Musical Criticisms Part 6

TCHAKOVSKY.

[Sidenote: =Symphony No. 5 and other Works.=

_January 21, 1898._]

The experiment of devoting an entire miscellaneous concert to the works of one composer is nearly always hazardous. We doubt whether any other composer besides Wagner has ever withstood such a test quite satisfactorily. It was, of course, inevitable that the unparalleled wave of popularity upon which Tchakovsky's "Pathetic" symphony has been carried over the country during the past two years should have had the result of bringing other works by the same composer to the fore. That result is in no way to be regretted. Tchakovsky is a thoroughly interesting composer. His power and originality can scarcely now be disputed, and, whatever may be the verdict upon his art arrived at by those competent to judge when the excitement of novelty shall have pa.s.sed off, one fact seems already to be quite clear, namely, that he was a great master of the orchestra. Listening to Tchakovsky's music for a whole evening and comparing the new with former impressions may have revealed more defects and limitations than merits; but the experience confirms, to our mind, the view that the Russian composer must be allowed to take rank along with Berlioz and Wagner as a consummate and original master of the orchestra, regarded as a medium of expression. He grasps the modern orchestra as if it were one instrument.

He sweeps over it like a mighty virtuoso with unerring touch. He knows the suggestions and potencies that lie in the timbre of each pipe, string, and membrane, just as a man knows the articulations of his native language. To any musical strain that is in his mind he gives outward form with absolute success. In short, he has consummate ability to express himself in music, and such ability is so rare that it is sufficient alone to make a composer very famous. There remain, of course, certain questions about the self thus expressed, and not till we reach those questions do the defects and limitations of Tchakovsky's art come into view. The great prevalence of melancholy moods in Tchakovsky's music is a matter of common observation. When he desires to shake off his habitually gloomy and brooding state, how does he set about it? Just as one would expect with such a disposition--by frenzied excitement, by the blare and glare of military pageant or by an orgiastic dance. His lighter music is bizarre or sardonic when it is not merely intoxicating. The enormous predominance of the rhythmical interest over every other kind of interest, such as that of melody or harmony, in Tchakovsky's music, can scarcely have escaped notice; and rhythm is the lowest element in music; it is the element representing animal impulse, as shown by its preponderance in every kind of religious music (Palestrina, for example). The music of Tchakovsky rocks, tramps, jigs, whirls, and flies far more than it sings; and when it does sing it is either profoundly melancholy, bitterly sardonic, or merely bizarre. The composer has absolutely no serenity in his disposition, no love of nature or of innocence, no navete, no calmness or coolness, no healthy activity, no religion, though much picturesque patriotism, and very little intellectuality--only just enough for the purpose of expression. Such is the disposition revealed in the art of Tchakovsky.

Like Rubens, the painter, he cares for nothing but exuberant animalism--for Rubens' Madonnas and other quasi-religious pictures are all just as much studies of exuberant animalism as his Venuses and his boar-hunts. Tchakovsky, too, loves hunting; though his more special tastes are for fighting and military display, and for dancing. Such a character could not be otherwise than profoundly melancholy in the absence of strong excitement. At the same time, he was--again like Rubens--an artist of enormous power, and his creations have their value.

The fifth symphony, which was given yesterday, affords a most interesting comparison with the sixth and last. Such a nature as, according to our view, Tchakovsky has revealed in his art would never be thoroughly dignified except in great grief or in some situation bringing his patriotism to the fore. This, we believe--added to the more complete maturity of the art,--is the explanation of that greatness which has been generally recognised as distinguis.h.i.+ng the "Pathetic"

symphony among the composer's works. Alone among the larger works of the composer it has dignity. The feeling that it embodies is tremendously deep and sincere. It is an utterance of a strong semi-primitive nature with robust appet.i.te, but also with an immense capacity for feeling--personal feeling, and family, tribal or patriotic feeling. In the symphony given yesterday, on the other hand, we have a feast of gorgeous tone-colour, orchestral figures of astonis.h.i.+ng scope and ingenuity, here and there motifs that are poignantly expressive, vastness of design, superhuman energy; but the dignity of the work is marred by the perpetual intervention of riotous and frenzied rhythms.

The other orchestral works given were all of minor importance. Perhaps the best was the "Romeo and Juliet" overture, dealing with a subject certain sides of which were naturally congenial to the composer's temperament. He seized on these sides with unerring self-knowledge and made an eloquent musical picture out of them. "The Variations on a Rococo Theme" and "Pezzo Capriccioso" are two ingenious and bizarre pieces, both very cleverly scored, which enabled Mr. Carl Fuchs to display his admirable mastery of the violoncello as a solo instrument.

They were both very finely played, and, especially the latter, aroused considerable enthusiasm. As far as the interpretation was concerned the symphony, too, must be unreservedly commended. There was only one work in the entire concert which, to our mind, bears the stamp of perfection--namely, the little song "Nur wer die Sehnsucht kennt," which is worthy to rank with the best lyrics by Schumann, and indeed shows the spirit of that composer in one of his moods--that which produced "Ich grolle nicht"--very strongly. All the songs were interesting. In fact, the lyrical power of Tchakovsky is so striking that it may be placed side by side with his mastery of the orchestra among those qualities which make him a great composer. All that has been said with more especial reference to the orchestral works applies with equal truth to the songs; they are either melancholy, like the first, third, and last given at yesterday's concert, or sardonic, like "Don Juan's Serenade."

Brightness, happiness, confidence, resignation, reverence, sense of mystery are qualities as alien to the composer's nature as simple joviality or innocent badinage.

[Sidenote: =Symphony in F Minor.=

_November 25, 1898._]

The fourth symphony of Tchakovsky, which formed the princ.i.p.al orchestral work at yesterday's concert, is full of life and zest, affording an interesting glimpse of those powers which were destined to produce the "Pathetic" symphony. Composed some fifteen years earlier than the "Pathetic," the fourth symphony represents the composer in a very different mood, though with nearly the same technical powers. It is perhaps natural that the earlier work should be more cheerful; but, considering that the composer was thirty-eight years of age when he produced that earlier work, the music sounds curiously youthful. The difference between the style of the symphony given yesterday and the "Pathetic" is almost entirely of a kind that eludes a.n.a.lysis. It can only be stated broadly that in the "Pathetic" there is a depth and energy of feeling to be found in none but truly great works of art; also that there is mature style, appearing especially in the marvellous tact with which so much rich, highly coloured, and dangerous material is disposed. On the other hand, the earlier symphony, while strongly akin to the "Pathetic" in rhythmic and melodic invention, figuration, instrumentation, and device in general, is not only wanting in the tact of the mature artist, but shows the composer not under the influence of any strong feeling, and simply revelling in his powers of gorgeous orchestration, ingenious thematic work, and marshalling of tone ma.s.ses with a view to picturesque effect. Tchakovsky is nearly always martial in one part or another of an orchestral work. In the great symphony the first movement has a ferocious section suggesting actual slaughter, while the greater part of the third movement is an elaborate military pageant. The work given yesterday leads off with martial strains, which recur several times in the first movement and again in the last. The first movement also exemplifies the composer's practice of bringing in a good deal of development immediately after the statement of a theme, instead of waiting for the development section. Though every musical element is telling, the movement is too prolix. In the andantino it soon becomes apparent that the composer's mind is running on his national folk-melody, the second theme especially having a very strong flavour of Russian national music. The movement is short and very charming. Next one pa.s.ses from song to dance, the scherzo being a kind of Cossack dance orchestrated in the most piquant style, the strings playing pizzicato throughout. Here again the composer is irresistible. The music is ballet-music, not worthy of a symphony, but it is so exhilarating that there has to be a "truce with grimace." And the finale? On a former occasion we have declared our view that none of Tchakovsky's music except his last symphony has dignity, but probably in no other quasi-serious work has he committed himself to such an astounding piece of rodomontade as is here used to conclude the symphony. The music enters like a voluble showman, beating a drum at the head of a procession, and a.s.suring the crowd that never in this world has anything been seen quite so wonderful as that particular show. The show then proceeds, seeming to be concerned with national exploits which are all ill.u.s.trated by the comments of the same voluble showman. A meritorious rendering was given of this amusing and in some respects instructive work. Many of the wind-instrument pa.s.sages are very trying for the performers, especially in the case of the ba.s.s trombone, which in the last movement sometimes has to play as fast as the flute; but the players struggled manfully with these difficulties and did justice to the score.

[Sidenote: ="Romeo and Juliet" Overture.=

_December 14, 1900._]

The case of Tchakovsky, with his one great Symphony overtopping by such immeasurable heights all his other compositions of whatever kind, is isolated. One is almost compelled to think of everything else in the light of the one great work. Here is something that dimly foreshadows the stupendous battle-picture in the first movement. There we note some faint suggestion of that power to represent a heart full of the most awful foreboding, amid scenes of gaiety and gallantry, which gives its peculiar character to the celebrated 5--4 movement; and there are foretastes of the bustle and excitement rendered on a gigantic scale in the scherzo, of the triumphal note in the March, of the final despairing wail. But all else is faint and fragmentary by comparison with the great symphony. The "Romeo and Juliet" overture, played yesterday, is probably Tchakovsky's best early composition, and it is certainly that which suggests the great last symphony in the most unmistakable manner. The poetic basis of the tone-picture is to a considerable extent the same in both. A warning prologue leads to the scenes of violence and bloodshed.

Then follows a romantic love-story with a tragic ending. Everything in the overture is extremely well done--the fighting music is graphic and the love music is deeply fraught with feeling,--but it is not a bit Shakespearean in spirit. The peculiar neuralgic pathos which haunts nearly all Tchakovsky's works takes us into a fevered and unnatural atmosphere very unlike Shakespeare's; and the fighting is gory and realistic in the haggard manner of Verestchagin. As with Berlioz's treatment of "Faust," one must not seek for any sort of fidelity to the spirit of the original. It is better to rest satisfied with the striking and eloquent picture, founded on external features of a well-known poem but belonging essentially to the composer's own dream-world. The overture was splendidly played yesterday. Dr. Richter's interpretation most fully revealed the beauty of the introduction, where the composer had succeeded in finding a note of pathos unlike his usual narrow and egotistic or merely tormented vein. Specially remarkable was the fine precision of the percussion instruments in the sections representing the strife of the Montagues and Capulets; but it is scarcely necessary to mention details, for the whole tone-picture was superbly presented.

[Sidenote: =Symphony in E Minor.=

_March 8, 1901._]

There is a great diversity of opinion as to the merits of Tchakovsky's fifth Symphony. More than one London critic has expressed the view that it is equal to the much-better known sixth and last. Mr. Jacques declares in yesterday's programme that, though No. 6--the "Pathetique"--appeals more strongly to the emotions, No. 5 is constructively the finer work. On the other hand, we have the opinion of the Russian critic Berezovsky--quoted together with the same writer's detailed account of the work in a recent English book on Tchakovsky--that No. 5 is the weakest of all the Symphonies. There is something rather depressing in such extreme divergence of opinion. It proves one of two things;--either Tchakovsky is not one of the sane composers whose works stand in a certain clear relation to the musical needs of human nature; or else, for all our greatly increased musical culture, we are no quicker than were the men of Beethoven's day in our perceptions; and, in the absence of perception, we are even more tied down than were our predecessors by pedantic notions. The reception of the great "Symphonic Pathetique" in this country disposes of the former alternative. No other instrumental work ever aroused so great a wave of genuine public interest, and even persons who are no great admirers of Tchakovsky ought, if they care for the musical life of this country, to take an interest in him, on account of the astonis.h.i.+ngly sudden and powerful grip that he took of the public imagination. It is not to externals--such as instrumentation, counterpoint, form, and so forth--that we must look for the explanation. Glazounoff orchestrates no less brilliantly than Tchakovsky and has probably a greater mastery of scholastic device, and the same is true of Saint-Saens. Yet neither of those masters ever did or could stir anything in the least like the interest that Tchakovsky stirs. We believe the secret of Tchakovsky lies first in his sincerity, his being in earnest, his intentness, his search after the true symbol of his idea or feeling, his rejection of mere fabricated music. In listening to Glazounoff one perceives the trotting out of device. "Note how cleverly," the composer seems to say, "how cleverly I introduce this theme in augmentation." Whereas Tchakovsky is always intent on his idea, and, when he uses device, it is with the air of a man deeply in earnest and grasping at a resource of expression. Thus the centre of gravity is with Glazounoff as often as not in the device, with Tchakovsky always in the message, and with that dim sub-consciousness of the musical soul we perceive the one to be a cultivated trifler, the other a man with something important to say.

That is the first and chief point. Next comes Tchakovsky's gift of rhythm--the quality in music for which the general public of the present day cares most. When a person of rudimentary musical notions says that he likes a good tune, it will nearly always be found that what he likes is the rhythm, and that the melody can be freely changed without his perceiving it. The same taste exists in the higher stages of cultivation. A hundred times commoner than a real sense of melodic beauty is the love of a powerful rhythm that carries the listener off his feet. Now Tchakovsky does that for the listener much more often than any other composer. He first captivates by something in which his gift of rhythm plays a leading part, and, having captivated, he does not disappoint us by saying empty things. Further points are his astonis.h.i.+ngly rich harmony, which is never twisted and inconsequent, like so much of Berlioz's harmony, but always develops logically and clearly his vastness of design; his warmth of colouring, and his picturesque force. Needless to say, that to explain sudden and signal success with the general public there must always be a mention of weak points. Among Tchakovsky's weak points that which has gained him most popularity is his persistent habit of presenting his ideas in a sort of balanced and ant.i.thetical manner. He does not expect too much intelligence in the listener. First he says a thing, then he says it again an octave lower down or higher up and with different instrumentation; next he repeats a tag of what has just been said, and repeats that once or twice, and so forth. And the thing is not done artificially; such procedure evidently came natural to him. By the time he has finished, something of the idea has been conveyed into the dullest mind; and all this is done along with the extremely modern harmony and with instrumentation so das.h.i.+ng, brilliant, and varied that only a dreadfully a.n.a.lytical person takes note of the thematic iteration. It is a remarkable point that while all the other symphonies are full of Slavonic folk-melodies, the thematic invention in the "Pathetic" is all original--every sc.r.a.p of it. There is not a folk-tune from beginning to end. One has only to think of the first theme of the first quick movement to perceive how thoroughly the composer was worked up. The originality of it is absolute. One may go over all the orchestral composers from Haydn to Wagner and Brahms, asking oneself whether that theme could be by any one of them. Obviously it could not be the work of anyone else except Tchakovsky. On hearing that theme for the first time the listener p.r.i.c.ks up his ears. "Here is a man with something to say," he thinks. Now there is nothing of that kind in No.

5. The thematic material has been obtained in an easy-going manner--mostly by borrowing. And the superiority of the great No. 6 is just as remarkable in the richness and spontaneity of development as in originality of thematic invention. In other respects the case against Mr. Jacques's view is much stronger. There is not the ghost of an indication in No. 5 of the power which produced that overwhelming battle-picture in the first movement of the "Pathetic," or of the completely new kind of eloquence introduced into the world of music in the third movement--the Scherzo-March--of the "Pathetic," or of the unparalleled poignancy of expression in the Finale. The fifth is a fine picturesque work, chiefly interesting for the glimpse that it gives us of those exercises by which the genius destined to produce No. 6 strengthened itself. We hear many of the same orchestral effects, such as the frequent use of divided lower strings and the prominence of ba.s.soon parts. The figuration in the Valse, and again in the Finale, also affords a faint premonition of the marvels that enthral us in the latter work. But, before any comparison of the two is really possible at all, one must knock off the last movement of the "Pathetic" and take it as ending with the March, as the composer originally intended it to end.

[Sidenote: ="Pathetic" Symphony.=

_November 22, 1901._]

"Eighth time at these concerts," says last night's programme, in reference to the great Tchakovsky Symphony, which is only eight years old. The performances in London are to be numbered by dozens, and whenever genuine orchestral concerts are given in this country the swan-song of the late Russian master has probably been heard more often than any other symphonic work. Let us not be in too great a hurry to protest against this state of things. The enormous audience of yesterday evening--much the largest of the present season so far--suggests that the public have not lost interest in the Symphony. Nor do we dissent from the views of the public in this respect. There is astounding potency in the charm of the work and in the appeal that it makes to the imagination. For some time past we have been preoccupied with the notion that it forms a sort of pendant to Dvorak's "New World" Symphony.

Dvorak has caught in his music the breezy, hopeful, democratic, optimistic, and free-thinking spirit of American life, with its upper side of furious go-ahead civilisation, and its under side of primitive humanity (Negroes and Red Indians) in which energy of feeling is out of all proportion to intellectual faculty. Dvorak's slow movement is undoubtedly a hymn of such primitive humanity, with an undercurrent of meditation on the prairie by night, in which the movements of sap and the germination of seeds within the bosom of inexhaustibly fertile nature become, as it were, audible. It is something like the poetry that Walt Whitman would have written had he been a much better poet. In an a.n.a.logous manner Tchakovsky has caught up and fixed in his "Symphonie Pathetique" the soul of modern Russia. Just as the American Symphony is breezy, democratic, optimistic, and free-thinking, so the Russian is languorous and oppressed, aristocratic, pessimistic, and hierarchic. The absence of any slow movement, except the dirge at the end, is intensely characteristic. The composer has no hymn of thanksgiving or serenely contemplative interlude to give us, but only something with the perfumed and artificial atmosphere of the ballroom, as a relief from the ardours and terrors of his military and patriotic pa.s.sages. Both in his first and third movements he reminds us that the Russian, for all his profound religiosity and mysticism, for all his abundance of talent and exquisite courtesy under normal conditions, lives in a cruel country and has it in him to be more cruel than any other modern white man. The dirge at the end we believe to be the most powerful expression of tragic emotion that exists in the entire range of music. Such a work will bear a good many performances, especially in a place where there is a Richter to interpret it. Of course neither the "New World" nor the Muscovite Symphony is for a moment to be compared with Beethoven. Fellows like Dvorak and Tchakovsky, belonging to the fringe of civilisation, have something of the savage about them, whereas Beethoven inherited the central European culture and expressed in music the emotions of a completely civilised character. The part of the nineteenth century subsequent to the death of Wagner will probably be remembered for the _avenement_ of the semi-savage in music. But, be it remembered, music is an art of expression, and all thoroughly and richly expressive music is good music, no matter what the informing emotion or underlying idea.

CHAPTER VII.

ELGAR.

[Sidenote: ="King Olaf."=

_December 2, 1898._]

Mr. Edward Elgar seems to owe his fame almost entirely to those autumn festivals which are so important a feature of musical life in this country. An organist, with a turn for serious composition, occupying a post in some city where one of those festivals is periodically held, is favourably placed with a view to getting a hearing for the productions of his musical genius; and Mr. Elgar was, and so far as we know is still, organist at St. George's Roman Catholic Church in Worcester. His career as a festival composer dates from 1890, in which year his overture "Froissart" was produced at the Worcester Festival. Three years later a choral work--"The Black Knight"--was brought to a hearing in the same city, apparently with advantageous results to Mr. Elgar's reputation, for since that time he has devoted much of his energy to composition. The cantata performed yesterday evening for the first time in Manchester seems to have been the fourth of Mr. Elgar's important choral works. When first performed at the Hanley Festival two years ago it attracted much attention, and was hailed by many writers for the press as a work for the Leeds Festival--generally considered the most important event of the kind in the country. The work composed for Leeds and produced there last October was called "Caractacus." It is in general style similar to "King Olaf," while naturally representing a later stage in the composer's development. In both works one notes the same dramatic instinct, the same unconventional treatment, the same faculty of genuine thematic invention, and the same unmistakeable gift for orchestration. As this composer gains in experience it does not seem, as with many others, that his inventive powers become exhausted, but that, on the contrary, they ripen and develop. "Caractacus" is obviously a finer work in every way than "King Olaf." Now, all these facts make Mr. Elgar a very interesting person. The qualities enumerated above--gift for thematic invention, ingenious and telling orchestration, unconventional treatment, and so forth--are extremely rare and valuable.

It is quite possible for a composer to have a long and successful career without possessing any one of them, and it is therefore very natural that a composer who does possess them should be hailed with enthusiasm.

But, unfortunately, they are not the only qualities necessary to a composer of extended choral works, and Mr. Elgar, who rises so far above mere feeble conventionalities in his actual music, is not free from the common but most mischievous delusion that almost anything will suffice by way of "verses for music." He throws away the resources of his remarkable art upon a text that is in places unfit for any kind of musical treatment, and is, on the whole, hopelessly rambling, incoherent, and tiresome. One becomes interested in a dramatic episode where a bride seems on the point of murdering her bridegroom with a dagger that gleams in the moonlight. But the narrative wanders away to other subjects; a fresh heroine, with quite different affairs and interests, occupies attention, and one hears nothing more of the lady with the dagger. No doubt, the t.i.tle "Scenes from" the Saga of King Olaf seems to justify such procedure, but it does not prevent the interest from flagging or the general impression left by the work from being fragmentary and incoherent. The best of the music is at the beginning, where there is an extremely fine chorus, "The Challenge of Thor,"

containing various musical elements all truly expressive and fraught with the same primitive and racy vigour. The more important of the elements in question are the Hammer music, the Iceberg music, the Thunder and Lightning music, and the strains which carry the defiance of Christianity by the old Norse religion. The most effective, too, of the solos is the long tenor recitative following the great chorus. At the words "listening to the wild winds wailing" a highly original and interesting strain begins to be heard in the accompaniment. But the promise of these fine things is not well carried out in the latter part of the work. Everywhere the difficulties are very formidable, and in a good many cases they were too much for the chorus, who, except in "The Challenge of Thor," did not sing in a very free or expressive manner.

Nor did they always take their leads with precision; but, in a complex work abounding in accompaniment figures with such puzzling cross-rhythms, these defects were excusable. The cantata did not seem to make any great impression on the audience; but we should expect to find, if ever Mr. Elgar were so fortunate as to obtain a really good subject and a good book, and especially a subject and book thoroughly adapted to his remarkable dramatic powers, that he would produce something of lasting value.

[Sidenote: =The "Enigma Variations."=

_February 9, 1900._]

The style of composition called "Variations" is a striking example of a primitive form that has proved imperishable. Sir Hubert Parry has pointed out that the fundamental idea of variations in instrumental music is co-ordinate with the _canto fermo_ and counterpoint of the early choral composers. Each system resulted from an attempt at giving form and unity to a composition by repeating a theme over and over again, each time in some new aspect, or with fresh ornamentation; though the effect obtained by winding ingenious counterpoint for other voices about an unchanging _canto fermo_ is, of course, very different from the tricking out of the melody itself. In choral music the _canto fermo_ system almost died out when maturer principles of structure were discovered; but variation-form has never fallen into disuse at any period since its invention. It has been used by all the great masters, and by many of them as a vehicle for great and splendid ideas. General progress from the mechanical to the imaginative marks the successive stages through which the form has pa.s.sed. One great reason for its vitality is that it admits of treatment in every possible style.

Variations may be melodic, or contrapuntal, or harmonic. A superficial composer can make them by simply worrying his theme, a profound composer by developing the musical ideas that are in it. Bach's were mainly contrapuntal, Mozart's mainly melodic--one may even say melismatic--and Beethoven made variations of every kind, in his later works obtaining results of undreamed-of grandeur from the form. But the later Beethoven has never really been followed by any mortal in the austere and wonderful path that he struck out for himself, though Brahms and others have obtained a few hints from him. The originator of modern romantic variations was Schumann, whose "Etudes Symphoniques" revealed a fresh source of life in the form, that has proved less austerely inaccessible than Beethoven's; Brahms, Tchakovsky, and many others having obviously derived inspiration from it. Mr. Elgar stands in a peculiar relation to the modern masters of variation-form. He seems to be much preoccupied with the curious idea of musical portraiture, which, again, owes its existence to Schumann. The miniature of Chopin occurring in Schumann's "Carnaval" was the first, and perhaps remains to this day the best, example in its kind, and the sketch of Mendelssohn forming No. 24 of the same composer's "Alb.u.m for the Young" is also a recognisable piece of musical portraiture. Mr. Elgar has carried out the idea in an extended scale in these variations. His theme, which he calls "enigma," has no eccentricity. It is a rather march-like strain in regular form, having three sections, the last of which is a repet.i.tion of the first, with fresh harmony and instrumentation. There are nominally fourteen variations;--including the finale, actually thirteen, for No. 10, described as intermezzo, is not a variation. Each of the variations, and the intermezzo, bears initials, or a nickname, which are commonly a.s.sumed to represent the composer's friends. Why any such thing should be a.s.sumed we do not know. It is both possible and allowable to portray persons who are not one's friends, and some of Mr. Elgar's portraits seem to us extremely severe and satirical. One of the early numbers, in particular, gives a vivid impression of a very unsympathetic personality, garrulous, querulous, trivial, meanly egotistic, and rather ape-like. The composer does well to let the ident.i.ty of the original remain shrouded in mystery. The variations are grouped according to the usual principles of contrast, and they are all extremely effective.

However much the composer may call his theme an enigma--Berlioz called his variation-theme in an early symphony _idee fixe_--one can scarcely escape the impression that it represents the temperament of the artist, through which he sees his subjects; for that, and nothing else, is what forms the connecting link between any series of portraits by the same hand. Wonderful ingenuity is shown in varying the relation in which the theme stands to the musical picture. During the first part of the work, down to the end of the sixth variation, the att.i.tude of the audience seemed rather reserved. But a change began to be noticeable at the seventh variation, called "Troyte," an impetuous presto movement that shows a hitherto unsuspected kind of energy. Nor did the attention flag at all during the n.o.ble and serene harmonies of the ensuing Allegretto.

The richly-organised "Nimrod," forming No. 9, leads to the dainty and tripping "Dorabella" Intermezzo, which has no connection with the theme.

The eleventh variation, headed "G. R. S.," is another demonstration of abundant vigour, and the following "B. G. N." has for leading feature a fine lyrical melody for 'cello. No. 13 obviously has reference to someone on a sea voyage, the "prosperous voyage" theme from Mendelssohn's "Meeresstille" overture being heard amid delicate suggestions of distant sea sound. In the very extended finale there is some powerful polyphonic writing, and the movement ends with a repet.i.tion of the theme in augmentation, forcibly declaimed by the heavy bra.s.s to the accompaniment of the full orchestra. The audience seemed rather astonished that a work by a British composer should have had other than a petrifying effect upon them. They applauded with the energy that the composer's imaginative power and masterly handling of the orchestra deserve. Dr. Richter signalled to Mr. Elgar, who was seated among the audience, and he thereupon mounted the stage and received an enthusiastic greeting from the public. The striking success of this composition reminds us of the following pa.s.sage occurring at the end of an article by Sir Hubert Parry written some years ago:--"It is even possible that, after all its long history, the variation still affords one of the most favourable opportunities for the exercise of their genius by composers of the future."

[Sidenote: ="c.o.c.kaigne."=

_October 25, 1901._]

Dr. Elgar's more recent compositions seem to require nearly as much talking about as Wagner's. But, be it observed, that is not the composer's fault, but is the result of the primitive stage at which not only the bulk of our musical public but many of our "leading musicians"

still find themselves, as regards understanding the poetic import of a musical work. On two occasions in recent years a work full of slaughter and frenzy, of barbarous revelry and sensuality, of glittering and blaring pageantry, and ending with annihilation--a work the powerful appeal of which lies precisely in the fact that it is the most powerful existing expression in music of everything most un-Christian and anti-Catholic--has been performed without public protest in a British Cathedral. We here refer, of course, to the "Symphonie Pathetique." Dr.

Elgar is another composer whose music means something; but what chance is there for us to understand him? One quails before the task of discussing in a concert notice all the questions to which such a work as the "c.o.c.kaigne" overture gives rise. First let us state, without stopping to give reasons, that we think it worth hearing and worth studying. If any previously existing overture is to be mentioned in order to indicate the type to which "c.o.c.kaigne" belongs, it must obviously be "Meistersinger." The humorous element is somewhat more prominent than in "Meistersinger," and the general tone and colouring of the two works are utterly dissimilar. But that the composer of "c.o.c.kaigne" had "Meistersinger" in mind is rendered practically certain by one particular point--the use of a Londoner theme and of the same theme in diminution for the youthful Londoner, in exact a.n.a.logy with Wagner's symbols for the Meistersingers and the apprentices. Again the opening bustle, giving way to a love-scene, suggests "Meistersinger,"

and so does the polyphonic elaboration of the middle part. But there is a great difference between following Wagner's procedure and borrowing his musical ideas. To some slight extent in the E flat section, and more particularly in the harmony thereof, we find the Wagner flavour. For the rest, while the procedure seems at any rate to be based on Wagner's, we find the materials used and the character of the artistic result achieved to be entirely different from Wagner's. There are seven musical elements in "c.o.c.kaigne," the significance of which may be roughly indicated as follows:--(1) Bustle of the streets; (2) a virile personal note; (3) companions.h.i.+p and interchange of ideas between two sweethearts; (4) pert children playing their pranks; (5) military band episode; (6) impressions on pa.s.sing from the street into a church; (7) new phases of street-bustle music. Musical symbols of very considerable plastic force are invented for these things, and are woven into a powerful and entertaining tone-picture with that mastery of the orchestra which no one can now refuse to recognise in Dr. Elgar. He always works with definite lines, and does not seem to care much for those atmospheric effects in which certain moderns, such as Richard Strauss, are so strong. The music has a far wider range of ideas and emotions than would be possible in a poem occupying the same time in delivery. It gives us impressions of London by day and by night, impressions that are partly realistic and partly antiquarian, following the flight of the imagination with absolute freedom, forming a sort of musical parallel to Henley's "London Voluntaries."

And lo! the wizard hour Whose s.h.i.+ning silent sorcery hath such power!

Still, still the streets, between their carcanets Of linking gold, are avenues of sleep.

But see how gable ends and parapets In gradual beauty and significance Emerge! And did you hear That little twitter-and-cheep, Breaking inordinately loud and clear On this still spectral exquisite atmosphere?

'Tis a first nest at matins! And behold A rakeh.e.l.l cat--how furtive and acold!

A spent witch homing from some infamous dance-- Obscene, quick-trotting, see her tip and fade Through shadowy railings into a pit of shade!

And if this is effective, does not a certain sonnet of Wordsworth's exist to prove that an aspect of London may furnish a magnificent poetic inspiration? It should be remembered that there is originality in emotion as well as in ideas and in devices; and this is where we find Dr. Elgar strong--perhaps stronger than any other British composer.

Besides the technical ability to express himself in music, he has originality of emotion. He takes us into regions where music never took us before. As to his use of Wagner's procedure, that was also Beethoven's procedure in some of his finest works. In fact, it is the procedure of everyone for whom music is a language, such as it has tended more and more to become ever since Beethoven's time. The history of music in the nineteenth century is the history of something growing constantly more articulate.

No doubt some persons would like to ask--Should we have known all this, or any of it, about the significance of the "c.o.c.kaigne" music had there been no programmes? The answer is, Probably not. But the beauty of an artistic design ill.u.s.trating a certain subject may often be perceived when one cannot make out what the subject is. In such a case the subject is not "all nonsense." It is the stimulating cause of the beautiful design, and it is very natural for those who find the design beautiful to like to know what it is all about. It is a mistake to think that a definite play of the imagination has nothing to do with musical composition. It has very much to do with it. The kind of music with no underlying play of fancy is only too familiar.

The name "c.o.c.kaigne" occurs in some form in old English, French, Italian, and Spanish literature, meaning "the land of delights." The fancied connection with "c.o.c.kney" is of much later date. Henry S.

Leigh's "Carols of c.o.c.kayne" (1869) shows the recognition of the word in the sense of "c.o.c.kneydom." There is said to be a connection between "c.o.c.kney" and the French "coquin," and if that is so the appropriation of "c.o.c.kaigne" as correlative of "c.o.c.kney" is justified by community of origin, all these words being derived from the stem of _coquere_ (to cook). No doubt "coquin" originally meant "cook's boy" or "loafer in a cook-shop," and "c.o.c.kney" at first meant something of the same sort. At the same time there hangs about the word "c.o.c.kaigne" a certain proverbial suggestiveness, derived from the time when it was used in the sense of "land of delights," the etymology being forgotten. It thus has a peculiar appropriateness as the t.i.tle of Dr. Elgar's genial and largely humoristic tone-picture.