PETER ILITSCH TSCHAIKOWSKY.
Even greater than Rubinstein as composer was the brilliant Peter Ilitsch Tschaikowsky (1840-1893). Tschaikowsky was intended for the profession of the law, in which he took his degree. But his love for music asserted itself, and after a short career as pupil in the St. Petersburgh conservatory, he was appointed teacher of harmony in that institution, and entered upon his career as composer. Here he remained but a short time, resigning in 1877, after which he lived by turns at St. Petersburgh, in Italy and in Switzerland. Tschaikowsky was of a lyric musical nature, and in his early life his taste was entirely for Italian music. This shows to a remarkable degree in all his earlier productions, even if he had not himself published the fact so often and unmistakably. In 1869 he produced his first Russian opera, "Der Woiwode" which was followed by eight others, of which the best known are "Eugene Onegin" and "Makula, the Smith." Several of these are now played throughout Europe. It was in his orchestral compositions, however, that Tschaikowsky most illustrated his unexampled powers. Besides a number of brilliant and highly sensational overtures, he composed six symphonies, of unexampled sonority, rich coloring and strange musical expression. The fifth symphony of Tschaikowsky met with almost universal recognition at the hands of the leading orchestral conductors of the world; and the last, the so-called "Tragic," only deepened the impression of the composer's powers. Several points are unusual. The themes themselves are original, forceful and lend themselves easily to elaboration. The harmonic treatment is highly original, as if the author had found, as Bülow said, "new harmonic paths." The instrumentation is richly colored and the climaxes are of vast power and effect. The whole is a grandly composed tone poem which even if regarded as surpassing the proper reserve of symphonic form must nevertheless be counted as one of the most valuable enrichments of the world's orchestral repertory. In several places in his works Tschaikowsky introduces peculiarities of Russian folk music, as for example in the movement in 5-4 measure in the fifth measure symphony. Nevertheless, the works belong to the world's music, being in no sense provincial, narrow or limited. Æsthetically considered, they illustrate the quick technique and over-mastering energy of the race to which the composer belonged.
III. Music in Bohemia.
Another country in which a notable musical revival has taken place during the latter part of the present century is Bohemia, where two names are to be mentioned. Bedrich Smetana (1824-1884), is to be remembered as the creator, or at least the awakener, of Bohemian music. After a short education at the Prague university Smetana entered diligently upon the study of music, becoming a brilliant pianist, and as such forming one of the circle of enthusiastic and advancing souls surrounding Liszt at Weimar, between 1850 and 1860. His first position as musical director was at Gothenberg, 1856. Here he lost his wife, the brilliant pianist Katharina Kolar. In 1861 he made a long concert tour to Sweden. In 1866 he was appointed director of the music at the national theater in Prague, a position which he held until obliged to give it up on account of loss of hearing in 1874. Smetana wrote eight operas upon Bohemian subjects, with music in the Bohemian spirit; one best known is "The Bartered Bride," which was the last composed. He also wrote about ten symphonies or symphonic poems, and a great variety of chamber music. Of his symphonic poems those most often played are: "In Wallenstein's Camp," "Moldau," "Sarka" and "Visegrad." In all these the titles are mainly suggestive, although in "Sarka" a programme is quite closely followed. Smetana was a brilliant composer, but his value lies in his awakening of the Bohemians to musical creation.
BEDRICH SMETANA.
ANTON DVORAK.
The most brilliant name in Bohemian music, and the one most valued by the world in general, is that of Anton Dvorak (1841- ), who was the son of a butcher at Mulhausen. The boy early applied himself to the violin, and after some years' playing in small orchestras, found a place as violinist in the orchestra of the National theater at Prague. This was at the age of nineteen. About ten years later he first attracted attention as composer, by means of a hymn for mixed chorus and orchestra. The attention of his countrymen, thus gained, Dvorak fastened still more by a succession of compositions of varied scope, ranging from the Slavic dances and Slavic rhapsodies to symphonies, chamber music and choral works of great brilliancy. In 1892 Dr. Dvorak was called to New York as director of the so-called National Conservatory of Music. In 1895 he returned to Bohemia. The choral works of Dvorak were generally first written for English musical festivals. "The Specter's Bride," "Stabat Mater," "Saint Ludmilla." The list of his works includes five symphonies for full orchestra, several concert overtures, a very beautiful air and variations for orchestra, and seven operas upon Bohemian subjects. Dvorak is one of the most gifted composers of the present time, especially in the matter of technique. His thematic treatment is always clever, his orchestral coloring rich and varied, and his style elegant. If deficiency is to be recorded concerning him it is in invention or innate weight of ideas. During his residence in America he promulgated the idea that an American school of music was to be created by developing the themes and rhythms of the negro melodies, and he wrote a symphony, "From the New World," in order to illustrate his meaning. The second or slow movement of this work attained a distinguished success almost everywhere; but the themes of the first and last movement are not sufficient for the treatment they receive. This work has been more successful in Europe than in this country. Perhaps the most notable quality of Dr. Dvorak's personality is his naiveté, which shows well in his music. He is quite like a modern Haydn, who has learned and remembered everything of musical coloration which has been discovered, but who applies his knowledge in a simple and direct manner without straining after effect.