Scan 4
Musical Courier 1906-12-19: Vol 53 Iss 1395, 1906
24 lines. Read by computer on 26 September 2026. Printed page 5. See the scan on archive.org.
1TSCHAIKOWSKY AS A SYMPHONIST.
2BY EDGAR STILLMAN-KELLEY.
3(Concluded.)
5In the fifth symphony in E minor Tchaikowsky lengthens the main theme of the first movement by a procedure similar to that used in his F minor symphony. In the E minor, however, there is greater unity of key, the composer employing a three part song form, sections of which are developed and combined with new material, maintaining the interest without touching any remote tonality for eighty-six measures. The construction of the principal theme in a sonata movement on the framework of a three part song form is rare. Dr. Marx says he knows of no instance—Beethoven doubtless never used it, nevertheless Mendelssohn applied it in his overture to "Midsummer Night's Dream," and we find it in Brahms.
7In the opening movement of the sixth (pathetic) symphony we notice a main theme more akin to those of Beethoven than we find in any other similar work of the great Russian. In this number also, he was impelled to express himself at some length previous to the entrance of the second subject. Here all develops from a small germ to be found in the first two measures, and as it grows we behold a most marvelous and exhaustive illustration of the possibilities of thematic evolution. Variety is obtained by the addition of accessory figures rhythmically allied to the main subject, and the free application of the principles of double counterpoint, permitting an inversion of the voices always tending toward harmonic richness.
9With regard to his grouping of themes and the selection of keys for the same in the sonata movement, Tchaikowsky remains as faithful to tradition as Beethoven himself. Indeed, in this respect as well as in many others involving vital principles, he was so strict that the school of young Russian composers called him a "pedant," a designation which few of us Americans regard as fitting.
11In the working out of the F minor symphony, he himself complains of difficulties encountered, not always solved to his own satisfaction. He employs almost wholly the figure of the main theme in 9/8 measure, sometimes in two or more parts, now and again with the theme in contrary motion, and at times relieved by the fanfare from the introduction, but always with some modulatory impetus, driving definitely from key to key with great system, and culminating in a furious outburst of the complete main theme above an organ point on the dominant of D minor. This tumult dies away and the reprise begins with the secondary theme also in D minor—at least so the composer regarded it (otherwise the recapitulation might be considered to begin in D minor). This beginning of the last section with the second theme instead of the first has already been noted.
13The working out section of the E minor symphony contains a number of features which would have pleased Beethoven himself. Witness the complete manner of treating one phase then another of the main theme, secondary theme, and the phrase from the transition alternating in canonic and fugal form; also note the combination of the second theme with the other two. But above all observe the adroit and witty means of bringing in the main theme in the main key at the beginning of the reprise. At the height of his contrapuntal and orchestral entanglements of the principal themes, the composer lays special stress on B flat in the bass at first alternating with F, indicating chords of the sixth of G minor and D minor. Then we have an organ point on B flat, first signifying G minor, later by degrees, it assumes the character of third inversion of the dominant seventh of F major, subsequently enharmonically changed to A sharp (implied, though not written), thus producing an inversion of the augmented sixth and fifth, resolving into the second inversion of the tonic triad (E minor) thus (see harmonic outline, example 7).
15Note also the graceful melodic curves in this "return," in all respects one of the most original ever conceived. If this portion of the E minor symphony be made remarkable by its curious equivocal organ point and diminuendo, leading back to the main theme, the corresponding passage in the "Pathetic" is scarcely less so by virtue of a process just the reverse. Not only is the recapitulation preceded by a crescendo, but instead of a culminating organ point, the bass at the close of the working out section assists the other voices in forming a series of harmonic designs. The effective organ point on the dominant, which begins with the twenty-third measure of the reprise, leads to the beautiful subsidiary theme in such an emphatic manner that we should be tempted to regard this point as the beginning of the recapitulation had not the main theme already appeared in the tonic (B minor). Other than this there are no marked deviations from the established conventions of form, saving that on its first appearance, the lyric theme is preceded by a pause, and after the closing theme (moderato mosso) is heard once more, before the beginning of the development section, and the closing theme is replaced in the reprise by a new motive (taken by the wind above the basso ostinato for strings pizzicato).
17Throughout the entire range of Tchaikowsky's works one strong characteristic, which he possesses in common with all the greater modern musical innovators, is the mastery of harmony and modulation. By this is implied not merely the art of adorning given melodies with pleasing chord combinations, but the far more difficult matter of taking a harmonic theme and developing the same with as great precision and accuracy as the classical masters treat a melodic phrase or a rhythmic figure.
19It is singular that this phase of musical art has never been truly apprehended or justly appreciated by theorists or students. In light of the fact that the real progress in musical art from the close of the eighteenth century to the present day has been accompanied by an increase of the use of fitting harmonic vestments for the most striking melodies the master minds have been capable of inventing, it seems strange to have the merits of this beautiful and dramatic feature of the art consciously ignored. Indeed, special interest is sometimes laid upon this very ignoring. A well trained musician, with whom I was once conversing on the subject, defended his dislike to Wagner's music because in it too much attention was paid to harmony, and according to his ideas "harmony is a broken reed." There are doubtless many who will sympathize with these views altogether, and many more in part, especially after playing through those pages of "Parsifal," and even passages in some of the earlier works, where there seems to be no system in the harmonic flow, where the modulations take unexpected backward turns and where dissonances are arbitrarily squeezed out of otherwise normal tone combinations. To such procedures Wagner was ultimately led through his desire to eliminate from his music dramas all commonplace—such as the old recitative with its platitudinous cadences, the set lyric forms, etc. Hence the continual use of the deceptive cadence, which, combined with the elaborate harmonic character of his leading themes, frequently consisting of series of unresolved dissonances, producing that feeling of unrest so trying to the audiences of forty years ago, and even to many musical people of the present day. And yet the Bayreuth master, at his best, employs a system of developing his harmonies as logically as did Mozart his melodies, which, if properly studied and applied, would be of infinite value to the cause of absolute as well as dramatic music. Unfortunately these principles are not so obvious to the disciple of art as are the less valuable features, endless melody and continuous modulation, which have led so many astray. No wonder, therefore, that many have sought relief in the more reposeful compositions of Brahms and others, who, working more on classical than on romantic lines, devote more attention to contrapuntal features than to harmonic designs. This idea of opposing counterpoint to harmony is unfortunate, because both are indispensable to the very existence of music. One of the chief merits of Tchaikowsky is that he has a wonderful command of what might be termed "modern counterpoint," that is, a system of keeping his voices moving with a continual suggestion of harmonic fullness. Bach's "Two Voiced Inventions," Chopin's etudes, op. 25, Nos. 1 and 2, and the one in F minor (composed for Moscheles' method), and his nineteenth prelude, show how, not only simple, but even intricate harmonic designs may be outlined with only two parts. This devise is frequently employed by the Russian symphonist, who invented an ingenious method of doubling up these outlines in the octave, after the manner shown in the following extracts from the first of the set of variations in the third suite, op. 55 (see Example 8):
21Here the original theme is given to the strings furnishing the bass of this variation. If we but play it in connection with the soprano (first flute and first clarinet) we have the harmonic outline complete. The same is true if alto (second flute and second clarinet) and bass are played without the soprano, also if soprano and alto are given without the bass. Furthermore, as the movement is practically written in three part double counterpoint, the voices might be inverted and still make sense. Only by disintegrating this and many similar passages can Tchaikowsky's phenomenal mastery of euphonious counterpoint be understood and valued.
23Mention has been made of the desirableness of developing harmonic figures and themes in a systematic manner. Generally speaking there are two classes of harmonic designs: to the first belong all those that result from a combination of moving voices, to the second belong those consisting of but two or more striking tone combinations, usually leading to a modulation. To the first category belong those beautiful specimens of Chopin's art so often admired, but so rarely appreciated (see the etudes, op. 10, Nos. 6 and 7, also No. 11, and op. 25, No. 11, especially the second parts of the latter two. See also the working out section in the opening movements of the E
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