II
BACH’S SERVICE TO MUSIC
So important has been the rôle played by the pianoforte in the evolution of music that it is possible in these chapters on a pianoforte recital to give a general survey of the art, and thus prepare the reader to enjoy not only what he will hear at such a recital, but enable him to approach it with a more comprehensive knowledge than that would imply. This is one reason why I elected to lead with the chapters on the pianoforte instead of with those on the orchestra, as usually is done, because the orchestra is something “big.” In point of fact, however, the pianoforte, so far as its influence is concerned, is quite as “big,” if not, indeed, bigger than the orchestra; for often, in the evolution of music (as I pointed out in the previous chapter), this instrument, which is so sufficient in itself, has led the orchestra. In reviewing a pianoforte recital it therefore is quite possible to review many phases of musical history.
Take as an example a composition by Bach, one of the preludes and fugues from “The Well-Tempered Clavichord,” with which a pianoforte recital is quite apt to open. The selection illustrates a whole epoch in music which Bach rounded off and brought alike to its climax and its close. You will be apt to find this 49 fugue rather complicated and, I fear, somewhat unintelligible, and this makes it necessary for me to point out at once that in some respects music has had a curious development. A Wagner music-drama, a Richard Strauss tone poem, seem elaborate and complicated affairs compared with a Beethoven sonata or symphony. Yet even the most advanced work of a Wagner or Strauss is neither as complicated nor as elaborate as a fugue by that past master of his art, Johann Sebastian Bach, who, although he was born in 1685 and did not live beyond the middle of the following century, was so far ahead of his age that not even to this day has he fully come into his own. The result is that the early classicists, Haydn and Mozart, who belong in point of time to a later epoch, may more readily be reckoned as “old-fashioned” than Father Bach. When at a recital you listen to a fugue by Bach and find it hard and labored—many people regard it simply as a difficult species of finger exercises—you think that is because it is so very ancient, something in the same class with Greek or Sanscrit. In point of fact it is because in some respects it is so very modern.
Were it not for the importance of preserving an orderly historical sequence in a book of this kind, and that Bach usually is found at the beginning of a recital program, it would be almost more practical, and certainly far easier, for the author to leave Bach until later. When you write of Mozart, or of Beethoven and the moderns, you can depend upon more or less familiarity with their works on the part of your readers, whereas, comparatively few laymen know much about Bach. They associate the name with all that is formal 50 and labored. Yet among my acquaintances is a young woman who was brought up in a very musical family, and who, having as a child heard her mother play the preludes and fugues of the “Well-Tempered Clavichord,” finds Bach as simple as the alphabet. But hers is a most exceptional case. The appreciation of Bach, as a rule, comes only with advanced age. My music teacher used to say to me: “You rave over Schubert and Wagner now, but when you get to be as old as I am you will go back to Father Bach.” While I cannot say that his prophecy has come true, while I still am ultra-modern in my musical predilections, my musical gods being Schubert, Chopin, Schumann, Liszt, Brahms, Richard Strauss and, above all, Wagner, I should consider myself unfit to write this book if I failed to realize the debt modern music owes to Bach, and that the more modern the music the greater the debt.
Bach in Modern Music.
One of the most remarkable phenomena in the history of the art—and a generalization like this is as much in place in discussing pianoforte music as elsewhere, because the instrument has had so much to do with the evolution of music—is the gap between Bach and modern music. While the following must not be taken too literally, it is true in general that Bach had little or no influence on the age that immediately came after him, the classical age of music, that age which we sum up in the names of Haydn, Mozart and Beethoven, the age of the sonata and the symphony. The three masters mentioned probably would have developed and 51 composed much as they did had Bach never lived. But when a more modern composer, a romanticist like Wagner, wanted to enrich the means of musical expression handed down to him from the classical period, he reached back to Bach and combined Bach’s teeming counterpoint with the harmonic system which had been inherited from Beethoven. To understand just what this means, to appreciate the influence Bach has had upon modern music and why he had little or none on the classical composers, it is necessary for the reader to have at least a reasonably clear conception of what that counterpoint is and wherein it differs from harmony; for with Bach counterpoint reached its climax, and all the possibilities of the style having been exhausted by him, music of necessity took a turn in another direction under the classicists and developed harmonically instead of contrapuntally; so that it can be said that modern music derives its counterpoint from Bach, its harmony from Beethoven, and its combination of the two systems from Wagner.
There is another reason why the meaning of counterpoint should be explained and the difference between counterpoint and harmony be made clear to the reader now. Nearly all the early music, the music that preceded Haydn, Mozart and Beethoven, and that sometimes is to be found on recital programs, is contrapuntal—written in counterpoint. As I have said before, it would be much easier to start with the sonata form, with harmony instead of counterpoint, for of the two harmony is the simpler. But we must “face the music”—the music of the old contrapuntal composers—and 52 the best way to do this is to explain what harmony and counterpoint are and wherein they differ.