Music: An Art and a Language Part 27

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[Footnote 314: By double counterpoint is meant such a grouping of the voices that they may be inverted (the upper voice becoming the lower and vice versa) and sound equally well. For further comments, together with ill.u.s.trative examples, consult Chapter IX of Spalding's _Tonal Counterpoint_.]

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This is developed with more and more animation until the announcement, in measure 71, of the second theme in D major. Here we see the first instance of that organic relations.h.i.+p for which the movement is noted; for this theme

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is evidently derived by rhythmic modification from that of the preceding slow movement. It is brilliantly expanded and leads directly--there being no double bar and repeat--to the development in measure 115. This part of the movement evades description; it is throughout most eloquent and exciting. In measures 153-160 all the bells of Russia seem to be pealing! With measure 177 begins (marcato largamente) an impressive treatment in the ba.s.s of the second theme, answered shortly after in the upper voice. This is developed to a climax which, in turn, is followed by one of those long periods of "cooling down" which prepare us for the Recapitulation in measure 239. This corresponds exactly with the Exposition, ending with two pa.s.sages (poco meno mosso and molto vivace),--based upon the rhythm of the motto--which usher in the long, elaborate Coda. This begins, maestoso, with an impressive statement of the march theme, scored in brilliant fas.h.i.+on, with rus.h.i.+ng figures in the wood-wind instruments.

It seems to portray some ceremonial in a vast cathedral with trumpets blaring and banners flying. A still more gorgeous treatment (marziale, energico, con tutta forza) leads to the Pres...o...b..sed on the subsidiary theme (cited on page 312), which fairly carries us off our feet. The last portion of the Coda (molto meno mosso) is an animated yet dignified proclamation of the main theme of the first movement--the work thus concluding with an unmistakable effect of unity.

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The subject of Russian music[315] is too vast for any adequate treatment within the limits of a single book, but there are several other composers in addition to Tchaikowsky of such individuality and remarkable achievement as to warrant some notice. These men, Balakireff, Borodin, Rimsky-Korsakoff and Moussorgsky, have done for the free expression of the Russian temperament in music what Pushkin, Gogol and Dostoyevsky represent in literature. "To understand fully the tendencies of Neo-Russian music, and above all to sympathize with the spirit in which this music is written, the incredible history of Holy Russia, the history of its rulers and people--the mad caprices and horrid deeds of the Romanoffs, who, in centuries gone by, surpa.s.sed in restless melancholy and atrocity the insane Caesars, and were more to be pitied, as well as detested, than Tiberius or Nero--the nature of the landscape, the waste of steppes, the dreariness of winter, and the loneliness of summer--the barbaric extravagance of aristocratic life--the red tape, extortion, and cruelty of officers--the sublime patience of the common people--the devotion of the enduring, starving mult.i.tude to the Tsar--all this should be as familiar as a twice-told tale. There should also be a knowledge of Russian literature, from the pa.s.sion of Pushkin and the irony of Gogol, to Turgenieff's tales of life among the serfs, and the novels of Tolstoi, in which mysticism and realism are strangely blended. Inasmuch as Neo-Russian music is founded upon the folk-songs of that country, one should know first of all the conditions that made such songs possible, and one should breathe the atmosphere in which musicians who have used such songs have worked."[316]

[Footnote 315: The most authoritative work in English is the _History of Russian Music_ by Montagu-Nathan; in French there are the Essays _Musiques de Russie_ by Bruneau.]

[Footnote 316: Quoted from the chapter on Russian music in _Famous Composers and Their Works_ (2d series).]

The first real leader after the wholesome beginnings made by Glinka (with his operas, _A Life for the Czar_ and _Ludmilla_) was Balakireff (1837-1910) who finding his country almost entirely under the dominion of Italian and German music, proclaimed the doctrine that Russia, with its wealth of folk-songs and its undoubted emotional power should create its own music. Like many of the Russians Balakireff was an amateur, but in the true sense of that term, _i.e._, he loved music for its own sake. He therefore set to work vigorously to combat foreign influences and to manifest in original works a spirit true to his own genius and to the tendencies of his native land. Though educated as a lawyer he had acquired through a study of Mozart, Berlioz and Liszt a thorough technique and so was equipped to put into practise his watchword which was individual liberty. "I believe in the subjective, not in the objective power of music," he said to his pupils. "Objective music may strike us with its brilliancy, but its achievement remains the handiwork of a mediocre talent. Mediocre or merely talented musicians are eager to produce effects, but the ideal of a genius is to reproduce his very self, in unison with the object of his art. There is no doubt that art requires technique, but it must be absolutely unconscious and individual.... Often the greatest pieces of art are rather rude technically, but they grip the soul and command attention for intrinsic values. This is apparent in the works of Michelangelo, of Shakespeare, of Turgenieff, and of Mozart. The beauty that fascinates us most is that which is most individual. I regard technique as a necessary but subservient element. It may, however, become dangerous and kill individuality as it has done with those favorites of our public, whose virtuosity I despise more than mere crudities." Balakireff's actual works are few in number since he spent most of his time in organizing schools of music and in teaching others; but in those works which we have[317] there is a strong note of freedom not to be missed. His Symphonic Poem _Tamara_ and his fantasy for pianoforte _Islamey_ are remarkable for that semi-oriental exotic spirit so prevalent in Russian music. Many of his songs also are of genuine beauty.

[Footnote 317: Towards the end of his life he destroyed many of his compositions.]

Borodin (1834-1887) is the ne plus ultra example of that versatility in which the modern Russian School is unique. As a surgeon and doctor he enjoyed a high position; as a chemist he made original researches and wrote treatises which were recognized as distinct contributions to science; he was one of the earliest scholars in the world to advocate that women should have the same education as men and was one of the founders (about 1870) of a medical school for women in Petrograd. So tireless was he in these varied activities, it seems a miracle that he could also become one of the best pianists of his time (he played well also the violin and the flute) and according to Liszt,[318] one of the most able orchestral masters of the nineteenth century. But as evidence of this amazing fact are his works, comprising two symphonies (the second in B minor often heard in this country) two string quartets, the first strikingly original, thematically, harmonically and in idiomatic use of the instruments; a small Suite for pianoforte, of which the Serenade is cited in the Supplement; an opera, _Le Prince Igor_--remarkable for its picturesque description and Oriental coloring, of which the composer himself said "Prince Igor is essentially a national opera, which can be of interest only to us Russians who love to refresh our patriotism at the sources of our history and to see the origins of our nationality live again upon the stage;" a symphonic poem _Dans les Steppes de l'Asie centrale_ and--showing some of his most characteristic work--the _Paraphrases_ written in collaboration with Korsakoff, Liadoff and Cui as a kind of musical joke. This composition,[319] a set of twenty-four variations founded on the tune popularly known as "chop-sticks" is dedicated "to little pianists capable of executing the theme with a finger of each hand." For the paraphrases themselves a player of considerable technique is required. In Borodin's style we always find a glowing color-scheme of Slavic and Oriental elements. As a modern Russian composer says, "It is individually descriptive and extremely modern--so modern that the audience of to-day will not be able to grasp all its intrinsic beauties."

[Footnote 318: For a delightful account of the friends.h.i.+p of these two composers consult the volume _Borodin and Liszt_ by Alfred Habets (translated by Rosa Newmarch).]

[Footnote 319: According to Liszt "a compendium of musical science in the form of a jest."]

The most widely known and in many respects the most gifted of the Neo-Russian group is Rimsky-Korsakoff (1844-1908). He has been aptly characterized as the Degas or Whistler of music, and for his marvellous powers of description, especially of the sea, and for his command of orchestral tone-painting he is considered the storyteller par excellence in modern music. As in the case of Borodin we are filled with amazement at the power of work and the versatility in Korsakoff's nature. For many years he was an officer in the Russian navy and throughout his life was involved with official duties. Yet he found time for a number of compositions of originality and finished workmans.h.i.+p. These comprise the symphonic poems _Antar_, _Sadko_ and _Scheherazade_;[320] a _Spanish Caprice_ for full orchestra; twelve operas of which the best known in this country is the fascinating _Le Coq d'Or_; a concerto for pianoforte and orchestra; a large number of songs and many choruses for men's and women's voices. His treatises on harmony and orchestration are standard works, the latter being the authority in modern treatment of the orchestra. His _Scheherazade_ is undoubtedly the most brilliant descriptive work in modern literature, for an account of which we quote the eloquent words of Philip Hale.

[Footnote 320: This work in structure is a Suite, _i.e._, there are four distinct, separated movements.]

"_Scheherazade_ (Op. 35) is a suite inspired by the Arabian Nights.

The Sultan, persuaded of the falseness and faithlessness of woman, had sworn to put every one of his wives to death in turn after the first night. But Scheherazade saved her life by interesting him in the stories she told him for a thousand and one nights. Many marvels were told by her in Rimsky-Korsakoff's fantastic poem,--marvels and tales of adventure: 'The Sea and Sinbad's s.h.i.+p'; 'The Story of the Three Kalandars'; 'The Young Prince and the Young Princess'; 'The Festival at Bagdad'; 'The s.h.i.+p that went to pieces against a rock surmounted by a bronze warrior.' As in Berlioz's _Fantastic Symphony_, so in this suite, there is a theme which keeps appearing in all four movements.

For the most part it is given to a solo violin. It is a free melodic phrase in Oriental bravura, gently ending in a free cadenza. There is no development of themes in this strange work. There is constant repet.i.tion in different tonalities; there is an exceedingly skillful blending of timbres; there is a keen sense of possible orchestral effects. A glance at the score shows how sadly the pedagogue might go astray in judgment of the work, without a hearing of it, and furthermore, the imagination of the hearer must be in sympathy with the imagination of the composer, if he would know full enjoyment: for this symphonic poem provokes swooning thoughts, such as come to the partakers of leaves and flowers of hemp; there are the stupefying perfumes of charred frankincense and grated sandal-root. The music comes to the listener of western birth and mind, as the Malay who knocked among English mountains at De Quincey's door. You learn of Sinbad, the explorer, who is nearer to us than Nansen; of the Kalandar Prince who spent a mad evening with the porter and the three ladies of Bagdad, and told of his incredible adventures; and Scheherazade, the narrator, she too is merely a shape in a dream; she fades away, and her soul dies on the high note exhaled by the wondering violin.

"The melody of this Russian is wild, melancholy, exotic; a droning such as falls from the lips of white-bearded, turbaned, venerable men, garrulous in the sun; and then again, there is the reckless chatter of the babbler in the market-place, heated with unmixed wine."

The most boldly individual of all Russian composers is Moussorgsky[321] (1831-1881). Although of intense inspiration and of uncompromising ideals his musical education was so incomplete that his technique was inadequate for the expression of his message. As the French critic, Arthur Pougin well says, "His works bizarre though they be, formless as they often are, have in them a force of expression and a dramatic accent of which no one can deny the intensity. It would be unjust to pretend that he spoke for the purpose of saying nothing; unfortunately he is too often satisfied with merely stammering." As Moussorgsky himself says: "Art is a means of talking with men; it is not an end. Starting with the principle that human speech is subject to musical laws, I see in music, not only the expression of sentiment by means of sound, but especially the notation of a human language."

In fact the dominant idea of his music was to bring it into closer relation with actual life.

[Footnote 321: For biographical information consult the volume by Montagu-Nathan.]

"In order to understand Moussorgsky's work and his att.i.tude towards art, it is necessary to realise the social conditions under which he lived. He was a true child of the sixties, of that period of moral and intellectual ferment which followed the accession of Alexander II and the emanc.i.p.ation of the serfs. Of the little group of composers then striving to give musical expression to their newly awakened nationality, none was so entirely carried away by the literary and political movements of the time as Moussorgsky. Every man was asking himself and his comrades the question posed by the most popular novel of the day: 'What shall we do?' The answer was: 'Throw aside social and artistic conventions. Make art the hand-maiden of humanity. Seek not for beauty but for truth. Go to the people. Hold out the hand of fellows.h.i.+p to the liberated ma.s.ses and learn from them the true purpose of life.' To this democratic and utilitarian spirit, to this deep compa.s.sion for the people, to this contempt for the dandyism and dilettantism of an earlier generation Moussorgsky strove to give expression in his music, as Perov expressed it in painting, as Tchernichevsky, Dostoyevsky, and Tolstoi expressed it in fiction. We may disagree with his aesthetic principles, but we must confess that he carried out with logical sequence and conviction a considerable portion of his programme. In his sincere efforts to attain great ends he undoubtedly overlooked the means. He could never submit to the discipline of a thorough musical training as Tchaikowsky and Rimsky-Korsakoff. He preserved his originality intact, but at a heavy cost. The weakness of his technique has been exaggerated by those who put down all his peculiarities to ignorance; but in some respects--particularly as regards orchestration--his craftsmans.h.i.+p was certainly unequal to the demands of his inspiration, for his aims were very lofty. Had this been otherwise, Moussorgsky's name would have been more closely linked with those of Berlioz and Richard Strauss."[322]

[Footnote 322: Quoted from the article in Grove's Dictionary.]

His acknowledged masterpieces are first, the songs, especially the series the _Nursery_ and the _Songs and Dances of Death_, in which we see mirrored with extraordinary fidelity the complex nature of the Russian people. Rosa Newmarch has called him the Juvenal of musicians.

Second, his national music drama, _Boris G.o.dounoff_--dealing with one of the most sensational episodes in Russian history--which, for the gripping vividness of its descriptions, is quite unparalleled.

"_Boris G.o.dounoff_, finished in 1870, was performed four years later in the Imperial Opera House. The libretto of this opera he took from the poetic drama of Pushkin, but he changed it, eliminating much and adding new scenes here and there, so that as a whole it is his own creation. In this work Moussorgsky went against the foreign cla.s.sic opera in conception as well as in construction. It is a typically Russian music-drama, with all the richness of Slavic colors, true Byzantine atmosphere and characters of the medieval ages. Based on Russian history of about the middle of the seventeenth century, when an adventurous regent ascends the throne and when the court is full of intrigues, its theme stands apart from all other operas. The music is more or less, like many of Moussorgsky's songs, written in imitation of the old folk-songs, folk dances, ceremonial chants, and festival tunes. Foreign critics have considered the opera as a piece constructed of folk melodies. But this is not the case. There is not a single folk melody in Boris G.o.dounoff, every phrase is the original creation of Moussorgsky."[323]

[Footnote 323: Quoted from the _Art of Music_, Vol. III.]

In concluding this account of Russian music let the statement be repeated that only by a thorough knowledge of the life and character of this strange yet gifted people can their music be understood. It is necessary therefore to become acquainted with Russian literature and pictorial art--with the works of Gogol, Tolstoi and Dostoyevsky and the paintings of Perov and Veretschagin. In this way only will be made clear what is otherwise inexplicable--the depth and sincerity of the Russian soul.

The other two prominent national schools in modern times are the Bohemian and Scandinavian. Although from neither of these have we products at all comparable in breadth; or depth of meaning with those of the Russian school, yet each has its note of exotic individuality and hence deserves recognition. The Bohemian School centres about the achievements of Fib.i.+.c.h, Smetana[324] and Dvo[vr]ak, and its prevalent characteristics are the variety of dance rhythms (Bohemia having no less than forty national dances) together with the peculiarly novel harmonic and modulatory scheme. The dances best known outside of Bohemia are the _Polka_[325] and the _Furiant_; the former being used so frequently by Smetana and Dvo[vr]ak that it has attained an international status. The first of the above group, Fib.i.+.c.h (1850-1900), was a composer of marked versatility--there being extant over seven hundred works in every form--and no little originality.

Many of his pianoforte pieces have distinct charm and atmosphere and should be better known. Fib.i.+.c.h was strongly influenced by Schumann, and there is found in his music the same note of fantastic freedom prominent in the German master. But the first impression of Bohemian music upon the world in general was made by Smetana (1824-1884). An ardent follower of Liszt, he definitely succeeded in the incorporation of Bohemian traits with the current musical idiom just as Liszt had done with Hungarian folk-music. Smetana's style is thoroughly original, his form is free yet coherent and he has a color sense and power of orchestral description peculiar to his race. Bohemia is one of the most picturesque countries in the world and the spirit of its woodlands, streams and mountains is always plainly felt in Bohemian music. The Bohemians are an out-of-door people with an inborn instinct for music (with its basic factors of rhythm and sound) by which they express the vigorous exuberance of their temperament.[326] Smetana's significant work lies in his numerous operas, his symphonic poems and in the remarkable String Quartet in E minor ent.i.tled "Aus meinem Leben." The operas deal with subjects so strongly national that they can have but little vogue outside their own country. However, _Prodana Nevesta_--_The Bartered Bride_--has been universally recognized as one of the genuine comic operas in modern times and its spirited Overture (the first theme on a fugal basis) is played the world over. His six Symphonic Poems, comprised under the t.i.tle _Mein Vaterland_, are works of considerable power and brilliant orchestral treatment. Perhaps the finest sections are _Vltava_ (Moldau), celebrating the beauties of Bohemia's sacred river, and _Vy[vs]ehrad_, a realistic description of the national fortress at Prague.[327] The Quartet in E minor, noted for its freedom and intimacy of style, has become a cla.s.sic. Whenever it was performed Smetana wished the sub-t.i.tle "Aus Meinem Leben" to be printed on the program; for, as he says in a letter to a friend, "My quartet is no mere juggling with tones; instead I have wished to present the hearer with pictures of my life. I have studied theory; I know what style means and I am master of it. But I prefer to have circ.u.mstances determine form and so have written this quartet in the form which it itself demanded." In the first and last of the four movements there is a long sustained high E, symbolic of the buzzing sound which the composer constantly heard as his congenital deafness increased. This malady finally affected his mind and was the cause of his tragic death in an asylum at Prague.

[Footnote 324: His surname is to be accented on the first syllable--a fact which may be remembered from the story attributed to Liszt who, once asking Smetana how his name was to be p.r.o.nounced received this reply: My name is always

[Music: _Overture to Fidelio_

Smetana, Smetana, Smetana]

but never

[Music: _Overture to Leonora, No. 3_

Friedrich Smetana Friedrich Smetana.]]

[Footnote 325: For example in the second movement of Smetana's Quartet and in Dvo[vr]ak's Suite for small orchestra, op. 39.]

[Footnote 326: For a graphic description of the country and the customs of its people consult the essay on Dvo[vr]ak in Hadow's _Studies in Modern Music_.]

[Footnote 327: A detailed account of these works may be found in the article on Smetana in _Famous Composers and their Works_ (2d series).]

Although in some respects not so characteristic as Smetana, Dvo[vr]ak[328] (1841-1904), by reason of his greater breadth and more cosmopolitan style, is considered the representative Bohemian composer. Dvo[vr]ak's music in its simplicity and in its spontaneity of treatment is a reincarnation of Schubert's spirit; we feel the same overflowing musical life and we must make the same allowances for looseness of structure. Dvo[vr]ak, however, has made one contribution thoroughly his own--his skill in handling the orchestra. He was a born colorist and his scores in their clarity, in the subtle distinctions between richness and delicacy, are recognized masterpieces. As a sensuous delight to the ear they may be compared to the fine glow of certain Dutch canvases--those for example of Vermeer. Dvo[vr]ak's compositions are varied and fairly numerous (some 111 opus numbers) comprising operas, cantatas, chamber music, symphonies, overtures, pianoforte pieces and songs. From 1892 to 1895 he was in this country as director of the National Conservatory in New York. Three works composed during this period, a _Quartet_, a _Quintet_ and _The New World Symphony_, are of special interest to us since they were meant as a compliment to the possibilities of American music and also reflect Dvo[vr]ak's att.i.tude toward the sources of musical inspiration. A true child of the people, and the embodiment of folk-music, he naturally searched for native material when he wished to compose something characteristically American. But folk-music in our country, as has been stated in Chapter II, is (or was at Dvo[vr]ak's time) practically limited to that of the Indians and the Negroes. It is often stated, in fact, that the New World Symphony is founded upon Negro tunes. This, however, is a sweeping a.s.sertion.

There is no doubt that Dvo[vr]ak found a strong affinity between certain of the Southern plantation melodies and the songs of his native land, _e.g._, the following melody (the second theme of the first movement) which is similar to "Swing low, sweet chariot."

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[Footnote 328: For his biography, consult the Hadow essay (referred to above) and the chapter on Dvo[vr]ak in Mason's _From Grieg to Brahms_.]

But the individual tone of the melodies could come only from a Bohemian and if they seem both Negro and Bohemian it simply proves the common bond existing in all folk-music.[329] This _New World Symphony_ has had a great vogue and by reason of the warmth of its melodies and the rich, colorful scoring is indisputably a work full of charm.[330]

Two prevalent traits of Dvo[vr]ak's music are noticeable in this symphony--the unexpectedness of the modulations and the unusual harmonic scheme.[331] The structure is at times rather loose, particularly in the Finale where the joints often crack wide open.

But, as an offset, there is great rhythmic vitality--observe in particular the swing of the Trio from the Scherzo--and that sensuous tone-color peculiar to the composer. In fact, the scoring of the slow movement with its magical theme for English horn would alone compensate for many structural blemishes. This movement closes with a mysterious chord for divided double ba.s.ses (four solo instruments) which is one of many touches in individual treatment. The Finale, in accordance with modern practise, although containing themes of its own, finally becomes a _resume_ of preceding material. The two main themes are striking and well contrasted; but Dvo[vr]ak was a mediocre architect and the movement, in comparison with the Finales of Franck and Tchaikowsky, is more of a potpourri than a firmly knit organic whole. The final page is stimulating in its bold use of dissonances.

But we must take Dvo[vr]ak as he is. There is no question of his genius, for his music is spontaneous, never labored, and he has expressed with convincing artistic skill the emotions and ideals of his gifted race.

[Footnote 329: The author has heard this symphony played in Prague and other continental cities under Bohemian conductors. It is always welcomed as being thoroughly characteristic of Bohemia.]

[Footnote 330: For detailed a.n.a.lytical comment consult Vol. III of _Short Studies in Great Masterpieces_ by D.G. Mason.]

[Footnote 331: Note for example the chords at the opening of the slow movement.]

Scandinavian music, ethnologically considered, would comprise that of the three related nations, the Swedes, the Danes and the Norwegians; some would include even the Finns, with their eloquent spokesman Sibelius. Although the Danes have considerable folk-music, and as a people love music, they have produced no composer of distinction save Niels Gade (1817-1890), who was so encrusted with German habits of thought that his music is neither one thing or the other--certainly it is not characteristically Danish. The best known of the Swedish composers is Sjogren from whom we have some poetic songs. He also attempted the larger instrumental forms but without notable success.