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The Development, beginning in measure 132, is a striking example of how difficult it was—even for an exponent of freedom in musical expression like S… - Walter Raymond Spalding
" "The Development, beginning in measure 132, is a striking example of how difficult it was—even for an exponent of freedom in musical expression like Schumann—to break loose from the shackles of arbitrary form.
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About Walter Raymond Spalding
Walter Raymond Spalding (1865–1962) graduated from Harvard College with an AB in 1887; graduated from Harvard University with an AM in 1888. He taught music at Harvard from 1895–1932 and was Chair of the Music Department from 1906–1932. He is the author of the books Music: An Art and a Language (1920) and Music at Harvard: Historical Review of Men and Events (1935).
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Walter R. Spalding
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Walter Spalding
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Additional quotes by Walter Raymond Spalding
A glance at the score shows how sadly the pedagogue might go astray in judgment of the work, without a hearing of it, and furthermore, the imagination of the hearer must be in sympathy with the imagination of the composer, if he would know full enjoyment: for this symphonic poem provokes swooning thoughts, such as come to the partakers of leaves and flowers of hemp; there are the stupefying perfumes of charred frankincense and grated sandal-root.
It may be granted that Debussy's melodic line is very fluid and elastic, like Wagner's "continuous melody," not definitely sectionalized by balanced phrases or set cadences. But it surely has its own right to existence—music being pre-eminently the art of freedom—and let us remember that Nature herself has melting outlines, shadowy vistas and subtle rhythms. Debussy, in fact, is the poet of the "indefinite" and the "suggestive" and his music has had great influence in freeing expression from scholastic bond.
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In Schubert we do not look for the development of a complicated plot but give ourselves up unreservedly to the enjoyment of pure melodic line, couched in terms of sensuously delightful tone-color. The transitional passage of the Recapitulation (measures 231–253) illustrates Schubert's fondness for modulation just for its own sake; we care not what the objective point of the music may be—enthralled, as we are, by the magical shifts of scene.
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