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Gladly would I have listened to more of these tales but, having by far the worst of the day's walk still before us, we left the stricken regions about midday and soon began an interminable ascent, all through woods, to the shrine of Madonna di Tranquillo. Hereabouts is the watershed, whence you may see, far below, the tower of Campoli Apennino.
Strange, though, how a softer, romantic humor is soon spread over the very discussion of the martial theme, so that it seems the rough, vigorous march is but the shell for the kernel of tender romance, the pageant that precedes the queenly figure. And presently, piu tranquillo, comes the fervent lyric song that may indeed be the chief theme in poetic import, if not in outer rank.
Harp and higher woodwind are added, but the volume is never transcendent save in a single burst when it is quickly hushed to the first ominous whisper. Out of this sombre song flows a romance of tender sentiment, tranquillo in strings, followed by the wood. The crossing threads of expressive melody rise in instant renewal of stress and agitation.
Sed hoc meditatum ab adulescentia debet esse, mortem ut neglegamus; sine qua meditatione tranquillo animo esse nemo potest. Moriendum enim certe est, et incertum an hoc ipso die.
The second act opens with the quaint slumber-song ("In grembo a me") which Selika sings to Vasco in prison. It is oriental in color, and is broken here and there by a barcarole which Vasco murmurs in his sleep. In striking contrast with its dreamy, quiet flow, it leads up to a passionate aria ("Tranquillo e gi
From lowest depths shadowy tones sing herald phrases against dim, distorted figures of the theme of beauty, that lead to a soft song of the triumphant hymn, tranquillo, in gentlest whisper, but with all the sense of gladness and ever bolder straying of the enchanting dream. After a final climax the song ends in slow vanishing echoes.
So the formless phrase is the introduction, the narrator, Märchen in an Oriental dress as Schérézade. The first number passes for the most part in a rocking of the motive of the sea, in various moods and movements: Largo e maestoso, Allegro non troppo, tranquillo. II. In the tale of the Prince Kalender Schérézade, of course, begins the story as usual.
welded chain, another episode, where the old rhythm is a mere gentle spur to the new plaint, molto piu tranquillo, molto cantabile ed espressivo. To be sure, the climax has all of the old pace and life, and every voice of the chorus at the loudest. In the answering and echoing of the various phrases, rhythmic and melodic, is the charm of the discussion that follows.
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