Rubinstein (1830-1894), regarded in the light of a Russian composer, cannot be compared with Glinka as an operatic writer or with Tschaikowsky as an orchestrator. Regarded as a classical-romanticist, he must be included in the list of composers following traditional forms. What is more, he was an extremist in his antagonism to the innovations of the New German Movement. This hostility exerted a baneful influence upon his instrumentation. His intentions were high, but the results of uneven value. His music reveals a search after fulness of contents, passionate strength, and a certain predilection for the peculiar. Euphony and rounded form are less pronounced, though occasional evidence of delicacy and even of tenderness is not lacking. Rubinstein cannot be eulogized as a dramatic writer, although "Feramors" is a pleasing lyric opera, and the Biblical stage-play "Sulamith" presents a poetic idyl imbued with Eastern color. Interesting is the embodiment of seven movements in the "Ocean Symphony," a work that holds high rank in musical literature. In string writing, Rubinstein revealed fine appreciation of tone-color. The instruments are handled with rare skill and that quite especially in his chamber music. But in spite of a not infrequent display of superb power, his orchestration, on the whole, was hampered by the narrow prejudice which limited his horizon.
The history of Slavonic music up to the present day will be concluded with the following brief remarks concerning Tschaikowsky[101] (1840-1893). Though he is mentioned last, one must not forget that his activity covers the same period as that of the originators of the neo-Russian school.
The composite of his high-strung and intensely æsthetic nature may be summed up by saying that at heart he was in sympathy with Liszt; his structural form rests upon the intellectuality of classicism; his conceptions emanated from Muscovite melodies but are stamped with the insignia of genius all his own; his style is essentially lyrical, and betrays the delicacy and refinement of a cultured Russian. What is more, there are momentary suggestions even of coyness that are again strikingly contrasted by a certain barbaric element worthy of a barely-civilized Cossack.
The peculiar fascination exerted by his music may be traced first and foremost to its dominating melancholy character, although this plaintive strain is again set off by a certain vigor, which Henderson calls "the outcome of a certain grim determination always present in the Russian heart." It has also been described by Dannreuther as "fiery exultation on a basis of languid melancholy." The means which Tschaikowsky found to express himself in a language of profound pathos embodied the free use of sombre chromatic harmony, of minor modes, and above all of weird and gloomy orchestration.[102] The general outlines of Tschaikowsky's music embrace melodic subtleties, bold modulations, florid figuration, strongly marked rhythm and cadences peculiar to his own land, huge dimensions, fantastic portrayal, broad dignity of utterance, and magnificent orchestral effects. The embodiment of native folk-music in no way interferes with his own intense originality and genuine spontaneity.
One of the most astounding features in Tschaikowsky's scoring is the extreme modern effect secured from virtually the same orchestra of moderate size that Beethoven employed. To the uninitiated auditor, the wealth and variety of tone-color produced would appear to require a mighty aggregation of instruments; but the "Symphonie pathétique," for example, makes requisition for no more instruments than those used in Beethoven's grandest symphonies, excepting the addition of a bass-tuba.[103] As for an increased number of strings, the increase remains in force for modern performances of the classics as well. In regard to obtaining what has been called "a gloomy eloquence of instrumentation," this is effected by drawing upon the deeper accents of the orchestra.[104] Tschaikowsky employed such combinations as horns and bassoons alone; English horn, bassoons and violas; the lower tones of flutes and clarinets also accompanied by violas; the unison of English horn with low strings as in the cantabile of the overture-fantasy, "Hamlet,"—a combination to which Henderson calls attention in his admirable little book on the orchestra. (This work, by the way, is skilfully written for the delectation of cultivated amateurs.) Other important contributors to Tschaikowsky's subdued coloring are the clarinets in their lower range and the bassoons in their upper range.[105] The best exemplification of orchestration essentially mournful in character is discovered in his last great work—the "Symphonie pathétique" already referred to. On the other hand, a magnificent specimen of forceful writing is presented in the final movement of particularly the C major symphony.
Recent development in Russia of orchestral resources is bearing delectable fruit; but without Tschaikowsky to point the way, this would not have been possible. He still reigns supreme as the greatest interpreter of Slavonic ideals. Tschaikowsky in Greater Russia, Grieg in Scandinavia, Dvořák in Bohemia, Saint-Saëns in France, Wagner and Richard Strauss in Germany,—these are the men of the nineteenth century who have caused the art of orchestration to acquire distinctively national characteristics suited to the needs of differentiated national music. In return, composers of all countries are seizing upon every possible device introduced by these innovators, and the twentieth century gives promise of results cosmopolitan in nature and superb beyond description.
ENGLAND AND AMERICA.
X.
England. Although the recent growth of Russian music is of vast significance, neither have the Anglo-Saxons been idle. England can also point to a long series of sterling composers belonging to the nineteenth century. Among the representative musicians who have helped to develop a native style of composition and orchestration should be mentioned Balfe, Macfarren, Bennett, Barnby, Sullivan, Bridge, Mackenzie, Parry, Cowen, Stanford.
At the head of this sturdy list stands Balfe (1808), whose continuous application to operatic forms presents an exception to the more varied labors of most English composers. Neither the substance-matter nor the instrumentation of his works merits the distinction of having furthered the cause of indigenous English music. The style is essentially Italian. Balfe possessed fluency of expression and displayed aptitude for pleasing melody. Depth and power were not among his attributes.
An entirely different atmosphere pervades the numerous productions of Sir George Macfarren (1813). This eminent pioneer of nineteenth century English music had the honor of being born in the same year with Wagner. The cosmopolitan range of his compositions is noteworthy, and his tireless activity in the face of an affliction that eventually ended in entire blindness entitles him to unstinted praise. His works are among the most important contributions to the literature of English music, covering as they do every branch of music from opera, oratorio and cantata to symphony, chamber music and sacred pieces.