* * * * *
Moscheles, in speaking of a “Concerto Pastorale” which he is composing,
says:--
* * * * *
“You can fancy how careful I had to be lest I should run my humble craft
on to that mighty rock, the ‘Sinfonia Pastorale,’ and be dashed to
pieces. But you know there are buildings of various dimensions; and if
you cannot erect churches, you must be content to build chapels. So I
made the venture.
“In my Concerto, the movements are as follows: the Andantino con moto,
3-8 time, is descriptive of holiday-making and rural festivity. The
whole village is rejoicing; all, from the farmer to the laborer, have
donned their Sunday attire. Next comes an Allegretto in F major, 2-4
time. The rustic piper fills the air with joyous strains; the village
beauty and her swain are rapt in dreams of coming bliss. After that, the
Adagio. The church bells are calling the congregation to their
devotions, and the bride and bridegroom to the fulfilment of their
wishes. The ceremony is over, their destinies are linked, and they are
greeted by the distant echoes of the Allegretto. It grows livelier as it
bursts forth in D major, inviting to harmless merrymaking. Finally, a
whirlwind of octaves sets lads and lasses skipping and dancing in
boisterous glee. The newly married couple go through a dance of honor
with due decorum, and the rural _fête_ is brought to a happy close.”
* * * * *