Symphonies and their meaning . M-=r- mz±&&m 4L-4 J ¥* J q 4 q#^ L- &- j* 3 .#_#_ .-^2: -K2_ But of the whole it must be admitted thatits place in the general plan is not clear. Itdoes not seem to have a value of its own, pro-portioned to each of the other movements. 363 SYMPHONIES AND THEIR MEANING The Saltarello is conceived in that specialvein of Mendelssohns, of lightest fancy andrhythm, so different from the humor of Beetho-ven. Mendelssohns dance seems that of animaginary race, which knows of nothing butjoyousness; Beethovens is of human beings. Illustrations and examples are dangerous,ty
Symphonies and their meaning . M-=r- mz±&&m 4L-4 J ¥* J q 4 q#^ L- &- j* 3 .#_#_ .-^2: -K2_ But of the whole it must be admitted thatits place in the general plan is not clear. Itdoes not seem to have a value of its own, pro-portioned to each of the other movements. 363 SYMPHONIES AND THEIR MEANING The Saltarello is conceived in that specialvein of Mendelssohns, of lightest fancy andrhythm, so different from the humor of Beetho-ven. Mendelssohns dance seems that of animaginary race, which knows of nothing butjoyousness; Beethovens is of human beings. Illustrations and examples are dangerous,tying the listener to accidental the temptation is too great to suggest inthe Saltarello the humor and poetic antics ofHawthornes Faun. It is based largely onthe rhythm of the main melody: P S7~~ Woodwind.
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Keywords: ., bookcentury1800, bookdecade1890, bookpublisherlondonjblippincott
