basses, wood and horns)
+(Same continuing rhythm)]
+
+The apparition of the Witch of the Alps is pictured in daintiest,
+sparkling play of strings and wood, with constant recurrence of mobile
+figures above and below. It seems as if the image of the fountain is
+fittest and most tempting for mirroring in music. Perhaps the most
+beautiful, the most haunting, of all the "Manfred" music of Schumann is
+this same scene of the Witch of the Alps.
+
+Here, with Tschaikowsky, hardly a single note of brass intrudes on this
+_perpetuum mobile_ of light, plashing spray until, later, strains that
+hark back to the first scene cloud the clear brilliancy of the cascade.
+Now the play of the waters is lost in the new vision, and a limpid song
+glides in the violins, with big rhythmic chords of harps, is taken up in
+clarinets, and carried on by violins in new melodic verse, _con
+tenerezza e molto espressione_. Then the whole chorus sing the tune in
+gentle volume. As it dies away, the music of the falling waters plash as
+before. The returning song has phases of varying sadness and passion. At
+the most vehement height,--and here, if we choose, we may see the stern
+order to retire,--the fatal chant is shrieked by full chorus in almost
+unison fierceness.
+
+Gradually the innocent play of the waters is heard again, though a
+gloomy pall hangs over. The chant sounds once more before the end.
+
+The third, "Pastoral," scene we are most free to enjoy in its pure
+musical beauty, with least need of definite dramatic correspondences. It
+seems at first as if no notes of gloom are allowed to intrude, as if the
+picture of happy simplicity stands as a foil to the tragedy of the
+solitary dreamer; for an early climax gives a mere sense of the awe of
+Alpine nature.
+
+Still, as we look and listen closer, we cannot escape so easily, in
+spite of the descriptive title. Indeed, the whole work seems, in its
+relation to the poem upon which it is based, a very elusive play in a
+double kind of symbolism. At first it is all a clear subjective
+utterance of the hero's woes and hopes and fears, without definite
+touches of external things. Yet, right in the second scene the torrent
+is clear almost to the eye, and the events pass before us with sharp
+distinctness. Tending, then, to look on the third as purest pastoral,
+we are struck in the midst by an ominous strain from one of the earliest
+moments of the work, the answer of the first theme of all. Here notes of
+horns ring a monotone; presently a church-bell adds a higher note. The
+peaceful pastoral airs then return, like the sun after a fleeting storm.
+
+The whole of this third scene of Tschaikowsky's agrees with no special
+one in Byron's poem, unless we go back to the second of the first act,
+where Manfred, in a morning hour, alone upon the cliffs, views the
+mountains of the Jungfrau before he makes a foiled attempt to spring
+into the abyss. By a direction of the poet, in the midst of the
+monologue, "the shepherd's pipe in the distance is heard," and Manfred
+muses on "the natural music of the mountain reed."
+
+The last scene of the music begins with Byron's fourth of Act II and
+passes over all the incidents of the third act that precede the hero's
+death, such as the two interviews with the Abbot and the glorious
+invocation to the sun.
+
+From Tschaikowsky's title, we must look for the awful gloom of the
+cavernous hall of Arimanes, Byron's "Prince of Earth and Air." The gray
+figure from most ancient myth is not less real to us than Mefistofeles
+in "Faust." At least we clearly feel the human daring that feared not to
+pry into forbidden mysteries and refused the solace of unthinking faith.
+And it becomes again a question whether the composer had in mind this
+subjective attitude of the hero or the actual figures and abode of the
+spirits and their king. It is hard to escape the latter view, from the
+general tenor, the clear-cut outline of the tunes, of which the
+principal is like a stern chant:
+
+[Music: (Wood, strings and horns)]
+
+The most important of the later answers lies largely in the basses.
+
+[Music: (Low wood)
+(Rhythmic chords in strings)]
+
+There is, on the whole, rather an effect of gloomy splendor (the
+external view) than of meditation; a sense of visible massing than of
+passionate crisis, though there is not wanting a stirring motion and
+life in the picture. This is to speak of the first part, _Allegro con
+fuoco_.
+
+The gloomy dance dies away. _Lento_ is a soft fugal chant on elemental
+theme; there is all the solemnity of cathedral service; after the
+low-chanted phrase follows a tremendous blare of the brass. The
+repeated chant is followed by one of the earliest, characteristic themes
+of the first scene. And so, if we care to follow the graphic touch, we
+may see here the intrusion of Manfred, at the most solemn moment of the
+fearful revel.
+
+As Manfred, in Byron's poem, enters undaunted, refusing to kneel, the
+first of the earlier phases rings out in fierce _fortissimo_. A further
+conflict appears later, when the opening theme of the work sounds with
+interruptions of the first chant of the spirits.
+
+A dulcet plaint follows, _Adagio_, in muted strings, answered by a note
+of horn and a chord of harp.
+
+[Music: _Adagio_
+(Muted strings answered by horn and harp)]
+
+It all harks back to the gentler strains of the first movement. In the
+ethereal _glissando_ of harps we see the spirit of Astarte rise to give
+the fatal message. The full pathos and passion of the _lento_ episode of
+first scene is heard in brief, vivid touches, and is followed by the
+same ominous blast with ring of horn, as in the first picture.
+
+A note of deliverance shines clear in the final phrase of joined
+orchestra and organ, clearer perhaps than in Manfred's farewell line in
+the play: "Old man! 'tis not so difficult to die." To be sure, Schumann
+spreads the same solace o'er the close of his setting, with the Requiem.
+The sombre splendor of romance is throughout, with just a touch of
+turgid. In the poignant ecstasy of grief we feel vividly the
+foreshadowing example of Liszt, in his "Dante" and "Faust" Symphonies.
+
+
+_FIFTH SYMPHONY (E MINOR)_
+
+With all the unfailing flow of lesser melodies where the charm is often
+greatest of all, and the main themes of each movement with a chain of
+derived phrases, one melody prevails and reappears throughout. The
+fluency is more striking here than elsewhere in Tschaikowsky. All the
+external sources,--all the glory of material art seem at his command. We
+are reminded of a certain great temptation to which all men are subject
+and some fall,--however reluctantly. Throughout there is a vein of
+daemonic. The second (Allegro) melody grows to a high point of
+pathos,--nay, anguish, followed later by buoyant, strepitant, dancing
+delight, with the melting answer, in the latest melody. The daemon is
+half external fate--in the Greek sense, half individual temper. The end
+is almost sullen; but the charm is never failing; at the last is the
+ever springing rhythm.
+
+[Music: _Andante_
+_pesante e tenuto sempre_
+(Clarinet)
+(Low strings)]
+
+The march rhythm of the opening Andante is carried suddenly into a quick
+trip, _Allegro con anima_ (6/8), where the main theme of the first
+movement now begins, freely extended as in a full song of verses. New
+accompanying figures are added, contrasting phrases or counter-melodies,
+to the theme.
+
+[Music: _Allegro con anima_
+Solo clarinet (doubled below with solo bassoon.)
+(Strings)]
+
+One expressive line plays against the wilder rhythm of the theme, with
+as full a song in its own mood as the other. A new rhythmic motive, of
+great charm, _un pocchetino piu animato_, is answered by a bit of the
+theme. Out of it all grows, in a clear
+
+[Music: _Molto espr._
+(Strings)]
+
+welded chain, another episode, where the old rhythm is a mere gentle
+spur to the new plaint,--_molto piu tranquillo, molto cantabile ed
+espressivo_.
+
+[Music: _Molto piu tranquillo_
+_Molto cantabile ed espr._]
+
+To be sure, the climax has all of the old pace and life, and every voice
+of the chorus at the loudest. In the answering and echoing of the
+various phrases, rhythmic and melodic, is the charm of the discussion
+that follows. Later the three melodies come again in the former order,
+and the big climax of the plaintive episode precedes the end, where the
+main theme dies down to a whisper.
+
+
+_Andante cantabile, con alcuna licenza._ After preluding chords in
+lowest strings a solo horn begins a
+
+[Music: _Andante cantabile, con alcuna licenza_
+(Horn)
+_dolce con molto espr._
+(Strings)]
+
+languishing song, _dolce con molto espressione_. It is a wonderful
+elegy, a yearning without hope, a swan-song of desire, sadder almost
+than the frank despair of the Finale of the _Pathétique_
+symphony,--pulsing with passion, gorgeous with a hectic glow of
+expressive beauty, moving too with a noble grace. Though there is a foil
+of lighter humor, this is overwhelmed in the fateful gloom of the
+returning main motto.
+
+The abounding beauty with all its allurement lacks the solace that the
+masters have led us to seek in the heart of a symphony. The clarinet
+presently twines a phrase about the tune until a new answer sounds in
+the oboe, that now sings in answering and chasing duet with the horn.
+The phrase of oboe proves to be the main song, in full extended
+periods, reaching a climax with all the voices.
+
+[Music: _Con moto_
+(Solo oboe)
+_dolce espr._]
+
+Well defined is the middle episode in minor reared on a new theme of the
+clarinet with an almost fugal polyphony that departs from the main lyric
+mood.
+
+[Music: _Moderato con anima_
+(Solo clar.)
+(Strings)]
+
+At the height all the voices fall into a united chorus on the original
+motto of the symphony. The first melodies of the Andante now return with
+big sweep and power, and quicker phrases from the episode. The motto
+reappears in a final climax, in the trombones, before the hushed close.
+
+We must not infer too readily a racial trait from the temper of the
+individual composer. There is here an error that we fall into frequently
+in the music of such men as Grieg and Tschaikowsky. The prevailing mood
+of the Pathetic Symphony is in large measure personal. Some of the more
+recent Russian symphonies are charged with buoyant joyousness. And,
+indeed, the burden of sadness clearly distinguishes the last symphony of
+Tschaikowsky from its two predecessors, the Fourth and the Fifth.
+
+The tune of the _valse_, _Allegro moderato_, is first played by the
+violins, _dolce con grazia_, with accompanying strings, horns and
+bassoon. In the second part, with some loss of the lilt of dance, is a
+subtle design--with a running phrase in _spiccato_ strings against a
+slower upward glide of bassoons. The duet winds on a kind of _crescendo_
+of modulations. Later
+
+[Music: (_Spiccato_)
+(Strings)
+(Horns)
+(Bassoon)]
+
+the themes are inverted, and the second is redoubled in speed. The whole
+merges naturally into the first waltz, with a richer suite of adorning
+figures. The dance does not end without a soft reminder (in low
+woodwind) of the original sombre phrase.
+
+Almost for the first time a waltz has entered the shrine of the
+symphony. And yet perhaps this dance has all the more a place there. It
+came on impulse (the way to visit a sanctuary), not by ancient custom.
+But with all its fine variety, it is a simple waltz with all the
+careless grace,--nothing more, with no hidden or graphic meaning (as in
+Berlioz's Fantastic Symphony).
+
+The middle episode, though it lacks the dancing trip, is in the one
+continuing mood,--like a dream of youthful joys with just a dimming hint
+of grim reality in the returning motto.
+
+In the Finale the main legend of the symphony is transformed and
+transfigured in a new, serener mood, and is brought to a full melodic
+bloom. Indeed, here is the idealization of the original motto. _Andante
+maestoso_ it begins in the tonic major. When the theme ceases, the brass
+blow the rhythm on a monotone, midst an ascending _obligato of strings_.
+
+[Music: (Brass and lower woodwind)
+(See page 139, line 1.)]
+
+In answer comes a new phrase of chorale. Later the chorale is sounded
+by the full band, with intermediate beats of rhythmic march.
+
+Once more there is a well-marked episode, with a full share of melodic
+discussion, of clashing themes, of dramatic struggle. First in the tonic
+minor a theme rises from the last casual cadence in resonant march,
+_Allegro vivace_. Then follows a duet, almost
+
+[Music: _Allegro vivace_
+(Strings and low wood)
+(Trill of kettle drums)]
+
+a harsh grating of an eccentric figure above against
+
+[Music: (Solo oboe)
+(Strings)
+(Low wood)
+(_Pizz._ cellos)]
+
+the smoother course of the latest Allegro motive. The themes are
+inverted. Presently out of the din rises a charming canon on the
+prevailing smoother phrase, that soars to a full sweep of song. A new
+
+[Music: (Violins)
+(Wind)
+(Basses 8va.) (Low strings)]
+
+hymnal melody comes as a final word. Though the main motto returns in
+big chorus, in full extension, in redoubled pace and wild abandon, still
+the latest melody seems to contend for the last say. Or, rather,
+
+[Music: (Woodwind doubled above and below)
+_espr._
+(Strings)
+(See page 141, line 2.)]
+
+it is a foil, in its simple flow, to the revel of the motto, now grown
+into a sonorous, joyous march. And we seem to see how most of the other
+melodies,--the minor episode, the expressive duet--have sprung from bits
+of the main text.
+
+To return for another view,--the Finale begins in a mood that if not
+joyous, is religious. Out of the cadence of the hymn dances the Allegro
+tune almost saucily. Nor has this charming trip the ring of gladness,
+though it grows to great momentum. As a whole there is no doubt of the
+assurance, after the earlier fitful gloom, and with the resignation an
+almost militant spirit of piety.
+
+In the dulcet canon, an exquisite gem, bliss and sadness seem
+intermingled; and then follows the crowning song, broad of pace,
+blending the smaller rhythms in ecstatic surmounting of gloom. In
+further verse it doubles its sweet burden in overlapping voices, while
+far below still moves the rapid trip.
+
+But the motto will return, in major to be sure, and tempered in mercy.
+And the whole hymn dominates, with mere interludes of tripping motion,
+breaking at the height into double pace of concluding strain. Before
+falling back into the thrall of the legend the furious race rushes
+eagerly into the deepest note of bliss, where in sonorous bass rolls the
+broad, tranquil song. And though the revel must languish, yet we attend
+the refrain of all the melodies in crowning rapture. Then at last, in
+stern minor, sounds the motto, still with the continuing motion, in a
+loud and long chant.
+
+In blended conclusion of the contending moods comes a final verse of the
+legend in major, with full accoutrement of sounds and lesser rhythm, in
+majestic pace. And there is a following frolic with a verse of the
+serene song. The end is in the first Allegro theme of the symphony, in
+transfigured major tone.
+
+We must be clear at least of the poet's intent. In the Fifth Symphony
+Tschaikowsky sang a brave song of struggle with Fate.
+
+
+
+
+CHAPTER XI
+
+THE NEO-RUSSIANS
+
+
+For some mystic reason nowhere in modern music is the symphony so
+justified as in Russia. Elsewhere it survives by the vitality of its
+tradition. In France we have seen a series of works distinguished rather
+by consummate refinement than by strength of intrinsic content. In
+Germany since the masterpieces of Brahms we glean little besides the
+learnedly facile scores of a Bruckner, with a maximum of workmanship and
+a minimum of sturdy feeling,--or a group of "heroic" symphonies all cast
+in the same plot of final transfiguration. The one hopeful sign is the
+revival of a true counterpoint in the works of Mahler.
+
+Some national song, like the Bohemian, lends itself awkwardly to the
+larger forms. The native vein is inadequate to the outer mould, that
+shrinks and dwindles into formal utterance. It may be a question of the
+quantity of a racial message and of its intensity after long
+suppression. Here, if we cared to enlarge in a political disquisition,
+we might account for the symphony of Russians and Finns, and of its
+absence in Scandinavia. The material elements, abundant rhythm, rich
+color, individual and varied folk-song, are only the means by which the
+national temper is expressed. Secondly, it must be noted as a kind of
+paradox, the power of the symphony as a national utterance is increased
+by a mastery of the earlier classics. With all that we hear of the
+narrow nationalism of the Neo-Russians, we cannot deny them the breadth
+that comes from a close touch with the masters. Mozart is an element in
+their music almost as strong as their own folk-song. Here, it may be,
+the bigger burden of a greater national message unconsciously seeks the
+larger means of expression. And it becomes clear that the sharper and
+narrower the national school, the less complete is its utterance, the
+more it defeats its ultimate purpose.
+
+The broad equipment of the new Russian group is seen at the outset in
+the works of its founder, Balakirew. And thus the difference between
+them and Tschaikowsky lay mainly in the formulated aim.[A]
+
+[Footnote A: In the choice of subjects there was a like breadth.
+Balakirew was inspired by "King Lear," as was Tschaikowsky. And amid a
+wealth of Slavic legend and of kindred Oriental lore, he would turn to
+the rhythms of distant Spain for a poetic theme.]
+
+The national idea, so eminent in modern music, is not everywhere equally
+justified. And here, as in an object-lesson, we see the true merits of
+the problem. While one nation spontaneously utters its cry, another,
+like a cock on the barnyard, starts a movement in mere idle vanity, in
+sheer self-glorification.
+
+In itself there is nothing divine in a national idea that needs to be
+enshrined in art. Deliberate segregation is equally vain, whether it be
+national or social. A true racial celebration must above all be
+spontaneous. Even then it can have no sanction in art, unless it utter a
+primal motive of resistance to suppression, the elemental pulse of life
+itself. There is somehow a divine dignity about the lowest in human
+rank, whether racial or individual. The oppressed of a nation stands a
+universal type, his wrongs are the wrongs of all, and so his lament has
+a world-wide appeal. And in truth from the lowest class rises ever the
+rich spring of folk-song of which all the art is reared, whence comes
+the paradox that the peasant furnishes the song for the delight of his
+oppressors, while they boast of it as their own. Just in so far as man
+is devoid of human sympathy, is he narrow and barren in his song. Music
+is mere feeling, the fulness of human experience, not in the hedonic
+sense of modern tendencies, but of pure joys and profound sorrows that
+spring from elemental relations, of man to man, of mate to mate.
+
+Here lies the nobility of the common people and of its song; the
+national phase is a mere incident of political conditions. The war of
+races is no alembic for beauty of art. If there were no national lines,
+there would still be folk-song,--merely without sharp distinction. The
+future of music lies less in the differentiation of human song, than in
+its blending.
+
+Thus we may rejoice in the musical utterance of a race like the Russian,
+groaning and struggling through ages against autocracy for the dignity
+of man himself,--and in a less degree for the Bohemian, seeking to hold
+its heritage against enforced submergence. But we cannot take so
+seriously the proud self-isolation of other independent nations.
+
+
+_BALAKIREW.[A] SYMPHONY IN C_
+
+[Footnote A: Mili Alexeivich Balakirew was born at Nizhni-Novgorod in
+1836; he died at St. Petersburg in 1911. He is regarded as the founder
+of the Neo-Russian School.]
+
+The national idea shines throughout, apart from the "Russian Theme" that
+forms the main text of the Finale. One may see the whole symphony
+leading up to the national celebration.
+
+As in the opening phrase (in solemn _Largo_) with
+
+[Music: (Lower reed, with strings in three 8ves.)
+_Largo_]
+
+its answer are proclaimed the subjects that presently
+
+[Music: (Flute and strings)]
+
+appear in rapid pace, so the whole movement must be taken as a big
+prologue, forecasting rather than realizing. There is a dearth of
+melodic stress and balance; so little do the subjects differ that they
+are in essence merely obverse in outline.
+
+Mystic harmonies and mutations of the motto lead to a quicker guise
+(_Allegro vivo_). Independently of themes, the rough edge of tonality
+and the vigorous primitive rhythms are expressive of the Slav feeling.
+Withal there is a subtlety of harmonic manner that could come only
+through the grasp of the classics common to all nations. Augmentation
+and diminution of theme abound, together with the full fugal manner. A
+warm, racial color is felt in the prodigal use of lower reeds.[A]
+
+[Footnote A: Besides the English horn and four bassoons there are four
+clarinets,--double the traditional number.]
+
+In all the variety of quick and slower melodies a single phrase of five
+notes, the opening of the symphony, pervades. In all kinds of humor it
+sings, martial, solemn, soothing, meditative, or sprightly. Poetic in
+high degree is this subtle metamorphosis, so that the symphony in the
+first movement seems to prove the art rather than the national spirit of
+the Neo-Russians.
+
+Of the original answer is wrought all the balance and foil of second
+theme, and like the first it reaches a climactic height. But the first
+is the sovereign figure of the story. It enters into the pattern of
+every new phase, it seems the text of which all the melodies are
+fashioned, or a sacred symbol that must be all-pervading. In a broader
+pace (_Alla breve_) is a mystic discussion of the legend, as of dogma,
+ending in big pontifical blast of the answering theme.
+
+The whole movement is strangely frugal of joyous abandon. Instead of
+rolling, revelling melody there is stern proclamation, as of oracle, in
+the solemn pauses. The rhythm is purposely hemmed and broken. Restraint
+is everywhere. Almost the only continuous thread is of the meditative
+fugue.
+
+A single dulcet lyric verse (of the motto) is soon
+
+[Music: (Cellos with _tremolo_ of lower strings)]
+
+banished by a sudden lively, eccentric phrase that has an air of forced
+gaiety, with interplay of mystic symbols. At last, on a farther height,
+comes the first
+
+[Music]
+
+joyous abandon (in a new mask of the motto), recurring anon as recess
+from sombre brooding.
+
+Here the second subject has a free song,--in gentle chase of pairs of
+voices (of woodwind and muted strings and harp) and grows to alluring
+melody. As
+
+[Music: (Lower reed, with _tremolo_ of lower strings)]
+
+from a dream the eccentric trip awakens us, on ever higher wing. At the
+top in slower swing of chords horn and reeds chant the antiphonal
+legend, and in growing rapture, joined by the strings, rush once more
+into the jubilant revel, the chanting legend still sounding anon in
+sonorous bass.
+
+The climax of feeling is uttered in a fiery burst of all the brass in
+the former dulcet refrain from the motto. In full sweep of gathering
+host it flows in unhindered song. Somehow by a slight turn, the tune is
+transformed into the alluring melody of the second theme. When the
+former returns, we feel that both strains are singing as part of a
+single song and that the two subjects are blended and reconciled in
+rapture of content.
+
+A new mystic play of the quicker motto, answered by the second theme,
+leads to an overpowering blast of the motto in slowest notes of brass
+and reed, ending in a final fanfare.
+
+All lightness is the Scherzo, though we cannot escape a Russian vein of
+minor even in the dance. A rapid melody has a kind of perpetual motion
+in the strings, with mimicking echoes in the wood. But the strange part
+is how the natural accompanying voice below (in the bassoon) makes a
+haunting melody of
+
+[Music: _Vivo_
+(Violins doubled below in violas)
+(Bassoon)
+(_Pizz._ cellos)]
+
+its own,--especially when they fly away to the major. As we suspected,
+the lower proves really the principal song as it winds on in the
+languorous English horn or in the higher reed. Still the returning dance
+has now the whole stage in a long romp with strange peasant thud of the
+brass on the second beat. Then the song rejoins the dance, just as in
+answering glee, later in united chorus.
+
+A quieter song (that might have been called the Trio) has still a
+clinging flavor of the soil,--as of a folk-ballad, that is not lost with
+the later madrigal nor with the tripping figure that runs along.
+
+Strangely, after the full returning dance, an epilogue
+
+[Music: (Trio) _Poco meno mosso_
+(Strings)]
+
+of the ballad appears over a drone, as of bagpipe, through all the
+harmony of the madrigal. Strangest of all is the playful last refrain in
+the high piccolo over the constant soft strumming strings.
+
+The Andante, in pure lyric mood, is heavily charged with a certain
+Oriental languor. The clarinet
+
+[Music: (Clarinet)
+_Andante_
+(Strings with harp)]
+
+leads the song, to rich strum of harp and strings, with its note of
+sensuous melancholy. Other, more external signs there are of Eastern
+melody, as in the graceful curl of quicker notes. Intermediate strains
+between the verses seem gently to rouse the slumbering feeling,--still
+more when they play between the lines of the song. The passion that is
+lulled in the languor of main melody, is somehow uttered in the later
+episode,--still more in the dual song of both
+
+[Music: (Violins doubled below)
+(Horns and bassoons doubled above in wood)
+(Strings and horns)]
+
+melodies,--though it quickly drops before a strange coquetry of other
+strains. Yet the climax of the main song is reached when the lighter
+phrase rings fervently in the high brass. Here the lyric beauty is
+stressed in a richer luxuriance of rhythmic setting. Once more sings the
+passionate tune; then in midst of the last verse of the main song is a
+quick alarm of rushing harp. The languorous dream is broken; there is an
+air of new expectancy. Instead of a close is a mere pause on a passing
+harmony at the portals of the high festival.
+
+With a clear martial stress the "Russian Theme" is sounded (in low
+strings), to the full a national
+
+[Music: _Allegro moderato_
+Finale _Thème Russe_
+(Cellos with basses in lower 8ve.)]
+
+tune of northern race. Enriched with prodigal harmony and play of lesser
+themes it flows merrily on, yet always with a stern pace, breaking out
+at last in a blare of warlike brass.
+
+Nor does the martial spirit droop in the second tune, though the
+melodies are in sheer contrast. In faster rhythm, the second is more
+festal so that the first returning has a tinge almost of terror. An
+
+[Music: (Cl't)
+(Strings)]
+
+after-strain of the second has a slightest descent to reflective
+feeling, from which there is a new rebound
+
+[Music: (Cellos)
+(Strings and harp with sustained chord of horns)]
+
+to the buoyant (festal) melody.
+
+Here in grim refrains, in dim depths of basses (with hollow notes of
+horns) the national tune has a free fantasy until it is joined by the
+second in a loud burst in the minor.
+
+Now the latter sings in constant alternation with the answering strain,
+then descends in turn into the depths of sombre musing. There follows a
+big, resonant dual climax (the main theme in lower brass), with an edge
+of grim defiance. In the lull we seem to catch a brief mystic play of
+the first motto of the symphony (in the horns) before the last joyous
+song of both melodies,--all with a power of intricate design and a
+dazzling brilliancy of harmony, in proud national celebration.
+
+A last romp is in polacca step on the tune of the Russian Theme.
+
+
+_RIMSKY-KORSAKOW.[A] "ANTAR," SYMPHONY_
+
+[Footnote A: Nicholas Rimsky-Korsakow, Russian, 1844-1908.]
+
+The title-page tells us that "the subject is taken from an Arabian tale
+of Sennkowsky." Opposite the beginning of the score is a summary of the
+story, in Russian and in French, as follows:
+
+     I.--Awful is the view of the desert of Sham; mighty in their
+     desolation are the ruins of Palmyra, the city razed by the spirits
+     of darkness. But Antar, the man of the desert, braves them, and
+     dwells serenely in the midst of the scenes of destruction. Antar
+     has forever forsaken the company of mankind. He has sworn eternal
+     hatred on account of the evil they returned him for the good which
+     he intended.
+
+     Suddenly a charming, graceful gazelle appears. Antar starts to
+     pursue it. But a great noise seems pulsing through the heavens, and
+     the light of day is veiled by a dense shadow. It is a giant bird
+     that is giving chase to the gazelle.
+
+     Antar straightway changes his intent, and attacks the monster,
+     which gives a piercing cry and flies away. The gazelle disappears
+     at the same time, and Antar, left alone in the midst of ruins, soon
+     goes to sleep while meditating on the event that has happened.
+
+     He sees himself transported to a splendid palace, where a multitude
+     of slaves hasten to serve him and to charm his ear with their song.
+     It is the abode of the Queen of Palmyra,--the fairy Gul-nazar. The
+     gazelle that he has saved from the talons of the spirit of darkness
+     is none other than the fairy herself. In gratitude Gul-nazar
+     promises Antar the three great joys of life, and, when he assents
+     to the proffered gift, the vision vanishes and he awakes amid the
+     surrounding ruins.
+
+     II.--The first joy granted by the Queen of Palmyra to Antar are the
+     delights of vengeance.
+
+     III.--The second joy--the delights of power.
+
+     IV.--Antar has returned to the fallen remains of Palmyra. The third
+     and last gift granted by the fairy to Antar is the joy of true
+     love. Antar begs the fairy to take away his life as soon as she
+     perceives the least estrangement on his side, and she promises to
+     do his desire.
+
+     After a long time of mutual bliss the fairy perceives, one day,
+     that Antar is absent in spirit and is gazing into the distance.
+     Straightway, divining the reason, she passionately embraces him.
+     The fire of her love enflames Antar, and his heart is consumed
+     away.
+
+     Their lips meet in a last kiss and Antar dies in the arms of the
+     fairy.
+
+The phases of the story are clear in the chain of musical scenes, of the
+movements themselves and within them. In the opening Largo that recurs
+in this movement between the visions and happenings, a melody appears
+(in violas) that moves in all the
+
+[Music: (Violas) _Largo_
+(Woodwind)]
+
+acts of the tragedy. It is clearly the Antar motive,--here amidst ruin
+and desolation.
+
+The fairy theme is also unmistakable, that first plays in the flute,
+against soft horns, _Allegro giocoso_,
+
+[Music: (Flute) _Allegro giocoso_
+(Horns) (Harp)]
+
+and is lost in the onrushing attack, _furioso_, of a strain that begins
+in murmuring of muted strings.
+
+Other phrases are merely graphic or incidental. But the Antar motive is
+throughout the central moving figure.
+
+The scene of the desert returns at the end of the movement.
+
+In the second (_Allegro_, rising to _Molto allegro_, returning
+_allargando_) the Antar motive is seldom absent. The ending is in long
+notes of solo oboe and first violins. There is no trace of the fairy
+queen throughout the movement.
+
+The third movement has phases of mighty action (as in the beginning,
+_Allegro risoluto alla Marcia_), of delicate charm, and even of humor.
+The Antar melody plays in the clangor of big climax in sonorous tones of
+the low brass, against a quick martial phrase of trumpets and horns.
+Again there is in this movement no sign of the fairy queen.
+
+In the fourth movement, after a prelude, _Allegretto vivace_, with light
+trip of high flutes, a melody, of actual Arab origin, sings _Andante
+amoroso_ in the
+
+[Music: (Arabian melody)
+_Andante amoroso_
+(Eng. horn)
+(Bassoon)]
+
+English horn, and continues almost to the end, broken only by the
+dialogue of the lover themes. At the close a last strain of the Antar
+melody is followed by the fairy phrase and soft vanishing chord of harp
+and strings.
+
+
+_"SCHÉRÉZADE," AFTER "A THOUSAND AND ONE NIGHTS." SYMPHONIC SUITE_
+
+Prefixed to the score is a "program," in Russian and French: "The Sultan
+Schahriar, convinced of the infidelity of women, had sworn to put to
+death each of his wives after the first night. But the Sultana
+Schérézade saved her life by entertaining him with the stories which she
+told him during a thousand and one nights. Overcome by curiosity, the
+Sultan put off from day to day the death of his wife, and at last
+entirely renounced his bloody vow.
+
+"Many wonders were told to Schahriar by the Sultana Schérézade. For the
+stories the Sultana borrowed the verses of poets and the words of
+popular romances, and she fitted the tales and adventures one within the
+other.
+
+"I. The Sea and the Vessel of Sindbad.
+
+"II. The Tale of the Prince Kalender.
+
+"III. The Young Prince and the Young Princess.
+
+"IV. Feast at Bagdad. The Sea. The Vessel is Wrecked on a Rock on which
+is Mounted a Warrior of Brass. Conclusion."
+
+With all the special titles the whole cannot be regarded as close
+description. It is in no sense narrative music. The titles are not in
+clear order of events, and, moreover, they are quite vague.
+
+In the first number we have the sea and merely the vessel, not the
+voyages, of Sindbad. Then the story of the Prince Kalender cannot be
+distinguished among the three tales of the royal mendicants. The young
+prince and the young princess,--there are many of them in these Arabian
+fairy tales, though we can guess at the particular one. Finally, in the
+last number, the title mentions an event from the story of the third
+Prince Kalender, where the vessel (not of Sindbad) is wrecked upon a
+rock surmounted by a warrior of brass. The Feast of Bagdad has no
+special place in any one of the stories.
+
+The truth is, it is all a mirroring in tones of the charm and essence of
+these epic gems of the East. It is not like the modern interlinear
+description, although it might be played during a reading on account of
+the general agreement of the color and spirit of the music. But there is
+the sense and feeling of the story, _das Märchen_, and the romance of
+adventure. The brilliancy of harmony, the eccentricity and gaiety of
+rhythm seem symbolic and, in a subtle way, descriptive. As in the
+subject, the stories themselves, there is a luxuriant imagery, but no
+sign of the element of reflection or even of emotion.
+
+_I._--The opening motive, in big, broad rhythm, is clearly the Sea. Some
+have called it the Sindbad motive. But in essence these are not very
+different. The Sea is here the very feeling and type of adventure,--nay,
+Adventure itself. It is a necessary part of fairy stories. Here it
+begins and ends with its rocking theme, ever moving onward. It comes in
+the story of the Prince Kalender.
+
+The second of the main phrases is evidently the motive of the fairy tale
+itself, the feeling of "once upon a time," the idea of story, that leads
+us to the events themselves. It is a mere strumming of chords of the
+harp, with a vague line, lacking rhythm, as of musical prose. For rhythm
+is the type of event, of happenings, of the adventure itself. So the
+formless phrase is the introduction, the narrator, _Märchen_ in an
+Oriental dress as Schérézade.
+
+The first number passes for the most part in a rocking of the motive of
+the sea, in various moods and movements: _Largo e maestoso, Allegro non
+troppo,--tranquillo_. At one time even the theme of the story sings to
+the swaying of the sea.[A]
+
+[Footnote A: We remember how Sindbad was tempted after each fortunate
+escape from terrible dangers to embark once more, and how he tells the
+story of the seven voyages on seven successive days, amid luxury and
+feasting.]
+
+_II._--In the tale of the Prince Kalender Schérézade, of course, begins
+the story as usual. But the main thread is in itself another interwoven
+tale,--_Andantino Capriccioso, quasi recitando_, with a solo in the
+bassoon _dolce e espressivo_,--later _poco piu mosso_, in violins.[A]
+There is most of happenings here. A very strident phrase that plays in
+the brass _Allegro molto_, may be some hobgoblin, or rather an evil
+jinn, that holds the princess captive and wrecks the hero's vessel. The
+sea, too, plays a tempestuous part at the same time with the impish
+mischief of the jinn.
+
+[Footnote A: In the old version the word "Calender" is used; in the new
+translation by Lane we read of "The Three Royal Mendicants." In certain
+ancient editions they are called "Karendelees,"--i.e., "miserable
+beggars." Each of the three had lost an eye in the course of his
+misfortunes. The story (of the Third Kalender) begins with the wreck of
+the prince's vessel on the mountain of loadstone and the feat of the
+prince, who shoots the brazen horseman on top of the mountain and so
+breaks the charm. But there is a long chain of wonders and of troubles,
+of evil enchantments and of fateful happenings.]
+
+_III._--The third number is the idyll,--both of the stories and of the
+music. Here we are nearest to a touch of sentiment,--apart from the mere
+drama of haps and mishaps.[A] But there are all kinds of special
+events. There is no prelude of the narrator. The idyll begins
+straightway, _Andantino quasi allegretto_, winds through all kinds of
+scenes and storms, then sings again _dolce e cantabile_. Here, at last,
+the Schérézade phrase is heard on the violin solo, to chords of the
+harp; but presently it is lost in the concluding strains of the love
+story.
+
+[Footnote A: The story, if any particular one is in the mind of the
+composer, is probably that of the Prince Kamar-ez-Zemán and the Princess
+Budoor. In the quality of the romance it approaches the legends of a
+later age of chivalry. In the main it is the long quest and the final
+meeting of a prince and a princess, living in distant kingdoms. Through
+the magic of genii they have seen each other once and have exchanged
+rings. The rest of the story is a long search one for the other. There
+are good and evil spirits, long journeys by land and sea, and great
+perils. It is an Arab story of the proverbial course of true love.]
+
+_IV._--The last number begins with the motive of the sea, like the
+first, but _Allegro molto_, again followed by the phrase of the story
+teller. The sea returns _Allegro molto e frenetico_ in full force, and
+likewise the vague motive of the story in a cadenza of violin solo. Then
+_Vivo_ comes the dance, the pomp and gaiety of the Festival, with
+tripping tambourine and strings and the song first in the flutes.[A]
+Presently a reminder of the sea intrudes,--_con forza_ in lower wood and
+strings. But other familiar figures flit by,--the evil jinn and the
+love-idyll. Indeed the latter has a full verse,--in the midst of the
+carnival.
+
+[Footnote A: We may think of the revels of Sindbad before the returning
+thirst for adventure.]
+
+Right out of the festival, rather in full festal array, we seem to
+plunge into the broad movement of the surging sea, _Allegro non troppo e
+maestoso_, straight on to the fateful event. There are no sighs and
+tears. Placidly the waves play softly about. And _dolce e capriccioso_
+the siren Schérézade once more reappears to conclude the tale.
+
+
+_RACHMANINOW. SYMPHONY IN E MINOR_[A]
+
+[Footnote A: Sergei Rachmaninow, born in 1873.]
+
+_I._--The symphony begins with the sombre temper of modern Russian art;
+at the outset it seems to throb with inmost feeling, uttered in subtlest
+design.
+
+The slow solemn prelude _(Largo)_ opens with the
+
+[Music: _Largo_
+(Strings)]
+
+chief phrase of the work in lowest strings to ominous chords, and treats
+it with passionate stress until the main pace of Allegro.
+
+[Music: _Espr_. (Violins)
+(Wood and horns)]
+
+But the germ of prevailing legend lies deeper. The work is one of the
+few symphonies where the whole is reared on a smallest significant
+phrase. The first strain (of basses) is indeed the essence of the
+following melody and in turn of the main Allegro theme. But, to probe
+still further, we cannot help feeling an ultimate, briefest motive of
+single ascending tone against intrinsic obstacle, wonderfully expressed
+in the harmony, with a mingled sense of resolution and regret. And of
+like moment is the reverse descending tone. Both of these symbols
+reappear throughout the symphony, separate or blended in larger melody,
+as principal or accompanying figures. Aside from this closer view that
+makes clear the tissue of themal discussion, the first phrase is the
+main melodic motto, that is instantly echoed in violins with piquant
+harmony. In the intricate path of deep musing we feel the mantle of a
+Schumann who had himself a kind of heritage from Bach. And thus we come
+to see the national spirit best and most articulate through the medium
+of ancient art.
+
+The main Allegro melody not so much grows out of the Largo prelude, as
+it is of the same fibre and
+
+[Music: _Allegro moderato_
+4 times
+_molto expr._ (Violins)
+(Wood with _tremolo_ strings)
+(Strings with clarinets and bassoons)]
+
+identity. The violins sing here against a stately march of harmonies.
+Such is the fine coherence that the mere heralding rhythm is wrought of
+the first chords of the Largo, with their descending stress. And the
+expressive melody is of the same essence as the original sighing motto,
+save with a shift of accent that gives a new fillip of motion. In this
+movement at least we see the type of real symphony, that throbs and
+sings and holds us in the thrall of its spirit and song.
+
+Moments there are here of light and joy, quickly drooping to the darker
+mood. Following the free flight of main melody is a skein of quicker
+figures, on aspirant pulse, answered by broad, tragic descent in minor
+tones.
+
+Milder, more tranquil sings now the second melody, a striking embodiment
+of the sense of striving ascent. Chanted in higher reeds, it is
+immediately
+
+[Music: (Oboes and clarinets)
+(Violins) (Oboes and clar'ts)
+(Horns) (Bassoons)
+_dolce_
+(_Pizz._ strings)]
+
+followed and accompanied by an expressive answer in the strings. On the
+wing of this song we rise to a height where begins the path of a brief
+nervous motive (of the first notes of the symphony) that with the
+descending tone abounds in various guise. As a bold glance at the sun is
+punished by a sight of solar figures all about, so we feel throughout
+the tonal story the presence of these symbols. An epilogue of wistful
+song leads to the repeated melodies.
+
+The main figure of the plot that follows is the first melody, now in
+slow, graceful notes, now in feverish pace, though the brief (second)
+motive moves constantly here and there. A darkest descent follows into
+an Avernus of deep brooding on the legend, with an ascending path of the
+brief, nervous phrase and a reverse fall, that finally wears out its own
+despair and ends in a sombre verse of the prelude, with new shades of
+melancholy, then plunges into an overwhelming burst on the sighing
+phrase. Thence the path of brooding begins anew; but it is now
+ascendant, on the dual pulse of the poignant motto and the brief,
+nervous motive. The whole current of passion is thus uttered in the
+prelude strain that at the outset was pregnant with feeling. At the
+crisis it is answered or rather interwoven with a guise of the second
+theme, in hurried pace, chanted by stentorian brass and wood in
+hallooing chorus that reaches a high exultation. To be sure the Russian
+at his gladdest seems tinged with sense of fate. So from the single
+burst we droop again. But the gloom is pierced by brilliant
+shafts,--herald calls (of brass and wood) that raise the mood of the
+returning main melody, and in their continuous refrain add a buoyant
+stimulus. And the verse of quicker figures has a new fire and ferment.
+All absent is the former descent of minor tones. Instead, in solemn hush
+of tempest, without the poignant touch, the tranquil second melody
+returns with dulcet answer of strings. A loveliest verse is of this
+further song where, in a dual chase of tune, the melody moves in
+contained rapture. In the cadence is a transfigured phase of the
+ascending tone, mingled with the retiring melody, all woven to a
+soothing cadence.
+
+But the struggle is not over, nor is redemption near. The dulcet phrases
+sink once more to sombre depth where there is a final, slow-gathering
+burst of passion on the motto, with a conclusive ring almost of fierce
+triumph.
+
+_II._--The second movement, _Allegro molto_, is a complete change from
+introspection and passion to an
+
+[Music: _Allegro molto_
+(Insistent strum of strings)
+_Marcato_]
+
+abandon as of primitive dance. Strings stir the feet; the horns blow the
+first motive of the savage tune; the upper wood fall in with a dashing
+jingle,--like a stroke of cymbals across the hostile harmonies.
+
+Whether a recurring idiom is merely personal or belongs to the special
+work is difficult to tell. In reality it matters little. Here the
+strange rising tone is the same as in the former (second) melody. In
+the rude vigor of harmonies the primitive idea is splendidly stressed.
+
+Right in the answer is a guise of short, nervous phrase, that gets a new
+touch of bizarre by a leap of the seventh from below. In this figure
+that moves throughout the symphony we see an outward symbol of an inner
+connection.--Bells soon lend a festive ring to the main tune.
+
+In quieter pace comes a tranquil song of lower voices with a companion
+melody above,--all in serene major. Though it grew naturally out of the
+rude
+
+[Music: _Molto cantabile_]
+
+dance, the tune has a contrasting charm of idyll and, too, harks back to
+the former lyric strains that followed the second melody. When the dance
+returns, there is instead of discussion a mere extension of main motive
+in full chorus.
+
+But here in the midst the balance is more than restored. From the dance
+that ceases abruptly we go straight to school or rather cloister. On our
+recurring nervous phrase a fugue is rung with all pomp and ceremony
+(_meno mosso_); and of the dance there are mere faint echoing memories,
+when the
+
+[Music: _Meno mosso_
+(Oboe) _molto marcato_
+(Violins) staccato]
+
+fugal text seems for a moment to weave itself into the first tune.
+
+Instead, comes into the midst of sermon a hymnal chant, blown gently by
+the brass, while other stray
+
+[Music: _Leggiero_]
+
+voices run lightly on the thread of fugue. There is, indeed, a playful
+suggestion of the dance somehow in the air. A final tempest of the
+fugue[A] brings us back to the full verse of dance and the following
+melodies. But before the end sounds a broad hymnal line in the brass
+with a dim thread of the fugue, and the figures steal away in solemn
+stillness.
+
+[Footnote A: It is of the first two notes of the symphony that the fugal
+theme is made. For though it is longer in the strings, the brief motion
+is ever accented in the wood. Thus relentless is the themal coherence.
+If we care to look closer we see how the (following) chant is a slower
+form of the fugal theme, while the bass is in the line of the
+dance-tune. In the chant in turn we cannot escape a reminder, if not a
+likeness, of the second theme of the first movement.]
+
+_III._--The Adagio has one principal burden, first borne by
+violins,--that rises from the germ of earlier
+
+[Music: _Adagio_
+(Strings with added harmony in bassoons and horns)]
+
+lyric strains. Then the clarinet joins in a quiet madrigal of tender
+phrases. We are tempted to find here an influence from a western
+fashion, a taint of polythemal virtuosity, in this mystic maze of many
+strains harking from all corners of the work, without a gain over an
+earlier Russian simplicity. Even the Slavic symphony seems to have
+fallen into a state of artificial cunning, where all manners of greater
+
+[Music: (Solo clarinet)
+_espress._
+(Divided strings) _dolce_]
+
+or lesser motives are packed close in a tangled mass.
+
+It cannot be said that a true significance is achieved in proportion to
+the number of concerting themes. We might dilate on the sheer inability
+of the hearer to grasp a clear outline in such a multiple plot.
+
+There is somehow a false kind of polyphony, a too great facility of
+spurious counterpoint, that differs subtly though sharply from the true
+art where the number entails no loss of individual quality; where the
+separate melodies move by a divine fitness that measures the perfect
+conception of the multiple idea; where there is no thought of a later
+padding to give a shimmer of profound art. It is here that the symphony
+is in danger from an exotic style that had its origin in German
+music-drama.
+
+From this point the Rachmaninow symphony languishes in the fountain of
+its fresh inspiration, seems consciously constructed with calculating
+care.
+
+There is, after all, no virtue in itself in mere themal
+interrelation,--in particular of lesser phrases. One cogent theme may
+well prevail as text of the whole. As the recurring motives are
+multiplied, they must lose individual moment. The listener's grasp
+becomes more difficult, until there is at best a mystic maze, a sweet
+chaos, without a clear melodic thought. It cannot be maintained that the
+perception of the modern audience has kept pace with the complexity of
+scores. Yet there is no gainsaying an alluring beauty of these waves of
+sound rising to fervent height in the main melody that is expressive of
+a modern wistfulness.
+
+But at the close is a fierce outbreak of the first motto, with a
+defiance of regret, in faster, reckless pace, brief, but suddenly
+recurring. Exquisite is this
+
+[Music: (Ob.) _cantabile_
+(Strings, wood and horns)]
+
+cooing of voices in mournful bits of the motto, with a timid upper
+phrase in the descending tone.
+
+On we go in the piling of Ossa on Pelion, where the motto and even the
+Scherzo dance lend their text. Yet all is fraught with sentient beauty
+as, rising in Titanic climb, it plunges into an overwhelming cry in the
+Adagio melody. Throughout, the ascending and descending tones, close
+interwoven, give a blended hue of arduous striving and regret.
+
+After a pause follow a series of refrains of solo voices in the melody,
+with muted strings, with mingled strains of the motto. In the bass is an
+undulation that recalls the second theme of former movement. And the
+clarinet returns with its mystic madrigal of melody; now the Adagio
+theme enters and gives it point and meaning. In one more burst it sings
+in big and little in the same alluring harmony, whence it dies down to
+soothing close in brilliant gamut as of sinking sun.
+
+_IV.--Allegro vivace._ Throwing aside the clinging
+
+[Music: _Allegro vivace_
+_Molto marcato_
+(Strings, wood and horns with reinforced harmonies)]
+
+fragments of fugue in the prelude we rush into a gaiety long sustained.
+Almost strident is the ruthless merriment; we are inclined to fear that
+the literal coherence of theme is greater than the inner connection of
+mood. At last the romp hushes to a whisper of drum, with strange patter
+of former dance. And following and accompanying it is a new hymnal (or
+is it martial) line, as it were the reverse of the other
+
+[Music: (Reeds and horns)
+(Strings with the quicker dance phrase of 2d movement)]
+
+chant. The gay figures flit timidly back,--a struggle 'twixt pleasure
+and fate,--but soon regain control.
+
+If we cared to interpret, we might find in the Finale a realized
+aspiration. The truth is the humors of the themal phrases, as of the
+movements, jar: they are on varying planes. The coarser vein of the last
+is no solace to the noble grief of the foregoing.
+
+Again the change or series of moods is not clearly defined. They seem a
+parade of visions. The hymn may be viewed as a guise of the former chant
+of the Scherzo, with the dance-trip in lowest bass.
+
+Straight from the rush and romp we plunge anew into a trance of sweet
+memories. The lyric vein here binds together earlier strains, whose
+kinship had not appeared. They seemed less significant, hidden as
+subsidiary ideas. If we care to look back we find a germ of phrase in
+the first Prelude, and then the answer of the second (Allegro) theme of
+first movement. There was, too, the sweep of dual melody following the
+rude dance of Scherzo. Above all is here the essence and spirit of the
+central Adagio melody of the symphony.
+
+The answering strain is of high beauty, with a melting sense of
+farewell. From the sad ecstasy is a
+
+[Music: (Strings with higher and lower 8ve.)
+(Wood and horns in 8ves.)
+(Basses of strings and reeds)]
+
+descent to mystic musing, where abound the symbols of rising and falling
+tones. More and more moving is the climactic melody of regret with a
+blended song in large and little. Most naturally it sinks into a full
+verse of the Adagio tune--whence instantly is aroused a new battle of
+moods.
+
+While the dance capers below, above is the sobbing phrase from the heart
+of the Adagio. The trip falls into the pace of hymnal march. The shadows
+of many figures return. Here is the big descending scale in tragic minor
+from the first movement. Large it looms, in bass and treble. Answering
+it is a figure of sustained thirds that recalls the former second
+(Allegro) melody. And still the trip of dance goes on.
+
+Sharpest and strongest of all these memories is the big sigh of sombre
+harmonies from the first Largo prelude, answered by the original legend.
+And the dance still goes tripping on and the tones rumble in descent.
+
+The dance has vanished; no sound but the drone of dull, falling tones,
+that multiply like the spirits of the sorcerer apprentice, in large form
+and small, with the big rumbling in a quick patter as of scurrying mice.
+
+Suddenly a new spirit enters with gathering volume and warmer harmony.
+As out of a dream we gradually emerge, at the end with a shock of
+welcome to light and day, as we awake to the returning glad dance. And
+here is a new entrancing counter-tune above that crowns the joy.
+
+Once again the skip falls into the ominous descent with the phantom of
+Scherzo dance in basses. Now returns the strange hymnal line of march
+and the other anxious hue.
+
+But quickly they are transformed into the tempest of gaiety in full
+parade. When a new burst is preparing, we see the sighing figure all
+changed to opposite mood. The grim tune of Scherzo dance enters
+mysteriously in big and little and slowly takes on a softened hue,
+losing the savage tinge.
+
+After the returning dance, the farewell melody sings from full throat.
+Before the ending revel we may feel a glorified guise of the sombre
+legend of the symphony.
+
+
+
+
+CHAPTER XII
+
+SIBELIUS. A FINNISH SYMPHONY[A]
+
+[Footnote A: Symphony No. 1, in E minor, by Jan Sibelius, born in 1865.]
+
+
+We must expect that the music of newer nations will be national. It goes
+without saying; for the music comes fresh from the soil; it is not the
+result of long refined culture. There is the strain and burst of a
+burden of racial feeling to utter itself in the most pliant and eloquent
+of all the languages of emotion. It is the first and noblest sentiment
+of every nation conscious of its own worth, and it has its counterpart
+in the individual. Before the utterance has been found by a people,
+before it has felt this sense of its own quality, no other message can
+come. So the most glorious period in the history of every country (even
+in the eyes of other nations) is the struggle for independence, whether
+successful or not.
+
+All on a new plane is this northernmost symphony, with a crooning note
+almost of savage, and sudden, fitful bursts from languorous to fiery
+mood. The harmony, the turn of tune have a national quality, delicious
+and original, though the Oriental tinge appears, as in Slav and Magyar
+music, both in bold and in melancholy humor. Though full of strange and
+warm colors, the harmonic scheme is simple; rather is the work a tissue
+of lyric rhapsody than the close-woven plot of tonal epic. A certain
+trace of revery does find a vent in the traditional art of contrary
+melodies. But a constant singing in pairs is less art than ancient
+folk-manner, like primal music in the love or dance songs of savages.
+
+The symphony begins with a quiet rhapsody of solo clarinet in wistful
+minor, clear without chords, though there is a straying into major.
+There is no accompaniment save a soft roll of drum, and that soon dies
+away.
+
+[Music: _Andante, ma non troppo_
+_espress._
+(Clarinet)]
+
+The rhapsody seems too vague for melody; yet there are motives, one in
+chief, winding to a pause; here is a new appealing phrase; the ending is
+in a
+
+[Music]
+
+return to the first. Over the whole symphony is cast the hue of this
+rhapsody, both in mood and in the literal tone.
+
+All opposite, with sudden spring of buoyant strings, strikes the
+Allegro tune ending in a quick, dancing trip. The first voice is
+immediately pursued by another
+
+[Music: _Allegro energico_
+(2d violins)
+_Piu forte_
+(Violins with higher 8ve.)
+(Cellos with higher 8ve. in violas)]
+
+in similar phase, like a gentler shadow, and soon rises to a passionate
+chord that is the main idiom of the movement.
+
+[Music: (Strings, wood and horns)]
+
+A second theme in clear-marked tones of reed and horns, as of stern
+chant, is taken up in higher wood and grows to graceful melody in
+flowing strings.
+
+[Music: _marcato_]
+
+There is a series of flights to an ever higher perch of harmony until
+the first Allegro motive rings out in fullest chorus, again with the
+companion tune and the cadence of poignant dissonance.
+
+A new episode comes with shimmering of harp and strings, where rare and
+dainty is the sense of primal
+
+[Music: _marcato_
+(Flutes)
+(Strings with chord of harp)]
+
+harmony that lends a pervading charm to the symphony. Here the high
+wood has a song in constant thirds, right from the heart of the
+rhapsody, all bedecked as melody with a new rhythm and answer. Soon this
+simple lay is woven in a skein of pairs of voices, meeting or diverging.
+But quickly we are back in the trance of lyric song, over palpitating
+strings, with the refrain very like the former companion phrase that
+somehow leads or grows to a
+
+[Music: _Tranquillo_
+(Oboe, with other wood)
+(Strings with higher E)]
+
+rhythmic verse of the first strain of the rhapsody. Here begins a long
+mystic phase of straying voices (of the wood) in the crossing figures of
+the song, in continuous fantasy that somehow has merged into the line of
+second Allegro theme, winging towards a brilliant height where the
+strings ring out the strain amid sharp cries of the brass in startling
+hues of harmony and electric calls from the first rhapsody.
+
+From out the maze and turmoil the shadowy melody rises in appealing
+beauty like heavenly vision and lo! is but a guise of the first strain
+of rhapsody. It rises amid flashes of fiery brass in bewildering blare
+of main theme, then sinks again to the depth of brooding, though the
+revery of the appealing phrase has a climactic height of its own, with
+the strange, palpitating harmonies.
+
+In a new meditation on bits of the first Allegro theme sounds suddenly a
+fitful burst of the second, that presently emerges in triumphant,
+sovereign song. Again, on a series of flights the main theme is reached
+and leaps once more to impassioned height.
+
+But this is followed by a still greater climax of moving pathos whence
+we descend once more to lyric meditation (over trembling strings).
+Follows a final tempest and climax of the phrase of second theme.
+
+The movement thus ends, not in joyous exultation, but in a fierce
+triumph of sombre minor.
+
+The Andante is purest folk-melody, and it is strange how we know this,
+though we do not know the special theme. We cannot decry the
+race-element as a rich fount of melody. While older nations strive and
+strain, it pours forth by some mystery in prodigal flow with less
+tutored peoples who are singing their first big song to the world. Only,
+the ultimate goal for each racial inspiration must be a greater
+universal celebration.
+
+The lyric mood is regnant here, in a melody that, springing from distant
+soil, speaks straight to every heart, above all with the concluding
+refrain. It is of the purest vein, of the primal fount, deeper than mere
+racial turn or trait. Moreover, with a whole coronet of gems of modern
+harmony, it has a broad swing and curve that gives the soothing sense of
+fireside;
+
+[Music: _Andante ma non troppo lento_
+(Muted violins)
+(Sustained horns and basses with lower 8ve.; constant stroke of harp)
+(Clarinets)]
+
+it bears a burden of elemental, all-contenting emotion. In the main, the
+whole movement is one lyric flight. But there come the moods of musing
+and rhapsodic rapture. In a brief fugal vein is a mystic harking back to
+the earlier prelude. In these lesser phrases are the foil or
+counter-figures for the bursts of the melody.
+
+It is the first motive of the main tune that is the refrain in ever
+higher and more fervent exclamation, or in close pressing chase of
+voices. Then follows a melting episode,--some golden piece of the melody
+in plaintive cellos, 'neath tremulous wood or delicate choirs of
+strings.
+
+But there is a second tune, hardly less moving, in dulcet group of
+horns amid shimmering strings and harp, with a light bucolic answer in
+playful reed.
+
+[Music: _Molto tranquillo_
+(Violins)
+_dolce_ (Horns)
+(With arpeggic harp)]
+
+And it has a glowing climax, too, with fiery trumpet, and dashing
+strings and clashing wood.
+
+Gorgeous in the warm depth of horns sound now the returning tones of the
+first noble melody, with playful trill of the wood, in antiphonal song
+of trumpets and strings. And there are revels of new turns of the tune
+(where the stirring harmony seems the best of all) that will rise to a
+frenzy of tintinnabulation. A quicker counter-theme lends life and
+motion to all this play and plot.
+
+A big, solemn stride of the middle strain (of main melody) precedes the
+last returning verse, with all the tender pathos of the beginning.
+
+The Scherzo is wild race-feeling let loose--national music that has not
+yet found a melody. Significantly the drums begin the tune, to a dancing
+strain of _pizzicato_ strings. The tune is so elemental that the
+
+[Music: _Allegro_
+(Violins)
+(_Pizz._ cellos double above in violas)]
+
+drums can really play it; the answer is equally rude,--an arpeggic
+motive of strings against quick runs of the higher wood. Out of it grows
+a tinge of tune with a fresh spring of dance,--whence returns the first
+savage motive. This is suddenly changed to the guise of a fugal theme,
+with new close, that starts a maze of disputation.
+
+Right from the full fire of the rough dance, sad-stressed chords plunge
+into a moving plaint with much sweetness of melody and higher
+counter-melody. Then returns again the original wild rhythm.
+
+[Music: _Lento ma non troppo_]
+
+In the last movement the composer confesses the "Fantasy" in the title.
+It begins with a broad sweep of the returning rhapsody, the prologue of
+the symphony, though without the former conclusion. Now it sings in a
+strong unison of the strings _largamente ed appassionato_, and with
+clang of chord in lower brass. The appealing middle phrase is all
+disguised in strum as of dance. The various strains sing freely in
+thirds, with sharp punctuating chords. Throughout is a balance of the
+pungent vigor of harmonies with dulcet melody.
+
+In sudden rapid pace the strumming figure dances in the lower reed, then
+yields to the play (in the strings) of a lively (almost comic) tune of a
+strong national tinge,--a kind that seems native to northern countries
+and is not unlike a strain that crept into
+
+[Music: _Allegro molto_]
+
+American song. A tempest of pranks is suddenly halted before the
+entrance of a broad melody, with underlying harmonies of latent passion.
+The feeling of fantasy is in the further flow, with free singing chords
+of harp. But ever between the lines creeps in the strumming phrase, from
+the first prelude, returned to its earlier mood.
+
+[Music: _Andante assai_
+(Violins) _cantabile ed espressivo_
+(Horns)
+(Clarinets)
+(_Tremolo_ cellos, with lower C in basses)]
+
+With baffling mystery anon come other appealing phrases from the
+beginning, that show the whole to be the woof almost of a single figure,
+or at least to lie within the poetic scope of the prologue. A fugal
+revel of the comic phrase with the quick strum as counter-theme ends in
+a new carnival,--here a dashing march, there a mad chase of strident
+harmonies. Now sings the full romance and passion of the melody through
+the whole gamut from pathos to rapture. It ends with poignant stress of
+the essence of the song, with sheerest grating of straining harmonies.
+In the midst, too, is again the mystic symbol from the heart of the
+prelude. Then with a springing recoil comes a last jubilation, though
+still in the prevailing minor, with a final coursing of the quick theme.
+
+The whole is a broad alternation of moods, of wild abandon and of tender
+feeling,--the natural dual quality of primal music. So, at least in the
+Finale, this is a Finnish fantasy, on the very lines of other national
+rhapsody.
+
+
+
+
+CHAPTER XIII
+
+BOHEMIAN SYMPHONIES
+
+
+In the music of modern Bohemia is one of the most vital utterances of
+the folk-spirit. The critic may not force a correspondence of politics
+and art to support his theory. Yet a cause may here be found as in
+Russia and Finland. (Poland and Hungary had their earlier song). There
+is a sincerity, an unpremeditated quality in Bohemian music that is not
+found among its western neighbors. The spirit is its own best proof,
+without a conscious stress of a national note. Indeed, Bohemian music is
+striking, not at all in a separate tonal character, like Hungarian, but
+rather in a subtle emotional intensity, which again differs from the
+wild abandon of the Magyars. An expression it must be of a national
+feeling that has for ages been struggling against absorption. Since
+ancient times Bohemia has been part of a Teutonic empire. The story of
+its purely native kings is not much more than legendary. Nor has it
+shared the harder fate of other small nations; for the Teuton rule at
+least respected its separate unity.
+
+But the long association with the German people has nearly worn away the
+racial signs and hall-marks of its folk-song. A Bohemian tune thus has a
+taste much like the native German. Yet a quality of its own lies in the
+emotional vitality, shown in a school of national drama and, of late, in
+symphony. It is not necessary to seek in this modern culmination a
+correspondence with an impending danger of political suppression. Art
+does not follow history with so instant a reflection.
+
+The intensity of this national feeling appears when Smetana himself, the
+minstrel of the people, is charged at home with yielding to the foreign
+influence. Here again is the hardship of the true national poet who
+feels that for the best utterance of his message he needs the grounding
+upon a broader art; here is the narrow Chauvinism that has confined the
+music of many lands within the primitive forms.
+
+Two types we have in Bohemian music of later times: one, Smetana, of
+pure national celebration; a second, Dvôrák, who with a profound
+absorption of the German masters, never escaped the thrall of the
+folk-element and theme.
+
+
+_SMETANA. SYMPHONIC POEM, "THE MOLDAU RIVER"_[A]
+
+[Footnote A: Friedrich Smetana, 1824-1884, foremost among Bohemian
+dramatic composers, wrote a cycle of symphonic poems under the general
+title "My Country." Of these the present work is the second.]
+
+Simplicity is uppermost in these scores; yet the true essence is almost
+hidden to the mere reader. With all primitive quality they are more
+difficult than many a classic symphony. The latent charm of folk humor
+and sentiment depends more on tradition and sympathy than on notation.
+
+The naïvely graphic impulse (that we find throughout the choral works of
+Bach) that merely starts a chance themal line, as here of the first
+branch of the Moldau, does not disturb the emotional expression. And
+while the feeling is sustained, the art is there, not to stifle but to
+utter and set free the native spring of song.
+
+It must be yielded that the design is not profound; it smacks of the
+village fair rather than of grand tragedy. Song is ever supreme, and
+with all abundance of contrapuntal art does not become sophisticated.
+The charm is not of complexity, but of a more child-like, sensuous kind.
+
+It must all be approached in a different way from other symphonic music.
+The minstrel is not even the peasant in court costume, as Dvôrák once
+was called. He is the peasant in his own village dress, resplendent with
+color and proud of his rank.
+
+We cannot enjoy the music with furrowed brow. It is a case where music
+touches Mother Earth and rejuvenates herself. Like fairy lore and
+proverbs, its virtue lies in some other element than profound design.
+For any form of song or verse that enshrines the spirit of a people and
+is tried in the forge of ages of tradition, lives on more surely than
+the fairest art of individual poet.
+
+The stream is the great figure, rising from small sources in playful
+flutes, with light spray of harp and
+
+[Music: _Allegro commodo non agitato_
+_lusingando_
+(Flute with chord of _pizz._ strings)]
+
+strings. The first brook is joined by another (in clarinets) from a new
+direction. Soon grows the number and the rustle of confluent waters. The
+motion of the strings is wavelike, of a broader flow, though underneath
+we scan the several lesser currents. Above floats now the simple, happy
+song, that expands
+
+[Music: _dolce_
+(Reeds and horns with waving strings and stroke of triangle)]
+
+with the stream and at last reaches a glad, sunny major.
+
+Still to the sound of flowing waters comes the forest hunt, with all the
+sport of trumpets and other brass.
+
+It is descriptive music, tonal painting if you will; but the color is
+local or national. The strokes are not so much of events or scenes as of
+a popular humor and character, which we must feel with small stress of
+each event. The blowing of trumpets, the purling of streams, the swaying
+of trees, in primal figures, all breathe the spirit of Bohemia.
+
+The hunt dies away; emerging from the forest the jolly sounds greet us
+of a peasant wedding. The
+
+[Music: _Tempo moderato_
+(Reeds and strings)]
+
+parade reaches the church in high festivity and slowly vanishes to
+tinkling bells.
+
+Night has fallen; in shifted scene the stream is sparkling in the
+moonlight still to the quiet sweet harmonies. But this is all background
+for a dance of nymphs, while a dulcet, sustained song sounds through the
+night. At last, to the golden horns a faintest harmony is added of
+deeper brass. Still very softly, the brass strike a quicker phrase and
+we seem to hear the hushed chorus of hunt with the call of trumpets, as
+the other brass lead in a new verse that grows lustier with the livelier
+song and dance, till--with a flash we are alone with the running stream
+with which the dance of nymphs has somehow merged.
+
+On it goes, in happy, ever more masterful course, a symbol of the
+nation's career, surging in bright major and for a moment quieting
+before the mighty Rapids of St. Johann. Here the song of the stream is
+nearly lost in the rush of eddies and the strife of big currents, with
+the high leaps of dashing spray,--ever recurring like unceasing battle
+with a towering clash at the height of the tempest. At last all meet in
+overpowering united torrent, suddenly to hush before the stream, at the
+broadest, rushes majestically along in hymnal song of exalted harmonies
+and triumphant melody, with joyous after-strains.
+
+As the pilgrim to his Mecca, so the waters are wafted into the climactic
+motive of the Hradschin, the chant of the holy citadel. The rest is a
+long jubilation
+
+[Music: _Motiv Vyserad_
+(Full orchestra, with rapid figures in the strings)]
+
+on quicker beats of the chant, amid the plash of waters and the shaking
+of martial brass. Strangely, as the other sounds die away, the melody of
+the stream emerges clear and strong, then vanishes in the distance
+before the jubilant Amen.
+
+In the general view we must feel a wonderful contrast here with the
+sophomoric state of the contemporary art in other lands where the
+folk-song has lost its savor,--where the natural soil is exhausted and
+elegant castles are built in the air of empty fantasy, or on the sands
+of a vain national pride.
+
+
+_DVÔRÁK. SYMPHONY, "FROM THE NEW WORLD."_[A]
+
+[Footnote A: Anton Dvôrák, 1841-1904.]
+
+It is a much-discussed question how far Dvôrák's American symphony is
+based on characteristic folk-song. Here are included other questions: to
+what extent the themes are based on an African type, and whether negro
+music is fairly American folk-song. Many, perhaps most people, will
+answer with a general negative. But it seems to be true that many of us
+do not really know the true negro song,--have quite a wrong idea of it.
+
+To be sure, all argument aside, it is a mistake to think that folk-song
+gets its virtue purely from a distinctive national quality,--because it
+is Hungarian, Scandinavian, or Slavonic. If all the national modes and
+rhythms of the world were merged in one republic, there would still be a
+folk-song of the true type and value. There is a subtle charm and
+strength in the spontaneous simplicity, all aside from racial color. It
+is here that, like Antaeus, the musician touches Mother Earth and renews
+his strength. So, when Dvôrák suddenly shifts in the midst of his New
+World fantasy into a touch of Bohemian song, there is no real loss. It
+is all relevant in the broad sense of folk feeling, that does not look
+too closely at geographical bounds. It is here that music, of all arts,
+leads to a true state of equal sympathy, regardless of national
+prejudice. What, therefore, distinguishes Dvôrák's symphony may not be
+mere negro melody, or even American song, but a genuine folk-feeling, in
+the widest meaning.
+
+In one way, Dvôrák's work reminds us of Mendelssohn's Scotch Symphony:
+both exploit foreign national melody in great poetic forms. One could
+write a Scotch symphony in two ways: one, in Mendelssohn's, the other
+would be to tell of the outer impression in the terms of your own
+folk-song. That is clearly the way Mendelssohn wrote most of the Italian
+Symphony,--which stands on a higher plane than the Scotch. For folk-song
+is the natural language of its own people. It is interesting to see the
+exact type that each theme represents; but it is not so important as to
+catch the distinction, the virtue of folk-song _per se_ and the purely
+natural utterance of one's own. Of course, every one writes always in
+his folk-tones. On the other hand, one may explore one's own special
+treasures of native themes, as Dvôrák himself did so splendidly in his
+Slavic Dances and in his Legends. So one must, after all, take this
+grateful, fragrant work as an idea of what American composers might do
+in full earnest. Dvôrák is of all later masters the most eminent
+folk-musician. He shows greatest sympathy, freedom and delight in
+revelling among the simple tones and rhythms of popular utterance,
+rearing on them, all in poetic spontaneity, a structure of high art.
+Without strain or show, Dvôrák stood perhaps the most genuine of late
+composers, with a firm foot on the soil of native melody, yet with the
+balance and restraint and the clear vision of the trained master.[A]
+
+[Footnote A: The whole subject of American and negro folk-song is new
+and unexplored. There are races of the blacks living on the outer reefs
+and islands of the Carolinas, with not more than thirty whites in a
+population of six thousand, where "spirituals" and other musical rites
+are held which none but negroes may attend. The truest African mode and
+rhythm would seem to be preserved here; to tell the truth, there is
+great danger of their loss unless they are soon recorded.]
+
+In a certain view, it would seem that by the fate of servitude the
+American negro has become the element in our own national life that
+alone produces true folk-song,--that corresponds to the peasant and serf
+of Europe, the class that must find in song the refuge and solace for
+its loss of material joys. So Dvôrák perhaps is right, with a far seeing
+eye, when he singles the song of the despised race as the national type.
+
+Another consideration fits here. It has been suggested that the
+imitative sense of the negro has led him to absorb elements of other
+song. It is very difficult to separate original African elements of song
+from those that may thus have been borrowed. At any rate, there is no
+disparagement of the negro's musical genius in this theory. On the
+contrary, it would be almost impossible to imagine a musical people that
+would resist the softer tones of surrounding and intermingling races.
+We know, to be sure, that Stephen Foster, the author of "The Old Folks
+at Home," "Massa's in the Cold, Cold Ground," and other famous ballads,
+was a Northerner, though his mother came from the South. We hear, too,
+that he studied negro music eagerly. It is not at all inconceivable,
+however, Foster's song may have been devoid of negro elements, that the
+colored race absorbed, wittingly or unwittingly, something of the vein
+into their plaints or lullabies,--that, indeed, Foster's songs may have
+been a true type that stirred their own imitation. From all points of
+view,--the condition of slavery, the trait of assimilation and the
+strong gift of musical expression may have conspired to give the negro a
+position and equipment which would entitle his tunes to stand as the
+real folk-song of America.
+
+The eccentric accent seems to have struck the composer strongly. And
+here is a strange similarity with Hungarian song,--though there is, of
+course, no kinship of race whatever between Bohemians and Magyars. One
+might be persuaded to find here simply an ebullition of rhythmic
+impulse,--the desire for a special fillip that starts and suggests a
+stronger energy of motion than the usual conventional pace. At any rate,
+the symphony begins with just such strong, nervous phrases that soon
+gather big force. Hidden is the germ of the first, undoubtedly the chief
+theme of the whole work.
+
+It is more and more remarkable how a search will show the true
+foundation of almost all of Dvôrák's themes. Not that one of them is
+actually borrowed, or lacks an original, independent reason for being.
+
+Whether by imitation or not, the pentatonic scale of the Scotch is an
+intimate part of negro song. This avoidance of the seventh or leading
+tone is seen throughout the symphony as well as in the traditional
+jubilee tunes. It may be that this trait was merely confirmed in the
+African by foreign musical influence. For it seems that the
+leading-note, the urgent need for the ascending half-tone in closing,
+belongs originally to the minstrelsy of the Teuton and of central
+Europe, that resisted and conquered the sterner modes of the early
+Church. Ruder nations here agreed with Catholic ritual in preferring the
+larger interval of the whole tone. But in the quaint jump of the third
+the Church had no part, clinging closely to a diatonic process.
+
+The five-toned scale is indeed so widespread that it cannot be fastened
+on any one race or even family of nations. The Scotch have it; it is
+characteristic of the Chinese and of the American Indian. But,
+independently of the basic mode or scale, negro songs show here and
+there a strange feeling for a savage kind of lowering of this last note.
+The pentatonic scale simply omits it, as well as the fourth step. But
+the African will now and then rudely and forcibly lower it by a
+half-tone. In the minor it is more natural; for it can then be thought
+of as the fifth of the relative major. Moreover, it is familiar to us in
+the Church chant. This effect we have in the beginning of the Scherzo.
+Many of us do not know the true African manner, here. But in the major
+it is much more barbarous. And it is almost a pity that Dvôrák did not
+strike it beyond an occasional touch (as in the second quoted melody). A
+fine example is "Roll, Jordan Roll," in E flat (that opens, by the way,
+much like Dvôrák's first theme), where the beginning of the second line
+rings out on a savage D flat, out of all key to Caucasian ears.
+
+We soon see stealing out of the beginning _Adagio_ an eccentric pace in
+motion of the bass, that leads to the burst of main subject, _Allegro
+molto_, with a certain
+
+[Music: _Allegro molto_
+(Strings)
+(Horns)
+_Pizz._ (Strings)
+(Clarinets doubled below in bassoons)
+(Strings)]
+
+ragged rhythm that we Americans cannot disclaim as a nation. The working
+up is spirited, and presently out of the answer grows a charming jingle
+that somehow strikes home.
+
+[Music: (Violins, with harmony in lower strings)]
+
+It begins in the minor and has a strange, barbaric touch of cadence.
+Many would acknowledge it at most as a touch of Indian mode. Yet it is
+another phase of the lowered seventh. And if we care to search, we find
+quite a prototype in a song like "Didn't My Lord Deliver Daniel." Soon
+the phrase has a more familiar ring as it turns into a friendly major.
+But the real second theme comes in a solo tune on the flute, in the
+major,
+
+[Music: (Solo flute)
+(Strings)]
+
+with a gait something like the first.[A] Less and less we can resist the
+genuine negro quality of these melodies, and, at the same time, their
+beauty and the value of the tonal treasure-house in our midst.
+
+[Footnote A: Again it is interesting to compare here the jubilee song,
+"Oh! Redeemed," in the collection of "Jubilee and Plantation Songs," of
+the Oliver Ditson Company.]
+
+The whole of the first Allegro is thus woven of three melodious and
+characteristic themes in very clear sonata-form. The second, Largo,
+movement is a lyric of moving pathos, with a central melody that may not
+have striking traits of strict African song, and yet belongs to the type
+closely associated with the negro vein of plaint or love-song. The
+rhythmic
+
+[Music: _Largo_
+(English horn solo)]
+
+turns that lead to periods of excitement and climaxes of rapid motion,
+are absent in the main melody. But
+
+[Music: (Oboe and clarinets)
+(Basses _pizz._ with _tremolo_ figures in violins)]
+
+they appear in the episode that intervenes. Even here, in the midst, is
+a new contrast of a minor lament that has a strong racial trait in the
+sudden swing to major and, as quickly, back to the drearier mode. This
+is followed by a rhapsody or succession of rapid, primitive phrases,
+that leads to a crisis where, of a sudden, three themes sing at once,
+the two of the previous Allegro and the main melody of the Largo, in
+distorted pace with full chorus. This excitement is as suddenly lulled
+and soothed by the return of the original moving song.
+
+The Scherzo starts in a quick three-beat strum on the chord we have
+pointed to as a true model trait of negro music, with the lowered
+leading-note. The
+
+[Music: _molto vivace_ (Fl. and oboes)
+(Strings) (Cl't.)]
+
+theme, discussed in close stress of imitation, seems merely to mark the
+rapid swing in the drone of strange harmony. But what is really a sort
+of Trio (_poco sostenuto_) is another sudden, grateful change to major,
+perfectly true to life, so to speak, in this turn of mode and in the
+simple lines of the tune. The lyric mood all but suppresses the dance,
+the melody sounding like a new verse of the Largo. The trip has always
+lingered, but not too much for the delicious change when it returns to
+carry us off our feet.
+
+The Scherzo now steals in again, quite a piece, it seems, with the Trio.
+As the rising volume nears a crisis, the earliest theme (from the first
+Allegro) is heard in the basses. In the hushed discourse of Scherzo
+theme that follows, the old melody still intrudes. In mockery of one of
+its turns comes an enchanting bit of tune, as naïve an utterance as any,
+much like a children's dancing song. And it returns later with still new
+enchantment of rhythm. But the whole is too full of folk-melody to trace
+out, yet is, in its very fibre, true to the idea of an epic of the
+people.
+
+Presently the whole Scherzo and Trio are rehearsed; but now instead of
+the phase of latest melodies is a close where the oldest theme (of
+Allegro) is sung in lusty blasts of the horns and wood, with answers of
+the Scherzo motive.
+
+In the last movement, _Allegro con fuoco_, appears early a new kind of
+march tune that, without special
+
+[Music: _Allegro con fuoco_
+(Horns and trumpets with full orchestra)]
+
+trick of rhythm, has the harsh note of lowered leading-note (in the
+minor, to be sure) in very true keeping with negro song. The march is
+carried on, with flowing answer, to a high pitch of varied splendor and
+tonal power. The second theme is utterly opposed in a certain pathetic
+rhapsody. Yet it rises, at the close, to a fervent burst in rapid
+motion. We
+
+[Music: (Solo clarinets)
+(_tremolo_ strings)]
+
+may expect in the Finale an orgy of folk-tune and dance, and we are not
+disappointed. There is, too, a quick rise and fall of mood, that is a
+mark of the negro as well as of the Hungarian. By a sudden doubling, we
+are in the midst of a true "hoe-down," in jolliest jingle, with that
+naïve iteration, true to life; it comes out clearest when the tune of
+the bass (that sounds like a rapid "Three Blind Mice") is
+
+[Music: (Strings, wood and brass)
+(See page 205, line 9.)]
+
+put in the treble. A pure idealized negro dance-frolic is here. It is
+hard to follow all the pranks; lightly as the latest phrase descends in
+extending melody, a rude blast of the march intrudes in discordant
+humor. A new jingle of dance comes with a redoubled pace of bits of the
+march. As this dies down to dimmest bass, the old song from the Largo
+rings high in the wood. Strangest of all, in a fierce shout of the whole
+chorus sounds twice this same pathetic strain. Later comes a redoubled
+speed of the march in the woodwind, above a slower in low strings. Now
+the original theme of all has a noisy say. Presently the sad second
+melody has a full verse. Once more the Largo lullaby sings its strain
+in the minor. In the close the original Allegro theme has a literal,
+vigorous dispute with the march-phrase for the last word of all.
+
+The work does less to exploit American music than to show a certain
+community in all true folk-song. Nor is this to deny a strain peculiar
+to the new world. It seems a poet of distant land at the same time and
+in the same tones uttered his longing for his own country and expressed
+the pathos and the romance of the new. Dvôrák, like all true workers,
+did more than he thought: he taught Americans not so much the power of a
+song of their own, as their right of heritage in all folk-music. And
+this is based not merely on an actual physical inheritance from the
+various older races.
+
+If the matter, in Dvôrák's symphony, is of American negro-song, the
+manner is Bohemian. A stranger-poet may light more clearly upon the
+traits of a foreign lore. But his celebration will be more conscious if
+he endeavor to cling throughout to the special dialect. A true national
+expression will come from the particular soil and will be unconscious of
+its own idiom.
+
+The permanent hold that Dvôrák's symphony has gained is due to an
+intrinsic merit of art and sincere sentiment; it has little to do with
+the nominal title or purpose.
+
+
+
+
+CHAPTER XIV
+
+THE EARLIER BRUCKNER[A]
+
+[Footnote A: Anton Bruckner, born at Annsfelden, Austria, 1828; died in
+Vienna in 1896.]
+
+
+Whatever be the final answer of the mooted question of the greatness of
+Bruckner's symphonies, there is no doubt that he had his full share of
+technical profundity, and a striking mastery of the melodious weaving of
+a maze of concordant strains. The question inevitably arises with
+Bruckner as to the value of the world's judgments on its contemporary
+poets. There can be no doubt that the _furore_ of the musical public
+tends to settle on one or two favorites with a concentration of praise
+that ignores the work of others, though it be of a finer grain. Thus
+Schubert's greatest--his one completed--symphony was never acclaimed
+until ten years after his death. Even his songs somehow brought more
+glory to the singer than to the composer. Bach's oratorios lay buried
+for a full century. On the other hand, names great in their day are
+utterly lost from the horizon. It is hard to conceive the _éclat_ of a
+Buononcini or a Monteverde,--whose works were once preëminent. There are
+elements in art, of special, sensational effect, that make a peculiar
+appeal in their time, and are incompatible with true and permanent
+greatness. One is tempted to say, the more sudden and vehement the
+success, the less it will endure. But it would not be true. Such an
+axiom would condemn an opera like "Don Giovanni," an oratorio like the
+"Creation," a symphony like Beethoven's Seventh. There is a wonderful
+difference, an immeasurable gulf between the good and the bad in art;
+yet the apparent line is of the subtlest. Most street songs may be poor;
+but some are undoubtedly beautiful in a very high sense. It is a problem
+of mystic fascination, this question of the value of contemporary art.
+It makes its appeal to the subjective view of each listener. No rule
+applies. Every one will perceive in proportion to his capacity, no one
+beyond it. So, a profound work may easily fail of response, as many
+works in the various arts have done in the past, because the average
+calibre of the audience is too shallow, while it may deeply stir an
+intelligent few. Not the least strange part of it all is the fact that
+there can, of necessity, be no decision in the lifetime of the poet.
+Whether it is possible for obscure Miltons never to find their meed of
+acclaim, is a question that we should all prefer to answer in the
+negative. There is a certain shudder in thinking of such a chance; it
+seems a little akin to the danger of being buried alive.
+
+The question of Bruckner's place can hardly be said to be settled,
+although he has left nine symphonies. He certainly shows a freedom, ease
+and mastery in the symphonic manner, a limpid flow of melody and a sure
+control in the interweaving of his themes, so that, in the final
+verdict, the stress may come mainly on the value of the subjects, in
+themselves. He is fond of dual themes, where the point lies in neither
+of two motives, but in the interplay of both; we see it somewhat
+extended in Richard Strauss, who uses it, however, in a very different
+spirit. The one evident and perhaps fatal lack is of intrinsic beauty of
+the melodic ideas, and further, an absence of the strain of pathos that
+sings from the heart of a true symphony. While we are mainly impressed
+by the workmanship, there is no denying a special charm of constant
+tuneful flow. At times this complexity is almost marvellous in the clear
+simplicity of the concerted whole,--in one view, the main trait or trick
+of symphonic writing. It is easy to pick out the leading themes as they
+appear in official order. But it is not so clear which of them
+constitute the true text. The multiplicity of tunes and motives is
+amazing.
+
+Of the Wagner influence with which Bruckner is said to be charged,
+little is perceptible in his second symphony. On the contrary, a strong
+academic tradition pervades. The themes are peculiarly symphonic.
+Moreover they show so strikingly the dual quality that one might say, as
+a man may see double, Bruckner sang double. Processes of augmenting and
+inverting abound, together with the themal song in the bass. Yet there
+is not the sense of overloaded learning. There is everywhere a clear and
+melodious polyphony.
+
+But with all masterly architecture, even enchanting changes of harmony
+and a prodigal play of melody, the vacuity of poetic ideas must preclude
+a permanent appeal. Bruckner is here the schoolmaster: his symphony is a
+splendid skeleton, an object lesson for the future poet.
+
+In the FOURTH (ROMANTIC) SYMPHONY the main light plays throughout on the
+wind. The text is a call of horns, that begins the work. It is a
+symphony
+
+[Music: _In tranquil motion_
+(Horns, _espressivo_)
+(Strings)]
+
+of wood-notes, where the forest-horn is sovereign,--awakening a widening
+world of echoes, with a murmuring maze of lesser notes. One has again
+the feeling that in the quiet interweaving of a tapestry of strains lies
+the individual quality of the composer,--that the _forte_ blasts, the
+stride of big unison figures are but the interlude.
+
+In the Andante the charm is less of tune than of the delicate changing
+shades of the harmony and of the colors of tone. We are ever surprised
+in the gentlest way by a turn of chord or by the mere entrance of a horn
+among the whispering strings. The shock of a soft modulation may be as
+sudden as of the loud, sudden blare. But we cannot somehow be consoled
+for the want of a heart-felt melody.
+
+The Scherzo is a kind of hunting-piece, full of the sparkle, the color
+and romance of bugles and horns,--a spirited fanfare broken by hushed
+phrases of strings or wood, or an elf-like mystic dance on the softened
+call of trumpets. The Trio sings apart, between the gay revels, in soft
+voices and slower pace, like a simple ballad.
+
+The Finale is conceived in mystical retrospect, beginning in vein of
+prologue: over mysterious murmuring strings, long sustained notes of the
+reed and horn in octave descent are mingled with a soft carillon of
+horns and trumpets in the call of the Scherzo. In broad swing a free
+fantasy rises to a loud refrain (in the brass) of the first motive of
+the symphony.
+
+In slower pace and hush of sound sings a madrigal of tender phrases. A
+pair of melodies recall like figures of the first Allegro. Indeed, a
+chain of dulcet strains seems to rise from the past.
+
+The fine themal relevance may be pursued in infinite degree, to no end
+but sheer bewilderment. The truth is that a modern vanity for subtle
+connection, a purest pedantry, is here evident, and has become a baneful
+tradition in the modern symphony. It is an utter confusion of the letter
+with the spirit. Once for all, a themal coherence of symphony must lie
+in the main lines, not in a maze of unsignificant figures.
+
+Marked is a sharp alternation of mood, tempestuous and tender, of
+Florestan and Eusebius. The lyric phase yields to the former heroic
+fantasy and then returns in soothing solace into a prevailing motive
+that harks back to the second of the beginning movement. The fantasy,
+vague of melody, comes
+
+[Music: (Wood and horns)
+(Strings)]
+
+(in more than one sense) as relief from the small tracery. It is just to
+remember a like oscillation in the first Allegro.
+
+When the prologue recurs, the phrases are in ascent, instead of descent
+of octaves. A climactic verse of the main dulcet melody breaks out in
+resonant choir of brass and is followed by a soft rhapsody on the
+several strains that hark back to the beginning. From the halting pace
+the lyric episode rises in flight of continuous song to enchanting lilt.
+Now in the big heroic fantasy sing the first slow phrases as to the
+manner born and as naturally break into a paean of the full motive,
+mingled with strains of the original legend of the symphony, that flows
+on to broad hymnal cadence.
+
+In mystic musing we reach a solemn stillness where the prologue phrase
+is slowly drawn out into a profoundly moving hymn. Here we must feel is
+Meister Bruckner's true poetic abode rather than in the passion and
+ecstasy of romance into which he was vainly lured.[A]
+
+[Footnote A: Bruckner's Fifth Symphony (in B flat) is a typical example
+of closest correlation of themes that are devoid of intrinsic melody.
+
+An introduction supplies in the bass of a hymnal line the main theme of
+the Allegro by inversion as well as the germ of the first subject of the
+Adagio. Throughout, as in the Romantic Symphony, the relation between
+the first and the last movement is subtle. A closing, jagged phrase
+reappears as the first theme of the Finale.
+
+The Adagio and Scherzo are built upon the same figure of bass. The theme
+of the Trio is acclaimed by a German annotator as the reverse of the
+first motive of the symphony.
+
+In the prelude of the Finale, much as in the Ninth of Beethoven, are
+passed in review the main themes of the earlier movements. Each one is
+answered by an eccentric phrase that had its origin in the first
+movement and is now extended to a fugal theme.
+
+The climactic figure is a new hymnal line that moves as central theme of
+an imposing double fugue.]
+
+
+
+
+CHAPTER XV
+
+THE LATER BRUCKNER
+
+
+In Bruckner's later works appears the unique instance of a discipline
+grounded in the best traditions, united to a deft use of ephemeral
+devices. The basic cause of modern mannerism, mainly in harmonic
+effects, lies in a want of formal mastery; an impatience of thorough
+technic; a craving for quick sensation. With Bruckner it was the
+opposite weakness of original ideas, an organic lack of poetic
+individuality. It is this the one charge that cannot be brought home to
+the earlier German group of reaction against the classic idea.
+
+There is melody, almost abundant, in Wagner and Liszt and their German
+contemporaries. Indeed it was an age of lyricists. The fault was that
+they failed to recognize their lyric limitation, lengthening and padding
+their motives abnormally to fit a form that was too large. Hence the
+symphony of Liszt, with barren stretches, and the impossible plan of the
+later music-drama. The truest form of such a period was the song, as it
+blossomed in the works of a Franz.
+
+Nor has this grandiose tendency even yet spent its course. A saving
+element was the fashioning of a new form, by Liszt himself,--the
+Symphonic Poem,--far inferior to the symphony, but more adequate to the
+special poetic intent.
+
+Whatever be the truth of personal gossip, there is no doubt that
+Bruckner lent himself and his art to a championing of the reactionary
+cause in the form that was intrinsically at odds with its spirit. Hence
+in later works of Bruckner these strange episodes of borrowed romance,
+abruptly stopped by a firm counterpoint of excellent quality,--indeed
+far the best of his writing. For, if a man have little ideas, at least
+his good workmanship will count for something.
+
+In truth, one of the strangest types is presented in Bruckner,--a pedant
+who by persistent ingenuity simulates a master-work almost to
+perfection. By so much as genius is not an infinite capacity for pains,
+by so much is Bruckner's Ninth not a true symphony. Sometimes, under the
+glamor of his art, we are half persuaded that mere persistence may
+transmute pedantry into poetry.
+
+It seems almost as if the Wagnerians chose their champion in the
+symphony with a kind of suppressed contempt for learning, associating
+mere intellectuality with true mastery, pointing to an example of
+greatest skill and least inspiration as if to say: "Here is your
+symphonist if you must have one." And it is difficult to avoid a
+suspicion that his very partisans were laughing up their sleeve at their
+adopted champion.
+
+We might say all these things, and perhaps we have gone too far in
+suggesting them. After all we have no business with aught but the music
+of Bruckner, whatever may have been his musical politics, his vanity,
+his ill judgment, or even his deliberate partisanship against his
+betters. But the ideas themselves are unsubstantial; on shadowy
+foundation they give an illusion by modern touches of harmony and rhythm
+that are not novel in themselves. The melodic idea is usually divided in
+two, as by a clever juggler. There is really no one thought, but a
+plenty of small ones to hide the greater absence.
+
+We have merely to compare this artificial manner with the poetic reaches
+of Brahms to understand the insolence of extreme Wagnerians and the
+indignation of a Hanslick. As against the pedantry of Bruckner the style
+of Strauss is almost welcome in its frank pursuit of effects which are
+at least grateful in themselves. Strauss makes hardly a pretence at
+having melodic ideas. They serve but as pawns or puppets for his
+harmonic and orchestral _mise-en-scène_. He is like a play-wright
+constructing his plot around a scenic design.
+
+Just a little common sense is needed,--an unpremeditated attitude. Thus
+the familiar grouping, "_Bach_, _Beethoven_ and _Brahms_" is at least
+not unnatural. Think of the absurdity of "_Bach_, _Beethoven_ and
+_Bruckner_"![A]
+
+[Footnote A: A festival was held in Munich in the summer of 1911, in
+celebration of "Bach, Beethoven and Bruckner."]
+
+The truth is, the Bruckner cult is a striking symptom of a certain
+decadence in German music; an incapacity to tell the sincere quality of
+feeling in the dense, brilliant growth of technical virtuosity. In the
+worship at the Bayreuth shrine, somehow reinforced by a modern national
+self-importance, has been lost a heed for all but a certain vein of
+exotic romanticism, long ago run to riotous seed, a blending of hedonism
+and fatalism. No other poetic message gets a hearing and the former may
+be rung in endless repetition and reminiscence, provided, to be sure, it
+be framed with brilliant cunning of workmanship.
+
+Here we feel driven defiantly to enounce the truth: that the highest
+art, even in a narrow sense, comes only with a true poetic message. Of
+this Bruckner is a proof; for, if any man by pure knowledge could make a
+symphony, it was he. But, with almost superhuman skill, there is
+something wanting in the inner connection, where the main ideas are
+weak, forced or borrowed. It is only the true poetic rapture that
+ensures the continuous absorption that drives in perfect sequence to
+irresistible conclusion.
+
+
+_SYMPHONY NO. 9_
+
+_I.--Solenne._ Solemn mystery is the mood, amid trembling strings on
+hollow unison, before the eight
+
+[Music: _Misterioso_
+(Eight horns with _tremolo_ strings on D in three octaves)]
+
+horns strike a phrase in the minor chord that in higher echoes breaks
+into a strange harmony and descends into a turn of melodic cadence. In
+answer is another chain of brief phrases, each beginning
+
+[Music: (1st violins)
+(Lower reeds with strings _tremolo_ in all but basses)]
+
+with a note above the chord (the common mark and manner of the later
+school of harmonists[A]) and a new ascent on a literal ladder of
+subtlest progress, while hollow intervals are intermingled in the pinch
+of close harmonies. The bewildering maze here begins of multitudinous
+design, enriched with modern devices.
+
+[Footnote A: See Vol. II, note, page 104.]
+
+A clash of all the instruments acclaims the climax before the unison
+stroke of fullest chorus on the solemn note of the beginning. A favorite
+device of Bruckner, a measured tread of _pizzicato_ strings with
+interspersed themal motives, precedes the romantic episode. Throughout
+the movement is this alternation of liturgic chorale with tender melody.
+
+[Music: _Molto tranquillo_
+(Strings) _espressivo_
+(Oboes and horns)]
+
+Bruckner's pristine polyphonic manner ever appears in the double strain
+of melodies, where each complements, though not completes the other.
+However multiple the plan, we cannot feel more than the quality of
+_unusual_ in the motives themselves, of some interval of ascent or
+descent. Yet as the melody grows to larger utterance, the fulness of
+polyphonic art brings a beauty of tender sentiment, rising to a moving
+climax, where the horns lead the song in the heart of the madrigal
+chorus, and the strings alone sing the expressive answer.
+
+[Music: (Violins doubled in 8ve.)
+(Strings, woods and horns)]
+
+A third phrase now appears, where lies the main poetry of the movement.
+Gentle swaying calls of
+
+[Music: _Tranquillo_ (Wood and violins)
+(4 horns in 8ve.)
+(Horns)
+(Strings with bassoons)]
+
+soft horns and wood, echoed and answered in close pursuit, lead to a
+mood of placid, elemental rhythm, with something of "Rheingold," of
+"Ossian" ballad, of the lapping waves of Cherubini's "Anacreon." In the
+midst the horns blow a line of sonorous melody, where the cadence has a
+breath of primal legend. On the song runs, ever mid the elemental
+motion, to a resonant height and dies away as before. The intimate,
+romantic melody now returns, but it is rocked on the continuing pelagic
+pulse; indeed, we hear anon a faint phrase of the legend, in distant
+trumpet, till we reach a joint rhapsody of both moods; and in the never
+resting motion, mid vanishing echoes, we dream of some romance of the
+sea.
+
+Against descending harmonies return the hollow, sombre phrases of the
+beginning, with the full cadence of chorale in the brass; and beyond,
+the whole prelude has a full, extended verse. In the alternation of
+solemn and sweet episode returns the tender melody, with pretty
+inversions, rising again to an ardent height. The renewed clash of
+acclaiming chorus ushers again the awful phrase of unison (now in octave
+descent), in towering majesty. But now it rises in the ever increasing
+vehemence where the final blast is lit up with a flash of serene
+sonority.
+
+This motive, of simple octave call, indeed pervades the earlier symphony
+in big and little. And now, above a steady, sombre melodic tread of
+strings it rises in a fray of eager retorts, transfigured in wonderful
+harmony again and again to a brilliant height, pausing on a ringing
+refrain, in sombre hue of overpowering blast.
+
+A soft interlude of halting and diminishing strings leads to the
+romantic melody as it first appeared, where the multiple song again
+deepens and ennobles the theme. It passes straight into the waving,
+elemental motion, where again the hallowed horn utters its sibyl phrase,
+again rising to resonant height. And again merges the intimate song with
+the continuing pulse of the sea, while the trumpet softly sounds the
+legend and a still greater height of rhapsody.
+
+Dull brooding chords bring a sombre play of the awing phrase, over a
+faint rocking motion, clashing in bold harmony, while the horns surge in
+broader melody. The climactic clash ends in a last verse of the opening
+phrase, as of primal, religious chant.
+
+_II.--Scherzo._ In the dazzling pace of bright clashing harmonies, the
+perfect answers of falling and rising phrases, we are again before the
+semblance, at
+
+[Music: _Vivace_
+(Flute with _pizz._ violins)
+(Flute)
+(_Pizz._ strings)]
+
+least, of a great poetic idea. To be sure there is a touch of stereotype
+in the chords and even in the pinch and clash of hostile motives. And
+there is not the distinctive melody,--final stamp and test of the shaft
+of inspiration. Yet in the enchantment of motion, sound and form, it
+seems mean-spirited to cavil at a want of something greater. One stands
+bewildered before such art and stunned of all judgment.
+
+A delight of delicate gambols follows the first brilliant dance of main
+motive. Amid a rougher trip of unison sounds the sonorous brass, and to
+softest jarring murmur of strings a pretty jingle of reed,
+
+[Music: _grazioso_
+(Oboe)
+(_Pizz._ strings with soft chord of wind and rhythmic bassoon)]
+
+with later a slower counter-song, almost a madrigal of pastoral answers,
+till we are back in the ruder original dance. The gay cycle leads to a
+height of rough volume (where the mystic brass sound in the midst) and a
+revel of echoing chase.
+
+In sudden hush of changed tone on fastest fairy trip, strings and wood
+play to magic harmonies. In calming motion the violins sing a quieter
+song, ever
+
+[Music: _Piu tranquillo_
+_Dolce_
+(Violins)
+(Oboe)
+(Violins)
+(Oboes with sustained strings)]
+
+echoed by the reed. Though there is no gripping force of themal idea,
+the melodies are all of grateful charm, and in the perfect round of
+rhythmic design we may well be content. The original dance recurs with a
+full fine orgy of hostile euphony.
+
+_III.--Adagio._ _Feierlich,--awesome_ indeed are these first sounds, and
+we are struck by the originality
+
+[Music: _Molto lento (Solenne)_
+(Violins, G string)
+_broadly_
+(Strings with choir of tubas, later of trombones and contrabass-tuba)]
+
+of Bruckner's technic. After all we must give the benefit at least of
+the doubt. And there is after this deeply impressive _introit_ a
+gorgeous Promethean
+
+[Music: (Woodwind and low brass with _tremolo_ strings)
+(3 trumpets)
+(4 horns)]
+
+spring of up-leaping harmonies. The whole has certainly more of concrete
+beauty than many of the labored attempts of the present day.
+
+The prelude dies down with an exquisite touch of precious
+dissonance,--whether it came from the heart or from the workshop. The
+strange and tragic part is that with so much art and talent there should
+not be the strong individual idea,--the flash of new tonal figure that
+stands fearless upon its own feet. All this pretty machinery seems
+wasted upon the framing and presenting, at the moment of expectation, of
+the shadows of another poet's ideas or of mere platitudes.
+
+In the midst of the broad sweeping theme with a
+
+[Music: (Strings, with cl't and oboe)
+_Very broadly_
+(G string)]
+
+promise of deep utterance is a phrase of horns with the precise accent
+and agony of a _Tristan_. The very semblance of whole motives seems to
+be taken from the warp and woof of Wagnerian drama. And thus the whole
+symphony is degraded, in its gorgeous capacity, to the reëchoed rhapsody
+of exotic romanticism. It is all little touches, no big thoughts,--a
+mosaic of a symphony.
+
+[Music: (Horns)]
+
+And so the second theme[A] is almost too heavily laden with fine detail
+for its own strength, though
+
+[Music: (Violins, reeds and horns)
+_Poco piu lento_
+_dolce_
+(_Pizz._ of lower strings)]
+
+it ends with a gracefully delicate answer. The main melody soon recurs
+and sings with a stress of warm feeling in the cellos, echoed by glowing
+strains of the horns. Romantic harmonies bring back the solemn air of
+the prelude with a new counter melody, in precise opposite figure, as
+though inverted in a mirror, and again the dim moving chords that seem
+less of Bruckner than of legendary drama. In big accoutrement the double
+theme moves with double answers, ever with the sharp pinch of harmonies
+and heroic mien. Gentlest retorts of the motives sing with fairy
+clearness (in horns and reeds), rising to tender, expressive dialogue.
+With growing spirit they ascend once more to the triumphant clash of
+empyraean chords, that may suffice for justifying beauty.
+
+[Footnote A: We have spoken of a prelude, first and second theme; they
+might have been more strictly numbered first, second and third theme.]
+
+Instead of the first, the second melody follows with its delicate grace.
+After a pause recurs the phrase that harks from mediaeval romance, now
+in a stirring ascent of close chasing voices. The answer, perfect in its
+timid halting descent, exquisite in accent and in the changing hues of
+its periods, is robbed of true effect by its direct reflection of
+Wagnerian ecstasies.
+
+As if in recoil, a firm hymnal phrase sounds in the strings, ending in a
+more intimate cadence. Another chain of rarest fairy clashes, on the
+motive of the prelude, leads to the central verse, the song of the first
+main melody in the midst of soft treading strings, and again descends
+the fitting answer of poignant accent.
+
+And now, for once forgetting all origin and clinging sense of
+reminiscence, we may revel in the rich romance, the fathoms of mystic
+harmony, as the main song sings and rings from the depths of dim legend
+in lowest brass, amidst a soft humming chorus, in constant shift of
+fairy tone.
+
+A flight of ascending chords brings the big exaltation of the first
+prophetic phrase, ever answered by exultant ring of trumpet, ending in
+sudden awing pause. An eerie train of echoes from the verse of prelude
+leads to a loveliest last song of the poignant answer of main song, over
+murmuring strings. It
+
+[Music: (_Tremolo_ violins with lower 8ve.)
+(Reeds)
+(Horns)
+(Violas)]
+
+is carried on by the mystic choir of sombre brass in shifting steps of
+enchanting harmony and dies away in tenderest lingering accents.[A]
+
+[Footnote A: In place of the uncompleted Finale, Bruckner is said to
+have directed that his "_Te Deum_" be added to the other movements.]
+
+
+
+
+CHAPTER XVI
+
+HUGO WOLFF[A]
+
+_"PENTHESILEA." SYMPHONIC POEM_[B]
+
+[Footnote A: Hugo Wolff, born in 1860, died in 1903.]
+
+[Footnote B: After the like-named tragedy of Heinrich von Kleist.]
+
+
+An entirely opposite type of composer, Hugo Wolff, shows the real
+strength of modern German music in a lyric vein, sincere, direct and
+fervent. His longest work for instruments has throughout the charm of
+natural rhythm and melody, with subtle shading of the harmony. Though
+there is no want of contrapuntal design, the workmanship never obtrudes.
+It is a model of the right use of symbolic motives in frequent
+recurrence and subtle variation.
+
+In another instrumental piece, the "Italian Serenade," all kinds of
+daring suspenses and gentle clashes and surprises of harmonic scene give
+a fragrance of dissonant euphony, where a clear melody ever rules.
+"Penthesilea," with a climactic passion and a sheer contrast of tempest
+and tenderness, uttered with all the mastery of modern devices, has a
+pervading thrall of pure musical beauty. We are tempted to hail in Wolff
+a true poet in an age of pedants and false prophets.
+
+
+
+PENTHESILEA.--A TRAGEDY BY HEINRICH VON KLEIST.[A]
+
+[Footnote A: German, 1776-1811.]
+
+As Wolff's work is admittedly modelled on Kleist's tragedy, little known
+to the English world, it is important to view the main lines of this
+poem, which has provoked so divergent a criticism in Germany.
+
+On the whole, the tragedy seems to be one of those daring, even profane
+assaults on elemental questions by ways that are untrodden if not
+forbidden. It is a wonderful type of Romanticist poetry in the bold
+choice of subject and in the intense vigor and beauty of the verse.
+Coming with a shock upon the classic days of German poetry, it met with
+a stern rebuke from the great Goethe. But a century later we must surely
+halt in following the lead of so severe a censor. The beauty of diction
+alone seems a surety of a sound content,--as when Penthesilea exclaims:
+
+    "A hero man can be--a Titan--in distress,
+    But like a god is he when rapt in blessedness."
+
+An almost convincing symbolism has been suggested of the latent meaning
+of the poem by a modern critic,[A]--a symbolism that seems wonderfully
+reflected in Wolff's music. The charge of perverted passion can be based
+only on certain lines, and these are spoken within the period of madness
+that has overcome the heroine. This brings us to the final point which
+may suggest the main basic fault in the poem, considered as art. At
+least it is certainly a question whether pure madness can ever be a
+fitting subject in the hero of a tragedy. Ophelia is an episode;
+Hamlet's madness has never been finally determined. Though the Erinnys
+hunted Orestes in more than one play, yet no single Fury could, after
+all, be the heroine of tragedy. Penthesilea became in the crisis a pure
+Fury, and though she may find here her own defense, the play may not
+benefit by the same plea. On the other hand, the madness is less a
+reality than an impression of the Amazons who cannot understand the
+heroine's conflicting feelings. There is no one moment in the play when
+the hearer's sympathy for the heroine is destroyed by a clear sense of
+her insanity.
+
+[Footnote A: Kuno Francke. See the notes of Philip Hale in the programme
+book of the Boston Symphony Orchestra of April 3-4, 1908.]
+
+For another word on the point of symbolism, it must be remembered that
+the whole plot is one of supernatural legend where somehow human acts
+and motives need not conform to conventional rule, and where symbolic
+meaning, as common reality disappears, is mainly eminent. It is in this
+same spirit that the leading virtues of the race, of war or of peace,
+are typified by feminine figures.
+
+The Tragedy is not divided into acts; it has merely four and twenty
+scenes--upon the battle-field of Troy. The characters are Penthesilea,
+Queen of the Amazons; her chief leaders, Prothoe, Meroe and Asteria, and
+the high priestess of Diana. Of the Greeks there are Achilles, Odysseus,
+Diomede and Antilochus. Much of the fighting and other action is not
+seen, but is reported either by messengers or by present witnesses of a
+distant scene.
+
+The play begins with the battle raging between Greeks and Amazons.
+Penthesilea with her hosts amazes the Greeks by attacking equally the
+Trojans, her reputed allies. She mows down the ranks of the Trojans, and
+yet refuses all proffers of the Greeks.
+
+Thus early we have the direct, uncompromising spirit,--a kind of
+feminine Prometheus. The first picture of the heroine is of a Minerva in
+full array, stony of gaze and of expression until--she sees Achilles.
+Here early comes the conflict of two elemental passions. Penthesilea
+recoils from the spell and dashes again into her ambiguous warfare. For
+once Greeks and Trojans are forced to fight in common defence.
+
+    "The raging Queen with blows of thunder struck
+    As she would cleave the whole race of the Greeks
+    Down to its roots....
+
+           *       *       *       *       *
+
+    "More of the captives did she take
+    Than she did leave us eyes to count the list,
+    Or arms to set them free again.
+
+           *       *       *       *       *
+
+    "Often it seemed as if a special hate
+    Against Achilles did possess her breast.
+
+           *       *       *       *       *
+
+    "Yet in a later moment, when
+    His life was given straight into her hands,
+    Smiling she gave it back, as though a present;
+    His headlong course to Hades she did stay."
+
+In midst of the dual battle between Achilles and the Queen, a Trojan
+prince comes storming and strikes a treacherous blow against the armor
+of the Greek.
+
+    "The Queen is stricken pale; for a brief moment
+    Her arms hang helpless by her sides; and then,
+    Shaking her locks about her flaming cheeks,
+    Dashes her sword like lightning in his throat,
+    And sends him rolling to Achilles' feet."
+
+The Greek leaders resolve to retreat from the futile fight and to call
+Achilles from the mingled chase of love and war.
+
+Achilles is now reported taken by the Amazons. The battle is vividly
+depicted: Achilles caught on a high ledge with his war-chariot; the
+Amazon Queen storming the height from below. The full scene is witnessed
+from the stage,--Penthesilea pursuing almost alone; Achilles suddenly
+dodges; the Queen as quickly halts and rears her horse; the Amazons fall
+in a mingled heap; Achilles escapes, though wounded. But he refuses to
+follow his companions to the camp; he swears to bring home the Queen
+wooed in the bloody strife of her own seeking.
+
+Penthesilea recoils with like vehemence from the entreaties of her
+maids, intent upon the further battle, resolved to overcome the hero or
+to die. She forbids the Festival of Roses until she has vanquished
+Achilles. In her rage she banishes her favorite Prothoe from her
+presence, but in a quick revulsion takes her back.
+
+In the next scene the high priestess and the little Amazon maids prepare
+the Feast, which Penthesilea had ordered in her confident attack upon
+the fleeing Greeks. One of the Rose-maidens recounts the passing scene
+of the Queen's amazing action. The indignant priestess sends her command
+to the Queen to return to the celebration. Though all the royal suite
+fling themselves in her path, Penthesilea advances to the dual
+battle.[A]
+
+[Footnote A: The law of the Amazons commanded them to wage war as told
+them by the oracle of Mars. The prisoners were brought to the Feast of
+Roses and wedded by their captors. After a certain time they were sent
+back to their homes. All male children of the tribe were put to death.]
+
+In a renewal of her personal contest, regardless of the common cause,
+and in her special quest of a chosen husband, Penthesilea has broken the
+sacred law.
+
+The flight now follows of the Amazon hosts. When the two combatants meet
+in the shock of lances, the Queen falls in the dust; her pallor is
+reflected in Achilles' face. Leaping from his horse, he bends o'er her,
+calls her by names, and woos life back into her frame. Her faithful
+maids, whom she has forbidden to harm Achilles, lead her away. And here
+begins the seeming madness of the Queen when she confesses her love. For
+a moment she yields to her people's demands, but the sight of the
+rose-wreaths kindles her rage anew. Prothoe defends her in these lines:
+
+    "Of life the highest blessing she attempted.
+    Grazing she almost grasped. Her hands now fail her
+    For any other lesser goal to reach."
+
+In the last part of the scene the Queen falls more and deeper into
+madness. It is only in a too literal spirit that one will find an
+oblique meaning,--by too great readiness to discover it. In reality
+there seems to be an intense conflict of opposite emotions in the
+heroine: the pure woman's love, without sense of self; and the wild
+overpowering greed of achievement. Between these grinding stones she
+wears her heart away. A false interpretation of decadent theme comes
+from regarding the two emotions as mingled, instead of alternating in a
+struggle.
+
+Achilles advances, having flung away his armor. Prothoe persuades him to
+leave the Queen, when she awakes, in the delusion that she has conquered
+and that he is the captive. Thus when she beholds the hero, she breaks
+forth into the supreme moment of exaltation and of frenzied triumph. The
+main love scene follows:
+
+Penthesilea tells Achilles the whole story of the Amazons, the conquest
+of the original tribe, the rising of the wives of the murdered warriors
+against the conquerors; the destruction of the right breast (_A-mazon_);
+the dedication of the "brides of Mars" to war and love in one. In
+seeking out Achilles the Queen has broken the law. But here again
+appears the double symbolic idea: Achilles meant to the heroine not love
+alone, but the overwhelming conquest, the great achievement of her life.
+
+The first feeling of Penthesilea, when disillusioned, is of revulsive
+anger at a kind of betrayal. The Amazons recover ground in a wild desire
+to save their Queen, and they do rescue her, after a parting scene of
+the lovers. But Penthesilea curses the triumph that snatches her away;
+the high priestess rebukes her, sets her free of her royal duties, to
+follow her love if she will. The Queen is driven from one mood to
+another, of devoted love, burning ambition and mortal despair.
+
+Achilles now sends a challenge to Penthesilea, knowing the Amazon
+conditions. Against all entreaty the Queen accepts, not in her former
+spirit, but in the frenzy of desperate endeavor, in the reawakened rage
+of her ambition, spurred and pricked by the words of the priestess.
+
+The full scene of madness follows. She calls for her dogs and elephants,
+and the full accoutrement of battle. Amidst the terror of her own
+warriors, the rolling of thunder, she implores the gods' help to crush
+the Greek. In a final touch of frenzy she aims a dart at her faithful
+Prothoe.
+
+The battle begins, Achilles in fullest confidence in Penthesilea's love,
+unfrightened by the wild army of dogs and elephants. The scene, told by
+the present on-lookers, is heightened by the cries of horror and dismay
+of the Amazons themselves.
+
+Achilles falls; Penthesilea, a living Fury, dashes upon him with her
+dogs in an insane orgy of blood. The Queen in the culminating scene is
+greeted by the curses of the high priestess. Prothoe masters her horror
+and turns back to soothe the Queen. Penthesilea, unmindful of what has
+passed, moves once more through the whole gamut of her torturing
+emotions, and is almost calmed when she spies the bier with the hero's
+body. The last blow falls when upon her questions she learns the full
+truth of her deed. The words she utters (that have been cited by the
+hostile critics) may well be taken as the ravings of hopeless remorse,
+with a symbolic play of words. She dies, as she proclaims, by the knife
+of her own anguish.
+
+The last lines of Prothoe are a kind of epilogue:
+
+    "She sank because too proud and strong she flourished.
+    The half-decayèd oak withstands the tempest;
+    The vigorous tree is headlong dashed to earth
+    Because the storm has struck into its crown."[A]
+
+[Footnote A: Translations, when not otherwise credited, are by the
+author.]
+
+The opening scene--"Lively, vehement: Departure of the Amazons for
+Troy"--begins impetuous and hefty with big strokes of the throbbing
+motive,
+
+[Music: (_Tutti_ with higher 8ves.)
+(Piccolo in 8ve.)
+(Bass in 8ve.)]
+
+the majestic rhythm coursing below, lashed by a quicker phrase above.
+Suddenly trumpets sound, somewhat more slowly, a clarion call answered
+by a choir of other trumpets and horns in enchanting retort of changing
+harmonies. Ever a fresh color of
+
+[Music: (Flutes and oboes)
+(Answering groups of brass)
+(Lower strings _pizz._)]
+
+tone sounds in the call of the brass, as if here or yonder on the
+battle-field. Sometimes it is almost too sweetly chanting for fierce
+war. But presently it turns to a wilder mood and breaks in galloping
+pace into a true chorus of song with clear cadence.
+
+[Music: (Flutes with reeds in lower 8ve.)
+(Violins with upper 8ve.)
+(Lower strings and brass with lower 8ve.)]
+
+The joyful tinge is quickly lost in the sombre hue of another phase of
+war-song that has a touch of funeral trip (though it is all in 3/4
+time):
+
+[Music: (Muted strings)
+(Horns and bassoons)]
+
+A melody in the minor plays first in a choir of horns and bassoons,
+later in united strings, accompanied by soft rolls of drums and a touch
+of the lowest brass. Harp and higher woodwind are added, but the volume
+is never transcendent save in a single burst when it is quickly hushed
+to the first ominous whisper. Out of this sombre song flows a romance of
+tender sentiment, _tranquillo_ in strings, followed by the wood. The
+crossing threads of expressive melody
+
+[Music: _Tranquillo_
+(Strings)
+(In the midst enters a strain of solo horn)]
+
+rise in instant renewal of stress and agitation. The joy of battle has
+returned, but it seems that the passion of love burns in midst of the
+glow of battle, each in its separate struggle, and both together in one
+fatal strife. The sombre melody returns in full career, dying down to a
+pause.[A]
+
+[Footnote A: In a somewhat literal commentary attributed to Dr. Richard
+Batka, the Amazons here, "having reached their destination, go into
+night-encampment--as represented by the subdued roll of the
+kettle-drums, with which the movement concludes."]
+
+_Molto sostenuto_, in changed rhythm of three slow beats, comes
+"Penthesilea's Dream of the Feast of Roses." Over a thick cluster of
+harmonies in harp and strings the higher wood sing a new song in long
+drawn lyric notes with ravishing turns of tonal color,--a
+
+[Music: _Molto sostenuto_
+(Flutes, oboes and clarinets)
+(Rapid arpeggic figures of harps and muted strings)]
+
+dual song and in many groups of two. The tranquil current of the dream
+is gradually disturbed; the main burden is dimmed in hue and in mood.
+Faster, more fitful is the flow of melody, with hostile intruding motive
+below; it dashes at last into the tragic phase--Combats; Passions;
+Madness; Destruction--in very rapid tempo of 2/2 rhythm.
+
+In broad, masterful pace, big contrary figures sweep up and down,
+cadencing in almost joyous chant, gliding, indeed, into a pure hymn, as
+of triumph (that harks back to the chorussing song in the beginning).
+
+Throughout the poem the musical symbols as well as the motives of
+passion are closely intertwined. Thus the identity of the impetuous
+phrase of the very beginning is clear with the blissful theme of the
+Dream of the Feast of Roses. Here, at the end of the chorussing verse is
+a play or a strife of phrases where we cannot escape a symbolic intent.
+To _tremolo_ of violas the cellos hold a tenor of descending melody over
+a rude rumbling phrase of the basses of wood and strings, while the oboe
+sings in the treble an expressive answer of ascending notes. A conflict
+is
+
+[Music: (_Molto vivace_)
+(cello _molto espressivo_)
+(Violas)
+(Basses and bassoons with upper 8ve.)
+(Oboe) _espressivo_]
+
+evident, of love and ambition, of savage and of gentle passion, of chaos
+and of beauty. At the height, the lowest brass intrude a brutal note of
+triumph of the descending theme. To the victory of Pride succeeds a
+crisis of passionate yearning. But at the very height is a plunge into
+the fit of madness, the fatal descending phrase (in trombones) is ever
+followed by furious pelting spurts in the distorted main theme.
+
+At last the paroxysm abates, throbbing ever slower, merging into the
+tender song of the Dream that now rises to the one great burst of
+love-passion. But it ends in a wild rage that turns right into the
+war-song of the beginning. And this is much fuller of incident than
+before. Violins now ring an hostile motive (the former rumbling phrase
+of basses) from the midst of the plot against the main theme in
+trumpets. Instead of the former pageantry, here is the pure frenzy of
+actual war. The trumpet melodies resound amidst the din of present
+battle. Instead of the other gentler episodes, here is a more furious
+raving of the mad Queen (in the hurried main motive), where we seem to
+see the literal dogs of war let loose and spurred on,--each paroxysm
+rising to a higher shock.
+
+Great is the vehemence of speed and sound as the dull doom of
+destruction drones in the basses against a grim perversion of the
+yearning theme above, that overwhelms the scene with a final shriek.
+
+Slowly the dream of love breathes again, rises to a fervent burst, then
+yields to the fateful chant and ends in a whisper of farewell.
+
+
+
+
+CHAPTER XVII
+
+MAHLER[A]
+
+[Footnote A: Gustav Mahler, 1860-1911.]
+
+
+In Mahler the most significant sign is a return to a true counterpoint,
+as against a mere overlading of themes, that began in Wagner and still
+persists in Strauss,--an artificial kind of structure that is never
+conceived as a whole.
+
+While we see in Mahler much of the duophonic manner of his teacher,
+Bruckner, in the work of the younger man the barren art is crowned with
+the true fire of a sentient poet. So, if Bruckner had little to say, he
+showed the way to others. And Mahler, if he did not quite emerge from
+the mantle of Beethoven, is a link towards a still greater future. The
+form and the technic still seem, as with most modern symphonies, too
+great for the message. It is another phase of orchestral virtuosity, of
+intellectual strain, but with more of poetic energy than in the
+symphonies of the French or other Germans.
+
+In other forms we see this happy reaction towards ancient art, as in the
+organ music of a Reger. But in the Finale of Mahler's Fifth Symphony
+there is a true serenity, a new phase of symphony, without the climactic
+stress of traditional triumph, yet none the less joyous in essence.
+
+We cannot help rejoicing that in a sincere and poetic design of
+symphony is blended a splendid renaissance of pure counterpoint, that
+shines clear above the modern spurious pretence. The Finale of Mahler's
+Fifth Symphony is one of the most inspired conceptions of counterpoint
+in all music. In it is realized the full dream of a revival of the art
+in all its glorious estate.
+
+
+_SYMPHONY NO. 5_
+
+  I.--1. _Funeral March._
+      2. _In stormy motion (with greatest vehemence)._
+ II.--3. _Scherzo (with vigor,--not too fast)._
+III.--4. _Adagietto (very slowly)._
+      5. _Rondo-Finale (allegro)._
+
+Mahler's Fifth Symphony, whatever be its intrinsic merit, that can be
+decided only by time and wear, undoubtedly marks a high point of
+orchestral splendor, in the regard of length and of the complexity of
+resources. By the latter is meant not so much the actual list of
+instruments as the pervading and accumulating use of thematic
+machinery.[A]
+
+[Footnote A: The symphony is probably the longest instrumental work that
+had appeared at the time of its production in 1904. The list of
+instruments comprises 4 flutes, 3 oboes, 3 clarinets, 2 bassoons,
+contra-bassoon, 6 horns, 4 trumpets, 3 trombones, tuba, kettle-drums,
+cymbals, bass-drum, snare-drum, triangle, glockenspiel, gong, harp and
+strings.
+
+Compared with D'Indy's Second Symphony, the Fifth of Mahler has a larger
+body of brass as well as of woodwind.]
+
+The plan of movements is very original and in a way, two-fold. There are
+three great divisions, of which the first comprises a Funeral March,
+and an untitled Allegro in vehement motion. The second division has
+merely the single movement, Scherzo. In the third are an Adagietto and a
+Rondo Finale.
+
+_I.--1. Funeral March._--A call of trumpet, of heroic air and tread, is
+answered by strident chords ending in a sonorous motive of horns that
+leads to the funeral trip, of low brass. The mournful song of the
+principal melody appears presently in the strings, then returns to the
+funeral trip and to the strident chords. The first trumpet motive now
+sounds with this clanging phrase and soon the original call abounds in
+other brass. The deep descending notes of the horns recur and the full
+song of the funeral melody much extended, growing into a duet of cellos
+and high woodwind,
+
+[Music: (Strings, bassoons and clarinets)]
+
+and further into hymnal song on a new motive.
+
+[Music: (Wood, horns and strings)
+(Bass notes in lowest wood and strings)]
+
+So the various melodies recur with new mood and manner. Suddenly, in
+fierce abandon, a martial tramp of the full band resounds, in gloomy
+minor,
+
+[Music: _Suddenly faster. Impassioned_
+(Rapid descending figure in violins)
+(Trumpet)
+(Trombones)
+(Tuba and strings)]
+
+the violins in rapid rage of wailing figure: the trumpet strikes the
+firm note of heroic plaint.
+
+Wild grief breaks out on all sides, the strings singing in passionate
+answer to the trumpet, the high wood carrying on the rapid motion. At
+the height of the storm the woodwind gain control with measured rhythm
+of choral melody. Or perhaps the real height is the expressive double
+strain, in gentle pace, of the strings, and the wood descending from on
+high.
+
+[Music: (Woodwind doubled below)
+(Strings doubled above)
+_espressivo_
+(Brass and strings)]
+
+The duet is carried on in wilder mood by most of the voices.
+
+A return to the solemn pace comes by imperceptible change, the softer
+hues of grief merging with the fiercer cries. Now various strains sound
+together,--the main funeral melody in the woodwind.
+
+In the close recurs the full flow of funeral song, with the hymnal
+harmonies. In the refrain of the stormy duet the sting of passion is
+gone; the whole plaint dies away amid the fading echoes of the trumpet
+call.
+
+_I.--2._ The second movement, the real first Allegro, is again clearly
+in two parts. Only, the relative paces are exactly reversed from the
+first movement. In tempestuous motion, with greatest vehemence, a
+rushing motive of the basses is stopped by a chord of brass and
+strings,--the chord itself reverberating to the lower rhythm.
+
+[Music: _In stirring motion. With greatest vehemence_
+(Brass and strings)
+(Bass of wood and string)
+(Trumpets)]
+
+Throughout the whole symphony is the dual theme, each part spurring the
+other. Here presently are phrases in conflicting motion, countermarching
+in a stormy maze. It is all, too, like noisy preparation,--a manoeuvring
+of forces before the battle. Three distinct figures there are before a
+blast of horn in slower notes, answered by shrill call in highest wood.
+There enters a regular, rhythmic gait and a clearer tune, suggested by
+the call.
+
+[Music: (Horns, oboes and 1st violins, G string)
+(Strings and wood)
+(Tuba and strings)
+(Second violins)]
+
+In the brilliant medley there is ever a new figure we had not perceived.
+So when the tune has been told, trumpets and horns begin with what seems
+almost the main air, and the former voices sound like mere heralds.
+Finally the deep trombones and tuba enter with a sonorous call. Yet the
+first rapid trip of all has the main legend.
+
+As the quicker figures gradually retire, a change of pace appears, to
+the tramp of funeral. Yet the initial and incident strains are of the
+former text. Out of it weaves the new, slower melody:
+
+[Music: _Much slower_ (in the tempo of the former funeral march)
+(Oboes)
+(Flutes and clarinets)
+(Cellos)
+_molto cantando_]
+
+Throughout, the old shrill call sounds in soft lament. Hardly like a
+tune, a discourse rather, it winds along, growing and changing naïvely
+ever to a new phrase. And the soft calls about seem part of the melody.
+An expressive line rising in the clarinet harks back to one of the later
+strains of the funeral march.
+
+The second melody or answer (in low octaves of strings) is a scant
+disguise of the lower tune in the stormy duet of the first movement. Yet
+all the strains move in the gentle, soothing pace and mood until
+suddenly awakened to the first vehement rhythm.
+
+Before the slower verse returns is a long plaint of cellos to softest
+roll of drums. The gentle calls that usher in the melody have a
+significant turn, upwards instead of down. All the figures of the solemn
+episode appear more clearly.
+
+On the spur of the hurrying main motive of trumpets the first pace is
+once more regained.
+
+A surprise of plot is before us. In sudden recurrence of funeral march
+the hymnal song of the first movement is heard. As suddenly, we are
+plunged into the first joyful scene of the symphony. Here it is most
+striking how the call of lament has become triumphant, as it seems
+without a change of note. And still more wonderful,--the same melody
+that first uttered a storm of grief, then a gentle sadness, now has a
+firm exultant ring. To be sure, it is all done with the magic trip of
+bass,--as a hymn may be a perfect dance.
+
+Before the close we hear the first fanfare of trumpet from the opening
+symphony, that has the ring of a motto of the whole. At the very end is
+a transfigured entrance,--very slowly and softly, to a celestial touch
+of harp, of the first descending figure of the movement.
+
+_II.--3. Scherzo._ Jovial in high degree, the Scherzo begins with the
+thematic complexity of modern fashion. In dance tune of three beats
+horns lead off with a jolly call; strings strike dancing chords; the
+lower wind play a rollicking answer, but together with the horns, both
+strains continuing in dancing duet. Still the saucy call of horns seems
+the main text, though no single tune reigns alone.
+
+[Music: (Horns)
+_Scherzo. With vigor, not too fast_
+(Strings and flutes)
+(Strings)
+(Clarinets and basses)]
+
+The violins now play above the horns; then the cellos join and there is
+a three-part song of independent tunes, all in the dance. So far in
+separate voices it is now taken up by full chorus, though still the
+basses sing one way, trebles another, and the middle horns a third. And
+now the high trumpet strikes a phrase of its own. But they are all in
+dancing swing, of the fibre of the first jolly motive.
+
+A new episode is started by a quicker _obligato_ of violins, in
+neighboring minor, that plays about a fugue of the woodwind on an
+incisive theme where the cadence has a strange taste of bitter sweet
+harmony in the modern Gallic manner.
+
+[Music: (Clarinets)
+(Violas)
+(Violins)
+(Bass of brass and wood)]
+
+Horns and violins now pursue their former duet, but in the changed hue
+of minor where the old concords are quaintly perverted. But this is only
+to give a merrier ring to the bright madrigal that follows in sweetly
+clashing higher wood, with the trip still in the violins. Thence the
+horns and violins break again into the duet in the original key. Here
+the theme is wittily inverted in the bass, while other strings sing
+another version above.
+
+So the jolly dance and the quaint fugue alternate; a recurring phrase is
+carried to a kind of dispute, with opposite directions above and below
+and much augmented motion in the strings.
+
+In the dance so far, in "three time," is ever the vigorous stamp on the
+third beat, typical of the German peasant "_Ländler_." Here of a sudden
+is a change as great as possible within the continuing dance of three
+steps. "More tranquil" in pace, in soft strings, without a trace of the
+_Ländler_ stamp, is a pure waltz in pretty imitation of tuneful theme.
+
+[Music: _More gently_ (G string) (D string)
+(Strings)
+acc't _pizzicato_]
+
+And so the return to the vigorous rough dance is the more refreshing.
+The merry mood yields to a darker temper. "Wild" the strings rush in
+angry fugue on their rapid phrase; the quaint theme is torn to shreds,
+recalling the fierce tempest of earlier symphony.
+
+But the first sad note of the Scherzo is in the recitative of horn,
+after the lull. A phrase of quiet reflection, with which the horn
+concludes the episode as with an "_envoi_," is now constantly rung; it
+is wrought from the eerie tempest; like refined metal the melody is
+finally poured; out of its guise is the theme now of mournful dance.
+
+"Shyly" the tune of the waltz answers in softest oboe. In all kinds of
+verses it is sung, in expressive duet of lower wood, of the brass, then
+of high reeds; in solo trumpet with counter-tune of oboe, finally in
+high flutes. Here we see curiously, as the first themes reappear, a
+likeness with the original trumpet-call of the symphony. In this guise
+of the first dance-theme the movements are bound together. The _envoi_
+phrase is here evident throughout.
+
+At this mystic stage, to pure dance trip of low strings the waltz
+reënters very softly in constant growing motion, soon attaining the old
+pace and a new fulness of sound. A fresh spur is given by a wild motion
+of strings, as in the fugal episode; a new height of tempest is reached
+where again the distorted shreds of first dance appear, with phrases of
+the second. From it like sunshine from the clouds breaks quickly the
+original merry trip of dance.
+
+The full cycle of main Scherzo returns with all stress of storm and
+tragedy. But so fierce is the tempest that we wonder how the glad mood
+can prevail. And the sad _envoi_ returns and will not be shaken off.
+The sharp clash of fugue is rung again and again, as if the cup must be
+drained to the drop. Indeed, the serious later strain does prevail, all
+but the final blare of the saucy call of brass.[A]
+
+[Footnote A: In the Scherzo are chimes, accenting the tune of the dance,
+and even castanets, besides triangle and other percussion. The second
+movement employs the harp and triangle.]
+
+_III.--4. Adagietto._[A] "Very slowly" first violins carry the
+expressive song that is repeated by the violas.
+
+[Footnote A: The Adagietto is scored simply for harp and strings; nor
+are the latter unusually divided.]
+
+[Music: _Adagietto_
+(Strings and harp)]
+
+A climax is reached by all the violins in unison. A new glow, with
+quicker motion, is in the episode, where the violins are sharply
+answered by the violas, rising to a dramatic height and dying away in a
+vein of rare lyric utterance.
+
+It is all indeed a pure lyric in tones.
+
+_III.--5. Rondo-Finale._ The whole has the dainty, light-treading humor
+that does not die of its own vehemence. Somewhat as in the Ninth
+Symphony of Beethoven,--tyrant of classical traditions, the themes
+appear right in the beginning as if on muster-roll, each in separate,
+unattended song. A last chance cadence passes down the line of voices
+and settles into a comfortable rhythm as prevailing theme, running in
+melodious extension, and merging after a
+
+[Music: (Clarinets, horns and bassoons) (Flutes and oboes)
+_Allegro commodo_]
+
+hearty conclusion in the jovially garrulous fugue.
+
+Here the counter-theme proves to be one of the initial tunes and takes a
+leading rôle until another charming strain appears on high,--a pure
+nursery rhyme crowning the learned fugue. Even this is a guise of one
+of the original motives in the mazing medley, where it seems we could
+trace the ancestry of each if we could linger and if it really mattered.
+And yet there is a rare charm in these subtle turns; it is the secret
+relevance that counts the most.
+
+The fugue reaches a sturdy height with one of the first themes in lusty
+horns, and suddenly falls into a pleasant jingle, prattling away in the
+train of important figures, the kind that is pertinent with no outer
+likeness.
+
+[Music: _Grazioso_
+(Strings, bassoons and horns)]
+
+Everywhere, to be sure, the little rhythmic cadence appears; the whole
+sounds almost like the old children's canon on "Three Blind Mice";
+indeed the themal inversion is here the main tune. Then in the bass the
+phrase sounds twice as slow as in the horns. There are capers and
+horseplay; a sudden shift of tone; a false alarm of fugue; suddenly we
+are back in the first placid verse of the rhythmic motive.
+
+Here is a new augmentation in resonant horns and middle strings, and the
+melodious extension. A former motive that rings out in high reed, seems
+to have the function of concluding each episode.
+
+A new stretch of fugue appears with new counter-theme, that begins in
+long-blown notes of horns. It really is no longer a fugue; it has lapsed
+into mere smooth-rolling motion underneath a verse of primal tune. And
+presently another variant of graceful episode brings a delicious
+lilt,--_tender, but expressive_.
+
+[Music: _Grazioso_
+_espressivo_
+(Strings)]
+
+With all the subtle design there is no sense of the lamp, in the gentle
+murmur of quicker figure or melodious flow of upper theme. Moving is the
+lyric power and sweetness of this multiple song. As to themal
+relation,--one feels like regarding it all as inspired madrigal, where
+the maze and medley is the thing, where the tunes are not meant to be
+distinguished. It becomes an abandoned orgy of clearest counterpoint.
+Throughout is a blending of fugue and of children's romp, anon with the
+tenderness of lullaby and even the glow of love-song. A brief mystic
+verse, with slow descending strain in the high wood, preludes the
+returning gambol of running strings, where the maze of fugue or canon
+is in the higher flowing song, with opposite course of answering tune,
+and a height of jolly revel, where the bright trumpet pours out the
+usual concluding phrase. The rhythmic episode, in whimsical change, here
+sings with surprise of lusty volume. So the merry round goes on to a big
+resonant _Amen_ of final acclaim, where the little phrase steals out as
+naturally as in the beginning.
+
+Then in quicker pace it sounds again all about, big and little, and
+ends, after a touch of modern Gallic scale, in opposing runs, with a
+last light, saucy fling.
+
+Mahler, we feel again, realizes all the craving that Bruckner breeds for
+a kernel of feeling in the shell of counterpoint. Though we cannot deny
+a rude breach of ancient rule and mode, there is in Mahler a genuine,
+original, individual quality of polyphonic art that marks a new stage
+since the first in Bach and a second in Beethoven. It is this bold revel
+in the neglected sanctuary of the art that is most inspiriting for the
+future. And as in all true poetry, this overleaping audacity of design
+is a mere expression of simplest gaiety.
+
+
+
+
+CHAPTER XVIII
+
+RICHARD STRAUSS[A]
+
+[Footnote A: Born in 1864.]
+
+
+Much may be wisely written on the right limits of music as a depicting
+art. The distinction is well drawn between actual delineation, of figure
+or event, and the mere suggestion of a mood. It is no doubt a fine line,
+and fortunately; for the critic must beware of mere negative philosophy,
+lest what he says cannot be done, be refuted in the very doing. If
+Lessing had lived a little later, he might have extended the principles
+of his "Laocöon" beyond poetry and sculpture into the field of music.
+Difficult and ungrateful as is the task of the critical philosopher, it
+must be performed. There is every reason here as elsewhere why men
+should see and think clearly.
+
+It is perhaps well that audiences should cling to the simple verdict of
+beauty, that they should not be led astray by the vanity of finding an
+answer; else the composer is tempted to create mere riddles. So we may
+decline to find precise pictures, and content ourselves with the music.
+The search is really time wasted; it is like a man digging in vain for
+gold and missing the sunshine above.
+
+Strauss may have his special meanings. But the beauty of the work is
+for us all-important. We may expect him to mark his scenes. We may not
+care to crack that kind of a nut.[A] It is really not good eating.
+Rather must we be satisfied with the pure beauty of the fruit, without a
+further hidden kernel. There is no doubt, however, of the ingenuity of
+these realistic touches. It is interesting, here, to contrast Strauss
+with Berlioz, who told his stories largely by extra-musical means, such
+as the funeral trip, the knell of bells, the shepherd's reed. Strauss at
+this point joins with the Liszt-Wagner group in the use of symbolic
+motives. Some of his themes have an effect of tonal word-painting. The
+roguish laugh of Eulenspiegel is unmistakable.
+
+[Footnote A: Strauss remarked that in _Till Eulenspiegel_ he had given
+the critics a hard nut to crack.]
+
+It is in the harmonic rather than the melodic field that the fancy of
+Strauss soars the freest. It is here that his music bears an individual
+stamp of beauty. Playing in and out among the edges of the main harmony
+with a multitude of ornamental phrases, he gains a new shimmer of
+brilliancy. Aside from instrumental coloring, where he seems to outshine
+all others in dazzling richness and startling contrasts, he adds to the
+lustre by a deft playing in the overtones of his harmonies, casting the
+whole in warmest hue.
+
+If we imagine the same riotous license in the realm of tonal
+noise,--cacophony, that is, where the aim is not to enchant, but to
+frighten, bewilder, or amaze; to give some special foil to sudden
+beauty; or, last of all, for graphic touch of story, we have another
+striking element of Strauss's art. The anticipation of a Beethoven in
+the drum of the Scherzo of the Fifth Symphony, or the rhythmic whims of
+a Schumann in his Romantic piano pieces suggest the path of much of this
+license. Again, as passing notes may run without heed of harmony, since
+ancient days, so long sequences of other figures may hold their moving
+organ-point against clashing changes of tonality.
+
+Apart from all this is the modern "counterpoint," where, if it is quite
+the real thing, Strauss has outdone the boldest dreams of ancient school
+men. But with the lack of cogent form, and the multitude of small
+motives it seems a different kind of art. We must get into the
+view-point of romantic web of infinite threads, shimmering or jarring in
+infinite antagonism (of delayed harmony). By the same process comes
+always the tremendous accumulation towards the end. As the end and
+essence of the theme seems a graphic quality rather than intrinsic
+melody, so the main pith and point of the music lies in the weight and
+power of these final climaxes.
+
+
+_TOD UND VERKLÄRUNG (DEATH AND TRANSFIGURATION), TONE POEM_
+
+It may be well to gather a few general impressions before we attempt the
+study of a work radical in its departure from the usual lines of tonal
+design.
+
+There can be no doubt of the need of vigilance if we are to catch the
+relevance of all the strains. To be sure, perhaps this perception is
+meant to be subconscious. In any case the consciousness would seem to
+ensure a full enjoyment.
+
+It is all based on the motif of the Wagner drama and of the Liszt
+symphonies, and it is carried to quite as fine a point. Only here we
+have no accompanying words to betray the label of the theme. But in the
+quick flight of themes, how are we to catch the subtle meaning? The
+interrelation seems as close as we care to look, until we are in danger
+of seeing no woods for the trees.
+
+Again the danger of preconception is of the greatest. We may get our
+mind all on the meaning and all off the music. The clear fact is the
+themes do have a way of entering with an air of significance which they
+challenge us to find. The greatest difficulty is to distinguish the
+themes that grow out of each other, as a rose throws off its early
+petals, from those that have a mere chance similarity. Even this
+likeness may have its own intended meaning, or it may be all beside the
+mark. But we may lose not merely the musical, but even the dramatic
+sequence in too close a poring over themal derivation. On the other hand
+we may defy the composer himself and take simply what he gives, as if on
+first performance, before the commentators have had a chance to breed.
+And this may please him best in the end.
+
+We must always attend more to the mood than to themal detail as
+everywhere in real music, after all. Moments of delight and triumph we
+know there are in this work. But they are mere instants. For it is all
+the feverish dream of death. There can be no earlier rest. Snatches they
+are of fancy, of illusion, as, says the priest in Oedipus, is all of
+life.
+
+It may be worth while, too, to see how pairs of themes ever occur in
+Strauss, the second in answer, almost in protest, to the first. (It is
+not unlike the pleading in the Fifth Symphony of the second theme with
+the sense of doom in the first.) So we seem to find a motive of fate,
+and one of wondering, and striving; a theme of beauty and one of
+passion,--if we cared to tread on such a dangerous, tempting ground.
+Again, we may find whole groups of phrases expressive of one idea, as of
+beauty, and another of anxious pursuit. Thus we escape too literal a
+themal association.
+
+Trying a glimpse from the score pure and simple, we find a poem,
+opposite the first page, that is said to have been written after the
+first production. So, reluctantly, we must wait for the mere
+reinforcement of its evidence.
+
+_Largo_, in uncertain key, begins the throb of irregular rhythm (in
+strings) that Bach and Chopin and Wagner have taught us to associate
+with suffering. The first figure is a gloomy descent of pairs of chords,
+with a hopeless cry above (in the flutes). In the recurrence, the turn
+of chord is at last upward. A warmer hue of waving sounds (of harps) is
+poured about, and a gentle vision appears on high, shadowed quickly by
+a theme of fearful wondering. The chords return as at first. A new
+series of descending tones
+
+[Music: (Flute an 8ve. higher) (Oboe)
+_Largo_
+_dolce_
+(Harp with arpeggio groups of six to the quarter)]
+
+intrude, with a sterner sense of omen, and yield to a full melodic
+utterance of longing (again with the
+
+[Music: (Solo violin muted)
+(Horns)
+(Harp with arpeggio groups of six to the quarter)]
+
+soothing play of harp), and in the midst a fresh theme of wistful fear.
+For a moment there is a brief glimpse of the former vision. Now the
+song, less of longing than of pure bliss, sings free and clear its
+descending lay in solo violin, though an answering phrase (in the horns)
+of upward striving soon rises from below. The vision now appears again,
+the wondering monitor close beside. The melancholy chords return to dim
+the beauty. As the descending theme recedes, the rising motive sings a
+fuller course on high with a new note of eager, anxious fear.
+
+All these themes are of utmost pertinence in this evident prologue of
+the story. Or at least the germs of all the leading melodies are here.
+
+In sudden turn of mood to high agitation, a stress of wild desire rings
+out above in pairs of sharp ascending chords, while below the wondering
+theme rises in growing tumult. A whirling storm of the two phrases ends
+in united burst like hymn of battle, on the line of the wondering theme,
+but infused with
+
+[Music: _Alla breve_
+_Tutti_
+(Bass doubled below)]
+
+resistless energy. Now sings a new discourse of warring phrases that
+are dimly traced to the phase of the blissful melody, above the theme of
+upward striving.
+
+[Music: (Theme in woodwind)
+_espress._
+(Strings)
+(Answer in basses)]
+
+They wing an eager course, undaunted by the harsh intruding chords. Into
+the midst presses the forceful martial theme. All four elements are
+clearly evident. The latest gains control, the other voices for the
+nonce merely trembling in obedient rhythm. But a new phase of the
+wistful motive appears, masterful but not o'ermastering, fiercely
+pressing upwards,--and a slower of the changed phrase of blissful song.
+The former attains a height of sturdy ascending stride.
+
+In spite of the ominous stress of chords that grow louder with the
+increasing storm, something of assurance comes with the ascending
+stride. More and more this seems the dominant idea.
+
+A new paroxysm of the warring themes rises to the first great climax
+where the old symbol of wondering and striving attains a brief moment
+of assured ecstatic triumph.
+
+In a new scene (_meno mosso_), to murmuring strings (where the theme of
+striving can possibly be caught) the blissful melody sings in full song,
+undisturbed save by the former figure that rises as if to grasp,--sings
+later, too, in close sequence of voices. After a short intervening
+verse--_leicht bewegt_--where the first vision appears for a moment, the
+song is resumed, still in a kind of shadowy chase of slow flitting
+voices, _senza espressione_. The rising, eager phrase is disguised in
+dancing pace, and grows to a graceful turn of tune. An end comes, _poco
+agitato_, with rude intrusion of the hymnal march in harsh contrast of
+rough discord; the note of anxious fear, too, strikes in again. But
+suddenly, _etwas breiter_, a new joyous mood frightens away the birds of
+evil omen.
+
+Right in the midst of happenings, we must be warned against too close a
+view of individual theme. We must not forget that it is on the
+contrasted pairs and again the separate groups of phrases, where all
+have a certain common modal purpose, that lies the main burden of the
+story. Still if we must be curious for fine derivation, we may see in
+the new tune of exultant chorus the late graceful turn that now,
+reversing, ends in the former rising phrase. Against it sings the first
+line of blissful theme. And the first tune of graceful beauty also finds
+a place. But they all make one single blended song, full of glad bursts
+and cadences.
+
+Hardly dimmed in mood, it turns suddenly into a phase of languorous
+passion, in rich setting of pulsing harp, where now the later figures,
+all but the blissful theme, vanish before an ardent song of the
+wondering phrase. The motive of passionate desire rises and falls, and
+soars in a path of "endless melody," returning on its own line of
+flight, playing as if with its shadow, catching its own echo in the
+ecstasy of chase. And every verse ends with a new stress of the
+insistent upward stride, that grows ever in force and closes with big
+reverberating blasts. The theme of the vision joins almost in rough
+guise of utmost speed, and the rude marching song breaks in; somehow,
+though they add to the maze, they do not dispel the joy. The ruling
+phase of passion now rumbles fiercely in lowest depths. The theme of
+beauty rings in clarion wind and strings, and now the whole strife ends
+in clearest, overwhelming hymn of triumphant gladness, all in the
+strides of the old wondering, striving phrase.
+
+[Music]
+
+The whole battle here is won. Though former moments are fought through
+again (and new melodies grow out of the old plaint), the triumphant
+shout is near and returns (ever from a fresh tonal quarter) to chase
+away the doubt and fear. All the former phrases sing anew, merging the
+tale of their strife in the recurring verse of united paean. The song at
+last dies away, breaking like setting sun into glinting rays of
+celestial hue, that pale away into dullest murmur.
+
+Still one returning paroxysm, of wild striving for eluding bliss, and
+then comes the close. From lowest depths shadowy tones sing herald
+phrases against dim, distorted figures of the theme of beauty,--that
+lead to a soft song of the triumphant hymn, _tranquillo_, in gentlest
+whisper, but with all the sense of gladness and ever bolder straying of
+the enchanting dream. After a final climax the song ends in slow
+vanishing echoes.
+
+The poet Ritter is said to have added, after the production of the
+music, the poem printed on the score, of which the following is a rather
+literal translation:
+
+    In the miserable chamber,
+    Dim with flick'ring candlelight,
+    Lies a man on bed of sickness.
+    Fiercely but a moment past
+    Did he wage with Death the battle;
+    Worn he sinks back into sleep.
+    Save the clock's persistent ticking
+    Not a sound invades the room,
+    Where the gruesome quiet warns us
+    Of the neighborhood of Death.
+    O'er the pale, distended features
+    Plays a melancholy smile.
+    Is he dreaming at life's border
+    Of his childhood golden days?
+
+    But a paltry shrift of sleep
+    Death begrudges to his victim.
+    Cruelly he wakes and shakes him,
+    And the fight begins anew,--
+    Throb of life and power of death,
+    And the horror of the struggle.
+    Neither wins the victory.
+    Once again the stillness reigns.
+
+    Worn of battle, he relapses
+    Sleepless, as in fevered trance.
+    Now he sees before him passing
+    Of his life each single scene:
+    First the glow of childhood dawn,
+    Bright in purest innocence,
+    Then the bolder play of youth
+    Trying new discovered powers,
+    Till he joins the strife of men,
+    Burning with an eager passion
+    For the high rewards of life.--
+    To present in greater beauty
+    What his inner eye beholds,
+    This is all his highest purpose
+    That has guided his career.
+
+    Cold and scornful does the world
+    Pile the barriers to his striving.
+    Is he near his final goal,
+    Comes a thund'rous "Halt!" to meet him.
+    "Make the barrier a stepping,
+    Ever higher keep your path."
+    Thus he presses on and urges,
+    Never ceasing from his aim.--
+    What he ever sought of yore
+    With his spirit's deepeth longing,
+    Now he seeks in sweat of death,
+    Seeks--alas! and finds it never.
+    Though he grasps it clearer now,
+    Though it grows in living form,
+    He can never all achieve it,
+    Nor create it in his thought.
+    Then the final blow is sounded
+    From the hammer-stroke of Death,
+    Breaks the earthly frame asunder,
+    Seals the eye with final night.
+    But a mighty host of sounds
+    Greet him from the space of heaven
+    With the song he sought below:
+    Man redeemed,--the world transfigured.
+
+
+_DON JUAN. (TONE POEM.)_
+
+A score or more of lines from Lenau's poem of the same title stand as
+the subject of the music.
+
+    O magic realm, illimited, eternal,
+    Of gloried woman,--loveliness supernal!
+    Fain would I, in the storm of stressful bliss,
+    Expire upon the last one's lingering kiss!
+      Through every realm, O friend, would wing my flight,
+    Wherever Beauty blooms, kneel down to each,
+      And, if for one brief moment, win delight!
+
+           *       *       *       *       *
+
+    I flee from surfeit and from rapture's cloy,
+    Keep fresh for Beauty service and employ,
+    Grieving the One, that All I may enjoy.
+
+    My lady's charm to-day hath breath of spring,
+    To-morrow may the air of dungeon bring.
+      When with the new love won I sweetly wander,
+    No bliss is ours upfurbish'd and regilded;
+      A different love has This to That one yonder,--
+    Not up from ruins be my temple builded.
+      Yea Love life is, and ever must be now,
+    Cannot be changed or turned in new direction;
+    It must expire--here find a resurrection;
+      And, if 'tis real, it nothing knows of rue!
+    Each Beauty in the world is sole, unique;
+    So must the love be that would Beauty seek!
+    So long as Youth lives on with pulse afire,
+    Out to the chase! To victories new aspire!
+
+           *       *       *       *       *
+
+    It was a wond'rous lovely storm that drove me:
+    Now it is o'er; and calm all round, above me;
+      Sheer dead is every wish; all hopes o'ershrouded,--
+    It was perhaps a flash from heaven descended,
+    Whose deadly stroke left me with powers ended,
+      And all the world, so bright before, o'erclouded;
+    Yet perchance not! Exhausted is the fuel;
+    And on the hearth the cold is fiercely cruel.[A]
+
+[Footnote A: Translation by John P. Jackson.]
+
+In the question of the composer's intent, of general plan and of
+concrete detail, it is well to see that the quotation from Lenau's poem
+is twice broken by lines of omission; that there are thus three
+principal divisions. It cannot be wise to follow a certain kind of
+interpretation[A] which is based upon the plot of Mozart's opera. The
+spirit of Strauss's music is clearly a purely subjective conception,
+where the symbolic figure of fickle desire moves through scenes of
+enchantment to a climax of--barren despair.
+
+[Footnote A: In a complex commentary William Mauke finds Zerlina, Anna
+and "The Countess" in the music.]
+
+To some extent Strauss clearly follows the separate parts of his
+quotation. Fervent desire, sudden indifference are not to be mistaken.
+
+The various love scenes may be filled with special characters without
+great harm, save that the mind is diverted from a higher poetic view to
+a mere concrete play of events. The very quality of the pure musical
+treatment thus loses nobility and significance. Moreover the only
+thematic elements in the design are the various "motives" of the hero.
+
+_Allegro molto con brio_ begins the impetuous main theme in dashing
+ascent,
+
+[Music: _Allegro molto con brio_
+(Unison strings)
+(Doubled in higher 8ve.)]
+
+whimsical play
+
+[Music: (Woodwind doubled in higher 8ve.)]
+
+and masterful career.
+
+[Music: (Doubled in higher 8ve.)]
+
+The various phases are mingled in spirited song; only the very beginning
+seems reserved as a special symbol of a turn in the chase, of the sudden
+flame of desire that is kindled anew.
+
+In the midst of a fresh burst of the main phrase are gentle strains of
+plaint (_flebile_). And now a tenderly sad motive in the wood sings
+against the marching phrase, amidst a spray of light, dancing chords.
+Another song of the main theme is spent in a vanishing tremolo of
+strings and harp, and buried in a rich chord whence rises a new song
+(_molto espressivo_) or rather a duet, the first of the longer
+love-passages.
+
+The main melody is begun in clarinet and horn and instantly followed (as
+in canon) by violins. The climax of this impassioned scene is a titanic
+chord of minor, breaking the spell; the end is in a distorted strain of
+the melody, followed by a listless refrain of the (original) impetuous
+motive (_senza espressione_).
+
+The main theme breaks forth anew, in the spirit of the beginning. It
+yields suddenly before the next episode, a languorous song of lower
+strings (_molto appassionato_), strangely broken into by sighing phrases
+in the high wood (_flebile_). After further interruption, the love song
+is crowned by a broad flowing melody (_sehr getragen und
+ausdrucksvoll_)--the main lyric utterance of all. It has a full length
+of extended song, proportioned to its distinguished beauty. The dual
+quality is very clear throughout the scene. Much of the song is on a
+kindred phrase of the lyric melody sung by the clarinet with dulcet
+chain of chords of harp.
+
+Here strikes a climactic tune in forte unison of the four horns (_molto
+espressivo e marcato_). It is the clear utterance of a new mood of the
+hero,--a purely
+
+[Music: (Four horns in unison) (Full orchestra)]
+
+subjective phase. With a firm tread, though charged with pathos, it
+seems what we might venture to call a symbol of renunciation. It is
+broken in upon by a strange version of the great love song, _agitato_ in
+oboes, losing all its queenly pace. As though in final answer comes
+again the ruthless phrase of horns, followed now by the original theme.
+_Rapidamente_ in full force of strings comes the coursing strain of
+impetuous desire. The old and the new themes of the hero are now in
+stirring encounter, and the latter seems to prevail.
+
+The mood all turns to humor and merrymaking. In gay dancing trip serious
+subjects are treated jokingly (the great melody of the horns is
+mockingly sung by the harp),--in fits and gusts. At the height the
+(first) tempestuous motive once more dashes upwards and yields to a
+revel of the (second) whimsical phrase. A sense of fated renunciation
+seems to pervade the play of feelings of the hero. In the lull, when the
+paroxysm is spent, the various figures of his past romances pass in
+shadowy review; the first tearful strain, the melody of the first of the
+longer episodes,--the main lyric song (_agitato_).
+
+In the last big flaming forth of the hero's passion victory is once more
+with the theme of renunciation,--or shall we say of grim denial where
+there is no choice.
+
+Strauss does not defy tradition (or providence) by ending his poem with
+a triumph. A final elemental burst of passion stops abruptly before a
+long pause. The end is in dismal, dying harmonies,--a mere dull sigh of
+emptiness, a void of joy and even of the solace of poignant grief.
+
+
+_TILL EULENSPIEGEL'S MERRY PRANKS_
+
+_In the Manner of Ancient Rogues--In Rondo Form_
+
+Hardly another subject could have been more happy for the revelling in
+brilliant pranks and conceits of a modern vein of composition. And in
+the elusive humor of the subject is not the least charm and fitness.
+Too much stress has been laid on the graphic purpose. There is always a
+tendency to construe too literally. While we must be in full sympathy
+with the poetic story, there is small need to look for each precise
+event. We are tempted to go further, almost in defiance, and say that
+music need not be definite, even despite the composer's intent. In other
+words, if the tonal poet designs and has in mind a group of graphic
+figures, he may nevertheless achieve a work where the real value and
+beauty lie in a certain interlinear humor and poetry,--where the labels
+can in some degree be disregarded.
+
+Indeed, it is this very abstract charm of music that finds in such a
+subject its fullest fitness. If we care to know the pranks exactly, why
+not turn to the text? Yet, reading the book, in a way, destroys the
+spell. Better imagine the ideal rogue, whimsical, spritely, all of the
+people too. But in the music is the real Till. The fine poetry of
+ancient humor is all there, distilled from the dregs of folk-lore that
+have to us lost their true essence. There is in the music a daemonic
+quality, inherent in the subject, that somehow vanishes with the
+concrete tale. So we might say the tonal picture is a faithful likeness
+precisely in so far as it does not tell the facts of the story.
+
+Indeed, in this mass of vulgar stories we cannot help wondering at the
+reason for their endurance through the centuries, until we feel
+something of the spirit of the people in all its phases. A true mirror
+it was of stupidity and injustice, presented by a sprite of owlish
+wisdom, sporting, teasing and punishing[A] all about. It is a kind of
+popular satire, with a strong personal element of a human Puck, or an
+impish Robin Hood, with all the fairy restlessness, mocking at human rut
+and empty custom.
+
+[Footnote A: On leaving the scene of some special mischief, Till would
+draw a chalk picture of an owl on the door, and write below, _Hic fuit_.
+The edition of 1519 has a woodcut of an owl resting on a mirror, that
+was carved in stone, the story goes, over Till's grave.]
+
+It is perhaps in the multitude of the stories, paradoxical though it
+seem, that lies the strength. In the number of them (ninety-two
+"histories" there are) is an element of universality. It is like the
+broom: one straw does not make, nor does the loss of one destroy it;
+somewhere in the mass lies the quality of broom.
+
+In a way Till is the Ulysses of German folk-lore, the hero of trickery,
+a kind of _Reinecke Fuchs_ in real life. But he is of the soil as none
+of the others. A satyr, in a double sense, is Till; only he is pure
+Teuton, of the latter middle ages.
+
+He is every sort of tradesman, from tailor to doctor. Many of the
+stories, perhaps the best, are not stories at all, but merely clever
+sayings. In most of the tricks there is a Roland for an Oliver. Till
+stops at no estate; parsons are his favorite victims. He is, on the
+whole, in favor with the people, though he played havoc with entire
+villages. Once he was condemned to death by the Lübeck council. But
+even here it was his enemies, whom he had defrauded, that sought
+revenge. The others excused the tricks and applauded his escape. Even in
+death the scandal and mischief do not cease.
+
+The directions in Strauss' music are new in their kind and dignity. They
+belong quite specially to this new vein of tonal painting. In a double
+function, they not merely guide the player, but the listener as well.
+The humor is of utmost essence; the humor is the thing, not the play,
+nor the story of each of the pranks, in turn, of our jolly rogue. And
+the humor lies much in these words of the composer, that give the lilt
+of motion and betray a sense of the intended meaning.
+
+[Music: _Gemächlich_]
+
+The tune, sung at the outset _gemächlich_ (comfortably), is presumably
+the rogue _motif_, first in pure innocence of mood. But quickly comes
+another, quite opposed in rhythm, that soon hurries into highest speed.
+These are not the "subjects" of old tradition.
+
+[Music: (Horn)]
+
+And first we are almost inclined to take the "Rondo form" as a new
+roguish prank. But we may find a form where the subjects are independent
+of the basic themes that weave in and out unfettered by rule--where the
+subjects are rather new grouping of the fundamental symbols.[A]
+
+[Footnote A: It is like the Finale of Brahms' Fourth Symphony, where an
+older form (of _passacaglia_) is reared together with a later, one
+within the other.]
+
+After a pause in the furious course of the second theme, a quick piping
+phrase sounds _lustig_ (merrily) in the clarinet, answered by a chord of
+ominous
+
+[Music: _Molto allegro_
+(Clar.)
+_lustig_]
+
+token. But slowly do we trace the laughing phrase to the first theme.
+
+And here is a new whim. Though still in full tilt, the touch of demon is
+gone in a kind of ursine clog of the basses. Merely jaunty and clownish
+it would be but for the mischievous scream (of high flute) at the end.
+And now begins a rage of pranks, where the main phrase is the rogue's
+laugh, rising in brilliant gamut of outer pitch and inner mood.
+
+At times the humor is in the spirit of a Jean Paul, playing between
+rough fun and sadness in a fine spectrum of moods. The lighter motive
+dances harmlessly about the more serious, intimate second phrase. There
+is almost the sense of lullaby before the sudden plunge to wildest
+chaos, the only portent being a constant trembling of low strings. All
+Bedlam is let loose, where the rogue's shriek is heard through a
+confused cackling and a medley of voices here and there on the running
+phrase (that ever ends the second theme). The sound of a big rattle is
+added to the scene,--where perhaps the whole village is in an uproar
+over some wholesale trick of the rogue.
+
+And what are we to say to this simplest swing of folk-song that steals
+in naïvely to enchanting strum of rhythm. We may speculate about the
+Till as the
+
+[Music: (_Gemächlich_)]
+
+people saw him, while elsewhere we have the personal view. The
+folk-tunes may not have a special dramatic rôle. Out of the text of
+folk-song, to be sure, all the strains are woven. Here and there we
+have the collective voice. If we have watched keenly, we have heard how
+the tune, simply though it begins, has later all the line of Till's
+personal phrase. Even in the bass it is, too. Of the same fibre is this
+demon mockery and the thread of folk legend.
+
+We cannot pretend to follow all the literal whims. And it is part of the
+very design that we are ever surprised by new tricks, as by this saucy
+trip of dancing phrase. The purely human touches are clear, and almost
+moving in contrast with the impish humor.
+
+An earlier puzzle is of the second theme. As the composer has refused to
+help us, he will not quarrel if we find our own construction. A possible
+clue there is. As the story proceeds, aside from the mere abounding fun
+and poetry, the more serious theme prevails. Things are happening. And
+there come the tell-tale directions. _Liebeglühend_, aflame with love, a
+melody now sings in urgent pace, ending with
+
+[Music: _Liebeglühend_]
+
+a strange descending note. Presently in quieter mood, _ruhiger_, it
+gains a new grace, merely to dash again, _wütend_, into a fiercer rage
+than before. Before long we cannot escape in all this newer melody a
+mere slower outline of the second theme. A guess then, such as the
+composer invites us to make, is this: It is not exactly a Jekyll and
+Hyde, but not altogether different. Here (in the second theme, of horn)
+is Till himself,--not the rogue, but the man in his likes and loves and
+suffering. The rogue is another, a demon that possesses him to tease
+mankind, to tease himself out of his happiness. During the passionate
+episode the rogue is banned, save for a grimace now and then, until the
+climax, when all in disguise of long passionate notes of resonant bass
+the demon theme has full control. But for once it is in earnest, in dead
+earnest, we might say. And the ominous chord has a supreme moment, in
+the shadow of the fulfilment.
+
+A new note sounds in solemn legend of lowest wood, sadly beautiful, with
+a touch of funeral pace.[A]
+
+[Footnote A: Strauss told the writer that this was the march of the
+jurymen,--"_der Marsch der Schöffen_." Reproached for killing Till, he
+admitted that he had taken a license with the story and added: "In the
+epilogue,--there he lives."]
+
+The impish laugh still keeps intruding. But throughout the scene it is
+the Till motive, not the rogue, that fits the stride of the death-march.
+To be sure the rogue anon laughs bravely. But the other figure is in
+full view.
+
+[Music: (Lowest woodwind)]
+
+The sombre legend is, indeed, in a separate phase, its beauty now
+distorted in a feverish chase of voices on the main phrase. It is all a
+second climax, of a certain note of terror,--of fate. In the midst is a
+dash of the rogue's heartiest laugh, amid the echoes of the fearful
+chord, while the growing roar of the mob can be heard below. Once again
+it rings out undaunted, and then to the sauciest of folk-tunes,
+_leichtfertig_, Till dances gaily and jauntily. Presently, in a mystic
+passage, _schnell und schattenhaft_
+
+[Music: _Leichtfertig_
+(Strings reinforced by clarinets and horns)]
+
+(like fleeting shadow) a phantom of the rogue's figure passes
+stealthily across the horizon.
+
+_Etwas gemächlicher_, a graceful duet weaves prettily out of the Till
+motive, while the other roars very gently in chastened tones of softest
+horns.
+
+[Music]
+
+The first course of themes now all recurs, though some of the roguery is
+softened and soon trips into purest folk-dance. And yet it is all built
+of the rascal theme. It might (for another idle guess) be a general
+rejoicing. Besides the tuneful dance, the personal phrase is laughing
+and chuckling in between.
+
+The rejoicing has a big climax in the first folk-song of all, that now
+returns in full blast of horns against a united dance of strings and
+wood. After a roll of drum loud clanging strokes sound threatening
+(_drohend_) in low bass and strings, to which the rascal pipes his theme
+indifferently (_gleichgültig_). The third time, his answer has a
+simulated sound (_entstellt_). Finally, on the insistent thud comes a
+piteous phrase (_kläglich_) in running thirds. The dread chords at last
+vanish, in the strings. It is very like an actual, physical end. There
+is no doubt that the composer here intends the death of Till, in face of
+the tradition.
+
+Follows the epilogue, where in the comfortable swing of the beginning
+the first melody is extended in full beauty and significance. All the
+pleasantry of the rogue is here, and at the end a last fierce burst of
+the demon laugh.
+
+
+_"SINFONIA DOMESTICA."_
+
+The work followed a series of tone-poems where the graphic aim is shown
+far beyond the dreams even of a Berlioz. It may be said that Strauss,
+strong evidence to the contrary, does not mean more than a suggestion of
+the mood,--that he plays in the humor and poetry of his subject rather
+than depicts the full story. It is certainly better to hold to this view
+as long as possible. The frightening penalty of the game of exact
+meanings is that if there is one here, there must be another there and
+everywhere. There is no blinking the signs of some sort of plot in our
+domestic symphony, with figures and situations. The best way is to lay
+them before the hearer and leave him to his own reception.
+
+In the usual sense, there are no separate movements. Though "Scherzo" is
+printed after the first appearance of the three main figures, and later
+"Adagio" and "Finale," the interplay and recurrence of initial themes is
+too constant for the traditional division. It is all a close-woven drama
+in one act, with rapidly changing scenes. Really more important than the
+conventional Italian names are such headings as "Wiegenlied"
+(Cradle-song), and above all, the numerous directions. Here is an almost
+conclusive proof of definite intent. To be sure, even a figure on canvas
+is not the man himself. Indeed, as music approaches graphic realism, it
+is strange how painting goes the other way. Or rather, starting from
+opposite points, the two arts are nearing each other. As modern painting
+tends to give the feeling of a subject, the subjective impression rather
+than the literal outline, we can conceive even in latest musical realism
+the "atmosphere" as the principal aim. In other words, we may view
+Strauss as a sort of modern impressionist tone-painter, and so get the
+best view of his pictures.
+
+Indeed, cacophony is alone a most suggestive subject. In the first place
+the term is always relative, never absolute,--relative in the historic
+period of the composition, or relative as to the purpose. One can hardly
+say that any combination of notes is unusable. Most striking it is how
+the same group of notes makes hideous waste in one case, and a true
+tonal logic in another. Again, what was impossible in Mozart's time, may
+be commonplace to-day.
+
+You cannot stamp cacophony as a mere whim of modern decadence. Beethoven
+made the noblest use of it and suffered misunderstanding. Bach has it in
+his scores with profound effect. And then the license of one age begets
+a greater in the next. It is so in poetry, though in far less degree.
+For, in music, the actual tones are the integral elements of the art.
+They are the idea itself; in poetry the words merely suggest it.
+
+A final element, independent of the notes themselves, is the official
+numbering of themes. Strauss indicates a first, second and third theme,
+obviously of the symphony, not of a single movement. The whole attitude
+of the composer, while it does not compel, must strongly suggest some
+sort of guess of intending meaning.[A]
+
+[Footnote A: At the first production, in New York, in obedience to the
+composer's wish, no descriptive notes were printed. When the symphony
+was played, likewise under the composer's direction, in Berlin in
+December, 1904, a brief note in the program-book mentions the three
+groups of themes, the husband's, the wife's and the child's, in the
+first movement. The other movements are thus entitled:
+
+II.--_Scherzo._ Parents' happiness. Childish play. Cradle-song (the
+clock strikes seven in the evening).
+
+III.--_Adagio._ Creation and contemplation. Love scene. Dreams and cares
+(the clock strikes seven in the morning).
+
+IV.--_Finale._ Awakening and merry dispute (double fugue). Joyous
+conclusion.]
+
+The "first theme" in "comfortable" pace, gliding
+
+[Music: 1st Theme
+_Pleasantly_
+(Cellos and fagots)
+_Dreamily_
+(Oboe)
+(Cellos, bassoons and horns)]
+
+into a "dreamy" phrase, begins the symphony. Presently
+
+[Music: _Peevishly_
+(Clarinets)]
+
+a "peevish" cry breaks in, in sudden altered key; then on a second,
+soothing tonal change, a strain sings "ardently" in upward wing to a
+bold climax and down to gentler cadence, the "peevish" cry still
+breaking in. The trumpet has a short cheery
+
+[Music: _With fire_
+(Strings)]
+
+call (_lustig_), followed by a brisk, rousing run in wood and strings
+(_frisch_). A return of the "comfortable" phrase is quickly overpowered
+by the "second theme," in very lively manner (_sehr lebhaft_), with an
+answering phrase, _grazioso_, and light trills above.
+
+[Music: 2d Theme _With great spirit_
+(Strings, wood, horns and harps)
+_grazioso_]
+
+The incidental phrases are thus opposed to the main humor of each theme.
+The serene first melody has "peevish" interruptions; the assertive
+second yields to graceful blandishments. A little later a strain appears
+_gefühlvoll_, "full of feeling," (that plays a frequent part), but the
+main (second) theme breaks in "angrily." Soon a storm is brewing; at the
+height the same motive is sung insistently. In the lull, the first
+phrase of all sings gaily (_lustig_), and then serenely (_gemächlich_)
+in tuneful tenor. Various
+
+[Music: (Largely in strings)]
+
+parts of the first theme are now blended in mutual discourse.
+
+Amidst trembling strings the oboe d'amore plays the "third theme." "Very
+tenderly," "quietly," the
+
+[Music: 3d Theme _Quietly_ (Strings)
+(Oboe d'Amore)]
+
+second gives soothing answer, and the third sings a full melodious
+verse.
+
+Here a loud jangling noise tokens important arrivals. Fierce, hearty
+pulling of the door-bell excites the parents, especially the mother, who
+is quite in hysterics. The father takes it decidedly more calmly. The
+visitors presently appear in full view, so to speak; for "the aunts," in
+the trumpets, exclaim: "Just like Papa," and the uncles, in the
+trombones, cry: "Just like Mama" (_ganz die Mama_). There can be no
+questioning; it is all written in the book.
+
+It is at least not hazardous to guess the three figures in the domestic
+symphony. Now in jolly Scherzo (_munter_) begin the tricks and sport of
+babyhood. There is of course but one theme, with mere comments
+
+[Music: _Gaily. Scherzo_
+(Oboe d'Amore)
+(Strings)]
+
+of parental phrases in varying accents of affection. Another noisy scene
+mars all the peace; father and child have a strong disagreement; the
+latter is "defiant"; the paternal authority is enforced. Bed-time comes
+with the stroke of seven, a cradle-song (Wiegenlied) (where the child's
+theme hums faintly below). Then, "slowly and very quietly" sings the
+"dreamy" phrase of the first theme, where
+
+[Music: _Rather slowly_ (Cradle song) (Clarinets singing)
+(Oboe d'Amore)
+(Fagots)]
+
+the answer, in sweeping descent, gives one of the principal elements of
+the later plot. It ends in a moving bit of tune, "very quietly and
+expressively" (_sehr ruhig und innig_).
+
+Adagio, a slow rising strain plays in the softer
+
+[Music: _Very quietly and expressively_
+(Strings)]
+
+wood-notes of flute, oboe d'amore, English horn, and the lower
+clarinets; below sings gently the second theme, quite transformed in
+feeling. Those upper notes, with a touch of impassioned yearning, are
+not new to our ears. That very rising phrase (the "dreamy" motive), if
+we strain our memory, was at first below the more vehement (second)
+figure. So
+
+[Music: _Adagio_]
+
+now the whole themal group is reversed outwardly and in the inner
+feeling. Indeed, in other places crops out a like expressive symbol, and
+especially in the phrase, marked _gefühlvoll_, that followed the second
+theme in the beginning. All these motives here find a big concerted song
+in quiet motion, the true lyric spot of the symphony.
+
+Out of it emerges a full climax, bigger and broader now, of the first
+motive. At another stage the second has the lead; but at the height is a
+splendid verse of the maternal song. At the end the quiet, blissful tune
+sings again "_sehr innig_."
+
+_Appassionato_ re-enters the second figure. Mingled in its song are the
+latest tune and an earlier expressive phrase _(gefühlvoll)_. The storm
+that here ensues is not of dramatic play of opposition. There are no
+"angry" indications. It is the full blossoming in richest madrigal of
+all the themes of tenderness and passion in an aureole of glowing
+harmonies. The morning comes with the stroke of seven and the awakening
+cry of the child.
+
+The Finale begins in lively pace (_sehr lebhaft_) with
+
+[Music: (Double Fugue) 1st theme
+(Four Bassoons)
+_marcato_]
+
+a double fugue, where it is not difficult to see in the first theme a
+fragment of the "baby" motive. The second is a remarkably assertive
+little phrase from the cadence of the second theme (quoted above). The
+son is clearly the hero, mainly in sportive humor, although he is not
+free from parental interference. The maze and rigor of the fugue do not
+prevent a frequent appearance of all the other themes, and even of the
+full melodies, of which the fugal motives are built. At the climax of
+the fugue, in the height of speed and noise, something very delightful
+is happening, some furious romp, perhaps, of father and son, the mother
+smiling on the game. At the close a new melody that we might trace, if
+we cared, in earlier origin, has a full verse "quietly and simply"
+(_ruhig und einfach_) in wood and horns, giving the crown
+
+[Music: _Quietly and simply_ (Woodwind and horns)
+(With sustained chord of cellos)]
+
+and seal to the whole. The rest is a final happy refrain of all the
+strains, where the husband's themes are clearly dominant.
+
+
+
+
+CHAPTER XIX
+
+ITALIAN SYMPHONIES
+
+
+The present estate of music in Italy is an instance of the danger of
+prophecy in the broad realm of art. Wise words are daily heard on the
+rise and fall of a nation in art, or of a form like the symphony, as
+though a matter of certain fate, in strict analogy to the life of man.
+
+Italy was so long regnant in music that she seems even yet its chosen
+land. We have quite forgotten how she herself learned at the feet of the
+masters from the distant North. For music is, after all, the art of the
+North; the solace for winter's desolation; an utterance of feeling
+without the model of a visible Nature.
+
+And yet, with a prodigal stream of native melody and an ancient passion
+of religious rapture, Italy achieved masterpieces in the opposite fields
+of the Mass and of Opera. But for the more abstract plane of pure tonal
+forms it has somehow been supposed that she had neither a power nor a
+desire for expression. An Italian symphony seems almost an anomaly,--as
+strange a product as was once a German opera.
+
+The blunt truth of actual events is that to-day a renascence has begun,
+not merely in melodic and dramatic lines; there is a new blending of the
+racial gift of song with a power of profound design.[A] Despite all
+historical philosophy, here is a new gushing forth from ancient fount,
+of which the world may rejoice and be refreshed.
+
+[Footnote A: In the field of the _Lied_ the later group of Italians,
+such as Sinigaglia and Bossi, show a melodic spontaneity and a breadth
+of lyric treatment that we miss in the songs of modern French composers.
+
+In his Overture "_Le Baruffe Chiozzote_" (The Disputes of the People of
+Chiozza) Sinigaglia has woven a charming piece with lightest touch of
+masterly art; a delicate humor of melody plays amid a wealth of
+counterpoint that is all free of a sense of learning.]
+
+In a SYMPHONY BY GIOVANNI SGAMBATI,[A] IN D MAJOR, the form flows with
+such unpremeditated ease that it seems all to the manner born. It may be
+a new evidence that to-day national lines, at least in art, are
+vanishing; before long the national quality will be imperceptible and
+indeed irrelevant.
+
+[Footnote A: Born in 1843.]
+
+To be sure we see here an Italian touch in the simple artless stream of
+tune, the warm resonance, the buoyant spring of rhythm. The first
+movement stands out in the symphony with a subtler design than all the
+rest, though it does not lack the ringing note of jubilation.
+
+The Andante is a pure lyric somewhat new in design and in feeling. It
+shows, too, an interesting contrast of opposite kinds of slower
+melody,--the one dark-hued and legend-like, from which the poet wings
+his flight to a hymnal rhapsody on a clear choral theme, with a rich
+setting of arpeggic harmonies. A strange halting or limping rhythm is
+continued throughout the former subject. In the big climax the feeling
+is strong of some great chant or rite, of vespers or Magnificat. Against
+convention the ending returns to the mood of sad legend.
+
+The Scherzo is a sparkling chain of dancing tunes of which the third, of
+more intimate hue, somehow harks back to the second theme of the first
+movement.
+
+A Trio, a dulcet, tender song of the wood, precedes the return of the
+Scherzo that ends with the speaking cadence from the first Allegro.
+
+A Serenata must be regarded as a kind of Intermezzo, in the Cantilena
+manner, with an accompanying rhythm suggesting an ancient Spanish dance.
+It stands as a foil between the gaiety of the Scherzo and the jubilation
+of the Finale.
+
+The Finale is one festive idyll, full of ringing tune and almost bucolic
+lilt of dance. It reaches one of those happy jingles that we are glad to
+hear the composer singing to his heart's content.
+
+
+_GIUSEPPE MARTUCCI. SYMPHONY IN D MINOR._[A]
+
+[Footnote A: Giuseppe Martucci, 1856-1911.]
+
+The very naturalness, the limpid flow of the melodic thought seem to
+resist analysis of the design. The listener's perception must be as
+naïve and spontaneous as was the original conception.
+
+There is, on the one hand, no mere adoption of a classical schedule of
+form, nor, on the other, the over-subtle workmanship of modern schools.
+Fresh and resolute begins the virile theme with a main charm in the
+motion itself. It lies not in a tune here or there, but in a dual play
+of responsive phrases at the start, and then a continuous flow of
+further melody on the fillip of the original rhythm, indefinable of
+outline in a joyous chanting of bass and treble.
+
+A first height reached, an expressive line in the following lull rises
+in the cellos, that is the essence of the contrasting idea, followed
+straightway by a brief phrase of the kind, like some turns of peasant
+song, that we can hear contentedly without ceasing.
+
+[Music: (Cellos)
+(Lower reed, horns and strings)]
+
+Again, as at the beginning, such a wealth of melodies sing together that
+not even the composer could know which he intended in chief. We merely
+feel, instead of the incisive ring of the first group, a quieter power
+of soothing beauty. Yet, heralded by a prelude of sweet strains, the
+expressive line now enters like a queenly figure over a new rhythmic
+motion, and flows on through delighting glimpses of new harmony to a
+striking climax.
+
+[Music: (Flute and oboe, doubled below in clarinet)
+(Horn)
+(Strings)]
+
+The story, now that the characters have appeared, continues in the main
+with the second browsing in soft lower strings, while the first (in its
+later phase) sings above in the wood transformed in mildness, though for
+a nonce the first motive strikes with decisive vigor. Later is a new
+heroic mood of minor, quickly softened when the companion melody
+appears. A chapter of more sombre hue follows, all with the lilt and
+pace of romantic ballad. At last the main hero returns as at the
+beginning, only in more splendid panoply, and rides on 'mid clattering
+suite to passionate triumph. And then, with quieter charm, sings again
+the second figure, with the delighting strains again and again
+rehearsed, matching the other with the power of sweetness.
+
+One special idyll there is of carolling soft horn and clarinet, where a
+kind of lullaby flows like a distilled essence from the gentler play--of
+the heroic tune, before its last big verse, with a mighty flow of
+
+[Music: _dolce e tranquillo_
+(Horn) (Two horns)
+(Clarinet)]
+
+sequence, and splendidly here the second figure crowns the pageant. At
+the passionate height, over long ringing chord, the latter sings a
+sonorous line in lengthened notes of the wood and horns. The first
+climax is here, in big coursing strains, then it slowly lulls, with a
+new verse of the idyll, to a final hush.
+
+The second movement is a brief lyric with one main melody, sung at first
+by a solo cello amidst a weaving of muted strings; later it is taken up
+by the first violins. The solo cello returns for a further song in duet
+with the violins, where the violas, too, entwine their melody, or the
+cello is joined by the violins.
+
+Now the chief melody returns for a richer and varied setting with horns
+and woodwind. At last the first violins, paired in octave with the
+cello, sing the full melody in a madrigal of lesser strains.
+
+An epilogue answers the prologue of the beginning.
+
+Equally brief is the true Scherzo, though merely entitled Allegretto,--a
+dainty frolic without the heavy brass, an indefinable conceit of airy
+fantasy, with here and there a line of sober melody peeping between the
+mischievous pranks. There is no contrasting Trio in the middle; but just
+before the end comes a quiet pace as of mock-gravity, before a final
+scamper.
+
+A preluding fantasy begins in the mood of the early Allegro; a wistful
+melody of the clarinet plays more slowly between cryptic reminders of
+the first theme of the symphony. In sudden _Allegro risoluto_ over
+rumbling bass of strings, a mystic call of horns, harking far back,
+spreads its echoing ripples all about till it rises in united tones,
+with a clear, descending answer, much like the original first motive.
+The latter now continues in the bass in large and smaller pace beneath a
+new tuneful treble of violins, while the call still roams a free course
+in the wind. Oft repeated is this resonation in paired harmonies, the
+lower phrase like an "obstinate bass."
+
+Leaving the fantasy, the voices sing in simple choral lines a hymnal
+song in triumphal pace, with firm cadence and answer, ending at length
+in the descending
+
+[Music: _Allegro risoluto_
+_deciso_
+(Strings, with added wood and horns)]
+
+phrase. The full song is repeated, from the entrance of the latter, as
+though to stress the two main melodies. The marching chorus halts
+briefly when the clarinet begins again a mystic verse on the strain of
+the call, where the descending phrase is intermingled in the horns and
+strings.
+
+There is a new horizon here. We can no longer speak with
+half-condescension of Italian simplicity, though another kind of primal
+feeling is mingled in a breadth of symphonic vein. We feel that our
+Italian poet has cast loose his leading strings and is revealing new
+glimpses through the classic form.
+
+Against a free course of quicker figures rises in the horns the simple
+melodic call, with answer and counter-tunes in separate discussion. Here
+comes storming in a strident line of the inverted melody in the bassoon,
+quarrelling with the original motive in the clarinet. Then a group sing
+the song in dancing trip, descending against the stern rising theme of
+violas; or one choir follows on the heels of another. Now into the play
+intrudes the second melody, likewise in serried chase of imitation.
+
+The two themes seem to be battling for dominance, and the former wins,
+shouting its primal tune in brass and wood, while the second sinks to a
+rude clattering rhythm in the bass. But out of the clash, where the
+descending phrase recurs in the basses, the second melody emerges in
+full sonorous song. Suddenly at the top of the verse rings out in
+stentorian brass the first theme of all the symphony to the opening
+chord of the Finale, just as it rang at the climax in the beginning.
+
+A gentle duet of violins and clarinet seems to bring back the second
+melody of the first movement, and somehow, in the softer mood, shows a
+likeness with the second of the Finale. For a last surprise, the former
+idyll (of the first Allegro) returns and clearly proves the original
+guise of our latest main melody. As though to assure its own identity as
+prevailing motto, it has a special celebration in the final joyous
+revel.
+
+
+
+
+CHAPTER XX
+
+EDWARD ELGAR. AN ENGLISH SYMPHONY[A]
+
+[Footnote A: Symphony in A flat. Edward Elgar, born in 1857.]
+
+
+There is a rare nobility in the simple melody, the vein of primal hymn,
+that marks the invocation,--in solemn wood against stately stride of
+
+[Music: (_Andante nobilmente e semplice_)
+(Woodwind)
+(Basses of strings, _staccato_)]
+
+lower strings. A true ancient charm is in the tune, with a fervor at the
+high point and a lilt almost of lullaby,--till the whole chorus begins
+anew as though the song of marching hosts. Solemnity is the essence
+here, not of artificial ceremony nor of rhymeless chant,--rather of
+prehistoric hymn.
+
+In passionate recoil is the upward storming song (Allegro) where a group
+of horns aid the surging crest of strings and wood,--a resistless motion
+of massed melody. Most thrilling after the first climax is the sonorous,
+vibrant stroke of the bass in the
+
+[Music: _Allegro appassionato_
+(Strings, wood and horns)
+(See page 308, line 10.)]
+
+recurring melody. As it proceeds, a new line of bold tune is stirred
+above, till the song ends at the highest in a few ringing, challenging
+leaps of chord,--ends or, rather merges in a relentless, concluding
+descent. Here, in a striking phrase of double
+
+[Music: (Violins and clarinets in succession)
+(Harp)
+(Strings, the upper 3d doubled in higher reed)]
+
+song, is a touch of plaint that, hushing, heralds the coming gentle
+figure. We are sunk in a sweet romance, still of ancientest lore, with a
+sense of lost bliss in the wistful cadence. Or do these entrancing
+strains lead merely to the broader melody that moves with queenly tread
+(of descending violins) above a soft murmuring of lower figures? It is
+taken up
+
+[Music: (Violins)
+(Harp and wood doubled above)]
+
+in a lower voice and rises to a height of inner throb rather than of
+outer stress. The song departs as it came, through the tearful plaint of
+double phrase. Bolder accents merge suddenly into the former impassioned
+song. Here is the real sting of warrior call, with shaking brass and
+rolling drum, in lengthened swing against other faster sounds,--a revel
+of heroics, that at the end breaks afresh into the regular song.
+
+Yet it is all more than mere battle-music. For here is a new passionate
+vehemence, with loudest force of vibrant brass, of those dulcet strains
+that preceded the queenly melody. An epic it is, at the least, of
+ancient flavor, and the sweeter romance here rises to a tempest more
+overpowering than martial tumult.
+
+It is in the harking back to primal lore that we seem to feel true
+passion at its best and purest, as somehow all truth of legend, proverb
+and fable has come from those misty ages of the earth. The drooping
+harmonies merge in the returning swing of the first solemn hymn,--a mere
+line that is broken by a new tender appeal, that, rising to a moving
+height,
+
+[Music: (Strings)
+_teneramente_]
+
+yields to the former plaint (of throbbing thirds).
+
+A longer elegy sings, with a fine poignancy, bold and new in the very
+delicacy of texture, in the sharp impinging of these gentlest sounds. In
+the depths of the dirge suddenly, though quietly, sounds the herald
+melody high in the wood, with ever firmer cheer, soon in golden horns,
+at last in impassioned strings, followed by the wistful motive.
+
+A phase here begins as of dull foreboding, with a new figure stalking in
+the depths and, above, a brief sigh in the wind. In the growing stress
+these figures sing from opposite quarters, the sobbing phrase below,
+when suddenly the queenly melody stills the tumult. It is answered by a
+dim, slow line of the ominous motive. Quicker echoes of the earlier
+despond still flit here and there, with gleams of joyous light. The
+plaintive (dual) song returns and too the tender appeal, which with its
+sweetness at last wakens the buoyant spirit of the virile theme.
+
+And so pass again the earlier phases of resolution with the masterful
+conclusion; the tearful accents; the brief verse of romance, and the
+sweep of queenly figure, rising again to almost exultation. But here,
+instead of tears and recoil, is the brief sigh over sombre harmonies,
+rising insistent in growing volume that somehow conquers its own mood. A
+return of the virile motive is followed at the height by the throbbing
+dual song with vehement stress of grief, falling to lowest echoes.
+
+Here begins the epilogue with the original solemn hymn. Only it is now
+entwined with shreds and memories of romance, flowing tranquilly on
+through gusts of passion. And there is the dull sob with the sudden
+gleam of joyous light. But the hymn returns like a sombre solace of
+oblivion,--though there is a final strain of the wistful romance, ending
+in sad harmony.
+
+_II.--Allegro molto._ The Scherzo (as we may venture to call it) begins
+with a breath of new harmony, or is it a blended magic of rhythm, tune
+and chord? Far more than merely bizarre, it calls up a vision of Celtic
+warriors, the wild, free spirit of Northern races. The rushing jig or
+reel is halted
+
+[Music: _Allegro molto_
+(Strings with kettle-drum)]
+
+anon by longer notes in a drop of the tune and instantly returns to the
+quicker run. Below plays a kind of drum-roll of rumbling strings. Other
+revelling pranks appear, of skipping wood, rushing harp and dancing
+strings, till at last sounds a clearer tune, a restrained war-march with
+touch of terror in the soft subdued chords, suddenly growing to
+expressive
+
+[Music: (Violas and clarinets)
+(Wood, basses and strings)]
+
+volume as it sounds all about, in treble and in bass.
+
+At last the war-song rings in full triumphant blast, where trumpets and
+the shrill fife lead, and the lower brass, with cymbals and drums (big
+and little) mark the march. Then to the returning pranks the tune roars
+in low basses and reeds, and at last a big conclusive phrase descends
+from the height to meet the rising figure of the basses.
+
+Now the reel dances in furious tumult (instead of the first whisper) and
+dies down through the slower cadence.
+
+An entirely new scene is here. To a blended tinkle of harp, reeds and
+high strings sounds a delicate air, quick and light, yet with a tinge of
+plaint that may be a part of all Celtic song. It were rude to spoil
+
+[Music: (Woodwind, with a triplet pulse of harp and rhythmic strings)]
+
+its fine fragrance with some rough title of meaning; nor do we feel a
+strong sense of romance, rather a whim of Northern fantasy.
+
+Over a single note of bass sings a new strain of elegy, taken up by
+other voices, varying with the
+
+[Music: (Clarinets)]
+
+tinkling air. Suddenly in rushes the first reel, softly as at first; but
+over it sings still the new sad tune, then yields to the wild whims and
+pranks that lead to the war-song in resonant chorus, joined at the
+height by the reel below. They change places, the tune ringing in the
+bass. In the martial tumult the tinkling air is likewise infected with
+saucy vigor, but suddenly retires abashed into its shell of fairy sound,
+and over it sings the elegy in various choirs. The tinkling melody falls
+suddenly into a new flow of moving song, rising to pure lyric fervor.
+The soft air has somehow the main say, has reached the high point, has
+touched the heart of the movement. Expressively it slowly sinks away
+amid echoing phrases and yields to the duet of elegy and the first reel.
+But a new spirit has appeared. The sting of war-song is gone. And here
+is the reel in slow reluctant pace. After another verse of the fairy
+tune, the jig plays still slower, while above sings a new melody. Still
+slower the jig has fallen almost to funeral pace, has grown to a new
+song of its own, though, to be sure, brief reminders of the first dance
+jingle softly here and there. And now the (hushed) shadow of the
+war-song in quite slower gait strides in lowest basses and passes
+quietly straight into the Adagio.
+
+[Music: (Strings with lower reeds and horns)
+_Adagio_
+_cantabile_]
+
+_III._--Assured peace is in the simple sincere melody, rising to a glow
+of passion. But--is this a jest of our poet? Or rather now we see why
+there was no halt at the end of the Scherzo. For the soothing melody is
+in the very notes of the impish reel,--is the same tune.[A] Suddenly
+hushing, the song hangs on high over delicate minor harmonies.
+
+[Footnote A: There seems to be shown in this feat at once the
+versatility of music as well as the musician in expressing opposite
+moods by the same theme. The author does not feel bound to trace all
+such analogies, as in the too close pursuit we may lose the forest in
+the jungle.]
+
+In exquisite hues an intimate dialogue ensues, almost too personal for
+the epic vein, a discourse or madrigal of finest fibre that breaks (like
+rays of setting sun) into a melting cadence of regret. We are doubly
+thrilled in harking back to the sweet, wistful romance, the strain of
+the first movement.
+
+[Music: (Harp, wood and strings)]
+
+Across the gauzy play, horns and wood blow a slow phrase, like a motto
+of Fate in the sombre harmony, with one ardent burst of pleading.
+
+In clearer articulation sings a dual song, still softly o'ercast with
+sweet sadness, ever richer in the harmonies of multiple strings, tipped
+with the light mood,--and again the wistful cadence. Siren figures of
+entrancing grace that move amid the other melody, bring enchantment that
+has no cheer, nor escape the insistent sighing phrase. Once more come
+the ominous call and the passionate plea, then assurance with the
+returning main melody in renewed fervor. Phases of dual melody end again
+with the wistful cadence. The tranquil close is like one sustained fatal
+farewell, where the fairy figures but stress the sad burden.
+
+_IV._--The beginning is in lowest depths (Largo). First is the stalking
+figure of earliest movement, from the moment of despond. It is answered
+by a steadily striding theme, almost martial, save for the
+
+[Music: _Lento_
+(_Pizz._ cellos with _stacc._ bassoons)]
+
+slowness of pace. Not unlike the hymn of the first prologue in line of
+tune, it bears a mood of dark resignation that breaks presently into the
+touching plea of the wistful cadence.
+
+The whole is a reflective prologue to the Finale: a deep meditation from
+which the song may roll forth on new spring. The hymn has suddenly
+entered with a subtly new guise; for the moment it seems part of the
+poignant sigh; it is as yet submerged in a flood of gloom and regret;
+and the former phrases still stride and stalk below. In a wild climax of
+gloom we hear the former sob, earlier companion of the stalking figure.
+
+Hymnal strains return,--flashes of heavenly light in the depths of hell,
+and one passionate sigh of the melting cadence.
+
+_Allegro_,--we are carried hack to the resolute vigor of the earlier
+symphony, lacking the full fiery charm, but ever striving and stirring,
+like Titans rearing mountain piles, not without the cheer of toil
+itself. At the height comes a burst of the erst yearning cadence, but
+there is a new masterful accent; the wistful edge does not return till
+the echoing phrases sink away in the depths.
+
+A new melody starts soaring on the same wing of
+
+[Music: (Strings and clarinets)
+_Allegro_
+_cantabile_
+(_Staccato_ strings _con 8ve._)]
+
+blended striving and yearning of which all this song is fraught. In its
+broader sweep and brighter cheer it is like the queenly melody of the
+first movement.
+
+The Titan toil stirs strongly below the soft cadence; the full, fierce
+ardor mounts heavenward. Phases now alternate of insistent rearing on
+the strenuous motive and of fateful submission in the marching strain,
+that is massed in higher and bigger chorus. As gathers the stress of
+climax, the brass blowing a defiant blast, the very vehemence brings a
+new resolution that is uttered in the returning strenuous phrase.
+
+Again rises the towering pile. At the thickest the high horns blow loud
+a slow, speaking legend,--the farewell motive, it seems, from the end of
+Adagio, fierce energy struggling with fatal regret gnawing at the heart.
+
+Gripping is the appeal of the sharp cry almost of anguish into which the
+toiling energy is suddenly resolved. Again the fateful march enters, now
+in heroic fugue of brass and opposite motion of strings and reed,--all
+overwhelmed with wild recurring pangs of regret.
+
+And so "double, double, toil and trouble," on goes the fugue and follows
+the arduous climb (into the sad motto in the horns), each relieving the
+other, till both yield again to the heart-breaking cry.
+
+The cheerier melody here re-enters and raises the mood for the nonce.
+Soon it falls amid dim harmonies. Far in the depths now growls the dull
+tread, answered by perverted line of the hymn.
+
+A mystic verse sounds over pious chords of harp in the tune of the
+march, which is sung by antiphonal choirs of strings,--later with fuller
+celestial chorus, almost in rapture of heavenly resignation. Only it is
+not final; for once again returns the full struggle of the beginning,
+with the farewell-legend, and in highest passion the phrase of regret
+rung again and again--till it is soothed by the tranquil melody. The
+relentless stride of march too reaches a new height, and one last,
+moving plaint. When the fast chasing cries are in closest tangle,
+suddenly the hymn pours out its benediction, while the cries have
+changed to angelic acclaim. Here is the transfigured song in full
+climactic verse that fulfils the promise of the beginning. A touch of
+human (or earthly joy) is added in an exultant strain of the sweeping
+melody that unites with the hymn at the close.
+
+
+
+
+CHAPTER XXI
+
+SYMPHONIES IN AMERICA
+
+
+When we come to a view of modern music in symphonic design, written in
+America, we are puzzled by a new phase of the element of nationalism.
+For here are schools and styles as different as of far corners of
+Europe. Yet they can be called nothing else than American, if they must
+have a national name. In the northern centre whence a model orchestra
+has long shed a beneficent influence far afield, the touch of new French
+conceits has colored some of the ablest works. Elsewhere we have cited a
+symphony more in line with classical tradition.[A]
+
+[Footnote A: A symphony by Wm. W. Gilchrist. Vol. II, Appendix.]
+
+Perhaps most typical is a symphony of Hadley where one feels, with other
+modern tradition, the mantle of the lamented MacDowell, of whom it may
+be said that he was first to find in higher reaches of the musical art
+an utterance of a purely national temper.
+
+
+_HENRY HADLEY. SYMPHONY NO. 3, B MINOR._[A]
+
+[Footnote A: Opus 60, Henry Hadley, American, born 1871.]
+
+With virile swing the majestic melody strides in the strings, attended
+by trooping chords of wood and brass, all in the minor, in triple
+rhythm. In
+
+[Music: _Moderato e maestoso_
+(Harp and wind)
+(All the trebles)
+(Strings with lower 8ve.)]
+
+the bass is a frequent retort to the themal phrase. For a moment a
+dulcet line steals in, quickly broken by the returning martial stride of
+stentorian horns, and of the main theme in full chords. Strange, though,
+how a softer, romantic humor is soon spread over the very discussion of
+the martial theme, so that it seems the rough, vigorous march is but the
+shell for the kernel of tender romance,--the pageant that precedes the
+queenly figure. And presently, _piu tranquillo_, comes the fervent lyric
+song that may indeed be the chief theme in poetic import, if not in
+outer rank. After a moving verse in the strings,
+
+[Music: _Piu tranquillo_
+(Strings)
+(_Pizz._ basses _8va._) (Added woodwind)]
+
+with an expressive strain in some voice of the woodwind or a ripple of
+the harp, it is sung in tense chorus of lower wood and horns,--soon
+joined by all the voices but the martial brass, ending with a soft echo
+of the strings.
+
+Now in full majesty the stern stride of first theme is resumed, in
+faster insistence,--no longer the mere tune, but a spirited extension
+and discussion, with retorts between the various choirs. Here the
+melodious march is suddenly felt in the bass (beneath our feet, as it
+were) of lowest brass and strings, while the noisy bustle continues
+above; then, changing places, the theme is above, the active motion
+below.
+
+Long continues the spirited clatter as of warlike march till again
+returns the melting mood of the companion melody, now sung by the
+expressive horn, with murmuring strings. And there are enchanting
+flashes of tonal light as the song passes to higher choirs. The lyric
+theme wings its rapturous course to a blissful height, where an
+intrusion of the main motive but halts for the moment the returning
+tender verse.
+
+When the first vigorous phrase returns in full career, there is somehow
+a greater warmth, and the dulcet after-strain is transfigured in a glow
+greater almost than of the lyric song that now follows with no less
+response of beauty. In the final spirited blending of both melodies the
+trumpets sound a quicker pace of the main motive.
+
+In the Andante (_tranquillo_) the sweet tinkle of church-bells with
+soft chanting horns quickly defines the scene. Two voices of the
+strings, to the
+
+[Music: (Bells and harp in continuous repetition)
+_Andante tranquillo_
+_Espress._ (Cellos)
+(Strings, with added choir of lower reeds)]
+
+continuing hum of the bells, are singing a responsive song that rises in
+fervor as the horns and later the woodwind join the strings. Anon will
+sound the simple tune of the bells with soft harmonies, like echoes of
+the song,--or even the chant without the chimes.
+
+In more eager motion,--out of the normal measure of bells and hymn,
+breaks a new song in minor with a touch of passion, rising to a burst of
+ardor. But it passes, sinking away before a new phase,--a bucolic
+
+[Music: _Poco piu mosso_
+(Oboe)
+(Clar'ts & horns)
+(Strings)]
+
+fantasy of trilling shepherd's reed (in changed, even pace), supported
+by strumming strings. The sacred calm and later passion have yielded to
+a dolorous plaint, like the dirge of the Magyar plains. Suddenly the
+former fervor returns with strains of the second melody amidst urging
+motion (in the triple pace) and startling rushes of harp-strings. At the
+height, trumpets blare forth the first melody, transformed from its
+earlier softness, while the second presses on in higher wood and
+strings; the trombones relieve the trumpets, with a still larger chorus
+in the romantic song; in final exaltation, the basses of brass and
+strings sound the first melody, while the second still courses in treble
+voices.
+
+Of a sudden, after a lull, falls again the tinkle of sacred chimes, with
+a verse each of the two main melodies.
+
+The Scherzo begins with a Saltarello humor, as of airy faun, with a
+skipping theme ever accompanied by a lower running phrase and a prancing
+trip of
+
+[Music: _Allegro con leggerezza, ben sostenuto_
+(Cl.)
+(_Pizz._ strings)
+(Bassoon)]
+
+strings, with a refrain, too, of chirruping woodwind. Later the skipping
+phrase gains a melodic cadence. But the main mood is a revel of gambols
+and pranks of rhythm and harmony on the first phase.
+
+In the middle is a sudden shift of major tone and intimate humor, to a
+slower pace. With still a semblance of dance, a pensive melody sings in
+the cellos; the graceful cadence is rehearsed in a choir
+
+[Music: _Poco meno mosso_
+(Strings)
+(Cello)]
+
+of woodwind, and the song is taken up by the whole chorus. As a pretty
+counter-tune grows above, the melody sings below, with a blending of
+lyric feeling and the charm of dance. At a climactic height the horns,
+with clumsy grace, blare forth the main lilting phrase.
+
+The song now wings along with quicker tripping counter-tunes that slowly
+lure the first skipping tune back into the play after a prelude of high
+festivity. New pranks appear,--as of dancing strings against a stride of
+loud, muted horns. Then the second (pensive) melody returns, now above
+the running counter-tune. At last, in faster gait, to the coursing of
+quicker figures, the (second) melody rings out in choir of brass in
+twice slower, stately pace. But the accompanying bustle is merely
+heightened until all four horns are striking together the lyric song. At
+the end is a final revel of the first dancing tune.
+
+The Finale, which bears the unusual mark _Allegro con giubilio_, begins
+with a big festive march that may seem to have an added flavor of old
+English merrymaking. But as in the other cantos of the poem there
+
+[Music: _Allegro con giubilio_
+_Tutti_
+(Basses in 8ve.)]
+
+is here, too, an opposite figure and feeling. And the more joyous the
+gaiety, the more sweetly wistful is the recoil. Nay there is in this
+very expressive strain, beautifully woven in strings, harp, woodwind and
+horns, a vein of regret that grows rather than lessens, whenever the
+melody appears alone. It is like the memory, in the midst of festival,
+of some blissful moment lost forever.
+
+Indeed, the next phase seems very like a disordered chase of stray
+memories; for here a line of martial air is displaced by a pensive
+strain which in
+
+[Music: (Cello and harp with harmony of wood, horns and strings)
+_Piu tranquillo_
+_Molto espress._]
+
+turn yields to the quick, active tune that leads to a height of
+celebration.
+
+But here is a bewildering figure on the scene: Lustily the four horns
+(helped by the strings) blow in slow notes against the continuing motive
+an expressive melody. Slowly it breaks upon our ears as the wistful air
+that followed the chimes of Sunday bells. It has a stern, almost sombre
+guise, until it suddenly glows in transfigured light, as of a choir of
+celestial brass.
+
+Slowly we are borne to the less exalted pitch of the first festive
+march, and here follows, as at first, the expressive melody where each
+hearer may find his own shade of sadness. It does seem to reach a true
+passion of regret, with poignant sweet sighs.
+
+At length the sadness is overcome and there is a new animation as
+separate voices enter in fugal manner in the line of the march. Now the
+festive tune holds sway in lower pace in the basses; but then rings on
+high in answer--the wistful melody again and again, in doubled and twice
+redoubled pace.
+
+When we hear the _penseroso_ melody once more at the end, we may feel
+with the poet a state of resigned cheer.
+
+
+A remarkable work that shows the influence of modern French harmony
+rather than its actual traits, is a SYMPHONY BY GUSTAV STRUBE.[A] It is
+difficult to resist the sense of a strain for bizarre harmony, of a
+touch of preciosity. The real business of these harmonies is for
+incidental pranks, with an after-touch that confesses the jest, or
+softens it to a lyric utterance. It cannot be denied that the moving
+moments in this work come precisely in the release of the strain of
+dissonance, as in the returning melody of the Adagio. Only we may feel
+we have been waiting too long. The desert was perhaps too long for the
+oasis. _Est modus in rebus_: the poet seems niggardly with his melody;
+he may weary us with too long waiting, with too little staying comfort.
+He does not escape the modern way of symbolic, infinitesimal melody, so
+small that it must, of course, reappear. It is a little like the
+wonderful arguments from ciphers hidden in poetry.
+
+[Footnote A: Of Boston,--born in Germany in 1867.]
+
+It cannot he denied that the smallness of phrase does suggest a
+smallness of idea. The plan of magic motive will not hold _ad
+infinitesimum_. As the turn of the triplet, in the first movement,
+twists into a semblance of the Allegro theme, we feel like wondering
+with the old Philistine:
+
+    ... "How all this difference can be
+    'Twixt tweedle-dum and tweedle-dee!"
+
+But there is the redeeming vein of lyric melody with a bold fantasy of
+mischievous humor and a true climax of a clear poetic design. One reason
+seems sometimes alone to justify this new license, this new French
+revolution: the deliverance from a stupid slavery of rules,--if we would
+only get the spirit of them without the inadequate letter. Better, of
+course, the rules than a fatal chaos. But there is here in the bold
+flight of these harmonies, soaring as though on some hidden straight
+path, a truly Promethean utterance.
+
+It is significant, in the problem of future music, that of the
+symphonies based upon recent French ideas, the most subtly conceived and
+designed should have been written in America.
+
+_I._--In pale tint of harmony sways the impersonal phrase that begins
+with a descending tone. We may
+
+[Music: _Andante_ (Melody in flute and violas)
+(Violins)
+(Cellos with basses in lower 8ve.)]
+
+remember[A] how first with the symphony came a clear sense of tonal
+residence. It was like the age in painting when figures no longer hung
+in the gray air, when they were given a resting-place, with trees and a
+temple.
+
+[Footnote A: See Vol. I, Chapter I.]
+
+Here we find just the opposite flight from clear tonality, as if
+painting took to a Japanese manner, sans aught of locality. Where an
+easy half-step leads gently somewhere, a whole tone sings instead.
+Nothing obvious may stand.
+
+It marks, in its reaction, the excessive stress of tonality and of
+simple colors of harmony. The basic sense of residence is not abandoned;
+there is merely a bolder search for new tints, a farther straying from
+the landmarks.
+
+Soon our timid tune is joined by a more expressive line that rises in
+ardent reaches to a sudden tumult, with a fiery strain of trumpets where
+we catch a glimpse of the triplet figure. After a dulcet lullaby
+
+[Music: (Flute with _tremolo_ of high strings)
+(New melody in ob. and violas)
+(Cellos with sustained lower B of basses)]
+
+of the first air, the second flows in faster pace (_Allegro commodo_) as
+the real text, ever with new blossoming variants that sing together in a
+madrigal of tuneful voices, where the descending note still has a part
+in a smooth, gliding pace of violins.
+
+In gayer mood comes a verse of the inverted (Allegro) tune, with other
+melodic guises hovering about. When the theme descends to the bass, the
+original Andante phrase sings in the trumpet, and there is a chain of
+entering voices, in growing agitation, in the main legend with the
+quicker sprites dancing about. At the height, after the stirring song
+of trumpets, we feel a passionate strife of resolve and regret; and
+immediately after, the descending tone is echoed everywhere.
+
+A balancing (second) theme now appears, in tranquil
+
+[Music: (Horn)
+_Allegro dolce_
+(Violas & cellos)
+(Sustained harmony in violins, bassoons and flute)]
+
+flow, but pressing on, at the end, in steady ascent as to Parnassian
+summit. Later comes a new rejoinder in livelier mood, till it is lost in
+a big, moving verse of the Andante song. But pert retorts from the
+latest new tune again fill the air, then yield in attendance upon the
+returning Allegro theme. Of subtle art is the woof of derived phrases. A
+companion melody, that seems fraught of the text of the second subject,
+sings with rising passion, while the lower brass blow lustily in
+eccentric rhythm of the Allegro phrase and at the height share in the
+dual triumph.
+
+We feel a kinship of mood rather than of theme, a coherence that we
+fear to relate to definite figures, though the descending symbol is
+clear against the ascending. An idyllic dialogue, with the continuing
+guise of the Allegro phrase turns to a gayer revel in the original pace,
+with a brilliant blare of trumpets.
+
+The free use of themes is shown in the opposite moods of the triplet
+phrase, of sadness, as in Andante, or buoyant, in Allegro. Here are both
+in close transition as the various verses return from the beginning,
+entwined about the first strain of the Andante, gliding through the
+descending tone into the second soothing song with the Parnassian
+ascent.
+
+A full verse of the first Andante melody sings at the heart of the plot,
+followed by the strange daemonic play that keeps the mood within bounds.
+Indeed, it returns once more as at first, then springs into liveliest
+trip and rises to an Olympian height, with a final revel of the triplet
+figure.
+
+_II._--With a foreshadowing drop of tone begins the prelude, not unlike
+the first notes of the symphony,
+
+[Music: _Adagio, ma non troppo_
+(_espressivo_ Clar.)
+(Strings)
+(Clar'ts and bassoons)]
+
+answered with a brief phrase. On the descending motive the main melody
+is woven.
+
+Tenderly they play together, the melody with the main burden, the
+lighter prelude phrase in graceful accompaniment. But now the latter
+sings in turn a serious verse, rises to a stormy height, the horns
+proclaiming the passionate plea amid a tumultuous accord of the other
+figures, and sinks in subdued temper. In a broader pace begins a new
+line, though on the thread of the descending motive, and with the
+entering phrase of the prelude winds to a climax of passion. The true
+episode, of refuge and solace from the stress of tempest, is in a song
+of the trumpet through a shimmering gauze of strings with glinting harp,
+to a soft murmuring in the reeds.
+
+[Music: _Animando_ (Violins)
+(_Trem._ violins doubled above in oboes)
+(Cellos with sustained lower B of basses)
+Main melody in trumpets]
+
+In a new shade of tone it is echoed by the horn, then in a fervent close
+it is blended with a guise of the prelude phrase, that now heralds the
+main melody, in a duet of clarinet and violins. At last in the home
+tone the horn sings amid the sweet tracery the parting verse, and all
+about sounds the trist symbol of the first (descending) motive.
+
+_III._--The Scherzo is in one view a mad revel of demon pranks in a new
+field of harmonies. Inconsequential though they may seem, there is a
+real coherence, and, too, a subtle connection with the whole design.
+
+To be sure, with the vagueness of tune that belongs to a school of
+harmonic exploits a certain mutual relation of themes is a kind of
+incident. The less defined the phrases, the easier it is to make them
+similar.
+
+Undoubted likeness there is between the main elfin figure and the first
+phrase of the symphony.
+
+[Music: (Oboes, with lower 8ve. and higher 8ve. of piccolo)
+_Allegro vivace_
+(Strings)]
+
+The triplet is itself a kind of password throughout. With this multiple
+similarity is a lack of the inner bond of outer contrast.
+
+The mood of demon humor finds a native medium in the tricks of new
+Gallic harmony. Early in the prelude we hear the descending tone, a
+streak of sadness in the mirth. Answering the first burst is a strange
+stroke of humor in the horn, and as if in
+
+[Music: (_Tremolo_ 1st violins)
+(1st horn) (Clarinets doubled above in strings)]
+
+serious balance, a smooth gliding phrase in the wood. Now the first
+figure grows more articulate, romping and galloping into an ecstasy of
+fun. A certain spirit of Till Eulenspiegel hovers about.
+
+Out of the maze blows a new line in muted trumpets, that begins with the
+inverted triplet figure, and in spite of the surrounding bedlam rises
+almost into a tune. At the height the strange jest of the horns reigns
+supreme.
+
+From the mad gambols of the first figure comes a relief in sparkling
+calls of the brass and stirring retorts in pure ringing harmonies. In
+the next episode is a fall into a lyric mood as the latest figure glides
+into even pace, singing amid gentlest pranks. Most tuneful of all
+sounds is the answer in dulcet trumpet while, above, the first theme
+intrudes softly.
+
+The heart of the idyll comes in a song of the clarinet
+
+[Music: (Cl. _espressivo_)
+(_Pizz._ strings with higher 8ve. of upper voice)
+(Wood and horn and strings) (Clar. and bassoons)]
+
+against strange, murmuring strings, ever with a soft answer of the lower
+reed.
+
+New invading sprites do not hem the flight of the melody. But at the
+height a redoubled pace turns the mood back to revelling mirth with
+broken bits of the horn tune. Indeed the crisis comes with a new rage of
+this symbol of mad abandon, in demonic strife with the fervent song that
+finally prevails.
+
+The first theme returns with a new companion in the highest wood. A
+fresh strain of serious melody is now woven about the former dulcet
+melody of trumpet in a stretch of delicate poesy, of mingled mirth and
+tenderness.--The harmonies have something of the infinitesimal sounds
+that only insects hear. With all virtuous recoil, here we must confess
+is a masterpiece of cacophonic art, a new world of tones hitherto
+unconceived, tinkling and murmuring with the eerie charm of the
+forest.--In the return of the first prelude is a touch of the descending
+tone. From the final revelling tempest comes a sudden awakening. In
+strange moving harmony sings slowly the descending symbol, as if
+confessing the unsuccessful flight from regret. Timidly the vanquished
+sprites scurry away.
+
+_IV._--The first notes of the Finale blend and bring back the main
+motives. First is the descending tone, but firm and resolute, with the
+following triplet in
+
+[Music: _Allegro energico_ (Higher figure in strings & wood)
+(Wood, horns and lower strings) (Strings and wood)]
+
+inversion of the Scherzo theme.
+
+It is all in triumphant spirit. From the start the mood reigns, the art
+for once is quite subordinate. Resonant and compelling is the motive of
+horns and trumpets, new in temper, though harking back to the earlier
+text, in its cogent ending. Splendid is
+
+[Music: (Strings)
+(Wood & strings doubled below)
+(Horns and trumpets)]
+
+the soaring flight through flashes of new chords. There is, we must
+yield, something Promethean, of new and true beauty, in the bold path of
+harmonies that the French are teaching us after a long age of slavish
+rules.
+
+The harking back is here better than in most modern symphonies with
+their pedantic subtleties: in the resurgence of joyous mood, symbolized
+by the inversion of phrase, as when the prankish elfin theme rises in
+serious aspiration.
+
+Out of these inspiriting reaches sings a new melody in canon of strings
+(though it may relate to some shadowy memory), while in the bass rolls
+the former ending phrase; then they romp in jovial turn of rhythm.
+
+[Music: (Oboes, doubled below in bassoons) (Strings, doubled below)
+(Horns) (_Pizz._ cello doubled below)]
+
+A vague and insignificant similarity of themes is a fault of the work
+and of the style, ever in high disdain of vernacular harmony, refreshing
+to be sure, in its saucy audacity, and anon enchanting with a ring of
+new, fiery chord. As the sonorous theme sings in muted brass, picking
+strings mockingly play quicker fragments, infecting the rest with
+frivolous retorts, and then a heart-felt song pours forth, where the
+accompanying cries have softened their mirth. Back they skip to a joyous
+trip with at last pure ringing harmonies.
+
+At the fervent pitch a blast of trumpets rises in challenging phrase, in
+incisive clash of chord, with the early sense of Parnassian ascent. At
+the end of this brave fanfare we hear a soft plea of the descending tone
+that prompts a song of true lyric melody, with the continuing gentlest
+touch of regret, all to a sweetly bewildering turn of pace. So tense
+
+[Music: (Continuing organ pt. of violins) (Fl. & clar. _dolce_)
+_Animando_
+(Melody in ob. _dolce_)
+(Strings)]
+
+and subtle an expression would utterly convert us to the whole harmonic
+plan, were it not that just here, in these moving moments, we feel a
+return to clearer tonality. But it is a joy to testify to so devoted a
+work of art.
+
+With the last notes of melody a new frisking tune plays in sauciest
+clashes of chord, with an enchanting stretch of ringing brass. A long
+merriment ensues in the jovial trip, where the former theme of horns has
+a rising cadence; or the tripping tune sings in united chorus and again
+through its variants. After a noisy height the dulcet melody (from the
+descending tone) sings in linked sweetness. In the later tumult we rub
+our eyes to see a jovial theme of the bass take on the lines of the
+wistful melody. Finally, in majestic tread amid general joyous clatter
+the brass blow the gentle song in mellowed tones of richest harmony.
+
+
+_CHADWICK.[A] SUITE SYMPHONIQUE (IN E FLAT)._
+
+[Footnote A: George W. Chadwick, American, born in 1854.]
+
+With a rush of harp and higher strings the Suite begins on ardent wing
+in exultant song of trumpets (with horns, bassoons and cellos) to quick
+palpitating violins that in its higher flight is given over to upper
+reeds and violas. It is answered by gracefully drooping melody of
+strings and harps topped by the oboes, that lightly descends from the
+heights with a cadence long delayed, like the circling flight of a great
+bird before he alights. Straightway begins a more pensive turn of phrase
+(of clarinet and lower strings) in distant tonal scene where now the
+former (descending) answer sings timidly in alternating groups. The
+pensive melody returns for a greater reach, blending with the original
+theme (in all the basses) in a glowing duet of two moods as well as
+melodies, rising to sudden brilliant height, pressing on to a full
+return of the first exultant melody with long, lingering, circling
+descent.
+
+The listener on first hearing may be warned to have a sharp ear for all
+kinds of disguises of the stirring theme and in a less degree, of the
+second subject. What seems a new air in a tranquil spot, with strum of
+harp,--and new it is as expression,--is our main melody in a kind of
+inversion. And so a new tissue of song continues, all of the original
+fibre, calming more and more from the first fierce glow. A tuneful
+march-like strain now plays gently in the horns while the (inverted)
+expressive air still sounds above.
+
+[Music: (Oboe with 8ve. flute) (Oboe)
+(Horns) _Calmato ed espressivo assai_]
+
+When all has quieted to dim echoing answers between horn and reed, a
+final strain bursts forth (like the nightingale's voice in the
+surrounding stillness) in full stress of its plaint. And so, in most
+natural course, grows and flows the main balancing melody that now
+pours out its burden in slower, broader pace, in joint choirs of wood
+and strings.
+
+[Music: _Meno mosso e largamente_
+(Woodwind above, strings below)
+(_pizz._ basses)]
+
+It is the kind of lyric spot where the full stream of warm feeling seems
+set free after the storm of the first onset. In answer is a timid,
+almost halting strain in four parts of the wood, echoed in strings. A
+new agitation now stirs the joint choirs (with touches of brass), and
+anon comes a poignant line of the inverted (main) theme. It drives in
+rising stress under the spurring summons of trumpets and horns to a
+celebration of the transfigured second melody, with triumphant cadence.
+Nor does the big impulse halt here. The trumpets sound on midst a
+spirited duet of inverted and original motives until the highest point
+is reached, where, to quicker calls of the brass, in broadest pace the
+main subject strikes its inverted tune in the trebles, while the bass
+rolls its majestic length in a companion melody; trombones, too, are
+blaring forth the call of the second theme.
+
+Brief interludes of lesser agitation bring a second chorus on the
+reunited melodies in a new tonal quarter.
+
+In mystic echoing groups on the former descending answer of main theme
+the mood deepens in darkening scene. Here moves in slow strides of
+lowest brass a shadowy line of the second melody answered by a poignant
+phrase of the first. Striking again and again in higher perches the dual
+song reaches a climax of feeling in overpowering burst of fullest brass.
+In masterful stride, still with a burden of sadness, it has a solacing
+tinge as it ends in a chord with pulsing harp, that twice repeated leads
+back to the stirring first song of main theme.
+
+Thence the whole course is clear in the rehearsal of former melodies.
+Only the pensive air has lost its melancholy. Here is again the lyric of
+warm-hued horns with plaintive higher phrase, and the full romance of
+second melody with its timid answer, where the nervous trip rouses
+slowly the final exultation. Yet there is one more descent into the
+depths where the main melody browses in dim searching. Slowly it wings
+its flight upwards until it is greeted by a bright burst of the second
+melody in a chorus of united brass. And this is but a prelude to the
+last joint song, with the inverted theme above. A fanfare of trumpets on
+the second motive ends the movement.
+
+The Romanze is pure song in three verses where we cannot avoid a touch
+of Scottish, with the little acclaiming phrases. The theme is given to
+the saxophone (or cello) with obligato of clarinet and violas; the bass
+is in bassoons and _pizzicato_ of lower strings. One feels a special
+gratitude to the composer who will write in these days a clear, simple,
+original and beautiful melody.
+
+The first interlude is a fantasy, almost a variant on the theme in a
+minor melody of the wood, with a twittering phrase of violins. Later the
+strings take up the theme in pure _cantilena_ in a turn to the
+major,--all in expressive song that rises to a fervent height. Though it
+grows out of the main theme, yet the change is clear in a return to the
+subject, now in true variation, where the saxophone has the longer notes
+and the clarinet and oboe sing in concert.
+
+There follows a pure interlude, vague in motive, full of dainty touches.
+The oboe has a kind of _arioso_ phrase with trilling of flutes and
+clarinets, answered in trumpets and harp.
+
+Later the first violins (on the G string) sing the main air with the
+saxophone.
+
+A double character has the third movement as the title shows, though in
+a broadest sense it could all be taken as a Humoreske.
+
+With a jaunty lilt of skipping strings the lower reeds strike the
+capricious tune, where the full chorus soon falls in. The answering
+melody, with more of sentiment, though always in graceful swing with
+tricksy attendant figures, has a longer song. Not least charm has the
+concluding tune that leads back to the whole melodious series.
+Throughout are certain chirping notes that form the external connection
+with the Humoreske that begins with strident theme (_molto robusto_) of
+low strings, the whole chorus, xylophon and all, clattering about, the
+high wood echoing like a band of giant crickets,--all in whimsical,
+varying pace. The humor grows more graceful when the first melody of the
+Intermezzo is lightly touched. The strange figure returns (in roughest
+strings and clarinet) somewhat in ancient manner of imitation. Later the
+chirruping answer recurs. Diminishing trills are echoed between the
+groups.
+
+Slowly the scene grows stranger. Suddenly in eerie harmonies of newest
+French or oldest Tartar, here are the tricks and traits where meet the
+extremes of latest Romantic and primeval barbarian. In this motley
+cloak sounds the typical Yankee tune, first piping in piccolo, then
+grunting in tuba. Here is Uncle Sam disporting himself merrily in
+foreign garb and scene, quite as if at home. If we wished, we might see
+a political satire as well as musical.
+
+After a climax of the clownish mood we return to the Intermezzo
+melodies.
+
+The Finale begins in the buoyant spirit of the beginning and seems again
+to have a touch of Scotch in the jaunty answer. The whole subject is a
+group of phrases rather than a single melody.
+
+Preluding runs lead to the simple descending line of treble with
+opposite of basses, answered by the jovial phrase. In the farther course
+the first theme prevails, answered with an ascending brief motive of
+long notes in irregular ascent. Here follows a freer flow of the jolly
+lilting tune, blending with the sterner descending lines.
+
+Balancing this group is an expressive melody of different sentiment. In
+its answer we have again the weird touch of neo-barbarism in a strain of
+the reed, with dancing overtones of violins and harp, and strumming
+chords on lower strings. Or is there a hint of ancient Highland in the
+drone of alternating horns and bassoons?
+
+Its brief verse is answered by a fervent conclusive line where soon the
+old lilting refrain appears with new tricks and a big celebration of its
+own and then of the whole madrigal of martial melody. It simmers down
+with whims and turns of the skipping phrase into the quiet
+(_tranquillo_) episode in the midst of the other stress.
+
+[Music: (With lower 8ve.)
+_Tranquillo_
+(With _pizz._ quarter notes in basses and strings)]
+
+The heart of the song is in the horns, with an upper air in the wood,
+while low strings guard a gentle rhythm. A brief strain in the wind in
+ardent temper is followed by another in the strings, and still a third
+in joint strings and wood. (Again we must rejoice in the achievement of
+true, simple, sincere melody.) The final glowing height is reached in
+all the choirs together,--final that is before the brass is added with
+a broader pace, that leads to the moving climax. As the horns had
+preluding chords to the whole song, so a single horn sings a kind of
+epilogue amid harmony of strings and other horns. Slowly a more vigorous
+pulse is stirred, in an interlude of retorting trumpets.
+
+Suddenly in the full energy of the beginning the whole main subject
+sounds again, with the jolly lilt dancing through all its measures,
+which are none too many. The foil of gentle melody returns with its
+answer of eerie tune and harmonies. It seems as if the poet, after his
+rude jest, wanted, half in amends, half on pure impulse, to utter a
+strain of true fancy in the strange new idiom.
+
+A new, grateful sound has again the big conclusive phrase that merges
+into more pranks of the jaunty tune in the biggest revel of all, so that
+we suspect the jolly jester is the real hero and the majestic figures
+are, after all, mere background. And yet here follows the most tenderly
+moving verse, all unexpected, of the quiet episode.
+
+The end is a pure romp, _molto vivace_, mainly on the skipping phrase.
+To be sure the stately figures after a festive height march in big,
+lengthened pace; but so does the jolly tune, as though in mockery. He
+breaks into his old rattling pace (in the Glockenspiel) when all the
+figures appear together,--the big ones changing places just before the
+end, where the main theme has the last say, now in the bass, amidst the
+final festivities.
+
+
+
+_LOEFFLER.[A] LA VILLANELLE DU DIABLE_
+
+_(The Devil's Round)_
+
+(After a poem by M. Rollinat. Symphonic poem for Orchestra and Organ)
+
+[Footnote A: Charles Martin Loeffler, born in Alsace in 1861.]
+
+Few pieces of program music are so closely associated with the subject
+as this tone picture of the Devil's Round. The translation of M.
+Rollinat's "Villanelle," printed in the score is as follows:[A]
+
+     Hell's a-burning, burning, burning. Chuckling in clear staccato,
+     the Devil prowling, runs about.
+
+     He watches, advances, retreats like zig-zag lightning; Hell's
+     a-burning, burning, burning.
+
+     In dive and cell, underground and in the air, the Devil, prowling,
+     runs about.
+
+     Now he is flower, dragon-fly, woman, black-cat, green snake; Hell's
+     a-burning, burning, burning.
+
+     And now, with pointed moustache, scented with vetiver, the Devil,
+     prowling, runs about.
+
+     Wherever mankind swarms, without rest, summer and winter, Hell's
+     a-burning, burning, burning.
+
+     From alcove to hall, and on the railways, the Devil, prowling, runs
+     about.
+
+     He is Mr. Seen-at-Night, who saunters with staring eyes. Hell's
+     a-burning, burning, burning.
+
+     There floating as a bubble, here squirming as a worm, the Devil,
+     prowling, runs about.
+
+     He's grand seigneur, tough, student, teacher. Hell's a-burning,
+     burning, burning.
+
+     He inoculates each soul with his bitter whispering: the Devil,
+     prowling, runs about.
+
+     He promises, bargains, stipulates in gentle or proud tones. Hell's
+     a-burning, burning, burning.
+
+     Mocking pitilessly the unfortunate whom he destroys, the Devil,
+     prowling, runs about.
+
+     He makes goodness ridiculous and the old man futile. Hell's
+     a-burning, burning, burning.
+
+     At the home of the priest or sceptic, whose soul or body he wishes,
+     the Devil, prowling, runs about.
+
+     Beware of him to whom he toadies, and whom he calls "my dear sir."
+     Hell's a-burning, burning, burning.
+
+     Friend of the tarantula, darkness, the odd number, the Devil,
+     prowling, runs about.
+
+     --My clock strikes midnight. If I should go to see Lucifer?--Hell's
+     a-burning, burning, burning; the Devil, prowling, runs about.
+
+[Footnote A: A few translated verses may give an idea of the original
+rhythm:
+
+    Hell's a-burning, burning, burning.
+    Cackling in his impish play,
+    Here and there the Devil's turning,
+
+    Forward here and back again,
+    Zig-zag as the lightning's ray,
+    While the fires burn amain.
+
+    In the church and in the cell
+    In the caves, in open day,
+    Ever prowls the fiend of hell.
+
+But in the original the first and last lines of the first verse are used
+as refrains in the succeeding verses, recurring alternately as the last
+line. In the final verse they are united.--The prose translation is by
+Philip Hale.]
+
+In the maze of this modern setting of demon antics (not unlike, in
+conceit, the capers of Till Eulenspiegel), with an eloquent use of new
+French strokes of harmony, one must be eager to seize upon definite
+figures. In the beginning is a brief wandering or flickering motive in
+furious pace of harp and strings, ending ever in a shriek of the high
+wood. Answering
+
+[Music: _Presto (il piu possibile)_
+(Woodwind)
+(Strings with rhythmic chords in the tonic)
+(With opposite descending chords)]
+
+is a descending phrase mainly in the brass, that ends in a rapid jingle.
+
+[Music: (Brass with quicker figures in strings and wood)]
+
+There are various lesser motives, such as a minor scale of ascending
+thirds, and a group of crossing figures that seem a guise of the first
+motive. To be sure the picture lies less in the separate figures than in
+the mingled color and bustle. Special in its humor is a soft gliding or
+creeping phrase of three voices against a constant trip of cellos.
+
+After a climax of the first motive a frolicking theme begins (in English
+horn and violas). If we were forced to guess, we could see here the
+dandy devil, with pointed mustachios, frisking about. It is probably
+another guise of the second motive which presently appears in the bass.
+A little later, _dolce amabile_ in a madrigal of wood and strings, we
+may see the gentlemanly devil, the gallant. With a crash of chord and a
+roll of cymbals re-enters the first motive, to flickering harmonies of
+violins, harp and flutes, taken up by succeeding voices, all in the
+whole-tone scale. Hurrying to a clamorous height, the pace glides into a
+_Movimento di Valzer_, in massed volume, with the frolicking figure in
+festive array.
+
+To softest tapping of lowest strings and drums, a shadow of the second
+figure passes here and there, with a flash of harp. Soon, in returning
+merriment, it is coursing in unison strings (against an opposite motion
+in the wood).
+
+At the height of revel, as the strings are holding a trembling chord, a
+sprightly Gallic tune of the street pipes in the reed, with intermittent
+flash of the harp, and, to be sure, an unfamiliar tang of harmonies and
+strange perversions of the tune.[A] In the midst is the original
+flickering figure. As the whole chorus is singing the tune at the
+loudest, the brass breaks into another traditional air of the
+Revolutionary Song of 1789.[B] While the trip is still ringing in the
+strings, a lusty chorus breaks into the song[C] "La Carmagnole," against
+a blast of the horns in a guise of the first motive.
+
+[Footnote A: "A la villette," a popular song of the Boulevard. Mr.
+Philip Hale, who may have been specially inspired, associates the song
+with the word "crapule," "tough," as he connects the following
+revolutionary songs, in contrapuntal use, with the word "magister,"
+"teacher,"--the idea of the pedagogue in music. It may be less remote to
+find in these popular airs merely symbols or graphic touches of the
+swarming groups among which the Devil plies his trade.]
+
+[Footnote B: The famous "Ca ira."]
+
+[Footnote C: In the wealth of interesting detail furnished by Mr. Hale
+is the following: "The Carmagnole was first danced in Paris about the
+liberty-tree, and there was then no bloody suggestion.... The word
+'_Carmagnole_' is found in English and Scottish literature as a nickname
+for a soldier in the French Revolutionary army, and the term was applied
+by Burns to the Devil as the author of ruin, 'that curst carmagnole,
+auld Satan.'"]
+
+Grim guises of the main figures (in inverted profile) are skulking about
+to uncanny harmonies. A revel of new pranks dies down to chords of muted
+horns, amid flashing runs of the harp, with a long roll of drums. Here
+_Grave_ in solemn pace, violas and bassoon strike an ecclesiastical
+incantation, answered by the organ. Presently a Gregorian plain chant
+begins solemnly in the strings aided by the organ while a guise of the
+second profane motive intrudes. Suddenly in quick pace against a fugal
+tread of lower voices, a light skipping figure dances in the high wood.
+And now loud trumpets are saucily blowing the chant to the quick step,
+echoed by the wood. And we catch the wicked song of the street (in the
+English horn) against a legend of hell in lower voices.[A]
+
+[Footnote A: The religious phrases are naturally related to the "priest
+or sceptic." In the rapid, skipping rhythm, Mr. Hale finds the
+tarentella suggested by the "friend of the tarantula."]
+
+In still livelier pace the reeds sound the street song against a trip of
+strings, luring the other voices into a furious chorus. All at once, the
+harp and violins strike the midnight hour to a chord of horns, while a
+single impish figure dances here or there. To trembling strings and
+flashing harp the high reed pipes again the song of the Boulevard,
+echoed by low bassoons.
+
+In rapidest swing the original main motives now sing a joint verse in a
+kind of _reprise_, with the wild shriek at the end of the line, to a
+final crashing height. The end comes with dashes of the harp, betwixt
+pausing chords in the high wood, with a final stifled note.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK SYMPHONIES AND THEIR MEANING; THIRD
+SERIES, MODERN SYMPHONIES***
+
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+<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1">
+<title>The Project Gutenberg eBook of Symphonies and Their Meaning; Third Series, Modern Symphonies, by Philip H. Goepp</title>
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+<body>
+<h1>The Project Gutenberg eBook, Symphonies and Their Meaning; Third Series,
+Modern Symphonies, by Philip H. Goepp</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "https://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Symphonies and Their Meaning; Third Series, Modern Symphonies</p>
+<p>Author: Philip H. Goepp</p>
+<p>Release Date: July 13, 2004  [eBook #12903]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK SYMPHONIES AND THEIR MEANING; THIRD SERIES, MODERN SYMPHONIES***</p>
+<br>
+<br>
+<h3>E-text prepared by Juliet Sutherland, Linda Cantoni,<br>
+            and the Project Gutenberg Online Distributed Proofreading Team</h3>
+<br>
+<br>
+<hr class="full" noshade>
+<div style="height: 8em;"><br><br><br><br><br><br><br><br></div>
+
+<h1>
+    SYMPHONIES AND THEIR MEANING
+</h1>
+<center>
+    THIRD SERIES MODERN SYMPHONIES.
+</center>
+<center><b>
+    BY PHILIP H. GOEPP
+</b>
+<p>&nbsp;</p>
+<p style="text-align: center">
+<img border="0" src="images/logo.JPG" alt="logo" width="261" height="176"></p>
+<p>&nbsp;</p>
+</center>
+<center>
+    1913
+</center>
+<a name="2H_PREF"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    PREFACE
+</h2>
+<p>
+    Criticism of contemporary art is really a kind of prophecy. For the
+    appreciation of the classical past is an act of present perception, not
+    a mere memory of popular verdicts. The classics live only because they
+    still express the vital feeling of to-day. The new art must do
+    more,&mdash;must speak for the morrow. And as the poet is a kind of seer, the
+    true critic is his prophetic herald.
+</p>
+<p>
+    It is with due humility that we approach a view of the work of our own
+    time, with a dim feeling that our best will be a mere conjecture. But we
+    shall the more cheerfully return to our resolution that our chief
+    business is a positive appreciation. Where we cannot praise, we can
+    generally be silent. Certain truths concerning contemporary art seem
+    firmly grounded in the recorded past. The new Messiah never came with
+    instant wide acclaim. Many false prophets flashed brilliantly on the
+    horizon to fall as suddenly as they rose. In a refracted view we see the
+    figures of the great projected in too large dimension upon their day.
+    And precisely opposite we fail to glimpse the ephemeral lights obscuring
+    the truly great. The lesson seems never to be learned; indeed it can, of
+    course, never be learned. For that would imply an eternal paradox that
+    the present generation must always distrust its own judgment.
+</p>
+<p>
+    Who could possibly imagine in Schubert's time the sway he holds to-day.
+    Our minds reel to think that by a mere accident were recovered the
+    Passion of Bach and the symphonies of Schubert. Or must we prayerfully
+    believe that a Providence will make the best prevail? And, by the way,
+    the serious nature of this appreciation appears when we see how it was
+    ever by the greatest of his time that the future master was heralded.
+</p>
+<p>
+    The symphony of the present age has perhaps fallen somewhat in estate.
+    It was natural that it should rush to a high perfection in the halcyon
+    days of its growth. It is easy to make mournful predictions of
+    decadence. The truth is the symphony is a great form of art, like a
+    temple or a tragedy. Like them it has had, it will have its special eras
+    of great expression. Like them it will stay as a mode of utterance for
+    new communities and epochs with varying nationality, or better still,
+    with vanishing nationalism.
+</p>
+<p>
+    The tragedy was not exhausted with Sophocles, nor with Shakespeare nor
+    with Goethe. So the symphony has its fallow periods and it may have a
+    new resurgence under new climes. We are ever impatient to shelve a great
+    form, like vain women afraid of the fashion. It is part of our constant
+    rage for novelty. The shallower artist ever tinkered with new
+    devices,&mdash;to some effects, in truth. Such is the empiric course of art
+    that what is born of vanity may be crowned with highest inspiration.
+</p>
+<p>
+    The national element will fill a large part of our survey. It marks a
+    strange trait of our own age that this revival of the national idea
+    falls in the very time when other barriers are broken. Ancient folk-song
+    grew like the flower on the battle-field of races. But here is an
+    anxious striving for a special dialect in music. Each nation must have
+    its proper school; composers are strictly labelled, each one obedient to
+    his national manner. This state of art can be but of the day. Indeed,
+    the fairest promise of a greater future lies in the morrow's blending of
+    these various elements in the land where each citizen has a mixed
+    inheritance from the older nations.
+</p>
+<p>
+    In the bewildering midst of active spirits comes the irresistible
+    impulse to a somewhat partisan warfare. The critic, if he could view
+    himself from some empyraean perch, remote in time and place, might smile
+    at his own vehemence. In the clash of aims he must, after all, take
+    sides, for it is the tendency that is momentous; and he will be excited
+    to greater heat the stronger the prophet that he deems false. When the
+    strife is over, when currents are finally settled, we may take a more
+    contented joy in the impersonal art that remains.
+</p>
+<p>
+    The choice from the mass of brilliant vital endeavor is a new burden and
+    a source almost of dismay. Why should we omit so melodious a work as
+    Moskowski's <i>Jeanne d'Arc</i>,&mdash;full of perhaps too facile charm? It was,
+    of course, impossible to treat all the wonderful music of the Glazounows
+    and the Kallinikows. And there is the limpid beauty of the Bohemian
+    <i>Suk</i>, or the heroic vigor of a <i>Volbach</i>. We should like to have
+    mentioned <i>Robert Volkmann</i> as a later Romanticist; and <i>Gade</i> has ever
+    seemed a true poet of the Scandinavian symphony.
+</p>
+<p>
+    Of the modern French we are loth to omit the symphonies of <i>Chausson</i>
+    and of <i>Dukas</i>. In our own America it is a still harder problem. There
+    is the masterly writing of a <i>Foote</i>; the older <i>Paine</i> has never been
+    fully valued in the mad race for novelty. It would have been a joy to
+    include a symphony of rare charm by <i>Martinus van Gelder</i>.
+</p>
+<p>
+    A critical work on modern art cannot hope to bestow a crown of laurels
+    among living masters; it must be content with a view of active
+    tendencies. The greatest classic has often come into the world amid
+    least expectation. A critic in the year 1850 must need have omitted the
+    Unfinished Symphony, which was then buried in a long oblivion.
+</p>
+<p>
+    The present author prefers to treat the main modern lines, considering
+    the special work mainly as example. After all, throughout the realm of
+    art the idea is greater than the poet, the whole art more than the
+    artist,&mdash;though the particular enshrinement in enduring design may
+    reflect a rare personality.
+</p>
+<center>
+    PHILIP H. GOEPP.
+</center>
+<p>
+    NOTE: Especial thanks are owed to the Philadelphia Orchestra for a free
+    use of its library, and to Messrs. G. Schirmer Company for a like
+    courtesy.&mdash;P.H.G.
+</p>
+
+
+
+
+<hr>
+
+<div style="height: 4em;"><br><br><br></div>
+
+<h2>
+    CONTENTS
+</h2>
+<a href="#2HCH0001">
+CHAPTER I</a>.&mdash;The Symphony during the Nineteenth Century<p>
+<br>
+<a href="#2HCH0002">
+CHAPTER II</a>.&mdash;Berlioz and Liszt</p>
+<p>
+<br>
+<a href="#2HCH0003">
+CHAPTER III</a>.&mdash;Berlioz. "Romeo and Juliet." Dramatic Symphony </p>
+<p>
+<br>
+<a href="#2HCH0004">
+CHAPTER IV</a>.&mdash;A Symphony to Dante's "Divina Commedia"</p>
+<p>&nbsp;<br>
+<a href="#2HCH0005">
+CHAPTER V</a>.&mdash;The Symphonic Poems of Liszt </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#preludes">"Les Préludes" </a>
+<br>
+  <a href="#tasso">"Tasso" </a>
+<br>
+  <a href="#mazeppa">"Mazeppa" </a>
+<br>
+  <a href="#huns">"Battle of the Huns" </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0006">
+CHAPTER VI</a>.&mdash;The Symphonic Poems of Saint-Saëns </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#danse">"Danse Macabre" </a>
+<br>
+  <a href="#phaeton">"Phaeton" </a>
+<br>
+  <a href="#hercules">"The Youth of Hercules" </a>
+<br>
+  <a href="#omphale">"Omphale's Spinning Wheel" </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0007">
+CHAPTER VII</a>.&mdash;César Franck </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#Dminor">Symphony in D minor </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0008">
+CHAPTER VIII</a>.&mdash;D'Indy and the Followers of Franck</p>
+<blockquote>
+  <p>
+<br>
+  <a href="#2HCH0008">D'Indy's Second Symphony </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0009">
+CHAPTER IX</a>.&mdash;Débussy and the Innovators</p>
+<blockquote>
+  <p>
+<br>
+  <a href="#sea">"The Sea"&mdash;Débussy </a>
+<br>
+  <a href="#sorcerer">"The Sorcerer's Apprentice"&mdash;Dukas </a></p>
+</blockquote>
+<p><br>
+<a href="#2HCH0010">
+CHAPTER X</a>.&mdash;Tschaikowsky </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#sym4">Fourth Symphony </a>
+<br>
+  <a href="#manfred">"Manfred" Symphony </a>
+<br>
+  <a href="#sym5">Fifth Symphony </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0011">
+CHAPTER XI</a>.&mdash;The Neo-Russians </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#balakirew">Balakirew. Symphony in C </a>
+<br>
+  <a href="#antar">Rimsky-Korsakow </a>
+<br>
+    &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#antar">"Antar" Symphony</a>
+<br>
+    &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Scheherezade">"Schérézade." Symphonic Suite</a>
+<br>
+  <a href="#Rachmaninow">Rachmaninow. Symphony in E minor </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0012">
+CHAPTER XII</a>.&mdash;Sibelius. A Finnish Symphony </p>
+<p>
+<br>
+<a href="#2HCH0013">
+CHAPTER XIII</a>.&mdash;Bohemian Symphonies </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#smetana">Smetana. Symphonic Poem: "The Moldau River" </a>
+<br>
+  <a href="#dvorak">Dvôrák. Symphony: "From the New World" </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0014">
+CHAPTER XIV</a>.&mdash;The Earlier Bruckner </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#sym2">Second Symphony </a>
+<br>
+  <a href="#Bsym4">Fourth (Romantic) Symphony </a>
+<br>
+  <a href="#Bsym5">Fifth Symphony </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0015">
+CHAPTER XV</a>.&mdash;The Later Bruckner </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#sym9">Ninth Symphony </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0016">
+CHAPTER XVI</a>.&mdash;Hugo Wolff </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#penthesilea">"Penthesilea." Symphonic Poem </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0017">
+CHAPTER XVII</a>.&mdash;Mahler </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#Msym5">Fifth Symphony </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0018">
+CHAPTER XVIII</a>.&mdash;Richard Strauss. Symphonic Poems </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#death">"Death and Transfiguration" </a>
+<br>
+  <a href="#juan">"Don Juan" </a>
+<br>
+  <a href="#till">"Till Eulenspiegel's Merry Pranks" </a>
+<br>
+  <a href="#domestica">"Sinfonia Domestica" </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0019">
+CHAPTER XIX</a>.&mdash;Italian Symphonies </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#sgambati">Sgambati. Symphony in D major </a>
+<br>
+  <a href="#martucci">Martucci. Symphony in D minor </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0020">
+CHAPTER XX</a>.&mdash;Edward Elgar. An English Symphony </p>
+<p>
+<br>
+<a href="#2HCH0021">
+CHAPTER XXI</a>.&mdash;Symphonies in America </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#hadley">Henry Hadley. Symphony No. 3 </a>
+<br>
+  <a href="#strube">Gustav Strube. Symphony in D minor </a>
+<br>
+  <a href="#chadwick">Chadwick. Suite Symphonique </a>
+<br>
+  <a href="#loeffler">Loeffler. "The Devil's Round." Symphonic Poem </a>
+<br>
+
+<a name="2H_4_0002"><!-- H2 anchor --></a>
+
+  </p>
+</blockquote>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    SYMPHONIES AND THEIR MEANING
+</h2>
+<h3>
+    MODERN SYMPHONIES
+</h3>
+<a name="2HCH0001"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER I
+</h2>
+<h3>
+    THE SYMPHONY DURING THE NINETEENTH CENTURY
+</h3>
+<p>
+    After the long dominance of German masters of the musical art, a
+    reaction could not fail to come with the restless tendencies of other
+    nations, who, having learned the lesson, were yet jealous of foreign
+    models and eager to utter their own message. The later nineteenth
+    century was thus the age of refraction of the classic tradition among
+    the various racial groups that sprang up with the rise of the national
+    idea. We can see a kind of beginning in the Napoleonic destruction of
+    feudal dynasties. German authority in music at the beginning of the
+    century was as absolute as Roman rule in the age of Augustus. But the
+    seed was carried by teachers to the various centres of Europe. And, with
+    all the joy we have in the new burst of a nation's song, there is no
+    doubt that it is ever best uttered when it is grounded on the lines of
+    classic art. Here is a paramount reason for the strength of the modern
+    Russian school. With this semi-political cause in mind it is less
+    difficult to grasp the paradox that with all the growth of
+    intercommunication the music of Europe moves in more detached grooves
+    to-day than two centuries ago. The suite in the time of Bach is a
+    special type and proof of a blended breadth and unity of musical thought
+    in the various nations of Europe of the seventeenth century. In the
+    quaint series of dances of the different peoples, with a certain
+    international quality, one sees a direct effect of the Thirty Years'
+    War,&mdash;the beneficent side of those ill winds and cruel blasts, when all
+    kinds of nations were jostling on a common battle-ground. And as the
+    folk-dances sprang from the various corners of Europe, so different
+    nations nursed the artistic growth of the form. Each would treat the
+    dances of the other in its own way, and here is the significance of
+    Bach's separate suites,&mdash;English, French and German.
+</p>
+<p>
+    Nationalism seems thus a prevailing element in the music of to-day, and
+    we may perceive two kinds, one spontaneous and full of charm, the other
+    a result of conscious effort, sophisticated in spirit and in detail. It
+    may as well be said that there was no compelling call for a separate
+    French school in the nineteenth century as a national utterance. It
+    sprang from a political rather than an artistic motive; it was the itch
+    of jealous pride that sharply stressed the difference of musical style
+    on the two sides of the Rhine. The very influence of German music was
+    needed by the French rather than a bizarre invention of national traits.
+    The broader art of a Saint-Saëns here shines in contrast with the
+    brilliant conceits of his younger compatriots, though it cannot be
+    denied that the latter are grounded in classic counterpoint. With other
+    nations the impulse was more natural: the racial song of the
+    Scandinavians, Czechs and other Slavs craved a deliverance as much as
+    the German in the time of Schubert. In France, where music had long
+    flourished, there was no stream of suppressed folk-song.
+</p>
+<p>
+    But the symphony must in the natural course have suffered from the very
+    fulness of its own triumph. We know the Romantic reaction of Schumann,
+    uttered in smaller cyclic forms; in Berlioz is almost a complete
+    abandonment of pure music, devoid of special description. Liszt was one
+    of the mighty figures of the century, with all the external qualities of
+    a master-genius, shaking the stage of Europe with the weight of his
+    personality, and, besides, endowed with a creative power that was not
+    understood in his day. With him the restless tendency resulted in a new
+    form intended to displace the symphony: the symphonic poem, in a single,
+    varied movement, and always on a definite poetic subject. Here was at
+    once a relief and a recess from the classic rigor. Away with sonata form
+    and all the odious code of rules! In the story of the title will lie all
+    the outline of the music.
+</p>
+<p>
+    Yet in this rebellious age&mdash;and here is the significance of the
+    form&mdash;the symphony did not languish, but blossomed to new and varied
+    flower. Liszt turned back to the symphony from his new-fangled device
+    for his two greatest works. It has, indeed, been charged that the
+    symphony was accepted by the Romantic masters in the spirit of a
+    challenge. Mendelssohn and even Schumann are not entirely free from such
+    a suspicion. Nevertheless it remains true that all of them confided to
+    the symphony their fairest inspiration. About the middle of the century,
+    at the high point of anti-classical revolt, a wonderful group of
+    symphonies, by Berlioz, Mendelssohn, Schumann, and Liszt, were presented
+    to the world. With the younger Brahms on a returning wave of
+    neo-classicism the form became again distinctively a personal choice.
+    Finally, in the spontaneous utterance of a national spirit on broad
+    lines, as in the later Russian and Finnish examples, with the various
+    phases of surging resolution, of lyric contemplation and of rollicking
+    humor, the symphony has its best sanction in modern times.
+</p>
+<p>
+    To return to the historical view, the course of the symphony during the
+    century cannot be adequately scanned without a glance at the music-drama
+    of Richard Wagner. Until the middle of the century, symphony and opera
+    had moved entirely in separate channels. At most the overture was
+    affected, in temper and detail, by the career of the nobler form.
+</p>
+<p>
+    The restless iconoclasm of a Liszt was now united, in a close personal
+    and poetic league, with the new ideas of Wagner's later drama. Both men
+    adopted the symbolic motif as their main melodic means; with both mere
+    iteration took the place of development; a brilliant and lurid
+    color-scheme (of orchestration) served to hide the weakness of intrinsic
+    content; a vehement and hysteric manner cast into temporary shade the
+    classic mood of tranquil depth in which alone man's greatest thought is
+    born.
+</p>
+<p>
+    But a still larger view of the whole temper of art in Europe of the
+    later century is needed. We wander here beyond the fine distinctions of
+    musical forms. A new wave of feeling had come over the world that
+    violently affected all processes of thought. And strangely, it was
+    strongest in the land where the great heights of poetry and music had
+    just been reached. Where the high aim of a Beethoven and a Goethe had
+    been proclaimed, arose a Wagner to preach the gospel of brute fate and
+    nature, where love was the involuntary sequence of mechanical device and
+    ended in inevitable death, all overthrowing the heroic idea that teems
+    throughout the classic scores, crowned in a greatest symphony in praise
+    of "Joy."
+</p>
+<p>
+    Such was the intrinsic content of a "Tristan and Isolde" and the whole
+    "Nibelungen-Ring," and it was uttered with a sensuous wealth of sound
+    and a passionate strain of melody that (without special greatness of its
+    own) dazzled and charmed the world in the dramatic setting of mediaeval
+    legend. The new harmonic style of Wagner, there is good reason to
+    suppose, was in reality first conceived by Liszt, whose larger works,
+    written about the middle of the century, have but lately come to
+    light.[<a href="#note1">1</a>] In correspondence with this moral mutiny was the complete
+    revolt from classic art-tradition: melody (at least in theory), the
+    vital quality of musical form and the true process of a coherent thread,
+    were cast to the winds with earlier poetic ideals.
+</p>
+
+<p>
+    If it were ever true that a single personality could change an opposite
+    course of thought, it must be held that Richard Wagner, in his own
+    striking and decadent career, comes nearest to such a type. But he was
+    clearly prompted and reinforced in his philosophy by other men and
+    tendencies of his time. The realism of a Schopenhauer, which Wagner
+    frankly adopted without its full significance (where primal will finds a
+    redemption in euthanasia), led by a natural course of thought to
+    Nietzsche's dreams of an overman, who tramples on his kind.
+</p>
+<p>
+    In itself this philosophy had been more of a passing phase (even as
+    Schopenhauer is lost in the chain of ethical sages) but for its strange
+    coincidence with the Wagnerian music. The accident of this alliance gave
+    it an overwhelming power in Germany, where it soon threatened to corrupt
+    all the arts, banishing idealism from the land of its special
+    haunts.[<a href="#note2">2</a>] The ultimate weakness of the Wagnerian philosophy is that it
+    finds in fatalism an excuse for the surrender of heroic virtue,&mdash;not in
+    the spirit of a tragic truth, but in a glorification of the senses; just
+    as in Wagner's final work, the ascetic, sinless type becomes a figure
+    almost of ridicule, devoid of human reality. It is significant that with
+    the revival of a sound art, fraught with resolute aspiration, is
+    imminent a return to an idealistic system of philosophy.
+</p>
+
+<p>
+    In the musical art even of Germany the triumph was never complete. The
+    famous feud of Brahms and Wagner partisans marked the alignment of the
+    classical and radical traditions. Throughout the second half of the
+    century the banner of a true musical process was upheld; the personal
+    meeting of the youthful Brahms with the declining Schumann is
+    wonderfully significant, viewed as a symbol of this passing of the
+    classic mantle. And the symphonies of Gustav Mahler seem an assurance of
+    present tendencies. The influence of Bach, revived early in the century,
+    grew steadily as a latent leaven.
+</p>
+<p>
+    Nevertheless in the prevailing taste and temper of present German
+    music, in the spirit of the most popular works, as those of Richard
+    Strauss (who seems to have sold his poetic birthright), the aftermath of
+    this wave is felt, and not least in the acclaim of the barren symphonies
+    of a Bruckner. It is well known that Bruckner, who paid a personal
+    homage to Wagner, became a political figure in the partisan dispute,
+    when he was put forth as the antagonist of Brahms in the symphony. His
+    present vogue is due to this association and to his frank adoption of
+    Wagner idiom in his later works, as well as, more generally, to the
+    lowered taste in Germany.
+</p>
+<p>
+    In all this division of musical dialect, in the shattering of the
+    classic tower among the diverse tongues of many peoples, what is to be
+    the harvest? The full symbol of a Babel does not hold for the tonal art.
+    Music is, in its nature, a single language for the world, as its
+    alphabet rests on ideal elements. It has no national limits, like prose
+    or poetry; its home is the whole world; its idiom the blended song of
+    all nations.
+</p>
+<p>
+    In such a view there is less hope in the older than in the newer world.
+    No single, limited song of one nation can in the future achieve a second
+    climax of the art. It is by the actual mingling of them all that the
+    fairest flower and fruit must come. The very absence of one prevailing
+    native song, held a reproach to America, is in reality her strength; for
+    hers is the common heritage of all strains of song. And it may be her
+    destiny to lead in the glorious merging of them all.
+</p>
+<a name="2HCH0002"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER II
+</h2>
+<h3>
+    BERLIOZ AND LISZT
+</h3>
+<p>
+    The path of progress of an art has little to do with mere chronology.
+    For here in early days are bold spirits whose influence is not felt
+    until a whole generation has passed of a former tradition. Nor are these
+    patient pioneers always the best-inspired prophets; the mere fate of
+    slow recognition does not imply a highest genius. A radical innovation
+    may provoke a just and natural resistance. Again, a gradual yielding is
+    not always due to the pure force of truth. Strange and oblique ideas may
+    slowly win a triumph that is not wholly merited and may not prove
+    enduring.
+</p>
+<p>
+    To fully grapple with this mystery, we may still hold to the faith that
+    final victory comes only to pure truth, and yet we may find that
+    imperfect truth will often achieve a slow and late acceptance. The
+    victory may then be viewed in either of two ways: the whole spirit of
+    the age yields to the brilliant allurement, or there is an overweighing
+    balance of true beauty that deserves the prize of permanence. Of such a
+    kind were two principal composers of the symphony: Franz Liszt and
+    Hector Berlioz. Long after they had wrought their greatest works, others
+    had come and gone in truer line with the first masters, until it seemed
+    these radical spirits had been quite rejected.
+</p>
+<p>
+    Besides the masters of their own day, Schumann and Mendelssohn, a group
+    of minor poets, like Raff and Goetz, appeared, and at last Brahms, the
+    latest great builder of the symphony, all following and crowning the
+    classical tradition.
+</p>
+<p>
+    The slow reception of the larger works of Liszt strangely agrees with
+    the startling resemblance of their manner to the Russian style that
+    captivated a much later age. It seemed as if the spirit of the Hungarian
+    was suddenly revived in a new national group. His humor wonderfully
+    suited the restless and sensational temper of an age that began after
+    his death.
+</p>
+<p>
+    The very harmonies and passionate manner that influence modern audiences
+    evoked a dull indifference in their own day.<a href="#note3">[3]</a> They roused the first
+    acclaim when presented in the more popular form of the music-drama. It
+    may well be questioned whether Liszt was not the fountain source of the
+    characteristic harmonies of Wagner's later opera.
+</p>
+
+<p>
+    Historically considered, that is in their relation to other music
+    preceding and following them, the symphonies of Liszt have striking
+    interest. They are in boldest departure from all other symphonies, save
+    possibly those of Berlioz, and they were prophetic in a degree only
+    apparent a half-century later. If the quality of being ahead of his time
+    be proof, instead of a symptom, of genius, then Liszt was in the first
+    rank of masters. The use of significant motif is in both of his
+    symphonies. But almost all the traits that startled and moved the world
+    in Tschaikowsky's symphonies are revealed in this far earlier music: the
+    tempestuous rage of what might be called an hysterical school, and the
+    same poignant beauty of the lyric episodes; the sheer contrast, half
+    trick, half natural, of fierce clangor and dulcet harmonies, all painted
+    with the broad strokes of the orchestral palette. Doubly striking it is
+    how Liszt foreshadowed his later followers and how he has really
+    overshadowed them; not one, down to the most modern tone-painters, has
+    equalled him in depth and breadth of design, in the original power of
+    his tonal symbols. It seems that Liszt will endure as the master-spirit
+    in this reactionary phase of the symphony.
+</p>
+<p>
+    Berlioz is another figure of a bold innovator, whose career seemed a
+    series of failures, yet whose music will not down. His art was centred
+    less upon the old essentials, of characteristic melody and soul-stirring
+    harmonies, than upon the magic strokes of new instrumental grouping,&mdash;a
+    graphic rather than a pure musical purpose. And so he is the father not
+    only of the modern orchestra, but of the fashion of the day that revels
+    in new sensations of startling effects, that are spent in portraying the
+    events of a story.
+</p>
+<p>
+    Berlioz was the first of a line of <i>virtuosi</i> of the orchestra, a
+    pioneer in the art of weaving significant strains,&mdash;significant, that
+    is, apart from the music. He was seized with the passion of making a
+    pictured design with his orchestral colors. Music, it seems, did not
+    exist for Berlioz except for the telling of a story. His symphony is
+    often rather opera. A symphony, he forgot, is not a musical drama
+    without the scenery. This is just what is not a symphony. It is not the
+    literal story, but the pure musical utterance. Thus Berlioz's "Romeo and
+    Juliet" symphony is in its design more the literal story than is
+    Shakespeare's play. And yet there is ever a serious nobility, a heroic
+    reach in the art of Berlioz, where he stands almost alone among the
+    composers of his race. Here, probably, more than in his pictured
+    stories, lies the secret of his endurance. He was, other than his
+    followers, ever an idealist. And so, when we are on the point of
+    condemning him as a scene-painter, we suddenly come upon a stretch of
+    pure musical beauty, that flowed from the unconscious rapture of true
+    poet. As the bee sucks, so may we cull the stray beauty and the more
+    intimate meaning, despite and aside from this outer intent.
+</p>
+<a name="2HCH0003"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER III
+</h2>
+<h3>
+    BERLIOZ. "ROMEO AND JULIET."
+</h3>
+<center>
+    <i>DRAMATIC SYMPHONY</i>
+</center>
+<p>
+    In the sub-title we see the growing impulse towards graphic music. A
+    "dramatic symphony" is not promising. For, if music is the most
+    subjective expression of the arts, why should its highest form be used
+    to dramatize a drama? Without the aid of scene and actors, that were
+    needed by the original poet, the artisan in absolute tones attempts his
+    own theatric rendering. Clearly this symphony is one of those works of
+    art which within an incongruous form (like certain ancient pictures)
+    affords episodes of imperishable beauty.
+</p>
+<p>
+    Passing by the dramatic episodes that are strung on the thread of the
+    story, we dwell, according to our wont, on the stretches where a pure
+    musical utterance rises to a lofty height of pathos or of rarest
+    fantasy.
+</p>
+<p>
+    In the first scene of the Second Part is the clear intent of a direct
+    tonal expression, and there is a sustained thread of sincere sentiment.
+    The passion of Romeo shines in the purity rather than in the intensity
+    of feeling. The scene has a delicate series of moods, with subtle
+    melodic touches and dramatic surprises of chord and color. The whole
+    seems a reflection of Romeo's humor, the personal (<i>Allegro</i>) theme
+    being the symbol as it roams throughout the various phases,&mdash;the sadness
+    of solitude, the feverish thrill of the ball. Into the first phrase of
+    straying violins wanders the personal motive, sadly meditative.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music1.jpg" alt="music1" width="400" height="317"></p>
+<p style="text-indent: 0em">
+    Sweeter dreams now woo the muser, warming into passion, pulsing with a
+    more eager throb of desire, in changed tone and pace. Suddenly in a new
+    quarter amid a quick strum of dance the main motive hurries along. The
+    gay sounds vanish, ominous almost in the distance. The sadness of the
+    lover now sings unrestrained in expressive melody (of oboe), in long
+    swinging pace, while far away rumbles the beat of festive drum.
+</p>
+<p>
+    The song rises in surging curves, but dies away among the quick festal
+    sounds, where the personal motive is still supreme, chasing its own
+    ardent antics, and plunges headlong into the swirl of dance.
+</p>
+<p>
+    II Penseroso (in his personal rôle) has glided into a buoyant,
+    rollicking Allegro with joyous answer. Anon the outer revel breaks in
+    with shock almost of terror. And now in climax of joy, through the
+    festal strum across the never-ceasing thread of transformed meditation
+    resound in slowest, broadest swing the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music2.jpg" alt="music2" width="400" height="96"></p>
+<p style="text-indent: 0em">
+    warm tones of the love-song in triumph of bliss.<a href="#note4">[4]</a> As the song dies
+    away, the festal sounds fade. Grim meditation returns in double
+    figure,&mdash;the slower, heavier pace below. Its shadows are all about as in
+    a fugue of fears, flitting still to the tune of the dance and anon
+    yielding before the gaiety. But through the returning festal ring the
+    fateful motive is still straying in the bass. In the concluding revel
+    the hue of meditation is not entirely banned.
+</p>
+
+<p>
+    The Shakespearian love-drama thus far seems to be celebrated in the
+    manner of a French romance. After all, the treatment remains scenic in
+    the main; the feeling is diluted, as it were, not intensified by the
+    music.
+</p>
+<p>
+    The stillness of night and the shimmering moonlight are in the delicate
+    harmonies of (<i>Allegretto</i>) strings. A lusty song of departing revellers
+    breaks upon the scene. The former distant sounds of feast are now near
+    and clear in actual words.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music3.jpg" alt="music3" width="400" height="116"></p>
+<p>
+    There is an intimate charm, a true glamor of love-idyll about the
+    Adagio. On more eager pulse rises a languorous strain of horn and
+    cellos. The flow
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music4.jpg" alt="music4" width="400" height="160"></p>
+<p style="text-indent: 0em">
+    of its passionate phrase reaches the climax of prologue where, the type
+    and essence of the story, it plays about the lovers' first meeting. As
+    lower strings hum the burden of desire, higher wood add touches of
+    ecstasy, the melting violins sing the wooing song, and all break into an
+    overwhelming rapture, as though transfigured in the brightness of its
+    own vehemence, in midst of a trembling mystery.
+</p>
+<p>
+    The restless spirit starts (<i>allegro agitato</i>) in fearsome agitation on
+    quick nervous throb of melody; below, violas sing a soothing answer;
+    there is a clear dialogue of wistful lovers.
+</p>
+<p>
+    Instead of the classic form of several verses led by one dominant melody
+    to varied paths and views, here almost in reverse we seem to fall from a
+    broader lyric mood to a single note of sad yearning that
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music5.JPG" alt="music5" width="400" height="176"></p>
+<p style="text-indent: 0em">
+    grows out of the several strains. Upon such a motive a new melody sings.
+    The delicate bliss of early love is all about, and in the lingering
+    close the timid ecstasies of wooing phrase. But this is a mere prelude
+    to the more highly stressed, vehement song of love that follows on the
+    same yearning motive. Here is the crowning, summing phase of the whole
+    poem, without a return to earlier melody save that, by significant
+    touch, it ends in the same expressive turn as the former languorous
+    song.
+</p>
+<p>
+    The first melody does not reappear, is thus a kind of background of the
+    scene. The whole is a dramatic lyric that moves from broader tune to a
+    reiterated note of sad desire, driven to a splendid height of crowned
+    bliss. The turbulence of early love is there; pure ardor in flaming
+    tongues of ecstasy; the quick turn of mood and the note of omen of the
+    original poem: the violence of early love and the fate that hangs over.
+</p>
+<p>
+    Berlioz has drawn the subject of his Scherzo from Mercutio's speech in
+    Scene 4 of the First Act of Shakespeare's tragedy. He has entitled it
+    "Queen Mab, or the Fairy of Dreams," and clearly intends to portray the
+    airy flight of Mab and her fairies. But we must doubt whether this, the
+    musical gem of the symphony, has a plan that is purely graphic,&mdash;rather
+    does it seem to soar beyond those concrete limits to an utterance of the
+    sense of dreams themselves in the spirit of Mercutio's conclusion:
+</p>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                <blockquote>
+                  <blockquote>
+                    <blockquote>
+                      <blockquote>
+                        &quot;... I talk of dreams<br>
+                        Which are the children of an idle brain,<br>
+                        Begot of nothing but vain fantasy;<br>
+                        Which is as thin of substance as the air;&quot;</blockquote>
+                    </blockquote>
+                  </blockquote>
+                </blockquote>
+              </blockquote>
+            </blockquote>
+</blockquote>
+
+<p>
+    And we may add, as elusive for the enchanted mind to hold are these
+    pranks and brilliant parade of tonal sprites. It stands one of the
+    masterpieces of program-music, in equal balance of pure beauty with the
+    graphic plan.
+</p>
+<p>
+    Imps they are, these flitting figures, almost insects with a
+    personality. In pace there is a division, where the first dazzling
+    speed is simply the fairy rhythm (halted anon by speaking pauses or
+    silences), and the second, a kind of idyll or romance in miniature. It
+    is all a drama of fairy actors, in a dreamland of softest tone. The main
+    figure leads its troop on gossamer thread of varied journey.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music6.jpg" alt="music6" width="400" height="99"></p>
+<p>
+    Almost frightening in the quickest, pulsing motion is the sudden
+    stillness, as the weird poising of trembling sprites. Best of all is the
+    resonant beauty of the second melody in enchanting surprise of tone.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music7.jpg" alt="music7" width="400" height="165"></p>
+<p style="text-indent: 0em">
+    Anon, as in a varied dance, the skipping, mincing step is followed by a
+    gentle swaying; or the figures all run together down the line to start
+    the first dance again, or the divided groups have different motions, or
+    one shouts a sudden answer to the other.
+</p>
+<p>
+    Much slower now is the main song (in flute and English horn) beneath an
+    ariel harmony (of overtones), while a quicker trip begins below of the
+    same figure. And in the midst is a strange concert of low dancing
+    strings with highest tones of harp,&mdash;strange mating of flitting sprites.
+</p>
+<p>
+    We are suddenly back in the first, skipping dance, ever faster and
+    brighter in dazzling group of lesser figures. And here is the golden
+    note of fairy-land,&mdash;the horn in soft cheery hunter's lay, answered by
+    echoing voices. For a moment the call is tipped with touch of sadness,
+    then rings out brightly in a new quarter. Beautiful it sings between the
+    quick phrases, with a certain shock of change, and there is the terror
+    of a sudden low rumbling and the thrill of new murmuring sounds with
+    soft beat of drum that hails the gathering fairies. There is a sudden
+    clarion burst of the whole chorus, with clash of drum and clang of
+    brass, and sudden pause, then faintest echoes of higher voices.
+</p>
+<p>
+    A new figure now dances a joyous measure to the tinkling of harp and the
+    sparkling strokes of high
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music8.jpg" alt="music8" width="400" height="185"></p>
+<p style="text-indent: 0em">
+    cymbals and long blown tone of horns. The very essence it is of fairy
+    life. And so the joy is not unmixed with just a touch of awe. Amidst the
+    whole tintinnabulation is a soft resonant echo of horns below, like an
+    image in a lake. The air hangs heavy with dim romance until the sudden
+    return to first fairy verse in sounds almost human. Once more come the
+    frightening pauses.
+</p>
+<p>
+    The end is in a great crash of sweet sound&mdash;a glad awakening to day and
+    to reality.
+</p>
+<a name="2HCH0004"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER IV
+</h2>
+<h3>
+    A SYMPHONY TO DANTE'S "DIVINA COMMEDIA"
+</h3>
+<center>
+    <i>FOR ORCHESTRA AND CHORUS OF SOPRANOS AND ALTOS</i>
+</center>
+<p>
+    The "Divina Commedia" may be said in a broad view to belong to the great
+    design by which Christian teaching was brought into relation with
+    earlier pagan lore. The subject commands all the interest of the epics
+    of Virgil and of Milton. It must be called the greatest Christian poem
+    of all times, and the breadth of its appeal and of its art specially
+    attest the age in which it was written, when classic pagan poetry broke
+    upon the world like a great treasure-trove.
+</p>
+<p>
+    The subject was an ideal one in Dante's time,&mdash;a theme convincing and
+    contenting to all the world, and, besides, akin to the essence of pagan
+    poetry. The poet was needed to celebrate all the phases of its meaning
+    and beauty. This is true of all flashes of evolutionary truth. As in the
+    ancient epics, an idea once real to the world may be enshrined in a
+    design of immortal art.
+</p>
+<p>
+    To-day we are perhaps in too agnostic a state to be absorbed by such a
+    contemplation. The subject in a narrower sense is true at most to those
+    who will to cherish the solace of a salvation which they have not fully
+    apprehended. And so the Liszt symphony of the nineteenth century is not
+    a complete reflection of the Dante poem of the fourteenth. It becomes
+    for the devout believer almost a kind of church-liturgy,&mdash;a Mass by the
+    Abbé Liszt.
+</p>
+<p>
+    Rare qualities there undoubtedly are in the music: a reality of passion;
+    a certain simplicity of plan; the sensuous beauty of melodic and
+    harmonic touches. But a greatness in the whole musical expression that
+    may approach the grandeur of the poem, could only come in a suggestion
+    of symbolic truth; and here the composer seems to fail by a too close
+    clinging to ecclesiastic ritual. Yet in the agony of remorse, rising
+    from hopeless woe to a chastened worship of the light, is a strain of
+    inner truth that will leave the work for a long time a hold on human
+    interest.
+</p>
+<p>
+    Novel is the writing of words in the score, as if they are to be sung by
+    the instruments,&mdash;all sheer aside from the original purpose of the form.
+    Page after page has its precise text; we hear the shrieks of the damned,
+    the dread inscription of the infernal portals; the sad lament of lovers;
+    the final song of praise of the redeemed. A kind of picture-book music
+    has our symphony become. The <i>leit-motif</i> has crept into the high form
+    of absolute tones to make it as definite and dramatic as any opera.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    I. INFERNO
+</center>
+<p>
+    The legend of the portal is proclaimed at the outset in a rising phrase
+    (of the low brass and strings)
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music9.jpg" alt="music9" width="400" height="106"></p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                <blockquote>
+    <i>   Per me si va nella cit-ta do-lente;<br>
+       Per me si va nell'eterno dolore;</i>
+
+                </blockquote>
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p style="text-indent: 0em">
+    and in still higher chant&mdash;
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                <blockquote>
+                  <p align="center">
+    <i>   Per me si va tra la perduta gente.</i></p>
+                </blockquote>
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p style="text-indent: 0em">
+    Then, in antiphonal blast of horns and trumpets sounds the fatal doom in
+    grim monotone (in descending harmony of trembling strings):
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music10.jpg" alt="music10" width="400" height="186"></p>
+<blockquote>
+  <blockquote>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+<i>Lasciate ogni speranza mi ch' entrate!</i><a href="#note5">[5]</a>
+
+
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+    </blockquote>
+  </blockquote>
+</blockquote>
+<p style="text-indent: 0em">
+    A tumult on a sigh (from the first phrase) rises again and again in
+    gusts. In a violent paroxysm we hear the doom of the monotone in lowest
+    horns. The fateful phrases are ringing about, while pervading all is
+    the hope-destroying blast of the brass. But the storm-centre is the
+    sighing motive which now enters on a quicker spur of passionate stride
+    (<i>Allegro frenetico, quasi doppio movimento</i>). In its winding
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music11.jpg" alt="music11" width="400" height="187"></p>
+<p style="text-indent: 0em">
+    sequences it sings a new song in more regular pace. The tempest grows
+    wilder and more masterful, still following the lines of the song, rising
+    to towering height. And now in the strains, slow and faster, sounds the
+    sigh above and below, all in a madrigal of woe. The whole is surmounted
+    by a big descending phrase, articulate almost in its grim dogma, as it
+    runs into the line of the first legend in full tumult of gloom. It is
+    followed by the doom slowly proclaimed in thundering tones of the brass,
+    in midst of a tempest of surging harmonies. Only it is all more fully
+    and poignantly stressed than before, with long, resonant echoes of the
+    stentorian tones of lowest brass.
+</p>
+<p>
+    Suddenly we are in the dulcet mood (<i>Quasi Andante, ma sempre un poco
+    mosso</i>) 'mid light waving strings and rich swirling harp, and soothing
+    tones of flutes and muted horns. Then, as all other voices are hushed,
+    the clarinet sings a strain that ends in lowest notes of expressive
+    grief (<i>Recit., espressivo dolente</i>)&mdash;where we can almost hear the
+    words. It is answered by a sweet plaint of other wood, in
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music12.jpg" alt="music12" width="400" height="172"></p>
+<p style="text-indent: 0em">
+    questioning accents, followed by the returning waves of strings and
+    harp, and another phrase of the lament; and now to the pulsing chords of
+    the harp the mellow English horn does sing (at least in the score) the
+    words,&mdash;the central text of all:<a href="#note6">[6]</a></p>
+<p style="text-align: center">
+    <img border="0" src="images/music13.jpg" alt="music13" width="400" height="201"></p>
+
+<p>
+    Other voices join the leader. As the lower reed start the refrain, the
+    higher enter in pursuit, and then the two groups sing a melodic chase.
+    But the whole phrase is a mere foil to the pure melody of the former
+    plaint that now returns in lower strings. And all so far is as a herald
+    to the passage of intimate sentiment (<i>Andante amoroso</i>) that lies a
+    lyric gem in the heart of the symphony. The melting strain is stressed
+    in tenderness by the languor of harmonies, the delicate design of
+    elusive rhythm and the appealing whisper of harp and two
+    violins,&mdash;tipped by the touch of mellow wood.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music14.jpg" alt="music14" width="400" height="220"></p>
+<p style="text-indent: 0em">
+    With the rising passion, as the refrain spreads in wider sequences, the
+    choirs of wood and strings are drawn into the song, one group answering
+    the other in a true love duet.
+</p>
+<p>
+    The last cadence falls into the old sigh as the dread oracle sounds once
+    more the knell of hope. Swirling strings bring us to a new scene of the
+    world of shades. In the furious, frenetic pace of yore (<i>Tempo primo,
+    Allegro, alla breve</i>) there is a new sullen note, a dull martial trip
+    of drums with demonic growls (in the lowest wood). The sigh is there,
+    but perverted in humor. A chorus of blasphemous mockery is stressed by
+    strident accents of lower wood and strings.<a href="#note7">[7]</a>
+</p>
+
+<p>
+    Gradually we fall into the former frenzied song, amid the demon
+    cacchinations, until we have plunged back into the nightmare of groans.
+    Instead of the big descending phrase we sink into lower depths of gloom,
+    wilder than ever, on the first tripping motive. As the sighing strain
+    resounds below in the midst of a chorus of demon shrieks, there enters
+    the chant of inexorable fate. Mockery yields to a tinge of pathos, a
+    sense almost of majestic resignation, an apotheosis of grief.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    II. PURGATORIO
+</center>
+<p>
+    A state of tranquillity, almost of bliss, is in the opening primal
+    harmonies (of harp and strings and
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music15.jpg" alt="music15" width="400" height="221"></p>
+<p style="text-indent: 0em">
+    soft horns). Indeed, what else could be the mood of relief from the
+    horrors of hell? And lo! the reed strikes a pure limpid song echoed in
+    turn by other voices, beneath a rich spray of heavenly harmonies.
+</p>
+<p>
+    This all recurs in higher shift of tone. A wistful phrase (<i>piu lento</i>,
+    in low strings) seems to breathe
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music16.jpg" alt="music16" width="400" height="173"></p>
+<p style="text-indent: 0em">
+    a spoken sob. Then, as in voices of a hymn, chants a more formal liturgy
+    of plaint where the phrase is almost lost in the lowest voice. It is all
+    but articulate, with a sense of the old sigh; but it is in a calmer
+    spirit, though anon bursting with passionate grief (<i>lagrimoso</i>).
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music17.jpg" alt="music17" width="400" height="94"></p>
+<p>
+    And now in the same vein, of the same fibre, a fugue begins of lament,
+    first in muted strings.
+</p>
+<p>
+    It is the line of sad expressive recitative that heralded the plaint and
+    the love-scene. There is here the full charm of fugue: a rhythmic
+    quality of single theme, the choir of concerted dirge in independent
+    and interdependent paths, and with every note of integral melody. There
+    is the beauty of pure tonal architecture blended with the personal
+    significance of the human (and divine) tragedy.
+</p>
+<p>
+    The fugue begins in muted strings, like plaintive human voices, though
+    wood and brass here and there light up the phrases. Now the full bass of
+    horns and wood strikes the descending course of theme, while higher
+    strings and wood soar in rising stress of (sighing) grief.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music18.jpg" alt="music18" width="400" height="188"></p>
+<p>
+    A hymnal verse of the theme enters in the wood answered by impetuous
+    strings on a coursing phrase. The antiphonal song rises with eager
+    stress of themal attack. A quieter elegy leads to another burst, the
+    motive above, the insistent sigh below. The climax of fugue returns to
+    the heroic main plaint below, with sighing answers above, all the voices
+    of wood and brass enforcing the strings.
+</p>
+<p>
+    Then the fugue turns to a transfigured phase; the theme rings triumphant
+    retorts in golden horns and in a masterful unison of the wood; the wild
+    answer runs joyfully in lower strings, while the higher are strumming
+    like celestial harps. The whole is transformed to a big song of praise
+    ever in higher harmonies. The theme flows on in ever varying thread,
+    amidst the acclaiming tumult.
+</p>
+<p>
+    But the heavenly heights are not reached by a single leap. Once more we
+    sink to sombre depths not of the old rejection, but of a chastened,
+    wistful wonderment. The former plaintive chant returns, in slower,
+    contained pace, broken by phrases of mourning recitative, with the old
+    sigh. And a former brief strain of simple aspiration is supported by
+    angelic harps. In gentle ascent we are wafted to the acclaim of heavenly
+    (treble) voices in the <i>Magnificat</i>. A wonderful utterance, throughout
+    the scene of Purgatory, there is of a chastened, almost spiritual grief
+    for the sin that cannot be undone, though it is not past pardon.
+</p>
+<p>
+    The bold design of the final Praise of the Almighty was evidently
+    conceived in the main as a service. An actual depiction, or a direct
+    expression (such as is attempted in the prologue of Boito's Mefistofele)
+    was thereby avoided. The Holy of Holies is screened from view by a
+    priestly ceremony,&mdash;by the mask of conventional religion. Else we must
+    take the composer's personal conception of such a climax as that of an
+    orthodox Churchman. And then the whole work, with all its pathos and
+    humanity, falls to the level of liturgy.
+</p>
+<p>
+    The words of invisible angel-chorus are those of the blessed maid
+    trusting in God her savior, on a theme for which we are prepared by
+    preluding choirs of harps, wood and strings. It is sung on an ancient
+    Church tone that in its height approaches the mode of secular song. With
+    all the power of broad rhythm, and fulness of harmony and volume, the
+    feeling is of conventional worship. With all the purity of shimmering
+    harmonies the form is ecclesiastical in its main lines and depends upon
+    liturgic symbols for its effect and upon the faith of the listener for
+    its appeal.
+</p>
+<p>
+    At the end of the hymn, on the entering <i>Hosanna!</i> and <i>Hallelujah!</i> we
+    catch the sacred symbol (of seven tones) in the path of the two vocal
+    parts, the lower descending, the higher ascending as on heavenly scale.
+    In the second, optional ending the figure is completed, as the bass
+    descends through the seven whole tones and the treble (of voices and
+    instruments) rises as before to end in overpowering <i>Hallelujah!</i> The
+    style is close knit with the earlier music. A pervading motive is the
+    former brief phrase of aspiration; upon it the angelic groups seem to
+    wing their flight between verses of praise. By a wonderful touch the
+    sigh, that appeared inverted in the plaintive chant of the <i>Purgatorio</i>,
+    is finally glorified as the motive of the bass to the words of
+    exultation.
+</p>
+<a name="2HCH0005"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER V
+</h2>
+<h3>
+    THE SYMPHONIC POEMS OF LISZT
+</h3>
+<p>
+    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. Yet it must be
+    yielded that Liszt's program-music was of the higher kind that dwells in
+    symbols rather than in concrete details. It was a graphic plan of
+    symbolization that led Liszt to choose the subjects of his symphonic
+    poems (such as the "Préludes" and the "Ideals") and to prefer the poetic
+    scheme of Hugo's "Mazeppa" to the finer verse of a Byron. Though not
+    without literal touches, Liszt perceived that his subjects must have a
+    symbolic quality.
+</p>
+<p>
+    Nevertheless this pictorial style led to a revolution in the very nature
+    of musical creation and to a new form which was seemingly intended to
+    usurp the place of the symphony. It is clear that the symphonic poem is
+    in very essence opposed to the symphony. The genius of the symphony lies
+    in the overwhelming breadth and intensity of its expression without the
+    aid of words. Vainly decried by a later age of shallower perception, it
+    achieved this Promethean stroke by the very magic of the design. At one
+    bound thus arose in the youngest art a form higher than any other of
+    human device,&mdash;higher than the epic, the drama, or the cathedral.
+</p>
+<p>
+    Bowing to an impatient demand for verbal meaning, Liszt invented the
+    Symphonic Poem, in which the classic cogency yielded to the loose thread
+    of a musical sketch in one movement, slavishly following the sequence of
+    some literary subject. He abandoned sheer tonal fancy, surrendering the
+    magic potency of pure music, fully expressive within its own design far
+    beyond the literal scheme.<a href="#note8">[8]</a>
+</p>
+
+<p>
+    The symphonic poems of Liszt, in so far as his intent was in destructive
+    reaction to the classic process, were precisely in line with the drama
+    of Wagner. The common revolt completely failed. The higher, the real
+    music is ever of that pure tonal design where the fancy is not leashed
+    to some external scheme. Liszt himself grew to perceive the inadequacy
+    of the new device when he returned to the symphony for his greatest
+    orchestral expression, though even here he never escaped from the thrall
+    of a literal subject.
+</p>
+<p>
+    And strangely, in point of actual music, we cannot fail to find an
+    emptier, a more grandiose manner in all these symphonic poems than in
+    the two symphonies. It seems as if an unconscious sense of the greater
+    nobility of the classic medium drove Liszt to a far higher inspiration
+    in his melodic themes.
+</p>
+<p>
+    Yet we cannot deny the brilliant, dazzling strokes, and the luscious
+    harmonies. It was all a new manner, and alone the novelty is welcome,
+    not to speak of the broad sweep of facile melody, and the sparkling
+    thrills.
+</p>
+<p>
+    &nbsp;</p>
+<p style="text-align: center">
+    <i><a name="preludes">LES PRÉLUDES</a></i>
+</p>
+<p>
+    This work has a preface by the composer, who refers in a footnote to the
+    "<i>Méditations poétiques</i>" of Lamartine.
+</p>
+<p>
+    "What else is our life than a series of preludes to that unknown song of
+    which the first solemn note is struck by death? Love is the morning glow
+    of every heart; but in what human career have not the first ecstasies of
+    bliss been broken by the storm, whose cruel breath destroys fond
+    illusions, and blasts the sacred shrine with the bolt of lightning. And
+    what soul, sorely wounded, does not, emerging from the tempest, seek to
+    indulge its memories in the calm of country life? Nevertheless, man will
+    not resign himself for long to the soothing charm of quiet nature, and
+    when the trumpet sounds the signal of alarm, he runs to the perilous
+    post, whatever be the cause that calls him to the ranks of war,&mdash;that he
+    may find in combat the full consciousness of himself and the command of
+    all his powers."
+</p>
+<p>
+    How far is the music literally graphic? We cannot look for the "unknown
+    song" in definite sounds. That would defeat, not describe, its
+    character. But the first solemn notes, are not these the solemn rising
+    phrase that reappears in varying rhythm and pace all about the beginning
+    and, indeed, the whole course
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music19.jpg" alt="music19" width="200" height="102"></p>
+<p style="text-indent: 0em">
+    of the music. Just these three notes abound in the mystic first
+    "prelude," and they are the core of the great swinging tune of the
+    Andante maestoso, the beginning and main pulse of the unknown song.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music20.jpg" alt="music20" width="400" height="129"></p>
+<p>
+    Now (<i>dolce cantando</i>) is a softer guise of the phrase. For death and
+    birth, the two portals, are like
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music21.jpg" alt="music21" width="400" height="169"></p>
+<p style="text-indent: 0em">
+    elements. Even here the former separate motive sounds, and so in the
+    further turn of the song (<i>espressivo dolente</i>) on new thread.
+</p>
+<p>
+    The melody that sings (<i>espressivo ma tranquillo</i>) may well stand for
+    "love, the glow of dawn in every heart." Before the storm, both great
+    motives (of love and death) sound together very beautifully, as in
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music22.jpg" alt="music22" width="400" height="198"></p>
+<p style="text-indent: 0em">
+    Tennyson's poem. The storm that blasts the romance begins with the same
+    fateful phrase. It is all about, even inverted, and at the crisis it
+    sings with the fervor of full-blown song. At the lull the soft guise
+    reappears, faintly, like a sweet memory.
+</p>
+<p>
+    The Allegretto pastorale is clear from the preface. After we are lulled,
+    soothed, caressed and all but entranced by these new impersonal sounds,
+    then, as if the sovereign for whom all else were preparing, the song of
+    love seeks its recapitulated verse. Indeed here is the real full song.
+    Is it that in the memory lies the reality, or at least the realization?
+</p>
+<p>
+    Out of the dream of love rouses the sudden alarm of brass (<i>Allegro
+    marziale animato</i>), with a new war-tune fashioned of the former soft
+    disguised motive. The air of fate still hangs heavy over all. In
+    spirited retorts the martial madrigal proceeds, but it is not all mere
+    war and courage. Through the clash of strife break in the former songs,
+    the love-theme in triumph and the first expressive strain in tempestuous
+    joy. Last of all the fateful original motto rings once more in serene,
+    contained majesty.
+</p>
+<p>
+    On the whole, even with so well-defined a program, and with a full play
+    of memory, we cannot be quite sure of a fixed association of the motive.
+    It is better to view the melodic episodes as subjective phases, arising
+    from the tenor of the poem.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="tasso">
+    <i>TASSO</i> </a>
+</center>
+<p>
+    Liszt's "Tasso" is probably the earliest celebration, in pure tonal
+    form, of the plot of man's suffering and redemption, that has been so
+    much followed that it may be called the type of the modern symphony.<a href="#note9">[9]</a>
+    In this direct influence the "Tasso" poem has been the most striking of
+    all of Liszt's creations.
+</p>
+
+<p>
+    The following preface of the composer accompanies the score:
+</p>
+     <blockquote>
+       <p>"In the year 1849 the one hundredth anniversary of Goethe's birth
+     was celebrated throughout Germany; the theatre in Weimar, where we
+     were at the time, marked the 28th of August by a performance of
+     'Tasso.'</p>
+       <p>"The tragic fate of the unfortunate bard served as a text for the
+     two greatest poets produced by Germany and England in the last
+     century: Goethe and Byron. Upon Goethe was bestowed the most
+     brilliant of mortal careers; while Byron's advantages of birth and
+     of fortune were balanced by keenest suffering. We must confess that
+     when bidden, in 1849, to write an overture for Goethe's drama, we
+     were more immediately inspired by Byron's reverential pity for the
+     shades of the great man, which he invoked, than by the work of the
+     German poet. Nevertheless Byron, in his picture of Tasso in prison,
+     was unable to add to the remembrance of his poignant grief, so
+     nobly and eloquently uttered in his 'Lament,' the thought of the
+     'Triumph' that a tardy justice gave to the chivalrous author of
+     'Jerusalem Delivered.' We have sought to mark this dual idea in the
+     very title of our work, and we should be glad to have succeeded in
+     pointing this great contrast,&mdash;the genius who was misjudged during
+     his life, surrounded, after death, with a halo that destroyed his
+     enemies. Tasso loved and suffered at Ferrara; he was avenged at
+     Rome; his glory still lives in the folk-songs of Venice. These
+     three elements are inseparable from his immortal memory. To
+     represent them in music, we first called up his august spirit as he
+     still haunts the waters of Venice. Then we beheld his proud and
+     melancholy figure as he passed through the festivals of Ferrara
+     where he had produced his master-works. Finally we followed him to
+     Rome, the eternal city, that offered him the crown and glorified in
+     him the martyr and the poet.</p>
+       <p>"<i>Lamento e Trionfo</i>: Such are the opposite poles of the destiny
+     of poets, of whom it has been justly said that if their lives are
+     sometimes burdened with a curse, a blessing is never wanting over
+     their grave. For the sake not merely of authority, but the
+     distinction of historical truth, we put our idea into realistic
+     form in taking for the theme of our musical poem the motive with
+     which we have heard the gondoliers of Venice sing over the waters
+     the lines of Tasso, and utter them three centuries after the poet:</p>
+       <blockquote>
+         <blockquote>
+           <blockquote>
+             <blockquote>
+               <blockquote>
+                 <blockquote>
+                   <p style="text-indent: 0em">"'Canto l'armi pietose e'l Capitano<br>
+        Che'l gran Sepolcro liberò di Christo!'</p>
+                 </blockquote>
+               </blockquote>
+             </blockquote>
+           </blockquote>
+         </blockquote>
+       </blockquote>
+       <p>"The motive is in itself plaintive; it has a sustained sigh, a
+     monotone of grief. But the gondoliers give it a special quality by
+     prolonging certain tones&mdash;as when distant rays of brilliant light
+     are reflected on the waves. This song had deeply impressed us long
+     ago. It was impossible to treat of Tasso without taking, as it
+     were, as text for our thoughts, this homage rendered by the nation
+     to the genius whose love and loyalty were ill merited by the court
+     of Ferrara. The Venetian melody breathes so sharp a melancholy,
+     such hopeless sadness, that it suffices in itself to reveal the
+     secret of Tasso's grief. It lent itself, like the poet's
+     imagination, to the world's brilliant illusions, to the smooth and
+     false coquetry of those smiles that brought the dreadful
+     catastrophe in their train, for which there seemed to be no
+     compensation in this world. And yet upon the Capitol the poet was
+     clothed with a mantle of purer and more brilliant purple than that
+     of Alphonse." </p>
+</blockquote>
+
+<p>
+    With the help of the composer's plot, the intent of the music becomes
+    clear, to the dot almost of the note. The whole poem is an exposition of
+    the one sovereign melody, where we may feel a kindred trait of Hungarian
+    song, above all in the cadences, that must have stirred Liszt's patriot
+    heart. Nay,&mdash;beginning as it does with melancholy stress of the phrase
+    of cadence and the straying into full rhythmitic exultation, it seems
+    (in strange guise) another
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music23.jpg" alt="music23" width="400" height="417"></p>
+<p style="text-indent: 0em">
+    of Liszt's Hungarian rhapsodies,&mdash;that were, perhaps, the greatest of
+    all he achieved, where his unpremeditated frenzy revelled in purest
+    folk-rhythm and tune. The natural division of the Hungarian dance, with
+    the sad <i>Lassu</i> and the glad <i>Friss</i>, is here clear in order and
+    recurrence. The Magyar seems to the manner born in both parts of the
+    melody.<a href="#note10">[10]</a>
+</p>
+
+<p>
+    In the accents of the motive of cadence (<i>Lento</i>) we feel the secret
+    grief of the hero, that turns <i>Allegro strepitoso</i>, in quicker pace to
+    fierce revolt.
+</p>
+<p>
+    In full tragic majesty the noble theme enters, in panoply of woe. In the
+    further flow, as in the beginning, is a brief chromatic strain and a
+    sigh of descending tone that do not lie in the obvious song, that are
+    drawn by the subjective poet from the latent fibre. Here is the modern
+    Liszt, of rapture and anguish, in manner and in mood that proved so
+    potent a model with a later generation.<a href="#note11">[11]</a>
+</p>
+
+<p>
+    The verse ends in a prolonged threnody, then turns to a firm, serenely
+    grave burst of the song in major, <i>Meno Adagio</i>, with just a hint of
+    martial grandeur. For once, or the nonce, we seem to see the hero-poet
+    acclaimed. In a middle episode the motive of the cadence sings
+    expressively with delicate harmonies, rising to full-blown exaltation.
+    We may see here an actual brief celebration, such as Tasso did receive
+    on entering Ferrara.
+</p>
+<p>
+    And here is a sudden fanciful turn. A festive dance strikes a tuneful
+    trip,&mdash;a menuet it surely is, with all the ancient festal charm, vibrant
+    with tune and spring, though still we do not escape the source of the
+    first pervading theme. Out of the midst of the dance sings slyly an
+    enchanting phrase, much like a secret love-romance. Now to the light
+    continuing dance is joined a strange companion,&mdash;the heroic melody in
+    its earlier majestic pace. Is it the poet in serious meditation at the
+    feast apart from the joyous abandon, or do we see him laurel-crowned, a
+    centre of the festival, while the gay dancers flit about him in homage?
+</p>
+<p>
+    More and more brilliant grows the scene, though ever with the dominant
+    grave figure. With sudden stroke as of fatal blast returns the earlier
+    fierce burst of revolt, rising to agitation of the former lament,
+    blending both moods and motives, and ending with a broader stress of the
+    first tragic motto.
+</p>
+<p>
+    Now, <i>Allegro con brio</i>, with herald calls of the brass and fanfare of
+    running strings (drawn from the personal theme), in bright major the
+    whole song bursts forth in brilliant gladness. At the height the
+    exaltation finds vent in a peal of simple melody. The "triumph" follows
+    in broadest, royal pace of the main song in the wind, while the strings
+    are madly coursing and the basses reiterate the transformed motive of
+    the cadence. The end is a revel of jubilation.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <i><a name="mazeppa">MAZEPPA</a></i>
+</center>
+<p>
+    The Mazeppa music is based upon Victor Hugo's poem, in turn founded upon
+    Byron's verse, with an added stirring touch of allegory.
+</p>
+<p>
+    The verses of Hugo first tell how the victim is tied to the fiery
+    steed, how&mdash;
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                &quot;He turns in the toils like a serpent in madness,<br>
+                And ... his tormentors have feasted in gladness<br>
+&nbsp;&nbsp;&nbsp;&nbsp; Upon his despair.
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+<blockquote>
+  <blockquote>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+&quot;They fly.&mdash;Empty space is behind and before them
+
+
+          </blockquote>
+        </blockquote>
+      </blockquote>
+    </blockquote>
+  </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;The horse, neither bridle nor bit on him feeling,<br>
+    Flies ever; red drops o'er the victim are stealing:<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        His whole body bleeds.<br>
+    Alas! to the wild horses foaming and champing<br>
+    That followed with mane erect, neighing and stamping,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        A crow-flight succeeds.<br>
+    The raven, the horn'd owl with eyes round and hollow,<br>
+    The osprey and eagle from battle-field follow,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        Though daylight alarm.
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;Then after three days of this course wild and frantic,<br>
+    Through rivers of ice, plains and forests gigantic,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        The horse sinks and dies;
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;Yet mark! That poor sufferer, gasping and moaning,<br>
+    To-morrow the Cossacks of Ukraine atoning,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        Will hail as their King;
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;To royal Mazeppa the hordes Asiatic<br>
+    Will show their devotion in fervor ecstatic,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        And low to earth bow."
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p>
+    In his splendid epilogue the poet likens the hero to the mortal on whom
+    the god has set his mark. He sees himself bound living to the fatal
+    course of genius, the fiery steed.
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                &quot;Away from the world&mdash;from all real existence<br>
+                He is borne upwards, despite his resistance<br>
+&nbsp;&nbsp;&nbsp;&nbsp; On feet of steel.<br>
+                He is taken o'er deserts, o'er mountains in legions,<br>
+                Grey-hoary, thro' oceans, and into the regions<br>
+&nbsp;&nbsp;&nbsp;&nbsp; Far over the clouds;<br>
+                A thousand base spirits his progress unshaken<br>
+                Arouses, press round him and stare as they waken,<br>
+&nbsp;&nbsp;&nbsp;&nbsp; In insolent crowds
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;He cries out with terror, in agony grasping,<br>
+    Yet ever the mane of his Pegasus clasping,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        They heavenward spring;<br>
+    Each leap that he takes with fresh woe is attended;<br>
+    He totters&mdash;falls lifeless&mdash;the struggle is ended&mdash;<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        And rises as King!&quot;<a href="#note12">[12]</a>
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+<p>
+    The original <i>Allegro agitato</i> in broad 6/4 time (aptly suggestive of
+    the unbridled motion) grows
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music24.jpg" alt="music24" width="400" height="129"></p>
+<p style="text-indent: 0em">
+    more rapid into an <i>alla breve</i> pace (in two beats), with dazzling maze
+    of lesser rhythms. Throughout the work a song of primeval strain
+    prevails. Here and there a tinge of foreshadowing pain appears, as the
+    song sounds on high, <i>espressivo dolente</i>. But the fervor and fury of
+    movement is undiminished. The brief touch of pathos soon merges in the
+    general heroic mood. Later, the whole motion ceases, "the horse sinks
+    and dies," and now an interlude sings a pure plaint (in the strain of
+    the main motive). Then, <i>Allegro</i>, the martial note clangs in stirring
+    trumpet and breaks into formal song of war, <i>Allegro marziale</i>.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music25.jpg" alt="music25" width="400" height="176"></p>
+<p>
+    In the wake of this song, with a relentless trip and tramp of warrior
+    hordes, is the real clash and jingle of the battle, where the sparkling
+    thrill of strings and the saucy counter theme are strong elements in the
+    stirring beauty.
+</p>
+<p>
+    There is a touch here of the old Goth, or rather the Hun, nearer akin to
+    the composer's race.
+</p>
+<p>
+    At the height rings out the main tune of yore, transformed in triumphant
+    majesty.
+</p>
+<p>
+    The musical design embraces various phases. First is the clear rhythmic
+    sense of the ride. We think of other instances like Schubert's
+    "Erl-King" or the ghostly ride in Raff's "Lenore" Symphony.
+</p>
+<p>
+    The degree of vivid description must vary, not only with the composer,
+    but with the hearer. The greatest masters have yielded to the variety of
+    the actual graphic touch. And, too, there are always interpreters who
+    find it, even if it was never intended. Thus it is common to hear at the
+    very beginning of the "Mazeppa" music the cry that goes up as starts the
+    flight.
+</p>
+<p>
+    We are of course entitled, if we prefer, to feel the poetry rather than
+    the picture. Finally it is probably true that such a poetic design is
+    not marred merely because there is here or there a trick of
+    onomatopoeia; if it is permitted in poetry, why not in music? It may be
+    no more than a spur to the fancy, a quick conjuring of the association.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="huns">
+    <i>HUNNENSCHLACHT&mdash;"THE BATTLE OF THE HUNS"</i> </a>
+</center>
+<p>
+    Liszt's symphonic poem, "Hunnenschlacht," one of the last of his works
+    in this form, completed in 1857, was directly inspired by the picture of
+    the German painter, Wilhelm Kaulbach, which represents the legend of the
+    aerial battle between the spirits of the Romans and Huns who had fallen
+    outside of the walls of Rome.<a href="#note13">[13]</a>&nbsp;
+</p>
+<p>
+    The evidence of the composer's intent is embodied in a letter written in
+    1857 to the wife of the painter, which accompanied the manuscript of an
+    arrangement of the music for two pianos. In the letter Liszt speaks of
+    "the meteoric and solar light which I have borrowed from the painting,
+    and which at the Finale I have formed into one whole by the gradual
+    working up of the Catholic <i>choral</i> 'Crux fidelis,' and the meteoric
+    sparks blended therewith." He continues: "As I have already intimated to
+    Kaulbach, in Munich, I was led by the musical demands of the material to
+    give proportionately more place to the solar light of Christianity,
+    personified in the Catholic <i>choral</i> ... than appears to be the case in
+    the glorious painting, in order to win and pregnantly represent the
+    conclusion of the Victory of the Cross, with which I both as a Catholic
+    and as a man could not dispense."
+</p>
+<p>
+    The work begins <i>tempestuoso</i> (<i>allegro non troppo</i>), with a nervous
+    theme over soft rolling drums and
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music26.jpg" alt="music26" width="400" height="103"></p>
+<p style="text-indent: 0em">
+    trembling low strings, that is taken up as in fugue by successive groups
+    and carried to a height where enters a fierce call of the horns. The
+    cries of battle spread with increasing din and gathering speed. At the
+    first climax the whole motion has a new energy, as the strings in
+    feverish chase attack the quickened motive with violent stress. Later,
+    though the motion has not lessened, the theme has returned to a
+    semblance of its former pace, and again the cries of battle (in brass
+    and wood) sound across its path.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music27.jpg" alt="music27" width="400" height="187"></p>
+<p>
+    In the hush of the storm the full-blown call to arms is heard in lowest,
+    funereal tones. Of a sudden, though the speed is the same, the pace
+    changes with a certain terror as of a cavalry attack. Presently amid the
+    clattering tramp sounds the big hymn,&mdash;in the ancient rhythm that moves
+    strangely out of the rut of even time.<a href="#note14">[14]</a>
+</p>
+
+<p>
+    A single line of the hymn is followed by a refrain of the battle-call,
+    and by the charge of horse that brings back the hymn, in high pitch of
+    trumpets. And so recur the former phases of battle,&mdash;really of threat
+    and preparation. For now begins the serious fray in one long gathering
+    of speed and power. The first theme here grows to full melodic song,
+    with extended answer, led by strepitous band of lower reed over a heavy
+    clatter of strings. We are in a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music28.jpg" alt="music28" width="400" height="160"></p>
+<p style="text-indent: 0em">
+    maze of furious charges and cries, till the shrill trumpet and the
+    stentorian trombone strike the full call in antiphonal song. The tempest
+    increases with a renewed charge of the strings, and now the more distant
+    calls have a slower sweep. Later the battle song is in the
+    basses,&mdash;again in clashing basses and trebles; nearer strike the broad
+    sweeping calls.
+</p>
+<p>
+    Suddenly over the hushed motion in soothing harmonies sings the hymn in
+    pious choir of all the brass. Then the gathering speed and volume is
+    merged in a majestic tread as of ordered array (<i>Maestoso assai;
+    Andante</i>); a brief spirited prelude of martial motives is answered by
+    the soft religious strains of the organ on the line of the hymn:
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                <blockquote>
+    "Crux fidelis, inter omnes<br>
+    Arbor una nobilis,<br>
+                  Nulla silva talem profert<br>
+    Fronde, flore, germine.<br>
+                  Dulce lignum, dulces clavos,<br>
+                  Dulce pondus sustinet.&quot;<a href="#note15">[15]</a>
+
+
+                </blockquote>
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+<p>
+    As in solemn liturgy come the answering phrases of the organ and the big
+    chorus in martial tread. As the hymn winds its further course, violins
+    entwine about the harmonies. The last line ends in expressive strain and
+    warm line of new major tone,&mdash;echoed in interluding organ and violins.
+</p>
+<p>
+    Suddenly a strict, solemn tread, with sharp stress of violins, brings a
+    new song of the <i>choral</i>. Strings alone play here "with pious
+    expression"; gradually reeds add support and ornament. A lingering
+    phrase ascends on celestial harmonies. With a stern shock the plain hymn
+    strikes in the reed, against a rapid course of strings, with fateful
+    tread. In interlude sound the battle-cries of yore. Again the hymn ends
+    in the expressive cadence, though now it grows to a height of power.
+</p>
+<p>
+    Here a former figure (the first motive of the battle) reappears in a
+    new guise of bright major,<a href="#note16">[16]</a> in full, spirited stride, and leads once
+    more to a blast of the hymn, with organ and all, the air in unison of
+    trumpets and all the wood. The expressive cadence merges into a last
+    fanfare of battle, followed by a strain of hymns and with reverberating Amens, where the organ predominates and holds long after all other
+    sounds have ceased.
+</p>
+
+<a name="2HCH0006"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER VI
+</h2>
+<h3>
+    THE SYMPHONIC POEMS OF SAINT-SAËNS
+</h3>
+<p>
+    There is something charming and even ideal in a complete versatility,
+    quite apart from the depth of the separate poems, where there is a
+    never-failing touch of grace and of distinction. The Philip Sydneys are
+    quite as important as the Miltons, perhaps they are as great. Some poets
+    seem to achieve an expression in a certain cyclic or sporadic career of
+    their fancy, touching on this or that form, illuminating with an elusive
+    light the various corners of the garden. Their individual expression
+    lies in the <i>ensemble</i> of these touches, rather than in a single
+    profound revelation.
+</p>
+<p>
+    A symptom of the eminence of Saint-Saëns in the history of French music
+    lies in his attitude towards the art as a whole, especially of the
+    German masters,&mdash;the absence of national bias in his perceptions. He was
+    foremost in revealing to his countrymen the greatness of Bach, Beethoven
+    and Schumann. Without their influence the present high state of French
+    music can hardly be conceived.
+</p>
+<p>
+    It is part of a broad and versatile mastery that it is difficult to
+    analyze. Thus it is not easy to find salient traits in the art of M.
+    Saint-Saëns. We are apt to think mainly of the distinguished beauty of
+    his harmonies, until we remember his subtle counterpoint, or in turn
+    the brilliancy of his orchestration. The one trait that he has above his
+    contemporaries is an inbred refinement and restraint,&mdash;a thorough-going
+    workmanship. If he does not share a certain overwrought emotionalism
+    that is much affected nowadays, there is here no limitation&mdash;rather a
+    distinction. Aside from the general charm of his art, Saint-Saëns found
+    in the symphonic poem his one special form, so that it seemed Liszt had
+    created it less for himself than for his French successor. A fine
+    reserve of poetic temper saved him from hysterical excess. He never lost
+    the music in the story, disdaining the mere rude graphic stroke; in his
+    dramatic symbols a musical charm is ever commingled. And a like poise
+    helped him to a right plot and point in his descriptions. So his
+    symphonic poems must ever be enjoyed mainly for the music, with perhaps
+    a revery upon the poetic story. With a less brilliant vein of melody,
+    though they are not so Promethean in reach as those of Liszt, they are
+    more complete in the musical and in the narrative effect.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="danse">
+    <i>DANSE MACABRE</i> </a>
+</center>
+<p>
+    Challenged for a choice among the works of the versatile composer, we
+    should hit upon the <i>Danse Macabre</i> as the most original, profound and
+    essentially beautiful of all. It is free from certain lacks that one
+    feels in other works, with all their charm,&mdash;a shallowness and almost
+    frivolity; a facility of theme approaching the commonplace.
+</p>
+<p>
+    There is here an eccentric quality of humor, a daemonic conceit that
+    reach the height of other classic expression of the supernatural.
+</p>
+<p>
+    The music is founded upon certain lines of a poem of <i>Henri Calais</i>
+    (under a like title), that may be given as follows:
+</p>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                <blockquote>
+                  <blockquote>
+                    <blockquote>
+&nbsp;&nbsp;&nbsp;&nbsp;
+          Zig-a-zig, zig-a-zig-a-zig,<br>
+    Death knocks on the tomb with rhythmic heel.<br>
+&nbsp;&nbsp;&nbsp;&nbsp; Zig-a-zig, zig-a-zig-zig,<br>
+    Death fiddles at midnight a ghostly reel.<br>
+
+    The winter wind whistles, dark is the night;<br>
+&nbsp;
+      Dull groans behind the lindens grow loud;<br>
+    Back and forth fly the skeletons white,<br>
+&nbsp;
+      Running and leaping each under his shroud.<br>
+                      Zig-a-zig-a-zig, how it makes you quake,<br>
+    As you hear the bones of the dancers shake.
+
+
+                    </blockquote>
+                  </blockquote>
+                </blockquote>
+              </blockquote>
+            </blockquote>
+</blockquote>
+
+
+<hr>
+  <blockquote>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+  But hist! all at once they vanish away,<br>
+    The cock has hailed the dawn of day.
+
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+    </blockquote>
+</blockquote>
+
+<p>
+    The magic midnight strokes sound clear and sharp. In eager chords of
+    tuned pitch the fiddling ghost summons the dancing groups, where the
+    single fife is soon followed by demon violins.
+</p>
+<p>
+    Broadly sings now the descending tune half-way between a wail and a
+    laugh. And ever in interlude is the skipping, mincing step,&mdash;here of
+    reeds answered by solo violin with a light clank of cymbals. Answering
+    the summoning fifes, the unison troop of fiddlers dance the main step
+    to bright strokes of triangle, then the main ghostly violin trips in
+    with choir of wind. And broadly again sweeps the song between tears and
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music29.jpg" alt="music29" width="400" height="185"></p>
+<p style="text-indent: 0em">
+    smiles. Or Death fiddles the first strain of reel for the tumultuous
+    answer of chorus.
+</p>
+<p>
+    Now they build a busy, bustling fugue (of the descending song) and at
+    the serious moment suddenly
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music30.jpg" alt="music30" width="400" height="159"></p>
+<p style="text-indent: 0em">
+    they skip away in new frolicsome, all but joyous, tune: a shadowy
+    counterfeit of gladness, where the sob hangs on the edge of the smile.
+    As if it could no longer be contained, now pours the full passionate
+    grief of the broad descending strain. Death fiddles his mournful chant
+    to echoing, expressive wind. On the abandon of grief follows the revel
+    of grim humor in pranks of mocking demons. All the strains are mingled
+    in the ghostly bacchanale. The descending song is answered in opposite
+    melody. A chorus of laughter follows the tripping dance. The summoning
+    chords, acclaimed by chorus, grow to appealing song in a brief lull. At
+    the height, to the united skipping dance of overpowering chorus the
+    brass blows the full verse of descending song. The rest is a mad storm
+    of carousing till ... out of the whirling darkness sudden starts the
+    sharp, sheer call of prosaic day, in high, shrill reed. On a minishing
+    sound of rolling drum and trembling strings, sings a brief line of
+    wistful rhapsody of the departing spirit before the last whisking steps.
+</p>
+<p style="text-indent: 0em">
+    &nbsp;</p>
+<center>
+    <a name="phaeton">
+    <i>PHAETON</i> </a>
+</center>
+<p>
+    On a separate page between title and score is a "<i>Notice</i>,"&mdash;an epitome
+    of the story of Phaeton, as follows:
+</p>
+<p>
+    "Phaeton has been permitted to drive the chariot of the Sun, his father,
+    through the heavens. But his unskilful hands frighten the steeds. The
+    flaming chariot, thrown out of its course, approaches the terrestrial
+    regions. The whole universe is on the verge of ruin when Jupiter strikes
+    the imprudent Phaeton with his thunderbolt."
+</p>
+<p>
+    There is a solemn sense at first (<i>Maestoso</i>), a mid-air poise of the
+    harmony, a quick spring of resolution and&mdash;on through the heavens. At
+    the outset and always is the pervading musical charm. In the beginning
+    is the enchantment of mere motion in lightest prancing strings and harp
+    with slowly ascending curve. In farther journey comes a spring of the
+    higher wood and soon a firm note of horns and a blast of trumpets on a
+    chirruping call, till the whole panoply of solar brilliance is
+    shimmering. Now with the continuing pulse (of saltant strings) rings a
+    buoyant,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music31.jpg" alt="music31" width="400" height="131"></p>
+<p style="text-indent: 0em">
+    regnant air in the brass. A (canon) chase of echoing voices merely adds
+    an entrancing bewilderment, then yields to other symbols and visions.
+</p>
+<p>
+    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.
+</p>
+<p>
+    Still on to a higher pole spins the dizzy path; then at the top of the
+    song, it turns in slow descending curve. Almost to Avernus seems the
+    gliding fall when the first melody rings anew. But there is now an
+    anxious sense that dims the joy of motion and in the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music32.jpg" alt="music32" width="400" height="177"></p>
+<p style="text-indent: 0em">
+    returning first motive jars the buoyant spring. Through the maze of
+    fugue with tinge of terror presses the fatuous chase, when&mdash;crash comes
+    the shock of higher power. There is a pause of motion in the din and a
+    downward flight as of lifeless figure.
+</p>
+<p>
+    Now seems the soul of the sweet melody to sing, in purest dirge, without
+    the shimmer of attendant motion save a ghostly shadow of the joyous
+    symbol.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="hercules">
+    <i>THE YOUTH OF HERCULES</i> </a>
+</center>
+<p>
+    The "Legend" is printed in the score as follows:
+</p>
+<p>
+    "Fable tells us that upon entering into life Hercules saw the two paths
+    open before him: of pleasure and of virtue.
+</p>
+<p>
+    "Insensible to the seductions of Nymphs and Bacchantes, the hero devotes
+    himself to the career of struggle and combat, at the end of which he
+    glimpses across the flames of the funeral pyre the reward of
+    immortality."
+</p>
+<p>
+    We can let our fancy play about the score and wonderfully hit an
+    intention of the poet. Yet that is often rather a self-flattery than a
+    real perception. In the small touches we may lose the greater beauty.
+    Here, after all, is the justification of the music. If the graphic
+    picture is added, a little, only, is gained. The main virtue of it lies
+    in our better grasp of the musical design.
+</p>
+<p>
+    In the muted strings, straying dreamily in pairs, is a vague line of the
+    motto,&mdash;a foreshadowing of the heroic idea, as are the soft calls of the
+    wind with wooing harp a first vision of delight.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music33.jpg" alt="music33" width="400" height="173"></p>
+<p>
+    Now begins the main song in sturdy course of unmuted strings. The wood
+    soon join in the rehearsing. But it is not all easy deciphering. The
+    song wanders in gently agitated strings while the horns hold a solemn
+    phrase that but faintly resembles the motto.<a href="#note17">[17]</a> Lesser phrases play
+    about the bigger in rising flight of aspiration, crowned at the height
+    with a ray of glad light.
+</p>
+
+<p>
+    As the dream sinks slowly away, the stern motto is buried in quick
+    flashes of the tempting call. These are mere visions; now comes the
+    scene itself of temptation.
+</p>
+<p>
+    To ripples of harp the reed sings enchantingly in swaying rhythm; other
+    groups in new surprise of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music34.jpg" width="400" height="122" alt="music34"></p>
+<p style="text-indent: 0em">
+    scene usurp the melody with the languishing answer, until one Siren
+    breaks into an impassioned burst, while her sisters hold the dance.
+</p>
+<p>
+    Straight upon her vanished echoes shrieks the shrill pipe of war, with
+    trembling drum. We hear a yearning sigh of the Siren strain before it is
+    swept away in the tide and tumult of strife. Beneath the whirl and
+    motion, the flash and crash of arms, we have glimpses of the heroic
+    figure.
+</p>
+<p>
+    Here is a strange lay in the fierce chorus of battle-cries: the Siren
+    song in bright insistence, changed to the rushing pace of war.
+</p>
+<p>
+    The scene ends in a crash. Loud sings a solemn phrase; do we catch an
+    edge of wistful regret? Now returns the sturdy course of the main
+    heroic melody; only it is slower (<i>Andante sostenuto</i>), and the high
+    stress of cadence is solemnly impassioned.
+</p>
+<p>
+    As if to atone for the slower pace, the theme strikes into a lively
+    fugue, with trembling strings (<i>Allegro animato</i>).
+</p>
+<p>
+    There is an air of achievement in the relentless progress and the
+    insistent recurrence of the masterful motive. An episode there is of
+    mere striving and straining, before the theme resumes its vehement
+    attack, followed by lusty echoes all about as of an army of heroes.
+    There is the breath of battle in the rumbling basses and the shaking,
+    quivering brass.
+</p>
+<p>
+    At last the plain song resounds in simple lines of ringing brass, led by
+    the high bugle.<a href="#note18">[18]</a>
+</p>
+
+<p>
+    Yet the struggle, the inner combat, is not over. At the very moment of
+    triumph sings on high over purling harp the mastering strain of Sirens,
+    is buried beneath martial clash and emerges with its enchantment. But
+    here the virile mood and motive gains the victory and strides on to
+    final scene.
+</p>
+<p>
+    We remember how Hercules built and ascended his own funeral pyre. In
+    midst of quivering strings, with dashing harp and shrieking wood, a roll
+    of drum and a clang of brass sounds the solemn chant of the trombone,
+    descending in relentless steps. As the lowest is reached, there comes a
+    spring of freedom in the pulsing figures, like the winging of a spirit,
+    and a final acclaim in a brief line of the legend.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="omphale">
+    <i>OMPHALE'S SPINNING WHEEL</i> </a>
+</center>
+<p>
+    Between title and score is this <i>Notice</i>:
+</p>
+<p>
+    "The subject of this symphonic poem is feminine witchery, the triumphant
+    struggle of weakness. The spinning wheel is a mere pretext, chosen from
+    the point of view of rhythm and the general atmosphere of the piece.
+</p>
+<p>
+    "Those persons who might be interested in a study of the details of the
+    picture, will see ... the hero groaning in the toils which he cannot
+    break, and ... Omphale mocking the vain efforts of Hercules."
+</p>
+<p>
+    The versions of the story differ slightly. After the fulfilment of his
+    twelve labors Hercules is ordered by the oracle to a period of three
+    years' service to expiate the killing of the son of King Eurytus in a
+    fit of madness. Hermes placed him in the household of Omphale, queen of
+    Lydia, widow of Tmolus. Hercules is degraded to female drudgery, is
+    clothed in soft raiment and set to spin wool, while the queen assumes
+    the lion skin and club.
+</p>
+<p>
+    In another version he was sold as slave to Omphale, who restored him to
+    freedom. Their passion was mutual. The story has a likeness to a similar
+    episode of Achilles.
+</p>
+<p>
+    The spinning-wheel begins <i>Andante</i> in muted strings alternating with
+    flutes and gradually hurries into a lively motion. Here the horn accents
+    the spinning, while another thread (of higher wood) runs through the
+    graceful woof. A chain of alluring harmonies preludes the ensnaring
+    song, mainly of woodwind above the humming strings, with soft dotting of
+    the harmony by the horns. The violins, to be sure, often enforce the
+    melody.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music35.jpg" width="400" height="352" alt="music35"></p>
+<p>
+    In the second verse, with fuller chorus, the harp adds its touches to
+    the harmony of the horns, with lightest tap of tonal drum. Later a
+    single note of the trumpet is answered by a silvery laugh in the wood.
+    Between the verses proceeds the luscious chain of harmonies, as with the
+    turning of the wheel.
+</p>
+<p>
+    Now with the heavily expressive tones of low, unmuted strings and the
+    sonorous basses of reed and brass (together with a low roll of drum and
+    soft clash of cymbals) an heroic air sings in low strings and brass, to
+    meet at each period a shower of notes from the harp. The song grows
+    intense with the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music36.jpg" width="400" height="203" alt="music36"></p>
+<p style="text-indent: 0em">
+    added clang of trumpets and roll of drums,&mdash;only to succumb to the more
+    eager attack of the siren chorus. At last the full effort of strength
+    battling vainly with weakness reaches a single heroic height and sinks
+    away with dull throbs.
+</p>
+<p>
+    In soothing answer falls the caressing song of the high reed in the
+    phrase of the heroic strain, lightly, quickly and, it seems, mockingly
+    aimed. In gently railing triumph returns the pretty song of the wheel,
+    with a new buoyant spring. Drums and martial brass yield to the laughing
+    flutes, the cooing horns and the soft rippling harp with murmuring
+    strings, to return like captives in the train at the height of the
+    gaiety.
+</p>
+<a name="2HCH0007"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER VII
+</h2>
+<h3>
+    CÉSAR FRANCK
+</h3>
+<p>
+    The new French school of symphony that broke upon the world in the
+    latter part of the nineteenth century had its pioneer and true leader in
+    César Franck.<a href="#note19">[19]</a> It was he who gave it a stamp and a tradition.
+</p>
+
+<p>
+    The novelty of his style, together with the lateness of his acclaim (of
+    which it was the probable cause), have marked him as more modern than
+    others who were born long after him.
+</p>
+<p>
+    The works of Franck, in other lines of oratorio and chamber music, show
+    a clear personality, quite apart from a prevailing modern spirit. A
+    certain charm of settled melancholy seems to inhere in his wonted style.
+    A mystic is Franck in his dominant moods, with a special sense and power
+    for subtle harmonic process, ever groping in a spiritual discontent with
+    defined tonality.
+</p>
+<p>
+    A glance at the detail of his art discloses Franck as one of the main
+    harmonists of his age, with Wagner and Grieg. Only, his harmonic manner
+    was blended if not balanced by a stronger, sounder counterpoint than
+    either of the others. But with all the originality of his style we
+    cannot escape a sense of the stereotype, that indeed inheres in all
+    music that depends mainly on an harmonic process. His harmonic ideas,
+    that often seem inconsequential, in the main merely surprise rather than
+    move or please. The enharmonic principle is almost too predominant,&mdash;an
+    element that ought never to be more than occasional. For it is founded
+    not upon ideal, natural harmony, but upon a conventional compromise, an
+    expedient compelled by the limitation of instruments. This over-stress
+    appears far stronger in the music of Franck's followers, above all in
+    their frequent use of the whole tone "scale" which can have no other
+    <i>rationale</i> than a violent extension of the enharmonic principle.<a href="#note20">[20]</a>
+    With a certain quality of kaleidoscope, there is besides (in the
+    harmonic manner of César Franck) an infinitesimal kind of progress in
+    smallest steps. It is a dangerous form of ingenuity, to which the
+    French are perhaps most prone,&mdash;an originality mainly in details.
+</p>
+
+<p>
+    And yet we must praise in the French master a wonderful workmanship and
+    a profound sincerity of sentiment. He shows probably the highest point
+    to which a style that is mainly harmonic may rise. But when he employs
+    his broader mastery of tonal architecture, he attains a rare height of
+    lofty feeling, with reaches of true dramatic passion.
+</p>
+<p>
+    The effect, to be sure, of his special manner is somewhat to dilute the
+    temper of his art, and to depress the humor. It is thus that the
+    pervading melancholy almost compels the absence of a "slow movement" in
+    his symphony. And so we feel in all his larger works for instruments a
+    suddenness of recoil in the Finale.
+</p>
+<p>
+    One can see in Franck, in analogy with his German contemporaries, an
+    etherealized kind of "Tristan and Isolde,"&mdash;a "Paolo and Francesca" in a
+    world of shades. Compared with his followers the quality of stereotype
+    in Franck is merely general; there is no excessive use of one device.
+</p>
+<p>
+    A baffling element in viewing the art of Franck is his remoteness of
+    spirit, the strangeness of his temper. He lacked the joyous spring that
+    is a dominant note in the classic period. Nor on the other hand did his
+    music breathe the pessimism and naturalism that came with the last
+    rebound of Romantic reaction. Rather was his vein one of high spiritual
+    absorption&mdash;not so much in recoil, as merely apart from the world in a
+    kind of pious seclusion. Perhaps his main point of view was the
+    church-organ. He seems a religious prophet in a non-religious age. With
+    his immediate disciples he was a leader in the manner of his art, rather
+    than in the temper of his poetry.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="Dminor">
+    <i>SYMPHONY IN D MINOR</i> </a>
+</center>
+<p>
+    The scoring shows a sign of modern feeling in the prominence of the
+    brasses. With all contrast of spirit, the analogy of Franck with the
+    Liszt-Wagner school and manner is frequently suggestive.
+</p>
+<p>
+    The main novelty of outer detail is the plan of merely three movements.
+    Nor is there a return to the original form, without the Scherzo. To
+    judge from the headings, the "slow" movement is absent. In truth, by way
+    of cursory preamble, the chronic vein of César Franck is so ingrainedly
+    reflective that there never can be with him an absence of the meditative
+    phrase. Rather must there be a vehement rousing of his muse from a state
+    of mystic adoration to rhythmic energy and cheer.<a href="#note21">[21]</a>
+</p>
+
+<p>
+    <i>Lento</i> in basses of the strings a strain sounds like a basic motive,
+    answered with harmonies in the wood. In further strings lies the full
+    tenor of quiet reflection, with sombre color of tonal scheme. Motives
+    are less controlling probably in Franck than in any other
+    symphonist,&mdash;less so, at any rate, than his one
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music37.jpg" width="400" height="97" alt="music37"></p>
+<p style="text-indent: 0em">
+    special mood and manner. Yet nowhere is the strict figural plot more
+    faithful in detail than with César Franck.
+</p>
+<p>
+    The theme has an entirely new ring and answer when it enters Allegro
+    after the Lento prelude. The further course of the tune here is in
+    eccentric, resolute stride in the descending scale. Our new answer is
+    much evident in the bass. The Allegro seems a mere irruption; for the
+    Lento prelude reappears in full solemnity. Indeed, with all the title
+    and pace, this seems very like the virtual "slow" movement. A mood of
+    rapt, almost melancholy absorption prevails, with rare flashes of joyous
+    utterance, where the Allegro enters as if to break the thrall of
+    meditation. A very striking inversion of the theme now appears. The
+    gradual growth of phrases in melodious instalments is a trait of Franck
+    (as it is of Richard Strauss). The rough motto at each turn has a new
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music38.jpg" width="400" height="168" alt="music38"></p>
+<p style="text-indent: 0em">
+    phase and frequently is transfigured to a fresh tune. So out of the
+    first chance counter-figures somehow spring beautiful melodies, where we
+    feel the fitness and the relevance though we have not heard them before.
+    It is a quality that Franck shares with Brahms, so that in a
+    mathematical spirit we might care to deduce all the figures from the
+    first phrase. This themal manner is quite analogous to the harmonic
+    style of Franck,&mdash;a kaleidoscope of gradual steps, a slow procession of
+    pale hues of tone that with strange aptness reflect the dim religious
+    light of mystic musing.
+</p>
+<p>
+    More and more expressive are the stages of the first figures until we
+    have a duet <i>molto cantabile</i> in the strings. Much of the charm of the
+    movement lies in the balance of the new rhythms, the eccentric and the
+    flowing. By some subtle path there grows a song
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music39.jpg" width="400" height="178" alt="music39"></p>
+<p style="text-indent: 0em">
+    in big tones of unison, wood and strings and trumpets, that is the real
+    hymnal refrain of the movement. Between this note almost of exultation
+    and all shades of pious dreaming the mood is constantly shifting.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music40.jpg" width="400" height="158" alt="music40"></p>
+<p style="text-indent: 0em">
+    Another phrase rises also to a triumphant height (the clear reverse of
+    the former tuneful melody) that comes now like a big <i>envoi</i> of assuring
+    message.
+</p>
+<p>
+    Though the whole movement is evenly balanced between Allegro and
+    Penseroso (so far as pace is concerned), the mood of reflection really
+    finds full vent; it has no reason for a further special expression.
+</p>
+<p>
+    Simple as the Allegretto appears in its suggestion of halting dance, the
+    intent in the episodes is of the subtlest. The slow trip of strings and
+    harp is soon given a new meaning with the melody of English horn.
+    Throughout we are somehow divided between pure dance and a more
+    thoughtful muse. In the first departure to an episode in major, seems to
+    sing the essence of the former melody in gently murmuring strings, where
+    later the whole chorus are drawn in. The song moves on clear thread and
+    wing right out of the mood of the dance-tune; but the very charm lies in
+    the mere outer change of guise. And so the second episode is still far
+    from all likeness with the first dance beyond a least sense of the old
+    trip that does appear here and there. It is all clearly a true scheme of
+    variations, the main theme disguised beyond outer semblance, yet
+    faithfully present throughout in the essential rhythm and harmony.
+</p>
+<p>
+    In the Finale, <i>Allegro non troppo</i>, we are really clear, at the outset,
+    of the toils of musing melancholy.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music41.jpg" width="400" height="162" alt="music41"></p>
+<p style="text-indent: 0em">
+    After big bursts of chords, a tune rolls pleasantly along, <i>dolce
+    cantabile</i>, in basses of wood and strings. Expressive after-phrases
+    abound, all in the same jolly mood, until the whole band break
+    boisterously on the simple song, with a new sonorous phrase of basses.
+    Then, in sudden remove, sounds the purest bit of melody of all the
+    symphony, in gentlest tones
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music42.jpg" width="400" height="235" alt="music42"></p>
+<p style="text-indent: 0em">
+    of brass (trumpet, trombone and tuba). But, though in complete recoil
+    from the rhythmic energy of Allegro theme, it is even farther from the
+    reflective mood than the latter. It shows, in this very contrast, the
+    absence of the true lyric in the meditative vein, frequent with César
+    Franck. The burst of melody blossoms ever fairer. In its later musing
+    the tune browses in the bass. A waving phrase grows in the violins,
+    which continues with strange evenness through the entrance of new song
+    where we are surprised by the strange fitness of the Allegretto melody.
+    And the second phase of the latter follows as if it belonged here. So,
+    almost listless, without a hair of rhythmic change (<i>les temps ont
+    toujours la même valeur</i>), the Finale theme sings again most softly in
+    the strings. It has, to be sure, lost all of its color, without the
+    original throb of accompanying sounds. The phase of the movement is a
+    shadowy procession of former ideas, united in the dreamy haze that
+    enshrouds them. The stir that now begins is not of the first pale hue of
+    thought, rather the vein of big discussion, brewing a storm that breaks
+    finally in full blast on the gentle melody (of the brass) transfigured
+    in ringing triumph, in all the course of the song. Nor is the succeeding
+    phase the mystic habit of our poet; it is a mere farther digestion of
+    the meat of the melody that leads once more to a height of climax whence
+    we return to first course of themes, tuneful afterphrase and all, with
+    the old happy motion. The counterpoint here is the mere joyous ringing
+    of many strains all about.
+</p>
+<p>
+    Against all rules comes a new chorusing paean on the theme of
+    Allegretto, led by stentorian basses, together with an enchanting
+    after-strain, which we might have remarked before. And still another
+    quarter, long hushed, is heard anew, as a voice sounds a faint reminder
+    of the hymn of the first Allegro. Indeed, the combining strains before
+    the close seem sprung all of one parental idea. The motto of the
+    beginning sings in fittest answer to the latest phrases. The very maze
+    of the concert forbids our turning to their first origin. The end is in
+    joyous chanting of the Finale melody.
+</p>
+<a name="2HCH0008"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER VIII
+</h2>
+<h3>
+    D'INDY AND THE FOLLOWERS OF FRANCK
+</h3>
+<p>
+    Perhaps the noblest essay in symphonic music of the followers of Franck
+    is the second symphony of Vincent D'Indy.<a href="#note22">[22]</a> His vein is indeed
+    throughout nearest akin of all the disciples to the serious muse of the
+    master.
+</p>
+
+<p>
+    Though D'Indy is surpassed in a certain poetic originality by some of
+    his compatriot contemporaries, there is in this symphony a breadth of
+    design and detail, a clear melodic quality and a sustained lofty feeling
+    that seem to mark it the typical French symphony of its time. The
+    strength of the work lies in a unity that is not merely of figure and
+    outline. If we must measure a symphony mainly by the slow movement, we
+    cannot avoid, with all the languorous beauty, a certain conventionality
+    of mood, stressed with an exotic use of the appoggiatura, while in the
+    Scherzo is a refined savagery of modern cacophony.
+</p>
+<p>
+    The directions are all in French; we are reminded of Schumann's
+    departure from the Italian fashion.
+</p>
+<p>
+    Each movement, save the third, has its prelude: a gathering of threads
+    before the new story. The first notes of basses, together with the
+    answer on high, sound a prophetic legend of the whole.
+</p>
+<p>
+    The harmonic lucubrations are profoundly subtle. Indeed the very nature
+    of the first phrase is of dim
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music43.jpg" width="400" height="182" alt="music43"></p>
+<p style="text-indent: 0em">
+    groping; it ends in a climax of the answer and merges into the main song
+    of the Allegro (<i>très vif</i>) in horns, with rapid trip of strings.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music44.jpg" width="400" height="289" alt="music44"></p>
+<p>
+    Throughout (from a technical view) is a fine mastery of the device of
+    ornamental notes, and secondary harmonies; there is also a certain
+    modern sense of chords and their relations. Together with an infinite
+    brilliance of these resources there is not only no weakness in cogency
+    of form, but there is a rare unity of design. The movements are bound
+    together, at least in themal relation, as strictly as in any symphony.
+    While the first phrase of the Allegro theme may hark back to the answer
+    of original motto, the second is the main thread of narrative.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music45.jpg" width="400" height="136" alt="music45"></p>
+<p style="text-indent: 0em">
+    Again and again is the climax rung on the first high note of the theme.
+    Then, in lieu of cadence, out of a bright dissonance the quick notes
+    dance upward in sturdy pace, the answer of the Allegro in sharp
+    disguise. And then from the height descends a refreshing spray of
+    subtlest discords, ending in another masterful burst of new harmony.
+</p>
+<p>
+    The dainty, dazzling play is stopped by a rough thud of basses and a
+    fierce clang of chords. In the sharp blare of brass on the ascending
+    phrase is almost lost the original motto in lowest basses. It is now
+    heard in gradually quickened speed, while the rising phrase runs more
+    timidly. At last the quickened motto sinks gently into lulling motion,
+    <i>un peu plus modéré</i>. Above, in strings and horns, the melody haunts us
+    with a dim sense that takes us to the first languishing answer of the
+    original legend. And the whole is strong-knit; for the very Allegro
+    theme began in resolute mood of a like figure. A counter-strain rises to
+    meet the main phrase. The whole episode is an intertwining of song in
+    the vein of the first answer of motto.
+</p>
+<p>
+    The quick rising notes suddenly return with snatches of the main motive,
+    the chain of echoing phrases runs a gamut of moods, fitful, anxious,
+    soothed, until the bright upward trip begins anew, with the enchanting
+    burst of chord and descending harmonies. A climactic height is stressed
+    by a rough meeting of opposing groups, in hostile tone and movement,
+    ending in a trill of flutes and a reëntry of the episode.
+</p>
+<p>
+    In the returning Allegro the thread is still the same, though richer in
+    color and texture. Again there is the plunge into dark abyss, with
+    shriek of harp, and the ominous theme in the depths. The slow ascending
+    phrase here has a full song and sway. The end is in spirited duet of two
+    quick motives.
+</p>
+<p>
+    The second movement, <i>modérément lent</i>, begins in revery on the answer
+    of original motive, and the stately pathos of the theme, in horns,
+    clarinets and violas, with rhythmic strings, grows naturally out of the
+    mood.
+</p>
+<p>
+    <i>Plus animé</i>, in subtle change of pace (from 6/4 to 3/2), the episode
+    begins with eccentric stride of harps (and added woodwind), that serves
+    as a kind of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music46.jpg" width="400" height="203" alt="music46"></p>
+<p style="text-indent: 0em">
+    accompanying figure and foil for the sweeping song of the real second
+    melody (in oboe solo, succeeded by the clarinet).
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music47.jpg" width="400" height="209" alt="music47"></p>
+<p>
+    In the clash of themes and harmonies of the climax, the very limits of
+    modern license seem to be invoked. Later the three themes are entwined
+    in a passage of masterly counterpoint.
+</p>
+<p>
+    There is a touch of ancient harmony in the delicate tune of third
+    movement, which has the virtue of endless weaving. It is sung by solo
+    violin, mainly supported by a choir of lower strings.
+</p>
+<p>
+    A final conclusive line is given by the solo flute. Besides the constant
+    course of varying tune, there is a power of ever changing harmony that
+    seems to lie in some themes.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music48.jpg" width="400" height="165" alt="music48"></p>
+<p>
+    One can hardly call it all a Scherzo. It is rather an idyll after the
+    pathos of the Andante. Or, from another view, reversing the usual order,
+    we may find the quality of traditional Trio in the first melody and a
+    bacchanale of wild humor in the middle. For, out
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music49.jpg" width="400" height="175" alt="music49"></p>
+<p style="text-indent: 0em">
+    of a chance phrase of horns grows of all the symphony the boldest
+    harmonic phrase (repeated through ten bars). Above rings a barbarous
+    cry, in defiance of common time and rhythm.
+</p>
+<p>
+    Suddenly we are surprised by the sound of the martial stride of the
+    second theme of the Andante which moves on the sea of rough harmony as
+    on a native element. One whim follows another. The same motion is all
+    there, but as if in shadow, in softest sound, and without the jar of
+    discord; then comes the fiercest clash of all, and now a gayest dance of
+    the first tune, <i>assez vif</i>, in triple rhythm, various figures having
+    their <i>pas seul</i>. A second episode returns, brilliant in high pace but
+    purged of the former war of sounds. At the end is the song of the first
+    tune, with new pranks and sallies.
+</p>
+<p>
+    The beginning of the Finale is all in a musing review of past thoughts.
+    The shadow of the last tune lingers, in slower pace; the ominous dirge
+    of first motto sounds below; the soothing melody of the Andante sings a
+    verse. In solemn fugue the original motto is reared from its timid
+    phrase to masterful utterance, with splendid stride. Or
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music50.jpg" width="400" height="90" alt="music50"></p>
+<p style="text-indent: 0em">
+    rather the theme is blended of the first two phrases, merging their
+    opposite characters in the new mood of resolution. The strings prepare
+    for the sonorous entrance of woodwind and horns. One of the greatest
+    fugal episodes of symphonies, it is yet a mere prelude to the real
+    movement, where the light theme is drawn from a phrase of latest
+    cadence. And the dim hue of minor which began the symphony, and all
+    overspread the prelude, at last yields to the clear major. There is
+    something of the struggle of shadow and light of the great third
+    symphony of Brahms.
+</p>
+<p>
+    The continuous round of the theme, in its unstable pace (of 5/4), has a
+    strange power of motion, the feeling
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music51.jpg" width="400" height="178" alt="music51"></p>
+<p style="text-indent: 0em">
+    of old passacaglia. To be sure, it is the mere herald and companion of
+    the crowning tune, in solo of the reeds.
+</p>
+<p>
+    From the special view of structure, there is no symphony, modern or
+    classic, with such an overpowering combination and resolution of
+    integral themes in one movement. So almost constant is the derivation of
+    ideas, that one feels they must be all related. Thus, the late rush of
+    rhythm, in the Finale, is broken by a quiet verse where with enchanting
+    subtlety we are carried back somewhere to the idyll of third movement.
+</p>
+<p>
+    Above, rises another melody, and from its simple outline grows a fervor
+    and pathos that, aside from the basic themes of the whole work, strike
+    the main feeling of the Finale.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music52.jpg" width="400" height="172" alt="music52"></p>
+<p>
+    The martial trip from the Andante joins later in the return of the
+    whirling rhythm. At last the motto strikes on high, but the appealing
+    counter-melody is not easily hushed.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music53.jpg" width="400" height="114" alt="music53"></p>
+<p>
+    It breaks out later in a verse of exalted beauty and passion. The
+    struggle of the two ideas reminds us of the Fifth Symphony. At last the
+    gloom of the fateful motto is relieved by the return of the original
+    answer, and we seem to see a new source of latest ideas, so that we
+    wonder whether all the melodies are but guises of the motto and answer,
+    which now at the close, sing in united tones a hymn of peace and bliss.
+</p>
+<a name="2HCH0009"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER IX
+</h2>
+<h3>
+    DÉBUSSY AND THE INNOVATORS
+</h3>
+<p>
+    At intervals during the course of the art have appeared the innovators
+    and pioneers,&mdash;rebels against the accepted manner and idiom. The mystery
+    is that while they seem necessary to progress they seldom create
+    enduring works. The shadowy lines may begin somewhere among the Huebalds
+    and other early adventurers. One of the most striking figures is Peri,
+    who boldly, almost impiously, abandoned the contrapuntal style, the only
+    one sanctioned by tradition, and set the dramatic parts in informal
+    musical prose with a mere strumming of instruments.
+</p>
+<p>
+    It is not easy to see the precise need of such reaction. The radical
+    cause is probably a kind of inertia in all things human, by which the
+    accepted is thought the only way. Rules spring up that are never wholly
+    true; at best they are shifts to guide the student, inadequate
+    conclusions from past art. The essence of an art can never be put in
+    formulas. Else we should be content with the verbal form. The best
+    excuse for the rule is that it is meant to guard the element of truth in
+    art from meretricious pretence.
+</p>
+<p>
+    And, we must not forget, Art progresses by slow degrees; much that is
+    right in one age could not come in an earlier, before the intervening
+    step.
+</p>
+<p>
+    The masters, when they had won their spurs, were ever restive under
+    rules.<a href="#note23">[23]</a> Yet they underwent the strictest discipline, gaining early the
+    secret of expression; for the best purpose of rules is liberation, not
+    restraint. On the other hand they were, in the main, essentially
+    conservative. Sebastian Bach clung to the older manner, disdaining the
+    secular sonata for which his son was breaking the ground.
+</p>
+
+<p>
+    The master feels the full worth of what has been achieved; else he has
+    not mastered. He merely gives a crowning touch of poetic message, while
+    the lighter mind is busy with tinkering of newer forms. For the highest
+    reaches of an art, the poet must first have grasped all that has gone
+    before. He will not rebel before he knows the spirit of the law, nor
+    spend himself on novelty for its own sake.
+</p>
+<p>
+    The line between the Master and the Radical may often seem vague. For,
+    the former has his Promethean strokes, all unpremeditated, compelled by
+    the inner sequence,&mdash;as when Beethoven strikes the prophetic drum in the
+    grim Scherzo of the Fifth Symphony; or in the Eroica when the horn
+    sounds sheer ahead, out of line with the sustaining chorus; or when Bach
+    leaps to his harmonic heights in organ fantasy and toccata; or Mozart
+    sings his exquisite clashes in the G Minor Symphony.
+</p>
+<p>
+    As the true poet begins by absorption of the art that he finds, his
+    early utterance will be imitative. His ultimate goal is not the
+    strikingly new but the eternally true. It is a question less of men than
+    of a point of view.
+</p>
+<p>
+    It seems sometimes that in art as in politics two parties are needed,
+    one balancing the weaknesses of the other. As certain epochs are
+    overburdened by the spirit of a past poet, so others are marred by the
+    opposite excess, by a kind of neo-mania. The latter comes naturally as
+    reaction from the former. Between them the poet holds the balance of
+    clear vision.
+</p>
+<p>
+    When Peri overthrew the trammels of counterpoint, in a dream of Hellenic
+    revival of drama, he could not hope to write a master-work. Destructive
+    rebellion cannot be blended with constructive beauty. An antidote is of
+    necessity not nourishment. Others may follow the path-breaker and slowly
+    reclaim the best of old tradition from the new soil. The strange part of
+    this rebellion is that it is always marked by the quality of stereotype
+    which it seeks to avoid. This is an invariable symptom. It cannot be
+    otherwise; for the rejection of existing art leaves too few resources.
+    Moreover, the pioneer has his eye too exclusively upon the mere manner.
+</p>
+<p>
+    A wholesome reaction there may be against excess. When Gluck dared to
+    move the hearts of his hearers instead of tickling their ears, he
+    achieved his purpose by positive beauty, without actual loss. In this
+    sense every work of art is a work of revolution. So Wagner, especially
+    in his earlier dramas,<a href="#note24">[24]</a> by sheer sincerity and poetic directness,
+    corrected a frivolous tradition of opera. But when he grew destructive
+    of melody and form, by theory and practice, he sank to the rôle of
+    innovator, with pervading trait of stereotype, in the main merely adding
+    to the lesser resources of the art. His later works, though they contain
+    episodes of overwhelming beauty, cannot have a place among the permanent
+    classics, alone by reason of their excessive reiteration.
+</p>
+
+<p>
+    One of the most charming instances of this iconoclasm is the music of
+    Claude Débussy.<a href="#note25">[25]</a> In a way we are reminded of the first flash of
+    Wagner's later manner: the same vagueness of tonality, though with a
+    different complexion and temper. Like the German, Débussy has his own
+    novel use of instruments. He is also a rebel against episodic melody.
+    Only, with Wagner the stand was more of theory than of practice. His
+    lyric inspiration was here too strong; otherwise with Débussy. Each
+    article of rebellion is more highly stressed in the French leader, save
+    as to organic form, where the latter is far the stronger. And finally
+    the element of mannerism cannot be gainsaid in either composer.<a href="#note26">[26]
+    </a>
+</p>
+
+<p>
+    Among the special traits of Débussy's harmonic manner is a mingling with
+    the main chord of the third below. There is a building downward, as it
+    were. The harmony, complete as it stands, seeks a lower foundation so
+    that the plain tower (as it looked at first) is at the end a lofty
+    minaret. It is striking that a classic figure in French music should
+    have stood, in the early eighteenth century, a champion of this idea, to
+    be sure only in the domain of theory. There is a touch of romance in the
+    fate of a pioneer, rejected for his doctrine in one age, taken up in the
+    art of two centuries later.<a href="#note27">[27]</a>
+</p>
+
+<p>
+    A purely scientific basis must be shunned in any direct approach of the
+    art whether critical or creative,&mdash;alone for the fatal allurement of a
+    separate research. The truth is that a spirit of fantastic experiment,
+    started by the mystic manner of a César Franck, sought a sanction in the
+    phenomena of acoustics. So it is likely that the enharmonic process of
+    Franck led to the strained use of the whole-tone scale (of which we have
+    spoken above) by a further departure from tonality.<a href="#note28">[28]</a> And yet, in all
+    truth, there can be no doubt of the delight of these flashes of the
+    modern French poet,&mdash;a delicate charm as beguiling as the bolder, warmer
+    harmonies of the earlier German. Instead of the broad exultation of
+    Wagner there is in Débussy the subtle, insinuating dissonance. Nor is
+    the French composer wanting in audacious strokes. Once for all he stood
+    the emancipator of the art from the stern rule of individual vocal
+    procedure. He cut the Gordian knot of harmonic pedagogy by the mere
+    weapon of poetic elision. He simply omitted the obvious link by a
+    license ancient in poetry and even in prose. He devised in his harmonies
+    the paradox, that is the essence of art, that the necessary step somehow
+    becomes unnecessary. Though Wagner plunges without ceremony into his
+    languorous chords, he carefully resolves their further course. Débussy
+    has them tumbling in headlong descent like sportive leviathans in his
+    sea of sound. Moreover he has broken these fetters of a small punctilio
+    without losing the sense of a true harmonic sequence. Nay, by the very
+    riotous revel of upper harmonies he has stressed the more clearly the
+    path of the fundamental tone. When he enters the higher sanctuary of
+    pure concerted voices, he is fully aware of the fine rigor of its rites.
+    And finally his mischievous abandon never leads him to do violence to
+    the profoundest element of the art, of organic design.<a href="#note29">[29]</a>
+</p>
+<p>
+    &nbsp;</p>
+
+<center>
+    <a name="sea">
+    <i>"THE SEA." THREE SYMPHONIC SKETCHES</i> </a>
+</center>
+<p>
+    <i>I.&mdash;From Dawn to Noon on the Sea.</i> In awesome quiet of unsoothing
+    sounds we feel, over a dual elemental motion, a quick fillip as of
+    sudden lapping wave, while a shadowy air rises slowly in hollow
+    intervals. Midst trembling whispers descending (like the soughing
+    wind), a strange note, as of distant trumpet, strikes in gentle
+    insistence&mdash;out of the other rhythm&mdash;and blows a wailing phrase. The
+    trembling whisper has sunk to lowest depths. Still continues the lapping
+    of waves&mdash;all sounds of unhuman nature.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music54.jpg" width="400" height="337" alt="music54"></p>
+<p>
+    On quicker spur the shadowy motive flits faster here and there in a slow
+    swelling din of whispering, to the insistent plash of wave. Suddenly the
+    sense of desolation yields to soothing play of waters&mdash;a <i>berceuse</i> of
+    the sea&mdash;and now a song sings softly (in horn), though strangely jarring
+    on the murmuring lullaby. The soothing cheer is anon broken by a shift
+    of new tone. There is a fluctuation of pleasant and strange sounds; a
+    dulcet air on rapturous harmony is hushed by unfriendly plash of chord.
+</p>
+<p>
+    Back again in the quieter play of rhythm the strange, sweet song (of
+    horns) returns.
+</p>
+<p>
+    In a ravishing climax of gentle chorus of quick plashing waves and
+    swirling breeze the song sings on and the trumpet blows its line of tune
+    to a ringing phrase of the clarinet.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music55.jpg" width="400" height="191" alt="music55"></p>
+<p>
+    When this has died down, the lapping waves, as in concert, strike in
+    full chord that spreads a hue of warmth, as of the first peep of sun. It
+    is indeed as though the waves rose towards the sun with a glow of
+    welcome.
+</p>
+<p>
+    In the wake of the first stirring shock is a host of soft cheering
+    sounds of bustling day, like a choir of birds or bells. The eager
+    madrigal leads to a final blast (with acclaiming chorus of big rocking
+    waves), echoed in golden notes of the horns. One slight touch has
+    heightened the hue to warmest cheer; but once do we feel the full glow
+    of risen sun.
+</p>
+<p>
+    The chilling shadows return, as the wistful air of hushed trumpet
+    sounds again. We hover between flashes of warming sun, until the waves
+    have abated; in soothing stillness the romantic horn<a href="#note30">[30]</a> sings a lay of
+    legend.
+</p>
+
+<p>
+    Now to friendly purling of playful wavelets, the sea moves in shifting
+    harmonies. In sudden climax the motion of the waves fills all the brass
+    in triumphant paean, in the gleam of high noon.
+</p>
+<p>
+    <i>II.&mdash;Play of the Waves.</i> There is a poetic background as for the play
+    of legend. We seem to be watching the sea from a window in the castle of
+    <i>Pelléas</i>. For there is a touch of dim romance in a phrase of the
+    clarinet.
+</p>
+<p>
+    The movement of waves is clear, and the unconscious concert of
+    sea-sounds, the deeper pulse of ocean (in the horns), the flowing
+    ripples, the sharp dash of lighter surf (in the Glockenspiel), all with
+    a constant tremor, an instability of element (in trembling strings). We
+    cannot help feeling the illusion of scene in the impersonal play of
+    natural sounds. Anon will come a shock of exquisite sweetness that must
+    have something of human. And then follows a resonant clash with spray of
+    colliding seas.
+</p>
+<p>
+    Here the story of the waves begins, and there are clearly two roles.
+</p>
+<p>
+    To light lapping and cradling of waters the wood sings the simple lay,
+    while strings discourse in quicker, higher phrase. The parts are
+    reversed. A shower of chilling wave (in gliding harps) breaks the
+    thread.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music56.jpg" width="400" height="216" alt="music56"></p>
+<p>
+    Now golden tones (of horns) sound a mystic tale of one of the former
+    figures. The scene shimmers
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music57.jpg" width="400" height="248" alt="music57"></p>
+<p style="text-indent: 0em">
+    in sparkling, glinting waters (with harp and trilling wood and strings).
+    But against the soothing background the story (of English horn) has a
+    chill, ominous strain.
+</p>
+<p>
+    With the returning main song comes the passionate crisis, and we are
+    back in the mere plash and play of impersonal waves.
+</p>
+<p>
+    On dancing ripples, a nixie is laughing to echoing horns and lures us
+    back to the story.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music58.jpg" width="400" height="199" alt="music58"></p>
+<p>
+    Later, it seems, two mermaids sing in twining duet. In a warm hue of
+    light the horns sound a weird tale. It is taken up by teasing chorus of
+    lighter voices. In the growing volume sounds a clear, almost martial
+    call of the brass.
+</p>
+<p>
+    In a new shade of scene we recover the lost burden of song; the original
+    figures appear (in the slower air of trembling strings and the quicker
+    play of reed, harp and bells), and wander through ever new, moving
+    phases. A shower of chords (in strings and shaking brass) brings back
+    the ominous melody, amidst a chorus of light chatter, but firmly resting
+    on a warm background of harmony. And the strain roves on generous path
+    and rises out of all its gloom to a burst of profound cheer.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music59.jpg" width="400" height="423" alt="music59"></p>
+<p>
+    As in all fairy tales, the scene quickly vanishes. On dancing rays and
+    ripples is the laughing nixie; but suddenly breaks the first song of the
+    main figures. A climactic phrase of trumpets ends with a burst of all
+    the chorus on stirring harmony, where in diminishing strokes of bells
+    long rings the melodic note.
+</p>
+<p>
+    The teasing motive of the nixie returns while the trumpet sounds a
+    shadowy echo of its phrase, again to dying peal of bells. A chorus of
+    eerie voices sing the mocking air, and again sounds the refrain of
+    trumpet as in rebuke. On a tumult of teasing cries flashes a delivering
+    burst of brilliant light, and we are back in the first scene of the
+    story. Only the main figure is absent. And there is in the eager tension
+    of pace a quivering between joy and doubt. Then, in answer to the
+    lighter phrase of the other, is the returning figure with a new song now
+    of blended longing and content that soars into higher flights until a
+    mighty chorus repeats the strain that rises to triumphant height of joy
+    and transforms the mocking motive to the same mood.
+</p>
+<p>
+    But it is all a play of the waves. And we are left once more to the
+    impersonal scene where yet the fragrance of legend hovers over the dying
+    harmonies.
+</p>
+<p>
+    <i>III.&mdash;Dialogue of the Wind and the Sea.</i> Tumultuous is the humor of the
+    beginning; early sounds the stroke of wave of the first hour of the sea.
+    The muted trumpet blows a strain (to trembling strings) that takes us
+    back to the first (quoted) tune of the symphony in the wistful mood of
+    dawn. For a symphony it proves to be in the unity of themes and thought.
+    Now unmuted and unrestrained in conflict of crashing chords, the trumpet
+    blows again the motto of the roving sea. In various figures is the
+    pelagic motion, in continuous coursing strings, in the sweeping phrase
+    of the woodwind, or in the original wave-motion of the horns, now
+    unmuted.
+</p>
+<p>
+    The main burden is a plaint
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music60.jpg" width="400" height="237" alt="music60"></p>
+<p style="text-indent: 0em">
+    (in the wood) against the insistent surge (of strings), on a haunting
+    motive as of farewell or eventide, with much stress of pathos. It is
+    sung in sustained duet against a constant churning figure of the sea,
+    and it is varied by a dulcet strain that grows out of the wave-motive.
+</p>
+<p>
+    Indeed, the whole movement is complementary of the first, the obverse as
+    it were. The themes are of the same text; the hue and mood have changed
+    from the spring of dawn to the sadness of dusk. The symbol of noontide
+    peace reappears with minor tinge, at the hush of eve. The climactic
+    motive of the sea acclaiming the rising sun is there, but reversed.
+</p>
+<p>
+    The sea too has the same tempestuous motion (indeed, the plaintive song
+    is mainly of the wind), unrestrained by the sadder mood. At the
+    passionate climax, where the higher figure sinks toward the rising
+    lower, it is as if the Wind kissed the Sea.
+</p>
+<p>
+    The concluding scene begins as in the first movement, save with greater
+    extension of expressive melody. And the poignant note has a long song
+    against a continuous rippling (of harps).
+</p>
+<p>
+    More elemental figures crowd the scene; the first melody (of trumpet)
+    has a full verse, and the dulcet phrase (of wave-motive).
+</p>
+<p>
+    Toward the end the plaintive song has an ever-growing chorus of
+    acclaiming voices. In the fever of united coursing motion the phrase
+    loses the touch of sadness until in eager, spirited pace, as of
+    galloping steeds, it ends with a shout of victory.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="sorcerer">
+    <i>DUKAS. "THE SORCERER'S APPRENTICE"</i> </a>
+</center>
+<p>
+    Chief among the companions of Claude Débussy in his adventures is Paul
+    Dukas.<a href="#note31">[31]</a> Though he lags somewhat in bold flights of harmonies, he shows
+    a clearer vein of melody and rhythm, and he has an advantage in a
+    greater freedom from the rut of repeated device.
+</p>
+
+<p>
+    It is somehow in the smaller forms that the French composer finds the
+    trenchant utterance of his fancy. A Scherzo, after the ballad of Goethe,
+    "The Sorcerer's Apprentice," tells the famous story of the boy who in
+    his master's absence compels the spirit in the broom to fetch the
+    water; but he cannot say the magic word to stop the flood, although he
+    cleaves the demon-broom in two.
+</p>
+<p>
+    After the title-page of the score is printed a prose version (by Henri
+    Blaze) of Goethe's ballad, "Der Zauberlehrling."
+</p>
+<p>
+    Of several translations the following, by Bowring, seems the best:
+</p>
+<p>
+    &nbsp;</p>
+    <p align="center" style="text-align: center">THE SORCERER'S APPRENTICE</p>
+<p align="center" style="text-align: center">&nbsp;</p>
+<blockquote>
+  <blockquote>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <p style="text-indent: 0em">I am now,&mdash;what joy to hear it!&mdash;<br>
+&nbsp;
+      Of the old magician rid;<br>
+    And henceforth shall ev'ry spirit<br>
+&nbsp;
+      Do whatever by me is bid:<br>
+&nbsp;&nbsp;&nbsp;
+        I have watch'd with rigor<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          All he used to do,<br>
+&nbsp;&nbsp;&nbsp;
+        And will now with vigor<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          Work my wonders, too.</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+            Wander, wander<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Onward lightly,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            So that rightly<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Flow the torrent,<br>
+&nbsp;&nbsp;&nbsp;
+          And with teeming waters yonder<br>
+&nbsp;&nbsp;&nbsp;
+          In the bath discharge its current!</p>
+              <p style="text-indent: 0em">And now come, thou well-worn broom,<br>
+&nbsp;
+      And thy wretched form bestir;<br>
+    Thou hast ever served as groom,<br>
+&nbsp;
+      So fulfil my pleasure, sir!<br>
+&nbsp;&nbsp;&nbsp;
+        On two legs now stand<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          With a head on top;<br>
+&nbsp;&nbsp;&nbsp;
+        Water pail in hand,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          Haste and do not stop!</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+            Wander, wander<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Onward lightly,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            So that rightly<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Flow the torrent,<br>
+&nbsp;&nbsp;&nbsp;
+          And with teeming waters yonder<br>
+&nbsp;&nbsp;&nbsp;
+          In the bath discharge its current!</p>
+              <p style="text-indent: 0em">See! he's running to the shore,<br>
+&nbsp;
+      And has now attained the pool,<br>
+    And with lightning speed once more<br>
+&nbsp;
+      Comes here, with his bucket full!<br>
+&nbsp;&nbsp;&nbsp;
+        Back he then repairs;<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          See how swells the tide!<br>
+&nbsp;&nbsp;&nbsp;
+        How each pail he bears<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          Straightway is supplied!</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+            Stop, for lo!<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            All the measure<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Of thy treasure<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Now is right!<br>
+&nbsp;&nbsp;&nbsp;
+          Ah, I see it! woe, oh, woe!<br>
+&nbsp;&nbsp;&nbsp;
+          I forget the word of might.</p>
+              <p style="text-indent: 0em">Ah, the word whose sound can straight<br>
+&nbsp;
+      Make him what he was before!<br>
+    Ah, he runs with nimble gait!<br>
+&nbsp;
+      Would thou wert a broom once more!<br>
+&nbsp;&nbsp;&nbsp;
+        Streams renew'd forever<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          Quickly bringeth he;<br>
+&nbsp;&nbsp;&nbsp;
+        River after river<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Rusheth on poor me!</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+            Now no longer<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Can I bear him,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            I will snare him,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Knavish sprite!<br>
+&nbsp;&nbsp;&nbsp;
+          Ah, my terror waxes stronger!<br>
+&nbsp;&nbsp;&nbsp;
+          What a look! what fearful sight!</p>
+              <p style="text-indent: 0em">Oh, thou villain child of hell!<br>
+&nbsp;
+      Shall the house through thee be drown'd?<br>
+    Floods I see that widely swell,<br>
+&nbsp;
+      O'er the threshold gaining ground.<br>
+&nbsp;&nbsp;&nbsp;
+        Wilt thou not obey,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          O thou broom accurs'd!<br>
+&nbsp;&nbsp;&nbsp;
+        Be thou still, I pray,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          As thou wert at first!</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+            Will enough<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Never please thee?<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            I will seize thee,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Hold thee fast,<br>
+&nbsp;&nbsp;&nbsp;
+          And thy nimble wood so tough<br>
+&nbsp;&nbsp;&nbsp;
+          With my sharp axe split at last.</p>
+              <p style="text-indent: 0em">See, once more he hastens back!<br>
+&nbsp;
+      Now, O Cobold, thou shalt catch it!<br>
+    I will rush upon his track;<br>
+&nbsp;
+      Crashing on him falls my hatchet.<br>
+&nbsp;&nbsp;&nbsp;
+        Bravely done, indeed!<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          See, he's cleft in twain!<br>
+&nbsp;&nbsp;&nbsp;
+        Now from care I'm freed,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          And can breathe again.</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+            Woe oh, woe!<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Both the parts,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Quick as darts,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Stand on end,<br>
+&nbsp;&nbsp;&nbsp;
+          Servants of my dreaded foe!<br>
+&nbsp;&nbsp;&nbsp;
+          O ye gods, protection send!</p>
+              <p style="text-indent: 0em">And they run! and wetter still<br>
+&nbsp;
+      Grow the steps and grows the hall.<br>
+&nbsp;
+      Lord and master, hear me call!<br>
+    Ever seems the flood to fill.</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+        Ah, he's coming! see,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          Great is my dismay!<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+        Spirits raised by me<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          Vainly would I lay!</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+            "To the side<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Of the room<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Hasten, broom,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            As of old!<br>
+&nbsp;&nbsp;&nbsp;
+          Spirits I have ne'er untied<br>
+&nbsp;&nbsp;&nbsp;
+          Save to act as they are told." </p>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+    </blockquote>
+  </blockquote>
+</blockquote>
+
+<p>
+    In paragraphs are clearly pointed the episodes: the boy's delight at
+    finding himself alone to conjure the spirits; the invocation to the
+    water, recurring later as refrain (which in the French is not addressed
+    to the spirit); then the insistent summons of the spirit in the broom;
+    the latter's obedient course to the river and his oft-repeated fetching
+    of the water; the boy's call to him to stop,&mdash;he has forgotten the
+    formula; his terror over the impending flood; he threatens in his
+    anguish to destroy the broom; he calls once more to stop; the repeated
+    threat; he cleaves the spirit in two and rejoices; he despairs as two
+    spirits are now adding to the flood; he invokes the master who returns;
+    the master dismisses the broom to the corner.
+</p>
+<p>
+    There is the touch of magic in the first harmonics of strings, and the
+    sense of sorcery is always sustained in the strange harmonies.<a href="#note32">[32]</a>
+</p>
+
+<p>
+    After a mystic descent of eerie chords, a melodious cooing phrase begins
+    in higher wood, echoed from one voice to the other, while the
+    spirit-notes are still sounding.
+</p>
+<p>
+    Suddenly dashes a stream of descending spray, met by another ascending;
+    in the midst the first phrase is rapidly sounded (in muted trumpet). As
+    suddenly the first solemn moment has returned, the phrase has grown in
+    melody, while uncanny harmonies prevail. Amidst a new feverish rush a
+    call rings
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music61.jpg" width="400" height="145" alt="music61"></p>
+<p style="text-indent: 0em">
+    loud and oft (in trumpets and horns) ending in an insistent, furious
+    summons. The silence that ensues is as speaking (or in its way as
+    deafening) as were the calls.
+</p>
+<p>
+    After what seems like the grating of ancient joints, set in reluctant
+    motion, the whole tune of the first wooing phrase moves in steady gait,
+    in comic bassoons, to the tripping of strings, further and fuller
+    extended as other voices join. The beginning phrase of chords recurs as
+    answer. Ever the lumbering trip continues, with strange turn of harmony
+    and color, followed ever by the weird answer. A fuller apparition comes
+    with the loud, though muffled tones of the trumpets. The original tune
+    grows in new turns and folds of melody, daintily tipped with the ring of
+    bells over the light tones of the wood. The brilliant
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music62.jpg" alt="music62" width="400" height="186"></p>
+<p style="text-indent: 0em">
+    harp completes the chorus of hurrying voices. Now with full power and
+    swing the main notes ring in sturdy brass, while all around is a rushing
+    and swirling (of harps and bells and wood and strings). And still more
+    furious grows the flight, led by the unison violins.
+</p>
+<p>
+    A mischievous mood of impish frolic gives a new turn of saucy gait. In
+    the jovial answer, chorussed in simple song, seems a revel of all the
+    spirits of rivers and streams.
+</p>
+<p>
+    At the top of a big extended period the trumpet sends a shrill defiant
+    blast.
+</p>
+<p>
+    But it is not merely in power and speed,&mdash;more in an infinite variety of
+    color, and whim of tune and rhythmic harmony, that is expressed the
+    full gamut of disporting spirits. Later, at fastest speed of tripping
+    harp and wood, the brass ring out that first, insistent summons, beneath
+    the same eerie harmonies&mdash;and the uncanny descending chords answer as
+    before. But alas! the summons will not work the other way. Despite the
+    forbidding command and all the other exorcising the race goes madly on.
+</p>
+<p>
+    And now, if we are intent on the story, we may see the rising rage of
+    the apprentice and at last the fatal stroke that seemingly hems and
+    almost quells the flood. But not quite! Slowly (as at first) the hinges
+    start in motion. And now, new horror! Where there was one, there are now
+    two ghostly figures scurrying to redoubled disaster. Again and again the
+    stern call rings out, answered by the wildest tumult of all. The shouts
+    for the master's aid seem to turn to shrieks of despair. At last a
+    mighty call overmasters and stills the storm. Nothing is heard but the
+    first fitful phrases; now they seem mere echoes, instead of
+    forewarnings. We cannot fail to see the fine parallel, how the masterful
+    command is effective as was the similar call at the beginning.
+</p>
+<p>
+    Significantly brief is the ending, at once of the story and of the
+    music. In the brevity lies the point of the plot: in the curt dismissal
+    of the humbled spirit, at the height of his revel, to his place as broom
+    in the corner. Wistful almost is the slow vanishing until the last
+    chords come like the breaking of a fairy trance.
+</p>
+<a name="2HCH0010"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER X
+</h2>
+<h3>
+    TSCHAIKOWSKY
+</h3>
+<p>
+    The Byron of music is Tschaikowsky for a certain alluring melancholy and
+    an almost uncanny flow and sparkle. His own personal vein deepened the
+    morbid tinge of his national humor.
+</p>
+<p>
+    We cannot ignore the inheritance from Liszt, both spiritual and musical.
+    More and more does the Hungarian loom up as an overmastering influence
+    of his own and a succeeding age. It seems as if Liszt, not Wagner, was
+    the musical prophet who struck the rock of modern pessimism, from which
+    flowed a stream of ravishing art. The national current in Tschaikowsky's
+    music was less potent than with his younger compatriots; or at least it
+    lay farther beneath the surface.
+</p>
+<p>
+    For nationalism in music has two very different bearings. The concrete
+    elements of folk-song, rhythm and scale, as they are more apparent, are
+    far less important. The true significance lies in the motive of an
+    unexpressed national idea that presses irresistibly towards fulfilment.
+    Here is the main secret of the Russian achievement in modern music,&mdash;as
+    of other nations like the Finnish. It is the cause that counts. Though
+    Russian song has less striking traits than Hungarian or Spanish, it has
+    blossomed in a far richer harvest of noble works of art.
+</p>
+<p>
+    Facile, fluent, full of color, Tschaikowsky seems equipped less for
+    subjective than for lyric and dramatic utterance, as in his "Romeo and
+    Juliet" overture. In the "Manfred" Symphony we may see the most fitting
+    employment of his talent. Nor is it unlikely that the special
+    correspondence of treatment and subject may cause this symphony to
+    survive the others, may leave it long a rival of Schumann's "Manfred"
+    music.
+</p>
+<p>
+    With Tschaikowsky feeling is always highly stressed, never in a certain
+    natural poise. He quite lacks the noble restraint of the masters who, in
+    their symphonic lyrics, wonderfully suggest the still waters that run
+    deep.
+</p>
+<p>
+    Feeling with Tschaikowsky was frenzy, violent passion, so that with all
+    abandon there is a touch of the mechanical in his method. Emotion as the
+    content of highest art must be of greater depth and more quiet flow. And
+    it is part or a counterpart of an hysterical manner that it reacts to a
+    cold and impassive mood,&mdash;such as we feel in the Andante of the Fourth
+    Symphony.
+</p>
+<p>
+    The final quality for symphonic art is, after all, less the chance flash
+    of inspiration than a big view, a broad sympathy, a deep well of feeling
+    that comes only with great character.
+</p>
+<p>
+    Nay, there is a kind of peril in the symphony for the poet of uncertain
+    balance from the betrayal of his own temper despite his formal plan.
+    Through all the triumph of a climax as in the first movement of the
+    Fourth Symphony, we may feel a subliminal sadness that proves how subtle
+    is the expression in music of the subjective mood. There is revealed not
+    the feeling the poet is conscious of, but, below this, his present self,
+    and in the whole series of his works, his own personal mettle. What the
+    poet tries to say is very different from what he does say. In a
+    symphony, as in many a frolic, the tinge of latent melancholy will
+    appear.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="sym4">
+    <i>SYMPHONY NO. 4</i> </a>
+</center>
+<p>
+    Reverting to a great and fascinating question as to the content of art,
+    we may wonder whether this is not the real tragic symphony of
+    Tschaikowsky, in the true heroic sense, in a view where the highest
+    tragedy is not measured by the wildest lament. There may be a stronger
+    sounding of lower depths with a firmer touch (with less of a conscious
+    kind of abandon),&mdash;whence the recoil to serene cheer will be the
+    greater.
+</p>
+<p>
+    There is surely a magnificent aspiration in the first Allegro, a
+    profound knell of destiny and a rare ring of triumph. Underlying all is
+    the legend of trumpets, <i>Andante sostenuto</i> (3/4), with a dim touch
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music63.jpg" alt="music63" width="400" height="97"></p>
+<p style="text-indent: 0em">
+    of tragedy. Opposite in feeling is the descending motive of strings,
+    <i>Moderato con anima</i> (9/8). First gently expressive, it soon rises in
+    passion (the original
+</p>
+<p style="text-indent: 0em; text-align: center">
+    <img border="0" src="images/music64.jpg" alt="music64" width="400" height="184"></p>
+<p style="text-indent: 0em">
+    motto always sounding) to a climax whence an ascending motive, in lowest
+    basses, entering in manner of fugue, holds a significant balance with
+    the former. Each in turn rears a climax for the other's
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music65.jpg" alt="music65" width="400" height="188"></p>
+<p style="text-indent: 0em">
+    entrance; the first, lamenting, leads to the soothing hope of the second
+    that, in the very passion of its refrain, loses assurance and ends in a
+    tragic burst.
+</p>
+<p>
+    Suddenly a very new kind of solace appears <i>Dolce grazioso</i>, in a
+    phrase of the clarinet that leads to a duet of wood and <i>cantabile</i>
+    strings, impersonal almost in the sweetness of its flowing song.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music66.jpg" alt="music66" width="400" height="182"></p>
+<p>
+    In such an episode we have a new Tschaikowsky,&mdash;no longer the subjective
+    poet, but the painter with a certain Oriental luxuriance and grace. It
+    is interesting to study the secret of this effect. The preluding strain
+    lowers the tension of the storm of feeling and brings us to the attitude
+    of the mere observer. The "movement of waltz" now has a new meaning, as
+    of an apparition in gently gliding dance. The step is just sustained in
+    leisurely strings. Above is the simple melodic trip of clarinet, where a
+    final run is echoed throughout the voices of the wood; a slower moving
+    strain in low cellos suggests the real song that presently begins, while
+    high in the wood the lighter tune continues. The ripples still keep
+    spreading throughout the voices, at the end of a line. The tunes then
+    change places, the slower singing above.
+</p>
+<p>
+    With all the beauty, there is the sense of shadowy picture,&mdash;a certain
+    complete absence of passion. Now the lower phrase appears in two
+    companion voices (of strings), a hymnal kind of duet,&mdash;<i>ben sostenuto
+    il tempo precedente</i>. Here, very softly in the same timid pace, enters a
+    chorus, on high, of the old sighing motive. Each melody breaks upon the
+    other and
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music67.jpg" alt="music67" width="400" height="168"></p>
+<p style="text-indent: 0em">
+    ceases, with equal abruptness. There is no blending, in the constant
+    alternation, until the earlier (lamenting) motive conquers and rises to
+    a new height where a culminating chorale sounds a big triumph, while the
+    sighing phrase merely spurs a new verse of assurance.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music68.jpg" alt="music68" width="400" height="84"></p>
+<p>
+    A completing touch lies in the answering phrase of the chorale, where
+    the answer of original motto is transformed into a masterful ring of
+    cheer and confidence.
+</p>
+<p>
+    As is the way with symphonies, it must all be sung and striven over
+    again to make doubly sure. Only there is never the same depth of lament
+    after the triumph. In a later verse is an augmented song of the answer
+    of trumpet legend, in duet of thirds, in slow, serene pace, while the
+    old lament sounds below in tranquil echoes and united strains. Before
+    the end, <i>molto piu vivace</i>, the answer rings in new joyous rhythm.
+</p>
+<p>
+    Somewhat the reverse of the first movement, in the second the emotional
+    phase grows slowly from the naïve melody of the beginning. Against the
+    main melody that begins in oboe solo (with <i>pizzicato</i> strings),
+    <i>semplice ma grazioso</i>, plays later a rising
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music69.jpg" alt="music69" width="400" height="191"></p>
+<p style="text-indent: 0em">
+    counter-theme that may recall an older strain. The second melody, in
+    Greek mode, still does not depart
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music70.jpg" alt="music70" width="400" height="177"></p>
+<p style="text-indent: 0em">
+    from the naïve mood, or lack of mood. A certain modern trait is in this
+    work, when the feeling vents and wastes itself and yields to an
+    impassive recoil, more coldly impersonal than the severest classic.
+</p>
+<p>
+    A sigh at the end of the second theme is a first faint reminder of the
+    original lament. Of it is fashioned the third theme. A succeeding climax
+    strongly
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music71.jpg" alt="music71" width="400" height="185"></p>
+<p style="text-indent: 0em">
+    brings back the subjective hue of the earlier symphony. A counter-theme,
+    of the text of the second melody of Allegro,&mdash;now one above, now the
+    other&mdash;is a final stroke. Even the shaking of the trumpet figure is
+    there at the height, in all the brass. Yet as a whole the first melody
+    prevails, with abundant variation of runs in the wood against the song
+    of the strings.
+</p>
+<p>
+    The Scherzo seems a masterly bit of humor, impish, if you will, yet on
+    the verge always of tenderness. The first part is never-failing in the
+    flash and sparkle of its play, all in <i>pizzicato</i> strings, with a
+    wonderful daemonic quality of the mere instrumental effect. Somewhat
+    suddenly the oboe holds a long note and
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music72.jpg" alt="music72" width="400" height="189"></p>
+<p style="text-indent: 0em">
+    then, with the bassoons, has a tune that is almost sentimental. But
+    presently the clarinets make mocking
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music73.jpg" alt="music73" width="400" height="190"></p>
+<p style="text-indent: 0em">
+    retorts. Here, in striking scene, all the brass (but the tuba) very
+    softly blow the first melody with eccentric halts, in just half the old
+    pace except when they take us by surprise. The clarinet breaks in with
+    the sentimental tune in faster time while the brass all the while are
+    playing as before. There are all kinds of pranks, often at the same
+    time. The piccolo, in highest treble, inverts the second melody, in
+    impertinent drollery. The brass has still newer surprises. Perhaps the
+    best of the fooling is where strings below and woodwind above share the
+    melody between them, each taking two notes at a time.
+</p>
+<p>
+    The first of the Finale is pure fanfare, as if to let loose the steeds
+    of war; still it recurs as leading idea. There is a kind of sonorous
+    terror, increased by the insistent, regular notes of the brass, the
+    spirited pace of the motive of strings,&mdash;the barbaric ring we often hear
+    in Slav music. At the height
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music74.jpg" alt="music74" width="400" height="194"></p>
+<p style="text-indent: 0em">
+    the savage yields to a more human vein of joyousness, though at the end
+    it rushes the more wildly into a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music75.jpg" alt="music75" width="400" height="162"></p>
+<p style="text-indent: 0em">
+    series of shrieks of trebles with tramping of basses. The real battle
+    begins almost with a lull, the mere sound of the second tune in the
+    reeds with light strum of strings and triangle. As the theme is
+    redoubled (in thirds of the wood), the sweep of strings of the first
+    motive is added, with chords of horns. A rising figure is now opposed to
+    the descent of the second melody, with shaking of woodwind that brings
+    back the old trumpet legend. Here the storm grows apace, with increasing
+    tumult of entering hostile strains, the main song now ringing in low
+    brass.
+</p>
+<p>
+    In various versions and changes we seem to see earlier themes briefly
+    reappearing. Indeed there is a striking kinship of themes throughout,
+    not so much in outline as in the air and mood of the tunes. This seems
+    to be proven by actual outer resemblance when the motives are developed.
+    Here in a quiet spot&mdash;though the battle has clearly not ceased&mdash;is the
+    answer of old trumpet motto, that pervaded the first Allegro. There is a
+    strong feeling of the Scherzo here in the <i>pizzicato</i> answers of
+    strings. The second theme of the Andante is recalled, too, in the
+    strokes of the second of the Finale. In the thick of the fray is a
+    wonderful maze of versions of the theme, diminished and augmented at the
+    same time with the original pace. Yet it is all a clear flow of melody
+    and rich harmony. The four beats of quarter notes, in the lengthened
+    theme, come as high point like the figure of the leader in battle. A
+    later play of changes is like the sport of the Scherzo. This insensibly
+    leads to the figure of the fanfare, whence the earlier song returns
+    with the great joyous march.
+</p>
+<p>
+    The final height of climax is distinguished by a stentorian, fugal blast
+    of the theme in the bass, the higher breaking in on the lower, while
+    other voices are raging on the quicker phrases. It is brought to a
+    dramatic halt by the original prelude of trumpet legend, in all its
+    fulness. Though the march-song recurs, the close is in the ruder humor
+    of the main themes.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="manfred">
+    <i>THE "MANFRED" SYMPHONY</i> </a>
+</center>
+<p>
+    Schumann and Tschaikowsky are the two most eminent composers who gave
+    tonal utterance to the sombre romance of Byron's dramatic poem.<a href="#note33">[33]</a> It is
+    interesting to remember that Byron expressly demanded the assistance of
+    music for the work. If we wish to catch the exact effect that is sought
+    in the original conception, Schumann's setting is the nearest approach.
+    It is still debated whether a scenic representation is more impressive,
+    or a simple reading, reinforced by the music.
+</p>
+
+<p>
+    Tschaikowsky's setting is a "symphony in four pictures, or scenes (<i>en
+    quatre tableaux</i>), after Byron's dramatic poem." In the general design
+    and spirit there is much of the feeling of Berlioz's "Fantastic"
+    Symphony, though the manner of the music shows no resemblance whatever.
+    There is much more likeness to Liszt's "Faust" Symphony, in that the
+    pervading recurrence of themes suggests symbolic labels. Moreover, in
+    the very character of many of the motives, there is here a striking line
+    of descent.
+</p>
+<p>
+    <i>Lento lugubre</i>, the first scene or picture, begins with a theme in
+    basses of reeds:
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music76.jpg" alt="music76" width="400" height="115"></p>
+<p style="text-indent: 0em">
+    with later <i>pizzicato</i> figure of low strings.
+</p>
+<p>
+    An answering strain is one of the most important of all the melodies:
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music77.jpg" alt="music77" width="400" height="173"></p>
+<p>
+    On these, a bold conflict and climax is reared. If we care to indulge in
+    the bad habit of calling names, we might see "Proud Ambition" in the
+    first motives, intertwined with sounds of sombre discontent. The pace
+    grows <i>animando</i>,&mdash;<i>piu mosso</i>; <i>moderato molto</i>. Suddenly Andante sings
+    a new, expressive song, with a dulcet cheer of its own, rising to
+    passionate periods and a final height whence, <i>Andante con duolo</i>, a
+    loudest chorus of high wood and strings, heralded and accompanied by
+    martial tremolo of low wood, horns, basses, and drums, sound the fateful
+    chant that concludes the first scene, and, toward the close of the work,
+    sums the main idea.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music78.jpg" alt="music78" width="400" height="162"></p>
+<p>
+    The apparition of the Witch of the Alps is pictured in daintiest,
+    sparkling play of strings and wood, with constant recurrence of mobile
+    figures above and below. It seems as if the image of the fountain is
+    fittest and most tempting for mirroring in music. Perhaps the most
+    beautiful, the most haunting, of all the "Manfred" music of Schumann is
+    this same scene of the Witch of the Alps.
+</p>
+<p>
+    Here, with Tschaikowsky, hardly a single note of brass intrudes on this
+    <i>perpetuum mobile</i> of light, plashing spray until, later, strains that
+    hark back to the first scene cloud the clear brilliancy of the cascade.
+    Now the play of the waters is lost in the new vision, and a limpid song
+    glides in the violins, with big rhythmic chords of harps, is taken up in
+    clarinets, and carried on by violins in new melodic verse, <i>con
+    tenerezza e molto espressione</i>. Then the whole chorus sing the tune in
+    gentle volume. As it dies away, the music of the falling waters plash as
+    before. The returning song has phases of varying sadness and passion. At
+    the most vehement height,&mdash;and here, if we choose, we may see the stern
+    order to retire,&mdash;the fatal chant is shrieked by full chorus in almost
+    unison fierceness.
+</p>
+<p>
+    Gradually the innocent play of the waters is heard again, though a
+    gloomy pall hangs over. The chant sounds once more before the end.
+</p>
+<p>
+    The third, "Pastoral," scene we are most free to enjoy in its pure
+    musical beauty, with least need of definite dramatic correspondences. It
+    seems at first as if no notes of gloom are allowed to intrude, as if the
+    picture of happy simplicity stands as a foil to the tragedy of the
+    solitary dreamer; for an early climax gives a mere sense of the awe of
+    Alpine nature.
+</p>
+<p>
+    Still, as we look and listen closer, we cannot escape so easily, in
+    spite of the descriptive title. Indeed, the whole work seems, in its
+    relation to the poem upon which it is based, a very elusive play in a
+    double kind of symbolism. At first it is all a clear subjective
+    utterance of the hero's woes and hopes and fears, without definite
+    touches of external things. Yet, right in the second scene the torrent
+    is clear almost to the eye, and the events pass before us with sharp
+    distinctness. Tending, then, to look on the third as purest pastoral,
+    we are struck in the midst by an ominous strain from one of the earliest
+    moments of the work, the answer of the first theme of all. Here notes of
+    horns ring a monotone; presently a church-bell adds a higher note. The
+    peaceful pastoral airs then return, like the sun after a fleeting storm.
+</p>
+<p>
+    The whole of this third scene of Tschaikowsky's agrees with no special
+    one in Byron's poem, unless we go back to the second of the first act,
+    where Manfred, in a morning hour, alone upon the cliffs, views the
+    mountains of the Jungfrau before he makes a foiled attempt to spring
+    into the abyss. By a direction of the poet, in the midst of the
+    monologue, "the shepherd's pipe in the distance is heard," and Manfred
+    muses on "the natural music of the mountain reed."
+</p>
+<p>
+    The last scene of the music begins with Byron's fourth of Act II and
+    passes over all the incidents of the third act that precede the hero's
+    death, such as the two interviews with the Abbot and the glorious
+    invocation to the sun.
+</p>
+<p>
+    From Tschaikowsky's title, we must look for the awful gloom of the
+    cavernous hall of Arimanes, Byron's "Prince of Earth and Air." The gray
+    figure from most ancient myth is not less real to us than Mefistofeles
+    in "Faust." At least we clearly feel the human daring that feared not to
+    pry into forbidden mysteries and refused the solace of unthinking faith.
+    And it becomes again a question whether the composer had in mind this
+    subjective attitude of the hero or the actual figures and abode of the
+    spirits and their king. It is hard to escape the latter view, from the
+    general tenor, the clear-cut outline of the tunes, of which the
+    principal is like a stern chant:
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music79.jpg" alt="music79" width="400" height="159"></p>
+<p style="text-indent: 0em">
+    The most important of the later answers lies largely in the basses.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music80.jpg" alt="music80" width="400" height="102"></p>
+<p>
+    There is, on the whole, rather an effect of gloomy splendor (the
+    external view) than of meditation; a sense of visible massing than of
+    passionate crisis, though there is not wanting a stirring motion and
+    life in the picture. This is to speak of the first part, <i>Allegro con
+    fuoco</i>.
+</p>
+<p>
+    The gloomy dance dies away. <i>Lento</i> is a soft fugal chant on elemental
+    theme; there is all the solemnity of cathedral service; after the
+    low-chanted phrase follows a tremendous blare of the brass. The
+    repeated chant is followed by one of the earliest, characteristic themes
+    of the first scene. And so, if we care to follow the graphic touch, we
+    may see here the intrusion of Manfred, at the most solemn moment of the
+    fearful revel.
+</p>
+<p>
+    As Manfred, in Byron's poem, enters undaunted, refusing to kneel, the
+    first of the earlier phases rings out in fierce <i>fortissimo</i>. A further
+    conflict appears later, when the opening theme of the work sounds with
+    interruptions of the first chant of the spirits.
+</p>
+<p>
+    A dulcet plaint follows, <i>Adagio</i>, in muted strings, answered by a note
+    of horn and a chord of harp.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music81.jpg" alt="music81" width="400" height="173"></p>
+<p style="text-indent: 0em">
+    It all harks back to the gentler strains of the first movement. In the
+    ethereal <i>glissando</i> of harps we see the spirit of Astarte rise to give
+    the fatal message. The full pathos and passion of the <i>lento</i> episode of
+    first scene is heard in brief, vivid touches, and is followed by the
+    same ominous blast with ring of horn, as in the first picture.
+</p>
+<p>
+    A note of deliverance shines clear in the final phrase of joined
+    orchestra and organ, clearer perhaps than in Manfred's farewell line in
+    the play: "Old man! 'tis not so difficult to die." To be sure, Schumann
+    spreads the same solace o'er the close of his setting, with the Requiem.
+    The sombre splendor of romance is throughout, with just a touch of
+    turgid. In the poignant ecstasy of grief we feel vividly the
+    foreshadowing example of Liszt, in his "Dante" and "Faust" Symphonies.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="sym5">
+    <i>FIFTH SYMPHONY (E MINOR)</i> </a>
+</center>
+<p>
+    With all the unfailing flow of lesser melodies where the charm is often
+    greatest of all, and the main themes of each movement with a chain of
+    derived phrases, one melody prevails and reappears throughout. The
+    fluency is more striking here than elsewhere in Tschaikowsky. All the
+    external sources,&mdash;all the glory of material art seem at his command. We
+    are reminded of a certain great temptation to which all men are subject
+    and some fall,&mdash;however reluctantly. Throughout there is a vein of
+    daemonic. The second (Allegro) melody grows to a high point of
+    pathos,&mdash;nay, anguish, followed later by buoyant, strepitant, dancing
+    delight, with the melting answer, in the latest melody. The daemon is
+    half external fate&mdash;in the Greek sense, half individual temper. The end
+    is almost sullen; but the charm is never failing; at the last is the
+    ever springing rhythm.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music82.jpg" alt="music82" width="400" height="195"></p>
+<p>
+    The march rhythm of the opening Andante is carried suddenly into a quick
+    trip, <i>Allegro con anima</i> (6/8), where the main theme of the first
+    movement now begins, freely extended as in a full song of verses. New
+    accompanying figures are added, contrasting phrases or counter-melodies,
+    to the theme.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music83.jpg" alt="music83" width="400" height="240"></p>
+<p style="text-indent: 0em">
+    One expressive line plays against the wilder rhythm of the theme, with
+    as full a song in its own mood as the other. A new rhythmic motive, of
+    great charm, <i>un pocchetino piu animato</i>, is answered by a bit of the
+    theme. Out of it all grows, in a clear
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music84.jpg" alt="music84" width="400" height="174"></p>
+<p style="text-indent: 0em">
+    welded chain, another episode, where the old rhythm is a mere gentle
+    spur to the new plaint,&mdash;<i>molto piu tranquillo, molto cantabile ed
+    espressivo</i>.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music85.jpg" alt="music85" width="400" height="185"></p>
+<p>
+    To be sure, the climax has all of the old pace and life, and every voice
+    of the chorus at the loudest. In the answering and echoing of the
+    various phrases, rhythmic and melodic, is the charm of the discussion
+    that follows. Later the three melodies come again in the former order,
+    and the big climax of the plaintive episode precedes the end, where the
+    main theme dies down to a whisper.
+</p>
+<p>
+    <i>Andante cantabile, con alcuna licenza.</i> After preluding chords in
+    lowest strings a solo horn begins a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music86.jpg" alt="music86" width="400" height="192"></p>
+<p style="text-indent: 0em">
+    languishing song, <i>dolce con molto espressione</i>. It is a wonderful
+    elegy, a yearning without hope, a swan-song of desire, sadder almost
+    than the frank despair of the Finale of the <i>Pathétique</i>
+    symphony,&mdash;pulsing with passion, gorgeous with a hectic glow of
+    expressive beauty, moving too with a noble grace. Though there is a foil
+    of lighter humor, this is overwhelmed in the fateful gloom of the
+    returning main motto.
+</p>
+<p>
+    The abounding beauty with all its allurement lacks the solace that the
+    masters have led us to seek in the heart of a symphony. The clarinet
+    presently twines a phrase about the tune until a new answer sounds in
+    the oboe, that now sings in answering and chasing duet with the horn.
+    The phrase of oboe proves to be the main song, in full extended
+    periods, reaching a climax with all the voices.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music87.jpg" alt="music87" width="400" height="167"></p>
+<p>
+    Well defined is the middle episode in minor reared on a new theme of the
+    clarinet with an almost fugal polyphony that departs from the main lyric
+    mood.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music88.jpg" alt="music88" width="400" height="197"></p>
+<p style="text-indent: 0em">
+    At the height all the voices fall into a united chorus on the original
+    motto of the symphony. The first melodies of the Andante now return with
+    big sweep and power, and quicker phrases from the episode. The motto
+    reappears in a final climax, in the trombones, before the hushed close.
+</p>
+<p>
+    We must not infer too readily a racial trait from the temper of the
+    individual composer. There is here an error that we fall into frequently
+    in the music of such men as Grieg and Tschaikowsky. The prevailing mood
+    of the Pathetic Symphony is in large measure personal. Some of the more
+    recent Russian symphonies are charged with buoyant joyousness. And,
+    indeed, the burden of sadness clearly distinguishes the last symphony of
+    Tschaikowsky from its two predecessors, the Fourth and the Fifth.
+</p>
+<p>
+    The tune of the <i>valse</i>, <i>Allegro moderato</i>, is first played by the
+    violins, <i>dolce con grazia</i>, with accompanying strings, horns and
+    bassoon. In the second part, with some loss of the lilt of dance, is a
+    subtle design&mdash;with a running phrase in <i>spiccato</i> strings against a
+    slower upward glide of bassoons. The duet winds on a kind of <i>crescendo</i>
+    of modulations. Later
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music89.jpg" alt="music89" width="400" height="190"></p>
+<p style="text-indent: 0em">
+    the themes are inverted, and the second is redoubled in speed. The whole
+    merges naturally into the first waltz, with a richer suite of adorning
+    figures. The dance does not end without a soft reminder (in low
+    woodwind) of the original sombre phrase.
+</p>
+<p>
+    Almost for the first time a waltz has entered the shrine of the
+    symphony. And yet perhaps this dance has all the more a place there. It
+    came on impulse (the way to visit a sanctuary), not by ancient custom.
+    But with all its fine variety, it is a simple waltz with all the
+    careless grace,&mdash;nothing more, with no hidden or graphic meaning (as in
+    Berlioz's Fantastic Symphony).
+</p>
+<p>
+    The middle episode, though it lacks the dancing trip, is in the one
+    continuing mood,&mdash;like a dream of youthful joys with just a dimming hint
+    of grim reality in the returning motto.
+</p>
+<p>
+    In the Finale the main legend of the symphony is transformed and
+    transfigured in a new, serener mood, and is brought to a full melodic
+    bloom. Indeed, here is the idealization of the original motto. <i>Andante
+    maestoso</i> it begins in the tonic major. When the theme ceases, the brass
+    blow the rhythm on a monotone, midst an ascending <i>obligato of strings</i>.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music90.jpg" alt="music90" width="400" height="194"></p>
+<p style="text-indent: 0em">
+    In answer comes a new phrase of chorale. Later the chorale is sounded
+    by the full band, with intermediate beats of rhythmic march.
+</p>
+<p>
+    Once more there is a well-marked episode, with a full share of melodic
+    discussion, of clashing themes, of dramatic struggle. First in the tonic
+    minor a theme rises from the last casual cadence in resonant march,
+    <i>Allegro vivace</i>. Then follows a duet, almost
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music91.jpg" alt="music91" width="400" height="174"></p>
+<p style="text-indent: 0em">
+    a harsh grating of an eccentric figure above against
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music92.jpg" alt="music92" width="400" height="188"></p>
+<p style="text-indent: 0em">
+    the smoother course of the latest Allegro motive. The themes are
+    inverted. Presently out of the din rises a charming canon on the
+    prevailing smoother phrase, that soars to a full sweep of song. A new
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music93.jpg" alt="music93" width="400" height="181"></p>
+<p style="text-indent: 0em">
+    hymnal melody comes as a final word. Though the main motto returns in
+    big chorus, in full extension, in redoubled pace and wild abandon, still
+    the latest melody seems to contend for the last say. Or, rather,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music94.jpg" alt="music94" width="400" height="381"></p>
+<p style="text-indent: 0em">
+    it is a foil, in its simple flow, to the revel of the motto, now grown
+    into a sonorous, joyous march. And we seem to see how most of the other
+    melodies,&mdash;the minor episode, the expressive duet&mdash;have sprung from bits
+    of the main text.
+</p>
+<p>
+    To return for another view,&mdash;the Finale begins in a mood that if not
+    joyous, is religious. Out of the cadence of the hymn dances the Allegro
+    tune almost saucily. Nor has this charming trip the ring of gladness,
+    though it grows to great momentum. As a whole there is no doubt of the
+    assurance, after the earlier fitful gloom, and with the resignation an
+    almost militant spirit of piety.
+</p>
+<p>
+    In the dulcet canon, an exquisite gem, bliss and sadness seem
+    intermingled; and then follows the crowning song, broad of pace,
+    blending the smaller rhythms in ecstatic surmounting of gloom. In
+    further verse it doubles its sweet burden in overlapping voices, while
+    far below still moves the rapid trip.
+</p>
+<p>
+    But the motto will return, in major to be sure, and tempered in mercy.
+    And the whole hymn dominates, with mere interludes of tripping motion,
+    breaking at the height into double pace of concluding strain. Before
+    falling back into the thrall of the legend the furious race rushes
+    eagerly into the deepest note of bliss, where in sonorous bass rolls the
+    broad, tranquil song. And though the revel must languish, yet we attend
+    the refrain of all the melodies in crowning rapture. Then at last, in
+    stern minor, sounds the motto, still with the continuing motion, in a
+    loud and long chant.
+</p>
+<p>
+    In blended conclusion of the contending moods comes a final verse of the
+    legend in major, with full accoutrement of sounds and lesser rhythm, in
+    majestic pace. And there is a following frolic with a verse of the
+    serene song. The end is in the first Allegro theme of the symphony, in
+    transfigured major tone.
+</p>
+<p>
+    We must be clear at least of the poet's intent. In the Fifth Symphony
+    Tschaikowsky sang a brave song of struggle with Fate.
+</p>
+<a name="2HCH0011"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XI
+</h2>
+<h3>
+    THE NEO-RUSSIANS
+</h3>
+<p>
+    For some mystic reason nowhere in modern music is the symphony so
+    justified as in Russia. Elsewhere it survives by the vitality of its
+    tradition. In France we have seen a series of works distinguished rather
+    by consummate refinement than by strength of intrinsic content. In
+    Germany since the masterpieces of Brahms we glean little besides the
+    learnedly facile scores of a Bruckner, with a maximum of workmanship and
+    a minimum of sturdy feeling,&mdash;or a group of "heroic" symphonies all cast
+    in the same plot of final transfiguration. The one hopeful sign is the
+    revival of a true counterpoint in the works of Mahler.
+</p>
+<p>
+    Some national song, like the Bohemian, lends itself awkwardly to the
+    larger forms. The native vein is inadequate to the outer mould, that
+    shrinks and dwindles into formal utterance. It may be a question of the
+    quantity of a racial message and of its intensity after long
+    suppression. Here, if we cared to enlarge in a political disquisition,
+    we might account for the symphony of Russians and Finns, and of its
+    absence in Scandinavia. The material elements, abundant rhythm, rich
+    color, individual and varied folk-song, are only the means by which the
+    national temper is expressed. Secondly, it must be noted as a kind of
+    paradox, the power of the symphony as a national utterance is increased
+    by a mastery of the earlier classics. With all that we hear of the
+    narrow nationalism of the Neo-Russians, we cannot deny them the breadth
+    that comes from a close touch with the masters. Mozart is an element in
+    their music almost as strong as their own folk-song. Here, it may be,
+    the bigger burden of a greater national message unconsciously seeks the
+    larger means of expression. And it becomes clear that the sharper and
+    narrower the national school, the less complete is its utterance, the
+    more it defeats its ultimate purpose.
+</p>
+<p>
+    The broad equipment of the new Russian group is seen at the outset in
+    the works of its founder, Balakirew. And thus the difference between
+    them and Tschaikowsky lay mainly in the formulated aim.<a href="#note34">[34]</a>
+</p>
+
+<p>
+    The national idea, so eminent in modern music, is not everywhere equally
+    justified. And here, as in an object-lesson, we see the true merits of
+    the problem. While one nation spontaneously utters its cry, another,
+    like a cock on the barnyard, starts a movement in mere idle vanity, in
+    sheer self-glorification.
+</p>
+<p>
+    In itself there is nothing divine in a national idea that needs to be
+    enshrined in art. Deliberate segregation is equally vain, whether it be
+    national or social. A true racial celebration must above all be
+    spontaneous. Even then it can have no sanction in art, unless it utter a
+    primal motive of resistance to suppression, the elemental pulse of life
+    itself. There is somehow a divine dignity about the lowest in human
+    rank, whether racial or individual. The oppressed of a nation stands a
+    universal type, his wrongs are the wrongs of all, and so his lament has
+    a world-wide appeal. And in truth from the lowest class rises ever the
+    rich spring of folk-song of which all the art is reared, whence comes
+    the paradox that the peasant furnishes the song for the delight of his
+    oppressors, while they boast of it as their own. Just in so far as man
+    is devoid of human sympathy, is he narrow and barren in his song. Music
+    is mere feeling, the fulness of human experience, not in the hedonic
+    sense of modern tendencies, but of pure joys and profound sorrows that
+    spring from elemental relations, of man to man, of mate to mate.
+</p>
+<p>
+    Here lies the nobility of the common people and of its song; the
+    national phase is a mere incident of political conditions. The war of
+    races is no alembic for beauty of art. If there were no national lines,
+    there would still be folk-song,&mdash;merely without sharp distinction. The
+    future of music lies less in the differentiation of human song, than in
+    its blending.
+</p>
+<p>
+    Thus we may rejoice in the musical utterance of a race like the Russian,
+    groaning and struggling through ages against autocracy for the dignity
+    of man himself,&mdash;and in a less degree for the Bohemian, seeking to hold
+    its heritage against enforced submergence. But we cannot take so
+    seriously the proud self-isolation of other independent nations.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="balakirew" href="#note35">
+    <i>BALAKIREW.[35] SYMPHONY IN C</i> </a>
+</center>
+
+<p>
+    The national idea shines throughout, apart from the "Russian Theme" that
+    forms the main text of the Finale. One may see the whole symphony
+    leading up to the national celebration.
+</p>
+<p>
+    As in the opening phrase (in solemn <i>Largo</i>) with
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music95.jpg" alt="music95" width="400" height="137"></p>
+<p style="text-indent: 0em">
+    its answer are proclaimed the subjects that presently
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music96.jpg" alt="music96" width="400" height="114"></p>
+<p style="text-indent: 0em">
+    appear in rapid pace, so the whole movement must be taken as a big
+    prologue, forecasting rather than realizing. There is a dearth of
+    melodic stress and balance; so little do the subjects differ that they
+    are in essence merely obverse in outline.
+</p>
+<p>
+    Mystic harmonies and mutations of the motto lead to a quicker guise
+    (<i>Allegro vivo</i>). Independently of themes, the rough edge of tonality
+    and the vigorous primitive rhythms are expressive of the Slav feeling.
+    Withal there is a subtlety of harmonic manner that could come only
+    through the grasp of the classics common to all nations. Augmentation
+    and diminution of theme abound, together with the full fugal manner. A
+    warm, racial color is felt in the prodigal use of lower reeds.<a href="#note36">[36]</a>
+</p>
+
+<p>
+    In all the variety of quick and slower melodies a single phrase of five
+    notes, the opening of the symphony, pervades. In all kinds of humor it
+    sings, martial, solemn, soothing, meditative, or sprightly. Poetic in
+    high degree is this subtle metamorphosis, so that the symphony in the
+    first movement seems to prove the art rather than the national spirit of
+    the Neo-Russians.
+</p>
+<p>
+    Of the original answer is wrought all the balance and foil of second
+    theme, and like the first it reaches a climactic height. But the first
+    is the sovereign figure of the story. It enters into the pattern of
+    every new phase, it seems the text of which all the melodies are
+    fashioned, or a sacred symbol that must be all-pervading. In a broader
+    pace (<i>Alla breve</i>) is a mystic discussion of the legend, as of dogma,
+    ending in big pontifical blast of the answering theme.
+</p>
+<p>
+    The whole movement is strangely frugal of joyous abandon. Instead of
+    rolling, revelling melody there is stern proclamation, as of oracle, in
+    the solemn pauses. The rhythm is purposely hemmed and broken. Restraint
+    is everywhere. Almost the only continuous thread is of the meditative
+    fugue.
+</p>
+<p>
+    A single dulcet lyric verse (of the motto) is soon
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music97.jpg" alt="music97" width="400" height="110"></p>
+<p style="text-indent: 0em">
+    banished by a sudden lively, eccentric phrase that has an air of forced
+    gaiety, with interplay of mystic symbols. At last, on a farther height,
+    comes the first
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music98.jpg" alt="music98" width="400" height="210"></p>
+<p style="text-indent: 0em">
+    joyous abandon (in a new mask of the motto), recurring anon as recess
+    from sombre brooding.
+</p>
+<p>
+    Here the second subject has a free song,&mdash;in gentle chase of pairs of
+    voices (of woodwind and muted strings and harp) and grows to alluring
+    melody. As
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music99.jpg" alt="music99" width="400" height="190"></p>
+<p style="text-indent: 0em">
+    from a dream the eccentric trip awakens us, on ever higher wing. At the
+    top in slower swing of chords horn and reeds chant the antiphonal
+    legend, and in growing rapture, joined by the strings, rush once more
+    into the jubilant revel, the chanting legend still sounding anon in
+    sonorous bass.
+</p>
+<p>
+    The climax of feeling is uttered in a fiery burst of all the brass in
+    the former dulcet refrain from the motto. In full sweep of gathering
+    host it flows in unhindered song. Somehow by a slight turn, the tune is
+    transformed into the alluring melody of the second theme. When the
+    former returns, we feel that both strains are singing as part of a
+    single song and that the two subjects are blended and reconciled in
+    rapture of content.
+</p>
+<p>
+    A new mystic play of the quicker motto, answered by the second theme,
+    leads to an overpowering blast of the motto in slowest notes of brass
+    and reed, ending in a final fanfare.
+</p>
+<p>
+    All lightness is the Scherzo, though we cannot escape a Russian vein of
+    minor even in the dance. A rapid melody has a kind of perpetual motion
+    in the strings, with mimicking echoes in the wood. But the strange part
+    is how the natural accompanying voice below (in the bassoon) makes a
+    haunting melody of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music100.jpg" alt="music100" width="400" height="198"></p>
+<p style="text-indent: 0em">
+    its own,&mdash;especially when they fly away to the major. As we suspected,
+    the lower proves really the principal song as it winds on in the
+    languorous English horn or in the higher reed. Still the returning dance
+    has now the whole stage in a long romp with strange peasant thud of the
+    brass on the second beat. Then the song rejoins the dance, just as in
+    answering glee, later in united chorus.
+</p>
+<p>
+    A quieter song (that might have been called the Trio) has still a
+    clinging flavor of the soil,&mdash;as of a folk-ballad, that is not lost with
+    the later madrigal nor with the tripping figure that runs along.
+</p>
+<p>
+    Strangely, after the full returning dance, an epilogue
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music101.jpg" alt="music101" width="400" height="191"></p>
+<p style="text-indent: 0em">
+    of the ballad appears over a drone, as of bagpipe, through all the
+    harmony of the madrigal. Strangest of all is the playful last refrain in
+    the high piccolo over the constant soft strumming strings.
+</p>
+<p>
+    The Andante, in pure lyric mood, is heavily charged with a certain
+    Oriental languor. The clarinet
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music102.jpg" alt="music102" width="400" height="325"></p>
+<p style="text-indent: 0em">
+    leads the song, to rich strum of harp and strings, with its note of
+    sensuous melancholy. Other, more external signs there are of Eastern
+    melody, as in the graceful curl of quicker notes. Intermediate strains
+    between the verses seem gently to rouse the slumbering feeling,&mdash;still
+    more when they play between the lines of the song. The passion that is
+    lulled in the languor of main melody, is somehow uttered in the later
+    episode,&mdash;still more in the dual song of both
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music103.jpg" alt="music103" width="400" height="395"></p>
+<p style="text-indent: 0em">
+    melodies,&mdash;though it quickly drops before a strange coquetry of other
+    strains. Yet the climax of the main song is reached when the lighter
+    phrase rings fervently in the high brass. Here the lyric beauty is
+    stressed in a richer luxuriance of rhythmic setting. Once more sings the
+    passionate tune; then in midst of the last verse of the main song is a
+    quick alarm of rushing harp. The languorous dream is broken; there is an
+    air of new expectancy. Instead of a close is a mere pause on a passing
+    harmony at the portals of the high festival.
+</p>
+<p>
+    With a clear martial stress the "Russian Theme" is sounded (in low
+    strings), to the full a national
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music104.jpg" alt="music104" width="400" height="186"></p>
+<p style="text-indent: 0em">
+    tune of northern race. Enriched with prodigal harmony and play of lesser
+    themes it flows merrily on, yet always with a stern pace, breaking out
+    at last in a blare of warlike brass.
+</p>
+<p>
+    Nor does the martial spirit droop in the second tune, though the
+    melodies are in sheer contrast. In faster rhythm, the second is more
+    festal so that the first returning has a tinge almost of terror. An
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music105.jpg" alt="music105" width="400" height="348"></p>
+<p style="text-indent: 0em">
+    after-strain of the second has a slightest descent to reflective
+    feeling, from which there is a new rebound
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music106.jpg" alt="music106" width="400" height="186"></p>
+<p style="text-indent: 0em">
+    to the buoyant (festal) melody.
+</p>
+<p>
+    Here in grim refrains, in dim depths of basses (with hollow notes of
+    horns) the national tune has a free fantasy until it is joined by the
+    second in a loud burst in the minor.
+</p>
+<p>
+    Now the latter sings in constant alternation with the answering strain,
+    then descends in turn into the depths of sombre musing. There follows a
+    big, resonant dual climax (the main theme in lower brass), with an edge
+    of grim defiance. In the lull we seem to catch a brief mystic play of
+    the first motto of the symphony (in the horns) before the last joyous
+    song of both melodies,&mdash;all with a power of intricate design and a
+    dazzling brilliancy of harmony, in proud national celebration.
+</p>
+<p>
+    A last romp is in polacca step on the tune of the Russian Theme.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="antar" href="#note37">
+    <i>RIMSKY-KORSAKOW.[37] "ANTAR," SYMPHONY</i> </a>
+</center>
+
+<p>
+    The title-page tells us that "the subject is taken from an Arabian tale
+    of Sennkowsky." Opposite the beginning of the score is a summary of the
+    story, in Russian and in French, as follows:
+</p>
+     <blockquote>
+       <p>I.&mdash;Awful is the view of the desert of Sham; mighty in their
+     desolation are the ruins of Palmyra, the city razed by the spirits
+     of darkness. But Antar, the man of the desert, braves them, and
+     dwells serenely in the midst of the scenes of destruction. Antar
+     has forever forsaken the company of mankind. He has sworn eternal
+     hatred on account of the evil they returned him for the good which
+     he intended.</p>
+       <p>Suddenly a charming, graceful gazelle appears. Antar starts to
+     pursue it. But a great noise seems pulsing through the heavens, and
+     the light of day is veiled by a dense shadow. It is a giant bird
+     that is giving chase to the gazelle.</p>
+       <p>Antar straightway changes his intent, and attacks the monster,
+     which gives a piercing cry and flies away. The gazelle disappears
+     at the same time, and Antar, left alone in the midst of ruins, soon
+     goes to sleep while meditating on the event that has happened.</p>
+       <p>He sees himself transported to a splendid palace, where a multitude
+     of slaves hasten to serve him and to charm his ear with their song.
+     It is the abode of the Queen of Palmyra,&mdash;the fairy Gul-nazar. The
+     gazelle that he has saved from the talons of the spirit of darkness
+     is none other than the fairy herself. In gratitude Gul-nazar
+     promises Antar the three great joys of life, and, when he assents
+     to the proffered gift, the vision vanishes and he awakes amid the
+     surrounding ruins.</p>
+       <p>II.&mdash;The first joy granted by the Queen of Palmyra to Antar are the
+     delights of vengeance.</p>
+       <p>III.&mdash;The second joy&mdash;the delights of power.</p>
+       <p>IV.&mdash;Antar has returned to the fallen remains of Palmyra. The third
+     and last gift granted by the fairy to Antar is the joy of true
+     love. Antar begs the fairy to take away his life as soon as she
+     perceives the least estrangement on his side, and she promises to
+     do his desire.</p>
+       <p>After a long time of mutual bliss the fairy perceives, one day,
+     that Antar is absent in spirit and is gazing into the distance.
+     Straightway, divining the reason, she passionately embraces him.
+     The fire of her love enflames Antar, and his heart is consumed
+     away.</p>
+       <p>Their lips meet in a last kiss and Antar dies in the arms of the
+     fairy. </p>
+</blockquote>
+
+<p>
+    The phases of the story are clear in the chain of musical scenes, of the
+    movements themselves and within them. In the opening Largo that recurs
+    in this movement between the visions and happenings, a melody appears
+    (in violas) that moves in all the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music107.jpg" alt="music107" width="400" height="180"></p>
+<p style="text-indent: 0em">
+    acts of the tragedy. It is clearly the Antar motive,&mdash;here amidst ruin
+    and desolation.
+</p>
+<p>
+    The fairy theme is also unmistakable, that first plays in the flute,
+    against soft horns, <i>Allegro giocoso</i>,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music108.jpg" alt="music108" width="400" height="134"></p>
+<p style="text-indent: 0em">
+    and is lost in the onrushing attack, <i>furioso</i>, of a strain that begins
+    in murmuring of muted strings.
+</p>
+<p>
+    Other phrases are merely graphic or incidental. But the Antar motive is
+    throughout the central moving figure.
+</p>
+<p>
+    The scene of the desert returns at the end of the movement.
+</p>
+<p>
+    In the second (<i>Allegro</i>, rising to <i>Molto allegro</i>, returning
+    <i>allargando</i>) the Antar motive is seldom absent. The ending is in long
+    notes of solo oboe and first violins. There is no trace of the fairy
+    queen throughout the movement.
+</p>
+<p>
+    The third movement has phases of mighty action (as in the beginning,
+    <i>Allegro risoluto alla Marcia</i>), of delicate charm, and even of humor.
+    The Antar melody plays in the clangor of big climax in sonorous tones of
+    the low brass, against a quick martial phrase of trumpets and horns.
+    Again there is in this movement no sign of the fairy queen.
+</p>
+<p>
+    In the fourth movement, after a prelude, <i>Allegretto vivace</i>, with light
+    trip of high flutes, a melody, of actual Arab origin, sings <i>Andante
+    amoroso</i> in the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music109.jpg" alt="music109" width="400" height="335"></p>
+<p style="text-indent: 0em">
+    English horn, and continues almost to the end, broken only by the
+    dialogue of the lover themes. At the close a last strain of the Antar
+    melody is followed by the fairy phrase and soft vanishing chord of harp
+    and strings.
+</p>
+<p style="text-indent: 0em">
+    &nbsp;</p>
+<p style="text-align: center">
+    <a name="Scheherezade">
+    <i>"SCHÉRÉZADE," AFTER "A THOUSAND AND ONE NIGHTS." SYMPHONIC SUITE</i> </a>
+</p>
+<p>
+    Prefixed to the score is a "program," in Russian and French: "The Sultan
+    Schahriar, convinced of the infidelity of women, had sworn to put to
+    death each of his wives after the first night. But the Sultana
+    Schérézade saved her life by entertaining him with the stories which she
+    told him during a thousand and one nights. Overcome by curiosity, the
+    Sultan put off from day to day the death of his wife, and at last
+    entirely renounced his bloody vow.
+</p>
+<p>
+    &quot;Many wonders were told to Schahriar by the Sultana Schérézade. For the
+    stories the Sultana borrowed the verses of poets and the words of
+    popular romances, and she fitted the tales and adventures one within the
+    other.
+</p>
+<p>
+    &quot;I. The Sea and the Vessel of Sindbad.
+</p>
+<p>
+    &quot;II. The Tale of the Prince Kalender.
+</p>
+<p>
+    &quot;III. The Young Prince and the Young Princess.
+</p>
+<p>
+    &quot;IV. Feast at Bagdad. The Sea. The Vessel is Wrecked on a Rock on which
+    is Mounted a Warrior of Brass. Conclusion."
+</p>
+<p>
+    With all the special titles the whole cannot be regarded as close
+    description. It is in no sense narrative music. The titles are not in
+    clear order of events, and, moreover, they are quite vague.
+</p>
+<p>
+    In the first number we have the sea and merely the vessel, not the
+    voyages, of Sindbad. Then the story of the Prince Kalender cannot be
+    distinguished among the three tales of the royal mendicants. The young
+    prince and the young princess,&mdash;there are many of them in these Arabian
+    fairy tales, though we can guess at the particular one. Finally, in the
+    last number, the title mentions an event from the story of the third
+    Prince Kalender, where the vessel (not of Sindbad) is wrecked upon a
+    rock surmounted by a warrior of brass. The Feast of Bagdad has no
+    special place in any one of the stories.
+</p>
+<p>
+    The truth is, it is all a mirroring in tones of the charm and essence of
+    these epic gems of the East. It is not like the modern interlinear
+    description, although it might be played during a reading on account of
+    the general agreement of the color and spirit of the music. But there is
+    the sense and feeling of the story, <i>das Märchen</i>, and the romance of
+    adventure. The brilliancy of harmony, the eccentricity and gaiety of
+    rhythm seem symbolic and, in a subtle way, descriptive. As in the
+    subject, the stories themselves, there is a luxuriant imagery, but no
+    sign of the element of reflection or even of emotion.
+</p>
+<p>
+    <i>I.</i>&mdash;The opening motive, in big, broad rhythm, is clearly the Sea. Some
+    have called it the Sindbad motive. But in essence these are not very
+    different. The Sea is here the very feeling and type of adventure,&mdash;nay,
+    Adventure itself. It is a necessary part of fairy stories. Here it
+    begins and ends with its rocking theme, ever moving onward. It comes in
+    the story of the Prince Kalender.
+</p>
+<p>
+    The second of the main phrases is evidently the motive of the fairy tale
+    itself, the feeling of "once upon a time," the idea of story, that leads
+    us to the events themselves. It is a mere strumming of chords of the
+    harp, with a vague line, lacking rhythm, as of musical prose. For rhythm
+    is the type of event, of happenings, of the adventure itself. So the
+    formless phrase is the introduction, the narrator, <i>Märchen</i> in an
+    Oriental dress as Schérézade.
+</p>
+<p>
+    The first number passes for the most part in a rocking of the motive of
+    the sea, in various moods and movements: <i>Largo e maestoso, Allegro non
+    troppo,&mdash;tranquillo</i>. At one time even the theme of the story sings to
+    the swaying of the sea.<a href="#note38">[38]</a>
+</p>
+
+<p>
+    <i>II.</i>&mdash;In the tale of the Prince Kalender Schérézade, of course, begins
+    the story as usual. But the main thread is in itself another interwoven
+    tale,&mdash;<i>Andantino Capriccioso, quasi recitando</i>, with a solo in the
+    bassoon <i>dolce e espressivo</i>,&mdash;later <i>poco piu mosso</i>, in
+    violins.<a href="#note39">[39]</a>
+    There is most of happenings here. A very strident phrase that plays in
+    the brass <i>Allegro molto</i>, may be some hobgoblin, or rather an evil
+    jinn, that holds the princess captive and wrecks the hero's vessel. The
+    sea, too, plays a tempestuous part at the same time with the impish
+    mischief of the jinn.
+</p>
+
+<p>
+    <i>III.</i>&mdash;The third number is the idyll,&mdash;both of the stories and of the
+    music. Here we are nearest to a touch of sentiment,&mdash;apart from the mere
+    drama of haps and mishaps.<a href="#note40">[40]</a> But there are all kinds of special
+    events. There is no prelude of the narrator. The idyll begins
+    straightway, <i>Andantino quasi allegretto</i>, winds through all kinds of
+    scenes and storms, then sings again <i>dolce e cantabile</i>. Here, at last,
+    the Schérézade phrase is heard on the violin solo, to chords of the
+    harp; but presently it is lost in the concluding strains of the love
+    story.
+</p>
+
+<p>
+    <i>IV.</i>&mdash;The last number begins with the motive of the sea, like the
+    first, but <i>Allegro molto</i>, again followed by the phrase of the story
+    teller. The sea returns <i>Allegro molto e frenetico</i> in full force, and
+    likewise the vague motive of the story in a cadenza of violin solo. Then
+    <i>Vivo</i> comes the dance, the pomp and gaiety of the Festival, with
+    tripping tambourine and strings and the song first in the flutes.<a href="#note41">[41]</a>
+    Presently a reminder of the sea intrudes,&mdash;<i>con forza</i> in lower wood and
+    strings. But other familiar figures flit by,&mdash;the evil jinn and the
+    love-idyll. Indeed the latter has a full verse,&mdash;in the midst of the
+    carnival.
+</p>
+
+<p>
+    Right out of the festival, rather in full festal array, we seem to
+    plunge into the broad movement of the surging sea, <i>Allegro non troppo e
+    maestoso</i>, straight on to the fateful event. There are no sighs and
+    tears. Placidly the waves play softly about. And <i>dolce e capriccioso</i>
+    the siren Schérézade once more reappears to conclude the tale.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="Rachmaninow" href="#note42">
+    <i>RACHMANINOW. SYMPHONY IN E MINOR</i>[42] </a>
+</center>
+
+<p>
+    <i>I.</i>&mdash;The symphony begins with the sombre temper of modern Russian art;
+    at the outset it seems to throb with inmost feeling, uttered in subtlest
+    design.
+</p>
+<p>
+    The slow solemn prelude <i>(Largo)</i> opens with the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music110.jpg" alt="music110" width="400" height="86"></p>
+<p style="text-indent: 0em">
+    chief phrase of the work in lowest strings to ominous chords, and treats
+    it with passionate stress until the main pace of Allegro.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music111.jpg" alt="music111" width="400" height="188"></p>
+<p>
+    But the germ of prevailing legend lies deeper. The work is one of the
+    few symphonies where the whole is reared on a smallest significant
+    phrase. The first strain (of basses) is indeed the essence of the
+    following melody and in turn of the main Allegro theme. But, to probe
+    still further, we cannot help feeling an ultimate, briefest motive of
+    single ascending tone against intrinsic obstacle, wonderfully expressed
+    in the harmony, with a mingled sense of resolution and regret. And of
+    like moment is the reverse descending tone. Both of these symbols
+    reappear throughout the symphony, separate or blended in larger melody,
+    as principal or accompanying figures. Aside from this closer view that
+    makes clear the tissue of themal discussion, the first phrase is the
+    main melodic motto, that is instantly echoed in violins with piquant
+    harmony. In the intricate path of deep musing we feel the mantle of a
+    Schumann who had himself a kind of heritage from Bach. And thus we come
+    to see the national spirit best and most articulate through the medium
+    of ancient art.
+</p>
+<p>
+    The main Allegro melody not so much grows out of the Largo prelude, as
+    it is of the same fibre and
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music112.jpg" alt="music112" width="400" height="222"></p>
+<p style="text-indent: 0em">
+    identity. The violins sing here against a stately march of harmonies.
+    Such is the fine coherence that the mere heralding rhythm is wrought of
+    the first chords of the Largo, with their descending stress. And the
+    expressive melody is of the same essence as the original sighing motto,
+    save with a shift of accent that gives a new fillip of motion. In this
+    movement at least we see the type of real symphony, that throbs and
+    sings and holds us in the thrall of its spirit and song.
+</p>
+<p>
+    Moments there are here of light and joy, quickly drooping to the darker
+    mood. Following the free flight of main melody is a skein of quicker
+    figures, on aspirant pulse, answered by broad, tragic descent in minor
+    tones.
+</p>
+<p>
+    Milder, more tranquil sings now the second melody, a striking embodiment
+    of the sense of striving ascent. Chanted in higher reeds, it is
+    immediately
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music113.jpg" alt="music113" width="400" height="203"></p>
+<p style="text-indent: 0em">
+    followed and accompanied by an expressive answer in the strings. On the
+    wing of this song we rise to a height where begins the path of a brief
+    nervous motive (of the first notes of the symphony) that with the
+    descending tone abounds in various guise. As a bold glance at the sun is
+    punished by a sight of solar figures all about, so we feel throughout
+    the tonal story the presence of these symbols. An epilogue of wistful
+    song leads to the repeated melodies.
+</p>
+<p>
+    The main figure of the plot that follows is the first melody, now in
+    slow, graceful notes, now in feverish pace, though the brief (second)
+    motive moves constantly here and there. A darkest descent follows into
+    an Avernus of deep brooding on the legend, with an ascending path of the
+    brief, nervous phrase and a reverse fall, that finally wears out its own
+    despair and ends in a sombre verse of the prelude, with new shades of
+    melancholy, then plunges into an overwhelming burst on the sighing
+    phrase. Thence the path of brooding begins anew; but it is now
+    ascendant, on the dual pulse of the poignant motto and the brief,
+    nervous motive. The whole current of passion is thus uttered in the
+    prelude strain that at the outset was pregnant with feeling. At the
+    crisis it is answered or rather interwoven with a guise of the second
+    theme, in hurried pace, chanted by stentorian brass and wood in
+    hallooing chorus that reaches a high exultation. To be sure the Russian
+    at his gladdest seems tinged with sense of fate. So from the single
+    burst we droop again. But the gloom is pierced by brilliant
+    shafts,&mdash;herald calls (of brass and wood) that raise the mood of the
+    returning main melody, and in their continuous refrain add a buoyant
+    stimulus. And the verse of quicker figures has a new fire and ferment.
+    All absent is the former descent of minor tones. Instead, in solemn hush
+    of tempest, without the poignant touch, the tranquil second melody
+    returns with dulcet answer of strings. A loveliest verse is of this
+    further song where, in a dual chase of tune, the melody moves in
+    contained rapture. In the cadence is a transfigured phase of the
+    ascending tone, mingled with the retiring melody, all woven to a
+    soothing cadence.
+</p>
+<p>
+    But the struggle is not over, nor is redemption near. The dulcet phrases
+    sink once more to sombre depth where there is a final, slow-gathering
+    burst of passion on the motto, with a conclusive ring almost of fierce
+    triumph.
+</p>
+<p>
+    <i>II.</i>&mdash;The second movement, <i>Allegro molto</i>, is a complete change from
+    introspection and passion to an
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music114.jpg" alt="music114" width="400" height="135"></p>
+<p style="text-indent: 0em">
+    abandon as of primitive dance. Strings stir the feet; the horns blow the
+    first motive of the savage tune; the upper wood fall in with a dashing
+    jingle,&mdash;like a stroke of cymbals across the hostile harmonies.
+</p>
+<p>
+    Whether a recurring idiom is merely personal or belongs to the special
+    work is difficult to tell. In reality it matters little. Here the
+    strange rising tone is the same as in the former (second) melody. In
+    the rude vigor of harmonies the primitive idea is splendidly stressed.
+</p>
+<p>
+    Right in the answer is a guise of short, nervous phrase, that gets a new
+    touch of bizarre by a leap of the seventh from below. In this figure
+    that moves throughout the symphony we see an outward symbol of an inner
+    connection.&mdash;Bells soon lend a festive ring to the main tune.
+</p>
+<p>
+    In quieter pace comes a tranquil song of lower voices with a companion
+    melody above,&mdash;all in serene major. Though it grew naturally out of the
+    rude
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music115.jpg" alt="music115" width="400" height="184"></p>
+<p style="text-indent: 0em">
+    dance, the tune has a contrasting charm of idyll and, too, harks back to
+    the former lyric strains that followed the second melody. When the dance
+    returns, there is instead of discussion a mere extension of main motive
+    in full chorus.
+</p>
+<p>
+    But here in the midst the balance is more than restored. From the dance
+    that ceases abruptly we go straight to school or rather cloister. On our
+    recurring nervous phrase a fugue is rung with all pomp and ceremony
+    (<i>meno mosso</i>); and of the dance there are mere faint echoing memories,
+    when the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music116.jpg" alt="music116" width="400" height="130"></p>
+<p style="text-indent: 0em">
+    fugal text seems for a moment to weave itself into the first tune.
+</p>
+<p>
+    Instead, comes into the midst of sermon a hymnal chant, blown gently by
+    the brass, while other stray
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music117.jpg" alt="music117" width="400" height="155"></p>
+<p style="text-indent: 0em">
+    voices run lightly on the thread of fugue. There is, indeed, a playful
+    suggestion of the dance somehow in the air. A final tempest of the
+    fugue<a href="#note43">[43]</a> brings us back to the full verse of dance and the following
+    melodies. But before the end sounds a broad hymnal line in the brass
+    with a dim thread of the fugue, and the figures steal away in solemn
+    stillness.
+</p>
+
+<p>
+    <i>III.</i>&mdash;The Adagio has one principal burden, first borne by
+    violins,&mdash;that rises from the germ of earlier
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music118.jpg" alt="music118" width="400" height="367"></p>
+<p style="text-indent: 0em">
+    lyric strains. Then the clarinet joins in a quiet madrigal of tender
+    phrases. We are tempted to find here an influence from a western
+    fashion, a taint of polythemal virtuosity, in this mystic maze of many
+    strains harking from all corners of the work, without a gain over an
+    earlier Russian simplicity. Even the Slavic symphony seems to have
+    fallen into a state of artificial cunning, where all manners of greater
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music119.jpg" alt="music119" width="400" height="379"></p>
+<p style="text-indent: 0em">
+    or lesser motives are packed close in a tangled mass.
+</p>
+<p>
+    It cannot be said that a true significance is achieved in proportion to
+    the number of concerting themes. We might dilate on the sheer inability
+    of the hearer to grasp a clear outline in such a multiple plot.
+</p>
+<p>
+    There is somehow a false kind of polyphony, a too great facility of
+    spurious counterpoint, that differs subtly though sharply from the true
+    art where the number entails no loss of individual quality; where the
+    separate melodies move by a divine fitness that measures the perfect
+    conception of the multiple idea; where there is no thought of a later
+    padding to give a shimmer of profound art. It is here that the symphony
+    is in danger from an exotic style that had its origin in German
+    music-drama.
+</p>
+<p>
+    From this point the Rachmaninow symphony languishes in the fountain of
+    its fresh inspiration, seems consciously constructed with calculating
+    care.
+</p>
+<p>
+    There is, after all, no virtue in itself in mere themal
+    interrelation,&mdash;in particular of lesser phrases. One cogent theme may
+    well prevail as text of the whole. As the recurring motives are
+    multiplied, they must lose individual moment. The listener's grasp
+    becomes more difficult, until there is at best a mystic maze, a sweet
+    chaos, without a clear melodic thought. It cannot be maintained that the
+    perception of the modern audience has kept pace with the complexity of
+    scores. Yet there is no gainsaying an alluring beauty of these waves of
+    sound rising to fervent height in the main melody that is expressive of
+    a modern wistfulness.
+</p>
+<p>
+    But at the close is a fierce outbreak of the first motto, with a
+    defiance of regret, in faster, reckless pace, brief, but suddenly
+    recurring. Exquisite is this
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music120.jpg" alt="music120" width="400" height="170"></p>
+<p style="text-indent: 0em">
+    cooing of voices in mournful bits of the motto, with a timid upper
+    phrase in the descending tone.
+</p>
+<p>
+    On we go in the piling of Ossa on Pelion, where the motto and even the
+    Scherzo dance lend their text. Yet all is fraught with sentient beauty
+    as, rising in Titanic climb, it plunges into an overwhelming cry in the
+    Adagio melody. Throughout, the ascending and descending tones, close
+    interwoven, give a blended hue of arduous striving and regret.
+</p>
+<p>
+    After a pause follow a series of refrains of solo voices in the melody,
+    with muted strings, with mingled strains of the motto. In the bass is an
+    undulation that recalls the second theme of former movement. And the
+    clarinet returns with its mystic madrigal of melody; now the Adagio
+    theme enters and gives it point and meaning. In one more burst it sings
+    in big and little in the same alluring harmony, whence it dies down to
+    soothing close in brilliant gamut as of sinking sun.
+</p>
+<p>
+    <i>IV.&mdash;Allegro vivace.</i> Throwing aside the clinging
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music121.jpg" alt="music121" width="400" height="213"></p>
+<p style="text-indent: 0em">
+    fragments of fugue in the prelude we rush into a gaiety long sustained.
+    Almost strident is the ruthless merriment; we are inclined to fear that
+    the literal coherence of theme is greater than the inner connection of
+    mood. At last the romp hushes to a whisper of drum, with strange patter
+    of former dance. And following and accompanying it is a new hymnal (or
+    is it martial) line, as it were the reverse of the other
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music122.jpg" alt="music122" width="400" height="229"></p>
+<p style="text-indent: 0em">
+    chant. The gay figures flit timidly back,&mdash;a struggle 'twixt pleasure
+    and fate,&mdash;but soon regain control.
+</p>
+<p>
+    If we cared to interpret, we might find in the Finale a realized
+    aspiration. The truth is the humors of the themal phrases, as of the
+    movements, jar: they are on varying planes. The coarser vein of the last
+    is no solace to the noble grief of the foregoing.
+</p>
+<p>
+    Again the change or series of moods is not clearly defined. They seem a
+    parade of visions. The hymn may be viewed as a guise of the former chant
+    of the Scherzo, with the dance-trip in lowest bass.
+</p>
+<p>
+    Straight from the rush and romp we plunge anew into a trance of sweet
+    memories. The lyric vein here binds together earlier strains, whose
+    kinship had not appeared. They seemed less significant, hidden as
+    subsidiary ideas. If we care to look back we find a germ of phrase in
+    the first Prelude, and then the answer of the second (Allegro) theme of
+    first movement. There was, too, the sweep of dual melody following the
+    rude dance of Scherzo. Above all is here the essence and spirit of the
+    central Adagio melody of the symphony.
+</p>
+<p>
+    The answering strain is of high beauty, with a melting sense of
+    farewell. From the sad ecstasy is a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music123.jpg" alt="music123" width="400" height="198"></p>
+<p style="text-indent: 0em">
+    descent to mystic musing, where abound the symbols of rising and falling
+    tones. More and more moving is the climactic melody of regret with a
+    blended song in large and little. Most naturally it sinks into a full
+    verse of the Adagio tune&mdash;whence instantly is aroused a new battle of
+    moods.
+</p>
+<p>
+    While the dance capers below, above is the sobbing phrase from the heart
+    of the Adagio. The trip falls into the pace of hymnal march. The shadows
+    of many figures return. Here is the big descending scale in tragic minor
+    from the first movement. Large it looms, in bass and treble. Answering
+    it is a figure of sustained thirds that recalls the former second
+    (Allegro) melody. And still the trip of dance goes on.
+</p>
+<p>
+    Sharpest and strongest of all these memories is the big sigh of sombre
+    harmonies from the first Largo prelude, answered by the original legend.
+    And the dance still goes tripping on and the tones rumble in descent.
+</p>
+<p>
+    The dance has vanished; no sound but the drone of dull, falling tones,
+    that multiply like the spirits of the sorcerer apprentice, in large form
+    and small, with the big rumbling in a quick patter as of scurrying mice.
+</p>
+<p>
+    Suddenly a new spirit enters with gathering volume and warmer harmony.
+    As out of a dream we gradually emerge, at the end with a shock of
+    welcome to light and day, as we awake to the returning glad dance. And
+    here is a new entrancing counter-tune above that crowns the joy.
+</p>
+<p>
+    Once again the skip falls into the ominous descent with the phantom of
+    Scherzo dance in basses. Now returns the strange hymnal line of march
+    and the other anxious hue.
+</p>
+<p>
+    But quickly they are transformed into the tempest of gaiety in full
+    parade. When a new burst is preparing, we see the sighing figure all
+    changed to opposite mood. The grim tune of Scherzo dance enters
+    mysteriously in big and little and slowly takes on a softened hue,
+    losing the savage tinge.
+</p>
+<p>
+    After the returning dance, the farewell melody sings from full throat.
+    Before the ending revel we may feel a glorified guise of the sombre
+    legend of the symphony.
+</p>
+<a name="2HCH0012"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XII
+</h2>
+<h3>
+    SIBELIUS. A FINNISH SYMPHONY<a href="#note44">[44]</a>
+</h3>
+
+<p>
+    We must expect that the music of newer nations will be national. It goes
+    without saying; for the music comes fresh from the soil; it is not the
+    result of long refined culture. There is the strain and burst of a
+    burden of racial feeling to utter itself in the most pliant and eloquent
+    of all the languages of emotion. It is the first and noblest sentiment
+    of every nation conscious of its own worth, and it has its counterpart
+    in the individual. Before the utterance has been found by a people,
+    before it has felt this sense of its own quality, no other message can
+    come. So the most glorious period in the history of every country (even
+    in the eyes of other nations) is the struggle for independence, whether
+    successful or not.
+</p>
+<p>
+    All on a new plane is this northernmost symphony, with a crooning note
+    almost of savage, and sudden, fitful bursts from languorous to fiery
+    mood. The harmony, the turn of tune have a national quality, delicious
+    and original, though the Oriental tinge appears, as in Slav and Magyar
+    music, both in bold and in melancholy humor. Though full of strange and
+    warm colors, the harmonic scheme is simple; rather is the work a tissue
+    of lyric rhapsody than the close-woven plot of tonal epic. A certain
+    trace of revery does find a vent in the traditional art of contrary
+    melodies. But a constant singing in pairs is less art than ancient
+    folk-manner, like primal music in the love or dance songs of savages.
+</p>
+<p>
+    The symphony begins with a quiet rhapsody of solo clarinet in wistful
+    minor, clear without chords, though there is a straying into major.
+    There is no accompaniment save a soft roll of drum, and that soon dies
+    away.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music124.jpg" alt="music124" width="400" height="105"></p>
+<p>
+    The rhapsody seems too vague for melody; yet there are motives, one in
+    chief, winding to a pause; here is a new appealing phrase; the ending is
+    in a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music125.jpg" alt="music125" width="400" height="80"></p>
+<p style="text-indent: 0em">
+    return to the first. Over the whole symphony is cast the hue of this
+    rhapsody, both in mood and in the literal tone.
+</p>
+<p>
+    All opposite, with sudden spring of buoyant strings, strikes the
+    Allegro tune ending in a quick, dancing trip. The first voice is
+    immediately pursued by another
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music126.jpg" alt="music126" width="400" height="216"></p>
+<p style="text-indent: 0em">
+    in similar phase, like a gentler shadow, and soon rises to a passionate
+    chord that is the main idiom of the movement.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music127.jpg" alt="music127" width="400" height="200"></p>
+<p>
+    A second theme in clear-marked tones of reed and horns, as of stern
+    chant, is taken up in higher wood and grows to graceful melody in
+    flowing strings.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music128.jpg" alt="music128" width="400" height="162"></p>
+<p style="text-indent: 0em">
+    There is a series of flights to an ever higher perch of harmony until
+    the first Allegro motive rings out in fullest chorus, again with the
+    companion tune and the cadence of poignant dissonance.
+</p>
+<p>
+    A new episode comes with shimmering of harp and strings, where rare and
+    dainty is the sense of primal
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music129.jpg" alt="music129" width="400" height="340"></p>
+<p style="text-indent: 0em">
+    harmony that lends a pervading charm to the symphony. Here the high
+    wood has a song in constant thirds, right from the heart of the
+    rhapsody, all bedecked as melody with a new rhythm and answer. Soon this
+    simple lay is woven in a skein of pairs of voices, meeting or diverging.
+    But quickly we are back in the trance of lyric song, over palpitating
+    strings, with the refrain very like the former companion phrase that
+    somehow leads or grows to a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music130.jpg" alt="music130" width="400" height="181"></p>
+<p style="text-indent: 0em">
+    rhythmic verse of the first strain of the rhapsody. Here begins a long
+    mystic phase of straying voices (of the wood) in the crossing figures of
+    the song, in continuous fantasy that somehow has merged into the line of
+    second Allegro theme, winging towards a brilliant height where the
+    strings ring out the strain amid sharp cries of the brass in startling
+    hues of harmony and electric calls from the first rhapsody.
+</p>
+<p>
+    From out the maze and turmoil the shadowy melody rises in appealing
+    beauty like heavenly vision and lo! is but a guise of the first strain
+    of rhapsody. It rises amid flashes of fiery brass in bewildering blare
+    of main theme, then sinks again to the depth of brooding, though the
+    revery of the appealing phrase has a climactic height of its own, with
+    the strange, palpitating harmonies.
+</p>
+<p>
+    In a new meditation on bits of the first Allegro theme sounds suddenly a
+    fitful burst of the second, that presently emerges in triumphant,
+    sovereign song. Again, on a series of flights the main theme is reached
+    and leaps once more to impassioned height.
+</p>
+<p>
+    But this is followed by a still greater climax of moving pathos whence
+    we descend once more to lyric meditation (over trembling strings).
+    Follows a final tempest and climax of the phrase of second theme.
+</p>
+<p>
+    The movement thus ends, not in joyous exultation, but in a fierce
+    triumph of sombre minor.
+</p>
+<p>
+    The Andante is purest folk-melody, and it is strange how we know this,
+    though we do not know the special theme. We cannot decry the
+    race-element as a rich fount of melody. While older nations strive and
+    strain, it pours forth by some mystery in prodigal flow with less
+    tutored peoples who are singing their first big song to the world. Only,
+    the ultimate goal for each racial inspiration must be a greater
+    universal celebration.
+</p>
+<p>
+    The lyric mood is regnant here, in a melody that, springing from distant
+    soil, speaks straight to every heart, above all with the concluding
+    refrain. It is of the purest vein, of the primal fount, deeper than mere
+    racial turn or trait. Moreover, with a whole coronet of gems of modern
+    harmony, it has a broad swing and curve that gives the soothing sense of
+    fireside;
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music131.jpg" alt="music131" width="400" height="346"></p>
+<p style="text-indent: 0em">
+    it bears a burden of elemental, all-contenting emotion. In the main, the
+    whole movement is one lyric flight. But there come the moods of musing
+    and rhapsodic rapture. In a brief fugal vein is a mystic harking back to
+    the earlier prelude. In these lesser phrases are the foil or
+    counter-figures for the bursts of the melody.
+</p>
+<p>
+    It is the first motive of the main tune that is the refrain in ever
+    higher and more fervent exclamation, or in close pressing chase of
+    voices. Then follows a melting episode,&mdash;some golden piece of the melody
+    in plaintive cellos, 'neath tremulous wood or delicate choirs of
+    strings.
+</p>
+<p>
+    But there is a second tune, hardly less moving, in dulcet group of
+    horns amid shimmering strings and harp, with a light bucolic answer in
+    playful reed.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music132.jpg" alt="music132" width="400" height="321"></p>
+<p style="text-indent: 0em">
+    And it has a glowing climax, too, with fiery trumpet, and dashing
+    strings and clashing wood.
+</p>
+<p>
+    Gorgeous in the warm depth of horns sound now the returning tones of the
+    first noble melody, with playful trill of the wood, in antiphonal song
+    of trumpets and strings. And there are revels of new turns of the tune
+    (where the stirring harmony seems the best of all) that will rise to a
+    frenzy of tintinnabulation. A quicker counter-theme lends life and
+    motion to all this play and plot.
+</p>
+<p>
+    A big, solemn stride of the middle strain (of main melody) precedes the
+    last returning verse, with all the tender pathos of the beginning.
+</p>
+<p>
+    The Scherzo is wild race-feeling let loose&mdash;national music that has not
+    yet found a melody. Significantly the drums begin the tune, to a dancing
+    strain of <i>pizzicato</i> strings. The tune is so elemental that the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music133.jpg" alt="music133" width="315" height="130"></p>
+<p style="text-indent: 0em">
+    drums can really play it; the answer is equally rude,&mdash;an arpeggic
+    motive of strings against quick runs of the higher wood. Out of it grows
+    a tinge of tune with a fresh spring of dance,&mdash;whence returns the first
+    savage motive. This is suddenly changed to the guise of a fugal theme,
+    with new close, that starts a maze of disputation.
+</p>
+<p>
+    Right from the full fire of the rough dance, sad-stressed chords plunge
+    into a moving plaint with much sweetness of melody and higher
+    counter-melody. Then returns again the original wild rhythm.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music134.jpg" alt="music134" width="400" height="170"></p>
+<p>
+    In the last movement the composer confesses the "Fantasy" in the title.
+    It begins with a broad sweep of the returning rhapsody, the prologue of
+    the symphony, though without the former conclusion. Now it sings in a
+    strong unison of the strings <i>largamente ed appassionato</i>, and with
+    clang of chord in lower brass. The appealing middle phrase is all
+    disguised in strum as of dance. The various strains sing freely in
+    thirds, with sharp punctuating chords. Throughout is a balance of the
+    pungent vigor of harmonies with dulcet melody.
+</p>
+<p>
+    In sudden rapid pace the strumming figure dances in the lower reed, then
+    yields to the play (in the strings) of a lively (almost comic) tune of a
+    strong national tinge,&mdash;a kind that seems native to northern countries
+    and is not unlike a strain that crept into
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music135.jpg" alt="music135" width="400" height="122"></p>
+<p style="text-indent: 0em">
+    American song. A tempest of pranks is suddenly halted before the
+    entrance of a broad melody, with underlying harmonies of latent passion.
+    The feeling of fantasy is in the further flow, with free singing chords
+    of harp. But ever between the lines creeps in the strumming phrase, from
+    the first prelude, returned to its earlier mood.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music136.jpg" alt="music136" width="400" height="218"></p>
+<p>
+    With baffling mystery anon come other appealing phrases from the
+    beginning, that show the whole to be the woof almost of a single figure,
+    or at least to lie within the poetic scope of the prologue. A fugal
+    revel of the comic phrase with the quick strum as counter-theme ends in
+    a new carnival,&mdash;here a dashing march, there a mad chase of strident
+    harmonies. Now sings the full romance and passion of the melody through
+    the whole gamut from pathos to rapture. It ends with poignant stress of
+    the essence of the song, with sheerest grating of straining harmonies.
+    In the midst, too, is again the mystic symbol from the heart of the
+    prelude. Then with a springing recoil comes a last jubilation, though
+    still in the prevailing minor, with a final coursing of the quick theme.
+</p>
+<p>
+    The whole is a broad alternation of moods, of wild abandon and of tender
+    feeling,&mdash;the natural dual quality of primal music. So, at least in the
+    Finale, this is a Finnish fantasy, on the very lines of other national
+    rhapsody.
+</p>
+<a name="2HCH0013"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XIII
+</h2>
+<h3>
+    BOHEMIAN SYMPHONIES
+</h3>
+<p>
+    In the music of modern Bohemia is one of the most vital utterances of
+    the folk-spirit. The critic may not force a correspondence of politics
+    and art to support his theory. Yet a cause may here be found as in
+    Russia and Finland. (Poland and Hungary had their earlier song). There
+    is a sincerity, an unpremeditated quality in Bohemian music that is not
+    found among its western neighbors. The spirit is its own best proof,
+    without a conscious stress of a national note. Indeed, Bohemian music is
+    striking, not at all in a separate tonal character, like Hungarian, but
+    rather in a subtle emotional intensity, which again differs from the
+    wild abandon of the Magyars. An expression it must be of a national
+    feeling that has for ages been struggling against absorption. Since
+    ancient times Bohemia has been part of a Teutonic empire. The story of
+    its purely native kings is not much more than legendary. Nor has it
+    shared the harder fate of other small nations; for the Teuton rule at
+    least respected its separate unity.
+</p>
+<p>
+    But the long association with the German people has nearly worn away the
+    racial signs and hall-marks of its folk-song. A Bohemian tune thus has a
+    taste much like the native German. Yet a quality of its own lies in the
+    emotional vitality, shown in a school of national drama and, of late, in
+    symphony. It is not necessary to seek in this modern culmination a
+    correspondence with an impending danger of political suppression. Art
+    does not follow history with so instant a reflection.
+</p>
+<p>
+    The intensity of this national feeling appears when Smetana himself, the
+    minstrel of the people, is charged at home with yielding to the foreign
+    influence. Here again is the hardship of the true national poet who
+    feels that for the best utterance of his message he needs the grounding
+    upon a broader art; here is the narrow Chauvinism that has confined the
+    music of many lands within the primitive forms.
+</p>
+<p>
+    Two types we have in Bohemian music of later times: one, Smetana, of
+    pure national celebration; a second, Dvôrák, who with a profound
+    absorption of the German masters, never escaped the thrall of the
+    folk-element and theme.</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="smetana" href="#note45">
+    <i>SMETANA. SYMPHONIC POEM, "THE MOLDAU RIVER"</i>[45] </a>
+</center>
+
+<p>
+    Simplicity is uppermost in these scores; yet the true essence is almost
+    hidden to the mere reader. With all primitive quality they are more
+    difficult than many a classic symphony. The latent charm of folk humor
+    and sentiment depends more on tradition and sympathy than on notation.
+</p>
+<p>
+    The naïvely graphic impulse (that we find throughout the choral works of
+    Bach) that merely starts a chance themal line, as here of the first
+    branch of the Moldau, does not disturb the emotional expression. And
+    while the feeling is sustained, the art is there, not to stifle but to
+    utter and set free the native spring of song.
+</p>
+<p>
+    It must be yielded that the design is not profound; it smacks of the
+    village fair rather than of grand tragedy. Song is ever supreme, and
+    with all abundance of contrapuntal art does not become sophisticated.
+    The charm is not of complexity, but of a more child-like, sensuous kind.
+</p>
+<p>
+    It must all be approached in a different way from other symphonic music.
+    The minstrel is not even the peasant in court costume, as Dvôrák once
+    was called. He is the peasant in his own village dress, resplendent with
+    color and proud of his rank.
+</p>
+<p>
+    We cannot enjoy the music with furrowed brow. It is a case where music
+    touches Mother Earth and rejuvenates herself. Like fairy lore and
+    proverbs, its virtue lies in some other element than profound design.
+    For any form of song or verse that enshrines the spirit of a people and
+    is tried in the forge of ages of tradition, lives on more surely than
+    the fairest art of individual poet.
+</p>
+<p>
+    The stream is the great figure, rising from small sources in playful
+    flutes, with light spray of harp and
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music137.jpg" alt="music137" width="400" height="157"></p>
+<p style="text-indent: 0em">
+    strings. The first brook is joined by another (in clarinets) from a new
+    direction. Soon grows the number and the rustle of confluent waters. The
+    motion of the strings is wavelike, of a broader flow, though underneath
+    we scan the several lesser currents. Above floats now the simple, happy
+    song, that expands
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music138.jpg" alt="music138" width="400" height="196"></p>
+<p style="text-indent: 0em">
+    with the stream and at last reaches a glad, sunny major.
+</p>
+<p>
+    Still to the sound of flowing waters comes the forest hunt, with all the
+    sport of trumpets and other brass.
+</p>
+<p>
+    It is descriptive music, tonal painting if you will; but the color is
+    local or national. The strokes are not so much of events or scenes as of
+    a popular humor and character, which we must feel with small stress of
+    each event. The blowing of trumpets, the purling of streams, the swaying
+    of trees, in primal figures, all breathe the spirit of Bohemia.
+</p>
+<p>
+    The hunt dies away; emerging from the forest the jolly sounds greet us
+    of a peasant wedding. The
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music139.jpg" alt="music139" width="400" height="186"></p>
+<p style="text-indent: 0em">
+    parade reaches the church in high festivity and slowly vanishes to
+    tinkling bells.
+</p>
+<p>
+    Night has fallen; in shifted scene the stream is sparkling in the
+    moonlight still to the quiet sweet harmonies. But this is all background
+    for a dance of nymphs, while a dulcet, sustained song sounds through the
+    night. At last, to the golden horns a faintest harmony is added of
+    deeper brass. Still very softly, the brass strike a quicker phrase and
+    we seem to hear the hushed chorus of hunt with the call of trumpets, as
+    the other brass lead in a new verse that grows lustier with the livelier
+    song and dance, till&mdash;with a flash we are alone with the running stream
+    with which the dance of nymphs has somehow merged.
+</p>
+<p>
+    On it goes, in happy, ever more masterful course, a symbol of the
+    nation's career, surging in bright major and for a moment quieting
+    before the mighty Rapids of St. Johann. Here the song of the stream is
+    nearly lost in the rush of eddies and the strife of big currents, with
+    the high leaps of dashing spray,&mdash;ever recurring like unceasing battle
+    with a towering clash at the height of the tempest. At last all meet in
+    overpowering united torrent, suddenly to hush before the stream, at the
+    broadest, rushes majestically along in hymnal song of exalted harmonies
+    and triumphant melody, with joyous after-strains.
+</p>
+<p>
+    As the pilgrim to his Mecca, so the waters are wafted into the climactic
+    motive of the Hradschin, the chant of the holy citadel. The rest is a
+    long jubilation
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music140.jpg" alt="music140" width="400" height="221"></p>
+<p style="text-indent: 0em">
+    on quicker beats of the chant, amid the plash of waters and the shaking
+    of martial brass. Strangely, as the other sounds die away, the melody of
+    the stream emerges clear and strong, then vanishes in the distance
+    before the jubilant Amen.
+</p>
+<p>
+    In the general view we must feel a wonderful contrast here with the
+    sophomoric state of the contemporary art in other lands where the
+    folk-song has lost its savor,&mdash;where the natural soil is exhausted and
+    elegant castles are built in the air of empty fantasy, or on the sands
+    of a vain national pride.
+</p>
+<p>
+    &nbsp;</p>
+<p style="text-align: center">
+    <a name="dvorak" href="#note46">
+    <i>DVÔRÁK. SYMPHONY, "FROM THE NEW WORLD."</i>[46] </a>
+</p>
+
+<p>
+    It is a much-discussed question how far Dvôrák's American symphony is
+    based on characteristic folk-song. Here are included other questions: to
+    what extent the themes are based on an African type, and whether negro
+    music is fairly American folk-song. Many, perhaps most people, will
+    answer with a general negative. But it seems to be true that many of us
+    do not really know the true negro song,&mdash;have quite a wrong idea of it.
+</p>
+<p>
+    To be sure, all argument aside, it is a mistake to think that folk-song
+    gets its virtue purely from a distinctive national quality,&mdash;because it
+    is Hungarian, Scandinavian, or Slavonic. If all the national modes and
+    rhythms of the world were merged in one republic, there would still be a
+    folk-song of the true type and value. There is a subtle charm and
+    strength in the spontaneous simplicity, all aside from racial color. It
+    is here that, like Antaeus, the musician touches Mother Earth and renews
+    his strength. So, when Dvôrák suddenly shifts in the midst of his New
+    World fantasy into a touch of Bohemian song, there is no real loss. It
+    is all relevant in the broad sense of folk feeling, that does not look
+    too closely at geographical bounds. It is here that music, of all arts,
+    leads to a true state of equal sympathy, regardless of national
+    prejudice. What, therefore, distinguishes Dvôrák's symphony may not be
+    mere negro melody, or even American song, but a genuine folk-feeling, in
+    the widest meaning.
+</p>
+<p>
+    In one way, Dvôrák's work reminds us of Mendelssohn's Scotch Symphony:
+    both exploit foreign national melody in great poetic forms. One could
+    write a Scotch symphony in two ways: one, in Mendelssohn's, the other
+    would be to tell of the outer impression in the terms of your own
+    folk-song. That is clearly the way Mendelssohn wrote most of the Italian
+    Symphony,&mdash;which stands on a higher plane than the Scotch. For folk-song
+    is the natural language of its own people. It is interesting to see the
+    exact type that each theme represents; but it is not so important as to
+    catch the distinction, the virtue of folk-song <i>per se</i> and the purely
+    natural utterance of one's own. Of course, every one writes always in
+    his folk-tones. On the other hand, one may explore one's own special
+    treasures of native themes, as Dvôrák himself did so splendidly in his
+    Slavic Dances and in his Legends. So one must, after all, take this
+    grateful, fragrant work as an idea of what American composers might do
+    in full earnest. Dvôrák is of all later masters the most eminent
+    folk-musician. He shows greatest sympathy, freedom and delight in
+    revelling among the simple tones and rhythms of popular utterance,
+    rearing on them, all in poetic spontaneity, a structure of high art.
+    Without strain or show, Dvôrák stood perhaps the most genuine of late
+    composers, with a firm foot on the soil of native melody, yet with the
+    balance and restraint and the clear vision of the trained master.<a href="#note47">[47]</a>
+</p>
+
+<p>
+    In a certain view, it would seem that by the fate of servitude the
+    American negro has become the element in our own national life that
+    alone produces true folk-song,&mdash;that corresponds to the peasant and serf
+    of Europe, the class that must find in song the refuge and solace for
+    its loss of material joys. So Dvôrák perhaps is right, with a far seeing
+    eye, when he singles the song of the despised race as the national type.
+</p>
+<p>
+    Another consideration fits here. It has been suggested that the
+    imitative sense of the negro has led him to absorb elements of other
+    song. It is very difficult to separate original African elements of song
+    from those that may thus have been borrowed. At any rate, there is no
+    disparagement of the negro's musical genius in this theory. On the
+    contrary, it would be almost impossible to imagine a musical people that
+    would resist the softer tones of surrounding and intermingling races.
+    We know, to be sure, that Stephen Foster, the author of "The Old Folks
+    at Home," "Massa's in the Cold, Cold Ground," and other famous ballads,
+    was a Northerner, though his mother came from the South. We hear, too,
+    that he studied negro music eagerly. It is not at all inconceivable,
+    however, Foster's song may have been devoid of negro elements, that the
+    colored race absorbed, wittingly or unwittingly, something of the vein
+    into their plaints or lullabies,&mdash;that, indeed, Foster's songs may have
+    been a true type that stirred their own imitation. From all points of
+    view,&mdash;the condition of slavery, the trait of assimilation and the
+    strong gift of musical expression may have conspired to give the negro a
+    position and equipment which would entitle his tunes to stand as the
+    real folk-song of America.
+</p>
+<p>
+    The eccentric accent seems to have struck the composer strongly. And
+    here is a strange similarity with Hungarian song,&mdash;though there is, of
+    course, no kinship of race whatever between Bohemians and Magyars. One
+    might be persuaded to find here simply an ebullition of rhythmic
+    impulse,&mdash;the desire for a special fillip that starts and suggests a
+    stronger energy of motion than the usual conventional pace. At any rate,
+    the symphony begins with just such strong, nervous phrases that soon
+    gather big force. Hidden is the germ of the first, undoubtedly the chief
+    theme of the whole work.
+</p>
+<p>
+    It is more and more remarkable how a search will show the true
+    foundation of almost all of Dvôrák's themes. Not that one of them is
+    actually borrowed, or lacks an original, independent reason for being.
+</p>
+<p>
+    Whether by imitation or not, the pentatonic scale of the Scotch is an
+    intimate part of negro song. This avoidance of the seventh or leading
+    tone is seen throughout the symphony as well as in the traditional
+    jubilee tunes. It may be that this trait was merely confirmed in the
+    African by foreign musical influence. For it seems that the
+    leading-note, the urgent need for the ascending half-tone in closing,
+    belongs originally to the minstrelsy of the Teuton and of central
+    Europe, that resisted and conquered the sterner modes of the early
+    Church. Ruder nations here agreed with Catholic ritual in preferring the
+    larger interval of the whole tone. But in the quaint jump of the third
+    the Church had no part, clinging closely to a diatonic process.
+</p>
+<p>
+    The five-toned scale is indeed so widespread that it cannot be fastened
+    on any one race or even family of nations. The Scotch have it; it is
+    characteristic of the Chinese and of the American Indian. But,
+    independently of the basic mode or scale, negro songs show here and
+    there a strange feeling for a savage kind of lowering of this last note.
+    The pentatonic scale simply omits it, as well as the fourth step. But
+    the African will now and then rudely and forcibly lower it by a
+    half-tone. In the minor it is more natural; for it can then be thought
+    of as the fifth of the relative major. Moreover, it is familiar to us in
+    the Church chant. This effect we have in the beginning of the Scherzo.
+    Many of us do not know the true African manner, here. But in the major
+    it is much more barbarous. And it is almost a pity that Dvôrák did not
+    strike it beyond an occasional touch (as in the second quoted melody). A
+    fine example is "Roll, Jordan Roll," in E flat (that opens, by the way,
+    much like Dvôrák's first theme), where the beginning of the second line
+    rings out on a savage D flat, out of all key to Caucasian ears.
+</p>
+<p>
+    We soon see stealing out of the beginning <i>Adagio</i> an eccentric pace in
+    motion of the bass, that leads to the burst of main subject, <i>Allegro
+    molto</i>, with a certain
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music141.jpg" alt="music141" width="400" height="401"></p>
+<p style="text-indent: 0em">
+    ragged rhythm that we Americans cannot disclaim as a nation. The working
+    up is spirited, and presently out of the answer grows a charming jingle
+    that somehow strikes home.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music142.jpg" alt="music142" width="400" height="81"></p>
+<p>
+    It begins in the minor and has a strange, barbaric touch of cadence.
+    Many would acknowledge it at most as a touch of Indian mode. Yet it is
+    another phase of the lowered seventh. And if we care to search, we find
+    quite a prototype in a song like "Didn't My Lord Deliver Daniel." Soon
+    the phrase has a more familiar ring as it turns into a friendly major.
+    But the real second theme comes in a solo tune on the flute, in the
+    major,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music143.jpg" alt="music143" width="399" height="181"></p>
+<p style="text-indent: 0em">
+    with a gait something like the first.<a href="#note48">[48]</a> Less and less we can resist the
+    genuine negro quality of these melodies, and, at the same time, their
+    beauty and the value of the tonal treasure-house in our midst.
+</p>
+
+<p>
+    The whole of the first Allegro is thus woven of three melodious and
+    characteristic themes in very clear sonata-form. The second, Largo,
+    movement is a lyric of moving pathos, with a central melody that may not
+    have striking traits of strict African song, and yet belongs to the type
+    closely associated with the negro vein of plaint or love-song. The
+    rhythmic
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music144.jpg" alt="music144" width="400" height="87"></p>
+<p style="text-indent: 0em">
+    turns that lead to periods of excitement and climaxes of rapid motion,
+    are absent in the main melody. But
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music145.jpg" alt="music145" width="400" height="344"></p>
+<p style="text-indent: 0em">
+    they appear in the episode that intervenes. Even here, in the midst, is
+    a new contrast of a minor lament that has a strong racial trait in the
+    sudden swing to major and, as quickly, back to the drearier mode. This
+    is followed by a rhapsody or succession of rapid, primitive phrases,
+    that leads to a crisis where, of a sudden, three themes sing at once,
+    the two of the previous Allegro and the main melody of the Largo, in
+    distorted pace with full chorus. This excitement is as suddenly lulled
+    and soothed by the return of the original moving song.
+</p>
+<p>
+    The Scherzo starts in a quick three-beat strum on the chord we have
+    pointed to as a true model trait of negro music, with the lowered
+    leading-note. The
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music146.jpg" alt="music146" width="400" height="191"></p>
+<p style="text-indent: 0em">
+    theme, discussed in close stress of imitation, seems merely to mark the
+    rapid swing in the drone of strange harmony. But what is really a sort
+    of Trio (<i>poco sostenuto</i>) is another sudden, grateful change to major,
+    perfectly true to life, so to speak, in this turn of mode and in the
+    simple lines of the tune. The lyric mood all but suppresses the dance,
+    the melody sounding like a new verse of the Largo. The trip has always
+    lingered, but not too much for the delicious change when it returns to
+    carry us off our feet.
+</p>
+<p>
+    The Scherzo now steals in again, quite a piece, it seems, with the Trio.
+    As the rising volume nears a crisis, the earliest theme (from the first
+    Allegro) is heard in the basses. In the hushed discourse of Scherzo
+    theme that follows, the old melody still intrudes. In mockery of one of
+    its turns comes an enchanting bit of tune, as naïve an utterance as any,
+    much like a children's dancing song. And it returns later with still new
+    enchantment of rhythm. But the whole is too full of folk-melody to trace
+    out, yet is, in its very fibre, true to the idea of an epic of the
+    people.
+</p>
+<p>
+    Presently the whole Scherzo and Trio are rehearsed; but now instead of
+    the phase of latest melodies is a close where the oldest theme (of
+    Allegro) is sung in lusty blasts of the horns and wood, with answers of
+    the Scherzo motive.
+</p>
+<p>
+    In the last movement, <i>Allegro con fuoco</i>, appears early a new kind of
+    march tune that, without special
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music147.jpg" alt="music147" width="400" height="96"></p>
+<p style="text-indent: 0em">
+    trick of rhythm, has the harsh note of lowered leading-note (in the
+    minor, to be sure) in very true keeping with negro song. The march is
+    carried on, with flowing answer, to a high pitch of varied splendor and
+    tonal power. The second theme is utterly opposed in a certain pathetic
+    rhapsody. Yet it rises, at the close, to a fervent burst in rapid
+    motion. We
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music148.jpg" alt="music148" width="400" height="345"></p>
+<p style="text-indent: 0em">
+    may expect in the Finale an orgy of folk-tune and dance, and we are not
+    disappointed. There is, too, a quick rise and fall of mood, that is a
+    mark of the negro as well as of the Hungarian. By a sudden doubling, we
+    are in the midst of a true "hoe-down," in jolliest jingle, with that
+    naïve iteration, true to life; it comes out clearest when the tune of
+    the bass (that sounds like a rapid "Three Blind Mice") is
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music149.jpg" alt="music149" width="400" height="386"></p>
+<p style="text-indent: 0em">
+    put in the treble. A pure idealized negro dance-frolic is here. It is
+    hard to follow all the pranks; lightly as the latest phrase descends in
+    extending melody, a rude blast of the march intrudes in discordant
+    humor. A new jingle of dance comes with a redoubled pace of bits of the
+    march. As this dies down to dimmest bass, the old song from the Largo
+    rings high in the wood. Strangest of all, in a fierce shout of the whole
+    chorus sounds twice this same pathetic strain. Later comes a redoubled
+    speed of the march in the woodwind, above a slower in low strings. Now
+    the original theme of all has a noisy say. Presently the sad second
+    melody has a full verse. Once more the Largo lullaby sings its strain
+    in the minor. In the close the original Allegro theme has a literal,
+    vigorous dispute with the march-phrase for the last word of all.
+</p>
+<p>
+    The work does less to exploit American music than to show a certain
+    community in all true folk-song. Nor is this to deny a strain peculiar
+    to the new world. It seems a poet of distant land at the same time and
+    in the same tones uttered his longing for his own country and expressed
+    the pathos and the romance of the new. Dvôrák, like all true workers,
+    did more than he thought: he taught Americans not so much the power of a
+    song of their own, as their right of heritage in all folk-music. And
+    this is based not merely on an actual physical inheritance from the
+    various older races.
+</p>
+<p>
+    If the matter, in Dvôrák's symphony, is of American negro-song, the
+    manner is Bohemian. A stranger-poet may light more clearly upon the
+    traits of a foreign lore. But his celebration will be more conscious if
+    he endeavor to cling throughout to the special dialect. A true national
+    expression will come from the particular soil and will be unconscious of
+    its own idiom.
+</p>
+<p>
+    The permanent hold that Dvôrák's symphony has gained is due to an
+    intrinsic merit of art and sincere sentiment; it has little to do with
+    the nominal title or purpose.
+</p>
+<a name="2HCH0014"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XIV
+</h2>
+<h3>
+    THE EARLIER BRUCKNER<a href="#note49">[49]</a>
+</h3>
+
+<p>
+    Whatever be the final answer of the mooted question of the greatness of
+    Bruckner's symphonies, there is no doubt that he had his full share of
+    technical profundity, and a striking mastery of the melodious weaving of
+    a maze of concordant strains. The question inevitably arises with
+    Bruckner as to the value of the world's judgments on its contemporary
+    poets. There can be no doubt that the <i>furore</i> of the musical public
+    tends to settle on one or two favorites with a concentration of praise
+    that ignores the work of others, though it be of a finer grain. Thus
+    Schubert's greatest&mdash;his one completed&mdash;symphony was never acclaimed
+    until ten years after his death. Even his songs somehow brought more
+    glory to the singer than to the composer. Bach's oratorios lay buried
+    for a full century. On the other hand, names great in their day are
+    utterly lost from the horizon. It is hard to conceive the <i>éclat</i> of a
+    Buononcini or a Monteverde,&mdash;whose works were once preëminent. There are
+    elements in art, of special, sensational effect, that make a peculiar
+    appeal in their time, and are incompatible with true and permanent
+    greatness. One is tempted to say, the more sudden and vehement the
+    success, the less it will endure. But it would not be true. Such an
+    axiom would condemn an opera like "Don Giovanni," an oratorio like the
+    "Creation," a symphony like Beethoven's Seventh. There is a wonderful
+    difference, an immeasurable gulf between the good and the bad in art;
+    yet the apparent line is of the subtlest. Most street songs may be poor;
+    but some are undoubtedly beautiful in a very high sense. It is a problem
+    of mystic fascination, this question of the value of contemporary art.
+    It makes its appeal to the subjective view of each listener. No rule
+    applies. Every one will perceive in proportion to his capacity, no one
+    beyond it. So, a profound work may easily fail of response, as many
+    works in the various arts have done in the past, because the average
+    calibre of the audience is too shallow, while it may deeply stir an
+    intelligent few. Not the least strange part of it all is the fact that
+    there can, of necessity, be no decision in the lifetime of the poet.
+    Whether it is possible for obscure Miltons never to find their meed of
+    acclaim, is a question that we should all prefer to answer in the
+    negative. There is a certain shudder in thinking of such a chance; it
+    seems a little akin to the danger of being buried alive.
+</p>
+<p>
+    The question of Bruckner's place can hardly be said to be settled,
+    although he has left nine symphonies. He certainly shows a freedom, ease
+    and mastery in the symphonic manner, a limpid flow of melody and a sure
+    control in the interweaving of his themes, so that, in the final
+    verdict, the stress may come mainly on the value of the subjects, in
+    themselves. He is fond of dual themes, where the point lies in neither
+    of two motives, but in the interplay of both; we see it somewhat
+    extended in Richard Strauss, who uses it, however, in a very different
+    spirit. The one evident and perhaps fatal lack is of intrinsic beauty of
+    the melodic ideas, and further, an absence of the strain of pathos that
+    sings from the heart of a true symphony. While we are mainly impressed
+    by the workmanship, there is no denying a special charm of constant
+    tuneful flow. At times this complexity is almost marvellous in the clear
+    simplicity of the concerted whole,&mdash;in one view, the main trait or trick
+    of symphonic writing. It is easy to pick out the leading themes as they
+    appear in official order. But it is not so clear which of them
+    constitute the true text. The multiplicity of tunes and motives is
+    amazing.
+</p>
+<p>
+    Of the Wagner influence with which Bruckner is said to be charged,
+    little is perceptible in his <a name="sym2">second symphony</a>. On the contrary, a strong
+    academic tradition pervades. The themes are peculiarly symphonic.
+    Moreover they show so strikingly the dual quality that one might say, as
+    a man may see double, Bruckner sang double. Processes of augmenting and
+    inverting abound, together with the themal song in the bass. Yet there
+    is not the sense of overloaded learning. There is everywhere a clear and
+    melodious polyphony.
+</p>
+<p>
+    But with all masterly architecture, even enchanting changes of harmony
+    and a prodigal play of melody, the vacuity of poetic ideas must preclude
+    a permanent appeal. Bruckner is here the schoolmaster: his symphony is a
+    splendid skeleton, an object lesson for the future poet.
+</p>
+<p>
+    In the <a name="Bsym4">FOURTH (ROMANTIC) SYMPHONY</a> the main light plays throughout on the
+    wind. The text is a call of horns, that begins the work. It is a
+    symphony
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music150.jpg" alt="music150" width="400" height="178"></p>
+<p style="text-indent: 0em">
+    of wood-notes, where the forest-horn is sovereign,&mdash;awakening a widening
+    world of echoes, with a murmuring maze of lesser notes. One has again
+    the feeling that in the quiet interweaving of a tapestry of strains lies
+    the individual quality of the composer,&mdash;that the <i>forte</i> blasts, the
+    stride of big unison figures are but the interlude.
+</p>
+<p>
+    In the Andante the charm is less of tune than of the delicate changing
+    shades of the harmony and of the colors of tone. We are ever surprised
+    in the gentlest way by a turn of chord or by the mere entrance of a horn
+    among the whispering strings. The shock of a soft modulation may be as
+    sudden as of the loud, sudden blare. But we cannot somehow be consoled
+    for the want of a heart-felt melody.
+</p>
+<p>
+    The Scherzo is a kind of hunting-piece, full of the sparkle, the color
+    and romance of bugles and horns,&mdash;a spirited fanfare broken by hushed
+    phrases of strings or wood, or an elf-like mystic dance on the softened
+    call of trumpets. The Trio sings apart, between the gay revels, in soft
+    voices and slower pace, like a simple ballad.
+</p>
+<p>
+    The Finale is conceived in mystical retrospect, beginning in vein of
+    prologue: over mysterious murmuring strings, long sustained notes of the
+    reed and horn in octave descent are mingled with a soft carillon of
+    horns and trumpets in the call of the Scherzo. In broad swing a free
+    fantasy rises to a loud refrain (in the brass) of the first motive of
+    the symphony.
+</p>
+<p>
+    In slower pace and hush of sound sings a madrigal of tender phrases. A
+    pair of melodies recall like figures of the first Allegro. Indeed, a
+    chain of dulcet strains seems to rise from the past.
+</p>
+<p>
+    The fine themal relevance may be pursued in infinite degree, to no end
+    but sheer bewilderment. The truth is that a modern vanity for subtle
+    connection, a purest pedantry, is here evident, and has become a baneful
+    tradition in the modern symphony. It is an utter confusion of the letter
+    with the spirit. Once for all, a themal coherence of symphony must lie
+    in the main lines, not in a maze of unsignificant figures.
+</p>
+<p>
+    Marked is a sharp alternation of mood, tempestuous and tender, of
+    Florestan and Eusebius. The lyric phase yields to the former heroic
+    fantasy and then returns in soothing solace into a prevailing motive
+    that harks back to the second of the beginning movement. The fantasy,
+    vague of melody, comes
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music151.jpg" alt="music151" width="400" height="207"></p>
+<p style="text-indent: 0em">
+    (in more than one sense) as relief from the small tracery. It is just to
+    remember a like oscillation in the first Allegro.
+</p>
+<p>
+    When the prologue recurs, the phrases are in ascent, instead of descent
+    of octaves. A climactic verse of the main dulcet melody breaks out in
+    resonant choir of brass and is followed by a soft rhapsody on the
+    several strains that hark back to the beginning. From the halting pace
+    the lyric episode rises in flight of continuous song to enchanting lilt.
+    Now in the big heroic fantasy sing the first slow phrases as to the
+    manner born and as naturally break into a paean of the full motive,
+    mingled with strains of the original legend of the symphony, that flows
+    on to broad hymnal cadence.
+</p>
+<p>
+    In mystic musing we reach a solemn stillness where the prologue phrase
+    is slowly drawn out into a profoundly moving hymn. Here we must feel is
+    Meister Bruckner's true poetic abode rather than in the passion and
+    ecstasy of romance into which he was vainly lured.<a href="#note50">[50]</a>
+</p>
+
+<p>
+    &nbsp;</p>
+<a name="2HCH0015"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XV
+</h2>
+<h3>
+    THE LATER BRUCKNER
+</h3>
+<p>
+    In Bruckner's later works appears the unique instance of a discipline
+    grounded in the best traditions, united to a deft use of ephemeral
+    devices. The basic cause of modern mannerism, mainly in harmonic
+    effects, lies in a want of formal mastery; an impatience of thorough
+    technic; a craving for quick sensation. With Bruckner it was the
+    opposite weakness of original ideas, an organic lack of poetic
+    individuality. It is this the one charge that cannot be brought home to
+    the earlier German group of reaction against the classic idea.
+</p>
+<p>
+    There is melody, almost abundant, in Wagner and Liszt and their German
+    contemporaries. Indeed it was an age of lyricists. The fault was that
+    they failed to recognize their lyric limitation, lengthening and padding
+    their motives abnormally to fit a form that was too large. Hence the
+    symphony of Liszt, with barren stretches, and the impossible plan of the
+    later music-drama. The truest form of such a period was the song, as it
+    blossomed in the works of a Franz.
+</p>
+<p>
+    Nor has this grandiose tendency even yet spent its course. A saving
+    element was the fashioning of a new form, by Liszt himself,&mdash;the
+    Symphonic Poem,&mdash;far inferior to the symphony, but more adequate to the
+    special poetic intent.
+</p>
+<p>
+    Whatever be the truth of personal gossip, there is no doubt that
+    Bruckner lent himself and his art to a championing of the reactionary
+    cause in the form that was intrinsically at odds with its spirit. Hence
+    in later works of Bruckner these strange episodes of borrowed romance,
+    abruptly stopped by a firm counterpoint of excellent quality,&mdash;indeed
+    far the best of his writing. For, if a man have little ideas, at least
+    his good workmanship will count for something.
+</p>
+<p>
+    In truth, one of the strangest types is presented in Bruckner,&mdash;a pedant
+    who by persistent ingenuity simulates a master-work almost to
+    perfection. By so much as genius is not an infinite capacity for pains,
+    by so much is Bruckner's Ninth not a true symphony. Sometimes, under the
+    glamor of his art, we are half persuaded that mere persistence may
+    transmute pedantry into poetry.
+</p>
+<p>
+    It seems almost as if the Wagnerians chose their champion in the
+    symphony with a kind of suppressed contempt for learning, associating
+    mere intellectuality with true mastery, pointing to an example of
+    greatest skill and least inspiration as if to say: "Here is your
+    symphonist if you must have one." And it is difficult to avoid a
+    suspicion that his very partisans were laughing up their sleeve at their
+    adopted champion.
+</p>
+<p>
+    We might say all these things, and perhaps we have gone too far in
+    suggesting them. After all we have no business with aught but the music
+    of Bruckner, whatever may have been his musical politics, his vanity,
+    his ill judgment, or even his deliberate partisanship against his
+    betters. But the ideas themselves are unsubstantial; on shadowy
+    foundation they give an illusion by modern touches of harmony and rhythm
+    that are not novel in themselves. The melodic idea is usually divided in
+    two, as by a clever juggler. There is really no one thought, but a
+    plenty of small ones to hide the greater absence.
+</p>
+<p>
+    We have merely to compare this artificial manner with the poetic reaches
+    of Brahms to understand the insolence of extreme Wagnerians and the
+    indignation of a Hanslick. As against the pedantry of Bruckner the style
+    of Strauss is almost welcome in its frank pursuit of effects which are
+    at least grateful in themselves. Strauss makes hardly a pretence at
+    having melodic ideas. They serve but as pawns or puppets for his
+    harmonic and orchestral <i>mise-en-scène</i>. He is like a play-wright
+    constructing his plot around a scenic design.
+</p>
+<p>
+    Just a little common sense is needed,&mdash;an unpremeditated attitude. Thus
+    the familiar grouping, "<i>Bach</i>, <i>Beethoven</i> and <i>Brahms</i>" is at least
+    not unnatural. Think of the absurdity of "<i>Bach</i>, <i>Beethoven</i> and
+    <i>Bruckner</i>&quot;!<a href="#note51">[51]</a>
+</p>
+
+<p>
+    The truth is, the Bruckner cult is a striking symptom of a certain
+    decadence in German music; an incapacity to tell the sincere quality of
+    feeling in the dense, brilliant growth of technical virtuosity. In the
+    worship at the Bayreuth shrine, somehow reinforced by a modern national
+    self-importance, has been lost a heed for all but a certain vein of
+    exotic romanticism, long ago run to riotous seed, a blending of hedonism
+    and fatalism. No other poetic message gets a hearing and the former may
+    be rung in endless repetition and reminiscence, provided, to be sure, it
+    be framed with brilliant cunning of workmanship.
+</p>
+<p>
+    Here we feel driven defiantly to enounce the truth: that the highest
+    art, even in a narrow sense, comes only with a true poetic message. Of
+    this Bruckner is a proof; for, if any man by pure knowledge could make a
+    symphony, it was he. But, with almost superhuman skill, there is
+    something wanting in the inner connection, where the main ideas are
+    weak, forced or borrowed. It is only the true poetic rapture that
+    ensures the continuous absorption that drives in perfect sequence to
+    irresistible conclusion.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="sym9">
+    <i>SYMPHONY NO. 9</i> </a>
+</center>
+<p>
+    <i>I.&mdash;Solenne.</i> Solemn mystery is the mood, amid trembling strings on
+    hollow unison, before the eight
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music152.jpg" alt="music152" width="400" height="108"></p>
+<p style="text-indent: 0em">
+    horns strike a phrase in the minor chord that in higher echoes breaks
+    into a strange harmony and descends into a turn of melodic cadence. In
+    answer is another chain of brief phrases, each beginning
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music153.jpg" alt="music153" width="400" height="210"></p>
+<p style="text-indent: 0em">
+    with a note above the chord (the common mark and manner of the later
+    school of harmonists<a href="#note52">[52]</a>) and a new ascent on a literal ladder of
+    subtlest progress, while hollow intervals are intermingled in the pinch
+    of close harmonies. The bewildering maze here begins of multitudinous
+    design, enriched with modern devices.
+</p>
+
+<p>
+    A clash of all the instruments acclaims the climax before the unison
+    stroke of fullest chorus on the solemn note of the beginning. A favorite
+    device of Bruckner, a measured tread of <i>pizzicato</i> strings with
+    interspersed themal motives, precedes the romantic episode. Throughout
+    the movement is this alternation of liturgic chorale with tender melody.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music154.jpg" alt="music154" width="400" height="398"></p>
+<p>
+    Bruckner's pristine polyphonic manner ever appears in the double strain
+    of melodies, where each complements, though not completes the other.
+    However multiple the plan, we cannot feel more than the quality of
+    <i>unusual</i> in the motives themselves, of some interval of ascent or
+    descent. Yet as the melody grows to larger utterance, the fulness of
+    polyphonic art brings a beauty of tender sentiment, rising to a moving
+    climax, where the horns lead the song in the heart of the madrigal
+    chorus, and the strings alone sing the expressive answer.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music155.jpg" alt="music155" width="400" height="207"></p>
+<p>
+    A third phrase now appears, where lies the main poetry of the movement.
+    Gentle swaying calls of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music156.jpg" alt="music156" width="400" height="412"></p>
+<p style="text-indent: 0em">
+    soft horns and wood, echoed and answered in close pursuit, lead to a
+    mood of placid, elemental rhythm, with something of "Rheingold," of
+    "Ossian" ballad, of the lapping waves of Cherubini's "Anacreon." In the
+    midst the horns blow a line of sonorous melody, where the cadence has a
+    breath of primal legend. On the song runs, ever mid the elemental
+    motion, to a resonant height and dies away as before. The intimate,
+    romantic melody now returns, but it is rocked on the continuing pelagic
+    pulse; indeed, we hear anon a faint phrase of the legend, in distant
+    trumpet, till we reach a joint rhapsody of both moods; and in the never
+    resting motion, mid vanishing echoes, we dream of some romance of the
+    sea.
+</p>
+<p>
+    Against descending harmonies return the hollow, sombre phrases of the
+    beginning, with the full cadence of chorale in the brass; and beyond,
+    the whole prelude has a full, extended verse. In the alternation of
+    solemn and sweet episode returns the tender melody, with pretty
+    inversions, rising again to an ardent height. The renewed clash of
+    acclaiming chorus ushers again the awful phrase of unison (now in octave
+    descent), in towering majesty. But now it rises in the ever increasing
+    vehemence where the final blast is lit up with a flash of serene
+    sonority.
+</p>
+<p>
+    This motive, of simple octave call, indeed pervades the earlier symphony
+    in big and little. And now, above a steady, sombre melodic tread of
+    strings it rises in a fray of eager retorts, transfigured in wonderful
+    harmony again and again to a brilliant height, pausing on a ringing
+    refrain, in sombre hue of overpowering blast.
+</p>
+<p>
+    A soft interlude of halting and diminishing strings leads to the
+    romantic melody as it first appeared, where the multiple song again
+    deepens and ennobles the theme. It passes straight into the waving,
+    elemental motion, where again the hallowed horn utters its sibyl phrase,
+    again rising to resonant height. And again merges the intimate song with
+    the continuing pulse of the sea, while the trumpet softly sounds the
+    legend and a still greater height of rhapsody.
+</p>
+<p>
+    Dull brooding chords bring a sombre play of the awing phrase, over a
+    faint rocking motion, clashing in bold harmony, while the horns surge in
+    broader melody. The climactic clash ends in a last verse of the opening
+    phrase, as of primal, religious chant.
+</p>
+<p>
+    <i>II.&mdash;Scherzo.</i> In the dazzling pace of bright clashing harmonies, the
+    perfect answers of falling and rising phrases, we are again before the
+    semblance, at
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music157.jpg" alt="music157" width="400" height="126"></p>
+<p style="text-indent: 0em">
+    least, of a great poetic idea. To be sure there is a touch of stereotype
+    in the chords and even in the pinch and clash of hostile motives. And
+    there is not the distinctive melody,&mdash;final stamp and test of the shaft
+    of inspiration. Yet in the enchantment of motion, sound and form, it
+    seems mean-spirited to cavil at a want of something greater. One stands
+    bewildered before such art and stunned of all judgment.
+</p>
+<p>
+    A delight of delicate gambols follows the first brilliant dance of main
+    motive. Amid a rougher trip of unison sounds the sonorous brass, and to
+    softest jarring murmur of strings a pretty jingle of reed,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music158.jpg" alt="music158" width="400" height="128"></p>
+<p style="text-indent: 0em">
+    with later a slower counter-song, almost a madrigal of pastoral answers,
+    till we are back in the ruder original dance. The gay cycle leads to a
+    height of rough volume (where the mystic brass sound in the midst) and a
+    revel of echoing chase.
+</p>
+<p>
+    In sudden hush of changed tone on fastest fairy trip, strings and wood
+    play to magic harmonies. In calming motion the violins sing a quieter
+    song, ever
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music159.jpg" alt="music159" width="400" height="135"></p>
+<p style="text-indent: 0em">
+    echoed by the reed. Though there is no gripping force of themal idea,
+    the melodies are all of grateful charm, and in the perfect round of
+    rhythmic design we may well be content. The original dance recurs with a
+    full fine orgy of hostile euphony.
+</p>
+<p>
+    <i>III.&mdash;Adagio.</i> <i>Feierlich,&mdash;awesome</i> indeed are these first sounds, and
+    we are struck by the originality
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music160.jpg" alt="music160" width="400" height="200"></p>
+<p style="text-indent: 0em">
+    of Bruckner's technic. After all we must give the benefit at least of
+    the doubt. And there is after this deeply impressive <i>introit</i> a
+    gorgeous Promethean
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music161.jpg" alt="music161" width="400" height="257"></p>
+<p style="text-indent: 0em">
+    spring of up-leaping harmonies. The whole has certainly more of concrete
+    beauty than many of the labored attempts of the present day.
+</p>
+<p>
+    The prelude dies down with an exquisite touch of precious
+    dissonance,&mdash;whether it came from the heart or from the workshop. The
+    strange and tragic part is that with so much art and talent there should
+    not be the strong individual idea,&mdash;the flash of new tonal figure that
+    stands fearless upon its own feet. All this pretty machinery seems
+    wasted upon the framing and presenting, at the moment of expectation, of
+    the shadows of another poet's ideas or of mere platitudes.
+</p>
+<p>
+    In the midst of the broad sweeping theme with a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music162.jpg" alt="music162" width="400" height="194"></p>
+<p style="text-indent: 0em">
+    promise of deep utterance is a phrase of horns with the precise accent
+    and agony of a <i>Tristan</i>. The very semblance of whole motives seems to
+    be taken from the warp and woof of Wagnerian drama. And thus the whole
+    symphony is degraded, in its gorgeous capacity, to the reëchoed rhapsody
+    of exotic romanticism. It is all little touches, no big thoughts,&mdash;a
+    mosaic of a symphony.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music163.jpg" alt="music163" width="353" height="163"></p>
+<p>
+    And so the second theme<a href="#note53">[53]</a> is almost too heavily laden with fine detail
+    for its own strength, though
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music164.jpg" alt="music164" width="400" height="226"></p>
+<p style="text-indent: 0em">
+    it ends with a gracefully delicate answer. The main melody soon recurs
+    and sings with a stress of warm feeling in the cellos, echoed by glowing
+    strains of the horns. Romantic harmonies bring back the solemn air of
+    the prelude with a new counter melody, in precise opposite figure, as
+    though inverted in a mirror, and again the dim moving chords that seem
+    less of Bruckner than of legendary drama. In big accoutrement the double
+    theme moves with double answers, ever with the sharp pinch of harmonies
+    and heroic mien. Gentlest retorts of the motives sing with fairy
+    clearness (in horns and reeds), rising to tender, expressive dialogue.
+    With growing spirit they ascend once more to the triumphant clash of
+    empyraean chords, that may suffice for justifying beauty.
+</p>
+
+<p>
+    Instead of the first, the second melody follows with its delicate grace.
+    After a pause recurs the phrase that harks from mediaeval romance, now
+    in a stirring ascent of close chasing voices. The answer, perfect in its
+    timid halting descent, exquisite in accent and in the changing hues of
+    its periods, is robbed of true effect by its direct reflection of
+    Wagnerian ecstasies.
+</p>
+<p>
+    As if in recoil, a firm hymnal phrase sounds in the strings, ending in a
+    more intimate cadence. Another chain of rarest fairy clashes, on the
+    motive of the prelude, leads to the central verse, the song of the first
+    main melody in the midst of soft treading strings, and again descends
+    the fitting answer of poignant accent.
+</p>
+<p>
+    And now, for once forgetting all origin and clinging sense of
+    reminiscence, we may revel in the rich romance, the fathoms of mystic
+    harmony, as the main song sings and rings from the depths of dim legend
+    in lowest brass, amidst a soft humming chorus, in constant shift of
+    fairy tone.
+</p>
+<p>
+    A flight of ascending chords brings the big exaltation of the first
+    prophetic phrase, ever answered by exultant ring of trumpet, ending in
+    sudden awing pause. An eerie train of echoes from the verse of prelude
+    leads to a loveliest last song of the poignant answer of main song, over
+    murmuring strings. It
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music165.jpg" alt="music165" width="400" height="197"></p>
+<p style="text-indent: 0em">
+    is carried on by the mystic choir of sombre brass in shifting steps of
+    enchanting harmony and dies away in tenderest lingering accents.<a href="#note54">[54]</a>
+</p>
+
+<a name="2HCH0016"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XVI
+</h2>
+<h3>
+    HUGO WOLFF<a href="#note55">[55]</a>
+</h3>
+<center>
+    <a name="penthesilea" href="#note56">
+    <i>&quot;PENTHESILEA.&quot; SYMPHONIC POEM</i>[56] </a>
+</center>
+
+<p>
+    An entirely opposite type of composer, Hugo Wolff, shows the real
+    strength of modern German music in a lyric vein, sincere, direct and
+    fervent. His longest work for instruments has throughout the charm of
+    natural rhythm and melody, with subtle shading of the harmony. Though
+    there is no want of contrapuntal design, the workmanship never obtrudes.
+    It is a model of the right use of symbolic motives in frequent
+    recurrence and subtle variation.
+</p>
+<p>
+    In another instrumental piece, the "Italian Serenade," all kinds of
+    daring suspenses and gentle clashes and surprises of harmonic scene give
+    a fragrance of dissonant euphony, where a clear melody ever rules.
+    "Penthesilea," with a climactic passion and a sheer contrast of tempest
+    and tenderness, uttered with all the mastery of modern devices, has a
+    pervading thrall of pure musical beauty. We are tempted to hail in Wolff
+    a true poet in an age of pedants and false prophets.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    PENTHESILEA.&mdash;A TRAGEDY BY HEINRICH VON KLEIST.<a href="#note57">[57]</a>
+</center>
+
+<p>
+    As Wolff's work is admittedly modelled on Kleist's tragedy, little known
+    to the English world, it is important to view the main lines of this
+    poem, which has provoked so divergent a criticism in Germany.
+</p>
+<p>
+    On the whole, the tragedy seems to be one of those daring, even profane
+    assaults on elemental questions by ways that are untrodden if not
+    forbidden. It is a wonderful type of Romanticist poetry in the bold
+    choice of subject and in the intense vigor and beauty of the verse.
+    Coming with a shock upon the classic days of German poetry, it met with
+    a stern rebuke from the great Goethe. But a century later we must surely
+    halt in following the lead of so severe a censor. The beauty of diction
+    alone seems a surety of a sound content,&mdash;as when Penthesilea exclaims:
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    "A hero man can be&mdash;a Titan&mdash;in distress,<br>
+    But like a god is he when rapt in blessedness."
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p>
+    An almost convincing symbolism has been suggested of the latent meaning
+    of the poem by a modern critic,<a href="#note58">[58]</a>&mdash;a symbolism that seems wonderfully
+    reflected in Wolff's music. The charge of perverted passion can be based
+    only on certain lines, and these are spoken within the period of madness
+    that has overcome the heroine. This brings us to the final point which
+    may suggest the main basic fault in the poem, considered as art. At
+    least it is certainly a question whether pure madness can ever be a
+    fitting subject in the hero of a tragedy. Ophelia is an episode;
+    Hamlet's madness has never been finally determined. Though the Erinnys
+    hunted Orestes in more than one play, yet no single Fury could, after
+    all, be the heroine of tragedy. Penthesilea became in the crisis a pure
+    Fury, and though she may find here her own defense, the play may not
+    benefit by the same plea. On the other hand, the madness is less a
+    reality than an impression of the Amazons who cannot understand the
+    heroine's conflicting feelings. There is no one moment in the play when
+    the hearer's sympathy for the heroine is destroyed by a clear sense of
+    her insanity.
+</p>
+
+<p>
+    For another word on the point of symbolism, it must be remembered that
+    the whole plot is one of supernatural legend where somehow human acts
+    and motives need not conform to conventional rule, and where symbolic
+    meaning, as common reality disappears, is mainly eminent. It is in this
+    same spirit that the leading virtues of the race, of war or of peace,
+    are typified by feminine figures.
+</p>
+<p>
+    The Tragedy is not divided into acts; it has merely four and twenty
+    scenes&mdash;upon the battle-field of Troy. The characters are Penthesilea,
+    Queen of the Amazons; her chief leaders, Prothoe, Meroe and Asteria, and
+    the high priestess of Diana. Of the Greeks there are Achilles, Odysseus,
+    Diomede and Antilochus. Much of the fighting and other action is not
+    seen, but is reported either by messengers or by present witnesses of a
+    distant scene.
+</p>
+<p>
+    The play begins with the battle raging between Greeks and Amazons.
+    Penthesilea with her hosts amazes the Greeks by attacking equally the
+    Trojans, her reputed allies. She mows down the ranks of the Trojans, and
+    yet refuses all proffers of the Greeks.
+</p>
+<p>
+    Thus early we have the direct, uncompromising spirit,&mdash;a kind of
+    feminine Prometheus. The first picture of the heroine is of a Minerva in
+    full array, stony of gaze and of expression until&mdash;she sees Achilles.
+    Here early comes the conflict of two elemental passions. Penthesilea
+    recoils from the spell and dashes again into her ambiguous warfare. For
+    once Greeks and Trojans are forced to fight in common defence.
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    "The raging Queen with blows of thunder struck<br>
+    As she would cleave the whole race of the Greeks<br>
+    Down to its roots....
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;More of the captives did she take<br>
+    Than she did leave us eyes to count the list,<br>
+    Or arms to set them free again.
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;Often it seemed as if a special hate<br>
+    Against Achilles did possess her breast.
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;Yet in a later moment, when<br>
+    His life was given straight into her hands,<br>
+    Smiling she gave it back, as though a present;<br>
+    His headlong course to Hades she did stay."
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p>
+    In midst of the dual battle between Achilles and the Queen, a Trojan
+    prince comes storming and strikes a treacherous blow against the armor
+    of the Greek.
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    "The Queen is stricken pale; for a brief moment<br>
+    Her arms hang helpless by her sides; and then,<br>
+    Shaking her locks about her flaming cheeks,<br>
+    Dashes her sword like lightning in his throat,<br>
+    And sends him rolling to Achilles' feet."
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p>
+    The Greek leaders resolve to retreat from the futile fight and to call
+    Achilles from the mingled chase of love and war.
+</p>
+<p>
+    Achilles is now reported taken by the Amazons. The battle is vividly
+    depicted: Achilles caught on a high ledge with his war-chariot; the
+    Amazon Queen storming the height from below. The full scene is witnessed
+    from the stage,&mdash;Penthesilea pursuing almost alone; Achilles suddenly
+    dodges; the Queen as quickly halts and rears her horse; the Amazons fall
+    in a mingled heap; Achilles escapes, though wounded. But he refuses to
+    follow his companions to the camp; he swears to bring home the Queen
+    wooed in the bloody strife of her own seeking.
+</p>
+<p>
+    Penthesilea recoils with like vehemence from the entreaties of her
+    maids, intent upon the further battle, resolved to overcome the hero or
+    to die. She forbids the Festival of Roses until she has vanquished
+    Achilles. In her rage she banishes her favorite Prothoe from her
+    presence, but in a quick revulsion takes her back.
+</p>
+<p>
+    In the next scene the high priestess and the little Amazon maids prepare
+    the Feast, which Penthesilea had ordered in her confident attack upon
+    the fleeing Greeks. One of the Rose-maidens recounts the passing scene
+    of the Queen's amazing action. The indignant priestess sends her command
+    to the Queen to return to the celebration. Though all the royal suite
+    fling themselves in her path, Penthesilea advances to the dual
+    battle.<a href="#note59">[59]</a>
+</p>
+
+<p>
+    In a renewal of her personal contest, regardless of the common cause,
+    and in her special quest of a chosen husband, Penthesilea has broken the
+    sacred law.
+</p>
+<p>
+    The flight now follows of the Amazon hosts. When the two combatants meet
+    in the shock of lances, the Queen falls in the dust; her pallor is
+    reflected in Achilles' face. Leaping from his horse, he bends o'er her,
+    calls her by names, and woos life back into her frame. Her faithful
+    maids, whom she has forbidden to harm Achilles, lead her away. And here
+    begins the seeming madness of the Queen when she confesses her love. For
+    a moment she yields to her people's demands, but the sight of the
+    rose-wreaths kindles her rage anew. Prothoe defends her in these lines:
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    "Of life the highest blessing she attempted.<br>
+    Grazing she almost grasped. Her hands now fail her<br>
+    For any other lesser goal to reach."
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p>
+    In the last part of the scene the Queen falls more and deeper into
+    madness. It is only in a too literal spirit that one will find an
+    oblique meaning,&mdash;by too great readiness to discover it. In reality
+    there seems to be an intense conflict of opposite emotions in the
+    heroine: the pure woman's love, without sense of self; and the wild
+    overpowering greed of achievement. Between these grinding stones she
+    wears her heart away. A false interpretation of decadent theme comes
+    from regarding the two emotions as mingled, instead of alternating in a
+    struggle.
+</p>
+<p>
+    Achilles advances, having flung away his armor. Prothoe persuades him to
+    leave the Queen, when she awakes, in the delusion that she has conquered
+    and that he is the captive. Thus when she beholds the hero, she breaks
+    forth into the supreme moment of exaltation and of frenzied triumph. The
+    main love scene follows:
+</p>
+<p>
+    Penthesilea tells Achilles the whole story of the Amazons, the conquest
+    of the original tribe, the rising of the wives of the murdered warriors
+    against the conquerors; the destruction of the right breast (<i>A-mazon</i>);
+    the dedication of the "brides of Mars" to war and love in one. In
+    seeking out Achilles the Queen has broken the law. But here again
+    appears the double symbolic idea: Achilles meant to the heroine not love
+    alone, but the overwhelming conquest, the great achievement of her life.
+</p>
+<p>
+    The first feeling of Penthesilea, when disillusioned, is of revulsive
+    anger at a kind of betrayal. The Amazons recover ground in a wild desire
+    to save their Queen, and they do rescue her, after a parting scene of
+    the lovers. But Penthesilea curses the triumph that snatches her away;
+    the high priestess rebukes her, sets her free of her royal duties, to
+    follow her love if she will. The Queen is driven from one mood to
+    another, of devoted love, burning ambition and mortal despair.
+</p>
+<p>
+    Achilles now sends a challenge to Penthesilea, knowing the Amazon
+    conditions. Against all entreaty the Queen accepts, not in her former
+    spirit, but in the frenzy of desperate endeavor, in the reawakened rage
+    of her ambition, spurred and pricked by the words of the priestess.
+</p>
+<p>
+    The full scene of madness follows. She calls for her dogs and elephants,
+    and the full accoutrement of battle. Amidst the terror of her own
+    warriors, the rolling of thunder, she implores the gods' help to crush
+    the Greek. In a final touch of frenzy she aims a dart at her faithful
+    Prothoe.
+</p>
+<p>
+    The battle begins, Achilles in fullest confidence in Penthesilea's love,
+    unfrightened by the wild army of dogs and elephants. The scene, told by
+    the present on-lookers, is heightened by the cries of horror and dismay
+    of the Amazons themselves.
+</p>
+<p>
+    Achilles falls; Penthesilea, a living Fury, dashes upon him with her
+    dogs in an insane orgy of blood. The Queen in the culminating scene is
+    greeted by the curses of the high priestess. Prothoe masters her horror
+    and turns back to soothe the Queen. Penthesilea, unmindful of what has
+    passed, moves once more through the whole gamut of her torturing
+    emotions, and is almost calmed when she spies the bier with the hero's
+    body. The last blow falls when upon her questions she learns the full
+    truth of her deed. The words she utters (that have been cited by the
+    hostile critics) may well be taken as the ravings of hopeless remorse,
+    with a symbolic play of words. She dies, as she proclaims, by the knife
+    of her own anguish.
+</p>
+<p>
+    The last lines of Prothoe are a kind of epilogue:
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    "She sank because too proud and strong she flourished.<br>
+    The half-decayèd oak withstands the tempest;<br>
+    The vigorous tree is headlong dashed to earth<br>
+    Because the storm has struck into its crown.&quot;<a href="#note60">[60]</a>
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+<p>
+    The opening scene&mdash;"Lively, vehement: Departure of the Amazons for
+    Troy"&mdash;begins impetuous and hefty with big strokes of the throbbing
+    motive,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music166.jpg" alt="music166" width="400" height="232"></p>
+<p style="text-indent: 0em">
+    the majestic rhythm coursing below, lashed by a quicker phrase above.
+    Suddenly trumpets sound, somewhat more slowly, a clarion call answered
+    by a choir of other trumpets and horns in enchanting retort of changing
+    harmonies. Ever a fresh color of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music167.jpg" alt="music167" width="309" height="229"></p>
+<p style="text-indent: 0em">
+    tone sounds in the call of the brass, as if here or yonder on the
+    battle-field. Sometimes it is almost too sweetly chanting for fierce
+    war. But presently it turns to a wilder mood and breaks in galloping
+    pace into a true chorus of song with clear cadence.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music168.jpg" alt="music168" width="400" height="240"></p>
+<p>
+    The joyful tinge is quickly lost in the sombre hue of another phase of
+    war-song that has a touch of funeral trip (though it is all in 3/4
+    time):
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music169.jpg" alt="music169" width="400" height="223"></p>
+<p>
+    A melody in the minor plays first in a choir of horns and bassoons,
+    later in united strings, accompanied by soft rolls of drums and a touch
+    of the lowest brass. Harp and higher woodwind are added, but the volume
+    is never transcendent save in a single burst when it is quickly hushed
+    to the first ominous whisper. Out of this sombre song flows a romance of
+    tender sentiment, <i>tranquillo</i> in strings, followed by the wood. The
+    crossing threads of expressive melody
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music170.jpg" alt="music170" width="400" height="216"></p>
+<p style="text-indent: 0em">
+    rise in instant renewal of stress and agitation. The joy of battle has
+    returned, but it seems that the passion of love burns in midst of the
+    glow of battle, each in its separate struggle, and both together in one
+    fatal strife. The sombre melody returns in full career, dying down to a
+    pause.<a href="#note61">[61]</a>
+</p>
+
+<p>
+    <i>Molto sostenuto</i>, in changed rhythm of three slow beats, comes
+    "Penthesilea's Dream of the Feast of Roses." Over a thick cluster of
+    harmonies in harp and strings the higher wood sing a new song in long
+    drawn lyric notes with ravishing turns of tonal color,&mdash;a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music171.jpg" alt="music171" width="400" height="194"></p>
+<p style="text-indent: 0em">
+    dual song and in many groups of two. The tranquil current of the dream
+    is gradually disturbed; the main burden is dimmed in hue and in mood.
+    Faster, more fitful is the flow of melody, with hostile intruding motive
+    below; it dashes at last into the tragic phase&mdash;Combats; Passions;
+    Madness; Destruction&mdash;in very rapid tempo of 2/2 rhythm.
+</p>
+<p>
+    In broad, masterful pace, big contrary figures sweep up and down,
+    cadencing in almost joyous chant, gliding, indeed, into a pure hymn, as
+    of triumph (that harks back to the chorussing song in the beginning).
+</p>
+<p>
+    Throughout the poem the musical symbols as well as the motives of
+    passion are closely intertwined. Thus the identity of the impetuous
+    phrase of the very beginning is clear with the blissful theme of the
+    Dream of the Feast of Roses. Here, at the end of the chorussing verse is
+    a play or a strife of phrases where we cannot escape a symbolic intent.
+    To <i>tremolo</i> of violas the cellos hold a tenor of descending melody over
+    a rude rumbling phrase of the basses of wood and strings, while the oboe
+    sings in the treble an expressive answer of ascending notes. A conflict
+    is
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music172.jpg" alt="music172" width="400" height="409"></p>
+<p style="text-indent: 0em">
+    evident, of love and ambition, of savage and of gentle passion, of chaos
+    and of beauty. At the height, the lowest brass intrude a brutal note of
+    triumph of the descending theme. To the victory of Pride succeeds a
+    crisis of passionate yearning. But at the very height is a plunge into
+    the fit of madness, the fatal descending phrase (in trombones) is ever
+    followed by furious pelting spurts in the distorted main theme.
+</p>
+<p>
+    At last the paroxysm abates, throbbing ever slower, merging into the
+    tender song of the Dream that now rises to the one great burst of
+    love-passion. But it ends in a wild rage that turns right into the
+    war-song of the beginning. And this is much fuller of incident than
+    before. Violins now ring an hostile motive (the former rumbling phrase
+    of basses) from the midst of the plot against the main theme in
+    trumpets. Instead of the former pageantry, here is the pure frenzy of
+    actual war. The trumpet melodies resound amidst the din of present
+    battle. Instead of the other gentler episodes, here is a more furious
+    raving of the mad Queen (in the hurried main motive), where we seem to
+    see the literal dogs of war let loose and spurred on,&mdash;each paroxysm
+    rising to a higher shock.
+</p>
+<p>
+    Great is the vehemence of speed and sound as the dull doom of
+    destruction drones in the basses against a grim perversion of the
+    yearning theme above, that overwhelms the scene with a final shriek.
+</p>
+<p>
+    Slowly the dream of love breathes again, rises to a fervent burst, then
+    yields to the fateful chant and ends in a whisper of farewell.
+</p>
+<a name="2HCH0017"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XVII
+</h2>
+<h3>
+    MAHLER<a href="#note62">[62]</a>
+</h3>
+
+<p>
+    In Mahler the most significant sign is a return to a true counterpoint,
+    as against a mere overlading of themes, that began in Wagner and still
+    persists in Strauss,&mdash;an artificial kind of structure that is never
+    conceived as a whole.
+</p>
+<p>
+    While we see in Mahler much of the duophonic manner of his teacher,
+    Bruckner, in the work of the younger man the barren art is crowned with
+    the true fire of a sentient poet. So, if Bruckner had little to say, he
+    showed the way to others. And Mahler, if he did not quite emerge from
+    the mantle of Beethoven, is a link towards a still greater future. The
+    form and the technic still seem, as with most modern symphonies, too
+    great for the message. It is another phase of orchestral virtuosity, of
+    intellectual strain, but with more of poetic energy than in the
+    symphonies of the French or other Germans.
+</p>
+<p>
+    In other forms we see this happy reaction towards ancient art, as in the
+    organ music of a Reger. But in the Finale of Mahler's Fifth Symphony
+    there is a true serenity, a new phase of symphony, without the climactic
+    stress of traditional triumph, yet none the less joyous in essence.
+</p>
+<p>
+    We cannot help rejoicing that in a sincere and poetic design of
+    symphony is blended a splendid renaissance of pure counterpoint, that
+    shines clear above the modern spurious pretence. The Finale of Mahler's
+    Fifth Symphony is one of the most inspired conceptions of counterpoint
+    in all music. In it is realized the full dream of a revival of the art
+    in all its glorious estate.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="Msym5">
+    <i>SYMPHONY NO. 5</i> </a>
+</center>
+  <p style="text-indent: 0em">&nbsp;
+  I.&mdash;1. <i>Funeral March.<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i>
+     2. <i>In stormy motion (with greatest vehemence).</i></p>
+<p style="text-indent: 0em">&nbsp;II.&mdash;3. <i>Scherzo (with vigor,&mdash;not too fast).</i></p>
+<p style="text-indent: 0em">III.&mdash;4. <i>Adagietto (very slowly).<br>
+</i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+     5. <i>Rondo-Finale (allegro).</i> </p>
+
+<p>
+    Mahler's Fifth Symphony, whatever be its intrinsic merit, that can be
+    decided only by time and wear, undoubtedly marks a high point of
+    orchestral splendor, in the regard of length and of the complexity of
+    resources. By the latter is meant not so much the actual list of
+    instruments as the pervading and accumulating use of thematic
+    machinery.<a href="#note63">[63]</a>
+</p>
+
+<p>
+    The plan of movements is very original and in a way, two-fold. There are
+    three great divisions, of which the first comprises a Funeral March,
+    and an untitled Allegro in vehement motion. The second division has
+    merely the single movement, Scherzo. In the third are an Adagietto and a
+    Rondo Finale.
+</p>
+<p>
+    <i>I.&mdash;1. Funeral March.</i>&mdash;A call of trumpet, of heroic air and tread, is
+    answered by strident chords ending in a sonorous motive of horns that
+    leads to the funeral trip, of low brass. The mournful song of the
+    principal melody appears presently in the strings, then returns to the
+    funeral trip and to the strident chords. The first trumpet motive now
+    sounds with this clanging phrase and soon the original call abounds in
+    other brass. The deep descending notes of the horns recur and the full
+    song of the funeral melody much extended, growing into a duet of cellos
+    and high woodwind,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music173.jpg" alt="music173" width="400" height="295"></p>
+<p style="text-indent: 0em">
+    and further into hymnal song on a new motive.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music174.jpg" alt="music174" width="400" height="196"></p>
+<p style="text-indent: 0em">
+    So the various melodies recur with new mood and manner. Suddenly, in
+    fierce abandon, a martial tramp of the full band resounds, in gloomy
+    minor,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music175.jpg" alt="music175" width="400" height="367"></p>
+<p style="text-indent: 0em">
+    the violins in rapid rage of wailing figure: the trumpet strikes the
+    firm note of heroic plaint.
+</p>
+<p>
+    Wild grief breaks out on all sides, the strings singing in passionate
+    answer to the trumpet, the high wood carrying on the rapid motion. At
+    the height of the storm the woodwind gain control with measured rhythm
+    of choral melody. Or perhaps the real height is the expressive double
+    strain, in gentle pace, of the strings, and the wood descending from on
+    high.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music176.jpg" alt="music176" width="400" height="213"></p>
+<p style="text-indent: 0em">
+    The duet is carried on in wilder mood by most of the voices.
+</p>
+<p>
+    A return to the solemn pace comes by imperceptible change, the softer
+    hues of grief merging with the fiercer cries. Now various strains sound
+    together,&mdash;the main funeral melody in the woodwind.
+</p>
+<p>
+    In the close recurs the full flow of funeral song, with the hymnal
+    harmonies. In the refrain of the stormy duet the sting of passion is
+    gone; the whole plaint dies away amid the fading echoes of the trumpet
+    call.
+</p>
+<p>
+    <i>I.&mdash;2.</i> The second movement, the real first Allegro, is again clearly
+    in two parts. Only, the relative paces are exactly reversed from the
+    first movement. In tempestuous motion, with greatest vehemence, a
+    rushing motive of the basses is stopped by a chord of brass and
+    strings,&mdash;the chord itself reverberating to the lower rhythm.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music177.jpg" alt="music177" width="400" height="364"></p>
+<p>
+    Throughout the whole symphony is the dual theme, each part spurring the
+    other. Here presently are phrases in conflicting motion, countermarching
+    in a stormy maze. It is all, too, like noisy preparation,&mdash;a manoeuvring
+    of forces before the battle. Three distinct figures there are before a
+    blast of horn in slower notes, answered by shrill call in highest wood.
+    There enters a regular, rhythmic gait and a clearer tune, suggested by
+    the call.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music178.jpg" alt="music178" width="400" height="496"></p>
+<p>
+    In the brilliant medley there is ever a new figure we had not perceived.
+    So when the tune has been told, trumpets and horns begin with what seems
+    almost the main air, and the former voices sound like mere heralds.
+    Finally the deep trombones and tuba enter with a sonorous call. Yet the
+    first rapid trip of all has the main legend.
+</p>
+<p>
+    As the quicker figures gradually retire, a change of pace appears, to
+    the tramp of funeral. Yet the initial and incident strains are of the
+    former text. Out of it weaves the new, slower melody:
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music179.jpg" alt="music179" width="400" height="326"></p>
+<p>
+    Throughout, the old shrill call sounds in soft lament. Hardly like a
+    tune, a discourse rather, it winds along, growing and changing naïvely
+    ever to a new phrase. And the soft calls about seem part of the melody.
+    An expressive line rising in the clarinet harks back to one of the later
+    strains of the funeral march.
+</p>
+<p>
+    The second melody or answer (in low octaves of strings) is a scant
+    disguise of the lower tune in the stormy duet of the first movement. Yet
+    all the strains move in the gentle, soothing pace and mood until
+    suddenly awakened to the first vehement rhythm.
+</p>
+<p>
+    Before the slower verse returns is a long plaint of cellos to softest
+    roll of drums. The gentle calls that usher in the melody have a
+    significant turn, upwards instead of down. All the figures of the solemn
+    episode appear more clearly.
+</p>
+<p>
+    On the spur of the hurrying main motive of trumpets the first pace is
+    once more regained.
+</p>
+<p>
+    A surprise of plot is before us. In sudden recurrence of funeral march
+    the hymnal song of the first movement is heard. As suddenly, we are
+    plunged into the first joyful scene of the symphony. Here it is most
+    striking how the call of lament has become triumphant, as it seems
+    without a change of note. And still more wonderful,&mdash;the same melody
+    that first uttered a storm of grief, then a gentle sadness, now has a
+    firm exultant ring. To be sure, it is all done with the magic trip of
+    bass,&mdash;as a hymn may be a perfect dance.
+</p>
+<p>
+    Before the close we hear the first fanfare of trumpet from the opening
+    symphony, that has the ring of a motto of the whole. At the very end is
+    a transfigured entrance,&mdash;very slowly and softly, to a celestial touch
+    of harp, of the first descending figure of the movement.
+</p>
+<p>
+    <i>II.&mdash;3. Scherzo.</i> Jovial in high degree, the Scherzo begins with the
+    thematic complexity of modern fashion. In dance tune of three beats
+    horns lead off with a jolly call; strings strike dancing chords; the
+    lower wind play a rollicking answer, but together with the horns, both
+    strains continuing in dancing duet. Still the saucy call of horns seems
+    the main text, though no single tune reigns alone.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music180.jpg" alt="music180" width="400" height="390"></p>
+<p>
+    The violins now play above the horns; then the cellos join and there is
+    a three-part song of independent tunes, all in the dance. So far in
+    separate voices it is now taken up by full chorus, though still the
+    basses sing one way, trebles another, and the middle horns a third. And
+    now the high trumpet strikes a phrase of its own. But they are all in
+    dancing swing, of the fibre of the first jolly motive.
+</p>
+<p>
+    A new episode is started by a quicker <i>obligato</i> of violins, in
+    neighboring minor, that plays about a fugue of the woodwind on an
+    incisive theme where the cadence has a strange taste of bitter sweet
+    harmony in the modern Gallic manner.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music181.jpg" alt="music181" width="400" height="358"></p>
+<p>
+    Horns and violins now pursue their former duet, but in the changed hue
+    of minor where the old concords are quaintly perverted. But this is only
+    to give a merrier ring to the bright madrigal that follows in sweetly
+    clashing higher wood, with the trip still in the violins. Thence the
+    horns and violins break again into the duet in the original key. Here
+    the theme is wittily inverted in the bass, while other strings sing
+    another version above.
+</p>
+<p>
+    So the jolly dance and the quaint fugue alternate; a recurring phrase is
+    carried to a kind of dispute, with opposite directions above and below
+    and much augmented motion in the strings.
+</p>
+<p>
+    In the dance so far, in "three time," is ever the vigorous stamp on the
+    third beat, typical of the German peasant "<i>Ländler</i>." Here of a sudden
+    is a change as great as possible within the continuing dance of three
+    steps. "More tranquil" in pace, in soft strings, without a trace of the
+    <i>Ländler</i> stamp, is a pure waltz in pretty imitation of tuneful theme.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music182.jpg" alt="music182" width="400" height="171"></p>
+<p style="text-indent: 0em">
+    And so the return to the vigorous rough dance is the more refreshing.
+    The merry mood yields to a darker temper. "Wild" the strings rush in
+    angry fugue on their rapid phrase; the quaint theme is torn to shreds,
+    recalling the fierce tempest of earlier symphony.
+</p>
+<p>
+    But the first sad note of the Scherzo is in the recitative of horn,
+    after the lull. A phrase of quiet reflection, with which the horn
+    concludes the episode as with an "<i>envoi</i>," is now constantly rung; it
+    is wrought from the eerie tempest; like refined metal the melody is
+    finally poured; out of its guise is the theme now of mournful dance.
+</p>
+<p>
+    "Shyly" the tune of the waltz answers in softest oboe. In all kinds of
+    verses it is sung, in expressive duet of lower wood, of the brass, then
+    of high reeds; in solo trumpet with counter-tune of oboe, finally in
+    high flutes. Here we see curiously, as the first themes reappear, a
+    likeness with the original trumpet-call of the symphony. In this guise
+    of the first dance-theme the movements are bound together. The <i>envoi</i>
+    phrase is here evident throughout.
+</p>
+<p>
+    At this mystic stage, to pure dance trip of low strings the waltz
+    reënters very softly in constant growing motion, soon attaining the old
+    pace and a new fulness of sound. A fresh spur is given by a wild motion
+    of strings, as in the fugal episode; a new height of tempest is reached
+    where again the distorted shreds of first dance appear, with phrases of
+    the second. From it like sunshine from the clouds breaks quickly the
+    original merry trip of dance.
+</p>
+<p>
+    The full cycle of main Scherzo returns with all stress of storm and
+    tragedy. But so fierce is the tempest that we wonder how the glad mood
+    can prevail. And the sad <i>envoi</i> returns and will not be shaken off.
+    The sharp clash of fugue is rung again and again, as if the cup must be
+    drained to the drop. Indeed, the serious later strain does prevail, all
+    but the final blare of the saucy call of brass.<a href="#note64">[64]</a>
+</p>
+
+<p>
+    <i>III.&mdash;4. Adagietto.</i><a href="#note65">[65]</a> "Very slowly" first violins carry the
+    expressive song that is repeated by the violas.
+</p>
+
+<p style="text-align: center">
+    <img border="0" src="images/music183.jpg" alt="music183" width="400" height="347"></p>
+<p style="text-indent: 0em">
+    A climax is reached by all the violins in unison. A new glow, with
+    quicker motion, is in the episode, where the violins are sharply
+    answered by the violas, rising to a dramatic height and dying away in a
+    vein of rare lyric utterance.
+</p>
+<p>
+    It is all indeed a pure lyric in tones.
+</p>
+<p>
+    <i>III.&mdash;5. Rondo-Finale.</i> The whole has the dainty, light-treading humor
+    that does not die of its own vehemence. Somewhat as in the Ninth
+    Symphony of Beethoven,&mdash;tyrant of classical traditions, the themes
+    appear right in the beginning as if on muster-roll, each in separate,
+    unattended song. A last chance cadence passes down the line of voices
+    and settles into a comfortable rhythm as prevailing theme, running in
+    melodious extension, and merging after a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music184.jpg" alt="music184" width="400" height="216"></p>
+<p style="text-indent: 0em">
+    hearty conclusion in the jovially garrulous fugue.
+</p>
+<p>
+    Here the counter-theme proves to be one of the initial tunes and takes a
+    leading rôle until another charming strain appears on high,&mdash;a pure
+    nursery rhyme crowning the learned fugue. Even this is a guise of one
+    of the original motives in the mazing medley, where it seems we could
+    trace the ancestry of each if we could linger and if it really mattered.
+    And yet there is a rare charm in these subtle turns; it is the secret
+    relevance that counts the most.
+</p>
+<p>
+    The fugue reaches a sturdy height with one of the first themes in lusty
+    horns, and suddenly falls into a pleasant jingle, prattling away in the
+    train of important figures, the kind that is pertinent with no outer
+    likeness.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music185.jpg" alt="music185" width="400" height="178"></p>
+<p>
+    Everywhere, to be sure, the little rhythmic cadence appears; the whole
+    sounds almost like the old children's canon on "Three Blind Mice";
+    indeed the themal inversion is here the main tune. Then in the bass the
+    phrase sounds twice as slow as in the horns. There are capers and
+    horseplay; a sudden shift of tone; a false alarm of fugue; suddenly we
+    are back in the first placid verse of the rhythmic motive.
+</p>
+<p>
+    Here is a new augmentation in resonant horns and middle strings, and the
+    melodious extension. A former motive that rings out in high reed, seems
+    to have the function of concluding each episode.
+</p>
+<p>
+    A new stretch of fugue appears with new counter-theme, that begins in
+    long-blown notes of horns. It really is no longer a fugue; it has lapsed
+    into mere smooth-rolling motion underneath a verse of primal tune. And
+    presently another variant of graceful episode brings a delicious
+    lilt,&mdash;<i>tender, but expressive</i>.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music186.jpg" alt="music186" width="400" height="175"></p>
+<p style="text-indent: 0em">
+    With all the subtle design there is no sense of the lamp, in the gentle
+    murmur of quicker figure or melodious flow of upper theme. Moving is the
+    lyric power and sweetness of this multiple song. As to themal
+    relation,&mdash;one feels like regarding it all as inspired madrigal, where
+    the maze and medley is the thing, where the tunes are not meant to be
+    distinguished. It becomes an abandoned orgy of clearest counterpoint.
+    Throughout is a blending of fugue and of children's romp, anon with the
+    tenderness of lullaby and even the glow of love-song. A brief mystic
+    verse, with slow descending strain in the high wood, preludes the
+    returning gambol of running strings, where the maze of fugue or canon
+    is in the higher flowing song, with opposite course of answering tune,
+    and a height of jolly revel, where the bright trumpet pours out the
+    usual concluding phrase. The rhythmic episode, in whimsical change, here
+    sings with surprise of lusty volume. So the merry round goes on to a big
+    resonant <i>Amen</i> of final acclaim, where the little phrase steals out as
+    naturally as in the beginning.
+</p>
+<p>
+    Then in quicker pace it sounds again all about, big and little, and
+    ends, after a touch of modern Gallic scale, in opposing runs, with a
+    last light, saucy fling.
+</p>
+<p>
+    Mahler, we feel again, realizes all the craving that Bruckner breeds for
+    a kernel of feeling in the shell of counterpoint. Though we cannot deny
+    a rude breach of ancient rule and mode, there is in Mahler a genuine,
+    original, individual quality of polyphonic art that marks a new stage
+    since the first in Bach and a second in Beethoven. It is this bold revel
+    in the neglected sanctuary of the art that is most inspiriting for the
+    future. And as in all true poetry, this overleaping audacity of design
+    is a mere expression of simplest gaiety.
+</p>
+<a name="2HCH0018"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XVIII
+</h2>
+<h3>
+    RICHARD STRAUSS<a href="#note66">[66]</a>
+</h3>
+
+<p>
+    Much may be wisely written on the right limits of music as a depicting
+    art. The distinction is well drawn between actual delineation, of figure
+    or event, and the mere suggestion of a mood. It is no doubt a fine line,
+    and fortunately; for the critic must beware of mere negative philosophy,
+    lest what he says cannot be done, be refuted in the very doing. If
+    Lessing had lived a little later, he might have extended the principles
+    of his "Laocöon" beyond poetry and sculpture into the field of music.
+    Difficult and ungrateful as is the task of the critical philosopher, it
+    must be performed. There is every reason here as elsewhere why men
+    should see and think clearly.
+</p>
+<p>
+    It is perhaps well that audiences should cling to the simple verdict of
+    beauty, that they should not be led astray by the vanity of finding an
+    answer; else the composer is tempted to create mere riddles. So we may
+    decline to find precise pictures, and content ourselves with the music.
+    The search is really time wasted; it is like a man digging in vain for
+    gold and missing the sunshine above.
+</p>
+<p>
+    Strauss may have his special meanings. But the beauty of the work is
+    for us all-important. We may expect him to mark his scenes. We may not
+    care to crack that kind of a nut.<a href="#note67">[67]</a> It is really not good eating.
+    Rather must we be satisfied with the pure beauty of the fruit, without a
+    further hidden kernel. There is no doubt, however, of the ingenuity of
+    these realistic touches. It is interesting, here, to contrast Strauss
+    with Berlioz, who told his stories largely by extra-musical means, such
+    as the funeral trip, the knell of bells, the shepherd's reed. Strauss at
+    this point joins with the Liszt-Wagner group in the use of symbolic
+    motives. Some of his themes have an effect of tonal word-painting. The
+    roguish laugh of Eulenspiegel is unmistakable.
+</p>
+
+<p>
+    It is in the harmonic rather than the melodic field that the fancy of
+    Strauss soars the freest. It is here that his music bears an individual
+    stamp of beauty. Playing in and out among the edges of the main harmony
+    with a multitude of ornamental phrases, he gains a new shimmer of
+    brilliancy. Aside from instrumental coloring, where he seems to outshine
+    all others in dazzling richness and startling contrasts, he adds to the
+    lustre by a deft playing in the overtones of his harmonies, casting the
+    whole in warmest hue.
+</p>
+<p>
+    If we imagine the same riotous license in the realm of tonal
+    noise,&mdash;cacophony, that is, where the aim is not to enchant, but to
+    frighten, bewilder, or amaze; to give some special foil to sudden
+    beauty; or, last of all, for graphic touch of story, we have another
+    striking element of Strauss's art. The anticipation of a Beethoven in
+    the drum of the Scherzo of the Fifth Symphony, or the rhythmic whims of
+    a Schumann in his Romantic piano pieces suggest the path of much of this
+    license. Again, as passing notes may run without heed of harmony, since
+    ancient days, so long sequences of other figures may hold their moving
+    organ-point against clashing changes of tonality.
+</p>
+<p>
+    Apart from all this is the modern "counterpoint," where, if it is quite
+    the real thing, Strauss has outdone the boldest dreams of ancient school
+    men. But with the lack of cogent form, and the multitude of small
+    motives it seems a different kind of art. We must get into the
+    view-point of romantic web of infinite threads, shimmering or jarring in
+    infinite antagonism (of delayed harmony). By the same process comes
+    always the tremendous accumulation towards the end. As the end and
+    essence of the theme seems a graphic quality rather than intrinsic
+    melody, so the main pith and point of the music lies in the weight and
+    power of these final climaxes.
+</p>
+<p>
+    &nbsp;</p>
+<p style="text-align: center">
+    <a name="death">
+    <i>TOD UND VERKLÄRUNG (DEATH AND TRANSFIGURATION), TONE POEM</i> </a>
+</p>
+<p>
+    It may be well to gather a few general impressions before we attempt the
+    study of a work radical in its departure from the usual lines of tonal
+    design.
+</p>
+<p>
+    There can be no doubt of the need of vigilance if we are to catch the
+    relevance of all the strains. To be sure, perhaps this perception is
+    meant to be subconscious. In any case the consciousness would seem to
+    ensure a full enjoyment.
+</p>
+<p>
+    It is all based on the motif of the Wagner drama and of the Liszt
+    symphonies, and it is carried to quite as fine a point. Only here we
+    have no accompanying words to betray the label of the theme. But in the
+    quick flight of themes, how are we to catch the subtle meaning? The
+    interrelation seems as close as we care to look, until we are in danger
+    of seeing no woods for the trees.
+</p>
+<p>
+    Again the danger of preconception is of the greatest. We may get our
+    mind all on the meaning and all off the music. The clear fact is the
+    themes do have a way of entering with an air of significance which they
+    challenge us to find. The greatest difficulty is to distinguish the
+    themes that grow out of each other, as a rose throws off its early
+    petals, from those that have a mere chance similarity. Even this
+    likeness may have its own intended meaning, or it may be all beside the
+    mark. But we may lose not merely the musical, but even the dramatic
+    sequence in too close a poring over themal derivation. On the other hand
+    we may defy the composer himself and take simply what he gives, as if on
+    first performance, before the commentators have had a chance to breed.
+    And this may please him best in the end.
+</p>
+<p>
+    We must always attend more to the mood than to themal detail as
+    everywhere in real music, after all. Moments of delight and triumph we
+    know there are in this work. But they are mere instants. For it is all
+    the feverish dream of death. There can be no earlier rest. Snatches they
+    are of fancy, of illusion, as, says the priest in Oedipus, is all of
+    life.
+</p>
+<p>
+    It may be worth while, too, to see how pairs of themes ever occur in
+    Strauss, the second in answer, almost in protest, to the first. (It is
+    not unlike the pleading in the Fifth Symphony of the second theme with
+    the sense of doom in the first.) So we seem to find a motive of fate,
+    and one of wondering, and striving; a theme of beauty and one of
+    passion,&mdash;if we cared to tread on such a dangerous, tempting ground.
+    Again, we may find whole groups of phrases expressive of one idea, as of
+    beauty, and another of anxious pursuit. Thus we escape too literal a
+    themal association.
+</p>
+<p>
+    Trying a glimpse from the score pure and simple, we find a poem,
+    opposite the first page, that is said to have been written after the
+    first production. So, reluctantly, we must wait for the mere
+    reinforcement of its evidence.
+</p>
+<p>
+    <i>Largo</i>, in uncertain key, begins the throb of irregular rhythm (in
+    strings) that Bach and Chopin and Wagner have taught us to associate
+    with suffering. The first figure is a gloomy descent of pairs of chords,
+    with a hopeless cry above (in the flutes). In the recurrence, the turn
+    of chord is at last upward. A warmer hue of waving sounds (of harps) is
+    poured about, and a gentle vision appears on high, shadowed quickly by
+    a theme of fearful wondering. The chords return as at first. A new
+    series of descending tones
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music187.jpg" alt="music187" width="400" height="191"></p>
+<p style="text-indent: 0em">
+    intrude, with a sterner sense of omen, and yield to a full melodic
+    utterance of longing (again with the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music188.jpg" alt="music188" width="400" height="383"></p>
+<p style="text-indent: 0em">
+    soothing play of harp), and in the midst a fresh theme of wistful fear.
+    For a moment there is a brief glimpse of the former vision. Now the
+    song, less of longing than of pure bliss, sings free and clear its
+    descending lay in solo violin, though an answering phrase (in the horns)
+    of upward striving soon rises from below. The vision now appears again,
+    the wondering monitor close beside. The melancholy chords return to dim
+    the beauty. As the descending theme recedes, the rising motive sings a
+    fuller course on high with a new note of eager, anxious fear.
+</p>
+<p>
+    All these themes are of utmost pertinence in this evident prologue of
+    the story. Or at least the germs of all the leading melodies are here.
+</p>
+<p>
+    In sudden turn of mood to high agitation, a stress of wild desire rings
+    out above in pairs of sharp ascending chords, while below the wondering
+    theme rises in growing tumult. A whirling storm of the two phrases ends
+    in united burst like hymn of battle, on the line of the wondering theme,
+    but infused with
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music189.jpg" alt="music189" width="400" height="181"></p>
+<p style="text-indent: 0em">
+    resistless energy. Now sings a new discourse of warring phrases that
+    are dimly traced to the phase of the blissful melody, above the theme of
+    upward striving.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music190.jpg" alt="music190" width="400" height="203"></p>
+<p style="text-indent: 0em">
+    They wing an eager course, undaunted by the harsh intruding chords. Into
+    the midst presses the forceful martial theme. All four elements are
+    clearly evident. The latest gains control, the other voices for the
+    nonce merely trembling in obedient rhythm. But a new phase of the
+    wistful motive appears, masterful but not o'ermastering, fiercely
+    pressing upwards,&mdash;and a slower of the changed phrase of blissful song.
+    The former attains a height of sturdy ascending stride.
+</p>
+<p>
+    In spite of the ominous stress of chords that grow louder with the
+    increasing storm, something of assurance comes with the ascending
+    stride. More and more this seems the dominant idea.
+</p>
+<p>
+    A new paroxysm of the warring themes rises to the first great climax
+    where the old symbol of wondering and striving attains a brief moment
+    of assured ecstatic triumph.
+</p>
+<p>
+    In a new scene (<i>meno mosso</i>), to murmuring strings (where the theme of
+    striving can possibly be caught) the blissful melody sings in full song,
+    undisturbed save by the former figure that rises as if to grasp,&mdash;sings
+    later, too, in close sequence of voices. After a short intervening
+    verse&mdash;<i>leicht bewegt</i>&mdash;where the first vision appears for a moment, the
+    song is resumed, still in a kind of shadowy chase of slow flitting
+    voices, <i>senza espressione</i>. The rising, eager phrase is disguised in
+    dancing pace, and grows to a graceful turn of tune. An end comes, <i>poco
+    agitato</i>, with rude intrusion of the hymnal march in harsh contrast of
+    rough discord; the note of anxious fear, too, strikes in again. But
+    suddenly, <i>etwas breiter</i>, a new joyous mood frightens away the birds of
+    evil omen.
+</p>
+<p>
+    Right in the midst of happenings, we must be warned against too close a
+    view of individual theme. We must not forget that it is on the
+    contrasted pairs and again the separate groups of phrases, where all
+    have a certain common modal purpose, that lies the main burden of the
+    story. Still if we must be curious for fine derivation, we may see in
+    the new tune of exultant chorus the late graceful turn that now,
+    reversing, ends in the former rising phrase. Against it sings the first
+    line of blissful theme. And the first tune of graceful beauty also finds
+    a place. But they all make one single blended song, full of glad bursts
+    and cadences.
+</p>
+<p>
+    Hardly dimmed in mood, it turns suddenly into a phase of languorous
+    passion, in rich setting of pulsing harp, where now the later figures,
+    all but the blissful theme, vanish before an ardent song of the
+    wondering phrase. The motive of passionate desire rises and falls, and
+    soars in a path of "endless melody," returning on its own line of
+    flight, playing as if with its shadow, catching its own echo in the
+    ecstasy of chase. And every verse ends with a new stress of the
+    insistent upward stride, that grows ever in force and closes with big
+    reverberating blasts. The theme of the vision joins almost in rough
+    guise of utmost speed, and the rude marching song breaks in; somehow,
+    though they add to the maze, they do not dispel the joy. The ruling
+    phase of passion now rumbles fiercely in lowest depths. The theme of
+    beauty rings in clarion wind and strings, and now the whole strife ends
+    in clearest, overwhelming hymn of triumphant gladness, all in the
+    strides of the old wondering, striving phrase.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music191.jpg" alt="music191" width="327" height="161"></p>
+<p>
+    The whole battle here is won. Though former moments are fought through
+    again (and new melodies grow out of the old plaint), the triumphant
+    shout is near and returns (ever from a fresh tonal quarter) to chase
+    away the doubt and fear. All the former phrases sing anew, merging the
+    tale of their strife in the recurring verse of united paean. The song at
+    last dies away, breaking like setting sun into glinting rays of
+    celestial hue, that pale away into dullest murmur.
+</p>
+<p>
+    Still one returning paroxysm, of wild striving for eluding bliss, and
+    then comes the close. From lowest depths shadowy tones sing herald
+    phrases against dim, distorted figures of the theme of beauty,&mdash;that
+    lead to a soft song of the triumphant hymn, <i>tranquillo</i>, in gentlest
+    whisper, but with all the sense of gladness and ever bolder straying of
+    the enchanting dream. After a final climax the song ends in slow
+    vanishing echoes.
+</p>
+<p>
+    The poet Ritter is said to have added, after the production of the
+    music, the poem printed on the score, of which the following is a rather
+    literal translation:
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                <blockquote>
+    In the miserable chamber,<br>
+    Dim with flick'ring candlelight,<br>
+    Lies a man on bed of sickness.<br>
+    Fiercely but a moment past<br>
+    Did he wage with Death the battle;<br>
+    Worn he sinks back into sleep.<br>
+    Save the clock's persistent ticking<br>
+    Not a sound invades the room,<br>
+    Where the gruesome quiet warns us<br>
+    Of the neighborhood of Death.<br>
+    O'er the pale, distended features<br>
+    Plays a melancholy smile.<br>
+    Is he dreaming at life's border<br>
+    Of his childhood golden days?<p style="text-indent: 0em">But a paltry shrift of sleep<br>
+    Death begrudges to his victim.<br>
+    Cruelly he wakes and shakes him,<br>
+    And the fight begins anew,&mdash;<br>
+    Throb of life and power of death,<br>
+    And the horror of the struggle.<br>
+    Neither wins the victory.<br>
+    Once again the stillness reigns.</p>
+                  <p style="text-indent: 0em">Worn of battle, he relapses<br>
+    Sleepless, as in fevered trance.<br>
+    Now he sees before him passing<br>
+    Of his life each single scene:<br>
+    First the glow of childhood dawn,<br>
+    Bright in purest innocence,<br>
+    Then the bolder play of youth<br>
+    Trying new discovered powers,<br>
+    Till he joins the strife of men,<br>
+    Burning with an eager passion<br>
+    For the high rewards of life.&mdash;<br>
+    To present in greater beauty<br>
+    What his inner eye beholds,<br>
+    This is all his highest purpose<br>
+    That has guided his career.</p>
+                  <p style="text-indent: 0em">Cold and scornful does the world<br>
+    Pile the barriers to his striving.<br>
+    Is he near his final goal,<br>
+    Comes a thund'rous "Halt!" to meet him.<br>
+    "Make the barrier a stepping,<br>
+    Ever higher keep your path."<br>
+    Thus he presses on and urges,<br>
+    Never ceasing from his aim.&mdash;<br>
+    What he ever sought of yore<br>
+    With his spirit's deepeth longing,<br>
+    Now he seeks in sweat of death,<br>
+    Seeks&mdash;alas! and finds it never.<br>
+    Though he grasps it clearer now,<br>
+    Though it grows in living form,<br>
+    He can never all achieve it,<br>
+    Nor create it in his thought.<br>
+    Then the final blow is sounded<br>
+    From the hammer-stroke of Death,<br>
+    Breaks the earthly frame asunder,<br>
+    Seals the eye with final night.<br>
+    But a mighty host of sounds<br>
+    Greet him from the space of heaven<br>
+    With the song he sought below:<br>
+    Man redeemed,&mdash;the world transfigured.</p>
+                </blockquote>
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+<p>&nbsp;</p>
+
+<center>
+    <a name="juan">
+    <i>DON JUAN. (TONE POEM.)</i> </a>
+</center>
+<p>
+    A score or more of lines from Lenau's poem of the same title stand as
+    the subject of the music.
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    O magic realm, illimited, eternal,<br>
+    Of gloried woman,&mdash;loveliness supernal!<br>
+    Fain would I, in the storm of stressful bliss,<br>
+    Expire upon the last one's lingering kiss!<br>
+&nbsp;
+      Through every realm, O friend, would wing my flight,<br>
+    Wherever Beauty blooms, kneel down to each,<br>
+&nbsp;
+      And, if for one brief moment, win delight!
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    I flee from surfeit and from rapture's cloy,<br>
+    Keep fresh for Beauty service and employ,<br>
+    Grieving the One, that All I may enjoy.<p style="text-indent: 0em">My lady's charm to-day hath breath of spring,<br>
+    To-morrow may the air of dungeon bring.<br>
+&nbsp;
+      When with the new love won I sweetly wander,<br>
+    No bliss is ours upfurbish'd and regilded;<br>
+&nbsp;
+      A different love has This to That one yonder,&mdash;<br>
+    Not up from ruins be my temple builded.<br>
+&nbsp;
+      Yea Love life is, and ever must be now,<br>
+    Cannot be changed or turned in new direction;<br>
+    It must expire&mdash;here find a resurrection;<br>
+&nbsp;
+      And, if 'tis real, it nothing knows of rue!<br>
+    Each Beauty in the world is sole, unique;<br>
+    So must the love be that would Beauty seek!<br>
+    So long as Youth lives on with pulse afire,<br>
+    Out to the chase! To victories new aspire! </p>
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    It was a wond'rous lovely storm that drove me:<br>
+    Now it is o'er; and calm all round, above me;<br>
+&nbsp;
+      Sheer dead is every wish; all hopes o'ershrouded,&mdash;<br>
+    It was perhaps a flash from heaven descended,<br>
+    Whose deadly stroke left me with powers ended,<br>
+&nbsp;
+      And all the world, so bright before, o'erclouded;<br>
+    Yet perchance not! Exhausted is the fuel;<br>
+    And on the hearth the cold is fiercely cruel.<a href="#note68">[68]</a>
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+<p>
+    In the question of the composer's intent, of general plan and of
+    concrete detail, it is well to see that the quotation from Lenau's poem
+    is twice broken by lines of omission; that there are thus three
+    principal divisions. It cannot be wise to follow a certain kind of
+    interpretation<a href="#note69">[69]</a> which is based upon the plot of Mozart's opera. The
+    spirit of Strauss's music is clearly a purely subjective conception,
+    where the symbolic figure of fickle desire moves through scenes of
+    enchantment to a climax of&mdash;barren despair.
+</p>
+
+<p>
+    To some extent Strauss clearly follows the separate parts of his
+    quotation. Fervent desire, sudden indifference are not to be mistaken.
+</p>
+<p>
+    The various love scenes may be filled with special characters without
+    great harm, save that the mind is diverted from a higher poetic view to
+    a mere concrete play of events. The very quality of the pure musical
+    treatment thus loses nobility and significance. Moreover the only
+    thematic elements in the design are the various "motives" of the hero.
+</p>
+<p>
+    <i>Allegro molto con brio</i> begins the impetuous main theme in dashing
+    ascent,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music192.jpg" alt="music192" width="400" height="194"></p>
+<p style="text-indent: 0em">
+    whimsical play
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music193.jpg" alt="music193" width="400" height="98"></p>
+<p style="text-indent: 0em">
+    and masterful career.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music194.jpg" alt="music194" width="400" height="184"></p>
+<p>
+    The various phases are mingled in spirited song; only the very beginning
+    seems reserved as a special symbol of a turn in the chase, of the sudden
+    flame of desire that is kindled anew.
+</p>
+<p>
+    In the midst of a fresh burst of the main phrase are gentle strains of
+    plaint (<i>flebile</i>). And now a tenderly sad motive in the wood sings
+    against the marching phrase, amidst a spray of light, dancing chords.
+    Another song of the main theme is spent in a vanishing tremolo of
+    strings and harp, and buried in a rich chord whence rises a new song
+    (<i>molto espressivo</i>) or rather a duet, the first of the longer
+    love-passages.
+</p>
+<p>
+    The main melody is begun in clarinet and horn and instantly followed (as
+    in canon) by violins. The climax of this impassioned scene is a titanic
+    chord of minor, breaking the spell; the end is in a distorted strain of
+    the melody, followed by a listless refrain of the (original) impetuous
+    motive (<i>senza espressione</i>).
+</p>
+<p>
+    The main theme breaks forth anew, in the spirit of the beginning. It
+    yields suddenly before the next episode, a languorous song of lower
+    strings (<i>molto appassionato</i>), strangely broken into by sighing phrases
+    in the high wood (<i>flebile</i>). After further interruption, the love song
+    is crowned by a broad flowing melody (<i>sehr getragen und
+    ausdrucksvoll</i>)&mdash;the main lyric utterance of all. It has a full length
+    of extended song, proportioned to its distinguished beauty. The dual
+    quality is very clear throughout the scene. Much of the song is on a
+    kindred phrase of the lyric melody sung by the clarinet with dulcet
+    chain of chords of harp.
+</p>
+<p>
+    Here strikes a climactic tune in forte unison of the four horns (<i>molto
+    espressivo e marcato</i>). It is the clear utterance of a new mood of the
+    hero,&mdash;a purely
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music195.jpg" alt="music195" width="400" height="116"></p>
+<p style="text-indent: 0em">
+    subjective phase. With a firm tread, though charged with pathos, it
+    seems what we might venture to call a symbol of renunciation. It is
+    broken in upon by a strange version of the great love song, <i>agitato</i> in
+    oboes, losing all its queenly pace. As though in final answer comes
+    again the ruthless phrase of horns, followed now by the original theme.
+    <i>Rapidamente</i> in full force of strings comes the coursing strain of
+    impetuous desire. The old and the new themes of the hero are now in
+    stirring encounter, and the latter seems to prevail.
+</p>
+<p>
+    The mood all turns to humor and merrymaking. In gay dancing trip serious
+    subjects are treated jokingly (the great melody of the horns is
+    mockingly sung by the harp),&mdash;in fits and gusts. At the height the
+    (first) tempestuous motive once more dashes upwards and yields to a
+    revel of the (second) whimsical phrase. A sense of fated renunciation
+    seems to pervade the play of feelings of the hero. In the lull, when the
+    paroxysm is spent, the various figures of his past romances pass in
+    shadowy review; the first tearful strain, the melody of the first of the
+    longer episodes,&mdash;the main lyric song (<i>agitato</i>).
+</p>
+<p>
+    In the last big flaming forth of the hero's passion victory is once more
+    with the theme of renunciation,&mdash;or shall we say of grim denial where
+    there is no choice.
+</p>
+<p>
+    Strauss does not defy tradition (or providence) by ending his poem with
+    a triumph. A final elemental burst of passion stops abruptly before a
+    long pause. The end is in dismal, dying harmonies,&mdash;a mere dull sigh of
+    emptiness, a void of joy and even of the solace of poignant grief.
+</p>
+<center>
+    <p style="text-align: center">
+    <a name="till">
+    <i>TILL EULENSPIEGEL'S MERRY PRANKS</i></a> <br>
+    <br>
+    <i>In the Manner of Ancient Rogues&mdash;In Rondo Form</i>
+    </p>
+</center>
+<p>
+    Hardly another subject could have been more happy for the revelling in
+    brilliant pranks and conceits of a modern vein of composition. And in
+    the elusive humor of the subject is not the least charm and fitness.
+    Too much stress has been laid on the graphic purpose. There is always a
+    tendency to construe too literally. While we must be in full sympathy
+    with the poetic story, there is small need to look for each precise
+    event. We are tempted to go further, almost in defiance, and say that
+    music need not be definite, even despite the composer's intent. In other
+    words, if the tonal poet designs and has in mind a group of graphic
+    figures, he may nevertheless achieve a work where the real value and
+    beauty lie in a certain interlinear humor and poetry,&mdash;where the labels
+    can in some degree be disregarded.
+</p>
+<p>
+    Indeed, it is this very abstract charm of music that finds in such a
+    subject its fullest fitness. If we care to know the pranks exactly, why
+    not turn to the text? Yet, reading the book, in a way, destroys the
+    spell. Better imagine the ideal rogue, whimsical, spritely, all of the
+    people too. But in the music is the real Till. The fine poetry of
+    ancient humor is all there, distilled from the dregs of folk-lore that
+    have to us lost their true essence. There is in the music a daemonic
+    quality, inherent in the subject, that somehow vanishes with the
+    concrete tale. So we might say the tonal picture is a faithful likeness
+    precisely in so far as it does not tell the facts of the story.
+</p>
+<p>
+    Indeed, in this mass of vulgar stories we cannot help wondering at the
+    reason for their endurance through the centuries, until we feel
+    something of the spirit of the people in all its phases. A true mirror
+    it was of stupidity and injustice, presented by a sprite of owlish
+    wisdom, sporting, teasing and punishing<a href="#note70">[70]</a> all about. It is a kind of
+    popular satire, with a strong personal element of a human Puck, or an
+    impish Robin Hood, with all the fairy restlessness, mocking at human rut
+    and empty custom.
+</p>
+
+<p>
+    It is perhaps in the multitude of the stories, paradoxical though it
+    seem, that lies the strength. In the number of them (ninety-two
+    "histories" there are) is an element of universality. It is like the
+    broom: one straw does not make, nor does the loss of one destroy it;
+    somewhere in the mass lies the quality of broom.
+</p>
+<p>
+    In a way Till is the Ulysses of German folk-lore, the hero of trickery,
+    a kind of <i>Reinecke Fuchs</i> in real life. But he is of the soil as none
+    of the others. A satyr, in a double sense, is Till; only he is pure
+    Teuton, of the latter middle ages.
+</p>
+<p>
+    He is every sort of tradesman, from tailor to doctor. Many of the
+    stories, perhaps the best, are not stories at all, but merely clever
+    sayings. In most of the tricks there is a Roland for an Oliver. Till
+    stops at no estate; parsons are his favorite victims. He is, on the
+    whole, in favor with the people, though he played havoc with entire
+    villages. Once he was condemned to death by the Lübeck council. But
+    even here it was his enemies, whom he had defrauded, that sought
+    revenge. The others excused the tricks and applauded his escape. Even in
+    death the scandal and mischief do not cease.
+</p>
+<p>
+    The directions in Strauss' music are new in their kind and dignity. They
+    belong quite specially to this new vein of tonal painting. In a double
+    function, they not merely guide the player, but the listener as well.
+    The humor is of utmost essence; the humor is the thing, not the play,
+    nor the story of each of the pranks, in turn, of our jolly rogue. And
+    the humor lies much in these words of the composer, that give the lilt
+    of motion and betray a sense of the intended meaning.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music196.jpg" alt="music196" width="400" height="173"></p>
+<p>
+    The tune, sung at the outset <i>gemächlich</i> (comfortably), is presumably
+    the rogue <i>motif</i>, first in pure innocence of mood. But quickly comes
+    another, quite opposed in rhythm, that soon hurries into highest speed.
+    These are not the "subjects" of old tradition.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music197.jpg" alt="music197" width="400" height="127"></p>
+<p>
+    And first we are almost inclined to take the "Rondo form" as a new
+    roguish prank. But we may find a form where the subjects are independent
+    of the basic themes that weave in and out unfettered by rule&mdash;where the
+    subjects are rather new grouping of the fundamental symbols.<a href="#note71">[71]</a>
+</p>
+
+<p>
+    After a pause in the furious course of the second theme, a quick piping
+    phrase sounds <i>lustig</i> (merrily) in the clarinet, answered by a chord of
+    ominous
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music198.jpg" alt="music198" width="250" height="107"></p>
+<p style="text-indent: 0em">
+    token. But slowly do we trace the laughing phrase to the first theme.
+</p>
+<p>
+    And here is a new whim. Though still in full tilt, the touch of demon is
+    gone in a kind of ursine clog of the basses. Merely jaunty and clownish
+    it would be but for the mischievous scream (of high flute) at the end.
+    And now begins a rage of pranks, where the main phrase is the rogue's
+    laugh, rising in brilliant gamut of outer pitch and inner mood.
+</p>
+<p>
+    At times the humor is in the spirit of a Jean Paul, playing between
+    rough fun and sadness in a fine spectrum of moods. The lighter motive
+    dances harmlessly about the more serious, intimate second phrase. There
+    is almost the sense of lullaby before the sudden plunge to wildest
+    chaos, the only portent being a constant trembling of low strings. All
+    Bedlam is let loose, where the rogue's shriek is heard through a
+    confused cackling and a medley of voices here and there on the running
+    phrase (that ever ends the second theme). The sound of a big rattle is
+    added to the scene,&mdash;where perhaps the whole village is in an uproar
+    over some wholesale trick of the rogue.
+</p>
+<p>
+    And what are we to say to this simplest swing of folk-song that steals
+    in naïvely to enchanting strum of rhythm. We may speculate about the
+    Till as the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music199.jpg" alt="music199" width="400" height="179"></p>
+<p style="text-indent: 0em">
+    people saw him, while elsewhere we have the personal view. The
+    folk-tunes may not have a special dramatic rôle. Out of the text of
+    folk-song, to be sure, all the strains are woven. Here and there we
+    have the collective voice. If we have watched keenly, we have heard how
+    the tune, simply though it begins, has later all the line of Till's
+    personal phrase. Even in the bass it is, too. Of the same fibre is this
+    demon mockery and the thread of folk legend.
+</p>
+<p>
+    We cannot pretend to follow all the literal whims. And it is part of the
+    very design that we are ever surprised by new tricks, as by this saucy
+    trip of dancing phrase. The purely human touches are clear, and almost
+    moving in contrast with the impish humor.
+</p>
+<p>
+    An earlier puzzle is of the second theme. As the composer has refused to
+    help us, he will not quarrel if we find our own construction. A possible
+    clue there is. As the story proceeds, aside from the mere abounding fun
+    and poetry, the more serious theme prevails. Things are happening. And
+    there come the tell-tale directions. <i>Liebeglühend</i>, aflame with love, a
+    melody now sings in urgent pace, ending with
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music200.jpg" alt="music200" width="400" height="220"></p>
+<p style="text-indent: 0em">
+    a strange descending note. Presently in quieter mood, <i>ruhiger</i>, it
+    gains a new grace, merely to dash again, <i>wütend</i>, into a fiercer rage
+    than before. Before long we cannot escape in all this newer melody a
+    mere slower outline of the second theme. A guess then, such as the
+    composer invites us to make, is this: It is not exactly a Jekyll and
+    Hyde, but not altogether different. Here (in the second theme, of horn)
+    is Till himself,&mdash;not the rogue, but the man in his likes and loves and
+    suffering. The rogue is another, a demon that possesses him to tease
+    mankind, to tease himself out of his happiness. During the passionate
+    episode the rogue is banned, save for a grimace now and then, until the
+    climax, when all in disguise of long passionate notes of resonant bass
+    the demon theme has full control. But for once it is in earnest, in dead
+    earnest, we might say. And the ominous chord has a supreme moment, in
+    the shadow of the fulfilment.
+</p>
+<p>
+    A new note sounds in solemn legend of lowest wood, sadly beautiful, with
+    a touch of funeral pace.<a href="#note72">[72]</a>
+</p>
+
+<p>
+    The impish laugh still keeps intruding. But throughout the scene it is
+    the Till motive, not the rogue, that fits the stride of the death-march.
+    To be sure the rogue anon laughs bravely. But the other figure is in
+    full view.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music201.jpg" alt="music201" width="400" height="230"></p>
+<p>
+    The sombre legend is, indeed, in a separate phase, its beauty now
+    distorted in a feverish chase of voices on the main phrase. It is all a
+    second climax, of a certain note of terror,&mdash;of fate. In the midst is a
+    dash of the rogue's heartiest laugh, amid the echoes of the fearful
+    chord, while the growing roar of the mob can be heard below. Once again
+    it rings out undaunted, and then to the sauciest of folk-tunes,
+    <i>leichtfertig</i>, Till dances gaily and jauntily. Presently, in a mystic
+    passage, <i>schnell und schattenhaft</i>
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music202.jpg" alt="music202" width="400" height="190"></p>
+<p style="text-indent: 0em">
+    (like fleeting shadow) a phantom of the rogue's figure passes
+    stealthily across the horizon.
+</p>
+<p>
+    <i>Etwas gemächlicher</i>, a graceful duet weaves prettily out of the Till
+    motive, while the other roars very gently in chastened tones of softest
+    horns.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music203.jpg" alt="music203" width="400" height="325"></p>
+<p>
+    The first course of themes now all recurs, though some of the roguery is
+    softened and soon trips into purest folk-dance. And yet it is all built
+    of the rascal theme. It might (for another idle guess) be a general
+    rejoicing. Besides the tuneful dance, the personal phrase is laughing
+    and chuckling in between.
+</p>
+<p>
+    The rejoicing has a big climax in the first folk-song of all, that now
+    returns in full blast of horns against a united dance of strings and
+    wood. After a roll of drum loud clanging strokes sound threatening
+    (<i>drohend</i>) in low bass and strings, to which the rascal pipes his theme
+    indifferently (<i>gleichgültig</i>). The third time, his answer has a
+    simulated sound (<i>entstellt</i>). Finally, on the insistent thud comes a
+    piteous phrase (<i>kläglich</i>) in running thirds. The dread chords at last
+    vanish, in the strings. It is very like an actual, physical end. There
+    is no doubt that the composer here intends the death of Till, in face of
+    the tradition.
+</p>
+<p>
+    Follows the epilogue, where in the comfortable swing of the beginning
+    the first melody is extended in full beauty and significance. All the
+    pleasantry of the rogue is here, and at the end a last fierce burst of
+    the demon laugh.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <i><a name="domestica">"SINFONIA DOMESTICA."</a></i>
+</center>
+
+<p>
+    The work followed a series of tone-poems where the graphic aim is shown
+    far beyond the dreams even of a Berlioz. It may be said that Strauss,
+    strong evidence to the contrary, does not mean more than a suggestion of
+    the mood,&mdash;that he plays in the humor and poetry of his subject rather
+    than depicts the full story. It is certainly better to hold to this view
+    as long as possible. The frightening penalty of the game of exact
+    meanings is that if there is one here, there must be another there and
+    everywhere. There is no blinking the signs of some sort of plot in our
+    domestic symphony, with figures and situations. The best way is to lay
+    them before the hearer and leave him to his own reception.
+</p>
+<p>
+    In the usual sense, there are no separate movements. Though "Scherzo" is
+    printed after the first appearance of the three main figures, and later
+    "Adagio" and "Finale," the interplay and recurrence of initial themes is
+    too constant for the traditional division. It is all a close-woven drama
+    in one act, with rapidly changing scenes. Really more important than the
+    conventional Italian names are such headings as "Wiegenlied"
+    (Cradle-song), and above all, the numerous directions. Here is an almost
+    conclusive proof of definite intent. To be sure, even a figure on canvas
+    is not the man himself. Indeed, as music approaches graphic realism, it
+    is strange how painting goes the other way. Or rather, starting from
+    opposite points, the two arts are nearing each other. As modern painting
+    tends to give the feeling of a subject, the subjective impression rather
+    than the literal outline, we can conceive even in latest musical realism
+    the "atmosphere" as the principal aim. In other words, we may view
+    Strauss as a sort of modern impressionist tone-painter, and so get the
+    best view of his pictures.
+</p>
+<p>
+    Indeed, cacophony is alone a most suggestive subject. In the first place
+    the term is always relative, never absolute,&mdash;relative in the historic
+    period of the composition, or relative as to the purpose. One can hardly
+    say that any combination of notes is unusable. Most striking it is how
+    the same group of notes makes hideous waste in one case, and a true
+    tonal logic in another. Again, what was impossible in Mozart's time, may
+    be commonplace to-day.
+</p>
+<p>
+    You cannot stamp cacophony as a mere whim of modern decadence. Beethoven
+    made the noblest use of it and suffered misunderstanding. Bach has it in
+    his scores with profound effect. And then the license of one age begets
+    a greater in the next. It is so in poetry, though in far less degree.
+    For, in music, the actual tones are the integral elements of the art.
+    They are the idea itself; in poetry the words merely suggest it.
+</p>
+<p>
+    A final element, independent of the notes themselves, is the official
+    numbering of themes. Strauss indicates a first, second and third theme,
+    obviously of the symphony, not of a single movement. The whole attitude
+    of the composer, while it does not compel, must strongly suggest some
+    sort of guess of intending meaning.<a href="#note73">[73]</a>
+</p>
+
+<p>
+    The "first theme" in "comfortable" pace, gliding
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music204.jpg" alt="music204" width="400" height="290"></p>
+<p style="text-indent: 0em">
+    into a "dreamy" phrase, begins the symphony. Presently
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music205.jpg" alt="music205" width="280" height="179"></p>
+<p style="text-indent: 0em">
+    a "peevish" cry breaks in, in sudden altered key; then on a second,
+    soothing tonal change, a strain sings "ardently" in upward wing to a
+    bold climax and down to gentler cadence, the "peevish" cry still
+    breaking in. The trumpet has a short cheery
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music206.jpg" alt="music206" width="400" height="204"></p>
+<p style="text-indent: 0em">
+    call (<i>lustig</i>), followed by a brisk, rousing run in wood and strings
+    (<i>frisch</i>). A return of the "comfortable" phrase is quickly overpowered
+    by the "second theme," in very lively manner (<i>sehr lebhaft</i>), with an
+    answering phrase, <i>grazioso</i>, and light trills above.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music207.jpg" alt="music207" width="400" height="363"></p>
+<p style="text-indent: 0em">
+    The incidental phrases are thus opposed to the main humor of each theme.
+    The serene first melody has "peevish" interruptions; the assertive
+    second yields to graceful blandishments. A little later a strain appears
+    <i>gefühlvoll</i>, "full of feeling," (that plays a frequent part), but the
+    main (second) theme breaks in "angrily." Soon a storm is brewing; at the
+    height the same motive is sung insistently. In the lull, the first
+    phrase of all sings gaily (<i>lustig</i>), and then serenely (<i>gemächlich</i>)
+    in tuneful tenor. Various
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music208.jpg" alt="music208" width="400" height="161"></p>
+<p style="text-indent: 0em">
+    parts of the first theme are now blended in mutual discourse.
+</p>
+<p>
+    Amidst trembling strings the oboe d'amore plays the "third theme." "Very
+    tenderly," "quietly," the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music209.jpg" alt="music209" width="400" height="138"></p>
+<p style="text-indent: 0em">
+    second gives soothing answer, and the third sings a full melodious
+    verse.
+</p>
+<p>
+    Here a loud jangling noise tokens important arrivals. Fierce, hearty
+    pulling of the door-bell excites the parents, especially the mother, who
+    is quite in hysterics. The father takes it decidedly more calmly. The
+    visitors presently appear in full view, so to speak; for "the aunts," in
+    the trumpets, exclaim: "Just like Papa," and the uncles, in the
+    trombones, cry: "Just like Mama" (<i>ganz die Mama</i>). There can be no
+    questioning; it is all written in the book.
+</p>
+<p>
+    It is at least not hazardous to guess the three figures in the domestic
+    symphony. Now in jolly Scherzo (<i>munter</i>) begin the tricks and sport of
+    babyhood. There is of course but one theme, with mere comments
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music210.jpg" alt="music210" width="400" height="178"></p>
+<p style="text-indent: 0em">
+    of parental phrases in varying accents of affection. Another noisy scene
+    mars all the peace; father and child have a strong disagreement; the
+    latter is "defiant"; the paternal authority is enforced. Bed-time comes
+    with the stroke of seven, a cradle-song (Wiegenlied) (where the child's
+    theme hums faintly below). Then, "slowly and very quietly" sings the
+    "dreamy" phrase of the first theme, where
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music211.jpg" alt="music211" width="400" height="205"></p>
+<p style="text-indent: 0em">
+    the answer, in sweeping descent, gives one of the principal elements of
+    the later plot. It ends in a moving bit of tune, "very quietly and
+    expressively" (<i>sehr ruhig und innig</i>).
+</p>
+<p>
+    Adagio, a slow rising strain plays in the softer
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music212.jpg" alt="music212" width="400" height="165"></p>
+<p style="text-indent: 0em">
+    wood-notes of flute, oboe d'amore, English horn, and the lower
+    clarinets; below sings gently the second theme, quite transformed in
+    feeling. Those upper notes, with a touch of impassioned yearning, are
+    not new to our ears. That very rising phrase (the "dreamy" motive), if
+    we strain our memory, was at first below the more vehement (second)
+    figure. So
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music213.jpg" alt="music213" width="400" height="343"></p>
+<p style="text-indent: 0em">
+    now the whole themal group is reversed outwardly and in the inner
+    feeling. Indeed, in other places crops out a like expressive symbol, and
+    especially in the phrase, marked <i>gefühlvoll</i>, that followed the second
+    theme in the beginning. All these motives here find a big concerted song
+    in quiet motion, the true lyric spot of the symphony.
+</p>
+<p>
+    Out of it emerges a full climax, bigger and broader now, of the first
+    motive. At another stage the second has the lead; but at the height is a
+    splendid verse of the maternal song. At the end the quiet, blissful tune
+    sings again "<i>sehr innig</i>."
+</p>
+<p>
+    <i>Appassionato</i> re-enters the second figure. Mingled in its song are the
+    latest tune and an earlier expressive phrase <i>(gefühlvoll)</i>. The storm
+    that here ensues is not of dramatic play of opposition. There are no
+    "angry" indications. It is the full blossoming in richest madrigal of
+    all the themes of tenderness and passion in an aureole of glowing
+    harmonies. The morning comes with the stroke of seven and the awakening
+    cry of the child.
+</p>
+<p>
+    The Finale begins in lively pace (<i>sehr lebhaft</i>) with
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music214.jpg" alt="music214" width="400" height="112"></p>
+<p style="text-indent: 0em">
+    a double fugue, where it is not difficult to see in the first theme a
+    fragment of the "baby" motive. The second is a remarkably assertive
+    little phrase from the cadence of the second theme (quoted above). The
+    son is clearly the hero, mainly in sportive humor, although he is not
+    free from parental interference. The maze and rigor of the fugue do not
+    prevent a frequent appearance of all the other themes, and even of the
+    full melodies, of which the fugal motives are built. At the climax of
+    the fugue, in the height of speed and noise, something very delightful
+    is happening, some furious romp, perhaps, of father and son, the mother
+    smiling on the game. At the close a new melody that we might trace, if
+    we cared, in earlier origin, has a full verse "quietly and simply"
+    (<i>ruhig und einfach</i>) in wood and horns, giving the crown
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music215.jpg" alt="music215" width="400" height="105"></p>
+<p style="text-indent: 0em">
+    and seal to the whole. The rest is a final happy refrain of all the
+    strains, where the husband's themes are clearly dominant.
+</p>
+<a name="2HCH0019"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XIX
+</h2>
+<h3>
+    ITALIAN SYMPHONIES
+</h3>
+<p>
+    The present estate of music in Italy is an instance of the danger of
+    prophecy in the broad realm of art. Wise words are daily heard on the
+    rise and fall of a nation in art, or of a form like the symphony, as
+    though a matter of certain fate, in strict analogy to the life of man.
+</p>
+<p>
+    Italy was so long regnant in music that she seems even yet its chosen
+    land. We have quite forgotten how she herself learned at the feet of the
+    masters from the distant North. For music is, after all, the art of the
+    North; the solace for winter's desolation; an utterance of feeling
+    without the model of a visible Nature.
+</p>
+<p>
+    And yet, with a prodigal stream of native melody and an ancient passion
+    of religious rapture, Italy achieved masterpieces in the opposite fields
+    of the Mass and of Opera. But for the more abstract plane of pure tonal
+    forms it has somehow been supposed that she had neither a power nor a
+    desire for expression. An Italian symphony seems almost an anomaly,&mdash;as
+    strange a product as was once a German opera.
+</p>
+<p>
+    The blunt truth of actual events is that to-day a renascence has begun,
+    not merely in melodic and dramatic lines; there is a new blending of the
+    racial gift of song with a power of profound design.<a href="#note74">[74]</a> Despite all
+    historical philosophy, here is a new gushing forth from ancient fount,
+    of which the world may rejoice and be refreshed.
+</p>
+
+<p>
+    In a <a name="sgambati" href="#note75">SYMPHONY BY GIOVANNI SGAMBATI,[75] IN D MAJOR</a>, the form flows with
+    such unpremeditated ease that it seems all to the manner born. It may be
+    a new evidence that to-day national lines, at least in art, are
+    vanishing; before long the national quality will be imperceptible and
+    indeed irrelevant.
+</p>
+
+<p>
+    To be sure we see here an Italian touch in the simple artless stream of
+    tune, the warm resonance, the buoyant spring of rhythm. The first
+    movement stands out in the symphony with a subtler design than all the
+    rest, though it does not lack the ringing note of jubilation.
+</p>
+<p>
+    The Andante is a pure lyric somewhat new in design and in feeling. It
+    shows, too, an interesting contrast of opposite kinds of slower
+    melody,&mdash;the one dark-hued and legend-like, from which the poet wings
+    his flight to a hymnal rhapsody on a clear choral theme, with a rich
+    setting of arpeggic harmonies. A strange halting or limping rhythm is
+    continued throughout the former subject. In the big climax the feeling
+    is strong of some great chant or rite, of vespers or Magnificat. Against
+    convention the ending returns to the mood of sad legend.
+</p>
+<p>
+    The Scherzo is a sparkling chain of dancing tunes of which the third, of
+    more intimate hue, somehow harks back to the second theme of the first
+    movement.
+</p>
+<p>
+    A Trio, a dulcet, tender song of the wood, precedes the return of the
+    Scherzo that ends with the speaking cadence from the first Allegro.
+</p>
+<p>
+    A Serenata must be regarded as a kind of Intermezzo, in the Cantilena
+    manner, with an accompanying rhythm suggesting an ancient Spanish dance.
+    It stands as a foil between the gaiety of the Scherzo and the jubilation
+    of the Finale.
+</p>
+<p>
+    The Finale is one festive idyll, full of ringing tune and almost bucolic
+    lilt of dance. It reaches one of those happy jingles that we are glad to
+    hear the composer singing to his heart's content.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="martucci" href="#note76">GIUSEPPE MARTUCCI. SYMPHONY IN D MINOR.[76]
+    </a>
+</center>
+
+
+<p>
+    The very naturalness, the limpid flow of the melodic thought seem to
+    resist analysis of the design. The listener's perception must be as
+    naïve and spontaneous as was the original conception.
+</p>
+<p>
+    There is, on the one hand, no mere adoption of a classical schedule of
+    form, nor, on the other, the over-subtle workmanship of modern schools.
+    Fresh and resolute begins the virile theme with a main charm in the
+    motion itself. It lies not in a tune here or there, but in a dual play
+    of responsive phrases at the start, and then a continuous flow of
+    further melody on the fillip of the original rhythm, indefinable of
+    outline in a joyous chanting of bass and treble.
+</p>
+<p>
+    A first height reached, an expressive line in the following lull rises
+    in the cellos, that is the essence of the contrasting idea, followed
+    straightway by a brief phrase of the kind, like some turns of peasant
+    song, that we can hear contentedly without ceasing.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music216.jpg" alt="music216" width="400" height="165"></p>
+<p>
+    Again, as at the beginning, such a wealth of melodies sing together that
+    not even the composer could know which he intended in chief. We merely
+    feel, instead of the incisive ring of the first group, a quieter power
+    of soothing beauty. Yet, heralded by a prelude of sweet strains, the
+    expressive line now enters like a queenly figure over a new rhythmic
+    motion, and flows on through delighting glimpses of new harmony to a
+    striking climax.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music217.jpg" alt="music217" width="400" height="175"></p>
+<p>
+    The story, now that the characters have appeared, continues in the main
+    with the second browsing in soft lower strings, while the first (in its
+    later phase) sings above in the wood transformed in mildness, though for
+    a nonce the first motive strikes with decisive vigor. Later is a new
+    heroic mood of minor, quickly softened when the companion melody
+    appears. A chapter of more sombre hue follows, all with the lilt and
+    pace of romantic ballad. At last the main hero returns as at the
+    beginning, only in more splendid panoply, and rides on 'mid clattering
+    suite to passionate triumph. And then, with quieter charm, sings again
+    the second figure, with the delighting strains again and again
+    rehearsed, matching the other with the power of sweetness.
+</p>
+<p>
+    One special idyll there is of carolling soft horn and clarinet, where a
+    kind of lullaby flows like a distilled essence from the gentler play&mdash;of
+    the heroic tune, before its last big verse, with a mighty flow of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music218.jpg" alt="music218" width="400" height="129"></p>
+<p style="text-indent: 0em">
+    sequence, and splendidly here the second figure crowns the pageant. At
+    the passionate height, over long ringing chord, the latter sings a
+    sonorous line in lengthened notes of the wood and horns. The first
+    climax is here, in big coursing strains, then it slowly lulls, with a
+    new verse of the idyll, to a final hush.
+</p>
+<p>
+    The second movement is a brief lyric with one main melody, sung at first
+    by a solo cello amidst a weaving of muted strings; later it is taken up
+    by the first violins. The solo cello returns for a further song in duet
+    with the violins, where the violas, too, entwine their melody, or the
+    cello is joined by the violins.
+</p>
+<p>
+    Now the chief melody returns for a richer and varied setting with horns
+    and woodwind. At last the first violins, paired in octave with the
+    cello, sing the full melody in a madrigal of lesser strains.
+</p>
+<p>
+    An epilogue answers the prologue of the beginning.
+</p>
+<p>
+    Equally brief is the true Scherzo, though merely entitled Allegretto,&mdash;a
+    dainty frolic without the heavy brass, an indefinable conceit of airy
+    fantasy, with here and there a line of sober melody peeping between the
+    mischievous pranks. There is no contrasting Trio in the middle; but just
+    before the end comes a quiet pace as of mock-gravity, before a final
+    scamper.
+</p>
+<p>
+    A preluding fantasy begins in the mood of the early Allegro; a wistful
+    melody of the clarinet plays more slowly between cryptic reminders of
+    the first theme of the symphony. In sudden <i>Allegro risoluto</i> over
+    rumbling bass of strings, a mystic call of horns, harking far back,
+    spreads its echoing ripples all about till it rises in united tones,
+    with a clear, descending answer, much like the original first motive.
+    The latter now continues in the bass in large and smaller pace beneath a
+    new tuneful treble of violins, while the call still roams a free course
+    in the wind. Oft repeated is this resonation in paired harmonies, the
+    lower phrase like an "obstinate bass."
+</p>
+<p>
+    Leaving the fantasy, the voices sing in simple choral lines a hymnal
+    song in triumphal pace, with firm cadence and answer, ending at length
+    in the descending
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music219.jpg" alt="music219" width="400" height="178"></p>
+<p style="text-indent: 0em">
+    phrase. The full song is repeated, from the entrance of the latter, as
+    though to stress the two main melodies. The marching chorus halts
+    briefly when the clarinet begins again a mystic verse on the strain of
+    the call, where the descending phrase is intermingled in the horns and
+    strings.
+</p>
+<p>
+    There is a new horizon here. We can no longer speak with
+    half-condescension of Italian simplicity, though another kind of primal
+    feeling is mingled in a breadth of symphonic vein. We feel that our
+    Italian poet has cast loose his leading strings and is revealing new
+    glimpses through the classic form.
+</p>
+<p>
+    Against a free course of quicker figures rises in the horns the simple
+    melodic call, with answer and counter-tunes in separate discussion. Here
+    comes storming in a strident line of the inverted melody in the bassoon,
+    quarrelling with the original motive in the clarinet. Then a group sing
+    the song in dancing trip, descending against the stern rising theme of
+    violas; or one choir follows on the heels of another. Now into the play
+    intrudes the second melody, likewise in serried chase of imitation.
+</p>
+<p>
+    The two themes seem to be battling for dominance, and the former wins,
+    shouting its primal tune in brass and wood, while the second sinks to a
+    rude clattering rhythm in the bass. But out of the clash, where the
+    descending phrase recurs in the basses, the second melody emerges in
+    full sonorous song. Suddenly at the top of the verse rings out in
+    stentorian brass the first theme of all the symphony to the opening
+    chord of the Finale, just as it rang at the climax in the beginning.
+</p>
+<p>
+    A gentle duet of violins and clarinet seems to bring back the second
+    melody of the first movement, and somehow, in the softer mood, shows a
+    likeness with the second of the Finale. For a last surprise, the former
+    idyll (of the first Allegro) returns and clearly proves the original
+    guise of our latest main melody. As though to assure its own identity as
+    prevailing motto, it has a special celebration in the final joyous
+    revel.
+</p>
+<a name="2HCH0020"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XX
+</h2>
+<h3>
+    EDWARD ELGAR. AN ENGLISH SYMPHONY<a href="#note77">[77]</a>
+</h3>
+
+<p>
+    There is a rare nobility in the simple melody, the vein of primal hymn,
+    that marks the invocation,&mdash;in solemn wood against stately stride of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music220.jpg" alt="music220" width="400" height="189"></p>
+<p style="text-indent: 0em">
+    lower strings. A true ancient charm is in the tune, with a fervor at the
+    high point and a lilt almost of lullaby,&mdash;till the whole chorus begins
+    anew as though the song of marching hosts. Solemnity is the essence
+    here, not of artificial ceremony nor of rhymeless chant,&mdash;rather of
+    prehistoric hymn.
+</p>
+<p>
+    In passionate recoil is the upward storming song (Allegro) where a group
+    of horns aid the surging crest of strings and wood,&mdash;a resistless motion
+    of massed melody. Most thrilling after the first climax is the sonorous,
+    vibrant stroke of the bass in the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music221.jpg" alt="music221" width="400" height="201"></p>
+<p style="text-indent: 0em">
+    recurring melody. As it proceeds, a new line of bold tune is stirred
+    above, till the song ends at the highest in a few ringing, challenging
+    leaps of chord,&mdash;ends or, rather merges in a relentless, concluding
+    descent. Here, in a striking phrase of double
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music222.jpg" alt="music222" width="400" height="347"></p>
+<p style="text-indent: 0em">
+    song, is a touch of plaint that, hushing, heralds the coming gentle
+    figure. We are sunk in a sweet romance, still of ancientest lore, with a
+    sense of lost bliss in the wistful cadence. Or do these entrancing
+    strains lead merely to the broader melody that moves with queenly tread
+    (of descending violins) above a soft murmuring of lower figures? It is
+    taken up
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music223.jpg" alt="music223" width="400" height="212"></p>
+<p style="text-indent: 0em">
+    in a lower voice and rises to a height of inner throb rather than of
+    outer stress. The song departs as it came, through the tearful plaint of
+    double phrase. Bolder accents merge suddenly into the former impassioned
+    song. Here is the real sting of warrior call, with shaking brass and
+    rolling drum, in lengthened swing against other faster sounds,&mdash;a revel
+    of heroics, that at the end breaks afresh into the regular song.
+</p>
+<p>
+    Yet it is all more than mere battle-music. For here is a new passionate
+    vehemence, with loudest force of vibrant brass, of those dulcet strains
+    that preceded the queenly melody. An epic it is, at the least, of
+    ancient flavor, and the sweeter romance here rises to a tempest more
+    overpowering than martial tumult.
+</p>
+<p>
+    It is in the harking back to primal lore that we seem to feel true
+    passion at its best and purest, as somehow all truth of legend, proverb
+    and fable has come from those misty ages of the earth. The drooping
+    harmonies merge in the returning swing of the first solemn hymn,&mdash;a mere
+    line that is broken by a new tender appeal, that, rising to a moving
+    height,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music224.jpg" alt="music224" width="400" height="191"></p>
+<p style="text-indent: 0em">
+    yields to the former plaint (of throbbing thirds).
+</p>
+<p>
+    A longer elegy sings, with a fine poignancy, bold and new in the very
+    delicacy of texture, in the sharp impinging of these gentlest sounds. In
+    the depths of the dirge suddenly, though quietly, sounds the herald
+    melody high in the wood, with ever firmer cheer, soon in golden horns,
+    at last in impassioned strings, followed by the wistful motive.
+</p>
+<p>
+    A phase here begins as of dull foreboding, with a new figure stalking in
+    the depths and, above, a brief sigh in the wind. In the growing stress
+    these figures sing from opposite quarters, the sobbing phrase below,
+    when suddenly the queenly melody stills the tumult. It is answered by a
+    dim, slow line of the ominous motive. Quicker echoes of the earlier
+    despond still flit here and there, with gleams of joyous light. The
+    plaintive (dual) song returns and too the tender appeal, which with its
+    sweetness at last wakens the buoyant spirit of the virile theme.
+</p>
+<p>
+    And so pass again the earlier phases of resolution with the masterful
+    conclusion; the tearful accents; the brief verse of romance, and the
+    sweep of queenly figure, rising again to almost exultation. But here,
+    instead of tears and recoil, is the brief sigh over sombre harmonies,
+    rising insistent in growing volume that somehow conquers its own mood. A
+    return of the virile motive is followed at the height by the throbbing
+    dual song with vehement stress of grief, falling to lowest echoes.
+</p>
+<p>
+    Here begins the epilogue with the original solemn hymn. Only it is now
+    entwined with shreds and memories of romance, flowing tranquilly on
+    through gusts of passion. And there is the dull sob with the sudden
+    gleam of joyous light. But the hymn returns like a sombre solace of
+    oblivion,&mdash;though there is a final strain of the wistful romance, ending
+    in sad harmony.
+</p>
+<p>
+    <i>II.&mdash;Allegro molto.</i> The Scherzo (as we may venture to call it) begins
+    with a breath of new harmony, or is it a blended magic of rhythm, tune
+    and chord? Far more than merely bizarre, it calls up a vision of Celtic
+    warriors, the wild, free spirit of Northern races. The rushing jig or
+    reel is halted
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music225.jpg" alt="music225" width="400" height="195"></p>
+<p style="text-indent: 0em">
+    anon by longer notes in a drop of the tune and instantly returns to the
+    quicker run. Below plays a kind of drum-roll of rumbling strings. Other
+    revelling pranks appear, of skipping wood, rushing harp and dancing
+    strings, till at last sounds a clearer tune, a restrained war-march with
+    touch of terror in the soft subdued chords, suddenly growing to
+    expressive
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music226.jpg" alt="music226" width="400" height="171"></p>
+<p style="text-indent: 0em">
+    volume as it sounds all about, in treble and in bass.
+</p>
+<p>
+    At last the war-song rings in full triumphant blast, where trumpets and
+    the shrill fife lead, and the lower brass, with cymbals and drums (big
+    and little) mark the march. Then to the returning pranks the tune roars
+    in low basses and reeds, and at last a big conclusive phrase descends
+    from the height to meet the rising figure of the basses.
+</p>
+<p>
+    Now the reel dances in furious tumult (instead of the first whisper) and
+    dies down through the slower cadence.
+</p>
+<p>
+    An entirely new scene is here. To a blended tinkle of harp, reeds and
+    high strings sounds a delicate air, quick and light, yet with a tinge of
+    plaint that may be a part of all Celtic song. It were rude to spoil
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music227.jpg" alt="music227" width="400" height="134"></p>
+<p style="text-indent: 0em">
+    its fine fragrance with some rough title of meaning; nor do we feel a
+    strong sense of romance, rather a whim of Northern fantasy.
+</p>
+<p>
+    Over a single note of bass sings a new strain of elegy, taken up by
+    other voices, varying with the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music228.jpg" alt="music228" width="400" height="86"></p>
+<p style="text-indent: 0em">
+    tinkling air. Suddenly in rushes the first reel, softly as at first; but
+    over it sings still the new sad tune, then yields to the wild whims and
+    pranks that lead to the war-song in resonant chorus, joined at the
+    height by the reel below. They change places, the tune ringing in the
+    bass. In the martial tumult the tinkling air is likewise infected with
+    saucy vigor, but suddenly retires abashed into its shell of fairy sound,
+    and over it sings the elegy in various choirs. The tinkling melody falls
+    suddenly into a new flow of moving song, rising to pure lyric fervor.
+    The soft air has somehow the main say, has reached the high point, has
+    touched the heart of the movement. Expressively it slowly sinks away
+    amid echoing phrases and yields to the duet of elegy and the first reel.
+    But a new spirit has appeared. The sting of war-song is gone. And here
+    is the reel in slow reluctant pace. After another verse of the fairy
+    tune, the jig plays still slower, while above sings a new melody. Still
+    slower the jig has fallen almost to funeral pace, has grown to a new
+    song of its own, though, to be sure, brief reminders of the first dance
+    jingle softly here and there. And now the (hushed) shadow of the
+    war-song in quite slower gait strides in lowest basses and passes
+    quietly straight into the Adagio.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music229.jpg" alt="music229" width="400" height="187"></p>
+<p>
+    <i>III.</i>&mdash;Assured peace is in the simple sincere melody, rising to a glow
+    of passion. But&mdash;is this a jest of our poet? Or rather now we see why
+    there was no halt at the end of the Scherzo. For the soothing melody is
+    in the very notes of the impish reel,&mdash;is the same tune.<a href="#note78">[78]</a> Suddenly
+    hushing, the song hangs on high over delicate minor harmonies.
+</p>
+
+<p>
+    In exquisite hues an intimate dialogue ensues, almost too personal for
+    the epic vein, a discourse or madrigal of finest fibre that breaks (like
+    rays of setting sun) into a melting cadence of regret. We are doubly
+    thrilled in harking back to the sweet, wistful romance, the strain of
+    the first movement.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music230.jpg" alt="music230" width="330" height="166"></p>
+<p>
+    Across the gauzy play, horns and wood blow a slow phrase, like a motto
+    of Fate in the sombre harmony, with one ardent burst of pleading.
+</p>
+<p>
+    In clearer articulation sings a dual song, still softly o'ercast with
+    sweet sadness, ever richer in the harmonies of multiple strings, tipped
+    with the light mood,&mdash;and again the wistful cadence. Siren figures of
+    entrancing grace that move amid the other melody, bring enchantment that
+    has no cheer, nor escape the insistent sighing phrase. Once more come
+    the ominous call and the passionate plea, then assurance with the
+    returning main melody in renewed fervor. Phases of dual melody end again
+    with the wistful cadence. The tranquil close is like one sustained fatal
+    farewell, where the fairy figures but stress the sad burden.
+</p>
+<p>
+    <i>IV.</i>&mdash;The beginning is in lowest depths (Largo). First is the stalking
+    figure of earliest movement, from the moment of despond. It is answered
+    by a steadily striding theme, almost martial, save for the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music231.jpg" alt="music231" width="400" height="90"></p>
+<p style="text-indent: 0em">
+    slowness of pace. Not unlike the hymn of the first prologue in line of
+    tune, it bears a mood of dark resignation that breaks presently into the
+    touching plea of the wistful cadence.
+</p>
+<p>
+    The whole is a reflective prologue to the Finale: a deep meditation from
+    which the song may roll forth on new spring. The hymn has suddenly
+    entered with a subtly new guise; for the moment it seems part of the
+    poignant sigh; it is as yet submerged in a flood of gloom and regret;
+    and the former phrases still stride and stalk below. In a wild climax of
+    gloom we hear the former sob, earlier companion of the stalking figure.
+</p>
+<p>
+    Hymnal strains return,&mdash;flashes of heavenly light in the depths of hell,
+    and one passionate sigh of the melting cadence.
+</p>
+<p>
+    <i>Allegro</i>,&mdash;we are carried hack to the resolute vigor of the earlier
+    symphony, lacking the full fiery charm, but ever striving and stirring,
+    like Titans rearing mountain piles, not without the cheer of toil
+    itself. At the height comes a burst of the erst yearning cadence, but
+    there is a new masterful accent; the wistful edge does not return till
+    the echoing phrases sink away in the depths.
+</p>
+<p>
+    A new melody starts soaring on the same wing of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music232.jpg" alt="music232" width="400" height="178"></p>
+<p style="text-indent: 0em">
+    blended striving and yearning of which all this song is fraught. In its
+    broader sweep and brighter cheer it is like the queenly melody of the
+    first movement.
+</p>
+<p>
+    The Titan toil stirs strongly below the soft cadence; the full, fierce
+    ardor mounts heavenward. Phases now alternate of insistent rearing on
+    the strenuous motive and of fateful submission in the marching strain,
+    that is massed in higher and bigger chorus. As gathers the stress of
+    climax, the brass blowing a defiant blast, the very vehemence brings a
+    new resolution that is uttered in the returning strenuous phrase.
+</p>
+<p>
+    Again rises the towering pile. At the thickest the high horns blow loud
+    a slow, speaking legend,&mdash;the farewell motive, it seems, from the end of
+    Adagio, fierce energy struggling with fatal regret gnawing at the heart.
+</p>
+<p>
+    Gripping is the appeal of the sharp cry almost of anguish into which the
+    toiling energy is suddenly resolved. Again the fateful march enters, now
+    in heroic fugue of brass and opposite motion of strings and reed,&mdash;all
+    overwhelmed with wild recurring pangs of regret.
+</p>
+<p>
+    And so "double, double, toil and trouble," on goes the fugue and follows
+    the arduous climb (into the sad motto in the horns), each relieving the
+    other, till both yield again to the heart-breaking cry.
+</p>
+<p>
+    The cheerier melody here re-enters and raises the mood for the nonce.
+    Soon it falls amid dim harmonies. Far in the depths now growls the dull
+    tread, answered by perverted line of the hymn.
+</p>
+<p>
+    A mystic verse sounds over pious chords of harp in the tune of the
+    march, which is sung by antiphonal choirs of strings,&mdash;later with fuller
+    celestial chorus, almost in rapture of heavenly resignation. Only it is
+    not final; for once again returns the full struggle of the beginning,
+    with the farewell-legend, and in highest passion the phrase of regret
+    rung again and again&mdash;till it is soothed by the tranquil melody. The
+    relentless stride of march too reaches a new height, and one last,
+    moving plaint. When the fast chasing cries are in closest tangle,
+    suddenly the hymn pours out its benediction, while the cries have
+    changed to angelic acclaim. Here is the transfigured song in full
+    climactic verse that fulfils the promise of the beginning. A touch of
+    human (or earthly joy) is added in an exultant strain of the sweeping
+    melody that unites with the hymn at the close.
+</p>
+<a name="2HCH0021"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XXI
+</h2>
+<h3>
+    SYMPHONIES IN AMERICA
+</h3>
+<p>
+    When we come to a view of modern music in symphonic design, written in
+    America, we are puzzled by a new phase of the element of nationalism.
+    For here are schools and styles as different as of far corners of
+    Europe. Yet they can be called nothing else than American, if they must
+    have a national name. In the northern centre whence a model orchestra
+    has long shed a beneficent influence far afield, the touch of new French
+    conceits has colored some of the ablest works. Elsewhere we have cited a
+    symphony more in line with classical tradition.<a href="#note79">[79]</a>
+</p>
+
+<p>
+    Perhaps most typical is a symphony of Hadley where one feels, with other
+    modern tradition, the mantle of the lamented MacDowell, of whom it may
+    be said that he was first to find in higher reaches of the musical art
+    an utterance of a purely national temper.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="hadley" href="#note80">
+    <i>HENRY HADLEY. SYMPHONY NO. 3, B MINOR.</i>[80]</a>
+</center>
+
+<p>
+    With virile swing the majestic melody strides in the strings, attended
+    by trooping chords of wood and brass, all in the minor, in triple
+    rhythm. In
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music233.jpg" alt="music233" width="400" height="208"></p>
+<p style="text-indent: 0em">
+    the bass is a frequent retort to the themal phrase. For a moment a
+    dulcet line steals in, quickly broken by the returning martial stride of
+    stentorian horns, and of the main theme in full chords. Strange, though,
+    how a softer, romantic humor is soon spread over the very discussion of
+    the martial theme, so that it seems the rough, vigorous march is but the
+    shell for the kernel of tender romance,&mdash;the pageant that precedes the
+    queenly figure. And presently, <i>piu tranquillo</i>, comes the fervent lyric
+    song that may indeed be the chief theme in poetic import, if not in
+    outer rank. After a moving verse in the strings,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music234.jpg" alt="music234" width="400" height="202"></p>
+<p style="text-indent: 0em">
+    with an expressive strain in some voice of the woodwind or a ripple of
+    the harp, it is sung in tense chorus of lower wood and horns,&mdash;soon
+    joined by all the voices but the martial brass, ending with a soft echo
+    of the strings.
+</p>
+<p>
+    Now in full majesty the stern stride of first theme is resumed, in
+    faster insistence,&mdash;no longer the mere tune, but a spirited extension
+    and discussion, with retorts between the various choirs. Here the
+    melodious march is suddenly felt in the bass (beneath our feet, as it
+    were) of lowest brass and strings, while the noisy bustle continues
+    above; then, changing places, the theme is above, the active motion
+    below.
+</p>
+<p>
+    Long continues the spirited clatter as of warlike march till again
+    returns the melting mood of the companion melody, now sung by the
+    expressive horn, with murmuring strings. And there are enchanting
+    flashes of tonal light as the song passes to higher choirs. The lyric
+    theme wings its rapturous course to a blissful height, where an
+    intrusion of the main motive but halts for the moment the returning
+    tender verse.
+</p>
+<p>
+    When the first vigorous phrase returns in full career, there is somehow
+    a greater warmth, and the dulcet after-strain is transfigured in a glow
+    greater almost than of the lyric song that now follows with no less
+    response of beauty. In the final spirited blending of both melodies the
+    trumpets sound a quicker pace of the main motive.
+</p>
+<p>
+    In the Andante (<i>tranquillo</i>) the sweet tinkle of church-bells with
+    soft chanting horns quickly defines the scene. Two voices of the
+    strings, to the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music235.jpg" alt="music235" width="400" height="199"></p>
+<p style="text-indent: 0em">
+    continuing hum of the bells, are singing a responsive song that rises in
+    fervor as the horns and later the woodwind join the strings. Anon will
+    sound the simple tune of the bells with soft harmonies, like echoes of
+    the song,&mdash;or even the chant without the chimes.
+</p>
+<p>
+    In more eager motion,&mdash;out of the normal measure of bells and hymn,
+    breaks a new song in minor with a touch of passion, rising to a burst of
+    ardor. But it passes, sinking away before a new phase,&mdash;a bucolic
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music236.jpg" alt="music236" width="400" height="204"></p>
+<p style="text-indent: 0em">
+    fantasy of trilling shepherd's reed (in changed, even pace), supported
+    by strumming strings. The sacred calm and later passion have yielded to
+    a dolorous plaint, like the dirge of the Magyar plains. Suddenly the
+    former fervor returns with strains of the second melody amidst urging
+    motion (in the triple pace) and startling rushes of harp-strings. At the
+    height, trumpets blare forth the first melody, transformed from its
+    earlier softness, while the second presses on in higher wood and
+    strings; the trombones relieve the trumpets, with a still larger chorus
+    in the romantic song; in final exaltation, the basses of brass and
+    strings sound the first melody, while the second still courses in treble
+    voices.
+</p>
+<p>
+    Of a sudden, after a lull, falls again the tinkle of sacred chimes, with
+    a verse each of the two main melodies.
+</p>
+<p>
+    The Scherzo begins with a Saltarello humor, as of airy faun, with a
+    skipping theme ever accompanied by a lower running phrase and a prancing
+    trip of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music237.jpg" alt="music237" width="400" height="202"></p>
+<p style="text-indent: 0em">
+    strings, with a refrain, too, of chirruping woodwind. Later the skipping
+    phrase gains a melodic cadence. But the main mood is a revel of gambols
+    and pranks of rhythm and harmony on the first phase.
+</p>
+<p>
+    In the middle is a sudden shift of major tone and intimate humor, to a
+    slower pace. With still a semblance of dance, a pensive melody sings in
+    the cellos; the graceful cadence is rehearsed in a choir
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music238.jpg" alt="music238" width="400" height="175"></p>
+<p style="text-indent: 0em">
+    of woodwind, and the song is taken up by the whole chorus. As a pretty
+    counter-tune grows above, the melody sings below, with a blending of
+    lyric feeling and the charm of dance. At a climactic height the horns,
+    with clumsy grace, blare forth the main lilting phrase.
+</p>
+<p>
+    The song now wings along with quicker tripping counter-tunes that slowly
+    lure the first skipping tune back into the play after a prelude of high
+    festivity. New pranks appear,&mdash;as of dancing strings against a stride of
+    loud, muted horns. Then the second (pensive) melody returns, now above
+    the running counter-tune. At last, in faster gait, to the coursing of
+    quicker figures, the (second) melody rings out in choir of brass in
+    twice slower, stately pace. But the accompanying bustle is merely
+    heightened until all four horns are striking together the lyric song. At
+    the end is a final revel of the first dancing tune.
+</p>
+<p>
+    The Finale, which bears the unusual mark <i>Allegro con giubilio</i>, begins
+    with a big festive march that may seem to have an added flavor of old
+    English merrymaking. But as in the other cantos of the poem there
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music239.jpg" alt="music239" width="400" height="176"></p>
+<p style="text-indent: 0em">
+    is here, too, an opposite figure and feeling. And the more joyous the
+    gaiety, the more sweetly wistful is the recoil. Nay there is in this
+    very expressive strain, beautifully woven in strings, harp, woodwind and
+    horns, a vein of regret that grows rather than lessens, whenever the
+    melody appears alone. It is like the memory, in the midst of festival,
+    of some blissful moment lost forever.
+</p>
+<p>
+    Indeed, the next phase seems very like a disordered chase of stray
+    memories; for here a line of martial air is displaced by a pensive
+    strain which in
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music240.jpg" alt="music240" width="400" height="360"></p>
+<p style="text-indent: 0em">
+    turn yields to the quick, active tune that leads to a height of
+    celebration.
+</p>
+<p>
+    But here is a bewildering figure on the scene: Lustily the four horns
+    (helped by the strings) blow in slow notes against the continuing motive
+    an expressive melody. Slowly it breaks upon our ears as the wistful air
+    that followed the chimes of Sunday bells. It has a stern, almost sombre
+    guise, until it suddenly glows in transfigured light, as of a choir of
+    celestial brass.
+</p>
+<p>
+    Slowly we are borne to the less exalted pitch of the first festive
+    march, and here follows, as at first, the expressive melody where each
+    hearer may find his own shade of sadness. It does seem to reach a true
+    passion of regret, with poignant sweet sighs.
+</p>
+<p>
+    At length the sadness is overcome and there is a new animation as
+    separate voices enter in fugal manner in the line of the march. Now the
+    festive tune holds sway in lower pace in the basses; but then rings on
+    high in answer&mdash;the wistful melody again and again, in doubled and twice
+    redoubled pace.
+</p>
+<p>
+    When we hear the <i>penseroso</i> melody once more at the end, we may feel
+    with the poet a state of resigned cheer.
+</p>
+<p>
+    A remarkable work that shows the influence of modern French harmony
+    rather than its actual traits, is a <a name="strube">SYMPHONY BY GUSTAV
+    STRUBE</a>.<a href="#note81">[81]</a> It is
+    difficult to resist the sense of a strain for bizarre harmony, of a
+    touch of preciosity. The real business of these harmonies is for
+    incidental pranks, with an after-touch that confesses the jest, or
+    softens it to a lyric utterance. It cannot be denied that the moving
+    moments in this work come precisely in the release of the strain of
+    dissonance, as in the returning melody of the Adagio. Only we may feel
+    we have been waiting too long. The desert was perhaps too long for the
+    oasis. <i>Est modus in rebus</i>: the poet seems niggardly with his melody;
+    he may weary us with too long waiting, with too little staying comfort.
+    He does not escape the modern way of symbolic, infinitesimal melody, so
+    small that it must, of course, reappear. It is a little like the
+    wonderful arguments from ciphers hidden in poetry.
+</p>
+
+<p>
+    It cannot he denied that the smallness of phrase does suggest a
+    smallness of idea. The plan of magic motive will not hold <i>ad
+    infinitesimum</i>. As the turn of the triplet, in the first movement,
+    twists into a semblance of the Allegro theme, we feel like wondering
+    with the old Philistine:
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    ... "How all this difference can be<br>
+    'Twixt tweedle-dum and tweedle-dee!"
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p>
+    But there is the redeeming vein of lyric melody with a bold fantasy of
+    mischievous humor and a true climax of a clear poetic design. One reason
+    seems sometimes alone to justify this new license, this new French
+    revolution: the deliverance from a stupid slavery of rules,&mdash;if we would
+    only get the spirit of them without the inadequate letter. Better, of
+    course, the rules than a fatal chaos. But there is here in the bold
+    flight of these harmonies, soaring as though on some hidden straight
+    path, a truly Promethean utterance.
+</p>
+<p>
+    It is significant, in the problem of future music, that of the
+    symphonies based upon recent French ideas, the most subtly conceived and
+    designed should have been written in America.
+</p>
+<p>
+    <i>I.</i>&mdash;In pale tint of harmony sways the impersonal phrase that begins
+    with a descending tone. We may
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music241.jpg" alt="music241" width="400" height="233"></p>
+<p style="text-indent: 0em">
+    remember<a href="#note82">[82]</a> how first with the symphony came a clear sense of tonal
+    residence. It was like the age in painting when figures no longer hung
+    in the gray air, when they were given a resting-place, with trees and a
+    temple.
+</p>
+
+<p>
+    Here we find just the opposite flight from clear tonality, as if
+    painting took to a Japanese manner, sans aught of locality. Where an
+    easy half-step leads gently somewhere, a whole tone sings instead.
+    Nothing obvious may stand.
+</p>
+<p>
+    It marks, in its reaction, the excessive stress of tonality and of
+    simple colors of harmony. The basic sense of residence is not abandoned;
+    there is merely a bolder search for new tints, a farther straying from
+    the landmarks.
+</p>
+<p>
+    Soon our timid tune is joined by a more expressive line that rises in
+    ardent reaches to a sudden tumult, with a fiery strain of trumpets where
+    we catch a glimpse of the triplet figure. After a dulcet lullaby
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music242.jpg" alt="music242" width="400" height="395"></p>
+<p style="text-indent: 0em">
+    of the first air, the second flows in faster pace (<i>Allegro commodo</i>) as
+    the real text, ever with new blossoming variants that sing together in a
+    madrigal of tuneful voices, where the descending note still has a part
+    in a smooth, gliding pace of violins.
+</p>
+<p>
+    In gayer mood comes a verse of the inverted (Allegro) tune, with other
+    melodic guises hovering about. When the theme descends to the bass, the
+    original Andante phrase sings in the trumpet, and there is a chain of
+    entering voices, in growing agitation, in the main legend with the
+    quicker sprites dancing about. At the height, after the stirring song
+    of trumpets, we feel a passionate strife of resolve and regret; and
+    immediately after, the descending tone is echoed everywhere.
+</p>
+<p>
+    A balancing (second) theme now appears, in tranquil
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music243.jpg" alt="music243" width="400" height="230"></p>
+<p style="text-indent: 0em">
+    flow, but pressing on, at the end, in steady ascent as to Parnassian
+    summit. Later comes a new rejoinder in livelier mood, till it is lost in
+    a big, moving verse of the Andante song. But pert retorts from the
+    latest new tune again fill the air, then yield in attendance upon the
+    returning Allegro theme. Of subtle art is the woof of derived phrases. A
+    companion melody, that seems fraught of the text of the second subject,
+    sings with rising passion, while the lower brass blow lustily in
+    eccentric rhythm of the Allegro phrase and at the height share in the
+    dual triumph.
+</p>
+<p>
+    We feel a kinship of mood rather than of theme, a coherence that we
+    fear to relate to definite figures, though the descending symbol is
+    clear against the ascending. An idyllic dialogue, with the continuing
+    guise of the Allegro phrase turns to a gayer revel in the original pace,
+    with a brilliant blare of trumpets.
+</p>
+<p>
+    The free use of themes is shown in the opposite moods of the triplet
+    phrase, of sadness, as in Andante, or buoyant, in Allegro. Here are both
+    in close transition as the various verses return from the beginning,
+    entwined about the first strain of the Andante, gliding through the
+    descending tone into the second soothing song with the Parnassian
+    ascent.
+</p>
+<p>
+    A full verse of the first Andante melody sings at the heart of the plot,
+    followed by the strange daemonic play that keeps the mood within bounds.
+    Indeed, it returns once more as at first, then springs into liveliest
+    trip and rises to an Olympian height, with a final revel of the triplet
+    figure.
+</p>
+<p>
+    <i>II.</i>&mdash;With a foreshadowing drop of tone begins the prelude, not unlike
+    the first notes of the symphony,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music244.jpg" alt="music244" width="400" height="212"></p>
+<p style="text-indent: 0em">
+    answered with a brief phrase. On the descending motive the main melody
+    is woven.
+</p>
+<p>
+    Tenderly they play together, the melody with the main burden, the
+    lighter prelude phrase in graceful accompaniment. But now the latter
+    sings in turn a serious verse, rises to a stormy height, the horns
+    proclaiming the passionate plea amid a tumultuous accord of the other
+    figures, and sinks in subdued temper. In a broader pace begins a new
+    line, though on the thread of the descending motive, and with the
+    entering phrase of the prelude winds to a climax of passion. The true
+    episode, of refuge and solace from the stress of tempest, is in a song
+    of the trumpet through a shimmering gauze of strings with glinting harp,
+    to a soft murmuring in the reeds.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music245.jpg" alt="music245" width="400" height="246"></p>
+<p>
+    In a new shade of tone it is echoed by the horn, then in a fervent close
+    it is blended with a guise of the prelude phrase, that now heralds the
+    main melody, in a duet of clarinet and violins. At last in the home
+    tone the horn sings amid the sweet tracery the parting verse, and all
+    about sounds the trist symbol of the first (descending) motive.
+</p>
+<p>
+    <i>III.</i>&mdash;The Scherzo is in one view a mad revel of demon pranks in a new
+    field of harmonies. Inconsequential though they may seem, there is a
+    real coherence, and, too, a subtle connection with the whole design.
+</p>
+<p>
+    To be sure, with the vagueness of tune that belongs to a school of
+    harmonic exploits a certain mutual relation of themes is a kind of
+    incident. The less defined the phrases, the easier it is to make them
+    similar.
+</p>
+<p>
+    Undoubted likeness there is between the main elfin figure and the first
+    phrase of the symphony.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music246.jpg" alt="music246" width="400" height="215"></p>
+<p style="text-indent: 0em">
+    The triplet is itself a kind of password throughout. With this multiple
+    similarity is a lack of the inner bond of outer contrast.
+</p>
+<p>
+    The mood of demon humor finds a native medium in the tricks of new
+    Gallic harmony. Early in the prelude we hear the descending tone, a
+    streak of sadness in the mirth. Answering the first burst is a strange
+    stroke of humor in the horn, and as if in
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music247.jpg" alt="music247" width="400" height="215"></p>
+<p style="text-indent: 0em">
+    serious balance, a smooth gliding phrase in the wood. Now the first
+    figure grows more articulate, romping and galloping into an ecstasy of
+    fun. A certain spirit of Till Eulenspiegel hovers about.
+</p>
+<p>
+    Out of the maze blows a new line in muted trumpets, that begins with the
+    inverted triplet figure, and in spite of the surrounding bedlam rises
+    almost into a tune. At the height the strange jest of the horns reigns
+    supreme.
+</p>
+<p>
+    From the mad gambols of the first figure comes a relief in sparkling
+    calls of the brass and stirring retorts in pure ringing harmonies. In
+    the next episode is a fall into a lyric mood as the latest figure glides
+    into even pace, singing amid gentlest pranks. Most tuneful of all
+    sounds is the answer in dulcet trumpet while, above, the first theme
+    intrudes softly.
+</p>
+<p>
+    The heart of the idyll comes in a song of the clarinet
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music248.jpg" alt="music248" width="400" height="223"></p>
+<p style="text-indent: 0em">
+    against strange, murmuring strings, ever with a soft answer of the lower
+    reed.
+</p>
+<p>
+    New invading sprites do not hem the flight of the melody. But at the
+    height a redoubled pace turns the mood back to revelling mirth with
+    broken bits of the horn tune. Indeed the crisis comes with a new rage of
+    this symbol of mad abandon, in demonic strife with the fervent song that
+    finally prevails.
+</p>
+<p>
+    The first theme returns with a new companion in the highest wood. A
+    fresh strain of serious melody is now woven about the former dulcet
+    melody of trumpet in a stretch of delicate poesy, of mingled mirth and
+    tenderness.&mdash;The harmonies have something of the infinitesimal sounds
+    that only insects hear. With all virtuous recoil, here we must confess
+    is a masterpiece of cacophonic art, a new world of tones hitherto
+    unconceived, tinkling and murmuring with the eerie charm of the
+    forest.&mdash;In the return of the first prelude is a touch of the descending
+    tone. From the final revelling tempest comes a sudden awakening. In
+    strange moving harmony sings slowly the descending symbol, as if
+    confessing the unsuccessful flight from regret. Timidly the vanquished
+    sprites scurry away.
+</p>
+<p>
+    <i>IV.</i>&mdash;The first notes of the Finale blend and bring back the main
+    motives. First is the descending tone, but firm and resolute, with the
+    following triplet in
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music249.jpg" alt="music249" width="400" height="106"></p>
+<p style="text-indent: 0em">
+    inversion of the Scherzo theme.
+</p>
+<p>
+    It is all in triumphant spirit. From the start the mood reigns, the art
+    for once is quite subordinate. Resonant and compelling is the motive of
+    horns and trumpets, new in temper, though harking back to the earlier
+    text, in its cogent ending. Splendid is
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music250.jpg" alt="music250" width="400" height="181"></p>
+<p style="text-indent: 0em">
+    the soaring flight through flashes of new chords. There is, we must
+    yield, something Promethean, of new and true beauty, in the bold path of
+    harmonies that the French are teaching us after a long age of slavish
+    rules.
+</p>
+<p>
+    The harking back is here better than in most modern symphonies with
+    their pedantic subtleties: in the resurgence of joyous mood, symbolized
+    by the inversion of phrase, as when the prankish elfin theme rises in
+    serious aspiration.
+</p>
+<p>
+    Out of these inspiriting reaches sings a new melody in canon of strings
+    (though it may relate to some shadowy memory), while in the bass rolls
+    the former ending phrase; then they romp in jovial turn of rhythm.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music251.jpg" alt="music251" width="400" height="194"></p>
+<p>
+    A vague and insignificant similarity of themes is a fault of the work
+    and of the style, ever in high disdain of vernacular harmony, refreshing
+    to be sure, in its saucy audacity, and anon enchanting with a ring of
+    new, fiery chord. As the sonorous theme sings in muted brass, picking
+    strings mockingly play quicker fragments, infecting the rest with
+    frivolous retorts, and then a heart-felt song pours forth, where the
+    accompanying cries have softened their mirth. Back they skip to a joyous
+    trip with at last pure ringing harmonies.
+</p>
+<p>
+    At the fervent pitch a blast of trumpets rises in challenging phrase, in
+    incisive clash of chord, with the early sense of Parnassian ascent. At
+    the end of this brave fanfare we hear a soft plea of the descending tone
+    that prompts a song of true lyric melody, with the continuing gentlest
+    touch of regret, all to a sweetly bewildering turn of pace. So tense
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music252.jpg" alt="music252" width="400" height="215"></p>
+<p style="text-indent: 0em">
+    and subtle an expression would utterly convert us to the whole harmonic
+    plan, were it not that just here, in these moving moments, we feel a
+    return to clearer tonality. But it is a joy to testify to so devoted a
+    work of art.
+</p>
+<p>
+    With the last notes of melody a new frisking tune plays in sauciest
+    clashes of chord, with an enchanting stretch of ringing brass. A long
+    merriment ensues in the jovial trip, where the former theme of horns has
+    a rising cadence; or the tripping tune sings in united chorus and again
+    through its variants. After a noisy height the dulcet melody (from the
+    descending tone) sings in linked sweetness. In the later tumult we rub
+    our eyes to see a jovial theme of the bass take on the lines of the
+    wistful melody. Finally, in majestic tread amid general joyous clatter
+    the brass blow the gentle song in mellowed tones of richest harmony.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="chadwick" href="#note83">
+    <i>CHADWICK.[83] SUITE SYMPHONIQUE (IN E FLAT).</i> </a>
+</center>
+
+
+<p>
+    With a rush of harp and higher strings the Suite begins on ardent wing
+    in exultant song of trumpets (with horns, bassoons and cellos) to quick
+    palpitating violins that in its higher flight is given over to upper
+    reeds and violas. It is answered by gracefully drooping melody of
+    strings and harps topped by the oboes, that lightly descends from the
+    heights with a cadence long delayed, like the circling flight of a great
+    bird before he alights. Straightway begins a more pensive turn of phrase
+    (of clarinet and lower strings) in distant tonal scene where now the
+    former (descending) answer sings timidly in alternating groups. The
+    pensive melody returns for a greater reach, blending with the original
+    theme (in all the basses) in a glowing duet of two moods as well as
+    melodies, rising to sudden brilliant height, pressing on to a full
+    return of the first exultant melody with long, lingering, circling
+    descent.
+</p>
+<p>
+    The listener on first hearing may be warned to have a sharp ear for all
+    kinds of disguises of the stirring theme and in a less degree, of the
+    second subject. What seems a new air in a tranquil spot, with strum of
+    harp,&mdash;and new it is as expression,&mdash;is our main melody in a kind of
+    inversion. And so a new tissue of song continues, all of the original
+    fibre, calming more and more from the first fierce glow. A tuneful
+    march-like strain now plays gently in the horns while the (inverted)
+    expressive air still sounds above.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music253.jpg" alt="music253" width="400" height="207"></p>
+<p>
+    When all has quieted to dim echoing answers between horn and reed, a
+    final strain bursts forth (like the nightingale's voice in the
+    surrounding stillness) in full stress of its plaint. And so, in most
+    natural course, grows and flows the main balancing melody that now
+    pours out its burden in slower, broader pace, in joint choirs of wood
+    and strings.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music254.jpg" alt="music254" width="400" height="445"></p>
+<p>
+    It is the kind of lyric spot where the full stream of warm feeling seems
+    set free after the storm of the first onset. In answer is a timid,
+    almost halting strain in four parts of the wood, echoed in strings. A
+    new agitation now stirs the joint choirs (with touches of brass), and
+    anon comes a poignant line of the inverted (main) theme. It drives in
+    rising stress under the spurring summons of trumpets and horns to a
+    celebration of the transfigured second melody, with triumphant cadence.
+    Nor does the big impulse halt here. The trumpets sound on midst a
+    spirited duet of inverted and original motives until the highest point
+    is reached, where, to quicker calls of the brass, in broadest pace the
+    main subject strikes its inverted tune in the trebles, while the bass
+    rolls its majestic length in a companion melody; trombones, too, are
+    blaring forth the call of the second theme.
+</p>
+<p>
+    Brief interludes of lesser agitation bring a second chorus on the
+    reunited melodies in a new tonal quarter.
+</p>
+<p>
+    In mystic echoing groups on the former descending answer of main theme
+    the mood deepens in darkening scene. Here moves in slow strides of
+    lowest brass a shadowy line of the second melody answered by a poignant
+    phrase of the first. Striking again and again in higher perches the dual
+    song reaches a climax of feeling in overpowering burst of fullest brass.
+    In masterful stride, still with a burden of sadness, it has a solacing
+    tinge as it ends in a chord with pulsing harp, that twice repeated leads
+    back to the stirring first song of main theme.
+</p>
+<p>
+    Thence the whole course is clear in the rehearsal of former melodies.
+    Only the pensive air has lost its melancholy. Here is again the lyric of
+    warm-hued horns with plaintive higher phrase, and the full romance of
+    second melody with its timid answer, where the nervous trip rouses
+    slowly the final exultation. Yet there is one more descent into the
+    depths where the main melody browses in dim searching. Slowly it wings
+    its flight upwards until it is greeted by a bright burst of the second
+    melody in a chorus of united brass. And this is but a prelude to the
+    last joint song, with the inverted theme above. A fanfare of trumpets on
+    the second motive ends the movement.
+</p>
+<p>
+    The Romanze is pure song in three verses where we cannot avoid a touch
+    of Scottish, with the little acclaiming phrases. The theme is given to
+    the saxophone (or cello) with obligato of clarinet and violas; the bass
+    is in bassoons and <i>pizzicato</i> of lower strings. One feels a special
+    gratitude to the composer who will write in these days a clear, simple,
+    original and beautiful melody.
+</p>
+<p>
+    The first interlude is a fantasy, almost a variant on the theme in a
+    minor melody of the wood, with a twittering phrase of violins. Later the
+    strings take up the theme in pure <i>cantilena</i> in a turn to the
+    major,&mdash;all in expressive song that rises to a fervent height. Though it
+    grows out of the main theme, yet the change is clear in a return to the
+    subject, now in true variation, where the saxophone has the longer notes
+    and the clarinet and oboe sing in concert.
+</p>
+<p>
+    There follows a pure interlude, vague in motive, full of dainty touches.
+    The oboe has a kind of <i>arioso</i> phrase with trilling of flutes and
+    clarinets, answered in trumpets and harp.
+</p>
+<p>
+    Later the first violins (on the G string) sing the main air with the
+    saxophone.
+</p>
+<p>
+    A double character has the third movement as the title shows, though in
+    a broadest sense it could all be taken as a Humoreske.
+</p>
+<p>
+    With a jaunty lilt of skipping strings the lower reeds strike the
+    capricious tune, where the full chorus soon falls in. The answering
+    melody, with more of sentiment, though always in graceful swing with
+    tricksy attendant figures, has a longer song. Not least charm has the
+    concluding tune that leads back to the whole melodious series.
+    Throughout are certain chirping notes that form the external connection
+    with the Humoreske that begins with strident theme (<i>molto robusto</i>) of
+    low strings, the whole chorus, xylophon and all, clattering about, the
+    high wood echoing like a band of giant crickets,&mdash;all in whimsical,
+    varying pace. The humor grows more graceful when the first melody of the
+    Intermezzo is lightly touched. The strange figure returns (in roughest
+    strings and clarinet) somewhat in ancient manner of imitation. Later the
+    chirruping answer recurs. Diminishing trills are echoed between the
+    groups.
+</p>
+<p>
+    Slowly the scene grows stranger. Suddenly in eerie harmonies of newest
+    French or oldest Tartar, here are the tricks and traits where meet the
+    extremes of latest Romantic and primeval barbarian. In this motley
+    cloak sounds the typical Yankee tune, first piping in piccolo, then
+    grunting in tuba. Here is Uncle Sam disporting himself merrily in
+    foreign garb and scene, quite as if at home. If we wished, we might see
+    a political satire as well as musical.
+</p>
+<p>
+    After a climax of the clownish mood we return to the Intermezzo
+    melodies.
+</p>
+<p>
+    The Finale begins in the buoyant spirit of the beginning and seems again
+    to have a touch of Scotch in the jaunty answer. The whole subject is a
+    group of phrases rather than a single melody.
+</p>
+<p>
+    Preluding runs lead to the simple descending line of treble with
+    opposite of basses, answered by the jovial phrase. In the farther course
+    the first theme prevails, answered with an ascending brief motive of
+    long notes in irregular ascent. Here follows a freer flow of the jolly
+    lilting tune, blending with the sterner descending lines.
+</p>
+<p>
+    Balancing this group is an expressive melody of different sentiment. In
+    its answer we have again the weird touch of neo-barbarism in a strain of
+    the reed, with dancing overtones of violins and harp, and strumming
+    chords on lower strings. Or is there a hint of ancient Highland in the
+    drone of alternating horns and bassoons?
+</p>
+<p>
+    Its brief verse is answered by a fervent conclusive line where soon the
+    old lilting refrain appears with new tricks and a big celebration of its
+    own and then of the whole madrigal of martial melody. It simmers down
+    with whims and turns of the skipping phrase into the quiet
+    (<i>tranquillo</i>) episode in the midst of the other stress.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music255.jpg" alt="music255" width="400" height="395"></p>
+<p>
+    The heart of the song is in the horns, with an upper air in the wood,
+    while low strings guard a gentle rhythm. A brief strain in the wind in
+    ardent temper is followed by another in the strings, and still a third
+    in joint strings and wood. (Again we must rejoice in the achievement of
+    true, simple, sincere melody.) The final glowing height is reached in
+    all the choirs together,&mdash;final that is before the brass is added with
+    a broader pace, that leads to the moving climax. As the horns had
+    preluding chords to the whole song, so a single horn sings a kind of
+    epilogue amid harmony of strings and other horns. Slowly a more vigorous
+    pulse is stirred, in an interlude of retorting trumpets.
+</p>
+<p>
+    Suddenly in the full energy of the beginning the whole main subject
+    sounds again, with the jolly lilt dancing through all its measures,
+    which are none too many. The foil of gentle melody returns with its
+    answer of eerie tune and harmonies. It seems as if the poet, after his
+    rude jest, wanted, half in amends, half on pure impulse, to utter a
+    strain of true fancy in the strange new idiom.
+</p>
+<p>
+    A new, grateful sound has again the big conclusive phrase that merges
+    into more pranks of the jaunty tune in the biggest revel of all, so that
+    we suspect the jolly jester is the real hero and the majestic figures
+    are, after all, mere background. And yet here follows the most tenderly
+    moving verse, all unexpected, of the quiet episode.
+</p>
+<p>
+    The end is a pure romp, <i>molto vivace</i>, mainly on the skipping phrase.
+    To be sure the stately figures after a festive height march in big,
+    lengthened pace; but so does the jolly tune, as though in mockery. He
+    breaks into his old rattling pace (in the Glockenspiel) when all the
+    figures appear together,&mdash;the big ones changing places just before the
+    end, where the main theme has the last say, now in the bass, amidst the
+    final festivities.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="loeffler" href="#note84">
+    <i>LOEFFLER.[84] LA VILLANELLE DU DIABLE</i> </a>
+</center>
+<p style="text-align: center">
+    <i>(The Devil's Round)</i>
+</p>
+<p style="text-align: center">
+    (After a poem by M. Rollinat. Symphonic poem for Orchestra and Organ)
+</p>
+<p style="text-align: center">
+    &nbsp;</p>
+
+<p>
+    Few pieces of program music are so closely associated with the subject
+    as this tone picture of the Devil's Round. The translation of M.
+    Rollinat's "Villanelle," printed in the score is as follows:<a href="#note85">[85]</a>
+</p>
+     <blockquote>
+       <p>Hell's a-burning, burning, burning. Chuckling in clear staccato, the
+       Devil prowling, runs about.</p>
+       <p>He watches, advances, retreats like zig-zag lightning; Hell's
+       a-burning, burning, burning.</p>
+       <p>In dive and cell, underground and in the air, the Devil, prowling,
+       runs about.</p>
+       <p>Now he is flower, dragon-fly, woman, black-cat, green snake; Hell's
+       a-burning, burning, burning.</p>
+       <p>And now, with pointed moustache, scented with vetiver, the Devil,
+       prowling, runs about.</p>
+       <p>Wherever mankind swarms, without rest, summer and winter, Hell's
+       a-burning, burning, burning.</p>
+       <p>From alcove to hall, and on the railways, the Devil, prowling, runs
+       about.</p>
+       <p>He is Mr. Seen-at-Night, who saunters with staring eyes. Hell's
+       a-burning, burning, burning.</p>
+       <p>There floating as a bubble, here squirming as a worm, the Devil,
+       prowling, runs about.</p>
+       <p>He's grand seigneur, tough, student, teacher. Hell's a-burning,
+       burning, burning.</p>
+       <p>He inoculates each soul with his bitter whispering: the Devil,
+       prowling, runs about.</p>
+       <p>He promises, bargains, stipulates in gentle or proud tones. Hell's
+       a-burning, burning, burning.</p>
+       <p>Mocking pitilessly the unfortunate whom he destroys, the Devil,
+       prowling, runs about.</p>
+       <p>He makes goodness ridiculous and the old man futile. Hell's a-burning,
+       burning, burning.</p>
+       <p>At the home of the priest or sceptic, whose soul or body he wishes,
+       the Devil, prowling, runs about.</p>
+       <p>Beware of him to whom he toadies, and whom he calls &quot;my dear sir.&quot;
+       Hell's a-burning, burning, burning.</p>
+       <p>Friend of the tarantula, darkness, the odd number, the Devil,
+       prowling, runs about.</p>
+       <p>&mdash;My clock strikes midnight. If I should go to see Lucifer?&mdash;Hell's
+       a-burning, burning, burning; the Devil, prowling, runs about.
+
+
+       </p>
+</blockquote>
+<p>
+    In the maze of this modern setting of demon antics (not unlike, in
+    conceit, the capers of Till Eulenspiegel), with an eloquent use of new
+    French strokes of harmony, one must be eager to seize upon definite
+    figures. In the beginning is a brief wandering or flickering motive in
+    furious pace of harp and strings, ending ever in a shriek of the high
+    wood. Answering
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music256.jpg" alt="music256" width="400" height="133"></p>
+<p style="text-indent: 0em">
+    is a descending phrase mainly in the brass, that ends in a rapid jingle.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music257.jpg" alt="music257" width="400" height="183"></p>
+<p>
+    There are various lesser motives, such as a minor scale of ascending
+    thirds, and a group of crossing figures that seem a guise of the first
+    motive. To be sure the picture lies less in the separate figures than in
+    the mingled color and bustle. Special in its humor is a soft gliding or
+    creeping phrase of three voices against a constant trip of cellos.
+</p>
+<p>
+    After a climax of the first motive a frolicking theme begins (in English
+    horn and violas). If we were forced to guess, we could see here the
+    dandy devil, with pointed mustachios, frisking about. It is probably
+    another guise of the second motive which presently appears in the bass.
+    A little later, <i>dolce amabile</i> in a madrigal of wood and strings, we
+    may see the gentlemanly devil, the gallant. With a crash of chord and a
+    roll of cymbals re-enters the first motive, to flickering harmonies of
+    violins, harp and flutes, taken up by succeeding voices, all in the
+    whole-tone scale. Hurrying to a clamorous height, the pace glides into a
+    <i>Movimento di Valzer</i>, in massed volume, with the frolicking figure in
+    festive array.
+</p>
+<p>
+    To softest tapping of lowest strings and drums, a shadow of the second
+    figure passes here and there, with a flash of harp. Soon, in returning
+    merriment, it is coursing in unison strings (against an opposite motion
+    in the wood).
+</p>
+<p>
+    At the height of revel, as the strings are holding a trembling chord, a
+    sprightly Gallic tune of the street pipes in the reed, with intermittent
+    flash of the harp, and, to be sure, an unfamiliar tang of harmonies and
+    strange perversions of the tune.<a href="#note86">[86]</a> In the midst is the original
+    flickering figure. As the whole chorus is singing the tune at the
+    loudest, the brass breaks into another traditional air of the
+    Revolutionary Song of 1789.<a href="#note87">[87]</a> While the trip is still ringing in the
+    strings, a lusty chorus breaks into the song<a href="#note88">[88]</a> "La Carmagnole," against
+    a blast of the horns in a guise of the first motive.
+</p>
+
+<p>
+    Grim guises of the main figures (in inverted profile) are skulking about
+    to uncanny harmonies. A revel of new pranks dies down to chords of muted
+    horns, amid flashing runs of the harp, with a long roll of drums. Here
+    <i>Grave</i> in solemn pace, violas and bassoon strike an ecclesiastical
+    incantation, answered by the organ. Presently a Gregorian plain chant
+    begins solemnly in the strings aided by the organ while a guise of the
+    second profane motive intrudes. Suddenly in quick pace against a fugal
+    tread of lower voices, a light skipping figure dances in the high wood.
+    And now loud trumpets are saucily blowing the chant to the quick step,
+    echoed by the wood. And we catch the wicked song of the street (in the
+    English horn) against a legend of hell in lower voices.<a href="#note89">[89]</a>
+</p>
+
+<p>
+    In still livelier pace the reeds sound the street song against a trip of
+    strings, luring the other voices into a furious chorus. All at once, the
+    harp and violins strike the midnight hour to a chord of horns, while a
+    single impish figure dances here or there. To trembling strings and
+    flashing harp the high reed pipes again the song of the Boulevard,
+    echoed by low bassoons.
+</p>
+<p>
+    In rapidest swing the original main motives now sing a joint verse in a
+    kind of <i>reprise</i>, with the wild shriek at the end of the line, to a
+    final crashing height. The end comes with dashes of the harp, betwixt
+    pausing chords in the high wood, with a final stifled note.
+</p>
+
+
+<p>
+    &nbsp;</p>
+
+
+<p>
+    <i>FOOTNOTES</i></p>
+
+
+<p>
+    &nbsp;</p>
+
+
+<p>
+    [<a name="note1">1</a>] The "Dante" Symphony of Liszt was written between 1847 and
+    1855; the "Faust" Symphony between 1854 and 1857. Wagner finished the
+    text of <i>Tristan und Isolde</i> in 1857; the music was not completed until
+    1859. In 1863 was published the libretto of the <i>Nibelungen-Ring</i>. In
+1864 Wagner was invited by King Ludwig of Bavaria to complete the work in
+Munich.</p>
+
+
+<p>
+    &nbsp;</p>
+
+
+<p>
+
+[<a name="note2">2</a>]   In literature this movement is most marked, as may be seen
+    by contrasting the tone of Goethe with that of Sudermann; by noting the
+    decadence from the stories of a Chamisseau and Immermann to those of a
+    Gottfried Keller; from the novels of Freytag to the latest of Frenssen
+    and Arthur Schnitzler; from the poems of Heine to those of Hoffmansthal,
+    author of the text of Strauss' later operas.
+</p>
+
+
+<p>
+
+    Or, contrast merely the two typical dramas of love, Goethe's "Faust" and
+    Wagner's "Tristan and Isolde.&quot;</p>
+
+
+<p>
+
+    &nbsp;</p>
+
+
+<p>
+
+[<a name="note3">3</a>]   Compare the similarity of the themes of the Faust Symphony
+    of Liszt and of the <i>Pathétique</i> of Tschaikowsky in the last chapter of
+    vol. ii, "Symphonies and Their Meaning."
+</p>
+&nbsp;<p>[<a name="note4">4</a>]  In unison of the wind. Berlioz has here noted in the score
+    "<i>Réunion des deux Thémes, du Larghetto et de L'Allegro</i>," the second
+    and first of our cited phrases. </p>
+&nbsp;<p>[<a name="note5">5</a>] </p>
+   <blockquote>
+     <blockquote>
+   "Through me the way is to the city dolent;<br>
+    Through me the way is to eternal dole;<br>
+    Through me the way among the people lost.<br>
+    All hope abandon, ye who enter in!"
+
+     </blockquote>
+</blockquote>
+
+<p>
+    &mdash;<i>From Longfellow's translation.</i>
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note6">6</a>] "There is no greater sorrow than to be mindful of the happy
+    time in misery."&mdash;<i>From Longfellow's translation.</i> </p>
+<p>&nbsp;</p>
+<p>[<a name="note7">7</a>] We are again assisted by the interpreting words in the
+    score. </p>
+<p>&nbsp;</p>
+<p>[<a name="note8">8</a>] Mendelssohn with perfect insight once declared,&mdash;"Notes
+    have as definite a meaning as words, perhaps even a more definite one." </p>
+<p>&nbsp;</p>
+<p>[<a name="note9">9</a>] We may mention such other works of Liszt as "Mazeppa" and
+    the "Faust" Symphony; the third symphony of Saint-Saëns; Strauss' tone
+    poem "Death and Transfiguration"; Volbach's symphony, besides other
+    symphonies such as a work by Carl Pohlig. We may count here, too, the
+    Heldenlied by Dvôrák, and Strauss' Heldenleben (see Vol. II). </p>
+&nbsp;<p>[<a name="note10">10</a>] A common Oriental element in Hungarian and Venetian music
+    has been observed. See Kretschmar's note to Liszt's "Tasso" (Breitkopf &amp;
+    Haertel). </p>
+<p>&nbsp;</p>
+<p>[<a name="note11">11</a>] See note in the final chapter of Volume II. </p>
+<p>&nbsp;</p>
+<p>[<a name="note12">12</a>] The English verses are taken for the most part from the
+    translation of F. Corder. </p>
+
+<p>&nbsp;</p>
+
+<p>[<a name="note13">13</a>] A description of the picture is cited by Lawrence Gilman in
+    his book, "Stories of Symphonic Music," as follows: </p>
+
+
+
+<p>"According to a legend, the combatants were so exasperated that the
+    slain rose during the night and fought in the air. Rome, which is seen
+    in the background, is said to have been the scene of this event. Above,
+    borne on a shield, is Attila, with a scourge in his hand; opposite him
+    Theodoric, King of the Visigoths. The foreground is a battle-field, strewn
+with corpses, which are seen to be gradually reviving, rising up and rallying,
+while among them wander wailing and lamenting women.&quot;</p>
+&nbsp;<p>[<a name="note14">14</a>] Quoted on the following page. </p>
+<p>&nbsp;</p>
+<p>[<a name="note15">15</a>]</p>
+<blockquote>
+  <p style="text-indent: 0em">Faithful cross, among the trees<br>
+    Thou the noblest of them all!<br>
+    Forest ne'er doth grow a like<br>
+    In leaf, in flower or in seed.<br>
+    Blessed wood and blessed nails,<br>
+    Blessed burden that it bears! </p>
+</blockquote>
+<p>&nbsp;</p>
+<p>[<a name="note16">16</a>] In the whole tonality we may see the &quot;meteoric and solar light&quot; of
+which the composer speaks in the letter quoted above. </p>
+<p>&nbsp;</p>
+<p>[<a name="note17">17</a>] It is well to resist the vain search for a transnotation of
+    the story. And here we see a virtue of Saint-Saëns himself, a national
+    trait of poise that saved him from losing the music in the picture. His
+    symphonic poems must be enjoyed in a kind of musical revery upon the
+    poetic subject. He disdained the rude graphic stroke, and used dramatic
+    means only where a musical charm was commingled. </p>
+<p>&nbsp;</p>
+<p>[<a name="note18">18</a>] Saint-Saëns employs besides the usual 4 horns, 2 trumpets,
+    3 trombones and tuba, a small bugle (in B-flat) and 2 cornets. </p>
+<p>&nbsp;</p>
+<p>[<a name="note19">19</a>] If language and association, as against the place of birth,
+    may define nationality, we have in César Franck another worthy
+    expression of French art in the symphony. He was born at Liège in 1822;
+    he died in 1890. </p>
+<p>&nbsp;</p>
+<p>[<a name="note20">20</a>] Absolute harmony would count many more than the semitones
+    of which our music takes cognizance. For purpose of convenience on the
+    keyboard the semitonal raising of one note is merged in the lowering of
+    the next higher degree in the scale. However charming for occasional
+    surprise may be such a substitution, a continuous, pervading use cannot
+    but destroy the essential beauty of harmony and the clear sense of
+    tonality; moreover it is mechanical in process, devoid of poetic fancy,
+    purely chaotic in effect. There is ever a danger of confusing the novel
+    in art with new beauty. </p>
+<p>&nbsp;</p>
+<p>[<a name="note21">21</a>] The key of the work is given by the composer as D minor.
+    The first movement alone is in the nominal key. The second (in B flat)
+    is in the submediant, the last in the tonic major. The old manner in
+    church music, that Bach often used, of closing a minor tonality with a
+    major chord, was probably due to a regard for the mood of the
+    congregation. An extension of this tradition is frequent in a long coda
+    in the major. But this is quite different in kind from a plan where all
+    of the last movement is in insistent major. We know that it is quite
+    possible to begin a work at some distance from the main key, leading to
+    it by tortuous path of modulation; though there is no reason why we may
+    not question the composer's own inscription, the controlling point is
+    really the whole tonal scheme. Here the key of the second movement is
+    built on a design in minor,&mdash;would have less reason in the major. For it
+    rests on a degree that does not exist in the tonic major. To be sure,
+    Beethoven did invent the change to a lowered submediant in a succeeding
+    movement. And, of course, the final turn to the tonic major is virtually
+    as great a license. </p>
+<p>&nbsp;</p>
+<p>[<a name="note22">22</a>] Vincent d'Indy was born in Paris on March 27, 1852.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note23">23</a>] Some of the chance sayings of Mozart (recently edited by
+    Kerst-Elberfeld) betray much contempt for academic study: "Learning from
+    books is of no account. Here, here, and here (pointing to ear, head, and
+    heart) is your school." On the subject of librettists "with their
+    professional tricks," he says: "If we composers were equally faithful to
+    our own rules (which were good enough when men knew no better), we
+    should turn out just as poor a quality in our music as they in their
+    librettos." Yet, elsewhere, he admits: "No one has spent so much pains
+    on the study of composition as myself. There is hardly a famous master
+    in music whom I have not read through diligently and often." </p>
+<p>&nbsp;</p>
+<p>[<a name="note24">24</a>] The "Flying Dutchman," "Lohengrin" and "Tannhäuser" seemed
+    destined to survive Wagner's later works. </p>
+<p>&nbsp;</p>
+<p>[<a name="note25">25</a>] Born in 1862. </p>
+<p>&nbsp;</p>
+<p>[<a name="note26">26</a>] Some recurring traits Wagner and Débussy have in common,
+    such as the climactic chord of the ninth. The melodic appoggiatura is as
+    frequent in the earlier German as the augmented chord of the fifth in
+    the later Frenchman. </p>
+<p>&nbsp;</p>
+<p>[<a name="note27">27</a>] Rameau, when the cyclopaedic spirit was first stirring and
+    musical art was sounding for a scientific basis, insisted on the element
+    of the third below, implying a tonic chord of 6, 5, 3. Here he was
+    opposed by Fétis, Fux and other theoretic authority; judgment was
+    definitively rendered against him by contemporary opinion and prevailing
+    tradition. It cannot be said that the modern French practice has
+    justified Rameau's theory, since with all the charm of the enriched
+    chord, there is ever a begging of the question of the ultimate root. </p>
+<p>&nbsp;</p>
+<p>[<a name="note28">28</a>] As the lower overtones, discovered by a later science,
+    clearly confirm the tonal system of the major scale, slowly evolved in
+    the career of the art,&mdash;so the upper overtones are said to justify the
+    whole-tone process. At best this is a case of the devil quoting
+    scripture. The main recurring overtones, which are lower and audible,
+    are all in support of a clear prevailing tonality. </p>
+<p>&nbsp;</p>
+<p>[<a name="note29">29</a>] In the drama Débussy avoids the question of form by
+    treating the music as mere scenic background. Wagner, in his later
+    works, attempted the impossible of combining a tonal with the dramatic
+    plot. In both composers, to carry on the comparison beyond the technical
+    phase, is a certain reaching for the primeval, in feeling as in
+    tonality. Here they are part of a larger movement of their age. The
+    subjects of their dramas are chosen from the same period of mediaeval
+    legend, strongly surcharged in both composers with a spirit of fatalism
+    where tragedy and love are indissolubly blended. </p>
+<p>&nbsp;</p>
+<p>[<a name="note30">30</a>] English horn. </p>
+<p>&nbsp;</p>
+<p>[<a name="note31">31</a>] Born in 1865. </p>
+<p>&nbsp;</p>
+<p>[<a name="note32">32</a>] The flageolet tones of the strings seem wonderfully
+    designed in their ghostly sound for such an aerial touch. Dukas uses
+    them later in divided violins, violas and cellos, having thus a triad of
+    harmonics doubled in the octave. </p>
+
+<p>
+    The remaining instruments are: Piccolo, 2 flutes, 2 oboes, 2 clarinets,
+    bass-clarinet, 3 bassoons, contra-bassoon (or contra-bass sarrusophon);
+    4 horns, 2 trumpets (often muted); 2 cornets-à-pistons; 3 trombones; 3
+    kettle-drums; harp; glockenspiel; big drum, cymbals and triangle.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note33">33</a>] Prefixed are the familiar lines: </p>
+
+   <blockquote>
+     <blockquote>
+       &quot;There are more things in heaven and earth,<br>
+       Horatio,
+    Than are dreamt of in your philosophy.&quot;</blockquote>
+</blockquote>
+<p>&nbsp;</p>
+<p>[<a name="note34">34</a>] In the choice of subjects there was a like breadth. Balakirew was inspired by "King Lear," as was Tschaikowsky. And amid a
+    wealth of Slavic legend and of kindred Oriental lore, he would turn to
+    the rhythms of distant Spain for a poetic theme. </p>
+<p>&nbsp;</p>
+<p>[<a name="note35">35</a>] Mili Alexeivich Balakirew was born at Nizhni-Novgorod in
+    1836; he died at St. Petersburg in 1911. He is regarded as the founder
+    of the Neo-Russian School. </p>
+<p>&nbsp;</p>
+<p>[<a name="note36">36</a>] Besides the English horn and four bassoons there are four
+    clarinets,&mdash;double the traditional number. </p>
+<p>&nbsp;</p>
+<p>[<a name="note37">37</a>] Nicholas Rimsky-Korsakow, Russian, 1844-1908. </p>
+<p>&nbsp;</p>
+<p>[<a name="note38">38</a>] We remember how Sindbad was tempted after each fortunate
+    escape from terrible dangers to embark once more, and how he tells the
+    story of the seven voyages on seven successive days, amid luxury and
+    feasting. </p>
+<p>&nbsp;</p>
+<p>[<a name="note39">39</a>] In the old version the word "Calender" is used; in the new
+    translation by Lane we read of "The Three Royal Mendicants." In certain
+    ancient editions they are called "Karendelees,"&mdash;i.e., "miserable
+    beggars." Each of the three had lost an eye in the course of his
+    misfortunes. The story (of the Third Kalender) begins with the wreck of
+    the prince's vessel on the mountain of loadstone and the feat of the
+    prince, who shoots the brazen horseman on top of the mountain and so
+    breaks the charm. But there is a long chain of wonders and of troubles,
+    of evil enchantments and of fateful happenings.
+> </p>
+<p>&nbsp;</p>
+<p>[<a name="note40">40</a>] The story, if any particular one is in the mind of the
+    composer, is probably that of the Prince Kamar-ez-Zemán and the Princess
+    Budoor. In the quality of the romance it approaches the legends of a
+    later age of chivalry. In the main it is the long quest and the final
+    meeting of a prince and a princess, living in distant kingdoms. Through
+    the magic of genii they have seen each other once and have exchanged
+    rings. The rest of the story is a long search one for the other. There
+    are good and evil spirits, long journeys by land and sea, and great
+    perils. It is an Arab story of the proverbial course of true love. </p>
+<p>&nbsp;</p>
+<p>[<a name="note41">41</a>] We may think of the revels of Sindbad before the returning
+    thirst for adventure. </p>
+<p>&nbsp;</p>
+<p>[<a name="note42">42</a>] Sergei Rachmaninow, born in 1873. </p>
+<p>&nbsp;</p>
+<p>[<a name="note43">43</a>] It is of the first two notes of the symphony that the fugal
+    theme is made. For though it is longer in the strings, the brief motion
+    is ever accented in the wood. Thus relentless is the themal coherence.
+    If we care to look closer we see how the (following) chant is a slower
+    form of the fugal theme, while the bass is in the line of the
+    dance-tune. In the chant in turn we cannot escape a reminder, if not a
+    likeness, of the second theme of the first movement. </p>
+<p>&nbsp;</p>
+<p>[<a name="note44">44</a>] Symphony No. 1, in E minor, by Jan Sibelius, born in 1865.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note45">45</a>] Friedrich Smetana, 1824-1884, foremost among Bohemian
+    dramatic composers, wrote a cycle of symphonic poems under the general
+    title "My Country." Of these the present work is the second. </p>
+<p>&nbsp;</p>
+<p>[<a name="note46">46</a>] Anton Dvôrák, 1841-1904. </p>
+<p>&nbsp;</p>
+<p>[<a name="note47">47</a>] The whole subject of American and negro folk-song is new
+    and unexplored. There are races of the blacks living on the outer reefs
+    and islands of the Carolinas, with not more than thirty whites in a
+    population of six thousand, where "spirituals" and other musical rites
+    are held which none but negroes may attend. The truest African mode and
+    rhythm would seem to be preserved here; to tell the truth, there is
+    great danger of their loss unless they are soon recorded. </p>
+<p>&nbsp;</p>
+<p>[<a name="note48">48</a>] Again it is interesting to compare here the jubilee song,
+    "Oh! Redeemed," in the collection of "Jubilee and Plantation Songs," of
+    the Oliver Ditson Company. </p>
+<p>&nbsp;</p>
+<p>[<a name="note49">49</a>] Anton Bruckner, born at Annsfelden, Austria, 1828; died in
+    Vienna in 1896. </p>
+<p>&nbsp;</p>
+<p>[<a name="note50">50</a>] Bruckner's <a name="Bsym5">Fifth Symphony</a> (in B flat) is a typical example
+    of closest correlation of themes that are devoid of intrinsic melody. </p>
+<p>
+    An introduction supplies in the bass of a hymnal line the main theme of the
+    Allegro by inversion as well as the germ of the first subject of the Adagio.
+    Throughout, as in the Romantic Symphony, the relation between the first and
+    the last movement is subtle. A closing, jagged phrase reappears as the first
+    theme of the Finale.
+</p>
+<p>
+    The Adagio and Scherzo are built upon the same figure of bass. The theme of
+    the Trio is acclaimed by a German annotator as the reverse of the first
+    motive of the symphony.
+</p>
+<p>
+    In the prelude of the Finale, much as in the Ninth of Beethoven, are passed
+    in review the main themes of the earlier movements. Each one is answered by
+    an eccentric phrase that had its origin in the first movement and is now
+    extended to a fugal theme.
+</p>
+<p>
+    The climactic figure is a new hymnal line that moves as central theme of an
+    imposing double fugue.</p>
+<p>&nbsp;</p>
+<p>[<a name="note51">51</a>] A festival was held in Munich in the summer of 1911, in
+    celebration of "Bach, Beethoven and Bruckner." </p>
+<p>&nbsp;</p>
+<p>[<a name="note52">52</a>] See Vol. II, note, page 104. </p>
+<p>&nbsp;</p>
+<p>[<a name="note53">53</a>] We have spoken of a prelude, first and second theme; they
+    might have been more strictly numbered first, second and third theme. </p>
+<p>&nbsp;</p>
+<p>[<a name="note54">54</a>] In place of the uncompleted Finale, Bruckner is said to
+    have directed that his "<i>Te Deum</i>" be added to the other movements. </p>
+<p>&nbsp;</p>
+<p>[<a name="note55">55</a>] Hugo Wolff, born in 1860, died in 1903. </p>
+<p>&nbsp;</p>
+<p>[<a name="note56">56</a>] After the like-named tragedy of Heinrich von Kleist.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note57">57</a>] German, 1776-1811. </p>
+<p>&nbsp;</p>
+<p>[<a name="note58">58</a>] Kuno Francke. See the notes of Philip Hale in the programme
+    book of the Boston Symphony Orchestra of April 3-4, 1908. </p>
+<p>&nbsp;</p>
+<p>[<a name="note59">59</a>] The law of the Amazons commanded them to wage war as told
+    them by the oracle of Mars. The prisoners were brought to the Feast of
+    Roses and wedded by their captors. After a certain time they were sent
+    back to their homes. All male children of the tribe were put to death. </p>
+<p>&nbsp;</p>
+<p>[<a name="note60">60</a>] Translations, when not otherwise credited, are by the
+    author. </p>
+<p>&nbsp;</p>
+<p>[<a name="note61">61</a>] In a somewhat literal commentary attributed to Dr. Richard Batka, the Amazons here, "having reached their destination, go into
+    night-encampment&mdash;as represented by the subdued roll of the
+    kettle-drums, with which the movement concludes." </p>
+<p>&nbsp;</p>
+<p>[<a name="note62">62</a>] Gustav Mahler, 1860-1911. </p>
+<p>&nbsp;</p>
+<p>[<a name="note63">63</a>] The symphony is probably the longest instrumental work that had
+appeared at the time of its production in 1904. The list of instruments
+comprises 4 flutes, 3 oboes, 3 clarinets, 2 bassoons, contra-bassoon, 6 horns, 4
+trumpets, 3 trombones, tuba, kettle-drums, cymbals, bass-drum, snare-drum,
+triangle, glockenspiel, gong, harp and strings. </p>
+
+<p>
+    Compared with D'Indy's Second Symphony, the Fifth of Mahler has a larger
+    body of brass as well as of woodwind.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note64">64</a>] In the Scherzo are chimes, accenting the tune of the dance,
+    and even castanets, besides triangle and other percussion. The second
+    movement employs the harp and triangle. </p>
+<p>&nbsp;</p>
+<p>[<a name="note65">65</a>] The Adagietto is scored simply for harp and strings; nor
+    are the latter unusually divided. </p>
+<p>&nbsp;</p>
+<p>[<a name="note66">66</a>] Born in 1864. </p>
+<p>&nbsp;</p>
+<p>[<a name="note67">67</a>] Strauss remarked that in <i>Till Eulenspiegel</i> he had given
+    the critics a hard nut to crack. </p>
+<p>&nbsp;</p>
+<p>[<a name="note68">68</a>] Translation by John P. Jackson. </p>
+<p>&nbsp;</p>
+<p>[<a name="note69">69</a>] In a complex commentary William Mauke finds Zerlina, Anna
+    and "The Countess" in the music. </p>
+<p>&nbsp;</p>
+<p>[<a name="note70">70</a>] On leaving the scene of some special mischief, Till would
+    draw a chalk picture of an owl on the door, and write below, <i>Hic fuit</i>.
+    The edition of 1519 has a woodcut of an owl resting on a mirror, that
+    was carved in stone, the story goes, over Till's grave. </p>
+<p>&nbsp;</p>
+<p>[<a name="note71">71</a>] It is like the Finale of Brahms' Fourth Symphony, where an
+    older form (of <i>passacaglia</i>) is reared together with a later, one
+    within the other. </p>
+<p>&nbsp;</p>
+<p>[<a name="note72">72</a>] Strauss told the writer that this was the march of the
+    jurymen,&mdash;"<i>der Marsch der Schöffen</i>." Reproached for killing Till, he
+    admitted that he had taken a license with the story and added: "In the
+    epilogue,&mdash;there he lives." </p>
+<p>&nbsp;</p>
+<p>[<a name="note73">73</a>] At the first production, in New York, in obedience to the
+    composer's wish, no descriptive notes were printed. When the symphony
+    was played, likewise under the composer's direction, in Berlin in
+    December, 1904, a brief note in the program-book mentions the three
+    groups of themes, the husband's, the wife's and the child's, in the
+    first movement. The other movements are thus entitled: </p>
+
+<p>
+    II.&mdash;<i>Scherzo.</i> Parents' happiness. Childish play. Cradle-song (the
+    clock strikes seven in the evening).
+</p>
+<p>
+    III.&mdash;<i>Adagio.</i> Creation and contemplation. Love scene. Dreams and cares
+    (the clock strikes seven in the morning).
+</p>
+<p>
+    IV.&mdash;<i>Finale.</i> Awakening and merry dispute (double fugue). Joyous
+    conclusion.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note74">74</a>] In the field of the <i>Lied</i> the later group of Italians,
+    such as Sinigaglia and Bossi, show a melodic spontaneity and a breadth
+    of lyric treatment that we miss in the songs of modern French composers.</p>
+<p>In his Overture "<i>Le Baruffe Chiozzote</i>" (The Disputes of the People of
+    Chiozza) Sinigaglia has woven a charming piece with lightest touch of
+masterly art; a delicate humor of melody plays amid a wealth of counterpoint
+that is all free of a sense of learning.</p>
+
+<p>&nbsp;</p>
+<p>[<a name="note75">75</a>] Born in 1843. </p>
+<p>&nbsp;</p>
+<p>[<a name="note76">76</a>] Giuseppe Martucci, 1856-1911. </p>
+<p>&nbsp;</p>
+<p>[<a name="note77">77</a>] Symphony in A flat. Edward Elgar, born in 1857. </p>
+<p>&nbsp;</p>
+<p>[<a name="note78">78</a>] There seems to be shown in this feat at once the
+    versatility of music as well as the musician in expressing opposite
+    moods by the same theme. The author does not feel bound to trace all
+    such analogies, as in the too close pursuit we may lose the forest in
+    the jungle. </p>
+<p>&nbsp;</p>
+<p>[<a name="note79">79</a>] A symphony by Wm. W. Gilchrist. Vol. II, Appendix.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note80">80</a>] Opus 60, Henry Hadley, American, born 1871. </p>
+<p>&nbsp;</p>
+<p>[<a name="note81">81</a>] Of Boston,&mdash;born in Germany in 1867. </p>
+<p>&nbsp;</p>
+<p>[<a name="note82">82</a>] See Vol. I, Chapter I.</p>
+<p>&nbsp;</p>
+<p>[<a name="note83">83</a>] George W. Chadwick, American, born in 1854. </p>
+<p>&nbsp;</p>
+<p>[<a name="note84">84</a>] Charles Martin Loeffler, born in Alsace in 1861.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note85">85</a>] A few translated verses may give an idea of the original
+    rhythm: </p>
+
+<blockquote>
+  <blockquote>
+
+Hell's a-burning, burning, burning.<br>
+    Cackling in his impish play,<br>
+    Here and there the Devil's turning,<p style="text-indent: 0em">Forward here and back again,<br>
+    Zig-zag as the lightning's ray,<br>
+    While the fires burn amain.</p>
+    <p style="text-indent: 0em">In the church and in the cell<br>
+    In the caves, in open day,<br>
+    Ever prowls the fiend of hell. </p>
+  </blockquote>
+</blockquote>
+<p>
+    But in the original the first and last lines of the first verse are used
+    as refrains in the succeeding verses, recurring alternately as the last
+    line. In the final verse they are united.&mdash;The prose translation is by
+    Philip Hale.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note86">86</a>] "A la villette," a popular song of the Boulevard. Mr.
+    Philip Hale, who may have been specially inspired, associates the song
+    with the word "crapule," "tough," as he connects the following
+    revolutionary songs, in contrapuntal use, with the word "magister,"
+    "teacher,"&mdash;the idea of the pedagogue in music. It may be less remote to
+    find in these popular airs merely symbols or graphic touches of the
+    swarming groups among which the Devil plies his trade. </p>
+<p>&nbsp;</p>
+<p>[<a name="note87">87</a>] The famous "Ca ira." </p>
+<p>&nbsp;</p>
+<p>[<a name="note88">88</a>] In the wealth of interesting detail furnished by Mr. Hale
+    is the following: "The Carmagnole was first danced in Paris about the
+    liberty-tree, and there was then no bloody suggestion.... The word
+    '<i>Carmagnole</i>' is found in English and Scottish literature as a nickname
+    for a soldier in the French Revolutionary army, and the term was applied
+    by Burns to the Devil as the author of ruin, 'that curst carmagnole,
+    auld Satan.'" </p>
+<p>&nbsp;</p>
+<p>[<a name="note89">89</a>] The religious phrases are naturally related to the "priest
+    or sceptic." In the rapid, skipping rhythm, Mr. Hale finds the
+    tarentella suggested by the "friend of the tarantula." </p>
+
+<p>&nbsp;</p>
+<hr class="full" noshade>
+
+<p>***END OF THE PROJECT GUTENBERG EBOOK SYMPHONIES AND THEIR MEANING; THIRD SERIES, MODERN SYMPHONIES***</p>
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+The Project Gutenberg eBook, Symphonies and Their Meaning; Third Series,
+Modern Symphonies, by Philip H. Goepp
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Symphonies and Their Meaning; Third Series, Modern Symphonies
+
+Author: Philip H. Goepp
+
+Release Date: July 13, 2004  [eBook #12903]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK SYMPHONIES AND THEIR MEANING;
+THIRD SERIES, MODERN SYMPHONIES***
+
+
+E-text prepared by Juliet Sutherland, Linda Cantoni, and the Project
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+
+
+
+
+SYMPHONIES AND THEIR MEANING
+
+THIRD SERIES: MODERN SYMPHONIES.
+
+by
+
+PHILIP H. GOEPP
+
+1913
+
+
+
+
+
+
+
+PREFACE
+
+
+Criticism of contemporary art is really a kind of prophecy. For the
+appreciation of the classical past is an act of present perception, not
+a mere memory of popular verdicts. The classics live only because they
+still express the vital feeling of to-day. The new art must do
+more,--must speak for the morrow. And as the poet is a kind of seer, the
+true critic is his prophetic herald.
+
+It is with due humility that we approach a view of the work of our own
+time, with a dim feeling that our best will be a mere conjecture. But we
+shall the more cheerfully return to our resolution that our chief
+business is a positive appreciation. Where we cannot praise, we can
+generally be silent. Certain truths concerning contemporary art seem
+firmly grounded in the recorded past. The new Messiah never came with
+instant wide acclaim. Many false prophets flashed brilliantly on the
+horizon to fall as suddenly as they rose. In a refracted view we see the
+figures of the great projected in too large dimension upon their day.
+And precisely opposite we fail to glimpse the ephemeral lights obscuring
+the truly great. The lesson seems never to be learned; indeed it can, of
+course, never be learned. For that would imply an eternal paradox that
+the present generation must always distrust its own judgment.
+
+Who could possibly imagine in Schubert's time the sway he holds to-day.
+Our minds reel to think that by a mere accident were recovered the
+Passion of Bach and the symphonies of Schubert. Or must we prayerfully
+believe that a Providence will make the best prevail? And, by the way,
+the serious nature of this appreciation appears when we see how it was
+ever by the greatest of his time that the future master was heralded.
+
+The symphony of the present age has perhaps fallen somewhat in estate.
+It was natural that it should rush to a high perfection in the halcyon
+days of its growth. It is easy to make mournful predictions of
+decadence. The truth is the symphony is a great form of art, like a
+temple or a tragedy. Like them it has had, it will have its special eras
+of great expression. Like them it will stay as a mode of utterance for
+new communities and epochs with varying nationality, or better still,
+with vanishing nationalism.
+
+The tragedy was not exhausted with Sophocles, nor with Shakespeare nor
+with Goethe. So the symphony has its fallow periods and it may have a
+new resurgence under new climes. We are ever impatient to shelve a great
+form, like vain women afraid of the fashion. It is part of our constant
+rage for novelty. The shallower artist ever tinkered with new
+devices,--to some effects, in truth. Such is the empiric course of art
+that what is born of vanity may be crowned with highest inspiration.
+
+The national element will fill a large part of our survey. It marks a
+strange trait of our own age that this revival of the national idea
+falls in the very time when other barriers are broken. Ancient folk-song
+grew like the flower on the battle-field of races. But here is an
+anxious striving for a special dialect in music. Each nation must have
+its proper school; composers are strictly labelled, each one obedient to
+his national manner. This state of art can be but of the day. Indeed,
+the fairest promise of a greater future lies in the morrow's blending of
+these various elements in the land where each citizen has a mixed
+inheritance from the older nations.
+
+In the bewildering midst of active spirits comes the irresistible
+impulse to a somewhat partisan warfare. The critic, if he could view
+himself from some empyraean perch, remote in time and place, might smile
+at his own vehemence. In the clash of aims he must, after all, take
+sides, for it is the tendency that is momentous; and he will be excited
+to greater heat the stronger the prophet that he deems false. When the
+strife is over, when currents are finally settled, we may take a more
+contented joy in the impersonal art that remains.
+
+The choice from the mass of brilliant vital endeavor is a new burden and
+a source almost of dismay. Why should we omit so melodious a work as
+Moskowski's _Jeanne d'Arc_,--full of perhaps too facile charm? It was,
+of course, impossible to treat all the wonderful music of the Glazounows
+and the Kallinikows. And there is the limpid beauty of the Bohemian
+_Suk_, or the heroic vigor of a _Volbach_. We should like to have
+mentioned _Robert Volkmann_ as a later Romanticist; and _Gade_ has ever
+seemed a true poet of the Scandinavian symphony.
+
+Of the modern French we are loth to omit the symphonies of _Chausson_
+and of _Dukas_. In our own America it is a still harder problem. There
+is the masterly writing of a _Foote_; the older _Paine_ has never been
+fully valued in the mad race for novelty. It would have been a joy to
+include a symphony of rare charm by _Martinus van Gelder_.
+
+A critical work on modern art cannot hope to bestow a crown of laurels
+among living masters; it must be content with a view of active
+tendencies. The greatest classic has often come into the world amid
+least expectation. A critic in the year 1850 must need have omitted the
+Unfinished Symphony, which was then buried in a long oblivion.
+
+The present author prefers to treat the main modern lines, considering
+the special work mainly as example. After all, throughout the realm of
+art the idea is greater than the poet, the whole art more than the
+artist,--though the particular enshrinement in enduring design may
+reflect a rare personality.
+
+PHILIP H. GOEPP.
+
+NOTE: Especial thanks are owed to the Philadelphia Orchestra for a free
+use of its library, and to Messrs. G. Schirmer Company for a like
+courtesy.--P.H.G.
+
+
+
+
+CONTENTS
+
+
+CHAPTER I.--The Symphony during the Nineteenth Century
+
+CHAPTER II.--Berlioz and Liszt
+
+CHAPTER III.--Berlioz. "Romeo and Juliet." Dramatic Symphony
+
+CHAPTER IV.--A Symphony to Dante's "Divina Commedia"
+
+CHAPTER V.--The Symphonic Poems of Liszt
+  "Les Preludes"
+  "Tasso"
+  "Mazeppa"
+  "Battle of the Huns"
+
+CHAPTER VI.--The Symphonic Poems of Saint-Saens
+  "Danse Macabre"
+  "Phaeton"
+  "The Youth of Hercules"
+  "Omphale's Spinning Wheel"
+
+CHAPTER VII.--Cesar Franck
+  Symphony in D minor
+
+CHAPTER VIII.--D'Indy and the Followers of Franck
+  D'Indy's Second Symphony
+
+CHAPTER IX.--Debussy and the Innovators
+  "The Sea"--Debussy
+  "The Sorcerer's Apprentice"--Dukas
+
+CHAPTER X.--Tschaikowsky
+  Fourth Symphony
+  "Manfred" Symphony
+  Fifth Symphony
+
+CHAPTER XI.--The Neo-Russians
+  Balakirew. Symphony in C
+  Rimsky-Korsakow
+    "Antar" Symphony
+    "Scherezade." Symphonic Suite
+  Rachmaninow. Symphony in E minor
+
+CHAPTER XII.--Sibelius. A Finnish Symphony
+
+CHAPTER XIII.--Bohemian Symphonies
+  Smetana. Symphonic Poem: "The Moldau River"
+  Dvorak. Symphony: "From the New World"
+
+CHAPTER XIV.--The Earlier Bruckner
+  Second Symphony
+  Fourth (Romantic) Symphony
+  Fifth Symphony
+
+CHAPTER XV.--The Later Bruckner
+  Ninth Symphony
+
+CHAPTER XVI.--Hugo Wolff
+  "Penthesilea." Symphonic Poem
+
+CHAPTER XVII.--Mahler
+  Fifth Symphony
+
+CHAPTER XVIII.--Richard Strauss. Symphonic Poems
+  "Death and Transfiguration"
+  "Don Juan"
+  "Till Eulenspiegel's Merry Pranks"
+  "Sinfonia Domestica"
+
+CHAPTER XIX.--Italian Symphonies
+  Sgambati. Symphony in D major
+  Martucci. Symphony in D minor
+
+CHAPTER XX.--Edward Elgar. An English Symphony
+
+CHAPTER XXI.--Symphonies in America
+  Henry Hadley. Symphony No. 3
+  Gustav Strube. Symphony in D minor
+  Chadwick. Suite Symphonique
+  Loeffler. "The Devil's Round." Symphonic Poem
+
+
+
+
+SYMPHONIES AND THEIR MEANING
+
+MODERN SYMPHONIES
+
+
+
+
+CHAPTER I
+
+THE SYMPHONY DURING THE NINETEENTH CENTURY
+
+
+After the long dominance of German masters of the musical art, a
+reaction could not fail to come with the restless tendencies of other
+nations, who, having learned the lesson, were yet jealous of foreign
+models and eager to utter their own message. The later nineteenth
+century was thus the age of refraction of the classic tradition among
+the various racial groups that sprang up with the rise of the national
+idea. We can see a kind of beginning in the Napoleonic destruction of
+feudal dynasties. German authority in music at the beginning of the
+century was as absolute as Roman rule in the age of Augustus. But the
+seed was carried by teachers to the various centres of Europe. And, with
+all the joy we have in the new burst of a nation's song, there is no
+doubt that it is ever best uttered when it is grounded on the lines of
+classic art. Here is a paramount reason for the strength of the modern
+Russian school. With this semi-political cause in mind it is less
+difficult to grasp the paradox that with all the growth of
+intercommunication the music of Europe moves in more detached grooves
+to-day than two centuries ago. The suite in the time of Bach is a
+special type and proof of a blended breadth and unity of musical thought
+in the various nations of Europe of the seventeenth century. In the
+quaint series of dances of the different peoples, with a certain
+international quality, one sees a direct effect of the Thirty Years'
+War,--the beneficent side of those ill winds and cruel blasts, when all
+kinds of nations were jostling on a common battle-ground. And as the
+folk-dances sprang from the various corners of Europe, so different
+nations nursed the artistic growth of the form. Each would treat the
+dances of the other in its own way, and here is the significance of
+Bach's separate suites,--English, French and German.
+
+Nationalism seems thus a prevailing element in the music of to-day, and
+we may perceive two kinds, one spontaneous and full of charm, the other
+a result of conscious effort, sophisticated in spirit and in detail. It
+may as well be said that there was no compelling call for a separate
+French school in the nineteenth century as a national utterance. It
+sprang from a political rather than an artistic motive; it was the itch
+of jealous pride that sharply stressed the difference of musical style
+on the two sides of the Rhine. The very influence of German music was
+needed by the French rather than a bizarre invention of national traits.
+The broader art of a Saint-Saens here shines in contrast with the
+brilliant conceits of his younger compatriots, though it cannot be
+denied that the latter are grounded in classic counterpoint. With other
+nations the impulse was more natural: the racial song of the
+Scandinavians, Czechs and other Slavs craved a deliverance as much as
+the German in the time of Schubert. In France, where music had long
+flourished, there was no stream of suppressed folk-song.
+
+But the symphony must in the natural course have suffered from the very
+fulness of its own triumph. We know the Romantic reaction of Schumann,
+uttered in smaller cyclic forms; in Berlioz is almost a complete
+abandonment of pure music, devoid of special description. Liszt was one
+of the mighty figures of the century, with all the external qualities of
+a master-genius, shaking the stage of Europe with the weight of his
+personality, and, besides, endowed with a creative power that was not
+understood in his day. With him the restless tendency resulted in a new
+form intended to displace the symphony: the symphonic poem, in a single,
+varied movement, and always on a definite poetic subject. Here was at
+once a relief and a recess from the classic rigor. Away with sonata form
+and all the odious code of rules! In the story of the title will lie all
+the outline of the music.
+
+Yet in this rebellious age--and here is the significance of the
+form--the symphony did not languish, but blossomed to new and varied
+flower. Liszt turned back to the symphony from his new-fangled device
+for his two greatest works. It has, indeed, been charged that the
+symphony was accepted by the Romantic masters in the spirit of a
+challenge. Mendelssohn and even Schumann are not entirely free from such
+a suspicion. Nevertheless it remains true that all of them confided to
+the symphony their fairest inspiration. About the middle of the century,
+at the high point of anti-classical revolt, a wonderful group of
+symphonies, by Berlioz, Mendelssohn, Schumann, and Liszt, were presented
+to the world. With the younger Brahms on a returning wave of
+neo-classicism the form became again distinctively a personal choice.
+Finally, in the spontaneous utterance of a national spirit on broad
+lines, as in the later Russian and Finnish examples, with the various
+phases of surging resolution, of lyric contemplation and of rollicking
+humor, the symphony has its best sanction in modern times.
+
+To return to the historical view, the course of the symphony during the
+century cannot be adequately scanned without a glance at the music-drama
+of Richard Wagner. Until the middle of the century, symphony and opera
+had moved entirely in separate channels. At most the overture was
+affected, in temper and detail, by the career of the nobler form.
+
+The restless iconoclasm of a Liszt was now united, in a close personal
+and poetic league, with the new ideas of Wagner's later drama. Both men
+adopted the symbolic motif as their main melodic means; with both mere
+iteration took the place of development; a brilliant and lurid
+color-scheme (of orchestration) served to hide the weakness of intrinsic
+content; a vehement and hysteric manner cast into temporary shade the
+classic mood of tranquil depth in which alone man's greatest thought is
+born.
+
+But a still larger view of the whole temper of art in Europe of the
+later century is needed. We wander here beyond the fine distinctions of
+musical forms. A new wave of feeling had come over the world that
+violently affected all processes of thought. And strangely, it was
+strongest in the land where the great heights of poetry and music had
+just been reached. Where the high aim of a Beethoven and a Goethe had
+been proclaimed, arose a Wagner to preach the gospel of brute fate and
+nature, where love was the involuntary sequence of mechanical device and
+ended in inevitable death, all overthrowing the heroic idea that teems
+throughout the classic scores, crowned in a greatest symphony in praise
+of "Joy."
+
+Such was the intrinsic content of a "Tristan and Isolde" and the whole
+"Nibelungen-Ring," and it was uttered with a sensuous wealth of sound
+and a passionate strain of melody that (without special greatness of its
+own) dazzled and charmed the world in the dramatic setting of mediaeval
+legend. The new harmonic style of Wagner, there is good reason to
+suppose, was in reality first conceived by Liszt, whose larger works,
+written about the middle of the century, have but lately come to
+light.[A] In correspondence with this moral mutiny was the complete
+revolt from classic art-tradition: melody (at least in theory), the
+vital quality of musical form and the true process of a coherent thread,
+were cast to the winds with earlier poetic ideals.
+
+[Footnote A: The "Dante" Symphony of Liszt was written between 1847 and
+1855; the "Faust" Symphony between 1854 and 1857. Wagner finished the
+text of _Tristan und Isolde_ in 1857; the music was not completed until
+1859. In 1863 was published the libretto of the _Nibelungen-Ring_. In
+1864 Wagner was invited by King Ludwig of Bavaria to complete the work
+in Munich.]
+
+If it were ever true that a single personality could change an opposite
+course of thought, it must be held that Richard Wagner, in his own
+striking and decadent career, comes nearest to such a type. But he was
+clearly prompted and reinforced in his philosophy by other men and
+tendencies of his time. The realism of a Schopenhauer, which Wagner
+frankly adopted without its full significance (where primal will finds a
+redemption in euthanasia), led by a natural course of thought to
+Nietzsche's dreams of an overman, who tramples on his kind.
+
+In itself this philosophy had been more of a passing phase (even as
+Schopenhauer is lost in the chain of ethical sages) but for its strange
+coincidence with the Wagnerian music. The accident of this alliance gave
+it an overwhelming power in Germany, where it soon threatened to corrupt
+all the arts, banishing idealism from the land of its special
+haunts.[A] The ultimate weakness of the Wagnerian philosophy is that it
+finds in fatalism an excuse for the surrender of heroic virtue,--not in
+the spirit of a tragic truth, but in a glorification of the senses; just
+as in Wagner's final work, the ascetic, sinless type becomes a figure
+almost of ridicule, devoid of human reality. It is significant that with
+the revival of a sound art, fraught with resolute aspiration, is
+imminent a return to an idealistic system of philosophy.
+
+[Footnote A: In literature this movement is most marked, as may be seen
+by contrasting the tone of Goethe with that of Sudermann; by noting the
+decadence from the stories of a Chamisseau and Immermann to those of a
+Gottfried Keller; from the novels of Freytag to the latest of Frenssen
+and Arthur Schnitzler; from the poems of Heine to those of Hoffmansthal,
+author of the text of Strauss' later operas.
+
+Or, contrast merely the two typical dramas of love, Goethe's "Faust" and
+Wagner's "Tristan and Isolde."]
+
+In the musical art even of Germany the triumph was never complete. The
+famous feud of Brahms and Wagner partisans marked the alignment of the
+classical and radical traditions. Throughout the second half of the
+century the banner of a true musical process was upheld; the personal
+meeting of the youthful Brahms with the declining Schumann is
+wonderfully significant, viewed as a symbol of this passing of the
+classic mantle. And the symphonies of Gustav Mahler seem an assurance of
+present tendencies. The influence of Bach, revived early in the century,
+grew steadily as a latent leaven.
+
+Nevertheless in the prevailing taste and temper of present German
+music, in the spirit of the most popular works, as those of Richard
+Strauss (who seems to have sold his poetic birthright), the aftermath of
+this wave is felt, and not least in the acclaim of the barren symphonies
+of a Bruckner. It is well known that Bruckner, who paid a personal
+homage to Wagner, became a political figure in the partisan dispute,
+when he was put forth as the antagonist of Brahms in the symphony. His
+present vogue is due to this association and to his frank adoption of
+Wagner idiom in his later works, as well as, more generally, to the
+lowered taste in Germany.
+
+In all this division of musical dialect, in the shattering of the
+classic tower among the diverse tongues of many peoples, what is to be
+the harvest? The full symbol of a Babel does not hold for the tonal art.
+Music is, in its nature, a single language for the world, as its
+alphabet rests on ideal elements. It has no national limits, like prose
+or poetry; its home is the whole world; its idiom the blended song of
+all nations.
+
+In such a view there is less hope in the older than in the newer world.
+No single, limited song of one nation can in the future achieve a second
+climax of the art. It is by the actual mingling of them all that the
+fairest flower and fruit must come. The very absence of one prevailing
+native song, held a reproach to America, is in reality her strength; for
+hers is the common heritage of all strains of song. And it may be her
+destiny to lead in the glorious merging of them all.
+
+
+
+
+CHAPTER II
+
+BERLIOZ AND LISZT
+
+
+The path of progress of an art has little to do with mere chronology.
+For here in early days are bold spirits whose influence is not felt
+until a whole generation has passed of a former tradition. Nor are these
+patient pioneers always the best-inspired prophets; the mere fate of
+slow recognition does not imply a highest genius. A radical innovation
+may provoke a just and natural resistance. Again, a gradual yielding is
+not always due to the pure force of truth. Strange and oblique ideas may
+slowly win a triumph that is not wholly merited and may not prove
+enduring.
+
+To fully grapple with this mystery, we may still hold to the faith that
+final victory comes only to pure truth, and yet we may find that
+imperfect truth will often achieve a slow and late acceptance. The
+victory may then be viewed in either of two ways: the whole spirit of
+the age yields to the brilliant allurement, or there is an overweighing
+balance of true beauty that deserves the prize of permanence. Of such a
+kind were two principal composers of the symphony: Franz Liszt and
+Hector Berlioz. Long after they had wrought their greatest works, others
+had come and gone in truer line with the first masters, until it seemed
+these radical spirits had been quite rejected.
+
+Besides the masters of their own day, Schumann and Mendelssohn, a group
+of minor poets, like Raff and Goetz, appeared, and at last Brahms, the
+latest great builder of the symphony, all following and crowning the
+classical tradition.
+
+The slow reception of the larger works of Liszt strangely agrees with
+the startling resemblance of their manner to the Russian style that
+captivated a much later age. It seemed as if the spirit of the Hungarian
+was suddenly revived in a new national group. His humor wonderfully
+suited the restless and sensational temper of an age that began after
+his death.
+
+The very harmonies and passionate manner that influence modern audiences
+evoked a dull indifference in their own day.[A] They roused the first
+acclaim when presented in the more popular form of the music-drama. It
+may well be questioned whether Liszt was not the fountain source of the
+characteristic harmonies of Wagner's later opera.
+
+[Footnote A: Compare the similarity of the themes of the Faust Symphony
+of Liszt and of the _Pathetique_ of Tschaikowsky in the last chapter of
+vol. ii, "Symphonies and Their Meaning."]
+
+Historically considered, that is in their relation to other music
+preceding and following them, the symphonies of Liszt have striking
+interest. They are in boldest departure from all other symphonies, save
+possibly those of Berlioz, and they were prophetic in a degree only
+apparent a half-century later. If the quality of being ahead of his time
+be proof, instead of a symptom, of genius, then Liszt was in the first
+rank of masters. The use of significant motif is in both of his
+symphonies. But almost all the traits that startled and moved the world
+in Tschaikowsky's symphonies are revealed in this far earlier music: the
+tempestuous rage of what might be called an hysterical school, and the
+same poignant beauty of the lyric episodes; the sheer contrast, half
+trick, half natural, of fierce clangor and dulcet harmonies, all painted
+with the broad strokes of the orchestral palette. Doubly striking it is
+how Liszt foreshadowed his later followers and how he has really
+overshadowed them; not one, down to the most modern tone-painters, has
+equalled him in depth and breadth of design, in the original power of
+his tonal symbols. It seems that Liszt will endure as the master-spirit
+in this reactionary phase of the symphony.
+
+Berlioz is another figure of a bold innovator, whose career seemed a
+series of failures, yet whose music will not down. His art was centred
+less upon the old essentials, of characteristic melody and soul-stirring
+harmonies, than upon the magic strokes of new instrumental grouping,--a
+graphic rather than a pure musical purpose. And so he is the father not
+only of the modern orchestra, but of the fashion of the day that revels
+in new sensations of startling effects, that are spent in portraying the
+events of a story.
+
+Berlioz was the first of a line of _virtuosi_ of the orchestra, a
+pioneer in the art of weaving significant strains,--significant, that
+is, apart from the music. He was seized with the passion of making a
+pictured design with his orchestral colors. Music, it seems, did not
+exist for Berlioz except for the telling of a story. His symphony is
+often rather opera. A symphony, he forgot, is not a musical drama
+without the scenery. This is just what is not a symphony. It is not the
+literal story, but the pure musical utterance. Thus Berlioz's "Romeo and
+Juliet" symphony is in its design more the literal story than is
+Shakespeare's play. And yet there is ever a serious nobility, a heroic
+reach in the art of Berlioz, where he stands almost alone among the
+composers of his race. Here, probably, more than in his pictured
+stories, lies the secret of his endurance. He was, other than his
+followers, ever an idealist. And so, when we are on the point of
+condemning him as a scene-painter, we suddenly come upon a stretch of
+pure musical beauty, that flowed from the unconscious rapture of true
+poet. As the bee sucks, so may we cull the stray beauty and the more
+intimate meaning, despite and aside from this outer intent.
+
+
+
+
+CHAPTER III
+
+BERLIOZ. "ROMEO AND JULIET."
+
+_DRAMATIC SYMPHONY_
+
+
+In the sub-title we see the growing impulse towards graphic music. A
+"dramatic symphony" is not promising. For, if music is the most
+subjective expression of the arts, why should its highest form be used
+to dramatize a drama? Without the aid of scene and actors, that were
+needed by the original poet, the artisan in absolute tones attempts his
+own theatric rendering. Clearly this symphony is one of those works of
+art which within an incongruous form (like certain ancient pictures)
+affords episodes of imperishable beauty.
+
+Passing by the dramatic episodes that are strung on the thread of the
+story, we dwell, according to our wont, on the stretches where a pure
+musical utterance rises to a lofty height of pathos or of rarest
+fantasy.
+
+In the first scene of the Second Part is the clear intent of a direct
+tonal expression, and there is a sustained thread of sincere sentiment.
+The passion of Romeo shines in the purity rather than in the intensity
+of feeling. The scene has a delicate series of moods, with subtle
+melodic touches and dramatic surprises of chord and color. The whole
+seems a reflection of Romeo's humor, the personal (_Allegro_) theme
+being the symbol as it roams throughout the various phases,--the sadness
+of solitude, the feverish thrill of the ball. Into the first phrase of
+straying violins wanders the personal motive, sadly meditative.
+
+[Music: _Allegro._
+(Choir of wood, with sustained chords of strings)]
+
+Sweeter dreams now woo the muser, warming into passion, pulsing with a
+more eager throb of desire, in changed tone and pace. Suddenly in a new
+quarter amid a quick strum of dance the main motive hurries along. The
+gay sounds vanish, ominous almost in the distance. The sadness of the
+lover now sings unrestrained in expressive melody (of oboe), in long
+swinging pace, while far away rumbles the beat of festive drum.
+
+The song rises in surging curves, but dies away among the quick festal
+sounds, where the personal motive is still supreme, chasing its own
+ardent antics, and plunges headlong into the swirl of dance.
+
+II Penseroso (in his personal role) has glided into a buoyant,
+rollicking Allegro with joyous answer. Anon the outer revel breaks in
+with shock almost of terror. And now in climax of joy, through the
+festal strum across the never-ceasing thread of transformed meditation
+resound in slowest, broadest swing the
+
+[Music: _Larghetto espressivo_
+(Ob. with fl. and cl. and arpeggic cellos)]
+
+warm tones of the love-song in triumph of bliss.[A] As the song dies
+away, the festal sounds fade. Grim meditation returns in double
+figure,--the slower, heavier pace below. Its shadows are all about as in
+a fugue of fears, flitting still to the tune of the dance and anon
+yielding before the gaiety. But through the returning festal ring the
+fateful motive is still straying in the bass. In the concluding revel
+the hue of meditation is not entirely banned.
+
+[Footnote A: In unison of the wind. Berlioz has here noted in the score
+"_Reunion des deux Themes, du Larghetto et de L'Allegro_," the second
+and first of our cited phrases.]
+
+The Shakespearian love-drama thus far seems to be celebrated in the
+manner of a French romance. After all, the treatment remains scenic in
+the main; the feeling is diluted, as it were, not intensified by the
+music.
+
+The stillness of night and the shimmering moonlight are in the delicate
+harmonies of (_Allegretto_) strings. A lusty song of departing revellers
+breaks upon the scene. The former distant sounds of feast are now near
+and clear in actual words.
+
+[Music: _Adagio_
+(Muted strings)
+(_Pizz._ basses an 8ve. lower)]
+
+There is an intimate charm, a true glamor of love-idyll about the
+Adagio. On more eager pulse rises a languorous strain of horn and
+cellos. The flow
+
+[Music: (Horn and cellos with murmuring strings)]
+
+of its passionate phrase reaches the climax of prologue where, the type
+and essence of the story, it plays about the lovers' first meeting. As
+lower strings hum the burden of desire, higher wood add touches of
+ecstasy, the melting violins sing the wooing song, and all break into an
+overwhelming rapture, as though transfigured in the brightness of its
+own vehemence, in midst of a trembling mystery.
+
+The restless spirit starts (_allegro agitato_) in fearsome agitation on
+quick nervous throb of melody; below, violas sing a soothing answer;
+there is a clear dialogue of wistful lovers.
+
+Instead of the classic form of several verses led by one dominant melody
+to varied paths and views, here almost in reverse we seem to fall from a
+broader lyric mood to a single note of sad yearning that
+
+[Music: (Fl. with Eng. horn an 8ve. below)
+(Muted violins with sustained lower strings)]
+
+grows out of the several strains. Upon such a motive a new melody sings.
+The delicate bliss of early love is all about, and in the lingering
+close the timid ecstasies of wooing phrase. But this is a mere prelude
+to the more highly stressed, vehement song of love that follows on the
+same yearning motive. Here is the crowning, summing phase of the whole
+poem, without a return to earlier melody save that, by significant
+touch, it ends in the same expressive turn as the former languorous
+song.
+
+The first melody does not reappear, is thus a kind of background of the
+scene. The whole is a dramatic lyric that moves from broader tune to a
+reiterated note of sad desire, driven to a splendid height of crowned
+bliss. The turbulence of early love is there; pure ardor in flaming
+tongues of ecstasy; the quick turn of mood and the note of omen of the
+original poem: the violence of early love and the fate that hangs over.
+
+Berlioz has drawn the subject of his Scherzo from Mercutio's speech in
+Scene 4 of the First Act of Shakespeare's tragedy. He has entitled it
+"Queen Mab, or the Fairy of Dreams," and clearly intends to portray the
+airy flight of Mab and her fairies. But we must doubt whether this, the
+musical gem of the symphony, has a plan that is purely graphic,--rather
+does it seem to soar beyond those concrete limits to an utterance of the
+sense of dreams themselves in the spirit of Mercutio's conclusion:
+
+          "... I talk of dreams
+    Which are the children of an idle brain,
+    Begot of nothing but vain fantasy;
+    Which is as thin of substance as the air;"
+
+And we may add, as elusive for the enchanted mind to hold are these
+pranks and brilliant parade of tonal sprites. It stands one of the
+masterpieces of program-music, in equal balance of pure beauty with the
+graphic plan.
+
+Imps they are, these flitting figures, almost insects with a
+personality. In pace there is a division, where the first dazzling
+speed is simply the fairy rhythm (halted anon by speaking pauses or
+silences), and the second, a kind of idyll or romance in miniature. It
+is all a drama of fairy actors, in a dreamland of softest tone. The main
+figure leads its troop on gossamer thread of varied journey.
+
+[Music: (Violins) _Prestissimo_]
+
+Almost frightening in the quickest, pulsing motion is the sudden
+stillness, as the weird poising of trembling sprites. Best of all is the
+resonant beauty of the second melody in enchanting surprise of tone.
+
+[Music: (Strings without basses)]
+
+Anon, as in a varied dance, the skipping, mincing step is followed by a
+gentle swaying; or the figures all run together down the line to start
+the first dance again, or the divided groups have different motions, or
+one shouts a sudden answer to the other.
+
+Much slower now is the main song (in flute and English horn) beneath an
+ariel harmony (of overtones), while a quicker trip begins below of the
+same figure. And in the midst is a strange concert of low dancing
+strings with highest tones of harp,--strange mating of flitting sprites.
+
+We are suddenly back in the first, skipping dance, ever faster and
+brighter in dazzling group of lesser figures. And here is the golden
+note of fairy-land,--the horn in soft cheery hunter's lay, answered by
+echoing voices. For a moment the call is tipped with touch of sadness,
+then rings out brightly in a new quarter. Beautiful it sings between the
+quick phrases, with a certain shock of change, and there is the terror
+of a sudden low rumbling and the thrill of new murmuring sounds with
+soft beat of drum that hails the gathering fairies. There is a sudden
+clarion burst of the whole chorus, with clash of drum and clang of
+brass, and sudden pause, then faintest echoes of higher voices.
+
+A new figure now dances a joyous measure to the tinkling of harp and the
+sparkling strokes of high
+
+[Music: (Harp in higher 8ve.)
+(Clarinet with chord of horns)
+(Violas)]
+
+cymbals and long blown tone of horns. The very essence it is of fairy
+life. And so the joy is not unmixed with just a touch of awe. Amidst the
+whole tintinnabulation is a soft resonant echo of horns below, like an
+image in a lake. The air hangs heavy with dim romance until the sudden
+return to first fairy verse in sounds almost human. Once more come the
+frightening pauses.
+
+The end is in a great crash of sweet sound--a glad awakening to day and
+to reality.
+
+
+
+
+CHAPTER IV
+
+A SYMPHONY TO DANTE'S "DIVINA COMMEDIA"
+
+_FOR ORCHESTRA AND CHORUS OF SOPRANOS AND ALTOS_
+
+
+The "Divina Commedia" may be said in a broad view to belong to the great
+design by which Christian teaching was brought into relation with
+earlier pagan lore. The subject commands all the interest of the epics
+of Virgil and of Milton. It must be called the greatest Christian poem
+of all times, and the breadth of its appeal and of its art specially
+attest the age in which it was written, when classic pagan poetry broke
+upon the world like a great treasure-trove.
+
+The subject was an ideal one in Dante's time,--a theme convincing and
+contenting to all the world, and, besides, akin to the essence of pagan
+poetry. The poet was needed to celebrate all the phases of its meaning
+and beauty. This is true of all flashes of evolutionary truth. As in the
+ancient epics, an idea once real to the world may be enshrined in a
+design of immortal art.
+
+To-day we are perhaps in too agnostic a state to be absorbed by such a
+contemplation. The subject in a narrower sense is true at most to those
+who will to cherish the solace of a salvation which they have not fully
+apprehended. And so the Liszt symphony of the nineteenth century is not
+a complete reflection of the Dante poem of the fourteenth. It becomes
+for the devout believer almost a kind of church-liturgy,--a Mass by the
+Abbe Liszt.
+
+Rare qualities there undoubtedly are in the music: a reality of passion;
+a certain simplicity of plan; the sensuous beauty of melodic and
+harmonic touches. But a greatness in the whole musical expression that
+may approach the grandeur of the poem, could only come in a suggestion
+of symbolic truth; and here the composer seems to fail by a too close
+clinging to ecclesiastic ritual. Yet in the agony of remorse, rising
+from hopeless woe to a chastened worship of the light, is a strain of
+inner truth that will leave the work for a long time a hold on human
+interest.
+
+Novel is the writing of words in the score, as if they are to be sung by
+the instruments,--all sheer aside from the original purpose of the form.
+Page after page has its precise text; we hear the shrieks of the damned,
+the dread inscription of the infernal portals; the sad lament of lovers;
+the final song of praise of the redeemed. A kind of picture-book music
+has our symphony become. The _leit-motif_ has crept into the high form
+of absolute tones to make it as definite and dramatic as any opera.
+
+
+I. INFERNO
+
+The legend of the portal is proclaimed at the outset in a rising phrase
+(of the low brass and strings)
+
+[Music: (Doubled in two lower 8ves.)
+_Lento_
+(3 trombones and tuba: violas, cellos and brass)]
+
+    _Per me si va nella cit-ta do-lente;
+    Per me si va nell'eterno dolore;_
+
+and in still higher chant--
+
+    _Per me si va tra la perduta gente._
+
+Then, in antiphonal blast of horns and trumpets sounds the fatal doom in
+grim monotone (in descending harmony of trembling strings):
+
+[Music: (Chant in octaves of trumpets and horns)
+La-scia-te ogni spe-ran- - -za.
+(Brass, wood and _tremolo_ strings)]
+
+    _Lasciate ogni speranza mi ch' entrate!_[A]
+
+[Footnote A:
+
+    "Through me the way is to the city dolent;
+    Through me the way is to eternal dole;
+    Through me the way among the people lost.
+    All hope abandon, ye who enter in!"
+
+--_From Longfellow's translation._]
+
+A tumult on a sigh (from the first phrase) rises again and again in
+gusts. In a violent paroxysm we hear the doom of the monotone in lowest
+horns. The fateful phrases are ringing about, while pervading all is
+the hope-destroying blast of the brass. But the storm-centre is the
+sighing motive which now enters on a quicker spur of passionate stride
+(_Allegro frenetico, quasi doppio movimento_). In its winding
+
+[Music: _Alla breve_
+_Allegro frenetico (quasi doppio movimento)_
+(Theme in violins and cellos)
+(Woodwind and violas)]
+
+sequences it sings a new song in more regular pace. The tempest grows
+wilder and more masterful, still following the lines of the song, rising
+to towering height. And now in the strains, slow and faster, sounds the
+sigh above and below, all in a madrigal of woe. The whole is surmounted
+by a big descending phrase, articulate almost in its grim dogma, as it
+runs into the line of the first legend in full tumult of gloom. It is
+followed by the doom slowly proclaimed in thundering tones of the brass,
+in midst of a tempest of surging harmonies. Only it is all more fully
+and poignantly stressed than before, with long, resonant echoes of the
+stentorian tones of lowest brass.
+
+Suddenly we are in the dulcet mood (_Quasi Andante, ma sempre un poco
+mosso_) 'mid light waving strings and rich swirling harp, and soothing
+tones of flutes and muted horns. Then, as all other voices are hushed,
+the clarinet sings a strain that ends in lowest notes of expressive
+grief (_Recit., espressivo dolente_)--where we can almost hear the
+words. It is answered by a sweet plaint of other wood, in
+
+[Music: _Quasi Andante, ma sempre un poco mosso_
+_dolce teneremente_
+(Clarinets and bassoons)]
+
+questioning accents, followed by the returning waves of strings and
+harp, and another phrase of the lament; and now to the pulsing chords of
+the harp the mellow English horn does sing (at least in the score) the
+words,--the central text of all:
+
+[Music: _Poco agitato_
+(English horn, with arpeggic flow of harp)
+Nes-sun mag-gior do-lo-re che ri-cor-dar-si del tem-po fe-li-ce.[A]]
+
+[Footnote A: "There is no greater sorrow than to be mindful of the happy
+time in misery."--_From Longfellow's translation._]
+
+Other voices join the leader. As the lower reed start the refrain, the
+higher enter in pursuit, and then the two groups sing a melodic chase.
+But the whole phrase is a mere foil to the pure melody of the former
+plaint that now returns in lower strings. And all so far is as a herald
+to the passage of intimate sentiment (_Andante amoroso_) that lies a
+lyric gem in the heart of the symphony. The melting strain is stressed
+in tenderness by the languor of harmonies, the delicate design of
+elusive rhythm and the appealing whisper of harp and two
+violins,--tipped by the touch of mellow wood.
+
+[Music: _Andante amoroso. (Tempo rubato)_
+_dolce con intimo sentimento_
+(Melody in first violins; arpeggios of harp and violas;
+lower woodwind and strings)]
+
+With the rising passion, as the refrain spreads in wider sequences, the
+choirs of wood and strings are drawn into the song, one group answering
+the other in a true love duet.
+
+The last cadence falls into the old sigh as the dread oracle sounds once
+more the knell of hope. Swirling strings bring us to a new scene of the
+world of shades. In the furious, frenetic pace of yore (_Tempo primo,
+Allegro, alla breve_) there is a new sullen note, a dull martial trip
+of drums with demonic growls (in the lowest wood). The sigh is there,
+but perverted in humor. A chorus of blasphemous mockery is stressed by
+strident accents of lower wood and strings.[A]
+
+[Footnote A: We are again assisted by the interpreting words in the
+score.]
+
+Gradually we fall into the former frenzied song, amid the demon
+cacchinations, until we have plunged back into the nightmare of groans.
+Instead of the big descending phrase we sink into lower depths of gloom,
+wilder than ever, on the first tripping motive. As the sighing strain
+resounds below in the midst of a chorus of demon shrieks, there enters
+the chant of inexorable fate. Mockery yields to a tinge of pathos, a
+sense almost of majestic resignation, an apotheosis of grief.
+
+
+II. PURGATORIO
+
+A state of tranquillity, almost of bliss, is in the opening primal
+harmonies (of harp and strings and
+
+[Music: _Andante con moto quasi Allegretto. Tranquillo assai_
+(Oboe _molto espressivo_)
+_Sempre piano e legato_
+(Full arpeggic harp and muted strings)]
+
+soft horns). Indeed, what else could be the mood of relief from the
+horrors of hell? And lo! the reed strikes a pure limpid song echoed in
+turn by other voices, beneath a rich spray of heavenly harmonies.
+
+This all recurs in higher shift of tone. A wistful phrase (_piu lento_,
+in low strings) seems to breathe
+
+[Music: _Un poco meno mosso_
+(English horn, clarinets, bassoons, French horn)]
+
+a spoken sob. Then, as in voices of a hymn, chants a more formal liturgy
+of plaint where the phrase is almost lost in the lowest voice. It is all
+but articulate, with a sense of the old sigh; but it is in a calmer
+spirit, though anon bursting with passionate grief (_lagrimoso_).
+
+[Music: _Lamentoso_ (In fugue of muted strings)]
+
+And now in the same vein, of the same fibre, a fugue begins of lament,
+first in muted strings.
+
+It is the line of sad expressive recitative that heralded the plaint and
+the love-scene. There is here the full charm of fugue: a rhythmic
+quality of single theme, the choir of concerted dirge in independent
+and interdependent paths, and with every note of integral melody. There
+is the beauty of pure tonal architecture blended with the personal
+significance of the human (and divine) tragedy.
+
+The fugue begins in muted strings, like plaintive human voices, though
+wood and brass here and there light up the phrases. Now the full bass of
+horns and wood strikes the descending course of theme, while higher
+strings and wood soar in rising stress of (sighing) grief.
+
+[Music: (In double higher 8ves.)
+_With lower 8ves._
+(Strings, with enforcing and answering wind)]
+
+A hymnal verse of the theme enters in the wood answered by impetuous
+strings on a coursing phrase. The antiphonal song rises with eager
+stress of themal attack. A quieter elegy leads to another burst, the
+motive above, the insistent sigh below. The climax of fugue returns to
+the heroic main plaint below, with sighing answers above, all the voices
+of wood and brass enforcing the strings.
+
+Then the fugue turns to a transfigured phase; the theme rings triumphant
+retorts in golden horns and in a masterful unison of the wood; the wild
+answer runs joyfully in lower strings, while the higher are strumming
+like celestial harps. The whole is transformed to a big song of praise
+ever in higher harmonies. The theme flows on in ever varying thread,
+amidst the acclaiming tumult.
+
+But the heavenly heights are not reached by a single leap. Once more we
+sink to sombre depths not of the old rejection, but of a chastened,
+wistful wonderment. The former plaintive chant returns, in slower,
+contained pace, broken by phrases of mourning recitative, with the old
+sigh. And a former brief strain of simple aspiration is supported by
+angelic harps. In gentle ascent we are wafted to the acclaim of heavenly
+(treble) voices in the _Magnificat_. A wonderful utterance, throughout
+the scene of Purgatory, there is of a chastened, almost spiritual grief
+for the sin that cannot be undone, though it is not past pardon.
+
+The bold design of the final Praise of the Almighty was evidently
+conceived in the main as a service. An actual depiction, or a direct
+expression (such as is attempted in the prologue of Boito's Mefistofele)
+was thereby avoided. The Holy of Holies is screened from view by a
+priestly ceremony,--by the mask of conventional religion. Else we must
+take the composer's personal conception of such a climax as that of an
+orthodox Churchman. And then the whole work, with all its pathos and
+humanity, falls to the level of liturgy.
+
+The words of invisible angel-chorus are those of the blessed maid
+trusting in God her savior, on a theme for which we are prepared by
+preluding choirs of harps, wood and strings. It is sung on an ancient
+Church tone that in its height approaches the mode of secular song. With
+all the power of broad rhythm, and fulness of harmony and volume, the
+feeling is of conventional worship. With all the purity of shimmering
+harmonies the form is ecclesiastical in its main lines and depends upon
+liturgic symbols for its effect and upon the faith of the listener for
+its appeal.
+
+At the end of the hymn, on the entering _Hosanna!_ and _Hallelujah!_ we
+catch the sacred symbol (of seven tones) in the path of the two vocal
+parts, the lower descending, the higher ascending as on heavenly scale.
+In the second, optional ending the figure is completed, as the bass
+descends through the seven whole tones and the treble (of voices and
+instruments) rises as before to end in overpowering _Hallelujah!_ The
+style is close knit with the earlier music. A pervading motive is the
+former brief phrase of aspiration; upon it the angelic groups seem to
+wing their flight between verses of praise. By a wonderful touch the
+sigh, that appeared inverted in the plaintive chant of the _Purgatorio_,
+is finally glorified as the motive of the bass to the words of
+exultation.
+
+
+
+
+CHAPTER V
+
+THE SYMPHONIC POEMS OF LISZT
+
+
+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. Yet it must be
+yielded that Liszt's program-music was of the higher kind that dwells in
+symbols rather than in concrete details. It was a graphic plan of
+symbolization that led Liszt to choose the subjects of his symphonic
+poems (such as the "Preludes" and the "Ideals") and to prefer the poetic
+scheme of Hugo's "Mazeppa" to the finer verse of a Byron. Though not
+without literal touches, Liszt perceived that his subjects must have a
+symbolic quality.
+
+Nevertheless this pictorial style led to a revolution in the very nature
+of musical creation and to a new form which was seemingly intended to
+usurp the place of the symphony. It is clear that the symphonic poem is
+in very essence opposed to the symphony. The genius of the symphony lies
+in the overwhelming breadth and intensity of its expression without the
+aid of words. Vainly decried by a later age of shallower perception, it
+achieved this Promethean stroke by the very magic of the design. At one
+bound thus arose in the youngest art a form higher than any other of
+human device,--higher than the epic, the drama, or the cathedral.
+
+Bowing to an impatient demand for verbal meaning, Liszt invented the
+Symphonic Poem, in which the classic cogency yielded to the loose thread
+of a musical sketch in one movement, slavishly following the sequence of
+some literary subject. He abandoned sheer tonal fancy, surrendering the
+magic potency of pure music, fully expressive within its own design far
+beyond the literal scheme.[A]
+
+[Footnote A: Mendelssohn with perfect insight once declared,--"Notes
+have as definite a meaning as words, perhaps even a more definite one."]
+
+The symphonic poems of Liszt, in so far as his intent was in destructive
+reaction to the classic process, were precisely in line with the drama
+of Wagner. The common revolt completely failed. The higher, the real
+music is ever of that pure tonal design where the fancy is not leashed
+to some external scheme. Liszt himself grew to perceive the inadequacy
+of the new device when he returned to the symphony for his greatest
+orchestral expression, though even here he never escaped from the thrall
+of a literal subject.
+
+And strangely, in point of actual music, we cannot fail to find an
+emptier, a more grandiose manner in all these symphonic poems than in
+the two symphonies. It seems as if an unconscious sense of the greater
+nobility of the classic medium drove Liszt to a far higher inspiration
+in his melodic themes.
+
+Yet we cannot deny the brilliant, dazzling strokes, and the luscious
+harmonies. It was all a new manner, and alone the novelty is welcome,
+not to speak of the broad sweep of facile melody, and the sparkling
+thrills.
+
+
+_LES PRELUDES_
+
+This work has a preface by the composer, who refers in a footnote to the
+"_Meditations poetiques_" of Lamartine.
+
+"What else is our life than a series of preludes to that unknown song of
+which the first solemn note is struck by death? Love is the morning glow
+of every heart; but in what human career have not the first ecstasies of
+bliss been broken by the storm, whose cruel breath destroys fond
+illusions, and blasts the sacred shrine with the bolt of lightning. And
+what soul, sorely wounded, does not, emerging from the tempest, seek to
+indulge its memories in the calm of country life? Nevertheless, man will
+not resign himself for long to the soothing charm of quiet nature, and
+when the trumpet sounds the signal of alarm, he runs to the perilous
+post, whatever be the cause that calls him to the ranks of war,--that he
+may find in combat the full consciousness of himself and the command of
+all his powers."
+
+How far is the music literally graphic? We cannot look for the "unknown
+song" in definite sounds. That would defeat, not describe, its
+character. But the first solemn notes, are not these the solemn rising
+phrase that reappears in varying rhythm and pace all about the beginning
+and, indeed, the whole course
+
+[Music: _Andante_
+(Strings, doubled in two lower 8ves.)]
+
+of the music. Just these three notes abound in the mystic first
+"prelude," and they are the core of the great swinging tune of the
+Andante maestoso, the beginning and main pulse of the unknown song.
+
+[Music: _Andante maestoso_
+(Basses of strings, wood and brass, doubled below; arpeggic
+harmonies in upper strings; sustained higher wood)]
+
+Now (_dolce cantando_) is a softer guise of the phrase. For death and
+birth, the two portals, are like
+
+[Music: (Strings, with arpeggic violins)
+_dolce cantando_
+(_Pizz._ basses)]
+
+elements. Even here the former separate motive sounds, and so in the
+further turn of the song (_espressivo dolente_) on new thread.
+
+The melody that sings (_espressivo ma tranquillo_) may well stand for
+"love, the glow of dawn in every heart." Before the storm, both great
+motives (of love and death) sound together very beautifully, as in
+
+[Music: _espress. ma tranquillo_
+_dolce._
+(Horns and lower strings, with arpeggic harp and violins)]
+
+Tennyson's poem. The storm that blasts the romance begins with the same
+fateful phrase. It is all about, even inverted, and at the crisis it
+sings with the fervor of full-blown song. At the lull the soft guise
+reappears, faintly, like a sweet memory.
+
+The Allegretto pastorale is clear from the preface. After we are lulled,
+soothed, caressed and all but entranced by these new impersonal sounds,
+then, as if the sovereign for whom all else were preparing, the song of
+love seeks its recapitulated verse. Indeed here is the real full song.
+Is it that in the memory lies the reality, or at least the realization?
+
+Out of the dream of love rouses the sudden alarm of brass (_Allegro
+marziale animato_), with a new war-tune fashioned of the former soft
+disguised motive. The air of fate still hangs heavy over all. In
+spirited retorts the martial madrigal proceeds, but it is not all mere
+war and courage. Through the clash of strife break in the former songs,
+the love-theme in triumph and the first expressive strain in tempestuous
+joy. Last of all the fateful original motto rings once more in serene,
+contained majesty.
+
+On the whole, even with so well-defined a program, and with a full play
+of memory, we cannot be quite sure of a fixed association of the motive.
+It is better to view the melodic episodes as subjective phases, arising
+from the tenor of the poem.
+
+
+_TASSO_
+
+Liszt's "Tasso" is probably the earliest celebration, in pure tonal
+form, of the plot of man's suffering and redemption, that has been so
+much followed that it may be called the type of the modern symphony.[A]
+In this direct influence the "Tasso" poem has been the most striking of
+all of Liszt's creations.
+
+[Footnote A: We may mention such other works of Liszt as "Mazeppa" and
+the "Faust" Symphony; the third symphony of Saint-Saens; Strauss' tone
+poem "Death and Transfiguration"; Volbach's symphony, besides other
+symphonies such as a work by Carl Pohlig. We may count here, too, the
+Heldenlied by Dvorak, and Strauss' Heldenleben (see Vol. II).]
+
+The following preface of the composer accompanies the score:
+
+     "In the year 1849 the one hundredth anniversary of Goethe's birth
+     was celebrated throughout Germany; the theatre in Weimar, where we
+     were at the time, marked the 28th of August by a performance of
+     'Tasso.'
+
+     "The tragic fate of the unfortunate bard served as a text for the
+     two greatest poets produced by Germany and England in the last
+     century: Goethe and Byron. Upon Goethe was bestowed the most
+     brilliant of mortal careers; while Byron's advantages of birth and
+     of fortune were balanced by keenest suffering. We must confess that
+     when bidden, in 1849, to write an overture for Goethe's drama, we
+     were more immediately inspired by Byron's reverential pity for the
+     shades of the great man, which he invoked, than by the work of the
+     German poet. Nevertheless Byron, in his picture of Tasso in prison,
+     was unable to add to the remembrance of his poignant grief, so
+     nobly and eloquently uttered in his 'Lament,' the thought of the
+     'Triumph' that a tardy justice gave to the chivalrous author of
+     'Jerusalem Delivered.' We have sought to mark this dual idea in the
+     very title of our work, and we should be glad to have succeeded in
+     pointing this great contrast,--the genius who was misjudged during
+     his life, surrounded, after death, with a halo that destroyed his
+     enemies. Tasso loved and suffered at Ferrara; he was avenged at
+     Rome; his glory still lives in the folk-songs of Venice. These
+     three elements are inseparable from his immortal memory. To
+     represent them in music, we first called up his august spirit as he
+     still haunts the waters of Venice. Then we beheld his proud and
+     melancholy figure as he passed through the festivals of Ferrara
+     where he had produced his master-works. Finally we followed him to
+     Rome, the eternal city, that offered him the crown and glorified in
+     him the martyr and the poet.
+
+     "_Lamento e Trionfo_: Such are the opposite poles of the destiny
+     of poets, of whom it has been justly said that if their lives are
+     sometimes burdened with a curse, a blessing is never wanting over
+     their grave. For the sake not merely of authority, but the
+     distinction of historical truth, we put our idea into realistic
+     form in taking for the theme of our musical poem the motive with
+     which we have heard the gondoliers of Venice sing over the waters
+     the lines of Tasso, and utter them three centuries after the poet:
+
+    "'Canto l'armi pietose e'l Capitano
+    Che'l gran Sepolcro libero di Christo!'
+
+     "The motive is in itself plaintive; it has a sustained sigh, a
+     monotone of grief. But the gondoliers give it a special quality by
+     prolonging certain tones--as when distant rays of brilliant light
+     are reflected on the waves. This song had deeply impressed us long
+     ago. It was impossible to treat of Tasso without taking, as it
+     were, as text for our thoughts, this homage rendered by the nation
+     to the genius whose love and loyalty were ill merited by the court
+     of Ferrara. The Venetian melody breathes so sharp a melancholy,
+     such hopeless sadness, that it suffices in itself to reveal the
+     secret of Tasso's grief. It lent itself, like the poet's
+     imagination, to the world's brilliant illusions, to the smooth and
+     false coquetry of those smiles that brought the dreadful
+     catastrophe in their train, for which there seemed to be no
+     compensation in this world. And yet upon the Capitol the poet was
+     clothed with a mantle of purer and more brilliant purple than that
+     of Alphonse."
+
+With the help of the composer's plot, the intent of the music becomes
+clear, to the dot almost of the note. The whole poem is an exposition of
+the one sovereign melody, where we may feel a kindred trait of Hungarian
+song, above all in the cadences, that must have stirred Liszt's patriot
+heart. Nay,--beginning as it does with melancholy stress of the phrase
+of cadence and the straying into full rhythmitic exultation, it seems
+(in strange guise) another
+
+[Music: _Adagio mesto_
+(With rhythmic harp and horns)]
+
+of Liszt's Hungarian rhapsodies,--that were, perhaps, the greatest of
+all he achieved, where his unpremeditated frenzy revelled in purest
+folk-rhythm and tune. The natural division of the Hungarian dance, with
+the sad _Lassu_ and the glad _Friss_, is here clear in order and
+recurrence. The Magyar seems to the manner born in both parts of the
+melody.[A]
+
+[Footnote A: A common Oriental element in Hungarian and Venetian music
+has been observed. See Kretschmar's note to Liszt's "Tasso" (Breitkopf &
+Haertel).]
+
+In the accents of the motive of cadence (_Lento_) we feel the secret
+grief of the hero, that turns _Allegro strepitoso_, in quicker pace to
+fierce revolt.
+
+In full tragic majesty the noble theme enters, in panoply of woe. In the
+further flow, as in the beginning, is a brief chromatic strain and a
+sigh of descending tone that do not lie in the obvious song, that are
+drawn by the subjective poet from the latent fibre. Here is the modern
+Liszt, of rapture and anguish, in manner and in mood that proved so
+potent a model with a later generation.[A]
+
+[Footnote A: See note in the final chapter of Volume II.]
+
+The verse ends in a prolonged threnody, then turns to a firm, serenely
+grave burst of the song in major, _Meno Adagio_, with just a hint of
+martial grandeur. For once, or the nonce, we seem to see the hero-poet
+acclaimed. In a middle episode the motive of the cadence sings
+expressively with delicate harmonies, rising to full-blown exaltation.
+We may see here an actual brief celebration, such as Tasso did receive
+on entering Ferrara.
+
+And here is a sudden fanciful turn. A festive dance strikes a tuneful
+trip,--a menuet it surely is, with all the ancient festal charm, vibrant
+with tune and spring, though still we do not escape the source of the
+first pervading theme. Out of the midst of the dance sings slyly an
+enchanting phrase, much like a secret love-romance. Now to the light
+continuing dance is joined a strange companion,--the heroic melody in
+its earlier majestic pace. Is it the poet in serious meditation at the
+feast apart from the joyous abandon, or do we see him laurel-crowned, a
+centre of the festival, while the gay dancers flit about him in homage?
+
+More and more brilliant grows the scene, though ever with the dominant
+grave figure. With sudden stroke as of fatal blast returns the earlier
+fierce burst of revolt, rising to agitation of the former lament,
+blending both moods and motives, and ending with a broader stress of the
+first tragic motto.
+
+Now, _Allegro con brio_, with herald calls of the brass and fanfare of
+running strings (drawn from the personal theme), in bright major the
+whole song bursts forth in brilliant gladness. At the height the
+exaltation finds vent in a peal of simple melody. The "triumph" follows
+in broadest, royal pace of the main song in the wind, while the strings
+are madly coursing and the basses reiterate the transformed motive of
+the cadence. The end is a revel of jubilation.
+
+
+_MAZEPPA_
+
+The Mazeppa music is based upon Victor Hugo's poem, in turn founded upon
+Byron's verse, with an added stirring touch of allegory.
+
+The verses of Hugo first tell how the victim is tied to the fiery
+steed, how--
+
+    "He turns in the toils like a serpent in madness,
+    And ... his tormentors have feasted in gladness
+        Upon his despair.
+
+           *       *       *       *       *
+
+    "They fly.--Empty space is behind and before them
+
+           *       *       *       *       *
+
+    "The horse, neither bridle nor bit on him feeling,
+    Flies ever; red drops o'er the victim are stealing:
+        His whole body bleeds.
+    Alas! to the wild horses foaming and champing
+    That followed with mane erect, neighing and stamping,
+        A crow-flight succeeds.
+    The raven, the horn'd owl with eyes round and hollow,
+    The osprey and eagle from battle-field follow,
+        Though daylight alarm.
+
+           *       *       *       *       *
+
+    "Then after three days of this course wild and frantic,
+    Through rivers of ice, plains and forests gigantic,
+        The horse sinks and dies;
+
+           *       *       *       *       *
+
+    "Yet mark! That poor sufferer, gasping and moaning,
+    To-morrow the Cossacks of Ukraine atoning,
+        Will hail as their King;
+
+           *       *       *       *       *
+
+    "To royal Mazeppa the hordes Asiatic
+    Will show their devotion in fervor ecstatic,
+        And low to earth bow."
+
+In his splendid epilogue the poet likens the hero to the mortal on whom
+the god has set his mark. He sees himself bound living to the fatal
+course of genius, the fiery steed.
+
+    "Away from the world--from all real existence
+    He is borne upwards, despite his resistance
+        On feet of steel.
+    He is taken o'er deserts, o'er mountains in legions,
+    Grey-hoary, thro' oceans, and into the regions
+        Far over the clouds;
+    A thousand base spirits his progress unshaken
+    Arouses, press round him and stare as they waken,
+        In insolent crowds
+
+           *       *       *       *       *
+
+    "He cries out with terror, in agony grasping,
+    Yet ever the mane of his Pegasus clasping,
+        They heavenward spring;
+    Each leap that he takes with fresh woe is attended;
+    He totters--falls lifeless--the struggle is ended--
+        And rises as King!"[A]
+
+[Footnote A: The English verses are taken for the most part from the
+translation of F. Corder.]
+
+The original _Allegro agitato_ in broad 6/4 time (aptly suggestive of
+the unbridled motion) grows
+
+[Music: (In brass and strings with lower 8ve.)
+(With constant clattering higher strings and
+chord of low wind on the middle beat)]
+
+more rapid into an _alla breve_ pace (in two beats), with dazzling maze
+of lesser rhythms. Throughout the work a song of primeval strain
+prevails. Here and there a tinge of foreshadowing pain appears, as the
+song sounds on high, _espressivo dolente_. But the fervor and fury of
+movement is undiminished. The brief touch of pathos soon merges in the
+general heroic mood. Later, the whole motion ceases, "the horse sinks
+and dies," and now an interlude sings a pure plaint (in the strain of
+the main motive). Then, _Allegro_, the martial note clangs in stirring
+trumpet and breaks into formal song of war, _Allegro marziale_.
+
+[Music: (Brass and strings)
+_Allegro marziale_
+(With lower 8ve.)]
+
+In the wake of this song, with a relentless trip and tramp of warrior
+hordes, is the real clash and jingle of the battle, where the sparkling
+thrill of strings and the saucy counter theme are strong elements in the
+stirring beauty.
+
+There is a touch here of the old Goth, or rather the Hun, nearer akin to
+the composer's race.
+
+At the height rings out the main tune of yore, transformed in triumphant
+majesty.
+
+The musical design embraces various phases. First is the clear rhythmic
+sense of the ride. We think of other instances like Schubert's
+"Erl-King" or the ghostly ride in Raff's "Lenore" Symphony.
+
+The degree of vivid description must vary, not only with the composer,
+but with the hearer. The greatest masters have yielded to the variety of
+the actual graphic touch. And, too, there are always interpreters who
+find it, even if it was never intended. Thus it is common to hear at the
+very beginning of the "Mazeppa" music the cry that goes up as starts the
+flight.
+
+We are of course entitled, if we prefer, to feel the poetry rather than
+the picture. Finally it is probably true that such a poetic design is
+not marred merely because there is here or there a trick of
+onomatopoeia; if it is permitted in poetry, why not in music? It may be
+no more than a spur to the fancy, a quick conjuring of the association.
+
+
+_HUNNENSCHLACHT--"THE BATTLE OF THE HUNS"_
+
+Liszt's symphonic poem, "Hunnenschlacht," one of the last of his works
+in this form, completed in 1857, was directly inspired by the picture of
+the German painter, Wilhelm Kaulbach, which represents the legend of the
+aerial battle between the spirits of the Romans and Huns who had fallen
+outside of the walls of Rome.[A]
+
+[Footnote A: A description of the picture is cited by Lawrence Gilman in
+his book, "Stories of Symphonic Music," as follows:
+
+"According to a legend, the combatants were so exasperated that the
+slain rose during the night and fought in the air. Rome, which is seen
+in the background, is said to have been the scene of this event. Above,
+borne on a shield, is Attila, with a scourge in his hand; opposite him
+Theodoric, King of the Visigoths. The foreground is a battle-field,
+strewn with corpses, which are seen to be gradually reviving, rising up
+and rallying, while among them wander wailing and lamenting women."]
+
+The evidence of the composer's intent is embodied in a letter written in
+1857 to the wife of the painter, which accompanied the manuscript of an
+arrangement of the music for two pianos. In the letter Liszt speaks of
+"the meteoric and solar light which I have borrowed from the painting,
+and which at the Finale I have formed into one whole by the gradual
+working up of the Catholic _choral_ 'Crux fidelis,' and the meteoric
+sparks blended therewith." He continues: "As I have already intimated to
+Kaulbach, in Munich, I was led by the musical demands of the material to
+give proportionately more place to the solar light of Christianity,
+personified in the Catholic _choral_ ... than appears to be the case in
+the glorious painting, in order to win and pregnantly represent the
+conclusion of the Victory of the Cross, with which I both as a Catholic
+and as a man could not dispense."
+
+The work begins _tempestuoso_ (_allegro non troppo_), with a nervous
+theme over soft rolling drums and
+
+[Music: _Tempestuoso. Allegro non troppo_
+(Bassoons with _tremolo_ cellos and roll of kettle-drums)]
+
+trembling low strings, that is taken up as in fugue by successive groups
+and carried to a height where enters a fierce call of the horns. The
+cries of battle spread with increasing din and gathering speed. At the
+first climax the whole motion has a new energy, as the strings in
+feverish chase attack the quickened motive with violent stress. Later,
+though the motion has not lessened, the theme has returned to a
+semblance of its former pace, and again the cries of battle (in brass
+and wood) sound across its path.
+
+[Music: (Strings, _tremolo_, doubled above)
+(Horns)]
+
+In the hush of the storm the full-blown call to arms is heard in lowest,
+funereal tones. Of a sudden, though the speed is the same, the pace
+changes with a certain terror as of a cavalry attack. Presently amid the
+clattering tramp sounds the big hymn,--in the ancient rhythm that moves
+strangely out of the rut of even time.[A]
+
+[Footnote A: Quoted on the following page.]
+
+A single line of the hymn is followed by a refrain of the battle-call,
+and by the charge of horse that brings back the hymn, in high pitch of
+trumpets. And so recur the former phases of battle,--really of threat
+and preparation. For now begins the serious fray in one long gathering
+of speed and power. The first theme here grows to full melodic song,
+with extended answer, led by strepitous band of lower reed over a heavy
+clatter of strings. We are in a
+
+[Music: (Trombones with lower 8ve)
+_Marcato_]
+
+maze of furious charges and cries, till the shrill trumpet and the
+stentorian trombone strike the full call in antiphonal song. The tempest
+increases with a renewed charge of the strings, and now the more distant
+calls have a slower sweep. Later the battle song is in the
+basses,--again in clashing basses and trebles; nearer strike the broad
+sweeping calls.
+
+Suddenly over the hushed motion in soothing harmonies sings the hymn in
+pious choir of all the brass. Then the gathering speed and volume is
+merged in a majestic tread as of ordered array (_Maestoso assai;
+Andante_); a brief spirited prelude of martial motives is answered by
+the soft religious strains of the organ on the line of the hymn:
+
+    "Crux fidelis, inter omnes
+    Arbor una nobilis,
+    Nulla silva talem profert
+    Fronde, flore, germine.
+    Dulce lignum, dulces clavos,
+    Dulce pondus sustinet."[A]
+
+[Footnote A:
+
+    Faithful cross, among the trees
+    Thou the noblest of them all!
+    Forest ne'er doth grow a like
+    In leaf, in flower or in seed.
+    Blessed wood and blessed nails,
+    Blessed burden that it bears!]
+
+As in solemn liturgy come the answering phrases of the organ and the big
+chorus in martial tread. As the hymn winds its further course, violins
+entwine about the harmonies. The last line ends in expressive strain and
+warm line of new major tone,--echoed in interluding organ and violins.
+
+Suddenly a strict, solemn tread, with sharp stress of violins, brings a
+new song of the _choral_. Strings alone play here "with pious
+expression"; gradually reeds add support and ornament. A lingering
+phrase ascends on celestial harmonies. With a stern shock the plain hymn
+strikes in the reed, against a rapid course of strings, with fateful
+tread. In interlude sound the battle-cries of yore. Again the hymn ends
+in the expressive cadence, though now it grows to a height of power.
+
+Here a former figure (the first motive of the battle) reappears in a
+new guise of bright major,[A] in full, spirited stride, and leads once
+more to a blast of the hymn, with organ and all, the air in unison of
+trumpets and all the wood. The expressive cadence merges into a last
+fanfare of battle, followed by a strain of hymns and with reverberating
+Amens, where the organ predominates and holds long after all other
+sounds have ceased.
+
+[Footnote A: In the whole tonality we may see the "meteoric and solar
+light" of which the composer speaks in the letter quoted above.]
+
+
+
+
+CHAPTER VI
+
+THE SYMPHONIC POEMS OF SAINT-SAENS
+
+
+There is something charming and even ideal in a complete versatility,
+quite apart from the depth of the separate poems, where there is a
+never-failing touch of grace and of distinction. The Philip Sydneys are
+quite as important as the Miltons, perhaps they are as great. Some poets
+seem to achieve an expression in a certain cyclic or sporadic career of
+their fancy, touching on this or that form, illuminating with an elusive
+light the various corners of the garden. Their individual expression
+lies in the _ensemble_ of these touches, rather than in a single
+profound revelation.
+
+A symptom of the eminence of Saint-Saens in the history of French music
+lies in his attitude towards the art as a whole, especially of the
+German masters,--the absence of national bias in his perceptions. He was
+foremost in revealing to his countrymen the greatness of Bach, Beethoven
+and Schumann. Without their influence the present high state of French
+music can hardly be conceived.
+
+It is part of a broad and versatile mastery that it is difficult to
+analyze. Thus it is not easy to find salient traits in the art of M.
+Saint-Saens. We are apt to think mainly of the distinguished beauty of
+his harmonies, until we remember his subtle counterpoint, or in turn
+the brilliancy of his orchestration. The one trait that he has above his
+contemporaries is an inbred refinement and restraint,--a thorough-going
+workmanship. If he does not share a certain overwrought emotionalism
+that is much affected nowadays, there is here no limitation--rather a
+distinction. Aside from the general charm of his art, Saint-Saens found
+in the symphonic poem his one special form, so that it seemed Liszt had
+created it less for himself than for his French successor. A fine
+reserve of poetic temper saved him from hysterical excess. He never lost
+the music in the story, disdaining the mere rude graphic stroke; in his
+dramatic symbols a musical charm is ever commingled. And a like poise
+helped him to a right plot and point in his descriptions. So his
+symphonic poems must ever be enjoyed mainly for the music, with perhaps
+a revery upon the poetic story. With a less brilliant vein of melody,
+though they are not so Promethean in reach as those of Liszt, they are
+more complete in the musical and in the narrative effect.
+
+
+_DANSE MACABRE_
+
+Challenged for a choice among the works of the versatile composer, we
+should hit upon the _Danse Macabre_ as the most original, profound and
+essentially beautiful of all. It is free from certain lacks that one
+feels in other works, with all their charm,--a shallowness and almost
+frivolity; a facility of theme approaching the commonplace.
+
+There is here an eccentric quality of humor, a daemonic conceit that
+reach the height of other classic expression of the supernatural.
+
+The music is founded upon certain lines of a poem of _Henri Calais_
+(under a like title), that may be given as follows:
+
+          Zig-a-zig, zig-a-zig-a-zig,
+    Death knocks on the tomb with rhythmic heel.
+          Zig-a-zig, zig-a-zig-zig,
+    Death fiddles at midnight a ghostly reel.
+
+    The winter wind whistles, dark is the night;
+      Dull groans behind the lindens grow loud;
+    Back and forth fly the skeletons white,
+      Running and leaping each under his shroud.
+    Zig-a-zig-a-zig, how it makes you quake,
+    As you hear the bones of the dancers shake.
+
+           *       *       *       *       *
+
+    But hist! all at once they vanish away,
+    The cock has hailed the dawn of day.
+
+The magic midnight strokes sound clear and sharp. In eager chords of
+tuned pitch the fiddling ghost summons the dancing groups, where the
+single fife is soon followed by demon violins.
+
+Broadly sings now the descending tune half-way between a wail and a
+laugh. And ever in interlude is the skipping, mincing step,--here of
+reeds answered by solo violin with a light clank of cymbals. Answering
+the summoning fifes, the unison troop of fiddlers dance the main step
+to bright strokes of triangle, then the main ghostly violin trips in
+with choir of wind. And broadly again sweeps the song between tears and
+
+[Music: _In waltz rhythm_
+(Flute)
+(Harp, with sustained bass note of strings)]
+
+smiles. Or Death fiddles the first strain of reel for the tumultuous
+answer of chorus.
+
+Now they build a busy, bustling fugue (of the descending song) and at
+the serious moment suddenly
+
+[Music: (Solo violin)
+_Largamente_
+(_Pizz._ strings)]
+
+they skip away in new frolicsome, all but joyous, tune: a shadowy
+counterfeit of gladness, where the sob hangs on the edge of the smile.
+As if it could no longer be contained, now pours the full passionate
+grief of the broad descending strain. Death fiddles his mournful chant
+to echoing, expressive wind. On the abandon of grief follows the revel
+of grim humor in pranks of mocking demons. All the strains are mingled
+in the ghostly bacchanale. The descending song is answered in opposite
+melody. A chorus of laughter follows the tripping dance. The summoning
+chords, acclaimed by chorus, grow to appealing song in a brief lull. At
+the height, to the united skipping dance of overpowering chorus the
+brass blows the full verse of descending song. The rest is a mad storm
+of carousing till ... out of the whirling darkness sudden starts the
+sharp, sheer call of prosaic day, in high, shrill reed. On a minishing
+sound of rolling drum and trembling strings, sings a brief line of
+wistful rhapsody of the departing spirit before the last whisking steps.
+
+
+_PHAETON_
+
+On a separate page between title and score is a "_Notice_,"--an epitome
+of the story of Phaeton, as follows:
+
+"Phaeton has been permitted to drive the chariot of the Sun, his father,
+through the heavens. But his unskilful hands frighten the steeds. The
+flaming chariot, thrown out of its course, approaches the terrestrial
+regions. The whole universe is on the verge of ruin when Jupiter strikes
+the imprudent Phaeton with his thunderbolt."
+
+There is a solemn sense at first (_Maestoso_), a mid-air poise of the
+harmony, a quick spring of resolution and--on through the heavens. At
+the outset and always is the pervading musical charm. In the beginning
+is the enchantment of mere motion in lightest prancing strings and harp
+with slowly ascending curve. In farther journey comes a spring of the
+higher wood and soon a firm note of horns and a blast of trumpets on a
+chirruping call, till the whole panoply of solar brilliance is
+shimmering. Now with the continuing pulse (of saltant strings) rings a
+buoyant,
+
+[Music: _Allegro animato_
+(Violins)
+_Marcato_ (Trumpets and trombones)]
+
+regnant air in the brass. A (canon) chase of echoing voices merely adds
+an entrancing bewilderment, then yields to other symbols and visions.
+
+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. Almost to Avernus seems the
+gliding fall when the first melody rings anew. But there is now an
+anxious sense that dims the joy of motion and in the
+
+[Music: (With trembling of violins in high B flat)
+(Horns)]
+
+returning first motive jars the buoyant spring. Through the maze of
+fugue with tinge of terror presses the fatuous chase, when--crash comes
+the shock of higher power. There is a pause of motion in the din and a
+downward flight as of lifeless figure.
+
+Now seems the soul of the sweet melody to sing, in purest dirge, without
+the shimmer of attendant motion save a ghostly shadow of the joyous
+symbol.
+
+
+_THE YOUTH OF HERCULES_
+
+The "Legend" is printed in the score as follows:
+
+"Fable tells us that upon entering into life Hercules saw the two paths
+open before him: of pleasure and of virtue.
+
+"Insensible to the seductions of Nymphs and Bacchantes, the hero devotes
+himself to the career of struggle and combat, at the end of which he
+glimpses across the flames of the funeral pyre the reward of
+immortality."
+
+We can let our fancy play about the score and wonderfully hit an
+intention of the poet. Yet that is often rather a self-flattery than a
+real perception. In the small touches we may lose the greater beauty.
+Here, after all, is the justification of the music. If the graphic
+picture is added, a little, only, is gained. The main virtue of it lies
+in our better grasp of the musical design.
+
+In the muted strings, straying dreamily in pairs, is a vague line of the
+motto,--a foreshadowing of the heroic idea, as are the soft calls of the
+wind with wooing harp a first vision of delight.
+
+[Music: _Allegro moderato_
+(Strings)]
+
+Now begins the main song in sturdy course of unmuted strings. The wood
+soon join in the rehearsing. But it is not all easy deciphering. The
+song wanders in gently agitated strings while the horns hold a solemn
+phrase that but faintly resembles the motto.[A] Lesser phrases play
+about the bigger in rising flight of aspiration, crowned at the height
+with a ray of glad light.
+
+[Footnote A: It is well to resist the vain search for a transnotation of
+the story. And here we see a virtue of Saint-Saens himself, a national
+trait of poise that saved him from losing the music in the picture. His
+symphonic poems must be enjoyed in a kind of musical revery upon the
+poetic subject. He disdained the rude graphic stroke, and used dramatic
+means only where a musical charm was commingled.]
+
+As the dream sinks slowly away, the stern motto is buried in quick
+flashes of the tempting call. These are mere visions; now comes the
+scene itself of temptation.
+
+To ripples of harp the reed sings enchantingly in swaying rhythm; other
+groups in new surprise of
+
+[Music: (Flutes, oboe, clarinets and harp)]
+
+scene usurp the melody with the languishing answer, until one Siren
+breaks into an impassioned burst, while her sisters hold the dance.
+
+Straight upon her vanished echoes shrieks the shrill pipe of war, with
+trembling drum. We hear a yearning sigh of the Siren strain before it is
+swept away in the tide and tumult of strife. Beneath the whirl and
+motion, the flash and crash of arms, we have glimpses of the heroic
+figure.
+
+Here is a strange lay in the fierce chorus of battle-cries: the Siren
+song in bright insistence, changed to the rushing pace of war.
+
+The scene ends in a crash. Loud sings a solemn phrase; do we catch an
+edge of wistful regret? Now returns the sturdy course of the main
+heroic melody; only it is slower (_Andante sostenuto_), and the high
+stress of cadence is solemnly impassioned.
+
+As if to atone for the slower pace, the theme strikes into a lively
+fugue, with trembling strings (_Allegro animato_).
+
+There is an air of achievement in the relentless progress and the
+insistent recurrence of the masterful motive. An episode there is of
+mere striving and straining, before the theme resumes its vehement
+attack, followed by lusty echoes all about as of an army of heroes.
+There is the breath of battle in the rumbling basses and the shaking,
+quivering brass.
+
+At last the plain song resounds in simple lines of ringing brass, led by
+the high bugle.[A]
+
+[Footnote A: Saint-Saens employs besides the usual 4 horns, 2 trumpets,
+3 trombones and tuba, a small bugle (in B-flat) and 2 cornets.]
+
+Yet the struggle, the inner combat, is not over. At the very moment of
+triumph sings on high over purling harp the mastering strain of Sirens,
+is buried beneath martial clash and emerges with its enchantment. But
+here the virile mood and motive gains the victory and strides on to
+final scene.
+
+We remember how Hercules built and ascended his own funeral pyre. In
+midst of quivering strings, with dashing harp and shrieking wood, a roll
+of drum and a clang of brass sounds the solemn chant of the trombone,
+descending in relentless steps. As the lowest is reached, there comes a
+spring of freedom in the pulsing figures, like the winging of a spirit,
+and a final acclaim in a brief line of the legend.
+
+
+_OMPHALE'S SPINNING WHEEL_
+
+Between title and score is this _Notice_:
+
+"The subject of this symphonic poem is feminine witchery, the triumphant
+struggle of weakness. The spinning wheel is a mere pretext, chosen from
+the point of view of rhythm and the general atmosphere of the piece.
+
+"Those persons who might be interested in a study of the details of the
+picture, will see ... the hero groaning in the toils which he cannot
+break, and ... Omphale mocking the vain efforts of Hercules."
+
+The versions of the story differ slightly. After the fulfilment of his
+twelve labors Hercules is ordered by the oracle to a period of three
+years' service to expiate the killing of the son of King Eurytus in a
+fit of madness. Hermes placed him in the household of Omphale, queen of
+Lydia, widow of Tmolus. Hercules is degraded to female drudgery, is
+clothed in soft raiment and set to spin wool, while the queen assumes
+the lion skin and club.
+
+In another version he was sold as slave to Omphale, who restored him to
+freedom. Their passion was mutual. The story has a likeness to a similar
+episode of Achilles.
+
+The spinning-wheel begins _Andante_ in muted strings alternating with
+flutes and gradually hurries into a lively motion. Here the horn accents
+the spinning, while another thread (of higher wood) runs through the
+graceful woof. A chain of alluring harmonies preludes the ensnaring
+song, mainly of woodwind above the humming strings, with soft dotting of
+the harmony by the horns. The violins, to be sure, often enforce the
+melody.
+
+[Music: _Andantino_
+(Fl. and muted violins)
+_Grazioso_
+(Strings, muted)]
+
+In the second verse, with fuller chorus, the harp adds its touches to
+the harmony of the horns, with lightest tap of tonal drum. Later a
+single note of the trumpet is answered by a silvery laugh in the wood.
+Between the verses proceeds the luscious chain of harmonies, as with the
+turning of the wheel.
+
+Now with the heavily expressive tones of low, unmuted strings and the
+sonorous basses of reed and brass (together with a low roll of drum and
+soft clash of cymbals) an heroic air sings in low strings and brass, to
+meet at each period a shower of notes from the harp. The song grows
+intense with the
+
+[Music: (Wood and _trem._ violins doubled above)
+(Horns)
+_espress. e pesante_
+(Cellos, basses, bassoons and trombone, doubled below)]
+
+added clang of trumpets and roll of drums,--only to succumb to the more
+eager attack of the siren chorus. At last the full effort of strength
+battling vainly with weakness reaches a single heroic height and sinks
+away with dull throbs.
+
+In soothing answer falls the caressing song of the high reed in the
+phrase of the heroic strain, lightly, quickly and, it seems, mockingly
+aimed. In gently railing triumph returns the pretty song of the wheel,
+with a new buoyant spring. Drums and martial brass yield to the laughing
+flutes, the cooing horns and the soft rippling harp with murmuring
+strings, to return like captives in the train at the height of the
+gaiety.
+
+
+
+
+CHAPTER VII
+
+CESAR FRANCK
+
+
+The new French school of symphony that broke upon the world in the
+latter part of the nineteenth century had its pioneer and true leader in
+Cesar Franck.[A] It was he who gave it a stamp and a tradition.
+
+[Footnote A: If language and association, as against the place of birth,
+may define nationality, we have in Cesar Franck another worthy
+expression of French art in the symphony. He was born at Liege in 1822;
+he died in 1890.]
+
+The novelty of his style, together with the lateness of his acclaim (of
+which it was the probable cause), have marked him as more modern than
+others who were born long after him.
+
+The works of Franck, in other lines of oratorio and chamber music, show
+a clear personality, quite apart from a prevailing modern spirit. A
+certain charm of settled melancholy seems to inhere in his wonted style.
+A mystic is Franck in his dominant moods, with a special sense and power
+for subtle harmonic process, ever groping in a spiritual discontent with
+defined tonality.
+
+A glance at the detail of his art discloses Franck as one of the main
+harmonists of his age, with Wagner and Grieg. Only, his harmonic manner
+was blended if not balanced by a stronger, sounder counterpoint than
+either of the others. But with all the originality of his style we
+cannot escape a sense of the stereotype, that indeed inheres in all
+music that depends mainly on an harmonic process. His harmonic ideas,
+that often seem inconsequential, in the main merely surprise rather than
+move or please. The enharmonic principle is almost too predominant,--an
+element that ought never to be more than occasional. For it is founded
+not upon ideal, natural harmony, but upon a conventional compromise, an
+expedient compelled by the limitation of instruments. This over-stress
+appears far stronger in the music of Franck's followers, above all in
+their frequent use of the whole tone "scale" which can have no other
+_rationale_ than a violent extension of the enharmonic principle.[A]
+With a certain quality of kaleidoscope, there is besides (in the
+harmonic manner of Cesar Franck) an infinitesimal kind of progress in
+smallest steps. It is a dangerous form of ingenuity, to which the
+French are perhaps most prone,--an originality mainly in details.
+
+[Footnote A: Absolute harmony would count many more than the semitones
+of which our music takes cognizance. For purpose of convenience on the
+keyboard the semitonal raising of one note is merged in the lowering of
+the next higher degree in the scale. However charming for occasional
+surprise may be such a substitution, a continuous, pervading use cannot
+but destroy the essential beauty of harmony and the clear sense of
+tonality; moreover it is mechanical in process, devoid of poetic fancy,
+purely chaotic in effect. There is ever a danger of confusing the novel
+in art with new beauty.]
+
+And yet we must praise in the French master a wonderful workmanship and
+a profound sincerity of sentiment. He shows probably the highest point
+to which a style that is mainly harmonic may rise. But when he employs
+his broader mastery of tonal architecture, he attains a rare height of
+lofty feeling, with reaches of true dramatic passion.
+
+The effect, to be sure, of his special manner is somewhat to dilute the
+temper of his art, and to depress the humor. It is thus that the
+pervading melancholy almost compels the absence of a "slow movement" in
+his symphony. And so we feel in all his larger works for instruments a
+suddenness of recoil in the Finale.
+
+One can see in Franck, in analogy with his German contemporaries, an
+etherealized kind of "Tristan and Isolde,"--a "Paolo and Francesca" in a
+world of shades. Compared with his followers the quality of stereotype
+in Franck is merely general; there is no excessive use of one device.
+
+A baffling element in viewing the art of Franck is his remoteness of
+spirit, the strangeness of his temper. He lacked the joyous spring that
+is a dominant note in the classic period. Nor on the other hand did his
+music breathe the pessimism and naturalism that came with the last
+rebound of Romantic reaction. Rather was his vein one of high spiritual
+absorption--not so much in recoil, as merely apart from the world in a
+kind of pious seclusion. Perhaps his main point of view was the
+church-organ. He seems a religious prophet in a non-religious age. With
+his immediate disciples he was a leader in the manner of his art, rather
+than in the temper of his poetry.
+
+
+_SYMPHONY IN D MINOR_
+
+The scoring shows a sign of modern feeling in the prominence of the
+brasses. With all contrast of spirit, the analogy of Franck with the
+Liszt-Wagner school and manner is frequently suggestive.
+
+The main novelty of outer detail is the plan of merely three movements.
+Nor is there a return to the original form, without the Scherzo. To
+judge from the headings, the "slow" movement is absent. In truth, by way
+of cursory preamble, the chronic vein of Cesar Franck is so ingrainedly
+reflective that there never can be with him an absence of the meditative
+phrase. Rather must there be a vehement rousing of his muse from a state
+of mystic adoration to rhythmic energy and cheer.[A]
+
+[Footnote A: The key of the work is given by the composer as D minor.
+The first movement alone is in the nominal key. The second (in B flat)
+is in the submediant, the last in the tonic major. The old manner in
+church music, that Bach often used, of closing a minor tonality with a
+major chord, was probably due to a regard for the mood of the
+congregation. An extension of this tradition is frequent in a long coda
+in the major. But this is quite different in kind from a plan where all
+of the last movement is in insistent major. We know that it is quite
+possible to begin a work at some distance from the main key, leading to
+it by tortuous path of modulation; though there is no reason why we may
+not question the composer's own inscription, the controlling point is
+really the whole tonal scheme. Here the key of the second movement is
+built on a design in minor,--would have less reason in the major. For it
+rests on a degree that does not exist in the tonic major. To be sure,
+Beethoven did invent the change to a lowered submediant in a succeeding
+movement. And, of course, the final turn to the tonic major is virtually
+as great a license.]
+
+_Lento_ in basses of the strings a strain sounds like a basic motive,
+answered with harmonies in the wood. In further strings lies the full
+tenor of quiet reflection, with sombre color of tonal scheme. Motives
+are less controlling probably in Franck than in any other
+symphonist,--less so, at any rate, than his one
+
+[Music: _Lento_]
+
+special mood and manner. Yet nowhere is the strict figural plot more
+faithful in detail than with Cesar Franck.
+
+The theme has an entirely new ring and answer when it enters Allegro
+after the Lento prelude. The further course of the tune here is in
+eccentric, resolute stride in the descending scale. Our new answer is
+much evident in the bass. The Allegro seems a mere irruption; for the
+Lento prelude reappears in full solemnity. Indeed, with all the title
+and pace, this seems very like the virtual "slow" movement. A mood of
+rapt, almost melancholy absorption prevails, with rare flashes of joyous
+utterance, where the Allegro enters as if to break the thrall of
+meditation. A very striking inversion of the theme now appears. The
+gradual growth of phrases in melodious instalments is a trait of Franck
+(as it is of Richard Strauss). The rough motto at each turn has a new
+
+[Music: _Allegro non troppo_
+(Strings)
+(Wind)]
+
+phase and frequently is transfigured to a fresh tune. So out of the
+first chance counter-figures somehow spring beautiful melodies, where we
+feel the fitness and the relevance though we have not heard them before.
+It is a quality that Franck shares with Brahms, so that in a
+mathematical spirit we might care to deduce all the figures from the
+first phrase. This themal manner is quite analogous to the harmonic
+style of Franck,--a kaleidoscope of gradual steps, a slow procession of
+pale hues of tone that with strange aptness reflect the dim religious
+light of mystic musing.
+
+More and more expressive are the stages of the first figures until we
+have a duet _molto cantabile_ in the strings. Much of the charm of the
+movement lies in the balance of the new rhythms, the eccentric and the
+flowing. By some subtle path there grows a song
+
+[Music: _Allegro. Molto cantabile_]
+
+in big tones of unison, wood and strings and trumpets, that is the real
+hymnal refrain of the movement. Between this note almost of exultation
+and all shades of pious dreaming the mood is constantly shifting.
+
+[Music: _Allegro_]
+
+Another phrase rises also to a triumphant height (the clear reverse of
+the former tuneful melody) that comes now like a big _envoi_ of assuring
+message.
+
+Though the whole movement is evenly balanced between Allegro and
+Penseroso (so far as pace is concerned), the mood of reflection really
+finds full vent; it has no reason for a further special expression.
+
+Simple as the Allegretto appears in its suggestion of halting dance, the
+intent in the episodes is of the subtlest. The slow trip of strings and
+harp is soon given a new meaning with the melody of English horn.
+Throughout we are somehow divided between pure dance and a more
+thoughtful muse. In the first departure to an episode in major, seems to
+sing the essence of the former melody in gently murmuring strings, where
+later the whole chorus are drawn in. The song moves on clear thread and
+wing right out of the mood of the dance-tune; but the very charm lies in
+the mere outer change of guise. And so the second episode is still far
+from all likeness with the first dance beyond a least sense of the old
+trip that does appear here and there. It is all clearly a true scheme of
+variations, the main theme disguised beyond outer semblance, yet
+faithfully present throughout in the essential rhythm and harmony.
+
+In the Finale, _Allegro non troppo_, we are really clear, at the outset,
+of the toils of musing melancholy.
+
+[Music: _Allegro non troppo_
+_Dolce cantabile_]
+
+After big bursts of chords, a tune rolls pleasantly along, _dolce
+cantabile_, in basses of wood and strings. Expressive after-phrases
+abound, all in the same jolly mood, until the whole band break
+boisterously on the simple song, with a new sonorous phrase of basses.
+Then, in sudden remove, sounds the purest bit of melody of all the
+symphony, in gentlest tones
+
+[Music: _Dolce cantabile_
+(In the brass)]
+
+of brass (trumpet, trombone and tuba). But, though in complete recoil
+from the rhythmic energy of Allegro theme, it is even farther from the
+reflective mood than the latter. It shows, in this very contrast, the
+absence of the true lyric in the meditative vein, frequent with Cesar
+Franck. The burst of melody blossoms ever fairer. In its later musing
+the tune browses in the bass. A waving phrase grows in the violins,
+which continues with strange evenness through the entrance of new song
+where we are surprised by the strange fitness of the Allegretto melody.
+And the second phase of the latter follows as if it belonged here. So,
+almost listless, without a hair of rhythmic change (_les temps ont
+toujours la meme valeur_), the Finale theme sings again most softly in
+the strings. It has, to be sure, lost all of its color, without the
+original throb of accompanying sounds. The phase of the movement is a
+shadowy procession of former ideas, united in the dreamy haze that
+enshrouds them. The stir that now begins is not of the first pale hue of
+thought, rather the vein of big discussion, brewing a storm that breaks
+finally in full blast on the gentle melody (of the brass) transfigured
+in ringing triumph, in all the course of the song. Nor is the succeeding
+phase the mystic habit of our poet; it is a mere farther digestion of
+the meat of the melody that leads once more to a height of climax whence
+we return to first course of themes, tuneful afterphrase and all, with
+the old happy motion. The counterpoint here is the mere joyous ringing
+of many strains all about.
+
+Against all rules comes a new chorusing paean on the theme of
+Allegretto, led by stentorian basses, together with an enchanting
+after-strain, which we might have remarked before. And still another
+quarter, long hushed, is heard anew, as a voice sounds a faint reminder
+of the hymn of the first Allegro. Indeed, the combining strains before
+the close seem sprung all of one parental idea. The motto of the
+beginning sings in fittest answer to the latest phrases. The very maze
+of the concert forbids our turning to their first origin. The end is in
+joyous chanting of the Finale melody.
+
+
+
+
+CHAPTER VIII
+
+D'INDY AND THE FOLLOWERS OF FRANCK
+
+
+Perhaps the noblest essay in symphonic music of the followers of Franck
+is the second symphony of Vincent D'Indy.[A] His vein is indeed
+throughout nearest akin of all the disciples to the serious muse of the
+master.
+
+[Footnote A: Vincent d'Indy was born in Paris on March 27, 1852.]
+
+Though D'Indy is surpassed in a certain poetic originality by some of
+his compatriot contemporaries, there is in this symphony a breadth of
+design and detail, a clear melodic quality and a sustained lofty feeling
+that seem to mark it the typical French symphony of its time. The
+strength of the work lies in a unity that is not merely of figure and
+outline. If we must measure a symphony mainly by the slow movement, we
+cannot avoid, with all the languorous beauty, a certain conventionality
+of mood, stressed with an exotic use of the appoggiatura, while in the
+Scherzo is a refined savagery of modern cacophony.
+
+The directions are all in French; we are reminded of Schumann's
+departure from the Italian fashion.
+
+Each movement, save the third, has its prelude: a gathering of threads
+before the new story. The first notes of basses, together with the
+answer on high, sound a prophetic legend of the whole.
+
+The harmonic lucubrations are profoundly subtle. Indeed the very nature
+of the first phrase is of dim
+
+[Music: _Extremement Lent._ (Woodwind)
+(Strings and harps)]
+
+groping; it ends in a climax of the answer and merges into the main song
+of the Allegro (_tres vif_) in horns, with rapid trip of strings.
+
+[Music: _Tres vif_ (Horns)
+(Strings)]
+
+Throughout (from a technical view) is a fine mastery of the device of
+ornamental notes, and secondary harmonies; there is also a certain
+modern sense of chords and their relations. Together with an infinite
+brilliance of these resources there is not only no weakness in cogency
+of form, but there is a rare unity of design. The movements are bound
+together, at least in themal relation, as strictly as in any symphony.
+While the first phrase of the Allegro theme may hark back to the answer
+of original motto, the second is the main thread of narrative.
+
+[Music: (Flutes, oboes and clarinets)
+_Sempre staccato_]
+
+Again and again is the climax rung on the first high note of the theme.
+Then, in lieu of cadence, out of a bright dissonance the quick notes
+dance upward in sturdy pace, the answer of the Allegro in sharp
+disguise. And then from the height descends a refreshing spray of
+subtlest discords, ending in another masterful burst of new harmony.
+
+The dainty, dazzling play is stopped by a rough thud of basses and a
+fierce clang of chords. In the sharp blare of brass on the ascending
+phrase is almost lost the original motto in lowest basses. It is now
+heard in gradually quickened speed, while the rising phrase runs more
+timidly. At last the quickened motto sinks gently into lulling motion,
+_un peu plus modere_. Above, in strings and horns, the melody haunts us
+with a dim sense that takes us to the first languishing answer of the
+original legend. And the whole is strong-knit; for the very Allegro
+theme began in resolute mood of a like figure. A counter-strain rises to
+meet the main phrase. The whole episode is an intertwining of song in
+the vein of the first answer of motto.
+
+The quick rising notes suddenly return with snatches of the main motive,
+the chain of echoing phrases runs a gamut of moods, fitful, anxious,
+soothed, until the bright upward trip begins anew, with the enchanting
+burst of chord and descending harmonies. A climactic height is stressed
+by a rough meeting of opposing groups, in hostile tone and movement,
+ending in a trill of flutes and a reentry of the episode.
+
+In the returning Allegro the thread is still the same, though richer in
+color and texture. Again there is the plunge into dark abyss, with
+shriek of harp, and the ominous theme in the depths. The slow ascending
+phrase here has a full song and sway. The end is in spirited duet of two
+quick motives.
+
+The second movement, _moderement lent_, begins in revery on the answer
+of original motive, and the stately pathos of the theme, in horns,
+clarinets and violas, with rhythmic strings, grows naturally out of the
+mood.
+
+_Plus anime_, in subtle change of pace (from 6/4 to 3/2), the episode
+begins with eccentric stride of harps (and added woodwind), that serves
+as a kind of
+
+[Music: _Moderement Lent._
+(Melody in horns, clarinets and violas)
+(Acc'd in strings)]
+
+accompanying figure and foil for the sweeping song of the real second
+melody (in oboe solo, succeeded by the clarinet).
+
+[Music: (Oboe solo)
+_Tres espress._
+(Violins)
+(Acc't in bassoons, horns, harps and basses)]
+
+In the clash of themes and harmonies of the climax, the very limits of
+modern license seem to be invoked. Later the three themes are entwined
+in a passage of masterly counterpoint.
+
+There is a touch of ancient harmony in the delicate tune of third
+movement, which has the virtue of endless weaving. It is sung by solo
+violin, mainly supported by a choir of lower strings.
+
+A final conclusive line is given by the solo flute. Besides the constant
+course of varying tune, there is a power of ever changing harmony that
+seems to lie in some themes.
+
+[Music: _Modere_
+(Viola solo)
+_Tres simplement_]
+
+One can hardly call it all a Scherzo. It is rather an idyll after the
+pathos of the Andante. Or, from another view, reversing the usual order,
+we may find the quality of traditional Trio in the first melody and a
+bacchanale of wild humor in the middle. For, out
+
+[Music: _Tres anime_
+(Woodwind and strings)]
+
+of a chance phrase of horns grows of all the symphony the boldest
+harmonic phrase (repeated through ten bars). Above rings a barbarous
+cry, in defiance of common time and rhythm.
+
+Suddenly we are surprised by the sound of the martial stride of the
+second theme of the Andante which moves on the sea of rough harmony as
+on a native element. One whim follows another. The same motion is all
+there, but as if in shadow, in softest sound, and without the jar of
+discord; then comes the fiercest clash of all, and now a gayest dance of
+the first tune, _assez vif_, in triple rhythm, various figures having
+their _pas seul_. A second episode returns, brilliant in high pace but
+purged of the former war of sounds. At the end is the song of the first
+tune, with new pranks and sallies.
+
+The beginning of the Finale is all in a musing review of past thoughts.
+The shadow of the last tune lingers, in slower pace; the ominous dirge
+of first motto sounds below; the soothing melody of the Andante sings a
+verse. In solemn fugue the original motto is reared from its timid
+phrase to masterful utterance, with splendid stride. Or
+
+[Music: _Modere et solennel_
+(Cellos and basses)]
+
+rather the theme is blended of the first two phrases, merging their
+opposite characters in the new mood of resolution. The strings prepare
+for the sonorous entrance of woodwind and horns. One of the greatest
+fugal episodes of symphonies, it is yet a mere prelude to the real
+movement, where the light theme is drawn from a phrase of latest
+cadence. And the dim hue of minor which began the symphony, and all
+overspread the prelude, at last yields to the clear major. There is
+something of the struggle of shadow and light of the great third
+symphony of Brahms.
+
+The continuous round of the theme, in its unstable pace (of 5/4), has a
+strange power of motion, the feeling
+
+[Music: (Ob.)
+(Strings)]
+
+of old passacaglia. To be sure, it is the mere herald and companion of
+the crowning tune, in solo of the reeds.
+
+From the special view of structure, there is no symphony, modern or
+classic, with such an overpowering combination and resolution of
+integral themes in one movement. So almost constant is the derivation of
+ideas, that one feels they must be all related. Thus, the late rush of
+rhythm, in the Finale, is broken by a quiet verse where with enchanting
+subtlety we are carried back somewhere to the idyll of third movement.
+
+Above, rises another melody, and from its simple outline grows a fervor
+and pathos that, aside from the basic themes of the whole work, strike
+the main feeling of the Finale.
+
+[Music: _Un peu moins vite_]
+
+The martial trip from the Andante joins later in the return of the
+whirling rhythm. At last the motto strikes on high, but the appealing
+counter-melody is not easily hushed.
+
+[Music: (Ob.)
+(Cellos with _tremolo_ violins)]
+
+It breaks out later in a verse of exalted beauty and passion. The
+struggle of the two ideas reminds us of the Fifth Symphony. At last the
+gloom of the fateful motto is relieved by the return of the original
+answer, and we seem to see a new source of latest ideas, so that we
+wonder whether all the melodies are but guises of the motto and answer,
+which now at the close, sing in united tones a hymn of peace and bliss.
+
+
+
+
+CHAPTER IX
+
+DEBUSSY AND THE INNOVATORS
+
+
+At intervals during the course of the art have appeared the innovators
+and pioneers,--rebels against the accepted manner and idiom. The mystery
+is that while they seem necessary to progress they seldom create
+enduring works. The shadowy lines may begin somewhere among the Huebalds
+and other early adventurers. One of the most striking figures is Peri,
+who boldly, almost impiously, abandoned the contrapuntal style, the only
+one sanctioned by tradition, and set the dramatic parts in informal
+musical prose with a mere strumming of instruments.
+
+It is not easy to see the precise need of such reaction. The radical
+cause is probably a kind of inertia in all things human, by which the
+accepted is thought the only way. Rules spring up that are never wholly
+true; at best they are shifts to guide the student, inadequate
+conclusions from past art. The essence of an art can never be put in
+formulas. Else we should be content with the verbal form. The best
+excuse for the rule is that it is meant to guard the element of truth in
+art from meretricious pretence.
+
+And, we must not forget, Art progresses by slow degrees; much that is
+right in one age could not come in an earlier, before the intervening
+step.
+
+The masters, when they had won their spurs, were ever restive under
+rules.[A] Yet they underwent the strictest discipline, gaining early the
+secret of expression; for the best purpose of rules is liberation, not
+restraint. On the other hand they were, in the main, essentially
+conservative. Sebastian Bach clung to the older manner, disdaining the
+secular sonata for which his son was breaking the ground.
+
+[Footnote A: Some of the chance sayings of Mozart (recently edited by
+Kerst-Elberfeld) betray much contempt for academic study: "Learning from
+books is of no account. Here, here, and here (pointing to ear, head, and
+heart) is your school." On the subject of librettists "with their
+professional tricks," he says: "If we composers were equally faithful to
+our own rules (which were good enough when men knew no better), we
+should turn out just as poor a quality in our music as they in their
+librettos." Yet, elsewhere, he admits: "No one has spent so much pains
+on the study of composition as myself. There is hardly a famous master
+in music whom I have not read through diligently and often."]
+
+The master feels the full worth of what has been achieved; else he has
+not mastered. He merely gives a crowning touch of poetic message, while
+the lighter mind is busy with tinkering of newer forms. For the highest
+reaches of an art, the poet must first have grasped all that has gone
+before. He will not rebel before he knows the spirit of the law, nor
+spend himself on novelty for its own sake.
+
+The line between the Master and the Radical may often seem vague. For,
+the former has his Promethean strokes, all unpremeditated, compelled by
+the inner sequence,--as when Beethoven strikes the prophetic drum in the
+grim Scherzo of the Fifth Symphony; or in the Eroica when the horn
+sounds sheer ahead, out of line with the sustaining chorus; or when Bach
+leaps to his harmonic heights in organ fantasy and toccata; or Mozart
+sings his exquisite clashes in the G Minor Symphony.
+
+As the true poet begins by absorption of the art that he finds, his
+early utterance will be imitative. His ultimate goal is not the
+strikingly new but the eternally true. It is a question less of men than
+of a point of view.
+
+It seems sometimes that in art as in politics two parties are needed,
+one balancing the weaknesses of the other. As certain epochs are
+overburdened by the spirit of a past poet, so others are marred by the
+opposite excess, by a kind of neo-mania. The latter comes naturally as
+reaction from the former. Between them the poet holds the balance of
+clear vision.
+
+When Peri overthrew the trammels of counterpoint, in a dream of Hellenic
+revival of drama, he could not hope to write a master-work. Destructive
+rebellion cannot be blended with constructive beauty. An antidote is of
+necessity not nourishment. Others may follow the path-breaker and slowly
+reclaim the best of old tradition from the new soil. The strange part of
+this rebellion is that it is always marked by the quality of stereotype
+which it seeks to avoid. This is an invariable symptom. It cannot be
+otherwise; for the rejection of existing art leaves too few resources.
+Moreover, the pioneer has his eye too exclusively upon the mere manner.
+
+A wholesome reaction there may be against excess. When Gluck dared to
+move the hearts of his hearers instead of tickling their ears, he
+achieved his purpose by positive beauty, without actual loss. In this
+sense every work of art is a work of revolution. So Wagner, especially
+in his earlier dramas,[A] by sheer sincerity and poetic directness,
+corrected a frivolous tradition of opera. But when he grew destructive
+of melody and form, by theory and practice, he sank to the role of
+innovator, with pervading trait of stereotype, in the main merely adding
+to the lesser resources of the art. His later works, though they contain
+episodes of overwhelming beauty, cannot have a place among the permanent
+classics, alone by reason of their excessive reiteration.
+
+[Footnote A: The "Flying Dutchman," "Lohengrin" and "Tannhaeuser" seemed
+destined to survive Wagner's later works.]
+
+One of the most charming instances of this iconoclasm is the music of
+Claude Debussy.[A] In a way we are reminded of the first flash of
+Wagner's later manner: the same vagueness of tonality, though with a
+different complexion and temper. Like the German, Debussy has his own
+novel use of instruments. He is also a rebel against episodic melody.
+Only, with Wagner the stand was more of theory than of practice. His
+lyric inspiration was here too strong; otherwise with Debussy. Each
+article of rebellion is more highly stressed in the French leader, save
+as to organic form, where the latter is far the stronger. And finally
+the element of mannerism cannot be gainsaid in either composer.[B]
+
+[Footnote A: Born in 1862.]
+
+[Footnote B: Some recurring traits Wagner and Debussy have in common,
+such as the climactic chord of the ninth. The melodic appoggiatura is as
+frequent in the earlier German as the augmented chord of the fifth in
+the later Frenchman.]
+
+Among the special traits of Debussy's harmonic manner is a mingling with
+the main chord of the third below. There is a building downward, as it
+were. The harmony, complete as it stands, seeks a lower foundation so
+that the plain tower (as it looked at first) is at the end a lofty
+minaret. It is striking that a classic figure in French music should
+have stood, in the early eighteenth century, a champion of this idea, to
+be sure only in the domain of theory. There is a touch of romance in the
+fate of a pioneer, rejected for his doctrine in one age, taken up in the
+art of two centuries later.[A]
+
+[Footnote A: Rameau, when the cyclopaedic spirit was first stirring and
+musical art was sounding for a scientific basis, insisted on the element
+of the third below, implying a tonic chord of 6, 5, 3. Here he was
+opposed by Fetis, Fux and other theoretic authority; judgment was
+definitively rendered against him by contemporary opinion and prevailing
+tradition. It cannot be said that the modern French practice has
+justified Rameau's theory, since with all the charm of the enriched
+chord, there is ever a begging of the question of the ultimate root.]
+
+A purely scientific basis must be shunned in any direct approach of the
+art whether critical or creative,--alone for the fatal allurement of a
+separate research. The truth is that a spirit of fantastic experiment,
+started by the mystic manner of a Cesar Franck, sought a sanction in the
+phenomena of acoustics. So it is likely that the enharmonic process of
+Franck led to the strained use of the whole-tone scale (of which we have
+spoken above) by a further departure from tonality.[A] And yet, in all
+truth, there can be no doubt of the delight of these flashes of the
+modern French poet,--a delicate charm as beguiling as the bolder, warmer
+harmonies of the earlier German. Instead of the broad exultation of
+Wagner there is in Debussy the subtle, insinuating dissonance. Nor is
+the French composer wanting in audacious strokes. Once for all he stood
+the emancipator of the art from the stern rule of individual vocal
+procedure. He cut the Gordian knot of harmonic pedagogy by the mere
+weapon of poetic elision. He simply omitted the obvious link by a
+license ancient in poetry and even in prose. He devised in his harmonies
+the paradox, that is the essence of art, that the necessary step somehow
+becomes unnecessary. Though Wagner plunges without ceremony into his
+languorous chords, he carefully resolves their further course. Debussy
+has them tumbling in headlong descent like sportive leviathans in his
+sea of sound. Moreover he has broken these fetters of a small punctilio
+without losing the sense of a true harmonic sequence. Nay, by the very
+riotous revel of upper harmonies he has stressed the more clearly the
+path of the fundamental tone. When he enters the higher sanctuary of
+pure concerted voices, he is fully aware of the fine rigor of its rites.
+And finally his mischievous abandon never leads him to do violence to
+the profoundest element of the art, of organic design.[B]
+
+[Footnote A: As the lower overtones, discovered by a later science,
+clearly confirm the tonal system of the major scale, slowly evolved in
+the career of the art,--so the upper overtones are said to justify the
+whole-tone process. At best this is a case of the devil quoting
+scripture. The main recurring overtones, which are lower and audible,
+are all in support of a clear prevailing tonality.]
+
+[Footnote B: In the drama Debussy avoids the question of form by
+treating the music as mere scenic background. Wagner, in his later
+works, attempted the impossible of combining a tonal with the dramatic
+plot. In both composers, to carry on the comparison beyond the technical
+phase, is a certain reaching for the primeval, in feeling as in
+tonality. Here they are part of a larger movement of their age. The
+subjects of their dramas are chosen from the same period of mediaeval
+legend, strongly surcharged in both composers with a spirit of fatalism
+where tragedy and love are indissolubly blended.]
+
+
+_"THE SEA." THREE SYMPHONIC SKETCHES_
+
+_I.--From Dawn to Noon on the Sea._ In awesome quiet of unsoothing
+sounds we feel, over a dual elemental motion, a quick fillip as of
+sudden lapping wave, while a shadowy air rises slowly in hollow
+intervals. Midst trembling whispers descending (like the soughing
+wind), a strange note, as of distant trumpet, strikes in gentle
+insistence--out of the other rhythm--and blows a wailing phrase. The
+trembling whisper has sunk to lowest depths. Still continues the lapping
+of waves--all sounds of unhuman nature.
+
+[Music: (Muted trumpet, with Eng. horns in lower 8ve.)
+_Very slowly_
+_Espressivo_
+(Cellos with basses in lower 8ve.)]
+
+On quicker spur the shadowy motive flits faster here and there in a slow
+swelling din of whispering, to the insistent plash of wave. Suddenly the
+sense of desolation yields to soothing play of waters--a _berceuse_ of
+the sea--and now a song sings softly (in horn), though strangely jarring
+on the murmuring lullaby. The soothing cheer is anon broken by a shift
+of new tone. There is a fluctuation of pleasant and strange sounds; a
+dulcet air on rapturous harmony is hushed by unfriendly plash of chord.
+
+Back again in the quieter play of rhythm the strange, sweet song (of
+horns) returns.
+
+In a ravishing climax of gentle chorus of quick plashing waves and
+swirling breeze the song sings on and the trumpet blows its line of tune
+to a ringing phrase of the clarinet.
+
+[Music: (Strings and horns)
+_ad lib. faster_]
+
+When this has died down, the lapping waves, as in concert, strike in
+full chord that spreads a hue of warmth, as of the first peep of sun. It
+is indeed as though the waves rose towards the sun with a glow of
+welcome.
+
+In the wake of the first stirring shock is a host of soft cheering
+sounds of bustling day, like a choir of birds or bells. The eager
+madrigal leads to a final blast (with acclaiming chorus of big rocking
+waves), echoed in golden notes of the horns. One slight touch has
+heightened the hue to warmest cheer; but once do we feel the full glow
+of risen sun.
+
+The chilling shadows return, as the wistful air of hushed trumpet
+sounds again. We hover between flashes of warming sun, until the waves
+have abated; in soothing stillness the romantic horn[A] sings a lay of
+legend.
+
+[Footnote A: English horn.]
+
+Now to friendly purling of playful wavelets, the sea moves in shifting
+harmonies. In sudden climax the motion of the waves fills all the brass
+in triumphant paean, in the gleam of high noon.
+
+
+_II.--Play of the Waves._ There is a poetic background as for the play
+of legend. We seem to be watching the sea from a window in the castle of
+_Pelleas_. For there is a touch of dim romance in a phrase of the
+clarinet.
+
+The movement of waves is clear, and the unconscious concert of
+sea-sounds, the deeper pulse of ocean (in the horns), the flowing
+ripples, the sharp dash of lighter surf (in the Glockenspiel), all with
+a constant tremor, an instability of element (in trembling strings). We
+cannot help feeling the illusion of scene in the impersonal play of
+natural sounds. Anon will come a shock of exquisite sweetness that must
+have something of human. And then follows a resonant clash with spray of
+colliding seas.
+
+Here the story of the waves begins, and there are clearly two roles.
+
+To light lapping and cradling of waters the wood sings the simple lay,
+while strings discourse in quicker, higher phrase. The parts are
+reversed. A shower of chilling wave (in gliding harps) breaks the
+thread.
+
+[Music: _Con anima_
+(Highest and lowest figure in strings.
+Middle voices in octaves of wood)]
+
+Now golden tones (of horns) sound a mystic tale of one of the former
+figures. The scene shimmers
+
+[Music: (With rhythmic harps and strings)
+(Flutes)
+(Eng. horn) _espressivo_
+(Strings)
+(Horns)]
+
+in sparkling, glinting waters (with harp and trilling wood and strings).
+But against the soothing background the story (of English horn) has a
+chill, ominous strain.
+
+With the returning main song comes the passionate crisis, and we are
+back in the mere plash and play of impersonal waves.
+
+On dancing ripples, a nixie is laughing to echoing horns and lures us
+back to the story.
+
+[Music: (Strings with lower 8ve.)
+(Cl.) _grazioso_ (Horns)]
+
+Later, it seems, two mermaids sing in twining duet. In a warm hue of
+light the horns sound a weird tale. It is taken up by teasing chorus of
+lighter voices. In the growing volume sounds a clear, almost martial
+call of the brass.
+
+In a new shade of scene we recover the lost burden of song; the original
+figures appear (in the slower air of trembling strings and the quicker
+play of reed, harp and bells), and wander through ever new, moving
+phases. A shower of chords (in strings and shaking brass) brings back
+the ominous melody, amidst a chorus of light chatter, but firmly resting
+on a warm background of harmony. And the strain roves on generous path
+and rises out of all its gloom to a burst of profound cheer.
+
+[Music: (1st violins with lower 8ve.)
+(2d violins; percussion with cellos below)
+(Harp with violas)
+(Flutes with higher 8ve.)
+(See page 104, line 11.)]
+
+As in all fairy tales, the scene quickly vanishes. On dancing rays and
+ripples is the laughing nixie; but suddenly breaks the first song of the
+main figures. A climactic phrase of trumpets ends with a burst of all
+the chorus on stirring harmony, where in diminishing strokes of bells
+long rings the melodic note.
+
+The teasing motive of the nixie returns while the trumpet sounds a
+shadowy echo of its phrase, again to dying peal of bells. A chorus of
+eerie voices sing the mocking air, and again sounds the refrain of
+trumpet as in rebuke. On a tumult of teasing cries flashes a delivering
+burst of brilliant light, and we are back in the first scene of the
+story. Only the main figure is absent. And there is in the eager tension
+of pace a quivering between joy and doubt. Then, in answer to the
+lighter phrase of the other, is the returning figure with a new song now
+of blended longing and content that soars into higher flights until a
+mighty chorus repeats the strain that rises to triumphant height of joy
+and transforms the mocking motive to the same mood.
+
+But it is all a play of the waves. And we are left once more to the
+impersonal scene where yet the fragrance of legend hovers over the dying
+harmonies.
+
+
+_III.--Dialogue of the Wind and the Sea._ Tumultuous is the humor of the
+beginning; early sounds the stroke of wave of the first hour of the sea.
+The muted trumpet blows a strain (to trembling strings) that takes us
+back to the first (quoted) tune of the symphony in the wistful mood of
+dawn. For a symphony it proves to be in the unity of themes and thought.
+Now unmuted and unrestrained in conflict of crashing chords, the trumpet
+blows again the motto of the roving sea. In various figures is the
+pelagic motion, in continuous coursing strings, in the sweeping phrase
+of the woodwind, or in the original wave-motion of the horns, now
+unmuted.
+
+The main burden is a plaint
+
+[Music: (Woodwind in lower octaves
+and touches of horns)
+(_Animato_) _poco rit._
+(Strings in higher and lower octaves)]
+
+(in the wood) against the insistent surge (of strings), on a haunting
+motive as of farewell or eventide, with much stress of pathos. It is
+sung in sustained duet against a constant churning figure of the sea,
+and it is varied by a dulcet strain that grows out of the wave-motive.
+
+Indeed, the whole movement is complementary of the first, the obverse as
+it were. The themes are of the same text; the hue and mood have changed
+from the spring of dawn to the sadness of dusk. The symbol of noontide
+peace reappears with minor tinge, at the hush of eve. The climactic
+motive of the sea acclaiming the rising sun is there, but reversed.
+
+The sea too has the same tempestuous motion (indeed, the plaintive song
+is mainly of the wind), unrestrained by the sadder mood. At the
+passionate climax, where the higher figure sinks toward the rising
+lower, it is as if the Wind kissed the Sea.
+
+The concluding scene begins as in the first movement, save with greater
+extension of expressive melody. And the poignant note has a long song
+against a continuous rippling (of harps).
+
+More elemental figures crowd the scene; the first melody (of trumpet)
+has a full verse, and the dulcet phrase (of wave-motive).
+
+Toward the end the plaintive song has an ever-growing chorus of
+acclaiming voices. In the fever of united coursing motion the phrase
+loses the touch of sadness until in eager, spirited pace, as of
+galloping steeds, it ends with a shout of victory.
+
+
+_DUKAS. "THE SORCERER'S APPRENTICE"_
+
+Chief among the companions of Claude Debussy in his adventures is Paul
+Dukas.[A] Though he lags somewhat in bold flights of harmonies, he shows
+a clearer vein of melody and rhythm, and he has an advantage in a
+greater freedom from the rut of repeated device.
+
+[Footnote A: Born in 1865.]
+
+It is somehow in the smaller forms that the French composer finds the
+trenchant utterance of his fancy. A Scherzo, after the ballad of Goethe,
+"The Sorcerer's Apprentice," tells the famous story of the boy who in
+his master's absence compels the spirit in the broom to fetch the
+water; but he cannot say the magic word to stop the flood, although he
+cleaves the demon-broom in two.
+
+After the title-page of the score is printed a prose version (by Henri
+Blaze) of Goethe's ballad, "Der Zauberlehrling."
+
+Of several translations the following, by Bowring, seems the best:
+
+    THE SORCERER'S APPRENTICE
+
+    I am now,--what joy to hear it!--
+      Of the old magician rid;
+    And henceforth shall ev'ry spirit
+      Do whatever by me is bid:
+        I have watch'd with rigor
+          All he used to do,
+        And will now with vigor
+          Work my wonders, too.
+
+            Wander, wander
+            Onward lightly,
+            So that rightly
+            Flow the torrent,
+          And with teeming waters yonder
+          In the bath discharge its current!
+
+    And now come, thou well-worn broom,
+      And thy wretched form bestir;
+    Thou hast ever served as groom,
+      So fulfil my pleasure, sir!
+        On two legs now stand
+          With a head on top;
+        Water pail in hand,
+          Haste and do not stop!
+
+            Wander, wander
+            Onward lightly,
+            So that rightly
+            Flow the torrent,
+          And with teeming waters yonder
+          In the bath discharge its current!
+
+    See! he's running to the shore,
+      And has now attained the pool,
+    And with lightning speed once more
+      Comes here, with his bucket full!
+        Back he then repairs;
+          See how swells the tide!
+        How each pail he bears
+          Straightway is supplied!
+
+            Stop, for lo!
+            All the measure
+            Of thy treasure
+            Now is right!
+          Ah, I see it! woe, oh, woe!
+          I forget the word of might.
+
+    Ah, the word whose sound can straight
+      Make him what he was before!
+    Ah, he runs with nimble gait!
+      Would thou wert a broom once more!
+        Streams renew'd forever
+          Quickly bringeth he;
+        River after river
+          Rusheth on poor me!
+
+            Now no longer
+            Can I bear him,
+            I will snare him,
+            Knavish sprite!
+          Ah, my terror waxes stronger!
+          What a look! what fearful sight!
+
+    Oh, thou villain child of hell!
+      Shall the house through thee be drown'd?
+    Floods I see that widely swell,
+      O'er the threshold gaining ground.
+        Wilt thou not obey,
+          O thou broom accurs'd!
+        Be thou still, I pray,
+          As thou wert at first!
+
+            Will enough
+            Never please thee?
+            I will seize thee,
+            Hold thee fast,
+          And thy nimble wood so tough
+          With my sharp axe split at last.
+
+    See, once more he hastens back!
+      Now, O Cobold, thou shalt catch it!
+    I will rush upon his track;
+      Crashing on him falls my hatchet.
+        Bravely done, indeed!
+          See, he's cleft in twain!
+        Now from care I'm freed,
+          And can breathe again.
+
+            Woe oh, woe!
+            Both the parts,
+            Quick as darts,
+            Stand on end,
+          Servants of my dreaded foe!
+          O ye gods, protection send!
+
+    And they run! and wetter still
+      Grow the steps and grows the hall.
+      Lord and master, hear me call!
+    Ever seems the flood to fill.
+
+        Ah, he's coming! see,
+          Great is my dismay!
+        Spirits raised by me
+          Vainly would I lay!
+
+            "To the side
+            Of the room
+            Hasten, broom,
+            As of old!
+          Spirits I have ne'er untied
+          Save to act as they are told."
+
+In paragraphs are clearly pointed the episodes: the boy's delight at
+finding himself alone to conjure the spirits; the invocation to the
+water, recurring later as refrain (which in the French is not addressed
+to the spirit); then the insistent summons of the spirit in the broom;
+the latter's obedient course to the river and his oft-repeated fetching
+of the water; the boy's call to him to stop,--he has forgotten the
+formula; his terror over the impending flood; he threatens in his
+anguish to destroy the broom; he calls once more to stop; the repeated
+threat; he cleaves the spirit in two and rejoices; he despairs as two
+spirits are now adding to the flood; he invokes the master who returns;
+the master dismisses the broom to the corner.
+
+There is the touch of magic in the first harmonics of strings, and the
+sense of sorcery is always sustained in the strange harmonies.[A]
+
+[Footnote A: The flageolet tones of the strings seem wonderfully
+designed in their ghostly sound for such an aerial touch. Dukas uses
+them later in divided violins, violas and cellos, having thus a triad of
+harmonics doubled in the octave.
+
+The remaining instruments are: Piccolo, 2 flutes, 2 oboes, 2 clarinets,
+bass-clarinet, 3 bassoons, contra-bassoon (or contra-bass sarrusophon);
+4 horns, 2 trumpets (often muted); 2 cornets-a-pistons; 3 trombones; 3
+kettle-drums; harp; glockenspiel; big drum, cymbals and triangle.]
+
+After a mystic descent of eerie chords, a melodious cooing phrase begins
+in higher wood, echoed from one voice to the other, while the
+spirit-notes are still sounding.
+
+Suddenly dashes a stream of descending spray, met by another ascending;
+in the midst the first phrase is rapidly sounded (in muted trumpet). As
+suddenly the first solemn moment has returned, the phrase has grown in
+melody, while uncanny harmonies prevail. Amidst a new feverish rush a
+call rings
+
+[Music: (Wood and _pizz._ strings)
+_Vivace_
+(Horns and trumpets)]
+
+loud and oft (in trumpets and horns) ending in an insistent, furious
+summons. The silence that ensues is as speaking (or in its way as
+deafening) as were the calls.
+
+After what seems like the grating of ancient joints, set in reluctant
+motion, the whole tune of the first wooing phrase moves in steady gait,
+in comic bassoons, to the tripping of strings, further and fuller
+extended as other voices join. The beginning phrase of chords recurs as
+answer. Ever the lumbering trip continues, with strange turn of harmony
+and color, followed ever by the weird answer. A fuller apparition comes
+with the loud, though muffled tones of the trumpets. The original tune
+grows in new turns and folds of melody, daintily tipped with the ring of
+bells over the light tones of the wood. The brilliant
+
+[Music: _Vivace_
+(Melody in 3 bassoons)
+(Acc't in _pizz._ strings)]
+
+harp completes the chorus of hurrying voices. Now with full power and
+swing the main notes ring in sturdy brass, while all around is a rushing
+and swirling (of harps and bells and wood and strings). And still more
+furious grows the flight, led by the unison violins.
+
+A mischievous mood of impish frolic gives a new turn of saucy gait. In
+the jovial answer, chorussed in simple song, seems a revel of all the
+spirits of rivers and streams.
+
+At the top of a big extended period the trumpet sends a shrill defiant
+blast.
+
+But it is not merely in power and speed,--more in an infinite variety of
+color, and whim of tune and rhythmic harmony, that is expressed the
+full gamut of disporting spirits. Later, at fastest speed of tripping
+harp and wood, the brass ring out that first, insistent summons, beneath
+the same eerie harmonies--and the uncanny descending chords answer as
+before. But alas! the summons will not work the other way. Despite the
+forbidding command and all the other exorcising the race goes madly on.
+
+And now, if we are intent on the story, we may see the rising rage of
+the apprentice and at last the fatal stroke that seemingly hems and
+almost quells the flood. But not quite! Slowly (as at first) the hinges
+start in motion. And now, new horror! Where there was one, there are now
+two ghostly figures scurrying to redoubled disaster. Again and again the
+stern call rings out, answered by the wildest tumult of all. The shouts
+for the master's aid seem to turn to shrieks of despair. At last a
+mighty call overmasters and stills the storm. Nothing is heard but the
+first fitful phrases; now they seem mere echoes, instead of
+forewarnings. We cannot fail to see the fine parallel, how the masterful
+command is effective as was the similar call at the beginning.
+
+Significantly brief is the ending, at once of the story and of the
+music. In the brevity lies the point of the plot: in the curt dismissal
+of the humbled spirit, at the height of his revel, to his place as broom
+in the corner. Wistful almost is the slow vanishing until the last
+chords come like the breaking of a fairy trance.
+
+
+
+
+CHAPTER X
+
+TSCHAIKOWSKY
+
+
+The Byron of music is Tschaikowsky for a certain alluring melancholy and
+an almost uncanny flow and sparkle. His own personal vein deepened the
+morbid tinge of his national humor.
+
+We cannot ignore the inheritance from Liszt, both spiritual and musical.
+More and more does the Hungarian loom up as an overmastering influence
+of his own and a succeeding age. It seems as if Liszt, not Wagner, was
+the musical prophet who struck the rock of modern pessimism, from which
+flowed a stream of ravishing art. The national current in Tschaikowsky's
+music was less potent than with his younger compatriots; or at least it
+lay farther beneath the surface.
+
+For nationalism in music has two very different bearings. The concrete
+elements of folk-song, rhythm and scale, as they are more apparent, are
+far less important. The true significance lies in the motive of an
+unexpressed national idea that presses irresistibly towards fulfilment.
+Here is the main secret of the Russian achievement in modern music,--as
+of other nations like the Finnish. It is the cause that counts. Though
+Russian song has less striking traits than Hungarian or Spanish, it has
+blossomed in a far richer harvest of noble works of art.
+
+Facile, fluent, full of color, Tschaikowsky seems equipped less for
+subjective than for lyric and dramatic utterance, as in his "Romeo and
+Juliet" overture. In the "Manfred" Symphony we may see the most fitting
+employment of his talent. Nor is it unlikely that the special
+correspondence of treatment and subject may cause this symphony to
+survive the others, may leave it long a rival of Schumann's "Manfred"
+music.
+
+With Tschaikowsky feeling is always highly stressed, never in a certain
+natural poise. He quite lacks the noble restraint of the masters who, in
+their symphonic lyrics, wonderfully suggest the still waters that run
+deep.
+
+Feeling with Tschaikowsky was frenzy, violent passion, so that with all
+abandon there is a touch of the mechanical in his method. Emotion as the
+content of highest art must be of greater depth and more quiet flow. And
+it is part or a counterpart of an hysterical manner that it reacts to a
+cold and impassive mood,--such as we feel in the Andante of the Fourth
+Symphony.
+
+The final quality for symphonic art is, after all, less the chance flash
+of inspiration than a big view, a broad sympathy, a deep well of feeling
+that comes only with great character.
+
+Nay, there is a kind of peril in the symphony for the poet of uncertain
+balance from the betrayal of his own temper despite his formal plan.
+Through all the triumph of a climax as in the first movement of the
+Fourth Symphony, we may feel a subliminal sadness that proves how subtle
+is the expression in music of the subjective mood. There is revealed not
+the feeling the poet is conscious of, but, below this, his present self,
+and in the whole series of his works, his own personal mettle. What the
+poet tries to say is very different from what he does say. In a
+symphony, as in many a frolic, the tinge of latent melancholy will
+appear.
+
+
+_SYMPHONY NO. 4_
+
+Reverting to a great and fascinating question as to the content of art,
+we may wonder whether this is not the real tragic symphony of
+Tschaikowsky, in the true heroic sense, in a view where the highest
+tragedy is not measured by the wildest lament. There may be a stronger
+sounding of lower depths with a firmer touch (with less of a conscious
+kind of abandon),--whence the recoil to serene cheer will be the
+greater.
+
+There is surely a magnificent aspiration in the first Allegro, a
+profound knell of destiny and a rare ring of triumph. Underlying all is
+the legend of trumpets, _Andante sostenuto_ (3/4), with a dim touch
+
+[Music: _Andante sostenuto_
+(Horns and bassoons doubled in 8va.)]
+
+of tragedy. Opposite in feeling is the descending motive of strings,
+_Moderato con anima_ (9/8). First gently expressive, it soon rises in
+passion (the original
+
+[Music: _Moderato con anima_
+_in movimento di valse_
+(Strings and one horn, the melody doubled below)]
+
+motto always sounding) to a climax whence an ascending motive, in lowest
+basses, entering in manner of fugue, holds a significant balance with
+the former. Each in turn rears a climax for the other's
+
+[Music: (Horns doubled below)
+(Cellos and bassoons)]
+
+entrance; the first, lamenting, leads to the soothing hope of the second
+that, in the very passion of its refrain, loses assurance and ends in a
+tragic burst.
+
+Suddenly a very new kind of solace appears _Dolce grazioso_, in a
+phrase of the clarinet that leads to a duet of wood and _cantabile_
+strings, impersonal almost in the sweetness of its flowing song.
+
+[Music: _Moderato assai_
+(Oboe doubled in flute)
+(Strings)]
+
+In such an episode we have a new Tschaikowsky,--no longer the subjective
+poet, but the painter with a certain Oriental luxuriance and grace. It
+is interesting to study the secret of this effect. The preluding strain
+lowers the tension of the storm of feeling and brings us to the attitude
+of the mere observer. The "movement of waltz" now has a new meaning, as
+of an apparition in gently gliding dance. The step is just sustained in
+leisurely strings. Above is the simple melodic trip of clarinet, where a
+final run is echoed throughout the voices of the wood; a slower moving
+strain in low cellos suggests the real song that presently begins, while
+high in the wood the lighter tune continues. The ripples still keep
+spreading throughout the voices, at the end of a line. The tunes then
+change places, the slower singing above.
+
+With all the beauty, there is the sense of shadowy picture,--a certain
+complete absence of passion. Now the lower phrase appears in two
+companion voices (of strings), a hymnal kind of duet,--_ben sostenuto
+il tempo precedente_. Here, very softly in the same timid pace, enters a
+chorus, on high, of the old sighing motive. Each melody breaks upon the
+other and
+
+[Music: _Bel sostenuto il tempo (moderato)_
+(Strings)
+(Woodwind doubled above)
+(Kettle-drums)]
+
+ceases, with equal abruptness. There is no blending, in the constant
+alternation, until the earlier (lamenting) motive conquers and rises to
+a new height where a culminating chorale sounds a big triumph, while the
+sighing phrase merely spurs a new verse of assurance.
+
+[Music: (Strings and flutes)
+(Doubled above and below)]
+
+A completing touch lies in the answering phrase of the chorale, where
+the answer of original motto is transformed into a masterful ring of
+cheer and confidence.
+
+As is the way with symphonies, it must all be sung and striven over
+again to make doubly sure. Only there is never the same depth of lament
+after the triumph. In a later verse is an augmented song of the answer
+of trumpet legend, in duet of thirds, in slow, serene pace, while the
+old lament sounds below in tranquil echoes and united strains. Before
+the end, _molto piu vivace_, the answer rings in new joyous rhythm.
+
+Somewhat the reverse of the first movement, in the second the emotional
+phase grows slowly from the naive melody of the beginning. Against the
+main melody that begins in oboe solo (with _pizzicato_ strings),
+_semplice ma grazioso_, plays later a rising
+
+[Music: _Andantino in modo di canzone_
+(Clarinet with lower 8ve.)
+(Cello)
+_Grazioso_
+(Bassoons, with _pizz._ basses)]
+
+counter-theme that may recall an older strain. The second melody, in
+Greek mode, still does not depart
+
+[Music: (Strings, wood and horns)]
+
+from the naive mood, or lack of mood. A certain modern trait is in this
+work, when the feeling vents and wastes itself and yields to an
+impassive recoil, more coldly impersonal than the severest classic.
+
+A sigh at the end of the second theme is a first faint reminder of the
+original lament. Of it is fashioned the third theme. A succeeding climax
+strongly
+
+[Music: _Piu mosso_
+(Clarinet doubled below in bassoons)
+(Strings)]
+
+brings back the subjective hue of the earlier symphony. A counter-theme,
+of the text of the second melody of Allegro,--now one above, now the
+other--is a final stroke. Even the shaking of the trumpet figure is
+there at the height, in all the brass. Yet as a whole the first melody
+prevails, with abundant variation of runs in the wood against the song
+of the strings.
+
+The Scherzo seems a masterly bit of humor, impish, if you will, yet on
+the verge always of tenderness. The first part is never-failing in the
+flash and sparkle of its play, all in _pizzicato_ strings, with a
+wonderful daemonic quality of the mere instrumental effect. Somewhat
+suddenly the oboe holds a long note and
+
+[Music: _Pizzicato ostinato_
+_Scherzo Allegro_
+(Strings)
+(_Pizzicato sempre_)]
+
+then, with the bassoons, has a tune that is almost sentimental. But
+presently the clarinets make mocking
+
+[Music: (Oboes and bassoons)]
+
+retorts. Here, in striking scene, all the brass (but the tuba) very
+softly blow the first melody with eccentric halts, in just half the old
+pace except when they take us by surprise. The clarinet breaks in with
+the sentimental tune in faster time while the brass all the while are
+playing as before. There are all kinds of pranks, often at the same
+time. The piccolo, in highest treble, inverts the second melody, in
+impertinent drollery. The brass has still newer surprises. Perhaps the
+best of the fooling is where strings below and woodwind above share the
+melody between them, each taking two notes at a time.
+
+The first of the Finale is pure fanfare, as if to let loose the steeds
+of war; still it recurs as leading idea. There is a kind of sonorous
+terror, increased by the insistent, regular notes of the brass, the
+spirited pace of the motive of strings,--the barbaric ring we often hear
+in Slav music. At the height
+
+[Music: _Allegro con fuoco_
+(Wood doubled above and below)
+(Violins)
+(_Pizz._ strings)]
+
+the savage yields to a more human vein of joyousness, though at the end
+it rushes the more wildly into a
+
+[Music: _Tutti_
+(Doubled above and below)]
+
+series of shrieks of trebles with tramping of basses. The real battle
+begins almost with a lull, the mere sound of the second tune in the
+reeds with light strum of strings and triangle. As the theme is
+redoubled (in thirds of the wood), the sweep of strings of the first
+motive is added, with chords of horns. A rising figure is now opposed to
+the descent of the second melody, with shaking of woodwind that brings
+back the old trumpet legend. Here the storm grows apace, with increasing
+tumult of entering hostile strains, the main song now ringing in low
+brass.
+
+In various versions and changes we seem to see earlier themes briefly
+reappearing. Indeed there is a striking kinship of themes throughout,
+not so much in outline as in the air and mood of the tunes. This seems
+to be proven by actual outer resemblance when the motives are developed.
+Here in a quiet spot--though the battle has clearly not ceased--is the
+answer of old trumpet motto, that pervaded the first Allegro. There is a
+strong feeling of the Scherzo here in the _pizzicato_ answers of
+strings. The second theme of the Andante is recalled, too, in the
+strokes of the second of the Finale. In the thick of the fray is a
+wonderful maze of versions of the theme, diminished and augmented at the
+same time with the original pace. Yet it is all a clear flow of melody
+and rich harmony. The four beats of quarter notes, in the lengthened
+theme, come as high point like the figure of the leader in battle. A
+later play of changes is like the sport of the Scherzo. This insensibly
+leads to the figure of the fanfare, whence the earlier song returns
+with the great joyous march.
+
+The final height of climax is distinguished by a stentorian, fugal blast
+of the theme in the bass, the higher breaking in on the lower, while
+other voices are raging on the quicker phrases. It is brought to a
+dramatic halt by the original prelude of trumpet legend, in all its
+fulness. Though the march-song recurs, the close is in the ruder humor
+of the main themes.
+
+
+_THE "MANFRED" SYMPHONY_
+
+Schumann and Tschaikowsky are the two most eminent composers who gave
+tonal utterance to the sombre romance of Byron's dramatic poem.[A] It is
+interesting to remember that Byron expressly demanded the assistance of
+music for the work. If we wish to catch the exact effect that is sought
+in the original conception, Schumann's setting is the nearest approach.
+It is still debated whether a scenic representation is more impressive,
+or a simple reading, reinforced by the music.
+
+[Footnote A: Prefixed are the familiar lines:
+
+    "There are more things in heaven and earth, Horatio,
+    Than are dreamt of in your philosophy."]
+
+Tschaikowsky's setting is a "symphony in four pictures, or scenes (_en
+quatre tableaux_), after Byron's dramatic poem." In the general design
+and spirit there is much of the feeling of Berlioz's "Fantastic"
+Symphony, though the manner of the music shows no resemblance whatever.
+There is much more likeness to Liszt's "Faust" Symphony, in that the
+pervading recurrence of themes suggests symbolic labels. Moreover, in
+the very character of many of the motives, there is here a striking line
+of descent.
+
+_Lento lugubre_, the first scene or picture, begins with a theme in
+basses of reeds:
+
+[Music: _Lento lugubre_
+(Woodwind)
+(Strings)]
+
+with later _pizzicato_ figure of low strings.
+
+An answering strain is one of the most important of all the melodies:
+
+[Music]
+
+On these, a bold conflict and climax is reared. If we care to indulge in
+the bad habit of calling names, we might see "Proud Ambition" in the
+first motives, intertwined with sounds of sombre discontent. The pace
+grows _animando_,--_piu mosso_; _moderato molto_. Suddenly Andante sings
+a new, expressive song, with a dulcet cheer of its own, rising to
+passionate periods and a final height whence, _Andante con duolo_, a
+loudest chorus of high wood and strings, heralded and accompanied by
+martial tremolo of low wood, horns, basses, and drums, sound the fateful
+chant that concludes the first scene, and, toward the close of the work,
+sums the main idea.
+
+[Music: (Strings and flutes)
+(Basses, wood and horns)
+(Same continuing rhythm)]
+
+The apparition of the Witch of the Alps is pictured in daintiest,
+sparkling play of strings and wood, with constant recurrence of mobile
+figures above and below. It seems as if the image of the fountain is
+fittest and most tempting for mirroring in music. Perhaps the most
+beautiful, the most haunting, of all the "Manfred" music of Schumann is
+this same scene of the Witch of the Alps.
+
+Here, with Tschaikowsky, hardly a single note of brass intrudes on this
+_perpetuum mobile_ of light, plashing spray until, later, strains that
+hark back to the first scene cloud the clear brilliancy of the cascade.
+Now the play of the waters is lost in the new vision, and a limpid song
+glides in the violins, with big rhythmic chords of harps, is taken up in
+clarinets, and carried on by violins in new melodic verse, _con
+tenerezza e molto espressione_. Then the whole chorus sing the tune in
+gentle volume. As it dies away, the music of the falling waters plash as
+before. The returning song has phases of varying sadness and passion. At
+the most vehement height,--and here, if we choose, we may see the stern
+order to retire,--the fatal chant is shrieked by full chorus in almost
+unison fierceness.
+
+Gradually the innocent play of the waters is heard again, though a
+gloomy pall hangs over. The chant sounds once more before the end.
+
+The third, "Pastoral," scene we are most free to enjoy in its pure
+musical beauty, with least need of definite dramatic correspondences. It
+seems at first as if no notes of gloom are allowed to intrude, as if the
+picture of happy simplicity stands as a foil to the tragedy of the
+solitary dreamer; for an early climax gives a mere sense of the awe of
+Alpine nature.
+
+Still, as we look and listen closer, we cannot escape so easily, in
+spite of the descriptive title. Indeed, the whole work seems, in its
+relation to the poem upon which it is based, a very elusive play in a
+double kind of symbolism. At first it is all a clear subjective
+utterance of the hero's woes and hopes and fears, without definite
+touches of external things. Yet, right in the second scene the torrent
+is clear almost to the eye, and the events pass before us with sharp
+distinctness. Tending, then, to look on the third as purest pastoral,
+we are struck in the midst by an ominous strain from one of the earliest
+moments of the work, the answer of the first theme of all. Here notes of
+horns ring a monotone; presently a church-bell adds a higher note. The
+peaceful pastoral airs then return, like the sun after a fleeting storm.
+
+The whole of this third scene of Tschaikowsky's agrees with no special
+one in Byron's poem, unless we go back to the second of the first act,
+where Manfred, in a morning hour, alone upon the cliffs, views the
+mountains of the Jungfrau before he makes a foiled attempt to spring
+into the abyss. By a direction of the poet, in the midst of the
+monologue, "the shepherd's pipe in the distance is heard," and Manfred
+muses on "the natural music of the mountain reed."
+
+The last scene of the music begins with Byron's fourth of Act II and
+passes over all the incidents of the third act that precede the hero's
+death, such as the two interviews with the Abbot and the glorious
+invocation to the sun.
+
+From Tschaikowsky's title, we must look for the awful gloom of the
+cavernous hall of Arimanes, Byron's "Prince of Earth and Air." The gray
+figure from most ancient myth is not less real to us than Mefistofeles
+in "Faust." At least we clearly feel the human daring that feared not to
+pry into forbidden mysteries and refused the solace of unthinking faith.
+And it becomes again a question whether the composer had in mind this
+subjective attitude of the hero or the actual figures and abode of the
+spirits and their king. It is hard to escape the latter view, from the
+general tenor, the clear-cut outline of the tunes, of which the
+principal is like a stern chant:
+
+[Music: (Wood, strings and horns)]
+
+The most important of the later answers lies largely in the basses.
+
+[Music: (Low wood)
+(Rhythmic chords in strings)]
+
+There is, on the whole, rather an effect of gloomy splendor (the
+external view) than of meditation; a sense of visible massing than of
+passionate crisis, though there is not wanting a stirring motion and
+life in the picture. This is to speak of the first part, _Allegro con
+fuoco_.
+
+The gloomy dance dies away. _Lento_ is a soft fugal chant on elemental
+theme; there is all the solemnity of cathedral service; after the
+low-chanted phrase follows a tremendous blare of the brass. The
+repeated chant is followed by one of the earliest, characteristic themes
+of the first scene. And so, if we care to follow the graphic touch, we
+may see here the intrusion of Manfred, at the most solemn moment of the
+fearful revel.
+
+As Manfred, in Byron's poem, enters undaunted, refusing to kneel, the
+first of the earlier phases rings out in fierce _fortissimo_. A further
+conflict appears later, when the opening theme of the work sounds with
+interruptions of the first chant of the spirits.
+
+A dulcet plaint follows, _Adagio_, in muted strings, answered by a note
+of horn and a chord of harp.
+
+[Music: _Adagio_
+(Muted strings answered by horn and harp)]
+
+It all harks back to the gentler strains of the first movement. In the
+ethereal _glissando_ of harps we see the spirit of Astarte rise to give
+the fatal message. The full pathos and passion of the _lento_ episode of
+first scene is heard in brief, vivid touches, and is followed by the
+same ominous blast with ring of horn, as in the first picture.
+
+A note of deliverance shines clear in the final phrase of joined
+orchestra and organ, clearer perhaps than in Manfred's farewell line in
+the play: "Old man! 'tis not so difficult to die." To be sure, Schumann
+spreads the same solace o'er the close of his setting, with the Requiem.
+The sombre splendor of romance is throughout, with just a touch of
+turgid. In the poignant ecstasy of grief we feel vividly the
+foreshadowing example of Liszt, in his "Dante" and "Faust" Symphonies.
+
+
+_FIFTH SYMPHONY (E MINOR)_
+
+With all the unfailing flow of lesser melodies where the charm is often
+greatest of all, and the main themes of each movement with a chain of
+derived phrases, one melody prevails and reappears throughout. The
+fluency is more striking here than elsewhere in Tschaikowsky. All the
+external sources,--all the glory of material art seem at his command. We
+are reminded of a certain great temptation to which all men are subject
+and some fall,--however reluctantly. Throughout there is a vein of
+daemonic. The second (Allegro) melody grows to a high point of
+pathos,--nay, anguish, followed later by buoyant, strepitant, dancing
+delight, with the melting answer, in the latest melody. The daemon is
+half external fate--in the Greek sense, half individual temper. The end
+is almost sullen; but the charm is never failing; at the last is the
+ever springing rhythm.
+
+[Music: _Andante_
+_pesante e tenuto sempre_
+(Clarinet)
+(Low strings)]
+
+The march rhythm of the opening Andante is carried suddenly into a quick
+trip, _Allegro con anima_ (6/8), where the main theme of the first
+movement now begins, freely extended as in a full song of verses. New
+accompanying figures are added, contrasting phrases or counter-melodies,
+to the theme.
+
+[Music: _Allegro con anima_
+Solo clarinet (doubled below with solo bassoon.)
+(Strings)]
+
+One expressive line plays against the wilder rhythm of the theme, with
+as full a song in its own mood as the other. A new rhythmic motive, of
+great charm, _un pocchetino piu animato_, is answered by a bit of the
+theme. Out of it all grows, in a clear
+
+[Music: _Molto espr._
+(Strings)]
+
+welded chain, another episode, where the old rhythm is a mere gentle
+spur to the new plaint,--_molto piu tranquillo, molto cantabile ed
+espressivo_.
+
+[Music: _Molto piu tranquillo_
+_Molto cantabile ed espr._]
+
+To be sure, the climax has all of the old pace and life, and every voice
+of the chorus at the loudest. In the answering and echoing of the
+various phrases, rhythmic and melodic, is the charm of the discussion
+that follows. Later the three melodies come again in the former order,
+and the big climax of the plaintive episode precedes the end, where the
+main theme dies down to a whisper.
+
+
+_Andante cantabile, con alcuna licenza._ After preluding chords in
+lowest strings a solo horn begins a
+
+[Music: _Andante cantabile, con alcuna licenza_
+(Horn)
+_dolce con molto espr._
+(Strings)]
+
+languishing song, _dolce con molto espressione_. It is a wonderful
+elegy, a yearning without hope, a swan-song of desire, sadder almost
+than the frank despair of the Finale of the _Pathetique_
+symphony,--pulsing with passion, gorgeous with a hectic glow of
+expressive beauty, moving too with a noble grace. Though there is a foil
+of lighter humor, this is overwhelmed in the fateful gloom of the
+returning main motto.
+
+The abounding beauty with all its allurement lacks the solace that the
+masters have led us to seek in the heart of a symphony. The clarinet
+presently twines a phrase about the tune until a new answer sounds in
+the oboe, that now sings in answering and chasing duet with the horn.
+The phrase of oboe proves to be the main song, in full extended
+periods, reaching a climax with all the voices.
+
+[Music: _Con moto_
+(Solo oboe)
+_dolce espr._]
+
+Well defined is the middle episode in minor reared on a new theme of the
+clarinet with an almost fugal polyphony that departs from the main lyric
+mood.
+
+[Music: _Moderato con anima_
+(Solo clar.)
+(Strings)]
+
+At the height all the voices fall into a united chorus on the original
+motto of the symphony. The first melodies of the Andante now return with
+big sweep and power, and quicker phrases from the episode. The motto
+reappears in a final climax, in the trombones, before the hushed close.
+
+We must not infer too readily a racial trait from the temper of the
+individual composer. There is here an error that we fall into frequently
+in the music of such men as Grieg and Tschaikowsky. The prevailing mood
+of the Pathetic Symphony is in large measure personal. Some of the more
+recent Russian symphonies are charged with buoyant joyousness. And,
+indeed, the burden of sadness clearly distinguishes the last symphony of
+Tschaikowsky from its two predecessors, the Fourth and the Fifth.
+
+The tune of the _valse_, _Allegro moderato_, is first played by the
+violins, _dolce con grazia_, with accompanying strings, horns and
+bassoon. In the second part, with some loss of the lilt of dance, is a
+subtle design--with a running phrase in _spiccato_ strings against a
+slower upward glide of bassoons. The duet winds on a kind of _crescendo_
+of modulations. Later
+
+[Music: (_Spiccato_)
+(Strings)
+(Horns)
+(Bassoon)]
+
+the themes are inverted, and the second is redoubled in speed. The whole
+merges naturally into the first waltz, with a richer suite of adorning
+figures. The dance does not end without a soft reminder (in low
+woodwind) of the original sombre phrase.
+
+Almost for the first time a waltz has entered the shrine of the
+symphony. And yet perhaps this dance has all the more a place there. It
+came on impulse (the way to visit a sanctuary), not by ancient custom.
+But with all its fine variety, it is a simple waltz with all the
+careless grace,--nothing more, with no hidden or graphic meaning (as in
+Berlioz's Fantastic Symphony).
+
+The middle episode, though it lacks the dancing trip, is in the one
+continuing mood,--like a dream of youthful joys with just a dimming hint
+of grim reality in the returning motto.
+
+In the Finale the main legend of the symphony is transformed and
+transfigured in a new, serener mood, and is brought to a full melodic
+bloom. Indeed, here is the idealization of the original motto. _Andante
+maestoso_ it begins in the tonic major. When the theme ceases, the brass
+blow the rhythm on a monotone, midst an ascending _obligato of strings_.
+
+[Music: (Brass and lower woodwind)
+(See page 139, line 1.)]
+
+In answer comes a new phrase of chorale. Later the chorale is sounded
+by the full band, with intermediate beats of rhythmic march.
+
+Once more there is a well-marked episode, with a full share of melodic
+discussion, of clashing themes, of dramatic struggle. First in the tonic
+minor a theme rises from the last casual cadence in resonant march,
+_Allegro vivace_. Then follows a duet, almost
+
+[Music: _Allegro vivace_
+(Strings and low wood)
+(Trill of kettle drums)]
+
+a harsh grating of an eccentric figure above against
+
+[Music: (Solo oboe)
+(Strings)
+(Low wood)
+(_Pizz._ cellos)]
+
+the smoother course of the latest Allegro motive. The themes are
+inverted. Presently out of the din rises a charming canon on the
+prevailing smoother phrase, that soars to a full sweep of song. A new
+
+[Music: (Violins)
+(Wind)
+(Basses 8va.) (Low strings)]
+
+hymnal melody comes as a final word. Though the main motto returns in
+big chorus, in full extension, in redoubled pace and wild abandon, still
+the latest melody seems to contend for the last say. Or, rather,
+
+[Music: (Woodwind doubled above and below)
+_espr._
+(Strings)
+(See page 141, line 2.)]
+
+it is a foil, in its simple flow, to the revel of the motto, now grown
+into a sonorous, joyous march. And we seem to see how most of the other
+melodies,--the minor episode, the expressive duet--have sprung from bits
+of the main text.
+
+To return for another view,--the Finale begins in a mood that if not
+joyous, is religious. Out of the cadence of the hymn dances the Allegro
+tune almost saucily. Nor has this charming trip the ring of gladness,
+though it grows to great momentum. As a whole there is no doubt of the
+assurance, after the earlier fitful gloom, and with the resignation an
+almost militant spirit of piety.
+
+In the dulcet canon, an exquisite gem, bliss and sadness seem
+intermingled; and then follows the crowning song, broad of pace,
+blending the smaller rhythms in ecstatic surmounting of gloom. In
+further verse it doubles its sweet burden in overlapping voices, while
+far below still moves the rapid trip.
+
+But the motto will return, in major to be sure, and tempered in mercy.
+And the whole hymn dominates, with mere interludes of tripping motion,
+breaking at the height into double pace of concluding strain. Before
+falling back into the thrall of the legend the furious race rushes
+eagerly into the deepest note of bliss, where in sonorous bass rolls the
+broad, tranquil song. And though the revel must languish, yet we attend
+the refrain of all the melodies in crowning rapture. Then at last, in
+stern minor, sounds the motto, still with the continuing motion, in a
+loud and long chant.
+
+In blended conclusion of the contending moods comes a final verse of the
+legend in major, with full accoutrement of sounds and lesser rhythm, in
+majestic pace. And there is a following frolic with a verse of the
+serene song. The end is in the first Allegro theme of the symphony, in
+transfigured major tone.
+
+We must be clear at least of the poet's intent. In the Fifth Symphony
+Tschaikowsky sang a brave song of struggle with Fate.
+
+
+
+
+CHAPTER XI
+
+THE NEO-RUSSIANS
+
+
+For some mystic reason nowhere in modern music is the symphony so
+justified as in Russia. Elsewhere it survives by the vitality of its
+tradition. In France we have seen a series of works distinguished rather
+by consummate refinement than by strength of intrinsic content. In
+Germany since the masterpieces of Brahms we glean little besides the
+learnedly facile scores of a Bruckner, with a maximum of workmanship and
+a minimum of sturdy feeling,--or a group of "heroic" symphonies all cast
+in the same plot of final transfiguration. The one hopeful sign is the
+revival of a true counterpoint in the works of Mahler.
+
+Some national song, like the Bohemian, lends itself awkwardly to the
+larger forms. The native vein is inadequate to the outer mould, that
+shrinks and dwindles into formal utterance. It may be a question of the
+quantity of a racial message and of its intensity after long
+suppression. Here, if we cared to enlarge in a political disquisition,
+we might account for the symphony of Russians and Finns, and of its
+absence in Scandinavia. The material elements, abundant rhythm, rich
+color, individual and varied folk-song, are only the means by which the
+national temper is expressed. Secondly, it must be noted as a kind of
+paradox, the power of the symphony as a national utterance is increased
+by a mastery of the earlier classics. With all that we hear of the
+narrow nationalism of the Neo-Russians, we cannot deny them the breadth
+that comes from a close touch with the masters. Mozart is an element in
+their music almost as strong as their own folk-song. Here, it may be,
+the bigger burden of a greater national message unconsciously seeks the
+larger means of expression. And it becomes clear that the sharper and
+narrower the national school, the less complete is its utterance, the
+more it defeats its ultimate purpose.
+
+The broad equipment of the new Russian group is seen at the outset in
+the works of its founder, Balakirew. And thus the difference between
+them and Tschaikowsky lay mainly in the formulated aim.[A]
+
+[Footnote A: In the choice of subjects there was a like breadth.
+Balakirew was inspired by "King Lear," as was Tschaikowsky. And amid a
+wealth of Slavic legend and of kindred Oriental lore, he would turn to
+the rhythms of distant Spain for a poetic theme.]
+
+The national idea, so eminent in modern music, is not everywhere equally
+justified. And here, as in an object-lesson, we see the true merits of
+the problem. While one nation spontaneously utters its cry, another,
+like a cock on the barnyard, starts a movement in mere idle vanity, in
+sheer self-glorification.
+
+In itself there is nothing divine in a national idea that needs to be
+enshrined in art. Deliberate segregation is equally vain, whether it be
+national or social. A true racial celebration must above all be
+spontaneous. Even then it can have no sanction in art, unless it utter a
+primal motive of resistance to suppression, the elemental pulse of life
+itself. There is somehow a divine dignity about the lowest in human
+rank, whether racial or individual. The oppressed of a nation stands a
+universal type, his wrongs are the wrongs of all, and so his lament has
+a world-wide appeal. And in truth from the lowest class rises ever the
+rich spring of folk-song of which all the art is reared, whence comes
+the paradox that the peasant furnishes the song for the delight of his
+oppressors, while they boast of it as their own. Just in so far as man
+is devoid of human sympathy, is he narrow and barren in his song. Music
+is mere feeling, the fulness of human experience, not in the hedonic
+sense of modern tendencies, but of pure joys and profound sorrows that
+spring from elemental relations, of man to man, of mate to mate.
+
+Here lies the nobility of the common people and of its song; the
+national phase is a mere incident of political conditions. The war of
+races is no alembic for beauty of art. If there were no national lines,
+there would still be folk-song,--merely without sharp distinction. The
+future of music lies less in the differentiation of human song, than in
+its blending.
+
+Thus we may rejoice in the musical utterance of a race like the Russian,
+groaning and struggling through ages against autocracy for the dignity
+of man himself,--and in a less degree for the Bohemian, seeking to hold
+its heritage against enforced submergence. But we cannot take so
+seriously the proud self-isolation of other independent nations.
+
+
+_BALAKIREW.[A] SYMPHONY IN C_
+
+[Footnote A: Mili Alexeivich Balakirew was born at Nizhni-Novgorod in
+1836; he died at St. Petersburg in 1911. He is regarded as the founder
+of the Neo-Russian School.]
+
+The national idea shines throughout, apart from the "Russian Theme" that
+forms the main text of the Finale. One may see the whole symphony
+leading up to the national celebration.
+
+As in the opening phrase (in solemn _Largo_) with
+
+[Music: (Lower reed, with strings in three 8ves.)
+_Largo_]
+
+its answer are proclaimed the subjects that presently
+
+[Music: (Flute and strings)]
+
+appear in rapid pace, so the whole movement must be taken as a big
+prologue, forecasting rather than realizing. There is a dearth of
+melodic stress and balance; so little do the subjects differ that they
+are in essence merely obverse in outline.
+
+Mystic harmonies and mutations of the motto lead to a quicker guise
+(_Allegro vivo_). Independently of themes, the rough edge of tonality
+and the vigorous primitive rhythms are expressive of the Slav feeling.
+Withal there is a subtlety of harmonic manner that could come only
+through the grasp of the classics common to all nations. Augmentation
+and diminution of theme abound, together with the full fugal manner. A
+warm, racial color is felt in the prodigal use of lower reeds.[A]
+
+[Footnote A: Besides the English horn and four bassoons there are four
+clarinets,--double the traditional number.]
+
+In all the variety of quick and slower melodies a single phrase of five
+notes, the opening of the symphony, pervades. In all kinds of humor it
+sings, martial, solemn, soothing, meditative, or sprightly. Poetic in
+high degree is this subtle metamorphosis, so that the symphony in the
+first movement seems to prove the art rather than the national spirit of
+the Neo-Russians.
+
+Of the original answer is wrought all the balance and foil of second
+theme, and like the first it reaches a climactic height. But the first
+is the sovereign figure of the story. It enters into the pattern of
+every new phase, it seems the text of which all the melodies are
+fashioned, or a sacred symbol that must be all-pervading. In a broader
+pace (_Alla breve_) is a mystic discussion of the legend, as of dogma,
+ending in big pontifical blast of the answering theme.
+
+The whole movement is strangely frugal of joyous abandon. Instead of
+rolling, revelling melody there is stern proclamation, as of oracle, in
+the solemn pauses. The rhythm is purposely hemmed and broken. Restraint
+is everywhere. Almost the only continuous thread is of the meditative
+fugue.
+
+A single dulcet lyric verse (of the motto) is soon
+
+[Music: (Cellos with _tremolo_ of lower strings)]
+
+banished by a sudden lively, eccentric phrase that has an air of forced
+gaiety, with interplay of mystic symbols. At last, on a farther height,
+comes the first
+
+[Music]
+
+joyous abandon (in a new mask of the motto), recurring anon as recess
+from sombre brooding.
+
+Here the second subject has a free song,--in gentle chase of pairs of
+voices (of woodwind and muted strings and harp) and grows to alluring
+melody. As
+
+[Music: (Lower reed, with _tremolo_ of lower strings)]
+
+from a dream the eccentric trip awakens us, on ever higher wing. At the
+top in slower swing of chords horn and reeds chant the antiphonal
+legend, and in growing rapture, joined by the strings, rush once more
+into the jubilant revel, the chanting legend still sounding anon in
+sonorous bass.
+
+The climax of feeling is uttered in a fiery burst of all the brass in
+the former dulcet refrain from the motto. In full sweep of gathering
+host it flows in unhindered song. Somehow by a slight turn, the tune is
+transformed into the alluring melody of the second theme. When the
+former returns, we feel that both strains are singing as part of a
+single song and that the two subjects are blended and reconciled in
+rapture of content.
+
+A new mystic play of the quicker motto, answered by the second theme,
+leads to an overpowering blast of the motto in slowest notes of brass
+and reed, ending in a final fanfare.
+
+All lightness is the Scherzo, though we cannot escape a Russian vein of
+minor even in the dance. A rapid melody has a kind of perpetual motion
+in the strings, with mimicking echoes in the wood. But the strange part
+is how the natural accompanying voice below (in the bassoon) makes a
+haunting melody of
+
+[Music: _Vivo_
+(Violins doubled below in violas)
+(Bassoon)
+(_Pizz._ cellos)]
+
+its own,--especially when they fly away to the major. As we suspected,
+the lower proves really the principal song as it winds on in the
+languorous English horn or in the higher reed. Still the returning dance
+has now the whole stage in a long romp with strange peasant thud of the
+brass on the second beat. Then the song rejoins the dance, just as in
+answering glee, later in united chorus.
+
+A quieter song (that might have been called the Trio) has still a
+clinging flavor of the soil,--as of a folk-ballad, that is not lost with
+the later madrigal nor with the tripping figure that runs along.
+
+Strangely, after the full returning dance, an epilogue
+
+[Music: (Trio) _Poco meno mosso_
+(Strings)]
+
+of the ballad appears over a drone, as of bagpipe, through all the
+harmony of the madrigal. Strangest of all is the playful last refrain in
+the high piccolo over the constant soft strumming strings.
+
+The Andante, in pure lyric mood, is heavily charged with a certain
+Oriental languor. The clarinet
+
+[Music: (Clarinet)
+_Andante_
+(Strings with harp)]
+
+leads the song, to rich strum of harp and strings, with its note of
+sensuous melancholy. Other, more external signs there are of Eastern
+melody, as in the graceful curl of quicker notes. Intermediate strains
+between the verses seem gently to rouse the slumbering feeling,--still
+more when they play between the lines of the song. The passion that is
+lulled in the languor of main melody, is somehow uttered in the later
+episode,--still more in the dual song of both
+
+[Music: (Violins doubled below)
+(Horns and bassoons doubled above in wood)
+(Strings and horns)]
+
+melodies,--though it quickly drops before a strange coquetry of other
+strains. Yet the climax of the main song is reached when the lighter
+phrase rings fervently in the high brass. Here the lyric beauty is
+stressed in a richer luxuriance of rhythmic setting. Once more sings the
+passionate tune; then in midst of the last verse of the main song is a
+quick alarm of rushing harp. The languorous dream is broken; there is an
+air of new expectancy. Instead of a close is a mere pause on a passing
+harmony at the portals of the high festival.
+
+With a clear martial stress the "Russian Theme" is sounded (in low
+strings), to the full a national
+
+[Music: _Allegro moderato_
+Finale _Theme Russe_
+(Cellos with basses in lower 8ve.)]
+
+tune of northern race. Enriched with prodigal harmony and play of lesser
+themes it flows merrily on, yet always with a stern pace, breaking out
+at last in a blare of warlike brass.
+
+Nor does the martial spirit droop in the second tune, though the
+melodies are in sheer contrast. In faster rhythm, the second is more
+festal so that the first returning has a tinge almost of terror. An
+
+[Music: (Cl't)
+(Strings)]
+
+after-strain of the second has a slightest descent to reflective
+feeling, from which there is a new rebound
+
+[Music: (Cellos)
+(Strings and harp with sustained chord of horns)]
+
+to the buoyant (festal) melody.
+
+Here in grim refrains, in dim depths of basses (with hollow notes of
+horns) the national tune has a free fantasy until it is joined by the
+second in a loud burst in the minor.
+
+Now the latter sings in constant alternation with the answering strain,
+then descends in turn into the depths of sombre musing. There follows a
+big, resonant dual climax (the main theme in lower brass), with an edge
+of grim defiance. In the lull we seem to catch a brief mystic play of
+the first motto of the symphony (in the horns) before the last joyous
+song of both melodies,--all with a power of intricate design and a
+dazzling brilliancy of harmony, in proud national celebration.
+
+A last romp is in polacca step on the tune of the Russian Theme.
+
+
+_RIMSKY-KORSAKOW.[A] "ANTAR," SYMPHONY_
+
+[Footnote A: Nicholas Rimsky-Korsakow, Russian, 1844-1908.]
+
+The title-page tells us that "the subject is taken from an Arabian tale
+of Sennkowsky." Opposite the beginning of the score is a summary of the
+story, in Russian and in French, as follows:
+
+     I.--Awful is the view of the desert of Sham; mighty in their
+     desolation are the ruins of Palmyra, the city razed by the spirits
+     of darkness. But Antar, the man of the desert, braves them, and
+     dwells serenely in the midst of the scenes of destruction. Antar
+     has forever forsaken the company of mankind. He has sworn eternal
+     hatred on account of the evil they returned him for the good which
+     he intended.
+
+     Suddenly a charming, graceful gazelle appears. Antar starts to
+     pursue it. But a great noise seems pulsing through the heavens, and
+     the light of day is veiled by a dense shadow. It is a giant bird
+     that is giving chase to the gazelle.
+
+     Antar straightway changes his intent, and attacks the monster,
+     which gives a piercing cry and flies away. The gazelle disappears
+     at the same time, and Antar, left alone in the midst of ruins, soon
+     goes to sleep while meditating on the event that has happened.
+
+     He sees himself transported to a splendid palace, where a multitude
+     of slaves hasten to serve him and to charm his ear with their song.
+     It is the abode of the Queen of Palmyra,--the fairy Gul-nazar. The
+     gazelle that he has saved from the talons of the spirit of darkness
+     is none other than the fairy herself. In gratitude Gul-nazar
+     promises Antar the three great joys of life, and, when he assents
+     to the proffered gift, the vision vanishes and he awakes amid the
+     surrounding ruins.
+
+     II.--The first joy granted by the Queen of Palmyra to Antar are the
+     delights of vengeance.
+
+     III.--The second joy--the delights of power.
+
+     IV.--Antar has returned to the fallen remains of Palmyra. The third
+     and last gift granted by the fairy to Antar is the joy of true
+     love. Antar begs the fairy to take away his life as soon as she
+     perceives the least estrangement on his side, and she promises to
+     do his desire.
+
+     After a long time of mutual bliss the fairy perceives, one day,
+     that Antar is absent in spirit and is gazing into the distance.
+     Straightway, divining the reason, she passionately embraces him.
+     The fire of her love enflames Antar, and his heart is consumed
+     away.
+
+     Their lips meet in a last kiss and Antar dies in the arms of the
+     fairy.
+
+The phases of the story are clear in the chain of musical scenes, of the
+movements themselves and within them. In the opening Largo that recurs
+in this movement between the visions and happenings, a melody appears
+(in violas) that moves in all the
+
+[Music: (Violas) _Largo_
+(Woodwind)]
+
+acts of the tragedy. It is clearly the Antar motive,--here amidst ruin
+and desolation.
+
+The fairy theme is also unmistakable, that first plays in the flute,
+against soft horns, _Allegro giocoso_,
+
+[Music: (Flute) _Allegro giocoso_
+(Horns) (Harp)]
+
+and is lost in the onrushing attack, _furioso_, of a strain that begins
+in murmuring of muted strings.
+
+Other phrases are merely graphic or incidental. But the Antar motive is
+throughout the central moving figure.
+
+The scene of the desert returns at the end of the movement.
+
+In the second (_Allegro_, rising to _Molto allegro_, returning
+_allargando_) the Antar motive is seldom absent. The ending is in long
+notes of solo oboe and first violins. There is no trace of the fairy
+queen throughout the movement.
+
+The third movement has phases of mighty action (as in the beginning,
+_Allegro risoluto alla Marcia_), of delicate charm, and even of humor.
+The Antar melody plays in the clangor of big climax in sonorous tones of
+the low brass, against a quick martial phrase of trumpets and horns.
+Again there is in this movement no sign of the fairy queen.
+
+In the fourth movement, after a prelude, _Allegretto vivace_, with light
+trip of high flutes, a melody, of actual Arab origin, sings _Andante
+amoroso_ in the
+
+[Music: (Arabian melody)
+_Andante amoroso_
+(Eng. horn)
+(Bassoon)]
+
+English horn, and continues almost to the end, broken only by the
+dialogue of the lover themes. At the close a last strain of the Antar
+melody is followed by the fairy phrase and soft vanishing chord of harp
+and strings.
+
+
+_"SCHEREZADE," AFTER "A THOUSAND AND ONE NIGHTS." SYMPHONIC SUITE_
+
+Prefixed to the score is a "program," in Russian and French: "The Sultan
+Schahriar, convinced of the infidelity of women, had sworn to put to
+death each of his wives after the first night. But the Sultana
+Scherezade saved her life by entertaining him with the stories which she
+told him during a thousand and one nights. Overcome by curiosity, the
+Sultan put off from day to day the death of his wife, and at last
+entirely renounced his bloody vow.
+
+"Many wonders were told to Schahriar by the Sultana Scherezade. For the
+stories the Sultana borrowed the verses of poets and the words of
+popular romances, and she fitted the tales and adventures one within the
+other.
+
+"I. The Sea and the Vessel of Sindbad.
+
+"II. The Tale of the Prince Kalender.
+
+"III. The Young Prince and the Young Princess.
+
+"IV. Feast at Bagdad. The Sea. The Vessel is Wrecked on a Rock on which
+is Mounted a Warrior of Brass. Conclusion."
+
+With all the special titles the whole cannot be regarded as close
+description. It is in no sense narrative music. The titles are not in
+clear order of events, and, moreover, they are quite vague.
+
+In the first number we have the sea and merely the vessel, not the
+voyages, of Sindbad. Then the story of the Prince Kalender cannot be
+distinguished among the three tales of the royal mendicants. The young
+prince and the young princess,--there are many of them in these Arabian
+fairy tales, though we can guess at the particular one. Finally, in the
+last number, the title mentions an event from the story of the third
+Prince Kalender, where the vessel (not of Sindbad) is wrecked upon a
+rock surmounted by a warrior of brass. The Feast of Bagdad has no
+special place in any one of the stories.
+
+The truth is, it is all a mirroring in tones of the charm and essence of
+these epic gems of the East. It is not like the modern interlinear
+description, although it might be played during a reading on account of
+the general agreement of the color and spirit of the music. But there is
+the sense and feeling of the story, _das Maerchen_, and the romance of
+adventure. The brilliancy of harmony, the eccentricity and gaiety of
+rhythm seem symbolic and, in a subtle way, descriptive. As in the
+subject, the stories themselves, there is a luxuriant imagery, but no
+sign of the element of reflection or even of emotion.
+
+_I._--The opening motive, in big, broad rhythm, is clearly the Sea. Some
+have called it the Sindbad motive. But in essence these are not very
+different. The Sea is here the very feeling and type of adventure,--nay,
+Adventure itself. It is a necessary part of fairy stories. Here it
+begins and ends with its rocking theme, ever moving onward. It comes in
+the story of the Prince Kalender.
+
+The second of the main phrases is evidently the motive of the fairy tale
+itself, the feeling of "once upon a time," the idea of story, that leads
+us to the events themselves. It is a mere strumming of chords of the
+harp, with a vague line, lacking rhythm, as of musical prose. For rhythm
+is the type of event, of happenings, of the adventure itself. So the
+formless phrase is the introduction, the narrator, _Maerchen_ in an
+Oriental dress as Scherezade.
+
+The first number passes for the most part in a rocking of the motive of
+the sea, in various moods and movements: _Largo e maestoso, Allegro non
+troppo,--tranquillo_. At one time even the theme of the story sings to
+the swaying of the sea.[A]
+
+[Footnote A: We remember how Sindbad was tempted after each fortunate
+escape from terrible dangers to embark once more, and how he tells the
+story of the seven voyages on seven successive days, amid luxury and
+feasting.]
+
+_II._--In the tale of the Prince Kalender Scherezade, of course, begins
+the story as usual. But the main thread is in itself another interwoven
+tale,--_Andantino Capriccioso, quasi recitando_, with a solo in the
+bassoon _dolce e espressivo_,--later _poco piu mosso_, in violins.[A]
+There is most of happenings here. A very strident phrase that plays in
+the brass _Allegro molto_, may be some hobgoblin, or rather an evil
+jinn, that holds the princess captive and wrecks the hero's vessel. The
+sea, too, plays a tempestuous part at the same time with the impish
+mischief of the jinn.
+
+[Footnote A: In the old version the word "Calender" is used; in the new
+translation by Lane we read of "The Three Royal Mendicants." In certain
+ancient editions they are called "Karendelees,"--i.e., "miserable
+beggars." Each of the three had lost an eye in the course of his
+misfortunes. The story (of the Third Kalender) begins with the wreck of
+the prince's vessel on the mountain of loadstone and the feat of the
+prince, who shoots the brazen horseman on top of the mountain and so
+breaks the charm. But there is a long chain of wonders and of troubles,
+of evil enchantments and of fateful happenings.]
+
+_III._--The third number is the idyll,--both of the stories and of the
+music. Here we are nearest to a touch of sentiment,--apart from the mere
+drama of haps and mishaps.[A] But there are all kinds of special
+events. There is no prelude of the narrator. The idyll begins
+straightway, _Andantino quasi allegretto_, winds through all kinds of
+scenes and storms, then sings again _dolce e cantabile_. Here, at last,
+the Scherezade phrase is heard on the violin solo, to chords of the
+harp; but presently it is lost in the concluding strains of the love
+story.
+
+[Footnote A: The story, if any particular one is in the mind of the
+composer, is probably that of the Prince Kamar-ez-Zeman and the Princess
+Budoor. In the quality of the romance it approaches the legends of a
+later age of chivalry. In the main it is the long quest and the final
+meeting of a prince and a princess, living in distant kingdoms. Through
+the magic of genii they have seen each other once and have exchanged
+rings. The rest of the story is a long search one for the other. There
+are good and evil spirits, long journeys by land and sea, and great
+perils. It is an Arab story of the proverbial course of true love.]
+
+_IV._--The last number begins with the motive of the sea, like the
+first, but _Allegro molto_, again followed by the phrase of the story
+teller. The sea returns _Allegro molto e frenetico_ in full force, and
+likewise the vague motive of the story in a cadenza of violin solo. Then
+_Vivo_ comes the dance, the pomp and gaiety of the Festival, with
+tripping tambourine and strings and the song first in the flutes.[A]
+Presently a reminder of the sea intrudes,--_con forza_ in lower wood and
+strings. But other familiar figures flit by,--the evil jinn and the
+love-idyll. Indeed the latter has a full verse,--in the midst of the
+carnival.
+
+[Footnote A: We may think of the revels of Sindbad before the returning
+thirst for adventure.]
+
+Right out of the festival, rather in full festal array, we seem to
+plunge into the broad movement of the surging sea, _Allegro non troppo e
+maestoso_, straight on to the fateful event. There are no sighs and
+tears. Placidly the waves play softly about. And _dolce e capriccioso_
+the siren Scherezade once more reappears to conclude the tale.
+
+
+_RACHMANINOW. SYMPHONY IN E MINOR_[A]
+
+[Footnote A: Sergei Rachmaninow, born in 1873.]
+
+_I._--The symphony begins with the sombre temper of modern Russian art;
+at the outset it seems to throb with inmost feeling, uttered in subtlest
+design.
+
+The slow solemn prelude _(Largo)_ opens with the
+
+[Music: _Largo_
+(Strings)]
+
+chief phrase of the work in lowest strings to ominous chords, and treats
+it with passionate stress until the main pace of Allegro.
+
+[Music: _Espr_. (Violins)
+(Wood and horns)]
+
+But the germ of prevailing legend lies deeper. The work is one of the
+few symphonies where the whole is reared on a smallest significant
+phrase. The first strain (of basses) is indeed the essence of the
+following melody and in turn of the main Allegro theme. But, to probe
+still further, we cannot help feeling an ultimate, briefest motive of
+single ascending tone against intrinsic obstacle, wonderfully expressed
+in the harmony, with a mingled sense of resolution and regret. And of
+like moment is the reverse descending tone. Both of these symbols
+reappear throughout the symphony, separate or blended in larger melody,
+as principal or accompanying figures. Aside from this closer view that
+makes clear the tissue of themal discussion, the first phrase is the
+main melodic motto, that is instantly echoed in violins with piquant
+harmony. In the intricate path of deep musing we feel the mantle of a
+Schumann who had himself a kind of heritage from Bach. And thus we come
+to see the national spirit best and most articulate through the medium
+of ancient art.
+
+The main Allegro melody not so much grows out of the Largo prelude, as
+it is of the same fibre and
+
+[Music: _Allegro moderato_
+4 times
+_molto expr._ (Violins)
+(Wood with _tremolo_ strings)
+(Strings with clarinets and bassoons)]
+
+identity. The violins sing here against a stately march of harmonies.
+Such is the fine coherence that the mere heralding rhythm is wrought of
+the first chords of the Largo, with their descending stress. And the
+expressive melody is of the same essence as the original sighing motto,
+save with a shift of accent that gives a new fillip of motion. In this
+movement at least we see the type of real symphony, that throbs and
+sings and holds us in the thrall of its spirit and song.
+
+Moments there are here of light and joy, quickly drooping to the darker
+mood. Following the free flight of main melody is a skein of quicker
+figures, on aspirant pulse, answered by broad, tragic descent in minor
+tones.
+
+Milder, more tranquil sings now the second melody, a striking embodiment
+of the sense of striving ascent. Chanted in higher reeds, it is
+immediately
+
+[Music: (Oboes and clarinets)
+(Violins) (Oboes and clar'ts)
+(Horns) (Bassoons)
+_dolce_
+(_Pizz._ strings)]
+
+followed and accompanied by an expressive answer in the strings. On the
+wing of this song we rise to a height where begins the path of a brief
+nervous motive (of the first notes of the symphony) that with the
+descending tone abounds in various guise. As a bold glance at the sun is
+punished by a sight of solar figures all about, so we feel throughout
+the tonal story the presence of these symbols. An epilogue of wistful
+song leads to the repeated melodies.
+
+The main figure of the plot that follows is the first melody, now in
+slow, graceful notes, now in feverish pace, though the brief (second)
+motive moves constantly here and there. A darkest descent follows into
+an Avernus of deep brooding on the legend, with an ascending path of the
+brief, nervous phrase and a reverse fall, that finally wears out its own
+despair and ends in a sombre verse of the prelude, with new shades of
+melancholy, then plunges into an overwhelming burst on the sighing
+phrase. Thence the path of brooding begins anew; but it is now
+ascendant, on the dual pulse of the poignant motto and the brief,
+nervous motive. The whole current of passion is thus uttered in the
+prelude strain that at the outset was pregnant with feeling. At the
+crisis it is answered or rather interwoven with a guise of the second
+theme, in hurried pace, chanted by stentorian brass and wood in
+hallooing chorus that reaches a high exultation. To be sure the Russian
+at his gladdest seems tinged with sense of fate. So from the single
+burst we droop again. But the gloom is pierced by brilliant
+shafts,--herald calls (of brass and wood) that raise the mood of the
+returning main melody, and in their continuous refrain add a buoyant
+stimulus. And the verse of quicker figures has a new fire and ferment.
+All absent is the former descent of minor tones. Instead, in solemn hush
+of tempest, without the poignant touch, the tranquil second melody
+returns with dulcet answer of strings. A loveliest verse is of this
+further song where, in a dual chase of tune, the melody moves in
+contained rapture. In the cadence is a transfigured phase of the
+ascending tone, mingled with the retiring melody, all woven to a
+soothing cadence.
+
+But the struggle is not over, nor is redemption near. The dulcet phrases
+sink once more to sombre depth where there is a final, slow-gathering
+burst of passion on the motto, with a conclusive ring almost of fierce
+triumph.
+
+_II._--The second movement, _Allegro molto_, is a complete change from
+introspection and passion to an
+
+[Music: _Allegro molto_
+(Insistent strum of strings)
+_Marcato_]
+
+abandon as of primitive dance. Strings stir the feet; the horns blow the
+first motive of the savage tune; the upper wood fall in with a dashing
+jingle,--like a stroke of cymbals across the hostile harmonies.
+
+Whether a recurring idiom is merely personal or belongs to the special
+work is difficult to tell. In reality it matters little. Here the
+strange rising tone is the same as in the former (second) melody. In
+the rude vigor of harmonies the primitive idea is splendidly stressed.
+
+Right in the answer is a guise of short, nervous phrase, that gets a new
+touch of bizarre by a leap of the seventh from below. In this figure
+that moves throughout the symphony we see an outward symbol of an inner
+connection.--Bells soon lend a festive ring to the main tune.
+
+In quieter pace comes a tranquil song of lower voices with a companion
+melody above,--all in serene major. Though it grew naturally out of the
+rude
+
+[Music: _Molto cantabile_]
+
+dance, the tune has a contrasting charm of idyll and, too, harks back to
+the former lyric strains that followed the second melody. When the dance
+returns, there is instead of discussion a mere extension of main motive
+in full chorus.
+
+But here in the midst the balance is more than restored. From the dance
+that ceases abruptly we go straight to school or rather cloister. On our
+recurring nervous phrase a fugue is rung with all pomp and ceremony
+(_meno mosso_); and of the dance there are mere faint echoing memories,
+when the
+
+[Music: _Meno mosso_
+(Oboe) _molto marcato_
+(Violins) staccato]
+
+fugal text seems for a moment to weave itself into the first tune.
+
+Instead, comes into the midst of sermon a hymnal chant, blown gently by
+the brass, while other stray
+
+[Music: _Leggiero_]
+
+voices run lightly on the thread of fugue. There is, indeed, a playful
+suggestion of the dance somehow in the air. A final tempest of the
+fugue[A] brings us back to the full verse of dance and the following
+melodies. But before the end sounds a broad hymnal line in the brass
+with a dim thread of the fugue, and the figures steal away in solemn
+stillness.
+
+[Footnote A: It is of the first two notes of the symphony that the fugal
+theme is made. For though it is longer in the strings, the brief motion
+is ever accented in the wood. Thus relentless is the themal coherence.
+If we care to look closer we see how the (following) chant is a slower
+form of the fugal theme, while the bass is in the line of the
+dance-tune. In the chant in turn we cannot escape a reminder, if not a
+likeness, of the second theme of the first movement.]
+
+_III._--The Adagio has one principal burden, first borne by
+violins,--that rises from the germ of earlier
+
+[Music: _Adagio_
+(Strings with added harmony in bassoons and horns)]
+
+lyric strains. Then the clarinet joins in a quiet madrigal of tender
+phrases. We are tempted to find here an influence from a western
+fashion, a taint of polythemal virtuosity, in this mystic maze of many
+strains harking from all corners of the work, without a gain over an
+earlier Russian simplicity. Even the Slavic symphony seems to have
+fallen into a state of artificial cunning, where all manners of greater
+
+[Music: (Solo clarinet)
+_espress._
+(Divided strings) _dolce_]
+
+or lesser motives are packed close in a tangled mass.
+
+It cannot be said that a true significance is achieved in proportion to
+the number of concerting themes. We might dilate on the sheer inability
+of the hearer to grasp a clear outline in such a multiple plot.
+
+There is somehow a false kind of polyphony, a too great facility of
+spurious counterpoint, that differs subtly though sharply from the true
+art where the number entails no loss of individual quality; where the
+separate melodies move by a divine fitness that measures the perfect
+conception of the multiple idea; where there is no thought of a later
+padding to give a shimmer of profound art. It is here that the symphony
+is in danger from an exotic style that had its origin in German
+music-drama.
+
+From this point the Rachmaninow symphony languishes in the fountain of
+its fresh inspiration, seems consciously constructed with calculating
+care.
+
+There is, after all, no virtue in itself in mere themal
+interrelation,--in particular of lesser phrases. One cogent theme may
+well prevail as text of the whole. As the recurring motives are
+multiplied, they must lose individual moment. The listener's grasp
+becomes more difficult, until there is at best a mystic maze, a sweet
+chaos, without a clear melodic thought. It cannot be maintained that the
+perception of the modern audience has kept pace with the complexity of
+scores. Yet there is no gainsaying an alluring beauty of these waves of
+sound rising to fervent height in the main melody that is expressive of
+a modern wistfulness.
+
+But at the close is a fierce outbreak of the first motto, with a
+defiance of regret, in faster, reckless pace, brief, but suddenly
+recurring. Exquisite is this
+
+[Music: (Ob.) _cantabile_
+(Strings, wood and horns)]
+
+cooing of voices in mournful bits of the motto, with a timid upper
+phrase in the descending tone.
+
+On we go in the piling of Ossa on Pelion, where the motto and even the
+Scherzo dance lend their text. Yet all is fraught with sentient beauty
+as, rising in Titanic climb, it plunges into an overwhelming cry in the
+Adagio melody. Throughout, the ascending and descending tones, close
+interwoven, give a blended hue of arduous striving and regret.
+
+After a pause follow a series of refrains of solo voices in the melody,
+with muted strings, with mingled strains of the motto. In the bass is an
+undulation that recalls the second theme of former movement. And the
+clarinet returns with its mystic madrigal of melody; now the Adagio
+theme enters and gives it point and meaning. In one more burst it sings
+in big and little in the same alluring harmony, whence it dies down to
+soothing close in brilliant gamut as of sinking sun.
+
+_IV.--Allegro vivace._ Throwing aside the clinging
+
+[Music: _Allegro vivace_
+_Molto marcato_
+(Strings, wood and horns with reinforced harmonies)]
+
+fragments of fugue in the prelude we rush into a gaiety long sustained.
+Almost strident is the ruthless merriment; we are inclined to fear that
+the literal coherence of theme is greater than the inner connection of
+mood. At last the romp hushes to a whisper of drum, with strange patter
+of former dance. And following and accompanying it is a new hymnal (or
+is it martial) line, as it were the reverse of the other
+
+[Music: (Reeds and horns)
+(Strings with the quicker dance phrase of 2d movement)]
+
+chant. The gay figures flit timidly back,--a struggle 'twixt pleasure
+and fate,--but soon regain control.
+
+If we cared to interpret, we might find in the Finale a realized
+aspiration. The truth is the humors of the themal phrases, as of the
+movements, jar: they are on varying planes. The coarser vein of the last
+is no solace to the noble grief of the foregoing.
+
+Again the change or series of moods is not clearly defined. They seem a
+parade of visions. The hymn may be viewed as a guise of the former chant
+of the Scherzo, with the dance-trip in lowest bass.
+
+Straight from the rush and romp we plunge anew into a trance of sweet
+memories. The lyric vein here binds together earlier strains, whose
+kinship had not appeared. They seemed less significant, hidden as
+subsidiary ideas. If we care to look back we find a germ of phrase in
+the first Prelude, and then the answer of the second (Allegro) theme of
+first movement. There was, too, the sweep of dual melody following the
+rude dance of Scherzo. Above all is here the essence and spirit of the
+central Adagio melody of the symphony.
+
+The answering strain is of high beauty, with a melting sense of
+farewell. From the sad ecstasy is a
+
+[Music: (Strings with higher and lower 8ve.)
+(Wood and horns in 8ves.)
+(Basses of strings and reeds)]
+
+descent to mystic musing, where abound the symbols of rising and falling
+tones. More and more moving is the climactic melody of regret with a
+blended song in large and little. Most naturally it sinks into a full
+verse of the Adagio tune--whence instantly is aroused a new battle of
+moods.
+
+While the dance capers below, above is the sobbing phrase from the heart
+of the Adagio. The trip falls into the pace of hymnal march. The shadows
+of many figures return. Here is the big descending scale in tragic minor
+from the first movement. Large it looms, in bass and treble. Answering
+it is a figure of sustained thirds that recalls the former second
+(Allegro) melody. And still the trip of dance goes on.
+
+Sharpest and strongest of all these memories is the big sigh of sombre
+harmonies from the first Largo prelude, answered by the original legend.
+And the dance still goes tripping on and the tones rumble in descent.
+
+The dance has vanished; no sound but the drone of dull, falling tones,
+that multiply like the spirits of the sorcerer apprentice, in large form
+and small, with the big rumbling in a quick patter as of scurrying mice.
+
+Suddenly a new spirit enters with gathering volume and warmer harmony.
+As out of a dream we gradually emerge, at the end with a shock of
+welcome to light and day, as we awake to the returning glad dance. And
+here is a new entrancing counter-tune above that crowns the joy.
+
+Once again the skip falls into the ominous descent with the phantom of
+Scherzo dance in basses. Now returns the strange hymnal line of march
+and the other anxious hue.
+
+But quickly they are transformed into the tempest of gaiety in full
+parade. When a new burst is preparing, we see the sighing figure all
+changed to opposite mood. The grim tune of Scherzo dance enters
+mysteriously in big and little and slowly takes on a softened hue,
+losing the savage tinge.
+
+After the returning dance, the farewell melody sings from full throat.
+Before the ending revel we may feel a glorified guise of the sombre
+legend of the symphony.
+
+
+
+
+CHAPTER XII
+
+SIBELIUS. A FINNISH SYMPHONY[A]
+
+[Footnote A: Symphony No. 1, in E minor, by Jan Sibelius, born in 1865.]
+
+
+We must expect that the music of newer nations will be national. It goes
+without saying; for the music comes fresh from the soil; it is not the
+result of long refined culture. There is the strain and burst of a
+burden of racial feeling to utter itself in the most pliant and eloquent
+of all the languages of emotion. It is the first and noblest sentiment
+of every nation conscious of its own worth, and it has its counterpart
+in the individual. Before the utterance has been found by a people,
+before it has felt this sense of its own quality, no other message can
+come. So the most glorious period in the history of every country (even
+in the eyes of other nations) is the struggle for independence, whether
+successful or not.
+
+All on a new plane is this northernmost symphony, with a crooning note
+almost of savage, and sudden, fitful bursts from languorous to fiery
+mood. The harmony, the turn of tune have a national quality, delicious
+and original, though the Oriental tinge appears, as in Slav and Magyar
+music, both in bold and in melancholy humor. Though full of strange and
+warm colors, the harmonic scheme is simple; rather is the work a tissue
+of lyric rhapsody than the close-woven plot of tonal epic. A certain
+trace of revery does find a vent in the traditional art of contrary
+melodies. But a constant singing in pairs is less art than ancient
+folk-manner, like primal music in the love or dance songs of savages.
+
+The symphony begins with a quiet rhapsody of solo clarinet in wistful
+minor, clear without chords, though there is a straying into major.
+There is no accompaniment save a soft roll of drum, and that soon dies
+away.
+
+[Music: _Andante, ma non troppo_
+_espress._
+(Clarinet)]
+
+The rhapsody seems too vague for melody; yet there are motives, one in
+chief, winding to a pause; here is a new appealing phrase; the ending is
+in a
+
+[Music]
+
+return to the first. Over the whole symphony is cast the hue of this
+rhapsody, both in mood and in the literal tone.
+
+All opposite, with sudden spring of buoyant strings, strikes the
+Allegro tune ending in a quick, dancing trip. The first voice is
+immediately pursued by another
+
+[Music: _Allegro energico_
+(2d violins)
+_Piu forte_
+(Violins with higher 8ve.)
+(Cellos with higher 8ve. in violas)]
+
+in similar phase, like a gentler shadow, and soon rises to a passionate
+chord that is the main idiom of the movement.
+
+[Music: (Strings, wood and horns)]
+
+A second theme in clear-marked tones of reed and horns, as of stern
+chant, is taken up in higher wood and grows to graceful melody in
+flowing strings.
+
+[Music: _marcato_]
+
+There is a series of flights to an ever higher perch of harmony until
+the first Allegro motive rings out in fullest chorus, again with the
+companion tune and the cadence of poignant dissonance.
+
+A new episode comes with shimmering of harp and strings, where rare and
+dainty is the sense of primal
+
+[Music: _marcato_
+(Flutes)
+(Strings with chord of harp)]
+
+harmony that lends a pervading charm to the symphony. Here the high
+wood has a song in constant thirds, right from the heart of the
+rhapsody, all bedecked as melody with a new rhythm and answer. Soon this
+simple lay is woven in a skein of pairs of voices, meeting or diverging.
+But quickly we are back in the trance of lyric song, over palpitating
+strings, with the refrain very like the former companion phrase that
+somehow leads or grows to a
+
+[Music: _Tranquillo_
+(Oboe, with other wood)
+(Strings with higher E)]
+
+rhythmic verse of the first strain of the rhapsody. Here begins a long
+mystic phase of straying voices (of the wood) in the crossing figures of
+the song, in continuous fantasy that somehow has merged into the line of
+second Allegro theme, winging towards a brilliant height where the
+strings ring out the strain amid sharp cries of the brass in startling
+hues of harmony and electric calls from the first rhapsody.
+
+From out the maze and turmoil the shadowy melody rises in appealing
+beauty like heavenly vision and lo! is but a guise of the first strain
+of rhapsody. It rises amid flashes of fiery brass in bewildering blare
+of main theme, then sinks again to the depth of brooding, though the
+revery of the appealing phrase has a climactic height of its own, with
+the strange, palpitating harmonies.
+
+In a new meditation on bits of the first Allegro theme sounds suddenly a
+fitful burst of the second, that presently emerges in triumphant,
+sovereign song. Again, on a series of flights the main theme is reached
+and leaps once more to impassioned height.
+
+But this is followed by a still greater climax of moving pathos whence
+we descend once more to lyric meditation (over trembling strings).
+Follows a final tempest and climax of the phrase of second theme.
+
+The movement thus ends, not in joyous exultation, but in a fierce
+triumph of sombre minor.
+
+The Andante is purest folk-melody, and it is strange how we know this,
+though we do not know the special theme. We cannot decry the
+race-element as a rich fount of melody. While older nations strive and
+strain, it pours forth by some mystery in prodigal flow with less
+tutored peoples who are singing their first big song to the world. Only,
+the ultimate goal for each racial inspiration must be a greater
+universal celebration.
+
+The lyric mood is regnant here, in a melody that, springing from distant
+soil, speaks straight to every heart, above all with the concluding
+refrain. It is of the purest vein, of the primal fount, deeper than mere
+racial turn or trait. Moreover, with a whole coronet of gems of modern
+harmony, it has a broad swing and curve that gives the soothing sense of
+fireside;
+
+[Music: _Andante ma non troppo lento_
+(Muted violins)
+(Sustained horns and basses with lower 8ve.; constant stroke of harp)
+(Clarinets)]
+
+it bears a burden of elemental, all-contenting emotion. In the main, the
+whole movement is one lyric flight. But there come the moods of musing
+and rhapsodic rapture. In a brief fugal vein is a mystic harking back to
+the earlier prelude. In these lesser phrases are the foil or
+counter-figures for the bursts of the melody.
+
+It is the first motive of the main tune that is the refrain in ever
+higher and more fervent exclamation, or in close pressing chase of
+voices. Then follows a melting episode,--some golden piece of the melody
+in plaintive cellos, 'neath tremulous wood or delicate choirs of
+strings.
+
+But there is a second tune, hardly less moving, in dulcet group of
+horns amid shimmering strings and harp, with a light bucolic answer in
+playful reed.
+
+[Music: _Molto tranquillo_
+(Violins)
+_dolce_ (Horns)
+(With arpeggic harp)]
+
+And it has a glowing climax, too, with fiery trumpet, and dashing
+strings and clashing wood.
+
+Gorgeous in the warm depth of horns sound now the returning tones of the
+first noble melody, with playful trill of the wood, in antiphonal song
+of trumpets and strings. And there are revels of new turns of the tune
+(where the stirring harmony seems the best of all) that will rise to a
+frenzy of tintinnabulation. A quicker counter-theme lends life and
+motion to all this play and plot.
+
+A big, solemn stride of the middle strain (of main melody) precedes the
+last returning verse, with all the tender pathos of the beginning.
+
+The Scherzo is wild race-feeling let loose--national music that has not
+yet found a melody. Significantly the drums begin the tune, to a dancing
+strain of _pizzicato_ strings. The tune is so elemental that the
+
+[Music: _Allegro_
+(Violins)
+(_Pizz._ cellos double above in violas)]
+
+drums can really play it; the answer is equally rude,--an arpeggic
+motive of strings against quick runs of the higher wood. Out of it grows
+a tinge of tune with a fresh spring of dance,--whence returns the first
+savage motive. This is suddenly changed to the guise of a fugal theme,
+with new close, that starts a maze of disputation.
+
+Right from the full fire of the rough dance, sad-stressed chords plunge
+into a moving plaint with much sweetness of melody and higher
+counter-melody. Then returns again the original wild rhythm.
+
+[Music: _Lento ma non troppo_]
+
+In the last movement the composer confesses the "Fantasy" in the title.
+It begins with a broad sweep of the returning rhapsody, the prologue of
+the symphony, though without the former conclusion. Now it sings in a
+strong unison of the strings _largamente ed appassionato_, and with
+clang of chord in lower brass. The appealing middle phrase is all
+disguised in strum as of dance. The various strains sing freely in
+thirds, with sharp punctuating chords. Throughout is a balance of the
+pungent vigor of harmonies with dulcet melody.
+
+In sudden rapid pace the strumming figure dances in the lower reed, then
+yields to the play (in the strings) of a lively (almost comic) tune of a
+strong national tinge,--a kind that seems native to northern countries
+and is not unlike a strain that crept into
+
+[Music: _Allegro molto_]
+
+American song. A tempest of pranks is suddenly halted before the
+entrance of a broad melody, with underlying harmonies of latent passion.
+The feeling of fantasy is in the further flow, with free singing chords
+of harp. But ever between the lines creeps in the strumming phrase, from
+the first prelude, returned to its earlier mood.
+
+[Music: _Andante assai_
+(Violins) _cantabile ed espressivo_
+(Horns)
+(Clarinets)
+(_Tremolo_ cellos, with lower C in basses)]
+
+With baffling mystery anon come other appealing phrases from the
+beginning, that show the whole to be the woof almost of a single figure,
+or at least to lie within the poetic scope of the prologue. A fugal
+revel of the comic phrase with the quick strum as counter-theme ends in
+a new carnival,--here a dashing march, there a mad chase of strident
+harmonies. Now sings the full romance and passion of the melody through
+the whole gamut from pathos to rapture. It ends with poignant stress of
+the essence of the song, with sheerest grating of straining harmonies.
+In the midst, too, is again the mystic symbol from the heart of the
+prelude. Then with a springing recoil comes a last jubilation, though
+still in the prevailing minor, with a final coursing of the quick theme.
+
+The whole is a broad alternation of moods, of wild abandon and of tender
+feeling,--the natural dual quality of primal music. So, at least in the
+Finale, this is a Finnish fantasy, on the very lines of other national
+rhapsody.
+
+
+
+
+CHAPTER XIII
+
+BOHEMIAN SYMPHONIES
+
+
+In the music of modern Bohemia is one of the most vital utterances of
+the folk-spirit. The critic may not force a correspondence of politics
+and art to support his theory. Yet a cause may here be found as in
+Russia and Finland. (Poland and Hungary had their earlier song). There
+is a sincerity, an unpremeditated quality in Bohemian music that is not
+found among its western neighbors. The spirit is its own best proof,
+without a conscious stress of a national note. Indeed, Bohemian music is
+striking, not at all in a separate tonal character, like Hungarian, but
+rather in a subtle emotional intensity, which again differs from the
+wild abandon of the Magyars. An expression it must be of a national
+feeling that has for ages been struggling against absorption. Since
+ancient times Bohemia has been part of a Teutonic empire. The story of
+its purely native kings is not much more than legendary. Nor has it
+shared the harder fate of other small nations; for the Teuton rule at
+least respected its separate unity.
+
+But the long association with the German people has nearly worn away the
+racial signs and hall-marks of its folk-song. A Bohemian tune thus has a
+taste much like the native German. Yet a quality of its own lies in the
+emotional vitality, shown in a school of national drama and, of late, in
+symphony. It is not necessary to seek in this modern culmination a
+correspondence with an impending danger of political suppression. Art
+does not follow history with so instant a reflection.
+
+The intensity of this national feeling appears when Smetana himself, the
+minstrel of the people, is charged at home with yielding to the foreign
+influence. Here again is the hardship of the true national poet who
+feels that for the best utterance of his message he needs the grounding
+upon a broader art; here is the narrow Chauvinism that has confined the
+music of many lands within the primitive forms.
+
+Two types we have in Bohemian music of later times: one, Smetana, of
+pure national celebration; a second, Dvorak, who with a profound
+absorption of the German masters, never escaped the thrall of the
+folk-element and theme.
+
+
+_SMETANA. SYMPHONIC POEM, "THE MOLDAU RIVER"_[A]
+
+[Footnote A: Friedrich Smetana, 1824-1884, foremost among Bohemian
+dramatic composers, wrote a cycle of symphonic poems under the general
+title "My Country." Of these the present work is the second.]
+
+Simplicity is uppermost in these scores; yet the true essence is almost
+hidden to the mere reader. With all primitive quality they are more
+difficult than many a classic symphony. The latent charm of folk humor
+and sentiment depends more on tradition and sympathy than on notation.
+
+The naively graphic impulse (that we find throughout the choral works of
+Bach) that merely starts a chance themal line, as here of the first
+branch of the Moldau, does not disturb the emotional expression. And
+while the feeling is sustained, the art is there, not to stifle but to
+utter and set free the native spring of song.
+
+It must be yielded that the design is not profound; it smacks of the
+village fair rather than of grand tragedy. Song is ever supreme, and
+with all abundance of contrapuntal art does not become sophisticated.
+The charm is not of complexity, but of a more child-like, sensuous kind.
+
+It must all be approached in a different way from other symphonic music.
+The minstrel is not even the peasant in court costume, as Dvorak once
+was called. He is the peasant in his own village dress, resplendent with
+color and proud of his rank.
+
+We cannot enjoy the music with furrowed brow. It is a case where music
+touches Mother Earth and rejuvenates herself. Like fairy lore and
+proverbs, its virtue lies in some other element than profound design.
+For any form of song or verse that enshrines the spirit of a people and
+is tried in the forge of ages of tradition, lives on more surely than
+the fairest art of individual poet.
+
+The stream is the great figure, rising from small sources in playful
+flutes, with light spray of harp and
+
+[Music: _Allegro commodo non agitato_
+_lusingando_
+(Flute with chord of _pizz._ strings)]
+
+strings. The first brook is joined by another (in clarinets) from a new
+direction. Soon grows the number and the rustle of confluent waters. The
+motion of the strings is wavelike, of a broader flow, though underneath
+we scan the several lesser currents. Above floats now the simple, happy
+song, that expands
+
+[Music: _dolce_
+(Reeds and horns with waving strings and stroke of triangle)]
+
+with the stream and at last reaches a glad, sunny major.
+
+Still to the sound of flowing waters comes the forest hunt, with all the
+sport of trumpets and other brass.
+
+It is descriptive music, tonal painting if you will; but the color is
+local or national. The strokes are not so much of events or scenes as of
+a popular humor and character, which we must feel with small stress of
+each event. The blowing of trumpets, the purling of streams, the swaying
+of trees, in primal figures, all breathe the spirit of Bohemia.
+
+The hunt dies away; emerging from the forest the jolly sounds greet us
+of a peasant wedding. The
+
+[Music: _Tempo moderato_
+(Reeds and strings)]
+
+parade reaches the church in high festivity and slowly vanishes to
+tinkling bells.
+
+Night has fallen; in shifted scene the stream is sparkling in the
+moonlight still to the quiet sweet harmonies. But this is all background
+for a dance of nymphs, while a dulcet, sustained song sounds through the
+night. At last, to the golden horns a faintest harmony is added of
+deeper brass. Still very softly, the brass strike a quicker phrase and
+we seem to hear the hushed chorus of hunt with the call of trumpets, as
+the other brass lead in a new verse that grows lustier with the livelier
+song and dance, till--with a flash we are alone with the running stream
+with which the dance of nymphs has somehow merged.
+
+On it goes, in happy, ever more masterful course, a symbol of the
+nation's career, surging in bright major and for a moment quieting
+before the mighty Rapids of St. Johann. Here the song of the stream is
+nearly lost in the rush of eddies and the strife of big currents, with
+the high leaps of dashing spray,--ever recurring like unceasing battle
+with a towering clash at the height of the tempest. At last all meet in
+overpowering united torrent, suddenly to hush before the stream, at the
+broadest, rushes majestically along in hymnal song of exalted harmonies
+and triumphant melody, with joyous after-strains.
+
+As the pilgrim to his Mecca, so the waters are wafted into the climactic
+motive of the Hradschin, the chant of the holy citadel. The rest is a
+long jubilation
+
+[Music: _Motiv Vyserad_
+(Full orchestra, with rapid figures in the strings)]
+
+on quicker beats of the chant, amid the plash of waters and the shaking
+of martial brass. Strangely, as the other sounds die away, the melody of
+the stream emerges clear and strong, then vanishes in the distance
+before the jubilant Amen.
+
+In the general view we must feel a wonderful contrast here with the
+sophomoric state of the contemporary art in other lands where the
+folk-song has lost its savor,--where the natural soil is exhausted and
+elegant castles are built in the air of empty fantasy, or on the sands
+of a vain national pride.
+
+
+_DVORAK. SYMPHONY, "FROM THE NEW WORLD."_[A]
+
+[Footnote A: Anton Dvorak, 1841-1904.]
+
+It is a much-discussed question how far Dvorak's American symphony is
+based on characteristic folk-song. Here are included other questions: to
+what extent the themes are based on an African type, and whether negro
+music is fairly American folk-song. Many, perhaps most people, will
+answer with a general negative. But it seems to be true that many of us
+do not really know the true negro song,--have quite a wrong idea of it.
+
+To be sure, all argument aside, it is a mistake to think that folk-song
+gets its virtue purely from a distinctive national quality,--because it
+is Hungarian, Scandinavian, or Slavonic. If all the national modes and
+rhythms of the world were merged in one republic, there would still be a
+folk-song of the true type and value. There is a subtle charm and
+strength in the spontaneous simplicity, all aside from racial color. It
+is here that, like Antaeus, the musician touches Mother Earth and renews
+his strength. So, when Dvorak suddenly shifts in the midst of his New
+World fantasy into a touch of Bohemian song, there is no real loss. It
+is all relevant in the broad sense of folk feeling, that does not look
+too closely at geographical bounds. It is here that music, of all arts,
+leads to a true state of equal sympathy, regardless of national
+prejudice. What, therefore, distinguishes Dvorak's symphony may not be
+mere negro melody, or even American song, but a genuine folk-feeling, in
+the widest meaning.
+
+In one way, Dvorak's work reminds us of Mendelssohn's Scotch Symphony:
+both exploit foreign national melody in great poetic forms. One could
+write a Scotch symphony in two ways: one, in Mendelssohn's, the other
+would be to tell of the outer impression in the terms of your own
+folk-song. That is clearly the way Mendelssohn wrote most of the Italian
+Symphony,--which stands on a higher plane than the Scotch. For folk-song
+is the natural language of its own people. It is interesting to see the
+exact type that each theme represents; but it is not so important as to
+catch the distinction, the virtue of folk-song _per se_ and the purely
+natural utterance of one's own. Of course, every one writes always in
+his folk-tones. On the other hand, one may explore one's own special
+treasures of native themes, as Dvorak himself did so splendidly in his
+Slavic Dances and in his Legends. So one must, after all, take this
+grateful, fragrant work as an idea of what American composers might do
+in full earnest. Dvorak is of all later masters the most eminent
+folk-musician. He shows greatest sympathy, freedom and delight in
+revelling among the simple tones and rhythms of popular utterance,
+rearing on them, all in poetic spontaneity, a structure of high art.
+Without strain or show, Dvorak stood perhaps the most genuine of late
+composers, with a firm foot on the soil of native melody, yet with the
+balance and restraint and the clear vision of the trained master.[A]
+
+[Footnote A: The whole subject of American and negro folk-song is new
+and unexplored. There are races of the blacks living on the outer reefs
+and islands of the Carolinas, with not more than thirty whites in a
+population of six thousand, where "spirituals" and other musical rites
+are held which none but negroes may attend. The truest African mode and
+rhythm would seem to be preserved here; to tell the truth, there is
+great danger of their loss unless they are soon recorded.]
+
+In a certain view, it would seem that by the fate of servitude the
+American negro has become the element in our own national life that
+alone produces true folk-song,--that corresponds to the peasant and serf
+of Europe, the class that must find in song the refuge and solace for
+its loss of material joys. So Dvorak perhaps is right, with a far seeing
+eye, when he singles the song of the despised race as the national type.
+
+Another consideration fits here. It has been suggested that the
+imitative sense of the negro has led him to absorb elements of other
+song. It is very difficult to separate original African elements of song
+from those that may thus have been borrowed. At any rate, there is no
+disparagement of the negro's musical genius in this theory. On the
+contrary, it would be almost impossible to imagine a musical people that
+would resist the softer tones of surrounding and intermingling races.
+We know, to be sure, that Stephen Foster, the author of "The Old Folks
+at Home," "Massa's in the Cold, Cold Ground," and other famous ballads,
+was a Northerner, though his mother came from the South. We hear, too,
+that he studied negro music eagerly. It is not at all inconceivable,
+however, Foster's song may have been devoid of negro elements, that the
+colored race absorbed, wittingly or unwittingly, something of the vein
+into their plaints or lullabies,--that, indeed, Foster's songs may have
+been a true type that stirred their own imitation. From all points of
+view,--the condition of slavery, the trait of assimilation and the
+strong gift of musical expression may have conspired to give the negro a
+position and equipment which would entitle his tunes to stand as the
+real folk-song of America.
+
+The eccentric accent seems to have struck the composer strongly. And
+here is a strange similarity with Hungarian song,--though there is, of
+course, no kinship of race whatever between Bohemians and Magyars. One
+might be persuaded to find here simply an ebullition of rhythmic
+impulse,--the desire for a special fillip that starts and suggests a
+stronger energy of motion than the usual conventional pace. At any rate,
+the symphony begins with just such strong, nervous phrases that soon
+gather big force. Hidden is the germ of the first, undoubtedly the chief
+theme of the whole work.
+
+It is more and more remarkable how a search will show the true
+foundation of almost all of Dvorak's themes. Not that one of them is
+actually borrowed, or lacks an original, independent reason for being.
+
+Whether by imitation or not, the pentatonic scale of the Scotch is an
+intimate part of negro song. This avoidance of the seventh or leading
+tone is seen throughout the symphony as well as in the traditional
+jubilee tunes. It may be that this trait was merely confirmed in the
+African by foreign musical influence. For it seems that the
+leading-note, the urgent need for the ascending half-tone in closing,
+belongs originally to the minstrelsy of the Teuton and of central
+Europe, that resisted and conquered the sterner modes of the early
+Church. Ruder nations here agreed with Catholic ritual in preferring the
+larger interval of the whole tone. But in the quaint jump of the third
+the Church had no part, clinging closely to a diatonic process.
+
+The five-toned scale is indeed so widespread that it cannot be fastened
+on any one race or even family of nations. The Scotch have it; it is
+characteristic of the Chinese and of the American Indian. But,
+independently of the basic mode or scale, negro songs show here and
+there a strange feeling for a savage kind of lowering of this last note.
+The pentatonic scale simply omits it, as well as the fourth step. But
+the African will now and then rudely and forcibly lower it by a
+half-tone. In the minor it is more natural; for it can then be thought
+of as the fifth of the relative major. Moreover, it is familiar to us in
+the Church chant. This effect we have in the beginning of the Scherzo.
+Many of us do not know the true African manner, here. But in the major
+it is much more barbarous. And it is almost a pity that Dvorak did not
+strike it beyond an occasional touch (as in the second quoted melody). A
+fine example is "Roll, Jordan Roll," in E flat (that opens, by the way,
+much like Dvorak's first theme), where the beginning of the second line
+rings out on a savage D flat, out of all key to Caucasian ears.
+
+We soon see stealing out of the beginning _Adagio_ an eccentric pace in
+motion of the bass, that leads to the burst of main subject, _Allegro
+molto_, with a certain
+
+[Music: _Allegro molto_
+(Strings)
+(Horns)
+_Pizz._ (Strings)
+(Clarinets doubled below in bassoons)
+(Strings)]
+
+ragged rhythm that we Americans cannot disclaim as a nation. The working
+up is spirited, and presently out of the answer grows a charming jingle
+that somehow strikes home.
+
+[Music: (Violins, with harmony in lower strings)]
+
+It begins in the minor and has a strange, barbaric touch of cadence.
+Many would acknowledge it at most as a touch of Indian mode. Yet it is
+another phase of the lowered seventh. And if we care to search, we find
+quite a prototype in a song like "Didn't My Lord Deliver Daniel." Soon
+the phrase has a more familiar ring as it turns into a friendly major.
+But the real second theme comes in a solo tune on the flute, in the
+major,
+
+[Music: (Solo flute)
+(Strings)]
+
+with a gait something like the first.[A] Less and less we can resist the
+genuine negro quality of these melodies, and, at the same time, their
+beauty and the value of the tonal treasure-house in our midst.
+
+[Footnote A: Again it is interesting to compare here the jubilee song,
+"Oh! Redeemed," in the collection of "Jubilee and Plantation Songs," of
+the Oliver Ditson Company.]
+
+The whole of the first Allegro is thus woven of three melodious and
+characteristic themes in very clear sonata-form. The second, Largo,
+movement is a lyric of moving pathos, with a central melody that may not
+have striking traits of strict African song, and yet belongs to the type
+closely associated with the negro vein of plaint or love-song. The
+rhythmic
+
+[Music: _Largo_
+(English horn solo)]
+
+turns that lead to periods of excitement and climaxes of rapid motion,
+are absent in the main melody. But
+
+[Music: (Oboe and clarinets)
+(Basses _pizz._ with _tremolo_ figures in violins)]
+
+they appear in the episode that intervenes. Even here, in the midst, is
+a new contrast of a minor lament that has a strong racial trait in the
+sudden swing to major and, as quickly, back to the drearier mode. This
+is followed by a rhapsody or succession of rapid, primitive phrases,
+that leads to a crisis where, of a sudden, three themes sing at once,
+the two of the previous Allegro and the main melody of the Largo, in
+distorted pace with full chorus. This excitement is as suddenly lulled
+and soothed by the return of the original moving song.
+
+The Scherzo starts in a quick three-beat strum on the chord we have
+pointed to as a true model trait of negro music, with the lowered
+leading-note. The
+
+[Music: _molto vivace_ (Fl. and oboes)
+(Strings) (Cl't.)]
+
+theme, discussed in close stress of imitation, seems merely to mark the
+rapid swing in the drone of strange harmony. But what is really a sort
+of Trio (_poco sostenuto_) is another sudden, grateful change to major,
+perfectly true to life, so to speak, in this turn of mode and in the
+simple lines of the tune. The lyric mood all but suppresses the dance,
+the melody sounding like a new verse of the Largo. The trip has always
+lingered, but not too much for the delicious change when it returns to
+carry us off our feet.
+
+The Scherzo now steals in again, quite a piece, it seems, with the Trio.
+As the rising volume nears a crisis, the earliest theme (from the first
+Allegro) is heard in the basses. In the hushed discourse of Scherzo
+theme that follows, the old melody still intrudes. In mockery of one of
+its turns comes an enchanting bit of tune, as naive an utterance as any,
+much like a children's dancing song. And it returns later with still new
+enchantment of rhythm. But the whole is too full of folk-melody to trace
+out, yet is, in its very fibre, true to the idea of an epic of the
+people.
+
+Presently the whole Scherzo and Trio are rehearsed; but now instead of
+the phase of latest melodies is a close where the oldest theme (of
+Allegro) is sung in lusty blasts of the horns and wood, with answers of
+the Scherzo motive.
+
+In the last movement, _Allegro con fuoco_, appears early a new kind of
+march tune that, without special
+
+[Music: _Allegro con fuoco_
+(Horns and trumpets with full orchestra)]
+
+trick of rhythm, has the harsh note of lowered leading-note (in the
+minor, to be sure) in very true keeping with negro song. The march is
+carried on, with flowing answer, to a high pitch of varied splendor and
+tonal power. The second theme is utterly opposed in a certain pathetic
+rhapsody. Yet it rises, at the close, to a fervent burst in rapid
+motion. We
+
+[Music: (Solo clarinets)
+(_tremolo_ strings)]
+
+may expect in the Finale an orgy of folk-tune and dance, and we are not
+disappointed. There is, too, a quick rise and fall of mood, that is a
+mark of the negro as well as of the Hungarian. By a sudden doubling, we
+are in the midst of a true "hoe-down," in jolliest jingle, with that
+naive iteration, true to life; it comes out clearest when the tune of
+the bass (that sounds like a rapid "Three Blind Mice") is
+
+[Music: (Strings, wood and brass)
+(See page 205, line 9.)]
+
+put in the treble. A pure idealized negro dance-frolic is here. It is
+hard to follow all the pranks; lightly as the latest phrase descends in
+extending melody, a rude blast of the march intrudes in discordant
+humor. A new jingle of dance comes with a redoubled pace of bits of the
+march. As this dies down to dimmest bass, the old song from the Largo
+rings high in the wood. Strangest of all, in a fierce shout of the whole
+chorus sounds twice this same pathetic strain. Later comes a redoubled
+speed of the march in the woodwind, above a slower in low strings. Now
+the original theme of all has a noisy say. Presently the sad second
+melody has a full verse. Once more the Largo lullaby sings its strain
+in the minor. In the close the original Allegro theme has a literal,
+vigorous dispute with the march-phrase for the last word of all.
+
+The work does less to exploit American music than to show a certain
+community in all true folk-song. Nor is this to deny a strain peculiar
+to the new world. It seems a poet of distant land at the same time and
+in the same tones uttered his longing for his own country and expressed
+the pathos and the romance of the new. Dvorak, like all true workers,
+did more than he thought: he taught Americans not so much the power of a
+song of their own, as their right of heritage in all folk-music. And
+this is based not merely on an actual physical inheritance from the
+various older races.
+
+If the matter, in Dvorak's symphony, is of American negro-song, the
+manner is Bohemian. A stranger-poet may light more clearly upon the
+traits of a foreign lore. But his celebration will be more conscious if
+he endeavor to cling throughout to the special dialect. A true national
+expression will come from the particular soil and will be unconscious of
+its own idiom.
+
+The permanent hold that Dvorak's symphony has gained is due to an
+intrinsic merit of art and sincere sentiment; it has little to do with
+the nominal title or purpose.
+
+
+
+
+CHAPTER XIV
+
+THE EARLIER BRUCKNER[A]
+
+[Footnote A: Anton Bruckner, born at Annsfelden, Austria, 1828; died in
+Vienna in 1896.]
+
+
+Whatever be the final answer of the mooted question of the greatness of
+Bruckner's symphonies, there is no doubt that he had his full share of
+technical profundity, and a striking mastery of the melodious weaving of
+a maze of concordant strains. The question inevitably arises with
+Bruckner as to the value of the world's judgments on its contemporary
+poets. There can be no doubt that the _furore_ of the musical public
+tends to settle on one or two favorites with a concentration of praise
+that ignores the work of others, though it be of a finer grain. Thus
+Schubert's greatest--his one completed--symphony was never acclaimed
+until ten years after his death. Even his songs somehow brought more
+glory to the singer than to the composer. Bach's oratorios lay buried
+for a full century. On the other hand, names great in their day are
+utterly lost from the horizon. It is hard to conceive the _eclat_ of a
+Buononcini or a Monteverde,--whose works were once preeminent. There are
+elements in art, of special, sensational effect, that make a peculiar
+appeal in their time, and are incompatible with true and permanent
+greatness. One is tempted to say, the more sudden and vehement the
+success, the less it will endure. But it would not be true. Such an
+axiom would condemn an opera like "Don Giovanni," an oratorio like the
+"Creation," a symphony like Beethoven's Seventh. There is a wonderful
+difference, an immeasurable gulf between the good and the bad in art;
+yet the apparent line is of the subtlest. Most street songs may be poor;
+but some are undoubtedly beautiful in a very high sense. It is a problem
+of mystic fascination, this question of the value of contemporary art.
+It makes its appeal to the subjective view of each listener. No rule
+applies. Every one will perceive in proportion to his capacity, no one
+beyond it. So, a profound work may easily fail of response, as many
+works in the various arts have done in the past, because the average
+calibre of the audience is too shallow, while it may deeply stir an
+intelligent few. Not the least strange part of it all is the fact that
+there can, of necessity, be no decision in the lifetime of the poet.
+Whether it is possible for obscure Miltons never to find their meed of
+acclaim, is a question that we should all prefer to answer in the
+negative. There is a certain shudder in thinking of such a chance; it
+seems a little akin to the danger of being buried alive.
+
+The question of Bruckner's place can hardly be said to be settled,
+although he has left nine symphonies. He certainly shows a freedom, ease
+and mastery in the symphonic manner, a limpid flow of melody and a sure
+control in the interweaving of his themes, so that, in the final
+verdict, the stress may come mainly on the value of the subjects, in
+themselves. He is fond of dual themes, where the point lies in neither
+of two motives, but in the interplay of both; we see it somewhat
+extended in Richard Strauss, who uses it, however, in a very different
+spirit. The one evident and perhaps fatal lack is of intrinsic beauty of
+the melodic ideas, and further, an absence of the strain of pathos that
+sings from the heart of a true symphony. While we are mainly impressed
+by the workmanship, there is no denying a special charm of constant
+tuneful flow. At times this complexity is almost marvellous in the clear
+simplicity of the concerted whole,--in one view, the main trait or trick
+of symphonic writing. It is easy to pick out the leading themes as they
+appear in official order. But it is not so clear which of them
+constitute the true text. The multiplicity of tunes and motives is
+amazing.
+
+Of the Wagner influence with which Bruckner is said to be charged,
+little is perceptible in his second symphony. On the contrary, a strong
+academic tradition pervades. The themes are peculiarly symphonic.
+Moreover they show so strikingly the dual quality that one might say, as
+a man may see double, Bruckner sang double. Processes of augmenting and
+inverting abound, together with the themal song in the bass. Yet there
+is not the sense of overloaded learning. There is everywhere a clear and
+melodious polyphony.
+
+But with all masterly architecture, even enchanting changes of harmony
+and a prodigal play of melody, the vacuity of poetic ideas must preclude
+a permanent appeal. Bruckner is here the schoolmaster: his symphony is a
+splendid skeleton, an object lesson for the future poet.
+
+In the FOURTH (ROMANTIC) SYMPHONY the main light plays throughout on the
+wind. The text is a call of horns, that begins the work. It is a
+symphony
+
+[Music: _In tranquil motion_
+(Horns, _espressivo_)
+(Strings)]
+
+of wood-notes, where the forest-horn is sovereign,--awakening a widening
+world of echoes, with a murmuring maze of lesser notes. One has again
+the feeling that in the quiet interweaving of a tapestry of strains lies
+the individual quality of the composer,--that the _forte_ blasts, the
+stride of big unison figures are but the interlude.
+
+In the Andante the charm is less of tune than of the delicate changing
+shades of the harmony and of the colors of tone. We are ever surprised
+in the gentlest way by a turn of chord or by the mere entrance of a horn
+among the whispering strings. The shock of a soft modulation may be as
+sudden as of the loud, sudden blare. But we cannot somehow be consoled
+for the want of a heart-felt melody.
+
+The Scherzo is a kind of hunting-piece, full of the sparkle, the color
+and romance of bugles and horns,--a spirited fanfare broken by hushed
+phrases of strings or wood, or an elf-like mystic dance on the softened
+call of trumpets. The Trio sings apart, between the gay revels, in soft
+voices and slower pace, like a simple ballad.
+
+The Finale is conceived in mystical retrospect, beginning in vein of
+prologue: over mysterious murmuring strings, long sustained notes of the
+reed and horn in octave descent are mingled with a soft carillon of
+horns and trumpets in the call of the Scherzo. In broad swing a free
+fantasy rises to a loud refrain (in the brass) of the first motive of
+the symphony.
+
+In slower pace and hush of sound sings a madrigal of tender phrases. A
+pair of melodies recall like figures of the first Allegro. Indeed, a
+chain of dulcet strains seems to rise from the past.
+
+The fine themal relevance may be pursued in infinite degree, to no end
+but sheer bewilderment. The truth is that a modern vanity for subtle
+connection, a purest pedantry, is here evident, and has become a baneful
+tradition in the modern symphony. It is an utter confusion of the letter
+with the spirit. Once for all, a themal coherence of symphony must lie
+in the main lines, not in a maze of unsignificant figures.
+
+Marked is a sharp alternation of mood, tempestuous and tender, of
+Florestan and Eusebius. The lyric phase yields to the former heroic
+fantasy and then returns in soothing solace into a prevailing motive
+that harks back to the second of the beginning movement. The fantasy,
+vague of melody, comes
+
+[Music: (Wood and horns)
+(Strings)]
+
+(in more than one sense) as relief from the small tracery. It is just to
+remember a like oscillation in the first Allegro.
+
+When the prologue recurs, the phrases are in ascent, instead of descent
+of octaves. A climactic verse of the main dulcet melody breaks out in
+resonant choir of brass and is followed by a soft rhapsody on the
+several strains that hark back to the beginning. From the halting pace
+the lyric episode rises in flight of continuous song to enchanting lilt.
+Now in the big heroic fantasy sing the first slow phrases as to the
+manner born and as naturally break into a paean of the full motive,
+mingled with strains of the original legend of the symphony, that flows
+on to broad hymnal cadence.
+
+In mystic musing we reach a solemn stillness where the prologue phrase
+is slowly drawn out into a profoundly moving hymn. Here we must feel is
+Meister Bruckner's true poetic abode rather than in the passion and
+ecstasy of romance into which he was vainly lured.[A]
+
+[Footnote A: Bruckner's Fifth Symphony (in B flat) is a typical example
+of closest correlation of themes that are devoid of intrinsic melody.
+
+An introduction supplies in the bass of a hymnal line the main theme of
+the Allegro by inversion as well as the germ of the first subject of the
+Adagio. Throughout, as in the Romantic Symphony, the relation between
+the first and the last movement is subtle. A closing, jagged phrase
+reappears as the first theme of the Finale.
+
+The Adagio and Scherzo are built upon the same figure of bass. The theme
+of the Trio is acclaimed by a German annotator as the reverse of the
+first motive of the symphony.
+
+In the prelude of the Finale, much as in the Ninth of Beethoven, are
+passed in review the main themes of the earlier movements. Each one is
+answered by an eccentric phrase that had its origin in the first
+movement and is now extended to a fugal theme.
+
+The climactic figure is a new hymnal line that moves as central theme of
+an imposing double fugue.]
+
+
+
+
+CHAPTER XV
+
+THE LATER BRUCKNER
+
+
+In Bruckner's later works appears the unique instance of a discipline
+grounded in the best traditions, united to a deft use of ephemeral
+devices. The basic cause of modern mannerism, mainly in harmonic
+effects, lies in a want of formal mastery; an impatience of thorough
+technic; a craving for quick sensation. With Bruckner it was the
+opposite weakness of original ideas, an organic lack of poetic
+individuality. It is this the one charge that cannot be brought home to
+the earlier German group of reaction against the classic idea.
+
+There is melody, almost abundant, in Wagner and Liszt and their German
+contemporaries. Indeed it was an age of lyricists. The fault was that
+they failed to recognize their lyric limitation, lengthening and padding
+their motives abnormally to fit a form that was too large. Hence the
+symphony of Liszt, with barren stretches, and the impossible plan of the
+later music-drama. The truest form of such a period was the song, as it
+blossomed in the works of a Franz.
+
+Nor has this grandiose tendency even yet spent its course. A saving
+element was the fashioning of a new form, by Liszt himself,--the
+Symphonic Poem,--far inferior to the symphony, but more adequate to the
+special poetic intent.
+
+Whatever be the truth of personal gossip, there is no doubt that
+Bruckner lent himself and his art to a championing of the reactionary
+cause in the form that was intrinsically at odds with its spirit. Hence
+in later works of Bruckner these strange episodes of borrowed romance,
+abruptly stopped by a firm counterpoint of excellent quality,--indeed
+far the best of his writing. For, if a man have little ideas, at least
+his good workmanship will count for something.
+
+In truth, one of the strangest types is presented in Bruckner,--a pedant
+who by persistent ingenuity simulates a master-work almost to
+perfection. By so much as genius is not an infinite capacity for pains,
+by so much is Bruckner's Ninth not a true symphony. Sometimes, under the
+glamor of his art, we are half persuaded that mere persistence may
+transmute pedantry into poetry.
+
+It seems almost as if the Wagnerians chose their champion in the
+symphony with a kind of suppressed contempt for learning, associating
+mere intellectuality with true mastery, pointing to an example of
+greatest skill and least inspiration as if to say: "Here is your
+symphonist if you must have one." And it is difficult to avoid a
+suspicion that his very partisans were laughing up their sleeve at their
+adopted champion.
+
+We might say all these things, and perhaps we have gone too far in
+suggesting them. After all we have no business with aught but the music
+of Bruckner, whatever may have been his musical politics, his vanity,
+his ill judgment, or even his deliberate partisanship against his
+betters. But the ideas themselves are unsubstantial; on shadowy
+foundation they give an illusion by modern touches of harmony and rhythm
+that are not novel in themselves. The melodic idea is usually divided in
+two, as by a clever juggler. There is really no one thought, but a
+plenty of small ones to hide the greater absence.
+
+We have merely to compare this artificial manner with the poetic reaches
+of Brahms to understand the insolence of extreme Wagnerians and the
+indignation of a Hanslick. As against the pedantry of Bruckner the style
+of Strauss is almost welcome in its frank pursuit of effects which are
+at least grateful in themselves. Strauss makes hardly a pretence at
+having melodic ideas. They serve but as pawns or puppets for his
+harmonic and orchestral _mise-en-scene_. He is like a play-wright
+constructing his plot around a scenic design.
+
+Just a little common sense is needed,--an unpremeditated attitude. Thus
+the familiar grouping, "_Bach_, _Beethoven_ and _Brahms_" is at least
+not unnatural. Think of the absurdity of "_Bach_, _Beethoven_ and
+_Bruckner_"![A]
+
+[Footnote A: A festival was held in Munich in the summer of 1911, in
+celebration of "Bach, Beethoven and Bruckner."]
+
+The truth is, the Bruckner cult is a striking symptom of a certain
+decadence in German music; an incapacity to tell the sincere quality of
+feeling in the dense, brilliant growth of technical virtuosity. In the
+worship at the Bayreuth shrine, somehow reinforced by a modern national
+self-importance, has been lost a heed for all but a certain vein of
+exotic romanticism, long ago run to riotous seed, a blending of hedonism
+and fatalism. No other poetic message gets a hearing and the former may
+be rung in endless repetition and reminiscence, provided, to be sure, it
+be framed with brilliant cunning of workmanship.
+
+Here we feel driven defiantly to enounce the truth: that the highest
+art, even in a narrow sense, comes only with a true poetic message. Of
+this Bruckner is a proof; for, if any man by pure knowledge could make a
+symphony, it was he. But, with almost superhuman skill, there is
+something wanting in the inner connection, where the main ideas are
+weak, forced or borrowed. It is only the true poetic rapture that
+ensures the continuous absorption that drives in perfect sequence to
+irresistible conclusion.
+
+
+_SYMPHONY NO. 9_
+
+_I.--Solenne._ Solemn mystery is the mood, amid trembling strings on
+hollow unison, before the eight
+
+[Music: _Misterioso_
+(Eight horns with _tremolo_ strings on D in three octaves)]
+
+horns strike a phrase in the minor chord that in higher echoes breaks
+into a strange harmony and descends into a turn of melodic cadence. In
+answer is another chain of brief phrases, each beginning
+
+[Music: (1st violins)
+(Lower reeds with strings _tremolo_ in all but basses)]
+
+with a note above the chord (the common mark and manner of the later
+school of harmonists[A]) and a new ascent on a literal ladder of
+subtlest progress, while hollow intervals are intermingled in the pinch
+of close harmonies. The bewildering maze here begins of multitudinous
+design, enriched with modern devices.
+
+[Footnote A: See Vol. II, note, page 104.]
+
+A clash of all the instruments acclaims the climax before the unison
+stroke of fullest chorus on the solemn note of the beginning. A favorite
+device of Bruckner, a measured tread of _pizzicato_ strings with
+interspersed themal motives, precedes the romantic episode. Throughout
+the movement is this alternation of liturgic chorale with tender melody.
+
+[Music: _Molto tranquillo_
+(Strings) _espressivo_
+(Oboes and horns)]
+
+Bruckner's pristine polyphonic manner ever appears in the double strain
+of melodies, where each complements, though not completes the other.
+However multiple the plan, we cannot feel more than the quality of
+_unusual_ in the motives themselves, of some interval of ascent or
+descent. Yet as the melody grows to larger utterance, the fulness of
+polyphonic art brings a beauty of tender sentiment, rising to a moving
+climax, where the horns lead the song in the heart of the madrigal
+chorus, and the strings alone sing the expressive answer.
+
+[Music: (Violins doubled in 8ve.)
+(Strings, woods and horns)]
+
+A third phrase now appears, where lies the main poetry of the movement.
+Gentle swaying calls of
+
+[Music: _Tranquillo_ (Wood and violins)
+(4 horns in 8ve.)
+(Horns)
+(Strings with bassoons)]
+
+soft horns and wood, echoed and answered in close pursuit, lead to a
+mood of placid, elemental rhythm, with something of "Rheingold," of
+"Ossian" ballad, of the lapping waves of Cherubini's "Anacreon." In the
+midst the horns blow a line of sonorous melody, where the cadence has a
+breath of primal legend. On the song runs, ever mid the elemental
+motion, to a resonant height and dies away as before. The intimate,
+romantic melody now returns, but it is rocked on the continuing pelagic
+pulse; indeed, we hear anon a faint phrase of the legend, in distant
+trumpet, till we reach a joint rhapsody of both moods; and in the never
+resting motion, mid vanishing echoes, we dream of some romance of the
+sea.
+
+Against descending harmonies return the hollow, sombre phrases of the
+beginning, with the full cadence of chorale in the brass; and beyond,
+the whole prelude has a full, extended verse. In the alternation of
+solemn and sweet episode returns the tender melody, with pretty
+inversions, rising again to an ardent height. The renewed clash of
+acclaiming chorus ushers again the awful phrase of unison (now in octave
+descent), in towering majesty. But now it rises in the ever increasing
+vehemence where the final blast is lit up with a flash of serene
+sonority.
+
+This motive, of simple octave call, indeed pervades the earlier symphony
+in big and little. And now, above a steady, sombre melodic tread of
+strings it rises in a fray of eager retorts, transfigured in wonderful
+harmony again and again to a brilliant height, pausing on a ringing
+refrain, in sombre hue of overpowering blast.
+
+A soft interlude of halting and diminishing strings leads to the
+romantic melody as it first appeared, where the multiple song again
+deepens and ennobles the theme. It passes straight into the waving,
+elemental motion, where again the hallowed horn utters its sibyl phrase,
+again rising to resonant height. And again merges the intimate song with
+the continuing pulse of the sea, while the trumpet softly sounds the
+legend and a still greater height of rhapsody.
+
+Dull brooding chords bring a sombre play of the awing phrase, over a
+faint rocking motion, clashing in bold harmony, while the horns surge in
+broader melody. The climactic clash ends in a last verse of the opening
+phrase, as of primal, religious chant.
+
+_II.--Scherzo._ In the dazzling pace of bright clashing harmonies, the
+perfect answers of falling and rising phrases, we are again before the
+semblance, at
+
+[Music: _Vivace_
+(Flute with _pizz._ violins)
+(Flute)
+(_Pizz._ strings)]
+
+least, of a great poetic idea. To be sure there is a touch of stereotype
+in the chords and even in the pinch and clash of hostile motives. And
+there is not the distinctive melody,--final stamp and test of the shaft
+of inspiration. Yet in the enchantment of motion, sound and form, it
+seems mean-spirited to cavil at a want of something greater. One stands
+bewildered before such art and stunned of all judgment.
+
+A delight of delicate gambols follows the first brilliant dance of main
+motive. Amid a rougher trip of unison sounds the sonorous brass, and to
+softest jarring murmur of strings a pretty jingle of reed,
+
+[Music: _grazioso_
+(Oboe)
+(_Pizz._ strings with soft chord of wind and rhythmic bassoon)]
+
+with later a slower counter-song, almost a madrigal of pastoral answers,
+till we are back in the ruder original dance. The gay cycle leads to a
+height of rough volume (where the mystic brass sound in the midst) and a
+revel of echoing chase.
+
+In sudden hush of changed tone on fastest fairy trip, strings and wood
+play to magic harmonies. In calming motion the violins sing a quieter
+song, ever
+
+[Music: _Piu tranquillo_
+_Dolce_
+(Violins)
+(Oboe)
+(Violins)
+(Oboes with sustained strings)]
+
+echoed by the reed. Though there is no gripping force of themal idea,
+the melodies are all of grateful charm, and in the perfect round of
+rhythmic design we may well be content. The original dance recurs with a
+full fine orgy of hostile euphony.
+
+_III.--Adagio._ _Feierlich,--awesome_ indeed are these first sounds, and
+we are struck by the originality
+
+[Music: _Molto lento (Solenne)_
+(Violins, G string)
+_broadly_
+(Strings with choir of tubas, later of trombones and contrabass-tuba)]
+
+of Bruckner's technic. After all we must give the benefit at least of
+the doubt. And there is after this deeply impressive _introit_ a
+gorgeous Promethean
+
+[Music: (Woodwind and low brass with _tremolo_ strings)
+(3 trumpets)
+(4 horns)]
+
+spring of up-leaping harmonies. The whole has certainly more of concrete
+beauty than many of the labored attempts of the present day.
+
+The prelude dies down with an exquisite touch of precious
+dissonance,--whether it came from the heart or from the workshop. The
+strange and tragic part is that with so much art and talent there should
+not be the strong individual idea,--the flash of new tonal figure that
+stands fearless upon its own feet. All this pretty machinery seems
+wasted upon the framing and presenting, at the moment of expectation, of
+the shadows of another poet's ideas or of mere platitudes.
+
+In the midst of the broad sweeping theme with a
+
+[Music: (Strings, with cl't and oboe)
+_Very broadly_
+(G string)]
+
+promise of deep utterance is a phrase of horns with the precise accent
+and agony of a _Tristan_. The very semblance of whole motives seems to
+be taken from the warp and woof of Wagnerian drama. And thus the whole
+symphony is degraded, in its gorgeous capacity, to the reechoed rhapsody
+of exotic romanticism. It is all little touches, no big thoughts,--a
+mosaic of a symphony.
+
+[Music: (Horns)]
+
+And so the second theme[A] is almost too heavily laden with fine detail
+for its own strength, though
+
+[Music: (Violins, reeds and horns)
+_Poco piu lento_
+_dolce_
+(_Pizz._ of lower strings)]
+
+it ends with a gracefully delicate answer. The main melody soon recurs
+and sings with a stress of warm feeling in the cellos, echoed by glowing
+strains of the horns. Romantic harmonies bring back the solemn air of
+the prelude with a new counter melody, in precise opposite figure, as
+though inverted in a mirror, and again the dim moving chords that seem
+less of Bruckner than of legendary drama. In big accoutrement the double
+theme moves with double answers, ever with the sharp pinch of harmonies
+and heroic mien. Gentlest retorts of the motives sing with fairy
+clearness (in horns and reeds), rising to tender, expressive dialogue.
+With growing spirit they ascend once more to the triumphant clash of
+empyraean chords, that may suffice for justifying beauty.
+
+[Footnote A: We have spoken of a prelude, first and second theme; they
+might have been more strictly numbered first, second and third theme.]
+
+Instead of the first, the second melody follows with its delicate grace.
+After a pause recurs the phrase that harks from mediaeval romance, now
+in a stirring ascent of close chasing voices. The answer, perfect in its
+timid halting descent, exquisite in accent and in the changing hues of
+its periods, is robbed of true effect by its direct reflection of
+Wagnerian ecstasies.
+
+As if in recoil, a firm hymnal phrase sounds in the strings, ending in a
+more intimate cadence. Another chain of rarest fairy clashes, on the
+motive of the prelude, leads to the central verse, the song of the first
+main melody in the midst of soft treading strings, and again descends
+the fitting answer of poignant accent.
+
+And now, for once forgetting all origin and clinging sense of
+reminiscence, we may revel in the rich romance, the fathoms of mystic
+harmony, as the main song sings and rings from the depths of dim legend
+in lowest brass, amidst a soft humming chorus, in constant shift of
+fairy tone.
+
+A flight of ascending chords brings the big exaltation of the first
+prophetic phrase, ever answered by exultant ring of trumpet, ending in
+sudden awing pause. An eerie train of echoes from the verse of prelude
+leads to a loveliest last song of the poignant answer of main song, over
+murmuring strings. It
+
+[Music: (_Tremolo_ violins with lower 8ve.)
+(Reeds)
+(Horns)
+(Violas)]
+
+is carried on by the mystic choir of sombre brass in shifting steps of
+enchanting harmony and dies away in tenderest lingering accents.[A]
+
+[Footnote A: In place of the uncompleted Finale, Bruckner is said to
+have directed that his "_Te Deum_" be added to the other movements.]
+
+
+
+
+CHAPTER XVI
+
+HUGO WOLFF[A]
+
+_"PENTHESILEA." SYMPHONIC POEM_[B]
+
+[Footnote A: Hugo Wolff, born in 1860, died in 1903.]
+
+[Footnote B: After the like-named tragedy of Heinrich von Kleist.]
+
+
+An entirely opposite type of composer, Hugo Wolff, shows the real
+strength of modern German music in a lyric vein, sincere, direct and
+fervent. His longest work for instruments has throughout the charm of
+natural rhythm and melody, with subtle shading of the harmony. Though
+there is no want of contrapuntal design, the workmanship never obtrudes.
+It is a model of the right use of symbolic motives in frequent
+recurrence and subtle variation.
+
+In another instrumental piece, the "Italian Serenade," all kinds of
+daring suspenses and gentle clashes and surprises of harmonic scene give
+a fragrance of dissonant euphony, where a clear melody ever rules.
+"Penthesilea," with a climactic passion and a sheer contrast of tempest
+and tenderness, uttered with all the mastery of modern devices, has a
+pervading thrall of pure musical beauty. We are tempted to hail in Wolff
+a true poet in an age of pedants and false prophets.
+
+
+
+PENTHESILEA.--A TRAGEDY BY HEINRICH VON KLEIST.[A]
+
+[Footnote A: German, 1776-1811.]
+
+As Wolff's work is admittedly modelled on Kleist's tragedy, little known
+to the English world, it is important to view the main lines of this
+poem, which has provoked so divergent a criticism in Germany.
+
+On the whole, the tragedy seems to be one of those daring, even profane
+assaults on elemental questions by ways that are untrodden if not
+forbidden. It is a wonderful type of Romanticist poetry in the bold
+choice of subject and in the intense vigor and beauty of the verse.
+Coming with a shock upon the classic days of German poetry, it met with
+a stern rebuke from the great Goethe. But a century later we must surely
+halt in following the lead of so severe a censor. The beauty of diction
+alone seems a surety of a sound content,--as when Penthesilea exclaims:
+
+    "A hero man can be--a Titan--in distress,
+    But like a god is he when rapt in blessedness."
+
+An almost convincing symbolism has been suggested of the latent meaning
+of the poem by a modern critic,[A]--a symbolism that seems wonderfully
+reflected in Wolff's music. The charge of perverted passion can be based
+only on certain lines, and these are spoken within the period of madness
+that has overcome the heroine. This brings us to the final point which
+may suggest the main basic fault in the poem, considered as art. At
+least it is certainly a question whether pure madness can ever be a
+fitting subject in the hero of a tragedy. Ophelia is an episode;
+Hamlet's madness has never been finally determined. Though the Erinnys
+hunted Orestes in more than one play, yet no single Fury could, after
+all, be the heroine of tragedy. Penthesilea became in the crisis a pure
+Fury, and though she may find here her own defense, the play may not
+benefit by the same plea. On the other hand, the madness is less a
+reality than an impression of the Amazons who cannot understand the
+heroine's conflicting feelings. There is no one moment in the play when
+the hearer's sympathy for the heroine is destroyed by a clear sense of
+her insanity.
+
+[Footnote A: Kuno Francke. See the notes of Philip Hale in the programme
+book of the Boston Symphony Orchestra of April 3-4, 1908.]
+
+For another word on the point of symbolism, it must be remembered that
+the whole plot is one of supernatural legend where somehow human acts
+and motives need not conform to conventional rule, and where symbolic
+meaning, as common reality disappears, is mainly eminent. It is in this
+same spirit that the leading virtues of the race, of war or of peace,
+are typified by feminine figures.
+
+The Tragedy is not divided into acts; it has merely four and twenty
+scenes--upon the battle-field of Troy. The characters are Penthesilea,
+Queen of the Amazons; her chief leaders, Prothoe, Meroe and Asteria, and
+the high priestess of Diana. Of the Greeks there are Achilles, Odysseus,
+Diomede and Antilochus. Much of the fighting and other action is not
+seen, but is reported either by messengers or by present witnesses of a
+distant scene.
+
+The play begins with the battle raging between Greeks and Amazons.
+Penthesilea with her hosts amazes the Greeks by attacking equally the
+Trojans, her reputed allies. She mows down the ranks of the Trojans, and
+yet refuses all proffers of the Greeks.
+
+Thus early we have the direct, uncompromising spirit,--a kind of
+feminine Prometheus. The first picture of the heroine is of a Minerva in
+full array, stony of gaze and of expression until--she sees Achilles.
+Here early comes the conflict of two elemental passions. Penthesilea
+recoils from the spell and dashes again into her ambiguous warfare. For
+once Greeks and Trojans are forced to fight in common defence.
+
+    "The raging Queen with blows of thunder struck
+    As she would cleave the whole race of the Greeks
+    Down to its roots....
+
+           *       *       *       *       *
+
+    "More of the captives did she take
+    Than she did leave us eyes to count the list,
+    Or arms to set them free again.
+
+           *       *       *       *       *
+
+    "Often it seemed as if a special hate
+    Against Achilles did possess her breast.
+
+           *       *       *       *       *
+
+    "Yet in a later moment, when
+    His life was given straight into her hands,
+    Smiling she gave it back, as though a present;
+    His headlong course to Hades she did stay."
+
+In midst of the dual battle between Achilles and the Queen, a Trojan
+prince comes storming and strikes a treacherous blow against the armor
+of the Greek.
+
+    "The Queen is stricken pale; for a brief moment
+    Her arms hang helpless by her sides; and then,
+    Shaking her locks about her flaming cheeks,
+    Dashes her sword like lightning in his throat,
+    And sends him rolling to Achilles' feet."
+
+The Greek leaders resolve to retreat from the futile fight and to call
+Achilles from the mingled chase of love and war.
+
+Achilles is now reported taken by the Amazons. The battle is vividly
+depicted: Achilles caught on a high ledge with his war-chariot; the
+Amazon Queen storming the height from below. The full scene is witnessed
+from the stage,--Penthesilea pursuing almost alone; Achilles suddenly
+dodges; the Queen as quickly halts and rears her horse; the Amazons fall
+in a mingled heap; Achilles escapes, though wounded. But he refuses to
+follow his companions to the camp; he swears to bring home the Queen
+wooed in the bloody strife of her own seeking.
+
+Penthesilea recoils with like vehemence from the entreaties of her
+maids, intent upon the further battle, resolved to overcome the hero or
+to die. She forbids the Festival of Roses until she has vanquished
+Achilles. In her rage she banishes her favorite Prothoe from her
+presence, but in a quick revulsion takes her back.
+
+In the next scene the high priestess and the little Amazon maids prepare
+the Feast, which Penthesilea had ordered in her confident attack upon
+the fleeing Greeks. One of the Rose-maidens recounts the passing scene
+of the Queen's amazing action. The indignant priestess sends her command
+to the Queen to return to the celebration. Though all the royal suite
+fling themselves in her path, Penthesilea advances to the dual
+battle.[A]
+
+[Footnote A: The law of the Amazons commanded them to wage war as told
+them by the oracle of Mars. The prisoners were brought to the Feast of
+Roses and wedded by their captors. After a certain time they were sent
+back to their homes. All male children of the tribe were put to death.]
+
+In a renewal of her personal contest, regardless of the common cause,
+and in her special quest of a chosen husband, Penthesilea has broken the
+sacred law.
+
+The flight now follows of the Amazon hosts. When the two combatants meet
+in the shock of lances, the Queen falls in the dust; her pallor is
+reflected in Achilles' face. Leaping from his horse, he bends o'er her,
+calls her by names, and woos life back into her frame. Her faithful
+maids, whom she has forbidden to harm Achilles, lead her away. And here
+begins the seeming madness of the Queen when she confesses her love. For
+a moment she yields to her people's demands, but the sight of the
+rose-wreaths kindles her rage anew. Prothoe defends her in these lines:
+
+    "Of life the highest blessing she attempted.
+    Grazing she almost grasped. Her hands now fail her
+    For any other lesser goal to reach."
+
+In the last part of the scene the Queen falls more and deeper into
+madness. It is only in a too literal spirit that one will find an
+oblique meaning,--by too great readiness to discover it. In reality
+there seems to be an intense conflict of opposite emotions in the
+heroine: the pure woman's love, without sense of self; and the wild
+overpowering greed of achievement. Between these grinding stones she
+wears her heart away. A false interpretation of decadent theme comes
+from regarding the two emotions as mingled, instead of alternating in a
+struggle.
+
+Achilles advances, having flung away his armor. Prothoe persuades him to
+leave the Queen, when she awakes, in the delusion that she has conquered
+and that he is the captive. Thus when she beholds the hero, she breaks
+forth into the supreme moment of exaltation and of frenzied triumph. The
+main love scene follows:
+
+Penthesilea tells Achilles the whole story of the Amazons, the conquest
+of the original tribe, the rising of the wives of the murdered warriors
+against the conquerors; the destruction of the right breast (_A-mazon_);
+the dedication of the "brides of Mars" to war and love in one. In
+seeking out Achilles the Queen has broken the law. But here again
+appears the double symbolic idea: Achilles meant to the heroine not love
+alone, but the overwhelming conquest, the great achievement of her life.
+
+The first feeling of Penthesilea, when disillusioned, is of revulsive
+anger at a kind of betrayal. The Amazons recover ground in a wild desire
+to save their Queen, and they do rescue her, after a parting scene of
+the lovers. But Penthesilea curses the triumph that snatches her away;
+the high priestess rebukes her, sets her free of her royal duties, to
+follow her love if she will. The Queen is driven from one mood to
+another, of devoted love, burning ambition and mortal despair.
+
+Achilles now sends a challenge to Penthesilea, knowing the Amazon
+conditions. Against all entreaty the Queen accepts, not in her former
+spirit, but in the frenzy of desperate endeavor, in the reawakened rage
+of her ambition, spurred and pricked by the words of the priestess.
+
+The full scene of madness follows. She calls for her dogs and elephants,
+and the full accoutrement of battle. Amidst the terror of her own
+warriors, the rolling of thunder, she implores the gods' help to crush
+the Greek. In a final touch of frenzy she aims a dart at her faithful
+Prothoe.
+
+The battle begins, Achilles in fullest confidence in Penthesilea's love,
+unfrightened by the wild army of dogs and elephants. The scene, told by
+the present on-lookers, is heightened by the cries of horror and dismay
+of the Amazons themselves.
+
+Achilles falls; Penthesilea, a living Fury, dashes upon him with her
+dogs in an insane orgy of blood. The Queen in the culminating scene is
+greeted by the curses of the high priestess. Prothoe masters her horror
+and turns back to soothe the Queen. Penthesilea, unmindful of what has
+passed, moves once more through the whole gamut of her torturing
+emotions, and is almost calmed when she spies the bier with the hero's
+body. The last blow falls when upon her questions she learns the full
+truth of her deed. The words she utters (that have been cited by the
+hostile critics) may well be taken as the ravings of hopeless remorse,
+with a symbolic play of words. She dies, as she proclaims, by the knife
+of her own anguish.
+
+The last lines of Prothoe are a kind of epilogue:
+
+    "She sank because too proud and strong she flourished.
+    The half-decayed oak withstands the tempest;
+    The vigorous tree is headlong dashed to earth
+    Because the storm has struck into its crown."[A]
+
+[Footnote A: Translations, when not otherwise credited, are by the
+author.]
+
+The opening scene--"Lively, vehement: Departure of the Amazons for
+Troy"--begins impetuous and hefty with big strokes of the throbbing
+motive,
+
+[Music: (_Tutti_ with higher 8ves.)
+(Piccolo in 8ve.)
+(Bass in 8ve.)]
+
+the majestic rhythm coursing below, lashed by a quicker phrase above.
+Suddenly trumpets sound, somewhat more slowly, a clarion call answered
+by a choir of other trumpets and horns in enchanting retort of changing
+harmonies. Ever a fresh color of
+
+[Music: (Flutes and oboes)
+(Answering groups of brass)
+(Lower strings _pizz._)]
+
+tone sounds in the call of the brass, as if here or yonder on the
+battle-field. Sometimes it is almost too sweetly chanting for fierce
+war. But presently it turns to a wilder mood and breaks in galloping
+pace into a true chorus of song with clear cadence.
+
+[Music: (Flutes with reeds in lower 8ve.)
+(Violins with upper 8ve.)
+(Lower strings and brass with lower 8ve.)]
+
+The joyful tinge is quickly lost in the sombre hue of another phase of
+war-song that has a touch of funeral trip (though it is all in 3/4
+time):
+
+[Music: (Muted strings)
+(Horns and bassoons)]
+
+A melody in the minor plays first in a choir of horns and bassoons,
+later in united strings, accompanied by soft rolls of drums and a touch
+of the lowest brass. Harp and higher woodwind are added, but the volume
+is never transcendent save in a single burst when it is quickly hushed
+to the first ominous whisper. Out of this sombre song flows a romance of
+tender sentiment, _tranquillo_ in strings, followed by the wood. The
+crossing threads of expressive melody
+
+[Music: _Tranquillo_
+(Strings)
+(In the midst enters a strain of solo horn)]
+
+rise in instant renewal of stress and agitation. The joy of battle has
+returned, but it seems that the passion of love burns in midst of the
+glow of battle, each in its separate struggle, and both together in one
+fatal strife. The sombre melody returns in full career, dying down to a
+pause.[A]
+
+[Footnote A: In a somewhat literal commentary attributed to Dr. Richard
+Batka, the Amazons here, "having reached their destination, go into
+night-encampment--as represented by the subdued roll of the
+kettle-drums, with which the movement concludes."]
+
+_Molto sostenuto_, in changed rhythm of three slow beats, comes
+"Penthesilea's Dream of the Feast of Roses." Over a thick cluster of
+harmonies in harp and strings the higher wood sing a new song in long
+drawn lyric notes with ravishing turns of tonal color,--a
+
+[Music: _Molto sostenuto_
+(Flutes, oboes and clarinets)
+(Rapid arpeggic figures of harps and muted strings)]
+
+dual song and in many groups of two. The tranquil current of the dream
+is gradually disturbed; the main burden is dimmed in hue and in mood.
+Faster, more fitful is the flow of melody, with hostile intruding motive
+below; it dashes at last into the tragic phase--Combats; Passions;
+Madness; Destruction--in very rapid tempo of 2/2 rhythm.
+
+In broad, masterful pace, big contrary figures sweep up and down,
+cadencing in almost joyous chant, gliding, indeed, into a pure hymn, as
+of triumph (that harks back to the chorussing song in the beginning).
+
+Throughout the poem the musical symbols as well as the motives of
+passion are closely intertwined. Thus the identity of the impetuous
+phrase of the very beginning is clear with the blissful theme of the
+Dream of the Feast of Roses. Here, at the end of the chorussing verse is
+a play or a strife of phrases where we cannot escape a symbolic intent.
+To _tremolo_ of violas the cellos hold a tenor of descending melody over
+a rude rumbling phrase of the basses of wood and strings, while the oboe
+sings in the treble an expressive answer of ascending notes. A conflict
+is
+
+[Music: (_Molto vivace_)
+(cello _molto espressivo_)
+(Violas)
+(Basses and bassoons with upper 8ve.)
+(Oboe) _espressivo_]
+
+evident, of love and ambition, of savage and of gentle passion, of chaos
+and of beauty. At the height, the lowest brass intrude a brutal note of
+triumph of the descending theme. To the victory of Pride succeeds a
+crisis of passionate yearning. But at the very height is a plunge into
+the fit of madness, the fatal descending phrase (in trombones) is ever
+followed by furious pelting spurts in the distorted main theme.
+
+At last the paroxysm abates, throbbing ever slower, merging into the
+tender song of the Dream that now rises to the one great burst of
+love-passion. But it ends in a wild rage that turns right into the
+war-song of the beginning. And this is much fuller of incident than
+before. Violins now ring an hostile motive (the former rumbling phrase
+of basses) from the midst of the plot against the main theme in
+trumpets. Instead of the former pageantry, here is the pure frenzy of
+actual war. The trumpet melodies resound amidst the din of present
+battle. Instead of the other gentler episodes, here is a more furious
+raving of the mad Queen (in the hurried main motive), where we seem to
+see the literal dogs of war let loose and spurred on,--each paroxysm
+rising to a higher shock.
+
+Great is the vehemence of speed and sound as the dull doom of
+destruction drones in the basses against a grim perversion of the
+yearning theme above, that overwhelms the scene with a final shriek.
+
+Slowly the dream of love breathes again, rises to a fervent burst, then
+yields to the fateful chant and ends in a whisper of farewell.
+
+
+
+
+CHAPTER XVII
+
+MAHLER[A]
+
+[Footnote A: Gustav Mahler, 1860-1911.]
+
+
+In Mahler the most significant sign is a return to a true counterpoint,
+as against a mere overlading of themes, that began in Wagner and still
+persists in Strauss,--an artificial kind of structure that is never
+conceived as a whole.
+
+While we see in Mahler much of the duophonic manner of his teacher,
+Bruckner, in the work of the younger man the barren art is crowned with
+the true fire of a sentient poet. So, if Bruckner had little to say, he
+showed the way to others. And Mahler, if he did not quite emerge from
+the mantle of Beethoven, is a link towards a still greater future. The
+form and the technic still seem, as with most modern symphonies, too
+great for the message. It is another phase of orchestral virtuosity, of
+intellectual strain, but with more of poetic energy than in the
+symphonies of the French or other Germans.
+
+In other forms we see this happy reaction towards ancient art, as in the
+organ music of a Reger. But in the Finale of Mahler's Fifth Symphony
+there is a true serenity, a new phase of symphony, without the climactic
+stress of traditional triumph, yet none the less joyous in essence.
+
+We cannot help rejoicing that in a sincere and poetic design of
+symphony is blended a splendid renaissance of pure counterpoint, that
+shines clear above the modern spurious pretence. The Finale of Mahler's
+Fifth Symphony is one of the most inspired conceptions of counterpoint
+in all music. In it is realized the full dream of a revival of the art
+in all its glorious estate.
+
+
+_SYMPHONY NO. 5_
+
+  I.--1. _Funeral March._
+      2. _In stormy motion (with greatest vehemence)._
+ II.--3. _Scherzo (with vigor,--not too fast)._
+III.--4. _Adagietto (very slowly)._
+      5. _Rondo-Finale (allegro)._
+
+Mahler's Fifth Symphony, whatever be its intrinsic merit, that can be
+decided only by time and wear, undoubtedly marks a high point of
+orchestral splendor, in the regard of length and of the complexity of
+resources. By the latter is meant not so much the actual list of
+instruments as the pervading and accumulating use of thematic
+machinery.[A]
+
+[Footnote A: The symphony is probably the longest instrumental work that
+had appeared at the time of its production in 1904. The list of
+instruments comprises 4 flutes, 3 oboes, 3 clarinets, 2 bassoons,
+contra-bassoon, 6 horns, 4 trumpets, 3 trombones, tuba, kettle-drums,
+cymbals, bass-drum, snare-drum, triangle, glockenspiel, gong, harp and
+strings.
+
+Compared with D'Indy's Second Symphony, the Fifth of Mahler has a larger
+body of brass as well as of woodwind.]
+
+The plan of movements is very original and in a way, two-fold. There are
+three great divisions, of which the first comprises a Funeral March,
+and an untitled Allegro in vehement motion. The second division has
+merely the single movement, Scherzo. In the third are an Adagietto and a
+Rondo Finale.
+
+_I.--1. Funeral March._--A call of trumpet, of heroic air and tread, is
+answered by strident chords ending in a sonorous motive of horns that
+leads to the funeral trip, of low brass. The mournful song of the
+principal melody appears presently in the strings, then returns to the
+funeral trip and to the strident chords. The first trumpet motive now
+sounds with this clanging phrase and soon the original call abounds in
+other brass. The deep descending notes of the horns recur and the full
+song of the funeral melody much extended, growing into a duet of cellos
+and high woodwind,
+
+[Music: (Strings, bassoons and clarinets)]
+
+and further into hymnal song on a new motive.
+
+[Music: (Wood, horns and strings)
+(Bass notes in lowest wood and strings)]
+
+So the various melodies recur with new mood and manner. Suddenly, in
+fierce abandon, a martial tramp of the full band resounds, in gloomy
+minor,
+
+[Music: _Suddenly faster. Impassioned_
+(Rapid descending figure in violins)
+(Trumpet)
+(Trombones)
+(Tuba and strings)]
+
+the violins in rapid rage of wailing figure: the trumpet strikes the
+firm note of heroic plaint.
+
+Wild grief breaks out on all sides, the strings singing in passionate
+answer to the trumpet, the high wood carrying on the rapid motion. At
+the height of the storm the woodwind gain control with measured rhythm
+of choral melody. Or perhaps the real height is the expressive double
+strain, in gentle pace, of the strings, and the wood descending from on
+high.
+
+[Music: (Woodwind doubled below)
+(Strings doubled above)
+_espressivo_
+(Brass and strings)]
+
+The duet is carried on in wilder mood by most of the voices.
+
+A return to the solemn pace comes by imperceptible change, the softer
+hues of grief merging with the fiercer cries. Now various strains sound
+together,--the main funeral melody in the woodwind.
+
+In the close recurs the full flow of funeral song, with the hymnal
+harmonies. In the refrain of the stormy duet the sting of passion is
+gone; the whole plaint dies away amid the fading echoes of the trumpet
+call.
+
+_I.--2._ The second movement, the real first Allegro, is again clearly
+in two parts. Only, the relative paces are exactly reversed from the
+first movement. In tempestuous motion, with greatest vehemence, a
+rushing motive of the basses is stopped by a chord of brass and
+strings,--the chord itself reverberating to the lower rhythm.
+
+[Music: _In stirring motion. With greatest vehemence_
+(Brass and strings)
+(Bass of wood and string)
+(Trumpets)]
+
+Throughout the whole symphony is the dual theme, each part spurring the
+other. Here presently are phrases in conflicting motion, countermarching
+in a stormy maze. It is all, too, like noisy preparation,--a manoeuvring
+of forces before the battle. Three distinct figures there are before a
+blast of horn in slower notes, answered by shrill call in highest wood.
+There enters a regular, rhythmic gait and a clearer tune, suggested by
+the call.
+
+[Music: (Horns, oboes and 1st violins, G string)
+(Strings and wood)
+(Tuba and strings)
+(Second violins)]
+
+In the brilliant medley there is ever a new figure we had not perceived.
+So when the tune has been told, trumpets and horns begin with what seems
+almost the main air, and the former voices sound like mere heralds.
+Finally the deep trombones and tuba enter with a sonorous call. Yet the
+first rapid trip of all has the main legend.
+
+As the quicker figures gradually retire, a change of pace appears, to
+the tramp of funeral. Yet the initial and incident strains are of the
+former text. Out of it weaves the new, slower melody:
+
+[Music: _Much slower_ (in the tempo of the former funeral march)
+(Oboes)
+(Flutes and clarinets)
+(Cellos)
+_molto cantando_]
+
+Throughout, the old shrill call sounds in soft lament. Hardly like a
+tune, a discourse rather, it winds along, growing and changing naively
+ever to a new phrase. And the soft calls about seem part of the melody.
+An expressive line rising in the clarinet harks back to one of the later
+strains of the funeral march.
+
+The second melody or answer (in low octaves of strings) is a scant
+disguise of the lower tune in the stormy duet of the first movement. Yet
+all the strains move in the gentle, soothing pace and mood until
+suddenly awakened to the first vehement rhythm.
+
+Before the slower verse returns is a long plaint of cellos to softest
+roll of drums. The gentle calls that usher in the melody have a
+significant turn, upwards instead of down. All the figures of the solemn
+episode appear more clearly.
+
+On the spur of the hurrying main motive of trumpets the first pace is
+once more regained.
+
+A surprise of plot is before us. In sudden recurrence of funeral march
+the hymnal song of the first movement is heard. As suddenly, we are
+plunged into the first joyful scene of the symphony. Here it is most
+striking how the call of lament has become triumphant, as it seems
+without a change of note. And still more wonderful,--the same melody
+that first uttered a storm of grief, then a gentle sadness, now has a
+firm exultant ring. To be sure, it is all done with the magic trip of
+bass,--as a hymn may be a perfect dance.
+
+Before the close we hear the first fanfare of trumpet from the opening
+symphony, that has the ring of a motto of the whole. At the very end is
+a transfigured entrance,--very slowly and softly, to a celestial touch
+of harp, of the first descending figure of the movement.
+
+_II.--3. Scherzo._ Jovial in high degree, the Scherzo begins with the
+thematic complexity of modern fashion. In dance tune of three beats
+horns lead off with a jolly call; strings strike dancing chords; the
+lower wind play a rollicking answer, but together with the horns, both
+strains continuing in dancing duet. Still the saucy call of horns seems
+the main text, though no single tune reigns alone.
+
+[Music: (Horns)
+_Scherzo. With vigor, not too fast_
+(Strings and flutes)
+(Strings)
+(Clarinets and basses)]
+
+The violins now play above the horns; then the cellos join and there is
+a three-part song of independent tunes, all in the dance. So far in
+separate voices it is now taken up by full chorus, though still the
+basses sing one way, trebles another, and the middle horns a third. And
+now the high trumpet strikes a phrase of its own. But they are all in
+dancing swing, of the fibre of the first jolly motive.
+
+A new episode is started by a quicker _obligato_ of violins, in
+neighboring minor, that plays about a fugue of the woodwind on an
+incisive theme where the cadence has a strange taste of bitter sweet
+harmony in the modern Gallic manner.
+
+[Music: (Clarinets)
+(Violas)
+(Violins)
+(Bass of brass and wood)]
+
+Horns and violins now pursue their former duet, but in the changed hue
+of minor where the old concords are quaintly perverted. But this is only
+to give a merrier ring to the bright madrigal that follows in sweetly
+clashing higher wood, with the trip still in the violins. Thence the
+horns and violins break again into the duet in the original key. Here
+the theme is wittily inverted in the bass, while other strings sing
+another version above.
+
+So the jolly dance and the quaint fugue alternate; a recurring phrase is
+carried to a kind of dispute, with opposite directions above and below
+and much augmented motion in the strings.
+
+In the dance so far, in "three time," is ever the vigorous stamp on the
+third beat, typical of the German peasant "_Laendler_." Here of a sudden
+is a change as great as possible within the continuing dance of three
+steps. "More tranquil" in pace, in soft strings, without a trace of the
+_Laendler_ stamp, is a pure waltz in pretty imitation of tuneful theme.
+
+[Music: _More gently_ (G string) (D string)
+(Strings)
+acc't _pizzicato_]
+
+And so the return to the vigorous rough dance is the more refreshing.
+The merry mood yields to a darker temper. "Wild" the strings rush in
+angry fugue on their rapid phrase; the quaint theme is torn to shreds,
+recalling the fierce tempest of earlier symphony.
+
+But the first sad note of the Scherzo is in the recitative of horn,
+after the lull. A phrase of quiet reflection, with which the horn
+concludes the episode as with an "_envoi_," is now constantly rung; it
+is wrought from the eerie tempest; like refined metal the melody is
+finally poured; out of its guise is the theme now of mournful dance.
+
+"Shyly" the tune of the waltz answers in softest oboe. In all kinds of
+verses it is sung, in expressive duet of lower wood, of the brass, then
+of high reeds; in solo trumpet with counter-tune of oboe, finally in
+high flutes. Here we see curiously, as the first themes reappear, a
+likeness with the original trumpet-call of the symphony. In this guise
+of the first dance-theme the movements are bound together. The _envoi_
+phrase is here evident throughout.
+
+At this mystic stage, to pure dance trip of low strings the waltz
+reenters very softly in constant growing motion, soon attaining the old
+pace and a new fulness of sound. A fresh spur is given by a wild motion
+of strings, as in the fugal episode; a new height of tempest is reached
+where again the distorted shreds of first dance appear, with phrases of
+the second. From it like sunshine from the clouds breaks quickly the
+original merry trip of dance.
+
+The full cycle of main Scherzo returns with all stress of storm and
+tragedy. But so fierce is the tempest that we wonder how the glad mood
+can prevail. And the sad _envoi_ returns and will not be shaken off.
+The sharp clash of fugue is rung again and again, as if the cup must be
+drained to the drop. Indeed, the serious later strain does prevail, all
+but the final blare of the saucy call of brass.[A]
+
+[Footnote A: In the Scherzo are chimes, accenting the tune of the dance,
+and even castanets, besides triangle and other percussion. The second
+movement employs the harp and triangle.]
+
+_III.--4. Adagietto._[A] "Very slowly" first violins carry the
+expressive song that is repeated by the violas.
+
+[Footnote A: The Adagietto is scored simply for harp and strings; nor
+are the latter unusually divided.]
+
+[Music: _Adagietto_
+(Strings and harp)]
+
+A climax is reached by all the violins in unison. A new glow, with
+quicker motion, is in the episode, where the violins are sharply
+answered by the violas, rising to a dramatic height and dying away in a
+vein of rare lyric utterance.
+
+It is all indeed a pure lyric in tones.
+
+_III.--5. Rondo-Finale._ The whole has the dainty, light-treading humor
+that does not die of its own vehemence. Somewhat as in the Ninth
+Symphony of Beethoven,--tyrant of classical traditions, the themes
+appear right in the beginning as if on muster-roll, each in separate,
+unattended song. A last chance cadence passes down the line of voices
+and settles into a comfortable rhythm as prevailing theme, running in
+melodious extension, and merging after a
+
+[Music: (Clarinets, horns and bassoons) (Flutes and oboes)
+_Allegro commodo_]
+
+hearty conclusion in the jovially garrulous fugue.
+
+Here the counter-theme proves to be one of the initial tunes and takes a
+leading role until another charming strain appears on high,--a pure
+nursery rhyme crowning the learned fugue. Even this is a guise of one
+of the original motives in the mazing medley, where it seems we could
+trace the ancestry of each if we could linger and if it really mattered.
+And yet there is a rare charm in these subtle turns; it is the secret
+relevance that counts the most.
+
+The fugue reaches a sturdy height with one of the first themes in lusty
+horns, and suddenly falls into a pleasant jingle, prattling away in the
+train of important figures, the kind that is pertinent with no outer
+likeness.
+
+[Music: _Grazioso_
+(Strings, bassoons and horns)]
+
+Everywhere, to be sure, the little rhythmic cadence appears; the whole
+sounds almost like the old children's canon on "Three Blind Mice";
+indeed the themal inversion is here the main tune. Then in the bass the
+phrase sounds twice as slow as in the horns. There are capers and
+horseplay; a sudden shift of tone; a false alarm of fugue; suddenly we
+are back in the first placid verse of the rhythmic motive.
+
+Here is a new augmentation in resonant horns and middle strings, and the
+melodious extension. A former motive that rings out in high reed, seems
+to have the function of concluding each episode.
+
+A new stretch of fugue appears with new counter-theme, that begins in
+long-blown notes of horns. It really is no longer a fugue; it has lapsed
+into mere smooth-rolling motion underneath a verse of primal tune. And
+presently another variant of graceful episode brings a delicious
+lilt,--_tender, but expressive_.
+
+[Music: _Grazioso_
+_espressivo_
+(Strings)]
+
+With all the subtle design there is no sense of the lamp, in the gentle
+murmur of quicker figure or melodious flow of upper theme. Moving is the
+lyric power and sweetness of this multiple song. As to themal
+relation,--one feels like regarding it all as inspired madrigal, where
+the maze and medley is the thing, where the tunes are not meant to be
+distinguished. It becomes an abandoned orgy of clearest counterpoint.
+Throughout is a blending of fugue and of children's romp, anon with the
+tenderness of lullaby and even the glow of love-song. A brief mystic
+verse, with slow descending strain in the high wood, preludes the
+returning gambol of running strings, where the maze of fugue or canon
+is in the higher flowing song, with opposite course of answering tune,
+and a height of jolly revel, where the bright trumpet pours out the
+usual concluding phrase. The rhythmic episode, in whimsical change, here
+sings with surprise of lusty volume. So the merry round goes on to a big
+resonant _Amen_ of final acclaim, where the little phrase steals out as
+naturally as in the beginning.
+
+Then in quicker pace it sounds again all about, big and little, and
+ends, after a touch of modern Gallic scale, in opposing runs, with a
+last light, saucy fling.
+
+Mahler, we feel again, realizes all the craving that Bruckner breeds for
+a kernel of feeling in the shell of counterpoint. Though we cannot deny
+a rude breach of ancient rule and mode, there is in Mahler a genuine,
+original, individual quality of polyphonic art that marks a new stage
+since the first in Bach and a second in Beethoven. It is this bold revel
+in the neglected sanctuary of the art that is most inspiriting for the
+future. And as in all true poetry, this overleaping audacity of design
+is a mere expression of simplest gaiety.
+
+
+
+
+CHAPTER XVIII
+
+RICHARD STRAUSS[A]
+
+[Footnote A: Born in 1864.]
+
+
+Much may be wisely written on the right limits of music as a depicting
+art. The distinction is well drawn between actual delineation, of figure
+or event, and the mere suggestion of a mood. It is no doubt a fine line,
+and fortunately; for the critic must beware of mere negative philosophy,
+lest what he says cannot be done, be refuted in the very doing. If
+Lessing had lived a little later, he might have extended the principles
+of his "Laocoeon" beyond poetry and sculpture into the field of music.
+Difficult and ungrateful as is the task of the critical philosopher, it
+must be performed. There is every reason here as elsewhere why men
+should see and think clearly.
+
+It is perhaps well that audiences should cling to the simple verdict of
+beauty, that they should not be led astray by the vanity of finding an
+answer; else the composer is tempted to create mere riddles. So we may
+decline to find precise pictures, and content ourselves with the music.
+The search is really time wasted; it is like a man digging in vain for
+gold and missing the sunshine above.
+
+Strauss may have his special meanings. But the beauty of the work is
+for us all-important. We may expect him to mark his scenes. We may not
+care to crack that kind of a nut.[A] It is really not good eating.
+Rather must we be satisfied with the pure beauty of the fruit, without a
+further hidden kernel. There is no doubt, however, of the ingenuity of
+these realistic touches. It is interesting, here, to contrast Strauss
+with Berlioz, who told his stories largely by extra-musical means, such
+as the funeral trip, the knell of bells, the shepherd's reed. Strauss at
+this point joins with the Liszt-Wagner group in the use of symbolic
+motives. Some of his themes have an effect of tonal word-painting. The
+roguish laugh of Eulenspiegel is unmistakable.
+
+[Footnote A: Strauss remarked that in _Till Eulenspiegel_ he had given
+the critics a hard nut to crack.]
+
+It is in the harmonic rather than the melodic field that the fancy of
+Strauss soars the freest. It is here that his music bears an individual
+stamp of beauty. Playing in and out among the edges of the main harmony
+with a multitude of ornamental phrases, he gains a new shimmer of
+brilliancy. Aside from instrumental coloring, where he seems to outshine
+all others in dazzling richness and startling contrasts, he adds to the
+lustre by a deft playing in the overtones of his harmonies, casting the
+whole in warmest hue.
+
+If we imagine the same riotous license in the realm of tonal
+noise,--cacophony, that is, where the aim is not to enchant, but to
+frighten, bewilder, or amaze; to give some special foil to sudden
+beauty; or, last of all, for graphic touch of story, we have another
+striking element of Strauss's art. The anticipation of a Beethoven in
+the drum of the Scherzo of the Fifth Symphony, or the rhythmic whims of
+a Schumann in his Romantic piano pieces suggest the path of much of this
+license. Again, as passing notes may run without heed of harmony, since
+ancient days, so long sequences of other figures may hold their moving
+organ-point against clashing changes of tonality.
+
+Apart from all this is the modern "counterpoint," where, if it is quite
+the real thing, Strauss has outdone the boldest dreams of ancient school
+men. But with the lack of cogent form, and the multitude of small
+motives it seems a different kind of art. We must get into the
+view-point of romantic web of infinite threads, shimmering or jarring in
+infinite antagonism (of delayed harmony). By the same process comes
+always the tremendous accumulation towards the end. As the end and
+essence of the theme seems a graphic quality rather than intrinsic
+melody, so the main pith and point of the music lies in the weight and
+power of these final climaxes.
+
+
+_TOD UND VERKLAeRUNG (DEATH AND TRANSFIGURATION), TONE POEM_
+
+It may be well to gather a few general impressions before we attempt the
+study of a work radical in its departure from the usual lines of tonal
+design.
+
+There can be no doubt of the need of vigilance if we are to catch the
+relevance of all the strains. To be sure, perhaps this perception is
+meant to be subconscious. In any case the consciousness would seem to
+ensure a full enjoyment.
+
+It is all based on the motif of the Wagner drama and of the Liszt
+symphonies, and it is carried to quite as fine a point. Only here we
+have no accompanying words to betray the label of the theme. But in the
+quick flight of themes, how are we to catch the subtle meaning? The
+interrelation seems as close as we care to look, until we are in danger
+of seeing no woods for the trees.
+
+Again the danger of preconception is of the greatest. We may get our
+mind all on the meaning and all off the music. The clear fact is the
+themes do have a way of entering with an air of significance which they
+challenge us to find. The greatest difficulty is to distinguish the
+themes that grow out of each other, as a rose throws off its early
+petals, from those that have a mere chance similarity. Even this
+likeness may have its own intended meaning, or it may be all beside the
+mark. But we may lose not merely the musical, but even the dramatic
+sequence in too close a poring over themal derivation. On the other hand
+we may defy the composer himself and take simply what he gives, as if on
+first performance, before the commentators have had a chance to breed.
+And this may please him best in the end.
+
+We must always attend more to the mood than to themal detail as
+everywhere in real music, after all. Moments of delight and triumph we
+know there are in this work. But they are mere instants. For it is all
+the feverish dream of death. There can be no earlier rest. Snatches they
+are of fancy, of illusion, as, says the priest in Oedipus, is all of
+life.
+
+It may be worth while, too, to see how pairs of themes ever occur in
+Strauss, the second in answer, almost in protest, to the first. (It is
+not unlike the pleading in the Fifth Symphony of the second theme with
+the sense of doom in the first.) So we seem to find a motive of fate,
+and one of wondering, and striving; a theme of beauty and one of
+passion,--if we cared to tread on such a dangerous, tempting ground.
+Again, we may find whole groups of phrases expressive of one idea, as of
+beauty, and another of anxious pursuit. Thus we escape too literal a
+themal association.
+
+Trying a glimpse from the score pure and simple, we find a poem,
+opposite the first page, that is said to have been written after the
+first production. So, reluctantly, we must wait for the mere
+reinforcement of its evidence.
+
+_Largo_, in uncertain key, begins the throb of irregular rhythm (in
+strings) that Bach and Chopin and Wagner have taught us to associate
+with suffering. The first figure is a gloomy descent of pairs of chords,
+with a hopeless cry above (in the flutes). In the recurrence, the turn
+of chord is at last upward. A warmer hue of waving sounds (of harps) is
+poured about, and a gentle vision appears on high, shadowed quickly by
+a theme of fearful wondering. The chords return as at first. A new
+series of descending tones
+
+[Music: (Flute an 8ve. higher) (Oboe)
+_Largo_
+_dolce_
+(Harp with arpeggio groups of six to the quarter)]
+
+intrude, with a sterner sense of omen, and yield to a full melodic
+utterance of longing (again with the
+
+[Music: (Solo violin muted)
+(Horns)
+(Harp with arpeggio groups of six to the quarter)]
+
+soothing play of harp), and in the midst a fresh theme of wistful fear.
+For a moment there is a brief glimpse of the former vision. Now the
+song, less of longing than of pure bliss, sings free and clear its
+descending lay in solo violin, though an answering phrase (in the horns)
+of upward striving soon rises from below. The vision now appears again,
+the wondering monitor close beside. The melancholy chords return to dim
+the beauty. As the descending theme recedes, the rising motive sings a
+fuller course on high with a new note of eager, anxious fear.
+
+All these themes are of utmost pertinence in this evident prologue of
+the story. Or at least the germs of all the leading melodies are here.
+
+In sudden turn of mood to high agitation, a stress of wild desire rings
+out above in pairs of sharp ascending chords, while below the wondering
+theme rises in growing tumult. A whirling storm of the two phrases ends
+in united burst like hymn of battle, on the line of the wondering theme,
+but infused with
+
+[Music: _Alla breve_
+_Tutti_
+(Bass doubled below)]
+
+resistless energy. Now sings a new discourse of warring phrases that
+are dimly traced to the phase of the blissful melody, above the theme of
+upward striving.
+
+[Music: (Theme in woodwind)
+_espress._
+(Strings)
+(Answer in basses)]
+
+They wing an eager course, undaunted by the harsh intruding chords. Into
+the midst presses the forceful martial theme. All four elements are
+clearly evident. The latest gains control, the other voices for the
+nonce merely trembling in obedient rhythm. But a new phase of the
+wistful motive appears, masterful but not o'ermastering, fiercely
+pressing upwards,--and a slower of the changed phrase of blissful song.
+The former attains a height of sturdy ascending stride.
+
+In spite of the ominous stress of chords that grow louder with the
+increasing storm, something of assurance comes with the ascending
+stride. More and more this seems the dominant idea.
+
+A new paroxysm of the warring themes rises to the first great climax
+where the old symbol of wondering and striving attains a brief moment
+of assured ecstatic triumph.
+
+In a new scene (_meno mosso_), to murmuring strings (where the theme of
+striving can possibly be caught) the blissful melody sings in full song,
+undisturbed save by the former figure that rises as if to grasp,--sings
+later, too, in close sequence of voices. After a short intervening
+verse--_leicht bewegt_--where the first vision appears for a moment, the
+song is resumed, still in a kind of shadowy chase of slow flitting
+voices, _senza espressione_. The rising, eager phrase is disguised in
+dancing pace, and grows to a graceful turn of tune. An end comes, _poco
+agitato_, with rude intrusion of the hymnal march in harsh contrast of
+rough discord; the note of anxious fear, too, strikes in again. But
+suddenly, _etwas breiter_, a new joyous mood frightens away the birds of
+evil omen.
+
+Right in the midst of happenings, we must be warned against too close a
+view of individual theme. We must not forget that it is on the
+contrasted pairs and again the separate groups of phrases, where all
+have a certain common modal purpose, that lies the main burden of the
+story. Still if we must be curious for fine derivation, we may see in
+the new tune of exultant chorus the late graceful turn that now,
+reversing, ends in the former rising phrase. Against it sings the first
+line of blissful theme. And the first tune of graceful beauty also finds
+a place. But they all make one single blended song, full of glad bursts
+and cadences.
+
+Hardly dimmed in mood, it turns suddenly into a phase of languorous
+passion, in rich setting of pulsing harp, where now the later figures,
+all but the blissful theme, vanish before an ardent song of the
+wondering phrase. The motive of passionate desire rises and falls, and
+soars in a path of "endless melody," returning on its own line of
+flight, playing as if with its shadow, catching its own echo in the
+ecstasy of chase. And every verse ends with a new stress of the
+insistent upward stride, that grows ever in force and closes with big
+reverberating blasts. The theme of the vision joins almost in rough
+guise of utmost speed, and the rude marching song breaks in; somehow,
+though they add to the maze, they do not dispel the joy. The ruling
+phase of passion now rumbles fiercely in lowest depths. The theme of
+beauty rings in clarion wind and strings, and now the whole strife ends
+in clearest, overwhelming hymn of triumphant gladness, all in the
+strides of the old wondering, striving phrase.
+
+[Music]
+
+The whole battle here is won. Though former moments are fought through
+again (and new melodies grow out of the old plaint), the triumphant
+shout is near and returns (ever from a fresh tonal quarter) to chase
+away the doubt and fear. All the former phrases sing anew, merging the
+tale of their strife in the recurring verse of united paean. The song at
+last dies away, breaking like setting sun into glinting rays of
+celestial hue, that pale away into dullest murmur.
+
+Still one returning paroxysm, of wild striving for eluding bliss, and
+then comes the close. From lowest depths shadowy tones sing herald
+phrases against dim, distorted figures of the theme of beauty,--that
+lead to a soft song of the triumphant hymn, _tranquillo_, in gentlest
+whisper, but with all the sense of gladness and ever bolder straying of
+the enchanting dream. After a final climax the song ends in slow
+vanishing echoes.
+
+The poet Ritter is said to have added, after the production of the
+music, the poem printed on the score, of which the following is a rather
+literal translation:
+
+    In the miserable chamber,
+    Dim with flick'ring candlelight,
+    Lies a man on bed of sickness.
+    Fiercely but a moment past
+    Did he wage with Death the battle;
+    Worn he sinks back into sleep.
+    Save the clock's persistent ticking
+    Not a sound invades the room,
+    Where the gruesome quiet warns us
+    Of the neighborhood of Death.
+    O'er the pale, distended features
+    Plays a melancholy smile.
+    Is he dreaming at life's border
+    Of his childhood golden days?
+
+    But a paltry shrift of sleep
+    Death begrudges to his victim.
+    Cruelly he wakes and shakes him,
+    And the fight begins anew,--
+    Throb of life and power of death,
+    And the horror of the struggle.
+    Neither wins the victory.
+    Once again the stillness reigns.
+
+    Worn of battle, he relapses
+    Sleepless, as in fevered trance.
+    Now he sees before him passing
+    Of his life each single scene:
+    First the glow of childhood dawn,
+    Bright in purest innocence,
+    Then the bolder play of youth
+    Trying new discovered powers,
+    Till he joins the strife of men,
+    Burning with an eager passion
+    For the high rewards of life.--
+    To present in greater beauty
+    What his inner eye beholds,
+    This is all his highest purpose
+    That has guided his career.
+
+    Cold and scornful does the world
+    Pile the barriers to his striving.
+    Is he near his final goal,
+    Comes a thund'rous "Halt!" to meet him.
+    "Make the barrier a stepping,
+    Ever higher keep your path."
+    Thus he presses on and urges,
+    Never ceasing from his aim.--
+    What he ever sought of yore
+    With his spirit's deepeth longing,
+    Now he seeks in sweat of death,
+    Seeks--alas! and finds it never.
+    Though he grasps it clearer now,
+    Though it grows in living form,
+    He can never all achieve it,
+    Nor create it in his thought.
+    Then the final blow is sounded
+    From the hammer-stroke of Death,
+    Breaks the earthly frame asunder,
+    Seals the eye with final night.
+    But a mighty host of sounds
+    Greet him from the space of heaven
+    With the song he sought below:
+    Man redeemed,--the world transfigured.
+
+
+_DON JUAN. (TONE POEM.)_
+
+A score or more of lines from Lenau's poem of the same title stand as
+the subject of the music.
+
+    O magic realm, illimited, eternal,
+    Of gloried woman,--loveliness supernal!
+    Fain would I, in the storm of stressful bliss,
+    Expire upon the last one's lingering kiss!
+      Through every realm, O friend, would wing my flight,
+    Wherever Beauty blooms, kneel down to each,
+      And, if for one brief moment, win delight!
+
+           *       *       *       *       *
+
+    I flee from surfeit and from rapture's cloy,
+    Keep fresh for Beauty service and employ,
+    Grieving the One, that All I may enjoy.
+
+    My lady's charm to-day hath breath of spring,
+    To-morrow may the air of dungeon bring.
+      When with the new love won I sweetly wander,
+    No bliss is ours upfurbish'd and regilded;
+      A different love has This to That one yonder,--
+    Not up from ruins be my temple builded.
+      Yea Love life is, and ever must be now,
+    Cannot be changed or turned in new direction;
+    It must expire--here find a resurrection;
+      And, if 'tis real, it nothing knows of rue!
+    Each Beauty in the world is sole, unique;
+    So must the love be that would Beauty seek!
+    So long as Youth lives on with pulse afire,
+    Out to the chase! To victories new aspire!
+
+           *       *       *       *       *
+
+    It was a wond'rous lovely storm that drove me:
+    Now it is o'er; and calm all round, above me;
+      Sheer dead is every wish; all hopes o'ershrouded,--
+    It was perhaps a flash from heaven descended,
+    Whose deadly stroke left me with powers ended,
+      And all the world, so bright before, o'erclouded;
+    Yet perchance not! Exhausted is the fuel;
+    And on the hearth the cold is fiercely cruel.[A]
+
+[Footnote A: Translation by John P. Jackson.]
+
+In the question of the composer's intent, of general plan and of
+concrete detail, it is well to see that the quotation from Lenau's poem
+is twice broken by lines of omission; that there are thus three
+principal divisions. It cannot be wise to follow a certain kind of
+interpretation[A] which is based upon the plot of Mozart's opera. The
+spirit of Strauss's music is clearly a purely subjective conception,
+where the symbolic figure of fickle desire moves through scenes of
+enchantment to a climax of--barren despair.
+
+[Footnote A: In a complex commentary William Mauke finds Zerlina, Anna
+and "The Countess" in the music.]
+
+To some extent Strauss clearly follows the separate parts of his
+quotation. Fervent desire, sudden indifference are not to be mistaken.
+
+The various love scenes may be filled with special characters without
+great harm, save that the mind is diverted from a higher poetic view to
+a mere concrete play of events. The very quality of the pure musical
+treatment thus loses nobility and significance. Moreover the only
+thematic elements in the design are the various "motives" of the hero.
+
+_Allegro molto con brio_ begins the impetuous main theme in dashing
+ascent,
+
+[Music: _Allegro molto con brio_
+(Unison strings)
+(Doubled in higher 8ve.)]
+
+whimsical play
+
+[Music: (Woodwind doubled in higher 8ve.)]
+
+and masterful career.
+
+[Music: (Doubled in higher 8ve.)]
+
+The various phases are mingled in spirited song; only the very beginning
+seems reserved as a special symbol of a turn in the chase, of the sudden
+flame of desire that is kindled anew.
+
+In the midst of a fresh burst of the main phrase are gentle strains of
+plaint (_flebile_). And now a tenderly sad motive in the wood sings
+against the marching phrase, amidst a spray of light, dancing chords.
+Another song of the main theme is spent in a vanishing tremolo of
+strings and harp, and buried in a rich chord whence rises a new song
+(_molto espressivo_) or rather a duet, the first of the longer
+love-passages.
+
+The main melody is begun in clarinet and horn and instantly followed (as
+in canon) by violins. The climax of this impassioned scene is a titanic
+chord of minor, breaking the spell; the end is in a distorted strain of
+the melody, followed by a listless refrain of the (original) impetuous
+motive (_senza espressione_).
+
+The main theme breaks forth anew, in the spirit of the beginning. It
+yields suddenly before the next episode, a languorous song of lower
+strings (_molto appassionato_), strangely broken into by sighing phrases
+in the high wood (_flebile_). After further interruption, the love song
+is crowned by a broad flowing melody (_sehr getragen und
+ausdrucksvoll_)--the main lyric utterance of all. It has a full length
+of extended song, proportioned to its distinguished beauty. The dual
+quality is very clear throughout the scene. Much of the song is on a
+kindred phrase of the lyric melody sung by the clarinet with dulcet
+chain of chords of harp.
+
+Here strikes a climactic tune in forte unison of the four horns (_molto
+espressivo e marcato_). It is the clear utterance of a new mood of the
+hero,--a purely
+
+[Music: (Four horns in unison) (Full orchestra)]
+
+subjective phase. With a firm tread, though charged with pathos, it
+seems what we might venture to call a symbol of renunciation. It is
+broken in upon by a strange version of the great love song, _agitato_ in
+oboes, losing all its queenly pace. As though in final answer comes
+again the ruthless phrase of horns, followed now by the original theme.
+_Rapidamente_ in full force of strings comes the coursing strain of
+impetuous desire. The old and the new themes of the hero are now in
+stirring encounter, and the latter seems to prevail.
+
+The mood all turns to humor and merrymaking. In gay dancing trip serious
+subjects are treated jokingly (the great melody of the horns is
+mockingly sung by the harp),--in fits and gusts. At the height the
+(first) tempestuous motive once more dashes upwards and yields to a
+revel of the (second) whimsical phrase. A sense of fated renunciation
+seems to pervade the play of feelings of the hero. In the lull, when the
+paroxysm is spent, the various figures of his past romances pass in
+shadowy review; the first tearful strain, the melody of the first of the
+longer episodes,--the main lyric song (_agitato_).
+
+In the last big flaming forth of the hero's passion victory is once more
+with the theme of renunciation,--or shall we say of grim denial where
+there is no choice.
+
+Strauss does not defy tradition (or providence) by ending his poem with
+a triumph. A final elemental burst of passion stops abruptly before a
+long pause. The end is in dismal, dying harmonies,--a mere dull sigh of
+emptiness, a void of joy and even of the solace of poignant grief.
+
+
+_TILL EULENSPIEGEL'S MERRY PRANKS_
+
+_In the Manner of Ancient Rogues--In Rondo Form_
+
+Hardly another subject could have been more happy for the revelling in
+brilliant pranks and conceits of a modern vein of composition. And in
+the elusive humor of the subject is not the least charm and fitness.
+Too much stress has been laid on the graphic purpose. There is always a
+tendency to construe too literally. While we must be in full sympathy
+with the poetic story, there is small need to look for each precise
+event. We are tempted to go further, almost in defiance, and say that
+music need not be definite, even despite the composer's intent. In other
+words, if the tonal poet designs and has in mind a group of graphic
+figures, he may nevertheless achieve a work where the real value and
+beauty lie in a certain interlinear humor and poetry,--where the labels
+can in some degree be disregarded.
+
+Indeed, it is this very abstract charm of music that finds in such a
+subject its fullest fitness. If we care to know the pranks exactly, why
+not turn to the text? Yet, reading the book, in a way, destroys the
+spell. Better imagine the ideal rogue, whimsical, spritely, all of the
+people too. But in the music is the real Till. The fine poetry of
+ancient humor is all there, distilled from the dregs of folk-lore that
+have to us lost their true essence. There is in the music a daemonic
+quality, inherent in the subject, that somehow vanishes with the
+concrete tale. So we might say the tonal picture is a faithful likeness
+precisely in so far as it does not tell the facts of the story.
+
+Indeed, in this mass of vulgar stories we cannot help wondering at the
+reason for their endurance through the centuries, until we feel
+something of the spirit of the people in all its phases. A true mirror
+it was of stupidity and injustice, presented by a sprite of owlish
+wisdom, sporting, teasing and punishing[A] all about. It is a kind of
+popular satire, with a strong personal element of a human Puck, or an
+impish Robin Hood, with all the fairy restlessness, mocking at human rut
+and empty custom.
+
+[Footnote A: On leaving the scene of some special mischief, Till would
+draw a chalk picture of an owl on the door, and write below, _Hic fuit_.
+The edition of 1519 has a woodcut of an owl resting on a mirror, that
+was carved in stone, the story goes, over Till's grave.]
+
+It is perhaps in the multitude of the stories, paradoxical though it
+seem, that lies the strength. In the number of them (ninety-two
+"histories" there are) is an element of universality. It is like the
+broom: one straw does not make, nor does the loss of one destroy it;
+somewhere in the mass lies the quality of broom.
+
+In a way Till is the Ulysses of German folk-lore, the hero of trickery,
+a kind of _Reinecke Fuchs_ in real life. But he is of the soil as none
+of the others. A satyr, in a double sense, is Till; only he is pure
+Teuton, of the latter middle ages.
+
+He is every sort of tradesman, from tailor to doctor. Many of the
+stories, perhaps the best, are not stories at all, but merely clever
+sayings. In most of the tricks there is a Roland for an Oliver. Till
+stops at no estate; parsons are his favorite victims. He is, on the
+whole, in favor with the people, though he played havoc with entire
+villages. Once he was condemned to death by the Luebeck council. But
+even here it was his enemies, whom he had defrauded, that sought
+revenge. The others excused the tricks and applauded his escape. Even in
+death the scandal and mischief do not cease.
+
+The directions in Strauss' music are new in their kind and dignity. They
+belong quite specially to this new vein of tonal painting. In a double
+function, they not merely guide the player, but the listener as well.
+The humor is of utmost essence; the humor is the thing, not the play,
+nor the story of each of the pranks, in turn, of our jolly rogue. And
+the humor lies much in these words of the composer, that give the lilt
+of motion and betray a sense of the intended meaning.
+
+[Music: _Gemaechlich_]
+
+The tune, sung at the outset _gemaechlich_ (comfortably), is presumably
+the rogue _motif_, first in pure innocence of mood. But quickly comes
+another, quite opposed in rhythm, that soon hurries into highest speed.
+These are not the "subjects" of old tradition.
+
+[Music: (Horn)]
+
+And first we are almost inclined to take the "Rondo form" as a new
+roguish prank. But we may find a form where the subjects are independent
+of the basic themes that weave in and out unfettered by rule--where the
+subjects are rather new grouping of the fundamental symbols.[A]
+
+[Footnote A: It is like the Finale of Brahms' Fourth Symphony, where an
+older form (of _passacaglia_) is reared together with a later, one
+within the other.]
+
+After a pause in the furious course of the second theme, a quick piping
+phrase sounds _lustig_ (merrily) in the clarinet, answered by a chord of
+ominous
+
+[Music: _Molto allegro_
+(Clar.)
+_lustig_]
+
+token. But slowly do we trace the laughing phrase to the first theme.
+
+And here is a new whim. Though still in full tilt, the touch of demon is
+gone in a kind of ursine clog of the basses. Merely jaunty and clownish
+it would be but for the mischievous scream (of high flute) at the end.
+And now begins a rage of pranks, where the main phrase is the rogue's
+laugh, rising in brilliant gamut of outer pitch and inner mood.
+
+At times the humor is in the spirit of a Jean Paul, playing between
+rough fun and sadness in a fine spectrum of moods. The lighter motive
+dances harmlessly about the more serious, intimate second phrase. There
+is almost the sense of lullaby before the sudden plunge to wildest
+chaos, the only portent being a constant trembling of low strings. All
+Bedlam is let loose, where the rogue's shriek is heard through a
+confused cackling and a medley of voices here and there on the running
+phrase (that ever ends the second theme). The sound of a big rattle is
+added to the scene,--where perhaps the whole village is in an uproar
+over some wholesale trick of the rogue.
+
+And what are we to say to this simplest swing of folk-song that steals
+in naively to enchanting strum of rhythm. We may speculate about the
+Till as the
+
+[Music: (_Gemaechlich_)]
+
+people saw him, while elsewhere we have the personal view. The
+folk-tunes may not have a special dramatic role. Out of the text of
+folk-song, to be sure, all the strains are woven. Here and there we
+have the collective voice. If we have watched keenly, we have heard how
+the tune, simply though it begins, has later all the line of Till's
+personal phrase. Even in the bass it is, too. Of the same fibre is this
+demon mockery and the thread of folk legend.
+
+We cannot pretend to follow all the literal whims. And it is part of the
+very design that we are ever surprised by new tricks, as by this saucy
+trip of dancing phrase. The purely human touches are clear, and almost
+moving in contrast with the impish humor.
+
+An earlier puzzle is of the second theme. As the composer has refused to
+help us, he will not quarrel if we find our own construction. A possible
+clue there is. As the story proceeds, aside from the mere abounding fun
+and poetry, the more serious theme prevails. Things are happening. And
+there come the tell-tale directions. _Liebegluehend_, aflame with love, a
+melody now sings in urgent pace, ending with
+
+[Music: _Liebegluehend_]
+
+a strange descending note. Presently in quieter mood, _ruhiger_, it
+gains a new grace, merely to dash again, _wuetend_, into a fiercer rage
+than before. Before long we cannot escape in all this newer melody a
+mere slower outline of the second theme. A guess then, such as the
+composer invites us to make, is this: It is not exactly a Jekyll and
+Hyde, but not altogether different. Here (in the second theme, of horn)
+is Till himself,--not the rogue, but the man in his likes and loves and
+suffering. The rogue is another, a demon that possesses him to tease
+mankind, to tease himself out of his happiness. During the passionate
+episode the rogue is banned, save for a grimace now and then, until the
+climax, when all in disguise of long passionate notes of resonant bass
+the demon theme has full control. But for once it is in earnest, in dead
+earnest, we might say. And the ominous chord has a supreme moment, in
+the shadow of the fulfilment.
+
+A new note sounds in solemn legend of lowest wood, sadly beautiful, with
+a touch of funeral pace.[A]
+
+[Footnote A: Strauss told the writer that this was the march of the
+jurymen,--"_der Marsch der Schoeffen_." Reproached for killing Till, he
+admitted that he had taken a license with the story and added: "In the
+epilogue,--there he lives."]
+
+The impish laugh still keeps intruding. But throughout the scene it is
+the Till motive, not the rogue, that fits the stride of the death-march.
+To be sure the rogue anon laughs bravely. But the other figure is in
+full view.
+
+[Music: (Lowest woodwind)]
+
+The sombre legend is, indeed, in a separate phase, its beauty now
+distorted in a feverish chase of voices on the main phrase. It is all a
+second climax, of a certain note of terror,--of fate. In the midst is a
+dash of the rogue's heartiest laugh, amid the echoes of the fearful
+chord, while the growing roar of the mob can be heard below. Once again
+it rings out undaunted, and then to the sauciest of folk-tunes,
+_leichtfertig_, Till dances gaily and jauntily. Presently, in a mystic
+passage, _schnell und schattenhaft_
+
+[Music: _Leichtfertig_
+(Strings reinforced by clarinets and horns)]
+
+(like fleeting shadow) a phantom of the rogue's figure passes
+stealthily across the horizon.
+
+_Etwas gemaechlicher_, a graceful duet weaves prettily out of the Till
+motive, while the other roars very gently in chastened tones of softest
+horns.
+
+[Music]
+
+The first course of themes now all recurs, though some of the roguery is
+softened and soon trips into purest folk-dance. And yet it is all built
+of the rascal theme. It might (for another idle guess) be a general
+rejoicing. Besides the tuneful dance, the personal phrase is laughing
+and chuckling in between.
+
+The rejoicing has a big climax in the first folk-song of all, that now
+returns in full blast of horns against a united dance of strings and
+wood. After a roll of drum loud clanging strokes sound threatening
+(_drohend_) in low bass and strings, to which the rascal pipes his theme
+indifferently (_gleichgueltig_). The third time, his answer has a
+simulated sound (_entstellt_). Finally, on the insistent thud comes a
+piteous phrase (_klaeglich_) in running thirds. The dread chords at last
+vanish, in the strings. It is very like an actual, physical end. There
+is no doubt that the composer here intends the death of Till, in face of
+the tradition.
+
+Follows the epilogue, where in the comfortable swing of the beginning
+the first melody is extended in full beauty and significance. All the
+pleasantry of the rogue is here, and at the end a last fierce burst of
+the demon laugh.
+
+
+_"SINFONIA DOMESTICA."_
+
+The work followed a series of tone-poems where the graphic aim is shown
+far beyond the dreams even of a Berlioz. It may be said that Strauss,
+strong evidence to the contrary, does not mean more than a suggestion of
+the mood,--that he plays in the humor and poetry of his subject rather
+than depicts the full story. It is certainly better to hold to this view
+as long as possible. The frightening penalty of the game of exact
+meanings is that if there is one here, there must be another there and
+everywhere. There is no blinking the signs of some sort of plot in our
+domestic symphony, with figures and situations. The best way is to lay
+them before the hearer and leave him to his own reception.
+
+In the usual sense, there are no separate movements. Though "Scherzo" is
+printed after the first appearance of the three main figures, and later
+"Adagio" and "Finale," the interplay and recurrence of initial themes is
+too constant for the traditional division. It is all a close-woven drama
+in one act, with rapidly changing scenes. Really more important than the
+conventional Italian names are such headings as "Wiegenlied"
+(Cradle-song), and above all, the numerous directions. Here is an almost
+conclusive proof of definite intent. To be sure, even a figure on canvas
+is not the man himself. Indeed, as music approaches graphic realism, it
+is strange how painting goes the other way. Or rather, starting from
+opposite points, the two arts are nearing each other. As modern painting
+tends to give the feeling of a subject, the subjective impression rather
+than the literal outline, we can conceive even in latest musical realism
+the "atmosphere" as the principal aim. In other words, we may view
+Strauss as a sort of modern impressionist tone-painter, and so get the
+best view of his pictures.
+
+Indeed, cacophony is alone a most suggestive subject. In the first place
+the term is always relative, never absolute,--relative in the historic
+period of the composition, or relative as to the purpose. One can hardly
+say that any combination of notes is unusable. Most striking it is how
+the same group of notes makes hideous waste in one case, and a true
+tonal logic in another. Again, what was impossible in Mozart's time, may
+be commonplace to-day.
+
+You cannot stamp cacophony as a mere whim of modern decadence. Beethoven
+made the noblest use of it and suffered misunderstanding. Bach has it in
+his scores with profound effect. And then the license of one age begets
+a greater in the next. It is so in poetry, though in far less degree.
+For, in music, the actual tones are the integral elements of the art.
+They are the idea itself; in poetry the words merely suggest it.
+
+A final element, independent of the notes themselves, is the official
+numbering of themes. Strauss indicates a first, second and third theme,
+obviously of the symphony, not of a single movement. The whole attitude
+of the composer, while it does not compel, must strongly suggest some
+sort of guess of intending meaning.[A]
+
+[Footnote A: At the first production, in New York, in obedience to the
+composer's wish, no descriptive notes were printed. When the symphony
+was played, likewise under the composer's direction, in Berlin in
+December, 1904, a brief note in the program-book mentions the three
+groups of themes, the husband's, the wife's and the child's, in the
+first movement. The other movements are thus entitled:
+
+II.--_Scherzo._ Parents' happiness. Childish play. Cradle-song (the
+clock strikes seven in the evening).
+
+III.--_Adagio._ Creation and contemplation. Love scene. Dreams and cares
+(the clock strikes seven in the morning).
+
+IV.--_Finale._ Awakening and merry dispute (double fugue). Joyous
+conclusion.]
+
+The "first theme" in "comfortable" pace, gliding
+
+[Music: 1st Theme
+_Pleasantly_
+(Cellos and fagots)
+_Dreamily_
+(Oboe)
+(Cellos, bassoons and horns)]
+
+into a "dreamy" phrase, begins the symphony. Presently
+
+[Music: _Peevishly_
+(Clarinets)]
+
+a "peevish" cry breaks in, in sudden altered key; then on a second,
+soothing tonal change, a strain sings "ardently" in upward wing to a
+bold climax and down to gentler cadence, the "peevish" cry still
+breaking in. The trumpet has a short cheery
+
+[Music: _With fire_
+(Strings)]
+
+call (_lustig_), followed by a brisk, rousing run in wood and strings
+(_frisch_). A return of the "comfortable" phrase is quickly overpowered
+by the "second theme," in very lively manner (_sehr lebhaft_), with an
+answering phrase, _grazioso_, and light trills above.
+
+[Music: 2d Theme _With great spirit_
+(Strings, wood, horns and harps)
+_grazioso_]
+
+The incidental phrases are thus opposed to the main humor of each theme.
+The serene first melody has "peevish" interruptions; the assertive
+second yields to graceful blandishments. A little later a strain appears
+_gefuehlvoll_, "full of feeling," (that plays a frequent part), but the
+main (second) theme breaks in "angrily." Soon a storm is brewing; at the
+height the same motive is sung insistently. In the lull, the first
+phrase of all sings gaily (_lustig_), and then serenely (_gemaechlich_)
+in tuneful tenor. Various
+
+[Music: (Largely in strings)]
+
+parts of the first theme are now blended in mutual discourse.
+
+Amidst trembling strings the oboe d'amore plays the "third theme." "Very
+tenderly," "quietly," the
+
+[Music: 3d Theme _Quietly_ (Strings)
+(Oboe d'Amore)]
+
+second gives soothing answer, and the third sings a full melodious
+verse.
+
+Here a loud jangling noise tokens important arrivals. Fierce, hearty
+pulling of the door-bell excites the parents, especially the mother, who
+is quite in hysterics. The father takes it decidedly more calmly. The
+visitors presently appear in full view, so to speak; for "the aunts," in
+the trumpets, exclaim: "Just like Papa," and the uncles, in the
+trombones, cry: "Just like Mama" (_ganz die Mama_). There can be no
+questioning; it is all written in the book.
+
+It is at least not hazardous to guess the three figures in the domestic
+symphony. Now in jolly Scherzo (_munter_) begin the tricks and sport of
+babyhood. There is of course but one theme, with mere comments
+
+[Music: _Gaily. Scherzo_
+(Oboe d'Amore)
+(Strings)]
+
+of parental phrases in varying accents of affection. Another noisy scene
+mars all the peace; father and child have a strong disagreement; the
+latter is "defiant"; the paternal authority is enforced. Bed-time comes
+with the stroke of seven, a cradle-song (Wiegenlied) (where the child's
+theme hums faintly below). Then, "slowly and very quietly" sings the
+"dreamy" phrase of the first theme, where
+
+[Music: _Rather slowly_ (Cradle song) (Clarinets singing)
+(Oboe d'Amore)
+(Fagots)]
+
+the answer, in sweeping descent, gives one of the principal elements of
+the later plot. It ends in a moving bit of tune, "very quietly and
+expressively" (_sehr ruhig und innig_).
+
+Adagio, a slow rising strain plays in the softer
+
+[Music: _Very quietly and expressively_
+(Strings)]
+
+wood-notes of flute, oboe d'amore, English horn, and the lower
+clarinets; below sings gently the second theme, quite transformed in
+feeling. Those upper notes, with a touch of impassioned yearning, are
+not new to our ears. That very rising phrase (the "dreamy" motive), if
+we strain our memory, was at first below the more vehement (second)
+figure. So
+
+[Music: _Adagio_]
+
+now the whole themal group is reversed outwardly and in the inner
+feeling. Indeed, in other places crops out a like expressive symbol, and
+especially in the phrase, marked _gefuehlvoll_, that followed the second
+theme in the beginning. All these motives here find a big concerted song
+in quiet motion, the true lyric spot of the symphony.
+
+Out of it emerges a full climax, bigger and broader now, of the first
+motive. At another stage the second has the lead; but at the height is a
+splendid verse of the maternal song. At the end the quiet, blissful tune
+sings again "_sehr innig_."
+
+_Appassionato_ re-enters the second figure. Mingled in its song are the
+latest tune and an earlier expressive phrase _(gefuehlvoll)_. The storm
+that here ensues is not of dramatic play of opposition. There are no
+"angry" indications. It is the full blossoming in richest madrigal of
+all the themes of tenderness and passion in an aureole of glowing
+harmonies. The morning comes with the stroke of seven and the awakening
+cry of the child.
+
+The Finale begins in lively pace (_sehr lebhaft_) with
+
+[Music: (Double Fugue) 1st theme
+(Four Bassoons)
+_marcato_]
+
+a double fugue, where it is not difficult to see in the first theme a
+fragment of the "baby" motive. The second is a remarkably assertive
+little phrase from the cadence of the second theme (quoted above). The
+son is clearly the hero, mainly in sportive humor, although he is not
+free from parental interference. The maze and rigor of the fugue do not
+prevent a frequent appearance of all the other themes, and even of the
+full melodies, of which the fugal motives are built. At the climax of
+the fugue, in the height of speed and noise, something very delightful
+is happening, some furious romp, perhaps, of father and son, the mother
+smiling on the game. At the close a new melody that we might trace, if
+we cared, in earlier origin, has a full verse "quietly and simply"
+(_ruhig und einfach_) in wood and horns, giving the crown
+
+[Music: _Quietly and simply_ (Woodwind and horns)
+(With sustained chord of cellos)]
+
+and seal to the whole. The rest is a final happy refrain of all the
+strains, where the husband's themes are clearly dominant.
+
+
+
+
+CHAPTER XIX
+
+ITALIAN SYMPHONIES
+
+
+The present estate of music in Italy is an instance of the danger of
+prophecy in the broad realm of art. Wise words are daily heard on the
+rise and fall of a nation in art, or of a form like the symphony, as
+though a matter of certain fate, in strict analogy to the life of man.
+
+Italy was so long regnant in music that she seems even yet its chosen
+land. We have quite forgotten how she herself learned at the feet of the
+masters from the distant North. For music is, after all, the art of the
+North; the solace for winter's desolation; an utterance of feeling
+without the model of a visible Nature.
+
+And yet, with a prodigal stream of native melody and an ancient passion
+of religious rapture, Italy achieved masterpieces in the opposite fields
+of the Mass and of Opera. But for the more abstract plane of pure tonal
+forms it has somehow been supposed that she had neither a power nor a
+desire for expression. An Italian symphony seems almost an anomaly,--as
+strange a product as was once a German opera.
+
+The blunt truth of actual events is that to-day a renascence has begun,
+not merely in melodic and dramatic lines; there is a new blending of the
+racial gift of song with a power of profound design.[A] Despite all
+historical philosophy, here is a new gushing forth from ancient fount,
+of which the world may rejoice and be refreshed.
+
+[Footnote A: In the field of the _Lied_ the later group of Italians,
+such as Sinigaglia and Bossi, show a melodic spontaneity and a breadth
+of lyric treatment that we miss in the songs of modern French composers.
+
+In his Overture "_Le Baruffe Chiozzote_" (The Disputes of the People of
+Chiozza) Sinigaglia has woven a charming piece with lightest touch of
+masterly art; a delicate humor of melody plays amid a wealth of
+counterpoint that is all free of a sense of learning.]
+
+In a SYMPHONY BY GIOVANNI SGAMBATI,[A] IN D MAJOR, the form flows with
+such unpremeditated ease that it seems all to the manner born. It may be
+a new evidence that to-day national lines, at least in art, are
+vanishing; before long the national quality will be imperceptible and
+indeed irrelevant.
+
+[Footnote A: Born in 1843.]
+
+To be sure we see here an Italian touch in the simple artless stream of
+tune, the warm resonance, the buoyant spring of rhythm. The first
+movement stands out in the symphony with a subtler design than all the
+rest, though it does not lack the ringing note of jubilation.
+
+The Andante is a pure lyric somewhat new in design and in feeling. It
+shows, too, an interesting contrast of opposite kinds of slower
+melody,--the one dark-hued and legend-like, from which the poet wings
+his flight to a hymnal rhapsody on a clear choral theme, with a rich
+setting of arpeggic harmonies. A strange halting or limping rhythm is
+continued throughout the former subject. In the big climax the feeling
+is strong of some great chant or rite, of vespers or Magnificat. Against
+convention the ending returns to the mood of sad legend.
+
+The Scherzo is a sparkling chain of dancing tunes of which the third, of
+more intimate hue, somehow harks back to the second theme of the first
+movement.
+
+A Trio, a dulcet, tender song of the wood, precedes the return of the
+Scherzo that ends with the speaking cadence from the first Allegro.
+
+A Serenata must be regarded as a kind of Intermezzo, in the Cantilena
+manner, with an accompanying rhythm suggesting an ancient Spanish dance.
+It stands as a foil between the gaiety of the Scherzo and the jubilation
+of the Finale.
+
+The Finale is one festive idyll, full of ringing tune and almost bucolic
+lilt of dance. It reaches one of those happy jingles that we are glad to
+hear the composer singing to his heart's content.
+
+
+_GIUSEPPE MARTUCCI. SYMPHONY IN D MINOR._[A]
+
+[Footnote A: Giuseppe Martucci, 1856-1911.]
+
+The very naturalness, the limpid flow of the melodic thought seem to
+resist analysis of the design. The listener's perception must be as
+naive and spontaneous as was the original conception.
+
+There is, on the one hand, no mere adoption of a classical schedule of
+form, nor, on the other, the over-subtle workmanship of modern schools.
+Fresh and resolute begins the virile theme with a main charm in the
+motion itself. It lies not in a tune here or there, but in a dual play
+of responsive phrases at the start, and then a continuous flow of
+further melody on the fillip of the original rhythm, indefinable of
+outline in a joyous chanting of bass and treble.
+
+A first height reached, an expressive line in the following lull rises
+in the cellos, that is the essence of the contrasting idea, followed
+straightway by a brief phrase of the kind, like some turns of peasant
+song, that we can hear contentedly without ceasing.
+
+[Music: (Cellos)
+(Lower reed, horns and strings)]
+
+Again, as at the beginning, such a wealth of melodies sing together that
+not even the composer could know which he intended in chief. We merely
+feel, instead of the incisive ring of the first group, a quieter power
+of soothing beauty. Yet, heralded by a prelude of sweet strains, the
+expressive line now enters like a queenly figure over a new rhythmic
+motion, and flows on through delighting glimpses of new harmony to a
+striking climax.
+
+[Music: (Flute and oboe, doubled below in clarinet)
+(Horn)
+(Strings)]
+
+The story, now that the characters have appeared, continues in the main
+with the second browsing in soft lower strings, while the first (in its
+later phase) sings above in the wood transformed in mildness, though for
+a nonce the first motive strikes with decisive vigor. Later is a new
+heroic mood of minor, quickly softened when the companion melody
+appears. A chapter of more sombre hue follows, all with the lilt and
+pace of romantic ballad. At last the main hero returns as at the
+beginning, only in more splendid panoply, and rides on 'mid clattering
+suite to passionate triumph. And then, with quieter charm, sings again
+the second figure, with the delighting strains again and again
+rehearsed, matching the other with the power of sweetness.
+
+One special idyll there is of carolling soft horn and clarinet, where a
+kind of lullaby flows like a distilled essence from the gentler play--of
+the heroic tune, before its last big verse, with a mighty flow of
+
+[Music: _dolce e tranquillo_
+(Horn) (Two horns)
+(Clarinet)]
+
+sequence, and splendidly here the second figure crowns the pageant. At
+the passionate height, over long ringing chord, the latter sings a
+sonorous line in lengthened notes of the wood and horns. The first
+climax is here, in big coursing strains, then it slowly lulls, with a
+new verse of the idyll, to a final hush.
+
+The second movement is a brief lyric with one main melody, sung at first
+by a solo cello amidst a weaving of muted strings; later it is taken up
+by the first violins. The solo cello returns for a further song in duet
+with the violins, where the violas, too, entwine their melody, or the
+cello is joined by the violins.
+
+Now the chief melody returns for a richer and varied setting with horns
+and woodwind. At last the first violins, paired in octave with the
+cello, sing the full melody in a madrigal of lesser strains.
+
+An epilogue answers the prologue of the beginning.
+
+Equally brief is the true Scherzo, though merely entitled Allegretto,--a
+dainty frolic without the heavy brass, an indefinable conceit of airy
+fantasy, with here and there a line of sober melody peeping between the
+mischievous pranks. There is no contrasting Trio in the middle; but just
+before the end comes a quiet pace as of mock-gravity, before a final
+scamper.
+
+A preluding fantasy begins in the mood of the early Allegro; a wistful
+melody of the clarinet plays more slowly between cryptic reminders of
+the first theme of the symphony. In sudden _Allegro risoluto_ over
+rumbling bass of strings, a mystic call of horns, harking far back,
+spreads its echoing ripples all about till it rises in united tones,
+with a clear, descending answer, much like the original first motive.
+The latter now continues in the bass in large and smaller pace beneath a
+new tuneful treble of violins, while the call still roams a free course
+in the wind. Oft repeated is this resonation in paired harmonies, the
+lower phrase like an "obstinate bass."
+
+Leaving the fantasy, the voices sing in simple choral lines a hymnal
+song in triumphal pace, with firm cadence and answer, ending at length
+in the descending
+
+[Music: _Allegro risoluto_
+_deciso_
+(Strings, with added wood and horns)]
+
+phrase. The full song is repeated, from the entrance of the latter, as
+though to stress the two main melodies. The marching chorus halts
+briefly when the clarinet begins again a mystic verse on the strain of
+the call, where the descending phrase is intermingled in the horns and
+strings.
+
+There is a new horizon here. We can no longer speak with
+half-condescension of Italian simplicity, though another kind of primal
+feeling is mingled in a breadth of symphonic vein. We feel that our
+Italian poet has cast loose his leading strings and is revealing new
+glimpses through the classic form.
+
+Against a free course of quicker figures rises in the horns the simple
+melodic call, with answer and counter-tunes in separate discussion. Here
+comes storming in a strident line of the inverted melody in the bassoon,
+quarrelling with the original motive in the clarinet. Then a group sing
+the song in dancing trip, descending against the stern rising theme of
+violas; or one choir follows on the heels of another. Now into the play
+intrudes the second melody, likewise in serried chase of imitation.
+
+The two themes seem to be battling for dominance, and the former wins,
+shouting its primal tune in brass and wood, while the second sinks to a
+rude clattering rhythm in the bass. But out of the clash, where the
+descending phrase recurs in the basses, the second melody emerges in
+full sonorous song. Suddenly at the top of the verse rings out in
+stentorian brass the first theme of all the symphony to the opening
+chord of the Finale, just as it rang at the climax in the beginning.
+
+A gentle duet of violins and clarinet seems to bring back the second
+melody of the first movement, and somehow, in the softer mood, shows a
+likeness with the second of the Finale. For a last surprise, the former
+idyll (of the first Allegro) returns and clearly proves the original
+guise of our latest main melody. As though to assure its own identity as
+prevailing motto, it has a special celebration in the final joyous
+revel.
+
+
+
+
+CHAPTER XX
+
+EDWARD ELGAR. AN ENGLISH SYMPHONY[A]
+
+[Footnote A: Symphony in A flat. Edward Elgar, born in 1857.]
+
+
+There is a rare nobility in the simple melody, the vein of primal hymn,
+that marks the invocation,--in solemn wood against stately stride of
+
+[Music: (_Andante nobilmente e semplice_)
+(Woodwind)
+(Basses of strings, _staccato_)]
+
+lower strings. A true ancient charm is in the tune, with a fervor at the
+high point and a lilt almost of lullaby,--till the whole chorus begins
+anew as though the song of marching hosts. Solemnity is the essence
+here, not of artificial ceremony nor of rhymeless chant,--rather of
+prehistoric hymn.
+
+In passionate recoil is the upward storming song (Allegro) where a group
+of horns aid the surging crest of strings and wood,--a resistless motion
+of massed melody. Most thrilling after the first climax is the sonorous,
+vibrant stroke of the bass in the
+
+[Music: _Allegro appassionato_
+(Strings, wood and horns)
+(See page 308, line 10.)]
+
+recurring melody. As it proceeds, a new line of bold tune is stirred
+above, till the song ends at the highest in a few ringing, challenging
+leaps of chord,--ends or, rather merges in a relentless, concluding
+descent. Here, in a striking phrase of double
+
+[Music: (Violins and clarinets in succession)
+(Harp)
+(Strings, the upper 3d doubled in higher reed)]
+
+song, is a touch of plaint that, hushing, heralds the coming gentle
+figure. We are sunk in a sweet romance, still of ancientest lore, with a
+sense of lost bliss in the wistful cadence. Or do these entrancing
+strains lead merely to the broader melody that moves with queenly tread
+(of descending violins) above a soft murmuring of lower figures? It is
+taken up
+
+[Music: (Violins)
+(Harp and wood doubled above)]
+
+in a lower voice and rises to a height of inner throb rather than of
+outer stress. The song departs as it came, through the tearful plaint of
+double phrase. Bolder accents merge suddenly into the former impassioned
+song. Here is the real sting of warrior call, with shaking brass and
+rolling drum, in lengthened swing against other faster sounds,--a revel
+of heroics, that at the end breaks afresh into the regular song.
+
+Yet it is all more than mere battle-music. For here is a new passionate
+vehemence, with loudest force of vibrant brass, of those dulcet strains
+that preceded the queenly melody. An epic it is, at the least, of
+ancient flavor, and the sweeter romance here rises to a tempest more
+overpowering than martial tumult.
+
+It is in the harking back to primal lore that we seem to feel true
+passion at its best and purest, as somehow all truth of legend, proverb
+and fable has come from those misty ages of the earth. The drooping
+harmonies merge in the returning swing of the first solemn hymn,--a mere
+line that is broken by a new tender appeal, that, rising to a moving
+height,
+
+[Music: (Strings)
+_teneramente_]
+
+yields to the former plaint (of throbbing thirds).
+
+A longer elegy sings, with a fine poignancy, bold and new in the very
+delicacy of texture, in the sharp impinging of these gentlest sounds. In
+the depths of the dirge suddenly, though quietly, sounds the herald
+melody high in the wood, with ever firmer cheer, soon in golden horns,
+at last in impassioned strings, followed by the wistful motive.
+
+A phase here begins as of dull foreboding, with a new figure stalking in
+the depths and, above, a brief sigh in the wind. In the growing stress
+these figures sing from opposite quarters, the sobbing phrase below,
+when suddenly the queenly melody stills the tumult. It is answered by a
+dim, slow line of the ominous motive. Quicker echoes of the earlier
+despond still flit here and there, with gleams of joyous light. The
+plaintive (dual) song returns and too the tender appeal, which with its
+sweetness at last wakens the buoyant spirit of the virile theme.
+
+And so pass again the earlier phases of resolution with the masterful
+conclusion; the tearful accents; the brief verse of romance, and the
+sweep of queenly figure, rising again to almost exultation. But here,
+instead of tears and recoil, is the brief sigh over sombre harmonies,
+rising insistent in growing volume that somehow conquers its own mood. A
+return of the virile motive is followed at the height by the throbbing
+dual song with vehement stress of grief, falling to lowest echoes.
+
+Here begins the epilogue with the original solemn hymn. Only it is now
+entwined with shreds and memories of romance, flowing tranquilly on
+through gusts of passion. And there is the dull sob with the sudden
+gleam of joyous light. But the hymn returns like a sombre solace of
+oblivion,--though there is a final strain of the wistful romance, ending
+in sad harmony.
+
+_II.--Allegro molto._ The Scherzo (as we may venture to call it) begins
+with a breath of new harmony, or is it a blended magic of rhythm, tune
+and chord? Far more than merely bizarre, it calls up a vision of Celtic
+warriors, the wild, free spirit of Northern races. The rushing jig or
+reel is halted
+
+[Music: _Allegro molto_
+(Strings with kettle-drum)]
+
+anon by longer notes in a drop of the tune and instantly returns to the
+quicker run. Below plays a kind of drum-roll of rumbling strings. Other
+revelling pranks appear, of skipping wood, rushing harp and dancing
+strings, till at last sounds a clearer tune, a restrained war-march with
+touch of terror in the soft subdued chords, suddenly growing to
+expressive
+
+[Music: (Violas and clarinets)
+(Wood, basses and strings)]
+
+volume as it sounds all about, in treble and in bass.
+
+At last the war-song rings in full triumphant blast, where trumpets and
+the shrill fife lead, and the lower brass, with cymbals and drums (big
+and little) mark the march. Then to the returning pranks the tune roars
+in low basses and reeds, and at last a big conclusive phrase descends
+from the height to meet the rising figure of the basses.
+
+Now the reel dances in furious tumult (instead of the first whisper) and
+dies down through the slower cadence.
+
+An entirely new scene is here. To a blended tinkle of harp, reeds and
+high strings sounds a delicate air, quick and light, yet with a tinge of
+plaint that may be a part of all Celtic song. It were rude to spoil
+
+[Music: (Woodwind, with a triplet pulse of harp and rhythmic strings)]
+
+its fine fragrance with some rough title of meaning; nor do we feel a
+strong sense of romance, rather a whim of Northern fantasy.
+
+Over a single note of bass sings a new strain of elegy, taken up by
+other voices, varying with the
+
+[Music: (Clarinets)]
+
+tinkling air. Suddenly in rushes the first reel, softly as at first; but
+over it sings still the new sad tune, then yields to the wild whims and
+pranks that lead to the war-song in resonant chorus, joined at the
+height by the reel below. They change places, the tune ringing in the
+bass. In the martial tumult the tinkling air is likewise infected with
+saucy vigor, but suddenly retires abashed into its shell of fairy sound,
+and over it sings the elegy in various choirs. The tinkling melody falls
+suddenly into a new flow of moving song, rising to pure lyric fervor.
+The soft air has somehow the main say, has reached the high point, has
+touched the heart of the movement. Expressively it slowly sinks away
+amid echoing phrases and yields to the duet of elegy and the first reel.
+But a new spirit has appeared. The sting of war-song is gone. And here
+is the reel in slow reluctant pace. After another verse of the fairy
+tune, the jig plays still slower, while above sings a new melody. Still
+slower the jig has fallen almost to funeral pace, has grown to a new
+song of its own, though, to be sure, brief reminders of the first dance
+jingle softly here and there. And now the (hushed) shadow of the
+war-song in quite slower gait strides in lowest basses and passes
+quietly straight into the Adagio.
+
+[Music: (Strings with lower reeds and horns)
+_Adagio_
+_cantabile_]
+
+_III._--Assured peace is in the simple sincere melody, rising to a glow
+of passion. But--is this a jest of our poet? Or rather now we see why
+there was no halt at the end of the Scherzo. For the soothing melody is
+in the very notes of the impish reel,--is the same tune.[A] Suddenly
+hushing, the song hangs on high over delicate minor harmonies.
+
+[Footnote A: There seems to be shown in this feat at once the
+versatility of music as well as the musician in expressing opposite
+moods by the same theme. The author does not feel bound to trace all
+such analogies, as in the too close pursuit we may lose the forest in
+the jungle.]
+
+In exquisite hues an intimate dialogue ensues, almost too personal for
+the epic vein, a discourse or madrigal of finest fibre that breaks (like
+rays of setting sun) into a melting cadence of regret. We are doubly
+thrilled in harking back to the sweet, wistful romance, the strain of
+the first movement.
+
+[Music: (Harp, wood and strings)]
+
+Across the gauzy play, horns and wood blow a slow phrase, like a motto
+of Fate in the sombre harmony, with one ardent burst of pleading.
+
+In clearer articulation sings a dual song, still softly o'ercast with
+sweet sadness, ever richer in the harmonies of multiple strings, tipped
+with the light mood,--and again the wistful cadence. Siren figures of
+entrancing grace that move amid the other melody, bring enchantment that
+has no cheer, nor escape the insistent sighing phrase. Once more come
+the ominous call and the passionate plea, then assurance with the
+returning main melody in renewed fervor. Phases of dual melody end again
+with the wistful cadence. The tranquil close is like one sustained fatal
+farewell, where the fairy figures but stress the sad burden.
+
+_IV._--The beginning is in lowest depths (Largo). First is the stalking
+figure of earliest movement, from the moment of despond. It is answered
+by a steadily striding theme, almost martial, save for the
+
+[Music: _Lento_
+(_Pizz._ cellos with _stacc._ bassoons)]
+
+slowness of pace. Not unlike the hymn of the first prologue in line of
+tune, it bears a mood of dark resignation that breaks presently into the
+touching plea of the wistful cadence.
+
+The whole is a reflective prologue to the Finale: a deep meditation from
+which the song may roll forth on new spring. The hymn has suddenly
+entered with a subtly new guise; for the moment it seems part of the
+poignant sigh; it is as yet submerged in a flood of gloom and regret;
+and the former phrases still stride and stalk below. In a wild climax of
+gloom we hear the former sob, earlier companion of the stalking figure.
+
+Hymnal strains return,--flashes of heavenly light in the depths of hell,
+and one passionate sigh of the melting cadence.
+
+_Allegro_,--we are carried hack to the resolute vigor of the earlier
+symphony, lacking the full fiery charm, but ever striving and stirring,
+like Titans rearing mountain piles, not without the cheer of toil
+itself. At the height comes a burst of the erst yearning cadence, but
+there is a new masterful accent; the wistful edge does not return till
+the echoing phrases sink away in the depths.
+
+A new melody starts soaring on the same wing of
+
+[Music: (Strings and clarinets)
+_Allegro_
+_cantabile_
+(_Staccato_ strings _con 8ve._)]
+
+blended striving and yearning of which all this song is fraught. In its
+broader sweep and brighter cheer it is like the queenly melody of the
+first movement.
+
+The Titan toil stirs strongly below the soft cadence; the full, fierce
+ardor mounts heavenward. Phases now alternate of insistent rearing on
+the strenuous motive and of fateful submission in the marching strain,
+that is massed in higher and bigger chorus. As gathers the stress of
+climax, the brass blowing a defiant blast, the very vehemence brings a
+new resolution that is uttered in the returning strenuous phrase.
+
+Again rises the towering pile. At the thickest the high horns blow loud
+a slow, speaking legend,--the farewell motive, it seems, from the end of
+Adagio, fierce energy struggling with fatal regret gnawing at the heart.
+
+Gripping is the appeal of the sharp cry almost of anguish into which the
+toiling energy is suddenly resolved. Again the fateful march enters, now
+in heroic fugue of brass and opposite motion of strings and reed,--all
+overwhelmed with wild recurring pangs of regret.
+
+And so "double, double, toil and trouble," on goes the fugue and follows
+the arduous climb (into the sad motto in the horns), each relieving the
+other, till both yield again to the heart-breaking cry.
+
+The cheerier melody here re-enters and raises the mood for the nonce.
+Soon it falls amid dim harmonies. Far in the depths now growls the dull
+tread, answered by perverted line of the hymn.
+
+A mystic verse sounds over pious chords of harp in the tune of the
+march, which is sung by antiphonal choirs of strings,--later with fuller
+celestial chorus, almost in rapture of heavenly resignation. Only it is
+not final; for once again returns the full struggle of the beginning,
+with the farewell-legend, and in highest passion the phrase of regret
+rung again and again--till it is soothed by the tranquil melody. The
+relentless stride of march too reaches a new height, and one last,
+moving plaint. When the fast chasing cries are in closest tangle,
+suddenly the hymn pours out its benediction, while the cries have
+changed to angelic acclaim. Here is the transfigured song in full
+climactic verse that fulfils the promise of the beginning. A touch of
+human (or earthly joy) is added in an exultant strain of the sweeping
+melody that unites with the hymn at the close.
+
+
+
+
+CHAPTER XXI
+
+SYMPHONIES IN AMERICA
+
+
+When we come to a view of modern music in symphonic design, written in
+America, we are puzzled by a new phase of the element of nationalism.
+For here are schools and styles as different as of far corners of
+Europe. Yet they can be called nothing else than American, if they must
+have a national name. In the northern centre whence a model orchestra
+has long shed a beneficent influence far afield, the touch of new French
+conceits has colored some of the ablest works. Elsewhere we have cited a
+symphony more in line with classical tradition.[A]
+
+[Footnote A: A symphony by Wm. W. Gilchrist. Vol. II, Appendix.]
+
+Perhaps most typical is a symphony of Hadley where one feels, with other
+modern tradition, the mantle of the lamented MacDowell, of whom it may
+be said that he was first to find in higher reaches of the musical art
+an utterance of a purely national temper.
+
+
+_HENRY HADLEY. SYMPHONY NO. 3, B MINOR._[A]
+
+[Footnote A: Opus 60, Henry Hadley, American, born 1871.]
+
+With virile swing the majestic melody strides in the strings, attended
+by trooping chords of wood and brass, all in the minor, in triple
+rhythm. In
+
+[Music: _Moderato e maestoso_
+(Harp and wind)
+(All the trebles)
+(Strings with lower 8ve.)]
+
+the bass is a frequent retort to the themal phrase. For a moment a
+dulcet line steals in, quickly broken by the returning martial stride of
+stentorian horns, and of the main theme in full chords. Strange, though,
+how a softer, romantic humor is soon spread over the very discussion of
+the martial theme, so that it seems the rough, vigorous march is but the
+shell for the kernel of tender romance,--the pageant that precedes the
+queenly figure. And presently, _piu tranquillo_, comes the fervent lyric
+song that may indeed be the chief theme in poetic import, if not in
+outer rank. After a moving verse in the strings,
+
+[Music: _Piu tranquillo_
+(Strings)
+(_Pizz._ basses _8va._) (Added woodwind)]
+
+with an expressive strain in some voice of the woodwind or a ripple of
+the harp, it is sung in tense chorus of lower wood and horns,--soon
+joined by all the voices but the martial brass, ending with a soft echo
+of the strings.
+
+Now in full majesty the stern stride of first theme is resumed, in
+faster insistence,--no longer the mere tune, but a spirited extension
+and discussion, with retorts between the various choirs. Here the
+melodious march is suddenly felt in the bass (beneath our feet, as it
+were) of lowest brass and strings, while the noisy bustle continues
+above; then, changing places, the theme is above, the active motion
+below.
+
+Long continues the spirited clatter as of warlike march till again
+returns the melting mood of the companion melody, now sung by the
+expressive horn, with murmuring strings. And there are enchanting
+flashes of tonal light as the song passes to higher choirs. The lyric
+theme wings its rapturous course to a blissful height, where an
+intrusion of the main motive but halts for the moment the returning
+tender verse.
+
+When the first vigorous phrase returns in full career, there is somehow
+a greater warmth, and the dulcet after-strain is transfigured in a glow
+greater almost than of the lyric song that now follows with no less
+response of beauty. In the final spirited blending of both melodies the
+trumpets sound a quicker pace of the main motive.
+
+In the Andante (_tranquillo_) the sweet tinkle of church-bells with
+soft chanting horns quickly defines the scene. Two voices of the
+strings, to the
+
+[Music: (Bells and harp in continuous repetition)
+_Andante tranquillo_
+_Espress._ (Cellos)
+(Strings, with added choir of lower reeds)]
+
+continuing hum of the bells, are singing a responsive song that rises in
+fervor as the horns and later the woodwind join the strings. Anon will
+sound the simple tune of the bells with soft harmonies, like echoes of
+the song,--or even the chant without the chimes.
+
+In more eager motion,--out of the normal measure of bells and hymn,
+breaks a new song in minor with a touch of passion, rising to a burst of
+ardor. But it passes, sinking away before a new phase,--a bucolic
+
+[Music: _Poco piu mosso_
+(Oboe)
+(Clar'ts & horns)
+(Strings)]
+
+fantasy of trilling shepherd's reed (in changed, even pace), supported
+by strumming strings. The sacred calm and later passion have yielded to
+a dolorous plaint, like the dirge of the Magyar plains. Suddenly the
+former fervor returns with strains of the second melody amidst urging
+motion (in the triple pace) and startling rushes of harp-strings. At the
+height, trumpets blare forth the first melody, transformed from its
+earlier softness, while the second presses on in higher wood and
+strings; the trombones relieve the trumpets, with a still larger chorus
+in the romantic song; in final exaltation, the basses of brass and
+strings sound the first melody, while the second still courses in treble
+voices.
+
+Of a sudden, after a lull, falls again the tinkle of sacred chimes, with
+a verse each of the two main melodies.
+
+The Scherzo begins with a Saltarello humor, as of airy faun, with a
+skipping theme ever accompanied by a lower running phrase and a prancing
+trip of
+
+[Music: _Allegro con leggerezza, ben sostenuto_
+(Cl.)
+(_Pizz._ strings)
+(Bassoon)]
+
+strings, with a refrain, too, of chirruping woodwind. Later the skipping
+phrase gains a melodic cadence. But the main mood is a revel of gambols
+and pranks of rhythm and harmony on the first phase.
+
+In the middle is a sudden shift of major tone and intimate humor, to a
+slower pace. With still a semblance of dance, a pensive melody sings in
+the cellos; the graceful cadence is rehearsed in a choir
+
+[Music: _Poco meno mosso_
+(Strings)
+(Cello)]
+
+of woodwind, and the song is taken up by the whole chorus. As a pretty
+counter-tune grows above, the melody sings below, with a blending of
+lyric feeling and the charm of dance. At a climactic height the horns,
+with clumsy grace, blare forth the main lilting phrase.
+
+The song now wings along with quicker tripping counter-tunes that slowly
+lure the first skipping tune back into the play after a prelude of high
+festivity. New pranks appear,--as of dancing strings against a stride of
+loud, muted horns. Then the second (pensive) melody returns, now above
+the running counter-tune. At last, in faster gait, to the coursing of
+quicker figures, the (second) melody rings out in choir of brass in
+twice slower, stately pace. But the accompanying bustle is merely
+heightened until all four horns are striking together the lyric song. At
+the end is a final revel of the first dancing tune.
+
+The Finale, which bears the unusual mark _Allegro con giubilio_, begins
+with a big festive march that may seem to have an added flavor of old
+English merrymaking. But as in the other cantos of the poem there
+
+[Music: _Allegro con giubilio_
+_Tutti_
+(Basses in 8ve.)]
+
+is here, too, an opposite figure and feeling. And the more joyous the
+gaiety, the more sweetly wistful is the recoil. Nay there is in this
+very expressive strain, beautifully woven in strings, harp, woodwind and
+horns, a vein of regret that grows rather than lessens, whenever the
+melody appears alone. It is like the memory, in the midst of festival,
+of some blissful moment lost forever.
+
+Indeed, the next phase seems very like a disordered chase of stray
+memories; for here a line of martial air is displaced by a pensive
+strain which in
+
+[Music: (Cello and harp with harmony of wood, horns and strings)
+_Piu tranquillo_
+_Molto espress._]
+
+turn yields to the quick, active tune that leads to a height of
+celebration.
+
+But here is a bewildering figure on the scene: Lustily the four horns
+(helped by the strings) blow in slow notes against the continuing motive
+an expressive melody. Slowly it breaks upon our ears as the wistful air
+that followed the chimes of Sunday bells. It has a stern, almost sombre
+guise, until it suddenly glows in transfigured light, as of a choir of
+celestial brass.
+
+Slowly we are borne to the less exalted pitch of the first festive
+march, and here follows, as at first, the expressive melody where each
+hearer may find his own shade of sadness. It does seem to reach a true
+passion of regret, with poignant sweet sighs.
+
+At length the sadness is overcome and there is a new animation as
+separate voices enter in fugal manner in the line of the march. Now the
+festive tune holds sway in lower pace in the basses; but then rings on
+high in answer--the wistful melody again and again, in doubled and twice
+redoubled pace.
+
+When we hear the _penseroso_ melody once more at the end, we may feel
+with the poet a state of resigned cheer.
+
+
+A remarkable work that shows the influence of modern French harmony
+rather than its actual traits, is a SYMPHONY BY GUSTAV STRUBE.[A] It is
+difficult to resist the sense of a strain for bizarre harmony, of a
+touch of preciosity. The real business of these harmonies is for
+incidental pranks, with an after-touch that confesses the jest, or
+softens it to a lyric utterance. It cannot be denied that the moving
+moments in this work come precisely in the release of the strain of
+dissonance, as in the returning melody of the Adagio. Only we may feel
+we have been waiting too long. The desert was perhaps too long for the
+oasis. _Est modus in rebus_: the poet seems niggardly with his melody;
+he may weary us with too long waiting, with too little staying comfort.
+He does not escape the modern way of symbolic, infinitesimal melody, so
+small that it must, of course, reappear. It is a little like the
+wonderful arguments from ciphers hidden in poetry.
+
+[Footnote A: Of Boston,--born in Germany in 1867.]
+
+It cannot he denied that the smallness of phrase does suggest a
+smallness of idea. The plan of magic motive will not hold _ad
+infinitesimum_. As the turn of the triplet, in the first movement,
+twists into a semblance of the Allegro theme, we feel like wondering
+with the old Philistine:
+
+    ... "How all this difference can be
+    'Twixt tweedle-dum and tweedle-dee!"
+
+But there is the redeeming vein of lyric melody with a bold fantasy of
+mischievous humor and a true climax of a clear poetic design. One reason
+seems sometimes alone to justify this new license, this new French
+revolution: the deliverance from a stupid slavery of rules,--if we would
+only get the spirit of them without the inadequate letter. Better, of
+course, the rules than a fatal chaos. But there is here in the bold
+flight of these harmonies, soaring as though on some hidden straight
+path, a truly Promethean utterance.
+
+It is significant, in the problem of future music, that of the
+symphonies based upon recent French ideas, the most subtly conceived and
+designed should have been written in America.
+
+_I._--In pale tint of harmony sways the impersonal phrase that begins
+with a descending tone. We may
+
+[Music: _Andante_ (Melody in flute and violas)
+(Violins)
+(Cellos with basses in lower 8ve.)]
+
+remember[A] how first with the symphony came a clear sense of tonal
+residence. It was like the age in painting when figures no longer hung
+in the gray air, when they were given a resting-place, with trees and a
+temple.
+
+[Footnote A: See Vol. I, Chapter I.]
+
+Here we find just the opposite flight from clear tonality, as if
+painting took to a Japanese manner, sans aught of locality. Where an
+easy half-step leads gently somewhere, a whole tone sings instead.
+Nothing obvious may stand.
+
+It marks, in its reaction, the excessive stress of tonality and of
+simple colors of harmony. The basic sense of residence is not abandoned;
+there is merely a bolder search for new tints, a farther straying from
+the landmarks.
+
+Soon our timid tune is joined by a more expressive line that rises in
+ardent reaches to a sudden tumult, with a fiery strain of trumpets where
+we catch a glimpse of the triplet figure. After a dulcet lullaby
+
+[Music: (Flute with _tremolo_ of high strings)
+(New melody in ob. and violas)
+(Cellos with sustained lower B of basses)]
+
+of the first air, the second flows in faster pace (_Allegro commodo_) as
+the real text, ever with new blossoming variants that sing together in a
+madrigal of tuneful voices, where the descending note still has a part
+in a smooth, gliding pace of violins.
+
+In gayer mood comes a verse of the inverted (Allegro) tune, with other
+melodic guises hovering about. When the theme descends to the bass, the
+original Andante phrase sings in the trumpet, and there is a chain of
+entering voices, in growing agitation, in the main legend with the
+quicker sprites dancing about. At the height, after the stirring song
+of trumpets, we feel a passionate strife of resolve and regret; and
+immediately after, the descending tone is echoed everywhere.
+
+A balancing (second) theme now appears, in tranquil
+
+[Music: (Horn)
+_Allegro dolce_
+(Violas & cellos)
+(Sustained harmony in violins, bassoons and flute)]
+
+flow, but pressing on, at the end, in steady ascent as to Parnassian
+summit. Later comes a new rejoinder in livelier mood, till it is lost in
+a big, moving verse of the Andante song. But pert retorts from the
+latest new tune again fill the air, then yield in attendance upon the
+returning Allegro theme. Of subtle art is the woof of derived phrases. A
+companion melody, that seems fraught of the text of the second subject,
+sings with rising passion, while the lower brass blow lustily in
+eccentric rhythm of the Allegro phrase and at the height share in the
+dual triumph.
+
+We feel a kinship of mood rather than of theme, a coherence that we
+fear to relate to definite figures, though the descending symbol is
+clear against the ascending. An idyllic dialogue, with the continuing
+guise of the Allegro phrase turns to a gayer revel in the original pace,
+with a brilliant blare of trumpets.
+
+The free use of themes is shown in the opposite moods of the triplet
+phrase, of sadness, as in Andante, or buoyant, in Allegro. Here are both
+in close transition as the various verses return from the beginning,
+entwined about the first strain of the Andante, gliding through the
+descending tone into the second soothing song with the Parnassian
+ascent.
+
+A full verse of the first Andante melody sings at the heart of the plot,
+followed by the strange daemonic play that keeps the mood within bounds.
+Indeed, it returns once more as at first, then springs into liveliest
+trip and rises to an Olympian height, with a final revel of the triplet
+figure.
+
+_II._--With a foreshadowing drop of tone begins the prelude, not unlike
+the first notes of the symphony,
+
+[Music: _Adagio, ma non troppo_
+(_espressivo_ Clar.)
+(Strings)
+(Clar'ts and bassoons)]
+
+answered with a brief phrase. On the descending motive the main melody
+is woven.
+
+Tenderly they play together, the melody with the main burden, the
+lighter prelude phrase in graceful accompaniment. But now the latter
+sings in turn a serious verse, rises to a stormy height, the horns
+proclaiming the passionate plea amid a tumultuous accord of the other
+figures, and sinks in subdued temper. In a broader pace begins a new
+line, though on the thread of the descending motive, and with the
+entering phrase of the prelude winds to a climax of passion. The true
+episode, of refuge and solace from the stress of tempest, is in a song
+of the trumpet through a shimmering gauze of strings with glinting harp,
+to a soft murmuring in the reeds.
+
+[Music: _Animando_ (Violins)
+(_Trem._ violins doubled above in oboes)
+(Cellos with sustained lower B of basses)
+Main melody in trumpets]
+
+In a new shade of tone it is echoed by the horn, then in a fervent close
+it is blended with a guise of the prelude phrase, that now heralds the
+main melody, in a duet of clarinet and violins. At last in the home
+tone the horn sings amid the sweet tracery the parting verse, and all
+about sounds the trist symbol of the first (descending) motive.
+
+_III._--The Scherzo is in one view a mad revel of demon pranks in a new
+field of harmonies. Inconsequential though they may seem, there is a
+real coherence, and, too, a subtle connection with the whole design.
+
+To be sure, with the vagueness of tune that belongs to a school of
+harmonic exploits a certain mutual relation of themes is a kind of
+incident. The less defined the phrases, the easier it is to make them
+similar.
+
+Undoubted likeness there is between the main elfin figure and the first
+phrase of the symphony.
+
+[Music: (Oboes, with lower 8ve. and higher 8ve. of piccolo)
+_Allegro vivace_
+(Strings)]
+
+The triplet is itself a kind of password throughout. With this multiple
+similarity is a lack of the inner bond of outer contrast.
+
+The mood of demon humor finds a native medium in the tricks of new
+Gallic harmony. Early in the prelude we hear the descending tone, a
+streak of sadness in the mirth. Answering the first burst is a strange
+stroke of humor in the horn, and as if in
+
+[Music: (_Tremolo_ 1st violins)
+(1st horn) (Clarinets doubled above in strings)]
+
+serious balance, a smooth gliding phrase in the wood. Now the first
+figure grows more articulate, romping and galloping into an ecstasy of
+fun. A certain spirit of Till Eulenspiegel hovers about.
+
+Out of the maze blows a new line in muted trumpets, that begins with the
+inverted triplet figure, and in spite of the surrounding bedlam rises
+almost into a tune. At the height the strange jest of the horns reigns
+supreme.
+
+From the mad gambols of the first figure comes a relief in sparkling
+calls of the brass and stirring retorts in pure ringing harmonies. In
+the next episode is a fall into a lyric mood as the latest figure glides
+into even pace, singing amid gentlest pranks. Most tuneful of all
+sounds is the answer in dulcet trumpet while, above, the first theme
+intrudes softly.
+
+The heart of the idyll comes in a song of the clarinet
+
+[Music: (Cl. _espressivo_)
+(_Pizz._ strings with higher 8ve. of upper voice)
+(Wood and horn and strings) (Clar. and bassoons)]
+
+against strange, murmuring strings, ever with a soft answer of the lower
+reed.
+
+New invading sprites do not hem the flight of the melody. But at the
+height a redoubled pace turns the mood back to revelling mirth with
+broken bits of the horn tune. Indeed the crisis comes with a new rage of
+this symbol of mad abandon, in demonic strife with the fervent song that
+finally prevails.
+
+The first theme returns with a new companion in the highest wood. A
+fresh strain of serious melody is now woven about the former dulcet
+melody of trumpet in a stretch of delicate poesy, of mingled mirth and
+tenderness.--The harmonies have something of the infinitesimal sounds
+that only insects hear. With all virtuous recoil, here we must confess
+is a masterpiece of cacophonic art, a new world of tones hitherto
+unconceived, tinkling and murmuring with the eerie charm of the
+forest.--In the return of the first prelude is a touch of the descending
+tone. From the final revelling tempest comes a sudden awakening. In
+strange moving harmony sings slowly the descending symbol, as if
+confessing the unsuccessful flight from regret. Timidly the vanquished
+sprites scurry away.
+
+_IV._--The first notes of the Finale blend and bring back the main
+motives. First is the descending tone, but firm and resolute, with the
+following triplet in
+
+[Music: _Allegro energico_ (Higher figure in strings & wood)
+(Wood, horns and lower strings) (Strings and wood)]
+
+inversion of the Scherzo theme.
+
+It is all in triumphant spirit. From the start the mood reigns, the art
+for once is quite subordinate. Resonant and compelling is the motive of
+horns and trumpets, new in temper, though harking back to the earlier
+text, in its cogent ending. Splendid is
+
+[Music: (Strings)
+(Wood & strings doubled below)
+(Horns and trumpets)]
+
+the soaring flight through flashes of new chords. There is, we must
+yield, something Promethean, of new and true beauty, in the bold path of
+harmonies that the French are teaching us after a long age of slavish
+rules.
+
+The harking back is here better than in most modern symphonies with
+their pedantic subtleties: in the resurgence of joyous mood, symbolized
+by the inversion of phrase, as when the prankish elfin theme rises in
+serious aspiration.
+
+Out of these inspiriting reaches sings a new melody in canon of strings
+(though it may relate to some shadowy memory), while in the bass rolls
+the former ending phrase; then they romp in jovial turn of rhythm.
+
+[Music: (Oboes, doubled below in bassoons) (Strings, doubled below)
+(Horns) (_Pizz._ cello doubled below)]
+
+A vague and insignificant similarity of themes is a fault of the work
+and of the style, ever in high disdain of vernacular harmony, refreshing
+to be sure, in its saucy audacity, and anon enchanting with a ring of
+new, fiery chord. As the sonorous theme sings in muted brass, picking
+strings mockingly play quicker fragments, infecting the rest with
+frivolous retorts, and then a heart-felt song pours forth, where the
+accompanying cries have softened their mirth. Back they skip to a joyous
+trip with at last pure ringing harmonies.
+
+At the fervent pitch a blast of trumpets rises in challenging phrase, in
+incisive clash of chord, with the early sense of Parnassian ascent. At
+the end of this brave fanfare we hear a soft plea of the descending tone
+that prompts a song of true lyric melody, with the continuing gentlest
+touch of regret, all to a sweetly bewildering turn of pace. So tense
+
+[Music: (Continuing organ pt. of violins) (Fl. & clar. _dolce_)
+_Animando_
+(Melody in ob. _dolce_)
+(Strings)]
+
+and subtle an expression would utterly convert us to the whole harmonic
+plan, were it not that just here, in these moving moments, we feel a
+return to clearer tonality. But it is a joy to testify to so devoted a
+work of art.
+
+With the last notes of melody a new frisking tune plays in sauciest
+clashes of chord, with an enchanting stretch of ringing brass. A long
+merriment ensues in the jovial trip, where the former theme of horns has
+a rising cadence; or the tripping tune sings in united chorus and again
+through its variants. After a noisy height the dulcet melody (from the
+descending tone) sings in linked sweetness. In the later tumult we rub
+our eyes to see a jovial theme of the bass take on the lines of the
+wistful melody. Finally, in majestic tread amid general joyous clatter
+the brass blow the gentle song in mellowed tones of richest harmony.
+
+
+_CHADWICK.[A] SUITE SYMPHONIQUE (IN E FLAT)._
+
+[Footnote A: George W. Chadwick, American, born in 1854.]
+
+With a rush of harp and higher strings the Suite begins on ardent wing
+in exultant song of trumpets (with horns, bassoons and cellos) to quick
+palpitating violins that in its higher flight is given over to upper
+reeds and violas. It is answered by gracefully drooping melody of
+strings and harps topped by the oboes, that lightly descends from the
+heights with a cadence long delayed, like the circling flight of a great
+bird before he alights. Straightway begins a more pensive turn of phrase
+(of clarinet and lower strings) in distant tonal scene where now the
+former (descending) answer sings timidly in alternating groups. The
+pensive melody returns for a greater reach, blending with the original
+theme (in all the basses) in a glowing duet of two moods as well as
+melodies, rising to sudden brilliant height, pressing on to a full
+return of the first exultant melody with long, lingering, circling
+descent.
+
+The listener on first hearing may be warned to have a sharp ear for all
+kinds of disguises of the stirring theme and in a less degree, of the
+second subject. What seems a new air in a tranquil spot, with strum of
+harp,--and new it is as expression,--is our main melody in a kind of
+inversion. And so a new tissue of song continues, all of the original
+fibre, calming more and more from the first fierce glow. A tuneful
+march-like strain now plays gently in the horns while the (inverted)
+expressive air still sounds above.
+
+[Music: (Oboe with 8ve. flute) (Oboe)
+(Horns) _Calmato ed espressivo assai_]
+
+When all has quieted to dim echoing answers between horn and reed, a
+final strain bursts forth (like the nightingale's voice in the
+surrounding stillness) in full stress of its plaint. And so, in most
+natural course, grows and flows the main balancing melody that now
+pours out its burden in slower, broader pace, in joint choirs of wood
+and strings.
+
+[Music: _Meno mosso e largamente_
+(Woodwind above, strings below)
+(_pizz._ basses)]
+
+It is the kind of lyric spot where the full stream of warm feeling seems
+set free after the storm of the first onset. In answer is a timid,
+almost halting strain in four parts of the wood, echoed in strings. A
+new agitation now stirs the joint choirs (with touches of brass), and
+anon comes a poignant line of the inverted (main) theme. It drives in
+rising stress under the spurring summons of trumpets and horns to a
+celebration of the transfigured second melody, with triumphant cadence.
+Nor does the big impulse halt here. The trumpets sound on midst a
+spirited duet of inverted and original motives until the highest point
+is reached, where, to quicker calls of the brass, in broadest pace the
+main subject strikes its inverted tune in the trebles, while the bass
+rolls its majestic length in a companion melody; trombones, too, are
+blaring forth the call of the second theme.
+
+Brief interludes of lesser agitation bring a second chorus on the
+reunited melodies in a new tonal quarter.
+
+In mystic echoing groups on the former descending answer of main theme
+the mood deepens in darkening scene. Here moves in slow strides of
+lowest brass a shadowy line of the second melody answered by a poignant
+phrase of the first. Striking again and again in higher perches the dual
+song reaches a climax of feeling in overpowering burst of fullest brass.
+In masterful stride, still with a burden of sadness, it has a solacing
+tinge as it ends in a chord with pulsing harp, that twice repeated leads
+back to the stirring first song of main theme.
+
+Thence the whole course is clear in the rehearsal of former melodies.
+Only the pensive air has lost its melancholy. Here is again the lyric of
+warm-hued horns with plaintive higher phrase, and the full romance of
+second melody with its timid answer, where the nervous trip rouses
+slowly the final exultation. Yet there is one more descent into the
+depths where the main melody browses in dim searching. Slowly it wings
+its flight upwards until it is greeted by a bright burst of the second
+melody in a chorus of united brass. And this is but a prelude to the
+last joint song, with the inverted theme above. A fanfare of trumpets on
+the second motive ends the movement.
+
+The Romanze is pure song in three verses where we cannot avoid a touch
+of Scottish, with the little acclaiming phrases. The theme is given to
+the saxophone (or cello) with obligato of clarinet and violas; the bass
+is in bassoons and _pizzicato_ of lower strings. One feels a special
+gratitude to the composer who will write in these days a clear, simple,
+original and beautiful melody.
+
+The first interlude is a fantasy, almost a variant on the theme in a
+minor melody of the wood, with a twittering phrase of violins. Later the
+strings take up the theme in pure _cantilena_ in a turn to the
+major,--all in expressive song that rises to a fervent height. Though it
+grows out of the main theme, yet the change is clear in a return to the
+subject, now in true variation, where the saxophone has the longer notes
+and the clarinet and oboe sing in concert.
+
+There follows a pure interlude, vague in motive, full of dainty touches.
+The oboe has a kind of _arioso_ phrase with trilling of flutes and
+clarinets, answered in trumpets and harp.
+
+Later the first violins (on the G string) sing the main air with the
+saxophone.
+
+A double character has the third movement as the title shows, though in
+a broadest sense it could all be taken as a Humoreske.
+
+With a jaunty lilt of skipping strings the lower reeds strike the
+capricious tune, where the full chorus soon falls in. The answering
+melody, with more of sentiment, though always in graceful swing with
+tricksy attendant figures, has a longer song. Not least charm has the
+concluding tune that leads back to the whole melodious series.
+Throughout are certain chirping notes that form the external connection
+with the Humoreske that begins with strident theme (_molto robusto_) of
+low strings, the whole chorus, xylophon and all, clattering about, the
+high wood echoing like a band of giant crickets,--all in whimsical,
+varying pace. The humor grows more graceful when the first melody of the
+Intermezzo is lightly touched. The strange figure returns (in roughest
+strings and clarinet) somewhat in ancient manner of imitation. Later the
+chirruping answer recurs. Diminishing trills are echoed between the
+groups.
+
+Slowly the scene grows stranger. Suddenly in eerie harmonies of newest
+French or oldest Tartar, here are the tricks and traits where meet the
+extremes of latest Romantic and primeval barbarian. In this motley
+cloak sounds the typical Yankee tune, first piping in piccolo, then
+grunting in tuba. Here is Uncle Sam disporting himself merrily in
+foreign garb and scene, quite as if at home. If we wished, we might see
+a political satire as well as musical.
+
+After a climax of the clownish mood we return to the Intermezzo
+melodies.
+
+The Finale begins in the buoyant spirit of the beginning and seems again
+to have a touch of Scotch in the jaunty answer. The whole subject is a
+group of phrases rather than a single melody.
+
+Preluding runs lead to the simple descending line of treble with
+opposite of basses, answered by the jovial phrase. In the farther course
+the first theme prevails, answered with an ascending brief motive of
+long notes in irregular ascent. Here follows a freer flow of the jolly
+lilting tune, blending with the sterner descending lines.
+
+Balancing this group is an expressive melody of different sentiment. In
+its answer we have again the weird touch of neo-barbarism in a strain of
+the reed, with dancing overtones of violins and harp, and strumming
+chords on lower strings. Or is there a hint of ancient Highland in the
+drone of alternating horns and bassoons?
+
+Its brief verse is answered by a fervent conclusive line where soon the
+old lilting refrain appears with new tricks and a big celebration of its
+own and then of the whole madrigal of martial melody. It simmers down
+with whims and turns of the skipping phrase into the quiet
+(_tranquillo_) episode in the midst of the other stress.
+
+[Music: (With lower 8ve.)
+_Tranquillo_
+(With _pizz._ quarter notes in basses and strings)]
+
+The heart of the song is in the horns, with an upper air in the wood,
+while low strings guard a gentle rhythm. A brief strain in the wind in
+ardent temper is followed by another in the strings, and still a third
+in joint strings and wood. (Again we must rejoice in the achievement of
+true, simple, sincere melody.) The final glowing height is reached in
+all the choirs together,--final that is before the brass is added with
+a broader pace, that leads to the moving climax. As the horns had
+preluding chords to the whole song, so a single horn sings a kind of
+epilogue amid harmony of strings and other horns. Slowly a more vigorous
+pulse is stirred, in an interlude of retorting trumpets.
+
+Suddenly in the full energy of the beginning the whole main subject
+sounds again, with the jolly lilt dancing through all its measures,
+which are none too many. The foil of gentle melody returns with its
+answer of eerie tune and harmonies. It seems as if the poet, after his
+rude jest, wanted, half in amends, half on pure impulse, to utter a
+strain of true fancy in the strange new idiom.
+
+A new, grateful sound has again the big conclusive phrase that merges
+into more pranks of the jaunty tune in the biggest revel of all, so that
+we suspect the jolly jester is the real hero and the majestic figures
+are, after all, mere background. And yet here follows the most tenderly
+moving verse, all unexpected, of the quiet episode.
+
+The end is a pure romp, _molto vivace_, mainly on the skipping phrase.
+To be sure the stately figures after a festive height march in big,
+lengthened pace; but so does the jolly tune, as though in mockery. He
+breaks into his old rattling pace (in the Glockenspiel) when all the
+figures appear together,--the big ones changing places just before the
+end, where the main theme has the last say, now in the bass, amidst the
+final festivities.
+
+
+
+_LOEFFLER.[A] LA VILLANELLE DU DIABLE_
+
+_(The Devil's Round)_
+
+(After a poem by M. Rollinat. Symphonic poem for Orchestra and Organ)
+
+[Footnote A: Charles Martin Loeffler, born in Alsace in 1861.]
+
+Few pieces of program music are so closely associated with the subject
+as this tone picture of the Devil's Round. The translation of M.
+Rollinat's "Villanelle," printed in the score is as follows:[A]
+
+     Hell's a-burning, burning, burning. Chuckling in clear staccato,
+     the Devil prowling, runs about.
+
+     He watches, advances, retreats like zig-zag lightning; Hell's
+     a-burning, burning, burning.
+
+     In dive and cell, underground and in the air, the Devil, prowling,
+     runs about.
+
+     Now he is flower, dragon-fly, woman, black-cat, green snake; Hell's
+     a-burning, burning, burning.
+
+     And now, with pointed moustache, scented with vetiver, the Devil,
+     prowling, runs about.
+
+     Wherever mankind swarms, without rest, summer and winter, Hell's
+     a-burning, burning, burning.
+
+     From alcove to hall, and on the railways, the Devil, prowling, runs
+     about.
+
+     He is Mr. Seen-at-Night, who saunters with staring eyes. Hell's
+     a-burning, burning, burning.
+
+     There floating as a bubble, here squirming as a worm, the Devil,
+     prowling, runs about.
+
+     He's grand seigneur, tough, student, teacher. Hell's a-burning,
+     burning, burning.
+
+     He inoculates each soul with his bitter whispering: the Devil,
+     prowling, runs about.
+
+     He promises, bargains, stipulates in gentle or proud tones. Hell's
+     a-burning, burning, burning.
+
+     Mocking pitilessly the unfortunate whom he destroys, the Devil,
+     prowling, runs about.
+
+     He makes goodness ridiculous and the old man futile. Hell's
+     a-burning, burning, burning.
+
+     At the home of the priest or sceptic, whose soul or body he wishes,
+     the Devil, prowling, runs about.
+
+     Beware of him to whom he toadies, and whom he calls "my dear sir."
+     Hell's a-burning, burning, burning.
+
+     Friend of the tarantula, darkness, the odd number, the Devil,
+     prowling, runs about.
+
+     --My clock strikes midnight. If I should go to see Lucifer?--Hell's
+     a-burning, burning, burning; the Devil, prowling, runs about.
+
+[Footnote A: A few translated verses may give an idea of the original
+rhythm:
+
+    Hell's a-burning, burning, burning.
+    Cackling in his impish play,
+    Here and there the Devil's turning,
+
+    Forward here and back again,
+    Zig-zag as the lightning's ray,
+    While the fires burn amain.
+
+    In the church and in the cell
+    In the caves, in open day,
+    Ever prowls the fiend of hell.
+
+But in the original the first and last lines of the first verse are used
+as refrains in the succeeding verses, recurring alternately as the last
+line. In the final verse they are united.--The prose translation is by
+Philip Hale.]
+
+In the maze of this modern setting of demon antics (not unlike, in
+conceit, the capers of Till Eulenspiegel), with an eloquent use of new
+French strokes of harmony, one must be eager to seize upon definite
+figures. In the beginning is a brief wandering or flickering motive in
+furious pace of harp and strings, ending ever in a shriek of the high
+wood. Answering
+
+[Music: _Presto (il piu possibile)_
+(Woodwind)
+(Strings with rhythmic chords in the tonic)
+(With opposite descending chords)]
+
+is a descending phrase mainly in the brass, that ends in a rapid jingle.
+
+[Music: (Brass with quicker figures in strings and wood)]
+
+There are various lesser motives, such as a minor scale of ascending
+thirds, and a group of crossing figures that seem a guise of the first
+motive. To be sure the picture lies less in the separate figures than in
+the mingled color and bustle. Special in its humor is a soft gliding or
+creeping phrase of three voices against a constant trip of cellos.
+
+After a climax of the first motive a frolicking theme begins (in English
+horn and violas). If we were forced to guess, we could see here the
+dandy devil, with pointed mustachios, frisking about. It is probably
+another guise of the second motive which presently appears in the bass.
+A little later, _dolce amabile_ in a madrigal of wood and strings, we
+may see the gentlemanly devil, the gallant. With a crash of chord and a
+roll of cymbals re-enters the first motive, to flickering harmonies of
+violins, harp and flutes, taken up by succeeding voices, all in the
+whole-tone scale. Hurrying to a clamorous height, the pace glides into a
+_Movimento di Valzer_, in massed volume, with the frolicking figure in
+festive array.
+
+To softest tapping of lowest strings and drums, a shadow of the second
+figure passes here and there, with a flash of harp. Soon, in returning
+merriment, it is coursing in unison strings (against an opposite motion
+in the wood).
+
+At the height of revel, as the strings are holding a trembling chord, a
+sprightly Gallic tune of the street pipes in the reed, with intermittent
+flash of the harp, and, to be sure, an unfamiliar tang of harmonies and
+strange perversions of the tune.[A] In the midst is the original
+flickering figure. As the whole chorus is singing the tune at the
+loudest, the brass breaks into another traditional air of the
+Revolutionary Song of 1789.[B] While the trip is still ringing in the
+strings, a lusty chorus breaks into the song[C] "La Carmagnole," against
+a blast of the horns in a guise of the first motive.
+
+[Footnote A: "A la villette," a popular song of the Boulevard. Mr.
+Philip Hale, who may have been specially inspired, associates the song
+with the word "crapule," "tough," as he connects the following
+revolutionary songs, in contrapuntal use, with the word "magister,"
+"teacher,"--the idea of the pedagogue in music. It may be less remote to
+find in these popular airs merely symbols or graphic touches of the
+swarming groups among which the Devil plies his trade.]
+
+[Footnote B: The famous "Ca ira."]
+
+[Footnote C: In the wealth of interesting detail furnished by Mr. Hale
+is the following: "The Carmagnole was first danced in Paris about the
+liberty-tree, and there was then no bloody suggestion.... The word
+'_Carmagnole_' is found in English and Scottish literature as a nickname
+for a soldier in the French Revolutionary army, and the term was applied
+by Burns to the Devil as the author of ruin, 'that curst carmagnole,
+auld Satan.'"]
+
+Grim guises of the main figures (in inverted profile) are skulking about
+to uncanny harmonies. A revel of new pranks dies down to chords of muted
+horns, amid flashing runs of the harp, with a long roll of drums. Here
+_Grave_ in solemn pace, violas and bassoon strike an ecclesiastical
+incantation, answered by the organ. Presently a Gregorian plain chant
+begins solemnly in the strings aided by the organ while a guise of the
+second profane motive intrudes. Suddenly in quick pace against a fugal
+tread of lower voices, a light skipping figure dances in the high wood.
+And now loud trumpets are saucily blowing the chant to the quick step,
+echoed by the wood. And we catch the wicked song of the street (in the
+English horn) against a legend of hell in lower voices.[A]
+
+[Footnote A: The religious phrases are naturally related to the "priest
+or sceptic." In the rapid, skipping rhythm, Mr. Hale finds the
+tarentella suggested by the "friend of the tarantula."]
+
+In still livelier pace the reeds sound the street song against a trip of
+strings, luring the other voices into a furious chorus. All at once, the
+harp and violins strike the midnight hour to a chord of horns, while a
+single impish figure dances here or there. To trembling strings and
+flashing harp the high reed pipes again the song of the Boulevard,
+echoed by low bassoons.
+
+In rapidest swing the original main motives now sing a joint verse in a
+kind of _reprise_, with the wild shriek at the end of the line, to a
+final crashing height. The end comes with dashes of the harp, betwixt
+pausing chords in the high wood, with a final stifled note.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK SYMPHONIES AND THEIR MEANING; THIRD
+SERIES, MODERN SYMPHONIES***
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+The Project Gutenberg eBook, Symphonies and Their Meaning; Third Series,
+Modern Symphonies, by Philip H. Goepp
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Symphonies and Their Meaning; Third Series, Modern Symphonies
+
+Author: Philip H. Goepp
+
+Release Date: July 13, 2004  [eBook #12903]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK SYMPHONIES AND THEIR MEANING;
+THIRD SERIES, MODERN SYMPHONIES***
+
+
+E-text prepared by Juliet Sutherland, Linda Cantoni, and the Project
+Gutenberg Online Distributed Proofreading Team
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations of the
+      parts of the musical scores referred to in the text.
+      See 12903-h.htm or 12903-h.zip:
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+
+
+
+
+
+SYMPHONIES AND THEIR MEANING
+
+THIRD SERIES: MODERN SYMPHONIES.
+
+by
+
+PHILIP H. GOEPP
+
+1913
+
+
+
+
+
+
+
+PREFACE
+
+
+Criticism of contemporary art is really a kind of prophecy. For the
+appreciation of the classical past is an act of present perception, not
+a mere memory of popular verdicts. The classics live only because they
+still express the vital feeling of to-day. The new art must do
+more,--must speak for the morrow. And as the poet is a kind of seer, the
+true critic is his prophetic herald.
+
+It is with due humility that we approach a view of the work of our own
+time, with a dim feeling that our best will be a mere conjecture. But we
+shall the more cheerfully return to our resolution that our chief
+business is a positive appreciation. Where we cannot praise, we can
+generally be silent. Certain truths concerning contemporary art seem
+firmly grounded in the recorded past. The new Messiah never came with
+instant wide acclaim. Many false prophets flashed brilliantly on the
+horizon to fall as suddenly as they rose. In a refracted view we see the
+figures of the great projected in too large dimension upon their day.
+And precisely opposite we fail to glimpse the ephemeral lights obscuring
+the truly great. The lesson seems never to be learned; indeed it can, of
+course, never be learned. For that would imply an eternal paradox that
+the present generation must always distrust its own judgment.
+
+Who could possibly imagine in Schubert's time the sway he holds to-day.
+Our minds reel to think that by a mere accident were recovered the
+Passion of Bach and the symphonies of Schubert. Or must we prayerfully
+believe that a Providence will make the best prevail? And, by the way,
+the serious nature of this appreciation appears when we see how it was
+ever by the greatest of his time that the future master was heralded.
+
+The symphony of the present age has perhaps fallen somewhat in estate.
+It was natural that it should rush to a high perfection in the halcyon
+days of its growth. It is easy to make mournful predictions of
+decadence. The truth is the symphony is a great form of art, like a
+temple or a tragedy. Like them it has had, it will have its special eras
+of great expression. Like them it will stay as a mode of utterance for
+new communities and epochs with varying nationality, or better still,
+with vanishing nationalism.
+
+The tragedy was not exhausted with Sophocles, nor with Shakespeare nor
+with Goethe. So the symphony has its fallow periods and it may have a
+new resurgence under new climes. We are ever impatient to shelve a great
+form, like vain women afraid of the fashion. It is part of our constant
+rage for novelty. The shallower artist ever tinkered with new
+devices,--to some effects, in truth. Such is the empiric course of art
+that what is born of vanity may be crowned with highest inspiration.
+
+The national element will fill a large part of our survey. It marks a
+strange trait of our own age that this revival of the national idea
+falls in the very time when other barriers are broken. Ancient folk-song
+grew like the flower on the battle-field of races. But here is an
+anxious striving for a special dialect in music. Each nation must have
+its proper school; composers are strictly labelled, each one obedient to
+his national manner. This state of art can be but of the day. Indeed,
+the fairest promise of a greater future lies in the morrow's blending of
+these various elements in the land where each citizen has a mixed
+inheritance from the older nations.
+
+In the bewildering midst of active spirits comes the irresistible
+impulse to a somewhat partisan warfare. The critic, if he could view
+himself from some empyraean perch, remote in time and place, might smile
+at his own vehemence. In the clash of aims he must, after all, take
+sides, for it is the tendency that is momentous; and he will be excited
+to greater heat the stronger the prophet that he deems false. When the
+strife is over, when currents are finally settled, we may take a more
+contented joy in the impersonal art that remains.
+
+The choice from the mass of brilliant vital endeavor is a new burden and
+a source almost of dismay. Why should we omit so melodious a work as
+Moskowski's _Jeanne d'Arc_,--full of perhaps too facile charm? It was,
+of course, impossible to treat all the wonderful music of the Glazounows
+and the Kallinikows. And there is the limpid beauty of the Bohemian
+_Suk_, or the heroic vigor of a _Volbach_. We should like to have
+mentioned _Robert Volkmann_ as a later Romanticist; and _Gade_ has ever
+seemed a true poet of the Scandinavian symphony.
+
+Of the modern French we are loth to omit the symphonies of _Chausson_
+and of _Dukas_. In our own America it is a still harder problem. There
+is the masterly writing of a _Foote_; the older _Paine_ has never been
+fully valued in the mad race for novelty. It would have been a joy to
+include a symphony of rare charm by _Martinus van Gelder_.
+
+A critical work on modern art cannot hope to bestow a crown of laurels
+among living masters; it must be content with a view of active
+tendencies. The greatest classic has often come into the world amid
+least expectation. A critic in the year 1850 must need have omitted the
+Unfinished Symphony, which was then buried in a long oblivion.
+
+The present author prefers to treat the main modern lines, considering
+the special work mainly as example. After all, throughout the realm of
+art the idea is greater than the poet, the whole art more than the
+artist,--though the particular enshrinement in enduring design may
+reflect a rare personality.
+
+PHILIP H. GOEPP.
+
+NOTE: Especial thanks are owed to the Philadelphia Orchestra for a free
+use of its library, and to Messrs. G. Schirmer Company for a like
+courtesy.--P.H.G.
+
+
+
+
+CONTENTS
+
+
+CHAPTER I.--The Symphony during the Nineteenth Century
+
+CHAPTER II.--Berlioz and Liszt
+
+CHAPTER III.--Berlioz. "Romeo and Juliet." Dramatic Symphony
+
+CHAPTER IV.--A Symphony to Dante's "Divina Commedia"
+
+CHAPTER V.--The Symphonic Poems of Liszt
+  "Les Préludes"
+  "Tasso"
+  "Mazeppa"
+  "Battle of the Huns"
+
+CHAPTER VI.--The Symphonic Poems of Saint-Saëns
+  "Danse Macabre"
+  "Phaeton"
+  "The Youth of Hercules"
+  "Omphale's Spinning Wheel"
+
+CHAPTER VII.--César Franck
+  Symphony in D minor
+
+CHAPTER VIII.--D'Indy and the Followers of Franck
+  D'Indy's Second Symphony
+
+CHAPTER IX.--Débussy and the Innovators
+  "The Sea"--Débussy
+  "The Sorcerer's Apprentice"--Dukas
+
+CHAPTER X.--Tschaikowsky
+  Fourth Symphony
+  "Manfred" Symphony
+  Fifth Symphony
+
+CHAPTER XI.--The Neo-Russians
+  Balakirew. Symphony in C
+  Rimsky-Korsakow
+    "Antar" Symphony
+    "Schérézade." Symphonic Suite
+  Rachmaninow. Symphony in E minor
+
+CHAPTER XII.--Sibelius. A Finnish Symphony
+
+CHAPTER XIII.--Bohemian Symphonies
+  Smetana. Symphonic Poem: "The Moldau River"
+  Dvôrák. Symphony: "From the New World"
+
+CHAPTER XIV.--The Earlier Bruckner
+  Second Symphony
+  Fourth (Romantic) Symphony
+  Fifth Symphony
+
+CHAPTER XV.--The Later Bruckner
+  Ninth Symphony
+
+CHAPTER XVI.--Hugo Wolff
+  "Penthesilea." Symphonic Poem
+
+CHAPTER XVII.--Mahler
+  Fifth Symphony
+
+CHAPTER XVIII.--Richard Strauss. Symphonic Poems
+  "Death and Transfiguration"
+  "Don Juan"
+  "Till Eulenspiegel's Merry Pranks"
+  "Sinfonia Domestica"
+
+CHAPTER XIX.--Italian Symphonies
+  Sgambati. Symphony in D major
+  Martucci. Symphony in D minor
+
+CHAPTER XX.--Edward Elgar. An English Symphony
+
+CHAPTER XXI.--Symphonies in America
+  Henry Hadley. Symphony No. 3
+  Gustav Strube. Symphony in D minor
+  Chadwick. Suite Symphonique
+  Loeffler. "The Devil's Round." Symphonic Poem
+
+
+
+
+SYMPHONIES AND THEIR MEANING
+
+MODERN SYMPHONIES
+
+
+
+
+CHAPTER I
+
+THE SYMPHONY DURING THE NINETEENTH CENTURY
+
+
+After the long dominance of German masters of the musical art, a
+reaction could not fail to come with the restless tendencies of other
+nations, who, having learned the lesson, were yet jealous of foreign
+models and eager to utter their own message. The later nineteenth
+century was thus the age of refraction of the classic tradition among
+the various racial groups that sprang up with the rise of the national
+idea. We can see a kind of beginning in the Napoleonic destruction of
+feudal dynasties. German authority in music at the beginning of the
+century was as absolute as Roman rule in the age of Augustus. But the
+seed was carried by teachers to the various centres of Europe. And, with
+all the joy we have in the new burst of a nation's song, there is no
+doubt that it is ever best uttered when it is grounded on the lines of
+classic art. Here is a paramount reason for the strength of the modern
+Russian school. With this semi-political cause in mind it is less
+difficult to grasp the paradox that with all the growth of
+intercommunication the music of Europe moves in more detached grooves
+to-day than two centuries ago. The suite in the time of Bach is a
+special type and proof of a blended breadth and unity of musical thought
+in the various nations of Europe of the seventeenth century. In the
+quaint series of dances of the different peoples, with a certain
+international quality, one sees a direct effect of the Thirty Years'
+War,--the beneficent side of those ill winds and cruel blasts, when all
+kinds of nations were jostling on a common battle-ground. And as the
+folk-dances sprang from the various corners of Europe, so different
+nations nursed the artistic growth of the form. Each would treat the
+dances of the other in its own way, and here is the significance of
+Bach's separate suites,--English, French and German.
+
+Nationalism seems thus a prevailing element in the music of to-day, and
+we may perceive two kinds, one spontaneous and full of charm, the other
+a result of conscious effort, sophisticated in spirit and in detail. It
+may as well be said that there was no compelling call for a separate
+French school in the nineteenth century as a national utterance. It
+sprang from a political rather than an artistic motive; it was the itch
+of jealous pride that sharply stressed the difference of musical style
+on the two sides of the Rhine. The very influence of German music was
+needed by the French rather than a bizarre invention of national traits.
+The broader art of a Saint-Saëns here shines in contrast with the
+brilliant conceits of his younger compatriots, though it cannot be
+denied that the latter are grounded in classic counterpoint. With other
+nations the impulse was more natural: the racial song of the
+Scandinavians, Czechs and other Slavs craved a deliverance as much as
+the German in the time of Schubert. In France, where music had long
+flourished, there was no stream of suppressed folk-song.
+
+But the symphony must in the natural course have suffered from the very
+fulness of its own triumph. We know the Romantic reaction of Schumann,
+uttered in smaller cyclic forms; in Berlioz is almost a complete
+abandonment of pure music, devoid of special description. Liszt was one
+of the mighty figures of the century, with all the external qualities of
+a master-genius, shaking the stage of Europe with the weight of his
+personality, and, besides, endowed with a creative power that was not
+understood in his day. With him the restless tendency resulted in a new
+form intended to displace the symphony: the symphonic poem, in a single,
+varied movement, and always on a definite poetic subject. Here was at
+once a relief and a recess from the classic rigor. Away with sonata form
+and all the odious code of rules! In the story of the title will lie all
+the outline of the music.
+
+Yet in this rebellious age--and here is the significance of the
+form--the symphony did not languish, but blossomed to new and varied
+flower. Liszt turned back to the symphony from his new-fangled device
+for his two greatest works. It has, indeed, been charged that the
+symphony was accepted by the Romantic masters in the spirit of a
+challenge. Mendelssohn and even Schumann are not entirely free from such
+a suspicion. Nevertheless it remains true that all of them confided to
+the symphony their fairest inspiration. About the middle of the century,
+at the high point of anti-classical revolt, a wonderful group of
+symphonies, by Berlioz, Mendelssohn, Schumann, and Liszt, were presented
+to the world. With the younger Brahms on a returning wave of
+neo-classicism the form became again distinctively a personal choice.
+Finally, in the spontaneous utterance of a national spirit on broad
+lines, as in the later Russian and Finnish examples, with the various
+phases of surging resolution, of lyric contemplation and of rollicking
+humor, the symphony has its best sanction in modern times.
+
+To return to the historical view, the course of the symphony during the
+century cannot be adequately scanned without a glance at the music-drama
+of Richard Wagner. Until the middle of the century, symphony and opera
+had moved entirely in separate channels. At most the overture was
+affected, in temper and detail, by the career of the nobler form.
+
+The restless iconoclasm of a Liszt was now united, in a close personal
+and poetic league, with the new ideas of Wagner's later drama. Both men
+adopted the symbolic motif as their main melodic means; with both mere
+iteration took the place of development; a brilliant and lurid
+color-scheme (of orchestration) served to hide the weakness of intrinsic
+content; a vehement and hysteric manner cast into temporary shade the
+classic mood of tranquil depth in which alone man's greatest thought is
+born.
+
+But a still larger view of the whole temper of art in Europe of the
+later century is needed. We wander here beyond the fine distinctions of
+musical forms. A new wave of feeling had come over the world that
+violently affected all processes of thought. And strangely, it was
+strongest in the land where the great heights of poetry and music had
+just been reached. Where the high aim of a Beethoven and a Goethe had
+been proclaimed, arose a Wagner to preach the gospel of brute fate and
+nature, where love was the involuntary sequence of mechanical device and
+ended in inevitable death, all overthrowing the heroic idea that teems
+throughout the classic scores, crowned in a greatest symphony in praise
+of "Joy."
+
+Such was the intrinsic content of a "Tristan and Isolde" and the whole
+"Nibelungen-Ring," and it was uttered with a sensuous wealth of sound
+and a passionate strain of melody that (without special greatness of its
+own) dazzled and charmed the world in the dramatic setting of mediaeval
+legend. The new harmonic style of Wagner, there is good reason to
+suppose, was in reality first conceived by Liszt, whose larger works,
+written about the middle of the century, have but lately come to
+light.[A] In correspondence with this moral mutiny was the complete
+revolt from classic art-tradition: melody (at least in theory), the
+vital quality of musical form and the true process of a coherent thread,
+were cast to the winds with earlier poetic ideals.
+
+[Footnote A: The "Dante" Symphony of Liszt was written between 1847 and
+1855; the "Faust" Symphony between 1854 and 1857. Wagner finished the
+text of _Tristan und Isolde_ in 1857; the music was not completed until
+1859. In 1863 was published the libretto of the _Nibelungen-Ring_. In
+1864 Wagner was invited by King Ludwig of Bavaria to complete the work
+in Munich.]
+
+If it were ever true that a single personality could change an opposite
+course of thought, it must be held that Richard Wagner, in his own
+striking and decadent career, comes nearest to such a type. But he was
+clearly prompted and reinforced in his philosophy by other men and
+tendencies of his time. The realism of a Schopenhauer, which Wagner
+frankly adopted without its full significance (where primal will finds a
+redemption in euthanasia), led by a natural course of thought to
+Nietzsche's dreams of an overman, who tramples on his kind.
+
+In itself this philosophy had been more of a passing phase (even as
+Schopenhauer is lost in the chain of ethical sages) but for its strange
+coincidence with the Wagnerian music. The accident of this alliance gave
+it an overwhelming power in Germany, where it soon threatened to corrupt
+all the arts, banishing idealism from the land of its special
+haunts.[A] The ultimate weakness of the Wagnerian philosophy is that it
+finds in fatalism an excuse for the surrender of heroic virtue,--not in
+the spirit of a tragic truth, but in a glorification of the senses; just
+as in Wagner's final work, the ascetic, sinless type becomes a figure
+almost of ridicule, devoid of human reality. It is significant that with
+the revival of a sound art, fraught with resolute aspiration, is
+imminent a return to an idealistic system of philosophy.
+
+[Footnote A: In literature this movement is most marked, as may be seen
+by contrasting the tone of Goethe with that of Sudermann; by noting the
+decadence from the stories of a Chamisseau and Immermann to those of a
+Gottfried Keller; from the novels of Freytag to the latest of Frenssen
+and Arthur Schnitzler; from the poems of Heine to those of Hoffmansthal,
+author of the text of Strauss' later operas.
+
+Or, contrast merely the two typical dramas of love, Goethe's "Faust" and
+Wagner's "Tristan and Isolde."]
+
+In the musical art even of Germany the triumph was never complete. The
+famous feud of Brahms and Wagner partisans marked the alignment of the
+classical and radical traditions. Throughout the second half of the
+century the banner of a true musical process was upheld; the personal
+meeting of the youthful Brahms with the declining Schumann is
+wonderfully significant, viewed as a symbol of this passing of the
+classic mantle. And the symphonies of Gustav Mahler seem an assurance of
+present tendencies. The influence of Bach, revived early in the century,
+grew steadily as a latent leaven.
+
+Nevertheless in the prevailing taste and temper of present German
+music, in the spirit of the most popular works, as those of Richard
+Strauss (who seems to have sold his poetic birthright), the aftermath of
+this wave is felt, and not least in the acclaim of the barren symphonies
+of a Bruckner. It is well known that Bruckner, who paid a personal
+homage to Wagner, became a political figure in the partisan dispute,
+when he was put forth as the antagonist of Brahms in the symphony. His
+present vogue is due to this association and to his frank adoption of
+Wagner idiom in his later works, as well as, more generally, to the
+lowered taste in Germany.
+
+In all this division of musical dialect, in the shattering of the
+classic tower among the diverse tongues of many peoples, what is to be
+the harvest? The full symbol of a Babel does not hold for the tonal art.
+Music is, in its nature, a single language for the world, as its
+alphabet rests on ideal elements. It has no national limits, like prose
+or poetry; its home is the whole world; its idiom the blended song of
+all nations.
+
+In such a view there is less hope in the older than in the newer world.
+No single, limited song of one nation can in the future achieve a second
+climax of the art. It is by the actual mingling of them all that the
+fairest flower and fruit must come. The very absence of one prevailing
+native song, held a reproach to America, is in reality her strength; for
+hers is the common heritage of all strains of song. And it may be her
+destiny to lead in the glorious merging of them all.
+
+
+
+
+CHAPTER II
+
+BERLIOZ AND LISZT
+
+
+The path of progress of an art has little to do with mere chronology.
+For here in early days are bold spirits whose influence is not felt
+until a whole generation has passed of a former tradition. Nor are these
+patient pioneers always the best-inspired prophets; the mere fate of
+slow recognition does not imply a highest genius. A radical innovation
+may provoke a just and natural resistance. Again, a gradual yielding is
+not always due to the pure force of truth. Strange and oblique ideas may
+slowly win a triumph that is not wholly merited and may not prove
+enduring.
+
+To fully grapple with this mystery, we may still hold to the faith that
+final victory comes only to pure truth, and yet we may find that
+imperfect truth will often achieve a slow and late acceptance. The
+victory may then be viewed in either of two ways: the whole spirit of
+the age yields to the brilliant allurement, or there is an overweighing
+balance of true beauty that deserves the prize of permanence. Of such a
+kind were two principal composers of the symphony: Franz Liszt and
+Hector Berlioz. Long after they had wrought their greatest works, others
+had come and gone in truer line with the first masters, until it seemed
+these radical spirits had been quite rejected.
+
+Besides the masters of their own day, Schumann and Mendelssohn, a group
+of minor poets, like Raff and Goetz, appeared, and at last Brahms, the
+latest great builder of the symphony, all following and crowning the
+classical tradition.
+
+The slow reception of the larger works of Liszt strangely agrees with
+the startling resemblance of their manner to the Russian style that
+captivated a much later age. It seemed as if the spirit of the Hungarian
+was suddenly revived in a new national group. His humor wonderfully
+suited the restless and sensational temper of an age that began after
+his death.
+
+The very harmonies and passionate manner that influence modern audiences
+evoked a dull indifference in their own day.[A] They roused the first
+acclaim when presented in the more popular form of the music-drama. It
+may well be questioned whether Liszt was not the fountain source of the
+characteristic harmonies of Wagner's later opera.
+
+[Footnote A: Compare the similarity of the themes of the Faust Symphony
+of Liszt and of the _Pathétique_ of Tschaikowsky in the last chapter of
+vol. ii, "Symphonies and Their Meaning."]
+
+Historically considered, that is in their relation to other music
+preceding and following them, the symphonies of Liszt have striking
+interest. They are in boldest departure from all other symphonies, save
+possibly those of Berlioz, and they were prophetic in a degree only
+apparent a half-century later. If the quality of being ahead of his time
+be proof, instead of a symptom, of genius, then Liszt was in the first
+rank of masters. The use of significant motif is in both of his
+symphonies. But almost all the traits that startled and moved the world
+in Tschaikowsky's symphonies are revealed in this far earlier music: the
+tempestuous rage of what might be called an hysterical school, and the
+same poignant beauty of the lyric episodes; the sheer contrast, half
+trick, half natural, of fierce clangor and dulcet harmonies, all painted
+with the broad strokes of the orchestral palette. Doubly striking it is
+how Liszt foreshadowed his later followers and how he has really
+overshadowed them; not one, down to the most modern tone-painters, has
+equalled him in depth and breadth of design, in the original power of
+his tonal symbols. It seems that Liszt will endure as the master-spirit
+in this reactionary phase of the symphony.
+
+Berlioz is another figure of a bold innovator, whose career seemed a
+series of failures, yet whose music will not down. His art was centred
+less upon the old essentials, of characteristic melody and soul-stirring
+harmonies, than upon the magic strokes of new instrumental grouping,--a
+graphic rather than a pure musical purpose. And so he is the father not
+only of the modern orchestra, but of the fashion of the day that revels
+in new sensations of startling effects, that are spent in portraying the
+events of a story.
+
+Berlioz was the first of a line of _virtuosi_ of the orchestra, a
+pioneer in the art of weaving significant strains,--significant, that
+is, apart from the music. He was seized with the passion of making a
+pictured design with his orchestral colors. Music, it seems, did not
+exist for Berlioz except for the telling of a story. His symphony is
+often rather opera. A symphony, he forgot, is not a musical drama
+without the scenery. This is just what is not a symphony. It is not the
+literal story, but the pure musical utterance. Thus Berlioz's "Romeo and
+Juliet" symphony is in its design more the literal story than is
+Shakespeare's play. And yet there is ever a serious nobility, a heroic
+reach in the art of Berlioz, where he stands almost alone among the
+composers of his race. Here, probably, more than in his pictured
+stories, lies the secret of his endurance. He was, other than his
+followers, ever an idealist. And so, when we are on the point of
+condemning him as a scene-painter, we suddenly come upon a stretch of
+pure musical beauty, that flowed from the unconscious rapture of true
+poet. As the bee sucks, so may we cull the stray beauty and the more
+intimate meaning, despite and aside from this outer intent.
+
+
+
+
+CHAPTER III
+
+BERLIOZ. "ROMEO AND JULIET."
+
+_DRAMATIC SYMPHONY_
+
+
+In the sub-title we see the growing impulse towards graphic music. A
+"dramatic symphony" is not promising. For, if music is the most
+subjective expression of the arts, why should its highest form be used
+to dramatize a drama? Without the aid of scene and actors, that were
+needed by the original poet, the artisan in absolute tones attempts his
+own theatric rendering. Clearly this symphony is one of those works of
+art which within an incongruous form (like certain ancient pictures)
+affords episodes of imperishable beauty.
+
+Passing by the dramatic episodes that are strung on the thread of the
+story, we dwell, according to our wont, on the stretches where a pure
+musical utterance rises to a lofty height of pathos or of rarest
+fantasy.
+
+In the first scene of the Second Part is the clear intent of a direct
+tonal expression, and there is a sustained thread of sincere sentiment.
+The passion of Romeo shines in the purity rather than in the intensity
+of feeling. The scene has a delicate series of moods, with subtle
+melodic touches and dramatic surprises of chord and color. The whole
+seems a reflection of Romeo's humor, the personal (_Allegro_) theme
+being the symbol as it roams throughout the various phases,--the sadness
+of solitude, the feverish thrill of the ball. Into the first phrase of
+straying violins wanders the personal motive, sadly meditative.
+
+[Music: _Allegro._
+(Choir of wood, with sustained chords of strings)]
+
+Sweeter dreams now woo the muser, warming into passion, pulsing with a
+more eager throb of desire, in changed tone and pace. Suddenly in a new
+quarter amid a quick strum of dance the main motive hurries along. The
+gay sounds vanish, ominous almost in the distance. The sadness of the
+lover now sings unrestrained in expressive melody (of oboe), in long
+swinging pace, while far away rumbles the beat of festive drum.
+
+The song rises in surging curves, but dies away among the quick festal
+sounds, where the personal motive is still supreme, chasing its own
+ardent antics, and plunges headlong into the swirl of dance.
+
+II Penseroso (in his personal rôle) has glided into a buoyant,
+rollicking Allegro with joyous answer. Anon the outer revel breaks in
+with shock almost of terror. And now in climax of joy, through the
+festal strum across the never-ceasing thread of transformed meditation
+resound in slowest, broadest swing the
+
+[Music: _Larghetto espressivo_
+(Ob. with fl. and cl. and arpeggic cellos)]
+
+warm tones of the love-song in triumph of bliss.[A] As the song dies
+away, the festal sounds fade. Grim meditation returns in double
+figure,--the slower, heavier pace below. Its shadows are all about as in
+a fugue of fears, flitting still to the tune of the dance and anon
+yielding before the gaiety. But through the returning festal ring the
+fateful motive is still straying in the bass. In the concluding revel
+the hue of meditation is not entirely banned.
+
+[Footnote A: In unison of the wind. Berlioz has here noted in the score
+"_Réunion des deux Thémes, du Larghetto et de L'Allegro_," the second
+and first of our cited phrases.]
+
+The Shakespearian love-drama thus far seems to be celebrated in the
+manner of a French romance. After all, the treatment remains scenic in
+the main; the feeling is diluted, as it were, not intensified by the
+music.
+
+The stillness of night and the shimmering moonlight are in the delicate
+harmonies of (_Allegretto_) strings. A lusty song of departing revellers
+breaks upon the scene. The former distant sounds of feast are now near
+and clear in actual words.
+
+[Music: _Adagio_
+(Muted strings)
+(_Pizz._ basses an 8ve. lower)]
+
+There is an intimate charm, a true glamor of love-idyll about the
+Adagio. On more eager pulse rises a languorous strain of horn and
+cellos. The flow
+
+[Music: (Horn and cellos with murmuring strings)]
+
+of its passionate phrase reaches the climax of prologue where, the type
+and essence of the story, it plays about the lovers' first meeting. As
+lower strings hum the burden of desire, higher wood add touches of
+ecstasy, the melting violins sing the wooing song, and all break into an
+overwhelming rapture, as though transfigured in the brightness of its
+own vehemence, in midst of a trembling mystery.
+
+The restless spirit starts (_allegro agitato_) in fearsome agitation on
+quick nervous throb of melody; below, violas sing a soothing answer;
+there is a clear dialogue of wistful lovers.
+
+Instead of the classic form of several verses led by one dominant melody
+to varied paths and views, here almost in reverse we seem to fall from a
+broader lyric mood to a single note of sad yearning that
+
+[Music: (Fl. with Eng. horn an 8ve. below)
+(Muted violins with sustained lower strings)]
+
+grows out of the several strains. Upon such a motive a new melody sings.
+The delicate bliss of early love is all about, and in the lingering
+close the timid ecstasies of wooing phrase. But this is a mere prelude
+to the more highly stressed, vehement song of love that follows on the
+same yearning motive. Here is the crowning, summing phase of the whole
+poem, without a return to earlier melody save that, by significant
+touch, it ends in the same expressive turn as the former languorous
+song.
+
+The first melody does not reappear, is thus a kind of background of the
+scene. The whole is a dramatic lyric that moves from broader tune to a
+reiterated note of sad desire, driven to a splendid height of crowned
+bliss. The turbulence of early love is there; pure ardor in flaming
+tongues of ecstasy; the quick turn of mood and the note of omen of the
+original poem: the violence of early love and the fate that hangs over.
+
+Berlioz has drawn the subject of his Scherzo from Mercutio's speech in
+Scene 4 of the First Act of Shakespeare's tragedy. He has entitled it
+"Queen Mab, or the Fairy of Dreams," and clearly intends to portray the
+airy flight of Mab and her fairies. But we must doubt whether this, the
+musical gem of the symphony, has a plan that is purely graphic,--rather
+does it seem to soar beyond those concrete limits to an utterance of the
+sense of dreams themselves in the spirit of Mercutio's conclusion:
+
+          "... I talk of dreams
+    Which are the children of an idle brain,
+    Begot of nothing but vain fantasy;
+    Which is as thin of substance as the air;"
+
+And we may add, as elusive for the enchanted mind to hold are these
+pranks and brilliant parade of tonal sprites. It stands one of the
+masterpieces of program-music, in equal balance of pure beauty with the
+graphic plan.
+
+Imps they are, these flitting figures, almost insects with a
+personality. In pace there is a division, where the first dazzling
+speed is simply the fairy rhythm (halted anon by speaking pauses or
+silences), and the second, a kind of idyll or romance in miniature. It
+is all a drama of fairy actors, in a dreamland of softest tone. The main
+figure leads its troop on gossamer thread of varied journey.
+
+[Music: (Violins) _Prestissimo_]
+
+Almost frightening in the quickest, pulsing motion is the sudden
+stillness, as the weird poising of trembling sprites. Best of all is the
+resonant beauty of the second melody in enchanting surprise of tone.
+
+[Music: (Strings without basses)]
+
+Anon, as in a varied dance, the skipping, mincing step is followed by a
+gentle swaying; or the figures all run together down the line to start
+the first dance again, or the divided groups have different motions, or
+one shouts a sudden answer to the other.
+
+Much slower now is the main song (in flute and English horn) beneath an
+ariel harmony (of overtones), while a quicker trip begins below of the
+same figure. And in the midst is a strange concert of low dancing
+strings with highest tones of harp,--strange mating of flitting sprites.
+
+We are suddenly back in the first, skipping dance, ever faster and
+brighter in dazzling group of lesser figures. And here is the golden
+note of fairy-land,--the horn in soft cheery hunter's lay, answered by
+echoing voices. For a moment the call is tipped with touch of sadness,
+then rings out brightly in a new quarter. Beautiful it sings between the
+quick phrases, with a certain shock of change, and there is the terror
+of a sudden low rumbling and the thrill of new murmuring sounds with
+soft beat of drum that hails the gathering fairies. There is a sudden
+clarion burst of the whole chorus, with clash of drum and clang of
+brass, and sudden pause, then faintest echoes of higher voices.
+
+A new figure now dances a joyous measure to the tinkling of harp and the
+sparkling strokes of high
+
+[Music: (Harp in higher 8ve.)
+(Clarinet with chord of horns)
+(Violas)]
+
+cymbals and long blown tone of horns. The very essence it is of fairy
+life. And so the joy is not unmixed with just a touch of awe. Amidst the
+whole tintinnabulation is a soft resonant echo of horns below, like an
+image in a lake. The air hangs heavy with dim romance until the sudden
+return to first fairy verse in sounds almost human. Once more come the
+frightening pauses.
+
+The end is in a great crash of sweet sound--a glad awakening to day and
+to reality.
+
+
+
+
+CHAPTER IV
+
+A SYMPHONY TO DANTE'S "DIVINA COMMEDIA"
+
+_FOR ORCHESTRA AND CHORUS OF SOPRANOS AND ALTOS_
+
+
+The "Divina Commedia" may be said in a broad view to belong to the great
+design by which Christian teaching was brought into relation with
+earlier pagan lore. The subject commands all the interest of the epics
+of Virgil and of Milton. It must be called the greatest Christian poem
+of all times, and the breadth of its appeal and of its art specially
+attest the age in which it was written, when classic pagan poetry broke
+upon the world like a great treasure-trove.
+
+The subject was an ideal one in Dante's time,--a theme convincing and
+contenting to all the world, and, besides, akin to the essence of pagan
+poetry. The poet was needed to celebrate all the phases of its meaning
+and beauty. This is true of all flashes of evolutionary truth. As in the
+ancient epics, an idea once real to the world may be enshrined in a
+design of immortal art.
+
+To-day we are perhaps in too agnostic a state to be absorbed by such a
+contemplation. The subject in a narrower sense is true at most to those
+who will to cherish the solace of a salvation which they have not fully
+apprehended. And so the Liszt symphony of the nineteenth century is not
+a complete reflection of the Dante poem of the fourteenth. It becomes
+for the devout believer almost a kind of church-liturgy,--a Mass by the
+Abbé Liszt.
+
+Rare qualities there undoubtedly are in the music: a reality of passion;
+a certain simplicity of plan; the sensuous beauty of melodic and
+harmonic touches. But a greatness in the whole musical expression that
+may approach the grandeur of the poem, could only come in a suggestion
+of symbolic truth; and here the composer seems to fail by a too close
+clinging to ecclesiastic ritual. Yet in the agony of remorse, rising
+from hopeless woe to a chastened worship of the light, is a strain of
+inner truth that will leave the work for a long time a hold on human
+interest.
+
+Novel is the writing of words in the score, as if they are to be sung by
+the instruments,--all sheer aside from the original purpose of the form.
+Page after page has its precise text; we hear the shrieks of the damned,
+the dread inscription of the infernal portals; the sad lament of lovers;
+the final song of praise of the redeemed. A kind of picture-book music
+has our symphony become. The _leit-motif_ has crept into the high form
+of absolute tones to make it as definite and dramatic as any opera.
+
+
+I. INFERNO
+
+The legend of the portal is proclaimed at the outset in a rising phrase
+(of the low brass and strings)
+
+[Music: (Doubled in two lower 8ves.)
+_Lento_
+(3 trombones and tuba: violas, cellos and brass)]
+
+    _Per me si va nella cit-ta do-lente;
+    Per me si va nell'eterno dolore;_
+
+and in still higher chant--
+
+    _Per me si va tra la perduta gente._
+
+Then, in antiphonal blast of horns and trumpets sounds the fatal doom in
+grim monotone (in descending harmony of trembling strings):
+
+[Music: (Chant in octaves of trumpets and horns)
+La-scia-te ogni spe-ran- - -za.
+(Brass, wood and _tremolo_ strings)]
+
+    _Lasciate ogni speranza mi ch' entrate!_[A]
+
+[Footnote A:
+
+    "Through me the way is to the city dolent;
+    Through me the way is to eternal dole;
+    Through me the way among the people lost.
+    All hope abandon, ye who enter in!"
+
+--_From Longfellow's translation._]
+
+A tumult on a sigh (from the first phrase) rises again and again in
+gusts. In a violent paroxysm we hear the doom of the monotone in lowest
+horns. The fateful phrases are ringing about, while pervading all is
+the hope-destroying blast of the brass. But the storm-centre is the
+sighing motive which now enters on a quicker spur of passionate stride
+(_Allegro frenetico, quasi doppio movimento_). In its winding
+
+[Music: _Alla breve_
+_Allegro frenetico (quasi doppio movimento)_
+(Theme in violins and cellos)
+(Woodwind and violas)]
+
+sequences it sings a new song in more regular pace. The tempest grows
+wilder and more masterful, still following the lines of the song, rising
+to towering height. And now in the strains, slow and faster, sounds the
+sigh above and below, all in a madrigal of woe. The whole is surmounted
+by a big descending phrase, articulate almost in its grim dogma, as it
+runs into the line of the first legend in full tumult of gloom. It is
+followed by the doom slowly proclaimed in thundering tones of the brass,
+in midst of a tempest of surging harmonies. Only it is all more fully
+and poignantly stressed than before, with long, resonant echoes of the
+stentorian tones of lowest brass.
+
+Suddenly we are in the dulcet mood (_Quasi Andante, ma sempre un poco
+mosso_) 'mid light waving strings and rich swirling harp, and soothing
+tones of flutes and muted horns. Then, as all other voices are hushed,
+the clarinet sings a strain that ends in lowest notes of expressive
+grief (_Recit., espressivo dolente_)--where we can almost hear the
+words. It is answered by a sweet plaint of other wood, in
+
+[Music: _Quasi Andante, ma sempre un poco mosso_
+_dolce teneremente_
+(Clarinets and bassoons)]
+
+questioning accents, followed by the returning waves of strings and
+harp, and another phrase of the lament; and now to the pulsing chords of
+the harp the mellow English horn does sing (at least in the score) the
+words,--the central text of all:
+
+[Music: _Poco agitato_
+(English horn, with arpeggic flow of harp)
+Nes-sun mag-gior do-lo-re che ri-cor-dar-si del tem-po fe-li-ce.[A]]
+
+[Footnote A: "There is no greater sorrow than to be mindful of the happy
+time in misery."--_From Longfellow's translation._]
+
+Other voices join the leader. As the lower reed start the refrain, the
+higher enter in pursuit, and then the two groups sing a melodic chase.
+But the whole phrase is a mere foil to the pure melody of the former
+plaint that now returns in lower strings. And all so far is as a herald
+to the passage of intimate sentiment (_Andante amoroso_) that lies a
+lyric gem in the heart of the symphony. The melting strain is stressed
+in tenderness by the languor of harmonies, the delicate design of
+elusive rhythm and the appealing whisper of harp and two
+violins,--tipped by the touch of mellow wood.
+
+[Music: _Andante amoroso. (Tempo rubato)_
+_dolce con intimo sentimento_
+(Melody in first violins; arpeggios of harp and violas;
+lower woodwind and strings)]
+
+With the rising passion, as the refrain spreads in wider sequences, the
+choirs of wood and strings are drawn into the song, one group answering
+the other in a true love duet.
+
+The last cadence falls into the old sigh as the dread oracle sounds once
+more the knell of hope. Swirling strings bring us to a new scene of the
+world of shades. In the furious, frenetic pace of yore (_Tempo primo,
+Allegro, alla breve_) there is a new sullen note, a dull martial trip
+of drums with demonic growls (in the lowest wood). The sigh is there,
+but perverted in humor. A chorus of blasphemous mockery is stressed by
+strident accents of lower wood and strings.[A]
+
+[Footnote A: We are again assisted by the interpreting words in the
+score.]
+
+Gradually we fall into the former frenzied song, amid the demon
+cacchinations, until we have plunged back into the nightmare of groans.
+Instead of the big descending phrase we sink into lower depths of gloom,
+wilder than ever, on the first tripping motive. As the sighing strain
+resounds below in the midst of a chorus of demon shrieks, there enters
+the chant of inexorable fate. Mockery yields to a tinge of pathos, a
+sense almost of majestic resignation, an apotheosis of grief.
+
+
+II. PURGATORIO
+
+A state of tranquillity, almost of bliss, is in the opening primal
+harmonies (of harp and strings and
+
+[Music: _Andante con moto quasi Allegretto. Tranquillo assai_
+(Oboe _molto espressivo_)
+_Sempre piano e legato_
+(Full arpeggic harp and muted strings)]
+
+soft horns). Indeed, what else could be the mood of relief from the
+horrors of hell? And lo! the reed strikes a pure limpid song echoed in
+turn by other voices, beneath a rich spray of heavenly harmonies.
+
+This all recurs in higher shift of tone. A wistful phrase (_piu lento_,
+in low strings) seems to breathe
+
+[Music: _Un poco meno mosso_
+(English horn, clarinets, bassoons, French horn)]
+
+a spoken sob. Then, as in voices of a hymn, chants a more formal liturgy
+of plaint where the phrase is almost lost in the lowest voice. It is all
+but articulate, with a sense of the old sigh; but it is in a calmer
+spirit, though anon bursting with passionate grief (_lagrimoso_).
+
+[Music: _Lamentoso_ (In fugue of muted strings)]
+
+And now in the same vein, of the same fibre, a fugue begins of lament,
+first in muted strings.
+
+It is the line of sad expressive recitative that heralded the plaint and
+the love-scene. There is here the full charm of fugue: a rhythmic
+quality of single theme, the choir of concerted dirge in independent
+and interdependent paths, and with every note of integral melody. There
+is the beauty of pure tonal architecture blended with the personal
+significance of the human (and divine) tragedy.
+
+The fugue begins in muted strings, like plaintive human voices, though
+wood and brass here and there light up the phrases. Now the full bass of
+horns and wood strikes the descending course of theme, while higher
+strings and wood soar in rising stress of (sighing) grief.
+
+[Music: (In double higher 8ves.)
+_With lower 8ves._
+(Strings, with enforcing and answering wind)]
+
+A hymnal verse of the theme enters in the wood answered by impetuous
+strings on a coursing phrase. The antiphonal song rises with eager
+stress of themal attack. A quieter elegy leads to another burst, the
+motive above, the insistent sigh below. The climax of fugue returns to
+the heroic main plaint below, with sighing answers above, all the voices
+of wood and brass enforcing the strings.
+
+Then the fugue turns to a transfigured phase; the theme rings triumphant
+retorts in golden horns and in a masterful unison of the wood; the wild
+answer runs joyfully in lower strings, while the higher are strumming
+like celestial harps. The whole is transformed to a big song of praise
+ever in higher harmonies. The theme flows on in ever varying thread,
+amidst the acclaiming tumult.
+
+But the heavenly heights are not reached by a single leap. Once more we
+sink to sombre depths not of the old rejection, but of a chastened,
+wistful wonderment. The former plaintive chant returns, in slower,
+contained pace, broken by phrases of mourning recitative, with the old
+sigh. And a former brief strain of simple aspiration is supported by
+angelic harps. In gentle ascent we are wafted to the acclaim of heavenly
+(treble) voices in the _Magnificat_. A wonderful utterance, throughout
+the scene of Purgatory, there is of a chastened, almost spiritual grief
+for the sin that cannot be undone, though it is not past pardon.
+
+The bold design of the final Praise of the Almighty was evidently
+conceived in the main as a service. An actual depiction, or a direct
+expression (such as is attempted in the prologue of Boito's Mefistofele)
+was thereby avoided. The Holy of Holies is screened from view by a
+priestly ceremony,--by the mask of conventional religion. Else we must
+take the composer's personal conception of such a climax as that of an
+orthodox Churchman. And then the whole work, with all its pathos and
+humanity, falls to the level of liturgy.
+
+The words of invisible angel-chorus are those of the blessed maid
+trusting in God her savior, on a theme for which we are prepared by
+preluding choirs of harps, wood and strings. It is sung on an ancient
+Church tone that in its height approaches the mode of secular song. With
+all the power of broad rhythm, and fulness of harmony and volume, the
+feeling is of conventional worship. With all the purity of shimmering
+harmonies the form is ecclesiastical in its main lines and depends upon
+liturgic symbols for its effect and upon the faith of the listener for
+its appeal.
+
+At the end of the hymn, on the entering _Hosanna!_ and _Hallelujah!_ we
+catch the sacred symbol (of seven tones) in the path of the two vocal
+parts, the lower descending, the higher ascending as on heavenly scale.
+In the second, optional ending the figure is completed, as the bass
+descends through the seven whole tones and the treble (of voices and
+instruments) rises as before to end in overpowering _Hallelujah!_ The
+style is close knit with the earlier music. A pervading motive is the
+former brief phrase of aspiration; upon it the angelic groups seem to
+wing their flight between verses of praise. By a wonderful touch the
+sigh, that appeared inverted in the plaintive chant of the _Purgatorio_,
+is finally glorified as the motive of the bass to the words of
+exultation.
+
+
+
+
+CHAPTER V
+
+THE SYMPHONIC POEMS OF LISZT
+
+
+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. Yet it must be
+yielded that Liszt's program-music was of the higher kind that dwells in
+symbols rather than in concrete details. It was a graphic plan of
+symbolization that led Liszt to choose the subjects of his symphonic
+poems (such as the "Préludes" and the "Ideals") and to prefer the poetic
+scheme of Hugo's "Mazeppa" to the finer verse of a Byron. Though not
+without literal touches, Liszt perceived that his subjects must have a
+symbolic quality.
+
+Nevertheless this pictorial style led to a revolution in the very nature
+of musical creation and to a new form which was seemingly intended to
+usurp the place of the symphony. It is clear that the symphonic poem is
+in very essence opposed to the symphony. The genius of the symphony lies
+in the overwhelming breadth and intensity of its expression without the
+aid of words. Vainly decried by a later age of shallower perception, it
+achieved this Promethean stroke by the very magic of the design. At one
+bound thus arose in the youngest art a form higher than any other of
+human device,--higher than the epic, the drama, or the cathedral.
+
+Bowing to an impatient demand for verbal meaning, Liszt invented the
+Symphonic Poem, in which the classic cogency yielded to the loose thread
+of a musical sketch in one movement, slavishly following the sequence of
+some literary subject. He abandoned sheer tonal fancy, surrendering the
+magic potency of pure music, fully expressive within its own design far
+beyond the literal scheme.[A]
+
+[Footnote A: Mendelssohn with perfect insight once declared,--"Notes
+have as definite a meaning as words, perhaps even a more definite one."]
+
+The symphonic poems of Liszt, in so far as his intent was in destructive
+reaction to the classic process, were precisely in line with the drama
+of Wagner. The common revolt completely failed. The higher, the real
+music is ever of that pure tonal design where the fancy is not leashed
+to some external scheme. Liszt himself grew to perceive the inadequacy
+of the new device when he returned to the symphony for his greatest
+orchestral expression, though even here he never escaped from the thrall
+of a literal subject.
+
+And strangely, in point of actual music, we cannot fail to find an
+emptier, a more grandiose manner in all these symphonic poems than in
+the two symphonies. It seems as if an unconscious sense of the greater
+nobility of the classic medium drove Liszt to a far higher inspiration
+in his melodic themes.
+
+Yet we cannot deny the brilliant, dazzling strokes, and the luscious
+harmonies. It was all a new manner, and alone the novelty is welcome,
+not to speak of the broad sweep of facile melody, and the sparkling
+thrills.
+
+
+_LES PRÉLUDES_
+
+This work has a preface by the composer, who refers in a footnote to the
+"_Méditations poétiques_" of Lamartine.
+
+"What else is our life than a series of preludes to that unknown song of
+which the first solemn note is struck by death? Love is the morning glow
+of every heart; but in what human career have not the first ecstasies of
+bliss been broken by the storm, whose cruel breath destroys fond
+illusions, and blasts the sacred shrine with the bolt of lightning. And
+what soul, sorely wounded, does not, emerging from the tempest, seek to
+indulge its memories in the calm of country life? Nevertheless, man will
+not resign himself for long to the soothing charm of quiet nature, and
+when the trumpet sounds the signal of alarm, he runs to the perilous
+post, whatever be the cause that calls him to the ranks of war,--that he
+may find in combat the full consciousness of himself and the command of
+all his powers."
+
+How far is the music literally graphic? We cannot look for the "unknown
+song" in definite sounds. That would defeat, not describe, its
+character. But the first solemn notes, are not these the solemn rising
+phrase that reappears in varying rhythm and pace all about the beginning
+and, indeed, the whole course
+
+[Music: _Andante_
+(Strings, doubled in two lower 8ves.)]
+
+of the music. Just these three notes abound in the mystic first
+"prelude," and they are the core of the great swinging tune of the
+Andante maestoso, the beginning and main pulse of the unknown song.
+
+[Music: _Andante maestoso_
+(Basses of strings, wood and brass, doubled below; arpeggic
+harmonies in upper strings; sustained higher wood)]
+
+Now (_dolce cantando_) is a softer guise of the phrase. For death and
+birth, the two portals, are like
+
+[Music: (Strings, with arpeggic violins)
+_dolce cantando_
+(_Pizz._ basses)]
+
+elements. Even here the former separate motive sounds, and so in the
+further turn of the song (_espressivo dolente_) on new thread.
+
+The melody that sings (_espressivo ma tranquillo_) may well stand for
+"love, the glow of dawn in every heart." Before the storm, both great
+motives (of love and death) sound together very beautifully, as in
+
+[Music: _espress. ma tranquillo_
+_dolce._
+(Horns and lower strings, with arpeggic harp and violins)]
+
+Tennyson's poem. The storm that blasts the romance begins with the same
+fateful phrase. It is all about, even inverted, and at the crisis it
+sings with the fervor of full-blown song. At the lull the soft guise
+reappears, faintly, like a sweet memory.
+
+The Allegretto pastorale is clear from the preface. After we are lulled,
+soothed, caressed and all but entranced by these new impersonal sounds,
+then, as if the sovereign for whom all else were preparing, the song of
+love seeks its recapitulated verse. Indeed here is the real full song.
+Is it that in the memory lies the reality, or at least the realization?
+
+Out of the dream of love rouses the sudden alarm of brass (_Allegro
+marziale animato_), with a new war-tune fashioned of the former soft
+disguised motive. The air of fate still hangs heavy over all. In
+spirited retorts the martial madrigal proceeds, but it is not all mere
+war and courage. Through the clash of strife break in the former songs,
+the love-theme in triumph and the first expressive strain in tempestuous
+joy. Last of all the fateful original motto rings once more in serene,
+contained majesty.
+
+On the whole, even with so well-defined a program, and with a full play
+of memory, we cannot be quite sure of a fixed association of the motive.
+It is better to view the melodic episodes as subjective phases, arising
+from the tenor of the poem.
+
+
+_TASSO_
+
+Liszt's "Tasso" is probably the earliest celebration, in pure tonal
+form, of the plot of man's suffering and redemption, that has been so
+much followed that it may be called the type of the modern symphony.[A]
+In this direct influence the "Tasso" poem has been the most striking of
+all of Liszt's creations.
+
+[Footnote A: We may mention such other works of Liszt as "Mazeppa" and
+the "Faust" Symphony; the third symphony of Saint-Saëns; Strauss' tone
+poem "Death and Transfiguration"; Volbach's symphony, besides other
+symphonies such as a work by Carl Pohlig. We may count here, too, the
+Heldenlied by Dvôrák, and Strauss' Heldenleben (see Vol. II).]
+
+The following preface of the composer accompanies the score:
+
+     "In the year 1849 the one hundredth anniversary of Goethe's birth
+     was celebrated throughout Germany; the theatre in Weimar, where we
+     were at the time, marked the 28th of August by a performance of
+     'Tasso.'
+
+     "The tragic fate of the unfortunate bard served as a text for the
+     two greatest poets produced by Germany and England in the last
+     century: Goethe and Byron. Upon Goethe was bestowed the most
+     brilliant of mortal careers; while Byron's advantages of birth and
+     of fortune were balanced by keenest suffering. We must confess that
+     when bidden, in 1849, to write an overture for Goethe's drama, we
+     were more immediately inspired by Byron's reverential pity for the
+     shades of the great man, which he invoked, than by the work of the
+     German poet. Nevertheless Byron, in his picture of Tasso in prison,
+     was unable to add to the remembrance of his poignant grief, so
+     nobly and eloquently uttered in his 'Lament,' the thought of the
+     'Triumph' that a tardy justice gave to the chivalrous author of
+     'Jerusalem Delivered.' We have sought to mark this dual idea in the
+     very title of our work, and we should be glad to have succeeded in
+     pointing this great contrast,--the genius who was misjudged during
+     his life, surrounded, after death, with a halo that destroyed his
+     enemies. Tasso loved and suffered at Ferrara; he was avenged at
+     Rome; his glory still lives in the folk-songs of Venice. These
+     three elements are inseparable from his immortal memory. To
+     represent them in music, we first called up his august spirit as he
+     still haunts the waters of Venice. Then we beheld his proud and
+     melancholy figure as he passed through the festivals of Ferrara
+     where he had produced his master-works. Finally we followed him to
+     Rome, the eternal city, that offered him the crown and glorified in
+     him the martyr and the poet.
+
+     "_Lamento e Trionfo_: Such are the opposite poles of the destiny
+     of poets, of whom it has been justly said that if their lives are
+     sometimes burdened with a curse, a blessing is never wanting over
+     their grave. For the sake not merely of authority, but the
+     distinction of historical truth, we put our idea into realistic
+     form in taking for the theme of our musical poem the motive with
+     which we have heard the gondoliers of Venice sing over the waters
+     the lines of Tasso, and utter them three centuries after the poet:
+
+    "'Canto l'armi pietose e'l Capitano
+    Che'l gran Sepolcro liberò di Christo!'
+
+     "The motive is in itself plaintive; it has a sustained sigh, a
+     monotone of grief. But the gondoliers give it a special quality by
+     prolonging certain tones--as when distant rays of brilliant light
+     are reflected on the waves. This song had deeply impressed us long
+     ago. It was impossible to treat of Tasso without taking, as it
+     were, as text for our thoughts, this homage rendered by the nation
+     to the genius whose love and loyalty were ill merited by the court
+     of Ferrara. The Venetian melody breathes so sharp a melancholy,
+     such hopeless sadness, that it suffices in itself to reveal the
+     secret of Tasso's grief. It lent itself, like the poet's
+     imagination, to the world's brilliant illusions, to the smooth and
+     false coquetry of those smiles that brought the dreadful
+     catastrophe in their train, for which there seemed to be no
+     compensation in this world. And yet upon the Capitol the poet was
+     clothed with a mantle of purer and more brilliant purple than that
+     of Alphonse."
+
+With the help of the composer's plot, the intent of the music becomes
+clear, to the dot almost of the note. The whole poem is an exposition of
+the one sovereign melody, where we may feel a kindred trait of Hungarian
+song, above all in the cadences, that must have stirred Liszt's patriot
+heart. Nay,--beginning as it does with melancholy stress of the phrase
+of cadence and the straying into full rhythmitic exultation, it seems
+(in strange guise) another
+
+[Music: _Adagio mesto_
+(With rhythmic harp and horns)]
+
+of Liszt's Hungarian rhapsodies,--that were, perhaps, the greatest of
+all he achieved, where his unpremeditated frenzy revelled in purest
+folk-rhythm and tune. The natural division of the Hungarian dance, with
+the sad _Lassu_ and the glad _Friss_, is here clear in order and
+recurrence. The Magyar seems to the manner born in both parts of the
+melody.[A]
+
+[Footnote A: A common Oriental element in Hungarian and Venetian music
+has been observed. See Kretschmar's note to Liszt's "Tasso" (Breitkopf &
+Haertel).]
+
+In the accents of the motive of cadence (_Lento_) we feel the secret
+grief of the hero, that turns _Allegro strepitoso_, in quicker pace to
+fierce revolt.
+
+In full tragic majesty the noble theme enters, in panoply of woe. In the
+further flow, as in the beginning, is a brief chromatic strain and a
+sigh of descending tone that do not lie in the obvious song, that are
+drawn by the subjective poet from the latent fibre. Here is the modern
+Liszt, of rapture and anguish, in manner and in mood that proved so
+potent a model with a later generation.[A]
+
+[Footnote A: See note in the final chapter of Volume II.]
+
+The verse ends in a prolonged threnody, then turns to a firm, serenely
+grave burst of the song in major, _Meno Adagio_, with just a hint of
+martial grandeur. For once, or the nonce, we seem to see the hero-poet
+acclaimed. In a middle episode the motive of the cadence sings
+expressively with delicate harmonies, rising to full-blown exaltation.
+We may see here an actual brief celebration, such as Tasso did receive
+on entering Ferrara.
+
+And here is a sudden fanciful turn. A festive dance strikes a tuneful
+trip,--a menuet it surely is, with all the ancient festal charm, vibrant
+with tune and spring, though still we do not escape the source of the
+first pervading theme. Out of the midst of the dance sings slyly an
+enchanting phrase, much like a secret love-romance. Now to the light
+continuing dance is joined a strange companion,--the heroic melody in
+its earlier majestic pace. Is it the poet in serious meditation at the
+feast apart from the joyous abandon, or do we see him laurel-crowned, a
+centre of the festival, while the gay dancers flit about him in homage?
+
+More and more brilliant grows the scene, though ever with the dominant
+grave figure. With sudden stroke as of fatal blast returns the earlier
+fierce burst of revolt, rising to agitation of the former lament,
+blending both moods and motives, and ending with a broader stress of the
+first tragic motto.
+
+Now, _Allegro con brio_, with herald calls of the brass and fanfare of
+running strings (drawn from the personal theme), in bright major the
+whole song bursts forth in brilliant gladness. At the height the
+exaltation finds vent in a peal of simple melody. The "triumph" follows
+in broadest, royal pace of the main song in the wind, while the strings
+are madly coursing and the basses reiterate the transformed motive of
+the cadence. The end is a revel of jubilation.
+
+
+_MAZEPPA_
+
+The Mazeppa music is based upon Victor Hugo's poem, in turn founded upon
+Byron's verse, with an added stirring touch of allegory.
+
+The verses of Hugo first tell how the victim is tied to the fiery
+steed, how--
+
+    "He turns in the toils like a serpent in madness,
+    And ... his tormentors have feasted in gladness
+        Upon his despair.
+
+           *       *       *       *       *
+
+    "They fly.--Empty space is behind and before them
+
+           *       *       *       *       *
+
+    "The horse, neither bridle nor bit on him feeling,
+    Flies ever; red drops o'er the victim are stealing:
+        His whole body bleeds.
+    Alas! to the wild horses foaming and champing
+    That followed with mane erect, neighing and stamping,
+        A crow-flight succeeds.
+    The raven, the horn'd owl with eyes round and hollow,
+    The osprey and eagle from battle-field follow,
+        Though daylight alarm.
+
+           *       *       *       *       *
+
+    "Then after three days of this course wild and frantic,
+    Through rivers of ice, plains and forests gigantic,
+        The horse sinks and dies;
+
+           *       *       *       *       *
+
+    "Yet mark! That poor sufferer, gasping and moaning,
+    To-morrow the Cossacks of Ukraine atoning,
+        Will hail as their King;
+
+           *       *       *       *       *
+
+    "To royal Mazeppa the hordes Asiatic
+    Will show their devotion in fervor ecstatic,
+        And low to earth bow."
+
+In his splendid epilogue the poet likens the hero to the mortal on whom
+the god has set his mark. He sees himself bound living to the fatal
+course of genius, the fiery steed.
+
+    "Away from the world--from all real existence
+    He is borne upwards, despite his resistance
+        On feet of steel.
+    He is taken o'er deserts, o'er mountains in legions,
+    Grey-hoary, thro' oceans, and into the regions
+        Far over the clouds;
+    A thousand base spirits his progress unshaken
+    Arouses, press round him and stare as they waken,
+        In insolent crowds
+
+           *       *       *       *       *
+
+    "He cries out with terror, in agony grasping,
+    Yet ever the mane of his Pegasus clasping,
+        They heavenward spring;
+    Each leap that he takes with fresh woe is attended;
+    He totters--falls lifeless--the struggle is ended--
+        And rises as King!"[A]
+
+[Footnote A: The English verses are taken for the most part from the
+translation of F. Corder.]
+
+The original _Allegro agitato_ in broad 6/4 time (aptly suggestive of
+the unbridled motion) grows
+
+[Music: (In brass and strings with lower 8ve.)
+(With constant clattering higher strings and
+chord of low wind on the middle beat)]
+
+more rapid into an _alla breve_ pace (in two beats), with dazzling maze
+of lesser rhythms. Throughout the work a song of primeval strain
+prevails. Here and there a tinge of foreshadowing pain appears, as the
+song sounds on high, _espressivo dolente_. But the fervor and fury of
+movement is undiminished. The brief touch of pathos soon merges in the
+general heroic mood. Later, the whole motion ceases, "the horse sinks
+and dies," and now an interlude sings a pure plaint (in the strain of
+the main motive). Then, _Allegro_, the martial note clangs in stirring
+trumpet and breaks into formal song of war, _Allegro marziale_.
+
+[Music: (Brass and strings)
+_Allegro marziale_
+(With lower 8ve.)]
+
+In the wake of this song, with a relentless trip and tramp of warrior
+hordes, is the real clash and jingle of the battle, where the sparkling
+thrill of strings and the saucy counter theme are strong elements in the
+stirring beauty.
+
+There is a touch here of the old Goth, or rather the Hun, nearer akin to
+the composer's race.
+
+At the height rings out the main tune of yore, transformed in triumphant
+majesty.
+
+The musical design embraces various phases. First is the clear rhythmic
+sense of the ride. We think of other instances like Schubert's
+"Erl-King" or the ghostly ride in Raff's "Lenore" Symphony.
+
+The degree of vivid description must vary, not only with the composer,
+but with the hearer. The greatest masters have yielded to the variety of
+the actual graphic touch. And, too, there are always interpreters who
+find it, even if it was never intended. Thus it is common to hear at the
+very beginning of the "Mazeppa" music the cry that goes up as starts the
+flight.
+
+We are of course entitled, if we prefer, to feel the poetry rather than
+the picture. Finally it is probably true that such a poetic design is
+not marred merely because there is here or there a trick of
+onomatopoeia; if it is permitted in poetry, why not in music? It may be
+no more than a spur to the fancy, a quick conjuring of the association.
+
+
+_HUNNENSCHLACHT--"THE BATTLE OF THE HUNS"_
+
+Liszt's symphonic poem, "Hunnenschlacht," one of the last of his works
+in this form, completed in 1857, was directly inspired by the picture of
+the German painter, Wilhelm Kaulbach, which represents the legend of the
+aerial battle between the spirits of the Romans and Huns who had fallen
+outside of the walls of Rome.[A]
+
+[Footnote A: A description of the picture is cited by Lawrence Gilman in
+his book, "Stories of Symphonic Music," as follows:
+
+"According to a legend, the combatants were so exasperated that the
+slain rose during the night and fought in the air. Rome, which is seen
+in the background, is said to have been the scene of this event. Above,
+borne on a shield, is Attila, with a scourge in his hand; opposite him
+Theodoric, King of the Visigoths. The foreground is a battle-field,
+strewn with corpses, which are seen to be gradually reviving, rising up
+and rallying, while among them wander wailing and lamenting women."]
+
+The evidence of the composer's intent is embodied in a letter written in
+1857 to the wife of the painter, which accompanied the manuscript of an
+arrangement of the music for two pianos. In the letter Liszt speaks of
+"the meteoric and solar light which I have borrowed from the painting,
+and which at the Finale I have formed into one whole by the gradual
+working up of the Catholic _choral_ 'Crux fidelis,' and the meteoric
+sparks blended therewith." He continues: "As I have already intimated to
+Kaulbach, in Munich, I was led by the musical demands of the material to
+give proportionately more place to the solar light of Christianity,
+personified in the Catholic _choral_ ... than appears to be the case in
+the glorious painting, in order to win and pregnantly represent the
+conclusion of the Victory of the Cross, with which I both as a Catholic
+and as a man could not dispense."
+
+The work begins _tempestuoso_ (_allegro non troppo_), with a nervous
+theme over soft rolling drums and
+
+[Music: _Tempestuoso. Allegro non troppo_
+(Bassoons with _tremolo_ cellos and roll of kettle-drums)]
+
+trembling low strings, that is taken up as in fugue by successive groups
+and carried to a height where enters a fierce call of the horns. The
+cries of battle spread with increasing din and gathering speed. At the
+first climax the whole motion has a new energy, as the strings in
+feverish chase attack the quickened motive with violent stress. Later,
+though the motion has not lessened, the theme has returned to a
+semblance of its former pace, and again the cries of battle (in brass
+and wood) sound across its path.
+
+[Music: (Strings, _tremolo_, doubled above)
+(Horns)]
+
+In the hush of the storm the full-blown call to arms is heard in lowest,
+funereal tones. Of a sudden, though the speed is the same, the pace
+changes with a certain terror as of a cavalry attack. Presently amid the
+clattering tramp sounds the big hymn,--in the ancient rhythm that moves
+strangely out of the rut of even time.[A]
+
+[Footnote A: Quoted on the following page.]
+
+A single line of the hymn is followed by a refrain of the battle-call,
+and by the charge of horse that brings back the hymn, in high pitch of
+trumpets. And so recur the former phases of battle,--really of threat
+and preparation. For now begins the serious fray in one long gathering
+of speed and power. The first theme here grows to full melodic song,
+with extended answer, led by strepitous band of lower reed over a heavy
+clatter of strings. We are in a
+
+[Music: (Trombones with lower 8ve)
+_Marcato_]
+
+maze of furious charges and cries, till the shrill trumpet and the
+stentorian trombone strike the full call in antiphonal song. The tempest
+increases with a renewed charge of the strings, and now the more distant
+calls have a slower sweep. Later the battle song is in the
+basses,--again in clashing basses and trebles; nearer strike the broad
+sweeping calls.
+
+Suddenly over the hushed motion in soothing harmonies sings the hymn in
+pious choir of all the brass. Then the gathering speed and volume is
+merged in a majestic tread as of ordered array (_Maestoso assai;
+Andante_); a brief spirited prelude of martial motives is answered by
+the soft religious strains of the organ on the line of the hymn:
+
+    "Crux fidelis, inter omnes
+    Arbor una nobilis,
+    Nulla silva talem profert
+    Fronde, flore, germine.
+    Dulce lignum, dulces clavos,
+    Dulce pondus sustinet."[A]
+
+[Footnote A:
+
+    Faithful cross, among the trees
+    Thou the noblest of them all!
+    Forest ne'er doth grow a like
+    In leaf, in flower or in seed.
+    Blessed wood and blessed nails,
+    Blessed burden that it bears!]
+
+As in solemn liturgy come the answering phrases of the organ and the big
+chorus in martial tread. As the hymn winds its further course, violins
+entwine about the harmonies. The last line ends in expressive strain and
+warm line of new major tone,--echoed in interluding organ and violins.
+
+Suddenly a strict, solemn tread, with sharp stress of violins, brings a
+new song of the _choral_. Strings alone play here "with pious
+expression"; gradually reeds add support and ornament. A lingering
+phrase ascends on celestial harmonies. With a stern shock the plain hymn
+strikes in the reed, against a rapid course of strings, with fateful
+tread. In interlude sound the battle-cries of yore. Again the hymn ends
+in the expressive cadence, though now it grows to a height of power.
+
+Here a former figure (the first motive of the battle) reappears in a
+new guise of bright major,[A] in full, spirited stride, and leads once
+more to a blast of the hymn, with organ and all, the air in unison of
+trumpets and all the wood. The expressive cadence merges into a last
+fanfare of battle, followed by a strain of hymns and with reverberating
+Amens, where the organ predominates and holds long after all other
+sounds have ceased.
+
+[Footnote A: In the whole tonality we may see the "meteoric and solar
+light" of which the composer speaks in the letter quoted above.]
+
+
+
+
+CHAPTER VI
+
+THE SYMPHONIC POEMS OF SAINT-SAËNS
+
+
+There is something charming and even ideal in a complete versatility,
+quite apart from the depth of the separate poems, where there is a
+never-failing touch of grace and of distinction. The Philip Sydneys are
+quite as important as the Miltons, perhaps they are as great. Some poets
+seem to achieve an expression in a certain cyclic or sporadic career of
+their fancy, touching on this or that form, illuminating with an elusive
+light the various corners of the garden. Their individual expression
+lies in the _ensemble_ of these touches, rather than in a single
+profound revelation.
+
+A symptom of the eminence of Saint-Saëns in the history of French music
+lies in his attitude towards the art as a whole, especially of the
+German masters,--the absence of national bias in his perceptions. He was
+foremost in revealing to his countrymen the greatness of Bach, Beethoven
+and Schumann. Without their influence the present high state of French
+music can hardly be conceived.
+
+It is part of a broad and versatile mastery that it is difficult to
+analyze. Thus it is not easy to find salient traits in the art of M.
+Saint-Saëns. We are apt to think mainly of the distinguished beauty of
+his harmonies, until we remember his subtle counterpoint, or in turn
+the brilliancy of his orchestration. The one trait that he has above his
+contemporaries is an inbred refinement and restraint,--a thorough-going
+workmanship. If he does not share a certain overwrought emotionalism
+that is much affected nowadays, there is here no limitation--rather a
+distinction. Aside from the general charm of his art, Saint-Saëns found
+in the symphonic poem his one special form, so that it seemed Liszt had
+created it less for himself than for his French successor. A fine
+reserve of poetic temper saved him from hysterical excess. He never lost
+the music in the story, disdaining the mere rude graphic stroke; in his
+dramatic symbols a musical charm is ever commingled. And a like poise
+helped him to a right plot and point in his descriptions. So his
+symphonic poems must ever be enjoyed mainly for the music, with perhaps
+a revery upon the poetic story. With a less brilliant vein of melody,
+though they are not so Promethean in reach as those of Liszt, they are
+more complete in the musical and in the narrative effect.
+
+
+_DANSE MACABRE_
+
+Challenged for a choice among the works of the versatile composer, we
+should hit upon the _Danse Macabre_ as the most original, profound and
+essentially beautiful of all. It is free from certain lacks that one
+feels in other works, with all their charm,--a shallowness and almost
+frivolity; a facility of theme approaching the commonplace.
+
+There is here an eccentric quality of humor, a daemonic conceit that
+reach the height of other classic expression of the supernatural.
+
+The music is founded upon certain lines of a poem of _Henri Calais_
+(under a like title), that may be given as follows:
+
+          Zig-a-zig, zig-a-zig-a-zig,
+    Death knocks on the tomb with rhythmic heel.
+          Zig-a-zig, zig-a-zig-zig,
+    Death fiddles at midnight a ghostly reel.
+
+    The winter wind whistles, dark is the night;
+      Dull groans behind the lindens grow loud;
+    Back and forth fly the skeletons white,
+      Running and leaping each under his shroud.
+    Zig-a-zig-a-zig, how it makes you quake,
+    As you hear the bones of the dancers shake.
+
+           *       *       *       *       *
+
+    But hist! all at once they vanish away,
+    The cock has hailed the dawn of day.
+
+The magic midnight strokes sound clear and sharp. In eager chords of
+tuned pitch the fiddling ghost summons the dancing groups, where the
+single fife is soon followed by demon violins.
+
+Broadly sings now the descending tune half-way between a wail and a
+laugh. And ever in interlude is the skipping, mincing step,--here of
+reeds answered by solo violin with a light clank of cymbals. Answering
+the summoning fifes, the unison troop of fiddlers dance the main step
+to bright strokes of triangle, then the main ghostly violin trips in
+with choir of wind. And broadly again sweeps the song between tears and
+
+[Music: _In waltz rhythm_
+(Flute)
+(Harp, with sustained bass note of strings)]
+
+smiles. Or Death fiddles the first strain of reel for the tumultuous
+answer of chorus.
+
+Now they build a busy, bustling fugue (of the descending song) and at
+the serious moment suddenly
+
+[Music: (Solo violin)
+_Largamente_
+(_Pizz._ strings)]
+
+they skip away in new frolicsome, all but joyous, tune: a shadowy
+counterfeit of gladness, where the sob hangs on the edge of the smile.
+As if it could no longer be contained, now pours the full passionate
+grief of the broad descending strain. Death fiddles his mournful chant
+to echoing, expressive wind. On the abandon of grief follows the revel
+of grim humor in pranks of mocking demons. All the strains are mingled
+in the ghostly bacchanale. The descending song is answered in opposite
+melody. A chorus of laughter follows the tripping dance. The summoning
+chords, acclaimed by chorus, grow to appealing song in a brief lull. At
+the height, to the united skipping dance of overpowering chorus the
+brass blows the full verse of descending song. The rest is a mad storm
+of carousing till ... out of the whirling darkness sudden starts the
+sharp, sheer call of prosaic day, in high, shrill reed. On a minishing
+sound of rolling drum and trembling strings, sings a brief line of
+wistful rhapsody of the departing spirit before the last whisking steps.
+
+
+_PHAETON_
+
+On a separate page between title and score is a "_Notice_,"--an epitome
+of the story of Phaeton, as follows:
+
+"Phaeton has been permitted to drive the chariot of the Sun, his father,
+through the heavens. But his unskilful hands frighten the steeds. The
+flaming chariot, thrown out of its course, approaches the terrestrial
+regions. The whole universe is on the verge of ruin when Jupiter strikes
+the imprudent Phaeton with his thunderbolt."
+
+There is a solemn sense at first (_Maestoso_), a mid-air poise of the
+harmony, a quick spring of resolution and--on through the heavens. At
+the outset and always is the pervading musical charm. In the beginning
+is the enchantment of mere motion in lightest prancing strings and harp
+with slowly ascending curve. In farther journey comes a spring of the
+higher wood and soon a firm note of horns and a blast of trumpets on a
+chirruping call, till the whole panoply of solar brilliance is
+shimmering. Now with the continuing pulse (of saltant strings) rings a
+buoyant,
+
+[Music: _Allegro animato_
+(Violins)
+_Marcato_ (Trumpets and trombones)]
+
+regnant air in the brass. A (canon) chase of echoing voices merely adds
+an entrancing bewilderment, then yields to other symbols and visions.
+
+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. Almost to Avernus seems the
+gliding fall when the first melody rings anew. But there is now an
+anxious sense that dims the joy of motion and in the
+
+[Music: (With trembling of violins in high B flat)
+(Horns)]
+
+returning first motive jars the buoyant spring. Through the maze of
+fugue with tinge of terror presses the fatuous chase, when--crash comes
+the shock of higher power. There is a pause of motion in the din and a
+downward flight as of lifeless figure.
+
+Now seems the soul of the sweet melody to sing, in purest dirge, without
+the shimmer of attendant motion save a ghostly shadow of the joyous
+symbol.
+
+
+_THE YOUTH OF HERCULES_
+
+The "Legend" is printed in the score as follows:
+
+"Fable tells us that upon entering into life Hercules saw the two paths
+open before him: of pleasure and of virtue.
+
+"Insensible to the seductions of Nymphs and Bacchantes, the hero devotes
+himself to the career of struggle and combat, at the end of which he
+glimpses across the flames of the funeral pyre the reward of
+immortality."
+
+We can let our fancy play about the score and wonderfully hit an
+intention of the poet. Yet that is often rather a self-flattery than a
+real perception. In the small touches we may lose the greater beauty.
+Here, after all, is the justification of the music. If the graphic
+picture is added, a little, only, is gained. The main virtue of it lies
+in our better grasp of the musical design.
+
+In the muted strings, straying dreamily in pairs, is a vague line of the
+motto,--a foreshadowing of the heroic idea, as are the soft calls of the
+wind with wooing harp a first vision of delight.
+
+[Music: _Allegro moderato_
+(Strings)]
+
+Now begins the main song in sturdy course of unmuted strings. The wood
+soon join in the rehearsing. But it is not all easy deciphering. The
+song wanders in gently agitated strings while the horns hold a solemn
+phrase that but faintly resembles the motto.[A] Lesser phrases play
+about the bigger in rising flight of aspiration, crowned at the height
+with a ray of glad light.
+
+[Footnote A: It is well to resist the vain search for a transnotation of
+the story. And here we see a virtue of Saint-Saëns himself, a national
+trait of poise that saved him from losing the music in the picture. His
+symphonic poems must be enjoyed in a kind of musical revery upon the
+poetic subject. He disdained the rude graphic stroke, and used dramatic
+means only where a musical charm was commingled.]
+
+As the dream sinks slowly away, the stern motto is buried in quick
+flashes of the tempting call. These are mere visions; now comes the
+scene itself of temptation.
+
+To ripples of harp the reed sings enchantingly in swaying rhythm; other
+groups in new surprise of
+
+[Music: (Flutes, oboe, clarinets and harp)]
+
+scene usurp the melody with the languishing answer, until one Siren
+breaks into an impassioned burst, while her sisters hold the dance.
+
+Straight upon her vanished echoes shrieks the shrill pipe of war, with
+trembling drum. We hear a yearning sigh of the Siren strain before it is
+swept away in the tide and tumult of strife. Beneath the whirl and
+motion, the flash and crash of arms, we have glimpses of the heroic
+figure.
+
+Here is a strange lay in the fierce chorus of battle-cries: the Siren
+song in bright insistence, changed to the rushing pace of war.
+
+The scene ends in a crash. Loud sings a solemn phrase; do we catch an
+edge of wistful regret? Now returns the sturdy course of the main
+heroic melody; only it is slower (_Andante sostenuto_), and the high
+stress of cadence is solemnly impassioned.
+
+As if to atone for the slower pace, the theme strikes into a lively
+fugue, with trembling strings (_Allegro animato_).
+
+There is an air of achievement in the relentless progress and the
+insistent recurrence of the masterful motive. An episode there is of
+mere striving and straining, before the theme resumes its vehement
+attack, followed by lusty echoes all about as of an army of heroes.
+There is the breath of battle in the rumbling basses and the shaking,
+quivering brass.
+
+At last the plain song resounds in simple lines of ringing brass, led by
+the high bugle.[A]
+
+[Footnote A: Saint-Saëns employs besides the usual 4 horns, 2 trumpets,
+3 trombones and tuba, a small bugle (in B-flat) and 2 cornets.]
+
+Yet the struggle, the inner combat, is not over. At the very moment of
+triumph sings on high over purling harp the mastering strain of Sirens,
+is buried beneath martial clash and emerges with its enchantment. But
+here the virile mood and motive gains the victory and strides on to
+final scene.
+
+We remember how Hercules built and ascended his own funeral pyre. In
+midst of quivering strings, with dashing harp and shrieking wood, a roll
+of drum and a clang of brass sounds the solemn chant of the trombone,
+descending in relentless steps. As the lowest is reached, there comes a
+spring of freedom in the pulsing figures, like the winging of a spirit,
+and a final acclaim in a brief line of the legend.
+
+
+_OMPHALE'S SPINNING WHEEL_
+
+Between title and score is this _Notice_:
+
+"The subject of this symphonic poem is feminine witchery, the triumphant
+struggle of weakness. The spinning wheel is a mere pretext, chosen from
+the point of view of rhythm and the general atmosphere of the piece.
+
+"Those persons who might be interested in a study of the details of the
+picture, will see ... the hero groaning in the toils which he cannot
+break, and ... Omphale mocking the vain efforts of Hercules."
+
+The versions of the story differ slightly. After the fulfilment of his
+twelve labors Hercules is ordered by the oracle to a period of three
+years' service to expiate the killing of the son of King Eurytus in a
+fit of madness. Hermes placed him in the household of Omphale, queen of
+Lydia, widow of Tmolus. Hercules is degraded to female drudgery, is
+clothed in soft raiment and set to spin wool, while the queen assumes
+the lion skin and club.
+
+In another version he was sold as slave to Omphale, who restored him to
+freedom. Their passion was mutual. The story has a likeness to a similar
+episode of Achilles.
+
+The spinning-wheel begins _Andante_ in muted strings alternating with
+flutes and gradually hurries into a lively motion. Here the horn accents
+the spinning, while another thread (of higher wood) runs through the
+graceful woof. A chain of alluring harmonies preludes the ensnaring
+song, mainly of woodwind above the humming strings, with soft dotting of
+the harmony by the horns. The violins, to be sure, often enforce the
+melody.
+
+[Music: _Andantino_
+(Fl. and muted violins)
+_Grazioso_
+(Strings, muted)]
+
+In the second verse, with fuller chorus, the harp adds its touches to
+the harmony of the horns, with lightest tap of tonal drum. Later a
+single note of the trumpet is answered by a silvery laugh in the wood.
+Between the verses proceeds the luscious chain of harmonies, as with the
+turning of the wheel.
+
+Now with the heavily expressive tones of low, unmuted strings and the
+sonorous basses of reed and brass (together with a low roll of drum and
+soft clash of cymbals) an heroic air sings in low strings and brass, to
+meet at each period a shower of notes from the harp. The song grows
+intense with the
+
+[Music: (Wood and _trem._ violins doubled above)
+(Horns)
+_espress. e pesante_
+(Cellos, basses, bassoons and trombone, doubled below)]
+
+added clang of trumpets and roll of drums,--only to succumb to the more
+eager attack of the siren chorus. At last the full effort of strength
+battling vainly with weakness reaches a single heroic height and sinks
+away with dull throbs.
+
+In soothing answer falls the caressing song of the high reed in the
+phrase of the heroic strain, lightly, quickly and, it seems, mockingly
+aimed. In gently railing triumph returns the pretty song of the wheel,
+with a new buoyant spring. Drums and martial brass yield to the laughing
+flutes, the cooing horns and the soft rippling harp with murmuring
+strings, to return like captives in the train at the height of the
+gaiety.
+
+
+
+
+CHAPTER VII
+
+CÉSAR FRANCK
+
+
+The new French school of symphony that broke upon the world in the
+latter part of the nineteenth century had its pioneer and true leader in
+César Franck.[A] It was he who gave it a stamp and a tradition.
+
+[Footnote A: If language and association, as against the place of birth,
+may define nationality, we have in César Franck another worthy
+expression of French art in the symphony. He was born at Liège in 1822;
+he died in 1890.]
+
+The novelty of his style, together with the lateness of his acclaim (of
+which it was the probable cause), have marked him as more modern than
+others who were born long after him.
+
+The works of Franck, in other lines of oratorio and chamber music, show
+a clear personality, quite apart from a prevailing modern spirit. A
+certain charm of settled melancholy seems to inhere in his wonted style.
+A mystic is Franck in his dominant moods, with a special sense and power
+for subtle harmonic process, ever groping in a spiritual discontent with
+defined tonality.
+
+A glance at the detail of his art discloses Franck as one of the main
+harmonists of his age, with Wagner and Grieg. Only, his harmonic manner
+was blended if not balanced by a stronger, sounder counterpoint than
+either of the others. But with all the originality of his style we
+cannot escape a sense of the stereotype, that indeed inheres in all
+music that depends mainly on an harmonic process. His harmonic ideas,
+that often seem inconsequential, in the main merely surprise rather than
+move or please. The enharmonic principle is almost too predominant,--an
+element that ought never to be more than occasional. For it is founded
+not upon ideal, natural harmony, but upon a conventional compromise, an
+expedient compelled by the limitation of instruments. This over-stress
+appears far stronger in the music of Franck's followers, above all in
+their frequent use of the whole tone "scale" which can have no other
+_rationale_ than a violent extension of the enharmonic principle.[A]
+With a certain quality of kaleidoscope, there is besides (in the
+harmonic manner of César Franck) an infinitesimal kind of progress in
+smallest steps. It is a dangerous form of ingenuity, to which the
+French are perhaps most prone,--an originality mainly in details.
+
+[Footnote A: Absolute harmony would count many more than the semitones
+of which our music takes cognizance. For purpose of convenience on the
+keyboard the semitonal raising of one note is merged in the lowering of
+the next higher degree in the scale. However charming for occasional
+surprise may be such a substitution, a continuous, pervading use cannot
+but destroy the essential beauty of harmony and the clear sense of
+tonality; moreover it is mechanical in process, devoid of poetic fancy,
+purely chaotic in effect. There is ever a danger of confusing the novel
+in art with new beauty.]
+
+And yet we must praise in the French master a wonderful workmanship and
+a profound sincerity of sentiment. He shows probably the highest point
+to which a style that is mainly harmonic may rise. But when he employs
+his broader mastery of tonal architecture, he attains a rare height of
+lofty feeling, with reaches of true dramatic passion.
+
+The effect, to be sure, of his special manner is somewhat to dilute the
+temper of his art, and to depress the humor. It is thus that the
+pervading melancholy almost compels the absence of a "slow movement" in
+his symphony. And so we feel in all his larger works for instruments a
+suddenness of recoil in the Finale.
+
+One can see in Franck, in analogy with his German contemporaries, an
+etherealized kind of "Tristan and Isolde,"--a "Paolo and Francesca" in a
+world of shades. Compared with his followers the quality of stereotype
+in Franck is merely general; there is no excessive use of one device.
+
+A baffling element in viewing the art of Franck is his remoteness of
+spirit, the strangeness of his temper. He lacked the joyous spring that
+is a dominant note in the classic period. Nor on the other hand did his
+music breathe the pessimism and naturalism that came with the last
+rebound of Romantic reaction. Rather was his vein one of high spiritual
+absorption--not so much in recoil, as merely apart from the world in a
+kind of pious seclusion. Perhaps his main point of view was the
+church-organ. He seems a religious prophet in a non-religious age. With
+his immediate disciples he was a leader in the manner of his art, rather
+than in the temper of his poetry.
+
+
+_SYMPHONY IN D MINOR_
+
+The scoring shows a sign of modern feeling in the prominence of the
+brasses. With all contrast of spirit, the analogy of Franck with the
+Liszt-Wagner school and manner is frequently suggestive.
+
+The main novelty of outer detail is the plan of merely three movements.
+Nor is there a return to the original form, without the Scherzo. To
+judge from the headings, the "slow" movement is absent. In truth, by way
+of cursory preamble, the chronic vein of César Franck is so ingrainedly
+reflective that there never can be with him an absence of the meditative
+phrase. Rather must there be a vehement rousing of his muse from a state
+of mystic adoration to rhythmic energy and cheer.[A]
+
+[Footnote A: The key of the work is given by the composer as D minor.
+The first movement alone is in the nominal key. The second (in B flat)
+is in the submediant, the last in the tonic major. The old manner in
+church music, that Bach often used, of closing a minor tonality with a
+major chord, was probably due to a regard for the mood of the
+congregation. An extension of this tradition is frequent in a long coda
+in the major. But this is quite different in kind from a plan where all
+of the last movement is in insistent major. We know that it is quite
+possible to begin a work at some distance from the main key, leading to
+it by tortuous path of modulation; though there is no reason why we may
+not question the composer's own inscription, the controlling point is
+really the whole tonal scheme. Here the key of the second movement is
+built on a design in minor,--would have less reason in the major. For it
+rests on a degree that does not exist in the tonic major. To be sure,
+Beethoven did invent the change to a lowered submediant in a succeeding
+movement. And, of course, the final turn to the tonic major is virtually
+as great a license.]
+
+_Lento_ in basses of the strings a strain sounds like a basic motive,
+answered with harmonies in the wood. In further strings lies the full
+tenor of quiet reflection, with sombre color of tonal scheme. Motives
+are less controlling probably in Franck than in any other
+symphonist,--less so, at any rate, than his one
+
+[Music: _Lento_]
+
+special mood and manner. Yet nowhere is the strict figural plot more
+faithful in detail than with César Franck.
+
+The theme has an entirely new ring and answer when it enters Allegro
+after the Lento prelude. The further course of the tune here is in
+eccentric, resolute stride in the descending scale. Our new answer is
+much evident in the bass. The Allegro seems a mere irruption; for the
+Lento prelude reappears in full solemnity. Indeed, with all the title
+and pace, this seems very like the virtual "slow" movement. A mood of
+rapt, almost melancholy absorption prevails, with rare flashes of joyous
+utterance, where the Allegro enters as if to break the thrall of
+meditation. A very striking inversion of the theme now appears. The
+gradual growth of phrases in melodious instalments is a trait of Franck
+(as it is of Richard Strauss). The rough motto at each turn has a new
+
+[Music: _Allegro non troppo_
+(Strings)
+(Wind)]
+
+phase and frequently is transfigured to a fresh tune. So out of the
+first chance counter-figures somehow spring beautiful melodies, where we
+feel the fitness and the relevance though we have not heard them before.
+It is a quality that Franck shares with Brahms, so that in a
+mathematical spirit we might care to deduce all the figures from the
+first phrase. This themal manner is quite analogous to the harmonic
+style of Franck,--a kaleidoscope of gradual steps, a slow procession of
+pale hues of tone that with strange aptness reflect the dim religious
+light of mystic musing.
+
+More and more expressive are the stages of the first figures until we
+have a duet _molto cantabile_ in the strings. Much of the charm of the
+movement lies in the balance of the new rhythms, the eccentric and the
+flowing. By some subtle path there grows a song
+
+[Music: _Allegro. Molto cantabile_]
+
+in big tones of unison, wood and strings and trumpets, that is the real
+hymnal refrain of the movement. Between this note almost of exultation
+and all shades of pious dreaming the mood is constantly shifting.
+
+[Music: _Allegro_]
+
+Another phrase rises also to a triumphant height (the clear reverse of
+the former tuneful melody) that comes now like a big _envoi_ of assuring
+message.
+
+Though the whole movement is evenly balanced between Allegro and
+Penseroso (so far as pace is concerned), the mood of reflection really
+finds full vent; it has no reason for a further special expression.
+
+Simple as the Allegretto appears in its suggestion of halting dance, the
+intent in the episodes is of the subtlest. The slow trip of strings and
+harp is soon given a new meaning with the melody of English horn.
+Throughout we are somehow divided between pure dance and a more
+thoughtful muse. In the first departure to an episode in major, seems to
+sing the essence of the former melody in gently murmuring strings, where
+later the whole chorus are drawn in. The song moves on clear thread and
+wing right out of the mood of the dance-tune; but the very charm lies in
+the mere outer change of guise. And so the second episode is still far
+from all likeness with the first dance beyond a least sense of the old
+trip that does appear here and there. It is all clearly a true scheme of
+variations, the main theme disguised beyond outer semblance, yet
+faithfully present throughout in the essential rhythm and harmony.
+
+In the Finale, _Allegro non troppo_, we are really clear, at the outset,
+of the toils of musing melancholy.
+
+[Music: _Allegro non troppo_
+_Dolce cantabile_]
+
+After big bursts of chords, a tune rolls pleasantly along, _dolce
+cantabile_, in basses of wood and strings. Expressive after-phrases
+abound, all in the same jolly mood, until the whole band break
+boisterously on the simple song, with a new sonorous phrase of basses.
+Then, in sudden remove, sounds the purest bit of melody of all the
+symphony, in gentlest tones
+
+[Music: _Dolce cantabile_
+(In the brass)]
+
+of brass (trumpet, trombone and tuba). But, though in complete recoil
+from the rhythmic energy of Allegro theme, it is even farther from the
+reflective mood than the latter. It shows, in this very contrast, the
+absence of the true lyric in the meditative vein, frequent with César
+Franck. The burst of melody blossoms ever fairer. In its later musing
+the tune browses in the bass. A waving phrase grows in the violins,
+which continues with strange evenness through the entrance of new song
+where we are surprised by the strange fitness of the Allegretto melody.
+And the second phase of the latter follows as if it belonged here. So,
+almost listless, without a hair of rhythmic change (_les temps ont
+toujours la même valeur_), the Finale theme sings again most softly in
+the strings. It has, to be sure, lost all of its color, without the
+original throb of accompanying sounds. The phase of the movement is a
+shadowy procession of former ideas, united in the dreamy haze that
+enshrouds them. The stir that now begins is not of the first pale hue of
+thought, rather the vein of big discussion, brewing a storm that breaks
+finally in full blast on the gentle melody (of the brass) transfigured
+in ringing triumph, in all the course of the song. Nor is the succeeding
+phase the mystic habit of our poet; it is a mere farther digestion of
+the meat of the melody that leads once more to a height of climax whence
+we return to first course of themes, tuneful afterphrase and all, with
+the old happy motion. The counterpoint here is the mere joyous ringing
+of many strains all about.
+
+Against all rules comes a new chorusing paean on the theme of
+Allegretto, led by stentorian basses, together with an enchanting
+after-strain, which we might have remarked before. And still another
+quarter, long hushed, is heard anew, as a voice sounds a faint reminder
+of the hymn of the first Allegro. Indeed, the combining strains before
+the close seem sprung all of one parental idea. The motto of the
+beginning sings in fittest answer to the latest phrases. The very maze
+of the concert forbids our turning to their first origin. The end is in
+joyous chanting of the Finale melody.
+
+
+
+
+CHAPTER VIII
+
+D'INDY AND THE FOLLOWERS OF FRANCK
+
+
+Perhaps the noblest essay in symphonic music of the followers of Franck
+is the second symphony of Vincent D'Indy.[A] His vein is indeed
+throughout nearest akin of all the disciples to the serious muse of the
+master.
+
+[Footnote A: Vincent d'Indy was born in Paris on March 27, 1852.]
+
+Though D'Indy is surpassed in a certain poetic originality by some of
+his compatriot contemporaries, there is in this symphony a breadth of
+design and detail, a clear melodic quality and a sustained lofty feeling
+that seem to mark it the typical French symphony of its time. The
+strength of the work lies in a unity that is not merely of figure and
+outline. If we must measure a symphony mainly by the slow movement, we
+cannot avoid, with all the languorous beauty, a certain conventionality
+of mood, stressed with an exotic use of the appoggiatura, while in the
+Scherzo is a refined savagery of modern cacophony.
+
+The directions are all in French; we are reminded of Schumann's
+departure from the Italian fashion.
+
+Each movement, save the third, has its prelude: a gathering of threads
+before the new story. The first notes of basses, together with the
+answer on high, sound a prophetic legend of the whole.
+
+The harmonic lucubrations are profoundly subtle. Indeed the very nature
+of the first phrase is of dim
+
+[Music: _Extrêmémént Lent._ (Woodwind)
+(Strings and harps)]
+
+groping; it ends in a climax of the answer and merges into the main song
+of the Allegro (_très vif_) in horns, with rapid trip of strings.
+
+[Music: _Très vif_ (Horns)
+(Strings)]
+
+Throughout (from a technical view) is a fine mastery of the device of
+ornamental notes, and secondary harmonies; there is also a certain
+modern sense of chords and their relations. Together with an infinite
+brilliance of these resources there is not only no weakness in cogency
+of form, but there is a rare unity of design. The movements are bound
+together, at least in themal relation, as strictly as in any symphony.
+While the first phrase of the Allegro theme may hark back to the answer
+of original motto, the second is the main thread of narrative.
+
+[Music: (Flutes, oboes and clarinets)
+_Sempre staccato_]
+
+Again and again is the climax rung on the first high note of the theme.
+Then, in lieu of cadence, out of a bright dissonance the quick notes
+dance upward in sturdy pace, the answer of the Allegro in sharp
+disguise. And then from the height descends a refreshing spray of
+subtlest discords, ending in another masterful burst of new harmony.
+
+The dainty, dazzling play is stopped by a rough thud of basses and a
+fierce clang of chords. In the sharp blare of brass on the ascending
+phrase is almost lost the original motto in lowest basses. It is now
+heard in gradually quickened speed, while the rising phrase runs more
+timidly. At last the quickened motto sinks gently into lulling motion,
+_un peu plus modéré_. Above, in strings and horns, the melody haunts us
+with a dim sense that takes us to the first languishing answer of the
+original legend. And the whole is strong-knit; for the very Allegro
+theme began in resolute mood of a like figure. A counter-strain rises to
+meet the main phrase. The whole episode is an intertwining of song in
+the vein of the first answer of motto.
+
+The quick rising notes suddenly return with snatches of the main motive,
+the chain of echoing phrases runs a gamut of moods, fitful, anxious,
+soothed, until the bright upward trip begins anew, with the enchanting
+burst of chord and descending harmonies. A climactic height is stressed
+by a rough meeting of opposing groups, in hostile tone and movement,
+ending in a trill of flutes and a reëntry of the episode.
+
+In the returning Allegro the thread is still the same, though richer in
+color and texture. Again there is the plunge into dark abyss, with
+shriek of harp, and the ominous theme in the depths. The slow ascending
+phrase here has a full song and sway. The end is in spirited duet of two
+quick motives.
+
+The second movement, _modérément lent_, begins in revery on the answer
+of original motive, and the stately pathos of the theme, in horns,
+clarinets and violas, with rhythmic strings, grows naturally out of the
+mood.
+
+_Plus animé_, in subtle change of pace (from 6/4 to 3/2), the episode
+begins with eccentric stride of harps (and added woodwind), that serves
+as a kind of
+
+[Music: _Modérément Lent._
+(Melody in horns, clarinets and violas)
+(Acc'd in strings)]
+
+accompanying figure and foil for the sweeping song of the real second
+melody (in oboe solo, succeeded by the clarinet).
+
+[Music: (Oboe solo)
+_Très espress._
+(Violins)
+(Acc't in bassoons, horns, harps and basses)]
+
+In the clash of themes and harmonies of the climax, the very limits of
+modern license seem to be invoked. Later the three themes are entwined
+in a passage of masterly counterpoint.
+
+There is a touch of ancient harmony in the delicate tune of third
+movement, which has the virtue of endless weaving. It is sung by solo
+violin, mainly supported by a choir of lower strings.
+
+A final conclusive line is given by the solo flute. Besides the constant
+course of varying tune, there is a power of ever changing harmony that
+seems to lie in some themes.
+
+[Music: _Modéré_
+(Viola solo)
+_Très simplement_]
+
+One can hardly call it all a Scherzo. It is rather an idyll after the
+pathos of the Andante. Or, from another view, reversing the usual order,
+we may find the quality of traditional Trio in the first melody and a
+bacchanale of wild humor in the middle. For, out
+
+[Music: _Très animé_
+(Woodwind and strings)]
+
+of a chance phrase of horns grows of all the symphony the boldest
+harmonic phrase (repeated through ten bars). Above rings a barbarous
+cry, in defiance of common time and rhythm.
+
+Suddenly we are surprised by the sound of the martial stride of the
+second theme of the Andante which moves on the sea of rough harmony as
+on a native element. One whim follows another. The same motion is all
+there, but as if in shadow, in softest sound, and without the jar of
+discord; then comes the fiercest clash of all, and now a gayest dance of
+the first tune, _assez vif_, in triple rhythm, various figures having
+their _pas seul_. A second episode returns, brilliant in high pace but
+purged of the former war of sounds. At the end is the song of the first
+tune, with new pranks and sallies.
+
+The beginning of the Finale is all in a musing review of past thoughts.
+The shadow of the last tune lingers, in slower pace; the ominous dirge
+of first motto sounds below; the soothing melody of the Andante sings a
+verse. In solemn fugue the original motto is reared from its timid
+phrase to masterful utterance, with splendid stride. Or
+
+[Music: _Modéré et solennel_
+(Cellos and basses)]
+
+rather the theme is blended of the first two phrases, merging their
+opposite characters in the new mood of resolution. The strings prepare
+for the sonorous entrance of woodwind and horns. One of the greatest
+fugal episodes of symphonies, it is yet a mere prelude to the real
+movement, where the light theme is drawn from a phrase of latest
+cadence. And the dim hue of minor which began the symphony, and all
+overspread the prelude, at last yields to the clear major. There is
+something of the struggle of shadow and light of the great third
+symphony of Brahms.
+
+The continuous round of the theme, in its unstable pace (of 5/4), has a
+strange power of motion, the feeling
+
+[Music: (Ob.)
+(Strings)]
+
+of old passacaglia. To be sure, it is the mere herald and companion of
+the crowning tune, in solo of the reeds.
+
+From the special view of structure, there is no symphony, modern or
+classic, with such an overpowering combination and resolution of
+integral themes in one movement. So almost constant is the derivation of
+ideas, that one feels they must be all related. Thus, the late rush of
+rhythm, in the Finale, is broken by a quiet verse where with enchanting
+subtlety we are carried back somewhere to the idyll of third movement.
+
+Above, rises another melody, and from its simple outline grows a fervor
+and pathos that, aside from the basic themes of the whole work, strike
+the main feeling of the Finale.
+
+[Music: _Un peu moins vite_]
+
+The martial trip from the Andante joins later in the return of the
+whirling rhythm. At last the motto strikes on high, but the appealing
+counter-melody is not easily hushed.
+
+[Music: (Ob.)
+(Cellos with _tremolo_ violins)]
+
+It breaks out later in a verse of exalted beauty and passion. The
+struggle of the two ideas reminds us of the Fifth Symphony. At last the
+gloom of the fateful motto is relieved by the return of the original
+answer, and we seem to see a new source of latest ideas, so that we
+wonder whether all the melodies are but guises of the motto and answer,
+which now at the close, sing in united tones a hymn of peace and bliss.
+
+
+
+
+CHAPTER IX
+
+DÉBUSSY AND THE INNOVATORS
+
+
+At intervals during the course of the art have appeared the innovators
+and pioneers,--rebels against the accepted manner and idiom. The mystery
+is that while they seem necessary to progress they seldom create
+enduring works. The shadowy lines may begin somewhere among the Huebalds
+and other early adventurers. One of the most striking figures is Peri,
+who boldly, almost impiously, abandoned the contrapuntal style, the only
+one sanctioned by tradition, and set the dramatic parts in informal
+musical prose with a mere strumming of instruments.
+
+It is not easy to see the precise need of such reaction. The radical
+cause is probably a kind of inertia in all things human, by which the
+accepted is thought the only way. Rules spring up that are never wholly
+true; at best they are shifts to guide the student, inadequate
+conclusions from past art. The essence of an art can never be put in
+formulas. Else we should be content with the verbal form. The best
+excuse for the rule is that it is meant to guard the element of truth in
+art from meretricious pretence.
+
+And, we must not forget, Art progresses by slow degrees; much that is
+right in one age could not come in an earlier, before the intervening
+step.
+
+The masters, when they had won their spurs, were ever restive under
+rules.[A] Yet they underwent the strictest discipline, gaining early the
+secret of expression; for the best purpose of rules is liberation, not
+restraint. On the other hand they were, in the main, essentially
+conservative. Sebastian Bach clung to the older manner, disdaining the
+secular sonata for which his son was breaking the ground.
+
+[Footnote A: Some of the chance sayings of Mozart (recently edited by
+Kerst-Elberfeld) betray much contempt for academic study: "Learning from
+books is of no account. Here, here, and here (pointing to ear, head, and
+heart) is your school." On the subject of librettists "with their
+professional tricks," he says: "If we composers were equally faithful to
+our own rules (which were good enough when men knew no better), we
+should turn out just as poor a quality in our music as they in their
+librettos." Yet, elsewhere, he admits: "No one has spent so much pains
+on the study of composition as myself. There is hardly a famous master
+in music whom I have not read through diligently and often."]
+
+The master feels the full worth of what has been achieved; else he has
+not mastered. He merely gives a crowning touch of poetic message, while
+the lighter mind is busy with tinkering of newer forms. For the highest
+reaches of an art, the poet must first have grasped all that has gone
+before. He will not rebel before he knows the spirit of the law, nor
+spend himself on novelty for its own sake.
+
+The line between the Master and the Radical may often seem vague. For,
+the former has his Promethean strokes, all unpremeditated, compelled by
+the inner sequence,--as when Beethoven strikes the prophetic drum in the
+grim Scherzo of the Fifth Symphony; or in the Eroica when the horn
+sounds sheer ahead, out of line with the sustaining chorus; or when Bach
+leaps to his harmonic heights in organ fantasy and toccata; or Mozart
+sings his exquisite clashes in the G Minor Symphony.
+
+As the true poet begins by absorption of the art that he finds, his
+early utterance will be imitative. His ultimate goal is not the
+strikingly new but the eternally true. It is a question less of men than
+of a point of view.
+
+It seems sometimes that in art as in politics two parties are needed,
+one balancing the weaknesses of the other. As certain epochs are
+overburdened by the spirit of a past poet, so others are marred by the
+opposite excess, by a kind of neo-mania. The latter comes naturally as
+reaction from the former. Between them the poet holds the balance of
+clear vision.
+
+When Peri overthrew the trammels of counterpoint, in a dream of Hellenic
+revival of drama, he could not hope to write a master-work. Destructive
+rebellion cannot be blended with constructive beauty. An antidote is of
+necessity not nourishment. Others may follow the path-breaker and slowly
+reclaim the best of old tradition from the new soil. The strange part of
+this rebellion is that it is always marked by the quality of stereotype
+which it seeks to avoid. This is an invariable symptom. It cannot be
+otherwise; for the rejection of existing art leaves too few resources.
+Moreover, the pioneer has his eye too exclusively upon the mere manner.
+
+A wholesome reaction there may be against excess. When Gluck dared to
+move the hearts of his hearers instead of tickling their ears, he
+achieved his purpose by positive beauty, without actual loss. In this
+sense every work of art is a work of revolution. So Wagner, especially
+in his earlier dramas,[A] by sheer sincerity and poetic directness,
+corrected a frivolous tradition of opera. But when he grew destructive
+of melody and form, by theory and practice, he sank to the rôle of
+innovator, with pervading trait of stereotype, in the main merely adding
+to the lesser resources of the art. His later works, though they contain
+episodes of overwhelming beauty, cannot have a place among the permanent
+classics, alone by reason of their excessive reiteration.
+
+[Footnote A: The "Flying Dutchman," "Lohengrin" and "Tannhäuser" seemed
+destined to survive Wagner's later works.]
+
+One of the most charming instances of this iconoclasm is the music of
+Claude Débussy.[A] In a way we are reminded of the first flash of
+Wagner's later manner: the same vagueness of tonality, though with a
+different complexion and temper. Like the German, Débussy has his own
+novel use of instruments. He is also a rebel against episodic melody.
+Only, with Wagner the stand was more of theory than of practice. His
+lyric inspiration was here too strong; otherwise with Débussy. Each
+article of rebellion is more highly stressed in the French leader, save
+as to organic form, where the latter is far the stronger. And finally
+the element of mannerism cannot be gainsaid in either composer.[B]
+
+[Footnote A: Born in 1862.]
+
+[Footnote B: Some recurring traits Wagner and Débussy have in common,
+such as the climactic chord of the ninth. The melodic appoggiatura is as
+frequent in the earlier German as the augmented chord of the fifth in
+the later Frenchman.]
+
+Among the special traits of Débussy's harmonic manner is a mingling with
+the main chord of the third below. There is a building downward, as it
+were. The harmony, complete as it stands, seeks a lower foundation so
+that the plain tower (as it looked at first) is at the end a lofty
+minaret. It is striking that a classic figure in French music should
+have stood, in the early eighteenth century, a champion of this idea, to
+be sure only in the domain of theory. There is a touch of romance in the
+fate of a pioneer, rejected for his doctrine in one age, taken up in the
+art of two centuries later.[A]
+
+[Footnote A: Rameau, when the cyclopaedic spirit was first stirring and
+musical art was sounding for a scientific basis, insisted on the element
+of the third below, implying a tonic chord of 6, 5, 3. Here he was
+opposed by Fétis, Fux and other theoretic authority; judgment was
+definitively rendered against him by contemporary opinion and prevailing
+tradition. It cannot be said that the modern French practice has
+justified Rameau's theory, since with all the charm of the enriched
+chord, there is ever a begging of the question of the ultimate root.]
+
+A purely scientific basis must be shunned in any direct approach of the
+art whether critical or creative,--alone for the fatal allurement of a
+separate research. The truth is that a spirit of fantastic experiment,
+started by the mystic manner of a César Franck, sought a sanction in the
+phenomena of acoustics. So it is likely that the enharmonic process of
+Franck led to the strained use of the whole-tone scale (of which we have
+spoken above) by a further departure from tonality.[A] And yet, in all
+truth, there can be no doubt of the delight of these flashes of the
+modern French poet,--a delicate charm as beguiling as the bolder, warmer
+harmonies of the earlier German. Instead of the broad exultation of
+Wagner there is in Débussy the subtle, insinuating dissonance. Nor is
+the French composer wanting in audacious strokes. Once for all he stood
+the emancipator of the art from the stern rule of individual vocal
+procedure. He cut the Gordian knot of harmonic pedagogy by the mere
+weapon of poetic elision. He simply omitted the obvious link by a
+license ancient in poetry and even in prose. He devised in his harmonies
+the paradox, that is the essence of art, that the necessary step somehow
+becomes unnecessary. Though Wagner plunges without ceremony into his
+languorous chords, he carefully resolves their further course. Débussy
+has them tumbling in headlong descent like sportive leviathans in his
+sea of sound. Moreover he has broken these fetters of a small punctilio
+without losing the sense of a true harmonic sequence. Nay, by the very
+riotous revel of upper harmonies he has stressed the more clearly the
+path of the fundamental tone. When he enters the higher sanctuary of
+pure concerted voices, he is fully aware of the fine rigor of its rites.
+And finally his mischievous abandon never leads him to do violence to
+the profoundest element of the art, of organic design.[B]
+
+[Footnote A: As the lower overtones, discovered by a later science,
+clearly confirm the tonal system of the major scale, slowly evolved in
+the career of the art,--so the upper overtones are said to justify the
+whole-tone process. At best this is a case of the devil quoting
+scripture. The main recurring overtones, which are lower and audible,
+are all in support of a clear prevailing tonality.]
+
+[Footnote B: In the drama Débussy avoids the question of form by
+treating the music as mere scenic background. Wagner, in his later
+works, attempted the impossible of combining a tonal with the dramatic
+plot. In both composers, to carry on the comparison beyond the technical
+phase, is a certain reaching for the primeval, in feeling as in
+tonality. Here they are part of a larger movement of their age. The
+subjects of their dramas are chosen from the same period of mediaeval
+legend, strongly surcharged in both composers with a spirit of fatalism
+where tragedy and love are indissolubly blended.]
+
+
+_"THE SEA." THREE SYMPHONIC SKETCHES_
+
+_I.--From Dawn to Noon on the Sea._ In awesome quiet of unsoothing
+sounds we feel, over a dual elemental motion, a quick fillip as of
+sudden lapping wave, while a shadowy air rises slowly in hollow
+intervals. Midst trembling whispers descending (like the soughing
+wind), a strange note, as of distant trumpet, strikes in gentle
+insistence--out of the other rhythm--and blows a wailing phrase. The
+trembling whisper has sunk to lowest depths. Still continues the lapping
+of waves--all sounds of unhuman nature.
+
+[Music: (Muted trumpet, with Eng. horns in lower 8ve.)
+_Very slowly_
+_Espressivo_
+(Cellos with basses in lower 8ve.)]
+
+On quicker spur the shadowy motive flits faster here and there in a slow
+swelling din of whispering, to the insistent plash of wave. Suddenly the
+sense of desolation yields to soothing play of waters--a _berceuse_ of
+the sea--and now a song sings softly (in horn), though strangely jarring
+on the murmuring lullaby. The soothing cheer is anon broken by a shift
+of new tone. There is a fluctuation of pleasant and strange sounds; a
+dulcet air on rapturous harmony is hushed by unfriendly plash of chord.
+
+Back again in the quieter play of rhythm the strange, sweet song (of
+horns) returns.
+
+In a ravishing climax of gentle chorus of quick plashing waves and
+swirling breeze the song sings on and the trumpet blows its line of tune
+to a ringing phrase of the clarinet.
+
+[Music: (Strings and horns)
+_ad lib. faster_]
+
+When this has died down, the lapping waves, as in concert, strike in
+full chord that spreads a hue of warmth, as of the first peep of sun. It
+is indeed as though the waves rose towards the sun with a glow of
+welcome.
+
+In the wake of the first stirring shock is a host of soft cheering
+sounds of bustling day, like a choir of birds or bells. The eager
+madrigal leads to a final blast (with acclaiming chorus of big rocking
+waves), echoed in golden notes of the horns. One slight touch has
+heightened the hue to warmest cheer; but once do we feel the full glow
+of risen sun.
+
+The chilling shadows return, as the wistful air of hushed trumpet
+sounds again. We hover between flashes of warming sun, until the waves
+have abated; in soothing stillness the romantic horn[A] sings a lay of
+legend.
+
+[Footnote A: English horn.]
+
+Now to friendly purling of playful wavelets, the sea moves in shifting
+harmonies. In sudden climax the motion of the waves fills all the brass
+in triumphant paean, in the gleam of high noon.
+
+
+_II.--Play of the Waves._ There is a poetic background as for the play
+of legend. We seem to be watching the sea from a window in the castle of
+_Pelléas_. For there is a touch of dim romance in a phrase of the
+clarinet.
+
+The movement of waves is clear, and the unconscious concert of
+sea-sounds, the deeper pulse of ocean (in the horns), the flowing
+ripples, the sharp dash of lighter surf (in the Glockenspiel), all with
+a constant tremor, an instability of element (in trembling strings). We
+cannot help feeling the illusion of scene in the impersonal play of
+natural sounds. Anon will come a shock of exquisite sweetness that must
+have something of human. And then follows a resonant clash with spray of
+colliding seas.
+
+Here the story of the waves begins, and there are clearly two roles.
+
+To light lapping and cradling of waters the wood sings the simple lay,
+while strings discourse in quicker, higher phrase. The parts are
+reversed. A shower of chilling wave (in gliding harps) breaks the
+thread.
+
+[Music: _Con anima_
+(Highest and lowest figure in strings.
+Middle voices in octaves of wood)]
+
+Now golden tones (of horns) sound a mystic tale of one of the former
+figures. The scene shimmers
+
+[Music: (With rhythmic harps and strings)
+(Flutes)
+(Eng. horn) _espressivo_
+(Strings)
+(Horns)]
+
+in sparkling, glinting waters (with harp and trilling wood and strings).
+But against the soothing background the story (of English horn) has a
+chill, ominous strain.
+
+With the returning main song comes the passionate crisis, and we are
+back in the mere plash and play of impersonal waves.
+
+On dancing ripples, a nixie is laughing to echoing horns and lures us
+back to the story.
+
+[Music: (Strings with lower 8ve.)
+(Cl.) _grazioso_ (Horns)]
+
+Later, it seems, two mermaids sing in twining duet. In a warm hue of
+light the horns sound a weird tale. It is taken up by teasing chorus of
+lighter voices. In the growing volume sounds a clear, almost martial
+call of the brass.
+
+In a new shade of scene we recover the lost burden of song; the original
+figures appear (in the slower air of trembling strings and the quicker
+play of reed, harp and bells), and wander through ever new, moving
+phases. A shower of chords (in strings and shaking brass) brings back
+the ominous melody, amidst a chorus of light chatter, but firmly resting
+on a warm background of harmony. And the strain roves on generous path
+and rises out of all its gloom to a burst of profound cheer.
+
+[Music: (1st violins with lower 8ve.)
+(2d violins; percussion with cellos below)
+(Harp with violas)
+(Flutes with higher 8ve.)
+(See page 104, line 11.)]
+
+As in all fairy tales, the scene quickly vanishes. On dancing rays and
+ripples is the laughing nixie; but suddenly breaks the first song of the
+main figures. A climactic phrase of trumpets ends with a burst of all
+the chorus on stirring harmony, where in diminishing strokes of bells
+long rings the melodic note.
+
+The teasing motive of the nixie returns while the trumpet sounds a
+shadowy echo of its phrase, again to dying peal of bells. A chorus of
+eerie voices sing the mocking air, and again sounds the refrain of
+trumpet as in rebuke. On a tumult of teasing cries flashes a delivering
+burst of brilliant light, and we are back in the first scene of the
+story. Only the main figure is absent. And there is in the eager tension
+of pace a quivering between joy and doubt. Then, in answer to the
+lighter phrase of the other, is the returning figure with a new song now
+of blended longing and content that soars into higher flights until a
+mighty chorus repeats the strain that rises to triumphant height of joy
+and transforms the mocking motive to the same mood.
+
+But it is all a play of the waves. And we are left once more to the
+impersonal scene where yet the fragrance of legend hovers over the dying
+harmonies.
+
+
+_III.--Dialogue of the Wind and the Sea._ Tumultuous is the humor of the
+beginning; early sounds the stroke of wave of the first hour of the sea.
+The muted trumpet blows a strain (to trembling strings) that takes us
+back to the first (quoted) tune of the symphony in the wistful mood of
+dawn. For a symphony it proves to be in the unity of themes and thought.
+Now unmuted and unrestrained in conflict of crashing chords, the trumpet
+blows again the motto of the roving sea. In various figures is the
+pelagic motion, in continuous coursing strings, in the sweeping phrase
+of the woodwind, or in the original wave-motion of the horns, now
+unmuted.
+
+The main burden is a plaint
+
+[Music: (Woodwind in lower octaves
+and touches of horns)
+(_Animato_) _poco rit._
+(Strings in higher and lower octaves)]
+
+(in the wood) against the insistent surge (of strings), on a haunting
+motive as of farewell or eventide, with much stress of pathos. It is
+sung in sustained duet against a constant churning figure of the sea,
+and it is varied by a dulcet strain that grows out of the wave-motive.
+
+Indeed, the whole movement is complementary of the first, the obverse as
+it were. The themes are of the same text; the hue and mood have changed
+from the spring of dawn to the sadness of dusk. The symbol of noontide
+peace reappears with minor tinge, at the hush of eve. The climactic
+motive of the sea acclaiming the rising sun is there, but reversed.
+
+The sea too has the same tempestuous motion (indeed, the plaintive song
+is mainly of the wind), unrestrained by the sadder mood. At the
+passionate climax, where the higher figure sinks toward the rising
+lower, it is as if the Wind kissed the Sea.
+
+The concluding scene begins as in the first movement, save with greater
+extension of expressive melody. And the poignant note has a long song
+against a continuous rippling (of harps).
+
+More elemental figures crowd the scene; the first melody (of trumpet)
+has a full verse, and the dulcet phrase (of wave-motive).
+
+Toward the end the plaintive song has an ever-growing chorus of
+acclaiming voices. In the fever of united coursing motion the phrase
+loses the touch of sadness until in eager, spirited pace, as of
+galloping steeds, it ends with a shout of victory.
+
+
+_DUKAS. "THE SORCERER'S APPRENTICE"_
+
+Chief among the companions of Claude Débussy in his adventures is Paul
+Dukas.[A] Though he lags somewhat in bold flights of harmonies, he shows
+a clearer vein of melody and rhythm, and he has an advantage in a
+greater freedom from the rut of repeated device.
+
+[Footnote A: Born in 1865.]
+
+It is somehow in the smaller forms that the French composer finds the
+trenchant utterance of his fancy. A Scherzo, after the ballad of Goethe,
+"The Sorcerer's Apprentice," tells the famous story of the boy who in
+his master's absence compels the spirit in the broom to fetch the
+water; but he cannot say the magic word to stop the flood, although he
+cleaves the demon-broom in two.
+
+After the title-page of the score is printed a prose version (by Henri
+Blaze) of Goethe's ballad, "Der Zauberlehrling."
+
+Of several translations the following, by Bowring, seems the best:
+
+    THE SORCERER'S APPRENTICE
+
+    I am now,--what joy to hear it!--
+      Of the old magician rid;
+    And henceforth shall ev'ry spirit
+      Do whatever by me is bid:
+        I have watch'd with rigor
+          All he used to do,
+        And will now with vigor
+          Work my wonders, too.
+
+            Wander, wander
+            Onward lightly,
+            So that rightly
+            Flow the torrent,
+          And with teeming waters yonder
+          In the bath discharge its current!
+
+    And now come, thou well-worn broom,
+      And thy wretched form bestir;
+    Thou hast ever served as groom,
+      So fulfil my pleasure, sir!
+        On two legs now stand
+          With a head on top;
+        Water pail in hand,
+          Haste and do not stop!
+
+            Wander, wander
+            Onward lightly,
+            So that rightly
+            Flow the torrent,
+          And with teeming waters yonder
+          In the bath discharge its current!
+
+    See! he's running to the shore,
+      And has now attained the pool,
+    And with lightning speed once more
+      Comes here, with his bucket full!
+        Back he then repairs;
+          See how swells the tide!
+        How each pail he bears
+          Straightway is supplied!
+
+            Stop, for lo!
+            All the measure
+            Of thy treasure
+            Now is right!
+          Ah, I see it! woe, oh, woe!
+          I forget the word of might.
+
+    Ah, the word whose sound can straight
+      Make him what he was before!
+    Ah, he runs with nimble gait!
+      Would thou wert a broom once more!
+        Streams renew'd forever
+          Quickly bringeth he;
+        River after river
+          Rusheth on poor me!
+
+            Now no longer
+            Can I bear him,
+            I will snare him,
+            Knavish sprite!
+          Ah, my terror waxes stronger!
+          What a look! what fearful sight!
+
+    Oh, thou villain child of hell!
+      Shall the house through thee be drown'd?
+    Floods I see that widely swell,
+      O'er the threshold gaining ground.
+        Wilt thou not obey,
+          O thou broom accurs'd!
+        Be thou still, I pray,
+          As thou wert at first!
+
+            Will enough
+            Never please thee?
+            I will seize thee,
+            Hold thee fast,
+          And thy nimble wood so tough
+          With my sharp axe split at last.
+
+    See, once more he hastens back!
+      Now, O Cobold, thou shalt catch it!
+    I will rush upon his track;
+      Crashing on him falls my hatchet.
+        Bravely done, indeed!
+          See, he's cleft in twain!
+        Now from care I'm freed,
+          And can breathe again.
+
+            Woe oh, woe!
+            Both the parts,
+            Quick as darts,
+            Stand on end,
+          Servants of my dreaded foe!
+          O ye gods, protection send!
+
+    And they run! and wetter still
+      Grow the steps and grows the hall.
+      Lord and master, hear me call!
+    Ever seems the flood to fill.
+
+        Ah, he's coming! see,
+          Great is my dismay!
+        Spirits raised by me
+          Vainly would I lay!
+
+            "To the side
+            Of the room
+            Hasten, broom,
+            As of old!
+          Spirits I have ne'er untied
+          Save to act as they are told."
+
+In paragraphs are clearly pointed the episodes: the boy's delight at
+finding himself alone to conjure the spirits; the invocation to the
+water, recurring later as refrain (which in the French is not addressed
+to the spirit); then the insistent summons of the spirit in the broom;
+the latter's obedient course to the river and his oft-repeated fetching
+of the water; the boy's call to him to stop,--he has forgotten the
+formula; his terror over the impending flood; he threatens in his
+anguish to destroy the broom; he calls once more to stop; the repeated
+threat; he cleaves the spirit in two and rejoices; he despairs as two
+spirits are now adding to the flood; he invokes the master who returns;
+the master dismisses the broom to the corner.
+
+There is the touch of magic in the first harmonics of strings, and the
+sense of sorcery is always sustained in the strange harmonies.[A]
+
+[Footnote A: The flageolet tones of the strings seem wonderfully
+designed in their ghostly sound for such an aerial touch. Dukas uses
+them later in divided violins, violas and cellos, having thus a triad of
+harmonics doubled in the octave.
+
+The remaining instruments are: Piccolo, 2 flutes, 2 oboes, 2 clarinets,
+bass-clarinet, 3 bassoons, contra-bassoon (or contra-bass sarrusophon);
+4 horns, 2 trumpets (often muted); 2 cornets-à-pistons; 3 trombones; 3
+kettle-drums; harp; glockenspiel; big drum, cymbals and triangle.]
+
+After a mystic descent of eerie chords, a melodious cooing phrase begins
+in higher wood, echoed from one voice to the other, while the
+spirit-notes are still sounding.
+
+Suddenly dashes a stream of descending spray, met by another ascending;
+in the midst the first phrase is rapidly sounded (in muted trumpet). As
+suddenly the first solemn moment has returned, the phrase has grown in
+melody, while uncanny harmonies prevail. Amidst a new feverish rush a
+call rings
+
+[Music: (Wood and _pizz._ strings)
+_Vivace_
+(Horns and trumpets)]
+
+loud and oft (in trumpets and horns) ending in an insistent, furious
+summons. The silence that ensues is as speaking (or in its way as
+deafening) as were the calls.
+
+After what seems like the grating of ancient joints, set in reluctant
+motion, the whole tune of the first wooing phrase moves in steady gait,
+in comic bassoons, to the tripping of strings, further and fuller
+extended as other voices join. The beginning phrase of chords recurs as
+answer. Ever the lumbering trip continues, with strange turn of harmony
+and color, followed ever by the weird answer. A fuller apparition comes
+with the loud, though muffled tones of the trumpets. The original tune
+grows in new turns and folds of melody, daintily tipped with the ring of
+bells over the light tones of the wood. The brilliant
+
+[Music: _Vivace_
+(Melody in 3 bassoons)
+(Acc't in _pizz._ strings)]
+
+harp completes the chorus of hurrying voices. Now with full power and
+swing the main notes ring in sturdy brass, while all around is a rushing
+and swirling (of harps and bells and wood and strings). And still more
+furious grows the flight, led by the unison violins.
+
+A mischievous mood of impish frolic gives a new turn of saucy gait. In
+the jovial answer, chorussed in simple song, seems a revel of all the
+spirits of rivers and streams.
+
+At the top of a big extended period the trumpet sends a shrill defiant
+blast.
+
+But it is not merely in power and speed,--more in an infinite variety of
+color, and whim of tune and rhythmic harmony, that is expressed the
+full gamut of disporting spirits. Later, at fastest speed of tripping
+harp and wood, the brass ring out that first, insistent summons, beneath
+the same eerie harmonies--and the uncanny descending chords answer as
+before. But alas! the summons will not work the other way. Despite the
+forbidding command and all the other exorcising the race goes madly on.
+
+And now, if we are intent on the story, we may see the rising rage of
+the apprentice and at last the fatal stroke that seemingly hems and
+almost quells the flood. But not quite! Slowly (as at first) the hinges
+start in motion. And now, new horror! Where there was one, there are now
+two ghostly figures scurrying to redoubled disaster. Again and again the
+stern call rings out, answered by the wildest tumult of all. The shouts
+for the master's aid seem to turn to shrieks of despair. At last a
+mighty call overmasters and stills the storm. Nothing is heard but the
+first fitful phrases; now they seem mere echoes, instead of
+forewarnings. We cannot fail to see the fine parallel, how the masterful
+command is effective as was the similar call at the beginning.
+
+Significantly brief is the ending, at once of the story and of the
+music. In the brevity lies the point of the plot: in the curt dismissal
+of the humbled spirit, at the height of his revel, to his place as broom
+in the corner. Wistful almost is the slow vanishing until the last
+chords come like the breaking of a fairy trance.
+
+
+
+
+CHAPTER X
+
+TSCHAIKOWSKY
+
+
+The Byron of music is Tschaikowsky for a certain alluring melancholy and
+an almost uncanny flow and sparkle. His own personal vein deepened the
+morbid tinge of his national humor.
+
+We cannot ignore the inheritance from Liszt, both spiritual and musical.
+More and more does the Hungarian loom up as an overmastering influence
+of his own and a succeeding age. It seems as if Liszt, not Wagner, was
+the musical prophet who struck the rock of modern pessimism, from which
+flowed a stream of ravishing art. The national current in Tschaikowsky's
+music was less potent than with his younger compatriots; or at least it
+lay farther beneath the surface.
+
+For nationalism in music has two very different bearings. The concrete
+elements of folk-song, rhythm and scale, as they are more apparent, are
+far less important. The true significance lies in the motive of an
+unexpressed national idea that presses irresistibly towards fulfilment.
+Here is the main secret of the Russian achievement in modern music,--as
+of other nations like the Finnish. It is the cause that counts. Though
+Russian song has less striking traits than Hungarian or Spanish, it has
+blossomed in a far richer harvest of noble works of art.
+
+Facile, fluent, full of color, Tschaikowsky seems equipped less for
+subjective than for lyric and dramatic utterance, as in his "Romeo and
+Juliet" overture. In the "Manfred" Symphony we may see the most fitting
+employment of his talent. Nor is it unlikely that the special
+correspondence of treatment and subject may cause this symphony to
+survive the others, may leave it long a rival of Schumann's "Manfred"
+music.
+
+With Tschaikowsky feeling is always highly stressed, never in a certain
+natural poise. He quite lacks the noble restraint of the masters who, in
+their symphonic lyrics, wonderfully suggest the still waters that run
+deep.
+
+Feeling with Tschaikowsky was frenzy, violent passion, so that with all
+abandon there is a touch of the mechanical in his method. Emotion as the
+content of highest art must be of greater depth and more quiet flow. And
+it is part or a counterpart of an hysterical manner that it reacts to a
+cold and impassive mood,--such as we feel in the Andante of the Fourth
+Symphony.
+
+The final quality for symphonic art is, after all, less the chance flash
+of inspiration than a big view, a broad sympathy, a deep well of feeling
+that comes only with great character.
+
+Nay, there is a kind of peril in the symphony for the poet of uncertain
+balance from the betrayal of his own temper despite his formal plan.
+Through all the triumph of a climax as in the first movement of the
+Fourth Symphony, we may feel a subliminal sadness that proves how subtle
+is the expression in music of the subjective mood. There is revealed not
+the feeling the poet is conscious of, but, below this, his present self,
+and in the whole series of his works, his own personal mettle. What the
+poet tries to say is very different from what he does say. In a
+symphony, as in many a frolic, the tinge of latent melancholy will
+appear.
+
+
+_SYMPHONY NO. 4_
+
+Reverting to a great and fascinating question as to the content of art,
+we may wonder whether this is not the real tragic symphony of
+Tschaikowsky, in the true heroic sense, in a view where the highest
+tragedy is not measured by the wildest lament. There may be a stronger
+sounding of lower depths with a firmer touch (with less of a conscious
+kind of abandon),--whence the recoil to serene cheer will be the
+greater.
+
+There is surely a magnificent aspiration in the first Allegro, a
+profound knell of destiny and a rare ring of triumph. Underlying all is
+the legend of trumpets, _Andante sostenuto_ (3/4), with a dim touch
+
+[Music: _Andante sostenuto_
+(Horns and bassoons doubled in 8va.)]
+
+of tragedy. Opposite in feeling is the descending motive of strings,
+_Moderato con anima_ (9/8). First gently expressive, it soon rises in
+passion (the original
+
+[Music: _Moderato con anima_
+_in movimento di valse_
+(Strings and one horn, the melody doubled below)]
+
+motto always sounding) to a climax whence an ascending motive, in lowest
+basses, entering in manner of fugue, holds a significant balance with
+the former. Each in turn rears a climax for the other's
+
+[Music: (Horns doubled below)
+(Cellos and bassoons)]
+
+entrance; the first, lamenting, leads to the soothing hope of the second
+that, in the very passion of its refrain, loses assurance and ends in a
+tragic burst.
+
+Suddenly a very new kind of solace appears _Dolce grazioso_, in a
+phrase of the clarinet that leads to a duet of wood and _cantabile_
+strings, impersonal almost in the sweetness of its flowing song.
+
+[Music: _Moderato assai_
+(Oboe doubled in flute)
+(Strings)]
+
+In such an episode we have a new Tschaikowsky,--no longer the subjective
+poet, but the painter with a certain Oriental luxuriance and grace. It
+is interesting to study the secret of this effect. The preluding strain
+lowers the tension of the storm of feeling and brings us to the attitude
+of the mere observer. The "movement of waltz" now has a new meaning, as
+of an apparition in gently gliding dance. The step is just sustained in
+leisurely strings. Above is the simple melodic trip of clarinet, where a
+final run is echoed throughout the voices of the wood; a slower moving
+strain in low cellos suggests the real song that presently begins, while
+high in the wood the lighter tune continues. The ripples still keep
+spreading throughout the voices, at the end of a line. The tunes then
+change places, the slower singing above.
+
+With all the beauty, there is the sense of shadowy picture,--a certain
+complete absence of passion. Now the lower phrase appears in two
+companion voices (of strings), a hymnal kind of duet,--_ben sostenuto
+il tempo precedente_. Here, very softly in the same timid pace, enters a
+chorus, on high, of the old sighing motive. Each melody breaks upon the
+other and
+
+[Music: _Bel sostenuto il tempo (moderato)_
+(Strings)
+(Woodwind doubled above)
+(Kettle-drums)]
+
+ceases, with equal abruptness. There is no blending, in the constant
+alternation, until the earlier (lamenting) motive conquers and rises to
+a new height where a culminating chorale sounds a big triumph, while the
+sighing phrase merely spurs a new verse of assurance.
+
+[Music: (Strings and flutes)
+(Doubled above and below)]
+
+A completing touch lies in the answering phrase of the chorale, where
+the answer of original motto is transformed into a masterful ring of
+cheer and confidence.
+
+As is the way with symphonies, it must all be sung and striven over
+again to make doubly sure. Only there is never the same depth of lament
+after the triumph. In a later verse is an augmented song of the answer
+of trumpet legend, in duet of thirds, in slow, serene pace, while the
+old lament sounds below in tranquil echoes and united strains. Before
+the end, _molto piu vivace_, the answer rings in new joyous rhythm.
+
+Somewhat the reverse of the first movement, in the second the emotional
+phase grows slowly from the naïve melody of the beginning. Against the
+main melody that begins in oboe solo (with _pizzicato_ strings),
+_semplice ma grazioso_, plays later a rising
+
+[Music: _Andantino in modo di canzone_
+(Clarinet with lower 8ve.)
+(Cello)
+_Grazioso_
+(Bassoons, with _pizz._ basses)]
+
+counter-theme that may recall an older strain. The second melody, in
+Greek mode, still does not depart
+
+[Music: (Strings, wood and horns)]
+
+from the naïve mood, or lack of mood. A certain modern trait is in this
+work, when the feeling vents and wastes itself and yields to an
+impassive recoil, more coldly impersonal than the severest classic.
+
+A sigh at the end of the second theme is a first faint reminder of the
+original lament. Of it is fashioned the third theme. A succeeding climax
+strongly
+
+[Music: _Piu mosso_
+(Clarinet doubled below in bassoons)
+(Strings)]
+
+brings back the subjective hue of the earlier symphony. A counter-theme,
+of the text of the second melody of Allegro,--now one above, now the
+other--is a final stroke. Even the shaking of the trumpet figure is
+there at the height, in all the brass. Yet as a whole the first melody
+prevails, with abundant variation of runs in the wood against the song
+of the strings.
+
+The Scherzo seems a masterly bit of humor, impish, if you will, yet on
+the verge always of tenderness. The first part is never-failing in the
+flash and sparkle of its play, all in _pizzicato_ strings, with a
+wonderful daemonic quality of the mere instrumental effect. Somewhat
+suddenly the oboe holds a long note and
+
+[Music: _Pizzicato ostinato_
+_Scherzo Allegro_
+(Strings)
+(_Pizzicato sempre_)]
+
+then, with the bassoons, has a tune that is almost sentimental. But
+presently the clarinets make mocking
+
+[Music: (Oboes and bassoons)]
+
+retorts. Here, in striking scene, all the brass (but the tuba) very
+softly blow the first melody with eccentric halts, in just half the old
+pace except when they take us by surprise. The clarinet breaks in with
+the sentimental tune in faster time while the brass all the while are
+playing as before. There are all kinds of pranks, often at the same
+time. The piccolo, in highest treble, inverts the second melody, in
+impertinent drollery. The brass has still newer surprises. Perhaps the
+best of the fooling is where strings below and woodwind above share the
+melody between them, each taking two notes at a time.
+
+The first of the Finale is pure fanfare, as if to let loose the steeds
+of war; still it recurs as leading idea. There is a kind of sonorous
+terror, increased by the insistent, regular notes of the brass, the
+spirited pace of the motive of strings,--the barbaric ring we often hear
+in Slav music. At the height
+
+[Music: _Allegro con fuoco_
+(Wood doubled above and below)
+(Violins)
+(_Pizz._ strings)]
+
+the savage yields to a more human vein of joyousness, though at the end
+it rushes the more wildly into a
+
+[Music: _Tutti_
+(Doubled above and below)]
+
+series of shrieks of trebles with tramping of basses. The real battle
+begins almost with a lull, the mere sound of the second tune in the
+reeds with light strum of strings and triangle. As the theme is
+redoubled (in thirds of the wood), the sweep of strings of the first
+motive is added, with chords of horns. A rising figure is now opposed to
+the descent of the second melody, with shaking of woodwind that brings
+back the old trumpet legend. Here the storm grows apace, with increasing
+tumult of entering hostile strains, the main song now ringing in low
+brass.
+
+In various versions and changes we seem to see earlier themes briefly
+reappearing. Indeed there is a striking kinship of themes throughout,
+not so much in outline as in the air and mood of the tunes. This seems
+to be proven by actual outer resemblance when the motives are developed.
+Here in a quiet spot--though the battle has clearly not ceased--is the
+answer of old trumpet motto, that pervaded the first Allegro. There is a
+strong feeling of the Scherzo here in the _pizzicato_ answers of
+strings. The second theme of the Andante is recalled, too, in the
+strokes of the second of the Finale. In the thick of the fray is a
+wonderful maze of versions of the theme, diminished and augmented at the
+same time with the original pace. Yet it is all a clear flow of melody
+and rich harmony. The four beats of quarter notes, in the lengthened
+theme, come as high point like the figure of the leader in battle. A
+later play of changes is like the sport of the Scherzo. This insensibly
+leads to the figure of the fanfare, whence the earlier song returns
+with the great joyous march.
+
+The final height of climax is distinguished by a stentorian, fugal blast
+of the theme in the bass, the higher breaking in on the lower, while
+other voices are raging on the quicker phrases. It is brought to a
+dramatic halt by the original prelude of trumpet legend, in all its
+fulness. Though the march-song recurs, the close is in the ruder humor
+of the main themes.
+
+
+_THE "MANFRED" SYMPHONY_
+
+Schumann and Tschaikowsky are the two most eminent composers who gave
+tonal utterance to the sombre romance of Byron's dramatic poem.[A] It is
+interesting to remember that Byron expressly demanded the assistance of
+music for the work. If we wish to catch the exact effect that is sought
+in the original conception, Schumann's setting is the nearest approach.
+It is still debated whether a scenic representation is more impressive,
+or a simple reading, reinforced by the music.
+
+[Footnote A: Prefixed are the familiar lines:
+
+    "There are more things in heaven and earth, Horatio,
+    Than are dreamt of in your philosophy."]
+
+Tschaikowsky's setting is a "symphony in four pictures, or scenes (_en
+quatre tableaux_), after Byron's dramatic poem." In the general design
+and spirit there is much of the feeling of Berlioz's "Fantastic"
+Symphony, though the manner of the music shows no resemblance whatever.
+There is much more likeness to Liszt's "Faust" Symphony, in that the
+pervading recurrence of themes suggests symbolic labels. Moreover, in
+the very character of many of the motives, there is here a striking line
+of descent.
+
+_Lento lugubre_, the first scene or picture, begins with a theme in
+basses of reeds:
+
+[Music: _Lento lugubre_
+(Woodwind)
+(Strings)]
+
+with later _pizzicato_ figure of low strings.
+
+An answering strain is one of the most important of all the melodies:
+
+[Music]
+
+On these, a bold conflict and climax is reared. If we care to indulge in
+the bad habit of calling names, we might see "Proud Ambition" in the
+first motives, intertwined with sounds of sombre discontent. The pace
+grows _animando_,--_piu mosso_; _moderato molto_. Suddenly Andante sings
+a new, expressive song, with a dulcet cheer of its own, rising to
+passionate periods and a final height whence, _Andante con duolo_, a
+loudest chorus of high wood and strings, heralded and accompanied by
+martial tremolo of low wood, horns, basses, and drums, sound the fateful
+chant that concludes the first scene, and, toward the close of the work,
+sums the main idea.
+
+[Music: (Strings and flutes)
+(Basses, wood and horns)
+(Same continuing rhythm)]
+
+The apparition of the Witch of the Alps is pictured in daintiest,
+sparkling play of strings and wood, with constant recurrence of mobile
+figures above and below. It seems as if the image of the fountain is
+fittest and most tempting for mirroring in music. Perhaps the most
+beautiful, the most haunting, of all the "Manfred" music of Schumann is
+this same scene of the Witch of the Alps.
+
+Here, with Tschaikowsky, hardly a single note of brass intrudes on this
+_perpetuum mobile_ of light, plashing spray until, later, strains that
+hark back to the first scene cloud the clear brilliancy of the cascade.
+Now the play of the waters is lost in the new vision, and a limpid song
+glides in the violins, with big rhythmic chords of harps, is taken up in
+clarinets, and carried on by violins in new melodic verse, _con
+tenerezza e molto espressione_. Then the whole chorus sing the tune in
+gentle volume. As it dies away, the music of the falling waters plash as
+before. The returning song has phases of varying sadness and passion. At
+the most vehement height,--and here, if we choose, we may see the stern
+order to retire,--the fatal chant is shrieked by full chorus in almost
+unison fierceness.
+
+Gradually the innocent play of the waters is heard again, though a
+gloomy pall hangs over. The chant sounds once more before the end.
+
+The third, "Pastoral," scene we are most free to enjoy in its pure
+musical beauty, with least need of definite dramatic correspondences. It
+seems at first as if no notes of gloom are allowed to intrude, as if the
+picture of happy simplicity stands as a foil to the tragedy of the
+solitary dreamer; for an early climax gives a mere sense of the awe of
+Alpine nature.
+
+Still, as we look and listen closer, we cannot escape so easily, in
+spite of the descriptive title. Indeed, the whole work seems, in its
+relation to the poem upon which it is based, a very elusive play in a
+double kind of symbolism. At first it is all a clear subjective
+utterance of the hero's woes and hopes and fears, without definite
+touches of external things. Yet, right in the second scene the torrent
+is clear almost to the eye, and the events pass before us with sharp
+distinctness. Tending, then, to look on the third as purest pastoral,
+we are struck in the midst by an ominous strain from one of the earliest
+moments of the work, the answer of the first theme of all. Here notes of
+horns ring a monotone; presently a church-bell adds a higher note. The
+peaceful pastoral airs then return, like the sun after a fleeting storm.
+
+The whole of this third scene of Tschaikowsky's agrees with no special
+one in Byron's poem, unless we go back to the second of the first act,
+where Manfred, in a morning hour, alone upon the cliffs, views the
+mountains of the Jungfrau before he makes a foiled attempt to spring
+into the abyss. By a direction of the poet, in the midst of the
+monologue, "the shepherd's pipe in the distance is heard," and Manfred
+muses on "the natural music of the mountain reed."
+
+The last scene of the music begins with Byron's fourth of Act II and
+passes over all the incidents of the third act that precede the hero's
+death, such as the two interviews with the Abbot and the glorious
+invocation to the sun.
+
+From Tschaikowsky's title, we must look for the awful gloom of the
+cavernous hall of Arimanes, Byron's "Prince of Earth and Air." The gray
+figure from most ancient myth is not less real to us than Mefistofeles
+in "Faust." At least we clearly feel the human daring that feared not to
+pry into forbidden mysteries and refused the solace of unthinking faith.
+And it becomes again a question whether the composer had in mind this
+subjective attitude of the hero or the actual figures and abode of the
+spirits and their king. It is hard to escape the latter view, from the
+general tenor, the clear-cut outline of the tunes, of which the
+principal is like a stern chant:
+
+[Music: (Wood, strings and horns)]
+
+The most important of the later answers lies largely in the basses.
+
+[Music: (Low wood)
+(Rhythmic chords in strings)]
+
+There is, on the whole, rather an effect of gloomy splendor (the
+external view) than of meditation; a sense of visible massing than of
+passionate crisis, though there is not wanting a stirring motion and
+life in the picture. This is to speak of the first part, _Allegro con
+fuoco_.
+
+The gloomy dance dies away. _Lento_ is a soft fugal chant on elemental
+theme; there is all the solemnity of cathedral service; after the
+low-chanted phrase follows a tremendous blare of the brass. The
+repeated chant is followed by one of the earliest, characteristic themes
+of the first scene. And so, if we care to follow the graphic touch, we
+may see here the intrusion of Manfred, at the most solemn moment of the
+fearful revel.
+
+As Manfred, in Byron's poem, enters undaunted, refusing to kneel, the
+first of the earlier phases rings out in fierce _fortissimo_. A further
+conflict appears later, when the opening theme of the work sounds with
+interruptions of the first chant of the spirits.
+
+A dulcet plaint follows, _Adagio_, in muted strings, answered by a note
+of horn and a chord of harp.
+
+[Music: _Adagio_
+(Muted strings answered by horn and harp)]
+
+It all harks back to the gentler strains of the first movement. In the
+ethereal _glissando_ of harps we see the spirit of Astarte rise to give
+the fatal message. The full pathos and passion of the _lento_ episode of
+first scene is heard in brief, vivid touches, and is followed by the
+same ominous blast with ring of horn, as in the first picture.
+
+A note of deliverance shines clear in the final phrase of joined
+orchestra and organ, clearer perhaps than in Manfred's farewell line in
+the play: "Old man! 'tis not so difficult to die." To be sure, Schumann
+spreads the same solace o'er the close of his setting, with the Requiem.
+The sombre splendor of romance is throughout, with just a touch of
+turgid. In the poignant ecstasy of grief we feel vividly the
+foreshadowing example of Liszt, in his "Dante" and "Faust" Symphonies.
+
+
+_FIFTH SYMPHONY (E MINOR)_
+
+With all the unfailing flow of lesser melodies where the charm is often
+greatest of all, and the main themes of each movement with a chain of
+derived phrases, one melody prevails and reappears throughout. The
+fluency is more striking here than elsewhere in Tschaikowsky. All the
+external sources,--all the glory of material art seem at his command. We
+are reminded of a certain great temptation to which all men are subject
+and some fall,--however reluctantly. Throughout there is a vein of
+daemonic. The second (Allegro) melody grows to a high point of
+pathos,--nay, anguish, followed later by buoyant, strepitant, dancing
+delight, with the melting answer, in the latest melody. The daemon is
+half external fate--in the Greek sense, half individual temper. The end
+is almost sullen; but the charm is never failing; at the last is the
+ever springing rhythm.
+
+[Music: _Andante_
+_pesante e tenuto sempre_
+(Clarinet)
+(Low strings)]
+
+The march rhythm of the opening Andante is carried suddenly into a quick
+trip, _Allegro con anima_ (6/8), where the main theme of the first
+movement now begins, freely extended as in a full song of verses. New
+accompanying figures are added, contrasting phrases or counter-melodies,
+to the theme.
+
+[Music: _Allegro con anima_
+Solo clarinet (doubled below with solo bassoon.)
+(Strings)]
+
+One expressive line plays against the wilder rhythm of the theme, with
+as full a song in its own mood as the other. A new rhythmic motive, of
+great charm, _un pocchetino piu animato_, is answered by a bit of the
+theme. Out of it all grows, in a clear
+
+[Music: _Molto espr._
+(Strings)]
+
+welded chain, another episode, where the old rhythm is a mere gentle
+spur to the new plaint,--_molto piu tranquillo, molto cantabile ed
+espressivo_.
+
+[Music: _Molto piu tranquillo_
+_Molto cantabile ed espr._]
+
+To be sure, the climax has all of the old pace and life, and every voice
+of the chorus at the loudest. In the answering and echoing of the
+various phrases, rhythmic and melodic, is the charm of the discussion
+that follows. Later the three melodies come again in the former order,
+and the big climax of the plaintive episode precedes the end, where the
+main theme dies down to a whisper.
+
+
+_Andante cantabile, con alcuna licenza._ After preluding chords in
+lowest strings a solo horn begins a
+
+[Music: _Andante cantabile, con alcuna licenza_
+(Horn)
+_dolce con molto espr._
+(Strings)]
+
+languishing song, _dolce con molto espressione_. It is a wonderful
+elegy, a yearning without hope, a swan-song of desire, sadder almost
+than the frank despair of the Finale of the _Pathétique_
+symphony,--pulsing with passion, gorgeous with a hectic glow of
+expressive beauty, moving too with a noble grace. Though there is a foil
+of lighter humor, this is overwhelmed in the fateful gloom of the
+returning main motto.
+
+The abounding beauty with all its allurement lacks the solace that the
+masters have led us to seek in the heart of a symphony. The clarinet
+presently twines a phrase about the tune until a new answer sounds in
+the oboe, that now sings in answering and chasing duet with the horn.
+The phrase of oboe proves to be the main song, in full extended
+periods, reaching a climax with all the voices.
+
+[Music: _Con moto_
+(Solo oboe)
+_dolce espr._]
+
+Well defined is the middle episode in minor reared on a new theme of the
+clarinet with an almost fugal polyphony that departs from the main lyric
+mood.
+
+[Music: _Moderato con anima_
+(Solo clar.)
+(Strings)]
+
+At the height all the voices fall into a united chorus on the original
+motto of the symphony. The first melodies of the Andante now return with
+big sweep and power, and quicker phrases from the episode. The motto
+reappears in a final climax, in the trombones, before the hushed close.
+
+We must not infer too readily a racial trait from the temper of the
+individual composer. There is here an error that we fall into frequently
+in the music of such men as Grieg and Tschaikowsky. The prevailing mood
+of the Pathetic Symphony is in large measure personal. Some of the more
+recent Russian symphonies are charged with buoyant joyousness. And,
+indeed, the burden of sadness clearly distinguishes the last symphony of
+Tschaikowsky from its two predecessors, the Fourth and the Fifth.
+
+The tune of the _valse_, _Allegro moderato_, is first played by the
+violins, _dolce con grazia_, with accompanying strings, horns and
+bassoon. In the second part, with some loss of the lilt of dance, is a
+subtle design--with a running phrase in _spiccato_ strings against a
+slower upward glide of bassoons. The duet winds on a kind of _crescendo_
+of modulations. Later
+
+[Music: (_Spiccato_)
+(Strings)
+(Horns)
+(Bassoon)]
+
+the themes are inverted, and the second is redoubled in speed. The whole
+merges naturally into the first waltz, with a richer suite of adorning
+figures. The dance does not end without a soft reminder (in low
+woodwind) of the original sombre phrase.
+
+Almost for the first time a waltz has entered the shrine of the
+symphony. And yet perhaps this dance has all the more a place there. It
+came on impulse (the way to visit a sanctuary), not by ancient custom.
+But with all its fine variety, it is a simple waltz with all the
+careless grace,--nothing more, with no hidden or graphic meaning (as in
+Berlioz's Fantastic Symphony).
+
+The middle episode, though it lacks the dancing trip, is in the one
+continuing mood,--like a dream of youthful joys with just a dimming hint
+of grim reality in the returning motto.
+
+In the Finale the main legend of the symphony is transformed and
+transfigured in a new, serener mood, and is brought to a full melodic
+bloom. Indeed, here is the idealization of the original motto. _Andante
+maestoso_ it begins in the tonic major. When the theme ceases, the brass
+blow the rhythm on a monotone, midst an ascending _obligato of strings_.
+
+[Music: (Brass and lower woodwind)
+(See page 139, line 1.)]
+
+In answer comes a new phrase of chorale. Later the chorale is sounded
+by the full band, with intermediate beats of rhythmic march.
+
+Once more there is a well-marked episode, with a full share of melodic
+discussion, of clashing themes, of dramatic struggle. First in the tonic
+minor a theme rises from the last casual cadence in resonant march,
+_Allegro vivace_. Then follows a duet, almost
+
+[Music: _Allegro vivace_
+(Strings and low wood)
+(Trill of kettle drums)]
+
+a harsh grating of an eccentric figure above against
+
+[Music: (Solo oboe)
+(Strings)
+(Low wood)
+(_Pizz._ cellos)]
+
+the smoother course of the latest Allegro motive. The themes are
+inverted. Presently out of the din rises a charming canon on the
+prevailing smoother phrase, that soars to a full sweep of song. A new
+
+[Music: (Violins)
+(Wind)
+(Basses 8va.) (Low strings)]
+
+hymnal melody comes as a final word. Though the main motto returns in
+big chorus, in full extension, in redoubled pace and wild abandon, still
+the latest melody seems to contend for the last say. Or, rather,
+
+[Music: (Woodwind doubled above and below)
+_espr._
+(Strings)
+(See page 141, line 2.)]
+
+it is a foil, in its simple flow, to the revel of the motto, now grown
+into a sonorous, joyous march. And we seem to see how most of the other
+melodies,--the minor episode, the expressive duet--have sprung from bits
+of the main text.
+
+To return for another view,--the Finale begins in a mood that if not
+joyous, is religious. Out of the cadence of the hymn dances the Allegro
+tune almost saucily. Nor has this charming trip the ring of gladness,
+though it grows to great momentum. As a whole there is no doubt of the
+assurance, after the earlier fitful gloom, and with the resignation an
+almost militant spirit of piety.
+
+In the dulcet canon, an exquisite gem, bliss and sadness seem
+intermingled; and then follows the crowning song, broad of pace,
+blending the smaller rhythms in ecstatic surmounting of gloom. In
+further verse it doubles its sweet burden in overlapping voices, while
+far below still moves the rapid trip.
+
+But the motto will return, in major to be sure, and tempered in mercy.
+And the whole hymn dominates, with mere interludes of tripping motion,
+breaking at the height into double pace of concluding strain. Before
+falling back into the thrall of the legend the furious race rushes
+eagerly into the deepest note of bliss, where in sonorous bass rolls the
+broad, tranquil song. And though the revel must languish, yet we attend
+the refrain of all the melodies in crowning rapture. Then at last, in
+stern minor, sounds the motto, still with the continuing motion, in a
+loud and long chant.
+
+In blended conclusion of the contending moods comes a final verse of the
+legend in major, with full accoutrement of sounds and lesser rhythm, in
+majestic pace. And there is a following frolic with a verse of the
+serene song. The end is in the first Allegro theme of the symphony, in
+transfigured major tone.
+
+We must be clear at least of the poet's intent. In the Fifth Symphony
+Tschaikowsky sang a brave song of struggle with Fate.
+
+
+
+
+CHAPTER XI
+
+THE NEO-RUSSIANS
+
+
+For some mystic reason nowhere in modern music is the symphony so
+justified as in Russia. Elsewhere it survives by the vitality of its
+tradition. In France we have seen a series of works distinguished rather
+by consummate refinement than by strength of intrinsic content. In
+Germany since the masterpieces of Brahms we glean little besides the
+learnedly facile scores of a Bruckner, with a maximum of workmanship and
+a minimum of sturdy feeling,--or a group of "heroic" symphonies all cast
+in the same plot of final transfiguration. The one hopeful sign is the
+revival of a true counterpoint in the works of Mahler.
+
+Some national song, like the Bohemian, lends itself awkwardly to the
+larger forms. The native vein is inadequate to the outer mould, that
+shrinks and dwindles into formal utterance. It may be a question of the
+quantity of a racial message and of its intensity after long
+suppression. Here, if we cared to enlarge in a political disquisition,
+we might account for the symphony of Russians and Finns, and of its
+absence in Scandinavia. The material elements, abundant rhythm, rich
+color, individual and varied folk-song, are only the means by which the
+national temper is expressed. Secondly, it must be noted as a kind of
+paradox, the power of the symphony as a national utterance is increased
+by a mastery of the earlier classics. With all that we hear of the
+narrow nationalism of the Neo-Russians, we cannot deny them the breadth
+that comes from a close touch with the masters. Mozart is an element in
+their music almost as strong as their own folk-song. Here, it may be,
+the bigger burden of a greater national message unconsciously seeks the
+larger means of expression. And it becomes clear that the sharper and
+narrower the national school, the less complete is its utterance, the
+more it defeats its ultimate purpose.
+
+The broad equipment of the new Russian group is seen at the outset in
+the works of its founder, Balakirew. And thus the difference between
+them and Tschaikowsky lay mainly in the formulated aim.[A]
+
+[Footnote A: In the choice of subjects there was a like breadth.
+Balakirew was inspired by "King Lear," as was Tschaikowsky. And amid a
+wealth of Slavic legend and of kindred Oriental lore, he would turn to
+the rhythms of distant Spain for a poetic theme.]
+
+The national idea, so eminent in modern music, is not everywhere equally
+justified. And here, as in an object-lesson, we see the true merits of
+the problem. While one nation spontaneously utters its cry, another,
+like a cock on the barnyard, starts a movement in mere idle vanity, in
+sheer self-glorification.
+
+In itself there is nothing divine in a national idea that needs to be
+enshrined in art. Deliberate segregation is equally vain, whether it be
+national or social. A true racial celebration must above all be
+spontaneous. Even then it can have no sanction in art, unless it utter a
+primal motive of resistance to suppression, the elemental pulse of life
+itself. There is somehow a divine dignity about the lowest in human
+rank, whether racial or individual. The oppressed of a nation stands a
+universal type, his wrongs are the wrongs of all, and so his lament has
+a world-wide appeal. And in truth from the lowest class rises ever the
+rich spring of folk-song of which all the art is reared, whence comes
+the paradox that the peasant furnishes the song for the delight of his
+oppressors, while they boast of it as their own. Just in so far as man
+is devoid of human sympathy, is he narrow and barren in his song. Music
+is mere feeling, the fulness of human experience, not in the hedonic
+sense of modern tendencies, but of pure joys and profound sorrows that
+spring from elemental relations, of man to man, of mate to mate.
+
+Here lies the nobility of the common people and of its song; the
+national phase is a mere incident of political conditions. The war of
+races is no alembic for beauty of art. If there were no national lines,
+there would still be folk-song,--merely without sharp distinction. The
+future of music lies less in the differentiation of human song, than in
+its blending.
+
+Thus we may rejoice in the musical utterance of a race like the Russian,
+groaning and struggling through ages against autocracy for the dignity
+of man himself,--and in a less degree for the Bohemian, seeking to hold
+its heritage against enforced submergence. But we cannot take so
+seriously the proud self-isolation of other independent nations.
+
+
+_BALAKIREW.[A] SYMPHONY IN C_
+
+[Footnote A: Mili Alexeivich Balakirew was born at Nizhni-Novgorod in
+1836; he died at St. Petersburg in 1911. He is regarded as the founder
+of the Neo-Russian School.]
+
+The national idea shines throughout, apart from the "Russian Theme" that
+forms the main text of the Finale. One may see the whole symphony
+leading up to the national celebration.
+
+As in the opening phrase (in solemn _Largo_) with
+
+[Music: (Lower reed, with strings in three 8ves.)
+_Largo_]
+
+its answer are proclaimed the subjects that presently
+
+[Music: (Flute and strings)]
+
+appear in rapid pace, so the whole movement must be taken as a big
+prologue, forecasting rather than realizing. There is a dearth of
+melodic stress and balance; so little do the subjects differ that they
+are in essence merely obverse in outline.
+
+Mystic harmonies and mutations of the motto lead to a quicker guise
+(_Allegro vivo_). Independently of themes, the rough edge of tonality
+and the vigorous primitive rhythms are expressive of the Slav feeling.
+Withal there is a subtlety of harmonic manner that could come only
+through the grasp of the classics common to all nations. Augmentation
+and diminution of theme abound, together with the full fugal manner. A
+warm, racial color is felt in the prodigal use of lower reeds.[A]
+
+[Footnote A: Besides the English horn and four bassoons there are four
+clarinets,--double the traditional number.]
+
+In all the variety of quick and slower melodies a single phrase of five
+notes, the opening of the symphony, pervades. In all kinds of humor it
+sings, martial, solemn, soothing, meditative, or sprightly. Poetic in
+high degree is this subtle metamorphosis, so that the symphony in the
+first movement seems to prove the art rather than the national spirit of
+the Neo-Russians.
+
+Of the original answer is wrought all the balance and foil of second
+theme, and like the first it reaches a climactic height. But the first
+is the sovereign figure of the story. It enters into the pattern of
+every new phase, it seems the text of which all the melodies are
+fashioned, or a sacred symbol that must be all-pervading. In a broader
+pace (_Alla breve_) is a mystic discussion of the legend, as of dogma,
+ending in big pontifical blast of the answering theme.
+
+The whole movement is strangely frugal of joyous abandon. Instead of
+rolling, revelling melody there is stern proclamation, as of oracle, in
+the solemn pauses. The rhythm is purposely hemmed and broken. Restraint
+is everywhere. Almost the only continuous thread is of the meditative
+fugue.
+
+A single dulcet lyric verse (of the motto) is soon
+
+[Music: (Cellos with _tremolo_ of lower strings)]
+
+banished by a sudden lively, eccentric phrase that has an air of forced
+gaiety, with interplay of mystic symbols. At last, on a farther height,
+comes the first
+
+[Music]
+
+joyous abandon (in a new mask of the motto), recurring anon as recess
+from sombre brooding.
+
+Here the second subject has a free song,--in gentle chase of pairs of
+voices (of woodwind and muted strings and harp) and grows to alluring
+melody. As
+
+[Music: (Lower reed, with _tremolo_ of lower strings)]
+
+from a dream the eccentric trip awakens us, on ever higher wing. At the
+top in slower swing of chords horn and reeds chant the antiphonal
+legend, and in growing rapture, joined by the strings, rush once more
+into the jubilant revel, the chanting legend still sounding anon in
+sonorous bass.
+
+The climax of feeling is uttered in a fiery burst of all the brass in
+the former dulcet refrain from the motto. In full sweep of gathering
+host it flows in unhindered song. Somehow by a slight turn, the tune is
+transformed into the alluring melody of the second theme. When the
+former returns, we feel that both strains are singing as part of a
+single song and that the two subjects are blended and reconciled in
+rapture of content.
+
+A new mystic play of the quicker motto, answered by the second theme,
+leads to an overpowering blast of the motto in slowest notes of brass
+and reed, ending in a final fanfare.
+
+All lightness is the Scherzo, though we cannot escape a Russian vein of
+minor even in the dance. A rapid melody has a kind of perpetual motion
+in the strings, with mimicking echoes in the wood. But the strange part
+is how the natural accompanying voice below (in the bassoon) makes a
+haunting melody of
+
+[Music: _Vivo_
+(Violins doubled below in violas)
+(Bassoon)
+(_Pizz._ cellos)]
+
+its own,--especially when they fly away to the major. As we suspected,
+the lower proves really the principal song as it winds on in the
+languorous English horn or in the higher reed. Still the returning dance
+has now the whole stage in a long romp with strange peasant thud of the
+brass on the second beat. Then the song rejoins the dance, just as in
+answering glee, later in united chorus.
+
+A quieter song (that might have been called the Trio) has still a
+clinging flavor of the soil,--as of a folk-ballad, that is not lost with
+the later madrigal nor with the tripping figure that runs along.
+
+Strangely, after the full returning dance, an epilogue
+
+[Music: (Trio) _Poco meno mosso_
+(Strings)]
+
+of the ballad appears over a drone, as of bagpipe, through all the
+harmony of the madrigal. Strangest of all is the playful last refrain in
+the high piccolo over the constant soft strumming strings.
+
+The Andante, in pure lyric mood, is heavily charged with a certain
+Oriental languor. The clarinet
+
+[Music: (Clarinet)
+_Andante_
+(Strings with harp)]
+
+leads the song, to rich strum of harp and strings, with its note of
+sensuous melancholy. Other, more external signs there are of Eastern
+melody, as in the graceful curl of quicker notes. Intermediate strains
+between the verses seem gently to rouse the slumbering feeling,--still
+more when they play between the lines of the song. The passion that is
+lulled in the languor of main melody, is somehow uttered in the later
+episode,--still more in the dual song of both
+
+[Music: (Violins doubled below)
+(Horns and bassoons doubled above in wood)
+(Strings and horns)]
+
+melodies,--though it quickly drops before a strange coquetry of other
+strains. Yet the climax of the main song is reached when the lighter
+phrase rings fervently in the high brass. Here the lyric beauty is
+stressed in a richer luxuriance of rhythmic setting. Once more sings the
+passionate tune; then in midst of the last verse of the main song is a
+quick alarm of rushing harp. The languorous dream is broken; there is an
+air of new expectancy. Instead of a close is a mere pause on a passing
+harmony at the portals of the high festival.
+
+With a clear martial stress the "Russian Theme" is sounded (in low
+strings), to the full a national
+
+[Music: _Allegro moderato_
+Finale _Thème Russe_
+(Cellos with basses in lower 8ve.)]
+
+tune of northern race. Enriched with prodigal harmony and play of lesser
+themes it flows merrily on, yet always with a stern pace, breaking out
+at last in a blare of warlike brass.
+
+Nor does the martial spirit droop in the second tune, though the
+melodies are in sheer contrast. In faster rhythm, the second is more
+festal so that the first returning has a tinge almost of terror. An
+
+[Music: (Cl't)
+(Strings)]
+
+after-strain of the second has a slightest descent to reflective
+feeling, from which there is a new rebound
+
+[Music: (Cellos)
+(Strings and harp with sustained chord of horns)]
+
+to the buoyant (festal) melody.
+
+Here in grim refrains, in dim depths of basses (with hollow notes of
+horns) the national tune has a free fantasy until it is joined by the
+second in a loud burst in the minor.
+
+Now the latter sings in constant alternation with the answering strain,
+then descends in turn into the depths of sombre musing. There follows a
+big, resonant dual climax (the main theme in lower brass), with an edge
+of grim defiance. In the lull we seem to catch a brief mystic play of
+the first motto of the symphony (in the horns) before the last joyous
+song of both melodies,--all with a power of intricate design and a
+dazzling brilliancy of harmony, in proud national celebration.
+
+A last romp is in polacca step on the tune of the Russian Theme.
+
+
+_RIMSKY-KORSAKOW.[A] "ANTAR," SYMPHONY_
+
+[Footnote A: Nicholas Rimsky-Korsakow, Russian, 1844-1908.]
+
+The title-page tells us that "the subject is taken from an Arabian tale
+of Sennkowsky." Opposite the beginning of the score is a summary of the
+story, in Russian and in French, as follows:
+
+     I.--Awful is the view of the desert of Sham; mighty in their
+     desolation are the ruins of Palmyra, the city razed by the spirits
+     of darkness. But Antar, the man of the desert, braves them, and
+     dwells serenely in the midst of the scenes of destruction. Antar
+     has forever forsaken the company of mankind. He has sworn eternal
+     hatred on account of the evil they returned him for the good which
+     he intended.
+
+     Suddenly a charming, graceful gazelle appears. Antar starts to
+     pursue it. But a great noise seems pulsing through the heavens, and
+     the light of day is veiled by a dense shadow. It is a giant bird
+     that is giving chase to the gazelle.
+
+     Antar straightway changes his intent, and attacks the monster,
+     which gives a piercing cry and flies away. The gazelle disappears
+     at the same time, and Antar, left alone in the midst of ruins, soon
+     goes to sleep while meditating on the event that has happened.
+
+     He sees himself transported to a splendid palace, where a multitude
+     of slaves hasten to serve him and to charm his ear with their song.
+     It is the abode of the Queen of Palmyra,--the fairy Gul-nazar. The
+     gazelle that he has saved from the talons of the spirit of darkness
+     is none other than the fairy herself. In gratitude Gul-nazar
+     promises Antar the three great joys of life, and, when he assents
+     to the proffered gift, the vision vanishes and he awakes amid the
+     surrounding ruins.
+
+     II.--The first joy granted by the Queen of Palmyra to Antar are the
+     delights of vengeance.
+
+     III.--The second joy--the delights of power.
+
+     IV.--Antar has returned to the fallen remains of Palmyra. The third
+     and last gift granted by the fairy to Antar is the joy of true
+     love. Antar begs the fairy to take away his life as soon as she
+     perceives the least estrangement on his side, and she promises to
+     do his desire.
+
+     After a long time of mutual bliss the fairy perceives, one day,
+     that Antar is absent in spirit and is gazing into the distance.
+     Straightway, divining the reason, she passionately embraces him.
+     The fire of her love enflames Antar, and his heart is consumed
+     away.
+
+     Their lips meet in a last kiss and Antar dies in the arms of the
+     fairy.
+
+The phases of the story are clear in the chain of musical scenes, of the
+movements themselves and within them. In the opening Largo that recurs
+in this movement between the visions and happenings, a melody appears
+(in violas) that moves in all the
+
+[Music: (Violas) _Largo_
+(Woodwind)]
+
+acts of the tragedy. It is clearly the Antar motive,--here amidst ruin
+and desolation.
+
+The fairy theme is also unmistakable, that first plays in the flute,
+against soft horns, _Allegro giocoso_,
+
+[Music: (Flute) _Allegro giocoso_
+(Horns) (Harp)]
+
+and is lost in the onrushing attack, _furioso_, of a strain that begins
+in murmuring of muted strings.
+
+Other phrases are merely graphic or incidental. But the Antar motive is
+throughout the central moving figure.
+
+The scene of the desert returns at the end of the movement.
+
+In the second (_Allegro_, rising to _Molto allegro_, returning
+_allargando_) the Antar motive is seldom absent. The ending is in long
+notes of solo oboe and first violins. There is no trace of the fairy
+queen throughout the movement.
+
+The third movement has phases of mighty action (as in the beginning,
+_Allegro risoluto alla Marcia_), of delicate charm, and even of humor.
+The Antar melody plays in the clangor of big climax in sonorous tones of
+the low brass, against a quick martial phrase of trumpets and horns.
+Again there is in this movement no sign of the fairy queen.
+
+In the fourth movement, after a prelude, _Allegretto vivace_, with light
+trip of high flutes, a melody, of actual Arab origin, sings _Andante
+amoroso_ in the
+
+[Music: (Arabian melody)
+_Andante amoroso_
+(Eng. horn)
+(Bassoon)]
+
+English horn, and continues almost to the end, broken only by the
+dialogue of the lover themes. At the close a last strain of the Antar
+melody is followed by the fairy phrase and soft vanishing chord of harp
+and strings.
+
+
+_"SCHÉRÉZADE," AFTER "A THOUSAND AND ONE NIGHTS." SYMPHONIC SUITE_
+
+Prefixed to the score is a "program," in Russian and French: "The Sultan
+Schahriar, convinced of the infidelity of women, had sworn to put to
+death each of his wives after the first night. But the Sultana
+Schérézade saved her life by entertaining him with the stories which she
+told him during a thousand and one nights. Overcome by curiosity, the
+Sultan put off from day to day the death of his wife, and at last
+entirely renounced his bloody vow.
+
+"Many wonders were told to Schahriar by the Sultana Schérézade. For the
+stories the Sultana borrowed the verses of poets and the words of
+popular romances, and she fitted the tales and adventures one within the
+other.
+
+"I. The Sea and the Vessel of Sindbad.
+
+"II. The Tale of the Prince Kalender.
+
+"III. The Young Prince and the Young Princess.
+
+"IV. Feast at Bagdad. The Sea. The Vessel is Wrecked on a Rock on which
+is Mounted a Warrior of Brass. Conclusion."
+
+With all the special titles the whole cannot be regarded as close
+description. It is in no sense narrative music. The titles are not in
+clear order of events, and, moreover, they are quite vague.
+
+In the first number we have the sea and merely the vessel, not the
+voyages, of Sindbad. Then the story of the Prince Kalender cannot be
+distinguished among the three tales of the royal mendicants. The young
+prince and the young princess,--there are many of them in these Arabian
+fairy tales, though we can guess at the particular one. Finally, in the
+last number, the title mentions an event from the story of the third
+Prince Kalender, where the vessel (not of Sindbad) is wrecked upon a
+rock surmounted by a warrior of brass. The Feast of Bagdad has no
+special place in any one of the stories.
+
+The truth is, it is all a mirroring in tones of the charm and essence of
+these epic gems of the East. It is not like the modern interlinear
+description, although it might be played during a reading on account of
+the general agreement of the color and spirit of the music. But there is
+the sense and feeling of the story, _das Märchen_, and the romance of
+adventure. The brilliancy of harmony, the eccentricity and gaiety of
+rhythm seem symbolic and, in a subtle way, descriptive. As in the
+subject, the stories themselves, there is a luxuriant imagery, but no
+sign of the element of reflection or even of emotion.
+
+_I._--The opening motive, in big, broad rhythm, is clearly the Sea. Some
+have called it the Sindbad motive. But in essence these are not very
+different. The Sea is here the very feeling and type of adventure,--nay,
+Adventure itself. It is a necessary part of fairy stories. Here it
+begins and ends with its rocking theme, ever moving onward. It comes in
+the story of the Prince Kalender.
+
+The second of the main phrases is evidently the motive of the fairy tale
+itself, the feeling of "once upon a time," the idea of story, that leads
+us to the events themselves. It is a mere strumming of chords of the
+harp, with a vague line, lacking rhythm, as of musical prose. For rhythm
+is the type of event, of happenings, of the adventure itself. So the
+formless phrase is the introduction, the narrator, _Märchen_ in an
+Oriental dress as Schérézade.
+
+The first number passes for the most part in a rocking of the motive of
+the sea, in various moods and movements: _Largo e maestoso, Allegro non
+troppo,--tranquillo_. At one time even the theme of the story sings to
+the swaying of the sea.[A]
+
+[Footnote A: We remember how Sindbad was tempted after each fortunate
+escape from terrible dangers to embark once more, and how he tells the
+story of the seven voyages on seven successive days, amid luxury and
+feasting.]
+
+_II._--In the tale of the Prince Kalender Schérézade, of course, begins
+the story as usual. But the main thread is in itself another interwoven
+tale,--_Andantino Capriccioso, quasi recitando_, with a solo in the
+bassoon _dolce e espressivo_,--later _poco piu mosso_, in violins.[A]
+There is most of happenings here. A very strident phrase that plays in
+the brass _Allegro molto_, may be some hobgoblin, or rather an evil
+jinn, that holds the princess captive and wrecks the hero's vessel. The
+sea, too, plays a tempestuous part at the same time with the impish
+mischief of the jinn.
+
+[Footnote A: In the old version the word "Calender" is used; in the new
+translation by Lane we read of "The Three Royal Mendicants." In certain
+ancient editions they are called "Karendelees,"--i.e., "miserable
+beggars." Each of the three had lost an eye in the course of his
+misfortunes. The story (of the Third Kalender) begins with the wreck of
+the prince's vessel on the mountain of loadstone and the feat of the
+prince, who shoots the brazen horseman on top of the mountain and so
+breaks the charm. But there is a long chain of wonders and of troubles,
+of evil enchantments and of fateful happenings.]
+
+_III._--The third number is the idyll,--both of the stories and of the
+music. Here we are nearest to a touch of sentiment,--apart from the mere
+drama of haps and mishaps.[A] But there are all kinds of special
+events. There is no prelude of the narrator. The idyll begins
+straightway, _Andantino quasi allegretto_, winds through all kinds of
+scenes and storms, then sings again _dolce e cantabile_. Here, at last,
+the Schérézade phrase is heard on the violin solo, to chords of the
+harp; but presently it is lost in the concluding strains of the love
+story.
+
+[Footnote A: The story, if any particular one is in the mind of the
+composer, is probably that of the Prince Kamar-ez-Zemán and the Princess
+Budoor. In the quality of the romance it approaches the legends of a
+later age of chivalry. In the main it is the long quest and the final
+meeting of a prince and a princess, living in distant kingdoms. Through
+the magic of genii they have seen each other once and have exchanged
+rings. The rest of the story is a long search one for the other. There
+are good and evil spirits, long journeys by land and sea, and great
+perils. It is an Arab story of the proverbial course of true love.]
+
+_IV._--The last number begins with the motive of the sea, like the
+first, but _Allegro molto_, again followed by the phrase of the story
+teller. The sea returns _Allegro molto e frenetico_ in full force, and
+likewise the vague motive of the story in a cadenza of violin solo. Then
+_Vivo_ comes the dance, the pomp and gaiety of the Festival, with
+tripping tambourine and strings and the song first in the flutes.[A]
+Presently a reminder of the sea intrudes,--_con forza_ in lower wood and
+strings. But other familiar figures flit by,--the evil jinn and the
+love-idyll. Indeed the latter has a full verse,--in the midst of the
+carnival.
+
+[Footnote A: We may think of the revels of Sindbad before the returning
+thirst for adventure.]
+
+Right out of the festival, rather in full festal array, we seem to
+plunge into the broad movement of the surging sea, _Allegro non troppo e
+maestoso_, straight on to the fateful event. There are no sighs and
+tears. Placidly the waves play softly about. And _dolce e capriccioso_
+the siren Schérézade once more reappears to conclude the tale.
+
+
+_RACHMANINOW. SYMPHONY IN E MINOR_[A]
+
+[Footnote A: Sergei Rachmaninow, born in 1873.]
+
+_I._--The symphony begins with the sombre temper of modern Russian art;
+at the outset it seems to throb with inmost feeling, uttered in subtlest
+design.
+
+The slow solemn prelude _(Largo)_ opens with the
+
+[Music: _Largo_
+(Strings)]
+
+chief phrase of the work in lowest strings to ominous chords, and treats
+it with passionate stress until the main pace of Allegro.
+
+[Music: _Espr_. (Violins)
+(Wood and horns)]
+
+But the germ of prevailing legend lies deeper. The work is one of the
+few symphonies where the whole is reared on a smallest significant
+phrase. The first strain (of basses) is indeed the essence of the
+following melody and in turn of the main Allegro theme. But, to probe
+still further, we cannot help feeling an ultimate, briefest motive of
+single ascending tone against intrinsic obstacle, wonderfully expressed
+in the harmony, with a mingled sense of resolution and regret. And of
+like moment is the reverse descending tone. Both of these symbols
+reappear throughout the symphony, separate or blended in larger melody,
+as principal or accompanying figures. Aside from this closer view that
+makes clear the tissue of themal discussion, the first phrase is the
+main melodic motto, that is instantly echoed in violins with piquant
+harmony. In the intricate path of deep musing we feel the mantle of a
+Schumann who had himself a kind of heritage from Bach. And thus we come
+to see the national spirit best and most articulate through the medium
+of ancient art.
+
+The main Allegro melody not so much grows out of the Largo prelude, as
+it is of the same fibre and
+
+[Music: _Allegro moderato_
+4 times
+_molto expr._ (Violins)
+(Wood with _tremolo_ strings)
+(Strings with clarinets and bassoons)]
+
+identity. The violins sing here against a stately march of harmonies.
+Such is the fine coherence that the mere heralding rhythm is wrought of
+the first chords of the Largo, with their descending stress. And the
+expressive melody is of the same essence as the original sighing motto,
+save with a shift of accent that gives a new fillip of motion. In this
+movement at least we see the type of real symphony, that throbs and
+sings and holds us in the thrall of its spirit and song.
+
+Moments there are here of light and joy, quickly drooping to the darker
+mood. Following the free flight of main melody is a skein of quicker
+figures, on aspirant pulse, answered by broad, tragic descent in minor
+tones.
+
+Milder, more tranquil sings now the second melody, a striking embodiment
+of the sense of striving ascent. Chanted in higher reeds, it is
+immediately
+
+[Music: (Oboes and clarinets)
+(Violins) (Oboes and clar'ts)
+(Horns) (Bassoons)
+_dolce_
+(_Pizz._ strings)]
+
+followed and accompanied by an expressive answer in the strings. On the
+wing of this song we rise to a height where begins the path of a brief
+nervous motive (of the first notes of the symphony) that with the
+descending tone abounds in various guise. As a bold glance at the sun is
+punished by a sight of solar figures all about, so we feel throughout
+the tonal story the presence of these symbols. An epilogue of wistful
+song leads to the repeated melodies.
+
+The main figure of the plot that follows is the first melody, now in
+slow, graceful notes, now in feverish pace, though the brief (second)
+motive moves constantly here and there. A darkest descent follows into
+an Avernus of deep brooding on the legend, with an ascending path of the
+brief, nervous phrase and a reverse fall, that finally wears out its own
+despair and ends in a sombre verse of the prelude, with new shades of
+melancholy, then plunges into an overwhelming burst on the sighing
+phrase. Thence the path of brooding begins anew; but it is now
+ascendant, on the dual pulse of the poignant motto and the brief,
+nervous motive. The whole current of passion is thus uttered in the
+prelude strain that at the outset was pregnant with feeling. At the
+crisis it is answered or rather interwoven with a guise of the second
+theme, in hurried pace, chanted by stentorian brass and wood in
+hallooing chorus that reaches a high exultation. To be sure the Russian
+at his gladdest seems tinged with sense of fate. So from the single
+burst we droop again. But the gloom is pierced by brilliant
+shafts,--herald calls (of brass and wood) that raise the mood of the
+returning main melody, and in their continuous refrain add a buoyant
+stimulus. And the verse of quicker figures has a new fire and ferment.
+All absent is the former descent of minor tones. Instead, in solemn hush
+of tempest, without the poignant touch, the tranquil second melody
+returns with dulcet answer of strings. A loveliest verse is of this
+further song where, in a dual chase of tune, the melody moves in
+contained rapture. In the cadence is a transfigured phase of the
+ascending tone, mingled with the retiring melody, all woven to a
+soothing cadence.
+
+But the struggle is not over, nor is redemption near. The dulcet phrases
+sink once more to sombre depth where there is a final, slow-gathering
+burst of passion on the motto, with a conclusive ring almost of fierce
+triumph.
+
+_II._--The second movement, _Allegro molto_, is a complete change from
+introspection and passion to an
+
+[Music: _Allegro molto_
+(Insistent strum of strings)
+_Marcato_]
+
+abandon as of primitive dance. Strings stir the feet; the horns blow the
+first motive of the savage tune; the upper wood fall in with a dashing
+jingle,--like a stroke of cymbals across the hostile harmonies.
+
+Whether a recurring idiom is merely personal or belongs to the special
+work is difficult to tell. In reality it matters little. Here the
+strange rising tone is the same as in the former (second) melody. In
+the rude vigor of harmonies the primitive idea is splendidly stressed.
+
+Right in the answer is a guise of short, nervous phrase, that gets a new
+touch of bizarre by a leap of the seventh from below. In this figure
+that moves throughout the symphony we see an outward symbol of an inner
+connection.--Bells soon lend a festive ring to the main tune.
+
+In quieter pace comes a tranquil song of lower voices with a companion
+melody above,--all in serene major. Though it grew naturally out of the
+rude
+
+[Music: _Molto cantabile_]
+
+dance, the tune has a contrasting charm of idyll and, too, harks back to
+the former lyric strains that followed the second melody. When the dance
+returns, there is instead of discussion a mere extension of main motive
+in full chorus.
+
+But here in the midst the balance is more than restored. From the dance
+that ceases abruptly we go straight to school or rather cloister. On our
+recurring nervous phrase a fugue is rung with all pomp and ceremony
+(_meno mosso_); and of the dance there are mere faint echoing memories,
+when the
+
+[Music: _Meno mosso_
+(Oboe) _molto marcato_
+(Violins) staccato]
+
+fugal text seems for a moment to weave itself into the first tune.
+
+Instead, comes into the midst of sermon a hymnal chant, blown gently by
+the brass, while other stray
+
+[Music: _Leggiero_]
+
+voices run lightly on the thread of fugue. There is, indeed, a playful
+suggestion of the dance somehow in the air. A final tempest of the
+fugue[A] brings us back to the full verse of dance and the following
+melodies. But before the end sounds a broad hymnal line in the brass
+with a dim thread of the fugue, and the figures steal away in solemn
+stillness.
+
+[Footnote A: It is of the first two notes of the symphony that the fugal
+theme is made. For though it is longer in the strings, the brief motion
+is ever accented in the wood. Thus relentless is the themal coherence.
+If we care to look closer we see how the (following) chant is a slower
+form of the fugal theme, while the bass is in the line of the
+dance-tune. In the chant in turn we cannot escape a reminder, if not a
+likeness, of the second theme of the first movement.]
+
+_III._--The Adagio has one principal burden, first borne by
+violins,--that rises from the germ of earlier
+
+[Music: _Adagio_
+(Strings with added harmony in bassoons and horns)]
+
+lyric strains. Then the clarinet joins in a quiet madrigal of tender
+phrases. We are tempted to find here an influence from a western
+fashion, a taint of polythemal virtuosity, in this mystic maze of many
+strains harking from all corners of the work, without a gain over an
+earlier Russian simplicity. Even the Slavic symphony seems to have
+fallen into a state of artificial cunning, where all manners of greater
+
+[Music: (Solo clarinet)
+_espress._
+(Divided strings) _dolce_]
+
+or lesser motives are packed close in a tangled mass.
+
+It cannot be said that a true significance is achieved in proportion to
+the number of concerting themes. We might dilate on the sheer inability
+of the hearer to grasp a clear outline in such a multiple plot.
+
+There is somehow a false kind of polyphony, a too great facility of
+spurious counterpoint, that differs subtly though sharply from the true
+art where the number entails no loss of individual quality; where the
+separate melodies move by a divine fitness that measures the perfect
+conception of the multiple idea; where there is no thought of a later
+padding to give a shimmer of profound art. It is here that the symphony
+is in danger from an exotic style that had its origin in German
+music-drama.
+
+From this point the Rachmaninow symphony languishes in the fountain of
+its fresh inspiration, seems consciously constructed with calculating
+care.
+
+There is, after all, no virtue in itself in mere themal
+interrelation,--in particular of lesser phrases. One cogent theme may
+well prevail as text of the whole. As the recurring motives are
+multiplied, they must lose individual moment. The listener's grasp
+becomes more difficult, until there is at best a mystic maze, a sweet
+chaos, without a clear melodic thought. It cannot be maintained that the
+perception of the modern audience has kept pace with the complexity of
+scores. Yet there is no gainsaying an alluring beauty of these waves of
+sound rising to fervent height in the main melody that is expressive of
+a modern wistfulness.
+
+But at the close is a fierce outbreak of the first motto, with a
+defiance of regret, in faster, reckless pace, brief, but suddenly
+recurring. Exquisite is this
+
+[Music: (Ob.) _cantabile_
+(Strings, wood and horns)]
+
+cooing of voices in mournful bits of the motto, with a timid upper
+phrase in the descending tone.
+
+On we go in the piling of Ossa on Pelion, where the motto and even the
+Scherzo dance lend their text. Yet all is fraught with sentient beauty
+as, rising in Titanic climb, it plunges into an overwhelming cry in the
+Adagio melody. Throughout, the ascending and descending tones, close
+interwoven, give a blended hue of arduous striving and regret.
+
+After a pause follow a series of refrains of solo voices in the melody,
+with muted strings, with mingled strains of the motto. In the bass is an
+undulation that recalls the second theme of former movement. And the
+clarinet returns with its mystic madrigal of melody; now the Adagio
+theme enters and gives it point and meaning. In one more burst it sings
+in big and little in the same alluring harmony, whence it dies down to
+soothing close in brilliant gamut as of sinking sun.
+
+_IV.--Allegro vivace._ Throwing aside the clinging
+
+[Music: _Allegro vivace_
+_Molto marcato_
+(Strings, wood and horns with reinforced harmonies)]
+
+fragments of fugue in the prelude we rush into a gaiety long sustained.
+Almost strident is the ruthless merriment; we are inclined to fear that
+the literal coherence of theme is greater than the inner connection of
+mood. At last the romp hushes to a whisper of drum, with strange patter
+of former dance. And following and accompanying it is a new hymnal (or
+is it martial) line, as it were the reverse of the other
+
+[Music: (Reeds and horns)
+(Strings with the quicker dance phrase of 2d movement)]
+
+chant. The gay figures flit timidly back,--a struggle 'twixt pleasure
+and fate,--but soon regain control.
+
+If we cared to interpret, we might find in the Finale a realized
+aspiration. The truth is the humors of the themal phrases, as of the
+movements, jar: they are on varying planes. The coarser vein of the last
+is no solace to the noble grief of the foregoing.
+
+Again the change or series of moods is not clearly defined. They seem a
+parade of visions. The hymn may be viewed as a guise of the former chant
+of the Scherzo, with the dance-trip in lowest bass.
+
+Straight from the rush and romp we plunge anew into a trance of sweet
+memories. The lyric vein here binds together earlier strains, whose
+kinship had not appeared. They seemed less significant, hidden as
+subsidiary ideas. If we care to look back we find a germ of phrase in
+the first Prelude, and then the answer of the second (Allegro) theme of
+first movement. There was, too, the sweep of dual melody following the
+rude dance of Scherzo. Above all is here the essence and spirit of the
+central Adagio melody of the symphony.
+
+The answering strain is of high beauty, with a melting sense of
+farewell. From the sad ecstasy is a
+
+[Music: (Strings with higher and lower 8ve.)
+(Wood and horns in 8ves.)
+(Basses of strings and reeds)]
+
+descent to mystic musing, where abound the symbols of rising and falling
+tones. More and more moving is the climactic melody of regret with a
+blended song in large and little. Most naturally it sinks into a full
+verse of the Adagio tune--whence instantly is aroused a new battle of
+moods.
+
+While the dance capers below, above is the sobbing phrase from the heart
+of the Adagio. The trip falls into the pace of hymnal march. The shadows
+of many figures return. Here is the big descending scale in tragic minor
+from the first movement. Large it looms, in bass and treble. Answering
+it is a figure of sustained thirds that recalls the former second
+(Allegro) melody. And still the trip of dance goes on.
+
+Sharpest and strongest of all these memories is the big sigh of sombre
+harmonies from the first Largo prelude, answered by the original legend.
+And the dance still goes tripping on and the tones rumble in descent.
+
+The dance has vanished; no sound but the drone of dull, falling tones,
+that multiply like the spirits of the sorcerer apprentice, in large form
+and small, with the big rumbling in a quick patter as of scurrying mice.
+
+Suddenly a new spirit enters with gathering volume and warmer harmony.
+As out of a dream we gradually emerge, at the end with a shock of
+welcome to light and day, as we awake to the returning glad dance. And
+here is a new entrancing counter-tune above that crowns the joy.
+
+Once again the skip falls into the ominous descent with the phantom of
+Scherzo dance in basses. Now returns the strange hymnal line of march
+and the other anxious hue.
+
+But quickly they are transformed into the tempest of gaiety in full
+parade. When a new burst is preparing, we see the sighing figure all
+changed to opposite mood. The grim tune of Scherzo dance enters
+mysteriously in big and little and slowly takes on a softened hue,
+losing the savage tinge.
+
+After the returning dance, the farewell melody sings from full throat.
+Before the ending revel we may feel a glorified guise of the sombre
+legend of the symphony.
+
+
+
+
+CHAPTER XII
+
+SIBELIUS. A FINNISH SYMPHONY[A]
+
+[Footnote A: Symphony No. 1, in E minor, by Jan Sibelius, born in 1865.]
+
+
+We must expect that the music of newer nations will be national. It goes
+without saying; for the music comes fresh from the soil; it is not the
+result of long refined culture. There is the strain and burst of a
+burden of racial feeling to utter itself in the most pliant and eloquent
+of all the languages of emotion. It is the first and noblest sentiment
+of every nation conscious of its own worth, and it has its counterpart
+in the individual. Before the utterance has been found by a people,
+before it has felt this sense of its own quality, no other message can
+come. So the most glorious period in the history of every country (even
+in the eyes of other nations) is the struggle for independence, whether
+successful or not.
+
+All on a new plane is this northernmost symphony, with a crooning note
+almost of savage, and sudden, fitful bursts from languorous to fiery
+mood. The harmony, the turn of tune have a national quality, delicious
+and original, though the Oriental tinge appears, as in Slav and Magyar
+music, both in bold and in melancholy humor. Though full of strange and
+warm colors, the harmonic scheme is simple; rather is the work a tissue
+of lyric rhapsody than the close-woven plot of tonal epic. A certain
+trace of revery does find a vent in the traditional art of contrary
+melodies. But a constant singing in pairs is less art than ancient
+folk-manner, like primal music in the love or dance songs of savages.
+
+The symphony begins with a quiet rhapsody of solo clarinet in wistful
+minor, clear without chords, though there is a straying into major.
+There is no accompaniment save a soft roll of drum, and that soon dies
+away.
+
+[Music: _Andante, ma non troppo_
+_espress._
+(Clarinet)]
+
+The rhapsody seems too vague for melody; yet there are motives, one in
+chief, winding to a pause; here is a new appealing phrase; the ending is
+in a
+
+[Music]
+
+return to the first. Over the whole symphony is cast the hue of this
+rhapsody, both in mood and in the literal tone.
+
+All opposite, with sudden spring of buoyant strings, strikes the
+Allegro tune ending in a quick, dancing trip. The first voice is
+immediately pursued by another
+
+[Music: _Allegro energico_
+(2d violins)
+_Piu forte_
+(Violins with higher 8ve.)
+(Cellos with higher 8ve. in violas)]
+
+in similar phase, like a gentler shadow, and soon rises to a passionate
+chord that is the main idiom of the movement.
+
+[Music: (Strings, wood and horns)]
+
+A second theme in clear-marked tones of reed and horns, as of stern
+chant, is taken up in higher wood and grows to graceful melody in
+flowing strings.
+
+[Music: _marcato_]
+
+There is a series of flights to an ever higher perch of harmony until
+the first Allegro motive rings out in fullest chorus, again with the
+companion tune and the cadence of poignant dissonance.
+
+A new episode comes with shimmering of harp and strings, where rare and
+dainty is the sense of primal
+
+[Music: _marcato_
+(Flutes)
+(Strings with chord of harp)]
+
+harmony that lends a pervading charm to the symphony. Here the high
+wood has a song in constant thirds, right from the heart of the
+rhapsody, all bedecked as melody with a new rhythm and answer. Soon this
+simple lay is woven in a skein of pairs of voices, meeting or diverging.
+But quickly we are back in the trance of lyric song, over palpitating
+strings, with the refrain very like the former companion phrase that
+somehow leads or grows to a
+
+[Music: _Tranquillo_
+(Oboe, with other wood)
+(Strings with higher E)]
+
+rhythmic verse of the first strain of the rhapsody. Here begins a long
+mystic phase of straying voices (of the wood) in the crossing figures of
+the song, in continuous fantasy that somehow has merged into the line of
+second Allegro theme, winging towards a brilliant height where the
+strings ring out the strain amid sharp cries of the brass in startling
+hues of harmony and electric calls from the first rhapsody.
+
+From out the maze and turmoil the shadowy melody rises in appealing
+beauty like heavenly vision and lo! is but a guise of the first strain
+of rhapsody. It rises amid flashes of fiery brass in bewildering blare
+of main theme, then sinks again to the depth of brooding, though the
+revery of the appealing phrase has a climactic height of its own, with
+the strange, palpitating harmonies.
+
+In a new meditation on bits of the first Allegro theme sounds suddenly a
+fitful burst of the second, that presently emerges in triumphant,
+sovereign song. Again, on a series of flights the main theme is reached
+and leaps once more to impassioned height.
+
+But this is followed by a still greater climax of moving pathos whence
+we descend once more to lyric meditation (over trembling strings).
+Follows a final tempest and climax of the phrase of second theme.
+
+The movement thus ends, not in joyous exultation, but in a fierce
+triumph of sombre minor.
+
+The Andante is purest folk-melody, and it is strange how we know this,
+though we do not know the special theme. We cannot decry the
+race-element as a rich fount of melody. While older nations strive and
+strain, it pours forth by some mystery in prodigal flow with less
+tutored peoples who are singing their first big song to the world. Only,
+the ultimate goal for each racial inspiration must be a greater
+universal celebration.
+
+The lyric mood is regnant here, in a melody that, springing from distant
+soil, speaks straight to every heart, above all with the concluding
+refrain. It is of the purest vein, of the primal fount, deeper than mere
+racial turn or trait. Moreover, with a whole coronet of gems of modern
+harmony, it has a broad swing and curve that gives the soothing sense of
+fireside;
+
+[Music: _Andante ma non troppo lento_
+(Muted violins)
+(Sustained horns and basses with lower 8ve.; constant stroke of harp)
+(Clarinets)]
+
+it bears a burden of elemental, all-contenting emotion. In the main, the
+whole movement is one lyric flight. But there come the moods of musing
+and rhapsodic rapture. In a brief fugal vein is a mystic harking back to
+the earlier prelude. In these lesser phrases are the foil or
+counter-figures for the bursts of the melody.
+
+It is the first motive of the main tune that is the refrain in ever
+higher and more fervent exclamation, or in close pressing chase of
+voices. Then follows a melting episode,--some golden piece of the melody
+in plaintive cellos, 'neath tremulous wood or delicate choirs of
+strings.
+
+But there is a second tune, hardly less moving, in dulcet group of
+horns amid shimmering strings and harp, with a light bucolic answer in
+playful reed.
+
+[Music: _Molto tranquillo_
+(Violins)
+_dolce_ (Horns)
+(With arpeggic harp)]
+
+And it has a glowing climax, too, with fiery trumpet, and dashing
+strings and clashing wood.
+
+Gorgeous in the warm depth of horns sound now the returning tones of the
+first noble melody, with playful trill of the wood, in antiphonal song
+of trumpets and strings. And there are revels of new turns of the tune
+(where the stirring harmony seems the best of all) that will rise to a
+frenzy of tintinnabulation. A quicker counter-theme lends life and
+motion to all this play and plot.
+
+A big, solemn stride of the middle strain (of main melody) precedes the
+last returning verse, with all the tender pathos of the beginning.
+
+The Scherzo is wild race-feeling let loose--national music that has not
+yet found a melody. Significantly the drums begin the tune, to a dancing
+strain of _pizzicato_ strings. The tune is so elemental that the
+
+[Music: _Allegro_
+(Violins)
+(_Pizz._ cellos double above in violas)]
+
+drums can really play it; the answer is equally rude,--an arpeggic
+motive of strings against quick runs of the higher wood. Out of it grows
+a tinge of tune with a fresh spring of dance,--whence returns the first
+savage motive. This is suddenly changed to the guise of a fugal theme,
+with new close, that starts a maze of disputation.
+
+Right from the full fire of the rough dance, sad-stressed chords plunge
+into a moving plaint with much sweetness of melody and higher
+counter-melody. Then returns again the original wild rhythm.
+
+[Music: _Lento ma non troppo_]
+
+In the last movement the composer confesses the "Fantasy" in the title.
+It begins with a broad sweep of the returning rhapsody, the prologue of
+the symphony, though without the former conclusion. Now it sings in a
+strong unison of the strings _largamente ed appassionato_, and with
+clang of chord in lower brass. The appealing middle phrase is all
+disguised in strum as of dance. The various strains sing freely in
+thirds, with sharp punctuating chords. Throughout is a balance of the
+pungent vigor of harmonies with dulcet melody.
+
+In sudden rapid pace the strumming figure dances in the lower reed, then
+yields to the play (in the strings) of a lively (almost comic) tune of a
+strong national tinge,--a kind that seems native to northern countries
+and is not unlike a strain that crept into
+
+[Music: _Allegro molto_]
+
+American song. A tempest of pranks is suddenly halted before the
+entrance of a broad melody, with underlying harmonies of latent passion.
+The feeling of fantasy is in the further flow, with free singing chords
+of harp. But ever between the lines creeps in the strumming phrase, from
+the first prelude, returned to its earlier mood.
+
+[Music: _Andante assai_
+(Violins) _cantabile ed espressivo_
+(Horns)
+(Clarinets)
+(_Tremolo_ cellos, with lower C in basses)]
+
+With baffling mystery anon come other appealing phrases from the
+beginning, that show the whole to be the woof almost of a single figure,
+or at least to lie within the poetic scope of the prologue. A fugal
+revel of the comic phrase with the quick strum as counter-theme ends in
+a new carnival,--here a dashing march, there a mad chase of strident
+harmonies. Now sings the full romance and passion of the melody through
+the whole gamut from pathos to rapture. It ends with poignant stress of
+the essence of the song, with sheerest grating of straining harmonies.
+In the midst, too, is again the mystic symbol from the heart of the
+prelude. Then with a springing recoil comes a last jubilation, though
+still in the prevailing minor, with a final coursing of the quick theme.
+
+The whole is a broad alternation of moods, of wild abandon and of tender
+feeling,--the natural dual quality of primal music. So, at least in the
+Finale, this is a Finnish fantasy, on the very lines of other national
+rhapsody.
+
+
+
+
+CHAPTER XIII
+
+BOHEMIAN SYMPHONIES
+
+
+In the music of modern Bohemia is one of the most vital utterances of
+the folk-spirit. The critic may not force a correspondence of politics
+and art to support his theory. Yet a cause may here be found as in
+Russia and Finland. (Poland and Hungary had their earlier song). There
+is a sincerity, an unpremeditated quality in Bohemian music that is not
+found among its western neighbors. The spirit is its own best proof,
+without a conscious stress of a national note. Indeed, Bohemian music is
+striking, not at all in a separate tonal character, like Hungarian, but
+rather in a subtle emotional intensity, which again differs from the
+wild abandon of the Magyars. An expression it must be of a national
+feeling that has for ages been struggling against absorption. Since
+ancient times Bohemia has been part of a Teutonic empire. The story of
+its purely native kings is not much more than legendary. Nor has it
+shared the harder fate of other small nations; for the Teuton rule at
+least respected its separate unity.
+
+But the long association with the German people has nearly worn away the
+racial signs and hall-marks of its folk-song. A Bohemian tune thus has a
+taste much like the native German. Yet a quality of its own lies in the
+emotional vitality, shown in a school of national drama and, of late, in
+symphony. It is not necessary to seek in this modern culmination a
+correspondence with an impending danger of political suppression. Art
+does not follow history with so instant a reflection.
+
+The intensity of this national feeling appears when Smetana himself, the
+minstrel of the people, is charged at home with yielding to the foreign
+influence. Here again is the hardship of the true national poet who
+feels that for the best utterance of his message he needs the grounding
+upon a broader art; here is the narrow Chauvinism that has confined the
+music of many lands within the primitive forms.
+
+Two types we have in Bohemian music of later times: one, Smetana, of
+pure national celebration; a second, Dvôrák, who with a profound
+absorption of the German masters, never escaped the thrall of the
+folk-element and theme.
+
+
+_SMETANA. SYMPHONIC POEM, "THE MOLDAU RIVER"_[A]
+
+[Footnote A: Friedrich Smetana, 1824-1884, foremost among Bohemian
+dramatic composers, wrote a cycle of symphonic poems under the general
+title "My Country." Of these the present work is the second.]
+
+Simplicity is uppermost in these scores; yet the true essence is almost
+hidden to the mere reader. With all primitive quality they are more
+difficult than many a classic symphony. The latent charm of folk humor
+and sentiment depends more on tradition and sympathy than on notation.
+
+The naïvely graphic impulse (that we find throughout the choral works of
+Bach) that merely starts a chance themal line, as here of the first
+branch of the Moldau, does not disturb the emotional expression. And
+while the feeling is sustained, the art is there, not to stifle but to
+utter and set free the native spring of song.
+
+It must be yielded that the design is not profound; it smacks of the
+village fair rather than of grand tragedy. Song is ever supreme, and
+with all abundance of contrapuntal art does not become sophisticated.
+The charm is not of complexity, but of a more child-like, sensuous kind.
+
+It must all be approached in a different way from other symphonic music.
+The minstrel is not even the peasant in court costume, as Dvôrák once
+was called. He is the peasant in his own village dress, resplendent with
+color and proud of his rank.
+
+We cannot enjoy the music with furrowed brow. It is a case where music
+touches Mother Earth and rejuvenates herself. Like fairy lore and
+proverbs, its virtue lies in some other element than profound design.
+For any form of song or verse that enshrines the spirit of a people and
+is tried in the forge of ages of tradition, lives on more surely than
+the fairest art of individual poet.
+
+The stream is the great figure, rising from small sources in playful
+flutes, with light spray of harp and
+
+[Music: _Allegro commodo non agitato_
+_lusingando_
+(Flute with chord of _pizz._ strings)]
+
+strings. The first brook is joined by another (in clarinets) from a new
+direction. Soon grows the number and the rustle of confluent waters. The
+motion of the strings is wavelike, of a broader flow, though underneath
+we scan the several lesser currents. Above floats now the simple, happy
+song, that expands
+
+[Music: _dolce_
+(Reeds and horns with waving strings and stroke of triangle)]
+
+with the stream and at last reaches a glad, sunny major.
+
+Still to the sound of flowing waters comes the forest hunt, with all the
+sport of trumpets and other brass.
+
+It is descriptive music, tonal painting if you will; but the color is
+local or national. The strokes are not so much of events or scenes as of
+a popular humor and character, which we must feel with small stress of
+each event. The blowing of trumpets, the purling of streams, the swaying
+of trees, in primal figures, all breathe the spirit of Bohemia.
+
+The hunt dies away; emerging from the forest the jolly sounds greet us
+of a peasant wedding. The
+
+[Music: _Tempo moderato_
+(Reeds and strings)]
+
+parade reaches the church in high festivity and slowly vanishes to
+tinkling bells.
+
+Night has fallen; in shifted scene the stream is sparkling in the
+moonlight still to the quiet sweet harmonies. But this is all background
+for a dance of nymphs, while a dulcet, sustained song sounds through the
+night. At last, to the golden horns a faintest harmony is added of
+deeper brass. Still very softly, the brass strike a quicker phrase and
+we seem to hear the hushed chorus of hunt with the call of trumpets, as
+the other brass lead in a new verse that grows lustier with the livelier
+song and dance, till--with a flash we are alone with the running stream
+with which the dance of nymphs has somehow merged.
+
+On it goes, in happy, ever more masterful course, a symbol of the
+nation's career, surging in bright major and for a moment quieting
+before the mighty Rapids of St. Johann. Here the song of the stream is
+nearly lost in the rush of eddies and the strife of big currents, with
+the high leaps of dashing spray,--ever recurring like unceasing battle
+with a towering clash at the height of the tempest. At last all meet in
+overpowering united torrent, suddenly to hush before the stream, at the
+broadest, rushes majestically along in hymnal song of exalted harmonies
+and triumphant melody, with joyous after-strains.
+
+As the pilgrim to his Mecca, so the waters are wafted into the climactic
+motive of the Hradschin, the chant of the holy citadel. The rest is a
+long jubilation
+
+[Music: _Motiv Vyserad_
+(Full orchestra, with rapid figures in the strings)]
+
+on quicker beats of the chant, amid the plash of waters and the shaking
+of martial brass. Strangely, as the other sounds die away, the melody of
+the stream emerges clear and strong, then vanishes in the distance
+before the jubilant Amen.
+
+In the general view we must feel a wonderful contrast here with the
+sophomoric state of the contemporary art in other lands where the
+folk-song has lost its savor,--where the natural soil is exhausted and
+elegant castles are built in the air of empty fantasy, or on the sands
+of a vain national pride.
+
+
+_DVÔRÁK. SYMPHONY, "FROM THE NEW WORLD."_[A]
+
+[Footnote A: Anton Dvôrák, 1841-1904.]
+
+It is a much-discussed question how far Dvôrák's American symphony is
+based on characteristic folk-song. Here are included other questions: to
+what extent the themes are based on an African type, and whether negro
+music is fairly American folk-song. Many, perhaps most people, will
+answer with a general negative. But it seems to be true that many of us
+do not really know the true negro song,--have quite a wrong idea of it.
+
+To be sure, all argument aside, it is a mistake to think that folk-song
+gets its virtue purely from a distinctive national quality,--because it
+is Hungarian, Scandinavian, or Slavonic. If all the national modes and
+rhythms of the world were merged in one republic, there would still be a
+folk-song of the true type and value. There is a subtle charm and
+strength in the spontaneous simplicity, all aside from racial color. It
+is here that, like Antaeus, the musician touches Mother Earth and renews
+his strength. So, when Dvôrák suddenly shifts in the midst of his New
+World fantasy into a touch of Bohemian song, there is no real loss. It
+is all relevant in the broad sense of folk feeling, that does not look
+too closely at geographical bounds. It is here that music, of all arts,
+leads to a true state of equal sympathy, regardless of national
+prejudice. What, therefore, distinguishes Dvôrák's symphony may not be
+mere negro melody, or even American song, but a genuine folk-feeling, in
+the widest meaning.
+
+In one way, Dvôrák's work reminds us of Mendelssohn's Scotch Symphony:
+both exploit foreign national melody in great poetic forms. One could
+write a Scotch symphony in two ways: one, in Mendelssohn's, the other
+would be to tell of the outer impression in the terms of your own
+folk-song. That is clearly the way Mendelssohn wrote most of the Italian
+Symphony,--which stands on a higher plane than the Scotch. For folk-song
+is the natural language of its own people. It is interesting to see the
+exact type that each theme represents; but it is not so important as to
+catch the distinction, the virtue of folk-song _per se_ and the purely
+natural utterance of one's own. Of course, every one writes always in
+his folk-tones. On the other hand, one may explore one's own special
+treasures of native themes, as Dvôrák himself did so splendidly in his
+Slavic Dances and in his Legends. So one must, after all, take this
+grateful, fragrant work as an idea of what American composers might do
+in full earnest. Dvôrák is of all later masters the most eminent
+folk-musician. He shows greatest sympathy, freedom and delight in
+revelling among the simple tones and rhythms of popular utterance,
+rearing on them, all in poetic spontaneity, a structure of high art.
+Without strain or show, Dvôrák stood perhaps the most genuine of late
+composers, with a firm foot on the soil of native melody, yet with the
+balance and restraint and the clear vision of the trained master.[A]
+
+[Footnote A: The whole subject of American and negro folk-song is new
+and unexplored. There are races of the blacks living on the outer reefs
+and islands of the Carolinas, with not more than thirty whites in a
+population of six thousand, where "spirituals" and other musical rites
+are held which none but negroes may attend. The truest African mode and
+rhythm would seem to be preserved here; to tell the truth, there is
+great danger of their loss unless they are soon recorded.]
+
+In a certain view, it would seem that by the fate of servitude the
+American negro has become the element in our own national life that
+alone produces true folk-song,--that corresponds to the peasant and serf
+of Europe, the class that must find in song the refuge and solace for
+its loss of material joys. So Dvôrák perhaps is right, with a far seeing
+eye, when he singles the song of the despised race as the national type.
+
+Another consideration fits here. It has been suggested that the
+imitative sense of the negro has led him to absorb elements of other
+song. It is very difficult to separate original African elements of song
+from those that may thus have been borrowed. At any rate, there is no
+disparagement of the negro's musical genius in this theory. On the
+contrary, it would be almost impossible to imagine a musical people that
+would resist the softer tones of surrounding and intermingling races.
+We know, to be sure, that Stephen Foster, the author of "The Old Folks
+at Home," "Massa's in the Cold, Cold Ground," and other famous ballads,
+was a Northerner, though his mother came from the South. We hear, too,
+that he studied negro music eagerly. It is not at all inconceivable,
+however, Foster's song may have been devoid of negro elements, that the
+colored race absorbed, wittingly or unwittingly, something of the vein
+into their plaints or lullabies,--that, indeed, Foster's songs may have
+been a true type that stirred their own imitation. From all points of
+view,--the condition of slavery, the trait of assimilation and the
+strong gift of musical expression may have conspired to give the negro a
+position and equipment which would entitle his tunes to stand as the
+real folk-song of America.
+
+The eccentric accent seems to have struck the composer strongly. And
+here is a strange similarity with Hungarian song,--though there is, of
+course, no kinship of race whatever between Bohemians and Magyars. One
+might be persuaded to find here simply an ebullition of rhythmic
+impulse,--the desire for a special fillip that starts and suggests a
+stronger energy of motion than the usual conventional pace. At any rate,
+the symphony begins with just such strong, nervous phrases that soon
+gather big force. Hidden is the germ of the first, undoubtedly the chief
+theme of the whole work.
+
+It is more and more remarkable how a search will show the true
+foundation of almost all of Dvôrák's themes. Not that one of them is
+actually borrowed, or lacks an original, independent reason for being.
+
+Whether by imitation or not, the pentatonic scale of the Scotch is an
+intimate part of negro song. This avoidance of the seventh or leading
+tone is seen throughout the symphony as well as in the traditional
+jubilee tunes. It may be that this trait was merely confirmed in the
+African by foreign musical influence. For it seems that the
+leading-note, the urgent need for the ascending half-tone in closing,
+belongs originally to the minstrelsy of the Teuton and of central
+Europe, that resisted and conquered the sterner modes of the early
+Church. Ruder nations here agreed with Catholic ritual in preferring the
+larger interval of the whole tone. But in the quaint jump of the third
+the Church had no part, clinging closely to a diatonic process.
+
+The five-toned scale is indeed so widespread that it cannot be fastened
+on any one race or even family of nations. The Scotch have it; it is
+characteristic of the Chinese and of the American Indian. But,
+independently of the basic mode or scale, negro songs show here and
+there a strange feeling for a savage kind of lowering of this last note.
+The pentatonic scale simply omits it, as well as the fourth step. But
+the African will now and then rudely and forcibly lower it by a
+half-tone. In the minor it is more natural; for it can then be thought
+of as the fifth of the relative major. Moreover, it is familiar to us in
+the Church chant. This effect we have in the beginning of the Scherzo.
+Many of us do not know the true African manner, here. But in the major
+it is much more barbarous. And it is almost a pity that Dvôrák did not
+strike it beyond an occasional touch (as in the second quoted melody). A
+fine example is "Roll, Jordan Roll," in E flat (that opens, by the way,
+much like Dvôrák's first theme), where the beginning of the second line
+rings out on a savage D flat, out of all key to Caucasian ears.
+
+We soon see stealing out of the beginning _Adagio_ an eccentric pace in
+motion of the bass, that leads to the burst of main subject, _Allegro
+molto_, with a certain
+
+[Music: _Allegro molto_
+(Strings)
+(Horns)
+_Pizz._ (Strings)
+(Clarinets doubled below in bassoons)
+(Strings)]
+
+ragged rhythm that we Americans cannot disclaim as a nation. The working
+up is spirited, and presently out of the answer grows a charming jingle
+that somehow strikes home.
+
+[Music: (Violins, with harmony in lower strings)]
+
+It begins in the minor and has a strange, barbaric touch of cadence.
+Many would acknowledge it at most as a touch of Indian mode. Yet it is
+another phase of the lowered seventh. And if we care to search, we find
+quite a prototype in a song like "Didn't My Lord Deliver Daniel." Soon
+the phrase has a more familiar ring as it turns into a friendly major.
+But the real second theme comes in a solo tune on the flute, in the
+major,
+
+[Music: (Solo flute)
+(Strings)]
+
+with a gait something like the first.[A] Less and less we can resist the
+genuine negro quality of these melodies, and, at the same time, their
+beauty and the value of the tonal treasure-house in our midst.
+
+[Footnote A: Again it is interesting to compare here the jubilee song,
+"Oh! Redeemed," in the collection of "Jubilee and Plantation Songs," of
+the Oliver Ditson Company.]
+
+The whole of the first Allegro is thus woven of three melodious and
+characteristic themes in very clear sonata-form. The second, Largo,
+movement is a lyric of moving pathos, with a central melody that may not
+have striking traits of strict African song, and yet belongs to the type
+closely associated with the negro vein of plaint or love-song. The
+rhythmic
+
+[Music: _Largo_
+(English horn solo)]
+
+turns that lead to periods of excitement and climaxes of rapid motion,
+are absent in the main melody. But
+
+[Music: (Oboe and clarinets)
+(Basses _pizz._ with _tremolo_ figures in violins)]
+
+they appear in the episode that intervenes. Even here, in the midst, is
+a new contrast of a minor lament that has a strong racial trait in the
+sudden swing to major and, as quickly, back to the drearier mode. This
+is followed by a rhapsody or succession of rapid, primitive phrases,
+that leads to a crisis where, of a sudden, three themes sing at once,
+the two of the previous Allegro and the main melody of the Largo, in
+distorted pace with full chorus. This excitement is as suddenly lulled
+and soothed by the return of the original moving song.
+
+The Scherzo starts in a quick three-beat strum on the chord we have
+pointed to as a true model trait of negro music, with the lowered
+leading-note. The
+
+[Music: _molto vivace_ (Fl. and oboes)
+(Strings) (Cl't.)]
+
+theme, discussed in close stress of imitation, seems merely to mark the
+rapid swing in the drone of strange harmony. But what is really a sort
+of Trio (_poco sostenuto_) is another sudden, grateful change to major,
+perfectly true to life, so to speak, in this turn of mode and in the
+simple lines of the tune. The lyric mood all but suppresses the dance,
+the melody sounding like a new verse of the Largo. The trip has always
+lingered, but not too much for the delicious change when it returns to
+carry us off our feet.
+
+The Scherzo now steals in again, quite a piece, it seems, with the Trio.
+As the rising volume nears a crisis, the earliest theme (from the first
+Allegro) is heard in the basses. In the hushed discourse of Scherzo
+theme that follows, the old melody still intrudes. In mockery of one of
+its turns comes an enchanting bit of tune, as naïve an utterance as any,
+much like a children's dancing song. And it returns later with still new
+enchantment of rhythm. But the whole is too full of folk-melody to trace
+out, yet is, in its very fibre, true to the idea of an epic of the
+people.
+
+Presently the whole Scherzo and Trio are rehearsed; but now instead of
+the phase of latest melodies is a close where the oldest theme (of
+Allegro) is sung in lusty blasts of the horns and wood, with answers of
+the Scherzo motive.
+
+In the last movement, _Allegro con fuoco_, appears early a new kind of
+march tune that, without special
+
+[Music: _Allegro con fuoco_
+(Horns and trumpets with full orchestra)]
+
+trick of rhythm, has the harsh note of lowered leading-note (in the
+minor, to be sure) in very true keeping with negro song. The march is
+carried on, with flowing answer, to a high pitch of varied splendor and
+tonal power. The second theme is utterly opposed in a certain pathetic
+rhapsody. Yet it rises, at the close, to a fervent burst in rapid
+motion. We
+
+[Music: (Solo clarinets)
+(_tremolo_ strings)]
+
+may expect in the Finale an orgy of folk-tune and dance, and we are not
+disappointed. There is, too, a quick rise and fall of mood, that is a
+mark of the negro as well as of the Hungarian. By a sudden doubling, we
+are in the midst of a true "hoe-down," in jolliest jingle, with that
+naïve iteration, true to life; it comes out clearest when the tune of
+the bass (that sounds like a rapid "Three Blind Mice") is
+
+[Music: (Strings, wood and brass)
+(See page 205, line 9.)]
+
+put in the treble. A pure idealized negro dance-frolic is here. It is
+hard to follow all the pranks; lightly as the latest phrase descends in
+extending melody, a rude blast of the march intrudes in discordant
+humor. A new jingle of dance comes with a redoubled pace of bits of the
+march. As this dies down to dimmest bass, the old song from the Largo
+rings high in the wood. Strangest of all, in a fierce shout of the whole
+chorus sounds twice this same pathetic strain. Later comes a redoubled
+speed of the march in the woodwind, above a slower in low strings. Now
+the original theme of all has a noisy say. Presently the sad second
+melody has a full verse. Once more the Largo lullaby sings its strain
+in the minor. In the close the original Allegro theme has a literal,
+vigorous dispute with the march-phrase for the last word of all.
+
+The work does less to exploit American music than to show a certain
+community in all true folk-song. Nor is this to deny a strain peculiar
+to the new world. It seems a poet of distant land at the same time and
+in the same tones uttered his longing for his own country and expressed
+the pathos and the romance of the new. Dvôrák, like all true workers,
+did more than he thought: he taught Americans not so much the power of a
+song of their own, as their right of heritage in all folk-music. And
+this is based not merely on an actual physical inheritance from the
+various older races.
+
+If the matter, in Dvôrák's symphony, is of American negro-song, the
+manner is Bohemian. A stranger-poet may light more clearly upon the
+traits of a foreign lore. But his celebration will be more conscious if
+he endeavor to cling throughout to the special dialect. A true national
+expression will come from the particular soil and will be unconscious of
+its own idiom.
+
+The permanent hold that Dvôrák's symphony has gained is due to an
+intrinsic merit of art and sincere sentiment; it has little to do with
+the nominal title or purpose.
+
+
+
+
+CHAPTER XIV
+
+THE EARLIER BRUCKNER[A]
+
+[Footnote A: Anton Bruckner, born at Annsfelden, Austria, 1828; died in
+Vienna in 1896.]
+
+
+Whatever be the final answer of the mooted question of the greatness of
+Bruckner's symphonies, there is no doubt that he had his full share of
+technical profundity, and a striking mastery of the melodious weaving of
+a maze of concordant strains. The question inevitably arises with
+Bruckner as to the value of the world's judgments on its contemporary
+poets. There can be no doubt that the _furore_ of the musical public
+tends to settle on one or two favorites with a concentration of praise
+that ignores the work of others, though it be of a finer grain. Thus
+Schubert's greatest--his one completed--symphony was never acclaimed
+until ten years after his death. Even his songs somehow brought more
+glory to the singer than to the composer. Bach's oratorios lay buried
+for a full century. On the other hand, names great in their day are
+utterly lost from the horizon. It is hard to conceive the _éclat_ of a
+Buononcini or a Monteverde,--whose works were once preëminent. There are
+elements in art, of special, sensational effect, that make a peculiar
+appeal in their time, and are incompatible with true and permanent
+greatness. One is tempted to say, the more sudden and vehement the
+success, the less it will endure. But it would not be true. Such an
+axiom would condemn an opera like "Don Giovanni," an oratorio like the
+"Creation," a symphony like Beethoven's Seventh. There is a wonderful
+difference, an immeasurable gulf between the good and the bad in art;
+yet the apparent line is of the subtlest. Most street songs may be poor;
+but some are undoubtedly beautiful in a very high sense. It is a problem
+of mystic fascination, this question of the value of contemporary art.
+It makes its appeal to the subjective view of each listener. No rule
+applies. Every one will perceive in proportion to his capacity, no one
+beyond it. So, a profound work may easily fail of response, as many
+works in the various arts have done in the past, because the average
+calibre of the audience is too shallow, while it may deeply stir an
+intelligent few. Not the least strange part of it all is the fact that
+there can, of necessity, be no decision in the lifetime of the poet.
+Whether it is possible for obscure Miltons never to find their meed of
+acclaim, is a question that we should all prefer to answer in the
+negative. There is a certain shudder in thinking of such a chance; it
+seems a little akin to the danger of being buried alive.
+
+The question of Bruckner's place can hardly be said to be settled,
+although he has left nine symphonies. He certainly shows a freedom, ease
+and mastery in the symphonic manner, a limpid flow of melody and a sure
+control in the interweaving of his themes, so that, in the final
+verdict, the stress may come mainly on the value of the subjects, in
+themselves. He is fond of dual themes, where the point lies in neither
+of two motives, but in the interplay of both; we see it somewhat
+extended in Richard Strauss, who uses it, however, in a very different
+spirit. The one evident and perhaps fatal lack is of intrinsic beauty of
+the melodic ideas, and further, an absence of the strain of pathos that
+sings from the heart of a true symphony. While we are mainly impressed
+by the workmanship, there is no denying a special charm of constant
+tuneful flow. At times this complexity is almost marvellous in the clear
+simplicity of the concerted whole,--in one view, the main trait or trick
+of symphonic writing. It is easy to pick out the leading themes as they
+appear in official order. But it is not so clear which of them
+constitute the true text. The multiplicity of tunes and motives is
+amazing.
+
+Of the Wagner influence with which Bruckner is said to be charged,
+little is perceptible in his second symphony. On the contrary, a strong
+academic tradition pervades. The themes are peculiarly symphonic.
+Moreover they show so strikingly the dual quality that one might say, as
+a man may see double, Bruckner sang double. Processes of augmenting and
+inverting abound, together with the themal song in the bass. Yet there
+is not the sense of overloaded learning. There is everywhere a clear and
+melodious polyphony.
+
+But with all masterly architecture, even enchanting changes of harmony
+and a prodigal play of melody, the vacuity of poetic ideas must preclude
+a permanent appeal. Bruckner is here the schoolmaster: his symphony is a
+splendid skeleton, an object lesson for the future poet.
+
+In the FOURTH (ROMANTIC) SYMPHONY the main light plays throughout on the
+wind. The text is a call of horns, that begins the work. It is a
+symphony
+
+[Music: _In tranquil motion_
+(Horns, _espressivo_)
+(Strings)]
+
+of wood-notes, where the forest-horn is sovereign,--awakening a widening
+world of echoes, with a murmuring maze of lesser notes. One has again
+the feeling that in the quiet interweaving of a tapestry of strains lies
+the individual quality of the composer,--that the _forte_ blasts, the
+stride of big unison figures are but the interlude.
+
+In the Andante the charm is less of tune than of the delicate changing
+shades of the harmony and of the colors of tone. We are ever surprised
+in the gentlest way by a turn of chord or by the mere entrance of a horn
+among the whispering strings. The shock of a soft modulation may be as
+sudden as of the loud, sudden blare. But we cannot somehow be consoled
+for the want of a heart-felt melody.
+
+The Scherzo is a kind of hunting-piece, full of the sparkle, the color
+and romance of bugles and horns,--a spirited fanfare broken by hushed
+phrases of strings or wood, or an elf-like mystic dance on the softened
+call of trumpets. The Trio sings apart, between the gay revels, in soft
+voices and slower pace, like a simple ballad.
+
+The Finale is conceived in mystical retrospect, beginning in vein of
+prologue: over mysterious murmuring strings, long sustained notes of the
+reed and horn in octave descent are mingled with a soft carillon of
+horns and trumpets in the call of the Scherzo. In broad swing a free
+fantasy rises to a loud refrain (in the brass) of the first motive of
+the symphony.
+
+In slower pace and hush of sound sings a madrigal of tender phrases. A
+pair of melodies recall like figures of the first Allegro. Indeed, a
+chain of dulcet strains seems to rise from the past.
+
+The fine themal relevance may be pursued in infinite degree, to no end
+but sheer bewilderment. The truth is that a modern vanity for subtle
+connection, a purest pedantry, is here evident, and has become a baneful
+tradition in the modern symphony. It is an utter confusion of the letter
+with the spirit. Once for all, a themal coherence of symphony must lie
+in the main lines, not in a maze of unsignificant figures.
+
+Marked is a sharp alternation of mood, tempestuous and tender, of
+Florestan and Eusebius. The lyric phase yields to the former heroic
+fantasy and then returns in soothing solace into a prevailing motive
+that harks back to the second of the beginning movement. The fantasy,
+vague of melody, comes
+
+[Music: (Wood and horns)
+(Strings)]
+
+(in more than one sense) as relief from the small tracery. It is just to
+remember a like oscillation in the first Allegro.
+
+When the prologue recurs, the phrases are in ascent, instead of descent
+of octaves. A climactic verse of the main dulcet melody breaks out in
+resonant choir of brass and is followed by a soft rhapsody on the
+several strains that hark back to the beginning. From the halting pace
+the lyric episode rises in flight of continuous song to enchanting lilt.
+Now in the big heroic fantasy sing the first slow phrases as to the
+manner born and as naturally break into a paean of the full motive,
+mingled with strains of the original legend of the symphony, that flows
+on to broad hymnal cadence.
+
+In mystic musing we reach a solemn stillness where the prologue phrase
+is slowly drawn out into a profoundly moving hymn. Here we must feel is
+Meister Bruckner's true poetic abode rather than in the passion and
+ecstasy of romance into which he was vainly lured.[A]
+
+[Footnote A: Bruckner's Fifth Symphony (in B flat) is a typical example
+of closest correlation of themes that are devoid of intrinsic melody.
+
+An introduction supplies in the bass of a hymnal line the main theme of
+the Allegro by inversion as well as the germ of the first subject of the
+Adagio. Throughout, as in the Romantic Symphony, the relation between
+the first and the last movement is subtle. A closing, jagged phrase
+reappears as the first theme of the Finale.
+
+The Adagio and Scherzo are built upon the same figure of bass. The theme
+of the Trio is acclaimed by a German annotator as the reverse of the
+first motive of the symphony.
+
+In the prelude of the Finale, much as in the Ninth of Beethoven, are
+passed in review the main themes of the earlier movements. Each one is
+answered by an eccentric phrase that had its origin in the first
+movement and is now extended to a fugal theme.
+
+The climactic figure is a new hymnal line that moves as central theme of
+an imposing double fugue.]
+
+
+
+
+CHAPTER XV
+
+THE LATER BRUCKNER
+
+
+In Bruckner's later works appears the unique instance of a discipline
+grounded in the best traditions, united to a deft use of ephemeral
+devices. The basic cause of modern mannerism, mainly in harmonic
+effects, lies in a want of formal mastery; an impatience of thorough
+technic; a craving for quick sensation. With Bruckner it was the
+opposite weakness of original ideas, an organic lack of poetic
+individuality. It is this the one charge that cannot be brought home to
+the earlier German group of reaction against the classic idea.
+
+There is melody, almost abundant, in Wagner and Liszt and their German
+contemporaries. Indeed it was an age of lyricists. The fault was that
+they failed to recognize their lyric limitation, lengthening and padding
+their motives abnormally to fit a form that was too large. Hence the
+symphony of Liszt, with barren stretches, and the impossible plan of the
+later music-drama. The truest form of such a period was the song, as it
+blossomed in the works of a Franz.
+
+Nor has this grandiose tendency even yet spent its course. A saving
+element was the fashioning of a new form, by Liszt himself,--the
+Symphonic Poem,--far inferior to the symphony, but more adequate to the
+special poetic intent.
+
+Whatever be the truth of personal gossip, there is no doubt that
+Bruckner lent himself and his art to a championing of the reactionary
+cause in the form that was intrinsically at odds with its spirit. Hence
+in later works of Bruckner these strange episodes of borrowed romance,
+abruptly stopped by a firm counterpoint of excellent quality,--indeed
+far the best of his writing. For, if a man have little ideas, at least
+his good workmanship will count for something.
+
+In truth, one of the strangest types is presented in Bruckner,--a pedant
+who by persistent ingenuity simulates a master-work almost to
+perfection. By so much as genius is not an infinite capacity for pains,
+by so much is Bruckner's Ninth not a true symphony. Sometimes, under the
+glamor of his art, we are half persuaded that mere persistence may
+transmute pedantry into poetry.
+
+It seems almost as if the Wagnerians chose their champion in the
+symphony with a kind of suppressed contempt for learning, associating
+mere intellectuality with true mastery, pointing to an example of
+greatest skill and least inspiration as if to say: "Here is your
+symphonist if you must have one." And it is difficult to avoid a
+suspicion that his very partisans were laughing up their sleeve at their
+adopted champion.
+
+We might say all these things, and perhaps we have gone too far in
+suggesting them. After all we have no business with aught but the music
+of Bruckner, whatever may have been his musical politics, his vanity,
+his ill judgment, or even his deliberate partisanship against his
+betters. But the ideas themselves are unsubstantial; on shadowy
+foundation they give an illusion by modern touches of harmony and rhythm
+that are not novel in themselves. The melodic idea is usually divided in
+two, as by a clever juggler. There is really no one thought, but a
+plenty of small ones to hide the greater absence.
+
+We have merely to compare this artificial manner with the poetic reaches
+of Brahms to understand the insolence of extreme Wagnerians and the
+indignation of a Hanslick. As against the pedantry of Bruckner the style
+of Strauss is almost welcome in its frank pursuit of effects which are
+at least grateful in themselves. Strauss makes hardly a pretence at
+having melodic ideas. They serve but as pawns or puppets for his
+harmonic and orchestral _mise-en-scène_. He is like a play-wright
+constructing his plot around a scenic design.
+
+Just a little common sense is needed,--an unpremeditated attitude. Thus
+the familiar grouping, "_Bach_, _Beethoven_ and _Brahms_" is at least
+not unnatural. Think of the absurdity of "_Bach_, _Beethoven_ and
+_Bruckner_"![A]
+
+[Footnote A: A festival was held in Munich in the summer of 1911, in
+celebration of "Bach, Beethoven and Bruckner."]
+
+The truth is, the Bruckner cult is a striking symptom of a certain
+decadence in German music; an incapacity to tell the sincere quality of
+feeling in the dense, brilliant growth of technical virtuosity. In the
+worship at the Bayreuth shrine, somehow reinforced by a modern national
+self-importance, has been lost a heed for all but a certain vein of
+exotic romanticism, long ago run to riotous seed, a blending of hedonism
+and fatalism. No other poetic message gets a hearing and the former may
+be rung in endless repetition and reminiscence, provided, to be sure, it
+be framed with brilliant cunning of workmanship.
+
+Here we feel driven defiantly to enounce the truth: that the highest
+art, even in a narrow sense, comes only with a true poetic message. Of
+this Bruckner is a proof; for, if any man by pure knowledge could make a
+symphony, it was he. But, with almost superhuman skill, there is
+something wanting in the inner connection, where the main ideas are
+weak, forced or borrowed. It is only the true poetic rapture that
+ensures the continuous absorption that drives in perfect sequence to
+irresistible conclusion.
+
+
+_SYMPHONY NO. 9_
+
+_I.--Solenne._ Solemn mystery is the mood, amid trembling strings on
+hollow unison, before the eight
+
+[Music: _Misterioso_
+(Eight horns with _tremolo_ strings on D in three octaves)]
+
+horns strike a phrase in the minor chord that in higher echoes breaks
+into a strange harmony and descends into a turn of melodic cadence. In
+answer is another chain of brief phrases, each beginning
+
+[Music: (1st violins)
+(Lower reeds with strings _tremolo_ in all but basses)]
+
+with a note above the chord (the common mark and manner of the later
+school of harmonists[A]) and a new ascent on a literal ladder of
+subtlest progress, while hollow intervals are intermingled in the pinch
+of close harmonies. The bewildering maze here begins of multitudinous
+design, enriched with modern devices.
+
+[Footnote A: See Vol. II, note, page 104.]
+
+A clash of all the instruments acclaims the climax before the unison
+stroke of fullest chorus on the solemn note of the beginning. A favorite
+device of Bruckner, a measured tread of _pizzicato_ strings with
+interspersed themal motives, precedes the romantic episode. Throughout
+the movement is this alternation of liturgic chorale with tender melody.
+
+[Music: _Molto tranquillo_
+(Strings) _espressivo_
+(Oboes and horns)]
+
+Bruckner's pristine polyphonic manner ever appears in the double strain
+of melodies, where each complements, though not completes the other.
+However multiple the plan, we cannot feel more than the quality of
+_unusual_ in the motives themselves, of some interval of ascent or
+descent. Yet as the melody grows to larger utterance, the fulness of
+polyphonic art brings a beauty of tender sentiment, rising to a moving
+climax, where the horns lead the song in the heart of the madrigal
+chorus, and the strings alone sing the expressive answer.
+
+[Music: (Violins doubled in 8ve.)
+(Strings, woods and horns)]
+
+A third phrase now appears, where lies the main poetry of the movement.
+Gentle swaying calls of
+
+[Music: _Tranquillo_ (Wood and violins)
+(4 horns in 8ve.)
+(Horns)
+(Strings with bassoons)]
+
+soft horns and wood, echoed and answered in close pursuit, lead to a
+mood of placid, elemental rhythm, with something of "Rheingold," of
+"Ossian" ballad, of the lapping waves of Cherubini's "Anacreon." In the
+midst the horns blow a line of sonorous melody, where the cadence has a
+breath of primal legend. On the song runs, ever mid the elemental
+motion, to a resonant height and dies away as before. The intimate,
+romantic melody now returns, but it is rocked on the continuing pelagic
+pulse; indeed, we hear anon a faint phrase of the legend, in distant
+trumpet, till we reach a joint rhapsody of both moods; and in the never
+resting motion, mid vanishing echoes, we dream of some romance of the
+sea.
+
+Against descending harmonies return the hollow, sombre phrases of the
+beginning, with the full cadence of chorale in the brass; and beyond,
+the whole prelude has a full, extended verse. In the alternation of
+solemn and sweet episode returns the tender melody, with pretty
+inversions, rising again to an ardent height. The renewed clash of
+acclaiming chorus ushers again the awful phrase of unison (now in octave
+descent), in towering majesty. But now it rises in the ever increasing
+vehemence where the final blast is lit up with a flash of serene
+sonority.
+
+This motive, of simple octave call, indeed pervades the earlier symphony
+in big and little. And now, above a steady, sombre melodic tread of
+strings it rises in a fray of eager retorts, transfigured in wonderful
+harmony again and again to a brilliant height, pausing on a ringing
+refrain, in sombre hue of overpowering blast.
+
+A soft interlude of halting and diminishing strings leads to the
+romantic melody as it first appeared, where the multiple song again
+deepens and ennobles the theme. It passes straight into the waving,
+elemental motion, where again the hallowed horn utters its sibyl phrase,
+again rising to resonant height. And again merges the intimate song with
+the continuing pulse of the sea, while the trumpet softly sounds the
+legend and a still greater height of rhapsody.
+
+Dull brooding chords bring a sombre play of the awing phrase, over a
+faint rocking motion, clashing in bold harmony, while the horns surge in
+broader melody. The climactic clash ends in a last verse of the opening
+phrase, as of primal, religious chant.
+
+_II.--Scherzo._ In the dazzling pace of bright clashing harmonies, the
+perfect answers of falling and rising phrases, we are again before the
+semblance, at
+
+[Music: _Vivace_
+(Flute with _pizz._ violins)
+(Flute)
+(_Pizz._ strings)]
+
+least, of a great poetic idea. To be sure there is a touch of stereotype
+in the chords and even in the pinch and clash of hostile motives. And
+there is not the distinctive melody,--final stamp and test of the shaft
+of inspiration. Yet in the enchantment of motion, sound and form, it
+seems mean-spirited to cavil at a want of something greater. One stands
+bewildered before such art and stunned of all judgment.
+
+A delight of delicate gambols follows the first brilliant dance of main
+motive. Amid a rougher trip of unison sounds the sonorous brass, and to
+softest jarring murmur of strings a pretty jingle of reed,
+
+[Music: _grazioso_
+(Oboe)
+(_Pizz._ strings with soft chord of wind and rhythmic bassoon)]
+
+with later a slower counter-song, almost a madrigal of pastoral answers,
+till we are back in the ruder original dance. The gay cycle leads to a
+height of rough volume (where the mystic brass sound in the midst) and a
+revel of echoing chase.
+
+In sudden hush of changed tone on fastest fairy trip, strings and wood
+play to magic harmonies. In calming motion the violins sing a quieter
+song, ever
+
+[Music: _Piu tranquillo_
+_Dolce_
+(Violins)
+(Oboe)
+(Violins)
+(Oboes with sustained strings)]
+
+echoed by the reed. Though there is no gripping force of themal idea,
+the melodies are all of grateful charm, and in the perfect round of
+rhythmic design we may well be content. The original dance recurs with a
+full fine orgy of hostile euphony.
+
+_III.--Adagio._ _Feierlich,--awesome_ indeed are these first sounds, and
+we are struck by the originality
+
+[Music: _Molto lento (Solenne)_
+(Violins, G string)
+_broadly_
+(Strings with choir of tubas, later of trombones and contrabass-tuba)]
+
+of Bruckner's technic. After all we must give the benefit at least of
+the doubt. And there is after this deeply impressive _introit_ a
+gorgeous Promethean
+
+[Music: (Woodwind and low brass with _tremolo_ strings)
+(3 trumpets)
+(4 horns)]
+
+spring of up-leaping harmonies. The whole has certainly more of concrete
+beauty than many of the labored attempts of the present day.
+
+The prelude dies down with an exquisite touch of precious
+dissonance,--whether it came from the heart or from the workshop. The
+strange and tragic part is that with so much art and talent there should
+not be the strong individual idea,--the flash of new tonal figure that
+stands fearless upon its own feet. All this pretty machinery seems
+wasted upon the framing and presenting, at the moment of expectation, of
+the shadows of another poet's ideas or of mere platitudes.
+
+In the midst of the broad sweeping theme with a
+
+[Music: (Strings, with cl't and oboe)
+_Very broadly_
+(G string)]
+
+promise of deep utterance is a phrase of horns with the precise accent
+and agony of a _Tristan_. The very semblance of whole motives seems to
+be taken from the warp and woof of Wagnerian drama. And thus the whole
+symphony is degraded, in its gorgeous capacity, to the reëchoed rhapsody
+of exotic romanticism. It is all little touches, no big thoughts,--a
+mosaic of a symphony.
+
+[Music: (Horns)]
+
+And so the second theme[A] is almost too heavily laden with fine detail
+for its own strength, though
+
+[Music: (Violins, reeds and horns)
+_Poco piu lento_
+_dolce_
+(_Pizz._ of lower strings)]
+
+it ends with a gracefully delicate answer. The main melody soon recurs
+and sings with a stress of warm feeling in the cellos, echoed by glowing
+strains of the horns. Romantic harmonies bring back the solemn air of
+the prelude with a new counter melody, in precise opposite figure, as
+though inverted in a mirror, and again the dim moving chords that seem
+less of Bruckner than of legendary drama. In big accoutrement the double
+theme moves with double answers, ever with the sharp pinch of harmonies
+and heroic mien. Gentlest retorts of the motives sing with fairy
+clearness (in horns and reeds), rising to tender, expressive dialogue.
+With growing spirit they ascend once more to the triumphant clash of
+empyraean chords, that may suffice for justifying beauty.
+
+[Footnote A: We have spoken of a prelude, first and second theme; they
+might have been more strictly numbered first, second and third theme.]
+
+Instead of the first, the second melody follows with its delicate grace.
+After a pause recurs the phrase that harks from mediaeval romance, now
+in a stirring ascent of close chasing voices. The answer, perfect in its
+timid halting descent, exquisite in accent and in the changing hues of
+its periods, is robbed of true effect by its direct reflection of
+Wagnerian ecstasies.
+
+As if in recoil, a firm hymnal phrase sounds in the strings, ending in a
+more intimate cadence. Another chain of rarest fairy clashes, on the
+motive of the prelude, leads to the central verse, the song of the first
+main melody in the midst of soft treading strings, and again descends
+the fitting answer of poignant accent.
+
+And now, for once forgetting all origin and clinging sense of
+reminiscence, we may revel in the rich romance, the fathoms of mystic
+harmony, as the main song sings and rings from the depths of dim legend
+in lowest brass, amidst a soft humming chorus, in constant shift of
+fairy tone.
+
+A flight of ascending chords brings the big exaltation of the first
+prophetic phrase, ever answered by exultant ring of trumpet, ending in
+sudden awing pause. An eerie train of echoes from the verse of prelude
+leads to a loveliest last song of the poignant answer of main song, over
+murmuring strings. It
+
+[Music: (_Tremolo_ violins with lower 8ve.)
+(Reeds)
+(Horns)
+(Violas)]
+
+is carried on by the mystic choir of sombre brass in shifting steps of
+enchanting harmony and dies away in tenderest lingering accents.[A]
+
+[Footnote A: In place of the uncompleted Finale, Bruckner is said to
+have directed that his "_Te Deum_" be added to the other movements.]
+
+
+
+
+CHAPTER XVI
+
+HUGO WOLFF[A]
+
+_"PENTHESILEA." SYMPHONIC POEM_[B]
+
+[Footnote A: Hugo Wolff, born in 1860, died in 1903.]
+
+[Footnote B: After the like-named tragedy of Heinrich von Kleist.]
+
+
+An entirely opposite type of composer, Hugo Wolff, shows the real
+strength of modern German music in a lyric vein, sincere, direct and
+fervent. His longest work for instruments has throughout the charm of
+natural rhythm and melody, with subtle shading of the harmony. Though
+there is no want of contrapuntal design, the workmanship never obtrudes.
+It is a model of the right use of symbolic motives in frequent
+recurrence and subtle variation.
+
+In another instrumental piece, the "Italian Serenade," all kinds of
+daring suspenses and gentle clashes and surprises of harmonic scene give
+a fragrance of dissonant euphony, where a clear melody ever rules.
+"Penthesilea," with a climactic passion and a sheer contrast of tempest
+and tenderness, uttered with all the mastery of modern devices, has a
+pervading thrall of pure musical beauty. We are tempted to hail in Wolff
+a true poet in an age of pedants and false prophets.
+
+
+
+PENTHESILEA.--A TRAGEDY BY HEINRICH VON KLEIST.[A]
+
+[Footnote A: German, 1776-1811.]
+
+As Wolff's work is admittedly modelled on Kleist's tragedy, little known
+to the English world, it is important to view the main lines of this
+poem, which has provoked so divergent a criticism in Germany.
+
+On the whole, the tragedy seems to be one of those daring, even profane
+assaults on elemental questions by ways that are untrodden if not
+forbidden. It is a wonderful type of Romanticist poetry in the bold
+choice of subject and in the intense vigor and beauty of the verse.
+Coming with a shock upon the classic days of German poetry, it met with
+a stern rebuke from the great Goethe. But a century later we must surely
+halt in following the lead of so severe a censor. The beauty of diction
+alone seems a surety of a sound content,--as when Penthesilea exclaims:
+
+    "A hero man can be--a Titan--in distress,
+    But like a god is he when rapt in blessedness."
+
+An almost convincing symbolism has been suggested of the latent meaning
+of the poem by a modern critic,[A]--a symbolism that seems wonderfully
+reflected in Wolff's music. The charge of perverted passion can be based
+only on certain lines, and these are spoken within the period of madness
+that has overcome the heroine. This brings us to the final point which
+may suggest the main basic fault in the poem, considered as art. At
+least it is certainly a question whether pure madness can ever be a
+fitting subject in the hero of a tragedy. Ophelia is an episode;
+Hamlet's madness has never been finally determined. Though the Erinnys
+hunted Orestes in more than one play, yet no single Fury could, after
+all, be the heroine of tragedy. Penthesilea became in the crisis a pure
+Fury, and though she may find here her own defense, the play may not
+benefit by the same plea. On the other hand, the madness is less a
+reality than an impression of the Amazons who cannot understand the
+heroine's conflicting feelings. There is no one moment in the play when
+the hearer's sympathy for the heroine is destroyed by a clear sense of
+her insanity.
+
+[Footnote A: Kuno Francke. See the notes of Philip Hale in the programme
+book of the Boston Symphony Orchestra of April 3-4, 1908.]
+
+For another word on the point of symbolism, it must be remembered that
+the whole plot is one of supernatural legend where somehow human acts
+and motives need not conform to conventional rule, and where symbolic
+meaning, as common reality disappears, is mainly eminent. It is in this
+same spirit that the leading virtues of the race, of war or of peace,
+are typified by feminine figures.
+
+The Tragedy is not divided into acts; it has merely four and twenty
+scenes--upon the battle-field of Troy. The characters are Penthesilea,
+Queen of the Amazons; her chief leaders, Prothoe, Meroe and Asteria, and
+the high priestess of Diana. Of the Greeks there are Achilles, Odysseus,
+Diomede and Antilochus. Much of the fighting and other action is not
+seen, but is reported either by messengers or by present witnesses of a
+distant scene.
+
+The play begins with the battle raging between Greeks and Amazons.
+Penthesilea with her hosts amazes the Greeks by attacking equally the
+Trojans, her reputed allies. She mows down the ranks of the Trojans, and
+yet refuses all proffers of the Greeks.
+
+Thus early we have the direct, uncompromising spirit,--a kind of
+feminine Prometheus. The first picture of the heroine is of a Minerva in
+full array, stony of gaze and of expression until--she sees Achilles.
+Here early comes the conflict of two elemental passions. Penthesilea
+recoils from the spell and dashes again into her ambiguous warfare. For
+once Greeks and Trojans are forced to fight in common defence.
+
+    "The raging Queen with blows of thunder struck
+    As she would cleave the whole race of the Greeks
+    Down to its roots....
+
+           *       *       *       *       *
+
+    "More of the captives did she take
+    Than she did leave us eyes to count the list,
+    Or arms to set them free again.
+
+           *       *       *       *       *
+
+    "Often it seemed as if a special hate
+    Against Achilles did possess her breast.
+
+           *       *       *       *       *
+
+    "Yet in a later moment, when
+    His life was given straight into her hands,
+    Smiling she gave it back, as though a present;
+    His headlong course to Hades she did stay."
+
+In midst of the dual battle between Achilles and the Queen, a Trojan
+prince comes storming and strikes a treacherous blow against the armor
+of the Greek.
+
+    "The Queen is stricken pale; for a brief moment
+    Her arms hang helpless by her sides; and then,
+    Shaking her locks about her flaming cheeks,
+    Dashes her sword like lightning in his throat,
+    And sends him rolling to Achilles' feet."
+
+The Greek leaders resolve to retreat from the futile fight and to call
+Achilles from the mingled chase of love and war.
+
+Achilles is now reported taken by the Amazons. The battle is vividly
+depicted: Achilles caught on a high ledge with his war-chariot; the
+Amazon Queen storming the height from below. The full scene is witnessed
+from the stage,--Penthesilea pursuing almost alone; Achilles suddenly
+dodges; the Queen as quickly halts and rears her horse; the Amazons fall
+in a mingled heap; Achilles escapes, though wounded. But he refuses to
+follow his companions to the camp; he swears to bring home the Queen
+wooed in the bloody strife of her own seeking.
+
+Penthesilea recoils with like vehemence from the entreaties of her
+maids, intent upon the further battle, resolved to overcome the hero or
+to die. She forbids the Festival of Roses until she has vanquished
+Achilles. In her rage she banishes her favorite Prothoe from her
+presence, but in a quick revulsion takes her back.
+
+In the next scene the high priestess and the little Amazon maids prepare
+the Feast, which Penthesilea had ordered in her confident attack upon
+the fleeing Greeks. One of the Rose-maidens recounts the passing scene
+of the Queen's amazing action. The indignant priestess sends her command
+to the Queen to return to the celebration. Though all the royal suite
+fling themselves in her path, Penthesilea advances to the dual
+battle.[A]
+
+[Footnote A: The law of the Amazons commanded them to wage war as told
+them by the oracle of Mars. The prisoners were brought to the Feast of
+Roses and wedded by their captors. After a certain time they were sent
+back to their homes. All male children of the tribe were put to death.]
+
+In a renewal of her personal contest, regardless of the common cause,
+and in her special quest of a chosen husband, Penthesilea has broken the
+sacred law.
+
+The flight now follows of the Amazon hosts. When the two combatants meet
+in the shock of lances, the Queen falls in the dust; her pallor is
+reflected in Achilles' face. Leaping from his horse, he bends o'er her,
+calls her by names, and woos life back into her frame. Her faithful
+maids, whom she has forbidden to harm Achilles, lead her away. And here
+begins the seeming madness of the Queen when she confesses her love. For
+a moment she yields to her people's demands, but the sight of the
+rose-wreaths kindles her rage anew. Prothoe defends her in these lines:
+
+    "Of life the highest blessing she attempted.
+    Grazing she almost grasped. Her hands now fail her
+    For any other lesser goal to reach."
+
+In the last part of the scene the Queen falls more and deeper into
+madness. It is only in a too literal spirit that one will find an
+oblique meaning,--by too great readiness to discover it. In reality
+there seems to be an intense conflict of opposite emotions in the
+heroine: the pure woman's love, without sense of self; and the wild
+overpowering greed of achievement. Between these grinding stones she
+wears her heart away. A false interpretation of decadent theme comes
+from regarding the two emotions as mingled, instead of alternating in a
+struggle.
+
+Achilles advances, having flung away his armor. Prothoe persuades him to
+leave the Queen, when she awakes, in the delusion that she has conquered
+and that he is the captive. Thus when she beholds the hero, she breaks
+forth into the supreme moment of exaltation and of frenzied triumph. The
+main love scene follows:
+
+Penthesilea tells Achilles the whole story of the Amazons, the conquest
+of the original tribe, the rising of the wives of the murdered warriors
+against the conquerors; the destruction of the right breast (_A-mazon_);
+the dedication of the "brides of Mars" to war and love in one. In
+seeking out Achilles the Queen has broken the law. But here again
+appears the double symbolic idea: Achilles meant to the heroine not love
+alone, but the overwhelming conquest, the great achievement of her life.
+
+The first feeling of Penthesilea, when disillusioned, is of revulsive
+anger at a kind of betrayal. The Amazons recover ground in a wild desire
+to save their Queen, and they do rescue her, after a parting scene of
+the lovers. But Penthesilea curses the triumph that snatches her away;
+the high priestess rebukes her, sets her free of her royal duties, to
+follow her love if she will. The Queen is driven from one mood to
+another, of devoted love, burning ambition and mortal despair.
+
+Achilles now sends a challenge to Penthesilea, knowing the Amazon
+conditions. Against all entreaty the Queen accepts, not in her former
+spirit, but in the frenzy of desperate endeavor, in the reawakened rage
+of her ambition, spurred and pricked by the words of the priestess.
+
+The full scene of madness follows. She calls for her dogs and elephants,
+and the full accoutrement of battle. Amidst the terror of her own
+warriors, the rolling of thunder, she implores the gods' help to crush
+the Greek. In a final touch of frenzy she aims a dart at her faithful
+Prothoe.
+
+The battle begins, Achilles in fullest confidence in Penthesilea's love,
+unfrightened by the wild army of dogs and elephants. The scene, told by
+the present on-lookers, is heightened by the cries of horror and dismay
+of the Amazons themselves.
+
+Achilles falls; Penthesilea, a living Fury, dashes upon him with her
+dogs in an insane orgy of blood. The Queen in the culminating scene is
+greeted by the curses of the high priestess. Prothoe masters her horror
+and turns back to soothe the Queen. Penthesilea, unmindful of what has
+passed, moves once more through the whole gamut of her torturing
+emotions, and is almost calmed when she spies the bier with the hero's
+body. The last blow falls when upon her questions she learns the full
+truth of her deed. The words she utters (that have been cited by the
+hostile critics) may well be taken as the ravings of hopeless remorse,
+with a symbolic play of words. She dies, as she proclaims, by the knife
+of her own anguish.
+
+The last lines of Prothoe are a kind of epilogue:
+
+    "She sank because too proud and strong she flourished.
+    The half-decayèd oak withstands the tempest;
+    The vigorous tree is headlong dashed to earth
+    Because the storm has struck into its crown."[A]
+
+[Footnote A: Translations, when not otherwise credited, are by the
+author.]
+
+The opening scene--"Lively, vehement: Departure of the Amazons for
+Troy"--begins impetuous and hefty with big strokes of the throbbing
+motive,
+
+[Music: (_Tutti_ with higher 8ves.)
+(Piccolo in 8ve.)
+(Bass in 8ve.)]
+
+the majestic rhythm coursing below, lashed by a quicker phrase above.
+Suddenly trumpets sound, somewhat more slowly, a clarion call answered
+by a choir of other trumpets and horns in enchanting retort of changing
+harmonies. Ever a fresh color of
+
+[Music: (Flutes and oboes)
+(Answering groups of brass)
+(Lower strings _pizz._)]
+
+tone sounds in the call of the brass, as if here or yonder on the
+battle-field. Sometimes it is almost too sweetly chanting for fierce
+war. But presently it turns to a wilder mood and breaks in galloping
+pace into a true chorus of song with clear cadence.
+
+[Music: (Flutes with reeds in lower 8ve.)
+(Violins with upper 8ve.)
+(Lower strings and brass with lower 8ve.)]
+
+The joyful tinge is quickly lost in the sombre hue of another phase of
+war-song that has a touch of funeral trip (though it is all in 3/4
+time):
+
+[Music: (Muted strings)
+(Horns and bassoons)]
+
+A melody in the minor plays first in a choir of horns and bassoons,
+later in united strings, accompanied by soft rolls of drums and a touch
+of the lowest brass. Harp and higher woodwind are added, but the volume
+is never transcendent save in a single burst when it is quickly hushed
+to the first ominous whisper. Out of this sombre song flows a romance of
+tender sentiment, _tranquillo_ in strings, followed by the wood. The
+crossing threads of expressive melody
+
+[Music: _Tranquillo_
+(Strings)
+(In the midst enters a strain of solo horn)]
+
+rise in instant renewal of stress and agitation. The joy of battle has
+returned, but it seems that the passion of love burns in midst of the
+glow of battle, each in its separate struggle, and both together in one
+fatal strife. The sombre melody returns in full career, dying down to a
+pause.[A]
+
+[Footnote A: In a somewhat literal commentary attributed to Dr. Richard
+Batka, the Amazons here, "having reached their destination, go into
+night-encampment--as represented by the subdued roll of the
+kettle-drums, with which the movement concludes."]
+
+_Molto sostenuto_, in changed rhythm of three slow beats, comes
+"Penthesilea's Dream of the Feast of Roses." Over a thick cluster of
+harmonies in harp and strings the higher wood sing a new song in long
+drawn lyric notes with ravishing turns of tonal color,--a
+
+[Music: _Molto sostenuto_
+(Flutes, oboes and clarinets)
+(Rapid arpeggic figures of harps and muted strings)]
+
+dual song and in many groups of two. The tranquil current of the dream
+is gradually disturbed; the main burden is dimmed in hue and in mood.
+Faster, more fitful is the flow of melody, with hostile intruding motive
+below; it dashes at last into the tragic phase--Combats; Passions;
+Madness; Destruction--in very rapid tempo of 2/2 rhythm.
+
+In broad, masterful pace, big contrary figures sweep up and down,
+cadencing in almost joyous chant, gliding, indeed, into a pure hymn, as
+of triumph (that harks back to the chorussing song in the beginning).
+
+Throughout the poem the musical symbols as well as the motives of
+passion are closely intertwined. Thus the identity of the impetuous
+phrase of the very beginning is clear with the blissful theme of the
+Dream of the Feast of Roses. Here, at the end of the chorussing verse is
+a play or a strife of phrases where we cannot escape a symbolic intent.
+To _tremolo_ of violas the cellos hold a tenor of descending melody over
+a rude rumbling phrase of the basses of wood and strings, while the oboe
+sings in the treble an expressive answer of ascending notes. A conflict
+is
+
+[Music: (_Molto vivace_)
+(cello _molto espressivo_)
+(Violas)
+(Basses and bassoons with upper 8ve.)
+(Oboe) _espressivo_]
+
+evident, of love and ambition, of savage and of gentle passion, of chaos
+and of beauty. At the height, the lowest brass intrude a brutal note of
+triumph of the descending theme. To the victory of Pride succeeds a
+crisis of passionate yearning. But at the very height is a plunge into
+the fit of madness, the fatal descending phrase (in trombones) is ever
+followed by furious pelting spurts in the distorted main theme.
+
+At last the paroxysm abates, throbbing ever slower, merging into the
+tender song of the Dream that now rises to the one great burst of
+love-passion. But it ends in a wild rage that turns right into the
+war-song of the beginning. And this is much fuller of incident than
+before. Violins now ring an hostile motive (the former rumbling phrase
+of basses) from the midst of the plot against the main theme in
+trumpets. Instead of the former pageantry, here is the pure frenzy of
+actual war. The trumpet melodies resound amidst the din of present
+battle. Instead of the other gentler episodes, here is a more furious
+raving of the mad Queen (in the hurried main motive), where we seem to
+see the literal dogs of war let loose and spurred on,--each paroxysm
+rising to a higher shock.
+
+Great is the vehemence of speed and sound as the dull doom of
+destruction drones in the basses against a grim perversion of the
+yearning theme above, that overwhelms the scene with a final shriek.
+
+Slowly the dream of love breathes again, rises to a fervent burst, then
+yields to the fateful chant and ends in a whisper of farewell.
+
+
+
+
+CHAPTER XVII
+
+MAHLER[A]
+
+[Footnote A: Gustav Mahler, 1860-1911.]
+
+
+In Mahler the most significant sign is a return to a true counterpoint,
+as against a mere overlading of themes, that began in Wagner and still
+persists in Strauss,--an artificial kind of structure that is never
+conceived as a whole.
+
+While we see in Mahler much of the duophonic manner of his teacher,
+Bruckner, in the work of the younger man the barren art is crowned with
+the true fire of a sentient poet. So, if Bruckner had little to say, he
+showed the way to others. And Mahler, if he did not quite emerge from
+the mantle of Beethoven, is a link towards a still greater future. The
+form and the technic still seem, as with most modern symphonies, too
+great for the message. It is another phase of orchestral virtuosity, of
+intellectual strain, but with more of poetic energy than in the
+symphonies of the French or other Germans.
+
+In other forms we see this happy reaction towards ancient art, as in the
+organ music of a Reger. But in the Finale of Mahler's Fifth Symphony
+there is a true serenity, a new phase of symphony, without the climactic
+stress of traditional triumph, yet none the less joyous in essence.
+
+We cannot help rejoicing that in a sincere and poetic design of
+symphony is blended a splendid renaissance of pure counterpoint, that
+shines clear above the modern spurious pretence. The Finale of Mahler's
+Fifth Symphony is one of the most inspired conceptions of counterpoint
+in all music. In it is realized the full dream of a revival of the art
+in all its glorious estate.
+
+
+_SYMPHONY NO. 5_
+
+  I.--1. _Funeral March._
+      2. _In stormy motion (with greatest vehemence)._
+ II.--3. _Scherzo (with vigor,--not too fast)._
+III.--4. _Adagietto (very slowly)._
+      5. _Rondo-Finale (allegro)._
+
+Mahler's Fifth Symphony, whatever be its intrinsic merit, that can be
+decided only by time and wear, undoubtedly marks a high point of
+orchestral splendor, in the regard of length and of the complexity of
+resources. By the latter is meant not so much the actual list of
+instruments as the pervading and accumulating use of thematic
+machinery.[A]
+
+[Footnote A: The symphony is probably the longest instrumental work that
+had appeared at the time of its production in 1904. The list of
+instruments comprises 4 flutes, 3 oboes, 3 clarinets, 2 bassoons,
+contra-bassoon, 6 horns, 4 trumpets, 3 trombones, tuba, kettle-drums,
+cymbals, bass-drum, snare-drum, triangle, glockenspiel, gong, harp and
+strings.
+
+Compared with D'Indy's Second Symphony, the Fifth of Mahler has a larger
+body of brass as well as of woodwind.]
+
+The plan of movements is very original and in a way, two-fold. There are
+three great divisions, of which the first comprises a Funeral March,
+and an untitled Allegro in vehement motion. The second division has
+merely the single movement, Scherzo. In the third are an Adagietto and a
+Rondo Finale.
+
+_I.--1. Funeral March._--A call of trumpet, of heroic air and tread, is
+answered by strident chords ending in a sonorous motive of horns that
+leads to the funeral trip, of low brass. The mournful song of the
+principal melody appears presently in the strings, then returns to the
+funeral trip and to the strident chords. The first trumpet motive now
+sounds with this clanging phrase and soon the original call abounds in
+other brass. The deep descending notes of the horns recur and the full
+song of the funeral melody much extended, growing into a duet of cellos
+and high woodwind,
+
+[Music: (Strings, bassoons and clarinets)]
+
+and further into hymnal song on a new motive.
+
+[Music: (Wood, horns and strings)
+(Bass notes in lowest wood and strings)]
+
+So the various melodies recur with new mood and manner. Suddenly, in
+fierce abandon, a martial tramp of the full band resounds, in gloomy
+minor,
+
+[Music: _Suddenly faster. Impassioned_
+(Rapid descending figure in violins)
+(Trumpet)
+(Trombones)
+(Tuba and strings)]
+
+the violins in rapid rage of wailing figure: the trumpet strikes the
+firm note of heroic plaint.
+
+Wild grief breaks out on all sides, the strings singing in passionate
+answer to the trumpet, the high wood carrying on the rapid motion. At
+the height of the storm the woodwind gain control with measured rhythm
+of choral melody. Or perhaps the real height is the expressive double
+strain, in gentle pace, of the strings, and the wood descending from on
+high.
+
+[Music: (Woodwind doubled below)
+(Strings doubled above)
+_espressivo_
+(Brass and strings)]
+
+The duet is carried on in wilder mood by most of the voices.
+
+A return to the solemn pace comes by imperceptible change, the softer
+hues of grief merging with the fiercer cries. Now various strains sound
+together,--the main funeral melody in the woodwind.
+
+In the close recurs the full flow of funeral song, with the hymnal
+harmonies. In the refrain of the stormy duet the sting of passion is
+gone; the whole plaint dies away amid the fading echoes of the trumpet
+call.
+
+_I.--2._ The second movement, the real first Allegro, is again clearly
+in two parts. Only, the relative paces are exactly reversed from the
+first movement. In tempestuous motion, with greatest vehemence, a
+rushing motive of the basses is stopped by a chord of brass and
+strings,--the chord itself reverberating to the lower rhythm.
+
+[Music: _In stirring motion. With greatest vehemence_
+(Brass and strings)
+(Bass of wood and string)
+(Trumpets)]
+
+Throughout the whole symphony is the dual theme, each part spurring the
+other. Here presently are phrases in conflicting motion, countermarching
+in a stormy maze. It is all, too, like noisy preparation,--a manoeuvring
+of forces before the battle. Three distinct figures there are before a
+blast of horn in slower notes, answered by shrill call in highest wood.
+There enters a regular, rhythmic gait and a clearer tune, suggested by
+the call.
+
+[Music: (Horns, oboes and 1st violins, G string)
+(Strings and wood)
+(Tuba and strings)
+(Second violins)]
+
+In the brilliant medley there is ever a new figure we had not perceived.
+So when the tune has been told, trumpets and horns begin with what seems
+almost the main air, and the former voices sound like mere heralds.
+Finally the deep trombones and tuba enter with a sonorous call. Yet the
+first rapid trip of all has the main legend.
+
+As the quicker figures gradually retire, a change of pace appears, to
+the tramp of funeral. Yet the initial and incident strains are of the
+former text. Out of it weaves the new, slower melody:
+
+[Music: _Much slower_ (in the tempo of the former funeral march)
+(Oboes)
+(Flutes and clarinets)
+(Cellos)
+_molto cantando_]
+
+Throughout, the old shrill call sounds in soft lament. Hardly like a
+tune, a discourse rather, it winds along, growing and changing naïvely
+ever to a new phrase. And the soft calls about seem part of the melody.
+An expressive line rising in the clarinet harks back to one of the later
+strains of the funeral march.
+
+The second melody or answer (in low octaves of strings) is a scant
+disguise of the lower tune in the stormy duet of the first movement. Yet
+all the strains move in the gentle, soothing pace and mood until
+suddenly awakened to the first vehement rhythm.
+
+Before the slower verse returns is a long plaint of cellos to softest
+roll of drums. The gentle calls that usher in the melody have a
+significant turn, upwards instead of down. All the figures of the solemn
+episode appear more clearly.
+
+On the spur of the hurrying main motive of trumpets the first pace is
+once more regained.
+
+A surprise of plot is before us. In sudden recurrence of funeral march
+the hymnal song of the first movement is heard. As suddenly, we are
+plunged into the first joyful scene of the symphony. Here it is most
+striking how the call of lament has become triumphant, as it seems
+without a change of note. And still more wonderful,--the same melody
+that first uttered a storm of grief, then a gentle sadness, now has a
+firm exultant ring. To be sure, it is all done with the magic trip of
+bass,--as a hymn may be a perfect dance.
+
+Before the close we hear the first fanfare of trumpet from the opening
+symphony, that has the ring of a motto of the whole. At the very end is
+a transfigured entrance,--very slowly and softly, to a celestial touch
+of harp, of the first descending figure of the movement.
+
+_II.--3. Scherzo._ Jovial in high degree, the Scherzo begins with the
+thematic complexity of modern fashion. In dance tune of three beats
+horns lead off with a jolly call; strings strike dancing chords; the
+lower wind play a rollicking answer, but together with the horns, both
+strains continuing in dancing duet. Still the saucy call of horns seems
+the main text, though no single tune reigns alone.
+
+[Music: (Horns)
+_Scherzo. With vigor, not too fast_
+(Strings and flutes)
+(Strings)
+(Clarinets and basses)]
+
+The violins now play above the horns; then the cellos join and there is
+a three-part song of independent tunes, all in the dance. So far in
+separate voices it is now taken up by full chorus, though still the
+basses sing one way, trebles another, and the middle horns a third. And
+now the high trumpet strikes a phrase of its own. But they are all in
+dancing swing, of the fibre of the first jolly motive.
+
+A new episode is started by a quicker _obligato_ of violins, in
+neighboring minor, that plays about a fugue of the woodwind on an
+incisive theme where the cadence has a strange taste of bitter sweet
+harmony in the modern Gallic manner.
+
+[Music: (Clarinets)
+(Violas)
+(Violins)
+(Bass of brass and wood)]
+
+Horns and violins now pursue their former duet, but in the changed hue
+of minor where the old concords are quaintly perverted. But this is only
+to give a merrier ring to the bright madrigal that follows in sweetly
+clashing higher wood, with the trip still in the violins. Thence the
+horns and violins break again into the duet in the original key. Here
+the theme is wittily inverted in the bass, while other strings sing
+another version above.
+
+So the jolly dance and the quaint fugue alternate; a recurring phrase is
+carried to a kind of dispute, with opposite directions above and below
+and much augmented motion in the strings.
+
+In the dance so far, in "three time," is ever the vigorous stamp on the
+third beat, typical of the German peasant "_Ländler_." Here of a sudden
+is a change as great as possible within the continuing dance of three
+steps. "More tranquil" in pace, in soft strings, without a trace of the
+_Ländler_ stamp, is a pure waltz in pretty imitation of tuneful theme.
+
+[Music: _More gently_ (G string) (D string)
+(Strings)
+acc't _pizzicato_]
+
+And so the return to the vigorous rough dance is the more refreshing.
+The merry mood yields to a darker temper. "Wild" the strings rush in
+angry fugue on their rapid phrase; the quaint theme is torn to shreds,
+recalling the fierce tempest of earlier symphony.
+
+But the first sad note of the Scherzo is in the recitative of horn,
+after the lull. A phrase of quiet reflection, with which the horn
+concludes the episode as with an "_envoi_," is now constantly rung; it
+is wrought from the eerie tempest; like refined metal the melody is
+finally poured; out of its guise is the theme now of mournful dance.
+
+"Shyly" the tune of the waltz answers in softest oboe. In all kinds of
+verses it is sung, in expressive duet of lower wood, of the brass, then
+of high reeds; in solo trumpet with counter-tune of oboe, finally in
+high flutes. Here we see curiously, as the first themes reappear, a
+likeness with the original trumpet-call of the symphony. In this guise
+of the first dance-theme the movements are bound together. The _envoi_
+phrase is here evident throughout.
+
+At this mystic stage, to pure dance trip of low strings the waltz
+reënters very softly in constant growing motion, soon attaining the old
+pace and a new fulness of sound. A fresh spur is given by a wild motion
+of strings, as in the fugal episode; a new height of tempest is reached
+where again the distorted shreds of first dance appear, with phrases of
+the second. From it like sunshine from the clouds breaks quickly the
+original merry trip of dance.
+
+The full cycle of main Scherzo returns with all stress of storm and
+tragedy. But so fierce is the tempest that we wonder how the glad mood
+can prevail. And the sad _envoi_ returns and will not be shaken off.
+The sharp clash of fugue is rung again and again, as if the cup must be
+drained to the drop. Indeed, the serious later strain does prevail, all
+but the final blare of the saucy call of brass.[A]
+
+[Footnote A: In the Scherzo are chimes, accenting the tune of the dance,
+and even castanets, besides triangle and other percussion. The second
+movement employs the harp and triangle.]
+
+_III.--4. Adagietto._[A] "Very slowly" first violins carry the
+expressive song that is repeated by the violas.
+
+[Footnote A: The Adagietto is scored simply for harp and strings; nor
+are the latter unusually divided.]
+
+[Music: _Adagietto_
+(Strings and harp)]
+
+A climax is reached by all the violins in unison. A new glow, with
+quicker motion, is in the episode, where the violins are sharply
+answered by the violas, rising to a dramatic height and dying away in a
+vein of rare lyric utterance.
+
+It is all indeed a pure lyric in tones.
+
+_III.--5. Rondo-Finale._ The whole has the dainty, light-treading humor
+that does not die of its own vehemence. Somewhat as in the Ninth
+Symphony of Beethoven,--tyrant of classical traditions, the themes
+appear right in the beginning as if on muster-roll, each in separate,
+unattended song. A last chance cadence passes down the line of voices
+and settles into a comfortable rhythm as prevailing theme, running in
+melodious extension, and merging after a
+
+[Music: (Clarinets, horns and bassoons) (Flutes and oboes)
+_Allegro commodo_]
+
+hearty conclusion in the jovially garrulous fugue.
+
+Here the counter-theme proves to be one of the initial tunes and takes a
+leading rôle until another charming strain appears on high,--a pure
+nursery rhyme crowning the learned fugue. Even this is a guise of one
+of the original motives in the mazing medley, where it seems we could
+trace the ancestry of each if we could linger and if it really mattered.
+And yet there is a rare charm in these subtle turns; it is the secret
+relevance that counts the most.
+
+The fugue reaches a sturdy height with one of the first themes in lusty
+horns, and suddenly falls into a pleasant jingle, prattling away in the
+train of important figures, the kind that is pertinent with no outer
+likeness.
+
+[Music: _Grazioso_
+(Strings, bassoons and horns)]
+
+Everywhere, to be sure, the little rhythmic cadence appears; the whole
+sounds almost like the old children's canon on "Three Blind Mice";
+indeed the themal inversion is here the main tune. Then in the bass the
+phrase sounds twice as slow as in the horns. There are capers and
+horseplay; a sudden shift of tone; a false alarm of fugue; suddenly we
+are back in the first placid verse of the rhythmic motive.
+
+Here is a new augmentation in resonant horns and middle strings, and the
+melodious extension. A former motive that rings out in high reed, seems
+to have the function of concluding each episode.
+
+A new stretch of fugue appears with new counter-theme, that begins in
+long-blown notes of horns. It really is no longer a fugue; it has lapsed
+into mere smooth-rolling motion underneath a verse of primal tune. And
+presently another variant of graceful episode brings a delicious
+lilt,--_tender, but expressive_.
+
+[Music: _Grazioso_
+_espressivo_
+(Strings)]
+
+With all the subtle design there is no sense of the lamp, in the gentle
+murmur of quicker figure or melodious flow of upper theme. Moving is the
+lyric power and sweetness of this multiple song. As to themal
+relation,--one feels like regarding it all as inspired madrigal, where
+the maze and medley is the thing, where the tunes are not meant to be
+distinguished. It becomes an abandoned orgy of clearest counterpoint.
+Throughout is a blending of fugue and of children's romp, anon with the
+tenderness of lullaby and even the glow of love-song. A brief mystic
+verse, with slow descending strain in the high wood, preludes the
+returning gambol of running strings, where the maze of fugue or canon
+is in the higher flowing song, with opposite course of answering tune,
+and a height of jolly revel, where the bright trumpet pours out the
+usual concluding phrase. The rhythmic episode, in whimsical change, here
+sings with surprise of lusty volume. So the merry round goes on to a big
+resonant _Amen_ of final acclaim, where the little phrase steals out as
+naturally as in the beginning.
+
+Then in quicker pace it sounds again all about, big and little, and
+ends, after a touch of modern Gallic scale, in opposing runs, with a
+last light, saucy fling.
+
+Mahler, we feel again, realizes all the craving that Bruckner breeds for
+a kernel of feeling in the shell of counterpoint. Though we cannot deny
+a rude breach of ancient rule and mode, there is in Mahler a genuine,
+original, individual quality of polyphonic art that marks a new stage
+since the first in Bach and a second in Beethoven. It is this bold revel
+in the neglected sanctuary of the art that is most inspiriting for the
+future. And as in all true poetry, this overleaping audacity of design
+is a mere expression of simplest gaiety.
+
+
+
+
+CHAPTER XVIII
+
+RICHARD STRAUSS[A]
+
+[Footnote A: Born in 1864.]
+
+
+Much may be wisely written on the right limits of music as a depicting
+art. The distinction is well drawn between actual delineation, of figure
+or event, and the mere suggestion of a mood. It is no doubt a fine line,
+and fortunately; for the critic must beware of mere negative philosophy,
+lest what he says cannot be done, be refuted in the very doing. If
+Lessing had lived a little later, he might have extended the principles
+of his "Laocöon" beyond poetry and sculpture into the field of music.
+Difficult and ungrateful as is the task of the critical philosopher, it
+must be performed. There is every reason here as elsewhere why men
+should see and think clearly.
+
+It is perhaps well that audiences should cling to the simple verdict of
+beauty, that they should not be led astray by the vanity of finding an
+answer; else the composer is tempted to create mere riddles. So we may
+decline to find precise pictures, and content ourselves with the music.
+The search is really time wasted; it is like a man digging in vain for
+gold and missing the sunshine above.
+
+Strauss may have his special meanings. But the beauty of the work is
+for us all-important. We may expect him to mark his scenes. We may not
+care to crack that kind of a nut.[A] It is really not good eating.
+Rather must we be satisfied with the pure beauty of the fruit, without a
+further hidden kernel. There is no doubt, however, of the ingenuity of
+these realistic touches. It is interesting, here, to contrast Strauss
+with Berlioz, who told his stories largely by extra-musical means, such
+as the funeral trip, the knell of bells, the shepherd's reed. Strauss at
+this point joins with the Liszt-Wagner group in the use of symbolic
+motives. Some of his themes have an effect of tonal word-painting. The
+roguish laugh of Eulenspiegel is unmistakable.
+
+[Footnote A: Strauss remarked that in _Till Eulenspiegel_ he had given
+the critics a hard nut to crack.]
+
+It is in the harmonic rather than the melodic field that the fancy of
+Strauss soars the freest. It is here that his music bears an individual
+stamp of beauty. Playing in and out among the edges of the main harmony
+with a multitude of ornamental phrases, he gains a new shimmer of
+brilliancy. Aside from instrumental coloring, where he seems to outshine
+all others in dazzling richness and startling contrasts, he adds to the
+lustre by a deft playing in the overtones of his harmonies, casting the
+whole in warmest hue.
+
+If we imagine the same riotous license in the realm of tonal
+noise,--cacophony, that is, where the aim is not to enchant, but to
+frighten, bewilder, or amaze; to give some special foil to sudden
+beauty; or, last of all, for graphic touch of story, we have another
+striking element of Strauss's art. The anticipation of a Beethoven in
+the drum of the Scherzo of the Fifth Symphony, or the rhythmic whims of
+a Schumann in his Romantic piano pieces suggest the path of much of this
+license. Again, as passing notes may run without heed of harmony, since
+ancient days, so long sequences of other figures may hold their moving
+organ-point against clashing changes of tonality.
+
+Apart from all this is the modern "counterpoint," where, if it is quite
+the real thing, Strauss has outdone the boldest dreams of ancient school
+men. But with the lack of cogent form, and the multitude of small
+motives it seems a different kind of art. We must get into the
+view-point of romantic web of infinite threads, shimmering or jarring in
+infinite antagonism (of delayed harmony). By the same process comes
+always the tremendous accumulation towards the end. As the end and
+essence of the theme seems a graphic quality rather than intrinsic
+melody, so the main pith and point of the music lies in the weight and
+power of these final climaxes.
+
+
+_TOD UND VERKLÄRUNG (DEATH AND TRANSFIGURATION), TONE POEM_
+
+It may be well to gather a few general impressions before we attempt the
+study of a work radical in its departure from the usual lines of tonal
+design.
+
+There can be no doubt of the need of vigilance if we are to catch the
+relevance of all the strains. To be sure, perhaps this perception is
+meant to be subconscious. In any case the consciousness would seem to
+ensure a full enjoyment.
+
+It is all based on the motif of the Wagner drama and of the Liszt
+symphonies, and it is carried to quite as fine a point. Only here we
+have no accompanying words to betray the label of the theme. But in the
+quick flight of themes, how are we to catch the subtle meaning? The
+interrelation seems as close as we care to look, until we are in danger
+of seeing no woods for the trees.
+
+Again the danger of preconception is of the greatest. We may get our
+mind all on the meaning and all off the music. The clear fact is the
+themes do have a way of entering with an air of significance which they
+challenge us to find. The greatest difficulty is to distinguish the
+themes that grow out of each other, as a rose throws off its early
+petals, from those that have a mere chance similarity. Even this
+likeness may have its own intended meaning, or it may be all beside the
+mark. But we may lose not merely the musical, but even the dramatic
+sequence in too close a poring over themal derivation. On the other hand
+we may defy the composer himself and take simply what he gives, as if on
+first performance, before the commentators have had a chance to breed.
+And this may please him best in the end.
+
+We must always attend more to the mood than to themal detail as
+everywhere in real music, after all. Moments of delight and triumph we
+know there are in this work. But they are mere instants. For it is all
+the feverish dream of death. There can be no earlier rest. Snatches they
+are of fancy, of illusion, as, says the priest in Oedipus, is all of
+life.
+
+It may be worth while, too, to see how pairs of themes ever occur in
+Strauss, the second in answer, almost in protest, to the first. (It is
+not unlike the pleading in the Fifth Symphony of the second theme with
+the sense of doom in the first.) So we seem to find a motive of fate,
+and one of wondering, and striving; a theme of beauty and one of
+passion,--if we cared to tread on such a dangerous, tempting ground.
+Again, we may find whole groups of phrases expressive of one idea, as of
+beauty, and another of anxious pursuit. Thus we escape too literal a
+themal association.
+
+Trying a glimpse from the score pure and simple, we find a poem,
+opposite the first page, that is said to have been written after the
+first production. So, reluctantly, we must wait for the mere
+reinforcement of its evidence.
+
+_Largo_, in uncertain key, begins the throb of irregular rhythm (in
+strings) that Bach and Chopin and Wagner have taught us to associate
+with suffering. The first figure is a gloomy descent of pairs of chords,
+with a hopeless cry above (in the flutes). In the recurrence, the turn
+of chord is at last upward. A warmer hue of waving sounds (of harps) is
+poured about, and a gentle vision appears on high, shadowed quickly by
+a theme of fearful wondering. The chords return as at first. A new
+series of descending tones
+
+[Music: (Flute an 8ve. higher) (Oboe)
+_Largo_
+_dolce_
+(Harp with arpeggio groups of six to the quarter)]
+
+intrude, with a sterner sense of omen, and yield to a full melodic
+utterance of longing (again with the
+
+[Music: (Solo violin muted)
+(Horns)
+(Harp with arpeggio groups of six to the quarter)]
+
+soothing play of harp), and in the midst a fresh theme of wistful fear.
+For a moment there is a brief glimpse of the former vision. Now the
+song, less of longing than of pure bliss, sings free and clear its
+descending lay in solo violin, though an answering phrase (in the horns)
+of upward striving soon rises from below. The vision now appears again,
+the wondering monitor close beside. The melancholy chords return to dim
+the beauty. As the descending theme recedes, the rising motive sings a
+fuller course on high with a new note of eager, anxious fear.
+
+All these themes are of utmost pertinence in this evident prologue of
+the story. Or at least the germs of all the leading melodies are here.
+
+In sudden turn of mood to high agitation, a stress of wild desire rings
+out above in pairs of sharp ascending chords, while below the wondering
+theme rises in growing tumult. A whirling storm of the two phrases ends
+in united burst like hymn of battle, on the line of the wondering theme,
+but infused with
+
+[Music: _Alla breve_
+_Tutti_
+(Bass doubled below)]
+
+resistless energy. Now sings a new discourse of warring phrases that
+are dimly traced to the phase of the blissful melody, above the theme of
+upward striving.
+
+[Music: (Theme in woodwind)
+_espress._
+(Strings)
+(Answer in basses)]
+
+They wing an eager course, undaunted by the harsh intruding chords. Into
+the midst presses the forceful martial theme. All four elements are
+clearly evident. The latest gains control, the other voices for the
+nonce merely trembling in obedient rhythm. But a new phase of the
+wistful motive appears, masterful but not o'ermastering, fiercely
+pressing upwards,--and a slower of the changed phrase of blissful song.
+The former attains a height of sturdy ascending stride.
+
+In spite of the ominous stress of chords that grow louder with the
+increasing storm, something of assurance comes with the ascending
+stride. More and more this seems the dominant idea.
+
+A new paroxysm of the warring themes rises to the first great climax
+where the old symbol of wondering and striving attains a brief moment
+of assured ecstatic triumph.
+
+In a new scene (_meno mosso_), to murmuring strings (where the theme of
+striving can possibly be caught) the blissful melody sings in full song,
+undisturbed save by the former figure that rises as if to grasp,--sings
+later, too, in close sequence of voices. After a short intervening
+verse--_leicht bewegt_--where the first vision appears for a moment, the
+song is resumed, still in a kind of shadowy chase of slow flitting
+voices, _senza espressione_. The rising, eager phrase is disguised in
+dancing pace, and grows to a graceful turn of tune. An end comes, _poco
+agitato_, with rude intrusion of the hymnal march in harsh contrast of
+rough discord; the note of anxious fear, too, strikes in again. But
+suddenly, _etwas breiter_, a new joyous mood frightens away the birds of
+evil omen.
+
+Right in the midst of happenings, we must be warned against too close a
+view of individual theme. We must not forget that it is on the
+contrasted pairs and again the separate groups of phrases, where all
+have a certain common modal purpose, that lies the main burden of the
+story. Still if we must be curious for fine derivation, we may see in
+the new tune of exultant chorus the late graceful turn that now,
+reversing, ends in the former rising phrase. Against it sings the first
+line of blissful theme. And the first tune of graceful beauty also finds
+a place. But they all make one single blended song, full of glad bursts
+and cadences.
+
+Hardly dimmed in mood, it turns suddenly into a phase of languorous
+passion, in rich setting of pulsing harp, where now the later figures,
+all but the blissful theme, vanish before an ardent song of the
+wondering phrase. The motive of passionate desire rises and falls, and
+soars in a path of "endless melody," returning on its own line of
+flight, playing as if with its shadow, catching its own echo in the
+ecstasy of chase. And every verse ends with a new stress of the
+insistent upward stride, that grows ever in force and closes with big
+reverberating blasts. The theme of the vision joins almost in rough
+guise of utmost speed, and the rude marching song breaks in; somehow,
+though they add to the maze, they do not dispel the joy. The ruling
+phase of passion now rumbles fiercely in lowest depths. The theme of
+beauty rings in clarion wind and strings, and now the whole strife ends
+in clearest, overwhelming hymn of triumphant gladness, all in the
+strides of the old wondering, striving phrase.
+
+[Music]
+
+The whole battle here is won. Though former moments are fought through
+again (and new melodies grow out of the old plaint), the triumphant
+shout is near and returns (ever from a fresh tonal quarter) to chase
+away the doubt and fear. All the former phrases sing anew, merging the
+tale of their strife in the recurring verse of united paean. The song at
+last dies away, breaking like setting sun into glinting rays of
+celestial hue, that pale away into dullest murmur.
+
+Still one returning paroxysm, of wild striving for eluding bliss, and
+then comes the close. From lowest depths shadowy tones sing herald
+phrases against dim, distorted figures of the theme of beauty,--that
+lead to a soft song of the triumphant hymn, _tranquillo_, in gentlest
+whisper, but with all the sense of gladness and ever bolder straying of
+the enchanting dream. After a final climax the song ends in slow
+vanishing echoes.
+
+The poet Ritter is said to have added, after the production of the
+music, the poem printed on the score, of which the following is a rather
+literal translation:
+
+    In the miserable chamber,
+    Dim with flick'ring candlelight,
+    Lies a man on bed of sickness.
+    Fiercely but a moment past
+    Did he wage with Death the battle;
+    Worn he sinks back into sleep.
+    Save the clock's persistent ticking
+    Not a sound invades the room,
+    Where the gruesome quiet warns us
+    Of the neighborhood of Death.
+    O'er the pale, distended features
+    Plays a melancholy smile.
+    Is he dreaming at life's border
+    Of his childhood golden days?
+
+    But a paltry shrift of sleep
+    Death begrudges to his victim.
+    Cruelly he wakes and shakes him,
+    And the fight begins anew,--
+    Throb of life and power of death,
+    And the horror of the struggle.
+    Neither wins the victory.
+    Once again the stillness reigns.
+
+    Worn of battle, he relapses
+    Sleepless, as in fevered trance.
+    Now he sees before him passing
+    Of his life each single scene:
+    First the glow of childhood dawn,
+    Bright in purest innocence,
+    Then the bolder play of youth
+    Trying new discovered powers,
+    Till he joins the strife of men,
+    Burning with an eager passion
+    For the high rewards of life.--
+    To present in greater beauty
+    What his inner eye beholds,
+    This is all his highest purpose
+    That has guided his career.
+
+    Cold and scornful does the world
+    Pile the barriers to his striving.
+    Is he near his final goal,
+    Comes a thund'rous "Halt!" to meet him.
+    "Make the barrier a stepping,
+    Ever higher keep your path."
+    Thus he presses on and urges,
+    Never ceasing from his aim.--
+    What he ever sought of yore
+    With his spirit's deepeth longing,
+    Now he seeks in sweat of death,
+    Seeks--alas! and finds it never.
+    Though he grasps it clearer now,
+    Though it grows in living form,
+    He can never all achieve it,
+    Nor create it in his thought.
+    Then the final blow is sounded
+    From the hammer-stroke of Death,
+    Breaks the earthly frame asunder,
+    Seals the eye with final night.
+    But a mighty host of sounds
+    Greet him from the space of heaven
+    With the song he sought below:
+    Man redeemed,--the world transfigured.
+
+
+_DON JUAN. (TONE POEM.)_
+
+A score or more of lines from Lenau's poem of the same title stand as
+the subject of the music.
+
+    O magic realm, illimited, eternal,
+    Of gloried woman,--loveliness supernal!
+    Fain would I, in the storm of stressful bliss,
+    Expire upon the last one's lingering kiss!
+      Through every realm, O friend, would wing my flight,
+    Wherever Beauty blooms, kneel down to each,
+      And, if for one brief moment, win delight!
+
+           *       *       *       *       *
+
+    I flee from surfeit and from rapture's cloy,
+    Keep fresh for Beauty service and employ,
+    Grieving the One, that All I may enjoy.
+
+    My lady's charm to-day hath breath of spring,
+    To-morrow may the air of dungeon bring.
+      When with the new love won I sweetly wander,
+    No bliss is ours upfurbish'd and regilded;
+      A different love has This to That one yonder,--
+    Not up from ruins be my temple builded.
+      Yea Love life is, and ever must be now,
+    Cannot be changed or turned in new direction;
+    It must expire--here find a resurrection;
+      And, if 'tis real, it nothing knows of rue!
+    Each Beauty in the world is sole, unique;
+    So must the love be that would Beauty seek!
+    So long as Youth lives on with pulse afire,
+    Out to the chase! To victories new aspire!
+
+           *       *       *       *       *
+
+    It was a wond'rous lovely storm that drove me:
+    Now it is o'er; and calm all round, above me;
+      Sheer dead is every wish; all hopes o'ershrouded,--
+    It was perhaps a flash from heaven descended,
+    Whose deadly stroke left me with powers ended,
+      And all the world, so bright before, o'erclouded;
+    Yet perchance not! Exhausted is the fuel;
+    And on the hearth the cold is fiercely cruel.[A]
+
+[Footnote A: Translation by John P. Jackson.]
+
+In the question of the composer's intent, of general plan and of
+concrete detail, it is well to see that the quotation from Lenau's poem
+is twice broken by lines of omission; that there are thus three
+principal divisions. It cannot be wise to follow a certain kind of
+interpretation[A] which is based upon the plot of Mozart's opera. The
+spirit of Strauss's music is clearly a purely subjective conception,
+where the symbolic figure of fickle desire moves through scenes of
+enchantment to a climax of--barren despair.
+
+[Footnote A: In a complex commentary William Mauke finds Zerlina, Anna
+and "The Countess" in the music.]
+
+To some extent Strauss clearly follows the separate parts of his
+quotation. Fervent desire, sudden indifference are not to be mistaken.
+
+The various love scenes may be filled with special characters without
+great harm, save that the mind is diverted from a higher poetic view to
+a mere concrete play of events. The very quality of the pure musical
+treatment thus loses nobility and significance. Moreover the only
+thematic elements in the design are the various "motives" of the hero.
+
+_Allegro molto con brio_ begins the impetuous main theme in dashing
+ascent,
+
+[Music: _Allegro molto con brio_
+(Unison strings)
+(Doubled in higher 8ve.)]
+
+whimsical play
+
+[Music: (Woodwind doubled in higher 8ve.)]
+
+and masterful career.
+
+[Music: (Doubled in higher 8ve.)]
+
+The various phases are mingled in spirited song; only the very beginning
+seems reserved as a special symbol of a turn in the chase, of the sudden
+flame of desire that is kindled anew.
+
+In the midst of a fresh burst of the main phrase are gentle strains of
+plaint (_flebile_). And now a tenderly sad motive in the wood sings
+against the marching phrase, amidst a spray of light, dancing chords.
+Another song of the main theme is spent in a vanishing tremolo of
+strings and harp, and buried in a rich chord whence rises a new song
+(_molto espressivo_) or rather a duet, the first of the longer
+love-passages.
+
+The main melody is begun in clarinet and horn and instantly followed (as
+in canon) by violins. The climax of this impassioned scene is a titanic
+chord of minor, breaking the spell; the end is in a distorted strain of
+the melody, followed by a listless refrain of the (original) impetuous
+motive (_senza espressione_).
+
+The main theme breaks forth anew, in the spirit of the beginning. It
+yields suddenly before the next episode, a languorous song of lower
+strings (_molto appassionato_), strangely broken into by sighing phrases
+in the high wood (_flebile_). After further interruption, the love song
+is crowned by a broad flowing melody (_sehr getragen und
+ausdrucksvoll_)--the main lyric utterance of all. It has a full length
+of extended song, proportioned to its distinguished beauty. The dual
+quality is very clear throughout the scene. Much of the song is on a
+kindred phrase of the lyric melody sung by the clarinet with dulcet
+chain of chords of harp.
+
+Here strikes a climactic tune in forte unison of the four horns (_molto
+espressivo e marcato_). It is the clear utterance of a new mood of the
+hero,--a purely
+
+[Music: (Four horns in unison) (Full orchestra)]
+
+subjective phase. With a firm tread, though charged with pathos, it
+seems what we might venture to call a symbol of renunciation. It is
+broken in upon by a strange version of the great love song, _agitato_ in
+oboes, losing all its queenly pace. As though in final answer comes
+again the ruthless phrase of horns, followed now by the original theme.
+_Rapidamente_ in full force of strings comes the coursing strain of
+impetuous desire. The old and the new themes of the hero are now in
+stirring encounter, and the latter seems to prevail.
+
+The mood all turns to humor and merrymaking. In gay dancing trip serious
+subjects are treated jokingly (the great melody of the horns is
+mockingly sung by the harp),--in fits and gusts. At the height the
+(first) tempestuous motive once more dashes upwards and yields to a
+revel of the (second) whimsical phrase. A sense of fated renunciation
+seems to pervade the play of feelings of the hero. In the lull, when the
+paroxysm is spent, the various figures of his past romances pass in
+shadowy review; the first tearful strain, the melody of the first of the
+longer episodes,--the main lyric song (_agitato_).
+
+In the last big flaming forth of the hero's passion victory is once more
+with the theme of renunciation,--or shall we say of grim denial where
+there is no choice.
+
+Strauss does not defy tradition (or providence) by ending his poem with
+a triumph. A final elemental burst of passion stops abruptly before a
+long pause. The end is in dismal, dying harmonies,--a mere dull sigh of
+emptiness, a void of joy and even of the solace of poignant grief.
+
+
+_TILL EULENSPIEGEL'S MERRY PRANKS_
+
+_In the Manner of Ancient Rogues--In Rondo Form_
+
+Hardly another subject could have been more happy for the revelling in
+brilliant pranks and conceits of a modern vein of composition. And in
+the elusive humor of the subject is not the least charm and fitness.
+Too much stress has been laid on the graphic purpose. There is always a
+tendency to construe too literally. While we must be in full sympathy
+with the poetic story, there is small need to look for each precise
+event. We are tempted to go further, almost in defiance, and say that
+music need not be definite, even despite the composer's intent. In other
+words, if the tonal poet designs and has in mind a group of graphic
+figures, he may nevertheless achieve a work where the real value and
+beauty lie in a certain interlinear humor and poetry,--where the labels
+can in some degree be disregarded.
+
+Indeed, it is this very abstract charm of music that finds in such a
+subject its fullest fitness. If we care to know the pranks exactly, why
+not turn to the text? Yet, reading the book, in a way, destroys the
+spell. Better imagine the ideal rogue, whimsical, spritely, all of the
+people too. But in the music is the real Till. The fine poetry of
+ancient humor is all there, distilled from the dregs of folk-lore that
+have to us lost their true essence. There is in the music a daemonic
+quality, inherent in the subject, that somehow vanishes with the
+concrete tale. So we might say the tonal picture is a faithful likeness
+precisely in so far as it does not tell the facts of the story.
+
+Indeed, in this mass of vulgar stories we cannot help wondering at the
+reason for their endurance through the centuries, until we feel
+something of the spirit of the people in all its phases. A true mirror
+it was of stupidity and injustice, presented by a sprite of owlish
+wisdom, sporting, teasing and punishing[A] all about. It is a kind of
+popular satire, with a strong personal element of a human Puck, or an
+impish Robin Hood, with all the fairy restlessness, mocking at human rut
+and empty custom.
+
+[Footnote A: On leaving the scene of some special mischief, Till would
+draw a chalk picture of an owl on the door, and write below, _Hic fuit_.
+The edition of 1519 has a woodcut of an owl resting on a mirror, that
+was carved in stone, the story goes, over Till's grave.]
+
+It is perhaps in the multitude of the stories, paradoxical though it
+seem, that lies the strength. In the number of them (ninety-two
+"histories" there are) is an element of universality. It is like the
+broom: one straw does not make, nor does the loss of one destroy it;
+somewhere in the mass lies the quality of broom.
+
+In a way Till is the Ulysses of German folk-lore, the hero of trickery,
+a kind of _Reinecke Fuchs_ in real life. But he is of the soil as none
+of the others. A satyr, in a double sense, is Till; only he is pure
+Teuton, of the latter middle ages.
+
+He is every sort of tradesman, from tailor to doctor. Many of the
+stories, perhaps the best, are not stories at all, but merely clever
+sayings. In most of the tricks there is a Roland for an Oliver. Till
+stops at no estate; parsons are his favorite victims. He is, on the
+whole, in favor with the people, though he played havoc with entire
+villages. Once he was condemned to death by the Lübeck council. But
+even here it was his enemies, whom he had defrauded, that sought
+revenge. The others excused the tricks and applauded his escape. Even in
+death the scandal and mischief do not cease.
+
+The directions in Strauss' music are new in their kind and dignity. They
+belong quite specially to this new vein of tonal painting. In a double
+function, they not merely guide the player, but the listener as well.
+The humor is of utmost essence; the humor is the thing, not the play,
+nor the story of each of the pranks, in turn, of our jolly rogue. And
+the humor lies much in these words of the composer, that give the lilt
+of motion and betray a sense of the intended meaning.
+
+[Music: _Gemächlich_]
+
+The tune, sung at the outset _gemächlich_ (comfortably), is presumably
+the rogue _motif_, first in pure innocence of mood. But quickly comes
+another, quite opposed in rhythm, that soon hurries into highest speed.
+These are not the "subjects" of old tradition.
+
+[Music: (Horn)]
+
+And first we are almost inclined to take the "Rondo form" as a new
+roguish prank. But we may find a form where the subjects are independent
+of the basic themes that weave in and out unfettered by rule--where the
+subjects are rather new grouping of the fundamental symbols.[A]
+
+[Footnote A: It is like the Finale of Brahms' Fourth Symphony, where an
+older form (of _passacaglia_) is reared together with a later, one
+within the other.]
+
+After a pause in the furious course of the second theme, a quick piping
+phrase sounds _lustig_ (merrily) in the clarinet, answered by a chord of
+ominous
+
+[Music: _Molto allegro_
+(Clar.)
+_lustig_]
+
+token. But slowly do we trace the laughing phrase to the first theme.
+
+And here is a new whim. Though still in full tilt, the touch of demon is
+gone in a kind of ursine clog of the basses. Merely jaunty and clownish
+it would be but for the mischievous scream (of high flute) at the end.
+And now begins a rage of pranks, where the main phrase is the rogue's
+laugh, rising in brilliant gamut of outer pitch and inner mood.
+
+At times the humor is in the spirit of a Jean Paul, playing between
+rough fun and sadness in a fine spectrum of moods. The lighter motive
+dances harmlessly about the more serious, intimate second phrase. There
+is almost the sense of lullaby before the sudden plunge to wildest
+chaos, the only portent being a constant trembling of low strings. All
+Bedlam is let loose, where the rogue's shriek is heard through a
+confused cackling and a medley of voices here and there on the running
+phrase (that ever ends the second theme). The sound of a big rattle is
+added to the scene,--where perhaps the whole village is in an uproar
+over some wholesale trick of the rogue.
+
+And what are we to say to this simplest swing of folk-song that steals
+in naïvely to enchanting strum of rhythm. We may speculate about the
+Till as the
+
+[Music: (_Gemächlich_)]
+
+people saw him, while elsewhere we have the personal view. The
+folk-tunes may not have a special dramatic rôle. Out of the text of
+folk-song, to be sure, all the strains are woven. Here and there we
+have the collective voice. If we have watched keenly, we have heard how
+the tune, simply though it begins, has later all the line of Till's
+personal phrase. Even in the bass it is, too. Of the same fibre is this
+demon mockery and the thread of folk legend.
+
+We cannot pretend to follow all the literal whims. And it is part of the
+very design that we are ever surprised by new tricks, as by this saucy
+trip of dancing phrase. The purely human touches are clear, and almost
+moving in contrast with the impish humor.
+
+An earlier puzzle is of the second theme. As the composer has refused to
+help us, he will not quarrel if we find our own construction. A possible
+clue there is. As the story proceeds, aside from the mere abounding fun
+and poetry, the more serious theme prevails. Things are happening. And
+there come the tell-tale directions. _Liebeglühend_, aflame with love, a
+melody now sings in urgent pace, ending with
+
+[Music: _Liebeglühend_]
+
+a strange descending note. Presently in quieter mood, _ruhiger_, it
+gains a new grace, merely to dash again, _wütend_, into a fiercer rage
+than before. Before long we cannot escape in all this newer melody a
+mere slower outline of the second theme. A guess then, such as the
+composer invites us to make, is this: It is not exactly a Jekyll and
+Hyde, but not altogether different. Here (in the second theme, of horn)
+is Till himself,--not the rogue, but the man in his likes and loves and
+suffering. The rogue is another, a demon that possesses him to tease
+mankind, to tease himself out of his happiness. During the passionate
+episode the rogue is banned, save for a grimace now and then, until the
+climax, when all in disguise of long passionate notes of resonant bass
+the demon theme has full control. But for once it is in earnest, in dead
+earnest, we might say. And the ominous chord has a supreme moment, in
+the shadow of the fulfilment.
+
+A new note sounds in solemn legend of lowest wood, sadly beautiful, with
+a touch of funeral pace.[A]
+
+[Footnote A: Strauss told the writer that this was the march of the
+jurymen,--"_der Marsch der Schöffen_." Reproached for killing Till, he
+admitted that he had taken a license with the story and added: "In the
+epilogue,--there he lives."]
+
+The impish laugh still keeps intruding. But throughout the scene it is
+the Till motive, not the rogue, that fits the stride of the death-march.
+To be sure the rogue anon laughs bravely. But the other figure is in
+full view.
+
+[Music: (Lowest woodwind)]
+
+The sombre legend is, indeed, in a separate phase, its beauty now
+distorted in a feverish chase of voices on the main phrase. It is all a
+second climax, of a certain note of terror,--of fate. In the midst is a
+dash of the rogue's heartiest laugh, amid the echoes of the fearful
+chord, while the growing roar of the mob can be heard below. Once again
+it rings out undaunted, and then to the sauciest of folk-tunes,
+_leichtfertig_, Till dances gaily and jauntily. Presently, in a mystic
+passage, _schnell und schattenhaft_
+
+[Music: _Leichtfertig_
+(Strings reinforced by clarinets and horns)]
+
+(like fleeting shadow) a phantom of the rogue's figure passes
+stealthily across the horizon.
+
+_Etwas gemächlicher_, a graceful duet weaves prettily out of the Till
+motive, while the other roars very gently in chastened tones of softest
+horns.
+
+[Music]
+
+The first course of themes now all recurs, though some of the roguery is
+softened and soon trips into purest folk-dance. And yet it is all built
+of the rascal theme. It might (for another idle guess) be a general
+rejoicing. Besides the tuneful dance, the personal phrase is laughing
+and chuckling in between.
+
+The rejoicing has a big climax in the first folk-song of all, that now
+returns in full blast of horns against a united dance of strings and
+wood. After a roll of drum loud clanging strokes sound threatening
+(_drohend_) in low bass and strings, to which the rascal pipes his theme
+indifferently (_gleichgültig_). The third time, his answer has a
+simulated sound (_entstellt_). Finally, on the insistent thud comes a
+piteous phrase (_kläglich_) in running thirds. The dread chords at last
+vanish, in the strings. It is very like an actual, physical end. There
+is no doubt that the composer here intends the death of Till, in face of
+the tradition.
+
+Follows the epilogue, where in the comfortable swing of the beginning
+the first melody is extended in full beauty and significance. All the
+pleasantry of the rogue is here, and at the end a last fierce burst of
+the demon laugh.
+
+
+_"SINFONIA DOMESTICA."_
+
+The work followed a series of tone-poems where the graphic aim is shown
+far beyond the dreams even of a Berlioz. It may be said that Strauss,
+strong evidence to the contrary, does not mean more than a suggestion of
+the mood,--that he plays in the humor and poetry of his subject rather
+than depicts the full story. It is certainly better to hold to this view
+as long as possible. The frightening penalty of the game of exact
+meanings is that if there is one here, there must be another there and
+everywhere. There is no blinking the signs of some sort of plot in our
+domestic symphony, with figures and situations. The best way is to lay
+them before the hearer and leave him to his own reception.
+
+In the usual sense, there are no separate movements. Though "Scherzo" is
+printed after the first appearance of the three main figures, and later
+"Adagio" and "Finale," the interplay and recurrence of initial themes is
+too constant for the traditional division. It is all a close-woven drama
+in one act, with rapidly changing scenes. Really more important than the
+conventional Italian names are such headings as "Wiegenlied"
+(Cradle-song), and above all, the numerous directions. Here is an almost
+conclusive proof of definite intent. To be sure, even a figure on canvas
+is not the man himself. Indeed, as music approaches graphic realism, it
+is strange how painting goes the other way. Or rather, starting from
+opposite points, the two arts are nearing each other. As modern painting
+tends to give the feeling of a subject, the subjective impression rather
+than the literal outline, we can conceive even in latest musical realism
+the "atmosphere" as the principal aim. In other words, we may view
+Strauss as a sort of modern impressionist tone-painter, and so get the
+best view of his pictures.
+
+Indeed, cacophony is alone a most suggestive subject. In the first place
+the term is always relative, never absolute,--relative in the historic
+period of the composition, or relative as to the purpose. One can hardly
+say that any combination of notes is unusable. Most striking it is how
+the same group of notes makes hideous waste in one case, and a true
+tonal logic in another. Again, what was impossible in Mozart's time, may
+be commonplace to-day.
+
+You cannot stamp cacophony as a mere whim of modern decadence. Beethoven
+made the noblest use of it and suffered misunderstanding. Bach has it in
+his scores with profound effect. And then the license of one age begets
+a greater in the next. It is so in poetry, though in far less degree.
+For, in music, the actual tones are the integral elements of the art.
+They are the idea itself; in poetry the words merely suggest it.
+
+A final element, independent of the notes themselves, is the official
+numbering of themes. Strauss indicates a first, second and third theme,
+obviously of the symphony, not of a single movement. The whole attitude
+of the composer, while it does not compel, must strongly suggest some
+sort of guess of intending meaning.[A]
+
+[Footnote A: At the first production, in New York, in obedience to the
+composer's wish, no descriptive notes were printed. When the symphony
+was played, likewise under the composer's direction, in Berlin in
+December, 1904, a brief note in the program-book mentions the three
+groups of themes, the husband's, the wife's and the child's, in the
+first movement. The other movements are thus entitled:
+
+II.--_Scherzo._ Parents' happiness. Childish play. Cradle-song (the
+clock strikes seven in the evening).
+
+III.--_Adagio._ Creation and contemplation. Love scene. Dreams and cares
+(the clock strikes seven in the morning).
+
+IV.--_Finale._ Awakening and merry dispute (double fugue). Joyous
+conclusion.]
+
+The "first theme" in "comfortable" pace, gliding
+
+[Music: 1st Theme
+_Pleasantly_
+(Cellos and fagots)
+_Dreamily_
+(Oboe)
+(Cellos, bassoons and horns)]
+
+into a "dreamy" phrase, begins the symphony. Presently
+
+[Music: _Peevishly_
+(Clarinets)]
+
+a "peevish" cry breaks in, in sudden altered key; then on a second,
+soothing tonal change, a strain sings "ardently" in upward wing to a
+bold climax and down to gentler cadence, the "peevish" cry still
+breaking in. The trumpet has a short cheery
+
+[Music: _With fire_
+(Strings)]
+
+call (_lustig_), followed by a brisk, rousing run in wood and strings
+(_frisch_). A return of the "comfortable" phrase is quickly overpowered
+by the "second theme," in very lively manner (_sehr lebhaft_), with an
+answering phrase, _grazioso_, and light trills above.
+
+[Music: 2d Theme _With great spirit_
+(Strings, wood, horns and harps)
+_grazioso_]
+
+The incidental phrases are thus opposed to the main humor of each theme.
+The serene first melody has "peevish" interruptions; the assertive
+second yields to graceful blandishments. A little later a strain appears
+_gefühlvoll_, "full of feeling," (that plays a frequent part), but the
+main (second) theme breaks in "angrily." Soon a storm is brewing; at the
+height the same motive is sung insistently. In the lull, the first
+phrase of all sings gaily (_lustig_), and then serenely (_gemächlich_)
+in tuneful tenor. Various
+
+[Music: (Largely in strings)]
+
+parts of the first theme are now blended in mutual discourse.
+
+Amidst trembling strings the oboe d'amore plays the "third theme." "Very
+tenderly," "quietly," the
+
+[Music: 3d Theme _Quietly_ (Strings)
+(Oboe d'Amore)]
+
+second gives soothing answer, and the third sings a full melodious
+verse.
+
+Here a loud jangling noise tokens important arrivals. Fierce, hearty
+pulling of the door-bell excites the parents, especially the mother, who
+is quite in hysterics. The father takes it decidedly more calmly. The
+visitors presently appear in full view, so to speak; for "the aunts," in
+the trumpets, exclaim: "Just like Papa," and the uncles, in the
+trombones, cry: "Just like Mama" (_ganz die Mama_). There can be no
+questioning; it is all written in the book.
+
+It is at least not hazardous to guess the three figures in the domestic
+symphony. Now in jolly Scherzo (_munter_) begin the tricks and sport of
+babyhood. There is of course but one theme, with mere comments
+
+[Music: _Gaily. Scherzo_
+(Oboe d'Amore)
+(Strings)]
+
+of parental phrases in varying accents of affection. Another noisy scene
+mars all the peace; father and child have a strong disagreement; the
+latter is "defiant"; the paternal authority is enforced. Bed-time comes
+with the stroke of seven, a cradle-song (Wiegenlied) (where the child's
+theme hums faintly below). Then, "slowly and very quietly" sings the
+"dreamy" phrase of the first theme, where
+
+[Music: _Rather slowly_ (Cradle song) (Clarinets singing)
+(Oboe d'Amore)
+(Fagots)]
+
+the answer, in sweeping descent, gives one of the principal elements of
+the later plot. It ends in a moving bit of tune, "very quietly and
+expressively" (_sehr ruhig und innig_).
+
+Adagio, a slow rising strain plays in the softer
+
+[Music: _Very quietly and expressively_
+(Strings)]
+
+wood-notes of flute, oboe d'amore, English horn, and the lower
+clarinets; below sings gently the second theme, quite transformed in
+feeling. Those upper notes, with a touch of impassioned yearning, are
+not new to our ears. That very rising phrase (the "dreamy" motive), if
+we strain our memory, was at first below the more vehement (second)
+figure. So
+
+[Music: _Adagio_]
+
+now the whole themal group is reversed outwardly and in the inner
+feeling. Indeed, in other places crops out a like expressive symbol, and
+especially in the phrase, marked _gefühlvoll_, that followed the second
+theme in the beginning. All these motives here find a big concerted song
+in quiet motion, the true lyric spot of the symphony.
+
+Out of it emerges a full climax, bigger and broader now, of the first
+motive. At another stage the second has the lead; but at the height is a
+splendid verse of the maternal song. At the end the quiet, blissful tune
+sings again "_sehr innig_."
+
+_Appassionato_ re-enters the second figure. Mingled in its song are the
+latest tune and an earlier expressive phrase _(gefühlvoll)_. The storm
+that here ensues is not of dramatic play of opposition. There are no
+"angry" indications. It is the full blossoming in richest madrigal of
+all the themes of tenderness and passion in an aureole of glowing
+harmonies. The morning comes with the stroke of seven and the awakening
+cry of the child.
+
+The Finale begins in lively pace (_sehr lebhaft_) with
+
+[Music: (Double Fugue) 1st theme
+(Four Bassoons)
+_marcato_]
+
+a double fugue, where it is not difficult to see in the first theme a
+fragment of the "baby" motive. The second is a remarkably assertive
+little phrase from the cadence of the second theme (quoted above). The
+son is clearly the hero, mainly in sportive humor, although he is not
+free from parental interference. The maze and rigor of the fugue do not
+prevent a frequent appearance of all the other themes, and even of the
+full melodies, of which the fugal motives are built. At the climax of
+the fugue, in the height of speed and noise, something very delightful
+is happening, some furious romp, perhaps, of father and son, the mother
+smiling on the game. At the close a new melody that we might trace, if
+we cared, in earlier origin, has a full verse "quietly and simply"
+(_ruhig und einfach_) in wood and horns, giving the crown
+
+[Music: _Quietly and simply_ (Woodwind and horns)
+(With sustained chord of cellos)]
+
+and seal to the whole. The rest is a final happy refrain of all the
+strains, where the husband's themes are clearly dominant.
+
+
+
+
+CHAPTER XIX
+
+ITALIAN SYMPHONIES
+
+
+The present estate of music in Italy is an instance of the danger of
+prophecy in the broad realm of art. Wise words are daily heard on the
+rise and fall of a nation in art, or of a form like the symphony, as
+though a matter of certain fate, in strict analogy to the life of man.
+
+Italy was so long regnant in music that she seems even yet its chosen
+land. We have quite forgotten how she herself learned at the feet of the
+masters from the distant North. For music is, after all, the art of the
+North; the solace for winter's desolation; an utterance of feeling
+without the model of a visible Nature.
+
+And yet, with a prodigal stream of native melody and an ancient passion
+of religious rapture, Italy achieved masterpieces in the opposite fields
+of the Mass and of Opera. But for the more abstract plane of pure tonal
+forms it has somehow been supposed that she had neither a power nor a
+desire for expression. An Italian symphony seems almost an anomaly,--as
+strange a product as was once a German opera.
+
+The blunt truth of actual events is that to-day a renascence has begun,
+not merely in melodic and dramatic lines; there is a new blending of the
+racial gift of song with a power of profound design.[A] Despite all
+historical philosophy, here is a new gushing forth from ancient fount,
+of which the world may rejoice and be refreshed.
+
+[Footnote A: In the field of the _Lied_ the later group of Italians,
+such as Sinigaglia and Bossi, show a melodic spontaneity and a breadth
+of lyric treatment that we miss in the songs of modern French composers.
+
+In his Overture "_Le Baruffe Chiozzote_" (The Disputes of the People of
+Chiozza) Sinigaglia has woven a charming piece with lightest touch of
+masterly art; a delicate humor of melody plays amid a wealth of
+counterpoint that is all free of a sense of learning.]
+
+In a SYMPHONY BY GIOVANNI SGAMBATI,[A] IN D MAJOR, the form flows with
+such unpremeditated ease that it seems all to the manner born. It may be
+a new evidence that to-day national lines, at least in art, are
+vanishing; before long the national quality will be imperceptible and
+indeed irrelevant.
+
+[Footnote A: Born in 1843.]
+
+To be sure we see here an Italian touch in the simple artless stream of
+tune, the warm resonance, the buoyant spring of rhythm. The first
+movement stands out in the symphony with a subtler design than all the
+rest, though it does not lack the ringing note of jubilation.
+
+The Andante is a pure lyric somewhat new in design and in feeling. It
+shows, too, an interesting contrast of opposite kinds of slower
+melody,--the one dark-hued and legend-like, from which the poet wings
+his flight to a hymnal rhapsody on a clear choral theme, with a rich
+setting of arpeggic harmonies. A strange halting or limping rhythm is
+continued throughout the former subject. In the big climax the feeling
+is strong of some great chant or rite, of vespers or Magnificat. Against
+convention the ending returns to the mood of sad legend.
+
+The Scherzo is a sparkling chain of dancing tunes of which the third, of
+more intimate hue, somehow harks back to the second theme of the first
+movement.
+
+A Trio, a dulcet, tender song of the wood, precedes the return of the
+Scherzo that ends with the speaking cadence from the first Allegro.
+
+A Serenata must be regarded as a kind of Intermezzo, in the Cantilena
+manner, with an accompanying rhythm suggesting an ancient Spanish dance.
+It stands as a foil between the gaiety of the Scherzo and the jubilation
+of the Finale.
+
+The Finale is one festive idyll, full of ringing tune and almost bucolic
+lilt of dance. It reaches one of those happy jingles that we are glad to
+hear the composer singing to his heart's content.
+
+
+_GIUSEPPE MARTUCCI. SYMPHONY IN D MINOR._[A]
+
+[Footnote A: Giuseppe Martucci, 1856-1911.]
+
+The very naturalness, the limpid flow of the melodic thought seem to
+resist analysis of the design. The listener's perception must be as
+naïve and spontaneous as was the original conception.
+
+There is, on the one hand, no mere adoption of a classical schedule of
+form, nor, on the other, the over-subtle workmanship of modern schools.
+Fresh and resolute begins the virile theme with a main charm in the
+motion itself. It lies not in a tune here or there, but in a dual play
+of responsive phrases at the start, and then a continuous flow of
+further melody on the fillip of the original rhythm, indefinable of
+outline in a joyous chanting of bass and treble.
+
+A first height reached, an expressive line in the following lull rises
+in the cellos, that is the essence of the contrasting idea, followed
+straightway by a brief phrase of the kind, like some turns of peasant
+song, that we can hear contentedly without ceasing.
+
+[Music: (Cellos)
+(Lower reed, horns and strings)]
+
+Again, as at the beginning, such a wealth of melodies sing together that
+not even the composer could know which he intended in chief. We merely
+feel, instead of the incisive ring of the first group, a quieter power
+of soothing beauty. Yet, heralded by a prelude of sweet strains, the
+expressive line now enters like a queenly figure over a new rhythmic
+motion, and flows on through delighting glimpses of new harmony to a
+striking climax.
+
+[Music: (Flute and oboe, doubled below in clarinet)
+(Horn)
+(Strings)]
+
+The story, now that the characters have appeared, continues in the main
+with the second browsing in soft lower strings, while the first (in its
+later phase) sings above in the wood transformed in mildness, though for
+a nonce the first motive strikes with decisive vigor. Later is a new
+heroic mood of minor, quickly softened when the companion melody
+appears. A chapter of more sombre hue follows, all with the lilt and
+pace of romantic ballad. At last the main hero returns as at the
+beginning, only in more splendid panoply, and rides on 'mid clattering
+suite to passionate triumph. And then, with quieter charm, sings again
+the second figure, with the delighting strains again and again
+rehearsed, matching the other with the power of sweetness.
+
+One special idyll there is of carolling soft horn and clarinet, where a
+kind of lullaby flows like a distilled essence from the gentler play--of
+the heroic tune, before its last big verse, with a mighty flow of
+
+[Music: _dolce e tranquillo_
+(Horn) (Two horns)
+(Clarinet)]
+
+sequence, and splendidly here the second figure crowns the pageant. At
+the passionate height, over long ringing chord, the latter sings a
+sonorous line in lengthened notes of the wood and horns. The first
+climax is here, in big coursing strains, then it slowly lulls, with a
+new verse of the idyll, to a final hush.
+
+The second movement is a brief lyric with one main melody, sung at first
+by a solo cello amidst a weaving of muted strings; later it is taken up
+by the first violins. The solo cello returns for a further song in duet
+with the violins, where the violas, too, entwine their melody, or the
+cello is joined by the violins.
+
+Now the chief melody returns for a richer and varied setting with horns
+and woodwind. At last the first violins, paired in octave with the
+cello, sing the full melody in a madrigal of lesser strains.
+
+An epilogue answers the prologue of the beginning.
+
+Equally brief is the true Scherzo, though merely entitled Allegretto,--a
+dainty frolic without the heavy brass, an indefinable conceit of airy
+fantasy, with here and there a line of sober melody peeping between the
+mischievous pranks. There is no contrasting Trio in the middle; but just
+before the end comes a quiet pace as of mock-gravity, before a final
+scamper.
+
+A preluding fantasy begins in the mood of the early Allegro; a wistful
+melody of the clarinet plays more slowly between cryptic reminders of
+the first theme of the symphony. In sudden _Allegro risoluto_ over
+rumbling bass of strings, a mystic call of horns, harking far back,
+spreads its echoing ripples all about till it rises in united tones,
+with a clear, descending answer, much like the original first motive.
+The latter now continues in the bass in large and smaller pace beneath a
+new tuneful treble of violins, while the call still roams a free course
+in the wind. Oft repeated is this resonation in paired harmonies, the
+lower phrase like an "obstinate bass."
+
+Leaving the fantasy, the voices sing in simple choral lines a hymnal
+song in triumphal pace, with firm cadence and answer, ending at length
+in the descending
+
+[Music: _Allegro risoluto_
+_deciso_
+(Strings, with added wood and horns)]
+
+phrase. The full song is repeated, from the entrance of the latter, as
+though to stress the two main melodies. The marching chorus halts
+briefly when the clarinet begins again a mystic verse on the strain of
+the call, where the descending phrase is intermingled in the horns and
+strings.
+
+There is a new horizon here. We can no longer speak with
+half-condescension of Italian simplicity, though another kind of primal
+feeling is mingled in a breadth of symphonic vein. We feel that our
+Italian poet has cast loose his leading strings and is revealing new
+glimpses through the classic form.
+
+Against a free course of quicker figures rises in the horns the simple
+melodic call, with answer and counter-tunes in separate discussion. Here
+comes storming in a strident line of the inverted melody in the bassoon,
+quarrelling with the original motive in the clarinet. Then a group sing
+the song in dancing trip, descending against the stern rising theme of
+violas; or one choir follows on the heels of another. Now into the play
+intrudes the second melody, likewise in serried chase of imitation.
+
+The two themes seem to be battling for dominance, and the former wins,
+shouting its primal tune in brass and wood, while the second sinks to a
+rude clattering rhythm in the bass. But out of the clash, where the
+descending phrase recurs in the basses, the second melody emerges in
+full sonorous song. Suddenly at the top of the verse rings out in
+stentorian brass the first theme of all the symphony to the opening
+chord of the Finale, just as it rang at the climax in the beginning.
+
+A gentle duet of violins and clarinet seems to bring back the second
+melody of the first movement, and somehow, in the softer mood, shows a
+likeness with the second of the Finale. For a last surprise, the former
+idyll (of the first Allegro) returns and clearly proves the original
+guise of our latest main melody. As though to assure its own identity as
+prevailing motto, it has a special celebration in the final joyous
+revel.
+
+
+
+
+CHAPTER XX
+
+EDWARD ELGAR. AN ENGLISH SYMPHONY[A]
+
+[Footnote A: Symphony in A flat. Edward Elgar, born in 1857.]
+
+
+There is a rare nobility in the simple melody, the vein of primal hymn,
+that marks the invocation,--in solemn wood against stately stride of
+
+[Music: (_Andante nobilmente e semplice_)
+(Woodwind)
+(Basses of strings, _staccato_)]
+
+lower strings. A true ancient charm is in the tune, with a fervor at the
+high point and a lilt almost of lullaby,--till the whole chorus begins
+anew as though the song of marching hosts. Solemnity is the essence
+here, not of artificial ceremony nor of rhymeless chant,--rather of
+prehistoric hymn.
+
+In passionate recoil is the upward storming song (Allegro) where a group
+of horns aid the surging crest of strings and wood,--a resistless motion
+of massed melody. Most thrilling after the first climax is the sonorous,
+vibrant stroke of the bass in the
+
+[Music: _Allegro appassionato_
+(Strings, wood and horns)
+(See page 308, line 10.)]
+
+recurring melody. As it proceeds, a new line of bold tune is stirred
+above, till the song ends at the highest in a few ringing, challenging
+leaps of chord,--ends or, rather merges in a relentless, concluding
+descent. Here, in a striking phrase of double
+
+[Music: (Violins and clarinets in succession)
+(Harp)
+(Strings, the upper 3d doubled in higher reed)]
+
+song, is a touch of plaint that, hushing, heralds the coming gentle
+figure. We are sunk in a sweet romance, still of ancientest lore, with a
+sense of lost bliss in the wistful cadence. Or do these entrancing
+strains lead merely to the broader melody that moves with queenly tread
+(of descending violins) above a soft murmuring of lower figures? It is
+taken up
+
+[Music: (Violins)
+(Harp and wood doubled above)]
+
+in a lower voice and rises to a height of inner throb rather than of
+outer stress. The song departs as it came, through the tearful plaint of
+double phrase. Bolder accents merge suddenly into the former impassioned
+song. Here is the real sting of warrior call, with shaking brass and
+rolling drum, in lengthened swing against other faster sounds,--a revel
+of heroics, that at the end breaks afresh into the regular song.
+
+Yet it is all more than mere battle-music. For here is a new passionate
+vehemence, with loudest force of vibrant brass, of those dulcet strains
+that preceded the queenly melody. An epic it is, at the least, of
+ancient flavor, and the sweeter romance here rises to a tempest more
+overpowering than martial tumult.
+
+It is in the harking back to primal lore that we seem to feel true
+passion at its best and purest, as somehow all truth of legend, proverb
+and fable has come from those misty ages of the earth. The drooping
+harmonies merge in the returning swing of the first solemn hymn,--a mere
+line that is broken by a new tender appeal, that, rising to a moving
+height,
+
+[Music: (Strings)
+_teneramente_]
+
+yields to the former plaint (of throbbing thirds).
+
+A longer elegy sings, with a fine poignancy, bold and new in the very
+delicacy of texture, in the sharp impinging of these gentlest sounds. In
+the depths of the dirge suddenly, though quietly, sounds the herald
+melody high in the wood, with ever firmer cheer, soon in golden horns,
+at last in impassioned strings, followed by the wistful motive.
+
+A phase here begins as of dull foreboding, with a new figure stalking in
+the depths and, above, a brief sigh in the wind. In the growing stress
+these figures sing from opposite quarters, the sobbing phrase below,
+when suddenly the queenly melody stills the tumult. It is answered by a
+dim, slow line of the ominous motive. Quicker echoes of the earlier
+despond still flit here and there, with gleams of joyous light. The
+plaintive (dual) song returns and too the tender appeal, which with its
+sweetness at last wakens the buoyant spirit of the virile theme.
+
+And so pass again the earlier phases of resolution with the masterful
+conclusion; the tearful accents; the brief verse of romance, and the
+sweep of queenly figure, rising again to almost exultation. But here,
+instead of tears and recoil, is the brief sigh over sombre harmonies,
+rising insistent in growing volume that somehow conquers its own mood. A
+return of the virile motive is followed at the height by the throbbing
+dual song with vehement stress of grief, falling to lowest echoes.
+
+Here begins the epilogue with the original solemn hymn. Only it is now
+entwined with shreds and memories of romance, flowing tranquilly on
+through gusts of passion. And there is the dull sob with the sudden
+gleam of joyous light. But the hymn returns like a sombre solace of
+oblivion,--though there is a final strain of the wistful romance, ending
+in sad harmony.
+
+_II.--Allegro molto._ The Scherzo (as we may venture to call it) begins
+with a breath of new harmony, or is it a blended magic of rhythm, tune
+and chord? Far more than merely bizarre, it calls up a vision of Celtic
+warriors, the wild, free spirit of Northern races. The rushing jig or
+reel is halted
+
+[Music: _Allegro molto_
+(Strings with kettle-drum)]
+
+anon by longer notes in a drop of the tune and instantly returns to the
+quicker run. Below plays a kind of drum-roll of rumbling strings. Other
+revelling pranks appear, of skipping wood, rushing harp and dancing
+strings, till at last sounds a clearer tune, a restrained war-march with
+touch of terror in the soft subdued chords, suddenly growing to
+expressive
+
+[Music: (Violas and clarinets)
+(Wood, basses and strings)]
+
+volume as it sounds all about, in treble and in bass.
+
+At last the war-song rings in full triumphant blast, where trumpets and
+the shrill fife lead, and the lower brass, with cymbals and drums (big
+and little) mark the march. Then to the returning pranks the tune roars
+in low basses and reeds, and at last a big conclusive phrase descends
+from the height to meet the rising figure of the basses.
+
+Now the reel dances in furious tumult (instead of the first whisper) and
+dies down through the slower cadence.
+
+An entirely new scene is here. To a blended tinkle of harp, reeds and
+high strings sounds a delicate air, quick and light, yet with a tinge of
+plaint that may be a part of all Celtic song. It were rude to spoil
+
+[Music: (Woodwind, with a triplet pulse of harp and rhythmic strings)]
+
+its fine fragrance with some rough title of meaning; nor do we feel a
+strong sense of romance, rather a whim of Northern fantasy.
+
+Over a single note of bass sings a new strain of elegy, taken up by
+other voices, varying with the
+
+[Music: (Clarinets)]
+
+tinkling air. Suddenly in rushes the first reel, softly as at first; but
+over it sings still the new sad tune, then yields to the wild whims and
+pranks that lead to the war-song in resonant chorus, joined at the
+height by the reel below. They change places, the tune ringing in the
+bass. In the martial tumult the tinkling air is likewise infected with
+saucy vigor, but suddenly retires abashed into its shell of fairy sound,
+and over it sings the elegy in various choirs. The tinkling melody falls
+suddenly into a new flow of moving song, rising to pure lyric fervor.
+The soft air has somehow the main say, has reached the high point, has
+touched the heart of the movement. Expressively it slowly sinks away
+amid echoing phrases and yields to the duet of elegy and the first reel.
+But a new spirit has appeared. The sting of war-song is gone. And here
+is the reel in slow reluctant pace. After another verse of the fairy
+tune, the jig plays still slower, while above sings a new melody. Still
+slower the jig has fallen almost to funeral pace, has grown to a new
+song of its own, though, to be sure, brief reminders of the first dance
+jingle softly here and there. And now the (hushed) shadow of the
+war-song in quite slower gait strides in lowest basses and passes
+quietly straight into the Adagio.
+
+[Music: (Strings with lower reeds and horns)
+_Adagio_
+_cantabile_]
+
+_III._--Assured peace is in the simple sincere melody, rising to a glow
+of passion. But--is this a jest of our poet? Or rather now we see why
+there was no halt at the end of the Scherzo. For the soothing melody is
+in the very notes of the impish reel,--is the same tune.[A] Suddenly
+hushing, the song hangs on high over delicate minor harmonies.
+
+[Footnote A: There seems to be shown in this feat at once the
+versatility of music as well as the musician in expressing opposite
+moods by the same theme. The author does not feel bound to trace all
+such analogies, as in the too close pursuit we may lose the forest in
+the jungle.]
+
+In exquisite hues an intimate dialogue ensues, almost too personal for
+the epic vein, a discourse or madrigal of finest fibre that breaks (like
+rays of setting sun) into a melting cadence of regret. We are doubly
+thrilled in harking back to the sweet, wistful romance, the strain of
+the first movement.
+
+[Music: (Harp, wood and strings)]
+
+Across the gauzy play, horns and wood blow a slow phrase, like a motto
+of Fate in the sombre harmony, with one ardent burst of pleading.
+
+In clearer articulation sings a dual song, still softly o'ercast with
+sweet sadness, ever richer in the harmonies of multiple strings, tipped
+with the light mood,--and again the wistful cadence. Siren figures of
+entrancing grace that move amid the other melody, bring enchantment that
+has no cheer, nor escape the insistent sighing phrase. Once more come
+the ominous call and the passionate plea, then assurance with the
+returning main melody in renewed fervor. Phases of dual melody end again
+with the wistful cadence. The tranquil close is like one sustained fatal
+farewell, where the fairy figures but stress the sad burden.
+
+_IV._--The beginning is in lowest depths (Largo). First is the stalking
+figure of earliest movement, from the moment of despond. It is answered
+by a steadily striding theme, almost martial, save for the
+
+[Music: _Lento_
+(_Pizz._ cellos with _stacc._ bassoons)]
+
+slowness of pace. Not unlike the hymn of the first prologue in line of
+tune, it bears a mood of dark resignation that breaks presently into the
+touching plea of the wistful cadence.
+
+The whole is a reflective prologue to the Finale: a deep meditation from
+which the song may roll forth on new spring. The hymn has suddenly
+entered with a subtly new guise; for the moment it seems part of the
+poignant sigh; it is as yet submerged in a flood of gloom and regret;
+and the former phrases still stride and stalk below. In a wild climax of
+gloom we hear the former sob, earlier companion of the stalking figure.
+
+Hymnal strains return,--flashes of heavenly light in the depths of hell,
+and one passionate sigh of the melting cadence.
+
+_Allegro_,--we are carried hack to the resolute vigor of the earlier
+symphony, lacking the full fiery charm, but ever striving and stirring,
+like Titans rearing mountain piles, not without the cheer of toil
+itself. At the height comes a burst of the erst yearning cadence, but
+there is a new masterful accent; the wistful edge does not return till
+the echoing phrases sink away in the depths.
+
+A new melody starts soaring on the same wing of
+
+[Music: (Strings and clarinets)
+_Allegro_
+_cantabile_
+(_Staccato_ strings _con 8ve._)]
+
+blended striving and yearning of which all this song is fraught. In its
+broader sweep and brighter cheer it is like the queenly melody of the
+first movement.
+
+The Titan toil stirs strongly below the soft cadence; the full, fierce
+ardor mounts heavenward. Phases now alternate of insistent rearing on
+the strenuous motive and of fateful submission in the marching strain,
+that is massed in higher and bigger chorus. As gathers the stress of
+climax, the brass blowing a defiant blast, the very vehemence brings a
+new resolution that is uttered in the returning strenuous phrase.
+
+Again rises the towering pile. At the thickest the high horns blow loud
+a slow, speaking legend,--the farewell motive, it seems, from the end of
+Adagio, fierce energy struggling with fatal regret gnawing at the heart.
+
+Gripping is the appeal of the sharp cry almost of anguish into which the
+toiling energy is suddenly resolved. Again the fateful march enters, now
+in heroic fugue of brass and opposite motion of strings and reed,--all
+overwhelmed with wild recurring pangs of regret.
+
+And so "double, double, toil and trouble," on goes the fugue and follows
+the arduous climb (into the sad motto in the horns), each relieving the
+other, till both yield again to the heart-breaking cry.
+
+The cheerier melody here re-enters and raises the mood for the nonce.
+Soon it falls amid dim harmonies. Far in the depths now growls the dull
+tread, answered by perverted line of the hymn.
+
+A mystic verse sounds over pious chords of harp in the tune of the
+march, which is sung by antiphonal choirs of strings,--later with fuller
+celestial chorus, almost in rapture of heavenly resignation. Only it is
+not final; for once again returns the full struggle of the beginning,
+with the farewell-legend, and in highest passion the phrase of regret
+rung again and again--till it is soothed by the tranquil melody. The
+relentless stride of march too reaches a new height, and one last,
+moving plaint. When the fast chasing cries are in closest tangle,
+suddenly the hymn pours out its benediction, while the cries have
+changed to angelic acclaim. Here is the transfigured song in full
+climactic verse that fulfils the promise of the beginning. A touch of
+human (or earthly joy) is added in an exultant strain of the sweeping
+melody that unites with the hymn at the close.
+
+
+
+
+CHAPTER XXI
+
+SYMPHONIES IN AMERICA
+
+
+When we come to a view of modern music in symphonic design, written in
+America, we are puzzled by a new phase of the element of nationalism.
+For here are schools and styles as different as of far corners of
+Europe. Yet they can be called nothing else than American, if they must
+have a national name. In the northern centre whence a model orchestra
+has long shed a beneficent influence far afield, the touch of new French
+conceits has colored some of the ablest works. Elsewhere we have cited a
+symphony more in line with classical tradition.[A]
+
+[Footnote A: A symphony by Wm. W. Gilchrist. Vol. II, Appendix.]
+
+Perhaps most typical is a symphony of Hadley where one feels, with other
+modern tradition, the mantle of the lamented MacDowell, of whom it may
+be said that he was first to find in higher reaches of the musical art
+an utterance of a purely national temper.
+
+
+_HENRY HADLEY. SYMPHONY NO. 3, B MINOR._[A]
+
+[Footnote A: Opus 60, Henry Hadley, American, born 1871.]
+
+With virile swing the majestic melody strides in the strings, attended
+by trooping chords of wood and brass, all in the minor, in triple
+rhythm. In
+
+[Music: _Moderato e maestoso_
+(Harp and wind)
+(All the trebles)
+(Strings with lower 8ve.)]
+
+the bass is a frequent retort to the themal phrase. For a moment a
+dulcet line steals in, quickly broken by the returning martial stride of
+stentorian horns, and of the main theme in full chords. Strange, though,
+how a softer, romantic humor is soon spread over the very discussion of
+the martial theme, so that it seems the rough, vigorous march is but the
+shell for the kernel of tender romance,--the pageant that precedes the
+queenly figure. And presently, _piu tranquillo_, comes the fervent lyric
+song that may indeed be the chief theme in poetic import, if not in
+outer rank. After a moving verse in the strings,
+
+[Music: _Piu tranquillo_
+(Strings)
+(_Pizz._ basses _8va._) (Added woodwind)]
+
+with an expressive strain in some voice of the woodwind or a ripple of
+the harp, it is sung in tense chorus of lower wood and horns,--soon
+joined by all the voices but the martial brass, ending with a soft echo
+of the strings.
+
+Now in full majesty the stern stride of first theme is resumed, in
+faster insistence,--no longer the mere tune, but a spirited extension
+and discussion, with retorts between the various choirs. Here the
+melodious march is suddenly felt in the bass (beneath our feet, as it
+were) of lowest brass and strings, while the noisy bustle continues
+above; then, changing places, the theme is above, the active motion
+below.
+
+Long continues the spirited clatter as of warlike march till again
+returns the melting mood of the companion melody, now sung by the
+expressive horn, with murmuring strings. And there are enchanting
+flashes of tonal light as the song passes to higher choirs. The lyric
+theme wings its rapturous course to a blissful height, where an
+intrusion of the main motive but halts for the moment the returning
+tender verse.
+
+When the first vigorous phrase returns in full career, there is somehow
+a greater warmth, and the dulcet after-strain is transfigured in a glow
+greater almost than of the lyric song that now follows with no less
+response of beauty. In the final spirited blending of both melodies the
+trumpets sound a quicker pace of the main motive.
+
+In the Andante (_tranquillo_) the sweet tinkle of church-bells with
+soft chanting horns quickly defines the scene. Two voices of the
+strings, to the
+
+[Music: (Bells and harp in continuous repetition)
+_Andante tranquillo_
+_Espress._ (Cellos)
+(Strings, with added choir of lower reeds)]
+
+continuing hum of the bells, are singing a responsive song that rises in
+fervor as the horns and later the woodwind join the strings. Anon will
+sound the simple tune of the bells with soft harmonies, like echoes of
+the song,--or even the chant without the chimes.
+
+In more eager motion,--out of the normal measure of bells and hymn,
+breaks a new song in minor with a touch of passion, rising to a burst of
+ardor. But it passes, sinking away before a new phase,--a bucolic
+
+[Music: _Poco piu mosso_
+(Oboe)
+(Clar'ts & horns)
+(Strings)]
+
+fantasy of trilling shepherd's reed (in changed, even pace), supported
+by strumming strings. The sacred calm and later passion have yielded to
+a dolorous plaint, like the dirge of the Magyar plains. Suddenly the
+former fervor returns with strains of the second melody amidst urging
+motion (in the triple pace) and startling rushes of harp-strings. At the
+height, trumpets blare forth the first melody, transformed from its
+earlier softness, while the second presses on in higher wood and
+strings; the trombones relieve the trumpets, with a still larger chorus
+in the romantic song; in final exaltation, the basses of brass and
+strings sound the first melody, while the second still courses in treble
+voices.
+
+Of a sudden, after a lull, falls again the tinkle of sacred chimes, with
+a verse each of the two main melodies.
+
+The Scherzo begins with a Saltarello humor, as of airy faun, with a
+skipping theme ever accompanied by a lower running phrase and a prancing
+trip of
+
+[Music: _Allegro con leggerezza, ben sostenuto_
+(Cl.)
+(_Pizz._ strings)
+(Bassoon)]
+
+strings, with a refrain, too, of chirruping woodwind. Later the skipping
+phrase gains a melodic cadence. But the main mood is a revel of gambols
+and pranks of rhythm and harmony on the first phase.
+
+In the middle is a sudden shift of major tone and intimate humor, to a
+slower pace. With still a semblance of dance, a pensive melody sings in
+the cellos; the graceful cadence is rehearsed in a choir
+
+[Music: _Poco meno mosso_
+(Strings)
+(Cello)]
+
+of woodwind, and the song is taken up by the whole chorus. As a pretty
+counter-tune grows above, the melody sings below, with a blending of
+lyric feeling and the charm of dance. At a climactic height the horns,
+with clumsy grace, blare forth the main lilting phrase.
+
+The song now wings along with quicker tripping counter-tunes that slowly
+lure the first skipping tune back into the play after a prelude of high
+festivity. New pranks appear,--as of dancing strings against a stride of
+loud, muted horns. Then the second (pensive) melody returns, now above
+the running counter-tune. At last, in faster gait, to the coursing of
+quicker figures, the (second) melody rings out in choir of brass in
+twice slower, stately pace. But the accompanying bustle is merely
+heightened until all four horns are striking together the lyric song. At
+the end is a final revel of the first dancing tune.
+
+The Finale, which bears the unusual mark _Allegro con giubilio_, begins
+with a big festive march that may seem to have an added flavor of old
+English merrymaking. But as in the other cantos of the poem there
+
+[Music: _Allegro con giubilio_
+_Tutti_
+(Basses in 8ve.)]
+
+is here, too, an opposite figure and feeling. And the more joyous the
+gaiety, the more sweetly wistful is the recoil. Nay there is in this
+very expressive strain, beautifully woven in strings, harp, woodwind and
+horns, a vein of regret that grows rather than lessens, whenever the
+melody appears alone. It is like the memory, in the midst of festival,
+of some blissful moment lost forever.
+
+Indeed, the next phase seems very like a disordered chase of stray
+memories; for here a line of martial air is displaced by a pensive
+strain which in
+
+[Music: (Cello and harp with harmony of wood, horns and strings)
+_Piu tranquillo_
+_Molto espress._]
+
+turn yields to the quick, active tune that leads to a height of
+celebration.
+
+But here is a bewildering figure on the scene: Lustily the four horns
+(helped by the strings) blow in slow notes against the continuing motive
+an expressive melody. Slowly it breaks upon our ears as the wistful air
+that followed the chimes of Sunday bells. It has a stern, almost sombre
+guise, until it suddenly glows in transfigured light, as of a choir of
+celestial brass.
+
+Slowly we are borne to the less exalted pitch of the first festive
+march, and here follows, as at first, the expressive melody where each
+hearer may find his own shade of sadness. It does seem to reach a true
+passion of regret, with poignant sweet sighs.
+
+At length the sadness is overcome and there is a new animation as
+separate voices enter in fugal manner in the line of the march. Now the
+festive tune holds sway in lower pace in the basses; but then rings on
+high in answer--the wistful melody again and again, in doubled and twice
+redoubled pace.
+
+When we hear the _penseroso_ melody once more at the end, we may feel
+with the poet a state of resigned cheer.
+
+
+A remarkable work that shows the influence of modern French harmony
+rather than its actual traits, is a SYMPHONY BY GUSTAV STRUBE.[A] It is
+difficult to resist the sense of a strain for bizarre harmony, of a
+touch of preciosity. The real business of these harmonies is for
+incidental pranks, with an after-touch that confesses the jest, or
+softens it to a lyric utterance. It cannot be denied that the moving
+moments in this work come precisely in the release of the strain of
+dissonance, as in the returning melody of the Adagio. Only we may feel
+we have been waiting too long. The desert was perhaps too long for the
+oasis. _Est modus in rebus_: the poet seems niggardly with his melody;
+he may weary us with too long waiting, with too little staying comfort.
+He does not escape the modern way of symbolic, infinitesimal melody, so
+small that it must, of course, reappear. It is a little like the
+wonderful arguments from ciphers hidden in poetry.
+
+[Footnote A: Of Boston,--born in Germany in 1867.]
+
+It cannot he denied that the smallness of phrase does suggest a
+smallness of idea. The plan of magic motive will not hold _ad
+infinitesimum_. As the turn of the triplet, in the first movement,
+twists into a semblance of the Allegro theme, we feel like wondering
+with the old Philistine:
+
+    ... "How all this difference can be
+    'Twixt tweedle-dum and tweedle-dee!"
+
+But there is the redeeming vein of lyric melody with a bold fantasy of
+mischievous humor and a true climax of a clear poetic design. One reason
+seems sometimes alone to justify this new license, this new French
+revolution: the deliverance from a stupid slavery of rules,--if we would
+only get the spirit of them without the inadequate letter. Better, of
+course, the rules than a fatal chaos. But there is here in the bold
+flight of these harmonies, soaring as though on some hidden straight
+path, a truly Promethean utterance.
+
+It is significant, in the problem of future music, that of the
+symphonies based upon recent French ideas, the most subtly conceived and
+designed should have been written in America.
+
+_I._--In pale tint of harmony sways the impersonal phrase that begins
+with a descending tone. We may
+
+[Music: _Andante_ (Melody in flute and violas)
+(Violins)
+(Cellos with basses in lower 8ve.)]
+
+remember[A] how first with the symphony came a clear sense of tonal
+residence. It was like the age in painting when figures no longer hung
+in the gray air, when they were given a resting-place, with trees and a
+temple.
+
+[Footnote A: See Vol. I, Chapter I.]
+
+Here we find just the opposite flight from clear tonality, as if
+painting took to a Japanese manner, sans aught of locality. Where an
+easy half-step leads gently somewhere, a whole tone sings instead.
+Nothing obvious may stand.
+
+It marks, in its reaction, the excessive stress of tonality and of
+simple colors of harmony. The basic sense of residence is not abandoned;
+there is merely a bolder search for new tints, a farther straying from
+the landmarks.
+
+Soon our timid tune is joined by a more expressive line that rises in
+ardent reaches to a sudden tumult, with a fiery strain of trumpets where
+we catch a glimpse of the triplet figure. After a dulcet lullaby
+
+[Music: (Flute with _tremolo_ of high strings)
+(New melody in ob. and violas)
+(Cellos with sustained lower B of basses)]
+
+of the first air, the second flows in faster pace (_Allegro commodo_) as
+the real text, ever with new blossoming variants that sing together in a
+madrigal of tuneful voices, where the descending note still has a part
+in a smooth, gliding pace of violins.
+
+In gayer mood comes a verse of the inverted (Allegro) tune, with other
+melodic guises hovering about. When the theme descends to the bass, the
+original Andante phrase sings in the trumpet, and there is a chain of
+entering voices, in growing agitation, in the main legend with the
+quicker sprites dancing about. At the height, after the stirring song
+of trumpets, we feel a passionate strife of resolve and regret; and
+immediately after, the descending tone is echoed everywhere.
+
+A balancing (second) theme now appears, in tranquil
+
+[Music: (Horn)
+_Allegro dolce_
+(Violas & cellos)
+(Sustained harmony in violins, bassoons and flute)]
+
+flow, but pressing on, at the end, in steady ascent as to Parnassian
+summit. Later comes a new rejoinder in livelier mood, till it is lost in
+a big, moving verse of the Andante song. But pert retorts from the
+latest new tune again fill the air, then yield in attendance upon the
+returning Allegro theme. Of subtle art is the woof of derived phrases. A
+companion melody, that seems fraught of the text of the second subject,
+sings with rising passion, while the lower brass blow lustily in
+eccentric rhythm of the Allegro phrase and at the height share in the
+dual triumph.
+
+We feel a kinship of mood rather than of theme, a coherence that we
+fear to relate to definite figures, though the descending symbol is
+clear against the ascending. An idyllic dialogue, with the continuing
+guise of the Allegro phrase turns to a gayer revel in the original pace,
+with a brilliant blare of trumpets.
+
+The free use of themes is shown in the opposite moods of the triplet
+phrase, of sadness, as in Andante, or buoyant, in Allegro. Here are both
+in close transition as the various verses return from the beginning,
+entwined about the first strain of the Andante, gliding through the
+descending tone into the second soothing song with the Parnassian
+ascent.
+
+A full verse of the first Andante melody sings at the heart of the plot,
+followed by the strange daemonic play that keeps the mood within bounds.
+Indeed, it returns once more as at first, then springs into liveliest
+trip and rises to an Olympian height, with a final revel of the triplet
+figure.
+
+_II._--With a foreshadowing drop of tone begins the prelude, not unlike
+the first notes of the symphony,
+
+[Music: _Adagio, ma non troppo_
+(_espressivo_ Clar.)
+(Strings)
+(Clar'ts and bassoons)]
+
+answered with a brief phrase. On the descending motive the main melody
+is woven.
+
+Tenderly they play together, the melody with the main burden, the
+lighter prelude phrase in graceful accompaniment. But now the latter
+sings in turn a serious verse, rises to a stormy height, the horns
+proclaiming the passionate plea amid a tumultuous accord of the other
+figures, and sinks in subdued temper. In a broader pace begins a new
+line, though on the thread of the descending motive, and with the
+entering phrase of the prelude winds to a climax of passion. The true
+episode, of refuge and solace from the stress of tempest, is in a song
+of the trumpet through a shimmering gauze of strings with glinting harp,
+to a soft murmuring in the reeds.
+
+[Music: _Animando_ (Violins)
+(_Trem._ violins doubled above in oboes)
+(Cellos with sustained lower B of basses)
+Main melody in trumpets]
+
+In a new shade of tone it is echoed by the horn, then in a fervent close
+it is blended with a guise of the prelude phrase, that now heralds the
+main melody, in a duet of clarinet and violins. At last in the home
+tone the horn sings amid the sweet tracery the parting verse, and all
+about sounds the trist symbol of the first (descending) motive.
+
+_III._--The Scherzo is in one view a mad revel of demon pranks in a new
+field of harmonies. Inconsequential though they may seem, there is a
+real coherence, and, too, a subtle connection with the whole design.
+
+To be sure, with the vagueness of tune that belongs to a school of
+harmonic exploits a certain mutual relation of themes is a kind of
+incident. The less defined the phrases, the easier it is to make them
+similar.
+
+Undoubted likeness there is between the main elfin figure and the first
+phrase of the symphony.
+
+[Music: (Oboes, with lower 8ve. and higher 8ve. of piccolo)
+_Allegro vivace_
+(Strings)]
+
+The triplet is itself a kind of password throughout. With this multiple
+similarity is a lack of the inner bond of outer contrast.
+
+The mood of demon humor finds a native medium in the tricks of new
+Gallic harmony. Early in the prelude we hear the descending tone, a
+streak of sadness in the mirth. Answering the first burst is a strange
+stroke of humor in the horn, and as if in
+
+[Music: (_Tremolo_ 1st violins)
+(1st horn) (Clarinets doubled above in strings)]
+
+serious balance, a smooth gliding phrase in the wood. Now the first
+figure grows more articulate, romping and galloping into an ecstasy of
+fun. A certain spirit of Till Eulenspiegel hovers about.
+
+Out of the maze blows a new line in muted trumpets, that begins with the
+inverted triplet figure, and in spite of the surrounding bedlam rises
+almost into a tune. At the height the strange jest of the horns reigns
+supreme.
+
+From the mad gambols of the first figure comes a relief in sparkling
+calls of the brass and stirring retorts in pure ringing harmonies. In
+the next episode is a fall into a lyric mood as the latest figure glides
+into even pace, singing amid gentlest pranks. Most tuneful of all
+sounds is the answer in dulcet trumpet while, above, the first theme
+intrudes softly.
+
+The heart of the idyll comes in a song of the clarinet
+
+[Music: (Cl. _espressivo_)
+(_Pizz._ strings with higher 8ve. of upper voice)
+(Wood and horn and strings) (Clar. and bassoons)]
+
+against strange, murmuring strings, ever with a soft answer of the lower
+reed.
+
+New invading sprites do not hem the flight of the melody. But at the
+height a redoubled pace turns the mood back to revelling mirth with
+broken bits of the horn tune. Indeed the crisis comes with a new rage of
+this symbol of mad abandon, in demonic strife with the fervent song that
+finally prevails.
+
+The first theme returns with a new companion in the highest wood. A
+fresh strain of serious melody is now woven about the former dulcet
+melody of trumpet in a stretch of delicate poesy, of mingled mirth and
+tenderness.--The harmonies have something of the infinitesimal sounds
+that only insects hear. With all virtuous recoil, here we must confess
+is a masterpiece of cacophonic art, a new world of tones hitherto
+unconceived, tinkling and murmuring with the eerie charm of the
+forest.--In the return of the first prelude is a touch of the descending
+tone. From the final revelling tempest comes a sudden awakening. In
+strange moving harmony sings slowly the descending symbol, as if
+confessing the unsuccessful flight from regret. Timidly the vanquished
+sprites scurry away.
+
+_IV._--The first notes of the Finale blend and bring back the main
+motives. First is the descending tone, but firm and resolute, with the
+following triplet in
+
+[Music: _Allegro energico_ (Higher figure in strings & wood)
+(Wood, horns and lower strings) (Strings and wood)]
+
+inversion of the Scherzo theme.
+
+It is all in triumphant spirit. From the start the mood reigns, the art
+for once is quite subordinate. Resonant and compelling is the motive of
+horns and trumpets, new in temper, though harking back to the earlier
+text, in its cogent ending. Splendid is
+
+[Music: (Strings)
+(Wood & strings doubled below)
+(Horns and trumpets)]
+
+the soaring flight through flashes of new chords. There is, we must
+yield, something Promethean, of new and true beauty, in the bold path of
+harmonies that the French are teaching us after a long age of slavish
+rules.
+
+The harking back is here better than in most modern symphonies with
+their pedantic subtleties: in the resurgence of joyous mood, symbolized
+by the inversion of phrase, as when the prankish elfin theme rises in
+serious aspiration.
+
+Out of these inspiriting reaches sings a new melody in canon of strings
+(though it may relate to some shadowy memory), while in the bass rolls
+the former ending phrase; then they romp in jovial turn of rhythm.
+
+[Music: (Oboes, doubled below in bassoons) (Strings, doubled below)
+(Horns) (_Pizz._ cello doubled below)]
+
+A vague and insignificant similarity of themes is a fault of the work
+and of the style, ever in high disdain of vernacular harmony, refreshing
+to be sure, in its saucy audacity, and anon enchanting with a ring of
+new, fiery chord. As the sonorous theme sings in muted brass, picking
+strings mockingly play quicker fragments, infecting the rest with
+frivolous retorts, and then a heart-felt song pours forth, where the
+accompanying cries have softened their mirth. Back they skip to a joyous
+trip with at last pure ringing harmonies.
+
+At the fervent pitch a blast of trumpets rises in challenging phrase, in
+incisive clash of chord, with the early sense of Parnassian ascent. At
+the end of this brave fanfare we hear a soft plea of the descending tone
+that prompts a song of true lyric melody, with the continuing gentlest
+touch of regret, all to a sweetly bewildering turn of pace. So tense
+
+[Music: (Continuing organ pt. of violins) (Fl. & clar. _dolce_)
+_Animando_
+(Melody in ob. _dolce_)
+(Strings)]
+
+and subtle an expression would utterly convert us to the whole harmonic
+plan, were it not that just here, in these moving moments, we feel a
+return to clearer tonality. But it is a joy to testify to so devoted a
+work of art.
+
+With the last notes of melody a new frisking tune plays in sauciest
+clashes of chord, with an enchanting stretch of ringing brass. A long
+merriment ensues in the jovial trip, where the former theme of horns has
+a rising cadence; or the tripping tune sings in united chorus and again
+through its variants. After a noisy height the dulcet melody (from the
+descending tone) sings in linked sweetness. In the later tumult we rub
+our eyes to see a jovial theme of the bass take on the lines of the
+wistful melody. Finally, in majestic tread amid general joyous clatter
+the brass blow the gentle song in mellowed tones of richest harmony.
+
+
+_CHADWICK.[A] SUITE SYMPHONIQUE (IN E FLAT)._
+
+[Footnote A: George W. Chadwick, American, born in 1854.]
+
+With a rush of harp and higher strings the Suite begins on ardent wing
+in exultant song of trumpets (with horns, bassoons and cellos) to quick
+palpitating violins that in its higher flight is given over to upper
+reeds and violas. It is answered by gracefully drooping melody of
+strings and harps topped by the oboes, that lightly descends from the
+heights with a cadence long delayed, like the circling flight of a great
+bird before he alights. Straightway begins a more pensive turn of phrase
+(of clarinet and lower strings) in distant tonal scene where now the
+former (descending) answer sings timidly in alternating groups. The
+pensive melody returns for a greater reach, blending with the original
+theme (in all the basses) in a glowing duet of two moods as well as
+melodies, rising to sudden brilliant height, pressing on to a full
+return of the first exultant melody with long, lingering, circling
+descent.
+
+The listener on first hearing may be warned to have a sharp ear for all
+kinds of disguises of the stirring theme and in a less degree, of the
+second subject. What seems a new air in a tranquil spot, with strum of
+harp,--and new it is as expression,--is our main melody in a kind of
+inversion. And so a new tissue of song continues, all of the original
+fibre, calming more and more from the first fierce glow. A tuneful
+march-like strain now plays gently in the horns while the (inverted)
+expressive air still sounds above.
+
+[Music: (Oboe with 8ve. flute) (Oboe)
+(Horns) _Calmato ed espressivo assai_]
+
+When all has quieted to dim echoing answers between horn and reed, a
+final strain bursts forth (like the nightingale's voice in the
+surrounding stillness) in full stress of its plaint. And so, in most
+natural course, grows and flows the main balancing melody that now
+pours out its burden in slower, broader pace, in joint choirs of wood
+and strings.
+
+[Music: _Meno mosso e largamente_
+(Woodwind above, strings below)
+(_pizz._ basses)]
+
+It is the kind of lyric spot where the full stream of warm feeling seems
+set free after the storm of the first onset. In answer is a timid,
+almost halting strain in four parts of the wood, echoed in strings. A
+new agitation now stirs the joint choirs (with touches of brass), and
+anon comes a poignant line of the inverted (main) theme. It drives in
+rising stress under the spurring summons of trumpets and horns to a
+celebration of the transfigured second melody, with triumphant cadence.
+Nor does the big impulse halt here. The trumpets sound on midst a
+spirited duet of inverted and original motives until the highest point
+is reached, where, to quicker calls of the brass, in broadest pace the
+main subject strikes its inverted tune in the trebles, while the bass
+rolls its majestic length in a companion melody; trombones, too, are
+blaring forth the call of the second theme.
+
+Brief interludes of lesser agitation bring a second chorus on the
+reunited melodies in a new tonal quarter.
+
+In mystic echoing groups on the former descending answer of main theme
+the mood deepens in darkening scene. Here moves in slow strides of
+lowest brass a shadowy line of the second melody answered by a poignant
+phrase of the first. Striking again and again in higher perches the dual
+song reaches a climax of feeling in overpowering burst of fullest brass.
+In masterful stride, still with a burden of sadness, it has a solacing
+tinge as it ends in a chord with pulsing harp, that twice repeated leads
+back to the stirring first song of main theme.
+
+Thence the whole course is clear in the rehearsal of former melodies.
+Only the pensive air has lost its melancholy. Here is again the lyric of
+warm-hued horns with plaintive higher phrase, and the full romance of
+second melody with its timid answer, where the nervous trip rouses
+slowly the final exultation. Yet there is one more descent into the
+depths where the main melody browses in dim searching. Slowly it wings
+its flight upwards until it is greeted by a bright burst of the second
+melody in a chorus of united brass. And this is but a prelude to the
+last joint song, with the inverted theme above. A fanfare of trumpets on
+the second motive ends the movement.
+
+The Romanze is pure song in three verses where we cannot avoid a touch
+of Scottish, with the little acclaiming phrases. The theme is given to
+the saxophone (or cello) with obligato of clarinet and violas; the bass
+is in bassoons and _pizzicato_ of lower strings. One feels a special
+gratitude to the composer who will write in these days a clear, simple,
+original and beautiful melody.
+
+The first interlude is a fantasy, almost a variant on the theme in a
+minor melody of the wood, with a twittering phrase of violins. Later the
+strings take up the theme in pure _cantilena_ in a turn to the
+major,--all in expressive song that rises to a fervent height. Though it
+grows out of the main theme, yet the change is clear in a return to the
+subject, now in true variation, where the saxophone has the longer notes
+and the clarinet and oboe sing in concert.
+
+There follows a pure interlude, vague in motive, full of dainty touches.
+The oboe has a kind of _arioso_ phrase with trilling of flutes and
+clarinets, answered in trumpets and harp.
+
+Later the first violins (on the G string) sing the main air with the
+saxophone.
+
+A double character has the third movement as the title shows, though in
+a broadest sense it could all be taken as a Humoreske.
+
+With a jaunty lilt of skipping strings the lower reeds strike the
+capricious tune, where the full chorus soon falls in. The answering
+melody, with more of sentiment, though always in graceful swing with
+tricksy attendant figures, has a longer song. Not least charm has the
+concluding tune that leads back to the whole melodious series.
+Throughout are certain chirping notes that form the external connection
+with the Humoreske that begins with strident theme (_molto robusto_) of
+low strings, the whole chorus, xylophon and all, clattering about, the
+high wood echoing like a band of giant crickets,--all in whimsical,
+varying pace. The humor grows more graceful when the first melody of the
+Intermezzo is lightly touched. The strange figure returns (in roughest
+strings and clarinet) somewhat in ancient manner of imitation. Later the
+chirruping answer recurs. Diminishing trills are echoed between the
+groups.
+
+Slowly the scene grows stranger. Suddenly in eerie harmonies of newest
+French or oldest Tartar, here are the tricks and traits where meet the
+extremes of latest Romantic and primeval barbarian. In this motley
+cloak sounds the typical Yankee tune, first piping in piccolo, then
+grunting in tuba. Here is Uncle Sam disporting himself merrily in
+foreign garb and scene, quite as if at home. If we wished, we might see
+a political satire as well as musical.
+
+After a climax of the clownish mood we return to the Intermezzo
+melodies.
+
+The Finale begins in the buoyant spirit of the beginning and seems again
+to have a touch of Scotch in the jaunty answer. The whole subject is a
+group of phrases rather than a single melody.
+
+Preluding runs lead to the simple descending line of treble with
+opposite of basses, answered by the jovial phrase. In the farther course
+the first theme prevails, answered with an ascending brief motive of
+long notes in irregular ascent. Here follows a freer flow of the jolly
+lilting tune, blending with the sterner descending lines.
+
+Balancing this group is an expressive melody of different sentiment. In
+its answer we have again the weird touch of neo-barbarism in a strain of
+the reed, with dancing overtones of violins and harp, and strumming
+chords on lower strings. Or is there a hint of ancient Highland in the
+drone of alternating horns and bassoons?
+
+Its brief verse is answered by a fervent conclusive line where soon the
+old lilting refrain appears with new tricks and a big celebration of its
+own and then of the whole madrigal of martial melody. It simmers down
+with whims and turns of the skipping phrase into the quiet
+(_tranquillo_) episode in the midst of the other stress.
+
+[Music: (With lower 8ve.)
+_Tranquillo_
+(With _pizz._ quarter notes in basses and strings)]
+
+The heart of the song is in the horns, with an upper air in the wood,
+while low strings guard a gentle rhythm. A brief strain in the wind in
+ardent temper is followed by another in the strings, and still a third
+in joint strings and wood. (Again we must rejoice in the achievement of
+true, simple, sincere melody.) The final glowing height is reached in
+all the choirs together,--final that is before the brass is added with
+a broader pace, that leads to the moving climax. As the horns had
+preluding chords to the whole song, so a single horn sings a kind of
+epilogue amid harmony of strings and other horns. Slowly a more vigorous
+pulse is stirred, in an interlude of retorting trumpets.
+
+Suddenly in the full energy of the beginning the whole main subject
+sounds again, with the jolly lilt dancing through all its measures,
+which are none too many. The foil of gentle melody returns with its
+answer of eerie tune and harmonies. It seems as if the poet, after his
+rude jest, wanted, half in amends, half on pure impulse, to utter a
+strain of true fancy in the strange new idiom.
+
+A new, grateful sound has again the big conclusive phrase that merges
+into more pranks of the jaunty tune in the biggest revel of all, so that
+we suspect the jolly jester is the real hero and the majestic figures
+are, after all, mere background. And yet here follows the most tenderly
+moving verse, all unexpected, of the quiet episode.
+
+The end is a pure romp, _molto vivace_, mainly on the skipping phrase.
+To be sure the stately figures after a festive height march in big,
+lengthened pace; but so does the jolly tune, as though in mockery. He
+breaks into his old rattling pace (in the Glockenspiel) when all the
+figures appear together,--the big ones changing places just before the
+end, where the main theme has the last say, now in the bass, amidst the
+final festivities.
+
+
+
+_LOEFFLER.[A] LA VILLANELLE DU DIABLE_
+
+_(The Devil's Round)_
+
+(After a poem by M. Rollinat. Symphonic poem for Orchestra and Organ)
+
+[Footnote A: Charles Martin Loeffler, born in Alsace in 1861.]
+
+Few pieces of program music are so closely associated with the subject
+as this tone picture of the Devil's Round. The translation of M.
+Rollinat's "Villanelle," printed in the score is as follows:[A]
+
+     Hell's a-burning, burning, burning. Chuckling in clear staccato,
+     the Devil prowling, runs about.
+
+     He watches, advances, retreats like zig-zag lightning; Hell's
+     a-burning, burning, burning.
+
+     In dive and cell, underground and in the air, the Devil, prowling,
+     runs about.
+
+     Now he is flower, dragon-fly, woman, black-cat, green snake; Hell's
+     a-burning, burning, burning.
+
+     And now, with pointed moustache, scented with vetiver, the Devil,
+     prowling, runs about.
+
+     Wherever mankind swarms, without rest, summer and winter, Hell's
+     a-burning, burning, burning.
+
+     From alcove to hall, and on the railways, the Devil, prowling, runs
+     about.
+
+     He is Mr. Seen-at-Night, who saunters with staring eyes. Hell's
+     a-burning, burning, burning.
+
+     There floating as a bubble, here squirming as a worm, the Devil,
+     prowling, runs about.
+
+     He's grand seigneur, tough, student, teacher. Hell's a-burning,
+     burning, burning.
+
+     He inoculates each soul with his bitter whispering: the Devil,
+     prowling, runs about.
+
+     He promises, bargains, stipulates in gentle or proud tones. Hell's
+     a-burning, burning, burning.
+
+     Mocking pitilessly the unfortunate whom he destroys, the Devil,
+     prowling, runs about.
+
+     He makes goodness ridiculous and the old man futile. Hell's
+     a-burning, burning, burning.
+
+     At the home of the priest or sceptic, whose soul or body he wishes,
+     the Devil, prowling, runs about.
+
+     Beware of him to whom he toadies, and whom he calls "my dear sir."
+     Hell's a-burning, burning, burning.
+
+     Friend of the tarantula, darkness, the odd number, the Devil,
+     prowling, runs about.
+
+     --My clock strikes midnight. If I should go to see Lucifer?--Hell's
+     a-burning, burning, burning; the Devil, prowling, runs about.
+
+[Footnote A: A few translated verses may give an idea of the original
+rhythm:
+
+    Hell's a-burning, burning, burning.
+    Cackling in his impish play,
+    Here and there the Devil's turning,
+
+    Forward here and back again,
+    Zig-zag as the lightning's ray,
+    While the fires burn amain.
+
+    In the church and in the cell
+    In the caves, in open day,
+    Ever prowls the fiend of hell.
+
+But in the original the first and last lines of the first verse are used
+as refrains in the succeeding verses, recurring alternately as the last
+line. In the final verse they are united.--The prose translation is by
+Philip Hale.]
+
+In the maze of this modern setting of demon antics (not unlike, in
+conceit, the capers of Till Eulenspiegel), with an eloquent use of new
+French strokes of harmony, one must be eager to seize upon definite
+figures. In the beginning is a brief wandering or flickering motive in
+furious pace of harp and strings, ending ever in a shriek of the high
+wood. Answering
+
+[Music: _Presto (il piu possibile)_
+(Woodwind)
+(Strings with rhythmic chords in the tonic)
+(With opposite descending chords)]
+
+is a descending phrase mainly in the brass, that ends in a rapid jingle.
+
+[Music: (Brass with quicker figures in strings and wood)]
+
+There are various lesser motives, such as a minor scale of ascending
+thirds, and a group of crossing figures that seem a guise of the first
+motive. To be sure the picture lies less in the separate figures than in
+the mingled color and bustle. Special in its humor is a soft gliding or
+creeping phrase of three voices against a constant trip of cellos.
+
+After a climax of the first motive a frolicking theme begins (in English
+horn and violas). If we were forced to guess, we could see here the
+dandy devil, with pointed mustachios, frisking about. It is probably
+another guise of the second motive which presently appears in the bass.
+A little later, _dolce amabile_ in a madrigal of wood and strings, we
+may see the gentlemanly devil, the gallant. With a crash of chord and a
+roll of cymbals re-enters the first motive, to flickering harmonies of
+violins, harp and flutes, taken up by succeeding voices, all in the
+whole-tone scale. Hurrying to a clamorous height, the pace glides into a
+_Movimento di Valzer_, in massed volume, with the frolicking figure in
+festive array.
+
+To softest tapping of lowest strings and drums, a shadow of the second
+figure passes here and there, with a flash of harp. Soon, in returning
+merriment, it is coursing in unison strings (against an opposite motion
+in the wood).
+
+At the height of revel, as the strings are holding a trembling chord, a
+sprightly Gallic tune of the street pipes in the reed, with intermittent
+flash of the harp, and, to be sure, an unfamiliar tang of harmonies and
+strange perversions of the tune.[A] In the midst is the original
+flickering figure. As the whole chorus is singing the tune at the
+loudest, the brass breaks into another traditional air of the
+Revolutionary Song of 1789.[B] While the trip is still ringing in the
+strings, a lusty chorus breaks into the song[C] "La Carmagnole," against
+a blast of the horns in a guise of the first motive.
+
+[Footnote A: "A la villette," a popular song of the Boulevard. Mr.
+Philip Hale, who may have been specially inspired, associates the song
+with the word "crapule," "tough," as he connects the following
+revolutionary songs, in contrapuntal use, with the word "magister,"
+"teacher,"--the idea of the pedagogue in music. It may be less remote to
+find in these popular airs merely symbols or graphic touches of the
+swarming groups among which the Devil plies his trade.]
+
+[Footnote B: The famous "Ca ira."]
+
+[Footnote C: In the wealth of interesting detail furnished by Mr. Hale
+is the following: "The Carmagnole was first danced in Paris about the
+liberty-tree, and there was then no bloody suggestion.... The word
+'_Carmagnole_' is found in English and Scottish literature as a nickname
+for a soldier in the French Revolutionary army, and the term was applied
+by Burns to the Devil as the author of ruin, 'that curst carmagnole,
+auld Satan.'"]
+
+Grim guises of the main figures (in inverted profile) are skulking about
+to uncanny harmonies. A revel of new pranks dies down to chords of muted
+horns, amid flashing runs of the harp, with a long roll of drums. Here
+_Grave_ in solemn pace, violas and bassoon strike an ecclesiastical
+incantation, answered by the organ. Presently a Gregorian plain chant
+begins solemnly in the strings aided by the organ while a guise of the
+second profane motive intrudes. Suddenly in quick pace against a fugal
+tread of lower voices, a light skipping figure dances in the high wood.
+And now loud trumpets are saucily blowing the chant to the quick step,
+echoed by the wood. And we catch the wicked song of the street (in the
+English horn) against a legend of hell in lower voices.[A]
+
+[Footnote A: The religious phrases are naturally related to the "priest
+or sceptic." In the rapid, skipping rhythm, Mr. Hale finds the
+tarentella suggested by the "friend of the tarantula."]
+
+In still livelier pace the reeds sound the street song against a trip of
+strings, luring the other voices into a furious chorus. All at once, the
+harp and violins strike the midnight hour to a chord of horns, while a
+single impish figure dances here or there. To trembling strings and
+flashing harp the high reed pipes again the song of the Boulevard,
+echoed by low bassoons.
+
+In rapidest swing the original main motives now sing a joint verse in a
+kind of _reprise_, with the wild shriek at the end of the line, to a
+final crashing height. The end comes with dashes of the harp, betwixt
+pausing chords in the high wood, with a final stifled note.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK SYMPHONIES AND THEIR MEANING; THIRD
+SERIES, MODERN SYMPHONIES***
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+<title>The Project Gutenberg eBook of Symphonies and Their Meaning; Third Series, Modern Symphonies, by Philip H. Goepp</title>
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+<h1>The Project Gutenberg eBook, Symphonies and Their Meaning; Third Series,
+Modern Symphonies, by Philip H. Goepp</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "https://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Symphonies and Their Meaning; Third Series, Modern Symphonies</p>
+<p>Author: Philip H. Goepp</p>
+<p>Release Date: July 13, 2004  [eBook #12903]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK SYMPHONIES AND THEIR MEANING; THIRD SERIES, MODERN SYMPHONIES***</p>
+<br>
+<br>
+<h3>E-text prepared by Juliet Sutherland, Linda Cantoni,<br>
+            and the Project Gutenberg Online Distributed Proofreading Team</h3>
+<br>
+<br>
+<hr class="full" noshade>
+<div style="height: 8em;"><br><br><br><br><br><br><br><br></div>
+
+<h1>
+    SYMPHONIES AND THEIR MEANING
+</h1>
+<center>
+    THIRD SERIES MODERN SYMPHONIES.
+</center>
+<center><b>
+    BY PHILIP H. GOEPP
+</b>
+<p>&nbsp;</p>
+<p style="text-align: center">
+<img border="0" src="images/logo.JPG" alt="logo" width="261" height="176"></p>
+<p>&nbsp;</p>
+</center>
+<center>
+    1913
+</center>
+<a name="2H_PREF"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    PREFACE
+</h2>
+<p>
+    Criticism of contemporary art is really a kind of prophecy. For the
+    appreciation of the classical past is an act of present perception, not
+    a mere memory of popular verdicts. The classics live only because they
+    still express the vital feeling of to-day. The new art must do
+    more,&mdash;must speak for the morrow. And as the poet is a kind of seer, the
+    true critic is his prophetic herald.
+</p>
+<p>
+    It is with due humility that we approach a view of the work of our own
+    time, with a dim feeling that our best will be a mere conjecture. But we
+    shall the more cheerfully return to our resolution that our chief
+    business is a positive appreciation. Where we cannot praise, we can
+    generally be silent. Certain truths concerning contemporary art seem
+    firmly grounded in the recorded past. The new Messiah never came with
+    instant wide acclaim. Many false prophets flashed brilliantly on the
+    horizon to fall as suddenly as they rose. In a refracted view we see the
+    figures of the great projected in too large dimension upon their day.
+    And precisely opposite we fail to glimpse the ephemeral lights obscuring
+    the truly great. The lesson seems never to be learned; indeed it can, of
+    course, never be learned. For that would imply an eternal paradox that
+    the present generation must always distrust its own judgment.
+</p>
+<p>
+    Who could possibly imagine in Schubert's time the sway he holds to-day.
+    Our minds reel to think that by a mere accident were recovered the
+    Passion of Bach and the symphonies of Schubert. Or must we prayerfully
+    believe that a Providence will make the best prevail? And, by the way,
+    the serious nature of this appreciation appears when we see how it was
+    ever by the greatest of his time that the future master was heralded.
+</p>
+<p>
+    The symphony of the present age has perhaps fallen somewhat in estate.
+    It was natural that it should rush to a high perfection in the halcyon
+    days of its growth. It is easy to make mournful predictions of
+    decadence. The truth is the symphony is a great form of art, like a
+    temple or a tragedy. Like them it has had, it will have its special eras
+    of great expression. Like them it will stay as a mode of utterance for
+    new communities and epochs with varying nationality, or better still,
+    with vanishing nationalism.
+</p>
+<p>
+    The tragedy was not exhausted with Sophocles, nor with Shakespeare nor
+    with Goethe. So the symphony has its fallow periods and it may have a
+    new resurgence under new climes. We are ever impatient to shelve a great
+    form, like vain women afraid of the fashion. It is part of our constant
+    rage for novelty. The shallower artist ever tinkered with new
+    devices,&mdash;to some effects, in truth. Such is the empiric course of art
+    that what is born of vanity may be crowned with highest inspiration.
+</p>
+<p>
+    The national element will fill a large part of our survey. It marks a
+    strange trait of our own age that this revival of the national idea
+    falls in the very time when other barriers are broken. Ancient folk-song
+    grew like the flower on the battle-field of races. But here is an
+    anxious striving for a special dialect in music. Each nation must have
+    its proper school; composers are strictly labelled, each one obedient to
+    his national manner. This state of art can be but of the day. Indeed,
+    the fairest promise of a greater future lies in the morrow's blending of
+    these various elements in the land where each citizen has a mixed
+    inheritance from the older nations.
+</p>
+<p>
+    In the bewildering midst of active spirits comes the irresistible
+    impulse to a somewhat partisan warfare. The critic, if he could view
+    himself from some empyraean perch, remote in time and place, might smile
+    at his own vehemence. In the clash of aims he must, after all, take
+    sides, for it is the tendency that is momentous; and he will be excited
+    to greater heat the stronger the prophet that he deems false. When the
+    strife is over, when currents are finally settled, we may take a more
+    contented joy in the impersonal art that remains.
+</p>
+<p>
+    The choice from the mass of brilliant vital endeavor is a new burden and
+    a source almost of dismay. Why should we omit so melodious a work as
+    Moskowski's <i>Jeanne d'Arc</i>,&mdash;full of perhaps too facile charm? It was,
+    of course, impossible to treat all the wonderful music of the Glazounows
+    and the Kallinikows. And there is the limpid beauty of the Bohemian
+    <i>Suk</i>, or the heroic vigor of a <i>Volbach</i>. We should like to have
+    mentioned <i>Robert Volkmann</i> as a later Romanticist; and <i>Gade</i> has ever
+    seemed a true poet of the Scandinavian symphony.
+</p>
+<p>
+    Of the modern French we are loth to omit the symphonies of <i>Chausson</i>
+    and of <i>Dukas</i>. In our own America it is a still harder problem. There
+    is the masterly writing of a <i>Foote</i>; the older <i>Paine</i> has never been
+    fully valued in the mad race for novelty. It would have been a joy to
+    include a symphony of rare charm by <i>Martinus van Gelder</i>.
+</p>
+<p>
+    A critical work on modern art cannot hope to bestow a crown of laurels
+    among living masters; it must be content with a view of active
+    tendencies. The greatest classic has often come into the world amid
+    least expectation. A critic in the year 1850 must need have omitted the
+    Unfinished Symphony, which was then buried in a long oblivion.
+</p>
+<p>
+    The present author prefers to treat the main modern lines, considering
+    the special work mainly as example. After all, throughout the realm of
+    art the idea is greater than the poet, the whole art more than the
+    artist,&mdash;though the particular enshrinement in enduring design may
+    reflect a rare personality.
+</p>
+<center>
+    PHILIP H. GOEPP.
+</center>
+<p>
+    NOTE: Especial thanks are owed to the Philadelphia Orchestra for a free
+    use of its library, and to Messrs. G. Schirmer Company for a like
+    courtesy.&mdash;P.H.G.
+</p>
+
+
+
+
+<hr>
+
+<div style="height: 4em;"><br><br><br></div>
+
+<h2>
+    CONTENTS
+</h2>
+<a href="#2HCH0001">
+CHAPTER I</a>.&mdash;The Symphony during the Nineteenth Century<p>
+<br>
+<a href="#2HCH0002">
+CHAPTER II</a>.&mdash;Berlioz and Liszt</p>
+<p>
+<br>
+<a href="#2HCH0003">
+CHAPTER III</a>.&mdash;Berlioz. "Romeo and Juliet." Dramatic Symphony </p>
+<p>
+<br>
+<a href="#2HCH0004">
+CHAPTER IV</a>.&mdash;A Symphony to Dante's "Divina Commedia"</p>
+<p>&nbsp;<br>
+<a href="#2HCH0005">
+CHAPTER V</a>.&mdash;The Symphonic Poems of Liszt </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#preludes">"Les Préludes" </a>
+<br>
+  <a href="#tasso">"Tasso" </a>
+<br>
+  <a href="#mazeppa">"Mazeppa" </a>
+<br>
+  <a href="#huns">"Battle of the Huns" </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0006">
+CHAPTER VI</a>.&mdash;The Symphonic Poems of Saint-Saëns </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#danse">"Danse Macabre" </a>
+<br>
+  <a href="#phaeton">"Phaeton" </a>
+<br>
+  <a href="#hercules">"The Youth of Hercules" </a>
+<br>
+  <a href="#omphale">"Omphale's Spinning Wheel" </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0007">
+CHAPTER VII</a>.&mdash;César Franck </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#Dminor">Symphony in D minor </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0008">
+CHAPTER VIII</a>.&mdash;D'Indy and the Followers of Franck</p>
+<blockquote>
+  <p>
+<br>
+  <a href="#2HCH0008">D'Indy's Second Symphony </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0009">
+CHAPTER IX</a>.&mdash;Débussy and the Innovators</p>
+<blockquote>
+  <p>
+<br>
+  <a href="#sea">"The Sea"&mdash;Débussy </a>
+<br>
+  <a href="#sorcerer">"The Sorcerer's Apprentice"&mdash;Dukas </a></p>
+</blockquote>
+<p><br>
+<a href="#2HCH0010">
+CHAPTER X</a>.&mdash;Tschaikowsky </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#sym4">Fourth Symphony </a>
+<br>
+  <a href="#manfred">"Manfred" Symphony </a>
+<br>
+  <a href="#sym5">Fifth Symphony </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0011">
+CHAPTER XI</a>.&mdash;The Neo-Russians </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#balakirew">Balakirew. Symphony in C </a>
+<br>
+  <a href="#antar">Rimsky-Korsakow </a>
+<br>
+    &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#antar">"Antar" Symphony</a>
+<br>
+    &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Scheherezade">"Schérézade." Symphonic Suite</a>
+<br>
+  <a href="#Rachmaninow">Rachmaninow. Symphony in E minor </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0012">
+CHAPTER XII</a>.&mdash;Sibelius. A Finnish Symphony </p>
+<p>
+<br>
+<a href="#2HCH0013">
+CHAPTER XIII</a>.&mdash;Bohemian Symphonies </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#smetana">Smetana. Symphonic Poem: "The Moldau River" </a>
+<br>
+  <a href="#dvorak">Dvôrák. Symphony: "From the New World" </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0014">
+CHAPTER XIV</a>.&mdash;The Earlier Bruckner </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#sym2">Second Symphony </a>
+<br>
+  <a href="#Bsym4">Fourth (Romantic) Symphony </a>
+<br>
+  <a href="#Bsym5">Fifth Symphony </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0015">
+CHAPTER XV</a>.&mdash;The Later Bruckner </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#sym9">Ninth Symphony </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0016">
+CHAPTER XVI</a>.&mdash;Hugo Wolff </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#penthesilea">"Penthesilea." Symphonic Poem </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0017">
+CHAPTER XVII</a>.&mdash;Mahler </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#Msym5">Fifth Symphony </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0018">
+CHAPTER XVIII</a>.&mdash;Richard Strauss. Symphonic Poems </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#death">"Death and Transfiguration" </a>
+<br>
+  <a href="#juan">"Don Juan" </a>
+<br>
+  <a href="#till">"Till Eulenspiegel's Merry Pranks" </a>
+<br>
+  <a href="#domestica">"Sinfonia Domestica" </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0019">
+CHAPTER XIX</a>.&mdash;Italian Symphonies </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#sgambati">Sgambati. Symphony in D major </a>
+<br>
+  <a href="#martucci">Martucci. Symphony in D minor </a></p>
+</blockquote>
+<p>
+<br>
+<a href="#2HCH0020">
+CHAPTER XX</a>.&mdash;Edward Elgar. An English Symphony </p>
+<p>
+<br>
+<a href="#2HCH0021">
+CHAPTER XXI</a>.&mdash;Symphonies in America </p>
+<blockquote>
+  <p>
+<br>
+  <a href="#hadley">Henry Hadley. Symphony No. 3 </a>
+<br>
+  <a href="#strube">Gustav Strube. Symphony in D minor </a>
+<br>
+  <a href="#chadwick">Chadwick. Suite Symphonique </a>
+<br>
+  <a href="#loeffler">Loeffler. "The Devil's Round." Symphonic Poem </a>
+<br>
+
+<a name="2H_4_0002"><!-- H2 anchor --></a>
+
+  </p>
+</blockquote>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    SYMPHONIES AND THEIR MEANING
+</h2>
+<h3>
+    MODERN SYMPHONIES
+</h3>
+<a name="2HCH0001"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER I
+</h2>
+<h3>
+    THE SYMPHONY DURING THE NINETEENTH CENTURY
+</h3>
+<p>
+    After the long dominance of German masters of the musical art, a
+    reaction could not fail to come with the restless tendencies of other
+    nations, who, having learned the lesson, were yet jealous of foreign
+    models and eager to utter their own message. The later nineteenth
+    century was thus the age of refraction of the classic tradition among
+    the various racial groups that sprang up with the rise of the national
+    idea. We can see a kind of beginning in the Napoleonic destruction of
+    feudal dynasties. German authority in music at the beginning of the
+    century was as absolute as Roman rule in the age of Augustus. But the
+    seed was carried by teachers to the various centres of Europe. And, with
+    all the joy we have in the new burst of a nation's song, there is no
+    doubt that it is ever best uttered when it is grounded on the lines of
+    classic art. Here is a paramount reason for the strength of the modern
+    Russian school. With this semi-political cause in mind it is less
+    difficult to grasp the paradox that with all the growth of
+    intercommunication the music of Europe moves in more detached grooves
+    to-day than two centuries ago. The suite in the time of Bach is a
+    special type and proof of a blended breadth and unity of musical thought
+    in the various nations of Europe of the seventeenth century. In the
+    quaint series of dances of the different peoples, with a certain
+    international quality, one sees a direct effect of the Thirty Years'
+    War,&mdash;the beneficent side of those ill winds and cruel blasts, when all
+    kinds of nations were jostling on a common battle-ground. And as the
+    folk-dances sprang from the various corners of Europe, so different
+    nations nursed the artistic growth of the form. Each would treat the
+    dances of the other in its own way, and here is the significance of
+    Bach's separate suites,&mdash;English, French and German.
+</p>
+<p>
+    Nationalism seems thus a prevailing element in the music of to-day, and
+    we may perceive two kinds, one spontaneous and full of charm, the other
+    a result of conscious effort, sophisticated in spirit and in detail. It
+    may as well be said that there was no compelling call for a separate
+    French school in the nineteenth century as a national utterance. It
+    sprang from a political rather than an artistic motive; it was the itch
+    of jealous pride that sharply stressed the difference of musical style
+    on the two sides of the Rhine. The very influence of German music was
+    needed by the French rather than a bizarre invention of national traits.
+    The broader art of a Saint-Saëns here shines in contrast with the
+    brilliant conceits of his younger compatriots, though it cannot be
+    denied that the latter are grounded in classic counterpoint. With other
+    nations the impulse was more natural: the racial song of the
+    Scandinavians, Czechs and other Slavs craved a deliverance as much as
+    the German in the time of Schubert. In France, where music had long
+    flourished, there was no stream of suppressed folk-song.
+</p>
+<p>
+    But the symphony must in the natural course have suffered from the very
+    fulness of its own triumph. We know the Romantic reaction of Schumann,
+    uttered in smaller cyclic forms; in Berlioz is almost a complete
+    abandonment of pure music, devoid of special description. Liszt was one
+    of the mighty figures of the century, with all the external qualities of
+    a master-genius, shaking the stage of Europe with the weight of his
+    personality, and, besides, endowed with a creative power that was not
+    understood in his day. With him the restless tendency resulted in a new
+    form intended to displace the symphony: the symphonic poem, in a single,
+    varied movement, and always on a definite poetic subject. Here was at
+    once a relief and a recess from the classic rigor. Away with sonata form
+    and all the odious code of rules! In the story of the title will lie all
+    the outline of the music.
+</p>
+<p>
+    Yet in this rebellious age&mdash;and here is the significance of the
+    form&mdash;the symphony did not languish, but blossomed to new and varied
+    flower. Liszt turned back to the symphony from his new-fangled device
+    for his two greatest works. It has, indeed, been charged that the
+    symphony was accepted by the Romantic masters in the spirit of a
+    challenge. Mendelssohn and even Schumann are not entirely free from such
+    a suspicion. Nevertheless it remains true that all of them confided to
+    the symphony their fairest inspiration. About the middle of the century,
+    at the high point of anti-classical revolt, a wonderful group of
+    symphonies, by Berlioz, Mendelssohn, Schumann, and Liszt, were presented
+    to the world. With the younger Brahms on a returning wave of
+    neo-classicism the form became again distinctively a personal choice.
+    Finally, in the spontaneous utterance of a national spirit on broad
+    lines, as in the later Russian and Finnish examples, with the various
+    phases of surging resolution, of lyric contemplation and of rollicking
+    humor, the symphony has its best sanction in modern times.
+</p>
+<p>
+    To return to the historical view, the course of the symphony during the
+    century cannot be adequately scanned without a glance at the music-drama
+    of Richard Wagner. Until the middle of the century, symphony and opera
+    had moved entirely in separate channels. At most the overture was
+    affected, in temper and detail, by the career of the nobler form.
+</p>
+<p>
+    The restless iconoclasm of a Liszt was now united, in a close personal
+    and poetic league, with the new ideas of Wagner's later drama. Both men
+    adopted the symbolic motif as their main melodic means; with both mere
+    iteration took the place of development; a brilliant and lurid
+    color-scheme (of orchestration) served to hide the weakness of intrinsic
+    content; a vehement and hysteric manner cast into temporary shade the
+    classic mood of tranquil depth in which alone man's greatest thought is
+    born.
+</p>
+<p>
+    But a still larger view of the whole temper of art in Europe of the
+    later century is needed. We wander here beyond the fine distinctions of
+    musical forms. A new wave of feeling had come over the world that
+    violently affected all processes of thought. And strangely, it was
+    strongest in the land where the great heights of poetry and music had
+    just been reached. Where the high aim of a Beethoven and a Goethe had
+    been proclaimed, arose a Wagner to preach the gospel of brute fate and
+    nature, where love was the involuntary sequence of mechanical device and
+    ended in inevitable death, all overthrowing the heroic idea that teems
+    throughout the classic scores, crowned in a greatest symphony in praise
+    of "Joy."
+</p>
+<p>
+    Such was the intrinsic content of a "Tristan and Isolde" and the whole
+    "Nibelungen-Ring," and it was uttered with a sensuous wealth of sound
+    and a passionate strain of melody that (without special greatness of its
+    own) dazzled and charmed the world in the dramatic setting of mediaeval
+    legend. The new harmonic style of Wagner, there is good reason to
+    suppose, was in reality first conceived by Liszt, whose larger works,
+    written about the middle of the century, have but lately come to
+    light.[<a href="#note1">1</a>] In correspondence with this moral mutiny was the complete
+    revolt from classic art-tradition: melody (at least in theory), the
+    vital quality of musical form and the true process of a coherent thread,
+    were cast to the winds with earlier poetic ideals.
+</p>
+
+<p>
+    If it were ever true that a single personality could change an opposite
+    course of thought, it must be held that Richard Wagner, in his own
+    striking and decadent career, comes nearest to such a type. But he was
+    clearly prompted and reinforced in his philosophy by other men and
+    tendencies of his time. The realism of a Schopenhauer, which Wagner
+    frankly adopted without its full significance (where primal will finds a
+    redemption in euthanasia), led by a natural course of thought to
+    Nietzsche's dreams of an overman, who tramples on his kind.
+</p>
+<p>
+    In itself this philosophy had been more of a passing phase (even as
+    Schopenhauer is lost in the chain of ethical sages) but for its strange
+    coincidence with the Wagnerian music. The accident of this alliance gave
+    it an overwhelming power in Germany, where it soon threatened to corrupt
+    all the arts, banishing idealism from the land of its special
+    haunts.[<a href="#note2">2</a>] The ultimate weakness of the Wagnerian philosophy is that it
+    finds in fatalism an excuse for the surrender of heroic virtue,&mdash;not in
+    the spirit of a tragic truth, but in a glorification of the senses; just
+    as in Wagner's final work, the ascetic, sinless type becomes a figure
+    almost of ridicule, devoid of human reality. It is significant that with
+    the revival of a sound art, fraught with resolute aspiration, is
+    imminent a return to an idealistic system of philosophy.
+</p>
+
+<p>
+    In the musical art even of Germany the triumph was never complete. The
+    famous feud of Brahms and Wagner partisans marked the alignment of the
+    classical and radical traditions. Throughout the second half of the
+    century the banner of a true musical process was upheld; the personal
+    meeting of the youthful Brahms with the declining Schumann is
+    wonderfully significant, viewed as a symbol of this passing of the
+    classic mantle. And the symphonies of Gustav Mahler seem an assurance of
+    present tendencies. The influence of Bach, revived early in the century,
+    grew steadily as a latent leaven.
+</p>
+<p>
+    Nevertheless in the prevailing taste and temper of present German
+    music, in the spirit of the most popular works, as those of Richard
+    Strauss (who seems to have sold his poetic birthright), the aftermath of
+    this wave is felt, and not least in the acclaim of the barren symphonies
+    of a Bruckner. It is well known that Bruckner, who paid a personal
+    homage to Wagner, became a political figure in the partisan dispute,
+    when he was put forth as the antagonist of Brahms in the symphony. His
+    present vogue is due to this association and to his frank adoption of
+    Wagner idiom in his later works, as well as, more generally, to the
+    lowered taste in Germany.
+</p>
+<p>
+    In all this division of musical dialect, in the shattering of the
+    classic tower among the diverse tongues of many peoples, what is to be
+    the harvest? The full symbol of a Babel does not hold for the tonal art.
+    Music is, in its nature, a single language for the world, as its
+    alphabet rests on ideal elements. It has no national limits, like prose
+    or poetry; its home is the whole world; its idiom the blended song of
+    all nations.
+</p>
+<p>
+    In such a view there is less hope in the older than in the newer world.
+    No single, limited song of one nation can in the future achieve a second
+    climax of the art. It is by the actual mingling of them all that the
+    fairest flower and fruit must come. The very absence of one prevailing
+    native song, held a reproach to America, is in reality her strength; for
+    hers is the common heritage of all strains of song. And it may be her
+    destiny to lead in the glorious merging of them all.
+</p>
+<a name="2HCH0002"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER II
+</h2>
+<h3>
+    BERLIOZ AND LISZT
+</h3>
+<p>
+    The path of progress of an art has little to do with mere chronology.
+    For here in early days are bold spirits whose influence is not felt
+    until a whole generation has passed of a former tradition. Nor are these
+    patient pioneers always the best-inspired prophets; the mere fate of
+    slow recognition does not imply a highest genius. A radical innovation
+    may provoke a just and natural resistance. Again, a gradual yielding is
+    not always due to the pure force of truth. Strange and oblique ideas may
+    slowly win a triumph that is not wholly merited and may not prove
+    enduring.
+</p>
+<p>
+    To fully grapple with this mystery, we may still hold to the faith that
+    final victory comes only to pure truth, and yet we may find that
+    imperfect truth will often achieve a slow and late acceptance. The
+    victory may then be viewed in either of two ways: the whole spirit of
+    the age yields to the brilliant allurement, or there is an overweighing
+    balance of true beauty that deserves the prize of permanence. Of such a
+    kind were two principal composers of the symphony: Franz Liszt and
+    Hector Berlioz. Long after they had wrought their greatest works, others
+    had come and gone in truer line with the first masters, until it seemed
+    these radical spirits had been quite rejected.
+</p>
+<p>
+    Besides the masters of their own day, Schumann and Mendelssohn, a group
+    of minor poets, like Raff and Goetz, appeared, and at last Brahms, the
+    latest great builder of the symphony, all following and crowning the
+    classical tradition.
+</p>
+<p>
+    The slow reception of the larger works of Liszt strangely agrees with
+    the startling resemblance of their manner to the Russian style that
+    captivated a much later age. It seemed as if the spirit of the Hungarian
+    was suddenly revived in a new national group. His humor wonderfully
+    suited the restless and sensational temper of an age that began after
+    his death.
+</p>
+<p>
+    The very harmonies and passionate manner that influence modern audiences
+    evoked a dull indifference in their own day.<a href="#note3">[3]</a> They roused the first
+    acclaim when presented in the more popular form of the music-drama. It
+    may well be questioned whether Liszt was not the fountain source of the
+    characteristic harmonies of Wagner's later opera.
+</p>
+
+<p>
+    Historically considered, that is in their relation to other music
+    preceding and following them, the symphonies of Liszt have striking
+    interest. They are in boldest departure from all other symphonies, save
+    possibly those of Berlioz, and they were prophetic in a degree only
+    apparent a half-century later. If the quality of being ahead of his time
+    be proof, instead of a symptom, of genius, then Liszt was in the first
+    rank of masters. The use of significant motif is in both of his
+    symphonies. But almost all the traits that startled and moved the world
+    in Tschaikowsky's symphonies are revealed in this far earlier music: the
+    tempestuous rage of what might be called an hysterical school, and the
+    same poignant beauty of the lyric episodes; the sheer contrast, half
+    trick, half natural, of fierce clangor and dulcet harmonies, all painted
+    with the broad strokes of the orchestral palette. Doubly striking it is
+    how Liszt foreshadowed his later followers and how he has really
+    overshadowed them; not one, down to the most modern tone-painters, has
+    equalled him in depth and breadth of design, in the original power of
+    his tonal symbols. It seems that Liszt will endure as the master-spirit
+    in this reactionary phase of the symphony.
+</p>
+<p>
+    Berlioz is another figure of a bold innovator, whose career seemed a
+    series of failures, yet whose music will not down. His art was centred
+    less upon the old essentials, of characteristic melody and soul-stirring
+    harmonies, than upon the magic strokes of new instrumental grouping,&mdash;a
+    graphic rather than a pure musical purpose. And so he is the father not
+    only of the modern orchestra, but of the fashion of the day that revels
+    in new sensations of startling effects, that are spent in portraying the
+    events of a story.
+</p>
+<p>
+    Berlioz was the first of a line of <i>virtuosi</i> of the orchestra, a
+    pioneer in the art of weaving significant strains,&mdash;significant, that
+    is, apart from the music. He was seized with the passion of making a
+    pictured design with his orchestral colors. Music, it seems, did not
+    exist for Berlioz except for the telling of a story. His symphony is
+    often rather opera. A symphony, he forgot, is not a musical drama
+    without the scenery. This is just what is not a symphony. It is not the
+    literal story, but the pure musical utterance. Thus Berlioz's "Romeo and
+    Juliet" symphony is in its design more the literal story than is
+    Shakespeare's play. And yet there is ever a serious nobility, a heroic
+    reach in the art of Berlioz, where he stands almost alone among the
+    composers of his race. Here, probably, more than in his pictured
+    stories, lies the secret of his endurance. He was, other than his
+    followers, ever an idealist. And so, when we are on the point of
+    condemning him as a scene-painter, we suddenly come upon a stretch of
+    pure musical beauty, that flowed from the unconscious rapture of true
+    poet. As the bee sucks, so may we cull the stray beauty and the more
+    intimate meaning, despite and aside from this outer intent.
+</p>
+<a name="2HCH0003"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER III
+</h2>
+<h3>
+    BERLIOZ. "ROMEO AND JULIET."
+</h3>
+<center>
+    <i>DRAMATIC SYMPHONY</i>
+</center>
+<p>
+    In the sub-title we see the growing impulse towards graphic music. A
+    "dramatic symphony" is not promising. For, if music is the most
+    subjective expression of the arts, why should its highest form be used
+    to dramatize a drama? Without the aid of scene and actors, that were
+    needed by the original poet, the artisan in absolute tones attempts his
+    own theatric rendering. Clearly this symphony is one of those works of
+    art which within an incongruous form (like certain ancient pictures)
+    affords episodes of imperishable beauty.
+</p>
+<p>
+    Passing by the dramatic episodes that are strung on the thread of the
+    story, we dwell, according to our wont, on the stretches where a pure
+    musical utterance rises to a lofty height of pathos or of rarest
+    fantasy.
+</p>
+<p>
+    In the first scene of the Second Part is the clear intent of a direct
+    tonal expression, and there is a sustained thread of sincere sentiment.
+    The passion of Romeo shines in the purity rather than in the intensity
+    of feeling. The scene has a delicate series of moods, with subtle
+    melodic touches and dramatic surprises of chord and color. The whole
+    seems a reflection of Romeo's humor, the personal (<i>Allegro</i>) theme
+    being the symbol as it roams throughout the various phases,&mdash;the sadness
+    of solitude, the feverish thrill of the ball. Into the first phrase of
+    straying violins wanders the personal motive, sadly meditative.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music1.jpg" alt="music1" width="400" height="317"></p>
+<p style="text-indent: 0em">
+    Sweeter dreams now woo the muser, warming into passion, pulsing with a
+    more eager throb of desire, in changed tone and pace. Suddenly in a new
+    quarter amid a quick strum of dance the main motive hurries along. The
+    gay sounds vanish, ominous almost in the distance. The sadness of the
+    lover now sings unrestrained in expressive melody (of oboe), in long
+    swinging pace, while far away rumbles the beat of festive drum.
+</p>
+<p>
+    The song rises in surging curves, but dies away among the quick festal
+    sounds, where the personal motive is still supreme, chasing its own
+    ardent antics, and plunges headlong into the swirl of dance.
+</p>
+<p>
+    II Penseroso (in his personal rôle) has glided into a buoyant,
+    rollicking Allegro with joyous answer. Anon the outer revel breaks in
+    with shock almost of terror. And now in climax of joy, through the
+    festal strum across the never-ceasing thread of transformed meditation
+    resound in slowest, broadest swing the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music2.jpg" alt="music2" width="400" height="96"></p>
+<p style="text-indent: 0em">
+    warm tones of the love-song in triumph of bliss.<a href="#note4">[4]</a> As the song dies
+    away, the festal sounds fade. Grim meditation returns in double
+    figure,&mdash;the slower, heavier pace below. Its shadows are all about as in
+    a fugue of fears, flitting still to the tune of the dance and anon
+    yielding before the gaiety. But through the returning festal ring the
+    fateful motive is still straying in the bass. In the concluding revel
+    the hue of meditation is not entirely banned.
+</p>
+
+<p>
+    The Shakespearian love-drama thus far seems to be celebrated in the
+    manner of a French romance. After all, the treatment remains scenic in
+    the main; the feeling is diluted, as it were, not intensified by the
+    music.
+</p>
+<p>
+    The stillness of night and the shimmering moonlight are in the delicate
+    harmonies of (<i>Allegretto</i>) strings. A lusty song of departing revellers
+    breaks upon the scene. The former distant sounds of feast are now near
+    and clear in actual words.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music3.jpg" alt="music3" width="400" height="116"></p>
+<p>
+    There is an intimate charm, a true glamor of love-idyll about the
+    Adagio. On more eager pulse rises a languorous strain of horn and
+    cellos. The flow
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music4.jpg" alt="music4" width="400" height="160"></p>
+<p style="text-indent: 0em">
+    of its passionate phrase reaches the climax of prologue where, the type
+    and essence of the story, it plays about the lovers' first meeting. As
+    lower strings hum the burden of desire, higher wood add touches of
+    ecstasy, the melting violins sing the wooing song, and all break into an
+    overwhelming rapture, as though transfigured in the brightness of its
+    own vehemence, in midst of a trembling mystery.
+</p>
+<p>
+    The restless spirit starts (<i>allegro agitato</i>) in fearsome agitation on
+    quick nervous throb of melody; below, violas sing a soothing answer;
+    there is a clear dialogue of wistful lovers.
+</p>
+<p>
+    Instead of the classic form of several verses led by one dominant melody
+    to varied paths and views, here almost in reverse we seem to fall from a
+    broader lyric mood to a single note of sad yearning that
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music5.JPG" alt="music5" width="400" height="176"></p>
+<p style="text-indent: 0em">
+    grows out of the several strains. Upon such a motive a new melody sings.
+    The delicate bliss of early love is all about, and in the lingering
+    close the timid ecstasies of wooing phrase. But this is a mere prelude
+    to the more highly stressed, vehement song of love that follows on the
+    same yearning motive. Here is the crowning, summing phase of the whole
+    poem, without a return to earlier melody save that, by significant
+    touch, it ends in the same expressive turn as the former languorous
+    song.
+</p>
+<p>
+    The first melody does not reappear, is thus a kind of background of the
+    scene. The whole is a dramatic lyric that moves from broader tune to a
+    reiterated note of sad desire, driven to a splendid height of crowned
+    bliss. The turbulence of early love is there; pure ardor in flaming
+    tongues of ecstasy; the quick turn of mood and the note of omen of the
+    original poem: the violence of early love and the fate that hangs over.
+</p>
+<p>
+    Berlioz has drawn the subject of his Scherzo from Mercutio's speech in
+    Scene 4 of the First Act of Shakespeare's tragedy. He has entitled it
+    "Queen Mab, or the Fairy of Dreams," and clearly intends to portray the
+    airy flight of Mab and her fairies. But we must doubt whether this, the
+    musical gem of the symphony, has a plan that is purely graphic,&mdash;rather
+    does it seem to soar beyond those concrete limits to an utterance of the
+    sense of dreams themselves in the spirit of Mercutio's conclusion:
+</p>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                <blockquote>
+                  <blockquote>
+                    <blockquote>
+                      <blockquote>
+                        &quot;... I talk of dreams<br>
+                        Which are the children of an idle brain,<br>
+                        Begot of nothing but vain fantasy;<br>
+                        Which is as thin of substance as the air;&quot;</blockquote>
+                    </blockquote>
+                  </blockquote>
+                </blockquote>
+              </blockquote>
+            </blockquote>
+</blockquote>
+
+<p>
+    And we may add, as elusive for the enchanted mind to hold are these
+    pranks and brilliant parade of tonal sprites. It stands one of the
+    masterpieces of program-music, in equal balance of pure beauty with the
+    graphic plan.
+</p>
+<p>
+    Imps they are, these flitting figures, almost insects with a
+    personality. In pace there is a division, where the first dazzling
+    speed is simply the fairy rhythm (halted anon by speaking pauses or
+    silences), and the second, a kind of idyll or romance in miniature. It
+    is all a drama of fairy actors, in a dreamland of softest tone. The main
+    figure leads its troop on gossamer thread of varied journey.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music6.jpg" alt="music6" width="400" height="99"></p>
+<p>
+    Almost frightening in the quickest, pulsing motion is the sudden
+    stillness, as the weird poising of trembling sprites. Best of all is the
+    resonant beauty of the second melody in enchanting surprise of tone.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music7.jpg" alt="music7" width="400" height="165"></p>
+<p style="text-indent: 0em">
+    Anon, as in a varied dance, the skipping, mincing step is followed by a
+    gentle swaying; or the figures all run together down the line to start
+    the first dance again, or the divided groups have different motions, or
+    one shouts a sudden answer to the other.
+</p>
+<p>
+    Much slower now is the main song (in flute and English horn) beneath an
+    ariel harmony (of overtones), while a quicker trip begins below of the
+    same figure. And in the midst is a strange concert of low dancing
+    strings with highest tones of harp,&mdash;strange mating of flitting sprites.
+</p>
+<p>
+    We are suddenly back in the first, skipping dance, ever faster and
+    brighter in dazzling group of lesser figures. And here is the golden
+    note of fairy-land,&mdash;the horn in soft cheery hunter's lay, answered by
+    echoing voices. For a moment the call is tipped with touch of sadness,
+    then rings out brightly in a new quarter. Beautiful it sings between the
+    quick phrases, with a certain shock of change, and there is the terror
+    of a sudden low rumbling and the thrill of new murmuring sounds with
+    soft beat of drum that hails the gathering fairies. There is a sudden
+    clarion burst of the whole chorus, with clash of drum and clang of
+    brass, and sudden pause, then faintest echoes of higher voices.
+</p>
+<p>
+    A new figure now dances a joyous measure to the tinkling of harp and the
+    sparkling strokes of high
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music8.jpg" alt="music8" width="400" height="185"></p>
+<p style="text-indent: 0em">
+    cymbals and long blown tone of horns. The very essence it is of fairy
+    life. And so the joy is not unmixed with just a touch of awe. Amidst the
+    whole tintinnabulation is a soft resonant echo of horns below, like an
+    image in a lake. The air hangs heavy with dim romance until the sudden
+    return to first fairy verse in sounds almost human. Once more come the
+    frightening pauses.
+</p>
+<p>
+    The end is in a great crash of sweet sound&mdash;a glad awakening to day and
+    to reality.
+</p>
+<a name="2HCH0004"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER IV
+</h2>
+<h3>
+    A SYMPHONY TO DANTE'S "DIVINA COMMEDIA"
+</h3>
+<center>
+    <i>FOR ORCHESTRA AND CHORUS OF SOPRANOS AND ALTOS</i>
+</center>
+<p>
+    The "Divina Commedia" may be said in a broad view to belong to the great
+    design by which Christian teaching was brought into relation with
+    earlier pagan lore. The subject commands all the interest of the epics
+    of Virgil and of Milton. It must be called the greatest Christian poem
+    of all times, and the breadth of its appeal and of its art specially
+    attest the age in which it was written, when classic pagan poetry broke
+    upon the world like a great treasure-trove.
+</p>
+<p>
+    The subject was an ideal one in Dante's time,&mdash;a theme convincing and
+    contenting to all the world, and, besides, akin to the essence of pagan
+    poetry. The poet was needed to celebrate all the phases of its meaning
+    and beauty. This is true of all flashes of evolutionary truth. As in the
+    ancient epics, an idea once real to the world may be enshrined in a
+    design of immortal art.
+</p>
+<p>
+    To-day we are perhaps in too agnostic a state to be absorbed by such a
+    contemplation. The subject in a narrower sense is true at most to those
+    who will to cherish the solace of a salvation which they have not fully
+    apprehended. And so the Liszt symphony of the nineteenth century is not
+    a complete reflection of the Dante poem of the fourteenth. It becomes
+    for the devout believer almost a kind of church-liturgy,&mdash;a Mass by the
+    Abbé Liszt.
+</p>
+<p>
+    Rare qualities there undoubtedly are in the music: a reality of passion;
+    a certain simplicity of plan; the sensuous beauty of melodic and
+    harmonic touches. But a greatness in the whole musical expression that
+    may approach the grandeur of the poem, could only come in a suggestion
+    of symbolic truth; and here the composer seems to fail by a too close
+    clinging to ecclesiastic ritual. Yet in the agony of remorse, rising
+    from hopeless woe to a chastened worship of the light, is a strain of
+    inner truth that will leave the work for a long time a hold on human
+    interest.
+</p>
+<p>
+    Novel is the writing of words in the score, as if they are to be sung by
+    the instruments,&mdash;all sheer aside from the original purpose of the form.
+    Page after page has its precise text; we hear the shrieks of the damned,
+    the dread inscription of the infernal portals; the sad lament of lovers;
+    the final song of praise of the redeemed. A kind of picture-book music
+    has our symphony become. The <i>leit-motif</i> has crept into the high form
+    of absolute tones to make it as definite and dramatic as any opera.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    I. INFERNO
+</center>
+<p>
+    The legend of the portal is proclaimed at the outset in a rising phrase
+    (of the low brass and strings)
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music9.jpg" alt="music9" width="400" height="106"></p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                <blockquote>
+    <i>   Per me si va nella cit-ta do-lente;<br>
+       Per me si va nell'eterno dolore;</i>
+
+                </blockquote>
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p style="text-indent: 0em">
+    and in still higher chant&mdash;
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                <blockquote>
+                  <p align="center">
+    <i>   Per me si va tra la perduta gente.</i></p>
+                </blockquote>
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p style="text-indent: 0em">
+    Then, in antiphonal blast of horns and trumpets sounds the fatal doom in
+    grim monotone (in descending harmony of trembling strings):
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music10.jpg" alt="music10" width="400" height="186"></p>
+<blockquote>
+  <blockquote>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+<i>Lasciate ogni speranza mi ch' entrate!</i><a href="#note5">[5]</a>
+
+
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+    </blockquote>
+  </blockquote>
+</blockquote>
+<p style="text-indent: 0em">
+    A tumult on a sigh (from the first phrase) rises again and again in
+    gusts. In a violent paroxysm we hear the doom of the monotone in lowest
+    horns. The fateful phrases are ringing about, while pervading all is
+    the hope-destroying blast of the brass. But the storm-centre is the
+    sighing motive which now enters on a quicker spur of passionate stride
+    (<i>Allegro frenetico, quasi doppio movimento</i>). In its winding
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music11.jpg" alt="music11" width="400" height="187"></p>
+<p style="text-indent: 0em">
+    sequences it sings a new song in more regular pace. The tempest grows
+    wilder and more masterful, still following the lines of the song, rising
+    to towering height. And now in the strains, slow and faster, sounds the
+    sigh above and below, all in a madrigal of woe. The whole is surmounted
+    by a big descending phrase, articulate almost in its grim dogma, as it
+    runs into the line of the first legend in full tumult of gloom. It is
+    followed by the doom slowly proclaimed in thundering tones of the brass,
+    in midst of a tempest of surging harmonies. Only it is all more fully
+    and poignantly stressed than before, with long, resonant echoes of the
+    stentorian tones of lowest brass.
+</p>
+<p>
+    Suddenly we are in the dulcet mood (<i>Quasi Andante, ma sempre un poco
+    mosso</i>) 'mid light waving strings and rich swirling harp, and soothing
+    tones of flutes and muted horns. Then, as all other voices are hushed,
+    the clarinet sings a strain that ends in lowest notes of expressive
+    grief (<i>Recit., espressivo dolente</i>)&mdash;where we can almost hear the
+    words. It is answered by a sweet plaint of other wood, in
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music12.jpg" alt="music12" width="400" height="172"></p>
+<p style="text-indent: 0em">
+    questioning accents, followed by the returning waves of strings and
+    harp, and another phrase of the lament; and now to the pulsing chords of
+    the harp the mellow English horn does sing (at least in the score) the
+    words,&mdash;the central text of all:<a href="#note6">[6]</a></p>
+<p style="text-align: center">
+    <img border="0" src="images/music13.jpg" alt="music13" width="400" height="201"></p>
+
+<p>
+    Other voices join the leader. As the lower reed start the refrain, the
+    higher enter in pursuit, and then the two groups sing a melodic chase.
+    But the whole phrase is a mere foil to the pure melody of the former
+    plaint that now returns in lower strings. And all so far is as a herald
+    to the passage of intimate sentiment (<i>Andante amoroso</i>) that lies a
+    lyric gem in the heart of the symphony. The melting strain is stressed
+    in tenderness by the languor of harmonies, the delicate design of
+    elusive rhythm and the appealing whisper of harp and two
+    violins,&mdash;tipped by the touch of mellow wood.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music14.jpg" alt="music14" width="400" height="220"></p>
+<p style="text-indent: 0em">
+    With the rising passion, as the refrain spreads in wider sequences, the
+    choirs of wood and strings are drawn into the song, one group answering
+    the other in a true love duet.
+</p>
+<p>
+    The last cadence falls into the old sigh as the dread oracle sounds once
+    more the knell of hope. Swirling strings bring us to a new scene of the
+    world of shades. In the furious, frenetic pace of yore (<i>Tempo primo,
+    Allegro, alla breve</i>) there is a new sullen note, a dull martial trip
+    of drums with demonic growls (in the lowest wood). The sigh is there,
+    but perverted in humor. A chorus of blasphemous mockery is stressed by
+    strident accents of lower wood and strings.<a href="#note7">[7]</a>
+</p>
+
+<p>
+    Gradually we fall into the former frenzied song, amid the demon
+    cacchinations, until we have plunged back into the nightmare of groans.
+    Instead of the big descending phrase we sink into lower depths of gloom,
+    wilder than ever, on the first tripping motive. As the sighing strain
+    resounds below in the midst of a chorus of demon shrieks, there enters
+    the chant of inexorable fate. Mockery yields to a tinge of pathos, a
+    sense almost of majestic resignation, an apotheosis of grief.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    II. PURGATORIO
+</center>
+<p>
+    A state of tranquillity, almost of bliss, is in the opening primal
+    harmonies (of harp and strings and
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music15.jpg" alt="music15" width="400" height="221"></p>
+<p style="text-indent: 0em">
+    soft horns). Indeed, what else could be the mood of relief from the
+    horrors of hell? And lo! the reed strikes a pure limpid song echoed in
+    turn by other voices, beneath a rich spray of heavenly harmonies.
+</p>
+<p>
+    This all recurs in higher shift of tone. A wistful phrase (<i>piu lento</i>,
+    in low strings) seems to breathe
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music16.jpg" alt="music16" width="400" height="173"></p>
+<p style="text-indent: 0em">
+    a spoken sob. Then, as in voices of a hymn, chants a more formal liturgy
+    of plaint where the phrase is almost lost in the lowest voice. It is all
+    but articulate, with a sense of the old sigh; but it is in a calmer
+    spirit, though anon bursting with passionate grief (<i>lagrimoso</i>).
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music17.jpg" alt="music17" width="400" height="94"></p>
+<p>
+    And now in the same vein, of the same fibre, a fugue begins of lament,
+    first in muted strings.
+</p>
+<p>
+    It is the line of sad expressive recitative that heralded the plaint and
+    the love-scene. There is here the full charm of fugue: a rhythmic
+    quality of single theme, the choir of concerted dirge in independent
+    and interdependent paths, and with every note of integral melody. There
+    is the beauty of pure tonal architecture blended with the personal
+    significance of the human (and divine) tragedy.
+</p>
+<p>
+    The fugue begins in muted strings, like plaintive human voices, though
+    wood and brass here and there light up the phrases. Now the full bass of
+    horns and wood strikes the descending course of theme, while higher
+    strings and wood soar in rising stress of (sighing) grief.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music18.jpg" alt="music18" width="400" height="188"></p>
+<p>
+    A hymnal verse of the theme enters in the wood answered by impetuous
+    strings on a coursing phrase. The antiphonal song rises with eager
+    stress of themal attack. A quieter elegy leads to another burst, the
+    motive above, the insistent sigh below. The climax of fugue returns to
+    the heroic main plaint below, with sighing answers above, all the voices
+    of wood and brass enforcing the strings.
+</p>
+<p>
+    Then the fugue turns to a transfigured phase; the theme rings triumphant
+    retorts in golden horns and in a masterful unison of the wood; the wild
+    answer runs joyfully in lower strings, while the higher are strumming
+    like celestial harps. The whole is transformed to a big song of praise
+    ever in higher harmonies. The theme flows on in ever varying thread,
+    amidst the acclaiming tumult.
+</p>
+<p>
+    But the heavenly heights are not reached by a single leap. Once more we
+    sink to sombre depths not of the old rejection, but of a chastened,
+    wistful wonderment. The former plaintive chant returns, in slower,
+    contained pace, broken by phrases of mourning recitative, with the old
+    sigh. And a former brief strain of simple aspiration is supported by
+    angelic harps. In gentle ascent we are wafted to the acclaim of heavenly
+    (treble) voices in the <i>Magnificat</i>. A wonderful utterance, throughout
+    the scene of Purgatory, there is of a chastened, almost spiritual grief
+    for the sin that cannot be undone, though it is not past pardon.
+</p>
+<p>
+    The bold design of the final Praise of the Almighty was evidently
+    conceived in the main as a service. An actual depiction, or a direct
+    expression (such as is attempted in the prologue of Boito's Mefistofele)
+    was thereby avoided. The Holy of Holies is screened from view by a
+    priestly ceremony,&mdash;by the mask of conventional religion. Else we must
+    take the composer's personal conception of such a climax as that of an
+    orthodox Churchman. And then the whole work, with all its pathos and
+    humanity, falls to the level of liturgy.
+</p>
+<p>
+    The words of invisible angel-chorus are those of the blessed maid
+    trusting in God her savior, on a theme for which we are prepared by
+    preluding choirs of harps, wood and strings. It is sung on an ancient
+    Church tone that in its height approaches the mode of secular song. With
+    all the power of broad rhythm, and fulness of harmony and volume, the
+    feeling is of conventional worship. With all the purity of shimmering
+    harmonies the form is ecclesiastical in its main lines and depends upon
+    liturgic symbols for its effect and upon the faith of the listener for
+    its appeal.
+</p>
+<p>
+    At the end of the hymn, on the entering <i>Hosanna!</i> and <i>Hallelujah!</i> we
+    catch the sacred symbol (of seven tones) in the path of the two vocal
+    parts, the lower descending, the higher ascending as on heavenly scale.
+    In the second, optional ending the figure is completed, as the bass
+    descends through the seven whole tones and the treble (of voices and
+    instruments) rises as before to end in overpowering <i>Hallelujah!</i> The
+    style is close knit with the earlier music. A pervading motive is the
+    former brief phrase of aspiration; upon it the angelic groups seem to
+    wing their flight between verses of praise. By a wonderful touch the
+    sigh, that appeared inverted in the plaintive chant of the <i>Purgatorio</i>,
+    is finally glorified as the motive of the bass to the words of
+    exultation.
+</p>
+<a name="2HCH0005"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER V
+</h2>
+<h3>
+    THE SYMPHONIC POEMS OF LISZT
+</h3>
+<p>
+    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. Yet it must be
+    yielded that Liszt's program-music was of the higher kind that dwells in
+    symbols rather than in concrete details. It was a graphic plan of
+    symbolization that led Liszt to choose the subjects of his symphonic
+    poems (such as the "Préludes" and the "Ideals") and to prefer the poetic
+    scheme of Hugo's "Mazeppa" to the finer verse of a Byron. Though not
+    without literal touches, Liszt perceived that his subjects must have a
+    symbolic quality.
+</p>
+<p>
+    Nevertheless this pictorial style led to a revolution in the very nature
+    of musical creation and to a new form which was seemingly intended to
+    usurp the place of the symphony. It is clear that the symphonic poem is
+    in very essence opposed to the symphony. The genius of the symphony lies
+    in the overwhelming breadth and intensity of its expression without the
+    aid of words. Vainly decried by a later age of shallower perception, it
+    achieved this Promethean stroke by the very magic of the design. At one
+    bound thus arose in the youngest art a form higher than any other of
+    human device,&mdash;higher than the epic, the drama, or the cathedral.
+</p>
+<p>
+    Bowing to an impatient demand for verbal meaning, Liszt invented the
+    Symphonic Poem, in which the classic cogency yielded to the loose thread
+    of a musical sketch in one movement, slavishly following the sequence of
+    some literary subject. He abandoned sheer tonal fancy, surrendering the
+    magic potency of pure music, fully expressive within its own design far
+    beyond the literal scheme.<a href="#note8">[8]</a>
+</p>
+
+<p>
+    The symphonic poems of Liszt, in so far as his intent was in destructive
+    reaction to the classic process, were precisely in line with the drama
+    of Wagner. The common revolt completely failed. The higher, the real
+    music is ever of that pure tonal design where the fancy is not leashed
+    to some external scheme. Liszt himself grew to perceive the inadequacy
+    of the new device when he returned to the symphony for his greatest
+    orchestral expression, though even here he never escaped from the thrall
+    of a literal subject.
+</p>
+<p>
+    And strangely, in point of actual music, we cannot fail to find an
+    emptier, a more grandiose manner in all these symphonic poems than in
+    the two symphonies. It seems as if an unconscious sense of the greater
+    nobility of the classic medium drove Liszt to a far higher inspiration
+    in his melodic themes.
+</p>
+<p>
+    Yet we cannot deny the brilliant, dazzling strokes, and the luscious
+    harmonies. It was all a new manner, and alone the novelty is welcome,
+    not to speak of the broad sweep of facile melody, and the sparkling
+    thrills.
+</p>
+<p>
+    &nbsp;</p>
+<p style="text-align: center">
+    <i><a name="preludes">LES PRÉLUDES</a></i>
+</p>
+<p>
+    This work has a preface by the composer, who refers in a footnote to the
+    "<i>Méditations poétiques</i>" of Lamartine.
+</p>
+<p>
+    "What else is our life than a series of preludes to that unknown song of
+    which the first solemn note is struck by death? Love is the morning glow
+    of every heart; but in what human career have not the first ecstasies of
+    bliss been broken by the storm, whose cruel breath destroys fond
+    illusions, and blasts the sacred shrine with the bolt of lightning. And
+    what soul, sorely wounded, does not, emerging from the tempest, seek to
+    indulge its memories in the calm of country life? Nevertheless, man will
+    not resign himself for long to the soothing charm of quiet nature, and
+    when the trumpet sounds the signal of alarm, he runs to the perilous
+    post, whatever be the cause that calls him to the ranks of war,&mdash;that he
+    may find in combat the full consciousness of himself and the command of
+    all his powers."
+</p>
+<p>
+    How far is the music literally graphic? We cannot look for the "unknown
+    song" in definite sounds. That would defeat, not describe, its
+    character. But the first solemn notes, are not these the solemn rising
+    phrase that reappears in varying rhythm and pace all about the beginning
+    and, indeed, the whole course
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music19.jpg" alt="music19" width="200" height="102"></p>
+<p style="text-indent: 0em">
+    of the music. Just these three notes abound in the mystic first
+    "prelude," and they are the core of the great swinging tune of the
+    Andante maestoso, the beginning and main pulse of the unknown song.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music20.jpg" alt="music20" width="400" height="129"></p>
+<p>
+    Now (<i>dolce cantando</i>) is a softer guise of the phrase. For death and
+    birth, the two portals, are like
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music21.jpg" alt="music21" width="400" height="169"></p>
+<p style="text-indent: 0em">
+    elements. Even here the former separate motive sounds, and so in the
+    further turn of the song (<i>espressivo dolente</i>) on new thread.
+</p>
+<p>
+    The melody that sings (<i>espressivo ma tranquillo</i>) may well stand for
+    "love, the glow of dawn in every heart." Before the storm, both great
+    motives (of love and death) sound together very beautifully, as in
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music22.jpg" alt="music22" width="400" height="198"></p>
+<p style="text-indent: 0em">
+    Tennyson's poem. The storm that blasts the romance begins with the same
+    fateful phrase. It is all about, even inverted, and at the crisis it
+    sings with the fervor of full-blown song. At the lull the soft guise
+    reappears, faintly, like a sweet memory.
+</p>
+<p>
+    The Allegretto pastorale is clear from the preface. After we are lulled,
+    soothed, caressed and all but entranced by these new impersonal sounds,
+    then, as if the sovereign for whom all else were preparing, the song of
+    love seeks its recapitulated verse. Indeed here is the real full song.
+    Is it that in the memory lies the reality, or at least the realization?
+</p>
+<p>
+    Out of the dream of love rouses the sudden alarm of brass (<i>Allegro
+    marziale animato</i>), with a new war-tune fashioned of the former soft
+    disguised motive. The air of fate still hangs heavy over all. In
+    spirited retorts the martial madrigal proceeds, but it is not all mere
+    war and courage. Through the clash of strife break in the former songs,
+    the love-theme in triumph and the first expressive strain in tempestuous
+    joy. Last of all the fateful original motto rings once more in serene,
+    contained majesty.
+</p>
+<p>
+    On the whole, even with so well-defined a program, and with a full play
+    of memory, we cannot be quite sure of a fixed association of the motive.
+    It is better to view the melodic episodes as subjective phases, arising
+    from the tenor of the poem.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="tasso">
+    <i>TASSO</i> </a>
+</center>
+<p>
+    Liszt's "Tasso" is probably the earliest celebration, in pure tonal
+    form, of the plot of man's suffering and redemption, that has been so
+    much followed that it may be called the type of the modern symphony.<a href="#note9">[9]</a>
+    In this direct influence the "Tasso" poem has been the most striking of
+    all of Liszt's creations.
+</p>
+
+<p>
+    The following preface of the composer accompanies the score:
+</p>
+     <blockquote>
+       <p>"In the year 1849 the one hundredth anniversary of Goethe's birth
+     was celebrated throughout Germany; the theatre in Weimar, where we
+     were at the time, marked the 28th of August by a performance of
+     'Tasso.'</p>
+       <p>"The tragic fate of the unfortunate bard served as a text for the
+     two greatest poets produced by Germany and England in the last
+     century: Goethe and Byron. Upon Goethe was bestowed the most
+     brilliant of mortal careers; while Byron's advantages of birth and
+     of fortune were balanced by keenest suffering. We must confess that
+     when bidden, in 1849, to write an overture for Goethe's drama, we
+     were more immediately inspired by Byron's reverential pity for the
+     shades of the great man, which he invoked, than by the work of the
+     German poet. Nevertheless Byron, in his picture of Tasso in prison,
+     was unable to add to the remembrance of his poignant grief, so
+     nobly and eloquently uttered in his 'Lament,' the thought of the
+     'Triumph' that a tardy justice gave to the chivalrous author of
+     'Jerusalem Delivered.' We have sought to mark this dual idea in the
+     very title of our work, and we should be glad to have succeeded in
+     pointing this great contrast,&mdash;the genius who was misjudged during
+     his life, surrounded, after death, with a halo that destroyed his
+     enemies. Tasso loved and suffered at Ferrara; he was avenged at
+     Rome; his glory still lives in the folk-songs of Venice. These
+     three elements are inseparable from his immortal memory. To
+     represent them in music, we first called up his august spirit as he
+     still haunts the waters of Venice. Then we beheld his proud and
+     melancholy figure as he passed through the festivals of Ferrara
+     where he had produced his master-works. Finally we followed him to
+     Rome, the eternal city, that offered him the crown and glorified in
+     him the martyr and the poet.</p>
+       <p>"<i>Lamento e Trionfo</i>: Such are the opposite poles of the destiny
+     of poets, of whom it has been justly said that if their lives are
+     sometimes burdened with a curse, a blessing is never wanting over
+     their grave. For the sake not merely of authority, but the
+     distinction of historical truth, we put our idea into realistic
+     form in taking for the theme of our musical poem the motive with
+     which we have heard the gondoliers of Venice sing over the waters
+     the lines of Tasso, and utter them three centuries after the poet:</p>
+       <blockquote>
+         <blockquote>
+           <blockquote>
+             <blockquote>
+               <blockquote>
+                 <blockquote>
+                   <p style="text-indent: 0em">"'Canto l'armi pietose e'l Capitano<br>
+        Che'l gran Sepolcro liberò di Christo!'</p>
+                 </blockquote>
+               </blockquote>
+             </blockquote>
+           </blockquote>
+         </blockquote>
+       </blockquote>
+       <p>"The motive is in itself plaintive; it has a sustained sigh, a
+     monotone of grief. But the gondoliers give it a special quality by
+     prolonging certain tones&mdash;as when distant rays of brilliant light
+     are reflected on the waves. This song had deeply impressed us long
+     ago. It was impossible to treat of Tasso without taking, as it
+     were, as text for our thoughts, this homage rendered by the nation
+     to the genius whose love and loyalty were ill merited by the court
+     of Ferrara. The Venetian melody breathes so sharp a melancholy,
+     such hopeless sadness, that it suffices in itself to reveal the
+     secret of Tasso's grief. It lent itself, like the poet's
+     imagination, to the world's brilliant illusions, to the smooth and
+     false coquetry of those smiles that brought the dreadful
+     catastrophe in their train, for which there seemed to be no
+     compensation in this world. And yet upon the Capitol the poet was
+     clothed with a mantle of purer and more brilliant purple than that
+     of Alphonse." </p>
+</blockquote>
+
+<p>
+    With the help of the composer's plot, the intent of the music becomes
+    clear, to the dot almost of the note. The whole poem is an exposition of
+    the one sovereign melody, where we may feel a kindred trait of Hungarian
+    song, above all in the cadences, that must have stirred Liszt's patriot
+    heart. Nay,&mdash;beginning as it does with melancholy stress of the phrase
+    of cadence and the straying into full rhythmitic exultation, it seems
+    (in strange guise) another
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music23.jpg" alt="music23" width="400" height="417"></p>
+<p style="text-indent: 0em">
+    of Liszt's Hungarian rhapsodies,&mdash;that were, perhaps, the greatest of
+    all he achieved, where his unpremeditated frenzy revelled in purest
+    folk-rhythm and tune. The natural division of the Hungarian dance, with
+    the sad <i>Lassu</i> and the glad <i>Friss</i>, is here clear in order and
+    recurrence. The Magyar seems to the manner born in both parts of the
+    melody.<a href="#note10">[10]</a>
+</p>
+
+<p>
+    In the accents of the motive of cadence (<i>Lento</i>) we feel the secret
+    grief of the hero, that turns <i>Allegro strepitoso</i>, in quicker pace to
+    fierce revolt.
+</p>
+<p>
+    In full tragic majesty the noble theme enters, in panoply of woe. In the
+    further flow, as in the beginning, is a brief chromatic strain and a
+    sigh of descending tone that do not lie in the obvious song, that are
+    drawn by the subjective poet from the latent fibre. Here is the modern
+    Liszt, of rapture and anguish, in manner and in mood that proved so
+    potent a model with a later generation.<a href="#note11">[11]</a>
+</p>
+
+<p>
+    The verse ends in a prolonged threnody, then turns to a firm, serenely
+    grave burst of the song in major, <i>Meno Adagio</i>, with just a hint of
+    martial grandeur. For once, or the nonce, we seem to see the hero-poet
+    acclaimed. In a middle episode the motive of the cadence sings
+    expressively with delicate harmonies, rising to full-blown exaltation.
+    We may see here an actual brief celebration, such as Tasso did receive
+    on entering Ferrara.
+</p>
+<p>
+    And here is a sudden fanciful turn. A festive dance strikes a tuneful
+    trip,&mdash;a menuet it surely is, with all the ancient festal charm, vibrant
+    with tune and spring, though still we do not escape the source of the
+    first pervading theme. Out of the midst of the dance sings slyly an
+    enchanting phrase, much like a secret love-romance. Now to the light
+    continuing dance is joined a strange companion,&mdash;the heroic melody in
+    its earlier majestic pace. Is it the poet in serious meditation at the
+    feast apart from the joyous abandon, or do we see him laurel-crowned, a
+    centre of the festival, while the gay dancers flit about him in homage?
+</p>
+<p>
+    More and more brilliant grows the scene, though ever with the dominant
+    grave figure. With sudden stroke as of fatal blast returns the earlier
+    fierce burst of revolt, rising to agitation of the former lament,
+    blending both moods and motives, and ending with a broader stress of the
+    first tragic motto.
+</p>
+<p>
+    Now, <i>Allegro con brio</i>, with herald calls of the brass and fanfare of
+    running strings (drawn from the personal theme), in bright major the
+    whole song bursts forth in brilliant gladness. At the height the
+    exaltation finds vent in a peal of simple melody. The "triumph" follows
+    in broadest, royal pace of the main song in the wind, while the strings
+    are madly coursing and the basses reiterate the transformed motive of
+    the cadence. The end is a revel of jubilation.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <i><a name="mazeppa">MAZEPPA</a></i>
+</center>
+<p>
+    The Mazeppa music is based upon Victor Hugo's poem, in turn founded upon
+    Byron's verse, with an added stirring touch of allegory.
+</p>
+<p>
+    The verses of Hugo first tell how the victim is tied to the fiery
+    steed, how&mdash;
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                &quot;He turns in the toils like a serpent in madness,<br>
+                And ... his tormentors have feasted in gladness<br>
+&nbsp;&nbsp;&nbsp;&nbsp; Upon his despair.
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+<blockquote>
+  <blockquote>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+&quot;They fly.&mdash;Empty space is behind and before them
+
+
+          </blockquote>
+        </blockquote>
+      </blockquote>
+    </blockquote>
+  </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;The horse, neither bridle nor bit on him feeling,<br>
+    Flies ever; red drops o'er the victim are stealing:<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        His whole body bleeds.<br>
+    Alas! to the wild horses foaming and champing<br>
+    That followed with mane erect, neighing and stamping,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        A crow-flight succeeds.<br>
+    The raven, the horn'd owl with eyes round and hollow,<br>
+    The osprey and eagle from battle-field follow,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        Though daylight alarm.
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;Then after three days of this course wild and frantic,<br>
+    Through rivers of ice, plains and forests gigantic,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        The horse sinks and dies;
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;Yet mark! That poor sufferer, gasping and moaning,<br>
+    To-morrow the Cossacks of Ukraine atoning,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        Will hail as their King;
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;To royal Mazeppa the hordes Asiatic<br>
+    Will show their devotion in fervor ecstatic,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        And low to earth bow."
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p>
+    In his splendid epilogue the poet likens the hero to the mortal on whom
+    the god has set his mark. He sees himself bound living to the fatal
+    course of genius, the fiery steed.
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                &quot;Away from the world&mdash;from all real existence<br>
+                He is borne upwards, despite his resistance<br>
+&nbsp;&nbsp;&nbsp;&nbsp; On feet of steel.<br>
+                He is taken o'er deserts, o'er mountains in legions,<br>
+                Grey-hoary, thro' oceans, and into the regions<br>
+&nbsp;&nbsp;&nbsp;&nbsp; Far over the clouds;<br>
+                A thousand base spirits his progress unshaken<br>
+                Arouses, press round him and stare as they waken,<br>
+&nbsp;&nbsp;&nbsp;&nbsp; In insolent crowds
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;He cries out with terror, in agony grasping,<br>
+    Yet ever the mane of his Pegasus clasping,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        They heavenward spring;<br>
+    Each leap that he takes with fresh woe is attended;<br>
+    He totters&mdash;falls lifeless&mdash;the struggle is ended&mdash;<br>
+&nbsp;&nbsp;&nbsp;&nbsp;
+        And rises as King!&quot;<a href="#note12">[12]</a>
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+<p>
+    The original <i>Allegro agitato</i> in broad 6/4 time (aptly suggestive of
+    the unbridled motion) grows
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music24.jpg" alt="music24" width="400" height="129"></p>
+<p style="text-indent: 0em">
+    more rapid into an <i>alla breve</i> pace (in two beats), with dazzling maze
+    of lesser rhythms. Throughout the work a song of primeval strain
+    prevails. Here and there a tinge of foreshadowing pain appears, as the
+    song sounds on high, <i>espressivo dolente</i>. But the fervor and fury of
+    movement is undiminished. The brief touch of pathos soon merges in the
+    general heroic mood. Later, the whole motion ceases, "the horse sinks
+    and dies," and now an interlude sings a pure plaint (in the strain of
+    the main motive). Then, <i>Allegro</i>, the martial note clangs in stirring
+    trumpet and breaks into formal song of war, <i>Allegro marziale</i>.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music25.jpg" alt="music25" width="400" height="176"></p>
+<p>
+    In the wake of this song, with a relentless trip and tramp of warrior
+    hordes, is the real clash and jingle of the battle, where the sparkling
+    thrill of strings and the saucy counter theme are strong elements in the
+    stirring beauty.
+</p>
+<p>
+    There is a touch here of the old Goth, or rather the Hun, nearer akin to
+    the composer's race.
+</p>
+<p>
+    At the height rings out the main tune of yore, transformed in triumphant
+    majesty.
+</p>
+<p>
+    The musical design embraces various phases. First is the clear rhythmic
+    sense of the ride. We think of other instances like Schubert's
+    "Erl-King" or the ghostly ride in Raff's "Lenore" Symphony.
+</p>
+<p>
+    The degree of vivid description must vary, not only with the composer,
+    but with the hearer. The greatest masters have yielded to the variety of
+    the actual graphic touch. And, too, there are always interpreters who
+    find it, even if it was never intended. Thus it is common to hear at the
+    very beginning of the "Mazeppa" music the cry that goes up as starts the
+    flight.
+</p>
+<p>
+    We are of course entitled, if we prefer, to feel the poetry rather than
+    the picture. Finally it is probably true that such a poetic design is
+    not marred merely because there is here or there a trick of
+    onomatopoeia; if it is permitted in poetry, why not in music? It may be
+    no more than a spur to the fancy, a quick conjuring of the association.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="huns">
+    <i>HUNNENSCHLACHT&mdash;"THE BATTLE OF THE HUNS"</i> </a>
+</center>
+<p>
+    Liszt's symphonic poem, "Hunnenschlacht," one of the last of his works
+    in this form, completed in 1857, was directly inspired by the picture of
+    the German painter, Wilhelm Kaulbach, which represents the legend of the
+    aerial battle between the spirits of the Romans and Huns who had fallen
+    outside of the walls of Rome.<a href="#note13">[13]</a>&nbsp;
+</p>
+<p>
+    The evidence of the composer's intent is embodied in a letter written in
+    1857 to the wife of the painter, which accompanied the manuscript of an
+    arrangement of the music for two pianos. In the letter Liszt speaks of
+    "the meteoric and solar light which I have borrowed from the painting,
+    and which at the Finale I have formed into one whole by the gradual
+    working up of the Catholic <i>choral</i> 'Crux fidelis,' and the meteoric
+    sparks blended therewith." He continues: "As I have already intimated to
+    Kaulbach, in Munich, I was led by the musical demands of the material to
+    give proportionately more place to the solar light of Christianity,
+    personified in the Catholic <i>choral</i> ... than appears to be the case in
+    the glorious painting, in order to win and pregnantly represent the
+    conclusion of the Victory of the Cross, with which I both as a Catholic
+    and as a man could not dispense."
+</p>
+<p>
+    The work begins <i>tempestuoso</i> (<i>allegro non troppo</i>), with a nervous
+    theme over soft rolling drums and
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music26.jpg" alt="music26" width="400" height="103"></p>
+<p style="text-indent: 0em">
+    trembling low strings, that is taken up as in fugue by successive groups
+    and carried to a height where enters a fierce call of the horns. The
+    cries of battle spread with increasing din and gathering speed. At the
+    first climax the whole motion has a new energy, as the strings in
+    feverish chase attack the quickened motive with violent stress. Later,
+    though the motion has not lessened, the theme has returned to a
+    semblance of its former pace, and again the cries of battle (in brass
+    and wood) sound across its path.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music27.jpg" alt="music27" width="400" height="187"></p>
+<p>
+    In the hush of the storm the full-blown call to arms is heard in lowest,
+    funereal tones. Of a sudden, though the speed is the same, the pace
+    changes with a certain terror as of a cavalry attack. Presently amid the
+    clattering tramp sounds the big hymn,&mdash;in the ancient rhythm that moves
+    strangely out of the rut of even time.<a href="#note14">[14]</a>
+</p>
+
+<p>
+    A single line of the hymn is followed by a refrain of the battle-call,
+    and by the charge of horse that brings back the hymn, in high pitch of
+    trumpets. And so recur the former phases of battle,&mdash;really of threat
+    and preparation. For now begins the serious fray in one long gathering
+    of speed and power. The first theme here grows to full melodic song,
+    with extended answer, led by strepitous band of lower reed over a heavy
+    clatter of strings. We are in a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music28.jpg" alt="music28" width="400" height="160"></p>
+<p style="text-indent: 0em">
+    maze of furious charges and cries, till the shrill trumpet and the
+    stentorian trombone strike the full call in antiphonal song. The tempest
+    increases with a renewed charge of the strings, and now the more distant
+    calls have a slower sweep. Later the battle song is in the
+    basses,&mdash;again in clashing basses and trebles; nearer strike the broad
+    sweeping calls.
+</p>
+<p>
+    Suddenly over the hushed motion in soothing harmonies sings the hymn in
+    pious choir of all the brass. Then the gathering speed and volume is
+    merged in a majestic tread as of ordered array (<i>Maestoso assai;
+    Andante</i>); a brief spirited prelude of martial motives is answered by
+    the soft religious strains of the organ on the line of the hymn:
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                <blockquote>
+    "Crux fidelis, inter omnes<br>
+    Arbor una nobilis,<br>
+                  Nulla silva talem profert<br>
+    Fronde, flore, germine.<br>
+                  Dulce lignum, dulces clavos,<br>
+                  Dulce pondus sustinet.&quot;<a href="#note15">[15]</a>
+
+
+                </blockquote>
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+<p>
+    As in solemn liturgy come the answering phrases of the organ and the big
+    chorus in martial tread. As the hymn winds its further course, violins
+    entwine about the harmonies. The last line ends in expressive strain and
+    warm line of new major tone,&mdash;echoed in interluding organ and violins.
+</p>
+<p>
+    Suddenly a strict, solemn tread, with sharp stress of violins, brings a
+    new song of the <i>choral</i>. Strings alone play here "with pious
+    expression"; gradually reeds add support and ornament. A lingering
+    phrase ascends on celestial harmonies. With a stern shock the plain hymn
+    strikes in the reed, against a rapid course of strings, with fateful
+    tread. In interlude sound the battle-cries of yore. Again the hymn ends
+    in the expressive cadence, though now it grows to a height of power.
+</p>
+<p>
+    Here a former figure (the first motive of the battle) reappears in a
+    new guise of bright major,<a href="#note16">[16]</a> in full, spirited stride, and leads once
+    more to a blast of the hymn, with organ and all, the air in unison of
+    trumpets and all the wood. The expressive cadence merges into a last
+    fanfare of battle, followed by a strain of hymns and with reverberating Amens, where the organ predominates and holds long after all other
+    sounds have ceased.
+</p>
+
+<a name="2HCH0006"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER VI
+</h2>
+<h3>
+    THE SYMPHONIC POEMS OF SAINT-SAËNS
+</h3>
+<p>
+    There is something charming and even ideal in a complete versatility,
+    quite apart from the depth of the separate poems, where there is a
+    never-failing touch of grace and of distinction. The Philip Sydneys are
+    quite as important as the Miltons, perhaps they are as great. Some poets
+    seem to achieve an expression in a certain cyclic or sporadic career of
+    their fancy, touching on this or that form, illuminating with an elusive
+    light the various corners of the garden. Their individual expression
+    lies in the <i>ensemble</i> of these touches, rather than in a single
+    profound revelation.
+</p>
+<p>
+    A symptom of the eminence of Saint-Saëns in the history of French music
+    lies in his attitude towards the art as a whole, especially of the
+    German masters,&mdash;the absence of national bias in his perceptions. He was
+    foremost in revealing to his countrymen the greatness of Bach, Beethoven
+    and Schumann. Without their influence the present high state of French
+    music can hardly be conceived.
+</p>
+<p>
+    It is part of a broad and versatile mastery that it is difficult to
+    analyze. Thus it is not easy to find salient traits in the art of M.
+    Saint-Saëns. We are apt to think mainly of the distinguished beauty of
+    his harmonies, until we remember his subtle counterpoint, or in turn
+    the brilliancy of his orchestration. The one trait that he has above his
+    contemporaries is an inbred refinement and restraint,&mdash;a thorough-going
+    workmanship. If he does not share a certain overwrought emotionalism
+    that is much affected nowadays, there is here no limitation&mdash;rather a
+    distinction. Aside from the general charm of his art, Saint-Saëns found
+    in the symphonic poem his one special form, so that it seemed Liszt had
+    created it less for himself than for his French successor. A fine
+    reserve of poetic temper saved him from hysterical excess. He never lost
+    the music in the story, disdaining the mere rude graphic stroke; in his
+    dramatic symbols a musical charm is ever commingled. And a like poise
+    helped him to a right plot and point in his descriptions. So his
+    symphonic poems must ever be enjoyed mainly for the music, with perhaps
+    a revery upon the poetic story. With a less brilliant vein of melody,
+    though they are not so Promethean in reach as those of Liszt, they are
+    more complete in the musical and in the narrative effect.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="danse">
+    <i>DANSE MACABRE</i> </a>
+</center>
+<p>
+    Challenged for a choice among the works of the versatile composer, we
+    should hit upon the <i>Danse Macabre</i> as the most original, profound and
+    essentially beautiful of all. It is free from certain lacks that one
+    feels in other works, with all their charm,&mdash;a shallowness and almost
+    frivolity; a facility of theme approaching the commonplace.
+</p>
+<p>
+    There is here an eccentric quality of humor, a daemonic conceit that
+    reach the height of other classic expression of the supernatural.
+</p>
+<p>
+    The music is founded upon certain lines of a poem of <i>Henri Calais</i>
+    (under a like title), that may be given as follows:
+</p>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                <blockquote>
+                  <blockquote>
+                    <blockquote>
+&nbsp;&nbsp;&nbsp;&nbsp;
+          Zig-a-zig, zig-a-zig-a-zig,<br>
+    Death knocks on the tomb with rhythmic heel.<br>
+&nbsp;&nbsp;&nbsp;&nbsp; Zig-a-zig, zig-a-zig-zig,<br>
+    Death fiddles at midnight a ghostly reel.<br>
+
+    The winter wind whistles, dark is the night;<br>
+&nbsp;
+      Dull groans behind the lindens grow loud;<br>
+    Back and forth fly the skeletons white,<br>
+&nbsp;
+      Running and leaping each under his shroud.<br>
+                      Zig-a-zig-a-zig, how it makes you quake,<br>
+    As you hear the bones of the dancers shake.
+
+
+                    </blockquote>
+                  </blockquote>
+                </blockquote>
+              </blockquote>
+            </blockquote>
+</blockquote>
+
+
+<hr>
+  <blockquote>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+  But hist! all at once they vanish away,<br>
+    The cock has hailed the dawn of day.
+
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+    </blockquote>
+</blockquote>
+
+<p>
+    The magic midnight strokes sound clear and sharp. In eager chords of
+    tuned pitch the fiddling ghost summons the dancing groups, where the
+    single fife is soon followed by demon violins.
+</p>
+<p>
+    Broadly sings now the descending tune half-way between a wail and a
+    laugh. And ever in interlude is the skipping, mincing step,&mdash;here of
+    reeds answered by solo violin with a light clank of cymbals. Answering
+    the summoning fifes, the unison troop of fiddlers dance the main step
+    to bright strokes of triangle, then the main ghostly violin trips in
+    with choir of wind. And broadly again sweeps the song between tears and
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music29.jpg" alt="music29" width="400" height="185"></p>
+<p style="text-indent: 0em">
+    smiles. Or Death fiddles the first strain of reel for the tumultuous
+    answer of chorus.
+</p>
+<p>
+    Now they build a busy, bustling fugue (of the descending song) and at
+    the serious moment suddenly
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music30.jpg" alt="music30" width="400" height="159"></p>
+<p style="text-indent: 0em">
+    they skip away in new frolicsome, all but joyous, tune: a shadowy
+    counterfeit of gladness, where the sob hangs on the edge of the smile.
+    As if it could no longer be contained, now pours the full passionate
+    grief of the broad descending strain. Death fiddles his mournful chant
+    to echoing, expressive wind. On the abandon of grief follows the revel
+    of grim humor in pranks of mocking demons. All the strains are mingled
+    in the ghostly bacchanale. The descending song is answered in opposite
+    melody. A chorus of laughter follows the tripping dance. The summoning
+    chords, acclaimed by chorus, grow to appealing song in a brief lull. At
+    the height, to the united skipping dance of overpowering chorus the
+    brass blows the full verse of descending song. The rest is a mad storm
+    of carousing till ... out of the whirling darkness sudden starts the
+    sharp, sheer call of prosaic day, in high, shrill reed. On a minishing
+    sound of rolling drum and trembling strings, sings a brief line of
+    wistful rhapsody of the departing spirit before the last whisking steps.
+</p>
+<p style="text-indent: 0em">
+    &nbsp;</p>
+<center>
+    <a name="phaeton">
+    <i>PHAETON</i> </a>
+</center>
+<p>
+    On a separate page between title and score is a "<i>Notice</i>,"&mdash;an epitome
+    of the story of Phaeton, as follows:
+</p>
+<p>
+    "Phaeton has been permitted to drive the chariot of the Sun, his father,
+    through the heavens. But his unskilful hands frighten the steeds. The
+    flaming chariot, thrown out of its course, approaches the terrestrial
+    regions. The whole universe is on the verge of ruin when Jupiter strikes
+    the imprudent Phaeton with his thunderbolt."
+</p>
+<p>
+    There is a solemn sense at first (<i>Maestoso</i>), a mid-air poise of the
+    harmony, a quick spring of resolution and&mdash;on through the heavens. At
+    the outset and always is the pervading musical charm. In the beginning
+    is the enchantment of mere motion in lightest prancing strings and harp
+    with slowly ascending curve. In farther journey comes a spring of the
+    higher wood and soon a firm note of horns and a blast of trumpets on a
+    chirruping call, till the whole panoply of solar brilliance is
+    shimmering. Now with the continuing pulse (of saltant strings) rings a
+    buoyant,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music31.jpg" alt="music31" width="400" height="131"></p>
+<p style="text-indent: 0em">
+    regnant air in the brass. A (canon) chase of echoing voices merely adds
+    an entrancing bewilderment, then yields to other symbols and visions.
+</p>
+<p>
+    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.
+</p>
+<p>
+    Still on to a higher pole spins the dizzy path; then at the top of the
+    song, it turns in slow descending curve. Almost to Avernus seems the
+    gliding fall when the first melody rings anew. But there is now an
+    anxious sense that dims the joy of motion and in the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music32.jpg" alt="music32" width="400" height="177"></p>
+<p style="text-indent: 0em">
+    returning first motive jars the buoyant spring. Through the maze of
+    fugue with tinge of terror presses the fatuous chase, when&mdash;crash comes
+    the shock of higher power. There is a pause of motion in the din and a
+    downward flight as of lifeless figure.
+</p>
+<p>
+    Now seems the soul of the sweet melody to sing, in purest dirge, without
+    the shimmer of attendant motion save a ghostly shadow of the joyous
+    symbol.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="hercules">
+    <i>THE YOUTH OF HERCULES</i> </a>
+</center>
+<p>
+    The "Legend" is printed in the score as follows:
+</p>
+<p>
+    "Fable tells us that upon entering into life Hercules saw the two paths
+    open before him: of pleasure and of virtue.
+</p>
+<p>
+    "Insensible to the seductions of Nymphs and Bacchantes, the hero devotes
+    himself to the career of struggle and combat, at the end of which he
+    glimpses across the flames of the funeral pyre the reward of
+    immortality."
+</p>
+<p>
+    We can let our fancy play about the score and wonderfully hit an
+    intention of the poet. Yet that is often rather a self-flattery than a
+    real perception. In the small touches we may lose the greater beauty.
+    Here, after all, is the justification of the music. If the graphic
+    picture is added, a little, only, is gained. The main virtue of it lies
+    in our better grasp of the musical design.
+</p>
+<p>
+    In the muted strings, straying dreamily in pairs, is a vague line of the
+    motto,&mdash;a foreshadowing of the heroic idea, as are the soft calls of the
+    wind with wooing harp a first vision of delight.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music33.jpg" alt="music33" width="400" height="173"></p>
+<p>
+    Now begins the main song in sturdy course of unmuted strings. The wood
+    soon join in the rehearsing. But it is not all easy deciphering. The
+    song wanders in gently agitated strings while the horns hold a solemn
+    phrase that but faintly resembles the motto.<a href="#note17">[17]</a> Lesser phrases play
+    about the bigger in rising flight of aspiration, crowned at the height
+    with a ray of glad light.
+</p>
+
+<p>
+    As the dream sinks slowly away, the stern motto is buried in quick
+    flashes of the tempting call. These are mere visions; now comes the
+    scene itself of temptation.
+</p>
+<p>
+    To ripples of harp the reed sings enchantingly in swaying rhythm; other
+    groups in new surprise of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music34.jpg" width="400" height="122" alt="music34"></p>
+<p style="text-indent: 0em">
+    scene usurp the melody with the languishing answer, until one Siren
+    breaks into an impassioned burst, while her sisters hold the dance.
+</p>
+<p>
+    Straight upon her vanished echoes shrieks the shrill pipe of war, with
+    trembling drum. We hear a yearning sigh of the Siren strain before it is
+    swept away in the tide and tumult of strife. Beneath the whirl and
+    motion, the flash and crash of arms, we have glimpses of the heroic
+    figure.
+</p>
+<p>
+    Here is a strange lay in the fierce chorus of battle-cries: the Siren
+    song in bright insistence, changed to the rushing pace of war.
+</p>
+<p>
+    The scene ends in a crash. Loud sings a solemn phrase; do we catch an
+    edge of wistful regret? Now returns the sturdy course of the main
+    heroic melody; only it is slower (<i>Andante sostenuto</i>), and the high
+    stress of cadence is solemnly impassioned.
+</p>
+<p>
+    As if to atone for the slower pace, the theme strikes into a lively
+    fugue, with trembling strings (<i>Allegro animato</i>).
+</p>
+<p>
+    There is an air of achievement in the relentless progress and the
+    insistent recurrence of the masterful motive. An episode there is of
+    mere striving and straining, before the theme resumes its vehement
+    attack, followed by lusty echoes all about as of an army of heroes.
+    There is the breath of battle in the rumbling basses and the shaking,
+    quivering brass.
+</p>
+<p>
+    At last the plain song resounds in simple lines of ringing brass, led by
+    the high bugle.<a href="#note18">[18]</a>
+</p>
+
+<p>
+    Yet the struggle, the inner combat, is not over. At the very moment of
+    triumph sings on high over purling harp the mastering strain of Sirens,
+    is buried beneath martial clash and emerges with its enchantment. But
+    here the virile mood and motive gains the victory and strides on to
+    final scene.
+</p>
+<p>
+    We remember how Hercules built and ascended his own funeral pyre. In
+    midst of quivering strings, with dashing harp and shrieking wood, a roll
+    of drum and a clang of brass sounds the solemn chant of the trombone,
+    descending in relentless steps. As the lowest is reached, there comes a
+    spring of freedom in the pulsing figures, like the winging of a spirit,
+    and a final acclaim in a brief line of the legend.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="omphale">
+    <i>OMPHALE'S SPINNING WHEEL</i> </a>
+</center>
+<p>
+    Between title and score is this <i>Notice</i>:
+</p>
+<p>
+    "The subject of this symphonic poem is feminine witchery, the triumphant
+    struggle of weakness. The spinning wheel is a mere pretext, chosen from
+    the point of view of rhythm and the general atmosphere of the piece.
+</p>
+<p>
+    "Those persons who might be interested in a study of the details of the
+    picture, will see ... the hero groaning in the toils which he cannot
+    break, and ... Omphale mocking the vain efforts of Hercules."
+</p>
+<p>
+    The versions of the story differ slightly. After the fulfilment of his
+    twelve labors Hercules is ordered by the oracle to a period of three
+    years' service to expiate the killing of the son of King Eurytus in a
+    fit of madness. Hermes placed him in the household of Omphale, queen of
+    Lydia, widow of Tmolus. Hercules is degraded to female drudgery, is
+    clothed in soft raiment and set to spin wool, while the queen assumes
+    the lion skin and club.
+</p>
+<p>
+    In another version he was sold as slave to Omphale, who restored him to
+    freedom. Their passion was mutual. The story has a likeness to a similar
+    episode of Achilles.
+</p>
+<p>
+    The spinning-wheel begins <i>Andante</i> in muted strings alternating with
+    flutes and gradually hurries into a lively motion. Here the horn accents
+    the spinning, while another thread (of higher wood) runs through the
+    graceful woof. A chain of alluring harmonies preludes the ensnaring
+    song, mainly of woodwind above the humming strings, with soft dotting of
+    the harmony by the horns. The violins, to be sure, often enforce the
+    melody.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music35.jpg" width="400" height="352" alt="music35"></p>
+<p>
+    In the second verse, with fuller chorus, the harp adds its touches to
+    the harmony of the horns, with lightest tap of tonal drum. Later a
+    single note of the trumpet is answered by a silvery laugh in the wood.
+    Between the verses proceeds the luscious chain of harmonies, as with the
+    turning of the wheel.
+</p>
+<p>
+    Now with the heavily expressive tones of low, unmuted strings and the
+    sonorous basses of reed and brass (together with a low roll of drum and
+    soft clash of cymbals) an heroic air sings in low strings and brass, to
+    meet at each period a shower of notes from the harp. The song grows
+    intense with the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music36.jpg" width="400" height="203" alt="music36"></p>
+<p style="text-indent: 0em">
+    added clang of trumpets and roll of drums,&mdash;only to succumb to the more
+    eager attack of the siren chorus. At last the full effort of strength
+    battling vainly with weakness reaches a single heroic height and sinks
+    away with dull throbs.
+</p>
+<p>
+    In soothing answer falls the caressing song of the high reed in the
+    phrase of the heroic strain, lightly, quickly and, it seems, mockingly
+    aimed. In gently railing triumph returns the pretty song of the wheel,
+    with a new buoyant spring. Drums and martial brass yield to the laughing
+    flutes, the cooing horns and the soft rippling harp with murmuring
+    strings, to return like captives in the train at the height of the
+    gaiety.
+</p>
+<a name="2HCH0007"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER VII
+</h2>
+<h3>
+    CÉSAR FRANCK
+</h3>
+<p>
+    The new French school of symphony that broke upon the world in the
+    latter part of the nineteenth century had its pioneer and true leader in
+    César Franck.<a href="#note19">[19]</a> It was he who gave it a stamp and a tradition.
+</p>
+
+<p>
+    The novelty of his style, together with the lateness of his acclaim (of
+    which it was the probable cause), have marked him as more modern than
+    others who were born long after him.
+</p>
+<p>
+    The works of Franck, in other lines of oratorio and chamber music, show
+    a clear personality, quite apart from a prevailing modern spirit. A
+    certain charm of settled melancholy seems to inhere in his wonted style.
+    A mystic is Franck in his dominant moods, with a special sense and power
+    for subtle harmonic process, ever groping in a spiritual discontent with
+    defined tonality.
+</p>
+<p>
+    A glance at the detail of his art discloses Franck as one of the main
+    harmonists of his age, with Wagner and Grieg. Only, his harmonic manner
+    was blended if not balanced by a stronger, sounder counterpoint than
+    either of the others. But with all the originality of his style we
+    cannot escape a sense of the stereotype, that indeed inheres in all
+    music that depends mainly on an harmonic process. His harmonic ideas,
+    that often seem inconsequential, in the main merely surprise rather than
+    move or please. The enharmonic principle is almost too predominant,&mdash;an
+    element that ought never to be more than occasional. For it is founded
+    not upon ideal, natural harmony, but upon a conventional compromise, an
+    expedient compelled by the limitation of instruments. This over-stress
+    appears far stronger in the music of Franck's followers, above all in
+    their frequent use of the whole tone "scale" which can have no other
+    <i>rationale</i> than a violent extension of the enharmonic principle.<a href="#note20">[20]</a>
+    With a certain quality of kaleidoscope, there is besides (in the
+    harmonic manner of César Franck) an infinitesimal kind of progress in
+    smallest steps. It is a dangerous form of ingenuity, to which the
+    French are perhaps most prone,&mdash;an originality mainly in details.
+</p>
+
+<p>
+    And yet we must praise in the French master a wonderful workmanship and
+    a profound sincerity of sentiment. He shows probably the highest point
+    to which a style that is mainly harmonic may rise. But when he employs
+    his broader mastery of tonal architecture, he attains a rare height of
+    lofty feeling, with reaches of true dramatic passion.
+</p>
+<p>
+    The effect, to be sure, of his special manner is somewhat to dilute the
+    temper of his art, and to depress the humor. It is thus that the
+    pervading melancholy almost compels the absence of a "slow movement" in
+    his symphony. And so we feel in all his larger works for instruments a
+    suddenness of recoil in the Finale.
+</p>
+<p>
+    One can see in Franck, in analogy with his German contemporaries, an
+    etherealized kind of "Tristan and Isolde,"&mdash;a "Paolo and Francesca" in a
+    world of shades. Compared with his followers the quality of stereotype
+    in Franck is merely general; there is no excessive use of one device.
+</p>
+<p>
+    A baffling element in viewing the art of Franck is his remoteness of
+    spirit, the strangeness of his temper. He lacked the joyous spring that
+    is a dominant note in the classic period. Nor on the other hand did his
+    music breathe the pessimism and naturalism that came with the last
+    rebound of Romantic reaction. Rather was his vein one of high spiritual
+    absorption&mdash;not so much in recoil, as merely apart from the world in a
+    kind of pious seclusion. Perhaps his main point of view was the
+    church-organ. He seems a religious prophet in a non-religious age. With
+    his immediate disciples he was a leader in the manner of his art, rather
+    than in the temper of his poetry.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="Dminor">
+    <i>SYMPHONY IN D MINOR</i> </a>
+</center>
+<p>
+    The scoring shows a sign of modern feeling in the prominence of the
+    brasses. With all contrast of spirit, the analogy of Franck with the
+    Liszt-Wagner school and manner is frequently suggestive.
+</p>
+<p>
+    The main novelty of outer detail is the plan of merely three movements.
+    Nor is there a return to the original form, without the Scherzo. To
+    judge from the headings, the "slow" movement is absent. In truth, by way
+    of cursory preamble, the chronic vein of César Franck is so ingrainedly
+    reflective that there never can be with him an absence of the meditative
+    phrase. Rather must there be a vehement rousing of his muse from a state
+    of mystic adoration to rhythmic energy and cheer.<a href="#note21">[21]</a>
+</p>
+
+<p>
+    <i>Lento</i> in basses of the strings a strain sounds like a basic motive,
+    answered with harmonies in the wood. In further strings lies the full
+    tenor of quiet reflection, with sombre color of tonal scheme. Motives
+    are less controlling probably in Franck than in any other
+    symphonist,&mdash;less so, at any rate, than his one
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music37.jpg" width="400" height="97" alt="music37"></p>
+<p style="text-indent: 0em">
+    special mood and manner. Yet nowhere is the strict figural plot more
+    faithful in detail than with César Franck.
+</p>
+<p>
+    The theme has an entirely new ring and answer when it enters Allegro
+    after the Lento prelude. The further course of the tune here is in
+    eccentric, resolute stride in the descending scale. Our new answer is
+    much evident in the bass. The Allegro seems a mere irruption; for the
+    Lento prelude reappears in full solemnity. Indeed, with all the title
+    and pace, this seems very like the virtual "slow" movement. A mood of
+    rapt, almost melancholy absorption prevails, with rare flashes of joyous
+    utterance, where the Allegro enters as if to break the thrall of
+    meditation. A very striking inversion of the theme now appears. The
+    gradual growth of phrases in melodious instalments is a trait of Franck
+    (as it is of Richard Strauss). The rough motto at each turn has a new
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music38.jpg" width="400" height="168" alt="music38"></p>
+<p style="text-indent: 0em">
+    phase and frequently is transfigured to a fresh tune. So out of the
+    first chance counter-figures somehow spring beautiful melodies, where we
+    feel the fitness and the relevance though we have not heard them before.
+    It is a quality that Franck shares with Brahms, so that in a
+    mathematical spirit we might care to deduce all the figures from the
+    first phrase. This themal manner is quite analogous to the harmonic
+    style of Franck,&mdash;a kaleidoscope of gradual steps, a slow procession of
+    pale hues of tone that with strange aptness reflect the dim religious
+    light of mystic musing.
+</p>
+<p>
+    More and more expressive are the stages of the first figures until we
+    have a duet <i>molto cantabile</i> in the strings. Much of the charm of the
+    movement lies in the balance of the new rhythms, the eccentric and the
+    flowing. By some subtle path there grows a song
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music39.jpg" width="400" height="178" alt="music39"></p>
+<p style="text-indent: 0em">
+    in big tones of unison, wood and strings and trumpets, that is the real
+    hymnal refrain of the movement. Between this note almost of exultation
+    and all shades of pious dreaming the mood is constantly shifting.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music40.jpg" width="400" height="158" alt="music40"></p>
+<p style="text-indent: 0em">
+    Another phrase rises also to a triumphant height (the clear reverse of
+    the former tuneful melody) that comes now like a big <i>envoi</i> of assuring
+    message.
+</p>
+<p>
+    Though the whole movement is evenly balanced between Allegro and
+    Penseroso (so far as pace is concerned), the mood of reflection really
+    finds full vent; it has no reason for a further special expression.
+</p>
+<p>
+    Simple as the Allegretto appears in its suggestion of halting dance, the
+    intent in the episodes is of the subtlest. The slow trip of strings and
+    harp is soon given a new meaning with the melody of English horn.
+    Throughout we are somehow divided between pure dance and a more
+    thoughtful muse. In the first departure to an episode in major, seems to
+    sing the essence of the former melody in gently murmuring strings, where
+    later the whole chorus are drawn in. The song moves on clear thread and
+    wing right out of the mood of the dance-tune; but the very charm lies in
+    the mere outer change of guise. And so the second episode is still far
+    from all likeness with the first dance beyond a least sense of the old
+    trip that does appear here and there. It is all clearly a true scheme of
+    variations, the main theme disguised beyond outer semblance, yet
+    faithfully present throughout in the essential rhythm and harmony.
+</p>
+<p>
+    In the Finale, <i>Allegro non troppo</i>, we are really clear, at the outset,
+    of the toils of musing melancholy.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music41.jpg" width="400" height="162" alt="music41"></p>
+<p style="text-indent: 0em">
+    After big bursts of chords, a tune rolls pleasantly along, <i>dolce
+    cantabile</i>, in basses of wood and strings. Expressive after-phrases
+    abound, all in the same jolly mood, until the whole band break
+    boisterously on the simple song, with a new sonorous phrase of basses.
+    Then, in sudden remove, sounds the purest bit of melody of all the
+    symphony, in gentlest tones
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music42.jpg" width="400" height="235" alt="music42"></p>
+<p style="text-indent: 0em">
+    of brass (trumpet, trombone and tuba). But, though in complete recoil
+    from the rhythmic energy of Allegro theme, it is even farther from the
+    reflective mood than the latter. It shows, in this very contrast, the
+    absence of the true lyric in the meditative vein, frequent with César
+    Franck. The burst of melody blossoms ever fairer. In its later musing
+    the tune browses in the bass. A waving phrase grows in the violins,
+    which continues with strange evenness through the entrance of new song
+    where we are surprised by the strange fitness of the Allegretto melody.
+    And the second phase of the latter follows as if it belonged here. So,
+    almost listless, without a hair of rhythmic change (<i>les temps ont
+    toujours la même valeur</i>), the Finale theme sings again most softly in
+    the strings. It has, to be sure, lost all of its color, without the
+    original throb of accompanying sounds. The phase of the movement is a
+    shadowy procession of former ideas, united in the dreamy haze that
+    enshrouds them. The stir that now begins is not of the first pale hue of
+    thought, rather the vein of big discussion, brewing a storm that breaks
+    finally in full blast on the gentle melody (of the brass) transfigured
+    in ringing triumph, in all the course of the song. Nor is the succeeding
+    phase the mystic habit of our poet; it is a mere farther digestion of
+    the meat of the melody that leads once more to a height of climax whence
+    we return to first course of themes, tuneful afterphrase and all, with
+    the old happy motion. The counterpoint here is the mere joyous ringing
+    of many strains all about.
+</p>
+<p>
+    Against all rules comes a new chorusing paean on the theme of
+    Allegretto, led by stentorian basses, together with an enchanting
+    after-strain, which we might have remarked before. And still another
+    quarter, long hushed, is heard anew, as a voice sounds a faint reminder
+    of the hymn of the first Allegro. Indeed, the combining strains before
+    the close seem sprung all of one parental idea. The motto of the
+    beginning sings in fittest answer to the latest phrases. The very maze
+    of the concert forbids our turning to their first origin. The end is in
+    joyous chanting of the Finale melody.
+</p>
+<a name="2HCH0008"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER VIII
+</h2>
+<h3>
+    D'INDY AND THE FOLLOWERS OF FRANCK
+</h3>
+<p>
+    Perhaps the noblest essay in symphonic music of the followers of Franck
+    is the second symphony of Vincent D'Indy.<a href="#note22">[22]</a> His vein is indeed
+    throughout nearest akin of all the disciples to the serious muse of the
+    master.
+</p>
+
+<p>
+    Though D'Indy is surpassed in a certain poetic originality by some of
+    his compatriot contemporaries, there is in this symphony a breadth of
+    design and detail, a clear melodic quality and a sustained lofty feeling
+    that seem to mark it the typical French symphony of its time. The
+    strength of the work lies in a unity that is not merely of figure and
+    outline. If we must measure a symphony mainly by the slow movement, we
+    cannot avoid, with all the languorous beauty, a certain conventionality
+    of mood, stressed with an exotic use of the appoggiatura, while in the
+    Scherzo is a refined savagery of modern cacophony.
+</p>
+<p>
+    The directions are all in French; we are reminded of Schumann's
+    departure from the Italian fashion.
+</p>
+<p>
+    Each movement, save the third, has its prelude: a gathering of threads
+    before the new story. The first notes of basses, together with the
+    answer on high, sound a prophetic legend of the whole.
+</p>
+<p>
+    The harmonic lucubrations are profoundly subtle. Indeed the very nature
+    of the first phrase is of dim
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music43.jpg" width="400" height="182" alt="music43"></p>
+<p style="text-indent: 0em">
+    groping; it ends in a climax of the answer and merges into the main song
+    of the Allegro (<i>très vif</i>) in horns, with rapid trip of strings.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music44.jpg" width="400" height="289" alt="music44"></p>
+<p>
+    Throughout (from a technical view) is a fine mastery of the device of
+    ornamental notes, and secondary harmonies; there is also a certain
+    modern sense of chords and their relations. Together with an infinite
+    brilliance of these resources there is not only no weakness in cogency
+    of form, but there is a rare unity of design. The movements are bound
+    together, at least in themal relation, as strictly as in any symphony.
+    While the first phrase of the Allegro theme may hark back to the answer
+    of original motto, the second is the main thread of narrative.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music45.jpg" width="400" height="136" alt="music45"></p>
+<p style="text-indent: 0em">
+    Again and again is the climax rung on the first high note of the theme.
+    Then, in lieu of cadence, out of a bright dissonance the quick notes
+    dance upward in sturdy pace, the answer of the Allegro in sharp
+    disguise. And then from the height descends a refreshing spray of
+    subtlest discords, ending in another masterful burst of new harmony.
+</p>
+<p>
+    The dainty, dazzling play is stopped by a rough thud of basses and a
+    fierce clang of chords. In the sharp blare of brass on the ascending
+    phrase is almost lost the original motto in lowest basses. It is now
+    heard in gradually quickened speed, while the rising phrase runs more
+    timidly. At last the quickened motto sinks gently into lulling motion,
+    <i>un peu plus modéré</i>. Above, in strings and horns, the melody haunts us
+    with a dim sense that takes us to the first languishing answer of the
+    original legend. And the whole is strong-knit; for the very Allegro
+    theme began in resolute mood of a like figure. A counter-strain rises to
+    meet the main phrase. The whole episode is an intertwining of song in
+    the vein of the first answer of motto.
+</p>
+<p>
+    The quick rising notes suddenly return with snatches of the main motive,
+    the chain of echoing phrases runs a gamut of moods, fitful, anxious,
+    soothed, until the bright upward trip begins anew, with the enchanting
+    burst of chord and descending harmonies. A climactic height is stressed
+    by a rough meeting of opposing groups, in hostile tone and movement,
+    ending in a trill of flutes and a reëntry of the episode.
+</p>
+<p>
+    In the returning Allegro the thread is still the same, though richer in
+    color and texture. Again there is the plunge into dark abyss, with
+    shriek of harp, and the ominous theme in the depths. The slow ascending
+    phrase here has a full song and sway. The end is in spirited duet of two
+    quick motives.
+</p>
+<p>
+    The second movement, <i>modérément lent</i>, begins in revery on the answer
+    of original motive, and the stately pathos of the theme, in horns,
+    clarinets and violas, with rhythmic strings, grows naturally out of the
+    mood.
+</p>
+<p>
+    <i>Plus animé</i>, in subtle change of pace (from 6/4 to 3/2), the episode
+    begins with eccentric stride of harps (and added woodwind), that serves
+    as a kind of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music46.jpg" width="400" height="203" alt="music46"></p>
+<p style="text-indent: 0em">
+    accompanying figure and foil for the sweeping song of the real second
+    melody (in oboe solo, succeeded by the clarinet).
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music47.jpg" width="400" height="209" alt="music47"></p>
+<p>
+    In the clash of themes and harmonies of the climax, the very limits of
+    modern license seem to be invoked. Later the three themes are entwined
+    in a passage of masterly counterpoint.
+</p>
+<p>
+    There is a touch of ancient harmony in the delicate tune of third
+    movement, which has the virtue of endless weaving. It is sung by solo
+    violin, mainly supported by a choir of lower strings.
+</p>
+<p>
+    A final conclusive line is given by the solo flute. Besides the constant
+    course of varying tune, there is a power of ever changing harmony that
+    seems to lie in some themes.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music48.jpg" width="400" height="165" alt="music48"></p>
+<p>
+    One can hardly call it all a Scherzo. It is rather an idyll after the
+    pathos of the Andante. Or, from another view, reversing the usual order,
+    we may find the quality of traditional Trio in the first melody and a
+    bacchanale of wild humor in the middle. For, out
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music49.jpg" width="400" height="175" alt="music49"></p>
+<p style="text-indent: 0em">
+    of a chance phrase of horns grows of all the symphony the boldest
+    harmonic phrase (repeated through ten bars). Above rings a barbarous
+    cry, in defiance of common time and rhythm.
+</p>
+<p>
+    Suddenly we are surprised by the sound of the martial stride of the
+    second theme of the Andante which moves on the sea of rough harmony as
+    on a native element. One whim follows another. The same motion is all
+    there, but as if in shadow, in softest sound, and without the jar of
+    discord; then comes the fiercest clash of all, and now a gayest dance of
+    the first tune, <i>assez vif</i>, in triple rhythm, various figures having
+    their <i>pas seul</i>. A second episode returns, brilliant in high pace but
+    purged of the former war of sounds. At the end is the song of the first
+    tune, with new pranks and sallies.
+</p>
+<p>
+    The beginning of the Finale is all in a musing review of past thoughts.
+    The shadow of the last tune lingers, in slower pace; the ominous dirge
+    of first motto sounds below; the soothing melody of the Andante sings a
+    verse. In solemn fugue the original motto is reared from its timid
+    phrase to masterful utterance, with splendid stride. Or
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music50.jpg" width="400" height="90" alt="music50"></p>
+<p style="text-indent: 0em">
+    rather the theme is blended of the first two phrases, merging their
+    opposite characters in the new mood of resolution. The strings prepare
+    for the sonorous entrance of woodwind and horns. One of the greatest
+    fugal episodes of symphonies, it is yet a mere prelude to the real
+    movement, where the light theme is drawn from a phrase of latest
+    cadence. And the dim hue of minor which began the symphony, and all
+    overspread the prelude, at last yields to the clear major. There is
+    something of the struggle of shadow and light of the great third
+    symphony of Brahms.
+</p>
+<p>
+    The continuous round of the theme, in its unstable pace (of 5/4), has a
+    strange power of motion, the feeling
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music51.jpg" width="400" height="178" alt="music51"></p>
+<p style="text-indent: 0em">
+    of old passacaglia. To be sure, it is the mere herald and companion of
+    the crowning tune, in solo of the reeds.
+</p>
+<p>
+    From the special view of structure, there is no symphony, modern or
+    classic, with such an overpowering combination and resolution of
+    integral themes in one movement. So almost constant is the derivation of
+    ideas, that one feels they must be all related. Thus, the late rush of
+    rhythm, in the Finale, is broken by a quiet verse where with enchanting
+    subtlety we are carried back somewhere to the idyll of third movement.
+</p>
+<p>
+    Above, rises another melody, and from its simple outline grows a fervor
+    and pathos that, aside from the basic themes of the whole work, strike
+    the main feeling of the Finale.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music52.jpg" width="400" height="172" alt="music52"></p>
+<p>
+    The martial trip from the Andante joins later in the return of the
+    whirling rhythm. At last the motto strikes on high, but the appealing
+    counter-melody is not easily hushed.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music53.jpg" width="400" height="114" alt="music53"></p>
+<p>
+    It breaks out later in a verse of exalted beauty and passion. The
+    struggle of the two ideas reminds us of the Fifth Symphony. At last the
+    gloom of the fateful motto is relieved by the return of the original
+    answer, and we seem to see a new source of latest ideas, so that we
+    wonder whether all the melodies are but guises of the motto and answer,
+    which now at the close, sing in united tones a hymn of peace and bliss.
+</p>
+<a name="2HCH0009"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER IX
+</h2>
+<h3>
+    DÉBUSSY AND THE INNOVATORS
+</h3>
+<p>
+    At intervals during the course of the art have appeared the innovators
+    and pioneers,&mdash;rebels against the accepted manner and idiom. The mystery
+    is that while they seem necessary to progress they seldom create
+    enduring works. The shadowy lines may begin somewhere among the Huebalds
+    and other early adventurers. One of the most striking figures is Peri,
+    who boldly, almost impiously, abandoned the contrapuntal style, the only
+    one sanctioned by tradition, and set the dramatic parts in informal
+    musical prose with a mere strumming of instruments.
+</p>
+<p>
+    It is not easy to see the precise need of such reaction. The radical
+    cause is probably a kind of inertia in all things human, by which the
+    accepted is thought the only way. Rules spring up that are never wholly
+    true; at best they are shifts to guide the student, inadequate
+    conclusions from past art. The essence of an art can never be put in
+    formulas. Else we should be content with the verbal form. The best
+    excuse for the rule is that it is meant to guard the element of truth in
+    art from meretricious pretence.
+</p>
+<p>
+    And, we must not forget, Art progresses by slow degrees; much that is
+    right in one age could not come in an earlier, before the intervening
+    step.
+</p>
+<p>
+    The masters, when they had won their spurs, were ever restive under
+    rules.<a href="#note23">[23]</a> Yet they underwent the strictest discipline, gaining early the
+    secret of expression; for the best purpose of rules is liberation, not
+    restraint. On the other hand they were, in the main, essentially
+    conservative. Sebastian Bach clung to the older manner, disdaining the
+    secular sonata for which his son was breaking the ground.
+</p>
+
+<p>
+    The master feels the full worth of what has been achieved; else he has
+    not mastered. He merely gives a crowning touch of poetic message, while
+    the lighter mind is busy with tinkering of newer forms. For the highest
+    reaches of an art, the poet must first have grasped all that has gone
+    before. He will not rebel before he knows the spirit of the law, nor
+    spend himself on novelty for its own sake.
+</p>
+<p>
+    The line between the Master and the Radical may often seem vague. For,
+    the former has his Promethean strokes, all unpremeditated, compelled by
+    the inner sequence,&mdash;as when Beethoven strikes the prophetic drum in the
+    grim Scherzo of the Fifth Symphony; or in the Eroica when the horn
+    sounds sheer ahead, out of line with the sustaining chorus; or when Bach
+    leaps to his harmonic heights in organ fantasy and toccata; or Mozart
+    sings his exquisite clashes in the G Minor Symphony.
+</p>
+<p>
+    As the true poet begins by absorption of the art that he finds, his
+    early utterance will be imitative. His ultimate goal is not the
+    strikingly new but the eternally true. It is a question less of men than
+    of a point of view.
+</p>
+<p>
+    It seems sometimes that in art as in politics two parties are needed,
+    one balancing the weaknesses of the other. As certain epochs are
+    overburdened by the spirit of a past poet, so others are marred by the
+    opposite excess, by a kind of neo-mania. The latter comes naturally as
+    reaction from the former. Between them the poet holds the balance of
+    clear vision.
+</p>
+<p>
+    When Peri overthrew the trammels of counterpoint, in a dream of Hellenic
+    revival of drama, he could not hope to write a master-work. Destructive
+    rebellion cannot be blended with constructive beauty. An antidote is of
+    necessity not nourishment. Others may follow the path-breaker and slowly
+    reclaim the best of old tradition from the new soil. The strange part of
+    this rebellion is that it is always marked by the quality of stereotype
+    which it seeks to avoid. This is an invariable symptom. It cannot be
+    otherwise; for the rejection of existing art leaves too few resources.
+    Moreover, the pioneer has his eye too exclusively upon the mere manner.
+</p>
+<p>
+    A wholesome reaction there may be against excess. When Gluck dared to
+    move the hearts of his hearers instead of tickling their ears, he
+    achieved his purpose by positive beauty, without actual loss. In this
+    sense every work of art is a work of revolution. So Wagner, especially
+    in his earlier dramas,<a href="#note24">[24]</a> by sheer sincerity and poetic directness,
+    corrected a frivolous tradition of opera. But when he grew destructive
+    of melody and form, by theory and practice, he sank to the rôle of
+    innovator, with pervading trait of stereotype, in the main merely adding
+    to the lesser resources of the art. His later works, though they contain
+    episodes of overwhelming beauty, cannot have a place among the permanent
+    classics, alone by reason of their excessive reiteration.
+</p>
+
+<p>
+    One of the most charming instances of this iconoclasm is the music of
+    Claude Débussy.<a href="#note25">[25]</a> In a way we are reminded of the first flash of
+    Wagner's later manner: the same vagueness of tonality, though with a
+    different complexion and temper. Like the German, Débussy has his own
+    novel use of instruments. He is also a rebel against episodic melody.
+    Only, with Wagner the stand was more of theory than of practice. His
+    lyric inspiration was here too strong; otherwise with Débussy. Each
+    article of rebellion is more highly stressed in the French leader, save
+    as to organic form, where the latter is far the stronger. And finally
+    the element of mannerism cannot be gainsaid in either composer.<a href="#note26">[26]
+    </a>
+</p>
+
+<p>
+    Among the special traits of Débussy's harmonic manner is a mingling with
+    the main chord of the third below. There is a building downward, as it
+    were. The harmony, complete as it stands, seeks a lower foundation so
+    that the plain tower (as it looked at first) is at the end a lofty
+    minaret. It is striking that a classic figure in French music should
+    have stood, in the early eighteenth century, a champion of this idea, to
+    be sure only in the domain of theory. There is a touch of romance in the
+    fate of a pioneer, rejected for his doctrine in one age, taken up in the
+    art of two centuries later.<a href="#note27">[27]</a>
+</p>
+
+<p>
+    A purely scientific basis must be shunned in any direct approach of the
+    art whether critical or creative,&mdash;alone for the fatal allurement of a
+    separate research. The truth is that a spirit of fantastic experiment,
+    started by the mystic manner of a César Franck, sought a sanction in the
+    phenomena of acoustics. So it is likely that the enharmonic process of
+    Franck led to the strained use of the whole-tone scale (of which we have
+    spoken above) by a further departure from tonality.<a href="#note28">[28]</a> And yet, in all
+    truth, there can be no doubt of the delight of these flashes of the
+    modern French poet,&mdash;a delicate charm as beguiling as the bolder, warmer
+    harmonies of the earlier German. Instead of the broad exultation of
+    Wagner there is in Débussy the subtle, insinuating dissonance. Nor is
+    the French composer wanting in audacious strokes. Once for all he stood
+    the emancipator of the art from the stern rule of individual vocal
+    procedure. He cut the Gordian knot of harmonic pedagogy by the mere
+    weapon of poetic elision. He simply omitted the obvious link by a
+    license ancient in poetry and even in prose. He devised in his harmonies
+    the paradox, that is the essence of art, that the necessary step somehow
+    becomes unnecessary. Though Wagner plunges without ceremony into his
+    languorous chords, he carefully resolves their further course. Débussy
+    has them tumbling in headlong descent like sportive leviathans in his
+    sea of sound. Moreover he has broken these fetters of a small punctilio
+    without losing the sense of a true harmonic sequence. Nay, by the very
+    riotous revel of upper harmonies he has stressed the more clearly the
+    path of the fundamental tone. When he enters the higher sanctuary of
+    pure concerted voices, he is fully aware of the fine rigor of its rites.
+    And finally his mischievous abandon never leads him to do violence to
+    the profoundest element of the art, of organic design.<a href="#note29">[29]</a>
+</p>
+<p>
+    &nbsp;</p>
+
+<center>
+    <a name="sea">
+    <i>"THE SEA." THREE SYMPHONIC SKETCHES</i> </a>
+</center>
+<p>
+    <i>I.&mdash;From Dawn to Noon on the Sea.</i> In awesome quiet of unsoothing
+    sounds we feel, over a dual elemental motion, a quick fillip as of
+    sudden lapping wave, while a shadowy air rises slowly in hollow
+    intervals. Midst trembling whispers descending (like the soughing
+    wind), a strange note, as of distant trumpet, strikes in gentle
+    insistence&mdash;out of the other rhythm&mdash;and blows a wailing phrase. The
+    trembling whisper has sunk to lowest depths. Still continues the lapping
+    of waves&mdash;all sounds of unhuman nature.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music54.jpg" width="400" height="337" alt="music54"></p>
+<p>
+    On quicker spur the shadowy motive flits faster here and there in a slow
+    swelling din of whispering, to the insistent plash of wave. Suddenly the
+    sense of desolation yields to soothing play of waters&mdash;a <i>berceuse</i> of
+    the sea&mdash;and now a song sings softly (in horn), though strangely jarring
+    on the murmuring lullaby. The soothing cheer is anon broken by a shift
+    of new tone. There is a fluctuation of pleasant and strange sounds; a
+    dulcet air on rapturous harmony is hushed by unfriendly plash of chord.
+</p>
+<p>
+    Back again in the quieter play of rhythm the strange, sweet song (of
+    horns) returns.
+</p>
+<p>
+    In a ravishing climax of gentle chorus of quick plashing waves and
+    swirling breeze the song sings on and the trumpet blows its line of tune
+    to a ringing phrase of the clarinet.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music55.jpg" width="400" height="191" alt="music55"></p>
+<p>
+    When this has died down, the lapping waves, as in concert, strike in
+    full chord that spreads a hue of warmth, as of the first peep of sun. It
+    is indeed as though the waves rose towards the sun with a glow of
+    welcome.
+</p>
+<p>
+    In the wake of the first stirring shock is a host of soft cheering
+    sounds of bustling day, like a choir of birds or bells. The eager
+    madrigal leads to a final blast (with acclaiming chorus of big rocking
+    waves), echoed in golden notes of the horns. One slight touch has
+    heightened the hue to warmest cheer; but once do we feel the full glow
+    of risen sun.
+</p>
+<p>
+    The chilling shadows return, as the wistful air of hushed trumpet
+    sounds again. We hover between flashes of warming sun, until the waves
+    have abated; in soothing stillness the romantic horn<a href="#note30">[30]</a> sings a lay of
+    legend.
+</p>
+
+<p>
+    Now to friendly purling of playful wavelets, the sea moves in shifting
+    harmonies. In sudden climax the motion of the waves fills all the brass
+    in triumphant paean, in the gleam of high noon.
+</p>
+<p>
+    <i>II.&mdash;Play of the Waves.</i> There is a poetic background as for the play
+    of legend. We seem to be watching the sea from a window in the castle of
+    <i>Pelléas</i>. For there is a touch of dim romance in a phrase of the
+    clarinet.
+</p>
+<p>
+    The movement of waves is clear, and the unconscious concert of
+    sea-sounds, the deeper pulse of ocean (in the horns), the flowing
+    ripples, the sharp dash of lighter surf (in the Glockenspiel), all with
+    a constant tremor, an instability of element (in trembling strings). We
+    cannot help feeling the illusion of scene in the impersonal play of
+    natural sounds. Anon will come a shock of exquisite sweetness that must
+    have something of human. And then follows a resonant clash with spray of
+    colliding seas.
+</p>
+<p>
+    Here the story of the waves begins, and there are clearly two roles.
+</p>
+<p>
+    To light lapping and cradling of waters the wood sings the simple lay,
+    while strings discourse in quicker, higher phrase. The parts are
+    reversed. A shower of chilling wave (in gliding harps) breaks the
+    thread.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music56.jpg" width="400" height="216" alt="music56"></p>
+<p>
+    Now golden tones (of horns) sound a mystic tale of one of the former
+    figures. The scene shimmers
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music57.jpg" width="400" height="248" alt="music57"></p>
+<p style="text-indent: 0em">
+    in sparkling, glinting waters (with harp and trilling wood and strings).
+    But against the soothing background the story (of English horn) has a
+    chill, ominous strain.
+</p>
+<p>
+    With the returning main song comes the passionate crisis, and we are
+    back in the mere plash and play of impersonal waves.
+</p>
+<p>
+    On dancing ripples, a nixie is laughing to echoing horns and lures us
+    back to the story.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music58.jpg" width="400" height="199" alt="music58"></p>
+<p>
+    Later, it seems, two mermaids sing in twining duet. In a warm hue of
+    light the horns sound a weird tale. It is taken up by teasing chorus of
+    lighter voices. In the growing volume sounds a clear, almost martial
+    call of the brass.
+</p>
+<p>
+    In a new shade of scene we recover the lost burden of song; the original
+    figures appear (in the slower air of trembling strings and the quicker
+    play of reed, harp and bells), and wander through ever new, moving
+    phases. A shower of chords (in strings and shaking brass) brings back
+    the ominous melody, amidst a chorus of light chatter, but firmly resting
+    on a warm background of harmony. And the strain roves on generous path
+    and rises out of all its gloom to a burst of profound cheer.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music59.jpg" width="400" height="423" alt="music59"></p>
+<p>
+    As in all fairy tales, the scene quickly vanishes. On dancing rays and
+    ripples is the laughing nixie; but suddenly breaks the first song of the
+    main figures. A climactic phrase of trumpets ends with a burst of all
+    the chorus on stirring harmony, where in diminishing strokes of bells
+    long rings the melodic note.
+</p>
+<p>
+    The teasing motive of the nixie returns while the trumpet sounds a
+    shadowy echo of its phrase, again to dying peal of bells. A chorus of
+    eerie voices sing the mocking air, and again sounds the refrain of
+    trumpet as in rebuke. On a tumult of teasing cries flashes a delivering
+    burst of brilliant light, and we are back in the first scene of the
+    story. Only the main figure is absent. And there is in the eager tension
+    of pace a quivering between joy and doubt. Then, in answer to the
+    lighter phrase of the other, is the returning figure with a new song now
+    of blended longing and content that soars into higher flights until a
+    mighty chorus repeats the strain that rises to triumphant height of joy
+    and transforms the mocking motive to the same mood.
+</p>
+<p>
+    But it is all a play of the waves. And we are left once more to the
+    impersonal scene where yet the fragrance of legend hovers over the dying
+    harmonies.
+</p>
+<p>
+    <i>III.&mdash;Dialogue of the Wind and the Sea.</i> Tumultuous is the humor of the
+    beginning; early sounds the stroke of wave of the first hour of the sea.
+    The muted trumpet blows a strain (to trembling strings) that takes us
+    back to the first (quoted) tune of the symphony in the wistful mood of
+    dawn. For a symphony it proves to be in the unity of themes and thought.
+    Now unmuted and unrestrained in conflict of crashing chords, the trumpet
+    blows again the motto of the roving sea. In various figures is the
+    pelagic motion, in continuous coursing strings, in the sweeping phrase
+    of the woodwind, or in the original wave-motion of the horns, now
+    unmuted.
+</p>
+<p>
+    The main burden is a plaint
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music60.jpg" width="400" height="237" alt="music60"></p>
+<p style="text-indent: 0em">
+    (in the wood) against the insistent surge (of strings), on a haunting
+    motive as of farewell or eventide, with much stress of pathos. It is
+    sung in sustained duet against a constant churning figure of the sea,
+    and it is varied by a dulcet strain that grows out of the wave-motive.
+</p>
+<p>
+    Indeed, the whole movement is complementary of the first, the obverse as
+    it were. The themes are of the same text; the hue and mood have changed
+    from the spring of dawn to the sadness of dusk. The symbol of noontide
+    peace reappears with minor tinge, at the hush of eve. The climactic
+    motive of the sea acclaiming the rising sun is there, but reversed.
+</p>
+<p>
+    The sea too has the same tempestuous motion (indeed, the plaintive song
+    is mainly of the wind), unrestrained by the sadder mood. At the
+    passionate climax, where the higher figure sinks toward the rising
+    lower, it is as if the Wind kissed the Sea.
+</p>
+<p>
+    The concluding scene begins as in the first movement, save with greater
+    extension of expressive melody. And the poignant note has a long song
+    against a continuous rippling (of harps).
+</p>
+<p>
+    More elemental figures crowd the scene; the first melody (of trumpet)
+    has a full verse, and the dulcet phrase (of wave-motive).
+</p>
+<p>
+    Toward the end the plaintive song has an ever-growing chorus of
+    acclaiming voices. In the fever of united coursing motion the phrase
+    loses the touch of sadness until in eager, spirited pace, as of
+    galloping steeds, it ends with a shout of victory.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="sorcerer">
+    <i>DUKAS. "THE SORCERER'S APPRENTICE"</i> </a>
+</center>
+<p>
+    Chief among the companions of Claude Débussy in his adventures is Paul
+    Dukas.<a href="#note31">[31]</a> Though he lags somewhat in bold flights of harmonies, he shows
+    a clearer vein of melody and rhythm, and he has an advantage in a
+    greater freedom from the rut of repeated device.
+</p>
+
+<p>
+    It is somehow in the smaller forms that the French composer finds the
+    trenchant utterance of his fancy. A Scherzo, after the ballad of Goethe,
+    "The Sorcerer's Apprentice," tells the famous story of the boy who in
+    his master's absence compels the spirit in the broom to fetch the
+    water; but he cannot say the magic word to stop the flood, although he
+    cleaves the demon-broom in two.
+</p>
+<p>
+    After the title-page of the score is printed a prose version (by Henri
+    Blaze) of Goethe's ballad, "Der Zauberlehrling."
+</p>
+<p>
+    Of several translations the following, by Bowring, seems the best:
+</p>
+<p>
+    &nbsp;</p>
+    <p align="center" style="text-align: center">THE SORCERER'S APPRENTICE</p>
+<p align="center" style="text-align: center">&nbsp;</p>
+<blockquote>
+  <blockquote>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <p style="text-indent: 0em">I am now,&mdash;what joy to hear it!&mdash;<br>
+&nbsp;
+      Of the old magician rid;<br>
+    And henceforth shall ev'ry spirit<br>
+&nbsp;
+      Do whatever by me is bid:<br>
+&nbsp;&nbsp;&nbsp;
+        I have watch'd with rigor<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          All he used to do,<br>
+&nbsp;&nbsp;&nbsp;
+        And will now with vigor<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          Work my wonders, too.</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+            Wander, wander<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Onward lightly,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            So that rightly<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Flow the torrent,<br>
+&nbsp;&nbsp;&nbsp;
+          And with teeming waters yonder<br>
+&nbsp;&nbsp;&nbsp;
+          In the bath discharge its current!</p>
+              <p style="text-indent: 0em">And now come, thou well-worn broom,<br>
+&nbsp;
+      And thy wretched form bestir;<br>
+    Thou hast ever served as groom,<br>
+&nbsp;
+      So fulfil my pleasure, sir!<br>
+&nbsp;&nbsp;&nbsp;
+        On two legs now stand<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          With a head on top;<br>
+&nbsp;&nbsp;&nbsp;
+        Water pail in hand,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          Haste and do not stop!</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+            Wander, wander<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Onward lightly,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            So that rightly<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Flow the torrent,<br>
+&nbsp;&nbsp;&nbsp;
+          And with teeming waters yonder<br>
+&nbsp;&nbsp;&nbsp;
+          In the bath discharge its current!</p>
+              <p style="text-indent: 0em">See! he's running to the shore,<br>
+&nbsp;
+      And has now attained the pool,<br>
+    And with lightning speed once more<br>
+&nbsp;
+      Comes here, with his bucket full!<br>
+&nbsp;&nbsp;&nbsp;
+        Back he then repairs;<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          See how swells the tide!<br>
+&nbsp;&nbsp;&nbsp;
+        How each pail he bears<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          Straightway is supplied!</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+            Stop, for lo!<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            All the measure<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Of thy treasure<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Now is right!<br>
+&nbsp;&nbsp;&nbsp;
+          Ah, I see it! woe, oh, woe!<br>
+&nbsp;&nbsp;&nbsp;
+          I forget the word of might.</p>
+              <p style="text-indent: 0em">Ah, the word whose sound can straight<br>
+&nbsp;
+      Make him what he was before!<br>
+    Ah, he runs with nimble gait!<br>
+&nbsp;
+      Would thou wert a broom once more!<br>
+&nbsp;&nbsp;&nbsp;
+        Streams renew'd forever<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          Quickly bringeth he;<br>
+&nbsp;&nbsp;&nbsp;
+        River after river<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Rusheth on poor me!</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+            Now no longer<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Can I bear him,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            I will snare him,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Knavish sprite!<br>
+&nbsp;&nbsp;&nbsp;
+          Ah, my terror waxes stronger!<br>
+&nbsp;&nbsp;&nbsp;
+          What a look! what fearful sight!</p>
+              <p style="text-indent: 0em">Oh, thou villain child of hell!<br>
+&nbsp;
+      Shall the house through thee be drown'd?<br>
+    Floods I see that widely swell,<br>
+&nbsp;
+      O'er the threshold gaining ground.<br>
+&nbsp;&nbsp;&nbsp;
+        Wilt thou not obey,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          O thou broom accurs'd!<br>
+&nbsp;&nbsp;&nbsp;
+        Be thou still, I pray,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          As thou wert at first!</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+            Will enough<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Never please thee?<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            I will seize thee,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Hold thee fast,<br>
+&nbsp;&nbsp;&nbsp;
+          And thy nimble wood so tough<br>
+&nbsp;&nbsp;&nbsp;
+          With my sharp axe split at last.</p>
+              <p style="text-indent: 0em">See, once more he hastens back!<br>
+&nbsp;
+      Now, O Cobold, thou shalt catch it!<br>
+    I will rush upon his track;<br>
+&nbsp;
+      Crashing on him falls my hatchet.<br>
+&nbsp;&nbsp;&nbsp;
+        Bravely done, indeed!<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          See, he's cleft in twain!<br>
+&nbsp;&nbsp;&nbsp;
+        Now from care I'm freed,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          And can breathe again.</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+            Woe oh, woe!<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Both the parts,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Quick as darts,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Stand on end,<br>
+&nbsp;&nbsp;&nbsp;
+          Servants of my dreaded foe!<br>
+&nbsp;&nbsp;&nbsp;
+          O ye gods, protection send!</p>
+              <p style="text-indent: 0em">And they run! and wetter still<br>
+&nbsp;
+      Grow the steps and grows the hall.<br>
+&nbsp;
+      Lord and master, hear me call!<br>
+    Ever seems the flood to fill.</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+        Ah, he's coming! see,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          Great is my dismay!<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+        Spirits raised by me<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+          Vainly would I lay!</p>
+              <p style="text-indent: 0em">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+
+            "To the side<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Of the room<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            Hasten, broom,<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+            As of old!<br>
+&nbsp;&nbsp;&nbsp;
+          Spirits I have ne'er untied<br>
+&nbsp;&nbsp;&nbsp;
+          Save to act as they are told." </p>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+    </blockquote>
+  </blockquote>
+</blockquote>
+
+<p>
+    In paragraphs are clearly pointed the episodes: the boy's delight at
+    finding himself alone to conjure the spirits; the invocation to the
+    water, recurring later as refrain (which in the French is not addressed
+    to the spirit); then the insistent summons of the spirit in the broom;
+    the latter's obedient course to the river and his oft-repeated fetching
+    of the water; the boy's call to him to stop,&mdash;he has forgotten the
+    formula; his terror over the impending flood; he threatens in his
+    anguish to destroy the broom; he calls once more to stop; the repeated
+    threat; he cleaves the spirit in two and rejoices; he despairs as two
+    spirits are now adding to the flood; he invokes the master who returns;
+    the master dismisses the broom to the corner.
+</p>
+<p>
+    There is the touch of magic in the first harmonics of strings, and the
+    sense of sorcery is always sustained in the strange harmonies.<a href="#note32">[32]</a>
+</p>
+
+<p>
+    After a mystic descent of eerie chords, a melodious cooing phrase begins
+    in higher wood, echoed from one voice to the other, while the
+    spirit-notes are still sounding.
+</p>
+<p>
+    Suddenly dashes a stream of descending spray, met by another ascending;
+    in the midst the first phrase is rapidly sounded (in muted trumpet). As
+    suddenly the first solemn moment has returned, the phrase has grown in
+    melody, while uncanny harmonies prevail. Amidst a new feverish rush a
+    call rings
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music61.jpg" width="400" height="145" alt="music61"></p>
+<p style="text-indent: 0em">
+    loud and oft (in trumpets and horns) ending in an insistent, furious
+    summons. The silence that ensues is as speaking (or in its way as
+    deafening) as were the calls.
+</p>
+<p>
+    After what seems like the grating of ancient joints, set in reluctant
+    motion, the whole tune of the first wooing phrase moves in steady gait,
+    in comic bassoons, to the tripping of strings, further and fuller
+    extended as other voices join. The beginning phrase of chords recurs as
+    answer. Ever the lumbering trip continues, with strange turn of harmony
+    and color, followed ever by the weird answer. A fuller apparition comes
+    with the loud, though muffled tones of the trumpets. The original tune
+    grows in new turns and folds of melody, daintily tipped with the ring of
+    bells over the light tones of the wood. The brilliant
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music62.jpg" alt="music62" width="400" height="186"></p>
+<p style="text-indent: 0em">
+    harp completes the chorus of hurrying voices. Now with full power and
+    swing the main notes ring in sturdy brass, while all around is a rushing
+    and swirling (of harps and bells and wood and strings). And still more
+    furious grows the flight, led by the unison violins.
+</p>
+<p>
+    A mischievous mood of impish frolic gives a new turn of saucy gait. In
+    the jovial answer, chorussed in simple song, seems a revel of all the
+    spirits of rivers and streams.
+</p>
+<p>
+    At the top of a big extended period the trumpet sends a shrill defiant
+    blast.
+</p>
+<p>
+    But it is not merely in power and speed,&mdash;more in an infinite variety of
+    color, and whim of tune and rhythmic harmony, that is expressed the
+    full gamut of disporting spirits. Later, at fastest speed of tripping
+    harp and wood, the brass ring out that first, insistent summons, beneath
+    the same eerie harmonies&mdash;and the uncanny descending chords answer as
+    before. But alas! the summons will not work the other way. Despite the
+    forbidding command and all the other exorcising the race goes madly on.
+</p>
+<p>
+    And now, if we are intent on the story, we may see the rising rage of
+    the apprentice and at last the fatal stroke that seemingly hems and
+    almost quells the flood. But not quite! Slowly (as at first) the hinges
+    start in motion. And now, new horror! Where there was one, there are now
+    two ghostly figures scurrying to redoubled disaster. Again and again the
+    stern call rings out, answered by the wildest tumult of all. The shouts
+    for the master's aid seem to turn to shrieks of despair. At last a
+    mighty call overmasters and stills the storm. Nothing is heard but the
+    first fitful phrases; now they seem mere echoes, instead of
+    forewarnings. We cannot fail to see the fine parallel, how the masterful
+    command is effective as was the similar call at the beginning.
+</p>
+<p>
+    Significantly brief is the ending, at once of the story and of the
+    music. In the brevity lies the point of the plot: in the curt dismissal
+    of the humbled spirit, at the height of his revel, to his place as broom
+    in the corner. Wistful almost is the slow vanishing until the last
+    chords come like the breaking of a fairy trance.
+</p>
+<a name="2HCH0010"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER X
+</h2>
+<h3>
+    TSCHAIKOWSKY
+</h3>
+<p>
+    The Byron of music is Tschaikowsky for a certain alluring melancholy and
+    an almost uncanny flow and sparkle. His own personal vein deepened the
+    morbid tinge of his national humor.
+</p>
+<p>
+    We cannot ignore the inheritance from Liszt, both spiritual and musical.
+    More and more does the Hungarian loom up as an overmastering influence
+    of his own and a succeeding age. It seems as if Liszt, not Wagner, was
+    the musical prophet who struck the rock of modern pessimism, from which
+    flowed a stream of ravishing art. The national current in Tschaikowsky's
+    music was less potent than with his younger compatriots; or at least it
+    lay farther beneath the surface.
+</p>
+<p>
+    For nationalism in music has two very different bearings. The concrete
+    elements of folk-song, rhythm and scale, as they are more apparent, are
+    far less important. The true significance lies in the motive of an
+    unexpressed national idea that presses irresistibly towards fulfilment.
+    Here is the main secret of the Russian achievement in modern music,&mdash;as
+    of other nations like the Finnish. It is the cause that counts. Though
+    Russian song has less striking traits than Hungarian or Spanish, it has
+    blossomed in a far richer harvest of noble works of art.
+</p>
+<p>
+    Facile, fluent, full of color, Tschaikowsky seems equipped less for
+    subjective than for lyric and dramatic utterance, as in his "Romeo and
+    Juliet" overture. In the "Manfred" Symphony we may see the most fitting
+    employment of his talent. Nor is it unlikely that the special
+    correspondence of treatment and subject may cause this symphony to
+    survive the others, may leave it long a rival of Schumann's "Manfred"
+    music.
+</p>
+<p>
+    With Tschaikowsky feeling is always highly stressed, never in a certain
+    natural poise. He quite lacks the noble restraint of the masters who, in
+    their symphonic lyrics, wonderfully suggest the still waters that run
+    deep.
+</p>
+<p>
+    Feeling with Tschaikowsky was frenzy, violent passion, so that with all
+    abandon there is a touch of the mechanical in his method. Emotion as the
+    content of highest art must be of greater depth and more quiet flow. And
+    it is part or a counterpart of an hysterical manner that it reacts to a
+    cold and impassive mood,&mdash;such as we feel in the Andante of the Fourth
+    Symphony.
+</p>
+<p>
+    The final quality for symphonic art is, after all, less the chance flash
+    of inspiration than a big view, a broad sympathy, a deep well of feeling
+    that comes only with great character.
+</p>
+<p>
+    Nay, there is a kind of peril in the symphony for the poet of uncertain
+    balance from the betrayal of his own temper despite his formal plan.
+    Through all the triumph of a climax as in the first movement of the
+    Fourth Symphony, we may feel a subliminal sadness that proves how subtle
+    is the expression in music of the subjective mood. There is revealed not
+    the feeling the poet is conscious of, but, below this, his present self,
+    and in the whole series of his works, his own personal mettle. What the
+    poet tries to say is very different from what he does say. In a
+    symphony, as in many a frolic, the tinge of latent melancholy will
+    appear.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="sym4">
+    <i>SYMPHONY NO. 4</i> </a>
+</center>
+<p>
+    Reverting to a great and fascinating question as to the content of art,
+    we may wonder whether this is not the real tragic symphony of
+    Tschaikowsky, in the true heroic sense, in a view where the highest
+    tragedy is not measured by the wildest lament. There may be a stronger
+    sounding of lower depths with a firmer touch (with less of a conscious
+    kind of abandon),&mdash;whence the recoil to serene cheer will be the
+    greater.
+</p>
+<p>
+    There is surely a magnificent aspiration in the first Allegro, a
+    profound knell of destiny and a rare ring of triumph. Underlying all is
+    the legend of trumpets, <i>Andante sostenuto</i> (3/4), with a dim touch
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music63.jpg" alt="music63" width="400" height="97"></p>
+<p style="text-indent: 0em">
+    of tragedy. Opposite in feeling is the descending motive of strings,
+    <i>Moderato con anima</i> (9/8). First gently expressive, it soon rises in
+    passion (the original
+</p>
+<p style="text-indent: 0em; text-align: center">
+    <img border="0" src="images/music64.jpg" alt="music64" width="400" height="184"></p>
+<p style="text-indent: 0em">
+    motto always sounding) to a climax whence an ascending motive, in lowest
+    basses, entering in manner of fugue, holds a significant balance with
+    the former. Each in turn rears a climax for the other's
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music65.jpg" alt="music65" width="400" height="188"></p>
+<p style="text-indent: 0em">
+    entrance; the first, lamenting, leads to the soothing hope of the second
+    that, in the very passion of its refrain, loses assurance and ends in a
+    tragic burst.
+</p>
+<p>
+    Suddenly a very new kind of solace appears <i>Dolce grazioso</i>, in a
+    phrase of the clarinet that leads to a duet of wood and <i>cantabile</i>
+    strings, impersonal almost in the sweetness of its flowing song.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music66.jpg" alt="music66" width="400" height="182"></p>
+<p>
+    In such an episode we have a new Tschaikowsky,&mdash;no longer the subjective
+    poet, but the painter with a certain Oriental luxuriance and grace. It
+    is interesting to study the secret of this effect. The preluding strain
+    lowers the tension of the storm of feeling and brings us to the attitude
+    of the mere observer. The "movement of waltz" now has a new meaning, as
+    of an apparition in gently gliding dance. The step is just sustained in
+    leisurely strings. Above is the simple melodic trip of clarinet, where a
+    final run is echoed throughout the voices of the wood; a slower moving
+    strain in low cellos suggests the real song that presently begins, while
+    high in the wood the lighter tune continues. The ripples still keep
+    spreading throughout the voices, at the end of a line. The tunes then
+    change places, the slower singing above.
+</p>
+<p>
+    With all the beauty, there is the sense of shadowy picture,&mdash;a certain
+    complete absence of passion. Now the lower phrase appears in two
+    companion voices (of strings), a hymnal kind of duet,&mdash;<i>ben sostenuto
+    il tempo precedente</i>. Here, very softly in the same timid pace, enters a
+    chorus, on high, of the old sighing motive. Each melody breaks upon the
+    other and
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music67.jpg" alt="music67" width="400" height="168"></p>
+<p style="text-indent: 0em">
+    ceases, with equal abruptness. There is no blending, in the constant
+    alternation, until the earlier (lamenting) motive conquers and rises to
+    a new height where a culminating chorale sounds a big triumph, while the
+    sighing phrase merely spurs a new verse of assurance.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music68.jpg" alt="music68" width="400" height="84"></p>
+<p>
+    A completing touch lies in the answering phrase of the chorale, where
+    the answer of original motto is transformed into a masterful ring of
+    cheer and confidence.
+</p>
+<p>
+    As is the way with symphonies, it must all be sung and striven over
+    again to make doubly sure. Only there is never the same depth of lament
+    after the triumph. In a later verse is an augmented song of the answer
+    of trumpet legend, in duet of thirds, in slow, serene pace, while the
+    old lament sounds below in tranquil echoes and united strains. Before
+    the end, <i>molto piu vivace</i>, the answer rings in new joyous rhythm.
+</p>
+<p>
+    Somewhat the reverse of the first movement, in the second the emotional
+    phase grows slowly from the naïve melody of the beginning. Against the
+    main melody that begins in oboe solo (with <i>pizzicato</i> strings),
+    <i>semplice ma grazioso</i>, plays later a rising
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music69.jpg" alt="music69" width="400" height="191"></p>
+<p style="text-indent: 0em">
+    counter-theme that may recall an older strain. The second melody, in
+    Greek mode, still does not depart
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music70.jpg" alt="music70" width="400" height="177"></p>
+<p style="text-indent: 0em">
+    from the naïve mood, or lack of mood. A certain modern trait is in this
+    work, when the feeling vents and wastes itself and yields to an
+    impassive recoil, more coldly impersonal than the severest classic.
+</p>
+<p>
+    A sigh at the end of the second theme is a first faint reminder of the
+    original lament. Of it is fashioned the third theme. A succeeding climax
+    strongly
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music71.jpg" alt="music71" width="400" height="185"></p>
+<p style="text-indent: 0em">
+    brings back the subjective hue of the earlier symphony. A counter-theme,
+    of the text of the second melody of Allegro,&mdash;now one above, now the
+    other&mdash;is a final stroke. Even the shaking of the trumpet figure is
+    there at the height, in all the brass. Yet as a whole the first melody
+    prevails, with abundant variation of runs in the wood against the song
+    of the strings.
+</p>
+<p>
+    The Scherzo seems a masterly bit of humor, impish, if you will, yet on
+    the verge always of tenderness. The first part is never-failing in the
+    flash and sparkle of its play, all in <i>pizzicato</i> strings, with a
+    wonderful daemonic quality of the mere instrumental effect. Somewhat
+    suddenly the oboe holds a long note and
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music72.jpg" alt="music72" width="400" height="189"></p>
+<p style="text-indent: 0em">
+    then, with the bassoons, has a tune that is almost sentimental. But
+    presently the clarinets make mocking
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music73.jpg" alt="music73" width="400" height="190"></p>
+<p style="text-indent: 0em">
+    retorts. Here, in striking scene, all the brass (but the tuba) very
+    softly blow the first melody with eccentric halts, in just half the old
+    pace except when they take us by surprise. The clarinet breaks in with
+    the sentimental tune in faster time while the brass all the while are
+    playing as before. There are all kinds of pranks, often at the same
+    time. The piccolo, in highest treble, inverts the second melody, in
+    impertinent drollery. The brass has still newer surprises. Perhaps the
+    best of the fooling is where strings below and woodwind above share the
+    melody between them, each taking two notes at a time.
+</p>
+<p>
+    The first of the Finale is pure fanfare, as if to let loose the steeds
+    of war; still it recurs as leading idea. There is a kind of sonorous
+    terror, increased by the insistent, regular notes of the brass, the
+    spirited pace of the motive of strings,&mdash;the barbaric ring we often hear
+    in Slav music. At the height
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music74.jpg" alt="music74" width="400" height="194"></p>
+<p style="text-indent: 0em">
+    the savage yields to a more human vein of joyousness, though at the end
+    it rushes the more wildly into a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music75.jpg" alt="music75" width="400" height="162"></p>
+<p style="text-indent: 0em">
+    series of shrieks of trebles with tramping of basses. The real battle
+    begins almost with a lull, the mere sound of the second tune in the
+    reeds with light strum of strings and triangle. As the theme is
+    redoubled (in thirds of the wood), the sweep of strings of the first
+    motive is added, with chords of horns. A rising figure is now opposed to
+    the descent of the second melody, with shaking of woodwind that brings
+    back the old trumpet legend. Here the storm grows apace, with increasing
+    tumult of entering hostile strains, the main song now ringing in low
+    brass.
+</p>
+<p>
+    In various versions and changes we seem to see earlier themes briefly
+    reappearing. Indeed there is a striking kinship of themes throughout,
+    not so much in outline as in the air and mood of the tunes. This seems
+    to be proven by actual outer resemblance when the motives are developed.
+    Here in a quiet spot&mdash;though the battle has clearly not ceased&mdash;is the
+    answer of old trumpet motto, that pervaded the first Allegro. There is a
+    strong feeling of the Scherzo here in the <i>pizzicato</i> answers of
+    strings. The second theme of the Andante is recalled, too, in the
+    strokes of the second of the Finale. In the thick of the fray is a
+    wonderful maze of versions of the theme, diminished and augmented at the
+    same time with the original pace. Yet it is all a clear flow of melody
+    and rich harmony. The four beats of quarter notes, in the lengthened
+    theme, come as high point like the figure of the leader in battle. A
+    later play of changes is like the sport of the Scherzo. This insensibly
+    leads to the figure of the fanfare, whence the earlier song returns
+    with the great joyous march.
+</p>
+<p>
+    The final height of climax is distinguished by a stentorian, fugal blast
+    of the theme in the bass, the higher breaking in on the lower, while
+    other voices are raging on the quicker phrases. It is brought to a
+    dramatic halt by the original prelude of trumpet legend, in all its
+    fulness. Though the march-song recurs, the close is in the ruder humor
+    of the main themes.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="manfred">
+    <i>THE "MANFRED" SYMPHONY</i> </a>
+</center>
+<p>
+    Schumann and Tschaikowsky are the two most eminent composers who gave
+    tonal utterance to the sombre romance of Byron's dramatic poem.<a href="#note33">[33]</a> It is
+    interesting to remember that Byron expressly demanded the assistance of
+    music for the work. If we wish to catch the exact effect that is sought
+    in the original conception, Schumann's setting is the nearest approach.
+    It is still debated whether a scenic representation is more impressive,
+    or a simple reading, reinforced by the music.
+</p>
+
+<p>
+    Tschaikowsky's setting is a "symphony in four pictures, or scenes (<i>en
+    quatre tableaux</i>), after Byron's dramatic poem." In the general design
+    and spirit there is much of the feeling of Berlioz's "Fantastic"
+    Symphony, though the manner of the music shows no resemblance whatever.
+    There is much more likeness to Liszt's "Faust" Symphony, in that the
+    pervading recurrence of themes suggests symbolic labels. Moreover, in
+    the very character of many of the motives, there is here a striking line
+    of descent.
+</p>
+<p>
+    <i>Lento lugubre</i>, the first scene or picture, begins with a theme in
+    basses of reeds:
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music76.jpg" alt="music76" width="400" height="115"></p>
+<p style="text-indent: 0em">
+    with later <i>pizzicato</i> figure of low strings.
+</p>
+<p>
+    An answering strain is one of the most important of all the melodies:
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music77.jpg" alt="music77" width="400" height="173"></p>
+<p>
+    On these, a bold conflict and climax is reared. If we care to indulge in
+    the bad habit of calling names, we might see "Proud Ambition" in the
+    first motives, intertwined with sounds of sombre discontent. The pace
+    grows <i>animando</i>,&mdash;<i>piu mosso</i>; <i>moderato molto</i>. Suddenly Andante sings
+    a new, expressive song, with a dulcet cheer of its own, rising to
+    passionate periods and a final height whence, <i>Andante con duolo</i>, a
+    loudest chorus of high wood and strings, heralded and accompanied by
+    martial tremolo of low wood, horns, basses, and drums, sound the fateful
+    chant that concludes the first scene, and, toward the close of the work,
+    sums the main idea.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music78.jpg" alt="music78" width="400" height="162"></p>
+<p>
+    The apparition of the Witch of the Alps is pictured in daintiest,
+    sparkling play of strings and wood, with constant recurrence of mobile
+    figures above and below. It seems as if the image of the fountain is
+    fittest and most tempting for mirroring in music. Perhaps the most
+    beautiful, the most haunting, of all the "Manfred" music of Schumann is
+    this same scene of the Witch of the Alps.
+</p>
+<p>
+    Here, with Tschaikowsky, hardly a single note of brass intrudes on this
+    <i>perpetuum mobile</i> of light, plashing spray until, later, strains that
+    hark back to the first scene cloud the clear brilliancy of the cascade.
+    Now the play of the waters is lost in the new vision, and a limpid song
+    glides in the violins, with big rhythmic chords of harps, is taken up in
+    clarinets, and carried on by violins in new melodic verse, <i>con
+    tenerezza e molto espressione</i>. Then the whole chorus sing the tune in
+    gentle volume. As it dies away, the music of the falling waters plash as
+    before. The returning song has phases of varying sadness and passion. At
+    the most vehement height,&mdash;and here, if we choose, we may see the stern
+    order to retire,&mdash;the fatal chant is shrieked by full chorus in almost
+    unison fierceness.
+</p>
+<p>
+    Gradually the innocent play of the waters is heard again, though a
+    gloomy pall hangs over. The chant sounds once more before the end.
+</p>
+<p>
+    The third, "Pastoral," scene we are most free to enjoy in its pure
+    musical beauty, with least need of definite dramatic correspondences. It
+    seems at first as if no notes of gloom are allowed to intrude, as if the
+    picture of happy simplicity stands as a foil to the tragedy of the
+    solitary dreamer; for an early climax gives a mere sense of the awe of
+    Alpine nature.
+</p>
+<p>
+    Still, as we look and listen closer, we cannot escape so easily, in
+    spite of the descriptive title. Indeed, the whole work seems, in its
+    relation to the poem upon which it is based, a very elusive play in a
+    double kind of symbolism. At first it is all a clear subjective
+    utterance of the hero's woes and hopes and fears, without definite
+    touches of external things. Yet, right in the second scene the torrent
+    is clear almost to the eye, and the events pass before us with sharp
+    distinctness. Tending, then, to look on the third as purest pastoral,
+    we are struck in the midst by an ominous strain from one of the earliest
+    moments of the work, the answer of the first theme of all. Here notes of
+    horns ring a monotone; presently a church-bell adds a higher note. The
+    peaceful pastoral airs then return, like the sun after a fleeting storm.
+</p>
+<p>
+    The whole of this third scene of Tschaikowsky's agrees with no special
+    one in Byron's poem, unless we go back to the second of the first act,
+    where Manfred, in a morning hour, alone upon the cliffs, views the
+    mountains of the Jungfrau before he makes a foiled attempt to spring
+    into the abyss. By a direction of the poet, in the midst of the
+    monologue, "the shepherd's pipe in the distance is heard," and Manfred
+    muses on "the natural music of the mountain reed."
+</p>
+<p>
+    The last scene of the music begins with Byron's fourth of Act II and
+    passes over all the incidents of the third act that precede the hero's
+    death, such as the two interviews with the Abbot and the glorious
+    invocation to the sun.
+</p>
+<p>
+    From Tschaikowsky's title, we must look for the awful gloom of the
+    cavernous hall of Arimanes, Byron's "Prince of Earth and Air." The gray
+    figure from most ancient myth is not less real to us than Mefistofeles
+    in "Faust." At least we clearly feel the human daring that feared not to
+    pry into forbidden mysteries and refused the solace of unthinking faith.
+    And it becomes again a question whether the composer had in mind this
+    subjective attitude of the hero or the actual figures and abode of the
+    spirits and their king. It is hard to escape the latter view, from the
+    general tenor, the clear-cut outline of the tunes, of which the
+    principal is like a stern chant:
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music79.jpg" alt="music79" width="400" height="159"></p>
+<p style="text-indent: 0em">
+    The most important of the later answers lies largely in the basses.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music80.jpg" alt="music80" width="400" height="102"></p>
+<p>
+    There is, on the whole, rather an effect of gloomy splendor (the
+    external view) than of meditation; a sense of visible massing than of
+    passionate crisis, though there is not wanting a stirring motion and
+    life in the picture. This is to speak of the first part, <i>Allegro con
+    fuoco</i>.
+</p>
+<p>
+    The gloomy dance dies away. <i>Lento</i> is a soft fugal chant on elemental
+    theme; there is all the solemnity of cathedral service; after the
+    low-chanted phrase follows a tremendous blare of the brass. The
+    repeated chant is followed by one of the earliest, characteristic themes
+    of the first scene. And so, if we care to follow the graphic touch, we
+    may see here the intrusion of Manfred, at the most solemn moment of the
+    fearful revel.
+</p>
+<p>
+    As Manfred, in Byron's poem, enters undaunted, refusing to kneel, the
+    first of the earlier phases rings out in fierce <i>fortissimo</i>. A further
+    conflict appears later, when the opening theme of the work sounds with
+    interruptions of the first chant of the spirits.
+</p>
+<p>
+    A dulcet plaint follows, <i>Adagio</i>, in muted strings, answered by a note
+    of horn and a chord of harp.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music81.jpg" alt="music81" width="400" height="173"></p>
+<p style="text-indent: 0em">
+    It all harks back to the gentler strains of the first movement. In the
+    ethereal <i>glissando</i> of harps we see the spirit of Astarte rise to give
+    the fatal message. The full pathos and passion of the <i>lento</i> episode of
+    first scene is heard in brief, vivid touches, and is followed by the
+    same ominous blast with ring of horn, as in the first picture.
+</p>
+<p>
+    A note of deliverance shines clear in the final phrase of joined
+    orchestra and organ, clearer perhaps than in Manfred's farewell line in
+    the play: "Old man! 'tis not so difficult to die." To be sure, Schumann
+    spreads the same solace o'er the close of his setting, with the Requiem.
+    The sombre splendor of romance is throughout, with just a touch of
+    turgid. In the poignant ecstasy of grief we feel vividly the
+    foreshadowing example of Liszt, in his "Dante" and "Faust" Symphonies.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="sym5">
+    <i>FIFTH SYMPHONY (E MINOR)</i> </a>
+</center>
+<p>
+    With all the unfailing flow of lesser melodies where the charm is often
+    greatest of all, and the main themes of each movement with a chain of
+    derived phrases, one melody prevails and reappears throughout. The
+    fluency is more striking here than elsewhere in Tschaikowsky. All the
+    external sources,&mdash;all the glory of material art seem at his command. We
+    are reminded of a certain great temptation to which all men are subject
+    and some fall,&mdash;however reluctantly. Throughout there is a vein of
+    daemonic. The second (Allegro) melody grows to a high point of
+    pathos,&mdash;nay, anguish, followed later by buoyant, strepitant, dancing
+    delight, with the melting answer, in the latest melody. The daemon is
+    half external fate&mdash;in the Greek sense, half individual temper. The end
+    is almost sullen; but the charm is never failing; at the last is the
+    ever springing rhythm.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music82.jpg" alt="music82" width="400" height="195"></p>
+<p>
+    The march rhythm of the opening Andante is carried suddenly into a quick
+    trip, <i>Allegro con anima</i> (6/8), where the main theme of the first
+    movement now begins, freely extended as in a full song of verses. New
+    accompanying figures are added, contrasting phrases or counter-melodies,
+    to the theme.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music83.jpg" alt="music83" width="400" height="240"></p>
+<p style="text-indent: 0em">
+    One expressive line plays against the wilder rhythm of the theme, with
+    as full a song in its own mood as the other. A new rhythmic motive, of
+    great charm, <i>un pocchetino piu animato</i>, is answered by a bit of the
+    theme. Out of it all grows, in a clear
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music84.jpg" alt="music84" width="400" height="174"></p>
+<p style="text-indent: 0em">
+    welded chain, another episode, where the old rhythm is a mere gentle
+    spur to the new plaint,&mdash;<i>molto piu tranquillo, molto cantabile ed
+    espressivo</i>.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music85.jpg" alt="music85" width="400" height="185"></p>
+<p>
+    To be sure, the climax has all of the old pace and life, and every voice
+    of the chorus at the loudest. In the answering and echoing of the
+    various phrases, rhythmic and melodic, is the charm of the discussion
+    that follows. Later the three melodies come again in the former order,
+    and the big climax of the plaintive episode precedes the end, where the
+    main theme dies down to a whisper.
+</p>
+<p>
+    <i>Andante cantabile, con alcuna licenza.</i> After preluding chords in
+    lowest strings a solo horn begins a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music86.jpg" alt="music86" width="400" height="192"></p>
+<p style="text-indent: 0em">
+    languishing song, <i>dolce con molto espressione</i>. It is a wonderful
+    elegy, a yearning without hope, a swan-song of desire, sadder almost
+    than the frank despair of the Finale of the <i>Pathétique</i>
+    symphony,&mdash;pulsing with passion, gorgeous with a hectic glow of
+    expressive beauty, moving too with a noble grace. Though there is a foil
+    of lighter humor, this is overwhelmed in the fateful gloom of the
+    returning main motto.
+</p>
+<p>
+    The abounding beauty with all its allurement lacks the solace that the
+    masters have led us to seek in the heart of a symphony. The clarinet
+    presently twines a phrase about the tune until a new answer sounds in
+    the oboe, that now sings in answering and chasing duet with the horn.
+    The phrase of oboe proves to be the main song, in full extended
+    periods, reaching a climax with all the voices.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music87.jpg" alt="music87" width="400" height="167"></p>
+<p>
+    Well defined is the middle episode in minor reared on a new theme of the
+    clarinet with an almost fugal polyphony that departs from the main lyric
+    mood.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music88.jpg" alt="music88" width="400" height="197"></p>
+<p style="text-indent: 0em">
+    At the height all the voices fall into a united chorus on the original
+    motto of the symphony. The first melodies of the Andante now return with
+    big sweep and power, and quicker phrases from the episode. The motto
+    reappears in a final climax, in the trombones, before the hushed close.
+</p>
+<p>
+    We must not infer too readily a racial trait from the temper of the
+    individual composer. There is here an error that we fall into frequently
+    in the music of such men as Grieg and Tschaikowsky. The prevailing mood
+    of the Pathetic Symphony is in large measure personal. Some of the more
+    recent Russian symphonies are charged with buoyant joyousness. And,
+    indeed, the burden of sadness clearly distinguishes the last symphony of
+    Tschaikowsky from its two predecessors, the Fourth and the Fifth.
+</p>
+<p>
+    The tune of the <i>valse</i>, <i>Allegro moderato</i>, is first played by the
+    violins, <i>dolce con grazia</i>, with accompanying strings, horns and
+    bassoon. In the second part, with some loss of the lilt of dance, is a
+    subtle design&mdash;with a running phrase in <i>spiccato</i> strings against a
+    slower upward glide of bassoons. The duet winds on a kind of <i>crescendo</i>
+    of modulations. Later
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music89.jpg" alt="music89" width="400" height="190"></p>
+<p style="text-indent: 0em">
+    the themes are inverted, and the second is redoubled in speed. The whole
+    merges naturally into the first waltz, with a richer suite of adorning
+    figures. The dance does not end without a soft reminder (in low
+    woodwind) of the original sombre phrase.
+</p>
+<p>
+    Almost for the first time a waltz has entered the shrine of the
+    symphony. And yet perhaps this dance has all the more a place there. It
+    came on impulse (the way to visit a sanctuary), not by ancient custom.
+    But with all its fine variety, it is a simple waltz with all the
+    careless grace,&mdash;nothing more, with no hidden or graphic meaning (as in
+    Berlioz's Fantastic Symphony).
+</p>
+<p>
+    The middle episode, though it lacks the dancing trip, is in the one
+    continuing mood,&mdash;like a dream of youthful joys with just a dimming hint
+    of grim reality in the returning motto.
+</p>
+<p>
+    In the Finale the main legend of the symphony is transformed and
+    transfigured in a new, serener mood, and is brought to a full melodic
+    bloom. Indeed, here is the idealization of the original motto. <i>Andante
+    maestoso</i> it begins in the tonic major. When the theme ceases, the brass
+    blow the rhythm on a monotone, midst an ascending <i>obligato of strings</i>.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music90.jpg" alt="music90" width="400" height="194"></p>
+<p style="text-indent: 0em">
+    In answer comes a new phrase of chorale. Later the chorale is sounded
+    by the full band, with intermediate beats of rhythmic march.
+</p>
+<p>
+    Once more there is a well-marked episode, with a full share of melodic
+    discussion, of clashing themes, of dramatic struggle. First in the tonic
+    minor a theme rises from the last casual cadence in resonant march,
+    <i>Allegro vivace</i>. Then follows a duet, almost
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music91.jpg" alt="music91" width="400" height="174"></p>
+<p style="text-indent: 0em">
+    a harsh grating of an eccentric figure above against
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music92.jpg" alt="music92" width="400" height="188"></p>
+<p style="text-indent: 0em">
+    the smoother course of the latest Allegro motive. The themes are
+    inverted. Presently out of the din rises a charming canon on the
+    prevailing smoother phrase, that soars to a full sweep of song. A new
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music93.jpg" alt="music93" width="400" height="181"></p>
+<p style="text-indent: 0em">
+    hymnal melody comes as a final word. Though the main motto returns in
+    big chorus, in full extension, in redoubled pace and wild abandon, still
+    the latest melody seems to contend for the last say. Or, rather,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music94.jpg" alt="music94" width="400" height="381"></p>
+<p style="text-indent: 0em">
+    it is a foil, in its simple flow, to the revel of the motto, now grown
+    into a sonorous, joyous march. And we seem to see how most of the other
+    melodies,&mdash;the minor episode, the expressive duet&mdash;have sprung from bits
+    of the main text.
+</p>
+<p>
+    To return for another view,&mdash;the Finale begins in a mood that if not
+    joyous, is religious. Out of the cadence of the hymn dances the Allegro
+    tune almost saucily. Nor has this charming trip the ring of gladness,
+    though it grows to great momentum. As a whole there is no doubt of the
+    assurance, after the earlier fitful gloom, and with the resignation an
+    almost militant spirit of piety.
+</p>
+<p>
+    In the dulcet canon, an exquisite gem, bliss and sadness seem
+    intermingled; and then follows the crowning song, broad of pace,
+    blending the smaller rhythms in ecstatic surmounting of gloom. In
+    further verse it doubles its sweet burden in overlapping voices, while
+    far below still moves the rapid trip.
+</p>
+<p>
+    But the motto will return, in major to be sure, and tempered in mercy.
+    And the whole hymn dominates, with mere interludes of tripping motion,
+    breaking at the height into double pace of concluding strain. Before
+    falling back into the thrall of the legend the furious race rushes
+    eagerly into the deepest note of bliss, where in sonorous bass rolls the
+    broad, tranquil song. And though the revel must languish, yet we attend
+    the refrain of all the melodies in crowning rapture. Then at last, in
+    stern minor, sounds the motto, still with the continuing motion, in a
+    loud and long chant.
+</p>
+<p>
+    In blended conclusion of the contending moods comes a final verse of the
+    legend in major, with full accoutrement of sounds and lesser rhythm, in
+    majestic pace. And there is a following frolic with a verse of the
+    serene song. The end is in the first Allegro theme of the symphony, in
+    transfigured major tone.
+</p>
+<p>
+    We must be clear at least of the poet's intent. In the Fifth Symphony
+    Tschaikowsky sang a brave song of struggle with Fate.
+</p>
+<a name="2HCH0011"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XI
+</h2>
+<h3>
+    THE NEO-RUSSIANS
+</h3>
+<p>
+    For some mystic reason nowhere in modern music is the symphony so
+    justified as in Russia. Elsewhere it survives by the vitality of its
+    tradition. In France we have seen a series of works distinguished rather
+    by consummate refinement than by strength of intrinsic content. In
+    Germany since the masterpieces of Brahms we glean little besides the
+    learnedly facile scores of a Bruckner, with a maximum of workmanship and
+    a minimum of sturdy feeling,&mdash;or a group of "heroic" symphonies all cast
+    in the same plot of final transfiguration. The one hopeful sign is the
+    revival of a true counterpoint in the works of Mahler.
+</p>
+<p>
+    Some national song, like the Bohemian, lends itself awkwardly to the
+    larger forms. The native vein is inadequate to the outer mould, that
+    shrinks and dwindles into formal utterance. It may be a question of the
+    quantity of a racial message and of its intensity after long
+    suppression. Here, if we cared to enlarge in a political disquisition,
+    we might account for the symphony of Russians and Finns, and of its
+    absence in Scandinavia. The material elements, abundant rhythm, rich
+    color, individual and varied folk-song, are only the means by which the
+    national temper is expressed. Secondly, it must be noted as a kind of
+    paradox, the power of the symphony as a national utterance is increased
+    by a mastery of the earlier classics. With all that we hear of the
+    narrow nationalism of the Neo-Russians, we cannot deny them the breadth
+    that comes from a close touch with the masters. Mozart is an element in
+    their music almost as strong as their own folk-song. Here, it may be,
+    the bigger burden of a greater national message unconsciously seeks the
+    larger means of expression. And it becomes clear that the sharper and
+    narrower the national school, the less complete is its utterance, the
+    more it defeats its ultimate purpose.
+</p>
+<p>
+    The broad equipment of the new Russian group is seen at the outset in
+    the works of its founder, Balakirew. And thus the difference between
+    them and Tschaikowsky lay mainly in the formulated aim.<a href="#note34">[34]</a>
+</p>
+
+<p>
+    The national idea, so eminent in modern music, is not everywhere equally
+    justified. And here, as in an object-lesson, we see the true merits of
+    the problem. While one nation spontaneously utters its cry, another,
+    like a cock on the barnyard, starts a movement in mere idle vanity, in
+    sheer self-glorification.
+</p>
+<p>
+    In itself there is nothing divine in a national idea that needs to be
+    enshrined in art. Deliberate segregation is equally vain, whether it be
+    national or social. A true racial celebration must above all be
+    spontaneous. Even then it can have no sanction in art, unless it utter a
+    primal motive of resistance to suppression, the elemental pulse of life
+    itself. There is somehow a divine dignity about the lowest in human
+    rank, whether racial or individual. The oppressed of a nation stands a
+    universal type, his wrongs are the wrongs of all, and so his lament has
+    a world-wide appeal. And in truth from the lowest class rises ever the
+    rich spring of folk-song of which all the art is reared, whence comes
+    the paradox that the peasant furnishes the song for the delight of his
+    oppressors, while they boast of it as their own. Just in so far as man
+    is devoid of human sympathy, is he narrow and barren in his song. Music
+    is mere feeling, the fulness of human experience, not in the hedonic
+    sense of modern tendencies, but of pure joys and profound sorrows that
+    spring from elemental relations, of man to man, of mate to mate.
+</p>
+<p>
+    Here lies the nobility of the common people and of its song; the
+    national phase is a mere incident of political conditions. The war of
+    races is no alembic for beauty of art. If there were no national lines,
+    there would still be folk-song,&mdash;merely without sharp distinction. The
+    future of music lies less in the differentiation of human song, than in
+    its blending.
+</p>
+<p>
+    Thus we may rejoice in the musical utterance of a race like the Russian,
+    groaning and struggling through ages against autocracy for the dignity
+    of man himself,&mdash;and in a less degree for the Bohemian, seeking to hold
+    its heritage against enforced submergence. But we cannot take so
+    seriously the proud self-isolation of other independent nations.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="balakirew" href="#note35">
+    <i>BALAKIREW.[35] SYMPHONY IN C</i> </a>
+</center>
+
+<p>
+    The national idea shines throughout, apart from the "Russian Theme" that
+    forms the main text of the Finale. One may see the whole symphony
+    leading up to the national celebration.
+</p>
+<p>
+    As in the opening phrase (in solemn <i>Largo</i>) with
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music95.jpg" alt="music95" width="400" height="137"></p>
+<p style="text-indent: 0em">
+    its answer are proclaimed the subjects that presently
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music96.jpg" alt="music96" width="400" height="114"></p>
+<p style="text-indent: 0em">
+    appear in rapid pace, so the whole movement must be taken as a big
+    prologue, forecasting rather than realizing. There is a dearth of
+    melodic stress and balance; so little do the subjects differ that they
+    are in essence merely obverse in outline.
+</p>
+<p>
+    Mystic harmonies and mutations of the motto lead to a quicker guise
+    (<i>Allegro vivo</i>). Independently of themes, the rough edge of tonality
+    and the vigorous primitive rhythms are expressive of the Slav feeling.
+    Withal there is a subtlety of harmonic manner that could come only
+    through the grasp of the classics common to all nations. Augmentation
+    and diminution of theme abound, together with the full fugal manner. A
+    warm, racial color is felt in the prodigal use of lower reeds.<a href="#note36">[36]</a>
+</p>
+
+<p>
+    In all the variety of quick and slower melodies a single phrase of five
+    notes, the opening of the symphony, pervades. In all kinds of humor it
+    sings, martial, solemn, soothing, meditative, or sprightly. Poetic in
+    high degree is this subtle metamorphosis, so that the symphony in the
+    first movement seems to prove the art rather than the national spirit of
+    the Neo-Russians.
+</p>
+<p>
+    Of the original answer is wrought all the balance and foil of second
+    theme, and like the first it reaches a climactic height. But the first
+    is the sovereign figure of the story. It enters into the pattern of
+    every new phase, it seems the text of which all the melodies are
+    fashioned, or a sacred symbol that must be all-pervading. In a broader
+    pace (<i>Alla breve</i>) is a mystic discussion of the legend, as of dogma,
+    ending in big pontifical blast of the answering theme.
+</p>
+<p>
+    The whole movement is strangely frugal of joyous abandon. Instead of
+    rolling, revelling melody there is stern proclamation, as of oracle, in
+    the solemn pauses. The rhythm is purposely hemmed and broken. Restraint
+    is everywhere. Almost the only continuous thread is of the meditative
+    fugue.
+</p>
+<p>
+    A single dulcet lyric verse (of the motto) is soon
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music97.jpg" alt="music97" width="400" height="110"></p>
+<p style="text-indent: 0em">
+    banished by a sudden lively, eccentric phrase that has an air of forced
+    gaiety, with interplay of mystic symbols. At last, on a farther height,
+    comes the first
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music98.jpg" alt="music98" width="400" height="210"></p>
+<p style="text-indent: 0em">
+    joyous abandon (in a new mask of the motto), recurring anon as recess
+    from sombre brooding.
+</p>
+<p>
+    Here the second subject has a free song,&mdash;in gentle chase of pairs of
+    voices (of woodwind and muted strings and harp) and grows to alluring
+    melody. As
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music99.jpg" alt="music99" width="400" height="190"></p>
+<p style="text-indent: 0em">
+    from a dream the eccentric trip awakens us, on ever higher wing. At the
+    top in slower swing of chords horn and reeds chant the antiphonal
+    legend, and in growing rapture, joined by the strings, rush once more
+    into the jubilant revel, the chanting legend still sounding anon in
+    sonorous bass.
+</p>
+<p>
+    The climax of feeling is uttered in a fiery burst of all the brass in
+    the former dulcet refrain from the motto. In full sweep of gathering
+    host it flows in unhindered song. Somehow by a slight turn, the tune is
+    transformed into the alluring melody of the second theme. When the
+    former returns, we feel that both strains are singing as part of a
+    single song and that the two subjects are blended and reconciled in
+    rapture of content.
+</p>
+<p>
+    A new mystic play of the quicker motto, answered by the second theme,
+    leads to an overpowering blast of the motto in slowest notes of brass
+    and reed, ending in a final fanfare.
+</p>
+<p>
+    All lightness is the Scherzo, though we cannot escape a Russian vein of
+    minor even in the dance. A rapid melody has a kind of perpetual motion
+    in the strings, with mimicking echoes in the wood. But the strange part
+    is how the natural accompanying voice below (in the bassoon) makes a
+    haunting melody of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music100.jpg" alt="music100" width="400" height="198"></p>
+<p style="text-indent: 0em">
+    its own,&mdash;especially when they fly away to the major. As we suspected,
+    the lower proves really the principal song as it winds on in the
+    languorous English horn or in the higher reed. Still the returning dance
+    has now the whole stage in a long romp with strange peasant thud of the
+    brass on the second beat. Then the song rejoins the dance, just as in
+    answering glee, later in united chorus.
+</p>
+<p>
+    A quieter song (that might have been called the Trio) has still a
+    clinging flavor of the soil,&mdash;as of a folk-ballad, that is not lost with
+    the later madrigal nor with the tripping figure that runs along.
+</p>
+<p>
+    Strangely, after the full returning dance, an epilogue
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music101.jpg" alt="music101" width="400" height="191"></p>
+<p style="text-indent: 0em">
+    of the ballad appears over a drone, as of bagpipe, through all the
+    harmony of the madrigal. Strangest of all is the playful last refrain in
+    the high piccolo over the constant soft strumming strings.
+</p>
+<p>
+    The Andante, in pure lyric mood, is heavily charged with a certain
+    Oriental languor. The clarinet
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music102.jpg" alt="music102" width="400" height="325"></p>
+<p style="text-indent: 0em">
+    leads the song, to rich strum of harp and strings, with its note of
+    sensuous melancholy. Other, more external signs there are of Eastern
+    melody, as in the graceful curl of quicker notes. Intermediate strains
+    between the verses seem gently to rouse the slumbering feeling,&mdash;still
+    more when they play between the lines of the song. The passion that is
+    lulled in the languor of main melody, is somehow uttered in the later
+    episode,&mdash;still more in the dual song of both
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music103.jpg" alt="music103" width="400" height="395"></p>
+<p style="text-indent: 0em">
+    melodies,&mdash;though it quickly drops before a strange coquetry of other
+    strains. Yet the climax of the main song is reached when the lighter
+    phrase rings fervently in the high brass. Here the lyric beauty is
+    stressed in a richer luxuriance of rhythmic setting. Once more sings the
+    passionate tune; then in midst of the last verse of the main song is a
+    quick alarm of rushing harp. The languorous dream is broken; there is an
+    air of new expectancy. Instead of a close is a mere pause on a passing
+    harmony at the portals of the high festival.
+</p>
+<p>
+    With a clear martial stress the "Russian Theme" is sounded (in low
+    strings), to the full a national
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music104.jpg" alt="music104" width="400" height="186"></p>
+<p style="text-indent: 0em">
+    tune of northern race. Enriched with prodigal harmony and play of lesser
+    themes it flows merrily on, yet always with a stern pace, breaking out
+    at last in a blare of warlike brass.
+</p>
+<p>
+    Nor does the martial spirit droop in the second tune, though the
+    melodies are in sheer contrast. In faster rhythm, the second is more
+    festal so that the first returning has a tinge almost of terror. An
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music105.jpg" alt="music105" width="400" height="348"></p>
+<p style="text-indent: 0em">
+    after-strain of the second has a slightest descent to reflective
+    feeling, from which there is a new rebound
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music106.jpg" alt="music106" width="400" height="186"></p>
+<p style="text-indent: 0em">
+    to the buoyant (festal) melody.
+</p>
+<p>
+    Here in grim refrains, in dim depths of basses (with hollow notes of
+    horns) the national tune has a free fantasy until it is joined by the
+    second in a loud burst in the minor.
+</p>
+<p>
+    Now the latter sings in constant alternation with the answering strain,
+    then descends in turn into the depths of sombre musing. There follows a
+    big, resonant dual climax (the main theme in lower brass), with an edge
+    of grim defiance. In the lull we seem to catch a brief mystic play of
+    the first motto of the symphony (in the horns) before the last joyous
+    song of both melodies,&mdash;all with a power of intricate design and a
+    dazzling brilliancy of harmony, in proud national celebration.
+</p>
+<p>
+    A last romp is in polacca step on the tune of the Russian Theme.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="antar" href="#note37">
+    <i>RIMSKY-KORSAKOW.[37] "ANTAR," SYMPHONY</i> </a>
+</center>
+
+<p>
+    The title-page tells us that "the subject is taken from an Arabian tale
+    of Sennkowsky." Opposite the beginning of the score is a summary of the
+    story, in Russian and in French, as follows:
+</p>
+     <blockquote>
+       <p>I.&mdash;Awful is the view of the desert of Sham; mighty in their
+     desolation are the ruins of Palmyra, the city razed by the spirits
+     of darkness. But Antar, the man of the desert, braves them, and
+     dwells serenely in the midst of the scenes of destruction. Antar
+     has forever forsaken the company of mankind. He has sworn eternal
+     hatred on account of the evil they returned him for the good which
+     he intended.</p>
+       <p>Suddenly a charming, graceful gazelle appears. Antar starts to
+     pursue it. But a great noise seems pulsing through the heavens, and
+     the light of day is veiled by a dense shadow. It is a giant bird
+     that is giving chase to the gazelle.</p>
+       <p>Antar straightway changes his intent, and attacks the monster,
+     which gives a piercing cry and flies away. The gazelle disappears
+     at the same time, and Antar, left alone in the midst of ruins, soon
+     goes to sleep while meditating on the event that has happened.</p>
+       <p>He sees himself transported to a splendid palace, where a multitude
+     of slaves hasten to serve him and to charm his ear with their song.
+     It is the abode of the Queen of Palmyra,&mdash;the fairy Gul-nazar. The
+     gazelle that he has saved from the talons of the spirit of darkness
+     is none other than the fairy herself. In gratitude Gul-nazar
+     promises Antar the three great joys of life, and, when he assents
+     to the proffered gift, the vision vanishes and he awakes amid the
+     surrounding ruins.</p>
+       <p>II.&mdash;The first joy granted by the Queen of Palmyra to Antar are the
+     delights of vengeance.</p>
+       <p>III.&mdash;The second joy&mdash;the delights of power.</p>
+       <p>IV.&mdash;Antar has returned to the fallen remains of Palmyra. The third
+     and last gift granted by the fairy to Antar is the joy of true
+     love. Antar begs the fairy to take away his life as soon as she
+     perceives the least estrangement on his side, and she promises to
+     do his desire.</p>
+       <p>After a long time of mutual bliss the fairy perceives, one day,
+     that Antar is absent in spirit and is gazing into the distance.
+     Straightway, divining the reason, she passionately embraces him.
+     The fire of her love enflames Antar, and his heart is consumed
+     away.</p>
+       <p>Their lips meet in a last kiss and Antar dies in the arms of the
+     fairy. </p>
+</blockquote>
+
+<p>
+    The phases of the story are clear in the chain of musical scenes, of the
+    movements themselves and within them. In the opening Largo that recurs
+    in this movement between the visions and happenings, a melody appears
+    (in violas) that moves in all the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music107.jpg" alt="music107" width="400" height="180"></p>
+<p style="text-indent: 0em">
+    acts of the tragedy. It is clearly the Antar motive,&mdash;here amidst ruin
+    and desolation.
+</p>
+<p>
+    The fairy theme is also unmistakable, that first plays in the flute,
+    against soft horns, <i>Allegro giocoso</i>,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music108.jpg" alt="music108" width="400" height="134"></p>
+<p style="text-indent: 0em">
+    and is lost in the onrushing attack, <i>furioso</i>, of a strain that begins
+    in murmuring of muted strings.
+</p>
+<p>
+    Other phrases are merely graphic or incidental. But the Antar motive is
+    throughout the central moving figure.
+</p>
+<p>
+    The scene of the desert returns at the end of the movement.
+</p>
+<p>
+    In the second (<i>Allegro</i>, rising to <i>Molto allegro</i>, returning
+    <i>allargando</i>) the Antar motive is seldom absent. The ending is in long
+    notes of solo oboe and first violins. There is no trace of the fairy
+    queen throughout the movement.
+</p>
+<p>
+    The third movement has phases of mighty action (as in the beginning,
+    <i>Allegro risoluto alla Marcia</i>), of delicate charm, and even of humor.
+    The Antar melody plays in the clangor of big climax in sonorous tones of
+    the low brass, against a quick martial phrase of trumpets and horns.
+    Again there is in this movement no sign of the fairy queen.
+</p>
+<p>
+    In the fourth movement, after a prelude, <i>Allegretto vivace</i>, with light
+    trip of high flutes, a melody, of actual Arab origin, sings <i>Andante
+    amoroso</i> in the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music109.jpg" alt="music109" width="400" height="335"></p>
+<p style="text-indent: 0em">
+    English horn, and continues almost to the end, broken only by the
+    dialogue of the lover themes. At the close a last strain of the Antar
+    melody is followed by the fairy phrase and soft vanishing chord of harp
+    and strings.
+</p>
+<p style="text-indent: 0em">
+    &nbsp;</p>
+<p style="text-align: center">
+    <a name="Scheherezade">
+    <i>"SCHÉRÉZADE," AFTER "A THOUSAND AND ONE NIGHTS." SYMPHONIC SUITE</i> </a>
+</p>
+<p>
+    Prefixed to the score is a "program," in Russian and French: "The Sultan
+    Schahriar, convinced of the infidelity of women, had sworn to put to
+    death each of his wives after the first night. But the Sultana
+    Schérézade saved her life by entertaining him with the stories which she
+    told him during a thousand and one nights. Overcome by curiosity, the
+    Sultan put off from day to day the death of his wife, and at last
+    entirely renounced his bloody vow.
+</p>
+<p>
+    &quot;Many wonders were told to Schahriar by the Sultana Schérézade. For the
+    stories the Sultana borrowed the verses of poets and the words of
+    popular romances, and she fitted the tales and adventures one within the
+    other.
+</p>
+<p>
+    &quot;I. The Sea and the Vessel of Sindbad.
+</p>
+<p>
+    &quot;II. The Tale of the Prince Kalender.
+</p>
+<p>
+    &quot;III. The Young Prince and the Young Princess.
+</p>
+<p>
+    &quot;IV. Feast at Bagdad. The Sea. The Vessel is Wrecked on a Rock on which
+    is Mounted a Warrior of Brass. Conclusion."
+</p>
+<p>
+    With all the special titles the whole cannot be regarded as close
+    description. It is in no sense narrative music. The titles are not in
+    clear order of events, and, moreover, they are quite vague.
+</p>
+<p>
+    In the first number we have the sea and merely the vessel, not the
+    voyages, of Sindbad. Then the story of the Prince Kalender cannot be
+    distinguished among the three tales of the royal mendicants. The young
+    prince and the young princess,&mdash;there are many of them in these Arabian
+    fairy tales, though we can guess at the particular one. Finally, in the
+    last number, the title mentions an event from the story of the third
+    Prince Kalender, where the vessel (not of Sindbad) is wrecked upon a
+    rock surmounted by a warrior of brass. The Feast of Bagdad has no
+    special place in any one of the stories.
+</p>
+<p>
+    The truth is, it is all a mirroring in tones of the charm and essence of
+    these epic gems of the East. It is not like the modern interlinear
+    description, although it might be played during a reading on account of
+    the general agreement of the color and spirit of the music. But there is
+    the sense and feeling of the story, <i>das Märchen</i>, and the romance of
+    adventure. The brilliancy of harmony, the eccentricity and gaiety of
+    rhythm seem symbolic and, in a subtle way, descriptive. As in the
+    subject, the stories themselves, there is a luxuriant imagery, but no
+    sign of the element of reflection or even of emotion.
+</p>
+<p>
+    <i>I.</i>&mdash;The opening motive, in big, broad rhythm, is clearly the Sea. Some
+    have called it the Sindbad motive. But in essence these are not very
+    different. The Sea is here the very feeling and type of adventure,&mdash;nay,
+    Adventure itself. It is a necessary part of fairy stories. Here it
+    begins and ends with its rocking theme, ever moving onward. It comes in
+    the story of the Prince Kalender.
+</p>
+<p>
+    The second of the main phrases is evidently the motive of the fairy tale
+    itself, the feeling of "once upon a time," the idea of story, that leads
+    us to the events themselves. It is a mere strumming of chords of the
+    harp, with a vague line, lacking rhythm, as of musical prose. For rhythm
+    is the type of event, of happenings, of the adventure itself. So the
+    formless phrase is the introduction, the narrator, <i>Märchen</i> in an
+    Oriental dress as Schérézade.
+</p>
+<p>
+    The first number passes for the most part in a rocking of the motive of
+    the sea, in various moods and movements: <i>Largo e maestoso, Allegro non
+    troppo,&mdash;tranquillo</i>. At one time even the theme of the story sings to
+    the swaying of the sea.<a href="#note38">[38]</a>
+</p>
+
+<p>
+    <i>II.</i>&mdash;In the tale of the Prince Kalender Schérézade, of course, begins
+    the story as usual. But the main thread is in itself another interwoven
+    tale,&mdash;<i>Andantino Capriccioso, quasi recitando</i>, with a solo in the
+    bassoon <i>dolce e espressivo</i>,&mdash;later <i>poco piu mosso</i>, in
+    violins.<a href="#note39">[39]</a>
+    There is most of happenings here. A very strident phrase that plays in
+    the brass <i>Allegro molto</i>, may be some hobgoblin, or rather an evil
+    jinn, that holds the princess captive and wrecks the hero's vessel. The
+    sea, too, plays a tempestuous part at the same time with the impish
+    mischief of the jinn.
+</p>
+
+<p>
+    <i>III.</i>&mdash;The third number is the idyll,&mdash;both of the stories and of the
+    music. Here we are nearest to a touch of sentiment,&mdash;apart from the mere
+    drama of haps and mishaps.<a href="#note40">[40]</a> But there are all kinds of special
+    events. There is no prelude of the narrator. The idyll begins
+    straightway, <i>Andantino quasi allegretto</i>, winds through all kinds of
+    scenes and storms, then sings again <i>dolce e cantabile</i>. Here, at last,
+    the Schérézade phrase is heard on the violin solo, to chords of the
+    harp; but presently it is lost in the concluding strains of the love
+    story.
+</p>
+
+<p>
+    <i>IV.</i>&mdash;The last number begins with the motive of the sea, like the
+    first, but <i>Allegro molto</i>, again followed by the phrase of the story
+    teller. The sea returns <i>Allegro molto e frenetico</i> in full force, and
+    likewise the vague motive of the story in a cadenza of violin solo. Then
+    <i>Vivo</i> comes the dance, the pomp and gaiety of the Festival, with
+    tripping tambourine and strings and the song first in the flutes.<a href="#note41">[41]</a>
+    Presently a reminder of the sea intrudes,&mdash;<i>con forza</i> in lower wood and
+    strings. But other familiar figures flit by,&mdash;the evil jinn and the
+    love-idyll. Indeed the latter has a full verse,&mdash;in the midst of the
+    carnival.
+</p>
+
+<p>
+    Right out of the festival, rather in full festal array, we seem to
+    plunge into the broad movement of the surging sea, <i>Allegro non troppo e
+    maestoso</i>, straight on to the fateful event. There are no sighs and
+    tears. Placidly the waves play softly about. And <i>dolce e capriccioso</i>
+    the siren Schérézade once more reappears to conclude the tale.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="Rachmaninow" href="#note42">
+    <i>RACHMANINOW. SYMPHONY IN E MINOR</i>[42] </a>
+</center>
+
+<p>
+    <i>I.</i>&mdash;The symphony begins with the sombre temper of modern Russian art;
+    at the outset it seems to throb with inmost feeling, uttered in subtlest
+    design.
+</p>
+<p>
+    The slow solemn prelude <i>(Largo)</i> opens with the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music110.jpg" alt="music110" width="400" height="86"></p>
+<p style="text-indent: 0em">
+    chief phrase of the work in lowest strings to ominous chords, and treats
+    it with passionate stress until the main pace of Allegro.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music111.jpg" alt="music111" width="400" height="188"></p>
+<p>
+    But the germ of prevailing legend lies deeper. The work is one of the
+    few symphonies where the whole is reared on a smallest significant
+    phrase. The first strain (of basses) is indeed the essence of the
+    following melody and in turn of the main Allegro theme. But, to probe
+    still further, we cannot help feeling an ultimate, briefest motive of
+    single ascending tone against intrinsic obstacle, wonderfully expressed
+    in the harmony, with a mingled sense of resolution and regret. And of
+    like moment is the reverse descending tone. Both of these symbols
+    reappear throughout the symphony, separate or blended in larger melody,
+    as principal or accompanying figures. Aside from this closer view that
+    makes clear the tissue of themal discussion, the first phrase is the
+    main melodic motto, that is instantly echoed in violins with piquant
+    harmony. In the intricate path of deep musing we feel the mantle of a
+    Schumann who had himself a kind of heritage from Bach. And thus we come
+    to see the national spirit best and most articulate through the medium
+    of ancient art.
+</p>
+<p>
+    The main Allegro melody not so much grows out of the Largo prelude, as
+    it is of the same fibre and
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music112.jpg" alt="music112" width="400" height="222"></p>
+<p style="text-indent: 0em">
+    identity. The violins sing here against a stately march of harmonies.
+    Such is the fine coherence that the mere heralding rhythm is wrought of
+    the first chords of the Largo, with their descending stress. And the
+    expressive melody is of the same essence as the original sighing motto,
+    save with a shift of accent that gives a new fillip of motion. In this
+    movement at least we see the type of real symphony, that throbs and
+    sings and holds us in the thrall of its spirit and song.
+</p>
+<p>
+    Moments there are here of light and joy, quickly drooping to the darker
+    mood. Following the free flight of main melody is a skein of quicker
+    figures, on aspirant pulse, answered by broad, tragic descent in minor
+    tones.
+</p>
+<p>
+    Milder, more tranquil sings now the second melody, a striking embodiment
+    of the sense of striving ascent. Chanted in higher reeds, it is
+    immediately
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music113.jpg" alt="music113" width="400" height="203"></p>
+<p style="text-indent: 0em">
+    followed and accompanied by an expressive answer in the strings. On the
+    wing of this song we rise to a height where begins the path of a brief
+    nervous motive (of the first notes of the symphony) that with the
+    descending tone abounds in various guise. As a bold glance at the sun is
+    punished by a sight of solar figures all about, so we feel throughout
+    the tonal story the presence of these symbols. An epilogue of wistful
+    song leads to the repeated melodies.
+</p>
+<p>
+    The main figure of the plot that follows is the first melody, now in
+    slow, graceful notes, now in feverish pace, though the brief (second)
+    motive moves constantly here and there. A darkest descent follows into
+    an Avernus of deep brooding on the legend, with an ascending path of the
+    brief, nervous phrase and a reverse fall, that finally wears out its own
+    despair and ends in a sombre verse of the prelude, with new shades of
+    melancholy, then plunges into an overwhelming burst on the sighing
+    phrase. Thence the path of brooding begins anew; but it is now
+    ascendant, on the dual pulse of the poignant motto and the brief,
+    nervous motive. The whole current of passion is thus uttered in the
+    prelude strain that at the outset was pregnant with feeling. At the
+    crisis it is answered or rather interwoven with a guise of the second
+    theme, in hurried pace, chanted by stentorian brass and wood in
+    hallooing chorus that reaches a high exultation. To be sure the Russian
+    at his gladdest seems tinged with sense of fate. So from the single
+    burst we droop again. But the gloom is pierced by brilliant
+    shafts,&mdash;herald calls (of brass and wood) that raise the mood of the
+    returning main melody, and in their continuous refrain add a buoyant
+    stimulus. And the verse of quicker figures has a new fire and ferment.
+    All absent is the former descent of minor tones. Instead, in solemn hush
+    of tempest, without the poignant touch, the tranquil second melody
+    returns with dulcet answer of strings. A loveliest verse is of this
+    further song where, in a dual chase of tune, the melody moves in
+    contained rapture. In the cadence is a transfigured phase of the
+    ascending tone, mingled with the retiring melody, all woven to a
+    soothing cadence.
+</p>
+<p>
+    But the struggle is not over, nor is redemption near. The dulcet phrases
+    sink once more to sombre depth where there is a final, slow-gathering
+    burst of passion on the motto, with a conclusive ring almost of fierce
+    triumph.
+</p>
+<p>
+    <i>II.</i>&mdash;The second movement, <i>Allegro molto</i>, is a complete change from
+    introspection and passion to an
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music114.jpg" alt="music114" width="400" height="135"></p>
+<p style="text-indent: 0em">
+    abandon as of primitive dance. Strings stir the feet; the horns blow the
+    first motive of the savage tune; the upper wood fall in with a dashing
+    jingle,&mdash;like a stroke of cymbals across the hostile harmonies.
+</p>
+<p>
+    Whether a recurring idiom is merely personal or belongs to the special
+    work is difficult to tell. In reality it matters little. Here the
+    strange rising tone is the same as in the former (second) melody. In
+    the rude vigor of harmonies the primitive idea is splendidly stressed.
+</p>
+<p>
+    Right in the answer is a guise of short, nervous phrase, that gets a new
+    touch of bizarre by a leap of the seventh from below. In this figure
+    that moves throughout the symphony we see an outward symbol of an inner
+    connection.&mdash;Bells soon lend a festive ring to the main tune.
+</p>
+<p>
+    In quieter pace comes a tranquil song of lower voices with a companion
+    melody above,&mdash;all in serene major. Though it grew naturally out of the
+    rude
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music115.jpg" alt="music115" width="400" height="184"></p>
+<p style="text-indent: 0em">
+    dance, the tune has a contrasting charm of idyll and, too, harks back to
+    the former lyric strains that followed the second melody. When the dance
+    returns, there is instead of discussion a mere extension of main motive
+    in full chorus.
+</p>
+<p>
+    But here in the midst the balance is more than restored. From the dance
+    that ceases abruptly we go straight to school or rather cloister. On our
+    recurring nervous phrase a fugue is rung with all pomp and ceremony
+    (<i>meno mosso</i>); and of the dance there are mere faint echoing memories,
+    when the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music116.jpg" alt="music116" width="400" height="130"></p>
+<p style="text-indent: 0em">
+    fugal text seems for a moment to weave itself into the first tune.
+</p>
+<p>
+    Instead, comes into the midst of sermon a hymnal chant, blown gently by
+    the brass, while other stray
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music117.jpg" alt="music117" width="400" height="155"></p>
+<p style="text-indent: 0em">
+    voices run lightly on the thread of fugue. There is, indeed, a playful
+    suggestion of the dance somehow in the air. A final tempest of the
+    fugue<a href="#note43">[43]</a> brings us back to the full verse of dance and the following
+    melodies. But before the end sounds a broad hymnal line in the brass
+    with a dim thread of the fugue, and the figures steal away in solemn
+    stillness.
+</p>
+
+<p>
+    <i>III.</i>&mdash;The Adagio has one principal burden, first borne by
+    violins,&mdash;that rises from the germ of earlier
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music118.jpg" alt="music118" width="400" height="367"></p>
+<p style="text-indent: 0em">
+    lyric strains. Then the clarinet joins in a quiet madrigal of tender
+    phrases. We are tempted to find here an influence from a western
+    fashion, a taint of polythemal virtuosity, in this mystic maze of many
+    strains harking from all corners of the work, without a gain over an
+    earlier Russian simplicity. Even the Slavic symphony seems to have
+    fallen into a state of artificial cunning, where all manners of greater
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music119.jpg" alt="music119" width="400" height="379"></p>
+<p style="text-indent: 0em">
+    or lesser motives are packed close in a tangled mass.
+</p>
+<p>
+    It cannot be said that a true significance is achieved in proportion to
+    the number of concerting themes. We might dilate on the sheer inability
+    of the hearer to grasp a clear outline in such a multiple plot.
+</p>
+<p>
+    There is somehow a false kind of polyphony, a too great facility of
+    spurious counterpoint, that differs subtly though sharply from the true
+    art where the number entails no loss of individual quality; where the
+    separate melodies move by a divine fitness that measures the perfect
+    conception of the multiple idea; where there is no thought of a later
+    padding to give a shimmer of profound art. It is here that the symphony
+    is in danger from an exotic style that had its origin in German
+    music-drama.
+</p>
+<p>
+    From this point the Rachmaninow symphony languishes in the fountain of
+    its fresh inspiration, seems consciously constructed with calculating
+    care.
+</p>
+<p>
+    There is, after all, no virtue in itself in mere themal
+    interrelation,&mdash;in particular of lesser phrases. One cogent theme may
+    well prevail as text of the whole. As the recurring motives are
+    multiplied, they must lose individual moment. The listener's grasp
+    becomes more difficult, until there is at best a mystic maze, a sweet
+    chaos, without a clear melodic thought. It cannot be maintained that the
+    perception of the modern audience has kept pace with the complexity of
+    scores. Yet there is no gainsaying an alluring beauty of these waves of
+    sound rising to fervent height in the main melody that is expressive of
+    a modern wistfulness.
+</p>
+<p>
+    But at the close is a fierce outbreak of the first motto, with a
+    defiance of regret, in faster, reckless pace, brief, but suddenly
+    recurring. Exquisite is this
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music120.jpg" alt="music120" width="400" height="170"></p>
+<p style="text-indent: 0em">
+    cooing of voices in mournful bits of the motto, with a timid upper
+    phrase in the descending tone.
+</p>
+<p>
+    On we go in the piling of Ossa on Pelion, where the motto and even the
+    Scherzo dance lend their text. Yet all is fraught with sentient beauty
+    as, rising in Titanic climb, it plunges into an overwhelming cry in the
+    Adagio melody. Throughout, the ascending and descending tones, close
+    interwoven, give a blended hue of arduous striving and regret.
+</p>
+<p>
+    After a pause follow a series of refrains of solo voices in the melody,
+    with muted strings, with mingled strains of the motto. In the bass is an
+    undulation that recalls the second theme of former movement. And the
+    clarinet returns with its mystic madrigal of melody; now the Adagio
+    theme enters and gives it point and meaning. In one more burst it sings
+    in big and little in the same alluring harmony, whence it dies down to
+    soothing close in brilliant gamut as of sinking sun.
+</p>
+<p>
+    <i>IV.&mdash;Allegro vivace.</i> Throwing aside the clinging
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music121.jpg" alt="music121" width="400" height="213"></p>
+<p style="text-indent: 0em">
+    fragments of fugue in the prelude we rush into a gaiety long sustained.
+    Almost strident is the ruthless merriment; we are inclined to fear that
+    the literal coherence of theme is greater than the inner connection of
+    mood. At last the romp hushes to a whisper of drum, with strange patter
+    of former dance. And following and accompanying it is a new hymnal (or
+    is it martial) line, as it were the reverse of the other
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music122.jpg" alt="music122" width="400" height="229"></p>
+<p style="text-indent: 0em">
+    chant. The gay figures flit timidly back,&mdash;a struggle 'twixt pleasure
+    and fate,&mdash;but soon regain control.
+</p>
+<p>
+    If we cared to interpret, we might find in the Finale a realized
+    aspiration. The truth is the humors of the themal phrases, as of the
+    movements, jar: they are on varying planes. The coarser vein of the last
+    is no solace to the noble grief of the foregoing.
+</p>
+<p>
+    Again the change or series of moods is not clearly defined. They seem a
+    parade of visions. The hymn may be viewed as a guise of the former chant
+    of the Scherzo, with the dance-trip in lowest bass.
+</p>
+<p>
+    Straight from the rush and romp we plunge anew into a trance of sweet
+    memories. The lyric vein here binds together earlier strains, whose
+    kinship had not appeared. They seemed less significant, hidden as
+    subsidiary ideas. If we care to look back we find a germ of phrase in
+    the first Prelude, and then the answer of the second (Allegro) theme of
+    first movement. There was, too, the sweep of dual melody following the
+    rude dance of Scherzo. Above all is here the essence and spirit of the
+    central Adagio melody of the symphony.
+</p>
+<p>
+    The answering strain is of high beauty, with a melting sense of
+    farewell. From the sad ecstasy is a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music123.jpg" alt="music123" width="400" height="198"></p>
+<p style="text-indent: 0em">
+    descent to mystic musing, where abound the symbols of rising and falling
+    tones. More and more moving is the climactic melody of regret with a
+    blended song in large and little. Most naturally it sinks into a full
+    verse of the Adagio tune&mdash;whence instantly is aroused a new battle of
+    moods.
+</p>
+<p>
+    While the dance capers below, above is the sobbing phrase from the heart
+    of the Adagio. The trip falls into the pace of hymnal march. The shadows
+    of many figures return. Here is the big descending scale in tragic minor
+    from the first movement. Large it looms, in bass and treble. Answering
+    it is a figure of sustained thirds that recalls the former second
+    (Allegro) melody. And still the trip of dance goes on.
+</p>
+<p>
+    Sharpest and strongest of all these memories is the big sigh of sombre
+    harmonies from the first Largo prelude, answered by the original legend.
+    And the dance still goes tripping on and the tones rumble in descent.
+</p>
+<p>
+    The dance has vanished; no sound but the drone of dull, falling tones,
+    that multiply like the spirits of the sorcerer apprentice, in large form
+    and small, with the big rumbling in a quick patter as of scurrying mice.
+</p>
+<p>
+    Suddenly a new spirit enters with gathering volume and warmer harmony.
+    As out of a dream we gradually emerge, at the end with a shock of
+    welcome to light and day, as we awake to the returning glad dance. And
+    here is a new entrancing counter-tune above that crowns the joy.
+</p>
+<p>
+    Once again the skip falls into the ominous descent with the phantom of
+    Scherzo dance in basses. Now returns the strange hymnal line of march
+    and the other anxious hue.
+</p>
+<p>
+    But quickly they are transformed into the tempest of gaiety in full
+    parade. When a new burst is preparing, we see the sighing figure all
+    changed to opposite mood. The grim tune of Scherzo dance enters
+    mysteriously in big and little and slowly takes on a softened hue,
+    losing the savage tinge.
+</p>
+<p>
+    After the returning dance, the farewell melody sings from full throat.
+    Before the ending revel we may feel a glorified guise of the sombre
+    legend of the symphony.
+</p>
+<a name="2HCH0012"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XII
+</h2>
+<h3>
+    SIBELIUS. A FINNISH SYMPHONY<a href="#note44">[44]</a>
+</h3>
+
+<p>
+    We must expect that the music of newer nations will be national. It goes
+    without saying; for the music comes fresh from the soil; it is not the
+    result of long refined culture. There is the strain and burst of a
+    burden of racial feeling to utter itself in the most pliant and eloquent
+    of all the languages of emotion. It is the first and noblest sentiment
+    of every nation conscious of its own worth, and it has its counterpart
+    in the individual. Before the utterance has been found by a people,
+    before it has felt this sense of its own quality, no other message can
+    come. So the most glorious period in the history of every country (even
+    in the eyes of other nations) is the struggle for independence, whether
+    successful or not.
+</p>
+<p>
+    All on a new plane is this northernmost symphony, with a crooning note
+    almost of savage, and sudden, fitful bursts from languorous to fiery
+    mood. The harmony, the turn of tune have a national quality, delicious
+    and original, though the Oriental tinge appears, as in Slav and Magyar
+    music, both in bold and in melancholy humor. Though full of strange and
+    warm colors, the harmonic scheme is simple; rather is the work a tissue
+    of lyric rhapsody than the close-woven plot of tonal epic. A certain
+    trace of revery does find a vent in the traditional art of contrary
+    melodies. But a constant singing in pairs is less art than ancient
+    folk-manner, like primal music in the love or dance songs of savages.
+</p>
+<p>
+    The symphony begins with a quiet rhapsody of solo clarinet in wistful
+    minor, clear without chords, though there is a straying into major.
+    There is no accompaniment save a soft roll of drum, and that soon dies
+    away.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music124.jpg" alt="music124" width="400" height="105"></p>
+<p>
+    The rhapsody seems too vague for melody; yet there are motives, one in
+    chief, winding to a pause; here is a new appealing phrase; the ending is
+    in a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music125.jpg" alt="music125" width="400" height="80"></p>
+<p style="text-indent: 0em">
+    return to the first. Over the whole symphony is cast the hue of this
+    rhapsody, both in mood and in the literal tone.
+</p>
+<p>
+    All opposite, with sudden spring of buoyant strings, strikes the
+    Allegro tune ending in a quick, dancing trip. The first voice is
+    immediately pursued by another
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music126.jpg" alt="music126" width="400" height="216"></p>
+<p style="text-indent: 0em">
+    in similar phase, like a gentler shadow, and soon rises to a passionate
+    chord that is the main idiom of the movement.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music127.jpg" alt="music127" width="400" height="200"></p>
+<p>
+    A second theme in clear-marked tones of reed and horns, as of stern
+    chant, is taken up in higher wood and grows to graceful melody in
+    flowing strings.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music128.jpg" alt="music128" width="400" height="162"></p>
+<p style="text-indent: 0em">
+    There is a series of flights to an ever higher perch of harmony until
+    the first Allegro motive rings out in fullest chorus, again with the
+    companion tune and the cadence of poignant dissonance.
+</p>
+<p>
+    A new episode comes with shimmering of harp and strings, where rare and
+    dainty is the sense of primal
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music129.jpg" alt="music129" width="400" height="340"></p>
+<p style="text-indent: 0em">
+    harmony that lends a pervading charm to the symphony. Here the high
+    wood has a song in constant thirds, right from the heart of the
+    rhapsody, all bedecked as melody with a new rhythm and answer. Soon this
+    simple lay is woven in a skein of pairs of voices, meeting or diverging.
+    But quickly we are back in the trance of lyric song, over palpitating
+    strings, with the refrain very like the former companion phrase that
+    somehow leads or grows to a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music130.jpg" alt="music130" width="400" height="181"></p>
+<p style="text-indent: 0em">
+    rhythmic verse of the first strain of the rhapsody. Here begins a long
+    mystic phase of straying voices (of the wood) in the crossing figures of
+    the song, in continuous fantasy that somehow has merged into the line of
+    second Allegro theme, winging towards a brilliant height where the
+    strings ring out the strain amid sharp cries of the brass in startling
+    hues of harmony and electric calls from the first rhapsody.
+</p>
+<p>
+    From out the maze and turmoil the shadowy melody rises in appealing
+    beauty like heavenly vision and lo! is but a guise of the first strain
+    of rhapsody. It rises amid flashes of fiery brass in bewildering blare
+    of main theme, then sinks again to the depth of brooding, though the
+    revery of the appealing phrase has a climactic height of its own, with
+    the strange, palpitating harmonies.
+</p>
+<p>
+    In a new meditation on bits of the first Allegro theme sounds suddenly a
+    fitful burst of the second, that presently emerges in triumphant,
+    sovereign song. Again, on a series of flights the main theme is reached
+    and leaps once more to impassioned height.
+</p>
+<p>
+    But this is followed by a still greater climax of moving pathos whence
+    we descend once more to lyric meditation (over trembling strings).
+    Follows a final tempest and climax of the phrase of second theme.
+</p>
+<p>
+    The movement thus ends, not in joyous exultation, but in a fierce
+    triumph of sombre minor.
+</p>
+<p>
+    The Andante is purest folk-melody, and it is strange how we know this,
+    though we do not know the special theme. We cannot decry the
+    race-element as a rich fount of melody. While older nations strive and
+    strain, it pours forth by some mystery in prodigal flow with less
+    tutored peoples who are singing their first big song to the world. Only,
+    the ultimate goal for each racial inspiration must be a greater
+    universal celebration.
+</p>
+<p>
+    The lyric mood is regnant here, in a melody that, springing from distant
+    soil, speaks straight to every heart, above all with the concluding
+    refrain. It is of the purest vein, of the primal fount, deeper than mere
+    racial turn or trait. Moreover, with a whole coronet of gems of modern
+    harmony, it has a broad swing and curve that gives the soothing sense of
+    fireside;
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music131.jpg" alt="music131" width="400" height="346"></p>
+<p style="text-indent: 0em">
+    it bears a burden of elemental, all-contenting emotion. In the main, the
+    whole movement is one lyric flight. But there come the moods of musing
+    and rhapsodic rapture. In a brief fugal vein is a mystic harking back to
+    the earlier prelude. In these lesser phrases are the foil or
+    counter-figures for the bursts of the melody.
+</p>
+<p>
+    It is the first motive of the main tune that is the refrain in ever
+    higher and more fervent exclamation, or in close pressing chase of
+    voices. Then follows a melting episode,&mdash;some golden piece of the melody
+    in plaintive cellos, 'neath tremulous wood or delicate choirs of
+    strings.
+</p>
+<p>
+    But there is a second tune, hardly less moving, in dulcet group of
+    horns amid shimmering strings and harp, with a light bucolic answer in
+    playful reed.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music132.jpg" alt="music132" width="400" height="321"></p>
+<p style="text-indent: 0em">
+    And it has a glowing climax, too, with fiery trumpet, and dashing
+    strings and clashing wood.
+</p>
+<p>
+    Gorgeous in the warm depth of horns sound now the returning tones of the
+    first noble melody, with playful trill of the wood, in antiphonal song
+    of trumpets and strings. And there are revels of new turns of the tune
+    (where the stirring harmony seems the best of all) that will rise to a
+    frenzy of tintinnabulation. A quicker counter-theme lends life and
+    motion to all this play and plot.
+</p>
+<p>
+    A big, solemn stride of the middle strain (of main melody) precedes the
+    last returning verse, with all the tender pathos of the beginning.
+</p>
+<p>
+    The Scherzo is wild race-feeling let loose&mdash;national music that has not
+    yet found a melody. Significantly the drums begin the tune, to a dancing
+    strain of <i>pizzicato</i> strings. The tune is so elemental that the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music133.jpg" alt="music133" width="315" height="130"></p>
+<p style="text-indent: 0em">
+    drums can really play it; the answer is equally rude,&mdash;an arpeggic
+    motive of strings against quick runs of the higher wood. Out of it grows
+    a tinge of tune with a fresh spring of dance,&mdash;whence returns the first
+    savage motive. This is suddenly changed to the guise of a fugal theme,
+    with new close, that starts a maze of disputation.
+</p>
+<p>
+    Right from the full fire of the rough dance, sad-stressed chords plunge
+    into a moving plaint with much sweetness of melody and higher
+    counter-melody. Then returns again the original wild rhythm.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music134.jpg" alt="music134" width="400" height="170"></p>
+<p>
+    In the last movement the composer confesses the "Fantasy" in the title.
+    It begins with a broad sweep of the returning rhapsody, the prologue of
+    the symphony, though without the former conclusion. Now it sings in a
+    strong unison of the strings <i>largamente ed appassionato</i>, and with
+    clang of chord in lower brass. The appealing middle phrase is all
+    disguised in strum as of dance. The various strains sing freely in
+    thirds, with sharp punctuating chords. Throughout is a balance of the
+    pungent vigor of harmonies with dulcet melody.
+</p>
+<p>
+    In sudden rapid pace the strumming figure dances in the lower reed, then
+    yields to the play (in the strings) of a lively (almost comic) tune of a
+    strong national tinge,&mdash;a kind that seems native to northern countries
+    and is not unlike a strain that crept into
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music135.jpg" alt="music135" width="400" height="122"></p>
+<p style="text-indent: 0em">
+    American song. A tempest of pranks is suddenly halted before the
+    entrance of a broad melody, with underlying harmonies of latent passion.
+    The feeling of fantasy is in the further flow, with free singing chords
+    of harp. But ever between the lines creeps in the strumming phrase, from
+    the first prelude, returned to its earlier mood.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music136.jpg" alt="music136" width="400" height="218"></p>
+<p>
+    With baffling mystery anon come other appealing phrases from the
+    beginning, that show the whole to be the woof almost of a single figure,
+    or at least to lie within the poetic scope of the prologue. A fugal
+    revel of the comic phrase with the quick strum as counter-theme ends in
+    a new carnival,&mdash;here a dashing march, there a mad chase of strident
+    harmonies. Now sings the full romance and passion of the melody through
+    the whole gamut from pathos to rapture. It ends with poignant stress of
+    the essence of the song, with sheerest grating of straining harmonies.
+    In the midst, too, is again the mystic symbol from the heart of the
+    prelude. Then with a springing recoil comes a last jubilation, though
+    still in the prevailing minor, with a final coursing of the quick theme.
+</p>
+<p>
+    The whole is a broad alternation of moods, of wild abandon and of tender
+    feeling,&mdash;the natural dual quality of primal music. So, at least in the
+    Finale, this is a Finnish fantasy, on the very lines of other national
+    rhapsody.
+</p>
+<a name="2HCH0013"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XIII
+</h2>
+<h3>
+    BOHEMIAN SYMPHONIES
+</h3>
+<p>
+    In the music of modern Bohemia is one of the most vital utterances of
+    the folk-spirit. The critic may not force a correspondence of politics
+    and art to support his theory. Yet a cause may here be found as in
+    Russia and Finland. (Poland and Hungary had their earlier song). There
+    is a sincerity, an unpremeditated quality in Bohemian music that is not
+    found among its western neighbors. The spirit is its own best proof,
+    without a conscious stress of a national note. Indeed, Bohemian music is
+    striking, not at all in a separate tonal character, like Hungarian, but
+    rather in a subtle emotional intensity, which again differs from the
+    wild abandon of the Magyars. An expression it must be of a national
+    feeling that has for ages been struggling against absorption. Since
+    ancient times Bohemia has been part of a Teutonic empire. The story of
+    its purely native kings is not much more than legendary. Nor has it
+    shared the harder fate of other small nations; for the Teuton rule at
+    least respected its separate unity.
+</p>
+<p>
+    But the long association with the German people has nearly worn away the
+    racial signs and hall-marks of its folk-song. A Bohemian tune thus has a
+    taste much like the native German. Yet a quality of its own lies in the
+    emotional vitality, shown in a school of national drama and, of late, in
+    symphony. It is not necessary to seek in this modern culmination a
+    correspondence with an impending danger of political suppression. Art
+    does not follow history with so instant a reflection.
+</p>
+<p>
+    The intensity of this national feeling appears when Smetana himself, the
+    minstrel of the people, is charged at home with yielding to the foreign
+    influence. Here again is the hardship of the true national poet who
+    feels that for the best utterance of his message he needs the grounding
+    upon a broader art; here is the narrow Chauvinism that has confined the
+    music of many lands within the primitive forms.
+</p>
+<p>
+    Two types we have in Bohemian music of later times: one, Smetana, of
+    pure national celebration; a second, Dvôrák, who with a profound
+    absorption of the German masters, never escaped the thrall of the
+    folk-element and theme.</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="smetana" href="#note45">
+    <i>SMETANA. SYMPHONIC POEM, "THE MOLDAU RIVER"</i>[45] </a>
+</center>
+
+<p>
+    Simplicity is uppermost in these scores; yet the true essence is almost
+    hidden to the mere reader. With all primitive quality they are more
+    difficult than many a classic symphony. The latent charm of folk humor
+    and sentiment depends more on tradition and sympathy than on notation.
+</p>
+<p>
+    The naïvely graphic impulse (that we find throughout the choral works of
+    Bach) that merely starts a chance themal line, as here of the first
+    branch of the Moldau, does not disturb the emotional expression. And
+    while the feeling is sustained, the art is there, not to stifle but to
+    utter and set free the native spring of song.
+</p>
+<p>
+    It must be yielded that the design is not profound; it smacks of the
+    village fair rather than of grand tragedy. Song is ever supreme, and
+    with all abundance of contrapuntal art does not become sophisticated.
+    The charm is not of complexity, but of a more child-like, sensuous kind.
+</p>
+<p>
+    It must all be approached in a different way from other symphonic music.
+    The minstrel is not even the peasant in court costume, as Dvôrák once
+    was called. He is the peasant in his own village dress, resplendent with
+    color and proud of his rank.
+</p>
+<p>
+    We cannot enjoy the music with furrowed brow. It is a case where music
+    touches Mother Earth and rejuvenates herself. Like fairy lore and
+    proverbs, its virtue lies in some other element than profound design.
+    For any form of song or verse that enshrines the spirit of a people and
+    is tried in the forge of ages of tradition, lives on more surely than
+    the fairest art of individual poet.
+</p>
+<p>
+    The stream is the great figure, rising from small sources in playful
+    flutes, with light spray of harp and
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music137.jpg" alt="music137" width="400" height="157"></p>
+<p style="text-indent: 0em">
+    strings. The first brook is joined by another (in clarinets) from a new
+    direction. Soon grows the number and the rustle of confluent waters. The
+    motion of the strings is wavelike, of a broader flow, though underneath
+    we scan the several lesser currents. Above floats now the simple, happy
+    song, that expands
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music138.jpg" alt="music138" width="400" height="196"></p>
+<p style="text-indent: 0em">
+    with the stream and at last reaches a glad, sunny major.
+</p>
+<p>
+    Still to the sound of flowing waters comes the forest hunt, with all the
+    sport of trumpets and other brass.
+</p>
+<p>
+    It is descriptive music, tonal painting if you will; but the color is
+    local or national. The strokes are not so much of events or scenes as of
+    a popular humor and character, which we must feel with small stress of
+    each event. The blowing of trumpets, the purling of streams, the swaying
+    of trees, in primal figures, all breathe the spirit of Bohemia.
+</p>
+<p>
+    The hunt dies away; emerging from the forest the jolly sounds greet us
+    of a peasant wedding. The
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music139.jpg" alt="music139" width="400" height="186"></p>
+<p style="text-indent: 0em">
+    parade reaches the church in high festivity and slowly vanishes to
+    tinkling bells.
+</p>
+<p>
+    Night has fallen; in shifted scene the stream is sparkling in the
+    moonlight still to the quiet sweet harmonies. But this is all background
+    for a dance of nymphs, while a dulcet, sustained song sounds through the
+    night. At last, to the golden horns a faintest harmony is added of
+    deeper brass. Still very softly, the brass strike a quicker phrase and
+    we seem to hear the hushed chorus of hunt with the call of trumpets, as
+    the other brass lead in a new verse that grows lustier with the livelier
+    song and dance, till&mdash;with a flash we are alone with the running stream
+    with which the dance of nymphs has somehow merged.
+</p>
+<p>
+    On it goes, in happy, ever more masterful course, a symbol of the
+    nation's career, surging in bright major and for a moment quieting
+    before the mighty Rapids of St. Johann. Here the song of the stream is
+    nearly lost in the rush of eddies and the strife of big currents, with
+    the high leaps of dashing spray,&mdash;ever recurring like unceasing battle
+    with a towering clash at the height of the tempest. At last all meet in
+    overpowering united torrent, suddenly to hush before the stream, at the
+    broadest, rushes majestically along in hymnal song of exalted harmonies
+    and triumphant melody, with joyous after-strains.
+</p>
+<p>
+    As the pilgrim to his Mecca, so the waters are wafted into the climactic
+    motive of the Hradschin, the chant of the holy citadel. The rest is a
+    long jubilation
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music140.jpg" alt="music140" width="400" height="221"></p>
+<p style="text-indent: 0em">
+    on quicker beats of the chant, amid the plash of waters and the shaking
+    of martial brass. Strangely, as the other sounds die away, the melody of
+    the stream emerges clear and strong, then vanishes in the distance
+    before the jubilant Amen.
+</p>
+<p>
+    In the general view we must feel a wonderful contrast here with the
+    sophomoric state of the contemporary art in other lands where the
+    folk-song has lost its savor,&mdash;where the natural soil is exhausted and
+    elegant castles are built in the air of empty fantasy, or on the sands
+    of a vain national pride.
+</p>
+<p>
+    &nbsp;</p>
+<p style="text-align: center">
+    <a name="dvorak" href="#note46">
+    <i>DVÔRÁK. SYMPHONY, "FROM THE NEW WORLD."</i>[46] </a>
+</p>
+
+<p>
+    It is a much-discussed question how far Dvôrák's American symphony is
+    based on characteristic folk-song. Here are included other questions: to
+    what extent the themes are based on an African type, and whether negro
+    music is fairly American folk-song. Many, perhaps most people, will
+    answer with a general negative. But it seems to be true that many of us
+    do not really know the true negro song,&mdash;have quite a wrong idea of it.
+</p>
+<p>
+    To be sure, all argument aside, it is a mistake to think that folk-song
+    gets its virtue purely from a distinctive national quality,&mdash;because it
+    is Hungarian, Scandinavian, or Slavonic. If all the national modes and
+    rhythms of the world were merged in one republic, there would still be a
+    folk-song of the true type and value. There is a subtle charm and
+    strength in the spontaneous simplicity, all aside from racial color. It
+    is here that, like Antaeus, the musician touches Mother Earth and renews
+    his strength. So, when Dvôrák suddenly shifts in the midst of his New
+    World fantasy into a touch of Bohemian song, there is no real loss. It
+    is all relevant in the broad sense of folk feeling, that does not look
+    too closely at geographical bounds. It is here that music, of all arts,
+    leads to a true state of equal sympathy, regardless of national
+    prejudice. What, therefore, distinguishes Dvôrák's symphony may not be
+    mere negro melody, or even American song, but a genuine folk-feeling, in
+    the widest meaning.
+</p>
+<p>
+    In one way, Dvôrák's work reminds us of Mendelssohn's Scotch Symphony:
+    both exploit foreign national melody in great poetic forms. One could
+    write a Scotch symphony in two ways: one, in Mendelssohn's, the other
+    would be to tell of the outer impression in the terms of your own
+    folk-song. That is clearly the way Mendelssohn wrote most of the Italian
+    Symphony,&mdash;which stands on a higher plane than the Scotch. For folk-song
+    is the natural language of its own people. It is interesting to see the
+    exact type that each theme represents; but it is not so important as to
+    catch the distinction, the virtue of folk-song <i>per se</i> and the purely
+    natural utterance of one's own. Of course, every one writes always in
+    his folk-tones. On the other hand, one may explore one's own special
+    treasures of native themes, as Dvôrák himself did so splendidly in his
+    Slavic Dances and in his Legends. So one must, after all, take this
+    grateful, fragrant work as an idea of what American composers might do
+    in full earnest. Dvôrák is of all later masters the most eminent
+    folk-musician. He shows greatest sympathy, freedom and delight in
+    revelling among the simple tones and rhythms of popular utterance,
+    rearing on them, all in poetic spontaneity, a structure of high art.
+    Without strain or show, Dvôrák stood perhaps the most genuine of late
+    composers, with a firm foot on the soil of native melody, yet with the
+    balance and restraint and the clear vision of the trained master.<a href="#note47">[47]</a>
+</p>
+
+<p>
+    In a certain view, it would seem that by the fate of servitude the
+    American negro has become the element in our own national life that
+    alone produces true folk-song,&mdash;that corresponds to the peasant and serf
+    of Europe, the class that must find in song the refuge and solace for
+    its loss of material joys. So Dvôrák perhaps is right, with a far seeing
+    eye, when he singles the song of the despised race as the national type.
+</p>
+<p>
+    Another consideration fits here. It has been suggested that the
+    imitative sense of the negro has led him to absorb elements of other
+    song. It is very difficult to separate original African elements of song
+    from those that may thus have been borrowed. At any rate, there is no
+    disparagement of the negro's musical genius in this theory. On the
+    contrary, it would be almost impossible to imagine a musical people that
+    would resist the softer tones of surrounding and intermingling races.
+    We know, to be sure, that Stephen Foster, the author of "The Old Folks
+    at Home," "Massa's in the Cold, Cold Ground," and other famous ballads,
+    was a Northerner, though his mother came from the South. We hear, too,
+    that he studied negro music eagerly. It is not at all inconceivable,
+    however, Foster's song may have been devoid of negro elements, that the
+    colored race absorbed, wittingly or unwittingly, something of the vein
+    into their plaints or lullabies,&mdash;that, indeed, Foster's songs may have
+    been a true type that stirred their own imitation. From all points of
+    view,&mdash;the condition of slavery, the trait of assimilation and the
+    strong gift of musical expression may have conspired to give the negro a
+    position and equipment which would entitle his tunes to stand as the
+    real folk-song of America.
+</p>
+<p>
+    The eccentric accent seems to have struck the composer strongly. And
+    here is a strange similarity with Hungarian song,&mdash;though there is, of
+    course, no kinship of race whatever between Bohemians and Magyars. One
+    might be persuaded to find here simply an ebullition of rhythmic
+    impulse,&mdash;the desire for a special fillip that starts and suggests a
+    stronger energy of motion than the usual conventional pace. At any rate,
+    the symphony begins with just such strong, nervous phrases that soon
+    gather big force. Hidden is the germ of the first, undoubtedly the chief
+    theme of the whole work.
+</p>
+<p>
+    It is more and more remarkable how a search will show the true
+    foundation of almost all of Dvôrák's themes. Not that one of them is
+    actually borrowed, or lacks an original, independent reason for being.
+</p>
+<p>
+    Whether by imitation or not, the pentatonic scale of the Scotch is an
+    intimate part of negro song. This avoidance of the seventh or leading
+    tone is seen throughout the symphony as well as in the traditional
+    jubilee tunes. It may be that this trait was merely confirmed in the
+    African by foreign musical influence. For it seems that the
+    leading-note, the urgent need for the ascending half-tone in closing,
+    belongs originally to the minstrelsy of the Teuton and of central
+    Europe, that resisted and conquered the sterner modes of the early
+    Church. Ruder nations here agreed with Catholic ritual in preferring the
+    larger interval of the whole tone. But in the quaint jump of the third
+    the Church had no part, clinging closely to a diatonic process.
+</p>
+<p>
+    The five-toned scale is indeed so widespread that it cannot be fastened
+    on any one race or even family of nations. The Scotch have it; it is
+    characteristic of the Chinese and of the American Indian. But,
+    independently of the basic mode or scale, negro songs show here and
+    there a strange feeling for a savage kind of lowering of this last note.
+    The pentatonic scale simply omits it, as well as the fourth step. But
+    the African will now and then rudely and forcibly lower it by a
+    half-tone. In the minor it is more natural; for it can then be thought
+    of as the fifth of the relative major. Moreover, it is familiar to us in
+    the Church chant. This effect we have in the beginning of the Scherzo.
+    Many of us do not know the true African manner, here. But in the major
+    it is much more barbarous. And it is almost a pity that Dvôrák did not
+    strike it beyond an occasional touch (as in the second quoted melody). A
+    fine example is "Roll, Jordan Roll," in E flat (that opens, by the way,
+    much like Dvôrák's first theme), where the beginning of the second line
+    rings out on a savage D flat, out of all key to Caucasian ears.
+</p>
+<p>
+    We soon see stealing out of the beginning <i>Adagio</i> an eccentric pace in
+    motion of the bass, that leads to the burst of main subject, <i>Allegro
+    molto</i>, with a certain
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music141.jpg" alt="music141" width="400" height="401"></p>
+<p style="text-indent: 0em">
+    ragged rhythm that we Americans cannot disclaim as a nation. The working
+    up is spirited, and presently out of the answer grows a charming jingle
+    that somehow strikes home.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music142.jpg" alt="music142" width="400" height="81"></p>
+<p>
+    It begins in the minor and has a strange, barbaric touch of cadence.
+    Many would acknowledge it at most as a touch of Indian mode. Yet it is
+    another phase of the lowered seventh. And if we care to search, we find
+    quite a prototype in a song like "Didn't My Lord Deliver Daniel." Soon
+    the phrase has a more familiar ring as it turns into a friendly major.
+    But the real second theme comes in a solo tune on the flute, in the
+    major,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music143.jpg" alt="music143" width="399" height="181"></p>
+<p style="text-indent: 0em">
+    with a gait something like the first.<a href="#note48">[48]</a> Less and less we can resist the
+    genuine negro quality of these melodies, and, at the same time, their
+    beauty and the value of the tonal treasure-house in our midst.
+</p>
+
+<p>
+    The whole of the first Allegro is thus woven of three melodious and
+    characteristic themes in very clear sonata-form. The second, Largo,
+    movement is a lyric of moving pathos, with a central melody that may not
+    have striking traits of strict African song, and yet belongs to the type
+    closely associated with the negro vein of plaint or love-song. The
+    rhythmic
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music144.jpg" alt="music144" width="400" height="87"></p>
+<p style="text-indent: 0em">
+    turns that lead to periods of excitement and climaxes of rapid motion,
+    are absent in the main melody. But
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music145.jpg" alt="music145" width="400" height="344"></p>
+<p style="text-indent: 0em">
+    they appear in the episode that intervenes. Even here, in the midst, is
+    a new contrast of a minor lament that has a strong racial trait in the
+    sudden swing to major and, as quickly, back to the drearier mode. This
+    is followed by a rhapsody or succession of rapid, primitive phrases,
+    that leads to a crisis where, of a sudden, three themes sing at once,
+    the two of the previous Allegro and the main melody of the Largo, in
+    distorted pace with full chorus. This excitement is as suddenly lulled
+    and soothed by the return of the original moving song.
+</p>
+<p>
+    The Scherzo starts in a quick three-beat strum on the chord we have
+    pointed to as a true model trait of negro music, with the lowered
+    leading-note. The
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music146.jpg" alt="music146" width="400" height="191"></p>
+<p style="text-indent: 0em">
+    theme, discussed in close stress of imitation, seems merely to mark the
+    rapid swing in the drone of strange harmony. But what is really a sort
+    of Trio (<i>poco sostenuto</i>) is another sudden, grateful change to major,
+    perfectly true to life, so to speak, in this turn of mode and in the
+    simple lines of the tune. The lyric mood all but suppresses the dance,
+    the melody sounding like a new verse of the Largo. The trip has always
+    lingered, but not too much for the delicious change when it returns to
+    carry us off our feet.
+</p>
+<p>
+    The Scherzo now steals in again, quite a piece, it seems, with the Trio.
+    As the rising volume nears a crisis, the earliest theme (from the first
+    Allegro) is heard in the basses. In the hushed discourse of Scherzo
+    theme that follows, the old melody still intrudes. In mockery of one of
+    its turns comes an enchanting bit of tune, as naïve an utterance as any,
+    much like a children's dancing song. And it returns later with still new
+    enchantment of rhythm. But the whole is too full of folk-melody to trace
+    out, yet is, in its very fibre, true to the idea of an epic of the
+    people.
+</p>
+<p>
+    Presently the whole Scherzo and Trio are rehearsed; but now instead of
+    the phase of latest melodies is a close where the oldest theme (of
+    Allegro) is sung in lusty blasts of the horns and wood, with answers of
+    the Scherzo motive.
+</p>
+<p>
+    In the last movement, <i>Allegro con fuoco</i>, appears early a new kind of
+    march tune that, without special
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music147.jpg" alt="music147" width="400" height="96"></p>
+<p style="text-indent: 0em">
+    trick of rhythm, has the harsh note of lowered leading-note (in the
+    minor, to be sure) in very true keeping with negro song. The march is
+    carried on, with flowing answer, to a high pitch of varied splendor and
+    tonal power. The second theme is utterly opposed in a certain pathetic
+    rhapsody. Yet it rises, at the close, to a fervent burst in rapid
+    motion. We
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music148.jpg" alt="music148" width="400" height="345"></p>
+<p style="text-indent: 0em">
+    may expect in the Finale an orgy of folk-tune and dance, and we are not
+    disappointed. There is, too, a quick rise and fall of mood, that is a
+    mark of the negro as well as of the Hungarian. By a sudden doubling, we
+    are in the midst of a true "hoe-down," in jolliest jingle, with that
+    naïve iteration, true to life; it comes out clearest when the tune of
+    the bass (that sounds like a rapid "Three Blind Mice") is
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music149.jpg" alt="music149" width="400" height="386"></p>
+<p style="text-indent: 0em">
+    put in the treble. A pure idealized negro dance-frolic is here. It is
+    hard to follow all the pranks; lightly as the latest phrase descends in
+    extending melody, a rude blast of the march intrudes in discordant
+    humor. A new jingle of dance comes with a redoubled pace of bits of the
+    march. As this dies down to dimmest bass, the old song from the Largo
+    rings high in the wood. Strangest of all, in a fierce shout of the whole
+    chorus sounds twice this same pathetic strain. Later comes a redoubled
+    speed of the march in the woodwind, above a slower in low strings. Now
+    the original theme of all has a noisy say. Presently the sad second
+    melody has a full verse. Once more the Largo lullaby sings its strain
+    in the minor. In the close the original Allegro theme has a literal,
+    vigorous dispute with the march-phrase for the last word of all.
+</p>
+<p>
+    The work does less to exploit American music than to show a certain
+    community in all true folk-song. Nor is this to deny a strain peculiar
+    to the new world. It seems a poet of distant land at the same time and
+    in the same tones uttered his longing for his own country and expressed
+    the pathos and the romance of the new. Dvôrák, like all true workers,
+    did more than he thought: he taught Americans not so much the power of a
+    song of their own, as their right of heritage in all folk-music. And
+    this is based not merely on an actual physical inheritance from the
+    various older races.
+</p>
+<p>
+    If the matter, in Dvôrák's symphony, is of American negro-song, the
+    manner is Bohemian. A stranger-poet may light more clearly upon the
+    traits of a foreign lore. But his celebration will be more conscious if
+    he endeavor to cling throughout to the special dialect. A true national
+    expression will come from the particular soil and will be unconscious of
+    its own idiom.
+</p>
+<p>
+    The permanent hold that Dvôrák's symphony has gained is due to an
+    intrinsic merit of art and sincere sentiment; it has little to do with
+    the nominal title or purpose.
+</p>
+<a name="2HCH0014"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XIV
+</h2>
+<h3>
+    THE EARLIER BRUCKNER<a href="#note49">[49]</a>
+</h3>
+
+<p>
+    Whatever be the final answer of the mooted question of the greatness of
+    Bruckner's symphonies, there is no doubt that he had his full share of
+    technical profundity, and a striking mastery of the melodious weaving of
+    a maze of concordant strains. The question inevitably arises with
+    Bruckner as to the value of the world's judgments on its contemporary
+    poets. There can be no doubt that the <i>furore</i> of the musical public
+    tends to settle on one or two favorites with a concentration of praise
+    that ignores the work of others, though it be of a finer grain. Thus
+    Schubert's greatest&mdash;his one completed&mdash;symphony was never acclaimed
+    until ten years after his death. Even his songs somehow brought more
+    glory to the singer than to the composer. Bach's oratorios lay buried
+    for a full century. On the other hand, names great in their day are
+    utterly lost from the horizon. It is hard to conceive the <i>éclat</i> of a
+    Buononcini or a Monteverde,&mdash;whose works were once preëminent. There are
+    elements in art, of special, sensational effect, that make a peculiar
+    appeal in their time, and are incompatible with true and permanent
+    greatness. One is tempted to say, the more sudden and vehement the
+    success, the less it will endure. But it would not be true. Such an
+    axiom would condemn an opera like "Don Giovanni," an oratorio like the
+    "Creation," a symphony like Beethoven's Seventh. There is a wonderful
+    difference, an immeasurable gulf between the good and the bad in art;
+    yet the apparent line is of the subtlest. Most street songs may be poor;
+    but some are undoubtedly beautiful in a very high sense. It is a problem
+    of mystic fascination, this question of the value of contemporary art.
+    It makes its appeal to the subjective view of each listener. No rule
+    applies. Every one will perceive in proportion to his capacity, no one
+    beyond it. So, a profound work may easily fail of response, as many
+    works in the various arts have done in the past, because the average
+    calibre of the audience is too shallow, while it may deeply stir an
+    intelligent few. Not the least strange part of it all is the fact that
+    there can, of necessity, be no decision in the lifetime of the poet.
+    Whether it is possible for obscure Miltons never to find their meed of
+    acclaim, is a question that we should all prefer to answer in the
+    negative. There is a certain shudder in thinking of such a chance; it
+    seems a little akin to the danger of being buried alive.
+</p>
+<p>
+    The question of Bruckner's place can hardly be said to be settled,
+    although he has left nine symphonies. He certainly shows a freedom, ease
+    and mastery in the symphonic manner, a limpid flow of melody and a sure
+    control in the interweaving of his themes, so that, in the final
+    verdict, the stress may come mainly on the value of the subjects, in
+    themselves. He is fond of dual themes, where the point lies in neither
+    of two motives, but in the interplay of both; we see it somewhat
+    extended in Richard Strauss, who uses it, however, in a very different
+    spirit. The one evident and perhaps fatal lack is of intrinsic beauty of
+    the melodic ideas, and further, an absence of the strain of pathos that
+    sings from the heart of a true symphony. While we are mainly impressed
+    by the workmanship, there is no denying a special charm of constant
+    tuneful flow. At times this complexity is almost marvellous in the clear
+    simplicity of the concerted whole,&mdash;in one view, the main trait or trick
+    of symphonic writing. It is easy to pick out the leading themes as they
+    appear in official order. But it is not so clear which of them
+    constitute the true text. The multiplicity of tunes and motives is
+    amazing.
+</p>
+<p>
+    Of the Wagner influence with which Bruckner is said to be charged,
+    little is perceptible in his <a name="sym2">second symphony</a>. On the contrary, a strong
+    academic tradition pervades. The themes are peculiarly symphonic.
+    Moreover they show so strikingly the dual quality that one might say, as
+    a man may see double, Bruckner sang double. Processes of augmenting and
+    inverting abound, together with the themal song in the bass. Yet there
+    is not the sense of overloaded learning. There is everywhere a clear and
+    melodious polyphony.
+</p>
+<p>
+    But with all masterly architecture, even enchanting changes of harmony
+    and a prodigal play of melody, the vacuity of poetic ideas must preclude
+    a permanent appeal. Bruckner is here the schoolmaster: his symphony is a
+    splendid skeleton, an object lesson for the future poet.
+</p>
+<p>
+    In the <a name="Bsym4">FOURTH (ROMANTIC) SYMPHONY</a> the main light plays throughout on the
+    wind. The text is a call of horns, that begins the work. It is a
+    symphony
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music150.jpg" alt="music150" width="400" height="178"></p>
+<p style="text-indent: 0em">
+    of wood-notes, where the forest-horn is sovereign,&mdash;awakening a widening
+    world of echoes, with a murmuring maze of lesser notes. One has again
+    the feeling that in the quiet interweaving of a tapestry of strains lies
+    the individual quality of the composer,&mdash;that the <i>forte</i> blasts, the
+    stride of big unison figures are but the interlude.
+</p>
+<p>
+    In the Andante the charm is less of tune than of the delicate changing
+    shades of the harmony and of the colors of tone. We are ever surprised
+    in the gentlest way by a turn of chord or by the mere entrance of a horn
+    among the whispering strings. The shock of a soft modulation may be as
+    sudden as of the loud, sudden blare. But we cannot somehow be consoled
+    for the want of a heart-felt melody.
+</p>
+<p>
+    The Scherzo is a kind of hunting-piece, full of the sparkle, the color
+    and romance of bugles and horns,&mdash;a spirited fanfare broken by hushed
+    phrases of strings or wood, or an elf-like mystic dance on the softened
+    call of trumpets. The Trio sings apart, between the gay revels, in soft
+    voices and slower pace, like a simple ballad.
+</p>
+<p>
+    The Finale is conceived in mystical retrospect, beginning in vein of
+    prologue: over mysterious murmuring strings, long sustained notes of the
+    reed and horn in octave descent are mingled with a soft carillon of
+    horns and trumpets in the call of the Scherzo. In broad swing a free
+    fantasy rises to a loud refrain (in the brass) of the first motive of
+    the symphony.
+</p>
+<p>
+    In slower pace and hush of sound sings a madrigal of tender phrases. A
+    pair of melodies recall like figures of the first Allegro. Indeed, a
+    chain of dulcet strains seems to rise from the past.
+</p>
+<p>
+    The fine themal relevance may be pursued in infinite degree, to no end
+    but sheer bewilderment. The truth is that a modern vanity for subtle
+    connection, a purest pedantry, is here evident, and has become a baneful
+    tradition in the modern symphony. It is an utter confusion of the letter
+    with the spirit. Once for all, a themal coherence of symphony must lie
+    in the main lines, not in a maze of unsignificant figures.
+</p>
+<p>
+    Marked is a sharp alternation of mood, tempestuous and tender, of
+    Florestan and Eusebius. The lyric phase yields to the former heroic
+    fantasy and then returns in soothing solace into a prevailing motive
+    that harks back to the second of the beginning movement. The fantasy,
+    vague of melody, comes
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music151.jpg" alt="music151" width="400" height="207"></p>
+<p style="text-indent: 0em">
+    (in more than one sense) as relief from the small tracery. It is just to
+    remember a like oscillation in the first Allegro.
+</p>
+<p>
+    When the prologue recurs, the phrases are in ascent, instead of descent
+    of octaves. A climactic verse of the main dulcet melody breaks out in
+    resonant choir of brass and is followed by a soft rhapsody on the
+    several strains that hark back to the beginning. From the halting pace
+    the lyric episode rises in flight of continuous song to enchanting lilt.
+    Now in the big heroic fantasy sing the first slow phrases as to the
+    manner born and as naturally break into a paean of the full motive,
+    mingled with strains of the original legend of the symphony, that flows
+    on to broad hymnal cadence.
+</p>
+<p>
+    In mystic musing we reach a solemn stillness where the prologue phrase
+    is slowly drawn out into a profoundly moving hymn. Here we must feel is
+    Meister Bruckner's true poetic abode rather than in the passion and
+    ecstasy of romance into which he was vainly lured.<a href="#note50">[50]</a>
+</p>
+
+<p>
+    &nbsp;</p>
+<a name="2HCH0015"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XV
+</h2>
+<h3>
+    THE LATER BRUCKNER
+</h3>
+<p>
+    In Bruckner's later works appears the unique instance of a discipline
+    grounded in the best traditions, united to a deft use of ephemeral
+    devices. The basic cause of modern mannerism, mainly in harmonic
+    effects, lies in a want of formal mastery; an impatience of thorough
+    technic; a craving for quick sensation. With Bruckner it was the
+    opposite weakness of original ideas, an organic lack of poetic
+    individuality. It is this the one charge that cannot be brought home to
+    the earlier German group of reaction against the classic idea.
+</p>
+<p>
+    There is melody, almost abundant, in Wagner and Liszt and their German
+    contemporaries. Indeed it was an age of lyricists. The fault was that
+    they failed to recognize their lyric limitation, lengthening and padding
+    their motives abnormally to fit a form that was too large. Hence the
+    symphony of Liszt, with barren stretches, and the impossible plan of the
+    later music-drama. The truest form of such a period was the song, as it
+    blossomed in the works of a Franz.
+</p>
+<p>
+    Nor has this grandiose tendency even yet spent its course. A saving
+    element was the fashioning of a new form, by Liszt himself,&mdash;the
+    Symphonic Poem,&mdash;far inferior to the symphony, but more adequate to the
+    special poetic intent.
+</p>
+<p>
+    Whatever be the truth of personal gossip, there is no doubt that
+    Bruckner lent himself and his art to a championing of the reactionary
+    cause in the form that was intrinsically at odds with its spirit. Hence
+    in later works of Bruckner these strange episodes of borrowed romance,
+    abruptly stopped by a firm counterpoint of excellent quality,&mdash;indeed
+    far the best of his writing. For, if a man have little ideas, at least
+    his good workmanship will count for something.
+</p>
+<p>
+    In truth, one of the strangest types is presented in Bruckner,&mdash;a pedant
+    who by persistent ingenuity simulates a master-work almost to
+    perfection. By so much as genius is not an infinite capacity for pains,
+    by so much is Bruckner's Ninth not a true symphony. Sometimes, under the
+    glamor of his art, we are half persuaded that mere persistence may
+    transmute pedantry into poetry.
+</p>
+<p>
+    It seems almost as if the Wagnerians chose their champion in the
+    symphony with a kind of suppressed contempt for learning, associating
+    mere intellectuality with true mastery, pointing to an example of
+    greatest skill and least inspiration as if to say: "Here is your
+    symphonist if you must have one." And it is difficult to avoid a
+    suspicion that his very partisans were laughing up their sleeve at their
+    adopted champion.
+</p>
+<p>
+    We might say all these things, and perhaps we have gone too far in
+    suggesting them. After all we have no business with aught but the music
+    of Bruckner, whatever may have been his musical politics, his vanity,
+    his ill judgment, or even his deliberate partisanship against his
+    betters. But the ideas themselves are unsubstantial; on shadowy
+    foundation they give an illusion by modern touches of harmony and rhythm
+    that are not novel in themselves. The melodic idea is usually divided in
+    two, as by a clever juggler. There is really no one thought, but a
+    plenty of small ones to hide the greater absence.
+</p>
+<p>
+    We have merely to compare this artificial manner with the poetic reaches
+    of Brahms to understand the insolence of extreme Wagnerians and the
+    indignation of a Hanslick. As against the pedantry of Bruckner the style
+    of Strauss is almost welcome in its frank pursuit of effects which are
+    at least grateful in themselves. Strauss makes hardly a pretence at
+    having melodic ideas. They serve but as pawns or puppets for his
+    harmonic and orchestral <i>mise-en-scène</i>. He is like a play-wright
+    constructing his plot around a scenic design.
+</p>
+<p>
+    Just a little common sense is needed,&mdash;an unpremeditated attitude. Thus
+    the familiar grouping, "<i>Bach</i>, <i>Beethoven</i> and <i>Brahms</i>" is at least
+    not unnatural. Think of the absurdity of "<i>Bach</i>, <i>Beethoven</i> and
+    <i>Bruckner</i>&quot;!<a href="#note51">[51]</a>
+</p>
+
+<p>
+    The truth is, the Bruckner cult is a striking symptom of a certain
+    decadence in German music; an incapacity to tell the sincere quality of
+    feeling in the dense, brilliant growth of technical virtuosity. In the
+    worship at the Bayreuth shrine, somehow reinforced by a modern national
+    self-importance, has been lost a heed for all but a certain vein of
+    exotic romanticism, long ago run to riotous seed, a blending of hedonism
+    and fatalism. No other poetic message gets a hearing and the former may
+    be rung in endless repetition and reminiscence, provided, to be sure, it
+    be framed with brilliant cunning of workmanship.
+</p>
+<p>
+    Here we feel driven defiantly to enounce the truth: that the highest
+    art, even in a narrow sense, comes only with a true poetic message. Of
+    this Bruckner is a proof; for, if any man by pure knowledge could make a
+    symphony, it was he. But, with almost superhuman skill, there is
+    something wanting in the inner connection, where the main ideas are
+    weak, forced or borrowed. It is only the true poetic rapture that
+    ensures the continuous absorption that drives in perfect sequence to
+    irresistible conclusion.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="sym9">
+    <i>SYMPHONY NO. 9</i> </a>
+</center>
+<p>
+    <i>I.&mdash;Solenne.</i> Solemn mystery is the mood, amid trembling strings on
+    hollow unison, before the eight
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music152.jpg" alt="music152" width="400" height="108"></p>
+<p style="text-indent: 0em">
+    horns strike a phrase in the minor chord that in higher echoes breaks
+    into a strange harmony and descends into a turn of melodic cadence. In
+    answer is another chain of brief phrases, each beginning
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music153.jpg" alt="music153" width="400" height="210"></p>
+<p style="text-indent: 0em">
+    with a note above the chord (the common mark and manner of the later
+    school of harmonists<a href="#note52">[52]</a>) and a new ascent on a literal ladder of
+    subtlest progress, while hollow intervals are intermingled in the pinch
+    of close harmonies. The bewildering maze here begins of multitudinous
+    design, enriched with modern devices.
+</p>
+
+<p>
+    A clash of all the instruments acclaims the climax before the unison
+    stroke of fullest chorus on the solemn note of the beginning. A favorite
+    device of Bruckner, a measured tread of <i>pizzicato</i> strings with
+    interspersed themal motives, precedes the romantic episode. Throughout
+    the movement is this alternation of liturgic chorale with tender melody.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music154.jpg" alt="music154" width="400" height="398"></p>
+<p>
+    Bruckner's pristine polyphonic manner ever appears in the double strain
+    of melodies, where each complements, though not completes the other.
+    However multiple the plan, we cannot feel more than the quality of
+    <i>unusual</i> in the motives themselves, of some interval of ascent or
+    descent. Yet as the melody grows to larger utterance, the fulness of
+    polyphonic art brings a beauty of tender sentiment, rising to a moving
+    climax, where the horns lead the song in the heart of the madrigal
+    chorus, and the strings alone sing the expressive answer.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music155.jpg" alt="music155" width="400" height="207"></p>
+<p>
+    A third phrase now appears, where lies the main poetry of the movement.
+    Gentle swaying calls of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music156.jpg" alt="music156" width="400" height="412"></p>
+<p style="text-indent: 0em">
+    soft horns and wood, echoed and answered in close pursuit, lead to a
+    mood of placid, elemental rhythm, with something of "Rheingold," of
+    "Ossian" ballad, of the lapping waves of Cherubini's "Anacreon." In the
+    midst the horns blow a line of sonorous melody, where the cadence has a
+    breath of primal legend. On the song runs, ever mid the elemental
+    motion, to a resonant height and dies away as before. The intimate,
+    romantic melody now returns, but it is rocked on the continuing pelagic
+    pulse; indeed, we hear anon a faint phrase of the legend, in distant
+    trumpet, till we reach a joint rhapsody of both moods; and in the never
+    resting motion, mid vanishing echoes, we dream of some romance of the
+    sea.
+</p>
+<p>
+    Against descending harmonies return the hollow, sombre phrases of the
+    beginning, with the full cadence of chorale in the brass; and beyond,
+    the whole prelude has a full, extended verse. In the alternation of
+    solemn and sweet episode returns the tender melody, with pretty
+    inversions, rising again to an ardent height. The renewed clash of
+    acclaiming chorus ushers again the awful phrase of unison (now in octave
+    descent), in towering majesty. But now it rises in the ever increasing
+    vehemence where the final blast is lit up with a flash of serene
+    sonority.
+</p>
+<p>
+    This motive, of simple octave call, indeed pervades the earlier symphony
+    in big and little. And now, above a steady, sombre melodic tread of
+    strings it rises in a fray of eager retorts, transfigured in wonderful
+    harmony again and again to a brilliant height, pausing on a ringing
+    refrain, in sombre hue of overpowering blast.
+</p>
+<p>
+    A soft interlude of halting and diminishing strings leads to the
+    romantic melody as it first appeared, where the multiple song again
+    deepens and ennobles the theme. It passes straight into the waving,
+    elemental motion, where again the hallowed horn utters its sibyl phrase,
+    again rising to resonant height. And again merges the intimate song with
+    the continuing pulse of the sea, while the trumpet softly sounds the
+    legend and a still greater height of rhapsody.
+</p>
+<p>
+    Dull brooding chords bring a sombre play of the awing phrase, over a
+    faint rocking motion, clashing in bold harmony, while the horns surge in
+    broader melody. The climactic clash ends in a last verse of the opening
+    phrase, as of primal, religious chant.
+</p>
+<p>
+    <i>II.&mdash;Scherzo.</i> In the dazzling pace of bright clashing harmonies, the
+    perfect answers of falling and rising phrases, we are again before the
+    semblance, at
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music157.jpg" alt="music157" width="400" height="126"></p>
+<p style="text-indent: 0em">
+    least, of a great poetic idea. To be sure there is a touch of stereotype
+    in the chords and even in the pinch and clash of hostile motives. And
+    there is not the distinctive melody,&mdash;final stamp and test of the shaft
+    of inspiration. Yet in the enchantment of motion, sound and form, it
+    seems mean-spirited to cavil at a want of something greater. One stands
+    bewildered before such art and stunned of all judgment.
+</p>
+<p>
+    A delight of delicate gambols follows the first brilliant dance of main
+    motive. Amid a rougher trip of unison sounds the sonorous brass, and to
+    softest jarring murmur of strings a pretty jingle of reed,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music158.jpg" alt="music158" width="400" height="128"></p>
+<p style="text-indent: 0em">
+    with later a slower counter-song, almost a madrigal of pastoral answers,
+    till we are back in the ruder original dance. The gay cycle leads to a
+    height of rough volume (where the mystic brass sound in the midst) and a
+    revel of echoing chase.
+</p>
+<p>
+    In sudden hush of changed tone on fastest fairy trip, strings and wood
+    play to magic harmonies. In calming motion the violins sing a quieter
+    song, ever
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music159.jpg" alt="music159" width="400" height="135"></p>
+<p style="text-indent: 0em">
+    echoed by the reed. Though there is no gripping force of themal idea,
+    the melodies are all of grateful charm, and in the perfect round of
+    rhythmic design we may well be content. The original dance recurs with a
+    full fine orgy of hostile euphony.
+</p>
+<p>
+    <i>III.&mdash;Adagio.</i> <i>Feierlich,&mdash;awesome</i> indeed are these first sounds, and
+    we are struck by the originality
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music160.jpg" alt="music160" width="400" height="200"></p>
+<p style="text-indent: 0em">
+    of Bruckner's technic. After all we must give the benefit at least of
+    the doubt. And there is after this deeply impressive <i>introit</i> a
+    gorgeous Promethean
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music161.jpg" alt="music161" width="400" height="257"></p>
+<p style="text-indent: 0em">
+    spring of up-leaping harmonies. The whole has certainly more of concrete
+    beauty than many of the labored attempts of the present day.
+</p>
+<p>
+    The prelude dies down with an exquisite touch of precious
+    dissonance,&mdash;whether it came from the heart or from the workshop. The
+    strange and tragic part is that with so much art and talent there should
+    not be the strong individual idea,&mdash;the flash of new tonal figure that
+    stands fearless upon its own feet. All this pretty machinery seems
+    wasted upon the framing and presenting, at the moment of expectation, of
+    the shadows of another poet's ideas or of mere platitudes.
+</p>
+<p>
+    In the midst of the broad sweeping theme with a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music162.jpg" alt="music162" width="400" height="194"></p>
+<p style="text-indent: 0em">
+    promise of deep utterance is a phrase of horns with the precise accent
+    and agony of a <i>Tristan</i>. The very semblance of whole motives seems to
+    be taken from the warp and woof of Wagnerian drama. And thus the whole
+    symphony is degraded, in its gorgeous capacity, to the reëchoed rhapsody
+    of exotic romanticism. It is all little touches, no big thoughts,&mdash;a
+    mosaic of a symphony.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music163.jpg" alt="music163" width="353" height="163"></p>
+<p>
+    And so the second theme<a href="#note53">[53]</a> is almost too heavily laden with fine detail
+    for its own strength, though
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music164.jpg" alt="music164" width="400" height="226"></p>
+<p style="text-indent: 0em">
+    it ends with a gracefully delicate answer. The main melody soon recurs
+    and sings with a stress of warm feeling in the cellos, echoed by glowing
+    strains of the horns. Romantic harmonies bring back the solemn air of
+    the prelude with a new counter melody, in precise opposite figure, as
+    though inverted in a mirror, and again the dim moving chords that seem
+    less of Bruckner than of legendary drama. In big accoutrement the double
+    theme moves with double answers, ever with the sharp pinch of harmonies
+    and heroic mien. Gentlest retorts of the motives sing with fairy
+    clearness (in horns and reeds), rising to tender, expressive dialogue.
+    With growing spirit they ascend once more to the triumphant clash of
+    empyraean chords, that may suffice for justifying beauty.
+</p>
+
+<p>
+    Instead of the first, the second melody follows with its delicate grace.
+    After a pause recurs the phrase that harks from mediaeval romance, now
+    in a stirring ascent of close chasing voices. The answer, perfect in its
+    timid halting descent, exquisite in accent and in the changing hues of
+    its periods, is robbed of true effect by its direct reflection of
+    Wagnerian ecstasies.
+</p>
+<p>
+    As if in recoil, a firm hymnal phrase sounds in the strings, ending in a
+    more intimate cadence. Another chain of rarest fairy clashes, on the
+    motive of the prelude, leads to the central verse, the song of the first
+    main melody in the midst of soft treading strings, and again descends
+    the fitting answer of poignant accent.
+</p>
+<p>
+    And now, for once forgetting all origin and clinging sense of
+    reminiscence, we may revel in the rich romance, the fathoms of mystic
+    harmony, as the main song sings and rings from the depths of dim legend
+    in lowest brass, amidst a soft humming chorus, in constant shift of
+    fairy tone.
+</p>
+<p>
+    A flight of ascending chords brings the big exaltation of the first
+    prophetic phrase, ever answered by exultant ring of trumpet, ending in
+    sudden awing pause. An eerie train of echoes from the verse of prelude
+    leads to a loveliest last song of the poignant answer of main song, over
+    murmuring strings. It
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music165.jpg" alt="music165" width="400" height="197"></p>
+<p style="text-indent: 0em">
+    is carried on by the mystic choir of sombre brass in shifting steps of
+    enchanting harmony and dies away in tenderest lingering accents.<a href="#note54">[54]</a>
+</p>
+
+<a name="2HCH0016"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XVI
+</h2>
+<h3>
+    HUGO WOLFF<a href="#note55">[55]</a>
+</h3>
+<center>
+    <a name="penthesilea" href="#note56">
+    <i>&quot;PENTHESILEA.&quot; SYMPHONIC POEM</i>[56] </a>
+</center>
+
+<p>
+    An entirely opposite type of composer, Hugo Wolff, shows the real
+    strength of modern German music in a lyric vein, sincere, direct and
+    fervent. His longest work for instruments has throughout the charm of
+    natural rhythm and melody, with subtle shading of the harmony. Though
+    there is no want of contrapuntal design, the workmanship never obtrudes.
+    It is a model of the right use of symbolic motives in frequent
+    recurrence and subtle variation.
+</p>
+<p>
+    In another instrumental piece, the "Italian Serenade," all kinds of
+    daring suspenses and gentle clashes and surprises of harmonic scene give
+    a fragrance of dissonant euphony, where a clear melody ever rules.
+    "Penthesilea," with a climactic passion and a sheer contrast of tempest
+    and tenderness, uttered with all the mastery of modern devices, has a
+    pervading thrall of pure musical beauty. We are tempted to hail in Wolff
+    a true poet in an age of pedants and false prophets.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    PENTHESILEA.&mdash;A TRAGEDY BY HEINRICH VON KLEIST.<a href="#note57">[57]</a>
+</center>
+
+<p>
+    As Wolff's work is admittedly modelled on Kleist's tragedy, little known
+    to the English world, it is important to view the main lines of this
+    poem, which has provoked so divergent a criticism in Germany.
+</p>
+<p>
+    On the whole, the tragedy seems to be one of those daring, even profane
+    assaults on elemental questions by ways that are untrodden if not
+    forbidden. It is a wonderful type of Romanticist poetry in the bold
+    choice of subject and in the intense vigor and beauty of the verse.
+    Coming with a shock upon the classic days of German poetry, it met with
+    a stern rebuke from the great Goethe. But a century later we must surely
+    halt in following the lead of so severe a censor. The beauty of diction
+    alone seems a surety of a sound content,&mdash;as when Penthesilea exclaims:
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    "A hero man can be&mdash;a Titan&mdash;in distress,<br>
+    But like a god is he when rapt in blessedness."
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p>
+    An almost convincing symbolism has been suggested of the latent meaning
+    of the poem by a modern critic,<a href="#note58">[58]</a>&mdash;a symbolism that seems wonderfully
+    reflected in Wolff's music. The charge of perverted passion can be based
+    only on certain lines, and these are spoken within the period of madness
+    that has overcome the heroine. This brings us to the final point which
+    may suggest the main basic fault in the poem, considered as art. At
+    least it is certainly a question whether pure madness can ever be a
+    fitting subject in the hero of a tragedy. Ophelia is an episode;
+    Hamlet's madness has never been finally determined. Though the Erinnys
+    hunted Orestes in more than one play, yet no single Fury could, after
+    all, be the heroine of tragedy. Penthesilea became in the crisis a pure
+    Fury, and though she may find here her own defense, the play may not
+    benefit by the same plea. On the other hand, the madness is less a
+    reality than an impression of the Amazons who cannot understand the
+    heroine's conflicting feelings. There is no one moment in the play when
+    the hearer's sympathy for the heroine is destroyed by a clear sense of
+    her insanity.
+</p>
+
+<p>
+    For another word on the point of symbolism, it must be remembered that
+    the whole plot is one of supernatural legend where somehow human acts
+    and motives need not conform to conventional rule, and where symbolic
+    meaning, as common reality disappears, is mainly eminent. It is in this
+    same spirit that the leading virtues of the race, of war or of peace,
+    are typified by feminine figures.
+</p>
+<p>
+    The Tragedy is not divided into acts; it has merely four and twenty
+    scenes&mdash;upon the battle-field of Troy. The characters are Penthesilea,
+    Queen of the Amazons; her chief leaders, Prothoe, Meroe and Asteria, and
+    the high priestess of Diana. Of the Greeks there are Achilles, Odysseus,
+    Diomede and Antilochus. Much of the fighting and other action is not
+    seen, but is reported either by messengers or by present witnesses of a
+    distant scene.
+</p>
+<p>
+    The play begins with the battle raging between Greeks and Amazons.
+    Penthesilea with her hosts amazes the Greeks by attacking equally the
+    Trojans, her reputed allies. She mows down the ranks of the Trojans, and
+    yet refuses all proffers of the Greeks.
+</p>
+<p>
+    Thus early we have the direct, uncompromising spirit,&mdash;a kind of
+    feminine Prometheus. The first picture of the heroine is of a Minerva in
+    full array, stony of gaze and of expression until&mdash;she sees Achilles.
+    Here early comes the conflict of two elemental passions. Penthesilea
+    recoils from the spell and dashes again into her ambiguous warfare. For
+    once Greeks and Trojans are forced to fight in common defence.
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    "The raging Queen with blows of thunder struck<br>
+    As she would cleave the whole race of the Greeks<br>
+    Down to its roots....
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;More of the captives did she take<br>
+    Than she did leave us eyes to count the list,<br>
+    Or arms to set them free again.
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;Often it seemed as if a special hate<br>
+    Against Achilles did possess her breast.
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    &quot;Yet in a later moment, when<br>
+    His life was given straight into her hands,<br>
+    Smiling she gave it back, as though a present;<br>
+    His headlong course to Hades she did stay."
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p>
+    In midst of the dual battle between Achilles and the Queen, a Trojan
+    prince comes storming and strikes a treacherous blow against the armor
+    of the Greek.
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    "The Queen is stricken pale; for a brief moment<br>
+    Her arms hang helpless by her sides; and then,<br>
+    Shaking her locks about her flaming cheeks,<br>
+    Dashes her sword like lightning in his throat,<br>
+    And sends him rolling to Achilles' feet."
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p>
+    The Greek leaders resolve to retreat from the futile fight and to call
+    Achilles from the mingled chase of love and war.
+</p>
+<p>
+    Achilles is now reported taken by the Amazons. The battle is vividly
+    depicted: Achilles caught on a high ledge with his war-chariot; the
+    Amazon Queen storming the height from below. The full scene is witnessed
+    from the stage,&mdash;Penthesilea pursuing almost alone; Achilles suddenly
+    dodges; the Queen as quickly halts and rears her horse; the Amazons fall
+    in a mingled heap; Achilles escapes, though wounded. But he refuses to
+    follow his companions to the camp; he swears to bring home the Queen
+    wooed in the bloody strife of her own seeking.
+</p>
+<p>
+    Penthesilea recoils with like vehemence from the entreaties of her
+    maids, intent upon the further battle, resolved to overcome the hero or
+    to die. She forbids the Festival of Roses until she has vanquished
+    Achilles. In her rage she banishes her favorite Prothoe from her
+    presence, but in a quick revulsion takes her back.
+</p>
+<p>
+    In the next scene the high priestess and the little Amazon maids prepare
+    the Feast, which Penthesilea had ordered in her confident attack upon
+    the fleeing Greeks. One of the Rose-maidens recounts the passing scene
+    of the Queen's amazing action. The indignant priestess sends her command
+    to the Queen to return to the celebration. Though all the royal suite
+    fling themselves in her path, Penthesilea advances to the dual
+    battle.<a href="#note59">[59]</a>
+</p>
+
+<p>
+    In a renewal of her personal contest, regardless of the common cause,
+    and in her special quest of a chosen husband, Penthesilea has broken the
+    sacred law.
+</p>
+<p>
+    The flight now follows of the Amazon hosts. When the two combatants meet
+    in the shock of lances, the Queen falls in the dust; her pallor is
+    reflected in Achilles' face. Leaping from his horse, he bends o'er her,
+    calls her by names, and woos life back into her frame. Her faithful
+    maids, whom she has forbidden to harm Achilles, lead her away. And here
+    begins the seeming madness of the Queen when she confesses her love. For
+    a moment she yields to her people's demands, but the sight of the
+    rose-wreaths kindles her rage anew. Prothoe defends her in these lines:
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    "Of life the highest blessing she attempted.<br>
+    Grazing she almost grasped. Her hands now fail her<br>
+    For any other lesser goal to reach."
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p>
+    In the last part of the scene the Queen falls more and deeper into
+    madness. It is only in a too literal spirit that one will find an
+    oblique meaning,&mdash;by too great readiness to discover it. In reality
+    there seems to be an intense conflict of opposite emotions in the
+    heroine: the pure woman's love, without sense of self; and the wild
+    overpowering greed of achievement. Between these grinding stones she
+    wears her heart away. A false interpretation of decadent theme comes
+    from regarding the two emotions as mingled, instead of alternating in a
+    struggle.
+</p>
+<p>
+    Achilles advances, having flung away his armor. Prothoe persuades him to
+    leave the Queen, when she awakes, in the delusion that she has conquered
+    and that he is the captive. Thus when she beholds the hero, she breaks
+    forth into the supreme moment of exaltation and of frenzied triumph. The
+    main love scene follows:
+</p>
+<p>
+    Penthesilea tells Achilles the whole story of the Amazons, the conquest
+    of the original tribe, the rising of the wives of the murdered warriors
+    against the conquerors; the destruction of the right breast (<i>A-mazon</i>);
+    the dedication of the "brides of Mars" to war and love in one. In
+    seeking out Achilles the Queen has broken the law. But here again
+    appears the double symbolic idea: Achilles meant to the heroine not love
+    alone, but the overwhelming conquest, the great achievement of her life.
+</p>
+<p>
+    The first feeling of Penthesilea, when disillusioned, is of revulsive
+    anger at a kind of betrayal. The Amazons recover ground in a wild desire
+    to save their Queen, and they do rescue her, after a parting scene of
+    the lovers. But Penthesilea curses the triumph that snatches her away;
+    the high priestess rebukes her, sets her free of her royal duties, to
+    follow her love if she will. The Queen is driven from one mood to
+    another, of devoted love, burning ambition and mortal despair.
+</p>
+<p>
+    Achilles now sends a challenge to Penthesilea, knowing the Amazon
+    conditions. Against all entreaty the Queen accepts, not in her former
+    spirit, but in the frenzy of desperate endeavor, in the reawakened rage
+    of her ambition, spurred and pricked by the words of the priestess.
+</p>
+<p>
+    The full scene of madness follows. She calls for her dogs and elephants,
+    and the full accoutrement of battle. Amidst the terror of her own
+    warriors, the rolling of thunder, she implores the gods' help to crush
+    the Greek. In a final touch of frenzy she aims a dart at her faithful
+    Prothoe.
+</p>
+<p>
+    The battle begins, Achilles in fullest confidence in Penthesilea's love,
+    unfrightened by the wild army of dogs and elephants. The scene, told by
+    the present on-lookers, is heightened by the cries of horror and dismay
+    of the Amazons themselves.
+</p>
+<p>
+    Achilles falls; Penthesilea, a living Fury, dashes upon him with her
+    dogs in an insane orgy of blood. The Queen in the culminating scene is
+    greeted by the curses of the high priestess. Prothoe masters her horror
+    and turns back to soothe the Queen. Penthesilea, unmindful of what has
+    passed, moves once more through the whole gamut of her torturing
+    emotions, and is almost calmed when she spies the bier with the hero's
+    body. The last blow falls when upon her questions she learns the full
+    truth of her deed. The words she utters (that have been cited by the
+    hostile critics) may well be taken as the ravings of hopeless remorse,
+    with a symbolic play of words. She dies, as she proclaims, by the knife
+    of her own anguish.
+</p>
+<p>
+    The last lines of Prothoe are a kind of epilogue:
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    "She sank because too proud and strong she flourished.<br>
+    The half-decayèd oak withstands the tempest;<br>
+    The vigorous tree is headlong dashed to earth<br>
+    Because the storm has struck into its crown.&quot;<a href="#note60">[60]</a>
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+<p>
+    The opening scene&mdash;"Lively, vehement: Departure of the Amazons for
+    Troy"&mdash;begins impetuous and hefty with big strokes of the throbbing
+    motive,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music166.jpg" alt="music166" width="400" height="232"></p>
+<p style="text-indent: 0em">
+    the majestic rhythm coursing below, lashed by a quicker phrase above.
+    Suddenly trumpets sound, somewhat more slowly, a clarion call answered
+    by a choir of other trumpets and horns in enchanting retort of changing
+    harmonies. Ever a fresh color of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music167.jpg" alt="music167" width="309" height="229"></p>
+<p style="text-indent: 0em">
+    tone sounds in the call of the brass, as if here or yonder on the
+    battle-field. Sometimes it is almost too sweetly chanting for fierce
+    war. But presently it turns to a wilder mood and breaks in galloping
+    pace into a true chorus of song with clear cadence.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music168.jpg" alt="music168" width="400" height="240"></p>
+<p>
+    The joyful tinge is quickly lost in the sombre hue of another phase of
+    war-song that has a touch of funeral trip (though it is all in 3/4
+    time):
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music169.jpg" alt="music169" width="400" height="223"></p>
+<p>
+    A melody in the minor plays first in a choir of horns and bassoons,
+    later in united strings, accompanied by soft rolls of drums and a touch
+    of the lowest brass. Harp and higher woodwind are added, but the volume
+    is never transcendent save in a single burst when it is quickly hushed
+    to the first ominous whisper. Out of this sombre song flows a romance of
+    tender sentiment, <i>tranquillo</i> in strings, followed by the wood. The
+    crossing threads of expressive melody
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music170.jpg" alt="music170" width="400" height="216"></p>
+<p style="text-indent: 0em">
+    rise in instant renewal of stress and agitation. The joy of battle has
+    returned, but it seems that the passion of love burns in midst of the
+    glow of battle, each in its separate struggle, and both together in one
+    fatal strife. The sombre melody returns in full career, dying down to a
+    pause.<a href="#note61">[61]</a>
+</p>
+
+<p>
+    <i>Molto sostenuto</i>, in changed rhythm of three slow beats, comes
+    "Penthesilea's Dream of the Feast of Roses." Over a thick cluster of
+    harmonies in harp and strings the higher wood sing a new song in long
+    drawn lyric notes with ravishing turns of tonal color,&mdash;a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music171.jpg" alt="music171" width="400" height="194"></p>
+<p style="text-indent: 0em">
+    dual song and in many groups of two. The tranquil current of the dream
+    is gradually disturbed; the main burden is dimmed in hue and in mood.
+    Faster, more fitful is the flow of melody, with hostile intruding motive
+    below; it dashes at last into the tragic phase&mdash;Combats; Passions;
+    Madness; Destruction&mdash;in very rapid tempo of 2/2 rhythm.
+</p>
+<p>
+    In broad, masterful pace, big contrary figures sweep up and down,
+    cadencing in almost joyous chant, gliding, indeed, into a pure hymn, as
+    of triumph (that harks back to the chorussing song in the beginning).
+</p>
+<p>
+    Throughout the poem the musical symbols as well as the motives of
+    passion are closely intertwined. Thus the identity of the impetuous
+    phrase of the very beginning is clear with the blissful theme of the
+    Dream of the Feast of Roses. Here, at the end of the chorussing verse is
+    a play or a strife of phrases where we cannot escape a symbolic intent.
+    To <i>tremolo</i> of violas the cellos hold a tenor of descending melody over
+    a rude rumbling phrase of the basses of wood and strings, while the oboe
+    sings in the treble an expressive answer of ascending notes. A conflict
+    is
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music172.jpg" alt="music172" width="400" height="409"></p>
+<p style="text-indent: 0em">
+    evident, of love and ambition, of savage and of gentle passion, of chaos
+    and of beauty. At the height, the lowest brass intrude a brutal note of
+    triumph of the descending theme. To the victory of Pride succeeds a
+    crisis of passionate yearning. But at the very height is a plunge into
+    the fit of madness, the fatal descending phrase (in trombones) is ever
+    followed by furious pelting spurts in the distorted main theme.
+</p>
+<p>
+    At last the paroxysm abates, throbbing ever slower, merging into the
+    tender song of the Dream that now rises to the one great burst of
+    love-passion. But it ends in a wild rage that turns right into the
+    war-song of the beginning. And this is much fuller of incident than
+    before. Violins now ring an hostile motive (the former rumbling phrase
+    of basses) from the midst of the plot against the main theme in
+    trumpets. Instead of the former pageantry, here is the pure frenzy of
+    actual war. The trumpet melodies resound amidst the din of present
+    battle. Instead of the other gentler episodes, here is a more furious
+    raving of the mad Queen (in the hurried main motive), where we seem to
+    see the literal dogs of war let loose and spurred on,&mdash;each paroxysm
+    rising to a higher shock.
+</p>
+<p>
+    Great is the vehemence of speed and sound as the dull doom of
+    destruction drones in the basses against a grim perversion of the
+    yearning theme above, that overwhelms the scene with a final shriek.
+</p>
+<p>
+    Slowly the dream of love breathes again, rises to a fervent burst, then
+    yields to the fateful chant and ends in a whisper of farewell.
+</p>
+<a name="2HCH0017"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XVII
+</h2>
+<h3>
+    MAHLER<a href="#note62">[62]</a>
+</h3>
+
+<p>
+    In Mahler the most significant sign is a return to a true counterpoint,
+    as against a mere overlading of themes, that began in Wagner and still
+    persists in Strauss,&mdash;an artificial kind of structure that is never
+    conceived as a whole.
+</p>
+<p>
+    While we see in Mahler much of the duophonic manner of his teacher,
+    Bruckner, in the work of the younger man the barren art is crowned with
+    the true fire of a sentient poet. So, if Bruckner had little to say, he
+    showed the way to others. And Mahler, if he did not quite emerge from
+    the mantle of Beethoven, is a link towards a still greater future. The
+    form and the technic still seem, as with most modern symphonies, too
+    great for the message. It is another phase of orchestral virtuosity, of
+    intellectual strain, but with more of poetic energy than in the
+    symphonies of the French or other Germans.
+</p>
+<p>
+    In other forms we see this happy reaction towards ancient art, as in the
+    organ music of a Reger. But in the Finale of Mahler's Fifth Symphony
+    there is a true serenity, a new phase of symphony, without the climactic
+    stress of traditional triumph, yet none the less joyous in essence.
+</p>
+<p>
+    We cannot help rejoicing that in a sincere and poetic design of
+    symphony is blended a splendid renaissance of pure counterpoint, that
+    shines clear above the modern spurious pretence. The Finale of Mahler's
+    Fifth Symphony is one of the most inspired conceptions of counterpoint
+    in all music. In it is realized the full dream of a revival of the art
+    in all its glorious estate.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="Msym5">
+    <i>SYMPHONY NO. 5</i> </a>
+</center>
+  <p style="text-indent: 0em">&nbsp;
+  I.&mdash;1. <i>Funeral March.<br>
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </i>
+     2. <i>In stormy motion (with greatest vehemence).</i></p>
+<p style="text-indent: 0em">&nbsp;II.&mdash;3. <i>Scherzo (with vigor,&mdash;not too fast).</i></p>
+<p style="text-indent: 0em">III.&mdash;4. <i>Adagietto (very slowly).<br>
+</i>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+     5. <i>Rondo-Finale (allegro).</i> </p>
+
+<p>
+    Mahler's Fifth Symphony, whatever be its intrinsic merit, that can be
+    decided only by time and wear, undoubtedly marks a high point of
+    orchestral splendor, in the regard of length and of the complexity of
+    resources. By the latter is meant not so much the actual list of
+    instruments as the pervading and accumulating use of thematic
+    machinery.<a href="#note63">[63]</a>
+</p>
+
+<p>
+    The plan of movements is very original and in a way, two-fold. There are
+    three great divisions, of which the first comprises a Funeral March,
+    and an untitled Allegro in vehement motion. The second division has
+    merely the single movement, Scherzo. In the third are an Adagietto and a
+    Rondo Finale.
+</p>
+<p>
+    <i>I.&mdash;1. Funeral March.</i>&mdash;A call of trumpet, of heroic air and tread, is
+    answered by strident chords ending in a sonorous motive of horns that
+    leads to the funeral trip, of low brass. The mournful song of the
+    principal melody appears presently in the strings, then returns to the
+    funeral trip and to the strident chords. The first trumpet motive now
+    sounds with this clanging phrase and soon the original call abounds in
+    other brass. The deep descending notes of the horns recur and the full
+    song of the funeral melody much extended, growing into a duet of cellos
+    and high woodwind,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music173.jpg" alt="music173" width="400" height="295"></p>
+<p style="text-indent: 0em">
+    and further into hymnal song on a new motive.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music174.jpg" alt="music174" width="400" height="196"></p>
+<p style="text-indent: 0em">
+    So the various melodies recur with new mood and manner. Suddenly, in
+    fierce abandon, a martial tramp of the full band resounds, in gloomy
+    minor,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music175.jpg" alt="music175" width="400" height="367"></p>
+<p style="text-indent: 0em">
+    the violins in rapid rage of wailing figure: the trumpet strikes the
+    firm note of heroic plaint.
+</p>
+<p>
+    Wild grief breaks out on all sides, the strings singing in passionate
+    answer to the trumpet, the high wood carrying on the rapid motion. At
+    the height of the storm the woodwind gain control with measured rhythm
+    of choral melody. Or perhaps the real height is the expressive double
+    strain, in gentle pace, of the strings, and the wood descending from on
+    high.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music176.jpg" alt="music176" width="400" height="213"></p>
+<p style="text-indent: 0em">
+    The duet is carried on in wilder mood by most of the voices.
+</p>
+<p>
+    A return to the solemn pace comes by imperceptible change, the softer
+    hues of grief merging with the fiercer cries. Now various strains sound
+    together,&mdash;the main funeral melody in the woodwind.
+</p>
+<p>
+    In the close recurs the full flow of funeral song, with the hymnal
+    harmonies. In the refrain of the stormy duet the sting of passion is
+    gone; the whole plaint dies away amid the fading echoes of the trumpet
+    call.
+</p>
+<p>
+    <i>I.&mdash;2.</i> The second movement, the real first Allegro, is again clearly
+    in two parts. Only, the relative paces are exactly reversed from the
+    first movement. In tempestuous motion, with greatest vehemence, a
+    rushing motive of the basses is stopped by a chord of brass and
+    strings,&mdash;the chord itself reverberating to the lower rhythm.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music177.jpg" alt="music177" width="400" height="364"></p>
+<p>
+    Throughout the whole symphony is the dual theme, each part spurring the
+    other. Here presently are phrases in conflicting motion, countermarching
+    in a stormy maze. It is all, too, like noisy preparation,&mdash;a manoeuvring
+    of forces before the battle. Three distinct figures there are before a
+    blast of horn in slower notes, answered by shrill call in highest wood.
+    There enters a regular, rhythmic gait and a clearer tune, suggested by
+    the call.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music178.jpg" alt="music178" width="400" height="496"></p>
+<p>
+    In the brilliant medley there is ever a new figure we had not perceived.
+    So when the tune has been told, trumpets and horns begin with what seems
+    almost the main air, and the former voices sound like mere heralds.
+    Finally the deep trombones and tuba enter with a sonorous call. Yet the
+    first rapid trip of all has the main legend.
+</p>
+<p>
+    As the quicker figures gradually retire, a change of pace appears, to
+    the tramp of funeral. Yet the initial and incident strains are of the
+    former text. Out of it weaves the new, slower melody:
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music179.jpg" alt="music179" width="400" height="326"></p>
+<p>
+    Throughout, the old shrill call sounds in soft lament. Hardly like a
+    tune, a discourse rather, it winds along, growing and changing naïvely
+    ever to a new phrase. And the soft calls about seem part of the melody.
+    An expressive line rising in the clarinet harks back to one of the later
+    strains of the funeral march.
+</p>
+<p>
+    The second melody or answer (in low octaves of strings) is a scant
+    disguise of the lower tune in the stormy duet of the first movement. Yet
+    all the strains move in the gentle, soothing pace and mood until
+    suddenly awakened to the first vehement rhythm.
+</p>
+<p>
+    Before the slower verse returns is a long plaint of cellos to softest
+    roll of drums. The gentle calls that usher in the melody have a
+    significant turn, upwards instead of down. All the figures of the solemn
+    episode appear more clearly.
+</p>
+<p>
+    On the spur of the hurrying main motive of trumpets the first pace is
+    once more regained.
+</p>
+<p>
+    A surprise of plot is before us. In sudden recurrence of funeral march
+    the hymnal song of the first movement is heard. As suddenly, we are
+    plunged into the first joyful scene of the symphony. Here it is most
+    striking how the call of lament has become triumphant, as it seems
+    without a change of note. And still more wonderful,&mdash;the same melody
+    that first uttered a storm of grief, then a gentle sadness, now has a
+    firm exultant ring. To be sure, it is all done with the magic trip of
+    bass,&mdash;as a hymn may be a perfect dance.
+</p>
+<p>
+    Before the close we hear the first fanfare of trumpet from the opening
+    symphony, that has the ring of a motto of the whole. At the very end is
+    a transfigured entrance,&mdash;very slowly and softly, to a celestial touch
+    of harp, of the first descending figure of the movement.
+</p>
+<p>
+    <i>II.&mdash;3. Scherzo.</i> Jovial in high degree, the Scherzo begins with the
+    thematic complexity of modern fashion. In dance tune of three beats
+    horns lead off with a jolly call; strings strike dancing chords; the
+    lower wind play a rollicking answer, but together with the horns, both
+    strains continuing in dancing duet. Still the saucy call of horns seems
+    the main text, though no single tune reigns alone.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music180.jpg" alt="music180" width="400" height="390"></p>
+<p>
+    The violins now play above the horns; then the cellos join and there is
+    a three-part song of independent tunes, all in the dance. So far in
+    separate voices it is now taken up by full chorus, though still the
+    basses sing one way, trebles another, and the middle horns a third. And
+    now the high trumpet strikes a phrase of its own. But they are all in
+    dancing swing, of the fibre of the first jolly motive.
+</p>
+<p>
+    A new episode is started by a quicker <i>obligato</i> of violins, in
+    neighboring minor, that plays about a fugue of the woodwind on an
+    incisive theme where the cadence has a strange taste of bitter sweet
+    harmony in the modern Gallic manner.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music181.jpg" alt="music181" width="400" height="358"></p>
+<p>
+    Horns and violins now pursue their former duet, but in the changed hue
+    of minor where the old concords are quaintly perverted. But this is only
+    to give a merrier ring to the bright madrigal that follows in sweetly
+    clashing higher wood, with the trip still in the violins. Thence the
+    horns and violins break again into the duet in the original key. Here
+    the theme is wittily inverted in the bass, while other strings sing
+    another version above.
+</p>
+<p>
+    So the jolly dance and the quaint fugue alternate; a recurring phrase is
+    carried to a kind of dispute, with opposite directions above and below
+    and much augmented motion in the strings.
+</p>
+<p>
+    In the dance so far, in "three time," is ever the vigorous stamp on the
+    third beat, typical of the German peasant "<i>Ländler</i>." Here of a sudden
+    is a change as great as possible within the continuing dance of three
+    steps. "More tranquil" in pace, in soft strings, without a trace of the
+    <i>Ländler</i> stamp, is a pure waltz in pretty imitation of tuneful theme.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music182.jpg" alt="music182" width="400" height="171"></p>
+<p style="text-indent: 0em">
+    And so the return to the vigorous rough dance is the more refreshing.
+    The merry mood yields to a darker temper. "Wild" the strings rush in
+    angry fugue on their rapid phrase; the quaint theme is torn to shreds,
+    recalling the fierce tempest of earlier symphony.
+</p>
+<p>
+    But the first sad note of the Scherzo is in the recitative of horn,
+    after the lull. A phrase of quiet reflection, with which the horn
+    concludes the episode as with an "<i>envoi</i>," is now constantly rung; it
+    is wrought from the eerie tempest; like refined metal the melody is
+    finally poured; out of its guise is the theme now of mournful dance.
+</p>
+<p>
+    "Shyly" the tune of the waltz answers in softest oboe. In all kinds of
+    verses it is sung, in expressive duet of lower wood, of the brass, then
+    of high reeds; in solo trumpet with counter-tune of oboe, finally in
+    high flutes. Here we see curiously, as the first themes reappear, a
+    likeness with the original trumpet-call of the symphony. In this guise
+    of the first dance-theme the movements are bound together. The <i>envoi</i>
+    phrase is here evident throughout.
+</p>
+<p>
+    At this mystic stage, to pure dance trip of low strings the waltz
+    reënters very softly in constant growing motion, soon attaining the old
+    pace and a new fulness of sound. A fresh spur is given by a wild motion
+    of strings, as in the fugal episode; a new height of tempest is reached
+    where again the distorted shreds of first dance appear, with phrases of
+    the second. From it like sunshine from the clouds breaks quickly the
+    original merry trip of dance.
+</p>
+<p>
+    The full cycle of main Scherzo returns with all stress of storm and
+    tragedy. But so fierce is the tempest that we wonder how the glad mood
+    can prevail. And the sad <i>envoi</i> returns and will not be shaken off.
+    The sharp clash of fugue is rung again and again, as if the cup must be
+    drained to the drop. Indeed, the serious later strain does prevail, all
+    but the final blare of the saucy call of brass.<a href="#note64">[64]</a>
+</p>
+
+<p>
+    <i>III.&mdash;4. Adagietto.</i><a href="#note65">[65]</a> "Very slowly" first violins carry the
+    expressive song that is repeated by the violas.
+</p>
+
+<p style="text-align: center">
+    <img border="0" src="images/music183.jpg" alt="music183" width="400" height="347"></p>
+<p style="text-indent: 0em">
+    A climax is reached by all the violins in unison. A new glow, with
+    quicker motion, is in the episode, where the violins are sharply
+    answered by the violas, rising to a dramatic height and dying away in a
+    vein of rare lyric utterance.
+</p>
+<p>
+    It is all indeed a pure lyric in tones.
+</p>
+<p>
+    <i>III.&mdash;5. Rondo-Finale.</i> The whole has the dainty, light-treading humor
+    that does not die of its own vehemence. Somewhat as in the Ninth
+    Symphony of Beethoven,&mdash;tyrant of classical traditions, the themes
+    appear right in the beginning as if on muster-roll, each in separate,
+    unattended song. A last chance cadence passes down the line of voices
+    and settles into a comfortable rhythm as prevailing theme, running in
+    melodious extension, and merging after a
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music184.jpg" alt="music184" width="400" height="216"></p>
+<p style="text-indent: 0em">
+    hearty conclusion in the jovially garrulous fugue.
+</p>
+<p>
+    Here the counter-theme proves to be one of the initial tunes and takes a
+    leading rôle until another charming strain appears on high,&mdash;a pure
+    nursery rhyme crowning the learned fugue. Even this is a guise of one
+    of the original motives in the mazing medley, where it seems we could
+    trace the ancestry of each if we could linger and if it really mattered.
+    And yet there is a rare charm in these subtle turns; it is the secret
+    relevance that counts the most.
+</p>
+<p>
+    The fugue reaches a sturdy height with one of the first themes in lusty
+    horns, and suddenly falls into a pleasant jingle, prattling away in the
+    train of important figures, the kind that is pertinent with no outer
+    likeness.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music185.jpg" alt="music185" width="400" height="178"></p>
+<p>
+    Everywhere, to be sure, the little rhythmic cadence appears; the whole
+    sounds almost like the old children's canon on "Three Blind Mice";
+    indeed the themal inversion is here the main tune. Then in the bass the
+    phrase sounds twice as slow as in the horns. There are capers and
+    horseplay; a sudden shift of tone; a false alarm of fugue; suddenly we
+    are back in the first placid verse of the rhythmic motive.
+</p>
+<p>
+    Here is a new augmentation in resonant horns and middle strings, and the
+    melodious extension. A former motive that rings out in high reed, seems
+    to have the function of concluding each episode.
+</p>
+<p>
+    A new stretch of fugue appears with new counter-theme, that begins in
+    long-blown notes of horns. It really is no longer a fugue; it has lapsed
+    into mere smooth-rolling motion underneath a verse of primal tune. And
+    presently another variant of graceful episode brings a delicious
+    lilt,&mdash;<i>tender, but expressive</i>.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music186.jpg" alt="music186" width="400" height="175"></p>
+<p style="text-indent: 0em">
+    With all the subtle design there is no sense of the lamp, in the gentle
+    murmur of quicker figure or melodious flow of upper theme. Moving is the
+    lyric power and sweetness of this multiple song. As to themal
+    relation,&mdash;one feels like regarding it all as inspired madrigal, where
+    the maze and medley is the thing, where the tunes are not meant to be
+    distinguished. It becomes an abandoned orgy of clearest counterpoint.
+    Throughout is a blending of fugue and of children's romp, anon with the
+    tenderness of lullaby and even the glow of love-song. A brief mystic
+    verse, with slow descending strain in the high wood, preludes the
+    returning gambol of running strings, where the maze of fugue or canon
+    is in the higher flowing song, with opposite course of answering tune,
+    and a height of jolly revel, where the bright trumpet pours out the
+    usual concluding phrase. The rhythmic episode, in whimsical change, here
+    sings with surprise of lusty volume. So the merry round goes on to a big
+    resonant <i>Amen</i> of final acclaim, where the little phrase steals out as
+    naturally as in the beginning.
+</p>
+<p>
+    Then in quicker pace it sounds again all about, big and little, and
+    ends, after a touch of modern Gallic scale, in opposing runs, with a
+    last light, saucy fling.
+</p>
+<p>
+    Mahler, we feel again, realizes all the craving that Bruckner breeds for
+    a kernel of feeling in the shell of counterpoint. Though we cannot deny
+    a rude breach of ancient rule and mode, there is in Mahler a genuine,
+    original, individual quality of polyphonic art that marks a new stage
+    since the first in Bach and a second in Beethoven. It is this bold revel
+    in the neglected sanctuary of the art that is most inspiriting for the
+    future. And as in all true poetry, this overleaping audacity of design
+    is a mere expression of simplest gaiety.
+</p>
+<a name="2HCH0018"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XVIII
+</h2>
+<h3>
+    RICHARD STRAUSS<a href="#note66">[66]</a>
+</h3>
+
+<p>
+    Much may be wisely written on the right limits of music as a depicting
+    art. The distinction is well drawn between actual delineation, of figure
+    or event, and the mere suggestion of a mood. It is no doubt a fine line,
+    and fortunately; for the critic must beware of mere negative philosophy,
+    lest what he says cannot be done, be refuted in the very doing. If
+    Lessing had lived a little later, he might have extended the principles
+    of his "Laocöon" beyond poetry and sculpture into the field of music.
+    Difficult and ungrateful as is the task of the critical philosopher, it
+    must be performed. There is every reason here as elsewhere why men
+    should see and think clearly.
+</p>
+<p>
+    It is perhaps well that audiences should cling to the simple verdict of
+    beauty, that they should not be led astray by the vanity of finding an
+    answer; else the composer is tempted to create mere riddles. So we may
+    decline to find precise pictures, and content ourselves with the music.
+    The search is really time wasted; it is like a man digging in vain for
+    gold and missing the sunshine above.
+</p>
+<p>
+    Strauss may have his special meanings. But the beauty of the work is
+    for us all-important. We may expect him to mark his scenes. We may not
+    care to crack that kind of a nut.<a href="#note67">[67]</a> It is really not good eating.
+    Rather must we be satisfied with the pure beauty of the fruit, without a
+    further hidden kernel. There is no doubt, however, of the ingenuity of
+    these realistic touches. It is interesting, here, to contrast Strauss
+    with Berlioz, who told his stories largely by extra-musical means, such
+    as the funeral trip, the knell of bells, the shepherd's reed. Strauss at
+    this point joins with the Liszt-Wagner group in the use of symbolic
+    motives. Some of his themes have an effect of tonal word-painting. The
+    roguish laugh of Eulenspiegel is unmistakable.
+</p>
+
+<p>
+    It is in the harmonic rather than the melodic field that the fancy of
+    Strauss soars the freest. It is here that his music bears an individual
+    stamp of beauty. Playing in and out among the edges of the main harmony
+    with a multitude of ornamental phrases, he gains a new shimmer of
+    brilliancy. Aside from instrumental coloring, where he seems to outshine
+    all others in dazzling richness and startling contrasts, he adds to the
+    lustre by a deft playing in the overtones of his harmonies, casting the
+    whole in warmest hue.
+</p>
+<p>
+    If we imagine the same riotous license in the realm of tonal
+    noise,&mdash;cacophony, that is, where the aim is not to enchant, but to
+    frighten, bewilder, or amaze; to give some special foil to sudden
+    beauty; or, last of all, for graphic touch of story, we have another
+    striking element of Strauss's art. The anticipation of a Beethoven in
+    the drum of the Scherzo of the Fifth Symphony, or the rhythmic whims of
+    a Schumann in his Romantic piano pieces suggest the path of much of this
+    license. Again, as passing notes may run without heed of harmony, since
+    ancient days, so long sequences of other figures may hold their moving
+    organ-point against clashing changes of tonality.
+</p>
+<p>
+    Apart from all this is the modern "counterpoint," where, if it is quite
+    the real thing, Strauss has outdone the boldest dreams of ancient school
+    men. But with the lack of cogent form, and the multitude of small
+    motives it seems a different kind of art. We must get into the
+    view-point of romantic web of infinite threads, shimmering or jarring in
+    infinite antagonism (of delayed harmony). By the same process comes
+    always the tremendous accumulation towards the end. As the end and
+    essence of the theme seems a graphic quality rather than intrinsic
+    melody, so the main pith and point of the music lies in the weight and
+    power of these final climaxes.
+</p>
+<p>
+    &nbsp;</p>
+<p style="text-align: center">
+    <a name="death">
+    <i>TOD UND VERKLÄRUNG (DEATH AND TRANSFIGURATION), TONE POEM</i> </a>
+</p>
+<p>
+    It may be well to gather a few general impressions before we attempt the
+    study of a work radical in its departure from the usual lines of tonal
+    design.
+</p>
+<p>
+    There can be no doubt of the need of vigilance if we are to catch the
+    relevance of all the strains. To be sure, perhaps this perception is
+    meant to be subconscious. In any case the consciousness would seem to
+    ensure a full enjoyment.
+</p>
+<p>
+    It is all based on the motif of the Wagner drama and of the Liszt
+    symphonies, and it is carried to quite as fine a point. Only here we
+    have no accompanying words to betray the label of the theme. But in the
+    quick flight of themes, how are we to catch the subtle meaning? The
+    interrelation seems as close as we care to look, until we are in danger
+    of seeing no woods for the trees.
+</p>
+<p>
+    Again the danger of preconception is of the greatest. We may get our
+    mind all on the meaning and all off the music. The clear fact is the
+    themes do have a way of entering with an air of significance which they
+    challenge us to find. The greatest difficulty is to distinguish the
+    themes that grow out of each other, as a rose throws off its early
+    petals, from those that have a mere chance similarity. Even this
+    likeness may have its own intended meaning, or it may be all beside the
+    mark. But we may lose not merely the musical, but even the dramatic
+    sequence in too close a poring over themal derivation. On the other hand
+    we may defy the composer himself and take simply what he gives, as if on
+    first performance, before the commentators have had a chance to breed.
+    And this may please him best in the end.
+</p>
+<p>
+    We must always attend more to the mood than to themal detail as
+    everywhere in real music, after all. Moments of delight and triumph we
+    know there are in this work. But they are mere instants. For it is all
+    the feverish dream of death. There can be no earlier rest. Snatches they
+    are of fancy, of illusion, as, says the priest in Oedipus, is all of
+    life.
+</p>
+<p>
+    It may be worth while, too, to see how pairs of themes ever occur in
+    Strauss, the second in answer, almost in protest, to the first. (It is
+    not unlike the pleading in the Fifth Symphony of the second theme with
+    the sense of doom in the first.) So we seem to find a motive of fate,
+    and one of wondering, and striving; a theme of beauty and one of
+    passion,&mdash;if we cared to tread on such a dangerous, tempting ground.
+    Again, we may find whole groups of phrases expressive of one idea, as of
+    beauty, and another of anxious pursuit. Thus we escape too literal a
+    themal association.
+</p>
+<p>
+    Trying a glimpse from the score pure and simple, we find a poem,
+    opposite the first page, that is said to have been written after the
+    first production. So, reluctantly, we must wait for the mere
+    reinforcement of its evidence.
+</p>
+<p>
+    <i>Largo</i>, in uncertain key, begins the throb of irregular rhythm (in
+    strings) that Bach and Chopin and Wagner have taught us to associate
+    with suffering. The first figure is a gloomy descent of pairs of chords,
+    with a hopeless cry above (in the flutes). In the recurrence, the turn
+    of chord is at last upward. A warmer hue of waving sounds (of harps) is
+    poured about, and a gentle vision appears on high, shadowed quickly by
+    a theme of fearful wondering. The chords return as at first. A new
+    series of descending tones
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music187.jpg" alt="music187" width="400" height="191"></p>
+<p style="text-indent: 0em">
+    intrude, with a sterner sense of omen, and yield to a full melodic
+    utterance of longing (again with the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music188.jpg" alt="music188" width="400" height="383"></p>
+<p style="text-indent: 0em">
+    soothing play of harp), and in the midst a fresh theme of wistful fear.
+    For a moment there is a brief glimpse of the former vision. Now the
+    song, less of longing than of pure bliss, sings free and clear its
+    descending lay in solo violin, though an answering phrase (in the horns)
+    of upward striving soon rises from below. The vision now appears again,
+    the wondering monitor close beside. The melancholy chords return to dim
+    the beauty. As the descending theme recedes, the rising motive sings a
+    fuller course on high with a new note of eager, anxious fear.
+</p>
+<p>
+    All these themes are of utmost pertinence in this evident prologue of
+    the story. Or at least the germs of all the leading melodies are here.
+</p>
+<p>
+    In sudden turn of mood to high agitation, a stress of wild desire rings
+    out above in pairs of sharp ascending chords, while below the wondering
+    theme rises in growing tumult. A whirling storm of the two phrases ends
+    in united burst like hymn of battle, on the line of the wondering theme,
+    but infused with
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music189.jpg" alt="music189" width="400" height="181"></p>
+<p style="text-indent: 0em">
+    resistless energy. Now sings a new discourse of warring phrases that
+    are dimly traced to the phase of the blissful melody, above the theme of
+    upward striving.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music190.jpg" alt="music190" width="400" height="203"></p>
+<p style="text-indent: 0em">
+    They wing an eager course, undaunted by the harsh intruding chords. Into
+    the midst presses the forceful martial theme. All four elements are
+    clearly evident. The latest gains control, the other voices for the
+    nonce merely trembling in obedient rhythm. But a new phase of the
+    wistful motive appears, masterful but not o'ermastering, fiercely
+    pressing upwards,&mdash;and a slower of the changed phrase of blissful song.
+    The former attains a height of sturdy ascending stride.
+</p>
+<p>
+    In spite of the ominous stress of chords that grow louder with the
+    increasing storm, something of assurance comes with the ascending
+    stride. More and more this seems the dominant idea.
+</p>
+<p>
+    A new paroxysm of the warring themes rises to the first great climax
+    where the old symbol of wondering and striving attains a brief moment
+    of assured ecstatic triumph.
+</p>
+<p>
+    In a new scene (<i>meno mosso</i>), to murmuring strings (where the theme of
+    striving can possibly be caught) the blissful melody sings in full song,
+    undisturbed save by the former figure that rises as if to grasp,&mdash;sings
+    later, too, in close sequence of voices. After a short intervening
+    verse&mdash;<i>leicht bewegt</i>&mdash;where the first vision appears for a moment, the
+    song is resumed, still in a kind of shadowy chase of slow flitting
+    voices, <i>senza espressione</i>. The rising, eager phrase is disguised in
+    dancing pace, and grows to a graceful turn of tune. An end comes, <i>poco
+    agitato</i>, with rude intrusion of the hymnal march in harsh contrast of
+    rough discord; the note of anxious fear, too, strikes in again. But
+    suddenly, <i>etwas breiter</i>, a new joyous mood frightens away the birds of
+    evil omen.
+</p>
+<p>
+    Right in the midst of happenings, we must be warned against too close a
+    view of individual theme. We must not forget that it is on the
+    contrasted pairs and again the separate groups of phrases, where all
+    have a certain common modal purpose, that lies the main burden of the
+    story. Still if we must be curious for fine derivation, we may see in
+    the new tune of exultant chorus the late graceful turn that now,
+    reversing, ends in the former rising phrase. Against it sings the first
+    line of blissful theme. And the first tune of graceful beauty also finds
+    a place. But they all make one single blended song, full of glad bursts
+    and cadences.
+</p>
+<p>
+    Hardly dimmed in mood, it turns suddenly into a phase of languorous
+    passion, in rich setting of pulsing harp, where now the later figures,
+    all but the blissful theme, vanish before an ardent song of the
+    wondering phrase. The motive of passionate desire rises and falls, and
+    soars in a path of "endless melody," returning on its own line of
+    flight, playing as if with its shadow, catching its own echo in the
+    ecstasy of chase. And every verse ends with a new stress of the
+    insistent upward stride, that grows ever in force and closes with big
+    reverberating blasts. The theme of the vision joins almost in rough
+    guise of utmost speed, and the rude marching song breaks in; somehow,
+    though they add to the maze, they do not dispel the joy. The ruling
+    phase of passion now rumbles fiercely in lowest depths. The theme of
+    beauty rings in clarion wind and strings, and now the whole strife ends
+    in clearest, overwhelming hymn of triumphant gladness, all in the
+    strides of the old wondering, striving phrase.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music191.jpg" alt="music191" width="327" height="161"></p>
+<p>
+    The whole battle here is won. Though former moments are fought through
+    again (and new melodies grow out of the old plaint), the triumphant
+    shout is near and returns (ever from a fresh tonal quarter) to chase
+    away the doubt and fear. All the former phrases sing anew, merging the
+    tale of their strife in the recurring verse of united paean. The song at
+    last dies away, breaking like setting sun into glinting rays of
+    celestial hue, that pale away into dullest murmur.
+</p>
+<p>
+    Still one returning paroxysm, of wild striving for eluding bliss, and
+    then comes the close. From lowest depths shadowy tones sing herald
+    phrases against dim, distorted figures of the theme of beauty,&mdash;that
+    lead to a soft song of the triumphant hymn, <i>tranquillo</i>, in gentlest
+    whisper, but with all the sense of gladness and ever bolder straying of
+    the enchanting dream. After a final climax the song ends in slow
+    vanishing echoes.
+</p>
+<p>
+    The poet Ritter is said to have added, after the production of the
+    music, the poem printed on the score, of which the following is a rather
+    literal translation:
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+                <blockquote>
+    In the miserable chamber,<br>
+    Dim with flick'ring candlelight,<br>
+    Lies a man on bed of sickness.<br>
+    Fiercely but a moment past<br>
+    Did he wage with Death the battle;<br>
+    Worn he sinks back into sleep.<br>
+    Save the clock's persistent ticking<br>
+    Not a sound invades the room,<br>
+    Where the gruesome quiet warns us<br>
+    Of the neighborhood of Death.<br>
+    O'er the pale, distended features<br>
+    Plays a melancholy smile.<br>
+    Is he dreaming at life's border<br>
+    Of his childhood golden days?<p style="text-indent: 0em">But a paltry shrift of sleep<br>
+    Death begrudges to his victim.<br>
+    Cruelly he wakes and shakes him,<br>
+    And the fight begins anew,&mdash;<br>
+    Throb of life and power of death,<br>
+    And the horror of the struggle.<br>
+    Neither wins the victory.<br>
+    Once again the stillness reigns.</p>
+                  <p style="text-indent: 0em">Worn of battle, he relapses<br>
+    Sleepless, as in fevered trance.<br>
+    Now he sees before him passing<br>
+    Of his life each single scene:<br>
+    First the glow of childhood dawn,<br>
+    Bright in purest innocence,<br>
+    Then the bolder play of youth<br>
+    Trying new discovered powers,<br>
+    Till he joins the strife of men,<br>
+    Burning with an eager passion<br>
+    For the high rewards of life.&mdash;<br>
+    To present in greater beauty<br>
+    What his inner eye beholds,<br>
+    This is all his highest purpose<br>
+    That has guided his career.</p>
+                  <p style="text-indent: 0em">Cold and scornful does the world<br>
+    Pile the barriers to his striving.<br>
+    Is he near his final goal,<br>
+    Comes a thund'rous "Halt!" to meet him.<br>
+    "Make the barrier a stepping,<br>
+    Ever higher keep your path."<br>
+    Thus he presses on and urges,<br>
+    Never ceasing from his aim.&mdash;<br>
+    What he ever sought of yore<br>
+    With his spirit's deepeth longing,<br>
+    Now he seeks in sweat of death,<br>
+    Seeks&mdash;alas! and finds it never.<br>
+    Though he grasps it clearer now,<br>
+    Though it grows in living form,<br>
+    He can never all achieve it,<br>
+    Nor create it in his thought.<br>
+    Then the final blow is sounded<br>
+    From the hammer-stroke of Death,<br>
+    Breaks the earthly frame asunder,<br>
+    Seals the eye with final night.<br>
+    But a mighty host of sounds<br>
+    Greet him from the space of heaven<br>
+    With the song he sought below:<br>
+    Man redeemed,&mdash;the world transfigured.</p>
+                </blockquote>
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+<p>&nbsp;</p>
+
+<center>
+    <a name="juan">
+    <i>DON JUAN. (TONE POEM.)</i> </a>
+</center>
+<p>
+    A score or more of lines from Lenau's poem of the same title stand as
+    the subject of the music.
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    O magic realm, illimited, eternal,<br>
+    Of gloried woman,&mdash;loveliness supernal!<br>
+    Fain would I, in the storm of stressful bliss,<br>
+    Expire upon the last one's lingering kiss!<br>
+&nbsp;
+      Through every realm, O friend, would wing my flight,<br>
+    Wherever Beauty blooms, kneel down to each,<br>
+&nbsp;
+      And, if for one brief moment, win delight!
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    I flee from surfeit and from rapture's cloy,<br>
+    Keep fresh for Beauty service and employ,<br>
+    Grieving the One, that All I may enjoy.<p style="text-indent: 0em">My lady's charm to-day hath breath of spring,<br>
+    To-morrow may the air of dungeon bring.<br>
+&nbsp;
+      When with the new love won I sweetly wander,<br>
+    No bliss is ours upfurbish'd and regilded;<br>
+&nbsp;
+      A different love has This to That one yonder,&mdash;<br>
+    Not up from ruins be my temple builded.<br>
+&nbsp;
+      Yea Love life is, and ever must be now,<br>
+    Cannot be changed or turned in new direction;<br>
+    It must expire&mdash;here find a resurrection;<br>
+&nbsp;
+      And, if 'tis real, it nothing knows of rue!<br>
+    Each Beauty in the world is sole, unique;<br>
+    So must the love be that would Beauty seek!<br>
+    So long as Youth lives on with pulse afire,<br>
+    Out to the chase! To victories new aspire! </p>
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+
+<hr>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    It was a wond'rous lovely storm that drove me:<br>
+    Now it is o'er; and calm all round, above me;<br>
+&nbsp;
+      Sheer dead is every wish; all hopes o'ershrouded,&mdash;<br>
+    It was perhaps a flash from heaven descended,<br>
+    Whose deadly stroke left me with powers ended,<br>
+&nbsp;
+      And all the world, so bright before, o'erclouded;<br>
+    Yet perchance not! Exhausted is the fuel;<br>
+    And on the hearth the cold is fiercely cruel.<a href="#note68">[68]</a>
+
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+<p>
+    In the question of the composer's intent, of general plan and of
+    concrete detail, it is well to see that the quotation from Lenau's poem
+    is twice broken by lines of omission; that there are thus three
+    principal divisions. It cannot be wise to follow a certain kind of
+    interpretation<a href="#note69">[69]</a> which is based upon the plot of Mozart's opera. The
+    spirit of Strauss's music is clearly a purely subjective conception,
+    where the symbolic figure of fickle desire moves through scenes of
+    enchantment to a climax of&mdash;barren despair.
+</p>
+
+<p>
+    To some extent Strauss clearly follows the separate parts of his
+    quotation. Fervent desire, sudden indifference are not to be mistaken.
+</p>
+<p>
+    The various love scenes may be filled with special characters without
+    great harm, save that the mind is diverted from a higher poetic view to
+    a mere concrete play of events. The very quality of the pure musical
+    treatment thus loses nobility and significance. Moreover the only
+    thematic elements in the design are the various "motives" of the hero.
+</p>
+<p>
+    <i>Allegro molto con brio</i> begins the impetuous main theme in dashing
+    ascent,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music192.jpg" alt="music192" width="400" height="194"></p>
+<p style="text-indent: 0em">
+    whimsical play
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music193.jpg" alt="music193" width="400" height="98"></p>
+<p style="text-indent: 0em">
+    and masterful career.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music194.jpg" alt="music194" width="400" height="184"></p>
+<p>
+    The various phases are mingled in spirited song; only the very beginning
+    seems reserved as a special symbol of a turn in the chase, of the sudden
+    flame of desire that is kindled anew.
+</p>
+<p>
+    In the midst of a fresh burst of the main phrase are gentle strains of
+    plaint (<i>flebile</i>). And now a tenderly sad motive in the wood sings
+    against the marching phrase, amidst a spray of light, dancing chords.
+    Another song of the main theme is spent in a vanishing tremolo of
+    strings and harp, and buried in a rich chord whence rises a new song
+    (<i>molto espressivo</i>) or rather a duet, the first of the longer
+    love-passages.
+</p>
+<p>
+    The main melody is begun in clarinet and horn and instantly followed (as
+    in canon) by violins. The climax of this impassioned scene is a titanic
+    chord of minor, breaking the spell; the end is in a distorted strain of
+    the melody, followed by a listless refrain of the (original) impetuous
+    motive (<i>senza espressione</i>).
+</p>
+<p>
+    The main theme breaks forth anew, in the spirit of the beginning. It
+    yields suddenly before the next episode, a languorous song of lower
+    strings (<i>molto appassionato</i>), strangely broken into by sighing phrases
+    in the high wood (<i>flebile</i>). After further interruption, the love song
+    is crowned by a broad flowing melody (<i>sehr getragen und
+    ausdrucksvoll</i>)&mdash;the main lyric utterance of all. It has a full length
+    of extended song, proportioned to its distinguished beauty. The dual
+    quality is very clear throughout the scene. Much of the song is on a
+    kindred phrase of the lyric melody sung by the clarinet with dulcet
+    chain of chords of harp.
+</p>
+<p>
+    Here strikes a climactic tune in forte unison of the four horns (<i>molto
+    espressivo e marcato</i>). It is the clear utterance of a new mood of the
+    hero,&mdash;a purely
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music195.jpg" alt="music195" width="400" height="116"></p>
+<p style="text-indent: 0em">
+    subjective phase. With a firm tread, though charged with pathos, it
+    seems what we might venture to call a symbol of renunciation. It is
+    broken in upon by a strange version of the great love song, <i>agitato</i> in
+    oboes, losing all its queenly pace. As though in final answer comes
+    again the ruthless phrase of horns, followed now by the original theme.
+    <i>Rapidamente</i> in full force of strings comes the coursing strain of
+    impetuous desire. The old and the new themes of the hero are now in
+    stirring encounter, and the latter seems to prevail.
+</p>
+<p>
+    The mood all turns to humor and merrymaking. In gay dancing trip serious
+    subjects are treated jokingly (the great melody of the horns is
+    mockingly sung by the harp),&mdash;in fits and gusts. At the height the
+    (first) tempestuous motive once more dashes upwards and yields to a
+    revel of the (second) whimsical phrase. A sense of fated renunciation
+    seems to pervade the play of feelings of the hero. In the lull, when the
+    paroxysm is spent, the various figures of his past romances pass in
+    shadowy review; the first tearful strain, the melody of the first of the
+    longer episodes,&mdash;the main lyric song (<i>agitato</i>).
+</p>
+<p>
+    In the last big flaming forth of the hero's passion victory is once more
+    with the theme of renunciation,&mdash;or shall we say of grim denial where
+    there is no choice.
+</p>
+<p>
+    Strauss does not defy tradition (or providence) by ending his poem with
+    a triumph. A final elemental burst of passion stops abruptly before a
+    long pause. The end is in dismal, dying harmonies,&mdash;a mere dull sigh of
+    emptiness, a void of joy and even of the solace of poignant grief.
+</p>
+<center>
+    <p style="text-align: center">
+    <a name="till">
+    <i>TILL EULENSPIEGEL'S MERRY PRANKS</i></a> <br>
+    <br>
+    <i>In the Manner of Ancient Rogues&mdash;In Rondo Form</i>
+    </p>
+</center>
+<p>
+    Hardly another subject could have been more happy for the revelling in
+    brilliant pranks and conceits of a modern vein of composition. And in
+    the elusive humor of the subject is not the least charm and fitness.
+    Too much stress has been laid on the graphic purpose. There is always a
+    tendency to construe too literally. While we must be in full sympathy
+    with the poetic story, there is small need to look for each precise
+    event. We are tempted to go further, almost in defiance, and say that
+    music need not be definite, even despite the composer's intent. In other
+    words, if the tonal poet designs and has in mind a group of graphic
+    figures, he may nevertheless achieve a work where the real value and
+    beauty lie in a certain interlinear humor and poetry,&mdash;where the labels
+    can in some degree be disregarded.
+</p>
+<p>
+    Indeed, it is this very abstract charm of music that finds in such a
+    subject its fullest fitness. If we care to know the pranks exactly, why
+    not turn to the text? Yet, reading the book, in a way, destroys the
+    spell. Better imagine the ideal rogue, whimsical, spritely, all of the
+    people too. But in the music is the real Till. The fine poetry of
+    ancient humor is all there, distilled from the dregs of folk-lore that
+    have to us lost their true essence. There is in the music a daemonic
+    quality, inherent in the subject, that somehow vanishes with the
+    concrete tale. So we might say the tonal picture is a faithful likeness
+    precisely in so far as it does not tell the facts of the story.
+</p>
+<p>
+    Indeed, in this mass of vulgar stories we cannot help wondering at the
+    reason for their endurance through the centuries, until we feel
+    something of the spirit of the people in all its phases. A true mirror
+    it was of stupidity and injustice, presented by a sprite of owlish
+    wisdom, sporting, teasing and punishing<a href="#note70">[70]</a> all about. It is a kind of
+    popular satire, with a strong personal element of a human Puck, or an
+    impish Robin Hood, with all the fairy restlessness, mocking at human rut
+    and empty custom.
+</p>
+
+<p>
+    It is perhaps in the multitude of the stories, paradoxical though it
+    seem, that lies the strength. In the number of them (ninety-two
+    "histories" there are) is an element of universality. It is like the
+    broom: one straw does not make, nor does the loss of one destroy it;
+    somewhere in the mass lies the quality of broom.
+</p>
+<p>
+    In a way Till is the Ulysses of German folk-lore, the hero of trickery,
+    a kind of <i>Reinecke Fuchs</i> in real life. But he is of the soil as none
+    of the others. A satyr, in a double sense, is Till; only he is pure
+    Teuton, of the latter middle ages.
+</p>
+<p>
+    He is every sort of tradesman, from tailor to doctor. Many of the
+    stories, perhaps the best, are not stories at all, but merely clever
+    sayings. In most of the tricks there is a Roland for an Oliver. Till
+    stops at no estate; parsons are his favorite victims. He is, on the
+    whole, in favor with the people, though he played havoc with entire
+    villages. Once he was condemned to death by the Lübeck council. But
+    even here it was his enemies, whom he had defrauded, that sought
+    revenge. The others excused the tricks and applauded his escape. Even in
+    death the scandal and mischief do not cease.
+</p>
+<p>
+    The directions in Strauss' music are new in their kind and dignity. They
+    belong quite specially to this new vein of tonal painting. In a double
+    function, they not merely guide the player, but the listener as well.
+    The humor is of utmost essence; the humor is the thing, not the play,
+    nor the story of each of the pranks, in turn, of our jolly rogue. And
+    the humor lies much in these words of the composer, that give the lilt
+    of motion and betray a sense of the intended meaning.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music196.jpg" alt="music196" width="400" height="173"></p>
+<p>
+    The tune, sung at the outset <i>gemächlich</i> (comfortably), is presumably
+    the rogue <i>motif</i>, first in pure innocence of mood. But quickly comes
+    another, quite opposed in rhythm, that soon hurries into highest speed.
+    These are not the "subjects" of old tradition.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music197.jpg" alt="music197" width="400" height="127"></p>
+<p>
+    And first we are almost inclined to take the "Rondo form" as a new
+    roguish prank. But we may find a form where the subjects are independent
+    of the basic themes that weave in and out unfettered by rule&mdash;where the
+    subjects are rather new grouping of the fundamental symbols.<a href="#note71">[71]</a>
+</p>
+
+<p>
+    After a pause in the furious course of the second theme, a quick piping
+    phrase sounds <i>lustig</i> (merrily) in the clarinet, answered by a chord of
+    ominous
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music198.jpg" alt="music198" width="250" height="107"></p>
+<p style="text-indent: 0em">
+    token. But slowly do we trace the laughing phrase to the first theme.
+</p>
+<p>
+    And here is a new whim. Though still in full tilt, the touch of demon is
+    gone in a kind of ursine clog of the basses. Merely jaunty and clownish
+    it would be but for the mischievous scream (of high flute) at the end.
+    And now begins a rage of pranks, where the main phrase is the rogue's
+    laugh, rising in brilliant gamut of outer pitch and inner mood.
+</p>
+<p>
+    At times the humor is in the spirit of a Jean Paul, playing between
+    rough fun and sadness in a fine spectrum of moods. The lighter motive
+    dances harmlessly about the more serious, intimate second phrase. There
+    is almost the sense of lullaby before the sudden plunge to wildest
+    chaos, the only portent being a constant trembling of low strings. All
+    Bedlam is let loose, where the rogue's shriek is heard through a
+    confused cackling and a medley of voices here and there on the running
+    phrase (that ever ends the second theme). The sound of a big rattle is
+    added to the scene,&mdash;where perhaps the whole village is in an uproar
+    over some wholesale trick of the rogue.
+</p>
+<p>
+    And what are we to say to this simplest swing of folk-song that steals
+    in naïvely to enchanting strum of rhythm. We may speculate about the
+    Till as the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music199.jpg" alt="music199" width="400" height="179"></p>
+<p style="text-indent: 0em">
+    people saw him, while elsewhere we have the personal view. The
+    folk-tunes may not have a special dramatic rôle. Out of the text of
+    folk-song, to be sure, all the strains are woven. Here and there we
+    have the collective voice. If we have watched keenly, we have heard how
+    the tune, simply though it begins, has later all the line of Till's
+    personal phrase. Even in the bass it is, too. Of the same fibre is this
+    demon mockery and the thread of folk legend.
+</p>
+<p>
+    We cannot pretend to follow all the literal whims. And it is part of the
+    very design that we are ever surprised by new tricks, as by this saucy
+    trip of dancing phrase. The purely human touches are clear, and almost
+    moving in contrast with the impish humor.
+</p>
+<p>
+    An earlier puzzle is of the second theme. As the composer has refused to
+    help us, he will not quarrel if we find our own construction. A possible
+    clue there is. As the story proceeds, aside from the mere abounding fun
+    and poetry, the more serious theme prevails. Things are happening. And
+    there come the tell-tale directions. <i>Liebeglühend</i>, aflame with love, a
+    melody now sings in urgent pace, ending with
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music200.jpg" alt="music200" width="400" height="220"></p>
+<p style="text-indent: 0em">
+    a strange descending note. Presently in quieter mood, <i>ruhiger</i>, it
+    gains a new grace, merely to dash again, <i>wütend</i>, into a fiercer rage
+    than before. Before long we cannot escape in all this newer melody a
+    mere slower outline of the second theme. A guess then, such as the
+    composer invites us to make, is this: It is not exactly a Jekyll and
+    Hyde, but not altogether different. Here (in the second theme, of horn)
+    is Till himself,&mdash;not the rogue, but the man in his likes and loves and
+    suffering. The rogue is another, a demon that possesses him to tease
+    mankind, to tease himself out of his happiness. During the passionate
+    episode the rogue is banned, save for a grimace now and then, until the
+    climax, when all in disguise of long passionate notes of resonant bass
+    the demon theme has full control. But for once it is in earnest, in dead
+    earnest, we might say. And the ominous chord has a supreme moment, in
+    the shadow of the fulfilment.
+</p>
+<p>
+    A new note sounds in solemn legend of lowest wood, sadly beautiful, with
+    a touch of funeral pace.<a href="#note72">[72]</a>
+</p>
+
+<p>
+    The impish laugh still keeps intruding. But throughout the scene it is
+    the Till motive, not the rogue, that fits the stride of the death-march.
+    To be sure the rogue anon laughs bravely. But the other figure is in
+    full view.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music201.jpg" alt="music201" width="400" height="230"></p>
+<p>
+    The sombre legend is, indeed, in a separate phase, its beauty now
+    distorted in a feverish chase of voices on the main phrase. It is all a
+    second climax, of a certain note of terror,&mdash;of fate. In the midst is a
+    dash of the rogue's heartiest laugh, amid the echoes of the fearful
+    chord, while the growing roar of the mob can be heard below. Once again
+    it rings out undaunted, and then to the sauciest of folk-tunes,
+    <i>leichtfertig</i>, Till dances gaily and jauntily. Presently, in a mystic
+    passage, <i>schnell und schattenhaft</i>
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music202.jpg" alt="music202" width="400" height="190"></p>
+<p style="text-indent: 0em">
+    (like fleeting shadow) a phantom of the rogue's figure passes
+    stealthily across the horizon.
+</p>
+<p>
+    <i>Etwas gemächlicher</i>, a graceful duet weaves prettily out of the Till
+    motive, while the other roars very gently in chastened tones of softest
+    horns.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music203.jpg" alt="music203" width="400" height="325"></p>
+<p>
+    The first course of themes now all recurs, though some of the roguery is
+    softened and soon trips into purest folk-dance. And yet it is all built
+    of the rascal theme. It might (for another idle guess) be a general
+    rejoicing. Besides the tuneful dance, the personal phrase is laughing
+    and chuckling in between.
+</p>
+<p>
+    The rejoicing has a big climax in the first folk-song of all, that now
+    returns in full blast of horns against a united dance of strings and
+    wood. After a roll of drum loud clanging strokes sound threatening
+    (<i>drohend</i>) in low bass and strings, to which the rascal pipes his theme
+    indifferently (<i>gleichgültig</i>). The third time, his answer has a
+    simulated sound (<i>entstellt</i>). Finally, on the insistent thud comes a
+    piteous phrase (<i>kläglich</i>) in running thirds. The dread chords at last
+    vanish, in the strings. It is very like an actual, physical end. There
+    is no doubt that the composer here intends the death of Till, in face of
+    the tradition.
+</p>
+<p>
+    Follows the epilogue, where in the comfortable swing of the beginning
+    the first melody is extended in full beauty and significance. All the
+    pleasantry of the rogue is here, and at the end a last fierce burst of
+    the demon laugh.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <i><a name="domestica">"SINFONIA DOMESTICA."</a></i>
+</center>
+
+<p>
+    The work followed a series of tone-poems where the graphic aim is shown
+    far beyond the dreams even of a Berlioz. It may be said that Strauss,
+    strong evidence to the contrary, does not mean more than a suggestion of
+    the mood,&mdash;that he plays in the humor and poetry of his subject rather
+    than depicts the full story. It is certainly better to hold to this view
+    as long as possible. The frightening penalty of the game of exact
+    meanings is that if there is one here, there must be another there and
+    everywhere. There is no blinking the signs of some sort of plot in our
+    domestic symphony, with figures and situations. The best way is to lay
+    them before the hearer and leave him to his own reception.
+</p>
+<p>
+    In the usual sense, there are no separate movements. Though "Scherzo" is
+    printed after the first appearance of the three main figures, and later
+    "Adagio" and "Finale," the interplay and recurrence of initial themes is
+    too constant for the traditional division. It is all a close-woven drama
+    in one act, with rapidly changing scenes. Really more important than the
+    conventional Italian names are such headings as "Wiegenlied"
+    (Cradle-song), and above all, the numerous directions. Here is an almost
+    conclusive proof of definite intent. To be sure, even a figure on canvas
+    is not the man himself. Indeed, as music approaches graphic realism, it
+    is strange how painting goes the other way. Or rather, starting from
+    opposite points, the two arts are nearing each other. As modern painting
+    tends to give the feeling of a subject, the subjective impression rather
+    than the literal outline, we can conceive even in latest musical realism
+    the "atmosphere" as the principal aim. In other words, we may view
+    Strauss as a sort of modern impressionist tone-painter, and so get the
+    best view of his pictures.
+</p>
+<p>
+    Indeed, cacophony is alone a most suggestive subject. In the first place
+    the term is always relative, never absolute,&mdash;relative in the historic
+    period of the composition, or relative as to the purpose. One can hardly
+    say that any combination of notes is unusable. Most striking it is how
+    the same group of notes makes hideous waste in one case, and a true
+    tonal logic in another. Again, what was impossible in Mozart's time, may
+    be commonplace to-day.
+</p>
+<p>
+    You cannot stamp cacophony as a mere whim of modern decadence. Beethoven
+    made the noblest use of it and suffered misunderstanding. Bach has it in
+    his scores with profound effect. And then the license of one age begets
+    a greater in the next. It is so in poetry, though in far less degree.
+    For, in music, the actual tones are the integral elements of the art.
+    They are the idea itself; in poetry the words merely suggest it.
+</p>
+<p>
+    A final element, independent of the notes themselves, is the official
+    numbering of themes. Strauss indicates a first, second and third theme,
+    obviously of the symphony, not of a single movement. The whole attitude
+    of the composer, while it does not compel, must strongly suggest some
+    sort of guess of intending meaning.<a href="#note73">[73]</a>
+</p>
+
+<p>
+    The "first theme" in "comfortable" pace, gliding
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music204.jpg" alt="music204" width="400" height="290"></p>
+<p style="text-indent: 0em">
+    into a "dreamy" phrase, begins the symphony. Presently
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music205.jpg" alt="music205" width="280" height="179"></p>
+<p style="text-indent: 0em">
+    a "peevish" cry breaks in, in sudden altered key; then on a second,
+    soothing tonal change, a strain sings "ardently" in upward wing to a
+    bold climax and down to gentler cadence, the "peevish" cry still
+    breaking in. The trumpet has a short cheery
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music206.jpg" alt="music206" width="400" height="204"></p>
+<p style="text-indent: 0em">
+    call (<i>lustig</i>), followed by a brisk, rousing run in wood and strings
+    (<i>frisch</i>). A return of the "comfortable" phrase is quickly overpowered
+    by the "second theme," in very lively manner (<i>sehr lebhaft</i>), with an
+    answering phrase, <i>grazioso</i>, and light trills above.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music207.jpg" alt="music207" width="400" height="363"></p>
+<p style="text-indent: 0em">
+    The incidental phrases are thus opposed to the main humor of each theme.
+    The serene first melody has "peevish" interruptions; the assertive
+    second yields to graceful blandishments. A little later a strain appears
+    <i>gefühlvoll</i>, "full of feeling," (that plays a frequent part), but the
+    main (second) theme breaks in "angrily." Soon a storm is brewing; at the
+    height the same motive is sung insistently. In the lull, the first
+    phrase of all sings gaily (<i>lustig</i>), and then serenely (<i>gemächlich</i>)
+    in tuneful tenor. Various
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music208.jpg" alt="music208" width="400" height="161"></p>
+<p style="text-indent: 0em">
+    parts of the first theme are now blended in mutual discourse.
+</p>
+<p>
+    Amidst trembling strings the oboe d'amore plays the "third theme." "Very
+    tenderly," "quietly," the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music209.jpg" alt="music209" width="400" height="138"></p>
+<p style="text-indent: 0em">
+    second gives soothing answer, and the third sings a full melodious
+    verse.
+</p>
+<p>
+    Here a loud jangling noise tokens important arrivals. Fierce, hearty
+    pulling of the door-bell excites the parents, especially the mother, who
+    is quite in hysterics. The father takes it decidedly more calmly. The
+    visitors presently appear in full view, so to speak; for "the aunts," in
+    the trumpets, exclaim: "Just like Papa," and the uncles, in the
+    trombones, cry: "Just like Mama" (<i>ganz die Mama</i>). There can be no
+    questioning; it is all written in the book.
+</p>
+<p>
+    It is at least not hazardous to guess the three figures in the domestic
+    symphony. Now in jolly Scherzo (<i>munter</i>) begin the tricks and sport of
+    babyhood. There is of course but one theme, with mere comments
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music210.jpg" alt="music210" width="400" height="178"></p>
+<p style="text-indent: 0em">
+    of parental phrases in varying accents of affection. Another noisy scene
+    mars all the peace; father and child have a strong disagreement; the
+    latter is "defiant"; the paternal authority is enforced. Bed-time comes
+    with the stroke of seven, a cradle-song (Wiegenlied) (where the child's
+    theme hums faintly below). Then, "slowly and very quietly" sings the
+    "dreamy" phrase of the first theme, where
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music211.jpg" alt="music211" width="400" height="205"></p>
+<p style="text-indent: 0em">
+    the answer, in sweeping descent, gives one of the principal elements of
+    the later plot. It ends in a moving bit of tune, "very quietly and
+    expressively" (<i>sehr ruhig und innig</i>).
+</p>
+<p>
+    Adagio, a slow rising strain plays in the softer
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music212.jpg" alt="music212" width="400" height="165"></p>
+<p style="text-indent: 0em">
+    wood-notes of flute, oboe d'amore, English horn, and the lower
+    clarinets; below sings gently the second theme, quite transformed in
+    feeling. Those upper notes, with a touch of impassioned yearning, are
+    not new to our ears. That very rising phrase (the "dreamy" motive), if
+    we strain our memory, was at first below the more vehement (second)
+    figure. So
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music213.jpg" alt="music213" width="400" height="343"></p>
+<p style="text-indent: 0em">
+    now the whole themal group is reversed outwardly and in the inner
+    feeling. Indeed, in other places crops out a like expressive symbol, and
+    especially in the phrase, marked <i>gefühlvoll</i>, that followed the second
+    theme in the beginning. All these motives here find a big concerted song
+    in quiet motion, the true lyric spot of the symphony.
+</p>
+<p>
+    Out of it emerges a full climax, bigger and broader now, of the first
+    motive. At another stage the second has the lead; but at the height is a
+    splendid verse of the maternal song. At the end the quiet, blissful tune
+    sings again "<i>sehr innig</i>."
+</p>
+<p>
+    <i>Appassionato</i> re-enters the second figure. Mingled in its song are the
+    latest tune and an earlier expressive phrase <i>(gefühlvoll)</i>. The storm
+    that here ensues is not of dramatic play of opposition. There are no
+    "angry" indications. It is the full blossoming in richest madrigal of
+    all the themes of tenderness and passion in an aureole of glowing
+    harmonies. The morning comes with the stroke of seven and the awakening
+    cry of the child.
+</p>
+<p>
+    The Finale begins in lively pace (<i>sehr lebhaft</i>) with
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music214.jpg" alt="music214" width="400" height="112"></p>
+<p style="text-indent: 0em">
+    a double fugue, where it is not difficult to see in the first theme a
+    fragment of the "baby" motive. The second is a remarkably assertive
+    little phrase from the cadence of the second theme (quoted above). The
+    son is clearly the hero, mainly in sportive humor, although he is not
+    free from parental interference. The maze and rigor of the fugue do not
+    prevent a frequent appearance of all the other themes, and even of the
+    full melodies, of which the fugal motives are built. At the climax of
+    the fugue, in the height of speed and noise, something very delightful
+    is happening, some furious romp, perhaps, of father and son, the mother
+    smiling on the game. At the close a new melody that we might trace, if
+    we cared, in earlier origin, has a full verse "quietly and simply"
+    (<i>ruhig und einfach</i>) in wood and horns, giving the crown
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music215.jpg" alt="music215" width="400" height="105"></p>
+<p style="text-indent: 0em">
+    and seal to the whole. The rest is a final happy refrain of all the
+    strains, where the husband's themes are clearly dominant.
+</p>
+<a name="2HCH0019"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XIX
+</h2>
+<h3>
+    ITALIAN SYMPHONIES
+</h3>
+<p>
+    The present estate of music in Italy is an instance of the danger of
+    prophecy in the broad realm of art. Wise words are daily heard on the
+    rise and fall of a nation in art, or of a form like the symphony, as
+    though a matter of certain fate, in strict analogy to the life of man.
+</p>
+<p>
+    Italy was so long regnant in music that she seems even yet its chosen
+    land. We have quite forgotten how she herself learned at the feet of the
+    masters from the distant North. For music is, after all, the art of the
+    North; the solace for winter's desolation; an utterance of feeling
+    without the model of a visible Nature.
+</p>
+<p>
+    And yet, with a prodigal stream of native melody and an ancient passion
+    of religious rapture, Italy achieved masterpieces in the opposite fields
+    of the Mass and of Opera. But for the more abstract plane of pure tonal
+    forms it has somehow been supposed that she had neither a power nor a
+    desire for expression. An Italian symphony seems almost an anomaly,&mdash;as
+    strange a product as was once a German opera.
+</p>
+<p>
+    The blunt truth of actual events is that to-day a renascence has begun,
+    not merely in melodic and dramatic lines; there is a new blending of the
+    racial gift of song with a power of profound design.<a href="#note74">[74]</a> Despite all
+    historical philosophy, here is a new gushing forth from ancient fount,
+    of which the world may rejoice and be refreshed.
+</p>
+
+<p>
+    In a <a name="sgambati" href="#note75">SYMPHONY BY GIOVANNI SGAMBATI,[75] IN D MAJOR</a>, the form flows with
+    such unpremeditated ease that it seems all to the manner born. It may be
+    a new evidence that to-day national lines, at least in art, are
+    vanishing; before long the national quality will be imperceptible and
+    indeed irrelevant.
+</p>
+
+<p>
+    To be sure we see here an Italian touch in the simple artless stream of
+    tune, the warm resonance, the buoyant spring of rhythm. The first
+    movement stands out in the symphony with a subtler design than all the
+    rest, though it does not lack the ringing note of jubilation.
+</p>
+<p>
+    The Andante is a pure lyric somewhat new in design and in feeling. It
+    shows, too, an interesting contrast of opposite kinds of slower
+    melody,&mdash;the one dark-hued and legend-like, from which the poet wings
+    his flight to a hymnal rhapsody on a clear choral theme, with a rich
+    setting of arpeggic harmonies. A strange halting or limping rhythm is
+    continued throughout the former subject. In the big climax the feeling
+    is strong of some great chant or rite, of vespers or Magnificat. Against
+    convention the ending returns to the mood of sad legend.
+</p>
+<p>
+    The Scherzo is a sparkling chain of dancing tunes of which the third, of
+    more intimate hue, somehow harks back to the second theme of the first
+    movement.
+</p>
+<p>
+    A Trio, a dulcet, tender song of the wood, precedes the return of the
+    Scherzo that ends with the speaking cadence from the first Allegro.
+</p>
+<p>
+    A Serenata must be regarded as a kind of Intermezzo, in the Cantilena
+    manner, with an accompanying rhythm suggesting an ancient Spanish dance.
+    It stands as a foil between the gaiety of the Scherzo and the jubilation
+    of the Finale.
+</p>
+<p>
+    The Finale is one festive idyll, full of ringing tune and almost bucolic
+    lilt of dance. It reaches one of those happy jingles that we are glad to
+    hear the composer singing to his heart's content.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="martucci" href="#note76">GIUSEPPE MARTUCCI. SYMPHONY IN D MINOR.[76]
+    </a>
+</center>
+
+
+<p>
+    The very naturalness, the limpid flow of the melodic thought seem to
+    resist analysis of the design. The listener's perception must be as
+    naïve and spontaneous as was the original conception.
+</p>
+<p>
+    There is, on the one hand, no mere adoption of a classical schedule of
+    form, nor, on the other, the over-subtle workmanship of modern schools.
+    Fresh and resolute begins the virile theme with a main charm in the
+    motion itself. It lies not in a tune here or there, but in a dual play
+    of responsive phrases at the start, and then a continuous flow of
+    further melody on the fillip of the original rhythm, indefinable of
+    outline in a joyous chanting of bass and treble.
+</p>
+<p>
+    A first height reached, an expressive line in the following lull rises
+    in the cellos, that is the essence of the contrasting idea, followed
+    straightway by a brief phrase of the kind, like some turns of peasant
+    song, that we can hear contentedly without ceasing.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music216.jpg" alt="music216" width="400" height="165"></p>
+<p>
+    Again, as at the beginning, such a wealth of melodies sing together that
+    not even the composer could know which he intended in chief. We merely
+    feel, instead of the incisive ring of the first group, a quieter power
+    of soothing beauty. Yet, heralded by a prelude of sweet strains, the
+    expressive line now enters like a queenly figure over a new rhythmic
+    motion, and flows on through delighting glimpses of new harmony to a
+    striking climax.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music217.jpg" alt="music217" width="400" height="175"></p>
+<p>
+    The story, now that the characters have appeared, continues in the main
+    with the second browsing in soft lower strings, while the first (in its
+    later phase) sings above in the wood transformed in mildness, though for
+    a nonce the first motive strikes with decisive vigor. Later is a new
+    heroic mood of minor, quickly softened when the companion melody
+    appears. A chapter of more sombre hue follows, all with the lilt and
+    pace of romantic ballad. At last the main hero returns as at the
+    beginning, only in more splendid panoply, and rides on 'mid clattering
+    suite to passionate triumph. And then, with quieter charm, sings again
+    the second figure, with the delighting strains again and again
+    rehearsed, matching the other with the power of sweetness.
+</p>
+<p>
+    One special idyll there is of carolling soft horn and clarinet, where a
+    kind of lullaby flows like a distilled essence from the gentler play&mdash;of
+    the heroic tune, before its last big verse, with a mighty flow of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music218.jpg" alt="music218" width="400" height="129"></p>
+<p style="text-indent: 0em">
+    sequence, and splendidly here the second figure crowns the pageant. At
+    the passionate height, over long ringing chord, the latter sings a
+    sonorous line in lengthened notes of the wood and horns. The first
+    climax is here, in big coursing strains, then it slowly lulls, with a
+    new verse of the idyll, to a final hush.
+</p>
+<p>
+    The second movement is a brief lyric with one main melody, sung at first
+    by a solo cello amidst a weaving of muted strings; later it is taken up
+    by the first violins. The solo cello returns for a further song in duet
+    with the violins, where the violas, too, entwine their melody, or the
+    cello is joined by the violins.
+</p>
+<p>
+    Now the chief melody returns for a richer and varied setting with horns
+    and woodwind. At last the first violins, paired in octave with the
+    cello, sing the full melody in a madrigal of lesser strains.
+</p>
+<p>
+    An epilogue answers the prologue of the beginning.
+</p>
+<p>
+    Equally brief is the true Scherzo, though merely entitled Allegretto,&mdash;a
+    dainty frolic without the heavy brass, an indefinable conceit of airy
+    fantasy, with here and there a line of sober melody peeping between the
+    mischievous pranks. There is no contrasting Trio in the middle; but just
+    before the end comes a quiet pace as of mock-gravity, before a final
+    scamper.
+</p>
+<p>
+    A preluding fantasy begins in the mood of the early Allegro; a wistful
+    melody of the clarinet plays more slowly between cryptic reminders of
+    the first theme of the symphony. In sudden <i>Allegro risoluto</i> over
+    rumbling bass of strings, a mystic call of horns, harking far back,
+    spreads its echoing ripples all about till it rises in united tones,
+    with a clear, descending answer, much like the original first motive.
+    The latter now continues in the bass in large and smaller pace beneath a
+    new tuneful treble of violins, while the call still roams a free course
+    in the wind. Oft repeated is this resonation in paired harmonies, the
+    lower phrase like an "obstinate bass."
+</p>
+<p>
+    Leaving the fantasy, the voices sing in simple choral lines a hymnal
+    song in triumphal pace, with firm cadence and answer, ending at length
+    in the descending
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music219.jpg" alt="music219" width="400" height="178"></p>
+<p style="text-indent: 0em">
+    phrase. The full song is repeated, from the entrance of the latter, as
+    though to stress the two main melodies. The marching chorus halts
+    briefly when the clarinet begins again a mystic verse on the strain of
+    the call, where the descending phrase is intermingled in the horns and
+    strings.
+</p>
+<p>
+    There is a new horizon here. We can no longer speak with
+    half-condescension of Italian simplicity, though another kind of primal
+    feeling is mingled in a breadth of symphonic vein. We feel that our
+    Italian poet has cast loose his leading strings and is revealing new
+    glimpses through the classic form.
+</p>
+<p>
+    Against a free course of quicker figures rises in the horns the simple
+    melodic call, with answer and counter-tunes in separate discussion. Here
+    comes storming in a strident line of the inverted melody in the bassoon,
+    quarrelling with the original motive in the clarinet. Then a group sing
+    the song in dancing trip, descending against the stern rising theme of
+    violas; or one choir follows on the heels of another. Now into the play
+    intrudes the second melody, likewise in serried chase of imitation.
+</p>
+<p>
+    The two themes seem to be battling for dominance, and the former wins,
+    shouting its primal tune in brass and wood, while the second sinks to a
+    rude clattering rhythm in the bass. But out of the clash, where the
+    descending phrase recurs in the basses, the second melody emerges in
+    full sonorous song. Suddenly at the top of the verse rings out in
+    stentorian brass the first theme of all the symphony to the opening
+    chord of the Finale, just as it rang at the climax in the beginning.
+</p>
+<p>
+    A gentle duet of violins and clarinet seems to bring back the second
+    melody of the first movement, and somehow, in the softer mood, shows a
+    likeness with the second of the Finale. For a last surprise, the former
+    idyll (of the first Allegro) returns and clearly proves the original
+    guise of our latest main melody. As though to assure its own identity as
+    prevailing motto, it has a special celebration in the final joyous
+    revel.
+</p>
+<a name="2HCH0020"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XX
+</h2>
+<h3>
+    EDWARD ELGAR. AN ENGLISH SYMPHONY<a href="#note77">[77]</a>
+</h3>
+
+<p>
+    There is a rare nobility in the simple melody, the vein of primal hymn,
+    that marks the invocation,&mdash;in solemn wood against stately stride of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music220.jpg" alt="music220" width="400" height="189"></p>
+<p style="text-indent: 0em">
+    lower strings. A true ancient charm is in the tune, with a fervor at the
+    high point and a lilt almost of lullaby,&mdash;till the whole chorus begins
+    anew as though the song of marching hosts. Solemnity is the essence
+    here, not of artificial ceremony nor of rhymeless chant,&mdash;rather of
+    prehistoric hymn.
+</p>
+<p>
+    In passionate recoil is the upward storming song (Allegro) where a group
+    of horns aid the surging crest of strings and wood,&mdash;a resistless motion
+    of massed melody. Most thrilling after the first climax is the sonorous,
+    vibrant stroke of the bass in the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music221.jpg" alt="music221" width="400" height="201"></p>
+<p style="text-indent: 0em">
+    recurring melody. As it proceeds, a new line of bold tune is stirred
+    above, till the song ends at the highest in a few ringing, challenging
+    leaps of chord,&mdash;ends or, rather merges in a relentless, concluding
+    descent. Here, in a striking phrase of double
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music222.jpg" alt="music222" width="400" height="347"></p>
+<p style="text-indent: 0em">
+    song, is a touch of plaint that, hushing, heralds the coming gentle
+    figure. We are sunk in a sweet romance, still of ancientest lore, with a
+    sense of lost bliss in the wistful cadence. Or do these entrancing
+    strains lead merely to the broader melody that moves with queenly tread
+    (of descending violins) above a soft murmuring of lower figures? It is
+    taken up
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music223.jpg" alt="music223" width="400" height="212"></p>
+<p style="text-indent: 0em">
+    in a lower voice and rises to a height of inner throb rather than of
+    outer stress. The song departs as it came, through the tearful plaint of
+    double phrase. Bolder accents merge suddenly into the former impassioned
+    song. Here is the real sting of warrior call, with shaking brass and
+    rolling drum, in lengthened swing against other faster sounds,&mdash;a revel
+    of heroics, that at the end breaks afresh into the regular song.
+</p>
+<p>
+    Yet it is all more than mere battle-music. For here is a new passionate
+    vehemence, with loudest force of vibrant brass, of those dulcet strains
+    that preceded the queenly melody. An epic it is, at the least, of
+    ancient flavor, and the sweeter romance here rises to a tempest more
+    overpowering than martial tumult.
+</p>
+<p>
+    It is in the harking back to primal lore that we seem to feel true
+    passion at its best and purest, as somehow all truth of legend, proverb
+    and fable has come from those misty ages of the earth. The drooping
+    harmonies merge in the returning swing of the first solemn hymn,&mdash;a mere
+    line that is broken by a new tender appeal, that, rising to a moving
+    height,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music224.jpg" alt="music224" width="400" height="191"></p>
+<p style="text-indent: 0em">
+    yields to the former plaint (of throbbing thirds).
+</p>
+<p>
+    A longer elegy sings, with a fine poignancy, bold and new in the very
+    delicacy of texture, in the sharp impinging of these gentlest sounds. In
+    the depths of the dirge suddenly, though quietly, sounds the herald
+    melody high in the wood, with ever firmer cheer, soon in golden horns,
+    at last in impassioned strings, followed by the wistful motive.
+</p>
+<p>
+    A phase here begins as of dull foreboding, with a new figure stalking in
+    the depths and, above, a brief sigh in the wind. In the growing stress
+    these figures sing from opposite quarters, the sobbing phrase below,
+    when suddenly the queenly melody stills the tumult. It is answered by a
+    dim, slow line of the ominous motive. Quicker echoes of the earlier
+    despond still flit here and there, with gleams of joyous light. The
+    plaintive (dual) song returns and too the tender appeal, which with its
+    sweetness at last wakens the buoyant spirit of the virile theme.
+</p>
+<p>
+    And so pass again the earlier phases of resolution with the masterful
+    conclusion; the tearful accents; the brief verse of romance, and the
+    sweep of queenly figure, rising again to almost exultation. But here,
+    instead of tears and recoil, is the brief sigh over sombre harmonies,
+    rising insistent in growing volume that somehow conquers its own mood. A
+    return of the virile motive is followed at the height by the throbbing
+    dual song with vehement stress of grief, falling to lowest echoes.
+</p>
+<p>
+    Here begins the epilogue with the original solemn hymn. Only it is now
+    entwined with shreds and memories of romance, flowing tranquilly on
+    through gusts of passion. And there is the dull sob with the sudden
+    gleam of joyous light. But the hymn returns like a sombre solace of
+    oblivion,&mdash;though there is a final strain of the wistful romance, ending
+    in sad harmony.
+</p>
+<p>
+    <i>II.&mdash;Allegro molto.</i> The Scherzo (as we may venture to call it) begins
+    with a breath of new harmony, or is it a blended magic of rhythm, tune
+    and chord? Far more than merely bizarre, it calls up a vision of Celtic
+    warriors, the wild, free spirit of Northern races. The rushing jig or
+    reel is halted
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music225.jpg" alt="music225" width="400" height="195"></p>
+<p style="text-indent: 0em">
+    anon by longer notes in a drop of the tune and instantly returns to the
+    quicker run. Below plays a kind of drum-roll of rumbling strings. Other
+    revelling pranks appear, of skipping wood, rushing harp and dancing
+    strings, till at last sounds a clearer tune, a restrained war-march with
+    touch of terror in the soft subdued chords, suddenly growing to
+    expressive
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music226.jpg" alt="music226" width="400" height="171"></p>
+<p style="text-indent: 0em">
+    volume as it sounds all about, in treble and in bass.
+</p>
+<p>
+    At last the war-song rings in full triumphant blast, where trumpets and
+    the shrill fife lead, and the lower brass, with cymbals and drums (big
+    and little) mark the march. Then to the returning pranks the tune roars
+    in low basses and reeds, and at last a big conclusive phrase descends
+    from the height to meet the rising figure of the basses.
+</p>
+<p>
+    Now the reel dances in furious tumult (instead of the first whisper) and
+    dies down through the slower cadence.
+</p>
+<p>
+    An entirely new scene is here. To a blended tinkle of harp, reeds and
+    high strings sounds a delicate air, quick and light, yet with a tinge of
+    plaint that may be a part of all Celtic song. It were rude to spoil
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music227.jpg" alt="music227" width="400" height="134"></p>
+<p style="text-indent: 0em">
+    its fine fragrance with some rough title of meaning; nor do we feel a
+    strong sense of romance, rather a whim of Northern fantasy.
+</p>
+<p>
+    Over a single note of bass sings a new strain of elegy, taken up by
+    other voices, varying with the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music228.jpg" alt="music228" width="400" height="86"></p>
+<p style="text-indent: 0em">
+    tinkling air. Suddenly in rushes the first reel, softly as at first; but
+    over it sings still the new sad tune, then yields to the wild whims and
+    pranks that lead to the war-song in resonant chorus, joined at the
+    height by the reel below. They change places, the tune ringing in the
+    bass. In the martial tumult the tinkling air is likewise infected with
+    saucy vigor, but suddenly retires abashed into its shell of fairy sound,
+    and over it sings the elegy in various choirs. The tinkling melody falls
+    suddenly into a new flow of moving song, rising to pure lyric fervor.
+    The soft air has somehow the main say, has reached the high point, has
+    touched the heart of the movement. Expressively it slowly sinks away
+    amid echoing phrases and yields to the duet of elegy and the first reel.
+    But a new spirit has appeared. The sting of war-song is gone. And here
+    is the reel in slow reluctant pace. After another verse of the fairy
+    tune, the jig plays still slower, while above sings a new melody. Still
+    slower the jig has fallen almost to funeral pace, has grown to a new
+    song of its own, though, to be sure, brief reminders of the first dance
+    jingle softly here and there. And now the (hushed) shadow of the
+    war-song in quite slower gait strides in lowest basses and passes
+    quietly straight into the Adagio.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music229.jpg" alt="music229" width="400" height="187"></p>
+<p>
+    <i>III.</i>&mdash;Assured peace is in the simple sincere melody, rising to a glow
+    of passion. But&mdash;is this a jest of our poet? Or rather now we see why
+    there was no halt at the end of the Scherzo. For the soothing melody is
+    in the very notes of the impish reel,&mdash;is the same tune.<a href="#note78">[78]</a> Suddenly
+    hushing, the song hangs on high over delicate minor harmonies.
+</p>
+
+<p>
+    In exquisite hues an intimate dialogue ensues, almost too personal for
+    the epic vein, a discourse or madrigal of finest fibre that breaks (like
+    rays of setting sun) into a melting cadence of regret. We are doubly
+    thrilled in harking back to the sweet, wistful romance, the strain of
+    the first movement.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music230.jpg" alt="music230" width="330" height="166"></p>
+<p>
+    Across the gauzy play, horns and wood blow a slow phrase, like a motto
+    of Fate in the sombre harmony, with one ardent burst of pleading.
+</p>
+<p>
+    In clearer articulation sings a dual song, still softly o'ercast with
+    sweet sadness, ever richer in the harmonies of multiple strings, tipped
+    with the light mood,&mdash;and again the wistful cadence. Siren figures of
+    entrancing grace that move amid the other melody, bring enchantment that
+    has no cheer, nor escape the insistent sighing phrase. Once more come
+    the ominous call and the passionate plea, then assurance with the
+    returning main melody in renewed fervor. Phases of dual melody end again
+    with the wistful cadence. The tranquil close is like one sustained fatal
+    farewell, where the fairy figures but stress the sad burden.
+</p>
+<p>
+    <i>IV.</i>&mdash;The beginning is in lowest depths (Largo). First is the stalking
+    figure of earliest movement, from the moment of despond. It is answered
+    by a steadily striding theme, almost martial, save for the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music231.jpg" alt="music231" width="400" height="90"></p>
+<p style="text-indent: 0em">
+    slowness of pace. Not unlike the hymn of the first prologue in line of
+    tune, it bears a mood of dark resignation that breaks presently into the
+    touching plea of the wistful cadence.
+</p>
+<p>
+    The whole is a reflective prologue to the Finale: a deep meditation from
+    which the song may roll forth on new spring. The hymn has suddenly
+    entered with a subtly new guise; for the moment it seems part of the
+    poignant sigh; it is as yet submerged in a flood of gloom and regret;
+    and the former phrases still stride and stalk below. In a wild climax of
+    gloom we hear the former sob, earlier companion of the stalking figure.
+</p>
+<p>
+    Hymnal strains return,&mdash;flashes of heavenly light in the depths of hell,
+    and one passionate sigh of the melting cadence.
+</p>
+<p>
+    <i>Allegro</i>,&mdash;we are carried hack to the resolute vigor of the earlier
+    symphony, lacking the full fiery charm, but ever striving and stirring,
+    like Titans rearing mountain piles, not without the cheer of toil
+    itself. At the height comes a burst of the erst yearning cadence, but
+    there is a new masterful accent; the wistful edge does not return till
+    the echoing phrases sink away in the depths.
+</p>
+<p>
+    A new melody starts soaring on the same wing of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music232.jpg" alt="music232" width="400" height="178"></p>
+<p style="text-indent: 0em">
+    blended striving and yearning of which all this song is fraught. In its
+    broader sweep and brighter cheer it is like the queenly melody of the
+    first movement.
+</p>
+<p>
+    The Titan toil stirs strongly below the soft cadence; the full, fierce
+    ardor mounts heavenward. Phases now alternate of insistent rearing on
+    the strenuous motive and of fateful submission in the marching strain,
+    that is massed in higher and bigger chorus. As gathers the stress of
+    climax, the brass blowing a defiant blast, the very vehemence brings a
+    new resolution that is uttered in the returning strenuous phrase.
+</p>
+<p>
+    Again rises the towering pile. At the thickest the high horns blow loud
+    a slow, speaking legend,&mdash;the farewell motive, it seems, from the end of
+    Adagio, fierce energy struggling with fatal regret gnawing at the heart.
+</p>
+<p>
+    Gripping is the appeal of the sharp cry almost of anguish into which the
+    toiling energy is suddenly resolved. Again the fateful march enters, now
+    in heroic fugue of brass and opposite motion of strings and reed,&mdash;all
+    overwhelmed with wild recurring pangs of regret.
+</p>
+<p>
+    And so "double, double, toil and trouble," on goes the fugue and follows
+    the arduous climb (into the sad motto in the horns), each relieving the
+    other, till both yield again to the heart-breaking cry.
+</p>
+<p>
+    The cheerier melody here re-enters and raises the mood for the nonce.
+    Soon it falls amid dim harmonies. Far in the depths now growls the dull
+    tread, answered by perverted line of the hymn.
+</p>
+<p>
+    A mystic verse sounds over pious chords of harp in the tune of the
+    march, which is sung by antiphonal choirs of strings,&mdash;later with fuller
+    celestial chorus, almost in rapture of heavenly resignation. Only it is
+    not final; for once again returns the full struggle of the beginning,
+    with the farewell-legend, and in highest passion the phrase of regret
+    rung again and again&mdash;till it is soothed by the tranquil melody. The
+    relentless stride of march too reaches a new height, and one last,
+    moving plaint. When the fast chasing cries are in closest tangle,
+    suddenly the hymn pours out its benediction, while the cries have
+    changed to angelic acclaim. Here is the transfigured song in full
+    climactic verse that fulfils the promise of the beginning. A touch of
+    human (or earthly joy) is added in an exultant strain of the sweeping
+    melody that unites with the hymn at the close.
+</p>
+<a name="2HCH0021"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br><br><br><br></div>
+
+<h2>
+    CHAPTER XXI
+</h2>
+<h3>
+    SYMPHONIES IN AMERICA
+</h3>
+<p>
+    When we come to a view of modern music in symphonic design, written in
+    America, we are puzzled by a new phase of the element of nationalism.
+    For here are schools and styles as different as of far corners of
+    Europe. Yet they can be called nothing else than American, if they must
+    have a national name. In the northern centre whence a model orchestra
+    has long shed a beneficent influence far afield, the touch of new French
+    conceits has colored some of the ablest works. Elsewhere we have cited a
+    symphony more in line with classical tradition.<a href="#note79">[79]</a>
+</p>
+
+<p>
+    Perhaps most typical is a symphony of Hadley where one feels, with other
+    modern tradition, the mantle of the lamented MacDowell, of whom it may
+    be said that he was first to find in higher reaches of the musical art
+    an utterance of a purely national temper.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="hadley" href="#note80">
+    <i>HENRY HADLEY. SYMPHONY NO. 3, B MINOR.</i>[80]</a>
+</center>
+
+<p>
+    With virile swing the majestic melody strides in the strings, attended
+    by trooping chords of wood and brass, all in the minor, in triple
+    rhythm. In
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music233.jpg" alt="music233" width="400" height="208"></p>
+<p style="text-indent: 0em">
+    the bass is a frequent retort to the themal phrase. For a moment a
+    dulcet line steals in, quickly broken by the returning martial stride of
+    stentorian horns, and of the main theme in full chords. Strange, though,
+    how a softer, romantic humor is soon spread over the very discussion of
+    the martial theme, so that it seems the rough, vigorous march is but the
+    shell for the kernel of tender romance,&mdash;the pageant that precedes the
+    queenly figure. And presently, <i>piu tranquillo</i>, comes the fervent lyric
+    song that may indeed be the chief theme in poetic import, if not in
+    outer rank. After a moving verse in the strings,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music234.jpg" alt="music234" width="400" height="202"></p>
+<p style="text-indent: 0em">
+    with an expressive strain in some voice of the woodwind or a ripple of
+    the harp, it is sung in tense chorus of lower wood and horns,&mdash;soon
+    joined by all the voices but the martial brass, ending with a soft echo
+    of the strings.
+</p>
+<p>
+    Now in full majesty the stern stride of first theme is resumed, in
+    faster insistence,&mdash;no longer the mere tune, but a spirited extension
+    and discussion, with retorts between the various choirs. Here the
+    melodious march is suddenly felt in the bass (beneath our feet, as it
+    were) of lowest brass and strings, while the noisy bustle continues
+    above; then, changing places, the theme is above, the active motion
+    below.
+</p>
+<p>
+    Long continues the spirited clatter as of warlike march till again
+    returns the melting mood of the companion melody, now sung by the
+    expressive horn, with murmuring strings. And there are enchanting
+    flashes of tonal light as the song passes to higher choirs. The lyric
+    theme wings its rapturous course to a blissful height, where an
+    intrusion of the main motive but halts for the moment the returning
+    tender verse.
+</p>
+<p>
+    When the first vigorous phrase returns in full career, there is somehow
+    a greater warmth, and the dulcet after-strain is transfigured in a glow
+    greater almost than of the lyric song that now follows with no less
+    response of beauty. In the final spirited blending of both melodies the
+    trumpets sound a quicker pace of the main motive.
+</p>
+<p>
+    In the Andante (<i>tranquillo</i>) the sweet tinkle of church-bells with
+    soft chanting horns quickly defines the scene. Two voices of the
+    strings, to the
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music235.jpg" alt="music235" width="400" height="199"></p>
+<p style="text-indent: 0em">
+    continuing hum of the bells, are singing a responsive song that rises in
+    fervor as the horns and later the woodwind join the strings. Anon will
+    sound the simple tune of the bells with soft harmonies, like echoes of
+    the song,&mdash;or even the chant without the chimes.
+</p>
+<p>
+    In more eager motion,&mdash;out of the normal measure of bells and hymn,
+    breaks a new song in minor with a touch of passion, rising to a burst of
+    ardor. But it passes, sinking away before a new phase,&mdash;a bucolic
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music236.jpg" alt="music236" width="400" height="204"></p>
+<p style="text-indent: 0em">
+    fantasy of trilling shepherd's reed (in changed, even pace), supported
+    by strumming strings. The sacred calm and later passion have yielded to
+    a dolorous plaint, like the dirge of the Magyar plains. Suddenly the
+    former fervor returns with strains of the second melody amidst urging
+    motion (in the triple pace) and startling rushes of harp-strings. At the
+    height, trumpets blare forth the first melody, transformed from its
+    earlier softness, while the second presses on in higher wood and
+    strings; the trombones relieve the trumpets, with a still larger chorus
+    in the romantic song; in final exaltation, the basses of brass and
+    strings sound the first melody, while the second still courses in treble
+    voices.
+</p>
+<p>
+    Of a sudden, after a lull, falls again the tinkle of sacred chimes, with
+    a verse each of the two main melodies.
+</p>
+<p>
+    The Scherzo begins with a Saltarello humor, as of airy faun, with a
+    skipping theme ever accompanied by a lower running phrase and a prancing
+    trip of
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music237.jpg" alt="music237" width="400" height="202"></p>
+<p style="text-indent: 0em">
+    strings, with a refrain, too, of chirruping woodwind. Later the skipping
+    phrase gains a melodic cadence. But the main mood is a revel of gambols
+    and pranks of rhythm and harmony on the first phase.
+</p>
+<p>
+    In the middle is a sudden shift of major tone and intimate humor, to a
+    slower pace. With still a semblance of dance, a pensive melody sings in
+    the cellos; the graceful cadence is rehearsed in a choir
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music238.jpg" alt="music238" width="400" height="175"></p>
+<p style="text-indent: 0em">
+    of woodwind, and the song is taken up by the whole chorus. As a pretty
+    counter-tune grows above, the melody sings below, with a blending of
+    lyric feeling and the charm of dance. At a climactic height the horns,
+    with clumsy grace, blare forth the main lilting phrase.
+</p>
+<p>
+    The song now wings along with quicker tripping counter-tunes that slowly
+    lure the first skipping tune back into the play after a prelude of high
+    festivity. New pranks appear,&mdash;as of dancing strings against a stride of
+    loud, muted horns. Then the second (pensive) melody returns, now above
+    the running counter-tune. At last, in faster gait, to the coursing of
+    quicker figures, the (second) melody rings out in choir of brass in
+    twice slower, stately pace. But the accompanying bustle is merely
+    heightened until all four horns are striking together the lyric song. At
+    the end is a final revel of the first dancing tune.
+</p>
+<p>
+    The Finale, which bears the unusual mark <i>Allegro con giubilio</i>, begins
+    with a big festive march that may seem to have an added flavor of old
+    English merrymaking. But as in the other cantos of the poem there
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music239.jpg" alt="music239" width="400" height="176"></p>
+<p style="text-indent: 0em">
+    is here, too, an opposite figure and feeling. And the more joyous the
+    gaiety, the more sweetly wistful is the recoil. Nay there is in this
+    very expressive strain, beautifully woven in strings, harp, woodwind and
+    horns, a vein of regret that grows rather than lessens, whenever the
+    melody appears alone. It is like the memory, in the midst of festival,
+    of some blissful moment lost forever.
+</p>
+<p>
+    Indeed, the next phase seems very like a disordered chase of stray
+    memories; for here a line of martial air is displaced by a pensive
+    strain which in
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music240.jpg" alt="music240" width="400" height="360"></p>
+<p style="text-indent: 0em">
+    turn yields to the quick, active tune that leads to a height of
+    celebration.
+</p>
+<p>
+    But here is a bewildering figure on the scene: Lustily the four horns
+    (helped by the strings) blow in slow notes against the continuing motive
+    an expressive melody. Slowly it breaks upon our ears as the wistful air
+    that followed the chimes of Sunday bells. It has a stern, almost sombre
+    guise, until it suddenly glows in transfigured light, as of a choir of
+    celestial brass.
+</p>
+<p>
+    Slowly we are borne to the less exalted pitch of the first festive
+    march, and here follows, as at first, the expressive melody where each
+    hearer may find his own shade of sadness. It does seem to reach a true
+    passion of regret, with poignant sweet sighs.
+</p>
+<p>
+    At length the sadness is overcome and there is a new animation as
+    separate voices enter in fugal manner in the line of the march. Now the
+    festive tune holds sway in lower pace in the basses; but then rings on
+    high in answer&mdash;the wistful melody again and again, in doubled and twice
+    redoubled pace.
+</p>
+<p>
+    When we hear the <i>penseroso</i> melody once more at the end, we may feel
+    with the poet a state of resigned cheer.
+</p>
+<p>
+    A remarkable work that shows the influence of modern French harmony
+    rather than its actual traits, is a <a name="strube">SYMPHONY BY GUSTAV
+    STRUBE</a>.<a href="#note81">[81]</a> It is
+    difficult to resist the sense of a strain for bizarre harmony, of a
+    touch of preciosity. The real business of these harmonies is for
+    incidental pranks, with an after-touch that confesses the jest, or
+    softens it to a lyric utterance. It cannot be denied that the moving
+    moments in this work come precisely in the release of the strain of
+    dissonance, as in the returning melody of the Adagio. Only we may feel
+    we have been waiting too long. The desert was perhaps too long for the
+    oasis. <i>Est modus in rebus</i>: the poet seems niggardly with his melody;
+    he may weary us with too long waiting, with too little staying comfort.
+    He does not escape the modern way of symbolic, infinitesimal melody, so
+    small that it must, of course, reappear. It is a little like the
+    wonderful arguments from ciphers hidden in poetry.
+</p>
+
+<p>
+    It cannot he denied that the smallness of phrase does suggest a
+    smallness of idea. The plan of magic motive will not hold <i>ad
+    infinitesimum</i>. As the turn of the triplet, in the first movement,
+    twists into a semblance of the Allegro theme, we feel like wondering
+    with the old Philistine:
+</p>
+    <blockquote>
+      <blockquote>
+        <blockquote>
+          <blockquote>
+            <blockquote>
+              <blockquote>
+    ... "How all this difference can be<br>
+    'Twixt tweedle-dum and tweedle-dee!"
+
+              </blockquote>
+            </blockquote>
+          </blockquote>
+        </blockquote>
+      </blockquote>
+</blockquote>
+
+<p>
+    But there is the redeeming vein of lyric melody with a bold fantasy of
+    mischievous humor and a true climax of a clear poetic design. One reason
+    seems sometimes alone to justify this new license, this new French
+    revolution: the deliverance from a stupid slavery of rules,&mdash;if we would
+    only get the spirit of them without the inadequate letter. Better, of
+    course, the rules than a fatal chaos. But there is here in the bold
+    flight of these harmonies, soaring as though on some hidden straight
+    path, a truly Promethean utterance.
+</p>
+<p>
+    It is significant, in the problem of future music, that of the
+    symphonies based upon recent French ideas, the most subtly conceived and
+    designed should have been written in America.
+</p>
+<p>
+    <i>I.</i>&mdash;In pale tint of harmony sways the impersonal phrase that begins
+    with a descending tone. We may
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music241.jpg" alt="music241" width="400" height="233"></p>
+<p style="text-indent: 0em">
+    remember<a href="#note82">[82]</a> how first with the symphony came a clear sense of tonal
+    residence. It was like the age in painting when figures no longer hung
+    in the gray air, when they were given a resting-place, with trees and a
+    temple.
+</p>
+
+<p>
+    Here we find just the opposite flight from clear tonality, as if
+    painting took to a Japanese manner, sans aught of locality. Where an
+    easy half-step leads gently somewhere, a whole tone sings instead.
+    Nothing obvious may stand.
+</p>
+<p>
+    It marks, in its reaction, the excessive stress of tonality and of
+    simple colors of harmony. The basic sense of residence is not abandoned;
+    there is merely a bolder search for new tints, a farther straying from
+    the landmarks.
+</p>
+<p>
+    Soon our timid tune is joined by a more expressive line that rises in
+    ardent reaches to a sudden tumult, with a fiery strain of trumpets where
+    we catch a glimpse of the triplet figure. After a dulcet lullaby
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music242.jpg" alt="music242" width="400" height="395"></p>
+<p style="text-indent: 0em">
+    of the first air, the second flows in faster pace (<i>Allegro commodo</i>) as
+    the real text, ever with new blossoming variants that sing together in a
+    madrigal of tuneful voices, where the descending note still has a part
+    in a smooth, gliding pace of violins.
+</p>
+<p>
+    In gayer mood comes a verse of the inverted (Allegro) tune, with other
+    melodic guises hovering about. When the theme descends to the bass, the
+    original Andante phrase sings in the trumpet, and there is a chain of
+    entering voices, in growing agitation, in the main legend with the
+    quicker sprites dancing about. At the height, after the stirring song
+    of trumpets, we feel a passionate strife of resolve and regret; and
+    immediately after, the descending tone is echoed everywhere.
+</p>
+<p>
+    A balancing (second) theme now appears, in tranquil
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music243.jpg" alt="music243" width="400" height="230"></p>
+<p style="text-indent: 0em">
+    flow, but pressing on, at the end, in steady ascent as to Parnassian
+    summit. Later comes a new rejoinder in livelier mood, till it is lost in
+    a big, moving verse of the Andante song. But pert retorts from the
+    latest new tune again fill the air, then yield in attendance upon the
+    returning Allegro theme. Of subtle art is the woof of derived phrases. A
+    companion melody, that seems fraught of the text of the second subject,
+    sings with rising passion, while the lower brass blow lustily in
+    eccentric rhythm of the Allegro phrase and at the height share in the
+    dual triumph.
+</p>
+<p>
+    We feel a kinship of mood rather than of theme, a coherence that we
+    fear to relate to definite figures, though the descending symbol is
+    clear against the ascending. An idyllic dialogue, with the continuing
+    guise of the Allegro phrase turns to a gayer revel in the original pace,
+    with a brilliant blare of trumpets.
+</p>
+<p>
+    The free use of themes is shown in the opposite moods of the triplet
+    phrase, of sadness, as in Andante, or buoyant, in Allegro. Here are both
+    in close transition as the various verses return from the beginning,
+    entwined about the first strain of the Andante, gliding through the
+    descending tone into the second soothing song with the Parnassian
+    ascent.
+</p>
+<p>
+    A full verse of the first Andante melody sings at the heart of the plot,
+    followed by the strange daemonic play that keeps the mood within bounds.
+    Indeed, it returns once more as at first, then springs into liveliest
+    trip and rises to an Olympian height, with a final revel of the triplet
+    figure.
+</p>
+<p>
+    <i>II.</i>&mdash;With a foreshadowing drop of tone begins the prelude, not unlike
+    the first notes of the symphony,
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music244.jpg" alt="music244" width="400" height="212"></p>
+<p style="text-indent: 0em">
+    answered with a brief phrase. On the descending motive the main melody
+    is woven.
+</p>
+<p>
+    Tenderly they play together, the melody with the main burden, the
+    lighter prelude phrase in graceful accompaniment. But now the latter
+    sings in turn a serious verse, rises to a stormy height, the horns
+    proclaiming the passionate plea amid a tumultuous accord of the other
+    figures, and sinks in subdued temper. In a broader pace begins a new
+    line, though on the thread of the descending motive, and with the
+    entering phrase of the prelude winds to a climax of passion. The true
+    episode, of refuge and solace from the stress of tempest, is in a song
+    of the trumpet through a shimmering gauze of strings with glinting harp,
+    to a soft murmuring in the reeds.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music245.jpg" alt="music245" width="400" height="246"></p>
+<p>
+    In a new shade of tone it is echoed by the horn, then in a fervent close
+    it is blended with a guise of the prelude phrase, that now heralds the
+    main melody, in a duet of clarinet and violins. At last in the home
+    tone the horn sings amid the sweet tracery the parting verse, and all
+    about sounds the trist symbol of the first (descending) motive.
+</p>
+<p>
+    <i>III.</i>&mdash;The Scherzo is in one view a mad revel of demon pranks in a new
+    field of harmonies. Inconsequential though they may seem, there is a
+    real coherence, and, too, a subtle connection with the whole design.
+</p>
+<p>
+    To be sure, with the vagueness of tune that belongs to a school of
+    harmonic exploits a certain mutual relation of themes is a kind of
+    incident. The less defined the phrases, the easier it is to make them
+    similar.
+</p>
+<p>
+    Undoubted likeness there is between the main elfin figure and the first
+    phrase of the symphony.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music246.jpg" alt="music246" width="400" height="215"></p>
+<p style="text-indent: 0em">
+    The triplet is itself a kind of password throughout. With this multiple
+    similarity is a lack of the inner bond of outer contrast.
+</p>
+<p>
+    The mood of demon humor finds a native medium in the tricks of new
+    Gallic harmony. Early in the prelude we hear the descending tone, a
+    streak of sadness in the mirth. Answering the first burst is a strange
+    stroke of humor in the horn, and as if in
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music247.jpg" alt="music247" width="400" height="215"></p>
+<p style="text-indent: 0em">
+    serious balance, a smooth gliding phrase in the wood. Now the first
+    figure grows more articulate, romping and galloping into an ecstasy of
+    fun. A certain spirit of Till Eulenspiegel hovers about.
+</p>
+<p>
+    Out of the maze blows a new line in muted trumpets, that begins with the
+    inverted triplet figure, and in spite of the surrounding bedlam rises
+    almost into a tune. At the height the strange jest of the horns reigns
+    supreme.
+</p>
+<p>
+    From the mad gambols of the first figure comes a relief in sparkling
+    calls of the brass and stirring retorts in pure ringing harmonies. In
+    the next episode is a fall into a lyric mood as the latest figure glides
+    into even pace, singing amid gentlest pranks. Most tuneful of all
+    sounds is the answer in dulcet trumpet while, above, the first theme
+    intrudes softly.
+</p>
+<p>
+    The heart of the idyll comes in a song of the clarinet
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music248.jpg" alt="music248" width="400" height="223"></p>
+<p style="text-indent: 0em">
+    against strange, murmuring strings, ever with a soft answer of the lower
+    reed.
+</p>
+<p>
+    New invading sprites do not hem the flight of the melody. But at the
+    height a redoubled pace turns the mood back to revelling mirth with
+    broken bits of the horn tune. Indeed the crisis comes with a new rage of
+    this symbol of mad abandon, in demonic strife with the fervent song that
+    finally prevails.
+</p>
+<p>
+    The first theme returns with a new companion in the highest wood. A
+    fresh strain of serious melody is now woven about the former dulcet
+    melody of trumpet in a stretch of delicate poesy, of mingled mirth and
+    tenderness.&mdash;The harmonies have something of the infinitesimal sounds
+    that only insects hear. With all virtuous recoil, here we must confess
+    is a masterpiece of cacophonic art, a new world of tones hitherto
+    unconceived, tinkling and murmuring with the eerie charm of the
+    forest.&mdash;In the return of the first prelude is a touch of the descending
+    tone. From the final revelling tempest comes a sudden awakening. In
+    strange moving harmony sings slowly the descending symbol, as if
+    confessing the unsuccessful flight from regret. Timidly the vanquished
+    sprites scurry away.
+</p>
+<p>
+    <i>IV.</i>&mdash;The first notes of the Finale blend and bring back the main
+    motives. First is the descending tone, but firm and resolute, with the
+    following triplet in
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music249.jpg" alt="music249" width="400" height="106"></p>
+<p style="text-indent: 0em">
+    inversion of the Scherzo theme.
+</p>
+<p>
+    It is all in triumphant spirit. From the start the mood reigns, the art
+    for once is quite subordinate. Resonant and compelling is the motive of
+    horns and trumpets, new in temper, though harking back to the earlier
+    text, in its cogent ending. Splendid is
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music250.jpg" alt="music250" width="400" height="181"></p>
+<p style="text-indent: 0em">
+    the soaring flight through flashes of new chords. There is, we must
+    yield, something Promethean, of new and true beauty, in the bold path of
+    harmonies that the French are teaching us after a long age of slavish
+    rules.
+</p>
+<p>
+    The harking back is here better than in most modern symphonies with
+    their pedantic subtleties: in the resurgence of joyous mood, symbolized
+    by the inversion of phrase, as when the prankish elfin theme rises in
+    serious aspiration.
+</p>
+<p>
+    Out of these inspiriting reaches sings a new melody in canon of strings
+    (though it may relate to some shadowy memory), while in the bass rolls
+    the former ending phrase; then they romp in jovial turn of rhythm.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music251.jpg" alt="music251" width="400" height="194"></p>
+<p>
+    A vague and insignificant similarity of themes is a fault of the work
+    and of the style, ever in high disdain of vernacular harmony, refreshing
+    to be sure, in its saucy audacity, and anon enchanting with a ring of
+    new, fiery chord. As the sonorous theme sings in muted brass, picking
+    strings mockingly play quicker fragments, infecting the rest with
+    frivolous retorts, and then a heart-felt song pours forth, where the
+    accompanying cries have softened their mirth. Back they skip to a joyous
+    trip with at last pure ringing harmonies.
+</p>
+<p>
+    At the fervent pitch a blast of trumpets rises in challenging phrase, in
+    incisive clash of chord, with the early sense of Parnassian ascent. At
+    the end of this brave fanfare we hear a soft plea of the descending tone
+    that prompts a song of true lyric melody, with the continuing gentlest
+    touch of regret, all to a sweetly bewildering turn of pace. So tense
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music252.jpg" alt="music252" width="400" height="215"></p>
+<p style="text-indent: 0em">
+    and subtle an expression would utterly convert us to the whole harmonic
+    plan, were it not that just here, in these moving moments, we feel a
+    return to clearer tonality. But it is a joy to testify to so devoted a
+    work of art.
+</p>
+<p>
+    With the last notes of melody a new frisking tune plays in sauciest
+    clashes of chord, with an enchanting stretch of ringing brass. A long
+    merriment ensues in the jovial trip, where the former theme of horns has
+    a rising cadence; or the tripping tune sings in united chorus and again
+    through its variants. After a noisy height the dulcet melody (from the
+    descending tone) sings in linked sweetness. In the later tumult we rub
+    our eyes to see a jovial theme of the bass take on the lines of the
+    wistful melody. Finally, in majestic tread amid general joyous clatter
+    the brass blow the gentle song in mellowed tones of richest harmony.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="chadwick" href="#note83">
+    <i>CHADWICK.[83] SUITE SYMPHONIQUE (IN E FLAT).</i> </a>
+</center>
+
+
+<p>
+    With a rush of harp and higher strings the Suite begins on ardent wing
+    in exultant song of trumpets (with horns, bassoons and cellos) to quick
+    palpitating violins that in its higher flight is given over to upper
+    reeds and violas. It is answered by gracefully drooping melody of
+    strings and harps topped by the oboes, that lightly descends from the
+    heights with a cadence long delayed, like the circling flight of a great
+    bird before he alights. Straightway begins a more pensive turn of phrase
+    (of clarinet and lower strings) in distant tonal scene where now the
+    former (descending) answer sings timidly in alternating groups. The
+    pensive melody returns for a greater reach, blending with the original
+    theme (in all the basses) in a glowing duet of two moods as well as
+    melodies, rising to sudden brilliant height, pressing on to a full
+    return of the first exultant melody with long, lingering, circling
+    descent.
+</p>
+<p>
+    The listener on first hearing may be warned to have a sharp ear for all
+    kinds of disguises of the stirring theme and in a less degree, of the
+    second subject. What seems a new air in a tranquil spot, with strum of
+    harp,&mdash;and new it is as expression,&mdash;is our main melody in a kind of
+    inversion. And so a new tissue of song continues, all of the original
+    fibre, calming more and more from the first fierce glow. A tuneful
+    march-like strain now plays gently in the horns while the (inverted)
+    expressive air still sounds above.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music253.jpg" alt="music253" width="400" height="207"></p>
+<p>
+    When all has quieted to dim echoing answers between horn and reed, a
+    final strain bursts forth (like the nightingale's voice in the
+    surrounding stillness) in full stress of its plaint. And so, in most
+    natural course, grows and flows the main balancing melody that now
+    pours out its burden in slower, broader pace, in joint choirs of wood
+    and strings.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music254.jpg" alt="music254" width="400" height="445"></p>
+<p>
+    It is the kind of lyric spot where the full stream of warm feeling seems
+    set free after the storm of the first onset. In answer is a timid,
+    almost halting strain in four parts of the wood, echoed in strings. A
+    new agitation now stirs the joint choirs (with touches of brass), and
+    anon comes a poignant line of the inverted (main) theme. It drives in
+    rising stress under the spurring summons of trumpets and horns to a
+    celebration of the transfigured second melody, with triumphant cadence.
+    Nor does the big impulse halt here. The trumpets sound on midst a
+    spirited duet of inverted and original motives until the highest point
+    is reached, where, to quicker calls of the brass, in broadest pace the
+    main subject strikes its inverted tune in the trebles, while the bass
+    rolls its majestic length in a companion melody; trombones, too, are
+    blaring forth the call of the second theme.
+</p>
+<p>
+    Brief interludes of lesser agitation bring a second chorus on the
+    reunited melodies in a new tonal quarter.
+</p>
+<p>
+    In mystic echoing groups on the former descending answer of main theme
+    the mood deepens in darkening scene. Here moves in slow strides of
+    lowest brass a shadowy line of the second melody answered by a poignant
+    phrase of the first. Striking again and again in higher perches the dual
+    song reaches a climax of feeling in overpowering burst of fullest brass.
+    In masterful stride, still with a burden of sadness, it has a solacing
+    tinge as it ends in a chord with pulsing harp, that twice repeated leads
+    back to the stirring first song of main theme.
+</p>
+<p>
+    Thence the whole course is clear in the rehearsal of former melodies.
+    Only the pensive air has lost its melancholy. Here is again the lyric of
+    warm-hued horns with plaintive higher phrase, and the full romance of
+    second melody with its timid answer, where the nervous trip rouses
+    slowly the final exultation. Yet there is one more descent into the
+    depths where the main melody browses in dim searching. Slowly it wings
+    its flight upwards until it is greeted by a bright burst of the second
+    melody in a chorus of united brass. And this is but a prelude to the
+    last joint song, with the inverted theme above. A fanfare of trumpets on
+    the second motive ends the movement.
+</p>
+<p>
+    The Romanze is pure song in three verses where we cannot avoid a touch
+    of Scottish, with the little acclaiming phrases. The theme is given to
+    the saxophone (or cello) with obligato of clarinet and violas; the bass
+    is in bassoons and <i>pizzicato</i> of lower strings. One feels a special
+    gratitude to the composer who will write in these days a clear, simple,
+    original and beautiful melody.
+</p>
+<p>
+    The first interlude is a fantasy, almost a variant on the theme in a
+    minor melody of the wood, with a twittering phrase of violins. Later the
+    strings take up the theme in pure <i>cantilena</i> in a turn to the
+    major,&mdash;all in expressive song that rises to a fervent height. Though it
+    grows out of the main theme, yet the change is clear in a return to the
+    subject, now in true variation, where the saxophone has the longer notes
+    and the clarinet and oboe sing in concert.
+</p>
+<p>
+    There follows a pure interlude, vague in motive, full of dainty touches.
+    The oboe has a kind of <i>arioso</i> phrase with trilling of flutes and
+    clarinets, answered in trumpets and harp.
+</p>
+<p>
+    Later the first violins (on the G string) sing the main air with the
+    saxophone.
+</p>
+<p>
+    A double character has the third movement as the title shows, though in
+    a broadest sense it could all be taken as a Humoreske.
+</p>
+<p>
+    With a jaunty lilt of skipping strings the lower reeds strike the
+    capricious tune, where the full chorus soon falls in. The answering
+    melody, with more of sentiment, though always in graceful swing with
+    tricksy attendant figures, has a longer song. Not least charm has the
+    concluding tune that leads back to the whole melodious series.
+    Throughout are certain chirping notes that form the external connection
+    with the Humoreske that begins with strident theme (<i>molto robusto</i>) of
+    low strings, the whole chorus, xylophon and all, clattering about, the
+    high wood echoing like a band of giant crickets,&mdash;all in whimsical,
+    varying pace. The humor grows more graceful when the first melody of the
+    Intermezzo is lightly touched. The strange figure returns (in roughest
+    strings and clarinet) somewhat in ancient manner of imitation. Later the
+    chirruping answer recurs. Diminishing trills are echoed between the
+    groups.
+</p>
+<p>
+    Slowly the scene grows stranger. Suddenly in eerie harmonies of newest
+    French or oldest Tartar, here are the tricks and traits where meet the
+    extremes of latest Romantic and primeval barbarian. In this motley
+    cloak sounds the typical Yankee tune, first piping in piccolo, then
+    grunting in tuba. Here is Uncle Sam disporting himself merrily in
+    foreign garb and scene, quite as if at home. If we wished, we might see
+    a political satire as well as musical.
+</p>
+<p>
+    After a climax of the clownish mood we return to the Intermezzo
+    melodies.
+</p>
+<p>
+    The Finale begins in the buoyant spirit of the beginning and seems again
+    to have a touch of Scotch in the jaunty answer. The whole subject is a
+    group of phrases rather than a single melody.
+</p>
+<p>
+    Preluding runs lead to the simple descending line of treble with
+    opposite of basses, answered by the jovial phrase. In the farther course
+    the first theme prevails, answered with an ascending brief motive of
+    long notes in irregular ascent. Here follows a freer flow of the jolly
+    lilting tune, blending with the sterner descending lines.
+</p>
+<p>
+    Balancing this group is an expressive melody of different sentiment. In
+    its answer we have again the weird touch of neo-barbarism in a strain of
+    the reed, with dancing overtones of violins and harp, and strumming
+    chords on lower strings. Or is there a hint of ancient Highland in the
+    drone of alternating horns and bassoons?
+</p>
+<p>
+    Its brief verse is answered by a fervent conclusive line where soon the
+    old lilting refrain appears with new tricks and a big celebration of its
+    own and then of the whole madrigal of martial melody. It simmers down
+    with whims and turns of the skipping phrase into the quiet
+    (<i>tranquillo</i>) episode in the midst of the other stress.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music255.jpg" alt="music255" width="400" height="395"></p>
+<p>
+    The heart of the song is in the horns, with an upper air in the wood,
+    while low strings guard a gentle rhythm. A brief strain in the wind in
+    ardent temper is followed by another in the strings, and still a third
+    in joint strings and wood. (Again we must rejoice in the achievement of
+    true, simple, sincere melody.) The final glowing height is reached in
+    all the choirs together,&mdash;final that is before the brass is added with
+    a broader pace, that leads to the moving climax. As the horns had
+    preluding chords to the whole song, so a single horn sings a kind of
+    epilogue amid harmony of strings and other horns. Slowly a more vigorous
+    pulse is stirred, in an interlude of retorting trumpets.
+</p>
+<p>
+    Suddenly in the full energy of the beginning the whole main subject
+    sounds again, with the jolly lilt dancing through all its measures,
+    which are none too many. The foil of gentle melody returns with its
+    answer of eerie tune and harmonies. It seems as if the poet, after his
+    rude jest, wanted, half in amends, half on pure impulse, to utter a
+    strain of true fancy in the strange new idiom.
+</p>
+<p>
+    A new, grateful sound has again the big conclusive phrase that merges
+    into more pranks of the jaunty tune in the biggest revel of all, so that
+    we suspect the jolly jester is the real hero and the majestic figures
+    are, after all, mere background. And yet here follows the most tenderly
+    moving verse, all unexpected, of the quiet episode.
+</p>
+<p>
+    The end is a pure romp, <i>molto vivace</i>, mainly on the skipping phrase.
+    To be sure the stately figures after a festive height march in big,
+    lengthened pace; but so does the jolly tune, as though in mockery. He
+    breaks into his old rattling pace (in the Glockenspiel) when all the
+    figures appear together,&mdash;the big ones changing places just before the
+    end, where the main theme has the last say, now in the bass, amidst the
+    final festivities.
+</p>
+<p>
+    &nbsp;</p>
+<center>
+    <a name="loeffler" href="#note84">
+    <i>LOEFFLER.[84] LA VILLANELLE DU DIABLE</i> </a>
+</center>
+<p style="text-align: center">
+    <i>(The Devil's Round)</i>
+</p>
+<p style="text-align: center">
+    (After a poem by M. Rollinat. Symphonic poem for Orchestra and Organ)
+</p>
+<p style="text-align: center">
+    &nbsp;</p>
+
+<p>
+    Few pieces of program music are so closely associated with the subject
+    as this tone picture of the Devil's Round. The translation of M.
+    Rollinat's "Villanelle," printed in the score is as follows:<a href="#note85">[85]</a>
+</p>
+     <blockquote>
+       <p>Hell's a-burning, burning, burning. Chuckling in clear staccato, the
+       Devil prowling, runs about.</p>
+       <p>He watches, advances, retreats like zig-zag lightning; Hell's
+       a-burning, burning, burning.</p>
+       <p>In dive and cell, underground and in the air, the Devil, prowling,
+       runs about.</p>
+       <p>Now he is flower, dragon-fly, woman, black-cat, green snake; Hell's
+       a-burning, burning, burning.</p>
+       <p>And now, with pointed moustache, scented with vetiver, the Devil,
+       prowling, runs about.</p>
+       <p>Wherever mankind swarms, without rest, summer and winter, Hell's
+       a-burning, burning, burning.</p>
+       <p>From alcove to hall, and on the railways, the Devil, prowling, runs
+       about.</p>
+       <p>He is Mr. Seen-at-Night, who saunters with staring eyes. Hell's
+       a-burning, burning, burning.</p>
+       <p>There floating as a bubble, here squirming as a worm, the Devil,
+       prowling, runs about.</p>
+       <p>He's grand seigneur, tough, student, teacher. Hell's a-burning,
+       burning, burning.</p>
+       <p>He inoculates each soul with his bitter whispering: the Devil,
+       prowling, runs about.</p>
+       <p>He promises, bargains, stipulates in gentle or proud tones. Hell's
+       a-burning, burning, burning.</p>
+       <p>Mocking pitilessly the unfortunate whom he destroys, the Devil,
+       prowling, runs about.</p>
+       <p>He makes goodness ridiculous and the old man futile. Hell's a-burning,
+       burning, burning.</p>
+       <p>At the home of the priest or sceptic, whose soul or body he wishes,
+       the Devil, prowling, runs about.</p>
+       <p>Beware of him to whom he toadies, and whom he calls &quot;my dear sir.&quot;
+       Hell's a-burning, burning, burning.</p>
+       <p>Friend of the tarantula, darkness, the odd number, the Devil,
+       prowling, runs about.</p>
+       <p>&mdash;My clock strikes midnight. If I should go to see Lucifer?&mdash;Hell's
+       a-burning, burning, burning; the Devil, prowling, runs about.
+
+
+       </p>
+</blockquote>
+<p>
+    In the maze of this modern setting of demon antics (not unlike, in
+    conceit, the capers of Till Eulenspiegel), with an eloquent use of new
+    French strokes of harmony, one must be eager to seize upon definite
+    figures. In the beginning is a brief wandering or flickering motive in
+    furious pace of harp and strings, ending ever in a shriek of the high
+    wood. Answering
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music256.jpg" alt="music256" width="400" height="133"></p>
+<p style="text-indent: 0em">
+    is a descending phrase mainly in the brass, that ends in a rapid jingle.
+</p>
+<p style="text-align: center">
+    <img border="0" src="images/music257.jpg" alt="music257" width="400" height="183"></p>
+<p>
+    There are various lesser motives, such as a minor scale of ascending
+    thirds, and a group of crossing figures that seem a guise of the first
+    motive. To be sure the picture lies less in the separate figures than in
+    the mingled color and bustle. Special in its humor is a soft gliding or
+    creeping phrase of three voices against a constant trip of cellos.
+</p>
+<p>
+    After a climax of the first motive a frolicking theme begins (in English
+    horn and violas). If we were forced to guess, we could see here the
+    dandy devil, with pointed mustachios, frisking about. It is probably
+    another guise of the second motive which presently appears in the bass.
+    A little later, <i>dolce amabile</i> in a madrigal of wood and strings, we
+    may see the gentlemanly devil, the gallant. With a crash of chord and a
+    roll of cymbals re-enters the first motive, to flickering harmonies of
+    violins, harp and flutes, taken up by succeeding voices, all in the
+    whole-tone scale. Hurrying to a clamorous height, the pace glides into a
+    <i>Movimento di Valzer</i>, in massed volume, with the frolicking figure in
+    festive array.
+</p>
+<p>
+    To softest tapping of lowest strings and drums, a shadow of the second
+    figure passes here and there, with a flash of harp. Soon, in returning
+    merriment, it is coursing in unison strings (against an opposite motion
+    in the wood).
+</p>
+<p>
+    At the height of revel, as the strings are holding a trembling chord, a
+    sprightly Gallic tune of the street pipes in the reed, with intermittent
+    flash of the harp, and, to be sure, an unfamiliar tang of harmonies and
+    strange perversions of the tune.<a href="#note86">[86]</a> In the midst is the original
+    flickering figure. As the whole chorus is singing the tune at the
+    loudest, the brass breaks into another traditional air of the
+    Revolutionary Song of 1789.<a href="#note87">[87]</a> While the trip is still ringing in the
+    strings, a lusty chorus breaks into the song<a href="#note88">[88]</a> "La Carmagnole," against
+    a blast of the horns in a guise of the first motive.
+</p>
+
+<p>
+    Grim guises of the main figures (in inverted profile) are skulking about
+    to uncanny harmonies. A revel of new pranks dies down to chords of muted
+    horns, amid flashing runs of the harp, with a long roll of drums. Here
+    <i>Grave</i> in solemn pace, violas and bassoon strike an ecclesiastical
+    incantation, answered by the organ. Presently a Gregorian plain chant
+    begins solemnly in the strings aided by the organ while a guise of the
+    second profane motive intrudes. Suddenly in quick pace against a fugal
+    tread of lower voices, a light skipping figure dances in the high wood.
+    And now loud trumpets are saucily blowing the chant to the quick step,
+    echoed by the wood. And we catch the wicked song of the street (in the
+    English horn) against a legend of hell in lower voices.<a href="#note89">[89]</a>
+</p>
+
+<p>
+    In still livelier pace the reeds sound the street song against a trip of
+    strings, luring the other voices into a furious chorus. All at once, the
+    harp and violins strike the midnight hour to a chord of horns, while a
+    single impish figure dances here or there. To trembling strings and
+    flashing harp the high reed pipes again the song of the Boulevard,
+    echoed by low bassoons.
+</p>
+<p>
+    In rapidest swing the original main motives now sing a joint verse in a
+    kind of <i>reprise</i>, with the wild shriek at the end of the line, to a
+    final crashing height. The end comes with dashes of the harp, betwixt
+    pausing chords in the high wood, with a final stifled note.
+</p>
+
+
+<p>
+    &nbsp;</p>
+
+
+<p>
+    <i>FOOTNOTES</i></p>
+
+
+<p>
+    &nbsp;</p>
+
+
+<p>
+    [<a name="note1">1</a>] The "Dante" Symphony of Liszt was written between 1847 and
+    1855; the "Faust" Symphony between 1854 and 1857. Wagner finished the
+    text of <i>Tristan und Isolde</i> in 1857; the music was not completed until
+    1859. In 1863 was published the libretto of the <i>Nibelungen-Ring</i>. In
+1864 Wagner was invited by King Ludwig of Bavaria to complete the work in
+Munich.</p>
+
+
+<p>
+    &nbsp;</p>
+
+
+<p>
+
+[<a name="note2">2</a>]   In literature this movement is most marked, as may be seen
+    by contrasting the tone of Goethe with that of Sudermann; by noting the
+    decadence from the stories of a Chamisseau and Immermann to those of a
+    Gottfried Keller; from the novels of Freytag to the latest of Frenssen
+    and Arthur Schnitzler; from the poems of Heine to those of Hoffmansthal,
+    author of the text of Strauss' later operas.
+</p>
+
+
+<p>
+
+    Or, contrast merely the two typical dramas of love, Goethe's "Faust" and
+    Wagner's "Tristan and Isolde.&quot;</p>
+
+
+<p>
+
+    &nbsp;</p>
+
+
+<p>
+
+[<a name="note3">3</a>]   Compare the similarity of the themes of the Faust Symphony
+    of Liszt and of the <i>Pathétique</i> of Tschaikowsky in the last chapter of
+    vol. ii, "Symphonies and Their Meaning."
+</p>
+&nbsp;<p>[<a name="note4">4</a>]  In unison of the wind. Berlioz has here noted in the score
+    "<i>Réunion des deux Thémes, du Larghetto et de L'Allegro</i>," the second
+    and first of our cited phrases. </p>
+&nbsp;<p>[<a name="note5">5</a>] </p>
+   <blockquote>
+     <blockquote>
+   "Through me the way is to the city dolent;<br>
+    Through me the way is to eternal dole;<br>
+    Through me the way among the people lost.<br>
+    All hope abandon, ye who enter in!"
+
+     </blockquote>
+</blockquote>
+
+<p>
+    &mdash;<i>From Longfellow's translation.</i>
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note6">6</a>] "There is no greater sorrow than to be mindful of the happy
+    time in misery."&mdash;<i>From Longfellow's translation.</i> </p>
+<p>&nbsp;</p>
+<p>[<a name="note7">7</a>] We are again assisted by the interpreting words in the
+    score. </p>
+<p>&nbsp;</p>
+<p>[<a name="note8">8</a>] Mendelssohn with perfect insight once declared,&mdash;"Notes
+    have as definite a meaning as words, perhaps even a more definite one." </p>
+<p>&nbsp;</p>
+<p>[<a name="note9">9</a>] We may mention such other works of Liszt as "Mazeppa" and
+    the "Faust" Symphony; the third symphony of Saint-Saëns; Strauss' tone
+    poem "Death and Transfiguration"; Volbach's symphony, besides other
+    symphonies such as a work by Carl Pohlig. We may count here, too, the
+    Heldenlied by Dvôrák, and Strauss' Heldenleben (see Vol. II). </p>
+&nbsp;<p>[<a name="note10">10</a>] A common Oriental element in Hungarian and Venetian music
+    has been observed. See Kretschmar's note to Liszt's "Tasso" (Breitkopf &amp;
+    Haertel). </p>
+<p>&nbsp;</p>
+<p>[<a name="note11">11</a>] See note in the final chapter of Volume II. </p>
+<p>&nbsp;</p>
+<p>[<a name="note12">12</a>] The English verses are taken for the most part from the
+    translation of F. Corder. </p>
+
+<p>&nbsp;</p>
+
+<p>[<a name="note13">13</a>] A description of the picture is cited by Lawrence Gilman in
+    his book, "Stories of Symphonic Music," as follows: </p>
+
+
+
+<p>"According to a legend, the combatants were so exasperated that the
+    slain rose during the night and fought in the air. Rome, which is seen
+    in the background, is said to have been the scene of this event. Above,
+    borne on a shield, is Attila, with a scourge in his hand; opposite him
+    Theodoric, King of the Visigoths. The foreground is a battle-field, strewn
+with corpses, which are seen to be gradually reviving, rising up and rallying,
+while among them wander wailing and lamenting women.&quot;</p>
+&nbsp;<p>[<a name="note14">14</a>] Quoted on the following page. </p>
+<p>&nbsp;</p>
+<p>[<a name="note15">15</a>]</p>
+<blockquote>
+  <p style="text-indent: 0em">Faithful cross, among the trees<br>
+    Thou the noblest of them all!<br>
+    Forest ne'er doth grow a like<br>
+    In leaf, in flower or in seed.<br>
+    Blessed wood and blessed nails,<br>
+    Blessed burden that it bears! </p>
+</blockquote>
+<p>&nbsp;</p>
+<p>[<a name="note16">16</a>] In the whole tonality we may see the &quot;meteoric and solar light&quot; of
+which the composer speaks in the letter quoted above. </p>
+<p>&nbsp;</p>
+<p>[<a name="note17">17</a>] It is well to resist the vain search for a transnotation of
+    the story. And here we see a virtue of Saint-Saëns himself, a national
+    trait of poise that saved him from losing the music in the picture. His
+    symphonic poems must be enjoyed in a kind of musical revery upon the
+    poetic subject. He disdained the rude graphic stroke, and used dramatic
+    means only where a musical charm was commingled. </p>
+<p>&nbsp;</p>
+<p>[<a name="note18">18</a>] Saint-Saëns employs besides the usual 4 horns, 2 trumpets,
+    3 trombones and tuba, a small bugle (in B-flat) and 2 cornets. </p>
+<p>&nbsp;</p>
+<p>[<a name="note19">19</a>] If language and association, as against the place of birth,
+    may define nationality, we have in César Franck another worthy
+    expression of French art in the symphony. He was born at Liège in 1822;
+    he died in 1890. </p>
+<p>&nbsp;</p>
+<p>[<a name="note20">20</a>] Absolute harmony would count many more than the semitones
+    of which our music takes cognizance. For purpose of convenience on the
+    keyboard the semitonal raising of one note is merged in the lowering of
+    the next higher degree in the scale. However charming for occasional
+    surprise may be such a substitution, a continuous, pervading use cannot
+    but destroy the essential beauty of harmony and the clear sense of
+    tonality; moreover it is mechanical in process, devoid of poetic fancy,
+    purely chaotic in effect. There is ever a danger of confusing the novel
+    in art with new beauty. </p>
+<p>&nbsp;</p>
+<p>[<a name="note21">21</a>] The key of the work is given by the composer as D minor.
+    The first movement alone is in the nominal key. The second (in B flat)
+    is in the submediant, the last in the tonic major. The old manner in
+    church music, that Bach often used, of closing a minor tonality with a
+    major chord, was probably due to a regard for the mood of the
+    congregation. An extension of this tradition is frequent in a long coda
+    in the major. But this is quite different in kind from a plan where all
+    of the last movement is in insistent major. We know that it is quite
+    possible to begin a work at some distance from the main key, leading to
+    it by tortuous path of modulation; though there is no reason why we may
+    not question the composer's own inscription, the controlling point is
+    really the whole tonal scheme. Here the key of the second movement is
+    built on a design in minor,&mdash;would have less reason in the major. For it
+    rests on a degree that does not exist in the tonic major. To be sure,
+    Beethoven did invent the change to a lowered submediant in a succeeding
+    movement. And, of course, the final turn to the tonic major is virtually
+    as great a license. </p>
+<p>&nbsp;</p>
+<p>[<a name="note22">22</a>] Vincent d'Indy was born in Paris on March 27, 1852.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note23">23</a>] Some of the chance sayings of Mozart (recently edited by
+    Kerst-Elberfeld) betray much contempt for academic study: "Learning from
+    books is of no account. Here, here, and here (pointing to ear, head, and
+    heart) is your school." On the subject of librettists "with their
+    professional tricks," he says: "If we composers were equally faithful to
+    our own rules (which were good enough when men knew no better), we
+    should turn out just as poor a quality in our music as they in their
+    librettos." Yet, elsewhere, he admits: "No one has spent so much pains
+    on the study of composition as myself. There is hardly a famous master
+    in music whom I have not read through diligently and often." </p>
+<p>&nbsp;</p>
+<p>[<a name="note24">24</a>] The "Flying Dutchman," "Lohengrin" and "Tannhäuser" seemed
+    destined to survive Wagner's later works. </p>
+<p>&nbsp;</p>
+<p>[<a name="note25">25</a>] Born in 1862. </p>
+<p>&nbsp;</p>
+<p>[<a name="note26">26</a>] Some recurring traits Wagner and Débussy have in common,
+    such as the climactic chord of the ninth. The melodic appoggiatura is as
+    frequent in the earlier German as the augmented chord of the fifth in
+    the later Frenchman. </p>
+<p>&nbsp;</p>
+<p>[<a name="note27">27</a>] Rameau, when the cyclopaedic spirit was first stirring and
+    musical art was sounding for a scientific basis, insisted on the element
+    of the third below, implying a tonic chord of 6, 5, 3. Here he was
+    opposed by Fétis, Fux and other theoretic authority; judgment was
+    definitively rendered against him by contemporary opinion and prevailing
+    tradition. It cannot be said that the modern French practice has
+    justified Rameau's theory, since with all the charm of the enriched
+    chord, there is ever a begging of the question of the ultimate root. </p>
+<p>&nbsp;</p>
+<p>[<a name="note28">28</a>] As the lower overtones, discovered by a later science,
+    clearly confirm the tonal system of the major scale, slowly evolved in
+    the career of the art,&mdash;so the upper overtones are said to justify the
+    whole-tone process. At best this is a case of the devil quoting
+    scripture. The main recurring overtones, which are lower and audible,
+    are all in support of a clear prevailing tonality. </p>
+<p>&nbsp;</p>
+<p>[<a name="note29">29</a>] In the drama Débussy avoids the question of form by
+    treating the music as mere scenic background. Wagner, in his later
+    works, attempted the impossible of combining a tonal with the dramatic
+    plot. In both composers, to carry on the comparison beyond the technical
+    phase, is a certain reaching for the primeval, in feeling as in
+    tonality. Here they are part of a larger movement of their age. The
+    subjects of their dramas are chosen from the same period of mediaeval
+    legend, strongly surcharged in both composers with a spirit of fatalism
+    where tragedy and love are indissolubly blended. </p>
+<p>&nbsp;</p>
+<p>[<a name="note30">30</a>] English horn. </p>
+<p>&nbsp;</p>
+<p>[<a name="note31">31</a>] Born in 1865. </p>
+<p>&nbsp;</p>
+<p>[<a name="note32">32</a>] The flageolet tones of the strings seem wonderfully
+    designed in their ghostly sound for such an aerial touch. Dukas uses
+    them later in divided violins, violas and cellos, having thus a triad of
+    harmonics doubled in the octave. </p>
+
+<p>
+    The remaining instruments are: Piccolo, 2 flutes, 2 oboes, 2 clarinets,
+    bass-clarinet, 3 bassoons, contra-bassoon (or contra-bass sarrusophon);
+    4 horns, 2 trumpets (often muted); 2 cornets-à-pistons; 3 trombones; 3
+    kettle-drums; harp; glockenspiel; big drum, cymbals and triangle.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note33">33</a>] Prefixed are the familiar lines: </p>
+
+   <blockquote>
+     <blockquote>
+       &quot;There are more things in heaven and earth,<br>
+       Horatio,
+    Than are dreamt of in your philosophy.&quot;</blockquote>
+</blockquote>
+<p>&nbsp;</p>
+<p>[<a name="note34">34</a>] In the choice of subjects there was a like breadth. Balakirew was inspired by "King Lear," as was Tschaikowsky. And amid a
+    wealth of Slavic legend and of kindred Oriental lore, he would turn to
+    the rhythms of distant Spain for a poetic theme. </p>
+<p>&nbsp;</p>
+<p>[<a name="note35">35</a>] Mili Alexeivich Balakirew was born at Nizhni-Novgorod in
+    1836; he died at St. Petersburg in 1911. He is regarded as the founder
+    of the Neo-Russian School. </p>
+<p>&nbsp;</p>
+<p>[<a name="note36">36</a>] Besides the English horn and four bassoons there are four
+    clarinets,&mdash;double the traditional number. </p>
+<p>&nbsp;</p>
+<p>[<a name="note37">37</a>] Nicholas Rimsky-Korsakow, Russian, 1844-1908. </p>
+<p>&nbsp;</p>
+<p>[<a name="note38">38</a>] We remember how Sindbad was tempted after each fortunate
+    escape from terrible dangers to embark once more, and how he tells the
+    story of the seven voyages on seven successive days, amid luxury and
+    feasting. </p>
+<p>&nbsp;</p>
+<p>[<a name="note39">39</a>] In the old version the word "Calender" is used; in the new
+    translation by Lane we read of "The Three Royal Mendicants." In certain
+    ancient editions they are called "Karendelees,"&mdash;i.e., "miserable
+    beggars." Each of the three had lost an eye in the course of his
+    misfortunes. The story (of the Third Kalender) begins with the wreck of
+    the prince's vessel on the mountain of loadstone and the feat of the
+    prince, who shoots the brazen horseman on top of the mountain and so
+    breaks the charm. But there is a long chain of wonders and of troubles,
+    of evil enchantments and of fateful happenings.
+> </p>
+<p>&nbsp;</p>
+<p>[<a name="note40">40</a>] The story, if any particular one is in the mind of the
+    composer, is probably that of the Prince Kamar-ez-Zemán and the Princess
+    Budoor. In the quality of the romance it approaches the legends of a
+    later age of chivalry. In the main it is the long quest and the final
+    meeting of a prince and a princess, living in distant kingdoms. Through
+    the magic of genii they have seen each other once and have exchanged
+    rings. The rest of the story is a long search one for the other. There
+    are good and evil spirits, long journeys by land and sea, and great
+    perils. It is an Arab story of the proverbial course of true love. </p>
+<p>&nbsp;</p>
+<p>[<a name="note41">41</a>] We may think of the revels of Sindbad before the returning
+    thirst for adventure. </p>
+<p>&nbsp;</p>
+<p>[<a name="note42">42</a>] Sergei Rachmaninow, born in 1873. </p>
+<p>&nbsp;</p>
+<p>[<a name="note43">43</a>] It is of the first two notes of the symphony that the fugal
+    theme is made. For though it is longer in the strings, the brief motion
+    is ever accented in the wood. Thus relentless is the themal coherence.
+    If we care to look closer we see how the (following) chant is a slower
+    form of the fugal theme, while the bass is in the line of the
+    dance-tune. In the chant in turn we cannot escape a reminder, if not a
+    likeness, of the second theme of the first movement. </p>
+<p>&nbsp;</p>
+<p>[<a name="note44">44</a>] Symphony No. 1, in E minor, by Jan Sibelius, born in 1865.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note45">45</a>] Friedrich Smetana, 1824-1884, foremost among Bohemian
+    dramatic composers, wrote a cycle of symphonic poems under the general
+    title "My Country." Of these the present work is the second. </p>
+<p>&nbsp;</p>
+<p>[<a name="note46">46</a>] Anton Dvôrák, 1841-1904. </p>
+<p>&nbsp;</p>
+<p>[<a name="note47">47</a>] The whole subject of American and negro folk-song is new
+    and unexplored. There are races of the blacks living on the outer reefs
+    and islands of the Carolinas, with not more than thirty whites in a
+    population of six thousand, where "spirituals" and other musical rites
+    are held which none but negroes may attend. The truest African mode and
+    rhythm would seem to be preserved here; to tell the truth, there is
+    great danger of their loss unless they are soon recorded. </p>
+<p>&nbsp;</p>
+<p>[<a name="note48">48</a>] Again it is interesting to compare here the jubilee song,
+    "Oh! Redeemed," in the collection of "Jubilee and Plantation Songs," of
+    the Oliver Ditson Company. </p>
+<p>&nbsp;</p>
+<p>[<a name="note49">49</a>] Anton Bruckner, born at Annsfelden, Austria, 1828; died in
+    Vienna in 1896. </p>
+<p>&nbsp;</p>
+<p>[<a name="note50">50</a>] Bruckner's <a name="Bsym5">Fifth Symphony</a> (in B flat) is a typical example
+    of closest correlation of themes that are devoid of intrinsic melody. </p>
+<p>
+    An introduction supplies in the bass of a hymnal line the main theme of the
+    Allegro by inversion as well as the germ of the first subject of the Adagio.
+    Throughout, as in the Romantic Symphony, the relation between the first and
+    the last movement is subtle. A closing, jagged phrase reappears as the first
+    theme of the Finale.
+</p>
+<p>
+    The Adagio and Scherzo are built upon the same figure of bass. The theme of
+    the Trio is acclaimed by a German annotator as the reverse of the first
+    motive of the symphony.
+</p>
+<p>
+    In the prelude of the Finale, much as in the Ninth of Beethoven, are passed
+    in review the main themes of the earlier movements. Each one is answered by
+    an eccentric phrase that had its origin in the first movement and is now
+    extended to a fugal theme.
+</p>
+<p>
+    The climactic figure is a new hymnal line that moves as central theme of an
+    imposing double fugue.</p>
+<p>&nbsp;</p>
+<p>[<a name="note51">51</a>] A festival was held in Munich in the summer of 1911, in
+    celebration of "Bach, Beethoven and Bruckner." </p>
+<p>&nbsp;</p>
+<p>[<a name="note52">52</a>] See Vol. II, note, page 104. </p>
+<p>&nbsp;</p>
+<p>[<a name="note53">53</a>] We have spoken of a prelude, first and second theme; they
+    might have been more strictly numbered first, second and third theme. </p>
+<p>&nbsp;</p>
+<p>[<a name="note54">54</a>] In place of the uncompleted Finale, Bruckner is said to
+    have directed that his "<i>Te Deum</i>" be added to the other movements. </p>
+<p>&nbsp;</p>
+<p>[<a name="note55">55</a>] Hugo Wolff, born in 1860, died in 1903. </p>
+<p>&nbsp;</p>
+<p>[<a name="note56">56</a>] After the like-named tragedy of Heinrich von Kleist.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note57">57</a>] German, 1776-1811. </p>
+<p>&nbsp;</p>
+<p>[<a name="note58">58</a>] Kuno Francke. See the notes of Philip Hale in the programme
+    book of the Boston Symphony Orchestra of April 3-4, 1908. </p>
+<p>&nbsp;</p>
+<p>[<a name="note59">59</a>] The law of the Amazons commanded them to wage war as told
+    them by the oracle of Mars. The prisoners were brought to the Feast of
+    Roses and wedded by their captors. After a certain time they were sent
+    back to their homes. All male children of the tribe were put to death. </p>
+<p>&nbsp;</p>
+<p>[<a name="note60">60</a>] Translations, when not otherwise credited, are by the
+    author. </p>
+<p>&nbsp;</p>
+<p>[<a name="note61">61</a>] In a somewhat literal commentary attributed to Dr. Richard Batka, the Amazons here, "having reached their destination, go into
+    night-encampment&mdash;as represented by the subdued roll of the
+    kettle-drums, with which the movement concludes." </p>
+<p>&nbsp;</p>
+<p>[<a name="note62">62</a>] Gustav Mahler, 1860-1911. </p>
+<p>&nbsp;</p>
+<p>[<a name="note63">63</a>] The symphony is probably the longest instrumental work that had
+appeared at the time of its production in 1904. The list of instruments
+comprises 4 flutes, 3 oboes, 3 clarinets, 2 bassoons, contra-bassoon, 6 horns, 4
+trumpets, 3 trombones, tuba, kettle-drums, cymbals, bass-drum, snare-drum,
+triangle, glockenspiel, gong, harp and strings. </p>
+
+<p>
+    Compared with D'Indy's Second Symphony, the Fifth of Mahler has a larger
+    body of brass as well as of woodwind.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note64">64</a>] In the Scherzo are chimes, accenting the tune of the dance,
+    and even castanets, besides triangle and other percussion. The second
+    movement employs the harp and triangle. </p>
+<p>&nbsp;</p>
+<p>[<a name="note65">65</a>] The Adagietto is scored simply for harp and strings; nor
+    are the latter unusually divided. </p>
+<p>&nbsp;</p>
+<p>[<a name="note66">66</a>] Born in 1864. </p>
+<p>&nbsp;</p>
+<p>[<a name="note67">67</a>] Strauss remarked that in <i>Till Eulenspiegel</i> he had given
+    the critics a hard nut to crack. </p>
+<p>&nbsp;</p>
+<p>[<a name="note68">68</a>] Translation by John P. Jackson. </p>
+<p>&nbsp;</p>
+<p>[<a name="note69">69</a>] In a complex commentary William Mauke finds Zerlina, Anna
+    and "The Countess" in the music. </p>
+<p>&nbsp;</p>
+<p>[<a name="note70">70</a>] On leaving the scene of some special mischief, Till would
+    draw a chalk picture of an owl on the door, and write below, <i>Hic fuit</i>.
+    The edition of 1519 has a woodcut of an owl resting on a mirror, that
+    was carved in stone, the story goes, over Till's grave. </p>
+<p>&nbsp;</p>
+<p>[<a name="note71">71</a>] It is like the Finale of Brahms' Fourth Symphony, where an
+    older form (of <i>passacaglia</i>) is reared together with a later, one
+    within the other. </p>
+<p>&nbsp;</p>
+<p>[<a name="note72">72</a>] Strauss told the writer that this was the march of the
+    jurymen,&mdash;"<i>der Marsch der Schöffen</i>." Reproached for killing Till, he
+    admitted that he had taken a license with the story and added: "In the
+    epilogue,&mdash;there he lives." </p>
+<p>&nbsp;</p>
+<p>[<a name="note73">73</a>] At the first production, in New York, in obedience to the
+    composer's wish, no descriptive notes were printed. When the symphony
+    was played, likewise under the composer's direction, in Berlin in
+    December, 1904, a brief note in the program-book mentions the three
+    groups of themes, the husband's, the wife's and the child's, in the
+    first movement. The other movements are thus entitled: </p>
+
+<p>
+    II.&mdash;<i>Scherzo.</i> Parents' happiness. Childish play. Cradle-song (the
+    clock strikes seven in the evening).
+</p>
+<p>
+    III.&mdash;<i>Adagio.</i> Creation and contemplation. Love scene. Dreams and cares
+    (the clock strikes seven in the morning).
+</p>
+<p>
+    IV.&mdash;<i>Finale.</i> Awakening and merry dispute (double fugue). Joyous
+    conclusion.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note74">74</a>] In the field of the <i>Lied</i> the later group of Italians,
+    such as Sinigaglia and Bossi, show a melodic spontaneity and a breadth
+    of lyric treatment that we miss in the songs of modern French composers.</p>
+<p>In his Overture "<i>Le Baruffe Chiozzote</i>" (The Disputes of the People of
+    Chiozza) Sinigaglia has woven a charming piece with lightest touch of
+masterly art; a delicate humor of melody plays amid a wealth of counterpoint
+that is all free of a sense of learning.</p>
+
+<p>&nbsp;</p>
+<p>[<a name="note75">75</a>] Born in 1843. </p>
+<p>&nbsp;</p>
+<p>[<a name="note76">76</a>] Giuseppe Martucci, 1856-1911. </p>
+<p>&nbsp;</p>
+<p>[<a name="note77">77</a>] Symphony in A flat. Edward Elgar, born in 1857. </p>
+<p>&nbsp;</p>
+<p>[<a name="note78">78</a>] There seems to be shown in this feat at once the
+    versatility of music as well as the musician in expressing opposite
+    moods by the same theme. The author does not feel bound to trace all
+    such analogies, as in the too close pursuit we may lose the forest in
+    the jungle. </p>
+<p>&nbsp;</p>
+<p>[<a name="note79">79</a>] A symphony by Wm. W. Gilchrist. Vol. II, Appendix.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note80">80</a>] Opus 60, Henry Hadley, American, born 1871. </p>
+<p>&nbsp;</p>
+<p>[<a name="note81">81</a>] Of Boston,&mdash;born in Germany in 1867. </p>
+<p>&nbsp;</p>
+<p>[<a name="note82">82</a>] See Vol. I, Chapter I.</p>
+<p>&nbsp;</p>
+<p>[<a name="note83">83</a>] George W. Chadwick, American, born in 1854. </p>
+<p>&nbsp;</p>
+<p>[<a name="note84">84</a>] Charles Martin Loeffler, born in Alsace in 1861.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note85">85</a>] A few translated verses may give an idea of the original
+    rhythm: </p>
+
+<blockquote>
+  <blockquote>
+
+Hell's a-burning, burning, burning.<br>
+    Cackling in his impish play,<br>
+    Here and there the Devil's turning,<p style="text-indent: 0em">Forward here and back again,<br>
+    Zig-zag as the lightning's ray,<br>
+    While the fires burn amain.</p>
+    <p style="text-indent: 0em">In the church and in the cell<br>
+    In the caves, in open day,<br>
+    Ever prowls the fiend of hell. </p>
+  </blockquote>
+</blockquote>
+<p>
+    But in the original the first and last lines of the first verse are used
+    as refrains in the succeeding verses, recurring alternately as the last
+    line. In the final verse they are united.&mdash;The prose translation is by
+    Philip Hale.
+</p>
+<p>&nbsp;</p>
+<p>[<a name="note86">86</a>] "A la villette," a popular song of the Boulevard. Mr.
+    Philip Hale, who may have been specially inspired, associates the song
+    with the word "crapule," "tough," as he connects the following
+    revolutionary songs, in contrapuntal use, with the word "magister,"
+    "teacher,"&mdash;the idea of the pedagogue in music. It may be less remote to
+    find in these popular airs merely symbols or graphic touches of the
+    swarming groups among which the Devil plies his trade. </p>
+<p>&nbsp;</p>
+<p>[<a name="note87">87</a>] The famous "Ca ira." </p>
+<p>&nbsp;</p>
+<p>[<a name="note88">88</a>] In the wealth of interesting detail furnished by Mr. Hale
+    is the following: "The Carmagnole was first danced in Paris about the
+    liberty-tree, and there was then no bloody suggestion.... The word
+    '<i>Carmagnole</i>' is found in English and Scottish literature as a nickname
+    for a soldier in the French Revolutionary army, and the term was applied
+    by Burns to the Devil as the author of ruin, 'that curst carmagnole,
+    auld Satan.'" </p>
+<p>&nbsp;</p>
+<p>[<a name="note89">89</a>] The religious phrases are naturally related to the "priest
+    or sceptic." In the rapid, skipping rhythm, Mr. Hale finds the
+    tarentella suggested by the "friend of the tarantula." </p>
+
+<p>&nbsp;</p>
+<hr class="full" noshade>
+
+<p>***END OF THE PROJECT GUTENBERG EBOOK SYMPHONIES AND THEIR MEANING; THIRD SERIES, MODERN SYMPHONIES***</p>
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--- /dev/null
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+The Project Gutenberg eBook, Symphonies and Their Meaning; Third Series,
+Modern Symphonies, by Philip H. Goepp
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Symphonies and Their Meaning; Third Series, Modern Symphonies
+
+Author: Philip H. Goepp
+
+Release Date: July 13, 2004  [eBook #12903]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK SYMPHONIES AND THEIR MEANING;
+THIRD SERIES, MODERN SYMPHONIES***
+
+
+E-text prepared by Juliet Sutherland, Linda Cantoni, and the Project
+Gutenberg Online Distributed Proofreading Team
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+
+
+
+
+
+SYMPHONIES AND THEIR MEANING
+
+THIRD SERIES: MODERN SYMPHONIES.
+
+by
+
+PHILIP H. GOEPP
+
+1913
+
+
+
+
+
+
+
+PREFACE
+
+
+Criticism of contemporary art is really a kind of prophecy. For the
+appreciation of the classical past is an act of present perception, not
+a mere memory of popular verdicts. The classics live only because they
+still express the vital feeling of to-day. The new art must do
+more,--must speak for the morrow. And as the poet is a kind of seer, the
+true critic is his prophetic herald.
+
+It is with due humility that we approach a view of the work of our own
+time, with a dim feeling that our best will be a mere conjecture. But we
+shall the more cheerfully return to our resolution that our chief
+business is a positive appreciation. Where we cannot praise, we can
+generally be silent. Certain truths concerning contemporary art seem
+firmly grounded in the recorded past. The new Messiah never came with
+instant wide acclaim. Many false prophets flashed brilliantly on the
+horizon to fall as suddenly as they rose. In a refracted view we see the
+figures of the great projected in too large dimension upon their day.
+And precisely opposite we fail to glimpse the ephemeral lights obscuring
+the truly great. The lesson seems never to be learned; indeed it can, of
+course, never be learned. For that would imply an eternal paradox that
+the present generation must always distrust its own judgment.
+
+Who could possibly imagine in Schubert's time the sway he holds to-day.
+Our minds reel to think that by a mere accident were recovered the
+Passion of Bach and the symphonies of Schubert. Or must we prayerfully
+believe that a Providence will make the best prevail? And, by the way,
+the serious nature of this appreciation appears when we see how it was
+ever by the greatest of his time that the future master was heralded.
+
+The symphony of the present age has perhaps fallen somewhat in estate.
+It was natural that it should rush to a high perfection in the halcyon
+days of its growth. It is easy to make mournful predictions of
+decadence. The truth is the symphony is a great form of art, like a
+temple or a tragedy. Like them it has had, it will have its special eras
+of great expression. Like them it will stay as a mode of utterance for
+new communities and epochs with varying nationality, or better still,
+with vanishing nationalism.
+
+The tragedy was not exhausted with Sophocles, nor with Shakespeare nor
+with Goethe. So the symphony has its fallow periods and it may have a
+new resurgence under new climes. We are ever impatient to shelve a great
+form, like vain women afraid of the fashion. It is part of our constant
+rage for novelty. The shallower artist ever tinkered with new
+devices,--to some effects, in truth. Such is the empiric course of art
+that what is born of vanity may be crowned with highest inspiration.
+
+The national element will fill a large part of our survey. It marks a
+strange trait of our own age that this revival of the national idea
+falls in the very time when other barriers are broken. Ancient folk-song
+grew like the flower on the battle-field of races. But here is an
+anxious striving for a special dialect in music. Each nation must have
+its proper school; composers are strictly labelled, each one obedient to
+his national manner. This state of art can be but of the day. Indeed,
+the fairest promise of a greater future lies in the morrow's blending of
+these various elements in the land where each citizen has a mixed
+inheritance from the older nations.
+
+In the bewildering midst of active spirits comes the irresistible
+impulse to a somewhat partisan warfare. The critic, if he could view
+himself from some empyraean perch, remote in time and place, might smile
+at his own vehemence. In the clash of aims he must, after all, take
+sides, for it is the tendency that is momentous; and he will be excited
+to greater heat the stronger the prophet that he deems false. When the
+strife is over, when currents are finally settled, we may take a more
+contented joy in the impersonal art that remains.
+
+The choice from the mass of brilliant vital endeavor is a new burden and
+a source almost of dismay. Why should we omit so melodious a work as
+Moskowski's _Jeanne d'Arc_,--full of perhaps too facile charm? It was,
+of course, impossible to treat all the wonderful music of the Glazounows
+and the Kallinikows. And there is the limpid beauty of the Bohemian
+_Suk_, or the heroic vigor of a _Volbach_. We should like to have
+mentioned _Robert Volkmann_ as a later Romanticist; and _Gade_ has ever
+seemed a true poet of the Scandinavian symphony.
+
+Of the modern French we are loth to omit the symphonies of _Chausson_
+and of _Dukas_. In our own America it is a still harder problem. There
+is the masterly writing of a _Foote_; the older _Paine_ has never been
+fully valued in the mad race for novelty. It would have been a joy to
+include a symphony of rare charm by _Martinus van Gelder_.
+
+A critical work on modern art cannot hope to bestow a crown of laurels
+among living masters; it must be content with a view of active
+tendencies. The greatest classic has often come into the world amid
+least expectation. A critic in the year 1850 must need have omitted the
+Unfinished Symphony, which was then buried in a long oblivion.
+
+The present author prefers to treat the main modern lines, considering
+the special work mainly as example. After all, throughout the realm of
+art the idea is greater than the poet, the whole art more than the
+artist,--though the particular enshrinement in enduring design may
+reflect a rare personality.
+
+PHILIP H. GOEPP.
+
+NOTE: Especial thanks are owed to the Philadelphia Orchestra for a free
+use of its library, and to Messrs. G. Schirmer Company for a like
+courtesy.--P.H.G.
+
+
+
+
+CONTENTS
+
+
+CHAPTER I.--The Symphony during the Nineteenth Century
+
+CHAPTER II.--Berlioz and Liszt
+
+CHAPTER III.--Berlioz. "Romeo and Juliet." Dramatic Symphony
+
+CHAPTER IV.--A Symphony to Dante's "Divina Commedia"
+
+CHAPTER V.--The Symphonic Poems of Liszt
+  "Les Preludes"
+  "Tasso"
+  "Mazeppa"
+  "Battle of the Huns"
+
+CHAPTER VI.--The Symphonic Poems of Saint-Saens
+  "Danse Macabre"
+  "Phaeton"
+  "The Youth of Hercules"
+  "Omphale's Spinning Wheel"
+
+CHAPTER VII.--Cesar Franck
+  Symphony in D minor
+
+CHAPTER VIII.--D'Indy and the Followers of Franck
+  D'Indy's Second Symphony
+
+CHAPTER IX.--Debussy and the Innovators
+  "The Sea"--Debussy
+  "The Sorcerer's Apprentice"--Dukas
+
+CHAPTER X.--Tschaikowsky
+  Fourth Symphony
+  "Manfred" Symphony
+  Fifth Symphony
+
+CHAPTER XI.--The Neo-Russians
+  Balakirew. Symphony in C
+  Rimsky-Korsakow
+    "Antar" Symphony
+    "Scherezade." Symphonic Suite
+  Rachmaninow. Symphony in E minor
+
+CHAPTER XII.--Sibelius. A Finnish Symphony
+
+CHAPTER XIII.--Bohemian Symphonies
+  Smetana. Symphonic Poem: "The Moldau River"
+  Dvorak. Symphony: "From the New World"
+
+CHAPTER XIV.--The Earlier Bruckner
+  Second Symphony
+  Fourth (Romantic) Symphony
+  Fifth Symphony
+
+CHAPTER XV.--The Later Bruckner
+  Ninth Symphony
+
+CHAPTER XVI.--Hugo Wolff
+  "Penthesilea." Symphonic Poem
+
+CHAPTER XVII.--Mahler
+  Fifth Symphony
+
+CHAPTER XVIII.--Richard Strauss. Symphonic Poems
+  "Death and Transfiguration"
+  "Don Juan"
+  "Till Eulenspiegel's Merry Pranks"
+  "Sinfonia Domestica"
+
+CHAPTER XIX.--Italian Symphonies
+  Sgambati. Symphony in D major
+  Martucci. Symphony in D minor
+
+CHAPTER XX.--Edward Elgar. An English Symphony
+
+CHAPTER XXI.--Symphonies in America
+  Henry Hadley. Symphony No. 3
+  Gustav Strube. Symphony in D minor
+  Chadwick. Suite Symphonique
+  Loeffler. "The Devil's Round." Symphonic Poem
+
+
+
+
+SYMPHONIES AND THEIR MEANING
+
+MODERN SYMPHONIES
+
+
+
+
+CHAPTER I
+
+THE SYMPHONY DURING THE NINETEENTH CENTURY
+
+
+After the long dominance of German masters of the musical art, a
+reaction could not fail to come with the restless tendencies of other
+nations, who, having learned the lesson, were yet jealous of foreign
+models and eager to utter their own message. The later nineteenth
+century was thus the age of refraction of the classic tradition among
+the various racial groups that sprang up with the rise of the national
+idea. We can see a kind of beginning in the Napoleonic destruction of
+feudal dynasties. German authority in music at the beginning of the
+century was as absolute as Roman rule in the age of Augustus. But the
+seed was carried by teachers to the various centres of Europe. And, with
+all the joy we have in the new burst of a nation's song, there is no
+doubt that it is ever best uttered when it is grounded on the lines of
+classic art. Here is a paramount reason for the strength of the modern
+Russian school. With this semi-political cause in mind it is less
+difficult to grasp the paradox that with all the growth of
+intercommunication the music of Europe moves in more detached grooves
+to-day than two centuries ago. The suite in the time of Bach is a
+special type and proof of a blended breadth and unity of musical thought
+in the various nations of Europe of the seventeenth century. In the
+quaint series of dances of the different peoples, with a certain
+international quality, one sees a direct effect of the Thirty Years'
+War,--the beneficent side of those ill winds and cruel blasts, when all
+kinds of nations were jostling on a common battle-ground. And as the
+folk-dances sprang from the various corners of Europe, so different
+nations nursed the artistic growth of the form. Each would treat the
+dances of the other in its own way, and here is the significance of
+Bach's separate suites,--English, French and German.
+
+Nationalism seems thus a prevailing element in the music of to-day, and
+we may perceive two kinds, one spontaneous and full of charm, the other
+a result of conscious effort, sophisticated in spirit and in detail. It
+may as well be said that there was no compelling call for a separate
+French school in the nineteenth century as a national utterance. It
+sprang from a political rather than an artistic motive; it was the itch
+of jealous pride that sharply stressed the difference of musical style
+on the two sides of the Rhine. The very influence of German music was
+needed by the French rather than a bizarre invention of national traits.
+The broader art of a Saint-Saens here shines in contrast with the
+brilliant conceits of his younger compatriots, though it cannot be
+denied that the latter are grounded in classic counterpoint. With other
+nations the impulse was more natural: the racial song of the
+Scandinavians, Czechs and other Slavs craved a deliverance as much as
+the German in the time of Schubert. In France, where music had long
+flourished, there was no stream of suppressed folk-song.
+
+But the symphony must in the natural course have suffered from the very
+fulness of its own triumph. We know the Romantic reaction of Schumann,
+uttered in smaller cyclic forms; in Berlioz is almost a complete
+abandonment of pure music, devoid of special description. Liszt was one
+of the mighty figures of the century, with all the external qualities of
+a master-genius, shaking the stage of Europe with the weight of his
+personality, and, besides, endowed with a creative power that was not
+understood in his day. With him the restless tendency resulted in a new
+form intended to displace the symphony: the symphonic poem, in a single,
+varied movement, and always on a definite poetic subject. Here was at
+once a relief and a recess from the classic rigor. Away with sonata form
+and all the odious code of rules! In the story of the title will lie all
+the outline of the music.
+
+Yet in this rebellious age--and here is the significance of the
+form--the symphony did not languish, but blossomed to new and varied
+flower. Liszt turned back to the symphony from his new-fangled device
+for his two greatest works. It has, indeed, been charged that the
+symphony was accepted by the Romantic masters in the spirit of a
+challenge. Mendelssohn and even Schumann are not entirely free from such
+a suspicion. Nevertheless it remains true that all of them confided to
+the symphony their fairest inspiration. About the middle of the century,
+at the high point of anti-classical revolt, a wonderful group of
+symphonies, by Berlioz, Mendelssohn, Schumann, and Liszt, were presented
+to the world. With the younger Brahms on a returning wave of
+neo-classicism the form became again distinctively a personal choice.
+Finally, in the spontaneous utterance of a national spirit on broad
+lines, as in the later Russian and Finnish examples, with the various
+phases of surging resolution, of lyric contemplation and of rollicking
+humor, the symphony has its best sanction in modern times.
+
+To return to the historical view, the course of the symphony during the
+century cannot be adequately scanned without a glance at the music-drama
+of Richard Wagner. Until the middle of the century, symphony and opera
+had moved entirely in separate channels. At most the overture was
+affected, in temper and detail, by the career of the nobler form.
+
+The restless iconoclasm of a Liszt was now united, in a close personal
+and poetic league, with the new ideas of Wagner's later drama. Both men
+adopted the symbolic motif as their main melodic means; with both mere
+iteration took the place of development; a brilliant and lurid
+color-scheme (of orchestration) served to hide the weakness of intrinsic
+content; a vehement and hysteric manner cast into temporary shade the
+classic mood of tranquil depth in which alone man's greatest thought is
+born.
+
+But a still larger view of the whole temper of art in Europe of the
+later century is needed. We wander here beyond the fine distinctions of
+musical forms. A new wave of feeling had come over the world that
+violently affected all processes of thought. And strangely, it was
+strongest in the land where the great heights of poetry and music had
+just been reached. Where the high aim of a Beethoven and a Goethe had
+been proclaimed, arose a Wagner to preach the gospel of brute fate and
+nature, where love was the involuntary sequence of mechanical device and
+ended in inevitable death, all overthrowing the heroic idea that teems
+throughout the classic scores, crowned in a greatest symphony in praise
+of "Joy."
+
+Such was the intrinsic content of a "Tristan and Isolde" and the whole
+"Nibelungen-Ring," and it was uttered with a sensuous wealth of sound
+and a passionate strain of melody that (without special greatness of its
+own) dazzled and charmed the world in the dramatic setting of mediaeval
+legend. The new harmonic style of Wagner, there is good reason to
+suppose, was in reality first conceived by Liszt, whose larger works,
+written about the middle of the century, have but lately come to
+light.[A] In correspondence with this moral mutiny was the complete
+revolt from classic art-tradition: melody (at least in theory), the
+vital quality of musical form and the true process of a coherent thread,
+were cast to the winds with earlier poetic ideals.
+
+[Footnote A: The "Dante" Symphony of Liszt was written between 1847 and
+1855; the "Faust" Symphony between 1854 and 1857. Wagner finished the
+text of _Tristan und Isolde_ in 1857; the music was not completed until
+1859. In 1863 was published the libretto of the _Nibelungen-Ring_. In
+1864 Wagner was invited by King Ludwig of Bavaria to complete the work
+in Munich.]
+
+If it were ever true that a single personality could change an opposite
+course of thought, it must be held that Richard Wagner, in his own
+striking and decadent career, comes nearest to such a type. But he was
+clearly prompted and reinforced in his philosophy by other men and
+tendencies of his time. The realism of a Schopenhauer, which Wagner
+frankly adopted without its full significance (where primal will finds a
+redemption in euthanasia), led by a natural course of thought to
+Nietzsche's dreams of an overman, who tramples on his kind.
+
+In itself this philosophy had been more of a passing phase (even as
+Schopenhauer is lost in the chain of ethical sages) but for its strange
+coincidence with the Wagnerian music. The accident of this alliance gave
+it an overwhelming power in Germany, where it soon threatened to corrupt
+all the arts, banishing idealism from the land of its special
+haunts.[A] The ultimate weakness of the Wagnerian philosophy is that it
+finds in fatalism an excuse for the surrender of heroic virtue,--not in
+the spirit of a tragic truth, but in a glorification of the senses; just
+as in Wagner's final work, the ascetic, sinless type becomes a figure
+almost of ridicule, devoid of human reality. It is significant that with
+the revival of a sound art, fraught with resolute aspiration, is
+imminent a return to an idealistic system of philosophy.
+
+[Footnote A: In literature this movement is most marked, as may be seen
+by contrasting the tone of Goethe with that of Sudermann; by noting the
+decadence from the stories of a Chamisseau and Immermann to those of a
+Gottfried Keller; from the novels of Freytag to the latest of Frenssen
+and Arthur Schnitzler; from the poems of Heine to those of Hoffmansthal,
+author of the text of Strauss' later operas.
+
+Or, contrast merely the two typical dramas of love, Goethe's "Faust" and
+Wagner's "Tristan and Isolde."]
+
+In the musical art even of Germany the triumph was never complete. The
+famous feud of Brahms and Wagner partisans marked the alignment of the
+classical and radical traditions. Throughout the second half of the
+century the banner of a true musical process was upheld; the personal
+meeting of the youthful Brahms with the declining Schumann is
+wonderfully significant, viewed as a symbol of this passing of the
+classic mantle. And the symphonies of Gustav Mahler seem an assurance of
+present tendencies. The influence of Bach, revived early in the century,
+grew steadily as a latent leaven.
+
+Nevertheless in the prevailing taste and temper of present German
+music, in the spirit of the most popular works, as those of Richard
+Strauss (who seems to have sold his poetic birthright), the aftermath of
+this wave is felt, and not least in the acclaim of the barren symphonies
+of a Bruckner. It is well known that Bruckner, who paid a personal
+homage to Wagner, became a political figure in the partisan dispute,
+when he was put forth as the antagonist of Brahms in the symphony. His
+present vogue is due to this association and to his frank adoption of
+Wagner idiom in his later works, as well as, more generally, to the
+lowered taste in Germany.
+
+In all this division of musical dialect, in the shattering of the
+classic tower among the diverse tongues of many peoples, what is to be
+the harvest? The full symbol of a Babel does not hold for the tonal art.
+Music is, in its nature, a single language for the world, as its
+alphabet rests on ideal elements. It has no national limits, like prose
+or poetry; its home is the whole world; its idiom the blended song of
+all nations.
+
+In such a view there is less hope in the older than in the newer world.
+No single, limited song of one nation can in the future achieve a second
+climax of the art. It is by the actual mingling of them all that the
+fairest flower and fruit must come. The very absence of one prevailing
+native song, held a reproach to America, is in reality her strength; for
+hers is the common heritage of all strains of song. And it may be her
+destiny to lead in the glorious merging of them all.
+
+
+
+
+CHAPTER II
+
+BERLIOZ AND LISZT
+
+
+The path of progress of an art has little to do with mere chronology.
+For here in early days are bold spirits whose influence is not felt
+until a whole generation has passed of a former tradition. Nor are these
+patient pioneers always the best-inspired prophets; the mere fate of
+slow recognition does not imply a highest genius. A radical innovation
+may provoke a just and natural resistance. Again, a gradual yielding is
+not always due to the pure force of truth. Strange and oblique ideas may
+slowly win a triumph that is not wholly merited and may not prove
+enduring.
+
+To fully grapple with this mystery, we may still hold to the faith that
+final victory comes only to pure truth, and yet we may find that
+imperfect truth will often achieve a slow and late acceptance. The
+victory may then be viewed in either of two ways: the whole spirit of
+the age yields to the brilliant allurement, or there is an overweighing
+balance of true beauty that deserves the prize of permanence. Of such a
+kind were two principal composers of the symphony: Franz Liszt and
+Hector Berlioz. Long after they had wrought their greatest works, others
+had come and gone in truer line with the first masters, until it seemed
+these radical spirits had been quite rejected.
+
+Besides the masters of their own day, Schumann and Mendelssohn, a group
+of minor poets, like Raff and Goetz, appeared, and at last Brahms, the
+latest great builder of the symphony, all following and crowning the
+classical tradition.
+
+The slow reception of the larger works of Liszt strangely agrees with
+the startling resemblance of their manner to the Russian style that
+captivated a much later age. It seemed as if the spirit of the Hungarian
+was suddenly revived in a new national group. His humor wonderfully
+suited the restless and sensational temper of an age that began after
+his death.
+
+The very harmonies and passionate manner that influence modern audiences
+evoked a dull indifference in their own day.[A] They roused the first
+acclaim when presented in the more popular form of the music-drama. It
+may well be questioned whether Liszt was not the fountain source of the
+characteristic harmonies of Wagner's later opera.
+
+[Footnote A: Compare the similarity of the themes of the Faust Symphony
+of Liszt and of the _Pathetique_ of Tschaikowsky in the last chapter of
+vol. ii, "Symphonies and Their Meaning."]
+
+Historically considered, that is in their relation to other music
+preceding and following them, the symphonies of Liszt have striking
+interest. They are in boldest departure from all other symphonies, save
+possibly those of Berlioz, and they were prophetic in a degree only
+apparent a half-century later. If the quality of being ahead of his time
+be proof, instead of a symptom, of genius, then Liszt was in the first
+rank of masters. The use of significant motif is in both of his
+symphonies. But almost all the traits that startled and moved the world
+in Tschaikowsky's symphonies are revealed in this far earlier music: the
+tempestuous rage of what might be called an hysterical school, and the
+same poignant beauty of the lyric episodes; the sheer contrast, half
+trick, half natural, of fierce clangor and dulcet harmonies, all painted
+with the broad strokes of the orchestral palette. Doubly striking it is
+how Liszt foreshadowed his later followers and how he has really
+overshadowed them; not one, down to the most modern tone-painters, has
+equalled him in depth and breadth of design, in the original power of
+his tonal symbols. It seems that Liszt will endure as the master-spirit
+in this reactionary phase of the symphony.
+
+Berlioz is another figure of a bold innovator, whose career seemed a
+series of failures, yet whose music will not down. His art was centred
+less upon the old essentials, of characteristic melody and soul-stirring
+harmonies, than upon the magic strokes of new instrumental grouping,--a
+graphic rather than a pure musical purpose. And so he is the father not
+only of the modern orchestra, but of the fashion of the day that revels
+in new sensations of startling effects, that are spent in portraying the
+events of a story.
+
+Berlioz was the first of a line of _virtuosi_ of the orchestra, a
+pioneer in the art of weaving significant strains,--significant, that
+is, apart from the music. He was seized with the passion of making a
+pictured design with his orchestral colors. Music, it seems, did not
+exist for Berlioz except for the telling of a story. His symphony is
+often rather opera. A symphony, he forgot, is not a musical drama
+without the scenery. This is just what is not a symphony. It is not the
+literal story, but the pure musical utterance. Thus Berlioz's "Romeo and
+Juliet" symphony is in its design more the literal story than is
+Shakespeare's play. And yet there is ever a serious nobility, a heroic
+reach in the art of Berlioz, where he stands almost alone among the
+composers of his race. Here, probably, more than in his pictured
+stories, lies the secret of his endurance. He was, other than his
+followers, ever an idealist. And so, when we are on the point of
+condemning him as a scene-painter, we suddenly come upon a stretch of
+pure musical beauty, that flowed from the unconscious rapture of true
+poet. As the bee sucks, so may we cull the stray beauty and the more
+intimate meaning, despite and aside from this outer intent.
+
+
+
+
+CHAPTER III
+
+BERLIOZ. "ROMEO AND JULIET."
+
+_DRAMATIC SYMPHONY_
+
+
+In the sub-title we see the growing impulse towards graphic music. A
+"dramatic symphony" is not promising. For, if music is the most
+subjective expression of the arts, why should its highest form be used
+to dramatize a drama? Without the aid of scene and actors, that were
+needed by the original poet, the artisan in absolute tones attempts his
+own theatric rendering. Clearly this symphony is one of those works of
+art which within an incongruous form (like certain ancient pictures)
+affords episodes of imperishable beauty.
+
+Passing by the dramatic episodes that are strung on the thread of the
+story, we dwell, according to our wont, on the stretches where a pure
+musical utterance rises to a lofty height of pathos or of rarest
+fantasy.
+
+In the first scene of the Second Part is the clear intent of a direct
+tonal expression, and there is a sustained thread of sincere sentiment.
+The passion of Romeo shines in the purity rather than in the intensity
+of feeling. The scene has a delicate series of moods, with subtle
+melodic touches and dramatic surprises of chord and color. The whole
+seems a reflection of Romeo's humor, the personal (_Allegro_) theme
+being the symbol as it roams throughout the various phases,--the sadness
+of solitude, the feverish thrill of the ball. Into the first phrase of
+straying violins wanders the personal motive, sadly meditative.
+
+[Music: _Allegro._
+(Choir of wood, with sustained chords of strings)]
+
+Sweeter dreams now woo the muser, warming into passion, pulsing with a
+more eager throb of desire, in changed tone and pace. Suddenly in a new
+quarter amid a quick strum of dance the main motive hurries along. The
+gay sounds vanish, ominous almost in the distance. The sadness of the
+lover now sings unrestrained in expressive melody (of oboe), in long
+swinging pace, while far away rumbles the beat of festive drum.
+
+The song rises in surging curves, but dies away among the quick festal
+sounds, where the personal motive is still supreme, chasing its own
+ardent antics, and plunges headlong into the swirl of dance.
+
+II Penseroso (in his personal role) has glided into a buoyant,
+rollicking Allegro with joyous answer. Anon the outer revel breaks in
+with shock almost of terror. And now in climax of joy, through the
+festal strum across the never-ceasing thread of transformed meditation
+resound in slowest, broadest swing the
+
+[Music: _Larghetto espressivo_
+(Ob. with fl. and cl. and arpeggic cellos)]
+
+warm tones of the love-song in triumph of bliss.[A] As the song dies
+away, the festal sounds fade. Grim meditation returns in double
+figure,--the slower, heavier pace below. Its shadows are all about as in
+a fugue of fears, flitting still to the tune of the dance and anon
+yielding before the gaiety. But through the returning festal ring the
+fateful motive is still straying in the bass. In the concluding revel
+the hue of meditation is not entirely banned.
+
+[Footnote A: In unison of the wind. Berlioz has here noted in the score
+"_Reunion des deux Themes, du Larghetto et de L'Allegro_," the second
+and first of our cited phrases.]
+
+The Shakespearian love-drama thus far seems to be celebrated in the
+manner of a French romance. After all, the treatment remains scenic in
+the main; the feeling is diluted, as it were, not intensified by the
+music.
+
+The stillness of night and the shimmering moonlight are in the delicate
+harmonies of (_Allegretto_) strings. A lusty song of departing revellers
+breaks upon the scene. The former distant sounds of feast are now near
+and clear in actual words.
+
+[Music: _Adagio_
+(Muted strings)
+(_Pizz._ basses an 8ve. lower)]
+
+There is an intimate charm, a true glamor of love-idyll about the
+Adagio. On more eager pulse rises a languorous strain of horn and
+cellos. The flow
+
+[Music: (Horn and cellos with murmuring strings)]
+
+of its passionate phrase reaches the climax of prologue where, the type
+and essence of the story, it plays about the lovers' first meeting. As
+lower strings hum the burden of desire, higher wood add touches of
+ecstasy, the melting violins sing the wooing song, and all break into an
+overwhelming rapture, as though transfigured in the brightness of its
+own vehemence, in midst of a trembling mystery.
+
+The restless spirit starts (_allegro agitato_) in fearsome agitation on
+quick nervous throb of melody; below, violas sing a soothing answer;
+there is a clear dialogue of wistful lovers.
+
+Instead of the classic form of several verses led by one dominant melody
+to varied paths and views, here almost in reverse we seem to fall from a
+broader lyric mood to a single note of sad yearning that
+
+[Music: (Fl. with Eng. horn an 8ve. below)
+(Muted violins with sustained lower strings)]
+
+grows out of the several strains. Upon such a motive a new melody sings.
+The delicate bliss of early love is all about, and in the lingering
+close the timid ecstasies of wooing phrase. But this is a mere prelude
+to the more highly stressed, vehement song of love that follows on the
+same yearning motive. Here is the crowning, summing phase of the whole
+poem, without a return to earlier melody save that, by significant
+touch, it ends in the same expressive turn as the former languorous
+song.
+
+The first melody does not reappear, is thus a kind of background of the
+scene. The whole is a dramatic lyric that moves from broader tune to a
+reiterated note of sad desire, driven to a splendid height of crowned
+bliss. The turbulence of early love is there; pure ardor in flaming
+tongues of ecstasy; the quick turn of mood and the note of omen of the
+original poem: the violence of early love and the fate that hangs over.
+
+Berlioz has drawn the subject of his Scherzo from Mercutio's speech in
+Scene 4 of the First Act of Shakespeare's tragedy. He has entitled it
+"Queen Mab, or the Fairy of Dreams," and clearly intends to portray the
+airy flight of Mab and her fairies. But we must doubt whether this, the
+musical gem of the symphony, has a plan that is purely graphic,--rather
+does it seem to soar beyond those concrete limits to an utterance of the
+sense of dreams themselves in the spirit of Mercutio's conclusion:
+
+          "... I talk of dreams
+    Which are the children of an idle brain,
+    Begot of nothing but vain fantasy;
+    Which is as thin of substance as the air;"
+
+And we may add, as elusive for the enchanted mind to hold are these
+pranks and brilliant parade of tonal sprites. It stands one of the
+masterpieces of program-music, in equal balance of pure beauty with the
+graphic plan.
+
+Imps they are, these flitting figures, almost insects with a
+personality. In pace there is a division, where the first dazzling
+speed is simply the fairy rhythm (halted anon by speaking pauses or
+silences), and the second, a kind of idyll or romance in miniature. It
+is all a drama of fairy actors, in a dreamland of softest tone. The main
+figure leads its troop on gossamer thread of varied journey.
+
+[Music: (Violins) _Prestissimo_]
+
+Almost frightening in the quickest, pulsing motion is the sudden
+stillness, as the weird poising of trembling sprites. Best of all is the
+resonant beauty of the second melody in enchanting surprise of tone.
+
+[Music: (Strings without basses)]
+
+Anon, as in a varied dance, the skipping, mincing step is followed by a
+gentle swaying; or the figures all run together down the line to start
+the first dance again, or the divided groups have different motions, or
+one shouts a sudden answer to the other.
+
+Much slower now is the main song (in flute and English horn) beneath an
+ariel harmony (of overtones), while a quicker trip begins below of the
+same figure. And in the midst is a strange concert of low dancing
+strings with highest tones of harp,--strange mating of flitting sprites.
+
+We are suddenly back in the first, skipping dance, ever faster and
+brighter in dazzling group of lesser figures. And here is the golden
+note of fairy-land,--the horn in soft cheery hunter's lay, answered by
+echoing voices. For a moment the call is tipped with touch of sadness,
+then rings out brightly in a new quarter. Beautiful it sings between the
+quick phrases, with a certain shock of change, and there is the terror
+of a sudden low rumbling and the thrill of new murmuring sounds with
+soft beat of drum that hails the gathering fairies. There is a sudden
+clarion burst of the whole chorus, with clash of drum and clang of
+brass, and sudden pause, then faintest echoes of higher voices.
+
+A new figure now dances a joyous measure to the tinkling of harp and the
+sparkling strokes of high
+
+[Music: (Harp in higher 8ve.)
+(Clarinet with chord of horns)
+(Violas)]
+
+cymbals and long blown tone of horns. The very essence it is of fairy
+life. And so the joy is not unmixed with just a touch of awe. Amidst the
+whole tintinnabulation is a soft resonant echo of horns below, like an
+image in a lake. The air hangs heavy with dim romance until the sudden
+return to first fairy verse in sounds almost human. Once more come the
+frightening pauses.
+
+The end is in a great crash of sweet sound--a glad awakening to day and
+to reality.
+
+
+
+
+CHAPTER IV
+
+A SYMPHONY TO DANTE'S "DIVINA COMMEDIA"
+
+_FOR ORCHESTRA AND CHORUS OF SOPRANOS AND ALTOS_
+
+
+The "Divina Commedia" may be said in a broad view to belong to the great
+design by which Christian teaching was brought into relation with
+earlier pagan lore. The subject commands all the interest of the epics
+of Virgil and of Milton. It must be called the greatest Christian poem
+of all times, and the breadth of its appeal and of its art specially
+attest the age in which it was written, when classic pagan poetry broke
+upon the world like a great treasure-trove.
+
+The subject was an ideal one in Dante's time,--a theme convincing and
+contenting to all the world, and, besides, akin to the essence of pagan
+poetry. The poet was needed to celebrate all the phases of its meaning
+and beauty. This is true of all flashes of evolutionary truth. As in the
+ancient epics, an idea once real to the world may be enshrined in a
+design of immortal art.
+
+To-day we are perhaps in too agnostic a state to be absorbed by such a
+contemplation. The subject in a narrower sense is true at most to those
+who will to cherish the solace of a salvation which they have not fully
+apprehended. And so the Liszt symphony of the nineteenth century is not
+a complete reflection of the Dante poem of the fourteenth. It becomes
+for the devout believer almost a kind of church-liturgy,--a Mass by the
+Abbe Liszt.
+
+Rare qualities there undoubtedly are in the music: a reality of passion;
+a certain simplicity of plan; the sensuous beauty of melodic and
+harmonic touches. But a greatness in the whole musical expression that
+may approach the grandeur of the poem, could only come in a suggestion
+of symbolic truth; and here the composer seems to fail by a too close
+clinging to ecclesiastic ritual. Yet in the agony of remorse, rising
+from hopeless woe to a chastened worship of the light, is a strain of
+inner truth that will leave the work for a long time a hold on human
+interest.
+
+Novel is the writing of words in the score, as if they are to be sung by
+the instruments,--all sheer aside from the original purpose of the form.
+Page after page has its precise text; we hear the shrieks of the damned,
+the dread inscription of the infernal portals; the sad lament of lovers;
+the final song of praise of the redeemed. A kind of picture-book music
+has our symphony become. The _leit-motif_ has crept into the high form
+of absolute tones to make it as definite and dramatic as any opera.
+
+
+I. INFERNO
+
+The legend of the portal is proclaimed at the outset in a rising phrase
+(of the low brass and strings)
+
+[Music: (Doubled in two lower 8ves.)
+_Lento_
+(3 trombones and tuba: violas, cellos and brass)]
+
+    _Per me si va nella cit-ta do-lente;
+    Per me si va nell'eterno dolore;_
+
+and in still higher chant--
+
+    _Per me si va tra la perduta gente._
+
+Then, in antiphonal blast of horns and trumpets sounds the fatal doom in
+grim monotone (in descending harmony of trembling strings):
+
+[Music: (Chant in octaves of trumpets and horns)
+La-scia-te ogni spe-ran- - -za.
+(Brass, wood and _tremolo_ strings)]
+
+    _Lasciate ogni speranza mi ch' entrate!_[A]
+
+[Footnote A:
+
+    "Through me the way is to the city dolent;
+    Through me the way is to eternal dole;
+    Through me the way among the people lost.
+    All hope abandon, ye who enter in!"
+
+--_From Longfellow's translation._]
+
+A tumult on a sigh (from the first phrase) rises again and again in
+gusts. In a violent paroxysm we hear the doom of the monotone in lowest
+horns. The fateful phrases are ringing about, while pervading all is
+the hope-destroying blast of the brass. But the storm-centre is the
+sighing motive which now enters on a quicker spur of passionate stride
+(_Allegro frenetico, quasi doppio movimento_). In its winding
+
+[Music: _Alla breve_
+_Allegro frenetico (quasi doppio movimento)_
+(Theme in violins and cellos)
+(Woodwind and violas)]
+
+sequences it sings a new song in more regular pace. The tempest grows
+wilder and more masterful, still following the lines of the song, rising
+to towering height. And now in the strains, slow and faster, sounds the
+sigh above and below, all in a madrigal of woe. The whole is surmounted
+by a big descending phrase, articulate almost in its grim dogma, as it
+runs into the line of the first legend in full tumult of gloom. It is
+followed by the doom slowly proclaimed in thundering tones of the brass,
+in midst of a tempest of surging harmonies. Only it is all more fully
+and poignantly stressed than before, with long, resonant echoes of the
+stentorian tones of lowest brass.
+
+Suddenly we are in the dulcet mood (_Quasi Andante, ma sempre un poco
+mosso_) 'mid light waving strings and rich swirling harp, and soothing
+tones of flutes and muted horns. Then, as all other voices are hushed,
+the clarinet sings a strain that ends in lowest notes of expressive
+grief (_Recit., espressivo dolente_)--where we can almost hear the
+words. It is answered by a sweet plaint of other wood, in
+
+[Music: _Quasi Andante, ma sempre un poco mosso_
+_dolce teneremente_
+(Clarinets and bassoons)]
+
+questioning accents, followed by the returning waves of strings and
+harp, and another phrase of the lament; and now to the pulsing chords of
+the harp the mellow English horn does sing (at least in the score) the
+words,--the central text of all:
+
+[Music: _Poco agitato_
+(English horn, with arpeggic flow of harp)
+Nes-sun mag-gior do-lo-re che ri-cor-dar-si del tem-po fe-li-ce.[A]]
+
+[Footnote A: "There is no greater sorrow than to be mindful of the happy
+time in misery."--_From Longfellow's translation._]
+
+Other voices join the leader. As the lower reed start the refrain, the
+higher enter in pursuit, and then the two groups sing a melodic chase.
+But the whole phrase is a mere foil to the pure melody of the former
+plaint that now returns in lower strings. And all so far is as a herald
+to the passage of intimate sentiment (_Andante amoroso_) that lies a
+lyric gem in the heart of the symphony. The melting strain is stressed
+in tenderness by the languor of harmonies, the delicate design of
+elusive rhythm and the appealing whisper of harp and two
+violins,--tipped by the touch of mellow wood.
+
+[Music: _Andante amoroso. (Tempo rubato)_
+_dolce con intimo sentimento_
+(Melody in first violins; arpeggios of harp and violas;
+lower woodwind and strings)]
+
+With the rising passion, as the refrain spreads in wider sequences, the
+choirs of wood and strings are drawn into the song, one group answering
+the other in a true love duet.
+
+The last cadence falls into the old sigh as the dread oracle sounds once
+more the knell of hope. Swirling strings bring us to a new scene of the
+world of shades. In the furious, frenetic pace of yore (_Tempo primo,
+Allegro, alla breve_) there is a new sullen note, a dull martial trip
+of drums with demonic growls (in the lowest wood). The sigh is there,
+but perverted in humor. A chorus of blasphemous mockery is stressed by
+strident accents of lower wood and strings.[A]
+
+[Footnote A: We are again assisted by the interpreting words in the
+score.]
+
+Gradually we fall into the former frenzied song, amid the demon
+cacchinations, until we have plunged back into the nightmare of groans.
+Instead of the big descending phrase we sink into lower depths of gloom,
+wilder than ever, on the first tripping motive. As the sighing strain
+resounds below in the midst of a chorus of demon shrieks, there enters
+the chant of inexorable fate. Mockery yields to a tinge of pathos, a
+sense almost of majestic resignation, an apotheosis of grief.
+
+
+II. PURGATORIO
+
+A state of tranquillity, almost of bliss, is in the opening primal
+harmonies (of harp and strings and
+
+[Music: _Andante con moto quasi Allegretto. Tranquillo assai_
+(Oboe _molto espressivo_)
+_Sempre piano e legato_
+(Full arpeggic harp and muted strings)]
+
+soft horns). Indeed, what else could be the mood of relief from the
+horrors of hell? And lo! the reed strikes a pure limpid song echoed in
+turn by other voices, beneath a rich spray of heavenly harmonies.
+
+This all recurs in higher shift of tone. A wistful phrase (_piu lento_,
+in low strings) seems to breathe
+
+[Music: _Un poco meno mosso_
+(English horn, clarinets, bassoons, French horn)]
+
+a spoken sob. Then, as in voices of a hymn, chants a more formal liturgy
+of plaint where the phrase is almost lost in the lowest voice. It is all
+but articulate, with a sense of the old sigh; but it is in a calmer
+spirit, though anon bursting with passionate grief (_lagrimoso_).
+
+[Music: _Lamentoso_ (In fugue of muted strings)]
+
+And now in the same vein, of the same fibre, a fugue begins of lament,
+first in muted strings.
+
+It is the line of sad expressive recitative that heralded the plaint and
+the love-scene. There is here the full charm of fugue: a rhythmic
+quality of single theme, the choir of concerted dirge in independent
+and interdependent paths, and with every note of integral melody. There
+is the beauty of pure tonal architecture blended with the personal
+significance of the human (and divine) tragedy.
+
+The fugue begins in muted strings, like plaintive human voices, though
+wood and brass here and there light up the phrases. Now the full bass of
+horns and wood strikes the descending course of theme, while higher
+strings and wood soar in rising stress of (sighing) grief.
+
+[Music: (In double higher 8ves.)
+_With lower 8ves._
+(Strings, with enforcing and answering wind)]
+
+A hymnal verse of the theme enters in the wood answered by impetuous
+strings on a coursing phrase. The antiphonal song rises with eager
+stress of themal attack. A quieter elegy leads to another burst, the
+motive above, the insistent sigh below. The climax of fugue returns to
+the heroic main plaint below, with sighing answers above, all the voices
+of wood and brass enforcing the strings.
+
+Then the fugue turns to a transfigured phase; the theme rings triumphant
+retorts in golden horns and in a masterful unison of the wood; the wild
+answer runs joyfully in lower strings, while the higher are strumming
+like celestial harps. The whole is transformed to a big song of praise
+ever in higher harmonies. The theme flows on in ever varying thread,
+amidst the acclaiming tumult.
+
+But the heavenly heights are not reached by a single leap. Once more we
+sink to sombre depths not of the old rejection, but of a chastened,
+wistful wonderment. The former plaintive chant returns, in slower,
+contained pace, broken by phrases of mourning recitative, with the old
+sigh. And a former brief strain of simple aspiration is supported by
+angelic harps. In gentle ascent we are wafted to the acclaim of heavenly
+(treble) voices in the _Magnificat_. A wonderful utterance, throughout
+the scene of Purgatory, there is of a chastened, almost spiritual grief
+for the sin that cannot be undone, though it is not past pardon.
+
+The bold design of the final Praise of the Almighty was evidently
+conceived in the main as a service. An actual depiction, or a direct
+expression (such as is attempted in the prologue of Boito's Mefistofele)
+was thereby avoided. The Holy of Holies is screened from view by a
+priestly ceremony,--by the mask of conventional religion. Else we must
+take the composer's personal conception of such a climax as that of an
+orthodox Churchman. And then the whole work, with all its pathos and
+humanity, falls to the level of liturgy.
+
+The words of invisible angel-chorus are those of the blessed maid
+trusting in God her savior, on a theme for which we are prepared by
+preluding choirs of harps, wood and strings. It is sung on an ancient
+Church tone that in its height approaches the mode of secular song. With
+all the power of broad rhythm, and fulness of harmony and volume, the
+feeling is of conventional worship. With all the purity of shimmering
+harmonies the form is ecclesiastical in its main lines and depends upon
+liturgic symbols for its effect and upon the faith of the listener for
+its appeal.
+
+At the end of the hymn, on the entering _Hosanna!_ and _Hallelujah!_ we
+catch the sacred symbol (of seven tones) in the path of the two vocal
+parts, the lower descending, the higher ascending as on heavenly scale.
+In the second, optional ending the figure is completed, as the bass
+descends through the seven whole tones and the treble (of voices and
+instruments) rises as before to end in overpowering _Hallelujah!_ The
+style is close knit with the earlier music. A pervading motive is the
+former brief phrase of aspiration; upon it the angelic groups seem to
+wing their flight between verses of praise. By a wonderful touch the
+sigh, that appeared inverted in the plaintive chant of the _Purgatorio_,
+is finally glorified as the motive of the bass to the words of
+exultation.
+
+
+
+
+CHAPTER V
+
+THE SYMPHONIC POEMS OF LISZT
+
+
+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. Yet it must be
+yielded that Liszt's program-music was of the higher kind that dwells in
+symbols rather than in concrete details. It was a graphic plan of
+symbolization that led Liszt to choose the subjects of his symphonic
+poems (such as the "Preludes" and the "Ideals") and to prefer the poetic
+scheme of Hugo's "Mazeppa" to the finer verse of a Byron. Though not
+without literal touches, Liszt perceived that his subjects must have a
+symbolic quality.
+
+Nevertheless this pictorial style led to a revolution in the very nature
+of musical creation and to a new form which was seemingly intended to
+usurp the place of the symphony. It is clear that the symphonic poem is
+in very essence opposed to the symphony. The genius of the symphony lies
+in the overwhelming breadth and intensity of its expression without the
+aid of words. Vainly decried by a later age of shallower perception, it
+achieved this Promethean stroke by the very magic of the design. At one
+bound thus arose in the youngest art a form higher than any other of
+human device,--higher than the epic, the drama, or the cathedral.
+
+Bowing to an impatient demand for verbal meaning, Liszt invented the
+Symphonic Poem, in which the classic cogency yielded to the loose thread
+of a musical sketch in one movement, slavishly following the sequence of
+some literary subject. He abandoned sheer tonal fancy, surrendering the
+magic potency of pure music, fully expressive within its own design far
+beyond the literal scheme.[A]
+
+[Footnote A: Mendelssohn with perfect insight once declared,--"Notes
+have as definite a meaning as words, perhaps even a more definite one."]
+
+The symphonic poems of Liszt, in so far as his intent was in destructive
+reaction to the classic process, were precisely in line with the drama
+of Wagner. The common revolt completely failed. The higher, the real
+music is ever of that pure tonal design where the fancy is not leashed
+to some external scheme. Liszt himself grew to perceive the inadequacy
+of the new device when he returned to the symphony for his greatest
+orchestral expression, though even here he never escaped from the thrall
+of a literal subject.
+
+And strangely, in point of actual music, we cannot fail to find an
+emptier, a more grandiose manner in all these symphonic poems than in
+the two symphonies. It seems as if an unconscious sense of the greater
+nobility of the classic medium drove Liszt to a far higher inspiration
+in his melodic themes.
+
+Yet we cannot deny the brilliant, dazzling strokes, and the luscious
+harmonies. It was all a new manner, and alone the novelty is welcome,
+not to speak of the broad sweep of facile melody, and the sparkling
+thrills.
+
+
+_LES PRELUDES_
+
+This work has a preface by the composer, who refers in a footnote to the
+"_Meditations poetiques_" of Lamartine.
+
+"What else is our life than a series of preludes to that unknown song of
+which the first solemn note is struck by death? Love is the morning glow
+of every heart; but in what human career have not the first ecstasies of
+bliss been broken by the storm, whose cruel breath destroys fond
+illusions, and blasts the sacred shrine with the bolt of lightning. And
+what soul, sorely wounded, does not, emerging from the tempest, seek to
+indulge its memories in the calm of country life? Nevertheless, man will
+not resign himself for long to the soothing charm of quiet nature, and
+when the trumpet sounds the signal of alarm, he runs to the perilous
+post, whatever be the cause that calls him to the ranks of war,--that he
+may find in combat the full consciousness of himself and the command of
+all his powers."
+
+How far is the music literally graphic? We cannot look for the "unknown
+song" in definite sounds. That would defeat, not describe, its
+character. But the first solemn notes, are not these the solemn rising
+phrase that reappears in varying rhythm and pace all about the beginning
+and, indeed, the whole course
+
+[Music: _Andante_
+(Strings, doubled in two lower 8ves.)]
+
+of the music. Just these three notes abound in the mystic first
+"prelude," and they are the core of the great swinging tune of the
+Andante maestoso, the beginning and main pulse of the unknown song.
+
+[Music: _Andante maestoso_
+(Basses of strings, wood and brass, doubled below; arpeggic
+harmonies in upper strings; sustained higher wood)]
+
+Now (_dolce cantando_) is a softer guise of the phrase. For death and
+birth, the two portals, are like
+
+[Music: (Strings, with arpeggic violins)
+_dolce cantando_
+(_Pizz._ basses)]
+
+elements. Even here the former separate motive sounds, and so in the
+further turn of the song (_espressivo dolente_) on new thread.
+
+The melody that sings (_espressivo ma tranquillo_) may well stand for
+"love, the glow of dawn in every heart." Before the storm, both great
+motives (of love and death) sound together very beautifully, as in
+
+[Music: _espress. ma tranquillo_
+_dolce._
+(Horns and lower strings, with arpeggic harp and violins)]
+
+Tennyson's poem. The storm that blasts the romance begins with the same
+fateful phrase. It is all about, even inverted, and at the crisis it
+sings with the fervor of full-blown song. At the lull the soft guise
+reappears, faintly, like a sweet memory.
+
+The Allegretto pastorale is clear from the preface. After we are lulled,
+soothed, caressed and all but entranced by these new impersonal sounds,
+then, as if the sovereign for whom all else were preparing, the song of
+love seeks its recapitulated verse. Indeed here is the real full song.
+Is it that in the memory lies the reality, or at least the realization?
+
+Out of the dream of love rouses the sudden alarm of brass (_Allegro
+marziale animato_), with a new war-tune fashioned of the former soft
+disguised motive. The air of fate still hangs heavy over all. In
+spirited retorts the martial madrigal proceeds, but it is not all mere
+war and courage. Through the clash of strife break in the former songs,
+the love-theme in triumph and the first expressive strain in tempestuous
+joy. Last of all the fateful original motto rings once more in serene,
+contained majesty.
+
+On the whole, even with so well-defined a program, and with a full play
+of memory, we cannot be quite sure of a fixed association of the motive.
+It is better to view the melodic episodes as subjective phases, arising
+from the tenor of the poem.
+
+
+_TASSO_
+
+Liszt's "Tasso" is probably the earliest celebration, in pure tonal
+form, of the plot of man's suffering and redemption, that has been so
+much followed that it may be called the type of the modern symphony.[A]
+In this direct influence the "Tasso" poem has been the most striking of
+all of Liszt's creations.
+
+[Footnote A: We may mention such other works of Liszt as "Mazeppa" and
+the "Faust" Symphony; the third symphony of Saint-Saens; Strauss' tone
+poem "Death and Transfiguration"; Volbach's symphony, besides other
+symphonies such as a work by Carl Pohlig. We may count here, too, the
+Heldenlied by Dvorak, and Strauss' Heldenleben (see Vol. II).]
+
+The following preface of the composer accompanies the score:
+
+     "In the year 1849 the one hundredth anniversary of Goethe's birth
+     was celebrated throughout Germany; the theatre in Weimar, where we
+     were at the time, marked the 28th of August by a performance of
+     'Tasso.'
+
+     "The tragic fate of the unfortunate bard served as a text for the
+     two greatest poets produced by Germany and England in the last
+     century: Goethe and Byron. Upon Goethe was bestowed the most
+     brilliant of mortal careers; while Byron's advantages of birth and
+     of fortune were balanced by keenest suffering. We must confess that
+     when bidden, in 1849, to write an overture for Goethe's drama, we
+     were more immediately inspired by Byron's reverential pity for the
+     shades of the great man, which he invoked, than by the work of the
+     German poet. Nevertheless Byron, in his picture of Tasso in prison,
+     was unable to add to the remembrance of his poignant grief, so
+     nobly and eloquently uttered in his 'Lament,' the thought of the
+     'Triumph' that a tardy justice gave to the chivalrous author of
+     'Jerusalem Delivered.' We have sought to mark this dual idea in the
+     very title of our work, and we should be glad to have succeeded in
+     pointing this great contrast,--the genius who was misjudged during
+     his life, surrounded, after death, with a halo that destroyed his
+     enemies. Tasso loved and suffered at Ferrara; he was avenged at
+     Rome; his glory still lives in the folk-songs of Venice. These
+     three elements are inseparable from his immortal memory. To
+     represent them in music, we first called up his august spirit as he
+     still haunts the waters of Venice. Then we beheld his proud and
+     melancholy figure as he passed through the festivals of Ferrara
+     where he had produced his master-works. Finally we followed him to
+     Rome, the eternal city, that offered him the crown and glorified in
+     him the martyr and the poet.
+
+     "_Lamento e Trionfo_: Such are the opposite poles of the destiny
+     of poets, of whom it has been justly said that if their lives are
+     sometimes burdened with a curse, a blessing is never wanting over
+     their grave. For the sake not merely of authority, but the
+     distinction of historical truth, we put our idea into realistic
+     form in taking for the theme of our musical poem the motive with
+     which we have heard the gondoliers of Venice sing over the waters
+     the lines of Tasso, and utter them three centuries after the poet:
+
+    "'Canto l'armi pietose e'l Capitano
+    Che'l gran Sepolcro libero di Christo!'
+
+     "The motive is in itself plaintive; it has a sustained sigh, a
+     monotone of grief. But the gondoliers give it a special quality by
+     prolonging certain tones--as when distant rays of brilliant light
+     are reflected on the waves. This song had deeply impressed us long
+     ago. It was impossible to treat of Tasso without taking, as it
+     were, as text for our thoughts, this homage rendered by the nation
+     to the genius whose love and loyalty were ill merited by the court
+     of Ferrara. The Venetian melody breathes so sharp a melancholy,
+     such hopeless sadness, that it suffices in itself to reveal the
+     secret of Tasso's grief. It lent itself, like the poet's
+     imagination, to the world's brilliant illusions, to the smooth and
+     false coquetry of those smiles that brought the dreadful
+     catastrophe in their train, for which there seemed to be no
+     compensation in this world. And yet upon the Capitol the poet was
+     clothed with a mantle of purer and more brilliant purple than that
+     of Alphonse."
+
+With the help of the composer's plot, the intent of the music becomes
+clear, to the dot almost of the note. The whole poem is an exposition of
+the one sovereign melody, where we may feel a kindred trait of Hungarian
+song, above all in the cadences, that must have stirred Liszt's patriot
+heart. Nay,--beginning as it does with melancholy stress of the phrase
+of cadence and the straying into full rhythmitic exultation, it seems
+(in strange guise) another
+
+[Music: _Adagio mesto_
+(With rhythmic harp and horns)]
+
+of Liszt's Hungarian rhapsodies,--that were, perhaps, the greatest of
+all he achieved, where his unpremeditated frenzy revelled in purest
+folk-rhythm and tune. The natural division of the Hungarian dance, with
+the sad _Lassu_ and the glad _Friss_, is here clear in order and
+recurrence. The Magyar seems to the manner born in both parts of the
+melody.[A]
+
+[Footnote A: A common Oriental element in Hungarian and Venetian music
+has been observed. See Kretschmar's note to Liszt's "Tasso" (Breitkopf &
+Haertel).]
+
+In the accents of the motive of cadence (_Lento_) we feel the secret
+grief of the hero, that turns _Allegro strepitoso_, in quicker pace to
+fierce revolt.
+
+In full tragic majesty the noble theme enters, in panoply of woe. In the
+further flow, as in the beginning, is a brief chromatic strain and a
+sigh of descending tone that do not lie in the obvious song, that are
+drawn by the subjective poet from the latent fibre. Here is the modern
+Liszt, of rapture and anguish, in manner and in mood that proved so
+potent a model with a later generation.[A]
+
+[Footnote A: See note in the final chapter of Volume II.]
+
+The verse ends in a prolonged threnody, then turns to a firm, serenely
+grave burst of the song in major, _Meno Adagio_, with just a hint of
+martial grandeur. For once, or the nonce, we seem to see the hero-poet
+acclaimed. In a middle episode the motive of the cadence sings
+expressively with delicate harmonies, rising to full-blown exaltation.
+We may see here an actual brief celebration, such as Tasso did receive
+on entering Ferrara.
+
+And here is a sudden fanciful turn. A festive dance strikes a tuneful
+trip,--a menuet it surely is, with all the ancient festal charm, vibrant
+with tune and spring, though still we do not escape the source of the
+first pervading theme. Out of the midst of the dance sings slyly an
+enchanting phrase, much like a secret love-romance. Now to the light
+continuing dance is joined a strange companion,--the heroic melody in
+its earlier majestic pace. Is it the poet in serious meditation at the
+feast apart from the joyous abandon, or do we see him laurel-crowned, a
+centre of the festival, while the gay dancers flit about him in homage?
+
+More and more brilliant grows the scene, though ever with the dominant
+grave figure. With sudden stroke as of fatal blast returns the earlier
+fierce burst of revolt, rising to agitation of the former lament,
+blending both moods and motives, and ending with a broader stress of the
+first tragic motto.
+
+Now, _Allegro con brio_, with herald calls of the brass and fanfare of
+running strings (drawn from the personal theme), in bright major the
+whole song bursts forth in brilliant gladness. At the height the
+exaltation finds vent in a peal of simple melody. The "triumph" follows
+in broadest, royal pace of the main song in the wind, while the strings
+are madly coursing and the basses reiterate the transformed motive of
+the cadence. The end is a revel of jubilation.
+
+
+_MAZEPPA_
+
+The Mazeppa music is based upon Victor Hugo's poem, in turn founded upon
+Byron's verse, with an added stirring touch of allegory.
+
+The verses of Hugo first tell how the victim is tied to the fiery
+steed, how--
+
+    "He turns in the toils like a serpent in madness,
+    And ... his tormentors have feasted in gladness
+        Upon his despair.
+
+           *       *       *       *       *
+
+    "They fly.--Empty space is behind and before them
+
+           *       *       *       *       *
+
+    "The horse, neither bridle nor bit on him feeling,
+    Flies ever; red drops o'er the victim are stealing:
+        His whole body bleeds.
+    Alas! to the wild horses foaming and champing
+    That followed with mane erect, neighing and stamping,
+        A crow-flight succeeds.
+    The raven, the horn'd owl with eyes round and hollow,
+    The osprey and eagle from battle-field follow,
+        Though daylight alarm.
+
+           *       *       *       *       *
+
+    "Then after three days of this course wild and frantic,
+    Through rivers of ice, plains and forests gigantic,
+        The horse sinks and dies;
+
+           *       *       *       *       *
+
+    "Yet mark! That poor sufferer, gasping and moaning,
+    To-morrow the Cossacks of Ukraine atoning,
+        Will hail as their King;
+
+           *       *       *       *       *
+
+    "To royal Mazeppa the hordes Asiatic
+    Will show their devotion in fervor ecstatic,
+        And low to earth bow."
+
+In his splendid epilogue the poet likens the hero to the mortal on whom
+the god has set his mark. He sees himself bound living to the fatal
+course of genius, the fiery steed.
+
+    "Away from the world--from all real existence
+    He is borne upwards, despite his resistance
+        On feet of steel.
+    He is taken o'er deserts, o'er mountains in legions,
+    Grey-hoary, thro' oceans, and into the regions
+        Far over the clouds;
+    A thousand base spirits his progress unshaken
+    Arouses, press round him and stare as they waken,
+        In insolent crowds
+
+           *       *       *       *       *
+
+    "He cries out with terror, in agony grasping,
+    Yet ever the mane of his Pegasus clasping,
+        They heavenward spring;
+    Each leap that he takes with fresh woe is attended;
+    He totters--falls lifeless--the struggle is ended--
+        And rises as King!"[A]
+
+[Footnote A: The English verses are taken for the most part from the
+translation of F. Corder.]
+
+The original _Allegro agitato_ in broad 6/4 time (aptly suggestive of
+the unbridled motion) grows
+
+[Music: (In brass and strings with lower 8ve.)
+(With constant clattering higher strings and
+chord of low wind on the middle beat)]
+
+more rapid into an _alla breve_ pace (in two beats), with dazzling maze
+of lesser rhythms. Throughout the work a song of primeval strain
+prevails. Here and there a tinge of foreshadowing pain appears, as the
+song sounds on high, _espressivo dolente_. But the fervor and fury of
+movement is undiminished. The brief touch of pathos soon merges in the
+general heroic mood. Later, the whole motion ceases, "the horse sinks
+and dies," and now an interlude sings a pure plaint (in the strain of
+the main motive). Then, _Allegro_, the martial note clangs in stirring
+trumpet and breaks into formal song of war, _Allegro marziale_.
+
+[Music: (Brass and strings)
+_Allegro marziale_
+(With lower 8ve.)]
+
+In the wake of this song, with a relentless trip and tramp of warrior
+hordes, is the real clash and jingle of the battle, where the sparkling
+thrill of strings and the saucy counter theme are strong elements in the
+stirring beauty.
+
+There is a touch here of the old Goth, or rather the Hun, nearer akin to
+the composer's race.
+
+At the height rings out the main tune of yore, transformed in triumphant
+majesty.
+
+The musical design embraces various phases. First is the clear rhythmic
+sense of the ride. We think of other instances like Schubert's
+"Erl-King" or the ghostly ride in Raff's "Lenore" Symphony.
+
+The degree of vivid description must vary, not only with the composer,
+but with the hearer. The greatest masters have yielded to the variety of
+the actual graphic touch. And, too, there are always interpreters who
+find it, even if it was never intended. Thus it is common to hear at the
+very beginning of the "Mazeppa" music the cry that goes up as starts the
+flight.
+
+We are of course entitled, if we prefer, to feel the poetry rather than
+the picture. Finally it is probably true that such a poetic design is
+not marred merely because there is here or there a trick of
+onomatopoeia; if it is permitted in poetry, why not in music? It may be
+no more than a spur to the fancy, a quick conjuring of the association.
+
+
+_HUNNENSCHLACHT--"THE BATTLE OF THE HUNS"_
+
+Liszt's symphonic poem, "Hunnenschlacht," one of the last of his works
+in this form, completed in 1857, was directly inspired by the picture of
+the German painter, Wilhelm Kaulbach, which represents the legend of the
+aerial battle between the spirits of the Romans and Huns who had fallen
+outside of the walls of Rome.[A]
+
+[Footnote A: A description of the picture is cited by Lawrence Gilman in
+his book, "Stories of Symphonic Music," as follows:
+
+"According to a legend, the combatants were so exasperated that the
+slain rose during the night and fought in the air. Rome, which is seen
+in the background, is said to have been the scene of this event. Above,
+borne on a shield, is Attila, with a scourge in his hand; opposite him
+Theodoric, King of the Visigoths. The foreground is a battle-field,
+strewn with corpses, which are seen to be gradually reviving, rising up
+and rallying, while among them wander wailing and lamenting women."]
+
+The evidence of the composer's intent is embodied in a letter written in
+1857 to the wife of the painter, which accompanied the manuscript of an
+arrangement of the music for two pianos. In the letter Liszt speaks of
+"the meteoric and solar light which I have borrowed from the painting,
+and which at the Finale I have formed into one whole by the gradual
+working up of the Catholic _choral_ 'Crux fidelis,' and the meteoric
+sparks blended therewith." He continues: "As I have already intimated to
+Kaulbach, in Munich, I was led by the musical demands of the material to
+give proportionately more place to the solar light of Christianity,
+personified in the Catholic _choral_ ... than appears to be the case in
+the glorious painting, in order to win and pregnantly represent the
+conclusion of the Victory of the Cross, with which I both as a Catholic
+and as a man could not dispense."
+
+The work begins _tempestuoso_ (_allegro non troppo_), with a nervous
+theme over soft rolling drums and
+
+[Music: _Tempestuoso. Allegro non troppo_
+(Bassoons with _tremolo_ cellos and roll of kettle-drums)]
+
+trembling low strings, that is taken up as in fugue by successive groups
+and carried to a height where enters a fierce call of the horns. The
+cries of battle spread with increasing din and gathering speed. At the
+first climax the whole motion has a new energy, as the strings in
+feverish chase attack the quickened motive with violent stress. Later,
+though the motion has not lessened, the theme has returned to a
+semblance of its former pace, and again the cries of battle (in brass
+and wood) sound across its path.
+
+[Music: (Strings, _tremolo_, doubled above)
+(Horns)]
+
+In the hush of the storm the full-blown call to arms is heard in lowest,
+funereal tones. Of a sudden, though the speed is the same, the pace
+changes with a certain terror as of a cavalry attack. Presently amid the
+clattering tramp sounds the big hymn,--in the ancient rhythm that moves
+strangely out of the rut of even time.[A]
+
+[Footnote A: Quoted on the following page.]
+
+A single line of the hymn is followed by a refrain of the battle-call,
+and by the charge of horse that brings back the hymn, in high pitch of
+trumpets. And so recur the former phases of battle,--really of threat
+and preparation. For now begins the serious fray in one long gathering
+of speed and power. The first theme here grows to full melodic song,
+with extended answer, led by strepitous band of lower reed over a heavy
+clatter of strings. We are in a
+
+[Music: (Trombones with lower 8ve)
+_Marcato_]
+
+maze of furious charges and cries, till the shrill trumpet and the
+stentorian trombone strike the full call in antiphonal song. The tempest
+increases with a renewed charge of the strings, and now the more distant
+calls have a slower sweep. Later the battle song is in the
+basses,--again in clashing basses and trebles; nearer strike the broad
+sweeping calls.
+
+Suddenly over the hushed motion in soothing harmonies sings the hymn in
+pious choir of all the brass. Then the gathering speed and volume is
+merged in a majestic tread as of ordered array (_Maestoso assai;
+Andante_); a brief spirited prelude of martial motives is answered by
+the soft religious strains of the organ on the line of the hymn:
+
+    "Crux fidelis, inter omnes
+    Arbor una nobilis,
+    Nulla silva talem profert
+    Fronde, flore, germine.
+    Dulce lignum, dulces clavos,
+    Dulce pondus sustinet."[A]
+
+[Footnote A:
+
+    Faithful cross, among the trees
+    Thou the noblest of them all!
+    Forest ne'er doth grow a like
+    In leaf, in flower or in seed.
+    Blessed wood and blessed nails,
+    Blessed burden that it bears!]
+
+As in solemn liturgy come the answering phrases of the organ and the big
+chorus in martial tread. As the hymn winds its further course, violins
+entwine about the harmonies. The last line ends in expressive strain and
+warm line of new major tone,--echoed in interluding organ and violins.
+
+Suddenly a strict, solemn tread, with sharp stress of violins, brings a
+new song of the _choral_. Strings alone play here "with pious
+expression"; gradually reeds add support and ornament. A lingering
+phrase ascends on celestial harmonies. With a stern shock the plain hymn
+strikes in the reed, against a rapid course of strings, with fateful
+tread. In interlude sound the battle-cries of yore. Again the hymn ends
+in the expressive cadence, though now it grows to a height of power.
+
+Here a former figure (the first motive of the battle) reappears in a
+new guise of bright major,[A] in full, spirited stride, and leads once
+more to a blast of the hymn, with organ and all, the air in unison of
+trumpets and all the wood. The expressive cadence merges into a last
+fanfare of battle, followed by a strain of hymns and with reverberating
+Amens, where the organ predominates and holds long after all other
+sounds have ceased.
+
+[Footnote A: In the whole tonality we may see the "meteoric and solar
+light" of which the composer speaks in the letter quoted above.]
+
+
+
+
+CHAPTER VI
+
+THE SYMPHONIC POEMS OF SAINT-SAENS
+
+
+There is something charming and even ideal in a complete versatility,
+quite apart from the depth of the separate poems, where there is a
+never-failing touch of grace and of distinction. The Philip Sydneys are
+quite as important as the Miltons, perhaps they are as great. Some poets
+seem to achieve an expression in a certain cyclic or sporadic career of
+their fancy, touching on this or that form, illuminating with an elusive
+light the various corners of the garden. Their individual expression
+lies in the _ensemble_ of these touches, rather than in a single
+profound revelation.
+
+A symptom of the eminence of Saint-Saens in the history of French music
+lies in his attitude towards the art as a whole, especially of the
+German masters,--the absence of national bias in his perceptions. He was
+foremost in revealing to his countrymen the greatness of Bach, Beethoven
+and Schumann. Without their influence the present high state of French
+music can hardly be conceived.
+
+It is part of a broad and versatile mastery that it is difficult to
+analyze. Thus it is not easy to find salient traits in the art of M.
+Saint-Saens. We are apt to think mainly of the distinguished beauty of
+his harmonies, until we remember his subtle counterpoint, or in turn
+the brilliancy of his orchestration. The one trait that he has above his
+contemporaries is an inbred refinement and restraint,--a thorough-going
+workmanship. If he does not share a certain overwrought emotionalism
+that is much affected nowadays, there is here no limitation--rather a
+distinction. Aside from the general charm of his art, Saint-Saens found
+in the symphonic poem his one special form, so that it seemed Liszt had
+created it less for himself than for his French successor. A fine
+reserve of poetic temper saved him from hysterical excess. He never lost
+the music in the story, disdaining the mere rude graphic stroke; in his
+dramatic symbols a musical charm is ever commingled. And a like poise
+helped him to a right plot and point in his descriptions. So his
+symphonic poems must ever be enjoyed mainly for the music, with perhaps
+a revery upon the poetic story. With a less brilliant vein of melody,
+though they are not so Promethean in reach as those of Liszt, they are
+more complete in the musical and in the narrative effect.
+
+
+_DANSE MACABRE_
+
+Challenged for a choice among the works of the versatile composer, we
+should hit upon the _Danse Macabre_ as the most original, profound and
+essentially beautiful of all. It is free from certain lacks that one
+feels in other works, with all their charm,--a shallowness and almost
+frivolity; a facility of theme approaching the commonplace.
+
+There is here an eccentric quality of humor, a daemonic conceit that
+reach the height of other classic expression of the supernatural.
+
+The music is founded upon certain lines of a poem of _Henri Calais_
+(under a like title), that may be given as follows:
+
+          Zig-a-zig, zig-a-zig-a-zig,
+    Death knocks on the tomb with rhythmic heel.
+          Zig-a-zig, zig-a-zig-zig,
+    Death fiddles at midnight a ghostly reel.
+
+    The winter wind whistles, dark is the night;
+      Dull groans behind the lindens grow loud;
+    Back and forth fly the skeletons white,
+      Running and leaping each under his shroud.
+    Zig-a-zig-a-zig, how it makes you quake,
+    As you hear the bones of the dancers shake.
+
+           *       *       *       *       *
+
+    But hist! all at once they vanish away,
+    The cock has hailed the dawn of day.
+
+The magic midnight strokes sound clear and sharp. In eager chords of
+tuned pitch the fiddling ghost summons the dancing groups, where the
+single fife is soon followed by demon violins.
+
+Broadly sings now the descending tune half-way between a wail and a
+laugh. And ever in interlude is the skipping, mincing step,--here of
+reeds answered by solo violin with a light clank of cymbals. Answering
+the summoning fifes, the unison troop of fiddlers dance the main step
+to bright strokes of triangle, then the main ghostly violin trips in
+with choir of wind. And broadly again sweeps the song between tears and
+
+[Music: _In waltz rhythm_
+(Flute)
+(Harp, with sustained bass note of strings)]
+
+smiles. Or Death fiddles the first strain of reel for the tumultuous
+answer of chorus.
+
+Now they build a busy, bustling fugue (of the descending song) and at
+the serious moment suddenly
+
+[Music: (Solo violin)
+_Largamente_
+(_Pizz._ strings)]
+
+they skip away in new frolicsome, all but joyous, tune: a shadowy
+counterfeit of gladness, where the sob hangs on the edge of the smile.
+As if it could no longer be contained, now pours the full passionate
+grief of the broad descending strain. Death fiddles his mournful chant
+to echoing, expressive wind. On the abandon of grief follows the revel
+of grim humor in pranks of mocking demons. All the strains are mingled
+in the ghostly bacchanale. The descending song is answered in opposite
+melody. A chorus of laughter follows the tripping dance. The summoning
+chords, acclaimed by chorus, grow to appealing song in a brief lull. At
+the height, to the united skipping dance of overpowering chorus the
+brass blows the full verse of descending song. The rest is a mad storm
+of carousing till ... out of the whirling darkness sudden starts the
+sharp, sheer call of prosaic day, in high, shrill reed. On a minishing
+sound of rolling drum and trembling strings, sings a brief line of
+wistful rhapsody of the departing spirit before the last whisking steps.
+
+
+_PHAETON_
+
+On a separate page between title and score is a "_Notice_,"--an epitome
+of the story of Phaeton, as follows:
+
+"Phaeton has been permitted to drive the chariot of the Sun, his father,
+through the heavens. But his unskilful hands frighten the steeds. The
+flaming chariot, thrown out of its course, approaches the terrestrial
+regions. The whole universe is on the verge of ruin when Jupiter strikes
+the imprudent Phaeton with his thunderbolt."
+
+There is a solemn sense at first (_Maestoso_), a mid-air poise of the
+harmony, a quick spring of resolution and--on through the heavens. At
+the outset and always is the pervading musical charm. In the beginning
+is the enchantment of mere motion in lightest prancing strings and harp
+with slowly ascending curve. In farther journey comes a spring of the
+higher wood and soon a firm note of horns and a blast of trumpets on a
+chirruping call, till the whole panoply of solar brilliance is
+shimmering. Now with the continuing pulse (of saltant strings) rings a
+buoyant,
+
+[Music: _Allegro animato_
+(Violins)
+_Marcato_ (Trumpets and trombones)]
+
+regnant air in the brass. A (canon) chase of echoing voices merely adds
+an entrancing bewilderment, then yields to other symbols and visions.
+
+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. Almost to Avernus seems the
+gliding fall when the first melody rings anew. But there is now an
+anxious sense that dims the joy of motion and in the
+
+[Music: (With trembling of violins in high B flat)
+(Horns)]
+
+returning first motive jars the buoyant spring. Through the maze of
+fugue with tinge of terror presses the fatuous chase, when--crash comes
+the shock of higher power. There is a pause of motion in the din and a
+downward flight as of lifeless figure.
+
+Now seems the soul of the sweet melody to sing, in purest dirge, without
+the shimmer of attendant motion save a ghostly shadow of the joyous
+symbol.
+
+
+_THE YOUTH OF HERCULES_
+
+The "Legend" is printed in the score as follows:
+
+"Fable tells us that upon entering into life Hercules saw the two paths
+open before him: of pleasure and of virtue.
+
+"Insensible to the seductions of Nymphs and Bacchantes, the hero devotes
+himself to the career of struggle and combat, at the end of which he
+glimpses across the flames of the funeral pyre the reward of
+immortality."
+
+We can let our fancy play about the score and wonderfully hit an
+intention of the poet. Yet that is often rather a self-flattery than a
+real perception. In the small touches we may lose the greater beauty.
+Here, after all, is the justification of the music. If the graphic
+picture is added, a little, only, is gained. The main virtue of it lies
+in our better grasp of the musical design.
+
+In the muted strings, straying dreamily in pairs, is a vague line of the
+motto,--a foreshadowing of the heroic idea, as are the soft calls of the
+wind with wooing harp a first vision of delight.
+
+[Music: _Allegro moderato_
+(Strings)]
+
+Now begins the main song in sturdy course of unmuted strings. The wood
+soon join in the rehearsing. But it is not all easy deciphering. The
+song wanders in gently agitated strings while the horns hold a solemn
+phrase that but faintly resembles the motto.[A] Lesser phrases play
+about the bigger in rising flight of aspiration, crowned at the height
+with a ray of glad light.
+
+[Footnote A: It is well to resist the vain search for a transnotation of
+the story. And here we see a virtue of Saint-Saens himself, a national
+trait of poise that saved him from losing the music in the picture. His
+symphonic poems must be enjoyed in a kind of musical revery upon the
+poetic subject. He disdained the rude graphic stroke, and used dramatic
+means only where a musical charm was commingled.]
+
+As the dream sinks slowly away, the stern motto is buried in quick
+flashes of the tempting call. These are mere visions; now comes the
+scene itself of temptation.
+
+To ripples of harp the reed sings enchantingly in swaying rhythm; other
+groups in new surprise of
+
+[Music: (Flutes, oboe, clarinets and harp)]
+
+scene usurp the melody with the languishing answer, until one Siren
+breaks into an impassioned burst, while her sisters hold the dance.
+
+Straight upon her vanished echoes shrieks the shrill pipe of war, with
+trembling drum. We hear a yearning sigh of the Siren strain before it is
+swept away in the tide and tumult of strife. Beneath the whirl and
+motion, the flash and crash of arms, we have glimpses of the heroic
+figure.
+
+Here is a strange lay in the fierce chorus of battle-cries: the Siren
+song in bright insistence, changed to the rushing pace of war.
+
+The scene ends in a crash. Loud sings a solemn phrase; do we catch an
+edge of wistful regret? Now returns the sturdy course of the main
+heroic melody; only it is slower (_Andante sostenuto_), and the high
+stress of cadence is solemnly impassioned.
+
+As if to atone for the slower pace, the theme strikes into a lively
+fugue, with trembling strings (_Allegro animato_).
+
+There is an air of achievement in the relentless progress and the
+insistent recurrence of the masterful motive. An episode there is of
+mere striving and straining, before the theme resumes its vehement
+attack, followed by lusty echoes all about as of an army of heroes.
+There is the breath of battle in the rumbling basses and the shaking,
+quivering brass.
+
+At last the plain song resounds in simple lines of ringing brass, led by
+the high bugle.[A]
+
+[Footnote A: Saint-Saens employs besides the usual 4 horns, 2 trumpets,
+3 trombones and tuba, a small bugle (in B-flat) and 2 cornets.]
+
+Yet the struggle, the inner combat, is not over. At the very moment of
+triumph sings on high over purling harp the mastering strain of Sirens,
+is buried beneath martial clash and emerges with its enchantment. But
+here the virile mood and motive gains the victory and strides on to
+final scene.
+
+We remember how Hercules built and ascended his own funeral pyre. In
+midst of quivering strings, with dashing harp and shrieking wood, a roll
+of drum and a clang of brass sounds the solemn chant of the trombone,
+descending in relentless steps. As the lowest is reached, there comes a
+spring of freedom in the pulsing figures, like the winging of a spirit,
+and a final acclaim in a brief line of the legend.
+
+
+_OMPHALE'S SPINNING WHEEL_
+
+Between title and score is this _Notice_:
+
+"The subject of this symphonic poem is feminine witchery, the triumphant
+struggle of weakness. The spinning wheel is a mere pretext, chosen from
+the point of view of rhythm and the general atmosphere of the piece.
+
+"Those persons who might be interested in a study of the details of the
+picture, will see ... the hero groaning in the toils which he cannot
+break, and ... Omphale mocking the vain efforts of Hercules."
+
+The versions of the story differ slightly. After the fulfilment of his
+twelve labors Hercules is ordered by the oracle to a period of three
+years' service to expiate the killing of the son of King Eurytus in a
+fit of madness. Hermes placed him in the household of Omphale, queen of
+Lydia, widow of Tmolus. Hercules is degraded to female drudgery, is
+clothed in soft raiment and set to spin wool, while the queen assumes
+the lion skin and club.
+
+In another version he was sold as slave to Omphale, who restored him to
+freedom. Their passion was mutual. The story has a likeness to a similar
+episode of Achilles.
+
+The spinning-wheel begins _Andante_ in muted strings alternating with
+flutes and gradually hurries into a lively motion. Here the horn accents
+the spinning, while another thread (of higher wood) runs through the
+graceful woof. A chain of alluring harmonies preludes the ensnaring
+song, mainly of woodwind above the humming strings, with soft dotting of
+the harmony by the horns. The violins, to be sure, often enforce the
+melody.
+
+[Music: _Andantino_
+(Fl. and muted violins)
+_Grazioso_
+(Strings, muted)]
+
+In the second verse, with fuller chorus, the harp adds its touches to
+the harmony of the horns, with lightest tap of tonal drum. Later a
+single note of the trumpet is answered by a silvery laugh in the wood.
+Between the verses proceeds the luscious chain of harmonies, as with the
+turning of the wheel.
+
+Now with the heavily expressive tones of low, unmuted strings and the
+sonorous basses of reed and brass (together with a low roll of drum and
+soft clash of cymbals) an heroic air sings in low strings and brass, to
+meet at each period a shower of notes from the harp. The song grows
+intense with the
+
+[Music: (Wood and _trem._ violins doubled above)
+(Horns)
+_espress. e pesante_
+(Cellos, basses, bassoons and trombone, doubled below)]
+
+added clang of trumpets and roll of drums,--only to succumb to the more
+eager attack of the siren chorus. At last the full effort of strength
+battling vainly with weakness reaches a single heroic height and sinks
+away with dull throbs.
+
+In soothing answer falls the caressing song of the high reed in the
+phrase of the heroic strain, lightly, quickly and, it seems, mockingly
+aimed. In gently railing triumph returns the pretty song of the wheel,
+with a new buoyant spring. Drums and martial brass yield to the laughing
+flutes, the cooing horns and the soft rippling harp with murmuring
+strings, to return like captives in the train at the height of the
+gaiety.
+
+
+
+
+CHAPTER VII
+
+CESAR FRANCK
+
+
+The new French school of symphony that broke upon the world in the
+latter part of the nineteenth century had its pioneer and true leader in
+Cesar Franck.[A] It was he who gave it a stamp and a tradition.
+
+[Footnote A: If language and association, as against the place of birth,
+may define nationality, we have in Cesar Franck another worthy
+expression of French art in the symphony. He was born at Liege in 1822;
+he died in 1890.]
+
+The novelty of his style, together with the lateness of his acclaim (of
+which it was the probable cause), have marked him as more modern than
+others who were born long after him.
+
+The works of Franck, in other lines of oratorio and chamber music, show
+a clear personality, quite apart from a prevailing modern spirit. A
+certain charm of settled melancholy seems to inhere in his wonted style.
+A mystic is Franck in his dominant moods, with a special sense and power
+for subtle harmonic process, ever groping in a spiritual discontent with
+defined tonality.
+
+A glance at the detail of his art discloses Franck as one of the main
+harmonists of his age, with Wagner and Grieg. Only, his harmonic manner
+was blended if not balanced by a stronger, sounder counterpoint than
+either of the others. But with all the originality of his style we
+cannot escape a sense of the stereotype, that indeed inheres in all
+music that depends mainly on an harmonic process. His harmonic ideas,
+that often seem inconsequential, in the main merely surprise rather than
+move or please. The enharmonic principle is almost too predominant,--an
+element that ought never to be more than occasional. For it is founded
+not upon ideal, natural harmony, but upon a conventional compromise, an
+expedient compelled by the limitation of instruments. This over-stress
+appears far stronger in the music of Franck's followers, above all in
+their frequent use of the whole tone "scale" which can have no other
+_rationale_ than a violent extension of the enharmonic principle.[A]
+With a certain quality of kaleidoscope, there is besides (in the
+harmonic manner of Cesar Franck) an infinitesimal kind of progress in
+smallest steps. It is a dangerous form of ingenuity, to which the
+French are perhaps most prone,--an originality mainly in details.
+
+[Footnote A: Absolute harmony would count many more than the semitones
+of which our music takes cognizance. For purpose of convenience on the
+keyboard the semitonal raising of one note is merged in the lowering of
+the next higher degree in the scale. However charming for occasional
+surprise may be such a substitution, a continuous, pervading use cannot
+but destroy the essential beauty of harmony and the clear sense of
+tonality; moreover it is mechanical in process, devoid of poetic fancy,
+purely chaotic in effect. There is ever a danger of confusing the novel
+in art with new beauty.]
+
+And yet we must praise in the French master a wonderful workmanship and
+a profound sincerity of sentiment. He shows probably the highest point
+to which a style that is mainly harmonic may rise. But when he employs
+his broader mastery of tonal architecture, he attains a rare height of
+lofty feeling, with reaches of true dramatic passion.
+
+The effect, to be sure, of his special manner is somewhat to dilute the
+temper of his art, and to depress the humor. It is thus that the
+pervading melancholy almost compels the absence of a "slow movement" in
+his symphony. And so we feel in all his larger works for instruments a
+suddenness of recoil in the Finale.
+
+One can see in Franck, in analogy with his German contemporaries, an
+etherealized kind of "Tristan and Isolde,"--a "Paolo and Francesca" in a
+world of shades. Compared with his followers the quality of stereotype
+in Franck is merely general; there is no excessive use of one device.
+
+A baffling element in viewing the art of Franck is his remoteness of
+spirit, the strangeness of his temper. He lacked the joyous spring that
+is a dominant note in the classic period. Nor on the other hand did his
+music breathe the pessimism and naturalism that came with the last
+rebound of Romantic reaction. Rather was his vein one of high spiritual
+absorption--not so much in recoil, as merely apart from the world in a
+kind of pious seclusion. Perhaps his main point of view was the
+church-organ. He seems a religious prophet in a non-religious age. With
+his immediate disciples he was a leader in the manner of his art, rather
+than in the temper of his poetry.
+
+
+_SYMPHONY IN D MINOR_
+
+The scoring shows a sign of modern feeling in the prominence of the
+brasses. With all contrast of spirit, the analogy of Franck with the
+Liszt-Wagner school and manner is frequently suggestive.
+
+The main novelty of outer detail is the plan of merely three movements.
+Nor is there a return to the original form, without the Scherzo. To
+judge from the headings, the "slow" movement is absent. In truth, by way
+of cursory preamble, the chronic vein of Cesar Franck is so ingrainedly
+reflective that there never can be with him an absence of the meditative
+phrase. Rather must there be a vehement rousing of his muse from a state
+of mystic adoration to rhythmic energy and cheer.[A]
+
+[Footnote A: The key of the work is given by the composer as D minor.
+The first movement alone is in the nominal key. The second (in B flat)
+is in the submediant, the last in the tonic major. The old manner in
+church music, that Bach often used, of closing a minor tonality with a
+major chord, was probably due to a regard for the mood of the
+congregation. An extension of this tradition is frequent in a long coda
+in the major. But this is quite different in kind from a plan where all
+of the last movement is in insistent major. We know that it is quite
+possible to begin a work at some distance from the main key, leading to
+it by tortuous path of modulation; though there is no reason why we may
+not question the composer's own inscription, the controlling point is
+really the whole tonal scheme. Here the key of the second movement is
+built on a design in minor,--would have less reason in the major. For it
+rests on a degree that does not exist in the tonic major. To be sure,
+Beethoven did invent the change to a lowered submediant in a succeeding
+movement. And, of course, the final turn to the tonic major is virtually
+as great a license.]
+
+_Lento_ in basses of the strings a strain sounds like a basic motive,
+answered with harmonies in the wood. In further strings lies the full
+tenor of quiet reflection, with sombre color of tonal scheme. Motives
+are less controlling probably in Franck than in any other
+symphonist,--less so, at any rate, than his one
+
+[Music: _Lento_]
+
+special mood and manner. Yet nowhere is the strict figural plot more
+faithful in detail than with Cesar Franck.
+
+The theme has an entirely new ring and answer when it enters Allegro
+after the Lento prelude. The further course of the tune here is in
+eccentric, resolute stride in the descending scale. Our new answer is
+much evident in the bass. The Allegro seems a mere irruption; for the
+Lento prelude reappears in full solemnity. Indeed, with all the title
+and pace, this seems very like the virtual "slow" movement. A mood of
+rapt, almost melancholy absorption prevails, with rare flashes of joyous
+utterance, where the Allegro enters as if to break the thrall of
+meditation. A very striking inversion of the theme now appears. The
+gradual growth of phrases in melodious instalments is a trait of Franck
+(as it is of Richard Strauss). The rough motto at each turn has a new
+
+[Music: _Allegro non troppo_
+(Strings)
+(Wind)]
+
+phase and frequently is transfigured to a fresh tune. So out of the
+first chance counter-figures somehow spring beautiful melodies, where we
+feel the fitness and the relevance though we have not heard them before.
+It is a quality that Franck shares with Brahms, so that in a
+mathematical spirit we might care to deduce all the figures from the
+first phrase. This themal manner is quite analogous to the harmonic
+style of Franck,--a kaleidoscope of gradual steps, a slow procession of
+pale hues of tone that with strange aptness reflect the dim religious
+light of mystic musing.
+
+More and more expressive are the stages of the first figures until we
+have a duet _molto cantabile_ in the strings. Much of the charm of the
+movement lies in the balance of the new rhythms, the eccentric and the
+flowing. By some subtle path there grows a song
+
+[Music: _Allegro. Molto cantabile_]
+
+in big tones of unison, wood and strings and trumpets, that is the real
+hymnal refrain of the movement. Between this note almost of exultation
+and all shades of pious dreaming the mood is constantly shifting.
+
+[Music: _Allegro_]
+
+Another phrase rises also to a triumphant height (the clear reverse of
+the former tuneful melody) that comes now like a big _envoi_ of assuring
+message.
+
+Though the whole movement is evenly balanced between Allegro and
+Penseroso (so far as pace is concerned), the mood of reflection really
+finds full vent; it has no reason for a further special expression.
+
+Simple as the Allegretto appears in its suggestion of halting dance, the
+intent in the episodes is of the subtlest. The slow trip of strings and
+harp is soon given a new meaning with the melody of English horn.
+Throughout we are somehow divided between pure dance and a more
+thoughtful muse. In the first departure to an episode in major, seems to
+sing the essence of the former melody in gently murmuring strings, where
+later the whole chorus are drawn in. The song moves on clear thread and
+wing right out of the mood of the dance-tune; but the very charm lies in
+the mere outer change of guise. And so the second episode is still far
+from all likeness with the first dance beyond a least sense of the old
+trip that does appear here and there. It is all clearly a true scheme of
+variations, the main theme disguised beyond outer semblance, yet
+faithfully present throughout in the essential rhythm and harmony.
+
+In the Finale, _Allegro non troppo_, we are really clear, at the outset,
+of the toils of musing melancholy.
+
+[Music: _Allegro non troppo_
+_Dolce cantabile_]
+
+After big bursts of chords, a tune rolls pleasantly along, _dolce
+cantabile_, in basses of wood and strings. Expressive after-phrases
+abound, all in the same jolly mood, until the whole band break
+boisterously on the simple song, with a new sonorous phrase of basses.
+Then, in sudden remove, sounds the purest bit of melody of all the
+symphony, in gentlest tones
+
+[Music: _Dolce cantabile_
+(In the brass)]
+
+of brass (trumpet, trombone and tuba). But, though in complete recoil
+from the rhythmic energy of Allegro theme, it is even farther from the
+reflective mood than the latter. It shows, in this very contrast, the
+absence of the true lyric in the meditative vein, frequent with Cesar
+Franck. The burst of melody blossoms ever fairer. In its later musing
+the tune browses in the bass. A waving phrase grows in the violins,
+which continues with strange evenness through the entrance of new song
+where we are surprised by the strange fitness of the Allegretto melody.
+And the second phase of the latter follows as if it belonged here. So,
+almost listless, without a hair of rhythmic change (_les temps ont
+toujours la meme valeur_), the Finale theme sings again most softly in
+the strings. It has, to be sure, lost all of its color, without the
+original throb of accompanying sounds. The phase of the movement is a
+shadowy procession of former ideas, united in the dreamy haze that
+enshrouds them. The stir that now begins is not of the first pale hue of
+thought, rather the vein of big discussion, brewing a storm that breaks
+finally in full blast on the gentle melody (of the brass) transfigured
+in ringing triumph, in all the course of the song. Nor is the succeeding
+phase the mystic habit of our poet; it is a mere farther digestion of
+the meat of the melody that leads once more to a height of climax whence
+we return to first course of themes, tuneful afterphrase and all, with
+the old happy motion. The counterpoint here is the mere joyous ringing
+of many strains all about.
+
+Against all rules comes a new chorusing paean on the theme of
+Allegretto, led by stentorian basses, together with an enchanting
+after-strain, which we might have remarked before. And still another
+quarter, long hushed, is heard anew, as a voice sounds a faint reminder
+of the hymn of the first Allegro. Indeed, the combining strains before
+the close seem sprung all of one parental idea. The motto of the
+beginning sings in fittest answer to the latest phrases. The very maze
+of the concert forbids our turning to their first origin. The end is in
+joyous chanting of the Finale melody.
+
+
+
+
+CHAPTER VIII
+
+D'INDY AND THE FOLLOWERS OF FRANCK
+
+
+Perhaps the noblest essay in symphonic music of the followers of Franck
+is the second symphony of Vincent D'Indy.[A] His vein is indeed
+throughout nearest akin of all the disciples to the serious muse of the
+master.
+
+[Footnote A: Vincent d'Indy was born in Paris on March 27, 1852.]
+
+Though D'Indy is surpassed in a certain poetic originality by some of
+his compatriot contemporaries, there is in this symphony a breadth of
+design and detail, a clear melodic quality and a sustained lofty feeling
+that seem to mark it the typical French symphony of its time. The
+strength of the work lies in a unity that is not merely of figure and
+outline. If we must measure a symphony mainly by the slow movement, we
+cannot avoid, with all the languorous beauty, a certain conventionality
+of mood, stressed with an exotic use of the appoggiatura, while in the
+Scherzo is a refined savagery of modern cacophony.
+
+The directions are all in French; we are reminded of Schumann's
+departure from the Italian fashion.
+
+Each movement, save the third, has its prelude: a gathering of threads
+before the new story. The first notes of basses, together with the
+answer on high, sound a prophetic legend of the whole.
+
+The harmonic lucubrations are profoundly subtle. Indeed the very nature
+of the first phrase is of dim
+
+[Music: _Extremement Lent._ (Woodwind)
+(Strings and harps)]
+
+groping; it ends in a climax of the answer and merges into the main song
+of the Allegro (_tres vif_) in horns, with rapid trip of strings.
+
+[Music: _Tres vif_ (Horns)
+(Strings)]
+
+Throughout (from a technical view) is a fine mastery of the device of
+ornamental notes, and secondary harmonies; there is also a certain
+modern sense of chords and their relations. Together with an infinite
+brilliance of these resources there is not only no weakness in cogency
+of form, but there is a rare unity of design. The movements are bound
+together, at least in themal relation, as strictly as in any symphony.
+While the first phrase of the Allegro theme may hark back to the answer
+of original motto, the second is the main thread of narrative.
+
+[Music: (Flutes, oboes and clarinets)
+_Sempre staccato_]
+
+Again and again is the climax rung on the first high note of the theme.
+Then, in lieu of cadence, out of a bright dissonance the quick notes
+dance upward in sturdy pace, the answer of the Allegro in sharp
+disguise. And then from the height descends a refreshing spray of
+subtlest discords, ending in another masterful burst of new harmony.
+
+The dainty, dazzling play is stopped by a rough thud of basses and a
+fierce clang of chords. In the sharp blare of brass on the ascending
+phrase is almost lost the original motto in lowest basses. It is now
+heard in gradually quickened speed, while the rising phrase runs more
+timidly. At last the quickened motto sinks gently into lulling motion,
+_un peu plus modere_. Above, in strings and horns, the melody haunts us
+with a dim sense that takes us to the first languishing answer of the
+original legend. And the whole is strong-knit; for the very Allegro
+theme began in resolute mood of a like figure. A counter-strain rises to
+meet the main phrase. The whole episode is an intertwining of song in
+the vein of the first answer of motto.
+
+The quick rising notes suddenly return with snatches of the main motive,
+the chain of echoing phrases runs a gamut of moods, fitful, anxious,
+soothed, until the bright upward trip begins anew, with the enchanting
+burst of chord and descending harmonies. A climactic height is stressed
+by a rough meeting of opposing groups, in hostile tone and movement,
+ending in a trill of flutes and a reentry of the episode.
+
+In the returning Allegro the thread is still the same, though richer in
+color and texture. Again there is the plunge into dark abyss, with
+shriek of harp, and the ominous theme in the depths. The slow ascending
+phrase here has a full song and sway. The end is in spirited duet of two
+quick motives.
+
+The second movement, _moderement lent_, begins in revery on the answer
+of original motive, and the stately pathos of the theme, in horns,
+clarinets and violas, with rhythmic strings, grows naturally out of the
+mood.
+
+_Plus anime_, in subtle change of pace (from 6/4 to 3/2), the episode
+begins with eccentric stride of harps (and added woodwind), that serves
+as a kind of
+
+[Music: _Moderement Lent._
+(Melody in horns, clarinets and violas)
+(Acc'd in strings)]
+
+accompanying figure and foil for the sweeping song of the real second
+melody (in oboe solo, succeeded by the clarinet).
+
+[Music: (Oboe solo)
+_Tres espress._
+(Violins)
+(Acc't in bassoons, horns, harps and basses)]
+
+In the clash of themes and harmonies of the climax, the very limits of
+modern license seem to be invoked. Later the three themes are entwined
+in a passage of masterly counterpoint.
+
+There is a touch of ancient harmony in the delicate tune of third
+movement, which has the virtue of endless weaving. It is sung by solo
+violin, mainly supported by a choir of lower strings.
+
+A final conclusive line is given by the solo flute. Besides the constant
+course of varying tune, there is a power of ever changing harmony that
+seems to lie in some themes.
+
+[Music: _Modere_
+(Viola solo)
+_Tres simplement_]
+
+One can hardly call it all a Scherzo. It is rather an idyll after the
+pathos of the Andante. Or, from another view, reversing the usual order,
+we may find the quality of traditional Trio in the first melody and a
+bacchanale of wild humor in the middle. For, out
+
+[Music: _Tres anime_
+(Woodwind and strings)]
+
+of a chance phrase of horns grows of all the symphony the boldest
+harmonic phrase (repeated through ten bars). Above rings a barbarous
+cry, in defiance of common time and rhythm.
+
+Suddenly we are surprised by the sound of the martial stride of the
+second theme of the Andante which moves on the sea of rough harmony as
+on a native element. One whim follows another. The same motion is all
+there, but as if in shadow, in softest sound, and without the jar of
+discord; then comes the fiercest clash of all, and now a gayest dance of
+the first tune, _assez vif_, in triple rhythm, various figures having
+their _pas seul_. A second episode returns, brilliant in high pace but
+purged of the former war of sounds. At the end is the song of the first
+tune, with new pranks and sallies.
+
+The beginning of the Finale is all in a musing review of past thoughts.
+The shadow of the last tune lingers, in slower pace; the ominous dirge
+of first motto sounds below; the soothing melody of the Andante sings a
+verse. In solemn fugue the original motto is reared from its timid
+phrase to masterful utterance, with splendid stride. Or
+
+[Music: _Modere et solennel_
+(Cellos and basses)]
+
+rather the theme is blended of the first two phrases, merging their
+opposite characters in the new mood of resolution. The strings prepare
+for the sonorous entrance of woodwind and horns. One of the greatest
+fugal episodes of symphonies, it is yet a mere prelude to the real
+movement, where the light theme is drawn from a phrase of latest
+cadence. And the dim hue of minor which began the symphony, and all
+overspread the prelude, at last yields to the clear major. There is
+something of the struggle of shadow and light of the great third
+symphony of Brahms.
+
+The continuous round of the theme, in its unstable pace (of 5/4), has a
+strange power of motion, the feeling
+
+[Music: (Ob.)
+(Strings)]
+
+of old passacaglia. To be sure, it is the mere herald and companion of
+the crowning tune, in solo of the reeds.
+
+From the special view of structure, there is no symphony, modern or
+classic, with such an overpowering combination and resolution of
+integral themes in one movement. So almost constant is the derivation of
+ideas, that one feels they must be all related. Thus, the late rush of
+rhythm, in the Finale, is broken by a quiet verse where with enchanting
+subtlety we are carried back somewhere to the idyll of third movement.
+
+Above, rises another melody, and from its simple outline grows a fervor
+and pathos that, aside from the basic themes of the whole work, strike
+the main feeling of the Finale.
+
+[Music: _Un peu moins vite_]
+
+The martial trip from the Andante joins later in the return of the
+whirling rhythm. At last the motto strikes on high, but the appealing
+counter-melody is not easily hushed.
+
+[Music: (Ob.)
+(Cellos with _tremolo_ violins)]
+
+It breaks out later in a verse of exalted beauty and passion. The
+struggle of the two ideas reminds us of the Fifth Symphony. At last the
+gloom of the fateful motto is relieved by the return of the original
+answer, and we seem to see a new source of latest ideas, so that we
+wonder whether all the melodies are but guises of the motto and answer,
+which now at the close, sing in united tones a hymn of peace and bliss.
+
+
+
+
+CHAPTER IX
+
+DEBUSSY AND THE INNOVATORS
+
+
+At intervals during the course of the art have appeared the innovators
+and pioneers,--rebels against the accepted manner and idiom. The mystery
+is that while they seem necessary to progress they seldom create
+enduring works. The shadowy lines may begin somewhere among the Huebalds
+and other early adventurers. One of the most striking figures is Peri,
+who boldly, almost impiously, abandoned the contrapuntal style, the only
+one sanctioned by tradition, and set the dramatic parts in informal
+musical prose with a mere strumming of instruments.
+
+It is not easy to see the precise need of such reaction. The radical
+cause is probably a kind of inertia in all things human, by which the
+accepted is thought the only way. Rules spring up that are never wholly
+true; at best they are shifts to guide the student, inadequate
+conclusions from past art. The essence of an art can never be put in
+formulas. Else we should be content with the verbal form. The best
+excuse for the rule is that it is meant to guard the element of truth in
+art from meretricious pretence.
+
+And, we must not forget, Art progresses by slow degrees; much that is
+right in one age could not come in an earlier, before the intervening
+step.
+
+The masters, when they had won their spurs, were ever restive under
+rules.[A] Yet they underwent the strictest discipline, gaining early the
+secret of expression; for the best purpose of rules is liberation, not
+restraint. On the other hand they were, in the main, essentially
+conservative. Sebastian Bach clung to the older manner, disdaining the
+secular sonata for which his son was breaking the ground.
+
+[Footnote A: Some of the chance sayings of Mozart (recently edited by
+Kerst-Elberfeld) betray much contempt for academic study: "Learning from
+books is of no account. Here, here, and here (pointing to ear, head, and
+heart) is your school." On the subject of librettists "with their
+professional tricks," he says: "If we composers were equally faithful to
+our own rules (which were good enough when men knew no better), we
+should turn out just as poor a quality in our music as they in their
+librettos." Yet, elsewhere, he admits: "No one has spent so much pains
+on the study of composition as myself. There is hardly a famous master
+in music whom I have not read through diligently and often."]
+
+The master feels the full worth of what has been achieved; else he has
+not mastered. He merely gives a crowning touch of poetic message, while
+the lighter mind is busy with tinkering of newer forms. For the highest
+reaches of an art, the poet must first have grasped all that has gone
+before. He will not rebel before he knows the spirit of the law, nor
+spend himself on novelty for its own sake.
+
+The line between the Master and the Radical may often seem vague. For,
+the former has his Promethean strokes, all unpremeditated, compelled by
+the inner sequence,--as when Beethoven strikes the prophetic drum in the
+grim Scherzo of the Fifth Symphony; or in the Eroica when the horn
+sounds sheer ahead, out of line with the sustaining chorus; or when Bach
+leaps to his harmonic heights in organ fantasy and toccata; or Mozart
+sings his exquisite clashes in the G Minor Symphony.
+
+As the true poet begins by absorption of the art that he finds, his
+early utterance will be imitative. His ultimate goal is not the
+strikingly new but the eternally true. It is a question less of men than
+of a point of view.
+
+It seems sometimes that in art as in politics two parties are needed,
+one balancing the weaknesses of the other. As certain epochs are
+overburdened by the spirit of a past poet, so others are marred by the
+opposite excess, by a kind of neo-mania. The latter comes naturally as
+reaction from the former. Between them the poet holds the balance of
+clear vision.
+
+When Peri overthrew the trammels of counterpoint, in a dream of Hellenic
+revival of drama, he could not hope to write a master-work. Destructive
+rebellion cannot be blended with constructive beauty. An antidote is of
+necessity not nourishment. Others may follow the path-breaker and slowly
+reclaim the best of old tradition from the new soil. The strange part of
+this rebellion is that it is always marked by the quality of stereotype
+which it seeks to avoid. This is an invariable symptom. It cannot be
+otherwise; for the rejection of existing art leaves too few resources.
+Moreover, the pioneer has his eye too exclusively upon the mere manner.
+
+A wholesome reaction there may be against excess. When Gluck dared to
+move the hearts of his hearers instead of tickling their ears, he
+achieved his purpose by positive beauty, without actual loss. In this
+sense every work of art is a work of revolution. So Wagner, especially
+in his earlier dramas,[A] by sheer sincerity and poetic directness,
+corrected a frivolous tradition of opera. But when he grew destructive
+of melody and form, by theory and practice, he sank to the role of
+innovator, with pervading trait of stereotype, in the main merely adding
+to the lesser resources of the art. His later works, though they contain
+episodes of overwhelming beauty, cannot have a place among the permanent
+classics, alone by reason of their excessive reiteration.
+
+[Footnote A: The "Flying Dutchman," "Lohengrin" and "Tannhaeuser" seemed
+destined to survive Wagner's later works.]
+
+One of the most charming instances of this iconoclasm is the music of
+Claude Debussy.[A] In a way we are reminded of the first flash of
+Wagner's later manner: the same vagueness of tonality, though with a
+different complexion and temper. Like the German, Debussy has his own
+novel use of instruments. He is also a rebel against episodic melody.
+Only, with Wagner the stand was more of theory than of practice. His
+lyric inspiration was here too strong; otherwise with Debussy. Each
+article of rebellion is more highly stressed in the French leader, save
+as to organic form, where the latter is far the stronger. And finally
+the element of mannerism cannot be gainsaid in either composer.[B]
+
+[Footnote A: Born in 1862.]
+
+[Footnote B: Some recurring traits Wagner and Debussy have in common,
+such as the climactic chord of the ninth. The melodic appoggiatura is as
+frequent in the earlier German as the augmented chord of the fifth in
+the later Frenchman.]
+
+Among the special traits of Debussy's harmonic manner is a mingling with
+the main chord of the third below. There is a building downward, as it
+were. The harmony, complete as it stands, seeks a lower foundation so
+that the plain tower (as it looked at first) is at the end a lofty
+minaret. It is striking that a classic figure in French music should
+have stood, in the early eighteenth century, a champion of this idea, to
+be sure only in the domain of theory. There is a touch of romance in the
+fate of a pioneer, rejected for his doctrine in one age, taken up in the
+art of two centuries later.[A]
+
+[Footnote A: Rameau, when the cyclopaedic spirit was first stirring and
+musical art was sounding for a scientific basis, insisted on the element
+of the third below, implying a tonic chord of 6, 5, 3. Here he was
+opposed by Fetis, Fux and other theoretic authority; judgment was
+definitively rendered against him by contemporary opinion and prevailing
+tradition. It cannot be said that the modern French practice has
+justified Rameau's theory, since with all the charm of the enriched
+chord, there is ever a begging of the question of the ultimate root.]
+
+A purely scientific basis must be shunned in any direct approach of the
+art whether critical or creative,--alone for the fatal allurement of a
+separate research. The truth is that a spirit of fantastic experiment,
+started by the mystic manner of a Cesar Franck, sought a sanction in the
+phenomena of acoustics. So it is likely that the enharmonic process of
+Franck led to the strained use of the whole-tone scale (of which we have
+spoken above) by a further departure from tonality.[A] And yet, in all
+truth, there can be no doubt of the delight of these flashes of the
+modern French poet,--a delicate charm as beguiling as the bolder, warmer
+harmonies of the earlier German. Instead of the broad exultation of
+Wagner there is in Debussy the subtle, insinuating dissonance. Nor is
+the French composer wanting in audacious strokes. Once for all he stood
+the emancipator of the art from the stern rule of individual vocal
+procedure. He cut the Gordian knot of harmonic pedagogy by the mere
+weapon of poetic elision. He simply omitted the obvious link by a
+license ancient in poetry and even in prose. He devised in his harmonies
+the paradox, that is the essence of art, that the necessary step somehow
+becomes unnecessary. Though Wagner plunges without ceremony into his
+languorous chords, he carefully resolves their further course. Debussy
+has them tumbling in headlong descent like sportive leviathans in his
+sea of sound. Moreover he has broken these fetters of a small punctilio
+without losing the sense of a true harmonic sequence. Nay, by the very
+riotous revel of upper harmonies he has stressed the more clearly the
+path of the fundamental tone. When he enters the higher sanctuary of
+pure concerted voices, he is fully aware of the fine rigor of its rites.
+And finally his mischievous abandon never leads him to do violence to
+the profoundest element of the art, of organic design.[B]
+
+[Footnote A: As the lower overtones, discovered by a later science,
+clearly confirm the tonal system of the major scale, slowly evolved in
+the career of the art,--so the upper overtones are said to justify the
+whole-tone process. At best this is a case of the devil quoting
+scripture. The main recurring overtones, which are lower and audible,
+are all in support of a clear prevailing tonality.]
+
+[Footnote B: In the drama Debussy avoids the question of form by
+treating the music as mere scenic background. Wagner, in his later
+works, attempted the impossible of combining a tonal with the dramatic
+plot. In both composers, to carry on the comparison beyond the technical
+phase, is a certain reaching for the primeval, in feeling as in
+tonality. Here they are part of a larger movement of their age. The
+subjects of their dramas are chosen from the same period of mediaeval
+legend, strongly surcharged in both composers with a spirit of fatalism
+where tragedy and love are indissolubly blended.]
+
+
+_"THE SEA." THREE SYMPHONIC SKETCHES_
+
+_I.--From Dawn to Noon on the Sea._ In awesome quiet of unsoothing
+sounds we feel, over a dual elemental motion, a quick fillip as of
+sudden lapping wave, while a shadowy air rises slowly in hollow
+intervals. Midst trembling whispers descending (like the soughing
+wind), a strange note, as of distant trumpet, strikes in gentle
+insistence--out of the other rhythm--and blows a wailing phrase. The
+trembling whisper has sunk to lowest depths. Still continues the lapping
+of waves--all sounds of unhuman nature.
+
+[Music: (Muted trumpet, with Eng. horns in lower 8ve.)
+_Very slowly_
+_Espressivo_
+(Cellos with basses in lower 8ve.)]
+
+On quicker spur the shadowy motive flits faster here and there in a slow
+swelling din of whispering, to the insistent plash of wave. Suddenly the
+sense of desolation yields to soothing play of waters--a _berceuse_ of
+the sea--and now a song sings softly (in horn), though strangely jarring
+on the murmuring lullaby. The soothing cheer is anon broken by a shift
+of new tone. There is a fluctuation of pleasant and strange sounds; a
+dulcet air on rapturous harmony is hushed by unfriendly plash of chord.
+
+Back again in the quieter play of rhythm the strange, sweet song (of
+horns) returns.
+
+In a ravishing climax of gentle chorus of quick plashing waves and
+swirling breeze the song sings on and the trumpet blows its line of tune
+to a ringing phrase of the clarinet.
+
+[Music: (Strings and horns)
+_ad lib. faster_]
+
+When this has died down, the lapping waves, as in concert, strike in
+full chord that spreads a hue of warmth, as of the first peep of sun. It
+is indeed as though the waves rose towards the sun with a glow of
+welcome.
+
+In the wake of the first stirring shock is a host of soft cheering
+sounds of bustling day, like a choir of birds or bells. The eager
+madrigal leads to a final blast (with acclaiming chorus of big rocking
+waves), echoed in golden notes of the horns. One slight touch has
+heightened the hue to warmest cheer; but once do we feel the full glow
+of risen sun.
+
+The chilling shadows return, as the wistful air of hushed trumpet
+sounds again. We hover between flashes of warming sun, until the waves
+have abated; in soothing stillness the romantic horn[A] sings a lay of
+legend.
+
+[Footnote A: English horn.]
+
+Now to friendly purling of playful wavelets, the sea moves in shifting
+harmonies. In sudden climax the motion of the waves fills all the brass
+in triumphant paean, in the gleam of high noon.
+
+
+_II.--Play of the Waves._ There is a poetic background as for the play
+of legend. We seem to be watching the sea from a window in the castle of
+_Pelleas_. For there is a touch of dim romance in a phrase of the
+clarinet.
+
+The movement of waves is clear, and the unconscious concert of
+sea-sounds, the deeper pulse of ocean (in the horns), the flowing
+ripples, the sharp dash of lighter surf (in the Glockenspiel), all with
+a constant tremor, an instability of element (in trembling strings). We
+cannot help feeling the illusion of scene in the impersonal play of
+natural sounds. Anon will come a shock of exquisite sweetness that must
+have something of human. And then follows a resonant clash with spray of
+colliding seas.
+
+Here the story of the waves begins, and there are clearly two roles.
+
+To light lapping and cradling of waters the wood sings the simple lay,
+while strings discourse in quicker, higher phrase. The parts are
+reversed. A shower of chilling wave (in gliding harps) breaks the
+thread.
+
+[Music: _Con anima_
+(Highest and lowest figure in strings.
+Middle voices in octaves of wood)]
+
+Now golden tones (of horns) sound a mystic tale of one of the former
+figures. The scene shimmers
+
+[Music: (With rhythmic harps and strings)
+(Flutes)
+(Eng. horn) _espressivo_
+(Strings)
+(Horns)]
+
+in sparkling, glinting waters (with harp and trilling wood and strings).
+But against the soothing background the story (of English horn) has a
+chill, ominous strain.
+
+With the returning main song comes the passionate crisis, and we are
+back in the mere plash and play of impersonal waves.
+
+On dancing ripples, a nixie is laughing to echoing horns and lures us
+back to the story.
+
+[Music: (Strings with lower 8ve.)
+(Cl.) _grazioso_ (Horns)]
+
+Later, it seems, two mermaids sing in twining duet. In a warm hue of
+light the horns sound a weird tale. It is taken up by teasing chorus of
+lighter voices. In the growing volume sounds a clear, almost martial
+call of the brass.
+
+In a new shade of scene we recover the lost burden of song; the original
+figures appear (in the slower air of trembling strings and the quicker
+play of reed, harp and bells), and wander through ever new, moving
+phases. A shower of chords (in strings and shaking brass) brings back
+the ominous melody, amidst a chorus of light chatter, but firmly resting
+on a warm background of harmony. And the strain roves on generous path
+and rises out of all its gloom to a burst of profound cheer.
+
+[Music: (1st violins with lower 8ve.)
+(2d violins; percussion with cellos below)
+(Harp with violas)
+(Flutes with higher 8ve.)
+(See page 104, line 11.)]
+
+As in all fairy tales, the scene quickly vanishes. On dancing rays and
+ripples is the laughing nixie; but suddenly breaks the first song of the
+main figures. A climactic phrase of trumpets ends with a burst of all
+the chorus on stirring harmony, where in diminishing strokes of bells
+long rings the melodic note.
+
+The teasing motive of the nixie returns while the trumpet sounds a
+shadowy echo of its phrase, again to dying peal of bells. A chorus of
+eerie voices sing the mocking air, and again sounds the refrain of
+trumpet as in rebuke. On a tumult of teasing cries flashes a delivering
+burst of brilliant light, and we are back in the first scene of the
+story. Only the main figure is absent. And there is in the eager tension
+of pace a quivering between joy and doubt. Then, in answer to the
+lighter phrase of the other, is the returning figure with a new song now
+of blended longing and content that soars into higher flights until a
+mighty chorus repeats the strain that rises to triumphant height of joy
+and transforms the mocking motive to the same mood.
+
+But it is all a play of the waves. And we are left once more to the
+impersonal scene where yet the fragrance of legend hovers over the dying
+harmonies.
+
+
+_III.--Dialogue of the Wind and the Sea._ Tumultuous is the humor of the
+beginning; early sounds the stroke of wave of the first hour of the sea.
+The muted trumpet blows a strain (to trembling strings) that takes us
+back to the first (quoted) tune of the symphony in the wistful mood of
+dawn. For a symphony it proves to be in the unity of themes and thought.
+Now unmuted and unrestrained in conflict of crashing chords, the trumpet
+blows again the motto of the roving sea. In various figures is the
+pelagic motion, in continuous coursing strings, in the sweeping phrase
+of the woodwind, or in the original wave-motion of the horns, now
+unmuted.
+
+The main burden is a plaint
+
+[Music: (Woodwind in lower octaves
+and touches of horns)
+(_Animato_) _poco rit._
+(Strings in higher and lower octaves)]
+
+(in the wood) against the insistent surge (of strings), on a haunting
+motive as of farewell or eventide, with much stress of pathos. It is
+sung in sustained duet against a constant churning figure of the sea,
+and it is varied by a dulcet strain that grows out of the wave-motive.
+
+Indeed, the whole movement is complementary of the first, the obverse as
+it were. The themes are of the same text; the hue and mood have changed
+from the spring of dawn to the sadness of dusk. The symbol of noontide
+peace reappears with minor tinge, at the hush of eve. The climactic
+motive of the sea acclaiming the rising sun is there, but reversed.
+
+The sea too has the same tempestuous motion (indeed, the plaintive song
+is mainly of the wind), unrestrained by the sadder mood. At the
+passionate climax, where the higher figure sinks toward the rising
+lower, it is as if the Wind kissed the Sea.
+
+The concluding scene begins as in the first movement, save with greater
+extension of expressive melody. And the poignant note has a long song
+against a continuous rippling (of harps).
+
+More elemental figures crowd the scene; the first melody (of trumpet)
+has a full verse, and the dulcet phrase (of wave-motive).
+
+Toward the end the plaintive song has an ever-growing chorus of
+acclaiming voices. In the fever of united coursing motion the phrase
+loses the touch of sadness until in eager, spirited pace, as of
+galloping steeds, it ends with a shout of victory.
+
+
+_DUKAS. "THE SORCERER'S APPRENTICE"_
+
+Chief among the companions of Claude Debussy in his adventures is Paul
+Dukas.[A] Though he lags somewhat in bold flights of harmonies, he shows
+a clearer vein of melody and rhythm, and he has an advantage in a
+greater freedom from the rut of repeated device.
+
+[Footnote A: Born in 1865.]
+
+It is somehow in the smaller forms that the French composer finds the
+trenchant utterance of his fancy. A Scherzo, after the ballad of Goethe,
+"The Sorcerer's Apprentice," tells the famous story of the boy who in
+his master's absence compels the spirit in the broom to fetch the
+water; but he cannot say the magic word to stop the flood, although he
+cleaves the demon-broom in two.
+
+After the title-page of the score is printed a prose version (by Henri
+Blaze) of Goethe's ballad, "Der Zauberlehrling."
+
+Of several translations the following, by Bowring, seems the best:
+
+    THE SORCERER'S APPRENTICE
+
+    I am now,--what joy to hear it!--
+      Of the old magician rid;
+    And henceforth shall ev'ry spirit
+      Do whatever by me is bid:
+        I have watch'd with rigor
+          All he used to do,
+        And will now with vigor
+          Work my wonders, too.
+
+            Wander, wander
+            Onward lightly,
+            So that rightly
+            Flow the torrent,
+          And with teeming waters yonder
+          In the bath discharge its current!
+
+    And now come, thou well-worn broom,
+      And thy wretched form bestir;
+    Thou hast ever served as groom,
+      So fulfil my pleasure, sir!
+        On two legs now stand
+          With a head on top;
+        Water pail in hand,
+          Haste and do not stop!
+
+            Wander, wander
+            Onward lightly,
+            So that rightly
+            Flow the torrent,
+          And with teeming waters yonder
+          In the bath discharge its current!
+
+    See! he's running to the shore,
+      And has now attained the pool,
+    And with lightning speed once more
+      Comes here, with his bucket full!
+        Back he then repairs;
+          See how swells the tide!
+        How each pail he bears
+          Straightway is supplied!
+
+            Stop, for lo!
+            All the measure
+            Of thy treasure
+            Now is right!
+          Ah, I see it! woe, oh, woe!
+          I forget the word of might.
+
+    Ah, the word whose sound can straight
+      Make him what he was before!
+    Ah, he runs with nimble gait!
+      Would thou wert a broom once more!
+        Streams renew'd forever
+          Quickly bringeth he;
+        River after river
+          Rusheth on poor me!
+
+            Now no longer
+            Can I bear him,
+            I will snare him,
+            Knavish sprite!
+          Ah, my terror waxes stronger!
+          What a look! what fearful sight!
+
+    Oh, thou villain child of hell!
+      Shall the house through thee be drown'd?
+    Floods I see that widely swell,
+      O'er the threshold gaining ground.
+        Wilt thou not obey,
+          O thou broom accurs'd!
+        Be thou still, I pray,
+          As thou wert at first!
+
+            Will enough
+            Never please thee?
+            I will seize thee,
+            Hold thee fast,
+          And thy nimble wood so tough
+          With my sharp axe split at last.
+
+    See, once more he hastens back!
+      Now, O Cobold, thou shalt catch it!
+    I will rush upon his track;
+      Crashing on him falls my hatchet.
+        Bravely done, indeed!
+          See, he's cleft in twain!
+        Now from care I'm freed,
+          And can breathe again.
+
+            Woe oh, woe!
+            Both the parts,
+            Quick as darts,
+            Stand on end,
+          Servants of my dreaded foe!
+          O ye gods, protection send!
+
+    And they run! and wetter still
+      Grow the steps and grows the hall.
+      Lord and master, hear me call!
+    Ever seems the flood to fill.
+
+        Ah, he's coming! see,
+          Great is my dismay!
+        Spirits raised by me
+          Vainly would I lay!
+
+            "To the side
+            Of the room
+            Hasten, broom,
+            As of old!
+          Spirits I have ne'er untied
+          Save to act as they are told."
+
+In paragraphs are clearly pointed the episodes: the boy's delight at
+finding himself alone to conjure the spirits; the invocation to the
+water, recurring later as refrain (which in the French is not addressed
+to the spirit); then the insistent summons of the spirit in the broom;
+the latter's obedient course to the river and his oft-repeated fetching
+of the water; the boy's call to him to stop,--he has forgotten the
+formula; his terror over the impending flood; he threatens in his
+anguish to destroy the broom; he calls once more to stop; the repeated
+threat; he cleaves the spirit in two and rejoices; he despairs as two
+spirits are now adding to the flood; he invokes the master who returns;
+the master dismisses the broom to the corner.
+
+There is the touch of magic in the first harmonics of strings, and the
+sense of sorcery is always sustained in the strange harmonies.[A]
+
+[Footnote A: The flageolet tones of the strings seem wonderfully
+designed in their ghostly sound for such an aerial touch. Dukas uses
+them later in divided violins, violas and cellos, having thus a triad of
+harmonics doubled in the octave.
+
+The remaining instruments are: Piccolo, 2 flutes, 2 oboes, 2 clarinets,
+bass-clarinet, 3 bassoons, contra-bassoon (or contra-bass sarrusophon);
+4 horns, 2 trumpets (often muted); 2 cornets-a-pistons; 3 trombones; 3
+kettle-drums; harp; glockenspiel; big drum, cymbals and triangle.]
+
+After a mystic descent of eerie chords, a melodious cooing phrase begins
+in higher wood, echoed from one voice to the other, while the
+spirit-notes are still sounding.
+
+Suddenly dashes a stream of descending spray, met by another ascending;
+in the midst the first phrase is rapidly sounded (in muted trumpet). As
+suddenly the first solemn moment has returned, the phrase has grown in
+melody, while uncanny harmonies prevail. Amidst a new feverish rush a
+call rings
+
+[Music: (Wood and _pizz._ strings)
+_Vivace_
+(Horns and trumpets)]
+
+loud and oft (in trumpets and horns) ending in an insistent, furious
+summons. The silence that ensues is as speaking (or in its way as
+deafening) as were the calls.
+
+After what seems like the grating of ancient joints, set in reluctant
+motion, the whole tune of the first wooing phrase moves in steady gait,
+in comic bassoons, to the tripping of strings, further and fuller
+extended as other voices join. The beginning phrase of chords recurs as
+answer. Ever the lumbering trip continues, with strange turn of harmony
+and color, followed ever by the weird answer. A fuller apparition comes
+with the loud, though muffled tones of the trumpets. The original tune
+grows in new turns and folds of melody, daintily tipped with the ring of
+bells over the light tones of the wood. The brilliant
+
+[Music: _Vivace_
+(Melody in 3 bassoons)
+(Acc't in _pizz._ strings)]
+
+harp completes the chorus of hurrying voices. Now with full power and
+swing the main notes ring in sturdy brass, while all around is a rushing
+and swirling (of harps and bells and wood and strings). And still more
+furious grows the flight, led by the unison violins.
+
+A mischievous mood of impish frolic gives a new turn of saucy gait. In
+the jovial answer, chorussed in simple song, seems a revel of all the
+spirits of rivers and streams.
+
+At the top of a big extended period the trumpet sends a shrill defiant
+blast.
+
+But it is not merely in power and speed,--more in an infinite variety of
+color, and whim of tune and rhythmic harmony, that is expressed the
+full gamut of disporting spirits. Later, at fastest speed of tripping
+harp and wood, the brass ring out that first, insistent summons, beneath
+the same eerie harmonies--and the uncanny descending chords answer as
+before. But alas! the summons will not work the other way. Despite the
+forbidding command and all the other exorcising the race goes madly on.
+
+And now, if we are intent on the story, we may see the rising rage of
+the apprentice and at last the fatal stroke that seemingly hems and
+almost quells the flood. But not quite! Slowly (as at first) the hinges
+start in motion. And now, new horror! Where there was one, there are now
+two ghostly figures scurrying to redoubled disaster. Again and again the
+stern call rings out, answered by the wildest tumult of all. The shouts
+for the master's aid seem to turn to shrieks of despair. At last a
+mighty call overmasters and stills the storm. Nothing is heard but the
+first fitful phrases; now they seem mere echoes, instead of
+forewarnings. We cannot fail to see the fine parallel, how the masterful
+command is effective as was the similar call at the beginning.
+
+Significantly brief is the ending, at once of the story and of the
+music. In the brevity lies the point of the plot: in the curt dismissal
+of the humbled spirit, at the height of his revel, to his place as broom
+in the corner. Wistful almost is the slow vanishing until the last
+chords come like the breaking of a fairy trance.
+
+
+
+
+CHAPTER X
+
+TSCHAIKOWSKY
+
+
+The Byron of music is Tschaikowsky for a certain alluring melancholy and
+an almost uncanny flow and sparkle. His own personal vein deepened the
+morbid tinge of his national humor.
+
+We cannot ignore the inheritance from Liszt, both spiritual and musical.
+More and more does the Hungarian loom up as an overmastering influence
+of his own and a succeeding age. It seems as if Liszt, not Wagner, was
+the musical prophet who struck the rock of modern pessimism, from which
+flowed a stream of ravishing art. The national current in Tschaikowsky's
+music was less potent than with his younger compatriots; or at least it
+lay farther beneath the surface.
+
+For nationalism in music has two very different bearings. The concrete
+elements of folk-song, rhythm and scale, as they are more apparent, are
+far less important. The true significance lies in the motive of an
+unexpressed national idea that presses irresistibly towards fulfilment.
+Here is the main secret of the Russian achievement in modern music,--as
+of other nations like the Finnish. It is the cause that counts. Though
+Russian song has less striking traits than Hungarian or Spanish, it has
+blossomed in a far richer harvest of noble works of art.
+
+Facile, fluent, full of color, Tschaikowsky seems equipped less for
+subjective than for lyric and dramatic utterance, as in his "Romeo and
+Juliet" overture. In the "Manfred" Symphony we may see the most fitting
+employment of his talent. Nor is it unlikely that the special
+correspondence of treatment and subject may cause this symphony to
+survive the others, may leave it long a rival of Schumann's "Manfred"
+music.
+
+With Tschaikowsky feeling is always highly stressed, never in a certain
+natural poise. He quite lacks the noble restraint of the masters who, in
+their symphonic lyrics, wonderfully suggest the still waters that run
+deep.
+
+Feeling with Tschaikowsky was frenzy, violent passion, so that with all
+abandon there is a touch of the mechanical in his method. Emotion as the
+content of highest art must be of greater depth and more quiet flow. And
+it is part or a counterpart of an hysterical manner that it reacts to a
+cold and impassive mood,--such as we feel in the Andante of the Fourth
+Symphony.
+
+The final quality for symphonic art is, after all, less the chance flash
+of inspiration than a big view, a broad sympathy, a deep well of feeling
+that comes only with great character.
+
+Nay, there is a kind of peril in the symphony for the poet of uncertain
+balance from the betrayal of his own temper despite his formal plan.
+Through all the triumph of a climax as in the first movement of the
+Fourth Symphony, we may feel a subliminal sadness that proves how subtle
+is the expression in music of the subjective mood. There is revealed not
+the feeling the poet is conscious of, but, below this, his present self,
+and in the whole series of his works, his own personal mettle. What the
+poet tries to say is very different from what he does say. In a
+symphony, as in many a frolic, the tinge of latent melancholy will
+appear.
+
+
+_SYMPHONY NO. 4_
+
+Reverting to a great and fascinating question as to the content of art,
+we may wonder whether this is not the real tragic symphony of
+Tschaikowsky, in the true heroic sense, in a view where the highest
+tragedy is not measured by the wildest lament. There may be a stronger
+sounding of lower depths with a firmer touch (with less of a conscious
+kind of abandon),--whence the recoil to serene cheer will be the
+greater.
+
+There is surely a magnificent aspiration in the first Allegro, a
+profound knell of destiny and a rare ring of triumph. Underlying all is
+the legend of trumpets, _Andante sostenuto_ (3/4), with a dim touch
+
+[Music: _Andante sostenuto_
+(Horns and bassoons doubled in 8va.)]
+
+of tragedy. Opposite in feeling is the descending motive of strings,
+_Moderato con anima_ (9/8). First gently expressive, it soon rises in
+passion (the original
+
+[Music: _Moderato con anima_
+_in movimento di valse_
+(Strings and one horn, the melody doubled below)]
+
+motto always sounding) to a climax whence an ascending motive, in lowest
+basses, entering in manner of fugue, holds a significant balance with
+the former. Each in turn rears a climax for the other's
+
+[Music: (Horns doubled below)
+(Cellos and bassoons)]
+
+entrance; the first, lamenting, leads to the soothing hope of the second
+that, in the very passion of its refrain, loses assurance and ends in a
+tragic burst.
+
+Suddenly a very new kind of solace appears _Dolce grazioso_, in a
+phrase of the clarinet that leads to a duet of wood and _cantabile_
+strings, impersonal almost in the sweetness of its flowing song.
+
+[Music: _Moderato assai_
+(Oboe doubled in flute)
+(Strings)]
+
+In such an episode we have a new Tschaikowsky,--no longer the subjective
+poet, but the painter with a certain Oriental luxuriance and grace. It
+is interesting to study the secret of this effect. The preluding strain
+lowers the tension of the storm of feeling and brings us to the attitude
+of the mere observer. The "movement of waltz" now has a new meaning, as
+of an apparition in gently gliding dance. The step is just sustained in
+leisurely strings. Above is the simple melodic trip of clarinet, where a
+final run is echoed throughout the voices of the wood; a slower moving
+strain in low cellos suggests the real song that presently begins, while
+high in the wood the lighter tune continues. The ripples still keep
+spreading throughout the voices, at the end of a line. The tunes then
+change places, the slower singing above.
+
+With all the beauty, there is the sense of shadowy picture,--a certain
+complete absence of passion. Now the lower phrase appears in two
+companion voices (of strings), a hymnal kind of duet,--_ben sostenuto
+il tempo precedente_. Here, very softly in the same timid pace, enters a
+chorus, on high, of the old sighing motive. Each melody breaks upon the
+other and
+
+[Music: _Bel sostenuto il tempo (moderato)_
+(Strings)
+(Woodwind doubled above)
+(Kettle-drums)]
+
+ceases, with equal abruptness. There is no blending, in the constant
+alternation, until the earlier (lamenting) motive conquers and rises to
+a new height where a culminating chorale sounds a big triumph, while the
+sighing phrase merely spurs a new verse of assurance.
+
+[Music: (Strings and flutes)
+(Doubled above and below)]
+
+A completing touch lies in the answering phrase of the chorale, where
+the answer of original motto is transformed into a masterful ring of
+cheer and confidence.
+
+As is the way with symphonies, it must all be sung and striven over
+again to make doubly sure. Only there is never the same depth of lament
+after the triumph. In a later verse is an augmented song of the answer
+of trumpet legend, in duet of thirds, in slow, serene pace, while the
+old lament sounds below in tranquil echoes and united strains. Before
+the end, _molto piu vivace_, the answer rings in new joyous rhythm.
+
+Somewhat the reverse of the first movement, in the second the emotional
+phase grows slowly from the naive melody of the beginning. Against the
+main melody that begins in oboe solo (with _pizzicato_ strings),
+_semplice ma grazioso_, plays later a rising
+
+[Music: _Andantino in modo di canzone_
+(Clarinet with lower 8ve.)
+(Cello)
+_Grazioso_
+(Bassoons, with _pizz._ basses)]
+
+counter-theme that may recall an older strain. The second melody, in
+Greek mode, still does not depart
+
+[Music: (Strings, wood and horns)]
+
+from the naive mood, or lack of mood. A certain modern trait is in this
+work, when the feeling vents and wastes itself and yields to an
+impassive recoil, more coldly impersonal than the severest classic.
+
+A sigh at the end of the second theme is a first faint reminder of the
+original lament. Of it is fashioned the third theme. A succeeding climax
+strongly
+
+[Music: _Piu mosso_
+(Clarinet doubled below in bassoons)
+(Strings)]
+
+brings back the subjective hue of the earlier symphony. A counter-theme,
+of the text of the second melody of Allegro,--now one above, now the
+other--is a final stroke. Even the shaking of the trumpet figure is
+there at the height, in all the brass. Yet as a whole the first melody
+prevails, with abundant variation of runs in the wood against the song
+of the strings.
+
+The Scherzo seems a masterly bit of humor, impish, if you will, yet on
+the verge always of tenderness. The first part is never-failing in the
+flash and sparkle of its play, all in _pizzicato_ strings, with a
+wonderful daemonic quality of the mere instrumental effect. Somewhat
+suddenly the oboe holds a long note and
+
+[Music: _Pizzicato ostinato_
+_Scherzo Allegro_
+(Strings)
+(_Pizzicato sempre_)]
+
+then, with the bassoons, has a tune that is almost sentimental. But
+presently the clarinets make mocking
+
+[Music: (Oboes and bassoons)]
+
+retorts. Here, in striking scene, all the brass (but the tuba) very
+softly blow the first melody with eccentric halts, in just half the old
+pace except when they take us by surprise. The clarinet breaks in with
+the sentimental tune in faster time while the brass all the while are
+playing as before. There are all kinds of pranks, often at the same
+time. The piccolo, in highest treble, inverts the second melody, in
+impertinent drollery. The brass has still newer surprises. Perhaps the
+best of the fooling is where strings below and woodwind above share the
+melody between them, each taking two notes at a time.
+
+The first of the Finale is pure fanfare, as if to let loose the steeds
+of war; still it recurs as leading idea. There is a kind of sonorous
+terror, increased by the insistent, regular notes of the brass, the
+spirited pace of the motive of strings,--the barbaric ring we often hear
+in Slav music. At the height
+
+[Music: _Allegro con fuoco_
+(Wood doubled above and below)
+(Violins)
+(_Pizz._ strings)]
+
+the savage yields to a more human vein of joyousness, though at the end
+it rushes the more wildly into a
+
+[Music: _Tutti_
+(Doubled above and below)]
+
+series of shrieks of trebles with tramping of basses. The real battle
+begins almost with a lull, the mere sound of the second tune in the
+reeds with light strum of strings and triangle. As the theme is
+redoubled (in thirds of the wood), the sweep of strings of the first
+motive is added, with chords of horns. A rising figure is now opposed to
+the descent of the second melody, with shaking of woodwind that brings
+back the old trumpet legend. Here the storm grows apace, with increasing
+tumult of entering hostile strains, the main song now ringing in low
+brass.
+
+In various versions and changes we seem to see earlier themes briefly
+reappearing. Indeed there is a striking kinship of themes throughout,
+not so much in outline as in the air and mood of the tunes. This seems
+to be proven by actual outer resemblance when the motives are developed.
+Here in a quiet spot--though the battle has clearly not ceased--is the
+answer of old trumpet motto, that pervaded the first Allegro. There is a
+strong feeling of the Scherzo here in the _pizzicato_ answers of
+strings. The second theme of the Andante is recalled, too, in the
+strokes of the second of the Finale. In the thick of the fray is a
+wonderful maze of versions of the theme, diminished and augmented at the
+same time with the original pace. Yet it is all a clear flow of melody
+and rich harmony. The four beats of quarter notes, in the lengthened
+theme, come as high point like the figure of the leader in battle. A
+later play of changes is like the sport of the Scherzo. This insensibly
+leads to the figure of the fanfare, whence the earlier song returns
+with the great joyous march.
+
+The final height of climax is distinguished by a stentorian, fugal blast
+of the theme in the bass, the higher breaking in on the lower, while
+other voices are raging on the quicker phrases. It is brought to a
+dramatic halt by the original prelude of trumpet legend, in all its
+fulness. Though the march-song recurs, the close is in the ruder humor
+of the main themes.
+
+
+_THE "MANFRED" SYMPHONY_
+
+Schumann and Tschaikowsky are the two most eminent composers who gave
+tonal utterance to the sombre romance of Byron's dramatic poem.[A] It is
+interesting to remember that Byron expressly demanded the assistance of
+music for the work. If we wish to catch the exact effect that is sought
+in the original conception, Schumann's setting is the nearest approach.
+It is still debated whether a scenic representation is more impressive,
+or a simple reading, reinforced by the music.
+
+[Footnote A: Prefixed are the familiar lines:
+
+    "There are more things in heaven and earth, Horatio,
+    Than are dreamt of in your philosophy."]
+
+Tschaikowsky's setting is a "symphony in four pictures, or scenes (_en
+quatre tableaux_), after Byron's dramatic poem." In the general design
+and spirit there is much of the feeling of Berlioz's "Fantastic"
+Symphony, though the manner of the music shows no resemblance whatever.
+There is much more likeness to Liszt's "Faust" Symphony, in that the
+pervading recurrence of themes suggests symbolic labels. Moreover, in
+the very character of many of the motives, there is here a striking line
+of descent.
+
+_Lento lugubre_, the first scene or picture, begins with a theme in
+basses of reeds:
+
+[Music: _Lento lugubre_
+(Woodwind)
+(Strings)]
+
+with later _pizzicato_ figure of low strings.
+
+An answering strain is one of the most important of all the melodies:
+
+[Music]
+
+On these, a bold conflict and climax is reared. If we care to indulge in
+the bad habit of calling names, we might see "Proud Ambition" in the
+first motives, intertwined with sounds of sombre discontent. The pace
+grows _animando_,--_piu mosso_; _moderato molto_. Suddenly Andante sings
+a new, expressive song, with a dulcet cheer of its own, rising to
+passionate periods and a final height whence, _Andante con duolo_, a
+loudest chorus of high wood and strings, heralded and accompanied by
+martial tremolo of low wood, horns, basses, and drums, sound the fateful
+chant that concludes the first scene, and, toward the close of the work,
+sums the main idea.
+
+[Music: (Strings and flutes)
+(Basses, wood and horns)
+(Same continuing rhythm)]
+
+The apparition of the Witch of the Alps is pictured in daintiest,
+sparkling play of strings and wood, with constant recurrence of mobile
+figures above and below. It seems as if the image of the fountain is
+fittest and most tempting for mirroring in music. Perhaps the most
+beautiful, the most haunting, of all the "Manfred" music of Schumann is
+this same scene of the Witch of the Alps.
+
+Here, with Tschaikowsky, hardly a single note of brass intrudes on this
+_perpetuum mobile_ of light, plashing spray until, later, strains that
+hark back to the first scene cloud the clear brilliancy of the cascade.
+Now the play of the waters is lost in the new vision, and a limpid song
+glides in the violins, with big rhythmic chords of harps, is taken up in
+clarinets, and carried on by violins in new melodic verse, _con
+tenerezza e molto espressione_. Then the whole chorus sing the tune in
+gentle volume. As it dies away, the music of the falling waters plash as
+before. The returning song has phases of varying sadness and passion. At
+the most vehement height,--and here, if we choose, we may see the stern
+order to retire,--the fatal chant is shrieked by full chorus in almost
+unison fierceness.
+
+Gradually the innocent play of the waters is heard again, though a
+gloomy pall hangs over. The chant sounds once more before the end.
+
+The third, "Pastoral," scene we are most free to enjoy in its pure
+musical beauty, with least need of definite dramatic correspondences. It
+seems at first as if no notes of gloom are allowed to intrude, as if the
+picture of happy simplicity stands as a foil to the tragedy of the
+solitary dreamer; for an early climax gives a mere sense of the awe of
+Alpine nature.
+
+Still, as we look and listen closer, we cannot escape so easily, in
+spite of the descriptive title. Indeed, the whole work seems, in its
+relation to the poem upon which it is based, a very elusive play in a
+double kind of symbolism. At first it is all a clear subjective
+utterance of the hero's woes and hopes and fears, without definite
+touches of external things. Yet, right in the second scene the torrent
+is clear almost to the eye, and the events pass before us with sharp
+distinctness. Tending, then, to look on the third as purest pastoral,
+we are struck in the midst by an ominous strain from one of the earliest
+moments of the work, the answer of the first theme of all. Here notes of
+horns ring a monotone; presently a church-bell adds a higher note. The
+peaceful pastoral airs then return, like the sun after a fleeting storm.
+
+The whole of this third scene of Tschaikowsky's agrees with no special
+one in Byron's poem, unless we go back to the second of the first act,
+where Manfred, in a morning hour, alone upon the cliffs, views the
+mountains of the Jungfrau before he makes a foiled attempt to spring
+into the abyss. By a direction of the poet, in the midst of the
+monologue, "the shepherd's pipe in the distance is heard," and Manfred
+muses on "the natural music of the mountain reed."
+
+The last scene of the music begins with Byron's fourth of Act II and
+passes over all the incidents of the third act that precede the hero's
+death, such as the two interviews with the Abbot and the glorious
+invocation to the sun.
+
+From Tschaikowsky's title, we must look for the awful gloom of the
+cavernous hall of Arimanes, Byron's "Prince of Earth and Air." The gray
+figure from most ancient myth is not less real to us than Mefistofeles
+in "Faust." At least we clearly feel the human daring that feared not to
+pry into forbidden mysteries and refused the solace of unthinking faith.
+And it becomes again a question whether the composer had in mind this
+subjective attitude of the hero or the actual figures and abode of the
+spirits and their king. It is hard to escape the latter view, from the
+general tenor, the clear-cut outline of the tunes, of which the
+principal is like a stern chant:
+
+[Music: (Wood, strings and horns)]
+
+The most important of the later answers lies largely in the basses.
+
+[Music: (Low wood)
+(Rhythmic chords in strings)]
+
+There is, on the whole, rather an effect of gloomy splendor (the
+external view) than of meditation; a sense of visible massing than of
+passionate crisis, though there is not wanting a stirring motion and
+life in the picture. This is to speak of the first part, _Allegro con
+fuoco_.
+
+The gloomy dance dies away. _Lento_ is a soft fugal chant on elemental
+theme; there is all the solemnity of cathedral service; after the
+low-chanted phrase follows a tremendous blare of the brass. The
+repeated chant is followed by one of the earliest, characteristic themes
+of the first scene. And so, if we care to follow the graphic touch, we
+may see here the intrusion of Manfred, at the most solemn moment of the
+fearful revel.
+
+As Manfred, in Byron's poem, enters undaunted, refusing to kneel, the
+first of the earlier phases rings out in fierce _fortissimo_. A further
+conflict appears later, when the opening theme of the work sounds with
+interruptions of the first chant of the spirits.
+
+A dulcet plaint follows, _Adagio_, in muted strings, answered by a note
+of horn and a chord of harp.
+
+[Music: _Adagio_
+(Muted strings answered by horn and harp)]
+
+It all harks back to the gentler strains of the first movement. In the
+ethereal _glissando_ of harps we see the spirit of Astarte rise to give
+the fatal message. The full pathos and passion of the _lento_ episode of
+first scene is heard in brief, vivid touches, and is followed by the
+same ominous blast with ring of horn, as in the first picture.
+
+A note of deliverance shines clear in the final phrase of joined
+orchestra and organ, clearer perhaps than in Manfred's farewell line in
+the play: "Old man! 'tis not so difficult to die." To be sure, Schumann
+spreads the same solace o'er the close of his setting, with the Requiem.
+The sombre splendor of romance is throughout, with just a touch of
+turgid. In the poignant ecstasy of grief we feel vividly the
+foreshadowing example of Liszt, in his "Dante" and "Faust" Symphonies.
+
+
+_FIFTH SYMPHONY (E MINOR)_
+
+With all the unfailing flow of lesser melodies where the charm is often
+greatest of all, and the main themes of each movement with a chain of
+derived phrases, one melody prevails and reappears throughout. The
+fluency is more striking here than elsewhere in Tschaikowsky. All the
+external sources,--all the glory of material art seem at his command. We
+are reminded of a certain great temptation to which all men are subject
+and some fall,--however reluctantly. Throughout there is a vein of
+daemonic. The second (Allegro) melody grows to a high point of
+pathos,--nay, anguish, followed later by buoyant, strepitant, dancing
+delight, with the melting answer, in the latest melody. The daemon is
+half external fate--in the Greek sense, half individual temper. The end
+is almost sullen; but the charm is never failing; at the last is the
+ever springing rhythm.
+
+[Music: _Andante_
+_pesante e tenuto sempre_
+(Clarinet)
+(Low strings)]
+
+The march rhythm of the opening Andante is carried suddenly into a quick
+trip, _Allegro con anima_ (6/8), where the main theme of the first
+movement now begins, freely extended as in a full song of verses. New
+accompanying figures are added, contrasting phrases or counter-melodies,
+to the theme.
+
+[Music: _Allegro con anima_
+Solo clarinet (doubled below with solo bassoon.)
+(Strings)]
+
+One expressive line plays against the wilder rhythm of the theme, with
+as full a song in its own mood as the other. A new rhythmic motive, of
+great charm, _un pocchetino piu animato_, is answered by a bit of the
+theme. Out of it all grows, in a clear
+
+[Music: _Molto espr._
+(Strings)]
+
+welded chain, another episode, where the old rhythm is a mere gentle
+spur to the new plaint,--_molto piu tranquillo, molto cantabile ed
+espressivo_.
+
+[Music: _Molto piu tranquillo_
+_Molto cantabile ed espr._]
+
+To be sure, the climax has all of the old pace and life, and every voice
+of the chorus at the loudest. In the answering and echoing of the
+various phrases, rhythmic and melodic, is the charm of the discussion
+that follows. Later the three melodies come again in the former order,
+and the big climax of the plaintive episode precedes the end, where the
+main theme dies down to a whisper.
+
+
+_Andante cantabile, con alcuna licenza._ After preluding chords in
+lowest strings a solo horn begins a
+
+[Music: _Andante cantabile, con alcuna licenza_
+(Horn)
+_dolce con molto espr._
+(Strings)]
+
+languishing song, _dolce con molto espressione_. It is a wonderful
+elegy, a yearning without hope, a swan-song of desire, sadder almost
+than the frank despair of the Finale of the _Pathetique_
+symphony,--pulsing with passion, gorgeous with a hectic glow of
+expressive beauty, moving too with a noble grace. Though there is a foil
+of lighter humor, this is overwhelmed in the fateful gloom of the
+returning main motto.
+
+The abounding beauty with all its allurement lacks the solace that the
+masters have led us to seek in the heart of a symphony. The clarinet
+presently twines a phrase about the tune until a new answer sounds in
+the oboe, that now sings in answering and chasing duet with the horn.
+The phrase of oboe proves to be the main song, in full extended
+periods, reaching a climax with all the voices.
+
+[Music: _Con moto_
+(Solo oboe)
+_dolce espr._]
+
+Well defined is the middle episode in minor reared on a new theme of the
+clarinet with an almost fugal polyphony that departs from the main lyric
+mood.
+
+[Music: _Moderato con anima_
+(Solo clar.)
+(Strings)]
+
+At the height all the voices fall into a united chorus on the original
+motto of the symphony. The first melodies of the Andante now return with
+big sweep and power, and quicker phrases from the episode. The motto
+reappears in a final climax, in the trombones, before the hushed close.
+
+We must not infer too readily a racial trait from the temper of the
+individual composer. There is here an error that we fall into frequently
+in the music of such men as Grieg and Tschaikowsky. The prevailing mood
+of the Pathetic Symphony is in large measure personal. Some of the more
+recent Russian symphonies are charged with buoyant joyousness. And,
+indeed, the burden of sadness clearly distinguishes the last symphony of
+Tschaikowsky from its two predecessors, the Fourth and the Fifth.
+
+The tune of the _valse_, _Allegro moderato_, is first played by the
+violins, _dolce con grazia_, with accompanying strings, horns and
+bassoon. In the second part, with some loss of the lilt of dance, is a
+subtle design--with a running phrase in _spiccato_ strings against a
+slower upward glide of bassoons. The duet winds on a kind of _crescendo_
+of modulations. Later
+
+[Music: (_Spiccato_)
+(Strings)
+(Horns)
+(Bassoon)]
+
+the themes are inverted, and the second is redoubled in speed. The whole
+merges naturally into the first waltz, with a richer suite of adorning
+figures. The dance does not end without a soft reminder (in low
+woodwind) of the original sombre phrase.
+
+Almost for the first time a waltz has entered the shrine of the
+symphony. And yet perhaps this dance has all the more a place there. It
+came on impulse (the way to visit a sanctuary), not by ancient custom.
+But with all its fine variety, it is a simple waltz with all the
+careless grace,--nothing more, with no hidden or graphic meaning (as in
+Berlioz's Fantastic Symphony).
+
+The middle episode, though it lacks the dancing trip, is in the one
+continuing mood,--like a dream of youthful joys with just a dimming hint
+of grim reality in the returning motto.
+
+In the Finale the main legend of the symphony is transformed and
+transfigured in a new, serener mood, and is brought to a full melodic
+bloom. Indeed, here is the idealization of the original motto. _Andante
+maestoso_ it begins in the tonic major. When the theme ceases, the brass
+blow the rhythm on a monotone, midst an ascending _obligato of strings_.
+
+[Music: (Brass and lower woodwind)
+(See page 139, line 1.)]
+
+In answer comes a new phrase of chorale. Later the chorale is sounded
+by the full band, with intermediate beats of rhythmic march.
+
+Once more there is a well-marked episode, with a full share of melodic
+discussion, of clashing themes, of dramatic struggle. First in the tonic
+minor a theme rises from the last casual cadence in resonant march,
+_Allegro vivace_. Then follows a duet, almost
+
+[Music: _Allegro vivace_
+(Strings and low wood)
+(Trill of kettle drums)]
+
+a harsh grating of an eccentric figure above against
+
+[Music: (Solo oboe)
+(Strings)
+(Low wood)
+(_Pizz._ cellos)]
+
+the smoother course of the latest Allegro motive. The themes are
+inverted. Presently out of the din rises a charming canon on the
+prevailing smoother phrase, that soars to a full sweep of song. A new
+
+[Music: (Violins)
+(Wind)
+(Basses 8va.) (Low strings)]
+
+hymnal melody comes as a final word. Though the main motto returns in
+big chorus, in full extension, in redoubled pace and wild abandon, still
+the latest melody seems to contend for the last say. Or, rather,
+
+[Music: (Woodwind doubled above and below)
+_espr._
+(Strings)
+(See page 141, line 2.)]
+
+it is a foil, in its simple flow, to the revel of the motto, now grown
+into a sonorous, joyous march. And we seem to see how most of the other
+melodies,--the minor episode, the expressive duet--have sprung from bits
+of the main text.
+
+To return for another view,--the Finale begins in a mood that if not
+joyous, is religious. Out of the cadence of the hymn dances the Allegro
+tune almost saucily. Nor has this charming trip the ring of gladness,
+though it grows to great momentum. As a whole there is no doubt of the
+assurance, after the earlier fitful gloom, and with the resignation an
+almost militant spirit of piety.
+
+In the dulcet canon, an exquisite gem, bliss and sadness seem
+intermingled; and then follows the crowning song, broad of pace,
+blending the smaller rhythms in ecstatic surmounting of gloom. In
+further verse it doubles its sweet burden in overlapping voices, while
+far below still moves the rapid trip.
+
+But the motto will return, in major to be sure, and tempered in mercy.
+And the whole hymn dominates, with mere interludes of tripping motion,
+breaking at the height into double pace of concluding strain. Before
+falling back into the thrall of the legend the furious race rushes
+eagerly into the deepest note of bliss, where in sonorous bass rolls the
+broad, tranquil song. And though the revel must languish, yet we attend
+the refrain of all the melodies in crowning rapture. Then at last, in
+stern minor, sounds the motto, still with the continuing motion, in a
+loud and long chant.
+
+In blended conclusion of the contending moods comes a final verse of the
+legend in major, with full accoutrement of sounds and lesser rhythm, in
+majestic pace. And there is a following frolic with a verse of the
+serene song. The end is in the first Allegro theme of the symphony, in
+transfigured major tone.
+
+We must be clear at least of the poet's intent. In the Fifth Symphony
+Tschaikowsky sang a brave song of struggle with Fate.
+
+
+
+
+CHAPTER XI
+
+THE NEO-RUSSIANS
+
+
+For some mystic reason nowhere in modern music is the symphony so
+justified as in Russia. Elsewhere it survives by the vitality of its
+tradition. In France we have seen a series of works distinguished rather
+by consummate refinement than by strength of intrinsic content. In
+Germany since the masterpieces of Brahms we glean little besides the
+learnedly facile scores of a Bruckner, with a maximum of workmanship and
+a minimum of sturdy feeling,--or a group of "heroic" symphonies all cast
+in the same plot of final transfiguration. The one hopeful sign is the
+revival of a true counterpoint in the works of Mahler.
+
+Some national song, like the Bohemian, lends itself awkwardly to the
+larger forms. The native vein is inadequate to the outer mould, that
+shrinks and dwindles into formal utterance. It may be a question of the
+quantity of a racial message and of its intensity after long
+suppression. Here, if we cared to enlarge in a political disquisition,
+we might account for the symphony of Russians and Finns, and of its
+absence in Scandinavia. The material elements, abundant rhythm, rich
+color, individual and varied folk-song, are only the means by which the
+national temper is expressed. Secondly, it must be noted as a kind of
+paradox, the power of the symphony as a national utterance is increased
+by a mastery of the earlier classics. With all that we hear of the
+narrow nationalism of the Neo-Russians, we cannot deny them the breadth
+that comes from a close touch with the masters. Mozart is an element in
+their music almost as strong as their own folk-song. Here, it may be,
+the bigger burden of a greater national message unconsciously seeks the
+larger means of expression. And it becomes clear that the sharper and
+narrower the national school, the less complete is its utterance, the
+more it defeats its ultimate purpose.
+
+The broad equipment of the new Russian group is seen at the outset in
+the works of its founder, Balakirew. And thus the difference between
+them and Tschaikowsky lay mainly in the formulated aim.[A]
+
+[Footnote A: In the choice of subjects there was a like breadth.
+Balakirew was inspired by "King Lear," as was Tschaikowsky. And amid a
+wealth of Slavic legend and of kindred Oriental lore, he would turn to
+the rhythms of distant Spain for a poetic theme.]
+
+The national idea, so eminent in modern music, is not everywhere equally
+justified. And here, as in an object-lesson, we see the true merits of
+the problem. While one nation spontaneously utters its cry, another,
+like a cock on the barnyard, starts a movement in mere idle vanity, in
+sheer self-glorification.
+
+In itself there is nothing divine in a national idea that needs to be
+enshrined in art. Deliberate segregation is equally vain, whether it be
+national or social. A true racial celebration must above all be
+spontaneous. Even then it can have no sanction in art, unless it utter a
+primal motive of resistance to suppression, the elemental pulse of life
+itself. There is somehow a divine dignity about the lowest in human
+rank, whether racial or individual. The oppressed of a nation stands a
+universal type, his wrongs are the wrongs of all, and so his lament has
+a world-wide appeal. And in truth from the lowest class rises ever the
+rich spring of folk-song of which all the art is reared, whence comes
+the paradox that the peasant furnishes the song for the delight of his
+oppressors, while they boast of it as their own. Just in so far as man
+is devoid of human sympathy, is he narrow and barren in his song. Music
+is mere feeling, the fulness of human experience, not in the hedonic
+sense of modern tendencies, but of pure joys and profound sorrows that
+spring from elemental relations, of man to man, of mate to mate.
+
+Here lies the nobility of the common people and of its song; the
+national phase is a mere incident of political conditions. The war of
+races is no alembic for beauty of art. If there were no national lines,
+there would still be folk-song,--merely without sharp distinction. The
+future of music lies less in the differentiation of human song, than in
+its blending.
+
+Thus we may rejoice in the musical utterance of a race like the Russian,
+groaning and struggling through ages against autocracy for the dignity
+of man himself,--and in a less degree for the Bohemian, seeking to hold
+its heritage against enforced submergence. But we cannot take so
+seriously the proud self-isolation of other independent nations.
+
+
+_BALAKIREW.[A] SYMPHONY IN C_
+
+[Footnote A: Mili Alexeivich Balakirew was born at Nizhni-Novgorod in
+1836; he died at St. Petersburg in 1911. He is regarded as the founder
+of the Neo-Russian School.]
+
+The national idea shines throughout, apart from the "Russian Theme" that
+forms the main text of the Finale. One may see the whole symphony
+leading up to the national celebration.
+
+As in the opening phrase (in solemn _Largo_) with
+
+[Music: (Lower reed, with strings in three 8ves.)
+_Largo_]
+
+its answer are proclaimed the subjects that presently
+
+[Music: (Flute and strings)]
+
+appear in rapid pace, so the whole movement must be taken as a big
+prologue, forecasting rather than realizing. There is a dearth of
+melodic stress and balance; so little do the subjects differ that they
+are in essence merely obverse in outline.
+
+Mystic harmonies and mutations of the motto lead to a quicker guise
+(_Allegro vivo_). Independently of themes, the rough edge of tonality
+and the vigorous primitive rhythms are expressive of the Slav feeling.
+Withal there is a subtlety of harmonic manner that could come only
+through the grasp of the classics common to all nations. Augmentation
+and diminution of theme abound, together with the full fugal manner. A
+warm, racial color is felt in the prodigal use of lower reeds.[A]
+
+[Footnote A: Besides the English horn and four bassoons there are four
+clarinets,--double the traditional number.]
+
+In all the variety of quick and slower melodies a single phrase of five
+notes, the opening of the symphony, pervades. In all kinds of humor it
+sings, martial, solemn, soothing, meditative, or sprightly. Poetic in
+high degree is this subtle metamorphosis, so that the symphony in the
+first movement seems to prove the art rather than the national spirit of
+the Neo-Russians.
+
+Of the original answer is wrought all the balance and foil of second
+theme, and like the first it reaches a climactic height. But the first
+is the sovereign figure of the story. It enters into the pattern of
+every new phase, it seems the text of which all the melodies are
+fashioned, or a sacred symbol that must be all-pervading. In a broader
+pace (_Alla breve_) is a mystic discussion of the legend, as of dogma,
+ending in big pontifical blast of the answering theme.
+
+The whole movement is strangely frugal of joyous abandon. Instead of
+rolling, revelling melody there is stern proclamation, as of oracle, in
+the solemn pauses. The rhythm is purposely hemmed and broken. Restraint
+is everywhere. Almost the only continuous thread is of the meditative
+fugue.
+
+A single dulcet lyric verse (of the motto) is soon
+
+[Music: (Cellos with _tremolo_ of lower strings)]
+
+banished by a sudden lively, eccentric phrase that has an air of forced
+gaiety, with interplay of mystic symbols. At last, on a farther height,
+comes the first
+
+[Music]
+
+joyous abandon (in a new mask of the motto), recurring anon as recess
+from sombre brooding.
+
+Here the second subject has a free song,--in gentle chase of pairs of
+voices (of woodwind and muted strings and harp) and grows to alluring
+melody. As
+
+[Music: (Lower reed, with _tremolo_ of lower strings)]
+
+from a dream the eccentric trip awakens us, on ever higher wing. At the
+top in slower swing of chords horn and reeds chant the antiphonal
+legend, and in growing rapture, joined by the strings, rush once more
+into the jubilant revel, the chanting legend still sounding anon in
+sonorous bass.
+
+The climax of feeling is uttered in a fiery burst of all the brass in
+the former dulcet refrain from the motto. In full sweep of gathering
+host it flows in unhindered song. Somehow by a slight turn, the tune is
+transformed into the alluring melody of the second theme. When the
+former returns, we feel that both strains are singing as part of a
+single song and that the two subjects are blended and reconciled in
+rapture of content.
+
+A new mystic play of the quicker motto, answered by the second theme,
+leads to an overpowering blast of the motto in slowest notes of brass
+and reed, ending in a final fanfare.
+
+All lightness is the Scherzo, though we cannot escape a Russian vein of
+minor even in the dance. A rapid melody has a kind of perpetual motion
+in the strings, with mimicking echoes in the wood. But the strange part
+is how the natural accompanying voice below (in the bassoon) makes a
+haunting melody of
+
+[Music: _Vivo_
+(Violins doubled below in violas)
+(Bassoon)
+(_Pizz._ cellos)]
+
+its own,--especially when they fly away to the major. As we suspected,
+the lower proves really the principal song as it winds on in the
+languorous English horn or in the higher reed. Still the returning dance
+has now the whole stage in a long romp with strange peasant thud of the
+brass on the second beat. Then the song rejoins the dance, just as in
+answering glee, later in united chorus.
+
+A quieter song (that might have been called the Trio) has still a
+clinging flavor of the soil,--as of a folk-ballad, that is not lost with
+the later madrigal nor with the tripping figure that runs along.
+
+Strangely, after the full returning dance, an epilogue
+
+[Music: (Trio) _Poco meno mosso_
+(Strings)]
+
+of the ballad appears over a drone, as of bagpipe, through all the
+harmony of the madrigal. Strangest of all is the playful last refrain in
+the high piccolo over the constant soft strumming strings.
+
+The Andante, in pure lyric mood, is heavily charged with a certain
+Oriental languor. The clarinet
+
+[Music: (Clarinet)
+_Andante_
+(Strings with harp)]
+
+leads the song, to rich strum of harp and strings, with its note of
+sensuous melancholy. Other, more external signs there are of Eastern
+melody, as in the graceful curl of quicker notes. Intermediate strains
+between the verses seem gently to rouse the slumbering feeling,--still
+more when they play between the lines of the song. The passion that is
+lulled in the languor of main melody, is somehow uttered in the later
+episode,--still more in the dual song of both
+
+[Music: (Violins doubled below)
+(Horns and bassoons doubled above in wood)
+(Strings and horns)]
+
+melodies,--though it quickly drops before a strange coquetry of other
+strains. Yet the climax of the main song is reached when the lighter
+phrase rings fervently in the high brass. Here the lyric beauty is
+stressed in a richer luxuriance of rhythmic setting. Once more sings the
+passionate tune; then in midst of the last verse of the main song is a
+quick alarm of rushing harp. The languorous dream is broken; there is an
+air of new expectancy. Instead of a close is a mere pause on a passing
+harmony at the portals of the high festival.
+
+With a clear martial stress the "Russian Theme" is sounded (in low
+strings), to the full a national
+
+[Music: _Allegro moderato_
+Finale _Theme Russe_
+(Cellos with basses in lower 8ve.)]
+
+tune of northern race. Enriched with prodigal harmony and play of lesser
+themes it flows merrily on, yet always with a stern pace, breaking out
+at last in a blare of warlike brass.
+
+Nor does the martial spirit droop in the second tune, though the
+melodies are in sheer contrast. In faster rhythm, the second is more
+festal so that the first returning has a tinge almost of terror. An
+
+[Music: (Cl't)
+(Strings)]
+
+after-strain of the second has a slightest descent to reflective
+feeling, from which there is a new rebound
+
+[Music: (Cellos)
+(Strings and harp with sustained chord of horns)]
+
+to the buoyant (festal) melody.
+
+Here in grim refrains, in dim depths of basses (with hollow notes of
+horns) the national tune has a free fantasy until it is joined by the
+second in a loud burst in the minor.
+
+Now the latter sings in constant alternation with the answering strain,
+then descends in turn into the depths of sombre musing. There follows a
+big, resonant dual climax (the main theme in lower brass), with an edge
+of grim defiance. In the lull we seem to catch a brief mystic play of
+the first motto of the symphony (in the horns) before the last joyous
+song of both melodies,--all with a power of intricate design and a
+dazzling brilliancy of harmony, in proud national celebration.
+
+A last romp is in polacca step on the tune of the Russian Theme.
+
+
+_RIMSKY-KORSAKOW.[A] "ANTAR," SYMPHONY_
+
+[Footnote A: Nicholas Rimsky-Korsakow, Russian, 1844-1908.]
+
+The title-page tells us that "the subject is taken from an Arabian tale
+of Sennkowsky." Opposite the beginning of the score is a summary of the
+story, in Russian and in French, as follows:
+
+     I.--Awful is the view of the desert of Sham; mighty in their
+     desolation are the ruins of Palmyra, the city razed by the spirits
+     of darkness. But Antar, the man of the desert, braves them, and
+     dwells serenely in the midst of the scenes of destruction. Antar
+     has forever forsaken the company of mankind. He has sworn eternal
+     hatred on account of the evil they returned him for the good which
+     he intended.
+
+     Suddenly a charming, graceful gazelle appears. Antar starts to
+     pursue it. But a great noise seems pulsing through the heavens, and
+     the light of day is veiled by a dense shadow. It is a giant bird
+     that is giving chase to the gazelle.
+
+     Antar straightway changes his intent, and attacks the monster,
+     which gives a piercing cry and flies away. The gazelle disappears
+     at the same time, and Antar, left alone in the midst of ruins, soon
+     goes to sleep while meditating on the event that has happened.
+
+     He sees himself transported to a splendid palace, where a multitude
+     of slaves hasten to serve him and to charm his ear with their song.
+     It is the abode of the Queen of Palmyra,--the fairy Gul-nazar. The
+     gazelle that he has saved from the talons of the spirit of darkness
+     is none other than the fairy herself. In gratitude Gul-nazar
+     promises Antar the three great joys of life, and, when he assents
+     to the proffered gift, the vision vanishes and he awakes amid the
+     surrounding ruins.
+
+     II.--The first joy granted by the Queen of Palmyra to Antar are the
+     delights of vengeance.
+
+     III.--The second joy--the delights of power.
+
+     IV.--Antar has returned to the fallen remains of Palmyra. The third
+     and last gift granted by the fairy to Antar is the joy of true
+     love. Antar begs the fairy to take away his life as soon as she
+     perceives the least estrangement on his side, and she promises to
+     do his desire.
+
+     After a long time of mutual bliss the fairy perceives, one day,
+     that Antar is absent in spirit and is gazing into the distance.
+     Straightway, divining the reason, she passionately embraces him.
+     The fire of her love enflames Antar, and his heart is consumed
+     away.
+
+     Their lips meet in a last kiss and Antar dies in the arms of the
+     fairy.
+
+The phases of the story are clear in the chain of musical scenes, of the
+movements themselves and within them. In the opening Largo that recurs
+in this movement between the visions and happenings, a melody appears
+(in violas) that moves in all the
+
+[Music: (Violas) _Largo_
+(Woodwind)]
+
+acts of the tragedy. It is clearly the Antar motive,--here amidst ruin
+and desolation.
+
+The fairy theme is also unmistakable, that first plays in the flute,
+against soft horns, _Allegro giocoso_,
+
+[Music: (Flute) _Allegro giocoso_
+(Horns) (Harp)]
+
+and is lost in the onrushing attack, _furioso_, of a strain that begins
+in murmuring of muted strings.
+
+Other phrases are merely graphic or incidental. But the Antar motive is
+throughout the central moving figure.
+
+The scene of the desert returns at the end of the movement.
+
+In the second (_Allegro_, rising to _Molto allegro_, returning
+_allargando_) the Antar motive is seldom absent. The ending is in long
+notes of solo oboe and first violins. There is no trace of the fairy
+queen throughout the movement.
+
+The third movement has phases of mighty action (as in the beginning,
+_Allegro risoluto alla Marcia_), of delicate charm, and even of humor.
+The Antar melody plays in the clangor of big climax in sonorous tones of
+the low brass, against a quick martial phrase of trumpets and horns.
+Again there is in this movement no sign of the fairy queen.
+
+In the fourth movement, after a prelude, _Allegretto vivace_, with light
+trip of high flutes, a melody, of actual Arab origin, sings _Andante
+amoroso_ in the
+
+[Music: (Arabian melody)
+_Andante amoroso_
+(Eng. horn)
+(Bassoon)]
+
+English horn, and continues almost to the end, broken only by the
+dialogue of the lover themes. At the close a last strain of the Antar
+melody is followed by the fairy phrase and soft vanishing chord of harp
+and strings.
+
+
+_"SCHEREZADE," AFTER "A THOUSAND AND ONE NIGHTS." SYMPHONIC SUITE_
+
+Prefixed to the score is a "program," in Russian and French: "The Sultan
+Schahriar, convinced of the infidelity of women, had sworn to put to
+death each of his wives after the first night. But the Sultana
+Scherezade saved her life by entertaining him with the stories which she
+told him during a thousand and one nights. Overcome by curiosity, the
+Sultan put off from day to day the death of his wife, and at last
+entirely renounced his bloody vow.
+
+"Many wonders were told to Schahriar by the Sultana Scherezade. For the
+stories the Sultana borrowed the verses of poets and the words of
+popular romances, and she fitted the tales and adventures one within the
+other.
+
+"I. The Sea and the Vessel of Sindbad.
+
+"II. The Tale of the Prince Kalender.
+
+"III. The Young Prince and the Young Princess.
+
+"IV. Feast at Bagdad. The Sea. The Vessel is Wrecked on a Rock on which
+is Mounted a Warrior of Brass. Conclusion."
+
+With all the special titles the whole cannot be regarded as close
+description. It is in no sense narrative music. The titles are not in
+clear order of events, and, moreover, they are quite vague.
+
+In the first number we have the sea and merely the vessel, not the
+voyages, of Sindbad. Then the story of the Prince Kalender cannot be
+distinguished among the three tales of the royal mendicants. The young
+prince and the young princess,--there are many of them in these Arabian
+fairy tales, though we can guess at the particular one. Finally, in the
+last number, the title mentions an event from the story of the third
+Prince Kalender, where the vessel (not of Sindbad) is wrecked upon a
+rock surmounted by a warrior of brass. The Feast of Bagdad has no
+special place in any one of the stories.
+
+The truth is, it is all a mirroring in tones of the charm and essence of
+these epic gems of the East. It is not like the modern interlinear
+description, although it might be played during a reading on account of
+the general agreement of the color and spirit of the music. But there is
+the sense and feeling of the story, _das Maerchen_, and the romance of
+adventure. The brilliancy of harmony, the eccentricity and gaiety of
+rhythm seem symbolic and, in a subtle way, descriptive. As in the
+subject, the stories themselves, there is a luxuriant imagery, but no
+sign of the element of reflection or even of emotion.
+
+_I._--The opening motive, in big, broad rhythm, is clearly the Sea. Some
+have called it the Sindbad motive. But in essence these are not very
+different. The Sea is here the very feeling and type of adventure,--nay,
+Adventure itself. It is a necessary part of fairy stories. Here it
+begins and ends with its rocking theme, ever moving onward. It comes in
+the story of the Prince Kalender.
+
+The second of the main phrases is evidently the motive of the fairy tale
+itself, the feeling of "once upon a time," the idea of story, that leads
+us to the events themselves. It is a mere strumming of chords of the
+harp, with a vague line, lacking rhythm, as of musical prose. For rhythm
+is the type of event, of happenings, of the adventure itself. So the
+formless phrase is the introduction, the narrator, _Maerchen_ in an
+Oriental dress as Scherezade.
+
+The first number passes for the most part in a rocking of the motive of
+the sea, in various moods and movements: _Largo e maestoso, Allegro non
+troppo,--tranquillo_. At one time even the theme of the story sings to
+the swaying of the sea.[A]
+
+[Footnote A: We remember how Sindbad was tempted after each fortunate
+escape from terrible dangers to embark once more, and how he tells the
+story of the seven voyages on seven successive days, amid luxury and
+feasting.]
+
+_II._--In the tale of the Prince Kalender Scherezade, of course, begins
+the story as usual. But the main thread is in itself another interwoven
+tale,--_Andantino Capriccioso, quasi recitando_, with a solo in the
+bassoon _dolce e espressivo_,--later _poco piu mosso_, in violins.[A]
+There is most of happenings here. A very strident phrase that plays in
+the brass _Allegro molto_, may be some hobgoblin, or rather an evil
+jinn, that holds the princess captive and wrecks the hero's vessel. The
+sea, too, plays a tempestuous part at the same time with the impish
+mischief of the jinn.
+
+[Footnote A: In the old version the word "Calender" is used; in the new
+translation by Lane we read of "The Three Royal Mendicants." In certain
+ancient editions they are called "Karendelees,"--i.e., "miserable
+beggars." Each of the three had lost an eye in the course of his
+misfortunes. The story (of the Third Kalender) begins with the wreck of
+the prince's vessel on the mountain of loadstone and the feat of the
+prince, who shoots the brazen horseman on top of the mountain and so
+breaks the charm. But there is a long chain of wonders and of troubles,
+of evil enchantments and of fateful happenings.]
+
+_III._--The third number is the idyll,--both of the stories and of the
+music. Here we are nearest to a touch of sentiment,--apart from the mere
+drama of haps and mishaps.[A] But there are all kinds of special
+events. There is no prelude of the narrator. The idyll begins
+straightway, _Andantino quasi allegretto_, winds through all kinds of
+scenes and storms, then sings again _dolce e cantabile_. Here, at last,
+the Scherezade phrase is heard on the violin solo, to chords of the
+harp; but presently it is lost in the concluding strains of the love
+story.
+
+[Footnote A: The story, if any particular one is in the mind of the
+composer, is probably that of the Prince Kamar-ez-Zeman and the Princess
+Budoor. In the quality of the romance it approaches the legends of a
+later age of chivalry. In the main it is the long quest and the final
+meeting of a prince and a princess, living in distant kingdoms. Through
+the magic of genii they have seen each other once and have exchanged
+rings. The rest of the story is a long search one for the other. There
+are good and evil spirits, long journeys by land and sea, and great
+perils. It is an Arab story of the proverbial course of true love.]
+
+_IV._--The last number begins with the motive of the sea, like the
+first, but _Allegro molto_, again followed by the phrase of the story
+teller. The sea returns _Allegro molto e frenetico_ in full force, and
+likewise the vague motive of the story in a cadenza of violin solo. Then
+_Vivo_ comes the dance, the pomp and gaiety of the Festival, with
+tripping tambourine and strings and the song first in the flutes.[A]
+Presently a reminder of the sea intrudes,--_con forza_ in lower wood and
+strings. But other familiar figures flit by,--the evil jinn and the
+love-idyll. Indeed the latter has a full verse,--in the midst of the
+carnival.
+
+[Footnote A: We may think of the revels of Sindbad before the returning
+thirst for adventure.]
+
+Right out of the festival, rather in full festal array, we seem to
+plunge into the broad movement of the surging sea, _Allegro non troppo e
+maestoso_, straight on to the fateful event. There are no sighs and
+tears. Placidly the waves play softly about. And _dolce e capriccioso_
+the siren Scherezade once more reappears to conclude the tale.
+
+
+_RACHMANINOW. SYMPHONY IN E MINOR_[A]
+
+[Footnote A: Sergei Rachmaninow, born in 1873.]
+
+_I._--The symphony begins with the sombre temper of modern Russian art;
+at the outset it seems to throb with inmost feeling, uttered in subtlest
+design.
+
+The slow solemn prelude _(Largo)_ opens with the
+
+[Music: _Largo_
+(Strings)]
+
+chief phrase of the work in lowest strings to ominous chords, and treats
+it with passionate stress until the main pace of Allegro.
+
+[Music: _Espr_. (Violins)
+(Wood and horns)]
+
+But the germ of prevailing legend lies deeper. The work is one of the
+few symphonies where the whole is reared on a smallest significant
+phrase. The first strain (of basses) is indeed the essence of the
+following melody and in turn of the main Allegro theme. But, to probe
+still further, we cannot help feeling an ultimate, briefest motive of
+single ascending tone against intrinsic obstacle, wonderfully expressed
+in the harmony, with a mingled sense of resolution and regret. And of
+like moment is the reverse descending tone. Both of these symbols
+reappear throughout the symphony, separate or blended in larger melody,
+as principal or accompanying figures. Aside from this closer view that
+makes clear the tissue of themal discussion, the first phrase is the
+main melodic motto, that is instantly echoed in violins with piquant
+harmony. In the intricate path of deep musing we feel the mantle of a
+Schumann who had himself a kind of heritage from Bach. And thus we come
+to see the national spirit best and most articulate through the medium
+of ancient art.
+
+The main Allegro melody not so much grows out of the Largo prelude, as
+it is of the same fibre and
+
+[Music: _Allegro moderato_
+4 times
+_molto expr._ (Violins)
+(Wood with _tremolo_ strings)
+(Strings with clarinets and bassoons)]
+
+identity. The violins sing here against a stately march of harmonies.
+Such is the fine coherence that the mere heralding rhythm is wrought of
+the first chords of the Largo, with their descending stress. And the
+expressive melody is of the same essence as the original sighing motto,
+save with a shift of accent that gives a new fillip of motion. In this
+movement at least we see the type of real symphony, that throbs and
+sings and holds us in the thrall of its spirit and song.
+
+Moments there are here of light and joy, quickly drooping to the darker
+mood. Following the free flight of main melody is a skein of quicker
+figures, on aspirant pulse, answered by broad, tragic descent in minor
+tones.
+
+Milder, more tranquil sings now the second melody, a striking embodiment
+of the sense of striving ascent. Chanted in higher reeds, it is
+immediately
+
+[Music: (Oboes and clarinets)
+(Violins) (Oboes and clar'ts)
+(Horns) (Bassoons)
+_dolce_
+(_Pizz._ strings)]
+
+followed and accompanied by an expressive answer in the strings. On the
+wing of this song we rise to a height where begins the path of a brief
+nervous motive (of the first notes of the symphony) that with the
+descending tone abounds in various guise. As a bold glance at the sun is
+punished by a sight of solar figures all about, so we feel throughout
+the tonal story the presence of these symbols. An epilogue of wistful
+song leads to the repeated melodies.
+
+The main figure of the plot that follows is the first melody, now in
+slow, graceful notes, now in feverish pace, though the brief (second)
+motive moves constantly here and there. A darkest descent follows into
+an Avernus of deep brooding on the legend, with an ascending path of the
+brief, nervous phrase and a reverse fall, that finally wears out its own
+despair and ends in a sombre verse of the prelude, with new shades of
+melancholy, then plunges into an overwhelming burst on the sighing
+phrase. Thence the path of brooding begins anew; but it is now
+ascendant, on the dual pulse of the poignant motto and the brief,
+nervous motive. The whole current of passion is thus uttered in the
+prelude strain that at the outset was pregnant with feeling. At the
+crisis it is answered or rather interwoven with a guise of the second
+theme, in hurried pace, chanted by stentorian brass and wood in
+hallooing chorus that reaches a high exultation. To be sure the Russian
+at his gladdest seems tinged with sense of fate. So from the single
+burst we droop again. But the gloom is pierced by brilliant
+shafts,--herald calls (of brass and wood) that raise the mood of the
+returning main melody, and in their continuous refrain add a buoyant
+stimulus. And the verse of quicker figures has a new fire and ferment.
+All absent is the former descent of minor tones. Instead, in solemn hush
+of tempest, without the poignant touch, the tranquil second melody
+returns with dulcet answer of strings. A loveliest verse is of this
+further song where, in a dual chase of tune, the melody moves in
+contained rapture. In the cadence is a transfigured phase of the
+ascending tone, mingled with the retiring melody, all woven to a
+soothing cadence.
+
+But the struggle is not over, nor is redemption near. The dulcet phrases
+sink once more to sombre depth where there is a final, slow-gathering
+burst of passion on the motto, with a conclusive ring almost of fierce
+triumph.
+
+_II._--The second movement, _Allegro molto_, is a complete change from
+introspection and passion to an
+
+[Music: _Allegro molto_
+(Insistent strum of strings)
+_Marcato_]
+
+abandon as of primitive dance. Strings stir the feet; the horns blow the
+first motive of the savage tune; the upper wood fall in with a dashing
+jingle,--like a stroke of cymbals across the hostile harmonies.
+
+Whether a recurring idiom is merely personal or belongs to the special
+work is difficult to tell. In reality it matters little. Here the
+strange rising tone is the same as in the former (second) melody. In
+the rude vigor of harmonies the primitive idea is splendidly stressed.
+
+Right in the answer is a guise of short, nervous phrase, that gets a new
+touch of bizarre by a leap of the seventh from below. In this figure
+that moves throughout the symphony we see an outward symbol of an inner
+connection.--Bells soon lend a festive ring to the main tune.
+
+In quieter pace comes a tranquil song of lower voices with a companion
+melody above,--all in serene major. Though it grew naturally out of the
+rude
+
+[Music: _Molto cantabile_]
+
+dance, the tune has a contrasting charm of idyll and, too, harks back to
+the former lyric strains that followed the second melody. When the dance
+returns, there is instead of discussion a mere extension of main motive
+in full chorus.
+
+But here in the midst the balance is more than restored. From the dance
+that ceases abruptly we go straight to school or rather cloister. On our
+recurring nervous phrase a fugue is rung with all pomp and ceremony
+(_meno mosso_); and of the dance there are mere faint echoing memories,
+when the
+
+[Music: _Meno mosso_
+(Oboe) _molto marcato_
+(Violins) staccato]
+
+fugal text seems for a moment to weave itself into the first tune.
+
+Instead, comes into the midst of sermon a hymnal chant, blown gently by
+the brass, while other stray
+
+[Music: _Leggiero_]
+
+voices run lightly on the thread of fugue. There is, indeed, a playful
+suggestion of the dance somehow in the air. A final tempest of the
+fugue[A] brings us back to the full verse of dance and the following
+melodies. But before the end sounds a broad hymnal line in the brass
+with a dim thread of the fugue, and the figures steal away in solemn
+stillness.
+
+[Footnote A: It is of the first two notes of the symphony that the fugal
+theme is made. For though it is longer in the strings, the brief motion
+is ever accented in the wood. Thus relentless is the themal coherence.
+If we care to look closer we see how the (following) chant is a slower
+form of the fugal theme, while the bass is in the line of the
+dance-tune. In the chant in turn we cannot escape a reminder, if not a
+likeness, of the second theme of the first movement.]
+
+_III._--The Adagio has one principal burden, first borne by
+violins,--that rises from the germ of earlier
+
+[Music: _Adagio_
+(Strings with added harmony in bassoons and horns)]
+
+lyric strains. Then the clarinet joins in a quiet madrigal of tender
+phrases. We are tempted to find here an influence from a western
+fashion, a taint of polythemal virtuosity, in this mystic maze of many
+strains harking from all corners of the work, without a gain over an
+earlier Russian simplicity. Even the Slavic symphony seems to have
+fallen into a state of artificial cunning, where all manners of greater
+
+[Music: (Solo clarinet)
+_espress._
+(Divided strings) _dolce_]
+
+or lesser motives are packed close in a tangled mass.
+
+It cannot be said that a true significance is achieved in proportion to
+the number of concerting themes. We might dilate on the sheer inability
+of the hearer to grasp a clear outline in such a multiple plot.
+
+There is somehow a false kind of polyphony, a too great facility of
+spurious counterpoint, that differs subtly though sharply from the true
+art where the number entails no loss of individual quality; where the
+separate melodies move by a divine fitness that measures the perfect
+conception of the multiple idea; where there is no thought of a later
+padding to give a shimmer of profound art. It is here that the symphony
+is in danger from an exotic style that had its origin in German
+music-drama.
+
+From this point the Rachmaninow symphony languishes in the fountain of
+its fresh inspiration, seems consciously constructed with calculating
+care.
+
+There is, after all, no virtue in itself in mere themal
+interrelation,--in particular of lesser phrases. One cogent theme may
+well prevail as text of the whole. As the recurring motives are
+multiplied, they must lose individual moment. The listener's grasp
+becomes more difficult, until there is at best a mystic maze, a sweet
+chaos, without a clear melodic thought. It cannot be maintained that the
+perception of the modern audience has kept pace with the complexity of
+scores. Yet there is no gainsaying an alluring beauty of these waves of
+sound rising to fervent height in the main melody that is expressive of
+a modern wistfulness.
+
+But at the close is a fierce outbreak of the first motto, with a
+defiance of regret, in faster, reckless pace, brief, but suddenly
+recurring. Exquisite is this
+
+[Music: (Ob.) _cantabile_
+(Strings, wood and horns)]
+
+cooing of voices in mournful bits of the motto, with a timid upper
+phrase in the descending tone.
+
+On we go in the piling of Ossa on Pelion, where the motto and even the
+Scherzo dance lend their text. Yet all is fraught with sentient beauty
+as, rising in Titanic climb, it plunges into an overwhelming cry in the
+Adagio melody. Throughout, the ascending and descending tones, close
+interwoven, give a blended hue of arduous striving and regret.
+
+After a pause follow a series of refrains of solo voices in the melody,
+with muted strings, with mingled strains of the motto. In the bass is an
+undulation that recalls the second theme of former movement. And the
+clarinet returns with its mystic madrigal of melody; now the Adagio
+theme enters and gives it point and meaning. In one more burst it sings
+in big and little in the same alluring harmony, whence it dies down to
+soothing close in brilliant gamut as of sinking sun.
+
+_IV.--Allegro vivace._ Throwing aside the clinging
+
+[Music: _Allegro vivace_
+_Molto marcato_
+(Strings, wood and horns with reinforced harmonies)]
+
+fragments of fugue in the prelude we rush into a gaiety long sustained.
+Almost strident is the ruthless merriment; we are inclined to fear that
+the literal coherence of theme is greater than the inner connection of
+mood. At last the romp hushes to a whisper of drum, with strange patter
+of former dance. And following and accompanying it is a new hymnal (or
+is it martial) line, as it were the reverse of the other
+
+[Music: (Reeds and horns)
+(Strings with the quicker dance phrase of 2d movement)]
+
+chant. The gay figures flit timidly back,--a struggle 'twixt pleasure
+and fate,--but soon regain control.
+
+If we cared to interpret, we might find in the Finale a realized
+aspiration. The truth is the humors of the themal phrases, as of the
+movements, jar: they are on varying planes. The coarser vein of the last
+is no solace to the noble grief of the foregoing.
+
+Again the change or series of moods is not clearly defined. They seem a
+parade of visions. The hymn may be viewed as a guise of the former chant
+of the Scherzo, with the dance-trip in lowest bass.
+
+Straight from the rush and romp we plunge anew into a trance of sweet
+memories. The lyric vein here binds together earlier strains, whose
+kinship had not appeared. They seemed less significant, hidden as
+subsidiary ideas. If we care to look back we find a germ of phrase in
+the first Prelude, and then the answer of the second (Allegro) theme of
+first movement. There was, too, the sweep of dual melody following the
+rude dance of Scherzo. Above all is here the essence and spirit of the
+central Adagio melody of the symphony.
+
+The answering strain is of high beauty, with a melting sense of
+farewell. From the sad ecstasy is a
+
+[Music: (Strings with higher and lower 8ve.)
+(Wood and horns in 8ves.)
+(Basses of strings and reeds)]
+
+descent to mystic musing, where abound the symbols of rising and falling
+tones. More and more moving is the climactic melody of regret with a
+blended song in large and little. Most naturally it sinks into a full
+verse of the Adagio tune--whence instantly is aroused a new battle of
+moods.
+
+While the dance capers below, above is the sobbing phrase from the heart
+of the Adagio. The trip falls into the pace of hymnal march. The shadows
+of many figures return. Here is the big descending scale in tragic minor
+from the first movement. Large it looms, in bass and treble. Answering
+it is a figure of sustained thirds that recalls the former second
+(Allegro) melody. And still the trip of dance goes on.
+
+Sharpest and strongest of all these memories is the big sigh of sombre
+harmonies from the first Largo prelude, answered by the original legend.
+And the dance still goes tripping on and the tones rumble in descent.
+
+The dance has vanished; no sound but the drone of dull, falling tones,
+that multiply like the spirits of the sorcerer apprentice, in large form
+and small, with the big rumbling in a quick patter as of scurrying mice.
+
+Suddenly a new spirit enters with gathering volume and warmer harmony.
+As out of a dream we gradually emerge, at the end with a shock of
+welcome to light and day, as we awake to the returning glad dance. And
+here is a new entrancing counter-tune above that crowns the joy.
+
+Once again the skip falls into the ominous descent with the phantom of
+Scherzo dance in basses. Now returns the strange hymnal line of march
+and the other anxious hue.
+
+But quickly they are transformed into the tempest of gaiety in full
+parade. When a new burst is preparing, we see the sighing figure all
+changed to opposite mood. The grim tune of Scherzo dance enters
+mysteriously in big and little and slowly takes on a softened hue,
+losing the savage tinge.
+
+After the returning dance, the farewell melody sings from full throat.
+Before the ending revel we may feel a glorified guise of the sombre
+legend of the symphony.
+
+
+
+
+CHAPTER XII
+
+SIBELIUS. A FINNISH SYMPHONY[A]
+
+[Footnote A: Symphony No. 1, in E minor, by Jan Sibelius, born in 1865.]
+
+
+We must expect that the music of newer nations will be national. It goes
+without saying; for the music comes fresh from the soil; it is not the
+result of long refined culture. There is the strain and burst of a
+burden of racial feeling to utter itself in the most pliant and eloquent
+of all the languages of emotion. It is the first and noblest sentiment
+of every nation conscious of its own worth, and it has its counterpart
+in the individual. Before the utterance has been found by a people,
+before it has felt this sense of its own quality, no other message can
+come. So the most glorious period in the history of every country (even
+in the eyes of other nations) is the struggle for independence, whether
+successful or not.
+
+All on a new plane is this northernmost symphony, with a crooning note
+almost of savage, and sudden, fitful bursts from languorous to fiery
+mood. The harmony, the turn of tune have a national quality, delicious
+and original, though the Oriental tinge appears, as in Slav and Magyar
+music, both in bold and in melancholy humor. Though full of strange and
+warm colors, the harmonic scheme is simple; rather is the work a tissue
+of lyric rhapsody than the close-woven plot of tonal epic. A certain
+trace of revery does find a vent in the traditional art of contrary
+melodies. But a constant singing in pairs is less art than ancient
+folk-manner, like primal music in the love or dance songs of savages.
+
+The symphony begins with a quiet rhapsody of solo clarinet in wistful
+minor, clear without chords, though there is a straying into major.
+There is no accompaniment save a soft roll of drum, and that soon dies
+away.
+
+[Music: _Andante, ma non troppo_
+_espress._
+(Clarinet)]
+
+The rhapsody seems too vague for melody; yet there are motives, one in
+chief, winding to a pause; here is a new appealing phrase; the ending is
+in a
+
+[Music]
+
+return to the first. Over the whole symphony is cast the hue of this
+rhapsody, both in mood and in the literal tone.
+
+All opposite, with sudden spring of buoyant strings, strikes the
+Allegro tune ending in a quick, dancing trip. The first voice is
+immediately pursued by another
+
+[Music: _Allegro energico_
+(2d violins)
+_Piu forte_
+(Violins with higher 8ve.)
+(Cellos with higher 8ve. in violas)]
+
+in similar phase, like a gentler shadow, and soon rises to a passionate
+chord that is the main idiom of the movement.
+
+[Music: (Strings, wood and horns)]
+
+A second theme in clear-marked tones of reed and horns, as of stern
+chant, is taken up in higher wood and grows to graceful melody in
+flowing strings.
+
+[Music: _marcato_]
+
+There is a series of flights to an ever higher perch of harmony until
+the first Allegro motive rings out in fullest chorus, again with the
+companion tune and the cadence of poignant dissonance.
+
+A new episode comes with shimmering of harp and strings, where rare and
+dainty is the sense of primal
+
+[Music: _marcato_
+(Flutes)
+(Strings with chord of harp)]
+
+harmony that lends a pervading charm to the symphony. Here the high
+wood has a song in constant thirds, right from the heart of the
+rhapsody, all bedecked as melody with a new rhythm and answer. Soon this
+simple lay is woven in a skein of pairs of voices, meeting or diverging.
+But quickly we are back in the trance of lyric song, over palpitating
+strings, with the refrain very like the former companion phrase that
+somehow leads or grows to a
+
+[Music: _Tranquillo_
+(Oboe, with other wood)
+(Strings with higher E)]
+
+rhythmic verse of the first strain of the rhapsody. Here begins a long
+mystic phase of straying voices (of the wood) in the crossing figures of
+the song, in continuous fantasy that somehow has merged into the line of
+second Allegro theme, winging towards a brilliant height where the
+strings ring out the strain amid sharp cries of the brass in startling
+hues of harmony and electric calls from the first rhapsody.
+
+From out the maze and turmoil the shadowy melody rises in appealing
+beauty like heavenly vision and lo! is but a guise of the first strain
+of rhapsody. It rises amid flashes of fiery brass in bewildering blare
+of main theme, then sinks again to the depth of brooding, though the
+revery of the appealing phrase has a climactic height of its own, with
+the strange, palpitating harmonies.
+
+In a new meditation on bits of the first Allegro theme sounds suddenly a
+fitful burst of the second, that presently emerges in triumphant,
+sovereign song. Again, on a series of flights the main theme is reached
+and leaps once more to impassioned height.
+
+But this is followed by a still greater climax of moving pathos whence
+we descend once more to lyric meditation (over trembling strings).
+Follows a final tempest and climax of the phrase of second theme.
+
+The movement thus ends, not in joyous exultation, but in a fierce
+triumph of sombre minor.
+
+The Andante is purest folk-melody, and it is strange how we know this,
+though we do not know the special theme. We cannot decry the
+race-element as a rich fount of melody. While older nations strive and
+strain, it pours forth by some mystery in prodigal flow with less
+tutored peoples who are singing their first big song to the world. Only,
+the ultimate goal for each racial inspiration must be a greater
+universal celebration.
+
+The lyric mood is regnant here, in a melody that, springing from distant
+soil, speaks straight to every heart, above all with the concluding
+refrain. It is of the purest vein, of the primal fount, deeper than mere
+racial turn or trait. Moreover, with a whole coronet of gems of modern
+harmony, it has a broad swing and curve that gives the soothing sense of
+fireside;
+
+[Music: _Andante ma non troppo lento_
+(Muted violins)
+(Sustained horns and basses with lower 8ve.; constant stroke of harp)
+(Clarinets)]
+
+it bears a burden of elemental, all-contenting emotion. In the main, the
+whole movement is one lyric flight. But there come the moods of musing
+and rhapsodic rapture. In a brief fugal vein is a mystic harking back to
+the earlier prelude. In these lesser phrases are the foil or
+counter-figures for the bursts of the melody.
+
+It is the first motive of the main tune that is the refrain in ever
+higher and more fervent exclamation, or in close pressing chase of
+voices. Then follows a melting episode,--some golden piece of the melody
+in plaintive cellos, 'neath tremulous wood or delicate choirs of
+strings.
+
+But there is a second tune, hardly less moving, in dulcet group of
+horns amid shimmering strings and harp, with a light bucolic answer in
+playful reed.
+
+[Music: _Molto tranquillo_
+(Violins)
+_dolce_ (Horns)
+(With arpeggic harp)]
+
+And it has a glowing climax, too, with fiery trumpet, and dashing
+strings and clashing wood.
+
+Gorgeous in the warm depth of horns sound now the returning tones of the
+first noble melody, with playful trill of the wood, in antiphonal song
+of trumpets and strings. And there are revels of new turns of the tune
+(where the stirring harmony seems the best of all) that will rise to a
+frenzy of tintinnabulation. A quicker counter-theme lends life and
+motion to all this play and plot.
+
+A big, solemn stride of the middle strain (of main melody) precedes the
+last returning verse, with all the tender pathos of the beginning.
+
+The Scherzo is wild race-feeling let loose--national music that has not
+yet found a melody. Significantly the drums begin the tune, to a dancing
+strain of _pizzicato_ strings. The tune is so elemental that the
+
+[Music: _Allegro_
+(Violins)
+(_Pizz._ cellos double above in violas)]
+
+drums can really play it; the answer is equally rude,--an arpeggic
+motive of strings against quick runs of the higher wood. Out of it grows
+a tinge of tune with a fresh spring of dance,--whence returns the first
+savage motive. This is suddenly changed to the guise of a fugal theme,
+with new close, that starts a maze of disputation.
+
+Right from the full fire of the rough dance, sad-stressed chords plunge
+into a moving plaint with much sweetness of melody and higher
+counter-melody. Then returns again the original wild rhythm.
+
+[Music: _Lento ma non troppo_]
+
+In the last movement the composer confesses the "Fantasy" in the title.
+It begins with a broad sweep of the returning rhapsody, the prologue of
+the symphony, though without the former conclusion. Now it sings in a
+strong unison of the strings _largamente ed appassionato_, and with
+clang of chord in lower brass. The appealing middle phrase is all
+disguised in strum as of dance. The various strains sing freely in
+thirds, with sharp punctuating chords. Throughout is a balance of the
+pungent vigor of harmonies with dulcet melody.
+
+In sudden rapid pace the strumming figure dances in the lower reed, then
+yields to the play (in the strings) of a lively (almost comic) tune of a
+strong national tinge,--a kind that seems native to northern countries
+and is not unlike a strain that crept into
+
+[Music: _Allegro molto_]
+
+American song. A tempest of pranks is suddenly halted before the
+entrance of a broad melody, with underlying harmonies of latent passion.
+The feeling of fantasy is in the further flow, with free singing chords
+of harp. But ever between the lines creeps in the strumming phrase, from
+the first prelude, returned to its earlier mood.
+
+[Music: _Andante assai_
+(Violins) _cantabile ed espressivo_
+(Horns)
+(Clarinets)
+(_Tremolo_ cellos, with lower C in basses)]
+
+With baffling mystery anon come other appealing phrases from the
+beginning, that show the whole to be the woof almost of a single figure,
+or at least to lie within the poetic scope of the prologue. A fugal
+revel of the comic phrase with the quick strum as counter-theme ends in
+a new carnival,--here a dashing march, there a mad chase of strident
+harmonies. Now sings the full romance and passion of the melody through
+the whole gamut from pathos to rapture. It ends with poignant stress of
+the essence of the song, with sheerest grating of straining harmonies.
+In the midst, too, is again the mystic symbol from the heart of the
+prelude. Then with a springing recoil comes a last jubilation, though
+still in the prevailing minor, with a final coursing of the quick theme.
+
+The whole is a broad alternation of moods, of wild abandon and of tender
+feeling,--the natural dual quality of primal music. So, at least in the
+Finale, this is a Finnish fantasy, on the very lines of other national
+rhapsody.
+
+
+
+
+CHAPTER XIII
+
+BOHEMIAN SYMPHONIES
+
+
+In the music of modern Bohemia is one of the most vital utterances of
+the folk-spirit. The critic may not force a correspondence of politics
+and art to support his theory. Yet a cause may here be found as in
+Russia and Finland. (Poland and Hungary had their earlier song). There
+is a sincerity, an unpremeditated quality in Bohemian music that is not
+found among its western neighbors. The spirit is its own best proof,
+without a conscious stress of a national note. Indeed, Bohemian music is
+striking, not at all in a separate tonal character, like Hungarian, but
+rather in a subtle emotional intensity, which again differs from the
+wild abandon of the Magyars. An expression it must be of a national
+feeling that has for ages been struggling against absorption. Since
+ancient times Bohemia has been part of a Teutonic empire. The story of
+its purely native kings is not much more than legendary. Nor has it
+shared the harder fate of other small nations; for the Teuton rule at
+least respected its separate unity.
+
+But the long association with the German people has nearly worn away the
+racial signs and hall-marks of its folk-song. A Bohemian tune thus has a
+taste much like the native German. Yet a quality of its own lies in the
+emotional vitality, shown in a school of national drama and, of late, in
+symphony. It is not necessary to seek in this modern culmination a
+correspondence with an impending danger of political suppression. Art
+does not follow history with so instant a reflection.
+
+The intensity of this national feeling appears when Smetana himself, the
+minstrel of the people, is charged at home with yielding to the foreign
+influence. Here again is the hardship of the true national poet who
+feels that for the best utterance of his message he needs the grounding
+upon a broader art; here is the narrow Chauvinism that has confined the
+music of many lands within the primitive forms.
+
+Two types we have in Bohemian music of later times: one, Smetana, of
+pure national celebration; a second, Dvorak, who with a profound
+absorption of the German masters, never escaped the thrall of the
+folk-element and theme.
+
+
+_SMETANA. SYMPHONIC POEM, "THE MOLDAU RIVER"_[A]
+
+[Footnote A: Friedrich Smetana, 1824-1884, foremost among Bohemian
+dramatic composers, wrote a cycle of symphonic poems under the general
+title "My Country." Of these the present work is the second.]
+
+Simplicity is uppermost in these scores; yet the true essence is almost
+hidden to the mere reader. With all primitive quality they are more
+difficult than many a classic symphony. The latent charm of folk humor
+and sentiment depends more on tradition and sympathy than on notation.
+
+The naively graphic impulse (that we find throughout the choral works of
+Bach) that merely starts a chance themal line, as here of the first
+branch of the Moldau, does not disturb the emotional expression. And
+while the feeling is sustained, the art is there, not to stifle but to
+utter and set free the native spring of song.
+
+It must be yielded that the design is not profound; it smacks of the
+village fair rather than of grand tragedy. Song is ever supreme, and
+with all abundance of contrapuntal art does not become sophisticated.
+The charm is not of complexity, but of a more child-like, sensuous kind.
+
+It must all be approached in a different way from other symphonic music.
+The minstrel is not even the peasant in court costume, as Dvorak once
+was called. He is the peasant in his own village dress, resplendent with
+color and proud of his rank.
+
+We cannot enjoy the music with furrowed brow. It is a case where music
+touches Mother Earth and rejuvenates herself. Like fairy lore and
+proverbs, its virtue lies in some other element than profound design.
+For any form of song or verse that enshrines the spirit of a people and
+is tried in the forge of ages of tradition, lives on more surely than
+the fairest art of individual poet.
+
+The stream is the great figure, rising from small sources in playful
+flutes, with light spray of harp and
+
+[Music: _Allegro commodo non agitato_
+_lusingando_
+(Flute with chord of _pizz._ strings)]
+
+strings. The first brook is joined by another (in clarinets) from a new
+direction. Soon grows the number and the rustle of confluent waters. The
+motion of the strings is wavelike, of a broader flow, though underneath
+we scan the several lesser currents. Above floats now the simple, happy
+song, that expands
+
+[Music: _dolce_
+(Reeds and horns with waving strings and stroke of triangle)]
+
+with the stream and at last reaches a glad, sunny major.
+
+Still to the sound of flowing waters comes the forest hunt, with all the
+sport of trumpets and other brass.
+
+It is descriptive music, tonal painting if you will; but the color is
+local or national. The strokes are not so much of events or scenes as of
+a popular humor and character, which we must feel with small stress of
+each event. The blowing of trumpets, the purling of streams, the swaying
+of trees, in primal figures, all breathe the spirit of Bohemia.
+
+The hunt dies away; emerging from the forest the jolly sounds greet us
+of a peasant wedding. The
+
+[Music: _Tempo moderato_
+(Reeds and strings)]
+
+parade reaches the church in high festivity and slowly vanishes to
+tinkling bells.
+
+Night has fallen; in shifted scene the stream is sparkling in the
+moonlight still to the quiet sweet harmonies. But this is all background
+for a dance of nymphs, while a dulcet, sustained song sounds through the
+night. At last, to the golden horns a faintest harmony is added of
+deeper brass. Still very softly, the brass strike a quicker phrase and
+we seem to hear the hushed chorus of hunt with the call of trumpets, as
+the other brass lead in a new verse that grows lustier with the livelier
+song and dance, till--with a flash we are alone with the running stream
+with which the dance of nymphs has somehow merged.
+
+On it goes, in happy, ever more masterful course, a symbol of the
+nation's career, surging in bright major and for a moment quieting
+before the mighty Rapids of St. Johann. Here the song of the stream is
+nearly lost in the rush of eddies and the strife of big currents, with
+the high leaps of dashing spray,--ever recurring like unceasing battle
+with a towering clash at the height of the tempest. At last all meet in
+overpowering united torrent, suddenly to hush before the stream, at the
+broadest, rushes majestically along in hymnal song of exalted harmonies
+and triumphant melody, with joyous after-strains.
+
+As the pilgrim to his Mecca, so the waters are wafted into the climactic
+motive of the Hradschin, the chant of the holy citadel. The rest is a
+long jubilation
+
+[Music: _Motiv Vyserad_
+(Full orchestra, with rapid figures in the strings)]
+
+on quicker beats of the chant, amid the plash of waters and the shaking
+of martial brass. Strangely, as the other sounds die away, the melody of
+the stream emerges clear and strong, then vanishes in the distance
+before the jubilant Amen.
+
+In the general view we must feel a wonderful contrast here with the
+sophomoric state of the contemporary art in other lands where the
+folk-song has lost its savor,--where the natural soil is exhausted and
+elegant castles are built in the air of empty fantasy, or on the sands
+of a vain national pride.
+
+
+_DVORAK. SYMPHONY, "FROM THE NEW WORLD."_[A]
+
+[Footnote A: Anton Dvorak, 1841-1904.]
+
+It is a much-discussed question how far Dvorak's American symphony is
+based on characteristic folk-song. Here are included other questions: to
+what extent the themes are based on an African type, and whether negro
+music is fairly American folk-song. Many, perhaps most people, will
+answer with a general negative. But it seems to be true that many of us
+do not really know the true negro song,--have quite a wrong idea of it.
+
+To be sure, all argument aside, it is a mistake to think that folk-song
+gets its virtue purely from a distinctive national quality,--because it
+is Hungarian, Scandinavian, or Slavonic. If all the national modes and
+rhythms of the world were merged in one republic, there would still be a
+folk-song of the true type and value. There is a subtle charm and
+strength in the spontaneous simplicity, all aside from racial color. It
+is here that, like Antaeus, the musician touches Mother Earth and renews
+his strength. So, when Dvorak suddenly shifts in the midst of his New
+World fantasy into a touch of Bohemian song, there is no real loss. It
+is all relevant in the broad sense of folk feeling, that does not look
+too closely at geographical bounds. It is here that music, of all arts,
+leads to a true state of equal sympathy, regardless of national
+prejudice. What, therefore, distinguishes Dvorak's symphony may not be
+mere negro melody, or even American song, but a genuine folk-feeling, in
+the widest meaning.
+
+In one way, Dvorak's work reminds us of Mendelssohn's Scotch Symphony:
+both exploit foreign national melody in great poetic forms. One could
+write a Scotch symphony in two ways: one, in Mendelssohn's, the other
+would be to tell of the outer impression in the terms of your own
+folk-song. That is clearly the way Mendelssohn wrote most of the Italian
+Symphony,--which stands on a higher plane than the Scotch. For folk-song
+is the natural language of its own people. It is interesting to see the
+exact type that each theme represents; but it is not so important as to
+catch the distinction, the virtue of folk-song _per se_ and the purely
+natural utterance of one's own. Of course, every one writes always in
+his folk-tones. On the other hand, one may explore one's own special
+treasures of native themes, as Dvorak himself did so splendidly in his
+Slavic Dances and in his Legends. So one must, after all, take this
+grateful, fragrant work as an idea of what American composers might do
+in full earnest. Dvorak is of all later masters the most eminent
+folk-musician. He shows greatest sympathy, freedom and delight in
+revelling among the simple tones and rhythms of popular utterance,
+rearing on them, all in poetic spontaneity, a structure of high art.
+Without strain or show, Dvorak stood perhaps the most genuine of late
+composers, with a firm foot on the soil of native melody, yet with the
+balance and restraint and the clear vision of the trained master.[A]
+
+[Footnote A: The whole subject of American and negro folk-song is new
+and unexplored. There are races of the blacks living on the outer reefs
+and islands of the Carolinas, with not more than thirty whites in a
+population of six thousand, where "spirituals" and other musical rites
+are held which none but negroes may attend. The truest African mode and
+rhythm would seem to be preserved here; to tell the truth, there is
+great danger of their loss unless they are soon recorded.]
+
+In a certain view, it would seem that by the fate of servitude the
+American negro has become the element in our own national life that
+alone produces true folk-song,--that corresponds to the peasant and serf
+of Europe, the class that must find in song the refuge and solace for
+its loss of material joys. So Dvorak perhaps is right, with a far seeing
+eye, when he singles the song of the despised race as the national type.
+
+Another consideration fits here. It has been suggested that the
+imitative sense of the negro has led him to absorb elements of other
+song. It is very difficult to separate original African elements of song
+from those that may thus have been borrowed. At any rate, there is no
+disparagement of the negro's musical genius in this theory. On the
+contrary, it would be almost impossible to imagine a musical people that
+would resist the softer tones of surrounding and intermingling races.
+We know, to be sure, that Stephen Foster, the author of "The Old Folks
+at Home," "Massa's in the Cold, Cold Ground," and other famous ballads,
+was a Northerner, though his mother came from the South. We hear, too,
+that he studied negro music eagerly. It is not at all inconceivable,
+however, Foster's song may have been devoid of negro elements, that the
+colored race absorbed, wittingly or unwittingly, something of the vein
+into their plaints or lullabies,--that, indeed, Foster's songs may have
+been a true type that stirred their own imitation. From all points of
+view,--the condition of slavery, the trait of assimilation and the
+strong gift of musical expression may have conspired to give the negro a
+position and equipment which would entitle his tunes to stand as the
+real folk-song of America.
+
+The eccentric accent seems to have struck the composer strongly. And
+here is a strange similarity with Hungarian song,--though there is, of
+course, no kinship of race whatever between Bohemians and Magyars. One
+might be persuaded to find here simply an ebullition of rhythmic
+impulse,--the desire for a special fillip that starts and suggests a
+stronger energy of motion than the usual conventional pace. At any rate,
+the symphony begins with just such strong, nervous phrases that soon
+gather big force. Hidden is the germ of the first, undoubtedly the chief
+theme of the whole work.
+
+It is more and more remarkable how a search will show the true
+foundation of almost all of Dvorak's themes. Not that one of them is
+actually borrowed, or lacks an original, independent reason for being.
+
+Whether by imitation or not, the pentatonic scale of the Scotch is an
+intimate part of negro song. This avoidance of the seventh or leading
+tone is seen throughout the symphony as well as in the traditional
+jubilee tunes. It may be that this trait was merely confirmed in the
+African by foreign musical influence. For it seems that the
+leading-note, the urgent need for the ascending half-tone in closing,
+belongs originally to the minstrelsy of the Teuton and of central
+Europe, that resisted and conquered the sterner modes of the early
+Church. Ruder nations here agreed with Catholic ritual in preferring the
+larger interval of the whole tone. But in the quaint jump of the third
+the Church had no part, clinging closely to a diatonic process.
+
+The five-toned scale is indeed so widespread that it cannot be fastened
+on any one race or even family of nations. The Scotch have it; it is
+characteristic of the Chinese and of the American Indian. But,
+independently of the basic mode or scale, negro songs show here and
+there a strange feeling for a savage kind of lowering of this last note.
+The pentatonic scale simply omits it, as well as the fourth step. But
+the African will now and then rudely and forcibly lower it by a
+half-tone. In the minor it is more natural; for it can then be thought
+of as the fifth of the relative major. Moreover, it is familiar to us in
+the Church chant. This effect we have in the beginning of the Scherzo.
+Many of us do not know the true African manner, here. But in the major
+it is much more barbarous. And it is almost a pity that Dvorak did not
+strike it beyond an occasional touch (as in the second quoted melody). A
+fine example is "Roll, Jordan Roll," in E flat (that opens, by the way,
+much like Dvorak's first theme), where the beginning of the second line
+rings out on a savage D flat, out of all key to Caucasian ears.
+
+We soon see stealing out of the beginning _Adagio_ an eccentric pace in
+motion of the bass, that leads to the burst of main subject, _Allegro
+molto_, with a certain
+
+[Music: _Allegro molto_
+(Strings)
+(Horns)
+_Pizz._ (Strings)
+(Clarinets doubled below in bassoons)
+(Strings)]
+
+ragged rhythm that we Americans cannot disclaim as a nation. The working
+up is spirited, and presently out of the answer grows a charming jingle
+that somehow strikes home.
+
+[Music: (Violins, with harmony in lower strings)]
+
+It begins in the minor and has a strange, barbaric touch of cadence.
+Many would acknowledge it at most as a touch of Indian mode. Yet it is
+another phase of the lowered seventh. And if we care to search, we find
+quite a prototype in a song like "Didn't My Lord Deliver Daniel." Soon
+the phrase has a more familiar ring as it turns into a friendly major.
+But the real second theme comes in a solo tune on the flute, in the
+major,
+
+[Music: (Solo flute)
+(Strings)]
+
+with a gait something like the first.[A] Less and less we can resist the
+genuine negro quality of these melodies, and, at the same time, their
+beauty and the value of the tonal treasure-house in our midst.
+
+[Footnote A: Again it is interesting to compare here the jubilee song,
+"Oh! Redeemed," in the collection of "Jubilee and Plantation Songs," of
+the Oliver Ditson Company.]
+
+The whole of the first Allegro is thus woven of three melodious and
+characteristic themes in very clear sonata-form. The second, Largo,
+movement is a lyric of moving pathos, with a central melody that may not
+have striking traits of strict African song, and yet belongs to the type
+closely associated with the negro vein of plaint or love-song. The
+rhythmic
+
+[Music: _Largo_
+(English horn solo)]
+
+turns that lead to periods of excitement and climaxes of rapid motion,
+are absent in the main melody. But
+
+[Music: (Oboe and clarinets)
+(Basses _pizz._ with _tremolo_ figures in violins)]
+
+they appear in the episode that intervenes. Even here, in the midst, is
+a new contrast of a minor lament that has a strong racial trait in the
+sudden swing to major and, as quickly, back to the drearier mode. This
+is followed by a rhapsody or succession of rapid, primitive phrases,
+that leads to a crisis where, of a sudden, three themes sing at once,
+the two of the previous Allegro and the main melody of the Largo, in
+distorted pace with full chorus. This excitement is as suddenly lulled
+and soothed by the return of the original moving song.
+
+The Scherzo starts in a quick three-beat strum on the chord we have
+pointed to as a true model trait of negro music, with the lowered
+leading-note. The
+
+[Music: _molto vivace_ (Fl. and oboes)
+(Strings) (Cl't.)]
+
+theme, discussed in close stress of imitation, seems merely to mark the
+rapid swing in the drone of strange harmony. But what is really a sort
+of Trio (_poco sostenuto_) is another sudden, grateful change to major,
+perfectly true to life, so to speak, in this turn of mode and in the
+simple lines of the tune. The lyric mood all but suppresses the dance,
+the melody sounding like a new verse of the Largo. The trip has always
+lingered, but not too much for the delicious change when it returns to
+carry us off our feet.
+
+The Scherzo now steals in again, quite a piece, it seems, with the Trio.
+As the rising volume nears a crisis, the earliest theme (from the first
+Allegro) is heard in the basses. In the hushed discourse of Scherzo
+theme that follows, the old melody still intrudes. In mockery of one of
+its turns comes an enchanting bit of tune, as naive an utterance as any,
+much like a children's dancing song. And it returns later with still new
+enchantment of rhythm. But the whole is too full of folk-melody to trace
+out, yet is, in its very fibre, true to the idea of an epic of the
+people.
+
+Presently the whole Scherzo and Trio are rehearsed; but now instead of
+the phase of latest melodies is a close where the oldest theme (of
+Allegro) is sung in lusty blasts of the horns and wood, with answers of
+the Scherzo motive.
+
+In the last movement, _Allegro con fuoco_, appears early a new kind of
+march tune that, without special
+
+[Music: _Allegro con fuoco_
+(Horns and trumpets with full orchestra)]
+
+trick of rhythm, has the harsh note of lowered leading-note (in the
+minor, to be sure) in very true keeping with negro song. The march is
+carried on, with flowing answer, to a high pitch of varied splendor and
+tonal power. The second theme is utterly opposed in a certain pathetic
+rhapsody. Yet it rises, at the close, to a fervent burst in rapid
+motion. We
+
+[Music: (Solo clarinets)
+(_tremolo_ strings)]
+
+may expect in the Finale an orgy of folk-tune and dance, and we are not
+disappointed. There is, too, a quick rise and fall of mood, that is a
+mark of the negro as well as of the Hungarian. By a sudden doubling, we
+are in the midst of a true "hoe-down," in jolliest jingle, with that
+naive iteration, true to life; it comes out clearest when the tune of
+the bass (that sounds like a rapid "Three Blind Mice") is
+
+[Music: (Strings, wood and brass)
+(See page 205, line 9.)]
+
+put in the treble. A pure idealized negro dance-frolic is here. It is
+hard to follow all the pranks; lightly as the latest phrase descends in
+extending melody, a rude blast of the march intrudes in discordant
+humor. A new jingle of dance comes with a redoubled pace of bits of the
+march. As this dies down to dimmest bass, the old song from the Largo
+rings high in the wood. Strangest of all, in a fierce shout of the whole
+chorus sounds twice this same pathetic strain. Later comes a redoubled
+speed of the march in the woodwind, above a slower in low strings. Now
+the original theme of all has a noisy say. Presently the sad second
+melody has a full verse. Once more the Largo lullaby sings its strain
+in the minor. In the close the original Allegro theme has a literal,
+vigorous dispute with the march-phrase for the last word of all.
+
+The work does less to exploit American music than to show a certain
+community in all true folk-song. Nor is this to deny a strain peculiar
+to the new world. It seems a poet of distant land at the same time and
+in the same tones uttered his longing for his own country and expressed
+the pathos and the romance of the new. Dvorak, like all true workers,
+did more than he thought: he taught Americans not so much the power of a
+song of their own, as their right of heritage in all folk-music. And
+this is based not merely on an actual physical inheritance from the
+various older races.
+
+If the matter, in Dvorak's symphony, is of American negro-song, the
+manner is Bohemian. A stranger-poet may light more clearly upon the
+traits of a foreign lore. But his celebration will be more conscious if
+he endeavor to cling throughout to the special dialect. A true national
+expression will come from the particular soil and will be unconscious of
+its own idiom.
+
+The permanent hold that Dvorak's symphony has gained is due to an
+intrinsic merit of art and sincere sentiment; it has little to do with
+the nominal title or purpose.
+
+
+
+
+CHAPTER XIV
+
+THE EARLIER BRUCKNER[A]
+
+[Footnote A: Anton Bruckner, born at Annsfelden, Austria, 1828; died in
+Vienna in 1896.]
+
+
+Whatever be the final answer of the mooted question of the greatness of
+Bruckner's symphonies, there is no doubt that he had his full share of
+technical profundity, and a striking mastery of the melodious weaving of
+a maze of concordant strains. The question inevitably arises with
+Bruckner as to the value of the world's judgments on its contemporary
+poets. There can be no doubt that the _furore_ of the musical public
+tends to settle on one or two favorites with a concentration of praise
+that ignores the work of others, though it be of a finer grain. Thus
+Schubert's greatest--his one completed--symphony was never acclaimed
+until ten years after his death. Even his songs somehow brought more
+glory to the singer than to the composer. Bach's oratorios lay buried
+for a full century. On the other hand, names great in their day are
+utterly lost from the horizon. It is hard to conceive the _eclat_ of a
+Buononcini or a Monteverde,--whose works were once preeminent. There are
+elements in art, of special, sensational effect, that make a peculiar
+appeal in their time, and are incompatible with true and permanent
+greatness. One is tempted to say, the more sudden and vehement the
+success, the less it will endure. But it would not be true. Such an
+axiom would condemn an opera like "Don Giovanni," an oratorio like the
+"Creation," a symphony like Beethoven's Seventh. There is a wonderful
+difference, an immeasurable gulf between the good and the bad in art;
+yet the apparent line is of the subtlest. Most street songs may be poor;
+but some are undoubtedly beautiful in a very high sense. It is a problem
+of mystic fascination, this question of the value of contemporary art.
+It makes its appeal to the subjective view of each listener. No rule
+applies. Every one will perceive in proportion to his capacity, no one
+beyond it. So, a profound work may easily fail of response, as many
+works in the various arts have done in the past, because the average
+calibre of the audience is too shallow, while it may deeply stir an
+intelligent few. Not the least strange part of it all is the fact that
+there can, of necessity, be no decision in the lifetime of the poet.
+Whether it is possible for obscure Miltons never to find their meed of
+acclaim, is a question that we should all prefer to answer in the
+negative. There is a certain shudder in thinking of such a chance; it
+seems a little akin to the danger of being buried alive.
+
+The question of Bruckner's place can hardly be said to be settled,
+although he has left nine symphonies. He certainly shows a freedom, ease
+and mastery in the symphonic manner, a limpid flow of melody and a sure
+control in the interweaving of his themes, so that, in the final
+verdict, the stress may come mainly on the value of the subjects, in
+themselves. He is fond of dual themes, where the point lies in neither
+of two motives, but in the interplay of both; we see it somewhat
+extended in Richard Strauss, who uses it, however, in a very different
+spirit. The one evident and perhaps fatal lack is of intrinsic beauty of
+the melodic ideas, and further, an absence of the strain of pathos that
+sings from the heart of a true symphony. While we are mainly impressed
+by the workmanship, there is no denying a special charm of constant
+tuneful flow. At times this complexity is almost marvellous in the clear
+simplicity of the concerted whole,--in one view, the main trait or trick
+of symphonic writing. It is easy to pick out the leading themes as they
+appear in official order. But it is not so clear which of them
+constitute the true text. The multiplicity of tunes and motives is
+amazing.
+
+Of the Wagner influence with which Bruckner is said to be charged,
+little is perceptible in his second symphony. On the contrary, a strong
+academic tradition pervades. The themes are peculiarly symphonic.
+Moreover they show so strikingly the dual quality that one might say, as
+a man may see double, Bruckner sang double. Processes of augmenting and
+inverting abound, together with the themal song in the bass. Yet there
+is not the sense of overloaded learning. There is everywhere a clear and
+melodious polyphony.
+
+But with all masterly architecture, even enchanting changes of harmony
+and a prodigal play of melody, the vacuity of poetic ideas must preclude
+a permanent appeal. Bruckner is here the schoolmaster: his symphony is a
+splendid skeleton, an object lesson for the future poet.
+
+In the FOURTH (ROMANTIC) SYMPHONY the main light plays throughout on the
+wind. The text is a call of horns, that begins the work. It is a
+symphony
+
+[Music: _In tranquil motion_
+(Horns, _espressivo_)
+(Strings)]
+
+of wood-notes, where the forest-horn is sovereign,--awakening a widening
+world of echoes, with a murmuring maze of lesser notes. One has again
+the feeling that in the quiet interweaving of a tapestry of strains lies
+the individual quality of the composer,--that the _forte_ blasts, the
+stride of big unison figures are but the interlude.
+
+In the Andante the charm is less of tune than of the delicate changing
+shades of the harmony and of the colors of tone. We are ever surprised
+in the gentlest way by a turn of chord or by the mere entrance of a horn
+among the whispering strings. The shock of a soft modulation may be as
+sudden as of the loud, sudden blare. But we cannot somehow be consoled
+for the want of a heart-felt melody.
+
+The Scherzo is a kind of hunting-piece, full of the sparkle, the color
+and romance of bugles and horns,--a spirited fanfare broken by hushed
+phrases of strings or wood, or an elf-like mystic dance on the softened
+call of trumpets. The Trio sings apart, between the gay revels, in soft
+voices and slower pace, like a simple ballad.
+
+The Finale is conceived in mystical retrospect, beginning in vein of
+prologue: over mysterious murmuring strings, long sustained notes of the
+reed and horn in octave descent are mingled with a soft carillon of
+horns and trumpets in the call of the Scherzo. In broad swing a free
+fantasy rises to a loud refrain (in the brass) of the first motive of
+the symphony.
+
+In slower pace and hush of sound sings a madrigal of tender phrases. A
+pair of melodies recall like figures of the first Allegro. Indeed, a
+chain of dulcet strains seems to rise from the past.
+
+The fine themal relevance may be pursued in infinite degree, to no end
+but sheer bewilderment. The truth is that a modern vanity for subtle
+connection, a purest pedantry, is here evident, and has become a baneful
+tradition in the modern symphony. It is an utter confusion of the letter
+with the spirit. Once for all, a themal coherence of symphony must lie
+in the main lines, not in a maze of unsignificant figures.
+
+Marked is a sharp alternation of mood, tempestuous and tender, of
+Florestan and Eusebius. The lyric phase yields to the former heroic
+fantasy and then returns in soothing solace into a prevailing motive
+that harks back to the second of the beginning movement. The fantasy,
+vague of melody, comes
+
+[Music: (Wood and horns)
+(Strings)]
+
+(in more than one sense) as relief from the small tracery. It is just to
+remember a like oscillation in the first Allegro.
+
+When the prologue recurs, the phrases are in ascent, instead of descent
+of octaves. A climactic verse of the main dulcet melody breaks out in
+resonant choir of brass and is followed by a soft rhapsody on the
+several strains that hark back to the beginning. From the halting pace
+the lyric episode rises in flight of continuous song to enchanting lilt.
+Now in the big heroic fantasy sing the first slow phrases as to the
+manner born and as naturally break into a paean of the full motive,
+mingled with strains of the original legend of the symphony, that flows
+on to broad hymnal cadence.
+
+In mystic musing we reach a solemn stillness where the prologue phrase
+is slowly drawn out into a profoundly moving hymn. Here we must feel is
+Meister Bruckner's true poetic abode rather than in the passion and
+ecstasy of romance into which he was vainly lured.[A]
+
+[Footnote A: Bruckner's Fifth Symphony (in B flat) is a typical example
+of closest correlation of themes that are devoid of intrinsic melody.
+
+An introduction supplies in the bass of a hymnal line the main theme of
+the Allegro by inversion as well as the germ of the first subject of the
+Adagio. Throughout, as in the Romantic Symphony, the relation between
+the first and the last movement is subtle. A closing, jagged phrase
+reappears as the first theme of the Finale.
+
+The Adagio and Scherzo are built upon the same figure of bass. The theme
+of the Trio is acclaimed by a German annotator as the reverse of the
+first motive of the symphony.
+
+In the prelude of the Finale, much as in the Ninth of Beethoven, are
+passed in review the main themes of the earlier movements. Each one is
+answered by an eccentric phrase that had its origin in the first
+movement and is now extended to a fugal theme.
+
+The climactic figure is a new hymnal line that moves as central theme of
+an imposing double fugue.]
+
+
+
+
+CHAPTER XV
+
+THE LATER BRUCKNER
+
+
+In Bruckner's later works appears the unique instance of a discipline
+grounded in the best traditions, united to a deft use of ephemeral
+devices. The basic cause of modern mannerism, mainly in harmonic
+effects, lies in a want of formal mastery; an impatience of thorough
+technic; a craving for quick sensation. With Bruckner it was the
+opposite weakness of original ideas, an organic lack of poetic
+individuality. It is this the one charge that cannot be brought home to
+the earlier German group of reaction against the classic idea.
+
+There is melody, almost abundant, in Wagner and Liszt and their German
+contemporaries. Indeed it was an age of lyricists. The fault was that
+they failed to recognize their lyric limitation, lengthening and padding
+their motives abnormally to fit a form that was too large. Hence the
+symphony of Liszt, with barren stretches, and the impossible plan of the
+later music-drama. The truest form of such a period was the song, as it
+blossomed in the works of a Franz.
+
+Nor has this grandiose tendency even yet spent its course. A saving
+element was the fashioning of a new form, by Liszt himself,--the
+Symphonic Poem,--far inferior to the symphony, but more adequate to the
+special poetic intent.
+
+Whatever be the truth of personal gossip, there is no doubt that
+Bruckner lent himself and his art to a championing of the reactionary
+cause in the form that was intrinsically at odds with its spirit. Hence
+in later works of Bruckner these strange episodes of borrowed romance,
+abruptly stopped by a firm counterpoint of excellent quality,--indeed
+far the best of his writing. For, if a man have little ideas, at least
+his good workmanship will count for something.
+
+In truth, one of the strangest types is presented in Bruckner,--a pedant
+who by persistent ingenuity simulates a master-work almost to
+perfection. By so much as genius is not an infinite capacity for pains,
+by so much is Bruckner's Ninth not a true symphony. Sometimes, under the
+glamor of his art, we are half persuaded that mere persistence may
+transmute pedantry into poetry.
+
+It seems almost as if the Wagnerians chose their champion in the
+symphony with a kind of suppressed contempt for learning, associating
+mere intellectuality with true mastery, pointing to an example of
+greatest skill and least inspiration as if to say: "Here is your
+symphonist if you must have one." And it is difficult to avoid a
+suspicion that his very partisans were laughing up their sleeve at their
+adopted champion.
+
+We might say all these things, and perhaps we have gone too far in
+suggesting them. After all we have no business with aught but the music
+of Bruckner, whatever may have been his musical politics, his vanity,
+his ill judgment, or even his deliberate partisanship against his
+betters. But the ideas themselves are unsubstantial; on shadowy
+foundation they give an illusion by modern touches of harmony and rhythm
+that are not novel in themselves. The melodic idea is usually divided in
+two, as by a clever juggler. There is really no one thought, but a
+plenty of small ones to hide the greater absence.
+
+We have merely to compare this artificial manner with the poetic reaches
+of Brahms to understand the insolence of extreme Wagnerians and the
+indignation of a Hanslick. As against the pedantry of Bruckner the style
+of Strauss is almost welcome in its frank pursuit of effects which are
+at least grateful in themselves. Strauss makes hardly a pretence at
+having melodic ideas. They serve but as pawns or puppets for his
+harmonic and orchestral _mise-en-scene_. He is like a play-wright
+constructing his plot around a scenic design.
+
+Just a little common sense is needed,--an unpremeditated attitude. Thus
+the familiar grouping, "_Bach_, _Beethoven_ and _Brahms_" is at least
+not unnatural. Think of the absurdity of "_Bach_, _Beethoven_ and
+_Bruckner_"![A]
+
+[Footnote A: A festival was held in Munich in the summer of 1911, in
+celebration of "Bach, Beethoven and Bruckner."]
+
+The truth is, the Bruckner cult is a striking symptom of a certain
+decadence in German music; an incapacity to tell the sincere quality of
+feeling in the dense, brilliant growth of technical virtuosity. In the
+worship at the Bayreuth shrine, somehow reinforced by a modern national
+self-importance, has been lost a heed for all but a certain vein of
+exotic romanticism, long ago run to riotous seed, a blending of hedonism
+and fatalism. No other poetic message gets a hearing and the former may
+be rung in endless repetition and reminiscence, provided, to be sure, it
+be framed with brilliant cunning of workmanship.
+
+Here we feel driven defiantly to enounce the truth: that the highest
+art, even in a narrow sense, comes only with a true poetic message. Of
+this Bruckner is a proof; for, if any man by pure knowledge could make a
+symphony, it was he. But, with almost superhuman skill, there is
+something wanting in the inner connection, where the main ideas are
+weak, forced or borrowed. It is only the true poetic rapture that
+ensures the continuous absorption that drives in perfect sequence to
+irresistible conclusion.
+
+
+_SYMPHONY NO. 9_
+
+_I.--Solenne._ Solemn mystery is the mood, amid trembling strings on
+hollow unison, before the eight
+
+[Music: _Misterioso_
+(Eight horns with _tremolo_ strings on D in three octaves)]
+
+horns strike a phrase in the minor chord that in higher echoes breaks
+into a strange harmony and descends into a turn of melodic cadence. In
+answer is another chain of brief phrases, each beginning
+
+[Music: (1st violins)
+(Lower reeds with strings _tremolo_ in all but basses)]
+
+with a note above the chord (the common mark and manner of the later
+school of harmonists[A]) and a new ascent on a literal ladder of
+subtlest progress, while hollow intervals are intermingled in the pinch
+of close harmonies. The bewildering maze here begins of multitudinous
+design, enriched with modern devices.
+
+[Footnote A: See Vol. II, note, page 104.]
+
+A clash of all the instruments acclaims the climax before the unison
+stroke of fullest chorus on the solemn note of the beginning. A favorite
+device of Bruckner, a measured tread of _pizzicato_ strings with
+interspersed themal motives, precedes the romantic episode. Throughout
+the movement is this alternation of liturgic chorale with tender melody.
+
+[Music: _Molto tranquillo_
+(Strings) _espressivo_
+(Oboes and horns)]
+
+Bruckner's pristine polyphonic manner ever appears in the double strain
+of melodies, where each complements, though not completes the other.
+However multiple the plan, we cannot feel more than the quality of
+_unusual_ in the motives themselves, of some interval of ascent or
+descent. Yet as the melody grows to larger utterance, the fulness of
+polyphonic art brings a beauty of tender sentiment, rising to a moving
+climax, where the horns lead the song in the heart of the madrigal
+chorus, and the strings alone sing the expressive answer.
+
+[Music: (Violins doubled in 8ve.)
+(Strings, woods and horns)]
+
+A third phrase now appears, where lies the main poetry of the movement.
+Gentle swaying calls of
+
+[Music: _Tranquillo_ (Wood and violins)
+(4 horns in 8ve.)
+(Horns)
+(Strings with bassoons)]
+
+soft horns and wood, echoed and answered in close pursuit, lead to a
+mood of placid, elemental rhythm, with something of "Rheingold," of
+"Ossian" ballad, of the lapping waves of Cherubini's "Anacreon." In the
+midst the horns blow a line of sonorous melody, where the cadence has a
+breath of primal legend. On the song runs, ever mid the elemental
+motion, to a resonant height and dies away as before. The intimate,
+romantic melody now returns, but it is rocked on the continuing pelagic
+pulse; indeed, we hear anon a faint phrase of the legend, in distant
+trumpet, till we reach a joint rhapsody of both moods; and in the never
+resting motion, mid vanishing echoes, we dream of some romance of the
+sea.
+
+Against descending harmonies return the hollow, sombre phrases of the
+beginning, with the full cadence of chorale in the brass; and beyond,
+the whole prelude has a full, extended verse. In the alternation of
+solemn and sweet episode returns the tender melody, with pretty
+inversions, rising again to an ardent height. The renewed clash of
+acclaiming chorus ushers again the awful phrase of unison (now in octave
+descent), in towering majesty. But now it rises in the ever increasing
+vehemence where the final blast is lit up with a flash of serene
+sonority.
+
+This motive, of simple octave call, indeed pervades the earlier symphony
+in big and little. And now, above a steady, sombre melodic tread of
+strings it rises in a fray of eager retorts, transfigured in wonderful
+harmony again and again to a brilliant height, pausing on a ringing
+refrain, in sombre hue of overpowering blast.
+
+A soft interlude of halting and diminishing strings leads to the
+romantic melody as it first appeared, where the multiple song again
+deepens and ennobles the theme. It passes straight into the waving,
+elemental motion, where again the hallowed horn utters its sibyl phrase,
+again rising to resonant height. And again merges the intimate song with
+the continuing pulse of the sea, while the trumpet softly sounds the
+legend and a still greater height of rhapsody.
+
+Dull brooding chords bring a sombre play of the awing phrase, over a
+faint rocking motion, clashing in bold harmony, while the horns surge in
+broader melody. The climactic clash ends in a last verse of the opening
+phrase, as of primal, religious chant.
+
+_II.--Scherzo._ In the dazzling pace of bright clashing harmonies, the
+perfect answers of falling and rising phrases, we are again before the
+semblance, at
+
+[Music: _Vivace_
+(Flute with _pizz._ violins)
+(Flute)
+(_Pizz._ strings)]
+
+least, of a great poetic idea. To be sure there is a touch of stereotype
+in the chords and even in the pinch and clash of hostile motives. And
+there is not the distinctive melody,--final stamp and test of the shaft
+of inspiration. Yet in the enchantment of motion, sound and form, it
+seems mean-spirited to cavil at a want of something greater. One stands
+bewildered before such art and stunned of all judgment.
+
+A delight of delicate gambols follows the first brilliant dance of main
+motive. Amid a rougher trip of unison sounds the sonorous brass, and to
+softest jarring murmur of strings a pretty jingle of reed,
+
+[Music: _grazioso_
+(Oboe)
+(_Pizz._ strings with soft chord of wind and rhythmic bassoon)]
+
+with later a slower counter-song, almost a madrigal of pastoral answers,
+till we are back in the ruder original dance. The gay cycle leads to a
+height of rough volume (where the mystic brass sound in the midst) and a
+revel of echoing chase.
+
+In sudden hush of changed tone on fastest fairy trip, strings and wood
+play to magic harmonies. In calming motion the violins sing a quieter
+song, ever
+
+[Music: _Piu tranquillo_
+_Dolce_
+(Violins)
+(Oboe)
+(Violins)
+(Oboes with sustained strings)]
+
+echoed by the reed. Though there is no gripping force of themal idea,
+the melodies are all of grateful charm, and in the perfect round of
+rhythmic design we may well be content. The original dance recurs with a
+full fine orgy of hostile euphony.
+
+_III.--Adagio._ _Feierlich,--awesome_ indeed are these first sounds, and
+we are struck by the originality
+
+[Music: _Molto lento (Solenne)_
+(Violins, G string)
+_broadly_
+(Strings with choir of tubas, later of trombones and contrabass-tuba)]
+
+of Bruckner's technic. After all we must give the benefit at least of
+the doubt. And there is after this deeply impressive _introit_ a
+gorgeous Promethean
+
+[Music: (Woodwind and low brass with _tremolo_ strings)
+(3 trumpets)
+(4 horns)]
+
+spring of up-leaping harmonies. The whole has certainly more of concrete
+beauty than many of the labored attempts of the present day.
+
+The prelude dies down with an exquisite touch of precious
+dissonance,--whether it came from the heart or from the workshop. The
+strange and tragic part is that with so much art and talent there should
+not be the strong individual idea,--the flash of new tonal figure that
+stands fearless upon its own feet. All this pretty machinery seems
+wasted upon the framing and presenting, at the moment of expectation, of
+the shadows of another poet's ideas or of mere platitudes.
+
+In the midst of the broad sweeping theme with a
+
+[Music: (Strings, with cl't and oboe)
+_Very broadly_
+(G string)]
+
+promise of deep utterance is a phrase of horns with the precise accent
+and agony of a _Tristan_. The very semblance of whole motives seems to
+be taken from the warp and woof of Wagnerian drama. And thus the whole
+symphony is degraded, in its gorgeous capacity, to the reechoed rhapsody
+of exotic romanticism. It is all little touches, no big thoughts,--a
+mosaic of a symphony.
+
+[Music: (Horns)]
+
+And so the second theme[A] is almost too heavily laden with fine detail
+for its own strength, though
+
+[Music: (Violins, reeds and horns)
+_Poco piu lento_
+_dolce_
+(_Pizz._ of lower strings)]
+
+it ends with a gracefully delicate answer. The main melody soon recurs
+and sings with a stress of warm feeling in the cellos, echoed by glowing
+strains of the horns. Romantic harmonies bring back the solemn air of
+the prelude with a new counter melody, in precise opposite figure, as
+though inverted in a mirror, and again the dim moving chords that seem
+less of Bruckner than of legendary drama. In big accoutrement the double
+theme moves with double answers, ever with the sharp pinch of harmonies
+and heroic mien. Gentlest retorts of the motives sing with fairy
+clearness (in horns and reeds), rising to tender, expressive dialogue.
+With growing spirit they ascend once more to the triumphant clash of
+empyraean chords, that may suffice for justifying beauty.
+
+[Footnote A: We have spoken of a prelude, first and second theme; they
+might have been more strictly numbered first, second and third theme.]
+
+Instead of the first, the second melody follows with its delicate grace.
+After a pause recurs the phrase that harks from mediaeval romance, now
+in a stirring ascent of close chasing voices. The answer, perfect in its
+timid halting descent, exquisite in accent and in the changing hues of
+its periods, is robbed of true effect by its direct reflection of
+Wagnerian ecstasies.
+
+As if in recoil, a firm hymnal phrase sounds in the strings, ending in a
+more intimate cadence. Another chain of rarest fairy clashes, on the
+motive of the prelude, leads to the central verse, the song of the first
+main melody in the midst of soft treading strings, and again descends
+the fitting answer of poignant accent.
+
+And now, for once forgetting all origin and clinging sense of
+reminiscence, we may revel in the rich romance, the fathoms of mystic
+harmony, as the main song sings and rings from the depths of dim legend
+in lowest brass, amidst a soft humming chorus, in constant shift of
+fairy tone.
+
+A flight of ascending chords brings the big exaltation of the first
+prophetic phrase, ever answered by exultant ring of trumpet, ending in
+sudden awing pause. An eerie train of echoes from the verse of prelude
+leads to a loveliest last song of the poignant answer of main song, over
+murmuring strings. It
+
+[Music: (_Tremolo_ violins with lower 8ve.)
+(Reeds)
+(Horns)
+(Violas)]
+
+is carried on by the mystic choir of sombre brass in shifting steps of
+enchanting harmony and dies away in tenderest lingering accents.[A]
+
+[Footnote A: In place of the uncompleted Finale, Bruckner is said to
+have directed that his "_Te Deum_" be added to the other movements.]
+
+
+
+
+CHAPTER XVI
+
+HUGO WOLFF[A]
+
+_"PENTHESILEA." SYMPHONIC POEM_[B]
+
+[Footnote A: Hugo Wolff, born in 1860, died in 1903.]
+
+[Footnote B: After the like-named tragedy of Heinrich von Kleist.]
+
+
+An entirely opposite type of composer, Hugo Wolff, shows the real
+strength of modern German music in a lyric vein, sincere, direct and
+fervent. His longest work for instruments has throughout the charm of
+natural rhythm and melody, with subtle shading of the harmony. Though
+there is no want of contrapuntal design, the workmanship never obtrudes.
+It is a model of the right use of symbolic motives in frequent
+recurrence and subtle variation.
+
+In another instrumental piece, the "Italian Serenade," all kinds of
+daring suspenses and gentle clashes and surprises of harmonic scene give
+a fragrance of dissonant euphony, where a clear melody ever rules.
+"Penthesilea," with a climactic passion and a sheer contrast of tempest
+and tenderness, uttered with all the mastery of modern devices, has a
+pervading thrall of pure musical beauty. We are tempted to hail in Wolff
+a true poet in an age of pedants and false prophets.
+
+
+
+PENTHESILEA.--A TRAGEDY BY HEINRICH VON KLEIST.[A]
+
+[Footnote A: German, 1776-1811.]
+
+As Wolff's work is admittedly modelled on Kleist's tragedy, little known
+to the English world, it is important to view the main lines of this
+poem, which has provoked so divergent a criticism in Germany.
+
+On the whole, the tragedy seems to be one of those daring, even profane
+assaults on elemental questions by ways that are untrodden if not
+forbidden. It is a wonderful type of Romanticist poetry in the bold
+choice of subject and in the intense vigor and beauty of the verse.
+Coming with a shock upon the classic days of German poetry, it met with
+a stern rebuke from the great Goethe. But a century later we must surely
+halt in following the lead of so severe a censor. The beauty of diction
+alone seems a surety of a sound content,--as when Penthesilea exclaims:
+
+    "A hero man can be--a Titan--in distress,
+    But like a god is he when rapt in blessedness."
+
+An almost convincing symbolism has been suggested of the latent meaning
+of the poem by a modern critic,[A]--a symbolism that seems wonderfully
+reflected in Wolff's music. The charge of perverted passion can be based
+only on certain lines, and these are spoken within the period of madness
+that has overcome the heroine. This brings us to the final point which
+may suggest the main basic fault in the poem, considered as art. At
+least it is certainly a question whether pure madness can ever be a
+fitting subject in the hero of a tragedy. Ophelia is an episode;
+Hamlet's madness has never been finally determined. Though the Erinnys
+hunted Orestes in more than one play, yet no single Fury could, after
+all, be the heroine of tragedy. Penthesilea became in the crisis a pure
+Fury, and though she may find here her own defense, the play may not
+benefit by the same plea. On the other hand, the madness is less a
+reality than an impression of the Amazons who cannot understand the
+heroine's conflicting feelings. There is no one moment in the play when
+the hearer's sympathy for the heroine is destroyed by a clear sense of
+her insanity.
+
+[Footnote A: Kuno Francke. See the notes of Philip Hale in the programme
+book of the Boston Symphony Orchestra of April 3-4, 1908.]
+
+For another word on the point of symbolism, it must be remembered that
+the whole plot is one of supernatural legend where somehow human acts
+and motives need not conform to conventional rule, and where symbolic
+meaning, as common reality disappears, is mainly eminent. It is in this
+same spirit that the leading virtues of the race, of war or of peace,
+are typified by feminine figures.
+
+The Tragedy is not divided into acts; it has merely four and twenty
+scenes--upon the battle-field of Troy. The characters are Penthesilea,
+Queen of the Amazons; her chief leaders, Prothoe, Meroe and Asteria, and
+the high priestess of Diana. Of the Greeks there are Achilles, Odysseus,
+Diomede and Antilochus. Much of the fighting and other action is not
+seen, but is reported either by messengers or by present witnesses of a
+distant scene.
+
+The play begins with the battle raging between Greeks and Amazons.
+Penthesilea with her hosts amazes the Greeks by attacking equally the
+Trojans, her reputed allies. She mows down the ranks of the Trojans, and
+yet refuses all proffers of the Greeks.
+
+Thus early we have the direct, uncompromising spirit,--a kind of
+feminine Prometheus. The first picture of the heroine is of a Minerva in
+full array, stony of gaze and of expression until--she sees Achilles.
+Here early comes the conflict of two elemental passions. Penthesilea
+recoils from the spell and dashes again into her ambiguous warfare. For
+once Greeks and Trojans are forced to fight in common defence.
+
+    "The raging Queen with blows of thunder struck
+    As she would cleave the whole race of the Greeks
+    Down to its roots....
+
+           *       *       *       *       *
+
+    "More of the captives did she take
+    Than she did leave us eyes to count the list,
+    Or arms to set them free again.
+
+           *       *       *       *       *
+
+    "Often it seemed as if a special hate
+    Against Achilles did possess her breast.
+
+           *       *       *       *       *
+
+    "Yet in a later moment, when
+    His life was given straight into her hands,
+    Smiling she gave it back, as though a present;
+    His headlong course to Hades she did stay."
+
+In midst of the dual battle between Achilles and the Queen, a Trojan
+prince comes storming and strikes a treacherous blow against the armor
+of the Greek.
+
+    "The Queen is stricken pale; for a brief moment
+    Her arms hang helpless by her sides; and then,
+    Shaking her locks about her flaming cheeks,
+    Dashes her sword like lightning in his throat,
+    And sends him rolling to Achilles' feet."
+
+The Greek leaders resolve to retreat from the futile fight and to call
+Achilles from the mingled chase of love and war.
+
+Achilles is now reported taken by the Amazons. The battle is vividly
+depicted: Achilles caught on a high ledge with his war-chariot; the
+Amazon Queen storming the height from below. The full scene is witnessed
+from the stage,--Penthesilea pursuing almost alone; Achilles suddenly
+dodges; the Queen as quickly halts and rears her horse; the Amazons fall
+in a mingled heap; Achilles escapes, though wounded. But he refuses to
+follow his companions to the camp; he swears to bring home the Queen
+wooed in the bloody strife of her own seeking.
+
+Penthesilea recoils with like vehemence from the entreaties of her
+maids, intent upon the further battle, resolved to overcome the hero or
+to die. She forbids the Festival of Roses until she has vanquished
+Achilles. In her rage she banishes her favorite Prothoe from her
+presence, but in a quick revulsion takes her back.
+
+In the next scene the high priestess and the little Amazon maids prepare
+the Feast, which Penthesilea had ordered in her confident attack upon
+the fleeing Greeks. One of the Rose-maidens recounts the passing scene
+of the Queen's amazing action. The indignant priestess sends her command
+to the Queen to return to the celebration. Though all the royal suite
+fling themselves in her path, Penthesilea advances to the dual
+battle.[A]
+
+[Footnote A: The law of the Amazons commanded them to wage war as told
+them by the oracle of Mars. The prisoners were brought to the Feast of
+Roses and wedded by their captors. After a certain time they were sent
+back to their homes. All male children of the tribe were put to death.]
+
+In a renewal of her personal contest, regardless of the common cause,
+and in her special quest of a chosen husband, Penthesilea has broken the
+sacred law.
+
+The flight now follows of the Amazon hosts. When the two combatants meet
+in the shock of lances, the Queen falls in the dust; her pallor is
+reflected in Achilles' face. Leaping from his horse, he bends o'er her,
+calls her by names, and woos life back into her frame. Her faithful
+maids, whom she has forbidden to harm Achilles, lead her away. And here
+begins the seeming madness of the Queen when she confesses her love. For
+a moment she yields to her people's demands, but the sight of the
+rose-wreaths kindles her rage anew. Prothoe defends her in these lines:
+
+    "Of life the highest blessing she attempted.
+    Grazing she almost grasped. Her hands now fail her
+    For any other lesser goal to reach."
+
+In the last part of the scene the Queen falls more and deeper into
+madness. It is only in a too literal spirit that one will find an
+oblique meaning,--by too great readiness to discover it. In reality
+there seems to be an intense conflict of opposite emotions in the
+heroine: the pure woman's love, without sense of self; and the wild
+overpowering greed of achievement. Between these grinding stones she
+wears her heart away. A false interpretation of decadent theme comes
+from regarding the two emotions as mingled, instead of alternating in a
+struggle.
+
+Achilles advances, having flung away his armor. Prothoe persuades him to
+leave the Queen, when she awakes, in the delusion that she has conquered
+and that he is the captive. Thus when she beholds the hero, she breaks
+forth into the supreme moment of exaltation and of frenzied triumph. The
+main love scene follows:
+
+Penthesilea tells Achilles the whole story of the Amazons, the conquest
+of the original tribe, the rising of the wives of the murdered warriors
+against the conquerors; the destruction of the right breast (_A-mazon_);
+the dedication of the "brides of Mars" to war and love in one. In
+seeking out Achilles the Queen has broken the law. But here again
+appears the double symbolic idea: Achilles meant to the heroine not love
+alone, but the overwhelming conquest, the great achievement of her life.
+
+The first feeling of Penthesilea, when disillusioned, is of revulsive
+anger at a kind of betrayal. The Amazons recover ground in a wild desire
+to save their Queen, and they do rescue her, after a parting scene of
+the lovers. But Penthesilea curses the triumph that snatches her away;
+the high priestess rebukes her, sets her free of her royal duties, to
+follow her love if she will. The Queen is driven from one mood to
+another, of devoted love, burning ambition and mortal despair.
+
+Achilles now sends a challenge to Penthesilea, knowing the Amazon
+conditions. Against all entreaty the Queen accepts, not in her former
+spirit, but in the frenzy of desperate endeavor, in the reawakened rage
+of her ambition, spurred and pricked by the words of the priestess.
+
+The full scene of madness follows. She calls for her dogs and elephants,
+and the full accoutrement of battle. Amidst the terror of her own
+warriors, the rolling of thunder, she implores the gods' help to crush
+the Greek. In a final touch of frenzy she aims a dart at her faithful
+Prothoe.
+
+The battle begins, Achilles in fullest confidence in Penthesilea's love,
+unfrightened by the wild army of dogs and elephants. The scene, told by
+the present on-lookers, is heightened by the cries of horror and dismay
+of the Amazons themselves.
+
+Achilles falls; Penthesilea, a living Fury, dashes upon him with her
+dogs in an insane orgy of blood. The Queen in the culminating scene is
+greeted by the curses of the high priestess. Prothoe masters her horror
+and turns back to soothe the Queen. Penthesilea, unmindful of what has
+passed, moves once more through the whole gamut of her torturing
+emotions, and is almost calmed when she spies the bier with the hero's
+body. The last blow falls when upon her questions she learns the full
+truth of her deed. The words she utters (that have been cited by the
+hostile critics) may well be taken as the ravings of hopeless remorse,
+with a symbolic play of words. She dies, as she proclaims, by the knife
+of her own anguish.
+
+The last lines of Prothoe are a kind of epilogue:
+
+    "She sank because too proud and strong she flourished.
+    The half-decayed oak withstands the tempest;
+    The vigorous tree is headlong dashed to earth
+    Because the storm has struck into its crown."[A]
+
+[Footnote A: Translations, when not otherwise credited, are by the
+author.]
+
+The opening scene--"Lively, vehement: Departure of the Amazons for
+Troy"--begins impetuous and hefty with big strokes of the throbbing
+motive,
+
+[Music: (_Tutti_ with higher 8ves.)
+(Piccolo in 8ve.)
+(Bass in 8ve.)]
+
+the majestic rhythm coursing below, lashed by a quicker phrase above.
+Suddenly trumpets sound, somewhat more slowly, a clarion call answered
+by a choir of other trumpets and horns in enchanting retort of changing
+harmonies. Ever a fresh color of
+
+[Music: (Flutes and oboes)
+(Answering groups of brass)
+(Lower strings _pizz._)]
+
+tone sounds in the call of the brass, as if here or yonder on the
+battle-field. Sometimes it is almost too sweetly chanting for fierce
+war. But presently it turns to a wilder mood and breaks in galloping
+pace into a true chorus of song with clear cadence.
+
+[Music: (Flutes with reeds in lower 8ve.)
+(Violins with upper 8ve.)
+(Lower strings and brass with lower 8ve.)]
+
+The joyful tinge is quickly lost in the sombre hue of another phase of
+war-song that has a touch of funeral trip (though it is all in 3/4
+time):
+
+[Music: (Muted strings)
+(Horns and bassoons)]
+
+A melody in the minor plays first in a choir of horns and bassoons,
+later in united strings, accompanied by soft rolls of drums and a touch
+of the lowest brass. Harp and higher woodwind are added, but the volume
+is never transcendent save in a single burst when it is quickly hushed
+to the first ominous whisper. Out of this sombre song flows a romance of
+tender sentiment, _tranquillo_ in strings, followed by the wood. The
+crossing threads of expressive melody
+
+[Music: _Tranquillo_
+(Strings)
+(In the midst enters a strain of solo horn)]
+
+rise in instant renewal of stress and agitation. The joy of battle has
+returned, but it seems that the passion of love burns in midst of the
+glow of battle, each in its separate struggle, and both together in one
+fatal strife. The sombre melody returns in full career, dying down to a
+pause.[A]
+
+[Footnote A: In a somewhat literal commentary attributed to Dr. Richard
+Batka, the Amazons here, "having reached their destination, go into
+night-encampment--as represented by the subdued roll of the
+kettle-drums, with which the movement concludes."]
+
+_Molto sostenuto_, in changed rhythm of three slow beats, comes
+"Penthesilea's Dream of the Feast of Roses." Over a thick cluster of
+harmonies in harp and strings the higher wood sing a new song in long
+drawn lyric notes with ravishing turns of tonal color,--a
+
+[Music: _Molto sostenuto_
+(Flutes, oboes and clarinets)
+(Rapid arpeggic figures of harps and muted strings)]
+
+dual song and in many groups of two. The tranquil current of the dream
+is gradually disturbed; the main burden is dimmed in hue and in mood.
+Faster, more fitful is the flow of melody, with hostile intruding motive
+below; it dashes at last into the tragic phase--Combats; Passions;
+Madness; Destruction--in very rapid tempo of 2/2 rhythm.
+
+In broad, masterful pace, big contrary figures sweep up and down,
+cadencing in almost joyous chant, gliding, indeed, into a pure hymn, as
+of triumph (that harks back to the chorussing song in the beginning).
+
+Throughout the poem the musical symbols as well as the motives of
+passion are closely intertwined. Thus the identity of the impetuous
+phrase of the very beginning is clear with the blissful theme of the
+Dream of the Feast of Roses. Here, at the end of the chorussing verse is
+a play or a strife of phrases where we cannot escape a symbolic intent.
+To _tremolo_ of violas the cellos hold a tenor of descending melody over
+a rude rumbling phrase of the basses of wood and strings, while the oboe
+sings in the treble an expressive answer of ascending notes. A conflict
+is
+
+[Music: (_Molto vivace_)
+(cello _molto espressivo_)
+(Violas)
+(Basses and bassoons with upper 8ve.)
+(Oboe) _espressivo_]
+
+evident, of love and ambition, of savage and of gentle passion, of chaos
+and of beauty. At the height, the lowest brass intrude a brutal note of
+triumph of the descending theme. To the victory of Pride succeeds a
+crisis of passionate yearning. But at the very height is a plunge into
+the fit of madness, the fatal descending phrase (in trombones) is ever
+followed by furious pelting spurts in the distorted main theme.
+
+At last the paroxysm abates, throbbing ever slower, merging into the
+tender song of the Dream that now rises to the one great burst of
+love-passion. But it ends in a wild rage that turns right into the
+war-song of the beginning. And this is much fuller of incident than
+before. Violins now ring an hostile motive (the former rumbling phrase
+of basses) from the midst of the plot against the main theme in
+trumpets. Instead of the former pageantry, here is the pure frenzy of
+actual war. The trumpet melodies resound amidst the din of present
+battle. Instead of the other gentler episodes, here is a more furious
+raving of the mad Queen (in the hurried main motive), where we seem to
+see the literal dogs of war let loose and spurred on,--each paroxysm
+rising to a higher shock.
+
+Great is the vehemence of speed and sound as the dull doom of
+destruction drones in the basses against a grim perversion of the
+yearning theme above, that overwhelms the scene with a final shriek.
+
+Slowly the dream of love breathes again, rises to a fervent burst, then
+yields to the fateful chant and ends in a whisper of farewell.
+
+
+
+
+CHAPTER XVII
+
+MAHLER[A]
+
+[Footnote A: Gustav Mahler, 1860-1911.]
+
+
+In Mahler the most significant sign is a return to a true counterpoint,
+as against a mere overlading of themes, that began in Wagner and still
+persists in Strauss,--an artificial kind of structure that is never
+conceived as a whole.
+
+While we see in Mahler much of the duophonic manner of his teacher,
+Bruckner, in the work of the younger man the barren art is crowned with
+the true fire of a sentient poet. So, if Bruckner had little to say, he
+showed the way to others. And Mahler, if he did not quite emerge from
+the mantle of Beethoven, is a link towards a still greater future. The
+form and the technic still seem, as with most modern symphonies, too
+great for the message. It is another phase of orchestral virtuosity, of
+intellectual strain, but with more of poetic energy than in the
+symphonies of the French or other Germans.
+
+In other forms we see this happy reaction towards ancient art, as in the
+organ music of a Reger. But in the Finale of Mahler's Fifth Symphony
+there is a true serenity, a new phase of symphony, without the climactic
+stress of traditional triumph, yet none the less joyous in essence.
+
+We cannot help rejoicing that in a sincere and poetic design of
+symphony is blended a splendid renaissance of pure counterpoint, that
+shines clear above the modern spurious pretence. The Finale of Mahler's
+Fifth Symphony is one of the most inspired conceptions of counterpoint
+in all music. In it is realized the full dream of a revival of the art
+in all its glorious estate.
+
+
+_SYMPHONY NO. 5_
+
+  I.--1. _Funeral March._
+      2. _In stormy motion (with greatest vehemence)._
+ II.--3. _Scherzo (with vigor,--not too fast)._
+III.--4. _Adagietto (very slowly)._
+      5. _Rondo-Finale (allegro)._
+
+Mahler's Fifth Symphony, whatever be its intrinsic merit, that can be
+decided only by time and wear, undoubtedly marks a high point of
+orchestral splendor, in the regard of length and of the complexity of
+resources. By the latter is meant not so much the actual list of
+instruments as the pervading and accumulating use of thematic
+machinery.[A]
+
+[Footnote A: The symphony is probably the longest instrumental work that
+had appeared at the time of its production in 1904. The list of
+instruments comprises 4 flutes, 3 oboes, 3 clarinets, 2 bassoons,
+contra-bassoon, 6 horns, 4 trumpets, 3 trombones, tuba, kettle-drums,
+cymbals, bass-drum, snare-drum, triangle, glockenspiel, gong, harp and
+strings.
+
+Compared with D'Indy's Second Symphony, the Fifth of Mahler has a larger
+body of brass as well as of woodwind.]
+
+The plan of movements is very original and in a way, two-fold. There are
+three great divisions, of which the first comprises a Funeral March,
+and an untitled Allegro in vehement motion. The second division has
+merely the single movement, Scherzo. In the third are an Adagietto and a
+Rondo Finale.
+
+_I.--1. Funeral March._--A call of trumpet, of heroic air and tread, is
+answered by strident chords ending in a sonorous motive of horns that
+leads to the funeral trip, of low brass. The mournful song of the
+principal melody appears presently in the strings, then returns to the
+funeral trip and to the strident chords. The first trumpet motive now
+sounds with this clanging phrase and soon the original call abounds in
+other brass. The deep descending notes of the horns recur and the full
+song of the funeral melody much extended, growing into a duet of cellos
+and high woodwind,
+
+[Music: (Strings, bassoons and clarinets)]
+
+and further into hymnal song on a new motive.
+
+[Music: (Wood, horns and strings)
+(Bass notes in lowest wood and strings)]
+
+So the various melodies recur with new mood and manner. Suddenly, in
+fierce abandon, a martial tramp of the full band resounds, in gloomy
+minor,
+
+[Music: _Suddenly faster. Impassioned_
+(Rapid descending figure in violins)
+(Trumpet)
+(Trombones)
+(Tuba and strings)]
+
+the violins in rapid rage of wailing figure: the trumpet strikes the
+firm note of heroic plaint.
+
+Wild grief breaks out on all sides, the strings singing in passionate
+answer to the trumpet, the high wood carrying on the rapid motion. At
+the height of the storm the woodwind gain control with measured rhythm
+of choral melody. Or perhaps the real height is the expressive double
+strain, in gentle pace, of the strings, and the wood descending from on
+high.
+
+[Music: (Woodwind doubled below)
+(Strings doubled above)
+_espressivo_
+(Brass and strings)]
+
+The duet is carried on in wilder mood by most of the voices.
+
+A return to the solemn pace comes by imperceptible change, the softer
+hues of grief merging with the fiercer cries. Now various strains sound
+together,--the main funeral melody in the woodwind.
+
+In the close recurs the full flow of funeral song, with the hymnal
+harmonies. In the refrain of the stormy duet the sting of passion is
+gone; the whole plaint dies away amid the fading echoes of the trumpet
+call.
+
+_I.--2._ The second movement, the real first Allegro, is again clearly
+in two parts. Only, the relative paces are exactly reversed from the
+first movement. In tempestuous motion, with greatest vehemence, a
+rushing motive of the basses is stopped by a chord of brass and
+strings,--the chord itself reverberating to the lower rhythm.
+
+[Music: _In stirring motion. With greatest vehemence_
+(Brass and strings)
+(Bass of wood and string)
+(Trumpets)]
+
+Throughout the whole symphony is the dual theme, each part spurring the
+other. Here presently are phrases in conflicting motion, countermarching
+in a stormy maze. It is all, too, like noisy preparation,--a manoeuvring
+of forces before the battle. Three distinct figures there are before a
+blast of horn in slower notes, answered by shrill call in highest wood.
+There enters a regular, rhythmic gait and a clearer tune, suggested by
+the call.
+
+[Music: (Horns, oboes and 1st violins, G string)
+(Strings and wood)
+(Tuba and strings)
+(Second violins)]
+
+In the brilliant medley there is ever a new figure we had not perceived.
+So when the tune has been told, trumpets and horns begin with what seems
+almost the main air, and the former voices sound like mere heralds.
+Finally the deep trombones and tuba enter with a sonorous call. Yet the
+first rapid trip of all has the main legend.
+
+As the quicker figures gradually retire, a change of pace appears, to
+the tramp of funeral. Yet the initial and incident strains are of the
+former text. Out of it weaves the new, slower melody:
+
+[Music: _Much slower_ (in the tempo of the former funeral march)
+(Oboes)
+(Flutes and clarinets)
+(Cellos)
+_molto cantando_]
+
+Throughout, the old shrill call sounds in soft lament. Hardly like a
+tune, a discourse rather, it winds along, growing and changing naively
+ever to a new phrase. And the soft calls about seem part of the melody.
+An expressive line rising in the clarinet harks back to one of the later
+strains of the funeral march.
+
+The second melody or answer (in low octaves of strings) is a scant
+disguise of the lower tune in the stormy duet of the first movement. Yet
+all the strains move in the gentle, soothing pace and mood until
+suddenly awakened to the first vehement rhythm.
+
+Before the slower verse returns is a long plaint of cellos to softest
+roll of drums. The gentle calls that usher in the melody have a
+significant turn, upwards instead of down. All the figures of the solemn
+episode appear more clearly.
+
+On the spur of the hurrying main motive of trumpets the first pace is
+once more regained.
+
+A surprise of plot is before us. In sudden recurrence of funeral march
+the hymnal song of the first movement is heard. As suddenly, we are
+plunged into the first joyful scene of the symphony. Here it is most
+striking how the call of lament has become triumphant, as it seems
+without a change of note. And still more wonderful,--the same melody
+that first uttered a storm of grief, then a gentle sadness, now has a
+firm exultant ring. To be sure, it is all done with the magic trip of
+bass,--as a hymn may be a perfect dance.
+
+Before the close we hear the first fanfare of trumpet from the opening
+symphony, that has the ring of a motto of the whole. At the very end is
+a transfigured entrance,--very slowly and softly, to a celestial touch
+of harp, of the first descending figure of the movement.
+
+_II.--3. Scherzo._ Jovial in high degree, the Scherzo begins with the
+thematic complexity of modern fashion. In dance tune of three beats
+horns lead off with a jolly call; strings strike dancing chords; the
+lower wind play a rollicking answer, but together with the horns, both
+strains continuing in dancing duet. Still the saucy call of horns seems
+the main text, though no single tune reigns alone.
+
+[Music: (Horns)
+_Scherzo. With vigor, not too fast_
+(Strings and flutes)
+(Strings)
+(Clarinets and basses)]
+
+The violins now play above the horns; then the cellos join and there is
+a three-part song of independent tunes, all in the dance. So far in
+separate voices it is now taken up by full chorus, though still the
+basses sing one way, trebles another, and the middle horns a third. And
+now the high trumpet strikes a phrase of its own. But they are all in
+dancing swing, of the fibre of the first jolly motive.
+
+A new episode is started by a quicker _obligato_ of violins, in
+neighboring minor, that plays about a fugue of the woodwind on an
+incisive theme where the cadence has a strange taste of bitter sweet
+harmony in the modern Gallic manner.
+
+[Music: (Clarinets)
+(Violas)
+(Violins)
+(Bass of brass and wood)]
+
+Horns and violins now pursue their former duet, but in the changed hue
+of minor where the old concords are quaintly perverted. But this is only
+to give a merrier ring to the bright madrigal that follows in sweetly
+clashing higher wood, with the trip still in the violins. Thence the
+horns and violins break again into the duet in the original key. Here
+the theme is wittily inverted in the bass, while other strings sing
+another version above.
+
+So the jolly dance and the quaint fugue alternate; a recurring phrase is
+carried to a kind of dispute, with opposite directions above and below
+and much augmented motion in the strings.
+
+In the dance so far, in "three time," is ever the vigorous stamp on the
+third beat, typical of the German peasant "_Laendler_." Here of a sudden
+is a change as great as possible within the continuing dance of three
+steps. "More tranquil" in pace, in soft strings, without a trace of the
+_Laendler_ stamp, is a pure waltz in pretty imitation of tuneful theme.
+
+[Music: _More gently_ (G string) (D string)
+(Strings)
+acc't _pizzicato_]
+
+And so the return to the vigorous rough dance is the more refreshing.
+The merry mood yields to a darker temper. "Wild" the strings rush in
+angry fugue on their rapid phrase; the quaint theme is torn to shreds,
+recalling the fierce tempest of earlier symphony.
+
+But the first sad note of the Scherzo is in the recitative of horn,
+after the lull. A phrase of quiet reflection, with which the horn
+concludes the episode as with an "_envoi_," is now constantly rung; it
+is wrought from the eerie tempest; like refined metal the melody is
+finally poured; out of its guise is the theme now of mournful dance.
+
+"Shyly" the tune of the waltz answers in softest oboe. In all kinds of
+verses it is sung, in expressive duet of lower wood, of the brass, then
+of high reeds; in solo trumpet with counter-tune of oboe, finally in
+high flutes. Here we see curiously, as the first themes reappear, a
+likeness with the original trumpet-call of the symphony. In this guise
+of the first dance-theme the movements are bound together. The _envoi_
+phrase is here evident throughout.
+
+At this mystic stage, to pure dance trip of low strings the waltz
+reenters very softly in constant growing motion, soon attaining the old
+pace and a new fulness of sound. A fresh spur is given by a wild motion
+of strings, as in the fugal episode; a new height of tempest is reached
+where again the distorted shreds of first dance appear, with phrases of
+the second. From it like sunshine from the clouds breaks quickly the
+original merry trip of dance.
+
+The full cycle of main Scherzo returns with all stress of storm and
+tragedy. But so fierce is the tempest that we wonder how the glad mood
+can prevail. And the sad _envoi_ returns and will not be shaken off.
+The sharp clash of fugue is rung again and again, as if the cup must be
+drained to the drop. Indeed, the serious later strain does prevail, all
+but the final blare of the saucy call of brass.[A]
+
+[Footnote A: In the Scherzo are chimes, accenting the tune of the dance,
+and even castanets, besides triangle and other percussion. The second
+movement employs the harp and triangle.]
+
+_III.--4. Adagietto._[A] "Very slowly" first violins carry the
+expressive song that is repeated by the violas.
+
+[Footnote A: The Adagietto is scored simply for harp and strings; nor
+are the latter unusually divided.]
+
+[Music: _Adagietto_
+(Strings and harp)]
+
+A climax is reached by all the violins in unison. A new glow, with
+quicker motion, is in the episode, where the violins are sharply
+answered by the violas, rising to a dramatic height and dying away in a
+vein of rare lyric utterance.
+
+It is all indeed a pure lyric in tones.
+
+_III.--5. Rondo-Finale._ The whole has the dainty, light-treading humor
+that does not die of its own vehemence. Somewhat as in the Ninth
+Symphony of Beethoven,--tyrant of classical traditions, the themes
+appear right in the beginning as if on muster-roll, each in separate,
+unattended song. A last chance cadence passes down the line of voices
+and settles into a comfortable rhythm as prevailing theme, running in
+melodious extension, and merging after a
+
+[Music: (Clarinets, horns and bassoons) (Flutes and oboes)
+_Allegro commodo_]
+
+hearty conclusion in the jovially garrulous fugue.
+
+Here the counter-theme proves to be one of the initial tunes and takes a
+leading role until another charming strain appears on high,--a pure
+nursery rhyme crowning the learned fugue. Even this is a guise of one
+of the original motives in the mazing medley, where it seems we could
+trace the ancestry of each if we could linger and if it really mattered.
+And yet there is a rare charm in these subtle turns; it is the secret
+relevance that counts the most.
+
+The fugue reaches a sturdy height with one of the first themes in lusty
+horns, and suddenly falls into a pleasant jingle, prattling away in the
+train of important figures, the kind that is pertinent with no outer
+likeness.
+
+[Music: _Grazioso_
+(Strings, bassoons and horns)]
+
+Everywhere, to be sure, the little rhythmic cadence appears; the whole
+sounds almost like the old children's canon on "Three Blind Mice";
+indeed the themal inversion is here the main tune. Then in the bass the
+phrase sounds twice as slow as in the horns. There are capers and
+horseplay; a sudden shift of tone; a false alarm of fugue; suddenly we
+are back in the first placid verse of the rhythmic motive.
+
+Here is a new augmentation in resonant horns and middle strings, and the
+melodious extension. A former motive that rings out in high reed, seems
+to have the function of concluding each episode.
+
+A new stretch of fugue appears with new counter-theme, that begins in
+long-blown notes of horns. It really is no longer a fugue; it has lapsed
+into mere smooth-rolling motion underneath a verse of primal tune. And
+presently another variant of graceful episode brings a delicious
+lilt,--_tender, but expressive_.
+
+[Music: _Grazioso_
+_espressivo_
+(Strings)]
+
+With all the subtle design there is no sense of the lamp, in the gentle
+murmur of quicker figure or melodious flow of upper theme. Moving is the
+lyric power and sweetness of this multiple song. As to themal
+relation,--one feels like regarding it all as inspired madrigal, where
+the maze and medley is the thing, where the tunes are not meant to be
+distinguished. It becomes an abandoned orgy of clearest counterpoint.
+Throughout is a blending of fugue and of children's romp, anon with the
+tenderness of lullaby and even the glow of love-song. A brief mystic
+verse, with slow descending strain in the high wood, preludes the
+returning gambol of running strings, where the maze of fugue or canon
+is in the higher flowing song, with opposite course of answering tune,
+and a height of jolly revel, where the bright trumpet pours out the
+usual concluding phrase. The rhythmic episode, in whimsical change, here
+sings with surprise of lusty volume. So the merry round goes on to a big
+resonant _Amen_ of final acclaim, where the little phrase steals out as
+naturally as in the beginning.
+
+Then in quicker pace it sounds again all about, big and little, and
+ends, after a touch of modern Gallic scale, in opposing runs, with a
+last light, saucy fling.
+
+Mahler, we feel again, realizes all the craving that Bruckner breeds for
+a kernel of feeling in the shell of counterpoint. Though we cannot deny
+a rude breach of ancient rule and mode, there is in Mahler a genuine,
+original, individual quality of polyphonic art that marks a new stage
+since the first in Bach and a second in Beethoven. It is this bold revel
+in the neglected sanctuary of the art that is most inspiriting for the
+future. And as in all true poetry, this overleaping audacity of design
+is a mere expression of simplest gaiety.
+
+
+
+
+CHAPTER XVIII
+
+RICHARD STRAUSS[A]
+
+[Footnote A: Born in 1864.]
+
+
+Much may be wisely written on the right limits of music as a depicting
+art. The distinction is well drawn between actual delineation, of figure
+or event, and the mere suggestion of a mood. It is no doubt a fine line,
+and fortunately; for the critic must beware of mere negative philosophy,
+lest what he says cannot be done, be refuted in the very doing. If
+Lessing had lived a little later, he might have extended the principles
+of his "Laocoeon" beyond poetry and sculpture into the field of music.
+Difficult and ungrateful as is the task of the critical philosopher, it
+must be performed. There is every reason here as elsewhere why men
+should see and think clearly.
+
+It is perhaps well that audiences should cling to the simple verdict of
+beauty, that they should not be led astray by the vanity of finding an
+answer; else the composer is tempted to create mere riddles. So we may
+decline to find precise pictures, and content ourselves with the music.
+The search is really time wasted; it is like a man digging in vain for
+gold and missing the sunshine above.
+
+Strauss may have his special meanings. But the beauty of the work is
+for us all-important. We may expect him to mark his scenes. We may not
+care to crack that kind of a nut.[A] It is really not good eating.
+Rather must we be satisfied with the pure beauty of the fruit, without a
+further hidden kernel. There is no doubt, however, of the ingenuity of
+these realistic touches. It is interesting, here, to contrast Strauss
+with Berlioz, who told his stories largely by extra-musical means, such
+as the funeral trip, the knell of bells, the shepherd's reed. Strauss at
+this point joins with the Liszt-Wagner group in the use of symbolic
+motives. Some of his themes have an effect of tonal word-painting. The
+roguish laugh of Eulenspiegel is unmistakable.
+
+[Footnote A: Strauss remarked that in _Till Eulenspiegel_ he had given
+the critics a hard nut to crack.]
+
+It is in the harmonic rather than the melodic field that the fancy of
+Strauss soars the freest. It is here that his music bears an individual
+stamp of beauty. Playing in and out among the edges of the main harmony
+with a multitude of ornamental phrases, he gains a new shimmer of
+brilliancy. Aside from instrumental coloring, where he seems to outshine
+all others in dazzling richness and startling contrasts, he adds to the
+lustre by a deft playing in the overtones of his harmonies, casting the
+whole in warmest hue.
+
+If we imagine the same riotous license in the realm of tonal
+noise,--cacophony, that is, where the aim is not to enchant, but to
+frighten, bewilder, or amaze; to give some special foil to sudden
+beauty; or, last of all, for graphic touch of story, we have another
+striking element of Strauss's art. The anticipation of a Beethoven in
+the drum of the Scherzo of the Fifth Symphony, or the rhythmic whims of
+a Schumann in his Romantic piano pieces suggest the path of much of this
+license. Again, as passing notes may run without heed of harmony, since
+ancient days, so long sequences of other figures may hold their moving
+organ-point against clashing changes of tonality.
+
+Apart from all this is the modern "counterpoint," where, if it is quite
+the real thing, Strauss has outdone the boldest dreams of ancient school
+men. But with the lack of cogent form, and the multitude of small
+motives it seems a different kind of art. We must get into the
+view-point of romantic web of infinite threads, shimmering or jarring in
+infinite antagonism (of delayed harmony). By the same process comes
+always the tremendous accumulation towards the end. As the end and
+essence of the theme seems a graphic quality rather than intrinsic
+melody, so the main pith and point of the music lies in the weight and
+power of these final climaxes.
+
+
+_TOD UND VERKLAeRUNG (DEATH AND TRANSFIGURATION), TONE POEM_
+
+It may be well to gather a few general impressions before we attempt the
+study of a work radical in its departure from the usual lines of tonal
+design.
+
+There can be no doubt of the need of vigilance if we are to catch the
+relevance of all the strains. To be sure, perhaps this perception is
+meant to be subconscious. In any case the consciousness would seem to
+ensure a full enjoyment.
+
+It is all based on the motif of the Wagner drama and of the Liszt
+symphonies, and it is carried to quite as fine a point. Only here we
+have no accompanying words to betray the label of the theme. But in the
+quick flight of themes, how are we to catch the subtle meaning? The
+interrelation seems as close as we care to look, until we are in danger
+of seeing no woods for the trees.
+
+Again the danger of preconception is of the greatest. We may get our
+mind all on the meaning and all off the music. The clear fact is the
+themes do have a way of entering with an air of significance which they
+challenge us to find. The greatest difficulty is to distinguish the
+themes that grow out of each other, as a rose throws off its early
+petals, from those that have a mere chance similarity. Even this
+likeness may have its own intended meaning, or it may be all beside the
+mark. But we may lose not merely the musical, but even the dramatic
+sequence in too close a poring over themal derivation. On the other hand
+we may defy the composer himself and take simply what he gives, as if on
+first performance, before the commentators have had a chance to breed.
+And this may please him best in the end.
+
+We must always attend more to the mood than to themal detail as
+everywhere in real music, after all. Moments of delight and triumph we
+know there are in this work. But they are mere instants. For it is all
+the feverish dream of death. There can be no earlier rest. Snatches they
+are of fancy, of illusion, as, says the priest in Oedipus, is all of
+life.
+
+It may be worth while, too, to see how pairs of themes ever occur in
+Strauss, the second in answer, almost in protest, to the first. (It is
+not unlike the pleading in the Fifth Symphony of the second theme with
+the sense of doom in the first.) So we seem to find a motive of fate,
+and one of wondering, and striving; a theme of beauty and one of
+passion,--if we cared to tread on such a dangerous, tempting ground.
+Again, we may find whole groups of phrases expressive of one idea, as of
+beauty, and another of anxious pursuit. Thus we escape too literal a
+themal association.
+
+Trying a glimpse from the score pure and simple, we find a poem,
+opposite the first page, that is said to have been written after the
+first production. So, reluctantly, we must wait for the mere
+reinforcement of its evidence.
+
+_Largo_, in uncertain key, begins the throb of irregular rhythm (in
+strings) that Bach and Chopin and Wagner have taught us to associate
+with suffering. The first figure is a gloomy descent of pairs of chords,
+with a hopeless cry above (in the flutes). In the recurrence, the turn
+of chord is at last upward. A warmer hue of waving sounds (of harps) is
+poured about, and a gentle vision appears on high, shadowed quickly by
+a theme of fearful wondering. The chords return as at first. A new
+series of descending tones
+
+[Music: (Flute an 8ve. higher) (Oboe)
+_Largo_
+_dolce_
+(Harp with arpeggio groups of six to the quarter)]
+
+intrude, with a sterner sense of omen, and yield to a full melodic
+utterance of longing (again with the
+
+[Music: (Solo violin muted)
+(Horns)
+(Harp with arpeggio groups of six to the quarter)]
+
+soothing play of harp), and in the midst a fresh theme of wistful fear.
+For a moment there is a brief glimpse of the former vision. Now the
+song, less of longing than of pure bliss, sings free and clear its
+descending lay in solo violin, though an answering phrase (in the horns)
+of upward striving soon rises from below. The vision now appears again,
+the wondering monitor close beside. The melancholy chords return to dim
+the beauty. As the descending theme recedes, the rising motive sings a
+fuller course on high with a new note of eager, anxious fear.
+
+All these themes are of utmost pertinence in this evident prologue of
+the story. Or at least the germs of all the leading melodies are here.
+
+In sudden turn of mood to high agitation, a stress of wild desire rings
+out above in pairs of sharp ascending chords, while below the wondering
+theme rises in growing tumult. A whirling storm of the two phrases ends
+in united burst like hymn of battle, on the line of the wondering theme,
+but infused with
+
+[Music: _Alla breve_
+_Tutti_
+(Bass doubled below)]
+
+resistless energy. Now sings a new discourse of warring phrases that
+are dimly traced to the phase of the blissful melody, above the theme of
+upward striving.
+
+[Music: (Theme in woodwind)
+_espress._
+(Strings)
+(Answer in basses)]
+
+They wing an eager course, undaunted by the harsh intruding chords. Into
+the midst presses the forceful martial theme. All four elements are
+clearly evident. The latest gains control, the other voices for the
+nonce merely trembling in obedient rhythm. But a new phase of the
+wistful motive appears, masterful but not o'ermastering, fiercely
+pressing upwards,--and a slower of the changed phrase of blissful song.
+The former attains a height of sturdy ascending stride.
+
+In spite of the ominous stress of chords that grow louder with the
+increasing storm, something of assurance comes with the ascending
+stride. More and more this seems the dominant idea.
+
+A new paroxysm of the warring themes rises to the first great climax
+where the old symbol of wondering and striving attains a brief moment
+of assured ecstatic triumph.
+
+In a new scene (_meno mosso_), to murmuring strings (where the theme of
+striving can possibly be caught) the blissful melody sings in full song,
+undisturbed save by the former figure that rises as if to grasp,--sings
+later, too, in close sequence of voices. After a short intervening
+verse--_leicht bewegt_--where the first vision appears for a moment, the
+song is resumed, still in a kind of shadowy chase of slow flitting
+voices, _senza espressione_. The rising, eager phrase is disguised in
+dancing pace, and grows to a graceful turn of tune. An end comes, _poco
+agitato_, with rude intrusion of the hymnal march in harsh contrast of
+rough discord; the note of anxious fear, too, strikes in again. But
+suddenly, _etwas breiter_, a new joyous mood frightens away the birds of
+evil omen.
+
+Right in the midst of happenings, we must be warned against too close a
+view of individual theme. We must not forget that it is on the
+contrasted pairs and again the separate groups of phrases, where all
+have a certain common modal purpose, that lies the main burden of the
+story. Still if we must be curious for fine derivation, we may see in
+the new tune of exultant chorus the late graceful turn that now,
+reversing, ends in the former rising phrase. Against it sings the first
+line of blissful theme. And the first tune of graceful beauty also finds
+a place. But they all make one single blended song, full of glad bursts
+and cadences.
+
+Hardly dimmed in mood, it turns suddenly into a phase of languorous
+passion, in rich setting of pulsing harp, where now the later figures,
+all but the blissful theme, vanish before an ardent song of the
+wondering phrase. The motive of passionate desire rises and falls, and
+soars in a path of "endless melody," returning on its own line of
+flight, playing as if with its shadow, catching its own echo in the
+ecstasy of chase. And every verse ends with a new stress of the
+insistent upward stride, that grows ever in force and closes with big
+reverberating blasts. The theme of the vision joins almost in rough
+guise of utmost speed, and the rude marching song breaks in; somehow,
+though they add to the maze, they do not dispel the joy. The ruling
+phase of passion now rumbles fiercely in lowest depths. The theme of
+beauty rings in clarion wind and strings, and now the whole strife ends
+in clearest, overwhelming hymn of triumphant gladness, all in the
+strides of the old wondering, striving phrase.
+
+[Music]
+
+The whole battle here is won. Though former moments are fought through
+again (and new melodies grow out of the old plaint), the triumphant
+shout is near and returns (ever from a fresh tonal quarter) to chase
+away the doubt and fear. All the former phrases sing anew, merging the
+tale of their strife in the recurring verse of united paean. The song at
+last dies away, breaking like setting sun into glinting rays of
+celestial hue, that pale away into dullest murmur.
+
+Still one returning paroxysm, of wild striving for eluding bliss, and
+then comes the close. From lowest depths shadowy tones sing herald
+phrases against dim, distorted figures of the theme of beauty,--that
+lead to a soft song of the triumphant hymn, _tranquillo_, in gentlest
+whisper, but with all the sense of gladness and ever bolder straying of
+the enchanting dream. After a final climax the song ends in slow
+vanishing echoes.
+
+The poet Ritter is said to have added, after the production of the
+music, the poem printed on the score, of which the following is a rather
+literal translation:
+
+    In the miserable chamber,
+    Dim with flick'ring candlelight,
+    Lies a man on bed of sickness.
+    Fiercely but a moment past
+    Did he wage with Death the battle;
+    Worn he sinks back into sleep.
+    Save the clock's persistent ticking
+    Not a sound invades the room,
+    Where the gruesome quiet warns us
+    Of the neighborhood of Death.
+    O'er the pale, distended features
+    Plays a melancholy smile.
+    Is he dreaming at life's border
+    Of his childhood golden days?
+
+    But a paltry shrift of sleep
+    Death begrudges to his victim.
+    Cruelly he wakes and shakes him,
+    And the fight begins anew,--
+    Throb of life and power of death,
+    And the horror of the struggle.
+    Neither wins the victory.
+    Once again the stillness reigns.
+
+    Worn of battle, he relapses
+    Sleepless, as in fevered trance.
+    Now he sees before him passing
+    Of his life each single scene:
+    First the glow of childhood dawn,
+    Bright in purest innocence,
+    Then the bolder play of youth
+    Trying new discovered powers,
+    Till he joins the strife of men,
+    Burning with an eager passion
+    For the high rewards of life.--
+    To present in greater beauty
+    What his inner eye beholds,
+    This is all his highest purpose
+    That has guided his career.
+
+    Cold and scornful does the world
+    Pile the barriers to his striving.
+    Is he near his final goal,
+    Comes a thund'rous "Halt!" to meet him.
+    "Make the barrier a stepping,
+    Ever higher keep your path."
+    Thus he presses on and urges,
+    Never ceasing from his aim.--
+    What he ever sought of yore
+    With his spirit's deepeth longing,
+    Now he seeks in sweat of death,
+    Seeks--alas! and finds it never.
+    Though he grasps it clearer now,
+    Though it grows in living form,
+    He can never all achieve it,
+    Nor create it in his thought.
+    Then the final blow is sounded
+    From the hammer-stroke of Death,
+    Breaks the earthly frame asunder,
+    Seals the eye with final night.
+    But a mighty host of sounds
+    Greet him from the space of heaven
+    With the song he sought below:
+    Man redeemed,--the world transfigured.
+
+
+_DON JUAN. (TONE POEM.)_
+
+A score or more of lines from Lenau's poem of the same title stand as
+the subject of the music.
+
+    O magic realm, illimited, eternal,
+    Of gloried woman,--loveliness supernal!
+    Fain would I, in the storm of stressful bliss,
+    Expire upon the last one's lingering kiss!
+      Through every realm, O friend, would wing my flight,
+    Wherever Beauty blooms, kneel down to each,
+      And, if for one brief moment, win delight!
+
+           *       *       *       *       *
+
+    I flee from surfeit and from rapture's cloy,
+    Keep fresh for Beauty service and employ,
+    Grieving the One, that All I may enjoy.
+
+    My lady's charm to-day hath breath of spring,
+    To-morrow may the air of dungeon bring.
+      When with the new love won I sweetly wander,
+    No bliss is ours upfurbish'd and regilded;
+      A different love has This to That one yonder,--
+    Not up from ruins be my temple builded.
+      Yea Love life is, and ever must be now,
+    Cannot be changed or turned in new direction;
+    It must expire--here find a resurrection;
+      And, if 'tis real, it nothing knows of rue!
+    Each Beauty in the world is sole, unique;
+    So must the love be that would Beauty seek!
+    So long as Youth lives on with pulse afire,
+    Out to the chase! To victories new aspire!
+
+           *       *       *       *       *
+
+    It was a wond'rous lovely storm that drove me:
+    Now it is o'er; and calm all round, above me;
+      Sheer dead is every wish; all hopes o'ershrouded,--
+    It was perhaps a flash from heaven descended,
+    Whose deadly stroke left me with powers ended,
+      And all the world, so bright before, o'erclouded;
+    Yet perchance not! Exhausted is the fuel;
+    And on the hearth the cold is fiercely cruel.[A]
+
+[Footnote A: Translation by John P. Jackson.]
+
+In the question of the composer's intent, of general plan and of
+concrete detail, it is well to see that the quotation from Lenau's poem
+is twice broken by lines of omission; that there are thus three
+principal divisions. It cannot be wise to follow a certain kind of
+interpretation[A] which is based upon the plot of Mozart's opera. The
+spirit of Strauss's music is clearly a purely subjective conception,
+where the symbolic figure of fickle desire moves through scenes of
+enchantment to a climax of--barren despair.
+
+[Footnote A: In a complex commentary William Mauke finds Zerlina, Anna
+and "The Countess" in the music.]
+
+To some extent Strauss clearly follows the separate parts of his
+quotation. Fervent desire, sudden indifference are not to be mistaken.
+
+The various love scenes may be filled with special characters without
+great harm, save that the mind is diverted from a higher poetic view to
+a mere concrete play of events. The very quality of the pure musical
+treatment thus loses nobility and significance. Moreover the only
+thematic elements in the design are the various "motives" of the hero.
+
+_Allegro molto con brio_ begins the impetuous main theme in dashing
+ascent,
+
+[Music: _Allegro molto con brio_
+(Unison strings)
+(Doubled in higher 8ve.)]
+
+whimsical play
+
+[Music: (Woodwind doubled in higher 8ve.)]
+
+and masterful career.
+
+[Music: (Doubled in higher 8ve.)]
+
+The various phases are mingled in spirited song; only the very beginning
+seems reserved as a special symbol of a turn in the chase, of the sudden
+flame of desire that is kindled anew.
+
+In the midst of a fresh burst of the main phrase are gentle strains of
+plaint (_flebile_). And now a tenderly sad motive in the wood sings
+against the marching phrase, amidst a spray of light, dancing chords.
+Another song of the main theme is spent in a vanishing tremolo of
+strings and harp, and buried in a rich chord whence rises a new song
+(_molto espressivo_) or rather a duet, the first of the longer
+love-passages.
+
+The main melody is begun in clarinet and horn and instantly followed (as
+in canon) by violins. The climax of this impassioned scene is a titanic
+chord of minor, breaking the spell; the end is in a distorted strain of
+the melody, followed by a listless refrain of the (original) impetuous
+motive (_senza espressione_).
+
+The main theme breaks forth anew, in the spirit of the beginning. It
+yields suddenly before the next episode, a languorous song of lower
+strings (_molto appassionato_), strangely broken into by sighing phrases
+in the high wood (_flebile_). After further interruption, the love song
+is crowned by a broad flowing melody (_sehr getragen und
+ausdrucksvoll_)--the main lyric utterance of all. It has a full length
+of extended song, proportioned to its distinguished beauty. The dual
+quality is very clear throughout the scene. Much of the song is on a
+kindred phrase of the lyric melody sung by the clarinet with dulcet
+chain of chords of harp.
+
+Here strikes a climactic tune in forte unison of the four horns (_molto
+espressivo e marcato_). It is the clear utterance of a new mood of the
+hero,--a purely
+
+[Music: (Four horns in unison) (Full orchestra)]
+
+subjective phase. With a firm tread, though charged with pathos, it
+seems what we might venture to call a symbol of renunciation. It is
+broken in upon by a strange version of the great love song, _agitato_ in
+oboes, losing all its queenly pace. As though in final answer comes
+again the ruthless phrase of horns, followed now by the original theme.
+_Rapidamente_ in full force of strings comes the coursing strain of
+impetuous desire. The old and the new themes of the hero are now in
+stirring encounter, and the latter seems to prevail.
+
+The mood all turns to humor and merrymaking. In gay dancing trip serious
+subjects are treated jokingly (the great melody of the horns is
+mockingly sung by the harp),--in fits and gusts. At the height the
+(first) tempestuous motive once more dashes upwards and yields to a
+revel of the (second) whimsical phrase. A sense of fated renunciation
+seems to pervade the play of feelings of the hero. In the lull, when the
+paroxysm is spent, the various figures of his past romances pass in
+shadowy review; the first tearful strain, the melody of the first of the
+longer episodes,--the main lyric song (_agitato_).
+
+In the last big flaming forth of the hero's passion victory is once more
+with the theme of renunciation,--or shall we say of grim denial where
+there is no choice.
+
+Strauss does not defy tradition (or providence) by ending his poem with
+a triumph. A final elemental burst of passion stops abruptly before a
+long pause. The end is in dismal, dying harmonies,--a mere dull sigh of
+emptiness, a void of joy and even of the solace of poignant grief.
+
+
+_TILL EULENSPIEGEL'S MERRY PRANKS_
+
+_In the Manner of Ancient Rogues--In Rondo Form_
+
+Hardly another subject could have been more happy for the revelling in
+brilliant pranks and conceits of a modern vein of composition. And in
+the elusive humor of the subject is not the least charm and fitness.
+Too much stress has been laid on the graphic purpose. There is always a
+tendency to construe too literally. While we must be in full sympathy
+with the poetic story, there is small need to look for each precise
+event. We are tempted to go further, almost in defiance, and say that
+music need not be definite, even despite the composer's intent. In other
+words, if the tonal poet designs and has in mind a group of graphic
+figures, he may nevertheless achieve a work where the real value and
+beauty lie in a certain interlinear humor and poetry,--where the labels
+can in some degree be disregarded.
+
+Indeed, it is this very abstract charm of music that finds in such a
+subject its fullest fitness. If we care to know the pranks exactly, why
+not turn to the text? Yet, reading the book, in a way, destroys the
+spell. Better imagine the ideal rogue, whimsical, spritely, all of the
+people too. But in the music is the real Till. The fine poetry of
+ancient humor is all there, distilled from the dregs of folk-lore that
+have to us lost their true essence. There is in the music a daemonic
+quality, inherent in the subject, that somehow vanishes with the
+concrete tale. So we might say the tonal picture is a faithful likeness
+precisely in so far as it does not tell the facts of the story.
+
+Indeed, in this mass of vulgar stories we cannot help wondering at the
+reason for their endurance through the centuries, until we feel
+something of the spirit of the people in all its phases. A true mirror
+it was of stupidity and injustice, presented by a sprite of owlish
+wisdom, sporting, teasing and punishing[A] all about. It is a kind of
+popular satire, with a strong personal element of a human Puck, or an
+impish Robin Hood, with all the fairy restlessness, mocking at human rut
+and empty custom.
+
+[Footnote A: On leaving the scene of some special mischief, Till would
+draw a chalk picture of an owl on the door, and write below, _Hic fuit_.
+The edition of 1519 has a woodcut of an owl resting on a mirror, that
+was carved in stone, the story goes, over Till's grave.]
+
+It is perhaps in the multitude of the stories, paradoxical though it
+seem, that lies the strength. In the number of them (ninety-two
+"histories" there are) is an element of universality. It is like the
+broom: one straw does not make, nor does the loss of one destroy it;
+somewhere in the mass lies the quality of broom.
+
+In a way Till is the Ulysses of German folk-lore, the hero of trickery,
+a kind of _Reinecke Fuchs_ in real life. But he is of the soil as none
+of the others. A satyr, in a double sense, is Till; only he is pure
+Teuton, of the latter middle ages.
+
+He is every sort of tradesman, from tailor to doctor. Many of the
+stories, perhaps the best, are not stories at all, but merely clever
+sayings. In most of the tricks there is a Roland for an Oliver. Till
+stops at no estate; parsons are his favorite victims. He is, on the
+whole, in favor with the people, though he played havoc with entire
+villages. Once he was condemned to death by the Luebeck council. But
+even here it was his enemies, whom he had defrauded, that sought
+revenge. The others excused the tricks and applauded his escape. Even in
+death the scandal and mischief do not cease.
+
+The directions in Strauss' music are new in their kind and dignity. They
+belong quite specially to this new vein of tonal painting. In a double
+function, they not merely guide the player, but the listener as well.
+The humor is of utmost essence; the humor is the thing, not the play,
+nor the story of each of the pranks, in turn, of our jolly rogue. And
+the humor lies much in these words of the composer, that give the lilt
+of motion and betray a sense of the intended meaning.
+
+[Music: _Gemaechlich_]
+
+The tune, sung at the outset _gemaechlich_ (comfortably), is presumably
+the rogue _motif_, first in pure innocence of mood. But quickly comes
+another, quite opposed in rhythm, that soon hurries into highest speed.
+These are not the "subjects" of old tradition.
+
+[Music: (Horn)]
+
+And first we are almost inclined to take the "Rondo form" as a new
+roguish prank. But we may find a form where the subjects are independent
+of the basic themes that weave in and out unfettered by rule--where the
+subjects are rather new grouping of the fundamental symbols.[A]
+
+[Footnote A: It is like the Finale of Brahms' Fourth Symphony, where an
+older form (of _passacaglia_) is reared together with a later, one
+within the other.]
+
+After a pause in the furious course of the second theme, a quick piping
+phrase sounds _lustig_ (merrily) in the clarinet, answered by a chord of
+ominous
+
+[Music: _Molto allegro_
+(Clar.)
+_lustig_]
+
+token. But slowly do we trace the laughing phrase to the first theme.
+
+And here is a new whim. Though still in full tilt, the touch of demon is
+gone in a kind of ursine clog of the basses. Merely jaunty and clownish
+it would be but for the mischievous scream (of high flute) at the end.
+And now begins a rage of pranks, where the main phrase is the rogue's
+laugh, rising in brilliant gamut of outer pitch and inner mood.
+
+At times the humor is in the spirit of a Jean Paul, playing between
+rough fun and sadness in a fine spectrum of moods. The lighter motive
+dances harmlessly about the more serious, intimate second phrase. There
+is almost the sense of lullaby before the sudden plunge to wildest
+chaos, the only portent being a constant trembling of low strings. All
+Bedlam is let loose, where the rogue's shriek is heard through a
+confused cackling and a medley of voices here and there on the running
+phrase (that ever ends the second theme). The sound of a big rattle is
+added to the scene,--where perhaps the whole village is in an uproar
+over some wholesale trick of the rogue.
+
+And what are we to say to this simplest swing of folk-song that steals
+in naively to enchanting strum of rhythm. We may speculate about the
+Till as the
+
+[Music: (_Gemaechlich_)]
+
+people saw him, while elsewhere we have the personal view. The
+folk-tunes may not have a special dramatic role. Out of the text of
+folk-song, to be sure, all the strains are woven. Here and there we
+have the collective voice. If we have watched keenly, we have heard how
+the tune, simply though it begins, has later all the line of Till's
+personal phrase. Even in the bass it is, too. Of the same fibre is this
+demon mockery and the thread of folk legend.
+
+We cannot pretend to follow all the literal whims. And it is part of the
+very design that we are ever surprised by new tricks, as by this saucy
+trip of dancing phrase. The purely human touches are clear, and almost
+moving in contrast with the impish humor.
+
+An earlier puzzle is of the second theme. As the composer has refused to
+help us, he will not quarrel if we find our own construction. A possible
+clue there is. As the story proceeds, aside from the mere abounding fun
+and poetry, the more serious theme prevails. Things are happening. And
+there come the tell-tale directions. _Liebegluehend_, aflame with love, a
+melody now sings in urgent pace, ending with
+
+[Music: _Liebegluehend_]
+
+a strange descending note. Presently in quieter mood, _ruhiger_, it
+gains a new grace, merely to dash again, _wuetend_, into a fiercer rage
+than before. Before long we cannot escape in all this newer melody a
+mere slower outline of the second theme. A guess then, such as the
+composer invites us to make, is this: It is not exactly a Jekyll and
+Hyde, but not altogether different. Here (in the second theme, of horn)
+is Till himself,--not the rogue, but the man in his likes and loves and
+suffering. The rogue is another, a demon that possesses him to tease
+mankind, to tease himself out of his happiness. During the passionate
+episode the rogue is banned, save for a grimace now and then, until the
+climax, when all in disguise of long passionate notes of resonant bass
+the demon theme has full control. But for once it is in earnest, in dead
+earnest, we might say. And the ominous chord has a supreme moment, in
+the shadow of the fulfilment.
+
+A new note sounds in solemn legend of lowest wood, sadly beautiful, with
+a touch of funeral pace.[A]
+
+[Footnote A: Strauss told the writer that this was the march of the
+jurymen,--"_der Marsch der Schoeffen_." Reproached for killing Till, he
+admitted that he had taken a license with the story and added: "In the
+epilogue,--there he lives."]
+
+The impish laugh still keeps intruding. But throughout the scene it is
+the Till motive, not the rogue, that fits the stride of the death-march.
+To be sure the rogue anon laughs bravely. But the other figure is in
+full view.
+
+[Music: (Lowest woodwind)]
+
+The sombre legend is, indeed, in a separate phase, its beauty now
+distorted in a feverish chase of voices on the main phrase. It is all a
+second climax, of a certain note of terror,--of fate. In the midst is a
+dash of the rogue's heartiest laugh, amid the echoes of the fearful
+chord, while the growing roar of the mob can be heard below. Once again
+it rings out undaunted, and then to the sauciest of folk-tunes,
+_leichtfertig_, Till dances gaily and jauntily. Presently, in a mystic
+passage, _schnell und schattenhaft_
+
+[Music: _Leichtfertig_
+(Strings reinforced by clarinets and horns)]
+
+(like fleeting shadow) a phantom of the rogue's figure passes
+stealthily across the horizon.
+
+_Etwas gemaechlicher_, a graceful duet weaves prettily out of the Till
+motive, while the other roars very gently in chastened tones of softest
+horns.
+
+[Music]
+
+The first course of themes now all recurs, though some of the roguery is
+softened and soon trips into purest folk-dance. And yet it is all built
+of the rascal theme. It might (for another idle guess) be a general
+rejoicing. Besides the tuneful dance, the personal phrase is laughing
+and chuckling in between.
+
+The rejoicing has a big climax in the first folk-song of all, that now
+returns in full blast of horns against a united dance of strings and
+wood. After a roll of drum loud clanging strokes sound threatening
+(_drohend_) in low bass and strings, to which the rascal pipes his theme
+indifferently (_gleichgueltig_). The third time, his answer has a
+simulated sound (_entstellt_). Finally, on the insistent thud comes a
+piteous phrase (_klaeglich_) in running thirds. The dread chords at last
+vanish, in the strings. It is very like an actual, physical end. There
+is no doubt that the composer here intends the death of Till, in face of
+the tradition.
+
+Follows the epilogue, where in the comfortable swing of the beginning
+the first melody is extended in full beauty and significance. All the
+pleasantry of the rogue is here, and at the end a last fierce burst of
+the demon laugh.
+
+
+_"SINFONIA DOMESTICA."_
+
+The work followed a series of tone-poems where the graphic aim is shown
+far beyond the dreams even of a Berlioz. It may be said that Strauss,
+strong evidence to the contrary, does not mean more than a suggestion of
+the mood,--that he plays in the humor and poetry of his subject rather
+than depicts the full story. It is certainly better to hold to this view
+as long as possible. The frightening penalty of the game of exact
+meanings is that if there is one here, there must be another there and
+everywhere. There is no blinking the signs of some sort of plot in our
+domestic symphony, with figures and situations. The best way is to lay
+them before the hearer and leave him to his own reception.
+
+In the usual sense, there are no separate movements. Though "Scherzo" is
+printed after the first appearance of the three main figures, and later
+"Adagio" and "Finale," the interplay and recurrence of initial themes is
+too constant for the traditional division. It is all a close-woven drama
+in one act, with rapidly changing scenes. Really more important than the
+conventional Italian names are such headings as "Wiegenlied"
+(Cradle-song), and above all, the numerous directions. Here is an almost
+conclusive proof of definite intent. To be sure, even a figure on canvas
+is not the man himself. Indeed, as music approaches graphic realism, it
+is strange how painting goes the other way. Or rather, starting from
+opposite points, the two arts are nearing each other. As modern painting
+tends to give the feeling of a subject, the subjective impression rather
+than the literal outline, we can conceive even in latest musical realism
+the "atmosphere" as the principal aim. In other words, we may view
+Strauss as a sort of modern impressionist tone-painter, and so get the
+best view of his pictures.
+
+Indeed, cacophony is alone a most suggestive subject. In the first place
+the term is always relative, never absolute,--relative in the historic
+period of the composition, or relative as to the purpose. One can hardly
+say that any combination of notes is unusable. Most striking it is how
+the same group of notes makes hideous waste in one case, and a true
+tonal logic in another. Again, what was impossible in Mozart's time, may
+be commonplace to-day.
+
+You cannot stamp cacophony as a mere whim of modern decadence. Beethoven
+made the noblest use of it and suffered misunderstanding. Bach has it in
+his scores with profound effect. And then the license of one age begets
+a greater in the next. It is so in poetry, though in far less degree.
+For, in music, the actual tones are the integral elements of the art.
+They are the idea itself; in poetry the words merely suggest it.
+
+A final element, independent of the notes themselves, is the official
+numbering of themes. Strauss indicates a first, second and third theme,
+obviously of the symphony, not of a single movement. The whole attitude
+of the composer, while it does not compel, must strongly suggest some
+sort of guess of intending meaning.[A]
+
+[Footnote A: At the first production, in New York, in obedience to the
+composer's wish, no descriptive notes were printed. When the symphony
+was played, likewise under the composer's direction, in Berlin in
+December, 1904, a brief note in the program-book mentions the three
+groups of themes, the husband's, the wife's and the child's, in the
+first movement. The other movements are thus entitled:
+
+II.--_Scherzo._ Parents' happiness. Childish play. Cradle-song (the
+clock strikes seven in the evening).
+
+III.--_Adagio._ Creation and contemplation. Love scene. Dreams and cares
+(the clock strikes seven in the morning).
+
+IV.--_Finale._ Awakening and merry dispute (double fugue). Joyous
+conclusion.]
+
+The "first theme" in "comfortable" pace, gliding
+
+[Music: 1st Theme
+_Pleasantly_
+(Cellos and fagots)
+_Dreamily_
+(Oboe)
+(Cellos, bassoons and horns)]
+
+into a "dreamy" phrase, begins the symphony. Presently
+
+[Music: _Peevishly_
+(Clarinets)]
+
+a "peevish" cry breaks in, in sudden altered key; then on a second,
+soothing tonal change, a strain sings "ardently" in upward wing to a
+bold climax and down to gentler cadence, the "peevish" cry still
+breaking in. The trumpet has a short cheery
+
+[Music: _With fire_
+(Strings)]
+
+call (_lustig_), followed by a brisk, rousing run in wood and strings
+(_frisch_). A return of the "comfortable" phrase is quickly overpowered
+by the "second theme," in very lively manner (_sehr lebhaft_), with an
+answering phrase, _grazioso_, and light trills above.
+
+[Music: 2d Theme _With great spirit_
+(Strings, wood, horns and harps)
+_grazioso_]
+
+The incidental phrases are thus opposed to the main humor of each theme.
+The serene first melody has "peevish" interruptions; the assertive
+second yields to graceful blandishments. A little later a strain appears
+_gefuehlvoll_, "full of feeling," (that plays a frequent part), but the
+main (second) theme breaks in "angrily." Soon a storm is brewing; at the
+height the same motive is sung insistently. In the lull, the first
+phrase of all sings gaily (_lustig_), and then serenely (_gemaechlich_)
+in tuneful tenor. Various
+
+[Music: (Largely in strings)]
+
+parts of the first theme are now blended in mutual discourse.
+
+Amidst trembling strings the oboe d'amore plays the "third theme." "Very
+tenderly," "quietly," the
+
+[Music: 3d Theme _Quietly_ (Strings)
+(Oboe d'Amore)]
+
+second gives soothing answer, and the third sings a full melodious
+verse.
+
+Here a loud jangling noise tokens important arrivals. Fierce, hearty
+pulling of the door-bell excites the parents, especially the mother, who
+is quite in hysterics. The father takes it decidedly more calmly. The
+visitors presently appear in full view, so to speak; for "the aunts," in
+the trumpets, exclaim: "Just like Papa," and the uncles, in the
+trombones, cry: "Just like Mama" (_ganz die Mama_). There can be no
+questioning; it is all written in the book.
+
+It is at least not hazardous to guess the three figures in the domestic
+symphony. Now in jolly Scherzo (_munter_) begin the tricks and sport of
+babyhood. There is of course but one theme, with mere comments
+
+[Music: _Gaily. Scherzo_
+(Oboe d'Amore)
+(Strings)]
+
+of parental phrases in varying accents of affection. Another noisy scene
+mars all the peace; father and child have a strong disagreement; the
+latter is "defiant"; the paternal authority is enforced. Bed-time comes
+with the stroke of seven, a cradle-song (Wiegenlied) (where the child's
+theme hums faintly below). Then, "slowly and very quietly" sings the
+"dreamy" phrase of the first theme, where
+
+[Music: _Rather slowly_ (Cradle song) (Clarinets singing)
+(Oboe d'Amore)
+(Fagots)]
+
+the answer, in sweeping descent, gives one of the principal elements of
+the later plot. It ends in a moving bit of tune, "very quietly and
+expressively" (_sehr ruhig und innig_).
+
+Adagio, a slow rising strain plays in the softer
+
+[Music: _Very quietly and expressively_
+(Strings)]
+
+wood-notes of flute, oboe d'amore, English horn, and the lower
+clarinets; below sings gently the second theme, quite transformed in
+feeling. Those upper notes, with a touch of impassioned yearning, are
+not new to our ears. That very rising phrase (the "dreamy" motive), if
+we strain our memory, was at first below the more vehement (second)
+figure. So
+
+[Music: _Adagio_]
+
+now the whole themal group is reversed outwardly and in the inner
+feeling. Indeed, in other places crops out a like expressive symbol, and
+especially in the phrase, marked _gefuehlvoll_, that followed the second
+theme in the beginning. All these motives here find a big concerted song
+in quiet motion, the true lyric spot of the symphony.
+
+Out of it emerges a full climax, bigger and broader now, of the first
+motive. At another stage the second has the lead; but at the height is a
+splendid verse of the maternal song. At the end the quiet, blissful tune
+sings again "_sehr innig_."
+
+_Appassionato_ re-enters the second figure. Mingled in its song are the
+latest tune and an earlier expressive phrase _(gefuehlvoll)_. The storm
+that here ensues is not of dramatic play of opposition. There are no
+"angry" indications. It is the full blossoming in richest madrigal of
+all the themes of tenderness and passion in an aureole of glowing
+harmonies. The morning comes with the stroke of seven and the awakening
+cry of the child.
+
+The Finale begins in lively pace (_sehr lebhaft_) with
+
+[Music: (Double Fugue) 1st theme
+(Four Bassoons)
+_marcato_]
+
+a double fugue, where it is not difficult to see in the first theme a
+fragment of the "baby" motive. The second is a remarkably assertive
+little phrase from the cadence of the second theme (quoted above). The
+son is clearly the hero, mainly in sportive humor, although he is not
+free from parental interference. The maze and rigor of the fugue do not
+prevent a frequent appearance of all the other themes, and even of the
+full melodies, of which the fugal motives are built. At the climax of
+the fugue, in the height of speed and noise, something very delightful
+is happening, some furious romp, perhaps, of father and son, the mother
+smiling on the game. At the close a new melody that we might trace, if
+we cared, in earlier origin, has a full verse "quietly and simply"
+(_ruhig und einfach_) in wood and horns, giving the crown
+
+[Music: _Quietly and simply_ (Woodwind and horns)
+(With sustained chord of cellos)]
+
+and seal to the whole. The rest is a final happy refrain of all the
+strains, where the husband's themes are clearly dominant.
+
+
+
+
+CHAPTER XIX
+
+ITALIAN SYMPHONIES
+
+
+The present estate of music in Italy is an instance of the danger of
+prophecy in the broad realm of art. Wise words are daily heard on the
+rise and fall of a nation in art, or of a form like the symphony, as
+though a matter of certain fate, in strict analogy to the life of man.
+
+Italy was so long regnant in music that she seems even yet its chosen
+land. We have quite forgotten how she herself learned at the feet of the
+masters from the distant North. For music is, after all, the art of the
+North; the solace for winter's desolation; an utterance of feeling
+without the model of a visible Nature.
+
+And yet, with a prodigal stream of native melody and an ancient passion
+of religious rapture, Italy achieved masterpieces in the opposite fields
+of the Mass and of Opera. But for the more abstract plane of pure tonal
+forms it has somehow been supposed that she had neither a power nor a
+desire for expression. An Italian symphony seems almost an anomaly,--as
+strange a product as was once a German opera.
+
+The blunt truth of actual events is that to-day a renascence has begun,
+not merely in melodic and dramatic lines; there is a new blending of the
+racial gift of song with a power of profound design.[A] Despite all
+historical philosophy, here is a new gushing forth from ancient fount,
+of which the world may rejoice and be refreshed.
+
+[Footnote A: In the field of the _Lied_ the later group of Italians,
+such as Sinigaglia and Bossi, show a melodic spontaneity and a breadth
+of lyric treatment that we miss in the songs of modern French composers.
+
+In his Overture "_Le Baruffe Chiozzote_" (The Disputes of the People of
+Chiozza) Sinigaglia has woven a charming piece with lightest touch of
+masterly art; a delicate humor of melody plays amid a wealth of
+counterpoint that is all free of a sense of learning.]
+
+In a SYMPHONY BY GIOVANNI SGAMBATI,[A] IN D MAJOR, the form flows with
+such unpremeditated ease that it seems all to the manner born. It may be
+a new evidence that to-day national lines, at least in art, are
+vanishing; before long the national quality will be imperceptible and
+indeed irrelevant.
+
+[Footnote A: Born in 1843.]
+
+To be sure we see here an Italian touch in the simple artless stream of
+tune, the warm resonance, the buoyant spring of rhythm. The first
+movement stands out in the symphony with a subtler design than all the
+rest, though it does not lack the ringing note of jubilation.
+
+The Andante is a pure lyric somewhat new in design and in feeling. It
+shows, too, an interesting contrast of opposite kinds of slower
+melody,--the one dark-hued and legend-like, from which the poet wings
+his flight to a hymnal rhapsody on a clear choral theme, with a rich
+setting of arpeggic harmonies. A strange halting or limping rhythm is
+continued throughout the former subject. In the big climax the feeling
+is strong of some great chant or rite, of vespers or Magnificat. Against
+convention the ending returns to the mood of sad legend.
+
+The Scherzo is a sparkling chain of dancing tunes of which the third, of
+more intimate hue, somehow harks back to the second theme of the first
+movement.
+
+A Trio, a dulcet, tender song of the wood, precedes the return of the
+Scherzo that ends with the speaking cadence from the first Allegro.
+
+A Serenata must be regarded as a kind of Intermezzo, in the Cantilena
+manner, with an accompanying rhythm suggesting an ancient Spanish dance.
+It stands as a foil between the gaiety of the Scherzo and the jubilation
+of the Finale.
+
+The Finale is one festive idyll, full of ringing tune and almost bucolic
+lilt of dance. It reaches one of those happy jingles that we are glad to
+hear the composer singing to his heart's content.
+
+
+_GIUSEPPE MARTUCCI. SYMPHONY IN D MINOR._[A]
+
+[Footnote A: Giuseppe Martucci, 1856-1911.]
+
+The very naturalness, the limpid flow of the melodic thought seem to
+resist analysis of the design. The listener's perception must be as
+naive and spontaneous as was the original conception.
+
+There is, on the one hand, no mere adoption of a classical schedule of
+form, nor, on the other, the over-subtle workmanship of modern schools.
+Fresh and resolute begins the virile theme with a main charm in the
+motion itself. It lies not in a tune here or there, but in a dual play
+of responsive phrases at the start, and then a continuous flow of
+further melody on the fillip of the original rhythm, indefinable of
+outline in a joyous chanting of bass and treble.
+
+A first height reached, an expressive line in the following lull rises
+in the cellos, that is the essence of the contrasting idea, followed
+straightway by a brief phrase of the kind, like some turns of peasant
+song, that we can hear contentedly without ceasing.
+
+[Music: (Cellos)
+(Lower reed, horns and strings)]
+
+Again, as at the beginning, such a wealth of melodies sing together that
+not even the composer could know which he intended in chief. We merely
+feel, instead of the incisive ring of the first group, a quieter power
+of soothing beauty. Yet, heralded by a prelude of sweet strains, the
+expressive line now enters like a queenly figure over a new rhythmic
+motion, and flows on through delighting glimpses of new harmony to a
+striking climax.
+
+[Music: (Flute and oboe, doubled below in clarinet)
+(Horn)
+(Strings)]
+
+The story, now that the characters have appeared, continues in the main
+with the second browsing in soft lower strings, while the first (in its
+later phase) sings above in the wood transformed in mildness, though for
+a nonce the first motive strikes with decisive vigor. Later is a new
+heroic mood of minor, quickly softened when the companion melody
+appears. A chapter of more sombre hue follows, all with the lilt and
+pace of romantic ballad. At last the main hero returns as at the
+beginning, only in more splendid panoply, and rides on 'mid clattering
+suite to passionate triumph. And then, with quieter charm, sings again
+the second figure, with the delighting strains again and again
+rehearsed, matching the other with the power of sweetness.
+
+One special idyll there is of carolling soft horn and clarinet, where a
+kind of lullaby flows like a distilled essence from the gentler play--of
+the heroic tune, before its last big verse, with a mighty flow of
+
+[Music: _dolce e tranquillo_
+(Horn) (Two horns)
+(Clarinet)]
+
+sequence, and splendidly here the second figure crowns the pageant. At
+the passionate height, over long ringing chord, the latter sings a
+sonorous line in lengthened notes of the wood and horns. The first
+climax is here, in big coursing strains, then it slowly lulls, with a
+new verse of the idyll, to a final hush.
+
+The second movement is a brief lyric with one main melody, sung at first
+by a solo cello amidst a weaving of muted strings; later it is taken up
+by the first violins. The solo cello returns for a further song in duet
+with the violins, where the violas, too, entwine their melody, or the
+cello is joined by the violins.
+
+Now the chief melody returns for a richer and varied setting with horns
+and woodwind. At last the first violins, paired in octave with the
+cello, sing the full melody in a madrigal of lesser strains.
+
+An epilogue answers the prologue of the beginning.
+
+Equally brief is the true Scherzo, though merely entitled Allegretto,--a
+dainty frolic without the heavy brass, an indefinable conceit of airy
+fantasy, with here and there a line of sober melody peeping between the
+mischievous pranks. There is no contrasting Trio in the middle; but just
+before the end comes a quiet pace as of mock-gravity, before a final
+scamper.
+
+A preluding fantasy begins in the mood of the early Allegro; a wistful
+melody of the clarinet plays more slowly between cryptic reminders of
+the first theme of the symphony. In sudden _Allegro risoluto_ over
+rumbling bass of strings, a mystic call of horns, harking far back,
+spreads its echoing ripples all about till it rises in united tones,
+with a clear, descending answer, much like the original first motive.
+The latter now continues in the bass in large and smaller pace beneath a
+new tuneful treble of violins, while the call still roams a free course
+in the wind. Oft repeated is this resonation in paired harmonies, the
+lower phrase like an "obstinate bass."
+
+Leaving the fantasy, the voices sing in simple choral lines a hymnal
+song in triumphal pace, with firm cadence and answer, ending at length
+in the descending
+
+[Music: _Allegro risoluto_
+_deciso_
+(Strings, with added wood and horns)]
+
+phrase. The full song is repeated, from the entrance of the latter, as
+though to stress the two main melodies. The marching chorus halts
+briefly when the clarinet begins again a mystic verse on the strain of
+the call, where the descending phrase is intermingled in the horns and
+strings.
+
+There is a new horizon here. We can no longer speak with
+half-condescension of Italian simplicity, though another kind of primal
+feeling is mingled in a breadth of symphonic vein. We feel that our
+Italian poet has cast loose his leading strings and is revealing new
+glimpses through the classic form.
+
+Against a free course of quicker figures rises in the horns the simple
+melodic call, with answer and counter-tunes in separate discussion. Here
+comes storming in a strident line of the inverted melody in the bassoon,
+quarrelling with the original motive in the clarinet. Then a group sing
+the song in dancing trip, descending against the stern rising theme of
+violas; or one choir follows on the heels of another. Now into the play
+intrudes the second melody, likewise in serried chase of imitation.
+
+The two themes seem to be battling for dominance, and the former wins,
+shouting its primal tune in brass and wood, while the second sinks to a
+rude clattering rhythm in the bass. But out of the clash, where the
+descending phrase recurs in the basses, the second melody emerges in
+full sonorous song. Suddenly at the top of the verse rings out in
+stentorian brass the first theme of all the symphony to the opening
+chord of the Finale, just as it rang at the climax in the beginning.
+
+A gentle duet of violins and clarinet seems to bring back the second
+melody of the first movement, and somehow, in the softer mood, shows a
+likeness with the second of the Finale. For a last surprise, the former
+idyll (of the first Allegro) returns and clearly proves the original
+guise of our latest main melody. As though to assure its own identity as
+prevailing motto, it has a special celebration in the final joyous
+revel.
+
+
+
+
+CHAPTER XX
+
+EDWARD ELGAR. AN ENGLISH SYMPHONY[A]
+
+[Footnote A: Symphony in A flat. Edward Elgar, born in 1857.]
+
+
+There is a rare nobility in the simple melody, the vein of primal hymn,
+that marks the invocation,--in solemn wood against stately stride of
+
+[Music: (_Andante nobilmente e semplice_)
+(Woodwind)
+(Basses of strings, _staccato_)]
+
+lower strings. A true ancient charm is in the tune, with a fervor at the
+high point and a lilt almost of lullaby,--till the whole chorus begins
+anew as though the song of marching hosts. Solemnity is the essence
+here, not of artificial ceremony nor of rhymeless chant,--rather of
+prehistoric hymn.
+
+In passionate recoil is the upward storming song (Allegro) where a group
+of horns aid the surging crest of strings and wood,--a resistless motion
+of massed melody. Most thrilling after the first climax is the sonorous,
+vibrant stroke of the bass in the
+
+[Music: _Allegro appassionato_
+(Strings, wood and horns)
+(See page 308, line 10.)]
+
+recurring melody. As it proceeds, a new line of bold tune is stirred
+above, till the song ends at the highest in a few ringing, challenging
+leaps of chord,--ends or, rather merges in a relentless, concluding
+descent. Here, in a striking phrase of double
+
+[Music: (Violins and clarinets in succession)
+(Harp)
+(Strings, the upper 3d doubled in higher reed)]
+
+song, is a touch of plaint that, hushing, heralds the coming gentle
+figure. We are sunk in a sweet romance, still of ancientest lore, with a
+sense of lost bliss in the wistful cadence. Or do these entrancing
+strains lead merely to the broader melody that moves with queenly tread
+(of descending violins) above a soft murmuring of lower figures? It is
+taken up
+
+[Music: (Violins)
+(Harp and wood doubled above)]
+
+in a lower voice and rises to a height of inner throb rather than of
+outer stress. The song departs as it came, through the tearful plaint of
+double phrase. Bolder accents merge suddenly into the former impassioned
+song. Here is the real sting of warrior call, with shaking brass and
+rolling drum, in lengthened swing against other faster sounds,--a revel
+of heroics, that at the end breaks afresh into the regular song.
+
+Yet it is all more than mere battle-music. For here is a new passionate
+vehemence, with loudest force of vibrant brass, of those dulcet strains
+that preceded the queenly melody. An epic it is, at the least, of
+ancient flavor, and the sweeter romance here rises to a tempest more
+overpowering than martial tumult.
+
+It is in the harking back to primal lore that we seem to feel true
+passion at its best and purest, as somehow all truth of legend, proverb
+and fable has come from those misty ages of the earth. The drooping
+harmonies merge in the returning swing of the first solemn hymn,--a mere
+line that is broken by a new tender appeal, that, rising to a moving
+height,
+
+[Music: (Strings)
+_teneramente_]
+
+yields to the former plaint (of throbbing thirds).
+
+A longer elegy sings, with a fine poignancy, bold and new in the very
+delicacy of texture, in the sharp impinging of these gentlest sounds. In
+the depths of the dirge suddenly, though quietly, sounds the herald
+melody high in the wood, with ever firmer cheer, soon in golden horns,
+at last in impassioned strings, followed by the wistful motive.
+
+A phase here begins as of dull foreboding, with a new figure stalking in
+the depths and, above, a brief sigh in the wind. In the growing stress
+these figures sing from opposite quarters, the sobbing phrase below,
+when suddenly the queenly melody stills the tumult. It is answered by a
+dim, slow line of the ominous motive. Quicker echoes of the earlier
+despond still flit here and there, with gleams of joyous light. The
+plaintive (dual) song returns and too the tender appeal, which with its
+sweetness at last wakens the buoyant spirit of the virile theme.
+
+And so pass again the earlier phases of resolution with the masterful
+conclusion; the tearful accents; the brief verse of romance, and the
+sweep of queenly figure, rising again to almost exultation. But here,
+instead of tears and recoil, is the brief sigh over sombre harmonies,
+rising insistent in growing volume that somehow conquers its own mood. A
+return of the virile motive is followed at the height by the throbbing
+dual song with vehement stress of grief, falling to lowest echoes.
+
+Here begins the epilogue with the original solemn hymn. Only it is now
+entwined with shreds and memories of romance, flowing tranquilly on
+through gusts of passion. And there is the dull sob with the sudden
+gleam of joyous light. But the hymn returns like a sombre solace of
+oblivion,--though there is a final strain of the wistful romance, ending
+in sad harmony.
+
+_II.--Allegro molto._ The Scherzo (as we may venture to call it) begins
+with a breath of new harmony, or is it a blended magic of rhythm, tune
+and chord? Far more than merely bizarre, it calls up a vision of Celtic
+warriors, the wild, free spirit of Northern races. The rushing jig or
+reel is halted
+
+[Music: _Allegro molto_
+(Strings with kettle-drum)]
+
+anon by longer notes in a drop of the tune and instantly returns to the
+quicker run. Below plays a kind of drum-roll of rumbling strings. Other
+revelling pranks appear, of skipping wood, rushing harp and dancing
+strings, till at last sounds a clearer tune, a restrained war-march with
+touch of terror in the soft subdued chords, suddenly growing to
+expressive
+
+[Music: (Violas and clarinets)
+(Wood, basses and strings)]
+
+volume as it sounds all about, in treble and in bass.
+
+At last the war-song rings in full triumphant blast, where trumpets and
+the shrill fife lead, and the lower brass, with cymbals and drums (big
+and little) mark the march. Then to the returning pranks the tune roars
+in low basses and reeds, and at last a big conclusive phrase descends
+from the height to meet the rising figure of the basses.
+
+Now the reel dances in furious tumult (instead of the first whisper) and
+dies down through the slower cadence.
+
+An entirely new scene is here. To a blended tinkle of harp, reeds and
+high strings sounds a delicate air, quick and light, yet with a tinge of
+plaint that may be a part of all Celtic song. It were rude to spoil
+
+[Music: (Woodwind, with a triplet pulse of harp and rhythmic strings)]
+
+its fine fragrance with some rough title of meaning; nor do we feel a
+strong sense of romance, rather a whim of Northern fantasy.
+
+Over a single note of bass sings a new strain of elegy, taken up by
+other voices, varying with the
+
+[Music: (Clarinets)]
+
+tinkling air. Suddenly in rushes the first reel, softly as at first; but
+over it sings still the new sad tune, then yields to the wild whims and
+pranks that lead to the war-song in resonant chorus, joined at the
+height by the reel below. They change places, the tune ringing in the
+bass. In the martial tumult the tinkling air is likewise infected with
+saucy vigor, but suddenly retires abashed into its shell of fairy sound,
+and over it sings the elegy in various choirs. The tinkling melody falls
+suddenly into a new flow of moving song, rising to pure lyric fervor.
+The soft air has somehow the main say, has reached the high point, has
+touched the heart of the movement. Expressively it slowly sinks away
+amid echoing phrases and yields to the duet of elegy and the first reel.
+But a new spirit has appeared. The sting of war-song is gone. And here
+is the reel in slow reluctant pace. After another verse of the fairy
+tune, the jig plays still slower, while above sings a new melody. Still
+slower the jig has fallen almost to funeral pace, has grown to a new
+song of its own, though, to be sure, brief reminders of the first dance
+jingle softly here and there. And now the (hushed) shadow of the
+war-song in quite slower gait strides in lowest basses and passes
+quietly straight into the Adagio.
+
+[Music: (Strings with lower reeds and horns)
+_Adagio_
+_cantabile_]
+
+_III._--Assured peace is in the simple sincere melody, rising to a glow
+of passion. But--is this a jest of our poet? Or rather now we see why
+there was no halt at the end of the Scherzo. For the soothing melody is
+in the very notes of the impish reel,--is the same tune.[A] Suddenly
+hushing, the song hangs on high over delicate minor harmonies.
+
+[Footnote A: There seems to be shown in this feat at once the
+versatility of music as well as the musician in expressing opposite
+moods by the same theme. The author does not feel bound to trace all
+such analogies, as in the too close pursuit we may lose the forest in
+the jungle.]
+
+In exquisite hues an intimate dialogue ensues, almost too personal for
+the epic vein, a discourse or madrigal of finest fibre that breaks (like
+rays of setting sun) into a melting cadence of regret. We are doubly
+thrilled in harking back to the sweet, wistful romance, the strain of
+the first movement.
+
+[Music: (Harp, wood and strings)]
+
+Across the gauzy play, horns and wood blow a slow phrase, like a motto
+of Fate in the sombre harmony, with one ardent burst of pleading.
+
+In clearer articulation sings a dual song, still softly o'ercast with
+sweet sadness, ever richer in the harmonies of multiple strings, tipped
+with the light mood,--and again the wistful cadence. Siren figures of
+entrancing grace that move amid the other melody, bring enchantment that
+has no cheer, nor escape the insistent sighing phrase. Once more come
+the ominous call and the passionate plea, then assurance with the
+returning main melody in renewed fervor. Phases of dual melody end again
+with the wistful cadence. The tranquil close is like one sustained fatal
+farewell, where the fairy figures but stress the sad burden.
+
+_IV._--The beginning is in lowest depths (Largo). First is the stalking
+figure of earliest movement, from the moment of despond. It is answered
+by a steadily striding theme, almost martial, save for the
+
+[Music: _Lento_
+(_Pizz._ cellos with _stacc._ bassoons)]
+
+slowness of pace. Not unlike the hymn of the first prologue in line of
+tune, it bears a mood of dark resignation that breaks presently into the
+touching plea of the wistful cadence.
+
+The whole is a reflective prologue to the Finale: a deep meditation from
+which the song may roll forth on new spring. The hymn has suddenly
+entered with a subtly new guise; for the moment it seems part of the
+poignant sigh; it is as yet submerged in a flood of gloom and regret;
+and the former phrases still stride and stalk below. In a wild climax of
+gloom we hear the former sob, earlier companion of the stalking figure.
+
+Hymnal strains return,--flashes of heavenly light in the depths of hell,
+and one passionate sigh of the melting cadence.
+
+_Allegro_,--we are carried hack to the resolute vigor of the earlier
+symphony, lacking the full fiery charm, but ever striving and stirring,
+like Titans rearing mountain piles, not without the cheer of toil
+itself. At the height comes a burst of the erst yearning cadence, but
+there is a new masterful accent; the wistful edge does not return till
+the echoing phrases sink away in the depths.
+
+A new melody starts soaring on the same wing of
+
+[Music: (Strings and clarinets)
+_Allegro_
+_cantabile_
+(_Staccato_ strings _con 8ve._)]
+
+blended striving and yearning of which all this song is fraught. In its
+broader sweep and brighter cheer it is like the queenly melody of the
+first movement.
+
+The Titan toil stirs strongly below the soft cadence; the full, fierce
+ardor mounts heavenward. Phases now alternate of insistent rearing on
+the strenuous motive and of fateful submission in the marching strain,
+that is massed in higher and bigger chorus. As gathers the stress of
+climax, the brass blowing a defiant blast, the very vehemence brings a
+new resolution that is uttered in the returning strenuous phrase.
+
+Again rises the towering pile. At the thickest the high horns blow loud
+a slow, speaking legend,--the farewell motive, it seems, from the end of
+Adagio, fierce energy struggling with fatal regret gnawing at the heart.
+
+Gripping is the appeal of the sharp cry almost of anguish into which the
+toiling energy is suddenly resolved. Again the fateful march enters, now
+in heroic fugue of brass and opposite motion of strings and reed,--all
+overwhelmed with wild recurring pangs of regret.
+
+And so "double, double, toil and trouble," on goes the fugue and follows
+the arduous climb (into the sad motto in the horns), each relieving the
+other, till both yield again to the heart-breaking cry.
+
+The cheerier melody here re-enters and raises the mood for the nonce.
+Soon it falls amid dim harmonies. Far in the depths now growls the dull
+tread, answered by perverted line of the hymn.
+
+A mystic verse sounds over pious chords of harp in the tune of the
+march, which is sung by antiphonal choirs of strings,--later with fuller
+celestial chorus, almost in rapture of heavenly resignation. Only it is
+not final; for once again returns the full struggle of the beginning,
+with the farewell-legend, and in highest passion the phrase of regret
+rung again and again--till it is soothed by the tranquil melody. The
+relentless stride of march too reaches a new height, and one last,
+moving plaint. When the fast chasing cries are in closest tangle,
+suddenly the hymn pours out its benediction, while the cries have
+changed to angelic acclaim. Here is the transfigured song in full
+climactic verse that fulfils the promise of the beginning. A touch of
+human (or earthly joy) is added in an exultant strain of the sweeping
+melody that unites with the hymn at the close.
+
+
+
+
+CHAPTER XXI
+
+SYMPHONIES IN AMERICA
+
+
+When we come to a view of modern music in symphonic design, written in
+America, we are puzzled by a new phase of the element of nationalism.
+For here are schools and styles as different as of far corners of
+Europe. Yet they can be called nothing else than American, if they must
+have a national name. In the northern centre whence a model orchestra
+has long shed a beneficent influence far afield, the touch of new French
+conceits has colored some of the ablest works. Elsewhere we have cited a
+symphony more in line with classical tradition.[A]
+
+[Footnote A: A symphony by Wm. W. Gilchrist. Vol. II, Appendix.]
+
+Perhaps most typical is a symphony of Hadley where one feels, with other
+modern tradition, the mantle of the lamented MacDowell, of whom it may
+be said that he was first to find in higher reaches of the musical art
+an utterance of a purely national temper.
+
+
+_HENRY HADLEY. SYMPHONY NO. 3, B MINOR._[A]
+
+[Footnote A: Opus 60, Henry Hadley, American, born 1871.]
+
+With virile swing the majestic melody strides in the strings, attended
+by trooping chords of wood and brass, all in the minor, in triple
+rhythm. In
+
+[Music: _Moderato e maestoso_
+(Harp and wind)
+(All the trebles)
+(Strings with lower 8ve.)]
+
+the bass is a frequent retort to the themal phrase. For a moment a
+dulcet line steals in, quickly broken by the returning martial stride of
+stentorian horns, and of the main theme in full chords. Strange, though,
+how a softer, romantic humor is soon spread over the very discussion of
+the martial theme, so that it seems the rough, vigorous march is but the
+shell for the kernel of tender romance,--the pageant that precedes the
+queenly figure. And presently, _piu tranquillo_, comes the fervent lyric
+song that may indeed be the chief theme in poetic import, if not in
+outer rank. After a moving verse in the strings,
+
+[Music: _Piu tranquillo_
+(Strings)
+(_Pizz._ basses _8va._) (Added woodwind)]
+
+with an expressive strain in some voice of the woodwind or a ripple of
+the harp, it is sung in tense chorus of lower wood and horns,--soon
+joined by all the voices but the martial brass, ending with a soft echo
+of the strings.
+
+Now in full majesty the stern stride of first theme is resumed, in
+faster insistence,--no longer the mere tune, but a spirited extension
+and discussion, with retorts between the various choirs. Here the
+melodious march is suddenly felt in the bass (beneath our feet, as it
+were) of lowest brass and strings, while the noisy bustle continues
+above; then, changing places, the theme is above, the active motion
+below.
+
+Long continues the spirited clatter as of warlike march till again
+returns the melting mood of the companion melody, now sung by the
+expressive horn, with murmuring strings. And there are enchanting
+flashes of tonal light as the song passes to higher choirs. The lyric
+theme wings its rapturous course to a blissful height, where an
+intrusion of the main motive but halts for the moment the returning
+tender verse.
+
+When the first vigorous phrase returns in full career, there is somehow
+a greater warmth, and the dulcet after-strain is transfigured in a glow
+greater almost than of the lyric song that now follows with no less
+response of beauty. In the final spirited blending of both melodies the
+trumpets sound a quicker pace of the main motive.
+
+In the Andante (_tranquillo_) the sweet tinkle of church-bells with
+soft chanting horns quickly defines the scene. Two voices of the
+strings, to the
+
+[Music: (Bells and harp in continuous repetition)
+_Andante tranquillo_
+_Espress._ (Cellos)
+(Strings, with added choir of lower reeds)]
+
+continuing hum of the bells, are singing a responsive song that rises in
+fervor as the horns and later the woodwind join the strings. Anon will
+sound the simple tune of the bells with soft harmonies, like echoes of
+the song,--or even the chant without the chimes.
+
+In more eager motion,--out of the normal measure of bells and hymn,
+breaks a new song in minor with a touch of passion, rising to a burst of
+ardor. But it passes, sinking away before a new phase,--a bucolic
+
+[Music: _Poco piu mosso_
+(Oboe)
+(Clar'ts & horns)
+(Strings)]
+
+fantasy of trilling shepherd's reed (in changed, even pace), supported
+by strumming strings. The sacred calm and later passion have yielded to
+a dolorous plaint, like the dirge of the Magyar plains. Suddenly the
+former fervor returns with strains of the second melody amidst urging
+motion (in the triple pace) and startling rushes of harp-strings. At the
+height, trumpets blare forth the first melody, transformed from its
+earlier softness, while the second presses on in higher wood and
+strings; the trombones relieve the trumpets, with a still larger chorus
+in the romantic song; in final exaltation, the basses of brass and
+strings sound the first melody, while the second still courses in treble
+voices.
+
+Of a sudden, after a lull, falls again the tinkle of sacred chimes, with
+a verse each of the two main melodies.
+
+The Scherzo begins with a Saltarello humor, as of airy faun, with a
+skipping theme ever accompanied by a lower running phrase and a prancing
+trip of
+
+[Music: _Allegro con leggerezza, ben sostenuto_
+(Cl.)
+(_Pizz._ strings)
+(Bassoon)]
+
+strings, with a refrain, too, of chirruping woodwind. Later the skipping
+phrase gains a melodic cadence. But the main mood is a revel of gambols
+and pranks of rhythm and harmony on the first phase.
+
+In the middle is a sudden shift of major tone and intimate humor, to a
+slower pace. With still a semblance of dance, a pensive melody sings in
+the cellos; the graceful cadence is rehearsed in a choir
+
+[Music: _Poco meno mosso_
+(Strings)
+(Cello)]
+
+of woodwind, and the song is taken up by the whole chorus. As a pretty
+counter-tune grows above, the melody sings below, with a blending of
+lyric feeling and the charm of dance. At a climactic height the horns,
+with clumsy grace, blare forth the main lilting phrase.
+
+The song now wings along with quicker tripping counter-tunes that slowly
+lure the first skipping tune back into the play after a prelude of high
+festivity. New pranks appear,--as of dancing strings against a stride of
+loud, muted horns. Then the second (pensive) melody returns, now above
+the running counter-tune. At last, in faster gait, to the coursing of
+quicker figures, the (second) melody rings out in choir of brass in
+twice slower, stately pace. But the accompanying bustle is merely
+heightened until all four horns are striking together the lyric song. At
+the end is a final revel of the first dancing tune.
+
+The Finale, which bears the unusual mark _Allegro con giubilio_, begins
+with a big festive march that may seem to have an added flavor of old
+English merrymaking. But as in the other cantos of the poem there
+
+[Music: _Allegro con giubilio_
+_Tutti_
+(Basses in 8ve.)]
+
+is here, too, an opposite figure and feeling. And the more joyous the
+gaiety, the more sweetly wistful is the recoil. Nay there is in this
+very expressive strain, beautifully woven in strings, harp, woodwind and
+horns, a vein of regret that grows rather than lessens, whenever the
+melody appears alone. It is like the memory, in the midst of festival,
+of some blissful moment lost forever.
+
+Indeed, the next phase seems very like a disordered chase of stray
+memories; for here a line of martial air is displaced by a pensive
+strain which in
+
+[Music: (Cello and harp with harmony of wood, horns and strings)
+_Piu tranquillo_
+_Molto espress._]
+
+turn yields to the quick, active tune that leads to a height of
+celebration.
+
+But here is a bewildering figure on the scene: Lustily the four horns
+(helped by the strings) blow in slow notes against the continuing motive
+an expressive melody. Slowly it breaks upon our ears as the wistful air
+that followed the chimes of Sunday bells. It has a stern, almost sombre
+guise, until it suddenly glows in transfigured light, as of a choir of
+celestial brass.
+
+Slowly we are borne to the less exalted pitch of the first festive
+march, and here follows, as at first, the expressive melody where each
+hearer may find his own shade of sadness. It does seem to reach a true
+passion of regret, with poignant sweet sighs.
+
+At length the sadness is overcome and there is a new animation as
+separate voices enter in fugal manner in the line of the march. Now the
+festive tune holds sway in lower pace in the basses; but then rings on
+high in answer--the wistful melody again and again, in doubled and twice
+redoubled pace.
+
+When we hear the _penseroso_ melody once more at the end, we may feel
+with the poet a state of resigned cheer.
+
+
+A remarkable work that shows the influence of modern French harmony
+rather than its actual traits, is a SYMPHONY BY GUSTAV STRUBE.[A] It is
+difficult to resist the sense of a strain for bizarre harmony, of a
+touch of preciosity. The real business of these harmonies is for
+incidental pranks, with an after-touch that confesses the jest, or
+softens it to a lyric utterance. It cannot be denied that the moving
+moments in this work come precisely in the release of the strain of
+dissonance, as in the returning melody of the Adagio. Only we may feel
+we have been waiting too long. The desert was perhaps too long for the
+oasis. _Est modus in rebus_: the poet seems niggardly with his melody;
+he may weary us with too long waiting, with too little staying comfort.
+He does not escape the modern way of symbolic, infinitesimal melody, so
+small that it must, of course, reappear. It is a little like the
+wonderful arguments from ciphers hidden in poetry.
+
+[Footnote A: Of Boston,--born in Germany in 1867.]
+
+It cannot he denied that the smallness of phrase does suggest a
+smallness of idea. The plan of magic motive will not hold _ad
+infinitesimum_. As the turn of the triplet, in the first movement,
+twists into a semblance of the Allegro theme, we feel like wondering
+with the old Philistine:
+
+    ... "How all this difference can be
+    'Twixt tweedle-dum and tweedle-dee!"
+
+But there is the redeeming vein of lyric melody with a bold fantasy of
+mischievous humor and a true climax of a clear poetic design. One reason
+seems sometimes alone to justify this new license, this new French
+revolution: the deliverance from a stupid slavery of rules,--if we would
+only get the spirit of them without the inadequate letter. Better, of
+course, the rules than a fatal chaos. But there is here in the bold
+flight of these harmonies, soaring as though on some hidden straight
+path, a truly Promethean utterance.
+
+It is significant, in the problem of future music, that of the
+symphonies based upon recent French ideas, the most subtly conceived and
+designed should have been written in America.
+
+_I._--In pale tint of harmony sways the impersonal phrase that begins
+with a descending tone. We may
+
+[Music: _Andante_ (Melody in flute and violas)
+(Violins)
+(Cellos with basses in lower 8ve.)]
+
+remember[A] how first with the symphony came a clear sense of tonal
+residence. It was like the age in painting when figures no longer hung
+in the gray air, when they were given a resting-place, with trees and a
+temple.
+
+[Footnote A: See Vol. I, Chapter I.]
+
+Here we find just the opposite flight from clear tonality, as if
+painting took to a Japanese manner, sans aught of locality. Where an
+easy half-step leads gently somewhere, a whole tone sings instead.
+Nothing obvious may stand.
+
+It marks, in its reaction, the excessive stress of tonality and of
+simple colors of harmony. The basic sense of residence is not abandoned;
+there is merely a bolder search for new tints, a farther straying from
+the landmarks.
+
+Soon our timid tune is joined by a more expressive line that rises in
+ardent reaches to a sudden tumult, with a fiery strain of trumpets where
+we catch a glimpse of the triplet figure. After a dulcet lullaby
+
+[Music: (Flute with _tremolo_ of high strings)
+(New melody in ob. and violas)
+(Cellos with sustained lower B of basses)]
+
+of the first air, the second flows in faster pace (_Allegro commodo_) as
+the real text, ever with new blossoming variants that sing together in a
+madrigal of tuneful voices, where the descending note still has a part
+in a smooth, gliding pace of violins.
+
+In gayer mood comes a verse of the inverted (Allegro) tune, with other
+melodic guises hovering about. When the theme descends to the bass, the
+original Andante phrase sings in the trumpet, and there is a chain of
+entering voices, in growing agitation, in the main legend with the
+quicker sprites dancing about. At the height, after the stirring song
+of trumpets, we feel a passionate strife of resolve and regret; and
+immediately after, the descending tone is echoed everywhere.
+
+A balancing (second) theme now appears, in tranquil
+
+[Music: (Horn)
+_Allegro dolce_
+(Violas & cellos)
+(Sustained harmony in violins, bassoons and flute)]
+
+flow, but pressing on, at the end, in steady ascent as to Parnassian
+summit. Later comes a new rejoinder in livelier mood, till it is lost in
+a big, moving verse of the Andante song. But pert retorts from the
+latest new tune again fill the air, then yield in attendance upon the
+returning Allegro theme. Of subtle art is the woof of derived phrases. A
+companion melody, that seems fraught of the text of the second subject,
+sings with rising passion, while the lower brass blow lustily in
+eccentric rhythm of the Allegro phrase and at the height share in the
+dual triumph.
+
+We feel a kinship of mood rather than of theme, a coherence that we
+fear to relate to definite figures, though the descending symbol is
+clear against the ascending. An idyllic dialogue, with the continuing
+guise of the Allegro phrase turns to a gayer revel in the original pace,
+with a brilliant blare of trumpets.
+
+The free use of themes is shown in the opposite moods of the triplet
+phrase, of sadness, as in Andante, or buoyant, in Allegro. Here are both
+in close transition as the various verses return from the beginning,
+entwined about the first strain of the Andante, gliding through the
+descending tone into the second soothing song with the Parnassian
+ascent.
+
+A full verse of the first Andante melody sings at the heart of the plot,
+followed by the strange daemonic play that keeps the mood within bounds.
+Indeed, it returns once more as at first, then springs into liveliest
+trip and rises to an Olympian height, with a final revel of the triplet
+figure.
+
+_II._--With a foreshadowing drop of tone begins the prelude, not unlike
+the first notes of the symphony,
+
+[Music: _Adagio, ma non troppo_
+(_espressivo_ Clar.)
+(Strings)
+(Clar'ts and bassoons)]
+
+answered with a brief phrase. On the descending motive the main melody
+is woven.
+
+Tenderly they play together, the melody with the main burden, the
+lighter prelude phrase in graceful accompaniment. But now the latter
+sings in turn a serious verse, rises to a stormy height, the horns
+proclaiming the passionate plea amid a tumultuous accord of the other
+figures, and sinks in subdued temper. In a broader pace begins a new
+line, though on the thread of the descending motive, and with the
+entering phrase of the prelude winds to a climax of passion. The true
+episode, of refuge and solace from the stress of tempest, is in a song
+of the trumpet through a shimmering gauze of strings with glinting harp,
+to a soft murmuring in the reeds.
+
+[Music: _Animando_ (Violins)
+(_Trem._ violins doubled above in oboes)
+(Cellos with sustained lower B of basses)
+Main melody in trumpets]
+
+In a new shade of tone it is echoed by the horn, then in a fervent close
+it is blended with a guise of the prelude phrase, that now heralds the
+main melody, in a duet of clarinet and violins. At last in the home
+tone the horn sings amid the sweet tracery the parting verse, and all
+about sounds the trist symbol of the first (descending) motive.
+
+_III._--The Scherzo is in one view a mad revel of demon pranks in a new
+field of harmonies. Inconsequential though they may seem, there is a
+real coherence, and, too, a subtle connection with the whole design.
+
+To be sure, with the vagueness of tune that belongs to a school of
+harmonic exploits a certain mutual relation of themes is a kind of
+incident. The less defined the phrases, the easier it is to make them
+similar.
+
+Undoubted likeness there is between the main elfin figure and the first
+phrase of the symphony.
+
+[Music: (Oboes, with lower 8ve. and higher 8ve. of piccolo)
+_Allegro vivace_
+(Strings)]
+
+The triplet is itself a kind of password throughout. With this multiple
+similarity is a lack of the inner bond of outer contrast.
+
+The mood of demon humor finds a native medium in the tricks of new
+Gallic harmony. Early in the prelude we hear the descending tone, a
+streak of sadness in the mirth. Answering the first burst is a strange
+stroke of humor in the horn, and as if in
+
+[Music: (_Tremolo_ 1st violins)
+(1st horn) (Clarinets doubled above in strings)]
+
+serious balance, a smooth gliding phrase in the wood. Now the first
+figure grows more articulate, romping and galloping into an ecstasy of
+fun. A certain spirit of Till Eulenspiegel hovers about.
+
+Out of the maze blows a new line in muted trumpets, that begins with the
+inverted triplet figure, and in spite of the surrounding bedlam rises
+almost into a tune. At the height the strange jest of the horns reigns
+supreme.
+
+From the mad gambols of the first figure comes a relief in sparkling
+calls of the brass and stirring retorts in pure ringing harmonies. In
+the next episode is a fall into a lyric mood as the latest figure glides
+into even pace, singing amid gentlest pranks. Most tuneful of all
+sounds is the answer in dulcet trumpet while, above, the first theme
+intrudes softly.
+
+The heart of the idyll comes in a song of the clarinet
+
+[Music: (Cl. _espressivo_)
+(_Pizz._ strings with higher 8ve. of upper voice)
+(Wood and horn and strings) (Clar. and bassoons)]
+
+against strange, murmuring strings, ever with a soft answer of the lower
+reed.
+
+New invading sprites do not hem the flight of the melody. But at the
+height a redoubled pace turns the mood back to revelling mirth with
+broken bits of the horn tune. Indeed the crisis comes with a new rage of
+this symbol of mad abandon, in demonic strife with the fervent song that
+finally prevails.
+
+The first theme returns with a new companion in the highest wood. A
+fresh strain of serious melody is now woven about the former dulcet
+melody of trumpet in a stretch of delicate poesy, of mingled mirth and
+tenderness.--The harmonies have something of the infinitesimal sounds
+that only insects hear. With all virtuous recoil, here we must confess
+is a masterpiece of cacophonic art, a new world of tones hitherto
+unconceived, tinkling and murmuring with the eerie charm of the
+forest.--In the return of the first prelude is a touch of the descending
+tone. From the final revelling tempest comes a sudden awakening. In
+strange moving harmony sings slowly the descending symbol, as if
+confessing the unsuccessful flight from regret. Timidly the vanquished
+sprites scurry away.
+
+_IV._--The first notes of the Finale blend and bring back the main
+motives. First is the descending tone, but firm and resolute, with the
+following triplet in
+
+[Music: _Allegro energico_ (Higher figure in strings & wood)
+(Wood, horns and lower strings) (Strings and wood)]
+
+inversion of the Scherzo theme.
+
+It is all in triumphant spirit. From the start the mood reigns, the art
+for once is quite subordinate. Resonant and compelling is the motive of
+horns and trumpets, new in temper, though harking back to the earlier
+text, in its cogent ending. Splendid is
+
+[Music: (Strings)
+(Wood & strings doubled below)
+(Horns and trumpets)]
+
+the soaring flight through flashes of new chords. There is, we must
+yield, something Promethean, of new and true beauty, in the bold path of
+harmonies that the French are teaching us after a long age of slavish
+rules.
+
+The harking back is here better than in most modern symphonies with
+their pedantic subtleties: in the resurgence of joyous mood, symbolized
+by the inversion of phrase, as when the prankish elfin theme rises in
+serious aspiration.
+
+Out of these inspiriting reaches sings a new melody in canon of strings
+(though it may relate to some shadowy memory), while in the bass rolls
+the former ending phrase; then they romp in jovial turn of rhythm.
+
+[Music: (Oboes, doubled below in bassoons) (Strings, doubled below)
+(Horns) (_Pizz._ cello doubled below)]
+
+A vague and insignificant similarity of themes is a fault of the work
+and of the style, ever in high disdain of vernacular harmony, refreshing
+to be sure, in its saucy audacity, and anon enchanting with a ring of
+new, fiery chord. As the sonorous theme sings in muted brass, picking
+strings mockingly play quicker fragments, infecting the rest with
+frivolous retorts, and then a heart-felt song pours forth, where the
+accompanying cries have softened their mirth. Back they skip to a joyous
+trip with at last pure ringing harmonies.
+
+At the fervent pitch a blast of trumpets rises in challenging phrase, in
+incisive clash of chord, with the early sense of Parnassian ascent. At
+the end of this brave fanfare we hear a soft plea of the descending tone
+that prompts a song of true lyric melody, with the continuing gentlest
+touch of regret, all to a sweetly bewildering turn of pace. So tense
+
+[Music: (Continuing organ pt. of violins) (Fl. & clar. _dolce_)
+_Animando_
+(Melody in ob. _dolce_)
+(Strings)]
+
+and subtle an expression would utterly convert us to the whole harmonic
+plan, were it not that just here, in these moving moments, we feel a
+return to clearer tonality. But it is a joy to testify to so devoted a
+work of art.
+
+With the last notes of melody a new frisking tune plays in sauciest
+clashes of chord, with an enchanting stretch of ringing brass. A long
+merriment ensues in the jovial trip, where the former theme of horns has
+a rising cadence; or the tripping tune sings in united chorus and again
+through its variants. After a noisy height the dulcet melody (from the
+descending tone) sings in linked sweetness. In the later tumult we rub
+our eyes to see a jovial theme of the bass take on the lines of the
+wistful melody. Finally, in majestic tread amid general joyous clatter
+the brass blow the gentle song in mellowed tones of richest harmony.
+
+
+_CHADWICK.[A] SUITE SYMPHONIQUE (IN E FLAT)._
+
+[Footnote A: George W. Chadwick, American, born in 1854.]
+
+With a rush of harp and higher strings the Suite begins on ardent wing
+in exultant song of trumpets (with horns, bassoons and cellos) to quick
+palpitating violins that in its higher flight is given over to upper
+reeds and violas. It is answered by gracefully drooping melody of
+strings and harps topped by the oboes, that lightly descends from the
+heights with a cadence long delayed, like the circling flight of a great
+bird before he alights. Straightway begins a more pensive turn of phrase
+(of clarinet and lower strings) in distant tonal scene where now the
+former (descending) answer sings timidly in alternating groups. The
+pensive melody returns for a greater reach, blending with the original
+theme (in all the basses) in a glowing duet of two moods as well as
+melodies, rising to sudden brilliant height, pressing on to a full
+return of the first exultant melody with long, lingering, circling
+descent.
+
+The listener on first hearing may be warned to have a sharp ear for all
+kinds of disguises of the stirring theme and in a less degree, of the
+second subject. What seems a new air in a tranquil spot, with strum of
+harp,--and new it is as expression,--is our main melody in a kind of
+inversion. And so a new tissue of song continues, all of the original
+fibre, calming more and more from the first fierce glow. A tuneful
+march-like strain now plays gently in the horns while the (inverted)
+expressive air still sounds above.
+
+[Music: (Oboe with 8ve. flute) (Oboe)
+(Horns) _Calmato ed espressivo assai_]
+
+When all has quieted to dim echoing answers between horn and reed, a
+final strain bursts forth (like the nightingale's voice in the
+surrounding stillness) in full stress of its plaint. And so, in most
+natural course, grows and flows the main balancing melody that now
+pours out its burden in slower, broader pace, in joint choirs of wood
+and strings.
+
+[Music: _Meno mosso e largamente_
+(Woodwind above, strings below)
+(_pizz._ basses)]
+
+It is the kind of lyric spot where the full stream of warm feeling seems
+set free after the storm of the first onset. In answer is a timid,
+almost halting strain in four parts of the wood, echoed in strings. A
+new agitation now stirs the joint choirs (with touches of brass), and
+anon comes a poignant line of the inverted (main) theme. It drives in
+rising stress under the spurring summons of trumpets and horns to a
+celebration of the transfigured second melody, with triumphant cadence.
+Nor does the big impulse halt here. The trumpets sound on midst a
+spirited duet of inverted and original motives until the highest point
+is reached, where, to quicker calls of the brass, in broadest pace the
+main subject strikes its inverted tune in the trebles, while the bass
+rolls its majestic length in a companion melody; trombones, too, are
+blaring forth the call of the second theme.
+
+Brief interludes of lesser agitation bring a second chorus on the
+reunited melodies in a new tonal quarter.
+
+In mystic echoing groups on the former descending answer of main theme
+the mood deepens in darkening scene. Here moves in slow strides of
+lowest brass a shadowy line of the second melody answered by a poignant
+phrase of the first. Striking again and again in higher perches the dual
+song reaches a climax of feeling in overpowering burst of fullest brass.
+In masterful stride, still with a burden of sadness, it has a solacing
+tinge as it ends in a chord with pulsing harp, that twice repeated leads
+back to the stirring first song of main theme.
+
+Thence the whole course is clear in the rehearsal of former melodies.
+Only the pensive air has lost its melancholy. Here is again the lyric of
+warm-hued horns with plaintive higher phrase, and the full romance of
+second melody with its timid answer, where the nervous trip rouses
+slowly the final exultation. Yet there is one more descent into the
+depths where the main melody browses in dim searching. Slowly it wings
+its flight upwards until it is greeted by a bright burst of the second
+melody in a chorus of united brass. And this is but a prelude to the
+last joint song, with the inverted theme above. A fanfare of trumpets on
+the second motive ends the movement.
+
+The Romanze is pure song in three verses where we cannot avoid a touch
+of Scottish, with the little acclaiming phrases. The theme is given to
+the saxophone (or cello) with obligato of clarinet and violas; the bass
+is in bassoons and _pizzicato_ of lower strings. One feels a special
+gratitude to the composer who will write in these days a clear, simple,
+original and beautiful melody.
+
+The first interlude is a fantasy, almost a variant on the theme in a
+minor melody of the wood, with a twittering phrase of violins. Later the
+strings take up the theme in pure _cantilena_ in a turn to the
+major,--all in expressive song that rises to a fervent height. Though it
+grows out of the main theme, yet the change is clear in a return to the
+subject, now in true variation, where the saxophone has the longer notes
+and the clarinet and oboe sing in concert.
+
+There follows a pure interlude, vague in motive, full of dainty touches.
+The oboe has a kind of _arioso_ phrase with trilling of flutes and
+clarinets, answered in trumpets and harp.
+
+Later the first violins (on the G string) sing the main air with the
+saxophone.
+
+A double character has the third movement as the title shows, though in
+a broadest sense it could all be taken as a Humoreske.
+
+With a jaunty lilt of skipping strings the lower reeds strike the
+capricious tune, where the full chorus soon falls in. The answering
+melody, with more of sentiment, though always in graceful swing with
+tricksy attendant figures, has a longer song. Not least charm has the
+concluding tune that leads back to the whole melodious series.
+Throughout are certain chirping notes that form the external connection
+with the Humoreske that begins with strident theme (_molto robusto_) of
+low strings, the whole chorus, xylophon and all, clattering about, the
+high wood echoing like a band of giant crickets,--all in whimsical,
+varying pace. The humor grows more graceful when the first melody of the
+Intermezzo is lightly touched. The strange figure returns (in roughest
+strings and clarinet) somewhat in ancient manner of imitation. Later the
+chirruping answer recurs. Diminishing trills are echoed between the
+groups.
+
+Slowly the scene grows stranger. Suddenly in eerie harmonies of newest
+French or oldest Tartar, here are the tricks and traits where meet the
+extremes of latest Romantic and primeval barbarian. In this motley
+cloak sounds the typical Yankee tune, first piping in piccolo, then
+grunting in tuba. Here is Uncle Sam disporting himself merrily in
+foreign garb and scene, quite as if at home. If we wished, we might see
+a political satire as well as musical.
+
+After a climax of the clownish mood we return to the Intermezzo
+melodies.
+
+The Finale begins in the buoyant spirit of the beginning and seems again
+to have a touch of Scotch in the jaunty answer. The whole subject is a
+group of phrases rather than a single melody.
+
+Preluding runs lead to the simple descending line of treble with
+opposite of basses, answered by the jovial phrase. In the farther course
+the first theme prevails, answered with an ascending brief motive of
+long notes in irregular ascent. Here follows a freer flow of the jolly
+lilting tune, blending with the sterner descending lines.
+
+Balancing this group is an expressive melody of different sentiment. In
+its answer we have again the weird touch of neo-barbarism in a strain of
+the reed, with dancing overtones of violins and harp, and strumming
+chords on lower strings. Or is there a hint of ancient Highland in the
+drone of alternating horns and bassoons?
+
+Its brief verse is answered by a fervent conclusive line where soon the
+old lilting refrain appears with new tricks and a big celebration of its
+own and then of the whole madrigal of martial melody. It simmers down
+with whims and turns of the skipping phrase into the quiet
+(_tranquillo_) episode in the midst of the other stress.
+
+[Music: (With lower 8ve.)
+_Tranquillo_
+(With _pizz._ quarter notes in basses and strings)]
+
+The heart of the song is in the horns, with an upper air in the wood,
+while low strings guard a gentle rhythm. A brief strain in the wind in
+ardent temper is followed by another in the strings, and still a third
+in joint strings and wood. (Again we must rejoice in the achievement of
+true, simple, sincere melody.) The final glowing height is reached in
+all the choirs together,--final that is before the brass is added with
+a broader pace, that leads to the moving climax. As the horns had
+preluding chords to the whole song, so a single horn sings a kind of
+epilogue amid harmony of strings and other horns. Slowly a more vigorous
+pulse is stirred, in an interlude of retorting trumpets.
+
+Suddenly in the full energy of the beginning the whole main subject
+sounds again, with the jolly lilt dancing through all its measures,
+which are none too many. The foil of gentle melody returns with its
+answer of eerie tune and harmonies. It seems as if the poet, after his
+rude jest, wanted, half in amends, half on pure impulse, to utter a
+strain of true fancy in the strange new idiom.
+
+A new, grateful sound has again the big conclusive phrase that merges
+into more pranks of the jaunty tune in the biggest revel of all, so that
+we suspect the jolly jester is the real hero and the majestic figures
+are, after all, mere background. And yet here follows the most tenderly
+moving verse, all unexpected, of the quiet episode.
+
+The end is a pure romp, _molto vivace_, mainly on the skipping phrase.
+To be sure the stately figures after a festive height march in big,
+lengthened pace; but so does the jolly tune, as though in mockery. He
+breaks into his old rattling pace (in the Glockenspiel) when all the
+figures appear together,--the big ones changing places just before the
+end, where the main theme has the last say, now in the bass, amidst the
+final festivities.
+
+
+
+_LOEFFLER.[A] LA VILLANELLE DU DIABLE_
+
+_(The Devil's Round)_
+
+(After a poem by M. Rollinat. Symphonic poem for Orchestra and Organ)
+
+[Footnote A: Charles Martin Loeffler, born in Alsace in 1861.]
+
+Few pieces of program music are so closely associated with the subject
+as this tone picture of the Devil's Round. The translation of M.
+Rollinat's "Villanelle," printed in the score is as follows:[A]
+
+     Hell's a-burning, burning, burning. Chuckling in clear staccato,
+     the Devil prowling, runs about.
+
+     He watches, advances, retreats like zig-zag lightning; Hell's
+     a-burning, burning, burning.
+
+     In dive and cell, underground and in the air, the Devil, prowling,
+     runs about.
+
+     Now he is flower, dragon-fly, woman, black-cat, green snake; Hell's
+     a-burning, burning, burning.
+
+     And now, with pointed moustache, scented with vetiver, the Devil,
+     prowling, runs about.
+
+     Wherever mankind swarms, without rest, summer and winter, Hell's
+     a-burning, burning, burning.
+
+     From alcove to hall, and on the railways, the Devil, prowling, runs
+     about.
+
+     He is Mr. Seen-at-Night, who saunters with staring eyes. Hell's
+     a-burning, burning, burning.
+
+     There floating as a bubble, here squirming as a worm, the Devil,
+     prowling, runs about.
+
+     He's grand seigneur, tough, student, teacher. Hell's a-burning,
+     burning, burning.
+
+     He inoculates each soul with his bitter whispering: the Devil,
+     prowling, runs about.
+
+     He promises, bargains, stipulates in gentle or proud tones. Hell's
+     a-burning, burning, burning.
+
+     Mocking pitilessly the unfortunate whom he destroys, the Devil,
+     prowling, runs about.
+
+     He makes goodness ridiculous and the old man futile. Hell's
+     a-burning, burning, burning.
+
+     At the home of the priest or sceptic, whose soul or body he wishes,
+     the Devil, prowling, runs about.
+
+     Beware of him to whom he toadies, and whom he calls "my dear sir."
+     Hell's a-burning, burning, burning.
+
+     Friend of the tarantula, darkness, the odd number, the Devil,
+     prowling, runs about.
+
+     --My clock strikes midnight. If I should go to see Lucifer?--Hell's
+     a-burning, burning, burning; the Devil, prowling, runs about.
+
+[Footnote A: A few translated verses may give an idea of the original
+rhythm:
+
+    Hell's a-burning, burning, burning.
+    Cackling in his impish play,
+    Here and there the Devil's turning,
+
+    Forward here and back again,
+    Zig-zag as the lightning's ray,
+    While the fires burn amain.
+
+    In the church and in the cell
+    In the caves, in open day,
+    Ever prowls the fiend of hell.
+
+But in the original the first and last lines of the first verse are used
+as refrains in the succeeding verses, recurring alternately as the last
+line. In the final verse they are united.--The prose translation is by
+Philip Hale.]
+
+In the maze of this modern setting of demon antics (not unlike, in
+conceit, the capers of Till Eulenspiegel), with an eloquent use of new
+French strokes of harmony, one must be eager to seize upon definite
+figures. In the beginning is a brief wandering or flickering motive in
+furious pace of harp and strings, ending ever in a shriek of the high
+wood. Answering
+
+[Music: _Presto (il piu possibile)_
+(Woodwind)
+(Strings with rhythmic chords in the tonic)
+(With opposite descending chords)]
+
+is a descending phrase mainly in the brass, that ends in a rapid jingle.
+
+[Music: (Brass with quicker figures in strings and wood)]
+
+There are various lesser motives, such as a minor scale of ascending
+thirds, and a group of crossing figures that seem a guise of the first
+motive. To be sure the picture lies less in the separate figures than in
+the mingled color and bustle. Special in its humor is a soft gliding or
+creeping phrase of three voices against a constant trip of cellos.
+
+After a climax of the first motive a frolicking theme begins (in English
+horn and violas). If we were forced to guess, we could see here the
+dandy devil, with pointed mustachios, frisking about. It is probably
+another guise of the second motive which presently appears in the bass.
+A little later, _dolce amabile_ in a madrigal of wood and strings, we
+may see the gentlemanly devil, the gallant. With a crash of chord and a
+roll of cymbals re-enters the first motive, to flickering harmonies of
+violins, harp and flutes, taken up by succeeding voices, all in the
+whole-tone scale. Hurrying to a clamorous height, the pace glides into a
+_Movimento di Valzer_, in massed volume, with the frolicking figure in
+festive array.
+
+To softest tapping of lowest strings and drums, a shadow of the second
+figure passes here and there, with a flash of harp. Soon, in returning
+merriment, it is coursing in unison strings (against an opposite motion
+in the wood).
+
+At the height of revel, as the strings are holding a trembling chord, a
+sprightly Gallic tune of the street pipes in the reed, with intermittent
+flash of the harp, and, to be sure, an unfamiliar tang of harmonies and
+strange perversions of the tune.[A] In the midst is the original
+flickering figure. As the whole chorus is singing the tune at the
+loudest, the brass breaks into another traditional air of the
+Revolutionary Song of 1789.[B] While the trip is still ringing in the
+strings, a lusty chorus breaks into the song[C] "La Carmagnole," against
+a blast of the horns in a guise of the first motive.
+
+[Footnote A: "A la villette," a popular song of the Boulevard. Mr.
+Philip Hale, who may have been specially inspired, associates the song
+with the word "crapule," "tough," as he connects the following
+revolutionary songs, in contrapuntal use, with the word "magister,"
+"teacher,"--the idea of the pedagogue in music. It may be less remote to
+find in these popular airs merely symbols or graphic touches of the
+swarming groups among which the Devil plies his trade.]
+
+[Footnote B: The famous "Ca ira."]
+
+[Footnote C: In the wealth of interesting detail furnished by Mr. Hale
+is the following: "The Carmagnole was first danced in Paris about the
+liberty-tree, and there was then no bloody suggestion.... The word
+'_Carmagnole_' is found in English and Scottish literature as a nickname
+for a soldier in the French Revolutionary army, and the term was applied
+by Burns to the Devil as the author of ruin, 'that curst carmagnole,
+auld Satan.'"]
+
+Grim guises of the main figures (in inverted profile) are skulking about
+to uncanny harmonies. A revel of new pranks dies down to chords of muted
+horns, amid flashing runs of the harp, with a long roll of drums. Here
+_Grave_ in solemn pace, violas and bassoon strike an ecclesiastical
+incantation, answered by the organ. Presently a Gregorian plain chant
+begins solemnly in the strings aided by the organ while a guise of the
+second profane motive intrudes. Suddenly in quick pace against a fugal
+tread of lower voices, a light skipping figure dances in the high wood.
+And now loud trumpets are saucily blowing the chant to the quick step,
+echoed by the wood. And we catch the wicked song of the street (in the
+English horn) against a legend of hell in lower voices.[A]
+
+[Footnote A: The religious phrases are naturally related to the "priest
+or sceptic." In the rapid, skipping rhythm, Mr. Hale finds the
+tarentella suggested by the "friend of the tarantula."]
+
+In still livelier pace the reeds sound the street song against a trip of
+strings, luring the other voices into a furious chorus. All at once, the
+harp and violins strike the midnight hour to a chord of horns, while a
+single impish figure dances here or there. To trembling strings and
+flashing harp the high reed pipes again the song of the Boulevard,
+echoed by low bassoons.
+
+In rapidest swing the original main motives now sing a joint verse in a
+kind of _reprise_, with the wild shriek at the end of the line, to a
+final crashing height. The end comes with dashes of the harp, betwixt
+pausing chords in the high wood, with a final stifled note.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK SYMPHONIES AND THEIR MEANING; THIRD
+SERIES, MODERN SYMPHONIES***
+
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