Chapter 12

[42]Ex.40,44,46.

[43]Ex.42,45.

[44]Ex.36.

[45]SeeAppendix of Musical Illustrations, Examples58to66.

[46]Ex.58,62.

[47]Ex.59.

[48]Ex.60,66.

[49]Ex.65.

[50]The present writer has developed and edited this mass as a posthumous work, opus 147, in the hope of presenting it in a form suitable for performance.

[51]SeeAppendix of Musical Illustrations, Examples48to57.

[52]Ex.51.

[53]Ex.49.

[54]Ex.52,53,54.

[55]Ex.56,57.

[56]SeeAppendix of Musical Illustrations, Examples67to75.

[57]Ex.67to75.

[58]Ex.67.

[59]Ex.70,71.

[60]Ex.71.

[61]Ex.73.

[62]Ex.69,72.

[63]Seefootnoteonpage 118in reference to the sensation recently created by Richard Strauss' opera "Salome."

[64]SeeAppendix of Musical Illustrations, Examples97to103.

[65]Seefootnoteonpage 118in reference to "Salome."

[66]Most of these examples have been selected from the transcriptions in skeleton form of Friedrich Rösch. Nos.16and19were suggested by Richard Aldrich. Nos.34,35,36,37were prepared by Strauss himself.

[67]Seefootnoteonpage 118in reference to Strauss' latest dramatic production.

[68]Appendix, Ex.102,103.

[69]Appendix, Ex.97to101.

[70]See Ex.8.

[71]Since published.

[72]Since the above lines were written, a sixth period was assuredly entered upon with the opera "Salome," first performed at Dresden in the fall of 1905 under the magnetic baton of Schuch, director of the Royal Opera. The work, which has since been given throughout Europe and in New York, has universally created a sensation to which nothing in the annals of the musical stage furnishes a parallel unless it be the initial performances of "Tristan und Isolde" in Munich in 1865. "Salome," by reason of its overwhelming dramatic force, the sureness of Strauss' marvellous use of representative themes, together with an orchestral color-scheme beyond anything he has used before, not only marks an epoch in the career of this still young composer and an epoch also in his orchestration, but becomes a landmark in the form of opera as evolved from and built upon the Tetralogy of Wagner.

[73]Appendix, Ex.100.

[74]Ap. Ex.102.

[75]Ap. Ex.103.

[76]Appendix, Ex.97.

[77]At the present moment Max Reger is exciting increased comment by reason of his continued revolutionary ideas expressed through the medium of the orchestra.

[78]Engelbert Humperdinck directed by invitation his opera "Hänsel und Gretel" at the Metropolitan Opera House, New York, during the season 1905-1906.

[79]Ludwig Thuille died since the above lines were written.

[80]Gustav Mahler, from 1897 to 1907 director of the Opera at Vienna, has of late invited comment throughout the musical world because of the colossal form and daring orchestration of his symphonies. His present activity in New York should give American critics an excellent opportunity to estimate the importance of his contributions to musical art. Leo Blech is commanding favorable criticism particularly by his opera "Das war ich," while d'Albert's highly effective operas "Die Abreise" and "Flauto solo" are being performed on nearly every operatic stage in Germany. "Flauto solo" is winning popularity only secondary, perhaps, to that of Lehár's internationally favored operetta "Die lustige Witwe," which is at present going the rounds of the United States under its Anglicized title of "The Merry Widow."

[81]Another interesting and rather bold point of view in reference to the significance of Chabrier's undertakings is to the effect that "Chabrier was an inspired experimenter, but would never have become a master; nevertheless, his experiments are more valuable to art than the mastery of Saint-Saëns."

[82]See footnotes on pages137and161in reference to the masterly orchestration of Debussy and of Elgar.

[83]SeeAppendix of Musical Illustrations, Examples76to82.

[84]Ex.79.

[85]Ex.76,77,78.

[86]Ex.82.

[87]Ex.80,81.

[88]During the past two years particularly, Debussy's orchestral compositions have awakened much interest in France and in the United States, while his opera "Pelléas et Mélisande" to-day shares critical favor in Paris with Charpentier's "Louise." Both these operas are being performed in New York during the present season of 1907-1908.The orchestration of "Pelléas et Mélisande" strengthens the previously formed conviction that Debussy is proving a worthy elaborator upon Saint-Saëns' lucid and refined methods. The key-note is transparency combined with an all-sufficient sonority. In a word, the cardinal feature of Debussy's scoring is the indispensability of each note, each phrase, each melody, even when assigned to the so-called secondary instruments of the orchestra—and this is by no means invariably the case in the scores of even such masters as Wagner, Elgar, Richard Strauss!

The orchestration of "Pelléas et Mélisande" strengthens the previously formed conviction that Debussy is proving a worthy elaborator upon Saint-Saëns' lucid and refined methods. The key-note is transparency combined with an all-sufficient sonority. In a word, the cardinal feature of Debussy's scoring is the indispensability of each note, each phrase, each melody, even when assigned to the so-called secondary instruments of the orchestra—and this is by no means invariably the case in the scores of even such masters as Wagner, Elgar, Richard Strauss!

[89]It is but justice to accord Anton Fuchs a large measure of credit for the recent successful series of performances of Wagner's "Parsifal" in New York at the Metropolitan Opera House.

[90]Although Giacomo Puccini (1858) has long since been held by his countrymen at his true valuation, it is only during the past few years that the world at large has come to realize that his productions are more significant than those of Mascagni and Leoncavallo who, until 1896, had won an international reputation that temporarily overshadowed that of Puccini. Even though Puccini lays himself open to criticism as to the æsthetic value of his choice of librettos in which ultra-sensationalism frequently plays so conspicuous a rôle, there is no longer any doubt that his operas "La Bohème" and "Tosca" have now been permanently admitted to the standard repertoires of the dramatic stage, and, together with his recent success, "Madam Butterfly," have caused the entire musical world to put their stamp of approval upon the earlier verdict of Puccini's countrymen in regarding him as a worthy successor to Verdi and as the most gifted living representative of Italian operatic art.

[91]Wolf-Ferrari (1876) is probably the youngest living composer to whom already more than fleeting recognition has been accorded. It is not an easy matter to decide under what classification he should be placed. With a German father, his mother an Italian, and married to an American, his instincts are Italian, though he owes the stability of his musical training to Rheinberger at Munich. His melodic form is conspicuously Italian, while his harmonic substructure is more or less Teutonic. His orchestration is eclectic; on the other hand, its cardinal characteristic consists of a happy appropriation of Mozart's naïve touch. In a word, one might go yet farther and say that it is precisely this naïveté, not alone in orchestration but in musical substance as well, that makes Wolf-Ferrari's music so refreshing. He owes the opening up of his career to the opera "Die neugierigen Frauen," which has enjoyed a notable and wide-spread popularity in Germany, whereas he has already demonstrated his ability to handle large vocal and orchestral forces for concert performance by his setting of Dante's "La vita nuova," which has also excited favorable comment in Germany and has just been performed in New York with success.

[92]Joseph Suk (1874) continues to command critical favor, as evidenced, for example, by his successful appearance on the concert stage of Berlin in the fall of 1906. Particularly his "Scherzo fantastique" is widely known and well received.

[93]SeeAppendix of Musical Illustrations, Examples90to96.

[94]Ex.93,96.

[95]Ex.91.

[96]Ex.90.

[97]Edvard Hagerup Grieg died in Bergen, Norway, on September 4, 1907.

[98]Enna's recently composed opera "Aglaia" has yet to await the favorable verdict of the general public. Taking into consideration the kindly and patriotic disposition of his own countrymen toward all serious artistic efforts on the part of their native composers, it is reasonable to predict that "Aglaia" will eventually receive the same cordial reception as its predecessors, at least in so far as the Danish audience is concerned. (During the past year the present writer has had repeated opportunity to note the attentive attitude of the public in the Danish capital toward aspiring home talent,—a national trait of such exceptional virtue that it cannot be sufficiently commented upon.)

[99]This would appear to be a fitting place for mention of the Finnish composer, Sibelius (1865), who has, during the immediate past few years, added a new name to the list of modern Northern writers for the orchestra, besides being distinctly the first composer of Finland to acquire international reputation.

[100]In the fall of 1905, Stennhammer's opera "Das Fest auf Solhaug" was heard for the first time at the Royal Opera House in Berlin. A condensed version of Ibsen's drama constitutes the libretto. From the very beginning of the introduction to the final note of the last act the listener is primarily impressed by and almost solely interested in the limpid pureness and delicacy, the masterly finish of detail both inner and outer, and the sensitive appreciation for the suppression of dynamic excess as revealed in itsorchestration. But the immaturity in the literary form and style of this earlier conception of Ibsen precludes the possibility of more than momentary interest for Stennhammer's opera, unless, perhaps, within the confines of Scandinavian shores.

[101]SeeAppendix of Musical Illustrations, Examples83to89.

[102]Ex.83,86,89.

[103]Ex.85.

[104]Ex.84,88.

[105]Ex.87.

[106]A. Goring Thomas (1851) should, chronologically, be referred to at this point in view of the present continued popularity and frequent performance in the United States of his cantata "The Swan and the Skylark," even though the work is said to have been orchestrated by Stanford. On the other hand, more pronounced independence is evidenced in such of Thomas' representative works as the opera "Esmeralda" and the choral ode "The Sun Worshippers." The general substance of his compositions displays delicacy and refinement in orchestration and the possession of a real melodic gift.

[107]The favorable comment excited a few years ago by the cantata "Hiawatha" by S. Coleridge-Taylor (1875) has proved to be of more than passing endurance. Mention of his activity, which includes also such works as an operetta, "Dream Lovers," is therefore in place. Coleridge-Taylor is the first composer of African descent to command serious recognition.

[108]Elgar's "The Apostles" is the general title of a cycle of four works for voices and orchestra, of which Part II, named "The Kingdom," was completed and performed since the above was written. "The Kingdom" further discloses the remarkable individuality of Elgar's style, which in turn bespeaks the exalted spiritual nature of the man.Each successive work that emanates from Elgar's pen emphasizes his monumental command of polyphonic structure in its largest dimensions, clothed meanwhile in the most realistic of orchestral garments. It would be going too far to aver that Elgar approaches Richard Strauss as an orchestrator; on the other hand, it will hardly be questioned that there are three prominently conspicuous composers of the present day who, having put themselves in close touch with the ideals of Richard Wagner and agreeing to a more or less degree with the tenets of Richard Strauss, stand forth as the recognized vancouriers in their respective countries for the most advanced phase of orchestral art:—Elgar, Debussy, MacDowell.

Each successive work that emanates from Elgar's pen emphasizes his monumental command of polyphonic structure in its largest dimensions, clothed meanwhile in the most realistic of orchestral garments. It would be going too far to aver that Elgar approaches Richard Strauss as an orchestrator; on the other hand, it will hardly be questioned that there are three prominently conspicuous composers of the present day who, having put themselves in close touch with the ideals of Richard Wagner and agreeing to a more or less degree with the tenets of Richard Strauss, stand forth as the recognized vancouriers in their respective countries for the most advanced phase of orchestral art:—Elgar, Debussy, MacDowell.

[109]John Knowles Paine died in Cambridge, Massachusetts, on April 25, 1906. He did not live to hear a complete performance of his opera, although after his death a concert rendition of most of the music was given as a memorial in Boston under the direction of B.J. Lang.

[110]The entire country mourns the premature death of Edward Alexander MacDowell, which occurred in New York on January 23, 1908.

[111]Seefootnote,page 173.

[112]"The Pipe of Desire," a romantic grand opera in one act by F.S. Converse, was twice performed in Boston early in 1906, and reveals significant command of the modern technics of orchestration.

[113]The recently performed "Pagan Poem" (op. 14) of Charles Martin Loeffler (1861) would indicate that a list of the world's representative masters of modern orchestration made up five years from now would include his name.

[114]Dr. Karl Muck was its conductor for the season of 1906-1907, and continues in the position for 1907-1908.

[115]Frederic Archer died since the above lines were written.

[116]The retirement of Professor Paine not long before his death, and the recent resignation of Assistant Professor Converse for the purpose of devoting himself to composition, leaves the department of music at Harvard in charge of Assistant Professor Spalding.

Transcriber’s Errata ListAppendix No. 10: Although described in the original as being from Haydn's "Symphony in D, No. 2," this music, and that in the following three examples, is actually from his Symphony No. 104.Appendix No. 14: Although described in the original as being from Haydn's "Symphony No. 3," this music is actually from his Symphony No. 101.Appendix No. 15: Although described in the original as being from Haydn's "Symphony No. 4," this music is actually from his Symphony No. 94.Appendix No. 16: Although described in the original as being from Haydn's "Symphony No. 5," this music is actually from his Symphony No. 97.Appendix No. 17: Although described in the original as being from Haydn's "Symphony No. 6," this music is actually from his Symphony No. 102.Appendix No. 90: This symphony is nowadays referred to as No. 9.

Transcriber’s Errata List

Appendix No. 10: Although described in the original as being from Haydn's "Symphony in D, No. 2," this music, and that in the following three examples, is actually from his Symphony No. 104.

Appendix No. 14: Although described in the original as being from Haydn's "Symphony No. 3," this music is actually from his Symphony No. 101.

Appendix No. 15: Although described in the original as being from Haydn's "Symphony No. 4," this music is actually from his Symphony No. 94.

Appendix No. 16: Although described in the original as being from Haydn's "Symphony No. 5," this music is actually from his Symphony No. 97.

Appendix No. 17: Although described in the original as being from Haydn's "Symphony No. 6," this music is actually from his Symphony No. 102.

Appendix No. 90: This symphony is nowadays referred to as No. 9.

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