Within recent years, the barriers of nationalism have become relaxed. An almost involuntary interchange of idioms has caused music to take on an international character despite a certain maintenance of racial traits. Eclecticism is becoming to a certain extent universal. Achievement is too easily communicable from one country to another. In some respects music was more interesting when it was more parochial. To prophesy that music is near to anarchy is to convict one's self of approaching senility, for the ferment of the revolutionary element has always existed in art. Since the time of Wagner and Liszt, however, musical development has proceeded with such extreme rapidity as to endanger the endurance of our traditional material. Poly-harmony, dissonant counterpoint and the agitation for a new scale are suspicious indications. Disregarding the future, however, let us realize that the diversity and complexity of modern music is enthralling, and that most of us can readily endure it as it now is for a little longer.
Edward Burlingame Hill.
May, 1915.
CONTENTS OF VOLUME THREE
| CHAPTER | PAGE | |
| Introduction by Edward Burlingame Hill | [vii] | |
| I. | By- and After-Currents of the Romantic Movement | [1] |
| Introductory; the term 'modern'—The 'old-romantic' tradition and the 'New German' school—The followers of Mendelssohn: Lachner, F. Hiller, Rietz, etc.; Carl Reinecke—Disciples of Schumann: Robert Volkmann; Bargiel, Kirchner and others; the Berlin circle; the musical genre artists: Henselt, Heller, etc. (pianoforte); Jensen, Lassen, Abt, etc. (song)—The comic opera and operetta: Lortzing, Johann Strauss, etc.—French eclecticism in symphonic and operatic composition: Massenet—Saint-Saëns, Lalo, Godard, etc. | ||
| II. | The Russian Romanticists | [37] |
| Romantic Nationalism in Russian Music—Pathfinders; Cavos and Verstovsky—Mikhail Ivanovich Glinka; Alexander Sergeyevitch Dargomijsky—Neo-Romanticism in Russian music; Anton Rubinstein—Peter Ilyitch Tschaikowsky. | ||
| III. | The Music of Modern Scandinavia | [59] |
| The rise of national schools in the nineteenth century—Growth of national expression in Scandinavian lands—Music in modern Denmark—Sweden and her music—The Norwegian composers; Edvard Grieg—Sinding and other Norwegians—The Finnish Renaissance: Sibelius and others. | ||
| IV. | The Russian Nationalists | [107] |
| The founders of the 'Neo-Russian' nationalistic school: Balakireff; Borodine—Moussorgsky—Rimsky-Korsakoff, his life and works—César Cui and other nationalists, Napravnik, and others. | ||
| V. | The Music of Contemporary Russia | [137] |
| The border nationalists; Alexander Glazounoff, Liadoff, Liapounoff, etc.—The renaissance of Russian church music; Kastalsky and Gretchaninoff—The new eclectics: Arensky, Taneieff, Ippolitoff-Ivanoff, Glière, Rachmaninoff and others—Scriabine and the radical foreign influence; Igor Stravinsky. | ||
| VI. | Musical Development in Bohemia and Hungary | [165] |
| Characteristics of Czech music; Friedrich Smetana—Antonin Dvořák—Zdenko Fibich and others; Joseph Suk and Vitešlav Novák—Historical sketch of musical endeavor in Hungary—Ödön Mihálovich, Count Zichy and Jenö Hubay—Dohnányi and Moór; 'Young Hungary': Weiner, Béla Bartók and others. | ||
| VII. | The Post-Classical and Poetic Schools of Modern Germany | [201] |
| The post-Beethovenian tendencies in the music of Germany and their present-day significance; the problem of modern symphonic form—The academic followers of Brahms: Bruch and others—The modern 'poetic' school: Richard Strauss as symphonic composer—Anton Bruckner, his life and works—Gustav Mahler—Max Reger—Draeseke and others. | ||
| VIII. | German Opera after Wagner and Modern German song | [238] |
| The Wagnerian after-current: Cyrill Kistler; August Bungert, Goldmark, etc.; Max Schillings, Eugen d'Albert—The successful post-Wagnerians in the lighter genre: Götz, Cornelius and Wolf; Engelbert Humperdinck and fairy opera; Ludwig Thuille; Hans Pfitzner; the Volksoper—Richard Strauss as musical dramatist—Hugo Wolf and the modern song; other contemporary German lyricists—The younger men: Klose, Hausegger, Schönberg, Korngold. | ||
| IX. | The Followers of César Franck | [277] |
| The foundations of modern French nationalism: Berlioz; the operatic masters: Saint-Saëns, Lalo, Franck, etc.; conditions favoring native art development—The pioneers of ultra-modernism: Emanuel Chabrier and Gabriel Fauré—Vincent d'Indy: his instrumental and his dramatic works—Other pupils of Franck: Ernest Chausson; Henri Duparc; Alexis de Castillon; Guy Ropartz. | ||
| X. | Debussy and the Ultra-Modernists | [317] |
| Impressionism in Music—Claude Debussy, the pioneer of the 'atmospheric' school; his career, his works and his influence—Maurice Ravel, his life and work—Alfred Bruneau; Gustave Charpentier—Paul Dukas—Miscellany; Albert Roussel and Florent Schmitt. | ||
| XI. | The Operatic Sequel to Verdi | [366] |
| The musical traditions of modern Italy—Verdi's heirs: Boito, Mascagni, Leoncavallo, Puccini, Wolf-Ferrari, Franchetti, Giordano, Orefice, Mancinelli—New paths; Montemezzi, Zandonai and de Sabbata. | ||
| XII. | The Renaissance of Instrumental Music in Italy | [385] |
| Martucci and Sgambati—The symphonic composers: Zandonai, de Sabbata, Alfano, Marinuzzi, Sinigaglia, Mancinelli, Floridia; the piano and violin composers: Franco da Venezia, Paolo Frontini, Mario Tarenghi; Rosario Scalero, Leone Sinigaglia; composers for the organ—The song writers: art songs; ballads. | ||
| XIII. | The English Musical Renaissance | [409] |
| Social considerations; analogy between English and American conditions—The German influence and its results: Sterndale Bennett and others; the first group of independents: Sullivan, Mackenzie, Parry, Goring Thomas, Cowen, Stanford and Elgar—The second group: Delius and Bantock; McCunn and German; Smyth, Davies, Wallace and others, D. F. Tovey; musico-literary workers, musical comedy writers—The third group: Vaughan Williams, Coleridge-Taylor and W. Y. Hurlstone; Holbrooke, Grainger, Scott, etc.; Frank Bridge and others; organ music, chamber music, songs. | ||
| Literature for Vols. I, II and III | [445] | |
| Index for Vols. I, II and III | [491] |
ILLUSTRATIONS IN VOLUME THREE
| The Garden Concert; painting by Watteau (in colors) | Frontispiece |
| FACING PAGE | |
| French Eclectics (Lalo, Massenet, Saint-Saëns, Godard) | [30] |
| Russian Romanticists (Glinka, Dargomijsky, Rubinstein, Tschaikowsky) | [48] |
| Edvard Grieg | [90] |
| Jean Sibelius | [104] |
| Neo-Russian Composers (Moussorgsky, Balakireff, Borodine, Rimsky-Korsakoff) | [122] |
| Contemporary Russian Composers (Rachmaninoff, Glazounoff, Rebikoff, Glière) | [150] |
| Bohemian Composers (Smetana, Dvořák, Fibich, Suk) | [178] |
| Hungarian Composers (Count Zichy, Jenö Hubay, Dohnányi, Moór) | [192] |
| Modern German Symphonic and Lyric Composers (Mahler, Bruckner, Draeseke, Wolf) | [202] |
| Richard Strauss | [214] |
| Max Reger | [226] |
| Modern German Musical Dramatists (Humperdinck, Thuille, Pfitzner, Goldmark) | [246] |
| Modern French Composers (Chabrier, d'Indy, Charpentier, Ravel) | [298] |
| Claude Debussy | [334] |
| Contemporary Italian Composers (Mascagni, Wolf-Ferrari, Puccini, Zandonai) | [372] |
| Modern British Composers (Bantock, Sullivan, Parry, Elgar) | [424] |
MODERN MUSIC
CHAPTER I
BY- AND AFTER-CURRENTS OF THE ROMANTIC MOVEMENT
Introductory; the term 'modern'—The 'old-romantic' tradition and the 'New German' school—The followers of Mendelssohn: Lachner, F. Hiller, Rietz, etc.; Carl Reinecke—Disciples of Schumann: Robert Volkmann; Bargiel, Kirchner and others; the Berlin circle; the musical genre artists: Henselt, Heller, etc. (pianoforte); Jensen, Lassen, Abt, etc. (song)—The comic opera and operetta: Lortzing, Johann Strauss, and others—French eclecticism in symphonic and operatic composition: Massenet—Saint-Saëns, Lalo, Godard, etc.