The Evolution of Modern Orchestration

by Louis Adolphe Coerne

Mendelssohn's overtures are more pronounced in their modern romantic tendencies than his symphonies. They are distinctly programmatic, even though in structure they are moulded on classic forms. From them dates the development of the modern romantic concert overture. Mendelssohn's merits and defects have led to much violent discussion, but the suavity of his melody, the purity of his form and the delicacy of his orchestration have been excelled by none.

VI.

The most prominent associates and disciples of Mendelssohn were F. Hiller, Rietz, the Englishman, Bennett, and the Dane, Gade.

Ferdinand Hiller (1811) was a celebrated and prolific composer, being in his day considered the most notable musician in West Germany. It was his rare privilege to be personally acquainted with no less than seven of the greatest composers the world has ever produced—Cherubini, Beethoven, Meyerbeer, Rossini, Berlioz, Chopin and Liszt. He was, moreover, a fine pianist and conductor, and was particularly happy as an interpreter of Beethoven. His compositions are pleasing and well-rounded in form; but they were modelled after those of Mendelssohn and are now comparatively forgotten in consequence of their lack of individuality.

Julius Rietz (1812) was closely associated with Mendelssohn whom he eventually succeeded as conductor of the Gewandhaus Concerts. He is primarily to be remembered for having edited Beethoven's symphonies as well as the entire works of Mendelssohn.

Sterndale Bennett (1816) was one of England's greatest composers, the most gifted, in fact, after Purcell. He was a friend both of Mendelssohn and of Schumann, and their enthusiasm encouraged and stimulated him to further develop his own talents. Although the influence more particularly of Mendelssohn is plainly to be found in his works, he retained his individuality and displayed numerous traits that are undeniably original. His most important works are an oratorio "The Woman of Samaria"; a cantata "The May Queen"; a symphony in G minor; four overtures, and four pianoforte concertos. He has been called the founder of a new "English School."

Since the substance of Gade's music is nominally Scandinavian in character, it will again be referred to later on in connection with the Northern countries.

VII.

Schumann (1810-1856). In spite of the depth of thought and feeling, the brilliancy of ideas, and the programmatic tendencies that signalize Schumann's monumental productions, he unfortunately holds the unique position of being one of the few great masters who did not excel in orchestration. Nevertheless, such is the importance of his orchestral works that they have won for themselves an exalted and permanent place in musical literature. Schumann's relation to the Romantic Movement may be tersely stated as in one of Dickinson's condensed reviews: "The romantic ideal attains self-consciousness in Schumann. Weber and Schubert never called themselves romanticists and were not wholly aware of the tendencies of their work. Schumann, a critical thinker and self-analyst, not only moulded and colored his music in accord with certain definite poetic conceptions imbibed from the romantic writers, but also became the literary champion of romanticism in music, and aimed directly at fixed radical principles in the critical and creative thought of his time. He, therefore, not only marks the beginning of a new era in musical art, but is also the type of the modern liberally cultured and reflective musician." With Schumann, the subject-matter and treatment of design are of all importance. His compositions contain the quintessence of the poetic and romantic. Every little melody is a miniature poem in tones, tinged by a certain melancholy and even gloomy coloring. He was, like Mendelssohn, an ardent disciple of Bach, but his harmonies are freer and bolder than Mendelssohn's, and his pianoforte compositions show the influence more especially of Chopin. The chief characteristics of these works are cantabile expression, intricacy, and the predominance of harmony and rhythm over melody. A multitude of ideas are frequently crowded into the space of a few bars. As a song writer Schumann rivalled and perhaps even excelled Schubert. The songs of these two peers, together with those of Franz (1815), represent the highest ideal of the German Lied, for the exquisite taste and sentiment of Franz appeal strongly to the cultivated musician. Although Schubert's influence upon Schumann's songs is plainly to be seen, Schumann enhanced the functions of the accompaniment and frequently assigned but a secondary rôle to the vocal part. Novelty of form and style characterize his works for soli, chorus and orchestra; portions of "Scenes from Faust," "Paradise and the Peri," "Manfred," represent his highest attainment and contain also some effective scoring. The instrumentation of his chamber music betrays more regard for sonority than for classic counterpoint. Of surpassing beauty are the quartets in A and in A minor, and the greatest of all, the quintet in E flat.