APPENDIX ORIGINAL SKETCHES by PAUL KRUMMEICH The following original sketches illustrate the process of subconscious elaboration and change. They throw further light on how a mood emerges from our subconsciousness; and on how and in response to what forces and laws it develops and seeks expression. I have used my own sketches only because I have first-hand knowledge of how they came about. Andante Maestoso M. M. J=72. SKETCH I. mf "Choral-motif" 8va Sketch I represents a natural rebound from an overwhelming depression accumulated during a prolonged study of J. S. Bach's Choralprelude, "Now come the Gentiles' Saviour." Bach's composition is in the minor mode of G and expresses an austere and gloomy mood; Sketch I, also, represents a typical choral-motif, but in the major mode of G, and thus radiates an infinitely brighter atmosphere. In my opinion, Sketch I embodies the overflow of a mood, more or less the opposite of the one expressed in Bach's composition. My sensation while playing Sketch I was one of intense relief; I felt that a temporarily disturbed psychic equilibrium had been reestablished. The melody of Sketch II represents a tonal realization of the undulating line a, visualized as a temporal line (a graceful gesture), while the organ point on D flat (in the bass) stands for the straight line b, similarly visualized. In this case, Sketch II is a kind of program music, whereas it would be pure music, if it had aroused a phantasy picture of the lines a and b. The reader will remember that the composer's phantasy is of the audile type; whatever he expresses must first be visualized as ideal sound, and we may say that he composes "sound-images." While in painting and sculpture all lines and curves are fixed in space, in music everything is actual motion. Music is a temporal medium of expression, and we speak of melodies as temporal lines or curves. (The second half of Sketch III is added by reflection and is, in my opinion, inferior to the first half, which is spontaneous.) Sketch III is an old friend; it is the spontaneous expression of a mood with which I am on very familiar terms; in fact, this particular mood has haunted me for many years. I have always felt that a certain composition had deeply impressed me, but I could not recall this particular melody, although the mood which it had aroused long ago constantly returned demanding and finding spontaneous expression time and again in varied forms. I have repeatedly caught myself employing these variations of one and the same melody for the purpose of demonstrating certain types of moods. They are represented by Sketches IV, V, VI, VII, VIII, and IX. If the reader will play Sketches III, IV, V, and VI, he will notice how the serene mood, expressed in Sketch III, gradually assumes a lighter color until it eventually grows boisterous and rather burlesque (in Sketch VI). |