This insensibly
leads to the figure of the fanfare, whence the earlier song returns
with the great joyous march.
The final height of climax is distinguished by a stentorian, fugal blast
of the theme in the bass, the higher breaking in on the lower, while
other voices are raging on the quicker phrases. It is brought to a
dramatic halt by the original prelude of trumpet legend, in all its
fulness. Though the march-song recurs, the close is in the ruder humor
of the main themes.
_THE "MANFRED" SYMPHONY_
Schumann and Tschaikowsky are the two most eminent composers who gave
tonal utterance to the sombre romance of Byron's dramatic poem.[A] It is
interesting to remember that Byron expressly demanded the assistance of
music for the work. If we wish to catch the exact effect that is sought
in the original conception, Schumann's setting is the nearest approach.
It is still debated whether a scenic representation is more impressive,
or a simple reading, reinforced by the music.
[Footnote A: Prefixed are the familiar lines:
"There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy."]
Tschaikowsky's setting is a "symphony in four pictures, or scenes (_en
quatre tableaux_), after Byron's dramatic poem." In the general design
and spirit there is much of the feeling of Berlioz's "Fantastic"
Symphony, though the manner of the music shows no resemblance whatever.
There is much more likeness to Liszt's "Faust" Symphony, in that the
pervading recurrence of themes suggests symbolic labels.
Pages:
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111