Scan 11
Musical Courier 1892-05-04: Vol 24 Iss 637, 1892
69 lines. Read by computer on 19 September 2026. Printed page 12. See the scan on archive.org.
1Symphonic Suite—"The Tempest."
2By S. G. Pratt.
4THEMATIC ANALYSIS.
6THE first movement of this large work was produced for the first time at the Manuscript Society's last concert of the season at Chickering Hall, Saturday evening, April 30, under the direction of the composer. The work in its entirety may be heard at Chickering Hall on Friday at 4 p. m. To those who are interested in the development of native talent the following analysis will be of much interest:
8In this symphony the composer has not written a descriptive piece of music from the realistic standpoint. There is no "storm" music, to begin with, the writer having endeavored to depict emotions of some of the principal characters in Shakespeare's play rather than actions.
10The composition is divided into three parts, as follows:
11Part I.—adagio—entitled "The Soliloquy," representing "Prospero" alone, with his thoughts reverting to the wrongs he had suffered. The spirit "Ariel" is in attendance. The motto for this part, as indeed for the entire work, is as follows:
13We are such stuff as dreams are made of,
14And our little life is rounded in a sleep.
16Part II.—andante quasi allegretto—a pastorale, introducing the lovers, "Miranda" and "Ferdinand," and Part III.—allegro assai—depicting the fairies' revelry, "Ariel," "Caliban" and his drunken companions, "Prospero" and ultimately the lovers triumphant.
18The short soliloquy, Part I, begins with the following theme in A flat major, with violins, violas and 'cellos.
20PRINCIPAL THEME.
22It is immediately taken by the clarinet (solo) with bassoons. At the third measure four French horns, three trombones, bass tuba and kettledrums are added underneath, while oboe and flutes are given the melody in octaves.
24The strings then take it up with a figure in eight notes in the first violins; gradually ascending with modulations, the theme abbreviated continues in the violins, while French horns, clarinets and bassoons are added; then oboe and flutes and finally the bass tuba, trombones and cornets, while the kettledrums assist in the climax brought to a crashing fortissimo with the cymbals and bass drum. Then in diminuendo the theme passes from reeds to the horns, with strings accompanying, while the flutes in a group of six notes in thirds modestly indicate "Ariel's" appearance.
26This theme is then treated colloquially; first in the strings, then in the woodwind; now in the bassoons and now in the 'cellos. It finally passes off, descending in the bass and ascending in the violins, chromatic progressions being used to give the idea of sleep. The vigilant "Ariel" flits about obedient to the master mind. The second theme, somewhat more restless, is then voiced in the strings and marked un poco piu moto.
282d Theme (abbreviated).
30This is developed with counterpoint work, as the melody is given to the 'cellos in unison, now with a clarinet and now with an oboe. The melody then abbreviated is worked up to the full powers of the orchestra at the greatest climax, modulating to A flat and resting there. The first theme is then repeated with some new tone coloring, the zephyrous "Ariel" hovering about while the bassoons and basses introduce a motive which later in the last part is used to introduce "Caliban." The "Soliloquy" ends with an inversion and broadening of the first theme, first in 'cellos, then in the horns and finally in the viola part, as follows:
32The pastorale is in A major, the first and principal theme being given out by the strings, the first violins muted to lend that peculiar distant and misty tone coloring which the harmony is intended to indicate.
34With the dominant chord the theme is repeated, being brought to its complete form by using the melodic phrase in the 'cellos, the violins and violas forming a counter melody over it. This last phrase entire (four measures) is then taken by the woodwind with a horn underneath and a fragment in counterpoint by the violins; a secondary theme is then developed from the first phrase by the strings, with responses from the oboe and flute, and upon repeating it rests upon the chord of A flat major. This base note is then held as an organ point by 'cellos and basses, while the figure is elaborated by the violins and viola ascending and increasing in power. Flutes and bassoons are then added, the strings repeating an octave higher. The horns, and finally the trombones with kettledrums, are added, bringing the climax ff with the figure supported by the chord of G flat and suddenly modulating to B flat with the fifth in the bass.
36Fragments of the theme passing from strings to woodwind and horns dimmodulate to a minor pp, the violins leading to a repeat of the first part by using the secondary figure on the chord of A minor. After the repeat a new melody is brought out, which may be termed the second principal theme. It is distinctly pastoral in character and is given the woodwind alone, a single horn in the last measures only being added. The oboe and clarinet hold the tone on A throughout (giving a bagpipe effect), while the melody, imitated by the bassoon, is taken in octaves by the first clarinet and oboe.
38SECOND CHIEF THEME.
40This same theme is then given in the minor un poco piu lento, and then without further elaboration the third principal theme is introduced in the key of F major, 6 8 time, as follows:
42THIRD PRINCIPAL THEME (ABBREVIATED).
44This melody is accompanied very softly by the harp and is intended to represent the passion of "Ferdinand" for "Miranda." It is considerably elaborated, the violins and horns being added to bring it to a conclusion. The second part of this theme is then announced in the clarinet, supported by the strings and harp, and is evidently intended to represent the modest acquiescence of "Miranda" to her lover's appeal.
46Flute & Violin.
48This is then used in modulation to the key of C, when the first part is repeated, the violins, flutes and cornets, supported by the full orchestra. The 'cellos, bassoons, violas and second violins are given a more agitated accompaniment in sixteenth notes and the climax rests finally on the diminished chord of E as follows:
50After some responses from the second part of this theme in the woodwind alternately with strings another episode is introduced, the trombones impressively announcing the presence of "Prospero" in the first theme of the first part, broadened out in 6 8 time. This is followed by an agitated movement in the oboe and flute in A minor, somewhat plaintive and supported by the 'cellos and violas in figure work, the clarinet, bassoons and horns accentuating the rhythm with short, sharp notes; the trombones in low bass tones continue to sustain the harmony, indicating "Prospero" as the cause of the trials through which the lovers are compelled to pass.
52The melody of "Ferdinand" at intervals proclaims his continued devotion, responsive strains in the minor indicating "Miranda's" sympathy and assent, the full orchestra eventually being brought in in working out the theme in D minor until it finally rests in triumph on G major. The first theme is then, after a few measures of modulating agitation, given in the original key of F, commencing in the 'cellos and enlisting the full power of the orchestra at its closing measures, the trombones, cornets and French horns being given the theme ff, while the woodwind and strings supply the harmony above as follows:
54The theme then passes to the 'cellos, softly answered by the first violins and dies away in a pp, the voice of "Miranda" gently responding, finally reiterated by the French horn, as though in the distance, the violins above it ppp.
56The second theme (pastoral in character) is now repeated, at first in A minor and then in A major. The part is then brought to a close with alternating fragments of all the themes, the first principal theme being given in E major, the lovers' theme (No. 3) in A major, now broadened out to 3-4 time (and punctuated with the pastoral phrase), the concluding strain being the lovers' theme in the strings, with the harp and horns sustaining very softly.
58The third part, representing the "Fairies' Revelry," is written in C major, a sombre effect of chords, slow and sustained, being produced by building on a scale composed of whole steps progressing downward. This is given out by the united strings pp, a chord upon the harp softly aiding a crescendo. The scale begins on A flat and rests there, being repeated on G, with the addition of all the brass except the cornets, "Prospero's" first theme in Part I. being used as a conjunction. This is intended to portray "Prospero's" conjuration, and is at once followed by the rapid movement in 6-8 time representing the gathering of the fairies. The following is the figure used, the 'cellos and violins taking the two lowest notes of each group pizzicato: The entire introduction should be very pp and zephyrous as possible to indicate the flitting spirits.
60The working out of this figure in chromatic harmonies is accomplished with the strings and wood, one French horn only being used.
62This is broken in upon by wooden cymbals as though gnomes had taken it upon themselves to beat time, and this again by a figure in 3-4 time in triplets forming a broken arpeggio upon "Prospero's" theme, Part I., thus (the first violins staccato, other strings pizzicato, the clarinet, oboe and fagotti supporting):
64This playful figure is repeated and abbreviated, the harp being used at the change of harmony to emphasize the movement. The assembly now consummated the wooden cymbals with a glissando passage on the harp, supported by the strings pizzicato, introduce the dance in 4-8 time allegro assai.
66FRAGMENT OF FIRST PRINCIPAL THEME, PART III.
68As this theme is developed the wooden cymbals continue
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