Scan 318
The American history and encyclopedia of music, 1910
4 lines. Read by computer on 9 September 2026. Printed page 274. See the scan on archive.org.
1In the first of the usual four parts of a symphony we recognize the sonata form in which are found the melodies which are to form the subject for later developments. Invariably a symphony begins simply in order to show its scope. If it open with a burst of chords they will usually be followed by a quiet, even legend-like theme, which seems to float from the heavy opening chords. Either wood-winds or strings and occasionally brasses will carry this theme, and after a few bars of simple, possibly solemn, chanting of the subject, you will feel a stir of motion among a second choir, while the theme still continues, and then the other instruments seem to gather impetus, and they are soon either echoing a response to the wood-wind choir, which is now carrying the melody, or are giving the rhythmic swing, by their chords, filling in harmonies, or taking an active vocal part and giving color to the whole. Then, after the theme has been stated and restated, comes the period of discussion, or the development, in which we find the composer's learning and fancy exploited; it is the free fantasia, and it is a delightful excitement for the symphony lover to follow the fancy of a composer through these parts. You usually find the highest contropuntal discussion between the voices. In the string quartet the violins each seem to be exploiting their ideas of the subject now successively, now by alternate interruption or in dual agreement; later, possibly the oboe, and then all the wood-winds, voice their opinions, and then perhaps the brass and even drums join in the discussion, often with seemingly irresponsible merriment. There is perfect freedom of utterance in this development. After this development we find a return to the first division, a repetition with modifications and the addition of a close.
3The first movements are usually rapid and full of dramatic fire and contain, as we have said, the theme which is to be worked out in all other parts, its sorrows, griefs, hopes, despair, in a second slow movement; its gaiety or merriment in the scherzo; and its triumphant or tragic ending
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