For the reasons above stated, it is not possible, without venturing into matters of detail which would be uninteresting, to mark the minor differences which characterize each writer. It will therefore be only necessary to name some of the principal works of the principal opera writers of the German school. The best of Mozart’s efforts are his “Don Giovanni,” his “Così fan Tutte,” his “Zauberflotte,” and his “Nozze di Figaro.”
Weber’s greatest conceptions are supposed to be his “Freischutz,” his “Oberon,” and his “Preciosa”.
The “Fidelio” of Beethoven stands justly at the head of all his writings. Of Meyerbeer’s great works none are held in greater estimation than his “Robert le Diable,” his “Huguenots,” and his “Crocciatoin Egitto.” His “Prophete” is highly spoken of, but it still remains unknown to the longing ear of the writer of this essay. Herold’s “Zampa,” and Lortzing’s “Czar und Zimmermann,” are also in high repute among musicians.
In instrumental music, German writers rank as high as their compatriots do in the operatic school, and higher than the masters of any other country. In the more solid flights of art we have Beethoven, Mozart, Weber, Meyerbeer, Bartholdy, Spohr, Gluck, Bach, Listz, De Meyer, and others. In the lighter but not less meritorious style of composition, we have Thalberg, Herz, Moschelles, and others.
French music, with the exception of the works of one or two writers, has never been in favor out of France. It resembles closely in some points French poetry. There is harmony, melody, softness, and sometimes art; but there are wanting grandeur and loftiness of conception and smoothness. The writings of David and Auber are, however, exceptions to these objections. There is a force in David’s “Desert,” for example, which excuses comparison even with German writers; and many of the operas of Auber have a high place in the estimation of those who incline to the Italian school, a close resemblance to which is to be found in some of his writings. Among the best works of this distinguished musician are his “Muette de Portici,” his “Fra Diavolo,” and his “Diamans de la Couronne.” His “Domino Noir,” his “Barcarole,” and others, are also favorites even beyond the French frontier. Adam’s “Postillion de Lonjemeau” is another effort which must be mentioned with respect.
There are in each of the schools to which I have adverted many great composers whose names do not occur to me at this moment. Indeed, it would be almost impossible to record all those inspired men who have reflected on their several nations the glory which music has conferred on them.
The study of Music is so interesting as to excuse a very lengthy dissertation, and the present paper might be considerably prolonged, did the limits of the Magazine permit a continuation of this already lengthy essay, in which the several branches of the subject are only cursorily treated; but I feel that I need say nothing to recommend to the public of this country the Divine Art, which, as a German author beautifully expresses it, “is to Poetry what Poetry is to language.” It is undoubtedly the poetry of sound, the sweet harmonizer of society, the chief luxury of life and the greatest softener and civilizer of man’s harsh nature.
| [1] | The only exception with which the writer is acquainted. |