Programme . parts in April, 1882. The version for two pianofortes,and one for the pianoforte, four hands, were made by Liszt. A tran-scription for pianoforte, two hands, was made by L. Stark. The composer follows the poet on the summit of a mountain withthe ocean at his feet. He hears a voice,— at first, huge, immense, confused, more vague than the wind in the tufted trees,full of brilliant tones, gentle murmurs, sweet as an evening song, strong as the shockof armor. ... It was deep and ineffable music, which, liquid, vibrated withoutceasing around the world and in the vast heavens. . The worl
Programme . parts in April, 1882. The version for two pianofortes,and one for the pianoforte, four hands, were made by Liszt. A tran-scription for pianoforte, two hands, was made by L. Stark. The composer follows the poet on the summit of a mountain withthe ocean at his feet. He hears a voice,— at first, huge, immense, confused, more vague than the wind in the tufted trees,full of brilliant tones, gentle murmurs, sweet as an evening song, strong as the shockof armor. ... It was deep and ineffable music, which, liquid, vibrated withoutceasing around the world and in the vast heavens. . The world, enwrapped inthis symphony, swam in the harmony, as it swims in air. The symphony opens poco allegro, 4-4, with a pianissimo roll of thebass drum and with muted strings suggesting the murmur of the and wood-wind instruments are heard as from afar in fanfare man-ner. The pace is quickened. There is light play for violins andharp. A melodic passage (E-flat major), sweet as the evening song,. Bros t^y^ C. Ed. Kakaa. F. Kakaa, Treat. Now in Our New Building 72 CHAUNCY STREET, BOSTON Formerly at 179 Tremont Street 730 is given to the oboe and continued by flute and clarinet. The fanfarechords, now for clarinets and bassoons, are heard again. The melodicmotive at first sung over defined major harmonies is repeated overdissonances. With this material the composer translates into tones theromantic opening of Hugos poem. Then comes the contrasting of the two voices heard by the poet:— The one came from the sea; song of glory! a happy hymn! The other that came up from our earth was sad. Twas the murmur of man-kind. And in this grand concert of song, day and night, each wave, each manhad a voice. A strongly rhythmed motive is given, piano, to wood-wind instru-ments, while the violins take up the melody of peaceful Nature in aquicker tempo. The melody loses its idyllic character in a crescendoand finally disappears while the rhythmed motive grows more importantin
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Keywords: ., bookauthorbostonsy, bookcentury1800, bookdecade1880, bookyear1881
