Studies in Modern Music Part 8

But Dvorak could not wholly give up to mankind what was meant, in the first instance, for a patriotic party. The opening of the New Bohemian Theatre in 1881 recalled him from Legends and Rhapsodies into the full stir and impetus of national life, and set him once more in the van of that strange, half-artistic, half-political movement that had found its type and representative in the 'Heirs of the White Mountain.' The two works which he wrote this year for the stage have almost the tone of manifestoes; curiously alike in scope and plan, curiously different in the measure of their ultimate value. Both make direct appeal to popular sympathy; both recall some notable period in the history of Bohemia; both draw their inspiration from melodies that have gained acceptance among the folk-songs of the people. But here parallel gives way to contrast. The Husitska overture, founded on a famous battle-song of the Hussite wars, is a masterpiece which turns to a n.o.ble use, one of the finest themes in Bohemian art--the incidental music to Samberk's 'Tyl,'

takes perforce the poor melody of the national anthem, for which Tyl had written the words, and so foredooms itself to failure by a fault that is not its own. Of course in the latter case the choice was inevitable. A drama which had the revolutionary poet for central figure, could only be set by _motifs_ that made reference to the best known of his works, and in Bohemia, as in many other countries, the national anthem has been accepted by accident, and maintained by force of a.s.sociation. Still, the comparison of the two results is a lesson of the highest significance.

In Husitska, Dvorak selected a genuine folk-song, and raised it into a national monument that will stand the test of time. In Tyl he borrowed the tune of a Prague Kapellmeister, and with all ingenuity of treatment, could lift it to no higher level than that of a _piece d'occasion_. It was perfectly natural that both works alike should obtain an immediate welcome. They appeared at a moment of crisis; they addressed a sentiment of loyalty; they stood for the time outside the range of dispa.s.sionate criticism. But to us, who may regard the matter from a purely artistic standpoint, the difference between them is incalculable. Both are well written; both have accessory themes of great beauty; both are scored with all their composer's accustomed skill, but one is built upon the bed-rock of the Bohemian mountains, the other upon an artificial bas.e.m.e.nt that only holds together by external support.

Having once more gained access to the Theatre, Dvorak proceeded to occupy the position, and in 1882 strengthened it by the production of Dimitrij, which, among all his operas, is the largest in scale, and the most dramatic in treatment. He had, indeed, a subject made to his hand.

The romance of history contains no more striking episode than that of the false Demetrius; a story of heroism and imposture, of honour in conflict with ambition, of love that betrays a trust, and jealousy that wrecks a life. Marina's character is one of singular interest and complexity, torn between allegiance to her nation and loyalty to her husband, aiding him to usurp the throne which he believes to be his by right, denouncing him in anger when he uses his power against her countrymen, watching his a.s.sa.s.sination on the spot where she had shared his triumph. Here are no foregone conclusions; no idle displays of theatrical ingenuity; no stage lay figures clad in traditional garb; the whole event is a transcript from nature, vivid, real, convincing, and the more tragic for the cross issue upon which it turns. It may be added that Dvorak has accomplished his part in the work with unusual care and anxiety. After the first performance some important changes were made, notably in the overture, and in the closing scenes, and though the music has since been printed in its revised form, the composer, still dissatisfied, has recently submitted it to a new process of recension. Yet in its earlier shape the score contained pa.s.sages and numbers which the world would be the poorer for losing. The most relentless self-criticism could hardly have bettered the entry into Moscow, or Xenia's flight, or the great duet in the second act.

Meantime the curtain was rising upon another scene, which had England for its stage, and Dvorak himself for its hero. As early as 1879, the attention of English musicians had been aroused by a performance of the Slavische Tanze; the interest once excited had steadily grown and gathered as new works made their appearance; and, in March 1883, the composer was invited over to conduct his Stabat Mater at the Albert Hall. His reception was one of the most cordial ever offered by our land to a foreign artist. The house was crowded and appreciative; the press for once raised a unanimous voice of approbation; the example set by London was soon followed by other great centres throughout the country. No doubt there was something of fashion and novelty in the movement:--every great stream of tendency carries these attendant bubbles upon its surface: but at least the current was set in a right direction, and was destined to maintain its course without swerving. The lapse of years may have brought us a cooler judgment; it has certainly brought us a stronger and more reasoned admiration.

In 1884 the Stabat Mater was repeated at Worcester, where it met with so brilliant a success, that Dvorak was at once commissioned to write a cantata for next year's Birmingham Festival. As libretto he took a Slavonic version of the Lenore legend, a vampyre story, even wilder and more savage than the famous ballad which Burger wrote, and Scott translated. It is not, perhaps, a very satisfactory subject for a long work. There is too much monotony of suffering: there is too much gloom and terror and pain: a tragedy so unrelieved comes near to over-straining the sympathy of the spectator. But for all this it offers certain points of vantage which Dvorak was abundantly qualified to seize. In setting the words, he wisely treated the musical aspect as paramount, brought to the task all his resources of rhythm and harmony and melodic invention, and produced a poem in which horror itself is made beautiful, and darkness lightened with flashes of electric genius.

Grant that the 'Spectre's Bride' is too long, that it needs compression; that it loses effect by repet.i.tion and redundance; none the less it can show some of the finest numbers that its composer has ever written, and with such summits attained, may well look down upon any censure of inequality.

A remarkable contrast is afforded by the Oratorio of St Ludmila, which was produced at the Leeds Festival of 1886. The theme is fertile in opportunity, the book is written by the first of living Bohemian poets, the music dates from the centre of Dvorak's richest period, and yet the whole impression left on the hearer is one of failure and disappointment. For this our own reputation is chiefly to blame. It is a matter of common belief abroad, that the only works which can really attract a British audience are the Elijah and the Messiah; that in them we find all music comprised, that from them we construct a standard by which we test the entire range of composition. Perhaps our past history in some degree justifies the charge; perhaps we have unduly favoured the two great masterpieces that were written for our country; in any case the tradition obtains, and St Ludmila may stand as the most salient example of its effect. The opening chorus is characteristic enough; the rest is all dominated by the influence of Handel and Mendelssohn; a labour that is lost by conformity with an alien method, a gift that is marred by the very means taken to render it acceptable.

But during all these years, the best record of Dvorak's genius is to be found in his instrumental compositions. Even the Spectre's Bride is not of more account than the Symphony in D minor, the Symphony in G, and the array of chamber-works that reach their climax with the famous Pianoforte Quintett. To these may be added the trifles of a lighter mood--waltzes, mazurkas, dainty little sketches for the pianoforte--all too slight to establish a reputation, but all beautiful enough for its adornment. At the same time he was gaining strength and experience as a song-writer. The Zigeunerlieder had already marked a new stage in his lyric method; they were now followed by three volumes of equal charm and of a style even more fully developed. Indeed, as we look through the pages of successful attainment, we are in no mind to cavil because one effort has missed its mark. a.s.suredly, there was no lack of power in the artist who could retrieve a single defeat with so many victories.

In 1889 he brought out his sixth opera, Jakobin--a sentimental comedy of a type that held the stage some half-century ago. The play is somewhat spoiled by a double intrigue, of which it may be said that the less prominent strand is the better woven. We grow rather weary of Count Bohus and his peasant-wife; driven from home by an unbending father, supplanted by a wicked cousin, restored by a reminiscence of early childhood; but we can all sympathise with the old Kapellmeister who arranges the castle pageants, and who, on the eve of his cantata, has to choose a son-in-law between the burgomaster of the town and its only tenor.

Later events are of too recent a memory to require any detailed description. In 1889, Dvorak was decorated by the Austrian Court; in 1890 he was admitted to the Honorary Doctorate at Cambridge; in the same year, Prague elected him Doctor of Philosophy, and appointed him Professor of Composition at the Conservatorium. Next autumn he again visited England, to conduct his Requiem at the Birmingham Festival, and shortly afterwards accepted the post of Musical Director at New York, where, with an occasional holiday in Bohemia, he remained until 1895.

During his residence in America he was much attracted by the sweetness and _navete_ of the negro melodies, and, though he never actually transferred any of them to his own pages, yet in more than one composition he shows clear traces of their influence. This is particularly the case with his symphony, 'From the New World' (Op. 95), so named because it was the first work of his written in the United States, and with the String Quartett in F major (Op. 96) and A flat major (Op. 105). In all these the most conspicuous themes are intimately affected by the 'Plantation Songs,' and it is interesting to note with what skill Dvorak has absorbed their character into his own style and method.

Among other notable works published at this period should be mentioned the set of 'Elegies' (Dumky) for Pianoforte trio, the three great concert overtures, 'In der Natur,' 'Carnaval,' and 'Otello,' a quintett in E flat minor, and a collection of 'Bible Songs,' the words of which are mainly taken from the Psalms. His last Transatlantic composition was a cantata, 'The American Flag,' written for the Chicago Exhibition of 1895. Shortly afterwards, influenced, it would seem, by sheer nostalgia, he resigned his appointment and returned to Bohemia, where he has since resided; partly in Prague and partly in his country house some thirty miles away. His restoration to his own country was marked by another outburst of composition, and in 1896 there appeared the Violoncello Concerto, the String Quartetts in A flat and G, and the three symphonic poems, 'Der Wa.s.sermann,' 'Die Mittagshexe,' and 'Das Goldene Spinnrad.'

In the same year was published the 'Te Deum,' which had been produced at the Birmingham Festival of 1894, but the work, in spite of some brilliant pa.s.sages, is not one of his greatest and needs here no more than the bare mention. After 1896 came an interval of silence; doubtless to be explained by the cares of office at the Prague Conservatorium: then in 1899 followed 'Die Waldtaube,' and 'Heldenlied,' and in 1901 the new opera of 'Roussalka.'

FOOTNOTES:

[45] This opus number is appended to the autograph score. The Quintett and both the symphonies are still unpublished.

[46] See a complete history of this work in the preface to the present libretto; see also Dr Stecker's article on Dvorak in the new 'Bohemian Encyclopaedia.' Both these authorities give 1871 as the date.

[47] See the biographical sketch of Dvorak, by H. E. Krehbiel, _Century_, Sept. 1892.

III

NATIONAL AND PERSONAL CHARACTERISTICS

The statical conditions which aid in the formation of character may roughly be cla.s.sified under three princ.i.p.al heads. First, there is the broad general basis of humanity, the common foundation of thought and feeling which enables us to sympathise, in some measure, with distant lands and remote ages. Secondly, there is the individual element, the particular blend of personal characteristics, the special idiosyncrasy that marks the difference between one man and his fellow. Third, and intermediate between the other two, is the debt that we owe to our nation the long inheritance that our forefathers have acc.u.mulated, that has been put to interest from the beginning of our race, and augmented by every occurrence in our history. And since art is essentially the outcome of character, it would seem to follow, that the artist should display in his work some trace of these three conditions, that his manner should be affected by causes which belong partly to mankind at large, partly to his own temper and circ.u.mstances, partly to the distinctive attributes of his people.

The first two of these have never been called in question. All criticism admits that art is at once human and personal, that its aim is to particularise, through the medium of the artist, some ideal or truth which is universal in its ultimate essence. But the admission of the national element has been so strenuously attacked, that a few words may perhaps be offered in its defence; and there could be no more fitting occasion than the study of a composer whose best work has been devoted to the service of a national movement. Hence, before beginning any detailed investigation of Dvorak's method, it will be advisable to consider, first, what is precisely implied in the statement that he was influenced by the character of his country, and secondly, whether this influence was a source of strength or of weakness?

Now the differences by which national temperaments are distinguished appear to be such palpable facts, that it is hardly worth while to a.s.sert their existence. In conversation, in travel, in all intercourse we are constantly being reminded that Europe is divided by frontier lines, drawn, no doubt, over the surface of a common earth, but for all that, setting up barriers which are not solely geographical. There is some intermixture of races, but it only bars the rule with a rare exception. There is a growing development of breadth and sympathy, but it only teaches us that the foreign standpoint is as good as our own, not that it is the same. The human mind, says Bacon, is a broken and distorted mirror which can but reflect a part of the truth, and a.s.suredly the part reflected by any individual mind is in great measure determined by national and social conditions.

Again the poet, though he be the spokesman of the whole world, is in a more intimate degree the spokesman of his own country. He has a particular set of traditions for background, he has a particular language for vehicle, and both of these give shape and colour to the abstract ideas which it is his function to express. Wordsworth, for example, is as purely English as Victor Hugo is French or Goethe German; each is the embodiment of a national spirit, each make a closer appeal to his compatriots than to the wisest and most liberal criticism across the border. And this does not depend upon the mere difficulty of translation, it is not a question of grammar and dictionary, rather it is the point of view which seems strange to a foreign reader, which requires some readjustment before the true focus can be obtained. Nor is the discrepancy less in the minuter points of rhythm and versification.

The a.s.sonances of Calderon are perfectly satisfying to a Spanish ear; to us they have simply the effect of a false rhyme. Alfred de Musset threw French literature into a ferment by ending an Alexandrine with the words 'tu es;' we pa.s.s over the line without noting anything unusual in its cadence. In a word, apart from Heine, we shall hardly find an instance of great poetry which is not saturated with a national atmosphere, and even Heine is an exception easily explained, and more easily overstated.

The rule is equally applicable to painting. When Mr Whistler tells us that 'there is no such thing as English art,' and that 'we might as well talk of English mathematics,' we can only suppose that he is experimenting in paradox, at least we may wait for conviction until we have found the counterparts of Reynolds and Gainsborough, of Morland and Constable. The last of these, indeed, may be taken as a crucial case. There can be no doubt that the Barbizon School was influenced by his method and example, that in some degree it shared his aim and followed his style, yet Constable is as English as the 'Excursion,'

Millet as French as the 'Feuilles d'Automne.' The distinctions may be more subtle than those of language, but they are not more unreal. The lines of demarcation may be obscured by imitators and copyists, but they still exist for those who make their art a reality. Even community of school or subject will do very little to obliterate the inherent differences of temper; a man may find his teacher in Paris and his model in Rome, and learn after all that 'caelum non animum mutat.'

Here an objection occurs. Grant, it will be said, that the representative arts are in some way affected by the _entourage_ of the artist, we cannot therefore infer that the same will hold good of music.

They are comparatively material and concrete, they depict the actual, they stand in direct relation to an external world, but in music we are dealing with pure abstract form, and the laws of form are universal.

Hence the composer is not bound by national limitations; he stands above them, 'he alone with the stars;' he is the citizen of an ideal kingdom where there is one common language and one common scheme of life. To this it is an obvious answer, that music idealises the natural language of emotion, and that if the emotional temper differs in separate countries, the music must differ also. The abstract element is the paramount need of balance and symmetry, but there are a thousand ways in which this requirement can be fulfilled, and the method selected by any school or country will depend upon its own predilections and its own character. And if the music be true and vital, it will always be found to embody some phase of the national temperament, it will speak with a tone and cadence that are unlike those of neighbouring lands, it will express shades and nuances of feeling which are in some way special to the country that has given it birth.

There is little likelihood that we shall ever be able to reduce these distinctions to phrase and formula, but we may readily observe them by a comparison of the Volkslieder that obtain among the different races of Europe. Here we shall find the national idioms in their simplest and most unsophisticated expression, the direct primary utterance of the same ideas, which attain a fuller and more developed beauty at the hands of the great composers. Of course, as the music of a country progresses, it will advance farther and farther from the Volkslied, it will grow richer and more complex, it will treat its material by methods which the artist has inherited, not so much from his nation as from his predecessors in the art. Yet it still remains true, that the line of ancestry is continuous, that the course of genealogy may be traced, and that the masterpiece, with all its finish and civilisation, is of the same flesh and blood as its humbler compatriot. Again, there are cases where a composer has naturalised himself in a new home, and has become, in a sense, bilingual; in all these it will be found that the language of his birth holds the predominance, and that his new acquirement is only an added grace. Brahms, for instance, does not treat the Hungarian idiom in the same way as Liszt, or even as Schubert, he employs it with extraordinary ease and mastery, but he never lets us forget that he is a German.

We may conclude, then, that a composer of genius, if he write simply and naturally, will express his own character, and in so doing will express that of his country as well. More particularly will this be true if he appear during the stir and stress of a patriotic movement, if he be occupied in constructing a system for the guidance and direction of his successors. For a time of political crisis not only brings out all that is best in a man, it also draws him nearer to his people, and makes him at once more desirous and more capable of serving as its true representative. And so it has been with Dvorak. If we compare his melody with that of Smetana, and with that of the Bohemian folk-songs, we shall find a notable resemblance of thought and feeling, they are all of one family, of one kindred, connected by a sympathy that the widest distinctions of treatment cannot annul. No doubt Smetana is often content to reproduce the methods of the folk-song, while in Dvorak the curves are made richer, and the designs more complex and beautiful, still the emotional basis of the one is that of the other, and the distinctions between them depend partly on the personal element, partly on the accident of historical position. Smetana came first into the field; it was his work to gather the stones and to lay the foundation.

Dvorak followed him, and began, with the same materials, to raise a superstructure.

Hence it is not a little significant that his few misadventures have always marked some momentary defection from the national cause. The first version of 'King and Collier' has long pa.s.sed beyond the reach of criticism, but at least we know that it was written in imitation of Wagner, and that it was unsuccessful. The 149th Psalm is merely a careful and conscientious expression of German method, and has hardly a greater value than that which belongs to an Academic exercise. The Oratorio of St Ludmila is a concession to the supposed requirements of English taste, and in the record of its composer's works it has almost dropped out of account. And if we turn for contrast to such achievements as the Pianoforte Quintett, or the Spectre's Bride, or the D minor Symphony, we are at once struck, not only with the difference of result, but with the total difference of character. Here Dvorak is delivering his own message in his own words, here he attains a native eloquence that can readily compel our attention. It is surely no extreme inference that we should here recognise some connection of cause and effect.

At the same time we must remember that the racial element is only one among formative conditions, and that it is itself a factor in personal idiosyncrasy. 'Just what const.i.tutes special power and genius in a man,'

says Matthew Arnold, 'seems often to be his blending with the basis of a national temperament some additional gift or grace not proper to that temperament.' And of this we may find a ready ill.u.s.tration in Dvorak's treatment of the scale, an ill.u.s.tration of double interest, partly because it shows one of the most distinctive attributes in his music, partly because even here he stands in direct relation to an ethnological background. We have already seen that the scale now in use among western nations was set in course by the Florentine revolution of 1600, and that it spread from Florence to Paris, and from Paris to Leipsic, until it was finally established by Sebastian Bach. Hence the music of Italy, France, and Germany grew with its growth, developed with its development, and constructed by its means a common body of system and tradition. With all their divergencies of emotional impulse, the composers of these three countries have this formal point of union, that they accepted the diatonic scale as their unit, and treated the chromatic rather as an appenage and an extension. From this followed an important consequence. For, in the first place, a settled scale is not only a vehicle for melody, it is also a means of modulation, and this latter function comes more into evidence as music becomes more complex and the need of modulation increases. And, in the second place, it is an essential characteristic of the diatonic scale, that some of its notes should be more nearly related than others, and that composers who found their work upon it should therefore acknowledge some modulations as comparatively easy and natural, some as comparatively remote and recondite. Of course, as time goes on, we become familiarised with effects that once appeared violent and extreme, yet even now we recognise certain relative limitations. Alfio's song in _Cavalleria_, for example, gives us merely the impression of deliberate defiance, it is not construction but demolition, not freedom but revolt.

For obvious historical reasons the growth of this scale system left Bohemia altogether untouched. She did not enter the field until this part of the work was completed, she bore no share in the traditions which its gradual evolutions had established in neighbouring lands.

When therefore she came to the making of her own music, she could look upon this scheme from outside, she could treat it dispa.s.sionately, she could take it without any of the limitations that had hitherto marked its course. And in doing so, she produced a result to which the whole history of music affords no exact parallel. Dvorak is the one solitary instance of a composer who adopts the chromatic scale as unit, who regards all notes as equally related. His method is totally different from that of chromatic writers like Grieg and Chopin, for Grieg uses the effects as isolated points of colour, and Chopin embroiders them, mainly as appoggiaturas, on a basis of diatonic harmony. His 'equal temperament' is totally different from that of Bach, for Bach only showed that all the keys could be employed, not that they could be arranged in any chance order or sequence. But to Dvorak the chromatic pa.s.sages are part of the essential texture, and the most extreme modulations follow as simply and easily as the most obvious. In a word, his work, from this standpoint, is truly a _nuova musica_, developed, like all new departures, from the consequences of past achievement, but none the less turning the stream of tendency into a fresh direction.

It may at once be admitted that from this cause the music of Dvorak loses something of strength and ma.s.siveness: that it is Corinthian rather than Doric. But, at the same time, it compensates, at any rate in part, by a certain opulence, a certain splendour and luxury to which few other musicians have attained: and, beside this, its very strangeness const.i.tutes an additional claim upon our interest. We rather lose our bearings when, in the second of the Legenden, we find a phrase which has its treble in G and its tenor in D flat; or when, as in the fifth number of the Spectre's Bride, the music pa.s.ses from one remote key to another with a continuous and facile display of resource that is apparently inexhaustible. Often, too, the devices outmatch the utmost capacity of our recognised symbols. Mendelssohn's famous crux of 'Fes moll' would be plain sailing to a composer who, in his third Pianoforte Trio, writes pa.s.sages in D flat minor, and B double-flat major, and other keys of a signature equally undecipherable. And though these matters may seem trivial enough when they are submitted to the indignity of our musical nomenclature, we should yet remember that there is nothing trivial in the habit of mind which they imply. It is to them and to their like that we owe all the warmth of colour, all the richness of tone, all the marvellous effects of surprise and crisis that are so eminently characteristic of Dvorak in his best mood. To an imagination so vivid as his, the possession of an extended scale was a priceless opportunity; and he has used it to fill his work with incident and adventure as varied and brilliant as were ever lavished by the hand of Scott or Dumas.

His treatment of the cla.s.sical forms is much influenced for good by his long and patient study of Beethoven. In the more highly-organised types he certainly falls short of his great master: he lacks the perfect balance that marks the first movement of the Appa.s.sionata or the A major Symphony; as we should naturally expect, he tends rather to restlessness of tonality and to a page overcrowded with accessory keys. But, in spite of this, his instinct for structure is real and genuine; it ranks higher than that of Chopin--far higher than that of Liszt or Berlioz; and his outline, though not always in complete symmetry, is firmly drawn and filled with interesting detail. Some of his larger forms are pure experiments in construction: such, for instance, as the opening movement of the Violin Concerto, the Finale of the G major Symphony, and the Scherzo Capriccioso for orchestra: sometimes he founds an entire number on a single melodic phrase, as in the slow movement of the Second Pianoforte Trio: more often, as in the F major Symphony and the String Sestett, he takes the established type and modifies it in some important particular. But whatever the result, his structure always gives us the impression of thought and design. He has his own method, and even when he fails of conviction, he can generally command respect.

The two forms in which he is most successful are the two most usually a.s.sociated with his name--the Dumka and the Furiant. Both of these are real accessions to musical literature: not because they are new in conception, for, like all other structures, they descend in direct evolution from the folk-song, but because they have developed the primitive type in a new way, and have enriched the existing stock with a strain of collateral relationship. The Furiant is one of the national dances of Bohemia, and is frequently employed by Dvorak as a representative of the scherzo. In adopting it he has, to a great extent, altered its character; he has enlarged its range, quickened its tempo, and replaced, with a more vigorous gaiety and _abandon_, its original tone of half-humorous a.s.surance. If we compare the example in the A major Quintett with the traditional melody--either as it appears among the Volkslieder, or, as it is used by Smetana in the Bartered Bride--we shall see at once that Dvorak has done more than borrow from the existing resources of his countrymen; that, as a matter of fact, he has taken nothing but the mould, and has used it for the casting of an entirely different metal. Even more distinctive is his treatment of the Dumka or 'Elegy,' a complex form which, like a sonnet-sequence, holds in combination a series of separate poems. It is here, indeed, that he has brought his constructive power to its highest attainment. The whole scheme is of great interest and value: varied without digression, uniform without monotony, flexible enough to answer all moods and engage all sympathies. The stanzas admit a sharper contrast than is possible to the subjects of a 'sonata movement': the key system, though it would be impracticable on a larger scale, is admirably suited to these brief moments of concentration: the recurrent themes maintain the organism in proper balance and equipoise. There is little need to speculate on the ancestry of the form, though it is worth noting, that a simple instance occurs in the Serenade trio of Beethoven: whatever its origin, it acquires in the hands of Dvorak a special significance which is quite enough to place it among the most notable of his gifts. For ill.u.s.tration, we may turn to the slow movement of the Pianoforte Quintett, or to that of the Third Symphony, or to the six Elegies that have recently been published for pianoforte trio. They are all beautiful, they are all characteristic, and they fill their canvas with a most ingenious diversity of design.

This feeling for colour and movement, which appears partly in his rhythms, partly in his use of the scale, partly in his preference for lyric and elegiac forms, may also account in some measure for his unquestioned and supreme mastery of orchestration. Here at least there is no counterchange of victory and defeat, no loss in one direction to balance gain in another; here at least every achievement is a triumph and every work a masterpiece. Nor has he alone the lesser gift of writing brilliant dialogue for his instrument, of making each stand out salient and expressive against a background of lower tone; he is even more successful in those combinations of _timbre_ which harmonise the separate voices and give to the full chord its peculiar richness and euphony. When we think of his scoring, it is not to recall a horn pa.s.sage in one work or a flute solo in another--plenty of these could be found, and in a master of less capacity they would be well worth recording--but it is rather the marvellous interplay and texture of the whole that remains in our memory and compels our admiration. Look, for example, at the Husitska Overture, or the third Slavonic Rhapsody, or the slow movement of the Symphony in D minor. Hardly in all musical literature are the orchestral forces treated with such a warmth of imagination or such unerring certainty of judgment.

Hence it is not surprising that a great part of his finest work should be instrumental, and that even his masterpieces of Hymn and Cantata should be written, more or less, upon instrumental lines. He is always rather hampered than aided by the collaboration of the poet; his chromatic style is better suited to strings and wind than to the peculiar limitations of the human voice; his vigorous rhythms are in some degree impeded by the slower articulation of the words; his sense of form finds its most natural expression in symphonic and concerted music. Again, so far as the distinction is applicable at the present day, he belongs rather to the cla.s.sical than to the romantic school; he is more concerned with producing the highest beauty of sound than with following, through all its phases, the emotional import of a poem. His operas are for the most part essentially undramatic, and if they hold the stage, will survive as displays of pure melody. His great choral compositions--the Stabat Mater, the Spectre's Bride, the Requiem--stand in a loose relation to the texts on which they are founded; embodying, no doubt, the general tendency of thought, but always acknowledging the melodic requirements as paramount. Even his songs offer no exception to the rule. It is true that, after the Zigeunerlieder, they undergo a remarkable change in treatment and elaboration, but although they lose the shape of the ballad, they are never out of touch with its character.

Nothing, in short, is further from Dvorak's ideal than the imposition of a programme. He is essentially what the Germans would call an 'absolute musician;' content to express the broad general types of feeling, and, within their limits, wholly engaged with the special service of his art.

This statement requires a word of qualification. The great masters of pure cla.s.sical style,--Haydn, for example, and Mozart, and Beethoven, have, as their predominant gift, the sense of outline, and their sense of colour, however keen and vivid, is always kept in subservience to the requisitions of design. As a natural consequence, they are supreme in the string quartett, which, among all types of composition, demands purity of line as its first essential. But with Dvorak, the relation of these attributes is reversed, in him the sense of colour preponderates, and the demands of pure outline, though never disregarded, are nevertheless relegated to the second place. Thus, in his music for strings alone, the Sestett in A, the Quintett in G minor, the four Quartetts, we feel that he is chafing at the restraints of monochrome, that he wants the whole palette, that he is always held in check by the absence of orchestral resources. The result is not that he writes orchestral music for the strings; he is too true an artist to fall into this error; but that he writes string music under difficulties, that he foregoes all the better part of his equipment, that he is accomplishing a task in which his special gifts have little opportunity of display. No doubt these works contain pa.s.sages and even numbers of great beauty, but as a whole they do not bear comparison with the Violin Concerto or the Symphonies, or the Carnaval Overture. Here Dvorak obtains his contrast of tone, here he has the whole gamut of colour at his command, here he can win the full measure of success from which he is in part precluded by a severer method. Yet it would be wrong to cla.s.s him, for this reason, among the romantic composers. He shares with them one of the most important of their qualities, but he uses it for the furtherance of an end that is different from theirs. The fundamental distinction is one of ideals, and in ideal Dvorak is on the side of the cla.s.sics.

Hence there is no inconsistency in estimating him by the cla.s.sical standard. For music is not to be summed up in terms of national language or personal idiosyncrasy; these are but the necessary conditions through which is embodied the abstract universal of form. Thus, although a man can only take rank as an artist if he express his own character and that of his people, he is only a great artist in so far as he expresses them in the best possible way. The first spontaneous conception of melody springs from the emotional temperament of the composer, and so marks him at once as a member of his particular nation, its treatment is derived from the intellectual laws of proportion and balance, and so belongs to the general evolution of the art. This distinction appears very clearly in Dvorak's work. His melody, taken by itself, is often as simple and ingenuous as a folk-song, but in polyphony, in thematic development, in all details of contrast and elaboration, his ideal is to organise the rudimentary life, and to advance it into a fuller and more adult maturity. Of course, it cannot be said that he is uniformly successful. He has little sense of economy, little of that fine reticence and control which underlies the most lavish moments of Brahms or Beethoven; his use of wealth is so prodigal that his generosity is sometimes left with inadequate resources. The stream is so rapid that it has not always time for depth, the eloquence so prompt and unfailing that it does not always stop to select the best word. But, for all this, he is a great genius, true in thought, fertile in imagination, warm and sympathetic in temper of mind. He has borne his part in a national cause, and has thereby won for himself a triumph that will endure. He has enriched his people, and, in so doing, has augmented the treasury of the whole world.

JOHANNES BRAHMS.

The greatest genius is the most indebted man. A poet is no rattlebrain, saying what comes uppermost, and, because he says everything, saying at last something good; but a heart in unison with his time and country. There is nothing whimsical and fantastic in his production, but sweet and sad earnest, freighted with the weightiest convictions, and pointed with the most determined aim which any man or cla.s.s knows of in his time.--EMERSON.

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GROWTH