human
I saw Othello's visage in his mind; And to his honours and his valiant parts Did I my soul and fortunes consecrate. Presently comes Iago with his
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_motif_, which struggles for a long time with Desdemona's
human
theme, but finally wins. The music is intensely dramatic here: the clash of wills, Iago's and Othello's, and the sweet personality of Desdemona, all struggling for predominance. Finally the trombone and tuba blaze out, _fortissimo_ and _grandioso_, the jealousy theme in octaves. The music dies away, and for the last time the Desdemona melody is heard very _piano_. Four short, violently _forte_ bars follow (the brass having the theme), and the work ends with a solo _pianissimo_ chord on the harp. The end is most curious, such an immense amount of meaning being got into the last fifteen bars. The whole work makes a fine piece of vivid orchestral tone-painting, and the music distinctly derives from Shakespeare's text, and is worthy of it. The last words quoted are Othello's:
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I kissed thee ere I killed thee;--no way but this, Killing myself, to die upon a kiss.
human
Children's Intermezzo, and is very simple in character. No touch of the Orient here. No. 3 is a Funeral March in G minor, mostly written on two ground basses, one for the march and one for the trio. It is a fine broad movement, working up to a great climax in the middle and dying away very effectively afterwards. The setting of the famous
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Willow Song