Furthermore, this principle of Restatement has in modern music
some very subtle uses, and presupposes the acquisition of a real
power of reminiscence. For example, Wagner’s tone-drama of
Tristan and Isoldebegins with this haunting motive
[Music]
which, with its dual melodic lines, typifies the passionate love of
the two chief characters in the story. After three hours or more
of tragic action and musical development this motive is again
introduced in the very closing measures of the drama, to show
that even in the presence of transfiguring death this love is still
their guiding power.
[Music]
[Footnote 19: For some additional comments on this broad prin-
ciple see the first Chapter (passim) of Parry’sEvolution of the
Art of Music.]
[Footnote 20: Everyone has experienced the agony of hearing
the beginner practice, in an adjoining room, the same piece for
hours at a time!]
For those who can appreciate the significance of such treat-
ment, this reminiscence is one of the most sublime touches in all
musical drama. The fascinating orchestral Scherzo of Richard
Strauss’sTill Eulenspiegel’s Merry Prankslikewise begins with
a characteristic motto,
[Music]
which says, in the language of music—I now have a story to
tell you of a certain freakish character; and then we are regaled
with the musical portrayal of a series of Till’s pranks. As an
Epilogue, Strauss improvises on this opening theme as much
as to say—you have listened to my musical story, now let us
indulge in some reflections as to the fate of poor Till, for after
all he was a good fellow. (See Supplement, Example No. 6.)
It is evident, therefore, from the foregoing examples that the
basic principles of musical structure are coherence, refreshing
variety and such unity of general impression as may be gained
chiefly by a restatement, after contrast, of themes previously
heard. Our subsequent study will simply illustrate these natural
laws of music in their wider application.