Evening star. [volume] (Washington, D.C.) 1854-1972, 1904-12-17
Listening to a Symphony.


How to listen to a classical symphony is
an accomplishment possessed by few, but
nevertheless obtainabIe by the many. Its
6esirability is evident in view of the fact
that Washington is now one of six cities
possessing a permanent symphony orches-
ira. However, few either in school or out
of school have time or opportunity them
selves to delve deep enough into the study
Of music and the composers to grasp fully
and clearly that degree of knowledge which
would make them conversant with music.
Mr. de Koven has outlined the main for
NAL lines upon which every classical sym
phony is constructed so that the music
may be followed with d fuller appreciation
of the composers intention.
In the following very brief and elemen-
tary analysis of symphonic form in gen
eral the d major symphony of Johannes
Brahms will be used in illustration.
To begin with, the symphony is a COM
position intended to be played by the fun
orchestra. The number of performers may
vary from fifty to one hundred, or even
more. though the larger numbers are not
required essentially for the classical SYM
phonies The instrument employed are as
follows: 1.-The string quartet: First Nfo-
Inns, second violns, vioas 'cellos, double
bases. 2-The wood-wind instruments:
Flutes oboes clarinets, bassoons. 3-The
battery-Horns, trumpets, trombones, bass
tubas. kettle drums.
Other instruments are required In the
Wagner music dramas and in nearly all
orchestral works of composers of the pres
ent day outside the classical symphonic
form.
In structure the symphony is for the or
chestra on larger scale what the sonata
is for a solo instrument. Its basis is the
so-called sonata form. form which, In
Its fundamentals, underlleS all serious
music. This form may be handled with
great freedom or practically dispensed with
in certain portions of the symphony, but
in the first and last movements it is i'm
Derat!Ve.
The chief conditions of the classic SYM
phony are unity, the possession of def
nitely followed plan, which binds together
the different parts of the work into one
organic Whole, definite succession and
relationship of the keys used in the vari-
Gus parts, and a certain fixed manner of
presenting and developing the subjects so
as to maintain the unity of the whole
work. The symphony must consist of four
great parts or movements designed to pre-
sent the main ideas in different moods or
phases. The first movensnI establishes
the key: makes up tha pasntte of colors
to be used. If one may aetgsNR the painter s
phrase; presents sevegaI Anportant sub
iects and develops tller1sS ~ animated
Intellectual manner T.ss9asecond move
ment is usually slow. ahdante or even
adagiO, a contrast 70 she first, and In
a different key The third movement Is
usually a scherzo or a nliniet, light, full
of grace and vivacity. Tlre fourth move
ment or finale IS written ft} the same gem
eral form as the first and in the same
key. 1t must be conceived on broad and
dignifled lines calculated 10 close fittingly
this highest of all musical works, If it is
in quick time and brilliant style.
There are exceptions, chiefly modern, to
even the general rules here indica ted. 1t
must be understood that reference is here
made only to the normal type.
Taking up the movements separately, one
notes that the first movement (allegro)
must be written in what Is called sonata
form. An introduction, usually brief and
in slow tempo. may precede the announce
ment of the first subject of the allegro.
In the d major symphony of Brahms
there is no introduction. The first sub
ject is presented in the chief key of the
composition (tonic). This subject at its
best is a short phrase, not a complete tune
but full of meaning and possibilities of
development. Sometimes the first subject
is followed by a short episode before the
second subject is introduced The second
subject is a foil to the first, in a differ
ent though closely related key. In the d
ma jor symphony of Brahms the subjects
are not stiffiy separated, but the second
grows so naturally out of the first that
one is aware of the change only by the
new ideas presented to him. There may
be more than two subjects in the first
movement. In this of Brahms there are
several. The section which announces the
subjects of the allegro is called the ex-
position. In 1t the mood is given, the thesis
propounded. Then follows the working
out or development sectiOn-that most in
teresting to the musician. In this every
shade of meaning and emotion is extracted
from the subjects and the musician is
given free rein to express his genius.
When this section has been completed
return is made to the principal key, and
the chief subjects are once more restated,
this time both Tor alb in the same key.
This section IS called the recapitulation.
In this section of the D major symphony
Brahms transforms his subjects so that
they possess additional meaning upon their
final appearance. The first movement is
usually brought to a close by coda made
out of the first subject or entirely new
material. to close the movement with the
meaning which the composer wishes to
convey.
The second or slow movement Is usually
romantic In character. and full of emo
Jional significance. The theme may be
worked odt in the form of variations. This
in the Brahms symphony, though
deeply emotional, is full OF associations OF
profound thought.
The third movement may be the buoyant
scherzo or the graceful minuet extended
beyond the limits of its original dance
character. In the Brahms symphony the
third movement is romantic scene fol-
loving its minuet form, though very freely
The theme OF great sweetness played by
the plainttve oboes is used to form a mid
die part or trio. There is also a second
trio, followed by a return of the first
melody played by the Violins. 1t would
be hard TO find in the range of music a
melody more full of fresh sweetness and
pure beauty than the principal theme of
this movement.
The fourth movement Cinale) is in prac-
tically the same form as the opening al
legro. The principal theme of this move
ment is usually held in prominence and
rounded off at the close with a full and
brilliant coda.
In such an analysis as this these d.
visions and subdivisions may sound formal
and may suggest dryness and pedantry
in the symphonic form. The truth Is quite
the contrary. These rules are not the prod
uct OF artificial convention, but are the
natural result of the development of the
higher artistic forms from the simple and
natural folk-music. They have their roots
deep in the fundamental nature of human
musical thought, and are a growth, not
an arbitrary convention. They form the
final means of human expression through
the medium of pure tone. The external
form may be likened to the balance of
geometrical design, to the symmetry of
architecture, or more truly to the process
Of pure number, but this form is vital
with human experience, pain, sorrow, Joy,
resignation and triumph, and through its