BACH LAYS THE FOUNDATION OF MODERN MUSIC
A.D. 1723
HENRY TIPPER
Our first recognized triumph in the marvellous modern development of music, the first great masterpiece which taught the world the beauty of which the art is capable, was Bach's Das Wohltemperirte Clavier. The production marks, therefore, "the first great climax of musical art."
Like the other arts and sciences, the story of music is that of a slow building up. Music "divinest of arts, exactest of sciences"—for music is both an art and a science—has developed from the crude two-or three-note scale melody, without semitones, to the elaborate, ornate lucubrations of the modern oratorio, opera, or symphony. From the beginning the "half-sister of Poetry" has been the handmaid of Religion. The ancients ascribed miraculous properties to music. Of the actual system of the Egyptians our information is very scant; but we learn from the monuments depicting the number and variety of their instruments that they had advanced from childish practice to orchestration and harmony. According to Plato, "In their possession are songs having the power to exalt and ennoble mankind." The harp is undoubtedly of Egyptian origin.
In Israel plastic art was discouraged; the natural emotion of the people was, therefore, expressed in poetry and music. Miriam, the daughter of Jephthah, Deborah, and later the Virgin, whose grand chant, the Magnificat, is ever being upraised from Christendom's heart, portray the deep emotional temperament of this great religious race.
The artistic standard of the music of the Greeks was far behind that of their observation and intelligence in other matters. Their theories on the combinations, of which they never made use, and analysis of their scales show much ingenuity, but their accounts are so vague that one cannot get any clear idea of what these were really like. When art is mature, people do not tell of city walls being overthrown, of savage animals being tamed—as run the stories of Orpheus and Amphion. One Greek there was, Pythagoras, who discerned the association between the distant music of the spheres with the seven notes of the scale. "He discovered the numerical relation of one tone to another."[28] It was about the time of Pythagoras that a scheme of tetrachords which did not overlap was adopted.
In Persia and Arabia was obtained a perfect system of intonation. The Chinese system is minutely exact in theory, bombastic in fancy. The Hindus sedulously avoided applying mathematics to their scales. The development of the scale is shown in the construction of the ancient Greek scale, the modern Japanese, and the aboriginal Australian scale, and the phonographed tunes of some of the Red Indians of North America. Here a reference must be made to the scale of the Scotch bagpipe, a highly artificial product, without historical materials available to assist in unravelling its development. It comprises a whole diatonic series of notes, and modes may be selected therefrom.
But it is to Rome that we owe the seed of our modern methods of treatment. The Netherland school had been highly developed there by a long line of distinguished masters, who paved the way for the gifted Palestrina, who exalted polyphony to a secure eminence equal to that attained by the arts of painting and architecture. He brought forth a perception of the needs which music suffered, adding an earnestness and science to a profound quality of simpleness and grace. It was between 1561 and 1571 that his genius mellowed and his style took on those characteristics upon which was based the future music of the Catholic Church. It was while he was Maestro at the Vatican that he submitted to the Church the famed Missa Papæ Marcelli, which determined the future of church music.
The culmination of art in music is strikingly shown in the subjoined article from the pen of that great authority, Mr. H. Tipper.