Ordinarily, no
provision is made for this by the composer, the organist being permitted
the privilege of interpolating hymns like the O Salutaris or the Tantum
ergo. The Preludium is so timed that it ends at the conclusion of the
prayer we have quoted, when the sacred elements are in heaven and are
about being returned to earth. It is at this point that the symphonic
thought begins, which at the first bar calls to mind celestial
harmonies. Here we have the tone-figure, as in the Lohengrin Prelude,
given by the violins and flutes in the highest register, beginning in
faintest pianissimo. At the second bar the melody begins to descend,
being augmented in force by the gradual addition of the more powerful
instruments as well as voices when the elements are again on earth. The
Lohengrin Prelude has the same idea, but it is developed to a greater
extent, with a richer orchestration, the idea being carried to greater
length, and rendered more significant in every way, as befits its
dramatic character. In both cases, however, the orchestral figure is
introduced by the same instruments, and in much the same manner.
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