I. Extrêmement lent; très vif
II. Modérément lent
III. Modéré; très animé
IV. Introduction, fugue et finale
The majority of the pages in d’Indy’s symphony contain music lofty and
noble. Only the _finale_ sinks below the prevailing high level, and
there are fine moments in the introduction to this _finale_. It is
natural that the influence of César Franck is shown especially in the
two middle movements. So great was d’Indy’s devotion to his master that
he proudly admitted the influence; but d’Indy was no mere copyist; the
greatest pages of the symphony are his own.
* * *
The Symphony in B flat major, composed in 1903-04, was produced at a
Lamoureux concert, Paris, February 28, 1904. The score is dedicated to
Paul Dukas. The symphony is scored for three flutes (and piccolo), two
oboes, English horn, two clarinets, bass clarinet, three bassoons, four
horns, small trumpet in E flat, two trumpets in C, three trombones, bass
trombone, chromatic kettledrums, bass drum, cymbals, triangle, two
harps, strings.
This symphony is without a programme of any sort. D’Indy wrote in an
article published in the first number of _Musica_ (Paris): “Symphonic
music, unlike dramatic music, is developing toward complexity: the
dramatic element is more and more introduced into absolute music, in
such a way that form is here, as a rule, absolutely submissive to the
incidents of a veritable action.” Mr. Calvocoressi supplies a note to
this remark: “To search for an action that is not purely musical in
absolute music would be madness. There is, indeed, an action in this
symphony, but it is wholly in the music: the putting into play of two
principal themes, which present themselves at the beginning side by
side, follow each other, war against each other, or, on the contrary,
are each developed separately, associate with themselves new ideas which
complete or serve as commentary, and at the end of the work are blended
in an immense triumphal chant.”[35] It would be idle, then, to attempt
to characterize these themes as though they were dramatic motives. One
can say, however, that two decided elements of musical expression are
strongly opposed to each other.
The first movement is made up of two distinct parts: a slow
introduction, in which the themes appear at first in the state of simple
cells, and a lively movement.
I. _Extrêmement lent. Très vif._ B flat major, 4-2. Violoncellos and
double basses, doubled by harps, announce an initial and somber theme of
almost sluggish rhythm. The flute replies with a phrase whose chief
characteristic is an ascending leap of a seventh, a progression dear to
the composer. This phrase is the second principal theme of the symphony.
The phrase may be resolved in this instance into two distinct elements:
the descending fourth—B flat to F sharp—which, with its own peculiar
rhythm, is a cell that later on will assume great importance; the
ascending seventh, which will play a dominating part and appear again
throughout the work as a song of despair, a burst of the determined
will. The second theme may then be considered as a sort of embryonic
form which contains the chief elements of the symphony. The initial
theme, on the contrary, will almost always keep a closer resemblance to
itself; there will be numberless changes, melodic or rhythmic
transformations, but its particular physiognomy will not be lost.
A _tutti_ of some measures leads by a rapid _crescendo_ to the main
body, _très vif_, 3-4. A horn, accompanied by second violins and violas,
announces a new theme, which belongs exclusively to this movement. The
first two notes of this motive are the descending fourth, the first cell
of the second chief theme. The second section of the new theme furnishes
material for an abrupt and jerky figure, given soon afterwards to the
wood-wind.
II. _Modérément lent._ D flat major, 6-4. The second movement begins
with an announcement by the first violins of the second principal theme
(descending fourth). The bass clarinet sings the rest of the motive,
which is taken up by the strings. These first measures prepare the
reëntrance of the same theme under a form (6-4) already used in the
first movement. A new figure appears, which will be found in the
_finale_. The development brings a modulation to E major, and harps give
out a strongly rhythmed motive in that tonality. This motive will be
employed in the _scherzo_. The dotted, characteristic rhythm is now kept
up, while the oboe, then the clarinet, and also other instruments, sing
in turn an expressive theme; on the conclusion of it is the first new
theme of this movement, which in turn is a prolongation of the theme
(6-4) of the first movement.
III. _Modéré_, D minor, 2-4. A solo viola chants a theme of archaic
character, which reminds one of some old legend’s air. The flute hints
at the strongly rhythmed theme of the preceding movement, but the
archaic tune is developed and interrupted suddenly by the horns
proclaiming the initial theme, sadly changed and of greatly diminished
importance. There is a fantastic whirlwind in the strings, and above it
a bold theme is given out by the wood-wind. The strongly rhythmed theme
appears almost immediately afterwards, and is added to the whirling
triplets. There is a comparative lull, and the bold theme is now given
out at length by the small trumpet, after which there is an orchestral
explosion. Then the archaic tune appears, rhythmed curiously in 3-8,
“after the manner of a pantomimic dance,” and played by flutes and then
bassoons; harp harmonics and the triangle give additional color to this
episode.
IV. _Introduction, fugue, et finale._ The general form of this last
movement is that of a rondo preceded by an introduction in two parts
(introduction and fugue). In the introduction to the fugue all the chief
thematic ideas of the preceding movements are recalled one by one,
either by solo instruments or by groups of instruments.
The subject of the fugue is the expressive theme first sung by the oboe
in the second movement, but now the theme is lengthened by an ascending
arabesque. The final association of the two themes, already hinted at
the beginning of the second movement by the appearance of a figure
common to them both, is now frankly declared. This subject, persisting
to the end of the fugue, brings in a lively movement, 5-4, the true
_finale_. The oboe sings the first new theme of the second movement. The
instrumental complications become more elaborate. The strongly rhythmed
theme presents itself, and then a brand-new motive appears, interrupted
by echoes of the archaic melody. This new theme prepares the return of
the initial motive, which strengthens itself in canon form. The fugue
subject creeps about the whole orchestra, while a more aggressive form
of the often used theme of the second movement soars above. The
brand-new theme returns, and once more ushers in the initial theme in
the bass, while the second chief or cyclic theme is announced above.
This is the final struggle of the two. The fugue subject soon reappears,
and leads to a brilliant burst of the whole orchestra. The second chief
or cyclic theme is then used as a broadly proportioned chorale, whose
bass is the initial theme, now subdued and definitely associated with
the triumph of the second theme. This triumph is thrice proclaimed in
the peroration, and, between the proclamations, the archaic theme, with
its characteristic initial fifth, is heard in the wood-wind.