The Masters and their Music Part 4

BACH, MOZART, AND BEETHOVEN COMPARED.

The present program brings together a few representative selections from the two greatest masters already noticed, for the purpose of bringing out more clearly the individualities of their style and the predominant flavor of their work. In this comparison we are not as yet undertaking to represent either Bach or Beethoven in their moments of greatest and most impa.s.sioned abandon. The so-called "Moonlight Sonata"

approaches this point in the case of Beethoven, but if it had been desired to perform the same service for Bach larger works would have been taken, such as the "Chromatic Fantasia and Fugue," the "Fantasia and Fugue in G minor" for organ (arranged for piano by Liszt), and the like. And for Beethoven the sonatas in F minor, opus 57, "Appa.s.sionata," the opus 106 in B-flat, and opus 111 in C minor. All these go much farther in the untrammeled expression of deep feeling than any of the works brought together upon the present program, even the "Moonlight Sonata," although the finale of this is distinctly representative of Beethoven in the impa.s.sioned and strong. As for Mozart, this headlong pa.s.sion was not at all in his line. But for the sake of showing the peculiar sweetness of his imagination in contrast with the more concentrated expression customary with Bach and Beethoven, his Fantasia in C minor is here included.

Before entering upon the actual acquaintance with the works in the program, it is advisable for the hearer to be disabused at the outset of certain prepossessions likely to be harmful. The most important of these is that which regards Bach as having had a higher idea of his art than later composers had, and of having intended to ill.u.s.trate in his works a very high degree of skill, contrapuntal cleverness, and the like. This prepossession is included in the phrase which describes all serious music as "cla.s.sical," as contradistinguished from that which is merely beautiful and pleasing.

Bach had, indeed, great originality, but he came by it honestly. His mental activity in musical directions was of such a spontaneous character that immediately a theme presented itself all sorts of possible treatment occurred to him. If the theme pleased him he immediately began to develop it, and in the course of this one happy thought after another presented itself, without having been sought for or worked out in the slightest.

Thus his highest and largest works have a good deal the character of play, so easily were they composed. True, they do not present to the player of the present day nearly so much of this quality, for the technic required to play them well is not quite that of the ordinary pianist. Bach expects the hands to play melodiously and very fluently, and the player to think in fugue; _i.e._, be able to follow the answering voices in a fugue without becoming confused when there are three, four, or five, and without losing any one of the threads. This habit of thought--for this is what it amounts to--is not natural to the present generation, since nearly all our music is more or less monodic (having one leading melody and an accompaniment.) Therefore the art of playing Bach has to be diligently mastered by much playing and a great deal of hard study.

PROGRAM.

Bach, Prelude and Fugue in C-sharp major. Clavier, No. 3.

Beethoven, Sonata in C-sharp minor ("Moonlight"), opus 27, No. 2.

Bach, Fantasia in C minor.

Mozart, Fantasia in C minor (from Sonata and Fantasia).

Bach, Allegro from Italian Concerto.

Beethoven, Sonata in E minor, opus 90.

Bach, Prelude and Fugue in G major. Clavier, No. 15.

Beethoven, Sonata in D minor (Shakspere's "Tempest"), opus 31, No. 2.

Every art-work, in whatever line, has to satisfy three prime conditions: unity, symmetry, and variety. There can not be an impression of beauty into which these three qualities do not at the same time enter, but the beauty will differ in quality according as one or the other element preponderates. In the successful music of Johann Sebastian Bach (and he wrote unsuccessful music as well as other men) we find all these qualities represented, but not in the modern way. A prelude or a fugue of Bach is essentially a "monody," a composition of one idea, which preponderates so decidedly as to enforce its character and individuality upon the work; nay, it is the work. Variety and symmetry are always present, but the variety is to be found in the modulatory treatment and in the counterpoint--the various accessory ideas which appear in the course of the work for better setting off the leading idea forming the substance of the composition. Hence we have in Bach, along with a unity which pervaded every single idea and every succession of ideas, a variety also going on at the same time (as in the melody of the different voices, rhythm, etc.); and symmetry, which also expresses itself as between ideas heard simultaneously and between ideas and paragraphs introduced successively. A Bach work, therefore, is rather complicated almost always, and needs to be studied a little, and the art of hearing it appreciatively has to be acquired; but once we have mastered it, there are no works in music which are more fresh or permanently pleasing.

The Bach selections upon the present program include three preludes and fugues, those of C-sharp major, C minor, and G major, all from the first volume of the "Clavier." There is no necessary connection between the prelude and the fugue following, except that in Bach's idea they somehow corresponded or contrasted in such a manner that they could be heard agreeably in connection.

The prelude in C-sharp, which opens the program, consists of a long leading idea (eight measures) which is repeated completely six times in the course of the work. After it has been heard four times,--in the keys of C-sharp, G-sharp, D-sharp minor, and A-sharp minor,--it is relieved by a modulatory interlude, constructed out of new material (measures 33 to 46). Then the original theme is resumed in the subdominant of the princ.i.p.al key (F-sharp major) and is given entire in the original key of C-sharp, the repet.i.tion being exact. In measure 63 the conclusion begins. It consists of a pedal point upon G-sharp, treated very pleasantly, and relieved and developed in measures 75 to 91 by interesting matter of a more impa.s.sioned character. At measure 91 the pedal figure returns, and is abandoned only at measure 101, after which the end speedily follows. (Before playing the piece have the parts played and explained separately, each division as here marked, and then the whole prelude entire.) The work as a whole is singularly light and pleasing.

The fugue is built upon the subject in the soprano at the beginning, running two measures. This subject is repeated entire ten times, and fragments are used over and over again.

In immediate contrast with this work is placed the so-called "Moonlight Sonata"--the t.i.tle affixed not by Beethoven but by some fanciful writer. The first movement of this is quite as much a monody as anything of Bach's, but with a difference. Little is attempted in the way of modifying the harmony of the theme except to carry it through several different keys, nor is there much accessory matter employed as filling. It is practically a song,--an ode if you like,--of a melancholy, grieving character. Its structure will be understood by aid of the following a.n.a.lysis: It begins with a prelude of four measures, after which the leading idea enters in the key of C-sharp minor, closing in E-major, four measures.

After a measure of accompaniment the subject resumes in C major, proceeding immediately to B minor, after a cadence in which an accessory melodic bit is introduced, having the character of suspending the action, eight measures, ending in F-sharp minor. The leading idea now enters in F-sharp, five measures, and three little melodic bits followed by eleven measures of arpeggio matter hold back the action for the return of the theme in measure 42 (first accent in 43). Everything in this movement grows out of the leading melody, and the movement has no skeleton or orderly arrangement of parts except in a very general manner.

The allegretto which follows is practically a sort of scherzo, in song-form with trio. Then comes the very dramatic finale, consisting of three main elements handled in the style of a sonata-piece. The Princ.i.p.al extends to the first beat of the twentieth measure. On the second beat of this the Second enters and runs twenty-three measures. With the second eighth note of this measure a movement of eighth notes in chords enters, which forms the concluding piece. This carries us to the double bar, after which a free fantasia follows upon the same material. The free fantasia extends to two measures of whole notes, thirty-six measures in all, where the original theme returns and the first part is recalled in different keys. At the end there is an added coda of thirty-four measures counting from the end of the piece.

The Prelude in G major of Bach is another pleasing ill.u.s.tration of his manner. It is very simple in construction and needs only to have the first two measures and a half played in advance for defining the subject, and the fourth measure once, to define the second leading idea.

Everything else is developed out of these ideas. In measure 11 some new material is introduced and treated with excellent effect.

The fugue is rather an elaborate one. After the subject has been carried through the first time, the subject is introduced in a new form, in inversion (measure 43, alto), all ascending pa.s.sages in the original being now imitated in downward directions and by the same interval. This taken as a new subject affords ground for much additional development, and later on the fugue becomes very complicated and interesting. When well played, however, the complication is only an incident of a very playful and varied composition. In the entire work there is no lyrical idea; everything comes thematically.

In the Beethoven sonata which I have chosen for contrast, D minor, opus 31, No. 2, the thematic mode of construction is also marked, but the contrast of subjects is very much greater than in the Bach work, and the effect of the whole impa.s.sioned to a high degree.

Beginning with a slow arpeggio chord (two measures) the first theme follows only to be interrupted in the sixth measure. In the seventh the Princ.i.p.al subject is resumed, and in measure 10 a new motive appears in the vigorously ascending ba.s.s theme, which is immediately answered by a soprano counter theme, measures 11, 12, 14. This carries us forward to measure 30, where an episode comes in not unrelated to the first theme, and again in measure 44 a pa.s.sage of chords practically forming a pedal point, and the conclusion proper in measure 55. In the elaboration these themes are delightfully treated, and the entire movement has much the character of an improvisation. The slow movement continues the rhapsodical spirit of the first movement. The finale is one of the most delightful examples of charming effect reached by means of composition essentially thematic.

The Sonata, opus 90, in E, is one of the most pleasing of Beethoven, and, aside from a certain figure in tenths for the ba.s.s (measures 55 to 58, and again later on), it presents no serious difficulties for the player. The second movement is a delightful song, which is carried out at great length.

The first movement of Bach's Italian concerto is much more modern in style than the other pieces of Bach in this program. Without ever quite reaching the modern conception of the lyric, it at least approaches it closely at times, and produces a beautiful effect.

Of the Mozart fantasia there is not room to speak in detail. Note, however, the very clever modulatory treatment of the leading idea in the first two pages, and the entrance of the lovely slow melody in D major near the end of the second page. The latter is Mozart-like in the extreme.

CHAPTER VI.

SCHUBERT AND MENDELSSOHN.

FRANZ PETER SCHUBERT.

Born January 31, 1797, at Lichtenthal, near Vienna.

Died November 19, 1828, at Vienna.

Franz Peter Schubert, the great song-writer, was born, the son of a parish schoolmaster, at Lichtenthal, near Vienna. The family was musical, and the father and a few of his friends used to hold quartet parties every Sunday afternoon, at which the works for string quartet then current were played, also compositions by Haydn and other good composers. The boy very early showed such talent that his father taught him the violin, and occasionally allowed him to take part with the rest. He had a beautiful soprano voice, which, attracting the attention of the director of the music at St. Stephen's Cathedral, secured him admission to the choir and to the Imperial Convict, or school for educating the choristers for the Court-chapel, where, besides the usual branches of education, he was taught music thoroughly. This continued until his voice broke, whereupon he was turned out to shift for himself. For the three years next following he a.s.sisted his father in the school, teaching the lowest cla.s.s in it, and proved himself, it is pretty certain, a very indifferent teacher.

Later he resigned this position, and struggled on during his short life mainly by the a.s.sistance of friends, one of whom saw to it that the indefatigable composer was supplied with music paper; another shared his room with him, etc. Between 1818 and 1824 he spent his summers at the Hungarian estate of the great Prince Esterhazy, teaching the daughters music and arranging music for the household. Here many of his works were written. In Vienna he had an orchestra of school-boys for quite a long time, which probably played his works occasionally, as well as those of composers of less complicated works.

[Ill.u.s.tration: Franz Schubert, Felix Mendelssohn]

Schubert began to compose in earnest very early, and by the time he was twenty years of age he had written about 400 of his songs. His works comprise a volume of pianoforte sonatas, several volumes of light works for piano, about 600 songs, nine symphonies, of which two are among the greatest we have, one opera, several ma.s.ses, and a large number of compositions for chamber music.

FELIX MENDELSSOHN-BARTHOLDY.

Born February 3, 1809, at Hamburg.

Died November 4, 1847, at Leipsic.

He was the nephew of the celebrated Jewish philosopher and reformer, Moses Mendelssohn, and a son of the well-known banker, Abraham Mendelssohn.

The family was Israelitish, but Felix Mendelssohn was brought up a Lutheran. The boy was of a very amiable and thoughtful disposition, and was well instructed in music from his earliest years, his princ.i.p.al teacher having been the celebrated theorist, Zelter. His first appearance in concert was made at the age of nine, in the piano part of a trio by Wolf. A year later he appeared as a singer. His acquaintance with the orchestra commenced very early. There was a small orchestra which met at his father's house on Sunday afternoons, and by this means the compositions of the boy were tried and he himself acquired his experience as a director. His activity as a composer commenced about 1820. In this year he wrote a violin sonata and two clavier sonatas, a little cantata, and an operetta. In 1821 Zelter brought him to the great poet Goethe, who heard his music and conversed with the lad with great interest. The friendship with Goethe continued for many years. In one of his letters Mendelssohn tells of having visited the poet and having had a long conversation with him, in which the poet had given an account of Hegel's lectures on esthetics, which Mendelssohn had heard that winter in Berlin, and in which Goethe was very much interested on account of the novelty of the ideas presented.

The first of the important compositions of Mendelssohn to be published and played was the overture to the "Midsummer Night's Dream," which was written in 1826 and played immediately. He seems to have worked this out upon the piano, improvising it piece by piece as he became excited in reading Shakspere's comedy. This overture is of most complete mastery in its working out and of thorough originality, and scarcely anything of his later works surpa.s.ses it in merit as a finished composition for orchestra.

It was largely through Mendelssohn's influence that the "St. Matthew Pa.s.sion" of Bach was brought out and given entire in Berlin, in 1829, just one hundred years after its first production in Leipsic.

Mendelssohn was the conductor, and it was given in the Sing-Akademie.

This was the work of a boy of twenty. Nothing could speak more plainly of the authority which his genius gave him than that he should conceive and bring to completion an undertaking of this magnitude in a city like Berlin at so early an age. He made many journeys for pleasure and instruction. Full accounts of these will be found in his charming letters, which are among the most delightful contributions of this kind that any literary man or artist has left. During one of these journeys he visited the Hebrides, and afterward produced his overture called "Fingal's Cave," as a memory of that visit.

Mendelssohn attained great celebrity as a pianist and organist, the latter mainly by his improvisations, although he has the credit of having been one of the first to play Bach's fugues in England. The late August Haupt, however, told one of his pupils that Mendelssohn, in his time, never had an adequate pedal technic but played upon a sort of hit-or-miss principle, which generally succeeded from his thorough grasp of the music. He early produced his concerto for pianoforte in G minor, and played it at many musical festivals. He was in great demand as a director for festivals in Germany and also in England. He became director of the Gewandhaus concerts at Leipsic in 1835, and in 1843, with very distinguished artist a.s.sociates, he founded the Conservatory of Music at Leipsic, which, under his management, became so celebrated.

Mendelssohn produced works in almost every department of musical composition, a great variety of chamber music, symphonies, overtures, one opera, and a very large collection of music for the piano-forte and organ. Probably his fame will last longer through the influence of three works--viz., the "Midsummer Night's Dream" overture, which opened the new world of the romantic; the oratorio of "Elijah," which is in very many respects one of the most beautiful ever written, just as it is also fortunate in the selection of subjects and of the episodes for treatment; and the "Songs Without Words" for the pianoforte, which, while not of remarkable depth, are very beautiful and poetic compositions of such quality as to awaken in the musical world a new appet.i.te and a new appreciation of an instrument which has now become the most universal in use.

All the works of Mendelssohn are distinguished for clearness of form, elegance of sentiment, and delicate fancy. They are more feminine than masculine, although at times he has a great deal of strength. His pianoforte writing is not so well suited to the instrument as that of some other composers, such as Chopin and Liszt, and his concertos, although very popular, are not ranked among the master works of this form of composition. Of all the pianoforte music which he produced, the "Rondo Capriccioso" is the one which most completely represents the characteristic range of his imagination.

The two composers for the present chapter have distinguished themselves in almost every walk of composition. Schubert left a large quant.i.ty of ma.n.u.script, most of it unheard until after his death, consisting of about 700 songs, nine symphonies, various pieces of chamber music, pianoforte sonatas, dances, marches, overtures, one opera, and many miscellaneous compositions. In every department of this vast activity there are a few works which stand out as masterpieces. To begin at the top, his "Unfinished Symphony" and the great Symphony in C are in the very first line of orchestral masterpieces, standing well up alongside the greatest of Beethoven, and with an originality of style and beauty wholly independent of the overshadowing Beethoven, who was, just at the moment of their composition, engaged in his last works, including the immortal Ninth Symphony.

Nevertheless, while Schubert was great in all musical directions, he marked an epoch in one direction, and therefore has a fame peculiarly his own. As a songwriter he was one of the greatest the world has ever known. His fame in this department rests upon two wholly different considerations, the union of which in the same composer forms the epoch-marking peculiarity already mentioned. As a melodist he stands in a rank by himself. His melodies move easily, now within the diatonic mode, and now in the chromatic, but generally, within the limits of each period, in the diatonic mode. The melodies are flexible, well balanced, very singable, and natural. Each comes up, lives its day, and dies away into silence, like a lovely flower unfolding from its own germ in the moment of the year when the sunshine and the showers have brought the time for its appearing. In this case the predisposing external cause leading to the appearance of one of these melodies is found in the poem chosen for text. Whatever Schubert read, if it interested him, immediately called up within him a melodic form. These melodies not only differ from one another by degrees of indescribably delicate gradation, but each as it comes proves itself adapted to the text which gave it birth. These lovely melodies, moreover, are supported by pianoforte accompaniments which at times rise to a co-ordinate rank with the melody itself as part of the expression of the poem. Sometimes the so-called accompaniment is itself almost the main thing. Such cases are found in "The Erl King,"

"To Be Sung on the Waters," and "Gretchen at the Spinning-wheel." At other times the accompaniment is as simple as the melody, and serves no other purpose than that of supporting the voice. A typical case of this kind is found in "Hedge Roses," and in "Hark! Hark! the Lark."

It is another peculiarity of Schubert that, beginning with an entirely simple melody, he sometimes digresses to a remote key, within which for a moment he goes quite as simply, only to return again immediately to the main key. The "Hark! Hark! the Lark" is a case of this kind.

(Note the transition to G-flat in the ninth measure.)