| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Father Sergius by Leo Tolstoy: Father Sergius noticed that the merchant seemed to be acting
roughly, and in a feeble voice told the attendant that the people
should not be driven away. He knew that they would be driven
away all the same, and he much desired to be left alone and to
rest, but he sent the attendant with that message to produce an
impression.
'All right, all right! I am not driving them away. I am only
remonstrating with them,' replied the merchant. 'You know they
wouldn't hesitate to drive a man to death. They have no pity,
they only consider themselves. . . . You've been told you cannot
see him. Go away! To-morrow!' And he got rid of them all.
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The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw: capella, driven headlong to its end by the impetuous semiquaver
triplets of the famous finales to the first act of Don
Giovanni or the coda to the Leonore overture, with a specifically
contrapuntal theme, points d'orgue, and a high C for the soprano
all complete.
What is more, the work which follows, entitled Night Falls On The
Gods, is a thorough grand opera. In it you shall see what you
have so far missed, the opera chorus in full parade on the stage,
not presuming to interfere with the prima donna as she sings her
death song over the footlights. Nay, that chorus will have its
own chance when it first appears, with a good roaring strain in C
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