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Updated: June 25, 2025
The coda, however, may well clatter or tinkle, but it will never produce music; sapienti sat, and also to the nihil sapienti, by whom I mean myself. I am not very expert in writing on such subjects; I rather show at once how it ought to be done. "You cannot imagine with what joy I read your letter; only you ought not to have praised me so much.
The second subject of the C symphony finale, with its four thumps, seems to me to become in its development, and especially in the coda, all but as stupendous an expression of terror as the music in the last scene of "Don Giovanni," where Leporello describes the statue knocking at the door.
Emphatically a mood, it is best heard on a gray day of the soul, when the times are out of joint; its silken tones will bring a triste content as they pour out upon one's hearing. The second section in octaves is of exceeding charm. As a melody it has all the lurking voluptuousness and mystic crooning of its composer. There is flux and reflux throughout, passion peeping out in the coda.
But the tricksy god of irony has decreed that, if he lasts long enough, every anarch will end as a conservative, upon which consoling epigram let us pause. If I were to write a coda to the foregoing, loosely heaped notes, I might add that beauty and ugliness, sickness and health, are only relative terms.
Rubinstein did all sorts of wonderful things with the coda of the Barcarolle such a page! but Sir Charles Halle said that it was "clever but not Chopinesque." Yet Halle heard Chopin at his last Paris concert, February, 1848, play the two forte passages in the Barcarolle "pianissimo and with all sorts of dynamic finesse." This is precisely what Rubinstein did, and his pianissimo was a whisper.
This time he ceased absolutely to follow Rubinstein's harmony, and, retaining simply the melody, changed, however, to a minor key, he produced an odd, rhythmical little series of syncopations so rich, so strange, and withal so unlawful that when, omitting the conventional cadenza, he plunged into a coda of his own, Rubinstein flew furiously to the piano and would have struck the youth's hands from the keys but for a gesture from her Highness so imperious and so unmistakable that the great pianist's angry protests died upon his lips, and he joined, perforce, in the tumult of applause that ended the unparalleled performance.
But sometimes the theme maintains its original simplicity, and the masterwork appears in the orchestration which surrounds it; at times even this maintains an archaic simplicity. Thus in the coda of the vivace of the Seventh Symphony, a simple melody is reiterated eleven times in succession, with no other orchestration than the pedal-point on E by the rest of the instruments.
If the first part of the stanza was thus divisible, the parts were called pedes, and the musical theme or oda of the first pes was repeated for the second; the rest of the stanza was known as the syrma or coda, and had a musical theme of its own.
I should like to awfully, but I've got these things I absolutely must finish.... You understand.... No, no.... Is she, by Jove? By-bye, old thing." When Christine had pettishly banged the last chord of the coda, he came close to her and said, with an appreciative smile, in English: "Charming, my little girl." She shook her head, gazing at the front of the piano.
Again the story is told, and tarrying not at all we are led to a most delectable spot in the key of A major. This trio is marked by genius. Can anything be more bewitching than the episode in C sharp minor merging into E major, with the overflow at the close? The fantasy is notable for variety of tonality, freedom in rhythmical incidents and genuine power. The coda is dizzy and overwhelming.
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