IV. Scene and Gypsy Song. Allegro, D minor, 6-8. This dramatic scene is a succession of five cadenzas. The movement begins abruptly with a roll of side drum, with a fanfare, quasi-cadenza, in syncopated rhythm, gypsy fashion, for horns and trumpets. The drum roll continues, now pianississimo. The second cadenza, which is for solo violin, introduces the chief theme. This is repeated by flute and clarinet. The third cadenza, freer in form, is for flute over a kettledrum roll; the fourth, also free, for clarinet over a roll of cymbals. The fifth cadenza is for harp with triangle.
The gypsy song begins after a harp glissando.
The song is attacked savagely by the violins and is punctuated by trombone and tuba chords and cymbal strokes. The cadenza theme enters, full orchestra, with a characteristic figure for accompaniment. The two themes are alternated. There is a side theme for solo violoncello. Then the strings, in guitar fashion, hint at the fandango rhythm of the finale, and accompany the gypsy song, which is now blown staccato by wood-wind instruments. The cadenza theme is enwrapped in triplets for strings alternating with harmonics pizzicato. The pace grows more and more furious, animato, and leads into the finale.
V. Fandango of the Asturias. A major, 3-4.
The chief theme of the fandango in this Spanish Caprice is announced immediately by the trombones, and a related theme for wood-wind instruments follows. Both themes are repeated by oboes and violins, while flutes and clarinets have figured in accompaniment. There is a variation in dance form for solo violin. The chief theme in a modified version is given to bassoons and violoncellos. The clarinet has a solo with fandango accompaniment, and the dance grows more and more furious until the chief theme is heard again from the trombones. The fandango suddenly is changed into the “Alborada” of the first movement, Coda, vivo. There is a short closing presto.
CHARLES CAMILLE
SAINT-SAËNS
(Born at Paris, October 9, 1835; died at Algiers, December 16, 1921)
An enemy of Saint-Saëns—and Saint-Saëns made enemies by his barbed words—might have applied to him the lines of Juvenal:
Grammaticus, rhetor, geometres, pictor, aliptes,
Augur, Schoenobates, medicus, magus, omnia novit.