In
further verse it doubles its sweet burden in overlapping voices, while
far below still moves the rapid trip.
But the motto will return, in major to be sure, and tempered in mercy.
And the whole hymn dominates, with mere interludes of tripping motion,
breaking at the height into double pace of concluding strain. Before
falling back into the thrall of the legend the furious race rushes
eagerly into the deepest note of bliss, where in sonorous bass rolls the
broad, tranquil song. And though the revel must languish, yet we attend
the refrain of all the melodies in crowning rapture. Then at last, in
stern minor, sounds the motto, still with the continuing motion, in a
loud and long chant.
In blended conclusion of the contending moods comes a final verse of the
legend in major, with full accoutrement of sounds and lesser rhythm, in
majestic pace. And there is a following frolic with a verse of the
serene song. The end is in the first Allegro theme of the symphony, in
transfigured major tone.
We must be clear at least of the poet's intent. In the Fifth Symphony
Tschaikowsky sang a brave song of struggle with Fate.
CHAPTER XI
THE NEO-RUSSIANS
For some mystic reason nowhere in modern music is the symphony so
justified as in Russia. Elsewhere it survives by the vitality of its
tradition. In France we have seen a series of works distinguished rather
by consummate refinement than by strength of intrinsic content.
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