Mussorgsky - Songs And Dances Of Death

Of the Russian composers that made up The Five in the 19th century, Modest Mussorgsky may have had the most natural talent of them all.  He began piano lessons with his mother at the age of six and made such rapid progress that by ten was performing for family and friends. His first composition was published when he was twelve years old.

Although his musical talent was obvious, Mussorgsky entered the Cadet School Of The Guards when he was thirteen to continue the family tradition of military service.  He continued his study of music while at the school and his natural abilities as a pianist were in large demand. When Mussorgsky was seventeen he met Borodin and struck up a friendship, and he soon met Balakirev and began to study with him. Soon after that, Mussorgsky resigned his military commission.

He learned much from Balakirev, but after a time Mussorgsky set out on his own. His family was well-off financially and Mussorgsky had no money worries until the Emancipation Of The Serfs in 1861 which caused Mussorgsky's family sufficient economic hardship that he could no longer rely on  them for support. He took a minor civil service job to help make ends meet. Due to chronic alcoholism, he composed erratically and failed to finish many compositions. His life continued its downward spiral, although he did manage to finish his masterpiece Boris Godunov and some other compositions. He lost his civil service job in 1880 and was reduced to living on the charity of friends until he died in 1881 of alcoholism at the age of 42.

Mussorgsky wrote the song cycle Songs And Dances Of  Death in 1875-1877 to poems by Arseny Golenishchev-Kutuzov who was distantly related to Mussorgsky. That Mussorgsky was quite taken with the poet and his works is expressed in a letter:

After Pushkin and Lermontov I have not encountered what I have in Kutuzov... Sincerity leaps from almost everything in Kutuzov, almost everywhere you scent the freshness of a fine warm morning, together with a matchless inborn technique... And how he is drawn to the people, history!

Arseny Golenishchev-Kutuzov

Obviously Mussorgsky was commenting on the power of Kutuzov's poetry to evoke images and feelings, in this particular case the images and feelings concerning death.

The four songs all deal with the figure of death and how death claims its victims in ways all too familiar to people in 19th century Russia. There are versions of the songs for voice and orchestra by Glazunov/ Rimsky-Korsakov and others, the latest being by Dmitri Shostakovich. But  the songs were originally written for piano and voice, with the piano doing much more than simply accompanying the singer. Singer and piano combine in some of the most powerful songs ever written. As I do not understand Russian,  I can only approximate the full effect of these songs in the original language.  But I am enough of a musician to understand some of the musical power and drama Mussorgsky put into these songs. Music itself is a language, and Mussorgsky expresses much in these songs written for the two instruments he understood very well; the piano and human voice.  I want to thank Sergy Rybin for extending his kind permission to include his translation of the Russian texts.

Lullaby -  Mussorgsky paints a picture of death claiming a sick child. The poet sets the scene, death enters and a short dialog between the child's mother and death begins. I have bracketed indications of which entity is speaking for clarification - 

[Poet] - A child is groaning...  A candle, burning out,

Dimly flickers onto surroundings.

The whole night, rocking the cradle,

A mother has not dozed away with sleep.

Early-early in the morning, carefully, on the door

Compassionate Death -- Knock!

The mother shuddered, looked back with worry...

[Death] - "Don't get frightened, my dear!

Pale morning already looks in the window...

With crying, anguishing and loving

You have tired yourself, have a little nap,

I'll sit instead of you.

You've failed to pacify the child.

I'll sing sweeter than you" --

[Mother]  - "Quiet! My child rushes and struggles,

Tormenting my soul!"

[Death]  - "Well, with me he'll soon be appeased.

Lullaby, lullaby, lullaby." --

[Mother]  - "The cheeks are fading, the breath in weakening...

Be quiet, I beg you!" --

[Death]  - "That's a good sign, the suffering will quieten,

Lullaby, lullaby, lullaby." --

[Mother]  - "Be gone, you damned thing!

With your tenderness you'll kill my joy!" --

[Death]  - "No, a peaceful sleep I'll conjure up for the baby.

Lullaby, lullaby, lullaby." --

[Mother]  - "Have pity, wait at least for a moment

with finishing your awful song!" --

[Death]  - "Look, he fell asleep with my quiet singing.

Lullaby, lullaby, lullaby."
translation © Sergy Rybin http://www.lieder.net/

Serenade -  

Magical languor, blue night,

Trembling darkness of spring.

The sick girl takes in, with her head dropped,

The whisper of the night's silence.

Sleep does not close her shining eyes,

Life beckons towards pleasures,

Meanwhile under the window in the midnight silence

Death sings a serenade:

"In the gloom of captivity, severe and stifling,

Your youth is fading away;

A mysterious knight, with magic powers

I'll free you up.

Stand up, look at yourself: with beauty

Your translucent face is shining,

Your cheeks are rosy, with a wavy plait

Your figure is entwined, like with a cloud.

The blue radiance of your piercing eyes

Is brighter than skies and fire.  

Your breath flutters with the midday heat ...

You have seduced me.

Your hearing is captured with my serenade,

Your voice called for a knight,

The knight has come for the ultimate reward;

The hour of ecstasy has arrived. 

Your body is tender, your trembling is ravishing...

Oh, I'll suffocate you

in my strong embraces: listen to my seductive

chatter! ... be silent!... You are mine!"

translation © Sergy Rybin http://www.lieder.net/

Trepak -  

Forest and glades, no one is around.

A snow-storm is crying and groaning,

It feels as in the gloom of the night

The Evil One is burying someone;

Hush, it is so! In the darkness

Death is hugging and caressing an old man,

With the drunkard She is dancing a trepak,

While singing a song into his ear:

"Oh, my little wretched man,

Got drunk, stumbled along the road,

But the witch-blizzard has risen furiously,

And driven you from the glade into the dense forest.

Tortured with anguish and need,

Lie down, curl up and fall asleep, my dear!

I'll warm you up with snow, my darling,

And stir up a great game around you.

Shake up the bed, you blizzard-swan!

Hey, get going, start chanting, you weather

A fairytale, that could last all night,

So that the drunkard could fall asleep soundly!

Hey you, forests, skies and clouds,

Gloom, wind and fleeting snow,

Wreathe into a shroud, snowy and fluffy;

With it I'll cover our old man, like a baby...

Sleep, my little friend, happy wretch,

The summer has come and blossomed!

Above the fields the sun is laughing and sickles roam,

The song hovers around; the doves are flying about..."

translation © Sergy Rybin http://www.lieder.net/

The Field Marshal - 

The battle is thundering, the armor is shining,

Copper cannons are roaring,

The troops are running, the horses are rushing

And red rivers are flowing.

The midday is blazing -- people are fighting,

The sun is declining -- the fight is stronger,

The sunset is fading away -- but the enemies

Are still battling more fierce and hateful.

And night has fallen on the battlefield.

The armies have parted in the darkness...

Everything has fallen quiet, and in the night's mist

The groans have risen to the heavens.

Then, illuminated by moonlight,

On her battle horse,

Shining with the whiteness of her bones,

Appeared Death; and in the silence,

Taking in moans and prayers,

Full of proud satisfaction,

Like a field marshal she circled around

The place of battle,

And having ridden to the top on the hill,

looked around, stopped, smiled....

And above the battlefield

Roared her fateful voice:

"The battle is finished! I won over everyone!

You all submitted before me, soldiers! 

Life has made you quarrel, I have reconciled you!

Stand up as one for the parade, corpses!

Pass in front of me in a pompous march,

I want to count my troops;

Then deposit your bones into the earth,

It is sweet to rest from life in the ground!

Year after year will pass,

And even the memory of you will disappear.

I will not forget and loudly above you

Will hold a feast at the midnight hour!

With a heavy dance I'll trample

The raw earth, so that the realm of the grave

Your bones will never be able to leave,

So that you'll never rise from the ground! "

translation © Sergy Rybin http://www.lieder.net/

Liadov - Baba Yaga

In Slavic folklore, Baba Yaga is a supernatural being that takes the form of an old woman that lives deep in the forest. She lives in a hut that stands on the huge legs of a chicken. She flits about the wilderness while sitting in a mortar and moving herself with a pestle. She's not strictly an evil entity as she can give assistance as well as evil to those who seek her out.  The folklore for the figure varies according to the area. The Russian Baba Yaga folklore has inspired Russian artists as well as musicians. Two Russian composers that wrote works based on the legend were Mussorgsky, who wrote one of the pieces in his Pictures From An Exhibition called The Hut On Fowl Legs,  and the piece discussed here by Anatoly Liadov. 

Liadov came from a family of musicians, and entered the St. Petersburg Conservatory in 1870 to study violin and piano. He was a very good pianist, but his lack of drive began early as he was expelled from Rimsky-Korsakov's class for extensive absenteeism. He managed to get back into good graces to complete his studies and began teaching at the conservatory in 1878 and taught many young composers including Modest Mussorgsky and Sergei Prokofiev. 

Liadov was well regarded as a composer in his lifetime. Tchaikovsky, Mussorgsky and Stravinsky all thought much of his technical abilities, but Liadov's output as a composer was relatively small thanks to lack of ambition and perhaps a lack of self confidence. He finished no composition of any major length, but was a master of the miniature, whether he was writing for piano or orchestra. He married into money in 1884, which meant that between that and his teaching position he was hardly in need of money, no doubt another stumbling block to his composing career. 

Baba Yaga was written between the years 1891 - 1904 and the piece shows Liadov's flair for orchestral color.  In a piece that lasts under four minutes, Liadov manages to paint a picture of Russian forests and folklore, a tone poem in miniature.

Ruggles - Sun Treader

Carl Ruggles was foul-mouthed, highly opinionated, crude, and merciless in his criticism of other composers except Charles Ives who was his friend. He was a man that spouted disrespect for Brahms, calling him a "sissy". But the worst criticism and harshest judgments were aimed at only one composer - himself. Self-critical in the extreme, he wrote and rewrote his music, only to destroy most of it. He lived to be 95 years old but left only eight published compositions, with the longest one taking about 16 minutes to play, the piece for orchestra he called Sun Treader.

Ruggles took violin lessons in early childhood, and started calling himself Carl instead of his given name Charles out of his respect for German composers, especially Wagner. He was classically trained in composition and conducting at Harvard, but maintained a hand to mouth existence most of his life by teaching, conducting, being a music reviewing, engraving, and as a painter had one-man shows of his work.

Ruggles' music sounds something like Schoenberg's as it is dissonant and atonal, but Ruggles did not practice Schoenberg's twelve-tone technique. Ruggles wrote dissonant free melody and what came to be called dissonant counterpoint.  With dissonance the norm, Ruggles added to the complexity by using an ever-shifting metrical pulse of complex time signatures.

His method of composing was pain-staking, tedious and he took years to compose a single work. He would sit at the piano and play a single chord over and over again, giving it the 'test of time' as he said.  His most well-known work is Sun Treader.  He began it in 1926 and it was intended for a concert in New York City, but the work was not completed until six years later. It was premiered in Paris in 1931 and was not played in The United States until 1966.

The name of the piece comes from a poem by Robert Browning titled Pauline, specifically a line from the poem, "Sun-treader—life and light be thine for ever" a line that is in praise of Shelley the poet. Such things that inspire composers are usually not meant to be taken literally. Ruggles' work has nothing to do with Shelley the poet, but it is a result of the feelings Ruggles got from the poem, a combination of grandeur, futility, anger, and who knows what else. So Sun Treader is in essence a symphonic poem in the tradition began by Liszt.

Sun Treader begins with notes hammered out by the timpani as the orchestra makes initial loud, dissonant statements that sound like chaos. The music quiets somewhat in volume and the dissonance is not as harsh but it is still there. The music ebbs and flows with sections of relative calm and sections of unsettling grittiness. The hammer blows of the timpani return throughout the piece as a sort of guidepost to help us through the music, and as a signal that the climatic end of the piece is near.

In the liner notes of Ruggles Complete Works written by Ruggles' good friend John Kirkpatrick he hears the work as a series of arcs of dissonant melody that  fall into a pattern of traditional sonata form - exposition, development, recapitulation, coda.  For anyone who wishes to explore Ruggles' music further, I recommend the reissue of the recording by the Buffalo Philharmonic and Michael Tilson-Thomas and the excellent liner notes that accompany it written by John Kirkpatrick.

Smetana - String Quartet No. 1, 'From My Life'

Bedřich Smetana was one of the first musicians to create a nationalistic style of  Czech music. His music was  closely associated with the struggle of his country for independence, and Smetana himself participated in the Prague Uprising in 1848 which was also the time of his first nationalistic compositions.

Smetana was a child prodigy on the piano and gave his first public performance at the age of six. After his brief stint as a revolutionary in 1848 he founded the Piano Institute in Prague in 1849. He contacted Liszt for advice and assistance, and the two became friends. The Institute gave regular recitals which Smetana participated in along with the students, and Liszt attended some of these recitals. By 1856 Smetana had suffered the death of three children and his wife contracted tuberculosis. His compositions were not being received very well, and the hoped-for relaxing of the political climate didn't happen, so he moved to Sweden where he taught and composed.

He eventually was coaxed by admirers to come back and he returned to Prague in 1860 and continued to compose, concentrating on helping to establish Czech nationalistic operas. He was appointed conductor of the Provisional Theater in Prague after he wrote his first two operas, one of which was his very popular opera The Bartered Bride.

Smetana was involved in controversies during his tenure as conductor, as the more conservative factions in Prague distrusted Smetana's siding with the progressive music and ideas of Wagner and Liszt. Liszt became his friend and gave Smetana advice that led to the founding of the Piano Institute in Prague. The Institute gave regular recitals which Smetana participated in along with the students, and Liszt attended some of these recitals.

After the intrigues of the opera house and the continuing politics of his enemies he was on the verge of being fired as conductor of the Provisional Theater, but due to the efforts of his backers such as Antonín Dvořák, he was reappointed as Artistic Director of the theater in 1873.  The bitter controversies were contributing factors to the illness that beset him in 1874. He became totally deaf in his right ear and advised theater management that if his health did not improve he would resign. By October he was totally deaf in both ears and resigned. Smetana concentrated on composing and in 1876 wrote his first string quartet, subtitled 'From My Life'.  As Smetana explained to a friend:

"I wanted to depict in music the course of my life…written for four instruments which, as in a small circle of friends, talk among themselves about what has oppressed me so significantly." 

The 1st String Quartet is in 4 movements with comments in italics by the composer:
I. Allegro vivo appassionato -  
"1st part - The call of fate into the life struggle. Love of art in my youth, my inclination towards romanticism in love as well as music, an inexpressible yearning for something, and a warning concerning my future misfortune.  The long insistent note in the finale owes its origin to this. It is the fateful ringing in my ears of the high-pitched tones which in 1874 announced the beginning of my deafness. I permitted myself this little joke, because it was so disastrous to me."

The first movement begins with an E minor chord, after which the violins play a steady, subdued eighth-note figure as the cello plays an extended E in the low bass. This is all in preparation for the entrance of the viola with Smetana's 'fate' motive.

The motive appears throughout the first movement and is supplemented with other themes that express Smetana's emotions towards his youth.

II. Allegro moderato à la Polka -  
"The second movement, a quasi- polka, brings to mind the joyful days of youth when I composed dance tunes and was known everywhere as a passionate lover of dancing."

III. Largo sostenuto - 
"The happiness of my first love, the girl who later became my wife.  The struggle with the unfavorable fate, the final reaching of my goal."

IV. Vivace -
"The fourth movement describes the discovery that I could treat national elements in music and my joy in following this path until it was checked by the catastrophe of the onset of my deafness, the outlook into the sad future, the tiny rays of hope of recovery, but remembering all the promise of my early career, a feeling of painful regret.”

After Smetana's joyous music of the first part of the finale, there is a sudden interruption as the tinnitus that began Smetana's descent into deafness is depicted by a high harmonic E played by the first violin while the other instruments play tense tremolos. The music becomes melancholy as the fate motive heard in the first movement comes back. The music itself slowly goes silent as the movement ends with silence, a poignant representation of Smetana's deafness.

Smetana composed for a few more years until his mind experienced a descent of its own into madness. His family nursed him as long as possible, but he  was confined to a lunatic asylum after he became violent and incoherent and died there a few months later in 1884.  There is still controversy about the cause of death, but the evidence points strongly to end - stage syphilis .

Schubert - Piano Trio No. 1 In B-flat Major

Schubert wrote two piano trios in the last year of his life, neither of which were published or heard in public until after his death. It was the first compositions in the form since his last piano trio written when he was fifteen. Any of Schubert's music played during his lifetime was usually played at a 'Schubertaide', an informal impromptu party held in the home of a wealthy friend and admirer. The first trio was heard in a private house at the engagement party of one of his friends.

By the last year of his life, Schubert's daily routine usually consisted of composing in the morning, visiting and taking long walks in the afternoon, with evenings spent with his friends, sometimes at a Schubertaide, sometimes drinking wine and singing. Schubert was as a man possessed while he was composing. His moods could run from dark and depressing to wild and fun-loving. These wide fluctuations in mood are sometimes reflected in his music, especially in the last years of his short life when he suffered with the end stages of syphilis. The 1st piano Trio is somewhat of an exception, as the music is good-natured and cheerful, at least for the most part.

Schubert's 1st Piano Trio is in 4 movements:
I. Allegro moderato - The first movement consists of two themes, each of which unwind in the lengthy exposition, and are expounded upon in the also lengthy development section that is punctuated by changes in key and mood. This is the music of Schubert's last years that seemed to many to be overly long, but music the Robert Schumann labeled as 'of heavenly length'.  The themes have a final appearance in a coda.

II. Andante un poco mosso - The cello is center-stage at the start, with the violin and piano taking up the pleasant tune. The three instruments take turns repeating and commenting on the melody with Schubert keeping everything in balance in music of seamless beauty.

III.  Scherzo - Allegro -  The piano starts things off, with the violin and cello joining in a jaunty Ländler. The trio shifts gears and becomes a simple Waltz, after which the first dance repeats.

IV. Rondo- Allegro vivace -  A rondo that also has elements of the theme and variation form .

Lachner - Symphonic Suite No. 7 In D Minor

The last major composition by Lachner was the Symphonic Suite No. 7, written in 1881. He was 79 years  old when he wrote it, and had fallen out of step with the current trends of music exemplified by Liszt and Wagner. Lachner especially recognized the value of Wagner's music, as he had given performances of it during his career as a conductor, but his aesthetic was not the same as Wagner's.  Lachner's music was considered old-fashioned by many in the late 19th century, but that doesn't diminish the quality of his music. He was a prolific composer (his opus numbers ran to 190) and remained a popular composer in his time, at least with listeners that weren't hard-core combatants in the 'War Of The Romantics', but shortly after his death in 1890 his music fell by the wayside.

The Suite No. 7 is in 4 movements:
I. Overture - The work opens with an overture in name and spirit, as the movement's themes are of a decidedly operatic nature.  It is a serious and dramatic movement balanced by contrasting lighter themes, but it never really shakes its somewhat tragic feeling. For the observant listener, the dramatic ending is a conscious or unconscious tribute to Lachner's good friend of so many years previous, Franz Schubert, as the orchestra repeats the main theme of the movement with the final statement sounding eerily similar to the triplet accompaniment of one of Schubert's most famous songs, Der Erlkönig.

II. Scherzo - A fine scherzo with a bouncing theme and a contrasting middle section.

III. Intermezzo - Finely written lyrical music, an example of Lachner's craft that was much admired by Schumann.

IV. Chaconne e Fuga - Some of the movements within Lachner's orchestral suites are romantic-era versions of the dances that made up the collections of Baroque era suites. The chaconne of this movement is an example. The origins of the chaconne can be traced back to Spain, but by the Baroque era the dance had become a type of instrumental piece where variations are played over a repeating bass. Lachner follows the short chaconne with a fugue. One of Lachner's music teachers was Simon Sechter, a teacher who lived long and taught many composers besides Lachner. Schubert took a few lessons from him before Schubert died in 1828, and Anton Bruckner was also his student.  Sechter was a task-master with his students and also himself as Sechter wrote around 5,000 fugues in his lifetime. Lachner learned his lessons well, as his skills in counterpoint are heard in this fugue .

 

Méhul - Symphony No.1 In G Minor

Étienne Méhul was a French composer at the time of the French Revolution and Napoleon. He was well-known in his time as an opera composer, and some have called him the first romantic composer. Méhul offered up his first symphony around 1809 in France. Critics were divided as to its worth, even the composer himself offered up an explanation:

"I understood all the dangers of my enterprise; I foresaw the cautious welcome that the music-lovers would give my symphonies. I plan to write new ones for next winter and shall try to write them... to accustom the public gradually to think that a Frenchman may follow Haydn and Mozart at a distance."

While audiences and critics of his time were mixed towards his symphonies, the audience and critics were impressed with Méhul's 1st Symphony in G minor when it was played by  the Leipzig Gewandhaus Orchestra conducted by Felix Mendelssohn in 1838.  Robert Schumann was in the audience and was quite taken with the symphony.

The 1st Symphony is in 4 movements :
I. Allegro - The movement begins in G minor with an agitated theme that is reminiscent of Mozart's initial theme in his 40th Symphony. There is a downward movement that occupies this first theme. The theme proceeds and leads to the second theme which is of a calmer nature. The second theme features something of a reversal in feeling as well as direction as the music move upward.   The development section expounds on fragments of the initial theme. The recapitulation begins, followed by a summing up by a coda of the main theme and the music returns to its downward movement as the music ends.

II. Andante -  A set of variations, music that strolls in contrast to the proceeding dramatics of the first movement. Méhul's theme is a French Chants de Noël (Christmas Carol).

III. Menuet : Allegro moderato -  Pizzicato strings play the theme quietly. The trio is louder and has the strings play with the bow. This movement impressed Schumann considerably. After praising the symphony in general, Schumann writes:

"A remarkable feature too, was the similarity of the scherzo (to the scherzo of Beethoven's 5th Symphony), and in such a striking way that there must have been a remembrance on one side or the other; I am not able to determine on which, since I do not know the year of birth of the Méhul."

As both Beethoven's 5th Symphony and Méhul's 1st Symphony were being composed in 1808, there is no possibility that either composer heard each other's work.

IV. Final : Allegro agitato -  A final movement that again reminds Schumann of Beethoven's 5th, this time the first movement. Méhul builds the movement from a short rhythmic motive with a personalized sense of sonata form. The composer goes far afield with key changes in the development section, the symphony continues in its restless and intense manner until the final chord.

Liszt - Csárdás Macabre

The csárdás is a traditional Hungarian folk dance, the name of which derives from the Hungarian word for tavern. The beginnings of the dance can be traced back to the 18th century in Hungary and was used as a recruiting device for the Hungarian army. The Romani people (formerly called gypsies) popularized the dance in Hungary and neighboring countries. It is a dance that is varied in tempo, from slow to fast. Liszt made wide use of the csárdás in his Hungarian Rhapsodies, as did other composers. But it is Liszt who used it most often in his compositions, no doubt because of his Hungarian heritage.

The Csárdás Macabre was composed towards the end of Liszt's life, a time in which he suffered health problems both physical and mental. The music he composed in his last years saw a change in style from his earlier music. Gone is the brilliant virtuosity, glitter and complexity. His music became leaner in texture, and tonally ambiguous.  

Csárdás Macabre begins with an introduction that is in ostensibly in D minor , but has no sharps or flats in the key signature (Dorian mode?) .This segues into the first theme that is in parallel fifths and that revolves around the fifth of F-sharp and C-sharp in chromatic fashion. The key signature changes to one flat  (D minor officially?), rambles on, and the key signature once again changes to no sharps or flats as the transition to the second theme begins. The key signature changes again to one flat (F major) as the second theme begins. The second theme runs into a section marked dolce amoroso (sweetly and tenderly) that  leads into a development section where both themes are varied. There is a recapitulation of the two themes after which there is another development section. The piece winds up with a coda that ends up in D major, again ostensibly. 

The tonal scheme of this piece can be bewildering. D minor, F, G-flat, D, E-flat, and add some ancient modes to the mix. No wonder it took so long for late pieces such as this to get performed. Wagner himself thought that Liszt's mind was deteriorating with age. 

Liszt's late music is brimming with things foreign to even the most forward-thinking composers of his time. Polytonality, atonality, the use of exotic scales, bitonality and other methods and techniques make Liszt one of the most innovative composers in the history of Western music.

Handel - Sonata For Recorder in F Major

In Handel's time, specific music for specific instruments was not always the case. Music that had been written  for an instrument or combination of instruments was being transcribed and used for other combinations. The style of writing music for a figured bass gave a certain amount of leeway to the performer as far as instruments to play the music and the accompaniment.. Ensemble playing could be just as heavily represented by wind instruments as stringed instruments, and the Baroque composer actually had a wide variety of instruments to choose from.

Take stringed instruments for example. The violin family (that consists of violin, viola and violincello) existed along with the viol family. Viols are distinct from violins as their fingerboards are flat instead of curved,  they have frets whereas violins do not, they have six strings to the violins four, and they are tuned in fourths versus the violin tuning in fifths. Composers such as Bach used these two families, sometimes in combinations of the two, to get the sound they wanted.  There was also differences within the flute family.

There was the flute as we know it, held sideways with the tone produced by playing across an opening on the top towards the front called the transverse flute, and a flute that was held straight from the player with the tone produced by the player blowing into a whistle mouthpiece called the recorder. The volume of the recorder is not as loud or pronounced as the transverse flute, and the tone is quite different. 

Handel composed sonatas for various solo instruments. In keeping with the flexibility of the times, some could be played by either violin, transverse flute, oboe, or recorder, but others were instrument-specific. These were indeed solo sonatas, as the melody remained in the solo instrument part while the accompanying instruments filled in the bass part and harmonies. Along with the solo instrument, a bass instrument such as the cello, viola da gamba, bassoon or theorbo would play the bass line while a keyboard instrument or stringed instrument capable of playing chords would fill in the harmonies as outlined in the figured bass.  

First two lines of Sonata in F showing figured bass

Handel's solo sonatas were written over a period of time, but the first collection of twelve sonatas was printed in 1732 in England. The Sonata In F of this collection does have the designation 'flauto solo' in the printed score, and the word 'flauto' in Handel's time meant recorder. 

The Sonata For Recorder In F follows the structure of the sonata of the time, as it consisted of four movements with the tempos being slow-fast-slow-fast. In Handel's time the two distinct forms of sonatas, sonata de chiesa (church sonata) and sonata de camera (chamber sonata) were combining. The sonata for recorder is one of these sonatas:

I. Larghetto - A stately beginning to the sonata in the home key of F major. The end of the movement prepares the way for a change of key to the dominant C major.

II. Allegro - The first section is in the key of C major, second section begins in C but moves towards the home key and ends in F major.   

III. Siciliana - A slow song with a gently moving rhythm, in the relative key of D minor. Makes a transition in the end of the movement to the dominant of D minor, the key of A major 

IV. Allegro - A rapid dance in 12/8 time. It resembles a jig, a type of dance used in the dance suites of the
Baroque era, usually as the last part.

Chausson - Symphony In B-flat

Chausson was a member of the group of disciples devoted to César Franck, whose musical aesthetics had a profound influence on his compositions. Another great influence on Chausson was the operas of Wagner. He died at an early age after he crashed his bicycle into a wall and fractured his skull. He was but forty-four, and was just beginning to find his true voice as a composer.

Chausson used Franck's Symphony In D Minor as a model for his Symphony in B-flat. Both works have 3 movements, and Chausson adapts Franck's cyclic style and chromaticism  to his own style.

I. Lent - Allegro Vivo- The first movement begins with a slow and dramatic introduction that shows the influence of Wagner. It builds to a climax full of anguish with quiet afterthoughts, when the clouds evaporate and the main theme of the movement begins. It is one of the most stunning and rapid transformations in the symphonic literature. The theme reaches its own refined climax, and the second theme (which shows the influence of Franck's music) begins. The working out of the themes in the exposition shows Chausson's own way with sonata form as themes weave in and out in different guises. The recapitulation expands the themes into a grand ending to the movement.

II. Très Lent - The music of this movement begins in a minor key and slowly builds into a stunning major key climax at the ending.

III. Animé - The movement begins dramatically with whirling rapid notes in the strings punctuated by scraps of melody played in the brass. There is another theme that spins out of the opening, also dramatic in nature. A chorale-like melody appears first in the brass and then woodwinds. The development section brings back some of the themes heard previously. The music returns to the initial theme of the movement in recapitulation. The initial theme of the first movement now returns and helps connect the work in the way only cyclic form can do. The trumpet plays a poignant tune and the music builds to the finale. The symphony that has begun with a dramatic, tragic introduction now ends in the gentle glow of  sunshine.

Cesar Franck

The beginnings of cyclic form are credited to Franz Liszt, and while the roots of the form go back much further than that, it is a convenient point to begin to make the following observation: From Liszt, to Franck, to Chausson, and to the composer that perhaps took the form to the extreme, Jean Sibelius, cyclic form has been a powerful form and technique for composers to create unity in their compositions. To the experienced classical music listener the form offers aural signposts that carry across individual movements or sections that add to understanding and enjoyment. For the more  casual listener, it can create a feeling of musical 'sense', even if nothing is known about structure or theme development.


 

Rachmaninoff - Prince Rostislav

Sergei Rachmaninoff graduated with high honors from the Moscow Conservatory after taking the piano exam in 1891, and remained at the conservatory to finish his studies. By this time he had already written some songs and piano pieces and began work on his first compositions for orchestra. The first was a one-movement Youth Symphony and the second piece was the tone poem Prince Rostislav, inspired by a poem by Aleksey Konstantinovich Tolstoy, cousin to the more well - known Russian author Leo Tolstoy.

Aleksey Konstantinovich Tolstoy

Tolstoy's poem deals with a mythical warrior that is based on an historical Prince. Tolstoy's poem begins with the brave knight Prince Rostislav laying on the bottom of the Dnieper river wearing his chain mail and holding a broken sword in his hand.  The low strings play a theme that represents the prince. The other strings gently swell in tone to give the impression of the waters of the Dnieper.  The underwater beauties of the Dnieper caress the prince and comb his golden hair. The mood swiftly changes by the brass and the loud drum rolls of the timpani. The ensuing storm has awakened the prince and he cries out three times. He calls out to his wife, but he has been gone so long that she believes him dead and is now betrothed to another.  He then calls out to his brother, then to the priests, but they can no longer hear him.  The prince gives up, and resigns himself to his watery grave as the strings resume the gentle swell of the water that covers the prince.

Rachmaninoff was but 18 years old when he wrote this piece, and his skill with handling the orchestra is already apparent. He completed the piece in 1891, but it was never played in his lifetime. It was finally premiered two years after Rachmaninoff's death, in 1945

Herrmann - Psycho - A Suite For Strings

Bernard Herrmann was a composer who is most well-known for his work in motion pictures. He wrote music for many films and worked with some of the most famous directors in film. He wrote the score for Orson Welles' Citizen Kane and was especially known for his collaboration with Alfred Hitchcock on films such as North By Northwest, Vertigo, The Man Who Knew Too Much, and Psycho.

Alfred Hitchcock's Psycho was a ground-breaking film that was made in 1960. The screenplay was based on a book by Robert Bloch. The grisly and gruesome story of a woman being murdered in a remote motel by a madman created new limits on the amount of sexuality and graphic violence allowed in movies.  Herrman's film score was no less ground breaking and Hitchcock himself credited Herrmann's music with contributing to the success of the picture.

Herrmann was also a composer of concert works and was an accomplished conductor. His music has

Alfred Hitchcock

influenced many composers of concert works as well as for film. It was Herrmann's belief that music for film needed to be composed well enough that it could stand alone as a concert work. He conducted suites of his film music that he arranged for concert use, and the suite from Psycho was arranged shortly after the movie's premiere.

Due to Hitchcock making the film on a very tight budget ( he filmed it in black and white), Herrmann saved the expense of a full orchestra and scored the music for strings alone.  The suite utilizes the main themes used in the film in eleven short parts that refer to events in the film:

1. Prelude - The so called 'Psycho theme', an agitated motif that runs through the prelude, and in the opinion of some musicologists, appears in other music sections of the score. The theme is sometimes repeated verbatim, other times it is transformed.
2. The City - A lazy afternoon in the city as two lovers secretly meet in a hotel room.
3. The Rainstorm - The agitation of the prelude returns as Marion Crane, one of the two lovers in the hotel room, drives away after embezzling $40,000 from her employer.
4. The Madhouse -  Scenes of the house on the hill where Norman Bates and his mother live, a house full

Norman Bates' house

of mystery and madness.
5. The Murder - The violins underline the knife-slashing murder of Marion in the shower. Some have suggested that this was a clue to who actually was the murderer, as the screeching of the violins is in imitation of screeching birds. And Norman Bates' hobby was bird taxidermy.
6. The Water - Blood from the murder victim runs down the drain.
7. The Swamp - Marion Crane's car is disposed of in the swamp near the Bates motel.
8. The Stairs - Marion's sister is concerned about the disappearance of her sister and a police investigator confirms that Marion is a suspect in the embezzlement case of $40,000. When the police investigator goes to the Bates' house, enters it and climbs the stairs a figure comes out of Norman's room and knifes him to death.  Norman Bates climbs the stairs to inform his mother that she needs to be hidden in the basement because of the policeman's murder.
9. The Knife -  When Marion's sister goes to the motel to investigate on her own, she goes to the Bates' house on the hill and is confronted by Norman dressed as his mother as he tries to kill her with the same knife he killed Marion and the policeman with. The murder motive is heard once again.
10. The Cellar - As Marion's sister flails her arms to protect herself, a chair spins around to reveal the corpse of Norman's mother. Marion's sister is saved by her boyfriend. The true killer is revealed.
11. Finale - All of the loose ends of the story are tied up.  Music from the 'madhouse' section is revisited, and a final climax represents the madness of Norman Bates.

Caplet - Masque Of The Red Death

The works of the American writer Edgar Allan Poe became popular in Europe way before they were popular in his own country. France especially took to the author's works thanks to the early translations done by the French writer Charles Baudelaire. Poe's writing influenced French literature, especially with the macabre and supernatural writings of Baudelaire and the science fiction of Jules Verne.

Poe's influence in France extended into the 20th century and into other arts besides literature, namely music. Claude Debussy worked on (but never finished) an opera based on Poe's story The Fall Of The House of Usher, Florent Schmitt wrote a tone poem based on the story The Haunted Palace, and André Caplet wrote a chamber piece based on the story Masque Of The Red Death.

Caplet and Debussy

Caplet was a conductor,orchestrator of some of his good friend Debussy's piano music,  and a composer in his own right.  Caplet showed much originality in his compositions and was an innovator during the first two decades of the 20th century.  He was a soldier in World War One and was a victim of poison gas. He died from complications from his war-time gassing in 1925 at the age of 46.

The full title of Caplet's Poe-based work in French is Conte Fantastique (The Masque of Red Death)" d'après Poe pour harpe à pedales et quatour à cordes, which roughly translates in English to Fantastic Tale (The Masque Of The Red Death) from Poe, for pedal harp and string quartet. A synopsis of Poe's story:

Prince Prospero and one thousand other nobles have taken refuge in this walled abbey to escape the Red

Edgar Allan Poe

Death, a plague that has swept over the land. The symptoms of the Red Death are gruesome: The victim is overcome by convulsive agony and sweats blood instead of water.

The plague is said to kill within half an hour. Prospero and his court are indifferent to the sufferings of the population, intending to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut. One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey.

Six of the rooms are each decorated and illuminated in a specific color: Blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a blood-red light; because of this chilling pair of colors, few guests are brave enough to venture into the seventh room. The room is also the location of a large ebony clock that ominously clangs at each hour, upon which everyone stops talking and the orchestra stops playing.

At the chiming of midnight, Prospero notices one figure in a dark, blood-spattered robe resembling a funeral shroud, with an extremely lifelike mask resembling a stiffened corpse, and with the traits of the Red Death, which all at the ball have been desperate to escape. Prospero demands to know the identity of the mysterious guest so that they can hang him. When none dares to approach the figure, instead letting him pass through the seven chambers, the prince pursues him with a drawn dagger until he is cornered in the seventh room, the black room with the scarlet-tinted windows. When the figure turns to face him, the Prince falls dead. The enraged and terrified revelers surge into the black room and remove the mask, only to find that there is no face underneath it. Only then do they realize that the figure is the Red Death itself, and all of the guests contract and succumb to the disease. The final line of the story sums up: "And Darkness and Decay and the Red Death held illimitable dominion over all."

Caplet's piece is not a literal retelling of the story. What Caplet does, in the mode of many tone poems (and despite this being a chamber piece I consider it a tone poem)  is to capture the mood of the story. The music begins with long, hushed notes on the viola and cello in the background as the harp plays short motives in ascending triplets that sound like a spider creeping in its web.

There are some strange sounds made by the five instruments. The harpist knocks on the harp with knuckles, string glissandi, strings playing sul ponticello (bowing close to the bridge to produce an eerie, ethereal sound), etc. As for specific references to the story that are in the music, I'll leave those to the listener to discover (or not) for themselves. For me, the music itself is just as fantastic as the story itself. There is evidence that Caplet wrote a version for orchestra and harp that predates this version, but I have yet to find a recording of it.

Mozart - Fantasia For Mechanical Clock, K.608

In Mozart's time there was a vogue for mechanical clocks that had organs built into them. These were the 'synthesizers' of their time, and were commissioned by the nobility (and anyone else that could afford to have them built). Mozart and other composers were commissioned to write original pieces for some of these machines, and he composed three pieces for these mechanical marvels.

The Fantasia in F Minor K.608 has a clouded history. There is mention of the piece and the two others Mozart composed for these machines in his correspondence, but only one of the pieces has an autograph score. No autograph exists for the Fantasia K. 608, but there are many examples of versions of the piece for piano two and four hands, for organ, string quartet, orchestra and other instrument combinations. Beethoven had a copy of the piece and made his own version of the fugue section of the work, so while it was written for a mechanical clock, the quality of the piece caused it to have a life separate from its original form. It was a well-known piece in the 19th century and influenced many composers and performers.

A small type of musical clock with an organ built in

The piece begins with a prelude in F minor that is punctuated by the full chords, dotted rhythms and fugue of the French Overture style that was developed in the 1650's by French composers.  The middle section is an andante in A-flat major, the relative major of the F minor prelude. After a short summing up, the prelude enters again. After the restatement of the prelude, the fugue returns as a double fugue, that is there is an additional subject played along with, and developed along side, the initial theme of the fugue. The prelude returns once more and leads to what at first appears to be a reiteration of the fugue, but is in fact a short coda that leads to the end of the piece.

This piece is perhaps Mozart's tribute to the works of J.S Bach and other composers. Although it took Mendelssohn's performances of Bach in the early 1800's to bring Bach to the attention of the public, Bach's manuscripts and copies of them were known by composers and teachers long before then.  Mozart knew some of Bach's music, along with other composers of the previous generation. This piece for mechanical clock shows that the past masters taught him well.

Glière - Symphony No. 2 in C Minor

The Russian Revolution of 1917 and the subsequent seizing of power by the Bolsheviks led to a complete change in the Russian way of life. Gone was the old aristocracy (with the execution of Czar Nicholas and his family in 1918) while the communists (in name if not exactly in Marxist theory) made their power felt in the arts as well as every day life. The control of the communists, with lip-service given to the ideals of the revolution, led to the all too-human trait of maintaining power at all costs, created a totalitarian state that was not any better (and perhaps in some ways worse) than the old regime.

It was into this chaos of post-revolution Russia that Reinhold Glière was thrown.  He was not without sympathy to the cause of the October 1905 uprising, as he had been a signer of the manifesto that protested government brutality during the uprising.  He ventured to Berlin to study conducting later in 1905 and stayed until 1907. Upon his return to Moscow he settled into the life of composer and conductor.  After the revolution, he remained a conductor, teacher and composer. But the complexion of his music changed. Gone was the late Romanticism of his music, to be replaced by music more fitting to the 'revolution'.

Glière's three symphonies were written in 1900, 1908 and 1911 respectively.  There was a steady growth in his music from his first to third symphonies which showed influences of composers from his native Russia and Europe. This musical growth was stymied by the revolution and the cultural and artistic control exerted by the new regime. After the death of Lenin, the cultural control grew to be a stranglehold by a paranoid and brutal Stalin. To create any piece of music or art that was not liked by Stalin could be a literal death sentence. The number of people of all walks of life that were murdered under Stalin's orders (implied or explicit) runs into the millions.  The three symphonies of Glière may have been only a prelude to what he might have written under different circumstances.

Glière's Second Symphony is in 4 movements:

I. Allegro pesante - The movement begins straight away with driving rhythm and a powerful theme stated in the horns. The theme is restated and slightly varied, but maintains a forward momentum that comes to a halt with a more quiet section accompanied by muted strings which introduces the expressive second theme. This second theme is but an interlude as the theme fist heard in the horns returns and is developed further. The development section of the movement begins with hushed tones until the horn theme begins again and goes through yet more development. The recapitulation arrives, the horn theme is heard, the second theme returns more passionately than heard in the beginning. There is a climax of the horn theme (the overwhelmingly dominant theme of the movement) and a short coda that incorporates pieces of the main theme and brings the movement to a mystic close.

II. Allegro giocoso - The composer's change of time signature from 3/4 to 2/4 in this scherzo gives it an appealing  quirkiness while the tune of the trio section shows the Russian spirit of the composer. As in the first hearing of the scherzo proper, the bass clarinet can be heard in the accompaniment as the music heads to the brilliant close of the movement.

III. Andante con variazioni - Glière showcases another of his melodies in this set of variations that holds the interest of the listener throughout.  The composer's gifts for melody and symphonic construction are showcased in seven variations that are in turn sweet, melodious, melancholy and boisterous. The theme is brought forth in a short coda with the Cor Anglais, strings and harp that serenely end the movement.

IV . Allegro vivace - A rousing dance opens the movement, with the bass clarinet once again playing a noticeable role. A more expressive theme appears for a brief time until the dance once again takes prominence. A quiet interlude with woodwinds accompanied by strings comes forth, only to be dispelled by the restless dance tune slowly appearing. The xylophone enters as the music gets more hectic and loud, the orchestra clashes, the dance dominates. The music morphs into a maestoso coda of fragments of the dance played in the brass as it comes to a close.

Some of the music in the Second Symphony foreshadows the music Glière was to compose for his masterpiece, the Third Symphony 'Ilya Murometz', but it is by no means an inferior work. It is a work of a great and original musical mind and talent.

That Glière's style changed to fit his political times is a fact that is proven by much of the music written after the 1917 Revolution. What might have been is but speculation. It may be easy for some to label the composer as complicit, a sell-out to the tyranny of his times to save his own ass. But how many might do the same thing, including those who may condemn him? It was a matter of life or death, after all.

Lachner - Variations And March From Suite No. 1

Born in 1803, drinking companion of Franz Schubert, conductor and organist, Franz Lachner was also a prolific composer whose career spanned most of the 19th century. His opus numbers ran to 190, with his first compositions written while Schubert and Beethoven were still alive (in the 1820's), and whose last piece was published in 1881.  He worked tirelessly with the orchestra in Munich and made it one of the best in Europe, and if all this wasn't enough he taught for many years also.

He helped make his contemporary composers music better known, even when he didn't like it. He was a promoter of the young Wagner's music and was rewarded for his efforts by having his conducting duties of the Munich orchestra handed to Wagner's protege Hans von Bulow, with Wagner himself playing a key role in the treachery.

Lachner's music was dismissed by Wagner and other followers of the New Music as being old-fashioned, and the stigma has carried over to the modern era. It is true that Lachner's music was not considered modern in the sense that Liszt and Wagner's music was, but it is solidly written and shows that Lachner was not without gifts of melody, structure and orchestration.

The writer Eduard von Bauerfeld, Schubert
and Lachner drinking in Vienna, a drawing
by the artist Moiritz Schwind 

Lachner's Suite No. 1 For orchestra was written in 1861, after he had written his Eighth Symphony, his last work in the form,  in 1851.  He composed a total of 7 orchestral suites, his main form of orchestral composition later in his life. Why he no longer wrote symphonies isn't known. Perhaps the shadow of Beethoven's 9th Symphony was too large for him to go further. Whatever his reasons, his suites are indeed suites in the sense that they are modeled after the Baroque suite in that they contain individual pieces in dance form.

His first suite is in 4 movements, of which the third movement, Variations and March, is discussed here.

The movement begins with a solemn theme in D minor stated by the strings in unison.  The set of variations Lachner writes on this theme show him at his most versatile and creative. Going from minor key to major, from emphatic to gentle, there is plenty of contrapuntal, textural and orchestral diversity to keep the listener's interest. The music drifts from one style into another seamlessly. The movement ends with a rousing march.

Ries - Piano Concerto No. 8 'Gruss an den Rhein'

The Ries family and Ludwig van Beethoven's family resided in Bonn, where the elder Franz Ries gave early instruction to young Beethoven. Beethoven remained connected to the Ries family all of his life and held Franz Ries in high regard as Franz had helped Beethoven after the death of his mother.

Ferdinand Ries, son of the elder Franz, traveled to Vienna where Beethoven was living and he had with him a letter of introduction from his father. Ferdinand was already a good musician at the age of eighteen, and Beethoven took him as a piano student from 1803 to 1805.  He further saw to his education by sending him to teachers in Vienna for harmony and counterpoint. The young Ries progressed so well with his studies that Beethoven requested that he play the piano part in the premiere of his Piano Concerto No. 3 in C Minor in 1804. 

Ferdinand was not only a student but a friend to Beethoven. He became his copyist, helped in negotiations with music publishers, and was involved with the first performance of Beethoven's Symphony No. 3 in E-flat 'Eroica'. 

Ries fled Vienna in 1805 for fear of conscription in the French Army that occupied Vienna at the time. He concertized his

Ludwig van Beethoven

way around Europe for a few years and finally settled in London, England. He was associated with the great Salomon, the musician and concert promoter that brought Haydn in England a few years before, and Ries was featured in some of Salomon's concerts.  While in London, Ries remained in contact with Beethoven, negotiated terms for the publication of Beethoven's works in England and was instrumental in getting Beethoven a commission for a work for the London Philharmonic orchestra that resulted in the 9th Symphony. 

Ries was a prolific composer and wrote pieces in most of the genres of his time, among them being 7 Symphonies, 9 Piano Concertos, various chamber pieces, and much music for piano. His style can remind the listener of Beethoven, but he was not a copy-cat composer. His music is something of a bridge from Beethoven to composers such as Chopin and Schumann.

The Piano Concerto No. 8 is in three movements:

I. Allegro con spirito - Ries retired in 1824 and moved back to Germany with his English wife.  Despite his retirement, he remained active as composer, pianist and conductor. He wrote the concerto in 1826 and titled it  'Gruss an den Rhein' (Greetings From The Rhine), as a tribute to the river he grew up near. The music of the opening of the first movement has a sweep and feeling to it of the river flowing along its banks. There is a faint reminiscence of his teacher's music to it, especially in the sonata form used, but at the same time Ries speaks with his own voice.

II. Larghetto con moto - A short movement that depicts to my ear a certain melancholy, perhaps of times and people remembered from his youth in Bonn on the Rhine river.

III. - Rondo:Allegro molto - The calmness of the preceding movement is swept away by the full orchestra as it introduces the soloist in a cadenza of stunning virtuosity. After this, the rondo theme begins and the orchestra and piano engage in a rapid-fire dialog. Ries' piano writing in this movement is brilliant and demanding. The influence of Beethoven on Ries' music is somewhat less in this movement, save for the virtuoso treatment of both soloist and orchestra.  The piano glitters in the finale to the movement, and the orchestra brings the concerto to a close.

Sibelius - Symphony No. 3 In C Major

Jean Sibelius continued to write tonal music at a time in the early 20th century when many of his contemporaries were stretching the limits of tonality and music itself. Sibelius was well aware of the trends in the music of his time as he traveled extensively in Europe (and once to the United States) as concert goer, concert giver (he was an accomplished conductor) and tourist. He was called a musical conservative by some, but others looked upon him as the opposite. In truth, his music evolved from differing influences into his own unique style.

His first two symphonies were Romantic in style and showed the influence of Tchaikovsky and Bruckner. With his Third Symphony his style grew more akin to Beethoven in that his music showed an organic growth from scraps of thematic material, and was classical in musical and orchestral style. 

The Third Symphony was begun in 1904 and completed in 1907.  It was premiered in Helsinki, Finland by the Helsinki Philharmonic conducted by the composer. The symphony was met with mixed critical reviews, but Sibelius was not bothered by reviews good or bad. He once said, "Pay no attention to what critics say. No statue has ever been put up to a critic." Sibelius' thoughts on symphonic composition:

"Since Beethoven’s time all so-called symphonies, with the exception of those by Brahms, have been symphonic poems. In some cases the composers have given us a program or have at least suggested what they had in mind; in other cases it is evident that they were concerned with describing or illustrating something, be it a landscape or a series of pictures. That does not correspond to my symphonic ideal. My symphonies are music — conceived and worked out as musical expression, without any literary basis. I am not a literary musician: for me, music begins where words leave off. A symphony should be music first and last. … I am particularly pleased to see it explicitly stressed that my [symphonies] are founded on classical symphonic form, and also that wholly misleading speculations about descriptions of nature and about folklore are being gotten rid of."

I. Allegro moderato - The first movement grows out of three themes that are heard at the outset. The music flows from these short themes in Sibelius' own type of form until the brass give out the final chords. 

II. Andantino con moto, quasi allegretto -   "At a slightly quicker pace than a walk, with motion, kind of moderately fast," is roughly what the composer's Italian tempo indications mean. This is a good example of a composer trying to give direction to the performer how the music should be played, and is much an indication of mood as of velocity.  Here is where the experience of the musicians comes into play, as it is a matter of interpretation. It is trying to put a fine point on something that doesn't really exist on the printed page, but only exists in time - when the music is being played.  As ambiguous as that is, it is a vital part of interpretation. In any given performance, the interpretation of this tempo indication can 'make or break' the performance.  This is music of mystery, with the theme written in the distant key of G-sharp minor, and is interlaced with other material in a movement of quiet contrast. 

III. Moderato - Allegro ma non tanto - The final movement incorporates a scherzo and finale. Fragments of the first two movements whisk by, along with new material and the symphony relentlessly moves to the end of the symphony.