TSCHAIKOWSKY
The Byron of music is Tschaikowsky for a certain alluring melancholy and an almost uncanny flow and sparkle. His own personal vein deepened the morbid tinge of his national humor.
We cannot ignore the inheritance from Liszt, both spiritual and musical. More and more does the Hungarian loom up as an overmastering influence of his own and a succeeding age. It seems as if Liszt, not Wagner, was the musical prophet who struck the rock of modern pessimism, from which flowed a stream of ravishing art. The national current in Tschaikowsky's music was less potent than with his younger compatriots; or at least it lay farther beneath the surface.
For nationalism in music has two very different bearings. The concrete elements of folk-song, rhythm and scale, as they are more apparent, are far less important. The true significance lies in the motive of an unexpressed national idea that presses irresistibly towards fulfilment. Here is the main secret of the Russian achievement in modern music,—as of other nations like the Finnish. It is the cause that counts. Though Russian song has less striking traits than Hungarian or Spanish, it has blossomed in a far richer harvest of noble works of art.
Facile, fluent, full of color, Tschaikowsky seems equipped less for subjective than for lyric and dramatic utterance, as in his "Romeo and Juliet" overture. In the "Manfred" Symphony we may see the most fitting employment of his talent. Nor is it unlikely that the special correspondence of treatment and subject may cause this symphony to survive the others, may leave it long a rival of Schumann's "Manfred" music.
With Tschaikowsky feeling is always highly stressed, never in a certain natural poise. He quite lacks the noble restraint of the masters who, in their symphonic lyrics, wonderfully suggest the still waters that run deep.
Feeling with Tschaikowsky was frenzy, violent passion, so that with all abandon there is a touch of the mechanical in his method. Emotion as the content of highest art must be of greater depth and more quiet flow. And it is part or a counterpart of an hysterical manner that it reacts to a cold and impassive mood,—such as we feel in the Andante of the Fourth Symphony.
The final quality for symphonic art is, after all, less the chance flash of inspiration than a big view, a broad sympathy, a deep well of feeling that comes only with great character.
Nay, there is a kind of peril in the symphony for the poet of uncertain balance from the betrayal of his own temper despite his formal plan. Through all the triumph of a climax as in the first movement of the Fourth Symphony, we may feel a subliminal sadness that proves how subtle is the expression in music of the subjective mood. There is revealed not the feeling the poet is conscious of, but, below this, his present self, and in the whole series of his works, his own personal mettle. What the poet tries to say is very different from what he does say. In a symphony, as in many a frolic, the tinge of latent melancholy will appear.
Reverting to a great and fascinating question as to the content of art, we may wonder whether this is not the real tragic symphony of Tschaikowsky, in the true heroic sense, in a view where the highest tragedy is not measured by the wildest lament. There may be a stronger sounding of lower depths with a firmer touch (with less of a conscious kind of abandon),—whence the recoil to serene cheer will be the greater.
There is surely a magnificent aspiration in the first Allegro, a profound knell of destiny and a rare ring of triumph. Underlying all is the legend of trumpets, Andante sostenuto (3/4), with a dim touch
of tragedy. Opposite in feeling is the descending motive of strings, Moderato con anima (9/8). First gently expressive, it soon rises in passion (the original
motto always sounding) to a climax whence an ascending motive, in lowest basses, entering in manner of fugue, holds a significant balance with the former. Each in turn rears a climax for the other's
entrance; the first, lamenting, leads to the soothing hope of the second that, in the very passion of its refrain, loses assurance and ends in a tragic burst.
Suddenly a very new kind of solace appears Dolce grazioso, in a phrase of the clarinet that leads to a duet of wood and cantabile strings, impersonal almost in the sweetness of its flowing song.
In such an episode we have a new Tschaikowsky,—no longer the subjective poet, but the painter with a certain Oriental luxuriance and grace. It is interesting to study the secret of this effect. The preluding strain lowers the tension of the storm of feeling and brings us to the attitude of the mere observer. The "movement of waltz" now has a new meaning, as of an apparition in gently gliding dance. The step is just sustained in leisurely strings. Above is the simple melodic trip of clarinet, where a final run is echoed throughout the voices of the wood; a slower moving strain in low cellos suggests the real song that presently begins, while high in the wood the lighter tune continues. The ripples still keep spreading throughout the voices, at the end of a line. The tunes then change places, the slower singing above.
With all the beauty, there is the sense of shadowy picture,—a certain complete absence of passion. Now the lower phrase appears in two companion voices (of strings), a hymnal kind of duet,—ben sostenuto il tempo precedente. Here, very softly in the same timid pace, enters a chorus, on high, of the old sighing motive. Each melody breaks upon the other and
ceases, with equal abruptness. There is no blending, in the constant alternation, until the earlier (lamenting) motive conquers and rises to a new height where a culminating chorale sounds a big triumph, while the sighing phrase merely spurs a new verse of assurance.
A completing touch lies in the answering phrase of the chorale, where the answer of original motto is transformed into a masterful ring of cheer and confidence.
As is the way with symphonies, it must all be sung and striven over again to make doubly sure. Only there is never the same depth of lament after the triumph. In a later verse is an augmented song of the answer of trumpet legend, in duet of thirds, in slow, serene pace, while the old lament sounds below in tranquil echoes and united strains. Before the end, molto piu vivace, the answer rings in new joyous rhythm.
Somewhat the reverse of the first movement, in the second the emotional phase grows slowly from the naïve melody of the beginning. Against the main melody that begins in oboe solo (with pizzicato strings), semplice ma grazioso, plays later a rising
counter-theme that may recall an older strain. The second melody, in Greek mode, still does not depart
from the naïve mood, or lack of mood. A certain modern trait is in this work, when the feeling vents and wastes itself and yields to an impassive recoil, more coldly impersonal than the severest classic.
A sigh at the end of the second theme is a first faint reminder of the original lament. Of it is fashioned the third theme. A succeeding climax strongly
brings back the subjective hue of the earlier symphony. A counter-theme, of the text of the second melody of Allegro,—now one above, now the other—is a final stroke. Even the shaking of the trumpet figure is there at the height, in all the brass. Yet as a whole the first melody prevails, with abundant variation of runs in the wood against the song of the strings.
The Scherzo seems a masterly bit of humor, impish, if you will, yet on the verge always of tenderness. The first part is never-failing in the flash and sparkle of its play, all in pizzicato strings, with a wonderful daemonic quality of the mere instrumental effect. Somewhat suddenly the oboe holds a long note and
then, with the bassoons, has a tune that is almost sentimental. But presently the clarinets make mocking
retorts. Here, in striking scene, all the brass (but the tuba) very softly blow the first melody with eccentric halts, in just half the old pace except when they take us by surprise. The clarinet breaks in with the sentimental tune in faster time while the brass all the while are playing as before. There are all kinds of pranks, often at the same time. The piccolo, in highest treble, inverts the second melody, in impertinent drollery. The brass has still newer surprises. Perhaps the best of the fooling is where strings below and woodwind above share the melody between them, each taking two notes at a time.
The first of the Finale is pure fanfare, as if to let loose the steeds of war; still it recurs as leading idea. There is a kind of sonorous terror, increased by the insistent, regular notes of the brass, the spirited pace of the motive of strings,—the barbaric ring we often hear in Slav music. At the height
the savage yields to a more human vein of joyousness, though at the end it rushes the more wildly into a
series of shrieks of trebles with tramping of basses. The real battle begins almost with a lull, the mere sound of the second tune in the reeds with light strum of strings and triangle. As the theme is redoubled (in thirds of the wood), the sweep of strings of the first motive is added, with chords of horns. A rising figure is now opposed to the descent of the second melody, with shaking of woodwind that brings back the old trumpet legend. Here the storm grows apace, with increasing tumult of entering hostile strains, the main song now ringing in low brass.
In various versions and changes we seem to see earlier themes briefly reappearing. Indeed there is a striking kinship of themes throughout, not so much in outline as in the air and mood of the tunes. This seems to be proven by actual outer resemblance when the motives are developed. Here in a quiet spot—though the battle has clearly not ceased—is the answer of old trumpet motto, that pervaded the first Allegro. There is a strong feeling of the Scherzo here in the pizzicato answers of strings. The second theme of the Andante is recalled, too, in the strokes of the second of the Finale. In the thick of the fray is a wonderful maze of versions of the theme, diminished and augmented at the same time with the original pace. Yet it is all a clear flow of melody and rich harmony. The four beats of quarter notes, in the lengthened theme, come as high point like the figure of the leader in battle. A later play of changes is like the sport of the Scherzo. This insensibly leads to the figure of the fanfare, whence the earlier song returns with the great joyous march.
The final height of climax is distinguished by a stentorian, fugal blast of the theme in the bass, the higher breaking in on the lower, while other voices are raging on the quicker phrases. It is brought to a dramatic halt by the original prelude of trumpet legend, in all its fulness. Though the march-song recurs, the close is in the ruder humor of the main themes.
Schumann and Tschaikowsky are the two most eminent composers who gave tonal utterance to the sombre romance of Byron's dramatic poem.[33] It is interesting to remember that Byron expressly demanded the assistance of music for the work. If we wish to catch the exact effect that is sought in the original conception, Schumann's setting is the nearest approach. It is still debated whether a scenic representation is more impressive, or a simple reading, reinforced by the music.
Tschaikowsky's setting is a "symphony in four pictures, or scenes (en quatre tableaux), after Byron's dramatic poem." In the general design and spirit there is much of the feeling of Berlioz's "Fantastic" Symphony, though the manner of the music shows no resemblance whatever. There is much more likeness to Liszt's "Faust" Symphony, in that the pervading recurrence of themes suggests symbolic labels. Moreover, in the very character of many of the motives, there is here a striking line of descent.
Lento lugubre, the first scene or picture, begins with a theme in basses of reeds:
with later pizzicato figure of low strings.
An answering strain is one of the most important of all the melodies:
On these, a bold conflict and climax is reared. If we care to indulge in the bad habit of calling names, we might see "Proud Ambition" in the first motives, intertwined with sounds of sombre discontent. The pace grows animando,—piu mosso; moderato molto. Suddenly Andante sings a new, expressive song, with a dulcet cheer of its own, rising to passionate periods and a final height whence, Andante con duolo, a loudest chorus of high wood and strings, heralded and accompanied by martial tremolo of low wood, horns, basses, and drums, sound the fateful chant that concludes the first scene, and, toward the close of the work, sums the main idea.
The apparition of the Witch of the Alps is pictured in daintiest, sparkling play of strings and wood, with constant recurrence of mobile figures above and below. It seems as if the image of the fountain is fittest and most tempting for mirroring in music. Perhaps the most beautiful, the most haunting, of all the "Manfred" music of Schumann is this same scene of the Witch of the Alps.
Here, with Tschaikowsky, hardly a single note of brass intrudes on this perpetuum mobile of light, plashing spray until, later, strains that hark back to the first scene cloud the clear brilliancy of the cascade. Now the play of the waters is lost in the new vision, and a limpid song glides in the violins, with big rhythmic chords of harps, is taken up in clarinets, and carried on by violins in new melodic verse, con tenerezza e molto espressione. Then the whole chorus sing the tune in gentle volume. As it dies away, the music of the falling waters plash as before. The returning song has phases of varying sadness and passion. At the most vehement height,—and here, if we choose, we may see the stern order to retire,—the fatal chant is shrieked by full chorus in almost unison fierceness.
Gradually the innocent play of the waters is heard again, though a gloomy pall hangs over. The chant sounds once more before the end.
The third, "Pastoral," scene we are most free to enjoy in its pure musical beauty, with least need of definite dramatic correspondences. It seems at first as if no notes of gloom are allowed to intrude, as if the picture of happy simplicity stands as a foil to the tragedy of the solitary dreamer; for an early climax gives a mere sense of the awe of Alpine nature.
Still, as we look and listen closer, we cannot escape so easily, in spite of the descriptive title. Indeed, the whole work seems, in its relation to the poem upon which it is based, a very elusive play in a double kind of symbolism. At first it is all a clear subjective utterance of the hero's woes and hopes and fears, without definite touches of external things. Yet, right in the second scene the torrent is clear almost to the eye, and the events pass before us with sharp distinctness. Tending, then, to look on the third as purest pastoral, we are struck in the midst by an ominous strain from one of the earliest moments of the work, the answer of the first theme of all. Here notes of horns ring a monotone; presently a church-bell adds a higher note. The peaceful pastoral airs then return, like the sun after a fleeting storm.
The whole of this third scene of Tschaikowsky's agrees with no special one in Byron's poem, unless we go back to the second of the first act, where Manfred, in a morning hour, alone upon the cliffs, views the mountains of the Jungfrau before he makes a foiled attempt to spring into the abyss. By a direction of the poet, in the midst of the monologue, "the shepherd's pipe in the distance is heard," and Manfred muses on "the natural music of the mountain reed."
The last scene of the music begins with Byron's fourth of Act II and passes over all the incidents of the third act that precede the hero's death, such as the two interviews with the Abbot and the glorious invocation to the sun.
From Tschaikowsky's title, we must look for the awful gloom of the cavernous hall of Arimanes, Byron's "Prince of Earth and Air." The gray figure from most ancient myth is not less real to us than Mefistofeles in "Faust." At least we clearly feel the human daring that feared not to pry into forbidden mysteries and refused the solace of unthinking faith. And it becomes again a question whether the composer had in mind this subjective attitude of the hero or the actual figures and abode of the spirits and their king. It is hard to escape the latter view, from the general tenor, the clear-cut outline of the tunes, of which the principal is like a stern chant:
The most important of the later answers lies largely in the basses.
There is, on the whole, rather an effect of gloomy splendor (the external view) than of meditation; a sense of visible massing than of passionate crisis, though there is not wanting a stirring motion and life in the picture. This is to speak of the first part, Allegro con fuoco.
The gloomy dance dies away. Lento is a soft fugal chant on elemental theme; there is all the solemnity of cathedral service; after the low-chanted phrase follows a tremendous blare of the brass. The repeated chant is followed by one of the earliest, characteristic themes of the first scene. And so, if we care to follow the graphic touch, we may see here the intrusion of Manfred, at the most solemn moment of the fearful revel.
As Manfred, in Byron's poem, enters undaunted, refusing to kneel, the first of the earlier phases rings out in fierce fortissimo. A further conflict appears later, when the opening theme of the work sounds with interruptions of the first chant of the spirits.
A dulcet plaint follows, Adagio, in muted strings, answered by a note of horn and a chord of harp.
It all harks back to the gentler strains of the first movement. In the ethereal glissando of harps we see the spirit of Astarte rise to give the fatal message. The full pathos and passion of the lento episode of first scene is heard in brief, vivid touches, and is followed by the same ominous blast with ring of horn, as in the first picture.
A note of deliverance shines clear in the final phrase of joined orchestra and organ, clearer perhaps than in Manfred's farewell line in the play: "Old man! 'tis not so difficult to die." To be sure, Schumann spreads the same solace o'er the close of his setting, with the Requiem. The sombre splendor of romance is throughout, with just a touch of turgid. In the poignant ecstasy of grief we feel vividly the foreshadowing example of Liszt, in his "Dante" and "Faust" Symphonies.
With all the unfailing flow of lesser melodies where the charm is often greatest of all, and the main themes of each movement with a chain of derived phrases, one melody prevails and reappears throughout. The fluency is more striking here than elsewhere in Tschaikowsky. All the external sources,—all the glory of material art seem at his command. We are reminded of a certain great temptation to which all men are subject and some fall,—however reluctantly. Throughout there is a vein of daemonic. The second (Allegro) melody grows to a high point of pathos,—nay, anguish, followed later by buoyant, strepitant, dancing delight, with the melting answer, in the latest melody. The daemon is half external fate—in the Greek sense, half individual temper. The end is almost sullen; but the charm is never failing; at the last is the ever springing rhythm.
The march rhythm of the opening Andante is carried suddenly into a quick trip, Allegro con anima (6/8), where the main theme of the first movement now begins, freely extended as in a full song of verses. New accompanying figures are added, contrasting phrases or counter-melodies, to the theme.
One expressive line plays against the wilder rhythm of the theme, with as full a song in its own mood as the other. A new rhythmic motive, of great charm, un pocchetino piu animato, is answered by a bit of the theme. Out of it all grows, in a clear
welded chain, another episode, where the old rhythm is a mere gentle spur to the new plaint,—molto piu tranquillo, molto cantabile ed espressivo.
To be sure, the climax has all of the old pace and life, and every voice of the chorus at the loudest. In the answering and echoing of the various phrases, rhythmic and melodic, is the charm of the discussion that follows. Later the three melodies come again in the former order, and the big climax of the plaintive episode precedes the end, where the main theme dies down to a whisper.
Andante cantabile, con alcuna licenza. After preluding chords in lowest strings a solo horn begins a
languishing song, dolce con molto espressione. It is a wonderful elegy, a yearning without hope, a swan-song of desire, sadder almost than the frank despair of the Finale of the Pathétique symphony,—pulsing with passion, gorgeous with a hectic glow of expressive beauty, moving too with a noble grace. Though there is a foil of lighter humor, this is overwhelmed in the fateful gloom of the returning main motto.
The abounding beauty with all its allurement lacks the solace that the masters have led us to seek in the heart of a symphony. The clarinet presently twines a phrase about the tune until a new answer sounds in the oboe, that now sings in answering and chasing duet with the horn. The phrase of oboe proves to be the main song, in full extended periods, reaching a climax with all the voices.
Well defined is the middle episode in minor reared on a new theme of the clarinet with an almost fugal polyphony that departs from the main lyric mood.
At the height all the voices fall into a united chorus on the original motto of the symphony. The first melodies of the Andante now return with big sweep and power, and quicker phrases from the episode. The motto reappears in a final climax, in the trombones, before the hushed close.
We must not infer too readily a racial trait from the temper of the individual composer. There is here an error that we fall into frequently in the music of such men as Grieg and Tschaikowsky. The prevailing mood of the Pathetic Symphony is in large measure personal. Some of the more recent Russian symphonies are charged with buoyant joyousness. And, indeed, the burden of sadness clearly distinguishes the last symphony of Tschaikowsky from its two predecessors, the Fourth and the Fifth.
The tune of the valse, Allegro moderato, is first played by the violins, dolce con grazia, with accompanying strings, horns and bassoon. In the second part, with some loss of the lilt of dance, is a subtle design—with a running phrase in spiccato strings against a slower upward glide of bassoons. The duet winds on a kind of crescendo of modulations. Later
the themes are inverted, and the second is redoubled in speed. The whole merges naturally into the first waltz, with a richer suite of adorning figures. The dance does not end without a soft reminder (in low woodwind) of the original sombre phrase.
Almost for the first time a waltz has entered the shrine of the symphony. And yet perhaps this dance has all the more a place there. It came on impulse (the way to visit a sanctuary), not by ancient custom. But with all its fine variety, it is a simple waltz with all the careless grace,—nothing more, with no hidden or graphic meaning (as in Berlioz's Fantastic Symphony).
The middle episode, though it lacks the dancing trip, is in the one continuing mood,—like a dream of youthful joys with just a dimming hint of grim reality in the returning motto.
In the Finale the main legend of the symphony is transformed and transfigured in a new, serener mood, and is brought to a full melodic bloom. Indeed, here is the idealization of the original motto. Andante maestoso it begins in the tonic major. When the theme ceases, the brass blow the rhythm on a monotone, midst an ascending obligato of strings.
In answer comes a new phrase of chorale. Later the chorale is sounded by the full band, with intermediate beats of rhythmic march.
Once more there is a well-marked episode, with a full share of melodic discussion, of clashing themes, of dramatic struggle. First in the tonic minor a theme rises from the last casual cadence in resonant march, Allegro vivace. Then follows a duet, almost
a harsh grating of an eccentric figure above against
the smoother course of the latest Allegro motive. The themes are inverted. Presently out of the din rises a charming canon on the prevailing smoother phrase, that soars to a full sweep of song. A new
hymnal melody comes as a final word. Though the main motto returns in big chorus, in full extension, in redoubled pace and wild abandon, still the latest melody seems to contend for the last say. Or, rather,
it is a foil, in its simple flow, to the revel of the motto, now grown into a sonorous, joyous march. And we seem to see how most of the other melodies,—the minor episode, the expressive duet—have sprung from bits of the main text.
To return for another view,—the Finale begins in a mood that if not joyous, is religious. Out of the cadence of the hymn dances the Allegro tune almost saucily. Nor has this charming trip the ring of gladness, though it grows to great momentum. As a whole there is no doubt of the assurance, after the earlier fitful gloom, and with the resignation an almost militant spirit of piety.
In the dulcet canon, an exquisite gem, bliss and sadness seem intermingled; and then follows the crowning song, broad of pace, blending the smaller rhythms in ecstatic surmounting of gloom. In further verse it doubles its sweet burden in overlapping voices, while far below still moves the rapid trip.
But the motto will return, in major to be sure, and tempered in mercy. And the whole hymn dominates, with mere interludes of tripping motion, breaking at the height into double pace of concluding strain. Before falling back into the thrall of the legend the furious race rushes eagerly into the deepest note of bliss, where in sonorous bass rolls the broad, tranquil song. And though the revel must languish, yet we attend the refrain of all the melodies in crowning rapture. Then at last, in stern minor, sounds the motto, still with the continuing motion, in a loud and long chant.
In blended conclusion of the contending moods comes a final verse of the legend in major, with full accoutrement of sounds and lesser rhythm, in majestic pace. And there is a following frolic with a verse of the serene song. The end is in the first Allegro theme of the symphony, in transfigured major tone.
We must be clear at least of the poet's intent. In the Fifth Symphony Tschaikowsky sang a brave song of struggle with Fate.