[227]It is understood that this is merely a personal opinion of the writer and might well have been prefaced by the Socratic "it seems to me." Too much criticism reminds us of wine-tasting—Mr. So-and-So likes port, Mr. So-and-So sherry. The object of fair-minded appreciation is to understand clearly just what each composer set out to do,i.e., what was the natural tendency of his individual genius; then the only question is: did or did he not do this well? It is futile to blame him because he was not someone else or did not achieve what he never set out to do.
[227]It is understood that this is merely a personal opinion of the writer and might well have been prefaced by the Socratic "it seems to me." Too much criticism reminds us of wine-tasting—Mr. So-and-So likes port, Mr. So-and-So sherry. The object of fair-minded appreciation is to understand clearly just what each composer set out to do,i.e., what was the natural tendency of his individual genius; then the only question is: did or did he not do this well? It is futile to blame him because he was not someone else or did not achieve what he never set out to do.
[228]The best edition is the complete one, beautifully engraved and with critical comments, by Malherbe and Weingartner. This is expensive, but should be found in any large library.
[228]The best edition is the complete one, beautifully engraved and with critical comments, by Malherbe and Weingartner. This is expensive, but should be found in any large library.
[229]The only citations possible in the Supplement are the Overture and portions of a few of the others.
[229]The only citations possible in the Supplement are the Overture and portions of a few of the others.
[230]Particularly to be recommended are the following: the essay inMusical Studiesby Newman; that by R. Rolland inMusiciens d'aujourd'hui(in French and in English);Berlioz et la société de son tempsby J. Tiersot; the essay inStudies in Modern Musicby Hadow; Berlioz's ownMémoires(in French and in English) and his entertaining essays,A Travers Chants,Grotesques de la MusiqueandSoirées d'Orchestre; the excellent résumé of Berlioz's writings in theAmateur Seriesby W.F. Apthorp; theSymphony since Beethovenby Weingartner; and, above all, the monumental work by Boschot in three parts—La Jeunesse d'un Romantique,Un Romantique sous Louis Philippe,Le Crépuscule d'un Romantique. There is an amusing but far from convincing assault against Berlioz as a programme composer and, to a certain extent, against Romanticism in general, in theNew Laocoönby Professor Irving Babbitt.
[230]Particularly to be recommended are the following: the essay inMusical Studiesby Newman; that by R. Rolland inMusiciens d'aujourd'hui(in French and in English);Berlioz et la société de son tempsby J. Tiersot; the essay inStudies in Modern Musicby Hadow; Berlioz's ownMémoires(in French and in English) and his entertaining essays,A Travers Chants,Grotesques de la MusiqueandSoirées d'Orchestre; the excellent résumé of Berlioz's writings in theAmateur Seriesby W.F. Apthorp; theSymphony since Beethovenby Weingartner; and, above all, the monumental work by Boschot in three parts—La Jeunesse d'un Romantique,Un Romantique sous Louis Philippe,Le Crépuscule d'un Romantique. There is an amusing but far from convincing assault against Berlioz as a programme composer and, to a certain extent, against Romanticism in general, in theNew Laocoönby Professor Irving Babbitt.
[231]On the title page of the autograph copy of the full score is inscribed the following quotation from King Lear: "As flies to wanton boys are we to the Gods; they kill us for their sport."
[231]On the title page of the autograph copy of the full score is inscribed the following quotation from King Lear: "As flies to wanton boys are we to the Gods; they kill us for their sport."
[232]Dannreuther, in his essay in the Sixth Volume of theOxford History of Music, speaks of the peculiar process of "rabbeting" which serves Berlioz in the place of counterpoint, and the criticism, though caustic, holds much truth.
[232]Dannreuther, in his essay in the Sixth Volume of theOxford History of Music, speaks of the peculiar process of "rabbeting" which serves Berlioz in the place of counterpoint, and the criticism, though caustic, holds much truth.
[233]This movement is also of interest as an early example of the Waltz among the conventional symphonic moods. The example has been followed by Tchaikowsky in the third movement of his Fifth Symphony.
[233]This movement is also of interest as an early example of the Waltz among the conventional symphonic moods. The example has been followed by Tchaikowsky in the third movement of his Fifth Symphony.
[234]For further comments on this Symphony see Mr. Mason's essay in theRomantic Composers, an essay which, while thoughtful, strikes the writer as somewhat biased.
[234]For further comments on this Symphony see Mr. Mason's essay in theRomantic Composers, an essay which, while thoughtful, strikes the writer as somewhat biased.
[235]For an entertaining account of the subject matter of the opera see Chapter VII of Boschot'sUn Romantique sous Louis Philippe.
[235]For an entertaining account of the subject matter of the opera see Chapter VII of Boschot'sUn Romantique sous Louis Philippe.
[236]For an extended analysis of the work and also for an account of the alleged connection of the virtuoso Paganini with its composition, see the essay in Niecks'Programme Music. There are, in addition, interesting comments inStories of Symphonic Musicby Lawrence Gilman.
[236]For an extended analysis of the work and also for an account of the alleged connection of the virtuoso Paganini with its composition, see the essay in Niecks'Programme Music. There are, in addition, interesting comments inStories of Symphonic Musicby Lawrence Gilman.
[237]An early example of the modern principle of transformation and transference by theme.
[237]An early example of the modern principle of transformation and transference by theme.
[238]A striking illustration of "association of ideas" may be gained from a comparison of the end of this movement with the closing measures of Strauss'sThus Spake Zarathustra; it seems incredible that Strauss did not have Berlioz's effect in his mind.
[238]A striking illustration of "association of ideas" may be gained from a comparison of the end of this movement with the closing measures of Strauss'sThus Spake Zarathustra; it seems incredible that Strauss did not have Berlioz's effect in his mind.
[239]See theMémoiresfor a rhapsodic account of his state of mind at this time—"basking in the warm rays of Shakespeare's imagination and believing it in his power to arrive at the marvellous island where rises the temple of pure Art."
[239]See theMémoiresfor a rhapsodic account of his state of mind at this time—"basking in the warm rays of Shakespeare's imagination and believing it in his power to arrive at the marvellous island where rises the temple of pure Art."
[240]For extended comments and a long citation of the actual music see the Sixth Volume of theOxford History of Music.
[240]For extended comments and a long citation of the actual music see the Sixth Volume of theOxford History of Music.
[241]For valuable analytical comments on Berlioz's orchestral style see Vol. VIII, Chapter X, of theArt of Music(César Saerchinger, N.Y.), and for biographical details and matters of general import, Vol. II, Chap. IX.
[241]For valuable analytical comments on Berlioz's orchestral style see Vol. VIII, Chapter X, of theArt of Music(César Saerchinger, N.Y.), and for biographical details and matters of general import, Vol. II, Chap. IX.
[242]The best biographies in English are the one by Huneker and that in Vol. 2 of Grove's Dictionary.
[242]The best biographies in English are the one by Huneker and that in Vol. 2 of Grove's Dictionary.
[243]For a lively description of his influence as a pianoforte teacher seeMusic Study in Germanyby Amy Fay.
[243]For a lively description of his influence as a pianoforte teacher seeMusic Study in Germanyby Amy Fay.
[244]For a most entertaining description of this work see the Huneker Biography, pp. 64-70.
[244]For a most entertaining description of this work see the Huneker Biography, pp. 64-70.
[245]For stimulating comments seeThe Symphony since Beethovenby Weingartner, pp. 71-86.
[245]For stimulating comments seeThe Symphony since Beethovenby Weingartner, pp. 71-86.
[246]An enlightening and comprehensive account of each of these may be found in Niecks'sProgramme Musicalready referred to. See also Chapter VII, pp. 141-155 in Vol. VI of theOxford Historyfor what is perhaps a rather biased point of view. There is an excellent tabulation of the themes fromLes Préludesin Mason'sRomantic Composers.
[246]An enlightening and comprehensive account of each of these may be found in Niecks'sProgramme Musicalready referred to. See also Chapter VII, pp. 141-155 in Vol. VI of theOxford Historyfor what is perhaps a rather biased point of view. There is an excellent tabulation of the themes fromLes Préludesin Mason'sRomantic Composers.
[247]An allegation often brought against Liszt's work by those whose conception of "form" is that of a cast-iron mould.
[247]An allegation often brought against Liszt's work by those whose conception of "form" is that of a cast-iron mould.
[248]Translated as follows by Bayard Taylor:—Chorus MisticusAll things transitoryBut as symbols are sent;Earth's insufficiencyHere grows to Event;The Indescribable,Here it is done:The Woman-Soul leadeth usUpward and on!
[248]Translated as follows by Bayard Taylor:—
Chorus Misticus
[249]The way in which the Germans in the recent war have applied this doctrine raises, we must say, many searching questions.
[249]The way in which the Germans in the recent war have applied this doctrine raises, we must say, many searching questions.
[250]That this is the verdict of the public is shown by the fact that, whenever of late yearsFausthas been given by the Boston Symphony Orchestra, it has had to be repeated by popular request.
[250]That this is the verdict of the public is shown by the fact that, whenever of late yearsFausthas been given by the Boston Symphony Orchestra, it has had to be repeated by popular request.
[251]For further comments on the work see Huneker'sFranz Liszt, pp. 141-146 and the third part (on Program Music) of Finck'sR. Strauss, The Man and His Works. Also Chap. VII passim in Vol. VI of the Oxford History.
[251]For further comments on the work see Huneker'sFranz Liszt, pp. 141-146 and the third part (on Program Music) of Finck'sR. Strauss, The Man and His Works. Also Chap. VII passim in Vol. VI of the Oxford History.
[252]Weber and Schubert had, of course, done valuable pioneer work.
[252]Weber and Schubert had, of course, done valuable pioneer work.
[253]Noted as being the original centre of national German opera and for its associations with the early career of Handel.
[253]Noted as being the original centre of national German opera and for its associations with the early career of Handel.
[254]Another very fine work in this class is theTragic Overture, worthy of the deepest study.
[254]Another very fine work in this class is theTragic Overture, worthy of the deepest study.
[255]We cite Saint-Saëns, as one instance.
[255]We cite Saint-Saëns, as one instance.
[256]"From the heart it has come, to the heart it shall go."
[256]"From the heart it has come, to the heart it shall go."
[257]For literature on Brahms the following works are recommended: the comprehensiveLifeby Fuller-Maitland; the essay in Hadow'sStudies in Modern Music; that in Mason'sFrom Grieg to Brahms; that by Spitta inStudies in Musicby Robin Grey; the first essay inMezzotints in Modern Musicby Huneker; the biographical and critical article in Grove's Dictionary; Chapter IX in Volume 8 of theArt of Music, and Chapter XIII in Volume 2. There are also some stimulating remarks on Brahms's style in general, and on the attitude of a past generation towards his work, in those delightful essays, in 2 volumes,By the Way, About Musicby the late well-known critic, W.F. Apthorp.
[257]For literature on Brahms the following works are recommended: the comprehensiveLifeby Fuller-Maitland; the essay in Hadow'sStudies in Modern Music; that in Mason'sFrom Grieg to Brahms; that by Spitta inStudies in Musicby Robin Grey; the first essay inMezzotints in Modern Musicby Huneker; the biographical and critical article in Grove's Dictionary; Chapter IX in Volume 8 of theArt of Music, and Chapter XIII in Volume 2. There are also some stimulating remarks on Brahms's style in general, and on the attitude of a past generation towards his work, in those delightful essays, in 2 volumes,By the Way, About Musicby the late well-known critic, W.F. Apthorp.
[258]The eloquence of the work is so integrally involved with its orchestral dress that it should always be studied, if possible, in the full score. For class-room work excellent editions are available for two and four hands.
[258]The eloquence of the work is so integrally involved with its orchestral dress that it should always be studied, if possible, in the full score. For class-room work excellent editions are available for two and four hands.
[259]The only slight exception is the third movement of the Fourth Symphony which, being marked Allegro giocoso, partakes somewhat of the nature of a Scherzo.
[259]The only slight exception is the third movement of the Fourth Symphony which, being marked Allegro giocoso, partakes somewhat of the nature of a Scherzo.
[260]"Those eternal sixths and thirds." Weingartner later publicly recanted and became a whole-souled convert to Brahms. (SeeThe Symphony since Beethoven, latest edition.)
[260]"Those eternal sixths and thirds." Weingartner later publicly recanted and became a whole-souled convert to Brahms. (SeeThe Symphony since Beethoven, latest edition.)
[261]A similar effect may be found in the closing measures of the first movement of Beethoven's Eighth Symphony.
[261]A similar effect may be found in the closing measures of the first movement of Beethoven's Eighth Symphony.
[262]There is a striking analogy between the intervals of this theme and those of a well-known peal in a cathedral chime,e.g.music[Listen] [MusicXML]In both the same elemental effect is produced by using the natural tones of the harmonic series (seepage 193).
[262]There is a striking analogy between the intervals of this theme and those of a well-known peal in a cathedral chime,e.g.
music
[Listen] [MusicXML]
In both the same elemental effect is produced by using the natural tones of the harmonic series (seepage 193).
[263]See also a similar eulogy by Weingartner in hisThe Symphony since Beethoven.
[263]See also a similar eulogy by Weingartner in hisThe Symphony since Beethoven.
[264]There is a statement in many books that this is a reminiscence of the theme in the Finale of the Ninth Symphony. How such a legend started it is difficult to say; it must be due to what the late W.F. Apthorp called "purblind criticism." For my part I see a resemblance in only one measure—save that both melodies are in quadruple rhythm—between the theme of Brahms and the following:—music[Listen] [MusicXML]
[264]There is a statement in many books that this is a reminiscence of the theme in the Finale of the Ninth Symphony. How such a legend started it is difficult to say; it must be due to what the late W.F. Apthorp called "purblind criticism." For my part I see a resemblance in only one measure—save that both melodies are in quadruple rhythm—between the theme of Brahms and the following:—
music
[Listen] [MusicXML]
[265]It is used at the beginning of three other well-known melodies,e.g., the slow movement of Beethoven'sNinth Symphony, in the middle part of Schumann'sAufschwungand in the first phrase of Wagner'sPreislied.
[265]It is used at the beginning of three other well-known melodies,e.g., the slow movement of Beethoven'sNinth Symphony, in the middle part of Schumann'sAufschwungand in the first phrase of Wagner'sPreislied.
[266]This practice he has adopted in several other works and it is also the structural feature in the slow movement of César Franck's D minor Symphony.
[266]This practice he has adopted in several other works and it is also the structural feature in the slow movement of César Franck's D minor Symphony.
[267]It is to be understood that this is a purely personal interpretation and if any one wishes to consider the piece merely as absolute music with a strong masculine theme in the minor, a lyric melody in the major for the natural contrast, and a coda referring in a general way to the first theme, there is no way to disprove the contention. That Brahms, however, was not entirely averse to out and out programmistic treatment is seen from his two pieces on specific poetic texts,i.e., the first number in op. 10 on theScottish Ballads of Edwardand theLullabyin op. 117 on the Scottish Folk-songSleep Soft, My Child.
[267]It is to be understood that this is a purely personal interpretation and if any one wishes to consider the piece merely as absolute music with a strong masculine theme in the minor, a lyric melody in the major for the natural contrast, and a coda referring in a general way to the first theme, there is no way to disprove the contention. That Brahms, however, was not entirely averse to out and out programmistic treatment is seen from his two pieces on specific poetic texts,i.e., the first number in op. 10 on theScottish Ballads of Edwardand theLullabyin op. 117 on the Scottish Folk-songSleep Soft, My Child.
[268]The same key that Wagner uses for the end ofTristan and Isoldeand César Franck for the gorgeous Finale of thePrelude, Chorale and Fugue.
[268]The same key that Wagner uses for the end ofTristan and Isoldeand César Franck for the gorgeous Finale of thePrelude, Chorale and Fugue.
[269]The subject is the same as the story of the Sirens in theOdysseyor of theLoreleiin German Legend.
[269]The subject is the same as the story of the Sirens in theOdysseyor of theLoreleiin German Legend.
[270]For further comments on the phraseology seeThe Rhythm of Modern Musicby Abdy Williams, pp. 75-77. We may add that the pieces calledIntermezzi, are generally of a meditative, somber nature; whereas theCapricciosare more sprightly, even whimsical in spirit.
[270]For further comments on the phraseology seeThe Rhythm of Modern Musicby Abdy Williams, pp. 75-77. We may add that the pieces calledIntermezzi, are generally of a meditative, somber nature; whereas theCapricciosare more sprightly, even whimsical in spirit.
[271]For further comments on the style and influence of Saint-Saëns see the essay Mason'sFrom Grieg to Brahms; the article by Professor E.B. Hill in the third volume of theArt of Music; and, for some pungent and witty remarks, the Program Book of the Boston Symphony Orchestra (edited by Philip Hale) for Nov. 22, 1918.
[271]For further comments on the style and influence of Saint-Saëns see the essay Mason'sFrom Grieg to Brahms; the article by Professor E.B. Hill in the third volume of theArt of Music; and, for some pungent and witty remarks, the Program Book of the Boston Symphony Orchestra (edited by Philip Hale) for Nov. 22, 1918.
[272]For a comprehensive and discriminating account of his style see the Boston Symphony Orchestra Program Book, for January 17, 1919.
[272]For a comprehensive and discriminating account of his style see the Boston Symphony Orchestra Program Book, for January 17, 1919.
[273]On account of the length of these works it is impossible to include any of them in the Supplement.
[273]On account of the length of these works it is impossible to include any of them in the Supplement.
[274]Study, if possible, the orchestral score. For class-room work there is an excellent four-hand arrangement by the composer, and one for two hands by Ernest Alder.
[274]Study, if possible, the orchestral score. For class-room work there is an excellent four-hand arrangement by the composer, and one for two hands by Ernest Alder.
[275]This terse phrase is identical with motives from several other works,e.g., the beginning of Liszt'sLes Préludes, the motive "Muss es sein?" in Beethoven's quartet, opus 135, and the Fate motive in Wagner'sValkyrie.
[275]This terse phrase is identical with motives from several other works,e.g., the beginning of Liszt'sLes Préludes, the motive "Muss es sein?" in Beethoven's quartet, opus 135, and the Fate motive in Wagner'sValkyrie.
[276]See for example the opening measures of theWaldsteinand of theAppassionataSonata.
[276]See for example the opening measures of theWaldsteinand of theAppassionataSonata.
[277]Brilliant by reason of the fact that the four principal tones in D major, D, A, G, E areopenstrings on the violin.
[277]Brilliant by reason of the fact that the four principal tones in D major, D, A, G, E areopenstrings on the violin.
[278]The scoring of this theme for trumpets, cornets and trombones has been severely criticized and it is true that the cornet is an instrument to be employed and played with discretion. The writer, however, has heard performances of this work in which the cornets seemed to give just that ringing note evidently desired by Franck.
[278]The scoring of this theme for trumpets, cornets and trombones has been severely criticized and it is true that the cornet is an instrument to be employed and played with discretion. The writer, however, has heard performances of this work in which the cornets seemed to give just that ringing note evidently desired by Franck.
[279]The harmony of this passage is most characteristic of Franck and should be carefully studied.
[279]The harmony of this passage is most characteristic of Franck and should be carefully studied.
[280]See hisCourse in Composition, book II, pp. 423-426.
[280]See hisCourse in Composition, book II, pp. 423-426.
[281]Note the correspondence between these measures in the first part and the measures just before the end in the second part.
[281]Note the correspondence between these measures in the first part and the measures just before the end in the second part.
[282]Already cited onpage 57,Chapter IV.
[282]Already cited onpage 57,Chapter IV.
[283]The indication by letters is the same in the full score as in the version for two pianofortes.
[283]The indication by letters is the same in the full score as in the version for two pianofortes.
[284]This school may be said to contain two groups: one, the pupils of César Franck—d'Indy, Chausson, Duparc, Rousseau, Augusta Holmès and Ropartz, the chief feature in whose style is a modernization of classic practice; a second consisting of Debussy, Ravel, Dukas and Florent Schmitt, whose works manifest more extreme individualistic tendencies.
[284]This school may be said to contain two groups: one, the pupils of César Franck—d'Indy, Chausson, Duparc, Rousseau, Augusta Holmès and Ropartz, the chief feature in whose style is a modernization of classic practice; a second consisting of Debussy, Ravel, Dukas and Florent Schmitt, whose works manifest more extreme individualistic tendencies.
[285]The well-known German scholar and editor Max Friedländer, who visited this country in 1910, acknowledged—in a conversation with the writer—that he had never even heard of Chabrier!
[285]The well-known German scholar and editor Max Friedländer, who visited this country in 1910, acknowledged—in a conversation with the writer—that he had never even heard of Chabrier!
[286]D'Indy's significant contributions to operatic and choral literature, such asFervaal,L'étranger,Le Chant de la ClocheandLa Légende de St. Christophe, lie without our province.
[286]D'Indy's significant contributions to operatic and choral literature, such asFervaal,L'étranger,Le Chant de la ClocheandLa Légende de St. Christophe, lie without our province.
[287]From the Cévennes region whence d'Indy's family originally came.
[287]From the Cévennes region whence d'Indy's family originally came.
[288]See the elaborate analysis by Mr. Mason in the essay above referred to.
[288]See the elaborate analysis by Mr. Mason in the essay above referred to.
[289]For a detailed analysis the student is referred to the account by the composer himself in hisCours de Composition Musicale, part II, pp. 484-486; to Gilman'sStudies in Symphonic Musicand to Vol. 3 of Mason'sShort Studies of Great Masterpieces.
[289]For a detailed analysis the student is referred to the account by the composer himself in hisCours de Composition Musicale, part II, pp. 484-486; to Gilman'sStudies in Symphonic Musicand to Vol. 3 of Mason'sShort Studies of Great Masterpieces.
[290]From this comparison we should not wish it to be understood that Debussy is merely an addition to the standard Romantic group of Schumann, Chopin, Liszt, etc.; his style, however, is surely Romantic in the broad sense of the term,i.e., highly imaginative and individual.
[290]From this comparison we should not wish it to be understood that Debussy is merely an addition to the standard Romantic group of Schumann, Chopin, Liszt, etc.; his style, however, is surely Romantic in the broad sense of the term,i.e., highly imaginative and individual.
[291]Thetrès exceptionnel, très curieux, très solitaire Claude Debussyas he has been aptly characterized.
[291]Thetrès exceptionnel, très curieux, très solitaire Claude Debussyas he has been aptly characterized.
[292]The first authentic use being probably by Dargomijsky in his opera theStone Guest.
[292]The first authentic use being probably by Dargomijsky in his opera theStone Guest.
[293]For an enlightening amplification of this point see the first chapter of Wallace'sThe Threshold of Music.
[293]For an enlightening amplification of this point see the first chapter of Wallace'sThe Threshold of Music.
[294]Seepage 193.
[294]Seepage 193.
[295]For further suggestive comments on Debussy's style consult theEssay on Pelléas et Mélisandeby Lawrence Gilman (G. Schirmer, New York) and in particular an article by the same author in the Century Magazine for August, 1918.
[295]For further suggestive comments on Debussy's style consult theEssay on Pelléas et Mélisandeby Lawrence Gilman (G. Schirmer, New York) and in particular an article by the same author in the Century Magazine for August, 1918.
[296]Gosse also calls it afamous miracle of intelligibility.
[296]Gosse also calls it afamous miracle of intelligibility.
[297]The best books yet written on Debussy and his style are those by Mrs. Liebich and Louis Laloy. Consult also the comprehensive essay by E.B. Hill in Vol. III of theArt of Music.
[297]The best books yet written on Debussy and his style are those by Mrs. Liebich and Louis Laloy. Consult also the comprehensive essay by E.B. Hill in Vol. III of theArt of Music.
[298]See the 2d volume ofGreat Composersby D.G. Mason and also the essay on Debussy inContemporary Composersby the same author.
[298]See the 2d volume ofGreat Composersby D.G. Mason and also the essay on Debussy inContemporary Composersby the same author.
[299]According to Ernest Newman in a well-known article in the Musical Times (London).
[299]According to Ernest Newman in a well-known article in the Musical Times (London).
[300]An excellent collection of modern French songs may be found in the two volumes published by the Oliver Ditson Co. in the Musicians Library.
[300]An excellent collection of modern French songs may be found in the two volumes published by the Oliver Ditson Co. in the Musicians Library.
[301]While he was riding a bicycle.
[301]While he was riding a bicycle.
[302]The best account of his works and style is to be found in the volumeMaurice Ravel et son oeuvreby Roland Manuel.
[302]The best account of his works and style is to be found in the volumeMaurice Ravel et son oeuvreby Roland Manuel.
[303]Le Gibbetis without doubt the most realistic piece of musical description in our time.
[303]Le Gibbetis without doubt the most realistic piece of musical description in our time.
[304]Witness the wonderful manifestation of these qualities by the French in the recent war.
[304]Witness the wonderful manifestation of these qualities by the French in the recent war.
[305]In Grove's Dictionary, under Bass, occurs this statement: This voice, found, or at least cultivated, only in Russia is by special training made to descend to FFmusic[Listen] [MusicXML].
[305]In Grove's Dictionary, under Bass, occurs this statement: This voice, found, or at least cultivated, only in Russia is by special training made to descend to FFmusic[Listen] [MusicXML].
[306]The writer had this statement from the lips of Tchaikowsky's own brother, Modeste.
[306]The writer had this statement from the lips of Tchaikowsky's own brother, Modeste.
[307]See the passage from his diary (quoted on page 504 of theBiographyby his brother) in which he writes—"What touching love and compassion for mankind lie in these words: 'Come unto me, all ye that labor and are heavy laden!' In comparison with these simple words all the Psalms of David are as nothing."
[307]See the passage from his diary (quoted on page 504 of theBiographyby his brother) in which he writes—"What touching love and compassion for mankind lie in these words: 'Come unto me, all ye that labor and are heavy laden!' In comparison with these simple words all the Psalms of David are as nothing."
[308]See the detailed program by the composer himself, cited in Nieck'sProgram Music.
[308]See the detailed program by the composer himself, cited in Nieck'sProgram Music.
[309]For this simile I am indebted to Mr. Philip Hale.
[309]For this simile I am indebted to Mr. Philip Hale.
[310]For further comment see the Life of Tchaikowsky by Rosa Newmarch.
[310]For further comment see the Life of Tchaikowsky by Rosa Newmarch.
[311]As may be seen by the number of illustrations from it in text books!
[311]As may be seen by the number of illustrations from it in text books!
[312]The authoritative work on Tchaikowsky isThe Life and Lettersby his brother Modeste; the abridged biography by Rosa Newmarch should also be read. There are excellent essays inMezzotints in Modern Musicby Huneker; in Streatfield's volumeModern Composersand in Mason'sFrom Grieg to Brahms.
[312]The authoritative work on Tchaikowsky isThe Life and Lettersby his brother Modeste; the abridged biography by Rosa Newmarch should also be read. There are excellent essays inMezzotints in Modern Musicby Huneker; in Streatfield's volumeModern Composersand in Mason'sFrom Grieg to Brahms.
[313]The passage has already been cited inChapter IVas an example of a deceptive cadence.
[313]The passage has already been cited inChapter IVas an example of a deceptive cadence.
[314]By double counterpoint is meant such a grouping of the voices that they may be inverted (the upper voice becoming the lower and vice versa) and sound equally well. For further comments, together with illustrative examples, consult Chapter IX of Spalding'sTonal Counterpoint.
[314]By double counterpoint is meant such a grouping of the voices that they may be inverted (the upper voice becoming the lower and vice versa) and sound equally well. For further comments, together with illustrative examples, consult Chapter IX of Spalding'sTonal Counterpoint.
[315]The most authoritative work in English is theHistory of Russian Musicby Montagu-Nathan; in French there are the EssaysMusiques de Russieby Bruneau.
[315]The most authoritative work in English is theHistory of Russian Musicby Montagu-Nathan; in French there are the EssaysMusiques de Russieby Bruneau.
[316]Quoted from the chapter on Russian music inFamous Composers and Their Works(2d series).
[316]Quoted from the chapter on Russian music inFamous Composers and Their Works(2d series).
[317]Towards the end of his life he destroyed many of his compositions.
[317]Towards the end of his life he destroyed many of his compositions.
[318]For a delightful account of the friendship of these two composers consult the volumeBorodin and Lisztby Alfred Habets (translated by Rosa Newmarch).
[318]For a delightful account of the friendship of these two composers consult the volumeBorodin and Lisztby Alfred Habets (translated by Rosa Newmarch).
[319]According to Liszt "a compendium of musical science in the form of a jest."
[319]According to Liszt "a compendium of musical science in the form of a jest."
[320]This work in structure is a Suite,i.e., there are four distinct, separated movements.
[320]This work in structure is a Suite,i.e., there are four distinct, separated movements.
[321]For biographical information consult the volume by Montagu-Nathan.
[321]For biographical information consult the volume by Montagu-Nathan.
[322]Quoted from the article in Grove's Dictionary.
[322]Quoted from the article in Grove's Dictionary.
[323]Quoted from theArt of Music, Vol. III.
[323]Quoted from theArt of Music, Vol. III.
[324]His surname is to be accented on the first syllable—a fact which may be remembered from the story attributed to Liszt who, once asking Smetana how his name was to be pronounced received this reply: My name is alwaysOverture to Fidelio[Listen] [MusicXML]Smétana, Smétana, Smétanabut neverOverture to Leonora, No. 3[Listen] [MusicXML]Friedrich Smetána Friedrich Smetána.
[324]His surname is to be accented on the first syllable—a fact which may be remembered from the story attributed to Liszt who, once asking Smetana how his name was to be pronounced received this reply: My name is always
Overture to Fidelio
[Listen] [MusicXML]
Smétana, Smétana, Smétana
but never
Overture to Leonora, No. 3
[Listen] [MusicXML]
Friedrich Smetána Friedrich Smetána.
[325]For example in the second movement of Smetana's Quartet and in Dvořák's Suite for small orchestra, op. 39.
[325]For example in the second movement of Smetana's Quartet and in Dvořák's Suite for small orchestra, op. 39.
[326]For a graphic description of the country and the customs of its people consult the essay on Dvořák in Hadow'sStudies in Modern Music.
[326]For a graphic description of the country and the customs of its people consult the essay on Dvořák in Hadow'sStudies in Modern Music.
[327]A detailed account of these works may be found in the article on Smetana inFamous Composers and their Works(2d series).
[327]A detailed account of these works may be found in the article on Smetana inFamous Composers and their Works(2d series).
[328]For his biography, consult the Hadow essay (referred to above) and the chapter on Dvořák in Mason'sFrom Grieg to Brahms.
[328]For his biography, consult the Hadow essay (referred to above) and the chapter on Dvořák in Mason'sFrom Grieg to Brahms.
[329]The author has heard this symphony played in Prague and other continental cities under Bohemian conductors. It is always welcomed as being thoroughly characteristic of Bohemia.
[329]The author has heard this symphony played in Prague and other continental cities under Bohemian conductors. It is always welcomed as being thoroughly characteristic of Bohemia.
[330]For detailed analytical comment consult Vol. III ofShort Studies in Great Masterpiecesby D.G. Mason.
[330]For detailed analytical comment consult Vol. III ofShort Studies in Great Masterpiecesby D.G. Mason.
[331]Note for example the chords at the opening of the slow movement.
[331]Note for example the chords at the opening of the slow movement.
[332]The best biography in English is that by H.T. Finck; the work, however, is somewhat marred by fulsome praise.
[332]The best biography in English is that by H.T. Finck; the work, however, is somewhat marred by fulsome praise.
[333]During the summer solstice it is dark for only a few hours; and further north, in the land, so-called, of the Midnight Sun, for a few weeks there is perpetual daylight.
[333]During the summer solstice it is dark for only a few hours; and further north, in the land, so-called, of the Midnight Sun, for a few weeks there is perpetual daylight.
[334]He was called by Bülow the Chopin of the North.
[334]He was called by Bülow the Chopin of the North.
[335]An admirable treatment of the whole subject may be found in Vol. III ofThe Art of Music.
[335]An admirable treatment of the whole subject may be found in Vol. III ofThe Art of Music.
[336]For a detailed account of his life and works consult the essay inContemporary Russian Composersby Montagu-Nathan and Vol. III ofThe Art of Music.
[336]For a detailed account of his life and works consult the essay inContemporary Russian Composersby Montagu-Nathan and Vol. III ofThe Art of Music.
[337]For a comprehensive estimate of his style and achievements the following works will prove useful: theBiography, by Eaglefield Hull; the Essay, by Montagu-Nathan in the volume referred to, and an article by W.H. Hadow in the Musical Quarterly for Jan. 1915.
[337]For a comprehensive estimate of his style and achievements the following works will prove useful: theBiography, by Eaglefield Hull; the Essay, by Montagu-Nathan in the volume referred to, and an article by W.H. Hadow in the Musical Quarterly for Jan. 1915.
[338]Who lost his life on the Sussex when it was torpedoed by the Germans.
[338]Who lost his life on the Sussex when it was torpedoed by the Germans.
[339]For a comprehensive account, historical and critical, of this influence consult the volume by Carl Van VechtenThe Music of Spain.
[339]For a comprehensive account, historical and critical, of this influence consult the volume by Carl Van VechtenThe Music of Spain.
[340]Some pithy remarks on the habitual English attitude toward music may be found in the history of Stanford and Forsyth, page 313,seq.
[340]Some pithy remarks on the habitual English attitude toward music may be found in the history of Stanford and Forsyth, page 313,seq.
[341]See for example the broad theme in the middle portion of the March,Pomp and Circumstance.
[341]See for example the broad theme in the middle portion of the March,Pomp and Circumstance.
[342]This valuation of American composers is made solely on the basis of published compositions.
[342]This valuation of American composers is made solely on the basis of published compositions.
[343]For additional comments on this point see an article by the author in the Musical Quarterly for January, 1918.
[343]For additional comments on this point see an article by the author in the Musical Quarterly for January, 1918.
[344]Performed recently several times by the Flonzaley Quartet.
[344]Performed recently several times by the Flonzaley Quartet.