Symphonies and Their Meaning Part 13

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]

[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 c.o.c.k 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 cla.s.s 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 n.o.bility 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 s.h.i.+nes 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 cla.s.sics 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 ba.s.soons 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 fas.h.i.+oned, 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]