[146] According to d'Indy it is more truly pathetic than the entire so-called Pathetic Sonata.
[147] A frequent confusion of thought is shown in the use of the words "discord" and "dissonance." A discord is an unrelated noise, as when one bangs with both fists on the key-board. A dissonance is a logical introduction of intervals or chords made up of jarring factors for their stimulating effect upon the imagination.
[148] Two of the greatest innovators in this direction, Scryabin and Stravinsky, have been working in our own day, and there is no doubt that by their daring experiments they have enlarged the expressive powers of music. While it is obvious that the dramatic effect of to-day stimulates the experimentation of tomorrow, contrariwise, the immediate contribution of each innovator is to render more clear the work of his predecessor, up to that moment the confessed iconoclast.
[149] For a very clear tabular view of the structure of this Sonata see d'Indy's Cours de Composition Musicale, Book II, p. 332.
[150] This is not given in the Supplement. See preceding remarks apropos of the Third Symphony. The comments are based, as usual, on the full orchestral score.
[151] This interpretation of d'Indy is based upon the prevalence in the movement of the conventional martial rhythm
and carries, we must acknowledge, considerable weight. It is, however, distinctly subjective and prevents no one from gaining quite a different impression. We should be more inclined to accept the views of the noted French scholar had he not been so wide of the mark, while speaking of the Seventh Symphony, as to deny any appearance of dance-rhythm in the first movement But the Irish composer, Villiers Stanford, has shown conclusively that the theme is based upon the rhythm of an Irish Hornpipe. Thus do the wise ones disagree! Meanwhile, we others have the music itself.
[152] Beethoven and his Nine Symphonies by Sir George Grove.
[153] Beethoven's favorite mark of tempo and expression.