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Updated: May 7, 2025
The whole of this composition had been finished in outline on the 16th of January, 1854, and consequently the plan for the musical structure of this work in four parts had been drawn in all its thematic proportions, as it was in this great prelude that these thematic foundations of the whole had to be laid.
Moussorgsky did not approve of Wagner's gigantic orchestral apparatus; he wished to avoid all that would distract the spectator from the stage for him Wagner was too much "symphonist," not enough dramatist. Action, above all, no thematic development in the academic sense, were the Russian's watchwords.
Many will now prefer to draw the veil, to pass over the little that I have to say, and resign themselves to the aesthetic impression. For those who feel curiosity to know the mechanism by which its wondrous effect is brought about, I will analyse the instrumentation. The thematic material employed is very slight; only here and there a motive from the preceding is indicated as if in a dream.
His determined nationalism is responsible for his festival overture, "The American Flag," based on his own setting of Rodman Drake's familiar poem. The work opens with the hymn blaring loudly from the antiphonal brass and wood. The subjects are taken from it with much thematic skill, and handled artfully, but the hymn, which appears in full force for coda, is as trite as the most of its kith.
His scheme of thematic identification and development, in its union of calculation, reflection, and musical inspiration, is beyond the capacities of those who have come after him.
Its scale figures, seldom employed by Chopin, boil and glitter, the thematic thread of the idea never being quite submerged. Fascinating, full of perilous acclivities and sudden treacherous descents, this most brilliant of preludes is Chopin in riotous spirits.
The analysis of the musical selection and the reasons for her decision are set down in her notebook by the listening student. The second-year class concerns itself with "the thematic and polyphonic melody, the larger forms, harmony in its aesthetic bearings, the aesthetic effects of the more complicated rhythms, comparative criticism and the various schools of composition."
Composers later than Mozart have never troubled to mark their first key, so that the key of the second subject might sound like a grateful change and continuation; the stuff of the themes has been depended on for variety, while for unity the great art of thematic development has served. So far as Haydn carried this art, we may note a few of his devices.
A suite for the piano is "En Passant," published in 1899; it ranges from a stately old dance, "At Fontainebleau," to "Napoli," a furious tarantelle with effective glissandi; "In Dreamland" is a most delicious revery with an odd repetition that is not preludatory, but thematic.
Evidently the greater number, if not all modern Allegro movements, consist of a combination of two essentially different constituent parts: in contrast with the older naive unmixed Allegro, the construction is enriched by the combination of the pure Allegro with the thematic peculiarities of the vocal Adagio in all its gradations.
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