The Masters and their Music Part 2

FRANZ JOSEPH HAYDN.

Born April 1, 1732, at Rohrau.

Died May 31, 1809, in Vienna.

Haydn came of peasant stock, his father being a wheelwright, and the little Franz Joseph the second of twelve children. At the age of eight his beautiful voice attracted the attention of the director of the choir of St. Stephen's Church in Vienna and he was entered as a choir boy. Here he received a thorough training in singing, in clavier, and violin playing, and also a good education. When his voice broke he managed to sustain himself in an honorable way by various subordinate positions as organist and violinist, playing the organ at an early ma.s.s in one church, the violin at a ma.s.s an hour or two later in another church, and finally, at eleven o'clock perhaps, reaching his princ.i.p.al position. Thus for several years he pa.s.sed an extremely industrious and fruitful, but unrecognized, existence.

[Ill.u.s.tration: Joseph Haydn, Wolfgang A. Mozart]

As early as 1750 he had written his first string quintette, and soon after he was twenty years of age he held various positions as musical director in n.o.blemen's houses. In 1761--Haydn being now twenty-nine years of age--he was appointed a.s.sistant musical conductor of the private orchestra of Prince Esterhazy. The orchestra consisted of sixteen men. Five years later the senior director died, and Haydn became the chief director and remained in this position until 1790, when, in consequence of the death of the old Prince Esterhazy, his son discontinued the private orchestra and dismissed Haydn upon a pension of 1000 florins a year. He was now invited by a professional manager to make a visit to England, which he did in 1790-92 and again in 1794-95, conducting many concerts there, and composing for the English market a series of twelve symphonies for full orchestra, which are now considered to represent his best work in this line. Still later he turned his attention to oratorios and produced his "Seasons" and the "Creation."

During his long service in the Esterhazy establishment, where he had to produce a constant succession of new and pleasing music, he had the opportunity of trying all sorts of combinations and devices, and in this way he turned out an enormous amount of music, including 125 symphonies, more than 100 compositions for viol da gamba, an instrument of which the old Prince Esterhazy was very fond, and a variety of music of almost every kind then practiced. All of this music reflects Haydn's character, which was simple, una.s.suming, kindly, and sincere.

As a composer he must be considered as the first of what we might call the h.o.m.ophonic writers,--that is to say, he was the father of the modern free style in which the normal form of the musical idea is that of a melody and an accompaniment, as distinguished from the style of Bach, in which the ground form is that of independently moving voices.

The following list will give a better idea of the astonishing range of Haydn's activity as composer: One hundred and twenty-five symphonies; 20 clavier concertos and divertis.e.m.e.nts with clavier; 9 violin concertos; 6 concertos for 'cello, and 16 concertos for other instruments (contra-ba.s.s, baritone, lyra, flute, horn, etc.); 77 string quartets; 68 trios; 4 violin sonatas; 175 pieces for baritone; 6 duets for solo violin and viola; 53 works for piano; 7 nocturnes for lyra, and various other pieces for the same instrument; 14 ma.s.ses; 2 Te Deums; 13 offertoriums; 24 operas.

WOLFGANG AMADEUS MOZART.

Born January 27, 1756, at Salzburg.

Died December 5, 1791, in Vienna.

Mozart was the son of an excellent musician, and as soon as the boy began to show his astonishing sensitiveness of ear and bias for music in every direction, his father commenced to give him instruction. His activity as a composer commenced when he could scarcely read, for before he was five years old he showed his father a ma.n.u.script of a violin concerto which at first the father took to be mere meaningless marks, but on having them explained by the boy he found there was indeed a musical idea and, of course, a composition.

When he was about six years old his father decided to take the boy and his older sister upon a concert tour, which accordingly he did, visiting the princ.i.p.al courts of Germany, and finally reached Paris November 18, 1763. Here his first compositions were printed--four concertos for violin. In Paris he was very successful, and the tour was continued to London, where he published six additional concertos for violin. By the time he was ten years of age he had written his first oratorio, and now when he was upon a concert tour he was met with skepticism and misrepresentations, the claim being put forward that the compositions being published under his name had really been written for him by his father, since it was evident from the face of them that no boy of his age could have composed so well. To counteract these charges poems were brought to him upon which he had to improvise and fit the music to the words in the presence of the audience. In 1769 he went to Italy, where, being now thirteen years of age and correspondingly mature as compared with his early appearances, he made a most astonishing success. In Bologna and in Rome as well as in Venice he was examined by the most eminent theorists in Italy, and received memberships in the societies of artists, and the Pope made him a Knight of the Golden Spur. His first opera, "Mitridate," was composed in 1770, Mozart being then fourteen years of age. The opera was played twenty times. In Milan, two years later, he composed his opera "Lucio Silla," and the same year his opera "Idomeneo," for Munich. His other celebrated operas followed in fairly rapid succession: "Figaro," 1785; "Don Giovanni," 1787; "Cosi fan Tutte,"

1790, and the "Magic Flute" in 1791. His last was his "Requiem." The works of Mozart included thirteen operas, thirty-four songs, forty-one sonatas, thirty-one divertis.e.m.e.nts for orchestra. The best biography is that by Otto Jahn.

The epoch of Haydn is a very important one in art, since it was in his time, and almost entirely by his own work, that the sonata and symphony, the two most important forms in modern music, were invented or discovered and brought to something like definite form. Practically speaking, a symphony is merely a sonata written for orchestra; but the possibilities of orchestral contrasts and changes in the working out of the part known as "free fantasia" permits the symphonic composer to conduct his work in larger lines and carry it to a greater length than is advisable for the composer of sonatas for a single instrument, in which monotony of tone-color is an element which must not be forgotten.

The "sonata-piece," as the princ.i.p.al movement of the sonata has been called, is one of the great typical forms in music. Its greatness lies in the lat.i.tude it permits the composer and the practically unlimited field it gives for the ill.u.s.tration of musical beauty, contrast, sweetness, and musical strength in a single composition. In this respect it binds up in itself some of the most valuable possibilities of the entire art of modern composition. In order to understand what we are to have in the sonatas of Haydn, Mozart, and Beethoven, some of the peculiarities of the form need first to be noticed.

The sonata-piece consists practically of three chapters, of which the third is substantially a repet.i.tion of the first, with a few not very important modifications. The first chapter contains from two to four different melodic subjects, of which one comes as princ.i.p.al, and is substantially of a thematic character. The second is almost invariably a lyric subject. In the sonatas of Mozart and Beethoven some very lovely melodies will be found in this position. Between the first and second subjects modulating periods may appear; and after the second there is a concluding subject, which brings up to a close at the double bar, upon the dominant of the princ.i.p.al key. In the older practice there is a repeat sign at this point, and the whole of the first part is gone over again. In modern practice this repeat is often disregarded, since the memory of musical ideas appears more lasting in our day than formerly. After the double bar comes the great characteristic opportunity of this form of art-music, in what the Germans call a working out (Durchfuhrungssatz), in which the composer makes a free fantasia upon any or all of the material introduced in the first division of the work, already described. This working out is often mere play, rarely rising to a seriousness at all approaching that of fugue; still, a clever composer manages to afford many attractive features in this part of a sonata, and still more in the larger opportunities of symphony.

Haydn is ent.i.tled to the credit of having given the sonata-piece its main characteristics of form. In this respect it follows the suggestion of the older "binary form," in which sarabands, gavottes, and the like were written by Bach. All of these, being composed upon a single melodic idea, necessarily had to develop this idea by means of sequences, imitations, transpositions, and transformations of one sort and another, employing in this treatment much of the art which fugue had supplied. All the pieces in this old binary form come to a half close at the double bar upon the dominant of the princ.i.p.al key, or upon the relative major if the princ.i.p.al key be minor. After the double bar the development is taken up in the dominant, or in whatever key the preceding part had ended in. Later the princ.i.p.al key is resumed and the work concluded.

Haydn enlarged this form by completing his leading periods generally to a symmetrical length of eight measures, and by adding a second subject and a different melodic material for conclusion, both before the double bar and at the end of the movement.

The style of the Haydn sonata-piece is generally light and pleasing.

Only in a very few cases, and in those for a few measures only, does he attempt pathos. Thus the princ.i.p.al movement of the Haydn sonata seems to have been developed from a dance motive, and the carrying out is generally done in regular period forms--the form being substantially verse throughout, the meter regular and not capricious. Haydn arrived at this treatment through his natural fondness for symmetry and order, and through having had for thirty years to produce a constant succession of interesting pieces, mainly orchestral, primarily designed to interest and please his princely patron, the old Prince Esterhazy.

The best symphonies of Haydn were written late in life, after he had been called to London to conduct some new works of his. The glance into the outer world, and perhaps the availability of a larger body of players, gave his ideas a freer scope; and these twelve London symphonies belong to a higher type than those of his earlier time.

As yet we have not spoken of the lyric melody, which in the Beethoven sonata forms almost invariably a second subject. This idea appears to have been due to Mozart, whose second subjects not only are sweet and song-like melodies, but many of his first ones as well. Thus the Mozart sonata, while excelling that of Haydn in melodiousness and sweetness, is almost invariably of less musical interest, the development of a musical thought being rarely considered. In the few cases in which Mozart takes a serious mood he succeeds well, notably so in the famous sonata in C minor, the last one in the volume of his works. But in general, particularly in the sonatas, Mozart is melodious in pure lyric pattern. These melodies of Mozart, while of great sweetness and beauty, do not, as a rule, have much depth; they do not sing from the soul. The soul has not "seen trouble," as folks say; it sings with the instinctive sweetness of childhood, and thus fails to touch the feelings of adults. The selections following ill.u.s.trate these points:

PROGRAM.

Sonata in E-flat (entire). No. 3, Schirmer edition. Haydn.

"My Mother Bids Me Bind My Hair." Canzonetta. Haydn.

Sonata in C-sharp minor (entire). No. 6, Schirmer edition. Haydn.

Trio from "The Creation," "Most Beautiful Appear." Haydn.

Soprano, tenor, and ba.s.s.

Sonata in F major. No. 6, Peters edition (first movement). Mozart.

Air of Cherubino in "The Marriage of Figaro," "Voi Che Sapete."

Mozart.

Sonata in E-flat (first and second movements only). Schirmer edition, No. 1. Haydn.

Quintette, "Magic Flute," Mozart. Scene X, Act I, Andante. "Drei Knaben, Knabchen jung."

Aria of Countess from "The Marriage of Figaro," "Dove sono," Mozart.

Fantasia and Sonata in C minor. Mozart.

Trio from "The Creation," "On Thee Each Living Soul Awaits."

Haydn.

(The copies for this program are as follows: Haydn sonatas, Schirmer edition, first volume, paper, seventy-five cents. This is a very elegant and in every way satisfactory edition for study or for the library. Mozart sonatas, Peters edition, $1.50 (retail). The songs are to be had separately. Copies of "The Creation" and "The Magic Flute" will be necessary.)

The selections above are made for the purpose of ill.u.s.trating the more prominent characteristics of the two composers mentioned. Haydn is now beginning to be undervalued, and, in fact, his works are used mainly for purposes of instruction, and comparatively little for that. This is unjust, for while Haydn does not belong to the cla.s.s of composers whose music is conceived by them as a message to mankind, but rather is conceived as an intelligent and refined form of delight, he is as musical as Bach himself, and consequently his music remains fresh and interesting despite the comparatively small forms. This will be noticed in every one of the sonatas selected here. The Sonata in E-flat, No. 3, is the one oftenest selected and studied, because it shows Haydn in his most genial mood. The spirit is bright, pleasing, fresh, and not a little vigorous. Practically, every single movement of a Haydn sonata is developed mainly out of one leading motive. In the present instance there is a second idea, of a quasi-lyric importance, introduced in the thirteenth measure--counting each measure from the first bar. In the forty-third measure a closing theme is introduced. The places are marked in the Schirmer copies, so there will be no difficulty in finding them. The second movement, if played in a very singing but not dragging manner, will be found enjoyable, although by no means sensational. The ideas are musical and the spirit earnest. The finale, in the tempo of a minuet, is very pleasing indeed. Here, also, the purely musical idea rules everything. The problem with the composer is to treat an idea which pleased him, and to carry it through all the changes and modifications which occurred to him as attractive.

The Sonata in C-sharp minor (No. 6, Schirmer) is more significant, and approximates the spirit of later works in the same key. The princ.i.p.al subject has a great deal of vigor, and the musical treatment is very fresh and original. The scherzando which follows is a very light movement, and needs to be played with great delicacy and spirit. The whole concludes with a menuetto, moderate in movement, song-like.

To my mind the strongest of the Haydn sonatas is the one which stands first in the Schirmer edition, also in E-flat, a favorite key with Haydn. The princ.i.p.al subject is very forcible, and the treatment varied to a degree. The whole work is one which a musician can play many times through, and always with enjoyment.

The second movement has the remarkable peculiarity of being in the key of E major--a violent modulatory relation to that of the first movement. I should say that this fact indicated that Haydn did not conceive of the three movements of the sonata as const.i.tuting a single whole, because if he had he could not have followed a close in E-flat major with an opening in E major, exactly a semitone higher, without the slightest modulation. This proceeding is inexplicable to me, if he expected the sonata to be played through entire at a single hearing.

The slow movement, however, is a very strong one, the subject full of musical feeling, and the treatment clever and interesting. All the melodic pa.s.sages in this movement need to be sung with great feeling.

Then the contrast with the lighter portions will produce their proper effect. The finale, presto, is a very light and, one might almost say, insignificant movement, relieved only by a few moments of something better.

The Mozart collections are calculated to show the peculiar and womanly sweetness which Mozart introduced into music. In Haydn, moments of sweetness do indeed occur, and in his "Creation" they are frequent; but in his instrumental works they are not so frequent. The Sonata in F, of Mozart, is full of pleasing melodic ideas, and the first and second periods and the first episode are all very attractive melodies. Note that each of these ideas comes in the form of a fully completed melody, and not in the form of a musical motive of one, or at most two, phrases. Each of the Mozart subjects is eight measures long. The characteristic tone of the Mozart sonatas is this melodic sweetness, and the stronger parts only intensify this fundamental tone. The slow movement is rather meager, but it is also pleasing and well made. The so-called "Alberti" ba.s.s should be played in such a manner as to minimize the motion of the sixteenths, and to intensify the chord feeling. This will be done by playing softly with the left hand, bearing down a little, and using the pedal with every chord, except where it will mix up the melody.

The Fantasia and Sonata of Mozart, which concludes the program, is a work which is well worth studying. The fantasia opens with a very serious subject, which is carried through a variety of delightful changes, in a manner indicating a poetic intention. The expression must be carefully observed in the playing, and in the elaboration, where the subject occurs in several keys in connection, the first tone is taken rather strong and with a slight dwelling upon it. The slow melody in D major, as well as the adagio in E-flat, ill.u.s.trate Mozart's faculty with sweet and rather deep melodies which, while perfectly simple in structure, nevertheless have in them the soul of the artist.

The tone has to be full, round, singing, and never loud. There are parts of the fantasia which do not come up to the level of the others; particularly the allegro in G minor, which is inconvenient to play, and almost never played in a musical manner. It has, however, to be gotten over the best one can.

The vocal selections are of peculiar attractiveness. The canzonetta of Haydn, "My Mother Bids Me Bind My Hair," is a fresh, girlish affair, which can not fail to please. The trio, "Most Beautiful Appear," is so sweet that Mozart might have written it.

Then in the Mozart selections, the "Dove sono" is an aria requiring to be sung with a very pure tone and good style. All of Mozart's operatic arias were intended for well-trained Italian singers having a refined and high-bred style of singing. When so done, they are always delightful. The Cherubino air is very fresh, and full of the charm of youth and love. The trio of girls from "The Magic Flute" is given because it is so taking, while involving a succession of implied consecutive fifths. And the great trio, "On Thee Each Living Soul Awaits," concludes the concert in a n.o.ble manner. If the resources of the local society should happen to make it easy, it will afford an admirable close to give along with this trio the two choruses, "Achieved is the Glorious Work."

It is to be understood that the selections here offered from these two great masters ill.u.s.trate but a small part of their individualities.

The selection has been determined by the convenience of copies and the likelihood of the resources in every place being equal to their acceptable performance.

CHAPTER IV.

CHARACTERISTIC MOODS OF BEETHOVEN.

LUDVIG VAN BEETHOVEN.

Born December 16, 1770, at Bonn.

Died March 26, 1827, in Vienna.