Musicians of To-Day Part 11

There is in this a mixture of Christian humility and aristocratic pride.

M. d'Indy has a sincere desire for the welfare of humanity, and he loves the people; but he treats them with an affectionate kindness, at once protective and tolerant; he regards them as children that must be led.[166]

[Footnote 165: _Cours de Composition_, and _Tribune de Saint-Gervais_.]

[Footnote 166: _Cours de Composition_.]

The popular art that he extols is not an art belonging to the people, but that of an aristocracy interested in the people. He wishes to enlighten them, to mould them, to direct them, by means of art. Art is the source of life; it is the spirit of progress; it gives the most precious of possessions to the soul--liberty. And no one enjoys this liberty more than the artist. In a lecture to the _Schola_ he said:

"What makes the name of 'artist' so splendid is that the artist is free--absolutely free. Look about you, and tell me if from this point of view there is any career finer than that of an artist who is conscious of his mission? The Army? The Law? The University?

Politics?"

And then follows a rather cold appreciation of these different careers.

"There is no need to mention the excessive bureaucracy and officialism which is the crying evil of this country. We find everywhere submission to rules and servitude to the State. But what government, pope, emperor, or president could oblige an artist to think and write against his will? Liberty--that is the true wealth and the most precious inheritance of the artist, the liberty to think, and the liberty that no one has the power to take away from us--that of doing our work according to the dictates of our conscience."

Who does not feel the infectious warmth and beauty of these spirited words? How this force of enthusiasm and sincerity must grip all young and eager hearts. "There are two qualities," says M. d'Indy, on the last page of _Cours de Composition_, "which a master should try to encourage and develop in the spirit of the pupil, for without them science is useless; these qualities are an unselfish love of art and enthusiasm for good work." And these two virtues radiate from M. d'Indy's personality as they do from his writings; that is his power.

But the best of his teaching lies in his life. One can never speak too highly of his disinterested devotion for the good of art. As if it were not enough to put all his might into his own creations, M. d'Indy gives his time and the results of his study unsparingly to others. Franck gave lessons in order to be able to live; M. d'Indy gives them for the pleasure of instructing, and to serve his art and aid artists. He directs schools, and accepts and almost seeks out the most thankless, though the most necessary, kinds of teaching. Or he will apply himself devoutly to the study of the past and the resuscitation of some old master. And he seems to take so much pleasure in training young minds to appreciate music, or in repairing the injustices of history to some fine but forgotten musician, that he almost forgets about himself. To what work or to what worker, worthy of interest, or seeming to be so, has he ever refused his advice and help? I have known his kindness personally, and I shall always be sincerely grateful for it.

His devotion and his faith have not been in vain. The name of M. d'Indy will be a.s.sociated in history, not only with fine works, but with great works: with the _Societe Nationale de Musique_, of which he is president; with the _Schola Cantorum_, which he founded with Charles Bordes, and which he directs; with the young French school of music, a group of skilful artists and innovators, to whom he is a kind of elder brother, giving them encouragement by his example and helping them through the first hard years of struggle; and, lastly, with an awakening of music in Europe, with a movement which, after the death of Wagner and Franck, attracted the interest of the world by its revival of the art of the Middle Ages and the Renaissance. M. d'Indy has been the chief representative of all this artistic evolution in France. By his deeds, by his example, and by his spirit, he was among the first to stir up interest in the musical education of France to-day. He has done more for the advancement of our music than the entire official teaching of the Conservatoires A day will come when, by the force of things and in spite of all resistance, such a man will take the place that belongs to him at the head of the organisation of music in France.

I have tried to unearth M. d'Indy's strongest characteristics, and I think I have found them in his faith and in his activity, I am only too aware of the pitfalls that have beset me in this attempt; it is always difficult to criticise a man's personality, and it is most difficult when he is alive and still in the midst of his development. Every man is a mystery, not only to others, but to himself. There is something very presumptuous about pretending to know anyone who does not quite know himself. And yet one cannot live without forming opinions; it is a necessity of life. The people we see and know (or say we know), our friends, and those we love, are never what we think them. Often they are not at all like the portrait we conjure up; for we walk among the phantoms of our hearts. But still one must go on having opinions, and go on constructing and creating things, if we do not want to become impotent through inertia. Error is better than doubt, provided we err in good faith; and the main thing is to speak out the thing that one really feels and believes. I hope M. d'Indy will forgive me if I have gone far wrong, and that he will see in these pages a sincere effort to understand him and a keen sympathy with himself, and even with his ideas, though I do not always share them. But I have always thought that in life a man's opinions go for very little, and that the only thing that matters is the man himself. Freedom of spirit is the greatest happiness one can know; one must be sorry for those who have not got it.

And there is a secret pleasure in rendering homage to another's splendid creed, even though it is one that we do not ourselves profess.

RICHARD STRAUSS

The composer of _Heldenleben_ is no longer unknown to Parisians. Every year at Colonne's or Chevillard's we see his tall, thin silhouette reappear in the conductor's desk. There he is with his abrupt and imperious gestures, his wan and anxious face, his wonderfully clear eyes, restless and penetrating at the same time, his mouth shaped like a child's, a moustache so fair that it is nearly white, and curly hair growing like a crown above his high round forehead.

I should like to try to sketch here the strange and arresting personality of the man who in Germany is considered the inheritor of Wagner's genius--the man who has had the audacity to write, after Beethoven, an Heroic Symphony, and to imagine himself the hero.

Richard Strauss is thirty-four years old.[167] He was born in Munich on 11 June, 1864. His father, a well-known virtuoso, was first horn in the Royal orchestra, and his mother was a daughter of the brewer Pschorr. He was brought up among musical surroundings. At four years old he played the piano, and at six he composed little dances, _Lieder_, sonatas, and even overtures for the orchestra. Perhaps this extreme artistic precocity has had something to do with the feverish character of his talents, by keeping his nerves in a state of tension and unduly exciting his mind. At school he composed choruses for some of Sophocles'

tragedies. In 1881, Hermann Levi had one of the young collegian's symphonies performed by his orchestra. At the University he spent his time in writing instrumental music. Then Bulow and Radecke made him play in Berlin; and Bulow, who became very fond of him, had him brought to Meiningen as _Musikdirector_. From 1886 to 1889 he held the same post at the _Hoftheater_ in Munich. From 1889 to 1894 he was _Kapellmeister_ at the _Hoftheater_ in Weimar. He returned to Munich in 1894 as _Hofkapellmeister_, and in 1897 succeeded Hermann Levi. Finally, he left Munich for Berlin, where at present he conducts the orchestra of the Royal Opera.

[Footnote 167: This essay was written in 1899.]

Two things should be particularly noted in his life: the influence of Alexander Ritter--to whom he has shown much grat.i.tude--and his travels in the south of Europe. He made Ritter's acquaintance in 1885. This musician was a nephew of Wagner's, and died some years ago. His music is practically unknown in France, though he wrote two well-known operas, _Fauler Hans_ and _Wem die Krone_? and was the first composer, according to Strauss, to introduce Wagnerian methods into the _Lied_. He is often discussed in Bulow's and Liszt's letters. "Before I met him," says Strauss, "I had been brought up on strictly cla.s.sical lines; I had lived entirely on Haydn, Mozart, and Beethoven, and had just been studying Mendelssohn, Chopin, Schumann, and Brahms. It is to Ritter alone I am indebted for my knowledge of Liszt and Wagner; it was he who showed me the importance of the writings and works of these two masters in the history of art. It was he who by years of lessons and kindly counsel made me a musician of the future (_Zukunftsmusiker_), and set my feet on a road where now I can walk unaided and alone. It was he also who initiated me in Schopenhauer's philosophy."

The second influence, that of the South, dates from April, 1886, and seems to have left an indelible impression upon Strauss. He visited Rome and Naples for the first time, and came back with a symphonic fantasia called _Aus Italien_. In the spring of 1892, after a sharp attack of pneumonia, he travelled for a year and a half in Greece, Egypt, and Sicily. The tranquillity of these favoured countries filled him with never-ending regret. The North has depressed him since then, "the eternal grey of the North and its phantom shadows without a sun."[168]

When I saw him at Charlottenburg, one chilly April day, he told me with a sigh that he could compose nothing in winter, and that he longed for the warmth and light of Italy. His music is infected by that longing; and it makes one feel how his spirit suffers in the gloom of Germany, and ever yearns for the colours, the laughter, and the joy of the South.

[Footnote 168: Nietzsche.]

Like the musician that Nietzsche dreamed of,[169] he seems "to hear ringing in his ears the prelude of a deeper, stronger music, perhaps a more wayward and mysterious music; a music that is super-German, which, unlike other music, would not die away, nor pale, nor grow dull beside the blue and wanton sea and the clear Mediterranean sky; a music super-European, which would hold its own even by the dark sunsets of the desert; a music whose soul is akin to the palm trees; a music that knows how to live and move among great beasts of prey, beautiful and solitary; a music whose supreme charm is its ignorance of good and evil. Only from time to time perhaps there would flit over it the longing of the sailor for home, golden shadows, and gentle weaknesses; and towards it would come flying from afar the thousand tints of the setting of a moral world that men no longer understood; and to these belated fugitives it would extend its hospitality and sympathy." But it is always the North, the melancholy of the North, and "all the sadness of mankind," mental anguish, the thought of death, and the tyranny of life, that come and weigh down afresh his spirit hungering for light, and force it into feverish speculation and bitter argument. Perhaps it is better so.

[Footnote 169: _Beyond Good and Evil_, 1886. I hope I may be excused for introducing Nietzsche here, but his thoughts seem constantly to be reflected in Strauss, and to throw much light on the soul of modern Germany.]

Richard Strauss is both a poet and a musician. These two natures live together in him, and each strives to get the better of the other. The balance is not always well maintained; but when he does succeed in keeping it by sheer force of will the union of these two talents, directed to the same end, produces an effect more powerful than any known since Wagner's time. Both natures have their source in a mind filled with heroic thoughts--a rarer possession, I consider, than a talent for either music or poetry. There are other great musicians in Europe; but Strauss is something more than a great musician, for he is able to create a hero.

When one talks of heroes one is thinking of drama. Dramatic art is everywhere in Strauss's music, even in works that seem least adapted to it, such as his _Lieder_ and compositions of pure music. It is most evident in his symphonic poems, which are the most important part of his work. These poems are: _Wanderers Sturmlied_ (1885), _Aus Italien_ (1886), _Macbeth_ (1887), _Don Juan_ (1888), _Tod und Verklarung_ (1889), _Guntram_ (1892-93), _Till Eulenspiegel_ (1894), _Also sprach Zarathustra_ (1895), _Don Quixote_ (1897), and _Heldenleben_ (1898).[170]

[Footnote 170: This article was written in 1899. Since then the _Sinfonia Domestica_, has been produced, and will be noticed in the essay _French and German Music_.]

I shall not say much about the four first works, where the mind and manner of the artist is taking shape. The _Wanderers Sturmlied_ (the song of a traveller during a storm, op. 14) is a vocal s.e.xtette with an orchestral accompaniment, whose subject is taken from a poem of Goethe's. It was written before Strauss met Ritter, and its construction is after the manner of Brahms, and shows a rather affected thought and style. _Aus Italien_ (op. 16) is an exuberant picture of impressions of his tour in Italy, of the ruins at Rome, the seash.o.r.e at Sorrento, and the life of the Italian people. _Macbeth_ (op. 23) gives us a rather undistinguished series of musical interpretations of poetical subjects.

_Don Juan_ (op. 20) is much finer, and translates Lenau's poem into music with bombastic vigour, showing us the hero who dreams of grasping all the joy of the world, and how he fails, and dies after he has lost faith in everything.

_Tod und Verklarung_ ("Death and Transfiguration," op. 24[171]) marks considerable progress in Strauss's thought and style. It is still one of the most stirring of Strauss's works, and the one that is conceived with the most perfect unity. It was inspired by a poem of Alexander Ritter's, and I will give you an idea of its subject.

[Footnote 171: Composed in 1889, and performed for the first time at Eisenach in 1890.]

In a wretched room, lit only by a nightlight, a sick man lies in bed.

Death draws near him in the midst of awe-inspiring silence. The unhappy man seems to wander in his mind at times, and to find comfort in past memories. His life pa.s.ses before his eyes: his innocent childhood, his happy youth, the struggles of middle age, and his efforts to attain the splendid goal of his desires, which always eludes him. He had been striving all his life for this goal, and at last thought it was within reach, when Death, in a voice of thunder, cries, suddenly, "Stop!" And even now in his agony he struggles desperately, being set upon realising his dream; but the hand of Death is crus.h.i.+ng life out of his body, and night is creeping on. Then resounds in the heavens the promise of that happiness which he had vainly sought for on earth--Redemption and Transfiguration.

Richard Strauss's friends protested vigorously against this orthodox ending; and Seidl,[1] Jorisenne,[2] and Wilhelm Mauke[3] pretended that the subject was something loftier, that it was the eternal struggle of the soul against its lower self and its deliverance by means of art. I shall not enter into that discussion, though I think that such a cold and commonplace symbolism is much less interesting than the struggle with death, which one feels in every note of the composition. It is a cla.s.sical work, comparatively speaking; broad and majestic and almost like Beethoven in style. The realism of the subject in the hallucinations of the dying man, the s.h.i.+verings of fever, the throbbing of the veins, and the despairing agony, is transfigured by the purity of the form in which it is cast. It is realism after the manner of the symphony in C minor, where Beethoven argues with Destiny. If all suggestion of a programme is taken away, the symphony still remains intelligible and impressive by its harmonious expression of feeling.

[1] _Richard Strauss, eine Charakterskizze_, 1896, Prague.]

[2] _R. Strauss, Essai critique et biologique_, 1898, Brussels.]

[3] _Der Musikfuhrer: Tod und Verklarung_, Frankfort.]

Many German musicians think that Strauss has reached the highest point of his work in _Tod und Verklarung_. But I am far from agreeing with them, and believe myself that his art has developed enormously as the result of it. It is true it is the summit of one period of his life, containing the essence of all that is best in it; but _Heldenleben_ marks the second period, and is its corner-stone. How the force and fulness of his feeling has grown since that first period! But he has never re-found the delicate and melodious purity of soul and youthful grace of his earlier work, which still s.h.i.+nes out in _Guntram_, and is then effaced.

Strauss has directed Wagner's dramas at Weimar since 1889. While breathing their atmosphere he turned his attention to the theatre, and wrote the libretto of his opera _Guntram_. Illness interrupted his work, and he was in Egypt when he took it up again. The music of the first act was written between December, 1892, and February, 1893, while travelling between Cairo and Luxor; the second act was finished in June, 1893, in Sicily; and the third act early in September, 1893, in Bavaria. There is, however, no trace of an oriental atmosphere in this music. We find rather the melodies of Italy, the reflection of a mellow light, and a resigned calm. I feel in it the languid mind of the convalescent, almost the heart of a young girl whose tears are ready to flow, though she is smiling a little at her own sad dreams. It seems to me that Strauss must have a secret affection for this work, which owes its inspiration to the undefinable impressions of convalescence. His fever fell asleep in it, and certain pa.s.sages are full of the caressing touch of nature, and recall Berlioz's _Les Troyens_. But too often the music is superficial and conventional, and the tyranny of Wagner makes itself felt--a rare enough occurrence in Strauss's other works. The poem is interesting; Strauss has put much of himself into it, and one is conscious of the crisis that unsettled his broad-minded but often self-satisfied and inconsistent ideas.

Strauss had been reading an historical study of an order of _Minnesanger_ and mystics, which was founded in Austria in the Middle Ages to fight against the corruption of art, and to save souls by the beauty of song. They called themselves _Streiter der Liebe_ ("Warriors of Love"). Strauss, who was imbued at that time with neo-Christian ideas and the influence of Wagner and Tolstoy, was carried away by the subject, and took Guntram from the _Streiter der Liebe_, and made him his hero.

The action takes place in the thirteenth century, in Germany. The first act gives us a glade near a little lake. The country people are in revolt against the n.o.bles, and have just been repulsed. Guntram and his master Friedhold distribute alms among them, and the band of defeated men then take flight into the woods. Left alone, Guntram begins to muse on the delights of springtime and the innocent awakening of Nature. But the thought of the misery that its beauty hides weighs upon him. He thinks of men's evil doing, of human suffering, and of civil war. He gives thanks to Christ for having led him to this unhappy country, kisses the cross, and decides to go to the court of the tyrant who is the cause of all the trouble, and make known to him the Divine revelation. At that moment Freihild appears. She is the wife of Duke Robert, who is the cruellest of all the n.o.bles, and she is horrified by all that is happening around her; life seems hateful to her, and she wishes to drown herself. But Guntram prevents her; and the pity that her beauty and trouble had at first aroused changes unconsciously into love when he recognises her as the beloved princess and sole benefactress of the unhappy people. He tells her that G.o.d has sent him to her for her salvation. Then he goes to the castle, where he believes himself to be sent on the double mission of saving the people--and Freihild.

In the second act, the princes celebrate their victory in the Duke's castle. After some pompous talk on the part of the official _Minnesanger_, Guntram is invited to sing. Discouraged beforehand by the wickedness of his audience, and feeling that he can sing to no purpose, he hesitates and is on the point of leaving them. But Freihild's sadness holds him back, and for her sake he sings. His song is at first calm and measured, and expresses the melancholy that fills him in the midst of a feast which celebrates triumphant power. He then loses himself in dreams, and sees the gentle figure of Peace moving among the company. He describes her lovingly and with youthful tenderness, which approaches ecstasy as he draws a picture of the ideal life of humanity made free.

Then he paints War and Death, and the disorder and darkness that they spread over the world. He addresses himself directly to the Prince; he shows him his duty, and how the love of his people would be his recompense; he threatens him with the hate of the unhappy who are driven to despair; and, finally, he urges the n.o.bles to rebuild the towns, to liberate their prisoners, and to come to the aid of their subjects. His song is ended amid the profound emotion of his audience. Duke Robert, feeling the danger of these outspoken words, orders his men to seize the singer; but the va.s.sals side with Guntram. At this juncture news is brought that the peasants have renewed the attack. Robert calls his men to arms, but Guntram, who feels that he will be supported by those around him, orders Robert's arrest. The Duke draws his sword, but Guntram kills him. Then a sudden change comes over Guntram's spirit, which is explained in the third act. In the scene that follows he speaks no word, his sword falls from his hand, and he lets his enemies again a.s.sume their authority over the crowd; he allows himself to be bound and taken to prison, while the band of n.o.bles noisily disperses to fight against the rebels. But Freihild is full of an unaffected and almost savage joy at her deliverance by Guntram's sword. Love for Guntram fills her heart, and her one desire is to save him.

The third act takes place in the prison of the chateau; and it is a surprising, uncertain, and very curious act. It is not a logical result of the action that has preceded it. One feels a sudden commotion in the poet's ideas, a crisis of feeling which disturbed him even as he wrote, and a difficulty which he did not succeed in solving. The new light towards which he was beginning to move appears very clearly. Strauss was too advanced in the composition of his work to escape the neo-Christian renouncement which had to finish the drama; he could only have avoided that by completely remodelling his characters. So Guntram rejects Freihild's love. He sees he has fallen, even as the others, under the curse of sin. He had preached charity to others when he himself was full of egoism; he had killed Robert rather to satisfy his instinctive and animal jealousy than to deliver the people from a tyrant. So he renounces his desires, and expiates the sin of being alive by retirement from the world. But the interest of the act does not lie in this antic.i.p.ated _denouement_, which since _Parsifal_ has become rather common; it lies in another scene, which has evidently been inserted at the last moment, and which is uncomfortably out of tune with the action, though in a singularly grand way. This scene gives us a dialogue between Guntram and his former companion, Friedhold.[172]

[Footnote 172: Some people have tried to see Alexander Ritter's thoughts in Friedhold, as they have seen Strauss's thoughts in Guntram.]

Friedhold had initiated him in former days, and he now comes to reproach him for his crime, and to bring him before the Order, who will judge him. In the original version of the poem Guntram complies, and sacrifices his pa.s.sion to his vow. But while Strauss had been travelling in the East he had conceived a sudden horror for this Christian annihilation of will, and Guntram revolts along with him, and refuses to submit to the rules of his Order. He breaks his lute--a symbol of false hope in the redemption of humanity through faith--and rouses himself from the glorious dreams in which he used to believe, for he sees they are shadows that are scattered by the light of real life. He does not abjure his former vows; but he is not the same man he was when he made them. While his experience was immature he was able to believe that a man ought to submit himself to rules, and that life should be governed by laws. A single hour has enlightened him. Now he is free and alone--alone with his spirit. "I alone can lessen my suffering; I alone can expiate my crime. Through myself alone G.o.d speaks to me; to me alone G.o.d speaks. _Ewig einsam_." It is the proud awakening of individualism, the powerful pessimism of the Super-man. Such an expression of feeling gives the character of action to renouncement and even to negation itself, for it is a strong affirmation of the will.