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Updated: May 12, 2025
She heard the talk that followed the polite rustle of applause at the first intermission, without being irritated by it, without even listening to what it meant, though here and there a phrase registered itself upon her ear. Henry Craven's "Very modern, of course. No tonality at all, not a cadence in it," and Charlotte Avery's "No form either. And hardly to be called a song.
It has that abandon which usually characterizes the songs of workers in the occult among primitive folk. A-sharp does not belong to this scale. There are five measures, where this note appears, but in each instance the tonality of the phrase momentarily rests in D-sharp minor, the relative of the pentatonic major of F-sharp. A-sharp belongs to this scale, but B-natural does not.
Development, as in strict cyclic forms, there is not a little. After the cadenza, built on a figure of wavering tonality, a valse-like theme emerges and enjoys a capricious, butterfly existence. It is fascinating. Passage work of an etherealized character leads to the second subject, now augmented and treated with a broad brush.
The fruit of his experimentings in tonality we see in the whole latter-day school of piano, dramatic and orchestral composers. That Chopin may lead to the development and adoption of the new enharmonic scales, the "Homotonic scales," I do not know. For these M. A. de Bertha claimed the future of music.
One only of its executioners, Niedermayer, showed himself at least pitiful. He tried a system more ingenious and more honest. He reversed the terms of torture. Instead of wishing to make plain chant supple and to thrust it into the mould of modern harmony, he constrained that harmony to bend itself to the austere tonality of plain chant.
The orthodox Sol-fa teacher relates the notes of the minor scale, not to the key-note, but to the third of the scale, i.e. to the key-note of the relative major. The confusion which this plan produces in the sense of tonality can readily be imagined.
Chopin says he intended the strange finale as a gossiping commentary on the march. "The left hand unisono with the right hand are gossiping after the march." Perhaps the last two movements do hold together, but what have they in common with the first two? Tonality proves nothing.
An element in this tonality is naturally Hawthorne's style: it is the best illustration American literature affords of excellence of pattern in contrast with the "purple patch" manner of writing so popular in modern diction. Congruity, the subjection of the parts to the whole, and to the end in view the doctrine of key Hawthorne illustrates all this.
Far back stretches a prospect singularly unlike those rich-toned studies of sub-Alpine regions in which Titian as a rule revels. It has an august but more colourless beauty recalling the middle Apennines; one might almost say that it prefigures those prospects of inhospitable Sierra which, with their light, delicate tonality, so admirably relieve and support the portraits of Velazquez.
Willeby finds a resemblance to the theme of the first nocturne. And such a theme! The tonality is vague, beginning in E minor. Chopin's method of thematic parallelism is here very clear. A small figure is repeated in descending keys until hopeless gloom and depraved melancholy are reached in the closing chords. Chopin now is morbid, here are all his most antipathetic qualities.
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