Stories of Symphonic Music: A Guide to the Meaning of Important Symphonies, Overtures, and Tone-poems from Beethoven to the Present Day

Lawrence Gilman

Stories of Symphonic Music

A Guide to the Meaning of Important Symphonies, Overtures, and Tone-poems from Beethoven to the Present Day

EAN 8596547029380

DigiCat, 2022

Contact: [email protected]

Table of Contents

PREFACE

THE ORCHESTRA AS POET, PAINTER, AND DRAMATIST

BANTOCK

TONE-POEM, THE WITCH OF ATLAS

PRELUDE, SAPPHO

BEETHOVEN

SYMPHONY No. 3. EROICA: Op. 55

OVERTURE TO CORIOLANUS: Op. 62

SYMPHONY No. 6, PASTORAL: Op. 68

OVERTURE TO EGMONT: Op. 84

BERLIOZ

OVERTURE TO KING LEAR: Op. 4

FANTASTIC SYMPHONY: Op. 14-a

HAROLD IN ITALY

BIZET

SUITE FROM L'ARLÉSIENNE, No. 1

CHADWICK

DRAMATIC OVERTURE, MELPOMENE

ELEGIAC OVERTURE, ADONAIS

CONCERT OVERTURE, EUTERPE

SYMPHONIC POEM, CLEOPATRA

CHARPENTIER

SUITE, IMPRESSIONS OF ITALY

CHAUSSON

SYMPHONIC POEM, VIVIANE: Op. 5

CONVERSE

THE FESTIVAL OF PAN, ROMANCE FOR ORCHESTRA: Op. 9

ENDYMION'S NARRATIVE, ROMANCE FOR ORCHESTRA: Op. 10

NIGHT AND DAY, TWO POEMS FOR PIANOFORTE AND ORCHESTRA: Op. 11

CONCERT OVERTURE, EUPHROSYNE : Op. 15

FANTASY, THE MYSTIC TRUMPETER: Op. 19

DEBUSSY

PRELUDE TO THE AFTERNOON OF A FAUN

THREE NOCTURNES

THE SEA, THREE SYMPHONIC SKETCHES

DUKAS

THE SORCERER'S APPRENTICE

DVOŘÁK

OVERTURE, NATURE : Op. 91

OVERTURE, CARNIVAL: Op. 92

OVERTURE, OTHELLO: Op. 93

SYMPHONIC POEM, THE WOOD DOVE: Op. 110

ELGAR

VARIATIONS ON AN ORIGINAL THEME (ENIGMA) : Op. 36

OVERTURE, COCKAIGNE (IN LONDON TOWN) : Op. 40

DREAM CHILDREN, TWO PIECES FOR SMALL ORCHESTRA: Op. 43

OVERTURE, IN THE SOUTH (ALASSIO) : Op. 50

FRANCK

LES ÉOLIDES, SYMPHONIC POEM

THE WILD HUNTSMAN, SYMPHONIC POEM

SUITE, PSYCHE

THE DJINNS, SYMPHONIC POEM FOR ORCHESTRA AND PIANO

GLAZOUNOFF

STENKA RÂZINE, SYMPHONIC POEM: Op. 13

THE KREMLIN, SYMPHONIC PICTURE IN THREE PARTS: Op. 30

GOLDMARK

OVERTURE, SAKUNTALA: Op. 13

RUSTIC WEDDING SYMPHONY (No. 1) : Op. 26

GRIEG

SUITE (No. 1) , PEER GYNT

HADLEY

TONE-POEM, SALOME: Op. 55

HUBER

SYMPHONY No. 2, in E MINOR: Op. 115

d'INDY

ORCHESTRAL LEGEND, THE ENCHANTED FOREST: Op. 8

SAUGEFLEURIE [WILD SAGE], LEGEND FOR ORCHESTRA: Op. 21

ISTAR, SYMPHONIC VARIATIONS: Op. 42

SUMMER DAY ON THE MOUNTAIN: Op. 61

LISZT

TASSO: LAMENT AND TRIUMPH, SYMPHONIC POEM (No. 2)

THE PRELUDES, SYMPHONIC POEM (No. 3)

ORPHEUS, SYMPHONIC POEM (No. 4)

MAZEPPA, SYMPHONIC POEM (No. 6)

FESTKLÄNGE, SYMPHONIC POEM (No. 7)

THE BATTLE OF THE HUNS, SYMPHONIC POEM (No. 11)

THE IDEAL, SYMPHONIC POEM (No. 12)

A FAUST SYMPHONY

SYMPHONY AFTER DANTE'S DIVINA COMMEDIA

TWO EPISODES FROM LENAU'S FAUST

LOEFFLER

THE DEATH OF TINTAGILES SYMPHONIC POEM: Op. 6

POEM [LA BONNE CHANSON]: Op. 8

THE DEVIL'S VILLANELLE, SYMPHONIC FANTASIA: Op. 9

A PAGAN POEM, FOR ORCHESTRA AND PIANO: Op. 14

MACDOWELL

LANCELOT AND ELAINE, SYMPHONIC POEM: Op. 25

TWO FRAGMENTS (AFTER THE SONG OF ROLAND) : Op. 30

SUITE (No. 2) , INDIAN: Op. 48

MENDELSSOHN

OVERTURE, A MIDSUMMER-NIGHTS DREAM: Op. 21

OVERTURE, FINGAL'S CAVE [OR, THE HEBRIDES] : Op. 26

OVERTURE, BECALMED AT SEA AND PROSPEROUS VOYAGE: Op. 27

OVERTURE TO THE LEGEND OF THE LOVELY MELUSINA: Op. 32

SYMPHONY No. 3 (SCOTCH) : Op. 56

SYMPHONY No. 4 (ITALIAN) : Op. 90

RAFF

SYMPHONY No. 3, IN THE WOODS: Op. 153

SYMPHONY No. 5, LENORE: Op. 177

RIMSKY-KORSAKOFF

SADKO, A MUSICAL PICTURE: Op. 5

ANTAR, SYMPHONY No. 2: Op. 15

SCHEHERAZADE, SYMPHONIC SUITE AFTER A THOUSAND NIGHTS AND A NIGHT: Op. 35

A NIGHT ON MOUNT TRIGLAV: THIRD ACT OF THE OPERA-BALLET MLADA (CONCERT ARRANGEMENT FOR ORCHESTRA)

SUITE, CHRISTMAS EVE

SAINT-SAËNS

OMPHALE'S SPINNING-WHEEL, SYMPHONIC POEM No. 1: Op. 31

PHAËTON, SYMPHONIC POEM No. 2: Op. 39

DANCE OF DEATH [DANSE MACABRE], SYMPHONIC POEM No. 3: Op. 40

THE YOUTH OF HERCULES, SYMPHONIC POEM No. 4: Op. 50

SCHUMANN

SYMPHONY No. 1, IN B-FLAT MAJOR [SPRING]: Op. 38

OVERTURE TO BYRON'S MANFRED: Op. 115

SIBELIUS

LEMMINKAINEN, SYMPHONIC POEM IN FOUR PARTS: Op. 22

SMETANA

MY FATHERLAND, A CYCLE OF SIX SYMPHONIC POEMS

SPOHR

SYMPHONY No. 4, THE CONSECRATION OF SOUND: Op. 86

STRAUSS

FROM ITALY, SYMPHONIC FANTASIA: Op. 16

DON JUAN, TONE-POEM: Op. 20

MACBETH, TONE-POEM: Op. 23

DEATH AND TRANSFIGURATION, TONE-POEM: Op. 24

TILL EULENSPIEGEL'S MERRY PRANKS: Op. 28

THUS SPAKE ZARATHUSTRA, TONE-POEM: Op. 30

DON QUIXOTE, FANTASTIC VARIATIONS ON A THEME OF KNIGHTLY CHARACTER: Op. 35

A HERO'S LIFE [EIN HELDENLEBEN], TONE-POEM: Op. 40

DOMESTIC SYMPHONY: Op. 53

TSCHAIKOWSKY

ROMEO AND JULIET, OVERTURE-FANTASIE

FANTASIA, THE TEMPEST: Op. 18

FANTASIA, FRANCESCA DA RIMINI: Op. 32

SYMPHONY No. 4, IN F MINOR: Op. 36

MANFRED, SYMPHONY IN FOUR TABLEAUX: Op. 58

SYMPHONY No. 6, PATHETIC: Op. 74

THE VOYVODE, ORCHESTRAL BALLAD (Posthumous) : Op. 78

WAGNER

A 'FAUST' OVERTURE

A SIEGFRIED IDYL

WOLF

PENTHESILEA, SYMPHONIC POEM

INDEX OF WORKS AND COMPOSERS

PREFACE

Table of Contents

Most concert-goers have observed, at performances of modern orchestral works of a descriptive character, the efforts of many persons in the audience to extract from programme notes and analyses information as to the dramatic or pictorial or poetic meaning of the music to which they were listening. A search for enlightenment under such conditions necessarily leads to disappointment, since it is either pursued distractedly while the music is actually in progress, or during the brief and unpropitious leisure of an intermission. The design of this book is to offer in compact and accessible form such information as will enable the intending concert-goer to prepare himself, in advance, to listen comprehendingly to those symphonic works of a suggestive or illustrative nature, from Beethoven to the present day, which are part of the standard orchestral repertoire, and such others as seem likely to become so—to serve, in effect, as a guide to modern orchestral programme-music. For convenience of indication, the designation tone poems, as used in the sub-title, is employed in its broadest significance to characterize all modern delineative music for orchestra in the freer forms, whether it be a symphonic poem by Liszt, a legend by d'Indy, a suite by Charpentier, a sketch by Debussy, or the precise thing described by Strauss as a Tondichtung.

No exclusively musical analysis of the works discussed is attempted, since it is aimed merely to give the concert-goer such information concerning their illustrative purpose as will enable him to place himself in an intelligent attitude towards their performance. Nor has the author indulged in speculative interpretations of any sort regarding the poetic content of these works; he has confined himself in every case to setting forth only such facts and clews as have been ascertained or justifiably inferred.

An exhaustive cataloguing of modern programme-music has not been attempted. It has been thought worth while to include only such works of importance as the American concert-goer is likely to find upon the programmes of symphony concerts in this country. Thus such submerged or moribund or otherwise negligible music as Schumann's forgotten overture, Julius Cæsar, Berlioz's overture to Waverley, Rubinstein's character-pictures, Faust and Ivan IV., Liszt's Hamlet, Beethoven's King Stephen and Battle of Vittoria, have been permitted to remain unexpounded. [1]

A book such as this must necessarily be largely of the nature of a compilation, since, in the case of the older works in the concert-repertoire, it must make use of information already obtained and recorded. It is believed, however, that it may supply a want hitherto unfulfilled in that, particularly, it assembles in convenient shape information concerning important contemporary works which exists, at present, only in a scattered and more or less unavailable condition.

In justification of its purpose, the author may be permitted to say that he considers it absurd and illogical that the concert-goer should, as some assert, be asked to listen to a piece of descriptive music in ignorance of its literary or pictorial or dramatic basis. He heartily agrees with Mr. Ernest Newman, who has written with unsurpassed acumen and force concerning programme-music and its principles, when he asserts that if the poem or the picture was necessary to the composer's imagination, it is necessary to mine; if it is not necessary to either of us, he has no right to affix the title of it to his work; ... if melody, harmony, and development are all shaped and directed by certain pictures in the musician's mind, we get no further than the mere outside of the music unless we are familiar with those pictures. A title, it is true, is sometimes sufficient as a spur to the hearer's imagination—as in the case, for example, of such broadly impressionistic music as Claude Debussy's The Sea, the various movements of which bear these subsidiary titles: From Dawn till Noon on the Sea; Frolics of Waves; Dialogue of the Wind and the Sea. But what would the hearer, unacquainted with the subject which provoked it, make of Debussy's Prelude to 'The Afternoon of a Faun,' did not the appended sub-title—Eclogue of S. Mallarmé—direct him to the source of the composer's inspiration, the fantastic and singular poem of the French symbolist? Even in the case of descriptive music based upon an exceedingly familiar subject, the title alone may be insufficient. In the case, for instance, of Edward MacDowell's symphonic poem, Lancelot and Elaine, the composer offers his listener merely the title. He has said, indeed, that he never would have insisted that this symphonic poem need mean 'Lancelot and Elaine' to every one. Yet if he intended this music, as it is known that he did, to describe certain definite and particular incidents in the story of Lancelot and the Maid of Astolat—as the tournament, Lancelot's downfall, his interview with Guinevere, the passing of the funeral barge—it obviously could not, without a sacrifice of psychological and dramatic consistency, coincide with any other sequence of happenings which the uninstructed listener might choose to substitute. To tell the hearer that he is at liberty to interpret a piece of avowed and detailed descriptive music according to any programme which may happen to occur to him, is, in principle, precisely like playing for him on the piano a new and unknown song, and telling him that he may fit to it any words he chooses.

It cannot be too positively insisted upon that, as Mr. Newman has pointedly observed, a piece of eloquent delineative music cannot be equally understood and appreciated by the man who knows and the man who does not know its programme. Mr. Newman concedes, of course, the fact that such a work as Tschaikowsky's overture, Romeo and Juliet, would undoubtedly give intense pleasure to any one who listened to it as a piece of music, pure and simple. But I deny, he continues, "that this hearer would receive as much pleasure from the work as I do. He might think the passage for muted strings, for example, extremely beautiful, but he would not get from it such delight as I, who not only feel all the musical loveliness of the melody and the harmonies and the tone color, but see the lovers on the balcony and breathe the very atmosphere of Shakespeare's scene. I am richer than my fellow by two or three emotions in a case of this kind. My nature is stirred on two or three sides instead of only one. I would go further and say that not only does the auditor I have supposed get less pleasure from the work than I, but he really does not hear Tschaikowsky's work at all. If the musician writes music to a play and invents phrases to symbolize the characters and to picture the events of the play, we are simply not listening to his work at all if we listen to it in the ignorance of his poetical scheme. We may hear the music, but it is not the music he meant us to hear"—which is simply a more telling and vivid statement of a truth which Berlioz enunciated more than three score and ten years ago in a prefatory note to his Symphonie fantastique: The plan of an instrumental drama, being without words, requires to be explained beforehand. The programme (which is indispensable to the perfect comprehension of the dramatic plan of the work) ought therefore to be considered in the light of the spoken text of an opera, serving to ... indicate the character and expression.

It should be said, in conclusion, that these elucidations—if they may hopefully be regarded as such—are addressed, not to the professional student of music, but to the intelligent concert-goer who desires to listen understandingly, and with adequate appreciation, to those works which are intended not merely to appeal to his perception of beautiful sound and beautiful form, but which set before him, for the education of his heart or the delight of his spirit, some notable and intense impression of the human drama or the visible world.

The writer is indebted for the information accumulated in the following pages to so many sources—biographies, autobiographies, scores in print and in manuscript, and enlightenment personally and most helpfully supplied by the composers of various contemporary works—that he finds it difficult to avow them with adequate particularity. He has consulted (to name but a few such authorities) Riemann's Musik-Lexikon, the Oxford History of Music, Apthorp and Champlin's Cyclopedia of Music and Musicians, Fétis' Biographie Universelle des Musiciens, Grove's Dictionary of Music and Musicians, Schumann's Music and Musicians, Wagner's Prose Works, and—for records and details not generally accessible—the exceedingly valuable programme-notes prepared for the concerts of the Boston Symphony Orchestra, during the last six years, by Mr. Philip Hale, and, before him, by Mr. W. F. Apthorp.

L. G.

DIXVILLE NOTCH, NEW HAMPSHIRE, SEPTEMBER, 1907.

FOOTNOTES:

[1] Opera-overtures do not, of course, come within the scope of a book designed expressly to serve as a guide to music written for the concert-room. Hence, even works that are either frequently or always played apart from their intended operatic setting—as the several Leonora overtures of Beethoven, and the Francs-Juges and Benvenuto Cellini overtures of Berlioz—are not included.

STORIES OF

SYMPHONIC MUSIC

THE ORCHESTRA AS POET, PAINTER, AND DRAMATIST

Table of Contents

How can an orchestra, without the aid of voices or pantomime or scenery, tell the story of Don Quixote, paint a picture of the sea, or describe the visions of a dying man? asks an intelligent but somewhat puzzled layman. I have always thought of instrumental music, he goes on to say, as the art of arranging tones according to more or less binding laws of design and effect; and yet I hear constant talk nowadays of the 'expressive capacity' of music, its ability to paint pictures, tell stories, enact dramas. What, briefly, is meant by the 'expressive (or pictorial or descriptive) capacity' of music? Perhaps it may be possible to tell him—briefly, as he requests.

Music in the old days—the days before Beethoven, let us say—was, outside of the church and the opera-house, primarily an art of pure design. The musician of those days was concerned mainly with the arrangement of tones according to certain well-defined rules and conventions, to the end of producing a euphonious and beautiful pattern of sound. The symphonies of Mozart, the early symphonies of Beethoven, had no other aim than to be beautiful. Music was then, as has been aptly said, a species of sensuous mathematics. The musician who, in the year 1797, set out to compose a symphony, proceeded according to very definite rules. He must invent what was called a first theme, usually rather vigorous and assertive in character, and a second theme, of contrasting character—usually of a gentler and more feminine quality. These themes were then developed at length—presented in different keys, altered as to rhythm, harmony, and instrumentation, in whatever manner was made possible by the composer's skill and the fertility of his invention. Finally, the two themes were recalled in their original state, and the first movement of the symphony was at an end. The composer had accomplished a complete musical organism in what was called, among his craft, sonata form. He might then proceed with the other movements of his symphony, which must also be constructed according to certain specific laws. Always he must proceed according to rule. His second theme, for example, must be sounded in a key which bore a hard-and-fast relationship to the key of his first theme; and if his symphony began, let us say, in F major, it must end in F major, or in some closely related key. It would never for a moment have occurred to him—this excellent eighteenth-century music-maker—to begin a serious composition in F major and end it, say, in C-sharp minor: that would have seemed an aberration of the most preposterous kind.

Our eighteenth-century instrumental composer, then, was a builder of tonal edifices of a very plain and solid kind, which must be proportioned and fashioned strictly according to rule. Moreover, his constructive material, so to speak, was of the sparest. His range of harmony was extremely small, his melodic patterns were simple in outline and of limited expressiveness, his rhythms were square-cut and obvious, his orchestral technique of the most meagre order. There were, it is true, composers prior to the nineteenth century who wrote a crude kind of orchestral programme-music [2]— music which aimed to describe scenes and events, to picture aspects of nature and definite states of mind. Karl von Dittersdorf (1739-1799) composed a number of symphonies descriptive of Ovid's Metamorphoses—The Downfall of Phaëton, Acteon's Transformation into a Deer, Andromeda's Rescue by Perseus, Phineus with his Friends in the Mountains. Justin Heinrich Knecht (1752-1817) anticipated certain features of the Pastoral symphony in his Tableau musical de la nature, composed when Beethoven was fourteen years old; and Haydn gave to certain of his multiple symphonies naively indicative titles—The Hunt, The Morning, Fire. But such manifestations of the programmatic tendency bore little relation to the really serious and important musical art of the period. The symphonist of Haydn's day little dreamed of a time when men of his trade would erect tonal structures of strange and fantastic shape, from materials whose rarity and richness were beyond his conception; and that within these gorgeous and curiously wrought structures, dramas of human passion and emotion, comedies and tragedies, would be enacted for other men to see and to be moved thereby.

Yet that is what happened. As the years went by musicians began to discern that the art in which they were working contained singular and unsuspected possibilities. They began, by laborious and slow experiment, and by unconscious inspiration, to evolve new harmonies, more subtle and complex than the old, which thrilled them oddly; their melodies took on a freer, more pliant, more expressive character; their rhythms became more varied and supple, their instrumentation richer, fuller, more complex. Then it dawned upon them that this art of theirs, which had been but a kind of inspired and innocent pattern-weaving, might be made to express definite emotions, moods, experiences, even many things in the material world, without the aid of scenery, singers, or singing-actors. They found that certain combinations and sequences of tones could be made to convey to the hearer certain more or less definite feelings and ideas: that minor harmonies, in slow and grave rhythms, suggested grief or depression; and that, conversely, harmonies in the major mode, in rapid and energetic movement, suggested gaiety, or jubilation, or relief. And then, of course, there were directly imitative effects which might be employed to suggest an aspect of nature or to aid in the telling of a story—the songs of birds, the whistling of wind, the crash of thunder, the rhythmic tramping of armies, the trumpets and drums of martial conflict, the horn fanfares of the chase; for all these things suggested easily and naturally their analogies in tone.

But it soon became evident to the composer that no matter how intense and vivid his music might be, it could be made to express, unaided, only general emotions, moods, passions. He could say—as does Chopin, for example, in the funeral march in his B-flat minor sonata—I am sad; but he could not say why he was sad; he could not say, I am sad because my mother has died, or because my country has been vanquished. So, to supply this need—to make it possible for his music to speak both eloquently and concretely—the composer called in the aid of the written and associated word, and the miracle was accomplished. Upon the score of his symphony or his tone-poem he wrote, for example, the title Don Quixote; this title he made known to his audience; and the hearers, with this clew, were thus made aware that they were listening to an expression in tones—tones of a kind unimagined by Haydn or Mozart, tones of marvellous poignancy and vividness—of the dreams and longings and passions and griefs of a particular person whose story they intimately knew: the definite emotions and events of a definite drama, rich in comedy, pathos, tenderness, and human fascination.

This, then, is the miracle of modern programme-music; this is why we say of it that it is capable of voicing comedy or tragedy, pathos or ecstasy; this is why, in brief, we may speak of its expressive capacity.

The growth of the art in this direction has been as steady as it has been amazing. Music, with Haydn and Mozart (it is always to be remembered that we are discussing here only symphonic music) was, as has been said, largely a weaving of tonal arabesques, innocent of meaning or definite expression. The great Beethoven came, and transformed its naïve tones into new and powerful sonorities, developing, expanding, discovering, until he had endowed it with a novel and unfamiliar eloquence. Schubert followed him, adding new effects of harmony, new and unparalleled ways of grouping tones, and filling the art with a fresh and wonderful exuberance, making it sing with a new tenderness and ecstasy. He left it a richer, a more amply expressive medium than he had found it. Came Berlioz, a master of orchestral utterance, of orchestral delineation. He made of music the handmaid of romance and passion as he found them in the world's dramas and poems and novels. Franz Liszt, a man of fervid imagination and intrepid individuality, added still other notes to the instrument—enlarged its compass, increased its sonority. Under him the symphony renounced its strict allegiance to the classic forms and became frankly a medium of dramatic and poetic expression. He made a thing which he called a symphonic poem, in which the music was conceived and evolved, not in accordance with those classic rules of form of which we have spoken, but in accordance with the outlines of a chosen poem or a drama; so that he was able to illustrate in music, with the aid of title or descriptive text, the story of Hamlet or the Divine Comedy or Orpheus or Tasso or Prometheus. Wagner, though his field was not the concert-room, but the opera-house, so enlarged the possibilities of tonal speech as to make of it virtually a new language. His genius yielded, with magical fertility, a bewildering wealth of novel harmonic, melodic, and orchestral ideas—ideas which have been appropriated to the music of the concert-hall by all those who have followed him.

And so we come to the music of our own time, which is but a logical and inevitable result of a century of growth and evolution. What, above all, is characteristic of it? First, its devotion to a programme—to a literary or dramatic or pictorial subject. Our modern tone-poet—as we aptly call him—having found ready to his hand an art which can convey with extraordinary vividness moods of longing and despair, ecstasy and jubilation, must make it still more specific and articulate. He writes a huge orchestral work and