[Illustration: SAINT-SAENS]
XII
Symphony and Symphonic Poem
That adventurous spirit, Claudio Monteverde, who nearly three hundred
years ago made himself responsible for the first feeble utterances of an
orchestra that tried to say something for itself, divined the
possibilities of expression in varying combinations of tone-quality and
gave vigorous impulse to the germ of the symphony already existing in
the formless instrumental preludes and interludes of his predecessors
among opera-makers. His revelation of the charm that lies in exploring
the resources of instrumentation led to ever increasing demands on the
orchestra. The prelude developed into the operatic overture whose
business it became to prepare the spectator for what followed. That
music was capable of conveying an impression in her own tone-language
was apparent, and in due time the symphony rose majestic from the forge
of genius.
Prominent among the materials welded into it was the dance of obscure
origin.
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