WOLFGANG AMADEUS MOZART

V. MOZART AND BINDING.



WOLFGANG AMADEUS MOZART.

Born at Salzburg, January 27, 1756.
Died at Vienna, December 5, 1791.

Mozart enjoyed the very best instruction from his
father, Leopold Mozart, who at that comparatively re-
mote musical period had already written a systemati-
cally arranged instruction book for the pianoforte. Un-
like most prodigies, he fulfilled the promise of his youth
and became a great composer. During his early child-
hood he traveled extensively and astonished the musical
circles of Europe by his versatility, eminent talent and
virtuosity. At the early age of fourteen he became an
honorary member of the Musical Academy at Bologna,
Italy, where the famous Padre Martini imposed the
most searching and exacting examination on the boy,
who passed it triumphantly to the intense surprise of
his examiners ; after many travels and varying for-
tunes he finally settled in Vienna in 1771 and devoted
himself exclusively to composition.

The time had come for just such a comprehensive
and rare genius as Mozart. The purely sensuous lyric
musical element had been developed by the Italian mas-
ters, Gluck's work emphasizing the dramatic vein of the
art and Handel the epic; it remained for Mozart to
concentrate and unite all styles and mold them into one
harmonious and cosmopolitan whole.

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WOLFGANG AMADEUS MOZART.

92-



W. A. MOZART. 93

While other masters may have surpassed him in form,
he especially excelled them in all the entirety of his art.
It is also interesting to note how musical art, which
had flourished up to this time in Northern Germany,
found its legitimate home now in Southern Germany,
where Haydn, Mozart, Beethoven and Schubert lived in
Vienna.

Mozart had a high conception of his art and the
moral courage to live up to his ideas. Had he been
more willing to make concessions to his surroundings
and to adapt himself to local influences, he might have
enjoyed a prosperous career, instead of finally landing
in a pauper's grave. His self-respect caused him to
leave the Court of the Archbishop of Salzburg, where
brutal indignities were offered him, and through his
entire career we notice a consistent poise and dignity,
which reflected in many of his works.

His most important sphere was the development of
the opera, in which field he became the undisputed and
sovereign master by the melodious charm and happy
characterization of the different parts. Tn "Idomeneo"
(1781) Mozart for the first time freed himself entirely
from the predominant Italian influences, and showed
the specifically German master; in ''Figaro" and "Don
Juan" his art reached its zenith, and almost maintained
itself in the "Magic Flute;" his musical fecundity was
astonishing; also the enormous celerity with which he
worked; the most intricate problems of counterpoint
were easily accomplished, and there is always the keen-
est perception of the beautiful and most complete mas-
tery imaginable in presenting it in a finished and com-
prehensive manner; the conception, development and



94 THE GREAT IN MUSIC: FIRST YEAR.

complete working out of a composition seems to have
been with him an almost instantaneous process.

As a piano virtuoso he excelled and seems to have
had only one rival, the great Muzio Clementi ; if we
credit the sonata form to Carl Philip Emanuel Bach, who
also freed music from the trite, unsatisfactory, brief,
ancient and obsolete dance forms and monotonous
polyphony (not omitting Scarlatti, who had already
gained happy results in the same direction), we must
notice a further development in Mozart's sonatas, which
bring contents of much higher musical importance.
Clementi created the brilliant sonata style, and length-
ened the transitional periods materially, so as to give
the executant more opportunity for display ; it remain-
ed for later masters to bring the sonata form to its
highest development.

Mozart's concertos may be considered as the first
important representations of that form, and are sym-
phonies in reality, in which the piano forms an integral
part of the whole, while at the same time preserving its
own identity as an idependent and concertante instru-
ment ; the four hand sonata also owes to him its devel-
opment, as he aimed to make the bass part something
more than a mere unmeaning accompaniment.

It was also his good fortune and mission to become
the founder of an important school of piano playing by
developing the talent of his great pupil Johann Nepo-
inuk Hummel, whose musical activity was of paramount
influence for many years, even effecting practically the
work of the great Chopin. Many epochs of art, seem-
ingly widely apart, thus in reality can be brought closely
together. There is also a piano quintet by Mozart, and
we have a number of sonatas for piano and violin, and



W. A. MOZART. 95

piano trios and quartets and the celebrated "Requiem
Mass," only partly finished, which closed his musical
activity.

To play Mozart well is not an easy matter; those
who find.it a simple task will never succeed. The artist
considers everything difficult, the amateur too easy;
the pupil eternally sends up the Macedonian cry, "Give
me something more difficult ;" and the teacher's con-
stant rejoinder is: "Why don't you play the simple
pieces better?" Mozart's literature requires a perfect
scak and arpeggio, and how seldom we hear either!
There must be something peculiar to it, when it is pos-
sible to build up a European reputation by excelling in
it, and that is just what Reinecke of Leipsic has done,
who played Mozart's concertos everywhere and de-
lighted the blase audiences of Berlin, Paris and London
by his performances.

For practical study, I would suggest the D ainor
concerto and one in D major, called the Coronation con-
certo, on account of its first performence at the corona-
tion of Emperor Leopold II. in 1790. Mozart's varia-
tions are of lesser importance. In this form he seems a
victim to the spirit of his age and unable to free himself
therefrom. The following works are suitable for study
(the numbers are those of the Cotta Edition) : Sonatas
Nos. i, 2 and 6 entire; Sonata No. 8, first movement;
Sonata No. 9, omit fifth variation and minuet; No. 10,
omit second part ; No. 14 entire ; No. 16, omit second
movement ; Rondo in A minor, Fantasie in C minor and
Gigue in G. An arrangement by Grieg of four sonatas
with second piano savors of cod liver oil, but is not un-
interesting as an aberration of a musical mind and a
perversity of taste.



96 THE GREAT IN MUSIC: FIRST YEAR.

Mozart's transcendent ability was almost totally ig-
nored by his contemporaries, but like the true artist
he was sufficient unto himself, went right on doing his
work, and died when that was done. It remained for
posterity to do him tardy justice.

RUBINSTEIN'S OPINION OF MOZART.
(From "Conversations on Music-")

Just as Haydn, as the old Haydn, becomes a type, so
Mozart, as the young Mozart, may be called a type.
Although, as to his age and surroundings, standing on
the same level of culture with Haydn, he is young, sin-
cere, tender in everything; the journeys of his child-
hood also had an influence on his musical thoughts and
feeling. In consequence the opera became his chief
work, but his entire Ego he gives us in his instrumental
works, and there I hear him, too, like Haydn, speak
the Vienna dialect. Helios of music I would call him !
He has illuminated all forms of music with his splendor,
on one and all impressed this stamp of the godlike. We
are at a loss which to admire most in him, his melody
or his technic, his crystal clearness or the richness of
his invention. The symphony in G minor (this unicum
of symphonic lyric), the last movement of the "Jupiter"
Symphony (this unicum in symphonic technic), the over-
tures to the "Magic Flute" or to "Figaro's Wedding"
(these unica of the merry, the fresh, the godlike), the
"Requiem" (this unicum of sweet tone in sorrow), the
pianoforte fantasies, the string quartette in C minor;
in the latter it is not uninteresting to see verified how
greatly wealth of melody outweighs everything else in
music. We demand generally, in quartette style, a poly-
phonic treatment of the voices ; here, however, homo-



W. A. MOZART. 97

phony reigns, the very simplest accompaniment to every
theme that enters and we revel in the enjoyment of
this divine melody ! And at last, besides all these, the
wonderful instrumental works, the wonderful operas !
Gluck, it is true, had achieved great things in the opera
before him ; yes, opened new paths, but in comparison
with Mozart he is, so to say, of stone. Besides, Mozart
has the merit of having removed the opera from the icy
pathos of mythology into real life, into the purely hu-
man, and from the Italian to the German language, and
thereby to a national path. The most remarkable fea-
ture of his operas is the musical characteristic he has
given to, every figure, so that each acting personage has
become an immortal type. It is true that the happy
choice of material and its excellent treatment was of
great assistance in this."

"Yes, a godlike creation, all flooded with light. In
hearing Mozart I always wish to exclaim: 'Eternal sun-
shine in music, thy name is Mozart !' '

BRIEF CHARACTERIZATIONS OF THE SELEC-
TIONS IN DETAIL.

No. i. MARCH FROM "THE WEDDIXG OF FIGARO."

(Peters, 2710, p. 21), 2d grade.

Among the very useful and easy pieces there is the
march from "Figaro's Wedding," a bright and pleasing
movement, calculated to interest and benefit young stu-
dents ; simple as it is, it yet presents the genuine march
rhythm, giving four separate and decided accented beats
in each measure.

It occurs in the opera near the close, when the irre-
pressible Figaro has just been married to the equally



98 THE GREAT IN MUSIC: FIRST YEAR.

irrepressible Susanna, and all the characters of the
drama are gathered upon the stage in festivity.

No. 2. MINUET FROM "DON JUAN."
(Peters, 2710, p. 27), ad Grade.

The minuet from the opera of "Don Juan" is a very
celebrated dance of a stately character, in which all the
grand personages of this beautiful opera take part. It
should be played in moderate time, and with a certain
grand style.
No. 3. PAPAGENO'S ARIA FROM "THE MAGIC FLUTE."

(Peters, 2710, p. 26), 2d Grade.

In the opera of "The Magic Flute" Papageno is a
very simple-minded bird-catcher, who is always becom-
ing involved in the troubles of others with which he
properly has no concern. This air is the one in which
he first appears, and its artlessness and simplicity are
strikingly illustrative of the nature which Mozart wished
to depict. To be played in a happy and cheerful man-
ner.

No. 4. SONATA IN C MAJOR, ist MOVEMENT.
(Peters' Mozart Sonatas, No. 15), 3d Grade.

The sonata in C major is easier than the sonata in G,
as far as its demands on the student are concerned, it is
quite elementary and can be utilized with many son-
atinas ; and yet within the very limited compass of its
first movement" we find every earmark of the sonata
form ; a leading theme in C is followed by a secondary
idea in G ; the usual development follows, but the first
theme recurs in F instead of the original key ; the sec-
ond theme, however, finishes in the conventional mode ;
but no matter how seemingly simple, Mozart never re-
sorts to triviality : there is always a melodic charm of
elevated character noticeable.



W. A. MOZART. 99

No. 5. RONDO IN D MAJOR.
(No. 1823, Peters, p. 5), 3d Grade.

The rondo in D is quite easy and can be extensively
used for students not advanced. It is a very good ex-
ample of the rondo form, the name of which is derived
from the recurrence of the principal theme after every
interpolated melody or periods of minor significance.
This species of composition was formerly the invariable
ending of the sonata form. It was essentially a popu-
lar movement, derived from an old dance and distin-
guished by happy and careless moods.

No. 6. SONATA IN F MAJOR, ist MOVEMENT.

(Peters' Mozart Sonatas, No. 6), 4th Grade.

The sonata in F major is here taken up for the sake

of its beautiful and pleasing melodies, and for a certain

strength in the passage work. The melodies are quite

naive, in the style of people's song. The elaboration is

insignificant. The pleasing is the characteristic mood.

No. 7. ADAGIO FROM SONATA IN F MAJOR.

(Same as Preceding, 4th Grade.)

The adagio of the sonata in F is a fine illustration of
Mozart cantilena (or aria style) as applied to the piano.
The melodies are high-bred, and the embellishments are
quite in the Italian style of that day. The melody tone
should be pure and delicate, but earnestly singing in
character and the accompaniment subdued and not dry.
(i. e., use the pedal a little to promote blending in the

chord.)

No. 8. ADAGIO IN B MINOR.

(Peters, 1823, p. 16), 4th Grade.

The adagio in B minor is a slow movement of de-
cidedly dramatic qualities ; a pathetic vein pervades the



ICO THE GREAT IN MUSIC: FIRST YEAR.

entire composition, which is full of sudden and violent
contrasts and accents. Mozart closes it in the major
mode of the tonic, B major instead of B minor, a man-
nerism much affected by Bach, but on the whole quite
satisfying, though somewhat abrupt. Only in very iso-
lated cases does a composition in a major key close in
the minor on the same keynote, a very effective exam-
ple is found in Mendelssohn's presto in E, opus 7, which
begins in E major and ends in E minor.

No. 9. GIGUE IN G MAJOR.

(Peters, 1823, p. 15), 5th Grade.

The gigue, an ancient and obsolete dance form, has
been much utilized by the older masters ; it affords
many opportunities for the display of contrapuntal
ingenuity, which in the present instance have been taken
advantage of ; the composition requires study with each
hand alone and careful phrasing.

No. 10. SONG, "THE VIOLET." SHEET MUSIC.

Mozart may also be credited with writing the first
song, which throughout in the musical accompaniment
(or version) follows with perfect fidelity the sentiment
of the text instead of repeating the same music for each
verse regardless of its meaning. "The Violet" thus pos-
sesses a decided historical significance, and its simple
charm is yet quite potent. Kullak's transcription of the
song for piano solo is exceedingly attractive, and can be
recommended for fairly advanced pianists as a fine study
for style and varieties of touch and effect.

No. ii. FANTASIA IN C MINOR.
(Peters, 1823, p. 22), 5th Grade.

The Mozart fantasia in C minor in every way equals
the great organ fantasias of Bach. These compositions



W. A. MOZART. 101

derive their name from the quality they had of passing
from one mood to another without any necessary con-
nection. In them the composer was free to give loose
rein to his fancy and bring forward any agreeable idea
which happened to strike him. The present fantasia in
its original form precedes the sonata in C minor, which
is of less importance. The fantasia contains strong har-
monies and unexpected enharmonic changes which if
not known to have been by Mozart would easily be
credited to some modern author. At the time of publi-
cation these called forth much dissent and discussion.
The opening motive is beautifully developed, being car-
ried through C minor, B flat minor, D flat major and
other unexpected keys, but always with delightful
charm. This part leads into a well-developed part in D
major, the leading melody of which is one of the best of
Mozart. An allegro in A minor follows, leading to a
second slow mood in B flat major. The latter is sup-
plemented by a more technical episode in G minor (Piu
Allegro) leading back to the opening part, in C minor,
which closes the piece. The variety of moods in this
piece is unusually large, and the interpreter will there-
fore need to keep this fact in mind throughout, and give
each mood its due quality.

* * * "I touched a thought, I know,

Has tantalized me many times,
(Like turns of thread the spiders throw

Mocking across our path) for rhymes.
Help me to hold it fast."

Robert Browning.

No. 12. MINUET IN E FLAT.

(Transcribed by J. Schulhuff. Sheet Music. 5th Grade.)

The minuet in the symphony in E flat is one of the
most charming of Mozart's many movements in this



102 THE GREAT IN MUSIC: FIRST YEAR.

form. For years it has been a favorite with all lovers
of this master. Jules Schulhoff, the, talented salon com-
poser, has transcribed it skillfully and very effectively.
This arrangement has figured on concert programs
quite extensively. Older concert-goers will remember
Mme. Essipoffs charming interpretation of it. It re-
quires good chord and staccato work, vivacity and bril-
liancy.




CHRISTIAN SINDING: MAN AND
MUSICIAN.

BY HENRI MARTEAU.
(Originally appeared in the Song Journal, Nov., 1894.)

Sinding is in' my opinion one of the greatest of con-
temporary musicians, and I can assure you my artistic
conscience does not permit me to say this of many com-
posers. It is not his learning, his skill, that I admire,
but it is the vast and powerful organization with which
he is naturally gifted. With such a genius questions of
craft remain in the background, and Sinding's learning
could be still greater and appear not less pale by the side
of his superb and potent inspiration. A grandeur, an
incomparable elevation of ideas, such in particular are
the qualities that my admiration for his talent has recog-
nized.

Christian Sinding, the musician, Otto Sinding, the
painter, Stephen Sinding, the sculptor, constitute a fam-
ily of artists that will be talked of by posterity. Three
brothers, three artists, three masters in their respective
arts ; how prodigal nature can be with her gifts when
she so desires.

Christian Sinding was born at Kongsberg in 1856.
School was very irksome to him, so it is said, and he
cherished the idea of becoming an artist. He then de-
voted himself to the study of the violin and musical
theory with the teachers of his native city.

In 1874 he went to Leipsic in order to there finish his
studies at the conservatory of that city. But the rules,

103



104 THE GREAT IN MUSIC: FIRST YEAR.

I fancy, could not have been very agreeable to him, and
I know many were broken when his violent and authori-
tative nature showed itself contrary to the scholastic
routine of his professors. He remained three years in
Leipsic, and in 1879 a sonata for piano and violin of his
was played which had some success, but which the crit-
ics naturally received with disfavor. His colleagues and
all musicians who heard this work agreed in recognizing
an exceptionally gifted nature, and one whi ,h could not
fail to develop very rapidly. People who so judged
Sinding were not mistaken. He told me that he burned
this sonata in 1879, unfortunately. This, however, is
one of his habits ; to destroy that with which he is not
satisfied.

From the beginning of his career Sinding has with
each new work shown progress. This constant advance-
ment is very interesting to follow even in its least mani-
festations. As an example, I will cite the two suites for
piano and violin. The first (published by Peters) al-
ready dates back some years. It is composed in the an-
cient style, like that of Bach, but with a strong stamp
of originality. This remarkable suite is dedicated to
Brodsky, who made it known in New York during his
stay in America. The second suite, recent, is so differ-
ent from the first that one can hardly conceive that it
was written by the same author. But this suite, very
interesting, very well worked out, but frightfully diffi-
cult of execution, is, so to speak, only the germ, the
preparatory study for the grand sonata in C major for
piano and violin (published by Hansen of Copenhagen),
which, in my opinion, h^lds, with the sonata of Franck,
the first rank among contemporary works of this class.
The progress, the step in advance from tV"- -vjcond suite



CHRISTIAN BINDING. 105

to the sonata is moreover one of those "tours de force"
that only a man of the genius of Sinding can accom-
plish. Last February, before my departure for Finland,
I had the opportunity of spending a Sunday afternoon
in Berlin with my friend Busoni, the celebrated pianist.
Sinding, who is an old friend of Busoni, was present.
He knew me, for I was going to play his sonata at Co-
penhagen and Stockholm. And so our meeting was
most cordial. Busoni and I passed the afternoon in
playing Sinding's two suites, the second of which was
new to me, and the sonata, to the great joy of the com-
poser, whose eyes I saw sparkling with pleasure, in
spite of the calm air which he affected externally, and
which so well characterizes northern natures.

Phrenologists ought certainly to find it interesting to
examine the formation of Sinding's head. I have rarely
seen a brow so large and prominent. His whole phys-
ognomy gives the impression of an extraordinary
vfgor and will. His clear eyes regard you with a fixed-
ness almost insupportable. As a whole, his personality,
on first acquaintance, in same manner as his music, pro-
duces an unexpected and singular effect. It is certain
that he is well worth knowing, for he is a sort of recluse
who will only speak to you with open heart when he
knows you well and feels a sympathy for you.

Sinding is very Norwegian in his music, less so, how-
ever, than Grieg, for his works are much vaster in con-
ception and would find themselves incontestably straight-
ened in the forms that Grieg loves.

At Helsingfors I had the opportunity of hearing Sind-
ing's symphony. The first two movements are splendid
and very Norwegian in character.

Sinding's style is very complicated. He uses many



106 THE GREAT IN MUSIC: FIRST YEAR.

ascending scales and very many extended chords. This
peculiarity has existed from the beginning of his career,
even from the time when he was still at Leipzig. Some
one told me that his copyists in that city always charged
him more for copying his compositions than they did
his fellow-students, because there were so many more
notes to write ! I found this anecdote very charactertis-
tic as well as amusing.

SYMPHONY IN D MINOR. OP. 21.

(The following analysis was originally written for the Chicago Symphony
program of December 28, 1895.)

Binding's symphony in D minor is the usual four
movements of the classical form. It is scored for large
modern orchestra, and the instrumentation is very full
and rich.

It opens with a curious melodic bit, a minor chord, a
passing minor seventh with the sixth degree omitted,
giving a five-toned scale effect. It is given out by full or-
chestra, and in the widest possible range of pitch. This is
worked up at some little length, during the course of
which several small counter themes are heard here and
there in the instrumentation, but presently the original
movement gradually brings up to a climax upon a di-
minished chord, very short and accented, from which
everything suddenly subsides into F major, and the sec-
ond subject enters (m. 59).

It is given out by the first violins, upon an accom-
paniment of which the leading features are the bassoons
and low strings. After the violins have had their first
say upon this theme, it is passed along in a sort of fan-
tastic working, the horn, clarinet, oboe and others tak-
ing it in turn, and with marvelous changes of key. In
fact, Sinding has chosen this theme, so innocent and so



CHRISTIAN BINDING. 107

diatonic, as the basis of some very curious enharmonic
modulations. The violins gave it out in F; the horn
takes it up in C ; the clarinet follows in E flat, and in-
stantly when it is finished the oboe answers with the
same thing in F sharp, which is dwelt upon for a minute
when the violins and flutes and everything except the
brass have the same theme in C, the soprano high up.
Hereupon follows some interesting fantasia upon this
same motive, towards the close of which the first sub-
ject begins to be suggested, and accessory motives of
various sorts appear ; but at length the first theme comes
back, full, grand, triumphant. The second theme re-
turns also, but this time for clarinet in D major, and
only for a moment; for no sooner have the horn and
first violins tenderly caressed it in turn, when it begins
to work up, leading almost instantly into a very strong
and syncopated subject, the peculiarity of which con-
sists only in a change of the 6s from 2x3 to 3x2 ; the
two triplets of the measure giving place to three quar-
ter notes. This in turn subsides, when we hear the low
basses meditating upon the second subject; but it is
not that they are trying to say something new upon it,
but are, as one may say, merely thinking over what has
been said before (for basses and altos are both compara-
tively slow their vibration rate determining mental
quality no less than pitch range), and after a sudden
springing up of the first theme the first movement ends.

The second movement, andante, opens with a very
somber theme.

It is one of the most curious effects I have ever heard
in symphony. Practically it consists of two voices. The
leading voice, the melody, occurs in three octaves. This
is not unusual in orchestral music, but it is very unusual



108 THE GREAT IN MUSIC: FIRST YEAR.

that the same melody in octaves serves as its own bass,
as is here done. The second voice is given by the wood-
wind and horns, while all the strings are singing the
melody in their several conveniences of pitch. The ef-
fect is indescribably somber. I have sought in vain to
understand why this sort of thing should so curiously
suggest the bleak and dismal north. I cannot tell
whether it is that the paucity of melodic material sug-
gests a barren climate, where only the most hardy and
persistent vegetation can live, or what it is. Mendels-
sohn, in the opening of his "Hebrides" overture, sug-
gests the bleak north by means of open fifths. Be this
as it may, it is a well sustained and very impressive
movement which here arrests our attention. One or
two counter themes of minor importance assist in the
development of this subject, but its principal relief is
made by transposing it into the relative major, F. Here
the clarinet gives it out, while above it the strings di-
vided sustain chords tremolo. While the theme in this
form is pending, there is no lower bass ; but when the
phrase is ended, all the instruments put in the neces-
sary support of chords. Presently the clarinet has the
theme, and the violins take up above ft a new and lively
figure, and with this assistance the movement reaches
new and impressive effects, but as yet everything is
subdued. Then the violins discontinue their activity,
the chord begins to strengthen, the oboes and other in-
struments take up the theme in its major tonality, and
it sounds as if we were nearing the denouement. But
we are not, for after a promising stretto there is an
arrest of this activity, and the bassoons gently slide
down with a curious theme mostly in major thirds.
This finally subsides on to the tonic, G minor, where^



CHRISTIAN SINDING. 109

upon the movement begins once more to strengthen,
and presently the violins and other soprano voices give
out a new subject, which turns out to be a counter
theme, the principal theme now being intoned with all
the powers of the basses, trombones, tuba and bas-
soons, while all the other voices carry above it the ac-
cessory theme just mentioned. Thus the work reaches
a climax which by the aid of this new matter in the
conspicuous regions of the treble seems new, while the
impression of the leading theme is not left in doubt,
thanks to the tremendous sonority with which Sinding
has scored it in the bass as a cantus fermus.

This movement as a whole is more severe than most
slow movements in symphonies ; and owing to its be-
ing so almost exclusively made up with a single leading
motive, and developed thematically, it does not have
the variety and the relief which almost any slow move-
ment of the older writers possesses.

The third movement, the scherzo, is marked Vivace.
It is in the key of F major. After eight measures of
sustained C the first violins give out the subject.

Upon this an effective and inspiriting scherzo is built,
but with a difference from classical practice. This sub-
ject, instead of going through to the close of the sen-
tence, as Beethoven would have taken it, is arrested
half way, bringing up against a counter theme, which
is much more stately and dignified. These two ele-
ments combine to make the scherzo. The life of it is
in the running eighth-note motion ; while a steadier ele-
ment is given by the counter theme which first enters
with the intention of finishing the sentence more suit-
ably.

The second theme begins m. 104.



110 THE GREAT IN MUSIC: FIRST YEAR.

In its development a running counterpoint of eighth
notes greatly assists, recalling at the same time the first
subject of this movement. This rather brilliant theme
comes up to a telling fortissimo, and then the first sub-
ject returns. In fact, this subject is only of minor im-
portance ; for after the original theme has been re-
sumed, we come presently to a much more effective
change, into the key of B flat, when a new subject comes
out, at first by the horns, very strongly marked, then by
other voices.

Rhythmically considered, this subject stands in curi-
ous relation- to the first theme. The new one appears
very syncopated. It is, in fact, an augmentation ; in
place of being a four measure phrase of 3-4, is now a
three measure phrase of 2-2. It is precisely an an-
alogous rhythmic complication to that which Schumann
has in the finale of the concerto in A minor. This vig-
orous subject is brilliantly treated, and then the first
subject returns with novel variations, and so at length
the close.

The general form of the Vivace movement is that of
a song-form with two trios, the episode in C major be-
ing the first, and this one in B flat the second.

The finale Maestoso opens with a very strong theme :

It is given out by the basses, 'cellos, trombones and
tuba. The wood-wind adds itself when the chord re-
quires sustaining. After a short treatment a second
theme emerges, upon a foundation consisting of a
chord of A minor, sustained or rather suggested by
running arpeggios, triplets of the strings, the clarinet
and bassoon give this melody, which is used as a relief
from the principal theme. After sufficient development



CHRISTIAN BINDING. Ill

has been had, the key changes to D major, and in this
the work triumphantly concludes.

In point of elaboration and workmanship this work
is one to be spoken of with great respect. From a
poetic standpoint it shares in the modern spirit, which
desires rather to say new things in the new ways than
to imitate the repose and classical proportion of works
of the older school.

ALLEGRETTO IN F.
(From Piano Pieces, Op. 24, No. 4), 4th Grade.

The allegretto in F is a pleasing little tone-poem, in
a mood not unlike that of a spring morning cheerful,
fresh, tender. The peculiarity of the ascending scales,
of which Mr. Marteau speaks above, will be recognized
in this piece, as well as elsewhere. The most notice-
able thing about this piece aside from its general inno-
cence, is the tendency to remote modulation. All sorts
of keys suggest themselves only to be quickly rele-
gated again to the obscurity whence they had momen-
tarily emerged. Meanwhile there is nothing uncertain
about the tonality of the piece as a whole.

AGITATO IN D FLAT.
(No. 5, in Op. 24), 6th Grade.

In this piece we have much of the Sinding tempera-
ment, its energy, its vigor, its tumultuous throbbing and
driving. The piece is quite in what Robert Schumann
used to call the manner of Florestan, the more passion-
ate of the two individuals into which he divided his own
many-sided genius. Eusebius was the tender, the sen-
timental and singing man; Florestan was the torn-up,
the passionate Schumann. Sinding in this number is
in this mood. Like the other selections in this pro-



112 THE GREAT IN MUSIC: FIRST YEAR.

gram this one is marked by many transitions of tonal-
ity and not a few changes of rhythm also occur. As a
whole it is brilliant, well made for the piano, and quite
orchestral in its spirit.

FRUEHLINGSRAUSCHEN. (THE MURMURING OF
APPROACHING SPRING.)

(From Piano-Pieces, Op. 32, No. 3), 6th Grade.

A tone-poem quite in the general manner of Liszt's
"Murmuring of the Forest" (Waldesrauschen). A
light arpeggio figure affords the suggestion of
trembling leaves and the mysterious thrill in the
warm air of opening spring, while the modulations
and the strong melody voice the moods and inner feel-
ing of this renewed miracle of nature. From the icy
cold of winter, the dead trees, the frozen ground and
the arrested waterfall all alike begin to throb with re-
turning warmth, life and productiveness. It is the mys-
tery of renewed life which forms the subject matter of
this tone-poem.