Later a
single note of the trumpet is answered by a silvery laugh in the wood.
Between the verses proceeds the luscious chain of harmonies, as with the
turning of the wheel.
Now with the heavily expressive tones of low, unmuted strings and the
sonorous basses of reed and brass (together with a low roll of drum and
soft clash of cymbals) an heroic air sings in low strings and brass, to
meet at each period a shower of notes from the harp. The song grows
intense with the
[Music: (Wood and _trem._ violins doubled above)
(Horns)
_espress. e pesante_
(Cellos, basses, bassoons and trombone, doubled below)]
added clang of trumpets and roll of drums,--only to succumb to the more
eager attack of the siren chorus. At last the full effort of strength
battling vainly with weakness reaches a single heroic height and sinks
away with dull throbs.
In soothing answer falls the caressing song of the high reed in the
phrase of the heroic strain, lightly, quickly and, it seems, mockingly
aimed. In gently railing triumph returns the pretty song of the wheel,
with a new buoyant spring. Drums and martial brass yield to the laughing
flutes, the cooing horns and the soft rippling harp with murmuring
strings, to return like captives in the train at the height of the
gaiety.
CHAPTER VII
CESAR FRANCK
The new French school of symphony that broke upon the world in the
latter part of the nineteenth century had its pioneer and true leader in
Cesar Franck.
Pages:
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70