Great Musical Composers Part 9

Enjoined by my intelligent physician to spare my hearing as much as possible, I have been almost encouraged by him in my present natural disposition, though, hurried away by my fondness for society, I sometimes suffered myself to be enticed into it. But what a humiliation when any one standing beside me could hear at a distance a flute that I could not hear, or any one heard the shepherd singing, and I could not distinguish a sound! Such circ.u.mstances brought me to the brink of despair, and had well-nigh made me put an end to my life--nothing but my art held my hand. Ah! it seemed to me impossible to quit the world before I had produced all that I felt myself called to accomplish. And so I endured this wretched life--so truly wretched, that a somewhat speedy change is capable of transporting me from the best into the worst condition. Patience--so I am told--I must choose for my guide. Steadfast, I hope, will be my resolution to persevere, till it shall please the inexorable Fates to cut the thread.

"Perhaps there may be an amendment--perhaps not; I am prepared for the worst--I, who so early as my twenty-eighth year was forced to become a philosopher--it is not easy--for the artist more difficult than for any other. O G.o.d! thou lookest down upon my misery; thou knowest that it is accompanied with love of my fellow-creatures, and a disposition to do good! O men! when ye shall read this, think that ye have wronged me; and let the child of affliction take comfort on finding one like himself, who, in spite of all the impediments of Nature, yet did all that lay in his power to obtain admittance into the rank of worthy artists and men.... I go to meet Death with joy. If he comes before I have had occasion to develop all my professional abilities, he will come too soon for me, in spite of my hard fate, and I should wish that he had delayed his arrival. But even then I am content, for he will release me from a state of endless suffering. Come when thou wilt, I shall meet thee with firmness. Farewell, and do not quite forget me after I am dead; I have deserved that you should think of me, for in my lifetime I have often thought of you to make you happy.

May you ever be so!"

VIII.

The music of Beethoven has left a profound impress on art. In speaking of his genius it is difficult to keep expression within the limits of good taste. For who has so pa.s.sed into the very inner _penetralia_ of his great art, and revealed to the world such heights and depths of beauty and power in sound?

Beethoven composed nine symphonies, which, by one voice, are ranked as the greatest ever written, reaching in the last, known as the "Choral," the full perfection of his power and experience. Other musicians have composed symphonic works remarkable for varied excellences, but in Beethoven this form of writing seems to have attained its highest possibilities, and to have been ill.u.s.trated by the greatest variety of effects, from the sublime to such as are simply beautiful and melodious. His hand swept the whole range of expression with unfaltering mastery. Some pa.s.sages may seem obscure, some too elaborately wrought, some startling and abrupt, but on all is stamped the die of his great genius.

Beethoven's compositions for the piano, the sonatas, are no less notable for range and power of expression, their adaptation to meet all the varied moods of pa.s.sion and sentiment. Other pianoforte composers have given us more warm and vivid colour, richer sensual effects of tone, more wild and bizarre combination, perhaps even greater sweetness in melody; but we look in vain elsewhere for the spiritual pa.s.sion and poetry, the aspiration and longing, the lofty humanity, which make the Beethoven sonatas the _suspiria de profundis_ of the composer's inner life. In addition to his symphonies and sonatas, he wrote the great opera of "Fidelio," and in the field of oratorio a.s.serted his equality with Handel and Haydn by composing "The Mount of Olives." A great variety of chamber music, ma.s.ses, and songs bear the same imprint of power. He may be called the most original and conscientious of all the composers. Handel, Haydn, Mozart, Schubert, and Mendelssohn were inveterate thieves, and pilfered the choicest gems from old and forgotten writers without scruple. Beethoven seems to have been so fecund in great conceptions, so lifted on the wings of his tireless genius, so austere in artistic morality, that he stands for the most part above the reproach deservedly borne by his brother composers.

Beethoven's princ.i.p.al t.i.tle to fame is in his superlative place as a symphonic composer. In the symphony music finds its highest intellectual dignity; in Beethoven the symphony has found its loftiest master.

_SCHUBERT AND SCHUMANN._

I.

Heinrich Heine, in his preface to a translation of _Don Quixote_, discusses the creative powers of different peoples. To the Spaniard Cervantes is awarded the first place in novel-writing, and to our own Shakespeare, of course, the transcendent rank in drama.

"And the Germans," he goes on to say, "what palm is due to them? Well, we are the best writers of songs in the world. No people possesses such beautiful _Lieder_ as the Germans. Just at present the nations have too much political business on hand; but, after that has once been settled, we Germans, English, Spaniards, Frenchmen, and Italians will all go to the green forest and sing, and the nightingale shall be umpire. I feel sure that in this contest the song of Wolfgang Goethe will gain the prize."

There are few, if any, who will be disposed to dispute the verdict of the German poet, himself no mean rival, in depth and variety of lyric inspiration, even of the great Goethe. But a greater poet than either one of this great pair bears the suggestive and impersonal name of "The People." It is to the countless wealth of the German race in folk-songs, an affluence which can be traced back to the very dawn of civilisation among them, that the possibility of such lyric poets as Goethe, Heine, Ruckert, and Uhland is due. From the days of the "Nibelungenlied," that great epic which, like the Homeric poems, can hardly be credited to any one author, every hamlet has rung with beautiful national songs, which sprung straight from the fervid heart of the people. These songs are balmy with the breath of the forest, the meadow, and river, and have that simple and bewitching freshness of motive and rhythm which unconsciously sets itself to music.

The German _Volkslied_, as the exponent of the popular heart, has a wide range, from mere comment on historical events, and quaint, droll satire, such as may be found in Hans Sachs, to the grand protest against spiritual bondage which makes the burden of Luther's hymn, "Ein' feste Burg." But nowhere is the beauty of the German song so marked as in those _Lieder_ treating of love, deeds of arms, and the old mystic legends so dear to the German heart. Tieck writes of the "Minnesinger period"--"Believers sang of faith, lovers of love; knights described knightly actions and battles, and loving, believing knights were their chief audiences. The spring, beauty, gaiety, were objects that could never tire; great duels and deeds of arms carried away every hearer, the more surely the stronger they were painted; and as the pillars and dome of the church encircled the flock, so did Religion, as the highest, encircle poetry and reality, and every heart in equal love humbled itself before her."

A similar spirit has always inspired the popular German song, a simple and beautiful reverence for the unknown, the worship of heroism, a vital sympathy with the various manifestations of Nature. Without the fire of the French _chansons_, the sonorous grace of the Tuscan _stornelli_, these artless ditties, with their exclusive reliance on true feeling, possess an indescribable charm.

The German _Lied_ always preserved its characteristic beauty. Goethe, and the great school of lyric poets cl.u.s.tered around him, simply perfected the artistic form, without departing from the simplicity and soulfulness of the stock from which it came. Had it not been for the rich soil of popular song, we should not have had the peerless lyrics of modern Germany. Had it not been for the poetic inspiration of such word-makers as Goethe and Heine, we should not have had such music-makers in the sphere of song as Schubert and Franz.

The songs of these masters appeal to the interest and admiration of the world, then, not merely in virtue of musical beauty, but in that they are the most vital outgrowths of Teutonic nationality and feeling.

The immemorial melodies to which the popular songs of Germany were set display great simplicity of rhythm, even monotony, with frequent recurrence of the minor keys, so well adapted to express the melancholy tone of many of the poems. The strictly strophic treatment is used, or, in other words, the repet.i.tion of the melody of the first stanza in all the succeeding ones. The chasm between this and the varied form of the artistic modern song is deep and wide, yet it was overleaped in a single swift bound by the remarkable genius of Franz Schubert, who, though his compositions were many and matchless of their kind, died all too young; for, as the inscription on his tombstone pathetically has it, he was "rich in what he gave, richer in what he promised."

II.

The great masters of the last century tried their hands in the domain of song with only comparative success, partly because they did not fully realise the nature of this form of art, partly because they could not limit the sweep of the creative power within such narrow limits. Schubert was a revelation to his countrymen in his musical treatment of subjective pa.s.sion, in his instinctive command over condensed, epigrammatic expression. This rich and gifted life, however quiet in its exterior facts, was great in its creative and spiritual manifestation. Born at Vienna of humble parents, January 31, 1797, the early life of Franz Schubert was commonplace in the extreme, the most interesting feature being the extraordinary development of his genius.

At the age of fourteen he had made himself a master of counterpoint and harmony, and composed a large ma.s.s of chamber-music and works for the piano. His poverty was such that he was oftentimes unable to obtain the music-paper with which to fasten the immortal thoughts that thronged through his brain. It was two years later that his special creative function found exercise in the production of the two great songs, the "Erl-King" and the "Serenade," the former of which proved the source of most of the fame and money emolument he enjoyed during life. It is hardly needful to speak of the power and beauty of this composition, the weird sweetness of its melodies, the dramatic contrasts, the wealth of colour and shading in its varying phrases, the subtilty of the accompaniment, which elaborates the spirit of the song itself. The piece was composed in less than an hour. One of Schubert's intimates tells us that he left him reading Goethe's great poem for the first time. He instantly conceived and arranged the melody, and when the friend returned after a short absence Schubert was rapidly noting the music from his head on paper. When the song was finished he rushed to the Stadtconvict school, his only _alma mater_, and sang it to the scholars. The music-master, Rucziszka, was overwhelmed with rapture and astonishment, and embraced the young composer in a transport of joy. When this immortal music was first sung to Goethe, the great poet said, "Had music, instead of words, been my instrument of thought, it is so I would have framed the legend."

The "Serenade" is another example of the swiftness of Schubert's artistic imagination. He and a lot of jolly boon-companions sat one Sunday afternoon in an obscure Viennese tavern, known as the Biersack.

The surroundings were anything but conducive to poetic fancies--dirty tables, floor, and ceiling, the clatter of mugs and dishes, the loud dissonance of the beery German roisterers, the squalling of children, and all the sights and noises characteristic of the beer-cellar. One of our composer's companions had a volume of poems, which Schubert looked at in a lazy way, laughing and drinking the while. Singling out some verses, he said, "I have a pretty melody in my head for these lines, if I could only get a piece of ruled paper." Some staves were drawn on the back of a bill-of-fare, and here, amid all the confusion and riot, the divine melody of the "Serenade" was born, a tone-poem which embodies the most delicate dream of pa.s.sion and tenderness that the heart of man ever conceived.

Both these compositions were eccentric and at odds with the old canons of song, fancied with a grace, warmth, and variety of colour hitherto characteristic only of the more pretentious forms of music, which had already been brought to a great degree of perfection. They inaugurate the genesis of the new school of musical lyrics, the golden wedding of the union of poetry with music.

For a long time the young composer was unsuccessful in his attempts to break through the barren and irritating drudgery of a schoolmaster's life. At last a wealthy young dilettante, Franz von Schober, who had become an admirer of Schubert's songs, persuaded his mother to offer him a fixed home in her house. The latter gratefully accepted the overture of friendship, and thence became a daily guest at Schober's house. He made at this time a number of strong friendships with obscure poets, whose names only live through the music of the composer set to verses furnished by them; for Schubert, in his affluence of creative power, merely needed the slightest excuse for his genius to flow forth. But, while he wrote nothing that was not beautiful, his masterpieces are based only on themes furnished by the lyrics of such poets as Goethe, Heine, and Ruckert. It is related, in connection with his friendship with Mayrhofer, one of his rhyming a.s.sociates of these days, that he would set the verses to music much faster than the other could compose them.

The songs of the obscure Schubert were gradually finding their way to favour among the exclusive circles of Viennese aristocracy. A celebrated singer of the opera, Vogl, though then far advanced in years, was much sought after for the drawing-room concerts so popular in Vienna, on account of the beauty of his art. Vogl was a warm admirer of Schubert's genius, and devoted himself a.s.siduously to the task of interpreting it--a friendly office of no little value. Had it not been for this, our composer would have sunk to his early grave probably without even the small share of reputation and monetary return actually vouchsafed to him. The strange, dreamy unconsciousness of Schubert is very well ill.u.s.trated in a story told by Vogl after his friend's death. One day Schubert left a new song at the singer's apartments, which, being too high, was transposed. Vogl, a fortnight afterwards, sang it in the lower key to his friend, who remarked: "Really, that _Lied_ is not bad; who composed it?"

III.

Our great composer, from the peculiar const.i.tution of his gifts, the pa.s.sionate subjectiveness of his nature, might be supposed to have been peculiarly sensitive to the fascinations of love, for it is in this feeling that lyric inspiration has found its most fruitful root.

But not so. Warmly susceptible to the charms of friendship, Schubert for the most part enacted the _role_ of the woman-hater, which was not all affected; for the Hamlet-like mood is only in part a simulated madness with souls of this type. In early youth he would sneer at the amours of his comrades. It is true he fell a victim to the charms of Theresa Grobe, a beautiful soprano, who afterwards became the spouse of a master-baker. But the only genuine love-sickness of Schubert was of a far different type, and left indelible traces on his nature, as its very direction made it of necessity unfortunate. This was his attachment to Countess Caroline Esterhazy.

The Count Esterhazy, one of those great feudal princes still extant among the Austrian n.o.bility, took a traditional pride in encouraging genius, and found in Franz Schubert a n.o.ble object for his generous patronage. He was almost a boy (only nineteen), except in the prodigious development of his genius, when he entered the Esterhazy family as teacher of music, though always treated as a dear and familiar friend. During the summer months, Schubert went with the Esterhazys to their country seat at Zelesz, in Hungary. Here, amid beautiful scenery, and the sweetness of a social life perfect of its kind, our poet's life flew on rapid wings, the one bright, green spot of unalloyed happiness, for the dream was delicious while it lasted.

Here, too, his musical life gathered a fresh inspiration, since he became acquainted with the treasures of the national Hungarian music, with its weird, wild rhythms and striking melodies. He borrowed the motives of many of his most characteristic songs from these reminiscences of hut and hall, for the Esterhazys were royal in their hospitality, and exercised a wide patriarchal sway.

The beautiful Countess Caroline, an enthusiastic girl of great beauty, became the object of a romantic pa.s.sion. A young, inexperienced maiden, full of _nave_ sweetness, the finest flower of the haughty Austrian caste, she stood at an infinite distance from Schubert, while she treated him with childlike confidence and fondness, laughing at his eccentricities, and worshipping his genius. He bowed before this idol, and poured out all the incense of his heart. Schubert's exterior was anything but that of the ideal lover. Rude, unshapely features, thick nose, coa.r.s.e, protruding mouth, and a shambling, awkward figure, were redeemed only by eyes of uncommon splendour and depth, aflame with the unmistakable light of the soul.

The inexperienced maiden hardly understood the devotion of the artist, which found expression in a thousand ways peculiar to himself. Only once he was on the verge of a full revelation. She asked him why he had dedicated nothing to her. With abrupt, pa.s.sionate intensity of tone Schubert answered, "What's the use of that? Everything belongs to you!" This brink of confession seems to have frightened him, for it is said that after this he threw much more reserve about his intercourse with the family, till it was broken off. Hints in his letters, and the deep despondency which increased after this, indicate, however, that the humbly-born genius never forgot his beautiful dream.

He continued to pour out in careless profusion songs, symphonies, quartets, and operas, many of which knew no existence but in the score till after his death, hardly knowing of himself whether the productions had value or not. He created because it was the essential law of his being, and never paused to contemplate or admire the beauties of his own work. Schubert's body had been mouldering for several years, when his wonderful symphony in C major, one of the _chefs-d'oeuvre_ of orchestral composition, was brought to the attention of the world by the critical admiration of Robert Schumann, who won the admiration of lovers of music, not less by his prompt vindication of neglected genius than by his own creative powers.

In the contest between Weber and Rossini which agitated Vienna, Schubert, though deeply imbued with the seriousness of art, and by nature closely allied in sympathies with the composer of "Der Freischutz," took no part. He was too easy-going to become a volunteer partisan, too shy and obscure to make his alliance a thing to be sought after. Besides, Weber had treated him with great brusqueness, and d.a.m.ned an opera for him, a slight which even good-natured Franz Schubert could not easily forgive.

The fifteen operas of Schubert, unknown now except to musicians, contain a wealth of beautiful melody which could easily be spread over a score of ordinary works. The purely lyric impulse so dominated him that dramatic arrangement was lost sight of, and the n.o.blest melodies were likely to be lavished on the most unworthy situations. Even under the operatic form he remained essentially the song-writer. So in the symphony his affluence of melodic inspiration seems actually to embarra.s.s him, to the detriment of that breadth and symmetry of treatment so vital to this form of art. It is in the musical lyric that our composer stands matchless.

During his life as an independent musician at Vienna, Schubert lived fighting a stern battle with want and despondency, while the publishers were commencing to make fortunes by the sale of his exquisite _Lieder_. At that time a large source of income for the Viennese composers was the public performance of their works in concerts under their own direction. From recourse to this, Schubert's bashfulness and lack of skill as a _virtuoso_ on any instrument helped to bar him, though he accompanied his own songs with exquisite effect.

Once only his friends organised a concert for him, and the success was very brilliant. But he was prevented from repeating the good fortune by that fatal illness which soon set in. So he lived out the last glimmers of his life, poverty-stricken, despondent, with few even of the amenities of friendship to soothe his declining days. Yet those who know the beautiful results of that life, and have even a faint glow of sympathy with the life of a man of genius, will exclaim with one of the most eloquent critics of Schubert--

"But shall we, therefore, pity a man who all the while revelled in the treasures of his creative ore, and from the very depths of whose despair sprang the sweetest flowers of song? Who would not battle with the iciest blast of the north if out of storm and snow he could bring back to his chamber the germs of the 'Winterreise?' Who would grudge the moisture of his eyes if he could render it immortal in the strains of Schubert's 'Lob der Thrane?'"

Schubert died in the flower of his youth, November 19, 1828; but he left behind him nearly a thousand compositions, six hundred of which were songs. Of his operas only the "Enchanted Harp" and "Rosamond"

were put on the stage during his lifetime. "Fierabras," considered to be his finest dramatic work, has never been produced. His church music, consisting of six ma.s.ses, many offertories, and the great "Hallelujah" of Klopstock, is still performed in Germany. Several of his symphonies are ranked among the greatest works of this nature. His pianoforte compositions are brilliant, and strongly in the style of Beethoven, who was always the great object of Schubert's devoted admiration, his artistic idol and model. It was his dying request that he should be buried by the side of Beethoven, of whom the art-world had been deprived the year before.

Compared with Schubert, other composers seem to have written in prose.

His imagination burned with a pa.s.sionate love of Nature. The lakes, the woods, the mountain heights, inspired him with eloquent reveries that burst into song; but he always saw Nature through the medium of human pa.s.sion and sympathy, which transfigured it. He was the faithful interpreter of spiritual suffering, and the joy which is born thereof.

The genius of Schubert seems to have been directly formed for the expression of subjective emotion in music. That his life should have been simultaneous with the perfect literary unfolding of the old _Volkslied_ in the superb lyrics of Goethe, Heine, and their school, is quite remarkable. Poetry and song clasped hands on the same lofty summits of genius. Liszt has given to our composer the t.i.tle of _le musicien le plus poetique_, which very well expresses his place in art.

In the song as created by Schubert and transmitted to his successors, there are three forms, the first of which is that of the simple _Lied_, with one unchanged melody. A good example of this is the setting of Goethe's "Haideroslein," which is full of quaint grace and simplicity. A second and more elaborate method is what the Germans call "through-composed," in which all the different feelings are successively embodied in the changes of the melody, the sense of unity being preserved by the treatment of the accompaniment, or the recurrence of the princ.i.p.al motive at the close of the song. Two admirable models of this are found in the "Lindenbaum" and "Serenade."

The third and finest art-method, as applied by Schubert to lyric music, is the "declamatory." In this form we detect the consummate flower of the musical lyric. The vocal part is lifted into a species of pa.s.sionate chant, full of dramatic fire and colour, while the accompaniment, which is extremely elaborate, furnishes a most picturesque setting. The genius of the composer displays itself here fully as much as in the vocal treatment. When the lyric feeling rises to its climax it expresses itself in the crowning melody, this high tide of the music and poetry being always in unison. As masterpieces of this form may be cited "Die Stadt" and "Der Erlkonig," which stand far beyond any other works of the same nature in the literature of music.

IV.

ROBERT SCHUMANN, the loving critic, admirer, and disciple of Schubert in the province of song, was in most respects a man of far different type. The son of a man of wealth and position, his mind and tastes were cultivated from early youth with the utmost care. Schumann is known in Germany no less as a philosophical thinker and critic than as a composer. As the editor of the _Neue Zeitschrift fur Musik_, he exercised a powerful influence over contemporary thought in art-matters, and established himself both as a keen and incisive thinker and as a master of literary style. Schumann was at first intended for the law, but his unconquerable taste for music a.s.serted itself in spite of family opposition. His acquaintance with the celebrated teacher, Wieck, whose gifted daughter, Clara, afterwards became his wife, finally established his career; for it was through Wieck's advice that the Schumann family yielded their opposition to the young man's bent.

Once settled in his new career, Schumann gave himself up to work with the most indefatigable ardour. The early part of the present century was a halcyon time for the _virtuosi_, and the fame and wealth that poured themselves on such players as Paganini and Liszt made such a pursuit tempting in the extreme. Fortunately, the young musician was saved from such a career. In his zeal of practice and desire to attain a perfectly independent action for each finger on the piano, Schumann devised some machinery, the result of which was to weaken the sinews of his third finger by undue distension. By this he lost the effective use of the whole right hand, and of course his career as a _virtuoso_ practically closed.

Music gained in its higher walks what it lost in a lower. Schumann devoted himself to composition and aesthetic criticism, after he had pa.s.sed through a thorough course of preparatory studies. Both as a writer and a composer Schumann fought against Philistinism in music.

Ardent, progressive, and imaginative, he soon became the leader of the romantic school, and inaugurated the crusade which had its parallel in France in that carried on by Victor Hugo in the domain of poetry. His early pianoforte compositions bear the strong impress of this fiery, revolutionary spirit. His great symphonic works belong to a later period, when his whole nature had mellowed and ripened without losing its imaginative sweep and brilliancy. Schumann's compositions for the piano and orchestra are those by which his name is most widely honoured, but nowhere do we find a more characteristic exercise of his genius than in his songs, to which this article will call more special attention.