structure. In the Coda, beginning measure 258, Schumann—
now that he is free from considerations of structure—gains a
dramatic effect of truly impressive power. The horns, supported
by trumpets and trombones, intone a funeral dirge of touching
solemnity (evidently suggested by the closing death scene of the
drama) while, above, hover portions of the Astarte motive, as
if even in his death her influence was paramount in Manfred’s
imagination,e.g.
[Music]
Notwithstanding certain blemishes, this Overture at the time of
its composition was a landmark in the development of program
music, and if to our modern tastes it seems a bit antiquated,
this is largely because of the great progress which has since
been made.[196]
[Footnote 193: The poem is easily procured in a volume of Ev-
eryman’s Library.]
[Footnote 194: These chords are an amusing example of a “paper
effect,” for unless you watch the conductor’s beat, it is impos-
sible to feel the syncopation. There being no first beat proper,
the chords are syncopated against the air!]
[Footnote 195: For pertinent comments on this point see New-
man’s essay on Program Music, pp. 134-135, in hisMusical
Studies.]
[Footnote 196: In studying this work consult, if possible, the
orchestral score. For those who need a condensed two-hand
arrangement, the Litolff edition is to be recommended.]