CHAPTER VIII.
CHAMBER MUSIC OF THE RUSSIAN COMPOSERS.
Russian chamber music — Glinka — Quartett by Ippolitoff-Ivanoff — Quartett by Gretchaninoff — Mozart on melody — Russian schools of musical thought — Belaieff — String Quartett on name Belaieff — Arensky — Trio in D minor: Arensky — Sokoloff — Tanyeëff — Kopyloff — Tschaïkovsky.
Russian Chamber Music
A comparatively unexplored field presents itself in the chamber music by Russian composers. Ippolitoff-Ivanoff, Kopyloff, Sokoloff, Gretchaninoff, these are a few of the almost unknown names of this school. No doubt certain chamber works by Tschaïkovsky, Arensky, and one or two others are a little known in England, but those of the composers named hardly at all. Glinka, César Cui, Rimsky-Korsakoff, Liadoff, Glazounoff, and Tanyeëff are also composers whose chamber music is deserving of serious attention, for recent musical history contains nothing more interesting than the progress of Russian music.
Glinka
Glinka (1803-57) is usually regarded as the founder of the movement, but his chief works are operatic. He was a man of remarkable character, and did a great work for the welfare of music in Russia. His opera, Life for the Czar, marks an epoch in the national artistic life. Apart from his operas, however, he did not write a great deal, his chamber music being limited to a Septett, two String Quartetts, and a Trio for piano, clarinet, and oboe. Some of his orchestral pieces are remarkable. He took a deep interest in this kind of composition, and being a man of progressive mind he shook off the ordinary conventional methods; and his works show this in details such as quitting the routine which had previously made the first violins always play above the seconds, and these above the violas. He was also in the habit of calling the wind instruments “orchestral colour,” and the strings “orchestral motion.”
Russian orchestral music (notably Tschaïkovsky’s Pathetic Symphony, and other of his works) has, chiefly by the efforts of Mr. Henry J. Wood and the Queen’s Hall Orchestra, become familiar amongst us, and by the use of strong colour and highly emotional effects, such music has no doubt obtained much attention, but it is very doubtful if we yet know the best about this Russian school, for an examination of the chamber music of the composers named above, reveals a surprising number of works, written with true feeling and the highest technical skill. Some of these shall be referred to in detail, but it may be observed that many of these composers are manifestly influenced by, and have gathered up into classical form (as did Haydn, and, to name a modern instance, Grieg), the folk music of the common people. There seems to be an immense wealth of this kind of musical material to be found in Russia, often couched in quaint, irregular rhythms, but full of a weird charm, even though strange to Western ears. That such material should appeal strongly to the musicians of a race so powerfully affected by their emotions as are the Sclavs is what might be expected, and as the supply is said to be practically inexhaustible and often of considerable artistic beauty, the further developments in this direction will be watched with keen interest.
IPPOLITOFF-IVANOFF.
ARENSKY.
Quartett by Ippolitoff-Ivanoff
Our first example is a String Quartett in A minor, op. 13, by Ippolitoff-Ivanoff (Jurgenson, Moscow). It has been said that the Sclav temperament is one of “fiery exaltation on a basis of languid melancholy.” Ivanoff’s quartett, in a measure, illustrates this, for it opens with a sorrowful passage of much intensity, which, in its feeling (not the notes), reminds one of the Tristan Prelude of Wagner. The entry of the two violins on one note, and the poignant effect which immediately results as they separate a semitone, is a marked and original feature of the whole work, and may indeed be regarded as its “motto.” It reappears at the end of the first allegro, and again, in fuller form with fine effect, just before the coda of the finale. The commencement of Tschaïkovsky’s String Quartett in F, op. 22, has a certain kinship to this, but the treatment and the effect are quite different. The same may be said as to the beginning of his Quartett op. 30 in E♭ minor.
Ippolitoff-Ivanoff, Op. 13.
After some thirty bars of this introduction the first movement proper, an allegro, begins with the following theme, in which it must be admitted there is a certain excess of the semiquaver movement, used in a fragmentary manner as an accompaniment to the leading ideas:—
Ippolitoff-Ivanoff, Op. 13.
This is followed by the second theme, a somewhat quaint people’s song kind of tune, played by the first violin and viola in octaves, the second violin keeping up the semiquaver rhythm just referred to, and the ’cello playing quavers pizzicato.
Ippolitoff-Ivanoff, Op. 13.
After a considerable amount of interesting development the movement is brought to a close with the motto theme, lento pianissimo, thus:—
Ippolitoff-Ivanoff, Op. 13.
The lento quoted above consists of twenty-one bars, of which only the last eight are here given. The second movement is entitled “Humoresca-Scherzando.” It has two principal themes, the first busy and jocose as becomes such a movement, the second of volkslied flavour and in good contrast to the first:—
Ippolitoff-Ivanoff, Op. 13.
No. 1.
No. 2.
Between this scherzo and the finale stands an intermezzo (allegretto grazioso). The melody is played by the first violin, which, along with the second violin and viola, is muted while the ’cello plays a pizzicato counterpoint. This is a graceful and pleasing movement, and if less characteristic than the others, it affords a well-calculated change of effect. The last movement (allegro risoluto) begins with a bold passage in A minor (No. 1), joined a little later on to a contrasted phrase (No. 2), of which much is subsequently made.
Ippolitoff-Ivanoff, Op. 13.
No. 1.
No. 2.
Later on another theme appears, which is worked along with those already mentioned, and the Quartett concludes with a condensed version of the introductory lento, or motto theme, merging into a rapid coda of some thirty bars, based on the opening theme of the allegro. It will hardly be gainsaid that we here have an interesting work, which, if not absolutely great, is worthy of attention both for its own sake and as an object lesson, showing as it does, what is being done by a nation whose music has already exerted a powerful influence on the art.
Our second example is a String Quartett in G major, op. 2, by Alexander Gretchaninoff.
Quartett by Gretchaninoff
According to some authorities the String Quartett as an art-form has not advanced since Beethoven, he, it is asserted, having said the last word in this style. While it may be admitted that there is a good deal of warrant for this assertion, and that an analysis of Beethoven’s Quartetts, from the op. 18 to say the C♯ minor op. 131, reveals a wealth of musicianship which is no doubt disconcerting to the modern aspirant, yet it is hardly a sufficient reason why this particular source of musical inspiration should be regarded as closed, and that the man of to-day should cease writing. There is still at any rate one way in which a composer may justify himself. He may, if he can, write genuine tunes.
Doubtless a sound knowledge of the multiform devices of harmony, counterpoint, and the rest, is an important part of his equipment. But such knowledge may be acquired; whereas, if devoid of true tune, his best efforts are doomed to failure, for this tune-faculty is born with the man, and cannot be learned from books.
Mozart on Melody
Mozart indeed settled the question, once and for all, when he said “melody is the essence of music.” If we open at random the pages of works so dissimilar, say, as Handel’s Messiah, Wagner’s Parsifal or Bach’s Forty-Eight,[34] what are we sure (among a host of other things) to find? Is it not melody? It may not be the conventional eight-bar tune, but in the true sense of the word it is sure to be melody. No doubt the words “tune” and “melody” have been used in a too restricted sense, and against this we must guard ourselves, for melody in reality represents the chief idea in music, and no art is worth much whose ideas are weak. Take, for example, Beethoven’s C minor Symphony. No one would call that musical battering-ram with which the work commences—
a tune, in the usual meaning of that word; but, all the same, it is a musical idea full of real vitality, which clings to the memory with all the power of the finest tune that was ever written. It is in this light that the later works of Beethoven, and, to name another of the giants, those of Brahms, should be viewed.
No doubt a composer may produce certain effects by progressions of harmony which can hardly be regarded as a tune. For example, the following motive from the first act of Wagner’s Götterdämmerung:—
To call this a tune would be straining language, but none the less if a composer be possessed of what we call genius, such phrases will (as this does) produce on the mind of the listener an effect in all respects as vivid as that which the most fully developed melody produces under other musical conditions. The idea of a true composer is strong, and therefore it succeeds.
But it will doubtless be in the reader’s mind to ask what all this has to do with a String Quartett by an unknown composer. This merely, that without claiming for him the most exalted rank, Gretchaninoff possesses the gift of tune, and on this account, as well as by reason of his sound musicianship, what he has done deserves attention.
This Quartett, op. 2, is in classical form, and consists of the usual four movements. It commences with a short andante, whose opening phrase, played by the four instruments in unison, is:—
As in the Ivanoff Quartett previously noticed, we have here, in the first three notes of this quotation, a motto theme. This, when the first movement proper (allegro) is reached, is given out by the ’cello alone in the following complete form:—
and it is frequently met with in various shapes during the progress of the movement. Its first three notes, modified in this way—
are skilfully used in the scherzo to form a connecting link with the passage which leads from the moderato to the repetition of the presto. Also it is found at the commencement of the vivace movement with which the work ends.
The second theme of the opening movement may also be quoted, exemplifying as it does what has been said about the melodic interest with which Gretchaninoff invests his work:—
Gretchaninoff, Op. 2.
The almost Italian feeling and freedom of expression here will not escape notice; also that while there is no lack of scholarship, it is only used as a means to an end.
The second movement commences thus:—
Gretchaninoff, Op. 2.
This leads to a charming second theme which speaks for itself:—
Gretchaninoff, Op. 2.
The remarks on [page 149] apply with equal force to the melody played by the 2nd violin in the above extract.
The third movement is a scherzo, full of life and vivacity. Its first theme, given out by the viola, is heard after a few bars of introduction, thus:—
Gretchaninoff, Op. 2.
This is developed, with much spirit and variety of treatment, until with slackened speed it merges into a “moderato e tranquillo,” to which reference has been made as containing, near its close, the “motto theme.” After this the first subject of the scherzo is resumed, and the movement runs on to a climax, in which, with excellent effect, the original theme is given out by the violins in octaves.
The finale commences with a slow introduction, whose first notes are made up of a unison passage in the minor mode, which is closely akin to the motto theme. At the commencement of the vivace which follows this introduction we again have the motto in the major mode:—
Gretchaninoff, Op. 2.
Of this theme (the motto) in various forms much use is made during the course of the finale. Here, for instance, is an interesting passage, the latter part of which (meno mosso) is a metamorphosis of this theme:—
Gretchaninoff, Op. 2.
The almost orchestral effect of extended unison passages such as this and the previous example is perhaps hardly admissible in the chamber music form. Yet in the works of the classical masters (Cherubini, for instance) such passages may at times be found.
Later in the movement the viola, with a quiet persistence which runs on for a number of bars, repeats this same theme thus:—
Another theme of melodious character may also be quoted. It appears first in the key of E♭, and later in G, and, along with what has been mentioned, constitutes the principal subject-matter of the movement which ends this interesting Quartett. The following is the theme as it first appears:—
Gretchaninoff, Op. 2.
As regards the composer of this Quartett, it may be added that Le Ménestrel of July 13th of the year 1902 announced “that a new opera, entitled Nikita Dobriniez, by a young and unknown composer named Gretchaninoff, will be produced in St. Petersburg during the coming winter season.”
Russian Schools of Musical Thought
The two chief cities of the Russian Empire, St. Petersburg and Moscow, have each had its representative school of musical thought, the one at first working almost entirely for the advancement of a purely national style, the other, with a more eclectic taste, favouring outside ideas and influences.
Tschaïkovsky was the leader at Moscow, having for his adherents Arensky, Rachmaninoff, and Siloti; while Rimsky-Korsakoff, Balakireff, Borodin, and others represented the more conservative St. Petersburg. But along with this external division of interests there always prevailed the utmost unanimity and a genuine feeling of brotherhood, and one result of this may be found in their working together, in a quite intimate way, in the composition of works like the String Quartett based on the notes B A F, which is the joint production of Rimsky-Korsakoff, Liadoff, Borodin, and Glazounoff.
Belaieff
The story runs[35] that in the year 1881, at St. Petersburg, a certain M. Belaieff, a wealthy and enthusiastic amateur, happened to be present at the rehearsal of the first Orchestral Symphony by Alexander Glazounoff, and was so much impressed by its fine qualities that he decided to remove what had hitherto been a difficulty and establish a music-publishing house, which should have for its object the issuing of Glazounoff’s works and those of other composers of this Russian school. He, indeed, proved himself a very Mæcenas, organising concerts in and out of Russia, and never tiring in his endeavours to gain a hearing for the composers whose cause he had thus so practically espoused.
No wonder, therefore, that they should desire to do him honour, and in this Quartett we find one such act of homage. As most musicians are quite well aware, the note B♭ is in Germany called B, and B♮ is called H; hence the possibility of writing, as has several times been done, a fugue whose subject is the name of the great composer Bach.
B A C H
String Quartett on Name Belaieff
In like manner these Russian composers took the three syllables of the name of their friend Belaieff, and, Be standing for B♭, la for the sixth note A of the natural scale, and eff for the note F, they used the theme—
B la F
as the leading motive of a composition, consisting of (1) an Allegro by Rimsky-Korsakoff, (2) Scherzo by A. Liadoff, (3) Serenata alla Spagnola by A. Borodin, and (4) Finale by A. Glazounoff. The composition begins in this manner:—
N. Rimsky-Korsakoff.
B la F
Leading to the Allegro:—
B la F
The second movement, a Scherzo, commences thus:—
A. Liadoff.
The usual Trio, which follows, commences thus:—
After this the Scherzo is repeated, with considerable development.
This is the third movement, written, as the name indicates, in the Spanish style:—
Serenata alla Spagnola.
A. Borodin.
The last movement (allegro), which is perhaps the least satisfactory of the set, commences somewhat after the manner of the introduction by Rimsky-Korsakoff, but subsequent treatment is different.
A. Glazounoff.
A composition of this kind is obviously more of a curiosity than a work of the highest art; but an examination of the score reveals a surprising amount of skill, and, considering the restrictions under which they wrote, the several composers have contrived to invest the Quartett with much more melodic interest than at first seems possible.
Other Russian composers who were associated with Belaieff have written works on the same theme, among these being a Serenade for String Quintett by Nicolas Sokoloff; and by A. Kopyloff an Andantino, and a Prelude and Fugue, both for String Quartett.
Arensky
Another work, which is, however, written much more in the idiom characteristic of the Russian school than that which has just been named, is the String Quartett in A minor, op. 35a, dedicated to the memory of Tschaïkovsky, by Arensky.
Anton Stepanovitch Arensky was born at Novgorod in the year 1862, and studied for some time with Rimsky-Korsakoff; but, whilst acquiring a sound knowledge of technique, he does not appear to have been very largely influenced by that composer’s ideas. He is rather to be reckoned as belonging to the eclectic school of Tschaïkovsky, with whom he was subsequently associated for many years in Moscow. He has composed two operas, of which the first, A Dream on the Volga, is of considerable dimensions; also a Ballet and two Symphonies, besides a large number of piano pieces of varying merit. In these he displays considerable ingenuity, but unfortunately the effect is not always spontaneous; in fact, it seems as though he sometimes sets out to startle, without due thought as to whether it is worth while. Amongst his best works should be mentioned three Suites for two Pianos Concertante, afterwards orchestrated by the composer, of which the second, entitled “Silhouettes,” has attained a well-deserved popularity. His activity as a teacher is also very great, and he has produced some valuable theoretical works. Amongst the many musicians who have passed through his hands must be mentioned Sergius Rachmaninoff, one of the most promising members of the younger generation of composers.
The Quartett, op. 35a, was originally composed for violin, viola, and two ’cellos, and afterwards re-written for the usual combination. Far from its losing by the change, its heaviness is considerably relieved and its value enhanced. It is dedicated to the memory of Tschaïkovsky, the material being taken from the Greek orthodox liturgy, from Tschaïkovsky’s own works, and from national sources.[36]
The work opens thus:—
Arensky, Op. 35a.
A little farther on this is repeated in slightly varied form, with a fresh theme played above it by the first violin:—
Arensky, Op. 35a.
This, with further variation and another theme of an equally melodious and elegiac character, constitutes the basis of the first movement, which after considerable development ends pianissimo with a repetition of the opening theme. An air, quoted below, obviously of the volkslied order, treated in variation form, constitutes the second movement, and presents numerous points of interest. The coda, for instance, commences with four bars of chords of harmonics played by the four instruments. This leads on to a repetition of the elegiac theme with which the Quartett begins, and then the movement ends with certain quaint allusions to the theme quoted above.
Arensky, Op. 35a.
Theme.
The finale, which is in free fugal form, with an introductory andante and a short adagio episode, brings this interesting work to a conclusion.
Trio in D Minor: Arensky
Another composition by Arensky is the Trio in D minor, op. 32, for piano, violin, and ’cello, inscribed to the memory of the ’cellist, Charles Davidoff, who was the principal of the Conservatoire at St. Petersburg. It was played at the Monday Popular Concerts in 1896 by Sapellnikoff, Joachim, and Paul Ludwig. It is well written, but, save as to the elegiac slow movement, not touched with the usual Sclav feeling, nor is the melodic material, although pleasant enough, at all remarkable. In a still greater measure the same judgment applies to this composer’s Quintett, op. 51, for piano and strings, an elaborate and high-sounding but really somewhat empty composition.
Other chamber music works of this school which may be mentioned are:—
Sokoloff
(1) A String Quartett in F, op. 7, by Nicolas Sokoloff, a St. Petersburg musician, born in the year 1858. The first movement of this work is well characterised, and contains some remarkable imitative writing. The whole Quartett, if not great, is certainly worthy of attention.
Tanyeëff
(2) A String Quartett in D minor, op. 7, by S. Tanyeëff, which consists of two movements only, the second being a notable set of eight variations, with a coda which is based on the principal theme of the first movement. Tanyeëff, who was a pupil of Tschaïkovsky, is now professor of harmony and composition in the Conservatoire of Moscow.
Kopyloff
(3) A String Quartett,[37] op. 15, by Alexander Kopyloff, one of the staff of the Imperial Chapel in St. Petersburg. This work is much simpler in construction than the others. It may be recommended to amateurs as a pleasant and quite practicable, if not very distinguished, composition.
Tschaïkovsky
Another work which cannot be omitted in a notice of Russian chamber music is the Trio for piano and strings, op. 50, by Tschaïkovsky; a lengthy and deeply brooding work of highly impressive character, which is already well known in England.
Tschaïkovsky (1840-93) was the most distinguished of the modern Russian school of composers, and a musician of remarkable originality and power. He was educated for the legal profession, and entered the Government Civil Service, but the musical impulses asserted themselves with such force that in 1866, having first seriously studied for some time, he henceforth devoted himself to the musical profession.
He was deeply imbued with the national influences of his country, and did what he could to foster and develop them. “His music shows the strange and violent contrasts of mood characteristic of his race; now full of a wild and barbarous energy and fiery intensity; now of almost maiden tenderness and ingenuousness; now of a black and hopeless melancholy.”[38]
Tschaïkovsky’s chamber music consists of a String Sextett, op. 70, three String Quartetts, the Piano Trio named above, and a number of compositions for piano and violin, piano and ’cello, and piano alone.