Scherzo

“ Hence the position of the Scherzo in modern instrumental music presents certain inevitable difficulties. The lively, almost childish, merriment of early examples cannot be attained without jarring upon the feelings of earnest men; at least in works on such a scale as the symphony, where the dignity and importance of the form inevitably produce a certain sense of responsibility to loftiness of purpose in the carrying out of the ideas. A movement corresponding to the old Scherzo in its relation to the other movements had to be formed upon far more complicated conditions. ”

“ It is chiefly in this respect that we can still trace the relation of the Minuet and Trio to the modern Scherzo, which is its legitimate successor, though in other respects it has not only changed its characteristic rhythms and time, but even its style and form.
The Scherzo is in fact the most free and independent of all the movements of a modern instrumental work, being characterised rather by its sportive and playful style than by any fixed and systematic distribution of subjects and keys. ”

“ The Scherzo Capriccioso, in D-flat major, op. 66 (1883) is one of the composer’s liveliest and most dynamic larger works for orchestra, but in an idiom that is neither Bohemian nor American. It is in two sections. The first is the Scherzo, opening with an energetic subject for horns that is a kind of a motto theme for the entire work. The principal melody that follows is stated by full orchestra; after that comes a waltz-like tune for violins. The second part of the composition, a trio, is introduced by an expressive melody for English horn. ”

“ The Scherzo.
With a glance at the Scherzo, we will bring our remarks to a close, the more especially as the Finale seems less interesting, relevant, and original (Beethoven seems more to have copied himself,) than the rest.
The Scherzo, with its obbligato constituent element, the "Trio," is on the same great scale, and in the same epic spirit (we see no particular need, with Wagner, to seek a connection,) as the first movement. ”

“ The Minuets of many of the String Quartets of Haydn exhibit indeed those quaint and fanciful devices of unexpected reiteration, surprises of rhythm, and abrupt terminations, which are the leading characteristics of the Scherzo, and are completely opposed to the spirit of the true Minuet. One which begins and ends each part with these bars
is a strong instance in point.
Beethoven quickly gave the Scherzo the permanent position in the Symphony which it now occupies. He also settled its form and character. As to form, why, the old Minuet and Trio was as good a skeleton as any other ”

“ We may say the same of the finale, which has this peculiarity—that it is in the minor of the key in which the symphony commences. The slow movement in D minor is not less distinguished by ingenuity of a very rare description, and beauty of the most discernible kind, than by its undisputed, unquestionable originality: this was loudly encored. The scherzo, in A, and trio, in E, shew genius of a high order in every bar. ”

“ The fresh staccato canon work of the scherzo carries us with it. Two wonderful trios introduce themselves, the second with the remarkable recitative. The conclusion is formed by a modest movement which is put together like a mosaic out of a stormy quaver theme, two cantabiles, a syncopated motive, a section in full chords and a stretto. We shall only feel the unity if we give our playing a touch of improvisation. In a word the case is this; in a sonata of Schumann what most charms us is the movements regarded separately ”

“ The word is constantly used to express a slow and solemn movement, but adagio means something even more stately and pathetic. Presto means a quick, sudden movement; it comes in often as a change from a richer, fuller sound. Scherzo, a term you will constantly see, literally means a jest, but it is employed to designate a humorous or lively movement.
These are, as you must know, only a few of the many terms employed in music, but I have given you their significations chiefly because they have to do with the arrangement of the sonata and the symphony. ”

“ Difficult rhythms which make the execution irregular. The absence, too, of what the Germans call “Anhaltspunkt{365}” (punctuation) —the absence of notes on the strong beats of the bar. Take this rhythm in the Scherzo for instance:—
the last notes come on the second crotchet, and the pause on the third beat. In consequence, it is very difficult to play these notes equally, they always sound a little one on the top of the other. The same with the following passage:—
Altogether the Scherzo requires enormous virtuosity, which most members of the orchestra do not possess. ”

“ Even then Beethoven’s only mature instances of the title (except in the form of scherzando as a mark of expression) are those of the Eroica symphony, the B flat trio Op. 97 and the B flat sonata Op. 106. It is, however, correct to call any energetic movement a scherzo when it occupies the position thereof in a sonata scheme. (D. F. T.) ”

“ The working out of the Andante cantabile and the persistent drum rhythm are also striking points. In the 2nd Symphony the dimensions of the Introduction are unusual, and the character of all the latter part and the freedom of the transitions in it are decisive marks of his tendencies. The Slow movement has also a warmth and sense of genuine sympathy which is new; the Scherzo, though as yet short, has a totally new character about it, and the abrupt sforzandos and short striking figures and still more the coda, of the Finale, are quite his own. ”

“ In the usual sense, there are no separate movements. Though "Scherzo" is printed after the first appearance of the three main figures, and later "Adagio" and "Finale," the interplay and recurrence of initial themes is too constant for the traditional division. It is all a close-woven drama in one act, with rapidly changing scenes. Really more important than the conventional Italian names are such headings as "Wiegenlied" (Cradle-song) , and above all, the numerous directions. Here is an almost conclusive proof of definite intent. To be sure, even a figure on canvas is not the man himself. ”

“ Of this work, which is charming throughout, the first movement offers us the only example to be found in Schumann of the influence of Cherubini, a master for whom he had a great reverence. Perhaps the most lovely movement is the highly poetic Scherzo in gigue-rhythm, which might constitute a type by itself among symphony-scherzos. His other scherzos approximate in style to those of Beethoven, whose invention and speciality this form was, and who had no successor in it but Schumann. The characteristic of the C major Symphony (op. 61) is a graver and more mature depth of feeling ”

“ When this kind of inspiration laid hold of Chopin his playing assumed a distinctive character, whatever the kind of music he executed might be—dance-music or dreamy music, mazurkas or nocturnes, preludes or scherzos, waltzes or tarantellas, studies or ballades. He imprinted on them all one knows not what nameless colour, what vague appearance, what pulsations akin to vibration, that had almost no longer anything material about them, and, like the imponderables, seemed to act on one's being without passing through the senses. ”

“ Day had not yet appeared, but faint streaks in the east presaged the coming morn. Verezzi heard the clattering of hoofs—What was his horror to see that Zastrozzi, Bernardo, and Ugo, were the horsemen! Overcome by terror, he clung to the rugged branch. His persecutors advanced to the spot—they stopped under the tree wherein he was.
"Eternal curses," exclaimed Zastrozzi, "upon Verezzi! I swear never to rest until I find him, and then I will accomplish the purpose of my soul.— But come, Ugo, Bernardo, let us proceed." ”

“ Bernardo's horse, overcome by excessive fatigue, sank on the ground; that of Zastrozzi scarce appeared in better condition. —They stopped.
"What!" exclaimed Zastrozzi, "must we give up the search! Ah! I am afraid we must; our horses can proceed no farther —curse on the horses.
"But let us proceed on foot—Verezzi shall not escape me—nothing shall now retard the completion of my just revenge."
As he thus spoke, Zastrozzi's eye gleamed with impatient revenge; and, with rapid steps, he advanced towards the south of the heath. ”

“ Scherz did not reply to this request for several minutes. He appeared to be considering and reviewing the matter in all its points, and evidently regarded the undertaking as one of grave responsibility and importance.
At length he looked up, and Mr. Huntress was more encouraged by the expression on his pale, thoughtful face, than he had yet been over anything that he had said about the case. He felt sure that the man would act conscientiously, and exert himself to the extent of his skill. ”

“ Zastrozzi and Ugo proceeded along the heath, on the skirts of which stood the cottage. Verezzi leaned against the casement, when a low voice, which floated in indistinct murmurs on the silence of the evening, reached his ear.— He listened attentively. He looked into the darkness, and saw the towering form of Zastrozzi, and Ugo, whose awkward, ruffian-like gait, could never be mistaken. ”

“ I know nothing of the Marchesa di Strobazzo —less of Verezzi. I fear that I must wait till age has unstrung my now so fervent energies; and when time has damped your passion, perhaps you may gain Verezzi's love. Julia is returned to Italy—is even now in Naples; and, secure in the immensity of her possessions, laughs at our trifling vengeance. But it shall not be always thus," continued Zastrozzi, his eyes sparkling with inexpressible brilliancy; "I will accomplish my purpose; and, Matilda, thine shall likewise be effected. ”

“ A more violent paroxysm of horror seemed now to seize Verezzi's brain. He pressed his hand to his burning forehead—the agony of his mind was too great to be concealed—Julia's form, as he had last seen her, floated in his fancy, and, overpowered by the resistlessly horrible ideas which pressed upon them, his senses failed him: he faintly uttered Julia's name—he sank forward, and his throbbing temples reclined on the table.
"Arise! awake! prostrate, perjured Verezzi, awake!" exclaimed the infuriate Matilda, in a tone of gloomy horror. ”

“ Ugo and Bernardo, conquered by irresistible torpor, sank to rest upon the dewy turf.
A scene so fair—a scene so congenial to those who can reflect upon their past lives with pleasure, and anticipate the future with the enthusiasm of innocence, ill accorded with the ferocious soul of Zastrozzi, which at one time agitated by revenge, at another by agonising remorse, or contending passions, could derive no pleasure from the past—anticipate no happiness in futurity. ”

“ He turned round, and saw the physician, but Matilda was still concealed.
"Where am I?" inquired Verezzi, addressing the physician. "Safe, safe," answered he: "compose yourself; all will be well."
"Ah, but Julia?" inquired Verezzi, with a tone so expressive of despair, as threatened returning delirium.
"Oh! compose yourself," said the humane physician: "you have been very ill: this is but an illusion of the imagination; and even now, I fear, that you labour under that delirium which attends a brain-fever." ”

“ Matilda raised her eyes—Zastrozzi stood before her.
She rushed forwards—the officials stood unmoved.
"Oh, Zastrozzi!" she exclaimed— "dreadful, wicked has been the tenour of our life; base, ignominious, will be its termination: unless we repent, fierce, horrible, may be the eternal torments which will rack us, ere four and twenty hours are elapsed. Repent then, Zastrozzi; repent! and as you have been my companion in apostasy to virtue, follow me likewise in dereliction of stubborn and determined wickedness." ”

“ I give myself up to fate: —I will taste revenge; for revenge is sweeter than life: and even were I to die with him, and, as the punishment of my crime, be instantly plunged into eternal torments, I should taste superior joy in recollecting the sweet moment of his destruction. O! would that destruction could be eternal!"
The clattering of hoofs was heard, and Zastrozzi was now interrupted by the arrival of Bernardo—they instantly mounted, and the high-spirited steeds bore them swiftly across the heath. ”

“ When Sherkan heard this, he raised his eyes to the Frank’s face and looking straitly at him, knew him for none other than the princess Abrizeh, whereupon he threw the sword from his hand and kissing the earth before her, said to her, “What moved thee to do this thing?” Quoth she, “I was minded to prove thee in the field and try thy stoutness in battle. These that are with me are all of them my women, and they are all maids; yet have they overcome thy horsemen in fair fight; and had not my horse stumbled with me, thou shouldst have seen my strength and prowess.” ”

“ As soon as God the Most High brought on the day, King Sherkan mounted, with his hundred horse, and they betook themselves to the field, where they found the Franks ranged in battle array, and Sherkan said to his men, “Verily, our enemies are of the same mind as we; so up and at them briskly.” Then came forth a herald of the Franks and cried out, saying, “Let there be no fighting betwixt us to-day, except by way of single combat, a champion of yours against one of ours!” Thereupon one of Sherkan’s men came out from the ranks and spurring between the two parties, cried out, “Who is for jousting? ”

“ If Chrysostom's impatience and violent passion killed him, why should my modest behaviour and circumspection be blamed? If I preserve my purity in the society of the trees, why should he who would have me preserve it among men, seek to rob me of it? ”