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Updated: May 5, 2025
Thus we find Berlioz painting with his instrumentation; Franz Liszt, Tschaikowsky, and Richard Strauss filling their symphonic poems with drama and poetry, and Richard Wagner inventing an art which he believed to embrace the seven arts.
To pass from Wagner to Tschaikowsky, from "Parsifal" to the Pathetic Symphony, is like passing from a church in which priests are offering mass to a hut in which peasants are quarrelling, dancing, and making love. Tschaikowsky has both force and sincerity, but it is the force and sincerity of a ferocious child.
It informs the teaching of Tolstoi and the greater art of Tschaikowsky.
Again he came across the unfamiliar, the strange, the obviously distinguished Grieg's "Arabian Dance"; "Es war ein Traum" by Lassen; "Elegie" by Massenet; "Otidi" by Davydoff; "Nymphs and Shepherds" by Purcell things whose very titles smacked of color and beauty. Gluck, Sgambati, Rossini, Tschaikowsky the Italian Scarlatti Eugene marvelled at what he did not know about music.
Stanislaw Przybyszewski in his "Zur Psychologie des Individuums" approaches the morbid Chopin the Chopin who threw open to the world the East, who waved his chromatic wand to Liszt, Tschaikowsky, Saint-Saens, Goldmark, Rubinstein, Richard Strauss, Dvorak and all Russia with its consonantal composers.
The elderly man, whose name was Sir Donald Ulford, made a movement as if to follow her, then cleared his throat and stood still looking after her. Lord Holme stuck out his under jaw. But Lady Cardington, the white-haired woman spoke to him softly, and he leaned over to her and replied. The sleek man, whose name was Mr. Bry, began to talk about Tschaikowsky to Mrs.
A young violinist in corporal's stripes lifted the crowd to its feet with the slow movement of the Tschaikowsky concerto; the band itself began with Wagner's "Siegfried Idyl" and ended with Strauss's "Rosen aus dem Süden," a superb waltz, magnificently performed. Three hours of first-rate music for 7-1/5 cents! An inviting and appetizing spot, believe me. A place to stretch your legs.
There is a vehement and mighty sorrow in the Passion Music of Bach, by the side of which the grief of Tschaikowsky is like the whimpering of a child. He is unconscious of reticence, unconscious of self-control.
A scheme at once so simple, so daring and so tremendous in effect, could have been invented by no one but Handel with his need for working rapidly; and it is strange that a composer so different from Handel as Tschaikowsky should have hit upon a closely analogous form for a symphonic movement. The forms of the other choruses are dissimilar.
Poe and Heine knew ecstasy, and Liszt also; Wagner was the master adept of his century. Tschaikowsky followed him close; and in the tiny piano scores of Chopin ecstasy is pinioned in a few bars, the soul often rapt to heaven in a phrase. Richard Strauss has shown a rare variation on the theme of ecstasy; voluptuousness troubled by pain, the soul tormented by stranger nuances.
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