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Updated: May 5, 2025
Elliott remarking on the way down the Institute steps, "Ho, hum." Ornaments change, and perhaps not for the best. The scherzo architecture of Villon's Paris, the gabled caprice of Shakespeare's London, the Rip Van Winkle jauntiness of a vanished New York, these are ghosts that wander among the skyscrapers and dynamo beltings of modernity.
The great third Scherzo was played with grandeur, and it is in the Scherzos, perhaps, that Chopin has built his most enduring work.
Without continuing the emotional or entering on a formal analysis of this scherzo, I venture to say that it is a very important composition, richer and more varied in emotional incidents than the other works of Chopin which bear the same name.
In the big climax the feeling is strong of some great chant or rite, of vespers or Magnificat. Against convention the ending returns to the mood of sad legend. The Scherzo is a sparkling chain of dancing tunes of which the third, of more intimate hue, somehow harks back to the second theme of the first movement.
Corentin watched the surprise which from moment to moment the Provencal expressed by admiring exclamations. "Hein! how she plays!" said the old man. "Liszt himself hasn't a firmer touch." To a very quick "scherzo" the performer now added the first notes of an "adagio." "She is going to sing," said Corentin, recognizing the air. "Does she sing too?" asked la Peyrade.
Yet is not a rosebud a thousand times more beautiful than a full-blown rose? One more consideration. The psychology of the sonata form is false. Men and women do not feel happy for ten minutes as in the opening allegro of a sonata, then melancholy for another ten minutes, as in the following adagio, then frisky, as in the scherzo, and finally, fiery and impetuous for ten minutes as in the finale.
Gilchrist is at work upon a second symphony of more modernity. The "Nonet" is in G minor, and begins with an Allegro in which a most original and severe subject is developed with infinite grace and an unusually rich color. The Andante is religioso, and is fervent rather than sombre. The ending is especially beautiful. A sprightly Scherzo follows.
The rhythm of the shells, the noise when they left the gun and when they burst, reminded him of the passage with cymbals in the divine scherzo of the Ninth Symphony. When he heard overhead as from an airy music-box the buzzing of these steel mosquitoes, mischievous, imperious, angry, treacherous, or simply full of amiable carelessness, he felt like a street boy rushing out to see a fire.
Then, finally, and against the frantic negative pantomime of his manager, a scherzo, played so lacily that it swept the house in lightest laughter.
Isaiah compares the blind watchman of Israel to dogs, saying, "They are dumb; they cannot bark." Again, to quote the argument of Dr. Gardiner: "The dog indicates his different feelings by different tones." The following is his yelp when his foot is trod upon. Haydn introduces the bark of a dog into the scherzo in his 38th quartette.
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