The Art of Music

BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF Itettrg HI. SdQC 1S91 MUSIC Cornell University Library ML 100.M39 fife art of mu»'= aiSWiiiwiffiim^^^^^ 3 1924 022 385 276 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022385276 A NARRATIVE HISTORY OF MUSIC The Art of Music A Comprehensive Library of Information for Music Lovers and Musicians Editor-in-Chief DANIEL GREGORY MASON Columbia University Associate Editors EDWARD B. HILL LELAND HALL Harvard University Past Professor. Univ. of Wisconsin Managing Editor CESAR SAERCHINGER Modern Music Sodety of New York In Fourteen Volumes Profusely Illustrated NEW YORK THE NATIONAL SOCIETY OF MUSIC ' > Beethoven After the painting by Karl Stieler (Original owned by H. Hinrichsen, Leipzig) THE ART OF MUSIC: VOLUME TWO A Narrative History of Music Department Editors: LELAND HALL AND CESAR SAERCHINGER Introduction by LELAND HALL Fast Professor of Musical History, Univeraity of Wisconsin BOOK II CLASSICISM AND ROMANTICISM NEW YORK THE NATIONAL SOCIETY OF MUSIC 1915 Copyright, 1915, by THE NATIONAL SOCIETY OP MUSIC, Inc. [All Rights Reserved! A NARRATIVE HISTORY OF MUSIC INTRODUCTION TO VOLUME II In the first volume of The Art of Music the history of the art has been carried in as straight a line as pos- sible down to the death of Bach and Handel. These two great composers, while they still serve as the foundation of much present-day music, nevertheless stand as the culmination of an epoch in the development and style of music which is distinctly of the past. Many of the greatest of their conceptions are expressed in a language, so to speak, which rings old-fashioned in our ears. Something has been lost of their art. In the sec- ond volume, on the other hand, we have to do with the growth of what we may call our own musical language, with the language of Beethoven, Schubert, Schumann, Wagner and Brahms, men with whose ideals and with whose modes of expression we are still closely in touch. In closing the first volume the reader bids farewell to the time of music when polj^hony still was supreme. In opening this he greets the era of melody and har- mony, of the singing allegro, the scherzo, the rondo, of the romantic song, of salon music, of national opera and national life in music. We have now to do with the symphony and the sonata, which even to the uninitiated spell music, no longer with the toccata and the fugue, words of more or less hostile alarm to those who dread attention. We shall deal with forms based upon melody, shall trace iii A NARRATIVE HISTORY OF MUSIC their growth from their seeds in Italy, the land of melody, through the works of Haydn, Mozart, and Beet- hoven. We shall watch the perfecting of the orchestra, its enrichment in sonority and in color. We shall see the Lied spring from the forehead of Schubert. We shall mark the development of the pianoforte and the growth of a noble literature of pianoforte music, rivalling that of the orchestra in proportion and in meaning. A new opera will come into being, discarding old traditions, alien myths, allying itself to the life of the peoples of Europe. Lastly we shall note the touch of two great forces upon music, two forces mysteriously intertwined, the French Revolution and the Romantic Movement. Music will break from the control of rich nobles and make itself dear to the hearts of the common people who in- herit the earth. It will learn to speak of intimate mys- teries and intensely personal emotion. Composers will rebel from dependence upon a patronizing class and seek judgment and reward from a free public. In short, music will be no longer only the handmaiden of the church, or the servant of a socially exalted class, but the voice of the great human race, expressing its passions, its emotions, its common sadness and joy, its' everyday dreams and even its realities. The history of any art in such a stage of reformation is necessarily complicated, and the history of music is in no way exceptional. A thousand new influences shaped it, hundreds of composers and of virtuosi came for a while to the front. Political, social and even economical and commercial conditions bore directly upon it. To ravel from this tangle one or two threads upon which to weave a consecutive narration has been the object of the editors. Minuteness of detail would have thwarted the purpose of this as of the first volume, even if space could have been allowed for it. The book has, therefore, been limited to an exposition only of iv INTRODUCTION general movements, and to only general descriptions of the works of the greatest composers who contributed to them. Many lesser composers, famous in their day, have not been mentioned, because their work has had no real historical significance. They will, if at all vital, receive treatment in the later volumes. On the other hand, the reader is cautioned against too easy acceptance of generalities which have long usurped a sway over the public, such as the statement that Emanuel Bach was the inventor of the sonata form, or that Haydn was the creator of the symphony and of the string quartet. Such forms are evolved, or built up step by step, not created. The foundations of them lie far back in the history of the art. In the present volume the attention of the reader will be especially called to the work of the Italian Pergolesi, and the Bohemian Johann Stamitz, in preparing these forms for Haydn, Mozart, and Beethoven. Just as, in order to bring into relief the main lines of development, many men and many details have been omitted, so, in order to bring the volume to well- rounded close, the works of many men which chrono- logically should find their place herein have been con- signed arbitrarily to a third volume. Yet such treatment is perhaps not so arbitrary as will at first appear. Wagner, Brahms, and Cesar Franck are the three greatest of the later romantic composers. They developed relatively independently of each other, and represent the culmination of three distinct phases of the romantic movement in music. Their separate influences made themselves felt at once even upon composers scarcely younger than they. Men so influenced belong properly among their followers, no matter what their ages. Inas- much as the vast majority of modern music is most evi- dently founded upon some one of these three men, most conspicuously and almost inevitably upon Wagner, A NARRATIVE HISTORY OF MUSIC contemporaries who so founded their work will be treated among the modern composers, as those men who lead the way over from the three great geniuses of a past generation to the distinctly new art of the present day. Notable among these are men like Max Bruch, Anton Bruckner, Hugo Wolf, Gustav Mahler, and Ca- mille Saint-Saens. Some of these men, by the close connection of their art to that of past generations, might perhaps more properly be treated in this volume, but the confusion of so many minor strands would obscure the trend of the narrative. Moreover, exigencies of space have enforced certain limits upon the editors. Thus, also, the national developments, the founding of distinctly national schools of composition in Scandi- navia, Russia, Bohemia and elsewhere, directly influenced by the romantic movement in Germany, have had to find a place in Volume III. It is perhaps in order to forestall any criticism that may be made in the score of what will seem to some serious omissions. Composers of individual merit, though their music is of light calibre, are perhaps en- titled to recognition no less than their confreres in more ambitious fields. We refer to such delightful writers of comic opera as Johann Strauss, Millocker, Suppe, etc., and the admirable English school of musical com- edy headed by Sir Arthur Sullivan. Without denying the intrinsic value of their work, it must be admitted that they have contributed nothing essentially new or fundamental to the development of the art and are therefore of slight historical significance. The latter school will, however, find proper mention in connection with the more recent English composers to whom it has served as a foundation if not a model. More adequate treatment will be accorded to their works in the volumes on opera, etc. In closing, a word should be said concerning the con- tributors to the Narrative History. There is ample prec- vi INTRODUCTION edent for the method here employed of assigning differ- ent periods to writers especially familiar with them. Such collaboration has obvious advantages, for the study of musical history has become an exceedingly diverse one and by specialization only can its various phases be thoroughly grasped. Any slight difference in point of view or in style will be more than offset by the careful and appreciative treatment accorded to each period or composer by writers whose sympathies have led them to a careful and adequate presentation, in clear perspective, of the merits of a given style of composition. The editors have endeavored as far as possi- ble to avail themselves of the able researches recently made in Italy, Germany, France, etc., and they extend their acknowledgment to such authors of valuable spe- cial studies as Johannes Wolf, Hermann Kretschmar, Emil Vogel, Romain RoUand, Julien Tiersot, etc., and especially to the scholarly summary of Dr.

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