i.e., the themes are dramatic characterizations: the first typify-
ing the stormy nature of Manfred; the second, with its note of
pleading, the mysterious influence over the recluse of the spirit
of Astarte. As in all works of this kind the music cannot be
readily appreciated without a knowledge of the poem which it il-
lustrates.[193] As for the structure, Schumann clings too closely
to the Sonata-form. The music is eloquent just in proportion as
he gives his fancy free rein; where he tries to force the themes
into an arbitrary mould, the result is unsatisfactory—especially
the development, which is neither very dramatic nor interesting
from a purely musical point of view. The work opens with three
spasmodic syncopated[194] chords, and then follow twenty-four
measures (lento and at first pianissimo) of a preludial nature
with suggestions of the Manfred theme. The movement be-
comes gradually faster and more impassioned until, in measure
26, we reach the presentation of the first theme (allegro agi-
tato) which, with its frequent syncopations, is characteristic of
Manfred’s restless nature. The transition begins in measure 39;
at first with a repetition of the main theme, which soon modu-
lates to F-sharp minor, in which key the second theme enters, in
measure 51. This theme—in three portions—seems to embody
different aspects of the feminine influence of Astarte. The first
portion, measures 51-61, with its undulating, chromatic out-
line, may be said to typify the haunting apparition so real to
Manfred’s imagination and yet so intangible; the second, 62-67,
contains a note of impassioned protest, and the third, 68-77,
is a love message of tender consolation. If this interpretation
seem too subjective, a careful reading of the drama where As-
tarte appears (pp. 284-285 in the Everyman’s Edition) will, we
believe, corroborate it. The rest of the Exposition consists in a
treatment of the Astarte motive, primarily of a musical nature;
though there is a real dramatic intensity in measures 96-103,
which are an expansion of the love message with its character-
istic “appoggiatura.” 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. The musical
thought is kept in motion, to be sure, but that is about all;
for the treatment is often very labored, and nothing is added
to the dramatic picture. The world had to await the work of
Tchaikowsky, and Strauss for a satisfactory adjustment[195] be-
tween the demands of dramatic fitness and the needs of musical
ann
(Ann)
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