Chapter XIV: Introduction (2)

This movement was suggested by the second scene of act two of Byron's drama, in which Manfred, beside the cataract, evokes the Witch of the Alps, tells her of Astarte and of his own remorse and longing, and--although she intimates that she may help him--rejects her aid; for he is not willing to swear obedience to her will. "As the scene in the poem may be regarded as a picturesque episode--for the incantation is fruitless and only one of many--so the music is a relief after the tumultuous passion and raging despair of the first movement. The vision of the dashing, glistening cataract continues until, with note of triangle and chord of harp, the rainbow is revealed." To the accompaniment of mysterious and ethereal harp tones Manfred conjures up the witch, "who rises beneath the arch of the sunbow of the torrent." Her song is suggested (violins and harps). There is a poignant reminiscence of Manfred's despair. "The glory of the cataract is once more seen. It pales as the theme of despair is heard again."

III
(_Pastorale: Andante con moto_)

This scene is general in its suggestiveness; it has no definite connection with any particular scene in Byron's poem. The opening is idyllic, but the mood of the music is soon altered. Again we are reminded of Manfred's unalterable woe. Perhaps Tschaikowsky had in mind here a tense passage in the scene between Manfred and the Chamois-Hunter (Act II., Scene I.):

"MANFRED. Think'st thou existence doth depend on time?
It doth; but actions are our epochs: mine
Have made my days and nights imperishable,
Endless, and all alike, as sands on the shore,
Innumerable atoms; and one desert,
Barren and cold, on which the wild waves break,
But nothing rests, save carcasses and wrecks,
Rocks, and the salt-surf weeds of bitterness.

"CHAMOIS-HUNTER. Alas! he's mad--but yet I must not leave him.

"MANFRED. I would I were--for then the things I see
Would be but a distempered dream.

"CHAMOIS-HUNTER. What is it?
That thou dost see, or think thou look'st upon?

"MANFRED. Myself, and thee--a peasant of the Alps--
Thy humble virtues, hospitable home,
And spirit patient, pious, proud, and free;
Thy self-respect, ingrained on innocent thoughts;

* * * * *

"This do I see--and then I look within--
It matters not--my soul was scorch'd already!"

IV
(_Finale: Allegro con fuoco_)

This bacchanal in the underground palace of Arimanes is Tschaikowsky's own invention; there is no bacchanal, or suggestion of one, in the corresponding scene in Byron's poem, where Arimanes, seated on his throne of fire, is surrounded by spirits, who praise him in a worshipful hymn.

At the climax of the music's wild revelling the motive of despair is recalled; the music becomes uncanny, mysterious; we hear the theme of Manfred. Nemesis, who has entered the hall together with the Destinies, invokes the wraith of Astarte:

"MANFRED. Can this be death? there's bloom upon her cheek;
But now I see it is no living hue,
But a strange hectic--like the unnatural red
Which Autumn plants upon the perish'd leaf.
It is the same! O God! that I should dread
To look upon the same--Astarte!--No,
I cannot speak to her--but bid her speak--
Forgive me or condemn me.

* * * * *

"PHANTOM OF ASTARTE. Manfred!

"MANFRED. Say on, say on--
I live but in the sound--it is thy voice!

"PHANTOM. Manfred! To-morrow ends thine earthly ills. Farewell!

"MANFRED. Yet one word more--am I forgiven?

"PHANTOM. Farewell!

"MANFRED. Say, shall we meet again?

"PHANTOM. Farewell!

"MANFRED. One word for mercy! Say thou lovest me.

"PHANTOM. Manfred!"
[_The Spirit of_ ASTARTE _disappears._]

"NEMESIS. She's gone, and will not be recall'd;
Her words will be fulfill'd. Return to the earth.

"A SPIRIT. He is convulsed.--This is to be a mortal, And seek the
things beyond mortality."

The music rises to a momentous and tragic climax. Manfred's death scene is brought before us. We are in the tower of his castle. Night approaches. The importunate demons have disappeared. Manfred and the Abbot are alone (Act III., Scene IV.):

"THE ABBOT. Alas! how pale thou art--thy lips are white--
And thy breast heaves--and in thy gasping throat
The accents rattle. Give thy prayers to Heaven--
Pray--albeit but in thought--but die not thus.

"MANFRED. 'Tis over--my dull eyes can fix thee not;
But all things swim around me, and the earth
Heaves as it were beneath me. Fare thee well--
Give me thy hand.

"ABBOT. Cold--cold--even to the heart;
But yet one prayer. Alas! how fares it with thee?

"MANFRED. Old man! 'tis not so difficult to die."
[MANFRED _expires._]

"ABBOT. He's gone--his soul hath ta'en his earthless flight.
Whither? I dread to think; but he is gone."

SYMPHONY No. 6, "PATHETIC": Op. 74

1. _Adagio; Allegro non troppo_
2. _Allegro con grazia_
3. _Allegro, molto vivace_
4. _Finale: Adagio lamentoso_

Tschaikowsky wrote to Vladimir Davidoff on February 23, 1893:

"Just as I was starting on my journey [the visit to Paris in December, 1892] the idea came to me for a new symphony. This time with a programme; but a programme which should be a riddle to all--let them guess it who can! The work will be entitled 'A Programme Symphony' (No. 6). This programme is penetrated by subjective sentiment. During my journey, while composing it in my mind, I have often wept bitterly. Now that I am home again I have settled down to sketch out the work, and I work at it with such ardor that in less than four days I have finished the first movement, while the other movements are clearly outlined in my mind. There will be much, as regards the form, that will be novel in this work. For instance, the Finale will not be a boisterous Allegro, but, on the contrary, an extended Adagio." Six months later he wrote to Davidoff that the symphony was progressing, and that he considered it the best--especially "the most open-hearted"--of all his works. "I love it as I have never loved any of my musical offspring before." On August 24th he informed his publisher, Jurgenson, that he had finished orchestrating the symphony; nor did his opinion of it change. "It is indescribably beautiful," he wrote, in a fervor of enthusiasm, to his brother Modeste; and to the Grand-Duke Constantine he wrote, on October 3d: "Without exaggeration I have put my whole soul into this work." It was the last score but one upon which he was to work. Five weeks later he was dead.[176]

The symphony was produced at St. Petersburg on October 28th, when it made little impression; it was said that its inspiration "stood far below Tschaikowsky's other symphonies." It did not then bear the title "Pathetic." How it came to be so named is thus related by Modeste Tschaikowsky:

"The morning after the concert I found my brother sitting at the
breakfast-table with the score of the symphony before him. He had
agreed to send the score to Jurgenson [his publisher] that very day,
but could not decide upon a title. He did not care to designate it
merely by a number, and he had abandoned his original intention of
entitling it 'A Programme Symphony.' 'What would _Programme Symphony_
mean,' he said, 'if I will not give the programme?' I suggested
'Tragic' Symphony as an appropriate title, but that did not please
him. I left the room while he was still undecided. Suddenly 'Pathetic'
occurred to me, and I went back to the room and suggested it. I
remember, as though it were yesterday, how he exclaimed: 'Bravo, Modi,
splendid! _Pathetic!_' And then and there he added to the score, in my
presence, the title that will always remain."

What, precisely, was in Tschaikowsky's mind when he composed this "Programme Symphony"? According to Tschaikowsky's intimate friend Nicholas Kashkin, "if the composer had disclosed it to the public, the world would not have regarded the symphony as a kind of legacy from one filled with a presentiment of his own approaching end." To him it seems more reasonable "to interpret the overwhelming energy of the third movement and the abysmal sorrow of the Finale in the broader light of a national or historical significance, rather than to narrow them to the expression of an individual experience. If the last movement is intended to be predictive, it is surely of things vaster and issues more fatal than are contained in a mere personal apprehension of death. It speaks rather of a _lamentation large et souffrance inconnue_, and seems to set the seal of finality on all human hopes. Even if we eliminate the purely subjective interest, this autumnal inspiration of Tschaikowsky, in which we hear 'the ground whirl of the perished leaves of hope,' still remains the most profoundly stirring of his works."

No one has speculated with finer tact and sympathy concerning this extraordinary human document than has Mr. Philip Hale, whose meditations may well serve as a comment upon the character of the music:

"Each hearer has his own thoughts when he is 'reminded by the
instruments.' To some this symphony is as the life of man. The story
is to them of man's illusions, desires, loves, struggles, victories,
and end. In the first movement they find, with the despair of old age
and the dread of death, the recollection of early years, with the
transports and illusions of love, the remembrance of youth and all
that is contained in that word.

"The second movement might bear as a motto the words of the Third
Kalandar in the _Thousand Nights and a Night_: 'And we sat down to
drink, and some sang songs and others played the lute and psaltery
and recorders and other instruments, and the bowl went merrily round.
Hereupon such gladness possessed me that I forgot the sorrows of the
world one and all, and said: "This is indeed life O sad that 'tis
fleeting!'" The trio[177] is as the sound of the clock that in Poe's
wild tale compelled even the musicians of the orchestra to pause
momentarily in their performance, to hearken to the sound; 'and thus
the waltzers perforce ceased their evolutions, and there was a brief
disconcert of the whole gay company; and, while the chimes of the
clock yet rang, it was observed that the giddiest grew pale, and the
more aged and sedate passed their hands over their brows as if in
confused revery or meditation.' In this trio Death beats the drum.
With Tschaikowsky, here, as in the 'Manfred' symphony, the drum is
the most tragic of instruments. The persistent drum-beat in this trio
is poignant in despair not untouched with irony. Man says: 'Come now,
I'll be gay'; and he tries to sing and to dance and to forget. His
very gaiety is labored, forced, constrained, in an unnatural rhythm.
And then the drum is heard, and there is wailing, there is angry
protest, there is the conviction that the struggle against Fate is
vain. Again there is the deliberate effort to be gay, but the drum
once heard beats in the ears forever.

"The third movement--the march-scherzo--is the excuse, the pretext,
for the final lamentation. The man triumphs; he knows all that there
is in earthly fame. Success is hideous, as Victor Hugo said. The blare
of trumpets, the shouts of the mob, may drown the sneers of envy; but
at Pompey passing Roman streets, at Tasso with the laurel wreath, at
coronation of czar or inauguration of president, Death grins, for he
knows the emptiness, the vulgarity, of what this world calls success.

"This battle-drunk, delirious movement must perforce precede the
mighty wail--

"'The glories of our blood and state
Are shadows, not substantial things;
There is no armor against fate;
Death lays his icy hands on kings.'"

The last movement--the prodigious _Adagio lamentoso_--moved Mr. Vernon Blackburn to a comparison with Shelley's "Adonais": "The precise emotions," he wrote, "down to a certain and extreme point, which inspired Shelley in his wonderful expression of grief and despair, also inspired the greatest of modern musicians since Wagner in his 'Swan Song'--his last musical utterance on earth. The first movement is the exact counterpart of those lines--

"'He will awake no more, oh, never more!--
Within the twilight chamber spreads apace
The shadow of white Death....'

"As the musician strays into the darkness and into the miserable oblivion of death, ... Tschaikowsky reaches the full despair of those other lines--

"'We decay
Like corpses in a charnel; fear and grief
Convulse us and consume us day by day,
And cold hopes swarm like worms within our living clay.'

"With that mysterious and desperate hopelessness the Russian comes to an end of his faith and anticipation.... For as ['life'], writes Shelley, 'like a many-colored dome of glass, stains the white radiance of eternity,' even so Tschaikowsky in this symphony has stained eternity's radiance: he has captured the years and bound them into a momentary emotional pang."

"THE VOYVODE,"[178] ORCHESTRAL BALLAD (Posthumous): Op. 78

Tschaikowsky composed _Le Voyvode_ at Tiflis in 1890, under the inspiration of a poem by the Polish poet Adam Mickiewicz (1798-1855). It is said that after the first performance of the work at Moscow in November, 1891, Tschaikowsky, disheartened over the cool reception of his music by the audience, and by the adverse criticism of his friends, "tore his score in pieces, exclaiming, 'Such rubbish should never have been written!'"[179] The orchestral parts are alleged to have been preserved, and the score restored from them. At all events, the work was published in 1897, four years after Tschaikowsky's death.

Mickiewicz's poem, in French and Russian, prefaces the score. It has been translated into English prose as follows:[180]

"The voyvode comes back from the war late at night. He orders
silence, rushes toward the nuptial bed, draws aside the curtains.
'Tis, then, true! No one; the bed is empty.

"Darker than black night, he lowers his eyes shot with rage, twists
his grizzling mustache; then, throwing back his long sleeves, he
leaves, and bolts the door. 'Hallo, there,' he cries, 'Devil's food!'

"'Why do I not see at the gate bolts or watch dogs? Race of Ham!
Quick, my gun; bring a sack, a cord, and take the carbine hanging on
the wall. Follow me. I shall make known my vengeance on this woman!'

"The master and the young servant spy along the wall. They go into
the garden and see through the bushes the young woman, all in white,
seated near the fountain with a young man at her feet.

"He was saying: 'And so nothing is left to me of those former
delights, of that which I so dearly loved! The sighs of your white
breast, the pressure of your soft hand--these the voyvode has bought!

"'How many years did I sigh after you, how many years did I seek you,
and you have renounced me! The voyvode did not seek you, he did not
sigh for you--he made his money jingle and you gave yourself to him!

"'I have passed through the darkness of the night to see the eyes
of my well-beloved, to press her soft hand, to wish her in her new
dwelling many prosperous years, much joy, and then to leave her
forever.'...

"The fair one wept and mourned; the young man embraced her knees; and
the other two watched them through the bushes. They laid their guns
on the ground; they took cartridges from their belts; they bit them
and rammed them home.

"Then they crept up gently. 'Master, I cannot aim,' said the
poor servant; 'is it the wind? But there are tears in my eyes--I
tremble--my arms are growing weak; there is no priming powder in the
pan'--

"'Be silent, slave; I'll teach you to whimper! Fill the pan--now
aim--aim at the forehead of the false woman--more to the
left--higher--I'll take care of the lover--hush--my turn first--wait!'

"The carbine-shot rang through the garden. The young servant could
not wait. The voyvode screamed; the voyvode staggered. The servant's
aim, it seems, was poor: the ball pierced the voyvode's forehead."

FOOTNOTES:

[163] Without opus number.

[164] The first of Tschaikowsky's programmatic orchestral works is the virtually unknown _Fatum_ ("Destiny"), to which are attached lines from a poem by Batioushkov. This work was composed in 1868, and produced at Moscow in March of the following year. Tschaikowsky destroyed the score "during the seventies"; but the orchestral parts were preserved, and the score was reconstructed from them and published in 1896. Batioushkov's lines were affixed to the score after its completion, on the eve of the concert at which the work was produced.

[165] See page 12 (foot-note).

[166] It is known that Tschaikowsky thought seriously of composing an opera based on the subject of "Romeo and Juliet." "The operas of Gounod and Bellini," he wrote in 1870, "do not frighten me"--Shakespeare, he truly observed, "is not to be found in them."

[167] This and the foregoing excerpt from Tschaikowsky's correspondence are from the translation by Mrs. Rosa Newmarch.

[168] This is Carlyle's concise epitome of the experience related by Dante in the fifth canto:

"The Second Circle, or proper commencement of Hell; and Minos, the Infernal Judge, at its entrance. It contains the Souls of Carnal Sinners; and their punishment consists in being driven about incessantly, in total darkness, by fierce winds. First among them comes Semiramis, the Babylonian queen. Dido, Cleopatra, Helena, Achilles, Paris, and a great multitude of others pass in succession. Dante is overcome and bewildered with pity at the sight of them, when his attention is suddenly attracted to two spirits that keep together and seem strangely light upon the wind. He is unable to speak for some time, after finding that it is Francesca da Rimini, with her lover Paolo; and falls to the ground, as if dead, after he has heard their painful story."

[169] Ravenna: "on the coast of that sea to which the Po, with all his streams from Alps to Apennines, descends to rest therein."

[170] Francesca was the daughter of Guido Vecchio da Polenta, lord of Ravenna. She was given in marriage to Giovanni (or Gianciotto) Malatesta, the eldest son of Malatesta Vecchio, tyrant of Rimini. Giovanni was called "_Lo Sciancato_"--"the lame," or "hipshot." Not only was he a cripple, but he was much older than Francesca, and of stern and forbidding temper. Some say that he secured Francesca for wife by trickery, she being led to suppose that Paolo ("_Il Bello_"), the young brother of Giovanni, "a handsome man, very pleasant and of courteous breeding," was her future husband; that she therefore permitted herself to love him, and did not learn of the deception until "the morning ensuing the marriage." Giovanni surprised his wife and his brother together, and killed them both--between the years 1287 and 1289, says Hieronymus Rubeus in the first edition of his _Hist. Ravennat._ (Venice, 1572); in a later edition (1603) the date is given as early in 1289. The lovers were buried in the same grave. Guido Novello, with whom Dante lived at Ravenna, was the son of Francesca's brother, Ostagio da Polenta, and from him, it is believed, Dante heard the tragic story.--L. G.

[171] "Lancelot of the Lake, in the old Romances of the Round Table, is described as the greatest knight of all the world; and his love for Queen Guenever, or Ginevra, is infinite. Galeotto, Gallehaut, or Sir Galahad, is he who gives such a detailed declaration of Lancelot's love to the queen; and is to them, in the romance, what the book and its author are here [in Dante's poem] to Francesca and Paolo."--J. A. CARLYLE.

[172] This is the culmination of the scene described by Francesca as it occurs in Mr. Stephen Phillip's drama, "Paolo and Francesca":

"FRANCESCA [_Reading_]. 'And Guenevere,
Turning, beheld him suddenly whom she
Loved in her thought, and even from that hour
When first she saw him; for by day, by night,
Though lying by her husband's side, did she
Weary for Launcelot, and knew full well
How ill that love, and yet that love how deep
I cannot see--the page is dim; read you.

"PAOLO [_Reading_]. 'Now they two were alone, yet could not speak;
But heard the beating of each other's hearts.
He knew himself a traitor but to stay,
Yet could not stir; she pale and yet more pale
Grew till she could no more, but smiled on him.
Then when he saw that wished smile, he came
Near to her and still near, and trembled; then
Her lips all trembling kissed.'

"FRANCESCA [_Drooping towards him_]. Ah, Launcelot!
[_He kisses her on the lips._]"

[173] Nadeshda Filaretowna von Meck was born in the village of Znamensk, in the government of Smolensk, February 10, 1831. She was thus nine years older than Tschaikowsky. When her husband, an engineer, died, in 1876, she was left with eleven children and a very large fortune, although they had not always been rich. Modeste Tschaikowsky described her as "a proud and energetic woman, of strong convictions, with the mental balance and business capacity of a man; ... a woman who despised all that was petty, common-place, and conventional; ... absolutely free from sentimentality in her relations with others, yet capable of deep feeling, and of being completely carried away by what was lofty and beautiful."

[174] The passages quoted from Tschaikowsky's letters are given in Mrs. Rosa Newmarch's translation.

[175] Translated by Mr. Philip Hale.

[176] In the October before his death Tschaikowsky was busied with the orchestration of his third piano concerto, Op. 75, based on portions of a symphony which he began in May, 1892, but afterwards destroyed.

[177] See page 210 (foot-note).

[178] "Voyvode": in Russian, "a military commander, general, or governor of a province."

[179] The authorship of this story is attributed to the pianist Alexander Siloti, a pupil of Tschaikowsky.

[180] By Mr. Philip Hale.

WAGNER

(_Richard Wagner: born in Leipsic, May 22, 1813; died in Venice,
February 13, 1883_)

"A 'FAUST' OVERTURE"[181]

Wagner, during his sojourn in Paris in 1840, wrote an orchestral piece which, as he relates, he called an "overture to Goethe's 'Faust,' but which was in reality intended for the first section of a grand 'Faust' symphony." The curious and interesting history of this work may best be told in excerpts from Wagner's correspondence with his devoted friend and benefactor, Franz Liszt. Liszt, to whom Wagner had sent the manuscript of the overture in 1848, wrote in 1852 (October 7th), some months after he had produced the overture at Weimar:[182]

"The work is quite worthy of you; but, if you will allow me to make a remark, I must confess that I should like either a second middle part or else a quieter and more agreeably colored treatment of the present middle part. The brass is a little too massive there, and--forgive my opinion--the motive in F is not satisfactory: it wants grace in a certain sense, and is a kind of hybrid thing, neither fish nor flesh, which stands in no proper relation of contrast to what has gone before and what follows, and in consequence impedes the interest. If instead of this you introduced a soft, tender, melodious part, modulated _à la_ Gretchen, I think I can assure you that your work would gain very much. Think this over, and do not be angry in case I have said something stupid."

To this Wagner responded (November 9, 1852): "You beautifully spotted the lie when I tried to make myself believe that I had written an overture to 'Faust.' You have felt quite justly what is wanting: the woman is wanting. Perhaps you would at once understand my tone-poem if I called it 'Faust in Solitude.' At that time I intended to write an entire 'Faust' symphony. The first movement, that which is ready, was this 'Solitary Faust,' longing, despairing, cursing. The 'feminine' floats around him as an object of his longing, but not in its divine reality; and it is just this insufficient image of his longing which he destroys in his despair. The second movement was to introduce Gretchen, the woman. I had a theme for her, but it was only a theme. The whole remains unfinished. I wrote my 'Flying Dutchman' instead. This is the whole explanation. If now, from a last remnant of weakness and vanity, I hesitate to abandon this 'Faust' work altogether, I shall certainly have to remodel it, but only as regards instrumental modulation. The theme which you desire I cannot introduce. This would naturally involve an entirely new composition, for which I have no inclination. If I publish it, I shall give it its proper title, 'Faust in Solitude,' or 'The Solitary Faust: a Tone-Poem for Orchestra.'"

He did not "abandon" it. Writing to Liszt from Zurich in January, 1855, he congratulated him on the completion of his "Faust" symphony, and added: "It is an absurd coincidence that just at this time I have been taken with a desire to remodel my old 'Faust' overture. I have made an entirely new score, have rewritten the instrumentation throughout, have made many changes, and have given more expansion and importance to the middle portion (second motive). I shall give it in a few days at a concert here, under the title of 'A "Faust" Overture.' The motto will be:

"'Der Gott, der mir im Busen wohnt,
Kann tief mein Innerstes erregen;
Der über allen meinen Kräften thront,
Er kann nach aussen nichts bewegen;
Und so ist mir das Dasein eine Last,
Der Tod erwünscht, das Leben mir verhasst!'

--but I shall not publish it in any case."

This motto, which Wagner retained, has been translated as follows:[183]

"The God who dwells within my soul
Can heave its depths at any hour;
Who holds o'er all my faculties control
Has o'er the outer world no power.
Existence lies a load upon my breast,
Life is a curse, and death a longed-for rest."

The overture, in its revised form, was produced in Zurich, January 23, 1855, at a concert of the _Allgemeine Musikgesellschaft_. Two days later, Liszt wrote to the composer: "You were quite right in arranging a new score of your overture. If you have succeeded in making the middle part a little more pliable, this work, significant as it was before, must have gained considerably. Be kind enough to have a copy made, and send it me _as soon as possible_. There will probably be some orchestral concerts here, and I should like to give this overture at the end of February."

Wagner sent the score, with a letter in which he said: "Herewith, dearest Franz, you receive my remodelled 'Faust' overture, which will appear very insignificant to you by the side of your 'Faust' symphony. To me the composition is interesting only on account of the time from which it dates; this reconstruction has again endeared it to me; and, with regard to the latter, I am childish enough to ask you to compare it very carefully with the first version, because I should like you to take cognizance of the effect of my experience and of the more refined feeling I have gained. In my opinion, new versions of this kind show most distinctly the spirit in which one has learned to work and the coarsenesses which one has cast off. You will be better pleased with the middle part. I was, of course, unable to introduce a new motive, because that would have involved a remodelling of almost the whole work; all I was able to do was to develop the sentiment a little more broadly, in the form of a kind of enlarged cadence. Gretchen, of course, could not be introduced, only Faust himself."[184]

"A SIEGFRIED IDYL"[185]

In the summer of 1870 (August 25th) Wagner was married at Lucerne, Switzerland, to Cosima, daughter of Franz Liszt and the Comtesse d'Agoult, and the divorced wife of Hans von Bülow.[186] Siegfried Wagner, the son of Richard and Cosima, was born at Triebschen, near Lucerne, June 6, 1869. In a letter dated June 25, 1870, two months before his marriage to Cosima, Wagner wrote to a friend: "She [Cosima] has defied every disapprobation and taken upon herself every condemnation. She has borne to me a wonderfully beautiful and vigorous boy, whom I could boldly call 'Siegfried': he is now growing, together with my work, and gives me a new, long life [Wagner was then fifty-seven years old], which at last has attained a meaning. Thus we get along without the world, from which we have retired entirely.... But now listen; you will, I trust, approve of the sentiment which leads us to postpone our visit until I can introduce to you the mother of my son as my wedded wife."[187]

Cosima, according to Lina Ramann, was born (in Bellagio) "at Christmas," 1837. The "Siegfried Idyl" was written by Wagner as a birthday gift to his wife, and it was first performed December 24, 1871, as an _aubade_, on the steps of Wagner's villa at Triebschen; the orchestra was a small group of players gathered from the neighborhood. Hans Richter played the trumpet, and Wagner himself conducted.

The themes out of which the "Idyl" is evolved are, with a single exception, motives from the _Nibelungen_ music-drama "Siegfried,"[188] upon which Wagner was engaged when his son was born; the exception is a German cradle-song, _Schlaf, Kindchen, balde, Vöglein flieg'n im Walde_.

Wagner dedicated the work to his wife in verses which have been translated as follows:

"Thy sacrifices have shed blessings o'er me,
And to my work have given noble aim,
And in the hour of conflict have upbore me,
Until my labor reached a sturdy frame.
Oft in the land of legends we were dreaming--
Those legends which contain the Teuton's fame,
Until a son upon our lives was beaming,
Siegfried must be our youthful hero's name.

"For him and thee I now in tones am praising;
What thanks for deeds of love could better be?
Within our souls the grateful song upraising
Which in this music I have now set free.
And in this cadence I have held, united,
Siegfried, our dearly cherished son, and thee.
Thus all the harmonies I now am bringing
But speak the thought which in my heart is ringing."

FOOTNOTES:

[181] Without opus number.

[182] The first performance of the overture in its original form was in Dresden, July 22, 1844, at a concert in the pavilion of the _Grosser Garten_.

[183] By Mr. Charles T. Brooks.

[184] These passages from the Wagner-Liszt correspondence are from the English version by Francis Hueffer.

[185] Without opus number.

[186] Cosima married von Bülow in Berlin, August 18, 1857; they were divorced in the autumn of 1869.

[187] From Finck's _Wagner and His Works_.

[188] These motives are: (1) The "Peace" motive, from the love scene in the third act, first heard at _Brünnhilde's_ words: _Ewig wär ich, ewig bin ich, ewig in süss sehnender Wonne--doch ewig zu deinem Heil!_ ("I have been forever, I am forever, ever in sweet yearning rapture--but ever to thy salvation!"); (2) a portion of the "Slumber" motive (first heard in "Die Walküre"); (3) a theme of two descending notes taken from _Brünnhilde's_ cry (in the love scene): _O Siegfried! Siegfried! sieh' meine Angst!_ ("O Siegfried, Siegfried, behold my terror!"); (4) the "Treasure of the World" motive, accompanying _Brünnhilde's_ apostrophe: _O Siegfried, Herrlicher! Hort der Welt!_ ("O Siegfried, glorious one! Treasure of the world!"); (5) Siegfried's "Wander" motive, first heard in Act I., where the son of Siegmund exuberantly announces to Mime that he is going forth into the world, never to return; (6) fragments of the bird-call from the _Waldweben_ in the second act; and (7) the figure which accompanies Siegfried's ecstatic words near the climax of the love scene: _Ein herrlich Gewässer wogt vor mir_ ("a wondrous sea surges before me").

WOLF

(_Hugo Wolf: born in Windischgräz, Steiermark, Austria, March 13,
1860; died in Vienna, February 22, 1903_)

"PENTHESILEA," SYMPHONIC POEM[189]

This symphonic poem is based on the tragedy of like name by Heinrich von Kleist.[190] The action of Von Kleist's drama is, in outline, as follows: The Amazons, under the leadership of their queen, Penthesilea, go forth to attack the Greeks besieging Troy, hoping that they may celebrate at Themiscyra, with the young men whom they shall capture, the Feast of Roses. The law of the Amazons requires that only those whom they have overcome in conquest may celebrate with them at the festival; therefore, when Penthesilea encounters in battle the surpassingly beautiful Achilles, she perforce attacks him, for she is ravished by love of him. He bests her in the fight, but she is rescued by her sister warriors. Achilles learns that, should he permit her to overcome him, he might possess her. He plans to engage her single-handed, and allow her to conquer him. Penthesilea's suspicions are aroused; she becomes convinced of his trickery. Her consuming love is transformed into consuming and vengeful hate. She slays him, and, together with her hounds, rends his flesh and exults lustfully in his blood. When her frenzy--which is as the frenzy of Wilde's "Salome"--is at last appeased, she stabs herself and sinks upon the body of her lover.

Dr. Kuno Francke finds in the figure of the Amazon queen an image of Kleist's own soul--"a soul," he writes in his _History of German Literature_, "inspired with titanic daring, driven by superhuman desire, bent on conquering Eternity. When the conviction first dawned upon Kleist that the whole of truth is beyond human reach, all life henceforth seemed worthless to him. When Penthesilea, instead of vanquishing the beloved hero, is overcome by him, even his love is hateful to her. The ideal which she cannot fully and without reserve make hers she must destroy. The god in her having been killed, the beast awakes. And thus, immediately after that enchanting scene where the lovers, for the first time and the last, have been revelling in mutual surrender and delight, she falls like a tigress upon the unsuspecting and weaponless man; with the voluptuousness of despair, she sends the arrow through his breast; she lets the hounds loose upon him as he dies, and together with the hounds she tears his limbs and drinks his blood, until, at last, brought back to her senses, and realizing what she has done, she sinks into the arms of death--a character so atrocious and so ravishing, so monstrous and so divine, so miraculous and so true, as no other poet ever has created."

Although Wolf's symphonic poem is not provided with a programme, there are in the score explanatory titles for its main (connected) divisions. These titles have been annotated in German as follows (the translation is that published in the programme books of the Chicago Orchestra in April, 1904, at the time of the first American performance of the work):[191]

"I
"THE DEPARTURE OF THE AMAZONS FOR TROY

"Amid great tumult the fierce warriors prepare to set out on
their campaign, Penthesilea in command--as is symbolized by her
personal motive, which will be heard above the clashing of weapons
and the shrieking of war-cries. In exultation the army assembles,
the queen dashing to the front to lead in the march, which begins
with a flourish of trumpets. A contrasting intermediary section
leads to a resumption of the march movement, the latter dying away
as the Amazons, having reached their destination, go into night
encampment--as represented by the subdued rolls of the kettle-drums,
with which the movement concludes.

"II "PENTHESILEA'S DREAM OF THE FEAST OF ROSES

"As she slumbers, Penthesilea's dreams carry her beyond the battle
impending to the prize which awaits her after the victory. Over
mysterious arpeggios in the violas, the flutes, oboes, and violins
begin a melody in which one recognizes Penthesilea, transformed into
a gentle, loving woman. The dream-picture becomes more and more
vivid, until all of a sudden the sleeper awakens.

"III "COMBATS, PASSIONS, FRENZY, ANNIHILATION

"Once aroused, Penthesilea is the ferocious warrior again;
challenged by the foe, she rides forth to battle. But straightway
a conflict of the emotions is suggested by the interweaving of two
motives--one being mentioned as denoting Penthesilea's determination
to conquer, and the other as expressive of the yearnings of her
heart; their combined development--descriptive of their struggle for
supremacy--mounting presently to a full-orchestra climax, from which
the motive of 'yearning' emerges in certain wood-wind instruments
over a subdued tremolo of the violas. But the desire for conquest
soon gains the upper hand again, leading to a dramatic climax which
brings to notice the motive of annihilation in the trombones--opposed
by the violins and wood-wind with a distorted version of the
Penthesilea motive. The tumult subsides through a picturesque
_diminuendo_, beautified by an expressive viola solo and leading to
the reappearance of Penthesilea, now tranquillized and gentle. But
this mood does not last long; the orchestra, passing from animation
to agitation, shortly setting up a great shriek of anguish; following
which a chromatic flourish leads to a repetition of 'The Departure
of the Amazons.' But now Penthesilea goes not forth to any common
struggle, nor does any dream of happiness beckon her from beyond
the victory. Revenge and destruction are now her only purpose. With
redoubled ferocity the situation mounts to its tragic climax, which
culminates in a frightful screech. Then a pause; her anger spent, the
unhappy queen appears once more, her face no longer disfigured with
passion, but glowing with yearning and love. Thus, in ecstasy and
anguish, her young life goes out in a sigh."

FOOTNOTES:

[189] Without opus number.

[190] Heinrich von Kleist was born at Frankfort-on-the-Oder, October 18, 1777; he died, by his own hand, at Wannsee, near Potsdam, November 21, 1811.

[191] The programme books of the Chicago Orchestra for that year were edited by Mr. Hubbard William Harris.

_INDEX OF WORKS AND COMPOSERS_

A

_"Adonais," Overture_, 51, 52.

_"Afternoon of a Faun, The," Prelude to_, 73-75.

_"Also Sprach Zarathustra," Tone-Poem_, 275-285.

_"Antar," Symphony_, 222-226.

_"Aus Italia," Fantasy_, 259-261.

B

Bantock, Granville, 11-18.

_"Battle of the Huns, The," Symphonic Poem_, 155-157.

Beethoven, Ludwig van, 19-30.

Berlioz, Hector, 31-41.

Bizet, Georges, 43-47.

_"Blanik," Symphonic Poem_, 253.

_"Böcklin" Symphony_, 131-136.

C

_"Calm Sea and Prosperous Voyage," Overture_
(see _"Becalmed at Sea and Prosperous Voyage"_), 202, 203.

_"Carnival," Overture_, 87-89.

Chadwick, George W., 49-55.

Charpentier, Gustave, 57-59.

Chausson, Ernest, 61-64.

_"Christmas Eve," Suite_, 231-234.

_"Cleopatra," Symphonic Poem_, 53-55

_"Cockaigne," Overture_, 96-98.

_"Consecration of Sound, The," Symphony_, 255-258.

Converse, Frederick S., 65-72.

_"Coriolanus," Overture to_, 24, 25.

D

_"Dance in the Village Tavern, The," Episode (No. II.)
from Lenau's "Faust"_, 174, 175.

_"Dance of Death," Symphonic Poem_, 237, 238.

_"Danse Macabre," Symphonic Poem_, 237, 238.

_"Dante's 'Divina Commedia,' Symphony after"_, 164-173.

_"Death and Transfiguration," Tone-Poem_, 266-269.

_"Death of Tintagiles, The," Symphonic Poem_, 177-182.

Debussy, Claude, 73-78.

_"Der Nächtliche Zug," Episode (No I.)
from Lenau's "Faust"_, 173, 174.

_"Der Tanz in der Dorfschenke," Episode (No. II.)
from Lenau's "Faust"_, 174, 175.

_"Devil's Villanelle, The," Fantasia_, 184-187.

_"Die Ideale," Symphonic Poem_, 157-161.

_"Die Sarazenen," Symphonic Fragment_, 194, 195.

_"Die Schöne Aldâ," Symphonic Fragment_, 195, 196.

_"Die Weihe der Töne," Symphony_, 255-258.

_"Djinns, The," Symphonic Poem_, 113, 114.

_"Domestic Symphony"_, 297-302.

_"Don Juan," Tone-Poem_, 261-264.

_"Don Quixote," Variations_, 285-292.

_"Dream Children," Two Pieces_, 98-100.

Dukas, Paul, 79-84.

Dvořák, Anton, 85-93.

E

_"Egmont," Overture to_, 27-30.

_"Eine Faust Ouvertüre"_, 339-343.

_"Eine Faust Symphonie"_, 161-164.

_"Ein Heldenleben," Tone-Poem_, 292-297.

Elgar, Edward, 95-104.

_"Enchanted Forest, The," Legend_, 137, 138.

_"Endymion's Narrative," Romance_, 67, 68.

_"Enigma" Variations_, 95-98.

_"Episodes, Two, from Lenau's 'Faust',"_ 173-175.

_"Eroica" Symphony_, 19-24.

_"Euphrosyne," Overture_, 70.

_"Euterpe," Overture_, 52, 53.

F

_Fantasia, "Francesca da Rimini"_, 308-316.

_Fantasia, "The Tempest"_, 305-308.

_"Fantastic" Symphony_, 34-36.

_"'Faust,' Lenau's, Two Episodes from"_, 173-175.

_"Faust Overture, A"_, 339-343.

_"Faust Symphony, A"_, 161-164.

_"Festival of Pan, The," Romance_, 65, 66.

_"Festklänge," Symphonic Poem_, 154, 155.

_"Fingal's Cave" ["The Hebrides"], Overture_, 200-202.

_"Francesca da Rimini," Fantasia_, 308-316.

Franck, César, 105-114.

_"From Bohemia's Fields and Groves," Symphonic Poem_, 253.

_"From Italy," Fantasia_, 259-261.

_"From the New World," Symphony_, 92, 93.

G

Glazounoff, Alexander, 115-118.

Goldmark, Karl, 119-122.

Grieg, Edvard, 123-126.

H

Hadley, Henry K., 127-130.

_"Hamlet"; "Ophelia," Symphonic Poem_, 198.

_"Harold in Italy," Symphony_, 36-41.

_"Hebrides, The," ["Fingal's Cave"], Overture_, 200-202.

_"Hero's Life, A," Tone-Poem_, 292-297.

Huber, Hans, 131-136.

_"Hunnenschlacht," Symphonic Poem_, 155-157.

I

_"Ideal, The," Symphonic Poem_, 157-161.

_"Idyl, A Siegfried"_, 343-345.

_"Impressions of Italy," Suite_, 57-59.

_"Im Walde," Symphony_, 213-216.

_"In der Natur," Overture_, 85-87.

_"Indian" Suite_, 196, 197.

d'Indy, Vincent, 137-144.

_"In the South," Overture_, 101-104.

_"In the Woods," Symphony_, 213-216.

_"Istar," Symphonic Variations_, 139-141.

_"Italian" Symphony_, 208-211.

J

_"Jour d'été à la montagne," Tone-Poem_, 141-144.

K

_"King Lear," Overture to_, 31-33.

_"Kremlin, The," Symphonic Picture_, 117, 118.

L

_"La Bonne Chanson" ["Poem"], Tone-Poem_, 182-184.

_"La Forêt Enchantée," Legende_, 137, 138.

_"La Jeunesse d'Hercule," Symphonic Poem_, 238, 239.

_"La Mer," Three Sketches_, 77, 78.

_"La Mort de Tintagiles," Symphonic Poem_, 177-182.

_"Lancelot and Elaine," Symphonic Poem_, 191-194.

_"L'Apprenti Sorcier," Scherzo_, 79-84.

_"L'Après-Midi d'un Faune, Prelude à"_, 73-75.

_"L'Arlésienne," Suite_, 43-47.

_"La Villanelle du Diable," Fantasia_, 184-187.

_"Le Chasseur Maudit," Symphonic Poem_, 106, 107.

_"Lemminkainen's Home-Faring," Symphonic Poem_, 249, 250.

_"Lemminkainen," Symphonic Poem_, 247-250.

_"Lenau's 'Faust,' Two Episodes from"_, 173-175.

_"Lenore," Symphony_, 216-220.

_"Le Rouet d'Omphale," Symphonic Poem_, 235, 236.

_"Les Éolides," Symphonic Poem_, 105, 106.

_"Les Préludes," Symphonic Poem_, 147, 148.

_"Le Voyvode," Orchestral Ballad_, 335-337.

Liszt, Franz, 145-175.

Loeffler, Charles Martin, 177-189.

_"Lovely Aldâ, The"_, 195, 196.

_"Lovely Melusina, The," Overture_, 203-206.

M

_"Macbeth," Tone-Poem_, 264-266.

MacDowell, Edward, 191-198.

_"Manfred," Overture to_, 243-245.

_"Manfred," Symphony_, 323-329.

_"Mazeppa," Symphonic Poem_, 151-154.

_"Meeresstille und Glückliche Fahrt," Overture_, 202-203.

_"Melpomene," Overture_, 49-51.

_"Melusina, The Lovely," Overture_, 203-206.

Mendelssohn-Bartholdy, Felix 199-211.

_"Mephisto Waltz," Episode (No. II.)
from Lenau's "Faust"_, 174, 175.

_"Mer, La"_, 77, 78.

_"Midsummer Night's Dream, A," Overture to_, 199, 200.

_"Mlada"_ (see _"Night on Mount Triglav, A"_), 229, 230.

_"My Fatherland," Cycle of Symphonic Poems_, 251-253.

_"Mystic Trumpeter, The," Fantasy_, 70-72.

N

_"Nature, Life, Love," Triple Overture_, 85-91.

_"Nature" Overture_, 85-87.

_"New World, From the," Symphony_, 92, 93.

_"Night" and "Day," Two Poems_, 68-70.

_"Night on Mount Triglav, A"
(from the Opera-Ballet "Mlada")_, 229, 230.

_"Nocturnal Procession, The," Episode (No. I.)
from Lenau's "Faust"_, 173, 174.

_"Nocturnes, Three"_, 75-77.

O

_"October, In," Supplement to Suite No. I._, 198.

_"Omphale's Spinning-Wheel," Symphonic Poem_, 235, 236.

_"Orpheus," Symphonic Poem_, 148-150.

_"Othello," Overture_, 89-91.

_Overture, "Adonais"_, 51, 52.

_Overture, "Becalmed at Sea and Prosperous Voyage"_, 202, 203.

_Overture, "Carnival"_, 87-89.

_Overture, "Cockaigne"_, 96-98.

_Overture, "Euphrosyne"_, 70.

_Overture, "Euterpe"_, 52, 53.

_"Overture, Faust, A"_, 339-343.

_Overture, "Fingal's Cave" ["The Hebrides"]_, 200-202.

_Overture, "In the South"_, 101-104.

_Overture, "Lovely Melusina, The"_, 203-206.

_Overture, "Meeresstille und Glückliche Fahrt"_, 202-206.

_Overture, "Melpomene"_, 49-51.

_Overture, "Midsummer Night's Dream, A"_, 199, 200.

_Overture, "Nature"_, 85-87.

_Overture, "Othello"_, 89-91.

_Overture-Fantasie, "Romeo and Juliet"_, 303-305.

_Overture, "Sakuntala"_, 119, 120.

_"Overture, Triple"_, 85-91.

_Overture to "Coriolanus"_, 24, 25.

_Overture to "Egmont"_, 27-30.

_Overture to "King Lear"_, 31-33.

_Overture to "Manfred"_, 243-245.

P

_"Pagan Poem, A"_, 187-189.

_"Pastoral" Symphony_, 25, 27.

_"Pathetic" Symphony_, 329-335.

_"Peer Gynt," Suite_, 123-126.

_"Penthesilea," Symphonic Poem_, 347-351.

_"Phaëton," Symphonic Poem_, 236, 237.

_"Poem" ["La Bonne Chanson"]_, 182-184.

_Prelude, "Sappho"_, 15-18.

_"Preludes, The," Symphonic Poem_, 147, 148.

_Prelude to "The Afternoon of a Faun"_, 73-75.

_"Psyche," Suite_, 108-113.

R

Raff, Joachim, 213-220.

Rimsky-Korsakoff, Nicolas Andrejevitch, 221-234.

_"Romeo and Juliet," Overture-Fantasie_, 303-305.

_"Rustic Wedding" Symphony_, 120-122.

S

_"Sadko," a Musical Picture_, 221, 222.

Saint-Saëns, Camille, 235-239.

_"Sakuntala," Overture_, 119, 120.

_"Salome," Tone-Poem_, 127-130.

_"Sappho," Prelude_, 15-18.

_"Saracens, The"_, 194, 195.

_"Sárka," Symphonic Poem_, 252, 253.

_"Saugefleurie," Legend_, 138, 139.

_"Scheherazade," Suite_, 226-229.

Schumann, Robert, 241-245.

_"Scotch" Symphony_, 206-208.

_"Sea, The," Three Sketches_, 77, 78.

_"Siegfried Idyl, A"_, 343-345.

Sibelius, Jan, 247-250.

_Sinfonia Eroica_, 19-24.

Smetana, Friedrich, 251-253.

_"Song of Roland, The," Two Fragments after_, 194-196.

_"Sorcerer's Apprentice, The," Scherzo_, 79-84.

Spohr, Louis, 255-258.

_"Spring" Symphony_ [Schumann], 241-243.

_"Stenka Râzine," Symphonic Poem_, 115-117.

Strauss, Richard, 259-302.

_Suite, "Christmas Eve"_, 231-234.

_Suite, "Impressions of Italy"_, 57-59.

_Suite, "Indian"_, 196, 197.

_Suite, "L'Arlésienne"_, 43-47.

_Suite No. I. (Op. 42)_, MacDowell, 198.

_Suite, "Peer Gynt"_, 123-126.

_Suite, "Psyche"_, 108-113.

_Suite, "Scheherazade"_, 226-229.

_"Summer Day on the Mountain," Tone-Poem_, 141-144.

_"Swan of Tuonela, The," Symphonic Poem_, 248, 249.

_Symphonic Poem, "Battle of the Huns, The"_, 155-157.

_Symphonic Poem, "Blanik"_, 253.

_Symphonic Poem, "Cleopatra"_, 53-55.

_Symphonic Poem, "Dance of Death"_, 237, 238.

_Symphonic Poem, "Danse Macabre"_, 237, 238.

_Symphonic Poem, "Death of Tintagiles, The"_, 177-182.

_Symphonic Poem, "Die Ideale"_, 157-161.

_Symphonic Poem, "Djinns, The"_, 113, 114.

_Symphonic Poem, "Festklänge"_, 154, 155.

_Symphonic Poem, "From Bohemia's Fields and Groves"_, 253.

_Symphonic Poem, "Hamlet"; "Ophelia"_, 198.

_Symphonic Poem, "Hunnenschlacht"_, 155-157.

_Symphonic Poem, "Ideal, The"_, 157-161.

_Symphonic Poem, "La Jeunesse d'Hercule"_, 238, 239.

_Symphonic Poem, "La Mort de Tintagiles"_, 177-182.

_Symphonic Poem, "Lancelot and Elaine"_, 191-194.

_Symphonic Poem, "Lemminkainen"_, 247-250.

_Symphonic Poem, "Le Rouet d'Omphale"_, 235, 236.

_Symphonic Poem, "Les Éolides"_, 105, 106.

_Symphonic Poem, "Les Préludes"_, 147, 148.

_Symphonic Poem, "Mazeppa"_, 151-154.

_Symphonic Poem, "Omphale's Spinning-Wheel"_, 235, 236.

_Symphonic Poem, "Orpheus"_, 148-150.

_Symphonic Poem, "Penthesilea"_, 347-351.

_Symphonic Poem, "Phaëton"_, 236, 237.

_Symphonic Poem, "Preludes, The"_, 147, 148.

_Symphonic Poem, "Sadko"_, 221, 222.

_Symphonic Poem, "Sárka"_, 252, 253.

_Symphonic Poem, "Stenka Râzine"_, 115-117.

_Symphonic Poem, "Tabor"_, 253.

_Symphonic Poem, "Tasso"_, 145-147.

_Symphonic Poem, "Viviane"_, 61-64.

_Symphonic Poem, "Vltava"_, 252.

_Symphonic Poem, "Vysehrad"_, 251, 252.

_Symphonic Poem, "Wild Huntsman, The"_, 106, 107.

_Symphonic Poem, "Wood Dove, The"_, 91, 92.

_Symphonic Poem, "Youth of Hercules, The"_, 238, 239.

_"Symphony, A Faust"_, 161-164.

_Symphony after Dante's "Divina Commedia"_, 164-173.

_Symphony, "Antar"_, 222-226.

_Symphony ["Böcklin"]_, Huber, 131-136.

_Symphony, "Consecration of Sound, The"_, 255-258.

_Symphony, "Die Weihe der Töne"_, 255-258.

_Symphony, "Domestic"_, 297-302.

_Symphony, "Fantastic"_, 34-36.

_Symphony, "From the New World"_, 92, 93.

_Symphony, "Harold in Italy"_, 36-41.

_Symphony, "Im Walde"_, 213-216.

_Symphony, "In the Woods"_, 213-216.

_Symphony, "Italian"_, 208-211.

_Symphony, "Lenore"_, 216-220.

_Symphony, "Manfred"_, 323-329.

_Symphony, "Pastoral"_, 25-27.

_Symphony, "Pathetic"_, 329-335.

_Symphony, "Rustic Wedding"_, 120-122.

_Symphony, "Scotch"_, 206-208.

_Symphony, No. 1, B-flat Major ["Spring"]_, Schumann, 241-243.

_Symphony No. 4, F Minor_, Tschaikowsky, 316-323.

T

_"Tabor," Symphonic Poem_, 253.

_"Tasso," Symphonic Poem_, 145-147.

_"Tempest, The," Fantasia_, 305-308.

_"Thus Spake Zarathustra," Tone-Poem_, 275-285.

_"Till Eulenspiegel's Merry Pranks"_, 269-275.

_"Tintagiles, The Death of," Symphonic Poem_, 177-182.

_"Tod und Verklärung," Tone-Poem_, 266-269.

_Tone-Poem, "Also Sprach Zarathustra"_, 275-285.

_Tone-Poem, "Death and Transfiguration"_, 266-269.

_Tone-Poem, "Don Juan"_, 261-264.

_Tone-Poem, "Ein Heldenleben"_, 292-297.

_Tone-Poem, "Hero's Life, A"_, 292-297.

_Tone-Poem, "Macbeth"_, 264-266.

_Tone-Poem, "Salome"_, 127-130.

_Tone-Poem, "Thus Spake Zarathustra"_, 275-285.

_Tone-Poem, "Tod und Verklärung"_, 266-269.

_Tone-Poem, "Witch of Atlas, The"_, 11-15.

_"Triple Overture"_, 85-91.

_"Trois Nocturnes"_, 75-77.

Tschaikowsky, Peter Iljitsch, 303-337.

_"Two Episodes from Lenau's 'Faust',"_ 173-175.

V

_Variations, "Enigma"_, 95-98.

_"Villanelle du Diable, La"_, 184-187.

_"Viviane," Symphonic Poem_, 61-64.

_"Vltava," Symphonic Poem_, 252.

_"Voyvode, The," Orchestral Ballad_, 335-337.

_"Vysehrad," Symphonic Poem_, 251, 252.

W

Wagner, Richard, 330-345.

_"Wild Huntsman, The," Symphonic Poem_, 106, 107.

_"Wild Sage" ["Saugefleurie"] Legend_, 138, 139.

_"Witch of Atlas, The," Tone-Poem_, 11-15.

Wolf, Hugo, 347-351.

_"Wood Dove, The," Symphonic Poem_, 91, 92.

Y

_"Youth of Hercules, The," Symphonic Poem_, 238, 239.

THE END

* * * * *

TRANSCRIBER'S NOTES:

Italic text is denoted by _underscores_.

A number of words in this book have both hyphenated and non-hyphenated variants. For the words with both variants present the one more used has been kept.

Obvious punctuation and other printing errors have been corrected.

End of Project Gutenberg's Stories of Symphonic Music, by Lawrence Gilman