Then the warring
tribe of triplets recommence, after clamorous G flat octaves
reeling from the stars to the sea of the first theme. Another
rush into D flat ensues, the song of C minor reappears in F
minor, and the miracle is repeated. Oracular octaves quake the
cellarage of the palace, the warriors hurry by, their measured
tramp is audible after they vanish, and the triplets obscure
their retreat with chromatic vapors. Then an adagio in this
fantastic old world tale--the curtain prepares to descend--a
faint, sweet voice sings a short, appealing cadenza, and after
billowing A flat arpeggios, soft, great hummocks of tone, two
giant chords are sounded, and the Ballade of Love and War is
over. Who conquers? Is the Lady with the Green Eyes and Moon
White Face rescued? Or is all this a De Quincey's Dream Fugue
translated into tone--a sonorous, awesome vision? Like De
Quincey, it suggests the apparition of the empire of fear, the
fear that is secretly felt with dreams, wherein the spirit
expands to the drummings of infinite space.
Alas! for the validity of subjective criticism.
Pages:
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403