ROBERT FRANZ
N the study of the history of musical art, nothing can strike our mind more impressively than the observation of its coherency, of the connection between the different phases in the development of each particular field and between its most prominent representatives; but most striking is this impression when we become aware of an influence directly felt through generations. When about a generation ago the conservative Professor Bischoff sarcastically threw the term "music of the future" into the world with reference to Wagner's music dramas, the master accepted it as a watchword, and in his pamphlet "The art work of the future," laid down the hopes and ideals which he strove to realize. Numberless times since then has this phrase been used everywhere, and those who, standing in the midst of the movement, wanted to become clear as to its true meaning, had at least to admit that all great music has ever been "music of the future," whether its value has been recognized by contemporaries or not. But most eminently it has seemed to apply to the great master, Johann Sebastian Bach. Of him, who died more than fourteen decades ago, it could have been said, that only a very remote future would do his works justice, for even to-day they must still be regarded as "music of the future," and the influence which they were destined to exert upon the development of musical art in various fields, is still far from having reached its end. It is inspiring to see how the thorough understanding and appreciation of this genius, and of the wealth, depth and greatness of his style, are progressing in the different countries, and just as inspiring to examine his extraordinary influence upon the more recent epochs of musical history. While some composers tried to follow him in his own fields, as Mendelssohn in the oratorio or Rheinberger in compositions for the organ, others, as Schumann and Brahms in instrumental works, have adopted his wonderful polyphonic and contrapuntal art, showing his influence just in those productions, which otherwise exhibit most strongly their own individuality. Even the revolutionary Wagner held Bach's genius in veneration, and paid a noble tribute to it in his Mastersingers. Indeed, considering these facts, an overwhelming sense of admiration and gratitude must fill our hearts, particularly in thinking of the great master of modern German song to whom this article is devoted.
Not an imitator, but a worthy successor of Bach, in a field, the highest cultivation of which has been preserved to modern time as one of its noblest tasks, is Robert Franz, whose life and works may perhaps awaken a double interest, if viewed in the light of the above introductory remarks. In outward appearance this life was, perhaps, even more quiet and simple than that of Bach. Franz's soul and mind had always turned toward the inner world, just as in his songs he studiously avoided all ostentation and meaningless brilliancy. There is indeed a significant harmony between his life and songs, the latter being the outgrowth of the former, not occasionally written down from a vain ambition to compose, nor as a pastime or fashion, but as the fulfilment of his life's task, to which his genius had committed him.
Robert Franz was born June 28, 1815, in Halle, the old university town in the centre of Germany, the birthplace of Handel. Here Franz has remained all his life. He did not descend from a musical family, but from plain, honest, business people; nor were there any direct early proofs of his musical genius, as only in his fourteenth year he was given an opportunity, on an antique, spinet-like pantaleon (or large dulcimer) to make his first practical experiments, at the same time trying, unaided, with a touching perseverance, to find out the secrets of musical notation. However, he had received his first musical impressions when very young. At two years of age he had been amply impressed by Luther's choral, "A Mighty Fortress is Our Lord," played by trombones from the steeple of a church at the celebration of the third centenary of the Reformation. At home his father was accustomed to sing the old church and folk songs. The effect of these early impressions on his young musical soul was soon obvious, for he says that in school he had an irresistible desire to add a second voice to the melodies which were being practised. His unsolicited assistance was looked upon as a crime by the teacher, who punished him for it repeatedly. It was the mother who first lent a helping hand to the boy's outspoken talent and inclination, and who succeeded in persuading his father to buy the already mentioned pantaleon. Naturally the instruction which young Robert received, first from a relative and then by nearly all the different music teachers of Halle in succession, was not of much value. He achieved more by his own impulses, practising chorals with friends, eagerly studying the organ and using every opportunity to play accompaniments, as for instance, in the choral rehearsals of the famous Franke Asylum. There he became acquainted with the music of Mozart, Haydn, and his great fellow citizen, Handel, and there he was first fired with the spirit of composition. Unadvised and without the least theoretical preparation he yielded to his desire to compose, neglecting even his school duties in favor of this impulse, the results of which, however, he has declared utterly worthless. It was difficult for him, especially in his own home, to brave all depreciation of his talents and to overcome all opposition; only the firm belief in his artistic calling enabled him to fight the battle through victoriously.
Franz was twenty years old, when at last his parents consented to his thorough professional education. The Leipsic Conservatory not having been founded, the music school of the famous theorist and composer, Friedrich Schneider, in Dessau, was at that time held in highest esteem, and there Franz was sent. The rather patriarchal, old fashioned, pedantic spirit which prevailed in this school, could certainly offer to the young aspiring student substantial knowledge, though it could do but little to develop his poetic nature. Yet he learned a great deal there, and laid a most excellent foundation to the eminent theoretical knowledge and mastery in the strict contrapuntal and polyphonic style by which he later won such a high distinction.
Besides this, the ever fresh impulses of his own nature and the inspiring intercourse with congenial fellow students helped to mature his own musical individuality. A peculiar influence is attributed to a certain Reupsch, whom Franz describes as quite extraordinary in improvisations on the organ and in the treatment of chorals. Nothing has ever been published of all the works (consisting of pianoforte sonatas, a mass, etc.) which were composed during these years. Franz felt that his nature would lead him upon an independent path of his own, but his instinct had not yet found this sphere. After two years of study he returned home, only to meet with new opposition and mistrust in his talent. No position was offered him, no compositions appeared in print; and it was then that the sympathy of his faithful mother remained his best comfort. In the circles of cultivated dilettanti he learned that the intrinsic value of a work of art is found in its inner significance, and that its formal value, if it be a really artistic production, should be a matter of course. This is the very idea for which Robert Schumann was then fighting, and which men like Wagner, Liszt and Berlioz have made the principle of their artistic creed. Yet all true art rests on the closest harmony between both elements, where the form is the necessary and most perfect expression of the ideal contents, the two forming a perfect union. What a blessing was it that Franz in this way found rich opportunities to become acquainted with old Italian music, and with the three great German masters, Bach, Schubert and Schumann, whose works have most essentially influenced the moulding of his own musical language.