Programme . cond in D major as thePastoral, the new symphony in F major may be appropriately calledhis Eroica; yet Hanslick took care to add that the key-word wasnot wholly to the point, for only the first movement and the finaleare of heroic character. This Third Symphony, he says, is indeed a newone. It repeats neither the poignant song of Fate of the first, northe joyful Idyl of the second; its fundamental note is proud strengththat rejoices in deeds. The heroic element is without any warlikeflavor; it leads to no tragic action, such as the Funeral March in Beet-hovens Eroica. It recalls in
Programme . cond in D major as thePastoral, the new symphony in F major may be appropriately calledhis Eroica; yet Hanslick took care to add that the key-word wasnot wholly to the point, for only the first movement and the finaleare of heroic character. This Third Symphony, he says, is indeed a newone. It repeats neither the poignant song of Fate of the first, northe joyful Idyl of the second; its fundamental note is proud strengththat rejoices in deeds. The heroic element is without any warlikeflavor; it leads to no tragic action, such as the Funeral March in Beet-hovens Eroica. It recalls in its musical character the healthy andfull vigor of Beethovens second period, and nowhere the singularitiesof his last period; and every now and then in passages quivers theromantic twilight of Schumann and Mendelssohn. Max Kalbeck thinks that the statue of Germania near Rudesheiminspired Brahms to write this symphony. (See Kalbecks Brahms,Vol. III., part 2, pp. 384-385, Berlin, 1912.) Joachim found Hero and. 09 DANCING DRESSES A SPECIALTY 717 BOYLSTON STREET TELEPHONE. 5818 586 Leander in the Finale! He associated the second motive in C majorwith the bold swimmer breasting the waves. Clara Schumann en-titled the symphony a Forest Idyl, and sketched a programme for it. The first movement, Allegro con brio, in F major, 6-4, opens withthree introductory chords (horns, trumpets, wood-wind), the upper voiceof which, F, A-flat, F, presents a short theme that is an emblematicfigure, or device, which recurs significantly throughout the it is not one of the regular themes, it plays a dominatingpart, immediately as bass and later as an opposing voice in middleand upper position to the first theme, which is introduced by the violinsin octaves, supported by violas, violoncellos, and trombone at thebeginning of the third measure. The short introductory, now counter,theme rises as a bass, and produces thereby a strongly marked cross-relation,—the A-flat of the
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Keywords: ., bookauthorbostonsy, bookcentury1800, bookdecade1880, bookyear1881
