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Updated: June 3, 2025
The shattering brass of which Berlioz had dreamt is realized. Violas d'amore, hecklephones, wind-machines, are introduced into the band; the familiar instruments are used in unfamiliar registers. Through the tone-poems of Strauss, the orchestral composer for the first time has a suitable palette, and can achieve a brilliance as great as that which the modern painter can attain.
But if one attends well to the difference between the two notes, and bears in mind, to guide one, such things as Virgil's 'moss-grown springs and grass softer than sleep: Muscosi fontes et somno mollior herba as his charming flower-gatherer, who Pallentes violas et summa papavera carpens Narcissum et florem jungit bene olentis anethi as his quinces and chestnuts:
The slow ascending phrase here has a full song and sway. The end is in spirited duet of two quick motives. The second movement, modérément lent, begins in revery on the answer of original motive, and the stately pathos of the theme, in horns, clarinets and violas, with rhythmic strings, grows naturally out of the mood.
In the angle formed by the turn and immediately opposite the window of the library, a long flower-bed, planted with standard and other rose trees, with violas growing sparsely in between, stretched its blossoming length, and continued up to the actual stones of the library wall.
Then a group sing the song in dancing trip, descending against the stern rising theme of violas; or one choir follows on the heels of another. Now into the play intrudes the second melody, likewise in serried chase of imitation.
With regard to its very remarkable instrumentation, I cannot do better than quote the remarks of that admirable musician, Heinrich Porges: "The augmented chord at the words auf oedem Meere, the humorous middle part of the horns, the unison of the trombones which, with the sharp entry of the violas, effect the modulation from B flat to D major, impart the most living colour to each moment."
A positive hum went round, and not an eye but was fixed on the little Orientals. When, however, the organ was for a while superseded and the violas and violins quivered under the plangent melody of Palestrina, our roving attention was fixed and held. I am not sure that the Andrea in the cloisters is not the best of all his work.
A climax is reached by all the violins in unison. A new glow, with quicker motion, is in the episode, where the violins are sharply answered by the violas, rising to a dramatic height and dying away in a vein of rare lyric utterance. It is all indeed a pure lyric in tones. Rondo-Finale. The whole has the dainty, light-treading humor that does not die of its own vehemence.
Flowers were before them, behind, and on every side. Their shining corollas covered the prairie as far as the eye could see. There were the rose-coloured blossoms of the wild althea, and the brilliant orange of Californian poppies glancing among the green leaves like so many balls of fire while lower upon the surface grew the humble violas, sparkling like azure gems.
This feeling he enhances by his orchestration violas and violoncellos divided, and basses in a way copying the solemn color with more simple means which Mozart uses in his invocation of the Egyptian deities in "The Magic Flute."
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