Symphonies and Their Meaning Part 7

The scoring shows a sign of modern feeling in the prominence of the bra.s.ses. With all contrast of spirit, the a.n.a.logy of Franck with the Liszt-Wagner school and manner is frequently suggestive.

The main novelty of outer detail is the plan of merely three movements.

Nor is there a return to the original form, without the Scherzo. To judge from the headings, the "slow" movement is absent. In truth, by way of cursory preamble, the chronic vein of Cesar Franck is so ingrainedly reflective that there never can be with him an absence of the meditative phrase. Rather must there be a vehement rousing of his muse from a state of mystic adoration to rhythmic energy and cheer.[A]

[Footnote A: The key of the work is given by the composer as D minor.

The first movement alone is in the nominal key. The second (in B flat) is in the submediant, the last in the tonic major. The old manner in church music, that Bach often used, of closing a minor tonality with a major chord, was probably due to a regard for the mood of the congregation. An extension of this tradition is frequent in a long coda in the major. But this is quite different in kind from a plan where all of the last movement is in insistent major. We know that it is quite possible to begin a work at some distance from the main key, leading to it by tortuous path of modulation; though there is no reason why we may not question the composer's own inscription, the controlling point is really the whole tonal scheme. Here the key of the second movement is built on a design in minor,--would have less reason in the major. For it rests on a degree that does not exist in the tonic major. To be sure, Beethoven did invent the change to a lowered submediant in a succeeding movement. And, of course, the final turn to the tonic major is virtually as great a license.]

_Lento_ in ba.s.ses of the strings a strain sounds like a basic motive, answered with harmonies in the wood. In further strings lies the full tenor of quiet reflection, with sombre color of tonal scheme. Motives are less controlling probably in Franck than in any other symphonist,--less so, at any rate, than his one

[Music: _Lento_]

special mood and manner. Yet nowhere is the strict figural plot more faithful in detail than with Cesar Franck.

The theme has an entirely new ring and answer when it enters Allegro after the Lento prelude. The further course of the tune here is in eccentric, resolute stride in the descending scale. Our new answer is much evident in the ba.s.s. The Allegro seems a mere irruption; for the Lento prelude reappears in full solemnity. Indeed, with all the t.i.tle and pace, this seems very like the virtual "slow" movement. A mood of rapt, almost melancholy absorption prevails, with rare flashes of joyous utterance, where the Allegro enters as if to break the thrall of meditation. A very striking inversion of the theme now appears. The gradual growth of phrases in melodious instalments is a trait of Franck (as it is of Richard Strauss). The rough motto at each turn has a new

[Music: _Allegro non troppo_ (Strings) (Wind)]

phase and frequently is transfigured to a fresh tune. So out of the first chance counter-figures somehow spring beautiful melodies, where we feel the fitness and the relevance though we have not heard them before.

It is a quality that Franck shares with Brahms, so that in a mathematical spirit we might care to deduce all the figures from the first phrase. This themal manner is quite a.n.a.logous to the harmonic style of Franck,--a kaleidoscope of gradual steps, a slow procession of pale hues of tone that with strange aptness reflect the dim religious light of mystic musing.

More and more expressive are the stages of the first figures until we have a duet _molto cantabile_ in the strings. Much of the charm of the movement lies in the balance of the new rhythms, the eccentric and the flowing. By some subtle path there grows a song

[Music: _Allegro. Molto cantabile_]

in big tones of unison, wood and strings and trumpets, that is the real hymnal refrain of the movement. Between this note almost of exultation and all shades of pious dreaming the mood is constantly shifting.

[Music: _Allegro_]

Another phrase rises also to a triumphant height (the clear reverse of the former tuneful melody) that comes now like a big _envoi_ of a.s.suring message.

Though the whole movement is evenly balanced between Allegro and Penseroso (so far as pace is concerned), the mood of reflection really finds full vent; it has no reason for a further special expression.

Simple as the Allegretto appears in its suggestion of halting dance, the intent in the episodes is of the subtlest. The slow trip of strings and harp is soon given a new meaning with the melody of English horn.

Throughout we are somehow divided between pure dance and a more thoughtful muse. In the first departure to an episode in major, seems to sing the essence of the former melody in gently murmuring strings, where later the whole chorus are drawn in. The song moves on clear thread and wing right out of the mood of the dance-tune; but the very charm lies in the mere outer change of guise. And so the second episode is still far from all likeness with the first dance beyond a least sense of the old trip that does appear here and there. It is all clearly a true scheme of variations, the main theme disguised beyond outer semblance, yet faithfully present throughout in the essential rhythm and harmony.

In the Finale, _Allegro non troppo_, we are really clear, at the outset, of the toils of musing melancholy.

[Music: _Allegro non troppo_ _Dolce cantabile_]

After big bursts of chords, a tune rolls pleasantly along, _dolce cantabile_, in ba.s.ses of wood and strings. Expressive after-phrases abound, all in the same jolly mood, until the whole band break boisterously on the simple song, with a new sonorous phrase of ba.s.ses.

Then, in sudden remove, sounds the purest bit of melody of all the symphony, in gentlest tones

[Music: _Dolce cantabile_ (In the bra.s.s)]

of bra.s.s (trumpet, trombone and tuba). But, though in complete recoil from the rhythmic energy of Allegro theme, it is even farther from the reflective mood than the latter. It shows, in this very contrast, the absence of the true lyric in the meditative vein, frequent with Cesar Franck. The burst of melody blossoms ever fairer. In its later musing the tune browses in the ba.s.s. A waving phrase grows in the violins, which continues with strange evenness through the entrance of new song where we are surprised by the strange fitness of the Allegretto melody.

And the second phase of the latter follows as if it belonged here. So, almost listless, without a hair of rhythmic change (_les temps ont toujours la meme valeur_), the Finale theme sings again most softly in the strings. It has, to be sure, lost all of its color, without the original throb of accompanying sounds. The phase of the movement is a shadowy procession of former ideas, united in the dreamy haze that enshrouds them. The stir that now begins is not of the first pale hue of thought, rather the vein of big discussion, brewing a storm that breaks finally in full blast on the gentle melody (of the bra.s.s) transfigured in ringing triumph, in all the course of the song. Nor is the succeeding phase the mystic habit of our poet; it is a mere farther digestion of the meat of the melody that leads once more to a height of climax whence we return to first course of themes, tuneful afterphrase and all, with the old happy motion. The counterpoint here is the mere joyous ringing of many strains all about.

Against all rules comes a new chorusing paean on the theme of Allegretto, led by stentorian ba.s.ses, together with an enchanting after-strain, which we might have remarked before. And still another quarter, long hushed, is heard anew, as a voice sounds a faint reminder of the hymn of the first Allegro. Indeed, the combining strains before the close seem sprung all of one parental idea. The motto of the beginning sings in fittest answer to the latest phrases. The very maze of the concert forbids our turning to their first origin. The end is in joyous chanting of the Finale melody.

CHAPTER VIII

D'INDY AND THE FOLLOWERS OF FRANCK

Perhaps the n.o.blest essay in symphonic music of the followers of Franck is the second symphony of Vincent D'Indy.[A] His vein is indeed throughout nearest akin of all the disciples to the serious muse of the master.

[Footnote A: Vincent d'Indy was born in Paris on March 27, 1852.]

Though D'Indy is surpa.s.sed in a certain poetic originality by some of his compatriot contemporaries, there is in this symphony a breadth of design and detail, a clear melodic quality and a sustained lofty feeling that seem to mark it the typical French symphony of its time. The strength of the work lies in a unity that is not merely of figure and outline. If we must measure a symphony mainly by the slow movement, we cannot avoid, with all the languorous beauty, a certain conventionality of mood, stressed with an exotic use of the appoggiatura, while in the Scherzo is a refined savagery of modern cacophony.

The directions are all in French; we are reminded of Schumann's departure from the Italian fashion.

Each movement, save the third, has its prelude: a gathering of threads before the new story. The first notes of ba.s.ses, together with the answer on high, sound a prophetic legend of the whole.

The harmonic lucubrations are profoundly subtle. Indeed the very nature of the first phrase is of dim

[Music: _Extremement Lent._ (Woodwind) (Strings and harps)]

groping; it ends in a climax of the answer and merges into the main song of the Allegro (_tres vif_) in horns, with rapid trip of strings.

[Music: _Tres vif_ (Horns) (Strings)]

Throughout (from a technical view) is a fine mastery of the device of ornamental notes, and secondary harmonies; there is also a certain modern sense of chords and their relations. Together with an infinite brilliance of these resources there is not only no weakness in cogency of form, but there is a rare unity of design. The movements are bound together, at least in themal relation, as strictly as in any symphony.

While the first phrase of the Allegro theme may hark back to the answer of original motto, the second is the main thread of narrative.

[Music: (Flutes, oboes and clarinets) _Sempre staccato_]

Again and again is the climax rung on the first high note of the theme.

Then, in lieu of cadence, out of a bright dissonance the quick notes dance upward in st.u.r.dy pace, the answer of the Allegro in sharp disguise. And then from the height descends a refreshing spray of subtlest discords, ending in another masterful burst of new harmony.

The dainty, dazzling play is stopped by a rough thud of ba.s.ses and a fierce clang of chords. In the sharp blare of bra.s.s on the ascending phrase is almost lost the original motto in lowest ba.s.ses. It is now heard in gradually quickened speed, while the rising phrase runs more timidly. At last the quickened motto sinks gently into lulling motion, _un peu plus modere_. Above, in strings and horns, the melody haunts us with a dim sense that takes us to the first languishing answer of the original legend. And the whole is strong-knit; for the very Allegro theme began in resolute mood of a like figure. A counter-strain rises to meet the main phrase. The whole episode is an intertwining of song in the vein of the first answer of motto.

The quick rising notes suddenly return with s.n.a.t.c.hes of the main motive, the chain of echoing phrases runs a gamut of moods, fitful, anxious, soothed, until the bright upward trip begins anew, with the enchanting burst of chord and descending harmonies. A climactic height is stressed by a rough meeting of opposing groups, in hostile tone and movement, ending in a trill of flutes and a reentry of the episode.

In the returning Allegro the thread is still the same, though richer in color and texture. Again there is the plunge into dark abyss, with shriek of harp, and the ominous theme in the depths. The slow ascending phrase here has a full song and sway. The end is in spirited duet of two quick motives.

The second movement, _moderement lent_, begins in revery on the answer of original motive, and the stately pathos of the theme, in horns, clarinets and violas, with rhythmic strings, grows naturally out of the mood.

_Plus anime_, in subtle change of pace (from 6/4 to 3/2), the episode begins with eccentric stride of harps (and added woodwind), that serves as a kind of

[Music: _Moderement Lent._ (Melody in horns, clarinets and violas) (Acc'd in strings)]

accompanying figure and foil for the sweeping song of the real second melody (in oboe solo, succeeded by the clarinet).

[Music: (Oboe solo) _Tres espress._ (Violins) (Acc't in ba.s.soons, horns, harps and ba.s.ses)]