Modern harmony, its explanation and application . e symphonies of the later com-posers, we find the old sonata lines much modified,Music.*^ chiefly by a multiplication of subjects, and lessregularity in the arrangement and in the tonalityof the peroration. The number of movements varies fromone to six, and they tend to be all connected without a may be seen in the Symphonies of Saint-Saens, Lalo,Elgar, Parry, Scriabine, and many others. But the masterwhose works reveal the most interesting developments onthe lines of absolute music is Cesar Franck. All his music isof great moment fr
Modern harmony, its explanation and application . e symphonies of the later com-posers, we find the old sonata lines much modified,Music.*^ chiefly by a multiplication of subjects, and lessregularity in the arrangement and in the tonalityof the peroration. The number of movements varies fromone to six, and they tend to be all connected without a may be seen in the Symphonies of Saint-Saens, Lalo,Elgar, Parry, Scriabine, and many others. But the masterwhose works reveal the most interesting developments onthe lines of absolute music is Cesar Franck. All his music isof great moment from this point of view, apart from itswealth of thought and beauty of expression. We must con-tent ourselves here with a short outline of his beautifulstring quartet in D, which he wrote in his fifty-sixth explains it as a Ternary form with a modified sonataas the middle part. Here are the themes: FRANCK, String Quartet in D. Lento. Theme X. Lento. Theme X. E ? :^ Allegro. 1st Subject, (a) 186 MODERN HARMONY (b). and here is DIndys analysis : I. Lento—Theme X, D major. (a) J. Mefifro—Exposition: (a) First subject, D minor. Bridge subject (ft), leading to II.; Second sub-ject (c), F major Development of iento—Theme X, F minor, G minor, etc. (b) Development of Themes (a) and (c) with modu- lations. (c) Recapitulation: First subject (a), D minor. Bridge subject (6), F sharp, G major. Secondsubject (c), B major, D Zenfo—Theme X, ending in D major. We give the outline of Schonbergs interesting Kammer-Symphonie in E for several reasons. Chiefly because, withall its modernity, it follows the older sonata form. Aftera short introduction of purposely vague tonality, we havethe first subject given out, and the rest is a model of orthodoxyin form. The extracts also supply us with some interestingduodecuple scale-writing, whilst the accompanying arpeggioto the eerie second subject shows what trouble the modemcomposer will take
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectharmony, bookyear1915
