But it is not so clear which of them
constitute the true text. The multiplicity of tunes and motives is
amazing.
Of the Wagner influence with which Bruckner is said to be charged,
little is perceptible in his second symphony. On the contrary, a strong
academic tradition pervades. The themes are peculiarly symphonic.
Moreover they show so strikingly the dual quality that one might say, as
a man may see double, Bruckner sang double. Processes of augmenting and
inverting abound, together with the themal song in the bass. Yet there
is not the sense of overloaded learning. There is everywhere a clear and
melodious polyphony.
But with all masterly architecture, even enchanting changes of harmony
and a prodigal play of melody, the vacuity of poetic ideas must preclude
a permanent appeal. Bruckner is here the schoolmaster: his symphony is a
splendid skeleton, an object lesson for the future poet.
In the FOURTH (ROMANTIC) SYMPHONY the main light plays throughout on the
wind. The text is a call of horns, that begins the work. It is a
symphony
[Music: _In tranquil motion_
(Horns, _espressivo_)
(Strings)]
of wood-notes, where the forest-horn is sovereign,--awakening a widening
world of echoes, with a murmuring maze of lesser notes. One has again
the feeling that in the quiet interweaving of a tapestry of strains lies
the individual quality of the composer,--that the _forte_ blasts, the
stride of big unison figures are but the interlude.
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