poses Beethoven’s thematic development; and the tone-poems
of Strauss are symphonies in essence though on a free poetic
basis. Every composer has taken up the writing of a symphony
with a serious purpose and often comparatively late in life. To
be sure, Beethoven’s first Symphony, op. 21, was composed
in his thirtieth year; but for the works which manifest most
strongly his personality, such as the Third, Fifth and Ninth,
we have to wait until a later period. Schumann essayed sym-
phonic composition only after his technique had been developed
in every other field. Brahms’s first Symphony, on which he is
said to have worked ten years, is op. 68. César Franck looked
forward to a Symphony as the climax of his career. The day
has passed when a composer could dash off symphonies by the
dozen; quality and genuine personality in each work are the
modern requirements. Thus from Brahms we have four sym-
phonies, from Tchaikowsky six, from Bruckner nine—a danger-
ously large number!—from Sibelius five, from Elgar two, from
d’Indy three; and, even if a composer write but a single really in-
spired and noble symphony—as for example, César Franck—he
is in so far immortal. For the symphonic form is the product of
too much intense striving (think of Beethoven’s agonies of con-
ception!) to be treated lightly. Beginning with the operatic over-
ture of Lully and Scarlatti, called “Sinfonia avanti l’opera,” down
through the labors of Stamitz, Gossec, Emmanuel Bach, Haydn
and Mozart, this form, as we know it to-day, is the result of at
least a century and a half of sustained, constructive work. A mu-
sician who wishes to compose a symphony is brought face to face
with the formidable question, “Have I a real message to utter and
the technical skill to present it in communicable form?” There
are no accessory appeals to the other senses in the way of a dra-
matic story, scenic effect, dancing and costumes—as in opera—
to cloak poverty of invention and to mollify the judgment of the
listener. I grant that the composition of an original opera is a
high achievement, but we know how many composers have won
success in the operatic field from whom we should never expect
a symphony. From comparatively few have we great works in
both forms. Consider, furthermore, how complicated a tool is
the present orchestra,asa tool, to say nothing of the invention
of ideas. Many years of study are required to attain a certainty
of calculation in sonority andnuance, and the mere writing out
the score of a symphony requires unremitting toil. We all pay
homage to life: human life in men, women and children, and the
ann
(Ann)
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