Here lies the nobility of the common people and of its song; the national phase is a mere incident of political conditions. The war of races is no alembic for beauty of art. If there were no national lines, there would still be folk-song,—merely without sharp distinction. The future of music lies less in the differentiation of human song, than in its blending.
Thus we may rejoice in the musical utterance of a race like the Russian, groaning and struggling through ages against autocracy for the dignity of man himself,—and in a less degree for the Bohemian, seeking to hold its heritage against enforced submergence. But we cannot take so seriously the proud self-isolation of other independent nations.
[ BALAKIREW.[35] SYMPHONY IN C ]
The national idea shines throughout, apart from the "Russian Theme" that forms the main text of the Finale. One may see the whole symphony leading up to the national celebration.
As in the opening phrase (in solemn Largo) with
its answer are proclaimed the subjects that presently
appear in rapid pace, so the whole movement must be taken as a big prologue, forecasting rather than realizing. There is a dearth of melodic stress and balance; so little do the subjects differ that they are in essence merely obverse in outline.
Mystic harmonies and mutations of the motto lead to a quicker guise (Allegro vivo). Independently of themes, the rough edge of tonality and the vigorous primitive rhythms are expressive of the Slav feeling. Withal there is a subtlety of harmonic manner that could come only through the grasp of the classics common to all nations. Augmentation and diminution of theme abound, together with the full fugal manner. A warm, racial color is felt in the prodigal use of lower reeds.[36]