mat]ial f ! ,google ,pr9t project47 ,music transcrib$ by ,l9da ,cantoni4 ,transcrib]'s ,note3 ,obvi\s pr9t] errors h be5 correct$4 ,que/ionable text is m>k$ ) a ,transcrib]'s ,note4 ,a macron ov] a lett] is repres5t$ by an equal sign1 e4g41 punctus4 ,a c>on ov] a lett] is repres5t$ by a v1 e4g41 ,dvovrk4 ,,music3 ,,an ,,art ,,& ,a ,,language ,,by ,,walt] ,,raymond ,,spald+ ,price #b4ej net ,,! ,,ar?ur ,p4 ,,s*midt ,,co4 ,,bo/on #abj ,,boyl/on ,,/reet ,,new ,,york #h ,,we/ #dj? ,,/reet ,copyright1 #aibj1 by ,,! ,,ar?ur ,p4 ,,s*midt ,,co4 ,int]national ,copyright ,secur$ ,a4,p4,s4 #aaghh ,,to ,,my ,,colleagues ,,9 ,,! ,,dep>tm5t ,,( ,,music ,,at ,,h>v>d ,,univ]sity ,,william ,,clif=d ,,heilman1 ,,edw>d ,,burl+ame ,,hill1 ,,ar*ibald ,,?ompson ,,davison1 ,,edw>d ,,ballant9e ,,supplem5t>y ,,illu/rations = ,,music3 an ,,art & a ,,language ,vols4 ,i ,,ii n[ ready 7,s*midt's ,educational ,s]ies ,no4 #beg-;a1 b7 ,price #a4jj ea* volume ,preface ,al?\gh ( ! mak+ ( books !re is no end1 ?is book1 on s human a subject z music1 we believe %\ld ju/ify itself4 ,a tw5ty-ye>s' exp]i5ce 9 tea*+ ! ,appreciation ( ,music at ,h>v>d ,univ]sity & ,radcliffe ,college has conv9c$ ! au?or t a k ( musical gramm> & /ructure does enable u1 z ! say+ is1 to get m out ( music4 ,?is conviction is fur!r /r5g!n$ by ! /atem5t ( num]\s /ud5ts :o te/ify t aft] analyz+ c]ta9 /&>d compositions _! attitude t[>ds music has *ang$ & _! love = x greatly increas$4 ,9 ! illu/rations 7publi%$ 9 a ,supplem5t>y ,volume7 no concessions h be5 made to s-call$ popul> ta/e2 p h an in/9ctive lik+ = ! be/ :5 x is fairly put be=e !m4 ,we are n provid+ a musical dige/1 s9ce music requires active cop]ation by ! he>]1 nor are we try+ to int]pret music 9 t]ms ( ! o!r arts4 ,music is itself4 ,= ^? :o may be int]e/$ 9 speculat+ z to ! connection betwe5 music & art1 num]\s books are available--"s ( !m excell5t f _! po9t ( view4 ,?is book conc]ns itself ) music z music4 ,x is assum$ t1 if anyone really loves ?is art1 he is will+ & glad to d s]i\s "w to quick5 8 s5se ( he>+1 to broad5 8 imag9ation1 & to /r5g!n 8 memory s t he may become intellig5t 9 appreciation r ?an m]ely absorb$ 9 honey$ s\nds4 ,music is ( su* p[] & glory t we %\ld be ready to devote to its /udy z mu* "t z to a =eign language4 ,9 ! cre$ ( ! music-lov] ! fir/ & la/ article is famili>ity4 ,:5 we ?or\ghly "k a composition s t its !mes s+ 9 our memory & we feel at home 9 ! /ructure1 ! music w speak to u directly1 & all books & analytical comm5ts w be ( second>y importance--^? ( ! pres5t writ] n except$4 ,special ef=t has be5 made to select illu/rations ( musical wor?1 & ^u ^! ! real emphasis 9 /udy %\ld be laid4 ,! mat]ial ( ! book is bas$ on lectures1 (t5 ( an in=mal nature1 9 ! ,appreciation ,c\rse at ,h>v>d ,univ]sity & lays no claim to orig9al rese>*4 ,! difficulty 9 e/abli%+ po9ts ( approa* makes x f> m baffl+ to speak or write ab\t music ?an ab\t ! o!r arts4 ,music is suffici5t unto itself4 ,end[$ ) ! insight ( a ,rusk9 or a ,pat]1 "o may say some?+ wor? :ile ab\t pa9t+4 ,b 9 music ! l9e betwe5 m]e /ati/ical analysis & s5tim5tal rhapsody mu/ be drawn ) exce$+ c>e4 ,if ! subject matt] be cle>ly pres5t$ & ! analyses true--all[ance be+ made = hone/ diff]5ce ( op9ion--e hope w be realiz$4 ,! au?or's gratitude is h]e) express$ to ,mr4 ,p]cy ,lee ,a!rton = 8 critical revision ( ! text & to ,pr(essor ,william ,c4 ,heilman = valuable assi/ance 9 select+ & prep>+ ! musical illu/rations4 ,w4,r4,s4 ,cambridge1 ,massa*usetts ,june1 #aiai ,cont5ts ,i4 ,,prelim9>y ,,consid]ations #a ,,ii4 ,,! ,,folk-,,song #ah ,,iii4 ,,polyphonic ,,music2 ,,seba/ian ,,ba*1 ,,! ,,fugue #cc ,,iv4 ,,! ,,musical ,,s5t5ce #ej ,v4 ,,! ,,two-,,"p ,,& ,,?ree-,,"p ,,=ms #fi ,,vi4 ,,! ,,classical ,,& ,,! ,,mod]n ,,suite #gc ,,vii4 ,,! ,,rondo ,,=m #ha ,,viii4 ,,! ,,v>iation ,,=m #he ,,ix4 ,,! ,,sonata-,,=m ,,& ,,its ,,f\nd]s--,,emmanuel ,,ba* ,,& ,,haydn #ia ,x4 ,,moz>t4 ,,! ,,p]fection ,,( ,,classic ,,/ructure ,,& ,,/yle #ajh ,,xi4 ,,bee?ov51 ,,! ,,tone-,,poet #abb ,,xii4 ,,! ,,romantic ,,compos]s4 ,,s*ub]t1 ,,web] #afj ,,xiii4 ,,s*umann ,,& ,,m5delssohn #agb ,,xiv4 ,,*op9 ,,& ,,pian(orte ,,/yle #ahh ,,xv4 ,,b]lioz ,,& ,,liszt4 ,,program ,,music #bjb ,,xvi4 ,,brahms #bbh ,,xvii4 ,c,,s> ,,franck #bee ,,xviii4 ,,! ,,mod]n ,,fr5* ,,s*ool--,d',,indy ,,& ,,debussy #bhj ,,xix4 ,,national ,,s*ools--,,russian1 ,,bohemian ,,& ,,sc&9avian #cjj ,,xx4 ,,! ,,v>i$ ,,t5d5cies ,,( ,,mod]n ,,music #cbf ,music is ! univ]sal language ( mank9d4 --,,longfell[4 ,music c noble h9ts imp>t1 ,eng5d] fury1 k9dle love2 ,) unsuspect$ eloqu5ce c move ,& manage all ! man ) secret art4 --,,addison4 ,music is ! s\nd ( ! circulation 9 nature's ve9s4 ,x is ! flux :i* melts nature4 ,m5 dance to x1 glasses r+ & vibrate1 & ! fields seem to undulate4 ,! heal?y e> always he>s x1 ne>] or m remote4 --,,?oreau4 ,to /rike all ?is life dead1 ,run m]cury into a mold l lead1 ,& h5ce=? h ! pla9 result to %[-- ,h[ we ,feel h>d & fa/1 & :at we ,"k-- ,?is 7 ! prize1 & is ! puzzle6--:i* ,music essays to solve4 --,,br[n+4 ,all music is :at awakes f y :5 y are rem9d$ by ! in/rum5ts4 --,,:itman4 ,music3 an ,art & a ,language ,,*apt] ,i ,,prelim9>y ,,consid]ations ,9 approa*+ ! /udy ( any subject we may fairly expect t ?is subject %all be def9$1 al?\gh "s "o has ironically rem>k$ t e def9ition is a mis=tune4 ,music-lov]s1 h[ev]1 w rejoice t _! favorite art is sp>$ su* a mis=tune1 = x c n be def9$4 ,we "k ! factors ( :i* music is con/itut$1 rhy?m & s\nd2 & we c trace ! hi/oric /eps by :i* me?ods ( pres5tation & ( /yle h be5 s p]fect$ t by means ( ?is tw(old mat]ial ! emotions & aspirations ( human be+s may be express$ & p]man5tly record$4 ,we realize1 & ) our inborn equipm5t c appreciate1 ! mov+ p[] ( music2 b to def9e1 9 ! usual s5se ( ! t]m def9ition1 :at music really is1 w be =ev] impossible4 ,! fact inde$ t music--l love1 electricity & o!r elem5tal =ces--_c be def9$ is its special glory4 ,x is a peculi>1 my/]i\s p[]2#a q 9 a class by itself1 al?\gh ) c]ta9 aspects :i* x %>es ) ! o!r arts4 ,! writ+s ( all ! great poets1 su* z ,milton1 ,%akespe>e1 ,br[n+ & ,:itman1 ab\nd 9 eloqu5t tributes to ! p[] & influ5ce ( music1 b x is noticeable t no "o attempts to def9e x4 ,! my/]y ( music mu/ be approa*$ ) rev]5ce & music mu/ be lov$ = itself ) p]fect s9c]ity4 ,footnote #a3 ,= sugge/ive comm5ts on ?is po9t see ! essays ,h>monie et ,melodie by ,sa9t-,sans1 ,*apt]s ,i & ,,ii4 ,"s insight1 h[ev]1 may be ga9$ into ! nature ( music by a cle> recognition ( :at x is n1 & by a comp>ison ) ! m def9ite & famili> arts4 ,music consi/s ( ! intangible & elusive factors ( rhy?m & s\nd2 9 ?is way diff]+ fundam5tally f ! concrete /atic arts su* z ar*itecture1 sculpture & pa9t+4 ,fur!rmore1 in/rum5tal music1 i4e41 music fre$ f a dep5d5ce on words1 is n an exact language l prose & poetry4 ,x speaks to our feel+s & imag9ations1 z x 7 by sugge/ion2 rea*+ = ?is v reason dep?s ( our be+ q beyond ! p[] ( m]e words4 ,no "o c def9e rhy?m except by say+ t rhy?m1 9 ! s5se ( motion1 is ! fundam5tal fact 9 ! univ]se & 9 all life1 bo? physical & human4 ,ev]y?+ 9 ! heav5s above & 9 ! e>? b5ea? is 9 ceaseless motion & *ange2 no?+ rema9s ! same = two consecutive seconds4 ,ev5 ! compon5t p>ts ( mat]ial--su* z /one & wood1 :i* we ord9>ily speak ( z concrete & /ation>y--are :irl+ ab\t ) ceaseless en]gy1 & (t5 9 p]fect rhy?m4 ,?us we see h[ natural & vital is ! art ( music1 = x is insep>ably connect$ ) life itself4 ,z = ! o!r factor1 s\nd is "o ( ! mo/ elem5tal & my/]i\s ( all physical ph5om5a4#b ,:5 ! air is set 9 motion by ! vibration ( c]ta9 bodies ( wood1 metal & o!r mat]ial1 we "k t s\nd waves1 /rik+ ^u ! tympanum ( ! e>1 p5etrate to ! bra9 & imag9ation4 ,s\nd is a reciprocal ph5om5on2 =1 ev5 if !re 7 sy/ematic activity ( vibrat+ bodies1 !re c\ld be no s\nd )\t "s "o to he> x4#c ,good musicians are kn[n = _! p[] ( ke5 & discrim9at+ he>+2 & ! e>1#d z ,sa9t-,sans says1 is ! sole av5ue ( approa* to ! musical s5se4 ,! fir/ ambition = "o :o w\ld appreciate music %\ld be to cultivate ?is p[] ( he>+4 ,x is q possible to be /one-deaf outw>dly & yet he> mo/ beautiful s\nds )9 ! bra94 ,?is 0 approximately ! case ) ,bee?ov5 aft] 8 ?irtie? ye>4 ,on ! o!r h&1 _m p h a p]fect outw>d app>atus = he>+ b no?+ is regi/]$ )94 ,footnote #b3 ,see ,*apt] ,,ii ( ,gurney's ,p[] ( ,s\nd1 a book rem>kable = its insight4 ,footnote #c3 ,x is und]/ood t ?is /atem5t is made 9 a subjective r ?an a purely physical s5se4 ,see ! ,c5tury ,diction>y "u ,s\nd4 ,footnote #d3 ,il y a donc1 dans l'art des sons1 quelque *ose qui trav]se l'oreille comme un portique1 la raison comme un ve/ibule et qui va plus lo94 ,,h>monie ,,et ,,melodie1 ,,*apt] ,,ii4 ,comb>ieu1 ! ,fr5* ae/hetician1 def9es music z ! art ( ?9k+ 9 tones4#e ,!re is food = ?\ght 9 ?is /atem5t1 b x seems to leave out "o v important factor--namely1 ! emotional4 ,e great musical composition reveals a c>efully plann$ & p]fect balance betwe5 ! emotional & intellectual elem5ts4 ,& yet ! basic impulse = ! creation ( music is an emotional "o2 &1 ( all ! arts1 music makes ! mo/ direct appeal to ! emotions & to ^? %ad[y1 b real portions ( our be+ call$ ! imag9ation & ! s\l4 ,emotion is z indisp5sable to music z love to religion4 ,j z !re c be no really great art )\t passion1 s we c n imag9e music )\t all ! emotions ( mank9d3 _! loves1 joys1 sorr[s1 hatr$s1 ideals & subtle fancies4 ,music1 9 fact1 is a pres5tation ( emotional exp]i5ce1 fa%ion$ & controll$ by an ov]rul+ intellectual p[]4 ,footnote #e3 ,la musique1 ses lois1 son evolution1 by ,jules ,comb>ieu4 ,we c n[ =esee1 ?\gh at fir/ dimly1 :at is to be our l9e ( approa* to ?is my/]y4 ,"o ( ! peculi> *>act]i/ics ( music is t x is bo? ! mo/ natural & lea/ artificial ( ! arts1 & z well ! mo/ complicat$ & subtle4 ,on ! "o h& x is ! mo/ natural & direct1 because ! mat]ials ( :i* x is con/itut$--t is1 s\nd & rhy?m--make an in/9ctive appeal to e normally equipp$ human be+4#f ,e "o likes to li/5 to beautiful s\nds m]ely = _! s5su\s effect1 j z ev]yone likes to look at ! blue sky1 ! gre5 grass & ! *ang+ hues ( a sunset2 s ! rhy?m ( music1 ak9 to ! human he>t-beat & to ! ceaseless *ange & motion1 :i* is ! basic fact 9 all life1 appeals at once to our own physical vitality4 ,?is fact may be obs]v$ at a symphony conc]t :]e s _m p are wagg+ _! heads1 beat+ "t ) _! h&s or ev5 tapp+ on ! floor ) _! feet2 a habit :i* %[s a rudim5t>y love ( music b :i* = obvi\s reasons is n to be comm5d$4 ,on ! o!r h&1 music is ! mo/ complicat$ ( all ! arts f ! nature ( its con/itu5t p>ts--intangible1 evanesc5t s\nds & rhy?ms--& f ! subtle gramm> & /ructure by :i* ^! factors are us$ z means ( p]sonal communication4 ,?is gramm> ( music1 i4e41 its me?ods ( /ructure & ( pres5tation1 has be5 work$ out ?r\gh c5turies ( free exp]im5tation on ! "p ( "s ( ! be/ m9ds 9 ! _w1 & ?us any great musical composition is an intellectual a*ievem5t ( high rank4 ,beh9d ! s5su\s factors1 s\nd & rhy?m1 lies always ! p]sonal message ( ! compos]1 & if we are to grasp ?is & to make x our own1 we mu/ g ) him h& 9 h& s t ! music actually lives aga9 9 our m9ds & imag9ations4 ,! practical inf]5ce f ?is dual nature ( ! art we are consid]+ is cle>2 ev]yone c d]ive a l>ge am\nt ( g5u9e pleasure & ev5 spiritual exaltation1 c feel himself "u ! influ5ce ( a /rong tonic =ce1 m]ely by putt+ himself 9 contact ) music1 by op5+ 8 e>s & dr9k+ 9 ! s\nds & rhy?ms 9 _! m>vell\s v>iety4 ,! all-suffici5t reason = ! lack ( a complete appreciation ( music is t s _m p /op at ?is po9t1 i4e4 = !m music is a s5su\s art & no?+ m4 ,wagn] himself1 9 fact1 is on record 9 a lett] to ,liszt z say+1 9 reg>d to ! appreciation ( 8 op]as3 ,i require no?+ f ! public b heal?y s5ses & a human he>t4 ,al?\gh ?is may be p>ticul>ly true ( op]a1 :i* is a composite =m ( art1 mak+ s v>i$ an appeal to ! p>ticipant t ev]yone c get some?+ f its picture ( life--hi/orical1 leg5d>y1 ev5 fictiti\s--z well z f ! actors1 ! co/umes & ! /ory1 ! /atem5t is c]ta9ly n applicable to :at is call$ absolute music1 :]e music is disassociat$ f ! guid+ help ( words1 & express$ by ! m$ia ( or*e/ra1 /r+ qu>tet1 pian(orte1 & v>i\s ensemble gr\ps4 ,= 9 addition to its s5su\s appeal1 music is a language us$ z a means ( p]sonal expression2 sometimes 9 ! nature ( an intimate soliloquy1 b f> m (t5 z a direct means ( communication betwe5 ! m9d & s\l ( ! compos] & ( ! li/5]4 ,to say t we und]/& ! message express$ 9 ?is language j because we happ5 to l beautiful s\nds & /imulat+ rhy?ms is surely to be our own dupes4 ,we might z well say t because we enjoy he>+ ,italians or ,fr5*m5 speak _! own beautiful languages we are und]/&+ :at !y say4 ,! "q1 !re=e1 faces u3 h[ %all we le>n ?is my/]i\s language s z readily to und]/& x8 ,& ! answ] is equally inevitable3 by le>n+ some?+ ( ! mat]ial ( :i* x is compos$1 & above all1 ! fundam5tal pr9ciples ( its /ructure4 ,footnote #f3 ,j z "s p are color-bl9d !re are ^? :o are tone-deaf--to :om1 t is1 music is a disagreeable noise--b !y are s few z to be negligible4 ,9 attempt+ to c>ry out ?is simple direction1 h[ev]1 we are confront$ by ano!r ( ! peculi> *>act]i/ics ( music4 ,music1 9 di/9ction f ! /atic1 concrete & imitative arts1 is always 9 motion1 & to foll[ x requires an int5sity ( conc5tration & an accuracy ( memory :i* c be acquir$1 b = :i*1 l mo/ good ?+s1 we h to "w4 ,we all "k ! adage t beauty is 9 ! eye ( ! behold] & t any "w ( art mu/ be recreat$ 9 ! imag9ation ( ! p>ticipant4 ,! difficulty ( ?is process ( recreation1 z appli$ to music1 is t we h1 d]iv$ f our ord9>y daily exp]i5ces1 s little to help u4 ,anyone c beg91 at lea/1 to und]/& a "w ( ar*itecture2 x mu/ h doors & w9d[s1 & %\ld con=m to practical ideas ( /ructure4 ,9 l mann]1 a pa9t+1 ei!r a portrait or a l&scape1 mu/ %[ "s correspond5ce ) nature h]self1 & s we h def9ite /&>ds to help our imag9ation4 ,b music has work$ out its own laws :i* are ^? ( pure fancy1 hav+ little to d ) o!r =ms ( ?\ght2 & unless we "k some?+ ( ! con/ructive pr9ciples1 in/ead ( recreat+ ! "w be=e u1 we are simply lo/--dr[n$ 9 a sea ( s\nd--(t5 rudely %ak5 up by ! rhy?ms1 b f> f und]/&+ :at ! music is really say+4 ,z ! well-kn[n critic1 ,santayana1 wittily says1 ,to mo/ p music is a dr[sy rev]y reliev$ by n]v\s ?rills4 ,not)/&+1 h[ev]1 ! peculi> nature ( music & ! difficulty ( ga9+ logical impressions z ! s\nds & rhy?ms flood 9 ^u u1 !re is "o simple =m ( cop]ation :i* solves mo/ ( ! difficulties2 t is1 famili>ity4 ,x is ! duty ( ! compos] s to express himself1 to make 8 mean+ s cle>1 t we c receive x ) a m9imum ( m5tal friction if we c only get to "k ! music4 ,all really good music corresponds to su* a /&>d2 t is1 if x is ne$lessly involv$1 ab/ruse1 diffuse1 or turgid1 x is 9 s f> n music ( ! highe/ arti/ic wor?4 ,9 ?is connection we mu/ always rememb] t music does n /ay put1 l a picture on ! wall4 ,we _c walk ?r\gh x1 z is ! case ) a ca!dral2 turn back1 z 9 a book2 t\* x1 z ) a /atue4 ,x is n ! expression ( m or less def9ite ideas1 su* z we f9d 9 prose & poetry4 ,on ! o!r h&1 x ru%es ^u u ) ! impassion$ _s ( an eloqu5t orator1 & :at we get f x dep5ds almo/ entirely ^u our own int5sity ( application & ^u our k ( ! !mes & ( ! g5]al purpose ( ! "w4 ,only ) increas$ famili>ity does ! ar*itecture /& reveal$4 ,bee?ov51 x is said1 :5 once ask$ ! mean+ ( a sonata ( 81 play$ x ov] aga9 & repli$1 ,x means t4 ,music is itself4 ,! "q = e music-lov] is3 c ,i equip myself 9 su* a way z to feel at home 9 ?is language1 to receive ! message z directly z possible1 & f9ally ) p]fect ease & satisfaction8 ,?is equipm5t dem&s a /rong1 accurate memory1 a ke5 p[] ( discrim9ation & a sympa!tic1 op5 m9d4 ,ano!r p>adoxical *>act]i/ic ( music on :i* x is int]e/+ to reflect is ?is3 ,music is ! olde/ z well z ! y\nge/ ( ! arts1 i4e41 x has always#g exi/$ g5]ically1 & all human be+s born1 z !y are1 ) a musical in/rum5t--! voice--are ipso facto musicians2 & yet 9 b\ndless scope ( possibilities x is j 9 its infancy4 ,= :o c limit ! comb9ations ( s\nd & rhy?m1 or =eca/ ! range ( ! human imag9ation8 ,! creative fancy ( ! compos] is always 9 advance ( contempor>y ta/e & criticism4 ,h5ce1 9 li/5+ to new music1 we %\ld bew>e ( reckless ass]tions ( p]sonal pref]5ce4 ,! fir/ "q1 9 ! pres5ce ( an elaborate "w ( music1 %\ld nev] be1 ,d ,i l x or n8 b ,d ,i und]/& x8 ,is ! music convey+ a logical message to me1 or is x m]ely a sea ( s\nd8 ,! fir/ & la/ article 9 ! music-lov]'s cre$1 ,i repeat1 %\ld be famili>ity4 ,:5 we ?or\ghly "k a symphony1 symphonic poem or sonata s t1 = example1 we c s+ ! !mes to ourselves1 ! music w reveal itself4 ,! diff]5ce betwe5 ! tra9$ li/5] & ! p]son ( m]ely g5]al musical t5d5cies is t ! =m] ga9s a def9ite mean+ f ! music (t5 at a fir/ he>+2 :]eas1 to ! latt]1 _m he>+s are necess>y be=e he c make head or tail ( ! composition4 ,s9ce ! creative compos] ( music is a ?9k] 9 tones1 our p]ceptions mu/ be s tra9$ t1 z we li/51 we make s5se ( ! fabric ( s\nds & rhy?ms4 ,footnote #g3 ,f e>lie/ times1 mo!rs h d\btless croon$ to _! infants 9 in/9ctive lullabies4 ,x is evid5t f ! =ego+ obs]vations t our approa* to ! subject is to be on ! intellectual side4 ,music1 to be sure1 is an emotional art & s appeals to our emotions1 b ^! w take c>e ( !mselves4 ,we all h a reasonable supply ( emotion & practically no human be+ is entirely defici5t 9 ! capacity = be+ mov$ by music4 ,we c1 h[ev]1 %>p5 our wits & /r5g!n our musical memories2 = x is obvi\s t if we _c recognize a !me or rememb] x :5ev] x appe>s1 (t5 9 an amplifi$ or ev5 subtly disguis$ =m1 we are 9 no condition to foll[ & appreciate ! logical gr[? & developm5t ( ! !mes !mselves :i*1 9 a "w ( music1 are j z real be+s z ! dramatis p]sonae 9 a play4 ,! w\ld-be appreciator %\ld e>ly recognize ! fact t li/5+ to music is by no means passive1 a means ( light amusem5t or to pass ! "t1 b dem&s cop]ation ( an active nature4 ,:e!r or n we h ! emotional capacity ( a creator ( music may rema9 an op5 "q2 b by sy/ematic m5tal application we c1 z we li/5 to x1 get f ! music t s5se :i* ! compos] meant to convey4 ,music--m ?an ! o!r arts--dem&s1 to use a happy expression ( ,d4,g4 ,mason1 t we m5tally organize our s5sations & ideas2 = ! language ( music has no su* fix$ gramm> z v]bal modes ( expression1 & ! message1 ev5 :5 receiv$1 is sugge/ive r ?an def9ite4 ,9 ?is way only c ! composition be recreat$ 9 our imag9ations4 ,= acquir+ ?is habit ( m9d1 ?is al]tness & conc5tration1 ! />t1 z always1 is m ?an half ! battle4 ,s*umann's good advice to "y compos]s may be transf]r$ to ! li/5]3 ,be sure t y inv5t a ?or\ghly vital !me2 ! re/ w gr[ ( itself f ?is4 ,likewise 9 li/5+ to music1 "o %\ld be sure to grasp ! op5+ !me1 ! fundam5tal motive1 9 ord] to foll[ x intellig5tly & to enjoy its subsequ5t gr[? into ! complete "w4#h ,footnote #h3 ,9 ?is connection we _c refra9 f sugge/+ ! improvem5t :i* %\ld be made 9 ! conc]t mann]s ( ! public4 ,h[ (t51 at ! beg9n+ ( a conc]t1 d we see p remov+ _! wraps1 look+ at _! neighbors1 read+ ! programme book1 etc41 in/ead ( conc5trat+ on ! music itself2 ) ! result t ! composition is (t5 well on its way be=e su* p h f\nd _! be>+s4 ,e piece ( music1 ) ! exception ( int5tionally rhapsodic utt]ances1 beg9s ) "s gr\p ( notes ( di/9ct rhy?mic & melodic int]e/1 :i* is ! g]m--! g5]ative =ce--( ! :ole1 & :i* is comp>able to ! text ( a s]mon or ! subject ( a drama4 ,?is introductory gr\p ( notes is call$1 te*nically1 a motive or mov+ =ce & may be def9$ z ! simple/ unit ( imag9ative life 9 t]ms ( rhy?m & s\nd1 :i* in/antly impresses itself ^u our consci\sness &1 :5 he>d sev]al times1 _c be =gott5 or confus$ ) any o!r motive4 ,a musical !me--a long] sweep ( ?\ght 7to be expla9$ lat]7--may consi/ ( sev]al motives ( :i* ! fir/ is g5]ally ! mo/ important4 ,j "h lies ! diff]5ce betwe5 ! ,heav5-born !mes ( a truly creative compos] & ! bundle ( notes put =? by less] m54 ,^! liv+ !mes pi]ce our imag9ations & s+ 9 our memories1 sometimes = ye>s1 :]eas ! inept & flabby tunes ( c]ta9 s-call$ compos]s make no /rong impression & are =gott5 almo/ z soon z he>d4 ,motives obvi\sly diff] f ea* o!r 9 reg>d to ! int]vals ( ! tones compos+ !m1 i4e41 ! up & d[n relation%ip 9 pit*1 ! duration ( ! tones & _! gr\p+ into metric s*emes4 ,b a real motive is always t]se1 concise1 *>act]i/ic & pregnant ) unreveal$ mean+4 ,! *ief glory ( su* creative tone-poets z ,bee?ov51 ,wagn]1 ,brahms & ,franck is t _! imag9ations c\ld give bir? to musical (fspr+ t live = ev] & are lov$ l life itself4 ,! fir/ /ep1 !n1 9 ! progress ( ! appreciator ( music is ! recognition ( ! *ief motive or motives ( a composition & ! developm5t ( p[] to foll[ !m 9 _! organic gr[?4 ,?is ability is p>ticul>ly necess>y 9 mod]n music3 = frequ5tly all f\r movem5ts ( a symphony or /r+-qu>tet are bas$ ^u a motive :i* keeps appe>+--(t5 9 alt]$ =m & 9 relation%ips :i* imply a dramatic or sugge/ive mean+4 ,a few ( su* motives are cit$ h]e)1 tak5 f works ) :i*1 z we proce$1 we %all become famili>4 ,music3 ,c,,s> ,,franck3 ,symphony 9 ,d m9or ,music3 ,,brahms3 ,fir/ ,symphony 9 ,c m9or ,music3 ,,t*aik[sky3 #e? ,symphony ,music3 ,,dvo,,vr,k3 ,symphony ,f ! ,new ,_w ,x is n[ necess>y = ! /ud5t to "k some?+ ab\t ! con/ructive pr9ciples by :i* l>ge works ( music are fa%ion$2 n s mu* t he c\ld compose ^! works himself1 ev5 if he _h ! inspiration1 b to "k en\gh1 s t ! reception ( ! music is n a haphaz>d activity b an intellectual a*ievem5t1 second only to t ( ! orig9al creator4 ,e g5u9e "w ( art 9 :atev] m$ium1 /one1 color1 ^w or tone1 mu/ exhibit unity ( g5]al effect ) v>iety ( detail4 ,t is1 ! mat]ial mu/ hold toge!r1 be coh]5t & conv9ce ! p>ticipant ( ! logical design ( ! arti/2 n fall ap>t z might a bad build+1 or be diffuse z a poorly writt5 essay4 ,& yet1 ) ?is coh]5ce1 !re mu/ always be /imulat+ & refre%+ v>iety2 = a too con/ant insi/5ce on ! ma9 mat]ial produces intol]able monotony1 su* z ! damnable it]ation ( a m$iocre prose "w or ! h>p+ away on "o !me by ! hack compos]4 ,9 no art m ?an music is ?is dual /&>d ( great] importance1 & 9 no art m difficult to atta94 ,= ! raw mat]ial ( music1 fleet+ rhy?ms & waves ( s\nd1 is 9 its v nature mo/ incoh]5t4 ,"h we are n deal+ ) ! concrete1 tangible & def9ite mat]ial :i* is available = all ! o!r arts1 b ) some?+ intangible & elusive4 ,we "k f ! hi/orical record#i ( musical developm5t1 t1 only aft] c5turies ( exp]im5tation conduct$ by "s ( ! be/ intellects 9 ,europe1 0 suffici5t coh]5ce ga9$ s t !re c\ld be compos$ music :i* w\ld comp>e ) ! simple/ mod]n hymn-tune or "p-song4 ,& ?is 0 long aft] ea* ( ! o!r arts--ar*itecture1 sculpture1 pa9t+ & lit]ature--_h rea*$ po9ts ( atta9m5t :i*1 9 _m respects1 h nev] s9ce be5 equall$4 ,footnote #i3 ,comp>e ,p>ry's ,evolution ( ! ,art ( ,music1 passim & ,d4,g4 ,mason's ,bee?ov5 & 8 ,=]unn]s1 ,*apt] ,i4 ,be=e c>ry+ our inquiries fur!r1 some?+ mu/ be said ab\t ! two ma9 l9es ( musical developm5t :i* l$ up to music z we "k x to-day4 ,^! t5d5cies are designat$ by ! t]ms ,homophonic & ,polyphonic4 ,by homophonic1#aj f ,greek words signify+ a s+le voice1 is meant music consi/+ ( a s+le melodic l9e1 z 9 ! :ole field ( folk-songs 7:i* orig9ally 7 always unaccompani$7 or 9 ! unison *ants ( ! ,greeks & ! ,gregorian tones ( ! e>ly *ur*1 9 :i* !re is "o melody ?\gh _m voices may unite 9 s++ x4 ,lat] we %all see :at important pr9ciples = ! gr[? ( in/rum5tal music 7 borr[$ f ! in/9ctive practise associat$ ) ! folk-song & folk-dance4 ,b hi/ory makes cle> t ! fundam5tal pr9ciples ( musical coh]5ce 7 work$ out 9 ! field ( music kn[n z ! ,polyphonic4 ,by ?is t]m1 z ! d]ivation implies1 is meant music ! fabric ( :i* is made by ! int]weav+ ( sev]al indep5d5t melodies4 ,= _m c5turies ! mo/ reliable in/rum5t 0 ! human voice & ! only art-music1 i4e41 music :i* 0 ! result ( consci\s m5tal & arti/ic endeavor1 0 vocal music = gr\ps ( unaccompani$ voices 9 ! liturgy ( ! *ur*4 ,ab\t ! t5? c5tury1 musicians tri$ ! crude exp]im5t1#aa call$ ,organum1 ( mak+ two gr\ps ( s+]s move 9 p>allel fif?s e4g41 ,music3 ,tu ,patris sempit]nus es ,filius4 b dur+ ! #ac? & #ad? c5turies a me?od 0 work$ out by :i* ! introductory tune 0 made to g5]ate its own subsequ5t tissue4 ,x 0 f\nd t a body ( s+]s c\ld ann\nce a melody ( a c]ta9 type & t1 aft] !y _h proce$$ s f>1 a second set ( s+]s c\ld repeat ! op5+ melodic phrase--& s likewise (t5 a ?ird & a f\r? set--& t all ! voices c\ld be made to bl5d toge!r 9 a fairly h>moni\s :ole4#ab ,a piece ( music ( ?is sy/ematic /ructure is call$ a ,r\nd because ! s+]s take up ! melody 9 rotation & at regul> rhy?mic p]iods4#ac ,! e>lie/ specim5 ( a ,r\nd is ! fam\s "o ,sum] is icum5 9 circa #abbe 7see ,supplem5t ( musical ,examples ,no4 #a71 :i* %[s to :at a high po9t ( p]fection--consid]+ ^? e>ly days--musicians _h br\ght _! art4 ,=1 at any rate1 by ^! sy/ematic1 imitative repetitions !y _h secur$ ! fir/ requisite ( all music1 coh]5ce4 ,?is pr9ciple1 once x 0 sanction$ by gr[+ musical in/9ct1 & approv$ by conv5tion1 0 develop$ into su* well-kn[n types ( polyphonic music z ! ,canon1 ! ,inv5tion & ! ,fugue2 t]ms :i* w be fully expla9$ lat] on4 ,x is ( m ?an pass+ int]e/ to realize t ^! /ructural pr9ciples ( music 7 work$ out 9 ! same locality--,nor!rn ,france & ! ,ne!rl&s1 & by k9dr$ intellects--z witness$ ! gr[? ( ,go?ic ar*itecture2 & !re is a fundam5tal aff9ity betwe5 ! int]weav+s ( polyphonic or1 z x is (t5 call$1 contrapuntal#ad music & ! /one trac]ies 9 m$ieval ca!drals4 ,dur+ ! #ac? & #ad? c5turies nor!rn ,france1 ) ,p>is z its c5tre1 0 ! mo/ cultivat$ "p ( ,europe1 & ! ,flemi% cities ( ,cambrai1 ,t\rnai1 ,l\va9 & ,antw]p w always be r5[n$ 9 ! hi/ory ( art1 z ! bir?place ( ,go?ic ar*itecture1 ( mod]n pa9t+ & ( polyphonic music4#ae ,a great deal ( ! impetus t[>ds ! sy/ematic repetition ( ! voice p>ts mu/ h be5 caus$ by practical necessity 7?us ju/ify+ ! old adage72 =1 be=e ! days ( pr9t$ music1 or ev5 ( a well-e/abli%$ tradition--:5 ev]y?+ _h to be labori\sly writt5 out or transmitt$ orally--:ole compositions c\ld be r5d]$ by ! s+]s ?r\gh ! simple device ( rememb]+ ! introductory !me & jo9+ 9 f memory :5ev] _! turn came4 ,compositions 9 fact 7 (t5 s record$4#af ,! foll[+ old ,engli% r\nd 7circa #afji7 %[s cle>ly h[ ! voices ent]$ 9 rotation4 ,music3 #a ,?ree bl9d mice1 ?ree bl9d mice #b ran ar\nd ?rice1 ran ar\nd ?rice2 ,! #c mill] & 8 m]ry old wife ne'er laugh'd s mu* 9 all _! life4 ,= a ,r\nd 9 /rict canonic imitation by ! fam\s ,engli% compos] ,william ,byrd 7#aedb-afbc7 see ! ,supplem5t1 ,example ,no4 #b4 ,9 due "t s+]s ( t p]iod became likewise v pr(ici5t 9 improvis+ free p>ts ab\t a giv5 melody or cantus firmus1 a practice indicat$ by ! t]m musica ficta :i* 0 b5eficial 9 /imulat+ ! imag9ation to a g5u9e musical activity4 ,footnote #aj3 ,9 comp>atively rec5t times ! t]m has be5 wid5$ to include music 9 :i* !re is "o *ief melody to :i* o!r portions ( ! musical texture are subord9ate2 e4g41 ! homophonic /yle ( ,*op9 9 ^: works ! *ief melody1 (t5 9 ! upp] voice1 seems to float on und]ly+ waves ( s\nd4 ,footnote #aa3 ,= a complete acc\nt ( ^! e>ly attempts :i* f9ally l$ to "p-writ+ see ,*apt] ,,iv 9 ! fir/ volume ( ! ,ox=d ,hi/ory ( ,music4 ,footnote #ab3 ,an hi/orical acc\nt ( ?is developm5t z f> z x is asc]ta9able may be f\nd 9 ! fif? *apt] ( ,pratt's ,hi/ory ( ,music4 ,footnote #ac3 ,consult ! article on ! ,r\nd 9 ,grove's ,diction>y4 ,footnote #ad3 ,a r crude ,engli% adaptation ( ! ,lat9 t]m ,punctus contra punctum :i* ref]s to ! notes z punctus 7plural7 or dots :i* 7 prick$ ) a /ylus into ! m$ieval manuscripts4 ,9 ?is phrase ! emphasis is on ! contra1 signify+ a comb9ation ( diff]5t melodies & rhy?ms1 & call+ att5tion to t high] importance :i*1 ev]y:]e 9 art1 is caus$ by contra/$ elem5ts4 ,footnote #ae3 ,= an int]e/+ acc\nt ( ?is trip>tite activity see ,naumann's ,hi/ory ( ,music4 ,footnote #af3 ,see ! facsimile ( ! orig9al manuscript ( ,sum] is icum5 9 cit$ 9 ! fir/ volume ( ! ,ox=d ,hi/ory ( ,music1 pp4 #cbf-ccb4 ,we c n[ beg9 to realize ! importance ( polyphonic music4 ,9 fact1 x is n too mu* to ass]t t sy/ematic repetition 9 "s =m or o!r 7sev]al aspects ( :i* we %all describe 9 due season7 is ! mo/ important con/ructive pr9ciple 9 music1 necessitat$ by ! v nature ( ! mat]ial4 ,?is /atem5t c be corroborat$ by a glance at almo/ any page ( music consid]$ m]ely z a patt]n1 q reg>dless h[ ! notes s\nd4 ,we obs]ve at once t "s portions ( ! page look mu* or exactly l o!r portions4 ,frequ5tly :ole movem5ts or long p>ts ( a "w are bas$ entirely ^u "s t]se & *>act]i/ic motive4 ,fam\s examples ( ?is practise are ! fir/ movem5t ( ,bee?ov5's ,fif? ,symphony 9 ,c m9or :i*1 ) c]ta9 subsidi>y !mes to af=d contra/1 is entirely bas$ on ! motive3 ,music ! ,f9ale ( ,wagn]'s op]a ,! ,valkyrie 7see ,supplem5t1 ,example ,no4 #c7 ! *ief motive ( :i* ,music is pres5t$ 9 e phase ( modulatory & rhy?mic developm5t1 & ! middle portion ( ! ,reconnaissance f ,s*umann's ,c>naval 7see ,supplem5t1 ,example ,no4 #d47 ,music1 j because its sub/ance is s elusive & requires su* al]t att5tion on ! "p ( ! li/5]1 _c cont9ually pres5t new mat]ial#ag )\t becom+ diffuse2 b in/ead1 mu/ make its impression by v>i$ emphasis ^u ! ma9 ?\ght4 ,o!rwise x w\ld become s discursive t "o c\ld n possibly foll[ x4 ,f ^! hi/orical facts z to ! /ructure ( music c]ta9 inf]5ces may be drawn2 ! vital importance ( :i* to ! li/5] c h>dly be exagg]at$4 ,z polyphonic treatm5t 7! imitation & int]weav+ ( indep5d5t melodic l9es7 is ! f\ndation ( any l>ge "w ( music1 be x symphony1 symphonic poem or /r+ qu>tet1 s ! li/5] mu/ acquire :at may be call$ a polyphonic e>4 ,= ) ! majority ( li/5]s1 ! :ole difficulty & ! cause ( _! dissatisfaction ) s-call$ classic music is m]ely lack ( equipm5t4 ,ev]yone c he> ! tune 9 ! soprano or upp] voice1 = ! int5sity ( pit* makes x /& out ) tell+ effect2 &1 z a fact1 _m ( ! be/ tunes 9 musical lit]ature are s plac$4 ,b h[ ab\t ! tune :5 x is 9 ! bass z is ! case s frequ5tly 9 ,bee?ov5's ,symphonies or 9 ,wagn]'s ,op]as8 ,"s ( ! mo/ eloqu5t p>ts ( ! musical message are1 inde$1 (t5 9 ! bass1 ! f\ndation voice1 & yet ^! are entirely ignor$ by ! av]age li/5]4 ,!n :at ( ! inn] voices2 & :at--mo/ important ( all--:5 !re are beautiful melodies 9 all p>ts ( ! musical fabric1 (t5 s\nd+ simultane\sly1 z 9 su* well-kn[n works z ,cs> ,franck's ,symphony 9 ,d m9or & ,wagn]'s ,prelude to ! ,ma/]s+]s6 ,z we face ^! que/ions squ>ely ! ne$ = ! li/5] ( special tra9+ 9 al]tness & conc5tration is self-evid5t4 ,a v small proportion ( ^? :o att5d a symphony conc]t beg9 to get _! money's wor?--to put ! matt] on a p]fectly practical plane--= at lea/ #ej ( ! musical /ructure is pres5t$ to e>s )\t capacity = receiv+ x4 ,9 reg>d to any "w ( l>ge dim5sions ! f9al te/ is ?is3 c we s+ all ! !mes & foll[ !m 9 _! polyphonic developm5t8 ,!n only are we really acqua9t$ ) ! "w2 !n only1 9 reg>d to p]sonal l or dislike1 h we any "r to pass judgm5t ^u x4 ,! absurd attitude1 f> too common1 ( ha/y1 ill-consid]$ criticism is illu/rat$ by ! fact t :ile ,brahms is said to h work$ = t5 ye>s on t ,titanic creation1 8 ,fir/ ,symphony1 yet p]sons w he> x once & h ! audacity to say !y d n l x4 ,z well /roll ?r\gh ,*>tres ,ca!dral & say !y did n ?9k mu* ( x6 ,footnote #ag3 ,= a simple1 *>m+ example ( p]si/5t use ( a motive see ,s*umann's pian(orte piece ,k9d im ,e9s*lumm]n1 ,no4 #ab ( ! ,k9d]sc554 ,we mu/ n[ speak ( ! two o!r manife/ations ( ! pr9ciple ( repetition4 ,fundam5tally1 to be sure1 !y are n connect$ ) polyphonic music2 ! ?ird type1 9 fact1--re/atem5t aft] contra/--be+ in/9ctively work$ out 9 ! ,folk-,song 7z w be made pla9 lat]7 & def9itely ratifi$ z a /ructural pr9ciple by ! ,italian op]a compos] ,aless&ro ,sc>latti 9 ! well-kn[n ,aria da capo4 ,^! fur!r applications ( ! pr9ciple ( imitation are ,transposition1 i4e41 ! repetition ( ! melodic outl9e1 & (t5 ( ! :ole h>monic fabric1 by %ift+ x up or d[n ! scale2 & ! ,re/atem5t ( ! orig9al melody aft] an int]v5+ "p 9 contra/1 ?us mak+ a piece ( music1 ! =mula = :i* may be indicat$ by ,a1 ,b1 4 ,anyone at all famili> ) musical lit]ature mu/ h obs]v$ bo? ( ^! devices = secur+ coh]5ce & organic unity2 9 fact1 ! pr9ciple ( re/atem5t aft] contra/ is at ! f\ndation ( any l>ge "w1 & supplies ! connect+ l9k betwe5 ! /ructure ( ! ,folk-,song & t ( ! mo/ elaborate mod]n music4 ,a conv9c+ illu/ration ( ! use ( ,transposition may be f\nd 9 ,s*umann's ,arabesque1 ,music & 9 ! op5+ !me ( ,bee?ov5's ,wald/e9 ,sonata1 op4 #ec4 ,music ,x 0 a favorite device ( ,bee?ov5 to impress ! ma9 !me ^u ! he>] by def9ite repetitions on v>i\s degrees ( ! scale4#ah ,= an elaborate example ( ,transposition no?+ c surpass ! op5+ movem5t ( ,cs> ,franck's ,d ,m9or ,symphony1 ! entire fir/ "p ( :i* consi/s ( a lit]al repetition 9 ,f m9or ( :at has be5 previ\sly ann\nc$ 9 ,d m9or4 ,footnote #ah3 ,ano!r well-kn[n example is ! fir/ !me ( ! fir/ movem5t ( ! ,sonata 9 ,f m9or 7,appassionata7 op4 #eg4 ,?is ! /ud5t c look up = himself4 ,pieces ( music :i* embody ! pr9ciple ( ,re/atem5t aft] ,contra/ are s num]\s t ! "q is m]ely "o ( select+ ! cle>e/ examples4 ,9 ! ,folk-,songs ( e nation1 z soon z !y _h pass$ beyond ! /age ( a monoton\s reit]ation ( "s phrase :i* pleas$ ! fancy1 e4g4 ,music3 ad inf9itum6 we f9d h>dly "o 9 :i* !re is n a simil>ity betwe5 ! clos+ measures & some?+ :i* _h gone be=e4 7,see ,supplem5t1 ,example ,no4 #e47 ,= ! mo/ elem5t>y arti/ic exp]i5ce w\ld e/abli% ! fact t ! only way to avoid a monoton\s repetition ( ! same !me is to *ange to a diff]5t "o4 ,& ! next /ep is equally axiomatic--t1 presuppos+ ! fir/ !me gives pleasure on its initial appe>ance1 x w be he>d ) height5$ pleasure at its reappe>ance aft] int]v5+ contra/4 ,a psy*ological pr9ciple is h]e9 involv$ :i* _c be prov$ b :i* is self-ju/ifi$ by its own reasonabl5ess & is fur!r exemplifi$ by _m exp]i5ces 9 daily life4 ,sweet ?+s ta/e ! sweet] aft] a contra/ ) some?+ acid2 we l to revisit old sc5es & to return home aft] a vacation4 ,no delight is ke5] ?an ! r5ewal ( "s ae/hetic exp]i5ce aft] its tempor>y effacem5t ?r\gh a *ange ( appeal4#ai ,?is practice is associat$ ) ! inh]5t dem&1 spok5 ( above1 = ,v>iety 9 ,unity4 ,no !me is ( suffici5t import to be> con/ant repetition2 9 fact1 ! m eloqu5t x is1 ! m sat$ %\ld we become if x 7 cont9u$ ov]long4 ,monotony1 fur!rmore1 is less tol]able 9 music ?an 9 ! o!r arts because music cuts deep]1 because ! e> is s s5sitive an organ & because we h no way ( %utt+ (f s\nd4 ,if a p>ticul> sight or sc5e displeases1 we c close our eyelids2 b ! e> is entirely unprotect$ & ! only way to escape annoy+ s\nds is to take to flight4#bj ,we inevitably crave contra/1 *ange ( s5sation2 & no?+ gives m organic unity ?an a return to :atev] impress$ u at ! outset4 ,?is cyclic =m ( musical expression1 e>ly discov]$ ?r\gh free exp]im5tation1 has rema9$ ! lead+ pr9ciple 9 all mod]n works1 &--because d]iv$ directly f life & nature--mu/ be p]man5t4 ,we return :5ce we came2 ev]y?+ goes 9 circles4 ,we c n[ und]/& /ill m ! ne$ ( a /rong & accurate memory2 = if we d n "k :e!r or n we h ev] he>d a !me1 obvi\sly ! ke5 pleasure ( welcom+ x anew is lo/ to u4 ,fur!rmore1 ?is pr9ciple ( ,re/atem5t has 9 mod]n music "s v subtle uses1 & presupposes ! acquisition ( a real p[] ( rem9isc5ce4 ,= example1 ,wagn]'s tone-drama ( ,tri/an & ,isolde beg9s ) ?is haunt+ motive ,music :i*1 ) its dual melodic l9es1 typifies ! passionate love ( ! two *ief *>act]s 9 ! /ory4 ,aft] ?ree h\rs or m ( tragic action & musical developm5t ?is motive is aga9 introduc$ 9 ! v clos+ measures ( ! drama1 to %[ t ev5 9 ! pres5ce ( transfigur+ dea? ?is love is /ill _! guid+ p[]4 ,music ,footnote #ai3 ,= "s additional comm5ts on ?is broad pr9ciple see ! fir/ ,*apt] 7passim7 ( ,p>ry's ,evolution ( ! ,art ( ,music4 ,footnote #bj3 ,ev]yone has exp]i5c$ ! agony ( he>+ ! beg9n] practice1 9 an adjo9+ room1 ! same piece = h\rs at a "t6 ,= ^? :o c appreciate ! significance ( su* treatm5t1 ?is rem9isc5ce is "o ( ! mo/ sublime t\*es 9 all musical drama4 ,! fasc9at+ or*e/ral ,s*]zo ( ,ri*>d ,/rauss's ,till ,eul5spiegel's ,m]ry ,pranks likewise beg9s ) a *>act]i/ic motto1 ,music :i* says1 9 ! language ( music--,i n[ h a /ory to tell y ( a c]ta9 freaki% "*2 & !n we are regal$ ) ! musical portrayal ( a s]ies ( ,till's pranks4 ,z an ,epilogue1 ,/rauss improvises on ?is op5+ !me z mu* z to say--y h li/5$ to my musical /ory1 n[ let u indulge 9 "s reflections z to ! fate ( poor ,till1 = aft] all he 0 a good fell[4 7,see ,supplem5t1 ,example ,no4 #f47 ,x is evid5t1 !re=e1 f ! =ego+ examples t ! basic pr9ciples ( musical /ructure are coh]5ce1 refre%+ v>iety & su* unity ( g5]al impression z may be ga9$ *iefly by a re/atem5t1 aft] contra/1 ( !mes previ\sly he>d4 ,our subsequ5t /udy w simply illu/rate ^! natural laws ( music 9 _! wid] application4 ,,*apt] ,,ii ,,! ,,folk-,,song ,9 ! prec$+ *apt] we made "s g5]al inquiries into ! nature ( music & ( ^? me?ods by :i* emotion & ?\ght are express$4 ,we %all assume !re=e t ! foll[+ facts are e/abli%$3 t 9 music1 by reason ( ! intangibility & elusiv5ess ( ! mat]ial1 s\nd & rhy?m1 ! pr9ciple ( ,unity 9 ,v>iety is ( p>am\nt importance2 & t ! he>]1 if he w\ld grasp ! message express$ by ^! s\nds & rhy?ms1 mu/ make a consci\s ef=t ( cop]ation & n be cont5t ) m]e dreamy apa?y4 ,fur!rmore1 t ,unity & ,coh]5ce are ga9$ 9 music by apply+ ! pr9ciple ( sy/ematic ,repetition or ,imitation4 7,we %all see1 z we cont9ue1 h[ ,v>iety has be5 secur$ by contra/+ !mes1 by episodical passages & by v>i\s devices ( rhy?mic & h>monic developm5t47 ,we may n[ inve/igate ! gr[? ( musical /ructure & expression1 z manife/$ 9 ! fields ( ! ,folk-,song & ( ,polyphonic music1 beg9n+ ) ! ,folk-,song--hi/orically ! old] & m elem5tal 9 its appeal4 ,we _c imag9e ! "t :5 human be+s did n use _! voices 9 "s =m ( emotional outp\r+2 &1 z f> back z !re are any hi/orical records1 we f9d traces ( su* activity4 ,= _m c5turies ^! rude cries ( savage races 7 f> remov$ f any?+ l arti/ic design1 b ! advance t[>ds coh]5ce & symmetry 0 always ! result ( free exp]im5tation--h5ce vitally connect$ ) ! emotions & m5tal processes ( all human ef=t4 ,"o ( ! mo/ significant ( ! _m say+s attribut$ to ,daniel ,web/] is t ,sov]eignty re/s ) ! p2 & x is an int]e/+ inquiry to see :at wid] application may be made ( ?is /atem5t 9 ! field ( art4 ,= x is a fact t !re has seldom be5 an important s*ool ( music1 s-call$--9 any giv5 place & p]iod--:i* 0 n f\nd$ on ! emotional traits1 ! aspirations & ! ideals ( ! p4 ,surely "o ( ! di/9ct by-products ( ! ,great ,w> is to be ! emancipation ( ! art ( music1 along ) t ( all ! o!r arts4 ,su* a realization ( its nature & p[]s w result t x %all no long] be a m]e exotic amusem5t ( ! leisure & weal?y classes1 b %all be br\ght into direct t\* ) ! rank & file ( ! p2 ev51 if y w1 ) ! s-call$ l[] classes--t "p ( humanity f :i*1 inde$1 x sprung & ) :i* x really belongs--j human be+s1 j p4 ,s 9 music also we may ass]t t ,sov]eignty re/s ) ! p4 ,al?\gh all art reflects popul> s5tim5t to a c]ta9 ext5t1 9 no "o ( ! arts--z pa9t+1 sculpture & ar*itecture--is !re su* a vital record ( ! emotions & arti/ic in/9cts ( humanity z we f9d 9 ! realm ( folk-song4#ba ,dur+ ! e>ly p]iod ( ,*ur* music1 :ile !ori/s & s*ol>s 7 /ruggl+ ) ! intricate problems ( polyphonic /yle1 ! p 9 _! daily secul> life 7 f9d+ an outlet = _! emotions1 = _! joys & sorr[s1 9 song & 9 dance4 ,?is in/9ct = musical expression is univ]sal1 & j because ! products ( su* activity 7 unfett]$ by rules1 !y ex]cis$ 9 process ( "t mu* influ5ce ^u ! developm5t ( mod]n /yle4 ,folk-songs are *>act]iz$ by a fre%ness & simplicity1 a directness ( utt]ance1 :i* are seldom atta9$ by ! consci\s ef=ts ( g5ius4 ,li/5 c>efully to all folk-songs1 says ,s*umann4 ,!y are a /oreh\se ( beautiful melody1 & unfold to ! m9d ! innate "* ( ! diff]5t peoples4 ,!y are l wild fl[]s bloom+ unhe$$ by ! wayside1 ! product ( ! race r ?an ! individual1 & = c5turies 7 only slightly kn[n to cultivat$ musicians4 ,x %\ld be und]/ood t words & music 7 inextricably b\nd toge!r & t1 ) bo?1 danc+ 0 naturally associat$2 ! v ess5ce ( a p's life be+ express$ by ?is trip>tite activity4 ,tonal v>iety is a m>k$ feature 9 folk-songs1 _m ( !m be+ 9 ! old ,gregorian modes1 :ile o!rs %[ a decid$ incl9ation to our mod]n major & m9or scales4 ,great is ! hi/orical importance ( ,folk-music1 because 9 x we see a dawn+ recognition ( ! pr9ciples ( in/rum5tal =m1 i4e41 ! ne$ ( balanc$ phrases1 caus$ 9 ! songs by ! metrical /ructure ( ! words1 & 9 ! dances by ! symmetrical movem5ts ( ! body2 a recognition above all1 ( ! application ( a def9ite sy/em ( tonal-c5tres1 & ( repetition aft] contra/4 ,9 fact1 z we look back x is evid5t t ! outl9es ( our mo/ important design1 t kn[n z ! ,sonata ,=m are--9 a rudim5t>y /ate--f\nd 9 folk-music4 ,folk-melodies & rhy?ms play a l>ge "p 9 ! music ( ,haydn1 ,s*ub]t1 ,*op91 ,liszt1 ,brahms1 ,grieg1 ,t*aik[sky & ,dvovrk4 ,x seems z if mod]n compos]s 7 do+ = music :at ,lu!r ,burbank has done = plant life2 = by graft+ mod]n ?\ght & feel+ on to ! p>5t /ock ( popul> music1 !y h secur$ a vigor atta9able 9 no o!r way4 ,?us "s ( ! noble/ melodies ( ,brahms1 ,grieg1 & ,t*aik[sky are actual folk-tunes ) slight v>iation or orig9al melodies conceiv$ 9 a folk-song _s4#bb ,footnote #ba3 ,= an eloqu5t pres5tation ( ! significance ( ,folk-music see ! article by ,h5ry ,f4 ,gilb]t 9 ! ,musical ,qu>t]ly = ,octob]1 #aiag4 ,footnote #bb3 ,= an able acc\nt ( ! important role t folk-melodies are tak+ 9 mod]n music see ,*apt] ,v ( ,la ,*anson ,populaire en ,france by ,julian ,ti]sot4 ,z music1 unlike ! o!r arts1 lacks any model 9 ! realm ( nature1 x has _h to "w out its own laws1 & its spontaneity & directness are ! result4 ,x has n become imitative1 utilit>ian or b\nd by arbitr>y conv5tions4 ,z ,b]lioz says 9 ! ,grotesques de la ,musique3 ,music exi/s by itself2 x has no ne$ ( poetry1 & if e human language 7 to p]i%1 x w\ld be none ! less ! mo/ poetic1 ! gr&e/ & ! free/ ( all ! arts4 ,:5 we rea* ! c5turies 9 :i* def9ite records are available1 we f9d a weal? ( folk-songs f ! ,cont95tal nations3 ,iri%1 ,scot*1 ,engli%1 ,fr5*1 ,g]man1 ,italian1 ,spani%1 ,russian1 etc4#bc ,9 ^! we c trace ! transition f ! old modes to our mod]n major & m9or scales2 ! pr9ciples ( tonality & ( rudim5t>y modulation1 ! divid+ ( ! musical ?\ght into p]iodic l5g?s by means ( cad5tial end+s1 ! in/9ct = contra/ & = ! unity ga9$ by re/atem5t4 ,no bett] def9ition ( ,folk-songs c be giv5 ?an t ( ,p>ry 9 8 ,evolution ( ! ,art ( ,music :]e he calls !m ! fir/ essays made by man 9 di/ribut+ 8 notes s z to express 8 feel+s 9 t]ms ( design4 ,9 folk-tunes ?is design has be5 dom9at$ by ! metrical phraseology ( ! poetic /anzas ) :i* !y 7 associat$2 = betwe5 ! /ructure ( melody & t ( poetry !re is always a close correspond5ce4 ,9 ,folk-songs1 !re=e1 we f9d a gr[+ in/9ct = balanc$ musical expression &1 above all1 an application ( ! pr9ciple ( ,re/atem5t aft] ,contra/4 ,! foll[+ example drawn f ,iri% ,folk-music#bd--:i*1 = emotional dep?1 is ju/ly consid]$ ! f9e/ 9 ! _w--w make ! po9t cle>4 ,music3 ,,! ,,flight ,,( ,,! ,,e>ls ,footnote #bc3 ,! same /atem5t is true ( ! ,ori5tal nations1 ! ,arabians1 ,p]sians & ,greeks1 :o are left out ( ! enum]ation only because _! developm5t 9 _m respects has be5 along diff]5t l9es f ours4 ,= sugge/ive speculations z to e>ly music among all nations see ,primitive ,music by ,ri*>d ,wallas*ek4 ,footnote #bd3 ,= illum9at+ comm5ts on ! ,folk-music ( all ! ,engli%-speak+ peoples see ,*apt] ,,xii ( ,erne/ ,walk]'s ,hi/ory ( ,music 9 ,engl&4 ,! fam\s ,petrie collection ( ,iri% ,folk-tunes %\ld also be consult$4 ,! /atem5t is sometimes made t ! pr9ciples ( our mod]n sy/em ( tonality & ( modulation are d]iv$ f ,folk-music4 ,?is is only p>tially true1 = pure ,folk-songs always develop$ "u ! influ5ce ( ! old m$ieval modes1 long be=e ! e/abli%m5t ( our fix$ major & m9or scales4 ,fur!rmore1 z ^! 7 s+le unaccompani$ melodies1 !y %[$ slight connection ) modulation or *ange ( key 9 ! mod]n s5se ( ! t]m--:i* implies a sy/em ( h>monization 9 sev]al voices4 ,x is true t !re 0 an in/9ctive & gr[+ recognition ( ! importance ( ! ?ree *ief tonal c5tres3 ! ,tonic or ,keynote1 ! ,dom9ant 7a p]fect fif? above7 & ! ,subdom9ant 7a p]fect fif? bel[7 & at times ! relative m9or4 ,all ^! *anges are illu/rat$ 9 ! melody j cit$2 e4g41 9 ! f\r? measure#be !re is an implication ( ,e m9or1 9 measures sev5 & eight !re is a di/9ct modulation to ,d major1 ! ,dom9ant1 & 9 ! n9? measure to ,c major1 ! ,subdom9ant4 ,?is acceptance ( o!r tonal c5tres--di/ant a fif? f ! ma9 key-note--d\btless arose f _! simplicity & naturalness1 & 0 lat] sanction$ by ac\/ical law2 ! int]val ( a p]fect fif? hav+ "o ( ! simple/ ratios 7#b-c71 & be+ famili> to p z ! fir/ ov]tone 7aft] ! octave7 /ruck (f by any s\nd+ body--su* z a bell or an organ pipe4 ,! ,v5etian compos]s1 notably ,willa]t1 _h also q fully develop$ ?is pr9ciple ( ,tonic1 ,dom9ant & ,subdom9ant h>mony 9 ord] to give homog5eity to _! antiphonal *oruses4 ,ev5 to-day ^! tonal c5tres are /ill us$2 = !y are elem5tal1 l ! primitive colors ( ! spectroscope4 ,b modulation1 9 ! mod]n s5se ( a free %ift+ ( ! c5tre ( gravity to any "o ( ! twelve semitones ( our *romatic scale1 0 n develop$ & accept$ until aft] ! ac\/ical re=ms ( ,rameau1 & ! sy/em ( tun+ key$ in/rum5ts embodi$ 9 t "w call$ ! ,well-temp]$ ,clavi*ord ( ,seba/ian ,ba*4 ,bo? ^! m5 publi%$ _! discov]ies ab\t ! ye> #agbj4 ,footnote #be3 ,9 c\nt+ ! measures ( a phrase always consid] ! fir/ complete measure1--nev] a p>tial measure--z "o4 ,z we h j us$ ! t]m modal1 & s9ce _m ,folk-songs 9 ! old modes s\nd peculi> or ev5 wrong 7h5ce ! prepo/]\s em5dations ( mod]n editors67 because our e>s c li/5 only 9 t]ms ( ! fix$ major & m9or scales1 a few words ( explanation conc]n+ ! nature ( ! m$ieval modes %\ld "h be giv54 ,_! ess5tial peculi>ity is ! fre] relation%ip ( tones & semitones ?an is f\nd 9 ! def9ite patt]n ( our mod]n scales4 ,x is ( great importance t ! music-lov] %\ld tra9 himself to ?9k naturally 9 ^! modes2 = !re has be5 a significant return to _! fre$om & v>iety on ! "p ( su* mod]n compos]s z ,brahms1 ,t*aik[sky1 ,dvovrk1 d',indy1 ,debussy & o!rs1 & "s ( _! mo/ individual effects are ga9$ ?r\gh ! introduction ( modal types ( expression4 ,! foll[+ modes are ^? mo/ commonly employ$ 9 ! =mation ( ,folk-songs4 ,music3 ,,dorian ,music3 ,,phrygian ,music3 ,,lydian ,music3 ,,mixolydian ,music3 ,,aeolian ,music3 ,,ionian ,! ,dorian mode1 at ! outset1 is id5tical ) our mod]n m9or scale2 its peculi>ity lies 9 ! semitone betwe5 ! #f? & #g? degrees & ! :ole tone betwe5 ! #g? & #h?4 ,an excell5t example ( a mod]n adaptation ( ?is mode may be f\nd 9 ,guilmant's ,m>* = organ 7see ,supplem5t1 ,example ,no4 #g74 ,! my/]i\s op5+ measures ( ,debussy's op]a ,pellz et ,mlis&e also owe _! atmosph]e to ?is mode1 e4g4 ,music ,! ,phrygian mode is "o ( ! mo/ individual to our mod]n e>s ) its fir/ /ep a semitone & ) ! :ole tone betwe5 ! #g? & #h? degrees4 ,"u ! influ5ce ( h>monic developm5t !re 0 work$ out a cad5ce1 kn[n z ,phrygian1 :i* is (t5 f\nd 9 mod]n music1 e4g4 ,music ,! op5+ measures ( ! sl[ movem5t ( ,brahms's ,f\r? ,symphony are an excell5t example ( a melody 9 ! ,phrygian mode1 e4g4 ,music ,! contra/ betwe5 ^! measures1 ) _! ar*aic flavor1 & ! sudd5 *ange 9 measure f\r to ! mod]n tonality ( ,e major1 is v /rik+4 ,ba*'s well-kn[n *oral1 ,o ,sacr$ ,head n[ w\nd$ also beg9s 9 ! ,phrygian mode1 e4g4 ,music ,= a beautiful mod]n example ( ?is ,phrygian mode see ! introduction to ,f4,s4 ,conv]se's ,dramatic ,poem ,job1 = voices & or*e/ra4 ,! ,lydian mode is id5tical ) our major scale except = ! semitone betwe5 ! #d? & #e? degrees4 ,t ?is *ange1 h[ev]1 gives a v *>act]i/ic effect may be se5 9 ! passage by ,bee?ov5 f 8 ,/r+-,qu>tet op4 #acb--,song ( ,?anksgiv+ 9 ! ,lydian mode 7see ,supplem5t ,ex4 ,no4 #h74 ,! ,mixolydian mode is also id5tical ) our mod]n major scale except = ! :ole tone betwe5 ! #g? & #h? degrees4 ,?is mode has _h v slight usage 9 mod]n music2 because1 ) ! developm5t ( h>mony1#bf ! in/9ct became s /rong = a lead+ tone 7! #g? degree7--only a semitone di/ant f ! upp] tonic--t ! orig9al :ole tone has gradually disappe>$4 ,! ,aeolian ,mode1 ma9ly id5tical ) our cu/om>y m9or scale1 has ! *>act]i/ic :ole tone betwe5 ! #g? & #h? degrees4 ,examples ( ?is mode ab\nd 9 mod]n lit]ature2 two excell5t in/ances be+ ! fir/ !me ( ! ,f9ale ( ,dvovrk's ,new ,_w ,symphony1 e4g41 ,music & ! foll[+ passage f ! ,leg5d = capella voices ( ,t*aik[sky1 e4g4 ,music ,! ,ionian mode corresponds exactly ) our mod]n major scale1 & ! common p among all nations e>ly %[$ a /rong pr$ilection = its use4 ,! ,*ur*1 9 fact1 because ( ?is popul>ity ) ! p1 nam$ x ! modus lascivus & prohibit$ its use 9 ! ecclesia/ical liturgy4 ,"o ( ! v e>lie/ ,folk-tunes extant--,sum] is icum5 9 7already ref]r$ to7--is 9 ! ,ionian mode &1 accord+ to ,cecil ,%>p1#bg ! majority ( ,engli% ,folk-tunes are 9 ?is same mode4 ,footnote #bf3 ,! *ief reason = ?is lead+ tone1 9 addition to ! natural t5d5cy ( s+]s to raise _! voices z ne> z possible to ! upp] tonic1 0 s t ! dom9ant *ord1 ! ?ird ( :i* is always ! #g? degree1 might inv>iably be a ,major ,triad4 ,footnote #bg3 ,= _m sugge/ive comm5ts on ! :ole subject see 8 book ,engli% ,folk-,song4 ,we n[ cite a few typical folk-songs 7tak5 f national s\rces7 :i*1 9 _! /ructure1 %[ a natural in/9ct = balance ( phrase & (t5times = t organic unity ( effect ga9$ by re/atem5t aft] contra/4 ,music3 ,,! ,,true ,,lov]s' ,,f>ewell ,old ,engli% ,! patt]n ( ?is song1 9 ! ,aeolian mode1 is ,a1 ,a1 ,a1 ,b4 ,unity is secur$ by ! ?ree-fold appe>ance ( ! fir/ phrase2 & a c]ta9 balance1 by hav+ ! second phrase ,b twice z long 7f\r measures7 z ,a4 ,music3 ,,! ,,%ip ,,9 ,,di/ress ,old ,engli% ,! =mula ( ?is *>act]i/ic song 9 ! ,dorian mode is ,a1 ,a1 ,b1 ,a2 m]ely an ext5sion1 ?r\gh repetition1 ( ! simple type ,a1 ,b1 ,a :i*1 9 turn1 is ! basis ( ! fundam5tal /ructure kn[n z ! ?ree-"p =m4 ,?is w lat] be /udi$ 9 detail4 ,x is evid5t to ! musical s5se h[ complete a feel+ ( coh]5ce is ga9$ by ! return to ,a aft] ! int]v5+ contra/ ( ! phrase ,b2 evid5t1 also1 t ?is song is a p]fect example ( ! pr9ciple ( unity comb9$ ) v>iety4 ,we fur!r cite a few examples f ,scotti%1 ,iri%1 ,fr5*1 ,hung>ian & ,russian s\rces4 ,!y all illu/rate qua9t melodic int]vals & an in/9ct = balance & symmetry4 ,music3 ,,w&]+ ,,willie ,"h awa'1 !re awa'1 ,w&]9' ,willie1 ,"h awa'1 !re awa'1 haud awa' hame4 ,come to my bosom1 my a9 only de>ie1 ,o tell me ?\ br+'/ me my ,willie ! same4 ,?is song#bh expresses t note ( pa?os (t5 f\nd 9 ,scotti% folk-music & is notewor?y also because ! lyric poet1 ,rob]t ,burns1 wrote = x words ( :i* we give ! fir/ /anza4 ,footnote #bh3 ,! example quot$1 toge!r ) o!rs equally beautiful1 may be f\nd 9 ! collection edit$ by ! ,scotti% compos]1 ,hami% ,mac,cunn4 ,see1 z well1 ! ,cycle ( ,old ,scot* ,melodies arrang$ = f\r solo voices ) pian(orte accompanim5t by ,ar?ur ,:it+4 ,music3 ,,w\ld ,,god ,i ,,7 ,,! ,,t5d] ,,apple ,,blossom ,?is ,iri% tune#bi is c]ta9ly "o ( ! mo/ p]fect t c be imag9$1 rem>kable alike = its organic unity1 ga9$ by ! frequ5t use ( ! fir/ asc5d+ motive1 & = ! mann] 9 :i* ! successive crises are rea*$4 ,note 9 p>ticul> ! int5sity ( ! f9al climax1 9 measure #ac1 atta9$ by a repetition ( ! prec$+ phrase4 ,footnote #bi3 ,= ,iri% folk-songs ! be/ collections are ! "o by ,villi]s ,/an=d & a ,cycle by ,ar?ur ,:it+1 prep>$ 9 ! same way z t j cit$ on ,scotti% melodies4 ,music3 ,,en ,,passant ,,p> ,,la ,,lorra9e ,,avec ,,mes ,,sabots ,?is *>m+ song#cj f ,lorra9e exemplifies t rhy?mic vivacity & lightness ( t\* s *>act]i/ic ( ! ,fr5*4 ,footnote #cj3 ,tak5 f an excell5t collection ( ,*ansons ,populaires edit$ by ,juli5 ,ti]sot4 ,obs]ve ! piquant effect1 9 ! f9al phrase1 produc$ by ! elision ( a measure2 !re be+ 9 ! :ole song #ca measures in/ead ( ! normal #cb 7#af #af74 ,music3 ,old ,hung>ian ,folk-song ,hung>ian folk-music#ca is not$ = its syncopat$ rhy?m & its peculi> metric gr\p+s4 ,x is also (t5 highly embroid]$ ) *romatic notes2 ! ,hung>ian scale1 ) two augm5t$ int]vals1 be+ an int5sification ( our m9or mode1 e4g4 ,music ,footnote #ca3 ,! be/ popul> collection ( ,hung>ian melodies is t by ,francis ,korbay1 ! texts = :i* 7 translat$ & arrang$ by ! ,am]ican noveli/1 ,j4,s4 ( ,dale4 ,x is well kn[n :at arti/ic use has be5 made ( ,hung>ian melodies & rhy?ms by ,s*ub]t1 ,liszt & ,brahms4 ,russia is =tunate 9 h] musical inh]itance2 = n only has %e a weal? ( folk-songs1 b h] fam\s compos]s1 ,balakireff1 ,borod9 & ,rimsky-,korsak(f--:o are m5 ( lett]s z well--h publi%$ rem>kable editions ( ^! national melodies4 ,! ,russian folk-songs express1 9 g5]al1 a mood ( sombr5ess or ev5 depression--typical ( ! va/1 bleak expanses ( t c\ntry1 & ( its d[ntrodd5 p4 ,^! songs are usually 9 ! m9or mode--(t5 ) sudd5 *anges ( rhy?m--& bas$ on ! old ecclesia/ical modes1 ! ,russian liturgy be+ v anci5t & hav+ an hi/orical connection ) t ( ! ,greek *ur*4 ,! folk-music ( no nation is m end[$ ) individuality & dep? ( emotion4 ,five *>act]i/ic examples are h]e) cit$3 ,music3 ,i ,music3 ,,ii ,music3 ,,iii ,h>moniz$ by ,,rimsky-,,korsak(f ,music3 ,,iv ,music3 ,v ,?is la/ melody is ( p>ticul> significance1 because ,t*aik[sky has us$ x s prom95tly 9 ! ,f9ale ( 8 ,f\r? ,symphony4 ,! gr[+ int]e/ 9 folk-music 9 ,am]ica is a t5d5cy conc]n+ :i* ! progressive /ud5t %\ld in=m himself4 ,= a national basis ( creative "w1 our c\ntry has always be5 at a disadvantage 9 comp>ison ) nations :i*1 z _! bir?right1 h mu* music 9 _! blood4 ,moreov]1 ) ! exception ( ! tunes ( ! aborig9al ,indians & ! plantation melodies ( ! ,negroes1 x has be5 ass]t$ t ,am]ica c\ld boa/ no folk-songs4 ,rec5t inve/igations h %[n1 h[ev]1 t ?is is n entirely true4 ,cecil ,%>p1 ,h5ry ,gilb]t1 ,ar?ur ,f>well & o!r musical s*ol>s h prov$ t !re are sev]al regions ( our c\ntry1 settl$ by coloni/s f ,engl&1 ,irel& & ,scotl&1 :]e folk-songs exi/ practically 9 ! condition 9 :i* !y 7 fir/ br\ght ov]4 ,"o ( ! be/ collections ( su* mat]ial is ! set ( s-call$ ,lonesome ,tunes f ! ,k5tucky ,m\nta9s1 tak5 d[n by ,miss ,lorra9e ,wyman & ,mr4 ,h[>d ,brockway directly f ! m\nta9e]s & o!r dwell]s 9 t region4 ,^! melodies h great individuality1 directness & no little poetic *>m4 ,x is c]ta9ly enc\rag+ to feel t1 9 ?is indu/rial age1 !re are /ill places :]e p express _! emotions & ideals 9 song2 = a nation t has n le>n$ to s+--or has =gott5 h[--c nev] create music t endures4 ,,*apt] ,,iii ,,polyphonic ,,music2 ,,seba/ian ,,ba* ,we h trac$1 9 ! prec$+ *apt]1 "s ( ! fundam5tal pr9ciples ( design 9 musical expression1 z !y 7 manife/$ 9 ! ,folk-music ( ! diff]5t nations4 ,all music ( ?is type 0 homophonic1 i4e41 a s+le melodic l9e1 ei!r entirely unaccompani$ or ) a slight am\nt ( in/rum5tal support4 ,h5ce h[ev] p]fect 9 itself1 x 0 necess>ily limit$ 9 scope & 9 opportunity = organic developm5t4 ,be=e music c\ld become an indep5d5t art1 set free f reliance on poetry1 & c\ld atta9 to a bread? ( expression comm5surate ) ! gr[? 9 o!r fields ( art1 !re _h to be e/abli%$ "s pr9ciple ( developm5t1 f> m ext5sive ?an c\ld be f\nd 9 ,folk-music4 ,?is pr9ciple#cb ( ,!matic ,developm5t--! *ief idiom ( in/rum5tal music--by :i* a motive or a !me is exp&$ into a l>ge symphonic movem5t1 0 work$ out 9 t type ( music kn[n z ! ,polyphonic or _m-voic$2 & ,polyphonic music became1 9 turn1 ! po9t ( dep>ture = our mod]n sy/em ( h>mony1 ) its me?ods ( key relation%ip & ( modulation4 ,z we h /at$ 9 ,*apt] ,i1 ! pr9ciple ( sy/ematic repetition or imitation--fir/ discov]$ & p>tially appli$ by ! musicians#cc ( ! e>ly ,fr5* ,s*ool & by ! ,ne!rl& ma/]s--f9ally culm9at$ 9 ! celebrat$ vocal works 7 capella or unaccompani$7 compos$ by ,pale/r9a & 8 contempor>ies = ! ,roman ,ca?olic ,liturgy4 ,up to ?is po9t ! :ole texture ( music _h be5 conceiv$ 9 connection ) voices2 b ) ! developm5t ( ! organ1 s admirably suit$ = polyphonic /yle1 & ! p]fection ( ! family ( /r+$ in/rum5ts1 ! pr9ciples ( polyphony 7 c>ri$ ov] & appli$ to in/rum5tal treatm5t4 ,! compos] :o1 ?r\gh 8 con/ructive g5ius1 mo/ fully embodi$ ^! pr9ciples#cd 0 ,john ,seba/ian ,ba* 7#afhe-agej74 ,we are n[ prep>$ to expla9 ! *>act]i/ics ( polyphonic music & !n to analyze "s typical examples f ,ba* & o!r polyphonic compos]s4 ,! ess5tial diff]5ce betwe5 homophonic & polyphonic /yle is impli$ by ! t]ms !mselves4 ,:5 !re is b "o melody1 ! skill ( ! compos] & ! att5tion ( ! li/5] are conc5trat$ ^u ?is s+le melodic l9e2 & ev5 if !re be an accompanim5t1 x is s plann$ t ! *ief melody /&s out 9 relief aga9/ x4 ,! pre-em95ce ( ?is *ief melody is seldom usurp$1 al?\gh ! accompanim5t (t5 has int]e/+ features ( its own4 ,z soon z we h m ?an "o melody 7:e!r !re be two1 ?ree or /ill o!rs7 all ^! voice-p>ts may be ( coequal importance1 & ! musical fabric becomes an int]wov5 texture ( a numb] ( /r&s4 ,! g5ius & skill ( ! compos] is n[ exp5d$ on secur+ life & int]e/ = ea* ( ^! voices--soprano1 alto1 t5or1 bass--:i* seem to be braid$ toge!r2 & ?us a mu* m compreh5sive att5tion is requir$ ( ! li/5]4 ,= in/ead ( ! s+le melody 9 ! soprano1 or upp] voice1 ( ! ,folk-song1 we n[ mu/ li/5 consci\sly to ! bass & to bo? ( ! inn] voices4#ce ,too mu* emphasis _c be laid ^u ! recomm5dation t1 9 appreciat+ music1 ! fir/ task is to tra9 ! e> to a wide range ( li/5+4 ,^! diff]5ces 9 /yle are (t5 app>5t j z a patt]n ( design--to be se5 f ! foll[+ examples3 ,music3 ,homophonic ,/yle4 ,iri% ,folk-,song ,music3 ,polyphonic ,/yle4 ,,ba*3 ,fugue 9 ,c ,m9or ,footnote #cb3 ,! /atem5t might be qualifi$ by say+ t1 s9ce ,bee?ov51 in/rum5tal /yle has become a happy mixture ( homophony = ! *ief melodies & polyphony = ! support+ h>monic basis4 ,/ress is laid 9 ! above text on ! polyphonic aspect m]ely to emphasize ! matt] "u discussion4 ,footnote #cc3 ,notable names are ,lon9 & ,prot91 bo? organi/s ( ,ntre ,dame at ,p>is4 ,footnote #cd3 ,al?\gh ?is is n ! place to set =? all ! details ( ?is developm5t1 9 ! int]e/ ( hi/orical ju/ice we %\ld n ?9k ( ,ba* )\t gratefully ackn[l$g+ ! rem>kable "w ( su* pione]s z ! ,dut*man1 ,sweel9ck 7#aefb-afba71 organi/ at ,am/]dam2 ! ,italian1 ,frescobaldi 7#aehc-afdd71 organi/ at ,rome1 &--greate/ ( all1 9 8 /imulat+ influ5ce ^u ,ba*--! ,dane1 ,buxtehude 7#afcf-agjg71 organi/ at ,lbeck4 ,sweel9ck & ,frescobaldi may fairly be call$ ! f\nd]s ( ! g5u9e ,fugue1 & !re is a romantic w>m? 9 ,buxtehude's be/ "w :i* makes x ?or\ghly mod]n 9 s5tim5t4 ,footnote #ce3 ,9 connection ) ! /atem5t t music has develop$ accord+ to natural law1 x is wor? not+ t ! f\r-"p *orus e>ly became ! /&>d = bo? vocal & in/rum5tal gr\ps = ! simple reason t !re exi/ two k9ds ( wom5's voices--soprano & alto1 & two ( m5's voices--t5or & bass4 ,orig9ally1 ! *ief voice 9 ! ecclesia/ical *orus 0 ! t5or 7t5eo71 because ! t5ors su/a9$ ! melody4 ,bel[ !m 7 ! basses 7bassus1 l[72 above ! t5ors came ! altos 7altus1 high7 & /ill high] ! sopranos 7sopra1 above74 ,9 ! latt] example x is evid5t t !re is an int]weav+ ( ?ree di/9ct melodic l9es4 ,! polyphonic in/rum5tal works ( ,ba* & 8 contempor>ies 7 call$ by su* names z ,preludes1 ,fugues1 ,canons1 ,inv5tions1 ,toccatas & ,fantasies2 b s9ce a complete acc\nt ( all ^! =ms w\ld lead too f> afield1 we %all conf9e ourselves to a description ( ! ,canon1 ! ,inv5tion & ! ,fugue4 ,a ,canon 7f ! ,greek ,greek3 ,kann1 mean+ a /rict rule or law7 is a composition 9 :i* !re is a lit]al sy/ematic imitation1 c>ri$ out to ! end1 betwe5 two or m ( ! voices 7(t5 ) subsidi>y voices fill+ 971 & may be consid]$ a k9d ( musical dialogue 9 :i* ! second1 or answ]+1 "p ren=ces ! message previ\sly utt]$ by ! lead+ voice4 ,?is imitation may take place at any degree ( sep>ation2 & ,canons are 9 exi/5ce at ! int]val ( ! second1 ?ird1 f\r?1 fif?1 etc4 ,! mo/ effective ,canons1 h[ev]1 are ^? 9 :i* ! answ]+ voice is an octave away f ! lead+ "o4 ,al?\gh ! ,canon is n a =m employ$ frequ5tly by mod]n compos]s = an entire composition1 ,canonic imitation appe>s s (t5 9 all l>ge works = or*e/ra1 /r+ qu>tet or ensemble comb9ations1 t ! music-lov] %\ld acquire a c]ta9 ease 9 li/5+ to a /ructure ( ?is type4 ,! ,canon1 moreov]1 is an integral factor 9 ! /yle ( ,cs> ,franck1 d',indy & ,brahms2 & illu/rations ( its use ab\nd 9 _! works4 ,! organ is p>ticul>ly well suit$ to ! r5dition ( ,canons2 s9ce1 by its facilities = tone-color1 ! two voices may be cle>ly contra/$4 ,^? int]e/$ 9 organ lit]ature %\ld become acqua9t$ ) ! foll[+ excell5t examples3 ,! ,canon 9 ,b-flat major1 op4 #dj1 by ,guilmant2 ! #d? movem5t ( ! ,fif? ,organ ,symphony by ,widor2 ! ,canon 9 ,b m9or1 op4 #ed1 by ,s*umann2 ! ,canon 9 ,f-%>p major1 op4 #cj1 by ,m]kel1 & ! set ( ,t5 ,canonic /udies1 op4 #ab1 by ,g4,w4 ,*adwick4 ,9 o!r fields ( composition ! foll[+ %\ld be cit$3 ,! set ( ,pian(orte ,pieces 9 ,canon =m1 op4 #ce1 by ,jadassohn2 a l set by ,rhe9b]g]1 op4 #ahj2 ! ,canonic ,vocal ,trios1 op4 #aef1 by ,re9ecke & ! fam\s ,canon f ! fir/ act ( ,bee?ov5's op]a ,fidelio4 ,!re is also a beautiful bit ( ,canonic imitation betwe5 two ( ! upp] voices 9 ! introduction ( ,b]lioz's ,c>naval ,roma9 ,ov]ture = or*e/ra4 ,"o ( ! mo/ appeal+ ,canons 9 mod]n lit]ature is ! sett+ = soprano & b>ytone1 by ,h5s*el1 ( ! poem ,oh t we two 7 ,may+ by ,*>les ,k+sley4 ,?is example alone w\ld suffici5tly corroborate ! /atem5t t ! firmness ( /ructure inh]5t 9 ! canonic =m is p]fectly compatible ) g5u9e fre$om & poetry ( inspiration4 ,9 ! fir/ movem5t ( ,cs> ,frank's ,symphony 9 ,d m9or1 at ! recapitulation 7page #ci ( ! full score7 may be f\nd a magnific5t example ( ! int5sity ( effect ga9$ by a canonic imitation ( ! ma9 !me--9 ?is in/ance betwe5 ! l[] & upp] voices4 ,possibly ! f9e/ example ( canonic writ+ 9 all lit]ature is ! ,f9ale ( ,cs> ,franck's ,sonata 9 ,a major = ,viol9 & ,pian(orte 9 :i*1 = sev]al pages1 !re is an eloqu5t dialogue betwe5 ! two contra/+ in/rum5ts4 ,! movem5t is too long = citation b x %\ld c]ta9ly be procur$ & /udi$4 ,9 ! ,trio ( ! ,s*]zo 9 ,bee?ov5's ,sev5? ,sonata = ,viol9 & ,pian(orte !re is a free use ( canonic imitation :i* w repay inve/igation4 ,la/ly1 ! ,aria ) #cj ,v>iations--! s-call$ ,goldb]g ,v>iations ( ,ba*--is a p]fect /oreh\se ( e conceivable canonic device4 ,a few /&>d examples are to be f\nd 9 ! ,supplem5t4 ,^! %\ld be play$ ov] & /udi$ until !y are ?or\ghly famili>--n only = ! pleasure to be d]iv$1 b = ! indisp5sable tra9+ af=d$ 9 polyphonic li/5+4 ,ex4 ,no4 #i ,canon by ,?omas ,tallys 7#aeaj-aehe74 ,ex4 ,no4 #aj ,canonic ,v>iation by ,s*umann f ! tudes ,symphoniques4 ,ex4 ,no4 #aa ( ,ba*'s ,goldb]g ,v>iations4 ,ex4 ,no4 #ab ,canon 9 ,b-flat m9or1 op4 #ch1 ,grieg4 ,ex4 ,no4 #ac ,canon 9 ,f-%>p major1 op4 #ce1 ,jadassohn4 ,"o ( ! mo/ simple & direct types ( polyphonic composition is ! =m kn[n z ! ,inv5tion 9 :i*1 z ! t]m implies1 ! compos]--?r\gh 8 inv5tive g5ius & by means ( ! polyphonic devices ( imitation & transposition--develops to a logical conclusion "s %ort & *>act]i/ic motive4 ,we are =tunate 9 hav+ f ,ba* himself1 t consummate ma/] ( polyphony1 two sets ( su* ,inv5tions3 fifte5 = two voices1 & fifte5 = ?ree4 ,^! flights ( fancy--9 :i* art s subtly conceals art--?\gh orig9ally compos$ = ! clavi*ord & h>psi*ord 7! precursors ( ! pian(orte71 are v effective on our mod]n in/rum5t & %\ld be 9 ! possession ( e music-/ud5t4#cf ,a brief analysis is n[ giv5 ( ! fir/ "o 9 ! set = two voices1 & ,nos4 #d1 #h & #aj 9 ?is set are p>ticul>ly recomm5d$ = /udy2 also ,nos4 #b1 #f & #ad among ^? = ?ree voices4 ,! op5+ motive ,music is ! f\ndation ( ! entire composition & is at once imitat$1 canonically1 9 ! l[] voice4 ,!n ! two voices play ab\t1 ) figures cle>ly d]iv$ f ! motive1 until we rea*1 9 measures ?ree & f\r1 a sy/ematic d[nw>d transposition ( ! mat]ial4 ,su* transpositions or %ift+s up or d[n 9 pit* are call$ ,sequ5ces4 ,!y are v frequ5t 9 all polyphonic composition1 give a /rong s5se ( unity to melodic progression & are g5]ally c>ri$ out 9 gr\ps ( ?ree1 i4e41 ! orig9al figure & two repetitions4 ,aft] ! sequ5ce ! music naturally works t[>d ! mo/ ne>ly relat$ key 7! dom9ant7 & 9 ! sev5? measure rea*es 9 t key its fir/ objective4 ,^! ,inv5tions ( ,ba*1 z well z ! ,dance =ms soon to be /udi$1 are almo/ inv>iably 9 :at is kn[n z ,two-"p =m1 i4e41 ! music consi/s ( two ma9 divisions1 cle>ly m>k$ (f by cad5ces#cg2 ! fir/ ( :i* modulates to ! dom9ant or "s relat$ key :ile ! second "p1 />t+ 9 ?is key1 works back to a f9al close 9 ! home key4 ,9 ,inv5tions x e>ly became cu/om>y 9 ! second "p to beg9 ) ! same motive z ! fir/--b 9 ! opposite voice4 ,?us we see1 9 ! ,inv5tion n[ be+ discuss$1 t ! sev5? measure beg9s ) ! orig9al motive 9 ! bass :i*1 9 turn1 is imitat$ by ! ,soprano--a process j ! rev]se ( t 9 ! op5+ measures4 ,footnote #cf3 ,! be/ edition is t by ,busoni1 publi%$ by ,breitkopf & ,hrtel4 ,footnote #cg3 ,?is te*nical t]m z well z o!rs w lat] be m fully expla9$4 ,music ,9 pieces 9 ?is ,two-"p =m ! second portion is g5]ally long] ?an ! fir/2 = ! compos]1 by ! "t he has rea*$ ?is second "p1 may consid] ! mat]ial suffici5tly famili> to be exp&$ & v>i$ by excursions into m remote keys1 & by m intricate manipulations ( ! *ief motive4 ,9 measure #aa we f9d a modulation to ,d m9or & !n1 aft] "s free treatm5t ( ! motive1 we rea*--9 measure #ae--;a cad5ce 9 ,a m9or4 ,a long sequ5tial passage br+s u1 ?r\gh a modulation to ! subdom9ant key ( ,f major 79 measures #ah & #ai71 to a /rong clos+ cad5ce 9 ! home key4 ,x %\ld be notic$ t 9 ?is ,inv5tion & 9 "s ( ! dance =ms !re is %[n a /rong lean+ t[>ds a trip>tite division ( ! mat]ial z is indicat$ by ! ?ree cad5ces 9 measures #g1 #ae & #bb4 ,s9ce1 h[ev]1 ! middle "p is lack+ 9 any /rong contra/--:i* is su* an ess5tial factor 9 ! fully develop$ ?ree-"p =m--x seems bett] to consid] ?is piece1 & o!rs l x1 z a t5d5cy r ?an z a complete embodim5t ( trip>tite arrangem5t4 ,x is expect$ t ! music lov] w take ^! ,inv5tions = :at !y really are & n se>* 9 !m = ^? notes ( int5se subjectivity & dramatic p[] s preval5t 9 mod]n music4 ,!y are m]ely little pieces--a t\r de =ce 9 polyphonic +5uity2 music rejoic+ 9 its own inh]5t vitality4 ,accept$ 9 ?is _s !y are invigorat+ & *>m+4 ,! =m 9 :i* polyphonic skill rea*es its highe/ possibilities is ! ,fugue2 & ! immortal examples ( ?is =m are ! ,fugues ( ,john ,seba/ian ,ba*1 f\nd 9 8 ,well-temp]$ ,clavi*ord & 9 8 mighty works = ! organ4 ,! fundam5tal /ructure ( a fugue is impli$ 9 ! t]m itself 7f ! ,lat9 fuga--flight72 t is1 9 a fugue ! ma9 !me or subject is always ann\nc$ 9 a s+le voice1 & ! rema9+ voices1 appe>+ successively 9 accordance ) def9ite pr9ciples ( key-relation%ip1 seem to *ase ea* o!r ab\t & to flee f pursuit4 ,! sev]al /ratifi$ entrances ( ! subject are reliev$ by int]m$iate passages call$ ,episodes4 ,an ,episode1 z %[n by ! d]ivation 7,greek3 ipi hodos1 by ! way71 is some?+ (f ! beat5 pa?--a digression2 & x is 9 ^! episodical portions ( a fugue r ?an 9 ! =mali/ic portions t ! g5ius ( ! compos] %9es =?4 ,?is is especially true ( ,ba*1 = almo/ any well-tra9$ musician c inv5t a subject :i* w all[ ( satisfactory fugal treatm5t accord+ to accept$ usage2 b no "o save ,ba* has ev] inv5t$ su* free & fanciful episodes--s d>+ 9 scope & yet s closely connect$ ) ! ma9 ?\ght4 ,! g5]al effect ( a fugue is cumulative3 a mass+ & pil+ up ( voices t lead to a c>efully design$ conclusion :i*1 9 "s ( ,ba*'s organ fugues1 is positively ov]:elm+4 ,a fugue may be call$ a mighty cresc5do1 l ! s\nd ( _m wat]s4 ,!re is a popul> conception1 or r misconception1 t a fugue is a labor$1 dull or ev5 dry =m ( composition1 meant only z an exhibition ( p$antic skill1 & q beyond ! rea* ( ord9>y musical appreciation4 ,no?+ is f>!r f ! tru?1 z a slight exam9ation ( musical lit]ature w %[4 ,= we see t ! fugal =m has be5 us$ to express well-nigh e =m ( human emotion1 ! sublime1 ! tragic1 ! romantic2 v (t5 ! humor\s & ! fanta/ic4 ,:5 we recall ! irresi/ible sp>kle & da% ( ,moz>t's ,magic ,flute ,ov]ture1 ( ! ,ov]ture to ! ,b>t]$ ,bride by ,smetana1 ( ! ,f9ale ( ,moz>t's ,jupit] ,symphony1 & ( _m ( ! fugues 9 ! ,well-temp]$ ,clavi*ord1 x is evid5t t to call a fugue dry is an utt] abuse ( language4 ,x is true t !re are weak1 artificial & dull fugues1 :]e ! compos]--frankly--_h no?+ to say & m]ely fill$ out ! =m2 b ! same may be said ( e type ( composition1 i4e41 among !m all are examples inspir$ &--less inspir$4 ,?is1 h[ev]1 is no indictm5t ( ! fugue p] se1 aga9/ :i* ! only ?+ to be said is t x requires on ! "p ( ! li/5] an exce$+ conc5tration4 ,"s ( ! ma/]pieces ( ! _w be+ :olly or p>tially 9 ! fugal =m1 x is ! duty ( ^? li/5+ to polyphonic music to tra9 _! p[]s to ! same s]i\sness ( att5tion expect$ & freely giv5 9 ! appreciation ( an oration1 a drama or a ca!dral4 ,^! latt] manife/ations ( arti/ic expression1 to be sure1 are less ab/ract ?an ! fugue & m closely relat$ to daily life4 ,yet no ef=t is m repay+ ?an ! m5tal & emotional en]gy exp5d$ 9 li/5+ to ! int]weav+s ( a good fugue2 =1 consci\s ( miss+ ! p]iodic divisions ( ! ,folk-song1 we h to li/5 to m ?an "o melody at a "t4 ,a fugue be+ a composition1 z ! ,fr5* say1 ( longue hale9e1 our att5tion1 9 ord] to foll[ its /ructure1 mu/ be on ! qui vive e mom5t4 ,! fugue1 9 fact1 is an example ( ! intricate & yet organic complexity f\nd 9 all ! high] =ms ( life itself2 & :5ev] a compos] has wi%$ to dwell ) emphasis on a p>ticul> !me1 he almo/ inv>iably resorts to "s =m ( fugal treatm5t1 /rict or free4 ,! mo/ effective m$ia = r5d]+ fugues are ! *orus ( mix$ voices1 ! organ 7by reason ( its p$al key-bo>d always mak+ ! subject 9 ! bass /& out maje/ically7 & ! /r+$ or*e/ra :i*1 ) ! bite ( ! /r+s1 br+s out--) peculi> %>pness--! diff]5t entrances ( ! subject4 ,! /ud5t %\ld become famili> ) /&>d examples 9 ea* ( ^! classes & %\ld1 above all1 seek opportunity to he> "s ( ! organ fugues ( ,ba* p]=m$ on a really f9e in/rum5t4 ,a few well-kn[n fugues are h]e) cit$ 9 ord] to /imulate ! /ud5t to "s inve/igation ( 8 own4 ,9 all ! ,oratorios ( ,h&el & 9 ! *oral works ( ,ba*1 su* z ! ,b m9or ,mass1 may be f\nd magnific5t fugues--z free & vital 9 _! rhy?mic sw+ z ! ocean itself4 ,p>ticul> att5tion %\ld be call$ to ! fugue 9 ! ,messiah ,& by ,8 /ripes we 7 heal$ ,transcrib]'s ,note3 ,& ) ,8 /ripes we are heal$4 ,"o ( ! mo/ impressive fugues 9 mod]n lit]ature is ! capella *orus ,urbs ,syon ,unica f ,h4,w4 ,p>k]'s ,hora ,novissima4 ,f among ! organ works ( ,ba* ev]yone %\ld "k ! ,fugues 9 ,g m9or1 9 ,a m9or1 9 ,d major#ch & ! ,toccata & ,fugue 9 ,d m9or4 ,^! h all be5 transcrib$ = ! pian(orte by ,liszt & s are readily available2 !y are (t5 play$ at pian(orte recitals by ,pad]ewski & o!r virtuosi4 ,9 he>+ "o ( ^! ma/]pieces no "o c rema9 unmov$ or c fail to rev]5ce ! con/ructive g5ius :i* fa%ion$ su* ca!drals 9 tone4 ,= or*e/ra we h ! ,prelude to ,pucc9i's op]a ,madama ,butt]fly1 & ! beg9n+ ( ! ,prelude to ! ?ird act ( ,wagn]'s ,ma/]s+]s4 ,!re are /rik+ fugal passages 9 ,bee?ov5's ,symphonies1 e4g41 ! fir/ movem5t ( ! ,h]oic ,symphony & ! rollick+ ,trio ( ! ,s*]zo 9 ! ,fif? ,symphony4 ,9 m mod]n lit]ature !re is ! fugal ,f9ale to ,ar?ur ,foote's ,suite = ,or*e/ra & 9 ,*adwick's ,vagrom ,ballad a humor\s quotation ( ! !me f ,ba*'s ,g m9or ,fugue = organ4 ,"o ( ! mo/ sup]b fugues 9 free /yle is ! la/ movem5t ( ,cs> ,franck's ,prelude1 ,*oral & ,fugue 9 ,b m9or = ,pian(orte4 ,?is movem5t alone w\ld refute all *>ges ( dullness or dryness br\ght aga9/ ! fugue by ! un?9k+ or ! un5light5$4 ,a good fugue1 9 fact1 is s full ( vitality & dem&s su* active compreh5sion#ci on ! "p ( ! li/5] t x is n difficult to imag9e :]e ! dullness & dryness are g5]ally f\nd4 ,footnote #ch3 ,:5ev] ,p]cy ,gra+] p]=ms ?is fugue 9 8 own arrangem5t = pian(orte1 he always electrifies an audi5ce4 ,footnote #ci3 ,x is wor?y ( obs]vation t1 = ^? :o w li/5 to !m intellig5tly1 fugues d n m]ely dem& su* a /ate ( m9d b actually g5]ate x4 ,at ?is po9t by an analysis ( a fugue f ! ,well-temp]$ ,clavi*ord1 let u expla9 "s ( ! te*nical features 9 fugal /ructure4 ,we %all !n be 9 a position to und]/& ! m subtle devices ( fugal treatm5t & to appreciate m en?usia/ically "s additional comm5ts ^u ,ba*'s /yle 9 g5]al4 ,,fugue ,,9 ,e-,,flat ,,major1 ,,no4 ,,vii1 ,,9 ,,! ,,fir/ ,,book4 ,music3 ,subject ,c\nt]-subject ,answ] ,?is fugue 9 ?ree voices beg9s ) a graceful subject1 ann\nc$ 9 ! upp] voice4 ,9 ! ?ird measure ?is is answ]$ by an imitation ( ! subject 9 ! alto2 :ile ! op5+ voice cont9ues ) a contra/+ "p call$ ! c\nt]-subject4#dj ,z ! :ole subsequ5t fabric is organically d]iv$ f ^! two motives1 bo? subject & c\nt]-subject %\ld be play$ frequ5tly & s committ$ to memory4 ,obs]ve also ! contra/s 9 rhy?m & melodic outl9e betwe5 ! subject & c\nt]-subject4 ,9 measures #d & #e we h a %ort sequ5tial passage lead+1 9 measure #f1 to ! ?ird entry ( ! subject 9 ! bass4 ,!n aft] ano!r sequ5tial passage1 :i* includes an emphatic ass]tion ( ! subject 9 ! soprano 7measures #aa & #ab71 we ent] ^u a long episode :i* leads1 at measure #ag1 to our fir/ objective po9t ( re/--a cad5ce 9 ,c m9or4 ,) ! entry1 9 ?is measure1 ( ! subject 9 ! alto we h an int]e/+ example ( :at is t]m$ %ift$ rhy?m2 ! subject beg9n+ on ! ?ird beat in/ead ( ! fir/1 z at ! outset4 ,9 ! middle portion ( ! fugue we h two appe>ances ( ! subject 9 ! relat$ keys ( ,c m9or 7measures #ag & #ah7 & ,g m9or 7measures #bj & #ba74 ,!n1 foll[+ two v vigor\s sequ5ces1 a modulatory return is made to ! subject 9 ! home key1 & ) its normal rhy?m at measure #bf4 ,a repetition1 9 m brilliant =m1 ( "o ( ! previ\s episodes1 9 measures #ca & #cb1 gives a /rong impression ( unity2 lead+ 9 measures #cd & #ce to a la/ appe>ance ( ! subject1 ) a beautiful *ange 9 "o ( ! int]vals 7,e-flat-,g-flat74 ,! clos+ measures e/abli% ! ma9 tonality ( ,e-flat major1 r5d]$ /ill m expressive by ! c\nt]po9t associat$ ) ! la/ *ord4 ,z to ! g5]al /ructure ( ?is fugue1 x is evid5tly trip>tite1 ! fir/ "p ,a pres5t+ ! mat]ial1 ! second "p ,b af=d+ v>iety by modulat+ into diff]5t keys1 & ! ?ird "p ,a reass]t+ ! mat]ial ( ,a & br++ ! composition to a logical close 9 ! home key4 7,see ,supplem5t ,ex4 ,no4 #ae47 ,footnote #dj3 ,x is left to ! tea*] to expla9 to ! /ud5t ! key-relation%ip ( ,subject & ,answ]1 & ! diff]5ce betwe5 fugues1 tonal & real2 = z ^! po9ts h r m to d ) composition !y play b a slight "p 9 li/5+ to a fugue4 ,we %\ld n[ acqua9t ourselves ) ! m subtle devices ( fugal treatm5t2 al?\gh b "o ( ^! is employ$ 9 ! fugue j /udi$1 :i* is comp>atively simple 9 /ructure4 ,i4 ,inv]sion2 ! melodic outl9e is turn$ upside d[n :ile id5tity is reta9$ by means ( ! rhy?m1 e4g4 ,music3 ,,ba*3 #crd ,engli% ,suite ,!me ,inv]sion ,an excell5t example f an or*e/ral "w is ! !me ( ! ?ird movem5t ( ,brahms's ,c m9or ,symphony1 ! second phrase ( :i* is an ,inv]sion ( ! op5+ measures1 e4g4 ,music3 ,inv]sion ,,ii4 ,augm5tation & ,dim9ution2 ! l5g? ( ! notes is d\bl$ or halv$ :ile _! metrical relativity is ma9ta9$1 e4g4 ,music3 ,,ba*3 ,fugue ,no4 #h1 ,book ,i ,!me ,augm5tation ,music3 ,,ba*3 ,fugue ,no4 ,,ix1 ,book ,,ii ,!me ,dim9ution ,augm5tation is v frequ5t 9 mod]n lit]ature :5 a compos]1 by l5g!n+ out ! phraseology ( a !me1 wi%es to ga9 = x additional emphasis4 ,excell5t examples are ! clos+ measures ( ,s*umann's ,arabesque1 9 :i* ! rem9isc5ce ( ! orig9al motto is mo/ haunt+1 e4g41 ,music3 ,motto ,music3 ,motto augm5t$ ! ,f9ale ( ,liszt's ,fau/ ,symphony1 :]e ! love !me ( ! ,gret*5 movem5t is c>ri$ ov] & inton$ by a solo b>itone ) impressive effect1 e4g4 ,music ,music3 ,9 augm5tation ,das ewig ,weibli*e ,,iii4 ,%ift$ ,rhy?m2 ! position ( ! subject 9 ! measure is s *ang$ t ! acc5ts fall on diff]5t beats1 e4g4 ,music3 ,,ba*3 ,fugue ,no4 ,v1 ,book ,,ii ,subject ,%ift$ ,,iv4 ,/retto2 7f ! ,italian v]b /r+]e1 to draw close7 t portion ( a fugue1 (t5 ! climax1 :]e ! entrances are cr[d$ toge!r1 i4e41 ! imitat+ voice ent]s be=e ! lead+ voice has f9i%$1 e4g4 ,music3 ,fuga giocosa1 ,j4,k4 ,,pa9e1 op4 #da ,subject ,! effect is obvi\sly "o ( great conc5tration & dramatic int5sity--) a s5se ( imp5d+ climax--& its use is by no means limit$ to fugal composition2 be+ frequ5tly f\nd 9 all l>ge symphonic works ( ! classic & mod]n s*ool4 ,= a magnific5t example ( ! climactic effect produc$ by a ,/retto1 witness ! la/ "p ( ,ba*'s ,fugue 9 ,g major 7see ,supplem5t1 ,ex4 ,no4 #af74 ,al?\gh !re is consid]able complexity 9 any complete fugue1 & al?\gh x requires great conc5tration on ! "p ( ! li/5]1 we %\ld avoid ?9k+ ( ! =m z me*anical 9 any d]ogatory s5se1 b r z a means to a def9ite arti/ic end4 ,c]ta9ly no great] mi/ake c be made ?an t ( consid]+ ,ba*1 ! supreme ma/] ( polyphonic writ+1 z too au/]e1 too involv$1 = ! delight & edification ( e-day mortals4 ,ba* means brook1 & ! "n#da is mo/ appropriate2 = ,ba* is a nev] ceas+ /ream ( musical life1 ! f\nta9-head f :i* spr+ ! lead+ t5d5cies ( mod]n music4 ,9 ^! days :5 /ress is laid on ! romantic elem5t 9 music1 on w>m emotional appeal1 x is well to consid] ! quality s preval5t 9 ,ba* ( spiritual vitality4 ,exactly because ! romantic elem5t repres5ts ! human side ( music1 x is subject to ! :ims ( fa%ion & is liable to *ange & decay4 ,ba* c>ries u into ! realm ( univ]sal ideas1 inexhau/ible & *angeless 9 _! p[] to exalt4 ,s*umann says t ,music owes to ,ba* :at a religion owes to its f\nd]2 & x is true t a k ( ,ba* is ! beg9n+ ( musical wisdom4 ,by "s1 ,ba* is consid]$ dry or too res]v$ = companion%ip ) ord9>y human be+s4 ,o!rs c>elessly ass]t t he has no melody4 ,no?+ c be fur!r f ! tru? ?an ^! two misconceptions4 ,ba* surely is n dry1 because 8 "w ab\nds 9 su* vitality ( rhy?m4 ,z ,p>ry says1 9 8 biography1 ,no compos] ev] atta9$ to any?+ approa*+ ! spontaneity1 fre%ness1 & w9som5ess ( 8 dances1 su* z ! gavottes1 b\rres1 passepi$s & gigues 9 ! suites2 :ile _m ( 8 great *oruses & in/rum5tal fugues are inspir$ ) a =ce ( rhy?mic movem5t :i* ?rills ! he>] ) a feel+ ( be+ swept into space out ( ! range ( common ?+s4 ,! *>ge ( a lack ( melody is ! same :i* us$ to be br\ght aga9/ ,wagn]4 ,in/ead ( !re be+ no melody1 x is all melody1 s t ! p>tially musical1 :o lack ! p[] ( su/a9$ att5tion1 are dr[n$ 9 ! flood ( melodic outp\r+4 ,a /rong claim1 9 fact1 may be made = ,ba* z a popul> compos] 9 ! be/ s5se ( ! t]m4 ,_m ( 8 colossal works1 to be sure1 are he>d b seldom1 = !y require ! mo/ highly tra9$ executive ability4 ,b if ! av]age music-lov] w become famili> ) ! ,fr5* & ,engli% ,suites1 ) ! ,preludes & ,fugues ( ! ,well-temp]$ ,clavi*ord1 ) "s ( ! ,viol9 ,sonatas1 he w f9d = 8 imag9ation & m5tal ma*9]y a food :i*1 once enjoy$1 becomes indisp5sable4 ,= 8 music has t greate/ ( qualities 9 art z 9 human relation%ips--x we>s well & la/s4 ,we all "k t books :i* reveal ev]y?+ at a fir/ read+ are soon ?r[n aside1 & t p ^: dep? ( "* & sweetness ( disposition we disc]n b sl[ly1 (t5 become our life-long fri5ds4 ,music :i* is too easily he>d is id5tical ) t :i* is imm$iately =gott54 ,! fir/ impulse creat$ by any great "w ( art is our long+ to "k x bett]4 ,its next attribute is its p[] to ar\se & hold our /eady affection4 ,^! obs]vations may be appli$ lit]ally to ,ba*'s music1 :i* c be he>d = a lifetime1 nev] los+ its appeal b cont9ually unfold+ new beauties4 ,fur!rmore1 9 ,ba*1 we feel ! =ce ( a great "* ev5 m ?an ! arti/ic skill ) :i* ! p]sonality is reveal$4 ,9 ?is respect ,ba* 9 music is q on a p> ) ,%akespe>e 9 lit]ature & ,mi*ael ,angelo 9 pla/ic art4 ,) _m musicians1 !re is s disconc]t+ & inexplicable a discrepancy betwe5 _! de$s z m5 & ! arti/ic ?\ghts = :i* !y seem to be ! unconsci\s m$ia1 t x is inspir+ to come into t\* ) "o :o r+s true z a man :atev] dem&s are made ^u him2 ^: music is free f morbidity or c>nal blemi%1 z pure z ! w9t] w9d1 z elem5tal z ! ocean1 z uplift+ z ! />s4 ,9 ,ba* let u always rememb] ! noble human traits2 = ! univ]sal reg>d 9 :i* 8 "w is held c\ld nev] h come m]ely f pr(\nd skill 9 workman%ip1 b is due *iefly to ! manly s9c]ity & emotional dep? :i* are f\nd !re94 ,! revival ( 8 works1 = :i* ! _w owes to ,m5delssohn su* a debt1 has be5 ! s+le /ronge/ factor 9 ! developm5t ( music dur+ ! #ai? c5tury2 & _! influ5ce#db is by no means yet at an end1 z may be se5 f ! gl[+ tributes paid to him by su* mod]n compos]s z ,franck1 d',indy & ,debussy4#dc ,footnote #da3 ,bee?ov51 comm5t+ on ! "n1 maje/ically said3 ,he is no brook2 he is ! op5 sea6 ,footnote #db3 ,= a v sugge/ive article on ?is po9t by ,philip ,greeley ,clapp see ! ,musical ,qu>t]ly = ,april1 #aiaf4 ,footnote #dc3 ,"s eloqu5t comm5ts on ,ba*'s /yle & significance may be f\nd 9 ,*apt] ,,iii ( ,! ,appreciation ( ,music by ,surette & ,mason4 ,two additional fugues are n[ giv5 9 ! ,supplem5t 7see ,nos4 #ag & #ah7 = ! consid]ation ( ! /ud5t3 ! ,cat-,fugue ( ,dom5ico ,sc>latti1 ) its fanta/ic subject 7said to h be5 sugge/$ by ! walk+ ( a favorite cat on ! key-bo>d7 & ! ,fuga ,giocosa ( ,john ,kn[les ,pa9e1 7! subject ( :i* is ! well-kn[n /reet-tune ,raff]ty's lo/ 8 pig74 ,?is latt] example is n only a brilliant piece ( fugal writ+ b a typical manife/ation ( ,am]ican humor4 ,sev]al eulogies ( ! fugue are to be f\nd 9 lit]ature2 ?ree ( ! mo/ fam\s are h]e) app5d$4 ,hi/1 b a ^w1 fair & s(t6 ,=? & be judg$1 ,ma/] ,hugues6 ,answ] ! "q ,i've put y s (t3 ,:at d y mean by y\r m\nta9\s fugues8 ,see1 we're alone 9 ! l(t4 --,br[n+1 ,ma/] ,hugues ( ,saxe-,go?a4 ,?r\gh\t1 a mo/ fanta/ic description ( fugal /yle4 ,:5ce ! s\nd ,( in/rum5ts1 t made melodi\s *ime1 ,0 he>d1 ( h>p & organ2 & :o mov'd ,_! /ops & *ords 0 se52 8 volant t\* ,in/9ct ?r\gh all proportions1 l[ & high1 ,fl$ & pursu$ transv]se ! resonant fugue4 --,milton1 ,p>adise ,lo/1 ,book ,,xi4 ,!n rose ! agitation1 spread+ ?r\gh ! inf9ite ca!dral to its agony2 !n 0 complet$ ! passion ( ! mighty fugue4 ,! gold5 tubes ( ! organ :i* z yet _h b sobb$ & mutt]$ at int]vals--gleam+ among/ cl\ds & surges ( inc5se--?rew up1 z f f\nta9s unfa?omable1 columns ( he>t-%att]+ music4 ,*oir & anti*oir 7 fill+ fa/ ) unkn[n voices4 ,?\ also1 ,dy+ ,trumpet]6 ) ?y love :i* 0 victori\s1 & ?y angui% t 0 f9i%+1 did/ ent] ! tumult2 trumpet & e*o--f>ewell love & f>ewell angui%--rang ?r\gh ! dreadful ,sanctus4 --,f ,de ,qu9cey's ,dream ,fugue 9 ! ,vision ( ,sudd5 ,dea?4 ,truly a m>vell\s picture ( ! effect ( a fugue 9 a great m$ieval ca!dral6 ,,*apt] ,,iv ,,! ,,musical ,,s5t5ce ,be=e pass+ on to an explanation ( ! fundam5tal types ( musical /ructure1 we mu/ give "s idea ( ! con/itu5t p>ts ( ! ,p]iod 9 music4 ,e art has its units ( expression3 ! /raight l9e1 ! curve1 ! ar*1 ! poetic /anza & ! prose s5t5ce4 ,j z poetry & prose are a s]ies ( /anzas or s5t5ces1 s a musical composition is a succession ( def9itely organiz$ portions ( ?\ght & emotion1 9 t]ms ( rhy?m & s\nd4 ,9 ! he>t ( a composition1 to be sure1 we (t5 f9d a great fre$om 9 ! phraseology1 comp>able to blank v]se or to a rhapsodic k9d ( prose2 b ) few exceptions1 su* z a ,fantasie1 e composition always beg9s ) "o or two p]iods :i*1 9 reg>d to subdivision1 balance & directness ( /atem5t1 are c>efully plann$ & are complete 9 !mselves4 ,be=e x is possible to foll[ intellig5tly ! /ructure ( a musical s5t5ce we mu/ ga9 a cle> idea ( :at is meant by ! frequ5tly us$ t]ms ,tonality & ,modulation4 ,s9ce ! evolution & acceptance ( our ?ree mod]n scales3#dd ! major1 ! m9or & ! *romatic--:i* ga9$ _! sanction *iefly ?r\gh ! inve/igations & compositions ( ,ba* & ,rameau--e melody & ! accompany+ h>mony are said to be 9 a c]ta9 tonality 7or key7 :i* takes its "n f ! fir/ tone ( ! scale 9 "q1 e4g41 ,c1 ,e-flat1 ,f %>p1 etc4 ,h5ce ?is fir/ tone is call$ ! ,tonic or *ief tone & f x asc5d ! o!r tones ( ! scale4 ,t is1 a melody 9 ,e-flat major w employ only ^? tones f\nd 9 ! scale ( ,e-flat major1 & is said to be 9 t key1 or tonality4 ,! same w\ld be true ( ! h>mony involv$1 i4e41 ! *ords w\ld consi/ ( comb9ations ( ! diff]5t tones ( ?is scale4 ,:5 a melody1 z is (t5 ! case1 employs tones n f\nd 9 ! scale 9 "q1 ^! are call$ *romatic#de *anges1 & may or may n effect a modulation or dep>ture into ano!r key1 e4g4 ,music ,footnote #dd3 ,x is assum$ t ! music-lov] has1 z 8 bir?right1 an in/9ctive k ( ! gr\p+ ( tones & semitones 9 our mod]n scales4 ,^? :o may wi% to refre% _! k are recomm5d$ to ! second ,*apt] 9 ,foote & ,spald+'s ,h>mony1 & to ! *apt] on ,scales 9 ,p>ry's ,evolution ( ! ,art ( ,music4 ,footnote #de3 ,color 9 music is br\ght ab\t *iefly ?r\gh _! use4 ,! mo/ important means ( ga9+ unity & coh]5ce 9 a composition is to h x writt5 9 a cle>ly def9$ tonality1 especially at ! outset4 ,?is def9ite tonality is ! c5tre ( gravity1 s to speak1 ab\t :i* ! :ole composition revolves4 ,if ?is tonal c5tre 7 unc]ta9 or w&]+1 we %\ld h a feel+ ( vagu5ess & p]plexity :i*1 except = special dramatic effect1 is nev] f\nd 9 works ( ! great compos]s4 ,?us we speak ( a ,symphony 9 ,c m9or1 ( a ,qu>tet 9 ,f major & ( a ,sonata 9 ,b-flat m9or2#df ?is f\ndation key be+ comp>able to ! basic color-s*eme ( a pa9t+4 ,!re is also a p>ticul> ae/hetic effect & color-appeal associat$ ) ea* key2 & ! li/5] %\ld tra9 himself to be s5sitive to ! brilliance ( su* keys z ,d major & ,e major1 ! ri*ness ( ,b major1 ! dignity ( ,e-flat major1 ! almo/ cloy+ sweetness ( ,d-flat major & ( ,g-flat major & ! tragic dep? ( ,b m9or & ,g m9or4 ,no piece1 h[ev]1 %\ld rema9 = long 9 ! same key2 = music cuts s deeply into ! consci\sness t !re w\ld result an intol]able monotony4#dg ,ev5 9 ! simple/ folk-songs1 !re=e1 we (t5 f9d manife/$ an in/9ct = ^? *anges ( tonal c5tre :i* are te*nically call$ ,modulations4 ,all ! keys f\nd$ on ! twelve semitones ( ! *romatic scale are relat$--?\gh 9 v>y+ degrees ( clos5ess2 & 9 mod]n music1 no matt] h[ complex ! modulations (t5 s\nd1 we may be sure t ! compos] plans !m z c>efully z ! pa9t] adju/s 8 color-s*eme4 ,= def9ite ac\/ical#dh & h>monic reasons1 h[ev]1 ! keys mo/ closely relat$ to a giv5 tonal c5tre are ^? situat$ a p]fect fif? above--! ,dom9ant2 a p]fect fif? bel[--! ,subdom9ant2 & ! ,relative ,m9or1 ! key-note ( :i* is a m9or ?ird bel[1 e4g41 ,a m9or 9 relation to ,c major1 ,c m9or to ,e-flat major4 ,! relative m9ors ( ! ,dom9ant & ,subdom9ant also be> a close relation%ip to a giv5 tonic2 & into ^! five keys is made a l>ge majority ( ! modulations 9 any piece ( music4#di ,music3 ,subdom9ant ,tonic ,dom9ant ,relative ,relative ,relative ,m9or ,m9or ,m9or ,footnote #df3 ,z = example ! fam\s "o ( ,*op94 ,footnote #dg3 ,ev5 great compos]s h at times made ?is mi/ake1 e4g41 ,m5delssohn 9 ! fir/ movem5t ( ! ,scot* ,symphony1 :]e ! int]m9able l5g? ( ! portion 9 ,a m9or 7( all keys67 is simply dead5+ 9 its effect4 ,comp>e also ! ,prelude to ! ,rhe+old2 :]e1 h[ev]--= dramatic purposes--to depict ! _w z )\t =m & void ,wagn] rema9s 9 ! key ( ,e-flat major = "s #aej measures6 ,footnote #dh3 ,x is left to ! tea*] to expla91 by ! ratios f\nd 9 ! ov]tones ( ! ,h>monic ,s]ies1 ! validity ( ?is /atem5t4 ,footnote #di3 ,"s mod]n !ori/s1 e4g41 ,calvacoressi 7see ! ,new ,music ,review = ,septemb]1 #aiji7 h ?\ght t ! dom9ant relation%ip 0 ov]work$4 ,x is true t ! great *>m ( mod]n music is its fre$om & boldness 9 modulation2 b ! dom9ant keys c nev] be entirely ab&on$1 = ! relation%ip betwe5 !m & a tonic is z elem5tal z t betwe5 ! colors ( ! spectroscope4 ,beg9n+ ) ,bee?ov51 a modulation into :at are kn[n z ! m$iant keys became frequ5t2 & is1 9 fact1 a favorite *ange 9 all mod]n music--! m$iant keys be+ ^? situat$ half-way betwe5 a ,tonic & ,dom9ant or a ,tonic & ,subdom9ant1 e4g4 ,music3 ,sub-m$iant ,m$iant ,anyone at all famili> ) ,bee?ov5's /yle w rememb] h[ (t5 8 second !me1 in/ead ( foll[+ ! m conv5tional l9e ( dom9ant relation%ip1 is 9 a m$iant key4 ,good examples may be f\nd 9 ! fir/ movem5t ( ! ,wald/e9 ,sonata & 9 ! fir/ & la/ movem5ts ( ! #h? ,symphony4 ,a little ?\ght w make cle> t ! relation%ips j set =? include ne>ly all ! possible ones save ^? ( #bnds & #g?s4 ,ev5 into ^! app>5tly di/ant keys1 e4g41 to ,d-flat major or to ,b major f ,c major1 modulations may easily be made by means ( ! enh>monic#ej relation%ip f\nd 9 t frequ5tly us$ mod]n *ord--! ,augm5t$ ,six?1 e4g4 ,music3 ,c major ,b major ,c major ,d-flat major ,footnote #ej3 ,two tones are said to be enh>monic :51 al?\gh writt5 diff]5tly1 !y s\nd ! same on an in/rum5t ( fix$ temp]am5t l ! pian(orte1 or organ1 e4g41 ,d-%>p & ,e-flat1 ,e & ,f-flat4 ,a viol91 h[ev]1 c make a di/9ction betwe5 su* notes & (t5 does4 ,next to rhy?m1 modulation is ! mo/ /imulat+ & en*ant+ elem5t 9 music4 ,no composition ( any scope c be consid]$ truly great unless x ab\nds 9 beautiful modulations4 ,c]ta9 compos]s1 to be sure1 h 9 ?is respect m g5ius ?an o!rs--notably ,s*ub]t1 ,*op91 ,wagn] & ,franck ^: music seems to waft u along on a magic c>pet ( delight4 ,b j z ,unity dep5ds ^u a def9ite basic tonality1 s ,v>iety is ga9$ by ?is v fre$om ( modulation4 ,)\t x is monotony2 ) too mu* modulation1 an irritat+ re/lessness4 ,by ! p]fect balance 9 8 works ( ^! two relat$ elem5ts a g5ius may be def9itely recogniz$4 ,! simple/ & on ! :ole mo/ frequ5t type ( musical s5t5ce or p]iod consi/s ( eight measures1 subdivid$ into two balanc+ phrases ( f\r measures#ea ea*--! compon5t p>ts pla9ly indicat$ by v>i\s cad5ces & end+s soon to be expla9$4 ,^! f\r-measure phrases are (t51 ?\gh n inv>iably1 /ill fur!r subdivid$ into two sections ( two measures ea*4 ,let u n[ corroborate ^! /atem5ts by an exam9ation ( ! op5+ s5t5ce ( ! ,s*]zo ( ,bee?ov5's ,second ,sonata = ,pian(orte4 ,?is concise s5t5ce is an epitome ( ! *ief pr9ciples ( organic musical expression4 ,at ! outset#eb we see ! lead+ motive1 :i* consi/s ( an asc5d+ brok5 *ord twice repeat$4 ,we see also ,music ! fir/ phrase ( #d measures & ! second phrase#ec ( simil> l5g?1 alike subdivid$ into two sections ( #b measures ea*4 ,9 ! ?ird measure we f9d a modulation into ! dom9ant key 7indicat$ by ! ,d-%>p7 & 9 ! f\r? measure a cad5ce ) a fem99e end+ 9 ?is key4 ,! second--or aft]--phrase corresponds exactly to :at has gone be=e3 we h ! same repetition ( ! motive 9 a diff]5t "p ( ! scale2 & f9ally1 9 ! #h? measure1 a cad5ce 9 ! home key1 also ) fem99e end+4 ,footnote #ea3 ,?is ass]tion holds = mo/ ( our ,we/]n ,european music2 ?\gh 9 ,hung>ian & ,scot* music we f9d a natural fondness = phrases ( ?ree measures1 & ! ,croatians are kn[n = _! phrases ( five measures s (t5 us$ by bo? ,haydn & ,s*ub]t4 ,b x is true t we t5d to ?9k 9 gr\ps :i* are "s multiple ( #b1 i4e41 ei!r #d1 #h1 #ab or #af measures4 ,footnote #eb3 ,always c\nt ! fir/ complete measure z "o4 ,footnote #ec3 ,! two phrases are (t5 designat$ ,!sis & ,anti!sis4 ,music ,:5 ! s5t5ce is play$1 x is evid5t h[ unsatisfactory w\ld be ! effect if a complete /op 7 attempt$ at ! #d? measure2 & h[ symmetrical & conv9c+ is ! impression :5 ! eight measures are consid]$ an unbrok5 sweep ( musical ?\ght4#ed ,!re are1 9 fact1 a few complete compositions 9 musical lit]ature :i* conta9 b a s+le s5t5ce ( eight measures4 ,z an example may be cit$ ! song f ,s*umann's ,li$] ,album fr ,jug5d1 op4 #gi1 ,no4 #a4 7,see ,supplem5t ,no4 #ai47 ,= purposes ( practical appreciation#ee x is en\gh to /ate t a cad5ce is an accept$ comb9ation ( *ords 7g5]ally ! tonic1 dom9ant & subdom9ant7 :i* indicates t "s objective1 ei!r tempor>y or f9al1 has be5 rea*$4 ,:5 ! dom9ant *ord or any dom9ant h>mony is imm$iately foll[$ by ! tonic ! cad5ce is call$ p]fect or f9al1 & may be comp>$ to a p]iod 9 punctuation1 e4g4 ,music ,music3 ,c,,s> ,,franck ,footnote #ed3 ,9 li/5+ to a clock x is impossible to ?9k ( ! ticks s+ly1 or o!rwise ?an 9 gr\ps ( two3 an acc5t$ beat & an unacc5t$2 al?\gh ! beats are ( equal /r5g? & duration4 ,?is pr9ciple ( dual balance is d]iv$ f ! rhy?mic pulsation ( ! human he>t &1 z we %all see1 runs ?r\gh all music4 ,footnote #ee3 ,:5ev] ?is book is us$ 9 class1 ! tea*] c easily expla91 on ! pian(orte & by *>ts1 ! diff]5t cad5tial effects4 ,= ^? :o h suffici5t h>monic insight ,*apt] ,,xiv 9 ,foote & ,spald+'s ,mod]n ,h>mony is wor? consult+4 ,a rev]sal ( ?is ord] produces :at is call$ ! half-cad5ce1 ak9 to ! semicolon1 e4g4 ,music ,! union ( ! subdom9ant & tonic *ords is kn[n z ! ,plagal ,cad5ce1 e4g41 ,music & always gives a feel+ ( religi\s dignity & impressiv5ess4 ,magnific5t examples may be f\nd 9 ! clos+ measures ( ,wagn]'s ,ov]ture to ! ,ma/]s+]s & ( ,brahms' ,fir/ ,symphony 9 ,c m9or4 ,9 ! f9al cad5ce ( ,debussy's humor\s piece = pian(orte1 ,m9/rels1 ! effect is burlesqu$1 e4g4 ,music ,:5 dom9ant h>mony is foll[$ by "s unexpect$ *ord we h ! s-call$ ,deceptive ,cad5ce1 :i* is n unlike ! m>k ( int]rogation 787 or ev5 exclamation 767 e4g4 ,music3 ,,wagn]3 ,ov]ture to ! ,ma/]s+]s ,music3 ,,t*aik[sky3 #e? ,symphony ,?is la/ cad5ce gives an effect ( dramatic surprise--c]ta9ly an exclamation ( great =ce4 ,"o ( ! glories ( mod]n music is ! d>+ novelty ( cad5tial effect :i* has be5 a*iev$ by su* compos]s z ,franck1 ,debussy & ,ravel2 ! /ud5t %\ld try to become m & m famili> ) su* h>monic comb9ations4 ,a beautiful example#ef is cit$ f ,cs> ,franck's ,sonata = ,viol9 & ,pian(orte4 ,footnote #ef3 ,see also ! /rik+ly orig9al cad5ces 9 ,debussy's ,l',isle joyeuse4 ,music ,! two end+s = phrases are classifi$ z ,mascul9e & ,fem99e & !y correspond exactly to ! same effects 9 ! metre ( a poetic /anza4 ,:5 ! second *ord ( ! cad5ce1 :atev] x may be1 co9cides ) a /rong beat1 i4e41 ! fir/ beat ( ! measure1 ! end+ is ,mascul9e1 e4g4 ,music ,:5 ! *ord is c>ri$ ov] to a weak beat ( ! measure ! end+ is ,fem99e1 e4g4 ,music ,we n[ give two m examples ( ! eight measure ,s5t5ce :i* cle>ly exemplify ! pr9ciples j /at$1 e4g4 ,music3 ,,bee?ov53 #crd ,sonata ,9 ?is vigor\s & cle>-cut s5t5ce we f9d 9 ! #d? measure an effect ( surprise & susp5se2 = ! *ord on ! fir/ beat is an inv]t$ position ( ! dom9ant *ord 9 ! dom9ant key4 ,bo? ! end+s are mascul9e1 i4e41 ! *ords :i* end ! phrases co9cide ) ! /rong beats4 ,music3 ,,bee?ov53 #a/ ,sonata ,?is graceful s5t5ce is notewor?y = ! cle> division ( ! fir/ phrase into two contra/+ sections2 :]eas1 9 ! second phrase1 a climactic effect is ga9$ by hav+ no m>k$ subdivision4 ,9 ! f\r? measure occurs a good example ( a half-cad5ce4 ,all ! end+s are fem99e1 i4e41 ! cad5tial *ord occurs on a weak beat ( ! measure4#eg ,footnote #eg3 ,ano!r int]e/+ eight-measure s5t5ce may be f\nd at ! beg9n+ ( ! sl[ movem5t ( ,bee?ov5's ,eigh? ,sonata1 9 :i* e section diff]s f any "o ( ! o!rs2 9 ! op5+ s5t5ce ( ! fir/ movem5t ( ! ,t5? ,sonata--noticeable = ! indef9it5ess ( ! cad5ces until ! f9al close is rea*$ 9 measure #h1 & 9 ! fir/ s5t5ce ( ! ,allegretto ( ! ,six? ,sonata :i* is "o long sweep1 ) only ! fa9te/ indications ( subdivision4 ,music1 h[ev]1 w\ld be v rigid & w\ld seem measur$ (f ) a y>d-/ick if ! s5t5ces 7 equally ( eight measures4 ,! s+-song effect ( mu* s-call$ popul> music is due to ! /]eotyp$ metrical patt]n4 ,y c always tell j :]e & h[ y are com+ out4 ,9 ord] to ga9 a free & ela/ic phraseology1 compos]s e>ly began to comb9e ?ree f\r-measure phrases into a twelve measure s5t5ce4 ,x is obvi\s t ) ?ree phrases !re c be m subtle effects ( contra/ & balance ?an ) two1 z ! foll[+ *>t makes pla93 _/ ,a ,contra/ ,b ,contra/ ,c _/ 7#d measures7 7#d measures7 7#d measures7 balance _/ ,music3 ,,bee?ov53 #f? ,sonata ,9 ?is s5t5ce x is evid5t t we _c /op at ! #h? measure & t our fir/ def9ite conclusion is 9 measure #ab4 ,let ! /ud5t obs]ve ! v>i$ melodic outl9e 9 ! ?ree phrases1 & "q himself z to ! types ( cad5ce & end+4 ,,m9uetto ,,( ,,bee?ov5',s ,,fir/ ,,sonata4#eh ,footnote #eh3 ,lack ( space w prev5t h]eaft] ! citation 9 actual notes ( ! examples f ,bee?ov54 ,8 works are readily accessible1 & x may ev5 be assum$ t e music-lov] owns ! ,pian(orte ,sonatas4 ,9 ?is beautifully con/ruct$ twelve-measure s5t5ce we h ! ma9 motive ( ! entire movem5t set =? 9 measures #a & #b2 !n a contra/+ second>y motive 9 measures #c & #d4 ,! second f\r-measure phrase1 i4e41 measures #e1 #f1 #g & #h1 repeats ! mat]ial exactly1 b ) a modulation into ! relative major4 ,9 measures #i & #aj we f9d ! second>y motive appe>+ 9 ! alto voice 7:i* %\ld be br\ght out 9 p]=mance71 & 9 measures #aa & #ab a free end+ 9 ! relative major4 ,! clos+ measures1 #ac & #ad1 give an e*o-l effect1 :i* w be expla9$ :5 we come to ext5d$ s5t5ces4 ,su* a s5t5ce is n to be consid]$ z "o ( #ad measures1 al?\gh ! lit]al c\nt+ gives t numb]2 = ! fir/ complete cad5ce occurs 9 ! #ab? measure at ! end ( ! ?ird f\r-measure phrase2 ! rema9+ measures be+ supplem5t>y4#ei ,footnote #ei3 ,ano!r excell5t example ( a #ab measure s5t5ce ) an ext5d$ cad5ce may be f\nd at ! beg9n+ ( ! fir/ movem5t ( ! ,?ird ,bee?ov5 ,sonata4 ,! la/ type ( simple1 normal s5t5ce is t ( #af measures1 divid$ into #d phrases ( #d measures ea*4 ,a cle> di/9ction mu/ be drawn betwe5 two successive s5t5ces ( #h measures & ! long sweep ( a g5u9e #af measure s5t5ce4 ,9 ! latt] case !re is no complete & satisfactory /op until we rea* ! cad5ce 9 ! #af? measure4 ,,fir/ ,,s5t5ce ,,( ,,! ,,fir/ ,,movem5t ,,( ,,! ,,twelf? ,,sonata4 ,no difficulty w be f\nd 9 foll[+ ! cad5ces & end+s ( ?is s5t5ce1 ! long-drawn out l9es ( :i* give an impression ( repose & tranquillity4 ,two m excell5t examples ( #af measure s5t5ces may be f\nd 9 ! ,adagio ( ! ,fif? ,sonata1 & 9 ! ,s*]zo ( ! ,?ird2 ! latt] movem5t is rem>kable = ! polyphonic treatm5t ( ! op5+ motive4 ,al?\gh ! ?ree types ( s5t5ce j /udi$1 i4e41 ( #h1 #ab & #af measures are ! normal ones1 & w\ld include a majority ( all s5t5ces--especially 9 small] works--9 l>ge compositions !re w\ld be an un5durable monotony & rigidity 7 !re inv>iably to be cad5tial pauses at e #d? measure4 ,we all "k ! dead5+ effect ( poetry :i* has too great uni=mity ( metric patt]n2 & v]ses ( ,! boy /ood on ! burn+-deck type are consid]$ ?or\ghly s+-song4 ,x is obvi\s t ela/icity may be ga9$1 )\t di/urb+ ! normal balance1 by exp&+ a s5t5ce ?r\gh ! addition ( extra measures1 or contract+ x by ! logical omission ( c]ta9 measures or by ! ov]lapp+ ( phrases4 ,! simple/ & mo/ common means ( enl>g+ a s5t5ce is by ! ext5sion1 or repetition1 ( ! f9al cad5ce--t effect :i* is s frequ5t 9 ! *amb] & symphonic music ( ,haydn1 & :i* has its comic manife/ation 9 ! s-call$ cresc5do ( ! ,ross9i ,op]atic ,ov]ture4#fj ,footnote #fj3 ,= a burlesque ( ?is practise see ! clos+ measures ( ! ,s*]z&o movem5t ( ,bee?ov5's ,eigh? ,symphony4 ,music3 ,,haydn3 ,qu>tet1 op4 #gd1 ,no4 #b ,z ,haydn 0 an important pione] 9 free+ in/rum5tal /ructure f dep5d5ce on ! metre ( words1 8 p]iods are always cle>ly organiz$2 ! clos+ measures ( ?is example seem1 z x 71 to display a flag1 tell+ ! li/5] t ! fir/ brea?+-place is rea*$4 ,v (t5 bo? ! =e-phrase & ! aft]-phrase h cad5tial prolongations1 an example ( :i* may be f\nd 9 ,haydn's ,qu>tet1 op4 #ga1 ,no4 #c4 ,! two foll[+ illu/rations 7! fir/ movem5t ( ,bee?ov5's ,fif? ,sonata & ! ?ird movem5t ( ! ,f\r?7 furni% rem>kable examples ( ext5d$ #af measure s5t5ces2 ea* s5t5ce be+ normal & symmetrical at ! outset & !n1 z ! fancy ( ! compos] cat*es fire1 exp&+ 9 a mo/ dramatic fa%ion4 ,sometimes ! additional measures1 9 an ext5d$ s5t5ce1 are f\nd at ! />t2 a cle> example ( ?is is ! fir/ s5t5ce 7) its repeat$ op5+ measure7 ( ! ,l>go ( ! ,sev5? ,sonata4 ,s5t5ces are also (t5 exp&$ by ! ins]tion ( "o or m measures 9 ! middle ( ! phrase1 e4g41 ! beg9n+ ( ! fir/ movem5t ( ! ,sev5? ,sonata & ! correspond+ place 9 ! ,f\r?4 ,9 ! =m] s5t5ce ! fir/ phrase is p]fectly regul>1 b z we rea* our f9al cad5ce only 9 ! t5? measure1 we mu/ acc\nt = "s additional measures4 ,! polyphonic imitation ( ! desc5d+ motive ( measure #e makes cle> t ?is measure has two repetitions4 ,9 ! latt] case we rea* ! end ( ! s5t5ce 9 ! #ag? measure & c>eful c\nt+1 & consid]ation ( ! melodic outl9e1 w conv9ce u t ! #i? measure1 emphasiz$ by ! sf m>k1 is repeat$4 ,:5 an extra measure is sy/ematically introduc$ into ea* phrase ( #d measures we h :at is kn[n z five-b> rhy?m--s preval5t 9 ! works ( ,s*ub]t & ,brahms4 ,music3 ,,s*ub]t3 ,sonata 9 ,eflat major ,music3 ,,brahms3 ,ballade 9 ,g m9or ,z ev]yone is famili> ) ! latt] composition1 only ! melody is cit$4 ,?is propulsion ( ! m9d =w>d beyond ! accu/om$ po9t ( re/ always produces a /imulat+ rhy?mic effect4#fa ,footnote #fa3 ,o!r *>m+ examples ( five-b> rhy?m may be f\nd 9 ,s*ub]t's ,qu>tet 9 ,a m9or1 op4 #bi1 & 9 ! op5+ *oral 7,/4 ,an?ony7 ( ,brahms's ,or*e/ral ,v>iations1 op4 #ef;a4 ,! normal phraseology ( f\r & eight measures is alt]$ at times by ! omission ( c]ta9 measures4 ,?is (t5 takes place at ! beg9n+ ( ! s5t5ce1 z may be se5 f ! /ructure ( ! s-call$ ,anglican *ant1 famili> to all ,prote/ants1 e4g4 ,music3 ,,savage ,! beg9n+ ( ,moz>t's ,ov]ture to ,fig>o is also well kn[n1 e4g4 ,music ,! elision ( a measure (t5 takes place 9 ! middle ( a phrase z may be se5 f ! !me ( ,m5delssohn's famili> ,spr+-,song4 ,music ,j z 9 ! case ( ! sy/ematic ins]tion ( an extra measure1 :i* produces five-b> rhy?m1 s :5 a measure is omitt$ 9 ea* phrase :i* w\ld usually consi/ ( f\r measures1 we h ?ree-b> rhy?m4 ,?is gives an effect ( great conc5tration & int5sity & is a preval5t feature 9 ,scotti% & ,hung>ian folk-music1 e4g4 ,music3 ,scot* ,music3 ,hung>ian ,additional examples ( ?ree-b> rhy?m may be f\nd 9 ! ,s*]zo ( ,bee?ov5's ,t5? ,sonata & 9 ! ,m9uet ( ,moz>t's ,g m9or ,symphony--! latt]1 "o ( ! mo/ /rik+ examples 9 lit]ature4 ,:5 a measure is sy/ematically omitt$ f ! normal /ructure ( ! #h measure s5t5ce we h sev5-b> rhy?m2 ( :i* beautiful examples may be f\nd 9 ! ,s*]zo ( ,bee?ov5's ,sonata 9 ,b-flat major1 op4 #ajf1 & 9 ,moz>t's ,qu>tet 9 ,f major1 ,no4 #bc4 ,z ^! examples are readily accessible !y are n quot$4 ,! humor\s effect produc$1 9 ! ,bee?ov5 example1 by ! unexpect$ elision ( ! #g? measure is v m>k$4 ,flexibility 9 ! /ructure ( a s5t5ce is (t5 ga9$ by :at is kn[n z ov]lapp+#fb ( phrases1 i4e41 :]e ! clos+ measure ( a s5t5ce1 ! #h? or #ab? = example1 is id5tical ) ! fir/ measure ( ! foll[+ phrase4 ,a cle> example is ?is passage f ! fir/ movem5t ( ,bee?ov5's ,?ird ,sonata1 e4g4 ,music ,footnote #fb3 ,?is effect is cle>ly br\ght out 9 symphonic music :]e "o portion ( ! or*e/ra1 ) a c]ta9 tone color1 may be end+ a phrase at ! same mom5t at :i* ano!r "p1 ) a contra/+ tone color1 beg9s4 ,an excell5t example is ! fir/ !me ( ! ,sl[ movem5t ( ,s*umann's ,second ,symphony 7measures #g-h74 ,z ! pr9ciples ( s5t5ce-=mation are closely involv$ ) ! g5]al subject ( rhy?m1 some?+ mu/ be kn[n ab\t ! numb] ( beats )9 ! measure itself4 ,:ile x is true t we ,anglo-,saxons t5d to ?9k 9 t]ms ( #b & #c or _! multiples1 i4e41 our cu/om>y measures consi/ ( #b or #d beats or ( #c1 #f1 #i & #ab1 9 mod]n music--p>ticul>ly t ( o!r races 7! ,slavs1 ,hung>ians1 etc47--we (t5 f9d measures ) #e & #g beats & ev5 phrases conta9+ a mixture ( rhy?ms4 ,?ree excell5t examples ( compositions ) measures ( #e beats ea* are ! ,sl[ ,movem5t ( ,*op9's ,sonata 9 ,c m9or1 op4 #d1 ! ,f-%>p major portion ( d',indy's ,symphonic ,v>iations1 ,i/>1 & ! second movem5t ( ,t*aik[sky ,six? ,symphony1 e4g4 ,music ,a delightful example ( a melody ) #g beats a measure is ! ,&ante ,grazioso ( ,brahms's ,trio 9 ,c m9or1 op4 #aja--! result und\bt$ly ( 8 well-kn[n fondness = ,hung>ian music1 e4g4 ,music ,! foll[+ !me f ,t*aik[sky's ,qu>tet 9 ,f major1 not)/&+ ! "t signature1 c]ta9ly gives ! effect ( a long1 sev5-beat measure1 e4g4 ,music ,^? :o wi% to d a little inve/igat+ ( _! own 9 ! field ( mod]n music w f9d int]e/+ examples ( #e_/d & #g_/d metres 9 ,ravel's ,daphnis & ,*loe1 9 d',indy's ,sonata = ,viol9 & ,pian(orte & 9 ! ,ballet music ( ,/rav9sky4 ,we ev5 f9d passages :]e1 = special effect1 ! usual beats are elid$ or extra beats ins]t$4 ,s*umann 0 "o ( ! mo/ d>+ exp]im5t]s 9 ?is respect & su* fanta/ic effects are frequ5t 9 8 pian(orte works--notably 9 ! ,c>naval1 op4 #i1 & 9 ! ,phantasie/cke1 op4 #ab1 e4g4 ,music3 ,,s*umann3 ,c>naval ,) ref]5ce to all ! =ego+ pr9ciples & comm5ts ! music-lov] is caution$ aga9/ ! assumption t music1 f ! /&po9t ( ! compos] or ! li/5]1 is m]ely a matt] ( me*anical c\nt+2 or t ! sw+ ( music is z regul> z t ( a sew+-ma*9e4 ,b1 z ord] is ,heav5's fir/ law1 x is true t music t5ds to move 9 def9ite1 symmetrical gr\ps2 & :]e dep>ture is made f ?is practise ! effect is "o mo/ c>efully plann$4 ,! matt] des]ves e>ne/ consid]ation1 =1 9 :at is kn[n z ! rhy?mical s5se1 ,am]icans--z a p1 9 comp>ison ) =eign nations--are /ill woefully defici5t4 ,z rhy?m is ! basic elem5t 9 all music1 !re is no?+ 9 :i* ! li/5] %\ld m def9itely tra9 8 faculties ?an 9 intellig5t cop]ation ) ! fre$om ( ! compos]4 ,,*apt] ,v ,,! ,,two-,,"p ,,& ,,?ree-,,"p ,,=ms ,n[ t a cle> insight has be5 ga9$ into ! =mation ( ! normal s5t5ce1 we are 9 a position to und]/& h[ s5t5ces may be comb9$ to make complete compositions4 ,! simple/ & mo/ primitive /ructure is t :i* conta9s two complete s5t5ces2 divid+ itself naturally into two p>ts & h5ce kn[n z ! ,two-,"p ,=m4 ,?is =m by reason ( its simplicity & directness is (t5 f\nd 9 ! %ort pian(orte pieces ( ,s*umann1 ,t*aik[sky1 ,brahms1 ,grieg & ,debussy4 ,= a long p]iod !re 0 no attempt at diff]5tiation betwe5 vocal & in/rum5tal /yle2 music1 9 fact1 dur+ ! #ae? & #af? c5turies 0 (t5 entitl$ buon da cant>e ou suon>e1 i4e41 equally well suit$ = voices or in/rum5ts4 ,:5 in/rum5tal play]s 7 9 se>* ( pieces1 !y simply transf]r$ to _! in/rum5ts ! voice-p>ts ( ! ,madrigals & ,canzonas :i* 7 !n s fa%ionable4#fc ,) ! developm5t ( in/rum5ts--especially ( ! ,viol9 family--& ) ! desire = an in/rum5tal /yle :i* %\ld be indep5d5t ( words1 pr9ciples ( coh]5t design _h to be evolv$2 & !y 7 sugge/$ by ! def9ite metre 9 ! /anzas ( ! ,folk-song &1 above all1 by ! symmetrical phrases ( ! ,folk-dance1 us$ to accompany ! rhy?mical motions ( ! body4 ,by a utilization ( ^! pr9ciples ( balanc$ phrases1 ( contra/$ keys & ( p]iodic !mes1 in/rum5tal music gradually work$ out a /ructure ( its own1#fd ( :i* we f9d examples 9 ,national dances & 9 ! compositions ( su* pione]s ( in/rum5tal /yle z ! ,italians ,corelli & ,vivaldi1 ! ,fr5*m5 ,lully1 ,c\p]9 & ,rameau1 & ! ,engli%man ,purcell4 ,footnote #fc3 ,= a complete acc\nt ( ?is process see ,p>ry's ,evolution ( ! ,art ( ,music1 p4 #aae seq4 ,footnote #fd3 ,?is book makes no attempt to give an hi/orical acc\nt ( ! developm5t ( in/rum5tal =m4 ,! subject is set =? compreh5sively 9 ! article on ,=m 9 ,grove's ,diction>y 7,vol4 ,,ii1 p4 #gc7 & 9 ! ,fif? & ,six? ,*apt]s ( ,p>ry's ,evolution ( ! ,art ( ,music4 ,music3 ,vi5s dans ce bocage belle ,am9te1 ,sans contra9te ,l'on y =me des voeux2 ,vi5s1 ,vi5s dans ce bocage belle ,am9te1 ,il e/ fait p\r les plaisirs et les jeux4 ,9 ?is rhy?mic & sprightly dance ( exactly #h measures 7an old ,fr5* ,tamb\r9 tak5 f ,weck]l9's ,e*os du ,temps ,pass7 we see cle>ly ! influ5ce ( ! metrical /anza ( words & ( ! balanc$ phrases 9 ! in/rum5tal "p1 necess>y to accompany ! /eps ( ! danc]s4 ,! melody ( ! accompanim5t 0 play$ on a flute or "s simple k9d ( pipe1 & ! bass on a ,tamb\r de ,basque--a rude =m ( drum1 :i* repeat$ cont9ually ! tonic & dom9ant ( ! key2 ! same effect :i* we associate ) ! ,bagpipe & ,hurdy-gurdy4 ,music3 ,,purcell3 ,jig4 ,9 ?is ,jig1 :i* 0 a favorite type ) ! ,engli% peasantry--divid$ into ?ree s5t5ces ( exactly #h measures ea*--! dance rhy?m is v %>ply def9$4 ,f v>i\s dance-patt]ns a /ructural type 0 gradually evolv$1 ( :i* ! *ief features w n[ be indicat$4 ,! music 0 divid$ into two di/9ct halves & x became ! conv5tion to ga9 l5g? by repeat+ ea* half--9 ! e>ly days ( ! =m1 lit]ally 7) a d\ble b> & sign ( repeat72 lat]1 z compos]s ga9$ fre$om1 ) consid]able amplification4 ,ea* half pres5t$ ! same mat]ial 7x 0 a "o-!me =m7 b ! two halves 7 contra/$ 9 tonality1 i4e41 ! fir/ "p1 beg9n+ 9 ! home-key1 w\ld modulate to "s relat$ key--g5]ally ! dom9ant2 ! second "p1 />t+ out 9 ?is key1 gradually modulat$ back to a f9al cad5ce 9 ! orig9al key1 & (t5--especially 9 ,haydn & ,moz>t--repeat$ ! entire ma9 s5t5ce ( ! fir/ "p4 ,! g5]al effect ( su* a =m has be5 wittily describ$#fe z resembl+ ! actions ( ! ,k+ ( ,france :o1 ) tw5ty ?\s& m51 m>*$ up ! hill & !n m>*$ d[n aga9--b he surely _h no excit+ adv5tures 9 betwe56 ,x is evid5t t ?is =m1 :ile favorable to coh]5ce & unity1 is lack+ 9 scope & 9 opportunity = v>iety & contra/4 ,x did1 h[ev]1 emphasize ! pr9ciple ( recapitulation2 9 fact x became ! conv5tion 7z we %all see 9 ! dances ( ! ,suite7 = ! clos+ measures ( ! second "p to be an exact duplicate 9 ! home-key ( t :i* _h be5 pres5t$ at ! end ( "p "o4 ,we %all obs]ve1 z we cont9ue our /udies1 t ! tr5d ( musical composition gradually swung ov] to ! ,?ree-"p =m1 ! ess5tial feature ( :i* is re/atem5t aft] int]v5+ contra/4 ,footnote #fe3 ,see ,! ,appreciation ( ,music by ,surette & ,mason1 p4 #cf4 ,= illu/rations ( ! ,two-"p ,=m see ! ,supplem5t ,nos4 #bj1 #ba1 #bb1 #bc1 #bd4 ,only 9 su* comp>atively simple examples z ^? j cit$ is f\nd ?is p]fect balance 9 ! l5g? ( ! two p>ts4 ,we (t5 obs]ve ext5d$ s5t5ces 9 ! fir/ "p2 & x became ! cu/om = ! second "p to be consid]ably l5g!n$1 to include modulations into m remote keys & ev5 to display c]ta9 developm5ts ( ! ma9 mat]ial4 ,= a /rik+ example ( a movem5t :i*1 al?\gh def9itely 9 ,two-"p =m1 7i4e41 x is 9 two cle> divisions & has b "o !me7 is yet ( consid]able scope & v>iety1 see ! ,allegretto ( ,bee?ov5's ,f\r? ,sonata4 ,x 01 9 fact1 ?is in/9ct = contra/+ v>iety 9 ! second "p#ff :i* 7z c be %[n f hi/orical examples7#fg gradually l$ to ! develop+ & e/abli%m5t ( ! ,?ree-"p =m4 ,footnote #ff3 ,z an illu/ration ( ?is t5d5cy see ! ,s*]zo ( ,bee?ov5's ,second ,sonata1 ! second "p ( :i* has a new !me ( its own1 al?\gh ! movem5t z a :ole is cle>ly 9 ,two-"p =m4 ,footnote #fg3 ,see ,! ,sonata ,=m by ,w4,h4 ,had[1 ,*apt] ,,iii4 ,! ess5tials ( ?is /ructure1 s frequ5t 9 all pian(orte lit]ature1 are ! exi/5ce ( ?ree di/9ct p>ts--h5ce ! "n3 a clause ( ass]tion 9 ! home-key2 a second clause1 af=d+ a g5u9e contra/ to ! fir/ "p 9 reg>d to key1 melodic outl9e & g5]al treatm5t1 & a ?ird clause ( reass]tion1 :i* %all repeat--ei!r lit]ally or 9 v>i$ =m--! mat]ial ( "p "o4#fh ,9 ! ,?ree-"p =m1 z employ$ 9 ! classic ,m9uet & ,s*]zo1 ea* ( ! ?ree p>ts tak5 by itself is 9 complete ,two-"p =m2 & z ! ?ird "p 0 g5]ally a lit]al repetition ( "p "o1 x 0 n writt5 out1 b at ! end ( ! middle "p 7call$ ! ,trio1 because x 0 orig9ally writt5 9 ?ree-voic$ h>mony7 we f9d ! direction ,m9uet or ,s*]zo da capo1 mean+ a return to ! fir/ "p4 ,a coda or tail-piece is (t5 add$ to r\nd out ! =m4 ,z ! /ud5t w become ?or\ghly famili> ) ! ,?ree-"p =m1 9 connection ) ! classic ,symphonies soon to be /udi$ 7ea* ,m9uet1 ,s*]zo or ,trio be+ an example71 our illu/rations %[ ! use ( ?is =m 9 indep5d5t pieces & are *iefly tak5 f mod]n lit]ature2 ! object be+ s to int]e/ ! /ud5t 9 ! beauty ( ^! compositions z to conv9ce him t 9 all good music cont5t & design g h& is h&4 ,= examples#fi see ,supplem5t ,nos4 #be1 #bf1 #bg4 ,footnote #fh3 ,! ?ree-"p =m is d]iv$ p>tly f ! ,italian da ,capo ,aria & p>tly f ! fundam5tal in/9ct = re/atem5t :i* we h se5 9 ! ,folk-song4 ,footnote #fi3 ,additional illu/rations1 :i* w repay /udy are ! foll[+3 ! ,allegretto ( ,bee?ov5's ,six? ,sonata2 ! ,s*ub]t ,impromptu1 op4 #ij1 ,no4 #d2 ,brahms's ,int]mezzo1 op4 #aag1 ,no4 #a & ! ,ballade 9 ,g m9or1 op4 #aah1 ,no4 #c1 & = or*e/ra--9 ext5d$ treatm5t--,debussy's ,prlude l'aprs-midi d'un ,faune4 ,,*apt] ,,vi ,,! ,,classical ,,& ,,! ,,mod]n ,,suite ,no soon] _h ! ,two-& ,?ree-"p =ms become accept$ z def9ite means ( in/rum5tal expression1 ?an compos]s 7 eag] to try _! skill 9 comb9+ dance-movem5ts 9 su* =ms into l>g] gr\ps4 ,^! compositions--kn[n 9 ,france z ,ordres1 9 ,g]many z ,suites & ,p>titas & 9 ,engl& z ,lessons--?\gh all ! movem5ts 7 9 ! same key1 yet %[$ consid]able v>iety by reason ( ! contra/ 9 ! dance rhy?ms4 ,!y 71 moreov]1 simple1 direct & easily und]/ood ( ! p4#gj ,?is developm5t 0 fur!r$ by ! p]fect+ ( two gr\ps ( in/rum5ts3 ,! viol9s1 by ! great ,italian ma/]s2 & ^? precursors ( our mod]n pian(orte1 ! h>psi*ord1 clavi*ord & sp9et4 ,we f9d1 consequ5tly1 ! ,italians--( :om ,corelli 0 mo/ prom95t--comb9+ ^! dances into gr\ps call$ ,sonate da ,ballo3 & ! ,fr5* compos]s ,c\p]9 & ,rameau1 develop+ ! possibilities ( key$ /r+$ in/rum5ts 9 graceful pieces to :i* fanta/ic titles1 su* z ,la ,p\le1 ,le ,rappel des ,oiseaux1 etc41 7 (t5 giv54 ,! greate/ ma/] ( in/rum5tal /yle 9 ^! e>ly days 0 ! ,italian1 ,dom5ico ,sc>latti 7#afhe-ageg74 ,he 0 fam\s bo? z compos] & p]=m]--! fir/1 9 fact1 ( ! long l9e ( key-bo>d virtuosi--& 9 8 compositions 9 dance =m & 9 ^? ( a m ab/ract type !re is a sp>kl+ fancy & an adju/m5t ( ! ?\ght to 8 in/rum5t1 :i* w keep !m =ev] immortal4#ga ,footnote #gj3 ,= an int]e/+ & compreh5sive acc\nt ( ?is developm5t see ,grove's ,diction>y1 ,volume ,,iv1 article on ! ,suite4 ,footnote #ga3 ,= ext5sive comm5ts on ,sc>latti's /yle see ,! ,hi/ory ( ! ,pian(orte & ,pian(orte ,play]s by ,osc> ,bie1 pp4 #fh-ij4 ,! gr\p+ toge!r ( dance =ms rea*$ its highe/ developm5t ?r\gh ! g5ius ( ,seba/ian ,ba* 9 ! s-call$ ,fr5* & ,engli% ,suites4#gb ,9 ^! compositions--9 ! ,p>titas & 9 ! or*e/ral ,suite 9 ,d major1 :i* conta9s ! well-kn[n ,aria1 (t5 play$ 9 transcription = ,viol9 solo--! dance-=ms are n employ$ lit]ally b are made a vehicle = ! expression ( v>i$ types ( human emotion & s5tim5t4 ,nor %\ld we ov]look ! twelve ,h>psi*ord ,lessons ( ,h&el--especially ! sup]b ,fugue 9 ,e m9or 9 ! ,f\r? ,suite--:i* are notewor?y = _! vigor1 ?\gh1 9 fre%ness & delicacy ( inv5tion1 n to be comp>$ ) ,ba*'s4 ,footnote #gb3 ,^! titles1 accord+ to ,p>ry 7see 8 life ( ,ba*1 ,*apt]s ,,iv & ,,xii passim71 7 n giv5 by ,ba* himself b 7 assign$1 9 ! case ( ! ,fr5* ,suites1 to d5ote ! delicacy ( treatm5t f\nd !re91 & 9 ! ,engli%1 a c]ta9 massive /yle4 ,we n[ give a tabulat$ li/ ( ! cu/om>y dance =ms1 bo? z f\nd 9 ! ,classic & ! mod]n ,suite or us$ z indep5d5t pieces2 & we %all !n analyze ^? :i* h ! mo/ *>act]i/ic rhy?mic patt]n4 ,,li/ ,,( ,,dances ,,"n ,,orig9 ,,met] ,,=m ,,"* ,allem&e ,suabian #d_/d ,two-"p ,mod]ately quick2 fl[+1 ) a r ri* h>monic texture4 ,c\rante ,fr5* #c_/d1 #c_/b ,two-"p ,runn+1 lively2 ! #b_/b ,corr5te ,italian type always ) a *ange ( met] at ! cad5ces4 ,s>ab&e ,spani% #c_/b1 #c_/d ,two-"p ,/ately1 dignifi$2 (t5 noble & ev5 dramatically pa!tic4 ,hornpipe ,engli% #d_/d ,two-"p ,rapid1 m]ry1 en]getic4 ,gigue ,italian #f_/h1 ,two-"p ,v lively1 rollick+1 ,jig giga1 an #ab_/h1 ev5 jocose4 e>ly viol9 #d_/h ,gavotte ,fr5* #d_/d1 #b_/b ,two-"p ,mod]ately fa/2 well-m>k$ rhy?m1 (t5 /ately4 ,b\rre ,fr5* #d_/d ,two-"p ,lively1 vigor\s4 ,m9uet ,fr5* #c_/d1 #c_/h ,two-"p ,mod]ately fa/2 da9ty1 graceful1 c\rtly4 ,passepi$ ,fr5* #c_/d ,two-"p ,light1 delicately animat$4 ,l\re ,fr5* #f_/d1 #d_/d ,two-"p ,r sl[1 /ately4 ,pavane ,italian #b_/d ,two-"p ,solemn1 impressive4 ,galli>d ,italian #c_/b1 #b_/b ,two-"p ,lively1 m]ry4 ,branle ,fr5* #d_/d1 #c_/d ,two-"p ,lively1 ) great ab&on4 ,brawl ,engli% ,polonaise ,poli% #c_/d ,v>i$ ,dignifi$ & c\rtly1 b ) life4 ,mazurka ,poli% #c_/d ,v>i$ ,great range ( spe$ & effect2 at times su/a9$ & pa!tic1 (t5 bright & lively4 ,polka ,bohemian #b_/d ,g5]ally ,m]ry1 animat$4 ?ree-"p ,furiant ,bohemian #c_/d ,v>i$ ,v lively1 ev5 fr5zi$4 ,waltz ,g]man #c_/d ,two-"p ,graceful2 v>i$ 9 effect2 or at times lively1 (t5 ?ree-"p sl[4 ,bolro ,spani% #c_/d ,?ree-"p ,brisk1 well-m>k$ rhy?m4 ,t>antella ,italian #f_/h ,v>i$ ,v lively1 impassion$4 ,salt>ello ,italian #f_/h1 #c_/d ,v>i$ ,) quick1 jump+ rhy?m4 ,rigaudon ,fr5* #b_/d1 #d_/d ,v>i$ ,lively1 gay4 ,m>* ,f\nd 9 #d_/d ,v>i$ ,/ately1 ) m>k$ e nation rhy?m4 ,csrds ,hung>ian #c_/d1 #b_/d ,v>i$ ,impassion$2 ) great v>iety ( effect4 ,hall+ ,sc&9avian #b_/d ,v>i$ ,fre%1 vigor\s1 out-(-doors atmosph]e4 ,tango ,mexican ,v>i$ ,v>i$ ,) reckless ab&on4 ,habaera ,spani% #b_/d ,v>i$ ,graceful2 ) *>act]i/ic rhy?m4 ,seguidilla ,spani% #c_/d1 #c_/h ,v>i$ ,fanta/ic2 sometimes /ately1 sometimes gay & lively4 ,jota1 ,spani% #c_/d ,free ,a k9d ( waltz1 b ) (t5 m fre$om 9 ! ,jota danc+1 & ( a vigor\s ,aragonesa & fi]y nature4 ,malaguea ,spani% #c_/h ,9 c\plet ,a dance ( mod]ate =m movem5t1 accompani$ by guit> & ca/anets2 languor\s & s5sual 9 mood4 ,siciliano ,sicilian #f_/h1 ,two-"p1 ,graceful2 ( a ,pa/orale #ab_/h ?ree-"p1 nature4 (t5 a ,rondo ,! f\r indisp5sable movem5ts ( ! classic or #ah? c5tury ,suite 7 ! ,allem&e1 ! ,c\rante1 ! ,s>ab&e & ! ,gigue2 &1 betwe5 ! la/ two1 x became cu/om>y to ins]t an optional numb] ( o!r dances--! mo/ usual be+ ! ,gavotte1 ,b\rre1 ,m9uet & ,passepi$4 ,9 effect1 ! ,suite 0 a k9d ( int]national ,potp\rri ( ! dances mo/ 9 vogue1 & af=ds u a vivid reflection ( ! mann]s & cu/oms ( ! p]iod4 ,_m ( ! ,engli% ,suites beg9 ) an elaborate polyphonic ,prelude4 ,we %all n give a detail$ analysis ( all ^! dance movem5ts2 = ! ma9 *>act]i/ics ! tabulat$ li/ w suffice1 & 9 ! book ( ,supplem5t>y examples 7see ,no4 #ce7 w be f\nd ! #f? ,fr5* ,suite complete4 ,x w be m useful to c5t] att5tion on ^? dances :i*1 9 rhy?mic patt]n1 are especially typical & are mo/ frequ5tly employ$ 9 mod]n music2 & we %all select1 z examples drawn f v>i\s s\rces1 ^? dances :i* make a direct appeal4 ,! mo/ *>act]i/ic ( ! dances are ! ,s>ab&e1 ! ,gavotte1 ! ,m9uet & ! ,gigue2 & ) ! la/1 z exemplify+ ! same _s1 may be gr\p$ ! ,rigaudon1 ,furiant1 ,t>antella & ,salt>ello4 ,! ,s>ab&e is a sl[1 /ately dance2 always 9 triple met] indicat$ by #c_/b or #c_/d4 ,its /rik+ features are ! frequ5t occurr5ce ( ! rhy?mic patt]n ,music or ,music 9 :i* x is evid5t t !re is a /rong acc5t on ! weak beats2 & ! preval5ce ( fem99e end+s 9 ! cad5ces4 ,! ,s>ab&e always displays great dep? ( emotion--(t5 ( a tragic & impassion$ k9d2 &1 9 ! ,suite1 seems to h s]v$ ! compos] = ! same outp\r+ ( feel+ :i* we associate ) ! sl[ movem5t 9 ! lat] ,sonata or ,symphony4 ,! example cit$ 9 ! ,supplem5t 7,see ,no4 #bh7--tak5 f "o ( ,ba*'s ,sonatas = 'cello--is consid]$ "o ( ! mo/ beautiful 9 exi/5ce4 ,o!r eloqu5t ,s>ab&es may be f\nd 9 ! ,second & ,?ird ,engli% ,suites & 9 ,h&el's noble ,air ,lascia *'io pianga f ! op]a ( ,r9aldo4 ,two f9e mod]n examples ( ?is dance are ! second numb] 9 ,pad]ewski's ,humoresques de ,conc]t1 op4 #ad1 & ! second numb] 9 ! set ( pieces by ,debussy1 ,p\r le ,piano--,prlude1 ,s>ab&e1 ,toccata4 ,compos]s sometimes employ ! ,s>ab&e rhy?m = its inh]5t beauty1 or = dramatic purposes )\t indication ( ! fact4 ,examples are ! !me = v>iations 9 ,bee?ov5's ,sonata1 op4 #aji1 & ! op5+ measures ( ! ,egmont ,ov]ture :]e1 by means ( ! *>act]i/ic ,spani% dance-rhy?m1 an atmosph]e ( oppression & dejection is e/abli%$1 e4g4 ,music ,! ,gavotte is an en]getic yet dignifi$ dance 9 duple rhy?m 7x is almo/ always play$ too fa/7--! *>act]i/ics ( :i* are its beg9n+ on ! half-measure & its /rongly m>k$ cad5ces4 ,"o ( ! mo/ /irr+ examples is t cit$ f ! ,?ird ,engli% ,suite 7,see ,supplem5t ,no4 #bi7 :i*1 ) its subdu$ middle portion1 ,la ,musette1#gc is an e>ly example ( trip>tite arrangem5t4 ,o!r gavottes#gd are ! favorite "o f ! ,fif? ,fr5* ,suite1 t f ,h&el's op]a ,ottone 7s (t5 play$ 9 organ or pian(orte transcriptions7 &1 f mod]n lit]ature1 ! *>m+ "o 9 d',alb]t's ,suite = ,pian(orte1 op4 #a4 ,footnote #gc3 ,s-call$ because x is writt5 on a su/a9$ bass note or p$al po9t2 a feature ( ! ,musette 7! ,fr5* "n = ,bagpipe7 be+ its p]si/5t drone bass on ! tonic & ! dom9ant4 ,footnote #gd3 ,an int]e/+ example may also be f\nd 9 ,grieg's ,holb]g ,suite = ,pian(orte4 ,! ,m9uet is ( p>ticul> int]e/1 n alone because ( ! _m beautiful examples ( its use b because x is ! only dance :i*1 c>ri$ ov] f ! ,suite1 has rema9$ an integral movem5t ( ,symphonic compositions4 ,! ,m9uet1 9 its old] =m1 0 a /ately dance2 ! d]ivation ( ! t]m 7,fr5* m5u7 ref]r+ to ! da9ty /eps ( ! danc]s1 always 9 #c_/h or #c_/d metre & beg9n+ on ! fir/ beat ( ! measure4 ,by ,haydn ! "* ( ! ,m9uet 0 consid]ably *ang$2 ! tempo becomes mu* fa/]1 ! music beg9s on ! ?ird beat ( ! measure in/ead ( ! fir/ & ! mood is "o ( playful humor--at times ev5 ( d[nright jollity4 ,9 ! ,m9uets ( ,moz>t ! peculi> *>act]i/ics are grace & t5d]ness r ?an rollick+ fun1 e4g41 ! *>m+ examples 9 ! ,e-flat major & ,g m9or ,symphonies4 ,conc]n+ ! trans=mation by ,bee?ov5 ( ! ,m9uet into ! ,s*]zo1 ) its fanta/ic & freaki% atmosph]e1 we %all speak m fully 9 connection ) 8 ,symphonies4 ,( ! examples cit$ 9 ! ,supplem5t 7see ,nos4 #cj & #ca7 ! =m]1 f ! fir/ ,f9ale ( ,moz>t's op]a ,don ,giovanni1 rema9s "o ( ! mo/ fam\s m9uets 9 exi/5ce2 & ! two f ,rameau's op]a1 ,ca/or & ,pollux1 are ( inimitable spontaneity & rhy?mic grace4 ,!y are gr\p$ 9 contra/+1 trip>tite arrangem5t4 ,9 mod]n lit]ature e "o kn[s ( ! melodi\s example = ,pian(orte by ,pad]ewski 7,no4 #a ( ! ,humoresques de ,conc]t7 & ! ,m5uet ,itali5 by ,mrs4 ,bea*2 t 9 ! la/ sc5e ( ,v]di's ,fal/aff is also well wor? acqua9tance4 ,! la/ ( ! p>ticul>ly *>act]i/ic dances is ! ,gigue ) its c\nt]p>ts m5tion$ above4 ,?is is a rapid1 animat$ dance 9 #f_/h1 #c_/h1 #ab_/h1 #ab_/af 7sometimes #d_/d7 ) m>k$ rhy?m2 ! t]m be+ d]iv$ f giga 7,g]man1 geige7--an e>ly "n = fiddle--on acc\nt ( ! p[] ( acc5t associat$ ) ! viol9 family4 ,! ,gigue is always ! clos+ numb] ( ,ba*'s ,suites1 9 ord] to give a f9al impression ( irrepressible vitality & gaiety1 & is treat$ ) consid]able polyphonic complexity2 9 fact1 8 gigues (t5 beg9 l a complete ,fugue4 ,!y are all 9 cle>-cut ,two-"p =m2 & x became ! conv5tion = ! second "p to treat ! motive 9 inv]t$ =m4 ,! example cit$ f ,ba*'s ,fif? ,fr5* ,suite 7see ,supplem5t ,no4 #cb7 is unsurpass$ = rhy?mic en]gy2 ! clos+ measures s\nd z if all ! bells ( heav5 7 r++4 ,! example ( ,moz>t 7see ,supplem5t ,no4 #cc7 is notewor?y = its d>+ use ( ! dissonant elem5t & = its free modulations4 ,( ! c\nt]p>ts ( ! gigue ! foll[+ are excell5t examples3 ,! ,rigaudon--! ,f9ale ( ,grieg's ,holb]g ,suite1 ! vigor\s "o f ,rameau's op]a ,d>danus1 & ,mac,dowell's indep5d5t piece 9 ?is =m1 op4 #di1 ,no4 #b2 ! ,furiant--! ,f9ale ( ,dvovrk's ,suite = ,small ,or*e/ra1 op4 #cj 7accessible 9 an effective pian(orte arrangem5t = f\r h&s72 ! ,t>antelle--,*op9's indep5d5t piece 9 ?is rhy?m1 op4 #dc1 & ! brilliant ,f9ale ( ,rhe9b]g]'s ,pian(orte ,sonata = f\r h&s1 op4 #abb2 ! ,salt>ello--! la/ movem5t ( ,m5delssohn's ,italian ,symphony & ! ma9 portion ( ,b]lioz's ,c>naval ,roma9 ,ov]ture4 ,"o additional example is cit$ 7see ,supplem5t ,no4 #cd71 a ,c\rante by ,d4 ,sc>latti1 to give an example ( 8 pian(orte /yle4 ,9 connection ) ^! dances1 especially ! ,s>ab&e1 ,gavotte1 ,l\re1 ,pavane1 ,polonaise & ,t>antelle1 !re %\ld be read ! articles treat+ ( ea* dance 9 ,grove's ,diction>y2 = ^! dances are s closely connect$ ) human activity t a k ( _! developm5t broad5s our horizon 9 _m matt]s p]ta9+ to social life & civilization 9 g5]al4 ,z to specific examples ( ! less usual dances1 _m ( ! qua9te/ are f\nd 9 ! works ( ! e>ly ,engli% compos]s3 ,byrd1 ,bull1 etc41 9 ! ,fitzwilliam ,virg9al ,book1 e4g41 ,! ,"l ( ,salisbury 8 ,pavan4 ,an excell5t example ( ! ,l\re is ! well-kn[n arrangem5t f ,ba*'s ?ird ',cello sonata4 ,*op91 9 8 works1 has glorifi$ bo? ! ,polonaise & ! ,mazurka2 ,bizet1 9 8 op]a ,c>m51 has us$ ! ,habaera & ! ,seguidilla1 & !re is a wond]ful use ( ! ,habaera rhy?m 9 ,debussy's descriptive piece ,soire dans ,gr5ade4 ,! ,fr5* compos] ,ravel 9 8 pian(orte piece ,pavane p\r un enfant defunt has us$ ) rem>kable effect ! /ately rhy?m ( t dance4 ,! ,spani% compos]s1 ,alb5iz & ,granados1 frequ5tly employ national dance rhy?ms 9 _! pieces4 ,! ,fr5* compos] ,*abri]'s ,b\rre ,fantasque is a dazzl+ mod]nization ( ! old =m2 & 8 ,espaa = full or*e/ra fairly intoxicates u ) its da%+ rhy?ms bas$ ^u ! ,jota & ! ,malaguea4#ge ,debussy's well-kn[n piece ,hommage ,rameau is 9 ! /yle ( ! ,s>ab&e4 ,! allusions 9 lit]ature to ^! dances are s frequ5t t only a few c be cit$4 ,! v _s ( ! ,jig is giv5 9 ,pope's l9e ,make ! s\l dance ^u a jig to ,heav54 ,9 speak+ ( ! antics ( ,sir ,&rew ,ague*eek 9 ,twelf? ,night1 ,%akespe>e rem>ks--,i did ?9k by ! excell5t con/itution ( ?y leg t x 0 =m$ "u ! /> ( a ,galli>d4 ,"o ( ! mo/ rem>kable works ( ! ,engli% compos] ,john ,d[l& 7born #aefb7 is entitl$ ,la*rymae1 or ,sev5 ,te>es1 figur$ 9 sev5 passionate ,pavans4 ,footnote #ge3 ,= a vivid description ( ^! dances see ,*abri]'s ,lettres ,nanette1 ,p>is1 #aiaj4 ,! ,suite1 by reason ( its fre$om 9 comb9+ diff]5t rhy?ms & moods1 has appeal$ vividly to mod]n compos]s2 & ! lit]ature ( our times conta9s a numb] ( ,suites :i* %\ld be kn[n to ! music-lov]4 ,9 ^! mod]n ,suites no attempt is made to con=m to ! old conv5tional gr\p+ ( dances4 ,! movem5ts are 9 diff]5t keys1 are (t5 bas$ on rhy?ms ( an exotic or ultra-nationali/ic type--z 9 ,t*aik[sky & ,dvovrk1 or may employ any mat]ial sugge/$ by ! fanta/ic imag9ation ( ! compos]--z 9 ,debussy & ,ravel4 ,among ! mo/ attractive mod]n ,suites may be cit$3 ,! ,pe] ,gynt 7put toge!r f incid5tal music to ,ibs5's play7 & ! ,holb]g by ,grieg2 ! two ,l',arlsi5ne ,suites by ,bizet 7writt5 to illu/rate ,daudet's romantic /ory7--! fir/1 ) its da9ty ,m9uet & brilliant ,c>illons 7,peal ( bells72 ,dvovrk's ,suite = ,small ,or*e/ra1 op4 #ci1 ) its sprightly ,polka & impassion$ ,furiant2 ,t*aik[sky's five ,or*e/ral ,suites ( :i* ! be/ kn[n are ! ,casse-,noisette ) its exotic rhy?ms & novel or*e/ral effects1 ! ,moz>tiana & ! ?ird :i* closes ) a brilliant ,polonaise2 ,brahms's ,s]5ades = or*e/ra2 ,*>p5ti]'s ,impressions ( ,italy 9 :i* !re is an effective use ( ,italian rhy?m & color2 ,mac,dowell's ,indian ,suite1 ) sev]al ( ! !mes bas$ on native tunes2 ! fasc9at+ or*e/ral ,suite ,adv5tures 9 a ,p]ambulator by ,john ,ald5 ,c>p5t]2 ,ar?ur ,:it+'s ,suite ,mod]ne = pian(orte2 ,/ev5soniana1 7bas$ on /anzas f ,/ev5son's ,*ild's ,g>d5 ( ,v]ses7 an or*e/ral ,suite 9 f\r movem5ts by ,edw>d ,b4 ,hill2 ,debussy's ,suite ,b]gamasque 9 :i* is f\nd ! (t-play$ ,clair de ,lune2 ,ravel's#gf ,"m ,goose1 a delightful "w--& by ! same compos] ! ,daphnis & ,*loe ,suite1 ! mat]ial drawn f an op]a ( ! same "n4 ,9 mod]n lit]ature easily ! mo/ celebrat$ & brilliant example ( ?is type is ! ,s*eh]azade ,suite 7bas$ on ! ,arabian ,nights7 = full or*e/ra by ,rimsky-,korsak(f4 ,?is "w 9 ! g5u9e poetic quality ( its !mes1 9 its m>vell\s descriptive p[] & 9 ! boldness ( its or*e/ral effect rema9s unsurpass$4 ,footnote #gf3 ,see also ,le ,tombeau de ,c\p]9 9 :i* is a v novel ,rigaudon4 ,,*apt] ,,vii ,,! ,,old] ,,rondo ,,=m ,"o ( ! e>lie/ in/rum5tal =ms to be work$ out#gg 0 ! ,rondo1 :i* is m]ely an ext5sion ( ! ?ree-"p pr9ciple ( re/atem5t aft] contra/ & :i*1 by reason ( its logical appeal1 has reta9$ its place to ?is day4 ,orig9ally ! ,rondo 0 a comb9ation ( dance & song2 t is1 ! p]=m]s sang & danc$ 9 a circle--hold+ "o ano!r's h&s4 ,! music w\ld beg9 ) a *orus 9 :i* all jo9$1 "o ( ! danc]s w\ld !n s+ a solo1 aft] :i* all w\ld dance ab\t & repeat ! *orus2 o!r solos w\ld foll[1 ! *orus be+ repeat$ aft] ea*4 ,! *>act]i/ic feature1 !n1 ( ?is /ructure is ! cont9ual recurr5ce to a pr9cipal motive aft] int]v5+ contra/s--h5ce ! "n ,rondo 7,fr5*1 ,rondeau72 exemplify+ a pr9ciple f\nd n only 9 primitive folk-songs & dances b 9 lit]ature1 e4g41 _m ( ! songs ( ,burns & ! ,rondeaux ( ,au/9 ,dobson4 ,= x is obvi\s t ! =m answ]s to ! simple/ requirem5ts ( unity & contra/4 ,frequ5t examples ( ! ,rondo are f\nd 9 all e>ly in/rum5tal compos]s3 ,ba*1 e4g41 ! *>m+ "o 9 ,c m9or 9 8 ?ird ,p>tita2 ,c\p]91 ,rameau1 ,haydn & ,moz>t4 ,x is f\nd also 9 vocal works1 e4g41 ,purcell's well-kn[n song ,i ,attempt f ,love's ,sickness to ,fly4 ,f ! /&po9t ( mod]n ta/e1 h[ev]1 ,bee?ov5 0--) few exceptions--! fir/ to treat ! =m ) real g5ius2 & s our illu/rations are tak5 *iefly f 8 works & f ^? ( 8 successors4 ,al?\gh !re ne$ be no arbitr>y limit to ! alt]nation ( ! *ief "p ) ! subsidi>y portions--9 fact1 ,bee?ov5's humor\s ,rondo ,capriccio1 ,on a ,lo/ ,f>?+ has z _m z elev5 sections--x gradually became conv5tional = ! =m to consi/ ( five p>ts3 a fir/ pres5tation & two repetitions ( ! ma9 !me toge!r ) two contra/+ portions call$ ,episodes1 to :i* a free ,coda 0 (t5 add$4 ,! =m w\ld !n be ,a1 b1 ,a1 c1 ,a1 ,coda--,a & ,a indicat+ t ! repetition ne$ n be lit]al1 b (t5 v>i$ rhy?mically & h>monically2 n1 h[ev]1 s z to oblit]ate ! orig9al outl9e4 ,= 9 a well-con/ruct$ ,rondo ! ma9 !me mu/ be "o ( su* direct appeal t we look =w>d to he>+ x aga92 & ! successive repetitions mu/ be s plann$ t we c easily enjoy ?is pleasure ( rem9isc5ce4 ,x also became cu/om>y n to block (f ! sections ) rigid cad5ces b (t5 to ins]t modulatory passages1 ?us secur+ a cont9u\s fl[ ( ?\ght4 ,?is practise we see p>ticul>ly 9 ,bee?ov5 & ,s*umann4 ,! =m :i* we are discuss+ is ! s-call$ ,old] ,rondo ,=m1 cle>ly d]iv$ f ! dance describ$ above4 ,beg9n+#gh ) ,bee?ov51 h[ev]1 we f9d num]\s examples ( a diff]5t k9d ( rondo treatm5t :i* develop$ 9 connection ) ! ,sonata ,=m--to be expla9$ lat]4 ,! ,rondo-,sonata ,=m1 z x is g5]ally call$1 is 9 fact a hybrid type1 ) c]ta9 features d]iv$ f rondo /ructure & c]ta9 f ! pure sonata =m4 ,! ,f9ales to ,bee?ov5's ,sonatas1 :5 entitl$ ,rondos1 are--) few exceptions--( ?is ,rondo-,sonata type4 ,an excell5t example1 :i* %\ld be well kn[n1 is ! ,f9ale ( ! ,sonata ,pa?tique4 ,al?\gh !re are _m cases ( free treatm5t ( ! rondo pr9ciple1 !y are all bas$ on "o or ! o!r ( ^! two fundam5tal types4 ,s*umann 0 extremely fond ( ?is ,old] ,rondo ,=m1 z may be se5 f 8 frequ5t practice ( writ+ two ,trios to ! ,s*]zos ( 8 ,symphonies4 ,a mom5t's ?\ght w make cle> t a ,s*]zo ) two ,trios & ! cu/om>y repetitions w con=m exactly to ! patt]n giv5 above1 i4e41 ,a1 b1 ,a1 c1 ,a ,coda1 e4g41 ,s*]zo1 ,fir/ ,trio ,fir/ ,episode1 ,fir/ return1 ,second ,trio ,second ,episode1 ,f9al return & ,coda--five portions 9 all1 or six :5 !re is a ,coda4 ,= conv9c+ examples see ! ,s*]zos ( ! ,fir/ & ,second ,symphonies4 ,s*umann's well-kn[n ,arabesque = pian(orte1 op4 #ah1 is a beautiful1 cle>-cut example ( ! =m2 ) an int]polat$ modulatory passage betwe5 ! fir/ episode & fir/ return1 & a poetic ,coda :i* has1 = its clos+ measures1 ! *ief motive 9 augm5tation 7already ref]r$ to on p4 #de74 ,to %[ ,s*umann's p>tiality = ?is =m ! /ud5t may be ref]r$ to ,nos4 #b & #h ( ! ,kreisl]iana 7op4 #af7 & to ,nos4 #a1 #b & #c ( ! ,na*t/cke 7op4 #bc74 ,! ?ird ( ! ,romances 7op4 #bh7--;a rem>kably free example 9 ! gr\p+ ( ! mat]ial & 9 ! key-relation%ip--is cit$ 9 ! ,supplem5t 7,no4 #cg74 ,an excell5t example 7readily accessible71 popul> by reason ( its fre$om ( treatm5t1 z well z = its inh]5t sp>kle & da%1 is ! ,f9ale ( ,web]'s ,sonata 9 ,c major1 op4 #bd--! s-call$ ,moto ,p]petuo4 ,! mo/ fam\s example ( ?is =m 9 classical lit]ature is und\bt$ly ! ,f9ale ( ,bee?ov5's ,wald/e9 ,sonata1 op4 #ec1 ) its melodi\s & easily rememb]$ fir/ subject1 e4g4 ,music ,music its two episodes 9 ,a m9or & ,c m9or 7:i* af=d mo/ dramatic contra/s to ! lyric quality ( ! ma9 subject7 & its glori\s1 long-ext5d$ ,coda ( ab\t ?ree pages4#gi ,footnote #gg3 ,= a complete acc\nt ( ! hi/orical developm5t see ! article on ,=m 9 ,grove's ,diction>y ,vol4 ,,ii & ,had['s ,sonata ,=m1 ,*apt] ,,ix4 ,footnote #gh3 ,!re is an e>ly example 9 ! ,rondo ( ,moz>t's ,sonata = ,pian(orte 9 ,b-flat major4 ,footnote #gi3 ,= a complete detail$ analysis ( ! movem5t see ,pr\t1 ,appli$ ,=ms1 pp4 #abj-aba4 ,z /at$ above1 ! ,old] ,rondo-,=m has n become obsolete2 inde$1 by reason ( its possibilities = emphasis & contra/ x has comm5d$ itself to mod]n compos]s4 ,/rik+ examples may be f\nd 9 ! ,f9ale ( ,brahms's ,pian(orte ,sonata 9 ,f m9or1 9 ! ,f9ale ( ,t*aik[sky's ,f\r? ,symphony &1 above all1 9 ! ,symphonic ,poems ( ,/rauss1 ,don ,juan & ,till ,eul5spiegel1 9 :i* ! =m is admirably adapt$ to ! dramatic ne$s ( ^! descriptive works4 ,additional examples1 :i* c be readily procur$1 are ! ,sl[ ,movem5t ( ! ,sonata ,pa?tique1 op4 #ac1 ,bee?ov5's well-kn[n ,&ante 9 ,f major--rem>kable = its brilliant ,coda--& 8 ,rondo1 already cit$1 ,on ! ,lo/ ,f>?+4 7,see ,supplem5t ,no4 #ch74 ,al?\gh !re is a c]ta9 /iffness 9 ?is =m ^! examples af=d ! /ud5t excell5t rudim5t>y practise 9 ease ( li/5+4 ,,*apt] ,,viii ,,! ,,v>iation ,,=m ,monotony1 z previ\sly sugge/$1 is m un5durable 9 music ?an 9 any ( ! o!r arts4 ,we %\ld !re=e expect to f9d musicians inv5t+ new devices to v>y _! ?\ghts s t ! int]e/ ( ! he>] might be cont9ually su/a9$ & refre%$4 ,?us !re gradually grew up ! =m kn[n z ! ,v>i$ ,air--a t]m mean+ ! pres5tation ( ! same musical mat]ial "u diff]5t aspects4 ,z f> back z we c trace ! developm5t ( in/rum5tal /ructure1 !re appe>s ?is in/9ct = v>y+ a simple tune by embelli%m5ts ( a rhy?mical & melodic nature4 ,examples ab\nd 9 ! works ( ! e>ly ,italian ma/]s1 9 ! h>psi*ord pieces ( ! ,engli% compos]s ,byrd & ,bull#hj & 9 ! music ( ,c\p]9 & ,rameau4 ,b all ^! ,v>iations1 h[ev] int]e/+ f a hi/orical po9t#ha ( view1 are v labor$ & lack any real poetic gr[?4 ,!y are1 moreov]1 (t5 prolong$ to an int]m9able l5g?--"o example1 z late z ,h&el1 consi/+ ( an ,air ) sixty-two ,v>iations2 prolixity or damnable it]ation be+ z bad a blemi% 9 music z 9 any ( ! o!r arts4 ,9 ! e>ly days ( in/rum5tal composition1 ab\t all t compos]s c\ld d 0 to put ! !me ?r\gh its paces4 ,t is1 !re 0 no unfold+ ( ! poetic possibilities ( ! melody4 ,! successive v>iations 7 all 9 ! same key2 ! h>monic basis 0 practically un*ang$ & ! treatm5t consi/$ ( dress+ up ! !me ) /]eotyp$ embelli%m5t-figures & ( sy/ematic rhy?mic animation--produc$ by ! addition ( m & m notes to ea* "t unit4 ,a /&>d illu/ration ( ?is type ( ,v>iations is ! s-call$ ,h>moni\s ,blacksmi? ( ,h&el f 8 ,suite 9 ,e ,major4 ,?is piece owes :atev] popul>ity x may h pres]v$ to ! /urdy sw+ ( ! ma9 !me & to ! fact t x makes no dem& on ! att5tion ( ! mo/ untra9$ li/5]4 ,9 fairness we %\ld /ate t on ! h>psi*ord--) its contra/+ /ops & key-bo>ds--= :i* ! piece 0 compos$1 !re is possible m v>iety ( effect ?an on ! mod]n pian(orte4 ,footnote #hj3 ,we w\ld cite ! piece entitl$ ,les ,buffons by ,bull1 & ,byrd's v>iations to ! popul> tune ! ,c>man's ,:i/le1 :i* latt] h consid]able ar*aic *>m & di/9ction2 = ,byrd 0 a real g5ius4 ,^! are readily accessible 9 popul> editions4 ,footnote #ha3 ,consult ! compreh5sive article on ,v>iations 9 ,grove's ,diction>y1 ,vol4 ,v4 ,?ree collat]al e>ly =ms des]ve a pass+ m5tion because1 not)/&+ a c]ta9 rigidity ( /ructure1 !y h be5 us$ by ! great ma/]s = ! expression ( sublime ?\ghts4 ,^! are ! ,gr\nd ,bass 7or1 z x is sometimes call$1 ! ,basso ,o/9ato71 ! ,*aconne & ! ,passacaglia#hb :i*1 9 mod]n lit]ature1 is well repres5t$ by ! magnific5t t\r de =ce t s]ves z ! ,f9ale to ,brahms's ,f\r? ,symphony4 ,by a ,gr\nd ,bass is meant a !me1 cont9ually repeat$1 9 ! l[e/ voice1 ea* "t ) v>i$ upp] p>ts4 ,an excell5t example 7see ,supplem5t ,no4 #ci7 is ! ,aria ,:5 ,i am laid 9 e>? f ,purcell's ,op]a ,dido & ,a5eas4 ,x is evid5t t ! p]si/5t it]ation ( a /rik+ phrase 9 ! bass gives an effect ( dramatic int5sity1 z may be se5 9 ! sublime ,crucifixion ( ,ba*'s ,mass 9 ,b m9or4#hc ,! ,*aconne & ,passacaglia are old dance =ms 7examples ( ! =m] be+ f\nd 9 ,gluck's ,ballet ,music7 & are closely relat$ to ! ,gr\nd ,bass2 s9ce1 9 ! majority ( cases1 we f9d ! same proc$ure 9 ! ann\ncem5t ( ! !me & 9 its subsequ5t treatm5t4 ,two examples ( ! ,*aconne f /&>d lit]ature are ! fam\s "o ( ,ba* 9 ,d m9or = solo viol9 & ,bee?ov5's ?irty-two ,v>iations 9 ,c m9or = ,pian(orte4 ,! ,passacaglia is ( importance z %[n by ! /rik+ example = organ 9 ,c m9or by ,ba* on ! foll[+ !me3 ,music ,:oev] has he>d ?is maje/ic !me1 :i* seems to be> ! sorr[s ( ! _w on its %\ld]s1 ann\nc$ on ! deep-s\nd+ p$als w ga9 a la/+ impression ( ! gr&eur ( ,ba*'s /yle4 ,footnote #hb3 ,= ! d]ivation ( ! t]m consult ! int]e/+ article 9 ,grove's ,diction>y1 ,vol4 ,,iv4 ,footnote #hc3 ,a "w be=e :i* ,s*umann said e musician %\ld pro/rate himself 9 adoration4 ,by ! "t ( ,haydn1 ! te*nical skill ( compos]s _h improv$ suffici5tly s t we f9d 9 8 works "s g5u9ely int]e/+ examples ( ! ,v>iation =m1 e4g41 ! set on ! well-kn[n ,au/rian hymn f ! ,kais] ,qu>tet 9 ,c major--9 :i* ea* ( ! five v>iations has a real individuality--& ! ,v>iations 9 ,f m9or = ,pian(orte3 rem>kable z an e>ly example ( ! v>i$ treatm5t ( two !mes4 ,mo/ ( ,moz>t's ,v>iations are bas$ ^u popul> !mes &1 9 g5]al1 may be consid]$ z virtuoso pieces to %[ (f ! agility ( ! p]=m]4 ,we f9d occasional examples1 z 9 ! ,cl>9et ,qu9tette & 9 ! ,sonata 9 ,d major1 :i* are ( m intr9sic wor?4 ,! g5ius ( ,bee?ov5 fir/ reveal$ ! full possibilities ( ! =m4 ,9 fact1 s rem>kable 0 8 "w t su* creative compos]s z ,cs> ,franck & d',indy consid] ! basic pr9ciples = our mod]n developm5t ( music to be f\nd 9 ! ,fugue ( ,ba* & ! ,v>i$ ,air ( ,bee?ov54 ,=1 deadly dull z is ! ,v>iation =m :5 treat$ 9 a /]eotyp$ mann]1 by v reason ( its fre$om f arbitr>y rules x may be a mo/ ela/ic m$ium = ! expression ( poetic g5ius4 ,! compos] has b to inv5t a /rik+ *>act]i/ic !me1 ri* 9 pot5tial developm5t1 & !n to let x develop = z long z he c reta9 ! int]e/ ( 8 he>]s4 ,likewise = a great orator ! simple rule is to /ate a !me on :i* some?+ wor? :ile may be said & !n by pres5t+ x 9 new lights & ) copi\s illu/rations to drive ! tru? home4 ,! pr9cipal & significant *anges :i* we owe to ,bee?ov5 are ! foll[+3 complete fre$om 9 v>iety ( key1 s t at times 7z 9 8 op4 #cd7 ea* v>iation is 9 a new key2 a frequ5t omission ( ! rigid /ops at ! end ( ea* v>iation1 e4g41 ! ,sl[ movem5t ( ! ,fif? ,symphony & ! ?ird movem5t ( ! ,trio1 op4 #if1 s t a cont9u\s fl[ ( ?\ght is pres]v$2 ! practice1 s (t5 foll[$ 9 mod]n lit]ature1 ( f\nd+ v>iations on a d\ble !me--( :i* ! ,f9ale ( ! ,h]oic ,symphony is a /rik+ example4 ,b ! *ief advance 9 ,bee?ov5 is ! entirely new conception ( :at v>iations %\ld be2 n1 accord+ to him1 m]e me*anical manipulations ( ! subject matt]1 b vital products ( ! imag9ation1 z v>i$ z ! memb]s ( a human family hav+ ! same "m4 ,bee?ov5's v>iations1 9 fact1 (t5 seem l a s]ies ( "*-pieces1 ea* ) its own individuality & yet reta9+ an organic relation%ip to ! ma9 ?\ght4 ,8 fondness = ! =m & 8 ma/]y ov] x is se5 by ! frequ5cy ( its use 9 ! la/ ,sonatas & ,/r+-,qu>tets4 ,e compos] s9ce ,bee?ov5 has writt5 "o or m works 9 ! ,v>iation =m2 b we c m5tion only ! mo/ beautiful examples & !n pass on to ! d>+ conceptions ( ! mod]n s*ool4 ,! ,v>iations by ,s*ub]t 9 8 ,/r+-,qu>tet 9 ,d m9or on ! ,song1 ,dea? & ! ,maid51 w amply repay /udy1 & s w ! ,v>iations ,srieuses1 op4 #ed1 = ! pian(orte by ,m5delssohn4 ,z = ,s*umann1 he 0 v happy 9 ! use ( ?is =m1 & 8 ,symphonic tudes1 op4 #ac--;9 weal? ( fancy & fre$om ( treatm5t--are q unp>allel$4 ,8 ,v>iations = two pian(ortes1 op4 #df1 des]ve also to be kn[n4 ,among ! f9e/ examples s9ce ,bee?ov5 are ! num]\s sets by ,brahms1 rem>kable alike = emotional p[]1 = free & yet logical treatm5t ( ! mat]ial & = solidity ( workman%ip4 ,!y include ! ,v>iations on a !me f ,h&el = pian(orte1 op4 #bd2 ! set = or*e/ra1 op4 #ef;a1 on ! ,/4 ,an?ony ,*oral ( ,haydn2 & ! two sets1 op4 #ce1 on !mes f ,pagan9i--univ]sally conc$$ to be ! mo/ brilliant examples = ! pian(orte 9 rec5t lit]ature4 ,to speak n[ p>ticul>ly ( ! mod]n s*ool1 !re are five compositions 9 ?is =m :i*1 = _! d>+ novelty & su/a9$ eloqu5ce1 %\ld be famili> to e music-lov] & he>d z (t5 z possible4 ,= !y are elaborate works :i* mu/ be ?or\ghly kn[n to be und]/ood & lov$4 7#a71 ,!re is ! set 9 ,t*aik[sky's ,pian(orte ,trio 9 ,a m9or1 op4 #ej2 notewor?y = fre$om ( modulation & = ! /rik+ individuality giv5 to ! diff]5t trans=mations ( ! !me--two ( ! *anges be+ to a ,waltz & a ,mazurka4 7#b71 ,! ,symphonic ,v>iations = ,pian(orte & ,or*e/ra ( ,cs> ,franck1 bas$ on two contra/+ !mes1 "o 9 ! m9or mode & "o ) modulations to ! major4 ,! v>iations are n numb]$ & !re are no rigid /ops2 ?r\gh\t ! "w ,franck's m>vell\s p[] ( modulation & ri* h>monic texture are eloqu5tly manife/$4 7#c71 ,! ,i/> ,v>iations = or*e/ra by d',indy is "o ( ! mo/ orig9al works 9 ! :ole field2 9 t1 = dramatic reasons connect$ ) ! subject1 ! usual ord] is rev]s$ & ! v>iations come fir/1 gradually becom+ m & m simple until we rea* ! !me itself1 pure & unadorn$4 7#d71 ,! ,symphonic ,poem1 ,don ,quixote1 ( ,r4 ,/rauss1 a complex set ( ,v>iations on ?ree !mes :i* typify respectively ! *>act]s ( ,c]vantes' /ory2 ! ,knight1 8 att5dant1 ,san*o ,panza & ,dulc9ea4 ,! v>iations are n conf9$ to a m]ely ab/ract or =mal treatm5t ( ! mat]ial b set be=e u a picture ( ! attributes ( ! *>act]s & a description ( "s ( _! spectacul> adv5tures4 7#e71 ,la/ly ! ,enigma ,v>iations = or*e/ra by ,elg>1 s-call$ because ! id5tity ( ! basic !me is n reveal$4 ,! v>iations are "*-pieces :i* = individuality & *>m are a la/+ glory to ! g5ius ( ! compos]4#hd ,footnote #hd3 ,= a detail$ acc\nt see ! ?ird volume ( ,d4,g4 ,mason's ,appreciation ( ,music s]ies4 ,we %all n[ analyze1 ) sugge/ive comm5ts1 two#he ( ! well-kn[n sets ( ,bee?ov53 ! fir/ movem5t ( ! ,sonata1 op4 #bf1 & ! ,six ,v>iations on an orig9al !me1 op4 #cd4 ,! v>iations f ! ,sonata are an e>ly "w2 b1 al?\gh def9itely sectionaliz$ & ) only "o *ange ( tonality1 !y cle>ly reveal ,bee?ov5's fre$om ( conception & 8 av]sion to /]eotyp$ treatm5t4 ,! !me itself is a suave1 appeal+ melody1 already cit$ z an example ( a sixte5-measure s5t5ce1 & admirably suit$ = v>iation purposes1 s9ce x ar\ses at once ! expectation ( ! li/5]4#hf ,! fir/ v>iation is a k9d ( %ad[y1 my/]i\s outl9e ( ! !me j pres5t$1 z if ! compos] 7 mus+ ^u ! lat5t possibilities ( 8 mat]ial4 ,!re is a quick5+ ( int]e/ 9 ! second v>iation :i*1 ) ! !me 9 ! bass1 may be lik5$ to a 'cello solo ( a mildly bravura nature4 7,note ! fanta/ic acc5ts on weak beats 9 measures #ah1 #bb1 #bc1 & #bd47 ,9 ! ?ird v>iation comes a complete contra/ 9 mood2 ! key is *ang$ to ,a-flat m9or & ! !me is trans=m$ into an elegy1 all its joy cru%$ out4 ,! movem5t ab\nds 9 impassion$ dissonances1 always emphasiz$ by sf m>ks1 & ! ?robb+ pulsations ( ! bass--9 ! second phrase--give a tragic int5sity ( feel+4 ,) ! f\r? v>iation !re ent]s t _s ( playfulness s *>act]i/ic ( ,bee?ov5--! movem5t be+1 9 fact1 a m9iature ,s*]zo4 ,! fif? & la/ v>iation is an idyllic rev]y 9 :i* ! compos] reviews & amplifies ! _m beautiful fancies :i* 8 imag9ation has conceiv$1 & closes ) a coda1 bas$ on ! motive ( ! ma9 !me1 ( tranquillity & satisfaction4 ,footnote #he3 ,^! compositions are n pr9t$ 9 ! ,supplem5t1 z x may be assum$ t ! /ud5t c readily procure !m4 ,!y are publi%$ 9 a numb] ( editions4 ,footnote #hf3 ,= "s illum9at+ comm5ts on ! :ole ,sonata see ,baxt] ,p]ry's ,descriptive ,analysis ( ,pian(orte ,works4 7,! ,!odore ,press] ,co47 ,! set 9 ,f major1 op4 #cd1 is a /rik+ illu/ration ( ,bee?ov5's fondness = m$iant relation%ip1 s9ce no two v>iations are 9 ! same key2 ! tonic ( ea* be+ a ?ird bel[ t ( ! prec$+4 ,! ,key-s*eme is ,f1 ,d1 ,b-flat1 ,g1 ,e-flat1 ,c m9or2 & !n1 ?r\gh ! desc5t ( a fif?1 back to ! home-key1 or 9 actual notes3 ,music ,! fir/ v>iation is a highly embelli%$ treatm5t ( ! op5+ !me2 ! melodic outl9e be+ m]ely h9t$ at 9 unimportant p>ts ( ! phraseology1 e4g4 ,music3 orig9al !me ,music3 #a/ ,v>iation ,writt5 9 ! old ornate /yle1 x is ( int]e/ *iefly = ! piani/ic effect4 ,9 ! second ,v>iation we h a *ange bo? ( "t & key2 ! impression be+ t ( a di/ant m>* = m5's voices or = s(t trombones4 ,! ?ird ,v>iation1 aga9 ) *ange ( "t & key1 illu/rates ,bee?ov5's fondness = a subtle outl9+ ( ! !me4 ,9 ! f\r? ,v>iation ! !me is trans=m$ into a ,m9uet ( graceful sw+2 & 9 ! next ,v>iation a /rong contra/ is af=d$ by ! ,fun]al ,m>*1 ! m9or mode be+ us$ = ! fir/ "t4 ,! la/ ,v>iation--9 ! home-key--gives a brilliant summ+ up ( ! *>act]i/ic features ( ! !me4 ,note especially ! rem9isc5t effect ( ! clos+ measures4 ,,*apt] ,,ix ,,! ,,sonata-,,=m ,,& ,,its ,,f\nd]s1 ,,emmanuel ,,ba* ,,& ,,haydn ,we h n[ set =?1 ) repres5tative illu/rations1 all ! fundam5tal =ms ( in/rum5tal music1 i4e41 ! ,canon1 ,fugue & ,inv5tion1 ! ,two & ,?ree-"p =ms1 ! ,rondo & ! ,v>i$ ,air4 ,?r\gh ! p]fect+ ( ^! means ( expression music became a liv+ language ( communication1 ready = t developm5t :i*1 ?r\gh ! g5ius ( ! ,classic & ,romantic ma/]s1 x 0 de/9$ to %[4 ,! ess5tial feature ( all ! above =ms is ! emphasis laid on "o !me4 ,?is is /rictly true ( ! polyphonic =ms1 ! ,canon1 ,fugue#hg & ,inv5tion & ( ! ,two-"p =m2 & al?\gh 9 ! ,?ree-"p =m we h a second !me1 ?is is m]ely = contra/ & is (t5 ( r slight import4 ,! same comm5t holds true ( ! ,rondo :]e1 not)/&+ ! new contra/+ !mes ( ! episodes1 ! c5tre ( attraction is ! s+le ma9 !me1 to :i* con/ant recurr5ce is made4 ,obvi\sly ! ,v>i$ ,air is ! expansion ( a s+le !me4 ,b ! pr9cipal *>act]i/ic ( ! ,sonata-,=m1 n[ to be /udi$1 is t we f9d !re9 two !mes ( coequal importance1 :i* may well be comp>$ to ! h]o & h]o9e ( a novel or ! two lead+ *>act]s 9 a drama4 ,x is true t a compos] w (t5 9 ! creations ( 8 imag9ation %[ a m>k$ pref]5ce = "o !me ov] ! o!r2 j z1 9 ! family gr\p to :i* ! *ild owes its life1 ei!r ! man or ! woman is likely to be ! /rong] "*4 ,b z !re c be no *ild )\t two p>5ts1 s ! organism ( ! ,sonata-,=m d]ives its vitality f ! pres5ce & int]action ( two liv+ musical p]sonalities1 ! fir/ & second !mes4 ,! fir/ !me is s call$ because x is ! "o fir/ pres5t$ & because x g5]ally furni%es ! prevail+ rhy?mic pulse ( ! movem5t4 ,yet ! second !me1--exactly z important 9 its own way1 is (t5 ( a great] beauty2 its title ( second !me imply+ no?+ ( a second>y nature1 b m]ely its position 9 ord] ( appe>ance4 ,no great] /ep 0 ev] tak5 9 ! gr[? ( musical /ructure ?an ?is introduction ( a second coequal !me2 = ! pr9ciple ( duality1 ( action & reaction betwe5 two =ces1 runs ?r\gh\t nature bo? human & physical1 z is se5 f ! import ( ! t]ms3 man & woman1 active & passive1 positive & negative1 heat & cold1 light & d>kness4 ,! fir/ !me1 9 fact1 (t5 resembles1 9 its vigor & directness1 a mascul9e p]sonality2 :ile ! second !me1 9 grace & t5d]ness1 resembles ! fem99e4 ,z long z music conf9$ itself to ! pres5tation ( b "o ma9 !me x 0 hamp]$ by ! same limitations :i* beset ! e>ly ,greek trag$ians1 9 ^: primitive plays#hh we f9d b "o *ief actor4 ,! introduction ( a second !me c n be attribut$ to any s+le man2 inde$ x result$ f a t5d5cy ( ! times1 ! dem& ( :i* 0 = m homophonic melodies r ?an = an elaborate polyphonic treatm5t ( a s+le "o4 ,embryonic traces ( a second !me we f9d 9 ,d4 ,sc>latti 7see ,supplem5t ,no4 #dj7 & 9 ,seba/ian ,ba* himself4#hi ,sc>latti1#ij 9 fact1 0 (t5 hov]+ close to ! ,sonata-,=m & 9 ! example j cit$ actually a*iev$ x4 ,! sy/ematic employm5t ( ! second-!me pr9ciple1 h[ev]1 is commonly attribut$ to ,emmanuel ,ba* 7#agad-aghh71 al?\gh an undue am\nt ( praise1 by c]ta9 ,g]man s*ol>s1 has be5 giv5 8 a*ievem5ts to ! exclusion ( musicians f o!r nations :o 7 work+ along ! same l9es4 ,any fair hi/orical acc\nt ( ! developm5t ( ! ,sonata-,=m %\ld recognize ! ,italians1 ,samm>t9i & ,galuppi2 ! gift$ ,belgian ,gossec1 :o ex]cis$ su* a m>k$ influ5ce 9 ,p>is1 & above all1 ! ,bohemian ,johann ,/amitz 7#agag-ageg71 ! lead] ( ! fam\s ,mannheim ,or*e/ra1 ( :om we %all speak fur!r :5 we come to ! or*e/ra z a m$ium4 ,9 _m ( ,/amitz's ,symphonies we f9d ! ess5tial fir/-movem5t /ructure 7i4e41 trip>tite gr\p+ ) a cle> second !me7 &1 z ,riemann says 9 8 ,h&bu* d] ,musikges*i*te1 ,_! s9c]e phraseology1 _! boldness ( conception & ! ma/]ly !matic developm5t give ,/amitz's works la/+ value4 ,haydn & ,moz>t re/ absolutely ^u 8 %\ld]s4#ia ,footnote #hg3 ,except 9 ! comp>atively r>e cases :]e we h a ,fugue on two subjects4 ,footnote #hh3 ,illum9at+ comm5ts on ?is po9t w be f\nd 9 ,outl9es ( ,musical ,=m f ,w4,h4 ,had['s ,/udies 9 ,mod]n ,music 7#bnd ,s]ies74 ,footnote #hi3 ,see ! prelude 9 ,d major ( ! second book ( ! ,well-temp]$ ,clavi*ord4 ,footnote #ij3 ,= fur!r in=mation consult ! fir/ *apt] ( ,j4,s4 ,%$lock's ,! ,pian(orte ,sonata4 ,footnote #ia3 ,= an ext5d$ acc\nt ( ?is developm5t see ! second *apt]1 ,vol4 ,,ii1 ( ,! ,art ( ,music 7,! ,national ,society ( ,music1 ,n4,y474 ,see also ,*apt] ,,xix ( ,pratt's ,hi/ory ( ,music4 ,! o!r m>k$ *>act]i/ic ( ! ,sonata-,=m is ! second "p :i* is kn[n z ! ,developm5t ,section2 =1 z we %all soon expla91 ! /ructure z a :ole is trip>tite4 ,9 ?is portion ( ! movem5t ! compos] has an opportunity to improvise1 z x 71 ) 8 mat]ial1 us+ "o !me or bo? z already pres5t$4 ,dry & labor$ developm5t sections may1 ( c\rse1 be f\nd 9 c]ta9 ,sonatas & ,symphonies1 b 9 ! great works ( su* ma/]s z ,bee?ov51 ,brahms1 ,t*aik[sky & d',indy ! developm5t is ! mo/ excit+ "p ( ! movem5t4 ,! he>] is conduct$ ?r\gh a musical excursion2 e device ( rhy?mic v>iety1 ( modulatory *ange & polyphonic imitation be+ employ$ to enhance ! beauty ( ! !mes & to reveal _! lat5t possibilities4 ,be=e go+ fur!r1 x is well to po9t out a confusion :i* (t5 arises betwe5 ! t]ms ,sonata & ,sonata-,=m4 ,:5 we speak ( ,sonata-,=m we mean inv>iably ! /ructural treatm5t z to numb] ( !mes1 key-relation%ip1 etc41 ( any s+le movem5t )9 a s]ies4#ib ,by ! t]m ,sonata is meant a composition g5]ally 9 ?ree or f\r movem5ts1 e4g41 ,fir/ ,movem5t1 ,sl[ ,movem5t1 ,m9uet or ,s*]zo & ,f9ale2 ( :i*1 9 mo/ examples ( ! classic s*ool1 ! ,fir/ ,movem5t--& (t5 ! la/--7 9 ,sonata-,=m4 ,an alt]native "n1 inde$1 = ,sonata-,=m is ,fir/ ,movem5t ,=m4 ,beg9n+ ) ,bee?ov51 h[ev]1 compos]s began to exhibit great fre$om 9 ! application ( ! ,sonata-,=m4 ,we f9d ,sonatas ( ,bee?ov51 notably ! set op4 #ca1 9 :i* e movem5t 7ev5 ! ,s*]zo7 is 9 ,sonata ,=m or a modification !re(2 on ! o!r h&1 !re are compositions1 entitl$ ,sonatas1 9 :i* n a s+le movem5t is 9 pure ,sonata-,=m1 e4g41 ,bee?ov5's ,twelf? ,sonata1 op4 #bf4 ,^! comm5ts apply equally to _m o!r l>ge in/rum5tal works4 ,= a symphony is m]ely a ,sonata = ,or*e/ra1 a ,/r+-,qu>tet a composition--( ! same g5]al type--= f\r solo in/rum5ts#ic & !re is1 fur!rmore1 a l>ge gr\p ( ensemble compositions3 ,sonatas = ,viol9 7or any solo-in/rum5t7 & ,pian(orte2 ,trios1 (t5 = unusual comb9ations1 e4g41 ,brahms's ,trio = ,viol91 ,horn & ,pian(orte2 ,qu9tets & ev5 ,septets--9 all ( :i* ! di/9ction mu/ be made betwe5 ! t]ms ,sonata & ,sonata-,=m4 ,nor is !re any rigid rule 9 reg>d to numb] ( movem5ts or ! moods express$ !re94 ,! classic ,sonata1 ,symphony or ,qu>tet1 z we h /at$ above1 g5]ally conta9$ ?ree or f\r movem5ts1 ( :i* ! fir/ w\ld be direct & vigor\s 9 nature--a summons to att5tion--ca/ 9 sonata-=m1 ) a weal? ( mat]ial organically treat$1 & requir+ f ! li/5] conc5trat$ att5tion4 ,! second movem5t 0 g5]ally mu* simpl] 9 =m1 af=d+ relief aft] ! t5sion ( ! prec$+ movem5t--its !mes ( a lyric nature1 (t5 ) great dep? ( emotion1 sometimes ev5 ( tragic import4 ,! ?ird movem5t1 ,m9uet or ,s*]zo1 w\ld portray ! light1 humor\s side ( life2 & ! ,f9ale1 joyful & optimi/ic--its !mes (t5 be>+ /rongly ! s5se ( f9ality--w\ld close ! "w ) a g5]al feel+ ( satisfaction4 ,x 0 ,bee?ov5 :o fir/ modifi$ ^! pr9ciples to suit 8 own poetic ne$s4 ,?us we f9d "s ( 8 ,sonatas ) only two movem5ts2 "s h ?ree1 "s h f\r4 ,"o ( ,s*umann's ,symphonies conta9s five movem5ts & ,rub9/e9's ,ocean ,symphony sev56 ,:5 we rea* ! mod]n s*ool1 we %all see fur!r fre$om z to numb]1 ord] & type ( movem5ts4 ,footnote #ib3 ,! =m is also sometimes us$ indep5d5tly1 z 9 ,brahms's ,rhapsody 9 ,g m9or & (t51 ( c\rse1 9 ! ,ov]ture4 ,footnote #ic3 ,i4e41 #a/ ,viol91 #b;d ,viol91 ,viola & ,violoncello4 ,we are n[ prep>$ to sum up ! ess5tial *>act]i/ics ( ! ,sonata-,=m2 = !re is no /ructure 9 :i* x is m important = ! music-lov] to acquire ! art ( li/5+ easily1 naturally & ) a m9imum ( friction4 ,! ,sonata-,=m is ! in/rum5tal =m p> excell5ce--! ,go?ic ,ca!dral#id ( music--& has reta9$ its place1 n because ( any slavi% reg>d = =m z su*1 b because x has be5 work$ out1 p]fect$ & utiliz$ by ! greate/ ( ! compos]s4 ,any =m ) a beg9n+1 a middle & an end+1 i4e41 pres5t+ mat]ial wor?y ( consid]ation1 :i* all[s ?is mat]ial to gr[ & realize its inh]5t possibilities & !n sums ! matt] up 9 a conv9c+1 objective close2 :i*1 fur!rmore1 exemplifies ! great pr9ciple ( ,duality1 i4e41 reveals two musical p]sonalities1 has z little ne$ = argum5tative sanction z a tree or a human be+4 ,! ,sonata-,=m--(t51 to be sure1 ) free modifications--pr$om9ates 9 all ! l>ge in/rum5tal compositions ( ! ,classic1 ,romantic & ,mod]n ,compos]s1 notably ( su* m5 z ,bee?ov51 ,s*umann1 ,brahms1 ,cs> ,franck1 ,t*aik[sky1 d',indy & ,sibelius4 ,anyone unable readily to foll[ movem5ts 9 ?is =m1 if he ?9ks he is receiv+ ! complete message ( ! music1 is 8 own dupe4 ,x w\ld be z logical to expect to enjoy ! beauties ( ar*itecture )\t p]ceiv+ ! diff]5ce betwe5 a nave & a b[l+-alley4 ,! obvi\s way to und]/& ! mean+ ( a language is to "k some?+ ( ! pr9ciples ( /ructure & expression 9 t language4 ,music is 9 v tru? a language2 & f> too _m p get f x no?+ save ! appeal :i* comes f its emotional p[]4 ,?is excit+ exp]i5ce is important1 we may frankly ackn[l$ge1 b !re are no reasons1 save apa?y & indiff]5ce1 :y ! he>] %\ld n h all ?is & m too4 ,!re is no conflict betwe5 w>m emotions & an intellig5t1 well-tra9$ m9d4 ,!y %\ld g h& 9 h&2 & 9 any complete arti/ic appreciation ea* is indisp5sable4#ie ,footnote #id3 ,see ! eloqu5t comm5ts on ?is analogy by d',indy 9 8 ,c\rse 9 ,composition1 ,vol4 ,,ii1 ,*ap4 #e4 ,footnote #ie3 ,art is n m a riot ( ! passions ?an x is a debau* ( ! s5ses2 x conta9s1 no d\bt1 s5su\s & emotional elem5ts1 ! importance ( :i* !re is no ne$ to und]value1 b x is only arti/ic if x subord9ate !m to ! p>am\nt claims ( reason4 ,w4,h4 ,had[1 ,/udies 9 ,mod]n ,music 7second s]ies71 preface4 ,! ?ree ma9 divisions ( ! ,sonata-,=m1 ) _! ess5tial features1 are ! foll[+3 7#a7 ! ,exposition1 9 :i* two !mes 9 diff]5t tonalities are ann\nc$ = ! consid]ation--&1 z ! compos] hopes1 ! pleasure--( ! he>]4 ,9 ! works ( ,haydn & ,moz>t ?is contra/ ( key 0 inv>iably t ( ,tonic & ,dom9ant1 e4g41 ,c major & ,g major1 or ( major & relative m9or1 e4g41 ,a-flat major & ,f m9or4 ,beg9n+1 h[ev]1 ) ,bee?ov5 great emphasis has be5 laid on m$iant relation%ip1 e4g41 ,c major & ,e major or ,c major & ,a-flat major2 & 9 mod]n compos]s#if ?is m /imulat+ *ange has l>gely sup]s$$ ! =m] tonic & dom9ant gr\p+1 e4g41 ,brahms's ,?ird ,symphony4 ,we ?us see t ! h>monic feature ( ! ,exposition is ,duality ( ,key-relation%ip4 ,betwe5 ^! two ma9 !mes !re is always a modulatory connection or ,bridge ,passage :i*1 9 ! "t ( ,haydn1 0 g5]ally ( a v p]functory1 /]eotyp$ "*4 ,wagn] once s>ca/ically rem>k$ t ,haydn's transitions rem9d$ him ( ! clatt] ( di%es betwe5 c\rses at a royal fea/4 ,9 ,moz>t we f9d ! bridge-passage m deftly plann$1 m organically connect$ ) :at prec$es & foll[s2 b x 0 ,bee?ov5 :o1 9 ?is portion ( ! movem5t1 fir/ reveal$ its possibilities4 ,?r\gh\t 8 works ! bridge-passage is nev] a m]e me*anical modulation or a fl\nd]+ ab\t until ! introduction ( ! second !me1 b is s conceiv$ t ! int]e/ ( ! he>] is increas+ly ar\s$ until1 at ! entrance ( ! second !me1 he is 9 ! highe/ /ate ( expectancy4#ig ,a bridge-passage ( ?is k9d (t5 has a subsidi>y !me ( its own1 or ev5 sev]al melodic phrases1 & is plann$ z c>efully z ! action by :i* a dramati/ leads up to ! entrance ( 8 h]o9e4 ,aft] ! second !me we g5]ally f9d a clos+ !me to r\nd out ! ,exposition z a :ole4 ,?is practice dates f ,haydn & has be5 mu* exp&$ by mod]n compos]s4 ,witness ! glori\s climactic effect 9 ,cs> ,franck's ,symphony & 9 ,brahms's ,d major ,symphony ( ! clos+ !mes 9 ! ,expositions ( ! fir/ movem5ts4 ,= _m ye>s x 0 ! inv>iable cu/om to repeat ! ,exposition1 & 9 ,classic ,symphonies we always f9d a d\ble b> ) m>ks ( repeat & two end+s4 ,?is practice 0 n an integral "p ( ! =m b 0 adopt$ s t ! he>]1 by go+ ov] ! !mes ( ! ,exposition twice1 might foll[ m intellig5tly _! gr[? 9 ! ,developm5t4 ,) ! advance 9 public appreciation ?is repeat+ ( ! ,exposition has be5 l>gely ab&on$2 = !re is no d\bt t to beg9 all ov] aga91 :5 a c]ta9 objective po9t has be5 rea*$1 breaks ! cont9u\s fl[ ( ! movem5t4#ih ,footnote #if3 ,"s compos]s h also exp]im5t$ ) /ill fre] key-relation%ips4 ,footnote #ig3 ,= /rik+ examples see ! ,expositions ( ! fir/ movem5ts ( ,bee?ov5's ,?ird ,symphony & ( ,t*aik[sky's ,six? ,symphony4 ,footnote #ih3 ,! ultra-cons]vative attitude ( ,brahms is %[n by 8 ret5tion ( ! d\ble b> & repeat1 al?\gh ?is is (t5 ignor$ by mod]n conductors4 7#b7 ,! ,developm5t1 = :i* ! ,g]mans h ! happy "n ( ,freie ,phantasie1 or free phantasy2 ! compos] ?us giv+ re9 to 8 imag9ation & do+ :atev] he pleases1 s long z he holds ! int]e/ ( 8 he>]s & nei!r becomes v]bose nor indulges 9 m]e me*anical manipulation4 ,!re are1 alas6 developm5ts 9 :i* ! compos] exhau/s 8 !mes & 8 he>]s too2#ii b on "w ( ?is k9d1 s9ce x is n real developm5t b labor$ juggl]y1 no p[d] ne$ be wa/$4 ,bee?ov5 began ! practice1 9 8 ,developm5ts1 ( n conf9+ himself to ! !mes ( ! ,exposition b ( introduc+ an entirely new !me1 :5ev] ! ma9 mat]ial _h fulfill$ its purpose4 ,! s+le mo/ excit+ factor 9 a good developm5t is ! fre$om & weal? ( modulation reveal$ by ! d>+ g5ius ( ! creator2 ! effect be+ ,plurality ( ,key-relation%ip1 9 di/9ction f ! two closely relat$ keys ( ! ,exposition4 ,x w\ld (t5 seem z if we 7 tak5 up into high m\nta9s or borne away to di/ant seas4 ,= illu/rations ( ?is free phantasy note ! end ( ! ,developm5t 9 ! fir/ movem5t ( ,bee?ov5's ,second ,symphony :]e1 aft] great /ress has be5 laid 9 ! ,exposition on ! two basic keys ( ,d major & ,a major1 we are left 9 ! di/ant tonality ( ,c-%>p major & are !n :irl$ back1 by a dramatic *ange1 into ! home-key ( ! ?ird "p4 ,"o ( ! mo/ int]e/+ /udies 9 ! work+s ( a great m9d is to obs]ve h[ ,bee?ov51 9 8 developm5ts1 all[s ! excitem5t to subside & yet nev] entirely die out1 & h[ deftly he leads ! he>] onw>d to ! summ+ up ( ! ma9 !mes ( ! exposition4 ,footnote #ii3 ,x 0 probably a developm5t ( ?is k9d :i* call$ =? ! *>act]i/ic comm5t f ,debussy :o once rem>k$ to a fri5d at a conc]t1 ,let u flee6 he is go+ to develop4 7#c7 ,! ,recapitulation or ,rsum1 9 :i* bo? ! !mes ( ! ,exposition are reass]t$1 ea* 9 ! home key--a /rong f9al emphasis ?us be+ laid on ,unity ( ,tonality4 ,! bridge-passage has to be correspond+ly *ang$1 = n[ ! modulation is betwe5 two !mes bo? 9 ! same key4 ,to a*ieve su* a modulation is q a t\r de =ce z e musician kn[s1 & (t5 tax$ ! +5uity ev5 ( ! great ,bee?ov54 ,! skill by :i* he always made ! second !me s\nd fre% & vital is a/\nd+4 ,= a case ( academic fumbl+--m]e tread+ ( wat]--9 ?is adju/m5t ( key relation%ip1 see ! ,recapitulation ( ! fir/ movem5t ( ,brahms's ,second ,symphony4 ,to secure unbrok5 cont9uity & to avoid va9 repetitions#ajj !re is no portion ( ! ,sonata-,=m :i* has be5 m modifi$ by ! inv5tive g5ius ( mod]n compos]s & by ! t5d5cy exemplifi$ 9 ! ,symphonic ,poem 7to be expla9$ 9 due season74 ,! g5]al validity ( ,re/atem5t1 z %[n 9 ! ,recapitulation ( ! ,sonata-,=m1 _c be que/ion$2 = t dep5ds1 z s (t5 po9t$ out1 ^u ! human crav+ to enjoy once m1 aft] int]v5+ contra/1 some?+ :i* has orig9ally giv5 pleasure4 ,fur!rmore ?is s\nd psy*ological pr9ciple f9ds an analogy 9 our own life3 ) its e>ly ye>s ( /riv+1 its middle p]iod ( developm5t & its clos+ ye>s ( climactic retrospect & satisfaction4 ,!re is a correspond+ /ructural treatm5t 9 ! dnom5t ( a drama4 ,9 ! classic compos]s1 ! ,recapitulation is almo/ always a lit]al repetition ( ! ,exposition1 al?\gh ,bee?ov5 began to be fre]1 e4g41 9 ! climax ( ! ,coriolanus ov]ture1 :]e he modifies ! =m to meet ! dramatic ne$s ( ! subject4#aja ,mod]n compos]s1 h[ev]1 h felt t mu* ( ?is repetition 0 sup]flu\s2 & :5 !y d repeat bo? !mes1 "o or ! o!r is freely v>i$ & made /ill m eloqu5t4 ,= examples1 see ! rsum ( ! fir/ movem5ts ( ,franck's ,symphony1 ( ,brahms's ,fir/ ,symphony & ( ,t*aik[sky's ,six?4 ,! ,recapitulation is (t5 abridg$ by omitt+ ! fir/ !me altoge!r & dwell+ exclusively on ! second2 z = example1 9 ! ,f9ale ( ,s*umann's ,f\r? ,symphony & 9 ,s9igaglia's ,ov]ture1 ,le ,b>uffe ,*iozzotte4#ajb ,footnote #ajj3 ,see ,grtry's amus+ comm5ts on ! ,sonata-,=m cit$ by ,roma9 ,roll& 9 ! essays ,musicians ( ,=m] ,days4 ,footnote #aja3 ,see also ,wagn]'s comm5ts on ! ,?ird ,leonora ,ov]ture1 cit$ by ,erne/ ,newman 9 8 ,musical ,/udies1 pp4 #acd-ace4 ,footnote #ajb3 ,additional illu/rations ( ?is treatm5t may be f\nd 9 ,*abri]'s ,ov]ture to ,gw5dol9e & 9 ! fir/ movem5t ( ,f4,s4 ,conv]se's ,/r+ ,qu>tet4 ,x rema9s to speak ( ! beg9n+ & end ( ! ,sonata-,=m4 ,) ,haydn x became ! cu/om1 n necess>ily inv>iable1 to introduce ! body ( ! movem5t by a ,prelude :i*1 9 e>ly days1 0 ( slight texture & import--(t5 a m]e prelim9>y fl\ri% ( trumpets1 a pres5t+ ( arms4 ,9 ,moz>t we f9d "s examples ( m arti/ic treatm5t1 notably 9 ! ,ov]ture to ! ,magic ,flute & 9 ! prelude to ! ,c major ,qu>tet ) its /imulat+ dissonances4 ,b 9 ?is case1 z 9 s _m o!rs1 x 0 ,bee?ov5 :o fir/ %[$ :at a ,prelude %\ld be3 a subtle means ( ar\s+ ! int]e/ & expectancy ( ! he>]2 ! effect z c>efully plann$ z ! portico lead+ to a temple4 ,to u%] 9 ! !me ( ! ,exposition 9 a truly excit+ mann] e means ( modulation & rhy?m is employ$2 fam\s illu/rations be+ ! introductions to ! fir/ movem5ts ( ! ,second1 ,f\r? & ,sev5? symphonies2 &1 9 mod]n lit]ature1 ^? ( ! fir/ movem5ts ( ,brahms's ,fir/ ,symphony & ( ,t*aik[sky's ,fif?4 ,x also became cu/om>y to prolong ! end ( ! movem5t by :at is t]m$ a ,coda2 ! same t5d5cy be+ op]ative t is f\nd 9 ! p]oration to a spee* or 9 ! spire ( a ca!dral1 i4e41 ! human in/9ct to end :atev] we attempt z impressively & completely z possible4 ,?is ,coda1 :i*1 9 ,haydn & ,moz>t1 0 (t5 a m]e it]ation ( trite *ords--a ceas+ to g--0 s exp&$ by ,bee?ov5 t x 0 ! real glory ( ! :ole movem5t4 ,9 fact s _m eloqu5t treatm5ts ( ! ma9 mat]ial 7 res]v$ = ! ,coda t x (t5 became a second developm5t2 & su* 0 its scope t ! =m may be consid]$ to h f\r p>ts in/ead ( ?ree1 i4e41 #a1 ,exposition1 #b1 ,developm5t1 #c1 ,recapitulation1 #d1 ,coda2 p>ts #d & #b balanc+ ea* o!r 9 ! same way z #c & #a4 ,= two ( ! mo/ fam\s examples 9 all ,bee?ov5 lit]ature see ! ,codas to ! ,fir/ movem5t ( ! ,?ird ,symphony & to ! ,f9ale ( ! ,eigh?4 ,we n[ pres5t a tabul> view ( ! ,sonata-,=m summ+ up ! features j comm5t$ ^u4 ,,! ,,sonata-,,=m ,,or ,,fir/-,,movem5t ,,=m ,a ,b ,a ,exposition ,developm5t ,recapitulation ,introduction 7optional7 ,free treatm5t & ,fir/ ,!me1 ,fir/ ,!me expansion1 especially connect+ passage ,modulatory bridge-passage modulatory & rhy?mic1 lead+ to ,second ,!me ( ! !mes already ,second ,!me 7(t5 ,clos+ ,!me pres5t$ 9 home-key1 b 7,duality ( ,sometimes new mat]ial n always7 ,key-relation%ip7 introduc$ ,clos+ ,!me 7,plurality ( ,key7 ,coda 7,special /ress laid on ! ma9 tonality4 ,unity ( ,key7 ,= actual musical examples x seems be/ to beg9 ) ! works ( ,haydn4 ,?is exclusion ( ,philip ,emmanuel ,ba* is n meant to m9imize :at we owe him = 8 prelim9>y ef=ts 9 =mulat+ ! trip>tite ,sonata /ructure1 ) its two !mes & its ,developm5t portion4 ,haydn is on record z say+ t x 0 8 /udy ( six ,sonatas ( ,emmanuel ,ba* :i* laid ! f\ndations = 8 own in/rum5tal /yle4 ,b on ! :ole1 ! compositions ( ,emmanuel ,ba* are ( int]e/ r f a hi/orical po9t ( view ?an f "o purely arti/ic4 ,! object ( ?is book1 fur!rmore1 is n to give a complete acc\nt ( ! evolution#ajc ( ! ,sonata-,=m2 b1 accept+ ! exi/5ce ( /&>d works :i* employ ?is =m1 to enable ! /ud5t to ga9 a m complete appreciation ( ^? works4 ,p4,e4 ,ba* wrote 9 ! s-call$ galant /yle#ajd ( ! p]iod :i* has1 = our mod]n e>s1 too mu* embelli%m5t & too _m mean+less1 rhapsodic passages4 ,he made a s9c]e ef=t to inv5t pure in/rum5tal melody1 i4e41 musical expression suit$ to v>i\s in/rum5ts t %\ld be unhamp]$ by ! too def9ite balance ( ! dance =ms1 by polyphonic complexities or by ! conv5tional artifices ( op]atic /yle4 ,b ?\gh he wrote skilfully = 8 in/rum5t & ?\gh 8 /yle has a c]ta9 qua9t *>m1 on ! :ole x is lack+ 9 g5u9e melodic w>m? & feel+4 ,^! qualities alone keep works immortal4#aje ,footnote #ajc3 ,^? int]e/$ 9 ?is developm5t %\ld consult ,! ,pian(orte ,sonata by ,j4,s4 ,%$lock1 & above all1 d',indy's ,c\rse ( ,musical ,composition1 ,"p ,,iii4 ,footnote #ajd3 ,?is1 accord+ to d',indy1 0 s-call$ because pleas+ to ! ladies :o play$ an important "p 9 ! elaborate c\rt c]emonial ( t day4 ,footnote #aje3 ,six ( ,p4,e4 ,ba*'s ,sonatas edit$ by von ,bl[ are readily accessible & "s excell5t comm5ts ^u ! mo/ significant ones may be f\nd 9 ,%$lock 7see above74 ,9 ,josef ,haydn 7#aghb-ahji7 we are face to face ) a musician ( a diff]5t type4 ,haydn is popul>ly kn[n z ! fa!r ( ! ,sonata1 ! ,symphony & ! ,/r+-,qu>tet2 b1 accord+ to ,edw>d ,dick9son1#ajf ?is e/imate is some?+ ( an exagg]ation1 = x ov]looks ! fact t a l>ge numb] ( compos]s 7 /ruggl+ ) ! same problem & work+ along simil> l9es4 ,haydn 0 simply ! greate/ 9 g5ius ( ! in/rum5tal writ]s ( 8 day4 ,8 works h liv$ by virtue ( ! sup]iority1 i4e41 ! great] spontaneity & vitality1 ( _! cont5ts4 ,he %\ld be call$ ! 'fo/]-fa!r1' r ?an ! fa!r ( ! symphony & qu>tet = he rais$ !m f feebl5ess to /r5g? & au?ority4 ,to him mu/ be giv5 ! honor ( e/abli%+ ! types ( in/rum5tal composition :i* became ! f\ndations ( mod]n music4 ,haydn1 moreov]1 0 ! fir/ musician s9ce ,seba/ian ,ba* :o _h a real p]sonality :i* may be felt 9 8 works4 ,to speak ( a piece ( music z ,haydni% conveys z di/9ct a mean+ z to ref] to a poetic /anza z ,miltonic4 ,:5 ,haydn arriv$ on ! sc5e1 music--?r\gh ! labors ( _m e>ne/ work]s--_h become a language ( def9ite expression1 ) a logical gramm> & ) pr9ciples ( /ructure4 ,! "t 0 ripe = ! use ( ?is language 9 a m arti/ic way1 i4e41 = a m int5se p]sonal expression & = m subtle treatm5t ( ! mat]ial4 ,! compos] c\ld c\nt ^u ! public foll[+ 8 po9ts2 & ) ,haydn1 ^: he>t beat 9 sympa?y ) ! common p1 music beg9s to be a truly popul> art4 ,footnote #ajf3 ,see 8 ,/udy ( ! ,hi/ory ( ,music1 p4 #aed4 ,! /rik+ features 9 ,haydn's works are ?ree3 7#a7 ,! weal? ( spontane\s & sp>kl+ melodies1 = he 0 born ) ?is lyric gift & nev] _h to cudgel 8 wits = a tune4 ,t in/rum5tal melody c\ld make su* sudd5 progress z we f9d betwe5 ! dryness ( ,emmanuel ,ba* & ! fre%ness ( ,haydn1 0 long a puzzle to s*ol>s1 & only rec5tly has ! pro( be5 submitt$ t ,haydn 0 l>gely ( ,croatian ance/ry4 ,n[ ! ,croatians ( ,s\!rn ,au/ria are "o ( ! mo/ musical races 9 ! _w1 ) a weal? ( folk-songs & dances4 ,haydn !re=e did n h to inv5t melodies 9 ! ord9>y s5se ( ! t]m2 !y 7 8 bir?right4 ,_m ( 8 melodies are adaptations ( actual folk-songs#ajg or orig9al melodies com+ f an imag9ation saturat$ ) ! folk-song _s4#ajh ,= ?is reason !y seem l wild fl[]s 9 _! p]5nial fre%ness & *>m4 7#b7 ,! precision & cl>ity ) :i* 8 ideas are pres5t$4 ,^! qualities 7 due to 8 well-balanc$ & logical intellect t impress$ ev]yone ) :om he came 9 contact4 ,8 /yle1 moreov]1 0 ! result ( indefatigable labor1 = he 0 l>gely self-taught4 ,if ! balance ( 8 phrases & ! g5]al symmetry ( 8 /yle seem to our mod]n ta/e a bit excessive1 we mu/ rememb] t he 0 a pione] & c\ld run no risks 9 ! way ( non-acceptance ( 8 message ?r\gh puzzl+ complexities4 ,ev]y?+ mu/ be s cle> t ! ord9>y m9d c\ld at once accept x4 ,nor is ! s+-song1 squ>e-to$ elem5t s preval5t 9 ,haydn z is commonly suppos$4 ,9 8 melody a di/9ct feature--no d\bt ( racial orig9--is 8 fondness = odd rhy?ms ( ?ree1 five & sev5 measures1 ( :i* examples ab\nd 9 ! ,qu>tets4 ,9 8 ,m9uets & ,f9ales !re is a rollick+ effect ( high spirits :i* c\ld nev] h be5 atta9$ by m]e labor$ p$antry4 ,9 8 mature works we f9d a p]vad+ spontaneity :i* is "o ( ! out/&+ examples 9 all lit]ature ( art conceal+ art4 ,nev] d ^! works smell ( ! lamp1 & let u rememb] x is f> easi] to criticize !m ?an to create !m4#aji ,footnote #ajg3 ,see = example ! ,salomon ,symphony 9 ,e-flat1 e movem5t ( :i* is f\nd$ on a ,croatian folk-song4 ,footnote #ajh3 ,= a compreh5sive acc\nt ( ?is :ole subject consult ! ,ox=d ,hi/ory ( ,music1 ,vol4 ,v1 ,*apt] ,,viii1 & ,mason's ,bee?ov5 & ,8 ,=]unn]s1 essay on ,haydn4 ,footnote #aji3 ,witness = example1 ! attitude tak5 by ,wallace 9 8 ,?re%old ( ,music1 pp4 #adh-aec4 7#c7 ,! skillful & eloqu5t mann] 9 :i* ,haydn adapt$ 8 ideas to 8 favorite m$ia ( expression3 ! or*e/ra & ! /r+-qu>tet4 ,al?\gh he wrote a numb] ( pian(orte sonatas1 ^! works1 on ! :ole1 d n repres5t 8 be/ ?\ght4 ,= !y 7 compos$ 9 ! transitional p]iod betwe5 ! wan+ influ5ce ( ! h>psi*ord & ! adv5t ( ! pian(orte1 n yet come to its own4 ,b z = ! or*e/ra1 ,haydn e/abli%$#aaj ! gr\p+ ( ! ?ree s-call$ *oirs ( /r+s1 wood-w9d & brass2 to :i* 7 gradually add$ ! in/rum5ts ( p]cussion4 ,9 8 works we beg9 to enjoy or*e/ral effect = its own sake3 ! da%+ vivacity ( ! /r+s1 ! mell[ness ( ! wood-w9d1 ! sonority & gr&eur ( ! brass4 ,in/rum5tal works _h =m]ly be5 compos$ 9 black & :ite1 b n[ we h ! int]play ( or*e/ral colors4 ,no less p>am\nt 0 ,haydn's influ5ce 9 ! h&l+ ( ! f\r solo in/rum5ts kn[n z ! ,/r+ ,qu>tet4 ,9 8 ,qu>tets ! voices are s highly individualiz$ t x seems z if f\r intellig5t & witty p]sons 7 hold+ a musical conv]sation4 ,su* melodic & rhy?mic fre$om 7 hi!rto unkn[n & 8 /yle became ! po9t ( dep>ture = mod]n practice4#aaa ,bo? ,moz>t & ,bee?ov51 ^? great ma/]s ( ! ,/r+-,qu>tet1 ackn[l$g$ _! debt ( gratitude to ,haydn4 ,8 success 9 e/abli%+ ! =mation ( ! or*e/ra & ! /r+-qu>tet 0 *iefly due to ! ine/imable advantage he enjoy$ ( be+1 = s _m ye>s1 *apel-ma/] to ^? celebrat$ patrons ( music ! ,pr9ces ,paul & ,ni*olas ,e/]hazy1 at ^: c\ntry-seat ( ,e/]haz he _h at 8 disposal1 = free exp]im5tation1 a f9e body ( play]s4#aab ,"h ,haydn work$ f #agfb until #agij2 &1 to quote 8 own words1 c\ld1 z conductor ( an or*e/ra1 make exp]im5ts1 obs]ve :at produc$ an effect & be z bold z ,i pleas$4 ,i 0 cut (f f ! _w1 !re 0 no "o to confuse or torm5t me & ,i 0 =c$ to become orig9al4#aac ,footnote #aaj3 ,= ! e>ly & significant a*ievem5ts 9 or*e/ral effect ( ! ,mannheim ,or*e/ra "u its fam\s lead] ,/amitz1 see ,! ,art ( ,music1 ,vol4 #h1 ,*apt] ,,ii4 ,footnote #aaa3 ,= int]e/+ comm5ts on ! ,/r+ ,qu>tets see ,hadd5's ,life ( ,haydn1 pp4 #agd-age4 ,footnote #aab3 ,! ,ox=d ,hi/ory ( ,music1 ,vol4 ,v1 ,*apt] ,i1 & ,! ,pres5t ,/ate ( ,music 9 ,g]many by ,burney pres5t a vivid picture ( ! times & ( ! results ( #ah? c5tury patronage4 ,footnote #aac3 ,= an ent]ta9+ acc\nt ( ! two ,london visits1 :i* took place dur+ ! latt] "p ( 8 c>e]1 see ! essay ,haydn 9 ,london by ,krehbiel 9 8 ,music & ,mann]s4 ,z to ! =mal side ( ,haydn's "w1 he is responsible = sev]al di/9ct improvem5ts4 ,! diff]5t divisions ( ! movem5t are m cle>ly def9$--sometimes p]haps1 z we look back1 a bit rigidly--b no m s ?an 0 necess>y = a public j beg9n+ to foll[ easily ! ma9 outl9es ( ! =m4 ,haydn leads up to 8 objective po9ts 9 a cle>-cut1 logical way & !re is little ( runn+ (f into ! s& or ( ^? o!rwise aimless passages s preval5t 9 ,emmanuel ,ba*4 ,9 8 be/ works1 notably 9 _m ( ! ,qu>tets1 !re is also m individuality secur$ = ! second !me2#aad al?\gh = highly p]sonifi$ & mov+ second !mes we h to await ! great] g5ius ( ,moz>t & ,bee?ov54 ,:5ev] we are incl9$ to call ,haydn's /yle old-fa%ion$ we mu/ rememb] t he wrote be=e ! note ( int5se p]sonal expression--! s-call$ subjective elem5t1 prom95t 9 ,bee?ov5--_h come to ! =e4 ,! "t j prior to ,haydn _h be5 call$ ! ,pig-tail p]iod 7,zopf-,p]iode7 9 ref]5ce to ! /iff & precise dress & mann]s :i* _h _! c\nt]p>t 9 =mality ( arti/ic expression4 ,only t[>ds ! end ( 8 c>e] d we feel t brea? ( fre$om 9 life & art :i* 0 g5]at$ by ! ,fr5* ,revolution 7beg9n+ 9 #agia7 & by ! _m political & social *anges ( t /irr+ p]iod4 ,f ,haydn on1 mu* m att5tion %\ld be paid to ! cont5t & mean+ ( ! music ?an to ! =mal h&l+ ( ! mat]ial4 ,9 all wor?y music1 9 fact1 ! *ief po9t ( int]e/ is ! music itself :i* speaks to u 9 its own language ( s\nd & rhy?m4 ,a k ( =m is b a means to an end3 = ! compos]1 t he may express himself cle>ly & conv9c+ly1 & = ! li/5]1 t he may readily receive ! message set =?4 ,9 ,haydn's music we f9d ! expression ( a real p]sonality--?\gh ( an artless1 *ild-l type1 )\t great dep? ( emotion or ! tragic int5sity ( a ,bee?ov54 ,haydn 0 n a philosoph]1 or a man ( broad vision4 ,dur+ 8 epo*1 arti/s h>dly d>$ to be introspective4 ,8 imag9ation gave bir? to music1 simple ?\gh x 01 z freely z ! e>? puts =? fl[]s2 b1 al?\gh he wore a wig1 he _h a he>t :i* 0 9 good work+ op]ation ev5 9 8 sixty-f\r? ye> :51 dur+ 8 ,london visit1 he fell 9 love ) a *>m+ wid[1 ,madame ,s*roet]1 :om he w\ld h m>ri$ _h n 8 wife be5 /ill alive4 ,footnote #aad3 ,9 _m cases ,haydn's second !me is m]ely a v>i$ v]sion ( ! fir/4 ,we %\ld acquire ! ca?olic ta/e to enjoy e compos] = :at he really 0 & n criticise him = :at he 0 n--a /ate :i* w\ld imply necess>ily diff]5t conditions4 ,9 criticism !re is no worse error1 or "o m (t5 made1 ?an t ( blam+ ,haydn because he 0 n ,bee?ov52 or1 9 our times1 ,t*aik[sky because 8 music does n resemble t ( ,brahms4 ,blas p$ants (t5 call ,haydn's music tame2 we might z well apply t adjective to ! antics ( a sportive kitt54 ,z = ! amiable prattle ( 8 /yle we d n speak 9 a d]ogatory way ( ! fre%1 innoc5t voices ( *ildr51 ?\gh we ne$ n li/5 to !m cont9ually4 ,haydn1 9 %ort1 is ,haydn1#aae & ! vitality & s9c]ity ( 8 works w always keep !m immortal4 ,9 ^! fev]i% days we may dwell ^u ! simplicity ( ,papa ,haydn1 z he 0 affectionately call$2 :o w\ld kneel d[n be=e beg9n+ "w1 & :o inscrib$ 8 scores ,9 nom9e ,dom9i4 ,8 mode/ e/imate ( 8 own p[]s _c fail to t\* our he>ts4 ,i "k1 he said1 t ,god has be/[$ a tal5t ^u me1 & ,i ?ank him = x4 ,i ?9k ,i h done my duty1 & be5 ( use 9 my g5]ation by my works2 let o!rs d ! same4 ,footnote #aae3 ,haydn's life is ( great int]e/ 9 %[+ ! traits :i* are reflect$ 9 8 music4 ,ev]yone %\ld read ! biography 9 ,grove's ,diction>y1 ,vol4 ,,ii1 p4 #cdh1 & ! excell5t life by ,m4 ,br5et 9 ,les ,matres de la ,musique4 ,we %all n[ make a few comm5ts on ! illu/rations 9 ! ,supplem5t 7see ,exs4 ,no4 #da & #db73 ! ,f9ale ( ! ,sonata = ,pian(orte 9 ,e-flat major & ! fir/ movem5t ( ! s-call$ ,surprise ,symphony 9 ,g major4 ,haydn1 ( all compos]s1 ne$s little v]bal elucidation2 8 music speaks = itself & ev]yone mu/ be s5sitive to its vitality & *>m4 ,we regret t x is n practical to give examples f ! ,qu>tets :i*1 9 _m respects--especially 9 ! ,m9uets ) _! inexhau/ible inv5tion#aaf & _! bubbl+ spirits--repres5t ,haydn at 8 be/4 ,b ! real effect ( 8 ,qu>tets is s b\nd up ) idiomatic treatm5t ( ! /r+s t 9 any transcription = pian(orte ! music suff]s griev\sly4 ,x is ?r\gh ! score1 h[ev]1 t ev]yone %\ld become famili>1 ) ! cont5ts ( ! ,qu>tets 9 ,c major1 op4 #gf1 & ,d major1 op4 #fd2 ! ,f9ale ( ! latt] be+ "o ( ! supreme examples 9 all *amb] lit]ature#aag ( rhy?mic vitality4 ,footnote #aaf3 ,haydn himself us$ to speak ( 8 melodic inv5tion z a /ream :i* bur/s =? f an ov]fl[+ res]voir4 ,footnote #aag3 ,9 e l>ge city !re are1 ( c\rse1 frequ5t opportunities to he> ! ,qu>tets ( ,haydn play$ by su* fam\s organizations z ! ,flonzaley ,qu>tet etc4 ,! /ud5t is urg$ to take advantage ( ^! occasions4 ,! ,f9ale ( ! ,e-flat sonata1 9 /rict ,sonata-=m1 beg9s ) a lively eight-measure phrase :i* is at once repeat$ a tone high]4 ,! ext5sion ( ! s5t5ce %[s ,haydn's fre$om 9 phraseology2 =1 beg9n+ ) measure #ag1 we %\ld h to c\nt ! measures #a1 #b1 #c1 #c;a1 #d1 #e1 #f1 #f;a1 #g1 #g;a1 #h1 #h;a4 ,9 ! second !me1 :i* beg9s 9 ! #dd? measure1 note ! piquant dissonances#aah c\pl$ ) s=z&o acc5ts4 ,haydn surely lik$ spice z well z anyone6 ,! re/ ( ! ,exposition is tak5 up ) clos+ passages :i* acc5tuate ! tonality ( ! second !me--,b-flat major4 ,! ,developm5t ne$s no comm5t1 z ! correspond5ce betwe5 ! orig9al mat]ial & ,haydn's treatm5t is p]fectly cle>4 ,! ,recapitulation is a lit]al repetition ( ! ,exposition1 ) ! two !mes z usual 9 ! tonic key4 ,! movem5t may be consid]$ an example ( ,sonata-=m 9 its cle>e/ manife/ation1 h5ce an excell5t "o = prelim9>y analytical /udy4 ,footnote #aah3 ,^? :o errone\sly ?9k t !re is no?+ ( ! dissonant elem5t 9 ,haydn %\ld exam9e ! ,prelude to ,! ,creation--a real anticipation1 9 its use ( ! *romatic elem5t1 ( ,tri/an & ,isolde4 ,9 ! fir/ movem5t ( ! ,surprise ,symphony1 be=e ! body ( ! "w beg9s1 we h an e>ly example ( ! ,prelude4 ,?is sl[ ,prelude1 %ort ?\gh x be1 is mo/ c>efully plann$2 ) its cresc5do f pp to a sf =te & its free modulation x ar\ses a g5u9e feel+ ( expectancy4 ,! fir/ !me ( ! ,exposition 7,vivace ,assai7 is a happy illu/ration ( ,haydn's sp>kl+ rhy?m1 & z toss$ (f by ! viol9s is ( irresi/ible gaiety4 ,! read] is ask$ to rememb] t ! comm5ts on ?is symphony--& on all subsequ5t symphonic works--are bas$ ^u ! or*e/ral score2 also t ! composition1 :5 sep>at$ f its or*e/ral dress1 necess>ily loses mu* ( its real eloqu5ce4 ,?us ! fir/ !me1 ( a folk-dance "*1 is a typical viol9 melody2 only /r+s--) _! incisiv5ess & p[] ( subtle phras+--c fully express its piquancy4 ,= private /udy or = class-room "w1 a practical v]sion is t = f\r h&s2 or bett] /ill1 :5 possible1 ! arrangem5t = two pian(ortes4#aai ,! second phrase ( ! fir/ !me is consid]ably exp&$ by repetition1 z if unable to /op f %e] exub]ance1 b f9ally rea*es a cad5ce 9 ! dom9ant key 9 ! #cbnd measure4 ,we are at once tak5 back1 h[ev]1 to ! home-key ( ,g major2 &1 9 measure #dj1 ! fir/ !me is repeat$1 ?is "t delicately embelli%$ ) phrases on ! flute4 ,f n[ on1 by reason ( ! emphasis laid on ! key ( ,d major1 x is evid5t t we are 9 ! transitional passage & are head+ t[>ds ! ann\ncem5t ( ! second !me4 ,x mu/ be said t ,haydn does n drive v /raight at 8 m>k2 ?\gh x is a pleasant t\* ( v>iety 9 measures #ee-eg to introduce ! ma9 !me 9 ! m9or mode1 & ?\gh ! fi]y viol9 passages 9 ! foll[+ measures give an air ( consid]able excitem5t4 ,:at /&s = ! second !me beg9s 9 measure #fg4 ,?is portion ( ! movem5t has no !me ) g5u9e individuality1 b consi/s ( runn+ passages--bas$ exclusively on tonic & dom9ant h>monies 9 ! new key1 & ( little import save "o ( g5]al vivacity4 ,x is1 h[ev]1 decid$ly alive--n /agnant or flabby--& 9 ! or*e/ra x all comes (f4 ,we are rew>d$1 f9ally1 by a cle>-cut clos+ !me ( jaunty rhy?m1 e4g41 ,music :i* ,haydn lik$ s mu* t x is pres5t$ twice1 ! second "t slightly embelli%$4 ,! ,exposition closes ) ! conv5tional insi/5ce ^u a /rong cad5ce 9 ! key ( ! second !me4 ,! ,developm5t beg9s ) "s r fragm5t>y treatm5t ( ! fir/ !me2 !n1 aft] "s fugitive modulation into flat keys1 cont5ts itself ) runn+ passages & a s]ies ( it]at$ notes4 ,( organic & su/a9$ developm5t1 su* z ,haydn inde$ sometimes atta9$1 !re is little trace4 ,ev5 s we mu/ be *>y ( sweep+ condemnation2 = !re are well-plann$ dynamic contra/s & ! in/rum5ts are us$ 9 su* a natural way--especially ! figure 9 ! d\ble basses 7measures #adi-aec7--t ! sc5e is "o ( animation1 ?\gh p]haps no m ?an "o ( aimless gambols4 ,!re is suffici5t modulation1 s t ! pr9ciple ( ,plurality ( key is c>ri$ out4 ,we are sudd5ly b gracefully l$ back1 9 measure #aee1 to ! repetition ( ! fir/ !me1 ?us beg9n+ ! ,recapitulation4 ,?is portion1 ) c]ta9 abbreviations1 is an almo/ exact duplication ( ! fir/ "p & emphasizes ! ma9 tonality ( ,g major4 ,t ,haydn 0 n =c$ to ?is lit]al repetition ?r\gh any lack ( fancy is %[n by ! skilful amplification ( ! fir/ !me1 9 measures #agg-ahd4 ,! :ole movem5t sp>kles ) sun%9e2 & ^? pond]\s heavy-weights :o criticise x because x is n deep or s\lful are look+ = qualities :i* ! music does n pret5d to conta94 ,x is ! "w ( a :olesome1 *e]ful-he>t$ man express+ ?r\gh 8 favorite language 8 joy 9 life4 ,9 li/5+ to ! music we h ! same delight z 9 w&]+ by ! side ( a rippl+ brook4 ,! ?ree rema9+ movem5ts ( ! ,symphony require little comm5t2 be+ readily accessible !y are n giv5 9 ! ,supplem5t4 ,! second movem5t1 a set ( /]eotyp$ v>iations1 conta9s ! explosive *ord :i* gave to ! "w its descriptive title4 ,ne$less to say t ?is *ord does n surprise our mod]n e>s to any great ext5t4 ,! ,m9uet is "o ( ,haydn's be/--full ( que] antics 9 rhy?m & modulation4 ,! ,f9ale 7,allegro di molto71 9 ! ,rondo ,sonata =m1 is ! acme ( ,haydn's vivacity & is a t\r de =ce ( brilliant writ+ = ! /r+s4 ,9 _m passages !y seem fairly to burn4 ,footnote #aai3 ,all symphonic scores give a mu* bett] effect :5 p]=m$ on two pian(ortes ?an 9 a f\r-h& arrangem5t = a s+le in/rum5t4 ,! fre$om 9 control ( bo? p$als possess$ by ea* play] secures a great] ri*ness & sonority ( tone & x is mu* easi] to make prom95t voices /& out 9 relief4 ,haydn's position 9 ! developm5t ( music is ( ! fir/ importance4 ,:atev] 8 works may mean1 !y conta9 a rhy?mic vitality :i* w keep !m alive = ev]1 & _! *ild-l *e]fulness & droll]y w *>m away c>e & sorr[ z long z ! _w %all la/4 ,,*apt] ,x ,,moz>t4 ,,! ,,p]fection ,,( ,,classic ,,/ructure ,,& ,,/yle ,al?\gh ,moz>t1 ,wolfgang ,amadeus#abj 7#agef-agia71 01 9 reg>d to art problems1 no m ( a broad ?9k] ?an ,haydn 7,moz>t & ,s*ub]t be+ pre-em95tly m5 ^: :ole nature c5t]$ 9 music71 yet on he>+ 8 works we are aw>e t aspects ( =m & cont5t h c]ta9ly *ang$ = ! bett]4 ,9 ! fir/ place he 0 m highly gift$ ?an ,haydn2 he _h f 8 infancy ! advantage ( a broad cosmopolitan exp]i5ce1 & he 0 dimly consci\s ( ! exp&+ possibilities ( musical expression4 ,x is a p]fectly fair di/9ction to consid] ,haydn an able1 ev5 brilliant prose-writ]1 & ,moz>t a poet4 ,haydn we c acc\nt =1 b ,moz>t is ! g5ius born1 n made--defy+ classification--& 8 inspir$ works seem to fall /raight f ! blue ( ,heav54 ,:]eas ,haydn1 ,bee?ov5 & ,s*ub]t 7 all ( v l[ly p>5tage#aba 7_! mo!rs be+ cooks--a bless+ on _! heads671 ,moz>t's fa!r & "m 7 p ( consid]able g5]al cultivation1 & 9 p>ticul> ! fa!r1 ,leopold ,moz>t1 0 an educat$ man & some:at ( a compos] himself1 :o s9ce #agdc _h be5 9 ! s]vice ( ! ,ar*bi%op ( ,salzburg1 z director ( 8 private or*e/ra4 ,an excell5t viol9i/1 he _h writt5 & publi%$ a treatise on viol9 play+1 :i* = _m ye>s 0 ! /&>d "w on ! subject4 ,bo? p>5ts 7 not$ = _! good looks1 71 moreov]1 ( /rong "* & highly respectable 9 e way4 ,among _! sev]al *ildr5 two e>ly exhibit$ unusual precocity--,m>ia ,anna1 born 9 #agea1 & ,wolfgang1 /ill m highly gift$4 ,! /ories ( ! boy's skill & g5]al delicacy ( p]ception may be exagg]at$1 b we h suffici5t valid evid5ce to conv9ce u t he 0 a ph5om5on absolutely sui g5]is4 ,?us1 he began to improvise betwe5 ?ree & f\r1 actually to compose little pieces 7:i* we h71 :5 he 0 five1 & to p]=m 9 public :5 he 0 six6 ,9 t v ye> & cont9u+ = n9ete5 ye>s 7until ,moz>t _h rea*$ ! age ( tw5ty-five7 began ! memorable s]ies ( conc]t t\rs--elev5 9 all--compris+ ,vi5na1 all ! *ief cities ( ,italy & ,g]many1 ev5 ,p>is & ,london4 ,^! t\rs ! fa!r plann$ & c>ri$ ?r\gh ) ! utmo/ solicitude & self-sacrifice--n to exploit ! tal5t$ *ildr51 b to give !m a compreh5sive education & arti/ic exp]i5ce1 & ev5tually to secure = 8 son "s di/+ui%$ po/ wor?y 8 abilities4 ,x is q impossible to rehe>se all ! details ( ^! trips4 ,= "o :o wi%es to inve/igate = himself !y truly make fasc9at+ read+4 ,a s+le incid5t1 h[ev]1 w %[ h[ cle>ly def9$ 7 ! two p]sonalities :i* made up ! complete ,moz>t2 & ( :i* "o or ! o!r 0 9 ! asc5dant ?r\gh\t 8 life4 ,z a man1 ,moz>t 0 light-he>t$1 witty--ev5 volatile--fond ( society1 danc+1 & a good "t g5]ally2 n ( ! /ronge/ intellectual p[]1 judg$ by mod]n /&>ds1 b1 z %[n by 8 m>vell\s dramatic insight1 by no means ! debonair light-weight he is (t5 repres5t$4 ,yet :5ev] music 0 "u consid]ation he 0 a *ang$ be+2 he became in/antly s]i\s1 & w\ld suff] no disrespect to himself or to 8 art4 ,dur+ ! la/ sad ye>s ( 8 c>e] 9 ,vi5na1 :5 he 0 9 actual want = ! b>e necessities ( life1 a publi%] once said to him1 ,write 9 a m popul> /yle1 or ,i w n pr9t a note ( y\r music or give y a kreutz]4 ,!n1 my good sir1 repli$ ,moz>t1 ,i h only to resign myself & die ( hung]4 ,footnote #abj3 ,amadeus 7! belov$ ( ,god74 ,footnote #aba3 ,we may appropriately /ate t 9 reg>d to ance/ry & environm5t all f\r ( ! s-call$ ,vi5nese ma/]s1 ,haydn1 ,moz>t1 ,bee?ov5 & ,s*ub]t are di/9ct refutations ( ! claims s p]si/5tly made by ,g]man s*ol>s t ev]y?+ good 9 music we owe to ! ,teutons4 ,haydn 0 l>gely ,croatian2 ,moz>t 0 /rongly influ5c$ by non-,teutonic folk-music 7,tyrolese melodies frequ5tly peep out 9 8 works72 ,s*ub]t's =ebe>s came f ,moravia & ,silesia2 & ,bee?ov5 0 p>tly ,dut*4 ,if !re be any s+le race to :i* ! _w owes ! art ( music x is ! ,italians1 = !y inv5t$ mo/ ( ! in/rum5ts & h9t$ at all ! vocal & in/rum5tal =ms4 ,we may be grateful to ! ,g]mans = _! p]sev]+ appropriation ( :at o!rs _h begun2 only let !m n claim all ! cr$it4 ,9 ,moz>t's works1 9 di/9ction f ! unconsci\s1 nave folk-song type ( ,haydn1 we f9d highly wr\ght in/rum5tal melodies2 al?\gh su* 0 8 inborn spontaneity ( expression t we are nev] aw>e ( ! labor exp5d$4 ,8 works are q z cle> z ^? ( ,haydn1 b !y %[ a m consci\s individuality ( /yle4 ,!y are n s artless1 & ! phraseology is m ela/ic--less cut & dri$4 ,!re is a high] imag9ative vitality2 trite1 me*anical repetitions are 9 g5]al avoid$1 climaxes are l$ up to 9 a m subtle mann]1 & a great ga9 is made 9 real organic developm5t4 ,= ,moz>t1 z a ma/] ( polyphonic treatm5t1 is second only to ,ba*4 ,! mo/ /rik+ s+le feature 9 8 "w is ! ceaseless fl[ ( expressive melody1 notably ^? wondr\s tunes f\nd 9 8 op]as1 su* z ,voi *e sapete1 ,batti1 batti & num]\s o!rs4 ,he _h travell$ s widely1 s ke5 0 8 p[] ( assimilation t 8 melodic /yle embodi$ & enhanc$ ! be/ qualities ( contempor>y ,italian1 ,fr5* & ,g]man practice4 ,& yet 8 innate g5ius 0 ( suffici5t /r5g? to a*ieve ?is result )\t laps+ into =mal eclecticism4 ,:atev] sugge/ions he took he made :olly 8 own2 & 8 music is no?+ if n individual 9 its inimitable *>m & fre%ness4 ,:]eas ,haydn's music (t5 smacks too prom95tly ( ! soil1 ) ,moz>t we h ! f9e fl[] ( a broad arti/ic culture4 ,9 8 be/ symphonies & /r+ qu>tets ! art ( music made a di/9ct advance & began to be capable ( express+ ! univ]sal emotions & aspirations ( mank9d4 ,! reactive influ5ce--ea* ^u ! o!r--( ,haydn 7#agcb-ahji7 & ,moz>t 7#agef-agia7 is a mo/ int]e/+ feature ( ! p]iod4#abb ,by ! "t ,moz>t 0 ripe = 8 be/ "w ,haydn _h =mulat$ & exemplifi$ ! ma9 l9es ( in/rum5tal /ructure4 ,f ?is prep>atory "w ,moz>t reap$ su* an advantage t 9 8 la/ compositions !re is a spontane\s fl[]+ ( g5ius--a union ( individual cont5t ) p]fect cl>ity ( /yle--:i* has kept !m alive to ?is day4 ,haydn's la/ symphonies1 ! two ,salomon sets compos$ = 8 ,london t\rs1 %[ 9 _! turn abundant signs ( ! /imulat+ influ5ce ( ! y\ng] man4 ,! p]5nial importance ( =m & /yle _c be bett] und]/ood ?an by recogniz+ ! fact t bo? ,t*aik[sky & ,ri*>d ,/rauss1 two ( ! mo/ fe>lessly indep5d5t ( mod]n compos]s1 h consid]$ ,moz>t z _! ideal4 ,b ev5 if 9 ,moz>t's be/ works we are n beyond ! prepond]at+ influ5ce ( =m ov] sub/ance1 !y mu/ be judg$ on _! own intr9sic m]its & n ) ref]5ce to progress made s9ce--( :i*1 nev]!less1 !y 7 an important f\ndation4 ,8 te*nique 0 q suffici5t to express :at he _h to say4 ,we seldom feel t ! cont5ts are bur/+ ?r\gh ! =m1 t ! _s is too great = ! body4 ,purity ( conception & faultlessness ( workman%ip 7 /ill ! desid]ata ( music4 ,! _w _h to wait = a ,bee?ov5 be=e ! he>] %\ld be %ak5 out ( himself by a spiritual p[]1 ( :i* ! music at be/ 0 (t5 an inadequate expression4 ,?is /atem5t is meant to conta9 no disp>agem5t4 ,because ,bee?ov5 0 m elem5tal we mu/ nev] belittle ! g5ius ( 8 pr$ecessor4 ,any famili>ity ) ,moz>t's works w conv9ce u ( ! gratitude we owe him = 8 orig9al h>monies1 = ! /imulat+ contrapuntal texture & = ! p]fect f9i% & c>e = detail f\nd !re94 ,c\ld we be =ev] cont5t ) ab/ract music--t :i* ju/ifies itself by a fulfilm5t ( its own inh]5t laws--,moz>t's music w\ld rema9 ! acme ( ! art4 ,8 fame to-day re/s ^u 8 /r+ qu>tets1 8 ?ree pr9cipal symphonies1 &--above all--! op]as1 ( :i* ,don ,giovanni & ! ,m>riage ( ,fig>o are not$ examples4 ,= consummate "*-draw+ 7s t1 z ,rub9/e9 rem>ks1 ,ea* act+ p]sonage has become an immortal type71 = int]e/ su/a9$ by unflagg+ musical vitality1 = a comb9ation ( humor & s]i\sness & = +5i\s & *>act]i/ic h&l+ ( ! or*e/ral =ces1 ^! works 7 unequall$ until ! adv5t ( ,wagn] & ev5 to-day 9 _! own field rema9 unsurpass$4 ,! real *>m ( ,moz>t--t sunny radiance1 at times %ot ?r\gh ) a haunt+ pa?os--eludes v]bal description4 ,z well attempt to put into words ! fragrance & *>m ( a violet4 ,hazlitt's f9e phrase1 apropos ( p]=mance1 says mu* 9 a few words4 ,moz>t's music seems to come f ! air & %\ld return to x1 & ! ec/atic eulogy ( ,goe!1 to :om g5ius meant ,moz>t1 %\ld be famili> to all4 ,:at else is g5ius ?an t productive p[] ?r\gh :i* de$s arise1 wor?y ( /&+ 9 ! pres5ce ( ,god & ( ,nature1 & :i*1 = ?is reason1 be> results & are la/+8 ,all ! creations ( ,moz>t are ( ?is class2 )9 !m !re is a g5]ative =ce :i* is transplant$ f age to age1 & is n likely soon to be exhau/$ or dev\r$4 ,footnote #abb3 ,= ext5d$ comm5t1 see ! ,ox=d ,hi/ory ( ,music1 ,vol4 ,v1 p4 #bdf1 seq4 ,9 /udy+ ,moz>t's works ! special po9ts to be notic$ are ^!3 ! wid] sweep & fre] rhy?mic v>iety ( ! melodic curve2 ! m organic fusion ( ! diff]5t portions ( a movem5t--,moz>t's l9es ( dem>cation be+ p]fectly cle> b n s rigid z 9 ,haydn2 ! mu* great] ri*ness ( ! :ole musical fabric1 due to ,moz>t's m>vell\s skill 9 polyphony4 ,! "t _h n yet come :5 ! compos] c\ld pique ! fancy ( ! he>] by unexpect$ /ructural devices or ev5 lead him (f on a false trail z 0 s (t5 done by ,bee?ov54 ,bo? ,haydn & ,moz>t are homophonic compos]s1 i4e41 ! outp\r+ ( individual melodies is ! *ief factor 9 _! works2 b :]eas 9 ,haydn ! tune is almo/ inv>iably 9 ! upp] voice1 9 ,moz>t we f9d ! melody appe>+ 9 any "o ( ! voices & (t5 accompani$ ) fasc9at+ imitations4 ,see1 9 corroboration1 any ( ! fir/ ?ree movem5ts ( ! ,g m9or ,symphony or ! sl[ movem5t ( ! ,e-flat major ,symphony4 ,9 ! /ructure ( music ,moz>t made slight *anges2 ! =ms 7 /ill fre%--hav+ j be5 e/abli%$ by ,haydn--& ,moz>t ) 8 g5ius fill$ !m to ov]fl[+4 ,8 "o important contribution to ! developm5t ( in/rum5tal =m 0 ! ,pian(orte ,conc]to2 b1 z a consid]ation ( ?is w\ld lead u too f> afield1 ! /ud5t is ref]r$ to ! life ( ,moz>t 9 ,grove's ,diction>y & to ! ,ox=d ,hi/ory1 ,vol4 ,v4 ,! lit]ature#abc ab\t ,moz>t & 8 works is volum9\s4 ,our *ief att5tion nev]!less %\ld be c5t]$ on ! works !mselves r ?an on :at anyone else writes ab\t !m4 ,c]ta9 ( ^! criticisms1 h[ev]1 are s sugge/ive & illum9at+ t ! /ud5t %\ld become famili> ) !m4 ,footnote #abc3 ,we recomm5d especially ! refre%+ essay by ,philip ,hale 9 ,fam\s ,compos]s & ,_! ,works2 ! *apt] on ,moz>t 9 ,bee?ov5 & ,8 ,=]unn]s by ,d4,g4 ,mason2 &1 z ?r[+ light on aspects ( 8 p]sonality :i* are little kn[n1 ,moz>t ,reveal$ 9 8 ,own ,words by ,k]/-,krehbiel 7see especially ! *apt] on ,moz>t's religi\s nature1 p4 #adb & passim72 ! fasc9at+ ,rem9isc5ces ( ,mi*ael ,kelly1 a p]sonal fri5d ( ! compos]2 &1 above all1 ! monum5tal life ( ,moz>t1 unhappily z yet incomplete1 by ,wyzewa & ,/4 ,foix4 ,! ?ird *apt] ( ,vol4 ,,ii ( ,! ,art ( ,music is also well wor? read+2 & 9 ,moz>t's ,op]as1 a ,critical ,/udy by ,e4,j4 ,d5t are f\nd valuable comm5ts on 8 dramatic /yle1 s prom95t a feature 9 _m ( 8 in/rum5tal works4 ,z illu/rations#abd = comm5t we select ! ,f major ,sonata = ,pian(orte1 ! ,g m9or ,symphony1 ! ,magic ,flute ,ov]ture = ,or*e/ra & ! little kn[n b mo/ *>act]i/ic ,adagio 9 ,b m9or = ,pian(orte4 ,"h aga91 z 9 ! case ( ,haydn1 we mu/ regret t x is impracticable to give examples f ! *amb] music3 ! ,/r+ ,qu>tets1 ! ,qu9tet 9 ,g m9or or f ! entranc+ ,cl>9et ,qu9tet4 ,any famili>ity ) ,moz>t's g5ius is v incomplete :i* does n comprise ! ,c major ,qu>tet1 especially its heav5ly ,&ante ,cantabile2 likewise ! ,e-flat major ,qu>tet 9 ! sl[ movem5t ( :i* are ! foll[+ poignant dissonances--a /rik+ anticipation ( ,tri/an & ,isolde4 ,music ,footnote #abd3 ,! fir/ ?ree compositions are n giv5 9 ! ,supplem5t1 because readily available 9 sev]al /&>d editions4 ,! same recomm5dations1 z giv5 9 connection ) ,haydn1 apply to ! p]=mance ( ! ,g m9or ,symphony4 ,! ,f major ,sonata is select$ to illu/rate ,moz>t's pian(orte /yle because x bubbles ov] ) typical ,moz>tian melody & because ! ,sonata-=m is ! basis ( all ?ree movem5ts2 9 ! fir/ & la/ /rictly employ$ & 9 ! sl[ movem5t some:at modifi$4 ,! /ructure1 :ile j z cle> & easy to foll[ z t ( ,haydn1 repres5ts an advance 9 ! su/a9$ int]e/ ( ! transitional passages & 9 ! organic treatm5t ( ! ,developm5t--?is be+ p>ticul>ly true ( ! ,f9ale--! middle portion ( ! fir/ movem5t be+ n s significant4 ,! ,sonata1 )\t prelude1 beg9s ) a so>+1 lyric melody 9 :i* ! cu/om>y eight measure =mation is exp&$ to twelve measures4 ,?is expansion is br\ght ab\t by an imitative treatm5t ( ! fif? measure & is a conv9c+ example ( ! flexible phraseology s prom95t a feature 9 ,moz>t's /yle4 ,a balanc+ s5t5ce ( eight measures1 ) an ext5d$ cad5ce1 br+s u to ! transition :i* is to introduce ! second !me4 ,obs]ve ! increas+ animation ( ! rhy?m & h[ ! fre% entry ( ! second !me 79 ,c major7 is enhanc$ by ! insi/5ce on ! contra/+ tonality ( ,c m9or4 ,9 measure #da !re beg9s ! second !me1 a graceful melody t is repeat$ ) height5$ f]v\r & !n exp&$ by means ( v>i\s modulatory & rhy?mic devices--! int]e/1 = a numb] ( measures1 be+ 9 ! bass4 ,9 measure #ga we h a piquant clos+ !me :i* ends 9 ! good old way ) "s r =mal gr\ps ( cad5tial *ords4 ,! ,developm5t is %ort &1 save = ! dynamic contra/s 9 ! middle "p1 n ( p>ticul> import4 ,b ?\gh a bit nave x is nei!r labor$ nor dull4 ,! ,recapitulation ) ! necess>y adju/m5ts ( key 7bo? !mes appe>+ 9 ,f major7 corresponds exactly to ! ,exposition4 ,9 ! op5+ melody ( ! ,sl[ movem5t--a dreamy1 su/a9$ ,adagio--we see ! beautiful use ,moz>t made ( ! turn1 e4g41 ,music employ+ x n z mean+less embroid]y or to cov] up defici5cies 9 ! in/rum5t b z an integral factor 9 ! melodic l9e1 ?us anticipat+ ,*op9 & ,wagn] ) 8 ess5tial turn4 ,! movem5t is 9 abridg$#abe ,sonata-=m1 i4e41 !re is a regul> ,exposition ) two !mes 9 ! tonic & dom9ant & a correspond+ ,recapitulation1 b ! ,developm5t is entirely omitt$ & 9 its place we f9d m]ely two modulatory measures :i* take u back to ! ?ird "p4 ,su* a =m arose f ! feel+ t ! ,sl[ ,movem5t %\ld be "o ( direct melodic & emotional appeal & %\ld n conc]n itself ) protract$ discussion ( ! mat]ial4 ,! two clos+ measures are ( a wondr\s s]5ity1 peculi> to ,moz>t4 ,! ,f9ale1 ,allegro assai1 9 complete & elaborate ,sonata-=m1 is "o ( sup]b vigor & da%1 ! happie/ example possible ( ,moz>t's joie de vivre4 ,x beg9s ) a brilliant runn+ !me 9 free phraseology1 & !n1 aft] a cad5ce 9 measure #ad1 is at once foll[$ by an out & out ,waltz tune ( a v s$uctive sw+4#abf ,?is is develop$ to a brilliant climax & !n closes pp 9 a delicate1 wi/ful mann]4 ,! transition1 ) "s canonic imitations & /imulat+ sequ5ces1 leads u to ! second !me at measure #ej4 ,?is--"o ( ,moz>t's lovelie/ melodies--is r exceptionally 9 ! dom9ant m9or 7i4e41 ,c m9or7 & ) its mood ( pa!tic rev]y af=ds a wond]ful contra/ to ! headlong da% ( ! fir/ !me4 ,?is melody alone w\ld prove t ,moz>t _h 8 mom5ts ( deep emotion4 ,9 measure #fe beg9s a long clos+ portion :i* resumes ! exub]ant mood *>act]i/ic ( ! ,exposition z a :ole4 ,! ,developm5t at fir/ is bas$ ^u modulatory *anges 9 ! fir/ !me2 & !n1 t[>ds ! middle1 occurs a passage :i* seems to be a c\nt]p>t ( ! second !me1 save t x is 9 ! major mode4 ,we are n[ c>ri$ onw>d ?r\gh a s]ies ( passages1 ) pung5t dissonances & imitative phrases1 to a =tissimo dom9ant *ord2 !nce ?r\gh a desc5d+ cad5za-l passage we are :irl$ back to ! ,recapitulation4 ,9 mat]ial & treatm5t ?is corresponds exactly to ! ,exposition & has ! same pianissimo end+4 ,su* an effect 0 a t\* ( g5u9e orig9ality & 0 a delightful contra/ to ! conv5tional fl\ri% ( trumpets ) :i* ! ,f9ale ( ! p]iod 0 expect$ to end4 ,music is (t5 mo/ impressive :5 mo/ subdu$4 ,footnote #abe3 ,?is modification became a favorite ) ,bee?ov51 notable examples be+ ! ,sl[ movem5t ( ! ,fif? ,sonata1 :]e ! ,developm5t is repres5t$ by a s+le *ord2 ! ,sl[ movem5t ( ! ,d m9or ,sonata1 op4 #ca2 &1 above all1 ! ,allegretto ,s*]z&o ( ! ,eigh? ,symphony1 :]e a s]ies ( contra/$ acc5ts keeps ! int]e/ alive & leads mo/ deftly to ! ,recapitulation4 ,footnote #abf3 ,9 measures #bj & #ba may be f\nd "s /rik+ syncopations--an anticipation ( :at n[-a-days is kn[n z rag-"t4 ,! ,g m9or ,symphony is univ]sally ackn[l$g$ to be ! highe/ a*ievem5t ( #ah? c5tury in/rum5tal music & is also premonitory ( t subjective _s peculi> to ! #ai? c5tury4 ,x w rema9 immortal s long z human be+s are capable ( be+ t\*$ by a s9c]e revelation ( emotion comb9$ ) a p]fection ( utt]ance :i* seems fairly ,div9e4 ,?is delicate treatm5t & ?is exquisite f9i% are two prom95t *>act]i/ics ( ,moz>t's /yle4 ,truly ! ,symphony is ! qu9tess5ce ( ,moz>t 9 t]ms ( s\nd & rhy?m1 & we ne$ b to li/5 to 8 message & receive x ) grateful appreciation4 ,! "w conta9s ! f\r cu/om>y movem5ts1 all ( !m 7save ! ?ree-"p ,m9uet & ,trio7 9 complete ,sonata-=m4 ,! fir/ movem5t beg9s at once ) a gracefully pois$ !me sung by ! viol9s1 a !me :i* may be lik5$ 9 its outl9es to ! purity ( a ,greek /atue4 ,! entranc+ effect ( ?is melody _c be realiz$ except on ! or*e/ra1 = x seems to float on ! g5tly pulsat+ *ords ( ! violas l a beautiful fl[]4 ,ev]yone :o he>s ! "w is at once arre/$ by ?is highly orig9al treatm5t1 e4g4 ,music ,! transition is %ort b leads u 9 a happy /ate ( expectancy ?r\gh a *ange ( rhy?m f ! graceful outl9es ( ! fir/ !me to ! vigor\s phrase ,music & by a bold run1 ?rice repeat$1 to ! entrance ( ! second !me 9 measure #dc4 ,?is !me1 9 ! cu/om>y relative major 7,b-flat71 illu/rates ,moz>t's fondness = ! *romatic elem5t :i* gives to _m ( 8 melodies su* a haunt+ appeal4 ,! clos+ portion1 beg9n+ at measure #ga1 is an example ( ,moz>t's spontane\s skill 9 polyphonic writ+4 ,x is bas$ entirely on ! motive ( ! ma9 !me 9 delightful imitations toss$ ab\t by diff]5t sections ( ! or*e/ra4 ,! second "p is a g5u9e ,developm5t1 s9ce ! musical life nev] flags 9 its contrapuntal vitality2 ! !me appe>s 9 all p>ts ( ! texture--upp]1 inn] & l[] voices--& we are c>ri$ vigor\sly onw>d by ! d>+ modulations4 ,j at ! close ( ! ,developm5t we see ,moz>t's con/ructive skill 9 ! fusion ( ?is "p ) ! subsequ5t ,recapitulation4 ,a s]ies ( drift+ *romatic *ords 9 ! flutes & oboes1 l light fleecy cl\ds1 keeps u 9 a /ate ( susp5d$ wond] :5 quietly !re em]ges ! fir/ !me & ! return home has begun4 ,x is "o ( ! truly poetic t\*es 9 musical lit]ature & has be5 (t5 imitat$--especially by ,t*aik[sky 9 8 ,fif? & ,six? ,symphonies4#abg ,! ,recapitulation corresponds exactly ) ! ,exposition1 b an add$ pa?os is giv5 to ! second !me by its appe>ance 9 ! tonic key ( ,g m9or4 ,obs]ve ! impassion$ int5sity ( ! climax 9 measures #ac-ai 7c\nt+ back f ! end74 ,! mood ( dreamy contemplation ) :i* ! ,sl[ ,movem5t beg9s _c be translat$ into words2 :y attempt x8 ,we h ! music :i*1 com+ f ! div9ely gift$ imag9ation ( ! compos]1 reveals 9 its own language a message ( pa!tic long+ & ideal aspiration4 ,! movem5t is v concise b 9 complete ,sonata-=m1 & ) an or*e/ration felicit\s 9 ! treatm5t ( ! horns & ! wood-w9d in/rum5ts4 ,! ,m9uet1 notewor?y = ! ?ree-measure rhy?m ( ! op5+ phrase1 ,music %[s cle>ly ! new life :i* ,moz>t infus$ into ! old =m by 8 rem>kable polyphonic skill4 ,note at ! outset ( ! second "p ! vigor\s effect ( ! !me 9 ! bass & ! frequ5cy ( bit+ dissonances4 ,! *>m+ grace & simplicity ( ! ,trio are indescribable2 "h aga9 we f9d an eloqu5t use ( ! wood-w9d gr\p4 ,! ,f9ale1 9 complete ,sonata-=m1 beg9s ) a p]fectly balanc$ p]iodic !me1 pres5t$ 9 ,two-"p =m1 i4e41 two s5t5ces ( eight measures1 ea* repeat$4 ,if f our pres5t /&po9t we feel t ! tone ( ?is movem5t is a bit light to foll[ ! s]i\s ?\ghts ( ! prec$+ movem5ts1 let u rememb] t x 0 compos$ :5 ! ,f9ale 0 meant m]ely to top (f a "w2 & t1 if x radiat$ a g5]al atmosph]e ( sun%9e & satisfaction1 its purpose 0 fulfill$4 ,= ! ,f9ale1 :i*1 l ! glori\s spl5dor ( an autumn day1 is ! cr[n+ objective t[>ds :i* ! o!r movem5ts h be5 /riv+1 we mu/ wait = ,bee?ov5 & 8 mod]n successors4 ,9 fact we may express ! g5]al tr5d ( a ,haydn or a ,moz>t ,symphony by a decresc5do1 ?us decresc5do symbol i4e41 ! real g5ius ( ! compos] is %[n 9 ! fir/ ?ree movem5ts2 :]eas1 beg9n+ ) ,bee?ov51 we f9d an organic climactic effect#abh f ! fir/ movem5t to ! la/1 ?us cresc5do symbol4 ,b to c>ry su* criticisms too f> is ungraci\s & unju/4 ,moz>t's !mes1 bo? ! fir/ & ! second 7beg9n+ 9 measure #ee71 ) _! tripp+ contr$ance rhy?ms1 fill our he>ts ) life & c>ry u irresi/ibly onw>d4 ,& ! ,developm5t has "s surprises 9 /ore1 = n[ ! dramatic g5ius ( ,moz>t ass]ts itself4 ,note ! bold leaps & d>+ modulations ( ! op5+ measures4 ,no?+ trite or =mal "h6 ,! /rong polyphonic treatm5t ( ! fir/ !me1 beg9n+ 9 measure #abj & su/a9$ ) unflagg+ en]gy = sev5ty measures1 makes ?is "o ( ! mo/ /imulat+ developm5ts 9 symphonic lit]ature1 n except+ ,bee?ov5 himself4 ,! ,recapitulation1 9 subject matt]1 is an exact duplication ( ! ,exposition & all[s u to recov] gradually f our excitem5t & to return to ! ord9>y _w ( m5 & ev5ts4 ,! pres5tation ( ! second !me1 h[ev]1 %[s ,moz>t's ma/]y ( melodic v>iation4 ,! sub/ance is ! same1 b ! import ( ! melody is int5sifi$1 e4g4 ,music3 ,exposition ,music3 ,recapitulation ,footnote #abg3 ,see ! ,waltz movem5t ( ! ,fif? ,symphony & ! second movem5t ( ! ,six?4 ,footnote #abh3 ,?is exp&+ ( int]e/ is di/9ctly felt 9 ,bee?ov5's ,fif? ,symphony1 9 ,brahms's ,fir/1 9 ,t*aik[sky's ,fif? & 9 t by ,cs> ,franck4 ,! ,ov]tures to ,moz>t's ?ree op]as3 ,! ,m>riage ( ,fig>o1 ,don ,giovanni & ! ,magic ,flute are ( p>ticul> int]e/1 n only = ! beauty ( _! cont5ts b because !y are our e>lie/ examples ( ! ,ov]ture fa%ion$ 9 complete ,sonata =m4 ,orig9ally ! ,ov]ture _h be5 a prelude to ! op5+ ( a play1 a prelude ( ! lighte/ & mo/ meagre nature4 ,examples1 beg9n+ ) ,montev]de1 ab\nd 9 all ! e>ly ,italian op]a compos]s4#abi ,lully ( ! ,fr5* s*ool & ,aless&ro ,sc>latti ( ! ,italian 7 ! fir/ to amplify ^! beg9n+s & to e/abli% a def9ite /&>d ( /ructure4 ,9 bo? s*ools ?is /&>d repres5t$ an application ( ! ,?ree-"p =m pr9ciple2 ! ,fr5* arrang+ _! contra/s1 sl[1 fa/1 sl[ 7! s-call$ ,fr5* ov]ture--( :i* we h an example 9 ,h&el's ,messiah7 & ! ,italians1 fa/1 sl[1 fa/ 7! s-call$ ,italian ,ov]ture74 ,al?\gh ,gluck 7#agad-aghg7 did mu* to e/abli% a m dramatic connection betwe5 ! ov]ture & ! play1 ev5 ! be/ ( 8 ,ov]tures1 ,iphig5ia 9 ,aulis1 is a r loosely exp&$ trip>tite /ructure ) a good _m mean+less passages4 ,b ,moz>t1 com+ aft] ,haydn's def9ite e/abli%m5t ( ! ,sonata-=m & ) ! gr[+ int]e/ ( ! public 9 in/rum5tal music = its own sake z an inc5tive1 c\ld take advantage ( ^! circum/ances to display 8 g5ius & to delight 8 he>]s ) a piece ( g5u9e music4 ,?is he did & 8 op]atic ov]tures are ( su* di/9ct import & self-suffici5cy t !y are (t5 deta*$ f ! op]a itself & play$ z conc]t numb]s4 ,! ,magic ,flute ,ov]ture is also notewor?y because ( ! polyphonic treatm5t ( ! fir/ !me :i* is a def9ite fugal pres5tation 9 f\r voices4 ,! second !me1 beg9n+ 9 measure #fd1 & soon repeat$1 is light & w9n+1 meant to supplem5t r ?an to contra/ /rongly ) ! fir/ !me1 :i* inde$ keeps up at ! same "t1 9 ! inn] voices1 its rhy?mic impetuosity4 ,! ,exposition ends ) a graceful clos+ phrase1 e4g41 ,music & ! usual cad5ce 9 ! dom9ant key4 ,x is consid]$ t ! ,adagio *ords = ! trombones1 int]polat$ betwe5 ! ,exposition & ! ,developm5t1 are sugge/ive ( ! religi\s elem5t 9 ! play t is to foll[4 ,! ,developm5t is rem>kable = ! spirit$ imitative treatm5t ( ! fir/ !me1 = ! bold way 9 :i* ! voices cut into ea* o!r & = ! fusion ( its clos+ measures ) ! ,recapitulation4 ,! *ief feature 9 ?is brilliant passage is a pil+ up ( ! !me 9 /retto =m 7see measures #adh-aec74 ,! ,recapitulation is some:at %ort5$ & ! melodic outl9e ( ! second !me is slightly *ang$2 o!rwise x corresponds ) ! ,exposition4 ,aft] ! clos+ phrase we h "s pung5t dissonances1 e4g4 ,music ,ross9i1 x is said1 0 nev] tir$ ( eulogiz+ ?is ,ov]ture & c]ta9ly = spontaneity & vigor x is unrivall$4#acj ,footnote #abi3 ,= a complete acc\nt ( ?is developm5t see ,grove's ,dict4 ,vol4 ,,iii "u ,ov]ture & ! ,ox=d ,hi/ory1 ,vol4 ,,iv1 page #bhf1 seq4 ,footnote #acj3 ,its companion 9 mod]n lit]ature is ! ,ov]ture to ! ,b>t]$ ,bride 7by ! ,bohemian compos] ,smetana71 :i* also beg9s ) a brilliant fugal treatm5t ( ! !me4 ,! la/ illu/ration f ,moz>t is 8 ,adagio 9 ,b m9or 7see ,supplem5t ,no4 #dc7 an indep5d5t piece1 f> too little kn[n1 9 complete ,sonata-=m4 ,! haunt+ pa?os 9 ! !me1 ! exquisite lovel9ess 9 ! :ole fabric in/antly rea* ! he>]'s he>t4 ,analytical comm5t seems q unnecess>y2 a *ild c foll[ ! music1 b only he ) a ripe k ( human life c beg9 to fa?om its deep my/]y4#aca ,:5 we see su* mod]n passages z ! foll[+1 e4g4 ,music ,footnote #aca3 ,= "s illum9at+ comm5ts on ?is subtle "* ( ,moz>t's creations see ! ,/an=d-,=sy? ,hi/ory ( ,music1 p4 #bed4 ,t*aik[sky's love = ,moz>t's music is readily und]/ood4 ,inde$1 we _c refra9 f urg+ ev]yone to cultivate su* a love himself2 = 9 ! works ( ,moz>t are f\nd a purity1 a sanity & a delight 9 creation :i* keep !m alive & make !m 9 v tru? ?+s ( beauty & a joy =ev]4 ,,*apt] ,,xi ,,bee?ov51 ,,! ,,tone-,,poet ,z ,bee?ov5 0 su* an int5sely subjective compos]1 a k ( 8 p]sonality & environm5t is indisp5sable = a complete appreciation ( 8 works4#acb ,footnote #acb3 ,h5ce is giv5 a m ext5d$ biographical acc\nt ?an 9 ! case ( =m] compos]s4 ,bee?ov51 ,ludwig van 7#aggj-ahbg71 born at ,bonn on ! ,rh9e1 ?\gh 8 active c>e] is associat$ ) ,vi5na1 may be call$ ! fir/ ?9k] 9 music2 = at la/ ! art is br\ght into correlation ) man's o!r p[]s & becomes a liv+ reflex ( ! t5d5cies & activities ( ! p]iod4 ,not)/&+ ! prodigi\s vitality ( ,ba*'s "w1 we feel t 8 musical s5se op]at$ ab/ractly l a law ( ,nature & t he 0 an unconsci\s embodim5t1 z x 71 ( ! deep religi\s s5tim5t ( 8 "t & ( ! /urdy indep5d5ce ( 8 race4 ,at any p]iod & 9 any place ,ba* w\ld h be5 ,ba*4 ,bee?ov5's music1 h[ev]1 9 its int5se p]sonality & z a vivid expression ( ! ideals ( 8 fell[ m51 0 diff]5t f any ! _w _h he>d be=e4 ,!re 7 ?ree p>am\nt advantages 9 8 equipm5t3 fir/1 ,bee?ov5 0 a /rong "* :o only happ5$ to f9d 9 music 8 mo/ suitable means ( self-expression4 ,! full import ( 8 works _c be und]/ood unless he is recogniz$1 great creative arti/ t he 01 z fir/ & =emo/ a unique p]sonality4 ,_h he n writt5 a note ( music we %\ld h suffici5t hi/orical evid5ce to assure ourselves ( ! vigor ( 8 intellect & ! elevation ( 8 ideals4 ,:]eas ,haydn & ,moz>t are to be judg$ purely z musicians1 9 ,bee?ov5 x is always some?+ und]ly+ ! musical symbols :i* claims our allegiance4 ,fur!rmore he _h ! ine/imable advantage ( f9d+ ! me*anical /ructure ( in/rum5tal music c>efully =mulat$ by 8 pr$ecessors4 ,! /one _h be5 qu>ri$1 ! r\gh cutt+ done & ! blocks lay ready = a g5ius to use 9 ! erection ( 8 own poetically conceiv$ edifice4 ,& ^! =ms 7 /ill fre% & vigor\s2 !y _h n yet h>d5$ into =malism4 ,9 ,bee?ov5's works we r>ely f9d =m employ$ = its own sake1 z a m]e t\r de =ce ( skilful workman%ip1 r is x made to adapt itself to ! individual ne$s ( ! compos]4 ,f9ally ,bee?ov5's c>e] co9cid$ ) mom5t\s *anges & upheavals 9 ! social1 political & arti/ic _w4 ,he is ! embodim5t ( t _s ( individualism1 ( human fre$om & self-respect :i* f\nd its expression 9 ! ,fr5* ,revolution1 9 our ,am]ican ,w> ( ,indep5d5ce & 9 ! entire alt]ation ( social /&>ds4 ,bee?ov5 at all co/s resolv$ to be himself4 ,) him music ceases to be a m]e conc\rse ( sweet s\nds2 x mu/ always br+ "s message to ! brood+ human s\l1 & be some?+ m ?an a skilful example ( ab/ract +5uity4 ,^! p]sonal t5d5cies ( ,bee?ov5 7 fo/]$ by ! _s ( ! times1 & 8 music became 9 turn a vital expression ( revolt aga9/ exi/+ conditions & ( passionate aspiration t[>ds some?+ bett]4 ,he 0 ! fir/ musician to free himself f ! en]vat+ influ5ce ( hav+ to write exclusively = ari/ocratic patronage4 ,su* 0 ! social emancipation ( ! p]iod t he c\ld address himself at fir/ h& to a musical public eag]ly receptive & con/antly gr[+4 ,8 repres5tative works c\ld nev] h be5 compos$ 9 ! "t ( ,haydn & ,moz>t2 = ?\gh 9 =mal /ructure ! logical developm5t ( prec$+ me?ods--,bee?ov5 be+ no reckless iconocla/--9 individual cont5t !y reveal a fre$om ( utt]ance :i* took its rise 9 t5d5cies hi!rto unkn[n4 ,bee?ov5's mighty p]sonality & f>-rea*+ influ5ce c n be /at$ 9 a few =mulae4 ,an ext5sive libr>y cov]+ 8 life & times is accessible to ! int]e/$ layman1 & a ?or\gh appreciation ( 8 ma/]pieces is a spiritual possession :i* ev]yone mu/ ga9 individually4 ,s9ce ,bee?ov5's works compel a man to ?9k = himself1 ! con/ructive p[] ( ! creator mu/ be met ) an analog\s activity on ! "p ( ! receptive he>]4 ,! symphonies1 = example1 are m ?an cunn+ly contriv$ works ( musical art2 !y are human docum5ts ( undy+ p[] to quick5 & exalt ! s\l :i* w submit itself to _! influ5ce4 ,bee?ov5's great in/rum5tal compositions are few 9 numb] 9 comp>ison ) ! volum9\s & unev5 output ( 8 pr$ecessors4 ,?us f ,haydn we h #abe symphonies1 f ,moz>t ab\t #dj1 f ,bee?ov5 #i4 ,( ,haydn's symphonies possibly a half doz5 h p]man5t vitality2 ( ,moz>t's f\r2 ( ,bee?ov5's all1 ) ! possible exception ( ! exp]im5tal fir/4 ,cond5sation ( subject matt]1 concis5ess ( /yle1 a ceaseless exaltation ( quality above quantity are ! prom95t features 9 ,bee?ov5's "w4 ,all adipose tissue is rel5tlessly excis$1 & ! f9i%$ creation resembles a human be+ 9 p]fect physical condition--! outw>d me*anical organism subs]vi5t to ! _s )94 ,bee?ov5's life is ( supreme int]e/ & importance1 = 8 music is ! direct expression ( himself1 ( 8 joys & sorr[s4 ,8 ance/ry raises _m p]plex+ que/ions z to ! influ5ce ( h]$ity & ! s\rces ( g5ius4 ,9 ! fir/ place ,bee?ov5 0 n a pure-blood$ ,g]man1 b p>tly ,flemi% on 8 fa!r's side4 ,8 pat]nal gr&fa!r1 ,ludwig van#acc ,bee?ov51 0 a man ( /rong "* & ( a c]ta9 musical aptitude1 :o _h migrat$ f ! neighborhood ( ,antw]p to ,bonn :]e he s]v$ z c\rt musician to ! ,elector ( ,cologne4 ,! pat]nal gr&mo!r e>ly develop$ a passion = dr9k & end$ h] days conf9$ 9 a conv5t4 ,! son ( ?is c\ple1 ,johann 7! fa!r ( ! compos]7 0 a t5or s+] 9 ! c\rt *apel at ,bonn & soon became a confirm$ drunk>d4 ,he seems to be a m]e int]m$i>y betwe5 gr&fa!r & gr&son4 ,9 #agfg he m>ri$ a "y wid[1 ,m>ia ,kev]i*1 a woman ( w>m affections & dep? ( s5tim5t1 ^: life 0 b\nd up 9 ! c>e ( h] gift$ son4 ,! t5d] love betwe5 ,bee?ov5 & 8 "m 0 a bright spot 9 8 e>ly ye>s1 9 _m ways s sordid & unhappy4 ,un=tunately %e 0 delicate1 ( consumptive t5d5cies1 & di$ :5 ,ludwig 0 b sev5te54 ,%e has be5 to me a good & lov+ "m1 he writes1 & my be/ fri5d4 ,z we pond] on su* facts & !n consid] = :at ,bee?ov5 /&s1 we c only exclaim1 ,god works 9 a my/]i\s way1 8 wond]s to p]=m4 ,x 0 e>ly se5 t ! "y ,bee?ov5 _h unusual ability1 & s ! %iftless fa!r1 ) ! example ( ,moz>t's precocity be=e him1 submitt$ ! boy to a deal ( en=c$ drudg]y 9 ! way ( h>psi*ord & viol9 practice4 ,he _h "o good tea*] h[ev]1 ,neefe1 :o records t ! boy ( ?irte5 play$ ! h>psi*ord ) en]getic skill & _h ma/]$ ! ,preludes & ,fugues ( ! ,well-,temp]$ ,clavi*ord4 ,bee?ov5's g5]al education 0 sadly neglect$1 & :5 he 0 ?irte5 practically ceas$4 ,^! defici5cies 7 a s\rce ( mortification all 8 life4 ,he spell$ atroci\sly1 0 nev] sure ( 8 addition & subtraction & s 0 (t5 involv$ 9 alt]cations ) l&lords & wa%]wom54 ,by nature ,bee?ov5 0 ( /rong1 eag] intellect4 ,he became an omnivor\s read]1 & lat] 9 life acquir$ a work+ facility 9 ,lat91 ,fr5*1 ,italian & ,engli%4 ,! fir/ p]iod ( 8 life ends ) 8 dep>ture 9 #agib = ,vi5na1 :i!r he 0 s5t by ! ,elector to /udy ) ,haydn4 ,9 summ+ up its special incid5ts we are /ruck fir/ by ! vivid & la/+ impression :i* ,bee?ov51 9 spite ( 8 l[ly orig9 & defici5cies 9 education & cultivation1 made ^u weal?y & ref9$ p ( di/9ction1 simply ?r\gh 8 extraord9>y p]sonality & unmi/akable s9c]ity4 ,two ( ^! fri5ds 7 ! von ,breun+ family1 includ+ ! *>m+ daught] ,eleanore--"o ( ,bee?ov5's e>ly loves--& ! cultivat$ & influ5tial ,c\nt ,wald/e91 9 ^: companion%ip he became acqua9t$ ) ! ,g]man poets & ) ! dramas ( ,%akespe>e4 ,= a vivid picture ( ^! boyi% ye>s ! /ud5t is recomm5d$ to ! ,romance1 ,jean ,*ri/ophe 7by ,roma9 ,roll&7 :i*1 ?\gh some:at idealiz$1 is ma9ly on a hi/orical basis4 ,two ( ,bee?ov5's mo/ unique *>act]i/ics date f ?is p]iod4 ,fir/1 8 con/ant habit ( draw+ inspiration directly f ,nature1 ( :i* he 0 a passionate & p]si/5t lov]4 ,he says ( himself ,no "o c love ! c\ntry z ,i love x4 ,"h alone c ,i le>n wisdom4 ,e tree exclaims to me ',holy1 ,holy1 ,holy4' ,9 long walks ?r\gh wood & field he w\ld all[ 8 ?\ghts to g]m9ate1 giv+ himself up utt]ly to creative emotion4 ,:5 9 ?is /ate ( m9d ,madame von ,breun+ us$ to say t he 0 9 8 raptus4 ,consequ5tly1 9 comp>ison ) ! works ( previ\s compos]s1 :i* (t5 h a note ( primness & artificial re/ra9t--!y smell a bit ( ! lamp & ! /udy--^? ( ,bee?ov5 h ! elem5tal p[] ( ,nature h]self1 especially %[n 9 ! vigor & v>iety ( ! rhy?m4 ,second1 he w\ld always c>ry sket* books 9 :i* to jot d[n ideas z !y came to him4 ,^! he w\ld poli% & improve--sometimes = ye>s--be=e !y took f9al %ape4 ,_m ( ^! sket* books#acd h be5 pres]v$ & edit$1 & !y illu/rate1 mo/ vividly1 ,bee?ov5's me?od ( compos+3 sl[1 cauti\s1 b inv9cible 9 its f9al effect2 an idea frequ5tly be+ alt]$ z _m z tw5ty times4 ,at ! age ( tw5ty-two he 0 *iefly kn[n z a piani/ ) wond]ful facility 9 improvisation2 8 compositions _h be5 insignificant4 ,! next eight ye>s--up to #ahjj1 :5 ,bee?ov5 0 ?irty--7 sp5t 9 acqua9t+ himself ) ! ,vi5nese ari/ocracy & 9 build+ up a public cli5tle4 ,!n foll[s ! m>vell\s p]iod until #ahae 9 :i* 8 p[] ( inspiration 0 at its height1 & :i* gave to ! _w a body ( "w = magnitude & v>iety nev] surpass$3 all ! symphonies except ! ,n9?1 ! fir/ tw5ty-sev5 pian(orte ,sonatas1 five conc]tos = pian(orte & or*e/ra1 ! op]a ( ,fidelio1 sev]al ,ov]tures1 num]\s /r+ qu>tets & ensemble *amb] music4 ,we realize ev5 m vividly ! h]oic & sublime "* ( ,bee?ov5 :5 we le>n t1 z e>ly z #agih1 !re began ! signs ( t deafness :i* alt]$ 8 :ole life4 ,by nature he 0 hyp]s5sitive1 pr\d & high-/rung1 & ^! qualities 7 s aggravat$ by 8 malady t he became suspici\s1 at times morose1 & 8 subsequ5t c>e] 0 *eck]$ ) ! viol5t alt]cations1 & equally spasmodic r5ewals ( fri5d%ip1 :i* took place betwe5 him & 8 be/ fri5ds4 ,8 c\rage 0 extraord9>y4 ,?us we f9d him writ+3 ,?\gh at times ,i %all be ! mo/ mis]able ( ,god's creatures1 ,i w grapple ) ,fate1 x %all nev] pull me d[n4 ,on ! arti/ic side ?is affliction _h its comp5sations 9 t x isolat$ ! compos] f out] di/ractions1 & all[$ him to lay entire /ress on ! spiritual inn] side ( 8 art2 c]ta9ly ?is is "o ( ! /ronge/ notes 9 8 music--! pure fancy manife/$ !re94 ,z a deaf musician he is comp>able to ! bl9d se] :o p5etrates m deeply into ! my/]ies ( life ?an ^? ^: physical eyesight is p]fect4 ,bee?ov5's clos+ ye>s =m a p]iod ( manifold complications1 caus$ by ! c>e ( 8 scapegrace nephew1 by 8 settl$ deafness & prec>i\s f9ancial position4 ,yet he grimly cont9u$ to compose1 8 la/ works be+ ( titanic dim5sions su* z ! ,*oral symphony1 ! ,mass 9 ,d & ! la/ ,qu>tets & ,pian(orte ,sonatas4 ,bee?ov5 di$ on ,m>* #bf1 #ahbg2 nature mo/ appropriately giv+ a dramatic sett+ to ! ev5t by a t]rific /orm ( hail & sn[1 lightn+ & ?und]4 ,x w\ld take too long to dwell on ! _m *>act]i/ics ( ! man ,bee?ov54 ,p[]1 individuality & s9c]ity 7 /amp$ ^u him1 & 8 music is j :at we %\ld expect f 8 nature4 ,he embodi$ all ! long+s1 ! joys & sorr[s ( humanity1 & gave !m su* burn+ utt]ance t ! _w has li/5$ ev] s9ce4 ,footnote #acc3 ,! prefix van is n a symbol ( nobility4 ,footnote #acd3 ,see ! two ,bee?ov5iana by ,nottebohm4 ,to t\* n[ ^u a few ( ! =mal aspects ( ,bee?ov5's "w1 z f> z v]bal analysis c help1 x may be ass]t$ t he is ! ackn[l$g$ ma/] ( ! ,sonata ,=m z ,ba* 0 ( ! ,fugue1 & 9 8 h&s ?is =m1 & also ! ,air ) ,v>iations1 7 rais$ to a pot5cy ! influ5ce ( :i* is felt ev5 to-day4 ,f beg9n+ to end e portion ( ! ,sonata ,=m 0 made ov] & vitaliz$4 ,in/ead ( ! p]functory fl\ri% ( trumpets :i* s]v$ previ\s compos]s = an introduction1 ?is portion ) ,bee?ov5 deftly leads on ! he>] to a contemplation ( ! ma9 "w1 & is z c>efully plann$ z ! por* ( a great ,ca!dral4 ,= examples1 witness ! cont9ually gr[+ excitem5t g5]at$ 9 ! introductions to ! ,second & ,sev5? ,symphonies1 ! brea?less susp5se ( ! introduction to ! ,f\r?1 & ! primeval1 my/]i\s beg9n+ ( ! ,n9?4 ,& !n :at a diff]5ce 9 ! "* & emotional sugge/iv5ess ( ! !mes1 t ) ,bee?ov5 are actual human voices1 dramatic *>act]s1 :i* once met c nev] be =gott54 ,z ,lavoix says ( ! ,fif? ,symphony1 ,is n ?is a drama 9 its purity1 :]e passion is no long] ! attribute ( a !atrical "w1 b ! expression ( our own individual feel+s8 ,no long] are ! transitions m]e me*anical connections1 b a portion ( ! /ructure :i*1 ?\gh subsidi>y1 is yet organically develop$ f t :i* prec$es & inevitably relat$ to t :i* foll[s4 ,9 ! developm5t section we f9d ! real ,bee?ov54 ,"h 8 m>vell\s fre%ness ( inv5tion f\nd full play4 ,su* inexhau/ible fancy1 su* coh]5ce ( /ructure1 su* subtlety ( trans=mation 7 unkn[n 9 =m] times1 :5 developm5t 0 (t5 z lifeless z ! p]functory motions ( an automaton4 ,bee?ov5's developm5ts are no m]e juggl+ ) tones2 !y are va/ tonal edifices1 examples ( :at ! imag9ation ( man controll$ by intellect c a*ieve4 ,possibly ,bee?ov5's greate/ skill z a musical ar*itect 0 %[n 9 8 treatm5t ( ! ,coda1 :i* became ! cr[n+ climax ( a movem5t1 a la/ driv+ home ) all possible eloqu5ce ( ! message h]et(ore pres5t$4 ,! end ( previ\s compositions _h too (t5 be5 a m]e ceas+ to g1 a runn+ d[n1 b 9 ,bee?ov5 !re is usually a /rong objective po9t t[>ds :i* ev]y?+ conv]ges4 ,fully consci\s z he 0 ( ! ?robb+ human message x 0 8 mission to reveal1 we may be sure t ,bee?ov5 sp>$ no ef=t to enhance ! expressive capabilities ( music z a language4 ,c]ta9 aspects ( 8 /yle 9 ?is respect are /rik+ly noticeable 9 e "o ( 8 repres5tative works4 ,fir/1 ! m>vell\s rhy?mic vitality4 ,note ! abs5ce ( ! =m] s+-song rhy?m ( ,haydn2 9 its /ead we he> ! he>t-beat1 n[ fa/1 n[ sl[1 ( a liv+ human be+4 ,no long] c ! he>] 9 dreamy apa?y beat "t ) 8 foot4 ,second1 8 use ( ! fi]ce/ dissonances to express ! heights & dep?s ( our /ormy human exi/5ce4 ,9 li/5+ to contempor>y works no?+ %\ld p]suade u m /rongly to a sympa!tic tol]ance1 or at any rate to a susp5sion ( judgm5t1 ?an ! fact t _m ( ,bee?ov5's mo/ individual cries 7surely 9 8 case ! outw>d expression ( :at he he>d )91 ^? v outbur/s :i* to-day r+ longe/ 9 our consci\sness7 7 consid]$ at ! "t ( _! creation z ! rav+s ( a mad-man4 ,dissonances1 bo? ac\/ically & psy*ologically1 are a vital pr9ciple 9 music4 ,9 no respect 0 8 music m orig9al ?an 9 8 ,prome!an boldness 9 _! use4 ,"o ( 8 favorite conceptions 0 t music %\ld /rike fire f ! s\l ( man2 x 0 n meant to lull ! he>] into a dr[sy rev]y1 b to awak5 8 spiritual consci\sness ) a %ock at times positively galvanic4 ,a ?ird feature is 8 subtlety 9 expression1 z is %[n by ! m9ute indications 9 :i* e page ( 8 "w ab\nds4 ,! cresc5dos1 (t5 lead+ to a sudd5 drop to pianissimo1 ! long /ret*es ( hu%$ susp5se1 ! viol5t s=z&os on unimportant beats1 ! pla/icity ( p]iodic =mation1 all ^! work+s ( a ri* imag9ation fir/ gave music its place z ! supreme art ( human expression4 ,a ^w mu/ be spok5 conc]n+ two =ms :i* we owe to ,bee?ov5's con/ructive g5ius4 ,9 place ( ! =m] nave ,m9uet1 s *>act]i/ic ( ! =mal mann]s ( its "t1 he sub/itut$ a movem5t ) a *>act]i/ic "n--! ,s*]zo1 :i* op5$ up entirely new possibilities4 ,no m]e lit]>y di/9ction betwe5 wit & humor#ace c expla9 ! p[] ( ,bee?ov5's ,s*]zos2 only ?r\gh 8 own exp]i5ce ( life c ! he>] fa?om _! secrets4 ,! expression ( real humor1 ak9 to t _s :i* is f\nd 9 ,c]vantes1 ,swift1 ,m>k ,twa9 & ,abraham ,l9coln1 0 a g5u9e contribution ( ,bee?ov54 ,deep ?9k]s alone are capable ( humor :i*1 to quote a rec5t writ]1 is t faculty ( imag9ation s humane & sympa!tic 9 its nature t x c p]ceive at ! same "t s]i\s & jocose ?+s4 ,x c feel ! pa?os ( a sc5e on life's /age & yet h an eye = ! incongruities ( ! actors4 ,x is imag9ation1 ! feel ( k9%ip ) ! univ]sal human s\l4 ,bee?ov5's ,s*]zos are z v>i$ z life itself4 ,:o c =get ! boi/]\s vitality ( ?is movem5t 9 ! ,eroica1 :i* q sweeps u (f our feet1 ! haunt+ my/]y ( ! ,s*]zo ( ! ,fif? ,symphony1 or li/5 unmov$ to ! grim s]i\sness1 alt]nat+ ) t\*+ pa?os1 9 ! ,s*]zo ( ! ,n9?8 ,secondly1 8 conception ( ! ,air & ,v>iations 0 s diff]5t f any?+ previ\sly kn[n t he may fairly be call$ its creator4 ,) him v>iations became poetic trans=mations1 & ! notable works 9 ?is =m ( ,brahms1 ,t*aik[sky1 ,franck & d',indy are only fre] manife/ations ( ,bee?ov5's me?od4 ,^u two la/ features1 8 use ( titles & 8 individualiz+ ( ! or*e/ral in/rum5ts1 we _c dwell 9 detail4 ,al?\gh program music 9 its lit]al s5se dates back sev]al c5turies1 ,bee?ov5--f> m ?an 0 cu/om>y be=e--us$ ext]nal sugge/ions or incid5ts1 (t5 intimate subjective exp]i5ces1 z ! quick5+ impulse to 8 imag9ation4 ,we "k f 8 own words t1 :ile compos+1 he g5]ally _h "s m5tal picture be=e him4 ,v (t5 we are n giv5 ! clue to 8 ?\ghts1 b ! titles1 famili> to e "o1 :i* he did use1 su* z ! ,h]oic & ,pa/oral ,symphonies1 ! ,coriolanus & ,egmont ,ov]tures1 ^? to sev]al ( ! ,sonatas1 are full ( import & %[ cle>ly t he 0 engag$ 9 no m]e ab/ract music mak+ = its own sake4 ,^! works are ! po9t ( dep>ture = ! significant developm5t ( mod]n music along ?is pa?4 ,) ,bee?ov5 ! or*e/ra began to assume its pres5t importance1 & ! in/rum5ts are no long] treat$ z m]e produc]s ( s\nd & rhy?m1 b (t5 z liv+ be+s4 ,h[ eloqu5t is ! message ( ! ,horns 9 ! ,trio to ! ,s*]zo ( ! ,h]oic6 ,b]lioz comp>es ! d\ble basses 9 ! ,fif? ,symphony to ! gambols ( sportive elephants1 & in/ances might be multipli$4 ,b words are futile 9 describ+ ! wond]s ( ,bee?ov54 ,a /rik+ tribute is t ( ,pr(essor ,john ,k4 ,pa9e4 ,9 in/rum5tal music ,bee?ov5 is pre-em95t1 f all po9ts ( view1 =mally1 ae/hetically & spiritually4 ,l ,%akespe>e's1 8 creations are di/+ui%$ by great div]sity ( "*2 ea* is a type by itself4 ,bee?ov5 is ! lea/ ( a mann]i/ ( all compos]s4 ,8 compositions are g5u9e poems1 :i* tell _! mean+ to ! true li/5] cle>ly & unmi/akably 9 ! language ( tones1 a language h[ev] :i* _c be translat$ into m]e words4 ,footnote #ace3 ,! d]ivation ( ! ^w is wor?y ( note2 x means moi/ure1 juice1 some?+ n dry4 ,humor is c]ta9ly ! juice ( human nature4 ,we are n[ 9 a position to approa* intellig5tly1 en?usia/ically & rev]5tly ! mighty works ( ,bee?ov5 :i*1 ?\gh built ^u ! f\ndations ( ,haydn & ,moz>t1 yet take u into an entirely new _w ( p[] & fancy4 ,= illu/rations we select ! fir/ movem5t ( ! ,?ird or ,h]oic ,symphony2 ! ,sev5? ,sonata 9 ,d major = ,pian(orte2 ! ,fif? ,symphony 9 ,c m9or 7entire7 & ! ,coriolanus ,ov]ture4 ,9 reg>d to ! symphonies x is und]/ood t ! emphasis on c]ta9 ones & ! omission ( o!rs implies no ultra-critical attitude4 ,ea* ( ,bee?ov5's symphonies has its *>act]i/ic attributes & ea* is ! "w ( a g5ius4 ,b j z 9 ,nature "s m\nta9s are m maje/ic ?an o!rs1 s conc]n+ ! n9e symphonies we may say t _! ord] ( excell5ce z endors$ by ! cons5sus ( mank9d w\ld be z foll[s4 ,! ,fir/ ,symphony is some:at exp]im5tal1 compos$ :5 ,bee?ov5 0 work+ out 8 te*nique ( expression4 ,x is closely model$ on ! /yle ( ,haydn &1 ?\gh %[+ c]ta9 d>+ t\*es & ?\gh p]fectly direct & s9c]e1 is n ( m>k$ individuality4 ,9 ! ,second ,symphony a long advance is made1 = we f9d num]\s traits :i* are ?or\ghly di/9ctive ( ! g5ius ( ,bee?ov53 ! excit+ ,prelude to ! fir/ movem5t2 ! heav5ly ,l>ghetto1 "o ( ! fir/ sl[ movem5ts ( real emotional p[]2 ! rollick+ ,s*]zo 7note ! fanta/ic t\*es 9 ! ,trio7 & ! spl5dor ( ! la/ pages ( ! ,f9ale1 :i* c only be comp>$ to a sunset ) its sl[ly fad+ colors & its la/ bur/ ( glory4 ,! g5]al /yle ( ! ,second ,symphony h[ev] is t ( ,haydn & ,moz>t1 ?\gh rais$ to ! highe/ pit* ( eloqu5ce4 ,9 ! ,?ird ,symphony ! complete ,bee?ov5 /eps =?4 ,x 0 8 decl>ation ( indep5d5ce1 & 9 ?is "w1 z he himself said1 he began a completely new l9e ( activity2 x 0 also 8 own favorite among ! symphonies4#acf ,h]et(ore !re _h be5 no su* impassion$ utt]ance z is reveal$ 9 ! fir/ movem5t ( ?is ,?ird ,symphony & !re h be5 few1 if any1 to equal x s9ce4 ,! ,f\r? ,symphony is an entranc+ "w & %[s ,bee?ov5's inexhau/ible v>iety ( mood2 s9ce1 save = ! gr& mann] peculi> to all 8 works1 x diff]s /rik+ly f ! ,?ird & ! ,fif?4 ,x 0 compos$ dur+ ! happie/ p]iod ( ,bee?ov5's life & is relat$ 9 its :ole "* to 8 emotions & aspirations at t "t4#acg ,! sl[ movem5t is ! mo/ sublime love-song 9 music4 ,! ,fif? ,symphony is und\bt$ly ! mo/ popul> ( !m all1 9 ! true s5se ( ! t]m4#ach ,! reason = ?is v]dict is ! unp>allel$ comb9ation 9 a s+le "w ( ! emotional int5sity f\nd 9 ! fir/ movem5t1 ! t\*+ appeal ( ! sl[ movem5t1 ! my/]y1 foll[$ by ! reckless display ( _s1 9 ! ,s*]zo & ! paean ( rejoic+ :i* r+s ?r\gh ! ,f9ale4 ,! ,six? or ,pa/oral1 ,bee?ov5's "o excursion into ! realm ( tone-pa9t+ bas$ on natural ph5om5a1 is ( int]e/ m z a po9t ( dep>ture = ! "w ( 8 successors ?an = its intr9sic message4 ,! conception ( ! possibilities ( musical description has s wid5$ s9ce ,bee?ov51 & ! facilities = or*e/ral color s increas$1 t ?is symphony1 ?\gh x has _m *>act]i/ic beauties1 s\nds a bit old-fa%ion$4 ,! ,sev5? is "o ( ! mo/ orig9al ( !m all1 incomp>able = its rhy?mic vitality--! ,apo!osis ( ! ,dance1 z ,wagn] call$ x4#aci ,if rhy?m be ! basis ( music & ( life itself1 ?is symphony is ?or\ghly alive f />t to f9i%1 h5ce immortal4 ,! ,eigh? is ! embodim5t ( ,bee?ov5's 7possibly7 mo/ individual trait--8 ab\nd+ humor4 ,nev] be=e _h symphonic music play$ su* pranks z are f\nd "h1 especially 9 ! ,f9ale4 ,! ,symphony is 9 fact a prolong$ ,s*]zo#adj--! ?ird movem5t 7a ,m9uetto7 be+ m]ely = contra/4 ,! ,n9? ,symphony1 compos$ 9 ! philosophic p]iod ( ,bee?ov5's life1 :5 he 0 attempt+ /ill great] heights1 is a va/ "w1 ! fir/ ?ree movem5ts purely in/rum5tal1 & ! ,f9ale1 = ! fir/ "t 9 symphonic lit]ature1 a union ( solo voices & *orus ) ! in/rum5tal =ces4 ,! text 0 tak5 f ,s*ill]'s ,ode to ,joy4 ,! _s ( ! poem made a /rong appeal to ,bee?ov5's humanit>ian & democratic aspirations & !re is no "q ( ! gr&eur ( 8 conception4 ,b x is n c>p+ criticism to say t 8 ?\ghts 7 too heav5-so>+ = a p]fect realization ?r\gh any e>?ly means4 ,bee?ov5 moreov] 0 seldom happy 9 writ+ = ! human voice--he ?\ght 9 t]ms ( ! in/rum5ts--& x is n to be d5i$ t !re are sev]al passages 9 ! ,f9ale :i* consi/ ( m]e boi/]\s %\t+4 ,no "o save believ]s 9 pl5>y inspiration c give to ?is ,f9ale ! :ole-he>t$ admiration t is paid to ! ?ree in/rum5tal movem5ts :i* are pure gold2 especially ! s]aphic ,adagio & ! ,g>gantuan ,s*]zo ) its demoniacal rhy?mic en]gy4 ,to sum up ! =ego+ e/imates1 if ! /ud5t is =c$ to select & _c become equally famili> ) all ( ! n9e symphonies1 a reasonable ord] ( /udy w\ld be ! foll[+3 ! ,fif?1 ! ,?ird1 ! ,sev5?1 ! ,eigh?1 ! ,f\r?1 ! ,n9?1 ! ,second1 ! ,six? & ! ,fir/4 ,see ,supplem5t ,no4 #dd4 ,footnote #acf3 ,see ,bee?ov51 ,k]/-,krehbiel1 p4 #de4 ,footnote #acg3 ,read ! appropriate essay 9 ,bee?ov5 & ,8 ,n9e ,symphonies by ,sir ,george ,grove4 ,footnote #ach3 ,vox populi1 vox ,dei4 ,footnote #aci3 ,d',indy1 h[ev]1 9 8 ,bee?ov5 7p4 #fa1 ,engli% translation7 diss5ts f ?is view2 n at all conv9c+ly1 x w\ld seem to u4 ,= ! basic rhy?m ( ea* movem5t is on a def9ite dance metre & ! !me ( ! fir/ movem5t is a regul> ,iri% jig 7,bee?ov5 at "o "t be+ v mu* int]e/$ 9 ,iri% folk-dances7 ) its typical ?ree f9al notes1 e4g4 ,music ,footnote #adj3 ,x 0 writt51 to use ,bee?ov5's own words1 9 an aufgeknpft 7unbutton$7 condition1 i4e41 free1 untramell$1 r ?an /raight-lac$1 swaddl$ 9 conv5tions4 ,we %all n[ make a few comm5ts#ada on ! fir/ movem5t ( ! ,?ird or ,h]oic ,symphony1 m]ely to /imulate ! he>]'s int]e/1 = ! music may be tru/$ to make its own direct appeal4 ,aft] two %ort1 sonor\s *ords1 :i* summon u to att5tion1 ! fir/ !me1 allegro con brio1 ) its elem5tal1 sw++ rhy?m1 is ann\nc$ by ! 'cellos4 ,x is (t5 glibly ass]t$ t ^! notes ( ! tonic triad are ! :ole ( ! fir/ !me4 ,?is is a great misconception1 = al?\gh ! motive 9 ! fir/ f\r measures is ! g5]ative basis = ! entire movem5t1 ! arre/+1 dramatic note ( ! !me is ! ,c-%>p 9 measure five4 ,?is !me 9 fact is a typical example ( ,bee?ov5's broad sweeps ( ?\ght2 = prolong$ ) second>y melodic phrases 9 ! fir/ viol9s & flutes1 its real close does n come until ! #ac? measure1 e4g4 ,music ,footnote #ada3 ,^! are bas$ 9 ?is "w & 9 all ,symphonic compositions on ! full or*e/ral score 79 ! ,pet]s edition72 ! /ud5t is !re=e recomm5d$ to adopt ?is practise4 ,= 9 ,bee?ov5 & all or*e/ral writ]s ! ?\ght & expression are s integrally b\nd up ) ! tone color & idiom ( ! v>i\s in/rum5ts t :5 _! works are r$uc$ to ano!r m$ium mu* ( ! eloqu5ce is lo/4 ,= ^? :o _c h&le an or*e/ral score !re are adequate arrangem5ts = #b h&s1 #d h&s & = #b pian(ortes 9 sev]al /&>d editions4 ,^? :o h an advanc$ pian(orte te*nique %\ld c]ta9ly become famili> ) ! virtuoso-transcriptions ( ! ,bee?ov5 ,symphonies by ,franz ,liszt4 ,aft] a v>i$ repetition ( ! fir/ motive ( ! !me1 !re occurs a passage 7measures #bc-cc7adb :i* illu/rates "o ( ! mo/ *>act]i/ic features 9 all ,bee?ov5's "w1 i4e41 ^? %>p dislocations ( ! rhy?m1 indicat$ by ! s=z&o acc5ts 7sf7 on beats usually unacc5t$ & (t5 c\pl$ ) /rong dissonances4 ,al?\gh ! basic rhy?m is triple1 ! beats = sev]al measures are 9 gr\ps ( two qu>t] notes or _! equival5t1 "o half note1 e4g4 ,music ,footnote #adb3 ,x is an excell5t practise to numb] ! measures ( a score 9 gr\ps ( #aj4 ,no long] c we drift along 9 dreamy apa?y2 our vitality is quick5$ z by ! gu/s ( a tornado4 ,!re h be5 ^? :o = ! fir/ "t 9 _! lives 7 j>r$ f ! ev5 t5or ( _! way by ^! impassion$ onslaughts4 ,:5 ,bee?ov5's ,symphonies 7 fir/ play$ 9 ,p>is1 x is report$ t ! op]atic compos] ,boieldieu 0 mu* disconc]t$1 because1 z he said1 he lik$ musique qui me b]ce4 ,! transition 7measures #dc-ha7 is a rem>kable example ( ,bee?ov5's p[] ( creat+ ev] m & m excitem5t & expectancy4 ,x conta9s ?ree subsidi>y melodic phrases1 ea* ( increas+ rhy?mic animation1 e4g41 ,music & fairly :irls u into ! beautiful contemplative !me at measure #ha4 ,?is !me embodies "s entranc+ modulations into remote keys1 & !n1 aft] "o ( ,bee?ov5's typical passages ( hu%$ pianissimo 7beg9n+ 9 measure #ig7 we are l$ ?r\gh a s]ies ( s=z&os1 cresc5dos & titanic ejaculations to ! ov]p[]+ dissonances 9 measure #ade1 :i* ) ! tonic *ord close ! ,exposition 9 ! dom9ant key4 ,! ,developm5t 7measures #afd-cif7 is extremely long & v>i$1 b a p]fect manife/ation ( spontane\s1 organic treatm5t--ea* portion gr[+ inevitably f :at has prec$$ & m>*+ irresi/ibly onw>d to its objective goal4 ,e modulatory1 rhy?mic & polyphonic device is employ$ to v>y & int5sify ! message2 yet1 not)/&+ ! div]sity ( ! mat]ial1 we are held spellb\nd by ! directness & coh]5ce ( ! ?\ght4 ,su* is ,bee?ov5's passionate insi/5ce on ! "r to speak out j :at he felt t 9 "o /up5d\s passage 7measures #bdf-bgg7 x seems z if ! v ,heav5s 7 fall+ ab\t our heads4 ,at measure #bhb a !me ( ideal repose is int]polat$--j ! contra/ ne$$ aft] ! prec$+ cataclysm4 ,! ,developm5t prop] is r5ew$ 9 measure #bih & aft] a repetition ( ! int]polat$ !me 9 measures #cbj-cce ! rhy?m ( ! fir/ !me ass]ts itself 9 all its maje/y1 c>ry+ u upw>d to a v]itable table-l& ( sublimity4 ,f ?is we are br\ght d[n ?r\gh a s]ies ( decresc5do1 modulatory *ords1 l drift+ mi/s1 to an almo/ complete cessation ( musical life--no?+ b a pianissimo tremolo on ! /r+s4 ,f ?is hu% !re floats 9 ^u u ! rhy?mic motive ( ! fir/ !me2 !n1 ) a ff *ord ( ! dom9ant1 we are sudd5ly br\ght back into ! sun%9e ( ! ma9 !me1 & ! ,recapitulation has begun4 ,?is portion ) c]ta9 happy *anges 9 modulation--note ! beautiful v>iant on ! horn 9 measures #djf-dad1 e4g41 ,music --pres]ves ! cu/om>y emphasis on ! ma9 tonality ( ,e-flat major1 end+ 9 measures #edi-eej ) ! same dissonances :i* clos$ ! ,exposition4 ,!n are declaim$ by ! full or*e/ra ^? two dramatic outbur/s :i* u%] 9 ! ,coda & :i* may be lik5$ to ,/op6 ,li/56 ! be/ is yet to come4 ,! blunt1 int5tional disjunction ( ! h>mony adds weight to ! ass]tion1 e4g4 ,music ,"h we h a conv9c+ illu/ration ( ,bee?ov5's individual conception t ! ,coda %\ld be a second & f9al developm5t2 special po9ts ( int]e/ & treatm5t be+ held 9 /ore1 s t x becomes a truly cr[n+ piece ( eloqu5ce4 ,obs]ve h[ ! reappe>ance ( ! int]polat$ !me balances ! ,coda ) ! ,developm5t prop] & h[ ! v>i\s rhy?ms ( ! ,exposition are conc5trat$ 9 ! la/ page4 ,f9ally a s]ies ( bold1 vibrato leaps 9 ! fir/ viol9s--bas$ on ! dom9ant *ord--br+s ?is impassion$ movem5t to a close4 ,a lack ( space prev5ts ! inclusion 9 ! ,supplem5t ( ! re/ ( ! ,symphony1 b ! /ud5t is urg$ to make himself famili> ) ! ?ree rema9+ movem5ts3 ! ,m>cia ,funbre1 ! ,s*]zo & ! ,f9ale4 ,! ,fun]al ,m>* is ju/ly rank$ ) t ( ,*op9 9 8 ,b-flat m9or ,sonata & t ( ,wagn] 9 ! la/ act ( ! ,gtt]dmm]ung z "o ( ! mo/ eloqu5t 9 exi/5ce1 & conta9s melodies s t\*+ t !y c\ld h come only f ! v s\l ( ,bee?ov54 ,especially notewor?y is ! aspir+ melody ( ! middle1 contra/+ portion 7,maggiore7 :]e ! _s1 fre$ f e>?ly dross1 seems to m\nt to ! skies 9 a *>iot ( fire4 ,! ?ird "p1 :]e ! m9or mode is resum$1 ab\nds 9 dramatic t\*es2 especially t fugal passage1 :]e ! ecclesia/ical tone1 comb9$ ) peal+ trumpets1 br+s be=e u "s fun]al pageant 9 a va/1 m$ieval ca!dral4 ,! ,coda1 beg9n+ 9 ,a-flat major1 ) an impressive mood ( resignation1 illu/rates at its close a psy*ological use ( programmi/ic effect2 = ! fir/ !me1 treat$ z a real p]son1 dis9tegrates be=e our v eyes--becom+1 z x 71 a disembodi$ _s4 ,no?+ c %[ m cle>ly ?an ?is passage ! wid5+ ( ! expressive p[]s ( music :i* we owe to ! g5ius ( ,bee?ov54 ,! same effect ) a slightly diff]5t dramatic purpose is f\nd at ! end ( ! ,coriolanus ,ov]ture4 ,! ,s*]zo1 allegro vivace1 9 triple "t1 b m>k$ "o beat a measure #aaf 7almo/ two measures p] second671 is unsurpass$ = su/a9$ brilliancy & d>+ rhy?mic *anges4 ,x is s idiomatically conceiv$ = or*e/ra t only ! b>e/ idea c be ga9$ f a pian(orte transcription4 ,! prevail+ backgr\nd is a mass ( %imm]+ /r+s1 m>k$ by ,bee?ov5 sempre pp e /accato & aga9/ ?is /&s out a buoyant1 folk-song type ( melody on ! oboe4 ,aft] "s my/]i\s & fanta/ic modulations a ff climax is rea*$ :i* leads to ! fam\s syncopat$ passage :]e ! or*e/ra seems to hurl itself headlong into space1 e4g4 ,music ,! ,trio1 ) its ?ree hunt+ horns1 gives a fre%1 woodl& note typify+ ,bee?ov5's love ( nature4 ,"s my/]i\s modulations lead u back f ! dim recesses ( ! =e/ to ! sp>kl+ animation ( ! ,s*]zo4 ,9 ?is "p ( ! movem5t ,bee?ov5 plays "o ( 8 *>act]i/ic practical jokes2 =1 j :]e we expect ! same syncopat$ effect z be=e1 ! "t is *ang$ f #c_/d to #b_/b1 ! duration ( ! measure rema9+ ! same1 e4g4 ,music ,?is effect may be lik5$ to ! upro>i\s guffaws ( a giant4 ,! ,coda has a cle> rem9isc5ce ( ! dramatic ,c-%>p 9 ! ma9 !me ( ! fir/ movem5t1 e4g4 ,music#adc ,footnote #adc3 ,d-flat be+ ! enh>monic equival5t ( ,c-%>p4 ,transcrib]'s ,note3 ,! music notation conta9s a ,d-flat4 ,su* an organic connection betwe5 movem5ts beg9s to be v frequ5t 9 ,bee?ov5's works4 ,! ,f9ale1 ,allegro molto1 has caus$ consid]able difficulty to ! comm5tators = reasons kn[n only to !mselves4 ,diff]5t =ms are assign$ to x by diff]5t critics2 "o regrets ! fall+ (f ( inspiration1 ano!r ass]ts t ! movem5t does n fulfill ! requirem5ts :i* ! human m9d makes ( art2 x leaves u confus$4 ,poor ,bee?ov56 ,b :y all ?is po!r8 ,if ! inn] evid5ce ( ! music itself be any ju/ification = /ructural classification1 ?is wond]ful1 inspir$ ,f9ale is a s]ies ( free ,v>iations#add on a d\ble !me ( :i* ! p>ts are relat$ to ea* o!r z ,soprano & ,bass1 e4g4 ,music ,footnote #add3 ,! v>iations are n numb]$ & ! dem>cations indicat$ only by c]ta9 cad5tial objective po9ts4 ,by beg9n+ ! fir/ two v>iations ) ! less important ( ! two melodies 7i4e41 ! bass7 ,bee?ov5 is simply indulg+ 9 8 fondness = piqu+ ! fancy ( ! he>] by />t+ him on a false trail--n giv+ away1 z x 71 8 real purpose too soon4 ,yet f ! fir/ ann\ncem5t ( ! lead+ melody 9 ! ,?ird ,v>iation x assumes increas+ importance1 ?r\gh successive appe>ances 9 ,e-flat major1 ,b m9or1 ,d major & ,c major1 until aft] a long fugal developm5t we rea* ! inspir$ passage 7,poco ,&ante con espressione71 e4g41 ,music 9 :i* ! ma9 !me is /at$ fir/ 9 its noble simplicity & !n enhanc$ by an obligato melody on ! oboe4 ,x is "o ( ! mo/ eloqu5t passages 9 all symphonic lit]ature4 ,at its la/ appe>ance ! real !me comes fully to its own--= ! fir/ "t 9 ! bass1 t fundam5tal voice--:]e x is declaim$ ff 9 gorge\s spl5dor by all ! l[] in/rum5ts ( ! or*e/ra4 ,x is evid5t t n ev5 ! mo/ inspir$ g5ius c su/a9 su* a flight = ev]1 & aft] ?is magnific5t paean ! work+s ( ,bee?ov5's imag9ation resemble ^? ( ,nature h]self4 ,foll[+ a tranquil int]m$i>y passage 9 ,a-flat major we ent] ^u "o ( ^? long1 my/]i\s p]iods ( hu%$ susp5se :i* may be comp>$ to a long expanse ( op5 c\ntry or to ! fad+ lights on ! sea at sunset4 ,! la/ page1 beg9n+ ) ! ,pre/o1 is %e] or*e/ral jubilation ( ! mo/ intoxicat+ k9d4 ,we may picture an en?usia/ic ga!r+1 ) hats ?r[n al(t & %\ts ( triumph r++ f e ?roat4 ,x is ( hi/orical int]e/ to "k t ! !me ( ?is ,f9ale mu/ h be5 a favorite ) ,bee?ov51 = he _h us$ x 9 ?ree =m] works3 a ,contre-dance1 z ! basis = a set ( ,pian(orte ,v>iations & 9 ! ,ballet ,music to ,prome!us4 ,x may n be too fanciful to trace a dramatic relation%ip betwe5 its use 9 portray+ ! d>+ _s :o fir/ /ole fire f ,heav5 & z ! cr[n+ message ( a "w meant to glorify all h]oic endeavor4 ,a ?or\gh famili>ity ) ?is movem5t w repay ! /ud5t n only z exemplify+ ,bee?ov5's fre$om ( expression b inde$ z a po9t ( dep>ture = s _m mod]n works 9 free v>iation =m4 ,see ,supplem5t ,no4 #de4 ,to illu/rate ,bee?ov5's ,pian(orte compositions we %all n[ analyze ! ,sev5? ,sonata 9 ,d major1 op4 #aj1 ,no4 #c4 ,only :olesale h]o-wor%ip]s consid] all ( ! ?irty-two ,sonatas ( equal significance4 ,x is true t1 tak5 z a :ole1 !y are a /oreh\se ( creative vitality & t 9 ea* !re is some?+1 some:]e1 :i* /rikes a sp>k2 = ev]y?+ :i* ,bee?ov5 wrote 0 /amp$ ) 8 dom9at+ p]sonality4 ,b ! fire ( g5ius burns m /eadily 9 "s ( ! ,sonatas ?an 9 o!rs4 ,x is ! v ess5ce ( g5ius to h its transc5d5t mom5ts2 only m$iocrity pres]ves a dead level4 ,x is !re=e no _s ( fault f9d+ :i* leads u to c5tre our att5tion ^u ^? ,sonatas :i* h be/ /ood ! te/ ( "t & :i* nev] fail to conv9ce u ( _! raison d'tre3 ! ,appassionata1 ! ,wald/e91 ! ,c-%>p m9or1 ! ,pa?tique1 ! ,sonata 9 ,g major1 op4 #ad1 ,no4 #b1 & all ! la/ five1 especially ! glori\s "o 9 ,a-flat major1 op4 #aai4 ,x is futile to d5y t "s ( ! e>ly sonatas are exp]im5tal & t c]ta9 o!rs d n repres5t ,bee?ov5 at 8 be/1 be+ m ! result ( 8 con/ructive p[] ?an ( an impell+ message :i* _h to be express$4 ,! ,d major ,sonata has be5 select$ = /udy because1 ?\gh compos$ 9 ,bee?ov5's fir/ p]iod1 x is ?or\ghly *>act]i/ic1 & because its p]=mance is )9 ! p[]s ( ! av]age intellig5t amateur4 ,! full beauty ( ! lat] ,sonatas c be realiz$ only by great virtuosi :o devote to !m ye>s ( /udy4 ,! "w is 9 f\r movem5ts3 ! fir/1 complete ,sonata-=m2 ! second1 modifi$ ,sonata-=m2 ! ?ird1 ,?ree-"p2 ! ,f9ale1 a freely treat$ ,rondo-,sonata-=m4 ,! fir/ movem5t1 ,pre/o1 beg9s ) a vigor\s pres5tation ( ! ma9 !me :i* ends 9 measure #bb ) ! la/ ( ?ree ff octaves4 ,! unusually long transition1 conta9+ a subsidi>y !me 9 ,b m9or1 is rem>kable = its onru%+ excitem5t & = ! playful false leads :i* u%] 9 ! second !me4 ,aft] a brilliant cad5ce 9 ! dom9ant key1 "o w\ld suppose ?is !me might be ann\nc$ 9 measure #ec1 b n s2 aft] ?ree measures ( cantabile melody1 progress is int]rupt$ by a gr\p ( desc5d+ octave leaps4 ,a second attempt is n[ made1 ?is "t 9 ,a m9or1 only to be ?w>t$ by a /ill m caprici\s octave desc5t4 ,?is "t1 h[ev]1 aft] a dramatic pause1 we are rew>d$ ) a cle>-cut1 p]iodic melody beg9n+ 9 measure #ff1 aga9/ :i* ! rhy?m ( ! fir/ !me keeps up a g5tle und]curr5t4 ,"s int]e/+ modulations develop into a s]ies ( desc5d+ octaves :i*1 accompani$ by sf *ords1 lead to ! clos+ portion4 ,?is brilliant passage acc5tuates ! dom9ant key ( ! second !me4 ,aft] a %ort tranquillo phrase & "s free imitations ( ! ma9 !me we repeat ! ,exposition1 or g on to ! ,developm5t u%]$ 9 by a bold *ange to ! m$iant key ( ,b-flat major4 ,aft] sev]al appe>ances ( ! ma9 !me 9 ! bass1 ,bee?ov5 takes a leaf out ( ,d4 ,sc>latti's book & revels 9 "s cross+ ( ! h&s & "s wide leaps4 ,! ,recapitulation corresponds exactly ) ! fir/ "p until we rea* ! ,coda 9 measure #bih1 :i* af=ds a /rik+ example ( ,bee?ov5's p[] ( climax4 ,aft] a long p]iod ( susp5se an imitative treatm5t ( ! fir/ !me1 ) kettle-drum effect 9 ! bass1 leads to a /r+5do asc5d+ passage :i* closes ) two cra%+ dissonances & two peculi>ly gr\p$ *ords1 e4g4 ,music ,!y h a h>d1 cutt+ brilliance all _! own & give j ! t\* ( color ne$$ to f9i% ?is dazzl+ movem5t4#ade ,footnote #ade3 ,by ,bee?ov5 ev]y?+ is c>efully plann$4 ,note 9 p]=mance ! contra/ ( mood sugge/$ by ^! f9al *ords & ! sombre regi/] ( ! op5+ *ords ( ! ,sl[ ,movem5t4 ,9 ! ,sl[ ,movem5t1 ,l>go e ,me/o1 !re is a dep? ( emotion q unp>allel$ 9 ! e>ly hi/ory ( music4#adf ,c]ta9ly no compos] s9ce ,ba* _h utt]$ su* a message4 ,z soon z ! movem5t beg9s we are conv9c$ t x repres5ts ! outp\r+ ( a s\l capable ( deep m$itations ^u life & its my/]ies1 & ) ! eloqu5ce at its comm& to impress ^! ?\ghts ^u ! he>]4 ,! numb] ( !mes & _! key relation%ip are ^? ( ,sonata-=m1 b in/ead ( ! usual developm5t we h a new contra/+ !me ( great pa?os 9 ! major mode4 ,obs]ve ! poignancy ( ! dissonances1 e4g41 ,music 9 ! second !me ( ! ,exposition :i* beg9s 9 measure #ag1 & ! passionate outcries 9 measures #ce & #cg ( ! middle portion4 ,j be=e ! ,recapitulation1 9 measures #da-dc1 is an e>ly example ( ,bee?ov5's fondness = in/rum5tal recitative--music speak+ ) a m intimate appeal ?an words4 ,! movem5t ends ) an impassion$ ,coda :i*1 beg9n+ ) ! ma9 !me 9 ! bass & work+ up1 m & m agitato1 to a p[]ful climax1 dies away ) my/]i\s fragm5ts ( ! op5+ measures4 ,! dissonant elem5t s *>act]i/ic ( ! :ole movem5t is reta9$ to ! end1 e4g4 ,music ,footnote #adf3 ,accord+ to d',indy x is m truly pa!tic ?an ! entire s-call$ ,pa!tic ,sonata4 ,! gr[+ importance ( dissonance may be se5 f a comp>ison ( ?is movem5t ) ! av]age sl[ movem5ts ( ,haydn & ,moz>t ,^!1 al?\gh !y h s]5ity & grace1 beauty & f9i% ( =m1 & are s9c]e manife/ations ( ! g5ius ( _! creators1 are yet lack+ 9 passion4 ,?is placid mood & amiability ( /yle is %[n by ! comp>atively slight employm5t ( dissonances4 ,by un?9k+ & uncultivat$ p]sons dissonances#adg are (t5 consid]$ z some?+ h>%1 repellant--h5ce to be avoid$4 ,b dissonances conta9 ! real life & progress ( music4 ,!y ar\se1 ev5 take by /orm our imag9ations & %ake u out ( our equanimity4 ,consonant *ords repres5t /ability1 satisfaction &1 :5 ov]-us$1 in]tia4 ,! g5ius ( ! compos] is %[n 9 e/abli%+ j ! "r proportion betwe5 ^! two elem5ts2 b if !re is to be any disproportion let u h too mu* r ?an too little dissonance1 = !n1 at any rate1 ! music is alive4 ,s9ce ,bee?ov5 ! :ole developm5t ( music z a human language %[s ! prepond]at+ /ress laid on dissonance2 to ?is fact a k ( ! works ( ,s*umann1 ,*op91 ,wagn]1 ,debussy & ,franck w amply te/ify4#adh ,! same analogy holds equally 9 all realms ( life1 human & physical4 ,! true/ developm5t ( "* dep5ds on ! w>r+ elem5ts ( good & evil4 ,hone/ discont5t is ! fir/ /ep to progress4 ,dissonance is ! yea/ ( music & %\ld be welcom$ = its invigorat+ influ5ce4 ,footnote #adg3 ,a frequ5t confusion ( ?\ght is %[n 9 ! use ( ! words discord & dissonance4 ,a discord is an unrelat$ noise1 z :5 "o bangs ) bo? fi/s on ! key-bo>d4 ,a dissonance is a logical introduction ( int]vals or *ords made up ( j>r+ factors = _! /imulat+ effect ^u ! imag9ation4 ,footnote #adh3 ,two ( ! greate/ innovators 9 ?is direction1 ,scryab9 & ,/rav9sky1 h be5 work+ 9 our own day1 & !re is no d\bt t by _! d>+ exp]im5ts !y h enl>g$ ! expressive p[]s ( music4 ,:ile x is obvi\s t ! dramatic effect ( to-day /imulates ! exp]im5tation ( tomorr[1 contr>iwise1 ! imm$iate contribution ( ea* innovator is to r5d] m cle> ! "w ( 8 pr$ecessor1 up to t mom5t ! confess$ iconocla/4 ,! ?ird movem5t1 ,m9uetto1 may be tak5 z a reply to ,haydn's well-kn[n wi% ,oh6 t "s "o w\ld write u a new ,m9uet4 ,well1 "h x is--) all ! grace & *>m ( ! #ah? c5tury type & yet ) m import1 especially 9 ! ,coda ) its haunt+ retrospect4 ,! rhy?mic =mation ( ! op5+ s5t5ce w\ld be cle>] if two measures _h be5 ?r[n into "o1 = ! sw+ is cle>ly t ( a #f_/d measure4 ,! ,trio1 ) its ,sc>latti-l cross+ ( ! h&s1 is a playful bit ( bad9age1 af=d+ a delightful contra/ to ! ,m9uetto4 ,su* g5u9e v>iety 9 mood makes ! ,?ree-"p ,=m ( la/+ wor?4 ,! ,f9ale1 ,allegro1 ) its caprici\s =tissimo outbur/s & unexpect$ s=z&os is a *>act]i/ic example ( ,bee?ov5's fre$om ( utt]ance4 ,any ca/-iron conception ( =m 0 entirely =eign to 8 nature2 in/ead1 he made =m ! s]vant ( ! free/ flights ( fancy4 ,! movem5t beg9s z if x 7 to be work$ out 9 ! s-call$ ,rondo ,sonata-=m--a hybrid1 trip>tite /ructure relat$ to ! ,sonata-=m 9 t x has two !mes 9 ! fir/ & la/ portions1 & to ! ,rondo 9 t ! middle portion is a free ,episode in/ead ( ! cu/om>y developm5t ( =m] mat]ial4 ,! sali5t feature by :i* ?is =m may always be recogniz$ is t ! ,exposition closes ) a def9ite return to ! fir/ !me--?us emphasiz+ ! ,rondo aspect--in/ead ( ) an exp&$ cad5ce bas$ ^u ! second !me4 ,z we h /at$ be=e 7see ,*apt] ,,ix71 _m ( ,bee?ov5's ,f9ales are 9 ?is mix$ =m1 cle> examples ( :i* may be f\nd 9 ! la/ movem5ts ( ! ,f\r?1 ,eigh? & ,twelf? ,sonatas4 ,! ,f9ale ( ! ,twelf? ,sonata has be5 includ$ 9 ! ,supplem5t 9 ord] to make ?is important =m famili> to ! /ud5t4 ,to return n[ to ! ,f9ale ( ! sonata we are /udy+4 ,its fir/ two portions correspond exactly to ! usual practice 9 ! ,rondo-,sonata =m j expla9$2 i4e41 we f9d 9 ! ,exposition a fir/ !me1 a modulatory transition1 a second !me 7beg9n+ 9 measure #ag7 & a def9ite repetition ( ! fir/ !me1 9 measures #be-cb4 ,!n1 aft] two measures ( bold modulation1 beg9s ! middle1 episodical passage :i*1 clos+ ) a :imsical cad5za-l passage1 leads back to ! beg9n+ ( ! ?ird "p4 ,aft] a complete1 slightly v>i$ appe>ance ( ! fir/ !me1 ,bee?ov5 does n repeat ! second !me1 z we %\ld expect1 b all[s 8 fancy to indulge 9 a s]ies ( brilliant passages1 excit+ modulations & dynamic contra/s4 ,all ?is fre$om is held toge!r by insi/5ce on ! fundam5tal rhy?mic motive 7measures #gb-hc74 ,a f9al embelli%$ /atem5t ( ! fir/ !me u%]s 9 ! fi]y ,coda1 9 measure #ib1 :i* ends ) a long runn+ passage2 b5ea?1 we he> rem9isc5ces ( ! ma9 !me4 ,x is (t5 /at$ t ,bee?ov5's ,sonatas are lack+ 9 piani/ic effect1 & x is true t 8 pian(orte works d n br+ out ! possibilities ( color & sonority z we f9d !m1 = example1 9 ,*op9 & ,debussy--! or*e/ra & ! /r+-qu>tet be+ inde$ 8 favorite m$ia ( expression4 ,yet dur+ 8 entire e>ly c>e] ,bee?ov5 0 fam\s z a p]=m] & improvis] on ! pian(orte & "s1 at any rate1 ( 8 deepe/ ?\ghts h be5 confid$ to t in/rum5t4 ,t he 0 n at all ins5sible to ! beauty ( piani/ic effect = its own sake is %[n by ! syncopat$1 %ad[y *ords 9 measures #aja-aje1 ! :ole ju/ification = :i* lies 9 _! en*ant+ s\nd4#adi ,footnote #adi3 ,= a v cle> tabul> view ( ! /ructure ( ?is ,sonata see d',indy's ,c\rs de ,composition ,musicale1 ,book ,,ii1 p4 #ccb4 ,,symphony ,,no4 #eaej ,footnote #aej3 ,?is is n giv5 9 ! ,supplem5t4 ,see prec$+ rem>ks apropos ( ! ,?ird ,symphony4 ,! comm5ts are bas$1 z usual1 on ! full or*e/ral score4 ,! ,fif? ,symphony 9 ,c m9or1 op4 #fg1 is des]v$ly popul> because x is s human2 a translation1 9 fact1 ( life itself into ! gl[+ language ( music4 ,bee?ov5's emotional p[] 0 s deep & true t1 9 express+ himself1 he spoke1 l e great philosoph]1 poet or arti/1 = all mank9d4 ,:i* "o ( u 9 8 own exp]i5ce1 has n felt ! same prote/s aga9/ rel5tless ,fate t f9d su* uncontrollable utt]ance 9 ! fir/ movem5t8 ,:o1 aga91 is unt\*$ by t angelic message1 set be=e u 9 ! second movem5t1 ( hope & aspiration1 ( h]oic & ev5 w>like#aea resolution1 m+l$ ) ! resignation :i* only great s\ls "k8 ,! ?ird movem5t 7,allegro7--9 reality a ,s*]zo ( ! mo/ fanta/ic type1 ?\gh n s m>k$--might well typify ! riddle ( ! ,univ]se4 ,we inde$ see ?r\gh a glass d>kly1 & yet !re is no note ( despair4 ,amid ! s9i/] mutt]+s ( ! basses !re r+ out1 on ! horns & trumpets1 cl>ion calls to action4 ,:ile we are 9 ?is _w we mu/ live its life2 a liv+ dea? is un5durable4 ,! ,f9ale1 ,allegro mae/oso1 is a maje/ic decl>ation ( unconqu]able fai? & optimism--! int5se expression ( ,bee?ov5's own words1 ,i w grapple ) ,fate1 x %all nev] pull me d[n--to be comp>$ only ) ,br[n+'s ,god's 9 8 heav51 all's "r ) ! _w1 & ! p]oration to ,:itman's ,my/ic ,trumpet]1 ,joy1 joy1 ov] all joy6 ,no adequate attempt c\ld be made to translate ! music into words4 ,! ,symphony is extremely subjective2 inde$1 autobiographic4 ,= all hi/orical details z to its composition1 ! read] is ref]r$ to ! ,grove essay1#aeb & = eulogi/ic rhapsodies no?+ c surpass ! essay ( ,b]lioz1 t pr9ce ( critics4 ,we %all cont5t ourselves ) a few comm5ts ( a /ructural nature & !n tru/ ! /ud5t to seek a p]=mance ( ! "w by a good or*e/ra4 ,( ! fir/ movem5t 7,allegro con brio7#aec ! dom9ant *>act]i/ics1 especially 9 comp>ison ) ! weal? ( mat]ial 9 ! ,h]oic1 are concis5ess & int5sity4 ,x />ts at once1 )\t prelude1 ) ! motive--"o ( ! t]se/ 9 music--f :i* is develop$1 polyphonically1 ! fir/ !me1 e4g4 ,music,a ,footnote #aea3 ,?is int]pretation ( d',indy is bas$ ^u ! preval5ce 9 ! movem5t ( ! conv5tional m>tial rhy?m ,music & c>ries1 we mu/ ackn[l$ge1 consid]able weight4 ,x is1 h[ev]1 di/9ctly subjective & prev5ts no "o f ga9+ q a diff]5t impression4 ,we %\ld be m incl9$ to accept ! views ( ! not$ ,fr5* s*ol> _h he n be5 s wide ( ! m>k1 :ile speak+ ( ! ,sev5? ,symphony1 z to d5y any appe>ance ( dance-rhy?m 9 ! fir/ movem5t ,b ! ,iri% compos]1 ,villi]s ,/an=d1 has %[n conclusively t ! !me is bas$ ^u ! rhy?m ( an ,iri% ,hornpipe4 ,?us d ! wise ones disagree6 ,mean:ile1 we o!rs h ! music itself4 ,footnote #aeb3 ,bee?ov5 & 8 ,n9e ,symphonies by ,sir ,george ,grove4 ,footnote #aec3 ,bee?ov5's favorite m>k ( tempo & expression4 ,footnote ,a3 ,!re are also "s p hold+ notes on ! bassoons4 ,ev]y?+ is conc5trat$ 9 ! highe/ degree & ! assault ^u our consci\sness is ( correspond+ p[]4 ,a tempe/u\s transition leads to two %ort sf *ords & !n 9 measure #ei1 ann\nc$ ff by ! horns1 appe>s ! fir/ phrase ( ! second !me1 bas$ on ! same motive z ! fir/1 b 9 ! relative major 7,e-flat71 e4g4 ,music ,x is answ]$ by a second phrase ( m>k$ simplicity & lovel9ess--a mood1 inde$1 ( resignation4 ,?is is only mom5t>y1 h[ev]1 = ! rel5tless rhy?m ( ! *ief motive cont9ues to ass]t itself 9 ! basses until1 z x ga!rs headway aft] a %ort clos+ phrase 7#ie-ii71 x is ?und]$ out ff by ! full or*e/ra 9 a s]ies ( desc5d+ gr\ps4 ,! ,developm5t cont9ues ! same resi/less impetuosity4 ,note ! grim effect ( ! empty fif?s & f\r?s 9 measures #abf-abg4 ,once only is !re a slack5+ ( ! titanic1 elem5tal drive--9 ! my/]i\s passage 7#bab-bci7 :]e ! p5t-up fury ( ! compos] seems to h exhau/$ itself4 ,x is only1 h[ev]1 a lull 9 ! /orm :i* breaks =? ) r5ew$ en]gy 9 ! ,recapitulation & ,coda4 ,obs]ve ! pa!tic comm5t>y :i* ! solo oboe makes ^u ! ma9 !me at ! outset ( ! ?ird "p 7#bfh7--;a fl[] gr[+ out ( ! dbris ( ! avalan*e4 ,! ,coda beg9s1 at measure #cgd1 ) a passionate insi/5ce ^u ! fundam5tal rhy?m1 driv5 home ) %>p hamm]-bl[s &1 z 9 all ,bee?ov5's symphonic movem5ts1 furni%es an ov]p[]+ climax1 n a m]e p]functory close4 ,! second ,movem5t1 9 ,a-flat major1 is a s]ies ( free#aed ,v>iations 7five 9 numb]7 bas$ on a !me1 ,&ante con moto1#aee ( great rhy?mic vitality1 peculi>ly ri* & suave--ann\nc$1 z x is1 by 'celli & violas 9 unison1 e4g4 ,music ,footnote #aed3 ,free1 9 t !y are n numb]$ & are n sep>at$ by rigid cad5ces2 9 t episodical passages--(t5 ( a rhapsodic nature--are int]polat$4 ,footnote #aee3 ,! tempo is (t5 tak5 by conductors too sl[ly1 ?us los+ mu* ( its buoyancy4 ,! fir/ two pres5tations ( ! !me are 9 ea* case foll[$ by a passage ( m>tial "* :i* bur/s triumphantly into ,c major4 ,!re is an or*e/ral t\* ( great beauty & orig9ality 9 ! fir/ & second v>iations 7beg9n+ 9 measures #di & #ih respectively71 :]e a solo cl>9et--lat] a flute1 oboe & bassoon--prolongs a s+le tone :i* seems to float above ! melody l a guid+ />4#aef ,a passage ( special significance is t 9 measures #abc-adf1 :]e ,bee?ov5 indulges 9 a t\*+ soliloquy ^u 8 ma9 !me4 ,x is my/]i\sly introduc$ by ! repetition1 eight times1 pp1 ( ! dom9ant *ord 7! simple/ m$ium ( susp5se7 :i* seems to say ,hu%1 ,i h some?+ mo/ intimate reveal4 ,! ,coda 7,pi ,moto7 beg9s ) a mood ( wi/ful rev]ie1 b ! cl\ds are soon dispell$ & ! movem5t ends 9 radiant sun%9e4 ,footnote #aef3 ,:ile li/5+ to ?is passage "o is in/9ctively rem9d$ ( ,keats's ,bright & /eadfa/ />1 hung al(t ! night4 ,! sali5t /ructural feature 9 ! la/ two movem5ts#aeg is t !y are m]g$ toge!r2 !re is no pause aft] ! ,s*]zo2 & ! movem5ts are fur!r int]lock$ by an int]polation1 9 ! middle ( ! ,f9ale1 ( a portion ( ! prec$+ ,s*]zo--a k9d ( int]-quotation or cross ref]5ce4 ,?is composite movem5t is a /rik+ example ( ! organic relation%ip :i* ,bee?ov5 succe$$ 9 e/abli%+--betwe5 ! diff]5t movem5ts ( ! symphony4 ,prior to him1 x is fair to say--to use a homely simile--t a sonata or a symphony resembl$ a tra9 ( diff]5t c>s m]ely l9k$ toge!r1 "o aft] ! o!r2 :]eas ! mod]n "w1 z =e%ad[$ by ,bee?ov51 is a ve/ibul$ tra93 "o indivisible :ole f beg9n+ to end4#aeh ,b be=e ! ,fif? ,symphony !re _h be5 no su* sy/ematic unification2 = x is n too mu* to say t ! :ole "w is bas$ ^u ! p]si/5t it]ation ( a s+le note 9 v>i$ rhy?mic gr\ps4 ,?us 9 ! fir/ movem5t we f9d cont9ually ! rhy?m ,music2 9 ! second1 9 sev]al places ,music2 9 ! ,s*]zo ,music2 & 9 ! ,f9ale ,music4 ,fur!rmore a ,c1 repeat$ by ! kettle-drums = fifty measures1 is ! *ief factor 9 ! connect+ l9k betwe5 ! ,s*]zo & ! ,f9ale4 ,we %all obs]ve ?is t5d5cy to int]connection /ill fur!r develop$ by ,s*umann 9 8 ,f\r? ,symphony1 by ,liszt 9 ! ,symphonic ,poem#aei 7to be treat$ lat]71 & a climax ( atta9m5t rea*$ 9 su* highly unifi$ works z ,cs> ,franck's ,d m9or ,symphony & ,t*aik[sky's ,fif?4 ,to return to ! ,s*]zo1 well wor?y ( note is ! ,trio1 9 free fugal =m 7its !me ann\nc$ by ! pond]\s d\ble basses71 because x is su* a conv9c+ illu/ration ( ! humor\s possibilities inh]5t 9 fugal /yle4 ,! way 9 :i* ! voices *ase ea* o!r ab\t--comp>$ by ,b]lioz#afj ) ! gambols ( a delight$ elephant--& _! spasmodic attempts at ass]tion1 produce an effect irresi/ibly droll4 ,! hum\r is z broad z t ( ,ari/ophanes or ,rabelais4 ,words are p[]less to describe ! ?rill ( ! la/ fifty measures :i* laun* u into ! ,f9ale4 ,we may m]ely obs]ve t ?is long passage1 pp ?r\gh\t until ! la/ molto cresc5do1 & ) ! rhy?mic elem5t r$uc$ to a m9imum1 makes m ( an impact ^u our imag9ation ?an t ( ! l\de/ or*e/ral =ces ev] conceiv$4 ,we are rem9d$ ( ! effect ( ! /ill1 small voice aft] ! ?und]s on ,s9ai4 ,! ,f9ale1 ) its maje/ic op5+ !me 9 fanf>e1 conta9s a weal? ( mat]ial & is conceiv$ ?r\gh\t 9 ! utmo/ _s ( optimi/ic joy & fre$om4#afa ,! ,exposition has a subsidi>y !me ( its own1 beg9n+ at measure #bf1 :i* reappe>s ) rhy?mic modification 7dim9ution71 & mo/ eloqu5tly ann\nc$ by ! bassoons1 9 ! fir/ section ( ! f9al ,coda4 ,aft] ! brilliant second !me 7#de-fc7 !re is an impressive clos+ !me 7) "s bit+ fp dissonances7 :i* =ms ! basis ( ! ,pre/o portion ( ! ,coda4 ,! ,developm5t is a m>vell\s treatm5t ( ! second !me1 9 imitation1 modulation & climactic gr[?2 ! rhy?m ,music1 s vitally connect$ ) ! :ole "w1 p]si/+ ) /up5d\s en]gy4 ,9 ! f9al measures x w\ld seem z if ,bee?ov5 7 /orm+ ! v heav5s4 ,"h occurs ! quotation f ! prec$+ ,s*]zo :i* b9ds ! movem5ts toge!r & s]ves z a po9t ( dep>ture = a /ill great] climax4 ,x seems unreasonable to expect a high] flight1 b ! g5ius ( ,bee?ov5 is equal to ! ef=t4 ,if1 be=e1 we h rea*$ ! heav5s1 n[ we pi]ce !m4 ,! brilliant ,coda--note ! asc5d+ runs = ! piccolo--is 9 ?ree sections1 ! fir/ bas$ on ! subsidi>y !me1 e4g41 ,music ! second on ! clos+ !me 9 quick5$ tempo1 e4g41 ,music,b & ! ?ird1 a canonic treatm5t ( ! op5+ fanf>e1 e4g41 ,music 9 :i* ! or*e/ra seems to tumble head ov] heels 9 a p>oxysm ( delight4 ,! movem5t closes ) prolong$ %\ts ( victory & exultation4#afb ,footnote #aeg3 ,tak5 sep>ately1 ! movem5ts are p]fectly normal2 ! ,s*]zo 9 ! usual ,?ree-"p =m & ! ,f9ale 9 complete ,sonata-=m4 ,footnote #aeh3 ,!re are traces ( ?is /riv+ = organic unity 9 sev]al ( ! e>ly ,sonatas1 notably 9 ! ,sonata ,pa?tique1 :]e ! motive ( ! fir/ !me ( ! ,f9ale is id5tical ) t ( ! second !me ( ! op5+ movem5t e4g4 ,music3 #a/ ,movem5t ,music3 ,f9ale ,also 9 ! ,c-%>p m9or ,sonata1 op4 #bg1 we f9d a case ( melodic relation%ip betwe5 a phase 9 ! introductory m$itation & ! ma9 !me ( ! ,m9uet4 ,footnote #aei3 ,a ,symphonic ,poem is a descriptive composition = or*e/ra :i* incorporates _m ( ! cu/om>y symphonic moods2 b ! =m is free1 l>gely dep5d5t on ! poetic basis1 & ! /ructure is )\t /ops1 be+ "o cont9u\s :ole4 ,footnote #afj3 ,8 exact words are--,le milieu 7! trio7 ressemble assez aux bats d'un lphant en gaiet--mais le mon/re s'loigne et le bruit de sa folle c\rse se p]d graduellem5t4 ,footnote #afa3 ,its motto might well be ,br[n+'s fam\s l9es3 ,h[ good is man's life1 h[ fit to employ all ! he>t & ! s\l & ! s5ses =ev] 9 joy4 ,footnote ,b3 ,?is pian(orte figure be+ a v inadequate sub/itute = ! re/less tremolo ( ! violas1 i4e41 ,music4 ,footnote #afb3 ,= sugge/ive comm5ts by ! not$ critic ,e4,t4,a4 ,h(fmann1 "o ( ! fir/ to realize ! g5ius ( ,bee?ov51 & = a complete translation ( 8 essay on ! ,fif? ,symphony see ! article by ,a4,w4 ,locke 9 ! ,musical ,qu>t]ly = ,janu>y1 #aiag4 ,,! ,,coriolanus ,,ov]ture ,?is dramatic "w is ( great importance1 n only = its emotional p[] & eloqu5ce1 b because x repres5ts a type ( ,program music1 i4e41 music ) a sugge/ive title1 :i* ,bee?ov5 0 ! fir/ to conceive & to e/abli%4 ,f ! inh]5t connection betwe5 ! mat]ials ( music 7s\nd & rhy?m7 & c]ta9 natural ph5om5a 7! s\nd & rhy?m ( w9d1 wave & /orm1 ! call ( birds1 etc47 x is evid5t t ! possibility = ,program--or descriptive--music has always exi/$4#afc ,t is1 ! imag9ation ( musicians has cont9ually be5 influ5c$ by ext]nal sights1 s\nds & ev5ts2 & to _! translation into music sugge/ive titles h be5 giv51 z a guide to ! he>]4 ,?us we f9d ,jannequ91 a ,fr5* compos] ( ! #af? c5tury1 writ+ two pieces--= voices6--entitl$ ,les cris de ,p>is & ,la ,bataille--dfaite des ,suisses la j\rne de ,m>ignan2 9 ! =m] ( :i* are introduc$ ! v>i$ cries ( /reet v5d]s & 9 ! latt]1 imitations ( fifes1 drums1 cannon & all ! bu/le & noises ( w>4 ,9 ! ,fitzwilliam ,virg9al ,book !re is a ,fantasie by ,john ,mundy ( ! ,engli% s*ool1 9 :i* su* natural ph5om5a z ?und]1 lightn+ & fair wea!r are del9eat$4 ,!re is a curi\s simil>ity betwe5 ! musical portrayal ( lightn+ 9 ?is piece#afd ( ,mundy & t ( ,wagn] 9 ! ,valkyrie4 ,9 ! ,bible ,sonatas ( ! ,g]man compos] ,kuhnau 7#affj-agbb7 we h a musical description ( ! combat betwe5 ,david & ,golia?4 ,anyone at all famili> ) ! music ( ,c\p]9 & ,rameau w recall ! v>iety ( fanta/ic titles assign$ to _! *>m+ pieces = ! clave9--almo/ always drawn f ! field ( nature3 birds1 bees1 butt]flies1 h5s1 w9dmills1 ev5 an eel6 ,x is b fair to /ate t we also f9d attempts at "* draw+1 ev5 9 ^? e>ly days1 z is indicat$ by su* titles z ,la ,prude1 ,la ,dilig5te1 ,la ,sduisante4#afe ,haydn's portrayal ( ,*aos1 9 ! ,prelude to ! ,creation1 is a rem>kable mood-picture & %[s a tr5d 9 q a diff]5t direction4 ,all ^! in/ances corroborate ! /atem5t t1 9 g5]al1 compos]s 7 influ5c$ by ext]nal ph5om5a & t _! program music 0 ( an imitative & (t5 frankly lit]al k9d4 ,f :at we "k ( ,bee?ov5's nature & g5ius1 h[ev]1 we %\ld imag9e t he w\ld be f> m int]e/$ 9 ! emotions & /ruggles ( ! s\l & we f9d t su* inde$ is ! case4 ,) ! exception ( ! ,pa/oral ,symphony ) its bird-calls & ?und]/orm & ! ,egmont ,ov]ture ) its graphic description ( a return+ victori\s army1 8 program music inv>iably aims at ! description ( "* & ! mann] 9 :i* x is influ5c$ by ev5ts--n1 be x und]/ood1 at a musical portrayal ( ! ev5ts !mselves4 ,?is diff]5ce 9 type is g5]ally indicat$ by ! t]ms subjective & objective1 i4e41 program music is subjective1 :5 x deals ) ! emotions & moods ( real or hi/orical p]sons2 objective1 :5 x is bas$ ^u incid5ts or objects ( ! actual _w4 ,x is evid5t t 9 subjective program music an adju/m5t mu/ be made1 = ! dramatic ne$s ( ! subject are to be consid]$ z well z ! inh]5t laws ( music itself4 ,we may /ate t ! wid5+ ( ! conception ( =m1 s m>k$ 9 mod]n music1 has be5 caus$ by ! ne$ ( su* an adju/m5t2 = z compos]s became m cultivat$1 m 9 t\* ) life & ( m ri*ly end[$ imag9ation1 ! arbitr>y conv5tions ( /rict =m _h p]=ce to yield to ! dem&s ( dramatic treatm5t4 ,?is implies n t program music is )\t a def9ite /ructure1 only t ! =m is diff]5t--modifi$ by ! ne$s ( ! subject4 ,z !re is no o!r po9t 9 ae/hetics :i* has caus$ m loose ?9k+1 a few fur!r comm5ts may be p]t95t4 ,"s critics g s f> z to d5y ! "r ( exi/5ce to all program music4#aff ,( c\rse !re is good z well z bad program music1 b to condemn x p] se is simply to fly 9 ! face ( facts1 = a l>ge proportion ( ! music s9ce ,bee?ov5 is on a poetic basis & has descriptive titles4 ,o!rs claim t !y _c und]/& x4 ,b t is _! loss1 n ! fault ( ! music2 ! compos] writes x & x is = u to acquire ! /ate ( m9d to appreciate x4 ,ano!r mislead+ allegation1 (t5 he>d1 is t a piece ( program music %\ld be s cle> & self-suffici5t t ! he>] ne$s to "k no?+ ( ! title to d]ive ! fulle/ enjoym5t4 ,b ?is simply begs ! "q4 ,z well say t 9 li/5+ to a song we ne$ to "k no?+ ( ! mean+ ( ! text4 ,x is true t 9 li/5+ to ,bee?ov5's ,coriolanus1 = example1 any s5sitive he>] w be impress$ by ! vitality ( ! rhy?m & ! %e] beauty ( or*e/ral s\nd4 ,b to hold t su* a he>] gets z mu* f ! "w z he :o kn[s ! und]ly+ drama & c foll[ sympa!tically ! correspond5ce betwe5 ! *>act]s & _! musical treatm5t is to indulge 9 reckless ass]tion4 ,! true relation%ip betwe5 compos] & he>] is ?is3 :5 works are entitl$ ,coriolanus1 ,melpom5e1 ,francesca da ,rim9i1 ,sakuntala1 ,l'aprs-midi d'un ,faune1 ,! ,my/ic ,trumpet]1 ,l'appr5ti ,sorci]1 & ! compos]s reveal !re9 ! influ5ce su* subjects h _h ^u _! imag9ation1 !y are pay+ a tacit complim5t to ! he>] ^: bread? ( intellig5ce & cultivation !y expect to be on a p> ) _! own4 ,if su* be n ! case1 ! fault is n ! compos]'s2 ! burd5 ( pro( is on ! li/5]4#afg ,let u n[ trace c]ta9 relation%ips betwe5 ! drama ( ,coriolanus & ! musical *>act]ization ( ,bee?ov54 ,! ,ov]ture 0 compos$ z an introduction to a trag$y by ! ,g]man playwright von ,coll91 b z ! play is obsolete & z bo? von ,coll9 & ,%akespe>e w5t to ,plut>* = _! s\rces1 a famili>ity--:i* %\ld be tak5 = grant$#afh--) ! ,engli% drama w furni% suffici5t backgr\nd = an appreciation ( ! music4 ,! sc5e be=e ! city gates is evid5tly t 9 :i* ,volumnia & ,virgilia plead ) ! victori\s w>rior to refra9 f 8 fell purpose ( de/ruction4 ,! "w is 9 ,sonata-=m1 s9ce ! great ,sonata pr9ciple ( duality ( !me exactly h>monizes ) ! two ma9 influ5ces ( ! drama--! mascul9e & ! fem99e4 ,x is ( p>ticul> int]e/ to obs]ve h[ ! usual me?ods ( ,sonata-=m proc$ure are modifi$ to suit ! dramatic logic ( ! subject4 ,! "w beg9s ,allegro con brio1 ) ?ree su/a9$ ,cs--z if someone 7 /amp+ ) heavy foot--foll[$ by a s]ies ( ass]tive ff *ords = full or*e/ra 7note ! pi]c+ dissonance 9 ! #g? measure71 :i* at once e/abli%es an atmosph]e ( head/rong defiance4 ,! fir/ !me1 beg9n+ 9 measure #ae ) its re/less rhy?m1 is n meant to be beautiful 9 ! ord9>y s5se ( ! t]m--a conc\rse ( sweet s\nds2 r is x a dramatic *>act]ization1 a picture 9 t]ms ( music1 ( ! reckless en]gy & ! fi]ce ?reats :i* we naturally associate ) ,coriolanus4 ,! !me is repeat$ & !n ! transition develops ?is mascul9e mood 9 an impassion$ mann]--obs]ve ! frequ5cy ( sf acc5ts & ! cra%+ dissonances#afi--until a su/a9$ note on ! viol9s1 foll[$ by a desc5d+ cantabile phrase1 br+s u to ! second !me1 e4g4 ,music ,footnote #afc3 ,a complete acc\nt ( ?is developm5t may be f\nd 9 ! fir/ two *apt]s ( ,niecks's ,programme ,music4 ,footnote #afd3 ,= an excell5t description ( ?is piece1 z well z o!rs ( ! p]iod1 see ! volume by ,krehbiel ,! ,pian(orte & ,its ,music4 ,footnote #afe3 ,a compreh5sive & invaluable description ( ! works & /yle ( ,c\p]9 & ,rameau may be f\nd 9 ! ,hi/ory ( ! ,pian(orte & its ,play]s by ,osc> ,bie4 ,= an e>ly example ( :at is n[ call$ poetic atmosph]e ev]yone %\ld "k ,c\p]9's piece ,les ,b>ricades ,my/rieuses :i* is m sugge/ive :5 play$ on ! clave9 ) its delicate tone4 ,footnote #aff3 ,a favorite t]m ( opprobrium is t ! program is a crut*4 ,footnote #afg3 ,!re are sev]al essays :i* w help ! /ud5t t[>d cle> ?9k+ on ?is important subject3 ! valuable essay ,program ,music 9 ,newman's ,musical ,/udies1 ! article on ! subject 9 ,grove's ,diction>y1 & ! exhau/ive volume by ,niecks2 "s ( 8 views1 h[ev]1 are extreme & mu/ be accept$ ) caution4 ,above all %\ld be read ,wagn]'s int]pretation ( ,coriolanus 9 8 essay on ! ,ov]ture 7,engli% translation by ,w4,a4 ,ellis74 ,footnote #afh3 ,tw5ty-five ye>s' exp]i5ce z a college tea*]1 h[ev]1 has prov$ t too mu* may be tak5 = grant$6 ,footnote #afi3 ,x is un=tunate t ! dim9i%$ sev5? *ord does n s\nd s fi]ce to our mod]n e>s z x und\bt$ly did 9 ,bee?ov5's "t1 b t is simply because we h become accu/om$ to m /rid5t effects4 ,?is !me1 9 di/9ction f ! fir/1 typifies ! appeal = m]cy made by ! wom5 9 ! drama4 ,no contra/ c\ld be /rong] ?an t betwe5 ^! two !mes--! fir/1 impulsive1 /accato1 ( sweep+ range1 & 9 ! m9or2 ! second1 suave1 legato1 re/ra9$ & 9 ! major4 ,!y %[ inde$ h[ p[]fully ,bee?ov5's imag9ation 0 impress$ by ! subject4 ,aft] an eloqu5t expansion ( ! second !me !re foll[ sev]al /ormy measures 7! deprecations ( ! wom5 are at fir/ ( no avail7 t lead ?r\gh a cresc5do to a clos+ !me1 at measure #hc1 9 :i* ! mood ( defiant ass]tion is /rongly m>k$4 ,! exposition closes 9 ?is mood1 9 measure #ajj1 & ! foll[+ ,developm5t acc5tuates x ?r\gh sev]al successions ( re/less1 cresc5do passages until a ff desc5t sweeps u back to ! ,recapitulation1 9 measure #aea4 ,x is n[ evid5t t ! furi\s int5tions ( ! w>rior h rag$ !mselves out1 = n only is ! !me :i* repres5ts him mu* %ort5$ b x loses some:at ( its =m] fi]y int5sity4 ,f "h on1 ! tr5d ( ! music is l>gely modifi$ by ! dramatic dem&s ( ! subject4 ,t ! appeals ( ! wom5 are beg9n+ to prevail is evid5t f ! emphasis laid on ! second !me1 :i* gives its message no less ?an ?ree times1 in/ead ( ! s+le appe>ance :i* we %\ld expect 9 ! usual ,recapitulation4 ,! ?ird appeal1 9 measures #bdg-bec1 is r5d]$ mo/ pa!tic by be+ express$ 9 ! m9or mode4 ,9 ! ,coda !re are fitful fl>e-ups ( ! rel5tless purpose1 b t ! /ubborn w has be5 s(t5$ is evid5t f ! sl[+ d[n ( ! rhy?m1 9 measures #bhe-bid4 ,f9ally1 9 ! wond]ful clos+ passage1 we h a picture ( brok5 resolves & ru9$ hopes4 ,! !me dis9tegrates & fades away--a lifeless vision4 ,al?\gh mu* ( ! /ructure 9 ?is ov]ture is id5tical ) t :i* prevails 9 absolute music--=1 aft] all1 ! compos] mu/ be true to ! laws ( 8 m$ium ( expression--!re is en\gh purely dramatic treatm5t to ju/ify ! =ego+ analysis4 ,bee?ov51 at any rate1 call$ ! ov]ture ,coriolanus1 & we may be sure he meant x to repres5t ,coriolanus & to be some?+ m ?an a skillful comb9ation ( s\nds & rhy?ms4 ,we n[ add a few la/ words on ! quality ( ,bee?ov5's !mes 9 8 mom5ts ( supreme inspiration4 ,! un%ak5 hold :i* 8 music has ^u ! affections ( mank9d is due *iefly to two /rik+ *>act]i/ics3 fir/1 ! way 9 :i* he dramatiz$ ev]y?+--!mes1 in/rum5ts1 ev5 s+le notes1 i4e41 treat+ !m z actual factors 9 life itself r ?an z arti/ic ab/ractions2 second1 ! spirituality & sublimity 9 8 immortal message4 ,! fir/ quality is exemplifi$ 9 a numb] ( passages1 notably 9 ! fir/ movem5t ( ! ,viol9 ,conc]to & 9 ! ,f9ale ( ! ,eigh? ,symphony4 ,9 ! op5+ measures ( ! ,conc]to ! use ( ! s+le note ,d-%>p1 & ! entry pp ( ! ,f natural 9 ! foll[+ passage--9 ea* case1 entirely disconnect$ f ! normal rules ( musical gramm>--are mo/ dramatic1 e4g4 ,music ,at ! my/]i\s entrance ( ! ,f natural 9 ?is passage x w\ld seem z if "s mighty _s 7 sudd5ly look+ ov] our %\ld]4 ,9 ! ,f9ale ( ! ,eigh? ,symphony :at c be m />tl+ ?an ! sudd5 explosive entrance ( ! unrelat$ ,c-%>p--be=e ! or*e/ra cont9ues its mad c>e]--:i* c be comp>$ only to ! upro>i\s laught] ( ,rabelais himself1 e4g4 ,music ,!re are num]\s examples 9 ,bee?ov5 %[+ 8 dramatic use ( su* or*e/ral in/rum5ts z ! bassoons1 horns1 kettle-drums & d\ble basses4 ,possibly ! mo/ /rik+#agj is ! ,sl[ ,movem5t ( ! ,g major ,pian(orte ,conc]to--t inspir$ dialogue1 z x has be5 eloqu5tly call$1 betwe5 ,de/9y & ! human s\l1 9 :i* ! t\*+ appeals ( ! solo in/rum5t are con/antly int]rupt$ by ! s9i/] mutt]+s & =ebod+s ( ! /r+s4 ,obs]ve especially ! clos+ measures :]e ! basses1 alone are he>d pp1 e4g4 ,music ,footnote #agj3 ,see1 h[ev]1 ! octave leaps ( ! kettle-drums 9 ! ,s*]zo ( ! ,n9? ,symphony4 ,a spiritual quality escapes v]bal def9ition2 b j z we c feel x 9 c]ta9 *>act]s1 & j z we recognize ! sublime 9 nature & 9 su* works ( art z a ca!dral or a ,%akespe>ian ,drama1 s we may f9d x 9 ! foll[+ specific examples f 8 works3 ! ,trio ( ! second movem5t ( ! ,sev5? ,symphony2 ! ,sl[ ,movem5t !me ( ! ,b-flat major ,trio & ! ,sl[ ,movem5t ( ! ,sonata op4 #aji4 7,see ,supplem5t ,nos4 #dg1 #dh1 #di47 ,anyone :o all[s ^! !mes to s9k into 8 consci\sness is c>ri$ into a realm ( ideality :]e he beg9s to recognize ! tru? t ! ?+s :i* are unse5 are et]nal4 ,music ( ?is transport+ p[] is f> above t :i* m]ely excites1 amuses or ev5 fasc9ates2 & ( su* music ,bee?ov5 is ! poet = all "t4 ,we h ref]r$ above to ! volum9\s lit]ature extant conc]n+ ,bee?ov54 ,sev]al s*ol>s1 9 fact--notably ,alex&] ,?ay] & ,sir ,george ,grove--h devot$ a l>ge "p ( _! lives to f9d+ out all !re is to be kn[n ab\t 8 life & works4 ,obvi\sly ! layman _c be expect$ to become famili> ) ?is entire mass ( hi/orical & critical writ+4 ,! foll[+ books1 h[ev]1 may be consid]$ indisp5sable aids to ^? :o w\ld become cultivat$ appreciators ( ,bee?ov5's ma/]pieces3 ! ,life ( ,bee?ov5 by ,alex&] ,?ay]--a great glory to ,am]ican s*ol>%ip2 ! life 9 ,grove's ,diction>y2 ! illum9at+ ,biography by d',indy 79 ,fr5* & 9 ,engli%72 ,bee?ov5 & 8 ,n9e ,symphonies by ,grove2 ! ,ox=d ,hi/ory ( ,music1 ,vol4 ,v2 & ! essay by ,mason 9 8 ,bee?ov5 & 8 ,=]unn]s4#aga ,we cite1 9 clos+1 a eulogy#agb by ,dannreu!r--9 our op9ion ! mo/ eloqu5t ev] writt5 on ,bee?ov5's g5ius3 ,:ile li/5+1 says ,mr4 ,dannreu!r1 to su* works z ! ,ov]ture to ,leonora1 ! ,s9fonia ,eroica1 or ! ,n9? ,symphony1 we feel t we are 9 ! pres5ce ( some?+ f> wid] & high] ?an ! m]e developm5t ( musical !mes4 ,! execution 9 detail ( ea* movem5t & ea* succe$+ "w is modifi$ m & m by ! prevail+ s5tim5t4 ,a religi\s passion & elevation are pres5t 9 ! utt]ances4 ,! m5tal & moral horizon ( ! music gr[s ^u u ) ea* r5ew$ he>+4 ,! diff]5t movem5ts--l ! diff]5t p>ticles ( ea* movem5t--h z close a connection ) "o ano!r z ! acts ( a trag$y1 & a *>act]i/ic significance to be und]/ood only 9 relation to ! :ole2 ea* "w is 9 ! full s5se ( ! ^w a revelation4 ,bee?ov5 speaks a language no "o has spok5 be=e1 & treats ( ?+s no "o has dreamt ( be=e3 yet x seems z ?\gh he 7 speak+ ( matt]s long famili>1 9 "o's "m tongue2 z ?\gh he t\*$ ^u emotions "o _h liv$ ?r\gh 9 "s =m] exi/5ce4444 ,! w>m? & dep? ( 8 e?ical s5tim5t is n[ felt all ! _w ov]1 & x w ere long be univ]sally recognis$ t he has leav5$ & wid5$ ! sph]e ( m5's emotions 9 a mann] ak9 to t 9 :i* ! conceptions ( great philosoph]s & poets h wid5$ ! sph]e ( m5's intellectual activity4 ,footnote #aga3 ,sugge/ive comm5ts f a lit]>y po9t ( view may also be f\nd 9 ^! works3 ,/udies 9 ! ,sev5 ,arts1 ,symonds2 ,bee?ov5 by ,roma9 ,roll&--) an int]e/+ ?\gh ultra-subjective introduction by ,c>p5t]2 ,! ,developm5t ( ,symphonic ,music by ,t4,w4 ,surette2 ,bee?ov5 by ,walk]2 ,bee?ov5 by ,*antavo9e 9 ! s]ies ,les ,matres de la ,musique4 ,z to ! ?ree successive /yles "u :i* ,bee?ov5's works are g5]ally classifi$ !re is an excell5t acc\nt 9 ,pratt's ,hi/ory ( ,music1 p4 #dai4 ,footnote #agb3 ,?is passage is to be f\nd 9 ! ,life 9 ,grove's ,diction>y4 ,,*apt] ,,xii ,,! ,,romantic ,,compos]s4 ,,s*ub]t ,,& ,,web] ,dur+ ! latt] "p ( ,bee?ov5's life--he di$ 9 #ahbg--new curr5ts 7 sett+ 91 :i* 7 to influ5ce pr(\ndly ! tr5d ( mod]n music4 ,two important1 ?\gh 9 "s respects unconsci\s1 repres5tatives ( ^! t5d5cies 7 actually work+ contemporane\sly ) ,bee?ov51 von ,web] 7#aghf-ahbf7 & ,s*ub]t 7#agig-ahbh74 ,bee?ov5 himself is felt to be a dual p]sonality 9 t he summ$ up & ratifi$ all t 0 be/ 9 8 pr$ecessors1 & po9t$ ! way = mo/ ( ! t5d5cies op]ative s9ce 8 "t4 ,= ! designation ( ^! two contra/+1 ?\gh n exclusive1 ideals1 ! curr5tly accept$ t]ms are ,classic & ,romantic4 ,s _m %ades ( mean+ h un=tunately be5 associat$ ) ! ^w ,romantic t confusion ( ?\ght has aris54 ,x is also true t ! s-call$ ,romantici/s1 includ+ poets & pa9t]s z well z musicians1 9 _! endeavors to break loose f ! =mality ( ! ,classic p]iod1 h indulg$ 9 _m irritat+ idiosyncracies4 ,we are beg9n+ to see cle>ly t a too viol5t expression ( individuality de/roys a mo/ vital factor 9 music--univ]sality ( appeal4 ,yet ! ,romantic ,s*ool _c be ignor$4 ,to its repres5tatives we owe _m ( our f9e/ works1 & !y 7 ! prime mov]s 9 ^? /riv+s t[>d fre$om & ideality :i* h made ! mod]n _w :at x is4 ,! t]m ,romantic is p]fectly cle> 9 its application to lit]ature1 f :i* music borr[$ x4 ,x ref]s to ! movem5t begun ab\t ! ye> #agif among su* ,g]man poets z ,tieck1 ! two ,s*legels & ,novalis1 to re/ore ! poetic leg5ds ( ! middle ages1 writt5 9 ! ,romance dialects1 & to embody 9 _! own works ! fanta/ic _s ( ?is m$ieval poetry4#agc ,9 ref]5ce to music1 h[ev]1 ! t]ms ,classic & ,romantic are (t5 vague & mislead+1 & h _h extreme int]pretations put ^u !m4#agd ,?us1 to _m1 romantic implies ultra-s5tim5tal1 mawki% or grotesque1 :ile ev]y?+ classic is dry1 un9spir$ & academic4 ,h[ (t5 we he> ! expression1 ,i am n up to classic music2 let me he> some?+ mod]n & romantic4 ,_m s*ol>s %[ little respect = ! t]ms & "s w\ld aboli% !m altoge!r4 ,ev]y?+1 h[ev]1 h+es ^u a reasonable def9ition4 ,pat]'s well-kn[n say+ t ,romanticism is ! addition ( /rang5ess to beauty is fair2 & yet1 s9ce /rang5ess 9 art c result only f imag9ative conception1 x am\nts to no?+ m ?an ! truism t romantic art is imbu$ ) p]sonality4 ,h5ce ,/5dhal is "r 9 say+ t ,all good art 0 ,romantic 9 its day2 i4e41 x exhibit$ z mu* w>m? & individuality z ! _s ( its times w\ld all[4 ,surely ,ba*1 ,haydn & ,moz>t 7 real *>act]s1 not)/&+ ! re/ra9t :i* ! artificialities ( ! p]iod (t5 put ^u _! utt]ance4 ,on ! o!r h&1 "w at fir/ pron\nc$ to be romantic e/abli%es1 by a univ]sal recognition ( its m]it1 ! claim to be consid]$ classic1 or set ap>t2 :at is romantic to-day ?us gr[+ to be classic#age tomorr[4 ,x is evid5t1 !re=e1 t ! t]ms int]lock & are n mutually exclusive4 ,x is a mi/ak5 attitude to set "o s*ool (f aga9/ ! o!r1 or to prove t "o /yle is great] ?an ! o!r2 !y are simply diff]5t4 ,compositions ( la/+ wor? always manife/ su* a happy union ( qualities t1 9 a broad s5se1 !y may be call$ bo? romantic & classic1 i4e41 !y comb9e p]sonal emotion & imag9ation ) bread? ( mean+ & solidity ( /ructure4 ,footnote #agc3 ,= a m complete hi/orical acc\nt see ! article ,romantic 9 ,grove's ,diction>y & ! introduction to ,vol4 ,,vi ( ,! ,ox=d ,hi/ory ( ,music4 ,r\sseau & ,romanticism by ,pr(essor ,irv+ ,babbitt pres5ts ! late/ inve/igations 9 ?is important field4 ,footnote #agd3 ,"s v sane comm5ts may be f\nd 9 ,pratt's ,hi/ory ( ,music1 pp4 #dbg1 #eja1 #ejb4 ,footnote #age3 ,a classic is prop]ly a book--& ! same w\ld be true ( a musical composition--:i* ma9ta9s itself by t happy coalesc5ce ( matt] & /yle1 t innate & requisite sympa?y betwe5 ! ?\ght t gives life & ! =m t cons5ts to e mood ( grace & dignity1 & :i* is some?+ nei!r anci5t nor mod]n1 always new & incapable ( gr[+ old4 ,l[ell1 ,among ,my ,books4 ,beg9n+1 h[ev]1 ) ,s*ub]t & ,web]--! two fir/ repres5tatives ( ! romantic gr\p--!re is a m>k$ novelty ( cont5t & /yle2 & if we drop ! t]ms & conf9e ourselves to ! inn] evid5ce ( ! music itself1 we note a diff]5ce :i* may be felt & to a c]ta9 ext5t =mulat$4 ,to take extreme types = ! sake ( vivid contra/1 let u comp>e ! compositions ( ,haydn & ,moz>t ) ^? ( ,b]lioz & ,liszt4 ,9 ! =m] !re is repose1 re/ra9t & a p]fect f9i% 9 ! /ructural pres5tation2 a feel+ ( s]5ity comes ov] u z we li/54 ,9 ! latt]1 a peculi> int5sity ( expression1 an attempt to fasc9ate ! li/5] by ! mo/ intimate k9ds ( appeal1 especially to ! s5ses & fancy1 reg>dless ( any lib]ties tak5 ) =m] modes ( treatm5t4 ,! purely classical compos] is always ma/] ( 8 subject1 :]eas ! romantici/ is (t5 c>ri$ away by x4 ,classical works are objectively beautiful1 comm5d+ !mselves to ev]yone l works ( nature1 or1 let u say1 l decorative patt]ns 9 pure design4 ,romantic works are subjective1 *>g$ ) individuality & dem& a s5sitive & sympa!tic appreciation on ! "p ( ! he>]4 ,x is evid5t t _m ( ^! t5d5cies are f\nd cle>ly outl9$ 9 ! works ( ,bee?ov54 ,9 fact1 z has be5 said1 he 0 n only ! climax ( ! classical s*ool1 b ! f\nd] ( ! new era--op5+ a door1 z x 71 into ! possibilities ( a m int5se1 specializ$ =m ( emotional utt]ance & a fre] conception ( =m4 ,^! special *>act]i/ics 7 s fully develop$ by ,bee?ov5's successors1 ,s*ub]t1 ,web]1 ,s*umann1 ,*op91 etc4 t !y are always gr\p$ toge!r z ! ,romantic ,s*ool4 ,a /rik+ feature 9 ?is :ole ,romantic gr\p is ! e>ly fl[]+ ( _! g5ius & ! %ortness ( _! lives--,web]1 =ty ye>s1 ,s*ub]t1 ?irty-"o1 ,s*umann1 =ty-six1 ,m5delssohn1 ?irty-eight1 ,*op91 =ty4 ,9 ! case ( all ! compos]s we h hi!rto /udi$1 ) ! exception ( ,moz>t1 _! ma/]pieces h be5 ! result ( long ye>s ( pati5t1 te*nical /udy & h5ce %[ t f9i% & maturity ( /yle :i* come only ) "t4 ,b ! precocity ( ! ,romantici/s is a/\nd+6 ,_m ( ,s*ub]t's fam\s pieces 7 compos$ 9 8 e>lie/ manhood2 ,m5delssohn's ,midsumm] ,night's ,dream ,ov]ture dates f 8 sixte5? ye>2 ,s*umann's be/ pian(orte works 7 compos$ be=e he 0 ?irty4 ,! irresi/ible spontaneity & vigor ( all ^! works l>gely atone = any blemi%es 9 treatm5t4 ,we feel some:at ! same 9 ! case ( ,keats & ,%elley 9 comp>ison ) ,milton1 & are rem9d$ ( ,wordswor?'s l9es1 ,bliss 0 x 9 t h\r to be alive1 b to be "y 0 v ,heav54#agf ,:y expect s5atorial wisdom & ! fancy ( y\? 9 any "o p]son6 ,footnote #agf3 ,comp>e also ! def9ition ( g5ius by ,ma/]s 9 ! ,spoon ,riv] ,an?ology3 ,9 y\? my w+s 7 /rong & tireless1 ,b ,i did n "k ! m\nta9s4 ,9 age ,i knew ! m\nta9s ,b my we>y w+s c\ld n foll[ my vision-- ,g5ius is wisdom & y\?4 ,a mo/ important di/9ction betwe5 a classical & a romantic compos] is ! k & love ( lit]ature %[n by ! latt]4 ,al?\gh ,haydn kept a note-book on 8 ,london t\rs1 & al?\gh we h a fair numb] ( lett]s f ,moz>t1 9 nei!r ( ^! m5 d we f9d any appreciation ( g5]al curr5ts ( ?\ght & life4 ,9 _m ( ,bee?ov5's works we h se5 h[ close 0 ! connection betwe5 lit]ature & musical expression4 ,all ! ,romantic compos]s1 ) ! exception ( ,s*ub]t1 7 broadly cultivat$1 & sev]al c\ld express !mselves arti/ically 9 words z well z 9 notes4 ,!y may n h be5 on ?is acc\nt any bett] compos]s1 z f> z %e] creative vitality is conc]n$1 b x is evid5t t _! imag9ations 7 n\ri%$ 9 q a diff]5t way & h5ce a novel product 0 to be expect$4 ,romantic music has be5 def9$ z a reflex ( poetry express$ 9 musical t]ms1 at times fairly trembl+ on ! v]ge ( spee*4 ,music c n1 to be sure1 describe matt]s ( fact1 b ! ,romantic compos]s h br\ght x to a high degree ( poetical sugge/iv5ess4 ,?us ! horn-calls ( ,web] & ,s*ub]t rem9d u ( ! horns ( ,elfl& fa9tly bl[+ & mu* romantic music ar\ses our imag9ations & en*ants our s5ses 9 ! same way z ! l9es ( ,keats :]e he tells ( ,magic casem5ts op5+ on ! foam ( p]il\s seas 9 fairy l&s =lorn1 ! *ief glory ( :i* is n any precise intellectual idea !y convey1 b ! fasc9at+ picture :i* c>ries u f ! l& ( h>d & fa/ ev5ts into ! realm ( fancy4 ,s*umann claim$ t 8 object 9 writ+ music 0 s to influ5ce ! imag9ation ( ! li/5]s t !y c\ld g on dream+ = !mselves4 ,a second *>act]i/ic is ! fre$om ( =m4 ,consid]+ t a free re9 to _! fancy 0 incompatible ) /rict adh]5ce to traditional rules1 ! ,romantic spirits refus$ to be b\nd by =ms felt to be inadequate4 ,al?\gh ?is attitude sometimes result$ 9 diffus5ess & obscurity1 on ! :ole 7z ,goe! says ( romantic lit]ature7 a wid] & m v>i$ subject matt] & a fre] =m has be5 atta9$4 ,! *ief aim ( romantic art be+ to ar\se ! imag9ation1 we f9d a pr$ilection = ! use ( solo wood-w9d in/rum5ts1 :i* are capable ( su* w>m? & v>iety ( tone-color4 ,:]eas 9 ! classical ma/]s1 & ev5 g5]ally 9 ,bee?ov51 ! melodies are likely to be ! upp] voice ( a h>monic mass1 or assign$ to gr\ps ( in/rum5ts1 ,web] & ,s*ub]t 9 p>ticul> %[$ ! eloqu5ce to be ga9$ by ! use ( su* w>m-blood$ solo in/rum5ts z ! horn1 ! oboe & ! cl>9et4 ,s*ub]t fairly conjures ) ! horn1 (t5 hold+ u spellb\nd ) its haunt+ appeal1 e4g41 9 ! well-kn[n second movem5t ( ! ,c major ,symphony1 ! calls ( :i*1 z ,s*umann said1 seem to come f ano!r _w4 ,s*ub]t 0 any?+ b a ?9k]1 & reflect$ unconsci\sly ! t5d5cies :i* 7 9 ! air2 b 8 wond]ful gift ( lyric melody 0 ?or\ghly 9 keep+ ) ! individual expression = :i* ,romanticism /ood4 ,he said himself t 8 compositions 7 ! direct result ( 8 inmo/ sorr[s4 ,he 0 /eep$ 9 romantic poetry & ! gl[+ fancy 9 8 be/ "w leads u to condone ! occasional prolixity ref]r$ to by ,s*umann z heav5ly l5g?4 ,s*ub]t 0 well nam$ by ,liszt ! mo/ poetic ( musicians1 i4e41 a creator ( pure beauty :i* en?ralls ! imag9ation ( ! he>]4 ,:y expect ! "w ( any "o compos] to manife/ all possible m]its8 ,if we crave dynamic p[] ( emotion or sublimity ( ?\ght we may h rec\rse to ,ba* & ,bee?ov52 b ! spontane\s *>m ( ,s*ub]t nev] gr[s old2 & x is n )\t int]e/ to note t 8 music fulfils ! def9ition ( "o ( ! mo/ poetic compos]s ( our "t1 ,debussy1 :o claims t music is *iefly meant to give pleasure4 ,we note ^! same t5d5cies 9 ,web] z %[n 9 ! ov]tures to 8 ?ree ,romantic op]as1 ,d] ,freis*tz1 ,euryan! & ,ob]on1 :i* are ! f\ndations ( ! mod]n art ( dramatic or*e/ration1 i4e41 ! int5sification ( c]ta9 ideas & situations by ! special tone color & regi/] ( solo-in/rum5ts or by a novel use ( cu/om>y means1 e4g41 ! divid$ viol9s 9 ! my/]i\s passage ( ! ,euryan! ov]ture4 ,ano!r favorite means ( arre/+ ! att5tion 0 by modulation2 n us$ 9 a con/ructive s5se1 simply to pass f "o po9t to ano!r1 or to connect !mes 9 diff]5t keys1 b to furni% ! e> ) a purely s5su\s delight1 correspond+ to t :i* ! eye d]ives f ! kaleidoscopic colors ( a sunset4 ,! works ( ,s*ub]t1 ,*op9 & to a less] degree ( ,s*umann ab\nd 9 ^! %ift+ h>monies by :i* we seem to be waft$ along on a magic c>pet4 ,a f9al *>act]i/ic1 %>$ by all ! ,romantic compos]s1 is ! preval5ce ( titles--! logical result ( ! close connection betwe5 music1 lit]ature & ! _w ( outw>d ev5ts1--?us ,m5delssohn's ,ov]ture to ! ,midsumm] ,night's ,dream ) its romantic op5+ *ords1 8 ,hebrides ,ov]ture1 ! musical record ( a trip to ,scotl&1 & ,s*umann's ,manfr$1 f ,byron4 ,liszt ev5 w5t s f> z to draw inspiration f a pa9t+1 z 9 8 ,battle ( ! ,huns1 & aga9 f a beautiful vase 9 ,orpheus4 ,we %all n[ make a few specific comm5ts on ! /yle ( ,s*ub]t & ,web] & !n analyze "s ( _! repres5tative works4 ,s*ub]t 0 a born compos] ( songs1 & ?\gh 8 works = ,pian(orte1 ,/r+ qu>tet & ,or*e/ra 7 ( m>k$ significance & h prov$ ( la/+ value1 ! in/9ct = highly individualiz$1 lyric melody pr$om9ates1 & all 8 in/rum5tal compositions may fairly be call$ ,songs )\t words4#agg ,x is evid5t t ! solo-song1 un5cumb]$ by /ructural consid]ations1 is "o ( ! be/ m$ia = express+ ! ,romantic _s1 & _m ( its faire/ fruits are f\nd 9 ?is field4 ,s*ub]t's songs are (t5 tone-dramas 9 :i* ! expressive p[]s ( music are mo/ eloqu5tly employ$4#agh ,note ! poetic t\*es ( "*-draw+ & ( description 9 ! ,"y ,nun 7see ,supplem5t ,no4 #ej74 ,s*ub]t's pian(orte compositions are m9iature tone-poems1 mood-pictures--_! titles3 ,impromptus & ,mom5ts ,musicaux1 speak = !mselves--mak+ no pret5se to ! scope & elaborate /ructure ( movem5ts 9 ,sonata-=m1#agi yet ( great import n only = _! intr9sic beauty b z ! prototypes ( ! num]\s lyric & descriptive pieces ( ,s*umann1 ,brahms1 ,grieg1 ,debussy & o!rs4 ,_! *>m lies 9 ! he>t-felt melodies & surpris+ modulations4 ,:ile nei!r sublime nor deeply introspective1 !y make ! simple1 direct appeal ( a lovely fl[]4 ,9 ! developm5t ( music !y are z important z ! mod]n %ort /ory 9 ! field ( lit]ature2 :i*1 9 di/9ction to ! old ?ree-deck] novel1 (t5 really says m & says x s concisely t our int]e/ nev] flags4 ,?is t5d5cy to ! %ort1 indep5d5t piece _h be5 begun by ,bee?ov5 9 8 ,bagatelles 7,fr5* trifles72 b ^!1 z has be5 aptly said1 7 m]e *ips f ! "w-%op :]eas 9 a %ort piece ( ,s*ub]t we f9d ! qu9tess5ce ( 8 g5ius4 ,he 0 a prolific compos] 9 ! field ( *amb] music1 & ! ,trios = ,viol91 ',cello & ,pian(orte1 ! ,a m9or ,qu>tet1 ! ,c major ,qu9tet &1 above all1 ! po/hum\s ,qu>tet 9 ,d m9or1 :i* conta9s ! entranc+ ,v>iations on ! song ,dea? & ! ,maid51 are /ill z fre% z :5 !y 7 compos$4 ,9 ^! works we d n look = ar*itectonic p[]--we mu/ admit1 9 fact1 at ! risk ( seem+ ungraci\s1 t ,s*ub]t is diffuse at times--b our s5ses are s en?rall$ by ! imag9ative fre$om & by ! spl5dor ( color1 t all purely intellectual judgm5t is susp5d$4 ,! magician works 8 wond]s2 x is = u to enjoy4 ,we h f ,s*ub]t sev5 complete ,symphonies & ! s-call$ ,unf9i%$ 9 ,b m9or1 i4e41 ! fir/ two movem5ts & ! fragm5t ( a ,s*]zo4 ,( ^! ! ,f\r? 7,tragic71 compos$ 9 #ahaf1 =e%ad[s ! real ,s*ub]t & is occasionally he>d to-day4 ,b ! immortal ones are ! ,b m9or & ! ,c major1 ! latt] compos$ 9 #ahbh 7! la/ ye> ( 8 life7 & nev] he>d by its au?or4#ahj ,( ?is "w ,s*umann said t a t5? ,muse _h be5 add$ to ! n9e ( ,bee?ov54 ,?is symphony is specially *>act]iz$ by ! incorporation ( ,hung>ian types ( melody1 p>ticul>ly 9 ! fir/ & 9 ! la/ movem5t4 ,x is inde$ a /oreh\se ( beauty1 b ! high mom5ts are 9 ! la/ two movem5ts--! fairly intoxicat+ ,trio ( ! ,s*]zo1 :i* seems z if ,nature h]self 7 s++ to u1 & ! gorge\s ,f9ale ) its ?robb+ rhy?ms4 ,! fir/ movem5t is laid out on a va/ scale & holds ! att5tion ?r\gh\t1 b ! second movem5t1 not)/&+ its wondr\s !me1 suff]s f a lack ( conc5tration2 ! sweetness is s long-drawn out t we become sat$4 ,footnote #agg3 ,s*ub]t 0 ( incr$ible v]satility & fecundity2 he lit]ally tri$ 8 h& at ev]y?+3 op]as1 *ur*-music1 ensemble comb9ations4 ,s9ce1 h[ev]1 he ex]cis$ little p[] ( selection or revision mu* ( ?is music has become obsolete4 ,! joke is well-kn[n t he c\ld set a !atre notice to music1 & 8 rule = compos+ 0 ,:5 ,i h f9i%$ "o song ,i beg9 ano!r4 ,footnote #agh3 ,= an orig9al1 ?\gh at times rhapsodic1 /udy ( ,s*ub]t's vocal /yle see ,h4,t4 ,f9ck's ,songs & ,song ,writ]s1 & ! la/ *apt] ( ! ,fif? ,volume ( ! ,ox=d ,hi/ory4 ,footnote #agi3 ,s*ub]t did compose a numb] ( ,pian(orte ,sonatas 9 ! conv5tional =m1 b ) ! exception ( ! "o 9 ,a m9or !y seem diffuse & d n repres5t him at 8 be/2 !y c]ta9ly h n held _! own 9 mod]n appeal4 ,footnote #ahj3 ,= ! acc\nt ( its excit+ discov]y 9 ,vi5na by ,s*umann 9 #ahch1 aft] a neglect ( t5 ye>s1 see ! life ( ,s*ub]t 9 ,grove's ,diction>y4 ,z examples#aha = analytical comm5t we select ! ,m5uetto 9 ,b m9or f ! ,fantasia = ,pian(orte1 op4 #gh2 ! f\r? ,impromptu 9 ,a-flat major f ! set1 op4 #ij1 & ! ,b m9or ,symphony = or*e/ra4 ,! ,m5uetto1 ?\gh "o ( ,s*ub]t's simpl] pieces--! fir/ "p 9 an idealiz$ ,moz>tian ve9--yet exemplifies 9 ! ,trio "o ( ! compos]'s mo/ *>act]i/ic traits1 ! pr$ilection = ^? bewit*+ alt]nations1#ahb l sunlight & %ad[1 betwe5 ! major & ! m9or mode4 ,footnote #aha3 ,= lack ( space no "o ( ^! compositions is cit$ 9 ! ,supplem5t1 b !y are all readily available4 ,footnote #ahb3 ,?is t5d5cy is preval5t 9 folk-music1 especially t ( ! ,russians & ,sc&9avians4 ,s*ub]t1 h[ev]1 0 ! fir/ to make su* sy/ematic & arti/ic use ( ! effect4 ,= a beautiful mod]n example see ! ,spani% folk-dance by ,granados1 e4g41 ,music ,! ,impromptu 9 ,a-flat major1 "o ( sev]al equally f9e ones1 is notable = ! weal? ( its iridesc5t modulations & = ! note ( g5u9e pa?os & passion 9 ! middle portion 9 ! m9or mode4 ,s*ub]t might well say t 8 mo/ inspir$ music came f 8 sorr[s4 ,! ,unf9i%$ ,symphony requires less comm5t & elucidation ?an p]haps any o!r symphonic composition4 ,! two movem5ts are 9 def9ite ,sonata-=m--! fir/1 /rict1 ! second1 ) modifications2 b ! quality ( ! !mes is q diff]5t f t to :i* we h be5 accu/om$ 9 classical treatm5t4 ,in/ead ( ! t]se1 *>act]i/ic motive :i*1 (t5 at fir/ uncompromis+ly b>e1 impresses u z its lat5t possibilities are reveal$1 we h a s]ies ( lyric1 p]iodic melodies :i* make _! in/ant appeal4 ,9 ,s*ub]t ev]y?+ s+s2 ?us 9 ! fir/ "p ( ! ,exposition ( ! ,allegro we h ?ree di/9ct melodies3 ! introductory phrase1 ! accompanim5t figure :i* has a melodic l9e ( its own1 & ! fir/ !me prop]4 ,9 any consid]ation ( ?is "w f a pian(orte v]sion we mu/ always rememb] h[ mu* ! beauty & eloqu5ce ( ! !mes dep5d ^u ! solo in/rum5ts to :i* !y are assign$4 ,= ,s*ub]t 0 "o ( ! fir/1 z well z "o ( ! greate/1 ( ,colori/s4 ,by ! use ( ?is pictorial t]m 9 music we mean t ! tone-quality ( c]ta9 in/rum5ts--! mell[1 f>-e*o+ effect ( ! horn1 ! tang ( ! oboe1 ! passionate w>m? ( ! cl>9et#ahc--;appeals to our s5se ( he>+ 9 ! same way 9 :i* beautiful colors--! gre5 grass1 ! blue sky1 ! hues ( a sunset--delight our sight4 ,a /rik+ example ( ,s*ub]t's g5ius 9 utiliz+ tone-color to suit /ructural ne$s is f\nd 9 ! transition beg9n+ at measure #ch4 ,?is is a s+le tone on ! horn 7) a modulatory end+7 ann\nc$ =te & !n all[$ to die away1 i4e41 sf decresc5do symbol4 ,s p[]ful is ! horn 9 evok+ a _s ( susp5se & rev]y t ?is tone introduces ! beautiful1 sway+ second !me m impressively ?an a :ole s]ies ( r\t9e modulations4 ,! ,developm5t speaks = itself4 ,?\gh !re is little polyphonic treatm5t1 x holds our int]e/ by reason ( ! h>monic v>iety & ! dramatic t\*es ( or*e/ration4 ,9 ,s*ub]t we d n look = ! developm5t ( a complicat$ plot b give ourselves up unres]v$ly to ! enjoym5t ( pure melodic l9e1 c\*$ 9 t]ms ( s5su\sly delightful tone-color4 ,! transitional passage ( ! ,recapitulation 7measures #bca-bec7 illu/rates ,s*ub]t's fondness = modulation j = its own sake2 we c>e n :at ! objective po9t ( ! music may be--en?rall$1 z we are1 by ! magical %ifts ( sc5e4 ,9 ! ,second ,movem5t1 likewise1 ! *ief beauty--especially ( ! second !me--consi/s 9 ! lyric quality1 9 ! color ( ! solo in/rum5ts1 ! oboe1 cl>9et & horn1 & 9 ! enh>monic *anges1 e4g41 :]e1 9 measures #hj-ie1 ! !me modulates f ,c-%>p m9or to ,d-flat major4 ,note 9 ! or*e/ral score ! *>m+ dialogue 9 ?is passage betwe5 ! cl>9et1 oboe & flute4 ,! ,developm5t1 bas$ ^u ! second !me1 ) "s effective canonic treatm5t1 %[s t ,s*ub]t 0 by no means entirely lack+ 9 polyphonic skill4 ,at any rate he c "w wond]s ) ! horn1 = at ! close ( ! ,developm5t 7measures #acd-adb7 by ! simple device ( an octave leap1 ppp1 he v]itably transports ! li/5]1 e4g4 ,music ,! ,coda has a dream-l quality all its own4 ,footnote #ahc3 ,s appropriately call$ by ,b]lioz ! h]o9e ( ! or*e/ra4 ,web]'s p]man5t contribution to musical lit]ature has prov$ to be 8 op]as--a =m ( art n treat$ 9 ?is book4 ,b ! :ole nature ( 8 g5ius 0 s closely relat$ to ! ,romantic _s1 z %[n 9 ! intimate connection betwe5 lit]ature & music1 9 8 descriptive p[]s & 8 developm5t ( ! or*e/ra1 t = ! sake ( compreh5siv5ess "s famili>ity %\ld be ga9$ ) ! ess5tial features ( 8 /yle4 ,( ,web] x may be said ) conviction t !re is h>dly a compos] ( ackn[l$g$ rank 9 :om /yle1 i4e41 ! way & ! m$ium by :i* musical ?\ght is pres5t$1 s prevails ov] ! sub/ance ( ! ?\ght itself4 ,!re are few if any ( ,web]'s melodies :i* are notable = creative p[]1 & z a h>moni/ he 0 lam5tably weak4 ,x has be5 sca?+ly said1 ?\gh ) consid]able tru?1 t all 8 melodies are bas$ ^u an alt]nation ( tonic & dom9ant *ords6#ahd ,b :5 we consid] :at 8 !mes are meant to describe1 ! pictures !y evoke & _! or*e/ral dress1 we mu/ ackn[l$ge 9 ,web] ! t\* ( real poetic g5ius4 ,to quote ,runciman#ahe-- ,if y look1 & look rightly1 = ! "r ?+ 9 ,web]'s music1 disappo9tm5t is impossible1 ?\gh ,i admit t ! man :o pr(esses to f9d !re ! great qualities he f9ds 9 ,moz>t1 ,bee?ov51 or any ( ! giants1 mu/ be 9 a v sad case4 ,gr&eur1 pure beauty1 & high expressiv5ess are alike want+4 ,web]'s claim to a place among/ ! compos]s is support$ 9 a less] degree by ! gifts :i* he %>$1 ev5 if 8 %>e 0 small1 ) ! great] ma/]s ( music1 ?an by 8 miracul\s p[] ( vividly draw+ & pa9t+ 9 music ! ?+s t k9dl$ 8 imag9ation4 ,be+ a factor ( ! ,romantic movem5t1 t mighty rebellion aga9/ ! tyranny ( a _w ( footrules & l$g]s1 he liv$ 9 a _w :]e two & two might make five or sev5 or any numb] y pleas$1 & :]e footrules 7 unkn[n2 he took small int]e/ 9 drama tak5 out ( ! lives ( ord9>y m5 & enact$ amid/ e-day surr\nd+s2 8 imag9ation lit up only :5 he ?\ght ( haunt$ gl5s & gh\ls & evil spirits1 ! fanta/ic _w & life t goes on und]nea? ! ocean1 or ( m5 or wom5 held by gha/ly spells4 ,footnote #ahd3 ,a /rik+ illu/ration ( ?is progression 7surely ,web]'s mo/ *>act]i/ic mann]ism7 is navely suppli$ by ,we+>tn]2 :51 9 8 own or*e/ral arrangem5t ( ,web]'s ,invitation to ! ,dance1 = ! f9al climax he assembles all ! lead+ !mes 9 comb9ation--an effect made possible only by _! common h>monic basis4 ,footnote #ahe3 ,?is :ole article is well wor? read+ & may be f\nd 9 t breezy ?\gh some:at erratic volume call$ ,old ,scores & ,new ,read+s4 ,web]'s pres5t-day fame re/s ^u ! ,ov]tures to 8 ?ree op]as ( ,d] ,freis*tz1 ,euryan! & ,ob]on1 :i* are (t5 play$ 9 deta*$ conc]t =m & hold _! own = _! romantic gl[ & = ! brilliancy ( or*e/ral effect4 ,by employ+ = 8 !matic mat]ial ! lead+ melodies ( ! op]as !mselves ,web] has creat$ :at may be call$ epitomiz$ dramas :i*1 if we h any k ( :at ! titles imply1 pres5t u ) reali/ic pictures4 ,= ! use ( special tone-color to enhance ! dramatic situation ,web] is ! precursor ( t type ( or*e/ration :i* has rea*$ su* heights 9 ,wagn] & o!r mod]ns4 ,f ! above comm5ts x is evid5t t only ! b>e/ idea ( ! ,ov]tures c be ga9$ f a pian(orte v]sion2 we h select$ ,ob]on#ahf because x suff]s less ?an ei!r ( ! o!rs4 ,ev]yone1 h[ev]1 %\ld become famili> ) ! my/]i\s1 bod+ passage 9 ! introduction to ,d] ,freis*tz 7tak5 f ! sc5e 9 ! ,wolf's ,gl57 & ! ,int]mezzo f ,euryan! = mut$1 divid$ /r+s1#ahg :i* accompanies ! app>ition ( ! gho/4 ,?is is g5u9e descriptive music = x really s\nds gho/ly4 7,see ,supplem5t ,no4 #ea47 ,footnote #ahf3 ,n giv5 9 ! ,supplem5t s9ce good arrangem5ts = two & f\r h&s are num]\s4 ,to ga9 ! real effect ! /ud5t is /rongly advis$ to consult ! or*e/ral score4 ,footnote #ahg3 ,! g5esis ( s _m simil> effects 9 mod]n music1 notably 9 ,wagn]4 ,! ,ob]on ,ov]ture 9 ,d major1 beg9s ) ! inton+ ( ! motto ( ,ob]on's magic horn1 & !n foll[s a passage = mut$ /r+s 7piano e adagio so/5uto7 & = delicate comb9ations ( ! wood-w9d in/rum5ts1 :i* gives u a picture ( ! moonlit gl5s ( fairyl&1 peopl$ ) airy spirits4 ,! vision is dispell$ by a sudd5 ff *ord = full or*e/ra :i*1 f its sett+1 is "o ( ! l\de/ effects 9 music1 ?or\ghly *>act]i/ic ( ,web]'s p5*ant = dramatic contra/4 ,! ma9 body ( ! "w 7allegro con fuoco7 op5s ) a da%+ !me = ! /r+s ( great brilliancy1 mo/ typical ( ,web]4 ,?\gh we may feel t x has little sub/ance 7note ! tonic & dom9ant f\ndation ( ! h>mony7 we _c be ins5sible to its ab\nd+ vigor4 ,x is n alone ! pond]\s ?+s :i* %\ld move our imag9ations2 ev5 a soap-bubble is a wond]ful ph5om5on4 ,! !me is exp&$ to a climax1 9 measure #bh 7c\nt+ f ! allegro71 ( great sonority & consid]able h>monic boldness4 ,aft] "s rem9isc5t appe>ances ( ! introductory horn-call1 a long-su/a9$ dom9ant note introduces ! second !me :i* seems a bit cloy+1 to be sure1 b is j suit$ to ! melt+ tone-color ( ! cl>9et4 ,! clos+ !me bord]s on triviality2 ! ,exposition ends1 h[ev]1 ) "s exce$+ly brilliant improvisations on ! rhy?mic figure ( ! ma9 !me4 ,! foll[+ ,developm5t is r flimsy & we ne$ exp5d ^u x no critical p[d]4 ,web] 0 a great colori/ b n a great ar*itect4 ,^! qualities are unit$ only too seldom4 ,9 ! ,recapitulation1 :i* is %ort5$ by ! omission ( ! second !me--r ov]work$ 9 ! ,developm5t--he is once m on 8 own gr\nd ( rhy?mic life & dazzl+ or*e/ral color4 ,at ! close we are conv9c$ t ! ov]ture has accompli%$ its purpose ( graphically depict+ ! revels ( ,fairy-l&4 ,al?\gh !y are seldom#ahh play$ to-day1 no acc\nt ( ,web] w\ld be complete :i* entirely pass$ ov] 8 compositions = ! ,pian(orte1 i4e41 ! f\r ,sonatas1 ! conc]t piece 9 ,f m9or & ! orig9ally conceiv$ ,invitation to ! ,dance1 (t5 play$ 9 ! or*e/ral v]sion ( ,b]lioz :i* is s mu* bett] ?an ! inflat$1 bomba/ic "o by ,we+>tn]4 ,web] is class$ z "o ( ! f\nd]s ( ! brilliant s*ool ( pian(orte play+ :i*1 *iefly ?r\gh ! g5ius ( ,franz ,liszt1 has done s mu* to enl>ge ! sonor\s & colori/ic possibilities ( ! in/rum5t4 ,"h aga9 ,web]'s fame re/s m ^u 8 influ5ce ?an ^u la/+ a*ievem5t2 z to ! importance ( ?is influ5ce1 h[ev]1 !re c be no d\bt4 ,footnote #ahh3 ,p]haps ! :irligig ( "t may re/ore !m2 :o c say8 ,! /ud5t w be repaid = in=m+#ahi himself z fully z possible conc]n+ ,web]'s c>e] & arti/ic ideals1 = he 0 a g5u9e ?\gh e>ly expon5t ( ,romantic t5d5cies4 ,( m>k$ v]satility1 ( no mean lit]>y skill & ( su* social magnetism & *>m t he might prop]ly be consid]$ a man ( ! _w1 z well z an arti/1 ,web] 0 ?us enabl$ to d pione] "w 9 rais+ ! /&>d ( musician%ip & 9 br++ ! art ( music & ord9>y1 daily life into clos] t\*4 ,footnote #ahi3 ,! life 9 ,grove's ,diction>y is well wor? :ile2 !re are essays by ,krehbiel & o!rs &1 above all1 ! biographical & critical acc\nts 9 ! two ,fr5* s]ies3 ,les ,musici5s ,clbres1 & ,les ,matres de la ,musique4 ,,*apt] ,,xiii ,,s*umann ,,& ,,m5delssohn ,9 di/9ction f pione]s l ,s*ub]t1 slightly t+$ ) ,romanticism1 & ,web] :o1 ?\gh v]satile1 0 some:at lack+ 9 creative vigor1 ,s*umann 7#ahaj-ahef7 /&s =? z ! def9ite1 consci\s spokesman ( ! ,romantic movem5t 9 ,g]man art j z ,b]lioz 0 = art 9 ,france4 ,he 0 end[$ ) lit]>y gifts ( a high ord]1 _h a ke5 critical & hi/orical s5se & wrote freely & conv9c+ly 9 support ( 8 own views & 9 g5]\s recognition ( ! ideals ( 8 contempor>ies4 ,_m ( 8 swans1 to be sure1 prov$ lat] to be geese1 & x is debatable h[ mu* good 0 done by 8 rhapsodic praise to "y ,brahms2 :e!r 9 fact he did n set be=e ! y\ng/] a *im]ical ideal impossible ( atta9m5t4 ,s*umann e>ly came "u ! influ5ce ( ,jean ,paul ,ri*t]1 t inc>nation ( ,g]man ,romanticism1 :om he plac$ on ! same high plane z ,%akespe>e & ,bee?ov54 ,an intimate appreciation ( mu* t is fanta/ic & :imsical 9 ,s*umann is possible only ?r\gh acqua9tance ) ! "w ( ?is ,jean ,paul4 ,s*umann's fir/ compositions 7 = ! pian(orte--9 fact 8 orig9al ambition#aij 0 to be a pian(orte virtuoso--& to-day 8 p]man5t significance dep5ds on ! spontaneity 9 conception & ! fre$om ( =m manife/$ 9 ^! pian(orte works & 9 8 romantic songs4 ,"h we h ! ipsissimus ,s*umann1 z von ,bl[ s well rem>ks4 ,s*umann's pian(orte /yle is comp\nd$ ( two factors3 fir/1 8 int5sely subjective & v>i$ imag9ation :i*1 n\ri%$ by ! love ( ,romantic lit]ature1 crav$ an individual mode ( expression2 second1 a p[] ( conc5tration & ( organic /ructure :i* 0 l>gely d]iv$ f a /udy ( ,ba* & ( ! lat] works ( ,bee?ov54 ,s*umann saw t ! regul>ity ( ab/ract =m1 f\nd 9 ! purely classical writ]s1 0 n suit$ to ! full expression ( 8 moods & s he work$ out a /yle ( 8 own1 al?\gh 9 _m cases ?is 0 simply a logical amplification or modification ( =m] practice4 ,9 8 pian(orte compositions1 !n1 we f9d a /rik+ fre$om 9 ! *oice ( subject1 :i* is g5]ally indicat$ by "s poetically descriptive title1 e4g41 ,waldsc551 ,na*t/cke1 ,fantasie/cke1 ,novellett51 ,kreisl]iana1 ,humoreske1 etc4 ,! dang] 9 ?is =m ( subject matt] is t x (t5 deg5]ates into s5tim5tality c\pl$ ) a correspond+ sp9elessness ( /ructure4 ,?is dang] ,s*umann avoids by a /yle noticeable = t]s5ess & /ructural solidity4 ,8 ef=t 0 to give significance to e note2 all v]biage1 mean+less scale passages & monoton\s arpeggios 7 swept away1 :ile ! imag9ation 0 ar\s$ by ! bold use ( dissonances & by ! v>iety ( tone-color4 ,a ?or\ghly novel feature 0 ! flexibility ( ! rhy?m1 :i* breaks f ! old s+-song metres & ab\nds 9 syncopations1 9 contra/$ acc5ts1 & 9 subtle comb9ations ( metrical gr\ps2 e ef=t be+ made to avoid ! tyranny ( ! b>-l9e4 ,footnote #aij3 ,because ( an un=tunate accid5t to "o ( 8 f+]s ?is ambition1 h[ev]1 _h to be ab&on$4 ,! _w !reby ga9$ a great compos]4 ,s*umann's c>e] 0 peculi> 9 t1 beg9n+ z a pian(orte compos]1 he tri$ successively e o!r =m z well--! song1 *amb] music1 works = or*e/ra1 & = or*e/ra ) solo voices & *orus--& won di/9ction to a great] or less degree 9 e field save t ( ! op]a4 ,not)/&+ ! beauty ( poetic inspiration en%r9$ 9 ! f\r symphonies1 a grave defect is ! quality ( or*e/ral tone :i* greets ! e>1 especially ! mod]n e> accu/om$ to ! _m-hu$ sonority ( ,wagn]1 ,t*aik[sky1 ,debussy & o!rs4 ,^! symphonies h be5 call$ huge pieces = f\r h&s :i* 7 aft]w>ds or*e/rat$1 & ! allegation is n )\t tru?1 z real or*e/ral gl[ & brilliancy is s (t5 lack+4 ,ea* "o1 h[ev]1 has notable features1 e4g41 ! sublime ,adagio ( ! #b;d1 & ! t\*+ ,romanza ( ! #d?1 & ea* is wor?y ( /udy2 = ,s*umann 9 c]ta9 aspects furni%es ! be/ av5ue ( approa* to ! mod]n s*ool4 ,9 ! ,f\r? ,symphony he oblit]ates ! pauses betwe5 ! movem5ts & fuses !m all toge!r2 call+ x a ,symphony 9 e9em ,satze & anticipat+ ! v same proc$ure t ,s*nb]g foll[s 9 8 ,/r+ ,qu>tet :i* has _h rec5t vogue4 ,s*umann's *ief contribution to ! developm5t ( ! ,g]man ,song lay 9 ! pian(orte "p1 :i* ) ,s*ub]t & ,m5delssohn might prop]ly be call$ an accompanim5t1 h[ev] ri* & v>i$4 ,b 9 ,s*umann ! pian(orte atta9s to a real indep5d5ce ( /yle1 int5sify+ 9 ! mo/ subtle & delicate way e %ade ( poetic feel+ 9 ! text4 ,9 fact1 x is (t5 us$ to reveal "s deep mean+ beyond ! expressive p[] ( words4 ,?is is se5 9 ! clos+ measures ( ,moonlight :]e ! voice ceases 9 susp5se1 & ! in/rum5t completes ! eloqu5ce ( ! message4 ,s*umann's great a*ievem5t z a lit]>y man 0 8 f\nd+1 9 #ahcd1 ( ! ,neue ,zeits*rift fr ,musik1 to :i* he himself contribut$ _m /imulat+ & sugge/ive essays1 oppos+ ) might & ma9 ! ,phili/9ism :i* s p]vad$ ! music ( 8 "t4 ,he ev5 e/abli%$ an imag9>y club1 call$ ! ,davidsbund1 to /orm ! citadel ( ,phili/ia4 ,! be/ eulogy ( ,s*umann is ! recognition t _m ( ! t5d5cies 9 mod]n music1 :i* we n[ take = grant$1 date f him3 ! exaltation ( fre$om & fancy ov] m]e =mal pres5tation1 ! union ( broad culture ) musical te*nique1 & ! recognition ( music z ! art close/ 9 t\* ) ! aspirations ( humanity4 ,he 0 an ideali/ ) su* p]sev]ance & cle>ness ( aim t 8 m *>act]i/ic "w c nev] die4 ,,des ,,ab5ds4 ,! ,fantasie/cke#aia1 op4 #ab1 ( :i* ?is piece is ! fir/1 amply ju/ify _! title1 = !y ab\nd 9 so>+ ?\ghts1 9 fanta/ic1 :imsical imag9+s & 9 novel modes ( utt]ance & /ructure4 ,e numb] ( ! set is a gem1 ,9 d] ,na*t be+ p]haps ! mo/ poetic ( ,s*umann's %ort pieces = ! pian(orte4 ,!y are ?or\ghly piani/ic & evoke f ! in/rum5t all its possibilities ( sonority & color4 ,9 po9t ( texture !y illu/rate t happy comb9ation1 :i* ,s*umann work$ out1 ( lyric melodies on a firmly knit polyphonic basis4 ,!y are also programmi/ic 9 s f> z ,s*umann believ$ 9 music ( t type4 ,!re is no attempt to tell a detail$ /ory or to h ! music correspond lit]ally to def9ite incid5ts4 ,! titles m]ely af=d a v]bal clue to ! g5]al import & atmosph]e ( ! music4 ,?us 9 reg>d to ! piece "u consid]ation1 ! m]e m5tion ( ev5tide is suppos$ to be en\gh to /imulate ?\ght 9 any "o ) a s5sitive imag9ation1 & ! music is a sugge/ive expression ( ,s*umann's own intimate rev]ies4 ,! piece is 9 ext5d$ two-"p =m--ea* "p repeat$--& r\nd$ out ) an eloqu5t ,coda4 ,! rhy?mic s*eme is ( p>ticul> significance = x illu/rates n only ! compos]'s fondness = inv5t+ new comb9ations1 b1 z well1 sugge/s mo/ delicately ! mood ( ! piece4 ,x w\ld evid5tly be false art to write a piece1 entitl$ ,ev5+1 9 a vigor\s1 ar\s+ rhy?m1 su* z might be associat$ ) a noon-day sun1 :5 we (t5 see ! heat-waves danc+ ov] ! fields4 ,on ! o!r h& ,s*umann1 by a subtle bl5d+ ( triple "t 9 ! ma9 upp] melody & duple "t 9 ! l[]1 sugge/s t hazy indef9it5ess appropriate to ! "t ( day :5 ! life ( ,nature seems mom5t>ily subsid+ & ev]y?+ s9k+ to re/1 e4g4 ,music ,9 _m measures ( ! second "p 7i4e41 #ba-bd7 ! acc5t is s disguis$ t x seems z if we 7 9 a twilight rev]y1 q ap>t f matt]s ( "t & space4 ,footnote #aia3 ,z ! music is readily procurable ! /ud5t %\ld make himself famili> ) ! entire set4 ,,w>um8 ,?is piece is a happy illu/ration ( ! int5sity ( mean+ & ! concis5ess ( /ructure :i* ,s*umann ga9$ by ! application ( polyphonic imitation4 ,x is difficult to say exactly :at ,w>um signifies4 ,x 0 *>act]i/ic ( ! ,romantic unre/ ( ! ,g]man m9d to "q ev]y?+--especially ,:y am ,i n m happy 9 love8 ,! motto may be consid]$ a ,c>lyle-l ev]la/+ :y4 ,at any rate ! composition is an example ( music speak+ m pla9ly ?an words2 = no "o c fail to recognize ! haunt+ appeal 9 ! !me ) its long-drawn out f9al note aft] ! upw>d leap4 ,x is a real musical "q1 e4g4 ,music ,grill51 ! next piece 9 ! set1 des]ves c>eful /udy4 ,x is too long to pres5t z a :ole1 b we cite ! middle "p 7,see ,supplem5t ,no4 #eb7 z x is su* a conv9c+ example ( syncopat$ effect 7i4e41 ! p]si/5t plac+ ( ! acc5t on weak beats71 & ( ela/icity 9 ! metric s*eme4 ,novellette 9 ,e major4 ,?is piece illu/rates ! vigor & massiv5ess ( ,s*umann's pian(orte /yle4 ,note ! sonority ga9$ by ! use ( widely spac$ *ords4 ,= ! brilliant effect dem&$1 !re %\ld be a lib]al use ( ! damp] p$al4#aib ,we likewise f9d1 beg9n+ ) ! ?ird brace1 "s *>act]i/ic polyphonic imitations :i* give to ! movem5t a rem>kable conc5tration4 ,9 ! middle contra/+ portion x seems z if ,s*umann _h tak5 a leaf out ( ,*op9's book--a beautiful1 lyric melody float+ on an und]curr5t ( sonor\s1 arpeggio *ords4 ,! !me is pres5t$ 9 dialogue =m1 fir/ 9 ! upp] voice1 next 9 an inn] voice & f9ally 9 ! bass4 7,see ,supplem5t ,no4 #ec47 ,footnote #aib3 ,a beautiful contra/ may be made by play+ ! section 9 ,f major ) ! una corda p$al ?r\gh\t4 ,,song1 ,mondna*t4 ,no e/imate ( ,s*umann w\ld be fair or compreh5sive )\t "s m5tion ( 8 songs2 ^u :i*1 toge!r ) 8 pian(orte compositions1 8 immortality t5ds m & m to re/4 ,not)/&+ ! _m poetic & dramatic t\*es 9 ,s*ub]t's accompanim5ts1 ^? ( ,s*umann are on ! :ole m f9ely wr\ght2 = he _h ! advantage ( ,s*ub]t 9 be+1 himself1 a piani/ ( high atta9m5t1 ?or\ghly v]s$ 9 piani/ic effects4 ,8 imag9ation 0 also m s5sitive to subtle %ades ( mean+ 9 ! text & he 0 inspir$ by ! wond]ful lyrics ( ,he9e1 ,ei*5dorff & ,*amisso :o 9 ,s*ub]t's day _h writt5 v little4 ,special features ( ,s*umann's songs are ! in/rum5tal preludes & po/ludes1 ! prelude e/abli%+ j ! "r sett+ = ! import ( ! words & ! po/lude comm5t+ on ! beautiful message :i* ! voice has j deliv]$4 ,9 ,mondna*t1 = example1 7z previ\sly m5tion$71 note h[ ! voice /ops 9 susp5se & 9 :at an eloqu5t rev]y ! accompanim5t completes ! picture4 7,see ,supplem5t ,no4 #ed47 ,,ov]ture ,,to ,manfr$4 ,?is ,ov]ture1 ! fir/ ( a set ( incid5tal numb]s :i* ,s*umann compos$ to illu/rate ,byron's dramatic poem1 repres5ts "s ( 8 mo/ typical inspiration1 & s is well wor?y ( our /udy4 ,! music is labor$ at times1 especially 9 ! ,developm5t1 & ! or*e/ration is (t5 dry & /]eotyp$4 ,b ! conception 0 a p[]ful "o1 & !re is a g5u9e correspond5ce betwe5 ! nature ( ! music & ! _s ( ! poem4 ,x is evid5t t ! subject made a deep impression on ,s*umann1 ^: own imag9ation1 addict$ to my/]i\s & ev5 morbid brood+s1 0 /rongly ak9 to t ( ,byron's fictiti\s "*4 ,! composition is program music ( ! subjective ord]1 comp>able to ,bee?ov5's ,coriolanus1 i4e41 ! !mes are dramatic *>act]izations3 ! fir/ typify+ ! /ormy nature ( ,manfr$2 ! second1 ) its note ( plead+1 ! my/]i\s influ5ce ov] ! recluse ( ! _s ( ,a/>te4 ,z 9 all works ( ?is k9d ! music _c be readily appreciat$ )\t a k ( ! poem :i* x illu/rates4#aic ,z = ! /ructure1 ,s*umann cl+s too closely to ! ,sonata-=m4 ,! music is eloqu5t j 9 proportion z he gives 8 fancy free re92 :]e he tries to =ce ! !mes into an arbitr>y m\ld1 ! result is unsatisfactory--especially ! developm5t1 :i* is nei!r v dramatic nor int]e/+ f a purely musical po9t ( view4 ,! "w op5s ) ?ree spasmodic syncopat$#aid *ords1 & !n foll[ tw5ty-f\r measures 7l5to & at fir/ pianissimo7 ( a preludial nature ) sugge/ions ( ! ,manfr$ !me4 ,! movem5t becomes gradually fa/] & m impassion$ until1 9 measure #bf1 we rea* ! pres5tation ( ! fir/ !me 7allegro agitato7 :i*1 ) its frequ5t syncopations1 is *>act]i/ic ( ,manfr$'s re/less nature4 ,! transition beg9s 9 measure #ci2 at fir/ ) a repetition ( ! ma9 !me1 :i* soon modulates to ,f-%>p m9or1 9 :i* key ! second !me ent]s1 9 measure #ea4 ,?is !me--9 ?ree portions--seems to embody diff]5t aspects ( ! fem99e influ5ce ( ,a/>te4 ,! fir/ portion1 measures #ea-fa1 ) its undulat+1 *romatic outl9e1 may be said to typify ! haunt+ app>ition s real to ,manfr$'s imag9ation & yet s intangible2 ! second1 #fb-fg1 conta9s a note ( impassion$ prote/1 & ! ?ird1 #fh-gg1 is a love message ( t5d] consolation4 ,if ?is int]pretation seem too subjective1 a c>eful read+ ( ! drama :]e ,a/>te appe>s 7pp4 #bhd-bhe 9 ! ,ev]yman's ,edition7 w1 we believe1 corroborate x4 ,! re/ ( ! ,exposition consi/s 9 a treatm5t ( ! ,a/>te motive1 prim>ily ( a musical nature2 ?\gh !re is a real dramatic int5sity 9 measures #if-ajc1 :i* are an expansion ( ! love message ) its *>act]i/ic appoggiatura4 ,! ,developm5t1 beg9n+ 9 measure #acb1 is a /rik+ example ( h[ difficult x 0--ev5 = an expon5t ( fre$om 9 musical expression l ,s*umann--to break loose f ! %ackles ( arbitr>y =m4 ,! musical ?\ght is kept 9 motion1 to be sure1 b t is ab\t all2 = ! treatm5t is (t5 v labor$1 & no?+ is add$ to ! dramatic picture4 ,! _w _h to await ! "w ( ,t*aik[sky1 & ,/rauss = a satisfactory adju/m5t#aie betwe5 ! dem&s ( dramatic fitness & ! ne$s ( musical /ructure4 ,9 ! ,coda1 beg9n+ measure #beh1 ,s*umann--n[ t he is free f consid]ations ( /ructure--ga9s a dramatic effect ( truly impressive p[]4 ,! horns1 support$ by trumpets & trombones1 intone a fun]al dirge ( t\*+ solemnity 7evid5tly sugge/$ by ! clos+ dea? sc5e ( ! drama7 :ile1 above1 hov] portions ( ! ,a/>te motive1 z if ev5 9 8 dea? h] influ5ce 0 p>am\nt 9 ,manfr$'s imag9ation1 e4g4 ,music ,not)/&+ c]ta9 blemi%es1 ?is ,ov]ture at ! "t ( its composition 0 a l&m>k 9 ! developm5t ( program music1 & if to our mod]n ta/es x seems a bit antiquat$1 ?is is l>gely because ( ! great progress :i* has s9ce be5 made4#aif ,footnote #aic3 ,! poem is easily procur$ 9 a volume ( ,ev]yman's ,libr>y4 ,footnote #aid3 ,^! *ords are an amus+ example ( a pap] effect1 = unless y wat* ! conductor's beat1 x is impossible to feel ! syncopation4 ,!re be+ no fir/ beat prop]1 ! *ords are syncopat$ aga9/ ! air6 ,footnote #aie3 ,= p]t95t comm5ts on ?is po9t see ,newman's essay on ,program ,music1 pp4 #acd-ace1 9 8 ,musical ,/udies4 ,footnote #aif3 ,9 /udy+ ?is "w consult1 if possible1 ! or*e/ral score4 ,= ^? :o ne$ a cond5s$ two-h& arrangem5t1 ! ,litolff edition is to be recomm5d$4 ,,symphony ,,9 ,d ,,m9or4 ,?is ,symphony is select$ f ,s*umann's f\r1 bo? = ! peculi> romantic beauty ( its !mes & because ! =m 9 :i* x is ca/ makes x an important connect+ l9k betwe5 ! fre$om ( /ructure1 in/itut$ by ,bee?ov51 & ! ,symphonic ,poem ( ,liszt & o!r mod]n compos]s4 ,all ( ,s*umann's symphonies conta9 g5u9e beauties & %\ld be famili> to ! cultivat$ musician4 ,p]haps ! fir/ 9 ,b-flat major is ! mo/ su/a9$1 & x has a fre%ness & buoyancy summ$ up 9 its title1 ! ,spr+1 by :i* x is popul>ly kn[n4 ,! exub]ance ( ! ,f9ale is pure ,s*umann & is express$ ) an or*e/ral eloqu5ce 9 :i* he 0 frequ5tly lack+4#aig ,! ,second ,symphony is notable = its sublime ,adagio1 ,s*umann's love-song--comp>able to ! sl[ movem5t ( ,bee?ov5's ,f\r?4 ,at "s future day1 conductors w h ! c\rage to play ?is movem5t by itself l a magnific5t ,torso1 = indubitably ! o!r movem5ts h ag$ beyond recall4 ,! ,?ird ,symphony1 kn[n z ! ,rh5i% 7compos$ :5 ,s*umann 0 liv+ at ,dsseldorf on ! ,rh9e7 is significant = its incorporation ( popul> melodies f ! ,rh9el&1 & = ! movem5t1 scor$ *iefly = trombones & o!r brass in/rum5ts1 :i* gives a picture ( "s c]emonial occasion 9 ! ,cologne ,ca!dral4 ,footnote #aig3 ,x is m ?an a matt] ( m]e *ronology to realise t ! ,d m9or ,symphony 0 compos$ 9 ! same ye> z ! ,b-flat major4 ,x 0 aft]w>ds revis$ & publi%$ z ,no4 #d1 b ! vitality & spontaneity ( its !mes come f ! fir/ gu% ( ,s*umann's inspiration4 ,! ,f\r? ,symphony is an unev5 "w1 = !re are _m places :]e ,s*umann's con/ructive p[] 0 unequal to 8 ideal conceptions4 ,we (t5 c see ! jo9ts1 & ! /ructure--9 places--resembles a rag-c>pet r ?an ! organic texture ( an ori5tal rug4 ,b ! spontane\s outp\r+ ( melody t\*es our emotions & well-nigh dis>ms criticism4 ,s*umann _h con/antly be5 /riv+ = a clos] relation%ip#aih betwe5 ! conv5tional movem5ts ( ! symphony2 & 8 purpose1 9 ! /ructural treatm5t adopt$1 is indicat$ by ! /atem5t publi%$ 9 ! full score--,introduction1 ,allegro1 ,romanze1 ,s*]zo und ,f9ale 9 e9em ,satze i4e41 ! "w is to be consid]$ z a cont9u\s :ole & n brok5 up into arbitr>y movem5ts ) rigid pauses betwe54 ,! long drawn-out ,introduction1#aii ) its my/]i\s h>monies1 leads u into ! l& ( romance1 & a portion ( ?is introduction is happily c>ri$ ov] & repeat$ 9 ! ,romanze4 ,! ,fir/ movem5t prop]1 f ,lebhaft1 seems at fir/ z if x 7 to be 9 ! cu/om>y ,sonata-=m2 ! ,exposition beg9n+ ) two !mes 9 ! normal relation%ip ( m9or & relative major1 ?\gh to be sure ! second !me is m ( a supplem5t>y expansion ( ! fir/ ?an "o :i* provides a /rong contra/4 ,b aft] ! d\ble b> & repeat1 ?is fir/ !me is develop$ 9 a free preludial mann] z if x 7 cont9ually lead+ up to a climax4 ,we are f9ally rew>d$ by a new !me ( great w>m? :i* amply makes up = any lack ( individuality 9 ! second !me prop]1 e4g4 ,music ,footnote #aih3 ,we f9d traces ( ?is t5d5cy 9 ! ,fir/ ,symphony1 :]e ! ,sl[ ,movem5t & ! ,s*]zo are l9k$ toge!r1 likewise 9 ! ,second1 :]e ! motto ( ! fir/ movem5t is repeat$ at ! end ( ! ,s*]zo4 ,footnote #aii3 ,! analysis is bas$1 z usual1 on ! or*e/ral score2 = class-room /udy !re are excell5t editions = two & f\r h&s4 ,! re/ ( ! movem5t consi/s ( additional improvisations1 r too rigidly sectionaliz$1 on ! fir/ !me & a second appe>ance ( ! int]polat$ !me4 ,?is !me1 ) rhy?mic modifications1 s]ves also z ! basis = ! brilliant ,coda2 = !re is no ,recapitulation prop]1 & x is evid5t t ! movem5t is an ext5d$ prelude = :at is to come--a fir/ portion ( ! "w z a :ole4 ,aft] a dramatic pause1#bjj :i* enhances ! feel+ ( expectancy 7s prom95t 9 ! fir/ movem5t7 foll[$ by a su/a9$ modulatory *ord1 ! ,romanze beg9s ) a pla9tive !me 9 ,a m9or4 ,! mood is t ( an idealiz$ s]5ade1 & 9 ! orig9al score ! accompanim5t = ! oboe melody 0 giv5 to ! guit>#bja to secure ! appropriate atmosph]e4 ,aft] ! fir/ /atem5t ( ! !me !re is an int]polat$ quotation ( ! *>act]i/ic passage f ! introduction1 :i* s]ves to b9d ! movem5ts toge!r bo? 9 /ructure & 9 relation%ip ( mood4 ,! movem5t is 9 cle>-cut ?ree-"p =m & ! middle contra/+ section 9 ! major mode reveals a su/a9$ desc5d+ melody play$ by ! body ( /r+s1 :i* is delicately embelli%$ by an obligato v>iant giv5 to a solo viol91 e4g4 ,music ,footnote #bjj3 ,conc]t-go]s may well be rem9d$ t !re %\ld be no applause betwe5 ! movem5ts ( ?is "w4 ,"o ( ! mo/ p]nici\s ideas ( ! public is t z soon z ! music ceases1 h&clapp+ %\ld beg92 :]eas a complete sil5ce is (t5 ! v means ! compos] employs = int5sify+ :at has be5 said & prep>+ = :at is to come4 ,let u pond] ! cryptic rem>k attribut$ to ,moz>t t ! re/s 9 music are m important ?an ! notes4 ,footnote #bja3 ,?is 0 aft]w>ds )drawn z impracticable4 ,:at a pity t ,s*umann wrote be=e ! h>p z a memb] ( ! or*e/ra _h come into its own4 ,= ! mood :i* he 0 try+ to e/abli% comp>e ! scor+ ( ?is ,romanza ) t 9 ! ,sl[ movem5t ( ,franck's ,symphony4 ,at fir/ ! 'cellos1 also1 re-en=ce ?is melody4 ,music ,! effect is t ( an e!real voice comm5t+ on ! beauty ( ! ma9 !me4 ,?is obligato "p is ( special significance1 s9ce ) rhy?mic *ange x =ms ! *ief !me ( ! ,trio 9 ! foll[+ movem5t4 ,! ,romanze closes ) a simple return to ! pla9tive oboe melody1 ?is "t 9 ,d m9or4 ,! tonality is purposely indef9ite to acc5tuate ! wi/ful feel+ ( ! movem5t--! la/ *ords hav+ ! susp5se ( a dom9ant end+4 ,aft] a %ort pause we are at once :irl$ into ! da%+ ,s*]zo :i* seems to repres5t ! playful bad9age ( a ,romantic lov]4 ,! ,trio af=ds a delightful rem9isc5ce ( ! ,romanze &1 f a /ructural po9t ( view1 is an e>ly example ( ! pr9ciple ( trans=mation ( !me#bjb :i* plays s important a role 9 ! works ( ,liszt1 ,franck1 ,t*aik[sky & ,dvovrk4 ,= ! melody1 e4g41 ,music is a rhy?mic v>iant ( ! =m] obligato ( ! solo viol91 & has ?is *>act]i/ic1 :i* gives a peculi> note ( surprise1 t x always beg9s on ! ?ird beat ( ! measure4 ,foll[+ a repetition ( ! ,s*]zo ! movem5t ends eloqu5tly ) a coda-l return to ! ,trio :i*1 aft] "s modulatory *anges1 is brok5 up into deta*$ fragm5ts1 seem+ to vani% into ?9 air4 ,!re is no pause betwe5 ! end ( ! ,s*]zo & ! introduction1 bas$ on ! !me ( ! fir/ movem5t1 :i* u%]s 9 ! ,f9ale4 ,?is movem5t is 9 ,sonata-=m ) a modifi$ ,recapitulation--i4e41 ! fir/ !me is n repeat$--& ) a passionate clos+ !me1 e4g41 ,music :i* atones = ! int5tional incomplet5ess ) :i* ! fir/ movem5t ends4 ,! ma9 !me is a comp\nd ( a vigor\s m>*-l motive1 closely relat$ to "o ( ! subsidi>y phrases ( ! fir/ movem5t1 & a runn+ figure 9 ! bass--! d]ivation ( :i* is obvi\s4 ,aft] a r labor$ transition#bjc--surely ! mo/ me*anical passage 9 ! :ole "w--we are rew>d$ by a melody ( great buoyancy & rhy?mic life1 e4g4 ,music ,footnote #bjb3 ,9 ,brahms1 :o 0 some?+ ( a cons]vative z to fre$om ( =m1 !re is a /rik+ example 9 ! connection betwe5 ! second movem5t & ! ,f9ale ( ! ,?ird ,symphony4 ,footnote #bjc3 ,s*umann 0 a true poet 9 ! spontaneity ( 8 !mes1 b (t5 an unsuccessful ar*itect :5 connect+ !m4 ,! free ,fantasie beg9s ) a contrapuntal work+-out ( a figure tak5 f ! fir/ !me1 b x suff]s f a p]si/5t emphasis on :at1 aft] all1 is an un9t]e/+ rhy?m ,music2 !re is1 fur!rmore1 a rigid gr\p+ ( ! phrases 9 twos & f\rs4 ,s*umann's in/9ct 0 a wise "o 9 omitt+ ! ma9 !me ( ! ,recapitulation & 9 lead+1 z soon z possible1 to ! repetition ( ! delightful second !me--! gem ( ! movem5t--:i* n[ makes its or?odox appe>ance 9 ! tonic4 ,aft] "s ejaculatory measures1 :i* rem9d u ( ! beg9n+ ( ! ,developm5t1 we h ! impassion$ clos+ !me1 ref]r$ to above1 :i* u%]s 9 ! free & brilliant ,coda1 work$ up contrapuntally ) ev] increas+ spe$4 ,! movem5t ends ) ,s*umannesque syncopations4 ,! ,d m9or ,symphony1 ?us1 al?\gh n a p]fect "w ( art1 is a significant "o & repays intimate /udy4 ,a long life may safely be pr$ict$ = x by reason ( ! f]vor & *>m ( its melodies4 ,an important hi/orical /atus x w always hold1 = x is ! honorable ance/or ( su* great symphonies z ,cs> ,franck's 9 ,d m9or & ,t*aik[sky's 9 ,e m9or1 9 :i* we f9d ! same fre$om ( =m & ! same fusion ( mat]ial attempt$ by ,s*umann's d>+ _s4#bjd ,footnote #bjd3 ,= a detail$ & illum9at+ /udy ( ?is symphony & ( ,s*umann's /yle 9 g5]al see ! la/ essay 9 ,preludes & ,/udies by ,w4,j4 ,h5d]son4 ,ano!r excell5t essay may be f\nd 9 ,/udies 9 ,mod]n ,music by ,w4,h4 ,had[4 ,closely connect$ ) ,s*umann1 *ronologically & also by c]ta9 executive associations1 e4g41 ! ,leipsic ,cons]vatory1 is ! c>e] ( ,m5delssohn 7#ahji-ahdg74 ,!re 0 mu* 9 common betwe5 ! two2 !y bo? 7 extremely v]satile1 ( /rong lit]>y b5t & naturally drawn to ! same m$ia ( expression3 pian(orte1 solo voices & or*e/ra4 ,& yet1 s dissimil> 7 ! und]ly+ /ra9s 9 _! temp]am5ts t _! compositions1 z an expression ( _! p]sonalities1 %[ little 9 common4 ,s*umann1 z we h se51 0 fanta/ic1 my/ical1 a bold1 indep5d5t ?9k]1 ! qu9tess5ce ( ! ,romantic _s4 ,m5delssohn1 on ! o!r h&1 ?\gh n lack+ 9 poetic fancy & w>m?1 0 cauti\s--a born cons]vative2 & 8 e>ly classical tra9+1 toge!r ) ! opul5t circum/ances ( 8 life1 s]v$ z a natural *eck ^u ! fre$om ( g5ius4 ,8 dazzl+ precocity--witness ! ,midsumm] ,night's ,dream ,ov]ture1 compos$ :ile he 0 9 8 sev5te5? ye>--& a great popul> success 7 surely n ! be/ /imuli to make him delve into ! dep?s ( 8 imag9ation4 ,und\bt$ly he did a valuable s]vice1 9 8 day1 9 unit+ ! lead+ t5d5cies ( ! two s*ools3 ! exub]ant fancy ( ! ,romantic1 & ! res]ve & f9i% ( ! ,classic4 ,he has be5 aptly call$ a ,romantici/ ) a classical equipm5t4 ,if any appraisem5t be necess>y to ! detrim5t ( "o or ! o!r1 x mu/ be conc$$ t ,s*umann 0 ! great] g5ius4 ,a j e/imate ( ,m5delssohn's "w is difficult1 = 8 c>e] 0 s meteoric & 9 8 life he 0 s ov]valu$ t n[1 ) ! opposite sw+ ( ! p5dulum1 he is z (t5 und]rat$4 ,he 0 assur$ly a great arti/1 = :at he _h to say 0 beautifully express$2 ! "q h+es on ! actual wor? ( ! message4 ,) p]fect f9i% !re (t5 goes a lack ( p[] & objective en]gy2 some:at ! same diff]5ce t we feel betwe5 skillful g>d5+ & ! free vitality ( ,nature4 ,al?\gh ,m5delssohn's music delights & *>ms !re is a prevail+ lack ( t deep emotion :i* alone c move ! s\l4 ,& yet a compos] :om ,wagn] call$ ! greate/ ( l&scape pa9t]s & ^: be/ works h /ood ! te/ ( "t c by no means be scorn$4 ,8 descriptive ,ov]tures = or*e/ra3 ! ,hebrides1 ! ,midsumm] ,night's ,dream & ! ,fair ,melus9e2 8 ,v>iations ,srieuses = ,pian(orte & "s ( ! ,songs )\t ,words#bje conta9 a g5u9ely poetic message1 flawlessly express$4 ,z = ! pian(orte music1 :5 ! ,songs )\t ,words are call$ hackney$ we mu/ rememb] t only compositions ( truly popul> appeal ev] h suffici5t vogue to w>rant ! application ( ?is opprobri\s t]m4 ,9 ! pian(orte ,s*]zos & 9 ! ,rondo ,capriccioso 9 ,e major !re is )\t d\bt a vitality & a play ( fancy easi] to criticize ?an to create4 ,! preval5t mood 9 ,m5delssohn's music is "o ( sunny-he>t$ lightness & emotional satisfaction2 & if ?is be a "o-sid$ pres5tation ( life1 x is no m s1 z ,pratt well says 9 8 ,hi/ory ( ,music1 ?an ! picture ( gloom & sorr[ :i* c]ta9 o!r compos]s cont9ually emphasize4 ,! fact t 8 descriptive ,ov]tures1 j m5tion$1 h be5 surpass$--ow+ to ! rec5t expansion 9 or*e/ral possibilities ( tone-color--mu/ n bl9d u to ! beauty ( _! cont5t1 or make u =get ! impetus !y h giv5 to mod]n compos]s4 ,no "o c\ld possibly f9d 9 ! ,hebrides ,ov]ture t subtle descriptive fancy or t weal? ( or*e/ral color+ :i* exi/s 9 ,debussy's m>vell\s ,sea ,pieces2 & yet ! ,m5delssohn composition is a g5u9e reflection ( nature 9 t]ms ( music & c /ill be he>d ) su/a9$ att5tion4 ,wagn]#bjf praises highly its or*e/ral effects2 & a mod]n s*ol>1 ,cecil ,=sy?1#bjg consid]s ! tone-pa9t+ q irresi/ible4 ,a s9c]e tribute ( admiration %\ld also be paid to ,m5delssohn's ,conc]to = ,viol9 & ,or*e/ra4 ,writt5 9 ! mo/ idiomatic /yle = ! solo in/rum5t & conta9+ real viol9 melodies x is /ill "o ( ! few great works 9 its class4 ,any f9al critical e/imate ( ,m5delssohn--no matt] h[ e>ne/ ! ef=t to be absolutely fair--is inevitably involv$ ) p]sonal prejudices4 ,if 8 music appeals to any "o1 x is lik$ extremely & no "o ne$ be a%am$ ( enjoy+ x1 = x is s9c]ely felt & beautifully express$4 ,m5delssohn1 himself1 d\btless knew p]fectly well t he 0 n ,ba*1 ,bee?ov5 or ,s*ub]t4 ,= ^? ^: natures crave a m robu/ message1 m fire & a deep] passion1 !re are ! works ( ^? o!r compos]s to :i* !y may turn4 ,footnote #bje3 ,sev]al ( ^! 7 con/antly play$ by bo? ,pad]ewski & ,de ,pa*man1 two ( ! greate/ virtuosi ( our day3 surely a conv9c+ tribute6 ,footnote #bjf3 ,see ! ,ox=d ,hi/ory ( ,music1 ,vol4 ,,vi1 pp4 #hj-hd4 ,anyone :o c>es to see :at ,wagn] ow$ to ,m5delssohn may comp>e ! op5+ !me1 & its treatm5t1 ( ! ,fair ,melus9e ,ov]ture ) ! music ( ! ,rh9e ,maid5s 9 ! ,rhe+old4 ,footnote #bjg3 ,see 8 treatise on ,or*e/ration1 p4 #aid4 ,let u n[ analyze ! ,midsumm] ,night's ,dream ,ov]ture1#bjh 8 fir/ & highe/ flight to quote ,s*umann4 ,9 ?is "w we d n f9d a *>act]ization by musical means ( ! emotions ( ! dramatis p]sonae1 z 9 ! ,coriolanus ,ov]ture2 & !re is little specific correspond5ce betwe5 ! type ( !me & def9ite incid5ts1 except possibly at ! beg9n+ ( ! ,recapitulation1 :]e ! l[ tones ( ! ,bass ,tuba#bji may be ?\ght to repres5t ! snores ( ,bottom1 z ! fairies hov] ab\t him4 ,anyone famili> ) ,%akespe>e's play--& su* a k is indisp5sible = a complete enjoym5t ( ! music--w see t ,m5delssohn's object 0 to give a broad1 g5]al picture ( ! fairy _w & to int5sify1 by 8 music1 ! fancy & humor f\nd 9 ! play4 ,! introductory su/a9$ *ords1 pianissimo1 are a happy illu/ration ( 8 deftness 9 tone-pa9t+2 =1 assign$ to ! e!real flutes & cl>9ets1 !y con/itute1 z ,niecks +5i\sly expresses x1 a magic =mula :i* u%]s u into ! moonlit realm ( fairyl&4 ,! fir/ !me 9 ,e m9or 7,allegro di molto3 ?r\gh\t pp & /accato71 ann\nc$ by ! /r+s1 is a graphic repres5tation ( ! playful antics ( ! nimble elves & fairies4 ,its c\rse is twice int]rupt$ by a peculi>1 prolong$ *ord :i* seems to say1 ,hu%6 y are li/5+ to ! activities ( be+s n ( ?is e-day1 humdrum _w4 ,! fir/ !me has a second "p 9 ,e major 7beg9n+ at measure #fb7 ( a pomp\s1 m>*-l nature1 :i* may be ?\ght to repres5t ! dignity ( ,duke ,!seus & 8 tra94 ,! ,ov]ture be+ 9 complete ,sonata-=m1 !re occurs at ?is po9t a %ort transition bas$ on ! rhy?m ( ! fir/ !me2 foll[$ by a lovely cantabile melody--! second !me prop]--t typifies ! romantic love p]vad+ ! play4 ,?is !me also is exp&$ into sev]al sections2 ! fir/ ( :i* may portray ! cl[ni% ,a!nian tradespeople1 & ! second1 ! brays ( ,bottom aft] he has be5 trans=m$ into an ass1 e4g4 ,music ,footnote #bjh3 ,?is is exceptionally effective 9 ! f\r-h& v]sion--9 fact1 x 0 (t5 play$ z a pian(orte duet by 8 si/] ,fanny & himself--al?\gh ! real poetic effect is insep>ably connect$ ) ! or*e/ral treatm5t4 ,footnote #bji3 ,orig9ally ^! tones 7 play$ by ! ,ophicleide or ,s]p5t 7n[ obsolete74 ,! free fantasia1 an improvisation on ! fir/ !me--al?\gh conta9+ a few p]functory manipulations--su/a9s int]e/1 z a :ole1 by its modulations & by ! sugge/ive or*e/ral effects4 ,! clos+ measures1 :]e ! pizzicato 'cellos & d\ble basses seem to imitate ! light1 tripp+ foot/eps ( ! elves1 is g5u9ely reali/ic4 ,! ,recapitulation1 :i* beg9s ) ! same *ords z ! ,introduction1 is an illu/ration ( bondage to classic practise2 = "h !y h no dramatic significance & are m]ely a concession to r\t9e proc$ure4#baj ,! fir/ !me & ! transition1 h[ev]1 are effectively abridg$ s t ! second !me1 by f> ! mo/ appeal+ 9 ! :ole "w1 /&s out 9 great] prom95ce4 ,!n foll[s a brilliant expansion ( ! clos+ portions ( ! second !me1 until we rea* ! ,coda4 ,?is beg9s ) a rem9isc5ce ( ! fir/ !me :i* fades away into a modifi$ pres5tation ( ! ,duke ,!seus !me1 foll[$ by f\r long-drawn out ,am5s4#baa ,^! may signify ! bless+ :i*1 9 ! play1 ! elves be/[ ^u ! ,ducal h\se4 ,! ,introductory *ords dissolve ! dream :i* ! music has evok$1 & we are back once m 9 ! _w ( reality4 ,footnote #baj3 ,?is1 aft] all1 is a r subtle po9t = a boy ( sev5te5 to be call$ ^u to consid]4 ,p]haps if he _h be5 t k9d ( a boy he might n h writt5 ! ,ov]ture at all6 ,footnote #baa3 ,! ecclesia/ical =mula = an ,am5 be+ ! s-call$ ,plagal cad5ce ( subdom9ant & tonic *ords4 ,to sugge/ ! attitude :i* we ( to-day %\ld take t[>ds ,m5delssohn--he may ju/ly be admir$ z a musician ( great natural gifts1 ( high ideals & ( unusually f9i%$ te*nique 9 _m bran*es ( composition4 ,x is ungraci\s to c5sure him because he lacks ! gripp+ emotional p[] ( a ,bee?ov5 or a ,wagn]4 ,^? :o indulge 9 su* n>r[ criticism condemn only !mselves4 ,,*apt] ,,xiv ,,*op9 ,,& ,,pian(orte ,,/yle ,al?\gh ,*op9 7#ahji-ahdi7 0 less aggressively romantic ?an o!rs ( ! gr\p we h be5 consid]+1 9 _m respects 8 music repres5ts ! romantic _s 9 its faire/ bloom4 ,n ev5 yet has full ju/ice be5 done him--al?\gh 8 fame is gr[+--s9ce he is (t5 consid]$ z a compos] ( m]e salon-pieces :i*1 ?\gh captivat+1 are too gossam]-l to m]it s]i\s att5tion4 ,*op9 0 a life-long /ud5t ( ,ba*2 & mu* ( 8 music1 9 its clos5ess ( texture1 %[s unmi/akably ! influ5ce ( t ma/]4 ,toge!r ) ,s*umann1 he broke away f ! /rict =mality ( ! old classic =ms & in/itut$ ! reign ( freely conceiv$ tone-poems = ! pian(orte3 ! =m be+ condition$ by ! poetic feel+s ( ! compos]4 ,z f> z fundam5tal pr9ciples ( ar*itecture are conc]n$1 8 pieces are g5]ally simple1 model$ z !y are on ! two & ?ree-"p =m & t ( ! rondo4 ,:5 he attempt$ works ( l>ge scope1 :]e v>i$ mat]ial _h to be held toge!r1 he 0 lam5tably defici5t1 e4g41 9 8 ,sonatas4 ,9 fact1 ev5 9 su* pieces z ! tudes & ,s*]zos1 9 ! pres5tation ( ! mat]ial we f9d occasional blemi%es4 ,b !re are s _m o!r wond]ful qualities t ?is weakness may be ov]look$4 ,9 spite ( a c]ta9 defici5cy 9 =m1 ,*op9 is indisputably a great g5ius4 ,f> too mu* /ress has be5 laid on ! delicacy ( 8 /yle to ! exclusion ( ! int5sity & bold dramatic p[] t *>act]ize mu* ( 8 music to a m>k$ degree4 ,?\gh ( frail physique1#bab & ?\gh liv+ 9 an environm5t :i* t5d$ to ov]develop 8 fa/idi\s nature1 ,*op9 _h a fi]y s\l1 :i* w\ld ass]t itself ) unmi/akable =ce4 ,8 music by no means consi/s solely ( melt+ moods or languor\s sighs2 he _h a ke5 in/9ct = ! dissonant elem5t 7witness passages 9 ! ,g m9or ,ballade72 he 0 a d>+ h>monic innovator2 & mu* ( 8 music is sur*>g$ ) tragic significance4 ,a born /yli/1 he nev]!less did n avoid incessant labor to secure ! acme ( f9i%4 ,s p]fect 9 8 works is ! balance betwe5 sub/ance & treatm5t1 t !y make a direct appeal to music-lov]s ( e nation4 ,9 li/5+ to ,*op9 we are nev] consci\s ( turgidity1 ( diffus5ess1 ( labor$ treatm5t ( mat]ial4 ,all is direct1 pellucid2 poetic ?\ghts are pres5t$ 9 a conv9c+ly beautiful mann]4 ,he 0 a great colori/ z well1 & 9 8 "w we mu/ recognize ! fact t color 9 music is z di/9ct an a*ievem5t ( ! imag9ation z pr(\nd ?\ght or beauty ( l9e4 ,*op9's position 9 reg>d to program music is an int]e/+ subject = speculation4 ,few ( 8 works be> specifically descriptive titles2 & x is well kn[n t he _h little sympa?y ) ! extreme t5d5cies ( ,b]lioz & ,liszt4 ,yet !re is1 9 g5]al1 some?+ m ?an an ab/ract pres5tation ( musical mat]ial1 h[ev] beautiful4 ,! v>i$ moods ar\s$ by ! ,ballades & ,nocturnes1 ! actual pictures we see 9 ! ,polonaises1 mu/ h _h _! c\nt]p>t 9 def9ite subjective exp]i5ces 9 ! life ( ! compos]1 & s f a broad psy*ological /&po9t--ev5 9 ! abs5ce ( explanatory titles--we may call ,*op9 a ?or\ghly romantic tone-poet2 inde$1 z ,balzac says1 a s\l :i* r5d]$ itself audible4 ,footnote #bab3 ,he 0 born ( a ,poli% "m & a ,fr5* fa!r1 & ^! mix$ /ra9s ( blood acc\nt fundam5tally = ! lead+ *>act]i/ics ( 8 music4 ,f ! =m] /ra9 came ! impassion$1 romantic & at times *ivalr\s moods1 prom95t 9 all ,poli% life & art2 & f ! latt] ! grace1 *>m & f9i% :i* we rightly associate ) ! ,fr5* nature4 ,= side-lights on ,*op9's intimacy ) ,george ,s& see ! well-kn[n essays by ,h5ry ,james & ,r5 ,d\mic4 ,z ,*op9 compos$ s idiomatically = 8 *os5 in/rum5t1 ! pian(orte1 to :i* he devot$ himself exclusively1#bac no und]/&+ or adequate appreciation ( ! subtleties ( 8 /yle is possible )\t "s k ( ! nature & attributes ( ?is in/rum5t :i*1 9 our "t1 has become ! univ]sal m$ium = ! r5d]+ ( music4 ,all ( ,*op9's works 7 n only publi%$ = ! pian(orte b 7 conceiv$ 9 t]ms ( ! pian(orte2 8 /yle 9 ?is respect be+ q unique 9 ! hi/ory ( musical art4 ,= !re are noble & poetically inspir$ ?\ghts ( _m compos]s :i* may be satisfactorily pres5t$ ?r\gh a numb] ( m$ia3 pian(orte1 organ1 /r+-qu>tet or voices4 ,?is fact has be5 ! cause ( _m s-call$ transcriptions ( or*e/ral or /r+-qu>tet music = ! organ4 ,a compos]1 fur!rmore1 (t5 publi%es a "w = a c]ta9 in/rum5t :5 ! inn] evid5ce %[s t1 dur+ ! p]iod ( creation1 he actually _h "s o!r m$ium 9 m9d4 ,bee?ov5's ,sonatas ab\nd#bad 9 effects :i*1 = _! complete realization1 require an or*e/ra2 s t1 not)/&+ ! beauty ( ! ?\ght1 8 /yle is (t5 any?+ b piani/ic4 ,9 c]ta9 ( ,cs> ,franck's pian(orte works we are consci\s ( 8 pr$ilection = ! organ1 z ! _s ( ! music dem&s a su/a9$ volume ( s\nd :i* ! organ1 ) its p[]ful lungs1 alone c give4 ,b if ! full beauty ( ,*op9's conception is to be ga9$1 8 music mu/ be play$ on ! pian(orte & on no?+ else4 ,! pian(orte has1 to be sure1 sev]al limitations2 x is n p] se a l\d in/rum5t 9 comp>ison ) a trumpet or an organ1 & ! :ole nature ( its tone is evanesc5t--t is1 z soon z ! tone is produc$1 x beg9s to fade away1 decresc5do symbol4 ,?is latt] app>5t limitation1 h[ev]1 is 9 fact "o ( its mo/ sugge/ive beauties2 = no?+ is m /imulat+ to ! imag9ation ?an ! dy+ away ( a beautiful s\nd1 z may be felt 9 ! /rik+ ( a cle>-ton$ bell1 or 9 ! wond]ful dim9u5do ( ! horn4 ,?is effect1 inh]5t 9 pian(orte tone1 %\ld be m utiliz$ r ?an deplor$1 especially s9ce dwell+ on a delightful h>mony or a s+le dramatic note is a def9ite *>act]i/ic ( tempo rubato--t peculi> feature ( ,*op9's rhy?m4 ,! pian(orte c nei!r /eadily su/a9 a tone su/a9+ symbol nor increase x cresc5do symbol2 a*ievem5ts = :i* ! /r+s & ! w9d in/rum5ts are s valu$4 ,on ! o!r h&1 ! in/rum5t has ! m]its ( great sonority & m>vell\s colori/ic possibilities2 & :5 music is compos$ = ! pian(orte by "o :o und]/&s its secrets &1 fur!rmore1 :5 x is prop]ly play$1 x is q ! f9e/#bae in/rum5t ev] yet br\ght "u ! control ( a s+le p]=m]4 ,aga91 ! pian(orte is n meant = great rapidity ( utt]ance1 su* z1 = in/ance1 we associate ) ! viol91 ! flute or ! cl>9et4 ,x is1 9 fact1 (t5 play$ too fa/1 s\nd+ l a pianola or a ma*9e r ?an an in/rum5t ) a s\l4 ,if !re be no l+]+ ov] ! notes1 beautiful effects h no opportunity to be he>d4 ,rapidity & brilliance on ! pian(orte d n dep5d on s _m notes p] second b on vitality & precision ( acc5t4 ,^! admirable qualities ( ! in/rum5t are due to ! great numb] ( vibrat+ metal /r+s 79 a mod]n conc]t-gr&1 ab\t two hundr$ & ?irty1 i4e41 ?ree /r+s to ea* ( ! twelve notes ( ! sev5 octaves1 save = a few ( ! l[e/ bass notes72 to ! l>ge s\nd+ bo>d 7ab\t tw5ty-f\r squ>e feet1 on ! l>ge/ model71 & above all to ! damp] p$al :i* ,rub9/e9--s appropriately--calls ! s\l ( ! pian(orte4 ,! v t]m ,pian(orte implies a weal? ( mean+2 = a special glory ( ! in/rum5t is its p[] ( %ad+1 its flexibility ( utt]ance1 f piano to =te or vice v]sa4 ,! limits !mselves1 to be sure1 are n s /rik+ z 9 c]ta9 o!r in/rum5ts1 e4g41 ! pian(orte _c produce ! almo/ gho/ly :isp] ( :i* ! cl>9et is capable1 nor c x equal ! trumpet or ! trombone 9 int5sity or volume4 ,b x c produce a v beautiful pianissimo2 & if a s5se ( relativity be kept1 & s(t effects begun quietly en\gh1 x c be made to s\nd ) rem>kable brilliancy4 ,! pian(orte %\ld always be play$ ) a ke5 reg>d = ?is p[] ( %ad+1 ( nuance2 ! tones %\ld undulate l ! w9ds or ! waves4 ,any?+ l ! /eady so/5uto level = :i* ! organ %[s itself s fitt$ is1 except = special effects1 entirely =eign to ! nature ( ! pian(orte4 ,nor %\ld we ev] attempt to make x1 p] se1 a l\d1 ov]p[]+ in/rum5t4 ,its =te & its brilliancy are purely relative2 &1 :5 =c$ to d some?+ unsuit$ to its real nature1 x prote/s ) a h>d1 unmelodi\s tone4 ,footnote #bac3 ,! few exceptions be+ ! ,poli% ,songs1 ! ,trio = ,viol91 ',cello & ,pian(orte & ! or*e/ral accompanim5t to ! two ,conc]tos4 ,footnote #bad3 ,!re w occur to e "o num]\s passages 9 :i* ! pian(orte is expect$ to be a kettle-drum1 or :]e ! figuration is f> bett] suit$ to ! viol9 ?an to ! h& 9 connection ) keys4 ,footnote #bae3 ,?is by reason ( its comb9$ p[]s 9 melody1 h>mony & rhy?m4 ,"s ( ^! qualities x %>es1 to be sure1 ) ! organ2 b ! organ is inh]5tly lack+ 9 rhy?m1 & its solid1 block-l tones d n ex]cise ! same fasc9ation ^u ! imag9ation z d ! fleet+ s\nds ( ! pian(orte4 ,x is1 ( c\rse1 possible & desirable to enjoy bo? in/rum5ts--ea* 9 its own prop] sph]e1 & ea* = its *>act]i/ic effects4 ,likewise ! two p$als1#baf :5 _! te*nical names are und]/ood1 imply _! own mean+1 j z _! popul> designations h9t at ! way 9 :i* !y are (t5 abus$4 ,! p$al employ$ by ! "r foot1 prop]ly call$ ! damp] p$al1 is s nam$ because1 by its action1 all ! damp]s ( ! key-bo>d may be rais$ simultane\sly4 ,?is all[s ! /r+s to vibrate toge!r & to s5d =? great waves ( color$ s\nd l ^? produc$ by an ,aeolian h>p2 an effect simil> to t he>d :5 a sea-%ell is held to ! e>4 ,! pian(orte1 9 fact1 has aptly be5 call$ a h>p laid on its back to :i* ! action ( keys has be5 appli$4 ,accord+ly an op51 fl[+ /yle 7arpeggio7 is "o ( ! idioms be/ suit$ to its nature4 ,to secure prop] contra/1 a massive1 *ordal /yle is sometimes employ$ by su* compos]s z ,s*umann1 ,brahms & ,franck--ev5 at times by ,*op9 himself2 b t ! ext5d$ arpeggio 7(t5 m]ely two voices1 ) ! body ( tone secur$ by ! p$al7 is ! norm may be se5 f almo/ any page ( ,*op9's compositions4 ,! resonance & c>ry+ p[] ( ^! waves are int5sifi$ by rais+ ! lid#bag ( ! pian(orte2 = !n !y are br\ght to a focus & project$ into space4 ,! effect produc$ by rais+ ! damp]s is appropriate & beautiful1 n alone ) consonant *ords b1 at times1 equally ) *ords t are unrelat$2 :i*1 7 !y su/a9$ = long by an organ1 w\ld be intol]ably h>%4 ,b ! tone ( ! pian(orte is s fleet+ t su* a mixture ensures great brilliance & w>m? )\t undue j>gon1 & is ?us ak9 to ! bl5d+ ( /range colors by mod]n pa9t]s4 ,_m p1 9 fact1 play ! pian(orte ) too little1 r ?an too mu*1 p$al2 or ) too mu* p$al us$ ! wrong way6 ,a def9ite attempt %\ld be made to cultivate a feel+ = color & w>m? ( tone2 a h>d1 colorless tone on ! pian(orte be+ a great blemi% z x is s unnecess>y4 ,! foll[+ passage illu/rates ! above po9ts4 ,footnote #baf3 ,x is und]/ood t all ! comm5ts are bas$ on ! action ( a conc]t-gr& pian(orte1 s9ce on an upright or a squ>e--because ( me*anical limitations ( space--! effects are q diff]5t4 ,footnote #bag3 ,9 ?is connection1 ev5 at ! risk ( seem+ to prea*1 let ! advice be giv5 t no?+ %\ld ev] be put on top ( a gr& pian(orte3 nei!r fl[]s1 aft]noon tea-sets1 bird-cages1 books1 nor ev5 an aqu>ium6 ,= ! lid is n m]ely a cov]1 b an additional s\nd+-bo>d1 & mu/ always be 9 read9ess to be s us$4 ,! pian(orte z a colori/ic in/rum5t1 9 %ort1 is completely itself only :5 play$ ) ! lid rais$4 ,music3 ,,*op93 ,b>c>olle ,!re is really no su* ?+ on ! pian(orte z a pure s+le tone4 ,x is an ac\/ical law t no tone exi/s by itself1 b always g5]ates a :ole s]ies ( ov]tones#bah or upp] p>tials1 z !y are call$1 e4g4 ,music ,footnote #bah3 ,an in/rum5t design$ to re9=ce ^! upp] tones1 s t !y may be cle>ly he>d1 is to be f\nd 9 any ,physical ,laboratory4 ,t ^! tones really vibrate sympa!tically may be prov$ by /rik+ ff ,transcrib]'s ,note3 ,music example indicates sf ?is note ,music3 ,c#b ,) damp] p$al & !n press+ d[n v lightly ! keys ( ,g & ,e j above middle ,c1 ?us remov+ ! individual damp]s ( ^! notes4 ,9 a quiet room ! tones are di/9ctly audible4 ,= ano!r rew>d+ exp]im5t ( ! same nature1 see ! ,introduction to ! fir/ volume ( ,ar?ur ,:it+'s ,p$al ,/udies & ! well-kn[n treatise ( ,helmholtz4 ,ev5 :at we call ! p]fectly consonant *ord ( ,c major1 e4g41 ,music w\ld be slightly qualifi$ & color$ by ! ,b-flat1 & ?is effect has actually be5 utiliz$ by ,*op9 9 ! f9al cad5ce ( 8 ,prelude 9 ,f major1 ,no4 #bc1 e4g4 ,music ,9 ?is example ! ,e-flat mu/ be v delicately acc5t$ & bo? p$als freely us$4 ,let x be cle>ly und]/ood1 !re=e1 t ! damp] p$al--popul>ly b errone\sly call$ ! l\d p$al--has no?+ to d ) noise z su*4 ,its purpose is to amplify & color ! waves ( s\nd & ^! waves may v>y all ! way f pp to ff4 ,! dynamic gradation ( pian(orte tone is caus$ by ! am\nt ( =ce ) :i* ! hamm] /rikes ! wires2 & ?is p[] is appli$ by ! attack & pressure ( ! f+]s4 ,! damp] p$al w1 to be sure1 re9=ce =tissimo effects1 b logically x is only a means ( re9=cem5t & %\ld nev] be us$ s t a m]e ro> ( s\nd is produc$4 ,! normal pian(orte tone1 h[ev]1 is t br\ght =? 9 connection ) ! damp] p$al1 & only to ga9 an effect ( int5tional coolness & dryness d we see 9 pian(orte lit]ature ! direction s5za p$al2 passages s m>k$ be+ (t5 mo/ appropriate z a /rong contra/ to highly color$ ones4#bai ,footnote #bai3 ,= a complete & illum9at+ treatise on ! p$als & _! arti/ic use1 see ! a=esaid two volumes ( ,p$al ,/udies by ,ar?ur ,:it+ 7,g4 ,s*irm]1 ,new ,york74 ,an important adjunct ( ! in/rum5t1 ?\gh ev5 less intellig5tly us$1 is ! p$al employ$ by ! left foot2 t popul>ly kn[n z ! s(t p$al1 b ( :i* ! te*nical "n is ! una corda p$al4 ,by ?is device on a gr& pian(orte ! :ole key-bo>d is %ift$ f left to "r1 s t ! hamm]s /rike b two wires 9 ea* gr\p ( ?ree1 & ! ?ird wire ( ! set is left free to vibrate sympa!tically4 ,?us a v e!rial1 magical quality ( tone is produc$1 especially 9 ! upp] ranges ( ! in/rum5t4 ,9 ! middle regi/]1 passages play$ =te or =tissimo w h a ri*ness comp>able to ! ,g /r+ ( a viol94 ,! effect is analog\s to t ( a viol d'am\r :i* has1 z is well kn[n 7/ret*$ und]nea? ! /r+s1 :i* produce ! actual tone7 a set ( additional /r+s1 freely vibrat+4 ,al?\gh ?is una corda#bbj p$al may be us$ 9 a dynamic s5se to r$uce1 z x 71 ! size ( ! in/rum5t1 its *ief purpose is colori/ic1 i4e41 to make possible a special quality ( tone4 ,?is /atem5t is prov$ by directions 9 pian(orte lit]ature z f> back z ,bee?ov51 9 ^: ,sonatas we f9d ! dynamic m>ks ( f & ff c\pl$ ) ! proscrib$ use ( ! una corda p$al4 ,9 any case1 ?is left-foot p$al %\ld n be abus$2 =1 j because ! tone quality produc$ !reby is s beautiful & *>act]i/ic1 x soon becomes1 if con/antly employ$1 r cloy+4 ,! dynamic gradation ( tone is prim>ily a matt] = ! control ( ! f+]s1 i4e41 ! t\*4 ,! damp] p$al is = sonority & color2 ! una corda = special %ades1 & all ?ree factors--t\* & ! two p$als--are comb9$ 9 piani/ic effects :i* only a tra9$ te*nique & arti/ic judgm5t c regulate4#bba ,footnote #bbj3 ,! t]m dates f ! p]iod :5 ?is p$al controll$ ?ree %ifts3 una corda1 due corde & tre corde2 ! hamm] /rik+ respectively "o1 two or ?ree /r+s4 ,! :ole me*anism is well impli$ 9 ! ,g]man ^w ,v]s*iebung1 i4e41 ! %ov+ along--s frequ5t 9 ,s*umann's works1 e4g41 ! middle "p ( 8 ,vogel als ,prophet f ! ,waldsc551 op4 #hb1 ,no4 #g4 ,footnote #bba3 ,am]ican pian(ortes also h a middle p$al call$ ! su/a9+ p$al1 by :i* tones 9 ! l[] regi/] may be prolong$4 ,x has n prov$ to be ( great value1 ?\gh !re are occasional passages1 e4g41 ! clos+ measures ( ! second movem5t ( ,cs> ,franck's ,viol9 ,sonata1 :]e x may be effectively employ$4 ,ev5 a slight analysis ( ,*op9's /yle proves t x is bas$ ^u logical inf]5ces1 drawn f ! s]ies ( ov]tones z !y are g5]at$ & re9=c$ by ! v nature ( ! pian(orte4 ,f ! wide spac+ ( ! l[] tones ( ! s]ies ,*op9 d]iv$ ! ext5d$ gr\p+ ( 8 arpeggios1 e4g41 ,music ,music3 ,prelude1 ,no4 #ai s t ! *ord ( ! #aj?1 in/ead ( ! =m] gr\p+ )9 ! octave1 may be consid]$ ! basis ( 8 h>monic s*eme4 ,by ?is means a great ga9 0 made 9 ri*ness & sonority4 ,ano!r /rik+ feature ( ,*op9's /yle is f\nd 9 ^? gr\ps ( spray-l1 sup]add$ notes ) :i* ! melody is embelli%$4 ,x is evid5t1 9 _m cases at lea/1 t ^! tones are n m]ely embroid]y 9 ! ord9>y s5se4 ,r d !y repres5t a re9=cem5t ( ! ov]tones1 ideally or actually pres5t1 9 connection ) bass tones & *ords us$ 9 ! l[] "p ( ! musical fabric4 ,z a /rik+ example#bbb see ! long s]ies ( desc5d+ non-h>monic tones 9 ! ,coda ( ! ,b major ,nocturne1 op4 #i1 ,no4 #c1 & note ! delicate colors 9 ! clos+ arpeggio *ord 7to be play$ ) a free use ( bo? p$als74 ,footnote #bbb3 ,= a comm5t>y on ?is passage see ,d4,g4 ,mason's essay on ,*op9 9 ,! ,romantic ,compos]s4 ,music ,9 g5]al1 ,*op9's /yle is homophonic--wondr\s lyric melodies :i* seem to float on waves ( ri*ly color$ s\nd4 ,b !re is also mu* subtly us$ polyphony1 i4e41 delightful phrases 9 inn] voices & imitative effects betwe5 ! diff]5t p>ts4 ,9 comp>ison1 h[ev]1 ) ,s*umann's /yle 7:i* is l>gely on a polyphonic basis7 ,*op9 is a decid$ly homophonic compos]4#bbc ,a great deal ( int]e/+ & in/ructive read+ on ,*op9 is available & ! foll[+ works are especially recomm5d$3 ,*op91 ! ,man & 8 ,music by ,hunek]2 ! ,life ( ,*op9 by ,niecks2 ! essay on ,*op9 9 ,mason's ,romantic ,compos]s & 9 ,had['s ,/udies 9 ,mod]n ,music2 ! volume on ,*op9 by ,eli ,poire 9 ! s]ies ,les ,musici5s ,clbres2 & ! same by ,l\is ,laloy 9 ! s]ies ,les ,matres de la ,musique2 ! ,life by ,liszt 7well kn[n & mo/ valuable z com+ f a contempor>y & bro!r musician72 f9ally a some:at rhapsodic essay by ,h4,t4 ,f9ck 9 ,*op9 & ,o!r ,essays4 ,footnote #bbc3 ,= a detail$ analysis ( _m special features ( /yle see ! volume by ,edg> ,/illman ,kelly1 ,*op9 ! ,compos]4 ,we select1 z be+ ?or\ghly repres5tative1 ! foll[+ works = comm5t3 ! fir/ ,prelude1 ! ,a-flat major tude1 ! ,f-%>p m9or ,mazurka1 ! ,e-flat m9or ,polonaise1 ! ,b>c>olle & ! ,c-%>p m9or ,s*]zo4#bbd ,footnote #bbd3 ,to save space1 no "o ( ^! pieces except ! ,b>c>olle is giv5 9 ! ,supplem5t1 s9ce !y are readily accessible4 ,! ,b>c>olle1 h[ev]1 is giv5 9 ord] to make x bett] kn[n2 = al?\gh x is "o ( ! mo/ inspir$ & beautifully express$ ( all ,*op9's works1 x is he>d comp>atively seldom4 ,! be/ editions ( ! works are ^? ( ,kullak1 ,mikuli & ,kl9dwor?4 ,,prelude ,,9 ,c ,,major1 ,,op4 #bh1 ,,no4 #a4 ,?is ,prelude1 ! fir/ ( ! set ( #bd1 is an excell5t example ( ! sonority ,*op9 ga9$ f widely ext5d$ *ords 9 ! bass2 by ! use--*>act]i/ically bold--( dissonances 7measures #ac-bj71 & by ! s5su\s ri*ness ( ! clos+ measures1 9 :i* a wond]ful wave ( s\nd is produc$ ?r\gh ! damp] p$al1 9 connection ) ! bl5d+ ( ! tonic1 dom9ant & subdom9ant *ords4 ,! prelude is a k9d ( int5sifi$ ,ba* & may well be comp>$ ) t prelude 9 ! same key :i* beg9s ! immortal well-temp]$ ,clavi*ord4 ,all ! ,preludes1 = _! poetic import1 f9i%$ /yle & piani/ic effect1 are ma/]pieces ( ! fir/ rank4 ,s*umann well says ( !m3 ,!y are sket*es1 eagle's fea!rs1 all /rangely int]m+l$4 ,b 9 e piece we recognize ! h& ( ,frdric ,*op92 he is ! bolde/1 ! pr\de/ poet-s\l ( 8 "t4 ,,tude ,,9 ,a-,,flat ,,major1 ,,op4 #be1 ,,no4 #a4 ,?is tude1 des]v$ly popul>1 may be consid]$ ! example p> excell5ce ( ,*op9's /yle4 ,! lyric beauty ( ! melody1 ! fasc9at+ modulations1 ! %ades ( color alike ju/ify ! foll[+ rhapsodic comm5ts ( ,s*umann1 ,imag9e t an ,aeolian h>p possess$ all ! musical scales1 & t ! h& ( an arti/ 7 to cause !m to int]m+le 9 all sorts ( fanta/ic embelli%m5ts1 yet 9 su* a way z to leave ev]y:]e audible a deep fundam5tal tone & a s(t1 cont9u\sly s++ upp] voice1 & y w get ab\t ! "r idea4 ,b x w\ld be an error to ?9k t ,*op91 9 play+ ?is tude1 p]mitt$ e "o ( ! small notes to be di/9ctly he>d4 ,x 0 r an undulation ( ! ,a-flat major *ord1 "h & !re ?r[n al(t by ! p$al4 ,?r\gh\t ! h>monies "o always he>d 9 great tones a wondr\s melody1 :ile once only1 9 ! middle ( ! piece1 besides t *ief song1 a t5or voice became prom95t4 ,aft] ! tude a feel+ came ov] "o z ( hav+ se5 9 a dream a beatific picture :i*1 :5 already half awake1 "o w\ld gladly once m recall4 ,,mazurka ,,9 ,f-,,%>p ,,m9or1 ,,op4 #f1 ,,no4 #a4 ,z ,franz ,liszt says 9 8 life ( ,*op91 ,! ,mazurka is n only a dance1 x is a national poem1 & l all poems ( conqu]$ nations1 is %ap$ s z to let ! blaz+ flames ( patriotic feel+ %imm] out ?r\gh ! transp>5t veil ( popul> melody4 ,! *ief peculi>ity ( ! ,mazurka 7:i* is always 9 triple rhy?m1 ) a latitude 9 spe$ f ,pre/o to ,me/o7 is ! s*eme ( acc5tuation--! normal acc5t on ! fir/ beat be+ sy/ematically transf]r$ to ! second & ?ird beats4 ,we also f9d 9 ! ,mazurka frequ5t indications = ! use ( ! s-call$ tempo rubato1 a prop] conception ( :i* is s ess5tial 9 ! p]=mance ( ,*op9's music4 ,tempo rubato--s (t5 abus$6--lit]ally mean+ borr[$ "t1 is simply free rhy?m emancipat$ f rigid1 s*ola/ic bonds4 ,z ,hunek] well says1 ,*op9 mu/ be play$ 9 curves ) emotional fre$om2 j z ! he>t1 :5 excit$1 increases ! spe$ ( its pulsations1 & 9 mom5ts ( calm & depression sl[s d[n4 ,! j]ky1 really unrhy?mical play+ ( c]ta9 p]=m]s rem9ds u ( a p]son suff]+ f palpitation ( ! he>t4 ,liszt's description ( ! rubato is mo/ sugge/ive3 ,a w9d plays 9 ! leaves1 life unfolds & develops b5ea? !m1 b ! tree rema9s ! same4 ,9 ,*op91 accord+ly1 ! gr\nd rhy?m %\ld always be pres]v$1 ?\gh v>i$ ) subtle1 & yet logical fluctuations4 ,,polonaise ,,9 ,e-,,flat ,,m9or1 ,,op4 #bf1 ,,no4 #aa4 ,! ,polonaise#bbe is ! great national dance ( ! ,poles2 an impassion$ & yet /ately pageant 9 :i*1 z ,liszt says1 ,! noble/ traditional feel+s ( anci5t ,pol& are repres5t$4 ,?is dance--or r1 processional m>*--is always 9 triple rhy?m & bas$ on a def9ite rhy?mic =mula3 ei!r ,music or ,music4 ,! frequ5t fem99e end+s are also a *>act]i/ic feature1 e4g41 ! cad5ce 9 ! well kn[n milit>y ,polonaise 9 ,a major3 ,music ,to return to ! example be+ consid]$1--x is 9 ,?ree-"p =m 7,a1 ,b1 ,a1 ) ,coda7 ! fir/ "p 9 ! m9or mode2 ! second "p beautifully contra/$ by be+ 9 ,b major--introduc$ by ! impli$ enh>monic *ange f ,e-flat to ,d-%>p4 ,?is fir/ "p1 rem>kable = its passionate1 headlong impetuosity1 %\ld dispel any idea t ,*op9 0 a weak s5tim5tali/4 ,al?\gh ( a delicate con/itution he c]ta9ly _h a fi]y s\l4 ,! second "p1 sotto voce--note ! fem99e end+s--rem9ds u ( ! muffl$ music ( a milit>y b& z x passes by4 ,footnote #bbe3 ,= an acc\nt ( its orig9 see ! *apt] 9 ,hunek]'s book & ! article on ! ,polonaise 9 ,grove's ,diction>y4 ,,b>c>olle ,,9 ,f-,,%>p ,,major1 ,,op4 #fj4 ,?is composition1 9 _m ways ! mo/ wond]ful s+le piece we h f ,*op91 is ! qu9tess5ce ( 8 g5ius4 ,x seems1 9 fact1 to conta9 ev]y?+3 appeal+ melodies1 weal? ( h>mony1 bold dissonances 7note 9 p>ticul> ! #f? & #g? measures ( ! ,coda71 brilliant embelli%m5ts2 & )al1 x is writt5 9 a piani/ic /yle :i*1 = ri*ness & w>m? ( color1 is q unsurpass$4 ,x is also mo/ s9c]ely conceiv$1 int5sify+ ! sugge/iv5ess ( ! descriptive title4 ,w\ld t objective program music 7 always s true to life & to ! real nature ( music6 ,x is 9 free ?ree-"p =m1 ! fir/ "p ( a calm nature 9 :i* we are rock$ on g5tly undulat+ waves2 a m rhy?mic second "p :]e1 z ,kullak says1 ! bass seems to sugge/ ! monoton\s /ead9ess ( o>-/rokes2 an int]lude1 m>k$ dolce sfogato1 introduc$ by "s delightful modulations1 z if 9 a quiet nook ! poet 7 dream+ ( ! beauties ( love & nature2 an impassion$ return to ! *ief subject1 toge!r ) a p>tial pres5tation ( ! middle portion2 & f9ally a long & brilliant coda4 ,! composition is unique 9 romantic lit]ature = its p[] to ar\se ! imag9ation1 or1 z ,s*umann s well says1 to set p romanc+ = !mselves4 ,,s*]zo ,,9 ,c-,,%>p ,,m9or1 ,,op4 #ci4 ,! f\r ,s*]zos1 = passion & eloqu5ce1 rank among ,*op9's mo/ *>act]i/ic works1 ?\gh x seems impossible to trace a logical correspond5ce betwe5 ! =m] classic mean+ ( ! t]m ,s*]zo & ! cont5ts reveal$ to u 9 ^! poems2 save t !y are all 9 triple rhy?m1 h5ce on a dance-=m basis4 ,z ,niecks well says1 ,!re is 9 !m nei!r frolicsom5ess nor humor--su*1 = example1 z we f9d 9 ,bee?ov5's ,s*]zos--& he sugge/s t ,capriccio might be a less mislead+ designation4 ,b1 h[ev] inexplicable ! title :i* ,hunek] ?9ks ,*op9 may h appli$ 9 s]i\s je/1 !re is no d\bt ( ! uncompromis+ dignity ( ! utt]ance1 & !re is (t5 a grim irony1 a wayw>d scorn1 :i* a lib]al int]pretation might well consid] attributes ( humor4 ,^! 7 m>k$ traits 9 ,*op9's nature1 & ! ,s*]zos are _! revelation 9 t]ms ( music4 ,s*umann's well-kn[n comm5t is apropos--,h[ is gravity to clo! itself if je/ goes ab\t 9 d>k veils8 ,?is ,s*]zo 7,pre/o con fuoco7 is 9 ext5d$ ?ree-"p =m2 ! dom9ant note ( ! fir/ "p be+ "o ( fev]i% agitation1 :i* expresses itself 9 spasmodic outbur/s4 ,! second "p1 ) its broad cantabile melody ( a hymn-l "*1 reveals a calm] mood4 ,! la/ note ( ea* phrase is adorn$ ?r\gh\t ) lovely colori/ic embelli%m5ts4 ,aft] a return to ! fir/ !me1 ! second "p is also repeat$2 ?is "t ) /rik+ modulatory *anges :i* /rongly resemble ! mood ( ,wotan's ,f>ewell1 9 ! ?ird ,act ( ,wagn]'s ,valkyrie4 ,a long & fi]y coda ( new !matic mat]ial closes ! "w4 ,! major end+ is l a %aft ( light dispell+ /orm-toss$ cl\ds4 ,*op9's works are s in/9ct ) g5ius & h prov$ to be s immortal t !y may well be consid]$ z ideal witnesses to ! triumph ( quality ov] m]e quantity or s5sational display4 ,to-day1 :5 we suff] f musical bomba/1 _! ref9$ message is ( special significance4 ,,*apt] ,,xv ,,b]lioz ,,& ,,liszt4 ,,programme ,,music ,!re is no d\bt t ,hector ,b]lioz 7#ahjc-ahfi71 h[ev] v>i$ ! appeal ( 8 music to diff]5t temp]am5ts1 is an arti/ic p]sonality to be reckon$ )2 "o n to be ticket$ & laid on ! %elf4 ,al?\gh a c5tury & m has elaps$ s9ce 8 bir? ! p]man5t value ( 8 music is /ill debat$1 (t5 amus+ly en\gh1 by ^? :o seem unaw>e t1 :atev] ! !oretical rights ( ! case1 9 practice 8 pr9ciples are ! reign+ ones 9 mod]n music4 ,z ,b]lioz /&s z ! =emo/ repres5tative ( program music & nev] wrote any?+ )\t a title1 x is c]ta9 t be=e 8 music or influ5ce c be appreciat$1 ! m9d mu/ be cle>$ ( prejudice & we mu/ recognize t mod]n program music is a condition--an arti/ic fact1 n a !ory--& t ! t5d5cy t[>ds specific1 subjective expression 7:e!r manife/$ 9 song1 op]a or symphonic poem7 is a dom9ant "o among pres5t day compos]s4 ,x is true t all music is ! expression 9 tones ( ! imag9ation ( ! compos]2 true1 also1 t music mu/ fulfil c]ta9 conditions ( its own be+4 ,b imag9ations diff]4 ,t ( ,b]lioz1 = example1 0 q a new ph5om5on2 & z = ! work+ pr9ciples ( musical composition1 !y are z mu* subject to modification z any o!r =m ( human exp]im5tation4 ,b]lioz1 himself1 says t he nev] int5d$ to subv]t ! laws ( music1 only to make a new & individual use ( !m4 ,z he 0 no ab/ract mak] ( music1 8 autobiography--"o ( ! mo/ fasc9at+ 9 ! hi/ory ( art1 only to be comp>$ ) t ( ,b5v5uto ,cell9i--%\ld be famili> to all :o w\ld p5etrate ! secrets ( 8 /yle4 ,b]lioz's compositions1 9 fact1 are m specifically autobiographic ?an ^? ( any o!r notable musician4 ,bo? 9 8 music & 8 lit]>y works are ! same notes ( passionate insi/5ce on 8 own po9t ( view1 ( radical dislike = accept+ conditions z !y 7 7he says ( himself t he lov$ to make ! b>ri]s crack7 & ( fondness = brilliant outw>d effect4 ,9 consid]+ ,b]lioz1 "o is always rem9d$ ( ,mat!w ,arnold's l9es on ,byron1 :o resembles ,b]lioz s closely4 ,he taught u little2 b our s\l ,_h felt him1 l ! ?und]'s roll4 ,) %iv]+ he>t ! /rife we saw ,( passion ) et]nal law2 ,& yet ) rev]5tial awe ,we wat*'d ! f\nt ( fi]y life ,:i* s]v$ = t ,titanic /rife4 ,only realize t ,b]lioz's ,fanta/ic ,symphony 0 compos$ b tw5ty-"o ye>s aft] ,haydn's dea?1 & comp>e ! simple1 self-c5t]$ ,haydn ) ! re/less1 wide-vision$ ,b]lioz1 ( a m5tality positively omnivor\s2 :o1 9 addition to 8 musical a*ievem5ts1 0 a brilliant critic & littrateur1 a man ( travel & wide acqua9tance ) ! _w4 ,!n inde$ y w appreciate :at an enorm\s *ange _h come ov] music4 ,a m]e m5tion ( ! au?ors f :om ,b]lioz drew 8 subjects3 ,%akespe>e1 ,goe!1 ,byron1 ,scott1 ,virgil1 ,hugo1 %[s ! wide range ( 8 read+ & ! diff]5ce 9 output :i* w\ld inevitably result4 ,! previ\s imp]sonal attitude t[>ds music is %[n by ! v names ( compositions :i*1 broadly speak+ 7till ! beg9n+ ( ! #ai? c5tury7 7 seldom m ?an ,symphony1 ,sonata1 or ,qu>tet1 ,no4 s & s2 :ile ! movem5ts1 9 an equally me*anical way1 7 kn[n by ! designations ( tempo3 allegro1 adagio1 &ante1 etc4--^? s5seless t]ms1 z ,bee?ov5 himself says4 ,beg9n+ pre-em95tly ) ,b]lioz1 compos]s h _h m highly cultivat$ imag9ations1 mu* m to say2 & ! wid] range ( emotion result+ !refrom has necessitat$ diff]5ces ( =m & treatm5t4 ,a frequ5t misconception on ! "p ( ! layman is t wor?y music %\ld be s con/ruct$ t ! he>] be sp>$ all m5tal ex]tion4 ,z long z x 0 c]ta9 t a compos] w\ld pres5t j s _m !mes 9 a prescrib$ ord] & treat$ 9 ! r\t9e fa%ion1 li/5+ to music 0 a comp>atively easy task4 ,s9ce ,b]lioz1 music has made ev] great] dem&s on ! he>]2 :o only :5 8 receptivity is ( an equal degree ( cultivation ) ! creative p[] ( ! compos]1 c grasp ! full mean+ ( ! music4 ,! fir/ /ep1 !re=e1 t[>d an appreciation ( ,b]lioz is to recognize ! peculi>1 picturesque p[] ( 8 imag9ation1 :i* 0 ( an entirely new ord]1 & may be call$ musico-poetic 9 di/9ction f purely musical activity4 ,?is =m ( d\ble consci\sness is equally necess>y on ! "p ( ! he>]4 ,z ,debussy1 ! mod]n ,fr5* compos]1 s well says1 p (t5 d n und]/& or enjoy new music because x diff]s f une musique i4e41 f a conv5tional & unv>y+ type :i* !y h 9 _! m9d4 ,! real effect ( ,b]lioz's ,c>naval ,roma9 ,ov]ture1 to take a simple example1 is to complem5t & int5sify ! m5tal picture :i* any well-read p]son--or bett] /ill1 any "o :o has actually visit$ ,rome--w h ( ?is *>act]i/ic incid5t 9 ,italian life4 ,if ! "w be consid]$ m]ely z ab/ract music1 not)/&+ ! /imulation & delight caus$ by ! rhy?mic vitality & by ! or*e/ral effects1 ! real poetic purpose ( ! compos] rema9s unfulfill$4 ,?is peculi> quality ( ,b]lioz 0 p>tly ! result ( 8 fi]y excitable temp]am5t & p>tly ! reactive effect ( ! environm5t 9 :i* he f\nd himself4 ,:at an amaz+ gr\p 9 ,p>is 7beg9n+ ab\t #ahcj7 0 t ) :i* he 0 associat$6 ,de ,musset1 de ,vigny1 ,liszt1 ,ross9i1 ,mey]be]1 ,balzac1 ,dumas1 ,*op91 ,he9e1 ,delacroix1 ,gricault3 "y m5 repres5t+ e art & sev]al nationalities1 all "u ! lead ( ,hugo1 t pr9ce ( ,romantici/s2 _! object be+--revolt f conv5tional /&>ds & a complete expression ( _! own p]sonalities4 ,hugo1 z he says 9 ! fam\s preface to ,cromwell1 0 te>+ d[n ! pla/] :i* hides ! facade ( ! fair temple ( art2 ,dumas _h j demoli%$ ,rac9e2 ,gricault & ,delacroix1 by _! d>+ conceptions1 7 f\nd+ our mod]n s*ool ( pa9t+4 ,into ?is mael/rom ( revolution1 ,b]lioz--he ( ! flam+ locks1 t hairy ,romantic z ,?ack]ay calls him--flung himself ) temp]am5tal ardor2 = he 0 a born fight] & always 9 opposition to someone4 ,! audacity & dramatic en]gy ( 8 compositions are b ! natural result ( ! t5d5cies ( ! p]iod4 ,b]lioz's e>ly c>e] is ( extreme int]e/ to u ,engli%-speak+ p1 because ! fir/ /rong /imulus to 8 imag9ation came f 8 acqua9tance ) ! dramas ( ,%akespe>e4 ,9 #ahbg1 "s ( ! dramas1 7su* z ,hamlet1 & ,romeo & ,juliet7 7 play$ 9 ,p>is by an ,engli% company1 & _! effect ^u ,b]lioz 0 ov]:elm+4 ,he w\ld w&] ab\t ! /reets rav+ ( ,%akespe>e2 he promptly fell 9 love ) ! mo/ beautiful actress 9 ! tr\pe--,h5rietta ,smi?son1 :om he lat] m>ri$#bbf--;& !n began ! fr5zi$ p]iod ( compos+ & conc]t giv+1 :i* came to a climax 9 ! ,fanta/ic ,symphony fir/ p]=m$ 9 #ahcj4 ,b]lioz's c\rage & p]sev]ance are %[n by 8 w9n+ ! ,prix de ,rome1 aft] f\r failures6 ,8 two ye>s 9 ,italy 78 picture may /ill be se5 at ! ,villa ,m$ici71 replete ) amus+ & ?rill+ incid5ts1 71 on ! :ole ! happie/ p]iod ( 8 /ormy life4 ,footnote #bbf3 ,= a conv9c+ acc\nt ( ?is tragic m>riage see ! volume ( ,recollections by ,erne/ ,leg\v4 ,b we mu/ pass to "s brief comm5ts ^u ! *>act]i/ics1 pro & con1 ( 8 /yle4 ,9 ! fir/ place x 0 extremely orig9al2 %[$ little or no connection ) =m] compos]s2 has _h no imitators1 & _c be p>odi$4 ,b]lioz likewise possess$ great range ( emotion--?\gh he r>ely t\*$ ! sublime2 a p[] ( lay+ out works on a va/ scale1 &1 9 g5]al1 ( a*iev+ ) un]r+ c]ta9ty ! effects desir$4 ,! poet ,he9e said t mu* ( ,b]lioz's music rem9d$ him ( primeval mon/]s & fabul\s empires4 ,& :at a ma/] he 0 ( rhy?m6--"o ( ! greate/ 9 music6 ,prior to 8 "w1 & t ( ,s*umann among ! ,g]mans1 ! classic rhy?ms 7 becom+ r /]eotyp$2 & ! vigor\s ela/icity introduc$ by ^! two compos]s has wid5$ incalculably ! range ( dramatic effect4 ,b 8 indisputable claim to la/+ recognition is 8 g5ius 9 ! treatm5t ( ! or*e/ra4 ,b]lioz _h an inborn in/9ct = s5su\s tonal effect = its own sake1 & n z ! clo?+ ( an ab/ract idea4 ,) him ! art ( mak+ t composite in/rum5t1 ! or*e/ra1 give =? ! greate/ beauty & v>iety ( s\nd became an end 9 itself2 & f 8 +5i\s & innovat+ effects has be5 evolv$ ! or*e/ra z we he> x to-day4 ,b]lioz ?\ght1 s to speak1 9 t]ms ( or*e/ral color4 ,9 8 melodies we d n feel t ! draw+1 ! cont\r ( ! pure l9e1 is ! *ief ?+2 b t ! assignm5t ( ! melody to j ! "r in/rum5t1 & ! color-effect !reby produc$1 are integral p>ts ( ! conception4 ,not)/&+ ! fact t "s ( 8 effects are extravagant or at times biz>re1 he mu/ be cr$it$ ) reveal+ possibilities 9 or*e/ral %ad+ & color :i*1 /ill fur!r develop$ by ,wagn]1 ,/rauss & ,t*aik[sky1 h become conv5tional means ( expression4 ,"s ( 8 mo/ celebrat$ & satisfy+ works1 9 addition to ^? m5tion$1 are ! ,h>old 9 ,italy ,symphony1 ) its p]sonification by a solo viola ( ! *ief "*2 ! ,romeo & ,juliet ,symphony1 = bo? vocal & in/rum5tal =ces 7( :i* ! ball-sc5e ) its wondr\s love-melody & ! ,que5 ,mab ,s*]zo--unequall$ = da9t9ess--repres5t 8 highe/ atta9m5ts z a tone-poet7 &1 mo/ popul> ( all1 ! ,damnation ( ,fau/ bas$ on sc5es f ,goe!'s poem4 ,! bewit*+ incid5tal pieces = or*e/ra alone1 su* z ! ,ballet ( ,sylphs & ! ,rakoczy ,m>*1 are (t5 play$ at symphony conc]ts1 & are famili> to ev]yone4 ,c]ta9 blemi%es 9 ,b]lioz's music are obvi\s & ne$ n be ov]-emphasiz$4 ,!re is (t5 m /yle & outw>d effect ?an real sub/ance4 ,8 works excite1 b h[ seldom d !y exalt6 ,= he 0 frequ5tly defici5t 9 dep? ( emotion & 9 lat5t w>m?--qualities q diff]5t f ! hectic gl[ & ! fev]i% passion :i* 8 ,fr5* admir]s1 ,ti]sot & ,bos*ot1 claim to be g5u9e attributes ( musical inspiration1 ( p[] to compel univ]sal att5tion4 ,we ( o!r nations c only firmly diss5t4 ,)\t "q 8 "w has nev] succe$$ 9 call+ =? ! spontane\s love ( a l>ge body ( admir]s4#bbg ,9 an eloqu5t passage ! conductor & critic ,we+>tn] sums up ! case3 ,b]lioz w always repres5t a mile/one 9 ! developm5t ( music1 = he is ! real f\nd] ( ! mod]n s*ool4 ,he did n approa* t e?ical dep?1 t ideal purity :i* surr\nd ,bee?ov5's "n ) su* unspeakable glory1 b no compos] s9ce ,bee?ov51 except ,wagn]1 has enri*$ music ) s _m new means ( expression z ?is great ,fr5*man4 ,b]lioz1 ,liszt & ,wagn] are ! h]oes ( ! la/ half ( ! #ai? c5tury1 j z ,haydn1 ,moz>t1 ,bee?ov51 ,web] & ,s*ub]t 7 ( ! fir/4 ,footnote #bbg3 ,x is und]/ood t ?is is m]ely a p]sonal op9ion ( ! writ] & might well h be5 prefac$ by ! ,socratic x seems to me4 ,too mu* criticism rem9ds u ( w9e-ta/+--,mr4 ,s-&-,s likes port1 ,mr4 ,s-&-,s %]ry4 ,! object ( fair-m9d$ appreciation is to und]/& cle>ly j :at ea* compos] set out to d1 i4e41 :at 0 ! natural t5d5cy ( 8 individual g5ius2 !n ! only "q is3 did or did he n d ?is well8 ,x is futile to blame him because he 0 n someone else or did n a*ieve :at he nev] set out to d4 ,z ,b]lioz is1 if possible1 ev5 m idiomatic = ! or*e/ra ?an ,*op9 = ! pian(orte1 no conception ( ! real quality ( 8 message c be ga9$ f transcriptions1 h[ev] good4 ,8 works#bbh mu/ be /udi$ at fir/ h& 9 ! or*e/ral score & !n he>d 9 p]=mance by an excell5t or*e/ra4 ,"s prelim9>y acqua9tance & appreciation1 h[ev]1 ( *>act]i/ic features 9 8 /yle is possible f arrangem5ts & s we select = comm5t ! foll[+ works & movem5ts3 ,! ,fanta/ic ,symphony1 ! ,c>naval ,roma9 ,ov]ture1 ! ,ballet des ,sylphes & ! ,feux ,follets f ! ,damnation ( ,fau/1 ! ,pilgrim's ,m>* f ! ,*ilde ,h>old ,symphony & ! ,sl[ ,movem5t f ! ,romeo & ,juliet ,symphony4#bbi ,!re is mu* valuable & /imulat+ read+#bcj ab\t ,b]lioz & 8 influ5ce2 =1 z ,?ophile ,gauti] acutely rem>ks1 ,s'il fut un gr& gnie1 on peut le discut] encore1 le monde e/ livr aux controv]ses2 mais nul ne p5s]ait ni] qu'il fut un gr& c>actre4 ,! ,symphonie#bca fanta/ique1 op4 #ad1 pisode de la vie d'un arti/e1 9 five movem5ts is significant = be+ ! fir/ manife/ation ( ,b]lioz's conviction t music %\ld be yet m specifically expressive1 s9ce x is f\nd$ on a *>act]i/ic !me1 call$ l'ide fixe :i* typifies ! h]o9e1 e4g4 ,music ,footnote #bbh3 ,! be/ edition is ! complete "o1 beautifully engrav$ & ) critical comm5ts1 by ,malh]be & ,we+>tn]4 ,?is is exp5sive1 b %\ld be f\nd 9 any l>ge libr>y4 ,footnote #bbi3 ,! only citations possible 9 ! ,supplem5t are ! ,ov]ture & portions ( a few ( ! o!rs4 ,footnote #bcj3 ,p>ticul>ly to be recomm5d$ are ! foll[+3 ! essay 9 ,musical ,/udies by ,newman2 t by ,r4 ,roll& 9 ,musici5s d'auj\rd'hui 79 ,fr5* & 9 ,engli%72 ,b]lioz et la socit de son temps by ,j4 ,ti]sot2 ! essay 9 ,/udies 9 ,mod]n ,music by ,had[2 ,b]lioz's own ,mmoires 79 ,fr5* & 9 ,engli%7 & 8 ent]ta9+ essays1 ,a ,trav]s ,*ants1 ,grotesques de la ,musique & ,soires d',or*e/re2 ! excell5t rsum ( ,b]lioz's writ+s 9 ! ,amateur ,s]ies by ,w4,f4 ,ap?orp2 ! ,symphony s9ce ,bee?ov5 by ,we+>tn]2 &1 above all1 ! monum5tal "w by ,bos*ot 9 ?ree p>ts--,la ,jeunesse d'un ,romantique1 ,un ,romantique s\s ,l\is ,philippe1 ,le ,crpuscule d'un ,romantique4 ,!re is an amus+ b f> f conv9c+ assault aga9/ ,b]lioz z a programme compos] &1 to a c]ta9 ext5t1 aga9/ ,romanticism 9 g5]al1 9 ! ,new ,laocon by ,pr(essor ,irv+ ,babbitt4 ,footnote #bca3 ,on ! title page ( ! autograph copy ( ! full score is inscrib$ ! foll[+ quotation f ,k+ ,le>3 ,z flies to wanton boys are we to ! ,gods2 !y kill u = _! sport4 ,?is !me1 ) modifications appropriate to ! *anges 9 ! "* & ! environm5t1 is repeat$ 9 ea* movem5t4 ,z = ! !me itself1 frankly x does n am\nt to mu*2 x c]ta9ly fails to take our emotions by /orm or s+ itself into our he>ts4 ,b]lioz's h>monization is v bald1 & z to 8 attempts at developm5t1#bcb ! less said ! bett]4 ,( c\rse :atev] ,b]lioz writes = ! or*e/ra s\nds well2 ( t !re is no d\bt4 ,b ?is is n en\gh2 any m ?an we are conv9c$ by a p]son's /atem5ts or argum5ts m]ely because he happ5s to h a beautiful speak+ voice4 ,?is dramatization ( a musical !me 01 aft] all1 no?+ iconocla/ically new & ,b]lioz is p]fectly "r 9 claim+ t he 0 m]ely ext5d+ ! possibilities ( t same type ( !me z is f\nd 9 ,bee?ov5 himself1 e4g41 9 ! ,coriolanus ,ov]ture & to a c]ta9 ext5t 9 ! ,fif? ,symphony4 ,if1 fur!rmore1 we look back f ! dramatic & highly p]sonifi$ use made ( !mes 9 mod]n music1 9 ! works ( ,/rauss1 ,t*aik[sky1 ,franck & ev5 ,brahms 7e4g41 8 ,fir/ ,symphony ) its motto-!me7 we c see t ?is symphony ( ,b]lioz is an important l9k 9 a p]fectly logical *a9 ( developm5t4 ,?is melody1 !n1 l'ide fixe1 appe>s 9 ea* ( ! five movem5ts2 und]go+1 h[ev]1 b slight purely !matic developm5t1 be+ introduc$ & modifi$ prim>ily = dramatic purposes4 ,9 ! second movem5t1#bcc ,un ,bal1 two phrases drawn f x are sung pp by ! cl>9et z an indication t1 amid ! gaieties ( ! dance1 ! vision ( ! belov$ "o is ev] pres5t4 ,9 ! ,scne aux ,*amps x is modifi$ & eloqu5tly declaim$ by ! flute & oboe1 e4g4 ,music ,footnote #bcb3 ,dannreu!r1 9 8 essay 9 ! ,six? ,volume ( ! ,ox=d ,hi/ory ( ,music1 speaks ( ! peculi> process ( rabbet+ :i* s]ves ,b]lioz 9 ! place ( c\nt]po9t1 & ! criticism1 ?\gh cau/ic1 holds mu* tru?4 ,footnote #bcc3 ,?is movem5t is also ( int]e/ z an e>ly example ( ! ,waltz among ! conv5tional symphonic moods4 ,! example has be5 foll[$ by ,t*aik[sky 9 ! ?ird movem5t ( 8 ,fif? ,symphony4 ,at ! close ( ! movem5t occurs "o ( ,b]lioz's mo/ novel & reali/ic effects--! imitation ( ! rumbles ( di/ant ?und] produc$ by f\r kettle-drums tun$ 9 a v peculi> way 7see page #ge ( ! or*e/ral score1 ,breitkopf & ,hrtel edition74 ,9 ! f\r? movem5t1 ,m>*e au ,supplice1 f\r measures ( l'ide fixe are introduc$ j at ! mom5t :5 ! head ( ! h]o is to be *opp$ (f4 ,?is is done = purely !atric purposes & c]ta9ly makes our fle% creep--z ,b]lioz no d\bt int5d$4 ,! mo/ spectacul> effect1 h[ev]1 is 9 ! la/ movem5t1 ,songe d'une ,nuit du ,sabbat1 :]e ! !me is p>odi$ to typify ! degrad$ appe>ance :i* ! belov$ "o takes 9 ! di/ort$ dreams ( h] lov]1 e4g4 ,music ,! impression made by ! ,symphony dep5ds l>gely ^u ! attitude ( ! he>]4 ,9 ?is "w we are n to look = ! sublimity & emotional dep? ( a ,ba* or ,bee?ov5 any m ?an we expect a :imsical com$y ( ,ari/ophanes to resemble an epic poem ( ,milton4 ,b = d>+ imag9ation1 = rhy?mic vitality & c]ta9ty ( or*e/ral effect1 x 0 & rema9s a "w#bcd ( g5ius4 ,footnote #bcd3 ,= fur!r comm5ts on ?is ,symphony see ,mr4 ,mason's essay 9 ! ,romantic ,compos]s1 an essay :i*1 :ile ?\ghtful1 /rikes ! writ] z some:at bias$4 ,,! ,,c>naval ,,roma9 ,,ov]ture 7,,see ,,supplem5t ,,no4 #eg7 ,?is "w is "o ( ,b]lioz's mo/ brilliant pieces1 ) an or*e/ral life & color all its own4 ,! mat]ial is tak5 f 8 op]a ,b5v5uto ,cell9i2#bce ! *ecqu]$ c>e] ( ?is arti/ hav+ made an irresi/ible appeal to ,b]lioz's love ( ! unusual & ! spectacul>4 ,! body ( ! "w is bas$ on ! ,italian national dance1 ! ,salt>ello2 & ) ?is rhy?m z a /eady+ backgr\nd ,b]lioz a*ieves a cont9uity sometimes lack+ 9 8 "w4 ,! m]e ?\ght ( ! sights1 s\nds & colors ( t important ev5t 9 ! life ( ,rome w\ld be en\gh to inflame 8 susceptible imag9ation1 & s "h we h ,b]lioz at 8 v be/4 ,! ov]ture beg9s1 allegro assai con fuoco1 ) a p>tial ann\ncem5t ( ! salt>ello !me by ! viol9s & violas1 freely imitat$ by ! wood-w9d in/rum5ts1 e4g4 ,music ,footnote #bce3 ,= an ent]ta9+ acc\nt ( ! subject matt] ( ! op]a see ,*apt] ,,vii ( ,bos*ot's ,un ,romantique s\s ,l\is ,philippe4 ,aft] a sudd5 prolong$ sil5ce & "s cresc5do trills ! fir/ p]iodic melody is introduc$1 sung by ! ,engli% horn--! tune tak5 f an aria ( ,b5v5uto 9 ! fir/ act4 ,! melody is soon repeat$ 9 ! dom9ant key by ! violas & !n1 treat$ canonically1 by ! 'cellos & viol9s4 ,! canon really tells & %[s t ,b]lioz1 z is (t5 alleg$1 0 n altoge!r lack+ 9 polyphonic skill4 ,! rhy?m is n[ gradually quick5$ & leads to ! ma9 body ( ! "w1 9 #f_/h "t1 bas$ on ! ,italian folk-dance--! ,salt>ello :i*1 z its "n implies1 is ( a skipp+ nature4 ,! music is freely develop$ f ! two foll[+ !mes2 !re is no second !me prop]1 e4g4 ,music3 7a7 ,music3 7b7 ,t[>d ! close !re is a return to ! introductory melody :i* is treat$ contrapuntally by ! bassoons & o!r w9d-in/rum5ts4 ,! salt>ello resumes its sway & is work$ up to a fi]y end+2 especially brilliant are ! clos+ *ords scor$ = full brass ) trills on ! cornets4 ,two ( ,b]lioz's mo/ poetically conceiv$ descriptive pieces are ! ,m5uet des ,feux-,follets & ! ,ballet des ,sylphes1 incid5tal or*e/ral numb]s f ! ,damnation ( ,fau/2 = !y illu/rate conv9c+ly :at "o means by ! claim t ,b]lioz ?\ght 9 t]ms ( or*e/ral color & sugge/ion4 ,to give a musical picture ( su* airy & fanta/ic imag9+s by ! m]e repetition ( conv5tional =mulae w\ld obvi\sly be ( no avail4 ,b]lioz's g5ius is equal to ! situation2 & z we li/5 to ! music we c really see ! flick]+ ( ! ,w o' ! ,wisps & feel ! graceful sway+ ( ! ,sylphs z !y hov] ab\t ! sleep+ ,fau/4 ,to sugge/ ! ,feux-,follets ,b]lioz +5i\sly gives ! !me to two piccolos 9 ?irds1 :i* are support$ by a ri* b subdu$ mass ( w9d in/rum5ts1 horns & trumpets1 e4g4 ,music ,) equal felicity does he create ! picture ( ! delicate1 graceful ,sylphs4 ,any boi/]\s rhy?mic activity w\ld be q out ( place2 & s1 above a su/a9$ gr\nd tone on mut$ 'cellos & basses 7:i* cont9ues ?r\gh ! piece71 & ! slighte/ suspicion ( motion on ! second viol9s & violas1 !re floats 9 ! fir/ viol9s "o ( ! mo/ p]fectly r\nd$ & exquisite melodies 9 exi/5ce1 e4g4 ,music ,9 ! clos+ measures !re is a *>m+ %ad[y dialogue betwe5 kettle-drums 7/ruck ) sponge-head$ /icks7 & h>ps1 9 h>monics1 c>ry+ out ,b]lioz's /age directions--,les esprits de l'air se balanc5t quelque temps aut\r de ,fau/ endormi et disp>aiss5t peu peu4 ,! piece ends ) a *ord b>ely :isp]$ on ! cl>9ets1 pppp1 :i*1 z ,had[ aptly sugge/s1 rem9ds u ( vani%+ soap bubbles4 ,b]lioz's mo/ su/a9$ & p]fect "w1 bo? 9 cont5t & treatm5t1 is univ]sally ackn[l$g$ to be ! ,h>old en ,italie ,symphony#bcf 9 f\r movem5ts = full or*e/ra & solo viola4 ,!re is little actual correspond5ce betwe5 ! sc5es ( ,byron's poem & ! musical portrayal2 & 9 fact1 z ,liszt says1 ,! title cle>ly %[s t ! compos] wi%$ to r5d] ! impression :i* ! magnific5t nature ( ,italy c\ld n fail to make on a s\l su* z t ( ,h>old langui%+ 9 sorr[4 ,! significant features ( ! "w are ! melody = solo viola1 recurr+#bcg 9 ea* movem5t1 :i* typifies ,h>old--t melan*oly dream]1 e4g41 ,music & ! dazzl+ s5sationalism ( ! ,f9ale 7,orgy ( ,brig&s7 :i*1 :5 x 0 once play$ con amore by a f9e or*e/ra1 call$ =? f ,b]lioz ! foll[+ eulogy1--,sublime6 ,i ?ank y1 g5tlem51 & ,i wond] at y2 y are p]fect brig&s4 ,! f9ale is also notable 9 t ! op5+ portion is a rem9isc5ce1 a pass+ 9 review1 ( ! *ief !mes ( ! prec$+ movem5ts4 ,b]lioz1 we may surmise1 0 foll[+ ! prec$5t e/abli%$ by ,bee?ov5 9 ! f9ale ( ! ,n9? ,symphony1 &1 al?\gh 8 treatm5t is r me*anical & lack+ 9 any su* dramatic logic z ju/ifi$ ,bee?ov51 a c]ta9 organic connection betwe5 ! movem5ts is und\bt$ly secur$4 ,a portion ( ! second movem5t1 ,m>* ( ,pilgrims s++ ! ev5+ pray]1 is cit$ 9 ! ,supplem5t 7,see ,no4 #eh7 *iefly because x is "o ( ,b]lioz's noble/ inspirations1 giv+ an eloqu5t picture ( a procession approa*+1 pass+ by & los+ itself 9 ! di/ance--a long cresc5do & dim9u5do4 ,at e eigh? measure ! ,m>* melody is int]rupt$ by ! muffl$ *ant ( ! pilgrims1 v effectively scor$ = brass in/rum5ts1 pianissimo4 ,9 ! middle ( ! piece a contra/ is ga9$ by ! introduction ( a religi\s *ant4 ,! clos+ measures ( ?is movem5t are ( haunt+ beauty--a my/]i\s effect be+ produc$ by an int5tional mixture ( tonalities 7! su/a9$ ,b 9 ! flute & oboe be+ answ]$ by a ,c on ! horns & h>p1 :ile b5ea? are he>d fragm5ts ( ! ,m>* !me 9 ! ma9 key on ! pizzicato d\ble basses74#bch ,b]lioz's mo/ pret5ti\s or*e/ral composition is t call$ 9 ! full title ,romeo & ,juliet1 dramatic symphony1 ) *oruses1 vocal solos1 & a prologue 9 *oral recitative1 compos$ aft] ,%akespe>e's trag$y4 ,not)/&+ _m t\*es ( g5ius1 x is a v unev5 "w & is too mu* a conglom]ate ( /yles--n>rative1 lyrical1 dramatic1 !atric & symphonic--= ! con/ructive ability ( ! au?or to weld into a liv+ :ole4 ,!re are sev]al portions :i*1 h[ev] noble & glori\s may h be5 ,b]lioz's conception1#bci & h[ev] inspir$ by ,%akespe>e's g5ius1 d n come (f4 ,two ( ! numb]s1 on ! o!r h&1 are wor?y ( ! highe/ praise--! ,love ,sc5e & ! ,que5 ,mab ,s*]zo4 ,( ! latt] ,sa9t-,sans writes--,! fam\s ,s*]zo is wor? ev5 m ?an its reputation4 ,x is a miracle ( lightness & gracefulness4 ,beside su* delicacies & transp>5cies ! f9esses ( ,m5delssohn 9 ! ,midsumm] ,night's ,dream seem heavy4 ,! ma9 !me is fasc9at+ 9 its da9t9ess & sp>kle1 e4g4 ,music ,b]lioz consid]$ ! ,love ,sc5e 8 f9e/ inspiration & !re are few pieces comp>able ) x = passionate utt]ance4 ,! or*e/ration is wond]ful = ri*ness & v>iety4#bdj ,footnote #bcf3 ,= an ext5d$ analysis ( ! "w & also = an acc\nt ( ! alleg$ connection ( ! virtuoso ,pagan9i ) its composition1 see ! essay 9 ,niecks' ,program ,music4 ,!re are1 9 addition1 int]e/+ comm5ts 9 ,/ories ( ,symphonic ,music by ,lawr5ce ,gilman4 ,footnote #bcg3 ,an e>ly example ( ! mod]n pr9ciple ( trans=mation & transf]5ce by !me4 ,footnote #bch3 ,a /rik+ illu/ration ( association ( ideas may be ga9$ f a comp>ison ( ! end ( ?is movem5t ) ! clos+ measures ( ,/rauss's ,?us ,spake ,z>a?u/ra2 x seems incr$ible t ,/rauss did n h ,b]lioz's effect 9 8 m9d4 ,footnote #bci3 ,see ! ,mmoires = a rhapsodic acc\nt ( 8 /ate ( m9d at ?is "t--bask+ 9 ! w>m rays ( ,%akespe>e's imag9ation & believ+ x 9 8 p[] to arrive at ! m>vell\s isl& :]e rises ! temple ( pure ,art4 ,footnote #bdj3 ,= ext5d$ comm5ts & a long citation ( ! actual music see ! ,six? ,volume ( ! ,ox=d ,hi/ory ( ,music4 ,aft] a c>eful /udy ( ! =ego+ examples ! read]1 we hope1 is 9 a position to make a fair e/imate ( ,b]lioz's p[] & to realize 8 great significance4 ,x %\ld be und]/ood t ?is music is int5sely subjective & s requires a sympa!tic & cultivat$ attitude on ! "p ( ! li/5]4 ,to ! writ] at lea/1 !re rema9s "o vital lack 9 ,b]lioz's music1--t ( ! dissonant elem5t4 ,x (t5 seems z if 8 conceptions c\ld n be fully realiz$ = want ( %e] musical equipm5t1 l>gely due to insuffici5t e>ly tra9+4 ,= :at is music )\t dissonance8 ,surely flat1 /ale & unpr(itable ev5 if1 9 ,b]lioz's case1 ?is defici5cy is (fset by great rhy?mic vitality & gorge\s color4 ,yet 9 8 be/ works#bda !re is su* a /rong note ( individuality1 inde$ su* real "*1 t !y are des]v+ ( s9c]e respect & admiration1 al?\gh by ev]ybody !y may n be deeply lov$4 ,we %\ld1 fur!rmore1 always rememb] t1 if ,b]lioz's pov]ty ( h>monic effect is sometimes annoy+1 he nev] falls into ! humdrum ruts ( ^? :o h _h a /]eotyp$ academic tra9+4 ,8 g5ius 0 unhamp]$ by any conv5tional h>monic vocabul>y1 & h5ce x c\ld always express itself freely4 ,t he 0 a real g5ius no "o c fairly d\bt4 ,footnote #bda3 ,= valuable analytical comm5ts on ,b]lioz's or*e/ral /yle see ,vol4 ,,viii1 ,*apt] ,x1 ( ! ,art ( ,music 7,cs> ,sa]*+]1 ,n4,y471 & = biographical details & matt]s ( g5]al import1 ,vol4 ,,ii1 ,*ap4 ,,ix4 ,all ! qualities :i* h be5 enum]at$ z typical ( ! romantic temp]am5t3 w>m? ( s5tim5t1 broad culture1 love ( color & ! s5su\s side ( music1 fre$om ( =m1 & /ress laid on ! or*e/ra z ! mo/ eloqu5t means ( expression1 rea* _! climax 9 ,franz ,liszt 7#ahaa-ahhf74 ,born ne> ,vi5na ( a ,hung>ian fa!r & a ,g]man "m1 b *iefly associat$ ) ,p>is1 ,weim>1 ,budape/ & ,rome1 he is c]ta9ly ! mo/ picturesque & v]satile figure 9 ! music ( ! #ai? c5tury2 = he work$ & won fame z a pian(orte virtuoso--probably ! greate/ ! _w has kn[n--z a prolific compos] = pian(orte1 or*e/ra & voice1 z a tea*]1 conductor & man ( lett]s1 & )al sp5t a l>ge "p ( 8 "t1 /r5g? & =tune 9 help+ "y arti/s & 9 produc+ works :i* o!rwise might nev] h se5 ! light4 ,8 life is ( con/ant & v>i$ int]e/1 s spectacul> at times t x seems l a fairy tale4#bdb ,z a m]e boy he began to receive adulation = 8 precocity2 at ! height ( 8 c>e] he 0 load$ ) honors & weal?2 9 8 old age he 0 a favorite ) ev]yone ( di/9ction & influ5ce 9 ,france1 ,g]many1 ,engl& & ,italy4 ,nev]!less he pres]v$1 ?r\gh\t1 ! integrity ( 8 "* & ! nobility ( 8 disposition4 ,:atev] may be ! f9al e/imate ( 8 p[]s z a creative arti/1 z a man he has e>n$ no?+ b eulogy2#bdc = seldom has any "o be5 fre] f ! faults ( vanity1 petty jeal\sy & envy :i* s (t5 m> ! arti/ic temp]am5t4 ,liszt's g5]\s enc\ragem5t & f9ancial support ( ,wagn] 9 ! /ruggl+ days ( 8 unpopul>ity h nev] be5 surpass$ 9 ! bro!rhood ( art4 ,footnote #bdb3 ,! be/ biographies 9 ,engli% are ! "o by ,hunek] & t 9 ,vol4 #b ( ,grove's ,diction>y4 ,footnote #bdc3 ,= a lively description ( 8 influ5ce z a pian(orte tea*] see ,music ,/udy 9 ,g]many by ,amy ,fay4 ,liszt is ak9 to ,b]lioz 9 _m respects2 we feel ! same natural t5d5cy to d]ive musical inspiration f ext]nal s\rces1 poetic1 pictorial or f ! realm ( ,nature4 ,purely z a musician1 h[ev]1 ,liszt 0 f> great]1 ) a wid] vocabul>y & m p[] 9 !matic developm5t4 ,8 "w also is some:at unev52 mom5ts ( real beauty alt]nat+ ) passages :i* are trivial1 bomba/ic or m]e lifeless padd+4 ,:5 we be> 9 m9d ,liszt's unp>allel$ v]satility1 8 output 9 quantity & v>iety is s amaz+--!re be+ well ov] #a1jjj works ( ab\t e k9d--t x is unfair to expect ! /yle to be z f9ely wr\ght z ! orig9al conception is noble4 ,a s]i\s & unbias$ /udy ( 8 be/ compositions w conv9ce "o t ,liszt is entitl$ to high rank z a musician ( g5u9e poetic inspiration4 ,! av]age music-lov] is prone to dwell ^u him z ! compos] ( ,les ,prludes1 ! ,hung>ian ,rhapsodies1 & z ! some:at fla%y transcrib] ( op]atic potp\rris1 su* z ! ,rigoletto ,fantasie4 ,b ,les ,prludes1 not)/&+ a c]ta9 *>m & ! clev] mann] 9 :i* ! music 7)\t becom+ m9utely descriptive7 supplem5ts ! poem ( ,lam>t9e1 is yet b>r$ f ! fir/ rank by its mawki%ness ( s5tim5t & by its cloy+ h>monies4 ,! mo/ significant among ! symphonic poems are ,orpheus ) its *>act]i/ic cresc5dos & dim9u5dos2 ,tasso ( great nobility & pa?os1 & ,mazeppa1 a v]itable t\r de =ce ( descriptive writ+4 ,to he> any "o ( ^! ma/]pieces c n fail to alt] ! op9ion ( ^? :o may h consid]$ ,liszt z exclusively giv5 ov] to s5sational effects4 ,z = ! ,hung>ian ,rhapsodies1 :i* ,liszt int5d$ z a k9d ( national ballade & s1 = ! basic !mes & rhy?ms1 drew l>gely on ,hung>ian ,folk music1 "h aga9 ! public1 ) its fondness = be+ dazzl$1 has laid exclusive /ress on ! fla%y ones to ! detrim5t ( ^? conta9+ mu* t is noble & ( endur+ wor?4 ,9 8 transcriptions ( /&>d songs ,liszt did z valuable a public s]vice z any popul>iz]1 & has !reby made famili> ! melodies ( ,s*ub]t & ,s*umann to hundr$s :o o!rwise w\ld "k no?+ ( !m4 ,9 consid]+ ,liszt's pian(orte works we mu/ rememb] t he 0 a born virtuoso ) a natural fondness = exploit+ ! possibilities ( 8 in/rum5t1 & ) an amaz+ te*nique z a p]=m]4 ,:5 ! s9c]ity ( a compos] is 9 "q !re is a great diff]5ce z to :at %\ld be ! /&>d ( judgm5t1 :e!r ! "w be = or*e/ra or = pian(orte4 ,9 writ+ = or*e/ra ! compos] naturally c5tres himself on ! pure ideas & _! treatm5t1 z ! execution is some?+ entirely ext]nal to himself4 ,9 works = pian(orte1 h[ev]1 ! compos] :o is also a virtuoso w (t51 & q ju/ifiably1 introduce passages ( purely piani/ic effect :i* 9 o!r circum/ances w\ld am\nt to a confession ( defici5t imag9ation4 ,t ,liszt at times abus$ 8 facility 9 decoration ne$ n be ga9said1 & yet h[ poetic & eloqu5t are 8 be/ pian(orte compositions6--! tudes1 ! ,waldesraus*51 ! ,ballade &1 above all1 ! ,sonata 9 ,b m9or4#bdd ,mu* unju/ criticism has be5 exp5d$ ^u ,liszt = treat+ ! pian(orte l an or*e/ra4 ,z a matt] ( fact he wid5$1 9 a p]fectly legitimate way1 ! possibilities ( ! in/rum5t z to sonority1 weal? & v>iety ( color-effect4 ,accord+ to ! te/imony ( contempor>y colleagues1 ,rub9/e91 ,taussig & von ,bl[ :o1 _h !y n be5 conv9c$ ( 8 supremacy1 might well h be5 jeal\s1 ,liszt 0 inconte/ably ! greate/ int]pret] ( ,ba*1 ,bee?ov5 & ,*op92 & 8 p[] z a ,bee?ov5 s*ol> is atte/$ by ! poetically annotat$ edition ( ! ,sonatas4 ,x is (t5 ass]t$ t ,liszt lack$ spontane\s melodic inv5tion4 ,?is is a h>d say+ unless tak5 9 a relative s5se4 ,we may grant t ,liszt 0 nei!r a ,s*ub]t nor a ,moz>t1 & yet recognize 9 8 works "s extremely haunt+ melodies4 ,8 creative p[] 0 ackn[l$g$ by ,wagn] & 9 a v practical mann]4 ,9 fact1 aft] a comp>ative /udy ( _! works1 "o is amaz$ at ! numb] ( melodies :i* ,wagn] borr[$ f ,liszt & at ! g5]\s complaisance ( ! latt]4 ,! reactive influ5ce ( ,liszt & ,wagn]1 ea* ^u ! o!r1 is an int]e/+ *apt] 9 ! developm5t ( mod]n art4 ,liszt 0 und\bt$ly enc\rag$ 9 8 revolution>y aims by ,wagn]'s fi]y c\rage4 ,wagn]1 on 8 side1 ow$ mu* to ,liszt's unselfi% g5]osity2 & ) 8 m p[]ful con/ructive gifts work$ up into endur+ =m motives :i*1 int]nal evid5ce cle>ly %[s1 came f ,liszt himself4 ,footnote #bdd3 ,= a mo/ ent]ta9+ description ( ?is "w see ! ,hunek] ,biography1 pp4 #fd-gj4 ,j a few clos+ words z to ,liszt's specific contributions to ! expansion ( musical /ructure4 ,he 0 an advanc$ lead] 9 ! program s*ool1 be+ end[$ ) consid]ably m con/ructive p[] ?an ,b]lioz1 :o (t5 fell betwe5 two /ools3 9 t :ile 8 subject dem&$ ! free/ treatm5t1 he lack$ ! vigor to break away f ! =mal r\t9e ( 8 classic models4 ,9 ,liszt's or*e/ral works1 h[ev]1 ! t]m ,symphonic ,poem--"o ( 8 own inv5tion--is fully ju/ifi$1 i4e41 !y are symphonic 9 t !y h organic unity1 al?\gh ?is is n atta9$ by pres]v+ ! classic numb] & arrangem5t ( !mes2 & !y are also poetic1 be+ n a pres5tation ( ab/ract tone patt]ns1 b illu/rative ( "s ext]nal idea :i* %apes ! c\rse ( ! music entirely to its own ne$s4#bde ,! di/+ui%+ quality ( ! ,symphonic ,poem is its unbrok5 cont9uity4 ,al?\gh objective po9ts are rea*$1 & :ile !re are broad l9es ( dem>cation ) ref]5ce to ! v>i$ moods ( ! poem to be illu/rat$1 !re are no rigid /ops--ev]y?+ is fus$ toge!r into a cont9u\s :ole4 ,liszt 0 an advocate ( p]si/5t developm5t1 i4e41 ! music go+ out into space l a /raight l9e in/ead ( return+ on itself4 ,inn] evid5ce %[s1 h[ev]1 t al?\gh he avoid$ _m ne$less & conv5tional repetitions1 he c\ld n entirely ?r[ ov]bo>d ! cyclical law ( re/atem5t2 = !re is n "o ( 8 ,symphonic ,poems :i* does n repeat1 at ! end1 !matic mat]ial already he>d4 ,liszt c>ri$ ! pr9ciple ( !me trans=mation /ill fur!r ?an ,b]lioz2 &1 z a ,g]man1 t5d$ to lay /ress r on ! psy*ological aspects ( "* ?an on ^? outw>d !atric ev5ts :i* appeal to ,fr5* ta/e4 ,! diff]5ce is well %[n by a comp>ison ( ! ,damnation ( ,fau/ ) ,liszt's ,fau/ ,symphony1 consid]$ 8 mo/ inspir$ or*e/ral "w4 ,liszt mu/ n be =gott5 z a song-writ]1 especially = 8 sett+s to ,goe!'s poems2 :i*1 z ,hunek] says1 are ma/]pieces & conta91 9 ess5ce1 all ! dramatic lyricism ( mod]n writ]s1 ,/rauss includ$4 ,9 ^! songs ! in/rum5tal "p is ( special import2 ,liszt 9 piani/ic treatm5t anticipat+ ,hugo ,wolf ) 8 ,songs = ,voice & ,pian(orte1 i4e41 ! voice & ! in/rum5t are treat$ z coequal factors4 ,footnote #bde3 ,= /imulat+ comm5ts see ,! ,symphony s9ce ,bee?ov5 by ,we+>tn]1 pp4 #ga-hf4 ,! works ( ,liszt select$ = analytical comm5t are ! ,symphonic ,poem ,orpheus1 ! ,fau/ ,symphony & ! ,pian(orte tude1 ,waldesraus*54 ,! /ud5t1 h[ev]1 %\ld become famili> ) sev]al o!rs#bdf ( ! ,symphonic ,poems1 notably ,tasso1 ,les ,prludes & ,mazeppa2 ) ! ,pian(orte ,sonata 9 ,b m9or 9 "o movem5t1 9 :i* ,liszt works on ! same plan z ,s*umann 9 ! ,f\r? ,symphony2 ) ! descriptive pian(orte pieces & tudes2 & ) ! songs1 ( :i* ,k5n/ du das ,l&1 ,die ,lorelei & ,du bi/ wie e9e ,blume are beautiful examples4 ,footnote #bdf3 ,an enlight5+ & compreh5sive acc\nt ( ea* ( ^! may be f\nd 9 ,niecks's ,programme ,music already ref]r$ to4 ,see also ,*apt] ,,vii1 pp4 #ada-aee 9 ,vol4 ,,vi ( ! ,ox=d ,hi/ory = :at is p]haps a r bias$ po9t ( view4 ,!re is an excell5t tabulation ( ! !mes f ,les ,prludes 9 ,mason's ,romantic ,compos]s4 ,,symphonic ,,poem1 ,,orpheus ,9 ?is "w1 z mu/ always be ! case 9 poetically sugge/ive music1 ! compos] tru/s to ! g5]al intellig5ce & insight ( ! li/5]4 ,= a m]e m5tion ( ! "n ,orpheus may well call up ! vision ( a maje/ic1 godlike y\? proclaim+ 8 message ( joy & peace to s(t5 ! unruly passions ( m5 & animals4 ,x is said t ,liszt's imag9ation 0 k9dl$ by a beautiful repres5tation ( ,orpheus play+ on ! lyre1 :i* decorates an ,etruscan vase 9 ! ,l\vre4 ,! aim ( ! music 0 ?us to int5sify & supplem5t ! visual effect4 ,! ,poem beg9s ) s(t1 su/a9$ calls on ! horns1 creat+ a mood ( expectancy1 int]sp]s$ ) modulatory arpeggios on ! h>p s]v+ to complete ! leg5d>y picture4 ,9 ^! ,symphonic ,poems1 we mu/ always obs]ve h[ closely ! nature ( ! !mes & ! :ole import ( ! music are involv$ ) ! or*e/ral dress4 ,= ,liszt1 ?\gh n p]haps s brilliant & s5sational z ,b]lioz1 0 equally a great ma/] ( or*e/ral color+ & poetic sugge/ion by means ( appropriate in/rum5ts2 (t51 too1 m delicate & ref9$4 ,9 measure #ae beg9s = su/a9$ /r+s ! /ately m>* :i* typifies ! gradual approa* ( ,orpheus4 ,! second phrase ( ! m>*1 beg9n+ 9 measure #ch1 has receiv$ ! complim5t ( be+ appropriat$1 almo/ lit]ally1 by ,wagn] 9 ! second act ( ! ,valkyrie = ! m>* motive ) :i* ,wotan is u%]$ 94 ,"s beautiful modulatory developm5ts ( ! m>* !me1 ) :i* ! orig9al horn calls are unit$1 lead to ! impassion$ !me 9 ,e major1 sung by an ,engli% horn1 :i* is ! message ( ,orpheus to ! sons ( m51 e4g4 ,music ,! !me is exp&$ by means ( /rik+ modulations until1 9 measure #ajb1 x is pres5t$ by ! full or*e/ra4 ,"s r mean+less repetitions1 9 deta*$ phrases1 ( ! ,orpheus !me br+ u1 9 measure #acj1 to a return ( ! orig9al m>* :i* is f9ally proclaim$ ff ) great p[] & sonority4 ,x seems to typify ! triumphant ju/ification ( ,orpheus's appe>ance4 ,! dissonant modulations 9 ! foll[+ passage1 beg9n+ measure #aee1 79 :i* ! d\ble basses take a dramatic "p7 h be5 ?\ght by "s to repres5t reali/ically ! unc\? ro>s ( =e/ mon/]s4 ,^! outcries f9ally subside & 9 ! ,coda1 beg9n+ at measure #ahj1 we h fir/ a beautiful rem9isc5ce ( ,orpheus's message & !n a la/ ann\ncem5t ( ! m>* !me1 :i* is n[ pres5t$ 9 ! =m ( a long dim9u5do1 z if ! ,god-l app>ition 7 sl[ly )draw+ f our sight4 ,a s]ies ( %ift+ modulations 7adagio & pianissimo7 seems to br+ a cl\d be=e our enraptur$ s5ses1 & ! "w closes ) a long su/a9$ *ord 9 ,c major1 ppp1 giv+ an elem5tal idea ( peace & satisfaction4 ,f ! /&po9t ( musical /ructure ! "w is a cresc5do foll[$ by a dim9u5do &1 poetically consid]$1 is a conv9c+ picture 9 t]ms ( music ( ! effect made ^u ,liszt's imag9ation by ! leg5d ( ,orpheus4 ,obs]ve t1 al?\gh ! composition is free 9 =m1 x is n =mless4#bdg ,! ma9 l9es are ! famili> ones ( /atem5t1 contra/ & re/atem5t1 i4e41 ?ree-"p =m1 & ! key-relation%ip is cle> & c>efully plann$4 ,footnote #bdg3 ,an allegation (t5 br\ght aga9/ ,liszt's "w by ^? ^: conception ( =m is t ( a ca/-iron m\ld4 ,,! ,,fau/ ,,symphony ,?is "w1 al?\gh embody+ ,liszt's favorite ideas ( dramatic *>act]ization & trans=mation ( !me z f\nd 9 ! ,symphonic ,poems1 m ne>ly resembles ! ord9>y symphony 9 t x is 9 ?ree di/9ct movem5ts--) pauses betwe5--:i* /&1 respectively1 = ! ?ree *ief *>act]s 9 ,goe!'s drama3 ,fau/1 ,gret*5 & ,mephi/opheles4 ,9 ! ,fau/ ,symphony ! pr9ciple ( trans=mation or metamorphosis ( !mes is ( su* importance t x may be def9$ z _! rhy?mic1 melodic & h>monic modification = ! purpose ( *ang+ ! mean+ to correspond ) a modification 9 ! *>act]s = :i* !y /&4 ,! fir/ movem5t sets be=e u five !mes illu/rative ( ! mo/ prom95t traits 9 ! complex nature ( ,fau/2 ! ?ree mo/ important be+ 7a7 typical ( brood+1 speculative inquiry1 7b7 ! long+ ( love1 7c7 ! en?usiasm & *ivalry ( ,fau/1 e4g4 ,music3 7a7 ,music3 7b7 ,music3 7c7 ,! developm5t ( ^! !mes is entirely free1 ! musical texture be+ held toge!r by a g5]al application ( ! pr9ciple ( contra/ & by a logical key-s*eme4 ,! second movem5t has two ma9 !mes1 e4g4 ,music3 7a7 ,music3 7b7 :i* portray eloqu5tly ! sweetness & dreamy ec/acy ( ,gret*5's nature4 ,9 ! c\rse ( ?is portrayal !re appe> sev]al !mes f ! fir/ movem5t %[+1 by _! trans=mation1 ! effect ^u ! introspective ,fau/ ( ! awak5+ influ5ce ( love4 ,?us ! love !me appe>s z-- ,music & also lat] 9 ?is =m-- ,music ,t[>ds ! close ( ! movem5t !re is a subtle ref]5ce to ! *ivalr\s !me1 z foll[s-- ,music ,mu* ( ! appeal ( ! music dep5ds ^u ! or*e/ration :i* ?r\gh\t is ( rem>kable beauty4 ,9 ! f9al movem5t1 entitl$ ,mephi/opheles1 !re are a few indep5d5t !mes :i* portray ! malign influ5ce ( ! _s ( ,evil--! movem5t is m>k$ ,allegro vivace ironico6--b mo/ ( ! mat]ial is a trans=mation ( ! ,fau/ !mes :i* are "h burlesqu$1 p>odi$2 z if all ! noble aspirations ( ,fau/ 7 be+ mock$ & set at naught4 ,?is treatm5t is a p]fectly logical result ( ! correspond5ce1 = :i* ,liszt 0 /riv+1 betwe5 ! music & ! _s ( ! und]ly+ drama4 ,z = ! f9al impressiv5ess ( 8 arti/ic message1 ! compos] may well h felt t ! effect w\ld be indef9ite )\t ! specific mean+ :i* words alone c give4 ,= ! /yle is v subjective ?r\gh\t2 t is1 if ! he>] is 9 a responsive condition1 an effect is produc$ on 8 imag9ation--o!rwise1 n4 ,to close ! "w1 !re=e1 9 ! mo/ mov+ & dignifi$ mann]1 ,liszt1 ) un]r+ in/9ct & foll[+ ! prec$5t ( ,bee?ov5 9 ! ,n9? ,symphony1 introduces a *orus ( m5's voices--m>k$ ,&ante ,mi/ico--:i* intones ! fam\s /anza ,alles ,v]gngli*e#bdh at ! close ( ! second "p ( ,fau/2 :ile1 above ?is *orus1 a solo t5or proclaims ! motto ( ! r$eem+ love ( woman1 ,das ewig ,weibli*e--a s5tim5t s de> to ! ,g]man#bdi m9d & "o t plays su* an important "p 9 ! music dramas ( ,wagn]4 ,a dramatic & musical connection betwe5 ! movem5ts is e/abli%$ by us+1 = ?is solo "p1 ! melody 7int5sifi$ by augm5tation7 :i* 9 ! second movem5t typifi$ ! love & *>m ( ,gret*51 e4g4 ,music3 ,das ewig ,weibli*e ,footnote #bdh3 ,translat$ z foll[s by ,bay>d ,taylor3-- ,*orus ,mi/icus ,all ?+s transitory ,b z symbols are s5t2 ,e>?'s insuffici5cy ,"h gr[s to ,ev5t2 ,! ,indescribable1 ,"h x is done3 ,! ,woman-,s\l leade? u ,upw>d & on6 ,footnote #bdi3 ,! way 9 :i* ! ,g]mans 9 ! rec5t w> h appli$ ?is doctr9e raises1 we mu/ say1 _m se>*+ que/ions4 ,not)/&+ ! ultra s5sationalism 9 "s ( ,liszt's works !re is no d\bt t1 9 ! clos+ pages ( ,fau/1 he has produc$ an effect ( g5u9e p[] & ( inspir$ musical beauty4#bej ,fau/1 9 fact1 may be call$ a great "w because ( ! "* ( its lead+ melodies1 its fre$om ( /ructure & expression & its weal? ( appropriate or*e/ral color4 ,= ^! m]its we may ov]look c]ta9 dre>y passages :]e x w\ld surely seem z if ! imag9ation ( ! compos] 7 n able to translate into tones all ! phases ( ,goe!'s /up5d\s drama4#bea ,footnote #bej3 ,t ?is is ! v]dict ( ! public is %[n by ! fact t1 :5ev] ( late ye>s ,fau/ has be5 giv5 by ! ,bo/on ,symphony ,or*e/ra1 x has _h to be repeat$ by popul> reque/4 ,footnote #bea3 ,= fur!r comm5ts on ! "w see ,hunek]'s ,franz ,liszt1 pp4 #ada-adf & ! ?ird "p 7on ,program ,music7 ( ,f9ck's ,r4 ,/rauss1 ,! ,man & ,8 ,works4 ,also ,*ap4 ,,vii passim 9 ,vol4 ,,vi ( ! ,ox=d ,hi/ory4 ,9 a book su* z ?is1 *iefly conc]n$ ) broad pr9ciples ( /ructure & /yle1 x w\ld be out ( place to attempt a detail$ acc\nt ( ,liszt's num]\s & v>i$ pian(orte compositions4 ,b !y c by no means be left out ( consid]ation by anyone :o wi%es to ga9 a compreh5sive e/imate ( 8 influ5ce4 ,= al?\gh ! fundam5tal pr9ciples ( pian(orte /yle1 bo? 9 writ+ = ! in/rum5t & 9 play+ ^u x1 are d]iv$ f ,*op9 & ,s*umann1#beb ,liszt s amplifi$ ! "w ( ^! m5 & add$ s _m novel features ( 8 own 9 piani/ic effect & especially 9 execution t he is rightly consid]$ a g5ius ( ! in/rum5t4 ,he c]ta9ly br\ght out ( ! pian(orte a sonority & weal? ( color :i* h]et(ore _h be5 associat$ only ) ! or*e/ra4 ,! *ief gr\ps ( ! pian(orte works are 7#a7 ! transcriptions ( songs1 notably ( ,s*ub]t & ,s*umann1 & ( op]as1 p>ticul>ly ( ,wagn]4 ,9 ?is gr\p %\ld also be includ$ ! rem>kable arrangem5t = solo-pian(orte ( all ! ,bee?ov5 ,symphonies4 7#b7 ,! tudes1 especially ! set entitl$ tudes d'excution transc5dante--a description :i* cle>ly %[s ! idea ,liszt set be=e himself & indubitably atta9$2 ( ?is set ! "o 9 ,f m9or is p>ticul>ly f9e4 7#c7 ,! _w-fam$ ,hung>ian ,rhapsodies1 fifte5 9 numb]1 bas$ on national melodies & rhy?ms4 ,9 ^! ,liszt aspir$ to be ! poet ( 8 nation1 & !y are /ill among ! mo/ important manife/ations ( ! national _s s prom95t 9 our mod]n music4 ,p]haps ! mo/ eloqu5t & celebrat$ are ! #b;d1 ! #ab? & ! #ad?4 ,ev5 if at times !y are ov]5cru/$ ) effects meant prim>ily = display1 ! rhy?mic vitality & color ( ! melodies _c be )/ood4 ,footnote #beb3 ,web] & ,s*ub]t _h1 ( c\rse1 done valuable pione] "w4 ,,conc]t ,,tude1 ,waldesraus*5 7,,see ,,supplem5t ,,no4 #ei7 ,?is composition beg9s ) a sway+1 cantabile !me = ! left h& v *>act]i/ic ( ,liszt1 :i* /&s out 9 relief aga9/ "s beautifully plac$ arabesque figures 9 ! upp] regi/] ( ! in/rum5t--! :ole to be play$ una corda1 dolce con grazia4 ,x really is a poetic picture1 9 t]ms ( music1 ( ! delici\s murmur ( ! woods4 ,9 ! #ae? measure ! !me is transf]r$ to ! "r h&1 9 octaves1 ov] sonor\s1 widely ext5d$ gr\ps bel[4 ,! !me is exp&$ ?r\gh a s]ies ( /rik+ modulations & !n returns1 9 measure #cj1 to ! left h& 9 a s+le melodic l9e4 ,?is middle portion1 measures #cj-ej1 is v beautiful 9 its g5u9e atmosph]ic treatm5t4 ,t[>ds its close1 h[ev]1 ,liszt's fondness = s5sational effect r runs away ) him & !re is a good deal1 9 measures #ej-fj 7m>k$ m>tellato1 /repitoso & fff71 :i* is r difficult to reconcile ) ! poetic subject4 ,p]haps a mighty w9d is ro>+ ?r\gh ! trees6 ,9 measure #fa ! !me is once m pres5t$ 9 amplifi$ =m by ! "r h&1 pi mosso & molto appassionata1 & work$ up to a brilliant climax--end+ ) an int]lock+ trill & a long1 desc5d+ passage ( delightful s5su\s effect4 ,! clos+ measures1 una corda & dolcissimo1 af=d a rem9isc5ce ( ! haunt+ appeal ( ! *ief melody4 ,all 9 all1 9 spite ( a c]ta9 admixture ( alloy1 "h is a poetic composition1 a real tone-picture ( ! woods & ( ! effects impli$ by ! title4 ,c]ta9ly a piece :i*1 9 its picturesque sugge/iv5ess & piani/ic treatm5t1 may fairly be call$ ! ance/or ( mu* t is beautiful 9 su* mod]n compos]s z ,debussy & ,ravel4 ,z a f9al e/imate ( ,liszt & z a sugge/ion = ! /ud5t's attitude we cite f ,niecks ! foll[+ quotation1 s9ce1 9 our op9ion1 x is true & =cibly express$3 ,liszt's works are too full ( orig9ality & /rik+ expressiv5ess to des]ve p]man5tly ! neglect t has be5 _! lot4 ,be1 h[ev]1 ! ultimate fate ( ^! works :at x may1 !re w always rema9 to ,liszt ! fame ( a d>+ /riv]1 a fruitful orig9ator & a wide-rang+ quick5]4 ,,*apt] ,,xvi ,,brahms ,aft] ! novel & brilliant "w ( ! ,romantici/s _h rea*$ its height 9 ! compositions j /udi$1 x seem$ z if !re 7 no?+ m = music to d4 ,wagn]1 ) 8 special dramatic aims & gorge\s color+1 loom$ s l>ge on ! horizon t = a "t all o!r music 0 dw>f$4 ,x is1 !re=e ( real significance t j 9 ?is int]regnum two m51 born 9 ! e>ly ye>s ( ! #ai? c5tury1 7 quietly lay+ ! f\ndations = eloqu5t works 9 absolute or symphonic music4 ,^! m5 7 ,johannes ,brahms 7#ahcc-ahig7 & ,cs> ,franck 7#ahbb-ahij74 ,foll[+ a few prelim9>y rem>ks ab\t ! significance ( symphonic /yle 9 g5]al1 ! next *apt]s w be devot$ to an acc\nt ( _! works & influ5ce4 ,a /rik+ feature 9 ! developm5t ( music s9ce #ahej is ! numb] ( symphonies produc$ by ! repres5tative compos]s ( ! v>i\s nations2 & ! mann] 9 :i* ^! works embody c]ta9 phases ( /yle & manife/ national t5d5cies is a subject ( great int]e/4 ,ev] s9ce ,bee?ov51 !re has be5 a univ]sal feel+ t ! symphony is ! =m 9 :i* a compos] %\ld express 8 highe/ ?\ghts4 ,if ,wagn] & ,ri*>d ,/rauss seem to be exceptions1 we mu/ rememb] t _! "w = or*e/ra is ?or\ghly symphonic bo? 9 mat]ial & 9 scope4 ,! diff]5ce is *iefly "o ( t]ms4 ,wagn] claim$ t he m]ely appli$ to dramatic purposes ,bee?ov5's !matic developm5t2 & ! tone-poems ( ,/rauss are symphonies 9 ess5ce ?\gh on a free poetic basis4 ,e compos] has tak5 up ! writ+ ( a symphony ) a s]i\s purpose & (t5 comp>atively late 9 life4 ,to be sure1 ,bee?ov5's fir/ ,symphony1 op4 #ba1 0 compos$ 9 8 ?irtie? ye>2 b = ! works :i* manife/ mo/ /rongly 8 p]sonality1 su* z ! ,?ird1 ,fif? & ,n9?1 we h to wait until a lat] p]iod4 ,s*umann essay$ symphonic composition only aft] 8 te*nique _h be5 develop$ 9 e o!r field4 ,brahms's fir/ ,symphony1 on :i* he is said to h work$ t5 ye>s1 is op4 #fh4 ,cs> ,franck look$ =w>d to a ,symphony z ! climax ( 8 c>e]4 ,! day has pass$ :5 a compos] c\ld da% (f symphonies by ! doz52 quality & g5u9e p]sonality 9 ea* "w are ! mod]n requirem5ts4 ,?us f ,brahms we h f\r symphonies1 f ,t*aik[sky six1 f ,bruckn] n9e--a dang]\sly l>ge numb]6--f ,sibelius five1 f ,elg> two1 f d',indy ?ree2 &1 ev5 if a compos] write b a s+le really inspir$ & noble symphony--z = example1 ,cs> ,franck--he is 9 s f> immortal4 ,= ! symphonic =m is ! product ( too mu* int5se /riv+ 7?9k ( ,bee?ov5's agonies ( conception67 to be treat$ lightly4 ,beg9n+ ) ! op]atic ov]ture ( ,lully & ,sc>latti1 call$ ,s9fonia avanti l'op]a1 d[n ?r\gh ! labors ( ,/amitz1 ,gossec1 ,emmanuel ,ba*1 ,haydn & ,moz>t1 ?is =m1 z we "k x to-day1 is ! result ( at lea/ a c5tury & a half ( su/a9$1 con/ructive "w4 ,a musician :o wi%es to compose a symphony is br\ght face to face ) ! =midable "q1 ,h ,i a real message to utt] & ! te*nical skill to pres5t x 9 communicable =m8 ,!re are no accessory appeals to ! o!r s5ses 9 ! way ( a dramatic /ory1 sc5ic effect1 danc+ & co/umes--z 9 op]a--to cloak pov]ty ( inv5tion & to mollify ! judgm5t ( ! li/5]4 ,i grant t ! composition ( an orig9al op]a is a high a*ievem5t1 b we "k h[ _m compos]s h won success 9 ! op]atic field f :om we %\ld nev] expect a symphony4 ,f comp>atively few h we great works 9 bo? =ms4 ,consid]1 fur!rmore1 h[ complicat$ a tool is ! pres5t or*e/ra1 z a tool1 to say no?+ ( ! inv5tion ( ideas4 ,_m ye>s ( /udy are requir$ to atta9 a c]ta9ty ( calculation 9 sonority & nuance1 & ! m]e writ+ out ! score ( a symphony requires unremitt+ toil4 ,we all pay homage to life3 human life 9 m51 wom5 & *ildr51 & ! life ( nature 9 animals1 birds1 trees & fl[]s4 ,let u ev] rememb] t ! imag9ation also has its products & ! !mes ( a symphony may c]ta9ly be consid]$ its *ildr54 ,! public (t5 seems to h slight idea ( ! sanctity & my/]y ( a musical idea4 ,compos]s are consid]$ p ) a k9d ( knack 9 writ+ d[n notes4 ,9 reality1 a musical idea is z wond]ful a ?+ z we c conceive--a miracle ( life & yet intangible1 e!real4 ,! compos] app>5tly creates some?+ out ( no?+1 pure fancy be+ wr\ght into t]ms ( communication4 ,s9ce ! close ( ! ,romantic p]iod prop]1 ! ,symphonic compos]s ( univ]sal recognition h be5 ,brahms1 ,franck1 ,t*aik[sky1 d',indy1 ,sibelius1 ,bruckn]1 ,mahl]1 ,dvovrk1 ,elg>1 & a few less] m5 ( ! ,russian & ,fr5* s*ools4 ,_! works c>ry /ill fur!r ! pr9ciples :i* c be trac$ f ,bee?ov5 d[n ?r\gh ! ,romantic ,s*ool1 i4e41 ! *ief !mes are ( a highly subjective nature1 (t5 9 fact be+ treat$ l actual *>act]s 9 a drama2 & great fre$om is %[n 9 reg>d to mood & ord] ( ! usual symphonic movem5ts--?is be+ p>ticul>ly true ( ,mahl] & ,bruckn]4 ,a di/9ct feature ( int]e/ 9 ! "w ( ,t*aik[sky1 ,dvovrk & ,sibelius is ! introduction ( exotic types ( melody & rhy?m1 drawn f national s\rces4 ,?us ,t*aik[sky1 :o said t he wi%$ all 8 in/rum5tal music to s\nd l a glorifi$ ,russian folk-song1 uses rhy?ms ( #e & 79 8 *amb] music7 #g beats a measure1 ) frequ5t t\*es ( old modal h>mony4 ,dvovrk f\nds 8 h>mony & modulations on ! exce$+ly *romatic scale ( ! ,bohemians2 & 8 piquant & da%+ rhy?ms c\ld come only f a nation :i* has no less ?an =ty national dances4 ,9 li/5+ to ,sibelius1 we are consci\s ( ! wild sweep ( ! w9d1 ( un*a9$ =ces ( nature2 & !re are ! same traits ( virile /r5g? & grim dignity :i* h made ! ,kalevala1 ,f9l&'s national poem1 "o ( ! great epics ( ! _w4 ,al?\gh ,brahms nev] lets u =get t he is a ,teuton1 !re are frequ5t traces 9 8 compositions ( ! ,hung>ian elem5t--s de> to all ! ,vi5nese compos]s--z well z ( ,g]man folk-songs2 & ! mo/ arti/ic treatm5t we h ( ,hung>ian rhy?ms is f\nd 9 8 two sets ( ,hung>ian dances4 ,x is manife/ly beyond ! scope ( a s+le book to treat compreh5sively ea* ( ! symphoni/s 9 ! li/ j cit$1 s ,i %all dwell *iefly ^u ! *>act]i/ics ( ,brahms1 ,franck1 ,t*aik[sky & d',indy z probably ! greate/1 & t\* only incid5tally ^u ! o!rs1 z ( some:at less] import2 ?\gh if anyone take issue ) ?is pref]5ce 9 reg>d to ,mahl] & ,bruckn] ,i %all n combat him4 ,= ,i believe ,mahl] to be a real g5ius2 feel+1 h[ev]1 t 8 wond]ful conceptions are sometimes n express$ 9 ! mo/ conv9c+ mann]4 ,!re is no d\bt t ,mahl] has n yet receiv$ 8 bigg] "p 9 due valuation1 b 8 "t w surely come4 ,z = ,bruckn]1 we h f him "s ( ! mo/ elem5tal & p[]ful ideas 9 mod]n music--witness ! dirge 9 ! ,sev5? ,symphony ) its impressive scor+ = trombones & ,bayreu? tubas1 a movem5t ,bee?ov5 might h sign$2 al?\gh ) ! virg9 gold !re is mix$1 x mu/ be confess$1 a l>ge am\nt ( crude alloy1 & !re are dre>y /ret*es ( wa/e s&4 ,johannes ,brahms1 l ,bee?ov51 ) :om 8 /yle has _m aff9ities1 0 a ,nor?-,g]man1 born 9 #ahcc 9 ! hi/oric seaport t[n ( ,hamburg4#bec ,brahms came ( l[ly ?\gh respectable & intellig5t p>5ts1 8 fa!r be+ a d\ble-bass play] 9 "o ( ! !atre or*e/ras4 ,t ! positiv5ess ( "*1 s conspicu\s 9 8 fam\s son1 0 an inh]it$ trait may be se5 f ! foll[+ anecdote4 ,! director ( ! !atre or*e/ra once ask$ fa!r ,brahms n to play s l\d2 :]eupon he repli$ ) dignity1 ,h]r ,kapellmei/]1 ?is is my d\ble-bass1 ,i want y to und]/&1 & ,i %all play x z l\d z ,i please4 ,! music ( ,brahms 9 its brac+ vigor has be5 appropriately comp>$ to a mixture ( sea air & ! timbre ( ?is in/rum5t4 ,footnote #bec3 ,not$ z be+ ! orig9al c5tre ( national ,g]man op]a & = its associations ) ! e>ly c>e] ( ,h&el4 ,brahms's "m 0 a deeply religi\s woman :o imbu$ h] son ) a s]i\sness ( purpose :i* runs ?r\gh all 8 "w4 ,f 8 e>lie/ ye>s he 0 tra9$ = music1 z a matt] ( c\rse1 & %[$ m>k$ precocity z a piani/1 ?\gh x soon became evid5t t he also 0 end[$ ) r>e creative gifts4 ,! "y /ud5t made su* progress "u ,m>xs51 a fam\s tea*] ( ! p]iod1 t at ! age ( fifte5 he gave a public conc]t1 on ! program ( :i* /ood "s orig9al pieces ( 8 own4 ,! next few ye>s 7 sp5t 9 dilig5t /udy & 9 ! composition ( "s ( 8 e>ly works1 ( :i* ! ,s*]zo op4 #d is ! mo/ significant4 ,brahms 0 extraord9>ily precoci\s & dur+ ^! =mative ye>s manife/$ a trait :i* is noticeable ?r\gh\t 8 c>e]--t ( kn[+ exactly :at end he _h 9 view & ( sett+ to "w quickly & /eadily to atta9 x4 ,f9ally 9 #ahec1 :5 he 0 tw5ty1 he 0 invit$ to p>ticipate 9 ! memorable conc]t-t\r ) ! ,hung>ian ,viol9i/ ,rem5yi1 :i* 0 ! cause ( 8 be+ br\ght be=e ! public "u ! auspices ( ?ree su* sponsors z ,s*umann1 ,liszt & ,joa*im4 ,x seems t1 at "o ( ! conc]ts 9 a small t[n1 ! pian(orte 0 a semitone too l[1 :]eupon "y ,brahms transpos$ at sight a difficult ,bee?ov5 ,sonata into ! requisite high] key4 ,?is rem>kable feat ( musician%ip s impress$ ,joa*im1 :o 0 9 ! audi5ce1 t he gave ,brahms two lett]s ( introduction--"o to ,liszt at ,weim> & "o to ,s*umann at ,dsseldorf on ! ,rh9e4 ,foll[+ up ^! lett]s1 ,brahms n[ sp5t six weeks at ,weim> ) ,liszt1 assimilat+ important po9ts ( me?od & /yle4 ,al?\gh ! two natures 7 some:at unsympa!tic1 ,liszt 0 s impress$ ) ! creative p[] & "* ( ,brahms's fir/ compositions1 t he tri$ to adopt him z an adh]5t ( ! advanc$ s*ool ( mod]n music2 :ile ,brahms 0 l$1 z "s w\ld claim1 ?r\gh ,liszt's influ5ce to an appreciation ( ! arti/ic effects to be f\nd 9 ,hung>ian music4 ,brahms's visit to ,s*umann 9 ! autumn ( #ahec 0 9 its consequ5ces a significant incid5t4 ,aft] he>+ ,brahms's music1 ,s*umann wrote = ! ,neue ,zeits*rift an article entitl$ ,neue ,bahn5 7,new ,pa?s7 9 :i* ! "y compos] 0 h]ald$ z ! ma/] = :om ! _w _h be5 wait+1 ! successor ( ,bee?ov5 9 ! symphonic /yle4 ,?r\gh ,s*umann's influ5ce1 ! publi%]s ,breitkopf & ,hrtel at once br\ght out ,brahms's fir/ works1 :i* 7 by no means receiv$ by ! public ) g5]al favor2 9 fact !y provok$ z bitt] discussion z ^? ( ,wagn]1 & made headway sl[ly4 ,= f\r ye>s--f #ahed to #aheh--;,brahms 0 9 ! s]vice ( ! ,pr9ce ( ,lippe-,detmold1 a small pr9cipality ne> ,hanov]1 :]e ! c\rt 0 a quiet "o1 ?us af=d+ ample "t = composition & private /udy4 ,brahms's /r5g? ( purpose & unusual p[] ( self-criticism are %[n by ! way 9 :i* ?is p]iod 0 sp5t4 ,al?\gh he _h made a brilliant db1 ,brahms n[ impos$ ^u himself a c\rse ( rigor\s te*nical tra9+1 appe>$ seldom be=e ! public & publi%$ no compositions2 8 object be+ to free himself f a n>r[ subjectivity & to give scope to 8 wide human sympa?ies & to 8 passion = p]fection ( utt]ance4 ,x seem$ to him t a plausible orig9ality might deg5]ate into m]e idiosyncrasy1 & t univ]sality ( appeal %\ld be a musician's highe/ goal4 ,:5 he resign$ 8 po/ & came be=e ! public ) 8 fir/ l>ge "w1 a conc]to = pian(orte & or*e/ra1 ! ga9 made 9 increas$ p[] & res\rces 0 evid5t4 ,! greate/ tribute :i* c be paid ,brahms is t he has summ$ up & unit$ ! classic pr9ciples ( cle>ness & solidity ( workman%ip ) ! w>m? & spontaneity ( ! ,romantic ,s*ool4 ,9 #ahfb ,brahms settl$ 9 ,vi5na :]e1 = ?irty-five ye>s1 8 c>e] 0 entirely free f ext]nal incid5ts ( note2 8 "t sp5t 9 quiet /eady "w & 9 ! atta9m5t ( arti/ic ideals4 ,8 sl[ logical developm5t is l t ( ,bee?ov51 due to ! fact t 8 works 7 f> f num]\s1 b f9i%$ ) ! greate/ c>e4 ,! /&>d ( creative quality is also v high2 comp>atively few ( ,brahms's works are n altoge!r alive4 ,mat!w ,arnold's beautiful l9es on labor are applicable to ,brahms4 ,"w :i* 9 la/+ fruit outgr[s f> noisi] s*emes2 accompli%$ 9 repose2 too great = ha/e2 too high = rivalry4 ,brahms ?us describ$ to ,mr4 ,h5s*el1 a =m] conductor ( ! ,bo/on ,symphony ,or*e/ra1 8 ideals conc]n+ compos+3 ,!re is no real creat+ )\t h>d "w2 t :i* y call inv5tion is simply an inspiration f above1 = :i* ,i am n responsible1 :i* is no m]it ( m9e4 ,& aga91 ,:e!r a composition is beautiful is "o consid]ation1 b p]fect x mu/ be4 ,! few ( 8 compositions :i* %[ connection ) outw>d ev5ts are ! ,deuts*es ,requiem1 8 be/-kn[n *oral "w 79 commemoration ( 8 "m's dea?7 & ! ,academic ,ov]ture1 compos$ 9 place ( ! conv5tional !sis1 :5--9 #ahhj--! ,univ]sity ( ,breslau conf]r$ on him a doctor's degree4 ,?is ,ov]ture1 bas$ on sev]al convivial /ud5t songs1 is on ! :ole 8 mo/ g5ial composition = or*e/ra & has won a des]v$ popul>ity ! _w ov]4#bed ,= su/a9$ fancy 8 mo/ beautiful "w = *orus & or*e/ra is ! ,s*icksalsli$ 7,song ( ,de/9y74 ,symphonic composition1 z has be5 said1 came 9 ! latt] "p ( ,brahms's c>e]1 8 fir/ "w 9 t =m be+ op4 #fh4 ,aft] t1 )9 a few ye>s1 ?ree o!r symphonies 7 compos$4 ,8 la/ works include ! significant pian(orte pieces call$ ,int]mezzi--n all equally inspir$1 b _m repres5t+ ! f9e/ fl[] ( ,brahms's g5ius2 f\r s]i\s songs = bass voice1 & "o po/hum\s "w1 ,elev5 ,*oral ,preludes = ,organ4 ,brahms di$ 9 #ahig & lies buri$ 9 ,vi5na n f> f ,bee?ov5 & ,s*ub]t4 ,footnote #bed3 ,ano!r v f9e "w 9 ?is class is ! ,tragic ,ov]ture1 wor?y ( ! deepe/ /udy4 ,f ,brahms we h beautiful works 9 e bran* ( composition save ! op]a & symphonic poem4 7,he once said he w\ld risk nei!r an op]a nor gett+ m>ri$67 ,v few ( 8 works h titles1 & 9 ?is respect he /ood some:at alo( f t /rong t5d5cy 9 mod]n times--! connection betwe5 music & poetic & lit]>y s\rces ( inspiration4 ,b he _h a "r to *oose 8 own l9e ( ef=t2 x is = u to become famili> ) 8 works z !y are4 ,!y comprise ab\t two hundr$ songs1 ?ree pian(orte sonatas & _m less] pieces1 two conc]tos = pian(orte & or*e/ra1 a wond]fully f9e viol9 conc]to1 f\r symphonies--ea* ) a "* ( its own--& a l>ge gr\p ( *amb] compositions3 /r+ qu>tets1 sonatas = viol9 & pian(orte1 trios1 & a numb] ( works = unusual ensemble comb9ations--! ,trio = ,viol91 ,horn & ,pian(orte be+ ! be/ kn[n4 ,z to ! nature ( ,brahms's music ! foll[+ comm5ts are submitt$ = consid]ation4 ,he 0 n a colori/ or a /yli/ 9 ! broad s5se ( ^? t]ms1 i4e41 color & /yle 7 n ! prime +r$i5ts 9 8 music4 ,!re is light & %ade 9 ,brahms b seldom t ri* & v>i$ gl[ f\nd1 = example1 9 ,rimsky-,korsak(f--t supreme ma/] ( or*e/ral color+4 ,z = /yle1 x may be said t 8 "w fulfils ,mat!w ,arnold's def9ition ( t desirable quality1 ,to h some?+ to say & to say x 9 ! mo/ simple & direct mann] possible4 ,we sometimes feel1 h[ev]1 t he is ?9k+ m ( :at he has to say ?an ( outw>d eloqu5ce ( expression4 ,b :5 !re are s _m compos]s#bee 9 :om !re is f> m /yle ?an sub/ance1 we %\ld n c>p at ,brahms = ! /uff 9 8 "w4 ,! matt] might be put 9 a nut-%ell by say+ t ,brahms is ,brahms2 y accept him or leave him1 z y see fit4 ,! bulk ( 8 music n only has /ood ! te/ ( "t b becomes m pot5t ea* ye>2 surely ?is is ! highe/ possible endorsem5t4 ,he is rightly consid]$ a great ma/] ( pure melodic l9e & a consummate ar*itect1 especially 9 ! concis5ess & conc5tration ( c]ta9 compositions1 e4g41 ! ,?ird ,symphony1 & 9 8 sup]b ma/]y ( ! ,v>iation =m :i* is ! basis ( "s ( 8 mo/ fam\s works = or*e/ra & = pian(orte4 ,8 texture is ( m>k$ ri*ness & v>iety2 seldom d we f9d v]biage or lifeless padd+4 ,he has be5 call$ ! ,br[n+ ( music--a deep ?9k] 9 tones4 ,g5u9e appreciation ( ,brahms presupposes "w on ! "p ( ! music-lov]2 & ! recognition %\ld be m g5]al t ! imag9ative /imulation ga9$ only ?r\gh "w is "o ( ! bless+s music has to be/[4 ,footnote #bee3 ,we cite ,sa9t-,sans1 z "o in/ance4 ,x is (t5 alleg$1 inde$1 t to enjoy ,brahms "o has to "w4 ,( c\rse1 b :at repay+ "w6 ,?is may be said equally ( ,%akespe>e1 ( ,dante1 ( ,br[n+1 ( ,ba* & ( e poet ) a s]i\s message4 ,! vitality ( ,brahms's creative p[]1 l t ( ,bee?ov51 is se5 9 8 rhy?m4 ,he _h a highly develop$ rhy?mic s5se1 & 9 8 fondness = syncopations1 = contra/$ acc5ts & = complicat$ metric gr\ps he is ! logical successor ( ,s*umann4 ,"o ( 8 favorite devices is ! alt]$ gr\p+ ( ! notes 9 a measure1 s t !re is a contra/ betwe5 duple & triple rhy?m1 e4g41 ! foll[+ passage 9 ! ,second ,symphony1 :]e an effect ( great vigor is produc$4 ,music ,!re are nev] 9 ,brahms weak or conv5tional rhy?ms4 ,he is also "o ( ! great mod]n song-compos]s1 repres5t+ ) ,/rauss1 ,wolf & ,mahl] ! culm9ation ( ! ,g]man ,li$4 ,9 8 songs !re is a w>m? & dep? ( s5tim5t z yet unsurpass$1 & ! accompanim5t is always a highly wr\ght factor 9 ! "w4 ,9 e/imat+ ! value ( ,brahms's compositions z a :ole1 x is difficult to hold ! balance true4 ,^? to :om he is sympa!tic ?r\gh an aff9ity ( temp]am5t rev]e him z "o ( ! great g5iuses = all "t1 :ile to o!rs 8 message is n ( su* conv9c+ p[]4 ,! effect ( inborn temp]am5t 9 ! p]sonal appeal made by any compos] is vividly %[n by ! e/imate :i* ,t*aik[sky & ,brahms _h = "o ano!r4 ,ea* felt respect = ! s9c]ity & arti/ic skill ( 8 contempor>y1 at ! same "t regretfully ackn[l$g+ t ! ess5ce ( ! music meant little to him4 ,to ,t*aik[sky ,brahms seem$ cold & lack+ 9 melodic spontaneity2 to ,brahms1 on ! o!r h&1 ,t*aik[sky seem$ sup]ficial1 s5sational4 ,! gi/ ( ! matt] is t ,brahms 0 a ,teuton & wrote ) *>act]i/ic ,teutonic res]ve & dignity4 ,t*aik[sky1 be+ a ,slav1 wrote ) ! impassion$ lack ( re/ra9t & volatility ( mood associat$ ) t p4 ,h[ c\ld x be o!rwise8 ,ea* 0 a g5u9e arti/1 express+ 8 natural feel+s ) cle>ness & conviction2 & ea* %\ld be respect$ = :at he did3 n "o at ! exp5se ( ! o!r4 ,9 ,brahms1 h[ev]1 ! "q does arise ( facility ( expression v]sus wor?9ess ( expression4 ,he _h an unp>allel$ te*nique 9 ! manipulation ( notes b :e!r !re 0 always an emotional impulse beh9d :at he wrote is debatable4 ,= !re are ^! two contra/+ types 9 e art3 works :i* come f ! he>t 7rememb] ,bee?ov5's significant inscription at ! end ( 8 ,mass71#bef & ^? :i* come f ! head4 ,?is br+s u face to face ) ! p]plex+ "q z to ! ess5ce ( music4 ,to "s x is a record ( intellectual activity t+$ ) emotion2 to o!rs1 an emotional outp\r+ controll$ by intellect4 ,^! two types ( music w always exi/1 be+ ! natural expression ( ! correspond+ classes 9 human nature4 ,footnote #bef3 ,f ! he>t x has come1 to ! he>t x %all g4 ,brahms's music is sometimes call$ dry1 b ?is is a misuse ( t]ms4 ,to draw an analogy f ano!r s5se1 we might rejo9 t ! be/ *ampagne is sec1 all ! sup]flu\s1 cloy+ sug> be+ remov$4 ,!re is pl5ty ( sac*>9e music 9 ! _w = ^? :o l x4 ,9 ,brahms1 h[ev]1 we f9d a pot5tial en]gy & a manly t5d]ness :i* _c be ignor$ ev5 by ^? :o are n pr(\ndly ?rill$ by 8 message4 ,he 0 a s9c]e ideali/ & compos$ to please 8 own high /&>ds1 nev] ?9k+ ( outw>d effect nor te/+ ! pulse ( ! fickle public4 ,z a man !re is no d\bt t he 0 w>m-he>t$ & vigor\s1 b 8 0 n ! nature to come =w>d ) captivat+ g5iality4 ,on ! contr>y he expects ! he>] to come to him1 & is too res]v$ to meet y m ?an half-way4 ,t ?is au/]ity has prov$ a b> 9 ! way ( a wide-spread fame1 :ile to be regrett$1 is unavoidable2 remove ^! *>act]i/ics f ,brahms & he ceases to be ,brahms4 ,^?1 h[ev]1 :o may ?9k t ,brahms is always au/]e & grim1 hold+ himself alo( f broad human emotion1 %\ld rememb] t he has done m ?an any o!r mod]n compos] to idealize ! ,waltz2 &1 if ! atmosph]e ( 8 symphonic /yle be too r>ifi$1 !y may well beg9 _! ef=t 9 appreciation ) ^? *>m+ ,waltzes op4 #ci 7bo? = solo pian(orte & = a f\r-h& arrangem5t72 ! ,hung>ian ,dances1 &--mo/ beautiful ( all--! ,liebesli$] ,walz] = *orus & pian(orte 7f\r-h&s74 ,anyone :o kn[s ^! works _c fail to become a g5u9e lov] ( ,brahms4 ,to be ( ! e>? & yet to /rike ! note ( sublimity is a p>adox4 ,=1 9 ,brahms at 8 be/1 we surely f9d m ( ! sublime1 ( true exalt$ aspiration1 ?an 9 any o!r mod]n compos] save ,cs> ,franck4 ,to /rike ?is note ( sublimity is ! highe/ a*ievem5t ( music--its prop] function2 a return1 z x 71 to ! abode :5ce x came4 ,su* music is f> beyond t :i* is m]ely s5su\s1 brilliantly descriptive1 or ev5 dramatically *>act]i/ic4 ,mu* ( pres5t day music excites & ?rills b does n exalt4 ,brahms1 9 8 great mom5ts1 lifts u high above ! e>?4 ,8 univ]sal acceptance is alike h9d]$ by a defici5cy :i*1 ?\gh z natural z 8 res]ve1 may yet ju/ly be cit$ aga9/ him--! occasional monotony ( 8 color s*eme4 ,9 ! symphonies1 not)/&+ ! dignity & s9c]ity ( ?\ght1 we f9d pages 9 ! /yle ( an engrav+ :i* w\ld be m effective z a gl[+ canvas1 e4g41 9 ! sl[ movem5t ( ! ,second ,symphony & 9 ! la/ two movem5ts ( ! ,f\r?4 ,_m consid]1 h[ev]1 t ,brahms's or*e/ral treatm5t is exactly suit$ to ! s]i\sness ( 8 ideas2 s x comes d[n to a "q ( individual ta/e4 ,t he _h 8 own delicate feel+ = color & s5su\s effect is %[n 9 _m pages ( ! *amb] music1 especially 9 ^? works = unusual comb9ations1 e4g41 ! ,cl>9et ,qu9tet1 & ! ,trio = ,viol91 ,horn & ,pian(orte4 ,no "o 9 mod]n times has us$ m eloqu5tly t romantic in/rum5t1 ! horn4 ,see1 = example1 ! ,coda to ! fir/ movem5t ( ! ,d major ,symphony & ! sl[ movem5t ( ! ,?ird ,symphony4 ,we mu/ gratefully ackn[l$ge ! la/+ quality ( 8 music--)\t "q x we>s well4 ,9 fact1 difficult ?\gh x be to compreh5d at a fir/ he>+1 ! m x is he>d1 ! m x is enjoy$4 ,brahms's#beg music is /eadily gr[+ 9 popul>ity4 ,8 or*e/ral works & *amb] music are applaud$ to-day1 al?\gh tw5ty-five ye>s ago !y 7 receiv$ ) apa?y & scornful indiff]5ce4 ,footnote #beg3 ,= lit]ature on ,brahms ! foll[+ works are recomm5d$3 ! compreh5sive ,life by ,full]-,maitl&2 ! essay 9 ,had['s ,/udies 9 ,mod]n ,music2 t 9 ,mason's ,f ,grieg to ,brahms2 t by ,spitta 9 ,/udies 9 ,music by ,rob9 ,grey2 ! fir/ essay 9 ,mezzot9ts 9 ,mod]n ,music by ,hunek]2 ! biographical & critical article 9 ,grove's ,diction>y2 ,*apt] ,,ix 9 ,volume #h ( ! ,art ( ,music1 & ,*apt] ,,xiii 9 ,volume #b4 ,!re are also "s /imulat+ rem>ks on ,brahms's /yle 9 g5]al1 & on ! attitude ( a pa/ g5]ation t[>ds 8 "w1 9 ^? delightful essays1 9 #b volumes1 ,by ! ,way1 ,ab\t ,music by ! late well-kn[n critic1 ,w4,f4 ,ap?orp4 ,z a repres5tative "w 9 ea* ( ! f\r fields 9 :i* ,brahms creat$ su* ma/]pieces we h select$1 = detail$ analysis1 ! ,fir/ ,symphony1 ! ,sonata = ,viol9 & ,pian(orte 9 ,a major1 ! ,ballade 9 ,g m9or & ! ,song1 ,me9e ,liebe i/ grn wie d] ,fli$]bus*4 ,all f\r ( ,brahms's symphonies may ju/ly be consid]$ great1 ea* 9 its own way4 ,= ,brahms is n a man ) a s+le message & has n writt5 "o l>ge symphony 9 diff]5t sections1 z1 9 a broad s5se1 may be said ( ,t*aik[sky4 ,! ,second1 on acc\nt ( ! spontaneity & direct appeal ( its !mes1 is und\bt$ly ! mo/ popul>4 ,x conta9s a fir/ movem5t ( a quasi-,m5delssohnian suavity & lyric *>m2 a sl[ movem5t :i* is a m$itation ( ! pr(undity ( ,ba* himself2 a ?ird movem5t1 allegretto1 bas$ on a delightful waltz ( ! ,vi5nese ,lndl] type & a ,f9ale ( a ,moz>tian fre%ness & vigor--! second !me be+ specially notable = its broad sweep4 ,! :ole "w is a conv9c+ example ( ,brahms's vitality & joie de vivre4 ,! ,?ird symphony is a m>vel ( concis5ess & virile life4 ,! ,f\r?1 ?\gh n 9 all respects s inspir$ z ! o!rs1 is fam\s = its beautiful sl[ movem5t--) an impressive introduction 9 ! ,phrygian mode 7,brahms (t5 %[+ a m>k$ fondness = old modal h>mony7--& = ! ,f9ale1 :i* is an illu/ration ( 8 polyphonic skill 9 mod]niz+ ! v>iation =m1 ! ,passacaglia or gr\nd bass4 ,b ! ,fir/1#beh x seems to u1 is ! greate/1 9 scope1 9 weal? ( mat]ial1 9 its rem>kable comb9ation ( dramatic1 epic & lyric elem5ts & 9 an int5sity ( feel+ & sublimity ( ?\ght peculi> to ,brahms4 ,x is extremely subjective1 ( deep e?ical value1 & sets =? a message ( optimism & undy+ hope4 ,! /ructural basis is a motto1 (t5 recurr+ 9 ! "w1 :i* 7:atev] x may mean7 is evid5tly--l ! !me ( ! ,c m9or symphony--"s fi]ce prote/ aga9/ fate4 ,! symphony1 z a :ole1 repres5ts a triumphant progress f d>kness to light2 & ?is mean+ is made evid5t by ! ev]-bright5+ mood ( ! successive movem5ts1 ! tone ( :i* is /r5g!n$ by ! s*eme ( key-relation%ip--bas$ on an asc5d+ s]ies ( major ?irds1 e4g4 ,music3 ,c ,m9or1 ,e major1 ,a-flat major1 ,c major4 ,footnote #beh3 ,! eloqu5ce ( ! "w is s integrally involv$ ) its or*e/ral dress t x %\ld always be /udi$1 if possible1 9 ! full score4 ,= class-room "w excell5t editions are available = two & f\r h&s4 ,! "w is some:at unev5--nev] weak--b at times a bit labor$2 z if ! compos] 7 consci\sly wre/l+ ) great ?\ghts4 ,?is1 h[ev]1 is no?+ aga9/ x1 because equally true ( l>ge works 9 o!r fields ( art1 e4g41 ! ,agamemnon ( ,aes*ylus or ,wagn]'s ,tetralogy4 ,x _c be und]/ood1 mu* less appreciat$1 )\t close att5tion & e>ne/ ?\ght1 = x pres5ts ! /ruggles & aspirations ( mank9d & is n meant solely to delight or ent]ta94 ,:5 ! he>] has made x 8 own x is a priceless possession = all "t4 ,! ,prelude to ! fir/ movem5t1 un poco so/5uto1 is ( impressive solemnity1 develop$ f ! motto1 & bas$ on ! almo/ p]si/5t it]ation ( ! p$al notes ,c & ,g--! tonic & dom9ant4 ,x proclaims t a s]i\s mean+ is to be reveal$1 & ?is mean+ is acc5tuat$ by ! or*e/ration :i* ) its /ratifi$ gr\p+ ( melodic l9es has a grim /r5g? *>act]i/ic ( ,brahms4 ,music ,! fir/ movem5t prop]1 ,allegro1 9 complete sonata-=m1 beg9s ) a ff ann\ncem5t ( ! impassion$1 *romatic motto1 e4g4 ,music ,note ! cutt+ effect ( ! dissonant tones ,f-%>p & ,a-flat6 ,f ?is motto gr[s ! melodic "p ( ! fir/ !me 9 two balanc+ phrases1 e4g4 ,music ,!n foll[ "s /ormy measures ( dissonant *ords & w>r+ rhy?ms until ! !me rages itself out1 9 measure #eb4 ,! transition beg9s ) "s %>p /accato *ords1 z if summon+ to fur!r att5tion4 ,x gradually cools d[n ?r\gh a s]ies ( beautiful modulations &1 9 measure #hd1 ! second !me--introduc$ by calls on ! horn & sung by ! oboe--ent]s 9 ! relative major key ( ,e-flat4 ,?is also is bas$ on ! asc5d+1 *romatic l9e ( ! motto2 /ill fur!r organic unity be+ ga9$ by ! bass1 :i* has ! same melodic figure z ! second phrase ( ! fir/ !me1 e4g4 ,music ,mu* ( ! previ\s fi]c5ess1 h[ev]1 has abat$ & ! rema9d] ( ! second !me is ( a r>e lovel9ess1 ) my/]i\s answ]+ calls betwe5 oboes1 cl>9ets & horns4 ,! pp dom9ant n9? *ords at ! beg9n+ ( ! clos+ portion 7measures #abj-abb7 give a positively %udd]+ effect & !n ! combat ( cla%+ rhy?ms is r5ew$4 ,! developm5t beg9s ) a s]ies ( %ift+ h>monies1 at fir/ ff & !n pp--a lull be=e ! /orm--z if prep>+ ! way = a /ill m t]rific assault ^u our emotions4 ,x is tempe/u\s ?r\gh\t2 bas$ at fir/ on mat]ial tak5 f ! prec$+ codetta & end+ ) an ext5d$ pres5tation ( ! motto ov] an it]at$ p$al note on ! dom9ant1 e4g4 ,music ,! fusion ( ! developm5t ) ! recapitulation is skillfully h&l$1 & ! motto is proclaim$1 beg9n+ at measure #bih1 9 a s]ies ( asc5d+ /rata1 ) ov]:elm+ =ce4 ,! ?ird "p1 ) slight abridgm5t & necess>y adju/m5t ( key-relation%ip1 con=ms exactly to ! exposition4 ,!re is ! same agitato clos+ portion z be=e1 & !n ! ,coda prop]1 beg9n+ at measure #dba1 emphasizes ) fi]y acc5ts ! mood ( /orm & /ress *>act]i/ic ( ! movem5t z a :ole4 ,aft] ! fury has subsid$1 ! dramatic motto ass]ts itself 9 ! clos+ measures1 poco so/5uto2 ! problem is /ill unsolv$ & ! la/ ,c major *ord is b a ray ( light ca/ on tr\bl$ wat]s4 ,! second movem5t1 &ante so/5uto--9 ?ree-"p =m--beg9s ) a t5d] melody express+ a mood ( deep resignation & religi\s hope4 ,no soon] has x />t$1 h[ev]1 ?an !re creeps 9 ! s9i/] motto1 z if to rem9d u t life is und5iably /]n & grim1 e4g4 ,music ,9 measure #ag !re ent]s a clos+ !me1 sung by ! oboe1 ( ineffable beauty :i* is us$ 9 ! ?ird "p z ! climax ( ! movem5t4 ,x surely seems to come f ano!r _w & is "o ( ! mo/ sublime melodies by ,brahms or any "o else4 ,its climax is impressively unit$ ) ! ma9 !me 9 ! bass1 e4g4 ,music ,! middle portion1 beg9n+ 9 measure #ch1 is a m$itation--9 dialogue =m--= solo oboe & cl>9et1 work$ up to an eloqu5t climax 9 ! key ( ! relative m9or1 ,c-%>p4 ,! ?ird "p1 beg9n+ measure #ff1 ) ! addition ( "s lovely modulatory *anges1 corresponds to "p "o2 save t ! melody is v>i$ by ,brahms's favorite device ( ?ree notes to a beat 9 "o voice aga9/ two 9 ano!r4 ,beg9n+ 9 measure #ij1 ! wondr\s clos+ !me ( ! fir/ "p is sung by a solo viol91 re9=c$ by oboe & horn4 ,x is f9ally entru/$1 9 ! home key1 to ! horn alone1 above :i* ! solo viol9 so>s 9 ec/acy1 e4g4 ,music ,"s dim9u5do1 desc5d+ passages lead to a rem9isc5t portion ( ! fir/ !me & !n1 9 measure #aaf1 ! grim motto ent]s1 b ?is "t )\t prevail+2 =1 9 measures #abb-abd1 x is f9ally exorcis$ & ! movem5t closes ) ! s]aphic calm ( a s(t1 ri* *ord 9 ,e major1 above :i* is he>d a />-l note on ! solo viol94 ,! ?ird movem5t is an ,allegretto2 x be+ ,brahms's cu/om 9 ea*#bei ( 8 symphonies to sub/itute a movem5t ( ?is type 9 place ( ! conv5tional ,s*]zo or ,m9uet4 ,?is movem5t cle>ly 9 ?ree-"p =m1 is ?r[n 9 to furni% relief aft] ! emotional t5sion ( ! movem5t prec$+4 ,x has no obvi\s organic connection ) ! o!r movem5ts1 b is j ! "r ?+ 9 its surr\nd+s1 ) a note ( vitality :i* does mu* to bright5 ! sc5e & to prep>e ! way = ! ,f9ale4 ,! op5+ !me 9 ,a-flat major is 9 two phrases ( five measures ea*--a favorite rhy?m ) ,brahms--giv5 out by ! cl>9et ov] a pizzicato bass 9 ! 'cellos4 ,! melodic =mation is unusual 9 t ! latt] phrase is an inv]sion ( ! fir/1 e4g4 ,music ,footnote #bei3 ,! only slight exception is ! ?ird movem5t ( ! ,f\r? ,symphony :i*1 be+ m>k$ ,allegro giocoso1 p>takes some:at ( ! nature ( a ,s*]zo4 ,aft] "s desc5d+ passages 9 ?irds & six?s--"o ( ! *>act]i/ic#bfj effects 9 ,brahms's /yle--! !me is repeat$ 9 ! viol9s ) ri*] scor+4 ,! desc5d+ passage returns & ?is "t leads to ! entrance ( a subsidi>y !me 9 ,f m9or4 ,9 measures #ej-ea occurs "o ( ^? cases ( melodic g]m9ation :i* entitles ,brahms to be call$ a g5u9e creative arti/4 ,! melody ) its da%+1 ,hung>ian ze/ s\nds l some?+ br&-new & yet is logically d]iv$ f ! ma9 !me by dim9ution1 e4g4 ,music ,footnote #bfj3 ,^? et]nal six?s & ?irds4 ,we+>tn] lat] publicly recant$ & became a :ole-s\l$ conv]t to ,brahms4 7,see ,! ,symphony s9ce ,bee?ov51 late/ edition47 ,?is is real poetic creation1 x be+ ! prime object ( a poet to create 9 music some?+ out ( app>5t no?+4 ,aft] ^! vivaci\s developm5ts ! fir/ "p ends ) a slight repetition ( ! ma9 !me4 ,! middle "p1 beg9n+ measure #ga1 9 #f_/h "t & 9 ! enh>monic key ( ,b major 7,e-flat ,d-%>p7 is notewor?y = its rhy?mic sw+1 bold syncopations & contra/$ acc5ts2 see especially measures #ig-ajg4 ,at ! beg9n+ ( ! ?ird "p !re is an effective bl5d+ ( ! rhy?m :i* has j prevail$ ) ! graceful l9es ( ! fir/ !me4 ,! fabric is made up ( effective *anges1 modulatory & rhy?mic1 9 ! mat]ial f ! fir/ "p4 ,at ! ,coda1 pi tranquillo1 !re is a delightful rem9isc5ce ( ! rhy?m ( ! middle portion c>ri$ out to ! v end by ! d\ble basses4#bfa ,footnote #bfa3 ,a simil> effect may be f\nd 9 ! clos+ measures ( ! fir/ movem5t ( ,bee?ov5's ,eigh? ,symphony4 ,! ,f9ale is "o ( ! mo/ ?rill+ p]orations 9 music2 n a p]functory close1 b a v]itable ,apo!osis ( victori\s aspiration1 giv+ an irresi/ible contra/ to ! fir/ movem5t4 ,:]eas1 be=e1 !re 0 no?+ b conflict1 n[ all is triumphant joy4 ,?is movem5t is laid out on a va/ scale1 ) a weal? ( mat]ial1 includ+ a long ,prelude ) a di/9ct !me ( its own & an ext5d$ ,coda4 ,! body ( ! movem5t is 9 abridg$ sonata =m1 i4e41 !re is a complete ,exposition ) fir/1 second & clos+ !mes1 & ! usual ,recapitulation1 b no ,developm5t prop]4 ,?is lack is made good by consid]able v>iation & expansion 9 ! fir/ "p ( ! ,rsum4 ,! ,prelude beg9s ,adagio ) "s /ra9s :i*1 l sm\ld]+ emb]s1 rem9d u ( ! s9i/] motto ( ! fir/ movem5t--note ! same dissonant tones ,a-flat & ,f-%>p4 ,! foll[+ measures are ( indef9ite nature1 beg9n+ piano & pizzicato z if a great body 7 ga!r+ headway sl[ly4 ,! pace gradually quick5s & we are l$ ?r\gh a s]ies ( impetu\s /r+5do runs to a ff *ord :i*1 accompani$ by a ff roll on ! kettle-drums1 s\nds l a clap ( ?und] & :i*1 z ! rev]b]ations die away1 u%]s 9 a mo/ mov+ !me#bfb--;giv5 out =te & sempre passionato on ! horn ov] a pp mut$ tremolo on ! /r+s ) a backgr\nd ( pp trombones1 e4g4 ,music ,footnote #bfb3 ,!re is a /rik+ analogy betwe5 ! int]vals ( ?is !me & ^? ( a well-kn[n peal 9 a ca!dral *ime1 e4g4 ,music ,9 bo? ! same elem5tal effect is produc$ by us+ ! natural tones ( ! h>monic s]ies 7see page #aic74 ,?is inspir$ passage#bfc has be5 eloqu5tly describ$ by ,w4,f4 ,ap?orp z foll[s3 ,amid hu%$1 tremul\s h>monies 9 ! /r+s1 ! horn & aft]w>d ! flute p\r =? an utt]ly orig9al melody1 ! "* ( :i* ranges f passionate plead+ to a sort ( wild exultation accord+ to ! in/rum5t t plays x4 ,! color+ is enri*$ by ! solemn tones ( ! trombones1 :i* appe> = ! fir/ "t 9 ?is movem5t4 ,x is tickli% "w try+ to dive d[n into a compos]'s bra91 & surmise :at special outside s\rce 8 inspiration may h _h2 b "o _c help feel+ t ?is :ole wond]ful episode may h be5 sugge/$ to ,brahms by ! tones ( ! ,alp9e horn1 z x awak5s ! e*oes f m\nta9 aft] m\nta9 on "s ( ! high passes 9 ! ,b]nese ,ob]l&4 ,?is is c]ta9ly :at ! episode recalls to any "o :o has ev] he>d ^? poetic tones & _! e*oes4 ,a %ort1 solemn1 ev5 ecclesia/ical int]ruption by ! trombones & bassoons is ( m !matic importance4 ,z ! horn-tones gradually die away1 & ! cl\d-l h>monies 9 ! /r+s s9k l[] & l[]--l mi/ veil+ ! l&scape--an impressive pause u%]s 9 ! ,allegro4 ,footnote #bfc3 ,see also a simil> eulogy by ,we+>tn] 9 8 ,! ,symphony s9ce ,bee?ov54 ,aft] ! flute has repeat$ ?is !me !re is an int]polation ( an important *oral-l phrase 7ref]r$ to above71 e4g4 ,music = x is lat] us$ z ! climax ( ! ,f9ale--9 fact1 ( ! :ole "w--& its tone ( religi\s f]vor1 acc5tuat$ by ! scor+ = trombones & bassoons1 is a cle> indication ( ! ideal message :i* ,brahms meant to convey4 ,! body ( ! movem5t1 ,allegro non troppo ma con brio1 beg9s ) a maje/ic1 sweep+ !me#bfd ( great rhy?mic vitality & ela/icity ann\nc$ by ! /r+s1 e4g4 ,music ,footnote #bfd3 ,!re is a /atem5t 9 _m books t ?is is a rem9isc5ce ( ! !me 9 ! ,f9ale ( ! ,n9? ,symphony4 ,h[ su* a leg5d />t$ x is difficult to say2 x mu/ be due to :at ! late ,w4,f4 ,ap?orp call$ purbl9d criticism4 ,= my "p ,i see a resemblance 9 only "o measure--save t bo? melodies are 9 quadruple rhy?m--betwe5 ! !me ( ,brahms & ! foll[+3-- ,music ,x is at once repeat$ ) ri*] scor+ & !n "s excit+ transitional passages lead1 aft] a slight phrase tak5 f ! *ief !me ( ! prelude1 to ! second !me1 animato1 9 ,g major1 e4g4 ,music ,?is has "s rhy?mical expansion & !n a quiet] "p1 dolce e piano1 beg9n+ measure #ga4 ,"s ru%+ ff passages br+ u1 9 measure #ajg1 to ! brilliant clos+ !me ) its /accato1 triplet rhy?m4 ,! ,exposition ends 9 ,e m9or1 9 measure #abb1 aft] a s]ies ( =te1 /accato *ords4 ,! ,recapitulation beg9s at once aft] two modulatory *ords1 & ?\gh suffici5t /ress is laid on ! fir/ !me1 !re is s mu* developm5t ( previ\s mat]ial t x s]ves = bo? ! cu/om>y second & ?ird p>ts4 ,a good deal ( adv]se criticism has be5 exp5d$ on ?is portion ( ! movem5t & x is possible t ,brahms's rem>kable te*nique 9 h&l+ 8 mat]ial ran away ) him4 ,b ! music is always /riv+ t[>d "s goal1 & ev5 if x has to pl\gh ?r\gh desp]ate seas1 !re is no weakness or falt]+4 ,?is "p ( ! "w is n beautiful 9 ! popul> s5se ( ! t]m1 b no "o c fail to be impress$ ) its "*4 ,a climax is f9ally rea*$1 9 measure #bbd1 ) a =tissimo /atem5t ( ! *ief !me ( ! prelude1 & !n1 aft] ?is has cool$ d[n1 dim9u5do e cal&o1 ! second !me ent]s 9 ! home key4 ,! re/ ( ! recapitulation corresponds closely ) ! exposition4 ,! ,coda beg9s1 9 measure #cjf1 ) a %ad[y outl9e ( modulatory *ords1 z if slumb]+ =ces 7 sl[ly awak5+2 &1 becom+ m cresc5do & /r+5do1 reveals its full glory at ! ,pi ,allegro4 ,?is portion1 bas$ on quick5$ phrases ( ! fir/ !me1 seems *>g$ ) sup]human en]gy1 & m\nt+ high] & high] culm9ates 9 a maje/ic proclamation ( ! *oral-l motto ( ! prelude1 e4g4 ,music ,on he>+ ?is x always seems z if ! heav5s above u really op5$4 ,! re/ ( ! ,coda is a sc5e ( jubilation ) ev] m life & light4 ,! dissonant tones ( ,f-%>p & ,a-flat try to lift _! heads b ?is "t are cru%$ =ev] by ! triumphant fundam5tal *ords ( ,c major1 e4g4 ,music ,! movem5t1 9 keep+ ) its s]i\s message1 ends ) a prolong$ & brilliant ,plagal ,cad5ce 9 :i* ! d\ble basses & ! trombone surge upw>d ) elem5tal p[]4 ,,sonata ,,= ,,viol9 ,,& ,,pian(orte ,( ,brahms's ?ree ,sonatas = viol9 & pian(orte1 respectively1 9 ,d m9or1 ,a major & ,g major1 t 9 ,a major has be5 select$ to give "s idea ( 8 *amb] music1 on acc\nt ( ! spontane\s appeal ( its melodies & because its p]=mance is possible = fairly well equipp$ executants4 ,9 _m respects ! ,d m9or ,sonata is ! greate/ ( ! ?ree1 b x is a "w exce$+ly difficult ( execution & int]pretation4 ,! ,a major ,sonata ne$s few comm5ts1 z ! music speaks = itself4 ,! "w is 9 ?ree movem5ts1 ! fir/ 9 complete sonata-=m ) ! two cu/om>y !mes1 ea* ( di/9ct lyric *>m & h5ce em95tly suit$ to ! s++ qualities ( ! viol92 ! second movem5t a fusion ( ! two normal middle ones1 & ! ,f9ale a ,rondo1 freely treat$4 ,! fir/ movem5t1 ,allegro amabile1 beg9s ) a suave !me1 e4g41 ,music ! fir/ int]val ( :i*1 a desc5d+ leap f ! ?ird to ! lead+ tone1 always seems to make a di/9ct appeal4#bfe ,aft] ! cu/om>y transition appe>s ! second !me1 ann\nc$ by ! pian(orte 9 measure #ej1 e4g41 ,music %[+ ,brahms's fondness = contra/$ rhy?ms--?ree notes to a beat 9 "o h& aga9/ two 9 ! o!r4 ,aft] a repetition by ! viol9 !re is a spirit$ clos+ !me 9 measure #ge1 ( great importance lat]4 ,! ,developm5t1 "o ( ,brahms's be/1 manife/s real organic gr[?2 !re is no?+ labor$ or p]functory4 ,x is bas$ on ! fir/ !me & ! clos+ !me ( ! ,exposition1 e4g4 ,music ,footnote #bfe3 ,x is us$ at ! beg9n+ ( ?ree o!r well-kn[n melodies1 e4g41 ! sl[ movem5t ( ,bee?ov5's ,n9? ,symphony1 9 ! middle "p ( ,s*umann's ,aufs*wung & 9 ! fir/ phrase ( ,wagn]'s ,preisli$4 ,! ,reprise beg9n+ 9 measure #aeh1 %[s ! usual treatm5t4 ,! ,coda1 f measure #bai1 is long &1 l codas ( ,bee?ov51 has features ( a second developm5t4 ,! movem5t ends ) brilliant arpeggios 9 ! pian(orte aga9/ octaves & d\ble /ops 9 ! viol94 ,9 ! second movem5t1 ,&ante tranquillo1 9 ,f major1 ,brahms fuses#bff toge!r ! moods usually associat$ ) ! sl[ movem5t & ! s*]zo1 play+ "o (f aga9/ ! o!r2 ! sl[ !me appe>+ ?ree times--at its f9al appe>ance ) eloqu5t modulations--& ! rapid "o twice1 ) contra/ ga9$ ! second "t ?r\gh pizzicato effects on ! viol94 ,! two !mes are z foll[s3-- ,music ,music ,footnote #bff3 ,?is practice he has adopt$ 9 sev]al o!r works & x is also ! /ructural feature 9 ! sl[ movem5t ( ,cs> ,franck's ,d m9or ,symphony4 ,! %ort1 da%+ ,coda is bas$ on ! vivace !me1 ) sonor\s *ords on ! viol91 bo? pizzicato & arco4 ,! ,f9ale1 ,allegretto grazioso1 is a conv9c+ example ( h[ su* a rigid =m z ! ,old] ,rondo c be fre%5$ up & revitaliz$ by ! h& ( a ma/]1 = ! ma9 !me1 e4g4 ,music has su* g5u9e melodic life t we always recur to x ) pleasure & yet at ea* appe>ance x is s deftly v>i$ t no monotony is felt4 ,! two episodes af=d /imulat+ contra/s & ne$ no comm5t4 ,! ma9 !me at its ?ird appe>ance is 9 ! subdom9ant key1 ) effective rhy?mic modifications4 ,! movem5t is a rem>kable illu/ration ( idiomatic /yle = ea* ( ! in/rum5ts3 ! viol9 "p1 su/a9$ & cantabile2 ! pian(orte "p1 brok5 up & ( rem>kable color & sonority4 ,! la/ page ( ! ,coda1 almo/ exclusively 9 d\ble /ops = ! viol91 br+s a r\s+ close to a ma/]piece4 ,,ballade ,,9 ,g ,,m9or ,,= ,,pian(orte 7,,see ,,supplem5t ,,no4 #fj7 ,al?\gh ! mo/ important factor 9 ,brahms's pian(orte pieces is ,brahms himself1 a c>eful exam9ation ( 8 works 9 ?is field %[s t 8 /yle is fa%ion$ f an intellig5t1 & by no means slavi% assimilation ( important features 9 ! works ( 8 great pr$ecessors4 ,?us we f9d ! same melodic w>m? z 9 ,s*ub]t1 ! rhy?mic vitality & massive h>mony s prom95t 9 ,s*umann & ! ext5d$ arpeggios & *ords1 ! color & ri*ness1 peculi> to ,*op94 ,f among ! num]\s & beautiful compositions ( ,brahms = solo pian(orte we h select$ ! ,ballade 9 ,g m9or because x repres5ts a some:at unusual & h5ce seldom recogniz$ side ( 8 g5ius--! specifically dramatic4 ,:5 a compos] calls 8 piece a ,ballade1 z 9 ! case ( compositions s entitl$ by ,*op9 & ,liszt1 we may assume t !re is "s dramatic or subjective mean+ beh9d ! notes2 & ! he>] is at lib]ty to give play to 8 own imag9ation & to receive ! message z some?+ m ?an music 9 ! ord9>y ab/ract or absolute s5se4 ,f ! inn] evid5ce ( ?is ,ballade ( ,brahms x seems to ! writ]#bfg n too fanciful to consid] x a picture ( a knight-errant 9 m$ieval times sett+ out on 8 adv5tures4 ,obs]ve ! vigor\s sw+ ( ! op5+ !me 9 t five-measure rhy?m s de> to ,brahms4 ,b 9 ! middle portion1 9 ! romantic key ( ,b major1#bfh ! woman appe>s--p]haps "s maid5 imprison$ 9 a t[]--& %e s+s to ! knight a song ( su* sweetness t he w\ld fa9 =sake duty1 battle1 ev]y?+6 ,! contra/ ( oppos+ wills#bfi is dramatically indicat$ by an int]polation1 aft] ! maid5's fir/ appeal1 ( ! m>tial !me ( ! knight1 z if he felt he %\ld be (f in/ead ( l+]+1 en*ant$ by h] song4 ,not)/&+ a /ill m impassion$ repetition ( ! song1 ! ,knight is firm1 te>s himself away & cont9ues on 8 c\rse2 h[ great ! wr5*1 be+ cle>ly indicat$ by ! unusual modulations 9 measures #gb-gf4 ,! en*ant+ song1 h[ev]1 /ill l+]s ) him & he dwells ) fond regret ^u bygone sc5es & dreams :i* 7 unatta9able4 ,9 ?is piece is se5 ,brahms's ari/ocratic di/9ction 9 ! treatm5t ( program music4 ,! subject is portray$ broadly--!re are no petty details--& ! music itself1 to anyone ) a s5sitive imag9ation1 tells ! /ory cle>ly4 ,h5ce a detail$ poetic int]pretation is out ( place1 s9ce only to ! sugge/] w\ld x h mean+4 ,footnote #bfg3 ,x is to be und]/ood t ?is is a purely p]sonal int]pretation & if any "o wi%es to consid] ! piece m]ely z absolute music ) a /rong mascul9e !me 9 ! m9or1 a lyric melody 9 ! major = ! natural contra/1 & a coda ref]r+ 9 a g5]al way to ! fir/ !me1 !re is no way to disprove ! cont5tion4 ,t ,brahms1 h[ev]1 0 n entirely av]se to out & out programmi/ic treatm5t is se5 f 8 two pieces on specific poetic texts1 i4e41 ! fir/ numb] 9 op4 #aj on ! ,scotti% ,ballads ( ,edw>d & ! ,lullaby 9 op4 #aag on ! ,scotti% ,folk-song ,sleep ,s(t1 ,my ,*ild4 ,footnote #bfh3 ,! same key t ,wagn] uses = ! end ( ,tri/an & ,isolde & ,cs> ,franck = ! gorge\s ,f9ale ( ! ,prelude1 ,*orale & ,fugue4 ,footnote #bfi3 ,! subject is ! same z ! /ory ( ! ,sir5s 9 ! ,odyssey or ( ! ,lorelei 9 ,g]man ,leg5d4 ,s _m ( ,brahms's pian(orte compositions are ( great beauty & significance t1 al?\gh space is lack+ = fur!r comm5t on def9ite examples1 we urge ! music-lov] to /udy ! foll[+3 ! second ,int]mezzo#bgj 9 ,b-flat m9or ( op4 #aag1 p]haps ! mo/ beautiful s+le piece ,brahms has writt5--rem>kable = its rhy?mic texture & = ! equalization ( bo? h&s1 :i* 0 "o ( 8 *ief contributions to pian(orte /yle2 ! second ,int]mezzo ( op4 #aai1 ! middle "p ( :i* is significant = ! ext5d$ arpeggio gr\p+ = ! left h& 7,brahms foll[+ ,*op9's lead 9 ?is respect72 ! six? ,int]mezzo ( op4 #aah1 a sup]b piece = sonority & color2 ! ?ird ,int]mezzo 9 op4 #aai1 7grazioso e giocoso7 & ! ,b m9or ,capriccio op4 #gf--;bo? 9 ,brahms's happie/ ve9 ( exub]ant vitality2 ! six? ,int]mezzo 9 op4 #aaf1 a beautiful example1 9 its polyphonic texture1 ( mod]niz$ ,s*umann2 &1 above all1 ! mighty ,rhapsodies 9 ,e-flat major1 op4 #aab ,no4 #d & ! "o 9 ,g m9or op4 #gi--?is latt]1 "o ( ,brahms's mo/ dramatic conceptions1 & an example1 z well1 ( complete sonata-=m us$ = an indep5d5t composition4 ,footnote #bgj3 ,= fur!r comm5ts on ! phraseology see ,! ,rhy?m ( ,mod]n ,music by ,abdy ,williams1 pp4 #ge-gg4 ,we may add t ! pieces call$ ,int]mezzi1 are g5]ally ( a m$itative1 somb] nature2 :]eas ! ,capriccios are m sprightly1 ev5 :imsical 9 _s4 ,,song--,me9e ,liebe i/ grn wie d] ,fli$]bus* 7,,see ,,supplem5t ,,no4 #fa7 ,:atev] ,brahms is or is n1 he is univ]sally recogniz$ z an inspir$ song-compos] & ^? :o d n "k 8 songs are cut (f f "o ( ! greate/ joys music has to (f]4 ,z ,hunek] s well says1 ,al?\gh 8 topmo/ peaks are trem5d\sly remote1 & glitt] & gleam 9 an atmosph]e almo/ too ?9 = dwell]s ( ! pla9s1 9 8 songs he 0 z simple1 z manly1 z t5d] z ,rob]t ,burns4 ,9 ,brahms's songs we _c say :i* is ! mo/ significant factor3 ! words1 ! vocal "p or ! accompanim5t2 all g toge!r to make up a p]fect :ole4 ,brahms _h disc]nm5t 9 ! selection ( texts suit$ to inspire poetic creation4 ,8 melodies are always appropriate to ! _s ( ! words1 yet truly lyric & s+able1 & ! accompanim5t cat*es & int5sifies e subtle %ade ( mean+4 ,if any "o factor is ( special beauty1 h[ev]1 x is ! in/rum5tal "p2 = "h ,brahms's great g5ius 9 pian(orte /yle came to ! =e & 9 utiliz+ e res\rce ( ! in/rum5t to glorify ! _s ( ! text1 he is a wor?y successor ( ,s*ub]t1 ,s*umann & ,franz4 ,note h[ 9 ?is song ! passionate gl[ ( ! poem is reflect$ 9 ! gorge\s modulations & sonority ( ! pian(orte "p4 ,especially rem>kable is ! int]lude betwe5 ! /anzas1 ) its weal? ( dissonances & waves ( fla%+ color4 ,aft] ?is surely no "o c say t ,brahms _h no feel+ = s5su\s effect1 at any rate on ! pian(orte4 ,o!r fam\s songs ( ,brahms :i* %\ld be famili> to ! /ud5t are ! foll[+3 ,wie ,melodi5 zieht es mir1 ,felde9samkeit1 ,m9neli$1 ,von ewig] ,liebe1 ,imm] leis] wird me9 ,s*lumm]1 ,sapphis*e ,ode1 ,v]gebli*es ,/nd*54 ,an excell5t essay on ,brahms z a song compos] w be f\nd 9 ! preface to ! ,=ty ,songs ( ,brahms 9 ! ,musician's ,libr>y 7,! ,oliv] ,ditson ,company74 ,! =ego+ illu/rations h made cle>1 we tru/1 ! inspiration & p[] ( ,brahms's v>i$ message4 ,8 music1 !re=e1 mu/ be approa*$ rev]5tly1 sympa!tically & ) an e>ne/ desire = a bett] und]/&+1 = ,brahms is v]itably a giant4 ,,*apt] ,,xvii ,c,,s> ,,franck ,be=e an appreciation ( ! significant works & influ5ce ( ,cs> ,franck c be ga9$1 x is necess>y to h a broad hi/orical p]spective ( :at _h be5 ! tr5d & ! limitations ( ,fr5* music prior to 8 c>e]4 ,s9ce ! "t ( ,c\p]9 & ,rameau1 musical composition 9 ,france _h be5 devot$ almo/ exclusively to op]a--) its two types ( gr& op]a & opra-comique--& 9 ?is field !re _h be5 "s ,fr5* musicians ( real1 ?\gh possibly r slight1 g5ius3 ,philidor1 ,mhul1 ,grtry1 ,boieldieu1 ,hrold & ,aub]4 ,"o se>*es 9 va9 ?r\gh ,fr5* lit]ature = great symphonies1 /r+-qu>tets1 viol9 sonatas or pian(orte compositions ( significance4 ,b]lioz1 z we h se51 _h compos$ a numb] ( or*e/ral works2 b1 f ! /&po9t ( absolute music1 ev5 ^! r beg ! "q z !y are s extremely programmi/ic1 dramatic or ev5 !atric4 ,?is "o-sid$ developm5t ( ,fr5* music 0 *iefly caus$ by ! p's innate fondness = ! drama1 & by ! national g5ius = act+1 mimicry & danc+4 ,prior to ! adv5t ( ,franck !re 7 two important pione]s 9 ! broad5+ t5d5cy :i* f9ally became noticeable1 ,sa9t-,sans & ,lalo4 ,= great assimilative p[]1 = v]satility1 = cl>ity ( expression & a f9i% & f9esse peculi>ly ,fr5*1 ,camille ,sa9t-,sans 7#ahce-/ill liv+7 is c]ta9ly "o ( ! mo/ rem>kable musicians ( ! n9ete5? c5tury4 ,8 works are num]\s1 always well-made &1 ?\gh lack+ 9 emotional dep?1 by no means )\t *>m & grace4 ,!y comprise ensemble works3 trios1 etc41 sev]al conc]tos & symphonies & f\r symphonic poems4 ,( ^!1 ! ?ird conc]to = pian(orte1 ) its ,ba*-l introduction1 ! ?ird viol9 conc]to1 ! two symphonic poems1 ,le ,r\et d',omphale & ,phaton &1 9 p>ticul>1 ! ?ird symphony 9 ,c m9or1 /ill hold _! own4 ,:atev] ,sa9t-,sans has to say is well said2 & if ! ,fr5* h modifi$ _! previ\s op9ion t ! only vehicle = musical expression 0 ! op]a1 x is l>gely ?r\gh ! influ5ce ( 8 compositions4 ,?is ,c m9or symphony1 fir/ p]=m$ 9 ,london 9 #ahhf1 %>es ) ,lalo's symphony 9 ,g m9or 7#ahhg7 ! claim to be1 9 all ,fr5* lit]ature1 ! fir/ in/rum5tal "w ( l>ge scope free f programmi/ic t5d5cies4 ,sa9t-,sans#bga & ,lalo fairly popul>iz$ ! ,sonata =m & _! works are wor?y ( great respect2 s9ce1 ?r\gh !m1 ! public became accu/om$ to symphonic /yle & 0 prep>$ = ! subsequ5t great] works ( ,franck1 d',indy & ,*ausson4 ,al?\gh n s v]satile z ,sa9t-,sans nor s v>i$ 9 output1 ,edu>d ,lalo 7#ahbc-ahib7 %\ld decid$ly n be ov]look$4 ,he 0 ( ,spani% orig9 & ?is racial /ra9 is noticeable 9 ! vivacity ( 8 rhy?m1 9 ! piquant individuality ( 8 melodies & 9 8 brilliant & picturesque or*e/ration4 ,8 *>act]i/ic "w is repres5t$ by a s]ies ( ,conc]tos & ,rhapsodies 9 :i* he employs ,spani%1 ,russian & ,norwegian !mes4 ,he did n escape ! ,fr5* pr$ilection = op]atic fame & 8 be/ "w is probably ! well-kn[n op]a ,le ,roi d',ys1 f :i* ! dramatic ov]ture is (t5 play$ sep>ately4 ,8 ,g m9or symphony1 h[ev]1 w always be consid]$ an important l&m>k 9 ! developm5t ( ,fr5* in/rum5tal music4#bgb ,footnote #bga3 ,= fur!r comm5ts on ! /yle & influ5ce ( ,sa9t-,sans see ! essay ,mason's ,f ,grieg to ,brahms2 ! article by ,pr(essor ,e4,b4 ,hill 9 ! ?ird volume ( ! ,art ( ,music2 &1 = "s pung5t & witty rem>ks1 ! ,program ,book ( ! ,bo/on ,symphony ,or*e/ra 7edit$ by ,philip ,hale7 = ,nov4 #bb1 #aiah4 ,footnote #bgb3 ,= a compreh5sive & discrim9at+ acc\nt ( 8 /yle see ! ,bo/on ,symphony ,or*e/ra ,program ,book1 = ,janu>y #ag1 #aiai4 ,cs> ,franck 7#ahbb-ahij7 0 a compos] ( su* innate spirituality t to analyze & classify him 9 a =mal mann] seems well-nigh irrev]5t4 ,8 music once he>d is nev] =gott51 & :5 ?or\ghly kn[n is lov$ = all "t4 ,nor is an elaborate biographical acc\nt necess>y2 = ,franck1 m ?an any o!r mod]n compos]1 has be5 =tunate 9 t 8 life & works h be5 sympa!tically pres5t$ to ! _w by a di/+ui%$ contempor>y1 8 mo/ fam\s pupil d',indy--himself a gift$ compos] & a man ( r>e lit]>y p[]s4 ,8 biography ( ,cs> ,franck 79 ,fr5* & 9 ,engli%7 %\ld c]ta9ly be read by all :o w\ld keep abrea/ ( mod]n t5d5cies4 ,franck's message1 h[ev]1 is s rem>kable & 8 /yle s individual1 t a few def9ite comm5ts may be made conc]n+ ! /ructural features ( 8 "w & ! ess5tial attributes1 !reby express$1 ( 8 inspir+ p]sonality4 ,franck 0 a ,belgian born at ,lige--"o ( t long l9e ( musicians :o1 ?\gh born else:]e1 h become ?or\ghly id5tifi$ ) ,fr5* ?\ght & /&>ds2 & !re is mu* 9 8 music :i* f9ds a p>allel 9 ! lit]>y qualities ( ano!r ,belgian arti/1 ,maet]l9ck1 = 9 bo? is t same haunt+ indef9it5ess1 t same symbolic aspiration4 ,no?+ 9 ,franck is rigid1 squ>e-to$2 8 music is sugge/ive ( a my/ic idealism1 ! full expression ( :i*1 f its v nature is unatta9able4 ,franck's outw>d life 0 simple1 )\t excitem5t or div]sion ( any k9d4 ,:5 he 0 n giv+ lessons or compos+1 he 0 active 9 ! s]vice ( ! ,roman ,ca?olic ,*ur*1 9 :i* he 0 a dev\t believ]4 ,= a numb] ( ye>s he 0 organi/ at ,sa9te ,clotilde1 & 8 /yle !reby 0 influ5c$ /rongly4 ,a di/9ct note ( religi\s exaltation runs ?r\gh mu* ( 8 music2 = ,franck 0 a f9e "*1 ( spotless purity ( life & ( su* g5]osity & elevation ( s\l t 8 pupils look$ ^u him z a real fa!r & always call$ him ,pat] ,s]aphicus4 ,he 0 univ]sally ackn[l$g$ to be ! greate/ improvis] on ! organ s9ce ,ba* himself4 ,ev5 ,liszt1 :o he>d him 9 #ahff1 left ! *ur*1 lo/ 9 amazem5t2 evok+ ! "n ( ! great ,seba/ian z ! only possible comp>ison4 ,franck's s]vices to ! developm5t ( music are tw(old3 #a/1 z an inspir$ compos] ( v>i$ works1 :i* are m & m becom+ und]/ood & lov$2 #b;d1 z a truly great tea*]1 among 8 notable pupils be+ d',indy1 ,*ausson1 ,dup>c1 ,rop>tz1 & ! gift$ b %ort-liv$ ,lekeu4 ,9 ,franck's music1 fully z rem>kable z ! cont5t--! wor?y expression ( 8 poetic nature--is its organic /ructure4 ,he 0 ! fir/ compos] ( ! ,fr5* ,s*ool to use adequately ! great =ms ( symphonic & *amb] music :i* _h be5 work$ out hi!rto by ! ,g]mans3 ,ba*1 ,haydn1 ,moz>t1 ,bee?ov51 etc4 ,if dur+ ! la/ ?irty ye>s1 compos]s ( ! mod]n ,fr5* ,s*ool h put =? a numb] ( in/rum5tal works ( l>ge dim5sions 7*amb] music1 symphonies1 symphonic poems & pian(orte sonatas71 x is to ,franck m ?an to any o!r man1 by reason ( 8 own a*ievem5ts 9 ^! fields & 8 /imulat+ influ5ce on o!rs1 t ?is significant fact is due4 ,a /rik+ feature ( ,franck's music is ! individual h>monic s*eme1 fasc9at+ because s elusive4 ,he 0 a d>+ innovator 9 modulations & 9 *romatic effect2 & has1 p]haps1 add$ m g5u9ely new words to our vocabul>y ?an any "o s9ce ,wagn]4 ,! basis ( ,franck's h>mony is ! novel use ( ! s-call$ augm5t$ h>monies :i*1 9 _! d]ivation1 are *romatically alt]$ *ords4 ,^! are resolv$ by ,franck 9 a mann] rem>kably free1 & are (t5 submitt$ to /ill fur!r *romatic *ange4 ,9 reveal+ new possibilities he has1 9 fact1 done = ^! *ords :at ,wagn] did = ! *ord ( ! n9?4 ,any page ( ,franck's music w exemplify ?is /atem5t1 & z an illu/ration we h cit$1 9 ! ,supplem5t1 ! fir/ "p ( ! ,prelude 9 ,e major4 ,a life-long /ud5t ( ,ba* & ,bee?ov51 ,franck believ$--z a c>d9al pr9ciple--t great ideas 7 n en\gh2 !y mu/ be weld$ toge!r ) inexorable logic4 ,& s 8 *ief glory z a musical ar*itect is ! free use he makes ( su* organic =ms z ! ,canon1 ! ,fugue & ! ,v>i$ ,air4 ,franck 0 likewise a pione] 9 e/abli%+ 9 a sonata or symphony a new conception z to ! relation%ip ( ! movem5ts4 ,?is he effect$ by ! use ( :at may be call$ g5]ative motives :i*1 ann\nc$ 9 ! fir/ movem5t ( a "w1 are f\nd ) organic gr[?1 modulatory & rhy?mic1 9 all ! succe$+ portions4 ,su* a me?od ( ga9+ unity _h be5 h9t$ at by ,bee?ov5 9 8 ,fif? ,symphony1 0 fur!r develop$ by ,s*umann & ,liszt &1 s9ce ! example ( ,franck1 has become a recogniz$ pr9ciple 9 all l>ge cyclic works4 ,! foll[+ e/imate ( 8 music by ,f4 ,bald5sp]g] is wor?y ( citation4 ,! contemplative "* ( ,franck's music :i* expla9s 8 entire te*nique is r>e at ! epo* 9 :i* 8 life 0 ca/1 an epo* ( realism1 g5]ally inspir$ by a ta/e = ! picturesque & ! dramatic4 ,po/]ity w place ,cs> ,franck 9 a ni*e simil> to t ( ,puvis de ,*avannes1 ^: inspiration1 indiff]5t to all worldly solicitations1 fl[$ will+ly1 l t ( ,franck1 into ! pa?s ( rev]ie1 & pursu$ its way l a beautiful riv] ( quiet wat]s1 undi/urb$ by waves or rapids1 & reflect+ ! et]nal calm ( ! sky4 ,z repres5tative works#bgc we h *os51 = analytical comm5ts ! ,d m9or ,symphony 7,franck's only "w 9 ?is field71 ! ,sonata = viol9 & pian(orte & ! ,symphonic ,v>iations = pian(orte & or*e/ra4 ,franck has also compos$ a v beautiful ,qu9tet = /r+s & pian(orte--consid]$ by "s ! mo/ sublime *amb] "w ( rec5t times2 a ,/r+ ,qu>tet1 notable = its int]relation%ip ( !mes & movem5ts2 two elaborate compositions = pian(orte solo1 ! ,prelude1 ,*orale & ,fugue 7! fugue %[+ a ma/]ly comb9ation ( /rict fugal /yle & free =m7 & ! ,prelude1 ,aria & ,f9ale2 a weal? ( organ works--! ?ree ,*orales be+ ( special beauty--& sev]al ,symphonic ,poems ( less] importance4 ,8 purely vocal works1 oratorios & *ur* music lie outside ! prov9ce ( ?is book4 ,footnote #bgc3 ,on acc\nt ( ! l5g? ( ^! works x is impossible to include any ( !m 9 ! ,supplem5t4 ,! ,symphony#bgd 9 ,d m9or is 9 ?ree movem5ts2 ! fir/ 9 complete & elaborate sonata-=m1 ! second a fusion ( ! two cu/om>y middle movem5ts1 & ! ,f9ale 7?\gh fundam5tally on a sonata-=m basis7 an organic summ+-up ( ! *ief !mes ( ! entire "w4 ,! fir/ movem5t beg9s1 ,l5to1 ) ! ma9 !me prop] 7!sis7 ! motive#bge ( :i* is ! f\ndation ( ! :ole "w1 e4g4 ,music ,footnote #bgd3 ,/udy1 if possible1 ! or*e/ral score4 ,= class-room "w !re is an excell5t f\r-h& arrangem5t by ! compos]1 & "o = two h&s by ,erne/ ,ald]4 ,footnote #bge3 ,?is t]se phrase is id5tical ) motives f sev]al o!r works1 e4g41 ! beg9n+ ( ,liszt's ,les ,prludes1 ! motive ,muss es se98 9 ,bee?ov5's qu>tet1 opus #ace1 & ! ,fate motive 9 ,wagn]'s ,valkyrie4 ,! phraseology ( ! !me is noticeable = its flexibility2 s9ce ! fir/ phrase is exp&$ to five measures & ! second phrase 7anti!sis71 ) a desc5d+ motive1 to sev51 e4g4 ,music ,! h>mony ( ?is second phrase illu/rates a /rik+ feature 9 ,franck's /yle1 namely ! fact t 8 resolutions seldom come out z expect$ b1 in/ead1 drift imp]ceptibly into o!r *annels4 ,9 measure #ac !re beg9s a long s]ies ( modulatory developm5ts ( ! ma9 !me--( a preludial nature--b n a m]e prelude 9 ! ord9>y s5se4 ,t ?is entire op5+ portion is ! ma9 body ( ! "w is se5 by a comp>ison ) :at takes place at ! beg9n+ ( ! recapitulation4 ,9 measure #bi1 allegro non troppo1 we beg9 ) a pres5tation ( ! motive 9 ! usual fir/-movem5t mood4 ,! answ]+ phrase1 anti!sis1 is n[ q diff]5t2 &1 9 measure #dh1 is develop$--) "s new contrapuntal voices--to a half cad5ce 9 ,f m9or4 ,?is :ole portion1 bo? ! ,l5to & ! ,allegro1 is n[ repeat$ almo/ lit]ally 7! "o slight *ange be+ 9 measures #ef-eg7 9 ?is new key1 a m9or ?ird high] ?an ! orig9al4 ,to beg9 a fir/ movem5t 9 ?is way1 i4e41 ) su* a /rong contra/ ( moods is v novel & /rik+1 b z ,franck 0 a devot$ /ud5t ( ,bee?ov51 x w\ld seem t1 by pres5t+ 8 !me 9 diff]5t /rata1 he 0 simply exp&+ ! practise#bgf ( t ma/] 9 ord] to impress 8 message ^u ! li/5]'s memory4 ,! repetition ( ! ,allegro "p n[ leads ?r\gh "s ri* modulations to ! entrance ( ! second !me1 9 measure #ii4 ,?is lovely melody1 *>act]i/ic ( ,franck's t5d]ness1 ,music is notewor?y = ! imitations betwe5 ! viol9s & ! 'cellos & basses4 ,x %[s1 fur!rmore1 t peculi> quality 9 ,franck's /yle :i* comes f 8 elusive modulations4 ,9 measures #aji-aaj we are at a loss to tell j :at direction ! music w take :5 almo/ miracul\sly1 9 measure #aaa1 we f9d ourselves 9 ,d-flat major--9 :i* key ! :ole !me is n[ repeat$4 ,"s /imulat+ modulations br+ u1 9 measure #abi1 to a mo/ en]getic & aspir+ melody1 consid]$ by "s ano!r "p ( ! second !me1 b :i* c]ta9ly has ! note ( a clos+ !me & also ! /ructural position ( a clos+ !me1 e4g4 ,music ,footnote #bgf3 ,see = example ! op5+ measures ( ! ,wald/e9 & ( ! ,appassionata ,sonata4 ,x is develop$ ) great brilliancy ?r\gh a s]ies ( m$iant modulations1 9 :i* ! orig9ality ( ,franck's h>monic s*eme is v app>5t4 ,! exposition ends ) "s dreamy1 pianissimo rem9isc5ces ( ! clos+ !me 9 ! m$iant keys ( ,f1 ,d & ,b major1 delicately scor$ = ! wood-w9d in/rum5ts & horns4 ,! developm5t beg9s1 9 measure #aia1 ) ! motive ( ! clos+ !me :i*1 comb9$ ) o!r phrases f ! exposition1 is us$ p]si/5tly 9 ! bass = a numb] ( measures4 ,! mat]ial is develop$ climactically until1 9 measure #bbi1 we f9d an impressive treatm5t ( ! second desc5d+ phrase ( ! fir/ !me--orig9ally 9 augm5tation & lat] 9 dim9ution1 e4g4 ,music & ,music ,! re/ ( ! developm5t is cle>ly d]ivable f mat]ial already pres5t$4 ,aft] a f9al ff climax !re beg9s1 9 measure #bhg1 a s]ies ( beautiful entries pp ( ! clos+ !me = ! cl>9et1 oboe & flute4 ,?is is ! spot 9 a sonata-=m movem5t :]e appe>s ! h& ( ! ma/]2 = ! excitem5t ( ! free fantasy mu/ cool d[n )\t entirely dy+ out1 & !re mu/ also be a fre% cresc5do ( en]gy = ! re/atem5t ( !mes 9 ! "p foll[+4 ,franck h&les ! situation ) conv9c+ skill2 & "s climactic measures1 9 :i* ! ma9 !me h9ts at ! return1 lead u1 9 measure #ccc1 to ! recapitulation4 ,?is is "o ( ! mo/ p[]ful & eloqu5t p>ts ( ! movem5t1 = ! :ole fir/ !me is pres5t$ canonically--! ann\ncem5t 9 ! trombones1 tuba & basses be+ answ]$1 a half measure lat]1 by trumpets & cornets4 ,! re/ ( ! recapitulation1 ) necess>y modulations & slight expansion1 corresponds closely to ! fir/ portion4 ,! coda1 beg9n+ aft] ! same e*o-effects he>d at ! close ( ! exposition1 is f\nd$ on "o ( ! c\nt]po9ts ( ! fir/ subject1 e4g4 ,music ,ga!r+ headway x leads to an impos+ ass]tion fff1 9 canon =m1 ( ! ma9 motto :i* concludes1 ) a widely spac$ *ord1 9 ! brilliant#bgg or*e/ral key ( ,d major4 ,footnote #bgg3 ,brilliant by reason ( ! fact t ! f\r pr9cipal tones 9 ,d major1 ,d1 ,a1 ,g1 ,e are op5 /r+s on ! viol94 ,! second movem5t beg9s ) a s]ies ( subdu$1 pizzicato *ords 7= /r+s & h>p7 :i* e/abli% ! mood & lat] furni% ! h>monic backgr\nd = ! ma9 !me4 ,?is haunt+ melody1 ann\nc$--9 measure #af--;by ! ,engli% horn & aft]w>ds /r5g!n$ by ! cl>9et & flute1 is cle>ly d]iv$ f ! motto ( ! fir/ movem5t1 e4g4 ,music & is a notable example ( ! free phraseology & long sweep peculi> to ,franck4 ,al?\gh ext5d+ #cb measures x nev] loses its cont9uity1 = e measure gr[s inevitably f :at has prec$$4 ,x beg9s ) two id5tical eight-measure phrases2 ! second ( :i*1 ) a diff]5t h>monic end+1 is v>i$ by a cantabile c\nt] !me 9 ! violas--caus+ !reby1 ) ! upp] voice1 "s delightful dissonant effects4 ,! la/ eight-measure phrase1 also v>i$ by a c\nt]po9t 9 ! 'cellos1 ends ) a *>act]i/ic1 ,franckian modulation2 keep+ u 9 susp5se until ! la/ mom5t1 & !n deb\*+ unexpect$ly into ,b-flat major4 ,9 ?is key !re foll[s a long-brea!d1 cantabile melody--at fir/ = /r+s alone1 b scor$ ) increas+ ri*ness4 ,x ab\nds 9 modulatory *anges & expresses1 ?r\gh\t1 ! note ( my/ical exaltation s prom95t 9 ,franck's nature4 ,x ends 9 measures #ha-hf ) an eloqu5t cad5ce1 l>gam5te & pianissimo1 9 ,b-flat major & is foll[$ by a p>tial re/atem5t ( ! fir/ !me2 ?us giv+1 to ?is portion ( ! movem5t1 a feel+ ( ?ree-"p =m4 ,!n1 aft] "s prelim9>y phrases1 beg9s ! piquant !me 9 ,g m9or1 9 triplet rhy?m1 :i* takes ! place ( ! conv5tional ,s*]zo1 e4g41 ,music =1 z we h /at$1 ! /ructural feature ( ?is movem5t is ! fusion ( ! two cu/om>y middle movem5ts4 ,?is !me1 mo/ly pp 7con sord9i & vibrato7--da9tily scor$ = /r+s & light wood-w9d *ords--closes1 9 measures #aca-acd1 ) a cad5ce 9 ,g m9or4 ,! foll[+ portion1 beg9n+ 9 ,e-flat major1 b (t5 modulat+--its graceful !me sung by ! cl>9ets1 dolce espressivo1 answ]$ by flutes & oboes--e4g41 ,music evid5tly takes ! place ( a trio & is "o ( ! mo/ poetic p>ts ( ! movem5t4 ,aft] "s effective developm5t !re is a return1 9 measure #age1 to ! ,g m9or s*]zo-!me 9 ! /r+s2 soon jo9$1 9 measure #ahc1 by ! sl[ !me on ! ,engli% horn--! /ructural union ( ! two moods be+ ?us e/abli%$1 e4g4 ,music ,! re/ ( ! movem5t is a free b p]fectly organic improvisation on ! *ief melodies already pres5t$4 ,x is ri*ly scor$1 ) dialogue effects betwe5 ! sev]al or*e/ral *oirs2 especially beautiful are ! two passages 9 ,b major1 poco pi l5to1 scor$ pp = ! complete wood-w9d gr\p & horns4 ,! clos+ measures h lovely e*oes betwe5 wood-w9d & /r+s1 & ! f9al cad5ce is "o ( ! mo/ magical 9 all ,franck2 hold+ u (f to ! v la/ f our goal & f9ally rea*+ x 9 a *ord ( un=gettable peace & satisfaction1 e4g4 ,music ,! ,f9ale 9 ,d major1 allegro non troppo1 is a rem>kable example 9 mod]n lit]ature ( t t5d5cy1 gr[+ s9ce ,bee?ov51 n to treat ! la/ movem5t z an unrelat$ indep5d5t portion b1 in/ead1 z an organic summ+ up ( all ! lead+ !mes4 ,?is cyclic use ( !mes--transf]r+ !m f "o movem5t to ano!r--is "o ( ,franck's important contributions to musical ar*itecture4 ,! movem5t has two !mes ( its own1 e4g4 ,music3 #a/ !me ,music3 #b;d !me & at fir/ proce$s along regul> sonata-=m l9es1 i4e41 ) an exposition1 developm5t & recapitulation4 ,aft] vigor\s summons to att5tion ! fir/ !me is giv5 out by ! 'cellos & bassoons4 ,x is exp&$ at "s l5g?1 repeat$ ff by ! full or*e/ra1 & !n aft] bold modulations leads1 9 measure #gb1 to ! second !me 9 ,b major1 happily call$ by ,rop>tz ! !me ( triumph4#bgh ,aft] a quiet] portion ( sombre tone 9 ,b m9or we rea*1 9 measure #abd1 an int]polation ( ! sl[ movem5t !me1 e4g41 ,music sung by ! ,engli% horn aga9/ a triplet accompanim5t 9 ! /r+s2 ! fundam5tal beat--! "t n[ *ang$ f #b_/b to #c_/d--pres]v+ ! same value4 ,n[ we beg9 to =esee t ?is !me is to be ! climax ( ! :ole "w4 ,9 measure #adj ! developm5t prop] is resum$2 bas$1 at fir/1 on "s modulatory & imitative treatm5t ( ! fir/ !me & foll[$ by two ff so/5uto ann\ncem5ts ( ! jubilant second !me4 ,aft] ^! h subsid$ !re are a numb] ( measures 7pi l5to7 ( a %ad[y outl9e1 develop$ f prec$+ melodic phrases4 ,! pace gradually quick5s1 ! volume ( s\nd increases & we are br\ght1 ?r\gh a s]ies ( pung5t dissonances & /imulat+ syncopations1 to a brilliant ass]tion ( ! fir/ !me 9 ,d major4 ,?is aga9 waxes m & m eloqu5t until x bur/s into a truly apocalyptic proclamation ( ! sl[ movem5t !me = full or*e/ra :i*1 clos+ 9 ,d major1 is ! real climax ( ! movem5t & inde$ ( ! "w4 ,franck1 h[ev]1 /ill wi%es to impress ^u u "s ( 8 o!r ?\ghts--!y are really too lovely n to be he>d once m--& s1 aft] an int]m$i>y passage consi/+ entirely ( successive n9? *ords1#bgi !re is a rem9isc5ce ( ! :ole clos+ !me ( ! fir/ movem5t n[ = l[ /r+s alone--! viol9s play+ on ! ,g /r+--lat] = ! wood-w9d & f9ally e*o$ by ! high /r+s ppp4 ,z ?is fades away we rea* "o ( ! mo/ inspir$ passages ( ! :ole "w--9 its mood ( my/]i\s sugge/ion truly indescribable4 ,ov] a sl[ elem5tal k9d ( basso o/9ato !re appe> fir/ ! dramatic motto & !n o!r portions ( prec$+ !mes1 z if /ruggl+ to come to ! light4 ,a long excit+ cresc5do leads to a complete /atem5t ( ! ma9 !me ( ! ,f9ale1 ) a canonic treatm5t ( :i* ! "w ends1 e4g4 ,music ,footnote #bgh3 ,! scor+ ( ?is !me = trumpets1 cornets & trombones has be5 sev]ely criticiz$ & x is true t ! cornet is an in/rum5t to be employ$ & play$ ) discretion4 ,! writ]1 h[ev]1 has he>d p]=mances ( ?is "w 9 :i* ! cornets seem$ to give j t r++ note evid5tly desir$ by ,franck4 ,footnote #bgi3 ,! h>mony ( ?is passage is mo/ *>act]i/ic ( ,franck & %\ld be c>efully /udi$4 ,t bo? ! fir/ & la/ movem5ts end ) canons is inde$ notewor?y2 ,franck ?us cle>ly %[+ 8 belief t 9 no o!r way ?an by polyphonic imitation c\ld su* int5sity ( utt]ance be ga9$4 ,,sonata ,,= ,,viol9 ,,& ,,pian(orte ,,9 ,a ,,major ,?is ,sonata ranks ) ^? ( ,brahms z be+ among ! great works 9 its class4 ,"s ( its lov]s1 9 fact1 w\ld risk an unqualifi$ sup]lative & call x ! greate/4 ,x c]ta9ly is rem>kable = its inspir$ !mes1 its bold h>monies1 its free & yet organic /ructure & = t sublime f]vor :i* 0 ! basis ( ,franck's g5ius4 ,x is1 9 two respects1 at lea/1 a highly orig9al "w3 9 ! unusual moods ( ! sev]al movem5ts1 & 9 ! relation%ip betwe5 ! two in/rum5ts4 ,= al?\gh x is a viol9 sonata1 ! emphasis 9 _m respects is laid on ! pian(orte "p :i* requires great virtuoso p[] ( p]=mance1--! viol91 at times1 hav+ ! nature m ( an obligato4 ,!re are f\r movem5ts1 ! fir/ 9 abridg$ sonata =m1 i4e41 !re is no developm5t2 ! second 9 complete & elaborate sonata =m2 ! ?ird1 a k9d ( free rhapsody1 supply+ an int]mezzo betwe5 ! ?ird & f\r? movem5ts & organically connect$ ) ! ,f9ale4 ,?is1 9 free rondo-=m1 ) a ma9 !me ( its own treat$ canonically1 sums up ! *ief !mes :i* h prec$$4 ,! "w exemplifies ,franck's practise ( g5]ative !mes2 = d',indy claims#bhj t ! :ole /ructure is bas$ on ?ree motives1 e4g41 ,music ! ris+ & fall+ inflexion ( :i* he typifies by :at is call$ a torculus 7torculus symbol76 ,:e!r su* m9ute analysis is necess>y = ! li/5] may be op5 to "q2 b x is true t 9 he>+ ! "w "o is /ruck by ! homog5eity ( ! mat]ial4 ,! fir/ movem5t is an impassion$ k9d ( rev]y--9 a mood m (t5 associat$ ) ! sl[ movem5t1 9 "* some:at l ! beg9n+ ( ,bee?ov5's ,c-%>p m9or ,sonata4 ,aft] "s preludial n9? *ords ! dreamy fir/ !me is giv5 out1 molto dolce1 by ! viol91 support$ by ri* h>monies on ! pian(orte1 ! use ( ! augm5t$ *ords be+ prom95t1 e4g4 ,music ,footnote #bhj3 ,see 8 ,c\rse 9 ,composition1 book ,,ii1 pp4 #dbc-dbf4 ,"s natural expansion & developm5t lead1 9 measure #ca1 to ! broad & vigor\s second !me1 sempre =te e l>gam5te1 ann\nc$ by ! pian(orte1 e4g4 ,music ,?is ends 9 ,f-%>p m9or & is at once foll[$ by a clos+ portion1 i4e41 a repetition ( ! second !me ) an elaborate arpeggio accompanim5t & "s fragm5t>y phrases ( ! fir/ !me on ! viol94 ,its la/ measures#bha are /rik+ = ! bold use ( augm5t$ *ords & = ! wide spac+ :i* gives an organ-l sonority4 ,! recapitulation1 beg9n+ 9 measure #fc ) /ill ri*] h>monization1 is almo/ id5tical ) ! exposition2 ! second !me appe>+ logically 9 ! home key4 ,! clos+ measures ( ! coda1 :i* />ts 9 measure #ig1 illu/rate ,franck's g5ius 9 ! *romatic alt]ation ( *ords4 ,footnote #bha3 ,note ! correspond5ce betwe5 ^! measures 9 ! fir/ "p & ! measures j be=e ! end 9 ! second "p4 ,! second movem5t1 9 a /ructural s5se ! mo/ normal ( ! f\r1 speaks = itself4 ,x is /ormy & dramatic1 ) a numb] ( passages m>k$ passionato & molto fuoco1 & pres5ts a r unusual side ( ,franck's quiet nature4 ,! two !mes are /rong & well contra/$3 ! fir/ = ! pian(orte1 ! second = ! viol91 e4g4 ,music3 #a/ !me ,music3 #b;d !me ,! developm5t beg9s at ! quasi l5to1 measure #hj1 ) ! second 7b7 ( ! g5]ative motives :i* is to play an important role 9 ! ,fantasia & ! ,f9ale4 ,x is r brok5 up into sections1 b holds ! int]e/ ?r\gh its unflagg+ rhy?mic vigor & d>+ dissonances4 ,franck's contrapuntal skill is %[n "h 9 ! clos+ measures 7#acj-acd7 :]e a phrase f ! second !me on ! viol91 dolcissimo espressivo1 is unit$ ) a phrase ( ! fir/ !me on ! pian(orte1 h9t+ at ! return4 ,! recapitulation1 beg9n+ 9 measure #ach1 is p]fectly normal & leads to a coda :i*1 becom+ m & m animat$1 ends ) brilliant bravura effects = ea* in/rum5t4 ,! ?ird movem5t1 entitl$ ,recitative-,fantasia1 is notable = its long declamations = ! viol9 alone1 & = its introduction ( a !me f ! prec$+ movem5t & ( "o to be repeat$ 9 ! ,f9ale4 ,?us ! organic relation%ip betwe5 ! v>i\s movem5ts is %[n & is /ill fur!r emphasiz$ 9 ! ,f9ale4 ,! mood is (t5 v impassion$ 7once fff7 & dramatic1 ) sev]al passages specifically m>k$4 ,?is music alone1 :i* s\nds l no?+ be=e or s9ce1 w\ld /amp ,franck z an absolutely orig9al g5ius4 ,9 measure #ec appe>s a long pianissimo m$itation by ! viol9 on a phrase--! second g5]ative motive 7b7--f ! prec$+ movem5t1 support$ by beautifully spac$ arpeggio *ords on ! pian(orte1 e4g4 ,music ,9 measure #ga occurs ! fir/ appe>ance ( ! bold !me :i* is to be twice us$ = episodes 9 ! ,f9ale1 e4g4 ,music ,! clos+ cad5ce#bhb ( ! movem5t1 "o ( ! mo/ orig9al & truly beautiful 9 all lit]ature z x seems to ! writ]1 furni%es a m>vell\s contra/ to ! /ormy measures imm$iately prec$+4 ,footnote #bhb3 ,already cit$ on page #eg1 ,*apt] ,,iv4 ,! ,f9ale is p]haps ! mo/ spontane\s canon 9 exi/5ce1 an imitative dialogue betwe5 ! two in/rum5ts2 ?is =m 7:i* is (t5 rigid & me*anical7 be+ us$ s easily t x seems z if ea* in/rum5t 7 naturally comm5t+ ^u ! message ( ! o!r4 ,obs]ve also ! sonor\s backgr\nd provid$ = ! viol9 melody by ! widely spac$ *ords on ! pian(orte1 e4g4 ,music ,! fir/ episode1 beg9n+ 9 ,f-%>p m9or at measure #ch1 is bas$ on ! ?ird g5]ative phrase 7c7 br\ght ov] f ! ,fantasia & embroid]$ by runn+ passages 7delicato7 on ! viol94 ,?is leads to a return ( ! canonic fir/ !me :i*1 ) an int]*ange ( /atem5t & answ] & ) free modulations1 is develop$ to a brilliant climax--! canon /ill p]si/+--9 ! dom9ant key ( ,e major4 ,"s transitional modulations1 9 :i* ! excitem5t cools d[n1 br+ u to ! second episode1 9 ,b-flat m9or4 ,?is at fir/ develops ! phrase 7b7 f ! middle "p ( ! second movem5t1 e4g4 ,music & lat]1 also 9 ! bass1 a phrase f ! ma9 !me1 e4g4 ,music ,x is soon foll[$ by a bold entrance ( ! dramatic !me f ! ,fantasia :i*1 twice pres5t$--! second "t gr&ioso--leads to a ?rill+ cad5ce 9 ,c major4 ,! ?ird & la/ refra9 is a complete re/atem5t ( ! orig9al canon & closes 9 ,a major ) a /ill m brilliant imitative treatm5t ( ! passage =m]ly 9 ! dom9ant4 ,! la/ measures--) ! high trill on ! viol9 & cutt+ dissonances on ! pian(orte--are f> too excit+ = m]e v]bal description4 ,,symphonic ,,v>iations ,,= ,,pian(orte ,,& ,,or*e/ra ,?is is "o ( ,franck's mo/ significant works1 conta9+ all 8 individual *>act]i/ics3 melodic int5sity1 novel *romatic h>mony & fre$om ( =m comb9$ ) coh]5ce4 ,franck always claim$ t ! v>iation =m1 rightly treat$1 0 a p]fect m$ium = free1 imag9ative expression2 surely ?is "w is a manife/ation ( 8 belief4 ,a c>eful /udy w ju/ify ! /atem5t t 8 /yle is f\nd$ on t ( ,ba* & ,bee?ov52 = ! naturalness ( ^! melodic v>iations c be comp>$ only ) ! ,passacaglia 9 ,c m9or1 & ! g5]al /ructure ( ! "w f9ds its prototype 9 ! ,f9ale ( ! ,h]oic ,symphony4 ,x is a set ( free v>iations1 or r organic trans=mations ( two !mes2 ! fir/ sombre1 entirely 9 ! m9or1 ! second bright]1 ) "s pass+ emphasis on ! major4 ,! v>iations are n numb]$ & !re are no rigid /ops2 ?\gh1 ( c\rse1 :5 objective po9ts are rea*$1 !re is natural punctuation4 ,! two !mes1 z foll[s--a /rik+ example ( ,franck's peculi> h>monic s*eme--%\ld be c>efully /udi$1 e4g4 ,music3 #a/ !me ,music3 #b;d !me ,! "w op5s ) a s]ies ( re/less dott$ notes = ! /r+s ff :i* dim9i% & ret>d to an entrance ( ! fir/ !me1 pi l5to1 = ! pian(orte2 ! two phrases ( :i* are int]rupt$ by a passage1 some:at modifi$1 f ! introduction4 ,"s preludial measures1 exp&+ ! mat]ial pres5t$1 br+ u at ,b#bhc to a premonitory /atem5t ( ! second !me pp 79 wood-w9d & pizzicato /r+s7 ov] a muffl$ roll ( ! kettle-drums on ,c-%>p1 e4g4 ,music ,footnote #bhc3 ,! indication by lett]s is ! same 9 ! full score z 9 ! v]sion = two pian(ortes4 ,!n foll[s a long rhapsodic pres5tation ( ! fir/ !me = pian(orte solo--! melody 9 octaves & ! accompanim5t 9 ! wide/ arpeggios possible4 ,?is passage is "o ( great sonority & reveals cle>ly ! influ5ce ( ! organ ^u ,franck's /yle4 ,"s fur!r measures ( g5]al developm5t1 conta9+ at ,e a rem9isc5ce ( ! fir/ !me1 br+ u 7aft] an elaborate half-cad5ce on ! dom9ant ( ,f-%>p m9or7 to ! entrance ( ! second !me4 ,n[ t all ! melodic mat]ial has be5 pres5t$1 ,franck all[s x to gr[ & blossom4 ,9 ! fir/ v>iation at ,f we h phrases ( ! second !me brok5 up into a dialogue betwe5 /r+s1 wood-w9d & pian(orte2 & 9 ! second at ,g ! violas & 'cellos s+ ! :ole second !me accompani$ by "s +5i\s figuration on ! pian(orte4 ,?is is foll[$ at ,h by a brilliant amplification = ! solo in/rum5t1 lightly accompani$ on ! or*e/ra1 ( phrases already he>d & leads at ,i to a =tissimo or*e/ral tutti 9 ,d major--! next v>iation--:i* proclaims a portion ( ! second !me4 ,?is is develop$ ) great p[] on bo? in/rum5ts & is comb9$1 n9e measures aft] ,j1 ) a v>iant ( ! fir/ !me4 ,at ,k !re is a bold treatm5t ( ! second !me 7so/5uto7 = oboes & cl>9ets aga9/ ru%+ octaves on ! pian(orte4 ,at ,l we h "s fur!r developm5t ( ! second !me1 ! melody be+ 9 ! /r+s ) a backgr\nd ( brok5 triplet *ords on ! pian(orte4 ,we n[ rea* at ,m--molto pi l5to--! mo/ poetic v>iation ( ! "w4 ,all ! 'cellos1 dolce e so/5uto1 s+ ! second !me 9 ! ri* key ( ,f-%>p major1 ! clos+ phrases answ]$ by ! wood-w9d2 :ile ! pian(orte supports !m ) colori/ic1 arabesque-l brok5 *ords conta9+ a melodic patt]n ( _! own4 ,at ,n ! 'cellos cont9ue ) phrases f ! fir/ !me1 ! accompanim5t be+ 9 ext5d$ arpeggios aga9/ a backgr\nd ( su/a9$ /r+s 7ppp con sord9o74 ,a climax is gradually rea*$ :i* ends1 smorz&o1 ) a desc5d+ *romatic run on ! pian(orte1 foll[$ by a long trill on ,c-%>p :i* u%]s 9 ! clos+ portion ( ! "w4 ,! /ructure1 z a :ole1 is divid$ into ?ree ma9 portions3 ! fir/ preludial1 ! second sombre & (t5 m$itative--l>gely 9 ! m9or--! ?ird entirely 9 ! major & ( extraord9>y brilliance & vivacity4 ,at ! ,allegro non troppo aft] ! trill1 we f9d a v>iant ( ! fir/ !me = ! 'cellos & basses 9 ,f-%>p major1 e4g41 ,music accompani$ by brok5 *ords on ! pian(orte & wood-w9d4 ,?is is foll[$ at ,p by a free treatm5t = pian(orte1 con fuoco1 ( ! fir/ !me :i* develops at ,q into a mo/ piani/ic pres5tation 79 ! upp] regi/] ( ! in/rum5t7 ( ! phrase j ann\nc$ by ! 'cellos4 ,9 ! fif? measure aft] ,r ! basses beg91 pizzicato b =te1 a modifi$ /atem5t ( ! second !me1 accompani$ by a new c\nt] melody on ! pian(orte1 dolce ma m>cato1 e4g4 ,music ,?is leads into a brilliant climax = or*e/ra alone bas$ on ! fir/ !me :i*1 at ! v end1 modulates to ,e-flat major4 ,!n foll[s an episodical portion ( unusual beauty--a long1 dreamy passage1 dolce rubato1 = solo pian(orte1 9 :i* ! fir/ !me is m]ely h9t$ at 9 %ad[y outl9es1 e4g4 ,music ,ab\nd+ 9 fasc9at+ modulations & colori/ic effects x %[s ,franck's g5ius equally = real melodic g]m9ation ) an avoidance ( all p]functory manipulation ( 8 mat]ial4 ,?is leads1 f\r measures aft] ,t1 to an entrance pp 9 ! wood-w9d1 ( a v>iant ( ! fir/ !me4 ,due to ! effect ( contra/$ acc5ts ! passage is mo/ excit+--two rhy?ms be+ treat$ at once4 ,a climax = full or*e/ra br+s u at ,v to a repetition ( ! =m] pian(orte pres5tation ( ! fir/ !me1 foll[$ z be=e1 at ,w by ! c\nt]-melody aga9/ ! second !me1 =te1 9 ! basses4 ,! fir/ !me1 n[ 9 complete control1 is "h proclaim$ mo/ eloqu5tly 9 antiphonal =m betwe5 ! full or*e/ra & pian(orte1 e4g4 ,music ,! "w ends ) a rapid it]ation1 molto cresc5do1 ( ! fir/ motive--9 dim9ution4 ,n[ t we h review$ ! entire composition1 !re is "o feature wor?y ( special emphasis4 ,! /ructure z a :ole 7z we h /at$7 is cle>ly divid$ into ?ree ma9 p>ts2 b :5 we exam9e ! ?ird "p by itself1 we f9d t x foll[s ! l9es ( ! sonata-=m4 ,= !re is a fir/ portion1 ) a ma9 !me 9 ,f-%>p major1 & a second !me--! new melody--9 ,d major2 ! passage = pian(orte 9 ,e-flats major /&s = ! developm5t1 & ! movem5t concludes ) a di/9ct ?ird portion1 bo? fir/ & second !me be+ 9 ! home key4 ,?us ! /ructure repres5ts a c>efully plann$ union ( ! v>iation =m & ! sonata-=m :i* 7 special favorites ( ,franck4 ,! "w1 :i*1 aft] e>ne/ /udy1 w surely be enjoy$ & lov$1 ranks ) ! ,i/> ,symphonic ,v>iations by d',indy & ! two sets on !mes f ,pagan9i by ,brahms z ! acme ( :at ! v>iation =m may inde$ be :5 treat$ by a ma/]4 ,,*apt] ,,xviii ,,! ,,mod]n ,,fr5* ,,s*ool--,d',,indy ,,& ,,debussy ,n only z ! mo/ di/+ui%$ ( ,cs> ,franck's pupils1 b by reason ( 8 und\bt$ musician%ip & m>k$ v]satility--8 works be+ 9 well nigh e =m--,v9c5t d',indy 7#ahea-/ill liv+7 is rightly consid]$ to be ! mo/ repres5tative compos] ( 8 bran* ( ! mod]n ,fr5* s*ool4#bhd ,:e!r hi/ory w accord to him ! rank ( an inspir$ g5ius x is z yet too e>ly to decide2 b = ! s9c]ity & nobility ( 8 ideas1 = 8 f9i%$ workman%ip & ! influ5ce he has ex]t$1 ?r\gh 8 _m-sid$ p]sonality1 9 elevat+ public ta/e & 9 ! education ( "y musicians1 he is wor?y ( our gratitude4 ,d',indy is a patriotic ,fr5*man believ+ pr(\ndly t ,fr5* music has an important rle to be>2 :o has inc>nat$ ?is belief 9 a s]ies ( works ( su* di/9ction t1 if n unqualifi$ly lov$1 !y at lea/ compel recognition4 ,if he sw+s a bit too f> 9 8 insi/5ce ^u ! exclusive glories ( ,fr5* g5ius1 let u rememb] t ! mod]n ,g]mans#bhe h be5 j z "o-sid$ f _! po9t ( view--& ) ev5 less tangible pro( ( atta9m5t4 ,= x seems inconte/able t1 s9ce ! era ( ,wagn] & ,brahms1 ! mod]n ,fr5* & ,russian ,s*ools h contribut$ to ! developm5t ( music m ?an all ! o!r nations comb9$4 ,x is = u 9 ,am]ica :o1 free f national prejudice1 c /& (f & take an imp>tial view1 to appreciate ! good po9ts 9 all s*ools4 ,a detail$ acc\nt ( d',indy's life & works w n be necess>y1 = ! subject has be5 admirably & compreh5sively treat$ by ,d4,g4 ,mason 9 8 set ( ,essays on ,contempor>y ,compos]s & 9 ! article by ,e4,b4 ,hill 9 ! ,art ( ,music1 ,vol4 #c4 ,footnote #bhd3 ,?is s*ool may be said to conta9 two gr\ps3 "o1 ! pupils ( ,cs> ,franck--d',indy1 ,*ausson1 ,dup>c1 ,r\sseau1 ,augu/a ,holms & ,rop>tz1 ! *ief feature 9 ^: /yle is a mod]nization ( classic practice2 a second consi/+ ( ,debussy1 ,ravel1 ,dukas & ,flor5t ,s*mitt1 ^: works manife/ m extreme individuali/ic t5d5cies4 ,footnote #bhe3 ,! well-kn[n ,g]man s*ol> & editor ,max ,fri$lnd]1 :o visit$ ?is c\ntry 9 #aiaj1 ackn[l$g$--9 a conv]sation ) ! writ]--t he _h nev] ev5 he>d ( ,*abri]6 ,d',indy's compositions1 z 9 ! case ( ,franck1 are n num]\s1 b f9ely wr\ght & ( di/9ct & v>i$ individuality4 ,8 *ief in/rum5tal#bhf works comprise a ,wall5/e9 ,trilogy 7?ree symphonic poems bas$ on ,s*ill]'s drama7 notable = descriptive p[] & or*e/ral effect2 a ,symphony = or*e/ra & pian(orte on a m\nta9 air#bhg--"o ( 8 be/ works1 because ! folk-song basis furni%es a melodic w>m? :i* else:]e is sometimes lack+2 a set ( ,symphonic ,v>iations on ! ,assyrian leg5d ( ,i/>2 a rem>kable ,sonata = viol9 & pian(orte2 a ,/r+-,qu>tet1 all ! movem5ts ( :i* are bas$ on a motto ( f\r notes1 & la/ly ! ,symphony 9 ,b-flat major--consid]$ 8 ma/]piece--9 :i* ! same process ( developm5t f g5]ative motives is foll[$ z 9 ,cs> ,franck4 ,all ^! works conta9 c]ta9 sali5t *>act]i/ics proce$+ directly f d',indy's imag9ation & intellect4 ,!re is always an ideal & noble purpose1 a /\tly knit musical fabric & melodies--d',indy's own melodies1 s9c]ely felt & beautifully pres5t$4 ,:e!r !y h ab\nd+ p[] to move ! he>t ( ! li/5] is1 inde$1 ! po9t at issue4 ,s9ce d',indy is on record z say+1 ,!re is 9 art1 truly1 no?+ b ! he>t t c produce beauty1 x is evid5t t he believes 9 ! emotional elem5t 9 music4 ,t !re is a diff]5ce ( op9ion h[ev]1 z to :at makes emotional p[] is %[n by 8 e/imate ( ,brahms 7set =? 9 8 ,c\rs de ,composition ,musicale1 pp4 #dae-daf7 9 ! /atem5t t1 ?\gh ,brahms is a f9e workman1 8 music lacks ! p[] to t\* ! he>t 7faire vibr] le coeur74 ,!re is no d\bt t1 9 any "q ( ,brahms v]sus d',indy1 su* has n be5 ! v]dict ( outside op9ion4 ,d',indy is admir$ & respect$1 :]eas ,brahms has won ! love ( ^? :o "k him2 & ! tru? 9 ! say+1 ,securus judicat orbis t]r>um is surely difficult to contrav5e4 ,d',indy's melodies c always be m9utely analys$#bhh & !y ju/ify ! te/2 b we submit t ! great melodies ( ! _w speak to u 9 m direct fa%ion4 ,= !re is1 9 8 music1 a s]i\sness :i* at times becomes some:at au/]e4 ,he seems s afraid ( writ+ pretty tunes or e>-tickl+ music1 t we (t5 miss a s5su\s1 emotional w>m?4 ,he hates ! commonplace1 cultivat+ ! ideal & religion ( beauty4 ,bruneau1 himself a not$ ,fr5* critic & compos]1 says1 ,no "o w d5y 8 surpris+ te*nique or 8 unsurpass$ gifts z an or*e/ral writ]1 b we might easily wi% him m spontaneity & less dryness4 ,we _c1 h[ev]1 miss ! dignity & elevation ( /yle f\nd 9 d',indy's works or fail to be impress$ by _! wond]fully plann$ musical ar*itecture4 ,8 music dem&s /udy & famili>ity & well repays su* ef=t4 ,d',indy's "w1 z a tea*]1 c5tres ab\t ! ,s*ola ,cantorum s-call$1 9 :i* sev]al tal5t$ ,am]ican /ud5ts f ,h>v>d & o!r ,univ]sities h already work$4 ,"h all s*ools ( composition are ?or\ghly /udi$1 & ! rigid & =mal me?ods ( ! ,cons]vatoire ab&on$4 ,d',indy believes t ! mat]ials = ! /ructure ( mod]n music are to be f\nd 9 ! ,fugue ( ,ba*1 & 9 ! cyclical ,sonata ,=m & ! free ,air ) ,v>iations ( ,bee?ov5--^! =ms1 by reason ( _! inh]5t logic & simplicity1 all[+ scope = inf9ite fre$om ( treatm5t4 ,d',indy is also a ?or\ghly mod]n compos] 9 t he is an arti/ 9 words z well z 9 notes4 ,8 life ( ,cs> ,franck is a model ( biographical /yle1 & he has rec5tly publi%$ a life ( ,bee?ov5 refre%+ly diff]5t f ! /ock n>ratives4 ,9 f9e1 d',indy is a g5ius1 9 :om ! intellectual aspects ( ! art1 r ?an purely emotional appeal1 are cle>ly 9 ! asc5dant4 ,footnote #bhf3 ,d',indy's significant contributions to op]atic & *oral lit]ature1 su* z ,f]vaal1 ,l'trang]1 ,le ,*ant de la ,clo*e & ,la ,lg5de de ,/4 ,*ri/ophe1 lie )\t our prov9ce4 ,footnote #bhg3 ,f ! ,cv5nes region :5ce d',indy's family orig9ally came4 ,footnote #bhh3 ,see ! elaborate analysis by ,mr4 ,mason 9 ! essay above ref]r$ to4 ,we %all n[ comm5t briefly on "o1 only1 ( d',indy's compositions1 ! ,symphonic ,poem1 ,i/>1 :i* is a set ( v>iations#bhi treat$ 9 a mann] z novel z x is conv9c+2 ! "w beg9n+ ) v>iations :i* gradually become less elaborate until f9ally only ! !me itself is he>d 9 its simple beauty4 ,?is rev]sal ( cu/om>y treatm5t is sanction$ by ! nature ( ! subject1 & ! correspond5ce betwe5 dramatic logic & musical proc$ure is admirably plann$4 ,! /ory ( ! "w is t portion ( ! ,assyrian epic ,izdub> :i* describes1 to quote ,ap?orp's translation ( ! ,fr5* v]sion1 h[ ,i/>1 daught] ( ,s91 b5t h] /eps t[>d ! immutable l&1 t[>ds ! abode ( ! dead1 t[>ds ! sev5-gat$ abode :]e ,he ent]$1 t[>d ! abode :5ce !re is no return4 ,!n foll[s a description ( ! raim5t & ! jewels ( :i* %e is /ripp$ at ! entrance to ea* ( ! gates4 ,i/> w5t into ! immutable l&1 %e took & receiv$ ! wat]s ( life4 ,%e pres5t$ ! sublime ,wat]s1 & ?us1 9 ! pres5ce ( all1 set free ! ,son ( ,life1 h] "y lov]4 ,! /ructural novelty ( ! "w is t1 beg9n+ ) complexity--typify+ ! gorge\sly rob$ ,i/>--! !me discloses itself little by little1 z %e is /ripp$ ( h] jewels1 until at la/1 :5 %e /&s =? 9 ! full spl5dor ( nudity1 ! !me is he>d unaccompani$1 l ,isis unveil$ or1 to *ange ! figure1 l a sci5tific law :i* has be5 disclos$4 ,! "w is bas$ on ?ree g5]ative !mes2 ! second1 d]iv$ f ! fir/ & ( subsidi>y importance1 call$ by d',indy ! motif d'appel4 ,x plays its "p1 h[ev]1 s9ce x introduces ! "w & s]ves z a connection betwe5 ! v>iations1 sev5 9 all4 ,^! !mes are z foll[s3 #a4 ,pr9cipal !me3 ,music #b4 ,motif d'appel4 ,music #c4 ,subsidi>y !me1 9 =m ( a m>*4 ,music ,footnote #bhi3 ,= a detail$ analysis ! /ud5t is ref]r$ to ! acc\nt by ! compos] himself 9 8 ,c\rs de ,composition ,musicale1 "p ,,ii1 pp4 #dhd-dhf2 to ,gilman's ,/udies 9 ,symphonic ,music & to ,vol4 #c ( ,mason's ,%ort ,/udies ( ,great ,ma/]pieces4 ,by foll[+ ! poem ! imag9ative li/5] c readily appreciate ! picturesque sugge/iv5ess ( ! compos]4 ,! "w op5s ) a my/]i\s inton+1 by a mut$ horn1 ( ! motif d'appel1 & !n foll[s a triple pres5tation ( ! m>* !me 9 ,f m9or1 scor$ = wood-w9d & l[ /r+s--! melody sung at fir/ by ! violas & cl>9ets & lat] by ! bass cl>9et & 'cellos4 ,?is orig9al scor+ e/abli%es j ! appropriate atmosph]e = an entrance to ! abode ( captivity4 ,music ,! fir/ v>iation1 9 ,f major1 employ+ all ! tone-color ( ! full or*e/ra1 is a gorge\s picture ( ! ,ori5tal spl5dor ( ,i/>4 ,x is notewor?y t ea* v>iation conta9s a modulation to a key a semitone high]1 ?us af=d+ a factor ( unity amid ! elaborate fl[]+s ( ! musical ?\ght4 ,! second v>iation1 9 ,e major scor$ = /r+s & wood-w9d1 is significant = ! way 9 :i* ! orig9al !me is exp&$ into a fl[+ melody4 ,! logical d]ivation ( ! fabric f ! fir/ int]vals ( ! ma9 !me is obvi\s1 e4g4 ,music ,! f\r? v>iation1 9 ,f-%>p major1 scor$ = pizzicato /r+s & /accato wood-w9d1 ) light t\*es on horns1 trumpets1 cymbals1 triangle & h>ps1 introduces ! s*]zo mood into ! "w & ) its p]si/5t #e_/d rhy?m is ( fasc9at+ effect4 ,music ,! lovelie/ v>iation = w>m? & emotional appeal is ! six?1 9 ,a-flat major 7at ,o 9 ! or*e/ral score7 = /r+s ) ! gradual addition ( ! wood-w9d & h>ps4 ,its climax c]ta9ly does mu* to atone = any dryness f\nd 9 d',indy's o!r works4 ,music ,9 ! next v>iation1 at ,p1 ! tr5d ( ! "w becomes increas+ly manife/ = x is writt5 9 only two voices1 scor$ = flute & viol9s & is a dramatic prep>ation = ! ann\ncem5t ( ! complete ma9 !me :i* is n[ proclaim$ 9 unison by ! full or*e/ra4 ,! "w closes ) a trans=mation ( ! op5+ m>* into ,f major1 its maje/ic rhy?m symboliz+ ! successful result ( ,i/>'s que/ 7,see ,supplem5t ,no4 #fb47 ,debussy1 ,claude ,a*ille1 7#ahfb-aiah7 is c]ta9ly ! embodim5t1 z a compos]1 ( ,pat]'s say+ t ,romanticism#bij is ! addition ( /rang5ess to beauty2 = :5 we li/5 to 8 music we are consci\s ( mat]ial & ( =ms ( treatm5t :i* we h nev] he>d be=e4 ,debussy has li/5$ to ! prompt+s ( 8 own subtle imag9ation & has evolv$ a /yle z novel z x is beautiful4 ,z ) all real orig9ators1 ,debussy at ! outset 0 fi]cely *all5g$1 & 8 music ev5 to-day calls =? intol]ant rem>ks on ! "p ( ^? :o are suspici\s ( all arti/ic progress & evolution4 ,9 ?is connection x is wor?y ( note t ! ,fr5*1 not)/&+ _! national doctr9e ( lib]ty1 h be5 *>y ( apply+ ?is to compos]s :o 7 dep>t+ f ! beat5 pa?4 ,b]lioz1 :om n[ !y acclaim z "o ( _! greate/ arti/s1 0 welcom$ z he des]v$ only aft] 8 fame _h be5 e/abli%$ among ! ,g]mans4 ,bizet 0 b slightly appreciat$ dur+ 8 life4 ,franck met ) fi]ce opposition f ! r\t9e memb]s ( ! pr(ession2 & ,debussy1 al?\gh ! "w by :i* he won ! ,prix de ,rome 9 #ahhd 0 ackn[l$g$ to be "o ( ! mo/ int]e/+ :i* _h be5 he>d at ! ,in/itute = ye>s1 0 aft]w>ds sev]ely criticiz$ = ! sett+ made 9 ,rome to ,rossetti's ,bless$ ,damozel because1 =soo?1 he _h /ray$ too f> f e/abli%$ & rev]$ tradition4 ,we ,am]icans may h a di/9ct feel+ ( pride 9 ! k t ! music ( ,debussy1 ! /ronge/ note ( :i* is p]sonal fre$om--! inh]5t "r ( ! arti/ to express 9 8 own way ! prompt+s ( 8 imag9ation--0 widely /udi$ & appreciat$ 9 ?is l& ( ! free be=e x _h begun to h any?+ l a univ]sal acceptance among ! ,fr5* !mselves4 ,footnote #bij3 ,f ?is comp>ison we %\ld n wi% x to be und]/ood t ,debussy is m]ely an addition to ! /&>d ,romantic gr\p ( ,s*umann1 ,*op91 ,liszt1 etc42 8 /yle1 h[ev]1 is surely ,romantic 9 ! broad s5se ( ! t]m1 i4e41 highly imag9ative & individual4 ,b c any connection ) ! pa/ be trac$ 9 ! /yle ( ?is rem>kable#bia compos]1 & c we discov] any s\rces1 9 ! _w ( nature1 f :i* he has d]iv$ ! mat]ials = 8 novel & fasc9at+ h>monies8 ,:5 we def9itely analyze ,debussy's h>monic s*eme1 we see t he looks bo? =w>d & back4 ,mu* ( 8 orig9al tone color+ is d]iv$ f ! old *ur* modes su* z ! ,lydian1 ! ,dorian & ! ,phrygian2 = example1 ! my/]i\s op5+ *ords ( 8 op]a1 & ! foll[+ passage f ,la ,ca?drale engl\tie4 ,footnote #bia3 ,! trs exceptionnel1 trs curieux1 trs solitaire ,claude ,debussy z he has be5 aptly *>act]iz$4 ,music ,he is also extremely fond ( a scale ( :ole tones1 :i* _h be5 some:at anticipat$ by ,liszt & memb]s ( ! ,russian#bib s*ool4 ,9 ?is ! normal p]fect #d? & #e? & ! major #f? become augm5t$1 ?us produc+ a v peculi> b allur+ h>monic basis4 ,music ,footnote #bib3 ,! fir/ au!ntic use be+ probably by ,d>gomijsky 9 8 op]a ! ,/one ,gue/4 ,music ,music3 ,reflets dans l'eau ,mod]n compos]s h be5 feel+ = "s "t t h>monic scope 0 ne$lessly limit$ by cl++ too closely to ! major & m9or diatonic scales2 & ,brahms1 ,t*aik[sky & ,franck h all introduc$ ! old modes = special contra/s ( color4 ,b no "o has us$ !m s subtly z ,debussy4 ,9 8 music !y (t5 take ! place ( our cu/om>y scales ) _! deep-root$ h>monic t5d5cies & p]petual sugge/ion ( traditional cad5ces4 ,?is return to ! great] flexibility & v>iety ( ! old modes is a significant feature 9 mod]n music & ,debussy's example 9 ?is respect has be5 highly b5eficial4 ,z to 8 alleg$ use ( new mat]ial1 an a/ute ,fr5* critic has obs]v$ t a revolution is m]ely an evolution r5d]$ app>5t4 ,by no means all ( music c be f\nd 9 nature1 b ! basis is !re1 & x rema9s = ! arti/ic imag9ation to select & to amplify4 ,already _m ye>s ago ! sci5ti/ ,helmholtz said1 ,our sy/em ( scales & ( h>monic tissues does n re/ ^u unalt]able natural laws1 b is p>tly at lea/ ! result ( ae/hetic pr9ciples ( selection1 :i* h already *ang$1 & w *ange /ill fur!r ) ! progressive developm5t ( humanity4#bic ,9 o!r words ! limits ( receptivity ( ! human e> _c be =ese5 nor c ! work+s ( ! arti/ic imag9ation be prescrib$4 ,! s-call$ ,*ord ( ,nature1#bid consi/+ ( ! ov]tones /ruck (f by any s\nd+ body1 & re-en=c$ on ! pian(orte ) its l>ge s\nd+ bo>d1 conta9s 9 epitome ?is basic mat]ial ( music2 & ! sev]al octaves repres5t 9 a /rik+ mann] ! h>monic comb9ations us$ at diff]5t p]iods ( developm5t4 ,?us dur+ ! e>ly c5turies no?+ b triads 7 9 use2 only gradually 7 #g? *ords--^? ( f\r factors--introduc$4 ,wagn] 0 ! fir/ to realize ! possibilities ( *ords ( ! #i?1 #aa?1 & #ac?4 ,9 ,debussy ^! comb9ations are us$ z freely z triads1 e4g4 ,music3 ,pellz et ,mlis&e ,music3 ,la fille aux *eveux de l9 ,music3 ,reflets dans l'eau & he has gone f> beyond any?+ kn[n be=e 9 a subtle use ( ! extreme dissonant elem5ts1 8 s5sitive imag9ation evid5tly he>+ s\nds hi!rto unrealiz$4 ,?is surmise is corroborat$ by ,debussy's own /atem5t t1 :ile s]v+ z a "y man on g>rison duty1 he took great delight 9 li/5+ to ! ov]tones ( bugles & ( ! bells f a ne>by conv5t4 ,?is *romatic /yle _h be5 anticipat$ by ,*op9 ^: use ( ! h>monic s]ies 9 ^? prismatic1 spray-l gr\ps ( sup]add$ tones is su* a /rik+ feature 9 8 pian(orte works4 ,!re is1 !re=e1 no?+ outr or biz>re 9 ,debussy's idiom2 x is b a logical cont9uation ( =m] t5d5cies4 ,8 works %[ great v>iety & comprise pian(orte pieces1 _m songs1 a rem>kable /r+ qu>tet1 "s d>+ly orig9al tone-poems = full or*e/ra1 sev]al cantatas1 &--mo/ unique ( all--8 op]a ( ,pellz et ,mlis&e1 bas$ on ! well-kn[n play by ,maet]l9ck4 ,a few comm5ts may pr(itably be made on ea* ( ^! types4 ,) few exceptions all 8 pian(orte pieces h sugge/ive titles1 e4g41 ,reflets dans l'eau1 ,j>d9s s\s la pluie1 ,la soire dans ,gr5ade1 ,poissons d'or1 ,voiles1 ,le v5t dans la pla9e1 ,bruyres4 ,!y are mood-pictures 9 :i* ! compos] has tri$ to imprison c]ta9 elusive /ates ( m9d--or ! impressions made on 8 susceptible imag9ation by ! ph5om5a ( ,nature3 ! subtly bl5d$ hues ( a sunset1 ! *ang+ rhy?m ( drift+ cl\ds1 ! indef9ite murmur ( ! sea1 ! dripp+ ( ra94 ,= ,debussy1 l ,bee?ov5 be=e him1 is a passionate lov] ( ,nature4 ,to quote 8 own words1 he f9ds 8 great object lessons ( arti/ic lib]ty 9 ! unfold+ ( ! leaves 9 ,spr+1 9 ! wav]+ w9ds & *ang+ cl\ds4 ,aga91 ,x b5efits me m to wat* a sunrise ?an to li/5 to a symphony4 ,g n to o!rs = advice1 b take c\nsel f ! pass+ breezes1 :i* relate ! hi/ory ( ! _w to ^? :o li/54 ,?us we see t ,debussy submits himself to ! spells ( ,nature & tries to transmute !m into s\nd4 ,! only analogies to use 9 a v]bal description ( 8 music mu/ be drawn f nature1 = 9 ea* are ! same %ad[y pictures1 ! same melt+ outl9es4#bie ,debussy has a close aff9ity ) t s*ool ( pa9t]s kn[n z impressioni/s or symboli/s--,manet1 ,monet1 ,dgas1 ,:i/l]--& is do+ ) novel comb9ations ( s\nd1 ) delicate effects ( light & %ade1 :at !y h done = mod]n fre$om 9 color4 ,8 music has be5 call$ a sonor\s impressionism4 ,x might equally well be phras$ rhy?mic s\nd4 ,to ^? cons]vatives :o f9d x difficult to ?9k 9 t]ms ( musical color1 & wi% _! imag9ation r ?an t ( g5ius to be ! /&>d1 ! retort ( ! arti/ ,:i/l] is applicable3 ,to a lady :o view+ "o ( 8 sunsets rem>k$1 ,b1 ,mr4 ,:i/l]1 ,i h nev] se5 a sunset l t came ! reply ,yes1 ,madam1 b don't y wi% y _h8 ,9 8 songs ,debussy has be5 mo/ fa/idi\s z to *oice ( texts1 8 favorite poets be+ ,v]la9e1 ,baudelaire & ,mall>m1 call$ symboli/s1 s9ce ! aim ( _! art is to resemble music & to leave = ! read] a wide m>g9 = symbolic int]pretation4 ,8 songs ?r\gh\t are imag9ative & fanciful 9 ! highe/ degree1 & ! in/rum5tal "p a beautiful backgr\nd ( color4 ,( ,debussy's compositions = or*e/ra ! "o to w9--& possibly to des]ve--! mo/ la/+ popul>ity is ,l'aprs-midi d'un ,faune1 :i* is an extraord9>y translation into music ( ! veil$ visions & ! %ad[y be+s ( an eclogue ( ,mall>m 9 :i*1 z ,edmund ,gosse says1 ,words are us$ 9 h>moni\s comb9ations m]ely to sugge/ moods or conditions1 nev] to /ate !m def9itely4#bif ,by p]fect rhy?mic fre$om1 & by delicately-color$ waves ( s\nd ,debussy has express$ 9 a mann] mo/ felicit\s j ! atmosph]e ( remot5ess1 & ( primeval simplicity4 ,by _m ?is "w is consid]$ ! mo/ hypnotic composition 9 exi/5ce1 & ! writ] tru/s t 8 read]s h he>d a poetic int]pretation ( x by a f9e or*e/ra4 ,! sali5t features ( ,debussy's /yle are f\nd 9 ,pellz et ,mlis&e--by f> ! mo/ important op]atic "w s9ce ,wagn]4 ,maet]l9ck's play deals ) leg5d>y1 my/]i\s1 symbolic be+s1 & ! entire subject-matt] 0 admirably suit$ to ,debussy's g5ius4 ,z ,maet]l9ck says1 ,! !atre %\ld be ! reflex ( life1 n ?is ext]nal life ( outw>d %[1 b ! true inn] life :i* is entirely "o ( contemplation4 ,?is op]a is q diff]5t f any previ\sly writt51 9 t ! *>act]s s+ ?r\gh\t 9 recitative n[ calm1 n[ impassion$1 b nev] 9 set1 p]iodic arias4 ,9 fact1 "h we h at la/ a true musical spee*1 :i* is inde$ ano!r ?+ f music set to words4 ,debussy has def5d$ ?is peculi> /yle 9 ! foll[+ words3 ,melody is1 if ,i may say s1 almo/ anti-lyric1 & p[]less to express ! con/ant *ange ( emotion or life4 ,melody is suitable only = ! song 7*anson71 :i* confirms a fix$ s5tim5t4 ,i h nev] be5 will+ t my music %\ld h9d]1 ?r\gh te*nical exig5cies1 ! *anges ( s5tim5t & passion felt by my *>act]s4 ,x is effac$ z soon z x is necess>y t ^! %\ld h p]fect lib]ty 9 _! ge/ures z 9 _! cries1 9 _! joy z 9 _! sorr[4 ,footnote #bic3 ,= an enlight5+ amplification ( ?is po9t see ! fir/ *apt] ( ,wallace's ,! ,?re%old ( ,music4 ,footnote #bid3 ,see page #aic4 ,footnote #bie3 ,= fur!r sugge/ive comm5ts on ,debussy's /yle consult ! ,essay on ,pellz et ,mlis&e by ,lawr5ce ,gilman 7,g4 ,s*irm]1 ,new ,york7 & 9 p>ticul> an article by ! same au?or 9 ! ,c5tury ,magaz9e = ,augu/1 #aiah4 ,footnote #bif3 ,gosse also calls x a fam\s miracle ( intelligibility4 ,n[ t we may look =w>d to no m compositions f ,debussy#big--;he di$ 9 ,m>*1 #aiah--;x is c]ta9ly fitt+ to attempt a =eca/ z to ! p]man5t wor? ( 8 a*ievem5ts & 8 influ5ce ^u future developm5t4 ,l all music 8 compositions may be judg$ f sev]al po9ts ( view3 ! wor? ( ! cont5t1 ! p]fection or inadequacy ( /yle & ! mann] 9 :i* ! m$ia ( pres5tation are us$4 ,to beg9 ) ! la/ *>act]i/ic--!re is no d\bt t ,debussy has enl>g$ ! res\rces ( our two *ief mod]n in/rum5ts1 ! pian(orte & ! or*e/ra4 ,by him ! pian(orte is always treat$ accord+ to its true nature1 i4e41 z an intimate1 colori/ic in/rum5t &1 9 amplify+ all its res\rces ( tone-color1 flexible rhy?m & descriptive p[] he is ! wor?y successor ( ,*op94 ,9 8 or*e/ral compositions su* z ! ,nocturnes 7,cl\ds1 ,fe/ivals & ,sir5s71 ! ,sea ,pieces & ,images1 ( :i* ! ,rondes de ,pr9temps & ,ibria are ! mo/ significant1 !re is a union ( w>m? & delicacy z individual z x is r>e4 ,ibria1 9 fact1 = vitality ( imag9ation & flawless workman%ip may be consid]$ ! acme ( ,debussy's or*e/ral /yle4 ,! great res\rces ( ! mod]n or*e/ra are (t5 abus$4 ,compositions are ri* & gorge\s b at ! same "t inflat$1 turgid & bomba/ic4 ,c]ta9 works ( ,ri*>d ,/rauss & ,mahl] are examples 9 po9t4 ,debussy's treatm5t1 h[ev]1 ( ! v>i$ mod]n or*e/ra is rem>kable = its economy4 ,! melodic l9es /& out cle>ly1 !re is always a ri* support+ backgr\nd & we are conv9c$ t ev]y?+ s\nds j z ! compos] meant4 ,z to ! /ructure & /yle ( 8 music1 ^! are m subtle matt]s to e/imate4 ,we may ackn[l$ge at once t ,debussy's /yle is free & individual1 = he has writt5 8 music 8 own way1 ) slight reg>d = academic models4 ,b a ?or\gh exam9ation ( 8 works %[s no evid5ce ( c>elessness or unc]ta9ty ( aim4 ,!re is1 to be sure1 no?+ ( t r\t9e developm5t ( musical mat]ial :i* we associate ) classic practice--in/ead a free1 imag9ative gr[?4 ,b !re is always a def9ite /ructural f\ndation to support ! fre$om ( expression4 ,?is coh]5ce is sometimes ga9$ by a s+le dom9at+ note ab\t :i* ev]y?+ is gr\p$1 z1 9 ! ,soire dans ,gr5ade1 ! ,c-%>p & 9 ! ,reflets dans l'eau1 an ,f4 ,mo/ ( ,debussy's compositions imply ! pr9ciples1 albeit freely us$1 ( ,two- & ,?ree-"p =m & ! fundam5tal laws ( key-relation%ip & ( arti/ic contra/4 ,footnote #big3 ,! be/ books yet writt5 on ,debussy & 8 /yle are ^? by ,mrs4 ,liebi* & ,l\is ,laloy4 ,consult also ! compreh5sive essay by ,e4,b4 ,hill 9 ,vol4 ,,iii ( ! ,art ( ,music4 ,9 consid]+ ! value ( ,debussy's message1 i4e41 ! cont5t ( 8 music1 ! animus & pr$ilection ( ! he>] h to be tak5 into acc\nt4 ,= 8 music is s int5sely subjective & intimate t y l x or n1 z ! case may be4 ,_m p]sons1 h[ev]1 become v fond ( x1 :5 !y h accu/om$ !mselves to its peculi> idiom4 ,! *>ge t !re is 9 ,debussy no melody ( a purely musical nature1 z "s critics h ass]t$1#bih seems to ! writ] too sweep+ & n support$ by ! inn] evid5ce4 ,x may be grant$ t ,debussy's melodic l9e is v fluid & ela/ic1 l ,wagn]'s cont9u\s melody1 n def9itely sectionaliz$ by balanc$ phrases or set cad5ces4 ,b x surely has its own "r to exi/5ce--music be+ pre-em95tly ! art ( fre$om--& let u rememb] t ,nature h]self has melt+ outl9es1 %ad[y vi/as & subtle rhy?ms4 ,debussy1 9 fact1 is ! poet ( ! indef9ite & ! sugge/ive & 8 music has _h a great influ5ce 9 free+ expression f s*ola/ic bonds4 ,ev5 f ! /&po9t ( ! popul> conception ( tune x is difficult to see :at objection c be made to ! foll[+ melodies3 ,music3 ,l'isle joyeuse ,music3 ,poissons d'or ,music3 ,cortge ,footnote #bih3 ,see ! #b;d volume ( ,great ,compos]s by ,d4,g4 ,mason & also ! essay on ,debussy 9 ,contempor>y ,compos]s by ! same au?or4 ,x _c be d5i$ t su* an individual /yle z ,debussy's is liable to mann]i/ic treatm5t1 ?\gh :e!r he %\ld be call$ ! pr9ce ( mann]i/s#bii is decid$ly op5 to debate4 ,"s critics feel t he has ov]-us$ ! :ole-tone scale & x mu/ be confess$1 he has a r affect$ fondness = a =mula ( block-l *ords1 e4g4 ,music3 ,danse sacre ,footnote #bii3 ,accord+ to ,erne/ ,newman 9 a well-kn[n article 9 ! ,musical ,times 7,london74 ,b ^!1 aft] all1 are b spots on ! sun4 ,to sum up our conclusions3 ! foll[+ m]its 9 ,debussy's music1 x seems to me1 _c be ga9said4 ,he has wid5$ incalculably ! vocabul>y ( music & has express$ 9 poetic & conv9c+ fa%ion moods :i* nev] be=e _h be5 attempt$4 ,9 8 "w are new revelations ( ! p[] ( ! imag9ation4 ,z ,lawr5ce ,gilman ke5ly rem>ks1 ,he has kn[n h[ to f9d music 79 ,pellz et ,mlis&e7 = ! sublime reflection ( ,arkel1 ',if ,i 7 ,god1 ,i %\ld pity ! he>ts ( m54' ,debussy 0 also gift$ ) r>e critical ability & _m ( 8 obs]vations are wor?y ( deep consid]ation4 ,= example--,music %\ld be cle>$ ( all sci5tific app>atus4 ,music %\ld seek humbly to give pleasure2 great beauty is possible betwe5 ^! limits4 ,extreme complexity is ! opposite ( art4 ,beauty %\ld be p]ceptible2 x %\ld impose itself on u1 or ins9uate itself1 )\t any ef=t on our "p to grasp x4 ,look at ,leon>do da ,v9ci1 ,moz>t6 ,^! are great arti/s4 ,no acc\nt ( mod]n ,fr5* music w\ld be satisfactory :i* omitt$ to m5tion sev]al compos]s :o1 ?\gh ( some:at less] importance ?an d',indy & ,debussy1 h nev]!less a*iev$ works ( di/9ction & *>m4 ,^! are ,*abri]1 ,faur1 ,dup>c1 ,*ausson & ,ravel4 ,*abri] 7#ahda-ahid7 is not$ = a bold exub]ance & vividness ( expression1 = a s5se ( humor & = a p[] ( or*e/ral color & brilliance :i* h n be5 duplicat$4 ,8 /yle is entirely 8 own & he is a v]itable inc>nation ( vis ,gallica4 ,born 9 ! ,s\? ( ,france1 ! hot blood ( t magic l& seems to ?rob 9 8 music4 ,we h f him sev]al pian(orte compositions ( m>k$ orig9ality1 9 p>ticul> ! ,b\rre ,fantasque1 "s inimitable songs1 e4g41 ,les ,cigales & ,la ,villanelle des petits ,can>ds &1 mo/ fam\s ( all1 8 ,rhapsody = or*e/ra entitl$ ,espaa1 bas$ on ,spani% !mes4 ,?is "w has prov$ to be a l&m>k 9 descriptive p[] & %>es ) ,rimsky-,korsak(f's ,s*eh]azade ! claim ( be+ ! mo/ brilliant piece ( or*e/ral writ+ 9 mod]n times4 ,"s ( ,*abri]'s be/ "w is 9 8 op]a ( ,gw5dol9e1 especially ! ,prelude to ! second act :i* is (t5 play$ by itself4 ,al?\gh ,faur 7#ahde-/ill liv+7 is m v]satile & prolific ?an ,*abri]1 8 fame re/s ^u 8 a*ievem5ts 9 two fields--! song & pian(orte composition4 ,"s ( 8 pian(orte pieces are1 to be sure1 ( a light1 salon type2 yet 9 _m we f9d a true1 poetic s5tim5t & !y are all writt5 9 a ?or\ghly piani/ic idiom4 ,9 fact1 prior to ,debussy ,faur 0 ! only ,fr5*man wor?y to comp>e 9 ma/]y ( pian(orte /yle ) ,*op91 ,s*umann & ,liszt4 ,z a song compos] ,faur ranks ) ! highe/ 9 mod]n times4 ,! exotic *>m & f9esse ( workman%ip 9 su* songs z ,clair de ,lune1 ,les ,roses d',ispahan _c be d5i$ & ! in/rum5tal "p is always wor?y ( ! compos]'s g5ius = pian(orte /yle1 e4g41 ! accompanim5t to ,nell be+ a model 9 its free polyphony & ri*ness ( effect4 ,faur has be5 fa/idi\s 9 8 selection ( texts & he is =tunate to h be5 able to avail himself ( ! g5ius ( su* lyric poets z ,leconte de ,lisle1 ,baudelaire1 ,v]la9e1 ,sully-,prudhomme & o!rs4 ,inde$ z a song-compos] ,faur may fairly be gr\p$ ) ! great ,g]man ma/]s4 ,8 songs are n ,g]man songs1 b !y are j z subtle 9 express+ all t is f9e 9 ,fr5* _s z ^? ( ,s*umann & ,brahms 9 _! ,teutonic s5tim5t4 ,= ?is reason alone ,faur is a comm&+ figure 9 mod]n ,fr5* music4 ,he is also ! au?or ( a viol9 sonata :i* has enjoy$ a popul>ity second only to t ( ,franck & a ,qu9tet = pian(orte & /r+s ( di/9ct orig9ality4 ,dup>c 7#ahdh-/ill liv+7 "o ( ! e>lie/ ( ,cs> ,franck's pupils--?\gh work+ 9 practically b a s+le field & ?\gh by reason ( ill heal? he has writt5 no?+ s9ce #ahhe--w always hold high rank = ! beauty & bread? ( 8 songs1 especially ,l'invitation au ,voyage1 ,extase & ,phydil4 ,?is la/ is consid]$ by ! writ] ! mo/ exquisite song 9 mod]n lit]ature2 its melody1 its modulations1 its accompanim5t alike are flawless4#cjj ,footnote #cjj3 ,an excell5t collection ( mod]n ,fr5* songs may be f\nd 9 ! two volumes publi%$ by ! ,oliv] ,ditson ,co4 9 ! ,musicians ,libr>y4 ,*ausson 7#ahee-ahii7 ! mo/ gift$ ( ,franck's pupils1 ?\gh )\t d',indy's /r5g? ( "*1 0 kill$ by an un=tunate accid5t#cja j z he 0 ready = an adequate self-expression4 ,he _h a s5sitive imag9ation1 an individual h>monic /yle2 & 9 ^? works :i* he has left--notably sev]al songs1 a ,qu>tet = pian(orte & /r+s & ! ,symphony 9 ,b-flat major1 op4 #bj--!re is f\nd a _s ( g5u9e romantic inspiration4 ,footnote #cja3 ,:ile he 0 rid+ a bicycle4 ,al?\gh ,ravel 7#ahge-/ill liv+7 _c claim to be a pione] l ,debussy--s9ce 9 8 music !re are frequ5t traces ( ! exub]ance ( ,*abri]1 ! suavity ( ,faur1 ! atmosph]e & impressioni/ic t5d5cies ( ,debussy & ! exoticism ( ! ,neo-,russians--yet he is inde$ no empty reflection ( ^! m51 = he has 8 own bold1 fanta/ic /yle & has be5 a d>+ exp]im5t] 9 fre$om ( h>mony & /ructure4 ,"o f9ds a p[] ( ironic brilliance & ( unexpect$ h>monic trans=mations c]ta9ly new 9 mod]n lit]ature4 ,ravel#cjb is "o ( ! mo/ v]satile & prolific ( all ! y\ng] ,fr5*m5 hav+ compos$ significant works 9 at lea/ f\r fields3 songs1 p>ticul>ly ! set entitl$ ,hi/oires ,naturelles1 :i* reveal an unusual in/9ct = delicate description2 & pian(orte pieces ( :i* ,miroirs1 ! dazzl+ t\r de =ce ,jeux d'eau1 ! ,valses nobles et s5tim5tales1 ! ,sonat9e1 ! ,pavane &1 above all1 ! ,poems1 ,gasp>d de la ,nuit 7,ond9e1 ,le ,gibbet#cjc & ,sc>bo7 are conspicu\s examples ( 8 /yle4 ,fur!rmore 9 ! field ( *amb] music are f\nd a ,/r+ ,qu>tet1 rem>kable = inspiration & = c]ta9ty ( workman%ip1 & a ,trio 7= pian(orte1 viol9 & 'cello7 :i* is "o ( ! mo/ brilliant mod]n works1 ( conv9c+ orig9ality 9 its fre$om ( rhy?m1 e4g41 ! op5+ measures ( ! fir/ movem5t4 ,music ,footnote #cjb3 ,! be/ acc\nt ( 8 works & /yle is to be f\nd 9 ! volume ,maurice ,ravel et son oeuvre by ,rol& ,manuel4 ,footnote #cjc3 ,le ,gibbet is )\t d\bt ! mo/ reali/ic piece ( musical description 9 our "t4 ,f9ally1 = or*e/ra 8 ,spani% ,rhapsody ranks ) ,*abri]'s ,espaa & ,debussy's ,ibria z ! acme ( descriptive p[] & ( or*e/ral color4 ,8 ,"m ,goose ,suite 7orig9ally a set ( f\r-h& pieces b s9ce or*e/rat$ ) incomp>able f9esse7 illu/rates 8 humor & play ( fancy4 ,x has become a truly popul> conc]t numb]4 ,ravel's *ef d'oeuvre ! *oreographic symphony ,daphnis et ,*lo displays an extraord9>y syn!tic grasp1 = all ! factors--plot1 action1 ! musical fabric1 a l>ge or*e/ra & a *orus ( mix$ voices beh9d ! sc5es--are held toge!r ) a ma/] h&4 ,?is "w ranks ) ,debussy's ,pellz et ,mlis&e z ! mo/ significant dramatic "w ( rec5t ye>s4 ,x is evid5t1 we tru/1 f ! =ego+ some:at cond5s$ e/imates t ! mod]n ,fr5* s*ool is v mu* alive1 t x has to its cr$it num]\s di/9ct a*ievem5ts & t x conta9s ! promise ( /ill fur!r gr[?4 ,! ,fr5* nature1 :i* is highly emotional & yet1 at its be/1 always controll$#cjd by a reg>d = fitness & cl>ity ( ?\ght1 is p>ticul>ly suit$ to express itself wor?ily 9 music1 = 9 no o!r =m ( arti/ic endeavor is ?is balance m requisite4 ,music )\t emotion is1 to be sure1 l s\nd+ brass & a t9kl+ cymbal & dies 9 %ort ord]4 ,on ! o!r h&1 music :i* is a m]e display ( crude emotion soon palls4 ,! works ( mod]n ,fr5* compos]s des]ve en?usia/ic /udy = _! *>m1 _! f9i% & _! ref9$ emotional p[]4 ,footnote #cjd3 ,witness ! wond]ful manife/ation ( ^! qualities by ! ,fr5* 9 ! rec5t w>4 ,,*apt] ,,xix ,,national ,,s*ools--,,russian1 ,,bohemian ,,& ,,sc&9avian ,be=e beg9n+ an acc\nt ( ,t*aik[sky1 ! mo/ not$ ?\gh n necess>ily ! greate/ ( ! ,russian compos]s1 a few words may be said conc]n+ nationalism 9 music1 ! *ief repres5tatives ( :i* are ! ,russians1 ! ,bohemians1 ! ,sc&9avians & ! ,hung>ians4 ,( ^!1 h[ev]1 ! pres5t-day ,russian ,s*ool is ! mo/ active & contributes con/antly new factors to musical evolution4 ,?is graft+ ( =ms ( expression d]iv$ f ! outly+ nations on to ! p>5t-/ock ( music--:i* = "s ?ree hundr$ ye>s _h be5 9 ! exclusive control ( ,italy1 ,g]many & ,france--has be5 a /imulat+ factor 9 ! developm5t ( ! la/ half-c5tury4 ,= ! idiom ( music 0 becom+ some:at /]eotyp$1 & x has be5 noticeably revitaliz$ by ! incorporation ( c]ta9 exotic traits1 ( :i* !re run ?r\gh all national music ^! ?ree3 7#a7 ! use1 9 _! folk-songs1 ( o!r =ms ( scale & mode ?an are habitual ) ourselves2 7#b7 ! pref]5ce giv5 to ! m9or mode & ! free comm+l+ ( major & m9or2 7#c7 ! great rhy?mic v>iety & especially ! use ( gr\ps =eign to our musical s5se1 su* z measures ( #e & #g beats1 & ! int5tional plac+ ( ! acc5t on p>ts ( ! measure :i* ) u are ord9>ily unacc5t$4 ,e c\ntry has its folk-songs--! product ( national r ?an individual g5ius--b ,russia1 9 ! numb] & v>iety ( ^! orig9al melodies is mo/ exceptional4 ,! ,russian expresses himself spontane\sly 9 song1 & s we f9d appropriate music = e activity or incid5t 9 daily life3 plant+ songs1 reap+ songs1 boat+ songs1 w$d+ songs1 fun]al songs2 ,russian soldi]s s+ on ! m>* & ev5 ent] ^u a desp]ate *>ge ) songs on _! lips4 ,9 c]ta9 battles ( ! ,crimean ,w> ?is fact caus$ mu* comm5t f ! ,engli% (fic]s4 ,= _m c5turies ! bulk ( ! ,russian p has be5 d[ntrodd52 & ! c\ntry1 ) its endless /eppes & gloomy climate1 is h>dly su* z to call =? ! sp>kl+ vivacity f\nd 9 ! ,sc&9avian & ,hung>ian songs4 ,! preval5t mood 9 ,russian folk-songs is "o ( melan*oly or ( brood+1 wi/ful t5d]ness--v (t5 9 ! old ,greek modes1 ! ,aeolian1 ,dorian & ,phrygian4 ,f ?is we see ! close connection exi/+ betwe5 ! ,russian & ,greek ,*ur*es4 ,! ,russian liturgy is exce$+ly old1 & ,russian *ur* music1 always unaccompani$1 has long be5 celebrat$ = its dignifi$ "*1 especially ^? portions r5d]$ by m5's voices1 :i* are capable ( unusually l[ notes1#cje z maje/ic z ^? ( an organ4 ,footnote #cje3 ,9 ,grove's ,diction>y1 "u ,bass1 occurs ?is /atem5t3 ,?is voice1 f\nd1 or at lea/ cultivat$1 only 9 ,russia is by special tra9+ made to desc5d to ,,ff ,music4 ,dur+ ! entire #ah? c5tury ! developm5t ( music 9 ,russia 0 9 ! h&s ( import$ ,italians2 ! beg9n+s ( a national type be+ fir/ made 9 ! works ( ,gl9ka1 born #ahjd4 ,by ! middle ( ! #ai? c5tury two s*ools _h aris51 ! ,neo-,russian gr\p ( ,balakireff1 ,borod91 ,cui1 ,rimsky-,korsak(f & ,m\ssorgsky1 :o believ$ 9 ! extreme developm5t ( national traits 9 melody1 rhy?m & color2 & a second gr\p :i* 0 m cosmopolitan 9 its ta/es & believ$ t ,russian music1 )\t ab&on+ its national flavor1 c\ld be writt5 9 a /yle ( univ]sal appeal4 ,! *ief memb]s ( ?is gr\p 7 ,rub9/e9 & ,t*aik[sky1 & di/+ui%$ pupils ( ! latt]1 9 p>ticul> ,ra*man9(f & ,glaz\n(f4 ,to ! _w at l>ge ,t*aik[sky1 ( !m all1 has made ! /ronge/ appeal2 ?\gh he himself said t ,rimsky-,korsak(f z an or*e/ral colori/ 0 m able1 & c]ta9ly ,m\ssorgsky has a m /rongly m>k$ individuality4 ,t*aik[sky 7#ahdj-ahic7 l s _m ( ! ,russian compos]s1 began z a cultivat$ amateur :o %[$ no special musical gifts1 save a s5sitive nature & a g5]al fondness = ! art4 ,he /udi$ 9 ! s*ool ( jurisprud5ce & won a po/ 9 ! ,m9i/ry ( ,ju/ice4 ,9 #ahfa1 h[ev]1 8 musical nature awak+ ) a b\nd1 he gave up all (ficial "w & = ! sake ( art fac$ a life ( pov]ty4 ,"u ! tea*+ ( ,ni*olas ,rub9/e9 at ! ,petrograd ,cons]vatory he made su* amaz+ progress t 9 five ye>s he himself 0 ,pr(essor ( ,h>mony at ,mosc[ & _h begun 8 long s]ies ( compositions--at fir/ op]as ( m]ely local fame4 ,!re n[ foll[$ ye>s ( great activity sp5t 9 tea*+ & compos+--well-kn[n works be+ ! fir/ ,/r+ ,qu>tet & ! ,pian(orte ,conc]to 9 ,b-flat m9or1 fir/ p]=m$ by von ,bl[ at ,bo/on 9 '#hh4 ,at ?is p]iod 8 heal? completely broke d[n1 ! imm$iate cause be+ an unhappy m>riage4 ,he f9ally ralli$ b _h to travel abroad = a ye>1 & = ! re/ ( 8 life 8 temp]1 nev] bright1 0 ov]ca/ ) gloom4 ,!re n[ ent]$ ,t*aik[sky's life ,frau von ,meck1 ! woman :o play$ ! "p ( fairy godmo!r4 ,%e greatly admir$ 8 music1 0 weal?y & g5]\s &1 t he might h entire leisure = composition1 settl$ ^u him a lib]al annuity4 ,_! relation%ip is "o ( ! mo/ rem>kable 9 ! annals ( art2 =1 fe>+ t ! ideal w\ld be %att]$1 !y met b once1 q by accid5t1 & ,t*aik[sky 0 acutely emb>rass$4 ,we h a l5g?y & impassion$ correspond5ce1 & ,t*aik[sky's #d? ,symphony1 d$icat$ mon meilleur ami1 is ! result ( ?is fri5d%ip4 ,9 #ahia1 invit$ to ,new ,york = ! d$ication ( ,c>negie ,hall1 he made 8 memorable ,am]ican t\r4 ,8 success 0 g5u9e1 & 0 ! beg9n+ ( ! popul>ity 8 music has always enjoy$ 9 ?is c\ntry4 ,= sev]al ye>s ,t*aik[sky _h be5 work+ at 8 ,six? ,symphony1 to :i* he himself gave ! di/9ctive title ,pa!tic4 ,?is "w ends ) "o ( ! sadde/ dirges 9 all lit]ature1 al?\gh ,t*aik[sky1 dur+ its composition1 z we "k f 8 lett]s1 _h nev] be5 9 a happi] /ate ( m9d or work$ m passionately & freely4 ,he himself says1 ,i consid] x ! be/1 especially ! mo/ op5-he>t$ ( all my works4 ,:51 h[ev]1 he sudd5ly di$ 9 #ahic1 !re 7 rumors ( suicide1 b x is n[ def9itely settl$ t 8 dea? 0 caus$ by *ol]a4#cjf ,footnote #cjf3 ,! writ] _h ?is /atem5t f ! lips ( ,t*aik[sky's own bro!r1 ,mode/e4 ,to turn n[ to 8 a*ievem5ts1 x may be ass]t$ t ,t*aik[sky 0 m>vell\sly v]satile1 compos+ 9 e =m save = ! organ2 = productiv5ess1 only ,moz>t1 ,s*ub]t & ,liszt c be comp>$ ) him4 ,8 works comprise eight op]as1 six symphonies1 six symphonic poems1 ?ree ov]tures1 f\r or*e/ral suites1 two pian(orte conc]tos1 a viol9 conc]to1 ?ree /r+ qu>tets1 a wond]ful trio1 ab\t "o hundr$ songs & a l>ge numb] ( pian(orte pieces4 ,9 addition he made sev]al sett+s ( ! ,russian liturgy & edit$ _m volumes ( *ur* music4 ,:atev] may be ! f9al e/imate ( 8 music1 x assur$ly has great vogue at pres5t1 = x is an int5se expression ( t m5tal & spiritual unre/ s *>act]i/ic ( our times4 ,z ,byron 0 said to h b "o subject1 himself1 s all ,t*aik[sky's music is ! message ( 8 highly emotional & fev]i% s5sibility4 ,he is inv>iably eloqu5t 9 ! pres5tation ( 8 mat]ial1 al?\gh ! ?\ghts are (t5 slight & ! impression made n la/+4 ,he p\rs out 8 emotions ) ! impulsiv5ess & ab&on s *>act]i/ic ( 8 race1 & ?is lack ( s]5ity1 ( re/ra9t1 is surely 8 grave/ weakness4 ,we are rem9d$ by 8 music ( a fire :i* ei!r gl[s fitfully or bur/s =? into a fi]ce uncontroll$ blaze1 b :]e a /eady :ite heat is too (t5 miss+4 ,8 /yle has be5 concisely describ$ z fi]y exultation on a basis ( languid melan*oly4 ,to all ?is we may retort t :at he lacks 9 pr(undity & firm control1 he makes up 9 spontaneity1 weal? ( imag9ation &1 above all1 w>m? ( color4 ,x is illogical to expect 8 music to be diff]5t f :at x is4 ,he express$ himself s9c]ely & 8 /yle is ! direct outcome ( 8 own temp]am5t plus 8 nationality4 ,t*aik[sky 0 widely read 9 mod]n lit]ature--,dick5s & ,?ack]ay be+ favorite au?ors--& _h travell$ mu*4 ,! bread? ( 8 cultivation is %[n 9 ! subjects ( 8 symphonic poems & ! texts ( 8 songs1 :i* are f ,%akespe>e1 ,dante1 ,goe! & ,bryon4 ,h[ev] mu* e/imates may diff] z to ! import ( ,t*aik[sky's message1 he is univ]sally recogniz$ z a sup]b colori/1 "o ( ! ma/]s ( mod]n or*e/ral treatm5t2 :o1 by 8 subtle feel+ = ri*ness & v>iety ( tone1 has enl>g$ ! means ( musical expression4 ,?is is especially %[n 9 ! *>act]i/ic use he makes ( ! or*e/ra 9 its l[] ranges4 ,z ,brahms1 = dep? ( ?\ght1 0 comp>$ ) ,br[n+1 s ,t*aik[sky may well be lik5$ to su* poets z ,%elley & ,sw9burne1 s exquisite is 8 in/9ct = tonal beauty & = delicacy ( %ad+4 ,at times1 to be sure1 he fairly riots 9 gorge\s colors--?is be+ ! result ( 8 ,slavic blood--b few compos]s h be5 able to a*ieve su* brilliancy )\t becom+ vulg>4 ,z to ! *>ge ( pessimism (t5 made aga9/ ,t*aik[sky1 he 0 a ?9k]1 an explor] into ! my/]ies ( human aspiration & disappo9tm5t1#cjg & 8 music seems weight$ d[n ) ! riddle ( ! univ]se4 ,?is introspective dejection1 h[ev]1 is a natural result ( 8 temp]am5t & 8 nationality4 ,if to u ( a m hopeful outlook ^u life x seems morbid1 we %\ld simply rememb] t our conditions h be5 diff]5t4 ,a di/9ction mu/ likewise be made betwe5 ! expression ( su* feel+s 9 art & _! influ5ce 9 actual life4 ,z a man ,t*aik[sky 0 practical1 consci5ti\s1 & did n 9 ! lea/ all[ 8 feel+s to emasculate him4 ,he 0 a prodigi\s work] & ?r\gh\t 8 c>e]1 9 ! face ( ill heal? & _m adv]se circum/ances1 %[$ imm5se c\rage4 ,8 cre$ 0 no ignoble "o--,to regret ! pa/1 to hope 9 ! future1 & nev] to be satisfi$ ) ! pres5t2 ?is is my life4 ,& to a gu%+ patroness ( art :o ask$ him :at 7 8 ideals1 8 simple reply 0 ,my ideal is to become a good compos]4 ,c]ta9 ,engli% critics 9 _! fault-f9d+ h be5 p>ticul>ly boresome1 because1 =soo?1 ,t*aik[sky's music does n %[ ! s]5ity ( ,brahms or ! solidity or /olidity ( _! own compos]s4 ,to ! well-f$ & prosp]\s ,briton ,god's 9 8 ,heav51 all's "r ) ! _w is h>dly an expression ( fai?1 b a c]ta9ty ( exi/5ce4 ,n s ) ! ,russian1 ^u :om ! oppression ( c5turies has left its /amp4 ,?is same note ( gloomy or ev5 morbid introspection is f\nd 9 "s ( ! great lit]ature ( ! _w--9 ! ,bible1 ! ,greek ,trag$ies & 9 ,%akespe>e4 ,grant$ t optimism is ! only work+ cre$ = e-day life1 until ! mill5ium arrives a s9c]e & arti/ic expression ( ! sorr[s ( humanity w always /rike a note 9 oppress$ s\ls4 ,footnote #cjg3 ,see ! passage f 8 di>y 7quot$ on page #ejd ( ! ,biography by 8 bro!r7 9 :i* he writes--,:at t\*+ love & compassion = mank9d lie 9 ^! words3 ',come unto me1 all ye t labor & are heavy lad56' ,9 comp>ison ) ^! simple words all ! ,psalms ( ,david are z no?+4 ,ea* ( ,t*aik[sky's la/ ?ree symphonies is a rem>kable "w4 ,! ,f\r? is mo/ *>act]i/ically ,russian & c]ta9ly ! mo/ /rik+ 9 its uncompromis+ directness ( expression4 ,! fir/ movem5t ann\nces a recurr5t1 int5sely subjective motto typical ( t imp5d+ ,fate :i* w\ld n all[ ,t*aik[sky happ9ess4#cjh ,! sl[ movem5t is bas$ ^u a ,russian folk song ( a melan*oly beauty1 sung by ! oboe1 & ano!r1 already cit$ 7see ,*apt] ,,ii1 p4 #cc71 is incorporat$ 9 ! ,f9ale4 ,! ,s*]zo is unique z an or*e/ral t\r de =ce2 =1 ) ! exception ( a %ort middle portion = wood-w9d & brass1 x is = ! /r+ or*e/ra play+ pizzicato ?r\gh\t4 ,! effect is extremely fanta/ic & resembles t ( gho/s flitt+ ab\t 9 _! /ock+-feet or ( sleep-*as+s1 to use ,:itman's expression4#cji ,! ,f9ale is a riot ( natural1 primitive joy1 a picture--z ! compos] says--( a popul> fe/ivity4 ,:5 y f9d no joy )9 y1 g among ! p1 see h[ fully !y give !mselves up to joy\s feel+s4 ,fate s\nds its w>n+1 b 9 va92 no?+ c repress ! exultation ( ! compos]4 ,enjoy ! joy ( o!rs &--y /ill c live4 ,! "w is s5sational1 ev5 trivial 9 places2 b x reveals s9c]ity & elem5tal life4 ,! compos] lays himself b>e & we see a real man--n a mask$ hypocrite--) all 8 joys & sorr[s1 caught1 z ,h5ley w\ld say1 9 ! fell clut* ( circum/ance1 bludgeon$ by ,fate4 ,footnote #cjh3 ,see ! detail$ program by ! compos] himself1 cit$ 9 ,nieck's ,program ,music4 ,footnote #cji3 ,= ?is simile ,i am indebt$ to ,mr4 ,philip ,hale4 ,! ,six? ,symphony1 ! ,pa!tic1 is ! mo/ popul> &1 on ! :ole1 ,t*aik[sky's mo/ su/a9$ "w4 ,x owes its hold ^u public e/eem to ! eloqu5t way 9 :i* x pres5ts t maladie du sicle :i*1 9 all mod]n art1#caj is su* a prom95t note4 ,! mood may be a morbid "o b we _c mi/ake ! conviction ) :i* x is treat$4 ,! "w is likewise significant because ( ! novel gr\p+ ( movem5ts4 ,! fir/ is 9 complete sonata =m & = f9i%$ ar*itecture w /& comp>ison ) any use ( t =m4 ,! !mes are eloqu5t1 well contra/$ & organically develop$4 ,! or*e/ration is a ma/]piece4#caa ,! second movem5t is ! "o fam\s = its use ( five beats a measure ?r\gh\t2 & its trio1 on a p]si/5t p$al note ,d1 is a /rik+ example ( ! ,russian t5d5cy to become fairly obsess$ ) "o rhy?m4 ,x is an int5tional1 arti/ic use ( monotony & may be comp>$ to ! limitless ,russian ,/eppes4 ,if x seem /range to ,we/]n ,europeans1 x %\ld be rememb]$ t ! music is ,russian & portrays a mood p]fectly natural to t p4 ,! ?ird movem5t is a comb9ation ( a s*]zo & a m>*--( a mo/ unbridl$ fury4 ,! ,f9ale is a ?r5ody1 "o ( ov]p[]+ grief1 ! motto ( :i* might be vanity ( vanities1 all is vanity4 ,x ab\nds 9 s\l-/irr+ or*e/ral eloqu5ce & inv>iably makes a deep impression4 ,footnote #caj3 ,= fur!r comm5t see ! ,life ( ,t*aik[sky by ,rosa ,newm>*4 ,footnote #caa3 ,z may be se5 by ! numb] ( illu/rations f x 9 text books6 ,= special comm5t we h select$ ,t*aik[sky's#cab ,fif? ,symphony 9 ,e m9or s9ce1 be+ a union ( ,russian & ,italian *>act]i/ics1 x reveals t eclecticism s prom95t 9 8 /yle4 ,x is also an admirable example ( organic relation%ip betwe5 ! movem5ts4 ,?is symphony1 l ! ,f\r?1 conta9s a recurr5t motto ( sombre nature 9 ! m9or mode :i*1 appe>+ 9 ! fir/ ?ree movem5ts ) "s dramatic implication1 is *ang$ 9 ! ,f9ale to ! major & us$ z ! basis = a m>* ( rejoic+4 ,! fir/ & la/ movem5ts are 9 elaborate sonata-=m2 ! second & ?ird 9 ?ree-"p =m4 ,! ,f9ale is "o ( ! mo/ /rik+ examples 9 mod]n lit]ature ( a rsum ( prec$+ !mes & h5ce a conv9c+ pro( ( ! compos]'s con/ructive p[]4 ,! symphony beg9s ) a long prelude ann\nc+ ! motto4 ,scor$ = cl>9ets1 bassoons & l[ /r+s x %[s vividly t peculi> impression :i* ,t*aik[sky secur$ by us+ ! l[] ranges ( ! or*e/ra4 ,footnote #cab3 ,! au?oritative "w on ,t*aik[sky is ,! ,life & ,lett]s by 8 bro!r ,mode/e2 ! abridg$ biography by ,rosa ,newm>* %\ld also be read4 ,!re are excell5t essays 9 ,mezzot9ts 9 ,mod]n ,music by ,hunek]2 9 ,/reatfield's volume ,mod]n ,compos]s & 9 ,mason's ,f ,grieg to ,brahms4 ,music ,! melody itself seldom moves above middle ,c1 & its effect is enhanc$ by ! quality ( ! cl>9ets 9 _! *alumeau regi/]4 ,! fir/ !me ( ! movem5t prop] 7beg9n+ at ! ,allegro con anima71 on ! same h>monic basis z ! motto & d]iv$ f x rhy?mically1 is giv5 out pp by a solo cl>9et & solo bassoon1 accompani$ by v light deta*$ *ords 9 ! /r+s1 e4g4 ,music ,?is is elaborately & brilliantly develop$ until1 9 measure #gi 7c\nt+ f ! ,allegro71 we rea* a transitional1 subsidi>y !me 9 ,b m9or4 ,?is is foll[$ by "s /rik+ sequ5ces1 exquisitely scor$1 & !n 7at un po*ett9o pi animato7 !re is a quick5$ pres5tation ( ! transitional !me1 int]sp]s$ by syncopat$ calls--on ! horns & wood-w9d--a pres5tation :i* introduces ! second !me 9 ,d major1 m>k$ molto pi tranquillo4 ,?is melody1 sung by ! viol9s aga9/ an obbligato 9 ! wood-w9d1 is cle>ly ,italian 9 its grace & suavity & e/abli%es t wond]ful contra/ s prom95t 9 ,t*aik[sky--! w>m? & exub]ance ( ! ,s\? set aga9/ ! grim au/]ity ( ! ,nor?4 ,music ,?is !me1 exp&$ 7/r+5do & cresc5do7 into a s]ies ( excit+ climaxes fff leads1 aft] "s modulatory phrases d]iv$ f ! transitional !me1 to ! ,developm5t :i* beg9s 9 ,b-flat major4 ,?r\gh\t ?is is a f9e piece ( "w--) real !matic gr[?1 bold modulations & no padd+4 ,x %\ld refute completely any errone\s op9ion t ,t*aik[sky 0 lack+ 9 p[] ( organic treatm5t4 ,! connection betwe5 ! ,developm5t & ! ,recapitulation is skilfully manag$ & ! ?ird "p does n bore u b is welcom$ z some?+ we w\ld gladly he> aga94 ,!re is a long & /ormy ,coda--a second developm5t 9 true ,bee?ov5 /yle--:i* f9ally ends ppp 9 ! l[e/ dep?s ( ! or*e/ra1 9 ! same mood z ! op5+ measures4 ,! second movem5t1 ,&ante cantabile1 con alcuna lic5za1 ) its melt+ !me on ! solo horn1 e4g41 ,music --accompani$ lat] by answ]+ phrases on ! cl>9et--might seem a bit too lusci\s 7 x n = ! beauty & f9i% ( ! or*e/ration4 ,! movem5t is 9 r loose ?ree-"p =m--z ! title w\ld imply--! jo9ts be+ some:at obvi\s 9 c]ta9 places1 e4g41 measures #ci-de4 ,! !mes1 h[ev]1 h t int5sity peculi> to ,t*aik[sky1 & ! orig9al or*e/ral treatm5t1 especially 9 ! use ( ! horns1 enhances _! effect4 ,! middle contra/+ portion1 />t+ 9 ,f-%>p m9or1 %[s "s v effective polyphonic imitations bas$ on ! foll[+ !me3 ,music ,at ! climax ( its developm5t ! motto is proclaim$ fff 9 a mo/ arre/+ mann]--its effect be+ due to ! unusual p$al po9t :i* makes a *ord ( ! second ) ! upp] voices1 e4g41 ,music ,! ?ird "p ) slight expansions corresponds to ! fir/4 ,at its close1 j be=e ! ,coda1 we h a second appe>ance ( ! motto--?is "t1 on acc\nt ( ! fi]ce dissonances1 ) ev5 m s9i/] effect4#cac ,! clos+ measures are ( great beauty by reason ( ! imitations on ! /r+s & ! dreamy1 rem9isc5t phrase on ! cl>9ets1 e4g4 ,music ,footnote #cac3 ,! passage has already be5 cit$ 9 ,*apt] ,,iv z an example ( a deceptive cad5ce4 ,! ?ird movem5t1 a ,waltz1 ) a graceful !me1 9 cle>-cut ?ree-"p =m1 ne$s little comm5t4 ,if any "o consid]s x too light or ev5 trivial = a place 9 a symphony he might /udy ! individual or*e/ration & !n try to compose "o l x6 ,! second & ?ird p>ts are +5i\sly fus$ toge!r--,t*aik[sky foll[+ ! practise ( ,moz>t1 8 favorite ma/]1 9 ! fir/ movem5t ( ! ,g m9or ,symphony4 ,9 ! ,russian philosophy ( life1 h[ev]1 !re is no su* ?+ z p]petual joy2 s1 ev5 amid sc5es ( fe/ivity1 ! motto obtrudes itself z if to ask ,:at "r h y to be danc+ :5 life is s /]n & grim8 ,see measures #bc-bh f end ( movem5t4 ,music ,! ,f9ale1 9 complete sonata-=m & laid out on a l>ge scale1 = sev]al reasons is ( di/9ct significance4 ,x is a c>efully plann$ rsum ( prec$+ !mes2 x conta9s sev]al examples ( ^? p]iods ( depression or exultation 7especially on a p$al-po9t7 s *>act]i/ic ( ! ,slav1 & la/ly1 !re are pages ( extreme brilliancy4 ,9 fact1 ! or*e/ration ?r\gh\t is ( su* conv9c+ p[] t x refutes any *>ge ( s5sationalism or m]e bomba/4 ,if to u ! music seem unre/ra9$1 unbridl$1 we are to rememb] t ! ,russian temp]am5t is prone to a reckless display ( emotion j z 9 _! *ur*es !y l to lay ! colors on ?ick4 ,! movem5t beg9s ) an ext5d$ prelude 9 :i* ! orig9al sombre motto is trans=m$ into a /ately1 m>*-l !me4 ,?is is pres5t$ twice ) cont9ually ri*] scor+ & m rhy?mic animation4 ,! clos+ measures ( ! prelude are a specific in/ance ( t protract$ mood ( depression spok5 ( above4 ,! movem5t prop] beg9s at ! ,allegro vivace ) a fi]ce1 impassion$ !me1 ,music :i* leads1 9 measure #be1 to a subsidi>y !me treat$ at fir/ 9 free d\ble c\nt]po9t#cad & lat] canonically4 ,music ,footnote #cad3 ,by d\ble c\nt]po9t is meant su* a gr\p+ ( ! voices t !y may be inv]t$ 7! upp] voice becom+ ! l[] & vice v]sa7 & s\nd equally well4 ,= fur!r comm5ts1 toge!r ) illu/rative examples1 consult ,*apt] ,,ix ( ,spald+'s ,tonal ,c\nt]po9t4 ,music ,?is is develop$ ) m & m animation until ! ann\ncem5t1 9 measure #ga1 ( ! second !me 9 ,d major4 ,"h we see ! fir/ in/ance ( t organic relation%ip = :i* ! movem5t is not$2 = ?is !me ,music is evid5tly d]iv$ by rhy?mic modification f t ( ! prec$+ sl[ movem5t4 ,x is brilliantly exp&$ & leads directly--!re be+ no d\ble b> & repeat--to ! developm5t 9 measure #aae4 ,?is "p ( ! movem5t evades description2 x is ?r\gh\t mo/ eloqu5t & excit+4 ,9 measures #aec-afj all ! bells ( ,russia seem to be peal+6 ,) measure #agg beg9s 7m>cato l>gam5te7 an impressive treatm5t 9 ! bass ( ! second !me1 answ]$ %ortly aft] 9 ! upp] voice4 ,?is is develop$ to a climax :i*1 9 turn1 is foll[$ by "o ( ^? long p]iods ( cool+ d[n :i* prep>e u = ! ,recapitulation 9 measure #bci4 ,?is corresponds exactly ) ! ,exposition1 end+ ) two passages 7poco m5o mosso & molto vivace71--bas$ ^u ! rhy?m ( ! motto--:i* u%] 9 ! long1 elaborate ,coda4 ,?is beg9s1 mae/oso1 ) an impressive /atem5t ( ! m>* !me1 scor$ 9 brilliant fa%ion1 ) ru%+ figures 9 ! wood-w9d in/rum5ts4 ,x seems to portray "s c]emonial 9 a va/ ca!dral ) trumpets bl>+ & bann]s fly+4 ,a /ill m gorge\s treatm5t 7m>ziale1 en]gico1 con tutta =za7 leads to ! ,pre/o bas$ on ! subsidi>y !me 7cit$ on page #cab71 :i* fairly c>ries u (f our feet4 ,! la/ portion ( ! ,coda 7molto m5o mosso7 is an animat$ yet dignifi$ proclamation ( ! ma9 !me ( ! fir/ movem5t--! "w ?us conclud+ ) an unmi/akable effect ( unity4 ,music ,! subject ( ,russian music#cae is too va/ = any adequate treatm5t )9 ! limits ( a s+le book1 b !re are sev]al o!r compos]s 9 addition to ,t*aik[sky ( su* individuality & rem>kable a*ievem5t z to w>rant "s notice4 ,^! m51 ,balakireff1 ,borod91 ,rimsky-,korsak(f & ,m\ssorgsky1 h done = ! free expression ( ! ,russian temp]am5t 9 music :at ,pu%k91 ,gogol & ,do/oyevsky repres5t 9 lit]ature4 ,to und]/& fully ! t5d5cies ( ,neo-,russian music1 & above all to sympa?ize ) ! _s 9 :i* ?is music is writt51 ! incr$ible hi/ory ( ,holy ,russia1 ! hi/ory ( its rul]s & p--! mad caprices & horrid de$s ( ! ,roman(fs1 :o1 9 c5turies gone by1 surpass$ 9 re/less melan*oly & atrocity ! insane ,caes>s1 & 7 m to be piti$1 z well z dete/$1 ?an ,tib]ius or ,n]o--! nature ( ! l&scape1 ! wa/e ( /eppes1 ! dre>9ess ( w9t]1 & ! lonel9ess ( summ]--! b>b>ic extravagance ( ari/ocratic life--! r$ tape1 extortion1 & cruelty ( (fic]s--! sublime pati5ce ( ! common p--! devotion ( ! endur+1 />v+ multitude to ! ,ts>--all ?is %\ld be z famili> z a twice-told tale4 ,!re %\ld also be a k ( ,russian lit]ature1 f ! passion ( ,pu%k9 & ! irony ( ,gogol1 to ,turg5ieff's tales ( life among ! s]fs1 & ! novels ( ,tol/oi1 9 :i* my/icism & realism are /rangely bl5d$4 ,inasmu* z ,neo-,russian music is f\nd$ ^u ! folk-songs ( t c\ntry1 "o %\ld "k fir/ ( all ! conditions t made su* songs possible1 & "o %\ld brea! ! atmosph]e 9 :i* musicians :o h us$ su* songs h work$4#caf ,footnote #cae3 ,! mo/ au?oritative "w 9 ,engli% is ! ,hi/ory ( ,russian ,music by ,montagu-,na?an2 9 ,fr5* !re are ! ,essays ,musiques de ,russie by ,bruneau4 ,footnote #caf3 ,quot$ f ! *apt] on ,russian music 9 ,fam\s ,compos]s & ,_! ,works 7#b;d s]ies74 ,! fir/ real lead] aft] ! :olesome beg9n+s made by ,gl9ka 7) 8 op]as1 ,a ,life = ! ,cz> & ,ludmilla7 0 ,balakireff 7#ahcg-aiaj7 :o f9d+ 8 c\ntry almo/ entirely "u ! dom9ion ( ,italian & ,g]man music1 proclaim$ ! doctr9e t ,russia1 ) its weal? ( folk-songs & its und\bt$ emotional p[] %\ld create its own music4 ,l _m ( ! ,russians ,balakireff 0 an amateur1 b 9 ! true s5se ( t t]m1 i4e41 he lov$ music = its own sake4 ,he !re=e set to "w vigor\sly to combat =eign influ5ces & to manife/ 9 orig9al works a _s true to 8 own g5ius & to ! t5d5cies ( 8 native l&4 ,?\gh educat$ z a lawy] he _h acquir$ ?r\gh a /udy ( ,moz>t1 ,b]lioz & ,liszt a ?or\gh te*nique & s 0 equipp$ to put into practise 8 wat*word :i* 0 individual lib]ty4 ,i believe 9 ! subjective1 n 9 ! objective p[] ( music1 he said to 8 pupils4 ,objective music may /rike u ) its brilliancy1 b its a*ievem5t rema9s ! h&iwork ( a m$iocre tal5t4 ,m$iocre or m]ely tal5t$ musicians are eag] to produce effects1 b ! ideal ( a g5ius is to reproduce 8 v self1 9 unison ) ! object ( 8 art4 ,!re is no d\bt t art requires te*nique1 b x mu/ be absolutely unconsci\s & individual4444 ,(t5 ! greate/ pieces ( art are r rude te*nically1 b !y grip ! s\l & comm& att5tion = intr9sic values4 ,?is is app>5t 9 ! works ( ,mi*elangelo1 ( ,%akespe>e1 ( ,turg5ieff1 & ( ,moz>t4 ,! beauty t fasc9ates u mo/ is t :i* is mo/ individual4 ,i reg>d te*nique z a necess>y b subs]vi5t elem5t4 ,x may1 h[ev]1 become dang]\s & kill individuality z x has done ) ^? favorites ( our public1 ^: virtuosity ,i despise m ?an m]e crudities4 ,balakireff's actual works are few 9 numb] s9ce he sp5t mo/ ( 8 "t 9 organiz+ s*ools ( music & 9 tea*+ o!rs2 b 9 ^? works :i* we h#cag !re is a /rong note ( fre$om n to be miss$4 ,8 ,symphonic ,poem ,tam>a & 8 fantasy = pian(orte ,islamey are rem>kable = t semi-ori5tal exotic _s s preval5t 9 ,russian music4 ,_m ( 8 songs also are ( g5u9e beauty4 ,footnote #cag3 ,t[>ds ! end ( 8 life he de/roy$ _m ( 8 compositions4 ,borod9 7#ahcd-ahhg7 is ! ne plus ultra example ( t v]satility 9 :i* ! mod]n ,russian ,s*ool is unique4 ,z a surgeon & doctor he enjoy$ a high position2 z a *emi/ he made orig9al rese>*es & wrote treatises :i* 7 recogniz$ z di/9ct contributions to sci5ce2 he 0 "o ( ! e>lie/ s*ol>s 9 ! _w to advocate t wom5 %\ld h ! same education z m5 & 0 "o ( ! f\nd]s 7ab\t #ahgj7 ( a m$ical s*ool = wom5 9 ,petrograd4 ,s tireless 0 he 9 ^! v>i$ activities1 x seems a miracle t he c\ld also become "o ( ! be/ piani/s ( 8 "t 7he play$ well also ! viol9 & ! flute7 & accord+ to ,liszt1#cah "o ( ! mo/ able or*e/ral ma/]s ( ! n9ete5? c5tury4 ,b z evid5ce ( ?is amaz+ fact are 8 works1 compris+ two symphonies 7! second 9 ,b m9or (t5 he>d 9 ?is c\ntry7 two /r+ qu>tets1 ! fir/ /rik+ly orig9al1 !matically1 h>monically & 9 idiomatic use ( ! in/rum5ts2 a small ,suite = pian(orte1 ( :i* ! ,s]5ade is cit$ 9 ! ,supplem5t2 an op]a1 ,le ,pr9ce ,igor--rem>kable = its picturesque description & ,ori5tal color+1 ( :i* ! compos] himself said ,pr9ce ,igor is ess5tially a national op]a1 :i* c be ( int]e/ only to u ,russians :o love to refre% our patriotism at ! s\rces ( our hi/ory & to see ! orig9s ( our nationality live aga9 ^u ! /age2 a symphonic poem ,dans les ,/eppes de l',asie c5trale &--%[+ "s ( 8 mo/ *>act]i/ic "w--! ,p>aphrases writt5 9 collaboration ) ,korsak(f1 ,liad(f & ,cui z a k9d ( musical joke4 ,?is composition1#cai a set ( tw5ty-f\r v>iations f\nd$ on ! tune popul>ly kn[n z *op-/icks is d$icat$ to little piani/s capable ( execut+ ! !me ) a f+] ( ea* h&4 ,= ! p>aphrases !mselves a play] ( consid]able te*nique is requir$4 ,9 ,borod9's /yle we always f9d a gl[+ color-s*eme ( ,slavic & ,ori5tal elem5ts4 ,z a mod]n ,russian compos] says1 ,x is individually descriptive & extremely mod]n--s mod]n t ! audi5ce ( to-day w n be able to grasp all its intr9sic beauties4 ,footnote #cah3 ,= a delightful acc\nt ( ! fri5d%ip ( ^! two compos]s consult ! volume ,borod9 & ,liszt by ,alfr$ ,habets 7translat$ by ,rosa ,newm>*74 ,footnote #cai3 ,accord+ to ,liszt a comp5dium ( musical sci5ce 9 ! =m ( a je/4 ,! mo/ widely kn[n & 9 _m respects ! mo/ gift$ ( ! ,neo-,russian gr\p is ,rimsky-,korsak(f 7#ahdd-aijh74 ,he has be5 aptly *>act]iz$ z ! ,dgas or ,:i/l] ( music1 & = 8 m>vell\s p[]s ( description1 especially ( ! sea1 & = 8 comm& ( or*e/ral tone-pa9t+ he is consid]$ ! /orytell] p> excell5ce 9 mod]n music4 ,z 9 ! case ( ,borod9 we are fill$ ) amazem5t at ! p[] ( "w & ! v]satility 9 ,korsak(f's nature4 ,= _m ye>s he 0 an (fic] 9 ! ,russian navy & ?r\gh\t 8 life 0 involv$ ) (ficial duties4 ,yet he f\nd "t = a numb] ( compositions ( orig9ality & f9i%$ workman%ip4 ,^! comprise ! symphonic poems ,ant>1 ,sadko & ,s*eh]azade2#cbj a ,spani% ,caprice = full or*e/ra2 twelve op]as ( :i* ! be/ kn[n 9 ?is c\ntry is ! fasc9at+ ,le ,coq d',or2 a conc]to = pian(orte & or*e/ra2 a l>ge numb] ( songs & _m *oruses = m5's & wom5's voices4 ,8 treatises on h>mony & or*e/ration are /&>d works1 ! latt] be+ ! au?ority 9 mod]n treatm5t ( ! or*e/ra4 ,8 ,s*eh]azade is und\bt$ly ! mo/ brilliant descriptive "w 9 mod]n lit]ature1 = an acc\nt ( :i* we quote ! eloqu5t words ( ,philip ,hale4 ,footnote #cbj3 ,?is "w 9 /ructure is a ,suite1 i4e41 !re are f\r di/9ct1 sep>at$ movem5ts4 ,s*eh]azade 7,op4 #ce7 is a suite inspir$ by ! ,arabian ,nights4 ,! ,sultan1 p]suad$ ( ! fals5ess & fai?lessness ( woman1 _h sworn to put e "o ( 8 wives to dea? 9 turn aft] ! fir/ night4 ,b ,s*eh]azade sav$ h] life by int]e/+ him 9 ! /ories %e told him = a ?\s& & "o nights4 ,_m m>vels 7 told by h] 9 ,rimsky-,korsak(f's fanta/ic poem1--m>vels & tales ( adv5ture3 ',! ,sea & ,s9bad's ,%ip'2 ',! ,/ory ( ! ,?ree ,kal&>s'2 ',! ,"y ,pr9ce & ! ,"y ,pr9cess'2 ',! ,fe/ival at ,bagdad'2 ',! ,%ip t w5t to pieces aga9/ a rock surm\nt$ by a bronze w>rior4' ,z 9 ,b]lioz's ,fanta/ic ,symphony1 s 9 ?is suite1 !re is a !me :i* keeps appe>+ 9 all f\r movem5ts4 ,= ! mo/ "p x is giv5 to a solo viol94 ,x is a free melodic phrase 9 ,ori5tal bravura1 g5tly end+ 9 a free cad5za4 ,!re is no developm5t ( !mes 9 ?is /range "w4 ,!re is con/ant repetition 9 diff]5t tonalities2 !re is an exce$+ly skillful bl5d+ ( timbres2 !re is a ke5 s5se ( possible or*e/ral effects4 ,a glance at ! score %[s h[ sadly ! p$agogue might g a/ray 9 judgm5t ( ! "w1 )\t a he>+ ( x1 & fur!rmore1 ! imag9ation ( ! he>] mu/ be 9 sympa?y ) ! imag9ation ( ! compos]1 if he w\ld "k full enjoym5t3 = ?is symphonic poem provokes swoon+ ?\ghts1 su* z come to ! p>tak]s ( leaves & fl[]s ( hemp2 !re are ! /upefy+ p]fumes ( *>r$ frank9c5se & grat$ s&al-root4 ,! music comes to ! li/5] ( we/]n bir? & m9d1 z ! ,malay :o knock$ among ,engli% m\nta9s at ,de ,qu9cey's door4 ,y le>n ( ,s9bad1 ! explor]1 :o is ne>] to u ?an ,nans52 ( ! ,kal&> ,pr9ce :o sp5t a mad ev5+ ) ! port] & ! ?ree ladies ( ,bagdad1 & told ( 8 incr$ible adv5tures2 & ,s*eh]azade1 ! n>rator1 %e too is m]ely a %ape 9 a dream2 %e fades away1 & h] s\l dies on ! high note exhal$ by ! wond]+ viol94 ,! melody ( ?is ,russian is wild1 melan*oly1 exotic2 a dron+ su* z falls f ! lips ( :ite-be>d$1 turban$1 v5]able m51 g>rul\s 9 ! sun2 & !n aga91 !re is ! reckless *att] ( ! babbl] 9 ! m>ket-place1 heat$ ) unmix$ w9e4 ,! mo/ boldly individual ( all ,russian compos]s is ,m\ssorgsky#cba 7#ahca-ahha74 ,al?\gh ( int5se inspiration & ( uncompromis+ ideals 8 musical education 0 s incomplete t 8 te*nique 0 inadequate = ! expression ( 8 message4 ,z ! ,fr5* critic1 ,ar?ur ,p\g9 well says1 ,8 works biz>re ?\gh !y be1 =mless z !y (t5 are1 h 9 !m a =ce ( expression & a dramatic acc5t ( :i* no "o c d5y ! int5sity4 ,x w\ld be unju/ to pret5d t he spoke = ! purpose ( say+ no?+2 un=tunately he is too (t5 satisfi$ ) m]ely /amm]+4 ,z ,m\ssorgsky himself says3 ,art is a means ( talk+ ) m52 x is n an end4 ,/>t+ ) ! pr9ciple t human spee* is subject to musical laws1 ,i see 9 music1 n only ! expression ( s5tim5t by means ( s\nd1 b especially ! notation ( a human language4 ,9 fact ! dom9ant idea ( 8 music 0 to br+ x into clos] relation ) actual life4 ,footnote #cba3 ,= biographical in=mation consult ! volume by ,montagu-,na?an4 ,9 ord] to und]/& ,m\ssorgsky's "w & 8 attitude t[>ds art1 x is necess>y to realise ! social conditions "u :i* he liv$4 ,he 0 a true *ild ( ! sixties1 ( t p]iod ( moral & intellectual f]m5t :i* foll[$ ! accession ( ,alex&] ,,ii & ! emancipation ( ! s]fs4 ,( ! little gr\p ( compos]s !n /riv+ to give musical expression to _! newly awak5$ nationality1 none 0 s entirely c>ri$ away by ! lit]>y & political movem5ts ( ! "t z ,m\ssorgsky4 ,e man 0 ask+ himself & 8 comrades ! "q pos$ by ! mo/ popul> novel ( ! day3 ',:at %all we d8' ,! answ] 03 ',?r[ aside social & arti/ic conv5tions4 ,make art ! h&-maid5 ( humanity4 ,seek n = beauty b = tru?4 ,g to ! p4 ,hold out ! h& ( fell[%ip to ! lib]at$ masses & le>n f !m ! true purpose ( life4' ,to ?is democratic & utilit>ian _s1 to ?is deep compassion = ! p1 to ?is contempt = ! d&yism & dilettantism ( an e>li] g5]ation ,m\ssorgsky /rove to give expression 9 8 music1 z ,p]ov express$ x 9 pa9t+1 z ,t*]ni*evsky1 ,do/oyevsky1 & ,tol/oi express$ x 9 fiction4 ,we may disagree ) 8 ae/hetic pr9ciples1 b we mu/ confess t he c>ri$ out ) logical sequ5ce & conviction a consid]able portion ( 8 programme4 ,9 8 s9c]e ef=ts to atta9 great ends he und\bt$ly ov]look$ ! means4 ,he c\ld nev] submit to ! discipl9e ( a ?or\gh musical tra9+ z ,t*aik[sky & ,rimsky-,korsak(f4 ,he pres]v$ 8 orig9ality intact1 b at a heavy co/4 ,! weakness ( 8 te*nique has be5 exagg]at$ by ^? :o put d[n all 8 peculi>ities to ignorance2 b 9 "s respects--p>ticul>ly z reg>ds or*e/ration--8 craftsman%ip 0 c]ta9ly unequal to ! dem&s ( 8 inspiration1 = 8 aims 7 v l(ty4 ,_h ?is be5 o!rwise1 ,m\ssorgsky's "n w\ld h be5 m closely l9k$ ) ^? ( ,b]lioz & ,ri*>d ,/rauss4#cbb ,footnote #cbb3 ,quot$ f ! article 9 ,grove's ,diction>y4 ,8 ackn[l$g$ ma/]pieces are fir/1 ! songs1 especially ! s]ies ! ,nurs]y & ! ,songs & ,dances ( ,dea?1 9 :i* we see mirror$ ) extraord9>y fidelity ! complex nature ( ! ,russian p4 ,rosa ,newm>* has call$ him ! ,juv5al ( musicians4 ,second1 8 national music drama1 ,boris ,god\n(f--deal+ ) "o ( ! mo/ s5sational episodes 9 ,russian hi/ory--:i*1 = ! gripp+ vividness ( its descriptions1 is q unp>allel$4 ,boris ,god\n(f1 f9i%$ 9 #ahgj1 0 p]=m$ f\r ye>s lat] 9 ! ,imp]ial ,op]a ,h\se4 ,! libretto ( ?is op]a he took f ! poetic drama ( ,pu%k91 b he *ang$ x1 elim9at+ mu* & add+ new sc5es "h & !re1 s t z a :ole x is 8 own creation4 ,9 ?is "w ,m\ssorgsky w5t aga9/ ! =eign classic op]a 9 conception z well z 9 con/ruction4 ,x is a typically ,russian music-drama1 ) all ! ri*ness ( ,slavic colors1 true ,byzant9e atmosph]e & *>act]s ( ! m$ieval ages4 ,bas$ on ,russian hi/ory ( ab\t ! middle ( ! sev5te5? c5tury1 :5 an adv5tur\s reg5t asc5ds ! ?rone & :5 ! c\rt is full ( intrigues1 its !me /&s ap>t f all o!r op]as4 ,! music is m or less1 l _m ( ,m\ssorgsky's songs1 writt5 9 imitation ( ! old folk-songs1 folk dances1 c]emonial *ants1 & fe/ival tunes4 ,=eign critics h consid]$ ! op]a z a piece con/ruct$ ( folk melodies4 ,b ?is is n ! case4 ,!re is n a s+le folk melody 9 ,boris ,god\n(f1 e phrase is ! orig9al creation ( ,m\ssorgsky4#cbc ,footnote #cbc3 ,quot$ f ! ,art ( ,music1 ,vol4 ,,iii4 ,9 conclud+ ?is acc\nt ( ,russian music let ! /atem5t be repeat$ t only by a ?or\gh k ( ! life & "* ( ?is /range yet gift$ p c _! music be und]/ood4 ,x is necess>y !re=e to become acqua9t$ ) ,russian lit]ature & pictorial art--) ! works ( ,gogol1 ,tol/oi & ,do/oyevsky & ! pa9t+s ( ,p]ov & ,v]ets*ag94 ,9 ?is way only w be made cle> :at is o!rwise inexplicable--! dep? & s9c]ity ( ! ,russian s\l4 ,! o!r two prom95t national s*ools 9 mod]n times are ! ,bohemian & ,sc&9avian4 ,al?\gh f nei!r ( ^! h we products at all comp>able 9 bread?2 or dep? ( mean+ ) ^? ( ! ,russian s*ool1 yet ea* has its note ( exotic individuality & h5ce des]ves recognition4 ,! ,bohemian ,s*ool c5tres ab\t ! a*ievem5ts ( ,fibi*1 ,smetana#cbd & ,dvovrk1 & its preval5t *>act]i/ics are ! v>iety ( dance rhy?ms 7,bohemia hav+ no less ?an =ty national dances7 toge!r ) ! peculi>ly novel h>monic & modulatory s*eme4 ,! dances be/ kn[n outside ( ,bohemia are ! ,polka#cbe & ! ,furiant2 ! =m] be+ us$ s frequ5tly by ,smetana & ,dvovrk t x has atta9$ an int]national /atus4 ,! fir/ ( ! above gr\p1 ,fibi* 7#ahej-aijj71 0 a compos] ( m>k$ v]satility--!re be+ extant ov] sev5 hundr$ works 9 e =m--& no little orig9ality4 ,_m ( 8 pian(orte pieces h di/9ct *>m & atmosph]e & %\ld be bett] kn[n4 ,fibi* 0 /rongly influ5c$ by ,s*umann1 & !re is f\nd 9 8 music ! same note ( fanta/ic fre$om prom95t 9 ! ,g]man ma/]4 ,b ! fir/ impression ( ,bohemian music ^u ! _w 9 g5]al 0 made by ,smetana 7#ahbd-ahhd74 ,an ard5t foll[] ( ,liszt1 he def9itely succe$$ 9 ! incorporation ( ,bohemian traits ) ! curr5t musical idiom j z ,liszt _h done ) ,hung>ian folk-music4 ,smetana's /yle is ?or\ghly orig9al1 8 =m is free yet coh]5t & he has a color s5se & p[] ( or*e/ral description peculi> to 8 race4 ,bohemia is "o ( ! mo/ picturesque c\ntries 9 ! _w & ! _s ( its woodl&s1 /reams & m\nta9s is always pla9ly felt 9 ,bohemian music4 ,! ,bohemians are an out-(-door p ) an inborn in/9ct = music 7) its basic factors ( rhy?m & s\nd7 by :i* !y express ! vigor\s exub]ance ( _! temp]am5t4#cbf ,smetana's significant "w lies 9 8 num]\s op]as1 8 symphonic poems & 9 ! rem>kable ,/r+ ,qu>tet 9 ,e m9or entitl$ ,aus me9em ,leb54 ,! op]as deal ) subjects s /rongly national t !y c h b little vogue outside _! own c\ntry4 ,h[ev]1 ,prodana ,neve/a--,! ,b>t]$ ,bride--has be5 univ]sally recogniz$ z "o ( ! g5u9e comic op]as 9 mod]n times & its spirit$ ,ov]ture 7! fir/ !me on a fugal basis7 is play$ ! _w ov]4 ,8 six ,symphonic ,poems1 compris$ "u ! title ,me9 ,vat]l&1 are works ( consid]able p[] & brilliant or*e/ral treatm5t4 ,p]haps ! f9e/ sections are ,vltava 7,moldau71 celebrat+ ! beauties ( ,bohemia's sacr$ riv]1 & ,vyvsehrad1 a reali/ic description ( ! national =tress at ,prague4#cbg ,! ,qu>tet 9 ,e m9or1 not$ = its fre$om & intimacy ( /yle1 has become a classic4 ,:5ev] x 0 p]=m$ ,smetana wi%$ ! sub-title ,aus ,me9em ,leb5 to be pr9t$ on ! program2 =1 z he says 9 a lett] to a fri5d1 ,my qu>tet is no m]e juggl+ ) tones2 in/ead ,i h wi%$ to pres5t ! he>] ) pictures ( my life4 ,i h /udi$ !ory2 ,i "k :at /yle means & ,i am ma/] ( x4 ,b ,i pref] to h circum/ances det]m9e =m & s h writt5 ?is qu>tet 9 ! =m :i* x itself dem&$4 ,9 ! fir/ & la/ ( ! f\r movem5ts !re is a long su/a9$ high ,e1 symbolic ( ! buzz+ s\nd :i* ! compos] con/antly he>d z 8 cong5ital deafness increas$4 ,?is malady f9ally affect$ 8 m9d & 0 ! cause ( 8 tragic dea? 9 an asylum at ,prague4 ,footnote #cbd3 ,8 surname is to be acc5t$ on ! fir/ syllable--a fact :i* may be rememb]$ f ! /ory attribut$ to ,liszt :o1 once ask+ ,smetana h[ 8 "n 0 to be pron\nc$ receiv$ ?is reply3 ,my "n is always ,music3 ,ov]ture to ,fidelio ,smtana1 ,smtana1 ,smtana b nev] ,music3 ,ov]ture to ,leonora1 ,no4 #c ,fri$ri* ,smetna ,fri$ri* ,smetna4 ,footnote #cbe3 ,= example 9 ! second movem5t ( ,smetana's ,qu>tet & 9 ,dvovrk's ,suite = small or*e/ra1 op4 #ci4 ,footnote #cbf3 ,= a graphic description ( ! c\ntry & ! cu/oms ( its p consult ! essay on ,dvovrk 9 ,had['s ,/udies 9 ,mod]n ,music4 ,footnote #cbg3 ,a detail$ acc\nt ( ^! works may be f\nd 9 ! article on ,smetana 9 ,fam\s ,compos]s & _! ,works 7#b;d s]ies74 ,al?\gh 9 "s respects n s *>act]i/ic z ,smetana1 ,dvovrk#cbh 7#ahda-aijd71 by reason ( 8 great] bread? & m cosmopolitan /yle1 is consid]$ ! repres5tative ,bohemian compos]4 ,dvovrk's music 9 its simplicity & 9 its spontaneity ( treatm5t is a re9c>nation ( ,s*ub]t's _s2 we feel ! same ov]fl[+ musical life & we mu/ make ! same all[ances = loos5ess ( /ructure4 ,dvovrk1 h[ev]1 has made "o contribution ?or\ghly 8 own--8 skill 9 h&l+ ! or*e/ra4 ,he 0 a born colori/ & 8 scores 9 _! cl>ity1 9 ! subtle di/9ctions betwe5 ri*ness & delicacy1 are recogniz$ ma/]pieces4 ,z a s5su\s delight to ! e> !y may be comp>$ to ! f9e gl[ ( c]ta9 ,dut* canvases--^? = example ( ,v]me]4 ,dvovrk's compositions are v>i$ & fairly num]\s 7"s #aaa opus numb]s7 compris+ op]as1 cantatas1 *amb] music1 symphonies1 ov]tures1 pian(orte pieces & songs4 ,f #ahib to #ahie he 0 9 ?is c\ntry z director ( ! ,national ,cons]vatory 9 ,new ,york4 ,?ree works compos$ dur+ ?is p]iod1 a ,qu>tet1 a ,qu9tet & ,! ,new ,_w ,symphony1 are ( special int]e/ to u s9ce !y 7 meant z a complim5t to ! possibilities ( ,am]ican music & also reflect ,dvovrk's attitude t[>d ! s\rces ( musical inspiration4 ,a true *ild ( ! p1 & ! embodim5t ( folk-music1 he naturally se>*$ = native mat]ial :5 he wi%$ to compose some?+ *>act]i/ically ,am]ican4 ,b folk-music 9 our c\ntry1 z has be5 /at$ 9 ,*apt] ,,ii1 is 7or 0 at ,dvovrk's "t7 practically limit$ to t ( ! ,indians & ! ,negroes4 ,x is (t5 /at$1 9 fact1 t ! ,new ,_w ,symphony is f\nd$ ^u ,negro tunes4 ,?is1 h[ev]1 is a sweep+ ass]tion4 ,!re is no d\bt t ,dvovrk f\nd a /rong aff9ity betwe5 c]ta9 ( ! ,s\!rn plantation melodies & ! songs ( 8 native l&1 e4g41 ! foll[+ melody 7! second !me ( ! fir/ movem5t7 :i* is simil> to ,sw+ l[1 sweet *>iot4 ,music ,footnote #cbh3 ,= 8 biography1 consult ! ,had[ essay 7ref]r$ to above7 & ! *apt] on ,dvovrk 9 ,mason's ,f ,grieg to ,brahms4 ,b ! individual tone ( ! melodies c\ld come only f a ,bohemian & if !y seem bo? ,negro & ,bohemian x simply proves ! common bond exi/+ 9 all folk-music4#cbi ,?is ,new ,_w ,symphony has _h a great vogue & by reason ( ! w>m? ( its melodies & ! ri*1 colorful scor+ is indisputably a "w full ( *>m4#ccj ,two preval5t traits ( ,dvovrk's music are noticeable 9 ?is symphony--! unexpect$ness ( ! modulations & ! unusual h>monic s*eme4#cca ,! /ructure is at times r loose1 p>ticul>ly 9 ! ,f9ale :]e ! jo9ts (t5 crack wide op54 ,b1 z an (fset1 !re is great rhy?mic vitality--obs]ve 9 p>ticul> ! sw+ ( ! ,trio f ! ,s*]zo--& t s5su\s tone-color peculi> to ! compos]4 ,9 fact1 ! scor+ ( ! sl[ movem5t ) its magical !me = ,engli% horn w\ld alone comp5sate = _m /ructural blemi%es4 ,?is movem5t closes ) a my/]i\s *ord = divid$ d\ble basses 7f\r solo in/rum5ts7 :i* is "o ( _m t\*es 9 individual treatm5t4 ,! ,f9ale1 9 accordance ) mod]n practise1 al?\gh conta9+ !mes ( its own1 f9ally becomes a rsum ( prec$+ mat]ial4 ,! two ma9 !mes are /rik+ & well contra/$2 b ,dvovrk 0 a m$iocre ar*itect & ! movem5t1 9 comp>ison ) ! ,f9ales ( ,franck & ,t*aik[sky1 is m ( a potp\rri ?an a firmly knit organic :ole4 ,! f9al page is /imulat+ 9 its bold use ( dissonances4 ,b we mu/ take ,dvovrk z he is4 ,!re is no "q ( 8 g5ius1 = 8 music is spontane\s1 nev] labor$1 & he has express$ ) conv9c+ arti/ic skill ! emotions & ideals ( 8 gift$ race4 ,footnote #cbi3 ,! au?or has he>d ?is symphony play$ 9 ,prague & o!r cont95tal cities "u ,bohemian conductors4 ,x is always welcom$ z be+ ?or\ghly *>act]i/ic ( ,bohemia4 ,footnote #ccj3 ,= detail$ analytical comm5t consult ,vol4 ,,iii ( ,%ort ,/udies 9 ,great ,ma/]pieces by ,d4,g4 ,mason4 ,footnote #cca3 ,note = example ! *ords at ! op5+ ( ! sl[ movem5t4 ,sc&9avian music1 e?nologically consid]$1 w\ld comprise t ( ! ?ree relat$ nations1 ! ,sw$es1 ! ,danes & ! ,norwegians2 "s w\ld include ev5 ! ,f9ns1 ) _! eloqu5t spokesman ,sibelius4 ,al?\gh ! ,danes h consid]able folk-music1 & z a p love music1 !y h produc$ no compos] ( di/9ction save ,niels ,gade 7#ahag-ahij71 :o 0 s encru/$ ) ,g]man habits ( ?\ght t 8 music is nei!r "o ?+ or ! o!r--c]ta9ly x is n *>act]i/ically ,dani%4 ,! be/ kn[n ( ! ,sw$i% compos]s is ,sjgr5 f :om we h "s poetic songs4 ,he also attempt$ ! l>g] in/rum5tal =ms b )\t notable success4 ,sc&9avian music1 z f> z ! outside _w is conc]n$1 practically c5tres ab\t ! ,norwegian compos] ,grieg#ccb 7#ahdc-aijg7 j z its dramatic art c5tres ab\t ,ibs54 ,! names1 h[ev]1 ( f\r o!r ,norwegian compos]s des]ve m5tion3 ! pione]s ,kj]ulf 7#ahae-ahfh7 not$ = 8 melodi\s songs2 ,sv5ds5 7#ahdj-aiaa7 end[$ ) a f9e s5se = or*e/ral color2 & ,nordraak 7#ahdb-ahff7 ! fir/ self-consci\s repres5tative ( ! ,norwegian _s3 a tal5t$ musician :o ex]t$ a m>k$ influ5ce ^u ,grieg--8 promise cut %ort by an e>ly dea?4 ,9 mod]n times ! mantle ( ,grieg has fall5 ^u ,s9d+ 7#ahef-/ill liv+7 ^: songs & poetic pieces = ! pian(orte h become h\sehold favorites4 ,9 ,norwegian music we f9d ! exub]ant rhy?mic vitality typical ( a p liv+ 9 ! bold & highly color$ sc5]y ( t sun-lit l&4#ccc ,grieg1 a born lyric poet saturat$ ) folk-music1 has embodi$ ?is _s 9 8 works4 ,8 fame re/s ^u 8 songs & descriptive pian(orte pieces2 ?\gh 9 8 ,pian(orte ,conc]to1 9 8 ,pe] ,gynt ,suite1 9 ! ,viol9 ,sonatas & ,/r+ ,qu>tet he prov$ t he 0 n lack+ 9 p[] to h&le l>g] =ms4 ,b mo/ ( 8 "w is 9 m9iature--! expression1 l ! music ( ,s*ub]t & ,*op91#ccd ( moods %ort & int5se4 ,:ile ,grieg's music is patt]n$ ^u ,norwegian folk-dances & folk-melodies x is some?+ f> m4 ,he has evok$ f ! *>act]i/ics ( 8 native l& a bold1 orig9al h>mony & a p[] ( color & description ?or\ghly 8 own4 ,he might say ) de ,musset ,mon v]re n'e/ pas gr&1 mais je bois dans mon v]re4 ,9 8 music we feel ! sp>kl+ sun%9e & ! breezes ( ! ,nor?4 ,9 fact1 ,grieg 0 ! fir/ popul> impressioni/ & = 8 influ5ce 9 humaniz+ music & free+ x f academic r\t9e 8 fame w endure4 ,we h cit$ 9 ! ,supplem5t 7,nos4 #fh1 #fi7 "o ( 8 mo/ orig9al songs--! melody ( :i* 0 us$ also = ! "w ,im ,frhl+ = /r+ or*e/ra--& a pian(orte piece :i* illu/rates 8 rhy?mic life & also 9 c]ta9 measures t melodic l9e typical ( all ,norwegian music3 ! desc5t f ! lead+ tone1 i4e41 ,g1 ,f-%>p1 ,d4 ,footnote #ccb3 ,! be/ biography 9 ,engli% is t by ,h4,t4 ,f9ck2 ! "w1 h[ev]1 is some:at m>r$ by fulsome praise4 ,footnote #ccc3 ,dur+ ! summ] sol/ice x is d>k = only a few h\rs2 & fur!r nor?1 9 ! l&1 s-call$1 ( ! ,midnight ,sun1 = a few weeks !re is p]petual daylight4 ,footnote #ccd3 ,he 0 call$ by ,bl[ ! ,*op9 ( ! ,nor?4 ,= a complete appreciation !re=e ( national music1 we mu/ always take into consid]ation ! traits & environm5t ( ! p f :i* x sprung4 ,music1 to be sure1 is a univ]sal language1 b ea* nation has us$ ?is language 9 its own way4 ,! mo/ /rik+ fact 9 pres5t-day music is ! v>iety ga9$ f a free expression ( nationalism#cce )\t infr++ ^u univ]sality ( appeal4 ,footnote #cce3 ,an admirable treatm5t ( ! :ole subject may be f\nd 9 ,vol4 ,,iii ( ,! ,art ( ,music4 ,,*apt] ,,xx ,,! ,,v>i$ ,,t5d5cies ,,( ,,mod]n ,,music ,mod]n music--broadly speak+1 music s9ce ! beg9n+ ( ! tw5tie? c5tury--is c]ta9ly manife/+ ! *>act]i/ics :i* ! prec$+ survey has %[n to be inh]5t 9 its nature3 t is1 x has gr[n by a c\rse ( free exp]im5tation1 x is ! y\nge/ ( ! arts1 & x is a human language z well z a f9e art4 ,h5ce we f9d t mod]n compos]s are mak+ d>+ exp]im5ts 9 dissonance1 9 rhy?mic v>iety1 9 subtle bl5ds ( color &1 above all1 9 ! treatm5t ( ! or*e/ra4 ,9 comp>ison ) a*ievem5ts 9 ! o!r arts music (t5 seems 9 its infancy2 be+ limit$ by no practical or utilit>ian consid]ations1 & employ+ ! b\ndless possibilities ( s\nd & rhy?m1 !re is s mu* /ill be=e x4 ,! tru? conta9$ 9 ! say+1 t music is ! y\nge/ z well z ! olde/ ( ! arts1 becomes m app>5t ye> by ye>2 = al?\gh a "w :i* orig9ally _h imag9ative life c nev] die1 yet _m =m] works h pass$ out ( recognition simply because !y h be5 sup]s$$ by m inspir$ ones1 compos$ s9ce _! day4 ,we c no long] li/5 ) :ole-he>t$ en?usiasm to _m ( ! old] symphonies1 songs & pian(orte pieces1 because ,brahms1 ,franck1 ,debussy & d',indy h giv5 u bett] ones4 ,^! exp]im5ts1 j ref]r$ to1 h be5 p>ticul>ly notable on ! "p ( two compos]s ( ! neo-,russian gr\p1 ,/rav9sky & ,scryab94 ,/rav9sky1#ccf 9 8 brilliant pantomime ballets1 ,l',oiseau du ,feu1 ,petr\%ka1 & ,le ,sacre du ,pr9temps1 has prov$ inconte/ably t he is a g5ius--x be+ ( ! ess5ce ( g5ius to create some?+ absolutely new4 ,^! works1 9 _! expressive melody1 h>monic orig9ality & picturesque or*e/ration1 h wid5$ ! b\nds ( musical *>act]ization4 ,scryab9#ccg 7#ahga-aiae7 is not$ = 8 esot]ic h>monic s*eme1 %[n 9 a s]ies ( pian(orte preludes1 sonatas &1 above all1 9 8 or*e/ral works1 ! ,div9e ,poem1 ! ,poem ( ,ec/acy & ,prome!us or ,poem ( ,fire4 ,! effect ( ,scryab9's h>monies is "o ( great p[]1 &1 z previ\sly said ( ,debussy 9 8 e>li] days1 8 imag9ation has und\bt$ly he>d s\nds hi!rto unrealiz$4 ,! s5sational /yle ( ,prome!us is augm5t$ by ! use ( a color ma*9e :i* fla%es ^u a scre5 hues suppos$ to supplem5t ! v>i\s moods ( ! music4 ,h[ _m ( ^! exp]im5ts w be incorporat$ into ! accept$ idiom ( music1 "t alone w tell2 b !y prove conclusively t mod]n music is ?or\ghly awake & is prov+ true to t _s ( fre$om :i* is ! brea? ( its be+4 ,footnote #ccf3 ,= a detail$ acc\nt ( 8 life & works consult ! essay 9 ,contempor>y ,russian ,compos]s by ,montagu-,na?an & ,vol4 ,,iii ( ,! ,art ( ,music4 ,footnote #ccg3 ,= a compreh5sive e/imate ( 8 /yle & a*ievem5ts ! foll[+ works w prove useful3 ! ,biography1 by ,eaglefield ,hull2 ! ,essay1 by ,montagu-,na?an 9 ! volume ref]r$ to1 & an article by ,w4,h4 ,had[ 9 ! ,musical ,qu>t]ly = ,jan4 #aiae4 ,music is1 fur!rmore1 n only a f9e art 9 :i* h work$ & are work+ "s ( ! be/ intellects ( our race1 b is inevitably becom+ a univ]sal language4 ,we see ?is cle>ly 9 ! rapid gr[? ( music among peoples & nations :i*1 comp>atively a %ort "t ago1 7 ?\ght to be q outside ! pale ( mod]n arti/ic developm5t4 ,no long] is music conf9$ exclusively to ! ,italians1 ,fr5* & ,g]mans4 ,a national spokesman = ! ,f9ns is ! gift$ ,sibelius1 ! compos] ( five symphonies1 sev]al ,symphonic poems1 num]\s songs & pian(orte pieces2 8 second ,symphony 9 ,e m9or be+ a "w ( haunt+ beauty1 & ! ,f\r? not$ = its bold use ( ! dissonant elem5t4 ,! ,r\manians h come to ! =e 9 ,enesco1 :o has writt5 sev]al *>act]i/ic works = or*e/ra4 ,! ,spani>ds are endeavor+ to re/ore _! =m] glories--= we mu/ n =get t1 9 pa/ c5turies1 ! ,spani% compos]s ,morales & ,vittoria rank$ ) ! great pa9t]s :i* t nation has produc$4 ,?ree ,spani% compos]s1 inde$1 are wor?y ( di/9ct recognition3 ,alb5iz = 8 pian(orte pieces1 tangos1 malaguez1 etc41 9 :i* !re is su* a fasc9at+ treatm5t ( national dance rhy?ms2 ,granados1#cch ) sev]al op]as to 8 cr$it1 & ,lap>ra1 ! compos] ( a fanta/ic suite rec5tly play$ by ! ,bo/on ,symphony ,or*e/ra4 ,spani% rhy?ms1 melodies & local color h be5 frequ5tly incorporat$ 9 ! works ( o!r compos]s1 e4g41 by ,bizet 9 ,c>m51 by ,debussy 9 ,ibria1 & 9 ! pian(orte piece ,soire dans ,granade1 by ,*abri] 9 ,espaa1 by ,lalo 9 sev]al works1 & by ! ,russians1 ,gl9ka & ,rimsky-,korsak(f1 9 brilliant or*e/ral works4 ,! ,spani% influ5ce1#cci 9 fact1 may be call$ "o ( ! mo/ pot5t 9 mod]n music4 ,footnote #cch3 ,:o lo/ 8 life on ! ,sussex :5 x 0 torp$o$ by ! ,g]mans4 ,footnote #cci3 ,= a compreh5sive acc\nt1 hi/orical & critical1 ( ?is influ5ce consult ! volume by ,c>l ,van ,ve*t5 ,! ,music ( ,spa94 ,al?\gh !re is no d\bt ( ! /rong musical in/9ct inh]5t 9 ! ,hung>ians--witness ! preval5ce ( ,hung>ian rhy?ms 9 ,s*ub]t1 ,liszt1 ,brahms & o!rs--_! c\ntry has always be5 s torn ) political diss5sions t ! lack ( a national arti/ic culture is n to be wond]$ at4 ,rec5tly h[ev] ?ree ,hung>ian compos]s1 ,dohnnyi1 ,moor & ,bla ,b>tok1 h produc$ works embody+ racial t5d5cies & yet ( su* significant cont5t & s\nd workman%ip z to attract ! att5tion ( ! _w outside4 ,italy1 also1 is awak5+ f a long sleep1 & !re is n[ a gr\p ( "y m5 repres5t+ ,new ,italy 7( :om ,malipi]o & ,casella are ! be/ kn[n7 :i* %\ld accompli% results wor?y ( ! glori\s musical traditions ( t c\ntry4 ,engl& is %ak+ (f h] subs]vi5cy#cdj to ! influ5ce ( ,h&el & ,m5delssohn1 & at la/ has made a promis+ />t t[>d ! a*ievem5t ( works :i* %all rank ) h] glories 9 poetry1 9 fiction & 9 pa9t+4 ,among ! old] gr\p we h su* names z ,sullivan1 ) 8 inimitable s]ies ( op]as1 ! ,mikado1 ,gondoli]s1 ,iolan!1 etc42 ,p>ry1 ) "s notable *oral works1 & ,/an=d--a mo/ v]satile man--,iri% by bir?1 & ) ! humor & spontaneity natural to 8 race2 8 ,iri% ,symphony & 8 op]a ,%amus ,o',bri5 w\ld give lu/re to any p]iod4 ,! only g5ius ( ! fir/ rank h[ev] :i* ,engl& has produc$ s9ce ! days ( ,purcell is ,edw>d ,elg> 7#aheg-/ill liv+74 ,practically self-educat$ & sp5d+ 8 e>ly life 9 8 native c\ntry he escap$ ! influ5ces ( ,g]man tra9+ :i* s dead5$ ! ef=ts ( =m] compos]s1 su* z ,pi]son & ,b5nett4 ,elg>'s music is ?or\ghly ,engli% 9 its /urdy vigor#cda & :olesome emotion4 ,) some?+ fir/-h& to say he has acquir$ su* a te*nique 9 musical expression t 8 compositions rank 9 workman%ip ) ^? ( ! great cont95tal ma/]s4 ,9 8 use ( ! mod]n or*e/ra ,elg> ne$ be consid]$ second to none4 ,8 ov]tures ,9 ! ,s\? & ,cockaigne1 8 two ,symphonies & 8 ,enigma ,v>iations are univ]sally ackn[l$g$ to be models ( ri*ly-color$ & v>i$ scor+4 ,al?\gh 8 music is ,engli% x is nev] p>o*ial b has t note ( univ]sal import always f\nd 9 ! "w ( a real g5ius4 ,among ! y\ng] m5 !re are ,wallace1 bo? compos] & writ] on musical subjects 78 ,?re%old ( music be+ p>ticul>ly /imulat+71 ,holbrook1 ,vaughan ,williams1 ,rog] ,quilt]1 ,ar?ur ,h9ton1 ,balf\r ,g>d9] & ,john ,irel&1 a compos] ( g5u9e individuality1 z is evid5t f 8 ,viol9 ,sonata 9 ,d ,m9or4 ,footnote #cdj3 ,"s pi?y rem>ks on ! habitual ,engli% attitude t[>d music may be f\nd 9 ! hi/ory ( ,/an=d & ,=sy?1 page #cac1 seq4 ,footnote #cda3 ,see = example ! broad !me 9 ! middle portion ( ! ,m>*1 ,pomp & ,circum/ance4 ,ev5 su* outly+ p>ts ( ! _w z ,au/ralia & ,s\? ,am]ica h contribut$ executive arti/s ( great ability ?\gh1 to our k1 z yet no compos]4 ,:at1 n[1 9 ?is connection c be said ( ,am]ica8 ,?is mu* at lea/3 :5 we consid] t1 beyond ! mo/ rudim5t>y attempts1 music 9 our l& is n yet a c5tury old1 a />t has be5 made :i* promises great ?+s4 ,su* pione]s z ,pa9e1 ,*adwick1 ,mac,dowell1 ,foote1 ,p>k]1 ,osgood1 ,:it+ & ,mrs4 ,h4,h4,a4 ,bea* h writt5 works1 (t5 9 ! l>g] =ms1 %[+ g5u9e inspiration & f9e workman%ip1 _m ( :i* h won p]man5t recognition outside ( _! own c\ntry4 ,( late ye>s a y\ng] gr\p has aris51 ! *ief memb]s#cdb ( :i* are ,conv]se1 ,c>p5t]1 ,gilb]t1 ,hadley1 ,hill1 ,mason1 ,a!rton1 ,/anley ,smi?1 ,brockway1 ,blair ,fair*ild1 ,heilman1 ,%eph]d1 ,clapp1 ,john ,p[ell1 ,m>g>et ,ru?v5 ,lang1 ,g5a ,branscombe & ,mabel ,daniels4 ,^! compos]s all h /rong natural gifts1 h be5 broadly educat$1 &1 above all1 9 _! music is reflect$ a fre$om1 a humor & an individuality :i* may fairly be call$ ,am]ican2 t is1 x is n music :i* slavi%ly foll[s ! made-9-,g]many model4#cdc ,! compos] ( greate/ g5ius & scope 9 ,am]ica is und\bt$ly ,*>les ,m>t9 ,loeffl]2 b1 al?\gh he has become a loyal ,am]ican1 & al?\gh 8 be/ works h be5 compos$ 9 ?is c\ntry1 we c h>dly claim him z an ,am]ican compos]1 = 8 music vividly reflects ,fr5* ta/e & ideals4 ,8 inspir$ works--9 p>ticul> ,la ,mort de ,t9tagiles1 ,! ,pagan ,poem & a ,symphony 79 "o movem5t7--are ( peculi> importance = _! connection ) works ( lit]ature & = consummate p[] 9 or*e/ration4 ,n ev5 ,debussy has express$ m subtly ! tragic _s ( ,maet]l9ck ?an has ,loeffl] 9 ,la ,mort de ,t9tagiles2 & ,! ,pagan ,poem1 f\nd$ on an ,eclogue ( ,virgil portrays mo/ eloqu5tly ! romance ( ^? pa/oral days4 ,loeffl]'s late/ "w1 a ,/r+ ,qu>tet#cdd d$icat$ to ! memory ( ,victor ,*apman1 ! ,h>v>d aviator1 is rem>kable = ! he>t-felt beauty ( its !mes & = advanc$ te*nique 9 treat+ ! f\r solo in/rum5ts4 ,footnote #cdb3 ,?is valuation ( ,am]ican compos]s is made solely on ! basis ( publi%$ compositions4 ,footnote #cdc3 ,= additional comm5ts on ?is po9t see an article by ! au?or 9 ! ,musical ,qu>t]ly = ,janu>y1 #aiah4 ,footnote #cdd3 ,p]=m$ rec5tly sev]al times by ! ,flonzaley ,qu>tet4 ,let u n[ indulge 9 a few clos+ rem>ks ( advice to ! "y /ud5t fac$ ) all ?is p]plex+ novelty4 ,our /udies %\ld h made pla9 two def9ite facts3 fir/1 t ! real message ( music is conta9$ 9 its melody--t "p ( ! fabric :i* we c c>ry ) u & s+ to ourselves4 ,h>mony & color are factors closely involv$ ) melodic inspiration1 b _! impression is m fleet+2 & 9 g5]al1 no "w lack+ 9 melody1 h[ev] colorful or fill$ ) d>+ h>monic effects1 c long endure4 ,b we mu/ be judici\s & fair 9 e/imat+ exactly :at con/itutes a real melody4 ,! g5ius is always ahead ( 8 "t2 if he ?\ght j z o!r m51 he w\ld be no g5ius4 ,new types ( melody are cont9ually be+ work$ out2 all we c say is t ! creative compos] he>s s\nds 9 8 imag9ation1 ! result ( 8 emotional & spiritual exp]i5ces & ( 8 sympa?y ) ! _w4 ,he recreates ^! s\nds 9 t]ms ( notation1 hop+ t1 z !y mean s mu* to him1 !y may be a delight & inspiration to 8 fell[m54 ,if en\gh p l ^! works = a long en\gh "t1 !y are2 t is1 !y live--no matt] h[ mu* !y diff] f a priori /&>ds z to :at music %\ld be4 ,! second fact conc]ns ! /ructure ( music2 t is1 ! way 9 :i* ! ?\ght is pres5t$4 ,we h se5 t music always has a c>efully plann$ ar*itecture--t be+ necess>y by reason ( ! indef9it5ess ( ! mat]ial4 ,b let u always rememb] t )\t ab&on+ ! fundam5tal pr9ciples ( all organic life1 =m may be--& %\ld be--free & ela/ic4 ,e "w :i* lives reveals a p]fect balance betwe5 ! emotional & imag9ative factors & _! logical pres5tation4 ,if we are puzzl$ by ! /ructure ( a new "w ! assumption %\ld be1 n t x is =mless b t1 :5 we "k ! "w1 x w be se5 to employ simply a new use ( old & accept$ pr9ciples2 = ! works analyz$ mu/ h conv9c$ u t ! pr9ciples ( unity1 contra/1 balance & symmetry are et]nal2 &1 h[ev] modifi$1 c nev] be ab&on$4 ,! normal imag9ation mu/ express itself logically1 & c no m put =? incoh]5t works ?an ! human body w\ld give bir? to mis%ap5 (fspr+4 ,musical compositions1 :i* aft] /udy prove to be incoh]5t1 diffuse & flabby1 are to be consid]$ exceptional & n wor? condemn+2 !y are only to be piti$4 ,! *ief aim ( ! music-lov] %\ld be to become an intellig5t & en?usia/ic appreciator ( ! great works already compos$1 & to tra9 himself lib]ally = ! welcome ( new works4 ,t[>ds su* an end we hope t ?is book may (f] a helpful contribution4 ,index ,a ,academic ,ov]ture ( ,brahms1 #bcc4 ,aeolian mode1 #bd4 ,aes*ylus1 comp>$ ) ,brahms1 #bci4 ,alb5iz1 pian(orte pieces1 #cbg4 answ] 7to a fugue71 #db4 ,ap?orp1 ,w4,f41 comm5ts on ,brahms1 #bch2 eulogy on ,brahms's ,fir/ ,symphony1 #bdf2 comm5ts on ,i/>1 #bhc4 arabesque1 #hc4 ,ari/ophanes1 8 humor comp>$ ) ,bee?ov5's1 #aej4 ,arnold1 ,mat!w1 l9es on ,byron apropos ( ,b]lioz1 #bjc2 /anza applicable to ,brahms1 #bcc2 def9ition ( /yle1 #bcd4 ,a!rton1 ,p]cy ,lee1 #cbi4 ,aub]1 #bee4 augm5tation1 def9ition (1 #dd4 ,b ,babbitt1 ,irv+1 book on ,romanticism1 #afa2 ,! ,new ,laocon1 #bjg4 ,ba*1 ,emmanuel1 use ( two !mes1 #ic2 contributions to ! ,sonata-=m1 #ajj4 ,ba*1 ,j4,s41 ,well-temp]$ ,clavi*ord1 #bc2 *oral 7,phrygian mode71 #be2 polyphonic /yle1 #cd2 ,goldb]g ,v>iations1 #cg2 celebrat$ organ fugues1 #da2 analysis ( ,fugue 9 ,e-flat major1 #db-dc4 ,bagatelles1 ( ,bee?ov51 #aff4 ,balakireff1 works & features ( /yle1 #cae-caf4 ,bald5sp]g]1 ,f41 eulogy ( ,franck1 #beh4 ,ballet music to ,prome!us1 #adj4 ,balzac1 comm5t on ,*op91 #ahi4 ,b>c>olle1 ( ,*op91 color effect !re91 #aic2 analysis (1 #bjj-bja4 ,b>t]$ ,bride ,ov]ture1 #aba1 #cbb4 basso o/9ato1 #hf4 ,baudelaire1 #bic4 ,bea*1 ,mrs41 ,m5uet ,itali51 #gh1 #cbi4 ,bee?ov51 #b1 #e1 #h3 motive ( ,fif? ,symphony1 #ab2 ,wald/e9 ,sonata1 #ae2 ,/r+ ,qu>tet 7,lydian mode71 #bf2 fugal passages 9 symphonies1 #da2 s5t5ces f sonatas1 #eh-fa2 ,egmont ,ov]ture1 #gg2 ,rondo ,capriccio1 #hb2 sets ( ,v>iations1 #hh2 biography1 #abb-abf2 love ( ,nature1 #abe2 features ( /yle1 #abf-abi2 developm5t ( ! ,sonata-=m1 #abf-abg2 treatm5t ( ! ,coda1 #abg2 v>iety ( rhy?m1 #abg-abh2 use ( dissonances1 #abh2 humor1 #abh-abi2 developm5t ( ,program music1 #abi2 developm5t ( v>i$ air1 #abi2 *>act]ization ( ! ,symphonies1 #acj-acb2 e/imate ( ! ,pian(orte ,sonatas1 #adj2 piani/ic effect 9 ,sonatas1 #ade2 z a programmi/ic compos]1 #aec-aed2 quality ( !mes1 #aef2 dramatic use ( s+le notes1 #aef-aeg2 !me ( ,n9? ,symphony comp>$ ) !me f ,brahms's ,fir/ ,symphony1 #bdg4 ,bla ,b>tok1 #cbh4 ,b]lioz1 quotation f ,grotesques de la ,musique1 #ba2 canon 9 ,c>naval ,roma9 ,ov]ture1 #cg2 comm5t on ,trio ( ,fif? ,symphony1 #aej2 biography1 #bjb-bje2 names ( 8 ,p>isian fri5ds1 #bjd2 features ( /yle1 #bje-bjf2 ,fanta/ic ,symphony1 analysis (1 #bjg-baa2 ,c>naval ,roma9 ,ov]ture1 analysis (1 #baa-bab2 ,damnation ( ,fau/1 in/rum5tal numb]s f1 #bac-bad2 ,h>old 9 ,italy ,symphony1 analysis (1 #bad-bae2 ,romeo & ,juliet ,symphony1 comm5ts on1 #bae-baf4 ,bie1 ,osc>1 #gd2 on ! /yle ( ,c\p]9 & ,rameau1 #aeb4 ,bizet1 ,l',arlsi5ne ,suites1 #hj4 ,bohemian ,s*ool1 #cbj-cba4 ,boieldieu1 comm5t on ,bee?ov51 #acd1 #bee4 bol]o1 #ge4 ,boris ,god\n(f1 description (1 #cbj4 ,borod91 works & features ( /yle1 #caf-cag4 ,bos*ot1 "w1 9 ?ree p>ts1 on ,b]lioz1 #bjg4 b\rre1 #ge4 ,brahms1 ,fir/ ,symphony1 #h1 #ad1 #ba1 #dd2 modal expression 9 works1 #bc2 ,f\r? ,symphony 7,phrygian mode71 #be2 canonic /yle1 #cf2 ,c m9or ,trio1 #fg2 sets ( v>iations1 #hh2 biography1 #bca-bcc2 features ( /yle1 #bcc-bch2 analysis ( ,fir/ ,symphony1 #bci-bdi2 ( ,viol9 ,sonata1 #bej-beb2 ( ,g m9or ,ballade = ,pian(orte1 #beb-bec2 attitude t[>d program music1 #bec2 ! nature ( 8 ,int]mezzi1 #bec2 ( ! ,capriccios1 #bec2 8 ,rhapsodies1 #bed2 analysis ( song ,me9e ,liebe i/ grn1 #bed2 o!r songs1 #bee4 branle 7brawl71 #ge4 ,branscombe1 ,g5a1 #cbi4 ,br5et1 ,m41 ,life ( ,haydn1 #ajd4 ,brockway1 ,h41 on ,am]ican folk-songs1 #cc1 #cbi4 ,br[n+1 #a2 quotation apropos ( ! fugue1 #di2 quotations apropos ( ! ,fif? ,symphony1 #adf1 #aej4 ,bruckn]1 movem5t f ,sev5? ,symphony1 #bca4 ,bruneau1 ,hi/ory ( ,russian ,music1 #cad4 ,bull1 ,john1 #gi1 #he4 ,bl[1 ,sonatas ( ,e4 ,ba*1 #ajj2 comm5t on ,grieg1 #cbe4 ,burney1 on ! #ah? ,c5tury1 #ajc4 ,buxtehude1 #cd4 ,byrd1 ,william1 #ab1 #gi1 #he4 ,byron1 influ5ce on ,s*umann's /yle1 #agg4 ,c ,c m9or ,symphony 7,bee?ov571 analysis (1 #ade-aea4 ,c m9or ,symphony 7,brahms71 analysis (1 #bci-bdi4 cad5ces1 #ee-eg4 ,calvacoressi1 on dom9ant relation%ip1 #eb4 canon1 #aa2 acc\nt (1 #cf-cg4 canzona1 #fi4 ,c>naval ,roma9 ,ov]ture1 analysis (1 #baa-bab4 ,c>p5t]1 ,john ,ald51 ,adv5tures 9 a ,p]ambulator1 #hj1 #cbi4 ,casella1 #cbh4 ,casse-,noisette ,suite1 #hj4 ,cell9i1 ,b5v5uto1 comp>$ ) ,b]lioz1 #bjb2 op]a by ,b]lioz1 #baa4 ,*abri]1 ,b\rre ,fantasque1 #hj1 #big2 ,espaa1 #hj1 #big2 ,ov]ture to ,gw5dol9e1 #ii1 #big2 acc\nt ( /yle1 #big4 *aconne1 #hf2 ,ba*'s = viol9 solo1 #hg4 ,*adwick1 ,canonic ,/udies1 #cf2 fugal passage 9 ,vagrom ,ballad1 #da1 #cbi4 ,*amisso1 texts = ,s*umann's songs1 #agj4 ,*antavo9e1 ,life ( ,bee?ov51 #aei4 ,*>p5ti]1 ,impressions ( ,italy1 #hj4 ,*ausson1 ,erne/1 acc\nt ( /yle1 #bih4 ,*avannes1 ,puvis de1 comp>$ ) ,franck1 #beh4 ,*op91 type ( melody1 #aj1 #ba2 ,sonata 9 ,c m9or1 #fg2 biography & features ( /yle1 #ahh-ahi2 analysis ( ,prelude 9 ,c major1 #aih2 tude 9 ,a-flat major1 #aii2 ,mazurka 9 ,f-%>p m9or1 #aii2 analysis ( ,polonaise 9 ,e-flat m9or1 #bjj2 ( ,b>c>olle1 #bjj-bja2 ( ,s*]zo 9 ,c-%>p m9or1 #bja4 *romatic *anges1 #ea4 ,clapp1 ,p4,g41 #dh1 #cbi4 coda1 def9ition & examples (1 #ii4 color1 9 diff]5t keys1 #ea4 ,comb>ieu1 ,jules1 #b4 ,conv]se1 ,f4,s41 ,dramatic ,poem1 ,job 7,phrygian mode71 #bf2 ,/r+ ,qu>tet1 #ii1 #cbi4 ,corelli1 #gj1 #gd4 ,coriolanus ,ov]ture1 analysis (1 #aeb-aef4 c\nt]po9t1 def9ition (1 #aa4 c\nt]-subject 7( a fugue71 #db4 ,c\p]91 #gj1 #gd1 #ha1 #he2 descriptive pieces1 #aeb1 #bee4 c\rante 7corr5te71 #ge4 ,croatian ,folk-songs 79 ,haydn71 #aja-ajb4 csrds1 #gf4 ,d ,d major ,sonata ( ,bee?ov51 analysis (1 #adj-ade4 ,d ,m9or ,symphony ( ,s*umann1 #agi-ahd4 d',alb]t1 ,suite = ,pian(orte1 #gh4 ,damnation ( ,fau/1 in/rum5tal numb]s f1 #bac-bad4 ,daniels1 ,mabel1 #cbi4 ,dannreu!r1 eulogy on ,bee?ov51 #aei2 comm5t on ,b]lioz's c\nt]po9t1 #bji4 ,d>gomijsky1 use ( :ole-tone scale1 #bhi4 ,debussy1 modal expression 9 works1 #bc1 #bhh-bhi2 ,pellz et ,mlis&e 7,dorian mode71 #bd2 comm5ts ^u1 #bid2 ,m9/rels 7cad5ce 971 #ee-ef2 ,s>ab&e = pian(orte1 #gg2 comm5t on developm5t1 #ig2 comp>$ ) ,m5delssohn1 #ahe2 apropos ( new music1 #bjd2 features ( /yle1 #bhg-big2 :ole-tone scale1 #bhi-bij2 titles ( pian(orte pieces1 #bib-bic2 on 8 pian(orte /yle1 #bie-bif4 de ,musset1 quotation apropos ( ,grieg1 #cbe4 deceptive cad5ce1 #ef4 ,d5t1 ,e4,j41 ,moz>t's ,op]as1 #aab4 ,de ,pa*man1 play+ ( ,m5delssohn's pieces1 #ahe4 ,de ,qu9cey1 quotation f ! ,dream ,fugue1 #di4 ,deuts*es ,requiem1 #bcc4 developm5t section ( ,sonata-=m1 #ic-id1 #ig-ih4 ,dick9son1 ,edw>d1 e/imate ( ,haydn1 #aja4 dim9ution1 def9ition (1 #dd4 d',indy1 modal expression 9 works1 #bc2 canonic /yle1 #cf2 ,symphonic ,v>iations1 ,i/>1 #fg2 comm5ts on ! ,sonata-=m1 #ie1 #ajj2 comm5t on ,bee?ov5's ,sev5? ,symphony1 #aca2 comm5t on ,sonata ,pa?tique1 #adb2 comm5ts on ,d major ,sonata1 #ade2 comm5ts on ,fif? ,symphony1 #ade2 ,life ( ,bee?ov51 #aei2 comm5ts on ,franck's !mes1 #bfh2 biography & features ( /yle1 #bhj-bhb2 ,i/>1 analysis (1 #bhc-bhg4 dissonance1 discord1 di/9ction betwe5 t]ms1 #adc4 ,dohnnyi1 #cbh4 ,dom9ant1 ac\/ical & h>monic importance (1 #bb-bc1 #eb4 ,don ,giovanni1 #aaa1 #aai4 ,don ,juan1 #he4 ,don ,quixote1 #hi4 ,dorian mode1 #bd4 ,do/oyevsky1 #cad1 #cai1 #cbj4 ,d\mic1 ,r51 essay on ,george ,s&1 #ahi4 ,d[l&1 ,john1 8 ,pavans1 #hj4 ,dup>c1 ,h5ri1 acc\nt ( 8 /yle1 #bih4 ,dvovrk1 ,new ,_w ,symphony1 #i1 #ba2 modal expression 9 works1 #bc2 ,new ,_w ,symphony 7,aeolian mode71 #bf2 ,suite = ,or*e/ra1 #gi2 works & features ( /yle1 #cbb-cbd4 ,e ,ei*5dorff1 texts = ,s*umann's songs1 #agf4 ,eigh? ,symphony ( ,bee?ov51 ,f9ale1 #aeg4 ,elg>1 ,edw>d1 works & features ( /yle1 #cbh-cbi4 ,ellis1 ,w4,a41 translation ( ,wagn]'s ,essays1 #aed4 ,enesco1 #cbg4 enh>monic1 modulation1 #eb-ec4 episode1 def9ition (1 #ci-dj4 exposition ( ,sonata-=m1 #if4 ext5d$ cad5ces1 #fb-fc4 ,f ,f major ,sonata ( ,moz>t1 analysis (1 #aac-aae4 ,fair*ild1 ,blair1 #cbi4 ,fanta/ic ,symphony1 analysis (1 #bjg-baa2 quotation f1 #bjg-bji4 ,f>well1 ,ar?ur1 on folk-music1 #cc4 ,faur1 ,gabriel1 acc\nt ( /yle1 #big-bih4 ,fau/ ,symphony1 analysis (1 #bbc-bbf4 ,fay1 ,amy1 acc\nt ( ,liszt1 #bag4 fem99e end+1 #eg4 ,fibi*1 #cba4 ,f9ck1 ,h4,t41 ,songs & ,song ,writ]s1 #bfe2 ,*op9 & ,o!r ,essays1 #aih2 comm5ts on ,program ,music1 #bbf2 biography ( ,grieg1 #cbd4 ,fitzwilliam ,virg9al ,book1 #gi1 #aeb4 five-b> rhy?m1 #fc-fd4 ,flonzaley ,qu>tet1 #aje4 folk-songs1 pr9ciple ( re/atem5t 91 #af2 orig9 & importance (1 #ai-cc4 ,foote1 ,ar?ur1 fugal ,f9ale to ,suite1 #da1 #cbi4 ,=sy?1 ,cecil1 eulogy ( ,m5delssohn1 #ahe4 ,francesca da ,rim9i1 #aed4 ,franck1 ,symphony1 #h1 #ae2 polyphonic /ructure1 #ac2 canonic /yle1 #cf2 canon 9 ,symphony1 #cg2 9 ,viol9 ,sonata1 #cg2 ,fugue 9 ,b m9or = ,pian(orte1 #da2 comp>ison ( 8 scor+ ) t ( ,s*umann1 #aha2 limitations ( 8 pian(orte /yle1 #aij2 8 fusion ( movem5ts comp>$ ) t ( ,brahms1 #bea2 biography1 #bef-beg2 features ( /yle1 #beg-beh2 analysis ( ,d m9or ,symphony1 #bei-bfh2 ( ,sonata = ,viol91 #bfh-bgd2 use ( g5]ative !mes1 #bfh2 ,symphonic ,v>iations1 #bgd-bhj2 comp>ison ( 8 /yle ) t ( ,ba* & ,bee?ov51 #bgd2 8 gr\p ( pupils1 #bhj4 ,fr5* folk-song1 #bi4 ,fr5* ,ov]ture1 #aai4 ,frescobaldi1 #cd4 ,fri$lnd]1 ,max1 apropos ( ,*abri]1 #bha4 fugue1 #aa2 def9ition (1 #ci4 ,full]-,maitl&1 life ( ,brahms1 #bch4 furiant1 #ge1 #cba4 ,g ,g major ,pian(orte ,conc]to ( ,bee?ov51 #aeb-aeh4 ,g m9or ,symphony1 analysis (1 #aae-aai4 ,gade1 ,neils1 #cbd4 galli>d1 #ge1 #hj4 ,galuppi1 z a pione] 9 ,sonata-=m1 #ic4 ,g>d9]1 ,balf\r1 #cbi4 ,gauti]1 ,?ophile1 eulogy ( ,b]lioz1 #bjg4 gavotte1 #ge2 acc\nt (1 & examples1 #gh-gi4 ,gilb]t1 ,h4,f41 on folk-songs1 #bj1 #cc1 #cbi4 ,gilman1 ,lawr5ce1 essay on ,b]lioz1 #bad2 comm5ts on ,i/>1 #bhc2 essay on ,debussy1 #bic2 comm5ts on ,pellz el ,mlis&e1 #big4 ,gl9ka1 #cja1 #cae4 ,gluck1 ,ballet music1 #hg2 ,op]atic ,ov]tures1 #aai4 ,goe!1 eulogy on ,moz>t1 #aab4 ,gogol1 #cad1 #cbj4 ,gosse1 ,edmund1 comm5t on ,mall>m's eclogue1 #bic4 ,gossec1 z a pione] 9 ,sonata-=m1 #ic4 ,granados1 ,spani% folk-dance1 #afg2 works1 #cbg4 ,gregorian ,*ant1 #aj4 ,gregorian modes 9 folk-songs1 #bj4 ,grtry1 comm5ts on ,sonata-=m1 #ih1 #bee4 ,grieg1 #ba2 ,canon = ,pian(orte1 #cg2 ,pe] ,gynt ,suite1 #hj2 ,holb]g ,suite1 #hj2 works & features ( /yle1 #cbd-cbe4 gr\nd bass1 #hf2 f ,ba*'s ,mass1 #hf4 ,grove1 ,bee?ov5 & 8 ,n9e ,symphonies1 #acj4 ,grove's ,diction>y1 #gj1 #gc1 #gi1 #ha1 #hf1 #ajd1 #aai1 #aed1 #afa1 #agb1 #bjj1 #bag1 #bch4 ,guilmant1 ,m>* 9 ,dorian ,mode1 #bd2 ,canon = ,organ1 #cf4 ,gurney1 ,! ,p[] ( ,s\nd1 #b4 ,h habaera1 #gf4 ,habets1 ,alfr$1 acc\nt ( ,borod9 & ,liszt1 #caf4 ,hadley1 ,h5ry1 #cbi4 ,had[1 ,w4,h41 #gb1 #ha1 #ib1 #if2 ,/udies 9 ,mod]n ,music1 #ahd1 #aih1 #bjg1 #bch2 essay on ,dvovrk1 #cba2 article on ,scryab91 #cbf4 ,hale1 ,philip1 comm5ts on ,sa9t-,sans1 #bef2 comm5ts on ,lalo1 #bef2 essay on ,moz>t1 #aab2 comm5ts on ,s*eh]azade1 #cag-cah4 hall+1 #gf4 ,h&el1 fugue f ! ,messiah1 #da2 ,h>psi*ord ,lessons1 #gd2 ,air 9 ,s>ab&e rhy?m1 #gg2 ,h>moni\s ,blacksmi?1 #hf2 ,ov]ture to ,messiah1 #aai4 ,h>monic ,s]ies1 #ea4 ,h>old 9 ,italy ,symphony1 analysis (1 #bad-bae4 ,haydn1 #ba1 #ha1 #hg2 ance/ry1 #aja2 features ( /yle1 #aja-aje2 8 fre$om ( rhy?m1 #ajb2 developm5t ( ! ,/r+-,qu>tet & ! ,or*e/ra1 #ajb-ajc2 ,sonata 9 ,e-,flat major1 #aje-ajf2 ,surprise ,symphony1 #ajf-ajh2 comm5t on ,m9uet1 #add2 ,prelude to ! ,creation1 #aeb4 ,hazlitt1 comm5t on ,moz>t1 #aaa4 ,hebrides ,ov]ture ( ,m5delssohn1 #ahe4 ,heilman1 ,william ,c41 #cbi4 ,he9e1 texts = songs ( ,s*ub]t & ,s*umann1 #agf2 comm5t on ,b]lioz's music1 #bje4 ,helmholtz1 #aic1 #bia4 ,h5d]son1 ,w4,j41 ,preludes & ,/udies1 #ahd4 ,h5s*el1 vocal canon1 #cg2 conv]sation ) ,brahms1 #bcc4 ,h]oic ,symphony1 analysis (1 #acb-adj4 ,hrold1 #bee4 ,hill1 ,edw>d ,burl+ame1 ,/ev5soniana1 #hj2 comm5ts on ,sa9t-,sans1 #bef2 essay on d',indy1 #bha1 #cbi4 ,h9ton1 ,ar?ur1 #cbi4 ,h(fman1 ,e4,t4,a41 ,essay on ,fif? ,symphony1 #aea4 ,holb]g ,suite1 #hj4 ,holbrook1 #cbi4 ,holms1 ,augu/a1 #bhj4 homophonic1 #aj4 hornpipe1 #ge4 ,hull1 ,eaglefield1 ,biography ( ,scryab91 #cbf4 ,hunek]1 ,life ( ,*op91 #aih2 on ! play+ ( ,*op91 #aii2 comm5t on ,*op9's ,s*]zo1 #bja2 ,life ( ,liszt1 #bag2 comm5t on ,liszt's ,songs1 #bbj2 essay on ,brahms1 #bch2 essay on ,t*aik[sky1 #cjf4 ,hung>ian folk-song1 #cj1 #cbh4 ,hung>ian ,rhapsodies1 #bbg4 ,hung>ian rhy?ms 9 ,s*ub]t1 ,liszt & ,brahms1 #cj2 9 ,s*ub]t's ,symphonies1 #aff2 9 ,brahms's ,fir/ ,symphony1 #bdd4 ,i ,impromptus ( ,s*ub]t1 #afe-aff4 ,indian ,suite1 #hj4 inv5tion1 #aa4 ,inv5tion 9 ,c major1 analysis (1 #ch-hi4 inv]sion1 def9ition (1 #dc-dd4 ,ionian mode1 #bd4 ,irel&1 ,john1 #cbi4 ,iri% ,folk-song1 #bi1 #ce4 ,i/>1 ,symphonic ,poem ( d',indy1 z example ( a v>i$ air1 #hi2 analysis (1 #bhc-bhg4 ,italian ,ov]ture1 #aai4 ,j ,jadassohn1 ,canonic ,pieces1 #cg4 ,james1 ,h5ry1 essay on ,george ,s&1 #ahi4 ,jannequ91 descriptive pieces = voices1 #aeb4 jota 7aragonesa71 #gf4 ,k ,kais] ,qu>tet1 #hg4 ,keats1 quotation apropos ( ,fif? ,symphony1 #adh2 quotation f1 #afc4 ,kelly1 ,e4,s41 ,*op9 ! ,compos]1 #aih4 ,kelly1 ,mi*ael1 ,rem9isc5ces ( ,moz>t1 #aab4 ,k+ ,le>1 quotation f by ,b]lioz1 #bjg4 ,kj]ulf1 #cbd4 ,korbay1 ,f41 ,hung>ian ,melodies1 #cj4 ,krehbiel1 essay on ,haydn1 #ajc2 ,! ,pian(orte & its ,music1 #aeb4 ,kreisl]iana1 #hc4 ,kuhnau1 ,bible ,sonatas1 #aeb4 ,l ,lalo1 ,edu>d1 works & features ( /yle1 #bef4 ,laloy1 ,l\is1 ,life ( ,*op91 #aih2 essay on ,debussy1 #bid4 ,lap>ra1 #cbg4 ,l'appr5ti ,sorci]1 #aed4 ,l'aprs-midi d'un ,faune1 #aed1 #bic-bid4 ,lavoix1 e/imate ( ! ,fif? ,symphony1 #abg4 ,leg\v1 ,recollections ( ,b]lioz1 #bje4 ,lekeu1 #beg4 ,l'ide fixe1 #bjg-baj4 ,liebi*1 ,mrs41 essay on ,debussy1 #bid4 ,liszt1 #d1 #ba2 *>act]ization ( ,s*ub]t1 #afd2 ,fau/ ,symphony 7!me 9 augm5tation71 #de2 ,life ( ,*op91 #aih2 biography1 #bag-bah2 features ( /yle1 #bah-bai2 analysis ( ,symphonic ,poem1 ,orpheus1 #bba-bbb2 ( ,fau/ ,symphony1 #bbc-bbf2 pian(orte compositions1 #bbf-bbg2 alleg$ influ5ce on ,brahms1 #bcb2 use ( :ole-tone scale1 #bhi4 ,locke1 ,a4,w41 article 9 ,musical ,qu>t]ly1 #aea4 ,loeffl]1 ,*>les ,m>t91 works & features ( /yle1 #cbi-ccj4 ,lonesome ,tunes1 #cc4 l\re1 #ge2 example (1 f ,ba*1 #gi4 ,l[ell1 ,j4,r41 def9ition ( a classic1 #afa4 ,lully1 #gj1 #aai4 ,lydian mode1 #bd4 ,m ,mac,cunn1 ,hami%1 ,scotti% ,melodies1 #bh4 ,mac,dowell1 ,rigaudon1 #gi2 ,indian ,suite1 #hj1 #cbi4 madrigal1 #fi4 ,maet]l9ck1 comp>$ ) ,franck1 #beg2 comm5t on ! 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,art ( ,music1 #i1 #af1 #ba1 #fi1 #gj2 *oral works1 #cbh4 ,passacaglia1 #hf2 ( ,brahms1 #hf2 ( ,ba* = organ1 #hg4 passepi$1 #ge4 ,pat]1 ,walt]1 rem>k on ,romanticism1 #afa4 pavane1 #ge2 example f ,ravel1 #gi4 p$als ( ! pian(orte1 ! damp] & ! una corda1 #aib-aie4 ,pe] ,gynt ,suite1 #hj4 p]iod1 def9ition (1 #ej4 ,prot91 #cd4 ,p]ry1 ,baxt]1 #ij4 ,phaton1 #bef4 ,philidor1 #bee4 ,phrygian cad5ce1 #bd-be4 ,phrygian mode1 #bc2 ,brahms's use (1 #bci4 pian(orte1 !1 acc\nt ( its *>act]i/ics1 #ahi-aie4 plagal cad5ce1 #ee4 polka1 #ge1 #cba4 polonaise1 #ge4 polyphonic1 #aj4 polyphonic music1 complete acc\nt (1 #cc-di4 ,poire1 ,eli1 ,life ( ,*op91 #aih4 ,pope1 apropos ( ! jig1 #hj4 ,p\g91 ,ar?ur1 comm5ts on ,m\ssorgsky1 #cah-cai4 ,p[ell1 ,john1 #cbi4 ,pratt1 ,hi/ory ( ,music1 #aj1 #ic1 #aei1 #afa4 prelude 7to ,sonata-=m71 #ii4 ,prix de ,rome1 won by ,b]lioz1 #bje2 by ,debussy1 #bhh4 ,pr\t1 #he4 ,pucc9i1 fugal prelude to ,madama ,butt]fly1 #da4 ,purcell1 #gj2 8 ,jig1 #ga4 ,pu%k91 #cad4 ,q ,quilt]1 ,rog]1 #cbi4 ,r ,rabelais1 8 humor comp>$ ) ,bee?ov5's1 #aej1 #aeg4 ,rameau1 ac\/ical re=ms (1 #bc1 #gj1 #gd1 #ha1 #he2 descriptive pieces1 #aeb1 #bee4 ,ravel1 ,daphnis & ,*loe1 #fh2 8 ,pavane1 #gi2 ,"m ,goose ,suite1 #ha2 works & acc\nt ( /yle1 #bii-cjj4 recapitulation 7or rsum71 #ih-ii4 ,re9ecke1 ,canonic ,vocal ,trios1 #cg4 ,rem5yi1 ,brahms's t\r )1 #bcb4 repetition1 importance (1 #ab1 #ac2 types (1 #ad-ah4 ,rhe9b]g]1 ,canonic ,pieces1 #hg2 ,t>antelle = ,pian(orte1 #gi4 rhy?mic v>iety 7five & sev5 beats a measure71 #ff-fh4 ,ri*t]1 ,jean ,paul1 influ5ce on ,s*umann1 #agb4 ,riemann1 #ic4 rigaudon1 #ge2 examples (1 f ,grieg1 ,rameau & ,mac,dowell1 #gi1 #ha4 ,rimsky-,korsak(f1 works & features ( /yle1 #cag4 ,roi d',ys1 ,le1 #bef4 ,roll&1 ,roma91 acc\nt ( ,bee?ov5 9 ,jean ,*ri/ophe1 #abe2 ,life ( ,bee?ov51 #aei2 essay on ,b]lioz1 #bjg4 ,romanticism & ,romantic ,s*ool1 acc\nt (1 #afj-afe4 ,romeo & ,juliet ,symphony1 comm5ts on1 #bae-baf4 rondo1 acc\nt (1 #ha-he4 rondo-sonata =m1 #add4 ,rop>tz1 #beg2 *>act]ization ( a !me 9 ,franck's ,symphony1 #bff4 ,rossetti1 ,bless$ ,damozel1 set by ,debussy1 #bhh4 ,ross9i1 cresc5do 9 ,ov]tures1 #fb2 eulogy ( ,moz>t1 #aba4 ,r\et d',omphale1 ,le1 #bef4 r\nd1 #aa2 ,old ,engli% ,r\nds1 #ab4 rubato 7tempo71 def9ition (1 #aii4 ,rub9/e91 movem5ts 9 ,ocean ,symphony1 #ie2 e/imate ( ,moz>t1 #aaa2 *>act]ization ( ! damp] p$al1 #aia4 ,runciman1 quotation apropos ( ,web] f ,old ,scores & ,new ,read+s1 #afi-agj4 ,russian folk-songs1 #cj-cc4 ,russian music1 g5]al t5d5cies (1 #cad-cae4 ,s ,sa9t-,sans1 #a1 #b2 comm5t on ,b]lioz's ,romeo & ,juliet ,symphony1 #baf2 acc\nt ( works & /yle1 #bee-bef4 ,sakuntala1 #aed4 salt>ello1 #ge2 ,b]lioz's use ( ! rhy?m1 #baa4 ,samm>t9i1 z a pione] 9 ,sonata-=m1 #ic4 ,santayana1 #e4 s>ab&e1 #ge1 #gf1 #gg4 ,sc&9avian ,music1 #cbd4 ,sc>latti1 ,aless&ro1 ,aria da capo1 #ad2 op]atic ov]ture1 #aai4 ,sc>latti1 ,d41 ! ,cat-,fugue1 #dh2 z virtuoso1 #gd2 anticipation ( ,sonata-=m1 #ic2 ,c\rante = pian(orte1 #gi2 cross+ ( h&s 9 ,bee?ov51 #ada1 #add4 ,s*umann1 #g2 motive f ! ,c>naval1 #ac2 f ! ,k9d]sc551 #ac2 ,arabesque1 #ad3 say+ ab\t folk-songs1 #bj2 ,canon = organ1 #cf2 ,canonic ,v>iations1 #cg2 ,c>naval1 #fh2 ,phantasie/cke1 #fh2 8 use ( ! ,rondo1 #hb-hc2 ,v>iations1 #hh2 comm5t on ,s*ub]t1 #aff2 biography & features ( /yle1 #agb-agd2 analysis ( ,des ,ab5ds1 #agd-age2 ( ,w>um1 #age-agf2 ( ,novellette 9 ,e major1 #agf2 ( ,song1 ,mondna*t1 #agf-agg2 ( ,manfr$ ,ov]ture1 #agg-agi2 *>act]ization ( ! f\r ,symphonies1 #agi2 ,symphony 9 ,d m9or1 analysis (1 #agi-ahd2 eulogy ( ,brahms 9 ! ,neue ,zeits*rift1 #bcb4 ,s*ola ,cantorum1 acc\nt (1 #bhb4 ,scotti% folk-tune1 #bh4 ,scryab91 z h>monic innovator1 #adc2 works & features ( /yle1 #cbg4 seguidilla1 #gf1 #gi4 s5t5ce1 complete analysis (1 #ec1 #ed4 sequ5ce1 def9ition (1 #ch4 ,s*eh]azade ,suite1 #ha4 s*]zo1 ( ,bee?ov51 #abh-abi4 ,s*mitt1 ,flor5t1 #bhj4 ,s*ub]t1 #ba2 ,v>iations1 #hh2 acc\nt ( /yle & works1 #afb-afi2 "* ( songs1 #afe2 symphonic /yle1 #aff2 *amb] music1 #aff2 pian(orte /yle1 #afg2 z great colori/1 #afg-afh2 analysis ( ,unf9i%$ ,symphony1 #afg-afi4 sev5-b> rhy?m1 #ff4 ,%akespe>e1 #a2 apropos ( ! galli>d1 #hj4 ,%>p1 ,cecil1 ,engli% ,folk-,song1 #bg2 on ,am]ican folk-songs1 #cc4 ,%eph]d1 ,ar?ur1 #cbi4 ,%$lock1 ,j4,s41 #ic1 #ajj4 %ift$ rhy?m1 #df4 ,sibelius1 features ( 8 /yle1 #bcj1 #cbd1 #cbg4 siciliano1 #gf4 ,s9d+1 #cbe4 ,s9igaglia1 ,ov]ture1 #ii4 ,sjgr51 #cbd4 ,smetana1 ,b>t]$ ,bride ,ov]ture1 #dj1 #aba2 works & features ( /yle1 #cba-cbb4 ,smi?1 ,/anley1 #cbi4 ,smi?son1 ,h5rietta1 h] life ) ,b]lioz1 #bjd-bje4 sonata & sonata-=m1 di/9ction betwe51 #id-ie4 sonata-=m1 acc\nt ( #ia-ajj2 tabul> view1 #ajj4 ,song ( ,de/9y1 ,brahms1 #bcc4 ,songs )\t ,words1 ,m5delssohn1 #ahe4 ,spani% music1 its influ5ce 9 mod]n times1 #cbg-cbh4 ,spitta1 essay on ,brahms1 #bch4 ,/amitz1 ,j41 influ5ce on ,sonata-=m1 #ic4 ,/an=d1 ,villi]s1 ,iri% folk-songs1 #bi2 features ( /yle1 #cbh4 ,/an=d-,=sy? hi/ory1 #aba1 #cbh4 ,/5dhal1 rem>k on ,romanticism1 #afa4 ,/ev5soniana1 #hj4 ,/rauss1 ,r41 motive f ,till's ,m]ry ,pranks1 #ah2 ,don ,juan1 #he2 ,till ,eul5spiegel1 #he2 e/imate ( ,moz>t1 #aaa4 ,/rav9sky1 z h>monic innovator1 #adc2 works & features ( /yle1 #cbf-cbg4 ,/reatfield1 essay on ,t*aik[sky1 #cjf4 /retto1 #df4 /r+-qu>tet1 def9ition (1 #id4 subdom9ant1 ac\/ical & h>monic importance1 #bb-bc1 #eb4 subject 7( a fugue71 #db-dc4 suite1 ! classical1 #gc-hj2 ! mod]n1 #hj-ha4 ,suites1 ,fr5* & ,engli%1 #gd4 ,sullivan1 ,ar?ur1 op]as1 #cbh4 ,sum] is icum5 9 7,ionian mode7 #bg4 ,surette1 ,t4,w41 comm5ts on ,ba*'s /yle1 #dh1 #gb2 ,developm5t ( ,symphonic ,music1 #aei4 ,surprise ,symphony1 analysis (1 #ajf-ajh4 ,sv5ds51 #cbd4 ,sweel9ck1 #cd4 ,symonds1 ,ar?ur1 ,/udies 9 ! ,sev5 ,arts1 #aei4 ,symphonic tudes1 #hh4 symphonic poem1 def9ition (1 #adi1 #bbj4 symphonic /yle1 developm5t (1 #bbh-bca4 ,t ,tallys1 ,?omas1 vocal canon1 #cg4 tamb\r91 #ga4 tango1 #gf4 t>antella1 #ge4 ,taylor1 ,bay>d1 translation ( /anza f ,fau/1 #bbe4 ,t*aik[sky1 ,mode/e1 biography ( 8 bro!r1 #cjf4 ,t*aik[sky1 ,p41 ,fif? ,symphony1 #h1 #ba2 analysis (1 #cjf-cad2 modal expression 9 works1 #bc2 ,leg5d 7,aeolian mode71 #bf2 ,f\r? ,symphony1 f9ale (1 #cc2 analysis (1 #cje2 ,six? ,symphony1 #fg2 analysis (1 #cje-cjf2 ,qu>tet 9 ,f major1 #fg-fh2 v>iations f ,trio1 #hi2 e/imate ( ,moz>t1 #aaa1 #aba2 biography1 #cjb-cjc2 features ( /yle1 #cjc-cje4 ,?ack]ay1 ,w4,m41 *>act]ization ( ,b]lioz1 #bjd4 ,?ay]1 ,alex&]1 ,life ( ,bee?ov51 #aei4 !matic developm5t1 #cd4 ?ree-b> rhy?m1 #fe-ff4 ?ree-"p =m1 complete acc\nt (1 #gb-gc2 examples (1 #gc4 ,ti]sot1 ,j41 on folk-melodies1 #ba2 ,*ansons ,populaires1 #cj2 "w on ,b]lioz1 #bjg4 ,till ,eul5spiegel1 #he4 ,tol/oi1 #cae1 #cai1 #cbj4 tonality1 pr9ciples (1 #ej-ea4 tonic1 ac\/ical & h>monic importance (1 #bb-bc4 ,tragic ,ov]ture1 ,brahms1 #bcc4 trans=mation ( !me1 its use 9 ,s*umann1 #ahb4 ,turg5ieff1 #cae4 two-"p =m1 def9ition (1 #ch2 complete acc\nt (1 #fi-gb4 ,v ,van ,ve*t51 book on ,spani% music1 #cbh4 v>iation =m1 acc\nt (1 #he-ia4 ,v>iations1 9 ,f m9or ( ,haydn1 #hg2 on ,dea? & ! 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