Music: An Art and a Language

FOOTNOTES

[1] For suggestive comments on this point see the essays Harmonie et Melodie by Saint-SaËns, Chapters I and II.

[2] See Chapter II of Gurney's Power of Sound, a book remarkable for its insight.

[3] It is understood that this statement is made in a subjective rather than a purely physical sense. See the Century Dictionary under Sound.

[4] Il y a donc, dans l'art des sons, quelque chose qui traverse l'oreille comme un portique, la raison comme un vestibule et qui va plus loin.

Harmonie et Melodie, Chapter II.

[5] La musique, ses lois, son evolution, by Jules Combarieu.

[6] Just as some people are color-blind there are those who are tone-deaf—to whom, that is, music is a disagreeable noise—but they are so few as to be negligible.

[7] From earliest times, mothers have doubtless crooned to their infants in instinctive lullabies.

[8] In this connection we cannot refrain from suggesting the improvement which should be made in the concert manners of the public. How often, at the beginning of a concert, do we see people removing their wraps, looking at their neighbors, reading the programme book, etc., instead of concentrating on the music itself; with the result that the composition is often well on its way before such people have found their bearings.

[9] Compare Parry's Evolution of the Art of Music, passim and D.G. Mason's Beethoven and his Forerunners, Chapter I.

[10] In comparatively recent times the term has been widened to include music in which there is one chief melody to which other portions of the musical texture are subordinate; e.g., the homophonic style of Chopin in whose works the chief melody, often in the upper voice, seems to float on underlying waves of sound.

[11] For a complete account of these early attempts which finally led to part-writing see Chapter IV in the first volume of the Oxford History of Music.

[12] An historical account of this development as far as it is ascertainable may be found in the fifth chapter of Pratt's History of Music.

[13] Consult the article on the Round in Grove's Dictionary.

[14] A rather crude English adaptation of the Latin term "Punctus contra punctum" which refers to the notes as punctus (plural) or dots which were pricked with a stylus into the medieval manuscripts. In this phrase the emphasis is on the contra, signifying a combination of different melodies and rhythms, and calling attention to that higher importance which, everywhere in art, is caused by contrasted elements.

[15] For an interesting account of this tripartite activity see Naumann's History of Music.

[16] See the facsimile of the original manuscript of "Sumer is icumen in" cited in the first volume of the Oxford History of Music, pp. 326-332.

[17] For a simple, charming example of persistent use of a motive see Schumann's pianoforte piece Kind im Einschlummern, No. 12 of the Kinderscenen.

[18] Another well-known example is the first theme of the first movement of the Sonata in F minor (Appassionata) op. 57. This the student can look up for himself.

[19] For some additional comments on this broad principle see the first Chapter (passim) of Parry's Evolution of the Art of Music.

[20] Everyone has experienced the agony of hearing the beginner practice, in an adjoining room, the same piece for hours at a time!

[21] For an eloquent presentation of the significance of Folk-music see the article by Henry F. Gilbert in the Musical Quarterly for October, 1917.

[22] For an able account of the important role that folk-melodies are taking in modern music see Chapter V of La Chanson Populaire en France by Julian Tiersot.

[23] The same statement is true of the Oriental nations, the Arabians, Persians and Greeks, who are left out of the enumeration only because their development in many respects has been along different lines from ours. For suggestive speculations as to early music among all nations see Primitive Music by Richard Wallaschek.

[24] For illuminating comments on the Folk-music of all the English-speaking peoples see Chapter XII of Ernest Walker's History of Music in England. The famous Petrie collection of Irish Folk-tunes should also be consulted.

[25] In counting the measures of a phrase always consider the first complete measure,—never a partial measure—as one.

[26] The chief reason for this leading tone, in addition to the natural tendency of singers to raise their voices as near as possible to the upper tonic, was so that the dominant chord, the third of which is always the 7th degree, might invariably be a Major Triad.

[27] For many suggestive comments on the whole subject see his book English Folk-Song.

[28] The example quoted, together with others equally beautiful, may be found in the collection edited by the Scottish composer, Hamish MacCunn. See, as well, the Cycle of Old Scotch Melodies arranged for four solo voices with pianoforte accompaniment by Arthur Whiting.

[29] For Irish folk-songs the best collections are the one by Villiers Stanford and a Cycle by Arthur Whiting, prepared in the same way as that just cited on Scottish melodies.

[30] Taken from an excellent collection of Chansons Populaires edited by Julien Tiersot.

[31] The best popular collection of Hungarian melodies is that by Francis Korbay, the texts for which were translated and arranged by the American novelist, J.S. of Dale. It is well known what artistic use has been made of Hungarian melodies and rhythms by Schubert, Liszt and Brahms.

[32] The statement might be qualified by saying that, since Beethoven, instrumental style has become a happy mixture of homophony for the chief melodies and polyphony for the supporting harmonic basis. Stress is laid in the above text on the polyphonic aspect merely to emphasize the matter under discussion.

[33] Notable names are LÉonin and PÉrotin, both organists of NÔtre Dame at Paris.

[34] Although this is not the place to set forth all the details of this development, in the interest of historical justice we should not think of Bach without gratefully acknowledging the remarkable work of such pioneers as the Dutchman, Sweelinck (1562-1621), organist at Amsterdam; the Italian, Frescobaldi (1583-1644), organist at Rome, and—greatest of all, in his stimulating influence upon Bach—the Dane, Buxtehude (1636-1707), organist at LÜbeck. Sweelinck and Frescobaldi may fairly be called the founders of the genuine Fugue, and there is a romantic warmth in Buxtehude's best work which makes it thoroughly modern in sentiment.

[35] In connection with the statement that music has developed according to natural law, it is worth noting that the four-part chorus early became the standard for both vocal and instrumental groups for the simple reason that there exist two kinds of women's voices—soprano and alto, and two of men's voices—tenor and bass. Originally, the chief voice in the ecclesiastical chorus was the tenor (teneo), because the tenors sustained the melody. Below them were the basses (bassus, low); above the tenors came the altos (altus, high) and still higher the sopranos (sopra, above).

[36] The best edition is that by Busoni, published by Breitkopf and HÄrtel.

[37] This technical term as well as others will later be more fully explained.

[38] Whenever Percy Grainger performs this fugue in his own arrangement for pianoforte, he always electrifies an audience.

[39] It is worthy of observation that, for those who will listen to them intelligently, fugues do not merely demand such a state of mind but actually generate it.

[40] It is left to the teacher to explain to the student the key-relationship of Subject and Answer, and the difference between fugues, tonal and real; for as these points have rather more to do with composition they play but a slight part in listening to a fugue.

[41] Beethoven, commenting on the name, majestically said: "He is no brook; he is the open sea!"

[42] For a very suggestive article on this point by Philip Greeley Clapp see the Musical Quarterly for April, 1916.

[43] Some eloquent comments on Bach's style and significance may be found in Chapter III of The Appreciation of Music by Surette and Mason.

[44] It is assumed that the music-lover has, as his birthright, an instinctive knowledge of the grouping of tones and semitones in our modern scales. Those who may wish to refresh their knowledge are recommended to the second Chapter in Foote and Spalding's Harmony, and to the chapter on Scales in Parry's Evolution of the Art of Music.

[45] Color in music is brought about chiefly through their use.

[46] As for example the famous one of Chopin.

[47] Even great composers have at times made this mistake, e.g., Mendelssohn in the first movement of the Scotch Symphony, where the interminable length of the portion in A minor (of all keys!) is simply deadening in its effect. Compare also the Prelude to the Rheingold; where, however—for dramatic purposes—to depict the world as "without form and void" Wagner remains in the key of E-flat major for some 150 measures!

[48] It is left to the teacher to explain, by the ratios found in the overtones of the Harmonic Series, the validity of this statement.

[49] Some modern theorists, e.g., Calvacoressi (see the New Music Review for September, 1909) have thought that the dominant relationship was "overworked." It is true that the great charm of modern music is its freedom and boldness in modulation; but the dominant keys can never be entirely abandoned, for the relationship between them and a tonic is as elemental as that between the colors of the spectroscope.

[50] Two tones are said to be "enharmonic" when, although written differently, they sound the same on an instrument of fixed temperament like the pianoforte, or organ, e.g., D-sharp and E-flat, E and F-flat. A violin, however, can make a distinction between such notes and often does.

[51] This assertion holds for most of our Western European music; though in Hungarian and Scotch music we find a natural fondness for phrases of three measures, and the Croatians are known for their phrases of five measures so often used by both Haydn and Schubert. But it is true that we tend to think in groups which are some multiple of 2, i.e., either 4, 8, 12 or 16 measures.

[52] Always count the first complete measure as one.

[53] The two phrases are often designated Thesis and Antithesis.

[54] In listening to a clock it is impossible to think of the ticks singly, or otherwise than in groups of two: an accented beat and an unaccented; although the beats are of equal strength and duration. This principle of dual balance is derived from the rhythmic pulsation of the human heart and, as we shall see, runs through all music.

[55] Whenever this book is used in class, the teacher can easily explain, on the pianoforte and by charts, the different cadential effects. For those who have sufficient harmonic insight Chapter XIV in Foote and Spalding's Modern Harmony is worth consulting.

[56] See also the strikingly original cadences in Debussy's L'Isle joyeuse.

[57] Another interesting eight-measure sentence may be found at the beginning of the slow movement of Beethoven's Eighth Sonata, in which every section differs from any one of the others; in the opening sentence of the first movement of the Tenth Sonata—noticeable for the indefiniteness of the cadences until the final close is reached in measure 8, and in the first sentence of the Allegretto of the Sixth Sonata which is one long sweep, with only the faintest indications of subdivision.

[58] Lack of space will prevent hereafter the citation in actual notes of the examples from Beethoven. His works are readily accessible, and it may even be assumed that every music-lover owns the Pianoforte Sonatas.

[59] Another excellent example of a 12 measure sentence with an extended cadence may be found at the beginning of the first movement of the Third Beethoven Sonata.

[60] For a burlesque of this practise see the closing measures of the Scherzando movement of Beethoven's Eighth Symphony.

[61] Other charming examples of five-bar rhythm may be found in Schubert's Quartet in A minor, op. 29, and in the opening choral (St. Anthony) of Brahms's Orchestral Variations, op. 56a.

[62] This effect is clearly brought out in symphonic music where one portion of the orchestra, with a certain tone color, may be ending a phrase at the same moment at which another part, with a contrasting tone color, begins. An excellent example is the first theme of the Slow movement of Schumann's Second Symphony (measures 7-8).

[63] For a complete account of this process see Parry's Evolution of the Art of Music, p. 115 seq.

[64] This book makes no attempt to give an historical account of the development of instrumental form. The subject is set forth comprehensively in the article on Form in Grove's Dictionary (Vol. II, p. 73) and in the Fifth and Sixth Chapters of Parry's Evolution of the Art of Music.

[65] See The Appreciation of Music by Surette and Mason, p. 36.

[66] As an illustration of this tendency see the Scherzo of Beethoven's Second Sonata, the second part of which has a new theme of its own, although the movement as a whole is clearly in Two-part form.

[67] See The Sonata Form by W.H. Hadow, Chapter III.

[68] The three-part form is derived partly from the Italian "da Capo Aria" and partly from the fundamental instinct for restatement which we have seen in the Folk-song.

[69] Additional illustrations, which will repay study are the following: the Allegretto of Beethoven's Sixth Sonata; the Schubert Impromptu, op. 90, No. 4; Brahms's Intermezzo, op. 117, No. 1 and the Ballade in G minor, op. 118, No. 3, and for orchestra—in extended treatment—Debussy's PrÉlude À l'aprÈs-midi d'un Faune.

[70] For an interesting and comprehensive account of this development see Grove's Dictionary, Volume IV, article on the Suite.

[71] For extensive comments on Scarlatti's style see The History of the Pianoforte and Pianoforte Players by Oscar Bie, pp. 68-90.

[72] These titles, according to Parry (see his life of Bach, Chapters IV and XII passim), were not given by Bach himself but were assigned, in the case of the French Suites, to denote the delicacy of treatment found therein, and in the English, a certain massive style.

[73] So-called because it is written on a sustained bass note or pedal point; a feature of the Musette (the French name for Bagpipe) being its persistent drone bass on the tonic and the dominant.

[74] An interesting example may also be found in Grieg's Holberg Suite for Pianoforte.

[75] For a vivid description of these dances see Chabrier's Lettres À Nanette, Paris, 1910.

[76] See also Le Tombeau de Couperin in which is a very novel Rigaudon.

[77] For a complete account of the historical development see the article on Form in Grove's Dictionary Vol. II and Hadow's Sonata Form, Chapter IX.

[78] There is an early example in the Rondo of Mozart's Sonata for Pianoforte in B-flat major.

[79] For a complete detailed analysis of the movement see Prout, Applied Forms, pp. 120-121.

[80] We would cite the piece entitled Les Buffons by Bull, and Byrd's variations to the popular tune the Carman's Whistle, which latter have considerable archaic charm and distinction; for Byrd was a real genius. These are readily accessible in popular editions.

[81] Consult the comprehensive article on Variations in Grove's Dictionary, Vol. V.

[82] For the derivation of the term consult the interesting article in Grove's Dictionary, Vol. IV.

[83] A work before which Schumann said every musician should prostrate himself in adoration.

[84] For a detailed account see the third volume of D.G. Mason's Appreciation of Music series.

[85] These compositions are not printed in the Supplement, as it may be assumed that the student can readily procure them. They are published in a number of editions.

[86] For some illuminating comments on the whole Sonata see Baxter Perry's Descriptive Analysis of Pianoforte Works. (The Theodore Presser Co.)

[87] Except in the comparatively rare cases where we have a Fugue on two subjects.

[88] Illuminating comments on this point will be found in Outlines of Musical Form from W.H. Hadow's Studies in Modern Music (2nd Series).

[89] See the prelude in D major of the second book of the Well-tempered Clavichord.

[90] For further information consult the first chapter of J.S. Shedlock's The Pianoforte Sonata.

[91] For an extended account of this development see the second chapter, Vol. II, of The Art of Music (The National Society of Music, N.Y.). See also Chapter XIX of Pratt's History of Music.

[92] The form is also sometimes used independently, as in Brahms's Rhapsody in G minor and often, of course, in the Overture.

[93] I.e., 1st Violin, 2d Violin, Viola and Violoncello.

[94] See the eloquent comments on this analogy by d'Indy in his Course in Composition, Vol. II, Chap. 5.

[95] "Art is not more a riot of the passions than it is a debauch of the senses; it contains, no doubt, sensuous and emotional elements, the importance of which there is no need to undervalue, but it is only artistic if it subordinate them to the paramount claims of reason." W.H. Hadow, Studies in Modern Music (second series), preface.

[96] Some composers have also experimented with still freer key-relationships.

[97] For striking examples see the Expositions of the first movements of Beethoven's Third Symphony and of Tchaikowsky's Sixth Symphony.

[98] The ultra-conservative attitude of Brahms is shown by his retention of the double bar and repeat, although this is often ignored by modern conductors.

[99] It was probably a development of this kind which called forth the characteristic comment from Debussy who once remarked to a friend at a concert, "Let us flee! he is going to develop."

[100] See GrÉtry's amusing comments on the Sonata-Form cited by Romain Rolland in the essays Musicians of Former Days.

[101] See also Wagner's comments on the Third Leonora Overture, cited by Ernest Newman in his Musical Studies, pp. 134-135.

[102] Additional illustrations of this treatment may be found in Chabrier's Overture to Gwendoline and in the first movement of F.S. Converse's String Quartet.

[103] Those interested in this development should consult The Pianoforte Sonata by J.S. Shedlock, and above all, d'Indy's Course of Musical Composition, Part III.

[104] This, according to d'Indy, was so-called because pleasing to the ladies who played an important part in the elaborate court ceremonial of that day.

[105] Six of P.E. Bach's Sonatas edited by von BÜlow are readily accessible and some excellent comments upon the most significant ones may be found in Shedlock (see above).

[106] See his Study of the History of Music, p. 154.

[107] See for example the Salomon Symphony in E-flat, every movement of which is founded on a Croatian folk-song.

[108] For a comprehensive account of this whole subject consult the Oxford History of Music, Vol. V, Chapter VIII, and Mason's Beethoven and His Forerunners, essay on Haydn.

[109] Witness for example, the attitude taken by Wallace in his Threshold of Music, pp. 148-153.

[110] For the early and significant achievements in orchestral effect of the Mannheim Orchestra under its famous leader Stamitz, see The Art of Music, Vol. 8, Chapter II.

[111] For interesting comments on the String Quartets see Hadden's Life of Haydn, pp. 174-175.

[112] The Oxford History of Music, Vol. V, Chapter I, and The Present State of Music in Germany by Burney present a vivid picture of the times and of the results of 18th century patronage.

[113] For an entertaining account of the two London visits, which took place during the latter part of his career, see the essay Haydn in London by Krehbiel in his Music and Manners.

[114] In many cases Haydn's second theme is merely a varied version of the first.

[115] Haydn's life is of great interest in showing the traits which are reflected in his music. Everyone should read the biography in Grove's Dictionary, Vol. II, p. 348, and the excellent life by M. Brenet in Les MaÎtres de la Musique.

[116] Haydn himself used to speak of his melodic invention as "a stream which bursts forth from an overflowing reservoir."

[117] In every large city there are, of course, frequent opportunities to hear the Quartets of Haydn played by such famous organizations as the Flonzaley Quartet etc. The student is urged to take advantage of these occasions.

[118] Those who erroneously think that there is nothing of the dissonant element in Haydn should examine the Prelude to The Creation—a real anticipation, in its use of the chromatic element, of Tristan and Isolde.

[119] All symphonic scores give a much better effect when performed on two pianofortes than in a four-hand arrangement for a single instrument. The freedom in control of both pedals possessed by each player secures a greater richness and sonority of tone and it is much easier to make prominent voices stand out in relief.

[120] Amadeus (the beloved of God).

[121] We may appropriately state that in regard to ancestry and environment all four of the so-called Viennese masters, Haydn, Mozart, Beethoven and Schubert are distinct refutations of the claims so persistently made by German scholars that everything good in music we owe to the Teutons. Haydn was largely Croatian; Mozart was strongly influenced by non-Teutonic folk-music (Tyrolese melodies frequently peep out in his works); Schubert's forebears came from Moravia and Silesia; and Beethoven was partly Dutch. If there be any single race to which the world owes the art of music it is the Italians, for they invented most of the instruments and hinted at all the vocal and instrumental forms. We may be grateful to the Germans for their persevering appropriation of what others had begun; only let them not claim all the credit.

[122] For extended comment, see the Oxford History of Music, Vol. V, p. 246, seq.

[123] We recommend especially the refreshing essay by Philip Hale in Famous Composers and Their Works; the chapter on Mozart in Beethoven and His Forerunners by D.G. Mason; and, as throwing light on aspects of his personality which are little known, "Mozart Revealed in his Own Words" by Kerst-Krehbiel (see especially the chapter on Mozart's religious nature, p. 142 and passim); the fascinating Reminiscences of Michael Kelly, a personal friend of the composer; and, above all, the monumental life of Mozart, unhappily as yet incomplete, by Wyzewa and St. Foix. The third chapter of Vol. II of The Art of Music is also well worth reading; and in Mozart's Operas, a Critical Study by E.J. Dent are found valuable comments on his dramatic style, so prominent a feature in many of his instrumental works.

[124] The first three compositions are not given in the Supplement, because readily available in several standard editions. The same recommendations, as given in connection with Haydn, apply to the performance of the G minor Symphony.

[125] This modification became a favorite with Beethoven, notable examples being the Slow movement of the Fifth Sonata, where the Development is represented by a single chord; the Slow movement of the D minor Sonata, op. 31; and, above all, the Allegretto Scherzando of the Eighth Symphony, where a series of contrasted accents keeps the interest alive and leads most deftly to the Recapitulation.

[126] In measures 20 and 21 may be found some striking syncopations—an anticipation of what now-a-days is known as "rag-time."

[127] See the Waltz movement of the Fifth Symphony and the second movement of the Sixth.

[128] This expanding of interest is distinctly felt in Beethoven's Fifth Symphony, in Brahms's First, in Tchaikowsky's Fifth and in that by CÉsar Franck.

[129] For a complete account of this development see Grove's Dict. Vol. III under Overture and the Oxford History, Vol. IV, page 286, seq.

[130] Its companion in modern literature is the Overture to the Bartered Bride (by the Bohemian composer Smetana), which also begins with a brilliant fugal treatment of the theme.

[131] For some illuminating comments on this subtle character of Mozart's creations see the Stanford-Forsyth History of Music, p. 254.

[132] Hence is given a more extended biographical account than in the case of former composers.

[133] The prefix van is not a symbol of nobility.

[134] See the two Beethoveniana by Nottebohm.

[135] The derivation of the word is worthy of note; it means moisture, juice, something not dry. Humor is certainly the juice of human nature.

[136] See Beethoven, Kerst-Krehbiel, p. 45.

[137] Read the appropriate essay in Beethoven and His Nine Symphonies by Sir George Grove.

[138] Vox populi, vox Dei.

[139] D'Indy, however, in his Beethoven (p. 61, English translation) dissents from this view; not at all convincingly, it would seem to us. For the basic rhythm of each movement is on a definite dance metre and the theme of the first movement is a regular Irish jig (Beethoven at one time being very much interested in Irish folk-dances) with its typical three final notes, e.g.

music

[Listen] [MusicXML]

[140] It was written, to use Beethoven's own words, in an "aufgeknÖpft" (unbuttoned) condition, i.e., free, untramelled, rather than straight-laced, swaddled in conventions.

[141] These are based in this work and in all Symphonic compositions on the full orchestral score (in the Peters edition); the student is therefore recommended to adopt this practise. For in Beethoven and all orchestral writers the thought and expression are so integrally bound up with the tone color and idiom of the various instruments that when their works are reduced to another medium much of the eloquence is lost. For those who cannot handle an orchestral score there are adequate arrangements for 2 hands, 4 hands and for 2 pianofortes in several standard editions. Those who have an advanced pianoforte technique should certainly become familiar with the virtuoso-transcriptions of the Beethoven Symphonies by Franz Liszt.

[142] It is an excellent practise to number the measures of a score in groups of 10.

[143] D-flat being the enharmonic equivalent of C-sharp. [Transcriber's Note: In the original, the footnote marker is in the music notation, bar 3.]

[144] The variations are not numbered and the demarcations indicated only by certain cadential objective points.

[145] By Beethoven everything is carefully planned. Note in performance the contrast of mood suggested by these final chords and the sombre register of the opening chords of the Slow Movement.

[146] According to d'Indy it is more truly pathetic than the entire so-called Pathetic Sonata.

[147] A frequent confusion of thought is shown in the use of the words "discord" and "dissonance." A discord is an unrelated noise, as when one bangs with both fists on the key-board. A dissonance is a logical introduction of intervals or chords made up of jarring factors for their stimulating effect upon the imagination.

[148] Two of the greatest innovators in this direction, Scryabin and Stravinsky, have been working in our own day, and there is no doubt that by their daring experiments they have enlarged the expressive powers of music. While it is obvious that the dramatic effect of to-day stimulates the experimentation of tomorrow, contrariwise, the immediate contribution of each innovator is to render more clear the work of his predecessor, up to that moment the confessed iconoclast.

[149] For a very clear tabular view of the structure of this Sonata see d'Indy's Cours de Composition Musicale, Book II, p. 332.

[150] This is not given in the Supplement. See preceding remarks apropos of the Third Symphony. The comments are based, as usual, on the full orchestral score.

[151] This interpretation of d'Indy is based upon the prevalence in the movement of the conventional martial rhythm music and carries, we must acknowledge, considerable weight. It is, however, distinctly subjective and prevents no one from gaining quite a different impression. We should be more inclined to accept the views of the noted French scholar had he not been so wide of the mark, while speaking of the Seventh Symphony, as to deny any appearance of dance-rhythm in the first movement But the Irish composer, Villiers Stanford, has shown conclusively that the theme is based upon the rhythm of an Irish Hornpipe. Thus do the wise ones disagree! Meanwhile, we others have the music itself.

[152] Beethoven and his Nine Symphonies by Sir George Grove.

[153] Beethoven's favorite mark of tempo and expression.

[A] There are also some p holding notes on the bassoons. [Transcriber's Note: In the original, the footnote marker is in the music notation, bar 6.]

[154] Free, in that they are not numbered and are not separated by rigid cadences; in that episodical passages—often of a rhapsodic nature—are interpolated.

[155] The tempo is often taken by conductors too slowly, thus losing much of its buoyancy.

[156] While listening to this passage one is instinctively reminded of Keats's "Bright and steadfast star, hung aloft the night."

[157] Taken separately, the movements are perfectly normal; the Scherzo in the usual Three-part form and the Finale in complete Sonata-form.

[158] There are traces of this striving for organic unity in several of the early Sonatas, notably in the Sonata PathÉtique, where the motive of the first theme of the Finale is identical with that of the second theme of the opening movement e.g.

1st Movement

[Listen] [MusicXML]

Finale

[Listen] [MusicXML]

Also in the C-sharp minor Sonata, op. 27, we find a case of melodic relationship between a phase in the introductory meditation and the main theme of the Minuet.

[159] A Symphonic Poem is a descriptive composition for orchestra which incorporates many of the customary symphonic moods; but the form is free, largely dependent on the poetic basis, and the structure is without stops, being one continuous whole.

[160] His exact words are—"Le milieu (the trio) ressemble assez aux Ébats d'un ÉlÉphant en gaietÉ—mais le monstre s'Éloigne et le bruit de sa folle course se perd graduellement."

[161] Its motto might well be Browning's famous lines: "How good is man's life, how fit to employ all the heart and the soul and the senses forever in joy."

[B] This pianoforte figure being a very inadequate substitute for the restless tremolo of the violas, i.e., music. [Listen (MP3)] [MusicXML] [Transcriber's Note: In the original, the footnote marker is in the music notation, bar 1.]

[162] For suggestive comments by the noted critic E.T.A. Hoffmann, one of the first to realize the genius of Beethoven, and for a complete translation of his essay on the Fifth Symphony see the article by A.W. Locke in the Musical Quarterly for January, 1917.

[163] A complete account of this development may be found in the first two chapters of Niecks's Programme Music.

[164] For an excellent description of this piece, as well as others of the period, see the volume by Krehbiel The Pianoforte and Its Music.

[165] A comprehensive and invaluable description of the works and style of Couperin and Rameau may be found in the History of the Pianoforte and its Players by Oscar Bie. For an early example of what is now called "poetic atmosphere" everyone should know Couperin's piece Les Barricades MystÉrieuses which is more suggestive when played on the claveÇin with its delicate tone.

[166] A favorite term of opprobrium is that the program is a "crutch."

[167] There are several essays which will help the student toward clear thinking on this important subject: the valuable essay Program Music in Newman's Musical Studies, the article on the subject in Grove's Dictionary, and the exhaustive volume by Niecks; some of his views, however, are extreme and must be accepted with caution. Above all should be read Wagner's interpretation of Coriolanus in his essay on the Overture (English translation by W.A. Ellis).

[168] Twenty-five years' experience as a college teacher, however, has proved that too much may be taken for granted!

[169] It is unfortunate that the diminished seventh chord does not sound so fierce to our modern ears as it undoubtedly did in Beethoven's time, but that is simply because we have become accustomed to more strident effects.

[170] See, however, the octave leaps of the kettle-drums in the Scherzo of the Ninth Symphony.

[171] Suggestive comments from a literary point of view may also be found in these works: Studies in the Seven Arts, Symonds; Beethoven by Romain Rolland—with an interesting though ultra-subjective introduction by Carpenter; The Development of Symphonic Music by T.W. Surette; Beethoven by Walker; Beethoven by Chantavoine in the series Les MaÎtres de la Musique. As to the three successive "styles" under which Beethoven's works are generally classified there is an excellent account in Pratt's History of Music, p. 419.

[172] This passage is to be found in the Life in Grove's Dictionary.

[173] For a more complete historical account see the article "Romantic" in Grove's Dictionary and the introduction to Vol. VI of The Oxford History of Music. Rousseau and Romanticism by Professor Irving Babbitt presents the latest investigations in this important field.

[174] Some very sane comments may be found in Pratt's History of Music, pp. 427, 501, 502.

[175] "A classic is properly a book"—and the same would be true of a musical composition—"which maintains itself by that happy coalescence of matter and style, that innate and requisite sympathy between the thought that gives life and the form that consents to every mood of grace and dignity, and which is something neither ancient nor modern, always new and incapable of growing old."

Lowell, Among My Books.

[176] Compare also the definition of genius by Masters in the Spoon River Anthology:

"In youth my wings were strong and tireless,
But I did not know the mountains.
In age I knew the mountains
But my weary wings could not follow my vision—
Genius is wisdom and youth."

[177] Schubert was of incredible versatility and fecundity; he literally tried his hand at everything: operas, church-music, ensemble combinations. Since, however, he exercised little power of selection or revision much of this music has become obsolete. The joke is well-known that he could set a theatre notice to music, and his rule for composing was "When I have finished one song I begin another."

[178] For an original, though at times rhapsodic, study of Schubert's vocal style see H.T. Finck's Songs and Song Writers, and the last chapter of the Fifth Volume of the Oxford History.

[179] Schubert did compose a number of Pianoforte Sonatas in the conventional form, but with the exception of the one in A minor they seem diffuse and do not represent him at his best; they certainly have not held their own in modern appeal.

[180] For the account of its exciting discovery in Vienna by Schumann in 1838, after a neglect of ten years, see the life of Schubert in Grove's Dictionary.

[181] For lack of space no one of these compositions is cited in the Supplement, but they are all readily available.

[182] This tendency is prevalent in folk-music, especially that of the Russians and Scandinavians. Schubert, however, was the first to make such systematic and artistic use of the effect. For a beautiful modern example see the Spanish folk-dance by Granados, e.g.,

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[183] So appropriately called by Berlioz the "heroine of the orchestra."

[184] A striking illustration of this progression (surely Weber's most characteristic mannerism) is naÏvely supplied by Weingartner; when, in his own orchestral arrangement of Weber's Invitation to the Dance, for the final climax he assembles all the leading themes in combination—an effect made possible only by their common harmonic basis.

[185] This whole article is well worth reading and may be found in that breezy though somewhat erratic volume called Old Scores and New Readings.

[186] Not given in the Supplement since good arrangements for two and four hands are numerous. To gain the real effect the student is strongly advised to consult the orchestral score.

[187] The genesis of so many similar effects in modern music, notably in Wagner.

[188] Perhaps the whirligig of time may restore them; who can say?

[189] The life in Grove's Dictionary is well worth while; there are essays by Krehbiel and others and, above all, the biographical and critical accounts in the two French series: Les Musiciens CÉlÈbres, and Les MaÎtres de la Musique.

[190] Because of an unfortunate accident to one of his fingers this ambition, however, had to be abandoned. The world thereby gained a great composer.

[191] As the music is readily procurable the student should make himself familiar with the entire set.

[192] A beautiful contrast may be made by playing the section in F major with the "una corda" pedal throughout.

[193] The poem is easily procured in a volume of Everyman's Library.

[194] These chords are an amusing example of a "paper effect," for unless you watch the conductor's beat, it is impossible to feel the syncopation. There being no first beat proper, the chords are syncopated against the air!

[195] For pertinent comments on this point see Newman's essay on Program Music, pp. 134-135, in his Musical Studies.

[196] In studying this work consult, if possible, the orchestral score. For those who need a condensed two-hand arrangement, the Litolff edition is to be recommended.

[197] It is more than a matter of mere chronology to realise that the D minor Symphony was composed in the same year as the B-flat major. It was afterwards revised and published as No. 4, but the vitality and spontaneity of its themes come from the first gush of Schumann's inspiration.

[198] We find traces of this tendency in the First Symphony, where the Slow Movement and the Scherzo are linked together, likewise in the Second, where the motto of the first movement is repeated at the end of the Scherzo.

[199] The analysis is based, as usual, on the orchestral score; for class-room study there are excellent editions for two and four hands.

[200] Concert-goers may well be reminded that there should be no applause between the movements of this work. One of the most pernicious ideas of the public is that as soon as the music ceases, handclapping should begin; whereas a complete silence is often the very means the composer employs for intensifying what has been said and preparing for what is to come. Let us ponder the cryptic remark attributed to Mozart that "the rests in music are more important than the notes."

[201] This was afterwards withdrawn as impracticable. What a pity that Schumann wrote before the harp as a member of the orchestra had come into its own. For the mood which he was trying to establish compare the scoring of this Romanza with that in the Slow movement of Franck's Symphony.

[202] In Brahms, who was something of a conservative as to freedom of form, there is a striking example in the connection between the second movement and the Finale of the Third Symphony.

[203] Schumann was a true poet in the spontaneity of his themes, but often an unsuccessful architect when connecting them.

[204] For a detailed and illuminating study of this symphony and of Schumann's style in general see the last essay in Preludes and Studies by W.J. Henderson. Another excellent essay may be found in Studies in Modern Music by W.H. Hadow.

[205] Several of these were constantly played by both Paderewski and De Pachman, two of the greatest virtuosi of our day: surely a convincing tribute!

[206] See the Oxford History of Music, Vol. VI, pp. 80-84. Anyone who cares to see what Wagner owed to Mendelssohn may compare the opening theme, and its treatment, of the Fair Melusine Overture with the music of the Rhine Maidens in the Rheingold.

[207] See his treatise on Orchestration, p. 194.

[208] This is exceptionally effective in the four-hand version—in fact, it was often played as a pianoforte duet by his sister Fanny and himself—although the real poetic effect is inseparably connected with the orchestral treatment.

[209] Originally these tones were played by the Ophicleide or Serpent (now obsolete).

[210] This, after all, is a rather subtle point for a boy of seventeen to be called upon to consider. Perhaps if he had been that kind of a boy he might not have written the Overture at all!

[211] The ecclesiastical formula for an Amen being the so-called Plagal cadence of subdominant and tonic chords.

[212] He was born of a Polish mother and a French father, and these mixed strains of blood account fundamentally for the leading characteristics of his music. From the former strain came the impassioned, romantic and at times chivalrous moods, prominent in all Polish life and art; and from the latter the grace, charm and finish which we rightly associate with the French nature. For side-lights on Chopin's intimacy with George Sand see the well-known essays by Henry James and RenÉ Doumic.

[213] The few exceptions being the Polish Songs, the Trio for Violin, 'Cello and Pianoforte and the orchestral accompaniment to the two Concertos.

[214] There will occur to every one numerous passages in which the pianoforte is expected to be a kettle-drum, or where the figuration is far better suited to the violin than to the hand in connection with keys.

[215] This by reason of its combined powers in melody, harmony and rhythm. Some of these qualities it shares, to be sure, with the organ; but the organ is inherently lacking in rhythm, and its solid, block-like tones do not exercise the same fascination upon the imagination as do the fleeting sounds of the pianoforte. It is, of course, possible and desirable to enjoy both instruments—each in its own proper sphere, and each for its characteristic effects.

[216] It is understood that all the comments are based on the action of a concert-grand pianoforte, since on an upright or a square—because of mechanical limitations of space—the effects are quite different.

[217] In this connection, even at the risk of seeming to preach, let the advice be given that nothing should ever be put on top of a grand pianoforte: neither flowers, afternoon tea-sets, bird-cages, books, nor even an aquarium! For the lid is not merely a cover, but an additional sounding-board, and must always be in readiness to be so used. The pianoforte as a coloristic instrument, in short, is completely itself only when played with the lid raised.

[218] An instrument designed to reinforce these upper tones, so that they may be clearly heard, is to be found in any Physical Laboratory. That these tones really vibrate "sympathetically" may be proved by striking ff this note With damper pedal and then pressing down very lightly the keys of G and E just above middle C, thus removing the individual dampers of these notes. In a quiet room the tones are distinctly audible. For another rewarding experiment of the same nature, see the Introduction to the first volume of Arthur Whiting's Pedal Studies and the well-known treatise of Helmholtz.

[219] For a complete and illuminating treatise on the pedals and their artistic use, see the aforesaid two volumes of Pedal Studies by Arthur Whiting (G. Schirmer, New York).

[220] The term dates from the period when this pedal controlled three shifts: una corda, due corde and tre corde; the hammer striking respectively one, two or three strings. The whole mechanism is well implied in the German word Verschiebung, i.e., the shoving along—so frequent in Schumann's works, e.g., the middle part of his Vogel als Prophet from the Waldscenen, op. 82, No. 7.

[221] American pianofortes also have a middle pedal called the "sustaining pedal," by which tones in the lower register may be prolonged. It has not proved to be of great value, though there are occasional passages, e.g., the closing measures of the second movement of CÉsar Franck's Violin Sonata, where it may be effectively employed.

[222] For a commentary on this passage see D.G. Mason's essay on Chopin in The Romantic Composers.

[223] For a detailed analysis of many special features of style see the volume by Edgar Stillman Kelly, Chopin the Composer.

[224] To save space, no one of these pieces except the Barcarolle is given in the Supplement, since they are readily accessible. The Barcarolle, however, is given in order to make it better known; for although it is one of the most inspired and beautifully expressed of all Chopin's works, it is heard comparatively seldom. The best editions of the works are those of Kullak, Mikuli and Klindworth.

[225] For an account of its origin see the chapter in Huneker's book and the article on the Polonaise in Grove's Dictionary.

[226] For a convincing account of this tragic marriage see the volume of Recollections by Ernest LegouvÉ.

[227] It is understood that this is merely a personal opinion of the writer and might well have been prefaced by the Socratic "it seems to me." Too much criticism reminds us of wine-tasting—Mr. So-and-So likes port, Mr. So-and-So sherry. The object of fair-minded appreciation is to understand clearly just what each composer set out to do, i.e., what was the natural tendency of his individual genius; then the only question is: did or did he not do this well? It is futile to blame him because he was not someone else or did not achieve what he never set out to do.

[228] The best edition is the complete one, beautifully engraved and with critical comments, by Malherbe and Weingartner. This is expensive, but should be found in any large library.

[229] The only citations possible in the Supplement are the Overture and portions of a few of the others.

[230] Particularly to be recommended are the following: the essay in Musical Studies by Newman; that by R. Rolland in Musiciens d'aujourd'hui (in French and in English); Berlioz et la sociÉtÉ de son temps by J. Tiersot; the essay in Studies in Modern Music by Hadow; Berlioz's own MÉmoires (in French and in English) and his entertaining essays, A Travers Chants, Grotesques de la Musique and SoirÉes d'Orchestre; the excellent rÉsumÉ of Berlioz's writings in the Amateur Series by W.F. Apthorp; the Symphony since Beethoven by Weingartner; and, above all, the monumental work by Boschot in three parts—La Jeunesse d'un Romantique, Un Romantique sous Louis Philippe, Le CrÉpuscule d'un Romantique. There is an amusing but far from convincing assault against Berlioz as a programme composer and, to a certain extent, against Romanticism in general, in the New LaocoÖn by Professor Irving Babbitt.

[231] On the title page of the autograph copy of the full score is inscribed the following quotation from King Lear: "As flies to wanton boys are we to the Gods; they kill us for their sport."

[232] Dannreuther, in his essay in the Sixth Volume of the Oxford History of Music, speaks of the peculiar process of "rabbeting" which serves Berlioz in the place of counterpoint, and the criticism, though caustic, holds much truth.

[233] This movement is also of interest as an early example of the Waltz among the conventional symphonic moods. The example has been followed by Tchaikowsky in the third movement of his Fifth Symphony.

[234] For further comments on this Symphony see Mr. Mason's essay in the Romantic Composers, an essay which, while thoughtful, strikes the writer as somewhat biased.

[235] For an entertaining account of the subject matter of the opera see Chapter VII of Boschot's Un Romantique sous Louis Philippe.

[236] For an extended analysis of the work and also for an account of the alleged connection of the virtuoso Paganini with its composition, see the essay in Niecks' Programme Music. There are, in addition, interesting comments in Stories of Symphonic Music by Lawrence Gilman.

[237] An early example of the modern principle of transformation and transference by theme.

[238] A striking illustration of "association of ideas" may be gained from a comparison of the end of this movement with the closing measures of Strauss's Thus Spake Zarathustra; it seems incredible that Strauss did not have Berlioz's effect in his mind.

[239] See the MÉmoires for a rhapsodic account of his state of mind at this time—"basking in the warm rays of Shakespeare's imagination and believing it in his power to arrive at the marvellous island where rises the temple of pure Art."

[240] For extended comments and a long citation of the actual music see the Sixth Volume of the Oxford History of Music.

[241] For valuable analytical comments on Berlioz's orchestral style see Vol. VIII, Chapter X, of the Art of Music (CÉsar Saerchinger, N.Y.), and for biographical details and matters of general import, Vol. II, Chap. IX.

[242] The best biographies in English are the one by Huneker and that in Vol. 2 of Grove's Dictionary.

[243] For a lively description of his influence as a pianoforte teacher see Music Study in Germany by Amy Fay.

[244] For a most entertaining description of this work see the Huneker Biography, pp. 64-70.

[245] For stimulating comments see The Symphony since Beethoven by Weingartner, pp. 71-86.

[246] An enlightening and comprehensive account of each of these may be found in Niecks's Programme Music already referred to. See also Chapter VII, pp. 141-155 in Vol. VI of the Oxford History for what is perhaps a rather biased point of view. There is an excellent tabulation of the themes from Les PrÉludes in Mason's Romantic Composers.

[247] An allegation often brought against Liszt's work by those whose conception of "form" is that of a cast-iron mould.

[248] Translated as follows by Bayard Taylor:—

Chorus Misticus

All things transitory
But as symbols are sent;
Earth's insufficiency
Here grows to Event;
The Indescribable,
Here it is done:
The Woman-Soul leadeth us
Upward and on!

[249] The way in which the Germans in the recent war have applied this doctrine raises, we must say, many searching questions.

[250] That this is the verdict of the public is shown by the fact that, whenever of late years Faust has been given by the Boston Symphony Orchestra, it has had to be repeated by popular request.

[251] For further comments on the work see Huneker's Franz Liszt, pp. 141-146 and the third part (on Program Music) of Finck's R. Strauss, The Man and His Works. Also Chap. VII passim in Vol. VI of the Oxford History.

[252] Weber and Schubert had, of course, done valuable pioneer work.

[253] Noted as being the original centre of national German opera and for its associations with the early career of Handel.

[254] Another very fine work in this class is the Tragic Overture, worthy of the deepest study.

[255] We cite Saint-SaËns, as one instance.

[256] "From the heart it has come, to the heart it shall go."

[257] For literature on Brahms the following works are recommended: the comprehensive Life by Fuller-Maitland; the essay in Hadow's Studies in Modern Music; that in Mason's From Grieg to Brahms; that by Spitta in Studies in Music by Robin Grey; the first essay in Mezzotints in Modern Music by Huneker; the biographical and critical article in Grove's Dictionary; Chapter IX in Volume 8 of the Art of Music, and Chapter XIII in Volume 2. There are also some stimulating remarks on Brahms's style in general, and on the attitude of a past generation towards his work, in those delightful essays, in 2 volumes, By the Way, About Music by the late well-known critic, W.F. Apthorp.

[258] The eloquence of the work is so integrally involved with its orchestral dress that it should always be studied, if possible, in the full score. For class-room work excellent editions are available for two and four hands.

[259] The only slight exception is the third movement of the Fourth Symphony which, being marked Allegro giocoso, partakes somewhat of the nature of a Scherzo.

[260] "Those eternal sixths and thirds." Weingartner later publicly recanted and became a whole-souled convert to Brahms. (See The Symphony since Beethoven, latest edition.)

[261] A similar effect may be found in the closing measures of the first movement of Beethoven's Eighth Symphony.

[262] There is a striking analogy between the intervals of this theme and those of a well-known peal in a cathedral chime, e.g.

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In both the same elemental effect is produced by using the natural tones of the harmonic series (see page 193).

[263] See also a similar eulogy by Weingartner in his The Symphony since Beethoven.

[264] There is a statement in many books that this is a reminiscence of the theme in the Finale of the Ninth Symphony. How such a legend started it is difficult to say; it must be due to what the late W.F. Apthorp called "purblind criticism." For my part I see a resemblance in only one measure—save that both melodies are in quadruple rhythm—between the theme of Brahms and the following:—

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[265] It is used at the beginning of three other well-known melodies, e.g., the slow movement of Beethoven's Ninth Symphony, in the middle part of Schumann's Aufschwung and in the first phrase of Wagner's Preislied.

[266] This practice he has adopted in several other works and it is also the structural feature in the slow movement of CÉsar Franck's D minor Symphony.

[267] It is to be understood that this is a purely personal interpretation and if any one wishes to consider the piece merely as absolute music with a strong masculine theme in the minor, a lyric melody in the major for the natural contrast, and a coda referring in a general way to the first theme, there is no way to disprove the contention. That Brahms, however, was not entirely averse to out and out programmistic treatment is seen from his two pieces on specific poetic texts, i.e., the first number in op. 10 on the Scottish Ballads of Edward and the Lullaby in op. 117 on the Scottish Folk-song Sleep Soft, My Child.

[268] The same key that Wagner uses for the end of Tristan and Isolde and CÉsar Franck for the gorgeous Finale of the Prelude, Chorale and Fugue.

[269] The subject is the same as the story of the Sirens in the Odyssey or of the Lorelei in German Legend.

[270] For further comments on the phraseology see The Rhythm of Modern Music by Abdy Williams, pp. 75-77. We may add that the pieces called Intermezzi, are generally of a meditative, somber nature; whereas the Capriccios are more sprightly, even whimsical in spirit.

[271] For further comments on the style and influence of Saint-SaËns see the essay Mason's From Grieg to Brahms; the article by Professor E.B. Hill in the third volume of the Art of Music; and, for some pungent and witty remarks, the Program Book of the Boston Symphony Orchestra (edited by Philip Hale) for Nov. 22, 1918.

[272] For a comprehensive and discriminating account of his style see the Boston Symphony Orchestra Program Book, for January 17, 1919.

[273] On account of the length of these works it is impossible to include any of them in the Supplement.

[274] Study, if possible, the orchestral score. For class-room work there is an excellent four-hand arrangement by the composer, and one for two hands by Ernest Alder.

[275] This terse phrase is identical with motives from several other works, e.g., the beginning of Liszt's Les PrÉludes, the motive "Muss es sein?" in Beethoven's quartet, opus 135, and the Fate motive in Wagner's Valkyrie.

[276] See for example the opening measures of the Waldstein and of the Appassionata Sonata.

[277] Brilliant by reason of the fact that the four principal tones in D major, D, A, G, E are open strings on the violin.

[278] The scoring of this theme for trumpets, cornets and trombones has been severely criticized and it is true that the cornet is an instrument to be employed and played with discretion. The writer, however, has heard performances of this work in which the cornets seemed to give just that ringing note evidently desired by Franck.

[279] The harmony of this passage is most characteristic of Franck and should be carefully studied.

[280] See his Course in Composition, book II, pp. 423-426.

[281] Note the correspondence between these measures in the first part and the measures just before the end in the second part.

[282] Already cited on page 57, Chapter IV.

[283] The indication by letters is the same in the full score as in the version for two pianofortes.

[284] This school may be said to contain two groups: one, the pupils of CÉsar Franck—d'Indy, Chausson, Duparc, Rousseau, Augusta HolmÈs and Ropartz, the chief feature in whose style is a modernization of classic practice; a second consisting of Debussy, Ravel, Dukas and Florent Schmitt, whose works manifest more extreme individualistic tendencies.

[285] The well-known German scholar and editor Max FriedlÄnder, who visited this country in 1910, acknowledged—in a conversation with the writer—that he had never even heard of Chabrier!

[286] D'Indy's significant contributions to operatic and choral literature, such as Fervaal, L'Étranger, Le Chant de la Cloche and La LÉgende de St. Christophe, lie without our province.

[287] From the CÉvennes region whence d'Indy's family originally came.

[288] See the elaborate analysis by Mr. Mason in the essay above referred to.

[289] For a detailed analysis the student is referred to the account by the composer himself in his Cours de Composition Musicale, part II, pp. 484-486; to Gilman's Studies in Symphonic Music and to Vol. 3 of Mason's Short Studies of Great Masterpieces.

[290] From this comparison we should not wish it to be understood that Debussy is merely an addition to the standard Romantic group of Schumann, Chopin, Liszt, etc.; his style, however, is surely Romantic in the broad sense of the term, i.e., highly imaginative and individual.

[291] The trÈs exceptionnel, trÈs curieux, trÈs solitaire Claude Debussy as he has been aptly characterized.

[292] The first authentic use being probably by Dargomijsky in his opera the Stone Guest.

[293] For an enlightening amplification of this point see the first chapter of Wallace's The Threshold of Music.

[294] See page 193.

[295] For further suggestive comments on Debussy's style consult the Essay on PellÉas et MÉlisande by Lawrence Gilman (G. Schirmer, New York) and in particular an article by the same author in the Century Magazine for August, 1918.

[296] Gosse also calls it a famous miracle of intelligibility.

[297] The best books yet written on Debussy and his style are those by Mrs. Liebich and Louis Laloy. Consult also the comprehensive essay by E.B. Hill in Vol. III of the Art of Music.

[298] See the 2d volume of Great Composers by D.G. Mason and also the essay on Debussy in Contemporary Composers by the same author.

[299] According to Ernest Newman in a well-known article in the Musical Times (London).

[300] An excellent collection of modern French songs may be found in the two volumes published by the Oliver Ditson Co. in the Musicians Library.

[301] While he was riding a bicycle.

[302] The best account of his works and style is to be found in the volume Maurice Ravel et son oeuvre by Roland Manuel.

[303] Le Gibbet is without doubt the most realistic piece of musical description in our time.

[304] Witness the wonderful manifestation of these qualities by the French in the recent war.

[305] In Grove's Dictionary, under Bass, occurs this statement: This voice, found, or at least cultivated, only in Russia is by special training made to descend to FF music [Listen] [MusicXML].

[306] The writer had this statement from the lips of Tchaikowsky's own brother, Modeste.

[307] See the passage from his diary (quoted on page 504 of the Biography by his brother) in which he writes—"What touching love and compassion for mankind lie in these words: 'Come unto me, all ye that labor and are heavy laden!' In comparison with these simple words all the Psalms of David are as nothing."

[308] See the detailed program by the composer himself, cited in Nieck's Program Music.

[309] For this simile I am indebted to Mr. Philip Hale.

[310] For further comment see the Life of Tchaikowsky by Rosa Newmarch.

[311] As may be seen by the number of illustrations from it in text books!

[312] The authoritative work on Tchaikowsky is The Life and Letters by his brother Modeste; the abridged biography by Rosa Newmarch should also be read. There are excellent essays in Mezzotints in Modern Music by Huneker; in Streatfield's volume Modern Composers and in Mason's From Grieg to Brahms.

[313] The passage has already been cited in Chapter IV as an example of a deceptive cadence.

[314] By double counterpoint is meant such a grouping of the voices that they may be inverted (the upper voice becoming the lower and vice versa) and sound equally well. For further comments, together with illustrative examples, consult Chapter IX of Spalding's Tonal Counterpoint.

[315] The most authoritative work in English is the History of Russian Music by Montagu-Nathan; in French there are the Essays Musiques de Russie by Bruneau.

[316] Quoted from the chapter on Russian music in Famous Composers and Their Works (2d series).

[317] Towards the end of his life he destroyed many of his compositions.

[318] For a delightful account of the friendship of these two composers consult the volume Borodin and Liszt by Alfred Habets (translated by Rosa Newmarch).

[319] According to Liszt "a compendium of musical science in the form of a jest."

[320] This work in structure is a Suite, i.e., there are four distinct, separated movements.

[321] For biographical information consult the volume by Montagu-Nathan.

[322] Quoted from the article in Grove's Dictionary.

[323] Quoted from the Art of Music, Vol. III.

[324] His surname is to be accented on the first syllable—a fact which may be remembered from the story attributed to Liszt who, once asking Smetana how his name was to be pronounced received this reply: My name is always

Overture to Fidelio

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SmÉtana, SmÉtana, SmÉtana

but never

Overture to Leonora, No. 3

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Friedrich SmetÁna Friedrich SmetÁna.

[325] For example in the second movement of Smetana's Quartet and in DvorÁk's Suite for small orchestra, op. 39.

[326] For a graphic description of the country and the customs of its people consult the essay on DvorÁk in Hadow's Studies in Modern Music.

[327] A detailed account of these works may be found in the article on Smetana in Famous Composers and their Works (2d series).

[328] For his biography, consult the Hadow essay (referred to above) and the chapter on DvorÁk in Mason's From Grieg to Brahms.

[329] The author has heard this symphony played in Prague and other continental cities under Bohemian conductors. It is always welcomed as being thoroughly characteristic of Bohemia.

[330] For detailed analytical comment consult Vol. III of Short Studies in Great Masterpieces by D.G. Mason.

[331] Note for example the chords at the opening of the slow movement.

[332] The best biography in English is that by H.T. Finck; the work, however, is somewhat marred by fulsome praise.

[333] During the summer solstice it is dark for only a few hours; and further north, in the land, so-called, of the Midnight Sun, for a few weeks there is perpetual daylight.

[334] He was called by BÜlow the Chopin of the North.

[335] An admirable treatment of the whole subject may be found in Vol. III of The Art of Music.

[336] For a detailed account of his life and works consult the essay in Contemporary Russian Composers by Montagu-Nathan and Vol. III of The Art of Music.

[337] For a comprehensive estimate of his style and achievements the following works will prove useful: the Biography, by Eaglefield Hull; the Essay, by Montagu-Nathan in the volume referred to, and an article by W.H. Hadow in the Musical Quarterly for Jan. 1915.

[338] Who lost his life on the Sussex when it was torpedoed by the Germans.

[339] For a comprehensive account, historical and critical, of this influence consult the volume by Carl Van Vechten The Music of Spain.

[340] Some pithy remarks on the habitual English attitude toward music may be found in the history of Stanford and Forsyth, page 313, seq.

[341] See for example the broad theme in the middle portion of the March, Pomp and Circumstance.

[342] This valuation of American composers is made solely on the basis of published compositions.

[343] For additional comments on this point see an article by the author in the Musical Quarterly for January, 1918.

[344] Performed recently several times by the Flonzaley Quartet.

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