In all these respects, Schubert was epoch-making; and if the beautiful details he suggested to his successors up to the present day could be taken out of their works there would be some surprising blanks. Especially also is this true in the realm of lyric song, for, as everybody knows, he practically created the art song as we know and love it. The greatest of his immediate successors, Schumann and Franz, cheerfully admitted that they could never have written such songs as they gave the world but for Schubert, and the same confession might be made by the latest of the great songwriters, Grieg, Richard Strauss, and our American MacDowell. Schubert's best songs have never been equalled. They belong in the realm of modern music quite as much as Wagner's music-dramas and Liszt's symphonic poems.
Chopin is another composer who, although he died in 1849 (Schubert died in 1828), is as modern as the masters just named. He was as boldly original as Schubert, and as great a magician in the art of arousing deep emotion by means of novel, unexpected modulations. As an originator of new harmonic progressions he has had only three equals,--Bach, Schubert, and Wagner. Harmonies as ultra-modern as those of Wagner's "Parsifal" may be found in some of the mazurkas of Chopin. He was, as Rubinstein called him, "the soul of the pianoforte." No one before or after him knew how to make that instrument speak so eloquently. By ingeniously scattering the notes of a chord over the keyboard while holding down the pedal, he practically gave the player three or four hands, and greatly enlarged the harmonic and coloristic possibilities of the pianoforte. Liszt, Rubinstein, Paderewski, and others have gone farther still in the same direction, but he showed the way, and most of his pieces are as delightful and as modern now as they were on the day when they were written. He wrote a few sonatas, but the majority of his works are short pieces such as are characteristic of the modern romantic school.
Before Chopin modernized pianoforte music the world's greatest composers had been Italians, Germans, and Frenchmen. Chopin's father was a Frenchman, but his mother was a native of Poland, and he was born in that country. While his music has the French qualities of elegance and clearness (which every one admires in the works of Gounod, Bizet, Massenet, and other Parisian masters), in its essence it is Polish--a fact of special significance, for from this time on other nations than the three mentioned--especially the Slavic and Scandinavian--begin to play a prominent role in music. In this brief sketch only the greatest names can be considered,--such names as Rubinstein, Tschaikowsky, Dvorák, Grieg.
Rubinstein was not only one of the greatest pianists, but one of the most spontaneous and fertile melodists of all times. His frequently careless workmanship and his foolish, savage hostility to the dominant Wagner movement prevented him from enjoying the fruits of his rare genius. He felt that, had it not been for the all-absorbing Wagner, he himself might have been as popular as Mendelssohn. Although a Russian, there is little local color in his music, for the enchanting exotic melodic intervals in his "Persian" songs are Oriental in general, rather than Russian in particular. Similar exotic intervals may be found in the "Aïda" of Verdi, a pure Italian. Rubinstein, like Mendelssohn and Meyerbeer, was a Hebrew. His day will yet come, for his Dramatic and Ocean symphonies are among the grandest orchestral works in existence.
His countryman, Tschaikowsky, also was neglected during his lifetime; but since his death he has become, especially in London, almost as popular as Wagner; and deservedly so, for he was a genius of the highest type, less in his songs and pianoforte works than in his symphonies and symphonic poems, which include some of the most inspired pages in modern music. In some of his compositions there is a barbaric splendor which proclaims the Russian and delights those who like exotic novelty in music. Like all the Russians, Tschaikowsky was strongly influenced by Liszt; indeed, it may be said that in Russia Liszt was more potent in shaping the course of modern music than even Wagner.
Another Slavic composer, the Bohemian Dvorák, is of special interest to Americans not only because he is one of the greatest of modern orchestral writers (a colorist of rare charm), but because he presided for several years over Mrs. Thurber's National Conservatory of Music in New York, and there wrote that truly melodious and deeply emotional work, "From the New World," which has become almost as popular as Tschaikowsky's "Pathétique." His Bohemian rhythms have a unique charm.
Among the Scandinavian composers the greatest, by far, is Grieg, one of the most original melodists and harmonists of all times. His songs, in particular, are destined to immortality; they are among the very best written since Schubert. Of his pianoforte and chamber music, too, it can be said that everything is new, free from commonplace, and ultra-modern. He has written mostly short pieces, and for that reason has had to wait (like Chopin in his day) a long time for full recognition of his genius, the critics not having yet got over the foolish habit of measuring art-works with a yardstick. Like Chopin, moreover, Grieg has had the ill-fortune of having his most original and individual traits accredited to his nation and described as "national peculiarities." His music does contain such peculiarities; but it is necessary to distinguish between what is Norwegian and what is Griegian. Grieg's little pieces and songs are big with genius.
The Hungarian Liszt is another immortal master who, beside the fruits of his individual genius, contributed to the current of modern music some of those exotic national traits which distinguish it from that of earlier epochs when it was almost exclusively Italian, French, and German. His fifteen Hungarian rhapsodies constitute, however, only a small part of the invaluable legacy he has left the world. He was the most many-sided of all musicians,--the greatest of all pianists, and one of the best composers of oratorios, songs, orchestral, and pianoforte works,--everything, in short, except operas and chamber music. He was also the greatest of teachers and (with the exception of Wagner) the greatest of conductors; as such, he carried out both his own and Wagner's new and revolutionary principles of interpretation, which have gradually made the orchestral conductor a personage of even greater importance, in concert hall and opera-house, than the prima donna, travelling, like her, from city to city, to delight lovers of music.
One might have expected that the prince of pianists, being at the same time a composer, would do for the pianoforte what Bach had done for choral and organ music, Beethoven for the symphony, Schubert for the art song, and Wagner for the opera. But he could not, for Chopin had anticipated him. In only one direction was it possible to go beyond Chopin,--in that of making the piano capable of reproducing orchestral effects. This, Liszt achieved in his own works and his transcriptions. But, after all, the grandest pianoforte, while delightful as such, is but a poor substitute for an orchestra. Hence it was natural that Liszt should give up the pianoforte as his specialty and devote himself particularly to the orchestra.
In this domain he was destined to achieve reforms similar to those of Wagner in the opera. The "classical" symphony, like the old-fashioned opera, consists of detached numbers, or movements, that have no organic connection with one another. For the detached numbers of the opera Wagner substituted his "continuous melody;" and he provided an organic connection of all the parts by means of the "leading motives" or characteristic melodies and chords which recur whenever the situation calls for them. In the same spirit Liszt transformed the symphony into the symphonic poem, which is continuous and has a leading motive uniting all its parts.