Morning journal and courier. [volume] (New Haven [Conn.]) 1848-1894, 1885-02-02
rHE CONCERT TONIGHT,
Analysis of Raf,s Leonere Symphor

| includes Joachim Rats Leonore symphony
No. op. III. 1t is a soul picture based on
Burgers well known ballad "Leonore" The
composition is divided into three parts de-
scribing in part first happiness and true love.
| In part second there is vivid portrayal OF
the agony of separation when Leonore's be-
loved leaves for the seat OF war, and of the
despair she feels when all the rest return and
friends and relations meet with hearty greet
ings, her Wilhelm stays away. The unspeak-
able grief of Leonore forms very sad
picture; it finally becomes unbearable, she
scorns at her mothers religious consolation
and blasphemes her maker. Part third de.
scribes reunion in death. Burgers ballad is
descriptive of the deepest emotions of the
human heart and Raft has painted the scene
in highly artistic tone picture.
The work begins with allegro of Joyful
character, breathing forth love that never
perishes and is most beautifully rendered by
the flute and oboe interspersed with tender
violin passages. 1t is followed by move
ment for the wood wind and brass instru-
ments until the strings take it up in charm
| ing melody interviewer by the soft murmur-
ings of the cooling clarionet breathing forth
tender love, when again the wood wind in
struments resume the same melody and bring
| it to joyful forte for the whole orchestra.
Soft signals by flute and c1arionet remind us
| of the original theme until tle full orchestra
takes it up and brings it to close.
The andante quasi larghetto in A fiat is
| opened with string quartette. The melody
is simple and somewhat quiet, and is de-
scriptivo of repose. 1t is followed by a most
exquisite horn solo, with fanciful pizzicatos
of the cellos and playful demi-staccatos of
the flutes and clarionets till the oboe
| plays an idyllical song, which the horn closes.
The strings then begin most impressive
| movement of the Wagner style in its broad
| bearing until the violins again introduce the
| first theme, which the whole orchestra then
| plays pianissimo, forming most wonderful
| combination of sweet sounds. The repose
| now prevailing is disturbed by move
ment in G sharp minor, which por-
| trays the separation of the lovers
as near at hand. The second violins and
'cellos are descriptive of commotion and the
peculiar rhythm of the violas exhibits the ag
itation of their hearts. The bassoon then
plays a beautiful strain which is taken up by
the Oboe clarionet and horn until the
strings again resume the original, broad,
Wagnerian melody and then going back to
the first melody part first ends in quiet and
peace
Part second opens with march calling on
the recruit to leave for the field of battle.
We hear the faint beats of the kettle drums
and the soft whisper of the clarionets The
string quartette then beg ms quaint old Ger
man march with cellos only as fundamental
bass, the oboes and bassoons enliven it with
their peculiar pleasant melodies until
the clarionets fall lain; in and
in this movement This is followed by the
happy song of a German journeyman which
then the whole orchestra takes up. While
the march proceeds it gradually loses its
first character until it enters into an agitato
in G minor, when in our imagination we can
understand the deep grief of Leonore in be-
holding her lover departing on his dangerous
mission. 1t is such pain
words cannot describe, and in this
sublime movement Raft opens for
US the portals of those hidden emotions
which only the orchestra with its instrument
tai music can portray. In its dramatic fervor
it stands unparalleled. This part ends with
the inspiring strains ofthe original march and
rs it's sound gradually decreases describes
that the soldier has left his home and sweet
heart.
Part third, Reunion in Death, is wildly
portray ed by part four of the poem follow
ing; the same being English translation
of parts of Burgers ballad, Leonore and adj
tled for the better understanding of this an
slysis
l. WILDLY AG1TATED.
Lenore starts at daybreak's shine.
From troubled dreams: 20 say,
Art dead or faithless, William mnes
How long wilt thou delay.''
He'd gone with Frederic S host to WELD
His sword on Prague's dread battlefield.
II. MARCH.
Each host with song and shouting rang,
With trumpet blast and clash and clang,
Decked with verdant spray
Each homeward wends his way
Alas! Kiss and salute
Were for Lenore mute!
To CLEAN intelligence she sought,
OF all she asked the name;
But there were none could tell her aught
'Mong all the host that came!
III SLOW, WITH PASSION.
When all passed, in dark despair
She wildly tore her raven hair;
In rage and grief profound
She sank upon the ground.
What is salvation, mother Say!
O mother, what is hell? |
Salvation So! is IS with nv, william lila yea
w. THE RIDE TO DEATH.
!fark tramp, tramp, tramp without is heard
- bark! the portals ring
Then came unto the ear
These words, distinct and clear:
'Holla! my child, come ope the door.''
"Ah, William, thou;
Como in my fondeSt, best
And warm thee my breast.''
g The charger paws, the spurs resound;
To linger It's not meet.
Must hundred leagues thee bear
My nuptial couch to share"
And tramp, tramp, tramp, they flew anon
In furious gallopon on, on,
What tones are they that sweep along?
The Tapping ravens hurry.
Hank, tolling BELLS Hark wailing song
See there! See there. Ha. dimly
How dance around the wheel.
Crown'd by the moonbeams pallid sheen,
The spectral dead their reel!
soho. ye rout, come hear to me!
Ye rabble rout, come. follow me,
At length, at length our race is run,
The nuptial bed at length is won,
The dead ride quick by night,
Now, now will we alight!"
Unto iron gate anon
In wild career they flew,
With slender twig one blow thereon
Burst lock and bolt in two.
The riders jerkn, piece by piece,
Like finder falls aSunder,
Upon his head no lock of hair;
naked skull all grisly bare
A skeleton, alas!
The snorting charger pranced and neighed,
Fire from his nostrils came,
IIo, no, at once before the maid
He vanished in flame.
Ignores heart was rung,
Twixt life and death she hung.
'Forbear! forbear! though hearts should break
Baspheme not lest Heav'n's wrath you wake! |
rhe body's knell we toll
Nay Heaven preserve thy soul!''-