[[28]] As the lower overtones, discovered by a later science, clearly confirm the tonal system of the major scale, slowly evolved in the career of the art,—so the upper overtones are said to justify the whole-tone process. At best this is a case of the devil quoting scripture. The main recurring overtones, which are lower and audible, are all in support of a clear prevailing tonality.
[[29]] In the drama Débussy avoids the question of form by treating the music as mere scenic background. Wagner, in his later works, attempted the impossible of combining a tonal with the dramatic plot. In both composers, to carry on the comparison beyond the technical phase, is a certain reaching for the primeval, in feeling as in tonality. Here they are part of a larger movement of their age. The subjects of their dramas are chosen from the same period of mediaeval legend, strongly surcharged in both composers with a spirit of fatalism where tragedy and love are indissolubly blended.
[[30]] English horn.
[[31]] Born in 1865.
[[32]] The flageolet tones of the strings seem wonderfully designed in their ghostly sound for such an aerial touch. Dukas uses them later in divided violins, violas and cellos, having thus a triad of harmonics doubled in the octave.
The remaining instruments are: Piccolo, 2 flutes, 2 oboes, 2 clarinets, bass-clarinet, 3 bassoons, contra-bassoon (or contra-bass sarrusophon); 4 horns, 2 trumpets (often muted); 2 cornets-à-pistons; 3 trombones; 3 kettle-drums; harp; glockenspiel; big drum, cymbals and triangle.
[[33]] Prefixed are the familiar lines:
"There are more things in heaven and earth,
Horatio, Than are dreamt of in your philosophy."
"There are more things in heaven and earth,
Horatio, Than are dreamt of in your philosophy."
[[34]] In the choice of subjects there was a like breadth. Balakirew was inspired by "King Lear," as was Tschaikowsky. And amid a wealth of Slavic legend and of kindred Oriental lore, he would turn to the rhythms of distant Spain for a poetic theme.