KAPELLMEISTER KREISLER.An imaginary and fantastic character introduced in various novels and sketches by E. T. A. Hoffman, impersonating a true musician devoted to the highest ideals in conflict with the banale and frivolous world and ending in insanity. This sketch is by Hoffman himself, showing Kreisler amusing himself blowing soap-bubbles, seeming to say: "What is the world after all, but a soap-bubble?"The figure of Kreisler and his various moods depicted in Hoffman's novels induced Schumann to write his Op. 16 Kreisleriana, dedicated to F. Chopin.A prototype of Schumann's own life and sad end.
KAPELLMEISTER KREISLER.An imaginary and fantastic character introduced in various novels and sketches by E. T. A. Hoffman, impersonating a true musician devoted to the highest ideals in conflict with the banale and frivolous world and ending in insanity. This sketch is by Hoffman himself, showing Kreisler amusing himself blowing soap-bubbles, seeming to say: "What is the world after all, but a soap-bubble?"The figure of Kreisler and his various moods depicted in Hoffman's novels induced Schumann to write his Op. 16 Kreisleriana, dedicated to F. Chopin.A prototype of Schumann's own life and sad end.
KAPELLMEISTER KREISLER.
An imaginary and fantastic character introduced in various novels and sketches by E. T. A. Hoffman, impersonating a true musician devoted to the highest ideals in conflict with the banale and frivolous world and ending in insanity. This sketch is by Hoffman himself, showing Kreisler amusing himself blowing soap-bubbles, seeming to say: "What is the world after all, but a soap-bubble?"
The figure of Kreisler and his various moods depicted in Hoffman's novels induced Schumann to write his Op. 16 Kreisleriana, dedicated to F. Chopin.
A prototype of Schumann's own life and sad end.
Notwithstanding Schumann's admiration for Berlioz, his firm belief in the close relation between poetry and music, and his programmatic tendencies in earlier pianoforte works, it is very significant that he has in all his orchestral writing closely followed the path of his great predecessors. Hereby he gave great encouragement to still cling to the classic tradition, and to believe in the possibility of a further development of the symphonic form.
Even the master's overtures may be regarded in this light of pure music, although they refer to certain distinct objects. They all were first intended as preludes for some drama or festival occasion, such as the one on the Rhine-wine song, in which after a long orchestral movement a tenor solo leads over to the popular chorus finale. The overtures to his dramatic works "Genoveva" and "Manfred" rank highest, and will be dwelt upon later; the others refer to Shakespeare's "Julius Cæsar," scenes of Gœthe's "Faust," Gœthe's "Hermann and Dorothea,"and Schiller's "Bride of Messina"; the last named being particularly worthy of a deep interest and sympathy.
Omitting the many songs for children (some of which have a peculiar charm), Schumann has composed over two hundred works in this smallest form of vocal music, the majority of which were written in the happy year of his marriage. They made Schumann at once a peer of Franz Schubert, and placed him in the front rank of German song composers as the representative of an entirely new style, which has been quite successfully adopted by younger masters. His poetic nature enabled him, so to speak, to repeat the whole process of the poet in the conception and shaping of his work, but as a musician and in the richer and more delicate language of music, and thus to more clearly express the finest thoughts and feelings of the poem. The words are treated very melodiously, but with a fine sense for correct accentuation. Although the voice retains the melodic expression of the sentiment, the accompaniment, far from being a conventional support, is raised to such importance that it is absolutely essential to the vocal strain. Thus much that the poet could only suggest, found a wonderfully distinct musical expression, partly in fine preludes, interludes and postludes, and partly in the details of the strict accompaniment. Here again, one is surprised at the abundance of new harmonic and rhythmic combinations. These songs demand the most intimate harmony between singer and player and most of them lose greatly by a translation in any other language, as the music is often closely connected, not only with the thought and sentiment, but with the special poetic diction of the German text. Schumann has sometimes been accused of lacking a thorough comprehension of the human voice; in a certain sense this may be true, on the other hand one must admit that there are few public singers who are capable of giving a just rendering of his finest songs, many of which are besides hardly appropriate for the concert hall.
The master's high culture guided him in the selection of poems, and the great representatives of German lyric poetry, Heine, Rückert, Eichendorff, Chamisso, and Kerner, owe a great deal of their popularity to Schumann, as so many of their finest poems have become inseparably connected with his music. In his several cycles of songs (Heine's and Eichendorff's "Liederkreis," Heine's "Dichterliebe," Rückert's "Liebesfrühling," to which Clara Schumann has contributed some numbers, and Chamisso's "Frauen-Liebe und Leben"), the single numbers are not connected, but their coherence is often indicated by some other way. Intensity and purity of feeling, truth of expression for situations or moods of every kind, and a rare harmony between the poetic and musical senses secure to many of these songs the highest position in this kind of literature. Some have a simple, almost popular character (particularly those by Burns), others are very elaborate. In ballads ("Belsazar," "Soldier's Bride," "Two Grenadiers," "Die Rothe Hanne," "Der arme Peter," etc.), Schumann has a peculiar style of his own, differing much from that of the great master of German ballad music, Loewe, less popular, yet in many ways not less effective. Less happy perhaps are his later settings of the songs from Gœthe's "Wilhelm Meister" and of poems of Elise Kullmann, Queen Mary Stuart and others.
Much could be said of the many delightful vocal duets, varying so much in style and spirit, and interesting us so much both in the vocal and piano parts. Yet we can only mention them here, as well as the several important and larger works for solo voices and piano in a cyclic form, such as the "Minnespiel" from Rückert's "Liebesfrühling," the "Spanische Liederspiel" and "Spanische Liebeslieder," all of which should be favorite numbers for vocal chamber concerts.
Next in our review stand the part songs for mixed, female or male voices. Some of them deserve a place beside Mendelssohn's little masterpieces, others are almost forgotten or, like the great motet for double male chorus and organ, or the canons on Rückert's "Ritornelle," are beyond the sphere of male chorus societies. Few have won a greater popularity than the "Gipsy Life" with piano, triangle and tambourine. Of greater importance, however, are several works with orchestra, undeservedly neglected, Rückert's "Advent" and "New Year Songs," Hebbel's gloomy "Nachtlied," and especially the touching "Requiem for Mignon" from Gœthe's "Wilhelm Meister." Less distinction is attributed to the four great ballads for chorus, soli and orchestra, Uhland's "Glück von Edenhall," "des Sänger's Fluch," "der Königssohn," and Geibel's "Vom Pagen und der Königstochter." By having these ballads arranged in a more extended, dramatic form, Schumann impaired the work of thepoet; moreover he succeeded only partially in his musical setting, weak portions predominating over the more effective and even fine passages, which are by no means wanting. The Requiem and the Mass, both for chorus and orchestra without solos, the latter acknowledged as decidedly superior, were composed in feverish haste, and give little proof of his ability to reveal his religious feelings by means of great choruses or to adapt his music to the Catholic service. In these late years he tried his powers in almost every field of composition, even applying the melodramatic form to poems, which are recited to a pianoforte accompaniment ("Schön Hedwig," "die Flüchtlinge," "der Haideknabe.")
CLARA SCHUMANN.From a photograph by Hanfstängl, Munich.
CLARA SCHUMANN.From a photograph by Hanfstängl, Munich.
CLARA SCHUMANN.
From a photograph by Hanfstängl, Munich.
There yet remain several great works which have helped to make Schumann's name immortal. In the poem of "Paradise and the Peri," forming a part of Thomas Moore's "Lalla Rookh," Schumann found a subject particularly suited to his individuality, a touching romantic fairy tale with rich Oriental scenery and pictures of strongly contrasted vivid colors. Schumann changed the poem in some places and made a few additions of his own, but did not in the least impair its beauty or coherency. The epic portions are attributed to different solo voices and sometimes even to the chorus. The orchestral accompaniment is very elaborate, demanding great care for an adequate performance. All these scenes in India, Africa and at the gates of Eden required a sensuous, yet refined instrumentation to portray them in their peculiar colors. Orchestra and the human voice were called upon to furnish the truest and most touching expression for the varied emotions of every number, which might be warlike and thrilling or tender and sweet, exuberant with joy or hopeless with despair, illustrating the charm of a blooming scenery or the gloom, suffering and death brought by the plague. The solos demand singers with beautiful, well-trained voices, and a thorough comprehension of all the musical and poetic beauties. A more brilliant and impressive soprano solo part than the Peri does not exist in all concert literature. There are also parts assigned to a second soprano, alto, tenor and two bass voices, the solos alternating with concerted numbers of extreme beauty. Of the chorus numbers the finales of parts one and three are on a large plan and have a jubilant and highly spirited character. Not less beautiful are the smaller numbers, each so wonderfully adapted to its particular situation and mood. Indeed one cannot speak too highly of all this music, and even one who does not sympathize with some monotonous portions in the third part, or an occasional deviation from correct declamation, will admit that this work is indeed the finest repository of the wealth, beauty and peculiarity of Robert Schumann's musical genius, in a field in which he has no superior and hardly a rival. It inaugurated indeed a new form of secular chorus music, more modern in spirit and freer in the whole arrangement than the oratorio proper, more dramatic than the cantata, and of greater refinement than the opera.
"The Pilgrimage of the Rose" cannot claim a similar high position. Arranged for Schumann by Horn after a poem of Pfarrius, it deals with a conventional story of a weakly, sentimental character, in spite of a few highly poetical incidents, and is unduly extended. Yet the music contains a most beautiful chorus for male voices with horns, and charming mixed choruses for female and mixed voices, their tones being either soft and mellow or as bright and spirited as anything written in much younger and happier years. The solos are, however, more monotonous, the famous duet of the miller and his wife being one of the few exceptions. It is also doubtful whether Schumann did right in arranging the original piano accompaniment for a whole orchestra.
The second immortal work, by which Schumann has enriched vocal concert literature, is his music to scenes from Gœthe's "Faust." Part I. consists, after the weak overture, of the scenes in the garden, the dome, and before the Mater dolorosa, from the first part of Gœthe's tragedy; the scene in the garden is distinguished by a peculiarly fine musical dialogue and orchestral accompaniment, that in the dome by the addition of an impressive Dies iræ. The more important scenes, however, divided in two parts, are from Gœthe's second play: "Ariel's song in the morning dawn," "Sunrise," "Faust's monologue," "Scene of the four grey women," "Faust's blinding, death and glorification." For this mystic poetry Schumann has found a sublime musical language, which revealed to thousands the beauty of Gœthe's verses, and the hidden meaning of his thoughts. The fantastic scene of the grey women, Faust's farewell song, the dialogue between Mephisto and his Lemures, digging Faust's grave, the latter's death followed by a wonderful postlude, are extremely impressive. Yet the climax is reached in the half-religious, allegorical third part, where saints and angels sing, amongst them Gretchen as "una poenitentium." Here are true gems of musical sublimity, comparable with nothing else in the works of Schumann or any other composer. The incorporeal world of spirits becomes almost visible through the music. The final chorus in eight parts shows in its solemn beginning a marvellous mastery of contrapuntal art, while the allegro on the "eternal womanly" perhaps in neither of the two different settings which Schumann has written, fully reaches his high intentions, and is unduly extended. There are many solo and concerted numbers, yet Faust remains the central figure. The sublime music accorded to him makes his part unique, approaches nearest the Christ in Bach's "Passion," and demands a noble voice, technical perfection, and the finest shading in the spiritual expression of every phrase. The orchestral part, too, demands a careful preparation. Schumann also composed many numbers in which Gœthe did not prescribe the assistance of music, and if it is true that as a whole this work has a fragmentary character, one must not forget that Schumann originally intended it for the concert stage, and as such it will forever remain one of the noblest tasks for great choral societies. However it cannot be denied that here too a full enjoyment of all the musical depth and beauty is only possible in connection with the German text, with the peculiar melody, rhythm and color of Gœthe's diction.
Of a somewhat fragmentary character is also the music to Byron's "Manfred." This dramatic poem with its wealth of thought and almost unbearable gloom was never intended for theatrical purposes; it has a kindred spirit with Faust and even with Schumann's own nature, and certainly no composer could have entered deeper into this poetical glorification of melancholy and despair. Schumann wrote the music under such conditions of mind that it could only come from the depths of his heart. The overture ranks among his greatest productions as a highly impressive picture of a passionate mental struggle, rich in new orchestral effects and finenesses of expression. Besides a lovely entr'acte the many melodramas force even upon those who generally are opposed to this form, the confession that Schumann was one of the greatest musical psychologists; while the few vocal numbers (except perhaps the song of the spirits of Ahrimanes and the Requiem) have less significance. One feels this especially in theatrical performances, which, although not intended by either poet or composer, impress us still deeper than the usual reading, singing and playing in concert form.
Already in 1842, Schumann had confessed that German opera was the subject of his daily prayer, it being a field in which much could be accomplished. This longing took a more decided shape in Dresden, where the operatic interest predominated. There he heard many new and old operas, watching also the development of him who was destined to become the central figure of modern musical dramatic art. Schumann's relation to Wagner's personal and artistic individuality and his opinion of the latter's earlier works cover a ground on which we hope the future will gain more information than that afforded by the occasional remarks in Schumann's letters. He had an irresistible desire to participate in the reform of the opera, and has shown in his "Genoveva," at least his idea of the best solution of the problem. He believed honestly in his ability to write dramatic music. After searching a long while among old legends and stories, thinking also of Nibelungen, Wartburg Contest and similar subjects, he decided in favor of "Genoveva," already treated as tragedy by Tieck and Hebbel. The painter-poet Reinick was invited to write a libretto, based mainly on Hebbel's drama; his book not being satisfactory, Schumann applied to Hebbel, who, however, politely declined. The composer, being thus forced to arrange it himself, not only combined the two different plots and styles of Tieck and Hebbel, but added new features, and omitted others which would have greatly increased the sympathy for his play and heroine. Musically he followed Weber in his last operatic experiment "Euryanthe," closely uniting words, music and action, and connecting the single scenes into one coherent act. But he substituted for the old form of the recitative the more melodious, but certainly more monotonous, undramatic arioso. There are four acts and four principal parts of contrasting individuality. There is no lack of passionate or tender emotional scenes, of great ensemble numbers, or of scenic display; nor does the lyric element unduly predominate, but in Schumann's mode of treatment even the dramatic speech assumes a lyric character, and with all the variety of moods, all the great single effects and the large number of beautiful music pieces (prayer, hunting song, love duet, etc.), one does not feel able to retain a hearty, active interest till the end of the last act. Instead of an impressive picture of human passions, sufferings and joys, we have only a musical illustration of an old story which we liked to read in childhood. Schumann entertained a very high opinion of his work, saying that it did not contain one bar of undramatic music. He erred, but nevertheless "Genoveva" remains a most interesting attempt of one of our greatest masters to solve the operatic problem, an attempt noble in its sincerity, rich in musical beauty and fine psychological detail, bright in color, yet of more of the style of oil-painting than the al fresco required by the stage. Long after the unsuccessful performances in Leipsic the opera has been revived in many German cities, still finding to-day a limited, but highly interested audience of those who love its author from his immortal masterworks in other fields. At least the magnificent overture will perpetuate its memory as a favorite concert number all over the world.
Thus Schumann has cultivated every field of his art, not with equal success, but always with sincere earnestness of purpose and a noble ambition to widen its domain, and to refine its mode of expression. How original was he in its treatment of melody, rhythm, harmony, instrumentation, and ofthe relation of music to poetry, in the combination of old forms with a new spirit and in his endeavors to find new forms. Closely connected in spirit and form with Bach, Beethoven and Schubert, he was himself so rich and original that he became a great influence upon younger representatives of his art, even on the other side of the Rhine and the British channel, though less so in southern countries. Some younger composers were particularly successful as his followers in some special field, while others showed his great influence in the shaping or coloring of many of their best known and otherwise most original productions. His music will be forever an inexhaustible source of pure enjoyment for earnest music lovers, and of the most valuable studies for young aspiring composers of any nationality.
There was however another means by which Schumann exercised a far-reaching influence, namely, his literary and critical work. His writings, collected by himself and published in two volumes, belong among the most instructive and enjoyable books on music. Yet one must not forget the time when they were written. Since then we have become accustomed to many new ideas and names, while many once prominent men and once famous compositions are already forgotten. Still, even if many articles of Schumann are interesting more in a historical sense, we cannot help being impressed everywhere by his pure, noble, enthusiastic spirit, his high opinion of the dignity of art, his extensive knowledge of a general character, and by his fine taste and clear judgment. He was as far from cold scientific theories as from mystic philosophical comprehensions. He was fond of an epigrammatic style, abounding in exclamations and beautiful poetic pictures. Indeed there is undeniably a similarity of style between his earlier writings and compositions.
Schumann's aim was to promote all high interests of art, a better knowledge of old masters, a loving appreciation of any merits of contemporaneous composers and the preparation of new fields for coming talents. How happy is he, when permitted to praise enthusiastically! how rare his ability, to so describe the beauty of a composition that we become really acquainted with its form and spirit! Yet he is not always enthusiastic, but sometimes quietly instructive, sarcastic and witty, or passionately angry, as in his one-sided, yet comprehensible attacks on Meyerbeer, Italian opera, or light piano music after the fashion of Herz. But it shows a generous and noble character that he, a rare productive genius, found almost his greatest pleasure in discovering new talents; that even after many years' retirement from all journalistic work, he once more raised his enthusiastic, prophetic voice to introduce Brahms to the musical world! Nor was he narrow-minded regarding nationality; no Pole could ever write of Chopin with more enthusiasm, no Frenchman of Berlioz with a keener appreciation than Schumann did, and how heartily did he welcome Gade the Dane, Bennett the Englishman, Verhulst the Hollander! He calls art a fugue, in which all the civilized nations participate alternately. His articles also abound in most remarkable statements of a general nature. Of a true work of art he demands a spiritual meaning and a form corresponding to the composer's individuality. "Music impels nightingales to utter love-songs, pug-dogs to yelp." "An equipped eye sees stars where others only clouds and shadows." "The critic must hasten past those who are sinking and fight for the men of the future." He ridicules those who "on a ladder try to measure a colossus like Beethoven with yard-sticks in their hands." In his reviews on new publications he confined himself to instrumental music, with a few exceptions. The famous article on Schubert's symphony in C has hardly more lasting value than the one on Berlioz, with the many significant remarks on the power of orchestral instruments for expression and description. But his many high praises of Mendelssohn honor him most. When once told that Mendelssohn was not true to him, he refused to believe it and always kept his memory as sacred as that of Schubert. Yet in speaking of their mutual relations Schumann confessed that he could learn much from Mendelssohn, but Mendelssohn could also learn something from him, and that, if he had been brought up in the same happy circumstances as his contemporaries, he would surpass them one and all. In Dresden Schumann kept a little theatre journal, in which he wrote short notes on old and new pieces; interesting remarks just like those in "Meister Raro's, Florestan's and Eusebius' Denk- und Dichtbüchlein" or the well known "Rules for young people."
ROBERT AND CLARA SCHUMANN.From an engraving by F. Schauer of Berlin, after the medallion in relief by Prof. Rietschel.
ROBERT AND CLARA SCHUMANN.From an engraving by F. Schauer of Berlin, after the medallion in relief by Prof. Rietschel.
ROBERT AND CLARA SCHUMANN.
From an engraving by F. Schauer of Berlin, after the medallion in relief by Prof. Rietschel.
Aside from all musical interest, one may regard Schumann's writings as valuable contributions to literature emanating from an author of the finest artistic sense, a master of his language and of the most wonderful expressions for the subtleties of poeticor musical feelings. It would not be right not to mention here his many letters, which so far have been published in several collections and which are as instructive for the musician as enjoyable for the general reader. They help greatly to understand his individuality as man and artist. By his literary writings Schumann has perhaps exercised directly and indirectly as great an influence as by his musical works. Yet it is the latter, by which he will live for ever as one who has given his life-blood to his art and enriched our literature by masterworks of absolute beauty, greatness and originality, and who, even where he erred or made unsuccessful experiments, is worthy of our sincere sympathy because of the honesty of his purpose. Boundless is our gratitude and veneration for him whose genius will continue to reach thousands of new admirers that will honor in him a peer of those who are the corner stones of musical art.
>Louis Kelterborn
Fac-simile musical manuscript No. 5 of Schumann's Ritornelles, for male chorus, in Canon form.
Fac-simile musical manuscript No. 5 of Schumann's Ritornelles, for male chorus, in Canon form.
Fac-simile musical manuscript No. 5 of Schumann's Ritornelles, for male chorus, in Canon form.
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ROBERT FRANZReproduction of a photograph from life, made in 1891, by C. Höpfner of Halle.
ROBERT FRANZReproduction of a photograph from life, made in 1891, by C. Höpfner of Halle.
ROBERT FRANZ
Reproduction of a photograph from life, made in 1891, by C. Höpfner of Halle.
IN the study of the history of musical art, nothing can strike our mind more impressively than the observation of its coherency, of the connection between the different phases in the development of each particular field and between its most prominent representatives; but most striking is this impression when we become aware of an influence directly felt through generations. When about a generation ago the conservative Professor Bischoff sarcastically threw the term "music of the future" into the world with reference to Wagner's music dramas, the master accepted it as a watchword, and in his pamphlet "The art work of the future," laid down the hopes and ideals which he strove to realize. Numberless times since then has this phrase been used everywhere, and those who, standing in the midst of the movement, wanted to become clear as to its true meaning, had at least to admit that all great music has ever been "music of the future," whether its value has been recognized by contemporaries or not. But most eminently it has seemed to apply to the great master, Johann Sebastian Bach. Of him, who died more than fourteen decades ago, it could have been said, that only a very remote future would do his works justice, for even to-day they must still be regarded as "music of the future," and the influence which they were destined to exert upon the development of musical art in various fields, is still far from having reached its end. It is inspiring to see how the thorough understanding and appreciation of this genius, and of the wealth, depth and greatness of his style, are progressing in the different countries, and just as inspiring to examine his extraordinary influence upon the more recent epochs of musical history. While some composers tried to follow him in his own fields, as Mendelssohn in the oratorio or Rheinberger in compositions for the organ, others, as Schumann and Brahms in instrumental works, have adopted his wonderful polyphonic and contrapuntal art, showing his influence just in those productions, which otherwise exhibit most strongly their own individuality. Even the revolutionary Wagner held Bach's genius in veneration, and paid a noble tribute to it in his Mastersingers. Indeed, considering these facts, an overwhelming sense of admiration and gratitude must fill our hearts, particularly in thinking of the great master of modern German song to whom this article is devoted.
Not an imitator, but a worthy successor of Bach, in a field, the highest cultivation of which has been preserved to modern time as one of its noblest tasks, is Robert Franz, whose life and works may perhaps awaken a double interest, if viewed in the light of the above introductory remarks. In outward appearance this life was, perhaps, even more quiet and simple than that of Bach. Franz's soul and mind had always turned toward the inner world, just as in his songs he studiously avoided all ostentation and meaningless brilliancy. There is indeed a significant harmony between his life and songs, the latter being the outgrowth of the former, not occasionally written down from a vain ambition to compose, nor as a pastime or fashion, but as the fulfilment of his life's task, to which his genius had committed him.
Robert Franz was born June 28, 1815, in Halle, the old university town in the centre of Germany, the birthplace of Handel. Here Franz has remained all his life. He did not descend from a musical family, but from plain, honest, business people; nor were there any direct early proofs of his musical genius, as only in his fourteenth year he was given an opportunity, on an antique, spinet-like pantaleon (or large dulcimer) to make his first practical experiments, at the same time trying, unaided, with a touching perseverance, to find outthe secrets of musical notation. However, he had received his first musical impressions when very young. At two years of age he had been amply impressed by Luther's choral, "A Mighty Fortress is Our Lord," played by trombones from the steeple of a church at the celebration of the third centenary of the Reformation. At home his father was accustomed to sing the old church and folk songs. The effect of these early impressions on his young musical soul was soon obvious, for he says that in school he had an irresistible desire to add a second voice to the melodies which were being practised. His unsolicited assistance was looked upon as a crime by the teacher, who punished him for it repeatedly. It was the mother who first lent a helping hand to the boy's outspoken talent and inclination, and who succeeded in persuading his father to buy the already mentioned pantaleon. Naturally the instruction which young Robert received, first from a relative and then by nearly all the different music teachers of Halle in succession, was not of much value. He achieved more by his own impulses, practising chorals with friends, eagerly studying the organ and using every opportunity to play accompaniments, as for instance, in the choral rehearsals of the famous Franke Asylum. There he became acquainted with the music of Mozart, Haydn, and his great fellow citizen, Handel, and there he was first fired with the spirit of composition. Unadvised and without the least theoretical preparation he yielded to his desire to compose, neglecting even his school duties in favor of this impulse, the results of which, however, he has declared utterly worthless. It was difficult for him, especially in his own home, to brave all depreciation of his talents and to overcome all opposition; only the firm belief in his artistic calling enabled him to fight the battle through victoriously.
Franz was twenty years old, when at last his parents consented to his thorough professional education. The Leipsic Conservatory not having been founded, the music school of the famous theorist and composer, Friedrich Schneider, in Dessau, was at that time held in highest esteem, and there Franz was sent. The rather patriarchal, old fashioned, pedantic spirit which prevailed in this school, could certainly offer to the young aspiring student substantial knowledge, though it could do but little to develop his poetic nature. Yet he learned a great deal there, and laid a most excellent foundation to the eminent theoretical knowledge and mastery in the strict contrapuntal and polyphonic style by which he later won such a high distinction.
Besides this, the ever fresh impulses of his own nature and the inspiring intercourse with congenial fellow students helped to mature his own musical individuality. A peculiar influence is attributed to a certain Reupsch, whom Franz describes as quite extraordinary in improvisations on the organ and in the treatment of chorals. Nothing has ever been published of all the works (consisting of pianoforte sonatas, a mass, etc.) which were composed during these years. Franz felt that his nature would lead him upon an independent path of his own, but his instinct had not yet found this sphere. After two years of study he returned home, only to meet with new opposition and mistrust in his talent. No position was offered him, no compositions appeared in print; and it was then that the sympathy of his faithful mother remained his best comfort. In the circles of cultivated dilettanti he learned that the intrinsic value of a work of art is found in its inner significance, and that its formal value, if it be a really artistic production, should be a matter of course. This is the very idea for which Robert Schumann was then fighting, and which men like Wagner, Liszt and Berlioz have made the principle of their artistic creed. Yet all true art rests on the closest harmony between both elements, where the form is the necessary and most perfect expression of the ideal contents, the two forming a perfect union. What a blessing was it that Franz in this way found rich opportunities to become acquainted with old Italian music, and with the three great German masters, Bach, Schubert and Schumann, whose works have most essentially influenced the moulding of his own musical language.
He gave such close study to their works that his nervous system was overwrought, and becoming his own severest critic he destroyed all his former compositions. Courage and confidence seemed to leave him and for years his production ceased. This did not prevent him from striving to acquire a higher general education, however, and he applied himself especially to the study of philosophy and literature, availing himself of the rich opportunities afforded by the University of his city. At last a short dream of love brought forth the music of his soul, his first songs, which came forth from the depths of his heart. This was in 1843. Schumann, to whomhe sent the songs, honored him with a most hearty recognition of his talent, and was helpful in finding a publisher. But Franz's nervous condition and ominous, early developing auricular sufferings obliged him to take an extended trip to Tyrol and Italy. The journey strengthened him so much that after his return he was finally able to devote with enthusiasm his rich talents untrammelled to the cultivation of his new field. Others followed Schumann in their sincere recognition of our composer's talent, among whom were Gade, Mendelssohn, and especially Liszt, who was so often the noble champion for new talents, and who wrote one of his finest pamphlets in praise of Franz's songs. Wagner, who certainly never could be accused of being too liberal in his praise of others, was not to be outdone. In a letter to Uhlig he says he will never forget that Franz was, after Liszt, the first German musician who had done him justice.
ROBERT FRANZ.Reproduction of an engraving made by A. Weger from a daguerreotype.
ROBERT FRANZ.Reproduction of an engraving made by A. Weger from a daguerreotype.
ROBERT FRANZ.
Reproduction of an engraving made by A. Weger from a daguerreotype.
Besides some compositions for the church, and afew part songs, Franz has confined himself to the cultivation of the German "Lied" with a wonderful concentration of all his faculties, reaching the highest perfection, richness, depth, and beauty in this onegenre, as Chopin did in his field of pianoforte compositions. As regards his practical occupation in Halle, he held several positions, with which he had been entrusted soon after his first success as a composer, being organist at the St. Ulrici church and director of the singing Academy and the symphony concerts, as well as at the University. However, his increasing nervous and auricular maladies obliged him in 1868 to resign all these offices and to live from the limited earnings of his compositions. A generous gift in money started by the always noble minded Liszt, and supported by admirers in Germany, England and America, released him from all further anxieties. Thus the dear master, invalid in body but young in spirit, lived in retirement in his native city, with his wife, Maria Hinrichs, slowly winning the recognition of the musical world. Letters received from him in the summer of 1892 still showed an unusually bright and active mind, so that the announcement of his death, which occurred Oct. 24th in Halle, came as a sad surprise. Many an honor has been conferred upon him, the title of a royal music director, of an honorary doctor of the Halle University, and Bavarian and Prussian orders. Yet greater than all these is the honor of living forever through his works in the hearts of his people, and in the high esteem of all students of music and its history.
The collection of Robert Franz's songs may be well compared to a lovely garden, most carefully adorned with beautiful flowers of every variety, each of which attracts and deserves our special and close attention. Indeed, whoever takes pains, in an earnest and loving mind to review these songs one by one, and to penetrate into their peculiar nature, style and beauty, will be surprised to observe that the composer has allowed not one to be published without having perfected it in every detail. Even the simplest folk-song had to be a true work of art, worthy of his name and genius, before he would send it upon its wanderings through the world. Another significant fact, which also does him great credit, is that each song impresses us most forcibly as being born out of a deep, sympathetic comprehension of the peculiar genius of the poet, and the language, sentiment, and spirit of the poem. There is no conventionality, no mannerism, no following of certain patterns, which so often characterize ancient and modern manufacturers of songs. Every number presents, in closest harmony with the text of the poem, an individual musical organism, bearing the mark of Franz's artistic individuality, but forming with the poem such a perfect union that we do not wish to separate the music from the words, nor are we able to fully enjoy either independent of the other. The music of his songs is not of such a character as to detract from the beauty and interest of the poem. The musical setting is designed mainly to enhance the charm of the poetic gem, and display it to best advantage.
Fac-simile of musical manuscript and letter from Robert Franz.
Fac-simile of musical manuscript and letter from Robert Franz.
Fac-simile of musical manuscript and letter from Robert Franz.
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There are thousands of songs which please superficial singers and audiences without awakening the least question as to the worth of the poem and its author. This is not true of Franz's songs,however, and never has a song writer succeeded better than he in doing his chosen poets and poems full justice. He did not use them simply to serve his musical purpose, but adapted himself to them in a way which might be called self-abnegation of the highest form. It is this characteristic, together with his use of the old contrapuntal and polyphonic art, that gives Franz's compositions a classic aspect. His aim and task was to find a formally clear, distinct expression for every kind of poetical sentiment, and one hardly errs in saying that Franz has outgrown the romanticist in himself and donned the superior garb of classical art. The musical construction of his songs is firm and perfectly developed, and allows no room for misunderstanding or individual conceptions. His ideas are expressed fully and clearly, and although the general impression produced may continue to move us, it is brought to a complete, satisfactory conclusion by the last note. One feels that here a superior artistic spirit, an eminent musical genius reigns; a genius drawing inspiration from the purest musical source, guided by high literary and æsthetic culture, scorning imitation and cheap, tawdry effects, but in each new song striving for strength, character and perfect harmony with the poet whose work his music honors.
It will readily be understood why the creator of such beautiful works of art should be unwilling to make the piano accompaniment play a subordinate part. However, he does not raise it to the principal position, as does Wagner, in his latest music dramas, but melodically, rhythmically, harmonically, interweaves it with the vocal strain in such a way that each part completes the other, both forming a wonderful unity. In fact, as regards this intimate and organic connection of song and accompaniment, Franz hardly has his equal among the great song composers, notwithstanding many splendid instances of this combining power found in the songs of Schubert, Mendelssohn, Schumann and Brahms. Quite often Franz's song accompaniments are written in such a manner that each part forms a beautiful song by itself, so that one is almost tempted to sing one of the inner voices; while sometimes the accompaniment is even written strictly in four parts, making it seem like a choral composition. This leads us to the cardinal features of Franz's style, and shows his close relationship to Sebastian Bach and to the already mentioned old hymns and folk songs. August Saran has treated this subject most thoroughly in a very remarkable book culminating in the statement, "Robert Franz's song is in its whole nature and musical structure nothing else but the old German folk-song, enriched and idealized by the peculiar expressiveness of modern music." Those old folk-songs had once reached their highest development on sacred ground in the protestant Choral as it became so wonderfully perfected in Bach's polyphonic and contrapuntal art. We find that Franz has applied this same art and spirit to modern lyric songs, although at the same time he fully recognizes what all the later musical epochs have contributed in the way of greater delicacy or intensity of expression, richer, and freer use of the rhythms, new harmonic modulations, a closer regard for the intelligent phrasing of poetic words, and a richer and far more varied and effective technique of the pianoforte.
As regards his style Franz is thus an absolutely modern composer, else his songs would be mere scholarly experiments, having no inner life. But his melodies are evidently designed for a polyphonic treatment. They need to be supplemented by other parts, not merely by a simple chord accompaniment, although this is also used occasionally. Yet with all these finesses, and the difficulties of such a complicated style, most of the songs have quite a popular character in the noblest meaning of the word. Only a small number are what the Germans term "durchcomponirt," (composed through), a large majority are in the strophe form. Yet the composer understands just how in the most wonderful, scarcely perceptible, and often extremely delicate manner, to do justice to the changing moods of the different strophes. Quite a number of the compositions are true folk-songs, the poems being old German, Suabian, Swiss, Bohemian and Scotch.
Franz's favorites among prominent poets, are Heine, Lenau, Eichendorff, Burns and Osterwald, while secondary are Goethe, Rückert, Geibel, Möricke and Roquette. The subjects treated by him are many and varied; there are many beautiful songs of nature in various deeply affecting, concentrated moods, songs of night and stars, of water and waves, weather and storm, autumn and spring, forest and heath; also songs of love in all the phases which a heart may experience, from the firstsweet, chaste dawn, to the exultation of final happiness; the woe of a broken heart, and of parting and death; nor are merry, dancing or humorous songs missing. Yet there are no ballads.
How many remarkable, strong, or delicate features could be singled out of this wealth of lyric music, but how much easier and more directly could this be done with the songs themselves before one! The sharp eye or ear would then be delightfully surprised by many strange and new details. They would meet with unusual keys and modulations, intentional indefinite fluctuations between major and minor keys, rhythmical finesses and curious combinations such as a 7/4 time or the periodical change of the time, impressive declamatory effects, an effective use of syncopations, sequences, inversions, cadences, characteristic figures and ornaments. And this never for purely musical purposes, but for the sake of a better expression of the poetic meaning. Would that these lines might help to induce many readers to study closely the songs of Robert Franz! They would then experience delightful surprises with nearly every song, and their hearts would be filled more and more with music of a new and independent style, each tone of which has life and meaning, and helps to arouse one's sympathy for a new, though limited, world of beauty and ideal contents. But never will the student's surprise and pleasure be greater than when meeting with songs such as are already familiar and dear to him in other famous settings. For none of these need to step aside and shun comparison with their more celebrated rivals. For illustration, his "Restless Love," by Goethe, certainly has not a less passionate melody than Schubert's setting of the same subject, while the brilliant accompaniment of the former is decidedly superior to Schubert's. "When Midnight Dreams" ("Allnächtlich im Traume") is a worthy rival of Schumann's fine song, and much better than Mendelssohn's conventional setting of Heine's poem. It is difficult to decide which deserves the preference, Franz's or Brahms' setting of the beautiful slumber-song "Ruhe Süssliebchen" from Tieck's "Schöne Magelone;" though quite dis-similar, both hold high places among the songs of these two masters. Especially interesting is the comparison of those, the poems of which, mostly written by Heine, have also inspired Schumann to some of his very finest productions. These are the songs which are recommended to all who desire to study the strong individuality and significance of Robert Franz as a composer of songs. In such a rich collection it is impossible to specify the merits of each song; for all appeal equally to our sympathy and attention.
ROBERT FRANZ
ROBERT FRANZ
ROBERT FRANZ
The adequate rendering of Franz's songs lies both with the singer and the accompanist. Most of them demand a well trained voice of a fine musical quality, and often of a wide compass, an unusual degree of general musical education, a clear poetical comprehension of text and music, and a most distinct enunciation and intelligent phrasing. The accompaniment calls for a very clever player, well schooled in Bach's polyphonic style, who has a singing tone and who, in the whole conception and delivery, is in full harmony with the singer. Nearly all of these songs can be well rendered and enjoyed in an English translation, if only the translator be guided in his work by the utmost regard for the melos and rhythm of the poem and its music. Franz's songs are still far too little known, although in the old world, and we are proud to say in the new also, some enthusiastic admirers, singers, musicians and writers have done a great deal for their introduction. They are everywhere respected, but unduly neglected in vocal concerts as well as in our homes, where their influence would be felt still more. May these lines help to win them many true and lasting friends.
There remains still another highly important musical achievement of Robert Franz to be noted,—aseries of works through which he has deserved the lasting thanks of all earnest friends of musical art, and which will for all time connect his name with those of our greatest masters of the oratorio, Bach and Handel. Before him Mozart had made a similar attempt with the music of Handel, and Mendelssohn with that of Bach, but neither achieved a complete success. These old masters did not fully write out the accompaniments to their great works in the form which has become the rule with their successors, but rather left them as outlines, a mere figured bass indicating the accompaniment, which the composer either played or personally supervised. The old art of playing from a figured bass has in our time become almost obsolete; besides our ears have through the wonderful development of instrumental music become accustomed to new sounds and orchestral effects, which are now absolutely essential to us. Also, some instruments have since been discarded and others modified. It was an extremely difficult task to complete this accompaniment, which was merely suggested, and arrange it for our modern orchestral instruments, at the same time retaining the spirit and style of the old great masters. It required a thorough historical and theoretical knowledge, a fine sense of the peculiar character of the different instruments and a complete mastery of polyphonic and contrapuntal art, qualities found only in a true musician, who was himself highly gifted as a composer. Scholarly professors might perhaps have performed this feat in a merely correct and antiquarian manner, but only a true musician could inspire these accompaniments with the same life as the old masters would have done had they lived at the present stage of musical art. It will be easily understood that such an undertaking excited the most animated criticism, which several times led Franz to defend his standpoint in very interesting publications. Against such attacks by more or less famous and learned musical writers he was warmly assisted by enthusiastic friends and admirers in Germany, England and America, where Franz had early found many marks of a high appreciation of his genius. However the most gratifying reward for his labors is the fact that his arrangements of the old masterworks are steadily coming into general use. Modern as is his sentiment as a productive musician, he stands nearer to Bach and Handel in style and spirit than any other modern composer. We know of none who could have performed this great task more conscientiously, with a deeper comprehension of the old art and with a more loving devotion than Robert Franz. What he has achieved in this line secures him immortality not less than his songs.
The most important of these arrangements are: Handel's "Messiah," "Jubilate," "l'Allegro il Pensieroso ed il Moderato," and many arias and duets; Bach's "St. Matthew Passion," "Magnificat," "Christmas Oratorio," "Tragic Ode," and many cantatas and arias; Astorga's "Stabat Mater," Durante's "Magnificat," and quite a collection of old German chorals and songs.
Considering, then, all that Franz has done for us, we bow in admiration and thankfulness before a genius, who is one of the noblest representatives of the latest musical epoch, and whose name is one of the few worthy to continue the list of those masters whom we honor as the corner stones of musical art. For it is not the size, but the ideal significance and degree of perfection, which determines the greatness and lasting value of a work of art. Whoever produces works of absolute beauty and perfection, even in a minor field, deserves a place of honor amongst the masters of all times.