My K eys

1 .

To n o cra -cro n n cas e a ov e the w d m a n g w i g tl b il i , To n o bower of fair lady or villa in Spain To n o ee en v au s ere the s ore e e s s ne d p , hidd t wh t d w hi , ’ l j l O : the Sou th s ruddy su n light is prison ed in win e ; To no ar en s en c an e ere ni n a es s n g d h t d wh ghti g l i g, A nd the flowers of all dim es breathe pe rpe tual sprin g To non e of all these e v e access m e s Th y gi , y k y , v My magical ebon an d i ory ke ys .

II .

But to em es su m e e e m u s c is ra er t pl bli , wh r i p y , To the bower of a godde ss su pern ally fair ; To the cr s ere the a es e r m s e es ee pt wh g th i t ri p, y ’y k Where the sorrows an d o s of earth s greatest on e s j y ’ ere the i n e of em o ion a i e s rs m a s Wh w t l f thi t y till, A n d the je wels of thought gleam to light at m y will To m ore than all these

v My m agical ebon an d i ory keys.

I I I .

To ri ream s of the as in oc e ce s of the m n b ght d p t l k d ll i d, To the tom bs of dead joys in their beau ty en shrin ed ; ’ To the c am ers ere ov e s reco ec on s at e s ore h b wh ti t d, l ’ ll A n d the lan es where dev otion s best hom age is poured To the c ou an of o e ere the du m s of ears l dl d h p , wh ll i t t A s the rain bow of prom ise ill um in ed appears

e v e access m e s Th y gi , y k y , O n ly an I n terprete r

The world will still go on the very same When the last feeble echo of my name ’ Has died from ou t men s listless hearts and ears

These many years .

W l ro su n s W l Its tides il ll, its il rise and set , of When mine , through twilight portals regret , l d Has passed to quench its pa li , parting light

In rayless night ,

’ ’ While o er my place oblivion s tide will sweep dark To Whelm my deeds in silence and deep , ood The triumphs and the failures , ill and g , fl o Beneath its o d.

w Then other, abler men ill serve the Art I strove to serve with sin gleness of heart ; W ll brow i wear her thorned laurels on the , I As do now .

first I shall not care to ask whose fame is , O r feel the fever of that burning thirst

To win her warmest smile , nor count the cost ’ Whate er be lost .

w l As I have striven , they il strive to rise

To hopeless heights , where that elusive prize ,

The unattainable ideal , gleams Through waking dreams : V D escriptiv e A n alyses of Pian o W orks

sh But ll sleep , sleep secure , profound , I a a ’ Be on d.the of or y reach blame , plaudits sound ; sh nd who stands high , who low , ll not know A ’ I a Tis better so

For what the gain of all my toilsome years , Of a ? all my ce seless struggles , secret tears u flower My best, more brief than frailest s mmer ,

Dies with the hour .

My most en during triumphs swifter pass Than fairy frost - wreaths from the window glass The master but of moments may not claim l A death es s name .

S a Mine but the task to lift , l ttle p ce , a i ’ The myst ic veil from beauty s radiant face t r That o her men may joy the eon to see ,

Forgettin g me . Not mine the genius to create the forms ’ h a W ich st nd serenely strong , thro suns and storms , While passing ages praise that power sublime

Defyin g time .

of da Mine but the transient service a y , S too an d cant praise , ready blame , meager pay

No matter , though with hunger at the heart I did my part . I dare not call m y labor all in vain; If I but voice anew on e lofty strain The faithful echo of a noble thought

e’ For some it cheers upon lif s weary road , And some hearts lightens of their bitter load“ Which might have missed the message in the dm O n ly an I n terpreter v ii

My lavished life - blood warmed and woke again ’ n of The still , pale childre another s brain , fu Brimmed ll the forms which else were cold , ’ Tho fair of mold .

’ And thro their lips m y spirit spoke to men O f higher hopes , of courage under pain , O f fli ht worthy aspirations , fearless g To reach the light :

of Then , soul mine , content thee with thy fate , Though noble niche of fame and guerdon great Be not for thee : thy modes t task was sweet ’ A t beauty s feet:

The Ar tist passes like a swift - blown breeze; O r vapors floatin g up from summer seas ; But Art endures as long as life and love e For her I strov .

C o n t e n t s

n o u c o I tr d ti n, Es c v su s S u c u a n s s theti er tr t r l A aly i , ' S ou c s of n fo m a on on c n n u s ca om os t on s r e I r ti C er i g M i l C p i i , ad t on a ov n a n Tr i i l Beeth e Pl yi g, ov n : The oon t o ta O 27 N o 2 S . . Beeth e M ligh na , p , , t ov n : S on at a é u O l3 , Bee h e a P th tiq e, p. , . &thov m o a a in F lat a o O 26 :S . } n t A M j r, p , ov n on ata in D n o O 3 1 o 2 : N . S . Bee h e M r, p , , ! t i e ov : S o ta in C a o O , 53 Be th en na M j r, p , ho o a in n o v : S E ) . 90 Beet en n ta Mi r, Oi , “ ov n : s c to T R jns of n s Beeth e Mu i he y Athe ,

: n v i o to the Dan c O . 6 5 Weber I tati n e, p , n o a O 6 2 : R o m E . . Weber d Fl t , p : Con certsttick i F n o O 79 Weber , n Mi r, p. , ' - llak zo a d 1 1 N o e K u : Lfit w s O . 1 . Web r Wilde ! g , p , Sc u t : m om tu in B a T m an d Va a on s h ber ( I pr p Fl t) he e ri ti , 142 o N . O p . , Em ot o Mu sic i n in , hO in on B F 1at 35 C : S O . p ata, , p , The o a a s Ch pin B ll de , n a m G n o 23 o : O . Ch pi B llade Mi r, p , hO in a a i n F a o 38 C : O . p B ll de M j r, p , Q ho in a in A a O 47 C : . p B llade Fl t , p , o n o on a A at a o O 5 3 : s . Ch pi P l i e, Fl M j r, p , o n : m om tu in a O 29 Ch pi I pr p A Fl t , p . , 6 6 o n : n tas m om u O . Ch pi Fa ie I pr pt , p , o n n a O 43 : T a . Ch pi ar telle, A Fl t , p , n 5 7 o : B c u s O . Ch pi er e e, p , 3 1 ChO in : Sc o in B at n o O . p herz Fl Mi r, p , o n r O 28 C : u s . h pi P el de , p , x Conten ts

o 42 n : a a O . Ch pi W ltz, A Fl t , p , ’ C o n s oc u n s h pi N t r e , ChO in u n in la 9 N o 2 : oct E t O . . p N r e F , p , , ChO in : oc u n 2 7 N o 2 O . . p N t r e, p , , n o 3 2 N o 1 o : c u n O . . Ch pi N t r e, p , , o in tu n O 3 7 N o 1 : oc . . Ch p N r e, p , , hO in oc 3 7 N o 2 C u n O . : . p N t r e, p , , Qli o in : o s Son s ran sc for an o b an p P li h g , T ribed Pi y Fr z

L s . m N o 3 oo o t c an d R l ou s a on s . i zt P e i e igi H r ie , , B k

i on s " Tran scr or an o b L s t pti the Pi y i z , W a fl ef ’h szt : S “ g a ing Son g from The Flyi n g Du t ch " m an , -Lism Ta‘m hfi“ Wagn er a c M r h , - Aben dstem Wagn er Liszt : , L0 “ W a n ef -USZ“ Mth g , rlkén i Schu bert o Liszt : Der E g. O O O O O O O O O O O O O O O O

- ! a ! tht ' Sc u ert L s : ar r k a r O O h b i zt H k H k O O O O O O O O O O O O O O O n am S n ‘ u t-L s : Gre c e p Sch ber i zt t h i 1d n dofim Liszt z La Go ' ffififfififffiffiffiffff ' an d Li s s R , The Mus c of e G s es i th ip i zt qarian R hapsodies a o a ca o G , R u in ste n : B r r le , M j r b i l 2 - o N o . 2 n K am en n oi s r , R u instei : O t w b 46 S u t O . Grieg : Peer Gyn t i e, p

43 N o . n F rfihlin O p. , Grieg : A n de g, 4 3 N o . lein O . 4 , Grieg : Vog , p , 1 38 N o . , en se O . , G g : Bero , p rie ' ' ocessi on rom A ns t : a Pr , f Grieg The Brid l n Volks " 2 19 N o. , e en O . , l , p b ’ R ou e d O m hale Sain t -Saén s : Le t p - Dan s aca , Sain t Saén s : e M bre d us eum s s am on oets an , Counterpart g P M D E S C R I P T I V E A N A L YS E S O F P IA N O W O R K S

I n tro du c ti on

HE material comprised in the follow ing pages has b een collected for use in book form by the advice and at of the earnest request the publisher, of an u as well as m y m sical friends , who express the belief that it is of su fficien t value and interest to merit of a certain degree permanency , and will prove of practical aid to teachers and students of in music . A portion of it has already appeared print in the program books of the Derthick Musical Liter ary Society and in difi eren t musical journals ; an d I ! 1 2 D escriptive Analys e s of Pian o Works nearly all of it has been used at various times in m y own Lecture Recitals . The book is merely a compilation of what have seemed the most interestin g and valuable results of n my thought , readi g , and research in connection with my Lecture Recital work during the past twenty years . In the intensely busy life of a concert pianist a systematic and exhaustiv e study of the whole broad

field of piano literature has been utterly impossible . That would require the exclusiv e dev otion of a life ' M efl orts v time at least . y ha e been necessarily con fin ed strictly to such compositions as came under my immediate attention in connection with my own work as player .

' The e fl ec t is a seemingly desultory and haphazard in co method in the study , and an inadequacy and heren c y in the collective result , which no one can possibly realize or deplore so fully as myself . Still i first n the work is a beg nning , a pioneer venture i to a a i re lm wh ch I believe to be not only new , but rich 0 a and important . I can only h pe th t the example an d may prompt others , with more leisure ability , to follow in the path I have blazed , to more extensive explorations and more complete results . Well - read musicians will nu d in these pages much that they have learned before from various scattered

u so . sources . Nat rally I have not originated my facts or invented my legends . They are common t property for all who will bu seek . I have merely col lected s , arranged , and , in many instance , translated

i . them into Engl sh I claim no monopoly . O n the o h fin d i ther and , they may some th ngs they have not I n trodu ction

previously known . In such cases I venture to suggest to

the critically and incredulously inclined , that this does e not prov their inaccuracy , though some have seemed

to fancy that it did . Not to know a thing does not

always conclusively demonstrate that it is not so . To the general reader let me say t hat this book represents the best thought and effort of my pro fession ally unoccupied hours during the past twenty it years . It comes to you with my heart in , bringing the Wish that the material here collected m ay be to you as interesting and helpful as it has been to me in The the gathering . actual writing has mainly been

or done on trains , in lonely hotel rooms far from of books of reference , or aids any kind ; so occasional inexactitudes of data or detail are by no means im e of probable , when my only r source was the memory or something read , of personal conversation often the years before . With limited time at my disposal , i 1 1s r a detailed rev s on not practicable , and I the efore

present the articles as originally written . Take and use

of b . what seems value , and the rest pass y The plan and purpose of the book rest simply upon the theory that the true interpretation of music ’ depends not only on the player s possession of a correct insight into the form and harmonic structure of a

on given composition , but also the fullest obtainable knowledge concerni ng the circumstances and environ

of an d ment its origin , the conditions governing the ’ composer s life at the time, as well as any historical or legendary matter which may have served him as

inspiration or suggestion . My reason for now presenting it to the public is I 4 D escriptive Analyses of Piano Works the same as that which has caused me to devote m y rofession al life s t p , exclu ively to the Lecture Reci al namely , because experience has proved to me that a knowledge of the poetic and dramatic co nten t of a musical work is of immense value to the player in in interpretation , and to the listener comprehension n n of an and e joyme t y composition , and because , of except in scattered fragments, no information just i th s character exists elsewhere in print . i col It be ng , as explained , impossible to make this or lection of analyses complete , even approximately so w i ih , it has seemed ise to l mit the number here d fift so con clude to just y , as to keep the book to a en en t e v i size . I have endeavor d to select those e n covering as larg a ra ge and variety as possible , with the view of making them as broadly helpful an d sug gestiv e as may be . It is my inten tion to continue my labors along this n so t an d li e far as streng h Opportunity permit, in the ' faith that I can devote my efiorts to no more useful

en d. T EDWAR D BA! ER P ER R Y.

i 1 6 D escriptive A i fl yses of Piano Works

u u of first t me and nrelated keys , cadences , ret rn the he , has about as much meaning and importance as so

. in much Sanskrit It is well enough , so far as it goes , a are s e the cl ssroom , where students being trained for p cialists of in , and need that kind formation ; but it

- — en is only one side , the mechanical side , and the g eral public needs something else ; and even the stu is dent , however gifted , if he to become more than a mere technician , must have something else ; for com position and interpretation both have their mere te ch as nic , much as keyboard manipulation , which is , how ever, only the means , not the end . Knowledge of and insight into musical form are necessary to the player , but not to the listener, even n for the highest artistic appreciation and e joyment , just as the knowledge of colors and their combination is essential to the painter , but not to the beholder .

The poet must understand syntax and prosody , the technic of rhyme - making and verse - formation ; but how many of his readers could analyze correctly from so or that standpoint the poem they much enjoy , giv e the sc ien tific names for the literary devices employed ? O r of a or how many them would care to he r it done , be the be tter for it if they did ? The public expec ts l ff results , not rules or formu as ; e ects , not explana tions of stage machinery ; food and stimulus for the i n r intellect , the emotions , the magi ation , not ecipes of e r how th y are prepa ed . The value of esthetic analysis is u n den iably great in v rendering this food and stimulus , contained in e ery o r g od composition , mo e easily accessible and more e i il d i i r adily ass m ate , by a judic ous selection an d part al E e i S r t ra n sth t c v ersu s t u c i l A alysis 1 7

' oi the difl eren t predigestion , so to speak , artistic elements in a given work , and a certain preparation of f . o the listener to receive them This is , course ,

in the e of of especially true cas the young, and those e to of mor advanced years , to whom , owing lack train o of ing and opp rtunity , musical forms expression are n f i or to somewhat u amil ar ; , in other words , those or whom the musical idiom is still more less strange . But there are also very many musicians of established position W ho are sorely in need of something of the kind to awaken them to a perception of other factors in musical art besides sensuous beauty and the dis play of skill ; to develop their imaginative and poetic i faculties, in which both their playing and theor es prove them to be deficien t ; and the more loudly they as cry against it useless and illegitimate , the more pal

abl — ow n of it p y self evident becomes their crying need . Esthetic analysis consists in grasping clearly the si n ifican ce of essential artistic g a composition , its or e emotional descriptiv content, either with or with ou t the aid of defin ite knowledge concerning the cir cu m stan ces of in l in its origin , and expressing it pla y

- a few simple , well chosen words , comprehensible by or old the veriest child in music , whether young in n years , conveyi g in a direct , unmistakable , and con crete form the same general impressions which the composition , through all its elaborations and embel lishm en ts , all its manifold collateral suggestions , is i to of m ntended convey , giving a skeleton , not its for ,

of u - but its s bject matter, so distinctly articulated that the most untrained perceptions shall be able to recog nize to what genus it belongs . z 1 8 D escriptive Analyse s of Pian o Works

O i u co rse , when it is possible , as it is in many cases , to obtain and give reliable data concerning the con ce tion and of p birth a musical work , the actual his toric ex eri al or traditional material , or the personal p n ence , which fur ished its inspiration , the impulse which led to its creation , it is of great assistance and value ; and this is especially so when the work is dis tin ctly descriptiv e of external scenes or human ac

- . S tions For example , take the chubert Liszt Erl o of k nig . Here the elements embodied are those of tempest and gloom , of shuddering terror , eager pur

- fli ht suit and panic stricken g , ending in sudden , sur prised despair . These may be vaguely felt by the ih listener when the piece is played , with varying tensity according to his musical susceptibility ; but if ” ” rlkon i or - the legend of the E g, Elf king , is narrated and attention directly called to the various descriptiv e — of features of the work , the gallop the horse , the rush and roar of the tempest through the depths of the

Black Forest , the seductive insistence and relentless ’ - fli ht pursuit of the elf king , the father s mad g , the fin al so shriek of the child , and the tragic ending , all — s distinctly suggested in the music , the impre sion is in ten sified defin ite tenfold , rendered more precise and ; and the u n defin ed sensations produced by the music are focused at once into a positive , complete , artistic

' e fl ect .

Who can doubt that this is an in fin ite gain to the ? a listener and to art Again , take an inst nce selected from a large number of compositions which are purely emotional , with no kind of realistic reference to nature or a n ction , the Revolutionary Etude , by Chopi , Opus E sthetic v ersu s Stru ctu ral A n alysis 1 9

1 2 . 1 0 , No . The emotional elements here expressed h 1 are erce indignation , va n but desperate struggle , wrathful despair . These are easily recognized by the trained esthetic sense . Indeed , the work cannot be properly rendered by on e who does not feel them in playing it ; and they can be eloquently described in a general way by on e possessing a little gift of language and some imagination ; but many persons fin d it hard to grasp abstract emotions without a defin ite assign i able cause for them , and are ncalculably aided if told ’ that the study w as written as the expression of Chopin s of on feelings , and those every Polish patriot , receipt of the news that Warsaw had been taken and sacked by the Russians . Where such data cannot be found concerning a com on e of position , can make the content a work fairly a of of com cle r by means description , analogy and of parison , by the use poetic metaphor and simile , by l i - e ittle maginative word pictures , embodying the sam — general impression ; by any means , in short , any — and all are legitimate , which will produce the desired : of result , namely to concentrate the attention the student or the listener on the most important elements to in a composition , show him what to listen for and what to expect ; to prepare him fully to receive and to respond to the proper impression , tune up his re— esthetic nature to the required key , so it may echo

- the harmonious soul utterances of the Master, as the horn - player breathes through his instru ment before it it using , to warm , to bring it up to pitch , to put it in the right vibratory condition . of or e com The plan esthetic analysis, in more l ss 2 0 D escriptive Analyses of Piano Works

lete of p form , was used by nearly all the great teachers ,

u iszt K u llak S m such as L , , Frau chu ann , and others , and was a very important factor in their instruction . It was used by all the great writers on music who were S at the same time eminent musicians , like Liszt , chu mann , Mendelssohn , Mozart , Wagner , Berlioz , Ehrlich ,

. S t and many more urely , wi h such examples as

su ffi cien t precedents , not to mention other good and grounds , we may feel safe in pursuing it to the best of i - our ab lity , in print , in the teaching room , in the

- v concert hall , whenever and where er it will contribute to the increase of general musical interest and in telli “ ” of so - gence , in spite the outcries of the called purists , who see and would have u s see in musical art only sensuous beauty and the perfection of form , with of it possibly the addition , as they might put , a certain in defin able ethereal , spiritual , something , too sacred be too to talked about , transcendental to be expressed too in language , lofty and pure to be degraded to the lev el of human S peech . Who — or , I ask , are the sentimentalists they , we ex who believe that music , like every other art , is ression d of r p , the embo ying human expe iences , than which there is no grander or loftier theme on this ? earth Trust me , it is not music nor its subject matter that is nebulous , indistinct , hazy ; but the mental conceptions of too many who deal with it .

ex ressi on r If art is p , as estheticians ag ee , and music art o is an , as we claim , then it must express s mething ; v su fficien t i and , gi en intelligence , train ng , and insight , — that something the vital essence of every good com

s —ca e po ition n be stated in words . Not always ad E sth etic v ersu s Stru ctu ral A n alysis 2 1

u atel q y , I grant , but at least intelligibly , as a key to of the fuller, more complex expression the music ; or serving precisely like the synopsis to an Opera , the descriptive catalogue in a picture gallery . This is the aim and substance of esthetic analysis .

M usician s are m an y who see in their m istress ” Bu t s ca eau of co or an d orm phy i l b ty l f , W ho ear in her v o ce but a sen su ou s s ee n ess h i w t , v N o thrill of the heart that is li in g an d warm .

e u e of her or er ec on of ou n e Th y j dg w th by p f ti tli , “ o r on of arts as e en in the o e Pr po ti p th y bl d wh l , ” S m m e r ca s uc u re an d fin ish of e a y t i l tr t , d t il — u They see bu t the body ign orin g the so l .

She s ea s bu t e seem n ot to m as er her m ean n p k , th y t i g They catch bu t the rhythm ical rin g of the phrase . She s n s bu t e ream n ot a m essa e is orn e on i g , th y d g b

The rea of the s e its ca en ce e ra se . b th igh , whil d th y p i Her saddest l am en ts are m el odiou s m in ors To em an d her es s are bu t n o es m ar e s acca o th , j t t k d t t ” Her en eres ea n s bu t em es e ev e o e t d t pl di g th w ll d l p d, ” —bu a c m ax of or s an m a o H er rage t li ch d i t .

I n v ain she en deav ors to rouse th eir perception s By tou chin g their brow s with her sou l - stirrin g han d e m easu re her fin ers e r a rn ess a m re Th y g , th i f i d i , ” Dec are her v n e bu t n ot un ers an . l di i , will d t d Away with su ch worthl ess an d sen se -prom pted serv ice ; or e n the o ess to ors the s r n e F g tti g g dd , w hip h i or e n the r e to adm re her cos um e F g tti g b id , i t , H er a m en s a l er an d e e s a s n e g r t th t g itt , j w l th t hi

A n d v e us the ar s s of u e n s ra on gi ti t tr i pi ti , ose n s is c ear an d ose ra n s com e en Wh i ight l , wh b i pr h d, To in terpret the silv er- ton gu ed m essage of m usic a s ea s to the ea e the v o ce of a f en Th t p k h rt , lik i ri d 2 2 D escriptive Analyses of Pian o Works

That wakens the soul to the joys that are higher A n d urer an all a the se n es can v e p th th t s gi , a e c es the an ua e of o en eav or Th t t a h g g t d , l ’ l fy A n d hin ts of a life that twere worthy to liv e !

F or m u s c is A rt an d all A rt is ex ress on i , p i , “ The eau of o m bu t em o es the ou b ty f r b di th ght, I m prisons on e ray of th at wisdom su pern al to se - n has u Which Ge n ius nse bli ded m ortal s bro ght .

Then giv e as the artist whose selfless dev otion To A rt an dher serv ce is ea n es an d ue i r t tr , To read as the m ystim l m ean in g of m usic ; us cians are m an bu t a s s are few M i y, rti t .

2 4 D escriptive An alyses of Pian o Works n ifyin g the poetic or dramatic bearing and import of every scene , situation , and anecdote . If asked to enumeratethe sources from which points of value con cerning musical works can be derived , I should answer that they are three , not all equally promising , but from of each which I myself have obtained help , and all of n which I should try before desertin g the eld. These are :

First , and perhaps the most important , reading . S econd , a large acquaintance among musicians , and frequent conversations with them on musical subjects .

Third , an intuitive perception , partly inborn and partly of on acquired , the analogies between musical ideas , the on e hand , and the experiences of life and the

i n . emot o s of the human soul , on the other I will now r a of elabo ate e ch these a little , to make my meaning more clear . While there is no book in which information concern ing the meaning of musical compositions is collected classified and for convenient reference , such information is scattered thinly and unevenly throughout all litera — a tures , grain here , a nugget there , like gold through — the secret veins of the earth , and can be had only by much digging and careful sifting . Now and again ou i y come upon a s ngle volume , like a rich though limited pocket of precious ore , and rejoice with exceed u n ing gladness at the discovery of a treasure . But y fortunately , there is usuall nothing in the appearance or nature of such a book to indicate to the seeker before n perusal that this treasure is within , or to disti guish o r it from scores f barren volumes . And the ve y item of which he m ay be in search is very likely not here Sou rces of I n form ation 2 5

to be found so he must turn again to the quest , which

- is much like seeking a needle in a hay mow , or a pearl somewhere at the bottom of the Indian Ocean . — Musical histories , biographies , and essays what is — usually termed distinctly musical literature by no s means exhibit the only productive oil , though they l first are certainly the most fruitful , and shou d be

fi tion . c turned to , because nearest at hand Poetry , , travels, personal reminiscences , in short every depart of o of ment literature , from the philos phy Schopen S hauer to the novels of George and , must be made to contribute what it can to the stock of general and

ou r . comprehensive knowledge , which is ambition I a of inst nce these two authors , because , while neither them wrote a single work which would be found em of braced in a catalogue musical literature , the meta physical speculations of Schopenhauer are known to ’ in flu en ce have had great upon Wagner s personality , of and through that , course , upon his music ; while

' in some of the characteristics of George Sand Will be ’ n of fou d the key to certain Chopin s moods , and their musical expression ; But even where no such relation between author and composer can be traced , I deem on e could rarely read a good literary work , chosen at random , without chancing upon some item of interest or information , which would prove directly or indirectly

- of va lue to the professional musician in his life work .

And this is entirely apart from the general broadening, in flu en e of developing , and maturing c good reading upon the mind and imagination , which may be added ben efit to the more direct sought , forming a background of esthetic suggestion and perception , against which 2 6 D escriptive Analyses of Pian o Works the beauties of tone - pictures stand forth with enhanced an power dheightened color . I know of no better plan to suggest to those striving for an intelligent comprehension of the composer ’s meaning in his great works than much and careful reading of the best books in all departments , and the more varied and comprehensive their scope the better . In the search for enlightenment concerning any on e l u particu ar composition , I sho ld advise the student to begin with works , if such exist , from the pen of the l composer himse f, followed by biographies and all essays , criticisms , and dissertations upon his com positions which are in print . If these fail to give m infor ation , he should proceed to read as much as possible regarding the composer ’s country and con i in temporaries , and concern ng any and all subjects of which he has become aware , by the study his life , that the master was interested . The chances are that he will come upon something of aid or value before fin ishin g this task . S till very often the quest will and must be in vain , because about many musical works there exists absolutely no information in print . I can perhaps better indicate the course to be pur sued by giving some illustrations in my own experience . The following will serve : During a trip in New York ’ State I was asked whether Grieg s Peer Gynt suite

n so . was fou ded upon any legend or story , and if , what e Though familiar with the composition in qu stion , I had v l v at ne er played it myse f, nor gi en it any particular of tention , and in point fact was as ignorant on the subject as my interrogator, and obliged to confess as much: This was before the composition had become Sou rces of I n form ation 2 7 familiar in this country and before the drama on which it is founded had been translated into English . Be ing, however, convinced , from the names attached to f of of of di ferent parts the suite, the probability its foundation upon some literary or historic subject , I fir t r determined to in vestigate . I s ead several bio of graphical sketches Grieg, but found no special men tion of the Peer Gynt suite ; then everything I could secure on the subject of Norwegian music in general f ie Gr s l . and g compositions in particular, without avai be of As I knew Grieg to , with the possible exception i of Chopin , the most ntensely national and patriotic all composers , I inferred that if he had taken any or of u n legend story as the basis this work , it was

“ doubtedly Norwegian in character . I read , therefore, on several articles the history of Norway , the Norse men , and the Norwegian language and literature , the of watching carefully for name Peer Gynt , but in vain . I next undertook some of the sagas or ancient ex Norse traditions , with the same result . Having hau sted ih my resources in this direction , I began to v esti ate : of g modern Norwegian literature Here , of course , I encountered , in large type , the names o Bj rnson and Ibsen , and almost at the outset I found among the works of the latter the - v ersified drama of ” Peer Gynt , and my search was at an end . Having of procured a German translation this drama , I found scenes and characters to correspond exactly with those ’ fi u re Grie s which g in g music , and a reference in the preface to an orchestral suite , by this composer, founded ” upon Peer Gynt . Now had I been as well informed as I recommend 2 8 D escriptive An alyses of Pian o Works

be all my readers to , I should have known at the t of n ou set this Norwegian drama , and been at o ce n l t upon the iight track . But bei g only fami iar wi h those prose dramas of Ibsen which have been translated a all into English , I was obliged to undert ke this extra labor, to ascertain a single fact which only proves once ’ again , that the more the musician s memory is stored u with miscellaneo s facts and ideas , even such as do not seem to have any connection with music , the lighter and more successful will be his labors in his The second main source of information concerning musical works is found among musicians themselves . is s There a vast amou nt of tradition , sugge tion , and knowledge appertaining to the masterpieces in this art , has which never got into print , and lives only by passing from mouth to mouth , much as the early legends of all coun tries were orally handed down among minstrels and skalds from generation to generation . Every great interpreter and every great composer e of becom s , with the passage years of a long and active f of li e , a vast and valuable storehouse of all sorts hints , facts, and ideas on the subject of various composi a tions , which usu lly die with him , except such portions as have been orally transmitted to pupils and asso

‘ ciates . In this respect the late Theodor K u llak was m en n n worth any three I have ever k ow , and those of his pupils who had tastes and interests similar to his of all own , and were retentive memory , have derived of To from him no mean portion their material . cull from every musician and musically informed person all the odds an d ends of in formation in his posse ssion Sou rces of I n form ation 9

lfi se sh . is a valuable , though perhaps habit And here ' o let . me emphasize to all students the importance f not allowing the memory to get into that very prevalent bad habit of refusing to retain anything which is not a of presented in print to the org n vision . The ear

is as good a road to the brain as the eye , and every one should possess the faculty of acquiring information from conversations , lessons , and lectures , as readily as from books . The third resource of the seeker after truth of this nature is to be found within himself . The musician should early accustom himself to grasp clearly the of essential essence , the vital principle , an artistic F o . r moment , a dramatic situation some such mo

or or ment , mood , situation , however vague veiled , underlies every true art work ; and unless the performer can perceive and comprehend this inner germ of mean ing clearly enough to express it intelligibly , though it own fin d may be crudely , in his words , he will that many a hint has been lost upon him , and many a bit of knowledge , that might have been his , has escaped him . This is not a musical faculty merely ; it is a mental

peculiarity . Every person , whatever his profession ,

should train himself to catch , as quickly and clearly be of of as may , the real drift of a book , an argument , of a chain circumstances , of a political situation of of fin er in sti n c history , character , and to place his g

tiv ely upon the germ upon which all else centers . The power to feel instinctively the real mood and meaning of a musical composition is by no means con fin ed to the musical profession ; indeed , is often strongly marked in those ignorant of the very rudiments of the 30 D escriptive Analyses of Pian o Works

art . I remember once playing to a rough old trapper , of the early pioneer days in Wisconsin , who had i k “ dr fted bac to civilization to die in camp , as he

“

it v O . expressed , the Re olutionary Etude of Chopin , p

1 0 . 1 2 r on , No , already cited in illustration , w itten receipt of the knowledge that Warsaw had been taken “ ” and sacked by the Russians : What does it mean ? I asked when it was fin ished He sprang from his ” chair in great excitement . Mean ? he said ; it mean s cyclone in the big woods ! Indian onslaught ! ! White men all killed , but die hard His interpreta tion , I need not say , was not historically correct , but for all artistic purposes it was just as good , though expressed in the rough backwoods imagery familiar i . e con fl ct of to him H caught the tone of rage and , desperate struggle and dark despair, which sounds in

v e ery line , and he had truly understood the composi

- tion , to the shame of many a well educated musician , “ whose comment would probably have been , How difficult that left hand part is ! De Pachmann plays l 1” it much faster , and with such a beautifu pianissimo This particular study is simply a vivid mood pic ture . It is not in any sense what is called descriptive or program music ; yet it has a distinct meaning which can be more or less adequately expressed in words , for the aid of those who do not readily grasp its expres sion . I wish to reiterate here what I have before stated , that I would not be understood to hold that all music has or should have some story connected with it . I merely believe that every worthy com e of position is the musical s tting some scene , incident ,

d e . a in moo , id a , or emotion Long pr ctice in perceiv g

Traditi on al B e e th ov e n Playi n g

O W often of late years we hear thi s ’ expression : “ill some on e who claims to know kindly tell us what it ? means For one , I confess myself,

after a decade of careful , thoughtful fin d investigation , utterly unable to ou t . We hear one pianist extolled as e a wonderful Be thoven player, of as a safe , legitimate , trustworthy champion the good old classical traditions ; and another equally emi nent artist condemned as wholly unworthy to lift for the public the v eil of awe and deep mystery enshroud

- ing the sublimities of this grandes t of tone Titans . u - The late von B low, for instance , was well nigh universally conceded to be the representativ e Bee thov en s so player of the age , for no better rea ons , as was far I can discover , than that he generally admitted to be a failure in the prese ntation of most of o calcu works the modern scho l , and that cold , l i lating , cynical inte lectuality was the predom nant feature of his personality and his musical work , which s made him the driest , most unideal , unintere ting S of n l pianist of his generation , in pite his phenome a technic , memory , and mental power . 32 “ Tradition al B eethov en Playin g 33

O u P e in fin itel the other hand , ad rewski, with all his y of magnetic personality , his incomparable beauty tone n refin em en t of and colori g, his blended nobility and of conception , is decried as a perverter taste, a de of stroyer traditions and precedents , because, forsooth , too e he plays Beethoven too warmly, motionally , too subjectively .

De race m essieu rs ? g , , what does it all signify Are we fin al S e of ou r then to accept perforce as , in pit of etrified better instincts , the dictum the long since p of Leipsic School , which holds technic the hand and e h ad , not only as the supreme , but as the sole element in musical art— which relegates all emotion and its expression to the despised limbo of sickly senti mental ity , and which epitomizes its highest encomium of “ an artist in the words He allows himself no ” - liberties that is to say , he plays merely the s notes , with the faultless precision and soulle s ’ of t traditi on al monotony a machine Is his , then , playing of Beethoven or any other composer ? Is it art at all ? If there 15 any such thing as an au then v tic , authoritati e musical standard concerning any e d or ? giv n composition , upon what oes should it rest wa it Surely either upon the y its composer rendered , or be or desired it rendered , if that can ascertained , upon the way it was given by its first great public interpreter . Let u s examine the scanty available data concerning Beethoven ’s piano works from this o How i point f view . did Beethoven h mself play his own works ? This question reminds on e of the century -old dis pute among scholars as to the propriety of the so-called 3 34 D escriptiv e Analys es of Pian o Works

u on t e English pronunciation of Latin , an abs rdity h face of it. Fancy talking of the English pronuncia of r ! O f tion F ench or German course , we do not know and have no means of learning exactly how the old Latins did pronounce their language in all s the nicetie of detail , but one thing we do know with e absolute c rtainty , and that is that they did not it Anglicize , for the one good reason that our language did not come into existence until centuries after the

. S Latin tongue was dead imilarly , as there is no on e now liv ing who can remember and tell u s just a as u n how Beethoven did play any given sonat , and , fortunately , the phonograph was not then invented to preserve for u s the incalculably precious records of his interpretations , we have no means of ascertaining just what his conceptions were , even supposing they had

e i . been twic al ke , which they probably were not But u of : this we may be s re , beyond a question or a doubt He did not play them according to von Biilow: F u r therm ore , there is no ground for believing that his performances were at all such as the conservative sticklers for classic traditions insist that our renditions

- of Beethoven must be to day . We know this from a study of the life and characteristics of the man , from re the internal evidence of his works , and from the ports giv en u s by his contemporaries of his manner of ff playing them and their e ect upon the hearer . e Beethoven was pre minently a romanticist , in the if of content , not always in the form his works a man of - i i pronounced , self loyal ndividuality and ntense subjectivity , who wrote, and consequently must have d as playe , he felt , and not in accordance with pre Traditional B eeth ov en Playin g 3 5 scribed rules and formu las ; a man who can reply without immodesty when criticized for breaking a “ ” e of it pre stablished law harmony , I do , with the calm con fiden ce in the divine right of genius to self utterance in its own chosen way which always aecom pan ies tru e greatness and has been the infallible ho compass of progress in all ages . The man w was of the fearless , outspoken champion artistic sincerity of and profound earnestness, whose scorn shallow , pedantic formulas was as uncompromising as it was e of irrepressible, whos watchword was universality who content, believed that music could and should be of who made to express every phase human emotion , could venture on the unheard - oi innovation of begin ning a sonata with a pathetic adagio , and introducing of a chorus into the last movement a symphony , defian ce of who was in open all established tradition , repeatedly accused by the critics of his day of bein g e unable to write a correct fugu or sonata , and whose music was declared to be that of a madman by leadin g musicians even as late as the beginning of our century - this is surely not the man whose artistic personality r can be fairly represented by a pu ely intellectual , stiffl of y precise, though never so scholarly reading his i i pr nted scores . How s that better than the of the bloodless plaster casts living, breathing children of his genius ? The printed symbols represent an sounds and the sounds symbolize emotions . The sounds With the emotions left ou t are no more ’ thov en s music than the printed notes if never audible . O i own a fin ish his pl ying, we are told that it lacked 36 D escriptive Analyse s of Piano W orks

- ; a , and precision , but never warmth and intensity th t his n atu re like , , it was stormy , impetuous , impulsive , at times even almost brutal in its rough strength and fierce energy ; that he often sacrificed tone quality and even accuracy in his complete abandonment to ithe of torrent his emotions , but never failed to stir to their profoundest depths the hearts of his hearers . of Is this the man , this hero musical democracy , this giant embodiment of the Titanic forces of primitive

- a Nature , this shaggy maned lion , with the gre t , warm , keenly sentient human heart , whose nearest proto type among modern players is Rubinstein ; is this the man with whom originated the severely classical school , the cold , prim , stately interpretations which the we are told to reverence as traditional , in which

— - head is everything , the heart nothing form all impor i ? im tant , and feel ng a deplorable weakness It is ' possible , incredible I honestly believ e that if Beethoven himself could revisit the world and appear i n cogn ito in the concert of u s au thori halls our musical centers to give an ideal ,

y of a on e - of tati e rendition his gre t works , half his audience and nine - tenths of his critics would hold up their hands in holy horror at his untraditional and n u - - Beethoven like readings , and would declare that while he was an interesting and magnetic artist , and of an enjoyable player the lighter , more emotional m of e mode school , his renderings the rever d classics were dangerously perverting to the public taste and

cien l could not be su ffi t y condem ned . e h i But if not with B et oven h mself , with whom did these so-called traditions originate ? Was it with the Tradition al B eeth ov en Playin g 37

first a of who i gre t public interpreters his works , ntro duced them to the world of concert - goers and so earned the right to have their readings respected ? Who was first an d efiicie the , most enthusiastic, courageous , n t ’ champion of Beethoven s piano works ? Who did most of E to introduce them to the concert audiences urope, to for fir t force them s a hearing, then a reluctant recog n ition ? Who first and oftenest dared to present Bee ’ thov en s serious chamber music to the frivolous sensa

- P n tion loving arisians , and to risk his u precedented popularity with them upon the venture ? Who but jszt ! two Em g For nearly decades , during the whole of e his phenomenal care r as a virtuoso , the vast weight of in flu en ce his musical and example , the incalculable e of e in forc his fervid , magn tic personality , and his s exhau tible resources as an executant, were all brought a of in efl ort to be r in behalf his revered Beethoven , the to render his best piano works familiar and popular with the European public: It is safe to say that during that period Liszt introduced more Beethoven sonatas to more people than all other pianists com b in ed. He then established such traditions as there may be regarding the proper interpretation of these on e who on e works and surely no heard him play , no who is even slightly familiar with his life , character istics n of , and art ideals , will thi k for a moment classing t e in flexible him with h conservative school , with the , puritanical adherents to cut - and - dried theories and the cold dead letter of the law as represented by the printed notes : But we are told that precisely these printed notes an d sign s should be our only an d all - su fficien t guide: 38 D escriptive A n alyses of Piano Works

We are commanded to stick to the text and not ‘ to so a presume ,to take personal liberties with sacred thing as a Beethoven composition . I wonder if the i so advocates of th s idea , which does much credit to their bump of veneration and so little to their artistic insight , ever took the trouble to examine the text of these same Beethoven compositions in the earliest nrst own editions , as they came from his hand ; and if so , whether they noticed the conspicuous absence of marks of expression : When they urge that Bee thov en probably knew best how his works should be rendered and that we ought to follow exclusively and religiously his indications , do they know how ? o very few and inadequate these were S few , in fact , that if only those given by the composer are to be oh ou r served , even the most rigid of sticklers for clas sical severity are guilty of the most flagran t breaches of their own rule . Are we then to suppose that Bee thov en wished his music played without varying ex on ? pression , one dead monotonous level Not at all ; but simply to infer that , like many great composers , i n he felt such ndications to be wholly un ecessary , and was far too impatient to stop for such mechanical details : To him his music was the vital utterance of the intense life within . The meaning and true de r a livery of each ph ase were vividly , unmist kably self of as evident , needing arbitrary marks expression little - f as a heart felt declaration o love or outburst of grief . He rightly assumed that to be played at all as it should be first i , such music must be felt , and that v sible marks of expression would be as needless to the player i com u be use with intu tive prehension , as they wo ld

40 D escriptive An alys es of Pian o Works

besides an observance of the punctuation marks . It ' is not within the limits of human ability to edit a single period of eight measures so perfectly that no variation s or mistakes in the interpretation are pos sible . of am In view these facts , I bold enough to maintain that there is no such thing as an absolutely correct traditional renderi ng of any single Beethoven com

on e in flexibl . position , to be followed y It might be of said Beethoven , and in fact of any great composer, S on as aptly as of hakespeare , that he is always the level of his readers . Those possessing neither n atural nor acquired appreciation for the best music will nu d in Beethoven nothing but a series of unintelligible

or e . and more less disagreeable nois s , like Humboldt of Those who by nature , training, and habit mind are fitted to perceive and enjoy only the physical and e — ff intell ctual elements in tonal art , its sensuous e ect u upon the ear, its rhythmic movement , its ingenio s — intricacies of structure and symmetry of form , will fin d seek and , and , if they are players , will emphasize in Beethoven only these factors , and will vehemently protest that there is nothing else there , and that any attempt to fin dor to introduceanything else is presu m p tuons and morbid . But those to whom music is the of e artistic medium for the expression the strong st, of a deepest, and best human emotions , who dem nd that every strain shall come fresh and warm from the heart of the composer and speak directly and force fully to the heart of the bearer ; those to whom the brain , no less than the hand , is a servant to that s l s higher, ubtler ego we ca l the oul , and form and Tradition al B eethov en P layin g 4 1

“ e e e e e e e t chnic alik m r v hicl s for soul utteranc , will — fidelit e strive, with humble , self abnegating y , to r ad of t e r between the lines h printed music that unw itten , unwritable Spirit of their compose r ; will infuse for the own o moment their pulsing, revivifying life int the symbolic forms until they glow with at least a faint e of o i a sugg stion their rig nal warmth and vit lity , as when freshly born of the passion and the labor of ; e u s genius Thes alone can give , in the light and of the truth spiritual intuition , only approximately tradi tion al B eethoven playin g

e e ov en : T he oon h on a a B th M lig t S t ,

O . 2 N o . 2 a n o p 7, ( C Sh rp Mi r)

ER E is probably n o composition for the o of an ea pian y r l merit, by any so writer, which is universallyknown ,

at least by name , as this sonata . on e e of it Every has h ard , read it about , and most persons are more or e li the or l ss fami ar with music, e of it at any rat with portions , _ “ “ first n especially the movement , which is, tech ically , to be execu ted in easy enough , the literal sense, with l - l the greatest faci ity by every school gir . According to strict requirements of the law of form it is, in reality , not a sonata at all, but a free fantasia , r of e in th ee detached movements , a v ry pronounced but widely diverse emotional character . There has been considerable questioning on the part of the s public, and much di scus ion among musicians , as to of to the the origin its name, its relevancy music , and the true artistic sign ifican ce of the work:

‘ if e of or There is little, any , sugg stion moonlight , the mood usually associated with a moonlight scene , in any of the movements ; but there are several more 45 46 D escriptive Analyses of Pian o Works or d afloat less cre ited traditions concerning it , legitim a

tiz in . Oi the title and explaining its origin these , g , the one that seem s to the present writer most fully authenticated and best sustained by the content of the compositions as a whole is the following . It is v erified S given , not as a fact , but as a uggestive possi bilit y, a legendary background in keeping with the work .

- of It is a well known matter history that , during for i his early struggles ex stence in Vienna , while ex erien cin p g the inevitable period of probation , well lot named the starvation epoch , common to the o r r f eve y c eative artist , and the equally inevitable o r n fift heritage f g eat genius, bor y years in advance of its i — of t me , lack appreciation and scathing abuse

l - —satisfied s of from the se f constituted , self foe all pro ressiv e l — g art , ca led critics , Beethoven had the addi tio l n a misfortune to fall deeply , but hopelessly , in love i with a beautiful and brilliantly accompl shed , though of shallow , young heiress , noble birth and lofty social

Gu icciardi for position , Julie by name , who was , a on e of his i ; She to te short time, pup ls is said have ' afi ection of e turned his , but the union was , course , und r in o the then prevail g conditions , utterly imp ssible ; and even if it could have taken place , would doubtless have proved most incompatible and uncongenial . She e was a count ss , accustomed to luxury and splendor ; he an obscure musician fightin g for the bare necessities ’ ia s a of life , hardly higher in the soc l c le than her father s valet and not so well paid : It was absurd and blind

Love had blundered once again in his marksmanship . O r was n al l a it an intentio , crue sh ft from the tricky

48 D escriptive Analys es of Pian o Works son alit n of y and the mental conditio s the momen t , often just the reverse of what might naturally have . been expected . What he most keenly felt on this particular occasion was n ot the soft splendor of the or summer night, the opulent luxury and careless , su erficial p gaiety about him , but the bitter and cutting

' afi orded own n contrast which they to his struggli g ,

- - of sorrow darkened , care laden existence , full dis i of appointments and hum liations , petty , sordid , yet n unavoidable a xieties , with those twin vultures ever — a e n . at his heart hopel ss love, an u appreciated genius The result was moonlight music in which no gleam of moonlight was re flected only its somber shadow lying heav ily and depress ingly upon the stream of his emotions , which poured themselves out through the harmonies of this composition with an unconscious power and truth and a pathetic grandeur which have

- justly made it world famous . first eit resses s The movement p unmingled adness , e n of a n but without any w ak ess vain compl i t ; a calm , of n : candid , but hopeless recognition the i evitable i The second seems to be an attempt at a l ghter, flee tin of more cheerful strain , a g recollection his ostensible theme ; but it is only partially successful l and very brief, and is fo lowed by a reaction into a mood far more intense and darkly neree than the

first .

of of The last movement is full indignant protest , b of fier passionate re ellion , with occasional bursts y defian ce : In it we see the strong soul , surging like the waves of a mighty sea against the rocky borders of e s or fat , striving de perately to break through over B eethoven : T he M oon light Son ata 49

them , and returning again and again to the fruitless attempt , with a courage only equaled by its futility . e It is the Titan Beethov n battling with the gods of destiny . u It is, of course , nlikely , even impossible, that this

s - the - was improvi ation , tradition being true , pre cisely the music of the Moonlight S onata in its present form . It could but furnish the themes , outlines , and of the moods various movements , subsequently de v eloped into the composition So widely known and ee ov e n : on a a a é u e B th S t P th tiq , 1 O p. 3

of ITH the exception , perhaps , the “ ” Moonlight , this work is the best

known to the world at large , and the one most frequently attempted by ambitious students of the Bee v tho en sonatas . Its familiar title was not bestowed by Beethoven

himself, but by some publishers ‘ later, and seems to me inaptly chosen ; in fact, not o at all justly applicable to the comp sition as a whole . e It was probably sugg sted partly by the minor key , a l v i but m in y by the second mo ement , which s gravely pathetic in mood . As a whole the work is far too strong , intense , and dramatic to warrant the name .

S on ata Tragica would have been better . I have not been able to fin d any authority for attributing to it si n ifican c defin ite descriptive g e in the objective sense . It is the forceful expression of a pronounced emotional condition , or rather, sequence of experiences, embodied with all the fervent glow and impetuous power of fin ish early manhoo d , yet with the precision and of maturity . Every measure is replete with intense 50 B eethov en : Son ata Pathétiqu e 5 1

5 1c feeling as well as in t m beauty . There is not a su perflu ou s note or a meaningless embellishment in it from beginning to end ; not an ounce of sawdust stu fiin g to fill out the defective contours of a stereo — ! t of typed form which , alas is not rue of many ’ Beethoven s piano works ; and , all in all , it seems to the present writer to be the most musically interesting and evenly sustained composition for the piano from ’ Beethoven s pen .

rave The broad , impressive introduction marked g

' is full of strength and somb er majesty . It is gloomily of grand rather than pathetic , like the epitome some ’ of on e of stern fatalist s philosophy life, and reminds Swinburne ’s lines ’ ore ar an a ea or s om M d th d d w ld t b, k ’ ore an the s eer a n s a e M high th h d w g t , ’ ore ee an the e sea s om M d p th wid w b , ” a e F t .

The first subject of the allegro movement is an y : of fire thing but pathetic It is full , energy , and restless striving ; of herce con flict and desperate en deav or ; of the defian t pride of genius exulting in the ’ i ff unequal combat with the world s stony ndi erence , and the inimical conditions of life; The second theme is warmer and more nearly ap

roaches . n p the lyric vein It is half pleadi g, half in of argumentative tone , strikingly suggestive the s mood so common to young but gifted soul , in the bitterness of their first pained surprise at the cruel contrast between the ideal and the actual in life . It seems to strive to reason with unreasoning and u n of reasonable facts, and to touch the heart a heartless 5 2 D escriptiv e Analyse s of Pian o Works fate with its tender pleading . The continually re iterated embellishments upon the melody notes here m o den te should be given distinctly as a r , with marked of accent on the last the three tones in every case , on first not played as a triplet with accent the , as is so so in often done , and even indicated many standard d o e itions , thus materially weakening the effect f the passage , rendering it trivial and characterless as well ou of as t keeping with the general mood . This is “ K u llak of t what used to call the lazy way playing i . The stri king contrast between the first and second subjects should be maintained throughout , with s i th e greatest po sible dist nctness , and closing chords defian tl must be given boldly , y , like a challenge proudly

flu e of n to n g to all the pow rs dark ess , fate , no matter how adverse : With the second movement comes a radical change first of mood . The impetuous vigor has been ex pended in the struggle ; the first joy of combat and self - reliant consciousness of strength have ebbed away i l ke a receding tide , leaving the soul exhausted , dis

coura ed . of g , but not despairing There is a moment ’ r t uce in life s battle , a moment of calm , though sad reflection ; a moment in which to contemplate the impassable gulf between the heaven - piercing heights of ambition and the petty lev els of possible human achievement , in which to dream , not of victory and — happiness , those are among the unattainable ideals, — of sa w but rest and sweet forgetfulness , and to y ith Tennyson

What profit do w e hav e to war wi th ev il ? Let as al on e . B eeth oven : Son ata Pathétiqu e 53

There is an occasional hint of the volcanic fires of passion , slumbering beneath this surface calm of a spirit sent to earth , but not broken , gathering its forces for a fresh uprising . But as a whole it is tran i qu lly thoughtful , gravely introspective , and should be rendered with great deliberation and profound earnestness . The last movement is hardly up to the standard

of . the other two , either musically or emotionally S i n till it is nteresti g , symmetrically made , and not devoid of depth and intensity . It is perhaps a logical as conclusion to the work, if we regard the whole a

- of n . of u s sort tone poem o life With most in youth , our boundless courage and aspiration lead u s to dare all things and believe in the possibility of all things ; u fi ht to h rl ourselves into the g with destiny , with the limitless presumption of untried powers and nuwar ran table hopes . Later comes a period of depression and discouragement , in which nothing seems Worth ' efl ort ou r . , so far do realities fall below expectations w e e Then , if we are reasonable , l arn , at last , to adapt u o rselves in a measure to things as they are , to con o flow ers tent ourselves in s me wise with the , since the of stars are out reach , and to measure achievement of first relatively , not by the standard our glorious ,

- -be- of ever to regretted ambitions , but the possible, the partial and imperfect , under the limitations of ’ in flexible earthly conditions ; and we quench ou r soul s thirst as best we may with the meager, mingled draught of bitter - sweet that life offers: l This movement is ight, rapid , and would be cheerful but for its minor key and its undertone of plaintive 54 D escriptive A n alyses of Pian o Works

sadness . It seems like an attempt to take a brighter of d view life , but is still shadowe by past experiences , - a n of touchi g gaiety dimmed by the mist recent tears , — is n and this , perhaps u intentionally , the most nearly

v pathetic of the three movements . It should be gi en d with life and warmth , and , despite the pe ants , with a free use of the rubato , but not with extreme velocity .

56 D escriptive A n alyses of Pian o Works

’ or ieel evolution . The simple , vital germ of thought i e ing , inherent in the theme , as the l fe principle inher s in the germ of wheat , is seen to expand gradually and

' develop through the successive v an ation s into new and changing forms of ever - increasing beauty and su gges tiv en ess until every latent possibility of expression a has been matured and exhausted , and the ide has been presented to u s in every practicable light and from every attainable standpoint ; just as the gradual ’ of growth and ripening the wheat , subjected to nature s in fin i te variety of conditions and her ceaseless alterna of tion day and night , cold and heat , sun and rain , e u s l a of calm and storm , pres nt to dai y some ch nge i form and hue , some new phase of its progress ve ex isten ce a , until complete maturity is re ched and its utmost limit of development attained . A still better analogy may be drawn from human m odification experience itself , from the constant and of v e to development a gi en character , subj cted the i on flictin shift ng vicissitudes and changeful , often c g in flu n es e c . of daily life It is interesting and helpful, in studyin g or listening to any work in the them e an d v a iation m z r for , to conceive of the theme as symboli ing defin ite a personality , as of hero or heroine in a narra o tive , a pers nality clearly marked , but undeveloped , i dist nct to the mind of the composer , and which the performer or hearer should endeavor to grasp with equal de fin iten ess . Each variation may then represent of ff some varying phase life , some di erent experience in fluen ce or a or , emotional condition , be ring upon this typified personality : The peculiar mood and su gges tive characterist ics of each variation must be clearly B eethov en : S onata in A Flat Maj or 57

perceived and strongly emphasized , and its due relation w e to the whole ork preserv d , while the underlying , all~perv adin g theme must be kept intelligibly recogn iz able through all its most capricious and widely con trastin m odification s y n d g , to gi e purpose a continuity to the whole ; just as the strongly marked individuality of a well - drawn character is traceable through all the manifold vicissitudes of life and may be counted on out own of to follow its inherent laws evolution , no matter what the circumstances or conditions to which it may be subj ected . et u s of first L , in the case of this sonata , conceive the simple theme as suggesting, through the subtle symbol efi ec s the of ism of tone t , character our hero , gravely tender , calmly resolute , nobly , warmly , generously

' afiection ate of e , with much innat strength , tempered

refin ed . by gentleness and latent passion , by ideality In the first variation life presents itself to him as a serious but interesting and agreeable problem , possess He . e e ing the charm of mystery investigat s , sp culates, re flects of the , lingers fascinated upon the threshold w n the of shado y unknow , enjoys vague delight its dim but inviting perspective . the on fli t In second he faces storm and c c , revels in the discovery and fullest exercise of his own strength and courage and in his successful wrestle with danger

difficult . of and y The mood here is bold , heroic, full life and energy . In the third ou r hero is suddenly confronted by the i . of twin g ants , death and despair The shadow their sable forms envelops him with impenetrable gloom . is o l en ] His soul crushed by a weight as f a ead pal , 58 D escriptive An alyses of Pian o Works and from the depths it sends up a half - stifled cryof n b u i u uttera le , inartic late anguish , equaled by noth ng l f in literature, un ess it may be by the verses o Edgar “ ” Allan Poe entitled The Conqueror Worm . The fourth variation brings a reaction toward a fl ashes of h brighter mood , sunlight t rough parting fitfu l l 0 clouds, gleams of spasmodic gaiety , ha f h pe , defian ce i half , show ng intermittently against the somber background of grief . fifth Finally, the and last variation is a tender ,

v e h n i cheerful lo e po m , telling , with a c armi g nter i of m ngling fervent warmth and playful brightness , of of ffe the sovereign magic human a ction , in which the tried S pirit has at last found solace and repose ; while the brief but sign ifican t little coda seems like a dreamy retrospect , a tender reminiscence of bygone joys , and r g iefs , and struggles , tempered by distance and bright ened by the light of present happiness: If the work ended here it would be well rounded be and complete , and it may , in fact often is , presented t in this form , entirely omit ing the other three move ments . But though not indispensable to the sym metry of the composition , the remaining three move ments of the sonata are all intrinsically interesting

' and enjoyable and embody three radically difl erin g types of em ot1on al life . In them we are dealing no longer with an individual experience , but with general

t . moods , wi h abstract elements and conditions i e of S The pr ncipal subj ct the cherzo is bright , i d u n con piquant , exhilarat ng ; expressing unmixe , trolled gaiety , toned down for a moment in the trio to a touch of arch tenderness , but immediately break B eethoven : Son ata in A Flat Maj or 59

n ing away again into rollicki g hilarity . It should be a d given with great clearness n crispness , very little pedal, and a clean , sparkling tone , like sharply cut glass icicles With the sun behind them . The term scherzo is an Italian word , signifying a jest , and all S that is most capricious , portive , and humorous in music fin ds expression in this form . The third movement is on e of the two great funeral marches for the piano in existence , the other being that

O . o Bee . n e tho in the sonata, p 3 5 , by Chopin This by ven is so forcefully characteristic in mood and move l of of n ment, so fu l gloomy grandeur, dramatic i tensity, of of depth and richness somber harmonic coloring, that it may be ranked among his very ablest artistic creations . It should be played with the utmost of n ot fullness and sonority tone , but extremely loud or even in the climaxes , and never hard rough ; so as to convey the impression of suppressed power and of a noble , sustained sorrow, not a spasmodic , petulant in flexible n t distress . Its , unvaryi g rhythm throughou should suggest , not only the slow, solemn movement of i the funeral procession , the heav ly tolling bells , the of awed , hushed grief the mourners , but as well the more abstract and universal thoughts of the slow but relentless march of time and destiny and the might o and majesty f death . The last movement of the sonata is in the usual rondo form , light , graceful , ethereal , with a certain e of subdued cheerfuln ss , telling dreamy aspiration and u i o of vag e , ntuitive faith in ultimate g od , the airy , ‘ upward flight of light - winged hope toward a brighter the realm beyond grave, where pain and death shall 60 D escriptiv e A n alyses of Pian o Works be remembered on ly as the minor cadences ing dissonances which lead to the enhanced beauty of fin a the l major harmony . The sonata as a whole 15 on e of the most interesting ’ of e productions B ethoven s second period , and is o technically within the reach f most good amateurs . e e ov e n : o n a a in D n o B th S t Mi r,

O . 1 N o . 2 p 3 ,

I S is not usually considered a descrip

tive composition , but Beethoven , it an when questioned regarding , “ ’ ‘ swered: Read Shakespeare s Tem With this hint from the of most authoritative all sources,

the composer himself, we may easily n ot trace , if a strongly realistic, at least a suggestive reference in the music to that most - rom antic dr ama by the greatest of English play writers . And we may also fin d a pertinent rebuke for those who are inclined to sneer at the idea of descriptive ’ suggestion in music in general and in Beethoven s ’ S of own works in particular, in pite Beethoven s “ words : I always have some picture in mind when I write . The first movement of this sonata Opens with an n of extremely simple theme , consisti g merely the — — - — - notes of the common triad do m i sol do a theme so o re bald , so apparently devoid f beauty and latent sources that only Beethoven would have v en tu re d to use it ; and only his genius could have given it any de gree of interest . It is evidently chosen with deliberate 6 1 6 2 D escriptive Analyses of Pian o Works intention to indicate naive simplicity and natural primitive conditions of life in the island , as Prospero ' u it — — fo nd , with that half animal , half savage man ,

a as fi u re it . C liban , the most prominent g in His l singu ar , ludicrously grotesque personality may have suggested some of the clumsily rollicking passages in

. at this movement The tempest is only hinted , not v — a vi idly portrayed tempest in miniature , a storm i . S in fa ryland till , it is unmistakable , though divested of all its terrors , just as it must have appeared to

Prospero himself, whose magic power and complete mastery over the elemental forces placed him above and beyond all fear . of of The second movement , full sweet repose , grave , a of tranquil h ppiness , is like the hearts the two lovers n rot in the drama , safe in the lovi g and powerful p ec of tion Prospero , living close to the gentle , passionless breast of Mother Nature , childlike in their simple i trust , their spontaneous affection , their s mple joy in n first the passi g hour . It seems at rather tame and d the colorless to our mo ern ears , accustomed to cease of con flictin e less stress and din complex and g elem nts , warring together in the life and art of ou r own day ; but if we can forget for a moment the intensity, the restless questionin g and striving of the present and go back in spirit for a century or two to more normal hn d conditions , we shall this music restful and soothing as the green sweep of woods and meadows on a June of morning in the country , after the glare and fever

- a city ball room . n n The closi g movement , with its light , trippi g

- is rhythm , its playful , half facetious mood , evidently

ee ov en : o n a a C a o B th S t , M j r, 0 P 5 3

HI S is on e of the best and justly most beloved of the pianoforte works from what is known as Beethoven ’s S econd Period ; that is to say , the period when his creative power was

at its zenith , when his genius had

reached its fullest maturity , yet of showed no sign waning ; when , n u in its i divid al development , it had outgrown all of youthful crudities , all reminiscent suggestions older masters , occasionally to be found in his earlier writings , t se yet before it had lapsed into that somewhat abs ru , metaphysical vein to which some of u s are inclined v to object in his latest works , in which indi iduality is sometimes exaggerated into eccentricity . Thepresent writer is not among those who regard his latest sonatas s es for the piano as in any ense his great t works , and it is something of a question whether any pianist

n O . 1 1 1 would play or any audie ce tolerate the p , for r of instance , if it bore any signatu e but that Bee thov en . The works of his second or middle period are instinct with far more genuine spontaneity an d ’ true mus ical efl ect . ee o en : Son C o 6 B th v ata, Maj r 5

The O p . 53 is familiarly known among musicians under two names . It is often designated as the “ ” S of Aurora onata , because its suggestive reference oi to , not to say actual description , those wondrous fireworks of the heavens , the northern lights . The first movement particularly , with its constant change of - in fin ite of key , its well nigh variety light and shade , flash of l above all , its constant and play scinti lating i embellishment and br lliant passage work , cannot fail to call up before the imaginative mind the varying n S hues , the shifti g , intermittent plendors of the aurora flashes of borealis, with its crimson and orange, and its fiickerin gs of softest violet and rose . The second movement forms a distinct and restful contrast and quiet background to the brilliancy of

first . the It is slow , reposeful , and gravely impressive, of the symbolizing the hushed solemnity quiet , frost clear, winter night .

The last movement , a prefect rondo in form , returns to the mood and general style of the first: It is bright l of and crisp , fu l brilliant ornamentations and striking of contrasts , and should be given with the idea the northern lights again distinctly before the mind . Its floatin airy, buoyant melody , g lightly upon swiftly flowin on e g waves of accompaniment , reminding of ’ that Wotan s bridge which the ancient N orthman

- n fancied he beheld in the glittering , far spa ning arch of of the aurora , that bright , but perilous , path heroes from Earth to Walhalla . This composition is also known as the Waldstein ” S of onata , because dedicated to Count Waldstein , ’ Vienna, on e of Beethoven s best friends, during his 5 6 6 D escriptive An alys es of Piano Works

earlier years in the Austrian capital . Count Waldstein was a descendant of the famous general and most i a fi u red l prom nent Catholic le der , who g so prominent y ’ during the thirty years war in Germany , that sanguin ary struggle between Catholics and Protestants , from 1 6 1 8 1 6 8 ; of to 4 The name this brilliant leader , a com Bohemian noble of vast wealth and power , and mander of the Austrian imperial forces , is usually spelled Wallenstein ; but the name and lineage are identical with that of the Count to whom this sonata — ‘ is dedicated the confusion arising from the difl eren ce between the German and Bohemian orthography . i e The original Wallenste n , though unqu stionably a i man of pronounced intellectual ab lity and a devout , firm enthusiastic Catholic , was a believer in what we term the obsolete science of astrology and an earn est H student of its mysteries . e had fullest faith in all of the mystic auguries and prophetic omens the skies , and never undertook any important step without first a l n n c reful y consulti g them , aided by the profou der d knowle ge of a trained , professional astrologer, whom he always kept close at hand . It is of interest to note that the famous German scientist , Kepler, served for many years as the private astrologer of Wallenstein : In the researches and belief of Duke Wallenstein he included every manifestation of the aurora borealis . to In fact , he seems have laid particular stress upon i own these as bearing d rectly upon his life and career , as fraught with special prophetic import for him per

son all . of h y It is a curious coincidence , in view t ese i facts , that the most brill ant display of the northern lights recorded for the first half of the sev enteenth ee o en : Son C o 6 B th v ata, Maj r 7 century took place on the very evening on which was Wallenstein assassinated , only a few hours prior of to his murder . In the light his theories it would almost seem like an attempt of his old friends in the

. At skies to warn him of impending peril all events, ) w as the aurora , according to his belief, an important who factor in his life . His descendants , naturally treasured all the facts and traditions concerning their brilliant ancestor , would therefore regard the aurora i with special nterest as being , in a certain sense , con o w n ected with their wn family history . It as for this reason , as a delicate and appropriate compliment to his friend , that Beethoven in writing a work which was h1m to be dedicated to , chose this theme and for embodied it in a composition which , his time and in view of the then prevailing musical conditions , as well as the necessary limitations of the strict sonata is form , remarkably , even graphically , descriptive . ee ov en : on a a B n o B th S t , Mi r,

O p. 9 0

HI S of composition is one the shortest , i easiest , and , from the standpo nt of magnitude , least important of ' Beethoven s later works . It has of but two movements , neither them of diffi cu lt extreme technical y , and es in structure it fails , in various sen tial fu lfil respects , to the require ments of the conventional sonata form . Indeed , the same may be said of many of his best known o and most played s natas , which are sonatas only in name , according to the generally accepted technical

si n ifican ce O . 2 6 O . 2 g of the term , notably the p , p 7, . i . 2 . O . 0 n No , and others Yet this little p 9 , E minor , n is among his most genial , interesti g, and gratefully o musical compositions . In S pite f an occasional touch of pedantry , it is full of melodic charm and emotional suggestiveness : It is not descriptive in the sen se of portraying either actual scenes or events . It deals n ot v with action , but with a series of arying, strongly contrasted moods . c ichn owsk of It is dedi ated to Count L y , a resident Vienna; with whom the compo ser was intimately a d s cquainte , and of whose touching little love tory it 68 ee o en : Son E in o 6 B th v ata , M r 9

’ is a musical embodiment . The Count s personal ex perien ces of mind and heart suggested the work and H w formed its emotional content . e as a member of on e of e be the most aristocratic Viennes families , longed to the highest nobility , and had inherited a o H proud ld name and vast estates . e occupied a lofty position in both social and diplomatic circles , but he had become seriously and profoundly attached to a young actress of unquestioned talent and rising fame , but of obscure and very humble origin- a girl of ex ce tion al refin ed win p beauty , sterling character, and , ning personality , but , considered from the standpoint of u n worldly position and class traditions , a wholly suitable alliance for the great noble . It is difficu lt for one educated in democratic America to grasp the conditions involved in such a situation , or to understand and to sympathize with the painful of struggle in the mind the Count , the maddening - on doubts , the heart sick vacillation her account , as hmal was much as his own , before the decision reached ; the obstacles to be overcome, the opposition of friends or defied and relatives to be met , before the path O on e could be cleared to his desired goal . u the of hand , love and happiness with the woman his on the choice ; other, social ostracism for his future wife , certainly , and for himself, probably ; serious detriment to his promising career ; a life of constant of battle with class prejudice , incessant petty slights and m ortification s ; a po sition necessarily try ing and A t humiliating to both . last , however , love triumphed difficu lties over all doubts and , as it always should and must if genuine , and the wedding took place . 70 D escripti ve Analyses of Pian o Works

cer It is said , All the world loves a lover, and tain ly the story of tru e love victorious over all Oppo sition is the oldest and to most people the most in terestin or g ever told . This story , at least the emo it tions underlying , expressed in music , Beethoven gives u s in the two strongly contrasted movements l : of of this litt e sonata a simple drama hearts , in two acts, written in the language of tone . The first movement deals with the period of doubt

of on flict and indecision , mental c and moody alterna of tion , resolve and depression . Its strong , passionate minor first subject in chords expresses the struggle n re u and u rest , the indignant protest against petty p j dice and in flexible conventionality ; while its plaintive - of of little counter theme tells tender longings , sad of ; discouragements , hopes deferred and desire thwarted

In the development it reaches a vigorous , rough , almost of defian ce fierce dissonant climax , as bitter and scorn of the world and its trammels . T e flu en t w h second movement , calm , , and s eetly of melodious , full rest and tranquil content , deals with ’ the period after love s victory , when hope has been ’ fu lfilled and the heart s unrest has been transformed i flows i to peace and happiness, where l fe onward l ke i urified a plac d stream , its waters brightened and p by the glad sunlight of perfect love and full -orbed old happiness , its waves murmuring the yet ever new i refrain , the s mple , natural , yet magically potent of melody , to which the symphony the universe is harmonized . There is an occasional brief suggestion of past strife e d suffi cien t and rememb re trial , just to give enduring

B ee th ov en : M u sic to T he R u i n s o f Ath e n s

HI S or of composition , rather series

fragmentary musical sketches , con tainiug somevery original and telling

movements , is wholly unknown to

the American public , and unfamiliar

to most musicians , except for the “ Turkish Grand March , the only number that has gained any con “ i ” siderable popularity . The Ru ns of Athens is the name of a curious but very ingenious production for the t e a —a o s age , once quite popular in G rm ny s rt of of S the combination the pectacular play , musical d “ melo rama and classical allegory , designated A i Dramatic Mask by the author, a playwr ght of

Vienna . It was written and produced at a time when the sympathies and interest of the Christian world were strongly enlisted for the Greeks in their gallant and desperate struggles for freedom from Turkish domination and oppression which ended successfully

1 8 2 r . in 9 , after a contest of seven yea s in u s; The scene is laid Athens , then practically in r in r v all The characte s , situations , and en ironment are , f o e ek . n cours , Gre To this work Beethove furnished 72 B eethov en : Tu rkish Gran d March 73

i for the music , orig nally scored orchestra , some num bers of which have since been transcribed for the

. O i of o piano these , only two are any real value r importance to the pianist:

T u rkish G ran d March “ ” r First , the Turkish Grand March refer ed to , written to accompany the march of the Turkish troops

on e . across the stage in scene Rubinstein , when in of this country years ago , scored many his greatest popular successes with his own efiectiv e arrangement of r this number . It contains no great originality o in i musical depth , fact is quite pr mitive in both con l tent and structure , but is brilliant and p easing , with stri a strongly marked , rhythmic swing and a shrill, dent melody which , in its intentional , bald simplicity , strongly suggests the rude but S pirited martial music of - fife ; ts a half barbaric people, given by and drum I

' artistic efl ectiv en ess depends upon the skilful handling of old l an but ever popular device , the audible i lusion

of . approach and departure The music , beginning with the softest possible pianissimo , swells in a gradual , almost imperceptible crescendo , to the heaviest obtain able triple forte , and then as gradually diminishes to oil double pianissimo , tapering at last into silence ; thus simulating the approach of m arching tr0 0 ps from a distance nearer and nearer , till they pass across the stage in immediate proximity , and then their gradual receding till lost again in the distance . It is a device o f which many composers have availed themselves, ’ and makes great demands upon the player s self 74 D escriptive Analyses of Pian o -Works

of as control and sense proportion and gradation , well as his command of the tonal resources of his in stru ment:

T he D an ce of the D e rv ish es By far the most original of these numbers is The ” of Dance the Dervishes , the second one referred to . This brief but complete composition is full of striking originality and graphic realism . It is one in which Beethoven ’s genius seems to have anticipated by half a century the pronounced modern trend toward de s scriptive or program mu ic , and is as realistic a tone painting as we might expect from the pen of Saint ’’

S or . aens , Wagner , any of the recent writers The dance was introduced into the play as an interestin g local — feature , the dervishes being numerous in connection t — wi h the Turkish army , and Beethoven naturally

' selected it as an efl ec tiv e subject for musical treatment : n l But , before speaking of their danci g as i lustrated by ff e Beethoven , it may be of su icient historical inter st to o give a brief sketch f the dervishes themselves . They developed as a sect or order from Moham m edan ism after it was well established in the world . “ " The name dervishes , which they assumed , comes from a Russian word which means beggars from door ” to door . The Arabic word which means the same v or thing is fakirs . So they are called der ishes

ir difi eren t d . fak s in localities , but are the same bo y s They declared themselves Moslems , but their doctrine , ' in e t difi ered of many resp c s , widely from those Moham

. i med Their beginn ngs are in obscurity , but they were a well - established order by the eleventh cen tury : T he Dan ce of the D ervishes 75

Their expressed beliefs , as we earliest come to know chiefl them, were y and decidedly religious . They seemed to represent the spiritual and mystical side of of Islam , having a philosophy much like that the

Hindus , and perhaps borrowed from them . Their central idea seemed to be that the soul is an emana ’ God tion from , and that man s highest aim is to seek a total absorption in Him . Their various and strange ' rites and ceremonies seem only difl eren t ways by i which they sought for union with the deity . In th s

‘ way they claimed that they secured miraculous powers . A t first they largely lived in convents , under rules and in orders , giv g themselves up to meditation and pen o ance, observing the rules of p verty , abstinence from t wine , and celibacy , in the higher classes . Their grow h was rapid ; but in time they largely fell away from their highest estate, ceased to be so strictly a religious i - body , broke up nto various ranks and sub orders , became more free from conventional rules , more o nomadic, and more wild and fanatical ; but their s cial

in flu en ce so and political ever increased , that they have long been regarded as a dangerous element in the the state . There are crowds of them all through o East that seem to belong to no s ciety , wandering mendicants , and , though often skilled in trades , largely subsisting by professional jugglery , bigoted in their fantastic beliefs , and varying in their rites and strange ceremonies : And yet always and everywhere there is still some general adherence to the old appointed ffi religious ways , a peculiar tie or a liation with the i or ff e d stinctive body sect , however di ering in c rtain notion s or modes of worship : The lowest devotee of 76 D escriptive An alyses of Piano W orks them all claims that the dervishes or fakirs constitute a distinct body of religious believers in spite of all divisions and varieties in manifestation . They ac knowledge no authority but that of their S piritual of S guides , as that the Mahdi in the oudan , where so these fanatics have been lately fightin g the English .

They agree also in not following the letter of the Koran , or of the general teachings its interpreters . As a whole body , in all its orders , all over the world , they

of . seek , as an act worship , to get into an ecstatic state They do this in various ways : Sometimes by drinking hasheesh , but more generally by some physical or men tal ways , and while under the excitement they perform astounding feats in jugglery or mysticism that really 0 seem almost miraculous . We cannot st p to detail o these different methods . One f them is the dance of a certain order which has received the name of the “ ” dancing or whirling dervishes . — This is the dance of Beethoven an ingenious method of - r excitement and self to ture , and at the same time i of a str ct religious ceremonial . It consists little more than an exceedingly rapid gyration upon an imaginary S i pivot , pinning round and round l ke tops , with almost s incredible velocity, till overcome by dizzine s from the ra or prot cted rotary motion , by physical exhaustion , in they fall a swoon , after passing through all the successive stages of delirious frenzy always attending n intense fa atical religious excitement , no matter what the race or faith . The dance is accompanied by frantic gestures , wild cries , and doleful groans , and S to often by a pecies of weird oriental music , adapted m n l its rhyth , and inte ded to stimu ate the dancers to T he D an ce of the D ervishes 77

greater excitement, and consequently greater exertion and speed : r of This music , as well as a port ayal the dance , u s Beethoven gives in this composition , which has been

- admirably transcribed for the piano by Saint Saens .

It begins softly and a little slowly . As the dancers gradually get under way and warmed to their task , it gradually grows in speed and power as the frenzy m san e increases till it reaches a furious, almost climax ra 1dl on e on e then p y diminishes as , by , the dancers,

x ou t of . e hausted or swooning , drop the circle It demands great freedom and facility in octave s of playing , and endle s verve and abandon style ; and needs , to be comprehended and enjoyed by an audi of ence , some explanation its character and artistic si n ification n or i on g , either give by the player pr nted the program .

W e e I n v a o n to the Dan ce b r it ti ,

O p. 6 5

R I TI CS have generally ascribed to this composition the honor of in au gu rat ing a new and important department in the realm of tonal creation of or ro namely , that descriptive p

gram music ; that is to say , music which attempts to embody in tone something more than mere ideal

of beauty metrical form and rhythmic symmetry , and to express something more than vague emotional states , too intangible for utterance in words ; music which conveys not only sensuous pleasure and in defin ite moods , but a distinct, realistic suggestion ; which of gives , against a background harmony , with its general emotional coloring, an actual picture of some scene in nature or experience in life ; music , in a word , which takes its place in line with the advanced o of p sition the other arts , in progress toward dramatic truth and worthy realism . Descriptive music , like landscape painting , has been the latest, and in some

v respects the loftiest , phase of the art to be de eloped .

We can scarcely with justice credit to Weber, as a 6 8 1 8 2 D escriptive A n alyses of Pian o Works

i of n ew strictly orig nal departure , the opening this of path in the domain musical art , which was in modern times to le ad so far and to such important and mag fi n i cen t . results Descriptive music , of a more or less ce pronoun d character , had already appeared from t so ime to time , though rarely labeled , and mostly in of of the detached fragments , in the works most e of greatest composers , pre minently in those Haydn ,

Mozart , Gluck , and Beethoven . Even the austere Handel was not entirely free from occasional digres sions into this field. But we may safely ascribe to Weber the honor of being one of the first to have the full courage of his convictions and to declare himself

v boldly for this phase of creati e art , by giving to this distinctly descriptive composition an unmistakably t em ha descriptive ti le , thus fearlessly unveiling and p sizing its realistic intentions . The work opens w ith a simple but serious passage v n of recitati e in si gle notes , in the baritone register , conveying the “ Invitation to the Dance as if by a mel

low a i . m scul ne voice Then comes the reply , in a soft

' i ofl erin soprano , brief, k ndly , but as if g some playful as sex objection , the lady , true to her , waits to be asked a se con d time before saying yes . The invitation e l e is rep ated m ore urgently , fo low d by the assenting floor on treble , as the lady steps upon the the arm of her partner . A brief dialogue ensues , in which the two voices can be distin ctly traeed by their di ffering registers , alternating and interwoven , as the pair pace i i t i the pol shed floor, exchanging those a ry no h ngs

- r . r rs of the ball oom Then the o chestra ente , with a n l of passage of brilliant reso ant chords , fu l spirited Weber : I n vitation to the Dan ce 8 3

life and gay challenge, calling the dancers to their

e i . I ts places , and the waltz prop r beg ns crisp , piquant of rhythm and free elasticity movement, its bright , graceful melody and cheerful major harmony , all express youthful elation , fresh, joyous excitement, thoughtless , hence unmixed , gaiety . an d As the steps the pulses quicken , there comes on of i that exhilaration mood fam liar to all dancers, the flowers caused by the lights, , the perfumes, the u music, the gay costumes , the bea ty and the gallantry of - of a ball room , the rhythmic exercise the muscles of and free circulation the blood , all acting together ’ to produce upon the senses and the fancy an efl ect amounting almost to intoxication ; an echo of which is awakened in every breast , which has felt it often and on of keenly , catching a strain distant dance music , to the end of life . This mood is depicted in the compo sitiou before u s by an exuberance of runs and orna

l i first , mentation , fo low ng the simple enunciation of the waltz melody .

After rising to quite a little climax of ecstasy , this mood lapses abruptly into the second waltz theme , slower more lyric, dreamy , languorous, almost melan chol 1n t y one , conveying that impression which every o of susceptible pers n feels , to the verge rising tears , e aft r listening long to waltz music , which is quite

‘ difl eren t first ff from its inspiring e ect, and which every devoted dancer feels equally surely in the prolonged

on e waltz . The time has come when has grown so accustomed to the waltz movement as to be scarcely of it of conscious , seems rather, in a state rhythmic floatin on rest, to be g the atmosphere , which ebbs and 84 D escriptiv e An alyses of Pian o Works

- u . flows to a three four meas re Thoughts , breath , fl n u of i pulses , yi g feet , the murm r voices , all ex stence l l has adapted itse f to this wa tz tempo , as to its normal element , and the very planets seem to swing through space in triple rhythm . The true waltz has but two moods , which touch the Opposite poles of emotion that of joyous elation and of dreamy langu or . We may call them the A llegra and the P en seroso of the “ "

. An d t waltz Weber, in the Invi ation to the Dance , has recognized this and woven his composition of but i two themes , represent ng the contrasting phases of feeling described .

In the midst of the second warm and sinuous melody , v l we hear again the masculine oice , in less conventiona accents , and the soft responses of the treble , through i quite a colloquy , wh le the accompaniment keeps ever a ste dily to the undulating waltz movement , till the two voices merge gradually into the general murmur r flou rishes and are d owned in the of the orchestra , as our couple disappears in the whirl , with which i d the waltz , taking up again the f rst sparkling melo y a o t with accelerated pace , draws with incre sing c u u sion to its close . When the dance has ceased , and t the orchestra is silent , the introduc ory theme recurs , as the gentleman leads his lady to a seat and expresses his than ks with the sedate courtesy of hi s firs t greeting ; and thus ends this charming composition and this w e glimpse into that gay social world , h re the hand n d some , tale te , but rather dissolute young composer was only too gr eat a favorite in his early years . In S pite of a certain baldness and primitive naivete “ c to noti eable in the treatment at times , the Invitation W eber : I nvitation to the Dan ce 8 5

on e the Dance , so widely and justly popular , is of ’ Weber s ablest pianoforte compositions , both from a musical and a dramatic standpoint . Regarded from that of pure music , it is especially interesting from the first fact that it was the composition to raise the waltz , used up to that time only as an accompaniment for of dancing, to the level legitimate and recognized

. of S artistic musical forms In the hands chubert ,

Chopin , Strauss , Rubinstein , and Moszkowski , these e successive kings of the waltz , it has sinc reached its prese nt development . “ The Invitation to the Dance was written a few months after Weber ’s happy marriage with the Opera “ M singer, Caroline Brandt, and is dedicated to y ” Carolin e . W on in e e : R o E a O . 6 2 b r d Fl t, p

E rondo is the most ancient , simple , and natural form of hom 0 phon ic

musical construction . It is based upon the folk - song and is always in on e or the other of the more or

less complex song forms . It consists of l a simple melodic period , usua ly

eight measures in length , bright and cheerful in character, alternating several times , n on e virtually u changed at each reappearance , with or i more subordinate subjects , in a more lyr c or

of a . dramatic mood , for the sake v riety and contrast A n apt but homely illustration of the rondo may be found in that most laborious and indigestible product of ori in at American cookery , that culinary absurdity , g ing in our natural tendency toward display and dys

e sia . r p p , the layer cake In the most primitive fo m of S a first rondo , or more strictly pe king , rondino , the first theme appears but twice , corresponding to a and

o fillin of r sec nd layer of cake , with the g c eam or jelly the s between , represented by econd contrasting sub ect u s flav or e j , of a more piq ant and avory , b tween the — first theme and its reappearance a sort of musical as : s W hington pie In the more extended form , the 86

8 8 Descriptiv e A n alys es of Pian o Works

d . i family The follow ng verses , quote from the work the mentioned , are best possible descriptive illustra the of tion of form , scope , and characteristics both the rou ndel in poetry and the rondo in music :

T HE R O UN DEL.

R ou n e is rou as a r n or a s ar- s ere A d l w ght i g t bright ph , cra of e an d cu n n n of sou n u n sou With ft d light with i g d ght, That the heart of the heat er m ay sm ile if to pl easure his w R un u A o del is wro ght.

I ts jewel of m usic is carv e n of all or of aught Lov e au er or m ou n n —rem em ran ce or ear , l ght , r i g b f a m a o an in th ar That f ncy y fashion t h g e e of thought .

“ ’ A s the r s u c son ru n s rou n an d the ea s in as ear bi d q i k g d , h rt h

ause an s er to ause an d a a n the sam e s ra n cau . P w p , g i t i ght So mov es the ev ce en ce rou n as a ear or ear d i wh , d p l t , ” A R ou n del is wr ought .

The E flat rondo of Weber is a fin e spe cimen of its class , perfect and considerably complex in form and charmingly exhilarating in mood , with just enough of dramatic suggestion to give the necessary contrast of shading . It is neither distinctly descriptive nor old deeply emotional . It pleases like a piece of rare or lace hand embroidery , rather than like a picture or a fin e h poem , by its delic te workmanship , its uish ,

d m i . and its beautiful , skilfully combine ater als Its i m ssion is to charm the esthetic taste , like some dainty of i little Italian villa var egated marbles , half hidden in of r a grove olive and orange trees , by its symmet y of of e outline , its harmony varied colors , and the simpl , e s joyous , sunshiny life and love of life which it sugg st , Weber : Ron do in E F lat 89 rather than to arouse the intellect or stir the depths of feeling by historic or ‘ legendary association with vivid or tragic human interests . This composition should be played freely and flu en tl y iv acit y, with a certain gaiety and y , but at a reasonably moderate tempo , with a tone crisp and sparkling, not dry , yet not too legato ; clear , but not heavy . The player should employ few, if any , of the modern rubato effects and be careful to avoid or too first blurred close pedaling , especially in the subject . A somewhat slower tempo and more decided ‘ lyric efiect should be introduced when the left - hand B fl at theme in major occurs , and still more during the of t suggestion dramatic reci ative , alternating between the two hands , which opens with the half note in the

G fl at fl at. right hand on , A natural , and E But, as a whole , the tempo should be kept very steady , and a strongly marked rhythmic distinctness and precision are absolute essentials in ‘ the proper presentation of ’ of ; this , as all Weber s works W ebe : o n ce s u c k in F n o r C rt t Mi r , 0 P 79

LTHO UGH written for piano and

orchestra, and still occasionally given as a concerto in symphony

concerts , this work is more familiar and more frequently heard as a or piano solo merely , with the orchestral parts arranged for second

piano , in which form it is very ’ popular , especially for use in pupils recitals and music schools . It is one of the best and most effective ’ of on e of Weber s compositions for piano , and the most successful of his attempts in the line of descrip ir tive music , in which he was a pioneer ; for as S George “ Grove well says , His talent shone most conspicuously whenever he had a poetical idea to interpret musically . “ O n : the subject of this concerto , he continues Though l complete in itse f as a piece of music , it is prompted was by a poetical idea , for a whole dramatic scene in ’ the composer s mind when he wrote it . The

' part which the difi eren t movements take in this pro gram is obvious enough , but a knowledge of the pro gram adds greatly to the pleasure of listening . 90 Weber : Con certstu ck in F M in or 9 1

It is rare indeed to fin d in print any accurate and detailed information concerning the artistic and dramatic content of any particular composition ; but Con certstiick in regard to this by Weber, we are fortunate enough to have the whole story on which of the music was founded given in the words Benedict, w ho had it from the composer himself . “ C a o b The h telaine sits alone n her alcony , gazing far away into the distance . Her knight has gone to

. b the Holy Land Years have passed y , battles have been fought . Is he still alive ? Will she ever see him again ? Her excited imagination calls up a Vision of on her husband , lying wounded and forsaken the fi battle eld. Can she not fly to him and die by his side ? She falls back unconscious; But hark ! What notes are those in the distance ? Over there in the — forest something flashes in the sunlight nearer and nearer ! Knights and squires with the cross of the ; crusaders, banners waving, acclamations of the people '

he ! She . Lov e is And there, it is sinks into his arms triumphant . Happiness without end . The very

‘ woods and waves sing the song of love . A thousand ” voices proclaim his victory .

The composition is in four movements , and it is first lar hetto re re hardly necessary to add that the , g , p sents the sorrowful meditation of the lonely chatelaine

alle ro im upon her balcony ; the second , g , her lively agin ation picturing her lord upon the field of battle ; m arch of the third , , the tramp the returning crusaders i u n ale n with fly ng banners ; and the fo rth , fi , the reu ion “ when the very woods and waves sin the song of ’ g lov e . f 9 2 D escriptiv e Analyses of Piano Works

' Those Ph ilistines who contend that program niu sic is but a » m ushroom growth of the last decades of the nineteenth century will hardly care to come face to of it face with this instance , backed by the authority of Grove , Benedict, and von Weber , and hundred years old . ’ W e ber- K u llak: Lu tz ow s W ild e

a O . 1 1 1 N o . ! gd , p , 4

MO N G the better class of rather old ’ fashioned but efiectiv e tran scrip

tions for the piano , which have fallen somewhat into neglect of ’ K ullak s later years , pianoforte ’ “ ’ version of Weber s Lii tzow s Wild ” v Ride deser es attention .

The original ballad , which formed ’ was of the text of Weber s song , one the best of many r o of similar character by Ka l Theodor K rner, that

- V of trumpet oiced Swabian poet, the popular idol his who time in southern Germany , sounded the notes of con flict patriotism , , and heroism in simple but ringing of verses, which still echo in the hearts his country c men , and which des ribe the scenes , and glow with the ’ fervid spirit of the century s dawn .

u r offi cer Major L tzow, the he o of the ballad , was an in the Prussian Hussars during the brief and disastrous 1 8 1 struggle with Napoleon in 3 , when his country

- of went down , crushed well nigh out existence , by the invincible power and iron hand of the all - conquering

E e . Wh mp ror en Berlin surrendered , the Prussian 93 94 D escriptiv e Analyses of Pian o Works

i army was disarmed and disbanded , and the K ng ,

F rederick' William I I I was , forced toacceptwith thanks the most humiliating conditions of peace ; and even ’ u the beautif l Queen Louisa , the people s beloved divinity , had to humble herself in her despair to beg from the generosity of the victor the most ordinary concessions to the vanquished . Major Liltzow in dign an tly repudiated the disgraceful treaty and openly e fie d d the vengeance of the great Napoleon . Rallying of a few his gallant riders about him , he escaped to the forests , and there organized a guerrilla band , for months waging a phenomenally desperate but ’ successful war on his own account with the world s conqueror and his matchless army . “ Lii tzow and his Black Riders were soon known far of and near , the hope and pride of friends , the terror foes ; and hundr eds of the best mart ial spirits of Ger fl k He many oc ed to his standard . pushed his darin g raids even across the Rhine into France , sweeping down like a whirlwind apparently from the sky , at the c most unexpe ted times and places , leaving consterna tion and destruction in his track , and was gone again before the French could rally to oppose him. Soon the “ ” belief spread that the Black Riders were a super natural phenomenon , an incarnation of the bloody spirit of a the time , half men , half demons , be ring charmed e liv s , ignoring time , distance , and other human limita e tions and liable to app ar at any moment , without warn m of m g, in the midst the i perial camp , or in the heart of Paris . Their very name was enough to shake v the nerves of the bra est veteran . This elemen t of the supernatural Korner has ingemi

96 D escriptive A n alyses of Pian o Works thus adding volum e and brilliancy to the work as a whole .

The introduction , in rapid triplets , with marked d of accentuation , repro ucing the exact rhythm the 110 of e ga p hors s , should begin softly , as if distant , and rise in a steady crescendo to a strong climax , suggest in g the swift approach of a troop of riders ; then the melody enters , bold and distinct , as if in trumpet or o of tones , given by the res nant voices the dashing Th troopers . e piece must be varied by frequent and

a - marked contr sts ; now a trumpet call , clear and sharp , answered by a distant echo ; now a whispered hint of spectral terrors ; again the sweep and rush , the clash and clamor , the delirious excitement of the impetuous charge .

The exultant climax , at the close , well expresses the sentiment of the fin al verse of the ballad

The a e r an is ree am ou s an d um an F th l d f , f , tri ph t , Glory to the heroes whose blood has bought the victory l

’ This composition of Weber s , when given by a

r n - rousing , ingi g , full voiced male chorus of Germans, stirs the martial spirit in every breast , just as the i Marse llaise fires the blood of the French . In its piano K u llak transcription , by , I recommend it to every player and teacher who is seeking so mething which is — ' very diffi cu lt to fin d namely : a good and efiectiv e number , martial and rhythmic in character, which is

a of - of re l merit , and is a novelty to the audience to day, i and yet has a classic name attached . It is adm rably adapted to close a program or to end a group of several e short r compositions of varying mood .

1 00 D escriptive Analyses of Pian o Works

his fl u en t i ro a he- such was versat lity of p duction , th t is known to h ave completed seven of these inimitable on musical gems in e day . His instrumental composi i t ons , whether for orchestra or piano , though far less numerous , are for the most part equally able and ' efl ectiv e , and deserve a much more frequent hearing

- ei in the concert room than they at present rec ve , dis a i as do pl y ng, they , to the full, his inventive spon tan eit of i y, his inexhaustible fund fresh , or ginal oe of melody , and the peculiar , tender, p tic grace his style . ’ of Most Schubert s best known pianoforte works , the like the composition under discussion , belong to smaller, more modest , and unpretentious forms . They are eminently soft , sweet , and winning , rarely ex hibitin u in ten g that breadth , grande r , and passionate sit t y wi h which such composers as Chopin , Schumann , and Liszt have made u s familiar . But who would despise the wood anemone because it chances not to possess the voluptuous perfume of the queenly rose or the gorgeous hues of the wiz ard poppy ? “ " of The theme and variations , which this work is l on e an excel ent example , is of the most ancient ,

of . natural , and logical forms musical construction A d simple melo y , clearly enunciated at the beginning , is a of used by the composer as the music l germ his work ,

v of from which he e olves , as by the process spon tan eou s r all g owth , its manifold possibilities for varied expression and contrasted effect ; much as the skilful or orator expands from his tersely stated thesis text , i i by means of elaborate compar son , analys s , antithesis ,

t all - e and perora ion , that far reaching sequenc of Schu bert : I m prom ptu B Flat 1 0 1

‘ - deduction and argument latent in his thought germ .

It is always fascinating to watch this growth , this of gradual evolution , this play many colored lights over the familiar theme , under the skilful and ingenious ; manipulation of a master hand But there is, I claim , a deeper interest and a higher pleasure to be derived flowin from seeking, beneath the smoothly g harmonies the and graceful , rippling embellishment, for allegorical sign ifican ce or suggestion mirrored in their clear refl ected depths , as scenes and faces are in the tranquil e str am , and which are rarely , if ever, wanting in the true art work . “ e in The them and variations music, which owes its origin to the fir st crude attempts of early composers to elongate and develop a musical idea into a sym s of metrical art form , corresponds to a very early pha e another art: I refer to the series of progressive pictures carved on the friezes of many ancient Oriental and in Grecian temples , portraying successive episodes the of od or : life some g , hero , king , prophet The central fi u re g is ever the same , however attitude , action , mood , r of his and environment may va y , to suit the stage story

. of represented in each scene No smoke battle, of or of ob strangeness garb , storm emotion can so scure or distort the familiar lineaments that they are not recognizable , though they take contour and ex pression from circumstances, those variations in the theme of life . The same idea is carried ou t in pictorial of ed fi es art in the interiors more modern i c , when the walls of cathedrals are adorned with frescoes represent i of ing the l fe Christ , in numerous consecutive panels , from the infant in the manger to the death upon the 1 0 2 D escrip tive A n alyses of Pian o Works

. a cross Painting can tell a story , within certain limit i w . t ons, as ell as words , and more powerfully The of same is true music, for those who have ears to hear . As already stated in connection with the Beethoven “ ”

O . 2 6 sonata , p , to me the theme and variations always seems to represent a given character or per

' son alit difi eren t y , met at times, amid varying scenes c and circumstan es , in many moods and situations , as would be the case in real life ; developing with the of i progress acqua ntance and contrasting experiences ,

on e showing now aspect , now another , according to of the changes inner emotion or outward environment , but always preserving the same individuality , an e f id ntity which lends itsel to , but does not lose itself in s e of , the vici situd s human existence . In the par ti l r u s fi rst i cu a work before , let the fresh , s mple , tender theme symbolize a maiden , the heroine of the story of we will call her , fair , with the delicate freshness first of i youth , full the winning grace , the na ve sim ’ plicity and the dreamy poetic fancy of on e of Lytton s : heroines a young girl ,

S tan di n g with rel u ctan t fee t Wh ere the brook an driv er m ee t ” om an oo an d c oo fl W h d hildh d ee t.

All the manifold vicissitudes of life are lying untried her before her, with the latent possibilities of nature an d waiting to be unfolded developed by experience , o that climate of the s ul . first i flow In the var ation , with its tremulous yet

‘

e i m u . ing emb ll sh ent , all is vag e , uncertain , conjectural

1 0 4 D escriptive An alys es of Pian o Works

' of s in stirring tru mpet tones victory , of the dauntle s courage and the elastic strength born in noble natures of n n e durance and e deavor, of a character invigorated

con flict n an d by , deepe ed matured by adversity ; and us its n it leads back , at close , through many windi g ways and devious modulations , to a later happiness ,

fifth — a - expressed in the and last happiness hard won , first b but more complete than the , though less exu erant , r a of more ethe eal and spiritu l , with something in it the mellow sunset glow .

The work closes with a tranquil coda , a brief evening v retrospect , gra e and thoughtful ; but , on the whole , r if chee ful in tone , as the backward glance were , all fi . n d in all , fraught with satisfaction Here we the first opening theme , the character melody , in all its simplicity , but given an octave lower , in slower tempo d and in full chords . Our heroine has not altere ; r n i the contours are clear , the p oportions ide t cal , not a note is wanting ; but the Zeit- m otif of her per so n alit ex eri y is deeper , broader , and fuller for the p en ces of life behind her , and seems to bear the imprint “ as a e d. of an epitaph , I h ve liv d and loved and labore l ” All is we l . Em otion in M u sic

O T i long since , when urg ng upon a pupil the necessity of bringing ou t the deeper mood and meaning of

a certain composition , the present “ writer received this response : I

am afraid to make it say all that , to put so much of myself into it people will call me sentimental !” The reply voiced a prevailing and thoroughly Ameri fi . too n d can weakness It is far common here to , our r u especially among gi ls; a bright , warm , imp lsive of nature , full genuine sentiment and poetic fancy, choked and perverted , turned shallow and bitter, by this same paralyzing fear of ridicule ; to meet persons who take a morbid pride in concealing and repressing

' efiectu all their better selves so y , that even their most intimate friends shall never suspect them of being on e degree less frivolous and heartless than their com panions , who in their turn are doubtless vying with efi ort them in this deplorable , misguided to belittle

in flu en ce . themselves , their lives and It is on e of the most sign ifican t and lamentable signs of or of the time , that any allusion to expression a warm , true , earnest sentiment is met in society with more or less open and bitter derision , even by those 1 05 1 0 6 D escriptive Analyses of Pian o Works

it adm ire ' the who are secretly in sympathy with ,

a n d courage sincerity of its champion , and would gladly take the same bold stand in its defense , but n ot so dare , and add their coward voices to swell the majority . This is the more deplorable, since this tendency is at once cause and effect . The continual and systematic denial and suppression of emotion and ideality result fin ally in their complete extinction in most cases , or leave them deformed and feeble , to u str ggle for a precarious existence in some dark , hid of den recess the soul , whose highest throne is their rightful heritage . Sa of George nd says , somewhere , speaking the S of French , We once had sentiment , but the irocco it sarcasm has scorched it from our hearts, and where grew is a desert place Alas for the people of whom this is true ! Alas for the young man or maiden who ” can say , I have no sentiment , and speak truth . An d let me here caution any young person against a light and frequent , even though purposely insincere , denial of any characteristic of value ; for there is a strange and subtle sympathy between the heart and s the lip , which works steadily , if stealthily , to bring them more and more into accord . A lie is in ev ery sense a violation of the laws of nature and what first fla ran t e d be is uttered as a conscious , g fals hoo , so t il comes less with each repeti ion , t l unawares a day will come which shall see it transformed into a glaring truth . Such a person , no matter how highly organized , or perfectly trained otherwise , is no better than a

. He n . machine does not live , he simply ru s One may not be to blame for a natural deficien cy in

1 0 8 D escriptive Analyses of Piano Works

fi s of i ; i th g th stles that only life begets l fe, and at ‘own i d l after its k nd ; that an art pro uct , to be rea ly o g od and great, must be the concentrated , crystallized of e him essence the b st that is in , the epitome of his of highest moods and aspirations, those rare , intuitive glimpses of a loftier existence , to which in favorable i i l moments he can lift h mself, the d sti led perfume of rs of : He l weeks , it may be yea , living shou d subject l l in himse f to every possible cultivating, e evating fl u en ce , should train , not only hand and head , but heart as well ; for these three are the inseparable trinity

of . He art should increase his resources , widen his s e i experience , xpand his horizon ; not by cramm ng a of of quantity facts , or by the conquest mere technical — h or e means w at use in commanding words , ton s, if — on e has nothing to express withal but by increased familiarity with and capacity to appreciate and exer cise the qualities so constantly requisite in his work . u s too l u s Le t remember, , what the scientists tel , that light and heat radiated from a given center are dissi pated in force and intensity in proportion to the square of the distance to be traversed . The same is emphatically true of emotion . If one would stir his audience to a pleasurable excitement , he must himself be shaken as in a tempest ; to warm them , he must be at white heat: e on e Should the qu stion arise , How shall learn to feel music more deeply and make it more expressive ? my be i ! answer would , Read , th nk , feel , dream , love, live Read— not musical history and biography— these give rm info ation , not culture ; they are valuable , but not in i e re i l an d th s conn ction ; ad poetry , espec al y the lyric Em otion in M u sic 1 09

o . dramatic, and g od prose literature A person entirely unaccustomed to understand or to utter anythin g in fin d l tones , will often the key to this unfami iar medium of expression by the following indirect method : Find r some work, a poem is best , because briefe and more concrete , which expresses, approximately at least , the sentiment of the composition to be studied . Most per sons are more familiar with the language of words than with that of tones , and will reach a given mood more directly and easily through that channel . Let the poem be well studied , not only with the mind , but With it the imagination , dwelling upon , trying to feel its meaning and beauty as deeply as possible then throw i the same emotional content into the music, mak ng the tones tell what the words have said . The present writer has found this course in teaching very effective who with all sensitive natures , even with those have but the rudiments of an artistic temperament .

Above all , artist or amateur, teacher or pupil , fear not to use in your work to the full all the emotional power you have or can acquire . It may be the in judicious application of force that sometimes impairs artistic results it is never the excess: Vital energy

be . should controlled , regulated , but never stinted

- of Ill timed frenzy is not art , course but where intensity is demanded and proper gradations and proportions are observed , no dirge is ever too deeply gloomy , no dramatic climax too strong . The danger is always

of e . tameness, rath r than of excessive fervor

i t u s i - h , then , be genu ne , earnest , whole hearted , ou r l open , in allegiance to the idea ; and as for those or wh who sneer at sentiment in art in life , y , let them 1 1 0 D escriptive Analyses of Piano Works

r T . T. r rave . We adhere to the c eed which Mun ge has beautifuny formulated for our “ ” Music as Revelation ! is the summit of existence , and music is the summit of emotion , the art ” pathway to God.

on a a B a n o S t , Fl t Mi r,

HETHER regarded from the stand of point musical form , of intrinsic

’ or beauty, of dramatic intensity , this work may safely be pronounced ’ Chopin s masterpiece ; and m the present writer ’s opinion it ranks as the greatest composition in all ’ piano literature . Chopin s ability to handle the strict sonata form successfully has been sometimes called in question ; but whatever m ay be of said his other two sonatas , this one will certainly bear comparison with the most perfect models of fin ish symmetry , , and architectural completeness, by the best known and most universally recognized classic '

. I n alle ro masters the g movement , upon which the distin guishing character of the sonata form always first depends, the and second subjects are well con trasted and admirably balanced , the development is i log cal , ingenious , and forceful , and the statement of the dramatic content is clear , concise , and strong , without a single irrelevant phrase or su perflu ou s measure . The work is founded upon an ancient Polish poem 8 1 1 3 1 1 4 D escriptiv e Analys es of Pian o W orks of i - - c si n ifican ce ' b a sem legendary , semi allegori al g , y a r - once p ominent , now well nigh forgotten Polish

. i of u writer It cons sts fo r movements , corresponding to of the four cantos the poem , of which it is , in a sense , a musical translation , treating successively the principal moods and situations in the story . The fact that in the first two movements the incidents are t reated symbolically , emotionally , in accordance with ’ the compo ser s usual subjectiv e mode of expression, rather than with the descriptive or imitative devices of t the modern school , does not in the least detrac from the poetic impression or suggestive power of the music . for In the last two movements he has recourse ,

of defin ite obvious reasons , to the direct method realism : The first movement pictures the life and f of of eelings the hero , a Polish knight the middle s con flict age , facing storm and , danger and hardship , field fi htin in camp and , g g for king and country , of cheered now and then , in lonely hours vigil at the

- fir e of camp , by waking visions his distant home and n his waiti g bride . The opening measures of the brief introduction tell o fl f stem courage an d in exible resolve . Then the first e n of subject nters , stirring , impetuous , ery , full of u of fierce the ring tr mpets , the clash steel , the exultation of desperate combat . The tranquil second subject suggests memories of the happy days of youth — in his quiet home dreams of a future brightened by of the light promised love , but still enveloped in the e softening haze of distance and uncertainty . Th de v elo m en t con flictin p , with its complex, g rhythms , its

1 1 6 D escriptive A n alyses of Pian o W orks

' t dee e measure to last ; the s rongest, noblest , p st ex ' press ion of heart -crushing sorrow to be found in all piano literature . As d l it is publishe and most often heard by itse f, many who have played and listened to it have not v afiords so e en been aware that it the third chapter, to speak, in a great tone epic , for as such this sonata must be considered .

As our hero approaches home , his heart swelling with anticipation , he is greeted by the distant , solemn n of d too tolli g cathe ral bells, evidently funeral bells, and soon is met by a slowly moving, somber procession of - n black robed monks and mour ers , hearing to her last resting - place in the church - yard the very bride to whose fond greeting he has so ardently looked

r a . m u filed first fo w rd The music , soft and at , like the ' of -ofl a toll far bells, gradu lly grows in power and intensity as the procession advances , assuming more in flexible and more the heavy , measured , rhythm of a funeral march , and swelling at last to an overwhelm in g climax of passionate pain . Then the procession comes to a stand by the open i grave . After a brief pause , the sweet , plaintive tr o l n me ody enters , pure and te der as a prayer, touched and thrilled to warmth and pathos by memories of happier days ; after which the march movement is d r c s d resume , as the p o ession slowly and a ly returns ; le to the village the music , heavy , crushing, inexorab first of d at as the voice fate , gradually rece es , di n minishes , dies in the distance ; and the follows the m s s e last move ent, the pre to , in ome resp cts the most of m original and most impressive all , the la ent of the o in : Son B in o 1 1 Ch p ata, Flat M r 7

- on e of autumn night wind over a forsaken grave, the few cases in which Chopin chose to be distinctly ' efl ects realistic, a literal and graphic imitation of wind ; v et woven through it is an unmistakable suggestion of of the mood the hour and situation , the chill , the gloom, the wild despair, and a hint of that ever darker t hought that will arise at such moments ; after death , formless void , chaos . There is an important vein of allegory underlying this whole story , like a deep substratum . The hero erson ification of is a p the typical Polish patriot , struggling, in a forlorn hope, for his native land ; the bride is Poland , and the mighty , overwhelming grief expressed is more than a personal sorrow : it is for the death and burial of a nation . The authority for connecting the poem referred to with this sonata has been frequently questioned . I wish to state here that the poetic background to this great work is by no means hypothetically sketched in ' own e u stified b by my imagination , howev r fully j y the inherent character of the music . I have my data u K u llak in f ll from and Liszt . the latter having been of a personal friend Chopin , as is well known , and having first presented the sonata in public to the musical world . We may safely assume , therefore , that r it he was co rectly informed with regard to , and that this interpretation is authentic and authoritative . The Ch opin B allades

R O BA BLY no class of musical com positions ever presented to the world by any master has been so little

understood , and consequently so much misrepresented as the bal lades by Frederic Chopin: Even so standard an authority as Grove , “ in his Dictionary of Music and “ B allade Musicians , writes as follows , a name adopted f n by Chopin for four pieces o pia oforte music, which or of own have no peculiar form character their , beyond being written in triple time , and to which the name seems to be no more applicable than that of sonnet to the pieces which others have written under — that title a statement which proves that he had little in formation and less interest in regard to the subject ; ballade The French word , which Chopin used as P ro title for these compositions , is derived from the v en cal ballata , a dancing song , which in turn comes bellare our from , to dance ; and modern English e u s words ballad, ball , ballet, all desc nd to from the : ballata a same source In Italian, me nt a dancing i in i son ata p ece, distinct on from , a sounding piece, 1 1 8

1 2 0 D escriptiv e Analyses of Piano Works

' o of th p sition , which Chopin in his ballades was e

' difieren tiated ll originator , and which is from a others by its distinctly declamatory , narrative style . Chopin used the name ballade in th—e sense in which it is employed in modern literature to designate a rr short , poetic na ative , a miniature epic, as distin u ished an d m g from the lyric , didactic , dra atic forms of H l poetry . e intended the bal ade in music to be a l counterpart of the bal ad in poetry , and his inventive genius and unerring taste supplied and perfected a form precisely adapted to the end in view ; a form l e t a which is strict y akin n i her to the rondo , the sonat i allegro , nor the free fantasia , though having certa n s a r of point of resembl nce to all th ee , still less to any us of of the dance forms . It reminds more some the s larger, more complex song form , as , for instance , the musical settings by Schubert and others of the more n prete tious German ballads by Goethe , Berger, and l Uh and ; but its development is broader and ampler, at once more extended and more logical , evincing a greater degree of constructiv e musicianship . ’ K arasowski of Chopin s able biographer, , says the “ ballades : Some regarded them as a variety of the rondo others , with more accuracy , called them poetical o s; d st rie Indee , there is about them a narrative tone (Mdrchen ton ) which is particularly well rendered by the six - four and six - eight tima and which makes them ' ” v difi er essentially from the existin g forms . In iew su erficial of these facts , patent even to the p student ’ of an d h Chopin s life works , it seems very strange t at we should so often hear and even see in print sneering in sinuations to the effect that the composer christen ed T he Chopin Ballades 1 2 1 these works ballades for lack of any better or more appropriate name ; that the title has in reality nothing of i n ifi an ce u stified s g c or distinctness , which is j either f by the form or the content o the works . of of As a matter fact , all four these ballades , accord ’ ing to Chopin s own statement to Schumann during d an interview at Leipsic , are founde directly upon o of Polish p ems by the greatest poet that nation ,

' of rom an tic school Adam Mickiewicz , the father the in of Poland , a contemporary and personal friend the n u composer , a man whose fervent patriotism and fidelit swerving y to national themes , as well as the warmth , tenderness , and power of his creative genius , specially endeared him to the heart of his compatriot

- difficult and brother artist , the tone poet Chopin . It is , in not to say impossible , to estimate the stimulating flu en ce of Mickiewicz and his works upon the creative Th t t h activ ity of Chopin . a e music of the latter has

- of attained world wide celebrity , while the poems the former are scarcely heard of outside of the small and own cultured circle of his countrymen and women , is due perhaps not so much to the superiority of the ’ of as composer s genius over that the poet , to the hi chosen o more universal intelligibility of s idi m , his of medium expression , Polish being a language under stood by few persons even of cosmopolitan tendencies, and one which is ill adapted for translation into non

Slavonic tongues . Certain it is that Chopin himself was quick to acknowledge his deep indebtedness to his gifted countryman , and rose to some of his loftiest flights of creative effort when translating into his own beloved language of tone ideas , experiences, incidents, 1 2 2 D escriptive Analyses of Pian o Works and situations which had already been molded and ' v iv ified into artistic life and beauty by the hand of the u con poet , as in the case of the four ballades nder sideration . Though the origin of these ballades as musical transcripts of certain poems by Mickiewicz is indis u table p , it has always been a mooted question , and one fraught with the keenest interest , at least to some of u s , upon what particular poem any given ballade is S or founded ; what pecial experience incident , national , or first personal , imaginary , found its embodiment in S v the verses of the la ic poet , to thrill with its power and beauty a limited circle of Polish readers , and was fin d later reincarnated by Chopin , to a far wider sphere of in flu en ce throughout the musical world ; and what may be the peculiar subtle karma of romantic or dramatic association which this vital art germ has brought with it in its transmigration from a former t exis ence ; in a word , whence and what is the essential artistic essence of each ballade ? If we could trace it to its fountain head and fa ’ m iliarize ourselves with the sources of Chopin s own a of inspiration , the t sk rightly comprehending and interpreting any one of these compositions would be vastly facilitated . This no one has hitherto done

- successfully . Few among English speaking musicians are able to read Mickiewicz in the original Polish ; are translations of his works meager , imperfect , and very difficult to obtain . It is therefore not without a certain glow of satisfaction that the presen t writer is n n r v olu m in able , after dilige t , unwearyi g inqui y and ous o fiftee n reading , covering a peri d of some years ,

1 2 4 D escriptive A n alv ses of Pian o Works

' cen tur the During the latter half of the fourteenth y , CroSs an d Red knights, a powerful religious , political , i l a i on m litary order, control ing l rge dom nions the

Baltic , in territory now included in modern Russia , fierce were at feud with Lithuania , then an independent l principa ity , later united with Poland by a marriage i of of its reign ng prince , Jagiello , to the heiress the n of Polish throne, thus foundi g the dynasty the l of Jagiellos , the most il ustrious the royal houses of

Poland . Long and des perate was the struggle . The fre Lithuanians , though vastly outnumbered and quently outgeneraled and defeated , defended every inch of their beloved fatherland , now absorbed in western A . t l Russia , with heroic valor last their ru ing prince iz and idol ed leader fell in battle, their army was routed and cut to pieces , the scanty remnant taking refuge from their merciless pursuers among the fastnesses of the mountains ; and the co untry was for a time prac tically subjugated and forced to submit to the most

n . cruel and tyra nical oppression The conquerors , n bei g Crusaders and Christian knights , considered every species of atrocious spoliation and barbaric n in fidel viole ce, when practised against the Lithuanians , ustifiable as j , even laudable , and for some years the n sufferi gs of the conquered knew no limit . Among the prisoners taken and carried into virtual v r sla e y by the Teutonic Order, was the little seven

- son of —a vear old the fallen prince bright , precocious , a Winsome lad , who , after serving for some time as p ge of in the household the grand master of the Order , so i completely won the heart of the old kn ght, that he adopted the boy an d educated him with his own T he Chopin Ballades 1 2 5

children , in all the courtly and martial accomplish

. a r ments of the time Ye rs passed . Young Kon ad grew in manly power and promise , and came to be

k flower of first ran ed among the Teutonic chivalry , ’ first field first in the tourney , in the , and in the ladies hall . But ever at his side, as strange friend and was fi ure of secret counselor, seen the somber g the Wa delote who aged j , or bard , a venerable minstrel, had come none knew whence , and, despite his proud e won and gloomy b aring , had high favor at the court by the magic of his voice and lute . Ostensibly a was wandering singer, he in reality a Lithuanian noble ’ of of high degree , a former friend Konrad s father, the con fiden ce fallen prince , and stood high in the of the

Lithuanian people and nobility as an able, devoted He fin d patriot . came as an emissary from them to and W in back their lost prince Konrad to his own true

flag and his native land . They were still hoping and fitfu lly struggling to throw off the tyranny of the Red

Cross knights and wanted Konrad for their leader. Wa delote Under the cloak of his minstrelsy , the j fie plied this secret mission . With all the ry eloquence ’ of o of his poet s genius , he wrought up n the spirit the young man , rousing it to duty and action , to honor, t ambition , and patriotism , to sympathy wi h the

of - wrongs his oppressed fellow countrymen , to ven ean ce g for the death of his slaughtered father, stirring its latent heroism, steeling it to steadfast purpose . And in flu en ce r as his st engthened day by day , the open of brow the young prince grew clouded , the smile vanished from his lips , and his sunny eyes grew deeper and darker with stern resolve . 1 2 6 D escriptive Analyses of Pian o Works

' At last the occasion came . In a foray against a band of insurgent Lithuanians , Konrad and his mentor t i de ached themselves from their compan ons , and feigning to be taken captive , joined the forces of their own countrymen , where they were welcomed with the The a wildest enthusiasm . two ye rs that followed were ’ the happiest of Konrad s life . He threw himself heart and soul into the fierce joy of combat for his native i land , devot ng to her service all his personal courage so and ability , and all the military skill carefully acquired at the court and camp of the Red Cross knights ; yet found time in the brief pauses of activity to woo and win as wife the fairest and truest of the

Lithuanian maids . For a time the pulses of his life flu ctu atin throbbed with a full but g tide , in the swift ' interchange of love s delights and the thrill of gallant n deeds . Caressing whispers alter ated with the clash the of of swords , and tender light the honeymoon with the lurid gleam of the camp - fire ; but his happi ness was destined to be as transient as his valor was —sacrificin i vain . A sterner duty , a more self g devot on claimed him , and his veteran mentor was still at his side to mature the plan and urge its execution . His

v belo ed Lithuania , enfeebled , broken , disorganized for so field long , was wholly unable to cope in open with

- a . her powerful , disciplined , and well equipped ant gonist

n - Some dari g , subtle , and far sighted stratagem alone might sa v e her ; and such a one had formed itself in ld the mind of the o minstrel . Again his eloquence of rang in the ears of Konrad , like the voice fate , “ ” ! an ! Behold , this is to do Thou art the m

- k r his A heart brea ing fa ewell to bride, and Konrad

1 2 8 D escriptive Analyses of Piano Works

t r was, of course , ried and condemned as a t aitor to the order, ’and died in disgrace by the hands of his former comrades . S r uch is the sto y , sad but stirring , which Mickiewicz e handles in his poem , and which Chopin re mbodied i in the G m nor ballade , not following literally its e succ ssive steps , but emphasizing to his utmost its

. on e r spirit , character, and moral I think no eve

y v pla ed this composition , or listened to it attenti ely , without feeling that its mood was not of our day and

. The land time it represents is the middle ages , its scene is laid in stern and rugged Lithuania , among warlike knights and resentful rebels, and its whole

S pirit is therefore medieval and military . It opens with a brief but scornfully defian t intro first duction , a call to arms , reminding one of the lines of that familiar address to the Roman gladiators : “ a e Friends , I come not here to t lk ; y all do know the ” story of our thraldom . Then the first and principal t heme enters , symbolizing the forceful personality and old stern mentor voice of the minstrel , in its somber r in flexible yet resolute ph ases , solemn , , relentless as i a fate ; tell ng of wrongs to be avenged , of a n tion in bondage awaiting its deliverer ; of the imperative call of duty and patriotism ; and it constantly recurs all through the composition as its leading motive , when v ever , as is ividly suggested by the other contrasting, con flictin g themes and passages , continually intro duced n , the you g prince wavers in his purpose , de terred by doubts and forebodings , lured by seductive temptation s from pursuance of the desperate and soul n tryi g venture ; whenever his min d wanders, as it T he Chopin Ballades 1 2 9

must at times , to regretful memories of happier days , to the splendors of feast and tournament , to the pomp and pride of a martial career under the adopted flag of - of the order , to the blithe hunting horns his gay of first companions in youth , and tender dreams the sacrificed great love of his manhood , all to a grand H but pitiless cause . e is ever recalled to the heroic mood , to the proud but rugged path of duty , by this

- mentor voice gravely insistent , quietly determined , which will not be gam said and Which fin ally triumphs over all other considerations . The impetuous presto which closes the work portrays the fierce excitement

fier of con flict - and y rush , the utter self abandon that hurls itself jubilantly into the arms of an ignominious death for a cherished ideal ; and it ends with the savage

- but triumphant shout of a blood bought victory .

v This ballade , though comparati ely an early work, ’ is one of Chopin s most darkly grand and dramatically powerful efi orts ; and the subjective personal moods of the exiled Polish patriot are voiced in its gloomy n e fierce indig ation , its desp rate courage , and its fi de an ce . There is an undercurrent of political meaning in ” Konrad Wallenrod , which fortunately escaped the of who d notice the Russians , allowe its publication at

S t . Petersburg , but which appeals to every native and friend of Poland and has had no small share in making its popularity . Lithuania in the fourteenth century , P broken and crushed , represents oland in the nine teen th , and the tyrannical Teutonic Order stands for ’ a lot of Russian oppression . The W jde e s recitals the n wrongs of a dear but downtrodden land , the indig a 9 1 30 D escriptiv e Analys e s of Pian o Works

the tion and resentment under a foreign yoke, and k appeal to arms for freedom and revenge , are all spo en the u so v in ca se of Poland , and are felt by the nati e ’ v o r reader . Konrad s dire engeance n the conque or is a picture of the secret hope of all Polish patriots of the fin al overthrow and punishment of the tyrant and

" e i n the re stabl shme t of Polish independence .

a a e i F Ma or O B n . 8 ll d j , p 3

F of r e The second ballade , in major, is , the th e under consideration , the least of a favorite and the least played ; probably because the radical extremes of mood which it presents , in abrupt , almost painful contrast , its apparent incoherency , and its sudden , of startling , seemingly causeless changes movement , render it difii cu lt to comprehend and still more so to difli cu lt l interpret , and to follow with intel igent sym pathy even when well rendered . u n dem on stra It opens with an exceedingly simple , too tive theme , in the major key , almost lucid and i i v of childl ke in the na e directness its utterance, and sin gularly devoid of the glowing warmth and color which usually characterize the melodies by this writer :

v - Cool , pure , and passionless , yet vel et soft and deli catel floats of y sweet, it upon the gentle pulsations the

i i - l simple accompan ment , l ke a snow white, fresh y

- i r of fragrant water l ly , upon the c ystal ripples some

- h glacier fed mountain lake . T en suddenly , without h warning or apparent reason , t ere bursts a furious of con flict tempest rage , pain , and , as if some vast Titanic embodiment in bronze of lurid war had been

1 3 2 D escriptive Analyses of Piano Works Unquestionably this work presents two radically a on e Opposing elements in sharpest contr st ; the ,

a . Oi reposeful purity the other , infuri te passion this in much we are sure simply listening to the music , without searching for historical origin or collateral ’ information . It is interesting to note Rubinstein s it words with regard to , and to see how near his art instinct led him to the discover y of its realistic sign ifi of defin ite cance , presumably without the aid any He knowledge as to its actual origin . writes of it “ Is it possible that the interpreter does not feel the necessity of representing to his hearers a field flower flower caught by a gust of wind , a caressing of the by a flower the wind , the resist nce of the , the stormy of flower struggle of the wind , the entreaty the , which at last lies broken there ? This may be paraphrased : ”

field . the flower , a rustic maiden ; the wind , a knight Let u s now examine the substance at least of the poetic material from which Chopin derived the mood and suggestion of this musical work . Again it is a a ballad upon a Lithuani n theme , from the pen of

Mickiewicz . But this time it is a legendary and not a historical subject which is treated . The Polish ballad “ is entitled The Switez Lake and its substance is here given in a somewhat abbrev 1atcd and sim plified form : of In the heart Lithuania lies the beautiful , seques tered S witez - Lake , its forest mantled shores rarely visited by the foot of a stranger, but peopled by the peasant fancy with wild legends, shadowy traditions ,

- and wraith like memories of bygone days. Its blue of waves murmur , at the foot giant oaks , their strange

- tales of nymphs and sprites and water kelpies , while T he Ch opin Ballades 1 33 through the long and still summer nights the sleepy f branches make answer, in dreamy whisperings , o elves and gnomes and the uncanny doings of the little A t people of the forest . least so the belated country aifi rm s i n man , overtaken by nightfall this haunted region ; and many are the tales of that awesome place and hour with which he terrines his companions around the winter fire .

Once, many years ago , a gallant knight, of a most u ancient and lofty lineage , with dauntless co rage and a pious heart , whose castle crowned a neighboring height, resolved to sound and solve the mystery hid in its depths ; and , taking with him a mammoth net of e of stout st cords , a score brawny henchmen to draw e its m shes, and a venerable priest , to bless the catch

r . P and exorcise spi its , he proceeded to the shore rayer was fl u n was said , the net g and sank , and mighty was the struggle that ensued . The tightened meshes an d strained to bursting, the taut ropes writhed moaned like things alive, and dragged upon the arms that strained to draw them shoreward . The water raved and churned against the trembling banks ,

- and black clouds , thunder voiced , concealed the sky . ’ The pious father s constant prayers at last prevailed ,

was . and the net , with its strange burden , safely landed t A pale but exquisitely lovely maid , wi h sweet, calm

of - dignity in face and mien , a wreath snow white water on of lilies her shining hair , arose from out the tangles of the net, and in a voice like the low murmur soft waves at twilight, thus she spoke “ Rash knight ! Thy lineage and piety combined protect thee , else hadst thou found a grave, With all 1 34 D escriptive A n alyses of Pian o Works

thv i r . follow ng , in this adventu e But as thou art of d godly mind and as we are akin by bloo , through long d descent, it is vouchsafe to me this once to break the of a mystic silence the centuries , and to reve l to thee

i . the secret of the lake , and mine , its l ly queen

Know then , where now is forest dark and dense , a noble city reared its lofty battlements in former

. i years My s re , its ruling prince , held all but regal I l sway ; and , his child , a princess we l beloved by all , u s witez co nted my sunny years be ide the S waves , as ’ - - be blithe as they . One morning , in that ne er to n forgotte spring , the trumpet voice of war through all ou t ou r streets rang the call to arms . Our royal mas ’ Min do ter , g, Lithuania s king , had summoned all who field wielded lance , to join him in the , against a horde

of l . merci ess Russian barbarians , wasting all the land d And forth my father hastene , with him all his goodly us company of knights and men at arms , and left women , trembling and defenseless , in the town , trust

God in our . ing in and innocence , till their return r i That ve y night, by a circu tous route , evading ’ ’ Min do s i g m ght and my stout father s sword , the h Russians came , many as the sands upon the shore, rut ’ in O u r less as wolves winter s dearth . gates unguarded i proved an easy prize , and in they poured , throng ng our streets , demoniac in their lust for blood , exulting

of our . w in the havoc homes My maidens , wild ith i I terror , crowded round , implor ng succor ; while , as sawour e weak as they , dishonor, worse than d ath , stalking upon us from the barbarian ranks . ‘ hen in i on e e O ur T , the frenzied pan c , some cri d , only hope is mutual destru ct ion ! Let us slay each

1 36 D escriptive Analyses of Pian o Works

on My princely brother , returning from the wars , found all al his re m a waste , his capital destroyed, found home and sister vanished in the flood; and wandering in lan ds when a other , ye rs had passed , he wedded a stranger l . i t bride From th s heir union , through a long , il ustri

n . ous line of heroes , thou art spru g Hence thou art ’ safe upon these shores , despite this day s temerity , so long as with a pure heart and noble mind , thou dost guard our name and honor in the world . Remem

ber . e n this But se k no . more to pierce the ki dly veil of mysteries , not meant for mortal eyes ; and nev er hope or strive to see again the lily queen of

S witez .

So of speaking , with a smile saddest sweetness , she n to tur ed slowly the lake , and vanished in its whelming waters , which closed with laughing ripples round her . ’ No one familiar with Chopin s ballade in F can fail to perceiv e the close and accurate application of the l music to this romantic tale . It begins at and dea s with the appearance and story of the lily queen , and her gentle, pure , and winning personality , and soft fi ure al voiced narration , g symbolic ly in the opening

. of terrific melody The sudden burst the war cloud , ’ the maiden s trust in and con fiden t appeal to a higher fin al power, the whelming of the city in the friendly o i flood, follow successively in alm st l teral portrayal , ’ the work closing in the mood of the maiden s fin al farewell and warning to the adventurous knight who had disturbed her repose .

- Viewed from the standpoint of the subject matter, n the startli g, almost drastic , contrasts of the work

l i i . seem not only intel igible , but leg t mate and artistic T he Chopin Ball ades 3 7

Ba lade N o m A F at O l . 3, l , p. 47

This is the best known , the most played, and most of balladesf popular all the Chopin Its warm , lyric

' efl ects opening theme, its strikingly original rhythmic , of its piquant, bewitching second subject , full playful m a n ificen tl grace , as well as its g y developed climax , on e fin est eu of the in the piano literature, have all deared it to the hearts of Chopin lovers and rendered on e it of the most effective of concert solos . F Like the second ballade in major, this composi of witez tion is founded upon an ancient legend Lake S , which seems to be a center about Which cluster many of the Lithuanian myths . The one in question had ’ been previously treated by Chopin s friend and com of patriot, Adam Mickiewicz , in the form a ballad in of briefl Polish verse, and the substance the story , y : and simply told , is as follows a A young and fe rless knight, whose ancestral castle crowned a forest - covered eminence above the beautiful on blue lake, was wont to wander its lone and wooded shores at evening and to meet there clandestinely his

s - radiant , beautiful, mysteriou lady love , whose name , u home, and origin he was nable to discover, and which he a she persistently refused to disclose . S always p eared him or p to suddenly, Without warning visible of filterin approach , as if born anew each night the g or moonlight and shifting forest shadows , as if drawing her ethereal substance at will from the fl oatin g mist m iracu wreaths above the lake . And she vanished as lou sl y , when she chose to end their interview, dis 1 38 D escriptive Analys es of Piano Works

n “B solvi g from his very arms into mist once more . er haps the yery my stery which enveloped her enhanced her charms . In any case , her power grew upon the knight till he became most desperately enamoured , i press ng his suit with growin g ardor . A t first she coquetted with his passion , laughing at his fervor and fier in credu meeting his y protestations with playful , fin all fier lous mockery ; but , y touched by his y eloquence , she made him a conditional promise . If he fidelit would prove his y , would remain true to her and r m her memo y during her absence , no matter what te p tation s might arise , for the space of just one little pass ing moon , she would then return , reveal her identity ,

i it . and become his br de , if he still desired O i fidelit course , he swore eternal y , and she , with a

- - little half sad , half incredulous smile , vanished into the night mist . For several evenings he wandered , on lonely and disconsolate , the shores of the lake , long ing and vain ly seeking for his absent love and cursing

y u of . the tard ho rs his probation Then , when his d patience was about exhauste , he was met there, on the selfsame spot , in the same mystic moonlight and t wi h the same suddenness and mystery, by another first maiden , even more beautiful than the , and not so he inclined to be distant . S jeered at him for his fidelit depression , for his useless and stupid y to an absent prude, while with many lures and graces she beckoned him on to join her in the moonlit mazes of the dance . A t first , remembering his promise, he made some of s s r show re i tance , but ve y soon he yielded com letel his m p y to her seductions , declaring ad iration for

1 40 D escriptiv e A n alyses p f Piano Works

S is of Switez uch the story the maid , as told by r Mickiewicz in inimitable Polish verse, and t anslated into the symbolic language of music by the Polish

- n in flat . tone poet , Chopi , the A ballade The first warmly emotional theme of the composi

u v tion , with its tender , pers asi e cadences , its ever growing passionateness , symbolizes the ardent and l impulsive hero of the legend ; whi e the bright , piquant m second theme ad irably portrays the arch , coquettish

l . heroine , with her airy witcheries and playfu grace

It cannot be mistaken , for it compels attention as it of enters , after a moment suspense , in radical contrast ai f to what precedes , with the d nty rhythmic e fect , t so diflicult to render for most players . Its in ro

' difl eren t r accom duction later in a key , with diffe ent an im en t p and embellishments , represents the disguise with which the maid attempts to cloak her identity , but the same melody is distinctly traceable through f all changes . The superb climax near the close o the work forcibly depicts at once the swift approach and resistless sweep of the tempest upon the lake and the intensity of the emotional situation at the moment f l o fin a . too the catastrophe Here , , is heard again first the melody , the hero theme , in a brief return , We as he makes his last , vain appeal , and y even catch ’ the vanishing ripple of the maiden s mockin g laughter . The details of the story are not so literally worked ou t or so in the music , followed with much realistic fidelit y , as would have been the case with Liszt or

n . Wag er, or with some other more recent writers ’ Chopin s art is always rather suggestive than descrip a

v n b ti e , deali g directly with the moods evoked y a T he Ch opin Ballades 1 4 1

v or gi en situation event , rather than with the physical aspect of the events themselves ; with the awe and terror produced by the tempest , for instance, rather than with the audible or visible phenomena of the i e tempest . In this part cular case he d als mainly with the general emotional and mental elements which under lie the legend and the characteristics of the two person who fi ure it of v ages g in , instead treating its successi e

defin ite . incidents in detail , or in chronological order

The work is therefore sketched on broad , fundamental fillin lines , and leaves the setting and g in in large b measure to the imagination of the earer . This must always be the ideal method in an art so ethereal and ,

. S in one sense , so vague as that of music till , the con n ection between the music of this ballade and the actual scenes and development of the legend is distinct enough

’ to be easily traced by those familiar with the story , or fin d the and players listeners will , as always , that purely musical interest of this and all the Chopin bal lades is materially deepened and increased by ' the — background of relevant facts by an acquaintance with the material on which they are based and which gave to the composer the impulse for their creation . o n : o o n a se a a o Ch pi P l i , A Fl t M j r , 0 P 5 3

N TER ES TI N G from a historic as well as a musical standpoint is the ori of gin the polonaise . In the year 1 5 73 , when the Polish throne became vacant on the extinction of the of a royal dynasty Jagiello , a n tional assembly of electors was convened

at the then capital , Cracow , to decide upon a new sovereign . The candidates for the throne — of were all of royal blood Ernest Austria , Henry of u Anjou of the house of Valois , brother to the r ling F S king of rance , a wedish prince , and Ivan the Terrible of Russia . But the real struggle lay betwee n the

Austrian and French princes . The choice fell at last n sel as on He ry of Anjou , later him f king of France

Henry III . In the following autumn he as cended the Polish throne and among the man y gorgeo us ceremonials atten dm his a was on e a l g coron tion , —quite n tura and proper under the circumstances a formal presenta the ea a s tion to the new monarch , of l ding dignit rie an dperson agm of his realm . It took place in the vast m

1 44 D escriptiv e Analyses of Pian o Works — the form was primarily based o u the one hand a splen the did ceremonial , on other Polish national life . I n the present day the polonaise is a universally com accepted musical form , common property with the r posers of all nations . But Chopin , Polish by bi th , education , and sympathies , found it strictly within has a his scope , and e sily surpassed all other writers in number, quality , and characteristic force as a polo naise writer .

O i O . flat his many works in this vein , the p 53 , in A , is in my Opinion decidedly the best , both as regards of virile power and direct , forceful expression the orig t inal polonaise idea . It begins wi h a wild , impetuous of introduction, brief but stirring , a sort fanfare of d drums and trumpets , inten ed to call the people to order and to establish at the outset the tonality of

. the the mood , so to speak Then follows swinging , a a pompous me sure of the polon ise proper , readily sug gestin g by its splendid martial harmonies the proud m military bearing , the gorgeous ar or, and the stately

- defiled tread of those steel clad feudal heroes , as they before the throne . of a of In place the trio , usu lly a more quiet nature of n has d in works this ki d , Chopin introduce a very i l s ngu ar passage , the most strikingly original portion — of the whole composition a long - sustained stu pe n t con sistm dous oc ave climax of the left hand , g of a n of u little rhythmic gure fo r notes , constantly reiter of ated with growing power, against a sort trumpet obligato in brilliant measured chords for the right .

The movement vividly suggests the tramp of cavalry . The composer had in mind the Polish light -horse of C o in : o on i e o 1 h p P l a s , A Flat Maj r 45

medieval fame, a very aristocratic body of picked the flower horsemen , composed of of Polish chivalry and disciplined in constant warfare with the Tu rks . A number of the brilliant ofli cers of this division were necessarily present at the coronation ceremony when the polonaise form originated and these with their exploits Chopin endeavors to 1n troduce by means of this singular passage . There is a curious anecdote afloat concerning the ff o O n e ect of this movement n the composer himself . on e occasion , when playing the nearly completed work , his nervous organism enfeebled by illness and his im agin ation intensely excited by the fev er - glow of com

was . position , he seized by a peculiar hallucination He fancied that a band of the knights he had been attempting to portray , came riding in from the gloom of of the outer night , in through the opening walls his apartment, arrayed in their antique war panoply , horse and rider just as they might have arisen from

- He their century old graves in Poland . was so over come by this self—invoked apparition that he actually

fled from the room , and it was some days before he could be induced to re - enter it or resume work on the mighty polonaise . Immediately following the great octave climax re ferred to is a subdued , v ague, fearsome little passage fi ures in light running g , totally foreign in movement , n of mood , and even key to the remai der the work , for which we would be at a loss to account if unac u ain ted q with the circumstances narrated, but which , it with the light just thrown upon , is readily under stood The author seems to have lost for the time the 1 46 D escriptiv e Analys es of Pian o Works

th thread of the composition , to have drifted far fro its martial mood and swinging rhythm , but after a period of tre i groping indecision , through which we hear the p dation and reluctant fascination with which he again own approaches this monster of his creation , with a sudden boldness of attack he regains the clew, resumes with energy the march movement , and the work sweeps to its close with even more than its original power and splendor .

1 48 D escriptive Analyses of Pian o Works

- r the closer bonds of a life long f iendship . He is natur of ally reluctant to lose her , but this mood depression is soo n subordinated to the thought that she has found ’ flower the philosopher s stone , the fabled blue of the n German poets , the subtile, yet supreme pa acea for — all human ills love . This idea is expressed in the last half of the trio as only Chopin could express it ; of first and the work ends with a repetition the strain , n l brightly , happily , with a certai restfu completeness of fulfilled desire in the reiterated closing chords . an tas e I m om u Ch opin : F i pr pt , 6 O p. 6

MO N G other manuscripts found on ’ Chopin swriting - table after his death of was the original this composition , ev erv complete in detail , but written own across the back , in his trem

‘

bling hand , were the words , To

be destroyed when I am gone . It is difficu lt to account for this injunction , except upon the theory that he feared that both the form and the content of the work were too too too u m original , subtle and complex , and wholly of familiar to the musical world his day , to be readily m f co prehended , and that it would either su fer from in correct rendition or be condemned and ignored . So he preferred a quick death by fire for this child of or his sad later days , to a slow death by mutilation cruel neglect . Fortunately the request was disregarded by his friends . The work was published and has become of one of his most beloved , as it is one his most fault of lessly beautiful compositions . The peculiarity form referred to is familiar to all who have attempted e fir t the study of this impromptu . Th whole s move 1 49 1 50 D escriptiv e Analyses of Pian o W orks

fi ure f ment, consisting of a continuous rapid g of our he notes in t right hand against three in the left , is one of the most un usual and difficu lt musical problems to d solve satisfactorily , and only to be mastere by long —a and special practice case, as I have often said , where it is well to remember the biblical injunction , “ let not thy right hand know what thy left hand ” t doeth . But when smoo hly played , it produces just

' flowin e fiect that sinuous , interwoven , g which the composer desired , and which could not have been obtained , in such perfection , in any other way . t t of The con ent of this composi ion , like that many ' n of Chopin s smaller works, is purely emotio al , like a a strictly lyric poem , by his liter ry counterpart

Tennyson , for instance ; it is a wholly subjective expression of a mental state , an emotional condition , not of any scene or any action . I t touches the minor key and sounds the plaintive harmonies to which his heart - strings were tuned and vibrating at the time when it was written . It voices a soft summer twilight mood , half sad , half tender, full of vague regrets , of in defin ite fl utterin longings and aspirations , of g hope , z flee tin never destined to be reali ed , and bright g i a memor es th t rise and pass , dimmed by intervening clouds of sorrow and disappointment, like the shifting forms and hues of a kaleidoscope seen through a misty e glass , or the luminous phantoms of d ad joys and f “ shadowy suggestions o the might have been , against the gray background of a sad present and an

n . uncertai , promiseless future It is a strange , deli ' atel of c y complex mood a mood life s sunset hour, 1 colored by the pathet c glories of the dying day , and

o n : a an e e a O . Ch pi T r t ll , A Fl t, p 4. 3

I I A N T f exces LL , e fective , and not siv el difii cu lt be ad y though it , this m irably constructed and thoroughly characteristic taran telle in A flat is but little played ; perhaps because it appeals less to the love of the “ true Chopin ism of Chopin than most of

his compositions , as being out of the deficien t S i recognized Chopin vein , in the pecial melod c andemotional elements usually distinguishing hisworks . n Nevertheless , co sidered objectively as a tarantelle , a of Cho in ism of from the st ndpoint , not p , but what be s v the true tarantelle should , it is one of the be t e er w — s — ritten , hence one of his ma terpieces , and furnishes another proof of the almost in fin ite versatility of his creative power , both in style and in mood . of The origin the tarantelle , as a musical form , is interesting and must be considered in judging the real merit of this or any similar work . The name is of derived from that the tarantula , that venomous of S S denizen of southern climes , the pider pecies , whose v bite is usually fatal . There is a generally pre alent o f S belief among the peasants both pain and Italy , e n r a b lief fou ded , no doubt , upon centu ies of ex 1 52 o in : n e e Ch p Tara t ll , A Flat 53

erien ce p , that there is but one reliable cure for this

poison , and one which Nature herself prescribes and imperatively demands— that of violent and protracted

bodily exercise , and the consequent excessively pro ofi fuse perspiration , enabling the system to throw

the poison through the pores . The idea has the same pathological base as the ancient Arabic cure for

hydrophobia, recently revived with great success — in this day of resurrection of buried wisdom an ex

trem l - e y hot and long continued steam bath . It is claimed that the victim of the tarantula is

seized by a delirious desire , an uncontrollable madness ratified en cou r for dancing , which , if fully g , in fact

aged and stimulated to the utmost , may save his life by means of the prosaic but practical process above

suggested . So his friends assemble in haste , form a

circle on the village green or plaza, strike up the u wildest , most f riously rapid and exciting music pos on sible, any instrument that may be at hand , pref erabl the r y mandolin and tambou ine , as the most

rhythmic and inspiring , and take turns dancing with

him , until each is exhausted and gives place to the

of . next , and until the victim recovers or dies fatigue

The faster the tempo , the more intoxicating the

music, the better the purpose will be served , and

the greater the hope of a successful cure . From this crude and primitive germ the modern

musical art form , known and used all over the world , has gradually developed , retaining , of course , as must

every characteristic dance form , the spirit and funda mental element of the situation and circumstances which gave it birth . 1 54 Descriptive A n alyses of Piano Works

The true tarantelle may be either in a majon or minor key , the latter being most common ; but it t must be wild , stirring , exceedingly rapid , wi h a strong o rhythmic swing and a certain dash and g , irresistibly suggesting the fever of the dance at its most delirious

- ecstasy . It is always written in six eight time , which of is somewhat singular, as it has none the usual t t of rhy hmic peculiari ies that measure , but invariably of - or s produces the impression twelve eight , , perhap

of - still more strongly , that four four with the beats divided into triplets . In fact , this is generally the of best method counting it for the pupil . It should contain no harmonic or technical complexities to dis tract the attention of either player or listener from the regular rhythmic swing and form and movement of the dance ; and the melodic trio , occasionally intro duced by some composers , is always an incongruous

of . artistic absurdity , wholly out place Though the musical form is common property of all o c mposers in all lands , the actual dance , as such , is iden tified t t S specially wi h sou hern pain and Italy , of and is rarely used elsewhere . To the tourist one the most unique and vividly interesting episodes of his sojourn in these localities is the performance of on e of the tarantelle by the trained dancing girls , v which may be witnessed almost any evening , gi en with all the dash and verv e of the southern tem e ram en t fire p , a perfect embodiment of grace and and dance frenzy . This tarantelle by Chopin possesses all the esse ntial characteristics in a high degree , with not a single lapse or irrelevant digression in mood , in form , even

Ch0 in : e ceu se O . p B r , p 5 7

E Chopin Berceuse (which is the French word for cradle - song) is a most unique as well as most ideally

beautiful composition , standing

alone in all piano literature , as regards its form and harmonic on e structure , the only of its spe

cies . It is beyond all question or

fin est - w i comparison , the cradle song ever r tten for the piano , an exceptionally perfect example of that rare blending of spontaneous genius and mechanical so e re ingenuity , for which Chopin was pre minent , sultin in i g a work matchless in its orig nality , its s fin ish sugge tive realism , its delicacy of , and its poetic A n on D fiat content . organ point , which is its only bass note , sustained throughout the entire composi tion , and a couplet of the simplest chords , the tonic i a and dom n nt seventh , alternating back and forth accom an i in a swinging , rocking motion , form the p racticall ment , continued p v without change, from

first u ortray m meas re to last , p g naturally , easily , yet unmistakably , the soothing monotony of the rockaby to movement . The left hand may be said rock the the s in cradle throughout whole compo ition, while 1 56 Chopin : B erceu s e 1 57

the soft, continually intertwining melody in the of right hand , like an endless , infolding circle maternal w e fin d love , the lullaby song of the mother, sung as she sits there in the hush of the twilight , rocking her little one to sleep . A Ar flu n ound and over this melody Chopin has g,

own d - with his inimitable elicacy , a silver lace work of . embellishment, falling soft and light as the moon

r light spray from fountains in fai yland , as through v the idealizing summer haze , half eiling a distant land we of scape, seem to catch dim glimpses the dream fl ee tin han tas pictures , the g fancies , the changing p m a oria of g prophetic visions , that drift through the brain of the mother as she sits there in the gathering y dusk , waiting for the little eyes to be tightl closed , and wondering vaguely to herself on what scenes they will open in the far futu re years . of Slower and gentler grows the motion the cradle , softer and lower the lullaby song, further and further r the d eam pictures drift into the shadows , until at last the wings of slumber are folded about the little ’ : on e . Silence reigns The mother s daily task of

r n . loving minist y is e ded and she , too , may rest The two lingering closing chords , soft and slow, suggest the moment when she rises from the cradle and spreads her hands in silent benediction over the sleeping child : I n fin ite tenderness and delicacy are needed for the interpretation of this composition ; a tone like V iolet fin er velvet , and a light , fluent g technic , to which e diffi cult e its r ally extreme i s seem like dainty play . o n : c e z o in B at n o Ch pi S h r Fl Mi r, 1 O p. 3

V R Y an d E familiar , yet always fresh intensely interesting composition is

this scherzo . The name is an Italian fin d word signifying a jest , and we in musical nomenclature a number

of v it schem in o deri atives from , as (little jest) and scherzan do (jesting l . s y , playfully) The term is u ed by most composers to design ate compositions that are

a . a bright , playful , humorous in ch racter Ne rly all the leading composers have written more or less in this vein . it Mendelssohn particularly excelled in , and even serious old Beethoven became quite jocose at times in the scherzo movements of his symphonies though it always on e of reminds the S portive dancing of an elephant . of es Chopin applied the name to four his great t , s ass s m most inten e and imp ioned work , see ingly

e . Wh without the small st reason or relevancy y , no n s e one ca even surmise , unle s it may have b en in a s of s s mood of ardonic perversity , sarca tic bitternes , purposely to mislead the public as to the real artistic n si n ifican ce of i tention and g the music , and see if they would have suffi cien t perception to discover it for l 53

1 60 D escriptive Analys es of Pian o Works

’ The lip that s first to win g the jest I s first to breath e the secre t sigh The laugh that rin gs with kee n est zest " Bu t es the flood ate s of th e chok g e ye . o in : e u d e D a a o Ch p Pr l ( Fl t M j r) ,

O . 2 8 N o . 1 p , 5

UNIQUE position in pianoforte litera

ture is occupied by these Preludes , O 8 p . 2 . They derive their name rather from their form than from

their musical import . Like the usual or preludes to songs, more extended

musical works , they are short, fragmentary tone sketches rather than complete pictures ; each consisting, as a rule, of bu t a single, simple movement , and embodying a single concrete idea , and seeming to imply by its brevity and its suggestive rather than fully descrip tive character, that a more elaborately developed composition is to follow, to which this has been but an ou t introduction and in which the idea , here merely lined , will receive more exhaustive treatment . In of reality , however, each these preludes is complete in itself ; an exquisite musical vignette containing , like

- dis some dainty vial of hand cut Venetian glass , the tilled essence of dead flowers of memory and experience ’ of from Chopin s past ; particularly scenes , episodes , and emotional impressions of his romantic life on the o island f Majorca . Just as a painter might have 1 1 1 6 1 1 6 2 D escriptive Analyses of Pian o Works

sketched , with hasty but truthfully graphic pencil , on o f t fleetin s the pages his por folio , the g impre sions produced upon his senses and imagination by this v t so no el , picturesque environmen , the composer has preserved in these bits of offhand but vivid tone painting , glimpses into his daily life , his moods and — experiences during that winter of 1 8 38 39 . Banished by his physicians to this Mediterranean be n efit isle, in the hope of to his fast failing health , o r and refused shelter in any hotel private residence , on account of the there prevalent belief that con su m p tion was contagious , Chopin and the little party of de voted friends who accompanied him (most notable among whom was the famous French novelist , George Sand) were forced to improvise a temporary abode

- old in the semi habitable wing of an ruined convent , which had been abandoned by the monks: It was t r co m picturesquely si uated on a rocky promonto y , w on of sea manding a vie , the one side, the Open , dotted with the countless white sails of Mediterranean of commerce ; on the other, the sheltered bay , the the village beyond , and lofty volcanic mountains in

n . S the backgrou d Here they pent the winter, and of of here nearly all the preludes , with many others ’ Chopin s most poetic smaller works , originated artistic crystallizations of passing impressions and ex e rien ces p , concerning which and the life in which they “ Sa : originated , George nd writes While staying here he composed some short but very beautiful pieces which he modestly entitled preludes : They were real masterpieces : Some of them create such vivid impression s that the shades of the dead monks seem

1 6 4 D escriptiv e Analyses of Pian o Works

' S - - oi o e and pirits , to make a long talked excursion t th : neighboring village , promising to return before sunset During their absence a sudden tropical tempest of terrific severity swept the island . The wind blew a floods hurricane , the rain descended in , the streams r rose , bridges and roadways were dest oyed , and it was only with extreme difii cu lty and considerable danger that they succeeded in reaching the convent about

v midnight , ha ing spent six hours in traversing the last of mile and a half the distance . They found Chopin in a state bordering on delirium . The physical effect of r on the sto m his shattered nerves , combined with his own depression and his keen anxiety for them , had combined to work his sensitive, and at that time morbid , temperament up to a state of feverish excite r ment , in which the normal ba riers between percep

- tion and hallucination had well nigh vanished . He told them afterward that he had been a prey to a grue some vision of which this prelude is the musical por trayal. He fancied that he lay dead at the bottom of the sea ; that near him sat a beautiful siren singing in own exquisitely sweet and tender strains , a song of his life and lov e and sorrow: But though her voice was in soothing its dreamy pathos , and though he felt oppressed by a crushing languor and fatigue and longed for rest , he could not lose consciousness , because tor m en ted by the regular, relentlessly monotonous fall of great drops upon his heart: As the drops continued increasing steadily in weight and in importunate his t demand upon at ention , as if burdened with some

si n ifican ce great and sad g which he must recognize, he Chopin : Prelu de (D Flat Maj or) 1 6 5 became aware that they were the tears of his friends on earth whom he had loved and lost . With this o knowledge, vivid memory and p ignant pain awoke together, and his anguish grew to an overpowering ’ climax of intensity . Then , nature s limit being of fin all reached , the force his tempest of grief y ex hausted itself, and he sank gradually into a state of dull , despairing lethargy, and at last into welcome e unconsciousn ss , the last sound in his ears being the of soothing strains the siren , and his last sensation the of now faint and feeble, but still regular falling his ’ friends tears upon his heart . This composition should be conceived and executed so as to render, to the full , its intensely emotional D fl t . fir t a character The s theme in major, with its sweetly languorous tone , should be given quite slowly , with pressure touch , producing a penetrating, re but not loud , singing quality of tone, while the flat iterated A in the accompaniment, which, through out the whole work suggests the falling drops, must be at first vaguely hinted rather than distinctly struck: The middle part in chords should be commenced very f softly with a whispering, mysterious tone, a fecting the bearer like the first shadow of an approaching

or . thunder cloud , the presentiment of coming woe — Then the power should steadily increase gradually , of relentlessly , like the stealthy , irresistible rising the dark cold tide about some chained victim in an ocean of cave, where the light day has never penetrated ; — mounting steadily not rapidly- to the overwhelming climax of the reiterated octave B in the right hand . ’ In the repetition of this passage the same efiect 1 6 6 D escriptive Analyses of Pian o Works

d m in ten should be produce , with the cli ax still more

sified. a ] Then let the power as gradu lly decrease , til ’ at the return of the siren s song it has sunk into piauis simo and the closing measure should fade away into silence , like the echo of dream bells . I have dwelt at so me length upon this prelude be cause it is the best known of the set ; the most com lete ff p and , generally speaking, the most e ective ; and because , in connection with the suggestive quota S tion from George and , it will serve as a helpful illus tration to the student in arriving at an intelligent o comprehension f the others . But a few words in further elucidation of some of them may be in place . first The in somber, sonorous chords , expresses ’ i a Chopin s in tial impressions of the st tely , but half ruined monastery in which he and his little party had found refuge , and the solemn thoughts called up by its decaying grandeur, its silent loneliness , its vast ,

‘ - gloomy , memory haunted halls and cloisters .

v The third represents an e ening scene , with the setting sun kindling to crimson and gold the spires and picturesque whitewashed cottages of the village of Majorca , a mile away across the little bay , while the t gentle breeze , like the sigh of depar ing day, brings the sound of silvery bells from the little village church ringing the vesper chimes .

The fifth and sixth embody the same mood , in an almost identically similar setting . They may be ' l e fl ec tiv e y combined into one picture of a dark , de s pressing. late autumnal day ; a day of gray skie and of w of leaden sea ; heavy , indless calm, the calm i s i exhaust on and utter wearine s , w th the low, sad

o n : W a a O 2 Ch pi ltz, A Fl t, p. 4

ERY dance, the waltz included , is based upon and adapted to some

particular dance movement . All its ’ efl ec ts , whether of melody , harmony ,

or rhythm , embellishment , are care fully calculated by the composer to meet the requirements of this special

movement , to conform to and ex press its general character and be governed by its of us ual rate of speed. Each these dance move ments embodies in itse lf some peculiar quality or a characteristic , such as st tely grace in the minuet , martial pomp in the polonaise , impetuous vivacity in the galop , which the music must indicate and supplement . The Chopin waltzes are no exception

' ’ to this rule . They are distinctly and preeminently waltzes ; and though of cou rse not for actual dance pur

- of poses , they are intended as idealized tone pictures

- o f . the waltz , and ball room scenes and experiences flat a O . 2 The one in question , p 4 in A , is pl nned upon a broader scale , contains more variety , and taxes more thoroughly the reso urces of the accomplished pianist than any other work of Chopin in this vein . floatin o a ssa Its tender , g mel di , bright , delicate pa ge 1 68 o in : z 1 6 Ch p Walt , A Flat 9

n work, and swinging, swayi g rhythms are replete with all that eloquent, gliding grace , that arch coquetry , h of in t at passionate warmth mood, which we so variably associate with the festive scenes ,

a mee Where you th an d pl e sure t To chase the gl owin g hours with flyin g feet .

s r afloat Light sparkle, delicate d aperies are , like per fumed clouds , upon the languid air, bright eyes scin tillate or with mirth soften with emotion, and

All goes m erry as a m arriage bell . And yet throughout all there runs a half - hidden under of in tone that tells deeper, sterner thought and far of of a tenser feeling ; that tells dark forebodings , dist nt of alarms, sudden trumpet calls ; so that the work in its entirety cannot but seem to u s the counterpart in music of a that familiar , almost hackneyed , but immort l word of on picture Byron , describing the great ball the eve oi the battle of Waterloo , to whose thunderous music of of the fate nations was reversed , like the steps the

- dancers in a ball room, and France changed monarchs as a lady shifts her partners .

The somber trio strain , about the middle of the com “ ’ ” u s position , suggests to Brunswick s fated chieftain , who sat apart and watched the dancers and listened “ ’ to the revelry with Death s prophetic ear . Later, where the rhythmic pulsation of the waltz is abruptly and violently interrupted in the midst of its flowin g G F cadences, by a strong emphasized natural , repeated we re twice by both hands in unison , are forcibly minded of the line

Bu t h ush ! hark ! a deep sou n d strikes like a risin g kn ell ! 1 70 D escriptive An alyses of Piano W orks

0

r Afte a moment of consternation and suspense, the t v d i fli an t wal z mo ement procee s , appear ng almost pp by contrast , and seeming to say , like the verse which follows ,

O n the an ce let o be u n con fin ed with d , j y l

a h i s Las y , the breathless , impetuous uale ind cate the “ ” “ ” u h rrying to and fro , the mounting in hot haste , “ a m n and marshalling in r s , with which the da ce broke up at midnight, as cavaliers rushed from the ball battl efield. room to the Both Chopin , the greatest musician of Poland , and Mickiewicz , her greatest poet, were po werfully impressed by the personality and t poe ry of Lord Byron , and there is no doubt that our composer had the stanzas of the contemporaneous

English writer in mind in the creation of this work . The first duty of the performer in renderin g this composition should be to suggest irresistibly to the i l steners both the mood and movement of the waltz , be and to force them to feel , as far as may , the elastic swing of the rhythm and the warm , voluptuous mood of the music : The tone quality employed should con stan tly change to suit the contrasting colors of the f i di ferent strains ; now warmly lyric , now sparkl ng r t and vib an , at times deeply somber , and again strik in gly dramatic and declamatory . l As to tempo , I wou d caution the player against an extreme rate of speed . Remember that the usual m i waltz step is , approxi ately at least , our gu de in m choosing the proper movement . I a aware that i many pianists , of the greatest sk ll and reputation , are gu ilty of the cardinal error of playing one of these

’ Ch o pi n s N o c tu rn es

deriv ation and general sign ifican ce the term nocturne coincides with

our English word nocturnal . It is

music appertaining to the night, a

night piece , suited to and express in y g its usuall quiet , dreamful , pen

sive mood , and frequently portray

ing some nocturnal scene or episode . The name n oc tum e was originally used as synonymous t r with that of serenade , and hey were vi tually iden tical in character . But in later times it has come to

- have a much broader application , and to day , though s of every erenade is course a nocturne , all nocturnes are by no means serenades .

The serenade is a real or imaginary song of love , and presupposes a fair listener at a lattice window and accom an i a lover singing beneath the stars , to the p

of or . ment a harp , mandolin , guitar The nocturne may legitimately embody any phase of human emotion or a of or experience , any spect inanimate nature, which can rationally be conceived of as appropriately emanating from or environed by nocturnal conditions . It must not be supposed that this vein of composi ’ tion was Chopin s on ly or even his most im portant 1 72 ’ Chopin s N octu rn es 1 73

field of activity : To judge him exclusively by his nocturnes and waltzes is precisely like judging Shake speare solely by his sonnets . But it was a vein in which , owing to his peculiarly poetic temperament and fertile imagination , he far excelled all other writers , no less in the quality than in the number and variety of his creation s. o n : N octu rn e in E at O . Ch pi Fl , p 9 ,

N o . 2

HI S perhaps is the easiest and cer ’ tain ly the best known of Chopin s

nocturn es . Scarcely a student but it has played at one time or another .

I n -n fact , it has been worn well igh to n shreds ; yet still retai s its simple ,

tender charm , if approached in the

proper spirit . It is replete with melodic beauty and warm harmonic coloring , and

- a is an excellent study in tone production and sh ding , as well as a model of symmetrical form . It was on e of first of his early works , and the glow youth

i it in of - st ll lingers about , spite its over familiar

- ity and much abuse . As a teaching piece it some times surprises the weary teacher with a waft of u n fleetin expected freshness , like the g odor from an old and much - used school - book in which violets have been pressed .

- It is a pure lyric , a love song without words , but to which a dreamily tender poetic text can easily be imagined and supplied ; and the very evident sugges tion of the harp or guitar in its accompanying chords

' ' facilitates the efi ort and brightens the poetic efi ect . 1 74

o n : o c u n e O . 2 N o . 2 Ch pi N t r , p 7,

’ I S r on e of noctu ne , though Chopin s most intrinsically beautiful compo sition s for the piano , is even more t frequen ly heard upon the violin .

It has been , for decades , a favorite lyric number with all the leading of violinists the world , and adapts itself admirably to the resources and peculiar character of this instrument . e For this there is an excellent r ason , far other than O n mere chance . a certain evening in the early thirties were asse mbled in an elegant Parisian salon a com pany of the musical and literary élite of the French e capital , to meet several foreign celebriti s and enjoy o n e of those rare opportunities for intellectual and of artistic converse and companionship , which we read a a n u with envious longing , but which are pr ctic lly our ; known in busy , prosaic age ere e s e so Th w re present Chopin , Li zt , M ndels hn , on bw ides m y the latter then in Paris a brief visit , an local musicians of note including some of the pro fessors of Con serv atou e l e S the , a so G orge and , Heinrich l ed s o s Heine , A fr De Mu set, with s me le ser literary

s an d a r ian i of so ea e s . I t light , b ill t gather ng cial l d r 1 76 o in : oc u n e O . 2 N o. 2 1 Ch p N t r , p 7, 77 was an evening long to be remembered for the spark ling wit and repartee, flashed back and forth from these brilliant intellects , like the rays of light from the glittering jewels of the ladies , for the occasional bursts of glowing eloquence an d poetic thought from the profounder minds , and especially for the music, which was plentiful and of the best . It may have been on this very occasion that Rossini a made his f mous , but most unfriendly , hit at the ’ expense of Liszt s marvelous powers of improvisation ,

he . which , Rossini , was inclined seemingly to doubt w as i Liszt being pressed to play and to improv se, and “ ou t : i Rossini called across the room Yes , my fr end , do improv ise that beautiful thing that you im pro ’ s o vised at Madam last Friday , and at Lord S ’ and 8o s the week before . In the course of the evening a local violinist of prom inence plav ed for the company a new composition of ow n - his , a sweet , long sustained cantilena , with a

v more in olved second movement in double stopping . fin ished When he had and the applause had subsided , on e was of the ladies heard to remark . What a pity that the piano is incapable of these effects ! It is bril liant , dramatic , resourceful , what you will ; but only ” the violin can stir the heart in that w ay .

“ on e of Chopin rose, bowing with his equivocal

— - smiles half sad , half playfully mocking, stepped to

i v the p ano and impro ised this nocturne , a perfect f reproduction of all the best violin e fects , cantilena

- p and all , including the double sto ping in the second t n d theme , with a certain warm h ; a poetry added ,

. O i w which were all his own course, it was after ard 1 2 1 78 D escriptive Analyses of Pian o Works

fin ished suhstan é and perfected in detail , but in e it was the s sam e as the D flat nocturne which we all so know well and which the violinists , though most of o of ou t them unc nscious the reason , have singled as S pecially adapted to their instrument . The player should keep the violin and its effects in it mind in rendering , the lingering , songful , string of y o quality tone in the melod , the sm oth legato , the - u leisurely , well ro nded embellishments ; and the tem po

v . should ne er be hurried It may be well to say , in t his connection , that in these Chopin nocturnes , and in all other lyric compositions , the embellishments , grace the notes , and like should be made to conform to the general mood and character of the rest of the music . S ymmetry and fittin g proportions are among the primal laws of all art . I n flash a Liszt rhapsody , a cadenza should like a

rocket , but in a Chopin nocturne it should glide , with

n float - easy , u dulating grace , should like a wind blown

- . Too ribbon , a fallen rose leaf often we hear the ornamental passages in a lyric played as if they were l whol y irrelevant matter , dropped in there by accident

' of ifieren t out some other entirely d compositions , a of of bit vain , noisy display in the midst a poetic d e of ream , br aking instead enhancing its charm , b utterly incongruous . Harmonize the em ellishments with the subject ! Fit the trimming to the fabric !

1 80 D escriptiv e Analys es of Pian o Works

v o exclusi ely from am ng the nobility , an inner, higher circle of forty was chosen , and they , in turn , selected u from their n mber, by secret ballot , the mysterious, potent Council of Ten , gruesomely famous in history , a o of S who wielded the re l p wer the tate , often for n the darkest perso al ends , the Doge being little more

- than a figu re head . Highest and most dreaded of all of was the Council Three , chosen from their own number by the Ten , by an ingenious system of secret ballot so perfect that only those selected knew on n whom the choice had fallen , and they did not k ow ’ each other s identity . They met at night , in a secret chamber , in which the three tables and three chairs, and even the blocks of marble in the pavement of the

floor were symbolically triangu lar . They entered at fixed the hour , by three separate doors , disguised in black masks and long black cloaks , conferred in whispers only , and their decrees , like those of the

Greek Fates , were inexorable and inevitable . Veiled r and shielded by myste y , they worked their awful will , from which there was no escape and no appeal . The story runs that once a beautiful and high

e o spirited h iress , the daughter f a former Doge , and l o hree the specia ward of the C uncil of T , as the dis posal of her hand and fortune was an important r S tate matter , had the courage to b ave their pro hibition and secretly to welcome the suit and return v of i the lo e a young , gallant , but fortuneless kn ght , i his to e in who r sked life obtain their brief, stol n terv iews e , or to breathe his love in subdu d but heart l e O n e stirring me ody b neath her window . night,

' when a great ball at the palace seemed to afl ord an ’ ' O 2 N o 1 1 1 C o in : o u e . . 8 h p N ct rn , p 3 ,

opportunity for her to escape unnoticed , he came dis guised as a gondolier , and for a few sweet moments they were alone together upon the moonlit water . The first theme of this nocturne suggests the scene y in the gondola, with its softly swa ing motion as it ’ feels the faint swell of the great sea s distant heart

‘ while the throb , melodic phrases embody the tender mood of the lovers as if in a sweet, low song . Brown ing expresses the mood in his opening lines

sen m ear u to ee all m ear I d y h t p th , y h t, I n this m y sin gin g F or the stars help m e an d the sea bears part ; The v er n ight is c in gin g y ’ l Closer to Ve n ice s stree ts to l eav e on e space ov e m e en ce ace Ab , wh thy f - Ma m o ous ear to ee its e n ace . y light y j y h t th , dw lli g pl

The second theme is somewhat more intense, though still subdued . It tells of greater passion and of also deeper sadness , with an occasional passing thrill of suppressed terror . Browning sings it

0 c ere es to roam or res ? whi h w t , t ’ b ’ The lan d s lap or the water s breast ? To s e e on e o m e s eav es l p y ll w ill t h , O r s m in u c s a o s us wi l id h d w , j t E u n a er- eav e s di g w t i l . l l ly ’ A n n c rom Dea s ac fin ers ru s i h f th bl k g , th t To oc ou om re ease he m u s l k y , wh l t Which life were best on su m m er ev es ?

To which the lady answers ’ Di ou r arm o er the oa - s e e o ee p y b t id , lb w d p, A s do u s ere ea so u n e s ee I ; th ; w d th lik l p, ’ Cau ght this way ? De ath s to fear from flam e or O r o son ou ess bu t rom a e — ee p i , d btl ; f w t r f l 1 8 2 D escriptiv e Analys es of Pian o Works

The u u e last meas res of the lyric melody, f ll of ling r s i i l ing sweetne s , are like the part ng k ss . Then sudden y , G brutally , with the major chord against the crashing ’ F s in s of the bas , the voice fate breaks the tender

- S . pell Death enters with swift , heart crushing tread , and his icy hand sn atches his victim from the very im arms of love ; and the closing chords, brief, but c cr of u pressive , voice the sho k , the y ang ish , and the ’ w s ift sinking into black despair, which were the lady s too more bitter share in the tragedy . For soon the time had passed . Their brief happiness had been saddened and softened to deeper, graver tenderness of by the knowledge impending danger , by the ever recurrent cloud like the passing thought that Brown ing voices in the line

What if the Three shou ld catch at l ast thy se renader ?

They must return or be detected . Reluctantly he guides the boat back to the landing , and just in the moment of their farewell he is surprised , overpowered , and stabbed to death by waiting assassins , dying in her arms .

The closing of the nocturne as just described is , t in n to my h ki g , more dramatic, more realistic , and ’ far stronger than the last lines of Browning s poem :

“ I t was or a n e to be ao s ee ! an d es d i d , w t b t

Com es n ow e n ea n e e e s u on reas . , b th thi y , p thy b t S till kiss m e ! Care n ot for the co wards ! Care On ly to pu t aside thy beau teou s h air My blood will hurt ! The Th ree I do n ot scorn T o ea ecau se e n ev e v e bu t d th , b th y r li d ; I

av e l v e n ee an d so et on e m ore ss can die . H i d , i d d , (y ki )

1 84 D escriptive Analyses of Pian o Works

’ ‘ r eak is powerfully exp essed in Tennyson s poem Br . ” l break , break , especial y in the closing lines ,

“ Bu t the ten der grace of a day that is dead

v ac t m Will n e er com e b k o e .

l of Sudden y , in the midst his melancholy reveries , of Chopin was seized by one those deceptive visions , f so frequent at that time . The shadowy forms o a procession of dead mon ks seemed to emerge from h c beneat the obscure arches of the refe tory , in a slow funeral march along the cloister behind him to the

v r chapel , where their e ening services were forme ly S an ta held , solemnly chanting as they passed their

Dio . of This impressive chant, as if sung by a chorus a subdued male voices , is re listically reproduced in the f middle movement o the nocturne . The very words S an ta Dio are distinctly suggested by each little phrase

v of four consecuti e chords . d When the monks have vanishe , and their voices have died away in the distance beneath the echoin g e vault of the chapel , Chopin r covers himself with a n b shudder and resumes his sad dreami g , symbolized v of first a return the melody . But just at its close the su n s m sinks below the we tern bank , its last rays glea for a moment on the white sail of the boat just round' ing up to the landing . His friends return . His lonely ri htem brooding is cheerfully interrupted . His mood b g and the nocturne ends with an exquisite transition to the major key . The player should strive in this work for a somber t of in ensity of tone , and should render each phrase e his the melody as if the pain express d were own , in : u e O N 1 o o . 8 o . 1 Ch p N ct rn , p 3 7, 5 making the undertone of the sobbing sea distinctly apparent in the accompanying chords . In the middle ’ n movement , where the monks chant is i troduced , the imitation of a m u ffled chorus of male voices should be made deceptively realistic . All the notes of each w firm chord must be pressed , not struck , ith a but elastic touch , and exactly simultaneously ; and each of little quadruplet chords must rise and fall in power, so accented as to enunciate the words S an ta Dio. This is at once the saddest , the deepest , and the most de e of scriptive , while technically the easi st , all the n rn e Chopi noctu s . o n : o c u n e O . N o . 2 Ch pi N t r , p 3 7,

G RA EFUL , tender , and cheerful is the general tone of the Nocturne in

G major . It was written the follow ing summer after Chopin ’s return to F of rance , during a visit some weeks

at Nohant , the beautiful country of S seat George and , where in the of midst a smiling rural landscape ,

- bright and winning , rather than awe inspiring , breath the ing mild but invigorating air of his beloved France , surrounded bv chee rful and congenial companions and ’ our by every possible physical comfort , composer s S health and pirits temporarily revived . To this epoch , of brief as it was , we owe some his most genial and attractive compositions .

Again it is evening and Chopin is alone , but this time own it is in his familiar , cozy room , where the perfect appoin tments and tasteful arrangement tell of loving r of feminine hands , glad to minister to eve y fancy his flowers delicately fastidious nature . The scent of

floats in through the open window , and mingled with He it the low voices of friends in the garden below . watches the play of lights and shadows among the a s ra l swaying br nche of a tall , g cefu willow tree just 1 86

. 1 88 D escriptive Analys es of Pian o W orks

i l i t nted feather ba l , tossed nto the

flu tterin g softly and slowly to earth again . i 3 For the second movement , a s nging lyric tone, d sub ued warmth of color , and a steady , reposeful , i an d l rock ng rhythm are a necessity , the lul aby mood sho uld be kept in m in d .

1 9 2 D escrip tive Analyses of Pian o W orks

U

’ T he Maid e n s W ish ’ first The Maiden s Wish , the of the two songs on e so presented , is of the earliest and most popular , t far as known ; a dainty , capricious li tle mazurka song , half playful , half tender . The words embody the fond w r o ish of a me ry , winsome maiden , whose life is t uched to seriousness by the shadow of first love upon her n a pathway , the wish that she were a su beam to le ve the high vault of Heaven and desert the flowers and ’ streams of earth to shin e through her lover s window and gladden him alone ; or that she were a bird to leave the helds and forests and fly on swift pinions to his window at early dawn and wake him with a song of love . The music accurately and closely reproduces the of spirit the words , in all their warmth , archness , and c grace . The short but ontinually recurring trill , “ ” on - ever the self same note , in prelude and interlude, suggests the thrill which the maiden feels at heart as flits un con she singing about the house and garden , io sl sc u y keeping step to the rhythm of the mazurka , o the native dance f her province .

T he R in g The second song selected resem bles in form the

- ordinary folk song , with its single , reiterated musical

' its m l s un afl ected strophe , and also in si p icity , its fre h , w r sincerity of mood. But it sho s far more pe fect n d of n workmanship , a is a much more re ned and poetic quality . It is plain tively sad , tenderly pathetic ’ Chopin s Polish Son gs : Lisz t 1 93

of in every phrase , a pale, delicate blossom sentiment , dropped upon the grave of youth and first love . It e r of d sc ibes the early betrothal a youth , full of faith ,

- hope, and happiness , to his playmate and child love . O n n departi g into strange lands, the youth gives the maiden a ring and she gives him in exchange a promise n of to become his bride o his return . After years ea weary wandering, during which his h rt has been ever fin d faithful to his early love , he returns to she has S forgotten ring and promise and lover . But in pite erfid of of her p y and the hopelessness his attachment , his constant thoughts cling ever to the little ring he gave and the little playmate with her childish grace : old on e and garb A very story and a very simple , but none the less sad for that . In addition to its intrinsic charm and artistic merit this little composition possesses a personal interest in ’ its subtle reference to Chopin s own experience . The gr eat tone - poet knew a love other and earlier than that destructive passion for George Sand which blasted his life and broke his heart . But his beloved Constantia , was to whom he betrothed before leaving Poland , at of twenty years age , to seek his fortune in the great world , forgot her plighted vows and the little ring he gave as their visible token , and married another ; and ’ it is the composer s own grieved and disappo inted heart that speaks in this tenderly beautiful song, sad den ed by the first of the many swiftly gathering clouds which obscured the brightness of his sunny youth , and in a few short years rendered the name of Chopin synonymous to his friends with grief and T he P o e ti c an d R e ligi ou s H arm o n ie s by Fran z Li szt

’ I SZT S reputation in this country as a pianoforte composer has hitherto

rested , in the main , upon his bril

liant and popular operatic fantasies , é a few of his tudes , and his unique and world - famous Hungarian rhap sodies f ; all of which , though e fective

and by no means to be despised , are , t on lv off af er all , the bright bubbles tossed in playful the r mood from su face of his genius, like the globules that rise from the sparkling champagne . o That there is a deeper, more serious , and far m re of important vein strictly original work of his , which d has as yet scarcely been iscovered , still less exploited , e few persons , even among the musicians themselv s , O i seem to be aware . course , in the large cities , his — — orchestral works that is to say , some of them have been occasionally given and his concertos have be come fairly well known ; but elsewhere he is chiefly known as the leading manufacturer of musical pyro b - c technics , the inventor of the est pianistic sky ro kets and the best articles in tonal thunder and lightning ’ thus far put upon the world s market . But the fact 1 94

1 96 D escriptive Analyses of Piano Works

c it impulses , and , in obedien e to , he abandoned his ' as a life concert artist, which , for phenomenal suc or cess , has never had a parallel before since, retired r into rigorous seclusion in the Vatican at Rome , whe e of m he was the guest and pupil the Pope hi self, and devoted nearly fiv e consecutive years to religious study the of é and contemplation , receiving title Abb in the a Catholic Church , which he ret ined till his death , r of s and w iting a considerable number compo itions , all of a distinctively religious character , all based upon n religious themes , either incide ts narrated in the or Scriptures , or in the lives of the saints , subjective experiences connected with his own S piritual life and development . " a L of St: i e Among these , his gre t egend El zab th is e of an d pre minent, and this series nine poetic religious c harmonies ; each a complete omposition, having no connection with the others except in its general char i S acter, bear ng a pecial title indicating its nature and subject: Some of them are of very great musical worth and importance , and are among his best pro “ duction s . 2 , notably , the No 3 , Book , entitled The o n Benediction f God in the Solitude . It is o e of the t a i subjec ive , emotion l compositions referred to , giv ng us a glimpse into the heart life of the composer during this epoch of profoun d and intense religious experi ence . n s a It ope with a subdued but strongly emotion l , ’ - r first cello like theme in the left hand , exp essing the discontent an d vague longings of a soul whose best aspiration s and highest needs have found n o real i satisfaction in worldly th ngs , yet which has no cer Lisz t : Poetic an d Religiou s Harm on ies 1 97

on tain grasp , no safe reliance any life beyond and above the present ; a soul adrift on the dark ocean of of doubt and skepticism , with no guiding star hope , - of n ot no beacon light promise, even the compass of in h faith things unseen by which to s ape its course .

This mood grows steadily in intensity , through the of successive stages unrest, agitation , distress , despair , to an overpowering climax . Then it is followed by D a short , quiet movement in major , literally imitating the tranquil strain of the organ and the distant sound of cathedral bells ; thus symbolizin g the promises and profl ered consolations of the Church then a period of of exam m ation grave pondering, thoughtful and intro s ec tion first p , and then the theme repeats , but with less vehement treatment, in a gentle though still of agitated mood , like a recapitulation his former state from a newly acquired standpoint, a softened l of o d . memory the , stormy , desperate mood flowin n The work closes with a tranquil , g moveme t, a complete inundation of the S pirit by a flood of that “ ” s peace which pas eth understanding , the benediction He of God . in the solitude has found, as he believes, safety, rest , and reconciliation with divine law and will . This closing strain , in its reposeful happiness , forms a fittin g and most beautiful ending to this serious , ideally suggestive composition . Other numbers of this set are almost equally interest ing, but I have not space for more of them . This one will serve as a good example , and I may add that it was regarded by Liszt himself as the best of his piano compositions: ’ own A little French poem from Liszt s pen , which 1 98 D escriptiv e A n alyse s of Pian o Works stands as motto at the head of this music sums up its

e nce com es O m God is s ee eace a su rou n s Wh , y , th w t p th t r d My glad heart ? A n d th is faith that within m e abou n ds ? To m e who u n ce a n in an u s of m n , rt i , g i h i d, O u an ocean of ou osse a ou eac i n d bt t d b t by h w d , W as see in for ru t in the ream s of the sa e k g t h d g ,

A nd for eace am on ear s ha ere chafin ra e . p , g h t t t w g with g — A sudde n there flashed on m y sou l from abov e A vision of glorified heav e n ly l ov e It seem ed that an age an d a world passed away ” A nd l rise n man w en o a n ew da , a ew , i y y.

2 00 D escriptive Analys es of Piano Works day and night to the dull thunder or mournful murmu r of the changeful waves above his head , as his only ' in dication of the shifting moods of Nature in the n s livi g world , her pa sing smiles and storms , her slowly circling seasons as they come and go .

ou e un eo n a an d av e A d bl d g , w ll w av e m a e—an d e a v n v H d lik li i g gra e . Be low the su rface of the lake The ar v au e s ere n we la d k lt li , wh i y W e ear its r e n an d da h d ippl ight y, ’ Sou n n o er ou r eads n oc e di g h it k k d , A n d en the v e r roc a roc e th y k h th k d , A n d I hav e felt it shak e u nshocked Becau se I cou ld hav e sm il ed to see T h ea a ou av e t m e d th th t w ld h se e free .

o Years drag themselves u t to eternities . One by on e his few companions die of cold and hunger, leaving v him alone in that li ing tomb , with his endless , change less , unutterable misery . — had n o ou n o ee n n on e. I th ght , f li g m n h s o s oo on A o g t e t n e I st d a st e . w as n ot n was n ot da It ight, it y, F or all was blan k an dbl eak an d gray sea of s a n an en ess A t g t idl ,

in ou n ess m u e an d m o on ess. Bl d , b dl , t , ti l His only gleam of comfort were the occasional visits of an azure - winged bird that came now and then and perched on the window ledge outside his dun geon bars , a fair and gentle companion symbolizing for him all the beauty and tenderness and sweetness in the life he has lost ; and on which he comes to con centrate the love and interest of his famished heart . ’ Lisz t s Ballade s 2 0 1

ov e r a ur e n s A l ly bi d with z wi g , A n d son a sa a ou san i n s g th t id th d th g , A n d se em ed to say them all to m e n ev er saw the e e ore i b , I ’ l k f I n e er shall see its liken ess m ore seem e e m e to an a m a e It d, lik , w t t , Bu t was n ot half so desol ate ; A n d was com e to ov e m e en it l , wh ” v v a a n Non e li ed to l o e m e so g i .

of The opening movement the ballade, representing the thunder of the waves reverberating through the

of - gloom that cavern like cell and the later lyric,

i which might be called the b rd theme, suggesting his tender communing with his little friend , are the best movements in the work . The details of the story ou t are not carried , but its outlines , and especially its moods , are clearly given .

Secon d Ballad e

D flat The second ballade , in major , is more melodi ous and attractive, but less strong . It is dedicated to ’ - Liszt s life long friend and powerful patron , the Duke of ou t of of Weimar , and , compliment to him , treats ’ an episode in the Duke s family history , back in the days of the second Crusade .

' A young and gallant chief of the house of W eimar of on stands in the rosy light early dawn , the highest of turret his castle , with his newly wedded bride ,

of of taking a long farewell her and their fair domain , — for at sunrise he leads his knights and men - at arms to the u n the crusade , and return is years distant and et of certain . Their mood is full of sadness and y a 2 0 2 D escriptiv e An alyses of P iano W orks

i . n1s strong, relig ous exultation and trust His missio a r g and and glorious one . Heaven will surely guide and God protect its faithful knights , and his lady bids him

ul . speed , though with tearf eyes From the castle n of court below, sou ds gathering troops and martial first n preparation rise to their ears , at fai tly , then with growing din and clamor , till a burst of trumpets n flun greets the risi g sun ; the gates are g open and , of hastily descending , he takes his place at the head his forces and they march away to the strains of inspiriting military music . The lady still stands alone o n e — r as her turret , waving her gr etings stands the e , e flooded i he s es her last , with the glory of the morn ng, an embodiment of love and hope and prom iSH vision to haunt his waking dreams in far - away Pales tine to cheer his lonely camp - ht e vigils and lead him

i to V ctory on the neld of action . As she still stands dreamily watching the last gleam of e - flu tter i the sp ar points , the last of the reced ng t a s banners , the sanguine fancy of you h le p the inter v en in ea of g y rs , and she thinks she hears the strains the mart ial music at the head of the return ing army coming in triumph back from a successful campaign . The successiv e moments in the story above sketched are given with r&listic dis tin ctn m s in the

sic an d can o d w o difi cu lt . mu , be foll we ith ut y

2 0 4 D escriptiv e Analyses of Piano Works former on the piano but it is quite another thing to ' all efiec ts so readjust the to pianistic possibilities , as to produce in full measure the intended artistic impres f sion . There is practically the same dif erence as in poetic translation between the rough , verbal rendering

- bo fin ished of a Latin exercise by a school y , and the , artistic English version of a poem from some foreign t d ongue , by a gifte and scholarly writer like Long fellow . Whatever may be thought or said of Liszt as an original composer , in his piano transcriptions he has never had an equal scarcely even a would - be com

1 im petitor . His work n this line is of inestimable portance to the pianist , both as student and public performer , and forms a rich and extensive depart ment of piano literature . Think what a gap would ’ ’ be left in any artist s repertoire if Liszt s tran scrip of tions , including the rhapsodies , were struck out it ; for the rhapsodies are only transcriptions of gipsy ’ of music . Practically all Wagner s music that is available for the pianist he owes to Liszt ’s able inter

e . m diation True , Brassin has done some commendable work in his settings of fragments from the Nibelungen “ ir operas , but of these the Magic F e music is the only really usable number ; and this , though playable own and attractive from its intrinsic merits , is hardly i sat sfactory , either as a genuinely pianistic setting

' or as a reproduction of the artistic efl ects of the original . One feels that it is an interesting attempt t “ not a comple e success and the Ride of the Walkyrie , which ought to be the most effective of all the Wagn er n numbers for pia o , is wholly unusable for concert pur — Wagn er Lisz t Tran scriptio n s 2 0 5

poses . One is practically restricted to Liszt in this

fin ds of fin ished direction , but in him a mine highly , admirably set gems , accessible, though technically not easy to appropriate .

a n er- L isz t : S in n in Son from the W g p g g, “ ” F lyin g D u tc h m an

- Take , for example, the familiar and ever enjoyable S S ” “ ” pinning ong from the Flying Dutchman , def in ite and symmetrical in form , perfect in every detail as a piano composition , eminently playable and pian istic , yet preserving the original dramatic intention with absolute completeness and integrity . Those who are familiar with the opera will need no explanation of its contents ; but for the many piano students who of are not, I give a brief synopsis the scene of which this music is at once an accompaniment and a picture ’ for Wagner s music is all intended to intensify , by reduplicating in tone, scenes and moods represented on the stage .

A little company of village maidens , in a seaport town in Holland , is assembled of a winter evening to

- - spin . It is to be a semi social , semi useful gathering much like the oldquilting parties of ou r grandmothers

of S . time , and they are all in the best pirits They a st rt the wheels , but something is wrong apparently ; or or the thread breaks tangles , and two three times recom they are obliged to stop , wait a moment , and

fin all - mence , till y the buzz and hum of the swift rolling wheels become continuous . This orchestral imitation of - the spinning wheel is a piece of very graphic realism , 2 0 6 D es criptive Analyses of P ian o Works and in the piano arrangement is given almost equally

the - well in left hand accompaniment, while the right hand carries in chords the chorus of the spinning maidens , as they sing at their work , a bright , joyous , rh thm ical l v song , fu l of gaiety and wit , as shown by an occasional interru ption by a burst of merry laughter . In the very midst of their jollity they are startled into an abru pt silence by the ominous sound of a b single horn close y , and they suspend their work to

. ou t listen The horn rings , clear and strong , a peculiar

v impressi e signal , which they know and dread as that “ ” of the Flying Dutchman , the terror of those shores , of the fated commander a phantom ship , manned by a specter crew , who sails the northern seas eternally , fo in winter storm and summer g, condemned forever to

- this ghastly isolation from his living fellow men , and fisher— striking terror to the hearts of all the simple folk , whenever the dim outlines of his ship are seen in the misty oili ng ; and especially when his signal horn is heard ; for it is known that he does sometimes land . His only possible chance of escape from the awful curse upon him is that once in a hundred years he is permitted to spend a few brief days on shore and mingle ii with his kind , and , during that short period , he can win the love of any true maiden so completely that i i she will voluntar ly give her l fe for him , then the curse is ended and both may rise to the realms of the blessed together . It is a grand opportunity for gener ou s self-sacrifice on the part of some noble girl ; but

a h it - n turally all s rink from , and are panic stricken at his approach . But the horn dies away ; Echo repeats the notes

2 0 8 D escriptiv e A n alyses of P iano Works

Wagn er- Lisz t : T an n hau ser March Liszt ’s brilliant transcription of this fragment of the Tan n hdu ser music is another of the most popular and grateful Wagner numbers for the piano . It must not “ ” of i be confounded with the March the Pilgr ms , ’ " or r , more properly , the Pilg im s Chorus , as it often t is by those not familiar with the Opera . The lat er, a choru s of ferv ently devout pilgrims departing for b the Holy Land , is solemn inspiring , but som er in

15 brillian tlv character , while the march festive in tone , m a n ificen t gorgeous in coloring , pompously g in its i mart al rhythms , its rich major harmonies and its ringing trumpet themes . It appropriately accompanies the entrance of a long and splendidly appareled proc es sion of guests into the old castle known as the Wacht

B u r i i g, a famous feudal stronghold in Thuring a dur ng the middle ages . They have assembled in holiday mood and attire to witness on e of those prize contests — in singing a sort of musical tournament between the leading Minnesingers of the time , frequently held at the castles of the powerful German nobles of that

Mi n . ne m e period The word is an old Ger an , po tic

Liebe or v . synonym for , lo e Hence the Minnesinger was a minstrel whose avowed theme was love .

It was a gala occasion . Excitement and anticipa ran of tion high , for some the most celebrated names

o of the time were on the list f competitors . All had their favorites , to whom they were disposed to accord t all the vic ory in advance , and came in the expectation , of not only a rich musical feast , but of a close and of sharply contested combat of genius , for the honors Wagn er- L isz t Tran scription s 2 0 9

n the day . The opening trumpet signal annou ces that the castle gates are thrown Open , and summons the guests to form in marching order , and then the glittering ranks move forward to the rhythmically f cadenced measures o the march music . Gallant knights in glistening armor , the pride of race and martial glory in mien and carriage, stately dames in silk and jewels , fair maidens sweet as the blossoms of they wear, and old men in the dignity years and proven wisdom— all are there and are faithfully s mirrored in the music as they pass before u . There is an imposing pomp and gorgeous splendor about it ; be a little wearying , it may , after a time , but certainly never equaled , if approached , by any other composi tion , and absolutely in keeping with the mood and d setting of the scene . The tempo should be very m o erate y s , the rh thm marked and steady , the contra ts for l distinct , and the tone , the most part , fu l and : brilliant, but never harsh

W agn e r- Lisz t : A ben dste rn

Another selection from this same opera , this time in ff the lyric vein , which Liszt has e ectively arranged S ” for the piano , is the Evening tar Romance , as it

. on e is often called It is of the songs of Wolfram , of the leading baritone the opera The theme is love, 0 and the opening line of the song , thou , my gracious ” ’

n . eveni g star, clearly indicates the bard s intention of The love which he sings is to be a modest , distant, v respectful de otion , a pure adoration rather than a

- passionate desire . His lady fair is to be his light , his 1 4 2 1 0 D escriptive Analys es of Piano Works

his i e guide , nspiration to lofty vows and noble d eds

r . her s of chival y For will he be all thing , achieve all i sacrifice all th ngs , things , asking no reward but her h of a . S e smile approb tion is to be his divinity , not

d. his bride ; to be worshiped , not possesse The mood is on e of glowing enthusiasm and ideal u n selfishn ess n , but subdued to a dreamy , half inte sity ,

fle e like sunlight through a ec of summer clouds . The player should strive to produce in the melody the ef fec ts i l of a r ch , mel ow baritone voice , clearly , smoothly, musically modulated , warm , but never impassioned . The Minnesin gers always accompany themselves upon

' ' eflec ts d W the harp , and the harp use by agner in the

v of orchestra ha e been retained , as a matter course , by re Liszt in the piano arrangement , and must be produced by the player with the utmost fidelity

’ W agn e r- L isz t : I sold e s L ove D eath

One of the most vividly interesting, to musicians , o - n f all the Wagner Liszt transcriptio s , is the death “ ” “ ’ n scene from Tristan und Isolde , know as Isolde s

a . or Love De th It is not a number easily grasped , usually enjoyed by the general audience ; and the elemental power and intensity of the passion it so forcefully expresses hav e been often criticized as l r morbid , unnatura , and exagge ated , by those , the mildly tempered milk - and - water of whose stormiest of passions never exceed the moderate , decorous fury a

- tempest in a tea pot . But to those who can sy mpa thize w t an d i h appreciate its irresistible , volcanic out m of burst of e otion , its overwhelming sweep life

2 1 2 D escriptive Analyses of Pian o Works

- d on e heart breaking sorrow, all mingle in glowing lava i stream of frenzied anguish , merg ng at last into a soft , half - delirious vision of reunion and happiness beyond ri a fli ht the grave , in which her spi t t kes its g , to realms , t n we will hope , where hear s , not crow ed heads , were ’ the arbiters of her woman s destin y . Those who hav e no sympathy with a really great it flin in passion which sweeps all before , g g the pretty policies and cut - and - dried conventions of life aside like straw in the path of a cataract , had better let this r or music alone . It is not for them eithe to feel to of render . It requires exceptional intensity treat

r flexible - c ment , a broad , st ong , yet chord te hnique , an d an absolute mas tery of the tonal resources of the S chu b e rt - Liszt : Tran scripti o n s

’ ME of Liszt s very best though ear liest work in the line of pianoforte transcription was done in connection with the Schubert songs ; most of it i in the th rties . These songs were first then coming into prominence , and their markedly romantic and de scriptive character appealed strong l of of y to the dramatic instincts this master the piano , understanding and utilizing as no other writer ever

o of n . had , the res urces and possibilities his instrume t

of it Liszt adapted a large number these songs to , rendering them most effectively available as piano solos , selecting mainly those in which the character of the text and original music gave opportunity for suggestively realistic and descriptive treatment .

Der E rlkon ig Most famous and decidedlv most dramatic of these ” n i m is the Erlko g. All Ger an students and most vocalists are familiar with the text of this song , which is its own best explanation ; but the piano student may fin d a sketch of the story helpful . It is a legend 2 1 3 2 1 4 D escriptive Analyses of Pian o Works

’ of the Black Forest in Baden , brought to the world s notice by Goethe in one of his most dramatic and perfectly wrought ballads . This ballad Schubert set to in in music a moment of highest inspiration ; then , the natural reaction and discouragement followin g f m such a supreme ef ort of genius , he threw the anu script into the waste - basket as un successful and im practicable . It was rescued a few hours later by a celebrated tenor of the day , who chanced to call , and accidentally discovering this gem among the torn i s . i paper , saved it to the world L szt recogn zed its immense possibilities as a piano number and gave the song an instrumental setting which is even more fl' e ec tiv e than the original vocal composition .

The story is brie fly this . A horseman is riding home ward through the depths of the Black Forest at mid night in a raging tempest , bearing in his arms his little bo for y , wrapped safely against the storm , held close “ ” lkon r . r i o warmth and safety The E g, , as we should ” - say , Elf King , is abroad in the dark , storm racked H . e bo forest espies the y , takes a freakish fancy to him , determines to possess the child , approaches

' t i ofiers flowers sof ly , with coax ng and persuasion , , playthings , pretty elf playmates , everything he can oi bo think , to tempt the y to leave his father , and

. terrified come with him But the little one is , shrieks to his father for protection ; and the father , while r striving to quiet his fears , spu s onward at utmost speed , seeking in vain to distance the pursuing Elf

King . The composition is graphi cally descriptive and con n tains ma y varied , yet blended elements . The swift

2 1 6 D escriptiv e A n alys es of Piano Works

H ark ! H ark ! the L ark

Am on S r - on e éthe chube t Liszt transcriptions , the ” which probably stands next to the Erlkon ig in general popularity is the song “ Hark ! Hark ! the Lark ’ " at Heaven s Gate S ings ! the words be ing the well S known , charming little matin song by hakespeare which Schubert has set to music with all his infallible his insight into their exact emotional import , and all of r masterly command musical resources , rep oducing

' in the melody and its harmonic background the efl ect

d fillin intende in every line of the text , g every subtlest shade of feeling to a nicety , realizing once again that t ideal union , hat perfect marriage of words and music , so diffi cult so o - and rare with most s ng writers , but ’ which was a distinguishing characteristic of Schubert s work . In his piano accompaniment Liszt has displayed ev en more than his usual skill in preservin g all the intrins ic beauty and precise poetic sign ifican ce of the a origin l , besides giving to it an eminently pianistic

. is form The music bright , buoyant , joyous as the as i summer morning , fresh its breezes , l ght as its floatin our g clouds , stirring hearts with the revivifying l h 0 cal of a new day , breat ing h pe and happiness in every measure , while the airy rippling embellishments u s o of S as remind of the exuberant s ng the kylark , he n rises exultantly to meet the daw , shaking the dew from his swift wings and pouring ou t the plenitude of his glad heart upon the awakening earth in a spark n of i ov erflow of li g shower music , l ke the bubbling sk i some y founta n of pure delight . Schu bert- Lisz t Tran scriptions 2 1 7 The player and listener will do well to have in S ’ “ mind helley s lines , describing the clear, keen joy ” “ ” of of ance that scorner the ground , the English S kylark ;

Gretchen am Spin n rad A striking contrast to the compos1tion just de scribed is afforded by the equally able but intensely mournful transcription entitled Gretchen am Spinn ” rad . ’ ‘ The text of this song is taken from Goethe s Faust . of It is the song Marguerite , sitting at her wheel , in of the gathering dusk evening, spinning mechanically of from the force long habit , but with her thoughts of engrossed by memories her lost happiness, her

r . on e ruined life , and blighted futu e The mood is of of n overwhelming melancholy , crushi g despair , whose dark depths are fitfu lly stirred from time to time by a of e rebellious surge passionat but hopeless longing, as her heart throbs to some passing recollection of ’ departed joys and love s fateful delirium . l Her dashing but faith ess lover, Faust, after winning ff of and betraying her a ection , robbing her the inno of cence and tranquil happiness girlhood , has aban don ed her to face her bitter fate alone and she moans in her solitary anguish

e ace is on e m ear o resse My p g , y h t pp d, n n ev r a a n m fi A d e g i will y sou l n d rest . The music perfectly voices the piteous sadness of w her mood , ith the occasional intermittent outbursts of passion while the monotonous hum of the spinning 2 1 8 D escrip tive Analys es of Pian o Works

1 l i a the wheel , litera ly im t ted in accompaniment , as in d S every goo pinning song , seems in this case to adapt l to z itse f the song of the maiden , to harmoni e with o its sadness , to take on a c rresponding melancholy , reflectin g the emotions expressed in her voice and reflec ts words , as a stream the somber cloud that — shadows it a good illustration of that universal principle in art , which invests inanimate things with a fancied sympathy with human experiences . Nothing could be more complete or perfectly ap propriate than the musical treatment of this subject ; but its unmitigated sadness probably preven ts its l i t becoming a popu ar favor te ; and its extreme , hough first difficult not at apparent , y places it beyond the e e r ach of most amateur play rs.

2 2 0 D escriptiv e Analys es of Pian o Works masked midnight tribunal of former days but breathes l of i —o i on y Venice the fa r , in her moonlit beauty “ ”

of S ea . Venice , the Bride the ’ Liszt s setting gives us not only the melody enhanced

' by efl ectiv e harmonic coloring and delicate embellish n ment , but a characteristic and picturesque backgrou d of accompaniment suggesting the scene , the mood , and the environment ; the low murmur of the Adri a - i atic , at the dist nt water gate , plead ng to be admitted to the presence of his Queen ; the soft ripples stealing the n up long wi ding canals , whispering their love of secrets under the palaces Juliette and Desdemona , S and creeping fearfully beneath the Bridge of ighs , and past the dreaded dungeons of the doges ; the silvery moonlight gleaming upon marble frieze and column , and touching to soft brilliancy the fadeless tints of glass mosaic ; the dip and sway of the graceful gondola as it glides on its silent way along those water streets between rows of stately buildings , every carved stone of which is alive with history or with some romantic legend .

All these are delicately yet graphically depicted , ' while the boatman s song rises and falls , seeming now a us n near, now dist nt , as it is borne to on the varyi g

- z breath of the light sea bree e . The whole picture is

of - one of subdued evening tints , half disclosed , half o of r a hinted outlines , with a pervading mo d d e my

of . on e fancy , wistful tenderness It seems to me of ’ ' Liszt s most perfect and ably sustained efl orts in the purely lyric , yet suggestively descriptive vein . '

At St . the close , the great , sonorous bell of Mark s a i - C thedral str kes midnight , its grave , deep toned Lisz t : L a Gon doliera 2 2 1

voice majestically commanding the attention . The F f sharp here used to produce the bell e fect , and at the same time serving as bass in a prolonged organ - point

t u y t . hro ghout the coda , is the actual ke note of the S ’ Mark s bell , ingeniously utilized for this double pur pose . Meanwhile , the last notes of the song die away of floatin in the distance , and slumber, like a veil mist g

the e ea e the . in from summ r s , nvelops city ’ T he M u si c of the Gip sies an dLiszt s H u n garian R hapso di es

I S T Z , in his able and unique but

somewhat prolix work , entitled “The Bohemians and Their Music ” so in Hungary , which , far as I

can learn , has never been translated n into English , gives some most i ter esting information concerning these much - played and much - discussed s Rhap odies , their origin , character and artistic impor i of tance , their relation to the nat onal music the gipsies and the racial peculiarities of this strange peo ple , which I believe will be new to most readers . I present here what seem to me the most valuable ’ facts and ideas in Liszt s book in connection with s so as own these Rhap odies , using , far possible , his words translated from the French . I have used the “ ” “ ” word gipsies for Bohemian s in the translation ; i as this being the usual Engl sh name for the race , “ Bohemian is the French . be o r It should distinctly b rne in mind that , cont ary

ese so - to the generally prevailing impression , th called Hungarian Rhapsodies are n ot in any sense derived or u n s or from fo nded upon national Hu garian mu ic, 2 2 2

2 2 4 D escriptiv e Analyse s of Pian o Works

' “ v Furthermore , we ha e called these Rhapsodies

‘ Hungarian because it would not be just to separate th in e future what has been united in the past . The Hungarians have adopted the gipsies as their national iden tified musicians . They have themselves with their proud and warlike enthusiasms , as with their r so poignant g iefs , which they know well how to h depict . T ey have not only associated themselves

‘ ’ F rischka in their with their joys and feasts , but ‘ ’ have wept with them while listening to their Lassan s .

The nomadic people of the gipsies , though scattered in v many countries , and culti ating elsewhere their to music , have nowhere given it a value equivalent that which it has acquired on Hungarian soil ; because in no other place has it met , as there , the popular sympathy which was necessary to its development . The liberal hospitality of the Hungarians toward the gipsies was so necessary to its existence that it belongs as much to the one as to the other . Hungary , then , can with good right claim as its own this art nourished corn fields by its and its vineyards , developed by its sun and its shade , encouraged by its admiration , em bellished ro and ennobled , thanks to its favor and p

tection . ’ h o own T ese compositions , then , acc rding to Liszt s “ n statement , are called Hu garian only by courtesy and a sort of national ade ption . They are called ” d of c Rhapso ies because their resemblan e , in form , to character , and content , those detached , fragmentary or poems sung recited by the wandering bards , trou badours a d of — , and rh pso ists the olden time poems d i embo ying the collective sent ments , the heroic deeds, Lis z t : H un garian Rhapsodies 2 2 5

of the touching or stirring experiences a people , which were later collected and welded together, with more or less coherency , by some master mind , to form the

of . an au then national epic that people This music , of of S tically gipsy parentage, which Liszt peaks as the ” of songs without words the gipsies , and to which he has merely stood sponsor at its rechristening and its introduction , in new civilized dress , to the musical w world, is the only art form in hich this enigmatical — race has ev er expressed itself the only channel through which its ill - comprehended but intense inner life of emotion , imagination , and vague idealism has found vent . It is the inarticulate, but none the less expres of of sive , cry the soul a race struggling with that

- universal human longing for self utterance . ’ aim Liszt s , pursued for many years , at great pains was and with masterly ability , to collect and preserve for the world at least certain representative portions

of of . this music , and construct from them a tone epic the on lv gipsies , possessing , not from the artistic but from

in the historical and anthropological standpoint , an terest and value similar to that of other epics in of verse , as , for instance , those the Greeks , the Persians ,

S v . the Germans , the Finns , candina ians , etc O i the actual history of the gipsies little is known , save that they are the strangest and most anomalous people of the globe . Numerous theories as to their origin have been advanced , only to be abandoned . But the best belief of to - day is that they originated in of Soodra or India , being the lowest caste Pariahs u t the there , driven o by terrible Mongol invasions

A . D between the tenth and thirteenth centuries . I S 2 2 6 D escriptive Analys es of Pian o Works

first to They appear the historical world in Egypt , ” i v and the r name , gipsies , gi en them in this country a t and Great Brit in , is but a corrup ion of the word “ Egyptian and hence they were long erroneously supposed to have. originated there . In other countries they have received various names , as Bohemians in S Z m France , Gitanos in pain , igeuner in Ger any ,

Zingari in Italy . But they always and everywhere or designate themselves as Romani , Roma S inte , “ " “ ” meaning , Roma (men) and S inte , probably from

S or . cind , the Indus River They did not appear in Western Europe till the early part of the fifteen th first century , in Bohemia , then in France and Ger many , and thence they spread , in wandering bands , from natural increase , and , perhaps, from further v or immigration , o er most of Europe and other large p of v y tions the world , e er where abused and hated , and by most governments cruelly persecuted . The Aus was trian government , under Maria Theresa , the

m odified . She en main , exception to this harshness cou raged and protected them in some localities in

Hungary , and , under this more humane care , they v have there li ed , in very considerable numbers , a more stable and localized life than elsewhere on earth , ' afl ordin g some m odification s and improvement of i their general habits and character, as nomad , or ental vagabonds . d Liszt , in the book referre to , has eloquently and t : strikingly charac erized this strange people , as follows “ Among the nations of Eu rope there suddenly ap eared day defin itel p one a people , whence no one could y say . It cast itself upon the Continent without show

2 2 8 D escriptive Analyses of Pian o Works

n casm , laughs at the ambitio s , the tears , the combats , and festivals of all others ; that knows neither whence it came n or whither it goes ; that preserves no traditions and registers no annals ; that has no u faith and no law , no belief and no r le of conduct ; that is held together only by gross superstitions , vague customs , constant misery , and deep humiliation ;

v this people , that ne ertheless is obstinate , at the e price of all degradation and destitution , to pres rve b y its tents and its tatters , its hunger and its li ert ; this people , that exercises upon civilized nations an a indescribable and indestructible fascination , p ssing as a mysterious legacy from one age to the next , f all defamed as it is , o fers nevertheless some striking o ur and charming types to grandest poets ; this people , so of so heterogeneous , a character indomitable , so so intractable inexplicable , must conceal , in some r 1ts co ner of heart , some lofty qualities since , sus ce tible i p of idealization , it has idealized tself ; for it has poems and songs which , if united , might perhaps ” form the national epic of the gipsies . so It is from such a people , understood and described by him , that Liszt has taken the musical fragments inwrought into his Hungarian Rhapsodies ; and he reasons at length and ingeniously as to his right to call these musical cycles parts of what could be enlarged and made to cohere into a national tone epic . This u n fitted to in people , being express itself nationally its any other mode save through wonderful , though “ rude and uncultivated , instinct for music , as it drew bo w n the upon the stri gs of the violin , inspiration it e taught , without its se king , rhythms , cadences , Lisz t : H u ngarian Rhapsodies 2 2 9

l w s modu ations , songs , speech , and discourse . Hegel a ” “ not wrong, says Liszt , when he gives to the word

‘ ’ ‘ epic more of the sign ification of the verb to ’ ‘ ’ or of n speak, utter, than the substa tive , recital ; of and these tone pictures are fragments an epic , because they speak sentiments which are common to all the race, which form their inner nature, the of of physiognomy their soul , the expression their ” whole sentient being . And therefore , in summary : conclusion , Liszt says Believing that the scattered of of fragments the instrumental music the gipsies , o properly arranged , with s me understanding of the succession necessary to make them reciprocally valu afiord able , would the expression of those collective sentiments which inhere in the entire people , de term in in one g their character and customs , feels him self authorized to give to such a collection the name of

National Epic .

Regarded from a purely musical standpoint , the Rhapsodies have occasioned much controversy and considerable adverse criticism on the part of certain musicians who pride themselves on their loyalty to conservative traditions . They have been decried as su erficial trivial , p , and sensational as lacking in depth of and dignity , in symmetry form and nobility of senti ment . These critics seem to forget that the object of or or all art is primarily , not instruction elevation , even abstract beauty , but expression . Its mission is to portray , not exclusively the highest and grandest of emotions humanity , but every experience , every o shade of feeling , every psychological p ssibility of the

fidelit . race , with equally sympathetic y Humanity 2 30 D escriptive Analyses of Pian o Works

sof on is the broad theme ; and the various form art , c which the spe ialist is apt to lay undue stress , are only the means of expression , not the supreme end .

That form is best , in any given case , which best serves ’ o the artist s purp se . It should be remembered that the music under dis c ussion does not purport to embody the loftiest or profoun dt sentiment which Liszt w as personally capable of feeling or portraying , but the life , scenes , d of in and moo s the gipsy camp , presented the primi

v ti e , but spontaneous and vividly graphic , tone imagery of the gipsies themselves . Who shall say that , as a representative racial art , it is not precisely as legitimate , as worthy , and as genuinely artistic as the characteristic national art of the Germans , or ? the Italians , any other people Who shall presume of to dictate to the artist what subject , or class sub ects or ? re j , he may may not select for treatment I all peat , all art has for its mission the expression of life , life ; not the establishment or maintenance of standards either of morals or emotions ' still less of mere forms

. i un of expression Is not the g psy maid , with her governed caprices , her moments of exuberant gaiety , or passionate grief, just as much alive , hence as i i ' in leg t mate a theme for the artist , and certainly as terestin a g and romantic a subject for art tre tment ,

Hau s rau m as the staid German i , or the frivolous A eri can society girl ? The beggar boy has been as ably d t fi ure painte , and is considered as ar istic a g as the n r ki g . Poets have sung the loves of shephe ds and shepherdesses as fondly as those of lords and ladies . n ot n d r Is , the , a goo portrayal of a gipsy camp , whethe

2 3 2 D escriptiv e Analyses of Piano Works

to i ments imputed him , to be true to l fe , must not be of those the cultivated modern gentleman , expressed

' with the stately precision afl ected by the scholastic world ; but primitive , elementary , to some degree r chaotic , utte ed with the rude force and directness of re re the undeveloped nature . In brief , he must be p sented against the background and amid the surround ings which are his natural environment . These Rhapsodies are to be taken as rough but

t - on fai hful self portraitures of the gipsies , strictly their own t standards of merit , as art works in a depar ment by themselves , with a pronounced individuality and i de fin te . x a purpose They are si teen in number , and on u all constructed the same general plan , made p, of of like mosaics widely varying fragments melody , ex ressm d of i each p g some particular moo or phase l fe , but combined so as to give a comprehensive impres n of i sion of the scenes and conditio s g psy camps , familiar to Liszt for many years , through frequent as v and lengthy visits , vi idly described by him in the book from which we have so largely quoted. S d so Roughly peaking , the melo ies interwoven in the v n Rhapsodies may be di ided i to three classes , of all which appear in about equal proportions , and t v of wi h their e er startling sharpness contrast , in each “ : and all of these works the lassan , a slow, mourn fully lugubrious song , expressing the uttermost depths ” s frischka of depre sion ; the , a bright , playful , capri cious dance movement , full of grace , humor, and “ u witching coquetry , and the czardas , a f rious , ' almost demoniac dance portraying the dance delin u m n at its most intoxicating extreme , resembli g some Lisz t : H u n garian Rhapsodies 2 33 what the Tarantelle of Spain and the Dervish dance

of . the Orient These three , with an occasional brief

‘ - strain from a fugitive love song , shy and elusive as of or — the notes some timid night bird , a march like of movement wild but distinctly martial character , formed the crude material from which Liszt has wrought these always effective and thoroughly pian is

. S tic compositions A brief, pecial reference to two or three of the best known among them will be sufii cient to indicate an intelligent interpretation of them all . e f . 6 on o The No , for instance , begins with the march movements referred to . It is rhythmic and

- o . p mpous , with a bold , half barbaric splendor Next “ on e of frischka comes the slower forms of the , which is often sung in Hungary to the words of a half - tipsy

- drinking song . Then follows one of the most doleful “ ” of lassan s tran sla the , the words to which , in free “ : M tion , run as follows y father is dead , my mother or is dead , I have no brothers sisters , and all the money that I have left will just buy a rope to hang myself with . of im The work closes with one the wildest , most ” etuou s of p the czardas dances , which Liszt has wrought up to an irresistible , overwhelming climax . 1 2 The No . begins with a slow , gloomy recitative delivered with an impressive dignity so exaggerated as to border on the bombastic ; a tale of strange adv en be of tures , it may , narrated by the chief the tribe at

- fire flickerin fireli ht the evening camp , while the g g plays upon the picturesque figu res grouped about against the somber background of the pines , and the e thunder mutt rs sullenly in the distance . Then a 2 escri tive Ana ses of Pian o or s 34 D p ly W k 0

' - quiet bit of lyric , evidently a love song , gives a touch of the softness to scene , and hints at a covert courtship among the shadows . Later , the crisp , piquant music “ ” of frischka the calls the young people to the dance , l l which gradua ly increases in speed and brilliancy , ti l fin all it y merges in the czardas , in which all join , and which is given with the greatest possible dash and

of founded upon , and mainly consists the

arch , composed by a gipsy musician in of honor Rakoczy , that Hungarian patriot, popular general , and hero , whose daring exploits as leader , the in Hungarian struggle for independence, made him i fi ure a prom nent historical g of his time , and the idol o f his countrymen . This march has been adopted as ’ the of national march Hungary , and Liszt s setting of it for pian o is among his most stupendous works . These few illustrations may serve as guides in form ing a correct conception of all the Rhapsodies . I have given to the foregoing article more space than first be seems , at thought , to be warranted ; partly , cause it gives a somewhat unusual point of view in n consideri g Liszt , not only as a composer , but as a hi10 50 hic n thoughtful and p p stude t of esthetics , and as an eloquent , forceful writer ; partly , because I hope it may produce in the minds of some readers a more a r n favorable , bec use more justly disc iminati g, attitude of min d toward these Hun garian Rhapsodies as a music l art works ; but mainly , because it emphasizes , ’ with the powerful support of Liszt s authority , cer tain general principles of art which seem to me all too con important , but which are often ignored in i s derin g the special art of music .

R u n s e n : a ca o e in G a o r bi t i B r r ll , M j

R I CT Y a i L spe k ng , the barcarolle is an Italian boat - song barca

being the Italian word for boat . But in musical terminology it has been localized and sign ifies distinctly a Neapolitan boat - song associated as exclusively with the Vesuvian bay as is the gondoliera with the lagoons and canals of Venice . In each case it is the song of e the local boatman , sung to the rhythmical a com an im en t of oar p the swinging , and enhanced in poetic charm by the beauty and romantic atmosphere of the surroundings . In each case also it has served as a suggestive and grateful artistic subject for musical treatment , used by nearly all the modern composers , on e great and small , and which is particularly suited to the pianoforte and facilely adapted to its character istic resources .

In many respects the barcarolle , in this its idealized form as a musical art work , closely resembles the

v gondoliera , similarly de eloped ; for instance , in its

- graceful six eight rhythm , its gliding, swaying boat 2 37 2 38 D escriptive A n alyses of Pian o Works

of oar an d like movement , its suggestions dipping - d rippling water , and in its sustained song like melo y which we may easily consider as representin g the voice of the boatman . These descriptive elements are common to all of works both classes , but the characteristic mood of the typical barcarolle is less tender and passionate , more cheery and fanciful than that of the gondoliera . of It has less the human element , more of the sea and ’ of v its slumbering mystery ; less the lo er s sigh , and

— - more of the half seen witchery of sea S prites and mermaids in the clear depths of inverted sky beneath . d on e v To appreciate this moo to the full , must ha e drifted , with suspended oars in a small boat , upon the - of far famed bay Naples , !ust as evening fell , with the lofty banner of blue - black smoke waving majes tically above the summit of Vesuvius , in the distance , like the pennon of some mighty earth giant , an ominous reminder of his terrible , through slumbrous , power ; a on with the city rising in the background , terr ce ' terrace , from the water s edge to the stern old ducal castle , which crowns the height and looms dark and r t forbiddingly against the sky , a memo y in s one , with the fairy island of Capri lying to seaward and the cool breath of the Mediterranean fillin g the sails of u fishin - i the co ntless g boats gliding shoreward , wh le the boatmen sin g to the subdued accompaniment of the ev ening chimes softened by distance . Seen at r midday f om the height , under the glare and scorch of the noonday sun , with the discordant , jangling sounds of l on e busy life rising harsh y to , like the cries from of m a e some pit to c t , Napl s seems a hell ; but at the

s t e word h mood of this barcarolle , and I never play thinking of them :

My sou l to-day I s far a a w y , A r u on Vesuv a ba d ift p the i n y. n e oa My wi g d b t ,

es the u e ea s rem o e Glid by p rpl p k t . A cross the rail My han d I trail \Vi thi n s a o the h d w of the sail . With bliss in ten se

l es o n m ro s n o en G id d w y d w y i d l ce. R u n s e n : K am en n oi- O s ow bi t i tr ,

N o . 2 2

AMEN N O I - OSTROW is the name of on e of a group of islands situated

in the Neva R iver, some miles below r “ ” S t . Petersbu g, Ostrow being the “ Russian word for island, and Kam ” ennoi the specific name for this

particular island , signifying at once

small and rocky . This island is a for favorite pleasure resort, both winter and summer , of t the wealthy and aristocratic classes S . Petersburg ; it one of the imperial palaces is situated upon , besides e many caf s , dance halls , summer and winter concert I n gardens , and the like . winter it is the objective point for countless gay sleighing parties , in which the lavish Russian nobles vie with each other in the fin e display of elaborately decorated sledges , blooded horses in glittering harness , and piles of almost price A t less furs . this time the highway to and from the

of . island is the smooth , solid ice the frozen river In summer the transit is made by boat , and the gaiety is higher during those gorgeous summer nights , when the midnight sun , never quite vanishing below the s floods outhern horizon , the scene with its wondrous , 1 6 2 4 1 2 4 2 D escriptive Analys es of Pian o Works

mystical light , unlike either moonlight or the ordinary ' light of day , but described by enthusiastic beholders own as possessing a peculiar , magical charm wholly its and scarcely to be imagin ed by those who have never it witnessed .

Rubinstein , who spent many years of his later life at

S t . Petersburg , was naturally a frequent visitor at

K m e n n oi- on v a . Ostrow In fact , se eral occasions he spent a number of weeks consecutiv ely at one of its summer hotels and became very familiar with all phases of gaiety at this festiv e resort and well ac of qu ain ted with most of its habitués . His set twenty “ ” K am en n oi- four pieces for the piano , entitled Ostrow , is a series of tone sketches suggested by and represent ing v arious scenes and personages which his sojourn

. The . 2 2 there brought within his experience No , which is probably the best of the set and certainly the most widely known , is intended as the musical portrait of a lady , Mademoiselle Anna de Friede bourg , a personal acquaintance of Rubinstein , to whom the composition is dedicated . It is a portrait drawn in tender yet glowing tin ts against the soft background of the summer night , outlining , however; the spiritual rather than the phy sical charms and char ' acteristics the afiordin u s of lady , g a conception of her indiv iduality as well as the mood of the surroundings . first i - The and pr ncipal subject , a slow and song like y l ric melody , enunciated by the left hand , with its m n on e peculiarly war and mellow character , remindi g , t G on in color and quali y , of the tone of the string the i s violin , is ntended to sugge t the personality of or i the lady , perhaps , more str ctly , the emotional

44 D escriptiv e Analyses of Pian o Works serves in difl eren tly well as a means of leading back to first i flowin the theme , presented this t me with full , g n in to accompa iment a more impassioned guise , as if in ten sified indicate the deeper , more emotions devel oped by the romantic scene and poetic surroundings . The composition closes with a momentary return of the little conversational strain , merely suggested and of only just audible this time , like whispered words of farewell ; and then a few quiet chords the organ , in c l gering and slowly fading into the silen e, as a pleasant memory reluctan tly dissolves into slumber .

2 48 D escriptive Analyses of Pian o Works

’ ’ ( 5) Anitra s Dance ; (6 ) Solv eig s Song ; (7) Morning ;

(8) Storm ; (9) Cradle Song . I have included in their of proper places two of the songs Solveig , the prin c i al p heroine of the drama , which Grieg has also set to music and which should be rendered by soprano voice .

P ee r G n t an d n ri 1 . y I g d

“ ' This is also called Ingrid s Complaint and B raa t ” raub first , or the robbery of the bride . It is the of the scenes in the drama which Grieg has rendered on e into music , and represents of the earliest escapades of in the life the hero , when he attended the rustic v d d festi ities of a we ding in the neighborhoo , and , seized with a sudden infatuation for the bride , Ingrid , the the ran away with her to the mountains , in face of

. first e u assembled company The four m as res , marked “ " o r allegro furios , suggest the fu ious movement and the fli ht con delirious excitement of g and pursuit , trastin ed g ludicrously with the daz , helpless astonish ment of the disappointed bridegroom . The following protracted plaintive minor strains em n of i body the complaini gs and reproaches Ingr d , v for i grie ing a l fe ruined and happiness destroyed , e n k s his a from which P er sudde ly ma e esc pe , brutally leavin g her to her fate in the hills ; and the first four are d a measures repeate at the close , to indic te that the only lastin g impression made upon him by the whole affair was that of the exciting an d triumphant moment of his success. Grieg : Peer Gyn t Su ite 2 49

a 2 . T roll D n ce

of This is the most graphic all the numbers , and is “ ” e I n sometim s called the Hall of the Mountain King . The troll seems to be the Scandinavian mountain of spirit , but more the nature of gnomes , kobolds , and goblins than of the gentle elves and fairies of English lore . After deserting the unfortunate Ingrid in the fled forest, Peer still deeper into the rugged fastnesses , where he was su rrounded at nightfall by a pack of l e tro ls , who alternately teased and ent rtained him with n their pranks and antics , until scattered at daw by

- the sound of church bells in the distance . The grotesque character of this movement admirably depicts the uncanny mood and nature of the trolls . The a opening me sures are light and weird , fantas tically suggesting the stealthy footsteps of the gather of ing pack trolls , emerging on tiptoe from the mists of and shadows the night , and cautiously surrounding their uninvited guest . Little by little the movement becomes more impetuous, as the hilarity and excite ment increase, until toward the close it grows to an ou t in coherent whirl and rush , above which ring sharply the gruesome shrieks of the infuriated gob i of lins , balked of the cont nuance their vindictive de light in tormenting their victim , by the approach of dawn;

eat of A se 3. D h ’ ‘ O u returning to his mother s hut ia his native v il. fin ds lage , after these and many other adventures , Peer 2 50 D escriptive Analyses of Pian o W orks her on her death - bed and remains with her through “ the wh1ch i night , during she passes away , enliven ng her last hours with the most preposterous tales and of m pantomimes . This scene the dra a , in spite of its to solemnity and sadness , carries the fantastic the ex treme verge of the grotesque . The illustrative music is cast in the mold of a funeral ” on e - march , without trio and with but well developed theme . In it Grieg has emphasized only the somber n and tragical aspect of the situation , ignori g entirely us its touches of ghastly humor . The utter and cr hing l of despair of a wrecked and disappointed ife , shattered hopes and u nrequited and unappreciated maternal ' afiec tion n , sobs through its strains , e hancing the of of pangs approaching dissolution . Its mood is that u n ualified l t of q gloom , unre ieved by a single vibra ion hope or consolation .

A rabian an ce 4 . D In the interval which has elapsed since the death of ou r Ase , hero , now in the prime of life , driven by his i i an d errat c sp rit love of adventure , has landed A upon the coast of frica , after being fairly hounded ou t of his own country by the ridicule and contempt i of his neighbors . Th s scene takes place in an oasis of s r the Great De ert , where an A ab chief has pitched n his te t , and where Peer , mounted on a stolen white b charger and clad in stolen silk and jeweled ro es , has arrived in the r6 1e of the prophet to the Bedouins . A bevy of Arabian girls are dancing before him in oriental costume , pausing to render homage at intervals to

2 52 D es criptive Analys es of Pian o Works of b on her power and ent using it to the full , for the complete subjugation of their prophet guest . We can v almost feel her smoothly undulating mo ements , her swift, but seductive , changes of pose , and those sharp ,

- a stolen side gl nces , skilfully blended of shyness and ht e flashin s , g from beneath her drooping black lashe , n fascinati g , but dangerous , like lightning gleams from a fringe of somber cloud .

’ 6 Solv ei s Son . g g ’ S i own i l olve g , a Norwegian maiden of Peer s v l age , of the earliest and only worthy love his life , whom he d u n fit has deserte in a spasm of virtue, feeling himself w her of to remain ith , sits spinning at the door a log

. h e hut , in a forest far up in the North S is now a

- m middle aged wo an , fair and comely , and as she spins ’ of P she sings her unfailing faith in eer s return , her

- d own ever constant love, and her prayers to Go to stren gthen an dgladden her lover on earth or in heaven . In the music to this song Grieg has admirably depicted a of S : i the ch racter olveig beaut ful , tender , joyous ,

an d l . i of fu l of hope The Engl sh translation the words, which is but a poor and inadequate representation of l w : the origina , runs as follo s

ou n er e a e Th gh wi t d p rt th , A n d fade th the May ;

The year pass away ' Yet ou re u n m ar n th lt t r , y d li g ,

F or ou ov e art m n e . th , l , i av e ee m rom se I g th y p i , v r am in Fore e I th e. Grieg : Peer Gy n t Su ite 53

God e ee m ar in h lp th , y d l g, If livin g art thou ; God ess ee O m ar n bl th , y d li g, ea ou art n o If d d th w . I will wait thy com in g Till th ou drawest n ear O r arr ou in eav en t y th h , can m ee ee ear Till I t th , d .

or 7. M n in g This the most musical and sensuously beautiful m ovement of the whole suite , represents daybreak in

Egypt , with the desert in the distance and the great of pyramids , with groups acacias and palms in the

foreground , against a rosy eastern sky . Peer stands before the statue of Memnon in the first hush of the of dawn , and watches the rays the rising sun strike it upon , when , true to the ancient tradition , the statue

. n sings Soft and mysterious strains of music , mo oto

nous and prolonged , are drawn by the sunbeams from

the venerable stone . The melody of this movement is of extreme sim i l cit . p y and lyric beauty , pure and fresh as the dawn Its cadences swell in power and volume as the sun rises higher ; and the full flood of light is transmitted flood of into a full song, as the statue thrills and vi brates with the first kisses of the ardent Egy ptian sun .

After the climax , which is full and joyous , but never passionate, the music diminishes and dies away in im broken snatches , as the statue , now thoroughly

re n ated p g with light and warmth , ceases to emit those sounds with which it has been said to salute the day break for four thousand years . 2 54 D escriptive An alyses of Pian o Works

S orm 8 . t P eer Gynt , now a vigorous old man , is on board a Sea 0 3 ship on the North the Norwegian coast , trying to discern the familiar outline of mountains and gla ciers through the growing twilight and gathering w storm . The wind rises to a gale ; it gro s dark ; the sea increases ; the ship labors and plunges ; breakers are ahead ; the sails are torn away ; the ship strikes and goes to pieces , a shattered wreck , and the waves

. his swallow all Peer , true to his nature , saves life and adds to the list of his sins by pushing a fellow passenger from an upturned boat which will not sup

floatin to . port both , and g shore final This , the instrumental number of the suite, is difficult by far the most , important , and pretentious of them all ; and whether regarded from a musical or i n w descriptive standpoint , is unquest o ably the cro n ' ing efl ort of the whole work . It portrays the mood i and the might of the tempest w th startling vividness ,

r - e s the blackness of the sto m rack d cloud , the rage of

n - of the wi d lashed waters , the shrieking the gale n l n com through snappi g cordage , the a most huma u n plaining of the noble ship , str ggli g hopelessly with

her . t doom In brief, the streng h , the power , and the manifold phantom voices of the storm are simultane ou sl l y and graphica ly expressed , and the mood and in movement , both duration and completeness of de v elo m en t p , exceed those in any of the other numbers . A t length , however , after the catastrophe , the force of the storm is broken , the fury of wind and waves s i subside , and the reced ng thunder clouds mutter their

2 56 D escriptiv e Analyses of Pian o Works stanzas of the drama to music under the title of Sol~ ’ v ei s S . g Wiegenlied , or Cradle ong They are lated as follows :

S ee ou eares bo of m n e l p th , d t y i i a c cra e ee ee . I wi d th , I w w t h th ll l ll ’ The bo has een si n on his m o e s la y b tti g th r p, The two av e een a n all the e -da on h b p i g i y g. l y l f ’ l The boy has bee n re sti n g at his m other s breast ’ - e da on . o s ess on m o All the lif y l g G d bl i n g y j y . The boy has be en lyi n g cl ose in to m y heart h -da o n He is ar ow n . All t e life y l g . we y S ee ee eares bo of m in e ! l p th , d t y i cra e hee a c ee . I w ll dl t , I will w t h th S ee and ream ou ear m o l p d th , d y b yl These lines seem to indicate a transition from wifely a afiection love to matern l love in the of Solveig, with the advent of age . The a on e moral of the dram , not a very ethical , but on e whigh has possessed the minds of many devoted i e a women s nce the world b g n , appears to be that in v rr lo e alone is salvation . Whatever the e ors and sins l es of won and fol i the man , he is at last and saved , v v u e en at the ele enth ho r , by the faith , the hope , and on e e the love of devot d wom an . Grieg : A n de n Fru hlin g (Sprin g

on O . N o 6 S g) , p 4 3 , .

MO N G the very few strictly lyric

compositions for the piano by Grieg , — a vein in which he was singularly unproductive for so eminent a gen — u n u es ius , this spring song must q tion abl y take rank as the best, the

most evenly sustained throughout,

fin ish the most perfect in form and , and decidedly the huest as well as most emotional in quality . The openin g notes of the right hand accompaniment fall light and silvery as the soft drops of the April first shower upon the waiting woods , when the faint shimmer of tender green begins to tint the tips of the waving boughs . Then the melody enters in the left hand with subdued , repressed intensity , warmly ,

g sweetly vibrant, like the upper re ister of that most ’ passionate of instruments , the cello , a melody telling of - mild , languorous days and soft , dream haunted i t of nights , thr lled through by the mysterious hrobbing ’ a new life in the earth s long - frozen veins ; telling of

Nature , surprised but radiantly happy , awakening at of the touch her ardent lover, the sudden spring , from 1 7 2 57 2 58 D escriptive An alyses of Pian o W orks her - lo ked - ice e sleep, like the slumbering , frost fettered bride in the old legend of Siegfried and Briln n hilde ; telling of summer joys and brightness begotten of their o n union , of bird s ngs , sweeter for the long sile ce , of many - tinted flowers S pringing in fragrant profusion i of where the cold wh te drifts winter lay but yesterday , as if the sn ow flakes had all been transformed to blos soms bv the magic kiss of the sum of love as sudden as S r 1ts the pring , as tende ly sweet as violets , strong as ! too its rushing torrents , but alas often as transient

its flee tin . as g glories This sudden , startling thought of pain and disillusion strikes sharply across the mellow , golden current of the stream with a somber threatening note of danger and distress risin g to a of i n or fierce swift , strong climax ndig ant protest defian ce i , a contrast ng reactionary mood common to certain minds , like those , for instance , of Byron and i Heine , aptly illustrated by the following l nes , trans lated from the German of Am en tor

S n n ot to m e of s n its flowers an d a u re s es i g pri g , z ki , ee i n e us on s all to c ea un a Fl t g d l i h t w ry eyes. a f ov i n ot to m e o e ts ream s of aradise . T lk l , d P The c arm s of s n the o s of ov e are ian es h pri g , j y l , brill t li . But this dark mood is of but brief duration ; it is soon exorcised by the plenitude of sunshin e and the ex u beran ce of i first spr ngtime happiness , and the melody returns with all its glowin g beauty and seductive s flu en t weetness , and with a fuller , more , voluptuous n accompanime t , suggesting the mingled voices of many n or streams exulti g in their new freedom , the irregular , n intermitte t sighs of May breezes , impatient with hav in g to rock all the baby leaves at once .

e : Vo lein e ds O . Gri g g ( Littl Bir ) , p N 0 4 3 , 4

' CHARMING and efiectiv e supplem en tarv companion piece to the spring

song is that exquisitely , daintily fan c ifu l n , yet exceedi gly brief piece

v of descripti e tone painting , called “ The Little Birds , published in the same volume of lyrics with the n precedi g number . It m ay be played as an added and appropriate coda to the of spring song . It is one those graphically realistic productions which tell their ow n story . It portrays i very l terally , by more than suggestive imitation , the blithe twitter of the spring birds flu tterin g amid the dancing leaves and sunlight , engaged in their de

- fu of . too light l occupation nest building Notice , , the r so sudden touch of facetious d ollery , characteristic of ab Grieg , where the delicate little bird motive is tl n ru p y transferred to the bass register , produci g a ' r h e peculiarly comical , g otesque c e t , reminding one of the gutteral hilarity of the spring - awakened frogs in some neighboring pool .

Exceeding lightness and delicacy , combined with a f certain playful staccato e fect , are the chief technical or requisites f the correct performance of this work , which , though small , will well repay careful study .

The tone produced should be crisp and bright , though i n ot never r sing above piano , and the tempo exceed in gly rapid . e : e ceu se O . 8 N o . 1 Gri g B r , p 3 ,

’ N E of Grieg s most charming lyrics is this thoroughly unique and char acteris i t c Cradle Song . This has always been a most attractive and facilely treated subject for piano on compositions , account of the way in which it lends itself to real istic a h ndling . The general plan of these compositions is always

' : e substantially the same a simple , swinging a com an im en t p in the left hand , symbolizing the rocking cradle, and a soft , soothing melody in the right, more or less elaborately ornamented , suggesting the song o of the nurse r mother lulling the child to rest . A n in fin ite of ff almost variety e ect is possible , how n r ever , within these seemi gly na row limits , depend ent upon the differing ability and personality of the composer, the diversity in melodic and harmonic color an d con ing , and especially upon the environment dition s conceived of by the writer as the setting or of background of the picture . The range legitimate suggestion in this regard by means of such works is of in as broad as that human experience itself . For b stance , the child imagined may e the idolized prince 2 6 1 2 6 2 D escriptiv e Analyses of Pian o Works of n d a royal li e , rocke in a golden cradle with a jeweled crown embossed upon its satin canopy , and guarded by the loyalty , the hopes and pride of a mighty nation ;

' ' or ofis rin sufl erin it may be the sickly p g of want and g, doomed from its birth to sorrow and struggle and i ri disappo ntment , to a crown of toil and a he tage of or C n tears ; perhaps it may be a fairy hangeli g, stolen by Titania in some wayward caprice , rocked to sleep

i - or w in a l ly cup upon crystal waves , watching , ith of large , wondering human eyes , the pranks the forest elves as they trace with swiftly circling feet their or n magic rings upon the moss , awaken the morni g

i - of glor es upon the lawn with a shower bath dew . The lullaby song of the mother may thrill with the sweet content and rapturous joy of a life of love and brightness but just begun , and seemingly endless in its forward vista of ever new and ever glad surprises . Her fancies may be winged by hope and happiness to airy flights in which no sky - piercin g height seems im possible ; or her voice may vibrate with the songs of ~ d w a broken hearte idow, who guards the little sleeper of lov iii d in an agony g fear , as the last treasure save f from the wreck of her world . As the sm allest plot o garden ground possesses the capacity to receive and develop the germs of the most diverse forms of vegeta the oak tion , from violet to the , from the fragrant so m u rose to the deadly poppy , these modest little sical forms are replete with an almost boundless po ten tiality of suggestion . e of u In the cas this partic lar work by Grieg , the

i - - ch ld portrayed is no delicate rose tinted girl baby , i e n downily cush on d upon silke pillows , peeping timidly

e : T he a o cess o n f o m Gri g Brid l Pr i , r “ k m Vo s n O . A u s de l l e b e . p

1 N o . 2 9 ,

N E of the best known and most ’ popular of Grieg s compositions is the second movemen t of his piano suiteentitled Aus dem Volksleben (sketches of Norwegian country

life) , a work which portrays, with all his graphic power and good a n tured humor , a number of unique and characteristic phas es of the peasant life in Nor way . This second movement, at once the easiest of n and most pleasing number the suite , is i tended as a realistic representation of the music of a primitive peasant band , which leads a rural bridal procession , of on to made up Norwegian countrypeople , its way the church . We may fancy ourselves seated on a bank by the of ictur roadside , with a jolly company villagers in p esque holiday costume , listening to their jests and our at gaiety as we await the rustic pageant . Soon t of ention is caught by the sound distant music , gradu ally approaching , strange, weird , uncanny music , as 2 64 Grieg : T he Bridal Procession 2 6 5 if the gn omes and trolls had left their work in the secret mines and caverns of the mountains, where they are ever forging new chains for the fettered earth - giants i ” h ad as their prisoned strength ncreases , and turned musicians for a frolic and come forth into the light of day to join the festival . The rhythmic beat of of drums and cymbals , the shrill , strident notes the fife , the quaint , quavering tones of the pipe and clari net , mingle in a strain jocosely mirthful , rather than

ul . tr y gay , and becoming more insistent as it advances of of There is no trace tenderness , no hint sweet of anticipation , no suggestive undertone sacred solem

n it . y , in this music We miss the warm color and f of tremulous , sustained e fects the violins , which with of u s are always symbolic love . It seems almost like a musical satire on the tender passion ; as if the divine but dethroned Balder (the God of Love in Norse in fidelit n t mythology) , disgusted by the y and i gra i of tude mankind , were employing all his wondrous power as a minstrel to depreciate and deride this his best gift to humanity . But perhaps we do not rightly n c n e o appreciate the sig ifi a c f the music . As it draws nearer and nearer, growing stronger with every mo ment , we begin to suspect that perhaps its very rude ness and primitiv e energy express more truthfully fin el than more delicate, dreamy , y shaded cadences on e could do , the idea that human love is of the ele mental forces of nature , underlying and antedating refin em en ts of v all the subtilizing ci ilization , and des tined to outlast them , as the rugged granite of the northern mountains antedates and will outlast all the crystal palaces of taste and luxury . 2 6 6 D escriptiv e Analyses of Pian o Works

O n s come the procession , the music swelling and growing with every step , till as it passes immediately before us it becomes an almost deafening crash of dis

t - i sonant ins ruments , each player with lusty good w ll doing his utmost to honor the occasion , outvie his r com ades , and earn his share in the wedding feast , by making his part most prominent in the general din .

First comes the hand , then the bride and groom and the bridesmaids in white , with wands and wreaths , a 00 of flowers tr p children with baskets of , then a com pany o i the immediate friends and relatives of the i bridal pair , with the older ne ghbors and acquaint

n es defile a c soberly bringing up the rear . So they us l before , and pass on their way down the sun it coun r i try road to the church , the music g adually diminish ng n as it recedes into the distance , growi g fainter and fainter till only occasional shriller notes or louder frag a u s ments re ch , and at last even these are sunk in the summer silence . a This movement is in m rch time and form , and the strict , unvarying march rhythm should be preserved

o l a . throughout , abs lute y without vari tion The tone i a should be cr sp and clear , with but little singing qu l of ity , to represent that wooden wind instruments , but varying in degree from the softest possible pp to the most tremendous ff] which the performer is cap ' or 0 able of producing . The player is here afi ded an p portu n ity of testing his powers in that most difficult

all —a - d of elements in pianism long sustaine , evenly graded crescendo and diminuendo . To produce its f s true realistic ef ect , the music should emerge almo t i c ou t of n e mper eptibly sile ce, incr ase steadily , but

2 72 D escriptive A n alv ses of Pian o Works

t d varie y of moo s , merging into one another without pause or interruption . Its only radical point of similarity to the sy m phony lies in the fact that its first prin cipal theme is subjected to an elaborate and logical development in l most cases , as in the symphonic a legro . It is dis tin ctly an outgro wth of modern romanticism and deals t defin ite or always wi h the somewhat poetic thought , some real or imaginary episode from life . It is , in fact , program music of the most pronounced and c or un ompromising type , and the special thought y episode is alwa s indicated by its descriptive title . The four Symphonic Poems of Saint - Saens are : ( 1 )

' Le Rouet d O m phale ; ( 2 ) Phaeton ; (3) Danse Maca ’ bre ; (4) La Jeunesse d Hercu le . I ha v e selected for consideration here the first and ’ e d O m hale third , entitled respectiv ly the Rouet p ” and the Danse Macabre ; the on e descriptive of a

a . cl ssic , the other of a medieval scene and tradition “ ” first was The , the Wheel of Omphale . suggested by the Greek myth of Hercules and Om phale . The story of the pair is familiar to all readers of classic s s n mythology , and represent perhaps the mo t si gular episode in the checkered career of this hero and demi w u n . : es god The legend runs as follo s Herc l , havi g fit of killed his friend Iphitus in a madness , to which a l he was occ sionally subject , fe l a prey to a severe od n malady , sent upon him by the g s in punishme t D i l for this murder . He co n sulted the elph c orac e with a v iew to learnin g the means of escaping from this disease . He was informed by the oracle that he could only be cured by allowing himself to be sold as a slave ’ Sain t- Saén s : L o R ou et dO m phale 2 73 for r e th ee y ars , and giving the purchase money to the of father Iphitus as recompense for the loss of his son . Accordingly Hercules was sold by Mercury as a slave to n Omphale, the Queen of Lydia , the reigning in that country , who had long been desirous to see this strong est of men and greatest hero of his age; He remained her r e with the allotted th ee y ars , and during this period of e of - slav ry , by the wish the queen , the warrior hero assumed female attire and sat S pinning among the women , where his royal mistress often chastised him with her san dal for his awkward manner of holding the ’ distafl , while she paraded in his lion s skin , armed with

- i his famous war club . But if awkward at the d stafi this son of Jupiter understood other arts which he practised upon the Lydian queen ; for in the intervals of spinning he made love to her so successfully that of oe from their union sprang the race Cr sus , famous

' in antiquity . Some authorities regard this legen d of of si n ifican ce Hercules and Omphale as astronomical g , while others give it a moral interpretation , saying it illustrates how even the strongest and bravest of men is demeaned an d belittled when subjugated by a woman .

' The music Opens with a playfully realistic in troduc of of - tion , consisting a series light , rapid running ures fig and graceful embellishments , imitatively sug

- gestin g the roll and buzz of the spinning wheels . A e of seri s delicate turns , each an audible circle, add their ‘ quota of pertinent symbolism to the general cheet .

Soon the melody enters , joyous , musical , yet with r odd a certain arch mocke y , enhanced by its . piquant ; rhythm It is the song of the spinning maidens , 1 8 2 74 D escriptive Analyses of Piano W orks cheerfully-speeding their hours of toil with music and t s a r of mir h , with occa ion l i repressible touches gay v raillery at the expense of the clumsy capti e warrior , whose long face and futile attempts at their handicraft afford them v ast amusement . Now and then a dis tinct burst of silvery laughter is heard above the boom

of . too the wheels , interrupting the strain Omphale, , is there , admonishing , chiding , ridiculing the hero , as he moodily pursues his unwonted and unwilling task with many a blunder and comical mistake ; yet we can fancy a half - tender smile softening her reprimands and sweetening her playful chastisements . Then with a radical change of mood and movement m a comes the second i port nt theme , a broad , impres

v y si e , strikingl original melody in the bass , half gloomy , half indignant , the mighty manly voice of di n ified Hercules , uplifted in grave lament and g pro i test , deploring his hard lot , defying its humiliat ons , reproaching his gay tormentors , rebelling at his menial m duties and unworthy surroundings , yet with a ste , proud gravity , a grand fortitude which scorns alike weak complainings and impotent petulance . It sub sides at last into philosophic res ignation and sorrowful

- self repression , as if consoled by the thought that his punishment is after all just and his submission v olu n tary . Then the spinning movement is resumed and the

first v song irtually repeated , though in a materially i l modif ed rhythm ; and the work ends playful y , as it a of begins , with a wonderfully re listic imitation the n of gradual stoppi g the wheels , as their momentum exhausts itself and little by little their speed slackens

S ai n t - S ae n s : Dan se M acabre

O R the sign ifican ce of the French word m acabre we must turn to the

' m akabzr n Arabic , signifyi g a burial “ place or cemetery . The Danse

Macabre , therefore , is simply a “ ” or cemetery dance . Dance of ” Death . One of the most prevalent super stition s r du ing the middle ages throughout Europe , and “ " c of especially Fran e , was that the Danse Macabre , ’ a on a of the a belief that once a ye r, Hallowe en , the de d on e on e churchyards rose for wild , hideous carnival , a old bacchan lian revel , in which King Death acted as f master o ceremonies . This gruesome idea appears of frequently in the literature the period , and also in a r its painting , p rticularly in chu ch decoration , and a more or less graphic portrayal of the Danse Macabre may still be seen on the walls of some old cathedrals and monasteries . e as dm This composition , b longing it to the ultra a s o of s is re listic French ch ol the pre ent day , a vivid “ " At tone picture of the same Danse Macabre . the a a os se as to he d of the origin l comp ition , rving mot and un e i o the s a doubt dly as direct insp rati n for mu ic , st nds 276 Saint- Saen s Dan se Macabre 2 77 a curious ancient French poem in well - nigh obsolete tran sla fourteenth century idiom . I have made a free oi : these verses into English , as follows

O n a sou n n s on e di g t , a an c e - on e With bl h d thigh b , The on e of a sa n ear b i t , I f , a De th strik es the h ou r O i his ar o er wiz d p w , A n d h s as a ar t e pecters h te to ppe .

F 10 111 their tom bs they rise I n se u c ra u se p l h l g i , e n the su m m on s rea Ob yi g d d, A n d gath erin g roun d W o e san ce ro ou n ith b i p f d , h K n of the Dea They sal ute t e i g d.

Th en he stan ds in the m iddle A n d u n es u his fiddle t p , r m ra n A n d pl ays them a g ueso e st i . A n d each gibberin g wight ’ I n the m oon s p al e light a re ra n M ust dan ce to th t wild f i .

N ow the fiddle e s t ll , A s the m u s c s e s i w , ’ ll as a rs O i the cham el s gh tly ple su e ; A n d th e y clatter th eir bon es A s with hideou s groan s n as r Th ey reel to those m adden i g m e u es.

The ch urchyard qu ak es A n d the old abbey shakes T o the rea of a m n os t d th t id ight h t, A n d the sod tu rn s black O u e ac c rc n rac h i li g t k , o r a os Where a skelet n whi ls with gh t . 2 78 D escriptive A n alyses of Pian o Works

The n n m oan s . ight wi d I n shudderi n g tone s rou the oo m of the c re ss ree Th gh gl yp t , Whil e the m ad rou t rav es O v er yawn in g grav e s A nd the fiddle bow ea s t ee l p wi h gl . So the swift ho urs By Till the redden in g sky v es a n n o f a near Gi w r i g d ylight . Then the first cock crow Se n ds th em h uddlin g be low To s a l eep for another ye r. The composition Opens with twelve weird strokes a ou t U indic ting the arrival of midnight , struck pon a vibrant tombstone by the impatient hand of Death h m . w hi self T ere follo s a light , staccato passage , sug estin in d g g the moment when , obe ience to this awe a some sign l , the specters appear from their graves and come tiptoein g forward to take their places in the fantastic circle . Then comes a strikin gly realistic to fiddle passage where Death attempts tune up his , as he is to furnish the music for the dance . I t has u n s been lying dis sed since the last an ual fe tival , is ou t of an d to u very much tune , refuses come p to

. n s pitch In spite of his best e deavors , the E tring o f obstinately rem ains at E flat. The repetition this passage at intervals throughout the co mposition sug

' - gests occasional hasty and ill timed efiorts to tune u p .

N ow firs e i comes the t theme of the dance its lf, l ght , of u fantastic , suggestive p rely physical excitement

t and ghastly pleasure , and graphically represen ing the imagery of the corresponding verse of the poem . r il The second theme is slower , heavie , more gloom y

2 80 D escriptive An alyses of Pian o Works

With a wild hurry and the s to fin al themselve their graves once more , a lugubrious fiddle n c s Dea wail from the closi g the ompo ition, as th h is the last to leave the eld. C ou n terparts am on g P oe ts an d M u si cian s

HO S E who have had suffi cien t inter est to read any considerable number of the foregoing chapters cannot

have failed to perceive that, to the of mind the author , the sister arts , o i music and p etry , susta n to each

other an even closer, more vitally intimate relation than the family connection generally conceded to them .

of of It is a kinship soul and sympathy, as well as — race a similarity of aim and in flu en ce upon humanity ; of ff a similarity , even in the kind e ect produced , and e it the m ans employed to produce , which renders rec1 r c ll them largely interdependent and p o a y helpful . chiefl The purpose of both is expression , y emotional ex of pression , descriptions nature and references to natural phenomena being introduced merely as acces ories s , as background or setting for the human life

n e. and i terest , which are of primary importanc Both i a express their meaning , not through mit ted sounds or forms borrowed from the physical world , but by means of audible symbols devised by man for this e s xpre s purpose, which have come by long usage and 28 1 2 8 2 D escriptiv e Analys es of Pian o Works

a defin ite si n ifican ce general accept nce to have a g , but require a certain degr ee of education to comprehend them , and which are therefore more intellectual , more of adapted to the expression the subtler phases of life, u and more purely h man in their origin , than the media of form and color employed in the plastic arts . on e s True , the u es tones , the other words , as its material ; but the difference is by no means so radical

first . xi as at appears Both e st in time, while all other arts have to do with S pace an d substance . Both so S — u have but one dimension , to peak , namely , d ra

—an d v tion , owe whate er of the beauty of form and proportion they possess to a symmetrical subdivision of this given duration into correspondent parts or a of sections , by me ns accents , brief pauses , and o rhymes r cadences . Bo th may successfully treat a r o f or p ogressive series moods scenes , of varying char acter , and fluctuating intensity , which is not possible or in the plastic arts , limited as they all are to the p tra al of i of y a single situat on , a single instant time , fix s ed . a single conception Both , again , po sess a a r in cert in wa mth and herent pulsing life, which is i their common , dom nant characteristic , due to the

e - h of n h art t rob rhythm , which is lacki g in all other

n the e Eve in media they mploy , there is a strong though subtle resemblance ; both appeal directly to of us the sense hearing , which scientists tell is more intimately conn ected with the nerve centers of emotional life than any other of the senses . In both cas es the immediate appeal is to the feelings i i i i e and the mag nat on, without recourse to nt rvening

2 84 D escriptiv e Analyses of Pian o Works hed style of utterance ; their mutual disdain of mere i sent ment and softer graces , and their fondness for works of large dimensions and seriou s import . Fur therm ore of i , because the proneness of both to rel gious and churchly subjects , and the corresponding position which they occupy as veteran classics in their respec tive arts . The analogy between Beethoven and Shakespeare is almost too obvious for remark . They are the twin giants of music and literature in their colossal and a comprehensive powers , in the bre dth and universality of in of their genius , and the verdict absolute superior s ity unanimously accorded them by all nation , all schools , and all factions , both in the profession and by the public . They are like the pyramids of Egypt ; all they overtop altitudes , cover more area , and present a more enduring front to the “ corroding effects of time than aught else the world has known . Mozart and S penser resemble each other in their ai quaint and classic , yet n ve and sunshiny style , their of abundance , almost excess fancy , and their fondness

for - i for supernatural , though the most part non rel gious

n on - and mythological scenes , incidents , and char acters ; also in their habit of treating startlin g situa tions and normally grievous catastrophes without ex citing any very profoun d subjective emotions in their fli n t or readers and hearers . Not that they are ppa su perficial in character ; far from it ; but with them art was somewha t removed from human ity . With Speu ser literature was not life , and with Mozart music was not emotion . We smile and are glad at heart because of n ot ed them , but we are thrill ; we are pensive or — C ou n terparts Poets an d M u sician s 2 85 reflectiv e , but we rarely weep and are never plunged

. into despair There is a moral lesson, it is true , in the feats of the knights and ladies in the Faery ” of ad Queen , as also in the vicissitudes that rather mirable scoundrel , Don Juan , but it is not burned into

u s . wh en o , as by a keener and crueler hand Those o j y it it poetry and music , rather than feel , love , or learn it from , are always partial to Spenser and Mozart . No artistic affi n ity is more marked that that of Schu bert and Moore . They are both preeminently song f of . o writers Both had a gi t sp ntaneous , happy , grace ful development of a single thought in small compass .

Both are melodious beyond compare , and both wrote with an ease, rapidity , and versatility rarely matched in the annals of their arts . Moore is the most musical of S chu bert . erha s of poets , and , p p , the most poetic ’ - was musicians . One of Moore s life purposes the col lection of stray waifs of national airs and furnishing on e them with appropriate words . Likewise, of Schu ’ bert s main services to art was the collection of brief lyric poems and setting them to suitable melodies .

Each reached over into the sister art a friendly hand ,

won . and each , unawares , his chief fame thereby n n Moreover , though clinging by i sti ct and preference to the smaller , simpler, more unpretentious forms , each wrote on e or two lengthy and well - developed “ works , such as the Lalla Rookh , with Moore, and the ‘ ” S Wanderer Fantaisie, With chubert , which gloriously bear comparison with the masterpieces of their type f from the pens o the ablest writers in the larger forms . ’ Shelley has been called the poet s poet , and Schu mann might as aptly be termed the musician ’s com 2 86 D escriptive An alyses of Pian o Works

t r poser ; because the subtle , fanciful , subjec ive characte and the metaphysical tendency of the works of both re quire the keen insight and the fertile imagination of the i fl hts artistic temperament , to follow them in all the r ig ll si n ifican ce of and catch the fu g their sugges tions . con With both , the instinct for form is weak , and the str uctive faculty almost wanting . Ideas and figu res hu e an d s of are , profound , a tute , but there is a lack r of lucidity , brevity , and fo ce , as well as logical develop

s . ment , in their expre sion A few hits of melody by S Trau m erei chumann , such as the , and an occa ” sion al S S brief lyric by helley , like The ky lark , have - become well known and popular ; but their works , in i to the ma n , are likely be the last ever written to catch the public ear . They appeal the more strongly to the in ner circle o f initiates who are familiar S pirits in the mystical realm , whose language they speak . Where S n Shelley is the favorite poet, and chuman the favorite composer , an unusually active fancy and subtle intel lect are sure to be found . Mendelssohn and Longfellow are alike in almost every feature; Both are in temperament objective and are l flu en t m elodious ten der optimistic . Both gracefu , , , bem and thoughtful , without g ever strongly impas sion ed or really dramatic : Both display superior and

- i ed y of well disc plin powers , nobilit sentiment , and ease and grace of manner . Perf ect gentlemen and polished all t scholars , both avoid radical and reforma ory ten den cies to of con , such an extent as to lend a shade v en i n lit an istic t o a y to their personality , as compared with the extreme rom anticists of their day . Both have reached the public ear and heart as no other talent of

2 88 D escriptive Analyses of Pian o Works

I call him and think him the noblest of poets , because the excitement which he induces is at all times the most

v s . ethereal , the most ele ating , and the mo t pure No t f o t . poet is so li tle the earth , ear hy The same words l might we l be spoken of Chopin .

Liszt and Byron were kindred spirits , both as men and artists . Among the serener stars and planets that ’ first move majestically in harmony with heaven s law, to the music of the spheres , they were like meteors s or comet , appearing above the horizon with dazzling brilliance , and darting to the zenith , through an erratic career, reaching a summit of fame and popularity , attained during his lifetime by no other poet or defian ce musician , and setting at all laws of art , of of society , and morals . Brilliancy of style and char acter , haughty independence , impetuous passion , a of matchless splendor genius , a supreme contempt for of l o the weaknesses lesser morta s , c mbined with the t i warmest admiration for heir peers , are the distingu sh ’ ing attributes of both . Byron s devoted friendship ’ for Moore and Shelley corresponds exactly to Liszt s feeling for Chopin and Wagner . Liszt himself recog n iz ed this affi nity between himself and Byron . The English poet was for many years his model and favorite author ; many of his scenes and poems he tran slated in fluen ce of into tones , and his is marked in most t his earlier compositions . The works of both are e fire markable for a and fury almost demoniac , alternat

fli an t . ing with a light and pp grace , almost impish Both understood a climax as few others have done , and both had the dramatic element strongly developed . Both ’ were lawless and dissolute , according to the world s ver — C ou n terparts Poets an d M u sician s 2 89

refin ed dict , yet scrupulous and to an extreme in certain respects . Each scandalized the world , repaid its cen sure with scorn , and saw it at his feet ; and each left, fire like a meteor , a track of behind him , which still burns with a red and vivid , if not the purest , luster . Wagn er and Victor Hugo are the two Titans of the r nineteenth centu y , having created more stir and fer ment in the world of art and letters than any other writ i ers , contemporary or previous . Each is the lead ng genius of his nation . They resemble each other in the of pronounced originality their genius , theirvirile energy

v . O i and producti ity , and their colossal force both , the rare and singular fact is true , that their productions all attain about the same level of merit . Most authors and most composers are known by one or a few sublime of creations . I know no others who have written an equal number of great works and none that are medi ocre or feeble . They are also alike in the circum stance that while each has done fin e work in a number of other departments , it is the dramatic element which forms the strongest feature of their artistic personality . Few French novels can compare with those of Victor Hugo ; but it is the powers of the dramatist displayed . in the plot , striking situations and characters , which constitute their chief merit ; and in his writings for the stage he has far surpasse d all that he has done as ’ novelist . Likewise , while Wagner s orchestral works for the concert room would alone have made him a reputation , it is by his operas that he has made the of world ring with his fame . Each had a sense the dramatic and a mastery of its efi ects not even ap

d . e proache by any other artist They b ar, further I 9 2 90 D escriptive Analyses of Piano Works

t more, a s rong resemblance in their revolutionary

n e . r character and tende ci s Both we e born pioneers ,

‘

t . o innova ors , reformers B th headed a revolt against the reigning sovereigns and the established govern ment of their respectiv e arts and after a desperate struggle came ou t victorious . Both have been followed c by a host of disciples , belligerent and radi al beyond all that the annals of music and literature can show . They

- were like two powerful battering rams , attacking the v The bulwarks of classic prejudice and con entionality . revolution which Wagner brought about in opera was “ exactly matched by Hugo with the drama . His Her " nani was as gra t a shock to the a tablished pre ’ “ ”

s a as was . cedent of the st ge , Wagner s Nibelungen as b la of re L tly , oth disp y the unusual phenomenon a n ei a old t i ing th r cre tive power into extreme age , and o e f b th di d when li e and art and fame were fully ripe , with the eyes of the world upon them and their n ames on ev ery ton gue .