SCHUBERT
Excepting during his lifetime and for a period of some thirty years after his death, Schubert cannot be said to have been neglected; and last year there was quite an epidemic of concerts to celebrate the hundredth anniversary of his birth. Centenary celebrations are often a little disconcerting. They remind one that a composer has been dead either a much shorter or a much longer time than one supposed; and one gets down Riemann's "Musical Dictionary" and realises with a sigh that the human memory is treacherous. Who, for instance, that is familiar with Schubert's music can easily believe that it is a hundred years since the composer was born and seventy since he died? It is as startling to find him, as one might say, one of the ancients as it is to remember that Spohr lived until comparatively recent times; for whereas Spohr's music is already older than Beethoven's, older than Mozart's, in many respects quite as old as Haydn's, much of Schubert's is as modern as Wagner's, and more modern than a great deal that was written yesterday. This modernity will, I fancy, be readily admitted by everyone; and it is the only one quality of Schubert's music which any two competent people will agree to admit. Liszt had the highest admiration for everything he wrote; Wagner admired the songs, but wondered at Liszt's acceptance of the chamber and orchestral music. Sir George Grove outdoes Liszt in his Schubert worship; and an astonishing genius lately rushed in, as his kind always does, where Sir George would fear to tread, boldly, blatantly asserting that Schubert is "the greatest musical genius that the Western world has yet produced." On the other hand, Mr. G. Bernard Shaw out-Wagners Wagner in denunciation, and declares the C symphony childish, inept, mere Rossini badly done. Now, I can understand Sir George Grove's enthusiasm; for Sir George to a large extent discovered Schubert; and disinterested art-lovers always become unduly excited about any art they have discovered: for example, see how excited Wagner became about his own music, how rapt Mr. Dolmetsch is in much of the old music. But I can understand Wagner's attitude no better than I can the attitude of Mr. Shaw. I should like to have met Wagner and have said to him, "My dear Richard, this disparaging tone is not good enough: where did you get the introduction to 'The Valkyrie'?—didn't that long tremolo D and the figure in the bass both come out of 'The Erl-king'? has your Spear theme nothing in common with the last line but one of 'The Wanderer'? or—if it is only the instrumental music you object to—did you learn nothing for the third act of 'The Valkyrie' from the working-out of the Unfinished Symphony? did you know that Schubert had used your Mime theme in a quartet before you? do you know that I could mention a hundred things you borrowed from Schubert? Go to, Richard: be fair." Having extinguished Richard thus, and made his utter discomfiture doubly certain by handing him a list of the hundred instances, I should turn to Mr. Shaw and say, "My good G.B.S., you understand a good deal about politics and political economy, Socialism, and Fabians, painting and actors [and so on, with untrue and ill-natured remarks ad lib.], but evidently you understand very little about Schubert. That 'Rossini crescendo' is as tragic a piece of music as ever was written." Yet, after dismissing the twain in this friendly manner, I should have an uneasy feeling that there was some good reason for their lack of enthusiasm for Schubert. The very fact of there being such wide disagreement about the value of music that is now so familiar to us all, points to some weakness in it which some of us feel less than others; and I, poor unhappy mortal, who in my unexcited moments neither place Schubert among the highest gods, like Liszt and Sir George Grove, nor damn him cordially, like Wagner and Mr. Shaw, cannot help perceiving that along with much that is magnificently strong, distinguished, and beautiful in his music, there is much that is pitiably weak, and worse than commonplace. The music is like the man—the oddest combination of greatness and smallness that the world has seen. Like Wagner and Beethoven, Schubert was strong enough to refuse to earn an honest living; yet he yielded miserably to publishers when discussing the number of halfpence he should receive for a dozen songs. He had energy enough to go on writing operas, but apparently not intelligence to see that his librettos were worth setting, or to ensure that anything should come of them when they were set. He thought, rightly or wrongly, that he needed more counterpoint, yet continued to compose symphonies and masses without it, vaguely intending to the very end to take lessons from a sound teacher. He had spirit enough to fall in love (so far as stories may be relied on), but not to make the lady promise to marry him, nor yet resolutely to cure himself of his affliction. He had courage to face the truth, as he saw it, and he found life bitter, and not worth enduring; yet he could not renounce it, like Beethoven, nor end it as others have done. As in actual life, so in his music; having once started anything, he seemed quite unable to make up his mind to fetch it to a conclusion. He was like a man who lets himself roll down a hill because it is easier to keep on rolling than to stop. He repeats his melodies interminably, and then draws a double bar and sets down the two fatal dots which mean that all has to be played again. If the repeat had not been a favourite resort of lazy composers before his time he would have invented it, not because he was lazy, but because he wanted to go on and could not afford infinite music-paper. Hence his music at its worst is the merest drivel ever set down by a great composer; hence at anything but its best it lacks concentrated passion and dramatic intensity; more than any other composer's it has one prevailing note, a note of deepest melancholy; and therefore, when a few pieces are known, most of the rest seem barren of what is wanted by those who seek chiefly in music the expression of all the human passions.
Of his lengthiness, his discursiveness, Schubert might possibly have been cured, but not of his melancholy: it is the very essence of his music, as it was of his being. "The Wanderer" is his typical song: he was himself the wanderer, straying disconsolately, helplessly, hopelessly through a strange, chilly, unreal world, singing the saddest and sometimes the sweetest songs that ever entered the ears of men. That his home and his happiness lay close at hand counts for nothing; for he did not and could not know that he was the voice of the eighteenth century, worn out and keenly sensible of the futility of the purely intellectual life. Even had he arrived at a consciousness of the truth that the cure for his despair lay in throwing over the antiquated forms, modes, and ideas of the eighteenth century and living a nineteenth century life, free and conscienceless in nature's way, he would have been little better off; for the tendencies of many generations remained strong in him; and besides, had he the physical energy for a free, buoyant, joyous existence, was he not physiologically unfit for happiness? He lived with an ever-present consciousness of his impotence to satisfy his deepest needs. He was even destitute of that sense of the immeasurable good to come which of old time found expression in the fiction of a personal immortality, and in the nineteenth century in the complacent acceptance of full and vigorous life, with death as a noble and fitting close. Life and death alike were tragic, because hopeless, to Schubert. His career, if career it can be called, is infinitely touching. His helplessness moves one to pity, odd though it seems that one in some ways so strong should also in so many ways be so weak; and his death was as touching as his life. Of all the composers he met death with least heroism. Mozart, it is true, shrieked hysterically; but death to his diseased mind was merely an indescribable horror; and the fact of his hysteria proves his revolt against fate. Beethoven, during a surgical operation shortly before the end, saw the stream of water and blood flowing from him, and found courage to say, "Better from the belly than the pen;" and as he lay dying and a thunderstorm broke above the house, he threatened it with his clenched fist. Schubert learnt that he was to die, and turned his face to the wall and did not speak again. It is hard to say whether his music was sadder when he sang of death than when he sang of life. Even in his rare moments of good spirits one catches stray echoes of his prevailing note, and realises how completely his despair dominated him. He could not sing of love or fighting or of the splendours of nature without betraying his deep conviction of the futility of all created things. It is characteristic that his major melodies should often be as sad and wailing as his minor, and that his scherzos and other movements, in which he has deliberately set out to be light-hearted, should often be ponderous and without the nervous energy he manifests when he gives his familiar feelings free play.
Despite its incessant plaintive accent, his music is saved by the endless flow of melody, often lovely, generally characteristic, though sometimes common, in which Schubert continually expressed anew his one mood; and he was placed among the great ones by the miraculous facility he possessed of extemporising frequent passages of extraordinary power and bigness. At least half of his songs are poor—for a composer capable of rising to such heights; but of the remainder at least half are nearly equal to any songs in the world for sweetness, strength, and accurate expressiveness, while a few approach so close to Handel's and Mozart's that affection for the composer presses one hard to put them on the same level. But, compared with those high standards, Schubert, even at his best, is unmistakably felt to be second-rate, while his average—always comparing it with the highest—cannot truly be said to be more than fourth-rate. That he stands far above Mendelssohn and Schumann, and perhaps a little above Weber, almost goes without saying; for those composers have no more of the great style, the style of Handel and Mozart, and Bach and Beethoven at their finest, than Schubert, and they lack the lovely irresistibly moving melody and the bigness. But it must be recognised that Schubert never rose to a style of sustained grandeur and dignity; he was always colloquial, paying in this the penalty for the extreme facility with which he composed ("I compose every morning, and when I have finished one thing I commence something fresh"). Compose is scarcely the word to use: he never composed in the ordinary sense of the word; he extemporised on paper. Even when he re-wrote a song, it meant little more than that, dissatisfied with his treatment of a theme, he tried again. He never built as, for instance, Bach and Beethoven built, carefully working out this detail, lengthening this portion, shearing away that, evolving part from part so that in the end the whole composition became a complete organism. There is none of the logic in his work that we find in the works of the tip-top men, none of the perfect finish; but, on the contrary, a very considerable degree of looseness, if not of actual incoherence, and many marks of the tool and a good deal of the scaffolding. But, in spite of it all, the greatness of many of his movements seems to me indisputable. In a notice of "The Valkyrie," Mr. Hichens once very happily spoke of the "earth-bigness" of some of the music, and this is the bigness I find in Schubert at his best and strongest. When he depicts the workings of nature—the wind roaring through the woods, the storm above the convent roof, the flash of the lightning, the thunderbolt—he does not accomplish it with the wonderful point and accuracy of Weber, nor with the ethereal delicacy of Purcell, but with a breadth, a sympathy with the passion of nature, that no other composer save Wagner has ever attained to. He views natural phenomena through a human temperament, and so infuses human emotion into natural phenomena, as Wagner does in "The Valkyrie" and "Siegfried." The rapidly repeated note, now rising to a roar and now falling to a subdued murmur, in "The Erl-king" was an entirely new thing in music; and in "The Wanderer" piano fantasia, the working-out of the Unfinished symphony, and even in some of the chamber music, he invented things as fresh and as astounding. And when he is simply expressing himself, as at the beginning of the Unfinished, and in the first and last movements of the big C symphony, he often does it on the same large scale. The second subject of the C symphony finale, with its four thumps, seems to me to become in its development, and especially in the coda, all but as stupendous an expression of terror as the music in the last scene of "Don Giovanni," where Leporello describes the statue knocking at the door. In short, when I remember Schubert's grandest passages, and the unspeakable tenderness of so many of his melodies, it is hard to resist the temptation to cancel all the criticism I have written and to follow Sir George Grove in placing Schubert close to Beethoven.
WEBER AND WAGNER
There are critics, I suppose, prepared to insist that Weber, like Mozart, is a little passé now. And it is true that no composer, save Mozart, is at once so widely accepted and so seldom heard; for even Bach is more frequently played and less generally praised. At rare intervals Richter, Levi, or Mottl play his overtures; the pieces for piano and orchestra are occasionally dragged out to display the prowess of a Paderewski or a Sauer; and one or another of the piano sonatos sometimes finds its way into a Popular Concert programme. But the pieces thus made familiar to the public may be counted on one's ten fingers; and the operas are scarcely sung at all, though they contain the finest music that Weber wrote. The composers who have lived since Weber, even if they differed on every other subject and did not agree as to the value of his instrumental music, united to sing a common song in praise of the operas. Indeed, so enthusiastic were they, that after listening to them anyone who does not know his Weber well may easily experience a certain disappointment on looking carefully for the first time at the scores of "Der Freischütz," "Oberon," and "Euryanthe"; and it is perhaps because they have experienced that disappointment, that some critics whose opinions are worth considering have come to think that a faith in Weber is nothing more than a part of the creed learned by every honest Wagnerite at the Master's knee. But it need be nothing so foolish, so baseless If you look, and look rightly, for the right thing in Weber's music, disappointment is impossible; though I admit that the man who professes to find there the great qualities he finds in Mozart, Beethoven, or any of the giants, must be in a very sad case. Grandeur, pure beauty, and high expressiveness are alike wanting. You look as vainly for such touches as the divine last dozen bars "Or sai chi l'onore" in "Don Giovanni," or the deep emotion of the sobbing bass at "the first fruits of them that sleep" in "I know that my Redeemer liveth," as for the stately splendour of "Come and thank Him" in the "Christmas Oratorio," or the passion of "Tristan." His music never develops in step with the movement of the drama he treats: if he writes a tragic scene, he is apt to commence with a scream; and if he is not at his best, then the scream may degenerate into a whimper before the moment for the climax has arrived. Like Spohr, with whom he had much in common, despite the difference between his mercurial temperament and the pedagogic gravity of the composer of "The Last Judgment," he set great store upon his learning, and was fond of trivial themes that admitted of obvious contrapuntal treatment. Even when he avoided that failing, his music is often uncouth and ponderous, while on its surface lies a superfluous, highly-coloured froth. The basses move with leaden-footed reluctance; the melodies consist largely of ineffective arpeggios on long-drawn chords; the embroidery seems greatly in excess of modest needs. All this may be conceded without affecting Weber's claim to a place amongst the composers; for that claim is supported in a lesser degree by the gifts which he shared, even if his share was small, with the greater masters of music, than by his miraculous power of vividly drawing and painting in music the things that kindled his imagination. Drawing and painting, I say; for whereas the other musicians sang the emotions that they experienced, Weber's music gives you the impression that he depicted the things he saw, that melody and harmony were to him as lines and colours to the painter. He is first, and perhaps greatest, of all the musicians who have attempted landscape; and that froth of seemingly superfluous colour and excess of melodic embroidery, instead of being in excess and superfluous, are the very essence of his music. Being a factor of the Romantic movement, that mighty rebellion against the tyranny of a world of footrules and ledgers, he lived and worked in a world where two and two might make five or seven or any number you pleased, and where footrules were unknown; he took small interest in drama taken out of the lives of ordinary men and enacted amidst everyday surroundings; his imagination lit up only when he thought of haunted glens and ghouls and evil spirits, the fantastic world and life that goes on underneath the ocean, or of men or women held by ghastly spells. Hence his operas are not so much musical dramas as series of tableaux, gorgeous glowing pictures of unheard-of things; in them we must expect only to find the elfish, the fantastic, the wild and weird and grotesquely horrible; and to look for drama, captivating loveliness, and emotional utterance, is to look for qualities which Weber did not try to attain, or only in a small measure and not very successfully. And if we consider carefully the remarks of the best critics amongst the later masters, Berlioz and Wagner, we can see that they knew Weber had not attained these high qualities,—that what they grew enthusiastic over was his astonishing pictorial gift, shown, first, in the pictures his imagination presented to him, and second, in the way he projected those pictures on to the music-paper before him, using the common musician's devices of his day to suggest line, colour, space, and atmosphere.
The precise provocation of this essay was a certain performance of "Lohengrin." During the first act the drama proceeded with charming, almost Mozartean, smoothness; and I was surprised to find that the smoother it went the more irresistibly the music reminded me of Weber, until I remembered that "Lohengrin" is Wagner's most Weberish opera, and that in his youth Wagner heard Weber sung, not as he is sung now—that is, like an early Wagner music-drama—but as Weber intended it to be sung, like a later Mozart opera. For Weber stood very near to Mozart, modern as he often seems. He was born before Mozart died; he worshipped him, and absolutely refused to speak to Salieri because Salieri had been Mozart's enemy; and it is easy to see, when once we rid ourselves of the idea that he was a rudimentary music-dramatist, that in his music he adhered as closely to Mozartean simplicity as his very different genius would permit. Perhaps, after all, it is his greatest glory that he is the connecting link between Mozart and Wagner, between the greatest composer born into the eighteenth century and the greatest born into the nineteenth; for the musical-pictorial art which he evolved from Mozart's technique was used by Wagner with only the slightest modifications in the making of his music-dramas. But whereas Weber was a factor in the Romantic movement when it was most magnificently unreasonable, Wagner came later, and, though he felt the force of the current, it did not carry him into the absurdities that weaken—for they do weaken—much of Weber's work. Wagner has been described as Weber, as Weber might have become; but the truth is that he was Weber's younger brother, who took Weber's art and used it to nobler ends with a degree of intellect, dramatic power, invention, and passion which Weber did not possess. To Weber the scenery was the important thing, and humanity almost seemed to be dragged in because the human voice was indispensable; but Wagner, going back to Mozart, restored humanity to its proper place, thus making his opera into real drama, and kept the fantastic creatures who haunted Weber's woods and glens and streams only as emblems of the natural forces that war for or against humanity. Above all, he got rid of Weber's stage villains—for Samiel is merely the stage villain of commerce; and, instead of the dusk and shadow in which Weber's fancy loved to roam, he gives us sunlight and the sweet air. "Lohengrin" is full of sunlight and freshness; full, too, of a finer mystery than ever Weber dreamed of—the mystery with which the most delicate German imagination invested the broad rivers that flowed through the black forests from some far-away land of unchangeable stillness and beauty, some "land of eternal dawn," as Wagner calls it. No more Mozartean music is in existence, save Mozart's own, than that first act of "Lohengrin," where Wagner, by dint of being Weberish, came nearer to Mozart than ever Weber came; for Weber never wrote anything which, regarded as absolute music, apart from its emotional significance, or the picture it suggests to the inner eye, is so purely beautiful as, for instance, the bit of chorus sung after Lohengrin concludes his little arrangement with Elsa. Both the first and the second acts are full of such melodies, any two of which would prove Wagner to be the greatest melody-writer of the century; and those critics who say that Verdi is greater because his melodies are more like Mozart's in form, would have said, had they lived last century, that Salieri was greater than Mozart because Salieri's melodies were more like Hasse's in form. Perhaps the last act might be quite as exquisite on the stage, for it is even more exquisite in the score; but that we shall not know until our operatic singers abandon their vanity and their melodrama, and by reading an occasional book, and sometimes going out into the world, learn how much they themselves would gain if they always worked with artistic sincerity.