Symphonies and their meaning . t. It was not a mere reflec-tion of Italian skies. It is rather the innerpicture which every German poet has of theideal land of beauty and art. Mendelssohnhas certainly suggested this. Italian Symphony (No. 4). The name Italian, unlike many musicaltitles, was constantly used by the work is a direct expression of that enchant-ment for the ideal land of beauty, joy, and art 354 SYMPHONIES AND THEIR MEANING which has held Germans captive from theearliest invasions of Goths, through the at-tempts at conquest of a Barbarossa, to thepoetry of a Goethe. Ex
Symphonies and their meaning . t. It was not a mere reflec-tion of Italian skies. It is rather the innerpicture which every German poet has of theideal land of beauty and art. Mendelssohnhas certainly suggested this. Italian Symphony (No. 4). The name Italian, unlike many musicaltitles, was constantly used by the work is a direct expression of that enchant-ment for the ideal land of beauty, joy, and art 354 SYMPHONIES AND THEIR MEANING which has held Germans captive from theearliest invasions of Goths, through the at-tempts at conquest of a Barbarossa, to thepoetry of a Goethe. Exactly opposed to the Scotch, there is noactual trace of Italian nationalism in the is German, a pure German expression of de-light. So the symphony is not graphic orpicturesque; it is a highly poetical utteranceof the German idea of Italy. The first theme, in Allegro Vivace, gives the Strings. i &* fr=8=t= s -h f ±: jez -i9- ?iSr fill £ ^2. £ #- :fi 44 #-g j2. l*=£ & :& ^ Woodwind, increased SYMPHONIES AND THEIR MEANING stamp of simple joyousness to the whole move-ment. It strikes the leading note, which is re-flected in various lesser melodies. The textureof the whole is wonderfully close. It is impos-sible to trace outwardly the subtle similarityand relation of. melodies. The first builds inthe very beginning a stirring climax on itsown theme, resounding at last vigorously inthe basses. Throughout, there is the elementof airiest lightness. This is first suggested bya fluent phrase at the close of the mainmelody. By deft turns and by the trick ofsequence it evolves ever new phrases, hardlylike the first save in the merry pace. Itgives the whole movement a wonderful fresh-ness. Ever it bubbles forth in a new cannot mistake its hidden second melody, which continues thespirit of the first, is sacred to the woodwind, Clarionets and Fagots.
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