Later, the whole motion ceases, "the horse sinks
and dies," and now an interlude sings a pure plaint (in the strain of
the main motive). Then, _Allegro_, the martial note clangs in stirring
trumpet and breaks into formal song of war, _Allegro marziale_.
[Music: (Brass and strings)
_Allegro marziale_
(With lower 8ve.)]
In the wake of this song, with a relentless trip and tramp of warrior
hordes, is the real clash and jingle of the battle, where the sparkling
thrill of strings and the saucy counter theme are strong elements in the
stirring beauty.
There is a touch here of the old Goth, or rather the Hun, nearer akin to
the composer's race.
At the height rings out the main tune of yore, transformed in triumphant
majesty.
The musical design embraces various phases. First is the clear rhythmic
sense of the ride. We think of other instances like Schubert's
"Erl-King" or the ghostly ride in Raff's "Lenore" Symphony.
The degree of vivid description must vary, not only with the composer,
but with the hearer. The greatest masters have yielded to the variety of
the actual graphic touch. And, too, there are always interpreters who
find it, even if it was never intended. Thus it is common to hear at the
very beginning of the "Mazeppa" music the cry that goes up as starts the
flight.
We are of course entitled, if we prefer, to feel the poetry rather than
the picture. Finally it is probably true that such a poetic design is
not marred merely because there is here or there a trick of
onomatopoeia; if it is permitted in poetry, why not in music? It may be
no more than a spur to the fancy, a quick conjuring of the association.
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