Part 16 (1/2)
OVERTURE TO _Manfred_
This Overture, the first of a set of incidental numbers which Schumann composed to illustrate Byron's dramatic poem, represents some of his most typical inspiration, and so is orthy of our study The music is labored at times, especially in the Development, and the orchestration is often dry and stereotyped But the conception was a powerful one, and there is a genuine correspondence between the nature of the music and the spirit of the poem It is evident that the subject ination, addicted to ly akin to that of Byron's fictitious character The coram music of the subjective order, comparable to Beethoven's _Coriolanus_, _ie_, the the the stor, the mysterious influence over the recluse of the spirit of Astarte As in all works of this kind the e of the poem which it illustrates[193] As for the structure, Schus too closely to the Sonata-forives his fancy free rein; where he tries to force the themes into an arbitrary mould, the result is unsatisfactory--especially the develop from a purely musical point of view The work opens with three spasmodic syncopated[194] chords, and then folloenty-four measures (lento and at first pianissiestions of the Manfred theradually faster and more impassioned until, in measure 26, we reach the presentation of the first theitato) which, with its frequent syncopations, is characteristic of Manfred's restless nature The transition begins in measure 39; at first with a repetition of the main theme, which soon modulates to F-sharp minor, in which key the second theme enters, in measure 51 This theme--in three portions--seems to embody different aspects of the feminine influence of Astarte The first portion, , chro apparition so real to Manfred's iible; the second, 62-67, contains a note of ie of tender consolation If this interpretation see of the drama where Astarte appears (pp 284-285 in the Everyman's Edition) will, we believe, corroborate it The rest of the Exposition consists in a treatment of the Astarte h there is a real dramatic intensity in e with its characteristic ”appoggiatura” The Develop example of how difficult it was--even for an exponent of freedom in musical expression like Schumann--to break loose froht is kept in motion, to be sure, but that is about all; for the treat is added to the dramatic picture The world had to await the work of Tchaikowsky, and Strauss for a satisfactory adjustment[195]
between the demands of dramatic fitness and the needs ofmeasure 258, Schuains a dramatic effect of truly impressive power The horns, supported by tru sole death scene of the drama) while, above, hover portions of the Astarte motive, as if even in his death her influence was para_
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Notwithstanding certain blemishes, this Overture at the time of its coram music, and if to our ely because of the great progress which has since been made[196]
[Footnote 193: The poem is easily procured in a volume of Everyman's Library]
[Footnote 194: These chords are an a example of a ”paper effect,” for unless you watch the conductor's beat, it is i no first beat proper, the chords are syncopated against the air!]
[Footnote 195: For pertinent coram Music, pp 134-135, in his _Musical Studies_]
[Footnote 196: In studying this work consult, if possible, the orchestral score For those who need a condensed two-hand arrangement, the Litolff edition is to be recommended]
SYMPHONY IN D MINOR
This Symphony is selected from Schumann's four, both for the peculiar romantic beauty of its themes and because the for link between the freedom of structure, instituted by Beethoven, and the Symphonic Poem of Liszt and other enuine beauties and should be familiar to the cultivated musician
Perhaps the first in B-flat major is the most sustained, and it has a freshness and buoyancy su_, by which it is popularly known The exuberance of the Finale is pure Schumann and is expressed with an orchestral eloquence in which he was frequently lacking[197] The Second Sy--comparable to the slow movement of Beethoven's Fourth At soe to play this nificent Torso, for indubitably the other ed beyond recall The Third Symphony, known as the _Rhenish_ (co at Dusseldorf on the Rhine) is significant for its incorporation of popular melodies from the Rhineland, and for the movement, scored chiefly for troives a picture of sone Cathedral
[Footnote 197: It is y to realise that the D minor Symphony was composed in the same year as the B-flat major It was afterwards revised and published as No 4, but the vitality and spontaneity of its theush of Schumann's inspiration]
The Fourth Symphony is an uneven work, for there are many places where Schumann's constructive poas unequal to his ideal conceptions We often can see the joints, and the structure--in places--reseanic texture of an oriental rug But the spontaneous outpouring of h disar for a closer relationshi+p[198] between the conventional movements of the symphony; and his purpose, in the structural treatment adopted, is indicated by the statero, Romanze, Scherzo und Finale _in einem Satze_” _ie_, the work is to be considered as a _continuous whole_ and not broken up into arbitrarydrawn-out Introduction,[199] with its mysterious harmonies, leads us into the land of romance, and a portion of this introduction is happily carried over and repeated in the Romanze The First movement proper, from _Lebhaft_, seems at first as if it were to be in the custo with two themes in the norh to be sure the second theme is more of a supplementary expansion of the first than one which provides a strong contrast But after the double bar and repeat, this first theme is developed in a free preludialup to a clireat warmth which amply makes up for any lack of individuality in the second the_
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[Footnote 198: We find traces of this tendency in the First Syether, likewise in the Second, where the motto of the first movement is repeated at the end of the Scherzo]
[Footnote 199: The analysis is based, as usual, on the orchestral score; for class-room study there are excellent editions for two and four hands]
The rest of the idly sectionalized, on the first theme and a second appearance of the interpolated theme This theme, with rhythmic modifications, serves also as the basis for the brilliant Coda; for there is no Recapitulation proper, and it is evident that the movement is an extended prelude for what is to come--a first portion of the work as a whole After a dra of expectancy (so prominent in the first movement) followed by a sustained ins with a plaintive theme in A minor The inal score the accouitar[201] to secure the appropriate atmosphere After the first statement of the theme there is an interpolated quotation of the characteristic passage froether both in structure and in relationshi+p of mood The movement is in clear-cut three-part for section in thes, which is delicately e_
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[Footnote 200: Concert-goers may well be reminded that there should be _no_ applause between the movements of this work One of the most pernicious ideas of the public is that as soon as the in; whereas a complete silence is often the verywhat has been said and preparing for what is to come Let us ponder the cryptic remark attributed to Mozart that ”the rests in music are more important than the notes”]
[Footnote 201: This was afterwards withdrawn as impracticable What a pity that Schumann wrote before the harp as a member of the orchestra had co to establish co of this Romanza with that in the Slow movement of Franck's Symphony]
At first the 'cellos, also, re-enforce this melody
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The effect is that of an ethereal voice coato part is of special significance, since with rhythe it for movement The Romanze closes with a simple return to the plaintive oboe melody, this time in D minor The tonality is purposely indefinite to accentuate the wistful feeling of thethe suspense of a do After a short pause we are at once whirled into the dashi+ng Scherzo which seee of a Rohtful reminiscence of the Romanze and, from a structural point of view, is an early example of the principle of ”transformation of theme”[202] which plays so important a role in the works of Liszt, Franck, Tchaikowsky and Dvo[vr]ak For the _,
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