Other Bohemians.—Zdĕnek Fibich, though little known outside of his own country, was another famous opera-composer. He devoted some efforts to melodrama also, “Hippodamia” being his chief work in this field. He published two symphonies and several symphonic poems, the latter showing the influence of Liszt. Reznícĕk, who has recently identified himself with the musical life of Germany, has produced five operas, of which the sparkling comedy “Bonna Diana” and the later “Till Eulenspiegel” are the best. Josef Suk, son-in-law of Dvořák, has composed some attractive instrumental music, while Nápravník, of an earlier generation, won operatic successes in St. Petersburg. Hungary, too, has a national school of opera, founded by Franz Erkel. This school is carried on by such men as Alexander Erkel, the Doppler brothers, Mihalovitch, Zichy, and Hubay, while Dohnanyi is better known as pianist than as composer. Poland is represented by Paderewski, while Soltys has won renown in symphony, and Stalkowsky in opera.
Norwegian Music.—Norway is preëminently a land of song. Its sombre fiords, dark forests, and smiling meadows have at all times inspired a school of Folk-music whose plaintive sweetness exerts the utmost charm on the musical auditor. In Edvard Hagerup Grieg (Bergen, 1843-1907) we find a composer of wonderful melodic gifts and expressive power, who has preserved admirably the flavor of the local Folk-songs and dances. Grieg owed much to the wise training of his mother, a woman of rare gifts. At Ole Bull’s advice, he took a course at Leipzig, after which he studied further with Gade, at Copenhagen. There he met Rikard Noordraak, who first aroused his enthusiasm for the songs and legends of his native land.
Grieg’s Works.—Grieg’s genius was essentially lyric and melodic, but this in no way detracts from the greatness of his orchestral works. The “Autumn” overture is clear and beautiful, with the simplicity of strength, not of weakness. The “Norwegian Dances” mark the beginning of the national style that is carried out in the melodrama “Bergliot,” the two “Peer Gynt” suites, and “Sigurd Jorsalfer.” The piano concerto, somewhat in the style of Schumann, is one of Grieg’s best works, and shows the utmost perfection of melodic and harmonic architecture. The “Elegiac Melodies,” the “Norwegian Themes,” and the “Holberg Suite,” all for strings, are further examples of his rich fulness of romantic utterance. His choral and chamber works show the same sympathetic treatment, while his piano works and songs include some of the most exquisite gems in the entire musical repertoire. His works show endless melodic invention, great power of expression, and a warmth of tender sentiment that seems never to lose its charm.
Christian Sinding (Kongsberg, Norway, 1856) studied at Leipzig also, and won a royal scholarship that took him to Munich and Berlin. He belongs to an artistic family, for one brother, Otto, is a painter, and another, Stefan, a sculptor. Sinding’s music is melodic in character, and distinctively Norwegian in style, but less so than that of Grieg. His orchestral works include an excellent symphony, brought out under Weingartner and later by Thomas; an attractive concerto for piano, and two for violin; a “Rondo Infinito”; and the interesting suite, “Episodes Chevaleresques.” His chamber-music, violin sonatas, piano solos, and songs are made of the most attractive material.
Other Norwegians.—Johann Severin Svendsen, though prominent in Danish music, is really Norwegian by birth. Son of a military bandmaster, he soon obtained a position similar to his father’s. But he longed for higher things, and after a tour as violin virtuoso, he studied at Leipzig, under Reinecke. He traveled much, meeting in Paris an American woman whom he afterwards married in her own country. After some experience in Christiania, he became court conductor in Copenhagen, where he owns the baton used by von Weber and inscribed with that composer’s name. His orchestral works include two symphonies, four Norwegian Rhapsodies, the legend “Zorahayde,” and the “Carnival at Paris,” but they are too conventional to take foremost rank. A prominent composer among the younger Norwegians is Ole Olsen, of Hammerfest, whose symphonic poem “Asgardsreien” is but one of his many successes. Gerhard Schjelderup is one of the modern radicals, and shows all the complexity and dissonance of Strauss. Agathe Backer-Grohndahl is the leader of the Norwegian women-composers.
Music in Denmark.—In Denmark, the fame of Gade obscured that of other composers, and such a man as J. P. E. Hartmann could gain scarcely more than local reputation. The most important name in recent years is that of August Enna, who won a popular operatic triumph in 1892 with “Die Hexe.” He was almost wholly self-taught, for poverty prevented him from taking lessons, sometimes even from buying music paper. “Cleopatra” is a later work, while “The Little Match-Girl” was the beginning of a series of fairy operas. Enna handles his orchestra with boldness and skill, and displays vocal fluency and thematic excellence. Eduard Lassen gained more renown by his melodious songs than by his operas or orchestral works. Otto Malling is known for his piano pieces, while Victor Bendix has attempted the symphonic poem. Ludwig Schytté, a friend of Liszt, has made Berlin his home, and is identified with light opera as well as piano music.
Music in Sweden.—The national opera of Sweden was brought into being by Ivar Hallstrom, soon after the middle of the 19th century. Since then, a new school has arisen, showing the influence of Liszt, Wagner, Schumann, and at times, Berlioz, with the plaintive sweetness of the native Folk-music pervading it all. Anders Hallen, the first of the new romanticists, has written four operas (of which “Hexfallen” is the best), several symphonic poems and Swedish Rhapsodies, a number of ambitious cantatas, and some beautiful Swedish and German songs. He unites the charm of his native music with strength of passion and richness of instrumentation. Emil Sjögren shows a harmonic feeling worthy of Grieg, but his boldness in modulation often produces bizarre effects. He excels in the smaller forms, such as his “Spanish Songs,” “Tannhäuser Lieder,” and several piano cycles. Wilhelm Stenhammar, pupil of these two, shows much enthusiasm and spirit in his music, but his operas are now laid aside. Wilhelm Peterson-Berger is the best of the new opera-composers, his music-drama “Ran” being a recent success. Hugo Alfven has attempted the symphony, with fair success. Tor Aulin, a famous violinist, has produced concertos and other works for his instrument, while Erik Akerberg has devoted his energy to choral works. Elfrida Andree is the most prominent of the Swedish women-composers.
Music in Finland.—The national epic of Finland is the Kalevala, a work of real poetic beauty. There is also a collection of shorter lyrics, called the Kanteletar. These have furnished inspiration for a large number of modern composers, of whom the most important is Jean Sibelius. He studied with Becker in Berlin and Goldmark in Vienna. On his return to Helsingfors, the capital, he became the leader of the new Finnish school. His two symphonies are worthy if not absolutely great, but his symphonic poems, and the suite “King Christian IV,” show real musical beauty. He has been active in the smaller forms also, and holds the Government pension for musical excellence. Armas Jarnefelt is another good orchestral composer, while Ernest Mielck, who died at twenty-two, showed a lyric beauty not unworthy of Schubert. Richard Faltin is one of the older song-composers. Martin Wegelius, died 1906, did valuable work as director of the Musical Institute, while Robert Kajanus became prominent as the founder and leader of the Helsingfors Philharmonic Orchestra. Both are excellent composers, the former working chiefly in vocal forms, the latter in the orchestral field.
Questions.
Who founded the Bohemian school of composers?