The Great Musical Reformers. II. Guido D'arezzo Author(S): W

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The Great Musical Reformers. II. Guido d'Arezzo Author(s): W. S. Rockstro Source: The Musical Times and Singing Class Circular, Vol. 30, No. 552 (Feb. 1, 1889), pp. 75-78 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3359955 . Accessed: 14/09/2013 18:26

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This content downloaded from 192.236.36.29 on Sat, 14 Sep 2013 18:26:10 PM All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-FEBRUARY I, 1889. 75 Musicians, with a few exceptions, Chopin seems interesting statements. It would appear that the always to have been careful to keep at a distance, at men themselves rather evaded explanations. Once, least after the first years of his arrival in Paris. This when interrogated on the matter, Chopin replied: is regrettable, especially in the case of the "We are friends; we were comrades." Answering a young men who looked up to him with venera- similar question, Liszt said: " Our lady-loves had tion and enthusiasm, and whose feelings were quarrelled, and, as good cavaliers, we were in duty cruelly hurt by the polite but unsympathetic recep- bound to side with them." Now let us hear our tion he gave them." Instances are not wanting, author: " When the comradeship came to an end I among them that of Schulhoff,who first met Chopin do not know, but I think I do know how it came to at a party. On his introducer begging Chopin to an end. . . Franchomme explained the mystery to allow the young Bohemian to play something to him, me, and his explanation was confirmed by what I " the renowned master, who was much bothered by learned from Madame Rubio. The circumstances dilletantetormentors, signified, somewhat displeased, are of too delicate a nature to be set forth in detail. his consent by a slight nod of the head. Schulhoff But the long and short of the affair is that seated himself at the pianoforte,while Chopin, with Liszt, accompanied by another person, invaded his back turned to him, was leaning against it." Mr. Chopin's lodgings during his absence, and made him- Niecks very properlyadds: " The ungracious manner self quite at home there. The discovery of traces of in which he granted the young musician permission the use to which his rooms had been put justly to play to him, and especially his turninghis back to enraged Chopin. One day, I do not know how long Schulhoff when the latter began to play, are not afterthe occurrence, Liszt asked Madame Rubio to excused by the fact that he was often bothered by tell her master that he hoped the past would be for- dilletante tormentors." Excuses have been made gotten and the young man's trick wiped out. Chopin for the Polish master's indifferent behaviour to then said that he could not forget, and was much his own class, on the ground of his physical better as he was, and, further,that Liszt was not condition, but Mr. Niecks will have none of open enough, having always secrets and intrigues, them. He writes: " Would it not have been and had writtenin some newspapers notices unfavour- possible to live in retirement without drawing upon able to him." It is not unlikely that Liszt's great himself the accusation of supercilious hauteur? success as a concert-pianist tended to keep the two Moreover, as Chopin was strong enough to frequent men apart. To this an expression-" He will give fashionable salons, he cannot have been altogether me a little kingdom in his empire "-once made use unable to hold intercourse with his brother artists." of by Chopin, certainly points. Our author sums up thus: " Fastidious by nature We have reached the limit of our space, but a and education, he became more so, partly in conse- hundred subjects in these most interesting volumes quence of his growing physical weakness, and still have as great a right to notice as those touched upon more through the influenceof the society with which, above. The index bristles with them, as, forexample, in the exercise of his profession and otherwise, he "The chief influences that helped to form his was in constant contact. His pupils, and many of (Chopin's) style of composition "; " Chopin's aims as his other admirers, mostly of the female sex and the an artist "; "What influences had Liszt on Chopin's aristocratic class, accustomed him to adulation and development ?" " Chopin as a public performer"; adoration to such an extent as to make these to be " His musical sympathies and antipathies "; " Polish regarded by him as necessaries of life." national music and its influence on Chopin." All Mr. Niecks brings against Chopin a much more these matters are of interest,and upon all Mr. Niecks serious charge than weakness for aristocratic society. has something to say that is worthy of note and He makes us doubt whether the master had either a study. Our readers will have observed strong indica- heart or sincerity. Chopin is described as " more tions of the author's impartialityand zeal for truth. loved than loving." " But he knew how to conceal These qualities, in combination with industrious and his deficiencies in this respect under the blandness of patient research, have given the new "Life of his manners and the coaxing affectionateness of his Chopin" the salt which will preserve it for many language. There is something really tragic, and comic years to come, sustaining it in its proper place as a too, in the fact that every friendof Chopin thought standard authorityupon the subject of which it treats. that he had more ofthe composer's love and confidence than any other friend. ... Of Chopin's procedures THE GREAT MUSICAL REFORMERS. in friendship much may be learned from his letters, in them is to be seen of his something insinuating BY W. S. ROCKSTRO. cajoling ways, of his endeavours to make the person II.-GUIDO D'AREZZO. addressed believe himselfa privileged favourite,ahd of his habit of speaking not only ungenerously and HUCBALD'Sbold attemptto reformthe vague system unlovingly, but even unjustly of other persons with of musical notation peculiar to the ninth and tenth whom he was apparently on cordial terms. In fact, centuries was forgottenwithin a very few years after it is only too clear that Chopin spoke differentlyhis death, and nearly a century elapsed before any before the faces and behind the backs of people. fartherendeavour to remedy its self-evident defects You remember how, in his letters to Fontana, was made by his learned successors, who seem, for he abuses Camille Pleyel in a manner irreconcileable the most part, to have been quite content to leave the with genuine love and esteem. . . And again, how subject in the condition in which they found it. atrociously he reviles, in the same letters, the banker The next courageous reformerwas Guido d'Arezzo Leo, who lends him money, oftentakes charge of his -the Guido Aretinus of the monkish historians-of manuscripts, procures payment for them, and in whose so-called inventions so many fabulous stories whose house he has been for years a frequentvisitor. have been told that it is now no easy matter to S. . Taking a general view of the letters written by separate the truth from fiction. That he really did him during the last twelve years of his life, one is propose some very valuable improvements upon the struck by the absence of generous judgments, and the system he found in general use is certain; and, for extreme rareness of sympathetic sentiments con- these, his name became justly celebrated in every cerning third persons." country in Europe. But the misfortunewas, that the Upon a related subject-namely, the quarrel which fame of his discoveries led his admiring successors separated Chopin and Liszt-Mr. Niecks makes some to credit him, not only with inventions of later date,

This content downloaded from 192.236.36.29 on Sat, 14 Sep 2013 18:26:10 PM All use subject to JSTOR Terms and Conditions 76 THE MUSICAL TIMES.-FEBRUARY I, 1889. but also with many others which can be proved to Rome as quickly as possible. The Pope acceded to have been in general use long before he came into his demand, upon condition that he should return existence. during the following winter. He accepted the com- That Guido, or Guittone-as the Italians love to promise, but, whether from failing strength,or from call him-was a native of Arezzo, in Tuscany, there some other cause, he appears never to have complied can be no reasonable doubt; and this circumstance with its provisions. He alludes to these circumstances has tempted more than one writer of eminence to in an epistle of great interest-and fortunatelypre- confuse his identity with that of another Guittone, served to us-addressed to a certain Brother Michael, also of Arezzo, a famous poet, and one of the most of the Benedictine Monastery at Pomposo, in the celebrated reformersof the Italian language.* Mer- Duchy of Ferrara. On leaving Rome, he visited this senne and Vossius, on the other hand, identifiedhim monastery; and, at the invitation of the Abbot, with Guitmond of Evreux, a noted ecclesiastic of the remained there for some considerable time, employ- Monastery of St. Lufrid, who was afterwards conse- ing his leisure in instructing the monks in his new crated Bishop of Aversa, and wrote with much effect system, and in teaching the children of the choir to against the heresies of his day. Furthermore,on the sing by aid of its rules. Here too, in all probability, authority of a MS. copy of the " Micrologus " in the he found time to write some of his most important collection of the Queen of Sweden, headed Tractatus works; among them the " Micrologus," with its Guidonis Augiensis, D. Paolo Serra imagined that the formal dedication to Teobaldo, Bishop of Arezzo. learned monk came fromAuge, in Normandy. These The date of his return to Arezzo is uncertain, nor is mistakes seem almost too foolish to call for serious it possible to ascertain how long he remained there refutation,yet they have served materially to increase before he was elected Abbot of the Monastery of the confusion in which the subject was at one time Santa Croce, at Avellano, a religious house of some involved. importance,in the immediate neighbourhood. In the It seems impossible, now, to ascertain the exact, exercise of this high officehe spent the remainder of or even the approximate date of Guido's birth; which, his life, seeking relieffrom the burthen of his eccle- however, must necessarily have occurred during the siastical duties-as St. Gregory had done before him second half of the tenth century,and probably some -in the exercise of the art for which he had so con- considerable time before its conclusion, since he had scientiously and successfully laboured. Of the work attained a high reputation for his musical learning accomplished during the closing years of his life no before the time of Pope Benedict VIII., who filled record remains, but there is strong reason for believ- the Chair of St. Peter between the years io12 and ing that he died at the Monastery of Santa Croce oz24. The nearest approach to certainty that can about the year 1050. be attained on this point rests upon the authority of These few details are all that we have been able to a memorandum, found upon the back of the oldest gather, concerning the personal history of Guido known MS. copy of the " Micrologus," to the effect d'Arezzo; and they amply suffice for our present that Guido completed this work in the thirty-fourthpurpose-the consideration of his work as a Reformer; year of his age. If, as is generally believed, the first,of the constitution of the scale; secondly, of the " Micrologus" was writtenin or about the year 1024, rude system of part-writingwhich, at that period, did this would place his birth in the year 99o-sixty years duty for counterpoint, as yet not invented ; and after the death of Hucbald. But we have no proof, thirdly, of the then prevailing system of notation either of the date, or the authorship, of the annota- which, as we have already said, remained very much tion in question. We do know, however, that Pope in the condition in which it had been found by Benedict VIII., hearing that a learned monk of the Hucbaldus, whose proposed reformationexercised no Benedictine Monastery at Arezzo had invented a new appreciable influence upon its subsequent progress. method of singing, invited him to Rome-according And here we are met by a diversity of opinions so to Baronius, in Iozz22-and, during the short time that glaring that we must ask the reader to weigh care- he remained there, treated him with marked honour fullythe evidence we have to lay before him, and the and deference. Guido, however, was of so retiringa arguments we venture to deduce fromit, in order that disposition, that he took the earliest possible oppor- he may formhis own conclusions as to the reasonable- tunity of returning to the solitude of his beloved ness-or the reverse-of the conclusions at which, monastery; and it was not until he had received after much laborious study, and long and careful reiterated invitations from the succeeding Pope, consideration, we have ourselves arrived. John XIX., whose Pontificate extended from 1024 to F. Kircher*--who, like the famous green caterpillar 1033,that he consented to visitthe Eternal Citya second in the " Parables from Nature," seems to have time. This second visit was, indeed, a memorable " believed everythinghe was told "--would have his one. It marks a momentous epoch, not only in the readers believe that Guido d'Arezzo invented, not personal history of Guido himself, but in the annals only the gamut, the hexachords with their several of the art he practised. He took with him a copy of mutations, the syllables of solmisation, the harmonic his then newly-completed,and now most celebrated hand, diaphonia or discant, and the monochord, but " Antiphonarium," constructed upon the principle of also counterpoint,the modern stave of five lines, and the system he had invented; and the merits of the the polyplectrum,or spinet! work made so deep an impression upon the Pontiff's By a not unnatural reaction, more than one later mind that, at his firstinterview with its author, he critic has denied that he ever invented anything at refusedto let him leave his presence until he had himself all; referringall his remarksto a careful resumeof the so far mastered the difficultiesof the method as to be various methods in general use at the time he wrote. able to sing an antiphon in accordance with its rules. It must be confessed that the vagueness of his So pleased was he with the result thus attained, that language sometimes-though by no means everywhere he'at once proposed to retain the learned monk in his -tends to countenance this extreme view. His own service. But Guido's retiring habits were alto- constitutional humilitynaturally forbade him to write gether unfitted for continual residence amongst the in the first person singular; but he interchanges splendours of the Papal Court, and, faute de mieux, the first and third persons plural with bewildering he urged his delicate health as an excuse for quitting perplexity, using indiscriminately such expressions as nos ponimrus,illi dicunt,nostris notis,and other like * Fra Guittone d'Arezzo flourished about the close of the thirteenth and of the fourteenth centuries, and was, contem- beginning therefore, * " porary with Dante, of whom he was a valued friend. Musurgia," p. 114, et al. loc.

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forms, which alternate with each other without by name in any of his works, but in the " Epistle to apparent reason through nearly all his works. Brother Michael " he proposes the employmentof the These works are- initial syllables of the hymn, Ut queant laxis, as a i. The " Antiphonarium,"* written before Guido's useful form of memoriatechnica, in terms so distinct second visit to Rome, and shown to Pope John XIX., that we are almost compelled to believe that he him- as nearly as can be ascertained, in the year 1024. self was the originator of the invention. If this 2. " Epistola Guidonis ad Michaelem Monachum," really was the case he must have known of the the letter writtenby Guido, during his second visit to hexachords, for without them the method of Rome; to his friend, Brother Michael, at the solmisation, based upon the syllables Ut, re, mi, fa, Monastery of Pomposo. sol, la, could never have come into existence; and, if 3. The "Micrologus," supposed to have been he knew of them, the inferencethat he invented them written at the Monastery of Pomposo immediately is inevitable, for no other musician of the age has after Guido's second visit to Rome, that is to say, had a word to say upon the subject. about the year 1024. We believe, then, that we are indebted to Guido 4. " De artificionovi Cantus."f d'Arezzo both for the system of solmisation that has 5. " De divisione Monochordi,secundum Boetium."f been in general use from the eleventh century until 6. "Quid est Musica."? now and for the division of the scale into hexachords, 7. " Guidonis Aretini Dialogus." " Quid est in place of the mathematically false system of Musica."1] tetrachords adopted by the Greeks. But there is no The authenticity of the following is less clearly evidence to show that he originated the complicated proved-- system of mutations with which the employment of 8. " De sex motibus vocum A se invicem, et divisione the hexachords was afterwards associated. This, earum." therefore, can only be regarded as a later develop- 9. (Ejusdem) Rhythmus. ment, naturally springing from his invention, but io. (Ejusdem) Liber de Musica. neither proposed nor foreseen by him. ii. " De Constitutionibus in Musica." But Guido is also accredited with the invention of 12. "De Tonis." diaphonia and counterpoint. The " Antiphonarium," the "Micrologus," and It is quite true that he gives minute directions for the "Epistle to Brother Michael," chiefly known the construction of discant, in an important chapter through early MS. copies in the Vatican and Paris of the " Micrologus," headed "De Diaphonia, et Libraries, and in that of the British Museum, were Organijura," but this chapter contains nothing that first printed by Gerbert von Hornau, Abbot of had not been previouslyexplained by his predecessors, St. Blaise, in 1784;? and the " Micrologus" was Hucbaldus and St. Odo. One of his examples, indeed, reprintedby Hermesdorff,at Treves, in 1876, with a so closely coincides, in principle, with one which we German translation placed side by side with the have already quoted from Hucbald,* that both might Latin text. Early MSS. of Nos. 4 and 5 are pre- easily have been writtenby the same master; the only served in the Medicean Library at Florence; and of differencebeing that, in Hucbald's example, both the Nos. 6, 7, and 8, in the Paris Library. Nos. 9 and Cantus firmus and the Organum are doubled in the Io are in the British Museum, bound up in a octave above, while in Guido's the Organum alone is small volume,** with an imperfect copy of the doubled:- " Micrologus " (Chapters i. to xv. only). The " Micrologus " is generally quoted as the chief authorityfor most of Guido's inventions, but so few ISO of them are mentioned in that it is difficultto it, Mi-se-re - re . . me-i De-us. avoid the conviction that some of the historians who De-us, . have written most positively upon the subject never even so much as saw the work at all. With regard to the addition, at the bottom of the form of scale, of the note raqppa, from which the gamut But for this discant-evidently prevalent in his to substitute derives its name, he distinctly says "In day-Guido proposes another, primis which he considers softer ponitur r Grecum a modernis adjectum." And the f- addition was not really a modern one even in his day, for Aristides Quintilianus had represented the note by the recumbent Omega (t) as early as A.D. - - in - rn - sa - lem. Iio, and St. Odo had represented it in the tenth Ho mo .. e rat Je century by the r itself,exactly as Guido did.f+t But this chronological blunder in no wise affects --8-8-.8-8-.4 -6o- -8 -8---o--8- -d-- the reformation of the scale by means of the neither does it concern the hexachords; principle But this, again, coincides exactly in principle with of which the of solmisation, depends upon recognition Hucbald's Te humiles, already quoted.J Both are the hexachords so that it is difficultto believe closely constructed upon what we should now call a pedal- that the two methods were invented two different by point, and in both the Organum is made to end in reformers. Guido does not mention the hexachords unison with the Cantusfirmus. * Quoted by P. Martini (Saggio di Contrappunto,Tom. i., p. 32) under A third example resembles that of Hucbald still the title of Formulhe Tonorum. more closely- t Also mentioned by P. Martini (Saggio di Contrappunto,i., p. 457). + Ibid. ? In the Library of Baliol College, Oxford, where it was once mis- taken for the Enchiridion of St. Odo of Cluny. -i--- II In the Vatican Library., It corresponds in every respect, except its Ve - ni - te ad - - - o - re - mus. more prolix title, with No. 6. T " Scriptoresecclesiastici de Musica Sacra." Tom. ii. **No. 3,199. if As an instance of the absurd lengths to which the stories of Guido's inventionswere carriedby careless historians, we may mentionthat the authorof a workcalled Regoledi Musica,published at Rome in 1657,coolly asserts that St. Gregory,who died four hundred years before * MUSICAL TIMES, January, 1889, p. 14. the " Micrologus" was written,ordained that no othergamut than that " modus durus noster vero mollis." ofGuido should be used in the Church! t Superior diaphonie est; 4 MUSICAL TIMES, January, 1889, p. 13.

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In this, as in Hucbald's Te humiles,the major third discant, organum, and counterpoint,the monochord, plays a somewhat prominent part. Now, both the spinet, the five-lined stave, and the P from Hucbald and Guido adhered to the Pythagorean which the gamut derives its name, we may fairly system, which divided the perfect fourth into two admit the probabilitythat he was the firstto assign greater tones and a limma, in preference to that of to the gamut the importantplace it has since held in Ptolomy, which divided it into a greater tone, a lesser relation to the science of music; that he endeavoured tone, and a diatonic semitone. In the system of to simplify its teaching by means of the Harmonic Pythagoras, the major third is so atrociously sharp or Guidonian Hand, attributed to him by Sigebertus that it was classed among the discords, and considered Gemblacensis;*- and that he used the monochord too harsh for use. Nevertheless, both Hucbald and with a fretted neck-as Dr. Burney suggests-as an Guido use it in their examples, though it is worthy of aid to intonation, with a freedom which may possibly note that Hucbald set the example which Guido have given rise to the fable of the polyplectrum. followed. But these things are as nothing compared with his We must thereforeconclude that Guido did nothing greater inventions. For we believe it to be proved, at all towards the advancement of the rude formsof beyond all reasonable doubt, that he first rendered part-writingwhich preceded the invention of counter- the perfectionof the scale possible by arranging it point, but that, as far as this point is concerned, he in hexachords; that he taught us the system of leftthe development of art exactly in the condition solmisation still practised every day; and that he in which he foundit. invented the single line which formsthe germ of the It remains to see how far he reformed the system stave, and renders possible that system of notation of notation generally employed in the tenth and by means of which we are now able to present to the eleventh centuries. He is credited with the invention eye, at one single view, the most brilliant passages both of the clefs-Claves signate--and of the lines in the Rhapsodies of Liszt or the most elaborate and spaces of the stave; and we confess that in our combinations in the scores of Wagner. opinion his claim is supported by almost irrefragable And this alone was quite enough for one Reformer evidence. to accomplish. For that single line effecteda greater Departing fromhis usual modest formof expression, revolution than would be produced to-day by the he distinctly tells Brother Michael, in the epistle universal acceptance of the Janka keyboard. Yet, prefixedto his " Antiphonarium," that by the help of more remained to be done. No provision had, as God he has written it in such wise that henceforth yet, been made for determining the proportionate any intelligentor studious person may easily learn to length of the notes indicated upon the new-born sing.* And afterwards, in the clearest possible stave. In the eleventh century all notes were sung language, he goes on to say that whatsoever notes of the same length, unless the singer thought fit to are writtenupon the same lines, or in the same space, vary them in orderto accommodate the varyingaccent have the same sound ; and that lines or spaces, or expression of the words he sang. To remedy this distinguished by the same letter, or the same colour, manifest defect a new Reformer was needed, and of indicate the same notes,f insomuch that if a song or him we propose to speak in our next chapter. Neuma be written without a letter or a coloured line, it will be as useless as a well with plenty of water a to draw it but without rope by." SULLIVAN AND SHAKESPEARE. Here, then, we have a perfectly intelligible des- cription of the lines and spaces of the stave, and of IT was a happy thought which suggested to Mr. the clefs or colours by which they were to be dis- Irving the proprietyof enlisting the genius of one of tinguished, and these things Guido distinctlyclaims our foremostEnglish composers, Sir ArthurSullivan, to have invented. to adorn the revival of " Macbeth " at the Lyceum In the earliest MSS. in which these new appliances Theatre. Few among modern musicians of any are introduced we find a single red line only. All nation are more thbroughlyimbued with what may be points or Neumcewritten upon that line represented, called the Shakespearian spirit of the art of music the note F. Signs written above or below it repre- than he. His " Tempest" music, brought as the sented G or E respectively. A and D were indicated firstfruitsof his studies in Germany, stands as a by Neumcewritten at a greater distance above or below. monumental evidence of his aptitude. His music to Later on the matter was rendered more certain by " Henry VIII.," to " The Merchant of Venice," and the addition of a yellow line representingthe note C, so forth, represent his maturer mind. His latest at a little distance above the red one. In MSS. Opera, "1The Yeomen of the Guard," owes no writtenwholly in black, the Gothic formsof the letters little of its success with the public to that quaint- F and C were placed at the beginning of their respec- ness of style which can be defined by no other tive lines as a substitute for the colours. Evidently term than that of English, and the definition being Guido used the letters as well as the lines, and here accepted, of the English of one of the brightest we have a perfect embodiment of the principle of a periods in literary and artistic history. It must not regular stave, with lines, spaces, and clefs complete. be understood by this that his music is a mere formal The development of this into the four-lined stave repetition of recognisable catch-phrases peculiar to afterwards universally employed in the notation of the presumed date of production. On the contrary,it Church Music was an inevitable consequence of the is essentially modern. The character it possesses is promulgation of the firstidea. And surelywe cannot parallel to a long extent with that which has given doubt that that idea was first given to the world by the poetry of the period its power and influence in all Guido d'Arezzo. time. That this quality is distinctly appreciated, Dismissing then, as absurd fables, the stories which is sufficientlyproved by the favourwhich attends any attribute to Guido the invention of diaphonia, performanceof the extractsfrom the works just alluded * to eitherin public or private. The songs withwords by "Taliter enim, Deo auxiliante, hoc Antiphonarium notare disposui, " ut post hoc leviter aliquis sensatus et studiosus cantum discat." the " Bard of Avon which Sir Arthur Sullivan set to (Epist. Guidonis ad Mich. Mon.) " mistress mine," " with his lute," soni uno music, O Orpheus t "iQuanticumque ergo in una linea, vel in spacio sunt, omnes similiter sonant. Et in omni cantu quantacunque lineae vel spacia " A poor soul sat sighing," and others made for him unam eandemque habeant literam, vel eundem colorem, ita ut omnia a name as a song writer out of the common and similiter sonant, tanquam si omnes in una linea fuissent." (lIb.) "Tale funem non habet erit, quasi puteus, cujus aqua, quamvis * multae, nil prosunt videntibus." (Ib.) Chron. ad Ann., 1o28. Sigebertus died in 1113.

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