J. B. Cramer. J. N. Hummel.
J. B. Cramer. J. N. Hummel.
Johann Nepomuk Hummel(1778-1837) was born at Presburg, Hungary. His father, who had been instructor in music at a military school in Wartburg, moved to Vienna in 1786 to become director at the theatre of Schikaneder, (the author of the libretto of Mozart’s opera “The Magic Flute”). Mozart soon took so deep an interest in young Hummel that he took him to live with him and taught him for two years. From 1788 to 1795, Hummel traveled as a virtuoso. On returning to Vienna he studied composition with Albrechtsberger, and received advice from Salieri and Haydn. From 1804 to 1811 he was music-director under Prince Esterhazy, Haydn’s patron. In 1816, he became conductor at Stuttgart, and in 1819 he occupied a similar position at Weimar. From here he went to Russia,where he made a successful concert-tour, playing at Warsaw, where the youthful Chopin heard him. From 1825 to 1833 he traveled on concert-tours, returning to Weimar, where he passed the remainder of his life.
Hummel as Composer and Pianist.—Hummel’s compositions include operas, ballets, masses and other church music, a quintet, trios, rondos, studies and other music for the piano, but he is best known for the piano concertos in A-flat, A minor and B minor, the sonatas in F-sharp minor and D major, the Septet, Op. 74, and a voluminous instruction-book for the piano, chiefly remarkable for its pedantry and absence of practicality. As a pupil of Mozart, he followed his teacher’s form and style, without exhibiting marked creative genius. His technic is noticeable chiefly for its superficial glitter of brilliant passages, which constitute a certain development in themselves. His compositions were in great vogue at one time, and he was once even regarded as the equal of Beethoven. As a pianist, Hummel was unusual. His style was distinguished by precision, clearness, and command of brilliant effect. His influence as a concert pianist was very great, and in this direction his extension of the province of the virtuoso is considerable. He undoubtedly affected Chopin’s piano style for a time and for this reason alone should claim our attention.
Carl Czerny(1791-1857) was born at Vienna. His father, an excellent musician, taught his son piano playing at an early age. Beethoven became interested in him, and gave him lessons. He also learned much from Hummel and Clementi. Czerny soon became in great demand as a teacher. He made concert-tours to Leipzig, Paris, London and Lombardy. For the most part he lived quietly in Vienna, teaching and composing. In 1850, his health gave way from overwork. His most celebrated pupils were Franz Liszt and Theodore Leschetizky.
Czerny’s Compositions.—Czerny was an indefatigable and over-fluent composer who weakened his powers by over-productivity. Hence, of more than a thousand works, his masses, requiems, symphonies,overtures, chamber-music, etc., are obsolete, but his educational works are destined to live. Of many valuable sets of studies, the most used are those for Velocity, Op. 299, and Finger Training, Op. 740. Musically, they are of slight importance, but they are invaluable to this day in acquiring facility. Czerny had an immense knowledge of the higher mechanism of piano playing, and a keen perception of practical methods. His fame as a pianist was overshadowed by his ceaseless work as teacher and composer.
Carl Czerny.
Carl Czerny.
Ignaz Moscheles(1794-1870), described as “the foremost pianist after Hummel and before Chopin,” was born at Prague. He studied the piano with Dionys Weber, director of the Prague Conservatory, and at fourteen played a concerto of his own in public. After the death of his father, he went to Vienna to make his way as a teacher, and to continue his studies in composition. He soon became in great demand as a pianist and teacher, and for ten years lived the life of a traveling virtuoso. In 1824, he gave lessons to Mendelssohn, then a boy of fifteen, at Berlin. Soon after his marriage at Hamburg, in 1826, he went to London, where he remained with some interruptions for nearly twenty years of activity as pianist, teacher and conductor. In 1845, he took the post of teacher of the piano at the Leipzig Conservatory, founded by Mendelssohn.
Ignaz Moscheles.
Ignaz Moscheles.
Moscheles as Composer and Pianist.—As a composer, Moscheles was divided between his classical training and his unmistakably romantic instincts. Hence, a long list of variations, fantasias, rondos, written to please publishers, in accordance with the fashion of the time, have not survived, but his best works, the concerto in G minor, the “Pathetic” concerto, the sonata, Op. 49, his duet for two pianos, “Hommage á Handel” and especially the studies, Op. 70 and 95, combine arespect for classic form with the growing Romantic movement. The studies may be regarded as the legitimate successors to those of Cramer, and paved the way for the more romantic etudes of Chopin. Moscheles was a solidly trained pianist of great brilliancy. He had many characteristics of the classical school; he used the pedals sparingly, he played octaves with a stiff wrist, his phrasing was precise and his accents were sharply marked; but in the brilliant style he had no rivals. He was famous for his improvisations; his cadenzas to concertos and his extempore treatments of well-known themes were marked by spontaneity, brilliance and exquisite feeling.
John Field(1782-1837), one of the last connecting links between the Classical and Romantic schools, was born at Dublin. Early in life, he was taken to London and apprenticed to Clementi, who gave him lessons, and employed him to show off his pianos. In 1802, he went on a concert-tour with Clementi to Paris, Germany and Russia. Field lived for many years as pianist and teacher at St. Petersburg and Moscow. After returning to England, he made a long tour through Belgium, Switzerland, and finally, Italy, where his health gave way. Shortly after he returned to Moscow, where he died.
Field as Composer and Pianist.—Field’s compositions in classical forms include seven concertos, four sonatas, rondos, variations, etc. They are forgotten now, although Chopin had a partiality for his concerto in A-flat and gave it to his pupils; but his lyric pieces for piano, entitled nocturnes, are still played. They are the forerunners of the type so extended and developed by Chopin. He is thus one of the first of the romanticists in spite of his classical training. In 1802, Field astonished the Parisians by his masterly playing of Bach and Handel, but his individuality later took a more romantic turn. His tone was tender and melancholy, and his phrases gently expressive. Shortly before his death, though broken in health, he created a stir in Vienna by his interpretations of his own nocturnes. In some respects his playing was akin to Chopin’s highly individual style.
To sum up, it will be seen that Clementi was the originator of a system of technic that has served as the foundation of modern piano playing; Cramer was the conserver of classic style and purity of standard; Hummel, as a brilliant pianist, had a decided influence on the piano playing of his time, but as a composer attempted to pass superficial brilliance for the true coin of musical substance; Czerny, one of the greatest educators in the history of piano playing, has had an immense influence through his invaluable educational works, and as the teacher of Franz Liszt, the epitome of modern piano playing, and also of Theodore Leschetizky, possibly the foremost teacher of the present day; Moscheles, the classic pianist, gave decided impetus to the cause of romanticism by his best compositions; Field, though the pupil of Clementi, prepared the way through his own individuality for the greatest piano composer of the Romantic period, Chopin, and thus became an important factor in the transition from the Classic to the Romantic period.
Questions.
What composers form the transition from the Classic to the Romantic school?
Give a summary of this transition period.
Give a sketch of Clementi.
What was Clementi’s greatest work?
What were his contributions to piano playing?
Give a sketch of Cramer.
What work is most representative of Cramer as a composer?
Mention his contributions to piano playing.
Give an account of Hummel’s life.
What classic pianist was a pupil of Mozart?
What was his influence on piano playing?
Give a sketch of Czerny’s career.
Who were Czerny’s most famous pupils?
What influence did he exert on piano playing?
Give a sketch of Moscheles’ life.
What composer was the intimate friend of Moscheles?
What is the value of his educational works?
Give a sketch of Field’s career and his influence on piano playing.
What form did Field originate?
Franz Peter Schubert.
Franz Peter Schubert.
The rise of the Romantic school involves a greater freedom in form, a fuller play of poetry and imagination, a general artistic evolution and independence in comparison with the formality of the Classic period. The struggle to establish these principles was long and obstinate, but the outcome was as inevitable as the victory won by Beethoven’s sonata and symphonic forms over the more primitive types of Haydn and Mozart. The first departures from the classic attitude were made by Schubert, whose influence has been permanent in the development of romanticism.
Schubert’s Early Life(1797-1816).—Franz Peter Schubert was born in a suburb of Vienna, January 31, 1797. At an early age he had lessons on the violin from his father, who was a school teacher, and on the piano, from his elder brother. He so quickly outstripped both teachers that he was sent to Michael Holzer, choir-master of the parish, who taught him piano, organ, violin, singing and theory. In later years, Holzer disclaimed the value of his instruction, saying: “If I ever wished to teach him anything new, I found he had already mastered it.” After singing in the parish choir, he passed an examination for admission to the ImperialConvictor school for the Royal choristers. The training included general education as well as music; there was also an orchestra among the boys in which Schubert played the violin and sometimes conducted. There were privations connected with life at theConvict, the practice rooms were insufferably cold, and the food insufficient. In 1810, Schubert began to compose, dating his pieces carefully, and the only check to hisinspiration was the lack of music-paper, which he was too poor to buy. A generous friend made up the deficiency. In 1813, he left theConvict, although his general education was by no means complete, since he had neglected his studies on account of his increasing passion for composition. After leaving theConvict, Schubert taught elementary classes at his father’s school, but the drudgery became insupportable. An ardent friend and admirer, Franz von Schober, realizing that Schubert’s creative powers were greatly hampered by the conditions of his life, gave him a home. Already he had composed some of his most famous songs, including “The Erl-King.”
Later Years(1816-1828).—From 1816 on, Schubert appears to have lived in Schober’s apartments, except for two years shared with the poet Mayerhofer, and a period spent with a friend, Schwind. It is a mystery how Schubert managed to live, for he taught little, and his few publications could have brought him at best only small sums at irregular intervals. He had already failed to secure a position in a Government school of music, but in 1818 he passed the summer as music teacher to the household of Count Johann Esterhazy, in Zelescz, Hungary. The record of his life hereafter is one of incessant composition, with few interruptions or facts of interest. In 1823, he showed Weber his eighth work for the stage: “Alfonso and Estrella.” The only advice he received was that “first operas, like first puppies, should be drowned.” The summer of 1824 was spent again with the Esterhazys and many characteristic compositions, such as the quartet in A minor, the “Hungarian Divertissement,” the piano sonata in B-flat, etc., date from this time. In 1826, Schubert failed to obtain either of two positions, which would have placed him above need, the second because, like Beethoven, he refused to alter a trial aria to suit the voice of a capricious singer. Schubert was taken to see Beethoven during his last illness, in 1827. In 1828, he went to live with his brother Ferdinand in a new and damp house. His health, which had been troublesome before, now gave way, and he died of typhoid fever, November 28, 1828, in his thirty-second year.
Personal Traits and Habits of Work.—Schubert was short of stature, thickset and rather heavy in features. His face in repose was rather devoid of expression, but when interested in anything, his eyes glowed with enthusiasm and his whole appearance changed. His disposition was even and good-tempered, he was simple and trusting by nature, and could rarely be induced to put himself forward. Although receiving many favors from friends, his generosity often led him to give to others when he could ill spare it. He began composing early in the morning and worked uninterruptedly for several hours; he walked much in the afternoon or paid visits to friends, spending his evenings with congenial spirits at various taverns. Composing was the mainspring of his existence, and he often wrote down his ideas while in the midst of conversation with others. Thus he wrote his immortal “Serenade” on the back of a bill-of-fare at a tavern; a piece for four-hands while waiting at a hospital for a friend, “and dinner missed in consequence”; a movement of a string quartet was begun about midnight and finished in the early morning. Although he set many poems by Goethe, Schiller and Heine, his inspiration was quite as effectively aroused by second-rate poems of his friends Mayerhofer, von Schober, or the artless poems of Müller. Schubert was shy and reserved in what might be called “good society”; he preferred the company of congenial friends in an humbler social station. He seems to have cared little for literature, and his love of poetry was limited to its availability as texts for songs. In early life he played the violin and the viola in a family string quartet. Schubert was no virtuoso on the piano, but he played exquisite accompaniments, and he read well at sight in spite of defective eyesight. His performance was marked by earnestness and attention to the inner sentiment of the music rather than by the superficial polish of the mere pianist. It was said that no one could forget the effect of Schubert’s songs as performed by himself and his friend Vogl; the two seemed absolutely united, the ideal condition for the rendering of vocal works.
Schubert’s Compositions.—Schubert completed more than eleven hundred pieces in about eighteen years. Such fertility is unique in the history of composition, and is scarcely equalled even by Mozart, whose activity extended over nearly thirty years. Schubert’s powers of spontaneous invention have never been approached; he composed generally without making sketches; he seldom revised, for his ideas came faster than he could write them down. It is impossible to enumerate all Schubert’s works, but the following comprise the most important: Nine symphonies, eleven works for the stage, six masses, over seventy part-songs, choruses, etc., for various combinations, twenty-four sonatas for piano, fantasies, overtures, variations, marches and dances for piano duet, impromptus, moments musicals, fantasies, variations and over two hundred dances for piano solo, two trios for piano and strings, a quintet for strings and piano, a string quintet and several string trios, twenty-four string quartets, besides about six hundred songs with piano accompaniment and occasionally with obligatos for other instruments. It is obvious that such fertility is not consistent with evenness of quality; we must pick and choose to find the real Schubert. However, the symphonies in C and B minor (“Unfinished”), the string quartets in D minor and G major, several sonatas for piano, the impromptus, moments musicals, the fantasy in C for piano, the Hungarian Divertissement, several marches and other compositions for four hands, many charming two-hand waltzes, and, finally, such song-cycles as the “Miller-Songs,” the “Winter Journey,” those called “Swan-Songs” by the publishers, as well as about thirty separate songs “The Erl-King,” “The Wanderer,” “To Sylvia,” “The Omnipotent,” “The Young Nun,” the “Serenade,” “Hark! Hark! the Lark,” “Sei mir Gegrüsst,” “Du bist die Ruh,” “Ave Maria,” “Litany,” and others, are the works of Schubert which will live. Schubert at his best entrances us by his wonderful flow of melody, his spontaneity, his symmetrical form, which, however, is sometimes diffuse. His chief qualities lie in the simpleexpressiveness of his music, a direct appeal to sincerity of emotion, and to the sense of the poetic. He began by imitating the form and style of Mozart and Beethoven; but from his eighteenth year onward he developed an individuality entirely apart. Despite the virtues of his instrumental music, his great achievement was the creation of the German song, in which department he stands unrivalled in the inexhaustibility of his melody, the variety of mood which they display, the subtlety and harmonic beauty of his accompaniments, as well as art in creating vocal effects.
Schubert’s Influence on Music.—In abundance of resource, poetic feeling and true imagination, Schubert has brought new forces into music. His influence on romantic composers was widespread and deep. Schumann was a thorough admirer of Schubert. Schumann’s songs could hardly have come into existence but for those of Schubert, and the latter’s short pieces for piano were undoubtedly as potent an inspiration for his piano works. Brahms, too, had a real reverence for Schubert, that is plainly exhibited in his works. Despite the differences of their artistic individuality, there are traces of Schubert in the former’s songs as well as in some of his short piano pieces. Liszt’s partiality to Schubert was untiring in its zeal. He played his piano music, transcribed the “Hungarian Divertissement,” arranged some of the marches for two hands and for orchestra; he made a version of the fantasy in C for piano and orchestra, which is still popular; and, finally (perhaps his greatest service to Schubert) he transcribed no less than fifty-seven of his songs for piano. In this form he created an interest in Schubert where the original versions were unknown, and did much to spread their renown. In spite of all shortcomings, Schubert’s genius was so remarkable, and his immediate effect upon the Romantic movement so apparent and his legacy to the musical world so imperishable that it is difficult not to agree with Sir George Grove when he wrote: “There has never been one like him and there never will be another.”
Questions.
From what rank in life did Schubert come?
Give the leading incidents in his life.
What kind of man was he physically, mentally and socially?
How did Schubert compose?
In what forms of composition did Schubert work?
What form of composition did he especially enrich?
Which of his productions have the greatest vogue today?
What influence did Schubert exert on music?
Who did much to spread a knowledge of his works?
Name some composers who have felt his force.
Schubert’s operas had no appreciable effect on the Romantic composers, for the simple reason that they were never heard on account of the absurdities of their librettos and the weakness of their stage situations. At about the same period, a slightly older composer was beginning a series of works destined to place German Opera on a firm basis, to exercise a decided influence on Wagner, besides contributing not a little to the development of piano technic.
Carl Maria Friedrich Ernst von Weberwas born at Eutin, December 18, 1786. His father, a restless man of many talents, was a theatrical manager during Weber’s early years, when constant traveling was the rule, and music lessons the exception. His irregular early instruction under several teachers, of whom Michael Haydn was the most eminent, was supplemented by two years of solid study under the gifted and eccentric Abbé Vogler. From 1804 to 1806, Weber was music-director at the Breslau theatre, and soon made a name for himself as composer and pianist as well as conductor. After this he remained under the protection of the Duke of Wurtemburg, earning a living by giving lessons, and acting as secretary to the Duke’s brother. During this period he composed an opera “Silvana,” overtures, a cantata, piano music, etc. Three years of wandering, chiefly on concert tours, ensued after his banishment from Wurtemburg on account of unjustly suspected complicity in an intrigue for a position at court. To these years belong a comic opera, “Abu Hassan,” the piano concertos in C and E-flat, three concertos for clarinet, the piano sonata in C, etc. In 1814 and 1815, he composed thechoruses, “Lyre and Sword,” and a cantata, “Battle and Victory,” both the outcome of political events, and widely popular from their patriotic character. In 1816, he became music-director of the German opera at Dresden. He revived interest in German opera, stimulated public support and in the following years began the composition of “Der Freischütz,” an opera thoroughly German in its character and the keystone of Weber’s fame. It was not finished until 1820, for in the meantime he wrote much of his best piano music, songs and incidental music for a gipsy play “Preciosa.” Just after the completion of his popular Concert-piece for piano and orchestra, “Der Freischütz” was given for the first time at Berlin, June 18, 1821, and the result was one of the greatest triumphs ever bestowed on a German composer. It was soon given in all the principal theatres in Germany, including Dresden, and also in Vienna. In 1823, Weber’s most ambitious opera, “Euryanthe,” was given in Vienna and proved almost a failure. Weber’s health, which had not been satisfactory for some years, showed signs of being undermined. “Euryanthe” was performed with greater success during 1824 and 1825, at Dresden, Leipzig and Berlin, where Weber was almost too ill to conduct. In spite of his ill-health he agreed to write an opera for the Covent Garden Theatre, in London, beginning the music to “Oberon” early in 1825 and finishing the last number in the spring of 1826. The performances were more than satisfactory, and Weber was received everywhere with enthusiasm. His strength was now entirely overtaxed, and he hoped to return to his family, but he died suddenly from consumption, on June 4, 1826.
Weber’s personalitywas pleasing; of excellent birth, his experience of the world through his positions as opera-director and his frequent concert-tours, made him an agreeable companion and a favorite in society. He was cultivated, well read in philosophy and science; he possessed considerable literary and critical ability. In consequence of his intellectual and social gifts, he was a new type of musician, who did much to improve the social status of the composer. He was a remarkable pianist, with an immense command of technic, original in style and eloquent in expression; also a forceful conductor.
Weber the Composer.—Weber is, first of all, the composer of the three operas, “Der Freischütz,” “Euryanthe” and “Oberon,” which are discussed in Lesson XXXVII. The overtures to his operas are his best orchestral works; his symphonies and chamber-music are unimportant. However, his three concertos for clarinet and orchestra are classics in the literature of that instrument. Weber’s songs are interesting for the sidelight they throw on the development of the Folk-song tendency, but in this line he was entirely overshadowed by Schubert and Schumann. However, Weber’s piano music is exceedingly important. The concertos for piano are seldom heard, but the “Concert-piece” is still amply worth study. The piano sonatas (especially those in C and A-flat) show great technical inventiveness, melodic charm and original effects, but they are less happy in point of form. Next to the sonatas in interest comes the delightful Op. 65, “Invitation to the Dance,” so well-known in Berlioz’ orchestral version. In addition are the “Momento Capriccioso,” Op. 12, the Rondo in E-flat, Op. 62, the “Polacca Brillante,” Op. 72, the Polonaise, Op. 21. Weber did much to develop the technic of the left hand; his piano compositions are thoroughly pianistic and rank high in the music of the Romantic period.
Weber’s Influence.—Weber’s position in the evolution of the Romantic school is extremely important. In Opera his exploration of the imaginative field in so many directions not only opened a new vein in dramatic music, but its influence was felt in every branch of composition. Thus several of Schumann’s choral works, Mendelssohn’s “Midsummer Night’s Dream” music, the “Walpurgis Night” cantata, the concert overtures, and pieces for piano and orchestra are direct musical descendants of Weber. Mendelssohn’s Concerto in G minor, the “Serenade” and “Allegro Giojoso,” his scherzos and “Songs Without Words” are the direct outcome of Weber’s example. In general, the technical style of Weber’s piano music was thoroughly absorbed by bothMendelssohn and, to some extent, Liszt, who edited Weber’s sonatas and solo pieces with tempting additions; he transcribed for piano the overtures “Jubilee,” “Freischütz” and “Oberon,” and arranged the “Polacca Brillante,” Op. 72, for piano and orchestra. Liszt was very fond of Weber’s music, his piano style was sympathetic to him, his interpretation of the Concert-piece, Op. 79, never failed to produce an overwhelming effect. Finally, Weber’s influence on Wagner must be mentioned. Wagner greatly admired Weber’s dramatic insight, his picturesqueness, and especially the poetry and novel color of his orchestral style.
The influence which Mendelssohn exercised during two-thirds of the 19th century among the more conservative German musicians and in England was nothing short of extraordinary. He undoubtedly gave great impetus to the study of the classic masters, especially Bach, and his romantic tendencies were so balanced and controlled as to gain a speedy recognition for his music. Today, Mendelssohn the classicist is less admired, and his music will live chiefly for its romantic qualities.
Mendelssohn’s Life.—Jakob Ludwig Felix Mendelssohn-Bartholdy[15]was born at Hamburg, February 3, 1809. His father, a prosperous banker, moved to Berlin in 1811. His first lessons in music were given him by his mother, but he soon began to study the piano with Ludwig Berger, a pupil of Clementi, and composition with Zelter. In 1820, he began to compose systematically. In 1821, he made the acquaintance of Weber, and his enthusiasm for the romantic composer lasted all his life. In 1824, he formed a life-long friendship with Moscheles, who gave him piano lessons. Already he was remarkable for his improvisations and for playing from scores. In 1825, a trip to Paris brought him into contactwith the celebrated musicians there. In this year he composed his octet for strings, in which his individuality first asserted itself strongly. In the following summer he wrote the overture to “A Midsummer Night’s Dream,” a precocious evidence of originality. In 1827, he made the first draft of his overture “A Calm Sea and a Prosperous Voyage,” a further step into the realm of imagination. In 1829, he organized the first performance of Bach’s “St. Matthew Passion” music since the composer’s death. In this year a visit to England, where some of his compositions were performed, was followed by a trip to Scotland, the Hebrides and Wales, of which his impressions are recorded in the “Hebrides” overture, the “Scotch” symphony and other works of later years. He traveled much during the following years. In 1833, after another visit to England, where his recently composed “Italian” symphony was played, he conducted a musical festival at Düsseldorf, the first of many similar engagements. During the next few years he was constantly employed in conducting, playing and composing, especially his oratorio “St. Paul.” In 1837, he married Miss Cécile Jeanrenaud. From this time dates his second piano concerto in D minor, in which are to be seen traces of Thalberg’s piano style. During the next few years Mendelssohn lived at Leipzig. In 1843, he established a conservatory at Leipzig, long the most celebrated in Europe. Schumann, and later Moscheles, were among the teachers as well as Mendelssohn himself. In 1846, Mendelssohn’s oratorio “Elijah” was given a triumphant first performance at Birmingham under the composer’s direction. In 1847, he made his tenth visit to England for performances of “Elijah,” of his completed “Midsummer Night’s Dream” music (composed in 1845), the “Scotch” symphony and other works. The death of his sister, Fanny, following soon after those of his parents, was so great a shock to him that he went to Switzerland for a rest. He returned improved in health, but could not consider commissions for new works from England, Frankfort and Cologne. He was considering a trip to Vienna to hear Jenny Lind sing in “Elijah” when he was taken suddenly ill and died, November 4, 1847.
Personal Traits.—Mendelssohn is described as having an unusually animated, winning personality. He was immensely fond of society, which he could enjoy without detriment to his work. His letters describe in detail his innumerable professional engagements, his round of social festivities and his journeys with equal fidelity. Mendelssohn was fond of out-of-door life, walking, riding and swimming; he also greatly enjoyed dancing. One of his favorite relaxations was to sketch from nature or paint in water-colors. Mendelssohn was a remarkable pianist, of an unaffected type, not a virtuoso, yet his interpretations were full of vigor, charm and a thoroughly musical spirit. His improvisations were remarkable for their spontaneous invention, brilliance and science displayed, and his cadenzas to Beethoven’s 4th concerto and Mozart’s, in D minor, were striking examples of his skill. Mendelssohn was also a remarkable organist, if English testimony is to be credited. At all events, he did much to further the knowledge of Bach’s organ works. Mendelssohn’s incessant activity undoubtedly hastened his death; the amount that he compressed into his short life was incredible.
Compositions.—The works most representative of Mendelssohn are the “Scotch” and “Italian” symphonies, the overtures “A Calm Sea and a Prosperous Voyage,” “A Midsummer Night’s Dream,” “The Hebrides,” “Melusina,” “Ruy Blas”; the concertos and two smaller pieces for piano and orchestra; the concerto for violin; the octet for strings; two quintets and seven quartets; three quartets for piano and strings; two trios; two sonatas for piano and ’cello; for the piano, six preludes and fugues; three sonatas; the “Serious Variations”; six books of “Songs Without Words”; many smaller pieces, including the “Capriccio,” Op. 8; the “Rondo Capriccioso,” Op. 14; the Caprices, Op. 33; the Scherzo à Capriccio and others; sonatas, preludes and fugues for organ; the oratorios “St. Paul,” and “Elijah”; music to “A Midsummer Night’s Dream,” to the dramas “Athalie,” “Antigone” and “Œdipus”; the cantata “Walpurgis Night.” He also wrote a great deal of church music, psalms, hymns, motets, and cantatas for various occasions, including the “Lobgesang,” a symphony-cantata; many part-songs, duets and songs for single voice with piano accompaniment.
Felix Mendelssohn-Bartholdy.
Felix Mendelssohn-Bartholdy.
Mendelssohn’s Tendencies.—Although he wrote almost exclusively in the conventional forms, Mendelssohn cannot be regarded as a continuator of the classics. In form, thematic development, counterpoint, part-writing, etc., he imitated the letter of classic example closely, but could not attain the inner spirit. To some extent he followed Bach, Handel, Mozart and Beethoven, but the chief source of his individuality is the romanticism of Weber. His piano style is adapted from that of Weber with some extensions of his own. Showered with praise as he was during his lifetime, as the possessor of all the classic virtues, we now admire him chiefly for his romanticism, timid and fastidious though it appears by comparison with the genuine innovations of Berlioz, Liszt and Wagner. In the light of the sturdy qualities of Brahms, his classicism seems superficial. His style was too polished to admit of real vigor. Nevertheless, Mendelssohn of the two symphonies, the “Midsummer Night’s Dream,” “Melusina” and “Hebrides” overture, the violin concerto, the piano concerto in G minor, the sonata for piano and ’cello in D, the scherzo of the octet, the “Serious Variations,” the Scherzo à Capriccio and some half a dozen of the “Songs Without Words” shows us a delicate and charming individuality with the refinement and decided perceptions of the poet, who regarded the world with the eyes of a romanticist recording many impressions of picturesqueness and grace, if seldom of strength.
Mendelssohn’s Influence as an Artist.—For a time, Mendelssohn’s influence was unbounded. His symphonies and overtures were considered worthy successors to those of Beethoven; his chamber-music was equally valued; his oratorios were regarded as on a level with those of Handel; his piano music, especially the “Songs Without Words,” were in universal vogue. His orchestral style contained many novel features, itis true, but his chamber-music was not written in the genuine manner and is far inferior to that of the later master, Brahms. His oratorios contain some notable choruses and airs, but on the whole are only faint imitations of the real oratorio style. Still they sufficed to form the foundation of an English school of composition in this form. His piano music contains much that is trivial, but at its best undoubtedly did something to prepare the way for the deeper romanticism of Schumann, Chopin and Liszt. His songs also have far less variety of mood and lyric inspiration than those of Schubert and Schumann, but they too acted as prophets of the more vital creations to follow.
That this reverence for Mendelssohn was no mere infatuation of the moment but a sober respect can best be judged from the diversity in nationality and temperament of those who came under his influence: Gade, the Norwegian; Sterndale Bennett, the English composer and pianist; Hiller and Reinecke among the Germans, and Rubinstein from Russia. These names constitute but a small proportion of Mendelssohn’s disciples, his personality dominated musical England in every branch of composition for many years; and English composers are only just beginning to throw off the yoke of adherence to the traditional oratorio form as exhibited in “St. Paul” and “Elijah.” Schumann admired Mendelssohn without reserve and without a suggestion of jealousy, although the tide of popular favor neglected him for his more easily understood contemporary. Today, criticism has swung possibly too far in the opposite direction, and Mendelssohn suffers from depreciation.
Questions and Suggestions.
Mention the significant events in Weber’s life.
Describe Weber the man.
Sketch the work of Weber as a composer.
Show the influence of Weber upon music.
Name some of Weber’s best-known piano works.
What composers were greatly influenced by Weber?
Give an account of Mendelssohn’s boyhood, manhood.
What educational work in music did Mendelssohn originate?
In what lines of musical work did Mendelssohn excel?
Name representative compositions of Mendelssohn.
What composers did Mendelssohn follow?
What influence did Mendelssohn exert on music?
For students who wish to study Weber’s characteristics, the Momento Capriccioso, Op. 12, the “Invitation to the Dance,” Op. 65, the piano sonatas in C and A-flat are the most representative, while the overtures to “Der Freischütz,” “Euryanthe” and “Oberon” show his style as a dramatic composer.
The following suggestions may aid the student in his study of Mendelssohn’s works: The “Italian” and “Scotch” symphonies, the “Midsummer Night’s Dream,” “Hebrides” and “Melusina” overtures, the Nocturne and Scherzo from the “Midsummer Night’s Dream” music, the violin concerto, the concerto in G minor and the Capriccio Brillante for piano and orchestra, the pieces for piano, Op. 7, Nos. 3 and 7, the Rondo Capriccioso, Op. 14, the Caprice, Op. 16, No. 2, the Prelude and Fugue, Op. 35, No. 1, the Serious Variations, Op. 54, the Scherzo à Capriccio without opus number, and the following “Songs Without Words,” Op. 19, Nos. 1, 2, 3, 6; Op. 38, Nos. 2, 3, 5; Op. 62, Nos. 3, 6; Op. 67, No. 4, and Op. 102, No. 3. Liszt has made an exceedingly effective transcription of Mendelssohn’s song “On the Wings of Song,” which is a popular concert number today.
The Romantic Movement before Schumann.—Schubert gave a decided impetus to the Romantic movement through his spontaneous melody and deep fund of imagination. He infused poetry into the classic forms, his piano works in the small forms showed the way to future achievement in these lines, but especially he founded German song, which had scarcely been hinted at by Mozart and Beethoven. Although Weber extended the province of piano technic, and exhibited further possibilities of romantic feeling in combination with the rondo and sonata forms, his chief work was the realization of German opera, elsewhere described. But still another German was destined to contribute richly to romantic piano literature, to prove no mean successor to Schubert in the province of song, and to add further proofs of his genius in chamber-music, choral works and the symphony.
Schumann’s Early life.—Robert Alexander Schumann was born at Zwickau, in Saxony, June 8, 1810. His father was a bookseller with some attainments as an author. Schumann’s gift for music asserted itself early. He had piano lessons from a local organist at the age of six, and began to compose soon after. A taste for improvisation also developed. For several years his literary interests were as pronounced as those for music. He read assiduously, and was especially devoted to poetry. His general education was continued at the Zwickau Academy, where he studied until 1828. In 1827, he came under the joint influence of the writings of Jean Paul (Richter) the poet and novelist, and of Schubert’s music, both of which played an important part in his mentaland artistic growth. In 1828, he entered the University of Leipzig with the intention of studying law. He kept up his music, however, and not only became enthusiastic over the clavier works of Bach, but took piano lessons of Friedrich Wieck, a celebrated teacher in Leipzig. In 1829, Schumann went to Heidelberg. Here he continued his law studies in a desultory fashion, but worked with the greatest persistence at piano playing. In 1830, he resolved to study law with more seriousness, but it was intensely repugnant to him, and after some reflection, he determined, with Wieck’s advice, to adopt music as a profession. Accordingly, he returned to Leipzig to study the piano with Wieck, but having the misfortune to injure a finger in his zeal for speedy perfection, he was obliged to forego the career of a virtuoso, perhaps to the great gain of music.
Schumann’s Professional Career.—He now devoted his attention to thorough study of composition with Heinrich Dorn. In 1834, Schumann founded the “New Journal of Music” in the interests of a higher critical standard, and the furtherance of worthy compositions. During ten years of editorship, Schumann found abundant outlet for his literary interests, and his paper exerted a considerable force on public opinion. Two of his greatest piano works, the Carnival, Op. 9, and the Symphonic Studies, Op. 13, belong to the year 1834. During the years 1836 and 1837, he had some intimacy with Mendelssohn. From 1836-39 date most of Schumann’s important works for the piano. In 1840, Schumann married Wieck’s daughter, Clara, the celebrated pianist, after several years’ struggle to gain her father’s consent. Schumann’s marriage was the turning-point in his artistic career, and his wife’s sympathy was a great stimulus to his creative activity. In the year following his marriage, Schumann turned to song-composing, producing more than one hundred songs in this period. In 1841, he gave himself up wholly to orchestral composition, writing his symphony in B-flat, the first draft of his D minor symphony, a third work, afterwards published as Overture, Scherzo and Finale, as well as the first movement of his piano concerto. In 1842, he confined himself almost exclusively to chamber-music, composing three string quartets, the masterly quintet, Op. 44, the quartet, Op. 47, for piano and strings, and a trio. To 1845 belong the “Variations” for two pianos, and a large choral work, “Paradise and the Peri.” In 1844, Schumann began the music to Goethe’s “Faust,” but ill-health interrupted him for more than a year. However, in 1845 he completed the piano concerto, wrote several works for pedal piano, and in 1846 finished his second symphony. In 1847, he began his opera “Genoveva,” which was not given until 1850. Late in 1850 he went to Düsseldorf to take a position as director. While here he composed his third symphony. In the following years he wrote several overtures, works for solo instruments and orchestra, the overture and incidental music to Byron’s “Manfred,” “The Pilgrimage of the Rose” and many other choral works, including a Mass and a Requiem. Early in 1854, symptoms of a mental disorder, which had been increasing of late years, culminated in an attempt at suicide. He passed the remaining years of his life in an asylum near Bonn, where he died July 29, 1856.