Mendelssohn.

The influence which Mendelssohn exercised during two-thirds of the 19th century among the more conservative German musicians and in England was nothing short of extraordinary. He undoubtedly gave great impetus to the study of the classic masters, especially Bach, and his romantic tendencies were so balanced and controlled as to gain a speedy recognition for his music. Today, Mendelssohn the classicist is less admired, and his music will live chiefly for its romantic qualities.

Mendelssohn’s Life.—Jakob Ludwig Felix Mendelssohn-Bartholdy[15] was born at Hamburg, February 3, 1809. His father, a prosperous banker, moved to Berlin in 1811. His first lessons in music were given him by his mother, but he soon began to study the piano with Ludwig Berger, a pupil of Clementi, and composition with Zelter. In 1820, he began to compose systematically. In 1821, he made the acquaintance of Weber, and his enthusiasm for the romantic composer lasted all his life. In 1824, he formed a life-long friendship with Moscheles, who gave him piano lessons. Already he was remarkable for his improvisations and for playing from scores. In 1825, a trip to Paris brought him into contact with the celebrated musicians there. In this year he composed his octet for strings, in which his individuality first asserted itself strongly. In the following summer he wrote the overture to “A Midsummer Night’s Dream,” a precocious evidence of originality. In 1827, he made the first draft of his overture “A Calm Sea and a Prosperous Voyage,” a further step into the realm of imagination. In 1829, he organized the first performance of Bach’s “St. Matthew Passion” music since the composer’s death. In this year a visit to England, where some of his compositions were performed, was followed by a trip to Scotland, the Hebrides and Wales, of which his impressions are recorded in the “Hebrides” overture, the “Scotch” symphony and other works of later years. He traveled much during the following years. In 1833, after another visit to England, where his recently composed “Italian” symphony was played, he conducted a musical festival at Düsseldorf, the first of many similar engagements. During the next few years he was constantly employed in conducting, playing and composing, especially his oratorio “St. Paul.” In 1837, he married Miss Cécile Jeanrenaud. From this time dates his second piano concerto in D minor, in which are to be seen traces of Thalberg’s piano style. During the next few years Mendelssohn lived at Leipzig. In 1843, he established a conservatory at Leipzig, long the most celebrated in Europe. Schumann, and later Moscheles, were among the teachers as well as Mendelssohn himself. In 1846, Mendelssohn’s oratorio “Elijah” was given a triumphant first performance at Birmingham under the composer’s direction. In 1847, he made his tenth visit to England for performances of “Elijah,” of his completed “Midsummer Night’s Dream” music (composed in 1845), the “Scotch” symphony and other works. The death of his sister, Fanny, following soon after those of his parents, was so great a shock to him that he went to Switzerland for a rest. He returned improved in health, but could not consider commissions for new works from England, Frankfort and Cologne. He was considering a trip to Vienna to hear Jenny Lind sing in “Elijah” when he was taken suddenly ill and died, November 4, 1847.

Personal Traits.—Mendelssohn is described as having an unusually animated, winning personality. He was immensely fond of society, which he could enjoy without detriment to his work. His letters describe in detail his innumerable professional engagements, his round of social festivities and his journeys with equal fidelity. Mendelssohn was fond of out-of-door life, walking, riding and swimming; he also greatly enjoyed dancing. One of his favorite relaxations was to sketch from nature or paint in water-colors. Mendelssohn was a remarkable pianist, of an unaffected type, not a virtuoso, yet his interpretations were full of vigor, charm and a thoroughly musical spirit. His improvisations were remarkable for their spontaneous invention, brilliance and science displayed, and his cadenzas to Beethoven’s 4th concerto and Mozart’s, in D minor, were striking examples of his skill. Mendelssohn was also a remarkable organist, if English testimony is to be credited. At all events, he did much to further the knowledge of Bach’s organ works. Mendelssohn’s incessant activity undoubtedly hastened his death; the amount that he compressed into his short life was incredible.

Compositions.—The works most representative of Mendelssohn are the “Scotch” and “Italian” symphonies, the overtures “A Calm Sea and a Prosperous Voyage,” “A Midsummer Night’s Dream,” “The Hebrides,” “Melusina,” “Ruy Blas”; the concertos and two smaller pieces for piano and orchestra; the concerto for violin; the octet for strings; two quintets and seven quartets; three quartets for piano and strings; two trios; two sonatas for piano and ’cello; for the piano, six preludes and fugues; three sonatas; the “Serious Variations”; six books of “Songs Without Words”; many smaller pieces, including the “Capriccio,” Op. 8; the “Rondo Capriccioso,” Op. 14; the Caprices, Op. 33; the Scherzo à Capriccio and others; sonatas, preludes and fugues for organ; the oratorios “St. Paul,” and “Elijah”; music to “A Midsummer Night’s Dream,” to the dramas “Athalie,” “Antigone” and “Œdipus”; the cantata “Walpurgis Night.” He also wrote a great deal of church music, psalms, hymns, motets, and cantatas for various occasions, including the “Lobgesang,” a symphony-cantata; many part-songs, duets and songs for single voice with piano accompaniment.

Felix Mendelssohn-Bartholdy.

Mendelssohn’s Tendencies.—Although he wrote almost exclusively in the conventional forms, Mendelssohn cannot be regarded as a continuator of the classics. In form, thematic development, counterpoint, part-writing, etc., he imitated the letter of classic example closely, but could not attain the inner spirit. To some extent he followed Bach, Handel, Mozart and Beethoven, but the chief source of his individuality is the romanticism of Weber. His piano style is adapted from that of Weber with some extensions of his own. Showered with praise as he was during his lifetime, as the possessor of all the classic virtues, we now admire him chiefly for his romanticism, timid and fastidious though it appears by comparison with the genuine innovations of Berlioz, Liszt and Wagner. In the light of the sturdy qualities of Brahms, his classicism seems superficial. His style was too polished to admit of real vigor. Nevertheless, Mendelssohn of the two symphonies, the “Midsummer Night’s Dream,” “Melusina” and “Hebrides” overture, the violin concerto, the piano concerto in G minor, the sonata for piano and ’cello in D, the scherzo of the octet, the “Serious Variations,” the Scherzo à Capriccio and some half a dozen of the “Songs Without Words” shows us a delicate and charming individuality with the refinement and decided perceptions of the poet, who regarded the world with the eyes of a romanticist recording many impressions of picturesqueness and grace, if seldom of strength.

Mendelssohn’s Influence as an Artist.—For a time, Mendelssohn’s influence was unbounded. His symphonies and overtures were considered worthy successors to those of Beethoven; his chamber-music was equally valued; his oratorios were regarded as on a level with those of Handel; his piano music, especially the “Songs Without Words,” were in universal vogue. His orchestral style contained many novel features, it is true, but his chamber-music was not written in the genuine manner and is far inferior to that of the later master, Brahms. His oratorios contain some notable choruses and airs, but on the whole are only faint imitations of the real oratorio style. Still they sufficed to form the foundation of an English school of composition in this form. His piano music contains much that is trivial, but at its best undoubtedly did something to prepare the way for the deeper romanticism of Schumann, Chopin and Liszt. His songs also have far less variety of mood and lyric inspiration than those of Schubert and Schumann, but they too acted as prophets of the more vital creations to follow.

That this reverence for Mendelssohn was no mere infatuation of the moment but a sober respect can best be judged from the diversity in nationality and temperament of those who came under his influence: Gade, the Norwegian; Sterndale Bennett, the English composer and pianist; Hiller and Reinecke among the Germans, and Rubinstein from Russia. These names constitute but a small proportion of Mendelssohn’s disciples, his personality dominated musical England in every branch of composition for many years; and English composers are only just beginning to throw off the yoke of adherence to the traditional oratorio form as exhibited in “St. Paul” and “Elijah.” Schumann admired Mendelssohn without reserve and without a suggestion of jealousy, although the tide of popular favor neglected him for his more easily understood contemporary. Today, criticism has swung possibly too far in the opposite direction, and Mendelssohn suffers from depreciation.

Questions and Suggestions.

Mention the significant events in Weber’s life.

Describe Weber the man.

Sketch the work of Weber as a composer.

Show the influence of Weber upon music.

Name some of Weber’s best-known piano works.

What composers were greatly influenced by Weber?

Give an account of Mendelssohn’s boyhood, manhood.

What educational work in music did Mendelssohn originate?

In what lines of musical work did Mendelssohn excel?

Name representative compositions of Mendelssohn.

What composers did Mendelssohn follow?

What influence did Mendelssohn exert on music?

For students who wish to study Weber’s characteristics, the Momento Capriccioso, Op. 12, the “Invitation to the Dance,” Op. 65, the piano sonatas in C and A-flat are the most representative, while the overtures to “Der Freischütz,” “Euryanthe” and “Oberon” show his style as a dramatic composer.

The following suggestions may aid the student in his study of Mendelssohn’s works: The “Italian” and “Scotch” symphonies, the “Midsummer Night’s Dream,” “Hebrides” and “Melusina” overtures, the Nocturne and Scherzo from the “Midsummer Night’s Dream” music, the violin concerto, the concerto in G minor and the Capriccio Brillante for piano and orchestra, the pieces for piano, Op. 7, Nos. 3 and 7, the Rondo Capriccioso, Op. 14, the Caprice, Op. 16, No. 2, the Prelude and Fugue, Op. 35, No. 1, the Serious Variations, Op. 54, the Scherzo à Capriccio without opus number, and the following “Songs Without Words,” Op. 19, Nos. 1, 2, 3, 6; Op. 38, Nos. 2, 3, 5; Op. 62, Nos. 3, 6; Op. 67, No. 4, and Op. 102, No. 3. Liszt has made an exceedingly effective transcription of Mendelssohn’s song “On the Wings of Song,” which is a popular concert number today.

LESSON XLIV.
Robert Schumann.

The Romantic Movement before Schumann.—Schubert gave a decided impetus to the Romantic movement through his spontaneous melody and deep fund of imagination. He infused poetry into the classic forms, his piano works in the small forms showed the way to future achievement in these lines, but especially he founded German song, which had scarcely been hinted at by Mozart and Beethoven. Although Weber extended the province of piano technic, and exhibited further possibilities of romantic feeling in combination with the rondo and sonata forms, his chief work was the realization of German opera, elsewhere described. But still another German was destined to contribute richly to romantic piano literature, to prove no mean successor to Schubert in the province of song, and to add further proofs of his genius in chamber-music, choral works and the symphony.

Schumann’s Early life.—Robert Alexander Schumann was born at Zwickau, in Saxony, June 8, 1810. His father was a bookseller with some attainments as an author. Schumann’s gift for music asserted itself early. He had piano lessons from a local organist at the age of six, and began to compose soon after. A taste for improvisation also developed. For several years his literary interests were as pronounced as those for music. He read assiduously, and was especially devoted to poetry. His general education was continued at the Zwickau Academy, where he studied until 1828. In 1827, he came under the joint influence of the writings of Jean Paul (Richter) the poet and novelist, and of Schubert’s music, both of which played an important part in his mental and artistic growth. In 1828, he entered the University of Leipzig with the intention of studying law. He kept up his music, however, and not only became enthusiastic over the clavier works of Bach, but took piano lessons of Friedrich Wieck, a celebrated teacher in Leipzig. In 1829, Schumann went to Heidelberg. Here he continued his law studies in a desultory fashion, but worked with the greatest persistence at piano playing. In 1830, he resolved to study law with more seriousness, but it was intensely repugnant to him, and after some reflection, he determined, with Wieck’s advice, to adopt music as a profession. Accordingly, he returned to Leipzig to study the piano with Wieck, but having the misfortune to injure a finger in his zeal for speedy perfection, he was obliged to forego the career of a virtuoso, perhaps to the great gain of music.

Schumann’s Professional Career.—He now devoted his attention to thorough study of composition with Heinrich Dorn. In 1834, Schumann founded the “New Journal of Music” in the interests of a higher critical standard, and the furtherance of worthy compositions. During ten years of editorship, Schumann found abundant outlet for his literary interests, and his paper exerted a considerable force on public opinion. Two of his greatest piano works, the Carnival, Op. 9, and the Symphonic Studies, Op. 13, belong to the year 1834. During the years 1836 and 1837, he had some intimacy with Mendelssohn. From 1836-39 date most of Schumann’s important works for the piano. In 1840, Schumann married Wieck’s daughter, Clara, the celebrated pianist, after several years’ struggle to gain her father’s consent. Schumann’s marriage was the turning-point in his artistic career, and his wife’s sympathy was a great stimulus to his creative activity. In the year following his marriage, Schumann turned to song-composing, producing more than one hundred songs in this period. In 1841, he gave himself up wholly to orchestral composition, writing his symphony in B-flat, the first draft of his D minor symphony, a third work, afterwards published as Overture, Scherzo and Finale, as well as the first movement of his piano concerto. In 1842, he confined himself almost exclusively to chamber-music, composing three string quartets, the masterly quintet, Op. 44, the quartet, Op. 47, for piano and strings, and a trio. To 1845 belong the “Variations” for two pianos, and a large choral work, “Paradise and the Peri.” In 1844, Schumann began the music to Goethe’s “Faust,” but ill-health interrupted him for more than a year. However, in 1845 he completed the piano concerto, wrote several works for pedal piano, and in 1846 finished his second symphony. In 1847, he began his opera “Genoveva,” which was not given until 1850. Late in 1850 he went to Düsseldorf to take a position as director. While here he composed his third symphony. In the following years he wrote several overtures, works for solo instruments and orchestra, the overture and incidental music to Byron’s “Manfred,” “The Pilgrimage of the Rose” and many other choral works, including a Mass and a Requiem. Early in 1854, symptoms of a mental disorder, which had been increasing of late years, culminated in an attempt at suicide. He passed the remaining years of his life in an asylum near Bonn, where he died July 29, 1856.

Robert Schumann.

Schumann’s Personality.—By reason of his two-fold activity as critic and composer, Schumann was a new force in music. Highly cultivated in literature, philosophy and poetry, he possessed a keen and discerning critical taste, and a literary style that was picturesque and eloquent. Schumann was shy and reserved by nature, he talked little but observed and reflected abundantly. He was never fond of society, and as years went by he lived more and more like a hermit, absorbed in composition and family life. For ten years, however, he was in touch with the public by reason of his editorship of the “New Journal,” and by his championship therein of all that was good and progressive in the music of the day, did much for the encouragement of true art. His articles on Schubert, Mendelssohn, Gade, Chopin, Berlioz, Liszt, Brahms and others formed a new epoch in musical criticism, and helped the cause of Romanticism immeasurably. No estimate of Schumann’s character is complete without taking into account these distinct tendencies as critic and composer. His collected writings give a graphic illustration of his views on music, and form a supplement to his personality as expressed in his music.

Schumann’s Compositions.—Schumann’s most representative works include four symphonies and the “Overture, Scherzo and Finale,” the overtures “Genoveva” and “Manfred”; three string quartets, a piano quintet, a piano quartet, three piano trios and two sonatas for piano and violin; the music to “Faust” and “Manfred”; “Paradise and the Peri,” “The Pilgrimage of the Rose” and other works for solos, chorus and orchestra; more than two hundred songs; the piano concerto and two smaller works for piano and orchestra, besides a monumental series of works for piano alone. In addition there are duets, part-songs, choruses, pieces for piano duet, a concert piece for four horns and orchestra, a concerto for ’cello and orchestra, a fantasy for violin and orchestra, besides short pieces for oboe, viola, clarinet and ’cello with piano accompaniment, the opera “Genoveva,” the overtures “The Bride of Messina,” “Julius Cæsar” and “Herman and Dorothea,” the Mass, Op. 147, and the Requiem, Op. 148.

It will be seen that Schumann wrote much in the sonata or symphonic form, yet his command of it was far from complete. In this respect and in instrumentation, Schumann was inferior to his romantic contemporary, Mendelssohn. On the other hand, he was far more original and his music has a much greater depth of sentiment, a higher sense of beauty and a noble human breadth that forms one of the highest points in the development of romanticism. What he lacked in technical attainment, he more than made up in beauty of themes, vigor and spontaneity of treatment, and thorough-going romanticism in moods. It is difficult to say which is his best symphony, they all have merits of their own; of the overtures, that to “Genoveva” (almost the only surviving portion of the opera) and “Manfred” are examples of Schumann’s ardent romanticism at its best. The string-quartets are not always in quartet style and their structure is sometimes open to criticism, but they are individual and contain much that is beautiful. The piano-quartet is a genial work of great spontaneity that took Europe by storm. It was immediately hailed as the greatest work since Beethoven, although its position might now be assailed by the piano quintets by Brahms and César Franck. The piano quartet, as well as the quintet, is a pioneer in this form of chamber-music, but has not the same flow of melody as the former. The trios and sonatas for violin and piano, although not on a level with the other chamber-music, have nevertheless striking qualities to commend them. Schumann’s choral music is decidedly unequal, but the “Paradise and the Peri,” and portions of the “Faust” and “Manfred” music display the same breadth of human emotion so characteristic of his best music. In the field of song, Schumann is a worthy successor to Schubert. Schumann’s songs have not the inexhaustible melody of Schubert’s, but they are richer harmonically, the accompaniments more individual, and the character of the poems more subtly brought out.

Schumann’s Contribution to the Short Piece.—Perhaps Schumann’s most conspicuous service to music lies in his development of the short piece. In this direction he has cultivated a branch of expression, with an originality, a freedom and a richness that have no parallel in the Romantic movement except in Chopin. Mendelssohn undoubtedly did something for the short piece, but his “Songs Without Words” are limited to a few types, while Schumann made the short form serve every variety of expression. He undoubtedly owed much to the examples of Schubert with his waltzes and other dances, the impromptus and moments musicals, but in richness of resource and spontaneity of expression he went much beyond the older master. His piano style is highly distinctive; it does not offer much that is new in finger technic, but in polyphonic treatment of melodies, in striking rhythms and harmonic effects and in original use of the pedal it is remarkable. Both in the sets of small pieces, such as the “Papillons,” Op. 2, the “Davidsbund Dances,” Op. 6, the “Carnival,” Op. 9, or the Flower pieces, Op. 19, and in the Novellettes, Op. 21, the Fantasie pieces, Op. 12, the Symphonic Studies, Op. 15, the Toccata, Op. 7, and the great Fantasy, Op. 17, Schumann displays a wealth of imaginative poetry that makes him one of the greatest romanticists in piano music. His piano works from Op. 2 to Op. 28 are matchless, although the sonatas, Op. 11 and 22, suffer from lack of coherence. The variations for two pianos, Op. 46, and the concerto, Op. 54, are models of their type. The “Album for the Young,” Op. 68, the “Forest Scenes,” Op. 82, the “Varied Leaves,” Op. 99, and the “Album Leaves,” Op. 124, are all admirable, and contain a great variety of short pieces, many of which were composed early in his career. Schumann’s songs and piano pieces are the best examples of his contribution to romanticism.

Schubert and Jean Paul Richter (the romantic novelist and poet) were the earliest influences in Schumann’s studies, nevertheless he admired Beethoven greatly, and shut himself up with his quartets as a preparation for his own chamber-music. As a student in Leipzig, he was devoted to Bach’s clavier works, and later in life he renewed his enthusiasm for Bach while writing the works for pedal piano and the piano fugues. Fugal form and romantic sentiment do not go well together, however, and Schumann’s compositions in this form are not his greatest. Schumann’s influence is strongest upon composers of songs and short piano pieces. It would be difficult to name even the most representative, but the most signal example is Brahms, whose songs and piano pieces could hardly exist but for Schumann. In many of the modern Russian composers we find distinct traces of Schumann, as well as among the Frenchmen Gabriel Fauré and Vincent d’Indy, the German Adolf Jensen, the Italian Sgambati, and many others.

Compositions Suggested for Study.—The symphonies, overtures, the chamber-music and the larger choral works are all characteristic of Schumann at his best, but for more detailed study of his piano music and songs the following are suggested. Of the piano works, the “Papillons,” Op. 2; the “Paganini Caprice,” Op. 3, No. 2; the “Davidsbund” dances, Op. 6, Nos. 1, 2, 4, 5, 7, 9, 11, 12, 16, 17, 18; the “Toccata,” Op. 7; the “Carnival,” Op. 9; the Sonata, Op. 11, especially the “Aria” and “Scherzo”; the “Fantasy Pieces,” Op. 12, entire except the “Fable”; the “Symphonic Studies,” Op. 13; the “Scenes from Childhood,” Op. 15, Nos. 1, 2, 4, 5, 7, 9 and 13; the “Kreisleriana,” Op. 16, Nos. 1, 2, 3, 4, 5 and 8; the “Arabesque,” Op. 18; the “Flower Pieces,” Op. 19; the “Humoreskes,” Op. 20; the “Novellettes,” Op. 21, Nos. 1, 2, 3, 4, 5, 7 and 8; the Sonata, Op. 22; the “Night Piece,” Op. 23, No. 4; the “Carnival Prank,” Op. 26, Nos. 1, 2, 3 and 4; the “Romance,” Op. 28, No. 2; the Variations for two pianos, Op. 46; the Concerto, Op. 54; the “Album for the Young,” Op. 68; “The Happy Farmer,” “May, Lovely May,” “First Loss,” “Small Romance,” “Remembrance,” November 4, 1847 (the date of Mendelssohn’s death); “Canonic Song,” “Theme,” two pieces without name, “Northern Song”; Op. 76, Nos. 1, 3 and 4; “Forest Scenes,” Op. 82; “Entrance,” “Lovely Flower,” “Inn,” “Bird as Prophet,” “Hunting Song,” “Elves”; Op. 99, Album Leaf, and Novellette; “Album Leaves,” Op. 124, Nos. 1, 2, 3, 4, 10, 13, 15 and 17. Of the songs: “Dedication,” “The Nut Tree,” “The Lotus Flower,” “Highland Cradle Song,” “Two Venetian Songs,” “Thou Art like a Flower,” and “Conclusion,” “The Boy with the Magic Horn,” “To the Sunshine,” “Forest Dialogue,” “Moonlight,” “Spring Night,” “Woman’s Love and Life,” “Spring Journey,” “In the Wondrous Month of May,” “From My Tears,” “The Roses, the Lily,” “When I Look into Thine Eyes,” “I Grudge it Not,” “The Two Grenadiers,” “Folk-Song.”

Questions.

Who represented the Romantic movement prior to Schumann?

Give the important events in Schumann’s early life.

Give the important events in Schumann’s professional career.

Give an account of Schumann as a man and as a critic.

How did Schumann help in musical progress?

What composers influenced him in his development?

In what forms did Schumann write?

Name representative works in the different forms.

What contribution did Schumann make to the development of the short piano piece?

What composers did Schumann influence?

Frederic Chopin.

LESSON XLV.
Frederic Chopin.

Schumann and Chopin.—Among Schumann’s many able reviews of new music, showing the keenest critical insight, none exhibit a more just appreciation of an original talent than his article on some variations by a young composer who was destined to exert so deep and widespread an influence on piano style and piano composition. Chopin’s romanticism, somewhat affected at first by both Hummel and Field, is one of the most individual developments of the entire period.

Chopin’s Early life.—Frederic Chopin was born at Zelazowa-Wola, near Warsaw, in Poland, on March 1, 1809. His father, who had served in various positions as a teacher, finally established a boarding-school in Warsaw. Chopin showed great sensitiveness towards music at an early age. His first lessons on the piano were given him by a Polish teacher of some celebrity, Adalbert Zwyny. He soon became famous as a pianist, and from the age of nine, played constantly at the houses of the nobility, and was eagerly received by them. In 1824, he entered the Warsaw Lyceum in order to pursue his general studies. About the same time he began lessons in composition with Elsner, who had a high reputation as a teacher. He had already composed pieces for the piano on his own account, and continued with such success that as early as 1825 his Op. 1, a Rondo, was published. In 1827, he left the Lyceum, and gave thereafter all his time to playing and composing. Soon after, he made great strides in composition, and many of his studies and smaller pieces, as well as his two concertos, belong to this period, or were begun then. Early in 1829, Hummel played in Warsaw, and the influence of his piano style is evident in the works of Chopin for some time to come. Later in this year, Chopin went to Vienna, where he gave two concerts, winning instant recognition both as pianist and composer. After his return to Warsaw he continued to compose much.

Chopin’s Manhood.—A second visit to Vienna occurred toward the end of 1830. He gave concerts, came into contact with many musicians, and even found time to compose; but being dissatisfied with conditions in Vienna, determined to go to Paris. Early in 1831, after giving concerts on the way, he arrived at Paris, which was henceforth to be his home. Here he was soon thrown with many of the leading musicians, his playing caused an immediate sensation, and as at Warsaw, he was welcomed in the most exclusive society. In 1832, he began to acquire fame as a piano teacher, especially of pupils from the aristocracy. From 1833 to 1835, his compositions began to appear, and gained him much approval as a composer. In 1835, he went to Leipzig, where he saw Wieck and his daughter, afterwards Clara Schumann, Mendelssohn and Schumann. In 1837, he met Madame George Sand, the famous writer, whose influence on his life was so great. During this year the first sinister symptoms of ill-health made their appearance. With the idea of benefiting his health, Chopin passed the winter of 1838-39 on the island of Majorca, with Madame Sand and her two children. The climate had a bad effect upon him; he could compose but little, and the condition of his lungs obliged a return to France. He was so ill as to be obliged to spend several months at Marseilles, recuperating. After a summer at Nohant, Mme. Sand’s country home, he was again at Paris in the fall of 1839. From 1840 to 1848, he lived in Paris, with occasional visits to Nohant in the summer, teaching as much as his health would allow, passing much time in the most aristocratic society. He seldom played in public, and would only play for pupils, or when persuaded by devoted friends to display his extraordinary gifts as a pianist. During these years, however, his health grew more and more precarious.

The Last Years of Chopin.—In 1847, the intimacy of Chopin and Madame Sand came to an end, for various causes, but largely because of a character caricatured from Chopin in one of Madame Sand’s novels, and because she was tired of taking care of him. Ill as he was, he went to England, after a farewell concert in Paris, arriving in the spring of 1848. He gave two concerts in London with some success, besides playing at friends’ houses. He went to Scotland at the instance of a pupil, Miss Stirling, gave concerts at Edinburgh and Glasgow, besides one in the interval at Manchester. During this entire tour he suffered greatly from ill-health and exhaustion, and after one more appearance in London, he returned to Paris, exceedingly ill, in January, 1849. He was not able to teach and was obliged to depend upon the generosity of friends; among them his pupil, Miss Stirling. After several months of hopeless struggle to regain his health, he died of consumption on October 17, 1849, surrounded by devoted friends.

Chopin’s Personality.—Chopin was extremely refined and delicate by nature. He was fastidious about the color and fit of his clothes, the furnishing and arrangement of his rooms, and other details of everyday life. He was always extremely fond of society and moved in the highest circles. As a rule, he was averse to seeing much of musicians, in spite of his friendship with Liszt, Hiller, Berlioz and Schumann. As a young man he was fond of dancing, acting and practical jokes; though sensitive, he was well and strong, and able to endure rough stage-journeys. He was a capital mimic all his life, and a witty companion who pleased by his gentle irony or sarcasm. He was extremely reserved in spite of his sociability, his intimate friends (either Polish or favorite pupils) even quarrelled as to which knew him best. He was genuinely confidential only in his music. Chopin was exceedingly patriotic; he was always ready to appear in concert in behalf of Polish refugees, he corresponded untiringly with his Polish friends, and gave many proofs of his devotion to Poland, which he never forgot in spite of years of absence.

Chopin as Pianist.—Chopin was a pianist of extraordinary distinction, in spite of the preëminence of Liszt. His technic, founded in the school of Clementi and Cramer, with great attention to Bach, was influenced to some extent by Hummel and Field, but later became highly original, and expressive of great individuality. Although he possessed great brilliancy, the most prominent trait in his playing was its all-pervading and inexhaustible fund of poetry. It had nothing harsh, unmelodious or ungraceful. His sense of rhythm was unusually piquant, and one of its features was the skilful use of tempo rubato, a slight variance from strict time without disturbing it fundamentally. In later life, Chopin became disinclined to appear in public, his performances were limited to the drawing-rooms of aristocratic friends, where he would play or improvise for hours. He was never a robust pianist at his strongest, and the transparent delicacy of his playing during his last years was almost incredible.

Chopin’s Compositions.—Chopin’s music constitutes the true revelation of himself. His life, not full of action, was, however, rich in emotion and sentiment of great variety and subtlety. Its mainsprings were his patriotic love of Poland and everything connected with it, and the poetic impressionability of his temperament, which were all transferred to his music. Although Chopin composed a number of works in which he uses the orchestra, some chamber-music, and a set of Polish songs, he was first and last a composer for the piano. In addition to the works referred to, he wrote three sonatas, four ballades, four scherzos, ten polonaises, fourteen waltzes, twenty-eight studies, fifty-five mazurkas, twenty-five preludes, seventeen nocturnes, three impromptus and a fantasie-impromptu, three rondos, besides a superb fantasy, a concert allegro, a barcarolle, a berceuse, a tarantelle, a bolero, a rondo for two pianos, and a few trifles.

Of his two concertos, the second published (although the first composed) is the finer. It is riper and more poetic, the slow movement reaches a high point of lyric style, and the treatment of form throughout the concerto is less awkward. Chopin is not at home in the sonata form, the concertos are interesting in spite of, rather than on account of, their treatment of form. The piano sonatas, Op. 35 and 58, have faults of structure, and occasional incoherence, but they are so full of poetry, romantic melody and dramatic mood that one almost overlooks their technical shortcomings.

Chopin Most Successful in Free Forms.—The most representative works of Chopin are those in which he adopts no conventional form, but follows his own instinct entirely. Thus, in his ballades, scherzos, and especially in the fantasy, Op. 49, one finds freedom of invention and variety of treatment combined with logical development and real coherence. The ballads are dramatic poems in which sentiment and virtuosity are happily united. The scherzos are original conceptions quite distinct from the accepted type; they have bold outlines, variety of mood and demand virtuosity in their performance. The fantasy is instructive in its logical structure, there is no sign of the constraint of the sonatas, and its contents are both dramatic on a large scale and lyric by contrast. The impromptus are shorter pieces of a lyric nature, although the element of virtuosity is not lacking. The nocturnes are lyric pieces of simple form but intimate style. Their general plan was at first copied from Field, but the imitator went so far ahead of his model as almost to eclipse it. Some of them portray idyllic moods, others are sentimental or even dramatic in their outlines. The studies, Op. 10 and 25, epitomize in a remarkable way Chopin’s technical innovations, and piano style. They are brilliant, poetic and highly dramatic by turns, and in their contents are the most musical studies composed up to their time.

National Spirit in Chopin’s Music.—Chopin, the patriot, was devoted to the dances and Folk-melodies of his own country. He was thoroughly national as a composer; hence in some respects his mazurkas and polonaises are the most characteristic of his compositions. The mazurkas with their vital rhythms and novel harmonies, contain much poetry of mood and variety of expression within small limits. The polonaise, as treated by Chopin, was less a dance form, and more an independent form with characteristic rhythms. The polonaises, Op. 44 and 53, are virtually patriotic poems. The preludes are sketches of varying size; some are genuine lyrics; some frankly technical in their object; others have a distinct touch of the dramatic. Some of the waltzes suggest the salon, but in others Chopin has individualized the type until it has risen above its origin. Among the single pieces, the Concert Allegro is large in dimensions, very interesting technically and musically. The Barcarolle, in nocturne-form on a larger scale, is almost heroic in its outlines, and a superb example of his mature style. Another piece equally deserving of distinction is the Berceuse, an ingenious series of variations on a persistent bass. The Tarantelle and Bolero are merely fascinating salon pieces.

Of the youthful works with orchestra, the variations on a theme from Mozart’s “Don Juan” are more interesting from the novelty of their piano styles than as variations; the Fantasie on Polish themes attracts attention chiefly on account of its Folk-song character, while the “Krakowiak” rondo is remarkable for its spirited national-dance rhythms. The orchestral accompaniments to these pieces are not significant; in fact, Chopin’s use of the orchestra was his weakest point. The Polish songs are unequal, and at best add little to his fame. Liszt, however, has transcribed six, of which two are frequently heard in concert, while Sgambati has arranged one.

Originality and Freshness of Invention.—The most extraordinary trait of Chopin as a composer is that, in spite of the limitations imposed by repeating the same form over and over again, he is almost inexhaustible in variety of expression. As the poet of lyric mood he accomplished almost as much as Schumann for the development of the short piece, while in his longer pieces of dramatic mood and large contours he has shown that the sonata-form is not the only structure by which to convey heroic sentiment. His was the most subtle originality, the most personal style which stamped itself indelibly on nearly every composition. He immeasurably broadened the technical treatment of the piano, not only as a virtuoso, but in the direction of variety of expression, delicate accentuation and exquisite tone. Among romantic composers he has done more for the advancement of piano style than anyone except Liszt. In spite of the latter’s gigantic achievement, the value of Chopin’s contribution is still unimpaired. From the point of view of expression, Chopin is more individual even than Schumann, but the honors as the most important composer for the piano during the Romantic period must be divided between them. Chopin’s influence has been immense not only on the composers and pianists of France and Germany but also markedly among living composers in Russia. Chopin is the preëminent poet of the piano.

Representative Compositions.—The following list for the student contains the works and pieces most thoroughly characteristic of his genius: The sonatas, Op. 35 and 38; the scherzos, Op. 20, 31 and 39; the ballades, Op. 23, 38, 47 and 52; the polonaises, Op. 22, 26, 40, 44 and 53; the waltzes, Op. 18, Op. 34, Nos. 1 and 2; Op. 42, Op. 64, Nos. 1, 2, and Op. 69, No. 1; the studies, Op. 10, Nos. 1, 2, 3, 4, 5, 6, 7, 10 and 12; Op. 25, Nos. 1, 2, 3, 5, 6, 7, 9, 11 and 12; the mazurkas, Op. 6, Nos. 1, 2; Op. 7, Nos. 1, 2, 3; Op. 17, Nos. 2, 3, 4; Op. 24, Nos. 1, 3, 4; Op. 30, Nos. 2, 4; Op. 33, Nos. 1, 3, 4; Op. 41, Nos. 1, 2; Op. 56, No. 2; Op. 59, Nos. 2 and 3; Op. 63, No. 3; Op. 68, No. 2; the nocturnes, Op. 9, Op. 15, Nos, 2, 3; Op. 27, Op. 37, Op. 48, No. 1; Op. 55, Op. 62, No. 1; the preludes, Op. 28, Nos. 1, 3, 4, 6, 7, 8, 9, 11, 15, 16, 17, 18, 20, 21, 23 and 24; the prelude, Op. 45; the impromptus, Op. 29, Op. 35, Op. 51, and the Fantasie-Impromptu, Op. 66; the Fantasy, Op. 49; the Tarantelle, Op. 43; the Berceuse, Op. 57; the Barcarolle, Op. 60, and the Concert Allegro, Op. 46.

Questions.

Give an account of Chopin’s early life.

Name the important events in his manhood and later life.

What were the striking traits of Chopin as a man?

What were Chopin’s qualities as a pianist?

In what forms did Chopin compose?

In what form was Chopin most successful?

In which of his compositions is the national spirit strongly evident?

What characteristics do we note in Chopin as a composer?

Name some representative compositions.

What composer influenced Chopin’s piano style in his early life?

What celebrated musicians were friends of Chopin?

LESSON XLVI.
Franz Liszt.

The piano music of Chopin and Schumann reached the highest level attained during the Romantic period, in subtle originality of style and deep human sentiment, respectively. Notwithstanding their preëminence in these particulars, a master was destined to come who summed up the entire development of piano technic in his achievements, the greatest virtuoso of the century, to whose influence all piano playing since has been obliged to acknowledge its indebtedness. In addition, his services in breaking away from symphonic tradition, in achieving propaganda for various composers of epoch-making works, including Wagner, in giving up himself as teacher without remuneration, are equally significant.

Liszt’s Early Life.—Franz Liszt was born October 22, 1811, at Raiding, Hungary. His mother was of Austrian birth; his father, a Hungarian, occupying an official position on the estates of Prince Esterhazy, was devoted to music. Liszt was a somewhat delicate child of acute sensibilities, especially in the direction of music. At the age of six he received piano lessons from his father. The intensity of his interest in music and his phenomenal progress soon showed the uncommon extent of his gifts. At the age of nine, he gave his first concert before an audience composed largely of Hungarian nobility. His performance was so extraordinary that some of those present agreed to give Liszt a pension for six years to insure his proper education. Accordingly, father and son went to Vienna, where the boy studied the piano with Carl Czerny and composition with Salieri. Czerny put Liszt through so thorough a course of discipline that at eleven years of age Liszt was known for his playing from scores, and reading the most difficult compositions at sight. In 1823, he gave two successful concerts; Beethoven was present at the second, and publicly kissed the boy in token of his approval. Liszt’s father now took him to Paris to study at the Conservatory, but the director, Cherubini, refused to allow him to enter because he was a foreigner. Liszt studied composition, however, with Paer and afterwards with Reicha. In the meantime, letters of introduction from Liszt’s Hungarian patrons soon sufficed to make him known throughout the most aristocratic circles, where he created an absolute furore. A public concert produced the same results on a larger scale. Later, Liszt made two visits to England; he was received at the Court of George IV, played in private, and gave concerts. On returning to Paris, he completed an opera, which was performed in Paris. This opera and other compositions of this period have entirely disappeared. Tours through France and a third visit to England followed. In 1827, Liszt’s father died, and his mother came to Paris to live; he supported her by giving lessons, and was soon in great demand as a teacher. An unfortunate love-affair caused him to consider entering the church. He lost interest in music, fell ill, and was supposed to be dead. Liszt gradually recovered, however. He now underwent a remarkable series of formative influences; he read widely, formed the acquaintance of many celebrated personages, including Chateaubriand, Lamartine, Victor Hugo and George Sand, became interested in the principles of St. Simonians, a somewhat socialistic sect, dallied with free-thinking and revolutionary tendencies, formed a friendship with the Abbé Lamennais, and became intimate with Berlioz and Chopin.

Franz Liszt.

Period of Preparation.—Of far deeper result was the appearance of Paganini in Paris during 1831. Liszt bent all his energies towards devising a transcendent piano technic to reproduce Paganini’s caprices on the piano. It was at this time that he laid the foundations of his gigantic achievements in piano technic, not merely in the interest of virtuosity, but for extending the limits of expression. He was also much affected by Chopin’s poetic individuality. In 1834, Liszt entered into an intimacy with the Comtesse d’Agoult, which lasted for several years. Three children were born of this union, of whom two survived. One daughter married M. Ollivier, a French statesman, the other became successively Mme. von Bülow and Mme. Wagner. During this period Liszt composed much for piano, made many transcriptions, and began his literary activity on musical subjects. He gave concerts, chiefly for charity. In 1837, he made a trip to Paris to contest the supremacy of the piano with Thalberg. Among his compositions of this period may be mentioned the etudes, the Rossini transcriptions, many arrangements of Schubert’s songs, the piano scores of several Beethoven symphonies, besides opera-fantasies, original pieces for piano, etc.

Professional Activity.—In 1838, Liszt created an extraordinary sensation by his concerts in Vienna, and from 1839 to 1847 lived the life of a traveling virtuoso, giving an unparalleled series of recitals throughout the length and breadth of Europe, which were a series of triumphs such as no artist had ever before experienced. In 1832, he was made court music-director at Weimar, his duties only requiring his presence for three months in the year. In 1847, Liszt met the Princess von Sayn-Wittgenstein, who exercised a remarkable influence over him. She persuaded him to give up his career as a virtuoso, and turn to composition. From 1848 to 1861 Liszt passed the most significant period of his life at Weimar. From his position as conductor he was of inestimable service to the cause of romantic music through his performance of operas and orchestral works by Wagner, Berlioz, Schumann, Raff, Cornelius and others. He was equally active with his pen in deference to the new artistic principles. To this epoch belong Liszt’s most important orchestral works, the concertos and other compositions for piano and orchestra, many transcriptions and editions of the classics.

Later Life.—In 1859, opposition to Liszt’s progressiveness became so pronounced that he resigned. He did not leave Weimar, however, until 1861. The rest of his life was somewhat irregularly divided between Rome, Weimar and Budapest. During the first few years at Rome he composed chiefly church music and oratorios; in 1865, he took minor orders in the Church of Rome. From 1869 on, persuaded by the Duke and Duchess of Saxe-Weimar, he passed portions of every year at Weimar in a beautiful house especially furnished for him by the Duke. Pupils flocked to him, he held a sort of musical court, and was treated with the respect due to royalty. His later years were full of activity, and generous sympathy to all that was worthy, and he was the constant object of homage and affection. In 1886, Liszt became overtaxed by a series of trips to hear his own works performed, including a reception in his honor at London. He also made exceptional effort to attend a performance of “Tristan and Isolde” at Bayreuth. A cold was speedily followed by pneumonia, from which he died on July 31, 1886.

Liszt’s Personality and Character.—Liszt’s character was remarkable for its conspicuous virtues and almost equally prominent faults. His was a large, noble nature, with deep humanitarian traits. His life was one long service to his art, accompanied in his later years by devotion to the church. Though not highly educated, except in experience of men and the world, he had an extremely keen mind, omnivorous in its tastes, and his interests were wide and penetrating. Perhaps his salient characteristics were generosity and unselfishness. Often during his career as a virtuoso he gave freely of the proceeds of his concerts to charity. After the close of his concert-tours he taught for years without remuneration. His help to younger artists was incalculable in its extent. As conductor at Weimar his motto was to help living composers first, and by his energy he did valiant work in helping Wagner’s cause. Largely endowed with wit, a fund of irony and charm of manner, men and women alike almost literally fell at his feet, and it is all the more admirable that in spite of the homage so unsparingly lavished upon him, he did not swerve from his artistic purposes. The strain of mysticism so marked in his youth, became later so pronounced that he felt compelled to give it expression by entering the church.

Liszt as a Pianist.—Liszt was the most phenomenal pianist in the history of music. Other pianists have surpassed him in single qualities, but no one has united in so stupendous fashion as much as he. Beginning with a strictly classical education, Liszt evolved a new technic which completely summed up the difficulties of piano playing. In velocity, wide stretches, double-notes, octaves, and a whole system in itself of interlocking passages, he all but attained the impossible. He carried independence of fingers, especially in fugue playing, to a pitch hitherto unequalled. His performance of brilliant music represented the last word in bravura; in the classics his interpretation was, as Wagner says: “not reproduction, but production,” so vivid and glowing was it. His so-called “orchestral style” in its bold color and rich pedal effects was as distinct from the piano playing before him as the modern orchestra was from that of Mozart and Haydn. As he assimilated everything in the field of piano playing before him, so has everything since him been forced to take his method into account.

Liszt’s Compositions.—Among Liszt’s chief compositions are the “Faust” and “Dante” symphonies, with choral epilogues; twelve symphonic poems, a form which he invented, and which is epoch-making in the development of music; many shorter orchestral works; two concertos, the Hungarian fantasy, the “Dance of Death” for piano and orchestra, besides several compositions for the same combination on themes of other composers; the oratorios “St. Elizabeth” and “Christus,” a Solemn Mass, the Hungarian Coronation Mass, several other masses, twelve sacred hymns for chorus, five psalms, and many other pieces of church music, choruses for men’s voices, several compositions for solos, chorus and orchestra for various festival occasions; fifty-five songs for voice with piano accompaniment; three collections containing twenty-five pieces for piano, entitled “Years of Pilgrimage,” a collection of the piano pieces named “Poetic and Religious Harmonies, ” twelve “Etudes of Transcendent Technic,” three concert studies, a sonata, two ballades, two “Legends,” a concert solo, afterwards arranged as a “Pathetic” concerto, a Valse Impromptu, two polonaises, six Consolations, a Spanish Rhapsody, and nineteen Hungarian Rhapsodies are the best known of the piano music. There are five ballades for declamation with piano accompaniment. For organ, there is a fantasy and fugue on a choral from Meyerbeer’s “Prophet,” a fugue on B. A. C. H., and variations on a theme from a Bach cantata.

Liszt’s Arrangements.—Of almost equal importance with Liszt’s original compositions are his matchless transcriptions. Instead of a trivial and literal process of transcribing, he penetrated the intimate spirit of the piece, and translated it into his own piano idiom, often adding considerably but always with supreme artistic effect. What is lost in fidelity of transfer is more than gained in added charm, new harmonic significance and a subtle enhancing of individuality. Liszt started the evolution of his epoch-making technic while experimenting with his arrangement of Paganini’s caprices, and of Berlioz’ “Fantastic Symphony.” He made easy arrangements from operas of Rossini, Mercadante and Donizetti. Then he turned to setting Schubert’s matchless songs for the piano, arranging in all fifty-seven; he continued by making piano scores of Beethoven’s symphonies, of Rossini’s overture to “William Tell,” and to Weber’s overtures “Jubilee,” “Freischütz” and “Oberon.” He also made many transcriptions from Wagner’s operas, including “The Flying Dutchman,” “Tannhäuser,” “Lohengrin,” “Die Meistersinger,” “Tristan and Isolde” and “Parsifal,” besides a fantasy on themes from “Rienzi,” and an arrangement of the “Walhalla” motive from “The Ring of the Nibelungs.” Liszt’s arrangements of six preludes and fugues as well as the fantasy and fugue in G minor by Bach are not only remarkable for the extent to which they reproduce organ-effect, but as pioneers in the transfer of organ pieces to the piano, in which Liszt has been followed by Tausig, d’Albert and Busoni. In addition he transcribed fourteen songs by Schumann, thirteen by Franz, eight by Mendelssohn, seven by Beethoven, six by Chopin and two by Weber, besides an arrangement from Mendelssohn’s music to “A Midsummer Night’s Dream,” and “piano scores” of the septets by Beethoven and Hummel. Liszt arranged Weber’s “Polacca Brillante,” Op. 72, and Schubert’s Fantasy, Op. 15, for piano and orchestra. There are also many transcriptions of pieces by Palestrina, Di Lasso, Arcadelt, Mozart, Glinka, Dargomischky, Saint-Saëns, Verdi, Raff, Gounod, Rubinstein, Tchaikovsky, César Cui and others. Liszt scored the accompaniment of several Schubert songs for orchestra, he also orchestrated several of the Schubert four-hand marches. He also arranged many of his own songs, orchestral and choral works for piano and for organ. His transcriptions as a whole are monumental not only on account of their artistic merit, but because they served an educational purpose in spreading the works of little known composers. In this way Liszt cultivated the public taste for Schubert’s songs, and brought Wagner within the reach of the average concert-goer.

Liszt as Writer.—As a critic, Liszt must stand as a pioneer although in a different direction from Schumann. Liszt’s early essay on the position of the artist is extremely significant; his criticisms during the Weimar period, especially his analyses of Wagner’s operas were of great value; his “Life of Chopin,” while untrustworthy in detail and somewhat overdrawn, is nevertheless graphic; “The Gipsies and Their Music” is picturesque if not entirely accurate. Liszt’s letters contain glimpses of his high qualities as well as vital presentations of his musical views. The correspondence between Wagner and Liszt gives conclusive evidence of the latter’s unselfishness in Wagner’s behalf.

Liszt’s Position and Influence as a Composer.—Liszt’s rank as a composer was undoubtedly overshadowed by his fame as a pianist and teacher, and by his facility as an arranger. For many years neither critics nor public would acknowledge his creative gifts. Whatever our opinion of the symphonies, the symphonic poems and the concertos, there is no doubt that Liszt rendered an inestimable service to the development of music in breaking away from the sonata form, and in demonstrating that form and substance can go hand-in-hand without detriment to organic unity and coherence. His forms are novel, his orchestration highly effective in spite of the achievements of Berlioz and Wagner in this direction. Liszt’s church music and his oratorios are worthy efforts towards a reform of ecclesiastic music. His songs are truly spontaneous lyrics, which are not appreciated at their true value. In spite of Liszt’s unquestioned attainments as a composer, there is a suggestion of skilful assimilation in his individuality rather than of unique and unquestioned personality. Nevertheless his influence has been vast. In his old age he encouraged Borodin and Glazounoff, he conducted works by Rimsky-Korsakoff, he made his pupils play Balakireff’s “Islamey.” In turn, the “new-Russian” school owes much to him. Tchaikovsky could hardly have written his symphonic poems without Liszt’s pioneer work to show the way. Saint-Saëns admits a similar influence. In fact, the entire development of the symphonic poem is directly due to Liszt; it is so considerable in extent that the details cannot be examined here, but while both Wagner and Berlioz contributed much to the growth of orchestral style and individuality of expression, the originality of the symphonic poem form belongs entirely to Liszt. Thus Liszt’s share in the evolution of ultra-modern orchestral music, as well as in the development of piano playing, is very important, and the greatest living composer, Richard Strauss, although also influenced by both Berlioz and Wagner, frankly avows himself to be a disciple of Liszt.

Questions and Suggestions.

What was the nature and extent of Liszt’s early musical education?

What was the effect of his wide travels and meeting with notable persons on his character?

What set him to perfecting his technic?

Name the most important events in his career.

What educational work was the feature of his later years?

Sketch Liszt’s personality and character.

Give an account of Liszt’s contribution to piano technic.

In what styles and forms of composition did Liszt write?

What works did he transcribe for the piano?

What literary work did he do?

What composers did he influence?

What song composer was brought into greater prominence by Liszt?

Whose symphonies did he arrange for the piano?

What opera composer did he assist greatly?

What important form did Liszt originate?

What has been Liszt’s share in the development of the “modern school”?

The student who wishes to examine Liszt’s works for himself, should study the symphonies and symphonic poems in Liszt’s own arrangement for two pianos. They require, however, a technic beyond the average player. The same difficulty applies to his piano music, but the following may serve as guides to Liszt’s style: The “Lake of Wallenstadt,” and “Eclogue,” Nos. 2 and 7, in the Swiss “Years of Pilgrimage”; the “Gondoliera” and “Tarantelle” from “Venice and Naples,” the “Valse Impromptu,” “Ave Maria,” “Waldesrauschen” and “Gnomenreigen,” the pieces for Lebert and Stark’s Piano School, the Concert Studies in F minor and D-flat, the Love Dreams, the Consolations, Nos. 1, 2 and 4; the Legends, the “Benediction of God in the Solitude” and “Love Song” from “Poetic and Religious Harmonies,” and the Fantasie on “Rigoletto.” For the more advanced player may be suggested the Etudes, Nos. 3, 4, 5, 7, 9, 11 and 12; the Mephisto Waltz, the Second Ballad, “Au Bord d’une Source” from the Swiss “Years of Pilgrimage,” the Second Polonaise, the “Funerailles” from “Poetic and Religious Harmonies,” the Sonata, the Hungarian Rhapsodies, Nos. 2, 4, 6, 10, 11, 12, 15, and the Spanish Rhapsody; the two concertos in E-flat and A, the Hungarian Fantasy, and the concert piece “The Dance of Death,” the Fantasy on “Don Juan.” Among the transcriptions, the Schubert songs, “Hark! Hark! the Lark,” “Du bist die Ruh,” “Frühlingsglaube,” “The Wanderer,” “By the Sea,” “Meeresstille,” “Barcarolle,” “Trockne Blumen,” “Wohin,” “Ungeduld,” “Erl-King”; the Mendelssohn song, “On Wings of Song”; the Schumann songs, “Dedication,” “To the Sunshine,” and “Spring Night”; the Weber “Slumber Song” may be suggested. Of the Wagner arrangements, “The Evening Star”, from Tannhäuser, the “Spinning Song,” from “The Flying Dutchman,” and “Isolde’s Love Death,” are the most characteristic. The Paganini Studies, Nos. 2, 3 and 5; the waltz from Gounod’s “Faust,” the Tarantelle after Auber, and the Overture to “Tannhäuser” are among the best. Of the songs, “Mignon’s Lied” and “Ueber allen Gipfeln,” “Comment disaient-ils,” “Angiolin dal biondo crin,” “Es muss ein wunderbares sein,” “Die drei Zigeuner,” and “Der du von dem Himmel bist” and “Die Lorelei” are the best.

LESSON XLVII.
Pianists and Teachers Since Liszt. I.

Introduction.—The achievements of Liszt in developing piano technic, in enlarging the scope of piano playing through his masterly transcriptions, in variety and intensity of interpretation, have brought results that are enormous in extent and far-reaching in their developments to the generations that have succeeded him. When Liszt was in the height of his career as a virtuoso, few could master the difficulties which his epoch-making works presented. Gradually the secrets of his technic were revealed to the ambitious few; now they are almost common property. The great concert pianists of today possess a technic that would have been unique forty years ago. The repertory which all pianists worthy the name play from memory (a practice which Liszt initiated) is exceedingly extensive, while the endurance which they display and the facility with which they reproduce the masterpieces of piano literature is stupendous.