If we imagine the same riotous license in the realm of tonal noise,—­cacophony, that is, where the aim is not to enchant, but to frighten, bewilder, or amaze; to give some special foil to sudden beauty; or, last of all, for graphic touch of story, we have another striking element of Strauss’s art.  The anticipation of a Beethoven in the drum of the Scherzo of the Fifth Symphony, or the rhythmic whims of a Schumann in his Romantic piano pieces suggest the path of much of this license.  Again, as passing notes may run without heed of harmony, since ancient days, so long sequences of other figures may hold their moving organ-point against clashing changes of tonality.

Apart from all this is the modern “counterpoint,” where, if it is quite the real thing, Strauss has outdone the boldest dreams of ancient school men.  But with the lack of cogent form, and the multitude of small motives it seems a different kind of art.  We must get into the view-point of romantic web of infinite threads, shimmering or jarring in infinite antagonism (of delayed harmony).  By the same process comes always the tremendous accumulation towards the end.  As the end and essence of the theme seems a graphic quality rather than intrinsic melody, so the main pith and point of the music lies in the weight and power of these final climaxes.

TOD UND VERKLAeRUNG (DEATH AND TRANSFIGURATION), TONE POEM

It may be well to gather a few general impressions before we attempt the study of a work radical in its departure from the usual lines of tonal design.

There can be no doubt of the need of vigilance if we are to catch the relevance of all the strains.  To be sure, perhaps this perception is meant to be subconscious.  In any case the consciousness would seem to ensure a full enjoyment.

It is all based on the motif of the Wagner drama and of the Liszt symphonies, and it is carried to quite as fine a point.  Only here we have no accompanying words to betray the label of the theme.  But in the quick flight of themes, how are we to catch the subtle meaning?  The interrelation seems as close as we care to look, until we are in danger of seeing no woods for the trees.

Again the danger of preconception is of the greatest.  We may get our mind all on the meaning and all off the music.  The clear fact is the themes do have a way of entering with an air of significance which they challenge us to find.  The greatest difficulty is to distinguish the themes that grow out of each other, as a rose throws off its early petals, from those that have a mere chance similarity.  Even this likeness may have its own intended meaning, or it may be all beside the mark.  But we may lose not merely the musical, but even the dramatic sequence in too close a poring over themal derivation.  On the other hand we may defy the composer himself and take simply what he gives, as if on first performance, before the commentators have had a chance to breed.  And this may please him best in the end.