Joseph Haydn

II. HAYDN AND JENSEN.



JOSEPH HAYDN.

Born at Rohrau, April i, 1732.
Died at Vienna, May 31, 1809.

For Biographical sketch, read History, pages 284 to 291.

A NEARER VIEW OF "PAPA HAYDN" AND HIS
MUSIC.

In the same way that Bach, coming from a long line
of professional musicians, represents the purely musical
element carried to its logical conclusion, so Haydn,
coming from a purely peasant stock, represents the en-
trance into cultivated music of the spirit of the people's
song.

The fundamental coloring of most of Haydn's music
is cheerful, sometimes humoristic, occasionally strong
and deep ; but the general run of it is cheerful and op-
timistic. This will be seen in all the selections to be
studied. If Haydn, for caprice, selects a sad motive,
one in a minor key, almost immediately the sun breaks
through the clouds and his native good cheer rules.

Now, first to explain what we mean by "people's
song" in the music of Haydn : The people's songs are
those popular melodies which spring up hardly any can
tell how, and which, proving attractive to the popular
ear, are caught up and sung and played by every one.
Sometimes these melodies undergo modifications while
passing along from one self-taught musician to another ;

40




JOSEPH HAYDN.
-41-



4'2 THE GREAT IN MUSIC: FIRST YEAR.

but such modifications are almost always in the direction
of greater simplicity, a more perfect symmetry, and a
more agreeable melodic finish. For instance, the first
period of the sonata in C major (No. 5, Schirmer edition,
eight measures) is almost exactly a folk-song type. It is
symmetrical (having a like length and a like rhythm for
each phrase), and the harmony concludes itself up upon
the tonic. Another example is the eight measures of the
Finale of sonata in E flat (No. 3, Edition Schirmer).
Here the period ends in upon the dominant, but this
also sometimes takes place in popular melodies, though
never in the more simple form of them. A folk-song,
then, has to be based upon very simple harmonies, and
there must be some sort of catchy melody to it. All of
these conditions are fulfilled in these melodies of Haydn.
It is, however, quite rare to find in the works of Haydn
melodies which stop short in the "folk-tone," i. e., re-
main in the exact spirit of popular melodies. Generally,
after an opening of this kind, he goes on with a develop-
ment which is purely musical ; in this, while the spirit
of the melody is preserved, he adds one after another of
the elements of musical surprise at times almost witti-
cisms. Take, for instance, the first part of the Andante
of the famous "Surprise" symphony. This is the sim-
plest possible melody, moving along the track of the two
main chords of the key. It also proceeds softly and un-
ostentatiously. But at the very end of the period, when
all hearers are not alone settled down to this soft and
leisurely gait, but have also foreseen the end of the
period and are paying still less attention than at the be-
ginning (the impression being that all is said that is
to be said), suddenly there is a very loud chord by the
full orchestra, and some peculiarly vicious strokes of the



JOSEPH HAYDN. 43

drums. Everybody starts in surprise, especially the
ladies, as Haydn foresaw. This expedient, which occurs
in one of the symphony's written for Salomon at Lon-
don, was probably a recollection of a similar expedient
employed sometimes to arouse the attention of the
grand visitors at Esterhaz, visitors not so musical nor
so attentive as the genial Prince himself.

It is not possible to say whether Haydn was influenced
in the direction of employing melodies of simple and
naive cut by the Italians. Corelli, the Italian violinist,
had written many pieces for violin and various combina-
tions of instruments, in which the same popular type of
melody prevails ; and this was about a hundred years
before Haydn. Tartini, the great Italian violinist, fifty
years before Haydn, wrote many pieces in the same
style, and it is not at all impossible that Porpora, the
great Italian composer and teacher of singing, who
made so many suggestions to Haydn, may have put him
upon this track. More likely, however, the spirit of this
popular music was "in the air," was, in fact, Haydn's
native musical tendency, all his technical training being
superimposed upon this foundation. Such, I think, is
the true state of the case, and this explains the general
build of his music.

Period I and period III are quite alike, except the end-
ing, which in the first case is into the dominant, and the
second a complete close upon the tonic. Then begins
(last beat of measure 24) a second part, also consisting
of three periods. He then recalls the first theme a little,
but changes the mode, and gives it with modi-
fications, in the E flat minor. Then at length we return
to the theme in its original form, and so the composition
comes to an end. The works of Bach or those of the



44 THE GREAT IN MUSIC: FIRST YEAR.

sons of Bach, will be searched in vain to find a similar
movement. Even so popular a theme, it would be very
difficult, if not impossible, to find in any of their works ;
and the working out would be very different and far
more elaborate and less simple and satisfactory.

Haydn was more than half right in his famous dictum
that it did not matter so much what the idea was as the
manner of its treatment. By dint of endless practice
and writing incessantly for a half century he made him-
self a composer of most ready invention and sound taste.
That he had not so much to say of heart-stirring pro-
fundity was, perhaps quite as well for his purpose and
for the happiness of his noble hearers. It was his pri-
mary duty to be interesting, and next to that to be
sprightly. To have been a bore would have brought
his duties to a summary end. Still we must not make
the mistake of confusing the popularity which Haydn
sought with that which composers nowadays seek.
Haydn's master, Prince Esterhazy, was a cultivated ama-
teur musician, no doubt well taught and familiar with
everything of importance which had been written up to
that time. He was, therefore, a genial judge, ready to
be pleased with everything which ought to have pleased
him. Moreover, in the same way that Prince Esterhazy's
attention had been called to the "little blackamoor,"
Haydn, by hearing one of his works at Count Morzin's.
so many a princely visitor at Esterhaz was no doubt
ready to comment upon the sprightliness and charming
musical qualities of the Prince's musical conductor,
Haydn again. In short, Haydn had that something
which makes his work interesting. It was very doubt-
ful whether the most careful scrutiny would ever dis-
cover in Haydn's music, written while in the Esterhazy



JOSEPH HAYDN. 45

service, any inferiority to that written later, except that
in the later case, having an entirely new audience to
address, he was able to put in everything which he had
found best in his previous works. The Salomon sym-
phonies, therefore, may be taken as a sort of summary
of Haydn's entire musical imagination.

RUBINSTEIN ON THE MUSIC OF HAYDN.

It is scarcely possible to imagine a truer picture of
the last quarter of the XVIII century until 1825, than
is sung in the works of Haydn, Mozart, Beethoven and
Schubert, especially with reference to Vienna. This
amiable, genial, merry, naive, careless tone; not touch-
ing, in the slightest degree, upon the weal or woe of
mankind, or the spirit of the world and its sorrows ;
bringing his Maecenas (Prince Esterhazy) a new sym-
phony or a new string quartet almost every Sunday, that
good old gentleman, with his pockets full of bon-bons
(in a musical sense) for the children (the public)) ; how-
ever, always ready to give the badly behaved a sharp
reprimand ; the good-natured, faithful subject and func-
tionary, the just and strict teacher, the good-souled pas-
tor, the distinguished citizen in powdered perruque and
cue, in a long, broad frock, in frill and lace, in buckled
shoes all that I hear in the music of Haydn.

Whenever I play or hear his compositions, I see his
public ; ladies who, on account of the prevailing toilette,
can scarcely move themselves, and who smile and nod,
applauding with their fans his graceful melodies and
naive musical merit. Gentlemen, who, taking a pinch
of snuff, snap the box-lid down with the words: "Nay,
after all, there is nothing to compare with our good old
Havdn."



46 THE GREAT IN MUSIC: FIRST YEAR.

We have to thank him for very much as regards in-
strumental music. He brought the symphonic orchestra
almost to Beethoven's maturity, stampd the string
quartet as one of the most noble and most beautiful
forms of music, gave grace and elegance to pianoforte
composition and technique, and enriched, broadened and
systematized instrumental forms. He is a remarkable
personage in the art.

HAYDN AND HIS 'TEMPEST."

One night, when Haydn and a few companions were
playing trios before some of the wealthy houses of
Vienna, hoping in this way to gain a certain trifle of
ready cash, they happened to stop under the window
of Bernadone Curtz, the director of the theater. Down
rushed the director in great excitement.

"Who are you ?" he shrieked.

"Joseph Haydn."

"Whose music is that?"

"Mine."

"The deuce it is ! And at your age, too !"

"Why not? I must begin with something."

"Come along upstairs."

And so the enthusiastic director was soon explaining
to Haydn his libretto, "The Devil on Two Sticks," for
which he wished Haydn to write music according to his
directions. It was no easy task, for the music was to
represent all sorts of things, catastrophes, fiascos, tem-
pests. The tempest drove both to despair, for neither
of them had ever seen one.

Haydn sat at the piano, banging away in despair ; be-
hind him stood the director fuming, raving and explain-
ing what he did not understand to Haydn, who did not



JOSEPH HAYDN. 47

understand him. At last, in a fit of distraction, the
pianist, opening wide his arms and raising them aloft,
brought down his fists simultaneously on the two ex-
tremities of the key-board, and then rapidly drawing
them together until they met in the middle, made a clean
sweep of all the white keys.

"Bravo, bravo, that's it that's the tempest !" cried
Curtz; and jumping wildly about, he finally threw his
arms around the musician, who had summoned the
spirits from the vasty deep, and afterwards paid him
one hundred and thirty florins for the music, "the storm
at sea" included. H. W. HAWEIS.

CHARACTERIZATIONS OF THE SELECTIONS
IN DETAIL.

ANDANTE GRAZIOSO.

(12 Little Pieces, No. i. 3d Grade.)

Very soft and flowing, not stiff, but flexible, like a
melody well played by a string quartet. All the voices
must have a melodic flavor, and the soprano must pre-
dominate, like a beautiful song. Observe the charming
effects of the chromatics in measures I, 3, 4, 5 and the
diminished seventh in 6, and lovely chromatic chords in
the measure following. After the double bar the music
modulates into C minor, and then later into E flat (m. 12
and 13), but only to pass back to its original key by a
lovely chromatic tone (last beat in m.i3).

"And peasant girls, with -deep blue eyes,

And hands which offer early flowers,
Walk smiling o'er this paradise."

Lord Byron.
ALLEGRO IN F.

(12 Little Pieces, No. 2. zd Grade.

Here again we have a complete piece of music in
miniature. The characteristic note is the eighth note,



48 THE GREAT IN MUSIC: FIRST YEAR.

and the motion is quick, almost hurried. After the
double bar some charming syncopations begin (last
note of m. 8, 10, 12, etc.) In these there is no rhythmic
syncopation, in the sense of taking a tone and holding
it over ; but the strong phrasing and the sequence give
a syncopated effect. (Note. In this syncopation the
note upon the fourth beat is accented as well as the
"one" immediately following.)

"Gaily we leaped the crag and swam the pool,
And swept with dimpling eddies round the rock,
And glided between shaded meadow banks."

William Cullen Bryant.

ANDANTE FROM "SURPRISE" SYMPHONY.

(Album, No. 15. 3d Grade.)

An Abridgement of the famous "Surprise" movement.
Note the quiet movement and then the very loud chord
at the close of the line. The whole very songful and
melodious.

"That fawn-skin-dappled hair of hers,

And the blue eye

Dear and dewy,
And that infantine fresh air of hers."

PRESTO IN D MAJOR.
(12 Little Pieces, No. 4. 3d Grade.)

Again a complete piece of music in miniature. Note
the quick movement, the pleasing symmetry of the melo-
dy and the modern character of the whole, the charm-
ingly conceived chromatic notes, emphasizing the modu-
lations. (Measures 2, 3, 5, 6, 7, etc.) In the second
strain observe the lively imitation between the bass and
the soprano.

"Did young people take their pleasure when the sea was warm

in May?

Balls and masks begun at midnight, burning ever to mid-day,
When they made up fresh adventures for the morrow, do you say?"

Robert Browning.



JOSEPH HAYDN. 49

ROMANZA IN E FLAT.

12 Little Pieces, No. 8. 3d Grade.

A very reposeful tone-poem, a song of twilight, of
evening. Note the charming enlivenment produced by
the eighth note motion in the bass of the second strain.
The melody all the time reposeful, song-like, not hurry-
ing or in any way excited.

"Yon hanging woods, that touch'd by autumn seem
As if they were blossoming hues of fire and gold;
The flower-like woods, most lovely in decay,
The many clouds, the sea, the rock, the sands,

Lie in the silent moonshine."

Samuel Taylor Coleridge.

MENUETTO IN F.
(12 Little Pieces, No. 10. 3 Grade.)

In this Menuetto we have a very characteristic illus-
tration of Haydn's genius, and at the same time a
curious similarity to a melody in one of Mozart's sonatas
(to be noted in the next program). Very light and
dainty, not hurried, yet not dragging. In Haydn's time
they probably played it at about 126 for quarters. We
now play these movements much faster. The "Trio"
is in the same key as the principal part, in the same man-
ner as the successive movements of the Suite. In mod-
ern usage (and in all since Beethoven) this movement
would have been in some nearly related key (B flat, G
minor, or even D flat).

"Sweet breeze, thou only, if I guess aright,
Lifteth the feathers of the robin's breast,
That swells his little breast, so full of song,
Singing above me, on the mountain ash."

Samuel Taylor Coleridge.

FIRST MOVEMENT FROM SONATA IN D MAJOR.

(No. 7, Schirmer. 4th Grade.)

This sonata is one of the best illustrations of Haydn's
style. The main idea is very sprightly and pleasing,



50 THE GREAT IN MUSIC: FIRST YEAR.

and is carried out in a lovely manner. The second idea,
entering in measure 17, is only a slight contrast with
the principal theme. We shall find in Mozart and Beet-
hoven uniformly a greater contrast between these two
important parts of the sonata movement. The Elabora-
tion (one page following the double bar) is clever and
quite in the manner of a string quartet or orchestra,
without any record for the inconvenience of the left
hand in taking .,p a lively melody of this kind. The
impression of the entire movement is bright, good-
tempered, sparkling and strong. The slow movement
following is not sufficiently good for our purpose as
an illustration. The finale is very sprightly, but too
long spun out for modern ideas. The short movements
already given illustrate this phase of Haydn's imagina-
tion well enough. (Nos. 2 and 4.)

FINALE. TEMPO DI MENUETTO.

(Sonata in E Flat, No. 3 Schirraer. 4th Grade.)

A very charming movement in minuet .movement.
The melody is graceful and the harmony agreeable,
while the rhythm is delightful. After the theme has
been carried out in major it is treated in minor (3d page
of copy), after which the theme returns unchanged.
Pleasing and well done.

"MY MOTHER BIDS ME BIND MY HAIR."
(12 Canzonett. No. 3.)

'My mother bids me bind my hair

With bands of rosy hue.
Tie up my sleeves with ribbons rare,
And lace my bodice blue."

This naive and delightful song is from a set of twelve
Canzonets which we*re formerly much sung in England.



JOSEPH HAYDN. 51

It is praised for its charming melody and the sweet and
naive spirit pervading it.

"GOD SAVE THE EMPEROR."

(Theme and Variations, from String Quartette. The Smaller
Piece of Haydn. B. & H.)

As an example of Haydn's musicianship in its
stronger development, let us take the well-known Aus-
trian. Hymn, which he composed as 1 subject for a
slow movement in a string quartet. In the first varia-
tion the lower voice has the melody unchanged, while
the other instruments have a running counterpoint.

In the second variation the melody remains in the
lower voices, but the accompaniment has become
stronger, more impassioned. (Observe the syncopa-
tions, both harmonic and rhythmic.) In the third varia-
tion the melody changes about from soprano to alto,
and the accompaniment is light, but always flowing, like
a song for stringed instruments. In the fourth variation
the harmony is modified somewhat.

ANDANTE WITH VARIATIONS IN F MINOR.

(6th Grade.)

On the whole the most serious piece of Haydn's work
for piano is perhaps the well-known air and variations in
F minor. The theme of this piece is long, being a short
movement in itself, running to twenty-nine measures
without the repeats. It is taken quite seriously, in a
movement more adagio than andante. (About 84 for
eighths). Everything turns upon giving the left hand
part as much weight and seriousness of meaning as that
of the right hand. The first measure in the left hand
part is the key to the whole. After the theme there is
a ritornello or interlude, of twenty measures in the key



52 THE GREAT IN MUSIC: FIRST YEAR.

of F major. Then comes the first variation proper, i
which the theme is treated in syncopation, the right
hand coming in upon the half beat. After this the ritor-
nello again, also with a variation. Then the second va-
riation, in which the theme is embellished with running
work as contrast, at first for right hand, later for left.
Then the part in F major again, with a variation and
then the theme in its third variation, which is now ex-
panded and given a variety of modifications, some
of which are very chromatic. Finally, without break,
a coda of about seventeen measures, in which the prin-
cipal theme is still the ruling motive.

For the time when these variations were written, this
is a well-made and serious piece of music, having not a
little of poetic quality in the treatment and a good deal
of understanding of what can be done upon the piano
in the way of tone-color.

SYMPHONY IN D MAJOR, No. 5.
(Schirmer Edition. Four Hands. 4th Grade.)

Among the twelve symphonies composing the two
sets Hadyn had published in London, which now are
the works mainly representing him, the fifth in D ma-
jor is perhaps one of the most pleasing. Its spirit is
less serious than some of the others, but it is peculiarly
in the amiable vein which is the distinguishing charac-
teristic of the best works of this genial master.

The work opens with a serious introduction of twenty
measures. Then follows the allegro, a lively, bright and
pleasing movement. The main divisions are indicated in
the Schirmer edition by the letters A, B, C, etc., and
need not be repeated here. Throughout the first move-
ment the spirit of lightness and agreeable pastime pre-
vails.



JOSEPH HAYDN. 53

The second movement, in G major, is a largo canta-
bile of peculiarly flowing and agreeable melody. The
rate of speed should be about 60 for quarters. The sec-
ond subject, with triplet accompaniment, begins in meas-
ure 31. In the middle of the movement there are some
pleasing modulations.

The Menuetto continues the genial vein of the work.
The movement not too fast (about 136 for quarters).

The Finale is presto, very light and playful.

THE VIOLIN AND ITS MUSIC.

In the course of the development of the art of music,
great influence has been exercised by the different mu-
sical instruments themselves. During long periods the
ideals of tone have been kept stationary by the exclusive
popularity of some one type of instrument. In ancient
Greece, for example, the one instrument of art-music
was the lyre, a small stringed instrument, which for
most of its time had only seven strings and therefore
produced only seven tones. The tones also were very
short, probably much shorter than the tone of a violin
when the string is plucked by the finger instead of be-
ing incited by the bow. As a consequence of the limita-
tion of tone-incitation to the narrow range of this one
instrument, the tonal ideals of the Greeks remained un-
developed, and although they had a great deal of senti-
ment for music they never developed their tonal sense
as we now understand it and as modern music requires
it. They had neither a flowing melody nor any kind of
harmony.

In the middle ages, particularly between 1250 A. D.
and 1450, the organ was the instrument associated with



54 THE GREAT IN MUSIC: FIRST YEAR.

the highest use of music namely that for the church.
Owing to the sustained tone of the organ and its ability
of carrying several parts at once, the organ had a pow-
erful influence upon the development of that part of
harmony which we call counterpoint.

The lute, also, which had seven strings and a long
ringer board, giving it a command of three or four oc-
taves of the chromatic scale, exercised a great influence
upon the development of a sense of chords and chord
relations and its influence was perhaps strengthened by
its habit of needing tuning all the time the tuning nat-
urally exercising the ear and making it more discrimi-
nating.

The most important instrument of modern music is
undoubtedly the violin, to which we are indebted for all
those impassioned womanly melodies, of which our mod-
ern music is full; melodies which are imitated upon
every instrument capable of melody, but performed in
their perfection by the violin alone. It was the great
Italian composer, Monteverde, who in 1608 placed the
violin at the head of the opera orchestra. Some time
after Monteverde came another great Italian genius,
Arcangelo Corelli, who published a variety of compo-
sitions for the violin which illustrated its capacity in a
way until then unknown. As this chapter in the history
of music had great influence upon all later composers,
Bach, Handel, Haydn, Mozart, Beethoven and all hav-
ing been fond of the instrument and writing for it some
of their most beautiful ideas, it is necessary in this place
to learn more about the beginnings of violin music.



. ARCANGELO CORELLI.

BY THEODORE SPIERING.

The first violins were made in Italy in the early part
of the sixteenth century. In the comparatively short
interval of one hundred and fifty years, violin making
reached the zenith of its development through Antonius
Stradivarius and Joseph Guarnerius. This rapid devel-
opment of the instrument furthered the advancement of
violin playing to such a degree that toward the end of
the seventeenth century there were many violinists of
note.

Corelli was born in 1653, in Fusignano, near Imola, in
Italy. Little is known of his early life. We know, how-
ever, that he studied the violin with Rassani and theory
with Simonelli. It appears that in 16/2 he went to
Paris, and from there to Germany, where for a number
of years he held an appointment at the Court of Ba-
varia. In 1681 we find him back in Rome, established
in the friendship of the Cardinal Ottoboni, who at that
period was the most influential patron of musical art,
and at whose palace private orchestral concerts were
given which soon became universally renowned. For-
eign artists were often present and it is but natural that
Handel, during his Roman sojourn, was a well-known
figure at these gatherings. Corelli, whom the Cardinal
appointed conductor, remained in this position the rest
of his life.

55



56 THE GREAT IN MUSIC: FIRST YEAR.

The compositions which first made Corelli celebrated
were the forty-eight sonatas for two violins, cello and
figured bass, which were published in four sets, each
containing twelve sonatas. The first set, Op. i, came
out in 1683 ; Op. 2 appeared at Rome in 1685 ; Op. 3
at Modena in 1689, and Op. 4 at Bologna in 1694. The
sonatas of the first and third sets were intended for the
church, those of the second and fourth for secular cham-
ber performances.

Corelli's early works distinctly bear the stamp of the
compositions of his predecessors. Bassani's influence
is especially noticeable. However, we soon find him
freeing himself from this influence and developing a
style which is characterized by conciseness of form,
lucidity of thought and earnestness of expression.

It is his fifth work, twelve sonatas for violin, published
at Rome in 1700, which spread his fame as the founder
of methodical violin playing. Students flocked to him
from every land and his "Opera Quinta" was taken up
as a school work in all countries. It may here be stated
that Corelli used a Strad, which proves that the value of
these instruments must have been immediately recog-
nized by the players of that time.

The year 1712 witnessed the publication of Corelli's
sixth and last work: the twelve Concerti Grossi, in
which unquestionably he gave the world the foundation
for orchestral composition. A complete modern edition
of his works was published by Augener & Co., London,
edited by Joachim and Chrysander. During his entire
life, Corelli was the worshiped idol of his countrymen.
They showered upon him such epithets as "Maestro dei
Maestri," "Virtuosissimo di Violino e vero Orfeo di



ARCANGELO CORELLI. 5?

Xostri Tempi." When death came on January 13, 1713,
his ashes were given a resting place in the Pantheon
beside those of Raphael.

SHORT ANALYSIS OF THREE SONATAS BY
CORELLI.

Three of Corelli's sonatas stand out in bold relief.
They belong to the second set of six which he published
as opus 5 (Rome, 1700). The full title page reading:
Preludii, Allemande, Correnti, Gighe, Sarabande, Ga
votte e Fillia, a Violino Solo e Violine o Cimbalo.
EIGHTH SONATA.

This is a suite of four movements, all in the key of
E minor. The preludio, in 3-4 time, is a largo of won-
derful breadth and depth of feeling. The next move-
ment, an allemanda (allegro 4-4 time), is written in a
lively vein and presents quite a study in bowing, espe-
cially the first six bars, in which there is continual cross-
ing and re-crossing of strings. The third movement, a
rather somber sarabande (largo 3-4 time), with a con-
tinuous contrapuntal accompaniment, serves by way of
contrast, to emphasize strongly the unrestrained char-
acter of, the giga (allegro 12-8 time), which brings the

suite to a close.

TENTH SONATA.

This sonata consists of the following five movements,
all in the key of F: Preludio (adagio 4-4), allemanda
(allegro 4-4), sarabanda (largo 3-4), gavotte (allegro
4-4), giga (allegro 6-9). With the exception of the first
movement, which is very stately and dignified, the re-
mainder of the suite is characterized by a spirit of joy-
ousness and exuberance which is truly refreshing. Even



58 THE GREAT IN MUSIC: FIRST YEAR.

the sarabande (although marked largo) is really an alle-
gretto of dignified character. The gavotte forms the
theme of Tartini's fifty variations, entitled "L'Art de
L'Archet."

Breitkopf and Hartel have published an album of the
less difficult sonatas by masters of the seventeenth and
eighteenth centuries (Volks Ausgabe, 376), in which
both these suites are contained, somewhat modernized
by the revision of David, it is true, but none the less in-
teresting. They do not offer any material degree of dif-
ficulty for the left hand, as they 'do not go beyond the
third position.

TWELFTH SONATA.

The twelfth sonata, or follia, as it is called, is a set of
twenty-two variations on a Spanish dance theme. This
theme seems to have been a popular one with the com-
posers of Corelli's time, as we find it being used again
and again. As in the case of the Chaconnes of Bach
and Handel, the cantus firmus lies in the bass. Cheru-
bini in his overture, "L'Hotellerie Portugaise," used the
first eight bars of this same cantus firmus as the funda-
mental idea of the introductory movement. These
Folies d'Espagnc, as they are called in Ferdinand Da-
vid's "Hohe Schule des Violinspiels" (Breitkopf & Har-
tel) are undoubtedly Corelli's greatest work for the vio-
lin. Entirely in the key of D minor, these twenty-two
variations represent a wealth of rhythmic invention
which is marvelous. Although seldom going beyond
the third position, this sonata is somewhat more diffi-
cult than the two preceding ones, owing to the more
intricate nature of the bowing.



ADOLF JENSEN.

Born January 12. 1837, at Konigsburr, Prussia.
Died January 23, 1879, at Baden-Baden.

Adolf Jensen occupies an intermediate position in the
world of music. Of great natural talent, thoroughly
musical in all his works, he is to be classed with those
composers of the Scandinavian countries who, along
with much of the influence of Schumann and Mendels-
sohn, also manifest elements of originality. Jensen
showed his talent for music at an early age, and, even
before he had received instruction in composition, he
had written a number of pieces. His teachers were at
first Marpurg and Louis Ehlert. At different times he
occupied various official positions as teacher of music in
Russia, as teacher of piano of the advanced pupils in
Tausig's school in Berlin, conductor at Posen, etc., pu-
pil of the venerable Niels Gade at Copenhagen, etc.
Later, owing to uncertain health, he withdrew from
Tausig's school and settled at Graz, and later died at
Baden-Baden.

Jensen is distinguished primarily for his songs, of
which he published many. He also wrote charming
lyric pieces and other small forms for the pianoforte.
In all these the musical quality is unmistakable, the sug-
gestion of Schumann not to be concealed, while at the
same time they are of undoubted originality. His part-
songs manifest similar qualities, as also do his few com-
positions for orchestra.

It is unfortunate that a composer so gifted for the pro-

59




ADOLF JENSEN.



-eo-



ADOLF JENSEN. 61

duction of pieces in small forms did not write a variety
of still easier pieces suitable for children. Among the
easiest of his piano works are those in the accompany-
ing program.

The full list of Jensen's works embrace a large num-
ber of songs, piano collections entitled "Inner Voices,"
opus 2, "Wanderbilder," op. 17, "Idylles," opus 43, "Ero-
ticon," opus 44, "Wedding Music," four hands, opus 45,
Sonata, opus 25, fancy pieces, dances, nocturnes, etc.
He also wrote an oratorio, "Jephtha's Daughter," an or-
chestral piece called "The Journey to Emmaus," and one
opera, never performed, "Turandot."

ANNOTATIONS UPON THE JENSEN SELEC-
TIONS.

Of Jensen's music in general it is to be noted that
everything is song-like in character. A lyric melody,
sometimes a mood more quick and energetic, but al-
ways, whether his music is for instruments or for voice,
it is conceived as a song, and as a song it is to be per-
formed. Hence we do not find so strong contrasts in
these selections as might easily occur in almost any
other good author. Everything in Jensen is musical,
his sense of harmony is quick and his command of un-
usual and chromatic harmonies charming. Hence in
the playing a proper tempo and a musical expression
are the main qualities.

TRUMPET PIECE. Op. 33, No. 2.
(3d Grade.)

This piece represents a lively trumpet salutation, and
it is very important to secure the ringing, telling tone of
the trumpet. The harmonic changes are such as to re-
quire quite a bit of practicing (measures 10 to 12, etc.),



62 THE GREAT IN MUSIC: FIRST YEAR.

but th difficulty is one which will soon yield to prac-
tice. The spirit of the piece is jubilant and inspiring.

LAENDLER. Op. 33, No. 4.
(3d Grade.)

The so-called "laendler" waltzes are the popular folk
dances of the Tyrolian peasantry. The harmony is al-
ways simple and the movement lively and agreeable.
The interpretation should be light, buoyant, and musi-
cal, and not boisterous or very fast. This of Jensen is,
of course, an idealized version of the more simple peas-
ant formula.

ELFIN DANCE. Op. 33, No. 5.
(4th Grade.)

A light, elastic dance poem, suggesting the play of
fairies. It should be played in accordance with its name
and ideal, everything clear and distinct, yet nothing
heavy or protuberant.

FIRST WALTZ. Opus. 33, No. 7.
(4th Grade.)

A delicately conceived waltz in moderate movement
(about 112 for quarters) with a pleasant swinging mo-
tion. Always delicate and musical.

MINUET. Op. 33, No. n.
(4th Grade.)

A moderate movement, distinctly delivered, with care
to hold out the long tones in the middle registers, since
these are intended to bind the whole into a closer ef-
fect. Quiet, stately, as in the olden time. (About 108
for quarters.)

CHILDREN'S MARCH. Op. 33, No. 12.
(4th Grade.)

A child's march which in the second period has some-



ADOLF JENSEN. 63

thing which is not childish. To be played in a clear,
vigorous and well rhythmed manner.

"LINGER, O HOURS." Op. 35, No. 3.

This beautiful melody, set to words by Otto Roquette,
is one of the most characteristic of Jensen. The mel-
ody is sweet, the harmonies soft and well modulated,
and the correspondence between the music and the
poem well managed. It is to be sung very quitely and
with expression.

"ART SLEEPING, MY MAIDEN." Op. 22, No. 3.

A lovely song in the folk tone

"Art sleeping, my maiden?

Awake and be free."

A simple melody, reposeful harmony, and a gentle
and attractive expression.
"MURMURING BREEZES OF SCENTED AIR." Op. 21, No.4.

"Oh, murmuring breeze with perfumed wing,

The beautiful world enfolding,
To the maiden fair a sweet song sing,
And into her heart the ardor bring

Which in my heart I'm holding."

A pleasing effect in which the shimmering of the
leaves is represented by the accompaniment.

This very popular piece is also available in an instru-
mental arrangement by Niemann (edited by Dr. Mason.)
(Fourth or fifth grade.)



J


R


\ 1 11


J


1 1 1


i



^B


r


-1 I-






Progra^m III










M SL s o n :










The Silver Spring. Op. 6.
Toujours:Valse de Salon. Op.7,No.2.
Reverie Poetique. Op. 24.
Monody. Op. J3.
Berceuse. Op. 34.
Danse Rustique. Op. 16.
Romance Idylle. Op. 42.
Romance Etude. Op. 32.
Improvisation. Op. 51.










Wollenhavipt :










The Whispering Winds.










GottscHeJk :










The Last Hope.
The Dying Poet.
The Bananier.
"Oh Loving Heart, Trust On."
"Slumber On, Baby Dear."










]^^1*o r^^s^ f"li

1 Al O JJt^CX^ll










Phantoms. Op. 15, No. 5.
Fireflies. Op. J5, No. 4.
Menuet Italien. Op. 28, No. 3.
"The Captive."(Pfteand Vln.)Op.40.
"Ecstasy."
"The Year's at the Spring."






?




w


^ r



1


h


i 1 1


-J I,. 1 U ,



-64



III. FIRST GROUP OF AMERI-
CAN COMPOSERS.

William Mason, Louis Moreao Gottschalk, Hermann
Wollenhaupt, Mrs. H. H. A. Beach.

The grouping in this program has heen determined
for the purpose of bringing together some of the earliest
of our best composers and some of the latest ; also for
the sake of adding variety to the program, the first three
composers having done very little in the direction of
songs or other works than those for piano.

The first two composers, Messrs. Gottschalk and
Mason, date from the year 1829, and both began to be
prominent just after the middle of the century. Gott-
schalk was the first original genius, and Mason repre-
sented German culture, his talent being primarily har-
monic rather than melodic. The third composer on the
list, Wollenhaupt, belonged to the "salon" class, mean-
ing thereby that he composed pieces for parlor use by
amateurs, and therefore did not represent any very high
ideal in art. Mason and Gottschalk also wrote mostly
for piano, but both were more serious, and Mason early
acquired a finished style of writing which adds value to
his work.

Mrs. H. H. A. Beach, a highly gifted musician in
every way and a piano virtuoso of remarkable powers,
occupies a distinguished social position in Boston.

65



WILLIAM MASON, MUS. DOC.

The first American composer to attain degance and
cosmopolitan style was William Mason, who was born
in Boston January 24, 1829, the son of the distinguished
American teacher and musical educator, the late Dr
Lowell Mason, who at that time was in his early suc-
cesses in Boston as president and musical director of
the Handel and Haydn society, leader of a large choir,
and an active and aggressive worker in all forms of
musical education. Dr. Lowell Mason continued to
gain in eminence and influence for twenty )ears longer
in Boston, and in consequence of his success was able
to give his son William all the desirable musical advan-
tages which this country at that time afforded.

William made such progress in music that, while he
was still too young to reach the pedals of the organ, his
father allowed him to play parts of the service ; and his
first concert appearance as pianist was in 1846, when he
was seventeen years old. At the age of twenty he was
sent to Europe, at first to Liszt at Weimar (where
through a misunderstanding he failed to remain), then
to Leipsic, where he studied one year ; then to Prague,
where he studied a year with Dreyschock, and then
again to Liszt with Weimar. Mason began to compose
early and there is still in existence of his a serenata for
'cello and pianoforte, which is believed to be one of
the very few, if not the only, efforts he made outside
the writing of part-songs and pianoforte pieces of the
salon variety for the most part.

-66-




DR. WILLIAM MASON.

(From an etching by Childe Hassam.)

67



68 THE GREAT IN MUSIC: FIRST YEAR.

During his residence at Weimar Mason was the com-
panion of Karl Klindworth, Joachim Raff, Dionys
Pruckner, and Beulow, and the composer Peter Cor-
nelius of the "Barber of Bagdad." At Weimar he made
the acquaintance of the most illustrious musicians of
the world, for Liszt at that time was in the very height
of his marvelous powers and fascinations.

Upon his return to America he settled in New York,
where he immediately took the leading position which
he has ever since maintained. William Mason was at
that time the best American pianist, having fine tech-
nic, beautiful touch, and the experience and large view
of musical matters due to his early training and his un-
usually fortunate experiences abroad. Almost imme-
diately upon his locating in New York he sought out
some good musicians in order to establish chamber
concerts upon the modern plane the Theodore Eis-
feld quartet, which then had the leading position, being
very conservative in its practices, ignoring the modern
works completely. At Weimar Mason had already
played in the Brahms trio, opus I, which Brahms him-
self had brought there, and it was with this work that he
opened the chamber concerts in New York in conjunc-
tion with Theodore Thomas, Bergmann, Mosenthal and
Matzka. These concerts, known as the "Mason and
Thomas Chamber Concerts," were maintained for thir-
teen years, until Mr. Thomas became so much absorbed
in his orchestral work (begun in 1863) that he could no
longer give them the necessary time.

Mr. Mason also made frequent appearances with the
Thomas orchestra, in the early days, and before set-
tling down for teaching made a concert tour of the
country as pianist, coming as far west as Chicago. Ow-



WILLIAM MASON. 69

ing to his nervousness he found traveling and public
playing very little to his taste, and accordingly he defi-
nitely abandoned this part of his career. As a pianist
Mason was a virtuoso of distinguished powers, and he
was the first introducer of many bravoura pieces into
this country the Liszt rhapsodies, for instance (par-
ticularly the second) and many other works of Liszt.
Mason was also the first American player of Schumann,
having for this kind of work very rare qualities, in his
full, mellow and musical touch, his sensitive pedaling
and his enthusiastic musical nature not to mention a
very capable hand. Also many of the larger Chopin
works were first introduced here by him. In the pre-
liminary announcement of the chamber concerts he
boldly stated the idea to be to conform to the standard
of the "celebrated chamber concerts of Mr. Liszt at
Weimar" and this gives as fair an idea as possible of
the keynote of his work.

Mr. Mason received the degree of doctor of music
from Yale in 1872. For many years he lived at Orange,
New Jersey, where he occupied a beautiful home, at
first in the town, later upon the mountain, in a place
formerly occupied by his father.

Mr. Mason was married to Mary Webb (daughter of
the late Geo. James Webb) immediately upon his re-
turn from Europe, and three children were born to
them. Two sons died in early manhood, after giving
beautiful promise as men and business managers ; the
daughter is still living, Mrs. Wilhelmina Van Sindern.
in New York. Mrs. Mason died suddenly in Paris in
1884.

As a teacher of piano Dr. Mason has been one of the
very best in the world, distinguished for forming a beau-



70 THE GREAT IN MUSIC: FIRST YEAR.

tiful touch, splendid technic, and good all-around inter-
pretative abilities.

As a composer he belongs with the most distinguished
of Americans, both for seriousness of intention, rich
harmonic fantasy, and elegance of style. Among the
works which illustrate his qualities in the best manner
are the following:

THE SILVER SPRING. AN IMPROVISATION. OP. 6.
(7th Grade.)

One of the most popular compositions of Dr. Mason
was his famous "Silver Spring," a brilliant yet delicate
improvisation, which shared for twenty years with
Gottschalk's "The Last Hope" the honor of being the
most played of piano compositions in America. The
"Silver Spring" begins with an extremely showy intro-
duction, composed of interlocking passages, very ef-
fective, and in the manner which 'Haberbier introduced,
and which was thought at Weimar about 1853 to indi-
cate the direction which piano writing would be obliged
to follow, in order to create striking effects after Chopin
and Liszt had used up so many of the more obvious for-
mula. This expectation was not realized for a long
time and Haberbier's compositions not being much
played, this one of Mason stood almost alone in its style.
Latterly the Haberbier direction shows more signs of
prevailing, but with a modification, the interlocking
work of Schytte and the later writers being more bril-
liant and less like an atmosphere.

The principal subject of the "Silver Spring" is a slow
and chorale-like melody, superimposed upon a back-
ground of murmuring arpeggios covering a range of
about four octaves in pitch. It needs to be played deli-



WILLIAM MASON. 71

cately and upon a good piano in good tune, for when
so wide a range of pitch is covered any deviation from
just intonation becomes all the more apparent. The
idea is of a spring of water, bubbling up in the forest
or in the grove, the rippling stream flowing away in
sunshine and shadow. Liszt had already written a piece
of wholly different construction, but upon the same
idea (An Bord d'un Source) and all good pianists at
different times have given us their ideas of this pearly
running and rippling work of tones. But Mason's holds
the honor of originality and of having pleased a larger
public.

TOUJOURS: VALSE DE SALON. OP. 7, NO. 2.
(Advanced 4th Grade.)

A poetic and pleasing waltz, in which the influence
of Chopin is very plain. The principal idea is gentle,
almost elegiac ; it is relieved by a more brilliant run-
ning passage, much in the manner of Chopin. The
middle part is in major tonality and takes a more cheer-
ful view of life. The whole is elegant, pleasing and ex-
tremely well written. Also very musical, although not
intended to be deep. It is precisely what it declares it-
self to be, a drawing-room waltz an idealized, some-
what sentimentalized waltz, not meant for dancing.

REVERIE POETIQUE. OP. 24.
(8th Grade.)

In the "Reverie Poetique" we have one of the most
successful of all Mason's tone-poems of the higher
class. The idea itself is poetic, the melody delightful,
the treatment of the answering voices very interesting,
and the manner in which it is put upon tke piano dis-
plays a consummate knowledge of the instrument in its



72 THE GREAT IN MUSIC: FIRST YEAR.

most poetic aspects. In point of style this piece rather
reminds one of Henselt, especially in the wide-spread-
ing arpeggio figures of the bass. When the principal
subject has been carried through, and taken in minor
and repeated again in the major tonality in a highei
range of pitch, a very charming and effective variation
in quasi double trill effects comes in, and makes a bril
liant yet always poetic conclusion to the subject. This
last part is very difficult, requiring a fine hand and equal
fingers as well as plenty of poetic sentiment. If any
criticism were to be made upon this piece it would be
that its length is perhaps too great for the single idea
upon which it is written. It is, however, a master work
in finish of style as well as in its fitting the pianoforte
admirably. In the latter respect few compositions by
any writer surpass it.

By way of motto Dr. Mason prefixed a stanza from
Victor Hugo to the effect that the poet, walking in the
night when the sky is free from clouds, and the sea
without waves, gazes off into the distant ideal and every-
thing seems like himself to be asking, Whence? and
Whither? The use of the poem as motto raises the
question how far the musician consciously followed
it in his tone-poem. To this the best answer is given
in a private letter from Dr. Mason himself. He says :

"I am fond of the piano and of making piano pieces
which sound well when they are properly played. Tell-
ing stories or writing histories, describing events or ex-
plaining architecture in music, is not the province of the
composer, so far as I can see."

We are to believe, therefore, that the motto was af-
fixed together with the name some time after the piece
had been made just as a baby is not named until it is



WILLIAM MASON. 73

already several days old. The composers who begin
with a title or a story to tell, usually end with the story
mainly in the title at the beginning of the piece. Even
Schumann, they say, used to put the titles on after-
wards and frequently he had quite a difficulty to chose
between several affording almost equally plausible ex-
planations of the curious and unexpected transitions in
his writing.

MONODY: FOR THE PIANOFORTE.
(6th Grade.)

Among the early compositions of Dr. Mason few have
stood the test better than his "Monody," a monologue
upon a single motive, the figure contained in the first
seven notes of the soprano voice. This motive occurs
no less than ten or twelve times in the course of the
piece. After a modulating digression in the middle of
the piece (mm. 30 to 44) the original theme returns
(m. 49) with much more ample treatment. If this had
been offered as a study it would immediately have been
pronounced by connoiseurs fully equal to the cele-
brated ones of Chopin and Liszt.

BERCEUSE. OP. 34.
(5th Grade.)

A beautiful cradle song upon a wholly new bass fig-
ure. The cantilena is diversified by many short but
very effective modulations. (See mm. 28, 30, 89, etc.)
This, like all of Mason's works, demands a piano of very
pure and liquid tone and delicate playing, in which the
sustained tones hold out their full time while the stac-
cato notes are crisp and the syncopated notes accented
just enough.



74 THE GREAT IN MUSIC: FIRST YEAR.

DANSE RUSTIQUE. (A LA GIGUE.) OP. 16.
(4th Grade.)

One of the very best of Mason's easier pieces is his
famous "Danse Rustique," a modern antique in the
movement of a jig. It consists of two parts, the first
part being the jig proper, with even and clear running
work for the fingers, relieved occasionally by more
brilliant interludes. The middle part, in A flat, con-
sists of a charming theme made up of a short motive
delightfully treated. This is relieved by some measures
of modulating interlude, of arpeggio formation. Later
on the principal subject returns. This piece is equally
useful as a study and as an agreeable finger piece for
parlor playing. It is carried out extremely well and
deserves the long popularity it has had.

In playing it the even work of the fingers of the right
hand is very important, with a good legato, against the
staccato of the bass.

ROMANCE IDYL. OP. 42.
(5th Grade.}

The Romance Idyl consists of a pleasing melody sup-
ported upon a rather simple harmonic foundation, but
the accompaniment treated with great refinement. The
delivery of the melody also is divided between the two
hands, a little in the manner of Rubinstein's Melody in
F. The piece is charming to hear and excellent to play.
It is very little known.

ROMANCE ETUDE. OP. 32.
(6th Grade.)

A very curious and interesting scale study upon a
queer minor scale, with a very pretty melody in thirds.



H. A. WOLLENHAUPT. 75

The middle part contains some agreeable and well
sounding arpeggio running work.

IMPROVISATION. OP. 51.
(8th Grade.)

A splendid illustration of Dr. Mason's vitality is given
hy his latest published composition, an "Improvisation"
or concert study, published in the year 1900, written
when the author had passed his seventy-first year. The
piece is a little in the style of Liszt's "Waldesrauschen,"
but original and originally treated. The piece is in ef-
fect a monody, upon a melody in F sharp major. To be
played with brilliancy and fervor. The author follows
the modern fashion of trying to make his meaning clear
by the use of ample directions as to touch, phrasing
and style.



HERMAN A. WOLLENHAUPT.

Mr. Herman A. Wollenhaupt was a German pianist
and teacher who located in New York in 1845 and
played in the philharmonic concerts and otherwise, mak-
ing a pleasing reputation for his elegant touch and
agreeable style. In 1855 he made a concert tour in
Germany. He died in New York in 1863. He com-
posed something like one hundred pieces for drawing
room, besides many arrangements, etc. Among the
best of his are the Styrian Valse and the Scherzo, "Whis-
pering Winds," which are upon the present program.
To judge from his works Mr. Wollenhaupt sought main-
ly the pleasing and the well-sounding. For this reason
his pieces are still worth playing, although the stand-
ard of technic has now so greatly advanced that pieces



76 THE GREAT IN MUSIC: FIRST YEAR.

which he intended for concert use are now played by
amateurs of very ordinary attainments. Harmonically
his pieces are quite simple, and very slight demands
are made from the left hand technic. They are included
in the present series for the sake of their attractive
qualities and in consideration of the reputation the com-
poser enjoyed before there were native Americans
known in more advanced work.

THE WHISPERING WINDS. (SCHERZO.)
(5th Grade.)

A scherzo in the usual form, the main feature of the
first subject being some rapid scales which need to be
played very lightly and with pearly distinctness and
evenness ; these gave the suggestion for the name. The
second subject is melodious and pleasing (key of G
flat) and forms a good contrast to the main idea. After
the repetition of the first theme there is an effective
coda, bringing the work to a close. The effect of this
piece is charming, although the harmonies are for the
most part commonplace, embracing only the most es-
sential harmonies of the key. Pedagogically consid-
ered, the piece is an excellent school of touch.



LOUIS MOREAU GOTTSCHALK.

The first of American composers and pianists to at-
tain American fame was Louis Moreau Gottschalk, who
was born in New Orleans May 8, 1829, and died in Rio
Janeiro December 18, 1869. Gottschalk was of mixed
parentage, French and German, the French predomi-
nating and his father was a merchant in New Orleans.
When the boy gave incontestible evidence of talent for
music and promise of originality, he was taken to Paris,
where his mother made a home for him and he had the
very best instruction possible to be obtained at that
period. His master in piano was Stamaty./ / He made
the acquaintance of all the younger French literateurs
and musicians and artists, and later on his home be-
came a gathering place for bright spirits of every sort.
Among the intimate friends were such as Bizet, A.
Duvin-Duvivier, Rossini, the brothers Escudier, and all
the most eminent in French letters.

Gottschalk had very early a distinct note in his playS
ing, a peculiar combination of refined and distinguished \
melody, graceful harmony, piquant rhythms, and a style (
which at once commanded attention. He made most/
successful appearances in the provincial parts of France^
in Switzerland, Germany, and in 1851 made a concert
tour in Spain, where he was received with high favor by
the queen. This tour lasted nearly two years. His first
American tour was in 1853, when he traveled over a
large part of the country playing everywhere with great
success. Again in 1862 and 1863 he came to America
and went as far as the Pacific coast. Meanwhile he had
made extensive tours in Cuba and other parts of the

77




78



L. M. GOTTSCHALK. 79

West Indies and Central America, and also in South
America. He not only played piano concerts, in which
his own compositions occupied most of the program, but
also planned brilliant festivals, bringing- together great
masses of instrumentalists and singers, and he com-
posed for such occasions elaborate and highly effective
scores. In one of his letters he gives particulars of
such an affair and complains in particular of the vast
trouble it was and the time it took to prepare the writ-
ten parts for so many instrumentalists (copyist's bills
for a single festival sometimes reaching two thousand
dollars) and the incessant care necessary in revising
and correcting the parts in order that accidentals might
be alike in all.

Gottschalk died under circumstances never wholly
cleared up, near Rio Janeiro, December 18, 1869. He
left a brother, who now lives in Chicago, Mr. L. Gaston
Gottschalk, the distinguished baritone ; also two sisters.

Unquestionably he was one of the most interesting
of musical personalities America has produced.

Among his compositions are several songs, concern-
ing which his brother gives the following particulars :

"Referring to our conversation of the other day about
my brother's songs, if I remember rightly, he wrote
only eight.

" 'Oh, Loving Heart' was dedicated to Slier. Camp-
bell, the baritone, who left such a name in English opera
that many people must certainly remember him yet.
One morning at our old home in New York City, on
Ninth street, I remember my brother improvising the
theme which further on was to be that song, when some-
body pushed open the door and walked into the parlor,
and listening to the improvisation suggested that it



80 THE GREAT IN MUSIC: FIRST YEAR.

would make a splendid song for himself, and on the
spur of the moment it was jotted down, harmonized
and dedicated to our friend Campbell, at whose sugges-
tion it had been written as a song.

" 'Idol of Beauty' was written for Brignoli, who at
that time, you may remember, was not an idol of beauty
but the idol of the American and English public, as he
had been before in Paris.

'' 'Mountaineers' Song' was written and dedicated to
William Castle, the excellent tenor who, with Camp-
bell, made English opera what might have been taken
for a permanent fixture in America.

' 'Night and Shepardess' was taken from a piano com-
position called 'Pastorella-e-Cavaliere' and was dedi-
cated to Miss Clara Louise Kellogg.

' 'I Don't See It, Mamma,' is dedicated to, judging
by the lettering, the possessor of some Chinese name,
which letters placed in the right order would read the
very plain name of an American girl.

" 'Cradle Song' was dedicated to Mrs. Verian, at that
time a prominent concert singer, whose daughter Nina
was renowned for beauty and talent as a young actress.
She unfortunately died at sea at an early stage of her
career.

" 'The Butterfly' had been written before Carlotta
Patti, who from 1861 to 1862 traveled in my brother's
concert company and was the pyrotechnic display to
show the wonderful compass of the voice, the original
copy running to high G above C above the staff. 'Aye
Maria' was written for the fete day of our mother and
on that occasion was sung at the Baltimore Cathedral
by a friend of ours, Mrs. Mary Buckler, to whom it was
dedicated."



L. M. GOTTSCHALK. 81

THE LAST HOPE. RELIGIOUS MEDITATION.

(5th Grade.)

Of the origin of this piece Gustave Chouquet in La
France Musical, gives the following account :

"During his stay at Cuba, Gottschalk found himself

at S , where a woman of mind and heart, to whom

he had been particularly recommended, conceived for
him at once the most active sympathy, in one of those
sweet affections almost as tender as maternal love.

"Struck down by an incurable malady, Madame S

mourned the absence of her only son, and could alone
find forgetfulness of her sufferings while listening to
her dear pianist, now become her guest and her most
powerful physician. One evening while suffering still
more than usual, 'In pity/ said she, making use of one
of the most ravishing idioms of the Spanish tongue, 'in
pity, my dear Moreau, one little melody, the last hope.'
And Gottschalk commenced to improvise an air at once
plaintive and pleasing, one of those spirit breaths that
mount sweetly to heaven, whence they have so recently
descended. On the morrow, the traveler-artist was
obliged to leave his friend to fulfill an engagement in
a neighboring city. When he returned two days after-
wards the bells of the church of S - were sounding a
slow and solemn peal. A mournful presentiment sud-
denly froze the heart of Gottschalk who, hurrying for-
ward his horse, arrived upon the open square of the
church just at the moment when the mortal remains of
Senora S were brought from the sacred edifice."

'The Last Hope" consists of quite a long introduc-
tion and an equally long coda or afterlude, and between
these parts a most lovely melody, played twice through
with slightly different treatments. The melody begins



82 THE GREAT IN MUSIC: FIRST YEAR.

with measure 49, and the second stanza ends in meas-
ure 86. All that follows is coda, designed to bring
around to the close, but in this case doing so with a
profusion of ornament entirely characteristic of the com-
poser. In playing it the effect is better if the choice
notes are taken (''as the author plays it"). Gottschalk
himself had a way of playing a passage of this kind as if
it meant volumes, even with a minimum of actual sub-
ject matter. The introduction is more important. Be-
ginning with the serious first four measures and the
two measures of rhythmic figure work following, it goes
over the same idea again in the key of C sharp (mm. 3
to 14). Then follows some measures of modulation,
chromatically treated, beautifully done (mm. mm. 14
to 27). There we bring up with two of those simple
chords which Gottschalk played so meaningly, followed
by several measures of embellishment. A few addi-
tional short ideas complete this part of the work, saving
only mm. 42 to 45, which require particular notice. Ob-
serve that the small notes in measures 42 and 44 are
counted at their full value, while the small notes in mm.
43 and 4.5 have no appreciable value, the large notes
only being counted in the measure. _The embellishing
grace notes merely retard the principal notes a little.
Those in mm. 42 and 44 ought to have been written as
large notes, since they form the rhythmic content of

the measures.

THE DYING POET.

(4th Grade.)

This piece is one of a set written under the pseudonym
of "Seven Octaves," a contract with another publisher
giving them the use of his name for several years longer.
"The Dying Poet" is practically a sort of nocturne or



L. M. GOTTSCHALK. 83

revery, upon a single principal idea, quite simply work-
ed out. It is to be played with sentiment. Obviously
a title of this kind demands a story, but nothing of the
sort has been furnished by the composer. It is at all
events a very pretty melody, if not at all deep.

LE BANANIER. (CHANSON NEGRE.)
(5th Grade.}

In his very first published composition Gottschalk be-
gan to work the vein of negro rhythms which after-
wards served so well as a basis of his compositions. The
piece represents the characteristic repetition of a simple
form with slight changes of coloring and occasional
changes of rhythm such as the slave dances generally
showed. The piece is quite practicable and demands
little from the player.

TWO SONGS: "O LOVING HEART, TRUST ON."
"SLUMBER ON, BABY DEAR."

Gottschalk's "Slumber Song," first written as a piece
for piano, illustrates his manner remarkably well. The
melody, while simple, is delightfully simple and sing-
able. The harmonies are varied enough for such a mel-
ody. It has very long prelude and afterlude, to dispose
of which without monotony is likely to tax the re-
sources of many players.

"O Loving Heart, Trust On," has a vast popularity
and well deserved it. It is effective and pleasing.

Should a more difficult piece or two be desired, his
extremely brilliant arrangement of the overture to "Wil-
liam Tell" is recommended. His brilliant concert piece,
"La Bamboula," is another illustration of his concert
style.



MRS. H. H. A. BEACH.

Few women have made for themselves so honorable
a name in music as Mrs. H. H. A. Beach of Boston.
Mrs. Beach was born to music, the offshoot of a highly
musical family and at an early age she became a fine
pianist. Later she turned her attention to composition,
and since her marriage to the distinguished Dr. H. H.
A. Beach of Boston, she has produced a large number
of works in almost every style. Naturally it is in piano
pieces and in songs that her talent comes most fre-
quently to expression ; but her chamber music is highly
esteemed, and her symphony in E minor has been played
in some of the first symphony concerts in the world
an honor rarely accorded to any composition in large
form by a woman, since it is very rare that women mas-
ter the constructive technic of music. In consequence
of this defect they find themselves fatally hampered in
attempting works in large forms, where improvisation
as such and naivety are insufficient to maintain the in-
terest. Mrs. Beach has made the most thorough stud-
ies and her works are held in high esteem by all good
judges.

In response to a request Mrs. Beach has written a
short account of her ideas in composing, and has given
a list of pieces in her judgment best suited for use in
clubs. Following is the letter :

Boston, May 22, 1900.

In response to your courteous letter of May 4th I en-
close a list of the compositions which, in my opinion,

84-




MRS. H. H. A. BEACH,



85



86 THE GREAT IN MUSIC: FIRST YEAR.

include the best work I have yet done. Whether .the
form chosen be very small or of larger dimensions I
believe that in these selected compositions I have couie
nearest to a realization of the effect at which I aimed.

You will find appended a shorter list of works, es-
pecially suitable for study by the musical clubs of which
you write.

With regard to your second series of questions I feel
that there is little to tell. My "aim" has always been
to have each bit of work as perfect as I knew how to
make it, before allowing it to leave my hands for those
of the publisher or performer.

A song is invariably suggested to me by an intimate
knowledge of and sympathy with the poem chosen, and
my efforts lie in the direction of as complete a reproduc-
tion in music of the sentiment found in the words as
my abilities will permit. Naturally the qualities of the
song, "story-telling" or otherwise, are determined en-
tirely by the choice of subject.

In my instrumental compositions the ideas are in
many instances purely musical in character, though sug-
gestions often come from such varied sources that it is
impossible to account for them. As a rule the title of
my compositions give some suggestion to the student
or listener of the musical content.

In the four sketches, Op. 15, for piano, I have pre-
fixed a line from Hugo or Lamartine to each piece, in
order to convey a distinct impression of the character of
the music. However, I have also made use of several
titles which convey only an idea of the form of the com-
position, such as concerto for piano, Op. 45 ; sonata for
piano and violin ; mazurka for violin, etc. I believe in
both "absolute" and "descriptive" music, and feel free



MRS. H. H. A. BEACH. 87

to work in any form or by means of any suggestion that
presents itself most forcibly at the moment, provided
that the musical ideas appear to belong to me instead
of to some predecessor. I have attempted no innova-
tions in melody, harmony or rhythm, but have merely
worked toward the attainment of freedom in handling
whatever material appealed to my fancy and judgment
as suitable for any accepted task.

PHANTOMS. OP. 15, NO. 3.
(5th Grade.)

"Phantoms" is in effect a mazurka, full of arch sur-
prises of harmony, clever turns of melody and a spirit
quite like a scherzo. Like everything else of this au-
thor, it is well written for the instrument and sounds well
when it is well played. On the second page there are
some lines of peculiarly subtle modulation. When
these are well played they give a mystical expression ;
later a climax is reached and at length the return of the
principal theme and the close.

FIREFLIES. OP. 15. NO. 4.
(Advanced 5th Grade.)

"Fireflies" is a study in running thirds, in A minor,
quite in the spirit of the famous study of Chopin in
thirds, in G sharp minor (Op. 25, No. 6). Mrs. Beach,
however, does not carry out her design so completely
as Chopin, since she occasionally lapses into easier
progressions. Few pieces combine a technical object
with so much musical freedom as this. A most excel-
lent and pianistic study.

MENUET ITALIEN. OP. 28, NO. 2.
(5th Grade.)

The Italian Minuet is a graceful and effective piece
in minuet style, the melody following more nearly the



88 THE GREAT IN MUSIC: FIRST YEAR.

Italian symmetry than in most modern works. It is
nevertheless quite modern in its harmonization and in
its modulation. It is in the usual form, and needs only
to be well played to be liked.

In case examples of Mrs. Beach's work in larger
forms are desired and the available talent of the club
permits of their being successfully given, the following
are mentioned :

THREE PIECES FOR PIANO AND VIOLIN. OP. 40.
La Captive (Air for G String) ; Berceuse ; Mazurka.

CHILDREN'S ALBUM. OP. 36.

SONATA IN A MINOR, FOR PIANO AND VIOLIN. OP. 34
BALLADE IN D FLAT. OP. 6.

In case easy selections are wanted, some of the pieces
in her "Children's Album," Op. 36, may be used.

SONG: ECSTASY. SOPRANO.

In this much-sung song both words and music are
by Mrs. Beach. It is a well-planned and highly impas-
sioned love song

Only to dream among the fading flowers,

Only to glide along the tranquil sea;
Ah, dearest, dearest, have we not together

One long, bright day of love, so glad and free.

Only to rest through life, in storms and sunshine,
Safe in thy breast, where sorrow dare not fly;

Ah, dearest, dearest, thus in sweetest rapture
With thee to live, with thee to die."

SONG: THE YEAR'S AT THE SPRING." SOPRANO.
Upon a poem by Browning.

"The year's at the spring, and day's at the morn;

Morning at seven, the hillsides dew pearled;
The lark's on the wing; the snail's on the thorn;

God's in His heaven; all's right with the world."



MRS. H. H. A. BEACH. 89

In both these songs the most notable trait is the
strength of the musical conception and the highly im-
passioned emotional character of the music. Few com-
posers feel their music to this degree.