Anton Rubinstein is one of the most imposing and
typical figures of that wonder-world of bewildering
riches and variety called the modern art-world He was
a man of extraordinary mental powers, whether we re-
gard the energy or the variety of his endowments.
In the last half of the nineteenth century it means
quite a different thing to be a musician from what it did
in the eighteenth century, partly because all intellectual
life is now vastly widened, if not deepened, and partly
because the world of thinking men is slowly beginning
to recognize the composer of tones as an important man
and a factor in modern life second to none. Such versa-
tile men as Franz Liszt and Robert Schumann, Richard
Wagner and Felix Mendelssohn show us, as they showed
the European world, that the more varied a man's
knowledge may be, other things being equal, the more
of a musician he will be. In this list of universally cul-
tured gentlemen Anton Rubinstein holds a very high
place, a place indeed only second to Wagner and Liszt.
Pianist, composer, linguist, litterateur, man of the
world, he looms large and magnificent, a noble moun-
tain-bulk in the forefront of the high range of the great
musicians of our epoch.
His life, unlike the harrowed and beset life of Schu-
bert, was long, reaching from 1829 to 1894, sixty-five
years, nearly the full allotment of three score years and
ten. It was a life crowned with the most superb worldly
success, and though he did not rise above the universal
fate of man whereby "into each life some rain must fall,"
he was, upon the whole, a most fortunate, distinguished
and happy man. He was of Hebrew blood, of that won-
derful race whose character and achievements, both in
ancient and modern times, have occupied so large an
amount of the attention of mankind. Modern art, espe-
cially modern executive musical art, owes an immeasur-
able debt to the Jews, for the high thrones of manual
skill and interpretive genius have often been filled by
them. Rubinstein is generally conceded to have been,
next to Liszt, with the possible exception of Tausig, the
greatest pianist of all the ages.
But it is chiefly as a composer that he now engages
our attention. In this field he attained to a fame which
can scarcely fail to be immortal, although here he was
relatively not so great a man as in the realm of execu-
tive art. It is supposed it was the bitter discontent
caused by his recognizing the disposition of the civilized
world universally to hold this opinion that made the
worm whch gnawed at the inner heart of his happiness
and made him at times cynical and restless.
He attempted many forms, and in nearly if not quite
all of them he did excellent work, though he was rather
a great and fiery assimilator who smelted familiar ideas
into splendid new forms than an original creator, with a
new voice and a wondrous message fresh from the
world of the Eternal and Divine. His piano
compositions are, many of them, however, brilliant
inspirations, and the world will not willingly let
them die. Take, as a noble instance, the fourth
concerto, the one in D minor. When he was hemmed
in by narrow limits of form his ideas gained
lucidity and lost nothing of their warmth, so that while
his operas, and even his symphonies, are at times heavy
and involved, his piano solos and his vocal miniatures
are of incomparable beauty.
In this need of a small form he was like the English
poet Wordsworth.
Though Rubinstein was formed by the German school,
he lived all his active life in Russia, so that there was
truth and pith in his bon mot concerning himself, viz.,
the Germans consider me a Russian, and the -Russians
think I am a German.
He, like that other splendid Hebrew composer of the
modern world, Meyerbeer, was a great master of musi-
cal mosaic. There is in all that he wrote a glow of in-
tense warmth, and at times an outbreaking of savage
passion which was altogether oriental. His ballet music
in the opera of "Feramors" is the only ballet music
which is as beautiful as that in Gounod's "Faust." We
must compare Rubinstein to a rough ledge of rock,
thickly netted with veins of virgin gold and thickly
studded also with many a precious gem.
VALSE CAPRICE IN E FLAT.
(6th Grade.)
This dashing tone-poem of the ballroom is of kin-
dred with the immortal "Invitation to the Dance" by
Weber, and with the wonderful inspirations of Johan
Strauss. It stands in a noble key for the piano, neither
so exotic and orientally passionate as B major nor so
pompous as D flat major, that is the key of E flat major.
There 'is a bold introduction, then a waltz of sixteen
measures of the most enticing swing ; after this another
strain of similar length, but more obstreperous ; then,
after due repetitions, a lovely episode in A flat major,
the very quintessence of a rapturous love-duette. There
is in this brilliant work in one of the repetitions a tre-
mendous acrobatic feat of wide leaps to high B flats and
E flats, which, accurately done, are fascinating. This
valse was played by the composer with an electrifying
effect.
BARCAROLLE IN G MAJOR.
(5th Grade.)
Of Rubinstein's five works in this charming petite
form the barcarole or boat-song, this one in G major, is
probably the most familiar to the concert-attending pub-
lic. It is unmistakably a beauty, and well deserves its
popularity. There will be found in it, first, a liquid rip-
ple of double intervals, most suggestive of that foam-
whisper and seductive invitation of the water which
Goethe loved so well. This is not a plagiarism of the
similar effect in Chopin's nocturne in C major, far from
it, but was, in all likelihood, written in emulation of that
celebrated passage. Next, there is a gentle yet ardent
song of happiness given out in the bass chiefly in the
region just below middle C, and in the foreign key of E
flat. The whole barcarole should be played with the
acme of grace and joyous, tender feeling.
MELODY IN F.
(4th Grade.)
When Rubinstein visited this country, in the season
1872-1873, he played many of his own works, and of all
his piano pieces this was one of the most popular. It
is a song lying in a tenor voice, then in a soprano voice,
and at the beginning must be done with that interlacing
and alternation of the thumbs of both hands, which was
taught to the piano-playing world by Thalberg. This
melody is very frequently given feebly and dryly, but
that is a great lapse from correct rendering. Let it be
full, yet sweet and sonorous.
OCTAVE STUDY IN C MAJOR. OP. 23, NO. 2.
(8th Grade.)
Rubinstein was the happy possessor of hands which
could span a tenth with ease, and so he made a tremen-
dous etude for the right hand in this appalling arch.
This study is in reality a study, yet, like the studies of
Chopin, it has musical value of no mean order. The
melody lies in the outer ringers of the right hand, and
their natural weakness is augmented by this vast dis-
tension. The effect, however, when the study is done
clearly, powerfully and evenly to the bitter end is mag-
netic, and the etude is justly a prime favorite with all
piano virtuosi of the heroic build. The terrific clatter of
the steel-shod chords and flinty octaves by a lovely son-
orous episode in F with the left hand as basso contante
is charmingly relieved, and so this cheval de battaille, this
veritable warhorse, this black steed, fit for Satan, is
artistically contrasted.
"THE WANDERER'S NIGHT SONG."
(For Alto or Baritone.)
The German poet Goethe composed a tiny poem de-
picting the heavenly tranquillity of the deep forest soli-
tudes, and in it the German language drops its velvety
syllables as gently as blossoms upon the turf and moss.
In the form of an exquisite duette for two soprano
voices Rubinstein has given it adequate embodiment.
There is a wonderful transition from D major into K
flat major toward the end which no one but Rubinstein
or some experimentizing modern would ever have ven-
tured upon, yet the charm of the effect is as great as
its boldness.
"THOU ART LIKE A LOVELY FLOWER."
(For Tenor.)
Among the one hundred and forty settings which have
been made in Germany alone of this matchless little
double quatrain none is so delicate, so glowing, so rev-
erential, so aerial as this of Rubinstein. The music
floats and hovers, and trembles over the tender ethereal
sentiment, like a fragrant zephyr. There is here also a
bit of magical modulation, from G major to B flat major.
If Rubinstein could be as fierce and as wild as a lion he
could also be as light and sweet as an apple-blossom.
Saturday, September 29, 2007
SCHUBERT AND RUBINSTEIN
CHARACTERIZATION OF SCHUBERT.
PROGRAM NOTES BY MR. JOHN S. VAN CLEVE.
If we were asked to choose, from all the men who in
all time and in all nations have created music, a little
band of twelve, to whom the proud distinction of the
very greatest should be accorded, surely, in that small
band of immortals would be found the name, Franz
Schubert.
Hans von Bulow chose three great names, Bach,
Beethoven and Brahms, fancifully entitling them the
trinity of music, but while no one would put Schubert
in the same rank with these unapproached masters, he
does certainly stand just next to them.
Like Keats, Shelley and Byron, like Bellini, Mendels-
sohn and Mozart, Schubert's life was a short one, and
like all those great men of artistic genius, the mere bulk
of his output, to borrow a metaphor from the miner, was
incredibly vast. The modern American editor of a met-
ropolitan journal scarce pours a stream of ink more
steady and copious upon the paper where his mind is
turned into material form than did this quiet, shy, ob-
scure, short-lived man, Franz Schubert. His analogue
in poetry is the English poet Keats. He lived almost
contemporaneously with him. Keats died in 1821, at
the age of twenty-five, Schubert in 1827, at the age of
thirty-two.
There is in Schubert, as in Keats, an intense and om-
nipresent sensuousness which never degenerates into
sensuality; there is a pervading melancholy, there is a
constant feeling of absolute spontaneity, even becoming
redundancy; there is also, at times, and especially to-
ward the last, a remarkable growth of manliness and
nervous terseness of utterance, which deepens our deep
regret that such a wondrous man could not have been
permitted to round out his full allotment of days in our
breathing world.
The life of Schubert was a singularly sad one. It
seemed that all the malign fairies had poured all their
thorny gifts into his cradle ; but, to compensate him for
their malice, the Spirit of Music had endowed him with
the power to dream lovely melodies and spontaneous
harmonies more than any other man that ever lived, with
but one exception, that of Mozart. Schubert was even
more an improviser than Chopin, and the fact that he
often wrote with such speed as to produce as high as
eight songs in one day, and further, that he never heard
in public any of his larger orchestral works, and that he
sometimes complained that he could not buy enough
music paper to get all his fluttering fancies snared in
visible form must awaken in us reverence, pity and af-
fection in equal measure.
Schubert gave out music as a tropic isle, in the center
of the Pacific, puts forth plants ; as the earth in spring
yields perfumes ; as the activities of Nature emit poetic
sounds.
He was the son of a poor schoolmaster, and for a
term of three years, from the age of sixteen to nineteen,
he tried to follow his father's occupation, but the love of
music was too strong, and so for the last twelve years,
though often lamentably poor, even to cold and hunger
verging upon starvation, he consumed his life, time,
energy, all upon the beloved art, which was his very
breath of being. His earliest compositions are dated
when he was but thirteen years old, in 1810, and thus the
period of his creative activity was eighteen years, from
1810 to 1828.
He met with many sickening disappointments ; for
example, in 1816, he was rejected as an applicant for a
post as teacher in a government music school, and
again, in 1826, when he hoped to be appointed director
of the royal opera house, he was rejected because his
sense of artistic dignity caused him to stand out against
the whimsical demands of the reigning prima donna. At
the last he was so wretchedly poor that a grave had to be
purchased for him by his affectionate brother Ferdi-
nand, and so he rests near the grave of his adored and
feared model, Beethoven. When he died he left of all
kinds of valuables an amount estimated at only a little
more than ten dollars. And yet this marvelous genius
spent all his life in the city of Vienna, which was the
very center of the musical life of the whole world at that
time, the city which had been the home of Haydn, of
Mozart, of Beethoven, and was to be a half century later
the home of Brahms. Such a record is a blot of lasting
disgrace upon the fair name of the pleasure-loving capi-
tol of the Austro-Hungarian empire.
Schubert tried his hand in nearly all forms of musical
art, but in the song and in the lyric type of symphony
and string quartet he succeeded best. In his songs al-
most every conceivable theme is illustrated, but the most
famous of them deal with love, with parental affection,
with certain gentle aspects of Nature, and with awe of
the unknown. His love-songs are pervaded by a won-
derful refinement of sentiment, and by a soft, hazy sad-
ness that is like an American Indian summer atmos-
phere. There is a tradition, not very well authenticated,
which runs to the effect that when he was engaged in
1818 to be private music tutor to the two daughters of
the renowned Hungarian nobleman, the Prince Ester-
hazy, he became deeply and hopelessly attached to Miss
Caroline, the younger; and if this be correct it is easy
to guess why there is everywhere this tender dejection
in the music which his heart breathed forth.
Schubert was modest even to bashfulness, unassum-
ing even to awkwardness, of a squat and insignificant
figure, poor to the verge of utter shabbiness ; yet in that
inner realm of ideal beauty which the world can neither
bestow, nor tear away, can neither brighten nor dim,
he was a royal spirit, and well might he endure all his
privations and griefs for that glorious compensation.
This is the divine prerogative of genius, that it can make
itself blessed, and can make blessed all other souls which
are of such temper and training as to ring responsive
to its motions. The heart of Schubert was one of those
crystal bells which hang, so the Mohammedans say,
upon the tree of life, fast by the throne of God. It
endowed every breeze with its own innate music.
J. S. V. C.
MORNING SERENADE. "HARK, HARK THE LARK."
(For Soprano.)
To say a morning serenade, is a kind of solecism, or
misnomer, for the word serenade is derived from sera,
the Italian for evening, and means a musical expression
of affection, either love or friendship, uttered in the open
air, with all the romantic environment of nature, at that
charming hour. However, morning is a period of the
diurnal circle which is not a whit less poetic in its sym-
bolism, and there are many beautiful songs in this spe-
cies. Of all that have been written, surely, none is so
sweet, cheerful, captivating, so redolent of dew and flow-
ers, as this inimitable morning-song of Shakespeare and
Schubert.
The junction of music and poetry must always, or
nearly always, be attended with a compromise and mu-
tual surrender, in so much that there is really no such
thing as an utter fusion of the two arts in their entirety,
but here the poem and the tone-poem are absolutely
fused, and each reaches its full expression, without any
cramping or denting of compromise. Let us say that
the words of Shakespeare and the tones of Schubert
unite and enhance each other as a sunbeam, and a dew-
drop, and (.he sparkling result is the acme of beauty.
With this magical little song there is connected an
anecdote, which, unlike many romantic anecdotes of
music and musicians, cannot be puffed away into thin
air as a wreath of smoke by the fierce breath of the crit-
ical cynic, for it rests upon a good authentic founda-
tion of testimony.
Schubert, in company with a friend, was out walking,
in the early 'morning, near Vienna. They went into a
garden, and, seating themselves at a table, ordered
breakfast. While waiting for the order to be filled,
Schubert began to turn over the leaves of a stray vol-
ume of Shakespeare, which chanced to be lying upon
the table. By the merest luck he happened upon the
exquisite lines of the hired musicians in "Cymbeline."
With a sudden exclamation he indicated his delighted
surprise, and soon said, "Oh, oh, if I only had some
music-paper, there is such a lovely melody in my mind.
His friend, realizing the preciousness of an inspiration
such as that of Schubert (although passing few were
those who in that day understood what a genius was
among them) hastily drew some lines in the form of a
staff upon the back of the menu-card, and in a little while
the sketch was 'made, and so this heavenly song-bird,
this ravishing melody which flew 'into the heart of Franz
Schubert, one morning near to the beginning of this cen-
tury, while he waited for his breakfast, was snared with
pencil and paper, and kept in the world to charm thou-
sands of human beings with its message of refined sen-
timent. Was there ever a straw-nest of commonplace
circumstance in which so wondrous an egg of Paradise
was deposited? Genius is always the unexplained, the
miraculous, and seems often to deride conditions, work-
ing its magic amidst the most untoward environment.
Plough-shares and dull clods, dripping rain-clouds
and frightened mice set the imagination of Robert
Burns to glowing, and so through all the biographies of
musicians we find sordid surroundings unable to quench
the sacred Promethean spark of genius. Schubert was
the only man in all the history of music who could rival
Mozart in spontaneity.
THE SERENADE IN D MINOR.
(For Tenor or Soprano.)
As a direct contrast to this Staendchen we may take
the far-famed and familiar serenade in D minor. Here
we have an example of a tender serenade as marvelous
in its kind as is the "Hark, Hark, the Lark" in its spe-
cies. The sentiment of the D minor serenade is gentle
and sad, an expression of sweet longing and dreamy
melancholy, a true love-sigh. Its form is that peculiar
to the type of German songs dealt with by Wagner in
"Die Meistersinger," viz., a rounded melody, with pre-
lude and interlude, which, after being repeated, give way
to a totally new melody of a different mood and in a
different key, while the coda bears a resemblance to the
first. This typical German pattern is carried out in the
serenade with that truth of expression which Schubert
never lacks. The rhythm of the accompaniment, an al-
ternation of swinging staccato chords in one quiet mo-
tion, suggests the guitar and lute, which are the instru-
ments associated from time immemorial with the lovers'
twilight avowals and musical protestations.
"DEATH AND THE MAIDEN."
(For Contralto.)
This powerful though brief effusion belongs to a vein
of Schubert's versatile genius, which he worked from
time to time, and always with results so astonishing in
their impressiveness as to merit the epithet supernat-
ural.. There was a touch of that superstitious horror in
him which is characteristic of the middle ages. In the
weird song, "The Doppergaenger" the mystery and
dread of death are voiced, and in this wonderful little
song, "Death and the Maiden," the first section in the
minor key expresses with deep sympathy the instinctive
recoil and terror of young human life at the thought of
death.
In the second half, where the music passes into the
parallel major key, there is in the melody with which
Death gives his invitation a wonderful solemnity soft-
ened by soothing tenderness. This melody is built upon
a motive of three notes, which is identical with that
which Beethoven uses in the allegretto of the seventh
symphony, and it here makes the same impression of
monotonous yet lulling grief. Schubert so felt the preg-
nant suggestiveness of this melody that he used it again
in a string quartet, where, treated with variations, it
forms one of the gems of the literature of chamber-
music.
THE TROUT.
(For Soprano.)
Over against the terror and solemnity of the song just
analyzed may be set another of equal, though widely
different, beauty, viz., "The Trout." In this song we
find that sympathy for sentient nature, which has been
a distinguishing characteristic of' great imaginative
minds of a strongly emotional bias. Cowper inveighing
against field-sports and brooding over a pet hare, Burns
apostrophizing the panic-stricken mouse, Wagner stop-
ping a market-woman to reprimand her for selling live
fish, and many similar cases may be instanced. Schu-
bert possessed to the full this extreme susceptibility.
The fibers of his heart were as impressible as the fila-
ments of an aeolian harp. The music of this song mir-
rors the mood of a poet contemplating one of the most
cheerful things in nature, viz., a young fish in a clear,
sparkling brook in the sunny morning. Then comes
the inevitable tragedy, and the angler ensnares the in-
nocent and ignorant little creature.
To give this picture tonal embodiment Schubert has
taken a figure consisting of two triplets of eighths, fol-
lowed by two quarters. This tone-figure, with its al-
ternation of jerk and rest, cleverly typifies both the
rippling stream and the sporting fish. Meanwhile the
flowing melody utters the feelings of the observer's
heart. Then when the trouble is suggested the music
passes into that changed third stanza which is charac-
teristic of the model German song ; see the analysis of
the Serenade, and the picture is overcast with that sad-
ness which is never for long absent from the music of
Franz Schubert. This melody, also like that in the sec-
ond division of "Death and the Maiden," so pleased
Schubert that he employed it in a string quartette.
This habit of re-using especially suggestive themes was
common with Beethoven, and Handel was a free and
frequent self-quoter.
"AVE MARIA."
(For Soprano.)
No man had a more irrepressible fountain of melodic
invention than Schubert. So lovely and so self-sufficing
are his melodies that a kind of cant saying or unreason-
ing notion has gained currency that he was chiefly note-
worthy for his melodic gift, but this is an egegrious
error. Schubert's inventiveness in harmonic progres-
sion in no slight degree falls short of his melodic fresh-
ness. What he really lacked was knowledge of counter-
point and the dramatic sense of wholes whereby a total
effect is secured through repressing and correlating the
parts. In the Ave Maria, however, there is no need of
his learning and architectural calculation, and both as
a piece of melody and as a piece of harmony it is in-
comparably great. There is a long-drawn song-phrase
which rises and falls with heavenly aspiration and peace,
and one can not imagine a singer failing to catch this
wondrous swell. It is like the inhalation and exhalation
of heartfelt prayer. Then beneath it undulates a won-
derful series of rising and falling sextolets flowing up
and down a magical series of chords. There is need
that the interpreter be not misled by the fact that these
notes are triplets sixteenths into taking them rapidly, for
they are in reality about ordinary eighths. The text as
sung in English is not the customary prayer to the Vir-
gin Mary, but is a prayer addressed to the protecting
father by Ellen Dougles in the third canto of "The
Lady of the Lake" by Sir Walter Scott.
THE ERLKING.
(For Mezzo Soprano or Baritone.)
In all the ballad literature of the world there is not
one which condenses into so small a compass such an
amount of character, action, narration and suggestion as
the wondrous little poem of thirty-two lines by Gcethe,
entitled the Erlking. The dark night, the haunted for-
est, the galloping steed, the anxious father, the suffer-
ing child, the enticing king of elf-land, the fatal event,
all make a picture which appeals to the elementctl feel-
ings of humanity, .and never were verses more terse and
vibrant with the stress of intense emotion. All this
Schubert has translated into tones. Let us rather say,
transfused into tones, with that magical success which is
the every-day performance of genius, the despair of
talent, and the marvel of the connoisseur.
The accompaniment has an incessant clatter of oc-
taves in triplets, which, with a striking motive of nine
notes in the bass, graphically depicts the horse. This is
the most remarkable feature of the accompaniment.
The vocal part has four distinct characters, viz., the
voice of the narrator, which should be negative ; the
voice of the father, which should be made in a large,
noble, tender quality; the voice of the boy, who should
speak with uneasiness at first, then gain in fear till the
climax of terror is reached ; and lastly, that which is the
most difficult to present, the coaxing, then threatening,
voice of the elf-king himself.
"TO BE SUNG ON THE WATERS."
(For Soprano.)
There are a few elemental situations and objects
which lend themselves equally to the imagination of the
poet and the musician, and among all such there is none
better, none more obvious than a boat-ride at sunset.
In this charming song we have such a picture. The six
pairs of quivering sixteenths in each measure, with their
long continuance, vividly suggest the glimmering light
and the monotonous gentle motion of the boat, and the
melody in a minor key hints at the pensiveness suitable
to such a scene and hour.
There are two unimpeachable reasons why the above
seven songs have been chosen and analyzed, viz., first,
because none of the countless works of Schubert in all
forms had such success during his lifetime, or have con-
tinued to represent him so generally as his inimitable
songs ; and, second, because, thanks to Liszt, Heller and
many other pianists, these songs can all be obtained and
performed as piano solos. In this form of pure instru-
mental music they scarcely lose any of their charm, for
their beauty is intrinsic and spontaneous to a degree
never before or since obtained by any other master.
These divine melodies and appropriate harmonies reach
the heart as directly as the sweet odors.
THE GREAT IN MUSIC: FIRST YEAR.
IMPROMPTU IN E FLAT MAJOR OP. 90, NO. 2.
(5tb Grade.)
Schubert covered manv and many a page with music
designed for the pianoforte. b t oth to \** played M rth two
and with four hands. In all. it is rich in the most charm-
ing effects, but is seldom especially grateful to the
player, because, like Beethoven, Schubert thought al-
ways of the poetic idea, and never of the technical adapt-
ability. Often his pages are awkward and only half
playable, yet they are never musically barren or lacking
in interest. Like some wonderful vocalist, Schubert
cannot open his mouth even to ask the most common-
place question without making music. His more ex-
tended works in the sonata form, of which there are
twenty-four, are not his best, since it was in utilizing
initial thoughts and filling out elaborate designs that
Schubert was at a disadvantage by reason of his lim-
ited mastery over counter-point.
ROMANCE IN G MAJOR. OP. 90, NO. 4.
(5th Grade.)
When, however, the limits of the composition are nar-
row, and do not require more than the flowings of a
single inspiration, or a short series of single inspira-
tions, nothing in the whole world of music is sweeter,
truer, lovelier than the piano pieces of Schubert. Take
as a fine example of his manner the seldom-played ro-
mance in G flat major, Op. 90, No. 2, and you will be
delighted in the extreme, and will get a deep view into
the mind of this great and gentle-hearted man. There
is here a theme, or song, of a plain outline allotted to
the soprano voice that is, to the upper half of the right
hand. This is associated in the same hand with a steady
stream of triplet notes that step upon the intervals of
the chord and keep the harmony alive and quivering.
The left hand is chiefly concerned with laying the broad
harmonic foundations of the structure. Two things are
to be understood, of course, in delivering this wondrous
work ; first, the melody must always be two or three
times louder than the accompaniment, and must rock
upon its undulating surface at once detached and sub-
servient ; second, the pedal must keep it all in a mur-
mur of liquid sound, sonorous yet mild, continuous yet
clear, fluent yet flawless. The time is very peculiar, the
measures being composed each of twice the length of a
whole note and the connecting counterpoint being of
triplet eighths. This must not mislead, for the rate is
rapid, and the triplets sound like very agile triplet six-
teenths. Its mood is a glowing, brooding mixture of
sweet and sad longings.
IMPROMPTU IN F MINOR. OP. 142, NO. 4.
(4th Grade.)
Out of the eight impromptus this may be taken, since
it shows us another important feature of Schubert's
work, viz., the use of Hungarian or Gipsy style. The
bold trixy rhythm, the harsh chords, the wild, fitful
moods of capricious feeling, which are the traits of the
Gipsy music, are all here. Schubert was the first great
master to exploit the folk-music of the strange barbaric
oriental race known to us as Gipsies, and after him
Liszt and Brahms carried it on to a much wider and
more brilliant genre of tone-art. These examples of
the genius of Schubert will serve by way of specimens,
but the study of a lifetime will not make the treasure-
house of this wondrous Schubert trite or even familiar.
No wonder that Schumann, when a young enthusiast,
used to walk through the streets of Leipsic swinging his
arms and singing snatches of the divine melodies of
Schubert at the top of his voice. A wonder among won-
ders, a treasure among treasures, a demigod among
demigods, was our ever-dear Franz Schubert.
BEETHOVEN AND SCHUBERT COMPARED.
Since Beethoven and Schubert wrote at the same
time, both living in Vienna, there is not much superficial
difference in their style, but as soon as we listen for
the inner voice, which every modern piece of music con-
tains, this becomes very .different. Beethoven, a man of
great earnestness, with a brusque, almost abrupt, man-
ner and great positiveness, like qualities are found in
his music, especially in all his more important works.
At the same time, as often happens with men of this
temperament, great tenderness also lies deep within his
bosom, and very sweet and sympathetic melodies are
to be found in most of his works.
Schubert was not so abrupt, nor was he personally so
aggressive. Beethoven was director of an opera orches-
tra before he was fifteen years of age. Think what an
authority the boy must have had. At the age of twenty-
two we find him settled in a strange city, holding his
own against all comers, making business contracts with
publishers in distant lands. He was in the habit of
meeting princes and personages of the highest aris-
tocracy upon equal terms ; he had therefore the confi-
dence in himself of a man sure of his position. This
element also comes into his music ; and with it the dis-
tinct and commanding personality which made him a
valued acquaintance to these well-bred and easy men of
the polite world. Schubert had little or none of this
sort of experience. But instead of it he worked mainly
alone, and with very little encouragement or appreciation
from persons of social or artistic rank. Modestly, unas-
sumingly, he composed. And so it happens that in the
music of Schubert we find a contented disposition, easily
satisfied with a simple idea, and it is only when he is
deeply stirred that his music takes a more confident
flight and strikes out with the boldness habitual to
Beethoven. The main difference lies in the disposition
of Beethoven to say something weighty, and to say it
as soon as possible. Schubert, on the contrary, rarely
undertook to say weighty things, but mainly pleasant or
quiet things ; and, there being no one to be pleased or
displeased, he wrote them out as long as he liked.
Hence often great length, especially in instrumental
pieces meant to be quiet or pleasing; and only in his
songs, and in a few short pieces, does he come to the
point in the most direct way possible.
We shall learn the peculiarities of these men better
by taking up examples of their work in immediate com-
parison. And for our present purpose it will be instruc-
tive to classify the pieces according to the mood and
style. Comparing corresponding moods with those of
Beethoven in the fifth program.
IMPROMPTU. "THE FAIR ROSAMONDE." OP. 142,
NO. 3.
(4th Grade.)
This impromptu, in the form of an air and five varia-
tions, is cited as one of the very best illustrations of
Schubert's style and his pleasure in moods lying very
near the contented type with which we are dealing. Ob-
viously it would be unwise to carry the very same mood
through an entire work; on the contrary, the mood
changes a little in every few measures. But the fluc-
tuations are small, and the principal type everyw^re
prevails, like a keynote, to which we come back c/ter
every digression.
The melody itself was a favorite with Schubert. He
wrote it first in his opera of "Rosamonde," or a mel-
ody very much like it. The form here given is an im-
provement, but it is almost the same. The first strain
remains throughout in the contented mood. The begin-
ning of the second strain, where the key changes, is a
slight digression, but four measures later the original
form returns. The variations, each one treat the melody
with slight modifications. The first variation is shad-
owy, fairylike, very delicate and ethereal ; the second
shows a bit of tenderness in the first phrase, which, in
the second period, where the bass has the sixteenth note
motion, becomes more excited. Later the first phrase
returns. The third variation introduces a triplet mo-
tion in the left hand, a sort of obligato figure, against
which the right hand has some strong dissonances in
octaves (see the third beat in every measure). This
variation is in a mood fundamentally unlike that of the
melody itself or the variation preceding. It has a sug-
gestion of greater and deeper meaning. The fourth
variation is different again. The mood is more restless
and excited; the strong accents in the left hand part
and the modulations imply trouble. With the fifth va-
riation sunlight has returned, and the quiet and tender
mood of the air here gives place to a sort of transfigura-
tion of it, as when sunlight follows lowering weather or
storm. At the close of the variation the original melody
comes back in a lower range of pitch, producing a se-
rious effect and restoring the mood with which we
began.
WALTZ IN A FLAT. OP. ga, NO. 2
(3d Grade.)
The first of these little waltzes is most delightfully
melodious and charming, and in its mood it quite be-
longs to the serene class. Observe the symmetry; see
how many times the same phrase or motive is repeated.
Notice how it is relieved by the two repetitions in for-
eign keys in the beginning of the second period (meas-
ures 9 and 10, in F minor; and n and 12, in E flat).
We might compare this waltz to a little poem in two
stanzas, about some pleasing subject, such as a pleasant
holiday, an agreeable experience, etc.
In the second of these two waltzes, No. 2, the com-
poser's intention is indicated by the name "Grief" or
"Home-Sickness" waltz. In place of the contented and
happy stepping three times upon one chord in each
measure, as in the first waltz, we have here three differ-
ent chords in each alternate measure ; and in the other
measures, 2, 4, etc., there is always a dissonance in the
melody upon the accent. (Let the teacher show this
peculiarity until the class can determine by ear which
measures have three chords and which have a disso-
nance upon the accent.) In the second period the ex-
pression is still more appealing through the modula-
tions, first into the key of A flat minor (measures 9 and
10), and then into E major (measures n and 12), and
then by a beautiful enharmonic change of E to F flat
(measure 13), back again to the original key.
The lower emotional tone of this waltz turns first
upon the slower movement (compare the rate of speed
by playing four measures of No. I and then four meas-
ures of No. 2), and then upon the fuller detail, since
there are always eighth notes, six in a measure, and
often three different chords in a measure. It is by
means like this that expression enters into music.
THE TENDER AND APPEALING.
"BELIEF IN SPRING."
(For Soprano.)
Of similar but somewhat less deep mood is Schubert's
beautiful song, "Belief in Spring," or belief that spring
is now returning. The story for this piece was already
furnished by the German poet. The words are:
"Again the balmy breezes play.
They gently murmur, night and day,
And .Heaven's rich fragrance borrow.
New sounds arise, and odors sweet,
Oh, seek, poor heart, the change to greet,
. And cast away thy sorrow.
"The earth seems brighter, every morn,
While blossoms gay her robe adorn,
And fairest flowers are blooming 1 .
They bloom around in every vale,
And thou, poor- heart, the change must hail,
Each day fresh hope resuming."
In case this piece is not available as a song, for want
of a singer (though it is not difficult), it can well be
played from the Liszt arrangement (6th grade).
THE DEEP AND SERIOUS TYPE.
IMPROMFfU IN C MINOR. OP. 90, NO. i.
(5th Grade.)
A very interesting illustration of Schubert's melody
and his tendency to spin out a nice piece to an uninvit-
ing length is found in his Impromptu, No. I, of the opus
90. This melody has been named "Elegy," but there is
no authority for so doing. After a single prolongation
of the dominant, by way of keynote, the melody begins
and for four measures is entirely unaccompanied ; it is
like a solo voice singing alone. At the middle of the
period all the parts join in. In the second period the
same thing happens, the soprano voice has the melody
with no accompaniment, to be finished by all the voices.
It will be noticed that the first period of eight measures
is in the key of C minor ; the second has precisely the
same melody in E flat major; it ends, however, in C
minor, measure 17. The melody now begins again,
and note the interesting changes of harmony in meas-
ures 18 to 21. So also in measures 26 to 28 the melody
is harmonized in E flat. The main subject ends in meas-
ure 33, but there is a coda, modulating into A flat, meas-
ures 34 to 41. Here comes in a second subject in A
flat, and in a curious rhythmic caprice, each phrase hav-
ing five measures instead of the usual four. The
changes of harmony are charming (47 to 55, etc.). In
measure 60 the melody of the second subject is assigned
to the base. In measure 74 some interesting modula-
tion begins, and a very impressive and semi-dramatic
modulation occurs with a double-octave effect (measures
82 to 87), and the right hand has triplet octaves like
those of the Erl King. Here the original melody comes
in the bass (measure 91). New treatments occur (meas-
ures 124 to 138, etc.), and in measure 152 the piece
changes into the major tonality and so goes through
and ends. The impression which this piece makes will
depend very much upon its being played seriously, slow
enough not to sound trivial, yet not so slow as to drag.
The "molto moderate" of the composer should be taken,
probably, at about 126 metronome for quarter notes.
Great care should also be taken to observe the 'con-
trast of forte and piano.
"HEDGE ROSES."
Of lighter, more arch vein is the Schubert song enti-
tled "Hedge Roses." It follows the words:
"On his way a boy espied
Pretty blushing roses,
Fresh and sweet, the hedge-rows' pride,
To admire he turns aside,
And to pluck proposes,
Roses, roses, roses red,
Pretty blushing roses."
MENUETTO IN B MINOR. OP. 78.
(4th Grade.)
An admirable example of a certain exultant vigor is
the minuetto in B minor, from the Schubert Fantasia,
opus 78. The trio is of a softer and more sentimental
character. This mood (the exultant) occurs more fre-
quently in the works of later writers than in those of the
classical period. The classical rondo rarely arose to this
spirit. Schumann is the writer who most completely
illustrates it.
PROGRAM NOTES BY MR. JOHN S. VAN CLEVE.
If we were asked to choose, from all the men who in
all time and in all nations have created music, a little
band of twelve, to whom the proud distinction of the
very greatest should be accorded, surely, in that small
band of immortals would be found the name, Franz
Schubert.
Hans von Bulow chose three great names, Bach,
Beethoven and Brahms, fancifully entitling them the
trinity of music, but while no one would put Schubert
in the same rank with these unapproached masters, he
does certainly stand just next to them.
Like Keats, Shelley and Byron, like Bellini, Mendels-
sohn and Mozart, Schubert's life was a short one, and
like all those great men of artistic genius, the mere bulk
of his output, to borrow a metaphor from the miner, was
incredibly vast. The modern American editor of a met-
ropolitan journal scarce pours a stream of ink more
steady and copious upon the paper where his mind is
turned into material form than did this quiet, shy, ob-
scure, short-lived man, Franz Schubert. His analogue
in poetry is the English poet Keats. He lived almost
contemporaneously with him. Keats died in 1821, at
the age of twenty-five, Schubert in 1827, at the age of
thirty-two.
There is in Schubert, as in Keats, an intense and om-
nipresent sensuousness which never degenerates into
sensuality; there is a pervading melancholy, there is a
constant feeling of absolute spontaneity, even becoming
redundancy; there is also, at times, and especially to-
ward the last, a remarkable growth of manliness and
nervous terseness of utterance, which deepens our deep
regret that such a wondrous man could not have been
permitted to round out his full allotment of days in our
breathing world.
The life of Schubert was a singularly sad one. It
seemed that all the malign fairies had poured all their
thorny gifts into his cradle ; but, to compensate him for
their malice, the Spirit of Music had endowed him with
the power to dream lovely melodies and spontaneous
harmonies more than any other man that ever lived, with
but one exception, that of Mozart. Schubert was even
more an improviser than Chopin, and the fact that he
often wrote with such speed as to produce as high as
eight songs in one day, and further, that he never heard
in public any of his larger orchestral works, and that he
sometimes complained that he could not buy enough
music paper to get all his fluttering fancies snared in
visible form must awaken in us reverence, pity and af-
fection in equal measure.
Schubert gave out music as a tropic isle, in the center
of the Pacific, puts forth plants ; as the earth in spring
yields perfumes ; as the activities of Nature emit poetic
sounds.
He was the son of a poor schoolmaster, and for a
term of three years, from the age of sixteen to nineteen,
he tried to follow his father's occupation, but the love of
music was too strong, and so for the last twelve years,
though often lamentably poor, even to cold and hunger
verging upon starvation, he consumed his life, time,
energy, all upon the beloved art, which was his very
breath of being. His earliest compositions are dated
when he was but thirteen years old, in 1810, and thus the
period of his creative activity was eighteen years, from
1810 to 1828.
He met with many sickening disappointments ; for
example, in 1816, he was rejected as an applicant for a
post as teacher in a government music school, and
again, in 1826, when he hoped to be appointed director
of the royal opera house, he was rejected because his
sense of artistic dignity caused him to stand out against
the whimsical demands of the reigning prima donna. At
the last he was so wretchedly poor that a grave had to be
purchased for him by his affectionate brother Ferdi-
nand, and so he rests near the grave of his adored and
feared model, Beethoven. When he died he left of all
kinds of valuables an amount estimated at only a little
more than ten dollars. And yet this marvelous genius
spent all his life in the city of Vienna, which was the
very center of the musical life of the whole world at that
time, the city which had been the home of Haydn, of
Mozart, of Beethoven, and was to be a half century later
the home of Brahms. Such a record is a blot of lasting
disgrace upon the fair name of the pleasure-loving capi-
tol of the Austro-Hungarian empire.
Schubert tried his hand in nearly all forms of musical
art, but in the song and in the lyric type of symphony
and string quartet he succeeded best. In his songs al-
most every conceivable theme is illustrated, but the most
famous of them deal with love, with parental affection,
with certain gentle aspects of Nature, and with awe of
the unknown. His love-songs are pervaded by a won-
derful refinement of sentiment, and by a soft, hazy sad-
ness that is like an American Indian summer atmos-
phere. There is a tradition, not very well authenticated,
which runs to the effect that when he was engaged in
1818 to be private music tutor to the two daughters of
the renowned Hungarian nobleman, the Prince Ester-
hazy, he became deeply and hopelessly attached to Miss
Caroline, the younger; and if this be correct it is easy
to guess why there is everywhere this tender dejection
in the music which his heart breathed forth.
Schubert was modest even to bashfulness, unassum-
ing even to awkwardness, of a squat and insignificant
figure, poor to the verge of utter shabbiness ; yet in that
inner realm of ideal beauty which the world can neither
bestow, nor tear away, can neither brighten nor dim,
he was a royal spirit, and well might he endure all his
privations and griefs for that glorious compensation.
This is the divine prerogative of genius, that it can make
itself blessed, and can make blessed all other souls which
are of such temper and training as to ring responsive
to its motions. The heart of Schubert was one of those
crystal bells which hang, so the Mohammedans say,
upon the tree of life, fast by the throne of God. It
endowed every breeze with its own innate music.
J. S. V. C.
MORNING SERENADE. "HARK, HARK THE LARK."
(For Soprano.)
To say a morning serenade, is a kind of solecism, or
misnomer, for the word serenade is derived from sera,
the Italian for evening, and means a musical expression
of affection, either love or friendship, uttered in the open
air, with all the romantic environment of nature, at that
charming hour. However, morning is a period of the
diurnal circle which is not a whit less poetic in its sym-
bolism, and there are many beautiful songs in this spe-
cies. Of all that have been written, surely, none is so
sweet, cheerful, captivating, so redolent of dew and flow-
ers, as this inimitable morning-song of Shakespeare and
Schubert.
The junction of music and poetry must always, or
nearly always, be attended with a compromise and mu-
tual surrender, in so much that there is really no such
thing as an utter fusion of the two arts in their entirety,
but here the poem and the tone-poem are absolutely
fused, and each reaches its full expression, without any
cramping or denting of compromise. Let us say that
the words of Shakespeare and the tones of Schubert
unite and enhance each other as a sunbeam, and a dew-
drop, and (.he sparkling result is the acme of beauty.
With this magical little song there is connected an
anecdote, which, unlike many romantic anecdotes of
music and musicians, cannot be puffed away into thin
air as a wreath of smoke by the fierce breath of the crit-
ical cynic, for it rests upon a good authentic founda-
tion of testimony.
Schubert, in company with a friend, was out walking,
in the early 'morning, near Vienna. They went into a
garden, and, seating themselves at a table, ordered
breakfast. While waiting for the order to be filled,
Schubert began to turn over the leaves of a stray vol-
ume of Shakespeare, which chanced to be lying upon
the table. By the merest luck he happened upon the
exquisite lines of the hired musicians in "Cymbeline."
With a sudden exclamation he indicated his delighted
surprise, and soon said, "Oh, oh, if I only had some
music-paper, there is such a lovely melody in my mind.
His friend, realizing the preciousness of an inspiration
such as that of Schubert (although passing few were
those who in that day understood what a genius was
among them) hastily drew some lines in the form of a
staff upon the back of the menu-card, and in a little while
the sketch was 'made, and so this heavenly song-bird,
this ravishing melody which flew 'into the heart of Franz
Schubert, one morning near to the beginning of this cen-
tury, while he waited for his breakfast, was snared with
pencil and paper, and kept in the world to charm thou-
sands of human beings with its message of refined sen-
timent. Was there ever a straw-nest of commonplace
circumstance in which so wondrous an egg of Paradise
was deposited? Genius is always the unexplained, the
miraculous, and seems often to deride conditions, work-
ing its magic amidst the most untoward environment.
Plough-shares and dull clods, dripping rain-clouds
and frightened mice set the imagination of Robert
Burns to glowing, and so through all the biographies of
musicians we find sordid surroundings unable to quench
the sacred Promethean spark of genius. Schubert was
the only man in all the history of music who could rival
Mozart in spontaneity.
THE SERENADE IN D MINOR.
(For Tenor or Soprano.)
As a direct contrast to this Staendchen we may take
the far-famed and familiar serenade in D minor. Here
we have an example of a tender serenade as marvelous
in its kind as is the "Hark, Hark, the Lark" in its spe-
cies. The sentiment of the D minor serenade is gentle
and sad, an expression of sweet longing and dreamy
melancholy, a true love-sigh. Its form is that peculiar
to the type of German songs dealt with by Wagner in
"Die Meistersinger," viz., a rounded melody, with pre-
lude and interlude, which, after being repeated, give way
to a totally new melody of a different mood and in a
different key, while the coda bears a resemblance to the
first. This typical German pattern is carried out in the
serenade with that truth of expression which Schubert
never lacks. The rhythm of the accompaniment, an al-
ternation of swinging staccato chords in one quiet mo-
tion, suggests the guitar and lute, which are the instru-
ments associated from time immemorial with the lovers'
twilight avowals and musical protestations.
"DEATH AND THE MAIDEN."
(For Contralto.)
This powerful though brief effusion belongs to a vein
of Schubert's versatile genius, which he worked from
time to time, and always with results so astonishing in
their impressiveness as to merit the epithet supernat-
ural.. There was a touch of that superstitious horror in
him which is characteristic of the middle ages. In the
weird song, "The Doppergaenger" the mystery and
dread of death are voiced, and in this wonderful little
song, "Death and the Maiden," the first section in the
minor key expresses with deep sympathy the instinctive
recoil and terror of young human life at the thought of
death.
In the second half, where the music passes into the
parallel major key, there is in the melody with which
Death gives his invitation a wonderful solemnity soft-
ened by soothing tenderness. This melody is built upon
a motive of three notes, which is identical with that
which Beethoven uses in the allegretto of the seventh
symphony, and it here makes the same impression of
monotonous yet lulling grief. Schubert so felt the preg-
nant suggestiveness of this melody that he used it again
in a string quartet, where, treated with variations, it
forms one of the gems of the literature of chamber-
music.
THE TROUT.
(For Soprano.)
Over against the terror and solemnity of the song just
analyzed may be set another of equal, though widely
different, beauty, viz., "The Trout." In this song we
find that sympathy for sentient nature, which has been
a distinguishing characteristic of' great imaginative
minds of a strongly emotional bias. Cowper inveighing
against field-sports and brooding over a pet hare, Burns
apostrophizing the panic-stricken mouse, Wagner stop-
ping a market-woman to reprimand her for selling live
fish, and many similar cases may be instanced. Schu-
bert possessed to the full this extreme susceptibility.
The fibers of his heart were as impressible as the fila-
ments of an aeolian harp. The music of this song mir-
rors the mood of a poet contemplating one of the most
cheerful things in nature, viz., a young fish in a clear,
sparkling brook in the sunny morning. Then comes
the inevitable tragedy, and the angler ensnares the in-
nocent and ignorant little creature.
To give this picture tonal embodiment Schubert has
taken a figure consisting of two triplets of eighths, fol-
lowed by two quarters. This tone-figure, with its al-
ternation of jerk and rest, cleverly typifies both the
rippling stream and the sporting fish. Meanwhile the
flowing melody utters the feelings of the observer's
heart. Then when the trouble is suggested the music
passes into that changed third stanza which is charac-
teristic of the model German song ; see the analysis of
the Serenade, and the picture is overcast with that sad-
ness which is never for long absent from the music of
Franz Schubert. This melody, also like that in the sec-
ond division of "Death and the Maiden," so pleased
Schubert that he employed it in a string quartette.
This habit of re-using especially suggestive themes was
common with Beethoven, and Handel was a free and
frequent self-quoter.
"AVE MARIA."
(For Soprano.)
No man had a more irrepressible fountain of melodic
invention than Schubert. So lovely and so self-sufficing
are his melodies that a kind of cant saying or unreason-
ing notion has gained currency that he was chiefly note-
worthy for his melodic gift, but this is an egegrious
error. Schubert's inventiveness in harmonic progres-
sion in no slight degree falls short of his melodic fresh-
ness. What he really lacked was knowledge of counter-
point and the dramatic sense of wholes whereby a total
effect is secured through repressing and correlating the
parts. In the Ave Maria, however, there is no need of
his learning and architectural calculation, and both as
a piece of melody and as a piece of harmony it is in-
comparably great. There is a long-drawn song-phrase
which rises and falls with heavenly aspiration and peace,
and one can not imagine a singer failing to catch this
wondrous swell. It is like the inhalation and exhalation
of heartfelt prayer. Then beneath it undulates a won-
derful series of rising and falling sextolets flowing up
and down a magical series of chords. There is need
that the interpreter be not misled by the fact that these
notes are triplets sixteenths into taking them rapidly, for
they are in reality about ordinary eighths. The text as
sung in English is not the customary prayer to the Vir-
gin Mary, but is a prayer addressed to the protecting
father by Ellen Dougles in the third canto of "The
Lady of the Lake" by Sir Walter Scott.
THE ERLKING.
(For Mezzo Soprano or Baritone.)
In all the ballad literature of the world there is not
one which condenses into so small a compass such an
amount of character, action, narration and suggestion as
the wondrous little poem of thirty-two lines by Gcethe,
entitled the Erlking. The dark night, the haunted for-
est, the galloping steed, the anxious father, the suffer-
ing child, the enticing king of elf-land, the fatal event,
all make a picture which appeals to the elementctl feel-
ings of humanity, .and never were verses more terse and
vibrant with the stress of intense emotion. All this
Schubert has translated into tones. Let us rather say,
transfused into tones, with that magical success which is
the every-day performance of genius, the despair of
talent, and the marvel of the connoisseur.
The accompaniment has an incessant clatter of oc-
taves in triplets, which, with a striking motive of nine
notes in the bass, graphically depicts the horse. This is
the most remarkable feature of the accompaniment.
The vocal part has four distinct characters, viz., the
voice of the narrator, which should be negative ; the
voice of the father, which should be made in a large,
noble, tender quality; the voice of the boy, who should
speak with uneasiness at first, then gain in fear till the
climax of terror is reached ; and lastly, that which is the
most difficult to present, the coaxing, then threatening,
voice of the elf-king himself.
"TO BE SUNG ON THE WATERS."
(For Soprano.)
There are a few elemental situations and objects
which lend themselves equally to the imagination of the
poet and the musician, and among all such there is none
better, none more obvious than a boat-ride at sunset.
In this charming song we have such a picture. The six
pairs of quivering sixteenths in each measure, with their
long continuance, vividly suggest the glimmering light
and the monotonous gentle motion of the boat, and the
melody in a minor key hints at the pensiveness suitable
to such a scene and hour.
There are two unimpeachable reasons why the above
seven songs have been chosen and analyzed, viz., first,
because none of the countless works of Schubert in all
forms had such success during his lifetime, or have con-
tinued to represent him so generally as his inimitable
songs ; and, second, because, thanks to Liszt, Heller and
many other pianists, these songs can all be obtained and
performed as piano solos. In this form of pure instru-
mental music they scarcely lose any of their charm, for
their beauty is intrinsic and spontaneous to a degree
never before or since obtained by any other master.
These divine melodies and appropriate harmonies reach
the heart as directly as the sweet odors.
THE GREAT IN MUSIC: FIRST YEAR.
IMPROMPTU IN E FLAT MAJOR OP. 90, NO. 2.
(5tb Grade.)
Schubert covered manv and many a page with music
designed for the pianoforte. b t oth to \** played M rth two
and with four hands. In all. it is rich in the most charm-
ing effects, but is seldom especially grateful to the
player, because, like Beethoven, Schubert thought al-
ways of the poetic idea, and never of the technical adapt-
ability. Often his pages are awkward and only half
playable, yet they are never musically barren or lacking
in interest. Like some wonderful vocalist, Schubert
cannot open his mouth even to ask the most common-
place question without making music. His more ex-
tended works in the sonata form, of which there are
twenty-four, are not his best, since it was in utilizing
initial thoughts and filling out elaborate designs that
Schubert was at a disadvantage by reason of his lim-
ited mastery over counter-point.
ROMANCE IN G MAJOR. OP. 90, NO. 4.
(5th Grade.)
When, however, the limits of the composition are nar-
row, and do not require more than the flowings of a
single inspiration, or a short series of single inspira-
tions, nothing in the whole world of music is sweeter,
truer, lovelier than the piano pieces of Schubert. Take
as a fine example of his manner the seldom-played ro-
mance in G flat major, Op. 90, No. 2, and you will be
delighted in the extreme, and will get a deep view into
the mind of this great and gentle-hearted man. There
is here a theme, or song, of a plain outline allotted to
the soprano voice that is, to the upper half of the right
hand. This is associated in the same hand with a steady
stream of triplet notes that step upon the intervals of
the chord and keep the harmony alive and quivering.
The left hand is chiefly concerned with laying the broad
harmonic foundations of the structure. Two things are
to be understood, of course, in delivering this wondrous
work ; first, the melody must always be two or three
times louder than the accompaniment, and must rock
upon its undulating surface at once detached and sub-
servient ; second, the pedal must keep it all in a mur-
mur of liquid sound, sonorous yet mild, continuous yet
clear, fluent yet flawless. The time is very peculiar, the
measures being composed each of twice the length of a
whole note and the connecting counterpoint being of
triplet eighths. This must not mislead, for the rate is
rapid, and the triplets sound like very agile triplet six-
teenths. Its mood is a glowing, brooding mixture of
sweet and sad longings.
IMPROMPTU IN F MINOR. OP. 142, NO. 4.
(4th Grade.)
Out of the eight impromptus this may be taken, since
it shows us another important feature of Schubert's
work, viz., the use of Hungarian or Gipsy style. The
bold trixy rhythm, the harsh chords, the wild, fitful
moods of capricious feeling, which are the traits of the
Gipsy music, are all here. Schubert was the first great
master to exploit the folk-music of the strange barbaric
oriental race known to us as Gipsies, and after him
Liszt and Brahms carried it on to a much wider and
more brilliant genre of tone-art. These examples of
the genius of Schubert will serve by way of specimens,
but the study of a lifetime will not make the treasure-
house of this wondrous Schubert trite or even familiar.
No wonder that Schumann, when a young enthusiast,
used to walk through the streets of Leipsic swinging his
arms and singing snatches of the divine melodies of
Schubert at the top of his voice. A wonder among won-
ders, a treasure among treasures, a demigod among
demigods, was our ever-dear Franz Schubert.
BEETHOVEN AND SCHUBERT COMPARED.
Since Beethoven and Schubert wrote at the same
time, both living in Vienna, there is not much superficial
difference in their style, but as soon as we listen for
the inner voice, which every modern piece of music con-
tains, this becomes very .different. Beethoven, a man of
great earnestness, with a brusque, almost abrupt, man-
ner and great positiveness, like qualities are found in
his music, especially in all his more important works.
At the same time, as often happens with men of this
temperament, great tenderness also lies deep within his
bosom, and very sweet and sympathetic melodies are
to be found in most of his works.
Schubert was not so abrupt, nor was he personally so
aggressive. Beethoven was director of an opera orches-
tra before he was fifteen years of age. Think what an
authority the boy must have had. At the age of twenty-
two we find him settled in a strange city, holding his
own against all comers, making business contracts with
publishers in distant lands. He was in the habit of
meeting princes and personages of the highest aris-
tocracy upon equal terms ; he had therefore the confi-
dence in himself of a man sure of his position. This
element also comes into his music ; and with it the dis-
tinct and commanding personality which made him a
valued acquaintance to these well-bred and easy men of
the polite world. Schubert had little or none of this
sort of experience. But instead of it he worked mainly
alone, and with very little encouragement or appreciation
from persons of social or artistic rank. Modestly, unas-
sumingly, he composed. And so it happens that in the
music of Schubert we find a contented disposition, easily
satisfied with a simple idea, and it is only when he is
deeply stirred that his music takes a more confident
flight and strikes out with the boldness habitual to
Beethoven. The main difference lies in the disposition
of Beethoven to say something weighty, and to say it
as soon as possible. Schubert, on the contrary, rarely
undertook to say weighty things, but mainly pleasant or
quiet things ; and, there being no one to be pleased or
displeased, he wrote them out as long as he liked.
Hence often great length, especially in instrumental
pieces meant to be quiet or pleasing; and only in his
songs, and in a few short pieces, does he come to the
point in the most direct way possible.
We shall learn the peculiarities of these men better
by taking up examples of their work in immediate com-
parison. And for our present purpose it will be instruc-
tive to classify the pieces according to the mood and
style. Comparing corresponding moods with those of
Beethoven in the fifth program.
IMPROMPTU. "THE FAIR ROSAMONDE." OP. 142,
NO. 3.
(4th Grade.)
This impromptu, in the form of an air and five varia-
tions, is cited as one of the very best illustrations of
Schubert's style and his pleasure in moods lying very
near the contented type with which we are dealing. Ob-
viously it would be unwise to carry the very same mood
through an entire work; on the contrary, the mood
changes a little in every few measures. But the fluc-
tuations are small, and the principal type everyw^re
prevails, like a keynote, to which we come back c/ter
every digression.
The melody itself was a favorite with Schubert. He
wrote it first in his opera of "Rosamonde," or a mel-
ody very much like it. The form here given is an im-
provement, but it is almost the same. The first strain
remains throughout in the contented mood. The begin-
ning of the second strain, where the key changes, is a
slight digression, but four measures later the original
form returns. The variations, each one treat the melody
with slight modifications. The first variation is shad-
owy, fairylike, very delicate and ethereal ; the second
shows a bit of tenderness in the first phrase, which, in
the second period, where the bass has the sixteenth note
motion, becomes more excited. Later the first phrase
returns. The third variation introduces a triplet mo-
tion in the left hand, a sort of obligato figure, against
which the right hand has some strong dissonances in
octaves (see the third beat in every measure). This
variation is in a mood fundamentally unlike that of the
melody itself or the variation preceding. It has a sug-
gestion of greater and deeper meaning. The fourth
variation is different again. The mood is more restless
and excited; the strong accents in the left hand part
and the modulations imply trouble. With the fifth va-
riation sunlight has returned, and the quiet and tender
mood of the air here gives place to a sort of transfigura-
tion of it, as when sunlight follows lowering weather or
storm. At the close of the variation the original melody
comes back in a lower range of pitch, producing a se-
rious effect and restoring the mood with which we
began.
WALTZ IN A FLAT. OP. ga, NO. 2
(3d Grade.)
The first of these little waltzes is most delightfully
melodious and charming, and in its mood it quite be-
longs to the serene class. Observe the symmetry; see
how many times the same phrase or motive is repeated.
Notice how it is relieved by the two repetitions in for-
eign keys in the beginning of the second period (meas-
ures 9 and 10, in F minor; and n and 12, in E flat).
We might compare this waltz to a little poem in two
stanzas, about some pleasing subject, such as a pleasant
holiday, an agreeable experience, etc.
In the second of these two waltzes, No. 2, the com-
poser's intention is indicated by the name "Grief" or
"Home-Sickness" waltz. In place of the contented and
happy stepping three times upon one chord in each
measure, as in the first waltz, we have here three differ-
ent chords in each alternate measure ; and in the other
measures, 2, 4, etc., there is always a dissonance in the
melody upon the accent. (Let the teacher show this
peculiarity until the class can determine by ear which
measures have three chords and which have a disso-
nance upon the accent.) In the second period the ex-
pression is still more appealing through the modula-
tions, first into the key of A flat minor (measures 9 and
10), and then into E major (measures n and 12), and
then by a beautiful enharmonic change of E to F flat
(measure 13), back again to the original key.
The lower emotional tone of this waltz turns first
upon the slower movement (compare the rate of speed
by playing four measures of No. I and then four meas-
ures of No. 2), and then upon the fuller detail, since
there are always eighth notes, six in a measure, and
often three different chords in a measure. It is by
means like this that expression enters into music.
THE TENDER AND APPEALING.
"BELIEF IN SPRING."
(For Soprano.)
Of similar but somewhat less deep mood is Schubert's
beautiful song, "Belief in Spring," or belief that spring
is now returning. The story for this piece was already
furnished by the German poet. The words are:
"Again the balmy breezes play.
They gently murmur, night and day,
And .Heaven's rich fragrance borrow.
New sounds arise, and odors sweet,
Oh, seek, poor heart, the change to greet,
. And cast away thy sorrow.
"The earth seems brighter, every morn,
While blossoms gay her robe adorn,
And fairest flowers are blooming 1 .
They bloom around in every vale,
And thou, poor- heart, the change must hail,
Each day fresh hope resuming."
In case this piece is not available as a song, for want
of a singer (though it is not difficult), it can well be
played from the Liszt arrangement (6th grade).
THE DEEP AND SERIOUS TYPE.
IMPROMFfU IN C MINOR. OP. 90, NO. i.
(5th Grade.)
A very interesting illustration of Schubert's melody
and his tendency to spin out a nice piece to an uninvit-
ing length is found in his Impromptu, No. I, of the opus
90. This melody has been named "Elegy," but there is
no authority for so doing. After a single prolongation
of the dominant, by way of keynote, the melody begins
and for four measures is entirely unaccompanied ; it is
like a solo voice singing alone. At the middle of the
period all the parts join in. In the second period the
same thing happens, the soprano voice has the melody
with no accompaniment, to be finished by all the voices.
It will be noticed that the first period of eight measures
is in the key of C minor ; the second has precisely the
same melody in E flat major; it ends, however, in C
minor, measure 17. The melody now begins again,
and note the interesting changes of harmony in meas-
ures 18 to 21. So also in measures 26 to 28 the melody
is harmonized in E flat. The main subject ends in meas-
ure 33, but there is a coda, modulating into A flat, meas-
ures 34 to 41. Here comes in a second subject in A
flat, and in a curious rhythmic caprice, each phrase hav-
ing five measures instead of the usual four. The
changes of harmony are charming (47 to 55, etc.). In
measure 60 the melody of the second subject is assigned
to the base. In measure 74 some interesting modula-
tion begins, and a very impressive and semi-dramatic
modulation occurs with a double-octave effect (measures
82 to 87), and the right hand has triplet octaves like
those of the Erl King. Here the original melody comes
in the bass (measure 91). New treatments occur (meas-
ures 124 to 138, etc.), and in measure 152 the piece
changes into the major tonality and so goes through
and ends. The impression which this piece makes will
depend very much upon its being played seriously, slow
enough not to sound trivial, yet not so slow as to drag.
The "molto moderate" of the composer should be taken,
probably, at about 126 metronome for quarter notes.
Great care should also be taken to observe the 'con-
trast of forte and piano.
"HEDGE ROSES."
Of lighter, more arch vein is the Schubert song enti-
tled "Hedge Roses." It follows the words:
"On his way a boy espied
Pretty blushing roses,
Fresh and sweet, the hedge-rows' pride,
To admire he turns aside,
And to pluck proposes,
Roses, roses, roses red,
Pretty blushing roses."
MENUETTO IN B MINOR. OP. 78.
(4th Grade.)
An admirable example of a certain exultant vigor is
the minuetto in B minor, from the Schubert Fantasia,
opus 78. The trio is of a softer and more sentimental
character. This mood (the exultant) occurs more fre-
quently in the works of later writers than in those of the
classical period. The classical rondo rarely arose to this
spirit. Schumann is the writer who most completely
illustrates it.
EMIL LIEBLING
MR. EMIL LIEBLING.
Born at Pless, Silesia, April 12, 1851.
At first glance there might seem an impropriety in
counting among American composers this scion of the
well-known Liebling family of pianists and musicians of
Berlin, Germany, whither his parents removed while
Emil was but a small boy. But Mr. Emil Liebling is
essentially American and Germany has had but little to
do with his development. The list includes Mr. Max
Liebling, the well-known piano teacher of New York ;
Georg 1 Liebling and Saul Liebling, concert pianists.
Emil Liebling came to America upon his own resources
to hustle for his future, landing in New York at the age
of sixteen. Almost immediately he was offered the posi-
tion of piano teacher in a Kentucky college in the fol-
lowing September (this was in June), provided he would
qualify himself to speak English by that time. With
characteristic ardor he set himself to the task and ac-
complished it. After two years in Kentucky he came
to Chicago, where he has ever since resided, except for
two years in Germany from 1874 to 1876, during which
time he studied and taught in Vienna and in the Kullak
school in Berlin, where he was highly esteemed. After
his return to America Mr. Liebling immediately took a
commanding position as teacher of piano and recital
pianist, which he has ever since retained.
Although Mr. Liebling has not chosen to figure in any
very extensive way as composer,, his name stands in
connection with quite a large number of pieces for piano,
a few songs, etc., all light, pleasing and effective. He
has carefully eschewed sonatas, concertos and fuges and
other unpopular profundities.
Many of his pieces have had fine success. By way of
variety he competed for a prize offered by the New
York World for a set of waltzes, and gained the prize.
But he has never composed for orchestra or chamber,
and has written but a few songs. Had he chosen to fol-
low this branch of musical production, he has talents
which would easily have secured him a high place as
composer of light opera his mentality having exactly
that "touch and go" quality, the sparkle and wit needed
in this very profitable department of effort.
ROMANCE DRAMATIQUE. OP. 21.
C7th Grade.)
This romance is one of the most serious of Mr
Liebling's efforts. It consists of a rather impassioned
melody, quite broken as to its smaller rhythm, but per-
fectly clear if the effect of double measure is well kept,
and this melody is supported upon an arpeggio accom-
paniment which covers generally about three octaves,
in motion of sixteenths, the measure being 6-8. The
modulations are striking and effective. The melody
begins in the key of G, but in the thirteenth measure
(not counting two measures of introduction, in which
the accompaniment is getting itself shaken .out and
settled down to business) it is already in B major. From
this it goes into E flat minor, and so around through
other countries back again to G major. When well
played this piece ought to make a really clever and poetic
effect. That it has not been very popular, as the author
suggests, is probably due to its considerable difficulty.
MADELEINE. VALSE DE SALON. OP. 27.
(5th Grade'.)
One of the most pleasing of Mr. Liebling's composi-
tions is the Madeline waltz, a brilliant and very dance-
able waltz in the key of F. Effective and pleasing.
SPRING SONG. OP. 35.
(4th Grade.)
Liebling's "Spring Song" has been perhaps more
played than any other of his pieces. It is a sort of
scherzo, or playful movement, filled with the expec-
tancy, the delicate suggestiveness and the freshing life
of spring.
Should other examples be desired the following are
recommended: ''Florence Waltz," "Canzonetta" u.A
"Gavotte Moderne," the latter of 7th or 8th gr-jJk- of
difficulty.
Born at Pless, Silesia, April 12, 1851.
At first glance there might seem an impropriety in
counting among American composers this scion of the
well-known Liebling family of pianists and musicians of
Berlin, Germany, whither his parents removed while
Emil was but a small boy. But Mr. Emil Liebling is
essentially American and Germany has had but little to
do with his development. The list includes Mr. Max
Liebling, the well-known piano teacher of New York ;
Georg 1 Liebling and Saul Liebling, concert pianists.
Emil Liebling came to America upon his own resources
to hustle for his future, landing in New York at the age
of sixteen. Almost immediately he was offered the posi-
tion of piano teacher in a Kentucky college in the fol-
lowing September (this was in June), provided he would
qualify himself to speak English by that time. With
characteristic ardor he set himself to the task and ac-
complished it. After two years in Kentucky he came
to Chicago, where he has ever since resided, except for
two years in Germany from 1874 to 1876, during which
time he studied and taught in Vienna and in the Kullak
school in Berlin, where he was highly esteemed. After
his return to America Mr. Liebling immediately took a
commanding position as teacher of piano and recital
pianist, which he has ever since retained.
Although Mr. Liebling has not chosen to figure in any
very extensive way as composer,, his name stands in
connection with quite a large number of pieces for piano,
a few songs, etc., all light, pleasing and effective. He
has carefully eschewed sonatas, concertos and fuges and
other unpopular profundities.
Many of his pieces have had fine success. By way of
variety he competed for a prize offered by the New
York World for a set of waltzes, and gained the prize.
But he has never composed for orchestra or chamber,
and has written but a few songs. Had he chosen to fol-
low this branch of musical production, he has talents
which would easily have secured him a high place as
composer of light opera his mentality having exactly
that "touch and go" quality, the sparkle and wit needed
in this very profitable department of effort.
ROMANCE DRAMATIQUE. OP. 21.
C7th Grade.)
This romance is one of the most serious of Mr
Liebling's efforts. It consists of a rather impassioned
melody, quite broken as to its smaller rhythm, but per-
fectly clear if the effect of double measure is well kept,
and this melody is supported upon an arpeggio accom-
paniment which covers generally about three octaves,
in motion of sixteenths, the measure being 6-8. The
modulations are striking and effective. The melody
begins in the key of G, but in the thirteenth measure
(not counting two measures of introduction, in which
the accompaniment is getting itself shaken .out and
settled down to business) it is already in B major. From
this it goes into E flat minor, and so around through
other countries back again to G major. When well
played this piece ought to make a really clever and poetic
effect. That it has not been very popular, as the author
suggests, is probably due to its considerable difficulty.
MADELEINE. VALSE DE SALON. OP. 27.
(5th Grade'.)
One of the most pleasing of Mr. Liebling's composi-
tions is the Madeline waltz, a brilliant and very dance-
able waltz in the key of F. Effective and pleasing.
SPRING SONG. OP. 35.
(4th Grade.)
Liebling's "Spring Song" has been perhaps more
played than any other of his pieces. It is a sort of
scherzo, or playful movement, filled with the expec-
tancy, the delicate suggestiveness and the freshing life
of spring.
Should other examples be desired the following are
recommended: ''Florence Waltz," "Canzonetta" u.A
"Gavotte Moderne," the latter of 7th or 8th gr-jJk- of
difficulty.
JESSIE L. GAYNOR
MRS. JESSIE L. GAYNOR.
Among the writers of songs for children few have
been so fortunate as Mrs. Gaynor ; and perhaps no com-
poser ever made a more sudden bound from being en-
tirely unknown to the rank of a composer from whom
charming things had come and from whom still better
were to be expected. Mrs. Gaynor was largely self-
educated, her later studies being made with Dr. Louis
Maas of Boston. In composition she was a pupil of Mr.
A. J. Goodrich and Mr. Frederick Grant Gleason, and
Mr. Weidig. Her methods of work are original with
herself. Her songs are characterized by bright and
pleasing rhythms, discreet application of dramatic color
through harmony and eminent suitability to the voice.
Mrs. Gaynor's talent has been well characterized by
Mr. Karleton Hackett:
Mrs. Gaynor has made a special place for herself by
her songs of child-life. This intuition for the thoughts
and feelings of the child is a sealed book to most com-
posers and to be opened only through some esoteric
sympathy. Mrs. Gaynor has found the "open sesame,"
as the popularity of her songs among the little folks
abundantly proves. She has not confined herself to the
writing of this kind and some of her other songs, "And
I," "The Wind Went Wooing the Rose," are charm-
ing. But they yield the palm to her "Discontented
Duckling," "Sugar Dolly" and "Songs from Child Life."
SONGS TO LITTLE FOLKS.
This collection of seven songs was written to be sung
to children. It contains ideas congenial to child life, but
in forms of utterance as yet beyond the powers of the
ages to which the ideas are primarily addressed. Ac-
cordingly Mrs. Gaynor has written the accompaniments
with great freedom and they have altogether an un-
usual musical value, for the grade of difficulty to which
they belong. Probably the most popular of these songs
are the following: "The Flower's Cradle Song,"
charming slumber song: "The Discontented Duckling,"
which is very humorous, both in words and accompani-
ment, and the "Fireflies," in which the accompaniment
is extremely clever and the effect of the whole delightful.
THE SLUMBER BOAT.
This beautiful melody is upon a poem by that delight-
ful writer for children, Airs. Alice C. D. Riley. "Baby's
boat's the silver moon" and the rocking accompani-
ment, combined with the melody, gives a most pleasing
effect. This song belongs to the "Playtime Songs."
L' EN FA NT.
In the collection of "Five Songs," by Mrs. Gaynor
there is one upon a poem by Victor Hugo, a slumber
song, which Mrs. Gaynor has treated in the French
manner, the melody lying more often for accompani-
ment than for voice, the latter meanwhile running along
upon a monotone, or nearly so. The result is a very
dreamy, extremely musical and poetic setting of a re-
markable poem. For the benefit of those who under-
stand English better, there is also a translation. This
song is full of clever bits of detail, particularly in choos-
ing an unexpected chorus for some particularly telling
word. For instance in the phrase, "Slumber within my
arms and dream of Paradise," the modulation and treatment of the word "Paradise." The song as a whole is one of the best.
If an effective tenor song should be desired, "Come
Down to the River To-night" answers all requirements.
This is one of her earlier songs, and it has had a grati-
fying popularity.
Among the writers of songs for children few have
been so fortunate as Mrs. Gaynor ; and perhaps no com-
poser ever made a more sudden bound from being en-
tirely unknown to the rank of a composer from whom
charming things had come and from whom still better
were to be expected. Mrs. Gaynor was largely self-
educated, her later studies being made with Dr. Louis
Maas of Boston. In composition she was a pupil of Mr.
A. J. Goodrich and Mr. Frederick Grant Gleason, and
Mr. Weidig. Her methods of work are original with
herself. Her songs are characterized by bright and
pleasing rhythms, discreet application of dramatic color
through harmony and eminent suitability to the voice.
Mrs. Gaynor's talent has been well characterized by
Mr. Karleton Hackett:
Mrs. Gaynor has made a special place for herself by
her songs of child-life. This intuition for the thoughts
and feelings of the child is a sealed book to most com-
posers and to be opened only through some esoteric
sympathy. Mrs. Gaynor has found the "open sesame,"
as the popularity of her songs among the little folks
abundantly proves. She has not confined herself to the
writing of this kind and some of her other songs, "And
I," "The Wind Went Wooing the Rose," are charm-
ing. But they yield the palm to her "Discontented
Duckling," "Sugar Dolly" and "Songs from Child Life."
SONGS TO LITTLE FOLKS.
This collection of seven songs was written to be sung
to children. It contains ideas congenial to child life, but
in forms of utterance as yet beyond the powers of the
ages to which the ideas are primarily addressed. Ac-
cordingly Mrs. Gaynor has written the accompaniments
with great freedom and they have altogether an un-
usual musical value, for the grade of difficulty to which
they belong. Probably the most popular of these songs
are the following: "The Flower's Cradle Song,"
charming slumber song: "The Discontented Duckling,"
which is very humorous, both in words and accompani-
ment, and the "Fireflies," in which the accompaniment
is extremely clever and the effect of the whole delightful.
THE SLUMBER BOAT.
This beautiful melody is upon a poem by that delight-
ful writer for children, Airs. Alice C. D. Riley. "Baby's
boat's the silver moon" and the rocking accompani-
ment, combined with the melody, gives a most pleasing
effect. This song belongs to the "Playtime Songs."
L' EN FA NT.
In the collection of "Five Songs," by Mrs. Gaynor
there is one upon a poem by Victor Hugo, a slumber
song, which Mrs. Gaynor has treated in the French
manner, the melody lying more often for accompani-
ment than for voice, the latter meanwhile running along
upon a monotone, or nearly so. The result is a very
dreamy, extremely musical and poetic setting of a re-
markable poem. For the benefit of those who under-
stand English better, there is also a translation. This
song is full of clever bits of detail, particularly in choos-
ing an unexpected chorus for some particularly telling
word. For instance in the phrase, "Slumber within my
arms and dream of Paradise," the modulation and treatment of the word "Paradise." The song as a whole is one of the best.
If an effective tenor song should be desired, "Come
Down to the River To-night" answers all requirements.
This is one of her earlier songs, and it has had a grati-
fying popularity.
FREDERICK GRANT GLEASON
MR. FREDERICK GRANT GLEASON.
(1848-1904.)
The name of Frederick Grant Gleason stands high
among those of Americans who have devoted themselves
to the composition of serious music in large forms with-
out regard to the question whether it was or was not
likely to prove available by the public or even to get it-
self fairly heard. The force of this introduction will
appear more plainly from the story of his career. Mr.
Gleason was born in Middletown, Conn., December 17,
1848. After studying some time with Dudley Buck at
Hartford, he was sent to Leipsic, where he remained only
one year; from there he went to Berlin, where he en-
tered at the Hofschule and became pupil of Loesch-
horn, Weitzmann and Haupt. He made about equally
serious studies in the three departments of piano, organ
and composition. Returning to Connecticut he became
organist at a Congregational church in Hartford. In
1877 he came to Chicago, where he joined Mr. Clarence
Eddy in the Hershey school of music. For awhile the
school published a small musical periodical, The Musi-
cal Bulletin, of which Mr. Gleason was editor. Aside
from this he was musical critic for some years upon dif-
ferent Chicago newspapers, his work in this line closing
in 1886 with his withdrawal from the Tribune, which he
had served three years.
His compositions have been in many forms, songs,
church motettes, a few organ pieces, including an or-
gan sonata, one or two piano pieces, a pianoforte con-
certo, etc. His main work, however, has been devoted
to grand operas, of which he has written the text and
music himself. The first of these was "Otho Visconti,"
founded upon a medieval Italian story; the second,
"Montezuma," a grand romantic opera in three acts.
Of this a few excerpts have been published. He has also
written two symphonic poems called "Edris" and "The
Song of Life." The former has been played several
times by the Chicago orchestra and the second is prom-
ised for the season of 1900-1901.
Mr. Gleason's compositions are elegant in style, mod-
ern in harmony, and well scored for orchestra. He has
always been a devoted advocate of the Wagnerian theor-
ies of composition and of the music-drama, and as he
has devoted his life to producing works in this line it
would be interesting to be able to hear them and find
out how nearly he has realized his ideals. In response to
questions concerning his compositions he has given
the following important and clear explanation. He
writes :
Chicago, June 7, 1900.
My ideals in composing have varied considerably with
the different works undertaken. For example, in writ-
ing "Otho Visconti" in 1876-7, it was my aim to com-
bine the melodic element of Italian opera with the rich-
ness of harmonization characteristic of the modern Ger-
man school and the "leit-motive" idea of Richard Wag-
ner combining the lyric and dramatic elements in due
proportion.
In "Montezuma" I sought to employ the "leit-motive"
plan of construction still more freely and extensively.
In planning the story and writing the libretto, certain
points were provided in advance for the introduction of
the essentially melodic element, where I considered that such treatment would be particularly desirable from
both musical and dramatic standpoints.
The melodic element in this opera is treated more
broadly than in "Otho" and is further removed from the
merely rhythmic tunefulness of the Italian opera. The
predominating idea of the text, which I regard as equally
ideal with the music, is that of womanly love and sacri-
fice, as exemplified in the character of the high priestess
Yeteva. To the music I endeavored to give a distinct
individuality of its own and to subordinate it to the ex-
pression of the text. The "leading-motive" plan of con-
struction is here carried out to the fullest extent.
In my cantata, the "Culprit Fay," the leading-mo-
tive plan is also employed. In this work ideal musical
beauty, fairy-like coloring and characteristic expression
of the poem were the objects sought.
In my symphonic poems, "Edris" and "The Song of
Life," I have endeavored to present the poetic emo-
tional contents of my subjects not to portray so much
as to suggest, and to heighten the impressions which
would naturally arise from the contemplation of the sub-
jects themselves.
In the "Song of Life," which is to have its initial pro-
duction under direction of Mr. Theodore Thomas next
season, the tragic side of human existence is chiefly
presented, though modified by religion, love, sorrow
over the departed, etc. The motto is from Swinburne:
"They have the night, who had like us the day,
We whom the day binds, shall have the night as they,
We from the fetters of the light unbound,
Healed of our wound of living, shall sleep sound."
The works named are among those in which I have
most fully succeeded in realizing my ideals."
190 THE GREAT IN MUSIC: FIRST YEAR.
ALLEGRO. OP. 8, NO. 4.
(4th Grade.)
The fourth of four little piano pieces is here taken as
an example of Mr. Gleason's writing for the piano. The
first part is in minor tonality, in a sprightly rhythm, with
many modulations in passing. The middle piece be-
gins m. 22 and is partly in A flat and partly in C minor.
When this is completed the first subject returns.
GAVOTTE FROM "OTHO VISCONTI."
(Transcribed for Piano by William H. Sherwood. 6th Grade.)
The gavotte from "Otho Visconti" is considered one
of the more fortunate instrumental numbers, and it is
here transcribed for piano by the distinguished pianist,
Mr. William H. Sherwood. It is in the usual gavotte
form in the key of F major, the middle part being in the
key of C. To be played lightly flowingly and in clear
rhythm.
''O SANCTISSIMA." PRAYER FROM "OTHO VIS
CONTI."
(For Soprano.)
A fluent and well sustained melody, much in the Ital-
ian style, effective for soprano use.
(1848-1904.)
The name of Frederick Grant Gleason stands high
among those of Americans who have devoted themselves
to the composition of serious music in large forms with-
out regard to the question whether it was or was not
likely to prove available by the public or even to get it-
self fairly heard. The force of this introduction will
appear more plainly from the story of his career. Mr.
Gleason was born in Middletown, Conn., December 17,
1848. After studying some time with Dudley Buck at
Hartford, he was sent to Leipsic, where he remained only
one year; from there he went to Berlin, where he en-
tered at the Hofschule and became pupil of Loesch-
horn, Weitzmann and Haupt. He made about equally
serious studies in the three departments of piano, organ
and composition. Returning to Connecticut he became
organist at a Congregational church in Hartford. In
1877 he came to Chicago, where he joined Mr. Clarence
Eddy in the Hershey school of music. For awhile the
school published a small musical periodical, The Musi-
cal Bulletin, of which Mr. Gleason was editor. Aside
from this he was musical critic for some years upon dif-
ferent Chicago newspapers, his work in this line closing
in 1886 with his withdrawal from the Tribune, which he
had served three years.
His compositions have been in many forms, songs,
church motettes, a few organ pieces, including an or-
gan sonata, one or two piano pieces, a pianoforte con-
certo, etc. His main work, however, has been devoted
to grand operas, of which he has written the text and
music himself. The first of these was "Otho Visconti,"
founded upon a medieval Italian story; the second,
"Montezuma," a grand romantic opera in three acts.
Of this a few excerpts have been published. He has also
written two symphonic poems called "Edris" and "The
Song of Life." The former has been played several
times by the Chicago orchestra and the second is prom-
ised for the season of 1900-1901.
Mr. Gleason's compositions are elegant in style, mod-
ern in harmony, and well scored for orchestra. He has
always been a devoted advocate of the Wagnerian theor-
ies of composition and of the music-drama, and as he
has devoted his life to producing works in this line it
would be interesting to be able to hear them and find
out how nearly he has realized his ideals. In response to
questions concerning his compositions he has given
the following important and clear explanation. He
writes :
Chicago, June 7, 1900.
My ideals in composing have varied considerably with
the different works undertaken. For example, in writ-
ing "Otho Visconti" in 1876-7, it was my aim to com-
bine the melodic element of Italian opera with the rich-
ness of harmonization characteristic of the modern Ger-
man school and the "leit-motive" idea of Richard Wag-
ner combining the lyric and dramatic elements in due
proportion.
In "Montezuma" I sought to employ the "leit-motive"
plan of construction still more freely and extensively.
In planning the story and writing the libretto, certain
points were provided in advance for the introduction of
the essentially melodic element, where I considered that such treatment would be particularly desirable from
both musical and dramatic standpoints.
The melodic element in this opera is treated more
broadly than in "Otho" and is further removed from the
merely rhythmic tunefulness of the Italian opera. The
predominating idea of the text, which I regard as equally
ideal with the music, is that of womanly love and sacri-
fice, as exemplified in the character of the high priestess
Yeteva. To the music I endeavored to give a distinct
individuality of its own and to subordinate it to the ex-
pression of the text. The "leading-motive" plan of con-
struction is here carried out to the fullest extent.
In my cantata, the "Culprit Fay," the leading-mo-
tive plan is also employed. In this work ideal musical
beauty, fairy-like coloring and characteristic expression
of the poem were the objects sought.
In my symphonic poems, "Edris" and "The Song of
Life," I have endeavored to present the poetic emo-
tional contents of my subjects not to portray so much
as to suggest, and to heighten the impressions which
would naturally arise from the contemplation of the sub-
jects themselves.
In the "Song of Life," which is to have its initial pro-
duction under direction of Mr. Theodore Thomas next
season, the tragic side of human existence is chiefly
presented, though modified by religion, love, sorrow
over the departed, etc. The motto is from Swinburne:
"They have the night, who had like us the day,
We whom the day binds, shall have the night as they,
We from the fetters of the light unbound,
Healed of our wound of living, shall sleep sound."
The works named are among those in which I have
most fully succeeded in realizing my ideals."
190 THE GREAT IN MUSIC: FIRST YEAR.
ALLEGRO. OP. 8, NO. 4.
(4th Grade.)
The fourth of four little piano pieces is here taken as
an example of Mr. Gleason's writing for the piano. The
first part is in minor tonality, in a sprightly rhythm, with
many modulations in passing. The middle piece be-
gins m. 22 and is partly in A flat and partly in C minor.
When this is completed the first subject returns.
GAVOTTE FROM "OTHO VISCONTI."
(Transcribed for Piano by William H. Sherwood. 6th Grade.)
The gavotte from "Otho Visconti" is considered one
of the more fortunate instrumental numbers, and it is
here transcribed for piano by the distinguished pianist,
Mr. William H. Sherwood. It is in the usual gavotte
form in the key of F major, the middle part being in the
key of C. To be played lightly flowingly and in clear
rhythm.
''O SANCTISSIMA." PRAYER FROM "OTHO VIS
CONTI."
(For Soprano.)
A fluent and well sustained melody, much in the Ital-
ian style, effective for soprano use.
Friday, September 28, 2007
Arthur Foote
MR. ARTHUR FOOTE.
Born Salem, Mass., March 5, 1853.
Mr. Arthur Foote, who in the estimation of many has
written some of the best music as yet produced in this
country and a large number of extremely fortunate
songs, is an American musician in birth, education and
ideas. His teachers were the late Stephen A. Emery,
Mr. B. J. Lang, and in composition Professor John
Knowles Paine. In 1875 he received the degree of A.
M. from Harvard, his principal subjects being musical.
The following is an outline list of his works : For or-
chestra: "In the Mountains," overture; "Francesca da
Rimini," symphonic prologue ; suite for strings in E
minor; concerto for cello; suite for orchestra, (2) for
chorus and orchestra; "Farewell of Hiawatha," (male
chorus) ; "The Wreck of the Hesperus" (mixed chorus) ;
"The Skeleton in Armor." Chamber music : Piano-
forte, quintet in A minor ; pianoforte, quartet in C ;
pianoforte, trio in C minor ; sonata for piano and violin
in G minor ; two string quartets (G minor and E minor) ;
detached pieces for violin and cello with piano. About
piano pieces, the principal ones being two suites (D mi-
nor and C minor). About -forty songs ; various compo-
sitions such as vocal duets, quartets for male voices
and for female voices, church music, etc.
orchestral music, which has been played, not alone by
the Kneisel quartet and the Symphony orchestra of his
native city, but also by the Gewandhaus in Leipsic, the
Chicago symphony orchestra, and in many festivals. In
fact, Mr. Foote has been more fortunate than almost
any other American composer in securing hearings for
his works under favorable conditions. In his way his
undoubted talent has gained for him a solid reputation
which is likely to increase as time goes on. In the early
part of his career his work seemed somewhat under
the influence of Mendelssohn, but later on he outgrew
this tendency and opened up more and more in the di-
rection of modern ideals and methods. In response to
an inquiry as to his ideals of composition he gave the
following :
"In writing I should put it as follows: When there
are words I try to make some adequate musical expres-
sion of them, especially aiming at faithfulness in accent
and rhythm ; more from a lyrical than dramatic point
of view. When there is no suggestion of that sort, as
in a piano piece, or string quartet, etc., my aim is pretty
sure to be in the direction of what is called "absolute
music" and not in what you call the poetical or story-
telling view.
As a song-writer, Mr. Foote is entitled to high distinc-
tion. Of his work in this department Mr. Karleton
Hackett says :
"Arthur Foote has written some of the most delight-
ful songs that have appeared in the last few years, songs
which find a place on the programs of our greatest sing-
ers, which are most effective in public and equally beau-
tiful when studied in the closet. Here perfect mastery
of form and richness of harmonic setting are united to
180 THE GREAT IN MUSIC: FIRST YEAR.
pure flowing melody, and the result is an exquisite lyric
gem. These songs indeed are only to be sung by the
artist, for while they are grateful to the singer they de-
mand a poise and a command of vocal resources such as
can be found only in experienced singers. When one
of breadth of artistic conception sings them, so per-
fectly are they balanced that they seem simplicity it-
self. There is not one forced progression nor any waste
material ; each note is vital and necessary to the whole.
Such songs will well repay study, and among the best
are The Irish Folk Song,' Tm Wearin' Awa,' 'The
Nightingale Has a Lyre of Gold.'
"If a man has the gift of melody he may write songs
that will live ; if he has not this, then no matter what
his technical command of the language of music, no
matter what ingenuinty he may display in harmonic in-
vention, nor how admirable the music may be from the
standpoint of workmanship, the songs will not sing.
The voice expresses itself through melody, and even
the most impassioned declamation must rest on a mel-
odic conception, or in the end it fails. Any man can
master the principles of harmony, but to have a spon-
taneous melodic thought is the privilege of the few.
Each melodic thought is the inspiration for a song, and,
if it receive adequate harmonic setting, a beautiful song.
But unless spontaneous melody was the inspiration the
moment the song is sung it stands revealed in its orig-
inal barrenness mere notes without a meaning. A song
can only be known by hearing it sung, for on paper it
may look well and contain musical thoughts, yet it may
not suit the instrument. No matter what musical ex-
cellence a song may contain it will not prove effective
nor will it live unless it fit the peculiar capacity of the
MR. ARTHUR FOOTE. 181
voice. On the other hand much mediocre music has
lived and held a rank altogether out of proportion to its
intrinsic merit, merely because it serves to display the
beauties of this most fascinating of instruments. But
no song is entitled to a place in literature except where
flowing melody is wedded to deep, rich, harmony ; then
there is indeed a song, and it is this that we admire in
the songs of Arthur Foote."
Personally Mr. Foote is a charming man, and he oc-
cupies a very distinguished position as piano teacher in
Boston. His published works number a hundred or
more and his talent as yet is not worked out. More
and better may be expected from his pen later on. He
is a composer of sincere ideals and artistic tendencies.
COMPOSITIONS BY ARTHUR FOOTE.
It is by no means easy to select from the hundred or
more songs by this author any particular five or six as
a fair representation of his admirable work. The un-
avoidable limitations ot this work, however, restrict us to
the following, which for convenience may be divided into
two classes. First, those which are essentially popular
in character, depending for their life upon melody, in
the usual acceptation of the term. Such as: "The Irish
Folk Song," "I'm Wearin' Awa' " and "Love Me if I
Live." These three have proven their popularity upon
all the leading concert stages of the country.
Then there are others which have less of this custo-
mary melody at first hearing, but which are of a higher
artistic character and employ musical arts with perhaps
more mastery; these, accordingly, in time make their
way and illustrate admirably those superior qualities of
182 THE GREAT IN MUSIC: FIRST YEAR.
the song-maker, which Mr. Hackett so well mentions.
Among songs of this class, "O My Love's Like the
Red, Red Rose," "On the Way to Kew," "Go, Lovely
Rose," and "When Spring Comes Laughing."
AN IRISH FOLK SONG.
(For Alto or Baritone.)
A beautiful minor melody, with a refrain which sim-
ply hums a melody without words. The poem is % by
Gilbert Parker:
"You'll wander far and wide, dear, but you'll come back again;
You'll come back to your father and your mother, in the glen,
Although we may be lyin' 'neath the heather grasses then,
You'll be coming back, my darling."
It is the song of an Irish mother to her son, who is
leaving her to seek his fortune in a country far away.
The musical tone catches the Irish feeling in an ex-
quisite manner.
"LOVE ME, IF I LIVE."
(For Soprano.)
A highly impassioned love song, intense with a breath
from some world where emotion is keyed in an intensity
far greater than that commonly attributed to Boston.
The poem is by Barry Cornwall :
"Love me, if I live,
Love me, if I die.
What to me is life or death,
So that thou art nigh?" etc.
"THE LAND O' THE LEAL."
(For Contralto or Baritone.)
A Scotch song, but not in the Scotch tonality of the
five tones :
"I'm wearing awa', Jean, like snaw when it's thaw, Jean,
I'm wearing awa' to the land o' the leal."
MR. ARTHUR FOOTE. 183
It is perhaps the highest praise possible for this song
to say that despite its more than clever art, it produces
the impression of a spontaneously conceived melody. A
very curious point is the change of rhythm in the last
stanza, where 9-8 measure still prevails, but the first
unit is divided into four parts in place of the usual three.
Foote has persisted in this and has so carried it out
that the effect is excellent. This is a song for a singer.
"ON THE WAY TO KEW."
(For Mezzo Soprano or Baritone.)
A very pleasant and musical setting of a poem by Mr.
W. E. Henley:
"On the way to Kew,
By the river old and gray,
Where in the long ago
We laughed and loitered so,
I met a g-host today,
A ghost that told of you,
A ghost of low replies,
And sweet inscrutable eyes,
Coming up from Richmond, as you used to do."
Charmingly treated from a musical standpoint and
pleasant to hear.
"O MY LUV'S LIKE A RED, RED ROSE."
(For Soprano or Tenor.)
A beautiful setting of the famous words by Burns :
"O my luv's like a red, red rose
That's newly sprung in June;
O my luv's like the melody
That's sweetly played in tune," etc
A very effective and pleasing song, full of the true
spirit of melody.
184 THE GREAT IN MUSIC: FIRST YEAR.
"GO, LOVELY ROSE."
(For Tenor or Soprano )
This song belongs to the more sentimental and lan-
guishing variety than those already quoted. It is suited
to a sweet-voiced tenor of amorous tendencies :
"Go, lovely rose.
Tell her that wastes her time and me,
That now she knows
When I resemble her to thee."
SCHERZINO. OP. 42, NO. i.
(5th Grade.)
A very bright and interesting Scherzino movement,
in which two rhythms are combined in a charming man-
ner, but in one which is very troublesome for the player.
When well played the effect is very bright and pleas-
ing. With the change of signature on page 5 a second
subject comes in, a melody of a more singing character.
POLKA FOR LEFT HAND ALONE. OP. 37, NO. 2.
(5th Grade.)
This is one of several pieces especially written to af-
ford the left hand the same kind of work usually re-
quired from the right. Owing to the manner in which
most music is written, particularly since Mendelssohn,
the left hand has very little to do except to play ac-
companiment to the right. The result is that the left
hand not only fails to acquire agility but, and this is
much more important, fails to produce so vigorous a
tone as the right, and is not able to play a melody with
the same expression. The present piece is interesting
although composed with this utilitarian object in view.
ROMANCE IN A MINOR. (FROM STUDIES, OP. 27, NO. 2.)
(4th Grade.)
A very lovely melody valuable for music and as a
study in expression.
ARTHUR FOOTE. 185
FIVE POEMS AFTER OMAR KHAYYAM. OP. 41.
(6th and 7th Grade.)
Other examples of Mr. Foote's instrumental work
are found in the set of five "poems" upon the well-
known "In a Persian Garden," of Omar Khayyam.
Each piece illustrates a quatrain of the original and all
are written with queer Persian and Oriental effects in
melody and harmony. Each piece is to be understood
in the light of the stanza which stands at the head.
Mr. Foote regards this collection as one of his very
best works.
Born Salem, Mass., March 5, 1853.
Mr. Arthur Foote, who in the estimation of many has
written some of the best music as yet produced in this
country and a large number of extremely fortunate
songs, is an American musician in birth, education and
ideas. His teachers were the late Stephen A. Emery,
Mr. B. J. Lang, and in composition Professor John
Knowles Paine. In 1875 he received the degree of A.
M. from Harvard, his principal subjects being musical.
The following is an outline list of his works : For or-
chestra: "In the Mountains," overture; "Francesca da
Rimini," symphonic prologue ; suite for strings in E
minor; concerto for cello; suite for orchestra, (2) for
chorus and orchestra; "Farewell of Hiawatha," (male
chorus) ; "The Wreck of the Hesperus" (mixed chorus) ;
"The Skeleton in Armor." Chamber music : Piano-
forte, quintet in A minor ; pianoforte, quartet in C ;
pianoforte, trio in C minor ; sonata for piano and violin
in G minor ; two string quartets (G minor and E minor) ;
detached pieces for violin and cello with piano. About
piano pieces, the principal ones being two suites (D mi-
nor and C minor). About -forty songs ; various compo-
sitions such as vocal duets, quartets for male voices
and for female voices, church music, etc.
orchestral music, which has been played, not alone by
the Kneisel quartet and the Symphony orchestra of his
native city, but also by the Gewandhaus in Leipsic, the
Chicago symphony orchestra, and in many festivals. In
fact, Mr. Foote has been more fortunate than almost
any other American composer in securing hearings for
his works under favorable conditions. In his way his
undoubted talent has gained for him a solid reputation
which is likely to increase as time goes on. In the early
part of his career his work seemed somewhat under
the influence of Mendelssohn, but later on he outgrew
this tendency and opened up more and more in the di-
rection of modern ideals and methods. In response to
an inquiry as to his ideals of composition he gave the
following :
"In writing I should put it as follows: When there
are words I try to make some adequate musical expres-
sion of them, especially aiming at faithfulness in accent
and rhythm ; more from a lyrical than dramatic point
of view. When there is no suggestion of that sort, as
in a piano piece, or string quartet, etc., my aim is pretty
sure to be in the direction of what is called "absolute
music" and not in what you call the poetical or story-
telling view.
As a song-writer, Mr. Foote is entitled to high distinc-
tion. Of his work in this department Mr. Karleton
Hackett says :
"Arthur Foote has written some of the most delight-
ful songs that have appeared in the last few years, songs
which find a place on the programs of our greatest sing-
ers, which are most effective in public and equally beau-
tiful when studied in the closet. Here perfect mastery
of form and richness of harmonic setting are united to
180 THE GREAT IN MUSIC: FIRST YEAR.
pure flowing melody, and the result is an exquisite lyric
gem. These songs indeed are only to be sung by the
artist, for while they are grateful to the singer they de-
mand a poise and a command of vocal resources such as
can be found only in experienced singers. When one
of breadth of artistic conception sings them, so per-
fectly are they balanced that they seem simplicity it-
self. There is not one forced progression nor any waste
material ; each note is vital and necessary to the whole.
Such songs will well repay study, and among the best
are The Irish Folk Song,' Tm Wearin' Awa,' 'The
Nightingale Has a Lyre of Gold.'
"If a man has the gift of melody he may write songs
that will live ; if he has not this, then no matter what
his technical command of the language of music, no
matter what ingenuinty he may display in harmonic in-
vention, nor how admirable the music may be from the
standpoint of workmanship, the songs will not sing.
The voice expresses itself through melody, and even
the most impassioned declamation must rest on a mel-
odic conception, or in the end it fails. Any man can
master the principles of harmony, but to have a spon-
taneous melodic thought is the privilege of the few.
Each melodic thought is the inspiration for a song, and,
if it receive adequate harmonic setting, a beautiful song.
But unless spontaneous melody was the inspiration the
moment the song is sung it stands revealed in its orig-
inal barrenness mere notes without a meaning. A song
can only be known by hearing it sung, for on paper it
may look well and contain musical thoughts, yet it may
not suit the instrument. No matter what musical ex-
cellence a song may contain it will not prove effective
nor will it live unless it fit the peculiar capacity of the
MR. ARTHUR FOOTE. 181
voice. On the other hand much mediocre music has
lived and held a rank altogether out of proportion to its
intrinsic merit, merely because it serves to display the
beauties of this most fascinating of instruments. But
no song is entitled to a place in literature except where
flowing melody is wedded to deep, rich, harmony ; then
there is indeed a song, and it is this that we admire in
the songs of Arthur Foote."
Personally Mr. Foote is a charming man, and he oc-
cupies a very distinguished position as piano teacher in
Boston. His published works number a hundred or
more and his talent as yet is not worked out. More
and better may be expected from his pen later on. He
is a composer of sincere ideals and artistic tendencies.
COMPOSITIONS BY ARTHUR FOOTE.
It is by no means easy to select from the hundred or
more songs by this author any particular five or six as
a fair representation of his admirable work. The un-
avoidable limitations ot this work, however, restrict us to
the following, which for convenience may be divided into
two classes. First, those which are essentially popular
in character, depending for their life upon melody, in
the usual acceptation of the term. Such as: "The Irish
Folk Song," "I'm Wearin' Awa' " and "Love Me if I
Live." These three have proven their popularity upon
all the leading concert stages of the country.
Then there are others which have less of this custo-
mary melody at first hearing, but which are of a higher
artistic character and employ musical arts with perhaps
more mastery; these, accordingly, in time make their
way and illustrate admirably those superior qualities of
182 THE GREAT IN MUSIC: FIRST YEAR.
the song-maker, which Mr. Hackett so well mentions.
Among songs of this class, "O My Love's Like the
Red, Red Rose," "On the Way to Kew," "Go, Lovely
Rose," and "When Spring Comes Laughing."
AN IRISH FOLK SONG.
(For Alto or Baritone.)
A beautiful minor melody, with a refrain which sim-
ply hums a melody without words. The poem is % by
Gilbert Parker:
"You'll wander far and wide, dear, but you'll come back again;
You'll come back to your father and your mother, in the glen,
Although we may be lyin' 'neath the heather grasses then,
You'll be coming back, my darling."
It is the song of an Irish mother to her son, who is
leaving her to seek his fortune in a country far away.
The musical tone catches the Irish feeling in an ex-
quisite manner.
"LOVE ME, IF I LIVE."
(For Soprano.)
A highly impassioned love song, intense with a breath
from some world where emotion is keyed in an intensity
far greater than that commonly attributed to Boston.
The poem is by Barry Cornwall :
"Love me, if I live,
Love me, if I die.
What to me is life or death,
So that thou art nigh?" etc.
"THE LAND O' THE LEAL."
(For Contralto or Baritone.)
A Scotch song, but not in the Scotch tonality of the
five tones :
"I'm wearing awa', Jean, like snaw when it's thaw, Jean,
I'm wearing awa' to the land o' the leal."
MR. ARTHUR FOOTE. 183
It is perhaps the highest praise possible for this song
to say that despite its more than clever art, it produces
the impression of a spontaneously conceived melody. A
very curious point is the change of rhythm in the last
stanza, where 9-8 measure still prevails, but the first
unit is divided into four parts in place of the usual three.
Foote has persisted in this and has so carried it out
that the effect is excellent. This is a song for a singer.
"ON THE WAY TO KEW."
(For Mezzo Soprano or Baritone.)
A very pleasant and musical setting of a poem by Mr.
W. E. Henley:
"On the way to Kew,
By the river old and gray,
Where in the long ago
We laughed and loitered so,
I met a g-host today,
A ghost that told of you,
A ghost of low replies,
And sweet inscrutable eyes,
Coming up from Richmond, as you used to do."
Charmingly treated from a musical standpoint and
pleasant to hear.
"O MY LUV'S LIKE A RED, RED ROSE."
(For Soprano or Tenor.)
A beautiful setting of the famous words by Burns :
"O my luv's like a red, red rose
That's newly sprung in June;
O my luv's like the melody
That's sweetly played in tune," etc
A very effective and pleasing song, full of the true
spirit of melody.
184 THE GREAT IN MUSIC: FIRST YEAR.
"GO, LOVELY ROSE."
(For Tenor or Soprano )
This song belongs to the more sentimental and lan-
guishing variety than those already quoted. It is suited
to a sweet-voiced tenor of amorous tendencies :
"Go, lovely rose.
Tell her that wastes her time and me,
That now she knows
When I resemble her to thee."
SCHERZINO. OP. 42, NO. i.
(5th Grade.)
A very bright and interesting Scherzino movement,
in which two rhythms are combined in a charming man-
ner, but in one which is very troublesome for the player.
When well played the effect is very bright and pleas-
ing. With the change of signature on page 5 a second
subject comes in, a melody of a more singing character.
POLKA FOR LEFT HAND ALONE. OP. 37, NO. 2.
(5th Grade.)
This is one of several pieces especially written to af-
ford the left hand the same kind of work usually re-
quired from the right. Owing to the manner in which
most music is written, particularly since Mendelssohn,
the left hand has very little to do except to play ac-
companiment to the right. The result is that the left
hand not only fails to acquire agility but, and this is
much more important, fails to produce so vigorous a
tone as the right, and is not able to play a melody with
the same expression. The present piece is interesting
although composed with this utilitarian object in view.
ROMANCE IN A MINOR. (FROM STUDIES, OP. 27, NO. 2.)
(4th Grade.)
A very lovely melody valuable for music and as a
study in expression.
ARTHUR FOOTE. 185
FIVE POEMS AFTER OMAR KHAYYAM. OP. 41.
(6th and 7th Grade.)
Other examples of Mr. Foote's instrumental work
are found in the set of five "poems" upon the well-
known "In a Persian Garden," of Omar Khayyam.
Each piece illustrates a quatrain of the original and all
are written with queer Persian and Oriental effects in
melody and harmony. Each piece is to be understood
in the light of the stanza which stands at the head.
Mr. Foote regards this collection as one of his very
best works.
John K Paine
JOHN K. PAINE.
Professor Paine was born in Portland, Maine, January
9, 1839, where his musical training was begun by Her-
mann Kotschmar; later he went to Berlin, where he
was a pupil of Haupt upon the organ and in counter-
point and of Wieprecht in composition, from 1858 to
1861. He returned to America in 1861 and in 1862 was
appointed teacher of music in Harvard University; in
1876 he was raised to the rank of full professor and has
ever since remained in this position. Professor Paine's
first position in this country was due to his attainments
as organist, as already mentioned; but through his ap-
pointment at Harvard he had only a short career as vir-
tuoso organist. As teacher of musical composition he
has been of the greatest possible service to the younger
generation of students and composers, and most of the
Boston composers since his time have been his pupils
and several of them have had from him their entire
training. Among these is the distinguished composer,
Mr. Arthur Foote.
Professor Paine turned his attention to oratorio, and
his great work, ''St. Peter," was performed in Portland
and in Boston in 1872. Mr. Theodore Thomas has
played Paine's "Spring" symphony and several others
of his orchestral works. Later Professor Paine has de-
voted himself to opera. For a long time he was at
work upon a "FalstaP which has never been performed.
In response to an inquiry as to his ideals and methods
he gave only the following short reply :
"My time is so much taken up that I shall be obliged
173
JOHN K. PAINE.
174
JOHN K. PAINE. 175
to make a concise answer to your questions. Foremost
among my works I place my opera of "Azara," which
thus far has had no prospect of performance. This is
a tragic-romantic work. I will send you a notice there-
of, which will give you an idea of its scope.
"My 'Oedipus Tyrannus,' nativity, spring symphony,
symphonic poem to Shakespeare's Tempest,' Island
fantasy, you know.
"No four-hand arrangements of my orchestral works
have been published. Among the few songs and piano
pieces that I have published, I should draw attention to
the matin song, 'I Wore Your Roses' and Harvard
hymn. Piano pieces the album published by Ditson,
'Fuga Giocoso,' published by Schmidt. As to my ideals,
I can only say that I have always striven for what is
elevated, artistic and free. I cannot enter into the de-
tails as regards the class of compositions you wish to
use, as this would require more time than I can afford."
Concerning the opera, "Azara," Mr. Walter R. Spal-
ding writes :
"Professor Paine has written his own libretto as well
as the music, and both words and music show genius
of the highest order ; the words in their dramatic pow-
er and poetic beauty, and the music in that it is free
and original in spirit while preserving symmetical form
and proportion. The scene is laid in Provence about
the time of the early Crusades. The opera is romantic
in spirit, with a thrilling plot of many tragic situations
and a happy denouement. The action centers around the
invasion of Provence by the Saracens, and the music
is strikingly characteristic in its use of oriental color,
while the dramatic portions are of great vigor and in-
tensity. The style may be said to be Professor Paine's
176 THE GREAT IN MUSIC: FIRST YEAR.
own, for it is neither like that of the modern French
opera with its somewhat lighter mixture of the serious
and the comic, nor like that of Wagner with its long
monologues and extreme use of leading motives. The
subject of the opera is not mythical, but one of human
interest, and it makes an instant appeal to the enthu-
siasm and emotion of the hearer.
"All musicians who have made a study of 'Azara' are
convinced of its great originality, its striking harmonies
and melodies, masterly orchestration, dramatic power
and picturesque scenic features. 'Azara' marks a new
epoch in American music, and it will be a shame if this
opera is not first brought out on the stage in the land
that produced it."
"THE LORD IS FAITHFUL."
(For Contralto.)
Owing to so much of Professor Paine's music being
in large forms and for many instruments, few things
are available for illustrations of this kind. Among the
best is the contralto solo, "The Lord Is Faithful and
Righteous to Forgive Our Sins," from the oratorio of
"St. Peter." It is No. 18 in that work, occurring after
the scene of the denial of Our Lord by St. Peter and
his repentance and forgiveness. The air is classical in
the elegance of its style, and thoroughly well conceived
for the text and the singer as well. It begins in the
reposeful spirit natural to the text, but at the words :
"If we walk in the light" the spirit changes and a most
effective and dramatic climax is made upon the word
"light" in the key of A major. Later on the first melody
is heard again with additional refinement of treatment.
JOHN K. PAINE. 177
NOCTURNE FOR PIANOFORTE.
(6th Grade.)
Among the few instrumental pieces of Professor
Paine is this nocturne, which, after remaining unwritten
for years and frequently played by the author at the re-
quest of his friends, was then written down, in which
form it remained unpublished for quite a long time
again. It is an excellent melody and effectively written.
The mood of the nocturne is properly that of a quiet
sadness, or confidence, such as is engendered by the
darkness and the serious reflections which naturally
spring up in the mind when the incitation of the sense
of sight is temporarily shut off.
Professor Paine was born in Portland, Maine, January
9, 1839, where his musical training was begun by Her-
mann Kotschmar; later he went to Berlin, where he
was a pupil of Haupt upon the organ and in counter-
point and of Wieprecht in composition, from 1858 to
1861. He returned to America in 1861 and in 1862 was
appointed teacher of music in Harvard University; in
1876 he was raised to the rank of full professor and has
ever since remained in this position. Professor Paine's
first position in this country was due to his attainments
as organist, as already mentioned; but through his ap-
pointment at Harvard he had only a short career as vir-
tuoso organist. As teacher of musical composition he
has been of the greatest possible service to the younger
generation of students and composers, and most of the
Boston composers since his time have been his pupils
and several of them have had from him their entire
training. Among these is the distinguished composer,
Mr. Arthur Foote.
Professor Paine turned his attention to oratorio, and
his great work, ''St. Peter," was performed in Portland
and in Boston in 1872. Mr. Theodore Thomas has
played Paine's "Spring" symphony and several others
of his orchestral works. Later Professor Paine has de-
voted himself to opera. For a long time he was at
work upon a "FalstaP which has never been performed.
In response to an inquiry as to his ideals and methods
he gave only the following short reply :
"My time is so much taken up that I shall be obliged
173
JOHN K. PAINE.
174
JOHN K. PAINE. 175
to make a concise answer to your questions. Foremost
among my works I place my opera of "Azara," which
thus far has had no prospect of performance. This is
a tragic-romantic work. I will send you a notice there-
of, which will give you an idea of its scope.
"My 'Oedipus Tyrannus,' nativity, spring symphony,
symphonic poem to Shakespeare's Tempest,' Island
fantasy, you know.
"No four-hand arrangements of my orchestral works
have been published. Among the few songs and piano
pieces that I have published, I should draw attention to
the matin song, 'I Wore Your Roses' and Harvard
hymn. Piano pieces the album published by Ditson,
'Fuga Giocoso,' published by Schmidt. As to my ideals,
I can only say that I have always striven for what is
elevated, artistic and free. I cannot enter into the de-
tails as regards the class of compositions you wish to
use, as this would require more time than I can afford."
Concerning the opera, "Azara," Mr. Walter R. Spal-
ding writes :
"Professor Paine has written his own libretto as well
as the music, and both words and music show genius
of the highest order ; the words in their dramatic pow-
er and poetic beauty, and the music in that it is free
and original in spirit while preserving symmetical form
and proportion. The scene is laid in Provence about
the time of the early Crusades. The opera is romantic
in spirit, with a thrilling plot of many tragic situations
and a happy denouement. The action centers around the
invasion of Provence by the Saracens, and the music
is strikingly characteristic in its use of oriental color,
while the dramatic portions are of great vigor and in-
tensity. The style may be said to be Professor Paine's
176 THE GREAT IN MUSIC: FIRST YEAR.
own, for it is neither like that of the modern French
opera with its somewhat lighter mixture of the serious
and the comic, nor like that of Wagner with its long
monologues and extreme use of leading motives. The
subject of the opera is not mythical, but one of human
interest, and it makes an instant appeal to the enthu-
siasm and emotion of the hearer.
"All musicians who have made a study of 'Azara' are
convinced of its great originality, its striking harmonies
and melodies, masterly orchestration, dramatic power
and picturesque scenic features. 'Azara' marks a new
epoch in American music, and it will be a shame if this
opera is not first brought out on the stage in the land
that produced it."
"THE LORD IS FAITHFUL."
(For Contralto.)
Owing to so much of Professor Paine's music being
in large forms and for many instruments, few things
are available for illustrations of this kind. Among the
best is the contralto solo, "The Lord Is Faithful and
Righteous to Forgive Our Sins," from the oratorio of
"St. Peter." It is No. 18 in that work, occurring after
the scene of the denial of Our Lord by St. Peter and
his repentance and forgiveness. The air is classical in
the elegance of its style, and thoroughly well conceived
for the text and the singer as well. It begins in the
reposeful spirit natural to the text, but at the words :
"If we walk in the light" the spirit changes and a most
effective and dramatic climax is made upon the word
"light" in the key of A major. Later on the first melody
is heard again with additional refinement of treatment.
JOHN K. PAINE. 177
NOCTURNE FOR PIANOFORTE.
(6th Grade.)
Among the few instrumental pieces of Professor
Paine is this nocturne, which, after remaining unwritten
for years and frequently played by the author at the re-
quest of his friends, was then written down, in which
form it remained unpublished for quite a long time
again. It is an excellent melody and effectively written.
The mood of the nocturne is properly that of a quiet
sadness, or confidence, such as is engendered by the
darkness and the serious reflections which naturally
spring up in the mind when the incitation of the sense
of sight is temporarily shut off.
Dudley Buck
DUDLEY BUCK.
The first generation of American composers, devoted
to the higher art of music, had for its star members
Gottschalk and William Mason. Wollenhaupt was the
salon composer popular at the same time. Gottschalk
wrote a number of large and showy compositions for
festival occasions, especially in South America. These
consisted generally of an ode, the national air set in a
variety of ways and a closing chorus of original work.
None of them have been published. Otherwise than this
Gottschalk as well as Mason and the rest wrote for
pianoforte, parlor pieces. No one of them wrote sona-
tas or chamber music or in any way sought to ex-
press the kind of musical feeling which lies at the foun-
dation of chamber music and symphony. No one of
them wrote largely for voice, a fact rather remarkable
in the case of Mason, who was brought up as accompan-
ist to his father's choruses, where he had a fine oppor-
tunity to discover the value of choral masses. The whole
ambition of this generation seemed to be met in the pro-
duction of really artistic pieces of the size which alone
at that time stood any chance of finding wide useful-
ness in America.
A few years later all this was changed. A younger
generation arose, of whom Dudley Buck and John K.
164
-165
166 THE GREAT IN MUSIC: FIRST YEAR.
Paine were the foremost, who took an altogether differ-
ent view of the possibilities open to the American com-
poser. Why this should have been so is not altogether
easy to determine. Neither Buck nor Paine had an
education much if any more thorough than Gottschalk
and Mason. Probably in no respect were they better
schooled or more competent to produce compositions
of ambitious form. Nevertheless they both turned im-
mediately to vocal composition with an emphasis upon
the hitherto unattempted forms in America, the large
cantata, oratorio and opera. In these departments both
Buck and Paine have produced works of distinction,
but alas ! the performances of them have been very
few. Buck has written probably three operas, and
neither of them has ever been performed. It is a shame,
for there is reason to believe that all of these works con-
tain many pieces of excellent value. Both these men
were organists of virtuoso powers. Paine was the first
to make a specialty of playing the great works of Bach ;
but his virtuoso career was terminated briefly, by his
appointment as professor of music at Harvard College
of which later on ; Buck maintained his place as a vir-
tuoso organist for many years; but his fame with the
public turns upon his songs and his church music the
merits and qualities of which will be subject of inquiry
a little later.
Mr. Buck was born at Hartford, Conn., March 10,
1839, and, showing an invincible determination towards
music at an early age, he became the pupil of a teacher
named W. J. Babcock. In 1858 he went to Leipsic,
where he remained two years in the conservatory ; then
he followed Julius Rietz to Dresden and studied com-
position with him and organ with Johann Schneider.
DUDLEY BUCK. 167
After two years of this he spent a year in Paris mainly
in the government organ factory, in order to master the
mechanism of the organ. Returning to America he be-
came organist in Hartford in 1862; in 1869 he came to
Chicago as organist of St. James Church. After the
great fire he went to Boston, where he was organist
of the music hall and St. Paul's. In 1875 he was for
some time assistant conductor to Theodore Thomas ;
he became organist of Holy Trinity in Brooklyn, where
he has ever since remained. He has also been the di-
rector of the Brooklyn Apollo Club for the same period.
During this entire time he has been a diligent composer.
His services for the Episcopal Church number scores ;
his cantatas upon sacred subjects six or eight; a va-
riety of secular cantatas, of which "King Olafs Christ-
mas" and "Don Munio" are the best. In larger forms
the "Golden Legend" and "The Light of Asia." The
most important of Mr. Buck's operas has never been
heard or published. It is called "Columbus," and at one
time had an excellent prospect of performance at the
Metropolitan opera house in German under the late
Anton Seidl, who thought well of the work. If this
performance had taken place (it was given up, as Seidl
and German opera failed at the Metropolitan that year)
it would have been a striking illustration of the extent
to which the American composer, even in his own coun-
try, is at the mercy of foreign musicians and influences.
Mr. Buck was the first American composer to fall un-
der the influence of the Wagnerian ideas. As soon as
the "Mastersingers" and "Tristan and Isolde" were pub-
lished, he procured them and became an ardent Wag-
nerian student, having heard in Europe everything per-
formed up to that time. He had the same sympathy for
168 THE GREAT IN MUSIC: FIRST YEAR.
other vigorous modern music, such as the Thiele pieces.
His own organ music is mainly of a practicable charac-
ter, available for service. His best works in this line
are his two sonatas, of which the first ends with a fugue
upon "Hail Columbia."
On the whole, Mr. Buck's best work is for the voice.
He early adopted Wagnerian principles of writing in
place of formal melodies, a melodious arioso which, while
conforming to the spirit of the text, nevertheless ap-
proached the more formal symmetry of melody. A solo
of this kind often fails of effect upon first hearing, be-
cause the hearer is looking for a "tune" which does not
appear; but, after several hearings, such a passage, if
really well adapted to the text, grows more and more
agreeable and ends by affording a satisfaction far great-
er than any kind of merely pleasing tune. More-
over, this method of writing gives a composer more lati-
tude and promotes continued freshness, since every text
has its own suggestiveness. Mr. Buck's influence as
composer has been in the direction of finer musical
quality and great seriousness. He entered the field of
church music when as yet there were no American com-
posers capable of writing motetts and anthems in this
new spirit. The music most used in choirs was arranged
from operas, or written in a trivial spirit, unsuitable to
the words and occasion. Mr. Buck's compositions
gained an immediate and constantly increasing currency
in choirs not alone of the Protestant Episcopal order,
but also throughout all evangelical denominations. Lat-
er on, with the advent of ritualistic practices, boy choirs
and the plain song, Buck's music lost a part of this cur-
rency, especially as other writers arose in the same line.
But he is entitled to the honor of having changed the
DUDLEY BUCK. 169
style of American church music and of having bettered
it far beyond what it was before his time.
KARLETON HACKETT ON THE SONGS OF
DUDLEY BUCK.
No name stands for more in the musical growth of
America than that of Dudley Buck. If Lowell Mason
was the father of church music in America, Buck is his
artistic son and has done more by his musical sincerity
and earnestness than any other to raise the standard oi
our church music.
The secret of his success lies in his feeling for the
voice, for he is a vocal writer par excellence. This is a
gift. One may study the range of the voice and try to
master its capacities, but without the intuitive sensitive-
ness to that which is vocal, the results are but poor ;
the music may be good but it does not fit the voice. This
intuition is his in the highest degree, and his songs are
rich, varied, picturesque and stirring. Among the most
effective are "Sunset," "Spring's Awakening," ""In June"
and "My Redeemer and My Lord." The cantatas, "The
Triumph of David," "The Story of the Cross," contain
fine church and concert arias, but are to be sung only by
such as arc truly singers.
The effectiveness of Dudley Buck's music lies first in
its adaptability to the instrument and then in its direct-
ness. He never seems to be wandering aimlessly in
search of some new harmonic progression which shall
strike us with surprise and often with pain, but he has
a musical thought to which he is giving expression in
a sano fa?hicn. The voice is over the central figure, but
the harmonic setting is in perfect accord with the spirit
of the music, now rich, now full, now simple and sub-
170 THE GREAT IN MUSIC: FIRST YEAR.
clued, according to the mood. He sets a poem to music
and shapes all his means to the end that the ever varying
shades of meaning of the words may find expression,
and, as a thorough master of his art, he does this so
simply that we are unconscious of the mechanism, but
feel the beauty and fitness of the whole. That which
makes music beautiful is ineffable; we feel it but it
eludes our analysis when we would reduce it to words.
Music may be correct and yet say nothing to us. But
when we hear the best of the music of Dudley Buck we
are stirred, we know that we are moved by a living force
and that this is music.
SPRING'S AWAKENING.
(For Mezzo Soprano or Baritone.)
This beautiful song illustrates Mr. Buck's mastery of
the art of creating a mood in the listener as directly as
possible. The poem, by Mary E. Blake, afforded un-
usual opportunity.
"The wind is chill in the street,
As it sighs the bare boughs fret,
Grime of the mire and the wet
Hinder the weary feet.
"But high in the purer air,
High as the heart's desire,
In a passion of longing fire
A bird sings sweet and fair;
Whjle a sunbeam, cheery and strong,
Answers the joy of the song,
And Spring, fair Spring, is coming.
"Soul, art thou still distressed,
By grief and the shadow of death?
By the cold of the winter's breath
Is still thy pulse oppressed?
"Lift up thine eyes and see,
Lift up thine ears and hear,
For the spirit of life is near,
DUDLEY BUCK. 171
And its voice is calling thee.
Over the graveyard sod
Shineth the smile of God,
And Spring, and Spring is coming/'
The composer has sharply differentiated the mood of
the song. The first four lines are in the key of D minor
very slow and disheartened. Then the tonality changes
to D major, the measure to a lilting 12-8, and in this
spirit we have the next stanza.
Again returns the mood of desolation, D minor, with
the words "Soul, art thou still distrest?" and again the
change to D major with the line "Lift up thine eyes and
see." The song is a beautiful study of musical expres-
sion, grateful for the singer, effective for the hearer,
and an excellent example of discreet association of mu-
sic and poetry, in which, despite its obligations to the
poetry, the music remains musical and rational as music.
SUNSET.
(For Alto or Baritone.)
This beautiful and highly effective song is upon words
by Sidney Lanier.
"Look off, dear love, across the sun and sands,
And mark yon meeting of the sun and sea:
How long they kiss, in sight of all the lands!
Ah, longer, longer far than we!"
An equally effective song as the preceding. It has
been much sung and long will be.
STABAT MATER DOLOROSA.
(Duet for Soprano and Alto.)
From "The Story of the Cross."
As an example of Mr. Buck's later church music, the
duet from the church cantata, "The Story of the Cross,"
is appropriate. It is set to the famous old Latin hymn,
172 THE GREAT IN MUSIC: FIRST YEAR.
"See the weeping mother stands" and follows in the
cantata directly after the scene upon the cross, when
the closing words are those of the Jesus, "Father for-
give them," etc.
"At the cross her station keeping,
Stood the mournful mother, weeping."
OTHER EXAMPLES.
If the club finds it practicable to illustrate Mr. Buck's
style more fully, the "Te Deum" in B minor is recom-
mended. Also the motets : "The God of Abraham
Praise," from the Second Motette Collection, and
"Brightest and Best of the Sons of the Morning," from
the First Motette Collection. The latter is more melodi-
ous, and is a beautiful setting of the famous hymn of
Bishop Heber. It was in fact an impromptu, having
been written on Saturday afternoon for the next morn-
ing, a diligent search having failed to show Mr. Buck
any suitable setting of this hymn. The other, "The God
of Abraham Praise," is upon a noble hymn of the Eng-
lish Wesleyan reformation. It is one of eight or ten
splendid motettes in Buck's second collection. All of his
original compositions in that book were written during
a convalescence from a very dangerous career of ty-
phoid in 1870. In the vigor of returning strength and
in the clear spiritual vision of one who had looked death
in the face these noble contributions to American church
music were written, during about two weeks.
The first generation of American composers, devoted
to the higher art of music, had for its star members
Gottschalk and William Mason. Wollenhaupt was the
salon composer popular at the same time. Gottschalk
wrote a number of large and showy compositions for
festival occasions, especially in South America. These
consisted generally of an ode, the national air set in a
variety of ways and a closing chorus of original work.
None of them have been published. Otherwise than this
Gottschalk as well as Mason and the rest wrote for
pianoforte, parlor pieces. No one of them wrote sona-
tas or chamber music or in any way sought to ex-
press the kind of musical feeling which lies at the foun-
dation of chamber music and symphony. No one of
them wrote largely for voice, a fact rather remarkable
in the case of Mason, who was brought up as accompan-
ist to his father's choruses, where he had a fine oppor-
tunity to discover the value of choral masses. The whole
ambition of this generation seemed to be met in the pro-
duction of really artistic pieces of the size which alone
at that time stood any chance of finding wide useful-
ness in America.
A few years later all this was changed. A younger
generation arose, of whom Dudley Buck and John K.
164
-165
166 THE GREAT IN MUSIC: FIRST YEAR.
Paine were the foremost, who took an altogether differ-
ent view of the possibilities open to the American com-
poser. Why this should have been so is not altogether
easy to determine. Neither Buck nor Paine had an
education much if any more thorough than Gottschalk
and Mason. Probably in no respect were they better
schooled or more competent to produce compositions
of ambitious form. Nevertheless they both turned im-
mediately to vocal composition with an emphasis upon
the hitherto unattempted forms in America, the large
cantata, oratorio and opera. In these departments both
Buck and Paine have produced works of distinction,
but alas ! the performances of them have been very
few. Buck has written probably three operas, and
neither of them has ever been performed. It is a shame,
for there is reason to believe that all of these works con-
tain many pieces of excellent value. Both these men
were organists of virtuoso powers. Paine was the first
to make a specialty of playing the great works of Bach ;
but his virtuoso career was terminated briefly, by his
appointment as professor of music at Harvard College
of which later on ; Buck maintained his place as a vir-
tuoso organist for many years; but his fame with the
public turns upon his songs and his church music the
merits and qualities of which will be subject of inquiry
a little later.
Mr. Buck was born at Hartford, Conn., March 10,
1839, and, showing an invincible determination towards
music at an early age, he became the pupil of a teacher
named W. J. Babcock. In 1858 he went to Leipsic,
where he remained two years in the conservatory ; then
he followed Julius Rietz to Dresden and studied com-
position with him and organ with Johann Schneider.
DUDLEY BUCK. 167
After two years of this he spent a year in Paris mainly
in the government organ factory, in order to master the
mechanism of the organ. Returning to America he be-
came organist in Hartford in 1862; in 1869 he came to
Chicago as organist of St. James Church. After the
great fire he went to Boston, where he was organist
of the music hall and St. Paul's. In 1875 he was for
some time assistant conductor to Theodore Thomas ;
he became organist of Holy Trinity in Brooklyn, where
he has ever since remained. He has also been the di-
rector of the Brooklyn Apollo Club for the same period.
During this entire time he has been a diligent composer.
His services for the Episcopal Church number scores ;
his cantatas upon sacred subjects six or eight; a va-
riety of secular cantatas, of which "King Olafs Christ-
mas" and "Don Munio" are the best. In larger forms
the "Golden Legend" and "The Light of Asia." The
most important of Mr. Buck's operas has never been
heard or published. It is called "Columbus," and at one
time had an excellent prospect of performance at the
Metropolitan opera house in German under the late
Anton Seidl, who thought well of the work. If this
performance had taken place (it was given up, as Seidl
and German opera failed at the Metropolitan that year)
it would have been a striking illustration of the extent
to which the American composer, even in his own coun-
try, is at the mercy of foreign musicians and influences.
Mr. Buck was the first American composer to fall un-
der the influence of the Wagnerian ideas. As soon as
the "Mastersingers" and "Tristan and Isolde" were pub-
lished, he procured them and became an ardent Wag-
nerian student, having heard in Europe everything per-
formed up to that time. He had the same sympathy for
168 THE GREAT IN MUSIC: FIRST YEAR.
other vigorous modern music, such as the Thiele pieces.
His own organ music is mainly of a practicable charac-
ter, available for service. His best works in this line
are his two sonatas, of which the first ends with a fugue
upon "Hail Columbia."
On the whole, Mr. Buck's best work is for the voice.
He early adopted Wagnerian principles of writing in
place of formal melodies, a melodious arioso which, while
conforming to the spirit of the text, nevertheless ap-
proached the more formal symmetry of melody. A solo
of this kind often fails of effect upon first hearing, be-
cause the hearer is looking for a "tune" which does not
appear; but, after several hearings, such a passage, if
really well adapted to the text, grows more and more
agreeable and ends by affording a satisfaction far great-
er than any kind of merely pleasing tune. More-
over, this method of writing gives a composer more lati-
tude and promotes continued freshness, since every text
has its own suggestiveness. Mr. Buck's influence as
composer has been in the direction of finer musical
quality and great seriousness. He entered the field of
church music when as yet there were no American com-
posers capable of writing motetts and anthems in this
new spirit. The music most used in choirs was arranged
from operas, or written in a trivial spirit, unsuitable to
the words and occasion. Mr. Buck's compositions
gained an immediate and constantly increasing currency
in choirs not alone of the Protestant Episcopal order,
but also throughout all evangelical denominations. Lat-
er on, with the advent of ritualistic practices, boy choirs
and the plain song, Buck's music lost a part of this cur-
rency, especially as other writers arose in the same line.
But he is entitled to the honor of having changed the
DUDLEY BUCK. 169
style of American church music and of having bettered
it far beyond what it was before his time.
KARLETON HACKETT ON THE SONGS OF
DUDLEY BUCK.
No name stands for more in the musical growth of
America than that of Dudley Buck. If Lowell Mason
was the father of church music in America, Buck is his
artistic son and has done more by his musical sincerity
and earnestness than any other to raise the standard oi
our church music.
The secret of his success lies in his feeling for the
voice, for he is a vocal writer par excellence. This is a
gift. One may study the range of the voice and try to
master its capacities, but without the intuitive sensitive-
ness to that which is vocal, the results are but poor ;
the music may be good but it does not fit the voice. This
intuition is his in the highest degree, and his songs are
rich, varied, picturesque and stirring. Among the most
effective are "Sunset," "Spring's Awakening," ""In June"
and "My Redeemer and My Lord." The cantatas, "The
Triumph of David," "The Story of the Cross," contain
fine church and concert arias, but are to be sung only by
such as arc truly singers.
The effectiveness of Dudley Buck's music lies first in
its adaptability to the instrument and then in its direct-
ness. He never seems to be wandering aimlessly in
search of some new harmonic progression which shall
strike us with surprise and often with pain, but he has
a musical thought to which he is giving expression in
a sano fa?hicn. The voice is over the central figure, but
the harmonic setting is in perfect accord with the spirit
of the music, now rich, now full, now simple and sub-
170 THE GREAT IN MUSIC: FIRST YEAR.
clued, according to the mood. He sets a poem to music
and shapes all his means to the end that the ever varying
shades of meaning of the words may find expression,
and, as a thorough master of his art, he does this so
simply that we are unconscious of the mechanism, but
feel the beauty and fitness of the whole. That which
makes music beautiful is ineffable; we feel it but it
eludes our analysis when we would reduce it to words.
Music may be correct and yet say nothing to us. But
when we hear the best of the music of Dudley Buck we
are stirred, we know that we are moved by a living force
and that this is music.
SPRING'S AWAKENING.
(For Mezzo Soprano or Baritone.)
This beautiful song illustrates Mr. Buck's mastery of
the art of creating a mood in the listener as directly as
possible. The poem, by Mary E. Blake, afforded un-
usual opportunity.
"The wind is chill in the street,
As it sighs the bare boughs fret,
Grime of the mire and the wet
Hinder the weary feet.
"But high in the purer air,
High as the heart's desire,
In a passion of longing fire
A bird sings sweet and fair;
Whjle a sunbeam, cheery and strong,
Answers the joy of the song,
And Spring, fair Spring, is coming.
"Soul, art thou still distressed,
By grief and the shadow of death?
By the cold of the winter's breath
Is still thy pulse oppressed?
"Lift up thine eyes and see,
Lift up thine ears and hear,
For the spirit of life is near,
DUDLEY BUCK. 171
And its voice is calling thee.
Over the graveyard sod
Shineth the smile of God,
And Spring, and Spring is coming/'
The composer has sharply differentiated the mood of
the song. The first four lines are in the key of D minor
very slow and disheartened. Then the tonality changes
to D major, the measure to a lilting 12-8, and in this
spirit we have the next stanza.
Again returns the mood of desolation, D minor, with
the words "Soul, art thou still distrest?" and again the
change to D major with the line "Lift up thine eyes and
see." The song is a beautiful study of musical expres-
sion, grateful for the singer, effective for the hearer,
and an excellent example of discreet association of mu-
sic and poetry, in which, despite its obligations to the
poetry, the music remains musical and rational as music.
SUNSET.
(For Alto or Baritone.)
This beautiful and highly effective song is upon words
by Sidney Lanier.
"Look off, dear love, across the sun and sands,
And mark yon meeting of the sun and sea:
How long they kiss, in sight of all the lands!
Ah, longer, longer far than we!"
An equally effective song as the preceding. It has
been much sung and long will be.
STABAT MATER DOLOROSA.
(Duet for Soprano and Alto.)
From "The Story of the Cross."
As an example of Mr. Buck's later church music, the
duet from the church cantata, "The Story of the Cross,"
is appropriate. It is set to the famous old Latin hymn,
172 THE GREAT IN MUSIC: FIRST YEAR.
"See the weeping mother stands" and follows in the
cantata directly after the scene upon the cross, when
the closing words are those of the Jesus, "Father for-
give them," etc.
"At the cross her station keeping,
Stood the mournful mother, weeping."
OTHER EXAMPLES.
If the club finds it practicable to illustrate Mr. Buck's
style more fully, the "Te Deum" in B minor is recom-
mended. Also the motets : "The God of Abraham
Praise," from the Second Motette Collection, and
"Brightest and Best of the Sons of the Morning," from
the First Motette Collection. The latter is more melodi-
ous, and is a beautiful setting of the famous hymn of
Bishop Heber. It was in fact an impromptu, having
been written on Saturday afternoon for the next morn-
ing, a diligent search having failed to show Mr. Buck
any suitable setting of this hymn. The other, "The God
of Abraham Praise," is upon a noble hymn of the Eng-
lish Wesleyan reformation. It is one of eight or ten
splendid motettes in Buck's second collection. All of his
original compositions in that book were written during
a convalescence from a very dangerous career of ty-
phoid in 1870. In the vigor of returning strength and
in the clear spiritual vision of one who had looked death
in the face these noble contributions to American church
music were written, during about two weeks.
WEBER and HENSLET
VI. WEBER AND HENSELT.
The two composers and pianists from whose works
the present program is taken are indeed strongly un-
like each other and distant each from the other as a full
generation in chronology. They also were both re-
markable innovators upon the piano, they devised new
types of melody and brought to expression upon the
pianoforte many things previously hidden. Even in the
trifling point of unusual compass of hand they were
alike, Weber being gifted with a wide stretch and Hen-
selt cultivating all sorts of extensions as part of his
system of rendering the hand responsive and capable
for the novel things he had for it to say.
In temperament the two composers were unlike.
Weber was primarily of a sunny disposition disposed to
the well sounding; Henselt was of a more brooding dis-
position, preferring to meditate and to play deep songs
for himself alone. Yet he no less than Weber wrote
one of the most pleasing of concertos for the piano-
forte with orchestra, a work which held a long and hon-
orable distinction in the repertory of the concert artist.
In yet another respect they were alike in their fond-
ness for melody; but here Henselt betrays his disposi-
tion to brood, for many of his melodies are of a deep
and serious character. Yet Henselt upon occasion
could be as light and as fanciful as any. Think of his
"If I Were a Bird" a new leaf in piano playing, equally
charming as poem and as piano piece.
141
CARL MARIA VON WEBER.
Born, Eutin, Oldenburg:, Dec. 18, 1786.
Died. London, June 5, 1826.
For Historical Sketch of Weber, see Mathews" Pop-
ular History of Music, pp. 406 to 411.
CHARACTERIZATION OF WEBER.
BY EMIL LIEBLING.
Weber was a great piano virtuoso ; if we consider
Scarlatti, the founder of the most brilliant style of piano
playing, followed by Clementi, the more modern devel-
opments may be credited to Moscheles, Hummel and
Weber, who blazed the way for Henselt, Chopin and
Liszt. Weber's piano works are brilliant, distinctly
dramatic and almost orchestral in effect; the resources
of the piano are developed to a marked degree and
many compositions, like the immortal concertstueck,
opus 79, are as fresh today as when they were first pro-
duced. Weber was Wagner's forerunner by creating a
distinctively German opera style at a time when Ros-
sini and Bellini dominated everywhere ; his success en-
couraged masters like Spohr, Lortzing and Marschner
to follow in the same special sphere.
Some of the more important innovations of Weber's
treatment of the piano are the use of continuous octave
passages with added intervals, the single and octave
glissando, brilliant extended arpeggios, intricate double
passages, the use of double thirds for both hands ;
heavily massed chords and long stretches.
His melody is always elevated and noble, even pathetic,
his climaxes are grand and martial. The four sonatas
142
WEBER.
143-
141 THE GREAT IN MUSIC: FIRST YEAR.
are master works; the first contains the famous per-
petual motion Rondo, also an impressive adagio in F,
and the .second in A flat is often played by the great
pianists; very effective are the Polacca Brilliante in E
and the Polonaise in E flat. He cultivated the sym-
phony and string quartet but little; the overtures are
effective, but do not bear comparison with similar works
by Beethoven and Mozart in point of architectural struc-
ture; their excellence consists in melodic charm and
skillful instrumentation. Historically he occupies the
undisputed position of the creator of German opera,
as evidenced in the "Freischutz," dealing with German
life and romanticism. The fantastic element found
further .development in Mendelssohn's "Midsummer
Night's Dream" music.
CHARACTERIZATION OF WEBER BY PHILIP
HALE.
In the Schirmer edition of Weber's selected works
for piano, edited by Dr. William Mason, Mr. Philip
Hale gives the following estimate of the composer:
"The enduring fame of Weber rests upon three operas
and the enormous influence he exercised upon his con-
temporaries and the men that came after him, as Meyer-
beer, Mendelssohn, Marschner, Berlioz and Wagner.
It is impossible to put too high a value upon this in-
fluence ; and yet as pianist and composer for pianoforte
his is a famous name.
"He had long flexible fingers, and as he worked out
piano problems chiefly by himself, we find a new tech-
nique shaped by his natural gifts, daring jumps, rapid
passages of thirds, sixths and octaves for both hands,
WEBER. 145
used, however, for the expression of new ideas. He
once defined the ideal style of pianoforte-playing as
powerful, expressive and full of character, and he laid
stress on 'the equal cultivation of the two hands.'
Nearly all his contemporaries speak of the fire, the bril-
liancy, the precision, the expression of his performance.
In spite of dissenting voices from Vienna the testimony
is strong that Weber was intellectually and mechanically
in the first rank of pianists."
WEBER, FROM THE STANDPOINT OF THE
PRESENT.
Carl Maria von Weber appears in a different light
according to the standpoint from which his work is ex-
amined. If, for example, we consider his pianoforte
music from the standpoint of the modern concert room,
the first noticeable point is the infrequency of his rep-
resentation upon programs, and the very small num-
ber of pieces which make up the aggregate of his con-
tributions to our actual practical entertainment in this
line. His "Invitation to the Dance," for example, with
which Liszt used to do wonders along between 1827 and
1833 or 1834, is now relegated to the boarding school,
or if played appears in an arrangement, by Tausig, Hen-
selt, Godowsky, or some other pianist, in which the
original treatment of the themes has been augmented
by a multitude of difficulties. The Polonaise in E flat
and the Polacca in E major very rarely appear nowa-
days, except occasionally Liszt's arrangement of the
Polonaise in E flat. The Rondo in E flat, so much
played two generations ago, and so highly prized for
pedagogical purposes in European conservatories, has
now entirely vanished from the concert room. The
146 THE GREAT IN MUSIC: FIRST YEAR.
same is true of the "Capriccio" in B flat, which formerly
had considerable vogue. As for the sonatas, they ap-
pear, if at all, only in extracts, a single movement from
the sonata in A flat. Occasionally, indeed, the entire
sonata is played, but with how little effect !
Almost equally true is it that the Weber operas have
vanished from the stage. "Der Freyschuetz," indeed,
still maintains its position in the current repertory, par-
ticularly in Germany, but every year sees it fade away
in interest. Its entire disappearance can be a matter of
but few years. "Euryanthe" and "Preciosa" have com-
pletely vanished.
It is in the symphony concert that Weber still main-
tains the most of his influence upon the present genera-
tion. The overtures to "Der Freyschuez" and "Obe-
ron" still remain among the cherished gems of the or-
chestral repertory. The "Invitation to Dance" is es-
teemed here also, as one of the most popular and enter-
taining of selections, but always in the scoring of Ber-
lioz or Weingartner. Moreover the songs of Weber
cut but little figure nowadays. Even such charming
sweetnesses as his "Slumber Song". are very rarely
heard; and his great and universally sung aria, "Ocean,
Thou Mighty Monster," has effectually disappeared.
Such being the present facts concerning the vogue
of this master, in what sense it may be asked, can it be
said that he is a master of first rate importance in our
days?
To this question several answers can -be made. First
of all, speaking from the standpoint of the pianoforte,
Weber was a real musician and a creative tone-poet,
and in some of his smallest pieces, such as the four
hand sonatina in C, there are melodies worthy of large
WEBER. 147
setting. His "Invitation to Dance" was perhaps the
very first idealized waltz to be written by any one ; his
other piano music was romantic in character and, while
not explained by significant titles or other evidences of
poetic meaning, the music itself is eloquent of the fact
that something beyond mere musical symmetry had
been in the mind of the composer at the moment of
creation. That his brilliant polonaises have now been
superseded by the more vigorous and more highly pian-
istic works of Chopin a half a generation later, is not
to Weber's discredit. Very likely if he had not written
in this vein Chopin himself might have lacked courage
to create the splendid examples which so well illustrate
his distinguished genius.
In fact, it was probably upon the influence Weber
exercised in his life time, and the inspiration he gave
other young composers that we must base his claim
upon posterity. Nevertheless wher we remember that
it is now three-quarters of a century since the "Invita-
tion" was created, and that it still remains a remarkably
bright and timely piece for the drawing room, this
surely is much credit for von Weber.
So, also, of his orchestral works. His symphonies,
of which he composed two, have now gone to oblivion ;
but the operatic overtures have established themselves
as classics. More. They have in them the seeds of
much which meets us in the works of Wagner and the
later romanticists. In the "Freyschuetz" overture the
leading motive appears and the suspended movement
over the Wolf's glen pizzicato of the basses, is as signifi-
cant as the famous horn in the two "Leonore" overtures
of Beethoven. So, again, in the overture to "Oberon,"
the fairy music appears earlier than with Mendelssohn.
148 THE GREAT IN MUSIC: FIRST YEAR.
Weber, also, was an innovator in the use of the horns,
which he understood better than any operatic writer
before him. All his orchestral music has a tone of
its own, a color scheme peculiar to himself, a discreet
and well modulated scheme, not overdone, not too
meagre.
He is, therefore, to be counted one of those geniuses
who for the moment when they appear entirely fill the
stage and set in operation principles of composition and
ideals which otherwise would have had to wait for
their first voicing. Yet such is the attractiveness of
the new ideals that straightway many other gifted ones
enter into the new paths, explore farther, bring forth
still more brilliant and striking results, whereby the
originator of the school or tendency is put in the back-
ground, even while he is really the originator of the
entire dispensation. Something of this sort is true of
Weber.
Another point which works against Weber in this
latest day is the lack of any very deep and intense cry
of the soul in his works. His music is music as such ;
to be enjoyed, to be praised, to be played for satisfac-
tion. That a world would arise eager for the discord-
ant, the dissatisfied and the unbeautiful was something
which Weber did not foresee. And if he had been
given the foresight no doubt it would have poisoned
the naive beauty of the master works he turned out so
freely.
THE WEBER SELECTIONS IN DETAIL.
SONATINA IN C. OP. 3.
(2d Grade.)
This charming little sonatina in C is available in eith-
er of two forms for two hands or for four. The latter
WEBER. 149
was the original form. It is very easy, full of melody
and a delightfully fresh naivete. The second movement
is a lovely larghetto (about 66 for eighth notes) worthy
a larger field. The melody is deep and beautiful and
the harmonies expressive, at times dramatic. The third
movement is a very pleasing little Menuet. (Observe
all the repeats, otherwise the piece is too short to de-
velop a mood in the hearer.) The fourth movement is
an Andante air with three variations. The structure of
the variations is worth noting. The first variation has
mainly figuration for the upper voice. The second be-
gins with six measures for the second player. Here
the theme is developed in syncopation in a charming
manner and in minor tonality. Evidently just here he
had the idea that the teacher would play the bass of the
duet, leaving the easier upper part for the pupil. The
third variation is a light and rondo-like movement in
6-8 measure, and again in the major mode. The fifth
movement is a miniature march in C major; and finally
a sixth movement, a jolly happy rondo.
The so-called "sonatina" is more properly a "suite"
(or succession of pieces) than a sonatina, since, properly
speaking, the sonatina has only three movements. If
the first, second and sixth movements were played with-
out the others, the sonaflna form would have been per-
fect. There are few pieces so small as this which con-
tain so much music.
INVITATION TO DANCE. OP. 65.
(5th Grade..)
The Invitation to Dance marks an interesting epoch
in musical art ; the ancient dance forms had served their
purpose long and well and the old masters had used
150 THE GREAT IN MUSIC: FIRST YEAR.
them freely. Weber here idealizes a modern terpsi-
chorean form, indirectly weaves a story around it, and
produces a master work of singular charm and lucidity ;
the Chopin waltzes carry out the same scheme very
happily at a later period. The introduction is a dis-
tinct dialogue and requires much discrimination in vari-
ety of touch, tone production and interpretation. The
following allegro is fiery and dashing, the waltz part
may again be taken somewhat slower ; a fine example of
pianistic instinct is given later on where the scale of
C is played at the distance of two octaves, giving the
effect of the omitted middle octave in consonance with
those played; the same effect is used at the close of
the Polacca in E, and by Schumann at the finish of the
allegro, opus 26. I should consider all repeats as oblig-
atory, with the possible exception of the second portion
of the waltz part. The "Invitation to the Dance" lends
itself readily to orchestral treatment, as evidenced by
the Berlioz and Weingaertner arrangements. Tausig's
paraphrase usually proves an interesting reminiscence
to those who have attempted it. E. L.
AIR FROM "DER FREYSCHUETZ."
(For Soprano.)
This aria occurs in the opera while Agatha is watch-
ing at night for the return of her lover. It is brilliant
moonlight, a calm, still night, full of mystery and deep
suggestiveness. The kernel of the song is the prayer,
the soft, slow melody which is now well known to
everybody and has been made into a church tune in
America. It is sung softly, with a very pure and sus-
tained tone, accompanied by the muted violins, violas
and cellos. This is one of the most exquisite gems in
WEBER. 151
all opera. Later on, after the prayer has twice been
gone through, with interludes of reflective comments,
the aria breaks off into a rapid and exultant presto as
Agatha hears the step of her lover and receives him
back again from whatever unknown danger had
weighed upon her soul.
"How could I fain have slumber'd?
Before his face I saw?
Ah! Love with grief is cumber'd;
"Tis fate's eternal law."
Recit. :
"Now walks the moon her path of light?
Oh, heav'nly night."
Then the prayer:
"Holy, holy, meek and lowly,
Rise, my soul, where stars swing slowly!
Echoes waking, taking pinions,
Waft my prayer to heav'ns dominions!"
"Oh, how bright the stars are sparkling!
How like gems they stud the skies!
Yet above yon mountains darkling,
Seems a thunder-storm to rise;
There, too, beyond the forest vast,
Black and heavy clouds fly past.
"Lo! before thee I adore thee!
Lord of mercy I implore thee!
Angels send us to defend us,
From the threat of ill tremendous;" etc.
POLACCA BRILLIANTS IN E MAJOR. OP. 72.
(5th Grade.)
A brilliant illustration of the polonaise spirit, con-
ceived in a mood of brightness and mirth. To be
played with spirit, but not too fast. (About 96 for
quarters.) The measure is properly one of six beats
but not of the usual six of two threes ; it is a six com-
posed of three twos. The polonaise keeps this movement
152 THE GREAT IN MUSIC: FIRST YEAR.
of eighth notes always clear, and there is an accent al-
most invariably upon the fifth beat, as plainly intended by
the change of harmony which generally occurs at that
point.
The middle piece of this polonaise is a very quiet mel-
ody in the original key instead of being in a related key
as is usual. Underneath the reposeful melody, how-
ever, the rhythm of the polonaise keeps up without ces-
sation.
On the whole, a very brilliant and effective piece, full
of spirit and verve.
SLUMBER SONG.
A soft, sweet melody, very simple.
"Sleep, darling baby, my idol art thou!
Close those dear pretty blue eyes of thine now,
All is so quiet, so peaceful and still,
Sleep, while I guard thee from harm and from ill.
"Life to thee now, love, is golden and bright,
Later, ah later, will fade its fair light;
Soon as dull care once thy pillow hangs o'er,
Dearest, thou'lt slumber so calmly no more."
RONDO BRILLIANTE IN E FLAT. OP. 62.
(6th Grade.)
This piece for many years formed one of the ad-
vanced posts of brilliant piano playing. It is conceived
in a bright and popular vein, and one can imagine that
given by its author, with his marvelously clear touch
and sprightly musical feeling, it must have made ai
effect. Liszt used to play it when it was new. The
name of the piece in many collections is given as
"Gaiety," a name which well suits the bright and pleas*
ant rhythm and the pleasing melodies.
From a modern point of view this piece is too long
for the substance it contains; but in its day it was a
WEBER, 153
most welcome addition to the stock of pleasing pieces
for concert or private playing. The movement not too
fast. (About 84 for quarters ; a little slower will an-
swer.)
OVERTURE TO "OBERON." FOUR HANDS.
(4th and 5th Grades.)
The overture to "Oberon" presents several of the
features of the musiciof the opera. The opera of "Obe-
ron deals with the adventures of a Knight who is pro-
vided with a magic horn, giving a long drawn tone of
singular sweetness and penetrating power. When .this
note is sounded, which must be only under the stress
of the greatest and apparently irreparable danger, the
fairies bring aid. This long-drawn note of the magic
horn is that which begins the overture. It occurs again
in the third measure. In the sixth we have the light
footfalls of the fairies in the high sixteenth notes. In
the m. 22 the allegro proper begins, brilliant, driving,
full of life. Adventure follows after adventure until in
m. 55 the magic horn is again heard, followed by the
fairy music, this time in eighths, the movement having
become so much quicker than at first that the eighths
now give the proper lightness to the fairy steps. In m.
65 comes the second subject, which here happens to be
the singularly lovely melody of the mermaid's song:
"Oh, it is pleasant to float on the sea."
Beginning with m. 103, there is a short elaboration of
the principal idea, the movement becoming more and
more energetic and excited until in m. 154, the begin-
ning of the mermaid's song is heard again, but now in
the key of F sharp major, given by the violins, while it
is supported upon a brilliant accompaniment of the
154 THE GREAT IN MUSIC: FIRST YEAR.
brass. Just after this the recapitulation begins and so
the work is brought to an end in m. 257.
This overture is justly admired and often given in
orchestral concerts. It is one of the most attractive
pieces in the entire orchestral repertory.
ADOLPH HENSELT.
Born Schwabach, Bavaria, May 12, 1814.
Died Warmbrunn, Silesia, Oct. 10, i88g.
Adolph Henselt was a remarkable pianoforte virtuoso
of the same generation as that of Liszt and Wagner.
Beginning his early musical studies at Munich, he gave
such evidences of talent that an allowance was made him
from the privy purse of King Ludwig I., which enabled
him to continue his studies with Hummel at Weimar ;
later, he went to Vienna, where he devoted himself
mainly to theory under the celebrated teacher, Simon
Sechter, meanwhile working out his pianoforte ideas by
himself. In this way he finally arrived at great virtuos-
ity and a characteristic style of his own, differing from
that of Liszt in being less brilliant and showy but more
expressive and, above all, distinguished for deep and
full melody, perfect legato, and the trick of supporting
his melodies by a wide range of harmony covering at
times nearly three octaves. By assiduous practice he
impaired his health, but in 1837 he made his first con-
cert tour and was received with the greatest possible
enthusiasm. His playing is said to have been of the
most poetically inspired character and highly individual-
ized. His peculiarities of expression found expression
in three books of studies, opus 2, 5 and 13 ; and in a very
beautiful pianoforte concerto and other works. Riemann
credits him with having been the first to enlarge the
scope of fantasias upon operatic themes, then as long
after a very popular form of piano music, by including
155
156 THE GREAT IN MUSIC: FIRST YEAR.
several themes in one piece. In the year 1838 Henselt
reached Russia upon a concert tour and was greeted
with such warmth that he always after remained there,
excepting in late years when his active duties had come
to an end.
With all his astonishing mastery of the pianoforte,
Henselt was dreadfully nervous and sensitive to obser-
vation. Accordingly when he had received the honorable
appointment of teacher of music to the royal princesses
in the family of the Czar, with suitable emoluments, he
resolutely refused to give any more concerts, and in
thirty years was heard in public only three times in St.
Petersburg. An anecdote illustrating this trait of Hen-
selt is told, that while he was living one summer at
Dresden a traveling musician of distinction wished to call
upon him to pay his respects. Accordingly he went to
the house and as he climbed the stairs to the elevated
domicile of the artist he heard him playing most beau-
tifully. As this was exactly what the visitor had most
desired (the fame of Henselt being world-wide, yet very
few had actually heard him) he seated himself upon
the stairs and listened for nearly an hour to a most beau-
tiful composition or series of compositions, in which the
piano was illustrated in a most poetic and novel man-
ner. At length the playing ceased and after waiting a
few minutes in the hope it would recommence, the vis-
itor announced himself and was received with the cor-
diality due to a brother artist. After some conversation
he inquired of the pieces he had heard and requested
Hanselt to play one of them again. After a little de-
mur Henselt complied. But with what a difference !
The visitor said that it seemed like another player.
Where before there had been freedom, lovely tone and
ADOLPH HENSELT. 157
most delightful expressiveness, the touch had become
dry, the execution strained, and the whole piece sound-
ed like a different work. Such was the repression of
the artist's freedom by the presence of even a single
stranger.
Henselt's compositions are characterized by pleas-
ing and well-sounding melody, which generally sounds
a little better than it is ; i. e., the melody pleases very
much but soon becomes familiar, owing to its being
supported upon harmonies which are often common-
place and rarely of dramatic intensity. The appearance
of depth and strong feeling are often illusory, and lie
in the effect of his wide arpeggios in the bass. Never-
theless they illustrate peculiar features of piano playing
and are worthy of further study. From a technical point
of view almost everything of Henselt is rather difficult,
and most things are impossible for any but very good
pianists. The most played of his works are his fa-
mous pianoforte concerto, and the delightful study in F
sharp major, with the motto : "If I Were a Bird, I
Would Fly to Thee." This has been played every-
where this fifty years and more and its lease of life bids
fair to continue for a long while.
It is a curious circumstance, which the advanced stu-
dent of the piano will appreciate, that Henselt's ten-
dency to absolute legato instead of the staccato of Liszt,
comes back again in some very advanced works lately
composed by Mr. Leopold Godowsky, his metamor-
phoses of Chopin studies. In these he not only gives
the left hand the same thing to do which Chopin orig-
inally planned for the right (most players find them
quite difficult enough in the original) but he adds a
variety of other particulars, such as a flowing cantilena
158 THE GREAT IN MUSIC: FIRST YEAR.
in the soprano, and various subordinate voices coming
in at all sorts of illusive and evasive intervals. The
whole is like a fairy story, and it is based upon abso-
lute legato throughout, excepting in the fundamentals,
where naturally the pedal is called upon for its aid.
HENSELT'S PLAYING CHARACTERIZED BY
VON LENZ.
Von Lenz, in his "Piano Virtuosos of Our Time,"
gives the following lively account of the first appearance
of Henselt in St. Petersburg.
"Henselt first appeared in St. Petersburg in the con-
cert season of 1838, and since then has left us only
occasionally. I happened to be at the Count Wielhor-
ski's when Henselt first called there. I shall never for-
get the extraordinary impression he made by the inter-
pretation of his F sharp Major Etude. It was like an
Aeolian harp hidden beneath garlands of sweetest flow-
ers ! An intoxicating perfume was crushed from the
blossoms under his hands soft, lie falling rose leaves,
the alternating sixths, which, in one and the same oc-
tave, pursued, teased, embraced, and enraptured! Such
a charm of rich fullness of tone in pianissimo had never
been before heard on the piano ! After the delicate
whisper in the principal theme, the Minore entered ener-
getically, mounting from one degree of power to an-
other, taking the instrument by storm, to lose itself
again in a magic dialogue of sixths ! Thirty-two years
have passed since then, but the enchanting picture still
lives before the inner eye.
Henselt must have perceived how enraptured we were
with his performance for as soon as he had finished the
ADOLPH HENSELT. 159
piece, he commenced again at the most touching part
of his poem, and played it through once again, with
modified gradations of expression. It was like gleaning
after a harvest of joy ! He must have been satisfied with
it himself, and have rejoiced to read his instant triumph
in the eyes of connoisseurs of such high standing as
the Counts Wielhorski.
In quite a different style flowing more quietly, broadly
and deeply, followed his Poeme d'Amour in B flat Maj-
or, which, passing over from an unquestionably new
nocturne-style, changes to a not less deeply felt allegro
or variation-style, and closes with the highest degree
of bravura in arpeggios, which covered the whole ex-
tent of the instrument and which he hurled like heavy,
well-aimed spears without exceeding the limits of
euphony, without once overstepping the measure of
power allowed to the piano. Such playing had never
been heard ! Such tenderness allied to so much force ;
a depth of meaning so sufficient to itself, with all its
euphemistic concessions to the audience, was an artistic
feat, a phenomenon, wholly unique."
A SONG OF LOVE. OP. 5, NO. 11.
(5th Grade.)
A charming baritone melody, a song of love, a poem
in tones. To be played smoothly, with great affection
and well chosen expression. The melody consists of a
strain of eight measures, which is repeated. In m. 17
begins the second strain in minor, returning again (m.
24) to the original melody. This part also is repeated.
In m. 48 begins the short coda, which leads to repose.
THE REPOSE OF LOVE. OP. 2, NO. 4.
This poem is quite in similar vein to that of the opus
160 THE GREAT IN MUSIC: FIRST YEAR.
5 just mentioned, but in this one the soprano voice
comes in the nineteenth measure, and thenceforth both
voices sing together. It is naturally an excellent study
in playing melody. The moods of these two love songs
are very similar, and but for the opus number of the
preceding, one would think that one must have been
a fortunate original and this one an attempt to carry
out the same idea in a little more pretentious manner.
However, it seems certain that this one was written
first, so the supposition falls to the ground.
SPRING SONG. OP. 15.
(5th Grade.)
A bright and song-like melody in a rather spirited
movement (about 72 to 84 for dotted quarters). The
song lasts for twenty-two measures, after which the
melody is repeated with a more elaborate figuration in
the bass. This piece is nothing more than a song with-
out words in the Mendelssohn vein, except that through
its richer figuration and more elaborate setting for the
piano its difficulty is increased and the effect some-
what enriched. It is to be conceived as a sweet poem
about spring.
A LITTLE WALTZ. OP. 28.
A leisurely little waltz, more meditative than dance-
like. Not too fast. (About 72 for dotted halves.)
STUDY: "IF I WERE A BIRD." OP. 2, NO. 6.
(6th Grade.)
This famous little tone-poem, "If I Were a Bird I
Would Fly to Thee," of which Von Lenz speaks with
such ardor in the extract already quoted, has been a fa-
vorite with the entire piano playing world this fifty
ADOLPH HENSELT. 161
*
years. It is simple, thoroughly congenial to the nature
of the piano, and illustrates many fine qualities in play-
ing. The alternation of the sixths with the two hands is
not easy except the player happen to have an uncom-
monly good left hand ; for this reason Dr. Mason has
proposed several methods of making one hand help
out the other, while playing precisely the same notes.
The present writer prefers the original form, believing
that when perfectly done the alternation of hand touches
upon the beats gives a more sharply defined rhythmic
effect and makes the study more musical.
Despite the apparent difficulty of this study it will be
discovered upon examination that the harmonies are
of the most simple and obvious kind. The second pe-
riod in minor makes but an ordinary transition. Every-
thing lies in the novelty with which the hands are treat-
ed upon the piano.
The great virtuoso, Mr. Leopold Godowsky, has made
another arrangement of this piece, in which the right
hand plays all the sixteenth notes of Henselt's original ;
the left hand has a precisely similar figure in contrary
motion, each hand having six sixteenths in a measure,
double notes, and the left hand with many evasive dis-
sonances, which greatly add to the difficulty. When
properly done this arrangement is even more beautiful
than the original ; but it is for virtuoso pianists only. It
is impossible for ordinary hands.
CRADLE SONG. OP. 13.
(6th Grade.)
A lovely melody in high soprano range, below which
there is an accompaniment in quiet arpeggio figures,
the rhythm being broken between the two hands. When
162 THE GREAT IN MUSIC: FIRST YEAR.
well done very pleasing. To be played with the utmost
delicacy. This piece illustrates Henselt's manner of
covering a wide compass with his accompaniments. In
this instance the accompaniment often covers three oc-
taves, and the notes follow one another so rapidly that
the whole range is kept busy. When this is accom-
plished in a delicate manner, yet with tone enough to
satisfy the ear, the effect is delightful.
(NOTE. All the Henselt selections up to this point
are found in the Henselt Album, No. 8166, Augener
Edition.)
SCHERZO IN B MINOR. A LA RUSSIE. OP. 9.
C7th Grade.)
This piece is apparently founded upon a Russian pop-
ular song. The smart rhythm is carried out in a clever
and effective manner by Henselt and there is a pleas-
ing middle piece in B major illustrating the Russian
tendency to luxury and comfort. Later the original
theme returns. (See Litolff Collection, No. 490.)
Program VII
^ NS
Dvidley Buck:
Spring's Awakening. Song.
Sunset. Song.
Stabat Mater Dolorosa. Duet.
J. K. Paine:
"The Lord is Faithful." From Oratorio St.
Peter.
Nocturne for Pianoforte.
Arthur Foote:
An Irish Folk Song.
"Love Me If I Live."
"I'm Wearin' Awa' to the Land o' the Leal."
"On the Way to the Kew."
"O' My Luv's Like a Red, Red Rose."
"Go Lovely Rose."
F. G. Gleason:
Allegro. Op. 8, No. 4.
Gavotte from "Otho Visconti."
*'O Sanctissima."
"Seek Ye the Lord."
Mrs. Gaynor:
Songs to Little Folks.
Slumber Boat.
L'Enfant.
Emil Liebling:
Romance Dramatique. Op. 2J.
Madeleine Valse. Op. 27.
Spring Song. Op. 33.
The two composers and pianists from whose works
the present program is taken are indeed strongly un-
like each other and distant each from the other as a full
generation in chronology. They also were both re-
markable innovators upon the piano, they devised new
types of melody and brought to expression upon the
pianoforte many things previously hidden. Even in the
trifling point of unusual compass of hand they were
alike, Weber being gifted with a wide stretch and Hen-
selt cultivating all sorts of extensions as part of his
system of rendering the hand responsive and capable
for the novel things he had for it to say.
In temperament the two composers were unlike.
Weber was primarily of a sunny disposition disposed to
the well sounding; Henselt was of a more brooding dis-
position, preferring to meditate and to play deep songs
for himself alone. Yet he no less than Weber wrote
one of the most pleasing of concertos for the piano-
forte with orchestra, a work which held a long and hon-
orable distinction in the repertory of the concert artist.
In yet another respect they were alike in their fond-
ness for melody; but here Henselt betrays his disposi-
tion to brood, for many of his melodies are of a deep
and serious character. Yet Henselt upon occasion
could be as light and as fanciful as any. Think of his
"If I Were a Bird" a new leaf in piano playing, equally
charming as poem and as piano piece.
141
CARL MARIA VON WEBER.
Born, Eutin, Oldenburg:, Dec. 18, 1786.
Died. London, June 5, 1826.
For Historical Sketch of Weber, see Mathews" Pop-
ular History of Music, pp. 406 to 411.
CHARACTERIZATION OF WEBER.
BY EMIL LIEBLING.
Weber was a great piano virtuoso ; if we consider
Scarlatti, the founder of the most brilliant style of piano
playing, followed by Clementi, the more modern devel-
opments may be credited to Moscheles, Hummel and
Weber, who blazed the way for Henselt, Chopin and
Liszt. Weber's piano works are brilliant, distinctly
dramatic and almost orchestral in effect; the resources
of the piano are developed to a marked degree and
many compositions, like the immortal concertstueck,
opus 79, are as fresh today as when they were first pro-
duced. Weber was Wagner's forerunner by creating a
distinctively German opera style at a time when Ros-
sini and Bellini dominated everywhere ; his success en-
couraged masters like Spohr, Lortzing and Marschner
to follow in the same special sphere.
Some of the more important innovations of Weber's
treatment of the piano are the use of continuous octave
passages with added intervals, the single and octave
glissando, brilliant extended arpeggios, intricate double
passages, the use of double thirds for both hands ;
heavily massed chords and long stretches.
His melody is always elevated and noble, even pathetic,
his climaxes are grand and martial. The four sonatas
142
WEBER.
143-
141 THE GREAT IN MUSIC: FIRST YEAR.
are master works; the first contains the famous per-
petual motion Rondo, also an impressive adagio in F,
and the .second in A flat is often played by the great
pianists; very effective are the Polacca Brilliante in E
and the Polonaise in E flat. He cultivated the sym-
phony and string quartet but little; the overtures are
effective, but do not bear comparison with similar works
by Beethoven and Mozart in point of architectural struc-
ture; their excellence consists in melodic charm and
skillful instrumentation. Historically he occupies the
undisputed position of the creator of German opera,
as evidenced in the "Freischutz," dealing with German
life and romanticism. The fantastic element found
further .development in Mendelssohn's "Midsummer
Night's Dream" music.
CHARACTERIZATION OF WEBER BY PHILIP
HALE.
In the Schirmer edition of Weber's selected works
for piano, edited by Dr. William Mason, Mr. Philip
Hale gives the following estimate of the composer:
"The enduring fame of Weber rests upon three operas
and the enormous influence he exercised upon his con-
temporaries and the men that came after him, as Meyer-
beer, Mendelssohn, Marschner, Berlioz and Wagner.
It is impossible to put too high a value upon this in-
fluence ; and yet as pianist and composer for pianoforte
his is a famous name.
"He had long flexible fingers, and as he worked out
piano problems chiefly by himself, we find a new tech-
nique shaped by his natural gifts, daring jumps, rapid
passages of thirds, sixths and octaves for both hands,
WEBER. 145
used, however, for the expression of new ideas. He
once defined the ideal style of pianoforte-playing as
powerful, expressive and full of character, and he laid
stress on 'the equal cultivation of the two hands.'
Nearly all his contemporaries speak of the fire, the bril-
liancy, the precision, the expression of his performance.
In spite of dissenting voices from Vienna the testimony
is strong that Weber was intellectually and mechanically
in the first rank of pianists."
WEBER, FROM THE STANDPOINT OF THE
PRESENT.
Carl Maria von Weber appears in a different light
according to the standpoint from which his work is ex-
amined. If, for example, we consider his pianoforte
music from the standpoint of the modern concert room,
the first noticeable point is the infrequency of his rep-
resentation upon programs, and the very small num-
ber of pieces which make up the aggregate of his con-
tributions to our actual practical entertainment in this
line. His "Invitation to the Dance," for example, with
which Liszt used to do wonders along between 1827 and
1833 or 1834, is now relegated to the boarding school,
or if played appears in an arrangement, by Tausig, Hen-
selt, Godowsky, or some other pianist, in which the
original treatment of the themes has been augmented
by a multitude of difficulties. The Polonaise in E flat
and the Polacca in E major very rarely appear nowa-
days, except occasionally Liszt's arrangement of the
Polonaise in E flat. The Rondo in E flat, so much
played two generations ago, and so highly prized for
pedagogical purposes in European conservatories, has
now entirely vanished from the concert room. The
146 THE GREAT IN MUSIC: FIRST YEAR.
same is true of the "Capriccio" in B flat, which formerly
had considerable vogue. As for the sonatas, they ap-
pear, if at all, only in extracts, a single movement from
the sonata in A flat. Occasionally, indeed, the entire
sonata is played, but with how little effect !
Almost equally true is it that the Weber operas have
vanished from the stage. "Der Freyschuetz," indeed,
still maintains its position in the current repertory, par-
ticularly in Germany, but every year sees it fade away
in interest. Its entire disappearance can be a matter of
but few years. "Euryanthe" and "Preciosa" have com-
pletely vanished.
It is in the symphony concert that Weber still main-
tains the most of his influence upon the present genera-
tion. The overtures to "Der Freyschuez" and "Obe-
ron" still remain among the cherished gems of the or-
chestral repertory. The "Invitation to Dance" is es-
teemed here also, as one of the most popular and enter-
taining of selections, but always in the scoring of Ber-
lioz or Weingartner. Moreover the songs of Weber
cut but little figure nowadays. Even such charming
sweetnesses as his "Slumber Song". are very rarely
heard; and his great and universally sung aria, "Ocean,
Thou Mighty Monster," has effectually disappeared.
Such being the present facts concerning the vogue
of this master, in what sense it may be asked, can it be
said that he is a master of first rate importance in our
days?
To this question several answers can -be made. First
of all, speaking from the standpoint of the pianoforte,
Weber was a real musician and a creative tone-poet,
and in some of his smallest pieces, such as the four
hand sonatina in C, there are melodies worthy of large
WEBER. 147
setting. His "Invitation to Dance" was perhaps the
very first idealized waltz to be written by any one ; his
other piano music was romantic in character and, while
not explained by significant titles or other evidences of
poetic meaning, the music itself is eloquent of the fact
that something beyond mere musical symmetry had
been in the mind of the composer at the moment of
creation. That his brilliant polonaises have now been
superseded by the more vigorous and more highly pian-
istic works of Chopin a half a generation later, is not
to Weber's discredit. Very likely if he had not written
in this vein Chopin himself might have lacked courage
to create the splendid examples which so well illustrate
his distinguished genius.
In fact, it was probably upon the influence Weber
exercised in his life time, and the inspiration he gave
other young composers that we must base his claim
upon posterity. Nevertheless wher we remember that
it is now three-quarters of a century since the "Invita-
tion" was created, and that it still remains a remarkably
bright and timely piece for the drawing room, this
surely is much credit for von Weber.
So, also, of his orchestral works. His symphonies,
of which he composed two, have now gone to oblivion ;
but the operatic overtures have established themselves
as classics. More. They have in them the seeds of
much which meets us in the works of Wagner and the
later romanticists. In the "Freyschuetz" overture the
leading motive appears and the suspended movement
over the Wolf's glen pizzicato of the basses, is as signifi-
cant as the famous horn in the two "Leonore" overtures
of Beethoven. So, again, in the overture to "Oberon,"
the fairy music appears earlier than with Mendelssohn.
148 THE GREAT IN MUSIC: FIRST YEAR.
Weber, also, was an innovator in the use of the horns,
which he understood better than any operatic writer
before him. All his orchestral music has a tone of
its own, a color scheme peculiar to himself, a discreet
and well modulated scheme, not overdone, not too
meagre.
He is, therefore, to be counted one of those geniuses
who for the moment when they appear entirely fill the
stage and set in operation principles of composition and
ideals which otherwise would have had to wait for
their first voicing. Yet such is the attractiveness of
the new ideals that straightway many other gifted ones
enter into the new paths, explore farther, bring forth
still more brilliant and striking results, whereby the
originator of the school or tendency is put in the back-
ground, even while he is really the originator of the
entire dispensation. Something of this sort is true of
Weber.
Another point which works against Weber in this
latest day is the lack of any very deep and intense cry
of the soul in his works. His music is music as such ;
to be enjoyed, to be praised, to be played for satisfac-
tion. That a world would arise eager for the discord-
ant, the dissatisfied and the unbeautiful was something
which Weber did not foresee. And if he had been
given the foresight no doubt it would have poisoned
the naive beauty of the master works he turned out so
freely.
THE WEBER SELECTIONS IN DETAIL.
SONATINA IN C. OP. 3.
(2d Grade.)
This charming little sonatina in C is available in eith-
er of two forms for two hands or for four. The latter
WEBER. 149
was the original form. It is very easy, full of melody
and a delightfully fresh naivete. The second movement
is a lovely larghetto (about 66 for eighth notes) worthy
a larger field. The melody is deep and beautiful and
the harmonies expressive, at times dramatic. The third
movement is a very pleasing little Menuet. (Observe
all the repeats, otherwise the piece is too short to de-
velop a mood in the hearer.) The fourth movement is
an Andante air with three variations. The structure of
the variations is worth noting. The first variation has
mainly figuration for the upper voice. The second be-
gins with six measures for the second player. Here
the theme is developed in syncopation in a charming
manner and in minor tonality. Evidently just here he
had the idea that the teacher would play the bass of the
duet, leaving the easier upper part for the pupil. The
third variation is a light and rondo-like movement in
6-8 measure, and again in the major mode. The fifth
movement is a miniature march in C major; and finally
a sixth movement, a jolly happy rondo.
The so-called "sonatina" is more properly a "suite"
(or succession of pieces) than a sonatina, since, properly
speaking, the sonatina has only three movements. If
the first, second and sixth movements were played with-
out the others, the sonaflna form would have been per-
fect. There are few pieces so small as this which con-
tain so much music.
INVITATION TO DANCE. OP. 65.
(5th Grade..)
The Invitation to Dance marks an interesting epoch
in musical art ; the ancient dance forms had served their
purpose long and well and the old masters had used
150 THE GREAT IN MUSIC: FIRST YEAR.
them freely. Weber here idealizes a modern terpsi-
chorean form, indirectly weaves a story around it, and
produces a master work of singular charm and lucidity ;
the Chopin waltzes carry out the same scheme very
happily at a later period. The introduction is a dis-
tinct dialogue and requires much discrimination in vari-
ety of touch, tone production and interpretation. The
following allegro is fiery and dashing, the waltz part
may again be taken somewhat slower ; a fine example of
pianistic instinct is given later on where the scale of
C is played at the distance of two octaves, giving the
effect of the omitted middle octave in consonance with
those played; the same effect is used at the close of
the Polacca in E, and by Schumann at the finish of the
allegro, opus 26. I should consider all repeats as oblig-
atory, with the possible exception of the second portion
of the waltz part. The "Invitation to the Dance" lends
itself readily to orchestral treatment, as evidenced by
the Berlioz and Weingaertner arrangements. Tausig's
paraphrase usually proves an interesting reminiscence
to those who have attempted it. E. L.
AIR FROM "DER FREYSCHUETZ."
(For Soprano.)
This aria occurs in the opera while Agatha is watch-
ing at night for the return of her lover. It is brilliant
moonlight, a calm, still night, full of mystery and deep
suggestiveness. The kernel of the song is the prayer,
the soft, slow melody which is now well known to
everybody and has been made into a church tune in
America. It is sung softly, with a very pure and sus-
tained tone, accompanied by the muted violins, violas
and cellos. This is one of the most exquisite gems in
WEBER. 151
all opera. Later on, after the prayer has twice been
gone through, with interludes of reflective comments,
the aria breaks off into a rapid and exultant presto as
Agatha hears the step of her lover and receives him
back again from whatever unknown danger had
weighed upon her soul.
"How could I fain have slumber'd?
Before his face I saw?
Ah! Love with grief is cumber'd;
"Tis fate's eternal law."
Recit. :
"Now walks the moon her path of light?
Oh, heav'nly night."
Then the prayer:
"Holy, holy, meek and lowly,
Rise, my soul, where stars swing slowly!
Echoes waking, taking pinions,
Waft my prayer to heav'ns dominions!"
"Oh, how bright the stars are sparkling!
How like gems they stud the skies!
Yet above yon mountains darkling,
Seems a thunder-storm to rise;
There, too, beyond the forest vast,
Black and heavy clouds fly past.
"Lo! before thee I adore thee!
Lord of mercy I implore thee!
Angels send us to defend us,
From the threat of ill tremendous;" etc.
POLACCA BRILLIANTS IN E MAJOR. OP. 72.
(5th Grade.)
A brilliant illustration of the polonaise spirit, con-
ceived in a mood of brightness and mirth. To be
played with spirit, but not too fast. (About 96 for
quarters.) The measure is properly one of six beats
but not of the usual six of two threes ; it is a six com-
posed of three twos. The polonaise keeps this movement
152 THE GREAT IN MUSIC: FIRST YEAR.
of eighth notes always clear, and there is an accent al-
most invariably upon the fifth beat, as plainly intended by
the change of harmony which generally occurs at that
point.
The middle piece of this polonaise is a very quiet mel-
ody in the original key instead of being in a related key
as is usual. Underneath the reposeful melody, how-
ever, the rhythm of the polonaise keeps up without ces-
sation.
On the whole, a very brilliant and effective piece, full
of spirit and verve.
SLUMBER SONG.
A soft, sweet melody, very simple.
"Sleep, darling baby, my idol art thou!
Close those dear pretty blue eyes of thine now,
All is so quiet, so peaceful and still,
Sleep, while I guard thee from harm and from ill.
"Life to thee now, love, is golden and bright,
Later, ah later, will fade its fair light;
Soon as dull care once thy pillow hangs o'er,
Dearest, thou'lt slumber so calmly no more."
RONDO BRILLIANTE IN E FLAT. OP. 62.
(6th Grade.)
This piece for many years formed one of the ad-
vanced posts of brilliant piano playing. It is conceived
in a bright and popular vein, and one can imagine that
given by its author, with his marvelously clear touch
and sprightly musical feeling, it must have made ai
effect. Liszt used to play it when it was new. The
name of the piece in many collections is given as
"Gaiety," a name which well suits the bright and pleas*
ant rhythm and the pleasing melodies.
From a modern point of view this piece is too long
for the substance it contains; but in its day it was a
WEBER, 153
most welcome addition to the stock of pleasing pieces
for concert or private playing. The movement not too
fast. (About 84 for quarters ; a little slower will an-
swer.)
OVERTURE TO "OBERON." FOUR HANDS.
(4th and 5th Grades.)
The overture to "Oberon" presents several of the
features of the musiciof the opera. The opera of "Obe-
ron deals with the adventures of a Knight who is pro-
vided with a magic horn, giving a long drawn tone of
singular sweetness and penetrating power. When .this
note is sounded, which must be only under the stress
of the greatest and apparently irreparable danger, the
fairies bring aid. This long-drawn note of the magic
horn is that which begins the overture. It occurs again
in the third measure. In the sixth we have the light
footfalls of the fairies in the high sixteenth notes. In
the m. 22 the allegro proper begins, brilliant, driving,
full of life. Adventure follows after adventure until in
m. 55 the magic horn is again heard, followed by the
fairy music, this time in eighths, the movement having
become so much quicker than at first that the eighths
now give the proper lightness to the fairy steps. In m.
65 comes the second subject, which here happens to be
the singularly lovely melody of the mermaid's song:
"Oh, it is pleasant to float on the sea."
Beginning with m. 103, there is a short elaboration of
the principal idea, the movement becoming more and
more energetic and excited until in m. 154, the begin-
ning of the mermaid's song is heard again, but now in
the key of F sharp major, given by the violins, while it
is supported upon a brilliant accompaniment of the
154 THE GREAT IN MUSIC: FIRST YEAR.
brass. Just after this the recapitulation begins and so
the work is brought to an end in m. 257.
This overture is justly admired and often given in
orchestral concerts. It is one of the most attractive
pieces in the entire orchestral repertory.
ADOLPH HENSELT.
Born Schwabach, Bavaria, May 12, 1814.
Died Warmbrunn, Silesia, Oct. 10, i88g.
Adolph Henselt was a remarkable pianoforte virtuoso
of the same generation as that of Liszt and Wagner.
Beginning his early musical studies at Munich, he gave
such evidences of talent that an allowance was made him
from the privy purse of King Ludwig I., which enabled
him to continue his studies with Hummel at Weimar ;
later, he went to Vienna, where he devoted himself
mainly to theory under the celebrated teacher, Simon
Sechter, meanwhile working out his pianoforte ideas by
himself. In this way he finally arrived at great virtuos-
ity and a characteristic style of his own, differing from
that of Liszt in being less brilliant and showy but more
expressive and, above all, distinguished for deep and
full melody, perfect legato, and the trick of supporting
his melodies by a wide range of harmony covering at
times nearly three octaves. By assiduous practice he
impaired his health, but in 1837 he made his first con-
cert tour and was received with the greatest possible
enthusiasm. His playing is said to have been of the
most poetically inspired character and highly individual-
ized. His peculiarities of expression found expression
in three books of studies, opus 2, 5 and 13 ; and in a very
beautiful pianoforte concerto and other works. Riemann
credits him with having been the first to enlarge the
scope of fantasias upon operatic themes, then as long
after a very popular form of piano music, by including
155
156 THE GREAT IN MUSIC: FIRST YEAR.
several themes in one piece. In the year 1838 Henselt
reached Russia upon a concert tour and was greeted
with such warmth that he always after remained there,
excepting in late years when his active duties had come
to an end.
With all his astonishing mastery of the pianoforte,
Henselt was dreadfully nervous and sensitive to obser-
vation. Accordingly when he had received the honorable
appointment of teacher of music to the royal princesses
in the family of the Czar, with suitable emoluments, he
resolutely refused to give any more concerts, and in
thirty years was heard in public only three times in St.
Petersburg. An anecdote illustrating this trait of Hen-
selt is told, that while he was living one summer at
Dresden a traveling musician of distinction wished to call
upon him to pay his respects. Accordingly he went to
the house and as he climbed the stairs to the elevated
domicile of the artist he heard him playing most beau-
tifully. As this was exactly what the visitor had most
desired (the fame of Henselt being world-wide, yet very
few had actually heard him) he seated himself upon
the stairs and listened for nearly an hour to a most beau-
tiful composition or series of compositions, in which the
piano was illustrated in a most poetic and novel man-
ner. At length the playing ceased and after waiting a
few minutes in the hope it would recommence, the vis-
itor announced himself and was received with the cor-
diality due to a brother artist. After some conversation
he inquired of the pieces he had heard and requested
Hanselt to play one of them again. After a little de-
mur Henselt complied. But with what a difference !
The visitor said that it seemed like another player.
Where before there had been freedom, lovely tone and
ADOLPH HENSELT. 157
most delightful expressiveness, the touch had become
dry, the execution strained, and the whole piece sound-
ed like a different work. Such was the repression of
the artist's freedom by the presence of even a single
stranger.
Henselt's compositions are characterized by pleas-
ing and well-sounding melody, which generally sounds
a little better than it is ; i. e., the melody pleases very
much but soon becomes familiar, owing to its being
supported upon harmonies which are often common-
place and rarely of dramatic intensity. The appearance
of depth and strong feeling are often illusory, and lie
in the effect of his wide arpeggios in the bass. Never-
theless they illustrate peculiar features of piano playing
and are worthy of further study. From a technical point
of view almost everything of Henselt is rather difficult,
and most things are impossible for any but very good
pianists. The most played of his works are his fa-
mous pianoforte concerto, and the delightful study in F
sharp major, with the motto : "If I Were a Bird, I
Would Fly to Thee." This has been played every-
where this fifty years and more and its lease of life bids
fair to continue for a long while.
It is a curious circumstance, which the advanced stu-
dent of the piano will appreciate, that Henselt's ten-
dency to absolute legato instead of the staccato of Liszt,
comes back again in some very advanced works lately
composed by Mr. Leopold Godowsky, his metamor-
phoses of Chopin studies. In these he not only gives
the left hand the same thing to do which Chopin orig-
inally planned for the right (most players find them
quite difficult enough in the original) but he adds a
variety of other particulars, such as a flowing cantilena
158 THE GREAT IN MUSIC: FIRST YEAR.
in the soprano, and various subordinate voices coming
in at all sorts of illusive and evasive intervals. The
whole is like a fairy story, and it is based upon abso-
lute legato throughout, excepting in the fundamentals,
where naturally the pedal is called upon for its aid.
HENSELT'S PLAYING CHARACTERIZED BY
VON LENZ.
Von Lenz, in his "Piano Virtuosos of Our Time,"
gives the following lively account of the first appearance
of Henselt in St. Petersburg.
"Henselt first appeared in St. Petersburg in the con-
cert season of 1838, and since then has left us only
occasionally. I happened to be at the Count Wielhor-
ski's when Henselt first called there. I shall never for-
get the extraordinary impression he made by the inter-
pretation of his F sharp Major Etude. It was like an
Aeolian harp hidden beneath garlands of sweetest flow-
ers ! An intoxicating perfume was crushed from the
blossoms under his hands soft, lie falling rose leaves,
the alternating sixths, which, in one and the same oc-
tave, pursued, teased, embraced, and enraptured! Such
a charm of rich fullness of tone in pianissimo had never
been before heard on the piano ! After the delicate
whisper in the principal theme, the Minore entered ener-
getically, mounting from one degree of power to an-
other, taking the instrument by storm, to lose itself
again in a magic dialogue of sixths ! Thirty-two years
have passed since then, but the enchanting picture still
lives before the inner eye.
Henselt must have perceived how enraptured we were
with his performance for as soon as he had finished the
ADOLPH HENSELT. 159
piece, he commenced again at the most touching part
of his poem, and played it through once again, with
modified gradations of expression. It was like gleaning
after a harvest of joy ! He must have been satisfied with
it himself, and have rejoiced to read his instant triumph
in the eyes of connoisseurs of such high standing as
the Counts Wielhorski.
In quite a different style flowing more quietly, broadly
and deeply, followed his Poeme d'Amour in B flat Maj-
or, which, passing over from an unquestionably new
nocturne-style, changes to a not less deeply felt allegro
or variation-style, and closes with the highest degree
of bravura in arpeggios, which covered the whole ex-
tent of the instrument and which he hurled like heavy,
well-aimed spears without exceeding the limits of
euphony, without once overstepping the measure of
power allowed to the piano. Such playing had never
been heard ! Such tenderness allied to so much force ;
a depth of meaning so sufficient to itself, with all its
euphemistic concessions to the audience, was an artistic
feat, a phenomenon, wholly unique."
A SONG OF LOVE. OP. 5, NO. 11.
(5th Grade.)
A charming baritone melody, a song of love, a poem
in tones. To be played smoothly, with great affection
and well chosen expression. The melody consists of a
strain of eight measures, which is repeated. In m. 17
begins the second strain in minor, returning again (m.
24) to the original melody. This part also is repeated.
In m. 48 begins the short coda, which leads to repose.
THE REPOSE OF LOVE. OP. 2, NO. 4.
This poem is quite in similar vein to that of the opus
160 THE GREAT IN MUSIC: FIRST YEAR.
5 just mentioned, but in this one the soprano voice
comes in the nineteenth measure, and thenceforth both
voices sing together. It is naturally an excellent study
in playing melody. The moods of these two love songs
are very similar, and but for the opus number of the
preceding, one would think that one must have been
a fortunate original and this one an attempt to carry
out the same idea in a little more pretentious manner.
However, it seems certain that this one was written
first, so the supposition falls to the ground.
SPRING SONG. OP. 15.
(5th Grade.)
A bright and song-like melody in a rather spirited
movement (about 72 to 84 for dotted quarters). The
song lasts for twenty-two measures, after which the
melody is repeated with a more elaborate figuration in
the bass. This piece is nothing more than a song with-
out words in the Mendelssohn vein, except that through
its richer figuration and more elaborate setting for the
piano its difficulty is increased and the effect some-
what enriched. It is to be conceived as a sweet poem
about spring.
A LITTLE WALTZ. OP. 28.
A leisurely little waltz, more meditative than dance-
like. Not too fast. (About 72 for dotted halves.)
STUDY: "IF I WERE A BIRD." OP. 2, NO. 6.
(6th Grade.)
This famous little tone-poem, "If I Were a Bird I
Would Fly to Thee," of which Von Lenz speaks with
such ardor in the extract already quoted, has been a fa-
vorite with the entire piano playing world this fifty
ADOLPH HENSELT. 161
*
years. It is simple, thoroughly congenial to the nature
of the piano, and illustrates many fine qualities in play-
ing. The alternation of the sixths with the two hands is
not easy except the player happen to have an uncom-
monly good left hand ; for this reason Dr. Mason has
proposed several methods of making one hand help
out the other, while playing precisely the same notes.
The present writer prefers the original form, believing
that when perfectly done the alternation of hand touches
upon the beats gives a more sharply defined rhythmic
effect and makes the study more musical.
Despite the apparent difficulty of this study it will be
discovered upon examination that the harmonies are
of the most simple and obvious kind. The second pe-
riod in minor makes but an ordinary transition. Every-
thing lies in the novelty with which the hands are treat-
ed upon the piano.
The great virtuoso, Mr. Leopold Godowsky, has made
another arrangement of this piece, in which the right
hand plays all the sixteenth notes of Henselt's original ;
the left hand has a precisely similar figure in contrary
motion, each hand having six sixteenths in a measure,
double notes, and the left hand with many evasive dis-
sonances, which greatly add to the difficulty. When
properly done this arrangement is even more beautiful
than the original ; but it is for virtuoso pianists only. It
is impossible for ordinary hands.
CRADLE SONG. OP. 13.
(6th Grade.)
A lovely melody in high soprano range, below which
there is an accompaniment in quiet arpeggio figures,
the rhythm being broken between the two hands. When
162 THE GREAT IN MUSIC: FIRST YEAR.
well done very pleasing. To be played with the utmost
delicacy. This piece illustrates Henselt's manner of
covering a wide compass with his accompaniments. In
this instance the accompaniment often covers three oc-
taves, and the notes follow one another so rapidly that
the whole range is kept busy. When this is accom-
plished in a delicate manner, yet with tone enough to
satisfy the ear, the effect is delightful.
(NOTE. All the Henselt selections up to this point
are found in the Henselt Album, No. 8166, Augener
Edition.)
SCHERZO IN B MINOR. A LA RUSSIE. OP. 9.
C7th Grade.)
This piece is apparently founded upon a Russian pop-
ular song. The smart rhythm is carried out in a clever
and effective manner by Henselt and there is a pleas-
ing middle piece in B major illustrating the Russian
tendency to luxury and comfort. Later the original
theme returns. (See Litolff Collection, No. 490.)
Program VII
^ NS
Dvidley Buck:
Spring's Awakening. Song.
Sunset. Song.
Stabat Mater Dolorosa. Duet.
J. K. Paine:
"The Lord is Faithful." From Oratorio St.
Peter.
Nocturne for Pianoforte.
Arthur Foote:
An Irish Folk Song.
"Love Me If I Live."
"I'm Wearin' Awa' to the Land o' the Leal."
"On the Way to the Kew."
"O' My Luv's Like a Red, Red Rose."
"Go Lovely Rose."
F. G. Gleason:
Allegro. Op. 8, No. 4.
Gavotte from "Otho Visconti."
*'O Sanctissima."
"Seek Ye the Lord."
Mrs. Gaynor:
Songs to Little Folks.
Slumber Boat.
L'Enfant.
Emil Liebling:
Romance Dramatique. Op. 2J.
Madeleine Valse. Op. 27.
Spring Song. Op. 33.
Subscribe to:
Posts (Atom)