THE ART OF MUSIC: VOLUME TWO

A Narrative History of Music

Department Editors:

LELAND HALL
AND
CÉSAR SAERCHINGER

Introduction by

LELAND HALL
Past Professor of Musical History, University of Wisconsin

BOOK II
CLASSICISM AND ROMANTICISM

NEW YORK
THE NATIONAL SOCIETY OF MUSIC
1915

Copyright, 1915, by
THE NATIONAL SOCIETY OF MUSIC, Inc.
(All Rights Reserved)

A NARRATIVE HISTORY OF MUSIC
INTRODUCTION TO VOLUME II

In the first volume of The Art of Music the history of the art has been carried in as straight a line as possible down to the death of Bach and Handel. These two great composers, while they still serve as the foundation of much present-day music, nevertheless stand as the culmination of an epoch in the development and style of music which is distinctly of the past. Many of the greatest of their conceptions are expressed in a language, so to speak, which rings old-fashioned in our ears. Something has been lost of their art. In the second volume, on the other hand, we have to do with the growth of what we may call our own musical language, with the language of Beethoven, Schubert, Schumann, Wagner and Brahms, men with whose ideals and with whose modes of expression we are still closely in touch. In closing the first volume the reader bids farewell to the time of music when polyphony still was supreme. In opening this he greets the era of melody and harmony, of the singing allegro, the scherzo, the rondo, of the romantic song, of salon music, of national opera and national life in music.

We have now to do with the symphony and the sonata, which even to the uninitiated spell music, no longer with the toccata and the fugue, words of more or less hostile alarm to those who dread attention. We shall deal with forms based upon melody, shall trace their growth from their seeds in Italy, the land of melody, through the works of Haydn, Mozart, and Beethoven. We shall watch the perfecting of the orchestra, its enrichment in sonority and in color. We shall see the Lied spring from the forehead of Schubert. We shall mark the development of the pianoforte and the growth of a noble literature of pianoforte music, rivalling that of the orchestra in proportion and in meaning. A new opera will come into being, discarding old traditions, alien myths, allying itself to the life of the peoples of Europe.

Lastly we shall note the touch of two great forces upon music, two forces mysteriously intertwined, the French Revolution and the Romantic Movement. Music will break from the control of rich nobles and make itself dear to the hearts of the common people who inherit the earth. It will learn to speak of intimate mysteries and intensely personal emotion. Composers will rebel from dependence upon a patronizing class and seek judgment and reward from a free public. In short, music will be no longer only the handmaiden of the church, or the servant of a socially exalted class, but the voice of the great human race, expressing its passions, its emotions, its common sadness and joy, its everyday dreams and even its realities.

The history of any art in such a stage of reformation is necessarily complicated, and the history of music is in no way exceptional. A thousand new influences shaped it, hundreds of composers and of virtuosi came for a while to the front. Political, social and even economical and commercial conditions bore directly upon it. To ravel from this tangle one or two threads upon which to weave a consecutive narration has been the object of the editors. Minuteness of detail would have thwarted the purpose of this as of the first volume, even if space could have been allowed for it. The book has, therefore, been limited to an exposition only of general movements, and to only general descriptions of the works of the greatest composers who contributed to them. Many lesser composers, famous in their day, have not been mentioned, because their work has had no real historical significance. They will, if at all vital, receive treatment in the later volumes.

On the other hand, the reader is cautioned against too easy acceptance of generalities which have long usurped a sway over the public, such as the statement that Emanuel Bach was the inventor of the sonata form, or that Haydn was the creator of the symphony and of the string quartet. Such forms are evolved, or built up step by step, not created. The foundations of them lie far back in the history of the art. In the present volume the attention of the reader will be especially called to the work of the Italian Pergolesi, and the Bohemian Johann Stamitz, in preparing these forms for Haydn, Mozart, and Beethoven.

Just as, in order to bring into relief the main lines of development, many men and many details have been omitted, so, in order to bring the volume to well-rounded close, the works of many men which chronologically should find their place herein have been consigned arbitrarily to a third volume. Yet such treatment is perhaps not so arbitrary as will at first appear. Wagner, Brahms, and César Franck are the three greatest of the later romantic composers. They developed relatively independently of each other, and represent the culmination of three distinct phases of the romantic movement in music. Their separate influences made themselves felt at once even upon composers scarcely younger than they. Men so influenced belong properly among their followers, no matter what their ages. Inasmuch as the vast majority of modern music is most evidently founded upon some one of these three men, most conspicuously and almost inevitably upon Wagner, contemporaries who so founded their work will be treated among the modern composers, as those men who lead the way over from the three great geniuses of a past generation to the distinctly new art of the present day. Notable among these are men like Max Bruch, Anton Bruckner, Hugo Wolf, Gustav Mahler, and Camille Saint-Saëns. Some of these men, by the close connection of their art to that of past generations, might perhaps more properly be treated in this volume, but the confusion of so many minor strands would obscure the trend of the narrative. Moreover, exigencies of space have enforced certain limits upon the editors. Thus, also, the national developments, the founding of distinctly national schools of composition in Scandinavia, Russia, Bohemia and elsewhere, directly influenced by the romantic movement in Germany, have had to find a place in Volume III.

It is perhaps in order to forestall any criticism that may be made in the score of what will seem to some serious omissions. Composers of individual merit, though their music is of light calibre, are perhaps entitled to recognition no less than their confrères in more ambitious fields. We refer to such delightful writers of comic opera as Johann Strauss, Millöcker, Suppé, etc., and the admirable English school of musical comedy headed by Sir Arthur Sullivan. Without denying the intrinsic value of their work, it must be admitted that they have contributed nothing essentially new or fundamental to the development of the art and are therefore of slight historical significance. The latter school will, however, find proper mention in connection with the more recent English composers to whom it has served as a foundation if not a model. More adequate treatment will be accorded to their works in the volumes on opera, etc.

In closing, a word should be said concerning the contributors to the Narrative History. There is ample precedent for the method here employed of assigning different periods to writers especially familiar with them. Such collaboration has obvious advantages, for the study of musical history has become an exceedingly diverse one and by specialization only can its various phases be thoroughly grasped. Any slight difference in point of view or in style will be more than offset by the careful and appreciative treatment accorded to each period or composer by writers whose sympathies have led them to a careful and adequate presentation, in clear perspective, of the merits of a given style of composition. The editors have endeavored as far as possible to avail themselves of the able researches recently made in Italy, Germany, France, etc., and they extend their acknowledgment to such authors of valuable special studies as Johannes Wolf, Hermann Kretschmar, Emil Vogel, Romain Rolland, Julien Tiersot, etc., and especially to the scholarly summary of Dr. Hugo Riemann, of Leipzig. A more extensive list of these works will be found in the Bibliographical Appendix to Volume III.

Leland Hall

CONTENTS OF VOLUME TWO

PAGE
Introduction by Leland Hall[iii]
Part I. The Classic Ideal
CHAPTER
I.The Regeneration of the Opera[1]
The eighteenth century and operatic convention—Porpora
and Hasse—Pergolesi and the opera buffa—Jommelli,
Piccini, Cimarosa, etc.—Gluck’s early life; the Metastasio
period—The comic opera in France; Gluck’s reform;
Orfeo and Alceste—The Paris period; Gluck and Piccini;
the Iphigénies; Gluck’s mission—Gluck’s influence; the
opéra comique; Cherubini.
II.The Foundations of the Classic Period[45]
Classicism and the classic period—Political and literary
forces—The conflict of styles; the sonata form—The Berlin
school; the sons of Bach—The Mannheim reform: the
genesis of the symphony—Followers of the Mannheim
school; rise of the string quartet; Vienna and Salzburg
as musical centres.
III.The Viennese Classics: Haydn and Mozart[75]
Social aspects of the classic period; Vienna, its court
and its people—Joseph Haydn—Haydn’s work; the symphony;
the string quartet—Wolfgang Amadeus Mozart—Mozart’s
style; Haydn and Mozart; the perfection of orchestral
style—Mozart and the opera; the Requiem; the
mission of Haydn and Mozart.
IV.Ludwig van Beethoven[128]
Form and formalism—Beethoven’s life—His relations
with his family, teachers, friends and other contemporaries—His
character—The man and the artist—Determining
factors in his development—The three periods in his
work and their characteristics—His place in the history of
music.
V.Operatic Development in Italy and France[177]
Italian opera at the advent of Rossini—Rossini and the
Italian operatic renaissance—Guillaume Tell—Donizetti and
Bellini—Spontini and the historical opera—Meyerbeer’s life
and works—His influence and followers—Development of
opéra comique; Boieldieu, Auber, Hérold, Adam.
Part II. The Romantic Ideal
VI.The Romantic Movement: Its Characteristics and Its Growth[213]
Modern music and modern history; characteristics of the
music of the romantic period—Schubert and the German
romantic movement in literature—Weber and the German
reawakening—The Paris of 1830: French Romanticism—Franz
Liszt—Hector Berlioz—Chopin; Mendelssohn—Leipzig
and Robert Schumann—Romanticism and classicism.
VII.Song Literature of the Romantic Period[269]
Lyric poetry and song—The song before Schubert—Franz
Schubert; Carl Löwe—Robert Schumann; Robert
Franz; Mendelssohn and Chopin; Franz Liszt as song writer.
VIII.Pianoforte and Chamber Music of the Romantic Period[293]
Development of the modern pianoforte—The pioneers:
Schubert and Weber—Schumann and Mendelssohn—Chopin
and others—Franz Liszt, virtuoso and poet—Chamber
music of the romantic period; Ludwig Spohr and others.
IX.Orchestral Literature and Orchestral Development[334]
The perfection of instruments; emotionalism of the romantic
period; enlargement of orchestral resources—The
symphony in the romantic period; Schubert, Mendelssohn,
Schumann; Spohr and Raff—The concert overture—The rise
of program music; the symphonic leit-motif; Berlioz’s
Fantastique; other Berlioz symphonies; Liszt’s dramatic
symphonies—Symphonic poem; Tasso; Liszt’s other symphonic
poems—The legitimacy of program music.
X.Romantic Opera and the Development of Choral Song[372]
The rise of German opera; Weber and the romantic opera;
Weber’s followers—Berlioz as opera composer—The drame
lyrique from Gounod to Bizet—Opéra comique in the romantic
period; the opéra bouffe—Choral and sacred music
of the romantic period.
Part III. The Era of Wagner
XI.Wagner and Wagnerism[401]
Periods of operatic reform; Wagner’s early life and
works—Paris: Rienzi, “The Flying Dutchman”—Dresden:
Tannhäuser and Lohengrin; Wagner and Liszt; the revolution
of 1848—Tristan and Meistersinger—Bayreuth; “The
Nibelungen Ring”—Parsifal—Wagner’s musico-dramatic reforms;
his harmonic revolution; the leit-motif system—The
Wagnerian influence.
XII.Neo-Romanticism: Johannes Brahms and César Franck[443]
The antecedents of Brahms—The life and personality of
Brahms—The idiosyncrasies of his music in rhythm, melody,
and harmony as expressions of his character—His
works for pianoforte, for voice, and for orchestra; the historical
position of Brahms—Franck’s place in the romantic
movement—His life, personality, and the characteristics of
his style; his works as the expression of religious mysticism.
XIII.Verdi and His Contemporaries[477]
Verdi’s mission in Italian opera—His early life and education—His
first operas and their political significance—His
second period: the maturing of his style—Crowning
achievements of his third period—Verdi’s contemporaries.