Musical Criticisms Part 8

for the composer--here an effective air for the princ.i.p.al personage, there a chorus with scope for effective contrapuntal writing, everywhere due regard for the well-varied interest which the public loves, and, at the end of a part, provision for an effective Finale. But some recognised kind of musical opportunity is always the chief matter. No one cares much about the subject except in so far as it provides the musical opportunity of an accepted kind. It is a case of chorus, air, concerted piece, march, air for another sort of voice, and Finale, with connecting recitatives as a necessary evil, and the whole thing standing or falling according as the composer seizes the said opportunities and turns them to account in the accepted manner, or neglects or fails to do that. For so long a time has that kind of oratorio been regarded by the general public as the only possible kind, that even now immense numbers of persons discuss works like "Gerontius" and "The Apostles" on the old lines. That a musician should have a mind, and a message to which notes and chords are subservient, is an idea so new as to be disquieting, if not at once dismissed as absurd. People are so much accustomed to say that they never did care about the subject of a musical work; that no sensible person does; that if the music is pretty the work is good; and there is an end of the matter. Yet now comes a composer and makes the subject the chief thing, writing music that gives no one the slightest encouragement to take interest in it apart from the subject--in short, displaying the most complete indifference to everything that used to be expected of a composer, and giving us all to understand that, in a religious work, if the music does not in some clear manner contribute to the exposition of the subject, it is not justified at all. In this respect "Gerontius" and "The Apostles" are alike. People can take them or leave them, but they cannot make them out to be pretty music, such as one can enjoy without "bothering about" the subject. For Elgar so orders that we have to enjoy with the head and the heart or not at all. He will not allow us to enjoy simply with the nerves or by recognising approved kinds of musical rhetoric.

Whatever Elgar may do in the future, he can never approach a more weighty subject than is expounded in the two parts of "The Apostles,"

which make up the oratorio in its present form. This deals with the calling of the Apostles and with some of the most important incidents in the life of the Redeemer during His ministry. Everyone intending to hear the work should read the short and clear account given in Canon Gorton's "Interpretation of the Text." The writer is remarkably successful in bringing out the profound consistency and psychological insight which distinguish this oratorio text so very sharply from most others.

Attention may be drawn specially to the characterisation of the three Apostles, John, Peter, and Judas, expounded mainly on pages 13 and 15.

Canon Gorton also shows us the sources from which some of the most fruitful ideas and telling symbols of the oratorio have been derived.

The music exemplifies a further development along the lines indicated by "Gerontius." In the resources which he calls into play the composer is a thorough-going modern. His orchestra is of great size, and he does not scorn the specially modern instruments or the modern tendency to group and subdivide in an elaborate and subtle fas.h.i.+on. In the quality of his absolute musical invention he shows himself to be neither a cla.s.sic nor a romantic, but a psychological musician. His thematic web is the exact a.n.a.logue of the emotional and imaginative play to which the exposition of the story gives rise from point to point, and it thus partakes of the nature of language. The composer cares nothing for accepted views as to what is in accordance with the proper dignity of oratorio; but, trusting to his conception as a whole to enn.o.ble every part, he allows himself to be here and there extremely realistic, very much as the great religious painters have done. He works on a great scale; in the handling of musical symbols he is not dismayed by tasks that might well be considered impossible, and he thus reminds one of the compliment which Erasmus paid to Albrecht Durer--"There is nothing that he cannot express with his black and white--thunder and lightning, a gust of wind, G.o.d Almighty and the heavenly host."

[Sidenote: ="The Apostles,"

Halle Concerts.=

_February 26, 1904._]

A faultless rendering of "The Apostles" is not to be expected. The same thing has been said of "Gerontius," and the score of the later work yet more obviously transcends the powers of the best endowed and disciplined musical forces to render it in a manner which "leaves nothing to be desired." All hope of reaching the end of their task with a feeling of complacency must be abandoned by the choir, orchestra, soloists, and conductor who undertake to perform "The Apostles," which, in point of technical difficulty, is a "Symphonie Fantastique" and Ma.s.s in D combined. Still, in a relative sense, a rendering may be satisfactory--in the sense that it has the root of the matter in it, not that it is faultless in every detail,--and in that sense we should call the rendering of yesterday highly satisfactory. The general intonation of the choir was better than on any previous occasion, all the delicate fluting rapture of the celestial choruses at the end sounding wonderfully sweet and showing not the least trace of fatigue. The orchestral playing was more subtle than at Birmingham, and it seemed to afford a better justification of the composer's extraordinary colour schemes. It would be hard to suggest a better representation for any of the solo parts. As at Birmingham, Mr. Ffrangcon Davies gave the words of the Redeemer with admirable dignity, and here and there with a trumpet tone in his voice that might have reminded an Ammergau pilgrim of the late Joseph Mayer. As the Narrator and the Apostle John Mr. Coates gave a rendering worthy of his Gerontius earlier in the season. In the parts for women's voices Miss Agnes Nicholls and Miss Muriel Foster once more proved their immeasurable superiority to singers of the "star" order in music of real poetic quality. Mr. Black gave a most telling interpretation of the part of Judas, which, as in the Pa.s.sion Play at Oberammergau, has greater dramatic significance than any other. All the solo parts, except the Redeemer's, are in certain sections so much interwoven with each other and with the chorus that the combined result overpowers the individual interest, though in the parts of the Magdalene and of Judas there are also important independent developments. There can be no question as to the general excellence of the rendering, and the audience was on the same enormous scale as when "Gerontius" was given in November; but the reception was very different. There was applause, of course, yesterday, but no scene of great enthusiasm such as the earlier and simpler oratorio evoked. Some persons seem to be of opinion that the comparative reserve of the public was caused by the extreme solemnity of the subject; that they were really impressed by the music, but in such a manner that there was no inclination to be demonstrative. In this there may be some truth; but, "The Apostles"

being unquestionably much more austere and difficult to understand than "Gerontius," we are inclined to accept the simpler explanation that the audience did not like it so well.

It seems impossible to deny that the music of "The Apostles" represents in many important respects an advance upon the earlier oratorio. The poetic theme of the whole work is incomparably more ambitious, and the musical invention is in more respects than one of greater power. In regard to this point the obvious case to take is Mr. Jaeger's example 3 (Novello's edition), "Christ, the Man of Sorrows," that being the _motif_ of which more frequent and varied use is made than any other.

Here we find unmistakable progress. In its simplest form the theme is more intense and more profound in feeling than any in "Gerontius," and furthermore the manner in which the significance of it develops throughout the work, up to the Ascension phrase, where it occurs in its most expanded form, though not for the last time, shows a great advance in the composer's art. Again, the interest of the "Apostles" music is much more varied. All the symbolism having reference to Christ in solitude makes a most powerful appeal to the imagination; and the opening of the Temple gates at dawn is a scene of astonis.h.i.+ngly graphic force and bold design. In the second part the tragedy of the Pa.s.sion is given in four scenes of tremendous intensity, and then, in the section headed "At the Sepulchre," we begin to become aware of the spirit which is Elgar's most rare and wonderful possession. "And very early in the morning," says the text, "they came unto the sepulchre at the rising of the sun." Thereupon are heard the watchers singing an echo of the music from the great sunrise scene at the beginning. After a dozen bars the fluting notes of a celestial chorus begin gliding in, and then we have an example of that _naf_ mediaevalism at which the second part of "Gerontius" here and there hints. A kind of unearthly exhilaration begins to sound in the music. The Resurrection has brought a new fact into a sorrowful world. It is a sublime adventure, at news of which heaven and earth bubble into song. Throughout all the rest of the work the composer creates that sense of the mult.i.tudinous which belongs to parts of the hymn "Praise to the Holiest" in the earlier oratorio. But the angelic rapture that accompanies the Resurrection and Ascension in the "Apostles" is far greater and more wonderful. The heavenly strain is repeated in so many different ways that the air seems to be full of it, and it never loses the angelic character by becoming militant or a.s.sertive. It remains to the end an efflorescence of song--the sinless, strifeless, untiring, sweetly fluting rapture of the heavenly choir, mixing or alternating with the more substantial tones of holy men and women on earth. Elgar can also render for us the grief of angels. This he does in a page of unparalleled beauty, describing how Peter, after denying his Master, went out and wept bitterly. This page alone might well save the composition from ever being forgotten.

The less convincing parts of the oratorio are sections ii. and iii., especially those parts devoted to the Beat.i.tudes and the conversion of the Magdalene. It is obviously a work the secrets of which are to be penetrated only with the aid of many hearings and much study. At present we are disposed to regard "Gerontius" as the more perfect work of art, though the individual beauties of the "Apostles" are greater and more wonderful. Nearly everything in the later oratorio is stronger. The symbols of the Church show an advance upon the corresponding parts of "Gerontius" scarcely less remarkably than the symbols of the heavenly choir. The strange Old Testament element connected with the Temple service again shows imaginative power of quite a new kind, wonderfully enriching the background of the composition, and the tragic force of the "Pa.s.sion" scenes is immensely greater than anything in "Gerontius." But with our present degree of knowledge we miss in the "Apostles" that crowning artistic unity which prompted us to describe "Gerontius" as a pearl among oratorios.

[Sidenote: ="In the South."=

_November 4, 1904._]

Sir Edward Elgar's most recent Overture, "In the South," has a picturesqueness, or rather a kind of graphic power, arising from far-reaching play of the imagination. In thematic invention it is perhaps more strongly stamped with Elgar's originality than any other work. Its whole tone, atmosphere, and colouring are something essentially new in music, the only hint of any other composer's influence occurring in the viola solo, which bears a faint suggestion of Berlioz's "Harold in Italy." But, being a secondary element in the latter part of the Overture, it is to be regarded merely as that kind of reference which in music is as allowable as it is in literature. The _grandioso_ theme beginning in A flat minor, which was suggested by the Roman remains of La Turbie, is so striking that it has already acquired a good many nicknames. The "steam-roller" theme, it has been called; elsewhere, the "seven-league-boot" theme, the "Jack the Giant-killer,"

and, among Germans, the "Siebentoter" theme. In any case it is a most extraordinary piece of musical expression, of a kind scarcely ever foreshadowed by any other composer, except once or twice by Beethoven, who first sought and found the musical symbol of great historic or cosmic forces, or of the emotion stirred in the human consciousness by the play, or after-effects, of such forces. One thing remains to be said about this Overture. The composer's procedure is a compromise between the old procedure by way of thematic development and the newer by way of dramatic suggestion, and he does not always succeed completely in the fusion of the two, as, for example, Beethoven does in his greater "Leonora"; but here and there he permits the feeling to arise that the one is interfering with the other. In particular, the composition is open to the charge of a certain weakness in thematic development; but that does not prevent it from being, as a whole, a very striking, beautiful, and original tone picture. Dr. Richter's interpretation very finely revealed all the strong points. He saved three minutes of the composer's own time by taking the _vivace_ sections at a somewhat quicker tempo. As at Covent Garden last March, Mr. Speelman played the incidental viola solo with marvellous beauty of tone.

[Sidenote: ="The Coronation Ode."=

_October 3, 1902._]

To the Coronation Ode I listened with great curiosity, remembering the ordinary fate that overtakes patriotic composers and wondering what Sir Edward Elgar would make of the subject. I find that he has let himself be inspired by the nymph of the same spring whence flowed those two delightful Tommy Atkins marches known as "Pomp and Circ.u.mstance." It is popular music of a kind that has not been made for a long time in this country--scarcely at all since Dibdin's time. At least one may say that of the best parts, such as the ba.s.s solo and chorus "Britain, ask of thyself," and the contralto solo and chorus "Land of hope and glory."

The former is ringing martial music, the latter a sort of Church parade song having the breath of a national hymn. It is the melody which occurs as second princ.i.p.al theme of the longer "Pomp and Circ.u.mstance"

march, which I beg to suggest is as broad as "G.o.d Save the King," "Rule Britannia," and "See the Conquering Hero," and is perhaps the broadest open-air tune composed since Beethoven's "Freude schoner Gotterfunken."

Moreover, it is distinctively British--at once beefy and breezy. It is astonis.h.i.+ng to hear people finding fault with Elgar for using this tune in two different compositions. I find it most natural in a composer, to whom music is a language in which, desiring to say exactly the same thing again, one has no choice but to say it in the same notes. Besides, such tunes are composed less frequently than once in fifty years. How then can one blame Elgar for not composing two in six months? The chorus enjoyed themselves over it, and so did the audience. As to the sentimental parts of the Ode, frankly I find them uninspired.

CHAPTER VIII.

RICHARD STRAUSS.

[Sidenote: ="Don Quixote,"

Dusseldorf.=

_May 26, 1899._]

Richard Strauss is now beyond question the most prominent figure among the younger composers of Germany. He was born at Munich in 1864. At an early age he mastered the various arts of composition and produced works that showed originality and power. Among such early works may be mentioned a String Quartet produced in 1881, and a Symphony first heard in the following year. Within a few years he also composed a Sonata for 'cello, a Serenade for wind instruments, a Concerto for violin, a Concerto for horn, besides songs and pianoforte pieces. These early works show the influence of cla.s.sical models, and in three cases--the Sonata for 'cello and the Concertos for violin and horn respectively--the influence of Mendelssohn. At a later period Richard Strauss became a disciple of the Wagner-Liszt school and adopted the Symphonic Poem as his princ.i.p.al medium of expression. His fine Sonata in E flat for pianoforte and violin marks the transition stage. In his later phase Strauss appears as a psychologist and an _esprit fin_. His study of Nietzsche's philosophy appears not only in his "Zarathustra,"

but in nearly all his "Symphonic Poems." The "Heldenleben" might quite well be labelled with the Nietzschian expression "Der Uebermensch."

Strauss thus seems to stand to Nietzsche in something like the relation that Wagner bore to Schopenhauer, and it is a curious point that in each case the musician is found diverging somewhat violently from the taste of his philosophical master. These two philosophers--the only two that have taken a genuine interest in modern music--had both somewhat rudimentary musical taste, though good taste as far as it went.

Schopenhauer's preference was for Rossini and Nietzsche's for Bizet, and even as Wagner's style differs _toto coelo_ from Rossini's, so do Strauss's incredible richness of imaginative detail and indifference to rhythmical charm stamp him as something very different from those "Halcyonian" composers whom Nietzsche loved. Strauss is not likely to become popular in England, but two or three of his larger orchestral works, and especially the "Heldenleben," would probably find favour with a section of the English public. To the mandarins and to the majority he is and must remain anathema.

On the third and last day of this Festival Strauss's "Don Quixote" was the work upon which public curiosity was chiefly concentrated. In these "Fantastic Variations" we find the composer once more adopting a style as frankly grotesque as in "Till Eulenspiegel." The long and important introduction stands in a relation to the rest of the work that, so far as I know, is unique. It is a preparation for the princ.i.p.al theme, successively emphasising all the different kinds of significance supposed to be contained in that theme. First we have a nave, stilted, and pompous phrase suggesting Don Quixote's absorption in the romances of chivalry. Succeeding pa.s.sages touch upon the hero's pose of gallantry and the great predominance of imagination over reason which leads him into grotesque adventures. The psychological method of the composer causes him to lay stress on the crisis forming the _point de depart_ of Don Quixote's career--a vow of atonement for sins and follies. At last we get the theme in its complete form--a masterpiece of droll characterisation,--and immediately after it the prosaic jog-trot of Sancho Panza. In the first variation a musical element is introduced typifying Don Quixote's feminine ideal--Dulcinea of Toboso. It ends with the windmill incident. One hears the airy swing of the mill-sails, the furious approach of the knight, and his sudden overthrow. Variation No.

2 gives the meeting with the flock of sheep. In the third we have a colloquy between Don Quixote and Sancho, forming an elaborate movement.

Next comes the quarrel with the pilgrims, and then the scene in the tavern where Don Quixote undergoes regular initiation into the order of knighthood by keeping guard over his armour all night. No. 6 represents the scene of the peasant woman mistaken for Dulcinea, and No. 7 the ride of the two companions on wooden horses at the fair. Nos. 8 and 9 are concerned with the enchanted boat and the priests mistaken for magicians. No. 10 gives the disastrous fight with the Knight of the s.h.i.+ning Moon. There is also a finale setting forth the reveries of Don Quixote in his old age, and, last of all, his death. Together with the purely grotesque elements are many touches of wonderful poetic beauty, among which may be mentioned the scene of Don Quixote's midnight watch and, above all, the concluding strain--a sigh of ineffable pathos. On the other hand, it may be urged against the encounter with the flock of sheep that such sounds do not really belong to the domain of music, but rather to that of farm-yard imitations. On the whole, "Don Quixote"

strikes me as a less admirable work than the "Heldenleben," heard on the previous day. The chief feature in the interpretation on Tuesday was the superb rendering, by Professor Hugo Becker, of Frankfurt, of the violoncello solo which throughout the work is identified with the person of the t.i.tular hero.

[Sidenote: ="Don Juan,"

Preliminary Article.=

_January 17, 1901._]

"Don Juan," though much less eccentric than most of the other "Symphonic Poems" by Richard Strauss, is a typical example of his overwhelmingly rich and effective orchestration. It also exemplifies the peculiar quality of his design, crowded with a Dureresque multiplicity of forms and details, his indifference to symmetry and sustained rhythmical flow, and his systematic endeavour to render the musical medium less vague and more nearly articulate than it ever was before, by enlarging the range of emotional expression, sharpening the instruments of graphic representation, and exploring the mysterious by-ways of the tone-world.

Two imaginary figures that originated in Spanish literature have become the property of mankind. If Don Quixote stands isolated, without any close a.n.a.logue in the romance of other countries, Don Juan--a somewhat later creation--has much in common with several heroes of Germanic legend, such as Tannhauser, the Wild Huntsman, and Faust. The closest parallel is between Don Juan and Faust. Both are rebellious spirits; but Faust is ruined by intellectual pride, Juan by sensual pa.s.sion. As those two kinds of revolt belong to the persistent facts of life, neither Juan nor Faust can ever cease to be interesting. It is quite natural that each of them should be found as the subject of innumerable plays, poems, romances, operas, and ballets. The poetic scheme forming the basis of Richard Strauss's Symphonic Poem is remarkably simple. There is no incident of a definite kind. Don Juan is simply conceived as personifying the most direct and vivid affirmation of what Schopenhauer called the "Will to live." He is enamoured of no one particular woman, but of all the beauty and charm that are in womankind. He has a new kind of love for each kind of beauty. Defying the laws of G.o.ds and men with demonic recklessness, he rushes from one enjoyment to another, leaving the trail of weeping victims behind him, while he himself remains the incarnation of gaiety--for remorse is unknown to his heart, and he never keeps up a love affair for a moment longer than it amuses him, nor is he ever at a loss for fresh delights. The music of Strauss plunges us at once into this whirl of intoxicating gaiety. A series of love-episodes ensue, each one being individualised with amazing subtlety. It is, of course, no new thing for masculine and feminine elements to be clearly distinguishable in music; but the wealth of resource that Strauss shows in these dialogues of dalliance and pa.s.sion amounts to originality of a very remarkable kind. After several such episodes we have a section symbolising a masked ball that is very strongly stamped with the composer's genius as a musical humourist. In the latter part the spirit of Juan begins to flag. Reminiscences of the foregoing episodes recur with an ominous change in the emotional colouring, and in the end Juan is brought face to face with the black and cold embers of his once so glowing heart.

Beethoven protested against the desecration of music by so scandalous a subject as the Don Juan story. But Mozart produced from the same subject the prize opera of all the ages. It seems, too, that Richard Strauss has made of it his masterpiece.

[Sidenote: ="Don Juan,"

Halle Concerts.=

_January 18, 1901._]

There can be no gainsaying that Strauss's "Don Juan" Fantasia was received yesterday with much applause. But there is room for doubt whether the excitement that thus found expression was not due rather to the bold and highly picturesque orchestration than to the essentially musical qualities of the work. Richard Strauss postulates an audience of great mental activity. He expects to be understood instantly, instead of letting a musical idea gradually soak in to the listener's mind, as did the older composers. In order to stimulate such mental activity he constantly deals in strange and violent effects. Hence the irritation of orthodox musicians, who, hearing so much noise and jingle, too rapidly conclude that there is nothing behind; whereas, perhaps, if they listened a little longer, they would begin to discover that Strauss has nearly every gift that was ever in a composer--every gift, that is, except those of a very profound or very sublime order. His power of inventing thematic material to correspond exactly with some peculiar mood of feeling is almost as remarkable as Wagner's. The opening of the "Don Juan" Fantasia is characteristic of that excited condition of mind which is so frequent with the composer. A pa.s.sage beginning with an upward rush for the strings shows us Juan launched upon his career.

Presently a rapid pa.s.sage, mainly in triplets, for wood, wind and afterwards strings, suggests the eager hunt after enjoyment. Next the impetuous Don is himself characterised. Of these elements a tone-picture of intoxicating gaiety is composed. Then follow the love-episodes, the most beautiful being that in which the oboe has the melody while the lower strings _a divisi_ add a rich and sombre accompaniment. The masked ball scene is, in places, a little like a travesty of the "Venusberg"

music. This leads to the scene in which Juan is struck down by some calamity--probably a sword-thrust. As he lies stricken, memories of former days crowd back upon him. He has one or two momentary returns of his old fire and energy. But at last his time comes and his soul departs with a s.h.i.+ver. Strauss knows how to make such a scene marvellously poignant. His most wonderful achievement in this kind is the parting sigh of Don Quixote in the work on that subject. But his treatment of Juan's death is also very powerful.

[Sidenote: ="Till Eulenspiegel."=

_February 14, 1902._]

"Till Eulenspiegel" was the great mediaeval _farceur_. His name is well known to students of folk-lore. In Flemish books it figures as Thyl Uylenspiegel, in English as Till Owlgla.s.s. Like other heroes of popular story, Till lies buried in more than one place, each of his tombstones being adorned with his armorial bearings--an owl perched on a hand-mirror. He originated and, for the most part, lived in Westphalia or some country of the Lower Rhine; but he was a migratory person, and one of his best authenticated exploits occurred in Poland, where he had a contest of skill with the King's professional jester. Till is the incarnation of mockery and satire and buffoonery, sometimes witty and usually coa.r.s.e. He represents a literary development that may be regarded as a kind of Scherzo, after the Andante of the Troubadours, Minnesingers, and other courtly poets--the inevitable reaction of the popular spirit against too much high-flown sentiment. The legendary figure of Till has appealed with the most extraordinary results to that composer who first brought into the domain of the musical art the specific qualities of the South German imagination, as represented, for example, by Holbein, Durer, and Adam Krafft. Incisive, graphic, ornate, and with no less unheard-of power of characterisation is Richard Strauss in his music than those other masters in their graphic or plastic achievements. His "Till" reminds one of Durer's woodcut ill.u.s.trations to the Apocalypse, but, of course, with colour added. And what colour! and what characterisation in the colour! He controls the orchestra precisely as a good actor the tones of his own voice. He can make it render the finest shades of emotion. "Till" is a musical miracle, unlocking the springs of laughter and of tears at the same time. It enlarges one's notions of what is possible in music, so multifarious and inconceivable are the drolleries, so prodigious the technical audacities which the composer succeeds in justifying. Strauss has, in a sense, revived an art said to have existed in the ancient world--the telling of a story in the form of a dance. From the point where that chromatic jig is heard which symbolises Till wandering about in search of material for the exercise of his talents, the imagination is spell-bound.

Strauss goes a distinct point beyond Wagner in the articulateness of his musical phrases, and he knows better than any other composer that it is the special province of music to express what cannot be expressed in any other way--what is too delicate, or too indelicate, to be expressed in any other way. The most wonderful quality of "Till" is its mediaevalism.

Listen to those triplets, in four-part chromatic harmony for five solo violins with _sordini_, expressing the agony of terror into which Till is thrown by his own wicked mockery of religion. By such devices the composer conjures up the atmosphere of the age, characterised by "Furcht auf der Ga.s.se, Furcht im Herzen." The treatment of the prologue and epilogue, where all that is blackguardly is taken out of Till's themes now that he has become a story, is of inconceivable felicity.

[Sidenote: ="Sehnsucht."=