success in the operatic field from
whom we should never expect a symphony. From comparatively few have we
great works in both forms. Consider, furthermore, how complicated a
tool is the present orchestra, _as_ a tool, to say nothing of the
invention of ideas. Many years of study are required to attain a
certainty of calculation in sonority and _nuance_, and the mere
writing out the score of a symphony requires unremitting toil. We all
pay homage to life: human life in men, women and children, and the
life of nature in animals, birds, trees and flowers. Let us ever
remember that the imagination also has its products and the themes of
a symphony may certainly be considered _its_ children. The public
often seems to have slight idea of the sanctity and mystery of a
musical idea. Composers are considered people with a kind of "knack"
in writing down notes. In reality, a musical idea is as wonderful a
thing as we can conceive--a miracle of life and yet intangible,
ethereal. The composer apparently creates something out of nothing,
pure fancy being wrought into terms of communication. Since the close
of the Romantic period proper, the Symphonic composers of universal
recognition have been Brahms, Franck, Tchaikowsky, d'Indy, Sibelius,
Bruckner, Mahler, Dvo[vr]ak, Elgar, and a few lesser men of the
Russian and French schools. Their works carry still further the
principles which can be traced from Beethoven down through the
Romantic School, _i.e._, the chief themes are of a highly subjective
nature, often in fact being treated like actual characters in a drama;
and great freedom is shown in regard to mood and order of the usual
symphonic movements--this being particularly true of Mahler and
Bruckner. A distinct feature of interest in the work of Tchaikowsky,
Dvo[vr]ak and Sibelius is the introduction of exotic types of melody
and rhythm, drawn from national sources. Thus Tchaikowsky, who said
that he wished all his instrumental music to sound like a glorified
Russian folk-song, uses rhythms of 5 and (in his chamber music) 7
beats a measure, with frequent touches of old modal harmony. Dvo[vr]ak
founds his harmony and modulations on the exceedingly chromatic scale
of the Bohemians; and his piquant and dashing rhythms could come only
from a nation which has no less than forty national dances. In
listening to Sibelius, we are conscious of the wild sweep of the wind,
of unchained forces of nature; and there are the same traits of viri