Prof. Stanley's Symphony

While this symphony is not strietly spcaking program mustc its title "The A.wakening of tho Soul" suggests that it falls iu that general olass. it represente the gradual awakening of a soul to a truc appreciation of llfe. It is divided into four movements - the Örst standing for the Spring-time of life - the second Lovolife - the third Joyfulness - the fourth the fully matured character resulting from the experionces of the soul depicted iti the preueding movements. The treatment with tho exception of parts of tho ttrst novement whieh represent simple relationships, is cssentially modern and calis for the resources of the full or ohestra, without unusual instrumente. Tho work begins with ui [ntroduction F. Major (3-4 time) poco adagio in Which the wind Instruments stand for influences or suggestions from outside aeting upon a soul (the Btrings) which as yet li is learned nothiug of the true meaning of life, nor awakened to a realization of Ita own power. This Irresolute attitude of the soul is indioated by the abrupt changeB of mode key" The soul seems to ruspond several times, but Binka back again into its formor irresoiute state, until at the end of this part and leading into the flrst movement,it arouses and looks questloningly about. The tirst naive impressions are indicated in the flrst movement whieh is in striet (although verj simple) Sonata Form. This movement, F. Major (3-4 time). Allegro ma non troppo tn the Free Fantasia, exploits in fugatO, form question motive which developc-s in the Introduetion as well as the ürst theme given out by the solo hom at the beginning of the In - troduction. This latter theme, as the flrst suggestion coming to the soul, bocomes of more and more importanoe in the Symphony - and linally appeara in the last movement as a dominattng principie. A subsidiary theme developed from the ürst theme is used as material for the working out - and at the end of tho tirst raoveraent leads over in the Adagio which follows the ürst movement without any break in the eontinuity. 'J'lic return to the flrst subject in the Third Part is by means of the question motive and asexperience broadens Impressions, tlie themes are now developed more fully. Thns the subsidiary theme becomes the most important theme in the Conclusión (presta.) Bya ehange of tempo to poco andantt Ita character is changed so that it may serve as a oonneetlng link between the two first movememts. The Second Movement 1!. Plat (4-4 time) Adagio Con Moho espressiont representa tha soul under the inlluenee of strong emotione - lovo - grief despair. The principal subject is given out by the ürst violins and canonically itnitated by the violincellos in the seventh below. It is strictly deviloped during the first exposition of the subject and leads through a short conneel - ing passage for the brass (also in imitation) to a short espisode in which the Imitation is in the second. A short solo for hora accompanied by tremolo in the violin and violin solo, developa into an imitation subject which after sevoral meaaures leads up to a climax for full orchestra - after whieh following more elabórate figurations for different instruments, the principal theme is given out by the wooduind aecompanied by a obaracteristic violin figure. The theme now ends in the key. Following this comes an agitated movement which has tor its distinctive musical feature imitativa effocts between the horns and trombones against a surging background of stormy string figures. From this movement by an unexpeeted transition comes an epsisodc which stands for grief and sorrow. The orginal theme is now heard in the relaüve minor given out by the above to which is aftorward addod the Cor Anglais. The Btrings have pulsating chords which stand for agitation. The theme changes to major but is at what seems to bc a direct leading to maj r cadenee lnterrupted by the Cor Anglais which leads the melody back to the minor. This is repeated several times until tho soul despairs. Now follows aa dUegro motto aguato and which Shortly in response to the repeated calis of the horns returns to the principal subject as uncxpoctedly and by the same means as the epoisode was produced. With violins in the higher octaves and harp arpeggios the principal theme reappears and at the end is given out by all the strings against pulsating ehords in the wood wind. The Scherzo G Minor (3-4 time) allegro motto is in Btrict form although the principal theme is somewhat irregular in so far as number of measuros is concerned. The Trio shows two distinci themes carried out simultaneously. the principa] one being assiffnod the horns and brass. The Finaio F Major (3-4) allegro ,1, ciso i-i'prosonts the matured oharacter strong, oarnest, yet full of tenderness. The lirst theme stands for the lirst Idea The subsidiary tb e mes Btand for the other characteristics. The first subsidiary i.s developed frora the original horn motive of the Introducíion. The M-i-oin.1 Bubjeet is an extensión of the thetno used as the elosing subjoet at the end of the lirst part of tho Brst movement. The workiDg out is made from material which has been uscd in preceeding movements and the lirst part of the Finale after the recapitulatiou of tho subject is led upto a climax. The lirst theme in the Introduetion in the syraphony is devoloped by the trumpets umi strinys white agaiust.it is placed tho li:-st theme of Brst movement in clarinets and horn-.