neker thinks Chopin may have applied in
serious jest, there is no doubt of the uncompromising dignity of the
utterance, and there is often a grim irony, a wayward scorn, which a
liberal interpretation might well consider attributes of humor. These
were marked traits in Chopin's nature, and the Scherzos are their
revelation in terms of music. Schumann's well-known comment is
apropos--"How is gravity to clothe itself if jest goes about in dark
veils?" This Scherzo (Presto con fuoco) is in extended three-part
form; the dominant note of the first part being one of feverish
agitation, which expresses itself in spasmodic outbursts. The second
part, with its broad cantabile melody of a hymn-like character,
reveals a calmer mood. The last note of each phrase is adorned
throughout with lovely coloristic embellishments. After a return to
the first theme, the second part is also repeated; this time with
striking modulatory changes which strongly resemble the mood of
Wotan's Farewell, in the third Act of Wagner's _Valkyrie_. A long and
fiery coda of new thematic material closes the work. The major ending
is like a shaft of light dispelling storm-tossed clouds.

Chopin's works are so instinct with genius and have proved to be so
immortal that they may well be considered as ideal witnesses to the
triumph of quality over mere quantity or sensational display. To-day,
when we suffer from musical bombast, their refined message is of
special significance.

CHAPTER XV

BERLIOZ AND LISZT. PROGRAMME MUSIC

There is no doubt that Hector Berlioz (1803-1869), however varied the
appeal of his music to different temperaments, is an artistic
personality to be reckoned with; one not to be ticketed and laid on
the shelf. Although a century and more has elapsed since his birth the
permanent value of his music is still debated, often amusingly enough,
by those who seem unaware that, whatever the theoretical rights of the
case, in practice his principles are the reigning ones in modern
music. As Berlioz stands as the foremost representative of program
music and never wrote anything without a title, it is certain that
before his music or influence can be appreciated, the mind must be
cleared of prejudice and we must recognize that modern program music
is a condition--an artistic fact, not a theory--and that the tendency
towards specific, subjective expression (whether manifested in song,
opera or symphonic poem) is a dominant one among pres