Music: An Art and a Language Part 13

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in the second theme of the Exposition which begins in measure 17, and the pa.s.sionate outcries in measures 35 and 37 of the middle portion.

Just before the Recapitulation, in measures 41-43, is an early example of Beethoven's fondness for instrumental recitative--music speaking with a more intimate appeal than words. The movement ends with an impa.s.sioned Coda which, beginning with the main theme in the ba.s.s and working up, more and more agitato, to a powerful climax, dies away with mysterious fragments of the opening measures. The dissonant element so characteristic of the whole movement is retained to the end, _e.g._

[Music]

[Footnote 146: According to d'Indy it is more truly pathetic than the entire so-called _Pathetic Sonata_.]

The growing importance of dissonance may be seen from a comparison of this movement with the average slow movements of Haydn and Mozart These, although they have serenity and grace, beauty and finish of form, and are sincere manifestations of the genius of their creators, are yet lacking in pa.s.sion. This placid mood and amiability of style is shown by the comparatively slight employment of dissonances. By unthinking and uncultivated persons dissonances[147] are often considered as something harsh, repellant--hence to be avoided. But dissonances contain the real life and progress of music. They arouse, even take by storm our imaginations and shake us out of our equanimity. Consonant chords represent stability, satisfaction and, when over-used, inertia. The genius of the composer is shown in establishing just the _right proportion_ between these two elements; but if there is to be any disproportion let us have _too much_ rather than too little dissonance, for then, at any rate, the music is _alive_. Since Beethoven the whole development of music as a human language shows the preponderating stress laid on dissonance; to this fact a knowledge of the works of Schumann, Chopin, Wagner, Debussy and Franck will amply testify.[148] The same a.n.a.logy holds equally in all realms of life, human and physical. The truest development of character depends on the warring elements of good and evil. Honest discontent is the first step to progress. Dissonance is the yeast of music and should be welcomed for its invigorating influence.

[Footnote 147: A frequent confusion of thought is shown in the use of the words "discord" and "dissonance." A discord is an unrelated noise, as when one bangs with both fists on the key-board. A dissonance is a logical introduction of intervals or chords made up of jarring factors for their stimulating effect upon the imagination.]

[Footnote 148: Two of the greatest innovators in this direction, Scryabin and Stravinsky, have been working in our own day, and there is no doubt that by their daring experiments they have enlarged the expressive powers of music. While it is obvious that the dramatic effect of to-day stimulates the experimentation of tomorrow, contrariwise, the immediate contribution of each innovator is to render more clear the work of his predecessor, up to that moment the confessed iconoclast.]

The third movement, Minuetto, may be taken as a reply to Haydn's well-known wish "Oh! that some one would write us a new Minuet." Well, here it is--with all the grace and charm of the 18th century type and yet with more import, especially in the Coda with its haunting retrospect. The rhythmic formation of the opening sentence would be clearer if two measures had been thrown into _one_, for the swing is clearly that of a 6/4 measure. The Trio, with its Scarlatti-like crossing of the hands, is a playful bit of badinage, affording a delightful contrast to the Minuetto. Such genuine variety in mood makes the Three-part Form of lasting worth.

The Finale, Allegro, with its capricious fortissimo outbursts and unexpected sforzandos is a characteristic example of Beethoven's freedom of utterance. Any cast-iron conception of form was entirely foreign to his nature; instead, he made form the servant of the freest flights of fancy. The movement begins as if it were to be worked out in the so-called Rondo Sonata-form--a hybrid, tripart.i.te structure related to the Sonata-form in that it has _two_ themes in the first and last portions, and to the Rondo in that the middle portion is a free Episode instead of the customary development of former material.

The salient feature by which this form may always be recognized is that the Exposition closes with a _definite return_ to the first theme--thus emphasizing the Rondo aspect--instead of with an expanded cadence based upon the second theme. As we have stated before (see Chapter IX), many of Beethoven's Finales are in this mixed form, clear examples of which may be found in the last movements of the Fourth, Eighth and Twelfth Sonatas. The Finale of the Twelfth Sonata has been included in the Supplement in order to make this important form familiar to the student. To return now to the Finale of the sonata we are studying. Its first two portions correspond exactly to the usual practice in the Rondo-Sonata form just explained; _i.e._, we find in the Exposition a first theme, a modulatory transition, a second theme (beginning in measure 17) and a definite repet.i.tion of the first theme, in measures 25-32. Then, after two measures of bold modulation, begins the middle, episodical pa.s.sage which, closing with a whimsical cadenza-like pa.s.sage, leads back to the beginning of the third part.

After a complete, slightly varied appearance of the first theme, Beethoven does not repeat the second theme, as we should expect, but allows his fancy to indulge in a series of brilliant pa.s.sages, exciting modulations and dynamic contrasts. All this freedom is held together by insistence on the fundamental rhythmic motive (measures 72-83). A final embellished statement of the first theme ushers in the fiery Coda, in measure 92, which ends with a long running pa.s.sage; beneath, we hear reminiscences of the main theme. It is often stated that Beethoven's Sonatas are lacking in pianistic effect, and it is true that his pianoforte works do not bring out the possibilities of color and sonority as we find them, for example, in Chopin and Debussy--the orchestra and the string-quartet being indeed his favorite media of expression. Yet during his entire early career Beethoven was famous as a performer and improviser on the pianoforte and some, at any rate, of his deepest thoughts have been confided to that instrument. That he was not at all insensible to the beauty of pianistic effect for its own sake is shown by the syncopated, shadowy chords in measures 101-105, the whole justification for which lies in their enchanting sound.[149]

[Footnote 149: For a very clear tabular view of the structure of this Sonata see d'Indy's _Cours de Composition Musicale_, Book II, p. 332.]

SYMPHONY NO. 5[150]

[Footnote 150: This is not given in the Supplement. See preceding remarks apropos of the Third Symphony. The comments are based, as usual, on the full orchestral score.]

The _Fifth Symphony in C minor_, op. 67, is deservedly popular because it is so human; a translation, in fact, of life itself into the glowing language of music. Beethoven's emotional power was so deep and true that, in expressing himself, he spoke, like every great philosopher, poet or artist, for all mankind. Which one of us in his own experience, has not felt the same protests against relentless Fate that find such uncontrollable utterance in the first movement? Who, again, is untouched by that angelic message, set before us in the second movement, of hope and aspiration, of heroic and even _warlike_[151] resolution, mingled with the resignation which only great souls know? The third movement (Allegro)--in reality a Scherzo of the most fantastic type, though not so marked--might well typify the riddle of the Universe. We indeed "see through a gla.s.s darkly,"

and yet there is no note of despair. Amid the sinister mutterings of the ba.s.ses there ring out, on the horns and trumpets, clarion calls to action. While we are in this world we must live its life; a living death is unendurable. The Finale, Allegro maestoso, is a majestic declaration of unconquerable faith and optimism--the intense expression of Beethoven's own words, "I will grapple with Fate, it shall never pull me down"--to be compared only with Browning's "G.o.d's in his heaven, all's right with the world," and the peroration to Whitman's _Mystic Trumpeter_, "Joy, joy, over all joy!" No adequate attempt could be made to translate the music into words. The Symphony is extremely subjective; indeed, autobiographic. For all historical details as to its composition, the reader is referred to the Grove essay,[152] and for eulogistic rhapsodies nothing can surpa.s.s the essay of Berlioz, that prince of critics. We shall content ourselves with a few comments of a structural nature and then trust the student to seek a performance of the work by a good orchestra. Of the first movement (Allegro con brio)[153] the dominant characteristics, especially in comparison with the wealth of material in the _Heroic_, are conciseness and intensity. It starts at once, without prelude, with the motive--one of the tersest in music--from which is developed, polyphonically, the first theme, _e.g._

[Music[A]]

[Footnote 151: This interpretation of d'Indy is based upon the prevalence in the movement of the conventional martial rhythm [Music]

and carries, we must acknowledge, considerable weight. It is, however, distinctly subjective and prevents no one from gaining quite a different impression. We should be more inclined to accept the views of the noted French scholar had he not been so wide of the mark, while speaking of the Seventh Symphony, as to deny any appearance of dance-rhythm in the first movement But the Irish composer, Villiers Stanford, has shown conclusively that the theme is based upon the rhythm of an Irish Hornpipe. Thus do the wise ones disagree!

Meanwhile, we others have the _music itself_.]

[Footnote 152: _Beethoven and his Nine Symphonies_ by Sir George Grove.]

[Footnote 153: Beethoven's favorite mark of tempo and expression.]

[Footnote A: There are also some _p_ holding notes on the ba.s.soons.]

Everything is concentrated in the highest degree and the a.s.sault upon our consciousness is of corresponding power. A tempestuous transition leads to two short _sf_ chords and then in measure 59, announced _ff_ by the horns, appears the first phrase of the second theme, based on the same motive as the first, but in the relative major (E-flat), _e.g._

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It is answered by a second phrase of marked simplicity and loveliness--a mood, indeed, of resignation. This is only momentary, however, for the relentless rhythm of the chief motive continues to a.s.sert itself in the ba.s.ses until, as it gathers headway after a short closing phrase (95-99), it is thundered out _ff_ by the full orchestra in a series of descending groups. The Development continues the same resistless impetuosity. Note the grim effect of the empty fifths and fourths in measures 126-127. Once only is there a slackening of the t.i.tanic, elemental drive--in the mysterious pa.s.sage (212-239) where the pent-up fury of the composer seems to have exhausted itself. It is only, however, a lull in the storm which breaks forth with renewed energy in the Recapitulation and Coda. Observe the pathetic commentary which the solo oboe makes upon the main theme at the outset of the third part (268)--a flower growing out of the debris of the avalanche.

The Coda begins, at measure 374, with a pa.s.sionate insistence upon the fundamental rhythm, driven home with sharp hammer-blows and, as in all Beethoven's symphonic movements, furnishes an overpowering climax, not a mere perfunctory close. The second Movement, in A-flat major, is a series of free[154] Variations (five in number) based on a theme, Andante con moto,[155] of great rhythmic vitality, peculiarly rich and suave--announced, as it is, by 'celli and violas in unison, _e.g._

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[Footnote 154: Free, in that they are not numbered and are not separated by rigid cadences; in that episodical pa.s.sages--often of a rhapsodic nature--are interpolated.]

[Footnote 155: The tempo is often taken by conductors too slowly, thus losing much of its buoyancy.]

The first two presentations of the theme are in each case followed by a pa.s.sage of martial character which bursts triumphantly into C major.

There is an orchestral touch of great beauty and originality in the first and second variations (beginning in measures 49 and 98 respectively), where a solo clarinet--later a flute, oboe and ba.s.soon--prolongs a single tone which seems to float above the melody like a guiding star.[156] A pa.s.sage of special significance is that in measures 123-146, where Beethoven indulges in a touching soliloquy upon his main theme. It is mysteriously introduced by the repet.i.tion, eight times, _pp_, of the dominant chord (the simplest medium of suspense) which seems to say "Hush, I have something most intimate reveal." The Coda (Piu Moto) begins with a mood of wistful reverie, but the clouds are soon dispelled and the movement ends in radiant sunshine.

[Footnote 156: While listening to this pa.s.sage one is instinctively reminded of Keats's "Bright and steadfast star, hung aloft the night."]

The salient structural feature in the last two movements[157] is that they are merged together; there is no pause after the Scherzo; and the movements are further interlocked by an interpolation, in the middle of the Finale, of a portion of the preceding Scherzo--a kind of inter-quotation or cross reference. This composite movement is a striking example of the organic relationship which Beethoven succeeded in establishing--between the different movements of the symphony.

Prior to him, it is fair to say--to use a homely simile--that a sonata or a symphony resembled a train of different cars merely linked together, one after the other; whereas the modern work, as foreshadowed by Beethoven, is a vestibuled train: one indivisible whole from beginning to end.[158] But before the Fifth Symphony there had been no such systematic unification; for it is not too much to say that the whole work is based upon the persistent iteration of a single note in varied rhythmic groups. Thus in the first movement we find continually the rhythm [Music]; in the second, in several places [Music]; in the Scherzo [Music]; and in the Finale [Music].

Furthermore a C, repeated by the kettle-drums for fifty measures, is the chief factor in the connecting link between the Scherzo and the Finale. We shall observe this tendency to interconnection still further developed by Schumann in his Fourth Symphony, by Liszt in the Symphonic Poem[159] (to be treated later), and a climax of attainment reached in such highly unified works as Cesar Franck's D minor Symphony and Tchaikowsky's Fifth. To return to the Scherzo, well worthy of note is the Trio, in free fugal form (its theme announced by the ponderous double ba.s.ses), because it is such a convincing ill.u.s.tration of the humorous possibilities inherent in fugal style.

The way in which the voices chase each other about--compared by Berlioz[160] with the gambols of a delighted elephant--and their spasmodic attempts at a.s.sertion, produce an effect irresistibly droll.

The humour is as broad as that of Aristophanes or Rabelais. Words are powerless to describe the thrill of the last fifty measures which launch us into the Finale. We may merely observe that this long pa.s.sage, _pp_ throughout until the last molto crescendo, and with the rhythmic element reduced to a minimum, makes more of an impact upon our imagination than that of the loudest orchestral forces ever conceived. We are reminded of the effect of the "still, small voice"

after the thunders on Sinai. The Finale, with its majestic opening theme in fanfare, contains a wealth of material and is conceived throughout in the utmost spirit of optimistic joy and freedom.[161]

The Exposition has a subsidiary theme of its own, beginning at measure 26, which reappears with rhythmic modification (diminution), and most eloquently announced by the ba.s.soons, in the first section of the final Coda. After the brilliant second theme (45-63) there is an impressive closing theme (with some biting _fp_ dissonances) which forms the basis of the Presto portion of the Coda. The Development is a marvellous treatment of the second theme, in imitation, modulation and climactic growth; the rhythm [Music], so vitally connected with the whole work, persisting with stupendous energy. In the final measures it would seem as if Beethoven were storming the very heavens.

Here occurs the quotation from the preceding Scherzo which binds the movements together and serves as a point of departure for a still greater climax. It seems unreasonable to expect a higher flight, but the genius of Beethoven is equal to the effort. If, before, we have reached the heavens, now we pierce them. The brilliant Coda--note the ascending runs for the piccolo--is in three sections, the first based on the subsidiary theme, _e.g._,

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the second on the closing theme in quickened tempo, _e.g._,

[Music[B]]

and the third, a canonic treatment of the opening fanfare, _e.g._,

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in which the orchestra seems to tumble head over heels in a paroxysm of delight. The movement closes with prolonged shouts of victory and exultation.[162]

[Footnote 157: Taken separately, the movements are perfectly normal; the Scherzo in the usual Three-part form and the Finale in complete Sonata-form.]

[Footnote 158: There are traces of this striving for organic unity in several of the early Sonatas, notably in the _Sonata Pathetique_, where the motive of the first theme of the Finale is identical with that of the second theme of the opening movement _e.g._

[Music: 1st Movement]

[Music: Finale]

Also in the C-sharp minor Sonata, op. 27, we find a case of melodic relationship between a phase in the introductory meditation and the main theme of the Minuet.]

[Footnote 159: A Symphonic Poem is a descriptive composition for orchestra which incorporates many of the customary symphonic moods; but the form is free, largely dependent on the poetic basis, and the structure is without stops, being one continuous whole.]

[Footnote 160: His exact words are--"Le milieu (the trio) ressemble a.s.sez aux ebats d'un elephant en gaiete--mais le monstre s'eloigne et le bruit de sa folle course se perd graduellement."]

[Footnote 161: Its motto might well be Browning's famous lines: "How good is man's life, how fit to employ all the heart and the soul and the senses forever in joy."]

[Footnote B: This pianoforte figure being a very inadequate subst.i.tute for the restless tremolo of the violas, _i.e._, [Music].]