The anticipation of a Beethoven in
the drum of the Scherzo of the Fifth Symphony, or the rhythmic whims of
a Schumann in his Romantic piano pieces suggest the path of much of this
license. Again, as passing notes may run without heed of harmony, since
ancient days, so long sequences of other figures may hold their moving
organ-point against clashing changes of tonality.
Apart from all this is the modern "counterpoint," where, if it is quite
the real thing, Strauss has outdone the boldest dreams of ancient school
men. But with the lack of cogent form, and the multitude of small
motives it seems a different kind of art. We must get into the
view-point of romantic web of infinite threads, shimmering or jarring in
infinite antagonism (of delayed harmony). By the same process comes
always the tremendous accumulation towards the end. As the end and
essence of the theme seems a graphic quality rather than intrinsic
melody, so the main pith and point of the music lies in the weight and
power of these final climaxes.
_TOD UND VERKLAeRUNG (DEATH AND TRANSFIGURATION), TONE POEM_
It may be well to gather a few general impressions before we attempt the
study of a work radical in its departure from the usual lines of tonal
design.
There can be no doubt of the need of vigilance if we are to catch the
relevance of all the strains. To be sure, perhaps this perception is
meant to be subconscious. In any case the consciousness would seem to
ensure a full enjoyment.
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