IV. The White Knight
(The score contains extracts from the conversation of the White Knight, and an account of his leave-taking.)
He was a toy Don Quixote, mild, chivalrous, ridiculous, and rather touching. He carried a mouse-trap on his saddle-bow, “because, if they do come, I don’t choose to have them running about.” He couldn’t ride very well, but he was a gentle soul, with good intentions. There are two themes: the first, a sort of instrumental prance, being the Knight’s own conception of himself as a slashing, dare-devil fellow. The second is bland, mellifluous, a little sentimental—much more like the Knight as he really was. The first theme starts off bravely, but falls out of the saddle before very long, and has to give way to the second. The two alternate, in various guises, until the end, when the Knight rides off, with Alice waving her handkerchief—he thought it would encourage him if she did.
PETER ILITCH
TCHAIKOVSKY
(Born at Votkinsk, in the government of Viatka, Russia, May 7, 1840; died at St. Petersburg, November 6, 1893)
It is true that in more than one page of his symphonies Tchaikovsky narrowly escapes the reproach of vulgarity; but the earnestness, the sincerity of the speech makes its way even before the development and the amplification make them seem inevitable. The heart of Tchaikovsky was that of a little child; the brain was that of a man weary of the world and all its vanities. And so we have the singular phenomenon of naïveté, accompanied by a super-refined skill—and all this in the body and mind of a man fundamentally oriental in his tastes and especially in his love of surprising or monotonous rhythms and gorgeous colors. The very modernity of Tchaikovsky, his closeness to us as the spokesman of the things we think and dare not say—these qualities may war against his lasting fame; but in our day and generation he is the supreme interpreter by music of elemental and emotional thought. The emptiness of life obsessed him, and in the expression of his thought he is again the man of his period. When faith returns again to the world, his music may be studied with interest and curiosity as an important document in sociology. But in the present we are under his mighty spell.