SUNDAY, 1010. 2 NEW-YORM DULY TMBT-XE. AUGUST 14.

selecting the keys through which he intended to THE PIANOFORTE AND ITS make it pass, and then going to a little romance XI. vhieh ho imagined for sentiin.nt and color while he worked. It is not unlikely that - dementi's method was a similar application of Beethoven Further History the Sonata rule of thumb and subjective impression. How- The Significance of of yet — Dussek, and ever mild the dose of subjectivity, it was an Virtuosi as ClemenU, Cramer advance toward romanticism, as compared with Hummel— Another Son of the Great . the externalism which held sway in the intituled dance pieces of Cooperin and the Biblical so- natas of Kuhnan. TitN-s and marks of expres- Copyright, l!MO. by H. 1:. KrehKeL sion and t.mpo helped to fix the attention and arouse the fancy, and it is quite as easy to de- hopelessly antiquated. Haydn conflicting which tore the Tt was Beethoven who breathed the breath of cient ag>' seem tect the emotions Mozart, unhappy deserted by in a new life into that which had been little els has not been spared, nor nor Bee- heart of Dido Op. 64, as the a formula for the expression thoven; radical has been the change in taste dementis sonata in <1 minor. than convenient so con- beauty. was at movement long train of poetical and metaphysical ( f merely sensuous Beethoven accomplished by the romantic char- in some programmatic pieces which once the end of the old dispensation and the acteristic of the nineteenth century. It is meet ceits of the His hints, at least, were beginning of the new; the connecting link be- and proper, therefore, in a historical review, came a century later. romanticism; direct, lucid, modest and not impertinent; for tween classicism and conservator that the excellences of the masters of the past ahbandonata, Seena tragica. and regenerator; historian and seer; master which appealed to their contemporaries be instance: "Didone purpose Largo-sostenuto c patetico; 11. Allegro-deli- builder and arch destroyer. To him 1 pointed out as well as the things which are f. meditando; 111- Adagio-dolente; TV. to devote a separate article. Grouped around. shortcomings from a later point of view. berando c influencing Allegro-agitato c con disperazione." Dussek ant< dating and postdating him. Pianists are not likely soon to forget what him, are the temperate use titles, or, per- kirn and receiving influence from dementi did in a pedagogic way in his col- was less in his of by Chopin, a greater tptgoaei who tilled the ground prepared the lection of one hundred studies entitled "Gradus haps, like Beethoven and vic- JOHANN BAPTIST CRAMER. significant period desire of publishers to put classic composers, it is of the ad Parnassum" ("Gradus ad Purnassum, ou tim of the insensate and the style of their writing that the best of l'art de jouer le Pianoforte demonstre par dcs attractive labels on their wares. most sek and finds that In his last three sonatas he th< m virtuosi whose influence was dans le style severe et dans style Dussek was a Bohemian, and there is an oc- were Exercices le *as influenced "by the earnestness of Bee- enduring in the department of pianoforte tech- elegant." The work is in three, parts, the casional outburst of something like the Czechish distinguished thoven, th* d ivaJric spirit si Weber and the nics. Manner rather than matter of which appeared in 1817); neither f>re to which Smetana and Dvorak have accus- vastly produc- first poetry of Schubert." their compositions. They were they completely neglect us in some of his music. He was enor- hand, should so his sonatas as tomed Baptist Cramer wrote no less than tive, they found their models at and the field, though only Johann for to remain ignorant of the fine sense of charac- mously fruitfulin sonata 105 sonatas, of which forty or fifty were for lofty thought and deep emotion had not begun they pianoforte solo, the rest accompanied; also eight assert themselves as essentials when to many pieces a miscellaneous began their careers. They were a numerous and of a of his sonatas he gave titles band, and the burden of their importance lies character. To few " in manner: "La Parodie, "L'Ultiraa.** the department of study to which Ihope to Dussek's "- In ~Les (the three sonatas. Op. Til farote my final chapter. A few. however. Suivantes" 50) Retour a Lonlres." The dis- have mention here, and Ihave chosen and and "Le must new styles of play- (1731-11532), Johann Xepotr.uk tinction between the old and grew actively Hummel (17T8-1837), Johann Loidwig Dussek ing, which up in his time and was English of [17«1-1812) and Johann Baptist Cramer 1771- promoted by the manufacture pianofortes, was illustrated by Cramer in "a isr.si as representatives of the class. T- 0 other and capricieuse." Other pieces which he tn< n may first enlist our passing att< i.'ii Fantasie with (he was his own publisher* \u25a0 n athetic interest because of tlr •!\u25a0 relation- issued titles ship, one physical, the other spiriti .1. to the were "Un Jour de Printemps," "Ls Petit Rien" (a variations) and "Les Adieus a. _. ml ft'ho was the culmination of thi preceding romance with - composition, ani \u0084\u25a0\u25a0:\u25a0 Johann Christian Bach shared only thL ses Amis de Paris." The last return to family name with his great father. Johann the sonata in which he celebrated his origin, or Seba stian. Like Handel, lie went out into the London, probably owed their rather years world of fashion, yielded to it^ sway, and be- titles, to the fact that he spent a few of came ;;n elegant musii ian. Italy set its seal on his life as a resident of the French capita!. him when 1"- became organist of Miian Cathe- Cramer was taken to London when one year violinist, flral, married an Italian prima donna and set old by his father, a German who be- lii heart on operatic composition. He spent came a conspicuous \u25a0sure in the mm life of ••: last twenty-three years of his life in Lon- the metropolis as teacher, player and conductor. 011, where he became Music Master to the He was leader for a time of the Antient and 1 \u25a0>. Then- th< boy Mozart sat on his knees the Professional Concerts, and conducted two of . improvised duets with him. The Bach tra- the Handel festivals in Westminster Abbey. flitions did not live in him as they did in one His son studied with him and other local teach- between whom and their creator there ex- ers of minor importance, then with Clernenti isted no ties of blood. Frederich Wilhelm Kust and Johann Samuel Schroeter, who succeeded ri739-1796) was only eleven years old when "old Johann Christian Bach as Music Mast to the J :.:• h" died, but at thirteen he was already able Queen. Schroder deserves to be remembered •. play all the Forty-eight Preludes and Fugues even In so cursory a review as this, for the au- by h< art. Bach's music was hi;; d«-!ight. lie thorities agree that he was among the iir.;t and Emanuel for possibilities of \u0084 ni to the sons Friedernann teachers to disclose the the ons in composition and organ and clavier pianoforte as distinguished from the harpsi- Karl, ;-. His -on. Wilhelm enjoyed the chord. He married one of his aristocratic pu- friendship of Beethoven, and his grandson. Dr. pils, who soon tired of him and purchased a U'illnlm Rust (1822-1892), who edited some of separation. She become a pupil si Haydn when additions, ftis works fv.ith modern as Mr. fihed- he came to London and formed an attachment V»< k regretfully chronicles) appropriately be- for that susceptible old gentleman which found ta mo a successor of Bach as Cantor of SL rather amusing expression in the letters which rhomas's, Leipsic. Dr. Prieger has hailed In E. Igave to the public in a little book published a F. w. Kust as Em Vorginger Beethoven*, in lv.»s. ("Music and Masai in the Classical precursor of \'- ethoven. Period." New York: Charles Scribner"s Sor.s.) C "With the exception of Mozart's sonata in Like Clenienti. Cramer combined a commercial minor, Haydn's 'Genziger' and "London' son- with an artistic spirit; he founded the music EJ-flat, atas, botb In also some of Hurt's . . . publishing house of J. ii Cramer M Co.. which there are, to our thinking, none which in spirit Still flourishes in London. N. his concert n1 nes nearer t<> Beethoven than some of Clem- pieces but his works of instruction have kept enti'r." says Mr. Shedlock in his admirable book his name alive. In his compositions designed on the history of the sonata. ("The Pianoforte for public performance he reflects thr shallow Origin Development," Konutu; Its arid by J. S. taste of his time; but he was an admirable London, lS!)r>.) Fhctilock, B. A.. Methuen & Co., virtuoso and a still more admirable teacher. • f <'• menti represents the sonata proper rom His etudes are classics and in vigorous us.- to- beginning to end," is Edward Dannreuther's day. Henselt published fifty 01 them with ac- in his article printed in Grove's "Dic- pianoforte, dictum . companiments for \u25a0 second and his tionary." Scholars frequently hold such opin- example was followed by Henry C Tiram. an ions torching work- which to the mass of mu- American pianist and one of the founders of terization as as vivacity variety a sician: in our eager, impatient and self-suffi- well the and small traction of his works have survived in the Philharmonic Society of New York. '<.•\u25a0 yon displayed in thorn, dementi's sonatas were the print. We count twelve iornt rtos with or- edited half a hundred of the studies. chestra, Billow also admiration of Beethoven, who knew how to a quartet, a quintet, twrnty »>r twenty- His "Pianoforte School" and the "School of pianoforte trios, keep a Onn foothold on the past even while live forty or tift> sonatas for Velocity" have been published over and over pianoforte an.l violin it sending his prescient glances far into tin- fut- tor Bate Miade little again. difference to the taste of tfi.it day), twelve disap- ure. Mr. comprehensive praise Clementi. Dosses: and Cramer have Dannreuther*s sonatinas pianoforte and twentj for \io!in. sia peared from our concert room.--, but Humni«l need not disturb us. Clementi'a li!"<- covered a pianoforte ronataa for atone For lour yean a place despite the greater stretch of the classical sonata period still maintains there in of D issek waa .1 friend and musical m« nt<>r to radicals, than any of its sons. He was born twent) with his In A minor and his dial Prince Louis Ferdinand whose highest classic, years after Haydn, but lived twenty-three years perennially lovely septet. "A but a dull encomium is to be found in Beethoven's com- Dannreuther; later; born four out- classic." remarks Mr. Edward years before Mozart and ment: "Your highness does not play \>k>- a eighteen years "HanuneTs pianoforte music represents the true lived him forty-one years; was prince, but !ik<- a musl< lan." When the prince was born, and pianoforte style within pure and noble forms." old whin Beethoven had still died Dussek wrote .t sonata hi 1* sh:*rp minor years him says Pros) "uniting agreeable and solid ele- live of life before when that master (Up till .ill.l .allid It "Kl.;.•!,• ll.lMti.mi.ii., 9UT gance and glittering ornamentation with wont to his gra\e. He was Mozart's rival in 1. inert tin Prince Louis Ferdinand «!.- Prusse, field, warmth of feeling, which, however. seldom the concert and met him in artistic .oin- en forme «it sonate," following it with an an- swings itself up to passionate expression. . bat, as was customary at the time, before Em- m il.it, he t.> . . dante i: which dedicated the mcm- Mozart, peror Joseph in 1781, when played • Trained In the school and style of he 11 be the i,[ \u00841 hit royal patron and called "La Con principal thoroughly developed the peculiarities of the sonata in B il.it. whose theme became solution." He also composed a de Is "Tableau pianoforte— its beautiful tone, its elegant an«l th.- chief subject of the overture t<. "The Mai Marie and a sonata, bituation de Antoinette." gentle Mi \u25a0 m 01 .- plea: effects. He cultivated smus ami Flute." a decade iater. called him •1..1 ni. •n.- de Mam Antoinette." Nor did he "charlatan, all Italians"; dainty, often coquettish ornament."' So Tar as a like the but v was dlsduin t.' folii.w a horde ol predecessors in possible In one whose genius was a, plainly in a moment "t irritation, and tii< re- writing a battle pleci Hi called IIa BattaUie it was of judgment. subordinate order. Hummel was a continuator mark did n..t reflect a dispassionate navalr." and issued v n«.t onlj as a pianoforte It was not given t" Clemrntl 1.. go beyond solo, hut in an arrangement t..r vUriin, vloloa- < tilllillilt-.loilri^lltll |i., r given to S Haydn; but neithei was ii Haydn t«. or!!., and bit: drum. We maj smile at thlt at R.i beyond Mozart, though he antedated him Kotswara's "Battle "i Prague," "Mr Byrd'9 twenty-four years and outlived him eighteen. Battle" ami Munday's meterologica] fantasia, <• LONG SANG Tl 11.- v. 1 a phenomenal taJent, 11 t a great but "< tan Bcarcelj do so in good consclea • so accept CHINESE CURIO CO. ions as we Richard Strauss** setttni <.>( •!>» Fifth \\r. brt MM MlSl*t.. New >orfc. it 1 >-. iii(.11 thai Haydn was In the habit \u0084f Nietzsche's philosophj witn sobei faces Mr. Their booklet »T>. Ulustnutes llm btetorj «( oriental Ari una stonea tv b* »oru tor „>..>. J.a«;r<.a» beginning ;; bj inventing a :.!;•'• • > '\u0084:>., luck uu f.^UZIO CLEMCNTI, i.umi»ositioii theme, Hhtnlloclf .. break a ;,., [\u0084., iU)>. i.o* ad).