A Book of Burlesques | Page 3

Blitzstrahl Eins ward, ein Fluch,-- auf den Bergen haust jetzt Zarathustra's Zorn, eine Wetterwolke schleicht er seines Wegs.
V
Verkrieche sich, wer eine letzte Decke hat! In's Bett mit euch, ihr Z?rtlinge! Nun rollen Donner ��ber die Gew?lbe, nun zittert, was Geb?lk und Mauer ist, nun zucken Blitze und schwefelgelbe Wahrheiten-- Zarathustra flucht ...!
For the following faithful and graceful translation the present commentator is indebted to Mr. Louis Untermeyer:
I
How long brood you now On thy disaster? Give heed! You hatch me soon An egg, From your long lamentation out of.
II
Why prowls Zarathustra among the mountains?
III
Distrustful, ulcerated, dismal, A long waiter-- But suddenly a flash, Brilliant, fearful. A lightning stroke Leaps to heaven from the abyss: --The mountains shake themselves and Their intestines....
IV
As hate and lightning-flash Are united, a curse! On the mountains rages now Zarathustra's wrath, Like a thunder cloud rolls it on its way.
V
Crawl away, ye who have a roof remaining! To bed with you, ye tenderlings! Now thunder rolls over the great arches, Now tremble the bastions and battlements, Now flashes palpitate and sulphur-yellow truths-- Zarathustra swears ...!
The composition is scored for three flutes, one piccolo, one bass piccolo, seven oboes, one English horn, three clarinets in D flat, one clarinet in G flat, one corno de bassetto, three bassoons, one contra-bassoon, eleven horns, three trumpets, eight cornets in B, four trombones, two alto trombones, one viol da gamba, one mandolin, two guitars, one banjo, two tubas, glockenspiel, bell, triangle, fife, bass-drum, cymbals, timpani, celesta, four harps, piano, harmonium, pianola, phonograph, and the usual strings.
At the opening a long B flat is sounded by the cornets, clarinets and bassoons in unison, with soft strokes upon a kettle-drum tuned to G sharp. After eighteen measures of this, singhiozzando, the strings enter pizzicato with a figure based upon one of the scales of the ancient Persians--B flat, C flat, D, E sharp, G and A flat--which starts high among the first violins, and then proceeds downward, through the second violins, violas and cellos, until it is lost in solemn and indistinct mutterings in the double-basses. Then, the atmosphere of doom having been established, and the conductor having found his place in the score, there is heard the motive of brooding, or as the German commentators call it, the Qu?lerei Motiv:
[Illustration: Musical Score]
The opening chord of the eleventh is sounded by six horns, and the chords of the ninth, which follow, are given to the woodwind. The rapid figure in the second measure is for solo violin, heard softly against the sustained interval of the diminished ninth, but the final G natural is snapped out by the whole orchestra sforzando. There follows a rapid and daring development of the theme, with the flutes and violoncellos leading, first harmonized with chords of the eleventh, then with chords of the thirteenth, and finally with chords of the fifteenth. Meanwhile, the tonality has moved into D minor, then into A flat major, and then into G sharp minor, and the little arpeggio for the solo violin has been augmented to seven, to eleven, and in the end to twenty-three notes. Here the influence of Claude Debussy shows itself; the chords of the ninth proceed by the same chromatic semitones that one finds in the Chansons de Bilitis. But Kraus goes much further than Debussy, for the tones of his chords are constantly altered in a strange and extremely beautiful manner, and, as has been noted, he adds the eleventh, thirteenth and fifteenth. At the end of this incomparable passage there is a sudden drop to C major, followed by the first statement of the Missgeschick Motiv, or motive of disaster (misfortune, evil destiny, untoward fate):
[Illustration: Musical Score]
This graceful and ingratiating theme will give no concern to the student of Ravel and Schoenberg. It is, in fact, a quite elemental succession of intervals of the second, all produced by adding the ninth to the common chord--thus: C, G, C, D, E--with certain enharmonic changes. Its simplicity gives it, at a first hearing, a placid, pastoral aspect, somewhat disconcerting to the literalist, but the discerning will not fail to note the mutterings beneath the surface. It is first sounded by two violas and the viol da gamba, and then drops without change to the bass, where it is repeated fortissimo by two bassoons and the contra-bassoon. The tempo then quickens and the two themes so far heard are worked up into a brief but tempestuous fugue. A brief extract will suffice to show its enormously complex nature:
[Illustration: Musical Score]
A pedal point on B flat is heard at the end of this fugue, sounded fortissimo by all the brass in unison, and then follows a grand pause, twelve and a half measures in length. Then, in the strings, is heard the motive of warning:
[Illustration: Musical Score]
Out of this motive