In the Andante the charm is less of tune than of the delicate changing
shades of the harmony and of the colors of tone. We are ever surprised
in the gentlest way by a turn of chord or by the mere entrance of a horn
among the whispering strings. The shock of a soft modulation may be as
sudden as of the loud, sudden blare. But we cannot somehow be consoled
for the want of a heart-felt melody.
The Scherzo is a kind of hunting-piece, full of the sparkle, the color
and romance of bugles and horns,--a spirited fanfare broken by hushed
phrases of strings or wood, or an elf-like mystic dance on the softened
call of trumpets. The Trio sings apart, between the gay revels, in soft
voices and slower pace, like a simple ballad.
The Finale is conceived in mystical retrospect, beginning in vein of
prologue: over mysterious murmuring strings, long sustained notes of the
reed and horn in octave descent are mingled with a soft carillon of
horns and trumpets in the call of the Scherzo. In broad swing a free
fantasy rises to a loud refrain (in the brass) of the first motive of
the symphony.
In slower pace and hush of sound sings a madrigal of tender phrases. A
pair of melodies recall like figures of the first Allegro. Indeed, a
chain of dulcet strains seems to rise from the past.
The fine themal relevance may be pursued in infinite degree, to no end
but sheer bewilderment. The truth is that a modern vanity for subtle
connection, a purest pedantry, is here evident, and has become a baneful
tradition in the modern symphony.
Pages:
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174