The symphonic poems of Liszt, in so far as his intent was in destructive reaction to the classic process, were precisely in line with the drama of Wagner.  The common revolt completely failed.  The higher, the real music is ever of that pure tonal design where the fancy is not leashed to some external scheme.  Liszt himself grew to perceive the inadequacy of the new device when he returned to the symphony for his greatest orchestral expression, though even here he never escaped from the thrall of a literal subject.

And strangely, in point of actual music, we cannot fail to find an emptier, a more grandiose manner in all these symphonic poems than in the two symphonies.  It seems as if an unconscious sense of the greater nobility of the classic medium drove Liszt to a far higher inspiration in his melodic themes.

Yet we cannot deny the brilliant, dazzling strokes, and the luscious harmonies.  It was all a new manner, and alone the novelty is welcome, not to speak of the broad sweep of facile melody, and the sparkling thrills.

LES PRELUDES

This work has a preface by the composer, who refers in a footnote to the “Meditations poetiques” of Lamartine.

“What else is our life than a series of preludes to that unknown song of which the first solemn note is struck by death?  Love is the morning glow of every heart; but in what human career have not the first ecstasies of bliss been broken by the storm, whose cruel breath destroys fond illusions, and blasts the sacred shrine with the bolt of lightning.  And what soul, sorely wounded, does not, emerging from the tempest, seek to indulge its memories in the calm of country life?  Nevertheless, man will not resign himself for long to the soothing charm of quiet nature, and when the trumpet sounds the signal of alarm, he runs to the perilous post, whatever be the cause that calls him to the ranks of war,—­that he may find in combat the full consciousness of himself and the command of all his powers.”

How far is the music literally graphic?  We cannot look for the “unknown song” in definite sounds.  That would defeat, not describe, its character.  But the first solemn notes, are not these the solemn rising phrase that reappears in varying rhythm and pace all about the beginning and, indeed, the whole course

[Music:  Andante (Strings, doubled in two lower 8ves.)]

of the music.  Just these three notes abound in the mystic first “prelude,” and they are the core of the great swinging tune of the Andante maestoso, the beginning and main pulse of the unknown song.

[Music:  Andante maestoso (Basses of strings, wood and brass, doubled below; arpeggic harmonies in upper strings; sustained higher wood)]

Now (dolce cantando) is a softer guise of the phrase.  For death and birth, the two portals, are like

[Music:  (Strings, with arpeggic violins) dolce cantando (Pizz. basses)]