Prev | Current Page 89 | Next

Goepp, Philip H., 1864-1936

"Symphonies and Their Meaning; Third Series, Modern Symphonies"


The remaining instruments are: Piccolo, 2 flutes, 2 oboes, 2 clarinets,
bass-clarinet, 3 bassoons, contra-bassoon (or contra-bass sarrusophon);
4 horns, 2 trumpets (often muted); 2 cornets-a-pistons; 3 trombones; 3
kettle-drums; harp; glockenspiel; big drum, cymbals and triangle.]
After a mystic descent of eerie chords, a melodious cooing phrase begins
in higher wood, echoed from one voice to the other, while the
spirit-notes are still sounding.
Suddenly dashes a stream of descending spray, met by another ascending;
in the midst the first phrase is rapidly sounded (in muted trumpet). As
suddenly the first solemn moment has returned, the phrase has grown in
melody, while uncanny harmonies prevail. Amidst a new feverish rush a
call rings
[Music: (Wood and _pizz._ strings)
_Vivace_
(Horns and trumpets)]
loud and oft (in trumpets and horns) ending in an insistent, furious
summons. The silence that ensues is as speaking (or in its way as
deafening) as were the calls.
After what seems like the grating of ancient joints, set in reluctant
motion, the whole tune of the first wooing phrase moves in steady gait,
in comic bassoons, to the tripping of strings, further and fuller
extended as other voices join. The beginning phrase of chords recurs as
answer. Ever the lumbering trip continues, with strange turn of harmony
and color, followed ever by the weird answer. A fuller apparition comes
with the loud, though muffled tones of the trumpets.


Pages:
77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101