(e) From the "Symphonia Domestica."
The chief theme of the arch mischief-maker, "Till Eulenspiegel," is necessarily capricious, but it is doubtful if even for him anyone but Strauss would have thought of those surprising jumps, landing each time on an unexpected note. In the main theme of "Don Juan" we have a good example of his rhythmic energy. Note the variety of the figures: the sixteenth notes in the first measure, swarming up to the high E; the still further ascending triplet; the even more incisive dotted group leading to the emphatic half notes. In similar general style is the chief theme of "Ein Heldenleben," depicting the hero, but less lithe, more burly and almost awkwardly powerful. The theme of "great longing" from "Also Sprach Zarathustra" conveys its impression through the wide jumps, covering almost three octaves in two vigorous dashes. The theme of "the Wife," from the "Symphonia Domestica," illustrates Strauss's love of turning the unexpected way. Notice the downward jump of a ninth, and the cadence transferred to a higher octave than we expect.
The same story of overflowing nervous energy is told by two other characteristics of Strauss's melody. Like all sanguine natures he has more rising than falling phrases. The buoyancy of (b), (c), and (d) in Figure I is irrepressible; (a) has a falling curve, somewhat coy; (e) begins in the same wheedling vein, but ends with a rise of self-confident energy. A canvass of all the motives in the symphonic poems would probably demonstrate that seventy-five per cent of them rise in pitch. The second peculiarity is more subtle but even more significant—a preference for "rising" or anacrustic rhythms, culminating in an accented final note after several unaccented ones, to "falling" or thetic rhythms beginning with the heavy part of the measure. The elasticity of the rising rhythm is clearly shown in all the excerpts of Figure I except that from "Ein Heldenleben"; that, naturally, begins doggedly on the down beat. Only a systematic study can show the extent of Strauss's addiction to the rising rhythm.
These considerations, to which might perhaps be added his preference for the major to the minor mode, and for the vigorous duple to the more subtle triple meter, afford us quite ample internal evidence of his belonging to the temperamental type of the actives, like Mendelssohn and Saint-Saëns (however he may differ from them musically) rather than to that of the contemplatives,—the Schumanns and the Francks. To these positive points we might add negative ones, dealing with his emotional shortcomings. This, indeed, we shall have to do later, in the interest of a just critical estimate; but for the present it will be better worth while to examine the positive results, in the way of keen observation and masterly characterization, of this active-minded interest of Strauss in what lies about him.
III
Strauss's characterization is consummate. Superlatives are dangerous, but probably no other musician has ever carried to such a point the power of music to depict, or at least, to suggest, varieties of character, both in human beings and in inanimate objects. Strauss's reported remark that music was becoming so definite that we should soon be able to portray a tablespoon so unmistakably that it could be told from the rest of the silverware is probably an instance of his sardonic delight in hoaxing the public; but if anyone is going to subject the art of tones to this curious test, we are all agreed, doubtless, that it should be Strauss himself. Meanwhile, failing a tablespoon, we have a sufficiently varied collection of portraits in his gallery, each sketched with a Sargent-like penetration.
We have seen, for example, in Figure Ia, Till Eulenspiegel the arch mischief-maker, irrepressible, incorrigible. Here, on the other hand, is Till sentimental, making love to a village maiden, his original insolence tamed into a simpering persuasiveness, his theme, at first so galvanic, now languishing in its plaintive downward droopings (Figure II, page 57). Later we see him, repulsed by the maiden, storming in ungovernable fury.[7]