The natural division of the Hungarian dance, with
the sad _Lassu_ and the glad _Friss_, is here clear in order and
recurrence. The Magyar seems to the manner born in both parts of the
melody.[A]
[Footnote A: A common Oriental element in Hungarian and Venetian music
has been observed. See Kretschmar's note to Liszt's "Tasso" (Breitkopf &
Haertel).]
In the accents of the motive of cadence (_Lento_) we feel the secret
grief of the hero, that turns _Allegro strepitoso_, in quicker pace to
fierce revolt.
In full tragic majesty the noble theme enters, in panoply of woe. In the
further flow, as in the beginning, is a brief chromatic strain and a
sigh of descending tone that do not lie in the obvious song, that are
drawn by the subjective poet from the latent fibre. Here is the modern
Liszt, of rapture and anguish, in manner and in mood that proved so
potent a model with a later generation.[A]
[Footnote A: See note in the final chapter of Volume II.]
The verse ends in a prolonged threnody, then turns to a firm, serenely
grave burst of the song in major, _Meno Adagio_, with just a hint of
martial grandeur. For once, or the nonce, we seem to see the hero-poet
acclaimed. In a middle episode the motive of the cadence sings
expressively with delicate harmonies, rising to full-blown exaltation.
We may see here an actual brief celebration, such as Tasso did receive
on entering Ferrara.
And here is a sudden fanciful turn.
Pages:
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52