Part 13 (1/2)
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 bra.s.s blow the rhythm on a monotone, midst an ascending _obligato of strings_.
[Music: (Bra.s.s 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 clas.h.i.+ng 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) (Ba.s.ses 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 a.s.surance, 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 ba.s.s 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 workmans.h.i.+p and a minimum of st.u.r.dy 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 quant.i.ty 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 cla.s.sics. 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]