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HOW
TO
APPRECIATE
MUSIC
^
TO
HOW
MUSIC
APPRECIATE
BY
KOBBE
GUSTAV
Author
of
"Wagner's
Music-Dramas
Analyzed,"
1906
MOFFAT,
YARD
NEW
"
YORK
COMPANY
etc.
Copyright,
MOFFAT,
1906,
YARD
New
Published,
by
COMPANY
"
York
October,
1906
y^
\
^'"-;125r
Hli78:i
PBINTBD
J.
F.
TAPLET
BY
CO.,
"-EW
YORK
To
PHILIP
the
Memory
FERDINAND
of
My
Brother
KOBBE
CONTENTS
HOW
PIANOFORTE
A
APPRECIATE
TO
RECITAL
PAGE
CHAPTER
/.
//.
"
"
///.
IV.
V.
VI.
VII.
VIII.
The
Pianoforte
Bach's
"
From
"
Dawn
Service
of
Chopin,
"
With
"
Poet
the
the
Liszt,
"
78
Romantic
the
Schumann,
"
48
Sonata
to
the
Music
to
Fugue
29
.,
.
Period
the
of
100
Pimwforte
115
''Intimate"
Gicnit
Virtuosos
among
Paderewski
A
"
134
Modern
142
Pianist
Tour
155
,
HOW
AN
APPRECIATE
TO
on
ORCHESTRAL
CONCERT
IX.
X.
XI.
"
"
"
XII.
"
XIII.
"
HOW
XIV.
XV.
XVI.
Development
Instruments
Concerning
Richard
A
Note
TO
"
"
"
of
Songs
the
Orchestra
Chamber
Song
Music
207
Music
224
VOCAL
Composers
Oratorio
Opera
179
197
His
and
APPRECIATE
and
167
Symphonies
Strauss
on
Orchestra
the
of
MUSIC
231
248
and
Music-Drama
7
260
TABLE
HOW
CONTENTS
OF
APPRECIATE
TO
PIANOFORTE
A
RECITAL
PAGE
CHAPTER
PIANOFORTE.
L"THE
the
Why
under
of
one's
fingers
music
in
Liszt
the
pianoforte
the
ambassadors
accompaniment
debt
on
form
and
Strauss
A
"
pianoforte
to
Its
develop
Poet's
"
daughter
chord
Its
"
ancement
the
Clavichord
"
The
"
cembalo
"
lack
Spinet
to
to
developed
of pozvcr
the
and
to
even
centuries
The
virginal
keyboard
a
his
"
"
musical
from
Bcbung,
"
Hungarian
9
orchestration
"
harpsichord
of
Richard
"
monochord
advice
amusing
sonata
Nine
"
Joined
"
Music's
"
from
described
monochord
termediaries
in-
Paderewski's
composers,
origin
pianoforte
No
"
"
pianistic
lowly
"
and
Melody
"
orchestra
to
oso
virtu-
great
a
Developed
"
famous
many
orchestra
Lark"
the
Hark,
Beethoven's
boon
whole
soid
effect
it
anything
instrument
mar
gave
on
Wagner
to
the
"
render
of
his
one
of "Hark,
to
the
of
to
playing
Can
"
Fingers
"
sic
Mu-
instruments
played
"
on
musical
king
mono-
or
Originated
gypsy
Pianoforte
balin
chestra
or-
in-
TABLE
lo
CONTENTS
OF
PAGE
CHAPTER
vented
Cristofori, lyii
by
Silbertnann
and
both
Paderewski's
pedals
"
Mechanical
pedals
"
tension
tons'
Strings of twenty
"
Dampers
"
Exploited by
"
of
use
less
Sense-
pianofortes
"
decoration
IL"
BACH'S
29
SERVICE
TO
universal
Pianoforte so
through it,a general
illustrates
Bach
"
elaborate
more
poem
Bach
"
Mozart
with
polyphony
Illustrated
What
virtuoso
performance
lacks
as
Fails
"
modern
"
dictum
well
"
Science
musical
great
"ear
give
music
expression
as
to
"
"
both
feeling
"
without
being
bends
composer
for music"
"
Bach
musical
science
the
tive
Crea-
"
Hanchetfs
Mr.
Person
and
scope
individualityof
science
a
much
as
mission
interpretive
Music
versus
counterpoint
virtuoso's
The
as
to
ute
trib-
Mason's
player
Barrier
the
for public
music
Wliat
the
ata''
Son-
and
fugue
Gregory
"
mony
har-
tiated
differen-
and
The
"
Daniel
"
reservation
and
is
"
Beethoven
Melody,
"
or
music
"Moonlight
the
from
tone
Haydn
of
of Bach
sic
mu-
fugue
or
modern
on
"grateful"
Not
"
Bach
than
harmony
fugue
a
of
music-drama
counterpoint defined
and
"
the
A
"
a
give,
can
the art
epoch
an
influence
unites
"
of
modern
more
Wagtier
the
in character
survey
than
His
"
MUSIC
and
to
"
be very
may
at
art
an
all
"
art
"
Weather
The
That
Bn-
CONTENTS
OF
TABLE
ii
PAGE
CHAPTER
reau
The
"
music
Bacon,
What
"
anecdote
Henderson's
emotional
epoch;
Wagner's
music
Bach
in
Clavichord"
Tempered
tempered"
hundred
and
'III." FROM
forty-one years
in
Break
influence
Bach's
this hiatus
in the
periods of
musical
"melodic,"
Domenico
Scarlatti
Philipp
Rise
"
Ear
quaint
titles
"
has
and
Mozart
the three
"
heart
slow
amateur
in
Changes
and
music
musical
all-dominant
"
His
in
modern
the
ata
son-
the
and
tented
Con-
and
taste
other
anoforte
Pi-
"
of Haydn
music
and
Wagner
in music
-figures
epoch of
development
with
"The
"
the
of
Began
"
Beethoven
on
Three
"
Rise
"
Soul,"
the
the
"
Parry
Ba^h
Quickened
in his work
longer
the
Bach,
48
...
.
founder of
Emanuel
outgrown
"
school
great epoch-making
Beethoven
His
of
and
Bachs,
Two
"
Beginnings of
"
sonata
of
of
The
"
pianoforte technique
"
Bach
development
or
form
to
Mr.
"
evolution
harmonic,
of "zvell-
SONATA
TO
FUGUE
Well-
"The
tribute
an
Rubinstein
"
Meaning
"
king's
A
"
point
counter-
of liberated
language
recital hall
the
J.
language of
the
"Triple Concerto""
Bach's
and
the
"
W.
"
Wagner's
"
Bach's
"
Bach
from
Walkiire"
"Die
from
of
Shakespeare,
learned
Wagner
Illustration
"
the
not
Union
sonatas,
the
of
sotmta
mind
"
and
hozvever,
pianoforte music
no
"
TABLE
12
OF
CONTENTS
CHAPTER
PAGE
Von
Billow
Incident
"
Beethoven
a
sonatas
the
of
form
and
in
under
in his
In
restraint
composers
An
of tempo
"
rubato
harmonies
in Paris
The
"
Etudes
Billow
"
on
Liszt
"
the
"
The
melody
"
sonata
Gil-
Sonata"
The
"
bert's
Schu-
"
Mendelssohn
"
Racial
first to
100
FORTE
PIANO-
THE
tion
defini-
Liszt's
"
of
Wagner
the great C minor
traits
opinion of
him
"
The
"
them
trancing
en-
Friends
"
recognize
Etude
the
weird,
and
Vigor, passion, impetus
Schumann's
"
Law^re^ice
Weber
"
OF
composer
Clear
pianoforte
seems
harmless
POET
incomparable
three
The
The
"
j,
Beethoven
"
genius
polished and
THE
No.
2,
"
with
"Keltic
inexhaustible
CHOPIN,
Opus
of form
MacDowell's
enlarged
his last sonuias
composers
-first romantic
v."
ing
pass-
RIOD
PE-
Sonata"
its climax
modem
smooth,
The
"
The
"
Beethoven
How
"
"
on
thirty years
cital
re-
ROMANTIC
periods
Hampers
Beethoven
orchestric
too
is
reached
man
in
"Moonlight
Beethoven
form
taste
Illustrated
"
the
chaUng
Billow
THE
sonata
a
Von
ers
play-
78
OF
What
Beethoven
as
sonata
DAWN
the
at
Changes of
"
IV."
D' Albert
and
"
"
Von
ludes
Pre-
Rubin-
TABLE
OF.
CONTENTS
13
CHAPTER
PAGE
stein's
Nocturnes
Seventh
and
battle
head
from
Polonaises
Other
"
works
"
"A
"
Huneker
foot"
to
The
"
Waltzes
The
"
The
"
hymns
Prelude
Poe
the Mazurkas
on
Chopin's
noble
Chopin
"
Liszt
"
the
playing of
"
on
Chopin
115
SCHUMANN,
VL"
!^
THE
mith
composer
Pupil
in
Strains
a
finger and
suicide
His
music
to
"Kreisleria^ta''
"
Schumanniana
Latter
title
His
"
with
asylum
"
tions
Contribu-
"Carnaval"
and
ly
Real-
explained
"
Thoughts, of
"
Pieces"
"
tuoso
vir-
brooding
"
music
"
a
in
philosopher
program
*'Fantasie
Dies
"
introspectiveand
Poet, bourgeois and
as
Afflicted
"
"
Wieck
career
Wieck
Clara
"
"
Frederick
abandons
insanity Attempts
education
academic
an
pianoforte of
Marries
"
"INTIMATE"
Clara
his
compositions
"
first
at
neglected
VIL"
LISZT,
'A
134
youthful
Paris
GIANT
THE
phenomenon
Conservatory
"
by Paganini
D'Agoiilt
Court
Weimar
Makes
;
"
His
"
"Le
musical
TUOSOSVIR-
Refused
petit
Episode
conductor
the
with
at
Mecca
at
Litz"
"
the
spired
In-
Countess
Weimar
of
"Lohengrin" His
pianoforte compositions
Produces
"
Lives"
"
"
AMONG
"
"
"
many
Ger-
"six
The
TABLE
14
OF
CONTENTS
CHAPTER
PAGE
"Don
Juan
Fantasie"
"Hexameron"
"
Pelerinage"
nees
de
the
Etudes
Progressive edition
"
Giant
"
History of
the
strides
famous
Characterization
music
great composer,
A
"
Liszt
as
"
a
A
virtuoso
and
died
PIANIST
The
ON
the
charlatan
a
career
his
doctor"
"
Hoiv
Thawitig
forte
pianoPlayed
"
142
MODERN
season
one
of
tours
the
out
a
tone
"
here
opinion
His
"
save
for greater
Has
fortes
four piano-
Duties
"
heard
ever
"
on
"
"Parsifal"
at
pianoforte Perfect
sustaining power
"
pianoforte
tribute to the
successful virtuoso
most
Hon-
TOUR
$i/i,g8i.8p for
of
"
PADEREWSKI"A
VHL"WITH
"
not
of
virtuosity
his
of
influential
and
long
for Beethoven
His
"
in
"Rhapsodies
groises"
"
"An-
"
of the
instruments
are
pianoforte
"
"piano
cared
for
Paderewski's
humor
155
".
HOW
TO
APPRECIATE
ORCHESTRAL
AN
CONCERT
IX."
OF
DEVELOPMENT
Modern
music
at
first
the
TRA
ORCHES-
vocal, and
accompaniment
of
THE
"
zmthout
Awkward
strumental
instrumentation
in-
contrapuntists
"
Primi-
TABLE
CONTENTS
OF
15
PAGE
CHAPTER
live orchestration
Monteverde
music
due
richness
of
his
symphonies
on
the
"
singer"
than
orchestral
an
Wagner,
"
the
traced
orchestra
technical
and
demands
three
Fifth Symphony
orchestra
large
reserved
the
scores
since
X."
in
the
167
OF
The
orchestra
that
should
of
The
violin
one
as
orchestral
"
Its
varied
stage whisper of
violins in the
a
by
illustrated
Walkiire"
Division
"
instruments
ment
Wagner's employ-
"
groups
in "Die
motive
TRA
ORCHES-
THE
aggregation of
an
play
motive
halla
mentioning
worth
Berlioz
INSTRUMENTS
Love
Wagner's
"
advance
for
Wonderfully
"
of his forces
use
only
Wagner
to
posers
com-
Richard
"
tribute
sic
mu-
not
noise, hut for variety of expression
Strauss's
lioz
Ber-
"
orchestral
of
greatest
"
more
Architectural
"
in
Wagner
only
juggler
Employs
"
ven's
Beetho-
"
has
score
Greater
"
technique
the
"
orchestra
since
Beethoven
players
instruments
modern
Greater
"
modern
symphonies
added
subtler
to
development
"Meister
the
instruments
few
But
Mozart
of
orchestra
father of
the
establishes
Beethoven
"
"
The
"
The
Italy
Haydn
"
orchestral
in
of
and
Wal-
orchestra
the
capacity
"
hundred
the
the
cal
musi-
The
violins
"Lohengrin" prelude
"
"
"
The
Modern
i6
TABLE
OF
CONTENTS
CHAPTER
PAGE
orchestral
us,e
A
"
the
scores
the
harp
the
in
flute
The
"
Beethoven's
"Tannhduser,"
in
trombone
lung"
The
"
Flute"
introduction
The
Cotter
Wagner
Mozart's
clarinets
the
Richard
the
CONCERNING
"
The
classical
the
symphony
A
the
"
"
The
"
The
Nibe-
the
"The
third
in the
Magic
act
Funeral
Richard
"
its
horn, and
minor
of
XL"
tubas
scores
G
"
to
ous
vari-
and
and
major symphony,
ddmmerung"
apotheosis of
the
C
in
in
"Gbtter-
and
Ring of
trombones
"
"
"The
in Schubert's
in the
in
in
group
Fifth
clarinets
"Carmen"
and
major
in the
of their employment
"Fidelio"
"
"Tristan"
instruments
Brass
"
C
in
The
"
from
"woodwind
"Lohengrin,"
illustratiotis
trumpet
The
"
Tympani
Strauss,
on
on
of
hengrin"
"Lo-
March
Strauss's
in
importance
and
symphony
"
regarding
the bassoon
of
its
bass
Examples
"
in Schubert's
symphonies
ddmmerimg"
double
English horn
use
Ninth
and
oboe
and
Anecdote
"
"Rheingold"
The
"
and
string band
of Wagner
symphony
"
sordine
by Tschaikowski
viola, violoncello
Dividing
The
Tlie
"
pizzicatomovement
The
"
virtuosity
the
cymbals
"
twenty-two
future
velopment
de-
orchestra
179
SYMPHONIES
period of
"
symphonic
music
Its esthetic
witticism
"
domiimted
purpose
Some
by
defined
comment
i8
TABLE
OF
CONTENTS
CHAPTER
PAGE
performance
Th
0 m
as
anywhere,
Straussiana
"
Scribbled
"
Still
scores
in
played
his
anecdotes
oyhood
iirst
Studied
"
Theodore
schoolbook
zvhen
public
Married
"
B
"
on
school
at
under
covers
symphony
with
Freihild
"
Billow
Von
Ideals
"
was
the
of
highest
XIIL~A
207
NOTE
HOW
TO
XIV."
ON
AND
Strophic and
also
Publishers
"
it
How
"
hold
for
not
paper
Impatient
under
"
History of
"
composed
was
"
The
famous
by Lilli Lehmann
old zvhen
years
"
His
one,
other
marvelous
"
Becomes
"
for
"The
fecundity
Died
"
songs
Schumann's
Schubert
song,
down
the
"
As
as
same
sung
only eighteen
Schubert
"The
Distinguished from
a
"
Erlking"
over
composed
he
a
drudgery
dissonances
six hundred
yet wrote
works
"
"
Written
"
Tried
"
Schubert
"
struggles
Fortune
aloof
him
Early
"
music
fast as pen could travel
evening
MUSIC
tion;
require considera-
to
greatest
buy
to
224
COMPOSERS
composer
school-teacher
but
SONG
the
poor
VOCAL
"composed through"
first song
Too
MUSIC...
APPRECIATE
SONGS
the
CHAMBER
Erlking"
at
thirty-
and
many
individuality
"
"
Not
the
same
TABLE
CONTENTS
OF
19
PAGE
CHAPTER
proportion of great
his
during
Fran::'s
genius
admiration
Wagner
Brahms
"
of
one
Richard
"
of keys
Pitiable
of
and
jected
Ob-
"
physical
thinker
in
Grieg, Chopin,
Rubinstein,
Liszt
"
Phases
"
profound
a
posed
com-
knowledge
Choice
"
best
Clara
his
"
composers
and
Bach
Jensen,
"
of
Traces
transpositions
disabilities
The
"
wooing of
"
of
to
music
songs
greatest of
the
Strauss,
song
Wolf
Hugo
others
231
ORATORIO
XV."
An
incongruous
Italywith
and
San
of
German
music
Dramatic
Elgar
XVL"
and
OPERA
episodes
Aria
the
First
Haydn's
Mendelssohn's
"
Messiah"
in
del
Han-
popularity
in
work
"
Gounod,
248
others
MUSIC-DRAMA
AND
Monte^'crde
to
"The
to
in
"
"
fluence
in-
sion"
"Pas-
of
Messiah"
"Seasons"
and
Origin of opera
"
expression
"The
of
"Elijah" next
"
Bach's
"
action
The
"
characterization
performance
"Creation"
Scenery,
"
early oratorio
Dramatic
"
in
Originated
"
composers
Rockstro's
"
Neri
Filippo
ballet in the
even
form
art
relieve
"
"
Peri
Cavalli
the
and
introduces
monotony
developed by
the
Alessandro
of
Florentines
vocal
ody
mel-
recitative
Scarlatti
"
"
TABLE
20
OF
CONTENTS
CHAPTER
PAGE
Characteristics
of Italian
Verdi
to
Gluck's
"
French
opera
"Carmen"
and
certain
later
here
theories
Verdi
and
drama
not
with
Wagner
movement
Finch's
"Wagner
The
"
and
Motive
into
ddmmerung"
from
greatest
the
the
"Tristan"
achievement
present
time,
of
"
musical
has
"
Wagner
music
to
ner's
Wag-
examples
Nibetives
mo-
show
horn
call
the
''Gotter-
An
tion
illustra-
as
His
veloped
de-
the
Siegfried,
of
March
"
guishing
distin-
a
cally
plasticity musi-
clima.v
Funeral
ner
Wag-
Leading
"
Siegfried
motive
the
nerian
Wag-
Siegfried,
Their
"
the
"
musical
motives
absolute
of
music-drama
by
folk-lore
"
Unity
"
original
anti-Wagner
Works"
The
The
"
into
and
His
"
labels
mere
illustrated
hero,
in
the
of
Tarnhelm
not
"Studies
illustrated
Curse
'lung,
to
Examples
"
trait
method
impetus
and
music-
wholly
and
posers
com-
A
"
of
the
on
Italian
Form
"
of
effects
influence
Wagner
"
melodist
a
"Faust,"
music-drama
Gave
Drama"
"
Their
"
Krehhiel's
"
and
popularity
contemporary
"
German
Far-reaching
"
opera
an
latti
Scar-
Huguenots,"
Wagner's
"
"
Comparative
"
operas
Wagner's
reforms
"Les
"
from
opera
a
poser
com-
scores
history, up
the
to
260
LIST
OF
ILLUSTRATIONS
PAGES
Beethoven's
"Moonlight
"Two-Part
Love
Sonata"
Invention/'
Motive
Opening
of
Walhalla
Motive
Bach
by
"Die
from
54
Walkilre"
"Lohengrin"
the
5.5
52,
180
Prelude
183
192
Curse
Motive
Siegfried
Nibelung
269
Motive
270
SniitJiy
Tarnhelm
Motive
270
Motive
271
Siegfried
Horn
Call
2^2
Develops
into
Motive
of
Siegfried,
the
Hero.
272
.
And
into
Climax
Funeral
of
.
.
"Gbtterd'dmmerung"
the
March
272
Examples
from
"Tristan
und
Isolde"
273,
274
INTRODUCTION
4W
RE
A
musical?"
you
/\
"No;
Your
of
it
sing,
If
musical
you
music
book
who
the
have
who
and
yet
and
yet
satisfied
the
does
to
amounts
of
keep
a
this
the
to
this
with
as
is
that
play
growing
ever-
an.
longer
no
play
to
upon
understand
to
wants
fession,
pro-
a
not
these
music
but
the
may
know,"
allowing
and
halls
who
art;
to
for
music
Among
emotions,
book.
personal
clearly
even
or
a
language
to
the
In
carrying
side
before
of
and
13
in
it
out
but
of
the
I
many,
do
to
is
have
have
so
that
manner
a
reader,
music,
eyes
and
passion,
average
the
with
which,
desire
natural
craving
intelligible
be
recital
an
as
"wants
untechnical
wholly
and
music,
so.
satisfy
To
shall
the
lover
musical.
are
that
and
it
more
certainly
and
of
the
followed
not
it
love
simply
senses
why
in
concert
"
number
is
be
may
you
singers;
or
for
planned
throng
sing,
it,
nor
unmusical.
are
you
appreciate
play
so.
is
those
opera
that
pianists
many
become
This
those
and
neither
you
follows
standing
misunder-
complete
a
Because
case.
sing."
nor
shows
means
than
may
or
no
love
you
play
answer
the
by
neither
I
the
not
pose
purlected
neg-
endeavored
reader,
and
in
INTRODUCTION
24
their
proper
I
somewhat
am
of
one
those
lift his
of
of
fact, I
am
in
most
expression
in which
I
music, which
of
life and
these
quite
am
from
to
hear
by
the
be
opera,
Richard
a
I
the
and
of
Liszt
music,
up
"Don
on
(for
of
this book
epoch
master,
worked.
written
great
and
will
do
far
be
I think
to
of
music-lovers
But
who,
while
than
to
Beethoven
a
heretic
as
symphony
in
in the
derly
or-
Indeed,
art.
the
Fifth
up
I
an
was
Symphony
Chopin.
on
admiration
devoted
than
ample
the
to
tion
por-
cal
classi-
especiallyits greatest
forms
that these
unsympathetically.
body
the
cipation
eman-
great part played
Therefore,
masters,
now
trouble
than
greater
found
and
its
more
brought myself
Wagner.
its great
Beethoven,
Nor
I
I have
critics),and
most
the
the
that
importance
Giovanni,"
before
whom
of
ertheless,
Nev-
music-drama
very
their
systematic study
exact
forms
Beethoven
the
or
the
unconscionable
an
and
upon
Therefore,
poem
great, the
opera
the Sonatas
and
such
of the
evolution
tone
In
stress
achieved
to
go
the
expressed.
form.
might
time
dencies
liberating ten-
of
Wagner
a
or
not
am
Mozart
brought
to
Strauss
unaware
of
every
only through
music
has
not
upon
be
to
expansion
tyranny
listen
rather
symphony,
to
the
Mozart
a
and
does
more
than
that
aware
obsolete
growing
I would
sought
are
who
the
lays
truth
opinions,
mentioned.
are
with
sympathy
gradual development
be
views
"sonata"
and
of modern
may
musical
in my
advanced
tory.
his-
in musical
names
reverentiallyheavenward
eyes
"symphony"
form
great
radical
a
persons
Vv-ords
the
the
sequence,
pages
in
which
will be found
something
being
they
told
is due
the
that
they
26
INTRODUCTION
drama
"
Strauss;
of
who,
it
"Are
schools
of
I
if
But,
why
lover
you
of
the
himself
in
the
art,
is
and
past
they
him
from
lover
a
the
of
music
with
sympathy
also
ard
Rich-
to
the
the
appreciates
behind
contributed
in
none
to
knowledging
ac-
music
make
musical?"
neither
play
read
can
you
should
not
music
be
than
merely
in
their
sing."
nor
and
more
many
"
lies
before
is
of
Bach
is.
you
"No;
from
thoroughly
what
what
music
who
although
masters
great
in
everything
writer
a
advanced
more
fact,
place
to
standpoint
and
in
anything,
listen,
musical
a
"
of
fingers
those
or
is
there
no
more
GUSTAV
genuine
ship
musician-
whose
vocal
reason
Try!
cords.
KOBBE.
HOW
TO
APPRECIATE
A
RECITAL
PIANOFORTE
PIANOFORTE
THE
THERE
one
be
must
who
attends
it
Therefore,
very
and
how
outset
it became
of
circle.
home
in
fact,
a
The
is
the
it
this
of
that
capacity
of
the
and
softly
the
the
the
first
music
is
sound,
two
learn
intimate
will
surely
hance
en-
be,
should
musical
is
in
is
both
"
capable
and
it
from
of
call
*9
things
term
the
posite
op-
"
The
pianoforte,
being
forte.
played
It
was
immediate
its
clavichords.
and
learning
Most
loud.
word,
harpsichords
to
low
and
piano
in
it.
musical
a
gentle,
one
very-
ments.
instru-
is denied
strong
terms
that
for
and,
of
soft,
requirements
to
most
"
piano
distinguished
old-time
the
of
recital
generally
instalment
that
is
instruments,
things
abused
means
loudly
practical,
and
at
pianoforte
musical
used
most
although
which
self.
it-
it.
name
of
the
pianoforte
a
gree
de-
some
institute
to
most
such
most
piano,
forte,
precursors,
One
a
real
degree
combination
both
the
its
a
signifies
of
to
call
of
hall
prerequisite
Even
denoting
concert
of
perhaps,
people
of
Knowledge
pianoforte
reason,
the
universal
the
enjoyment
the
what
"
most
instrument
the
into
every
instrument
the
pertinent
me
it is
what
and
expressive
to
seems
of
part
recital
regarding
inquiry
an
the
on
pianoforte
a
curiosity
of
the
practically
how
musical
to
stand
under-
by
their
HO
30
IV
To
right names.
of
one
a
characteristic
of
I
If
speak
specimen
of the
of
in
this instrument
in
I would
say
of
home.
Indeed,
Is Home
undue
that the
stretch of
ask
to
"In households
his
adds
with
part of
of
layman
through
or
the
like
is
in
wholly associated
music
on
this
pianofortewe
no
the
its
and
to
Bie, in
players;
become
it has
musical
least
nine
with
almost
first introduction
their
pianoforte
whole
our
upon
he
musical
whole
our
and
essential
an
professional, at
out
seem
Oscar
says
ten
and
and
point.
every
Wagner
are
wiser
be
of
greater part of their musical
composers
if you
Instruments.
Surely
received
"What
to
day, it might
a
there is
that
song
without
might,
its characteristics
of music.
invariablyhave
music
hours
instrument
stamping
conception
familiar
practicingscales
and
the
orchestra
although,
"
life,giving its form
and
persons,
music
where
the
is the
Mother?"
a
King
perfect truth
our
culture
of
and
life of
musical
the
foreign atmosphere,"
a
history
the
neighbor'sopinion on
your
breathe
origin
single phrase
a
title of
Pianoforte?"
a
The
to
dence
evi-
and
imagination, be changed
working hard at your
fingerexercises several
not
the
pianoforte
the
Without
Without
Is Home
speech,
Hngiiisticlaziness
of
express
to
to-day
any
of
shortcuts
is
piano
a
as
instrument.
asked
importance
*'What
pianoforte
a
ignorance concerning
utter
were
the
of
MUSIC
modern
unjustifiable
our
character
APPRECIATE
TO
and
have
knowledge
from
Meyerbeer,
opera,
pianoforte,and
had
derived
it.
whose
to
the
Even
work
their first lessons
Meyerbeer
achieved
PIANOFORTE
THE
triumphs
brilliant
his attention
intimate
and
of
circle
great audience
and
seek.
of
the
the
of the
ability"to
of emotion
resonant
for
of
and
passages,
and
notes
which
this is
entitled
"The
spiritsof
give, within
fingers.
finest
with
of the
literature,speaks
that
to
all
phases
;
its full,
of the orchestra
from
sound
rapid
most
of
time
same
to
sive
comprehen-
words"
of
far
the
powerful forte; and
most
The
There
of
of
row
music.
the
white
He
grasp
has
of
pianoforte
music
the
all.
Ruler
the
One's
Under
not
the
commanas
or
is not
its
and
runs
sustained
singing
phrases.
But
Besides
the
lacks
shade
every
the
Music
the
its
vying
permits
at
and
language
gentlest pianissimo to
mechanism,
the
the
ments,
instru-
of
king
first
of
the
it to
rouses
living expression
which
its command
;
thrills the
its supremacy
pianoforte
its volume
tone;
it also
hall and
author
lend
unites
It is the
for
reason
solitarysoul
tie that
Yet
concert
"
of the
the
"the
public
most
and
enthusiasm.
of
Weitzmann,
its
the
friends.
and
of the
account
time
same
is the most
pianoforte
expression" and
family
highest pitch
the
lonely mourner
seeks
joy
whose
the
at
turned
he
operatic stage.
instruments
of the
favorite
pianistbefore
concert
a
the
to
all musical
Of
as
31
of
voice
engraving
renders
it
even
a
Spirits." Well,
and
black
Weber
he
can
hands, under
anything
reproduce
greater
of
can
his ten
in music.
the
tra
orches-
fidelitythan
painting; for only
who
is ruler
keys
music, all that music
render
can
by
overture
an
his two
its own,
with
is
Fingers.
to the
the
eyes
HOW
Z2
of
familiar
one
APPRECIATE
TO
suggest
the
through
certain
with
color
easily felt
than
is
playing
an
can
make
the
their
low
majestic
hear
such
of
accents
the
of
in
out
the
whole
to
such
a
clang tints
that
it has
that
when,
never
think
can
take up
the
tone
remarkable
basses
sharp
effective
horns
;
the
colos
pic-
shrill of
pianoforte pieces
spirit of
the
instrument
the
tone
permitting
This
is
dual
a
these
that
Liszt
pianoforte.
technique
the
suggestion
of
of
He
the
of
become
the
services
among
said
colors
obtrude
to
giant
the
capacity
posers,
com-
played
did
even
instrument
many
the
of
tage.
part of its heri-
pianoforte,
the
fact
quality wholly peculiar to itself, so
tone
for
and
has
conceived
of the many
one
been
the
on
that
like the
true
of the orchestra
of
far-
while
It has
art.
point
a
the
which,
without
developed
This
the
;
the
on
they say), yet suggest
orchestra
He
more.
the
as
of the double
notes
Liszt, the giant of virtuosos
his
effects
of
of Liszt
the
much.
too
to
composition
pianoforte compositions
are
orchestra
themselves
who
reverberatingpercussions
hollow,
; sustained
rhapsodies
("pianistic,"as
of
more
instruments
rumbling
trombones
there
carried
are
of songs.
arrangements
and
certain
of the most
some
Hungarian
the
tympani
Moreover,
that
orchestra
an
characteristic
; the
growl
; while
engraving
original, whereas,
technique
of
arrangement
of the
are
of
the
the
described, the pianoforte virtuoso
carrying pizzicato,or
or
of
nuances
even
"
painting does
scheme
his audience
orchestra
MUSIC
example,
the
we
are
orchestra, while
into itself and
colors of other
playing Chopin
the
at
reproduce, or
instruments,
characteristics.
is
same
at least
one
we
time
it
suggest,
of its
most
in
common
He
can
APPRECIATE
TO
HOIV
34
capable of doing with
is
use
pianoforte.
the
the
places
the
at
whole
can
dozen
lack
the
without
prima donna
of
pianoforte
in the
the
violin
singer. They
sing
?
After
an
heard
the
an
half
of
even
the
for
violoncello,
and
next
to
instruments
disadvantage
same
dependent
are
which
monotonous
frequently
most
of
can
singing
become
hall, labor under
concert
the
as
The
harmony.
capable
singing through
the
would
of
counterpoint
and
accompaniment
songs
keys
grace
vocalist
vocalist
a
unaccompanied
greatest
and
A
it simply
the
instrument
player.
one
know
we
harmony
fing-ers.
highest notes
fingers upon
one
of
imagine
you
the
all ten
the
as
sweetness
range
entire programme
a
of
as
disposal of
air, but
of
It is the
well
as
power
of music
notes
the pressure
await
and
together the lowest
sound
music, for all the
in
MUSIC
the
upon
paniment
accom-
of others.
The
pianist,on
the other
of
able
advantage
on
melodic
singing with
phrase of
the others
the
the musical
is the
at
his
signal,which
hear
sensitive
baton.
the
A
A
When
Paderewski
poet is
poet may
orchestra
that
at
he
tender
completes
beauty.
this, not
and
with
reveals
Moreover,
some
not
"
the
some
he
directing
is
instrument
be
at
is
required
the
and
conductor
for
the
s
we
desk
not
forte
piano-
else of
one
a
with
hear
"
it
else
one
is at the
Paderewski
whom
temperament
all in
"
intermediary possibly may
the
understand.
we
does
who
time
harmony,
in all its
us
pianisthimself
wholly
poet.
to
of
paniment
accom-
fingersthe
nocturne,
exquisite weave
fabric
and
same
of his
some
Chopjn
a
the
at
inestimable
the
play melody
to
instrument
one
While
one.
being
hand, has
but
less
a
the
in
interpretation
THE
of his musical
their
Even
accompaniments
temperament
and
beauty
have
been
because
the
the
of
in
the
performance,
Yes,
co-operate.
because
Ijecause
and
It would
music
be
under
this
from
had
its
wrought
gradual
through
it
first tentative
to
evolution
Bach's
thoN'en. As
a
was
plays
various
beginnings
symphony
Philipp
of
not
ments
instru-
it independent.
upon
the
for
from
the
it
that
the
ent
pres-
sonata
ments
instruform
sonata
it and
by
a
process
Domenico
Emanuel
simply is a
debt
keyboard
upon
perfection through
son,
do
pends
de-
Pianoforte.
developed,
extending
public
of instruments
overestimate
the
name
one
music
who
pianoforte. Including
which
out
the
to
difficult to
the
to
owes
Debt
action
own
king
the
your
every
many
is the
who
of
performance
independent
him
makes
Music's
so
pianoforte
it is the most
it
of
a
play
the
in your
of
success
pianoforte
grasp
inseparable from
the
the
the
eyes
melody.
you
pictures and
your
co-operation
the
upon
as
the
paniment
accom-
the
the
through
by
as
of
the
of
and,
scenic
defects
because
shade
to
within
placed
singer
a
nuances
go
never
arrangement
able
of
the grace
Lark"
the
by
because
sensitive
as
fact that
me
Liszt's
before
be
Hark,
to
it is to
the
imagination
without
room
of
all
"
watch
"
a
music-drama
Wagner
fingers
it is
delicate
score
music
to
"Hark.
most
delightful,too.
wonderful
and
pianistis
How
pass
;
playing
to
ten
are
fully revealed
so
not
apt
of Schubert's
a
conspicuous
suffer
singers
great
are
they
as
Paderewski's
song,
35
conceptions poets usually are
absence.
their
by
PIANOFORTE
Bach,
for
was
of
Scarlatti
to
Bee-
orchestra,
that
it follows
through
form
pianoforte the
their
cast
APPRECIATE
TO
HOW
36
MUSIC
the sonata
in which
works
greatest
far
so
goes
Schumann
after him
and
pianistically
; but
the
deferred
take
until
to
as
we
book
the
this
of
and
the orchestra
treated
discussion
tion,
orchestra-
on
Beethoven,
that
assert
Brahms,
up
Richard
established.
was
the
through
classical composers
the
Strauss, in his revision of Berlioz's
even
thus
and
orchestral
and
orchestra
is better
point
music.
Here, however,
its constant
to
use
and
the
home,
and
the
joy
the
works,
orchestral
used
hit
harmonies.
and
new
the
orchestra
in
Erard
wrote
and
by heart,"
in
donk,
duet
he
based
the
on
drama,
use
Wagiier,
her
romantic
and
the
to
show
the
9ome
of the most
his
with
musical
in many
famous
went
of
the
I could
the
to
my
if I had
Wesenlove
great
other
quote
"Isolde," which
in the
frequency
has
"I
lives of the
which
he
is
poser
com-
music-
inspired his great
who
of the universal
pianoforte
and
the
understood
who
Mathilde
to
genesis
passages
woinan
The
Venice
Wagner
my
of
improvements
rapidly as
as
Isolde," and
und
in search
ideas.
passage
the
often,
has, employed
ever
his
out
from
writes
in "Tristan
from
Even
the
relating to
passages
accidental
sketching
out
keys
their
for
it, and
on
upon
other
writing
when
pianoforte
the
familiar
his
even
the
over
none
as
pianoforte
to
have
and
player
hall
concert
great audiences
of
delight
amateur
groping
psychical note,
it
the
sketches, testing their harmonies
doubt, while
no
for
and
in addition
that
for the
instrument
an
of the great composers,
circle,many
first
as
of
be observed
it may
ilar
sim-
made
instrument.
other
compo'^etN.
ways
been
Many
a
boon
of them
PIANOFORTE
THE
materially accelerated
works
music.
Mozart
of
virtuoso
was
the
pianistof
as
the
his music.
"
Salon
nature
Pleyei
in
elite, who
public.
using
for
Paris
he
recitals
gave
his
his
began
strained
the
Clara
famous
to
pianist
woman
his works
Liszt
his.
the
on
of
will in musical
soil, you
Its
It must
as
except
through
precursors
harpsichord,
was
a
a
long
harp
general
way,
a
name
with
the
a
His
the
most
fact,
the
the
where
of
roots
for
way
pianist of
a
dig
her
the
you
forte.
piano-
Origin.
it attained
a
hand
devised
had
Vv'as
supposed, however,
know
we
the immediate
the
be
not
In
Lowly
tuoso,
vir-
a
right
was
out
Brahms
strike
greater
time, substituted
hewed
literally
solid, scholarly attainments.
the
exercises.
who
her
keyboard.
musical
as
he
the
at
the
his
which
however,
concert
career
finger of
apparatus
Wieck,
fingersfor
in
ideas
the practice of finger
facilitating
wife,
was
but
to
musical
fourth
mechanical
a
Mendelssohn
shrinking;
conveyed
turn
he
musical
the
was
a
forte
piano-
own
miscellaneous
a
too
was
Schumann
but
in
in
not
was
his
and
later
affable,gentlemanly type
smooth,
Chopin
his
player
introduced
drawing-rooms.
same
their
before
Beethoven,
public
the
to
lion of the Viennese
a
rank.
highest
compositions
and
youthful prodigy,
a
own
appreciationof
the
by deafness,
overtaken
was
of their
by publicperfonnances
and
pianists,
were
37
process
to
that
its present
of
supremacy
evolution.
of the modem
suggesting
is.
One
of
pianofortewas
that
But
ment
instru-
the
keyboard attachment,
pianoforte
ment
instru-
the
and
the
such,
harp
is
38
a
HOW
little apparatus
centuries
in which
This
about
nine centuries
consistingof
do
hundred
years' history
of
on
the manufacture
of
place
The
a
to
clear
as
short
a
it taut
and
pluck it,its
the
string and
the
point
where
it is
the
"node,"
box
and
Under
or
increase
consisted
tuned
the
scale marked
bridge
the
the
notes
on
node
marked
scale
and
at
the
hand
by
string
could
of
is called
duce
pro-
an
oblong
of
a
was
a
simplest
a
peg.
bridge
graduated
By moving
the
the
and
shortened
while, and
the harmonious
and
over
corresponding points on
a
to
nearer
its
along
be
If
in
it
of the box.
After
note.
a
means
with
If you
of it fast, draw
what
taut
use
we
pitch.
from
monochord
in contact
the
as
of vibrations
given pitch by
the bottom
study
ever,
how-
understand
will sound
string drawn
produced.
facilitate the
end
one
number
be moved
at
be out
musical
shorten
The
a
of
would
much
tied, you
string and
fret that could
work
to
used
it taut
the
a
to
tailed
de-
Such
brief
as
draw
note.
of
nine
a
technical
and
be
vibrations
grasp
form
a
wants
true
piece of string,tie
higher
give
to
history should,
its
to
determine
you
a
to
means
pianoforte.
pianoforte.
originallywas
to
by
possible.
as
monochord
tuning fork,
take
endeavor
instrument
an
about
who
one
every
required
of
of the instrument
of
it has
modern
belong
many
instm-
in vibration
the
would
I shall
time
and
not
mean
among
king
the
am
Something
here.
be known
same
into
attachment
I
but
the
for the evolution
consideration
music,
of
the
discovered
was
monochord,
be alarmed.
not
with
compared
single string set
a
keyboard
But
the
was
MUSIC
lay and
the first germ
ago
ments.
a
affair
fullydeveloped
very
of
APPRECIATE
TO
uated
grad-
in order
to
relationshipbe-
THE
different
tween
its
with
It
and
more
clever
the
four
under
the
upon
this
from
the
To
monochord.
the
upright piece
pressed
it in
set
created
down
the
and
string.
adding
To
end
as
the
struck
the
as
the
to
the
key
finger
strings,
contact,
kept
was
the
pressed against
the
the
was
pleasure
vious
ob-
next
ceased
determining
which
by
instrument
monochord
for the
with
the
attached
was
time, by
keys
on
it
of the
one
same
more
instrument
play
key
When
long
of
borrowing
attaching
utilityof
the
some
beginning
of
remained
apparatus
could
amateurs
lasted
ment
improve-
an
the
of each
the
gradually
an
As
tinually
con-
different
many
tangent.
at
strings and
more
became
and
and
the tangent
increase
technical
mere
organ
tangent
step, and
a
idea
a
to
arrangement
the
rear
which
node
as
about
vibration, and
a
however,
strings.
called
key
a
upon
to
awkward
century,
"keyboard
an
bridges
four
each
added,
scale.
nuisance,
a
conceived
person
tenth
of
less
39
strings were
graduated
or
shift
points
three
notes,
bridge
was
PIANOFORTE
to
be
pitch
of
professionals and
and
themselves
to
others.
A
Poet's
There
1529
a
has
Advice
been
reply
where
have
lessons
been
as
by
she
who
was
upon
popular
the modem
the
had
being
the
Musical
His
preserved
made
daughter Elena,
to
to
from
us
Pietro
poet
written
to
educated
day
as
which
its
pianoforte, is
him
about
the
Bembo
from
asking
monochord,
in its
Daughter.
to
the
if she
seems
year
vent
con-
could
to
fully developed
now.
his
have
cessor,
suc-
HUir
40
for permission
"Touching thy request
the monochord,"
that
know
chaste
thy
is
playing
modest
and
play badly
tender
maiden
it would
cause
Yet
in order
give
ten
to
from
much
so
would
l)enefit thee
thee
to
dost
not
learn
the
play
too
or
If not, it
?
chord
did
"
did
have
The
Monochord
of
the
been
term
to
added
Elena,
to
was
derived
If you
find
that
a
the
ent, desired
the
to
will
distress
play, reallywas
the
raise
the
lived
the
few
a
words
they
are
"
play
And
mono-
centuries
to-day!
way
own
the
application
strings had
monochord
on
which
distinguishedp"ar-
of her
a
the
other
clavichord, which
primitive
lid of
strings become
after
The
misnomer.
directlyfrom
to
string," and
instrument
evident
the sciences
of
day?
own
our
her
had
thou
Clavichord.
*'one
means
she
them
These
Elena
learn
because
was
they desire
pursuit
daughter
Elena
not
would
She
soon.
if
thy mortification.
at
the
applicationto
in
this
thyself without
for
laugh
his
to
far
pleasure, tell
their
needs
must
How
else.
see
no
out
exercise, with-
the
to
thyself with
Bembo
wholly lacking
T wonder
thou
practice of needlework."
the
poet
well
aught
them
wcrt
play
canst
for
most
little pleasure and
years
of
be the
thee
thy schoolmates,
have
to
content
and
so
thou
But
to
care
Therefore,
of
twelve
thinking
as
tellingthee.
my
to
frivolous
Besides, if thou
alive.
little shame.
up
shouldst
that thou
ply
re-
not
canst
and
vain
for
"I
answer,
thou
years
art
an
I would
whereas
women,
to
of
play upon
to
quaint
begins Bembo's
because
that
MUSIC
APFRLCIATE
TO
your
shorter
was
monochord.
pianoforte
from
the
you
bass
will
up.
HOW
42
cians
APPRECIATE
TO
called
MUSIC
Bebiing (trembling),
bal-
French
the
and
an-cemcnt.
A
defect
of
the
This
power.
clavichord
defect
in the construction
of
which, in
hard
of
shading
no
The
uniform
sound
at
chance
lying
has
on
a
table
with
(a
became
shaped
were
much
the
of
the
like
somew'hat
smaller.
virginal
a
virginalswere
A
result
the
This
the
no
board
key-
tipped
a
cembalo
clavi-
origin
balo
clavicem-
Haipsichords
grand pianofortes, but
our
spinet was
made
a
the
was
by which
still smaller
About
this instrument,
called
provised
im-
music.
devised
one
er's
play-
and
gypsy
generally known.
more
forte.
piano-
cembalo.
the
keys).
name
with
in the
arpeggios
some
players
of the
Hungarian
called
with
cembalo
were
and
weird
the
crow-quills,and
harpsichord,
soon
but
band
instrument
an
like those
quillsfor
with
of the
one
little mallets
two
instrument
attachment
the
him
century, it seems,
the fifteenth
of
strings
the
Hungarian
a
that
much
very
produces
old
very
jacks
before
characteristic
runs
the
notice
played with
hands, and
a
that
than
sharp outline,
a
listeningto
may
you
It is
It is
stronger
or
Harpsichord.
be
to
strings strung
many
were
crow-quills
jacks twanged
the
keys,
of the tones."
restaurant
a
much
strings
the
the
with
"permitting
power,
of
action
was
But
The
If you
instrument
by jacks tipped
clavichord.
the
the
to
resulted
which
experiments
keyboard
a
response
leather.
with
of
vibration
in
set
led to
of
its lack
however,
was,
a
small
one.
larger
harpsichord,
Sometimes,
than
deed,
in-
workboxes,
THE
instrument
the
on
table
a
For
tlie
clavichord
this book
of
the
preference
the
and
tone
produced
it
pianoforte making
day,
but
Philipp
great
to
his
aid
he
materially
And
older
occasional
musicians, and
use
How
late
as
as
thoroughly
be
appreciated
of
English
pianofortes
production of clavichords
Piano
could
the
chord,
clavi-
on
the
player
modern
keys.
then
even
and
clavichord
vary
the
Swells
and
1780
found
the
last
in
tury.
cen-
pianoforte
is will
celebrated
firm
did
and
not
begin
to
the
continued
1793.
Forte.
nor
on
strength
pedals
of
a
1730
be
to
was
that
in
strument
in-
sweet
lingering regret
the
until
the
pianoforte and
beginning
until
son,
the
produced; by the degree,of force
the
his
it for
it still
founded
Bach's
first of
the
without
the
in
popular by using
it is said
when
makers
manufacture
Neither
in
did
as
of the
yet
abandoned
not
be
could
that
lonely,melancholy, unspeakably
was
the
it
making
public performances.
"that
by
in
its sweet
of
already
was
value
the
gave
Experiments
Mozart
realize
to
musicians
clavichord,
Bach.
Emanuel
masters
the
to
flourished
class
effect
in progress
were
clung
harpsichord
halancement.
the
by
of the
because
delicatelytremulous
upon
sufficient.
best
the
vey
sur-
seems
virginal)
and
clavichord
the
to
placed
general
this very
pianoforte
other, but
each
and
box
the
instruments
the
(harpsichord, spinet,
alongside
of
out
of the
and
43
player.
of
purposes
of the precursors
The
taken
being
before
the
PIANOFORTF
the
harpsichord
of the tone
with
worked
which
by
the
which
he
he
struck
knees
and
^014^
44
feet
the
TO
APPRECIATE
devised
were
**touch"
as
with
instruments
be
the
fingers.
The
forfc.
was
the
under
the
substitution
of
quill-jacks, was
an
whether
should
the
upon
struck
the
It
tolomeo
tone
of
keys.
This
by
essentials
have
the
The
elapsed
same
and
giving
already
how
has
been
player
first
forte.
pianoBar-
by
1
answer
their
been
of
by
this
ascribed
to
But
Gottfried
the
real situation
mann
Silber-
of the
of view.
before
beloved
clavichord
they
But
out.
for
the
ian.
Ital-
clever
manufacturer
point
used
is in its
to-day
the
latter
new
Time
and
their
made
professional musicians
many
pointed
were
pianoforte
bound
was
in the end.
attempt
mechanism
themselves
not
the
inventor, while
the
was
required
slow
the
up
triumph
take
which
then, the action
devised
business
a
were
I shall not
to
since
first successful
the
improvements
the
and
in
in 171
(1683-1753).
Cristofori
instruments, from
to
the
was
frequently is
German
a
is that
was
that
as
invention
Silbermann,
in
tion,
ac-
tangents
which
named
so
hainmer
forte depended
or
instrument
player's
the
possible
pianoforte manufacturers
many
way,
for
pinno
to
harpsichord
of the
hainmers
and
of
sound
Cristofori,of Florence, and, although nearly
centuries
two
invention
of
the
strength with
invented
was
degree
instrument
degree
impossible
was
pumo,
be
but
difficulty,
control
was
until
the
the
the
clavichord
Not
to-day
it
in which
not
was
this
overcome
understand
we
produced
to
MUSIC
a
of
few
to
to
a
technical
pianoforte.
the
questions which
players
instruments
present
give
when
who
their
I should
But
may
have
not
may
apart and
description of
examine
tuners
have
like
suggested
have
cared
them,
taken
or
to
have
off
the
PIANOFORTE
THE
stringsof
The
the
exposed
lid and
Those
of the
Eight
or
deepest bass
for about
of
tones
of these
vibration
twelve
from
ten
strings to
twice
had
string
been
All
When
the
fingers strike
the
keys
of
the
strings, the
the
force
exerted
merit
soon
as
strings,stops
the
the
be
tone
can
vibrations, and
the
to
loud
This
key.
play
prolongs
the
the
or
legato.
The
damper
The
keys.
the
strings,shortens
tone.
The
of
after
the
even
soft
the
action
all the
pedal brings
the
simultaneous
stroke
use
down
fingerpressed
enables
tones
Thus
ceases.
which
the
vibrating
the
device
checks
dampers,
corresiX"nd-
is the
staccato
pedal,
the tone
its
immediately by raising the
dampened
fingeror prolonged by keeping
on
the
key
place against
into
springs
ing damper
with
of
row
upon
guishing
distin-
the
compared
a
a
strike
hammers
depending
as
strings are
the
fingerreleases
a
the
stroke
pianoforte
the
of
one
remaining
five
player, this being
the
by
Under
precursors.
as
force
only
Player.
the
Depends
if
tone.
a
on
the
and
strings to
son
uni-
producing
as
The
pairs,
two
are
and
tone
a
in vibration.
set
three
have
octaves
there
the
these,
in
half, the strings are
powerful
as
by
Above
strings.
simultaneously,
tone,
wire.
copper
produced
striking them,
a
approximately
a
with
are
wound
and
that, the hammer
so
bass
theit
neariy twenty.
to
covered
the
view.
to
of steel wire, and
tons
are
copper-
octave
an
mechanism
and
strings
pianoforteare
the
varies
tension
45
pedal,
dampers
and
of both
hammers
and
nearer
produces
pedals is
or
released
fingers have
the
ist
pian-
the
a
a
softer
modern
46
IV
HO
APPRECIATE
TO
effect and
virtuoso
a
of
use
soft
the
the
compositions.
There
sustaining pedal, but
I do
valuable
as
his
in
invention
an
Within
recent
is
the
opinion,
my
instruments
it is senseless
and
thousands
of
dexterity
nevertheless
wdio
and
who
their
enabled
with
who
the
Decorations
ugly
appearance.
the side toward
curve,
while
the
This
the
the
called
the
proved
as
chanical
me-
of
There
time
the
the
device
the
an
are
the
nor
pianoforte,
musical
genuine
The
play
knowledge,
this.
of
In
class.
to
expressively or
Do
That
pianoforte often
of
passages
vate
culti-
to
the
renders
not
taste
ing,
feel-
depends,
of the
son
per-
it.
The
straight side
their
of musical
pianoforte itself,upon
manipulates
the
introduced
destined
neither
music.
for
taste
in
through the pianola
accurately; whether
music
of
people
are
are
of
technique
the
master
to
was
designate as pianolas,
are
have
who
people
he
indicate
it has
underestimate
to
the
was
pedal
been
I may
part in the diffusion
important
as
these
have
instrument
popular
most
think
the
anticipated.
was
there
years
by
that
pedals
third
a
per
dam-
this country,
formally
not
pianofortes,which
after
visited
both
of
employment
simultaneous
produced
systematically,and
to
the
Paderewski
have
first composers
the
among
for
one,
tones
I believe
pianistswho
effect
this
employ
gentle
pedal.
first of the great
to
charming
very
pedal prolongs
MUSIC
is
spoken
of
as
an
instrument
it emphatically is not.
grand
room
Beautify.
Not
is
placed against
presents
a
If the
the
wall
graceful,sweeping
upright effectivelybreaks
the
straight
PIANOFORTE
THE
of
line
wall
the
is
are
placed
and
other
a
rose
the
"
awakened
pianoforte
look
of
are
for
is
in
"period"
the
has
bounds
to
music
of
pianist
he
ordinary
No
too
taste,
rich
he
with
of
course
and
to
be
the
the
musical.
less
The
pianofortes
also
is in
ford
af-
can
the
it besides
proficient
more
and
turned
the
out
high-class
are
is
person
is, within
decoration
the
pianoforte
the
this
there
one.
decorated
A
he
rooms,
better.
by
like
decorated
If
pianoforte
business
look
period.
simpler
the
Because
rooms
room.
the
indeed,
elaborately
for
even
appearance
hopes.
to
a
they
portfolios,
made
art
for
cares
decorated
"
is
the
and
less
is
be
"period"
itself, the
the
in
of
about
Often,
designed
aflford
good
not
"period"
a
room,
instrument
satisfied
are
in
be
to
top
on
scattered
musical
historical
some
waits
precise, orderly
of
it need
business
enough
a
the
of
preferably
that
cemetery.
a
pianoforte
style
no
rich
the
in
objectionable
Equally
forte,
piano-
a
upon
music
of
If
the
create
that, however,
or
books
graveyard
a
soul
neatly arranged
mounds
pianoforte
of
if
they
and
paths
the
abomination.
an
disorderly:
worse,
of
bound
or
place
to
is but
there
mind,
my
instrument.
the
music
pictures
single flower,
a
living symbol
within
Sheet
with
that
framed
knicknacks,
To
forte
piano-
the
"ornaments"
so-called
permissible
vase
If
it stands.
things.
it is
slender
a
the
"
which
the
to
it
upon
senseless
thing
one
which
against
it is due
ugly,
47
for
more
in
the
turer.
manufac-
those
who
II
BACKS
in
general
reader
the
these
in
chapters
of
enjoy
enable
recital, but
as
instead
pianoforte
the
is
usually
Ill
"big."
far
not,
indeed,
the
evolution
this
chapter),
in
the
in
is
quite
therefore
phases
of
musical
as
an
preludes
Clavichord,"
apt
In
to
The
open.
music
its climax
which
and
a
fugues
with
Bach
on
"big,"
if
often,
in
as
in
out
is
the
vious
pre-
sufficient
so
reviewing
possible
so
a
to
forte
pianoreview
history.
example
and
is
something
for
orchestra;
orchestra.
This
pianoforte,
quite
which
it
Take
is
instrument,
recital
the
prehensive
com-
orchestra,
is
orchestra
the
a
chapters
the
on
pointed
led
more
a
the
I
(as
itself, has
many
the
music
of
the
the
such
at
imply.
those
with
hear
with
concerned,
than
bigger
lead
give
to
prepare
it with
fact, however,
is
influence
its
as
will
would
possible
recital
thus
he
that
to
of
of
point
what
it is
that
and
art,
because
done,
music
pianoforte
a
than
forte
by the piano-
played
approach
elected
I
why
reason
on
to
knowledge
one
of
the
him
role
the
only
not
MUSIC
TO
evolution
survey
to
been
has
important
SO
a
SERVICE
which
composition
selection
rounded
its close.
You
+8
pianoforte
illustrates
off
and
will
Bach,
of
one
Well-Tempered
"The
from
a
by
be
recital
a
whole
brought
apt
to
is
quite
epoch
alike
find
to
this
HOl^V
50
Yet
labored.
and
who
woman
and
preludes
Bach
rule,
a
as
and
I
to
back
his
Richard
Brahms,
realize
to
that
and
the
music
Schubert
be
to
old
as
While
I
to
I
all, Wagner,
this
music
the
Liszt.
Schumann,
write
modern
not
can-
cal
musi-
predilections,my
above
as
I still
while
true,
come
unfit
hers
But
over
Bach."
and,
modern
more
get
Chopin.
debt
the
rave
you
musical
myself
chord,"
Clavi-
My
age.
"You
has
the
play
appreciation of Bach,
Father
Strauss
consider
mother
advanced
when
in my
family,
alphabet.
the
as
:
to
young
a
musical
very
her
The
me
is
"Well-Tempered
the
being Schubert,
gods
a
heard
prophecy
ultra-modern
failed
in
with
but
now,
that
should
up
simple
to
say
will go
you
say
am
of
only
Wagner
am
acquaintances
child
a
as
comes
used
teacher
my
exceptional case.
most
a
as
fugues
finds
is
brought
having
who,
and
among
was
MUSIC
APPRECIATE
TO
music
if I
book
Bach,
to
owes
greater the
the
debt.
One
of
of
much
the
the
in
place
because
with
and
the
in
the
influence
the
little
or
after
him, the classical age
sum
up
the age
no
in the
names
of the sonata
mentioned
on
of
and
the
true
in
age
the
must
that
Mozart
have
age
and
The
do
to
Bach
l^e
not
Bach
immediately
that
as
where,
else-
as
between
general
that
is
much
so
gap
symphony.
would
music
following
of music,
Haydn,
probably
had
is the
"
While
it is
literally,
too
has
instrument
of music
music.
this
generalizationlike
a
discussing pianoforte
evolution
modern
taken
and
"
tory
his-
in the
phenomena
remarkable
most
art
Music.
ill Modern
Bach
which
had
came
we
Beethoven,
three
developed
ters
mas-
and
BACH'S
much
composed
when
SERVICE
modern
more
a
they did
as
wanted
Wagner,
with
teeming counterpoint
inherited
just
what
this means,
had
has
none
the
on
reader
have
to
that
what
classical
for
and
with
another
direction
harmonically
be
can
and
that
from
its
the
clear
its
combination
had
or
for
the
conception
been
two
in
turn
a
developed
and
it
that
so
its counter-
from
harmony
the
max,
its cli-
reached
derives
of
from
it differs
classicists
of
httle
style having
the
music
modern
Bach,
he
why
contrapuntally ;
of
Bach
influence
necessity took
of
under
instead
said
ix)int
music
by him,
exhausted
understand
To
wherein
of
possibilities
all the
which
system
counterpoint
Bach
Bach's
it is necessary
is and
counterpoint
harmony;
harmonic
reasonably
a
classical
the
combined
and
composers,
least
at
from
and
Hke
musical
of
appreciate the
music
But
romanticist
Beethoven.
to
modern
upon
him
the
from
been
Hved.
means
Bach
to
51
never
a
the
to
back
had
Bach
enrich
down
reached
period, he
had
composer,
to
handed
expression
MUSIC
TO
Beethoven,
from
systems
Wagner.
There
is another
be
explained
and
harmony
should
counterpoint
all the
Nearly
now.
Haydn,
written
"
would
with
be
the
much
on
of
clear
the
to
recital programs,
is
to
of
old
As
start
I have
with
we
must
contrapuntal
the
that
ceded
pre-
times
some-
contrapuntal
said
the
reader
that
before, it
form,
sonata
counterpoint, for
But
between
music
and
simpler.
the
difference
the
Beethoven,
easier
instead
is the
music
and
of counterpoint
meaning
l^e made
counterpoint.
harmony
harmony
"
in
and
early music,
Mozart
is to be found
the
why
reason
"face
of
the
two
the music"
composers
"
and
HOW
52
APPRECIATE
TO
the best way
this is
to do
counterpoint are
melody
Here
tones.
theme
or
is the
begins the
It is
melody,
a
is the
harmony
as
and
is
but it does
adds
which
an
constitute
accompaniment
Counterpoint.
or
not
progressionof sing^le
theme
with
constitute
which
melody.
his
of
thoven
Bee:
harmony,
several
for
tones,
progression of single
rational
to
and
differ.
combination
the
harmony
"jNIoonlightSonata"
familiar
rational
they
rational
a
melody
distinguishedfrom
tones
explain what
wherein
and
Harmony
A
to
MUSIC
But
when
and
theme
Beethove:i
it becomes:
^-3 BE^
m
^
Pen.
g"iis:
-sCl
-cQ S3
Pea.
IS
_:^
WW
tr="-
uj'm
often
it is to
he
however,
a
usually
does
it with
theme,
for
not
but
or
with
in
a
several
general
the
purpose
that
shall
the
on
to
ody
mel-
or
it and
support
of
Composers
conceived
it with
supporting
an
another
it with
combine
difference
is the
it.
combining
of
That,
themes.
equally important
other
theme
hand,
other
of
purpose
in order
way,
a
nials,
peren-
part of
a
striking relief.
and
the
only
conceives
with
so
ably
prob-
hardy
the
but
Ac
tones.
again, because
out
with
harmon)',
composer
bold
it into
accompaniment,
harmony
between
counterpoint.
and
In
then,
harmony,
music
composed
which
the
which
according
combination
the
on
This
equal importance.
fugue
or
are
one
at
accompaniment,
the
themes
of
a
the other
on
why,
reason
the
ptinctum,
of
time
it has
fugue
term
which
stand
and
not
as
means
been
they
being
out
derived
on
is
the
listener
readily
ear
usually
which
clearly from
trained
travel
work
average
sonata,
a
of
there
when
His
hand,
each
themes,
uninteresting.
themes
but
Counterpoint, the
contra
is the
accompaniment,
the
several
of
and
dry
distinguish the
heard
the
pianoforte recital,the
a
is apt to find it
can
good example,
complicated contrapuntal
other
of
program
a
from
out
of
Counterpoint,
is subordinate.
rests
is
in
system,
harmonic
the
to
Sonata"
stands
melody,
strictly speaking,
more
or,
"Moonlight
the
theme,
a
classed
contrapuntal school,
the
a
be
ample
ex-
an
music, and
on
pointed
accompaniment
an
throw
be
is not
melody
When,
to
have
will
mistake
a
as
in books
pointed out
been
often
has
it is
of several
combination
of the rational
53
since
harmony,
becomes
also
the passage
MUSIC
TO
SERVICE
BACH'S
to
the
unravel
along together.
from
the
Latin
point against point
or
HOW
54
against
note
about
a
the
himself
it is
of
elaborate
most
the
fugue
may
console
thought that, excepting
for
music
a
grasp
swallow
to
the very
at
than
however,
are,
simpler pieces
fugue. Sometimes,
a
by Padre
the
among
in the
as
Martini, which
lighter numbers
elect,
beginning
itself,or, rather, "imitates"
of the
canon.
which
"Three
many
people,
they
Another
and
the
in
character
any
of
a
simple
form
that
of
round
example.
realized
have
torical
hiswith
is the
familiar
a
into
A
is well
given
in the
later
again and
For
initiated
is
figures
theme
a
canon
singing this,
How
that
mysterious thing
comparatively simple
again
of
illustrated
"Two-Part
Bach's
spiritedtheme
bar
is
then
form
Attegrezza.
Con
counterpoint
piece
Mice"
counterpoint ?
as
Vivace.
when
being
were
known
Blind
of
votte"
little "Ga-
programs
it, which
form
counterpoint
charming
now
on
of
recitals,the contrapuntist combines
a
the
recital.
a
There
of
fugiie,is
a
is, and
to
of
in
as
there
pretty stififdose
a
kind
is unable
with
MUSIC
complicated,
when
note,
who
person
APPRECIATE
TO
out
by
left,an
in the
a
canon.
one
who
a
Inventions,"
the
right hand
"imitation"
piece and
wishes
by
to
gives
become
dapper
in
which
the
itself
answers
which
little
crops
it somewhat
acquainted
out
the
with
BACH'S
Bach
better
nothing
is
there
I
"pert," as
even
it;
a
of
relaxation
is
just quoted, compact,
I have
heard
once
of
perfect example
when
old
keys, form
once
said
that
in
which
fugue
that
history
voice
This
to
a
and
them,
the
to
He
the
themes
would
when
the
be
fourth.
chase
and
of
of
to
few
a
player joins in,
the
addition
well
other,
or
run
it
bars
so
posed
suptwo
discord, which
make
sound
each
each
be
been
answer
to
might
It
But, instead, they have
contrapuntist that they
fortes,
piano-
and
would
the
different
his
in
adept
an
versions
two.
Let
way.
theme,
other
of
fugue.
pianist,after
in with
comes
be-
nation
theme
modified
second
aggravated by
at
mighty
a
definition
the
is
different
a
sounding together
is
after
different
a
pianists
join
the
Goethe
form,
the first
to
music.
world
who
and
one
starts
second
it in
gives
to
in all the
freely poetic
a
four
successively with
that
the
he
theme
a
others.
nods
on
or
that
fugues
nation
composer
counterpoint places
"Well-Tempered
and
the
musical
illustrate
that
Imagine
of
of
is
highly complicated
attempt
me
and
periwig
Is.
contrapuntal
of
the
audible."
his
especially his
climax
"the
gay,
in' moments
Bach
aside
forty-eightpreludes
the
and
girlcharacterize
Father
Fugue
a
fugiies, and
Clavichord,"
from
his clavichord.
at
What
Bach's
ventions,
In-
piece
little
buoyant
young
laid
has
he
himself
amusing
a
55
"Two-Part
these
than
fascinating
especially the
which
MUSIC
TO
SERVICE
of
so
the
third
conceived
together
counter
as
to
and
by
they
and
56
HOW
rO
paralleJ and
enter
and
the
march
in order
of
to
along by
Fate.
of
united,
players
What
is demanded
of the
the
them
that
themes
apart,
An
of
different
all their
colors,
In his
the
Fugue
Mason
first
public,and
is answered
by
a
then
fourth.
a
again
This
second
stated
process
out
few
tions.
combina-
the
chord"
Clavi-
themes
at
third
goes
in
through
from.
on
iel
Dan-
that
"the
actual
simple.
an
prevails
fugue
a
pelling
dis-
toward
immemorially
and
voice,
tween
be-
distinguish
trace
paragraph
subject by
a
independence
Forerunners,"
His
have
by
fugue.
a
Virtuoso.
the
a
the
like
interestingto study
that
are
to
easy
points
of
by
are
and
they
performance
to
prints
the
awe
themes,
''Well-Tempered
regarding
popular mind,
announcement
above;
and
devotes
mystery
rules, despite the
the
is
book, "Beethoven
the
in
they
action
together,
complicated
most
and
interweaving,
Gregory
with
that
entire
hearer
Boekelman
so
The
the
Bach's
by Bernardus
the
posed,
sup-
clearly differentiate
can
their
in
edition
player is
enable
and
even
for
counterpoint
he
be
not
blend
to
truly
inexorable
these
are
ging
sur-
a
pianists into
required
of the
fingers,so
it must
found
of
of
case
as
distinct
are
are
complicated piece
a
in the
four
times
other
at
course,
how
combinations,
momentum
a
called
emphasize
yet, when
several
Of
I have
because
which
different
many
striving, yet always,
fw"gue,borne
great
that
into
MUSIC
flowing along smoothly,
sometimes
as
APPRECIATE
formal
aroused
After
the
single voice,
interval of
a
it
fiftli
voice, and
answered
until each
voice
has
HOW
58
APPRECIATE
TO
What
lack
The
MUSIC
Counterpoint
Lacks.
compositions explains why
find
"D
them
less
Minor
and
Liszt,
omit
them.
when
a
it is easy
trained
fugue
Bach
from
than
other
virtuosos
and
attracts
singer or
of
of
of another
full scope
to
fancy,to
it with
exists
music
is music
music's
some
colors
mood,
something
counterpoint
some
quite
not
for
feeling,or
outside
is restricted
virtuoso's
a
less
distinguishes him
his
public to
be
may
certs,
con-
poorly
the
tended.
at-
virtuoso
the
why
thrillingand
affords
the
his
to
formance
per-
player
mood
own
personality,whereas
own
largely
sake,
Yet
reason
music
his
a
as
for in it lies the secret
interpret it according
color
a
is of
personalityof
Modern
not.
follow
work
a
fascinating or
is
person
contrapuntal
for
players
in
To
player
the
the
interpretation,the
one
such
that
conductor,
orchestral
individual
that
believe
firmly
I
other
fact, especially
a
explain?
music.
thing
of
that
would
in the house
in
very
those
cital,
re-
intelligentlyrequires
modem
in
of
pieces
obvious
to
the
while
of
enough
Fan-
pianoforte
a
modern
so
individuality of
individuality is
and
deny
Moreover,
ear.
the
importance
the
persons
contrapuntal composition
highly
or
Why
The
arrangements
of
program
of ten
out
concert-goers
music.
in the
of
puntal
contra-
the "Chromatic
or
even
the
on
most
modern
Fugue"
because
Nine
later.
than
by Bach,
tolerated
are
rather
and
Fugue"
Tausig
come
attractive
Toccata
tasie and
in
highly personal expression
of
of
for
itself alone.
sake
the
of
painting
music.
in his power
of
The
of
It
preting
interin
tone
player
expression
BACH'S
the
by
SERVICE
formulas
very
We
move
that
it is
only
moderate
even
of
out,
however
in
great
phrases
I
bold
affirm
that
to
about
am
his
temperament,
is
one
some
to
of
is
and
make
virtuoso
to
his
moods,
purely
individual
this
the
subconscious
his
that
test
pro-
composer,
of the
even
in music
to
himself
duty
personality, his
and
work
to
I nevertheless
say,
province
own
barrier
a
the
the
person
it is
as
easy
to
subjectiveor
self,through music;
there
to
it is the
himself, his
express
played by
about
himself
interpreter to subordinate
what
it
hear
to
a
for
fugue
for, cheap and
high-sounding
against
Bach
a
to
I think
But
player
a
trapuntist.
con-
able
was
forms.
proficiencyas
;
the
interestingfor
awkwardly,
else, however
of
Bach
that
more
than
59
art
or
its restricted
far
pianoforte
the
on
science
marvel
freelywithin
so
it true
of the
may
MUSIC
TO
puntal
contra-
of
power
expression.
often
We
pianistthat
Bach
The
Mission
hear
it said
he
is
player.
He
be
the
of
tradition, the
the
greatest
who
player
icicle and
revels
a
in
could
the
greatest contemporary
virtuoso.
living
converts
Schubert
It
Chopin
a
the
player
himself
virtuoso
creates
may
go
when
too
and
he
time
worshiper
scholarly player,
into
a
who
an
who
snowball,
is
always
he
is
pleased
forgets that
interprets.
far and
great
a
same
is the
what
to
the
not
nocturne
into
impromptu
"composer's intentions"
virtuoso
at
reserved, continent,
"
truly great
Player.
be, and
not
counterpoint
call the
the
of
the
great Chopin player, but
a
slavishlysubordinating
to
of
depart
too
the
times
Somemuch
6o
from
but
character
the
it
than
more
it is better
provided
of
of
player
plays
the
no
desire, in writing
he
in
says
Henry
G.
a
two
his
about
of
there
the
place no
playing,
of
than
Theodore
attain
alted
exas
the
on
covered
by
the
dozen
a
marks
an
or
epoch
interpretive artist,"
of the
Musician,"
of the composer.
that
influenced
strongly
own
ing
epoch-mak-
half
whom
beneath
have
and
been
in his "Art
whit
he
in its parentage.
violin, Liszt
"The
art.
his
to
two
period
have
each
Hanchett
more
the
same
great
gain immortality
to
produced
on
the
two
composers
in America
by
Paganini
pense
ex-
time
from
share
a
the
the
every
difficult
than
has
composers,
"deserves
No
world
"
least
at
more
The
phase
some
seems
again
over
has
virtuoso
these
more
thus
it
Within
of
it
exalt
to
at
that
that
sense
side
the
on
above,
as
insist
must
in the
a
as
virtuosos
even
I
creates
view, and
composer.
careers
freakish, than
or
;
originality,
of
side
tradition.
is creative,
rank
piano.
the
on
to
Indeed,
a
err
composer,
work
of
point
to
mood
his temporary
permissible to
of music,
virtuoso, the interjjreter
also
a
MUSIC
piece he is playing, subjecting
bizarre
not
I have
the
the
for art
it is
While
of
is
subserviency
unduly
APPRECIATE
TO
HOW
musical
Anton
have
Thomas,
progress
Rubinstein
who
was
not
a
composer."
Music
But,
to
return
music
owes
side.
And
that
can
them
be
to
as
Bach
an
and
immense
right here,
drawn
a
from
so
Science.
the
debt
universal
the
contrapuntists,
other
program
the
on
are
the
of
a
technical
deductions
pianoforte
BACH'S
SERVICE
be
recital,it should
other
in
arts
relations
the
of the notes
of music
science
greater degree than
learned
and
of
predisposed
toward
of music
order
a
read.
without
chord
either
as
music
while
mere
master
playing
of
them
the chord
fact, the
of
subject
the
or
in this science.
of
the
that
A
virtuoso
be thrilled
can
of
chord
; nor,
interpret it.
to
even
heard
science
the
integralcalculus
as
knowing
the
there
ninth,
is sucli
a
that
he
can
is
well
so
to
be
analysis
in the
versed
mentally analyze
it is apt
technical
esthetic, its emotional
Feeling.
versus
who
person
of
indeed
of the ninth.
listeningto
process
the
intuitively
find
would
any-
which
not
person
of the ninth, the listener
Science
In
a
far
produced
have
never
may
For
be versed
to
virtuoso's
the
to
like
have
subject
a
its textbooks
has
virtuosos, and
many
the
in
problems,
is
the
upon
course,
science
the
on
and
song"
its draft
of
the
of "Tristan"
musicians
appreciate music,
to
play
thing
works
difficult
as
is it necessary
by
makes
This
plicated
com-
other.
each
"coon
is true
professional musician,
have
the
and
and
itself with
scale to
music-drama,
laymen,
of, let alone
can
Each
theoretical
useful
mass
average
in
What
theorems
science, and
great
alike
the song.
their
with
other
based
; the
profound
concerns
musical
of "Bedelia."
also
that
6i
differs from
music
a
of the
are
MUSIC
that
out
its basis
music-drama.
Wagner
true
for
science
this science
Upon
pointed
having
science, a
TO
so
that
significance.Thus
a
tion
composi-
absorbed
he
a
ence
sci-
in the
misses
person
its
may
62
HOIV
have
profound
remain
be
yet
stand
authority
an
I think
music
genius
the
the
employs
his
of
service
of
music
make
of
that
of
symphonies
forgotten.
and
value
no
applied
The
and
soon
They
to
the
bends
it to
will
discover
that
regarded
be violated
with
combinations,
serve
than
the
the
new
purposes
of
who
system
came
have
upon
ideas, and
the
out
that he is
is sacred
and
is
makes
If he
certain
while
sands
Thou-
the
the
theorists
and
art
beautiful, whereas
his
make
it
efficiency
always
the old
is
can
tone
new
and
And
the
system,
grafting his
critics,who
are
in horror
robbing
he is
cessors
prede-
inviolable,
as
under
and
music
great genius, he
a
genius
new
science
of
greater
their hands
the
desjx^iling
science
scene.
gray
but
end,
to
art.
science
with
art
the
constructed
will discover
enrich
the
is
fast,
He
he
performed
rules which
and
pression
ex-
science
profound
a
the
up
giving
made,"
masters
grown
of tradition, will throw
composer
absolutely correct,
great
upon
which
in
He
a
impunity.
thus
he
of
hard
and
before
comjjosers
as
great
beginning
music
genius.
his
A
composed,
from
then,
composer,
musical
aid
"well
were
production
it.
of
was
been
art; and
as
all art.
appeal whatsoever.
have
scientific accuracy
with
had
artistic
With
others
Otherwise,
art.
color,
painting.
an
impulse.
cause
no
as
and
physicist
a
light and
The
ways.
might produce something
it would
of
the better
both
creative
the
to
just as
great
a
latter have
science
to
laws
may
science
a
is all science, with
equipped
is
the
on
as
art,
an
He
all.
at
music
as
before
unmoved
people
some
of
music
by
MUSIC
being musical
knowledge
untouched
may
and
without
musical
be very
'APPRECIATE
ro
adding
slaves
and
cry
it of all that
to
its scope
BACH'S
and
SERVICE
Did
potency.
Schumann
as
he
is that
of
ahead
is
as
Beethoven
later
wings
little
to
who
men
malice
and
might
if it is for
makes
musical
to
what
is
who
once,
distinctly
is
with
soar
its
the
upon
shafts
of
envy,
different
from
the
in
course,
It is
genius
like
for music
while
and
a
of
his memory
traveling in
the
to
even
sung,
again,
knowledge
which
ment,
purely physical endow-
a
exist
"
feeling for
valuable
It is related
and
sensitiveness
real
Mozart
"an
as
music,
scientific
fact, usually does
highly
a
from
or
for
ear
have
known
remember
played
vator,
inno-
who
people
to
emotional
music-lover.
"
hear
the
versus
popularly
This
quite
may
cian
scientific musi-
the
those
able
are
first time.
genuine virtuoso.
ear
in
influence
to
their
sure
genius
a
indifference
subject of
refer
corresjjonding degree
is, of
rugged
learns
soon
anything they
or
the
well
and
the
and
a
left off, he is
lover, the pedant
degree
something
music
nearly
for Music."
the
on
as
ear"
play "by
of
am
music,"
for
ear
is
I
remarkable
a
Wagner
"Rienzi"
with
"Ear
the music
versus
in
was
ignorance.
while
I
Wagner
Mozart's
discharging
are
poser
com-
with
far
so
under
down
look
That
And
Even
genius
a
great composer
Wagner's
But
and
So
predecessors
on.
and
Meyerbeerian.
trouble
the
is somewhat
first works,
own
his
where
outstrip them
"The
While
63
broad-minded
so
musician"?
a
liis time!
to
even
say,
not
always begins
his
not
MUSIC
TO
adjunct
or
a
of
music.
to
Schubert
Von
were
so
cars,
he
without
Biilow
a
genuine
and
that
prodigious
read
It
over
to
a
his
that
the
64
HOkP'
TO
of
printedpages
William
composition,
new
perform
person
with
musical
a
genius, is apt
cheap
similar
a
a
pianola,without
control.
without
Such
soft
a
and
is
art,
an
so
marked
its
to
beauty
I
stage.
Edmund
official
"When
a
Landward
Laden
of
of
being
usually
patetic
periunder
born
are
by
descends
on
often
between
by
which
distinction
"Nature
and
ments
Ele-
the
cations
indi-
poet and
a
Weather
this
at
necessary
Bureau.
by
the
Mr.
:
the
gigantic
Equinox,
in his wrath
a
music
sensitive
being
the
the Atlantic
of the
bv
of the
and
thoroughly equippe"J
his
in
cuss
dis-
to
pointed out,
me
it of
described
stanzas
seaweed
science
a
wittily draws
as
two
as
to
Stedman,
quotes
in order
made
without
art, seemed
an
Bureau.
be
may
music
prognostications
this stanza
being
of
sort
a
"
advantage
music
side of
storm
with
instead
which, I have
reminded
Stonn-wind
his
untrained
average
season
I have
person
Poetr)'," so
of
And
a
Clarence
of
Stedman
as
am
The
Weather
between
that
scientific
the
on
the
distinction
a
Liszt, witnessed
moreover,
digression, which
the difference
as
concert.
pedal.
Bach
This
the
persons,
his
nuisance, playing all kinds
of
out
arriving at
on
at
however,
ear,
in and
music
with
feat.
become
to
and
memory,
studied
who
Mason,
master
of
a
MUSIC
destination, played it,from
his
a
APPRECIATE
he
from
later
the
scourges
the
ballacHst
rocks."
:
toiling surges.
66
rO
HOM^
asts, while
he
critics
others
declare
Bach
great
that
"
Bach
through
modem
they
player
no
that
it is
but
in musical
his program,
as
a
create
the
It
are
he
does
to
seems
able
its technical
impression
that
they
the
know
lection,
predinames
extreme
classes
what
sicians
mu-
"
did
for
want
to
he
who
be.
may
greatest
people
a
make
to
from
intO' two
side, and
is
rvile, when
that
me
a
appeal
he
the
appreciate
to
what
a
not
so
of
one
When
him
as
is
more,
same
musician
be divided
can
the
that,
a
tribute to
history?
who
on
good
on
enthusiasts
music
and
ence
influ-
is not
ignoring
make
can
or
another
or
not
the
him.
possible for
music,
virtuoso. However
places Bach
with
virtuoso
one
of
past fiftyyears
compared
as
that
through
Bach
the
player, are
simple fact
a
during
had
underrate
to
MUSIC
overrating the importance
not
has
APPRECIATE
than
more
they
reallydo.
The
Bacon,
Bach's
it in the
that when
or
he
the
to
abstract
penned
listener the
problem
makes
rather
a
must,
of
merely
that
poor
intellectual.
and
he
did
subject for
itself alone,
this
in
be
taken
great
He
service
was
a
with
a
out
way
was
not
the
my
a
gebra
Al-
furnishes
This
of
grain
music
the Bacon,
mcKxl
following
but
so
bring
to
certain
a
reading.
general
to
not
development.
extreme
dramatic
Music.
lies in his having
for
delight
most
in
illustrating
Bach's
music
of
significance
pure
its
to
to
mighty interesting study,
course,
as
work
a
situation, but from
musical
Shakespeare, of
the
greatest importance
treated
home
Not
simile
salt, and
contention
technical
and
Shakespeare,
SERVICE
BACH'S
of music,
is
the
to
We
the
and
the
the
imagine
can
contrapuntal
what
art
path leading
in
problem
when
excited
the
cube
theory
So,
that
often
put
threatens
make
constructed
to
the
melody,
like
regard
a
air
the
for
fugue
basses, in unison,
failed
to
secure
with
and
played
calculus
an
work
his
Bach
are
pieces
purest kind
the
all the
rithmic
loga-
scientifically
a
which
string
repeat and
a
the
off his intellectuals
as
there
G
the
moments
into
student
counterpoint supports
for his orchestra
arranged
never
differential
the
sweep
him
be
may
enthusiasm
an
end
complicated
emotional,
fairyland. Moreover,
in which
double
Bach
too.
and
becomes
root
ematics
math-
the
sees
some
there
dissipation,and
a
of
logic.
higher
he
as
solution
Thus
full view.
even
orgy.
the
to
is to
theorem
in the field of
roamer
67
that he reared
structure
Baconian
suddenly becoming
of the
MUSIC
TO
Thomas
strings,save
with
of
the
effect that
an
sometimes
a
double
encore.
What
If
bear
we
combination
Wagner
in mind
we
the
has
little
a
been
onto
of
of
each
that
of
each
or
and
to
give
every
symbol
them
what
his
not
was
labels
in the
for
dramatic
vice
ser-
vised
dethe
tacked
drama,
together, when
musical
ter
mas-
Wagner
singly, like
them
nearly
or
its climax,
When
it
artistic
greatest
forms
motives
welding
in order
to
and
is the
equal
the
was
music.
character, thing
expression
of
thought, appreciate
employing
arose,
Bach
leading
combining them,
each
school
modem
to
his system
purpose
and
Bach.
from
counterpoint
themes,
contrapuntal
with
can,
that
of several
equal importance,
of
Learned
but
casion
oc-
significanceand
situation
as
the
68
HOIV
TO
story
unfolded
found
in that
the so-called
itself.
slumber
the rock
magic
flame
to
awaken
and
score?
and
which
with
the
is
bade
of these
four
science
quoted
to
the
in
Another
in
the
one
a
Orchestra
occasion
discussion
and
a
of
Opera
playing
"It is
manner,
this
a
to
flames;
the
break
to
brass, and
the
strains
The
with
welding
glorious whole
one
service
of
from
in
\\^agner'sskill
employs
Orchestral
it
terpoint
coun-
art
and
Wagner,
in his
while
inside
relates
that
on
in
engaged
of
the
sical
mu-
capitalbook,
was
corridor
of
use
spontaneously
so
Music,"
in the
the
scientific his
how
J. Henderson,
Wagner
the
politan
Metro-
orchestra
was
"Meistersinger" Vorspiel.
pity,"said
"but
the
tender
professional musician
House,
orchestra
"Meistersinger" Vorspiel,
consider
"The
in
the
in
ber
Motive, the Slum-
passage
that
is. W.
the
significanceis Wagnerian
he
structure
treated
destined
into
motives
show
people stop
of
circle
a
penetrate
scene
farewell.
counterpoint, although
few
with
(signifyingthat
hero
of
employed
closing episode
is
the
profound
a
falling with
Briinnhilde
thrillingeffect.
often
Fire
well
said fare-
may
is this
Motive
suggestion
a
highest dramatic
"
hero
fiery circle) resounds
IVotan
of the
is
into
her
higher register
Siegfried
the
together
How
her.
superb Siegfried
also
a
sparkles the Magic
unborn
there
but
none
the
her
is
this
Walkiire,"
has
tan
surrotmded
gently rising and
the
through
win
Wo
of
"Die
of
scene
thrown
; has
which
In
Motive
yet
last
Magic Fire Scene.
upon
crackles
MUSIC
shining-example
wonderful
of
while
A
Briinnhilde; has
to
the
APPRECIATE
Wagner
counterpoint."
this wise
knows
man,
in
a
condescending
absolutelynothing
about
At
that
melodies
different
they
conductor,
Wagner
but
fact,
in
brief, but
always expressive, and
of the old
contrapuntists,conceived
of
combined
from
crucible
it
Wagner,
of
stream
the
With
spoke
spoke
in
the
the
may
But
formal.
and
Richard
music
of
language
of
they
the
entering
that
into
counterpoint. Beethoven's
mind
Thus
Bach
motives
are
in
epoch.
of
to
ter
bet-
a
epoch
vary
being developed according
to
us
each
may
formal
ner
Wag-
of
counterpoint.
stamp
with
bear
we
composers
music
all bear
if
help
time.
of
long period
will
tween
be-
difference
lies the
a
Bach
of
counterpoint
everything;
was
It
of
Epoch.
an
Wagner
great
greatly
of
dry
magician,
the
incident.
an
two
however
purpose
of
counterpoint
the
in
of
between
understanding
that
themes
other
Counterpoint
master
epochs separated by
merely
sake
for the
mainly
very
Language
counterpoint
Bach
themes
precious metal.
most
two
very
glowing, throbbing, pulsating
a
difference
the
melodies.
of
like the
not,
purpose.
the
of
flows
The
and
that
usually is,something
the
In
are
with
scientifically
to
tion.
emo-
melodies, sometimes
leading motives
be, and
thrills with
speaks
Henderson
Mr.
equally adaptable
the
was
counterpoint,
with
teem
Wagner's
being
Seidl
Anton
as
palpitates,that
that
that
singing-five
was
all audible.
were
scores,
Note
and,
at once;
counterpoint
orchestra
the
instant
very
6c)
MUSIC
TO
SERVICE
BACH'S
His
themes,
selves,
them-
among
for
the
and
of
rules
of
devised
combinations
the
more
stringent
individual,
more
expressive
be
into
of
moods
thrown
and
motives
and
development, through
which
to
hear
the
in which
Bach's
;
form.
again
the
was
leading
would
of
leading motives
probably
we
doubtless
to
of
is
devised
by
Bach
ready
in musical
he
himself
to
thoven's
Bee-
sonata
of
no
hand.
theor}^,and
he
the
of
own
;but when
one
learned
of
point,
counter-
system,
of
of
system
The
One
the
his
structure
master
greatest
Wagner's
declares
and
Bach's
put it into practicaleffect he found
left
eyes.
fugue;
suggested
themes,
the
to
our
tered
free, plastic,unfet-
whether
shall know.
never
memory
language
wonderful
the
by Bach;
his combination
we
music-drama
Fugue
of the
have
without
left
counterpoint
eloquence
to
the
the
or
liberator!
the
was
purpose
language of liberated music,
the
"
Wagner
of
spoke
is that
language
motives
them
in the
language
Wagner
he himself
Whether
recall
or
nations
combi-
they stand,
for what
of the sonata.
language
leading motive
of which
such
with
dreamed-of
un-
impulse
brought vividly before
occur
forms.
His
know
we
chief
person,
corresponding episode
language
musical
some
them
represents
them
they
the
are
represents
that, once
but
have
drama
a
power
need
Each
of
previously
the
incidents, not
has
dry rule
contrapuntal
and
harmony
mere
are
being.
in
of
music
freedom
absolute
suggest
molded
of
arbitrary form,
of
devised
be
to
"
them,
are
feel that
we
His
wealth
and
Wagner
rules
shackles
expression
symbol
certain
to
about
too,
off the
rote.
of their
Yet
They,
formal.
with
But
sonatas.
emotions.
and
according
treated
MUSIC
APPRECIATE
something
is
too, there
to
TO
HOJV
70
the
them
in its
rich
Wagner's
from
most,
whose
was
system
he
all,
pleteness,
com-
came
heritage
tors
instrucing
teachTheodor
Weinlich,
Thomasschiile
said
in
you
all varieties
in
the
a
stead."
good
the
after
of
course
in its most
his
music,
so
in
with
of the
the
are
farther
the
in
These
"Three-
popular
recital
of the
Suites"
composer
programs.
day
but
the
suites
of
more
begin
the
elaborate
with
six
the
in
are
partitasand
the
toward
made
up
tioned
men-
step
a
"Partitas,"
Suites."
and
school, and
Bach
frequently
more
of the dance
a
oti
forms
bourrees, sarabandes,
suites
introductions, while
Cheerful
smaller
go
making
airs thrown
English
ter
chap-
graceful
most
contrapuntal
they figured
They
allemandes.
the
to
"English
the
are
master
a
already
and
treatment,
accomplished
if
was
belongs
he
be dismissed
may
Inventions," which
minuets, gavottes, gigues, with
measure:
contrapuntal
line that
own
allemandes, courants,
"
Hall.
Inventions"
and
efflorescence
be
on
force
potent
a
pianoforte works
Part
partitasand
could
influence
no
too, it is true,
Bach's
contrapuntal
charming
nearly
for
pianoforte is concerned,
"Two-Part
six "French
much
in his
Handel,
him.
oratorio.
;
the
Recital
the
contrapuntal school,
on
fonn
the
as
or
is presented
development.
supreme
far
so
exercises
who
composer
little
stand
thus
suddenly becoming
music,
modern
is
a
had
death
Bach
Bach
of
pose
com-
may
him
set
There
counterpoint.
of
phenomenon
century
the Cantor
And
ing
hav-
to
it often
the
as
it necessary
do
abilityto
the
but
fugue,
a
of
him
quotes
find
never
may
71
Cantor
as
successors
Leipsic. Wagner
at
"You
:
Bach's
of
one
MUSIC
TO
SERVICE
BACH'S
the
and
in for
furnished
French
even
good
with
suites
frisky
as
HO
;2
some
of
must
not
danced
IV
the
ballroom
the
to
Besides
that
of
"sonatas"
and
Violin"
here
must
not
be
form
as
Bach
composed
is the
York,
be increased
William
three
years
Mason
and
with
used
later
regard
Bach's
in
Weimar
the
time.
pianists
this
"the
time
to
concerto
it
he
had
together
came
they
agreements,"
discussing them,
were
and
Mr.
ticular
par-
very
which
that
were
ever
when-
the
purpose
to
disagree
certain
usually
it
they played
found
especiallythe
ing
study-
performed
which
for
was
been
had
Alason
stein,
Rubin-
Mills, and
{agrements)
Later,
New
Essipoff,
1854,
in
manner
1873,
in
by
Bach
when
Liszt
and
which
played
Annette
in
fortes
piano-
In
direction,
Mason,
embellishments
three
playing
in
try
coun-
three
orchestra.
heard
]Mme.
in this
for
Sebastian
Boscovitz.
'Mr.
many
in
I
fortes.
piano-
string quartet,
string
a
and
fellow-pupils,
two
of
four
known
Concerto,"
sonata
Beethoven),
to
one
Thomas's
by
and
best
one
tour,
Mason
Liszt
in
the
to
Theodore
under
under
the
employed
as
classical
the
from
for
"Sonatas
six
Mozart
for
"Triple
Rubinstein's
during
with
more
or
one
sonata
term
accompaniment
will
at
can
latter
so-called
with
(the
by Haydn,
these
with
the
them
concertos
a
waltzes.
confused
developed
than
glide through
pianoforte
among
Pianoforte
Of
his
for
instruments,
other
should
be
to
more
no
"
it
are,
intended
were
treated
people
music
compositions
they
contrapuntally
intended
Chopin
these
that
supposed
when
to
in
pieces
dance
be
MUSIC
APPRECIATE
TO
wasted
mordent.
of
garding
re-
much
have
"well-tempered"
of
meaning
heard
people explain
pianist had
steel
and
mastered
entitled
so
!
I
that
say
feel
good-natured
Bach's
to
boon
certain
In
untechnical
he
be
may
in
Bach's
system
"tempered"
slight and
from
navigating
obliged
to
but
he
on
high
did
so
with
his
to
In
other
words,
impossible to employ
clavichords
and
possible under
the
illustrated
Bach
by
each
prelude
and
major
point
and
fugue.
"The
minor
;
just as,
are
you
of the
pass.
com-
invention
of
its
adoption
that
promote
it was
major
and
and
into
tempered system
in
of view
lutely
abso-
actually the
all the
come
is
waters,
troduce
inthe
tuning
variations
harpsichords,
to
are
counterbalance
Before
name.
eral,
gen-
pure,
when
for
much
just beginning
a
In
theoretically are
northern
not
was
other
an-
"
that
to
theoretical
allowance
system
it is associated
was
It relates, however,
the
corrected.
result
a
the
make
The
Bach,
cult
is diffi-
discrepancies, which
in order
which
you
statement
harmonic
tuning
faults
correct
in
made
practicallyimperceptible inaccuracies
in the
greater
preludes
music.
explained by
practicallyresult
like
was
his clavichord
upon
intervals, which
tone
and
a
affable
and
its
to
I
music
other
fact, the word
tuning
conferred
when
Clavichord"
language.
of
that
rotund
a
temper
of
title.
that
listened
your
this
"tempered"
was
heard
point
method
the system
he
you
out
!
which
by saying
difficulties
when
it smoothed
explain in
in
Well-Tempered
because
fugues
it
have
even
used
as
book
any
"The
and
to
the
for
ready
might present
person
MUSIC
APPRECIATE
TO
^iOlV
74
of
on
use.
adopted
minor
the
it
keys
fortes,
piano-
It became
tuning,
Well-Tempered
and
was
chord,"
Clavi-
key being represented by
SERVICE
BACH'S
the
Besides
modernized
Bach
of
hitherto
the
services
The
of
the
music
foundation
of
so
modern
man
his
in
of
of
a
to
his
his
live with
superior
manuscript
tenth
laid
he
and
talents
Bach
that
of music
volume
covering something
was
to
it taken
brother
died
it
by
his
and
parents
was
refused
so
him
the
jealous
day.
edge.
knowl-
night by moonlight,
at
his
by
brother,
from
afterward,
His
the
reward
who
dentally
acci-
Fortunately,
it.
and
of
loan
of the
composers
his brother's
playing
soon
his
like six months.
away
him
lost
it without
task
discovered
he
a
His
of
anecdote
an
brother, who
secretlycopied
have
he
as
upright.
and
by
traits
uncompromising
was
honest
year
elder
an
Bach's
He
is shown
Obtaining possession of
this
and
Bach.
to
composer,
sturdy,
purpose
In
Tribute
great
a
convictions,
boyhood.
went
the
promoted
pianoforte technique,
admirable.
most
fixedness
he
equal temperament;
King's
being
were
were
virtuosity.
A
Besides
finger.
therefore,
music,
freely;
so
modern
of
little
and
teeming counterpoint, upon
draws
in
tuning
thumb
to
man
his
us
ment
frequent employ-
more
neglected
left
He
modem
system
and
of this great
threefold.
which
freer
the
by introducing
fingering;-
of
technique
the
75
"equal temperament,"
in
tuning
of
system
MUSIC
TO
Bach
recovered
his treasure.
While
by
the
it is true
great
exceptions, a
mass
notable
that
of
Bach
his
one
remained
unappreciated
contemporaries,
being
the
there
were
music-loving king,
y^
HOW
TO
Frederick
1746.
the
At
king's
the
ahout
who
to
entered
and
arrived
at
begin playing
the
Potsdam.
Bach
a
be
must
before
flute, when
list of the
And
the
at
concert
the
on
following
had
who
covered
dis-
save
that
into
the
royal
doff
his
eling
trav-
brought immediately
time
had
officer
exclaimed,
he
do
even
year.
it, Frederick
over
nothing would
he
in
palace,
an
strangers
"Gentlemen,"
name.
poser's
com-
entered
Bach,
the
a
Glancing
is here!"
master
presence,
him
the
urg-ing, Philipp Emanuel
earnest
arranged
handed
service
Emanuel
visit Potsdam
to
had
Bach's
"old
Philipp
his father
MUSIC
of Prussia, whose
son,
king,
was
Great
second
induced
The
APPRECIATE
to
clothes.
The
king
had
purchased
recv^ntlyconstructed
them
distributed
assemblage
playing
and
Finally he
and
all who
into
rounds
he
from
the
heard
given
No
with
set
"The
On
the
fugue
and
the
composer
fugue theme,
a
masterly
Great
fashion
broke
return
Sacrifice"
the
upon
his
had
instruments.
king included,
the
Musical
him
in such
Frederick
to
based
he
him,
applause.
dedicated
which
to
extemporized
of
entitled
king
the
room,
different
the
and
Bach
palace.
to
on
pianofortes
the
Silbermann
the
room
improvising
asked
that
Bach
throughout
went
this he
on
Gottfried
by
of
several
Leipsic,
to
work
a
out
which
offering),
(or
king
theme
the
had
heredity
is
comparable
family.
Dr.
Theodore
him.
other
that
instance
afforded
of
by
musical
the
Bach
Baker, in his "Biographical Dictionary of Musicians,"
list of
gives
a
same
line, whom
who
covered
no
a
less
he
than
deems
twenty
worthy
period ranging from
Bachs,
of
all of
mention,
1604
to
the
and
1845,
BACH'S
when
the
great
family
for
was
Bach's
Friedrich
\\'ilhelm
Thus
SERVICE
two
hundred
professionally
MUSIC
TO
and
grandson
Ernst
and
last
Bach,
forty-one
active
in
77
died
years
music.
ant,
descend-
male
in
the
Berlin.
Bach
Ill
IF
a
FROM
FUGUE
pianoforte
recital
continues
fugue
require
not
difference
a
style
sounds
exerted
so
entirely
distinct
so
wholly
than
chanced
difference
works
in
of
were
radical
same
of
master
would
program,
the
death.
in
had
of
point
of
time
if
them,
the
the
it
same
from
departure
as
ter
mas-
Although
show
counterpoint,
and
if Bach
greatest
either
by
is in
fugue,
as
Bach
sonata
the
the
his
the
note
sonata
seems
upon
nearer
a
the
on
style,
the
it
it does
to
ear
of
that
followed
was,
be
to
from
Bach
a
sonata,
Beethoven
it, that
that
Mozart
Beethoven
The
two.
whatsoever
period
and
Beethoven
a
unlike
influence
with
begins
discriminating
very
the
the
Haydn
with
a
SONATA
which
between
no
of
TO
the
Beethoven
sonata.
The
question
influence
to
and
as
an
music
program
two
its
is
of
the
furnish
important
music
to
Two
in
78
the
the
fact
this
answer
interim
how
legitimate
periods
that
pianoforte
instrument.
a
And
the
shows
application
that
?
and
answer
again
instrument
of
an
itself, did
suggests
death
consideration
Beethoven,
in
of
for
calls
general
a
his
with
cease
question
naturally
and
Bach
its
how
a
for
development
a
scope
hensive
compre-
whole
on
this
leads
in
works
basis
that
between
broad
as
Bach's
is
a
the
recital
discussion
of
music
!
FUGUE
FROM
Who
would
third
that
amounted
to
straight out
his
;
music
his
and
works
and
alive
infected
time
;
some
of
of the
speech
which
his
which
and
"Evolution
to
him
put
Philipp
way,
Emanuel,
working
of
up
organizationof
But
rhythm.
his
he,
even
following generation, was
in
and
phase,
of
the
its
tricks
of
out
and
being,
of
genuineness
somewhat
with
take
to
conventional
part
belie
harmonic
the
accepting
his
touch
his
with
father."
from
books
of
internal
become
seem
passage
thought-out
the
writing
on
half-hearted
a
manner
formulas
had
whole-hearted
This
in
in its Italian
empty
sometimes
utterances
his
forced,
was
principleof working
it
as
of the
long
a
of
complacent, polite superficiality
the
he
pupils went
and
went
eloquence fell
his
his
figure
with
branch
of
the
making
the
Indeed,
significanceto
any
him, and
artistic
composer
by
and
the
of his
activity for
his
a
was
progress
in every
distinguished son,
least
the sincerest
few
type
most
at
of
have
to
the
upon
succeeded
same
own
his details
a
had
if he
career
conceivable.
sphere
A
Bach's
history
ceased
which
the
adopted
the
ears.
of
Sebastian
minimum
the
work
deaf
to
into, in
fallen
have
to
eighteenth century,
his influence
of
generation
upon
the
of musical
course
while
of
Johann
that
failure, and
whole
much
so
take
eminently pardonable mis-
an
intelligentmusician
quarter
concluded
art
been
have
for any
the
was
79
recital?
pianoforte
"It
there
thoug-ht
have
would
SONATA
TO
the
on
Art
one
music
of
of
I know
Music,"
the
admirably
most
of, Hubert
is
no
Parry's
exaggeratioru
8o
HOW
For
many
in
fact, his
human
does
which
romanticism
The
and
which
is the
art
the
only
musician
but
little
was
There
other
on
lines
destined
its
fact
What
exhausted
where
further
The
to
of
progress
bear
of
in
even
And
at
in
his
the
on
nical
tech-
him
as
significance
in the
direction
after
Bach's
it
The
culminated
in
that
prepared
absolutely
"
ple
simBach.
his
cessors
suc-
became
They
reaction
was
death
it observed.
him.
the
of
what
actively working
were
yet
well
contemporaries.
stupendous
with
up
begin
to
from
Bach
to
necessary
the
music.
musical
mind
arrive
system
so
was
indicated,
have
scheme
should
of
I
as
was,
off.
left
his
by
good, be
they
his
whereas
composers
keep
not
before
he
think
counterpoint
accomplished
could
to
immediately
pure
tinge of
music.
Bach,
apt
day,
ultimate
own
sion
expres-
it the
so
turning music
and
of
understand
are
fact, other
is, that
he
we
his
into
universally acknowledged,
so
appreciated
follow
to
for
and
him,
of
in
were,
is
to
channels
modern
Sebastian
yet
itself
certain
freedom
of
tury
cen-
neglect
very
gave
a
And
adjust
into
essence
Johann
now
to
owes
the
and
musicians
professional
their
and
of
felt.
art
greater
its progress
least,
at
the
nearly
Httle
of
music
to
greatness
side
turned
it derived
essential
but
was
aspirations,
fell
for
death,
development
and
Bach
which
MUSIC
Bach's
influence
the
needs
from
after
years
aptly
so
APPRECIATE
TO
development
if he
that
desires
to
understanding
progress,
was
which
the
understand
with
briefly
as
reader
music,
some
follows:
kind
82
APPRECIATE
TO
IV
HO
in certain
written
mood
in the
his
Theodore
form.
When
mood,
not
The
manner.
emotional
condition
express.
The
wholly
It is
a
the
difference
and
the
be
by form
Form
than
form
still are
We
romantic
up
the
to
Richard
case,
a
more
of
by
us,
the
ticipation,
an-
very
formal
of poetry
of
period
could
music
Beethoven
hampered
more
no
as
still greater
fiction is
by
facts.
inates
music, feelingdom-
music.
shall
ever
in the
remain
greatest of all romanticists
whose
years
one
a
tic
roman-
perhaps,
in after
or
classical
is
ment.
develop-
"dreamily
way,
to
it
and,
time, the greatest of all composers
present
Wagner,
and
more
The
think
composition
it is
is
and, happily,
period.
A
romanticist
in romantic
of
express
set
feelingin
think
to
which
writer
we
seeks
classical
the
period
dominates
we
we
he
better
no
between
the
When
seeking
because
In
The
sentimental
or
is
certain
a
title
a
composer
matter,
nocturne
romantic
explained.
the
it follows
sentimental."
or
Musical
mood,
very
which
in
secondary
because
sonata
which
form
a
of
within
title arouses
feeling, the
very
emotion.
as
composition
a
sory
acces-
of
the title "Nocturne"
see
we
the
is
over
an
form."
distinctive
a
as
nocturne
dreamily romantic
a
title "Sonata"
the
not
"Dictionary
a
are
Everything
expression
defines
Baker
character, but lacking
see
free
handy
piano piece "of
a
exists
the
to
harmonies
purpose.
music
for the
and
useful
Terms,"
for
that
but
form,
to
In
idea
expression
New
same
is developed
melody
full
give
for the
fearlesslyinvoked
centres
and
their
it is conceived.
which
in
and
moods,
follow
to
as
so
MUSIC
genius
go
will
by until,
will arise
;
be
as
although
is
appreciated
may
as
be
the
dramatic
FUGUE
FROM
of course,
Wagner,
when
but
he indicated
Rise
must
which
classical
in
form
Beethoven,
So
much
with
the
the
that
of
and
the
was
had
to mind
Italian
of the
composer
was
Orlandus
and
vocal
other
under
the
school
contrapuntal and
of the art
of
played
before
to
;
its
vocal
came
On
and
which
rally
natu-
early period
the
"Belgian
the
greatest
England
Their
considered
had
its
music
more
music, but
upon
to
name
the
was
its part in the
Bach
Germany
share, partly
composers.
be
worth
school
a
(or Lasso),
madrigal
head
also
erroneous
and
Palestrina's
Lassus
requires
and
of
representativeof
Flemish
unfamiliar
flourished.
contributed
there
night.
a
composer
had
the climax
music;
church
Orpheus,"
Gibbons
as
of
the
period
music
each
draw
the
as
culminated
person
only
classical
was
a
school
far
so
growth
might
music
the
Bach
which,
that
vocal, partly instrumental.
of
sible
pos-
melodic
the
mushroom
in which
countries
comes
of progress
is concerned,
sonata
Bach
only countiy
several
position,
com-
School.
that
said of Bach
before
the contrary,
of
great systems
Melodic
Bach
the
was
been
mentioning
forte,
piano-
the
counterpoint
the
method
supposed
the
history
conclusion
Wagner.
fuller harmony
the
to
added
only
the
after
of
in
has
of
be
not
came
for
and
two
in
may-
of all kinds.
for music
It
back
the
the
music
so
composer
Beethoven
combining
thus
of Bach,
a
reached
from
inherited
83
for all time
not
was
he
SONATA
Shakespeare,
its greatest master
found
have
in
culminated
literature
TO
it also
oughly
thorwas
ment
general developthe
scene.
Of
84
TO
HOIV
there
course,
before
also
during
John
Dr.
manuscript
a
reign or
for
Bull
the
Germans,
Hans
and
among
many
noted
in their
It may
well
be
on
the
be
state
than
much
the
defined
his
he
or
Counterpoint
of two
combination
ix)sed to
left
as
the
one
were
the
Frosome
more
less
or
had
the
would
the
"
to
trio,
classical
to
primitive
more
It
Bach's
seems
son
his father
counterpoint
and
to
a
appears
the
of
out
carry
spite of
in
died.
working
neither
yet it may
not,
a
to
successor.
a
endeavored
that
me
he
for
room
Bach
from
turned
counterpoint
argument,
inferiorityto
a
that, in
opment
devel-
clearly
melody supported by accompaniment.
is said
Greek
to
words
in music
it is
these
it is concerned,
as
when
to
harmony
theme
2) and
of
art
relegated music
occupied
realized
of
"
Beethoven,
circumstance
consequence,
which
far
so
and
genius, have
have
Couperin
161
(1564-
contrapuntal school, they
fortunate
mad-
Purcell
Henry
counterpoint
pertinent to
their
to
of
brought
so
Mozart,
it
taining
con-
the
Frangois
Hasler
questioned whether,
Haydn,
and
day.
even
not
made
harpsichord method;
a
composers
nor
of music
afterward
Italian, Frescobaldi
perfection,so that,
required
EHzabeth's
Englishman,
von
howe^"er.
Bach,
shortly
wrote
Leo
the
"Queen
collection
Frenchman,
who
733),
berger;
The
the
1
in counterpoint
others, including also
rigalist,Gibbons.
( 1 668-
is
music
virginal by Tallis, Bird, Giles,
and
(1658- 1 695);
There
day.
her
pieces
MUSIC
instrumental
was
Bach's
Virginal Book,"
either
APPRECIATE
or
polyphonic,
a
term
posed
com-
the
signifying many-voiced,
of several
homophonic,
melody
be
or
parts
or
themes.
Op-
single-voiced,music,
part is supported by
an
accom-
in
FROM
paniment.
Italy,with
in
emotional
for
model.
a
In
Italy,gradually
to
counterpoint
and
and
berger, and
is said
and
trina
wrote,
For
old
the
but
also
what
even
to
us
five-line staff is the result of slow
Scarlatti's
The
Italian
the progress
immensely
of
of
a
famous
interests
early
foothold
edited
on
who
the
music
us
his
modern
from
whose
recital
his
and
who,
of
replace
Pales-
as
the
Virtuoso.
for his
to
day,
pianoforteplaying,
the
famous
he
retains
programs.
works, and
latti
Scar-
Domenico
time.
work
perimented
ex-
ing
Scarlatti, the lead-
especiallybecause
Italians
selections
of
to
matter
a
(1683-1757),
father, Alessandro
composer
only
not
greatest impulse
and
technique
Scarlatti
Fro-
evolution.
the
gave
two
of notation.
method
Composer
as
pianoforte
improved
dramatic
of the
genius
Domenico
was
son
Importance
his
in which
simple
in
audience
an
Johann Jacob
modes
so
forte
piano-
recital
keys, seeking
simplifiedthe
seems
Italian
Pasquini,
ecclesiastical
from
Giro-
fell upon
mantle
modern
our
indigenous
own.
attracted
Italian,Bernardo
with
them
whose
its
ployment
em-
dramatic
first organ
have
to
is
famous
a
pupils,the German,
the
with
styleof
a
virtuoso, whose
organ
renowned
its
itself there
emancipated
had
thirty thousand,
most
turned
of
that
of
school
a
Bach
support
form
art
an
( 1 583-1644),
St. Peter's, Rome,
of
and
sensuous
Philipp Emanuel
acquired
Frescobaldi
lamo
the
developed
harmonic
freer
in opera,
singing
85
Italy the pianoforte,through
the
for
solo
to this
for
genius
its
music, already had
music, and
melodic
SONATA
TO
FUGUE
is the
an
only
one
appreciable
Von
Biilow
I recall from
per-
86
HOW
sonal
APPRECIATE
TO
I
experience, because
with
time
which
V'on
Biilow
played
the
during
country
the
outlook
very
old)
for
took
of
some
at
these
were
them
on
played
here
the
Scarlatti
has
this
the
pianoforte technique. Although
harpsichord,
and
its
the
that
greater
genius
who
that
although
genius.
But
quaint
and
it with
the
there
of
beginnings
as
of
accents,
the
Scarlatti's
recital
the
work,
is said
to
the
have
that
clever
been
keyboard,
Cat's
well
with
his
one
to
was
It
music
by
I
the
such
a
listens
to
forte
piano-
misses
gives
being
the
us
early
lisps in
merely
fascinating
as
child.
His
subject of
by
zart's,
Mo-
greater
^lozart's
lisp is
him
more
music
just
the
should
than
always
attractive
suggested
also
is found
He
Fugue,"
is indeed
oughly
thor-
to
programs
Italian
but
an
so
later.
wdiereas
form.
the
suitable
of
deal
name
modern,
more
it is true,
"The
more
Scarlatti's
charm
sonata
so
incomparably
was
ingenuous prattleof
known
over
This
enough.
good
discoverer,
a
for
pianoforte.
modern
is about
primitive
zest
it accords
a
was
modern
instrument
considerably
Mozart
music, although
modern
the
pianoforte
of
composed
pianisticand
lived
example,
frequently on
sonata
of
the
it
anticipationit
repertoire than
men
for
for
wTote
pianistic;more
modern
say,
he
denly
sud-
with
when
founder
he
the
by unconscious
the
to
still is
understood
what
genius,
adapted
he
was
later.
years
called
it
early Italian's
comparable
was
on
though
"Prelude"
many
been
Amateurs
(even
new
Scarlatti,and
by Siloti
first
the
received
1875-76.
Rachmaninoff
light
de-
the
concert,
his initial visit to this
on
of
season
something
up
the
was
acquired popularity
"run"
MUSIC
a
contrapuntal.
cat
best
which
gliding
But
even
FROM
this
of
is
FUGUE
works
his
as
worked
established
he
that
of
idea
few
is
what
with
length,
certain
suffice
and
of
it
to
movement
the
have
to
with
we
For
him
example,
contrasting
second
rule, Scarlatti
is
content
with
merit
of
Philipp
Emanuel
peculiar
second
a
striking
theme,
Joseph
further,
classical
all
and
period
practical
of
his
into
modulations
thus
and
by
theme
when
the
paved
for
purposes
its
climax
have
that
or
its further
elaborated
and
with
whose
completely
As
a
It
is
he
duced
intro-
the
it
suggested
employed
Beethoven,
came
reached
forerunners.
way
two
first.
theme.
sonatas,
sonata
employs
Bach
he
still is in
true
the
with
Mozart
Haydn,
then
his
the
written
sonatas,
form
it
one
movements
first)
the
understand
now
its
the
tween
be-
fourth.
and
Scarlatti
the
Regarding
that
be
several
scherzo)
second
of
a
considerable
of
or
one
found
be
simplicity.
the
the
them
of
consisting
them
vagiie
a
To
form.
of
or
must
here
say
as
themes,
second
it will
than
(a minuet
one
form.
primitive
those
them
theme,
or
more
sonata
three
four,
and
generally
a
for
of
most
outlines
have
composition
however,
sonata,
(and
by
shorter
a
first
the
still
melody
a
laymen
a
usually
movements,
by
in
that
fundamental
meant
is
simply
sonata
its
out
the
Comparatively
in
fact
characteristic
form.
sonata
A
is the
87
the
and
sonata,
a
whole
a
and
developed
he
in
movement
a
SONATA
TO
only
one
tion
elaborathe
whom
form
the
sonatas
superseded
88
HOW,
APPRECIATE
TO
Rise
Characteristic
to
of
development
his
brief
a
the
the
"amateur
counterpoint variety
and
court
of
Philipp
the
freer
Emanuel
reaching
them
Ear
and
Bach
Musical
"The
Quickened
some
of
his
does
now
in those
periodicalssprang
Miscellany,"
Amateurs,"
"New
Entertainment
"Floral
Music
to
pieces
as
forte
"Piano-
Ear, in Six
Taste,
Contented
Emanuel
"easy"
composers
the
up
like mushrooms
publishers
Garnerings
Journal
at
for
for
of
"
"for
or
person" figured
musical
of
fying
Satis-
Modern
of
in Solitude
;
Philipp
; while
were
some
Clio"
and
terest
in-
began
and
; "The
Ladies"
of
quotes
Pianoforte
Evidently the "young
calculations
popular
composers
Muse
it
During
that
Bie
opment
devel-
system,
titles that
Adapted
Soul"
the
people.
of
the
church,
The
of Mind
Delight
of
the
with
increase
Busy
Parties
in the
she
:
for the
inscribes
ladies."
the
the
on
Chiefly for Young
the
for
melodic
or
with
ing
seem-
Music
music
life the
be."
you
of, in fact the
harmonic
Playing
Galauterie
Composed
1746, by
larger public.
a
Hearing"
Practice
Easy
in
remarkable.
was
for
out
the
published
amateur.
been
Bach's
"Cecilia
:
thirty of
professor, whoever
the
had
Scarlatti
music.
of
inclusion
to
the
was
collection
compositions show
on
appear
a
were
in touch
more
in music
in
sonata,
professional. Now,
the
growing
was
and
to
or
this is the
preference given
the
the
to
popular interest
introduction
Significantin
as
fugue
Bach
from
of transition
period
pianoforte pieces which
addressing
to
the Amateur.
of
the
from
Beethoven,
begins
of
MUSIC
as
tensively
ex-
then
fiction.
cal
"Musi-
Pianoforte
Encouragement
the Pianoforte
for the
monies,
progressions
chord
cortsidered
"quite
of
they
modulations,
propriety
censured
as
For
are.
his
as
of
tradition, which
contemporaries regard
license, that
progresses.
mind
art
those
by
of
solecism
who
that
Richard
indifferentlynourished
add
me
that
his choice
by
much
this
of
He
popular.
Beethoven
also
fact the sonata
creation
that
a
"
ready
form
as
we
the
sonata
let
clavichord
did
more
form
his
for
so
In
Mozart
a
of
the
movement
I presume
that
so
genius.
much
"Art
in his
suggestion which
is but
virtuoso, and
a
sonata
it is
know
ponents
op-
similar
a
instrument
moulded
calling the
the
charlatan.
a
the
over
in
pabulum,
w-as
modern
Hanchett,
Mr.
suggests
mozarta
the
developed
it
found
also
and
borne
guilty of
Mozart
pianoforte
making
toward
the
composer
the
be
pianoforte pupil
on
those
rule
toward
Strauss
modern
the
should
are
now
was
unjustifiable
as
intolerant
yet
proclaiming
Assuming
This
were
Wagner,
in
Mozart
established
from
genius
where
through
is ; for it is
genius
every
daring deviations
I wonder
"
and
similar
the
day, nevertheless,
own
times
"some-
now"
even
to-day
are
free-thinking composers"
innovator,
an
MUSIC
and
doubtful
of
harshly
as
licenses
APPRECIATE
TO
IV
HO
90
cian,"
Musia
proper
will
be
never
adopted.
Beethoven
In the
history
easily tower
They
of
the
the
are
and
of
above
Bach, who
the
Epoch
music
there
the
fugue; Beethoven,
sonata;
Wagner,
who
are
Each
rest.
stands
of
for
who
the
Sonata.
three
figures that
represents
an
era.
counterpoint, the epoch
represents
represents
the
the
epoch
epoch of
of
the
root
forms
art
will
men
all
at
things
be
to
and
others
the
time
some
ourselves
become
and
a
who
rigid
too
should
the
in
trammeled
three
the
that
do
impress
play,"
''Hamlet"
!"
certain
have
of
as
the
as
"I
the
down
the
to
Beethoven
musical
requires
the
a
under
from
us
the
that
world
up
of
though
al-
of
much
after
hearing
of quotations
colloquial,are
say
modulations,
which
masters.
is the
longer
no
say.
will bear
think
countryman,
certain
to
impress
always
don't
to
un-
language,
our
verse,
by
genius
that
it has
not
phrases,
longer
no
absolutely
Equally familiar,
given
(such
bear
just
in blank
be
"It's all made
come
it
erately
outlines, delib-
what
to
will
Shakespeare.
exclaimed
with
sonata
a
for the first time.
Although
and
speak
not
musical
figure in
minds,
master
we
and
giving expression
always
less
less and
preferring
latitude
utmost
day
appreciation restricted
fonn,
upon
Nevertheless, music
these
of
seems
movement
listener
the
art
every
sonata
writes
now
neglect, because
insistence
have
the
see
these
in
for
more
its classical
faculties
of
period
classical
and
which
for
work
the
certainly is having
It
his
have
to
form
the
both
being
art
more
live to
Bach's
Scarlatti.
to
desuetude,
the
undeviating allegianceto
cares
of
the
fall into
composer
invites
in themselves
originated.
that
music
may
obsolete.
vogue,
of
possible,and
are
91
up
phenomenon
losing its grip on
we
had
It is conceivable
stands.
he
sinnmed
full fruition
the
SONATA
Palestrina, Beethoven's
to
presents
and
germ
which
back
goes
Wagner
first two
The
music-drama.
certain
TO
FUGUE
FROM
he
performance
was
of
the
all-dominant
fiftyyears
"Ninth
ago,
phony"
Sym-
speciallysignificantcircumstances
conducting of
a
Felix
Weingartner)
to
at-
HOW
92
tract
as
TO
to
many
APPRECIATE
ordinary Wagner
and
art
his due.
found
approach
Like
certain
modem
of
Systeme
movement
had
de
final
the
of
test
already have
that
have
the
the
orchestra
and
Thus
and
the
then
reader
is
Slozu
led
Emanuel
definite
art
that while
was
should
bear
he
is his
Opus
ideas
regarding
21,
name
in
instead
before
over
the
been
form
which
thoven
Bee-
pianoforteand
the
blazed
of
the
tested
certain
contrary,
that
of
symphony,
his mastery
further
a
rear.
to
the
which,
the
written
sonata
Even
form
developments
thoven,
Bee-
which
symphony,
of the
the
pianoforte
instrument
pianoforte.
his first
the
up
the
by
for
way
bringing
developed by
for the
composed
the
period, at least,the pianoforte
mind, simply is
of
belief
handmaiden
On
one.
It has
it, instead
handed
under
has
classical
form
was
for orchestra
Philipp
Development.
mistaken
a
pioneer.
sonata
orchestra
latti
Scar-
developed side by side,the general
of the
the
his
sonata
under
"
pointed out
orchestra
was
; the
great genius
a
pianoforte merely
until the end
a
of
be.
to
Beethoven's
orchestra
into
he
creator
published
beginnings
Mozart
is
epoch,
"the
Musique Theorique"
developed through
sical
mu-
Frenchman,
had
been
proved
I
harmony,"
its tentative
and
of
that
an
up
The
from
Haydn
awaiting
sum
an
how
reverence
(1683-1764),
system
"Nouveau
Bach,
Rameau
the
hand.
to
by
development
who
men
things ready
Jean Philippe
the
with
be drawn
I sliall know
the
to
him
all great
would
as
I trust
program,
appreciate his importance
to
of
hall
concert
a
MUSIC
and
in
his
it,by
FUGUE
FROM
the
"Pathetique,"
familar
is
Liszt's
what
programs
now
cheval
the
"
pranced
and
up
audiences
their
retain
This
outward.
to
men
who
touch
so
in
of
Such
early
in
age;
to
nature,
the
of their
is
in
more
he
facilities,
was
writes
of
law
a
and
things
strong, and
of
the power
maturity comparatively late,
all
are
and
purely
diction,
do
not
facilitywas
of
as
is
no
such
their
ward.
after-
out
force
a
of
ver)'
portion
pro-
of human
ence
surprising differ-
later
years
is in the
there
the
Mendelssohn
and
their
and
to
come
"
"
artistic
at
brilliantly
theinselves
there
Wagner
much
grow
Mozart
as
lives
their
through
more
technical
childhood
the soul
from
spur
greatness
facilityof
work
case
and
the
of
thoven
Bee-
been
isfied
sat-
Wagner."
writing sonatas
with
to
velopment
de-
slow
achievement,"
ar.d
individuality
therefore
between
In
is
expressing
their
whose
Gluck, Beethoven
aims
their
works
the
composers
but
and
and
ished
aston-
is, in fact,
;
very
production early and
succeeded
their
sought
personality is
to
Bach,
spur
who
"It is almost
greater
whose
main
point
work
by
grow
with
Beethoven
artistic
any
artistic
the world
men
whose
pianists
amateurs
artistic
natural
to
come
sometimes
while
which
of
2"
No.
Rhapsody
of
artists
most
whose
was
concert
to
comparatively
genius
expression, come
it
this
of Beethoven.
that
and
unfortunate
of every
than
themselves
Parry
be
to
ranks
the
characteristic
"Like
Mr.
including
equihbrium.
characteristic
their
before
experimentation,
slow
used
hattaillc, on
de
and
was
very
which
"Hungarian
down
93
pianoforte sonatas,
thirteen
composing
first
SONATA
TO
grace
of
Haydn
outward
and
had
Mozart
form
and
a
smooth
ancl
HOW,
94
TO
APPRECIATE
MUSIC
pretty flow
of
melody
was
of
intellectual force
a
man
genius.
worthy
of
created
for
the
heart
genius
it.
There
this
The
flower
concerts
gave
I doubt
sonatas.
could
at
awaken
now
Von
as
Billow
others
which, among
played Opus
merklavier").
the
to
time
if
broke
something
and
walked
had
with
him
whose
fussed
over
made
were
attendant
pianofortes
the
instrument
his
exit and
frequently
he
Beethoven
the
grams
pro-
concert
at
tuoso
this vir-
sonatas,
fiir das
restless,and
and
Hamof
When
from
the
he
a
ment
instru-
Finally
he
from
his
rose
reappeared, he
finn
used, and
for
the
it.
movement,
time
from
into
with
wrong
he
such
played through part
off the stage.
an
in this
pianistsof to-day
I remember
had
forte
piano-
was
public interest by
of the
It
period.
on
played only
keyboard
the
over
off in the middle
seat
1875-76
became
he
peered
as
he
as
genius.
them
("Grosse Sonata
106
form,
Biilow
of the Beethoven
After
first movement
Von
did.
mind
longer retain
no
of the great
much
as
of
classical
accorded
he
if any
his
had
the Sonata.
of
which
sonata
himself
sonata
sonatas
season
musical
contents
union
of the
When
the
during
he
to
once
recital programs.
country
it with
The
Beethoven
place of pre-eminence
of
enlarging the
monument
Passing of
Nevertheless, the
the
work.
a
day the
to
Beethoven
as
wonderful
a
in Beethoven's
to
well
as
supplying
to
is
is
form.
opportunities
greater
perfected by him,
remains
that
applied his intellect
He
form, his musical
and
within
turers
of manufac-
together they
while, before
the irate little
the
tendant
at-
pianistbegan
FROM
the
all
sonata
that
work
twice,
Would
Von
Billow
Beethoven
d'Albert
performance
and
York,
in
I
keyboard,
quite
program
this
was
and
with
so
much
crucial
in
test
of
a
noting
passing
away;
period
faded
by just
considered
was
and
the
of
much,
by
and
in
the
majority
music
same
and
of
the
to
Beethoven
however,
had
passed
by just
and
the
public
the
Incidentally
public usually
the
at
efflorescence, the
pianist's musicianship.
that
New
almost
ear
years
its
so
in
happened,
thirty
and
Beethoven
his
played
had
of
matter
tendencies
arts.
What
having
and
sitting
his
with
over,
his
Beethoven
gave
him
see
In
on
a
he
one
d'Albert
classical
profession
other
well.
longer
new
is
as
had
no
is worth
the
think
it the
form,
sonata
I
little
A
:
away
Eugene
ance
perform-
Billow's
can
eye
I
player
comments
Personally,
every
great
a
anticipated.
great
Von
us.
was.
His
the
as
was.
of
as
ago
he
not
mind's
my
seasons
in
attended
pianoforte, bending
the
Some
program.
was
for
luck
Beethoven
greater
of
much
so
history
enthusiasm
he
play
undoubtedly
he
a
recollection
because
recitals,
musical
was
he
thought
clear
very
into
such
the
that
he
as
?
mishap
the
good
now
intimations
were
him
great
Beethoven
a
evoke
not
there
player
of
living pianists.
played
did
a
and
if he
however,
several
fact
passed
player,
doubt,
than
has
it
95
considered
hear
to
piece
a
consider
so
we
We
again.
over
SONATA
TO
opportunity
us
gave
the
FUGUE
is far
critics
in
ahead
in
it
of
ciating
appre-
realizing
what
thing probably prevails
HOIV
96
APPRECIATE
TO
Orchestric
I
rank
he
that
aware
am
and
work
Berlioz's
the
Strauss's
Beethoven's
the
orchestral
of
the
and
the
and
expression
and
shadows
The
modern
from
masters
they
even
of
a
a
as
of
I have
Beethoven
life,and
for
He
nine
more
for
for orchestra,
we
would
he
have
the
had
for
composed
If he
had
for
more
most
for
had
would
comix)sed
the
lights
before.
his
point
standof
sonatas
the
forte,
piano-
orchestra, and
pianoforte, we
If
sonatas.
posed,
com-
household,
judge
engraving
an
the
understood
while
the
It is
our
capacity
written
out
as
was
that
to
Beethoven
fancies, the
thirty-twosonatas.
symphonies
that
were
and
were
is
sonata
nine
of
if I may
feels
named
be
become
has
its
never
for orchestra.
symphony
and
of
moods
thought
were
and
instrument
it
own,
my
Mozart
music
as
of music,
lover
they
understand
life,as
sonata,
to-day.
which
in
phase
of
to
me
it
know
we
Haydn,
instrument, the
intimate
the
of
pianoforte, we
is the
from
sufficiently
adapted
times
intimate
an
Beethoven
of the
to
of
edition
that
seems
also
sufficientlyclazncrmassig
not
pianistic. But
more
intimate
the
sonatas
most
were
for
in his
fault
essential
not
pianoforte
possible that
I
pianoforte.
opinion,
included,
(pianistic)in character;
genius
the
form
sonata
pianistically. Nevertheless,
sonatas
it is too
of the
instrumentation,
on
viewpoint
modern
of
first
pianist of the
a
the hmitations
the orchestra
treated
was
capacity
Richard
read
of Pianistic.
Beethoven
the
developed
have
Instead
within
that
MUSIC
that
pianoforte
nine
written
have
his
thirty-two more
phonies
sym-
his
had
sonatas
phonies.
sym-
FROM
FUGUE
This
orchestric
the
Beethoven
of
them
they
effective in
not
sonatas
enlarging
problems
the
proportion
they
great difference.
Ossa
but
he
when
mountain,
his feet.
from
the
fact that his sonatas
I
the
speak
so
change
tliem
I may
not
of
as
assiduously
public player,
meet
once
a
violoncellist
for the
who
be
if
as
week
with
the
worship
at
especially
myself,
were
that
I
for I
my
at
to
say,
that
the
pianoforte
brought
daily bread.
up
and
If there
of the
on
\\'hen
a
almost
to
Society
is any
one
form,
sonata
form
a
first
the
it should
sonatas,
the
am
becoming
Philharmonic
shrine
planation
ex-
much
so
first violinist
that of the Beethoven
was
I
while
proficient enough
music.
no
through
personal
was
intended
York
the
lived
of
w^as
the
New
I have
music
public
rank.
pianist's
a
way
had
I
of
test
the
By
studied
that
and
of
I
tuosos
the great vir-
attract
and
final
the
practice of chamber
should
sonatas
longer
permitted
life that
my
at
for
professional musician,
a
part
be
world
the
pianoforte partly accounts
myself.
taste
a
that
unreservedly because
of
climbed
of much
no
as
a
pianist;
the
has
watch
is
pile Pelion
of
he
hence
there
others
character
they formerly did
longer regards
it, and
mastered,
and
the
writing passages
for
may
orchestric
are
through
and
them,
peak
for the
wrote
as
and
its
mastered,
requirements
surmounted
I think
Beethoven
the
has
and
been
technical
that
difficulty. Between
conceived
have
instrument
solve
to
in
passages
instrument
an
Chopin, Liszt
in their
the
their
to
awkwardly
after
for
yet, when
give the player
are
ineffectual
for
and
capacity of
you
that
on
written
97
pianistic)character
to
accounts
difficult to master,
are
SONATA
(as opposed
awkwardly
so
TO
and
I went
those
to
the
FUGUE
FROM
his
will
Well
Beethoven
a
music
of
than
he
time
from
splendid
the
mission.
and
of
our
after
the
the
to
music
conviction
of
sonatas
us
to
less
him.
this
his
such
a
great
sane
genius
and
dramatic
greater
that
his
For
drawing
audiences,
toward
problems
preserving
alw^ays
its
because
not
with
come
yet
did
once
is
cital
re-
profoundly
as
"subjective,"
heart,
seem
they
progress
expression
have
to-day
man
than
of
If
poise.
mental
the
us
that
mind
in
pianoforte
a
move
tion.
inspira-
his
borne
on
concerned
wonderfully
was
is
does,
who
of
be
not
deeply
those
inspiration
and
less
was
life
does
modern
more
composer
it
99
receptacle
sonata
If
program.
as
the
considerations
these
may
whenever
it
making
and
SONATA
TO
it
is
tional
emo-
because
plasticity
should
be
of
its
iv;
DAWN
OF
begins
art
ALL
as
it
in
and
of
know
be
that
the
if
it
it
hear
to
or
the
individual
none
earlier
shall
apply
of
not
that
say
word
this
to
been
I have
still
he
sonatas
yet
as
a
the
desk
pedantic,
that
sprang
and
and
going
"Sonata
play
to
which
troduces
in-
portentous,
work
effect
whole
need
ago
seemed
the
of
lover
Grave
the
fected.
per-
sought,
thrilling experience
And
anything
had
my
throughout
sonata
rigidly
Beethoven's
To-day
it sounded
that
a
itself
focus
minutes
few
left
I
movement
beauty.
by
years
be
to
themes
their
A
music
ment
develop-
modern
like
through
played.
first
the
fact.
played
It used
the
not
sentence,
Pathetique."'
let
It
somewhat
words,
to
its
and
they
many
does
that
this
pianoforte,
he
them
until
as
without,
of
in
periods
to
sonata,
of
writing
in
so
the
ashamed
before
to
saying
form
too
condition.
together''
adhere
and
of
tains
at-
from
establishment
or
tenaciously
speaking
not
the
itself
itself
formless
early
period
"pull
somewhat
music
rigidity
to
some
forms,
Without
in
at
should
certain
upon
necessary
that
art
emancipates
then
form,
after
then
its
to
groping
a
insistence
absolutely
an
and
reverting
however,
PERIOD
ROMANTIC
with
form,
great
was
THE
had
lost
produced
was
for
from
in
I
lacking.
I
dislike
the
to
heart
DAJVN
brain
of
feeling
of
and
a
form,
the
which
is
of
restraint
it
of
What
The
form
sonata
which
the
main
and
Lebert
and
Schirmer's
indicated
The
first division
like
the
called
the
Grave
the
in
theme
and
a
the
concluding
is
esthetic
no
After
the
or
themes
much
called
free
the
"free
development
(Baker).
This
of the main
theme
in
a
"working
out,"
fantasia"
of motives
into
with
second
a
first,
the
exposition
the
for it.
reason
division, the
treatment
a
imitation,
of
both
generally
consisting "chiefly of
and
taken
the
from
third
is
since
proceeding,
second
the
figurationand
leads
mle
artificial
comes
music.
l^e
psychological
exposition
development
with
or
and
may
contrasting
As
passage.
extremely
an
"
and
in
Pathetique")
It consists
key
the
introduction
slow
piece, a connecting episode,
related
a
repeated
there
"Sonata
the
exposition.
of
key
of
three
sonatas
in the
occur
a
of
divisions
various
with
from
by securing
Beethoven
they
(sometimes
ration.
inspi-
movement
studied
the
as
strove
his
consists
name)
of the
which
the
say,
its
under
Is.
easilybe
can
edition
are
to
chafed
yielding to
Sonata
(that is
library,in
subdivisions
a
there
constantly
and
more
derives
sonata
divisions
Billow
form
sonata
of absolute
Moreover,
himself
set
measure,
notions
in music.
elastic and
more
modern
our
to
was
of
restraint
the
"
Beetlioven
that
the
it
loi
there
but
pathos patterned
expression
evidence
make
to
about
restraint
of
PERIOD
like Beethoven's,
incompatiblewith
ample
the
ROMANTIC
genius
a
restraint
freedom
is
THE
OF
the
first
a
part"
division, which
is
a
of
restatement
handed
is the
form
down
to
the classical
In
his
third
introduces
into
the
first
episode
a
In
episode is
so
thematic
should
be
said
not
of
instead
he
the
it and
third
division
Instead
of
it
ushers
important
form
sonata
that
this
dubious
them
"
a
moN'ement
and
shake
an
the
movement
as
his
made
their
to
over
of
no
the
second
his
to
he
exposition
free
old
fantasia
listener
friend
at
the
what
cadenza.
a
the
third,
why
in the
the
of
a
reason
grafted by
when
of
end
the
is
one
him
I
of
upon
can
point
have
of
with
the
the
and
the
the
imagine
contemporaries
It must
heads.
originalitystrained
leads
he
predecessors, Haydn
introduces
with
theme,
variant
a
familiarizingthe
as
ing.
dar-
theme, practicallyignoring
main
innovations
coda
which
In
again.
closing
with
themes
it in
did, Beethoven
Mozart,
the
welcome
division,
third
most
as
the main
two.
customary
others, thus
making
usual
four
use
reiterates
insistently
the
to
to
after
see
makes
most
are
material
I
tion.
inspira-
he
3)
day,
leads
fact, the
that
for his
No.
using
he
connection
a
as
theme.
dosing
Then
theme.
second
episode
episode
second
a
2,
that, for their
It
greatest genius of
limited
(Opus
sonata
was
Mozart.
and
the
it too
the first
Following
he
that
found
which
movement
by Haydn
apparent
innovations
several
sonata
Beethoven
period
the Form.
Enlarged
of the
became
soon
very
key, is, like the
related
a
second
the
tonic.
Bcetlwven
How
This
in
being
in the
theme,
MUSIC
first,excepting- that
the
of
theme, instead
main
APPRECIATE
TO
HOW.
102
look
seemed
eccentricity
OF
DAWN
and
bizarre
more
it, after
a
this
form, and
ROMANTIC
of
long lapse
reservation
of view
creator
One
of
the
is the
It is much
less
formal
introduced
into
the
sonata.
in
the
broad
a
trio
which
modern
the
creator
sounding
freer
in mind
surpassed
never
this
sonata
is
of
this
style
of
minuet
the
This
scherzo.
a
movement.
which
Haydn
especial scherzo
of
sweep
its
is
arpeggios
Beethoven
anything
has
as
for
wrote
pianoforte.
His
There
efforts
other
are
his
on
of form.
Una
no
with
Heiir entre
deux
called
a
three
Adagio
the
No.
generally,
2,
beautiful
poem
of
It is followed
by
a
the
agitato, which
creations.
usual
is the
well, is the direction
There
and
Scherzo
a
the
"attacca
pathos
abysses)
two
of
one
are
only
subito
of
ment,
move-
Beethoven's
At
end
''une
"
concluding
movement.
at
movement,
is inverted,
sequence
vSonata
sostenuto
is
This
profound
'twixt
(a flower
comes
slow
by
and
Sonata."
"Moonlight
and
then
Quasi
the "Sonata
the
ahimcs'
tions
considera-
by
example
27,
melody,
it; and
Presto
and
the
an
indicate
that
trammeled
less
as
broad
impassioned
the
be
to
Opus
the
accents.
of
Beethoven
Regard
in musical
most
by
sonatas
its sustained
Liszt
Sonata."
inaptly,called
means
with
"Moonlight
part
Fantasia,"
begins
as
of
please bear
only
upon
reckoned
be
must
of
than
as
back
it.
movements
Beethoven
103
direction
"
not
it,but frequentlyfell behind
look
we
in the
point
its
"
As
time, it
achievement
this
from
PERIOD
effective.
than
brilliant
most
the
THE
the
three
for
the
ments,
move-
the
end
last
of
Allegretto
il scqucnte," in-
HOJV
T04
dicatingthat
at
the
connection
the
the
themes
expressiveness even
is
genuine
impression
drama
is
by
the
in which
themes,
developing
he himself
to
let go
them
of them
and
first movement,
of
the
motive
with
a
brief
the
The
working
of
in
out
the
of
relation
make
this
modern
most
works,
although
io6
109-11.
most
"temperamental"
again
the
Biilow
most
is that
playing
of
made
it and
his
the
Undoubtedly,
of
modem.
he
to
his
My
it
so
theme.
different
the
to
ments
move-
the
me
pianoforte
is
greatness
it lower
rank
four
sidered,
con-
than
last sonatas.
however,
sonatas
one
almost
and
Beethoven's
and
the
with
themes
is
Sonata"
incline
Appassionata"
and
the
structural
mere
critics will
most
"Sonata
when
while
theme
upon
of
provisati
im-
an
second
the
between
sounding
single
a
on
movement
of
"Moonlight
words
like
more
tire
en-
connecting episodes.
last
persistent dwelling
without
eloquent
persistent iteration
a
The
movement;
a
four
suggestion
merest
psychological
Op.
part of
consists
only
wholly
set
a
is
if
as
reluctant
were
is built
which
episode
and
his
to
bar
after
song
exquisite poignancy,
but
on
material.
most
last movement
the
new
practicallya
than
This
introduce
evident
very
holds
bar
beauty
This
movements,
composer
their
appreciated
the
the
through
whole
the
experience.
only by
not
between
manner
and
life and
psychologicalconnection
the
extraordinary beauty
Beethoven
a
of human
produced
out
Through-
movements.
of
are
for
attacked
is to be
ical
relationship,a psycholog-
the three
and
a
inner
an
between
work
MUSIC
following movement
denoting
and
once
'APPRECIATE
TO
"
it is the
and
quarrel
with
herein
Von
popular by his frequent
exceptionally poetic interpreta-
HO
ments
whatsoever,
is
thing
the
Beethoven
and
it
Galileo
others
accounted
was
The
Beethoven
He
giant.
of
is
his
activityinto
supposed
have
to
Ne.vertheless, it
the
regards
earliest
3),
is
and
period division
fact
the
form
Pathetique"
to
periods overlap;
style when
we
but
come
pianoforte sonatas,
of this
the first
there
to
his
begins
is
third
with
of
one
as
been
has
(Opus
he
his
No.
2,
contrikitions
has
given
sonata
as
period
so-called
a
road
strikingly developed
most
of the
is,that the works
it
original
assigns this
which
since
sonata
that
the
especially
of
most
of
in sonata
movements
"Sonata
third
he
which
along
one,
movement
his
one
sonatas,
of
generally accepted.
arbitrary
an
the
of
one
music,
is
division
The
each
greatness,
musical
a
as
wrought.
he
further
first
works,
well
as
progressed
pianoforte
the
that
seen
is
moves
Periods.
periods, in
three
originality and
of
to
before
thought
to
Maybe.
yet the world
intellectual
an
listen
to
it.
with
Beethoveyi
was
the
still sounds
Heresy?
"
grams
pro-
relief from
of
that
not.
heretic
a
world
sigh
out
their
on
being obliged
do
that
them
a
when
come
single movements
place
a
will
movement
a
without
the musical
and
hear
can
modern
three
or
and
such
being
there
time
lift
will be
there
of
the
to
sonatas
that
public because
two
hesitate
not
MUSIC
talk
to
I beheve
will
and
fresh
and
nonsense.
virtuosos
of
APPRECIATE
TO
IV
io6
decided
well
as
first and
change
109.
period usually is assigned
to
second
in his
in the
(The
the
the
The
is absurd.
period which,
Opus
The
us.
ginning
be-
sonata
DAIVN
Opus
a
1, which
10
restless
is
a
his
by
of
be
to
and
these
last
had
outgrown
the
thoughts
mould
the
in it called
result, it
He
the
upon
composed
suite
in
aus
had
become
and
single
a
modern
belief
have
or
but
of Richard
for
created
corresponding
to
and
because
all-dominating figure in
He
his
in
to
as
latest
Beethoven
had
have
would
not
revived
the
practicallydid
in
'Taschingschwank
pianoforte
the
tone
thing
some-
poems
who
the
after
came
be
to
it noted,
the
expression
real
than
when
musical
with
progress
he
for
was
him
with
thirty-two pianoforte
wrote
he
pianoforte experimented
always,
that
Strauss.
sonatas
composer
all
untrammeled
freelydeveloped
the
Because, however, Beethoven
of
that
"Carnaval,'" "Kreisleriana," and
Wien,"
and
endeavore"l
him
Schumann
style,as
form
think
later, he
sonata,
be
to
great for it and,
too
fifty years
scene
To
perfected, and
and
hampered
firm
as
purpose.
had
absolutely free
It is my
have
his
for
of
not
last he
the
been
it, bending
his
himself
tude
ingrati-
sonatas
from
achieved
he
were
had
restraint
I do
toward
cramped
utterances.
come
form
which
development.
a
he
sonatas
it
troubles.
in these
the
here
work,
the
he
Frankly,
task.
the
to
heart
material
and
himself
free
and
whom
to
under
to
his
deafness,
seems
more
struggling
intellect
his
family
Beethoven
however,
mind
his
"
nephew
other
chafing more
in
misfortunes
over
brooding
his
that
107
Because
early.)
too
me
be
to
worthless
a
father, and
me,
to
seems
some
PERIOD
ROMANTIC
spiritseems
thought by
warped
THE
01'
less
many
world, every
and
composed
the
sonata
of music
followed
toward
his
great
for
the
form, and
and
success
the
years
own
less
portance
im-
freedom
inner
im-
io8
HOM/
pulse and
the
wrote
feelings,that
and
of
the
For
way.
form
him
could
No
and
therefore
that
they
that
length
could
is
write
them
minor
pieces are
in
Sonatas
Lawrence
Gilman,
and
but
the
up
Dowell's
that
he
far
which
might
he
as
he
vehicle
that
"Keltic
are
in
Sonata"
contrive
himself
is
some
the
in him
expression
;
sonata.
our
show
idea
shorter
genius
much
Music,"
spirit of
speaking
"I
of
rather
of
that
suggestion
modernity,
Edward
Mac-
wishing
help
cannot
expedient
collection
a
of
wealth
a
the
:
American
younger
concerned, with
occasionally uses,
for
to
that
in
containing
matter
and
as
Modern
breathing throughout
sums
so
brief
essays,
posers
com-
mistaken
whereas
of
one
of
sonatas
These
a
a
sible.
pos-
in number
simply
under
as
was
to
Old-fashioned.
Nozv
critics,in his "Phases
of
few
works.
greatness
nocturne
a
form
in it
sonatas
achievements,
displayed
be
of
measure
off, let alone
pianoforte
the
and
after
came
sonata
advance
their
written
a
the
comparatively
are
have
to
left
paved
contrapuntal
the
he
dencies
ten-
thoven
Bee-
have
to
who
that
satisfactoryof
least
said
brought
further
no
romanticists
seem
can
Beethoven
so
the
followed
those
where
thoughts
with
brought
that
begin
even
wonder
the
Bach
as
be
may
tion,"
inten-
of
indicated
which
period
he
perfection that
the
of
consonant
more
perfection
not
him,
surpass
such
just
such
to
were
which
''music
pieces,the
romantic
for
and
the
mood
MUSIC
subjective expressions
the
of
APPRECIATE
TO
for
doing
the
sonata
away,
form
as
inconsistently,
vision
emotion
and
for, generally speaking, and
a
in
spiteof
DAPVN
OF
triumphant
the
THE
of the
success
elastically
wrought
more
mood
and
or
directness.
*
form,
and
though
freedom
the
would
*
have
form.
fluent
He
is
pieces in
the
of
events
than
anomalous."
of
opinion
critics,to whom,
the
as
opinion
themselves
ranks
of
the
is based
on
Unless
old
of
with
the
for
for
the
the
orchestra)
for
chamber
music
are
in
sonatas
into
the
themselves
in music
that
I have,
it in
to
it also
and
is the
simply
other
written
sonatas
mentioned
and
music),
for
allow
heart.
(which
chamber
well
as
years
the
in
tion
connec-
form
is
pianoforte trios, quartets
instruments
are
their
form, referred
But
sensus
con-
to
still hold
and
the
refuse
mentioned
specifically
for
employed
be
belongs,
manifestation
of mind
(which
(which
future
in general
generation of
younger
who
symphony
;
suasively
per-
rather
music
to
critics who
string quartets
of
are
all, the
pianoforte.
so
program,
believe
I
the
new
sonata
flexible
more
a
he
necessarilyarbitrary and
fogies and
union
a
emotional
older
every
that
inspiration upon
his
pitchforked by
otherwise
speaking
as
be
receptiveto
ever
moulds
among
after
its
ceived
conimpressionistically
Such
of those
to
feels
applies to pianoforte
Beethoven.
concision
compelling,
so
formula
This
since
never
interior
he voices
ing
notwithstand-
one
in
and
spite of
in
here, and
even
he
musical
a
upon
which
an
succeeds
in those
eloquent, as
freer
epigrammatic
still finer ends
to
jVIacDovvell
in which
manipulation,
of
worked
with
109
in those
poems
'Keltic'
The
*
than
tone
experience
an
PERIOD
'Keltic,'Mr.
in his sonatas
is less fortunate
a
ROMANTIC
a
ployed
em-
sonata
and
tets;
quin-
branches
of
for the
such
and
for
combination
bination
com-
others
certos
con-
of
a
like
instrument
solo
with
held
its
pianoforte, and
be
can
music
largely
of
concerto
orchestral
because
the
that
much
solos
of the
he
audience's
be
may
alone.
itself
the
freest
In
seen
music,
that
the
as
form
of
by
Strauss
as
in other
arts,
the
outlines
of
of
the
through Philipp
the
the
to
and
him,
Emanuel
master
form
the
Bach.
great
a
to
that
it is liberating
form
sonata
Liszt in his
his
was
Haydn
in Beethoven.
and
symphonic
tone
poems,
yet
We
Italywas
system
which
I think
hope
periods overlap.
harmonic
find
much
concerned,
in
though
al-
play something
life Scarlatti in
sonata
find its greatest
as
an
simply
so
Composers.
Bach's
at
follow^s
not
any
in the
fact
composition
Romantic
foundations
In
orchestral
First
during
it with
is
from
more
The
the
and
out
indicated
Richard
play
it
symphony
by
concerto
is due
come
and
more
and
appears
usually
over
to
direction
and
poems
which
enthusiasm
far
to
concerto
a
regard
a
effective.
applause
of
who
play
to
in chamber
audience, probably would
more
induced
So
taking the
the
far
that
would
soloist
a
is there
as
variety
super-refined and
which
orchestra
pianist'splaying
the
that
the
on
the
coloring;
somewhat
supposed
well
greater
orchestral
is
as
of
group
fact
sonata
In
highly indecorous;
as
concert
he,
a
the
to
the
reasons.
the
its devotees
startling innovation
branches
extraneous
the
to
cello,
violon-
or
successfullythan
largely to
through
taste
these
more
for several
achieved
timcyous
In
own
it is due
symphony
MUSIC
pianoforte, violin
the
orchestra).
has
form
APPRECIATE
TO
HOIV
no
and
have
laying
shaping
to
and
ceived.
con-
develop
Mozart
Likewise,
DAWN
while
even
the
are
Beethoven
Carl
him,
by only
to
a
school
into
art
indeed
is
his
through
while
the
to
contributions
the
important.
Weber
reach
(he
utilizingthe
was
a
could
both
finished
stretch
the
to
pianist,had
afforded
facilitythus
Piece
in
form
and
in
are
wrote
fascinating
in
even
his
its
Tausig's
him
version
form
of
and
it,and
effective
repertoire. Considering
were
composed,
short
of
freedom
their
Schubert
he
lived
in the
age
from
sonata
naise,"
"Polo-
a
The
last,
elaborations
Piece"
still
forte
piano-
modern
in
and
which
they
is little
pedantry
marvelous.
Pianoforte Music.
Schubert's
in
the
"Concert
the
ately,
deliber-
the
Dance."
numbers
the
to
Brilliant"
without
the
mous
enor-
besides
he
Capriccioso,"
the
are
in his well-known
Oixhestra"),
to
an
add
compositions, ignored
"Invitation
songs,
and
to
Brilliant," a "Polacca
original
brilliant and
and
"Momento
a
"Rondo
a
the
of
some
Piano
for
his
pianoforte
twelfth),
a
to
seems
contributed
through
brilliancyof pianoforte technique (as
"Concert
It
(1797- 1828)
of
romantic
the
of
movement
new
him
( 1786- 1826)
Freischiitz."
Schubert
year
destined
was
Weber
founder
one
survived
which
music
"Der
opera
that
much
quite as
the
as
died
who
channels.
new
regarded
however,
me,
writing
were
which
of his contemporaries,
who
Schubert,
ill
works
those
period, two
Weber,
von
Franz
and
year,
the
turn
classical
Maria
PERIOD
creating
was
of the
glory
before
ROMANTIC
THE
Of
was
not
obscurity,but
but
a
virtuoso
we
now
thirty-one years,
and
passed
his
life almost
recognize that, although
few
composers
wrouglit
of his
estimate
an
his
influence
city,and
and
that
natural
was
there
is
whole
a
he
works,
(Opus
No.
142,
of
minuet
is
taken; and
theme
wrote
highly
are
as
been
during
modem
for
and
with
the
There
ear.
that matter,
heard
around
in
of
the
another
formulas
little waltz
the
which
which
for
fantasy
modern
sitions
compoas
if
years
instead
last century.
They
as
in the
brief
out
the
of
are
a
and
or,
Schubert
that
of
theme
in which
form
sonata
classical music
they
delights the
that
melody
it
converting
appeal to-day
the
popular
detached
last ten
de
"Fantasia"
dramatic
These
six
"Soirees
the
thoroughly
sustained
in all the
major
major;
flat
Wanderer,"
"The
is not,
2),
variations,
exquisite
him, the brief giving
episode, then
couched
in A
broadly
in their
first quarter
the
flat
B
with
G," from
the
No.
42,
obbligato, thus
during
them
among
in
fashioned
orchestra.
eloquent
othei'
numerous
profoundly expressive;
one
effective and
written
melodious
the
orchestral
an
his
theme
a
; the
in
his song,
from
pianoforte
had
genius
another
is
Liszt
which
"Fantasia
; the
a
which
Musicals"
from
Vienne"
into
;
beautifullymelodious
melodies
Liszt
his
major (Opus
flat
Elegy"
3),
"Moments
dainty
a
originalwas
to
brilliant,others
them
the
and
'The
called
usually
for
in G
highly poetic one
some
forte
piano-
eight impromptus,
composed
sonatas,
his
fertile,that, in addition
so
the
so
genius,
of that
among
of them
volume
in Vienna,
composed
have
Nevertheless,
works.
and
should
he
day, making
Living
admirer
for
but
song,
on
this
to
felt.
fervent
a
chapter
is,even
more
place
the proper
course,
he
and
MUSIC
is in the
genius
more
Beethoven's
on
Of
pianoforte composer
a
as
an
he.
lastinglythan
more
it
APPRECIATE
TO
HOW
112
theme,
so
on,
then
all
classicists de-
composed
protest
a
as
The
bit of
appealed
for
of the third
style,with
crescendo
long
effect used
Athens"),
approached
distance?
Thoroughly
of the
modern
afar, danced
from
by,
whether
moderns,
pianoforte compositions,
waltzes,
the
"Hark,
or
Water"
(barcarolle) and
been
have
for the
arranged
Mendelssohn's
Felix
day
the
now
romantic
of
gypsies
Schubert,
listen to
most
a
his
nal
origi-
Schubert-Liszt
the
to
in the
vanished
"To
of
songs
Sung
Be
on
his which
pianoforte by Liszt.
his
movement
Words."
Without
the musical
their
sustained
melody
subordinated
of songs,
was
was
"Songs
idol of his
clearly defined
accompaniment
in the
a
gives
and
a
them
posely
purthe
of the word.
fluent, gentlemanly
readily understood
because
against
popular meaning
to
Words,"
Without
pianoforte and aptly named
the
music
same
correspondingly neglected, contributed
pieces for
Mendelssohn
(the
band
a
and
other
''Songs
short
character
Hungarian
"Ruins
Lark,"
Mendelssohn-Bartholdy,
and
whose
the
Hark,
in
Beethoven's
we
or
forget
is apt to
ment
arrange-
is
modern
there
and
here
his
if
as
feeling
little mood
played
from
it seemed
that
so
he
way
natural.
diminuendo
when
March"
of the "Turkish
of
with
"Moment"
and
by Rubinstein
any
most
as
example,
Essipofif's
playing
a
in
especially are
Who,
realism.
bert's
Schu-
on
musical
of
him
to
impressionisticsketches
pieces and
a
thought
a
but
form,
sonata
expressions
Musicals"
"Moments
the
doing anything
are
that
manner
against
was
They
remarkable.
in the
he
that
MUSIC
without
and
spontaneously
part
APPRECIATE
TO
IV
HO
114
composer,
therefore
at-
DAWN
it
made
that
popular
The
lose caste.
to
still occupy
forming
I
received
Mendelssohn
how
to
in their
That
to
of these
may
be
and
the
it is
of
one
the
equally
true
that
the
which
with
exquisite
Without
are
the
which
to
least
the
wrote
several
pianoforte, besides
the
one
in G
pupils
their
chutes.
is
survive
(Scotch).
debut.
at
minor
their
With
used
two
graceful
as
in
F
as
an
three
A
a
of
of
many
sonatas,
stock
a
they
shoot
years
"Sonata
pieces
concertos,
selection
the
I
them,
other
graduation exercises
it
place on
of
pianoforte
No.
sohn's
Mendels-
dozen
capriccios and
and
and
encore
of
but
tender
major (
out
never
vicissitudes
is the
Song,"
group
half
ing
feel-
pianoforte pieces
showy.
one
in
"Spring Song"
is
Words"
merit.
poetic
and
the
unique
are
and
of
A
IMendelssohn
come.
Ecossaies"
for
apt
which
The
effect.
At
pianist'sprogram.
to
at
is brilliant
lyric is
of music
much
former
carolle,
bar-
minor
"Spinning
the
Joseffy frequently
"Songs
think,
the
latter
little
of
first
my
possess
pieces
hackneyed
most
be true
as
to
saying.
may
played
a
without
expressive
22),
little
same
charming
found
still,when,
world
new
a
up
sical
clas-
from
the G
Words,"
it
however,
teacher
compositions,
polished
goes
music
open
be
still will
are
almost
and
it seemed
caused
bridge
reinember
can
my
Without
way,
they
from
"Song
Many
me.
I
and
curriculum,
master's
easily crossed
music.
romantic
lad,
a
graceful and
polish
Words,"
music
the
qualities
have
"
Without
"Songs
place in
a
a
to
as
harmlessness
115
very
and
its smoothness
"
commonplace
its rather
the
But
popularity.
immediate
tained
PERIOD
ROMANTIC
THE
OF
of
and
of
servatory
con-
later
musical
CHOPIN,
ask
1MUST
at
I
the
reader
the
to
sought
make
the
pianoforte
in
At
this
part
point,
then,
there
Chopin
by
the
is
likely
the
; and
this
the
he
from
composer
poet,
as
soul
very
to
was
well
of
as
the
Extraordinary
his
realms
of
be
a
the
program,
\?e.
Baker
influence
music,
and
of
first
was
view,
for
is
his
his
art
for
116
an
Chopin
the
unique,
who
which
making
forte."
piano-
incomparable
great,
through
is
by
satisfied
Frederic
for
it
a
searched
he
significance
extends
cital
re-
groups
better
composer
instrument
art.
more
composer
point
as
the
the
lustrate
il-
itself
compositions
the
He
prehensiveness
com-
pianoforte
or
calls
have
the
in
of
of
group,
the
the
w^hich
group
I
to
universality
to
imaginary
our
more.
every
and
development
back
as
the
so
then
Hall,
and
to
music,
the"incomparable
But
tone
on
is apt
( 1810-1849)
of
larger
composer
audience
the
to
due
admit
whisked
however,
instrument
pianoforte
been
had
House
This,
is
he
frankly
Carnegie
to
is
that
digressions,
he
Opera
an
great
I
many
if
up
before,
as
of
of
as
again.
clear
imagine
to
although
him
Hall
Hall
to
still
Metropolitan
Mendelssohn
PIANOFORTE
THE
guilty
to
appear
Mendelssohn
down
OF
recital,
been
have
it must
from
of
POET
pianoforte
a
that
that
THE
into
itself
ized.
specialthat
strument,
in-
other
felt
to
POET
CHOPIN,
this
form,
For
he
intrepidadventurer
an
in
117
music-drama
and
opera
pianoforte music.
in
as
in orchestra,
day
PIANOFORTE
OF
in
innovator
an
was
well
as
and
harmony
subHme
a
singer of melody.
Tempo
the
Before
be
in
will
time
same
in any
if
there
of the music
by
which
notes
spite of
all their
changeable
of
jewels
light
itself.
Here
of the first
outset
but
the
rhythm
weaves
Liszt
that
tree?
the
there
rubato
is like
while
the
; the
see
we
branches
or
Chopin
it
gentle
immovable
shower
a
firm
outline
the
really
exactly when
motion
of
the
in
its form."
of
petals
of the
delicatelytinted
and
filling the
like the
myriad
air
shafts
the
other
said
fro
melodic
Or
a
"You
:
in the
air; but
from
tree, its
while
the
he
and
to
move
tempo
that
hand,
around
notes
wind
its trunk
the
tempo
in
tree
foliage are
from
full
there,
fallingfrom
blossoms
with
the
in various
means
one
at
famous
explained
with
on
iridescent
Its leaves
stands
bloom
of
then, nearly
been
of
play
undercurrent
great
have
has
but, in
their
Chopin piece,the
calmly
expressed
follow
and
with
goes
veil
a
idea.
see
which
the
we
rubato, so-called, which
ways,
of
part
and
shade,
and
mental
orna-
ornamental,
not
are
produced
and
remarkable
those
"
yet
colors,
melody
very
of
the
At
noticeable
not
preceded Chopin,
that
cascades
iridescence
an
this
pervade
flowers.
of
to
first
the
will
Melody
fragrance
be
of
bars
individuality of
apparent.
will
supposed
are
we
many
the
group,
like the
hall
recital
played
will become
recital
the
have
Chopin
the
composer
as
pianistwhose
attending
piece
Rubato.
color
the
and
facets
grance;
fra-
of
a
HOW.
ii8
APPRECIATE
TO
jewel, piercing in
the
crisp ripple on
in
on
all directions
in
cynic,
a
one
like the
The
What
Chopin
you
will
and
I
"
I have
although
what
be
the
his
from
made
it
instrument
into
its
and
enlarged
an
piano
or
tone
its
has
in
suggests
done
his
been
you
a
he
devoted
himself.
do
sonatas,
so
often
"How
with
well
do
classical
this
For
to
Not
you
the noble
once
think
fore
betrue
him.
he
ever
beautiful
his music
is
instrument
while
to
produced
re-
the
with
the
of
and
done
Nothing
in much
out
had
instinctive
voice.
belongs
Chopin composition
its soul
out
works.
or
expression
recognition of
have
it
liberated
and
tone
composer
The
the
as
itself,brought it
unto
of
far
influences, and
choral
since.
orchestra
he
forte
piano-
but
so
that
is
of them
none
anything
fact
effect
the
achievement
other
earliest
in
ence
differ-
no
program,
of
and
no
to
compositions of
it makes
that
capacity; sought
singing quality which
to
fact
beauty
singing quality he brings
which
the
on
sufficient
all its
seems
It appears
wrote
( for
is the
it in toiie, as
him
are
orchestral
in
own
the
his mission.
these
any
Chopin's great
completely
while
Pianoforte.
slightestsuggestion
is concerned
Chopin
when
compositions" deliberately,
is the
"
itself flows
critics
about
goes
about
named
not
pianoforte
to
of
"these
say
same)
music.
a
twaddle
like
; or
rays
stream
passages
the
of
notice
pieces of
the
there
Soul
the
itself
jewel
own
two
or
they criticise calmly
person
of its
centre
the
while
river, while
a
majesty ; or,
becomes
will
the
immovable,
remains
MUSIC
listening
yourself,as
works, like the Beethoven-
would
sound
on
the
orches-
CHOPIN,
tra!"
Yet
is
pianoforte,
if he
as
for
instrument
the
in
Clear
of
did
melodic
Q)mbined
rubato
as
melody
and
to
but
country's
life,he
country
the arts.
met,
like
Pole.
a
also
its
sorrow,
he
He
who
quisite,
ex-
of
mist
you
which
to
in
see
seems
things
very
besides
had
the
melancholy
Profoundly
he
had
also
spent the
Heine,
of
of
an
the
affected
haughty
it is
the
aristocracy of
by
evening
Polish
Meyerbeer,
the
of
his
by
his
In
spirit.
significant
years
exile, and
speaks
some
its
most
by
in
were
Liszt
Heinrich
the
he
showers
veil of
fabric
verz'e.
surrounded
was
weird,
are
a
But
conceal.
was
Paris, where
reveal
and
"F
like the
everything
veil, aJlow
a
delicate
a
times,
be
will be found
those
glitterlike
although
it, like
emphasize
to
Chopin
he
yet,
eral
gen-
slightlyblurred.
through
this
which
notes
is beneath
race,
ner
Wag-
is the
may
nile there
a
running
wnth
sunlight and
his music
There
entrancing harmonies,
intended
the
Line.
the effect is
line
rather
the
hundred
a
the
was
arabesque compositions,
his
clear
what
of
understand
He
melody.
purposely, and
the
keys
by
he
wrote.
Melodic
his
Etude," when
tempo
forth
notice, too, about
will
of
some
wrote.
white
given
this is done
a
and
pianoforte.
you
Minor
effect,although
in
black
he
passionate, as
rich
thoroughly
which
distinctness
as
as
were
so
A
What
and
119
as
sonorous,
the
on
instrumentalists,
of
as
melancholy
played only
PIANOFORTE
OF
is
Chopin
pleading, as
he
POET
of
his
his
own
aristocracy of
at his
salon
where
aristocrats, people
Delacroix,
Nourrit,
HOW
120
the
its clear
think
Bellini.
and
tenor,
is German
its
in
ornamental,
of
them
by
the
they
technical
and
harmonic
far greater
It is in
veiled, that the
conception
notes,
so
many
usually designated
if
than
bringing
they
this
out
while
the
what
the
that
merely
were
significanceby
slightly
his
shows
by
meant
of
few
a
remain
others
composer
the
to
many
retards, by allowing
and
here
and
melody
the
inspired Chopin player
of
of
groups
numerous
nevertheless
are
importance
flash out
to
that
harmony
wholly Chopinesque
them
to
there
slight accelerations
them
all of
incidental
structure,
"passing."
those
teristics,
charac-
"passing notes," signifying that
term
merely
with
semi-ornamental,
rather
or
chromatic,
are
have
In
myself
I
Italian
has
seriousness, but
all its essentials.
in
often
it is combined
although
and
melodiousness,
Chopin's melody
that
Bellini's music,
admired
Chopin
beautiful
and
MUSIC
APPRECIATE
TO
true
tempo
rubato.
It
Liszt, afterward
was
who
Liszt
the
was
who
also
Dudevant).
the
friend
nature,
has
been
morbid
with
and
of
pieces like
and
imprint
delicacy and
with
there
George
his
Sand
recognize Wagner,
Chopin
is much
in his
music
sensitive; but
side
some
of
was
not
of
the
patriotism and
art,
a
and
is efifemimuch
too
of
certain
The
and
too,
left
on
was
poetic
passion, but
tragedies it
his
that
Nocturnes.
only
Then,
his
altogether
his
something deeper
morbidity.
adored
They
was
(Mme.
Sand
George
to
women.
this
It
recognize Chopin.
him
like all such
of
first to
great passion of his life.
many
made
tragedy,
the
of
delicate
nate,
first to
introduced
the
and
the
afifair
was
his music
greater than
mere
have
count
we
sympathy
with
a
to
his
strug-
yet in such
a
to
leave
and
a
as
way
fundamental
tone
soft
that
says
it would
will
whoever
be
singing-
an
rather
was
here
there
Throughout
middle
became
After
the Etude,
in
awake,
the
now
his
take
full
the
C
its
the
to
Huneker,
adding
show
Russians
in
this that
the
and
half
when
twelfth.
the
pride, force
grim grip
from
"this
end
supposed
of
to
despair
the
September,
Etude
contrast
impetuous,
Etude,
and
tidings
by
in outline,
that
alternating wrath
the
having
Impetus.
and
overwhelming
It is
of creation."
of
as
picture which,
to
Minor
"Great
relaxes
never
chords.
the
one
over
vigor, passionate
fiioco.
of
tenor
a
song,
gladly recall."
pianistwishes
great
chief
in
only in the
once
midst
the
Vigor, Passion,
If
while
pedal.
heard
always
one
that
in
It
chord
the
by
anew
melody,
beatific
a
would
one
aloft
permitted
major
flat
A
the
feeling came
a
dream
a
of
prominent
"But
distinctlyheard.
be
harmonies
the
described
way
Chopin
that
to
piece, besides
the
voice
seen
notes
wondrous
a
of
think
thrown
all
tones
great
small
play
Chopin's performance.
undulation
an
and
to
error
and
this Etude,
it in the
play
of
idea
of the
one
every
it
deep
a
continuously
himself
Chopin
heard
will get the correct
con
audible
everywhere
^
Schumann
in
MUSIC
voice."
upper
he
APPRECIATE
TO
HOIV
122
w^as
the
let him
Allegro
velocity,
sonance
first shrill dis-
close," says
chordal
like the crack
rings
out
be
expression
an
of
for
it
comnosed.
of the
Chopin
which
with
taking
183 1,
and
Chopin
Warsaw
by
ceived
re-
the
shortly after
was
No
wonder,
to
POET
CHOPIN,
Huneker,
from
again
quote
pianist hardly
from
the
he
which
these
can
effect
can
merits.
There
whoever
could
of
not
is the
of music
of
study
this
which
not
the
is
number
as
away
as
if
accomplish this, is
piece
We
of
left hand,
the
the
as
collection
scale
number
25,
and
and
fancy
so
to
Etude"
such
in
Nor,
make
such
"
with
gust
a
the
equal
manner
a
do.
minor.
in
the
grand
a
on
to
bravura
a
twenty-third
planned
be
order
in A
Etude,"
Wind
in
take
pianistsignorantly
"
out
hand
butterfly would
any
many
"
right
contrast
up
hurricane.
a
there
nocturne
a
the
be,
to
Then
like
For
work
can
that
eleven
carried
contain
pianist gifted
a
usually published
as
whole
not
"Butterfly
because
have, too, the "Winter
Opus
highest
the
does
with
so-called
it necessary
Etude
the
to
genius
'cello.
a
Etude
by
said
might
that
sharp minor,
flute would
this
special
Biilow
Follets."
"Feux
clairvoyance
in
passion
swept
in the
misnomer,
musical
true
is among
universallyacknowledged
in C
twenty-one,
wretched
of
a
full of
so
contrasts
manner
climbed
and
tion
selec-
its
Von
pianoforte
the
perpetual motion
melody
answering
has
reallyfinished
a
his
the
there
having
for
nineteen
for
tenth, of which
on
especial one
is number
a
in
along
making
obvious, and
excepting, possibly,Liszt's
with
123
sweeps
Etudes,
one
it in
play
in
pianist'sParnassus,
the
repertory
as
"all
amiss
go
are
congratulate himself
a
that
twenty-seven
compositions
point
PIANOFORTE
passion.''
tornadic
A
OF
to
the
plan.
Von
its
Biilow
sonorousness,
calls attention
"the
it nowhere
to
greatest
trespasses
the
fact that, with
fullness
upon
of
the
sound
domain
all
aginable,
imof
I-iOW
124
tlie orchestra, but
of
sense
of
credit
and
and
piano
the
agreeing
with
liberator
of
exception
If
and
prejudice
the
he
had
he
damage
of
takes
the
to
form, he would
sonata
I have
because
of
I
entire
wonder,
set
as
often
one
a
as
I
been
they
Chopin
spent
Islands.
that
received
are
in fact
It
of
seems
human
is correct,
the
as
during
the
But
there
is
ranked
if in these
emotion
Rubinstein
were
of his
a
1838,
of
authority
as
tradition,
to
which
in
Majorca
at
the
saying
for
there, and
portfolios.
twent\'-four
brought
played
high
as
only the finishingtouches
gleanings
of
spite of their
in
winter
Sand
play
I sometimes
and
According
wrote.
George
with
Balearic
they
Rubinstein
Preludes,
be
greatest
compositions
the
not
the
among
heard
once
these
ever
composed
were
regarding these Etudes
whole,
comparative brevity, should
anything Chopin
Schumann.
accurate.
more
with
does
great genius, whether
the
unpianistic classical
twenty-four Preludes,
of
great
with
agree
Robert
of
detail
But
works.
While
the
was
to
out,
Preludes.
some
regard them,
Chopin's
the
into
gone
cannot
the
have
blotted
Chopin
I
to
The
other
through
species."
both
music
back
referred
honor
between
boundary
and
that
Billow
pianoforte,
the
the
ert
school, especially Rob-
defaced
Von
Von
says
due
which,
music
been
has
Schumann,
the
romantic
the
of
fast
set
"is
Etude,
this
orchestral
composers
Chopin,"
*'To
word.
having
est
in the strict-
pianoforte music
remains
referring to
in
Bulow,
MUSIC
APPRECIATE
TO
them
pieces every
If my
out.
as
a
phase
memory
solo group
at
POET
CHOPIN,
Philharmonic
a
about
the
time
while
and
1872;
concert,
same
I shall
which
the
seventh.
it
if his
as
passion, or
this
for
bar
and
find in his
piece we
it.'
One
breath.
coming
his
of
soul
of
is the
the
in
of
range
its continual
F
of
of
his
minor
is
though
And
so
it had
we
a
"
longed,
pro-
"in
that
the
every
Chopin
wrote
quick-
his
in
pauses,
is
as
a
page,
rain
morbid
as
bold
been
might
findingeach
of
roof, is
whole
in
flat
a
like
dramatic
out
of
range
"
the
a
E
pathetic
major,
nocturne
while
bodily
the
admirable
in D
in
fourth
dominant,
piece of
lifted
run
the
moments;
a
The
represents
of the most
fifteenth
a
on
emotions,
one
itself,a
in its collection
whole,
a
art.
is
in
complete
of
Chopin's
reiteration
drip
in
series
["enned. The
plaintsever
one
series
the
minor, covering only
in
it
boldest, the proudest poet-
its panorama
moods,
entire
his
note
regarded
'Frederic
in
still hear
can
time."
picture; but
mood
the
He
number
Each
him
recognizes
cording
ac-
meniDry,
my
saying
hand
own
I
Schumann
remarkable,
put,
amount
rendered
he
as
though
immense
emotion,
whisper.
most
as
bar,
touched
he
series
an
in
major,
and
velvet:
the
sounding
for
tremulous
Preludes
of
subdued
Prelude
with
A
in
keyboard,
the
varied,
character
it is
ance,
perform-
his
of
in
was
time
of
Prelude
with
tipped
more
seventh
note
brief
compositions
their
It
them
exquisite tenderness
caressed
fingers were
as
of
simply
recitals.
detail
the
very
given
long- lapse
every
the
He
other
the
into
this
forget
never
his
125
have
may
of
one
after
played
he
at
he
or
remember
imix"ssibleto
PIANOFORTE
OF
with
the
cessant
in-
Chopiii
eighteenth
recitative
as
music-drama.
of
the
itself,yet different
tion,
collec-
from.
others.
the
all
APPRECIATE
TO
HOIV
126
What
a
Preludes
twenty- four
MUSIC
for
group
recital
a
these
make!
Nocturnes.
If
who
those
err
had
Chopin
him
to
and
play
often
so
written
not
those
attributing such
as
they do,
of
melodious
of
they
too,
and
in C
haunting mystery
of
night.
The
one
Opus
is
perhaps
the
most
No.
27,
series, and
I,
Henry
entirely within
a
bounds
four
spiriton
hundred.
in
it
There
the
the
unman
other
I
hand,
I must
of
its second
breathed
exquisite thing Chopin
most
without
how,
rhythm
nevertheless
Probably
the
one
It has
a
the
in E
been
hackneyed
most
familiar
flat,the
second
played
perfect
;
produces
so
manner
but under
much
it
a
the hands
regard
bewitch
said, but,
like
and
the
on
a
tian
Vene-
moonlight,
gentle
wavy
all the
in the
comes
one
is the
and
note
its
accompaniment,
of
that
four
the
composed;
ever
undulating
any
than
the
through
matic
dra-
on
operas
melody,
is
it embodies
It may
has
the
essay,
nevertheless
all.
the
of
genuine
more
many
Niecks
as
think
barcarolle
in
but
that
nocturnes
greater
2,
player,
than
quisitely
Ex-
sharp minor,
Chopin
says
and
pages
beautiful
most
he
emotion
are
37, No.
G, Opus
as
of
variety
greater
when
the
of
full
dramatic
Finck, in his
T.
rise to
tragedy.
even
are,
nacy
effemi-
ed!)^
undoubt-
often
sometimes
elegy, and
ness
morbid-
of
Nocturnes
they
yet
if
would
of
charge
the
these
parts, and
him
on
excess
an
lay
or
Morbid
in many
dignity
comment
in
against him.
are
who
I doubt
Nocturnes
the
Nocturnes
first set.
unless
it is
perilously near
of
a
effect.
is
Opus
9.
interpreted
to
being
great pianist,who
of
soul
the
absolute
with
unites
color, with
of
he
feeling that
from
actually
pianoforte
the
played
delicacy and
such
through
seen
ment
arrange-
much
its transfer
four
of
instrument
soprano
of
poetry
to
one
of
play
violin
a
so
reconciled
the
to
fingers,
iridescent
an
picture of melancholy
Remenyi
it with
127
of all his ten
independence
sombre
iridescence.
the
PIANOFORTE
poet, it becomes
a
a
OF
POET
CHOPIN,
strings.
Chopin
Field,
John
first
the
that
at
to
Irish
an
the
Chopin got
but
Field;
the
the
an
I think
of
form
of
relish
a
On
recital
he
these
Allan
and
to
every
with
in
Poe
was
not
real
genius?
one
the
type
spite
of
may
be
form.
Naturally,
Field
did
that
"a
he
this
of
like
only
appear,
who
Paderewski,
Chopin's genius, they
of
or
music
hospital."
the
often
nocturnes
master
greater
composed
talent
Chopin always
of
small
lists,Chopin
shade
"Ullalume"
a
the
exquisite feeling
an
with
far
that, in
content
Chopin
a
of
out
supplanted by
had
tion
ques-
how
realize
would
Chopin's
played by
Nocturnes,
Poe
of
programs
is sensitive
heard
himself
said
sick-room,
and, when
are
poetic
fiist in
been
seeing
genius, and
for
such
to
familiar
were
men
they
Field,
love
who
those
even
originated the
said to have
not
if
by John
nocturne
a
beyond him, making
having
Field
that
Occasionally
him.
hears
one
was
unlikely
it is not
and
from
originality of great
went
art
(1782-1837),
composer
pattern
recitals
nocturnes
Chopin
Poe.
nocturnes,
compose
historical
and
seems
in
two
of
to
In
sorrow.
me
"Annabel
American
like
Lee"
Edgar
"
and
poets of
128
APPRECIATE
TO
HOJV
Waltzes
A
Chopin
of
group
waltzes
of
amateurs
death
still
said
dancing
the
these
to
music
They
with
rhythm
the
ornamental
the
at
be
reflect the
to
left hand,
A
slow
that
Heller
too, that
he
exception
individual
one
artistic
of
some
descent
follows
should
but
be
leading
before
him
the
tender
he
that
it
was
food
to
me
the
emphasized,
as
pering
whisThe
its infinite
are
These
a
has
its
is the
expression
right-hand
episode.
they
ones,
its remarkable
and
priate
appro-
waltz, with
beautiful
most
brilliant
in the second
love,
"
favorite
most
Each
posthumous
the
and
(Strange
the
as
out
pleased
so
luncheon.
to
the
theme
that
left-hand
his
was
a
the
melody
its viola-like
sympathy!)
w^ith
of
giving
fancies
of
sharp minor,
in its
him
regard
of
charm,
in C
longing
that
invited
always should
we
reward
the
told
through
they glide past.
as
with
listen
to
his
and
Chopin's favorite, and
was
Stephen
when
one,
"Waltz,"
minor
melody,
couples
the
for
esses,
Count-
be
on,
while
indicate
note-groups
enamored
played
thoughts
looks
he
as
played
improvisations
jealous plaint, joy, ecstasy,
of
be
dance
a
petrate
per-
Schumann
should
dancers
to
seem
player'smind
the
been
was
to
were
looking
dance, and
a
It
to
Indeed,
aristocratic.
so
is like
waltzes
arise in the
a
is
But,
have
alive.
the
sibly
Pos-
program.
that
waltzes
half
a
frequently played by
most
those
if these
pianistduring
recital
a
much
very
than
lens.
fairy
on
in
contrast
Chopin's compositions.
are
more
afford
admirably
bull, even
that
Mazurkas.
the
are
all
Irish
an
who
will
waltz
Chopin pieces
the
to
and
MUSIC
of
matic
chropassage
chromatics
feature
of
the
HOW
I30
this is very
All
fine,although
the
fact is that
The
MUSIC
APPRECIATE
ro
trifle over-sentimental.
a
Mazurkas
Chopin
archly
are
quettish,
co-
passionately pleading, full of delicate banter,
love, despair and
is
zest
to any
The
roll
drums,
musketry
and
one
hear
may
mourning
Major
plaint for
the
in
Opus
It is not
one
this
polonaise Chopin
of the most
the
be
said
he
And
the
then
Ballades
the
pianoforte.
rhythms
and
abandoned,
and
and
They
the
In
as
"
also
perhaps, because
the
to
never
the
Sonatas
was
pianoforte music
point
he
"
are
music
original,
of
bidness,
mor-
fascinating
is not
but
suggest,
writing
stillwas
the
to
the
Scherzos
tragedy mocking
he
These
wonderfully
are
title would
wrote
as
strings of
Scherzos.
original harmonies,
his
glow.
mocking
Chopin
of
it
Works.
wonderfully emotional, yet
full
of
was
play
all the
perhaps Chopin's greatest contributions
of
It
could
break
"Le
it is heroic
but
if he
"A
the
finished.
pianoforte before he had
Other
The
usually called
canvas,
that
would
things
all these
"
of
rattle
missing from
and
40,
the
virile of all his works.
played,
The
compositions.
are
large
a
dead
these
however,
and
recital program.
cannon,
the
of
some
Polonaise,"
it should
of
booming
the
will add
two
or
a
on
Chopin
fact
In
Chopin's battle-hymns.
are
notes,
Militaire."
Mazurka
of his works
group
Polonaises
of
A
commonplace.
thoroughly
always
and
"
thoroughly interesting.
original and
never
conquest
often
gaily
grim
itself.
felt himself
for the
in the
obliged
to.
cause
pianoforte, be-
grip
of the
thir-
CHOPIN,
ty-tvvo Beethoven
he
adhere
not
are
be
to
pianoforte
the
to
classical
counted
One
familiar
funeral
forth
pain
the
nation,
while
the
to
trio
of
tramp
played
amid
much
leaving
persist
in
reason
these
a
night
winds
often
is
see
why
march
which
is
sweeping
at
pianists
recitals
do
"Barcarolle,"
two
unjustly,
most
since
grateful
necessary
to
Impromptus,
chiaroscuro,
to
go
is
there
no
terpretati
in-
between
as
a
play
here,
the
full
are
beyond
"
unless,
are
great
I cannot
piece.
The
for
Piano
full
of
F
minor
of, and
melody
it does
perhaps,
the
to
most
a
tra,"
Orches-
and
beautiful
these
real
has
"Berceuse,"
it.
of
as
march
funeral
finale, which
this
by
sonata
described
The
detached
with
the
slightingly spoken
are
which
and
will
interpreted
been
has
"Concertos
they
in
graves.
add
not
connection
often
when
followed
over
psychological
which
never
people
difference
aptly enough
played
played,
pieces,
enjoyed
vast
a
heavy
"playing."
mere
funeral
finale
is
the
Because
popular
be
not
There
and
This
certain
of
verge
progresses
and
well
impression.
sode,
epi-
played, possibly
and
when
"give
Chopin's
the
to
bells
played
yet,
deep
should
master.
a
is
and
"playing"
of
the
middle
march
the
positions.
com-
to
"
the
pathetic
tolling
It
;
a
is
portions
the
soldiery.
misses
by
other
nation"
indeed,
and,
;
sonatas
contains
said
been
entire
an
march,
the
in the
too
of
three
successful
most
has
did
means
flat minor,
B
which
Poland
of
grave
the
grief
sorrowing
the
tears,
and
his
131
no
yet these
;
among
march
By
sonatas.
form
them,
of
PORTE
PIANO
OF
POET
not
mention
most
and
seem
the
delightful
"Fantaisie."
HOIV
132
TO
A
a
rule
not
at
first
think
no
as
to
Arable
Chopin
Because
was
in four
of
The
for
only
large, he
^^"as
not
accounted
is
sonatas
that
tone
of
regard him
mainly
he
own
day
own
Poles,
was
a
in his
had
Czerny
and
that
us
sixteen
"Chopin,"
world
adds
Rubinstein,
"the
mind,
as
the
virile, heroic,
dreamy,
by
and
him
*
his
tiful
beau-
most
Bie,
Pianoforte
when
to
the
*
his
it.
over
hands
two
that
eight pianos
happy
ver"'
ers,"
Play-
heard
he
for
a
wider
thirty-two."
to
apostrophizes him
*
Tragic,
fantastic,
dramatic,
upon
in his
forte
piano-
the
"
and
we
and, like his
piano rhapsodist,
the
in
was
to-day
pianoforte
overture
give
soul.
found
many
composer
reformer
a
was
brilliant, grand,
are
than
While
quoted by Huneker,
piano
Chopin's
This
smiled
another
could
piano bard,
worship
passionate longings.
Bie, "opened
Czerny
than
ments
instru-
although Jumbo
reverence.
Pianoforte
persons,
sixty
sufficed for his
"
Chopin
composed
fiftyor
order.
The
most
of the
"History
tells
his
for the
interpreterof beauty,
the
instrument
sonatas
symphonies
pages.
revolutionist.
for
dreams,
of
innovator,
an
solo
a
as
seemed
wrote
infinitelymore
highest
greatness
beautiful, and
kind
many
the
he
But
one.
is worth
cover
poet
as
mistaken
a
his
consen'atives
for
of
big
long,
piano and
composed
cause
pianoforte, be-
the
not
are
instead
the
sung
he
for
be great unless
for the
movements
mazurka
as
pieces
Foot.
to
only
wrote
could
MUSIC
Head
recognized.
man
briefest
a
from
his
orchestra, unless
was
APPRECIATE
simple
"
piano
romantic,
soulful,
sweet,
possible
all
compositions
instrument"
the
and
Huneker
all
pressions
exare
him-
POET
CHOPIN,
self
and
styles,
many
from
the
much
suffered
Thus
from
the
of
head
human
it
drawn
through
the
is
greatness
in
foot."
to
soul,
is
out
on
the
orchestra?
he
the
tubes
and,
But,
strings,
less
piped
battered
summing
it
is
than
it
the
on
on
"he
that
vesture,
searched
great
his
up
;
all, he
he
have
vitality."
his
of
faultless
above
sohn,
Mendels-
of
aristocracy
his
because
therefore
and
his
was
Berlioz
of
in
away
"He
all
half
says,
in
music
sonata.
positive
Bie
all,
of
Best
expression
nearly
and
musicians,
pianoforte,
the
it
his
among
noble
when
proof
poetically
are
pianoforte
classical
Huneker.
that
stands
is
they
individual
Schumann,
eclipse,
again
position,
the
pianists,
many
sincere."
got
survival
of
an
"
of
his
he
all,
form
and
sincere,
for
133
are
if
individually
for
set
there
correct
are
scope
Once
music.
of
and
the
enlarged
he
all
logical
musical,
music
Chopin's
"In
:
says
PIANOFORTE
OF
the
a
searcher
a
it
out
if
he
reeds,
on
had
blown
drumheads
VI
SCHUMANN,
finished
HAVING
pianist
is
genius.
Zwickau
in
and
Robert's
of
studied
a
at
with
composer
His
to
into
his
with
to
a
gain
a
the
sling while
dream
of
a
strained
virtuoso's
the
as
stead
result, in-
a
musical
other
lines.
in
Heidelberg
He
in
musicians
"
his
he
a
played
tendons
of
vanished.
use
one
forte
piano-
In
he
finger
one
took
the
studied
virtuoso.
the
"34
determined
Wieck
career.
through
career
day,
fingering,
others
teacher,
pianoforte
and
which
by
erary
lit-
aged
discour-
among
of
in
Unfortunately,
he
rare
lisher
pub-
show
systematic
a
and
l^ecoming
apparatus
in
life
musical
freedom
book
Schumann
and
at
education.
Leipzig
of
view
greater
mechanical
in
born
would
son
celebrated
a
original
a
was
elder
Leschetitzki
upon
home
the
1828
is
the
the
enter
father
academic
an
Wieck,
Schumann
in
what
with
meeting
Frederick
him
thus
another
along
was
Leipzig
was
in
early
Schumann
was
aspirations;
education
law
and
1829,
that
fact, the
musical
his
training,
His
hopes
receiving
with
the
group,
his
it with
Schumann
1810.
In
aptitude.
Chopin
meet
we
Robert
in
his
follow
to
and
June,
was
with
apt
selections,
musical
'^INTIMATE*'
THE
upon
of
hand
order
devised
was
a
pended
sus-
the
this
and
Meanwhile
board.
keytrivance
con-
his
he
had
fallen
Wieck,
in
brain
father, married
trouble
became
became
He
into
Bonn,
Rhine.
but
where
had
died
he
in
because
'only
explain
of
with
shows
Chopin,
if at
pieces after
sake
of
want
a
apparent
his
and
threw
self
him-
him
from
asylum
an
life
near
they
because
Schumann
music.
his
of
here
mentioned
are
interest, but
their
was
of
a
the
brilliancy.
recital
a
Chopin
very
group,
brightness, they
to
seems
that
his
pianoforte
to
appear
a
expressive
so
harmonies
are
striking a
Schumann
order
it, and
to
than
more
the
hold
let it sound
it down
to
more
make
keyboard
and
so
like
superficially
them
might
appealing.
One
are
they
reason
feels
The
after
stiffeningthe fingers
firmly, keep
its last echo.
for it in
up
instrument
for that
if
But
One
tone.
the
for
do
through
All
wonderfully compact.
chord
in
wanting
for the viola, and
music
me
are
deep-sounding
for
works
Schumann
afford.
they
characteristics.
hear
immediately
is apt to
he
as
which
contrast
profounder
be
will
pianistplaces the
a
attractive
their
This
and
iridescence
lacks
music
his
compositions
in
sittingwith
July, 1856.
Schumann's
say
out.
pared
brooding disposition,intenselyintrospective.Com-
a
one
work
to
was
to
he
spirithad
rescued
taken
be
in
aspects
some
he
boatmen
to
circumstances
These
theme
a
Diisseldorf
at
Some
he
February, 1854,
Schubert's
him
in life
tently
intermit-
suffered
in
that
the
on
Later
1840.
in which
room
in his house
the
drowning,
idea
given
and
left the
friends
some
of
of the
Clara
daughter,
had
and
135
opposition
in
he
severe,
him
to
her
which
more
abruptly
not
from
possessed
appeared
teacher's
his
with
love
finally,after determined
and
part of her
a
"INTIMATE"
THE
SCHUMANN,
a
grip
on
HOW
136
'APPRECIATE
TO
MUSIC
"
Bourgeois,
Poet,
In
a
Schumann's
curious
He
music
blending
had
the
bourgeois
of poet,
of
what
introspectionof
the
in
interwoven
; sometimes
down
harmony
his
figuration,and
foreign
entire
half
above
with
and
what
so
work
marked
by
that
either.
have
one's
Schumann
program
music.
titles he
a
gives
a
as
tone
the
tones
recognize Schumann
first few
of
his
own
has
great thing in music,
personal
bars
that
a
in other
as
there
can
it is.
contributions
pieces, besides
to
them.
And
works
these titles themselves
of
so-called
intrinsic musical
meaning, usually indicated
the
of
or
distinct
suggested by
and
characteristics
These
in the
so
music,
now
notes
is siii generis, each
valuable
His
few
an
tions"
"anticipa-
loves
a
lifts
in his
sustained
to
easy
product
whose
made
worth, have
are
it is
and
or
lacking.
it is
Each
mistaking
no
first
the
distinguish Chopin
hallmark,
arts, to
fillingin
at
He
are
single
a
or
heard
themselves
single note
a
then
was
it is to
voices
interior
quently
; fre-
"imitations,"
uses
scale, suddenly lowers
are
lightly
melodies
by introducing
principal melody.
the
advancing
harmony
be
often
There
passage.
"
as
the
to
other; he
are
bass"
in the
syncopated;
suppressed, yet making
then
are
each
upon
is
be
melodies
flutters
voice
collisions
are
he
actually to
me
a
and
homely,
The
upper
poet,
Sometimes
mole.
a
the
rhythms
superimposed
note
like
the
and
to
appears
find
philosopher.
of
warmth
intimate
"contrapuntal
upon
canonic
bourgeois, and
the
will
listener
philosopher.
he
burrowing
sensitive
was
the
introspectivethat
so
the
higher fanc}^
love
PhUosophcr.
and
authors
whom
by the
often
he
ad-
HOW
138
Mignonnes
four
B
of
Ouatre
sur
notes
said
be
APPRECIATE
TO
S
A
are
musical
Ernestine
von
Three
the
of
C
S
scale.
Fricken,
Asch
had
Musik,"
and
entitled
are
the
it under
to
de-plume of Florestan, Eusebius
and
associates
Davidsbiindler,
their
denominated
were
mission
himself
thinker
combat
to
fogies of music,
David
as
is
the
wandering
figures as they
Chopin
meet
Chiarina
in
to
and
ends
carnival
the
to
in
a
The
my
played
was
merry
suite. Opus
in
which
his
We
and
Clara)
;
Es-
quin,
Harle-
also
Davidsbiindler
The
folk-song,
grandmother dear.
a
bridegroom,
He
uproar.
at
I
fear,"
wrote
other
an-
"Faschingschwank
introduced
was
a
varied
the
them.
on
herself) ;
26, the
he
"Marseillaise," which
be
of
Columbine.
wedded
carnival,
neatly characterized
each
Ernestine
grandfather then
Wien,"
reflections
old
mann
Schu-
whirl, drawing
the strains of the German
the whole
aus
his
this
his
ing
it be-
Philistines.
in music
down
diminutive
than
"Grandfather
So
gay
noms-
flight the
to
at
the
Paganini,
other
the
fiir
while
Raro;
put
looker-on
and
Pantalon, and
march
had
noting
(the Italian
(none
trella
pass,
and
and
through
conclusions, and
own
the
loves.
early
Zeitschrift
"Neue
contributed
the
Davidsbiindler.
of the
the
H
birthplace of
the
"Carnaval"
March
it should
flat,and
is E
of Schumann's
founded
he
explanation
was
of the
Florestan, Eusebius, and
Schumann
in
(es)
one
divisions
Piano, Op. 9."' The
pour
H, and
in German
that
our
Notes
MUSIC
a
that
suggestion of
time
forbidden
in Vienna.
title of
another
work
which
ranks
among
his
productions, the "Kreisleriana,"
finest
This
lacks
he
in
"
philosophy
Kreisler
of Hoffmann's
is said
had
maudlin
Hoffmann's
this
of
life
Tomcat
(literally
which
Bie
his
is
these
"the
pieces were
and
In
between
become
prosaic
views
Murr
Kater
"Kreisleriana," of
form
with
more
ereign
sov-
"Schumanniana,"
Hoffmann,
from
in
expressed
sorrows
be entitled
early
reduced
was
have
the
these
into
meister
Kapell-
in
drawn
ideals
and
put
talist,
sentimen-
character
But
title is derived
the
although
The
triumphs.
former
another
never
and
contrast
a
joys
should
power,"
heavy-
brilliant
a
drink
whose
Purr).
says
after
vainly chases,
by
in much
his prototype
to
of
forth
can
Ameri-
of the
up
A.
German
the
as
exuberant
an
who,
there
he
set
as
is
had
have
pathetic character,
which
of
T.
E.
by
turgid introspection.
addicted
book
shadows
bound
book
memories
planation.
requires ex-
book
a
exquisite art
Bohner,
become
139
also
spoken
Poe
a
and
to
Ludwig
career,
is
the
fact, is
German
and
from
sometimes
Poe, although
author
derived
he
who
Hoffmann,
to
"INTIMATE"
THE
SCHUMANN,
for
the
tent
con-
is Schumann.
Thoughts
Concerning
while
in the
in me,
and
the
throes
always
work
of
my
of
things ready.
leriana,' and
the chief
in them
to
you
His
Clara.
beautiful
and
a
I shall dedicate
as
to
no
one
"This
:
another
to
music
Think
entire
them
to
else, and
of
you
you.
how
now
of
book
'Kreis-
call them
thought
Clara
to
wrote
melodies!
I have
I intend
you
he
whole
a
composition
last letter to you
role, and
they belong
as
such
it,since
new
of
play
Yes,
sweetly
I40
HOW
you
will smile
APPRECIATE
when
to
seems
all its
TO
me
I
as
simplicity,and
do
now
Clara
of
and
Kater
them
speaking right from
all for
and
gladly
play
yourself in
!
wonderfully interwoven,
so
that effect upon
has
find
you
MUSIC
I
often."
chief
the
whom
play
Surely
varied
characteristics
spite of
these
and
It
a
things,
thought
of Kreisler
becomes
role, what
sic
mu-
the heart.
If Clara
Murrf
in
My
"Kreisleriana"
Schu-
are
manniana.
Full
of
Pieces."
Among
has
one
but
hear
to
ordinary Why,
depends
the
(Abends),
ren)
humor
aptly
from
the
"Forest
the "Etudes
the
And
legend
which
to
with
belongs
the
Paganini
Symphoniques,"
first movement
of which
To
him
In varied
A
tone
every
who
tone
deigns
Pieces"
the
are
the
there
of
the
tain
re-
"Scenes
"Traitmerei"
heroic
these
passes,
list,
gentleness."
to
;
cal
techni-
"Capriccios,"
placed
to
;
and
and
always
the
earthly dreaming,
of
Hero
mingling
Schlegel:
"Through
buoyant
the "Fantasie,"
and
he
of
its
there
Scenes," the "Sonatas;"
on
the
{Traiirncszinr-
destined
then
which
(Gnllen)
"Fantasie
seem
no
Evening"
"At
"Whims"
Song,"
These
popularity.
studies, based
the
of the
to
answer
perfect peace;
of
"Novelettes"
Childhood,"
the
it is
that
once
"Dream-Whirls"
fable,
sadness.
named
their
echo
which
"Warum,"
lifetime;
a
of
sense
an
"End
the
and
of
(Aufschitning);
the
at
question upon
a
its
Scene,"
and
recognize
to
but
with
Leander;
is the familiar
happiness
"Soaring"
"Night
these
"Fantasie
the
are
and
above
lines from
Clara
Madame
through
husband's
of
that
their
to
in
of
Concerto,"
long
pianist's
repertoire.
in
"Only
1849.
he
was
of
little
so
One
of
crank
the
and
after
my
to
Breusing's,
in
the
city,
asking
for
informed
there
now
!
then
the
and
his
demand
kept
for
in
the
him
as
*
New
his
are
his
by
music
it, it
basement."
was
a
remained
on
Shortly
*
I
York)
music
principal
the
compositions
had
laugh.
and
pieces
(to
Germany
store
under
way.
Schirmers
they
the
regarded
*
the
of
genius
another
one
because
zig,"
Leip-
at
manuscript
new
they
one
certain
no
a
"
that
was
bundle,
from
return
arrived
entered
he
that
in
were
when
nudge
me
Leipzig
to
"Schumann's
with
would
modern
the
on
I
Minor
"A
went
before
that
failure
and
hold
best
the
But
Mason
years
Hartel
told
a
their
so,
introspection,
admirable
"Memories,"
clerks
them
shelf
his
"
the
arm,
few
appreciated
Breitkopf
his
retain
her
Even
own.
the
William
a
in
says
their
to
of
way.
their
and
largely-
was
playing
their
course,
will
It
her.
won
brilliancy
coming
including,
them,
told
141
public
they
of
lack
long
were
he
as
Schumann's
works
owing
they
"tone,"
the
was
"INTIMATE"
THE
SCHUMANN,
stores
and
successors,
"
I
Schumann,
in
What
away
a
was
but
stock,
packed
went
as
in
contrast
a
mi
possible,
is
IT
the
for
These
are
works
and
that
one
to
appreciate
to
welcome
them
that
still
pianists yet
are
compositions,
the
of
will
get
them
Variations
any
one
they
theme
a
the
of
on
mastering
ever,
how-
these
order
so
slow
who
The
it is
be
if
they
Brahms
stupendous
a
which
and
under
expression
make
on
rare
themselves
it should
in
however,
them.
Handel
by
occasions
rare
capable
learn
to
great
infrequently
with
personal
start
been
but
find
soon
with
necessary,
readers,
my
will
Schumann's
than
have
appear
of
intimate
and
on
and
work,
their
compositions.
thoroughly
them
has
essay
program,
is almost
unacquainted
beautiful
spell
It
Those
he
learning
audiences
and
programs.
of
know
them,
will, after
pianoforte
feeling.
should
outward
his
on
wealth
a
sacrifice
to
introspective
more
combine
musical
recital
selections
shorter
even
of
depth
least,
at
ing,
will-
pianist
some
satisfaction,
Brahms's
of
one
moment
Schumann
the
likely, that
not
inward
to
success
played
but
VIRTUOSOS
AMONG
GIANT
THE
LISZT,
played
by
regarded
as
"events."
Grieg,
his
with
clang-tints,
which
"Concerta"
in
Tschaikowsky,
clear,
also
A
whose
play
through
Dvorak,
minor;
first
fascinating
"Concerto"
14a
Norwegian
his
fascinating
Bohemian;
the
in
B
flat minor
GIANT
LISZT,
of
neo-Russians,
the
the program
on
is
finest modem
the
is among
recital
to
close
with
in
of
the
kind;
who
may
work
of
some
figure
the
by
it
But
elect to
pianoforte playing
history
or
recital.
will here
some
143
its
pianoforte
virtuoso
the
of
composers
modern
history
greatest
VIRTUOSOS
works
are
a
that
a
the
figure in
the
of
Hkely
more
his
AMONG
bring
grandest
and
of
one
Franz
composition
"
Liszt.
Kissed
Liszt
bom
was
in
From
unique position
of
Paganini
lived, and
ever
as
the
virtuoso,
a
before
fame
was
a
retired
he
died, his fame
he
as
in the
from
as
a
he
was
world.
He
greatest
pianist
the
a
; and
the
was
player and
that
although,
long
public performances
his still greater
diminished
not
in
Bayreuth
when
great composer
have
composer
a
in
death, he occupied
his
musical
pianoforte,
he
died
he
until
almost
gary,
in Hun-
Odenburg
near
early boyhood,
pianoforte prodigy,
a
Raiding,
181 1, and
October,
1886.
July,
at
Beethoven.
by
and
ence
his influ-
still is potent.
His
father
instruction
was
so
So
when
he
in
great
other
that
public
and
his
was
at
stipend
of
musical
Vienna,
six years
he
play
a
noblemen
florins
for about
his
father
for
six
The
a
year
talent
in-
to
by
family
a
then
for
of these,
provide
for
to
Ries.
arranged
years
and
old,
years
the second
agreed
education.
where,
boy's
professional
nine
was
After
Pressburg.
600
old. The
difficult concerto
that
him
began giving
without
even
success
Hungarian
further
was
able, when
was
concerts
several
to
he
and
amateur,
an
pronounced
stmction
appear
was
an
nual
an-
Franz's
removed
half, the boy
*
took
APPRECIATE
TO
HOW
144
lessons
pianoforte
SaHeri.
Beethoven
him, and
at
and
notes
from
Czerny
heard
their
MUSIC
of
without
Franz
the
flat
major),
In
1823
he
in
placed
the
time
infant
against
and
His
circles
and
Litz."
recall, has
Liszt
of
Chopin,
literary
of
him.
and
men,
of
Paganini
wonderful
to
feats
develop
daring
the
capacity
feats
technical
which
of
what
had
have
it is, and
regards execution
as
well
in his
made
done
to
in
in
the
so
bring
and
He
")
and
of
the
most
was
ers
paintclusive
ex-
Liszt
much
as
developing
of
the
out
to
able
remark-
make
its full
expression.
the
of those
compositions,
much
his
efforts
to
beginning
as
open
and
1831,
pianoforte with
was
came
capital were
inspired
shown
This
of
Paris
of the
virtuosity
demands
combined
pianoforte
as
violin.
doors
in
technique
technique
of the
wonderful
of
of
'Litz.'
French
the
Paris
nearest
musicians,
the
played
Paganini
as
other
musical
writer, whose
some
call him
to
drawing-rooms
to
(As
and
and
salons
said, "the
was
prejudiced
enormous
was
in
demand
that
at
him.
pianist, however,
petit
appreciating
friend
a
passed
eigners
excluding for-
rule
a
denied
was
greatest
I cannot
name
the
as
"le
for
revived
being
he
and
B
him.
to
although
institution
the
admission
the
was
of
view
a
in
one
difficulty,Cherubini,
phenomena,
success
there
with
But
without
director
the
Paris
to
thoven's
Bee-
kissed
and
see
out
with-
played,
(the large
97
Conservatoire.
the
examination
his
to
taken
was
to
instalments,
embraced
master
great
had
other
pianoforte trio, Op.
asked
and
him,
after
meeting,
theory with
and
both
the
tiality
poten-
HOW
146
he
Thereafter
where
divided
had
he
his year
been
of
Academy
Hungarian
"Liszt, the
artist
kindly
to
history
superbly equipped
romantic
works
and
of
in his devotion
honored
as
artist before
no
spread by those whom
he
will
rather
probably increase
admired
low-music
fel-
his
by
learning
of
a
and
since, his influence,
or
swayed,
and
personally taught
diminish
than
by
friend
and
institutions
lous
marvel-
of
conductor
a
and
by
ceptions
original con-
of
teacher
as
disciples,reverenced
by potentates
interpreter of classic
an
daring execution,
of
one
Generous,
music.
of
alike, a composer
insight,worshipped
host
as
new
in his
"is
Musicians,"
of
the
Baker,
says
liberal-minded, whole-souled
and
art,
and
the
of
Weimar.
man,"
the
pest,
Buda-
Rome,
President
Music, and
and
grand figuresin
between
made
"Biographical Dictionary
the
MUSIC
APPRECIATE
TO
time
as
goes
on."
It has
in the
of
said
"petit Litz"
Paris;
as
a
which
of
in
art
with
the
through
of
centre
he
finally,
and
of
that Liszt
his
of
course
As
cat.
been
the
united
the
was
into
the
devotees
of
capital; next
then
the
musical
revolved
in
a
followed
early
in
movement
place
to
ticism
roman-
episode
tours
became
the
Europe;
Buda-Pest
cycle through Rome,
from
adored
triumphal
he
a
branches
the
came
his
lives
less than
various
settlingat Weimar,
modern
six
precocious child
plunged
d'Agoult;
three
only
"
he
French
Europe;
Weimar,
he
youth,
Countess
the
existence
passed through
place by
a
band
devotees.
Liszt's
as
compositions
follows
:
for the
"Fantasies
Pelerinage"; "Harmonies
pianoforte may
Dramatiques"
Poetiques
et
;
be classified
"Annees
de
Religieuses";
LISZT,
GIANT
AMONG
Sonata,
Concertos,
VIRTUOSOS
147
r
the
"Rhapsodies
works;
miscellaneous
and
Etudes,
Hongroises"
transcriptions from
Berlioz, Beethoven,
ganini, Schubert
others.
and
The
Among
transcriptions,but
or
based
one
on
the "Don
"La
the
Juan
overture
themes
Fantasie."
as
of
whole
with
is true
glad
it
if it
"Don
fantasia
of
Giovanni"
Liszt's.
is the
a
long
while
of the
be
It is
the
left
to
passage
the
made
from
a
trill and
plays
trill sustained
accompaniment,
written
with
such
all
the
melody
going
on
perfectknowledge
the
time
this
by
the
from
music
as
w^ell.
Dramatiques"
for
the
and
two
of
dc
tours
in which
the
will
brilliant
great
good
It
might be
vanished
words,
at
up
Song."
Mozart
throughout,
entire
the
the
melody
In other
from
passage
winds
"Norma,"
a
duet,
the
have
it is
is
form, but with
"Fantasies
another
the whole.
but
of
one
and
known
sustained
upon
gives
remembered
better
Liszt
one
known
a
then
will
force of pianoforte music,
Another
"
usually
and
best
possible that
even
operatic stage, yet
are
potpourris
"Champagne
is Mozart
It is
were.
in set
not
the
on
longer
no
utilizes
Liszt
fantasia, and
presto
a
when
come
the
brilliant
a
the
only,
introduction, then
an
which
mere
It is founded
duet, varying it,however,
effect
not
operas,
la mano."
ci darem
Pa-
Fantasie.
genuine fantasies,
two
or
Weber,
Dramatiques,"
from
themes
on
Juan
"Fantasies
the
variations
Don
and
arrangements
;
occurs
right hand,
the
there
paniment
accom-
is in this
melodies
same
and
time, yet
pianoforte tech-
148
nique
a
HO
IV
that
any
modem
A
virtuoso
sense,
work
can
called
of
and
them
full
it.
It
six
is
Liszt
grand.
links
The
sat
de
at
They
titles indicate
bord
d'une
are
Brera),
Many
of these
of
the
The
his
d'Amour."
of
Mason
so
adroit
are
lying
many
them
is
himself
at
the
that
the
still has
was
the
Altenburg
it, and
of usage
as
a
this
dans
la solitude."
William
of it
copy
Liszt
always
had
his gfuests that
used
it became
Berlioz, Rubinstein,
When
with
copy
treasures
to
"Cantique
fond.
"which
of
which
treatment
beautiful
Dieu
Joachim."
took
Angelo).
illustrations
very
memories
he
time
de
playing for
with
the
familiar
the
pianoforte,
when
Weimar
for the marks
to
Pastoral," "Au
musical
"Benediction
Vieuxtemps, Wieniawski,
souvenir,
1835
partly transcriptionsof
pieces, partly
he
times
in three
impressions, as
same
are
which
associated
left
the
at
the
on
ing
connect-
from
elegant in
and
and
says
time
(after Michael
"Harmonies"
Among
poems.
was
"11 Penseroso"
vocal
own
variation
Sposalizio" (after Raphael's picture
pianoforte, and
music.
whose
lac de Wallenstadt,
source,
in the
pianists
published
series of musical
"Au
"
six
"Hexameron."
Pelerinage" were
a
Bellini's
introduction, the
the
tributed
con-
two-stringed semi-
a
divisions, extending in point of
1883.
only
pianofortes, five
Chopin,
kind,
he
by
six
on
the finale of the
"Annees
in
in catalogues
from
march
them
contributed
and
the
while
grands,
used
as
is included
variations, written
of the bravura
not
was
name
it.
"Hexameron"
originallyplayed by
of
of the
compositions, although
part of
with
MUSIC
worthy
compass
the
Liszt's
"Puritani"
APPRECIATE
TO
it all
it bears.
The
Mr.
son
Ma-
him
as
the
more
"Conso-
a
GIANT
LISZT,
lations," which,
taken
Edward
as
corollaries
as
VIRTUOSOS
AMONG
Dannreuther
be
may
says,
"Harmonies,"
the
to
149
tenderly
are
expressive pianoforte pieces.
Giant
The
as
Etudes
they
bear
in
are
technique
their
but
the
it
as
main
earliest
shape
Cramer.
of
three
In
Von
"Feux
Follets"
Chopin
already
He
considered
the
collection
and
found
and
into two
which
then
later
the
are
other
of
Graus
that
Schumann
called
"Waldesrauschen"
double
counterpoint.
Other
uppermost.
"Paysage," "Mazeppa"
Sor"
Etudes,
some
which
of
the
include
the
famous
ascending
first
"Bell
in
one
the
test
"Harmonies
Liszt's
Paganini pieces
be
theme
tremendous
de
of
play
titles among
(a
Through
The
of
there
will
with
endurance), "Vision," "Chasse-neige,"
"Gnomentanz."
that
could
and
of
and
called
(Studies
opinion
together,
of
10)
composer.
pianists living who
appear
called
(No.
Etuden"
are
pianoforte
Etude
study
the
treme
ex-
editions
of
portions,a descending
on
the
form
the
difficult.
were
Czemy
of
three
under
expressed
twelve
Etude
flat
quoted
und
ingenious
is divided
Etudes
or
A
more
even
"Sturm
the
some
one,
the
fingers.
1827, they
development
the
pianoforte
Etudes
these
of
own
shape they
coupling
been
has
it
ten
In
them.
with
Dread),
only
the
Billow's
in
classical
latest
in
strides
technique.
were
their
Liszt's
issued
the
of
history
under
virtuosity. Indeed,
giant
Storm
the
and
1852,
and
editions
progressive
when
from
Virtuosity.
1827, 1839
dates
developed
little different
and
and
the
in
pieces, they represent
same
In
Strides
tions
transcrip-
the
Rondo"
form
of
from
nOkV
150
of
one
TO
now
is far
than
in its
known
better
of
"Sonata
in B
the
sonatas
few
movement
both
in
aspect
a
have
to
write
to
time, Liszt
into
younger
and
of
and
with
all the
apply
when
Like
this
form
is
"
of
themes
the
melody
of
to
cure
se-
Hanchett's
(in
Not
Liszt
for the
also
only
knew
ization
character-
unite
the
psychological unity
they
flat
they
are
and
A
written
how
well
so
to
show
this
ing.
feel-
and
thought
throughout their
which
pianoforte
up
E
instrument, but with
sonata,
be summed
of
enough
movement,
concertos
the
genius and
slow
the
What
the
says
just.
more
perfection they
can
it is true,
gigantic, wholly admirable
works.
composing
they
masterly compositions
most
a
"
think
who
in the
Mr.
tain
cer-
a
well
calm
the
the
skill which
modern.
Liszt
of
one
superb
are
technical
for
pianoforte
two
major)
suave
attention.
original work
The
and
as
into
put
ever
it
of
it
might
it contains
originality in
stands
the hearer's
It
of true
compound
themes
given
has
it is
that
various
composers
that
psychological
fact
the
Dannreuther,
opening section, and
that
is
movements.
rhetoric," but admits
section
to
is
Schumann
to
there
is due
sonatas.
genuine impulse
the
dedicated
This
of it that it is "a curious
empty
Rhapsodies.
and
in which
in slow
and
model
as
pianoforte composition
for violin.
Minor"
of division
serve
piece, for example,
although by employing
;
rapid
this
a
Concertos
unity throughout.
one
as
originalform
Sonata,
one
MUSIC
Paganini concertos,
the
The
APPRECIATE
is
owes
by saying
that
so
to
velopment
de-
tially
essen-
Chopin
they
were
thinkers
poets and
well
so
it,at least
on
stigmatized as
if there
as
another
to
on
for
the
player
not
only
and
he
because, with
also
how
knew
how
understood
to
ought
grateful
and
deep thoughts
it
for
write
to
ter
bet-
to
listener, it is
the
to
sounds
as
is
in
forte,
piano-
the
poetic
them
express
ings,
feel-
clearly
pianistically.
The
"Rhapsodies
brilliancyand
good
purpose
worth
has
Hongroises"
off
show
and
throb
is
under-estimated.
been
At
passion, and
and
the
republished and
ending
with
garische Melodien"
"Melodies
years
1854.
which
a
are
in
technique
ask, and
pianist
can
full of
admirable
they happen
to
as
that
the
that
rated
elabo-
were
rewritten
then
pieces in
"Un-
As
1838;
in
appear
they
the
the
content
effective
display
works
grateful
at
fifty
over
are
they
for
time
same
!
as
groises"
Hon-
"Rhapsodies
pieces for
most
musical
be brilliant and
short
March."
the greatest
and
merely
fifteen
are
to
1846;
Consider
old, yet remain
brilliant
they
they began
rhythmic
their
These
all there
full of
Etudes,
were
tunes.
"Rakoczy
the
Hongroises"
in
they
the
such
to
are
their
canceled, and
In
published again.
set,
Like
first
transcriptionsof Hungarian
and
dazzling
real musical
They
irresistible.
simply
such
their
that
brilliantly,
so
is curious.
history
of
are
pianist'stechnique
a
splendid fire, vitalityand
of
well
music
pianoforte
genius
of
that
as
equally grateful
he
sounds
charlatan,
a
mark
sound
not
may
because
but
and
or
virtuosityand
instrument
one
thoroughly
to
their music
wonderful
If Liszt's
any.
of
151
them, Liszt, frequently is
of
one
some
were
trouble
the
Because
trickster
a
writing something
on
took
who
the instrument.
understand
VIRTUOSOS
AMONG
GIANT
LISZT,
Because
are
called
HOIV
152
TO
trashy,whereas
knowledge
of
music
be
must
they
Liszt's
to
APPRECIATE
their
owe
the
Mason's
had
play, and
that
w^as
the
the
alone
upon
Steinway,
"Put
all the
Liszt."
one
writers
a
of
affirm
level with
Liszt.
too
young
to
years,
of
one
of
one
other
that
him
of
heard
Liszt
is still in it."
since
Dannreuther,
that
and
and
Mason)
:
make
of them
to
those
placed
upon
this assertion
are
than
in his
the
compare
his
heard
was
from
be
can
other
who
the
iam
Will-
not
dissent
passed
there
of
none
Mr.
to
an
"Liszt
:
would
we
make
unjust
who
improvisation
said
of these
who
long
says
said
I must
any
has
1863 onward,
Erscheinung,
an
willinglyacknowledges
Those
it is
nineteenth
the
great pianists,some
"But
who
Edward
air of
Mason
Liszt
in his mind
1873 (^ quote from
Mr,
have
and
of
Mason
heard
doubt
together and
adds:
who
he
Rubinstein
us
been
living, he
now^
Tausig
him."
While
there have
that
call
in the year
rest
Life," Mr.
solitarymountain-top
a
approach
can
Germans
times, William
several
pianist
I already
which
from
Weimar
at
greatest
genius.
played ?
Played.
absolutely no
is
great
ten
dull, and badly writ-
Musical
a
his
to
be
to
it is to be
quote
again
there
epoch-making
us
and
what
century,
to
of
that
Liszt
dwells
occasion
time
order
reminiscences
''Memories
that
says
which
Liszt
charming
have
In
"classic,"heavy and
on
ness
effective-
and
virtuosity,
pianoforte.
How
those
brilhancy
transcendent
own
for the instrument
In
MUSIC
prime
Liszt
about
expression
of
playing
with
play
his
a
clining
de-
that
from
playing
grand
an
and
something
nient,
witness
Bear
of
the
in
mind
he
was
a
he
was
one
into
the
him
while
at
Wagner
bear
died
then
music
and
"
of
his
greatness.
I
that
festival
be
that
Schumann,
that
heart
and
death
came
he
strive
able
to
remains
he
to
soul
to
played
form
for
appreciate
plied
im-
development
and
that
may
Beethoven,
performances
that
repeat,
history
remember
you
himself
"Parsifal"';
musical
of
this;
at
and
the
mind,
in
for
and
attending
was
;
throw
to
worthy
a
youth."
my
Chopin
movement,
he
extremes
in
first
the
of
played
of
provide
day
study
Liszt
that
and
by
and
MUSIC
some
may
lator
of
Beethoven
force
which
contemporary
Bayreuth
the
APPRECIATE
rO
HOIV
154
a
some
potent
idea
VIII
WITH
PADEREWSKI
LISZT
A
some
his
fickle
;
but
floor
from
this
nothing
no
"
adds
the
He
the
him
and
is necessary.
back
In
a
the
by
frame
been
said
is
fill
him
and
be
to
novelty,
a
concert
a
he
is
the
and
the
but
be
able
into
bring
can
brings
combines
he
thought
of
"
a
"5S
to
than
of
intellectual
New
York
lete.
athsits
watch
great
when
essary
nec-
unless
with
it
force;
capacity.
trust
"
the
play
poetry
he
he
you
note
play
at
an
as
if
into
not
flinches
strength
stage;
never
wall
does
poetical enough
will
he
which
that
will
you
assiduously
more
and
you
zvhkh
on
has
to
industry
concert
which
both
Rosenthal,
longer
technique
an
poet
a
Therefore
of
"
Biilow,
are
which
a
and
slender
power
"
of
near
Von
success
Hear
To
practices
on
country
here;
no
secret.
no
reason.
soul
this
Americans
with
one
Paderewski.
roof.
is
one
piano
physical
the
so
looks
from
and
is
residence
Paderewski's
anything
at
his
been
have
1872;
in
gain
can
would
to
TOUR
we
Ignace
come
Paderewski
to
the
hesitate
have
these.
although
understand
at
of
any
of
triumphs
up
but
that
success
But
still is
name
Why
he
took
ON
country,
Rubinstein
1856;
than
greater
hall
the
Hofmann.
Josef
this
the
pianists
who
Joseffy,
of
from
in
Thalberg
his
idea
famous
Other
in
was
never
PIANIST
MODERN
company
156
is
check
a
Heved
for
of
one
to
be
MUSIC
$171,981.89.
virtuoso
the
this country
a
APPRECIATE
TO
HOW
for
It represents
one
largest actual
by
single season.
concert
tour,
amount
ever
artist,whether
an
This
check
the
singer
is drav^n
to
piano by
a
net
ceipts
re-
is be-
and
in
earned
player, in
or
of
the order
Ignace J. Paderewski.
An
opinion regarding
it
playing
is the
he
can
in
does
to
is
think
not
add
worth
this too
that
great and
of
more
Wherein,
however,
tone
the
last century,
for
"
of the
that
to
time
and
this
country.
that
for
the
the
opinion
means
the
invention
of many
will be
a
great
the
sustained
for
with
ity
facil-
the
ever,
convinced, how-
capacity
for
in due
in
power
doubtless
that the greatest
it
taining
sus-
Ije made
will
desideratum
; but
experts
still
tone-sustaining
increased
is
satisfactory.
discovered
probably
highly interestingand
the
of
pianoforte
That
this
imparting
i)ianoforteconsiders
it remains
within
the
instrument
is
capacity
is
of
stead
In-
development
violin, for example.
means
done
already.
wonderful
He
be
instrument
the
is in its
He
he considers
be
tone
the
the
loud
holding a long-drawn-out
tone
of
should
less would
its
reached
improvement.
too
considers
he
believes
has
anything,
If
rather
pianoforte playing,
more
instrument
power,
it because
earn
pianoforte
further
of tone.
the
of
by
who
man
Paderewski
anything
lacking, notwithstanding
during
the
incapable of
its volume
to
and
sum,
having.
respect,
one
perfection and
a
living exponent
seem
save
large
so
greatest
would
that,
earn
the
perfect
in other
significant.
After
is
ter
masspects
re-
all,
greatest of all solo instruments, because,
smallest
compass
control, it has the
range
and
of
with
an
the
simplest
orchestra.
For
WITH
this
PADEREWSKI
it is the
reason
with
box
goods
and
with
extends
bite
as
internal
as
soon
The
who
content
are
dream
which
he
the
an
hands
said
of
their
they
on
to
an
with
open
so
the
the
intervals,
severely that
with
on
him,
siding
table
fresh
of
from
thing
a
do
pianos
of
not
casion,
slightestpossible oc-
him
and
was
consults
donna
doctor"
"piano
a
has
the
is in
tour,
same
when
his
in
him
private car
and
entire
the
fact
his
at
special train
Syracuse
East
forward
straining the
obliged
with
traveled
during
the
near
prima
thrown
l""eing
he
tour,
on
instruments.
these
on
occupying
track, Paderewski
against
while
at
seasons,
him
I
carefullyprotected against extremes
'"piano doctor"
Iiracticallyliving
these
the
on
on
four, and
donna
instead
Tnie,
sprayed
are
prima
a
ivory.
cold, and,
with
were
is
he
less than
no
tle
lit-
tuner,
instrument
for, when
;
and
Instrument?
plays.
Marchesi,
attendance
breakfast
to
highest-
homes
the
the
upon
them,
of
if it
as
physician only
was
felt
ready
the
own
our
visit from
bestowed
suite
Paderewski's
He
occasional
throats
for several
and
teeth
to
dry-
Doctor."
instruments
and
and
constant
iron, wire
raised,
pianofortes in
Madame
metal
heat
"Piano
care
whole
but
her
with
is coddled
have
lid is
and,
poHshed
celluloid
artist like Paderewski
a
wood,
of
our
have
has
each
have
of the
an
should
of
the
ever
the
of
organs
instruments
grand.
class concert
We
from
glisteningrow
a
of
popular
most
its manufacture,
in
157
to
cancel
of
his
at
run
left the
his hands
on
muscles
table
was
and
tour.
one
ami
remaining
APPRECIATE
TO
HOIV
158
Up
engagements.
$137,012.50, while
he
before
Texas,
some
years
with
bands
Paderewski,
and
he
amid
heard
a
what
had
"rebel
this
yell,"but
to
return
Paderewski
came
While
posts marched
He
posts let
the
his
seat
Then
his throat.
continued
and
heard
of
the first time
was
blasts
out
from
had
to
up
the
through
the
he
playing.
corps
the
had
he
doctor
him
met
had
and
been
York
private car,
for he
the
the
make
to
car
the
two
he
hotel, where
during
four
practiced from
notifying tkc
it worth
"doctor"
liked
great
charge
reserved
while.
Of
best
the
were
days preceding
seven
to
eight
twenty- four
hours
strument
in-
care
in
of
the
for
his
is
there
whenever
route
is in motion.
instruments,
he
in
West
four
with
with
virtuoso
practicesen
stop long enough
when
selected
shipped
of these
Australia, his
Francisco
San
at
When
tour.
from
country
been
which
Travels.
pianofortes on
this
to
One
plays
$9,000.
reimion.
Their
on
the
to
"doctor."
a
Dallas,
it.
But
New
average
at
was
happened, smiled
applause.
began
receiptswere
of
one
Pianofortes
piano
the
tigerto spring at
and
laughter
famous
concert
net
been
with
yell,"the pianist leaped
expected
realized
tour
fife-and-drum
when
But
"rebel
if he
as
American
kept right on
however,
shrilling.
famous
had
various
and
his
concerts
Confederate
a
however,
AustraHa
record
pianoforte, the
the
hall
in
when
ago,
during
It occurred
the
this
His
receiptsof $5,000.
at
time,
thirty-sixconcerts
gave
was
that
to
seventy-four
from
receipts
MUSIC
He
rarely
other
three
sent
to
his first
hours
in
a
his
cert,
con-
day,
advance
PADEREWSKl
WITH
pianoforte he
which
would
No.
officially,
The
San
certain
on,
in
not
No.
I
will
always
of
method
in San
Francisco
and
No.
to
in
is that
which
himself
stranger."
going
After
to-night, didn't
"Doctor"
happen
he
with
:
each
been
or
"doctor"
the
stage, because,
want
meef
to
this
supper,
a
sation
conver-
all
right
to
to
answer
is
careful
as
New
high
This
part
is
not
for
a
giftswho
to
he
in the
for
his
mere
of
a
concert
duty
supremacy
virtuoso.
plays
the
sir."
For
affirmative,
veracity.
his best
play
would
what
"No,
say.
gives
sense
the bread."
me
record
to
were
able
which
intellectual
is
idiosyncrasies
'Doctor,' it sounded
occasion
important place in
Paderewski
course,
Paderewski
the
on
at
sent
was
Of
asks
don't
scrupulous regard
most
in
2
(fistinctions
"Well, then, please pass
been
Paderewski
accounts
No.
on
place:
"doctor"
has
York.
is
concert,
"Well,
has
if the
the
playing
"Yes, sir."
never
always
was
it?"
:
Paderewski
There
instruments
like
he
it, "I
invariably takes
:
the
of his
on
instruments
expresses
Paderewski
One
action.
before
always
of the three
he
as
and
to
slightestdifference
the
player
a
instrument
delicatelybalanced
most
tone
he
to
make
To
Portland.
to
detect
sensitive
nuances
ahead
Oakland,
3
pianofortes, but
fine
a
3.
Francisco
San
while
and
in these
the
have
Thus,
expert could
an
No.
and
2
from
shipping
adopted.
Jose
him
No.
Portland, Oregon.
and
is
use
but
none
he
a
San
to
on
took
Jose,
that
others
came,
be-
instrument
This
use.
the
;
route
pianist's
Oakland,
play
i
159
in the
least
he
is in
as
toward
his
pianists.
among
He
is
piano like
a
a
public
man
poet.
of fine
Paul
i6o
HOW
TO
APPRECIATE
Potter, the playwright, who
and
rewski.
almost
on
and
that
me
fotmd
knowledgfe
of
and
far
To
and
contributes
and
music.
$1,300
the
which
I
which
be
on
the
onto
car.
autographs
he
have
recorded,
the way
has
duty
to
the train before
The
then
a
the
body
out
of the hall and
the
able
to
bars
of
of
proceeds
about
remit
and
held
at his concert
it
boxed.
is not
possible on
a
level with
skid is part of the outfit of the
detaching
the
body, removing
having it on the
minutes.
legs of
the
skid
the
instrument
ready
to
it is part of
the
on
The
legs
The
onto
the
tour.
private
are
is drawn
canvas
body
moved
reover
is slid
structed
speciallycon-
a
low,
swung
will
of the hall and
place by straps.
slowly let down
pianoforte
For
safely out
carefullyfitted
in
table,
already
rejoiningthe party
eight-wheel skid,
seven
as
he
autograph,
few
a
piano.
Warsaw
for his
destination.
see
instRtment
and
for
at
derful.
won-
regards
the
place, the
takes
used
its next
to
"doctor's"
as
and
little dialogue at the supper
amusing
the virtuoso
nearly
was
quite
for
memorial
received
land,
land, Po-
the fund.
to
When
be
to
idolizes
dollar
informed.
native
His signature and
for
pianist
music
composer
Chopin
the money
season's
said
is
one
Pade-
the
well
his
Pole, he
by charging
From
with
remarkably
a
with
subject
the greatest
dollars
two
one
also
for the
there
history of
the
land,
Geneva, Switzer-
conversed
its literature
away
fund
the
has
him
of
Chopin,
as
he
dined
conceivable
every
always
His
lives in
occasionally has
tells
MUSIC
so
as
to
be
platform.
This
The
time
record
pianoforte, covering
from
start
as
for
the
the
stage
the
and
station, is
1
62
"Naw,
busy,"
too
was
would
has
But
make
for lack
It
of
of
at
give
the
the
time
of
stairs
quality.
pianoforte
long breath
when
the
nent
immiin
each
spite
other.
Fischer, stood
the
Francke,
E.
the
fell
latter
banister
if the whole
crash
a
watchers,
safely
instrument
the
for
suspense,
;
would
splinterson
in
of
moments
for the two
as
such
over
C.
fore
be-
never
wall, the rail,the posts
the
as
other
well
as
all
Around
pianoforte
were
in
tity
quan-
enough,
directing; J.
from
men"
gentle-
and
But
been
walked
tour, below.
the
There
muscle
that
"doctor," Emil
it seemed
and
way
"colored
twenty
hope
negroes
fragments
one
floor.
the
! The
top of
shower
rq"ly.
got upstairs well
was
descent
treasurer
usual
high-grade pianoforte
fact that
the
and
up
MUSIC
of
in the
a
the
band
a
secured
peril.
of the
the
was
last, however,
At
at
APPRECIATE
TO
HOW
the
who
drew
was
on
a
the
skid.
such
Fortunately
the
in
pianist dififuses about
the
Mr.
to
he
Francke
inscribed:
trip,asked
flash,wrote
an
from
His
the
home
a
the
self
him-
of
ernor
Gov-
future
cago,
hotel, Chi-
Auditorium
brother, about
leaving
Paderewski,
autograph.
joke.
little
photograph
"To
the
his
the
a
on
quick
as
a
of Mr.
Adams
on
of his departure
the Eve
Chicago."
Paderewski
are
At
which
:
the brother
usually
handed
Adams'
for
enjoys
forgotten
are
good-humor
He
last tour
Millward
"For
him.
Hoboken."
of
tour,
of
general atmosphere
During
incidents
untoward
travels
his
on
a
wife, his manager,
piano "doctor:"
is
a
special train.
villa
on
a
Lake
the
where
him
of
treasurer
secretary, valet
Geneva,
With
and
he
the
maid.
has
a
WITH
beautiful
garden
bilHards,
a
game
PADEREWSKI
and
vinery,
which
of
opportunity
Apparently
at
the
of
iron
piano,
will.
for
slender
he
is
a
his
is
he
swimming,
and
man
163
of
surely
iron
his
dogs,
and
fond,
very
his
favorite
most
strength
for
room
limited
un-
cise.
exer-
poet-looking
as
well
as
HOW
TO
APPRECIATE
AN
CONCERT
ORCHESTRAL
IX
DEVELOPMENT
THE
orchestral
an
the
regarding
he
as
a
is
of
divisions
chapter
of
the
the
chapter
advanced
Strauss
music
first
It
mind
in
the
and,
general
consideration
a
mentary
com-
cursory
music
and
its
represents
modern
prominently
musical
our
mind
to
history
influence
of
there
is
little
music
for
this
old
wonder
instruments
here
knowledge
that
a
most
and
awkwardness,
167
old
this
or
of
the
clesiastical
ec-
from
most
comes
beginning
With
the
dominant,
so
efforts
It
awkward.
appreciation
for
different
music
first
the
that
singing
Palestrina.
choral
church
count
ac-
the
with
of
is that
take
which
name
connection
were
this
in
quite
are
the
in
capella)
composed
was
and
scales,
moderns
we
(a
which
modes,
of
into
orchestral
which
of
service.
church
right
sitions
compo-
book,
my
specific
who
unaccompanied
was
of
of
instruments,
of
the
aspects.
The
our
the
details
borne
subject
the
phases
Richard
on
of
have
portion
orchestra,
certain
on
certain
some
I
this
of
orchestral
principal
and
enhanced
greatly
with
This
divided
result, I have
development
itself
hear.
to
be
will
of
enjoyment
consequent
familiar
is
orchestra
apt
ORCHESTRA
concert
listener
the
THE
and
appreciation
if
in the
OF
may
rather
individual
write
to
be
this
said
lack
capa-
1
TO
HOW
68
city of
various
school
of
When
their
instrument
theme
in his
high
as
is shown
orchestral
peculiar tone
individual
which
it
for
wrote
consider
for
instruments,
MUSIC
This
he
instruments
did
their capacity
quality, or
"
could
low
as
Bach.
by
even
expression, but simply their pitch
take
contrapuntal
or
the
throughout
contrapuntal composition,
Bach
not
APPRECIATE
also
could
is true
of
on
some
Handel,
the
or
other
had
carried
other
ment.
instru-
he
when
score,
he
as
this, that
up
in
although
less
degree.
But
just
worked
as
and
of the sonata
large part
of this
orchestral
music
have
that
seen
trammels
of
use
in
Italy
the
when
it
for
more
with
skill
in
most
important
verde
shook
began
to
we
the
be used
as
in opera,
so
began
ployed
em-
were
individual
tone
Efforts.
Orchestral
instruments
utilizing their
of these
(1568-1643),
as
off
composers
their
of
kind
Again, just
a
expression.
of
power
orchestral
distinct
recitative
to
ing
weav-
was
operatic accompaniments,
reference
ated
cre-
Italy,during
in
so
and
suites,partitas
pianoforte
Although, strictlyspeaking,
use
of his
up.
dramatic
for
Primitive
to
Bach
in the orchestra, when
them
qualitiesand
springing
was
counterpoint
the instruments
to
form, while
Clavichord,"
Scarlatti
pianoforte
contrapuntal period, a
accompaniment
an
for the
plaiting the counterpoint
"Well-Tempered
Domenico
that
seen
along original lines
the germ
and
have
we
In
in opera,
individual
early men
his
the
not
first composer
and
to
display
characteristics, the
was
"Orpheo,"
Claudio
which
Montehe
pro-
HOW
I70
naive
TO
; while
Mozart,
genius
for
only
trifle more
a
three
of
major
advance
the
major
sound
Hall
in
because
York,
much
Beethoven
it since
Very
his
modern
from
few
what
it did
point
of
because
like
greater skill in bringing out
because
the
works
swallowed
up
em
modadded
to-day
sounds
if the
works
day,
and
the
effective
more
his orchestral
have
added
of
in
been
have
peculiar tone
orchestral
positions,
com-
lot of
a
have
composers
technique
ous
sonor-
Carnegie
than
their
erate
mod-
symphonic
established
richer
our
"
pretty effect is lost.
in his
we
its
with
orchestra
an
view
instruments, but because
are
and
sound
composers
it is not
and
music
instruments
if
modern
a
hall of
concert
a
have
to
time, and
differentlyfrom
of
naive
Haydn's
is,the best of them
charming
be said
may
orchestra.
to
in
the
first symphonic
used.
were
period
of their
decided
a
it is the
modern
classical
and
orchestration, and
that
these
the
minor
G
major,
clarinets
"
The
during
"Jupiter"), show
of
is
symphonies.
requires large auditoriums,
earlier
and
flat
to-day
even
But
New
the
space
which
nevertheless
composed
because
symphonies
orchestra
he
knowledge
agreeable
size.
in his
E
the
as
in
Mozart's
and
the
decidedly greater
Haydn,
which
is notable
work
of
than
emotional
1788,
in
flat
E
dramatic
(known
he had
although
greatest of these
summer
C
the
MUSIC
APPRECIATE
new-
acquired
qualities
players
has
greatly improved.
It is for
preciselythe
symphonies
his
show
such
predecessors.
added
that,
a
so
few
far
more
as
his
The
same
a
great advance
point
instruments
own
that
reasons
purposes
is not
to
the
were
Beethoven's
upon
that
those
of
Beethoven
orchestra, but
concerned,
he
DEVELOPMENT
band
instniments
all the
handled
fact
But
in
the
development
be
his
of
the
ideas
genius to
How
In
to
the
He
Ninth,
and
Haydn
the
can
hands
from
Mozart.
In
Beethoven
flutes, two
horns,
two
the "Eroica,"
Fifth
In the
first bow
their
make
Ninth
the
somewhat
in Mr.
Orchestral
and
its
In
W.
in
growth
horn
these
four
is
instruments
orchestra.
chapter
the
a
phony.
sym-
is
given
"How
the
full
clearly and
chestra
Or-
tra
Orches-
"The
conceived
ditional
ad-
two
in
horns
symphonies
well
which
; in the
though
Al-
introduced
J. Henderson's
a
part
two
phony,
Sym-
Third
the
symphonic
these
in the
Music,"
developed book,
orchestra
of
in detail
more
Grew,"
and
scoring
bassoons,
two
only,
of
use
strings, two
usual
Beethoven
first
phonies,
Sym-
contrabassoon.
in the
Symphony
horns,
The
finale
Second
and
by
him
to
over
third
a
and
in the
employed
here
First
the
adds
ing
develop-
orchestra
tympani.
he
so
First
the
from
handed
the
piccolo,trombones
a
modem
that
and
trumpets
doin"
Resources,
symphonies
clarinets,
two
of
means
Orchestral
employs
oboes,
adequately
means.
the
see
artist,
An
cannot
the
has
Beethoven's
we
his
under
he
Developed
following
the
musician,
or
and
technique
of
in hand.
hand
go
unless
create
despise technique.
to
development
art
writer, painter
he
express
or
of
point
in his
predecessors had
his
affect
writers
Many
shown.
171
included
he
which
greater skill than
much
with
ORCHESTRA
OF
and
story
cally
logiof
the
interestingly
told.
Beethoven
not
only
understood
to
a
greater
degree
HOPV
172
his
than
predecessors
acquire
difficult music
in
about
to
the
relation
same
of those
to
the
Beethoven
as
orchestra
skill
in
3.
"
Wagner
the
of the
instruments
this
by
Firm,
in the Fifth
in
of
power
Wagner's
has
to the
only
orchestra
achieves
Beethoven
Few,
Modern
posers
com-
ments
instru-
more
quite a different thing
They
new
chestra
or-
to-day.
and
required
have
for
asked
Let
kinds.
trate
illus-
me
examples.
is Beethoven's
as
it cannot
and
unflagging
in "Die
one
which
for
a
moment
interest, with
Meistersinger." Yet
trumpet,
a
Beethoven
chestra
or-
color, searching
richness, sonority, tone
orchestra
very
is
modern
"
kind, but have
same
Symphony,
expression
added
of
more
eloquent
and
compact
compared
that
of
modern
two
for
to
edge
still greater knowl-
a
added.
instruments.
new
few
to
greater
the
so
The
been
; but
group
very
by
orchestra
asked
instruments
do
showed
Strauss
resources.
steadily have
adding
Mozart
instruments
few
a
Richard
effects
have
more
be
a
or
few, instruments
from
only
instruments,
those
instrumental
in each
of
Wagner.
predecessors, but
his
practicallyis
very
holds
symphony
pianoforte sonatas
and
strikinginstrumental
of
culty
diffi-
greater
symphonies
the
added
handling
musician
his
of
of
more
composers.
Beethoven
Just
point
Beethoven
the Beethoven
as
the sonatas
In
execute.
chestral
or-
ers
play-
them
technique by giving
a
of
compelled orchestral
also
performance,
Haydn
and
better
a
peculiarcharacteristics
the
he
instruments,
to
MUSIC
APPRECIATE
TO
harp
and
employed
ner
Waga
tuba
when
DEVELOPMENT
he
for
scored
"Symphonie
the
to
color
orchestra
have
the
finest
adds
only
studied
make
seventy-five years,
than
that
gladly acknowledge
five
of
Beethoven,
Berlioz
one
musical
classical
to
Juges"
"Symphonic
was
sounds
that
so
It
close.
a
of
Bach
the
it almost
only
Even
more
the
from
a
than
was
was
Yet
be
Scarlatti
bringing
played.
might
nearly
was
was
utterly different
how
of
voicing the begimiing
Symphony
out.
we
Hector
to
here
another.
Fantastique, Episode
brought
great
is due
Ninth
overture
vanced
ad-
more
great development in
it is curious
thus
while
era,
completion
"Francs
and
sonatas,
not
been.
resources
and
great
one
Juggler.
next
epoch overlaps
period
the
orchestral
(1803- 1869),
composing
the
of
handling
the
groups
sound,
however
have
to
strument
in-
each
contrapuntal
years
Orchestral
Following Beethoven,
rich
hundred
Beethoven
Berlioz, an
the
into
orchestra
the modern
but
fact
possible
these
using
and
orchestra, they produce wonderfully
thus
simple
which
orchestras, yet uniting them
effects,and
tuba
bass
ing
by skillfullydivid-
Furthermore,
groups
modern
of
every
of
his
for
a
The
expression
into
while
Beethoven.
and
capable.
like separate
of
one
composers
tone
is
the
by
173
Symphony;
Tschaikowsky
used
modern
of
Fifth
Pathetique,"
orchestra
is that
phase
the
works.
orchestral
ORCHESTRA
OF
the
the
five years
Berlioz's
year
later his
A
Berlioz
of
Beethoven,
d'un
tiste,"
Ar-
orchestra
Beethoven
collection
after
that
la Vie
de
puntal
contra-
tra
orches-
different
Berlioz
strument
inun-
HOW
174
derstood
of
individuality,the potential characteristics
the
instrument.
each
Berlioz
composed
his music
calls for four
of the
corners
tuned
chorus
"three-story music"
the chorus
bands
stationed
Berlioz, his ainbition, in
of orchestration
he
wanted
was
far
in
the
of
him
of
power
not
he
his
to
technique
unusual
was
and
the
genius
his
it related
his
of
of
the
them
edge
knowl-
His
expression
to
afforded
of
great
his
But
express.
for instnunentation.
through
his
very
gigantic effects,he
development
it
striving
"
for
his
amounted
after
contributed
of the technical
was
less,
Neverthe-
genius for instrumentation
that
art
ing
accomplish-
have
to
the
to
for
ists,
instrumental-
inspiration.
sufficient
was
in
body
extraordinary
so
and
as
invention, his gift for melody,
this
through
"
had
thematic
equal
genius
excess
with
facility for
if
thoughts
to
orchestra
every
far
so
brass
extra
Unfortunately
the skilf he showed
and
what
the four
froisihne.
mix
floor,
ground
the
chestra,
or-
dubbed
been
has
on
regular
the
to
This
the belle etage, while
on
are
in addition
the orchestra
"
kettledrums
for fourteen
soloists.
and
Irae"
**Dies
The
ferent
bands, in four dif-
brass
hall,and
different notes,
to
scale, so colossal that
colossal
a
on
called architectural.
been
has
"Requiem"
in his
MUSIC
APPRECIATE
TO
to
bizarre,
ward
largely to-
of instrument
resources
music.
Wagner,
Berlioz
wrote
Greatest
a
book
latelybeen re-edited by
of Orchestral
on
instrumentation,
Richard
modestly ignoring himself,
Composers.
says
Strauss.
that
which
has
In it Strauss,
Wagner's
scores
OF
DEVELOPMENT
the
mark
since
the
of
as
in
It is true,
orchestra
were
instruments
keyed
Sax,
whatever
But
improvements
which
aid
merely
illustrated
is
technique merely
is
derived
does
he
emotion
he
expressing
although
mistake
best
these
no
a
in his
has
the
hit upon
each
he
meaning
exact
each
with
passage
is
Yet
be
makes
When,
for
Wagner,
own
of
its
and
so
"The
"Lohengrin,"
for
example,
it is
the
from
are
its
English
horn
English,
all
the
other
not
of
scores
of
Nibe-
the
"Parsifal"
never
music.
Wagner's
each
speak
style.
tra
orches-
the
The
Ring
but
one
any
they
speaks
with
else's music,
one
subject.
could
music
reproduces through
instrument
it
why,
reason
of
to
and
ideas
peculiar orchestral
different
each
these
has
its
the
pains
for any
mistaken
how
convey
no
one
knowledge
Never,
express
spares
lung," "Tristan," "Meistersinger" and
could
is the
by Wagner
his works
'Tannhauser,"
That
any
"atmosphere"
the
he
that
"
to
or
conveying
emotions.
one
of
of
principle
technique's
for
mind
heart, and
these
scores
his orchestra
in his
has
method
of his works
For
enable
to
from
breathed.
ever
provement
imbass
the
Wagner
technique
employ
sake, but always only
the
who
and
his
end.
an
vented
in-
ment
instru-
the
to
of
one
to
virtuoso
greatest orchestral
however,
incidental
far
system
important
Wagner
means
a
made
clarinet
eyery
so
French
the
bass
was
by
the
on
also
by j)erfectingthe
tuba.
bilities
possi-
introduction
the
by
while
Bohm;
Adolphe
maker,
tioning
men-
greatly improved,
constnicted
Theobald
by
worth
technical
the
concerned,
was
175
orchestration
Berlioz.
woodwind
the
of
advance
only
ORCHESTRA
other!
own
He
language.
speaks through
broken
instruments
English,
of
the
HOIV.
176
orchestra
TO
makes
he
"
APPRECIATE
them
MUSIC
speak without
foreign
a
accent.
If
Wagner
the sake
of
employs
making
use
wonderfully
Strauss.
as
great general would
his
a
send
in
Strauss
an
polyphony
"Tristan"
of
fair"'region
instruments,"
unknown
esthetic
English
first time
the
variety of
tone
fourth
writes
bass
and
woodwinds,
color
horn,
; the
and
independent polyphony,
an
characteristic
voices
and
assurance
of
freedom
timbres, and
of
tonal
beauty, that
admiration.
tones
that
At
Wagner
the queen
over
Hozv
The
effects
it.
lures
Wagner
doubling
day
of the
close
out
Among
to
of the
some
in
such
with
of their characteristic
ing
understand-
an
unstinted
evokes
the
act
orchestra
organ
triumph
itself."
Produces
his
the
melodic
of
out
second
Effects.
His
produced by Wagner
but
for
established
with
this
of instruments
large orchestra,
in
the
winds,
wood-
trombones
carried
out
to
third
second, third
knowledge
worked
hitherto
a
of the
the
Wagner,
and
the
already employed
voices
trumpets
"the
or
clarinet, added
are
a
the
to
handling of
so-called
The
for
score
singer"
"The
does
skirmisher."
a
Strauss, "reaches
height.
horn
to
and
"
'Nibelungs.'
of the
the
employs
proceeding
"Meister
and
in
"He
off
student, before
advanced
gain variety
to
model
a
as
for
battalions, and
pick
to
corps
regards "Lohengrin"
somewhat
wind
army
is not
reserved
forces," says Richard
not
in
is
of his
them
a
noise, but in order
a
"He
expression.
in
large orchestra, it
a
of
manner
of
are
his
not
using
due
the
to
a
ments
instru-
special effects
are
HOIV
178
chamber
enlarged
a
pianistic
the
in
APPRECIATE
TO
which
his
owes
Beethoven
of
but
which
being
the
to
last
not
the
the
to
of
quartets
is
even
Brahms.
quintet
instrument
each
itself
and
string
in
treated
shows
Schumann
polyphonic
orchestra,
in
orchestra
unfortunately
work
orchestral
Wagner
the
music,
spirit
MUSIC
thoven,
Beeof
peer
the
others.
"Meanwhile,
developing,
from
for,
orchestra
characteristics.
his
in
efforts
tints
write
to
in
second
horns,
melody
into
etc.,
the
invention
of
virtuosity
upon
the
only
for
advance
woof.
the
the
style
of
the
horn,
orchestral
worth
and
yet
resulted
in
tone
misses
or
the
and
of
this
his
violas,
etc.,
strands
of
is due
since
his
terpoint,
coun-
through
of
demand
His
to
and
polyphony
players.
mentioning
for
stage,
primacy
possibility
his
individual
orchestra,
threads
increased
valve
concert
violins,
Wagner's
opera
enough
Berlioz
second
was
the
possibilities
new
their
richest
in
dramatic
Wagner's
weave
on,
and
technics.
the
work
symphonies
effects,
like
of
employment
enough
enriches
the
Gluck
coloring
not
orchestral
instruments
makes
of
was
new
that
polyphony
orchestral
programmatic
discovering
and
of
time
in
Berlioz
symphonic
nor
his
the
gaining
was
opera
kind
another
scores
Berlioz."
the
solo
mark
INSTRUMENTS
orchestra
AN
is
which, under
expression
like
are
are
concerned.
the
paints
of how
to
The
he
what
upon
as
which
there
every
modern
to
get
many
orchestra.
in such
a
of
that
as
to
who
knowledge
it.
express
distinct
several
these
a
It is the purpose
anything,
to
of
possible out
as
possible can
as
his
of instruments
grouping
groups
or
selves
them-
groups
amounts
quartets
many
result
playing independently,
within
meant
ments
instru-
the
his
into
subdivisions.
this is
the
pends
painter's,de-
the
and
trying
other, and
different
way
in
composer
By
of
that
ductor,
con-
precision
as
palette,and
a
developed
various
are
able
an
far
so
one,
tO' express
capable
each
of
as
has
are
with
in union
has
of
Separately,
on
his materials
use
orchestra
groups,
in
play
ments
instru-
many
baton
the
composer's effort, like
of the
of
aggregation
an
should
and
ORCHESTRA
THE
OF
play
independent harmony.
It is
Wagner
and
the
way
been
has
to
it should
that
be made
to
score
the
sound
than
able
be
of
system
to
he
said.
Love
more
it does.
orchestral
enrich
everything
say
imagine
the
this
through
Motive
I7"
to
cannot,
in *'Die
beautiful
Nor
orchestral
wishes
We
groups
on
could
ing,
color-
tone
in
say
for
exactly
example,
Walkiire"
its first
it.
In
that
could
in
entrance
that
scene
i8o
exactly suited
it is
a
violoncello
the
me]od3^
double
the
Cello
solo
3
Celli
2.
2
Celli
3.
2
Celli
4.
2
Celli
s.
also
to
give
a
violoncello, and
it.
In
tone
double
and
pervade
shall
not
he
supporting harmony,
adding
to
sonorousness
In other
he
words
out
basses, and
thrillingeffect
solo
a
effect, in order
eight violoncellos,
more
to
order, however,
complete orchestra
two
rich
of
the
with
harmony.
moment
drously
I
but
basses
and
gives
quality
melody
in the
note
solo
a
MUSIC
perfectlyhomogeneous
the
the
to
Wagner
violoncello
produce
APPRECIATE
TO
HOW
"
of
the
has
that
only
ports
suptwo
deepest
made
for
cellos
violon-
nine
produced
to
a
won-
because, having
a
INSTRUMENTS
melody
beautiful
to
for which
Another
genius.
a
of
orchestra
orchestral
within
is the
with
a
in
he
as
secures
little
using
in
merely
order
to
Walhalla
tive
Mo-
sounded
is
a
for
them
tone
whenever
coloring
many
as
the
for
the
that
way
and
all
on
composer
groups,
occasionally
so
his
enrich
to
do
same
ner's
Wag-
such
in
independently
combine
to
or
them
order
the
Nibelung,"
orchestra
dependen
in-
of
One
possible,not, however,
as
the
brief, then, the modem
his
for
producing
of
instruments.
the
several
of
clarinets,and
independent
many
orchestras,
of
of
constitute
to
the
leading motives,
In
trombones.
strives
cellos
of violon-
bassoons,
and
capable
can
brass
the
"Ring
the
duced
pro-
cellos,
violon-
of
group
capable
are
group
so
beautiful
most
an
magical
his
orchestra
an
group,
used
have
not
with
this
hands
the
have
and
Flutes, oboes
form
may
case
of
out
instruments
harmony,
four
a
subdivisions.
example,
in
ample
ex-
string band.
the
woodwind
similar
instruments
conjures
touch
within
admirable
an
might
composer
hundred
a
group
The
is
This
exquisite thrill that Wagner
the
a
it.
score
ments
instru-
the
just
technique accomplishes
what
of
of
to
knew
he
score,
i8i
ORCHESTRA
OF
pose
pur-
time,
but
fects
special ef-
he
sees
or
weave
fit in
his
polyphony.
The
divisions
grand
of the
orchestra
violins, violas, violoncellos
"
woodwind,
consisting, broadly
oboes, clarinets
and
or
the
ments
and
and
bassoons
trombones
; and
"battery"
dmms,
"
of that
kind.
the
;
the
the
are
double
basses;
speaking,
brass
instruments
"
strings
of
the
flutes,
^liorns, trumpets
of
triangles,cymbals
percussion,
and
instm-
The
Prima
the
impossible
second
have
to
better
and
exceed
that
form
that
other
it is
capacityof
It has
interestingto
Its
that
in
the
time
same
than
the
acme
of
In
this
orchestra
of groups.
than
its G
clef, the
musical
very
we
can
first and
find
most
than
right here
gives
also
much
pianissimo
of
finer
pianissimo
and
and
It is the
violin.
one
at
carrying
further
group
and
important
most
examples
string,which
entirely by itself,
The
attack
very
stage whisper.
Although
violin
solo
a
and
The
infinitelyricher
pianissimo of
a
much
very
be
may
multiplicationof
the
finer effects
a
notes
And
gives greater sonority, it
violins is
teen
four-
and
precision of
while
passages.
chestra
Or-
long-drawn-out
instruments
hundred
chestra,
Or-
Festival
hundred
in the orchestra.
soft
to
Symphony
the violin.
greater
note
chestra,
or-
violins.
hundred
one
instrument
an
number
the
York
New
crisp,sharp, decisive, brilliant,or
any
of
eighty-one players, has thirty
Thomas's
full of emotion.
for
Boston
1882, consisting of three
is the
first and
The
one-third
be
of
donnas
it is almost
them.
about
The
about
has
instruments, had
Great
say
still it would
Theodore
in
prima
of
many
is the
orchestra,
the
in
and
string group,
the
are
proportion.
which
violins.
too
should
violins
the
might
one
Orchestra.
the
of
first violins
The
orchestra, and
the
of
instrument
leading
violin.
MUSIC
of
Donna
leading instrument
The
fact
APPRECIATE
TO
HOW
i82
of
the
nevertheless
even
of
the
utilizingsubdivisions
the violin cannot
sounds
group
G
has
subdivided
exquisite example of this, one
be
played
below
been
the
lower
treble
employed
within
itself.
cited in every
INSTRUMENTS
work
on
llie orchestra
prelude.
four
groups
that
is most
and
worth
Tn
this
on
the
the
reading,
viohns
183
is the
grin"
"Loheninto
divided
are
with
highest register,
an
effect
ethereal.
LentP.^
.
Violino
ORCHESTRA
OF
#
ti
3?r-"t
^e'lf: :^^
tz
:r:J=;i=
tz
pz
tz
r^^"
^-^T^Tij^"
p: fzzz
tz
.t"
.0^-
r^m
I.
Violi;
Violino
3.
Violino
4.
Modern
statement
for
the
his
most
orchestral
that
violins
casual
while
above
manner
virtuosity may
Beethoven
the
them
Richard
an
by
gauged
ventured
never
high F,
carries
be
octave
to
the
score
Strauss
in
higher.
i84
HOPV.
A
TO
little contrivance
be pressed
can
deaden
as
to
or
mute.
A
''Romeo
et
of
the
use
"Peer
the
down
is
Queen
effect
same
Suite.
last
of
the
Strauss
in
horse;
Berlioz's
with
strings
laugh
a
with
entire
movement,
Fourth
Symphony.
and
scored
viola
is
the
expressive
opera,
as
the
This, however,
"Uthal,"
is
a
not
a
of
familiar
the
vice.
de-
throughout
Ostinato"
in
an
his
Bass.
a
beautiful
very
French
without
composer,
violins,
highest string instrument
was
revision
plucking
Double
the
his
it is effective
it almost
violin, with
Mehul,
tone.
companying
ac-
Richard
and
in
The
and
the
ling
the effect of crack-
"Pizzicato
deeper
his one-act
the viola
score.
a
Mime;
"
Viola, Violoncello
The
imitating
of
remarks
employed
it
uses
"Siegfried,"for
pizzicato
"
Tschaikow^ski
Liszt
for
of
back
the
in
orchestra.
fingers
the
long
a
Isolde," just
und
instrumentation,
on
large
after
violins
produce
Strauss
as
work
to
exquisite
more
Death.
Wagner
mocking
But,
be
Grieg's
in
Death,
"Mazeppa,"
"Feuersnot,"
flames.
well-known
horsehair.
the
poem,
the
only
of
symphonic
Another
produced by using
is
Berlioz's
in
"Tristan
of
violins
Scherzo
can
muted
the Love
effect
instead
snorting
the
so
sordine,
the
of the
use
is in Asa's
act
intones
unusual
in his
the
Mab
Nothing
of
entrance
bow
the
of
violin
the
is called
JulietteSymphonie."
Isolde
An
This
example
silence, in the
before
strings of
teeth,
with
metal,
or
the
over
the
MUSIC
wood
famous
Gynt"
than
of
its vibrations.
sordini
con
of
APPRECIATE
success,
the
ploying
em-
in his
brilliant
i86
HO
IV
Double
TO
basses
violoncello
APPRECIATE
first
in
part
in the
in the
passage
dramatic
them
former
Scherzo
and
effective
Moor
than
tuned
the usual
of the
range
their E
tune
I
have
pointed
of
within
themselves,
and
in
the
first
of
on
the
to
a
soul
weird
to
fifteen
the
the
its
the
depth,
the
In
the
strings
are
Strauss
points out
divided
the
it
their
string
"Lohengrin"
into
the
that
telling
the
second
from
listener
he almost
In
into
in
twenty-one
in the
with
lovers
peril.
band
entire
accompaniment
gives
the
divided
are
in
thunder-storm
how
which
The
the
warns
because
of
to
When
impending danger
lovers
in
subdivided
master.
a
watch-tower,
divides
parts.
by
and
ond
sec-
obliged
are
Walkiire."
Brang'dnc
thrill of
inform
Wagner
done
in the
band
prelude
"Die
deeper
note
a
troducti
in-
Band.
string
the
be divided
"Tristan"
position
of
act
can
effect, when
in
as
the
his double
and
examples
in the
has
sharp.
String
several
instruments
string band
act
the
out
groups
C
to
In
basses
two
strument
in-
in ''Otello"
half
instrument,
string down
Verdi
scene
is half
Isolde"
und
Dividing
independent
as
has
flat,which
E
to
of "Tristan
act
to
down
highly
a
bed.
"Rheingold," Wagner
Ninth
effective
for
latter
in the
thoven's
Bee-
and
established.
was
the
through
Fifth
Dcsdcmonas
approaches
to
basses
in the
of them
use
double
remarkably
a
recitative,their importance
very
the
as
But
in the
for
in the orchestra
made
simply
to
harmony.
of
employment
Symphonies,
used
were
the
MUSIC
this
no
her
stirs
such
longs
passage
less
than
"Rheingold"
ard
Rich-
parts.
introduction
to
"Die
INSTRUMENTS
Walkiire"
strings only
strings
drum,
tremolo
where
the
audience
various
and
of
of
sense
divisions
because
he
had
the
that
is
not
allowed
leashed
un-
bass
and
which
of
the
on
play according
to
with
Richard
beauty
exactly
orchestra
an
sixteen
the
covered
dis-
it robs
thinks
his
on
bowing
same
if each
to
ing
bow-
w^as
Strauss,
He
strings.
intensity and
bow
players, had
among
insists
never
the
that
wrong
the
others.
to
danger.
stopped
once
duces
pro-
conveys
should
watching
the
cites the
insistent
was
ducing
pro-
of "Tristan"
act
something
division
each
of
he
violoncellist
hand,
melody
have
also
painting
tone
string band
a
differentlyfrom
throughout
of
mystery
effect, and, after
other
storm
a
"
without
He
of the second
detected
one
about
effect !
always
of
It is said
the
basses
whispering foliage and
Thomas
that
violas,
twelve
w^ould
thrashed
Wagner's
alike.
tonal
double
composer
example
a
Theodore
four
by
produced
is
violins,
second
beginning
effect
the
effect
187
orchestra, including cymbals and
wonderful
a
stormy
another
tithe of
at
ORCHESTRA
and
crashed
and
a
the
sixteen
"
w^hole
a
as
the
violoncellos
twelve
for
of
much
OF
individual
peculiar
own
temperament.
'A
In
the
W'hen
the
played by
aspect of
that
Wagner
greatest
in
Fire
Magic
Walkiire,"
even
Passage
"Die
Scene
all the
in
violin
wrote
soloist
Walkiire."
can
understood
passages
violins, simulate
how
of
"Die
which
not
finale
play cleanly, yet which,
licking,circling flames.
Wagner
the
to
in sound
Indeed,
draw
the
from
the
effects
the
or-
instmments
cliestral
violins
the
reaches
hero
yonng
the
slumbers, depict the action
Besides
of the
of
performance
protested
"Rheingold,"
the
the
satisfied."
of
the
of Francesca
beautiful
tinkle
of
use
is to
Berlioz's
be
da Rimini
harmonics
found
in
"Damnation
Flutes, oboes
best
the
"Leonora
fun
orchestral
as
of
conspicuous
I shall
for
the
harp with
of
the
uses
rising
a
very
their faint
Sylphs
in
form
for
the woodwind.
flute
third
the
it is
where
Beethoven,
ployed
em-
Probably, however,
grace.
a
is in
One
of
flute than
standard
musical
any
other
joke
runs
:
"Are
you
"No,
but
has
and
lover, and
her
Waltz
of the
made
instrument, and
follows
It
clarinets
Overture"
been
that
S3'mphony,"
and
the
Woodwind.
passages
has
expect
perceive
symbol
the
were
Faust."
de
and
the
known
with
more
on
don't
You
produce
a
Munich
passages
"You
"Dante
as
the
at
the
you?
at ;
harp
The
of
do
quent
fre-
made
harpist Trombo
the
when
replied:
aiming
am
that
of
Liszt, in his
glissando
shades
Briinnhilde
where
thrillingrealism.
a
some
harp, too,
general effect I
be
that
composer
play the
to
with
It is related
harp.
him
to
unplayable,
height
as
passages
regular string band, Wagner
the
use
me
in the third
violin
"Siegfried," the upswinging
the
of
quality
tone
absolutely angelicin purity ; while
is
of
act
the
prelude
marvellous.
of
little short
are
"Lohengrin"
the
In
MUSIC
APPRECIATE
TO
HOIV
i88
musical?"
I have
also
a
been
brother
who
insinuated
plays
that
the
in
flute."
Donizetti's
INSTRUMENTS
"Lucia"
been
The
instruments
reed
are
family, only
bassoon
In
Italian
the
exquisite
of
movement
will
with
Strauss,
in his
obsolete
C
"Sinfonia
who
the
slow
opens,
Richard
employs
represent
the
or
ber
remem-
composer.
to
of
accents,"
symphony
Domestica,"
d'amore
oboe's
which
major
French
the
oboes
with
bundle
joy,
those
rived
de-
name
a
tender
in the
melody,
the
of instruments.
to
instrument, and
oboe
of the oboe
fagotto, a
grace,
two
oboe, and
alt
this group
found
have
of the clarinet
consists
an
a
ilies
fam-
ever
difference, how-
resemblance
artless
clarinet
those
;
is
is called
Schubert's
agree
is
piccolo
family
family
of
supjxDsed
of this
and
oboe
which
fragilesoul, are
a
Berlioz
says
horn
"Candor,
fagots.
flute obbli-
a
The
this
the
oboe
bassoon
its
oboe
with
is the bass
the
from
the
mouthpieces
The
one.
which
grief of
toth
of
in the
English
the
proper,
of
instruments,
vibratingreeds
has
she
shrill eff"ects.
instruments
the
:
because
principal aria.
her
for
flute used
189
because
not
but
Edgardo,
accompanies
high
mad,
goes
from
separated
gato
a
heroine
the
ORCHESTRA
OF
the
most
al-
"innocent,
an
dreamy, playful child."
English
The
The
in
most
the
Jay"
third
while
bearing
strain
famous
act
Tristan
Isolde
when
trabassoon,
family,have
of
the
the
"Tristan,"
awaits
ship
certain
of
use
is
value
humorous
horn
where
it
plays
of
the
ship
and
changes
The
sighted.
their
"Tristan."
English
news
him,
toward
besides
in
Horn
as
the
to
is found
the
"sad
which
a
is
joyous
bassoon
and
con-
bass
the
oboe
of
qualities,which
are
ad-
HOIV
190
TO
brought
mirably
in
In
Diable"
for
the
in
rima,"
with
The
act
It
bridal
of
have
in
is
melody
is
the
bass
Motive;
skillful
third
act
use
of
of
ruso
Ca-
bassoon,
bass
clarinets
in
scene
of
the
exit
the
at
eight
the
first
give
forth
second
is
act
the
a
of
second
her
which
the
the
paniment
accom-
nets;
clari-
other
of
"Gotter-
Briinnhilde
"Die
while
for
the
by
after
of
act
nightfall;
woodwind
"Lohengrin"
in
clarinet, while
in
chestra,
or-
scene
the
in
sad
and
the
the
cathedral
flutes
scene
in
they
developed
recall
to
three
possibilities of
"Tannhauser,"
three
to
of
the
which
because
enormously
the
to
C
The
only
the
passages
in
lag-
employed
are
been
act
when
tersinger,"
fortiva
Usually
and
Elhaheth's
;
by
change
and
flat
B
necessary
given
nots."
Hugue-
the
by
compass.
clarinet.
have
third
dammenmg,"
the
the
played
"Les
d'Amore,"
instruments)
procession
the
le
accompaniment
"Una
is introduced
(in A,
is
"Robert
in
of
act
romanza,
large
a
"Lohengrin"
prayer
the
the
his
by
effect.
group
Wagner.
second
"L'Elisir
clarinets
clarinet
the
music.
famous
Nuns
it for
artisans
Dream"
bassoon
Spectre
used
beautifully,
so
transposing
Elsa's
of
theme
besides
the
in
charming
of
the
Ninth
and
clownish
the
Night's
the
also
chorus
clarinets
kinds
he
Donizetti's
sings
and
of
Fifth
of
made
dance
it,and
The
march
"Midsummer
female
the
Beethoven's
the
Meyerbeer
opera,
of
are
in
Mendelssohn's
scoring
to
in
out
and
Symphonies
MUSIC
APPRECIATE
Meisa
introduction
shining example.
erally
gento
INSTRUMENTS
Brass
soft
But
pianissimo
of
effect
a
of
be
brass
brass
richer
is the
;
in the
Motive,
to
the
place ;
Although
the
this
sake
than
group
When
on
ern
mod-
instruments
of
of
in
for
noise, but
of
reintroduced
wanted
the
to
witness
for
the
resultingin
of tone.
the
tenor
Sword
the
need
instrument
of Bizet's
of
"Ring
three
trumpet
the
trombones,
rich
Excepting Wagner
and
where
bass
and
and
thus
of the instrument;
Motive,
trombones
He
itself,and
color
ily.
fam-
Nibelung,"
trombone.
in
complete
tones
produced
tenor
bass
moniacal
de-
"Carmen."'
are
the
to
in
the
deep trumpet
belongs
be
only
instances
wonderfully
a
and
trombone
Walhalla
family.
critical moment
the
peculiar tone
in the
three
the
obsolete
group
be able to utilize the
as
of
the usual
almost
trombone
a
of
in the
reason,
the
Motive
the first act
notes
brass
the
Strauss
effect
to
in addition
Wagner,
scored
than
exquisitely soft
Nibelung,"
the
Richard
slide,this instrument
For
to
a
the
as
pianissimo
brass
at
effectiveness
and
in the introduction
when
of
fateful
and
a
Just
of
soprano
Siegfried
the
"Ring
prove
its proper
by
it.
number
for the
in "Fidelio"
approaches
cited
for
single one.
a
the
it is not
trumpet
fanfare
aid
or
brass
more
large
a
the
finer
a
much
on
increase
group,
is
a
instruments
score
by
on
effects.
The
The
to
violins
produced
composers
the
produced
violin, so
with
instruments
fact, wonderfully rich and
how
many
solo
a
can
few
knows
who
composer
be
can
brass
the
of
matter
a
effects
tone
that
as
191
Instruments.
associate
People usually
noise.
ORCHESTRA
OF
it is
bone,
trom-
velvety quality
Richard
Strauss,
HOW
192
used
bass
the
revive
rich
touch
Mozart
of
tuba
solo
his
for
genius
a
color
it with
secure
the
ily,
fam-
brilliancy,whereas
the
is darker.
the
in the
as
in which
scoring
;
and
of
the
second
supported
act
of
by
the
Wagner's
tiiimpets
and
four
of
sense
trombones
Wagner
wrote
the
trombone
for
the
Schubert
in which
C
major
of
out
familiar
"Ring."
his trombones
in order
to
to
as
good
the
third
the
Strauss
in four
since
family.
same
points
parts,
differentiate
is
instance
sound,
in
in
scene
another
homogeneity
bones
trom-
melody
trumpet
tromtones.
belong
to
phony,
sym-
of
example
Prophecy
a
phony,
sym-
that
three
by
introduction
Death
the
showed
maimer
his
to
Walkiire."
"Die
throughout
bass
In
the
given
is in the
"Lohengrin."
act
is
another
for trombones
;
effect in
fine
first movement
theme
a
in unison
by
introduction
in the
with
Flute"
"Magic
in the
well
as
trombone
instrumentation
them
used
fact,
instrumental
it belongs to the trumpet
trumpet
employed
Sarastro's
of
as
an
without
solemn
could
he
to
Trombone.
Contra-bass
he
that
trouble
wanted
W^agner
be
have
not
the
taking
keen
his
would
Trombones.
Tenor
3
and
which,
of the bass
tone
of
should
trombone,
a
instead
which
tone
him
has
who
composer
But
informed
sense
MUSIC
trombone.
sombreness,
of
trace
a
here
tuba
bass
the
unusually
bass
is not
probably
there
APPRECIATE
TO
In
out,
adding
wholly
be-
HOJV
194
''Surelythe
bassoons
two
APPRECIATE
TO
in every
Mozart
direction
tone
refined
most
brilliance
with
secrets
innumerable
brought
to
of; trumpet
and
main
thing
for
the
is the tireless
*Meistersinger'
horn
the greatest
"To
of
Berlioz's
of the
every
express
but
"
the horn,
fillingout,
as
the
been
like
of
praise.
this
of
ing,
scor-
possible.
Protean
(again!)
valve
the
technique
made
now
The
hymn
in the
the
bass.
perfection of
and
has
now
horn's
exhaustively
I should
horn,
scores
day,
to
tional
emo-
dreamed
was
characterization
improvement
illustrate
the
made
duces
pro-
of
participationof
is
score
harp,
by superb polyphony
before
are
introduction
the
since
for
now
the
the
added
\\'armth
and
never
humorous
or
melody,
Through
as
trombones
of solemn
phase
height
a
such
expression
of
effects, and
tone
with
and
parts,
employment
new^
perception
weird
stringquintet,through
into
the
and
possibilities
almost
an
ner
by Wag-
exhausted
been
the
;
divisions
through
is
have
and
clarinets
two
of their technical
plasticallycombined
of all their
oboes,
flutes,two
two
of
MUSIC
to
character
through
go
the
great magician, bar by bar, beginning with
'Rheingold.'
"Whether
with
heart
it
the
and
nigh
it
for the
mother
the
conjures
he
the
the childlike
never
has
form
thanks
to
to
the
the
sea
of
longing
which
is to
dying Tristan,
prince
the
steppes:
of
Siegfried
; whether
known
faithful
'Mazeppa'
of the Cossack
desert
vast
gently undulating
gladdening
Sachs!
in
death
unto
Siegfried'syouthful
in Liszt's
gasp
est
for-
primeval German
of
living;whether
in the last hoarse
whether
over
of
the
exuberance
sunny
joy
it dies out
rings through
it hovers
bring Isolde's
or
nods
Hans
'Prentice; whether
in
INSTRUMENTS
Erik's
it
dream
Sea
North
the
apples
fun
at
to
break
of
Freia
pliesthe cudgels
and
sings
or
gift
of
; bestows
upon
youth; pokes
eternal
with
III)
of
notes
instigatorof
the
wounds
in its manifold
be
relied
"
sponds,
re-
on,
its brilliant
and
meanings
riot ;
the
Tristan
of
to
;
jealous Dofuid
the
real
horn, in its place and
unique
the
accents
Act
('Meistersinger,'
is the
and
195
hollow
lonely coast
Beckmesser
veiled
in
the
always
the
few
a
the
on
on
comrades,
his
in
causes
curtain-heroes
the
ORCHESTRA
OF
significance."
Famous
horn
in the
are
major
said
of
trio
; in the
Symphony"
the
the
in
;
in
the
the
"Carmen"
;
in the
like
perfection of
a
melodic
"battery"
the
the
are
could
what
of
the
in
the
Fifth
weirdly
roll
of
Funeral
be
scherzo
sombre
the
March
and
in
at
ment
move-
is the
horn.
the
prime
gave
these
also
in the
Ninth
effect there
tympani
in
which
of
with
accomplished
the
solo
Beethoven
tympani.
of
ture;
over-
of the slow
instruments
the
Symphony
for
an
of Percussion.
Instruments
In
of
romance
Symphony,
phrase
return
"Freischiitz"
theme
Fifth
the
voice
the
Michaela's
to
opening
Tschaikowsky's
of
Schumann
were
introduction
and
which
just before
Weber's
C
Schubert's
of
of
posers
com-
"Eroica
the
horns
of
opening
other
in
movement
passage
of the
notes
of
works
Scherzo
the
principal subject
the
angel
of
second
symphony,
that
in the
passages
scherzo
octave
thumps
"Gotterdammerung."
and
for
while
nothing equal to
beginning
to
cue
in the
Symphony,
is
the
tance
impor-
end
the
a
faint
of
Cymbals
the
are
HOW
\rj6
used
in
several
has
Wagner
and
Besides
ways.
sharp
also
the
of
by using
like that
drum-stick
a
on
of
one
a
bal,
cym-
drum-sticks
of
pair
a
clash,
ordinary
somewhat
sound
a
stroke
roll
a
MUSIC
on
cymbal.
one
Among
Richard
either
Dvorak,
Strauss
Berlioz
technique
have
it
"
Tschaikowsky,
hardly
Wagner
or
Brahms
taken
the
characteristics
their
do
should
for
be.
the
Their
other
understood
and,
as
a
sult,
re-
effective
as
has
orchestration
or
individual
the
not
are
mann
Schu-
hand,
instruments,
orchestra
brilliant
shown
understand
to
course,
mention
to
have
to
appear
of orchestral
works
have
"
On
trouble
and, of
is necessary
again
not
W^eber, Liszt,
Beethoven,
in orchestration.
and
they
since
composers
Saint-Saens,
to
APPRECIATE
produced
the
by
gong,
TO
been
as
called
"mudd)''."
It
is Richard
Strauss's
in
orchestration
adding largely to
now
have
He
of
one
symphony
two
he
are
few
at
professors
the
four
that
of the
in the
invention
groups
that
for
all the
be
family
of
instruments
the Brussels
genius,
a
genius
who
horns
to
be achieved.
G
minor
nets,
clari-
clarinet
lines
with
and
the
an
of instruments
and
;
that
With
enlarged.
combines
the
(alto clarinets),
such
virtuosity of instrumentation,
yet
which
twenty-two
suggested by Strauss,
manner
by
tory
Conserva-
Mozart's
on
groups
about
representativesin
along
will be
vancemen
ad-
next
brought
contra-bass
one
it will
future
him
the
that
be
had
basset
were
clarinets, and
suggests
musical
instances
which
with
a
certain
performed
brass
orchestra
will
only comparatively
orchestra.
of
opinion
chestra
or-
plete
com-
used
by
melodic
marvellous
sults
re-
XI
CONCERNING
said
somewhat
formless
times,
freer
in
its
Instrumental
which
than
it
by
the
to
book
a
should
I
quote,
"The
Evolution
several
apt
paragraphs
force
of
the
the
to
the
from
range,
which
without
Mr.
from
not
to
continues
the
the
first
most
that
:
mere
suitable
of
had
197
to
has
ment
developwith
equal
instinct
the
liberation
wider
of
pelled
im-
freer
and
expression,
rambling
the
in
Parry,
Music,"
melodic
warm
sense
continuous
for
over
counterpoint,
of
formal
veloped
de-
occasion,
that
the
sought
"Tliey
first
earlier
stating
more
handed
apply
incoherent,
type
nothing
of
course
cal
classi-
the
Mr.
the
movements
into
degenerating
Parry
of
After
admit
come
be-
symphony,
been
Art
all-predominating
should
the
previous
the
first
and
has
having
having
concerning
develop
of
is
form
had
of
who
the
them
have
symphony.
form,
instruments.
which
sonata,
composers
music
of
quired
ac-
rigidly formal,
mind
in
and
a
gradually
beginning
the
orchestra,
which
then
largely by
bear
aggregation
from
of
^i
the
governed
had
arts,
emotion.
since
pianoforte
the
on
other
discarding
not
of
for
all
too
expression
reader
sonata
a
while
been
has
the
became
music,
period,
like
beginning,
then
form,
modern
music,
that
1HAVE
in
SYMPHONIES
instrumental
ecstasy,
tO'
see
melody
music.
is
HOW
198
There
is
music
the
in the
deep-rooted
of
need
then
the
and
supported
an
unmistakable
to
proceed
which
"But
this
point,
of
of
fresh
to
the
half, but
in
contract."
of
the
This
describing
in the
division
type of
by
the
on
sonata
time
that
how
key
from
the
shown
as
give
pression
im-
the
in
key
a
round
so
made
they
and
relating to
Haydn
the
of
Purpose
book.
elaborate
than
form
Mr.
and
I
of
method
adopted
have
the
key
pianoforte.
Symphony.
Parry,
which
the first
the
of
back
final close
conclude
more
of this book
working
used
to
plete
com-
figures of
their
somewhat
sonata
balance
they made
were
starting
expectation
melodic
and
is
a
in
the
keys,
and
the
to
and
instead
movement
of
using
first, and
principal key
in his
out
to
apposition
extraneous
Esthetic
Later
how
the
subjects
the
the
found
music,
the
and
to
in
; so
figures as
same
of
giving
and
departing
dissatisfied
starting point ;
the
of
is.
design.
disclosures
in
"
impression
mood
that
tonality
They
without
mind
the
first part
with
the
contrast
the
by resuming
the
of it.
which,
ment,
accompani-
particular key
some
point being
leaves
harmonic
posers
com-
phrases.
completeness, by closing
is in strong
off one-half
melodic
definite
of
figures;
relative
a
of connected
spiritand
'subjects'and
of
in
another
to
characteristic
in the
scheme
devise
to
indication
by giving
all instrumental
These
impression
being decisively in
passing
of
matter
by simple
of
and
MUSIC
rhythmic vitality.
contour
defined
the
gave
some
themselves
set
begin with,
to
APPRECIATE
TO
was
Mozart,
in
discussing the
fairly established
gives
a
simpler
SYMPHONIES
CONCERNING
esthetic
of
the
explanation, pointing
aims
movement
niteness
of
of
groups
bars
the
By
mind
has
had
the
breaking
elements
of
of
sense
up
aims,
give
the
of
the
pleasing
has
division, therefore,
of
subjects
the
from
time
and
symphonic
in
; a
three
second
slow
final movement
the
rondo
time
what
what
how
wit
form.
of
symphony
in
the
that
they
they
could
could
glad they
a
their
wrote
sonata
or
simpler ty])e
rondo
and
type;
also
usually adapted
Concerning
this
three-movement
wrote
do,
the
feel, and
were
theme
ment.
commence-
first
in
sion
divi-
lively time,
it
early writers,
they
the
the
or
completed
principal
usually
aria,
ture
crea-
first
the
since
:
is
sense
human
is
of
movement
song,
the
"
the
methods
movements
to
through enough
scheme
writers
key,
to
disgiu'sedprinciple
to
the
the
however,
bewilderment
"
of
irregularly;
key
gone
carefully avoided
form, usually of the
to
but
attractive
orderly
constituent
which,
:
has
of
sense
the
earlier
movement
a
mind
immemorial
been
symphonies
of
from
firmly re-establishing the
has
The
inner
some
wants
represents
bars
the
the
over
obliteration
the
ancing
bal-
of progressions.
and
their
into
constantly
riddles
by resuming
which
rhythm,
the
made
is
second
always regulated by
When
regular
definiteness,
such
of artistic confusion
order.
of
this first division
of
by moving
of
subject, defi-
definiteness
rhythms,
time
figure and
sense
of
definiteness
regularity by grouping
and
that
and
enou"h
The
change.
a
keys,
first part
the
that
out
definiteness
at
of
contrast
199
it
was
the
first
second
the
over
was
third
"
said
by
movement
movement
movement
and
this
an
to
show
to
show
to
may
old-
show
be said
HOIV
200
TO
describe
to
rigidityof
toward
form
Regardingthe
or
way
and
poems,
idea
of
climax
by
the
with
no
had
years
would
the
this
have
certainly is
of
his
Ninth
to
compose
his
he
writes
for
Beethoven's
appears
falling into
the
be
of
the
sonata,
of orchestral
Tschaikowsky,
and
and
continent,
Dvorak
the
two
if Brahms
too
and
in
classicallv
sult
re-
better
Brahms
even
poser
com-
the
fact
written
his
other
works
hand,
the
in the orchestral
because
it greater
have
the
worked
appears
it would
tone
variety.
in
brilliantly,
symphonies
reserved,
exact,
was
for
the
gives
his
the
more
music
symphony,
former
maturer
modern
every
reason
On
out
instmments
be
to
or,
pianoforte, and
disuse.
the
in his
Composers.
the
undoubtedly holding
yet it is
;
symphony,
pianoforte
to
its
reached
theory.
own
hamper
to
seems
had
a
Modern
Hamper
Wagner's
age.
Wagner
was
in time
ranked
Symphony
if
that
be
form
symphonic
hand,
other
to
sure
emotional
profound
the
on
it
artistic
highly
and
a
mastered
have
who
in
poets
disproved
form,
form
is
version
form;
greatest
to
of
somewhat
color
in poetry
symphonic form, however,
most
form
prejudice one
poets
yet he is
undertaken
when
in
and
incredible
sonata
that
sonnet
Whitman,
the
Seems
The
is much
there
Beethoven's
means
general.
abounding
Walt
that
was
The
music-lover
ultra-modem
extremely effective
qiiiteformless,
one
in
in music
poems
expression.
the
yet those
and
produced
have
of
form
other.
rigid form;
as
view
the
MUSIC
APPRECIATE
seem
cessfully,
suc-
this
too
to
HOW
202
APPRECIATE
TO
The
the
At
risk
of
of the sonata,
four
in
Naive
sometimes
with
frequently without
called
the
Andante
and
slow
final
rondo
form.
It
these
of
which
few
a
by
orchestration
out
and
is
other
by
of his
way,
there
is
than
of
was
and
music
and
ing
fill-
mere
a
deeper
a
the
and
intense.
more
grams,
pro-
Their
with
Haydn,
warmth
greater
posed
com-
naivete,
on
Mozart
was
He
concert
occasionally.
nature
thought
a
modern
on
instruments.
dramatic
more
tablished
pretty definitelyes-
string quartet
a
in
usually
and
simplicity bordering
a
;
twenty-five symphonies,
appear
but
or
scherzo
or
symphony.
the
and
these
even
is marked
of
hundred
only
and
the
divisions
more
Adagio
in
minuet
time
who
Haydn
was
one
fast
in
an
ordinarily
usually
either
movement,
but
movement,
and
movement
in all
second
; a
movement,
third
; a
a
one
usually
introduction,
slow
a
work
a
as
first movement,
the
"
be described
may
said
been
ah'eaclyhas
what
symphony
movements
Allegro,
Symphonists.
repeating
the
MUSIC
In the
color
in
pression
ex-
same
his
chestration.
or-
Nevertheless, the three finest of his fortynine
symphonies,
composed
1788,
m
grace
and
he becomes
this
of
symphony,
and
is
an
great
as,
let
Haydn
almost
us
us
both
in
skillful
advance
say,
minor
and
childlike
in
and
upon
their
written
were
Mozart,
to
of
the
Tschaikowsky
with
but
his musical
regard
use
Jupiter,
less
art-
moderns.
symphonies
distinctlyepic in
expression
as
to
first two
influence
flat, G
E
seem
beauty
Beethoven's
the
the
utterance
variety and
orchestral
work
is upon
the
of
under
third
:
and
depth
of
instruments,
his
sors
predeces-
Mendelssohn,
SYMPHONIES
CONCERNING
Beethoven
There
certain
symphonies
Third
the
is
is the
far
less
Fifth,
with
its compact,
Ninth.
the
himself
for
Sixth
the
which
is
often
music
his
Seventh
the
Ninth,
beyond
last
with
scheme
as
of
is
Symphony
the
limits
orchestral
solo
joyous
effect
the
as
might
lead
his
writing
one
for
to
employment
direction
a
is
gram
pro-
dulged
in-
a
work
he
was
going
in
introduced
chorus,
of
with
while
one,
this
anticipate, because,
voices
the
brilliant
he
music,
and
of
description.
felt that
singers
phonic
sym-
straightway
extremely
himself
he
of
movement
much
an
final
Beethoven,
that
childish
most
exceedingly
an
though
as
the
prepare
modern
of
qualifying words,
own
again
EmpHndung
"mehr
fact
the
than
imitates
painting),
than
by
movement
he
by opponents
quoted
Eighth
slow
:
to
his
in
which
in
is
relaxed
order
in
the
this
of
greater
have
career
In
feeling
"painting"
in
the
his
notwithstanding
;
of
spite
the
of
ing
knock-
Fate
as
even
to
thoven
Bee-
which
movements,
"
Eighth,
(the "Pastoral"),
(more
and
the
seems
Ninth.
als Malerei"
The
of
the
But
introduction
birds, he gives the direction
call of
in
described
skillful
he
climax
the
work,
theme,
and
Seventh
the
vigorous
masterpiece
this
After
Sixth,
the
his
as
Fourth
The
relaxes.
in each
form
regarded
many
in
varied
in
Thus
rests.
master
his
and
door,
certain
first three.
have
to
Beethoven's
of
sequences
the
the
is said
Fore.
and
of
profound;
the
theme
the
chmaxes
chmax
himself
at
in
apparent
are
the
to
203
extremely
but
not
unusual
tunately,
unfor-
awkward.
HOW
204
TO
APPRECIATE
Schubert's
Like
but
C
Beethoven,
major,
his
in the
ninth,
which
for
beautiful
most
its
to
C
They
are
the
music
the
full of
matic
dra-
the
slow
while
orchestration;
Schumann's
symphony,
ones
^the first
"
exquisitemelody,
of
sent
among
Symphony"
rose
major
and
brother
orchestral
of
as
veritable
the
regards
well
as
a
of
"Unfinished
the
moments
movement
survive.
the
mann
Schu-
by
Leipzig, are
at
and
eighth,
Schubert's
production
to
symphonies,
discovered
was
of
examples
of
movement
his
was
which
destined
seem
nine
wrote
which
possession
Mendelssohn
to
Genitis.
Schubert
"Unfinished,"
the
MUSIC
as
ence
refer-
"heavenly length" sufficientlydescribes
its
inspiration.
Mendelssohn's
best known
orchestral
for any
and
with
Of
its
Schumann's
four
to
soul
Rhine
Cologne;
a
and
is
a
certain
the
freer
and
thematic
more
the
a
rank
each
series
in
modem
effect.
But
sions
imprespecially,
es-
possessed
In
his
cathedral
the
really
the
without
this connection
flat,the
of
latter
highest.
iarized
famil-
movement
relationshipbetween
and
in E
one
thing
some-
palatable.
made
which
which
other
is
rene,
se-
easily taken
an
fourth
exaltation
minor,
D
to
the last movements,
a
represent
the
follow
movements
the
and
gradually
form
religious ceremony
fantasia, deserve
the
to
be
to
symphony
country,
represent
during
wants
his
are
clear
are
symphony
a
symphonies,
supposed
the
thinks
the
"
symphonies
They
mysteries, they
dose
of
who
and
innocuous
"Rhenish,"
Scotch
works.
one
abstruse
very
and
Italian and
D
pause;
is
there
the work
Schumann
a
minor
first and
the
gives
at
was
CONCERNING
either
indifferent
to,
Practically the
symphony
which
a
deserves
World,"
Such
afloat.
form
art
tending more
and
the
and
tone
Liszt
written
three
Lamento
made
"Pathetique."
help keep
of
the
of
In
"Les
are
In these
They
symphony
a
both
because
of
"pure"
people
as
a
conceived
the
these
his
the
Liszt
great
because
is
infinitelymore
they
regarded
of
Saint-Saens
as
Not
composer.
one
with
the
ver}''
a
Liszt
poems
in
episodes
for
music
the
chestral
or-
chestra,
or-
beautiful
in fact,
highest
interesting
something.
mean
"Tasso,
leitmotif
great program
"
phonies
sym-
symphonic
symphonic
in accordance
and
art,
music
but
The
intention
and
drama,
Preludes," and
dramatic
are
sent
repre-
Goethe's
Of
principle of
the
phony,"
Sym-
which
superbly instrumentated, profoundly
thought
poem
"Faust
Mephistophelcs; and
Trionfo."
use
:
is introduced.
music.
in
a
music
symphonic
movements,
Commedia."
chorus
e
"New
orchestral
the
principal characters
the best known
poems,
has
three
of
"Divina
a
ern
mod-
his
may
symphonies
two
Faust, Gretclien, and
Dante's
stein
Rubin-
the most
his
modern
toward
more
consisting
to
But
intermezzo,
with
with
the
poem.
has
the
but
life-preserversthat
are
into
minuet.
Dvorak,
are
Tschaikowsky,
works
the
;
who,
Brahms,
to
or
mention"
symphony
Beethoven.
introducing
the scherzo
"honorable
and
sinking
for
credit
place of
of
since
place
in
advance
the
style of movement,
the
heroes
the
new
takes
taken
thing applies
same
deserves
however,
205
ignorant of,
or
had
which
orchestration
is
SYMPHONIES
By
ons
can-
than
some
charlatan, by others
mere
only
was
he
a.
great
poser,
com-
greatest.
symphonic
poems,
"Rouet
d'Om-
2o6
HOPV
TO
APPRECIATE
"Phaeton,"
phale,"
there
Martin
Loeffler,
"La
Mort
de
Wagner
is
and
only
part
of
part
the
scheme
of
any
his
and
baton
that
great
and
has
gone
the
with
been
first
before!
chord,
A
he
of
voice,
But
put
purely
a
you
the
theoretically)
and
action
the
of
forget
in-
instrumental
episodes
wave
chestral
or-
for
wrote
(again
first
poem.
Strauss.
music-drama
the
Charles
of
conspicuous.
most
was
And
symphonic
have
to
accompaniment.
of
value.
Richard
to
orchestra
triple
a
program,
else
is
the
Theoretically,
his
stmmental
which
tioned
men-
erably
consid-
but
impressions
supposed
composer.
be
class,
musical
orchestral
devoted
not
should
this
genuine
Tintagiles,"
is
theatre,
of
among
chapter
separate
in
the
are
Macabre,"
works
Liszt's
below
then,
"Danse
successful
as
MUSIC
on
the
a
cert
con-
tor's
conduc-
everything
XII
RICHARD
STRAUSS
STRAUSS"
RICHARD
with
band
Wagner
ask
Are
the
in
full
a
achieved
in
Wagner,
in
has
is. in
forms
fact,
one
to
progression
take
to
of
from
the
It
that
his
has
ner
Wag-
nothing
to
appropriates
latest
predecessors.
and
original
most
?"
ard
by Rich-
the
art
still
of
Strauss
of
ceeded
suc-
sciences
and
continuation
a
note?
be
to
achieved
been
some
something
arts
Wagner.
beyond
the
right
a
has
not
there
other
neither
opposition
whatever
in
certainly
It
an
with
as
not
final
the
'Parsifal'
Is
"Did
'music'?"
strike
a
years
many
front.
word
not
and
music
new
Strauss.
he
pause?
eternal
an
Something
do
Tristan'
'Ring,'
nor
"Did
the
by
borne
who.
the
to
after
is
those
Wagner
stop
surprise.
by
be
of
flag
banner
like
conjure
to
name
new
His
enthusiasts
the
put
will
to
of
carried
ago,
a
music!
in
MUSIC
HIS
AND
ter
mas-
Strauss
of
individual
composers.
He
been
has
Thus,
where
Bayreuth
and
student,
a
others
have
master
have
school,
giving
Strauss
has
who
struck
feeble
out
sat
for
echoes
himself.
Z07
Wagner.
feet
the
at
imitations
poor
failed
of
copyist,
a
have
written
therefore
only
not
even
of
to
its
With
of
of
ner,
Wag-
continue
great
a
the
the
master,
mastery
of
jo8
technical
every
he
study,
to
has
form
a
given wholly
The
drama.
music
disciplesounds
One
has
Let
independent
an
for
not
me
of
creator
remain
to
forms
have
of
come
them
form
Emanuel
next"
from
music-drama
was
hand
of
to
have
does
to
made
three
make
others.
what
he has
But
the
at
as
with
begun
in
"continued
No,
since.
ever
in "The
"Parsifal."
but
the
hand,
the
it would
be
same
appear
Tone
in
less
Poem.
require such
into
accomplished
stor}'
more.
appear
his fame,
The
lay between,
the
who
rounding
and
in
Wagner
make
of art-
those
to
beginnings
by
ever
Strauss
excursions
destined
"supplements"
1882
is the
creators
been
Wagner.
Richard
Strauss
Richard
have
to
to
guided
belittling
seems
have
to
its tentative
Originator of
Nor
Other
said
with
1843
self-defeatingfolly
order
also
its consummation
Dutchman,"
master
and
had
being.
experiments.
be
may
for
Wagner
development
were
Beethoven,
to
years
the
Bach
music-drama
Flying
The
with
sonata
Philipp
The
them
ner's,
Wag-
as
pioneers, leaving
mere
after
what
the
our
been
have
of
out
its greatest exponent.
like
reason
Strauss.
who
Strauss.
work,
art
and
Wagner
be understood
art- form
an
Wagner
like Richard
his
magnify
to
like
intellectual
moment
one
in order
Wagner,
one
this is that
musir-
the
modern
but
sounds
patient
importance
from
average
Wagner,
Strauss
for
reason
the
like
not
Richard
water.
of
and
vahie
new
entirely different
art
and
acquired by deep
resource,
of
MUSIC
APPRECIATE
TO
HOJf
tactics. He
music-drama
present,
an
rests
instrumental
and
has
he
may
mainly
upon
composer,
2TO
HOIV
Paur's
baton
at
Society,
twenty
imitation
an
before,
but
she
paths.
rose
at
It
Not
the
at
of
Zarathustra"
Hero's
Life"
with
what
but
because
has
the
the
initial
worn
off,
to
sake
of
of
of
in
the
most
higher
When
the
been
in
scores,
than
Beethoven
Beethoven
F
above
higher
the
the
he
Richard
an
Strauss
these
been
modern
the
of moderns,
deliver, and,
modern
chestra
or-
with
the
violins
as
All
are
octave
an
What
tonal
Richard
manner,
lower.
orchestra
into
of
versatility
go
strument
in-
orchestra,
predecessors.
stopped.
octave
effects.
daring
the
the
casual
chestral
or-
of
entered
developed
his
for
orchestral
with
"A
aware
to
carried
staff, he
"Thus
"bigness,"
of
in music
dared
had
wrote
a
and
efficiency
any
Strauss
not
being
expression beyond
ment
amaze-
lengths
that
juggling
it, has
mere
produced.
and
message
state
a
first
the
becomes
one
have
composer,
deliver
to
in
sense
discovers
one
modem
most
in order
has
This
combinations
the
untrav-
thirty-three minutes,
combinations
tone
times
Orchestra.
Strauss
he
lasts
having
for
the
"
Listening again,
merely
throws
who
woman
to
way
also
merely
not
hundred
a
forty-five considerable
works.
marvellous
is
that
w^as
pointed the
Richard
at
Spake
such,
which
Juggler
size
that
heard
waiting
music
in
new
had
been
had
she
monic
Philhar-
genius.
first looks
One
what
she
always
a
Ne;w'^ York
the
something
what
feet of
the
MUSIC
something
"
something
eled
as
heard
great;
of
of
concert
a
for
years
something
was
APPRECIATE
TO
violins.
high
as
should
have
the
strings
scored
corre-
RICHARD
STRAUSS"
spondingly high.
What
Richard
is not
merely
obtains
the
is
this is not
But
Strauss
genuine
bizarre.
original
highest register
is
strings only, because,
the
and
weaving
divides
four
five
or
woodwind
hitherto
and
While
he
He
orchestra
for he
he
He
has
is
knows
taken
In
orchestral
regular
not?
The
There
is
or
an
These
into
a
to
be
in
four
not
it is
the
the
wind-machine.
produced
divided
quartets, but
by
one
he
sibly,
pos-
on
an
of
the
repertoire.
the
list of
where
scene
windmill,
capellachorus
are
works
outside
gone
the
theatrical
effect
has
makes,
his
in
scherzos
and
tilt with
his
has
a
voices.
he
instruments;
Quixote
all
properly played,
Quixote,"
is not
he
legitimatelysolved.
Pranks"
of
with
thoroughly,
effects
be
cannot
amusing
and
his "Don
possible.
im-
compared
as
instrumental
new
if
But,
bizarre
of
and, therefore, when
all ;
on
greatest demand
orchestra.
sides
be-
is not
instrument
Eulenspiegel'sMerry
the
most
Wagner
every
lessons
striving for
"Till
the
to
difficulties
them
requires of
did
so
putting problems which
His
he
"
numerous
instruments
technical
the
he
"
does, indeed, call for first-rate artists in
; but
Beethoven.
effects
themes
into
the
five trumpets.
to
increased
instrument, what
every
his
four
from
has
of
regularly, for eight horns,
scores,
employing
Often
few
a
and
regularly added
has
used
rarely
in
various
he
reason,
strings
seeks
he
strings
all the
same
the
polyphonic
of
fad.
mere
effects.
him
certain
interweaving
the
For
groups.
with
What
by
211
a
as
musical
used
for
subdivides
and
done
accompHshes
or
queer
MUSIC
HIS
Don
duced
intro-
has
And
why
the
justifies
means.
Strauss
sixteen
into
the
two
for
double
composition
tets,
quaractu-
musical
sixteen
in
is scored
ally
APPRECIATE
TO
HOW.
212
"A
When
at
Philharmonic.
it
that
"
Life"
It made
it had
and
be
to
thus
attention
leben"
performances
a
this
to
Life," Richard
very
and
of
as
clear
a
composer
more
as
had
awe
mere
an
public
whom
than
music,
the
on
a
human,
but
intellectual
all the
message
Here
more
to
thing
some-
which
of
for
several
of
"A
Hero's
of
a
moral
had
was
the
up
familiar
previously they
interest.
"Helden-
a
hero's
word
rial
mate-
It
one.
footing
regarded
music
made
polyphony
told, without
greater
a
direct
to
to
its wealth
score
and
subject that
a
son.
sea-
works,
the
"hit"
intelligiblestory
by
one
created
working
chosen
in
with
with
interesting
interesting because
convey.
hearsal
re-
secutive
con-
Thomas,
But
the
Despite
public
begun
had
dimensions
had
victory, followed
the
under
"
noise
and
Strauss's
of
the
of four
society
made
the
are
bulk
honor
same
been
had
appeal.
a
the
of
impression
Philharmonic
They
combination,
synopsis,
the
the
Strauss
direct
theme
placed
no
York
New
following
a
composer.
by
sensation.
Large
seasons.
at
Orchestra,
public unconsciously
a
from
concert
mere
Orchestra,
Symphony
public
of
as
performances
by the Chicago
Boston
not
having
by
and
profound
a
repeated
concert,
Previous
mainly
rehearsal
music,
as
in
produced
such
performances
the
shrinks
Noise.
and
was
public
a
recognized
was
Bulk
Mere
Hero's
given
was
He
parts.
problem.
Not
it
MUSIC
it
is the difference
What
music
Write
?
still remains
of
expression
life and
truth.
new
with
era
like
It is
the
represents
it
in
when
coming
orchestra
but
a
music
his
its
musical
of
dreams
chord
a
"A
Piper
musical
music
you
like it ?" Mr.
him
how
intenselyI
"the
I
Huneker
hero
the
seeing
the
orchestra?
the
of
the
know
you
I told
when
me,
of
piper
"Do
''Because,"
story.
is
story
has
advanced
most
seen.
at
tion
collec-
This
asked
admired
listeners
Huneker
of.
is
the
and
read, Mr.
which
baton,
remarkable
most
know
be
only
not
chord,
Dreams,"
of
fiction
produces
continued,
the
I have
stories
be
we
floatingabove
image
why
he
and
"
his
wave
time
the
will
long
and
truth, but
expresses
will
composer
a
''Melomaniacs,"
tale called
piece
How
to
write
both
can
only
a
upon
itself,so
illustrate
to
of
clude
necessarily ex-
not
who
not
pictorially.
time
of
beginning
is the
entering
does
ference
dif-
expression
the
seems
beholders, hearing the
same
In
music
the
music
Classical
:
modern
and
it, and
on
music
author-artist
strike
also
the
this
Strauss, which
To-day,
draw.
lx"ok
a
modern
;
Modern
beauty.
speak,
or
just
beauty
classical
between
chapter
a
213
Truth.
and
Life
MUSIC
HIS
STRAUSS"
RICHARD
Richard
a
Strauss."
Of
course,
incursion
jx)intsa
be
can
laws
so
of
this
into
seen?
When
Considering
acoustics
may
be
story
seemingly impossible
a
tendency.
visionary?
future
written
brilliantly
and
Who
visible
shall
how
sound
but
"
Yet
future.
have
music
closely related
optics, is
knows
we
a
"Piper
that
the
the
work
daring
a
was
of
that
are
the
Dreams"
music
of
it
a
of
the
piper
of
214
HOW
dreams
?
Sometimes,
Hiineker's
Mr.
Richard
fact
of
Piper
they
is
The
musical
stands
it is
it fails.
But
in the
musical
admit
of
on
answered
Hero's
Life."
in
any
shows
a
this
Richard
into
Strauss
Liszt
aptly
poems."
Berlioz's,and
tone
to
writes
is
They
the
to
his
are
But
kernel, the difference
own
Liszt,
lioz
Ber-
program
music.
the
when
at
once
orthodox
But
we
symphonic
productions "symphonic
freer
much
possibly pointed
poem.
cussion
dis-
wholly superficial. Berlioz
adhere
named
or
wrote
program
"A
Strauss
his works.
Liszt
music.
elaborate
Berlioz
from
tone
and
Richard
consider
to
is best
Strauss
an
to
ered
consid-
question
Zarathustra"
going
that,
be
to
Richard
a
patent
too
me
The
Spake
of resemblance
admittedly strove
Strauss
so?
what
program
point
form.
to
deplorable unfamiliarity with
wrote
music.
significantfigure
most
development
a
way
tellectua
in-
how
matter
only question
Without
insist
which
by
test
basis.
seems
become
"Thus
Take
I must
as
The
by showing
is.
poem
he
inspired
an
Dramas.
is the
to-day
discussion.
has
man
inadequate musically
brain
a
Strauss
world
is, how
No
a
musically inspired,it gains vastly
it rests
Richard
be
as
In
plan.
to
is the
if it is
Literally Tone
That
him
well
falls.
or
planned,
if it is
in effect when
show
course,
in
large
are
activity,as
latter, of
work
I think
up.
poems
They
intellectual
great
tuning
tone
colossal.
are
MUSIC
listeningto Strauss,
when
Strauss's
composer.
a
APPRECIATE
TO
way
in
to
examine
form
the
Richard
the
is apparent.
than
cal
musi-
Poly-
RICHARD
phony,
that
themes,
was
is
is, the simultaneous
foreign
mainly homophonic.
of
system
his
such
scores
too,
None
to
the
are
but
of
For
It
like
was
tra."
of
The
works
a
of
man
Strauss
Faust
the
in
composer
became
when
is not
the
end
left
at
of
the
his
the
varied
his
of
music-drama,
study
at
the
the
beginning
mountain-top
symbol
He
of Nature.
pursues
all sorts
among
and
final solution
the
The
the
joy, passion,
lies the
with
deep
work,
of
seeker
conditions
remorse.
of
the
In
But
not
"
he
inscrutable.
in C
the
major,
seeker
sunrise, is
the
tain.
moun-
surroundings,
He
men.
wisdom,
of
quest
which
greets the
many
problem
a
life,finding
and
descends
of
of
that
glories of
quest amid
this
philosophy through
problems
of the
of
music,
to
portrayal
Nature
Nietzke's
in
Zarathustra."
pilgrimage
beginning,
"Zarathus-
his
Nietzke
set
musical
solve
to
of
Spake
system
the
illustration
Nietzke's
"
fruition
to
a
It is rather
which,
the
pressed.
ex-
such
activity,
Musically,the great fortissimo outburst
on
has
literallytone
poems
writing
is "Thus
express
being longing
had
poems.
Strauss
interested
was
attempt
an
to
he
full
The
effort
at
Such,
attempted
have
great intellectual
literature
1892,
sound.
a
made
tone
is, to select for musical
philosopher's works
an
tone
modern
"Guntram."
this
whose
?
Richard
as
could
Richard
his
phonic
poly-
a
structures.
Strauss's
pol)'phony
not
are
is
music-dramas
polyphonic
what
many
style
Wagner,
to
his
Richard
music
in
express
dramas
of
scores
of
Their
Strauss
even
in
marvellous
master
a
not
motives
leading
Liszt.
and
Richard
second
composer
215
interweaving
Berlioz
to
MUSIC
HIS
STRAUSS"
ences
experi-
perchance,
life.
But
the
2i6
HOW
TO
emptiness of "wisdom"
the
with
keenest
The
fugue.
divisions
theme.
end
But
by
satire
the
in
hark!
There
poem.
sombre
a
Therein
strophe,
fainter
even
its
winging
stroke
flighton
form
as
even
a
is
he
many
waltz
reach
may
and
vanish
into
the
him
thin
sunrise
at
orchestral
to
Then
It
air.
ended
the
depths,
modern
the
tra
orchesof
soul
the
resounds
Nature,
of
the
which
theme
mountain-top
symbol
theme
a
over
is the
; while
the
on
rise
times
twelve
bell!
a
seems
seeker, his earthly quest
greeted
of
followed
highest register of
the
instrumentation, until it
the
experiences
his quest.
the
in
composer
learned, yet dry, five-part
a
joy!
the
depicted by
varied
tone
Unending
of
is
seeker's
of
MUSIC
APPRECIATE
still
mysterious, still inscrutable.
'An Intellectual
Even
is
this brief
planned
grasp
on
of
synopsis suggests
large
a
the
outlining
he
has
his
himself
the
above
not
was
From
the
last
let the
analysis,
"Thus
and
assimilated
musician
the
intended
what
for
treatise, but
a
a
own
and
shows
that
But,
that
of
vain
is
tain
cer-
asserts
rectly.
indi-
quest, from
Nature
the
a
save
theme,
In
conclusion.
poem.
at
Zarathus-
Spake
preachment,
Zarathustra"
tone
In
details
Strauss
"Thus
chord
his
Spake
Strauss
during
occurs
draw
rejection of
Richard
litterateur.
tual
intellec-
an
composer's part.
Nietzke,
in
deep mysterious
listener
the
on
Richard
scheme,
thoroughly
point,
tra"
selection
"Zarathustra"
that
It presupposes
scale.
subject
its choice, in the
in
in Music.
Force
not
In the last
the
a
last
sophical
philo-
analysis.
2x8
HOW
self, his
TO
APPRECIATE
jealous adversaries,
consoles
him,
battle
the
worldly triumph,
indifference
is
impassioned
in
there
here
works
of
his
tone
poems,
; his
Hero's
the
a
opera,
"Feuersnot"
the old
legend on
founded,
But
the
lover
causing
town,
and
a
darkness
relents
and
lifted and
the
to
this
;
and
and
"Don
his song,
reminiscences
give
interest
once
the
one-act
According
to
Sing-gedicht (song-poem)
entire
again
in
Wagner
has
magician,
the
fires
"Death
Eulenspiegel's
Famine").
extinction
upon
of his earlier
Wagner.
to
maiden
a
recognition.
for
"Meistersinger."
("Fire
being
of
indulging
autobiographical
tribute
young
smiles
hand,
Zarathustra,"
These
same
which
the
dous
stupen-
a
mission
was
"Guntram"
Twilight."
pays
hero's
"Till
Spake
Tribute
Strauss
the
Helpmate,"
Hero's
Juan,"
"Don
Wagner's
to
is
the
with
the other
struggles
music-drama,
Life"
attaches
toward
scene
Strauss
that
"Thus
During
soul
reminiscences
numerous
Pranks,"
"Dream
is
his
the
to
own
heard
his
Quixote"
as
world's
On
Transfiguration," "Macbeth,"
"A
the
charming.
is little doubt
are
"
Merry
peace,
forces.
indifference
retrospect
a
For
and
world's
the
peace,
greatest
episode, entitled "The
amorous
In
his
battlefield
of orchestral
massing
of
love
wins
depicted musically
The
greatest eloquence.
he
flightof
is
whose
woman
in which
final
this
All
the
mission
his
the
and
empyrean.
the
MUSIC
upon
more
of
offended
casts
all
a
lover.
her
spell over
the
fire,bringing cold
place, until
the
maiden
him, when
the
spell is
burn
brightly.
The
in
lover, Kunrad,
young
city,says
rebuking
219
of
people
the
the
:
"In
this
which
house
Once
In
Accompanying
did
"Ring
"Richard
of
etc., etc.
edly
Undoubt-
ard
lines,is Rich-
above
in the
themes
introduces
Nibelung."
the
Master,"
the
him
expel
ye
destroy,
I
Master.
lines,Strauss
these
Wagner's
the
baseness,"
and
envy
to-day
Richard
lodged
Disgracefully
from
MUSIC
HIS
STRAUSS"
RICHARD
Wagner.
While
who
Mr.
has
Paur
played
Strauss's
justly be regarded
at
Not
least.
of "A
only
Hero's
here, but it
as
Strauss's
do
we
he
was
who
Paur
As
to
Strauss
accepted
his
direct
and
with
which
request
Mr.
Paur's
with
at
the
the
the
came
It is not
here
the
as
work,
continued
of
New
still does
Strauss
to
York
as
he
become
at
the
of
championed
after
of the
an
he
just
his
him
to
piano
conductor
such
there.
try it
to
it
hear
a
"
Afterward,
surprising that
so
minor
piano quartet
Philharmonic
conductor
has
do
invited
allowed
wanted
when
he
with
be
to
he
as
himself
composer
Orchestra,
the
asking
Strauss's
house,
over
brought
Boston
1889,
F
readily granted.
was
violin.
in
Spake
the
as
ago
symphony
orchestra,
of
Mannheim,
at
also
completed "Macbeth,"
long
Strauss
"Thus
forward
conductor
conductor
was
Strauss
over
definitely"created"
was
Orchestra.
Symphony
York
performances
the
him
may
New
in
prophet
brought
he
when
he
in this country,
to
owe
Life," which
Zarathustra,"
Mr.
music
leader
first orchestral
the
not
was
when
the
Mr.
Paur
Mr.
Paur
Boston
Richard
became
Society, and
Pittsburg
played,
was
and
at
phony
Sym-
Strauss's
conductor
probably
Orchestra.
important figure in
the
world
music
of
been
done
Theodore
which
he
effort
in
i;^,
It
New
until
"Death
out
After
Thomas
gave
in
"
the
1895,
thustra";
in
fantasia, "Italy"; in
performance
wind
this
Several
first
of
The
several
Boston
record
as
works.
"A
and
the
had
whom
Several
of
these
the
in
Boston,
orchestra
gives
but
in" other
concerts.
Zara-
the
symphonic
first
(the
"Serenade"
for
(firstperfonnfragment.
noted,
those
by
the
had
their
Chicago
chestra,
Or-
repeated performances.
Orchestra
Gericke
been
also
of
performances
have
"Death
Spake
"Feuersnot"
performance
works
Strauss's
Life"
the
country
Nikisch, Paur, and
under
and
besides
Symphony
regards
and
Hero's
the
have
Richard
"Macbeth"
1902,
in this
performance
Seidl
when
"Thus
and
country)
works,
concerts
Eulenspiegel's Merry
Quixote"
1900,
in
the
at
"Guntram,"
to
Juan"
country)
these
and
only
this
instruments;
in
ance
in
anywhere.
Chicago Orchestra,
of
"Till
and
"Don
1899,
Society.
1892,
of the
prelude
1897, "Don
; in
again
F
in
December
as
work
this
performances
Transfiguration"
Pranks"
early
January,
conductor
many
serious
Transfiguration."
and
became
he
Philharmonic
heard
hberahty
symphony
York
of
pub-
every
^s
however,
not,
artistic
the
1883,
performance
organization
brought
works
date
the
first
was
this
and
bears
American
the
Strauss's
produced
with
the
Strauss
of
music,
with
has
what
note
displayed toward
always
which
was
before
work
his
MUSIC
interestingto
Thomas,
has
1884,
it is
that
bring
to
He.
minor,
APPRECIATE
TO
HOW
220
has
Richard
are
have
the
a
Strauss's
conductors
been
given.
played repeatedly
cities
where
fine
this
not
famous
STRAUSS"
RICHARD
Richard
As
Englisli readers,
be amiss
not
born
was
June
on
Richard
began
At
old.
years
his
mother
his books.
composing
sketched
chance
As
a
put
the
his
as
in
out,
some
lx"y to
do
composer,"
the
with
was
three
During
continued,
through
a
Opus
the
can
he
produced
the
symphony?"
the
reply.
of
his
of
lesson
minor.
which
still
was
This
When,
Levi.
Richard
"What
he's
"Oh,
came
Meysenheim,
that
has
only
before
year
time
the
(1880),
had
licly
pub-
songs.
school
he
received
lessons
Kapellmeister, Meyer.
his
in D
:
on
paper
he
under
The
advanced
course
school,
to
While
asked
prima donna,
pose
com-
French
composer,
his
severe
2.
symphony
audience
in the
Royal Opera
sung
for
calls
one
"I
music
a
was
dren
chil-
string quartet
a
Orchestra
Royal
the
to
response
a
he
some
went
during
of
scherzo
published
played by
was
of
covers
and
paper,
school, he composed
at
heard
he
growing
when
said, and
When
lived
Strauss
tree.
the
remarkable
result, he occupied much
this
on
out
been
has
by
piano
Christmas
three-part song.
a
the
that," he
in
son's
his
of six he
age
a
like
something
elder
pride
play
to
the
around
singing
unaided
with
watch
to
his
where
his
for
The
instrument.
He
career.
French-horn
the
noted
was
his
of
Munich,
in
1864,
and
the
long enough
fame.
something
11,
Orchestra,
scattered, it may
and
scant
disposal of
the
life, at
Strauss, played
proficiencyon
four
tell here
to
father, Franz
Royal
both
are
221
Straussiana.
Strauss's
regarding
data
MUSIC
HIS
in
In
years,
in
the
his
he
lessons
violin, and
composition
1882,
piano
with
attended
the
the
went
Royal
Uni-
APPRECIATE
TO
HOW
222
versity of
Munich.
composed
of Hans
him
when
in
became
vStrauss
"Italy," had
its
he
this
became
It
Sicily.
where
a
this
on
was
the
engagement
to
"Guntram,"
Pauline
general.
de
The
of the
one
position
he
still holds.
of
Europe,
in many
concerts
Amsterdam,
and
his
man
no
and
half
until
1899,
of
of
varian
Ba-
tour
was
a
year
writing of
on
his
It is said
"Thus
scores
occupies a commanding
ductors
con-
conduct
to
Moscow,
and
Paris:
He
one.
that
came
be-
which
"star"
London
memorable
a
he
when
invitations
Madrid,
a
Munich
to
the
nounced
an-
in
Opera,
Berlin
one
he
Freihild
daughter
returned
receiving
Weimar
at
of
he
is
untiring industry.
that the
Strauss
He
Barcelona,
less than
the
and
posed
com-
performance,
the
his
on
and
cities, including Brussels,
American
of
at
and
out
he
1892,
wrote
singer
the
at
July, 1889,
In
brought
there
conductors
he
first
was
Greece, Egypt
that
year
conductor, remaining
as
pneumonia,
Ahna,
same
until
of
was
After
1894.
May,
his
a
which
and
Fischer
and
Weimar.
tour
fantasia,
Rome
to
at
long trip through
"Guntram,"
in
remained
attack
an
ever,
there, how-
1886, he
Levi
to
he
trip
August,
conductor
invited
symphonic
a
while
a
conductor,
as
remaining
In
year.
for
orchestra, and
the
resigned
His
conductor
from
took
recovery
Biilow
attention
Biilow
of
origin through
Opera,
died
co-director
ments,
instru-
wind
the
Frankfort.
successor,
assistant
Munich
almost
in
for
he studied
whom
April, 1886.
during
appointed
when
time, attracted
1885,
his
till
only
the
this
as
November,
Naples
"Serenade"
conservatory
Meiningen
to
His
under
Biilow,
von
Raff's
at
at
MUSIC
he
is
worked
Spake Zarathustra,"
is
a
model
positionin
of
beauty.
the world
RICHARD
of
STRAUSS"
of
combination
with
coupled
of
calm
be
would
who
one
rare
achievements
for
his
the
new
artistic
noble
to
future.
to
Indeed,
music-drama,
sensation
the
inspiration
of
are
He
great.
of
broad
speak
of
"expectations"
so
his
even
musical
For
I
is
season
est.
high-
seems
a
It
the
proving
abroad.
great
promise
writing
am
to
as
best
the
are
as
the
horizon.
much.
credit
"Salome,"
of
remarkable
a
and
ideals
is
223
poise,
accomplished
already
throug^h
His
activity
and
MUSIC
technique
industry.
presumption
has
it
musical
intellectual
His
man
achieved
has
He
music.
HIS
itself
this,
the
XIII
A
ON
NOTE
chamber
of
LOVERS
and
cultured
refined
and
cultured
last
the
are
who
people
by
For
string quartet
the
is to
symphony
"
is, in
violoncello,
Oddly
a
hall
of
true
the
and
violin
will
be
Hall
would
and
so
at
or
a
even
string
chamber-music
Hall, and,
as
home
the
in
am
sure,
as
large
a
or
;
Paderewski
be
would
214
the
and
chestra.
or-
the
which
quartets,
pianoforte
like
Opera
same
pianoforte
trios,
on
gie
Carne-
House
than
combination
plays
equally
in
latter
the
in
for
other
and
effective
auditorium
any
forte
piano-
for
music
soloist
the
viola
although
pianoforte
fine
the
more
sonatas
Metropolitan
quartet
is
chamber
of
A
players.
I
solo
form.
sonata
a
say
what
to
instruments
such
used,
on.
is
to
sonata
violins,
two
forms
not
the
sonata
quartet,
many
the
classical
music
symphony
violoncello,
or
more
for
pieces
is
the
string
a
those
and
pianoforte
a
times
pianoforte
quintets,
the
the
from
chamber
hig-hly
tive.
conserva-
very
disturbed,
to
sonata
a
as
than
four
employs
is
just
enough,
large
is
orchestra
fact,
be
all
music-lovers,
see
departure
great
any
to
would
shocked,
like
are
among
care
who
and
abandoned,
people,
extremely
an
class, and,
purists
would
form
music
refined
They
MUSIC
CHAMBER
in
of
Carnegie
effective
in
the
Count
to
poser
Rasumovski,
Schubert's
slow
lovely
variations, the theme
Maiden."
violoncellos.
at
this
in
B
music
is
again.
.
chamber
Mendelssohn's
gentlemanly
in E
Dumka
51)
and
universal
of
his
artistic in
young
the
are
as
it produces
ere
in New
York,
lovely pianoforte
contributed
and,
as
a
rule,
tet
quar-
second
the
of
and
the
movement
most
a
exquisite
cal
musi-
in his national
his
for
he
so
who
music
used
was
skillfully
accomplished
he
much
flat major
in his E
Bohemia
he
his
suetude.
de-
than
Fascinating
results
unlamented
and
intelligentlyscored
as
expression ;
productions,
music,
elegy, one
native
the
his residence
ence
exist-
seems
of
has
genius enough
was
in its
more
introduces
compositions.
tints, he
trio
polished, affable
as
us
Brahms
Dvorak
Bohemian
or
given
chamber
to
music.
his orchestral
of his
flat.
complex
is
state
same
has
noteworthy
(Opus
glance
of
long
of his other
the
Schumann
it is less
music
most
as
rapidly falling into
is
tributions
con-
Schubert."
another
quintet
be
two
Schubert
the
world
it will
brings forth,
Time
"One
art.
beautiful
and
Many
.
noble
are
wretchedness
the
and
and
in the whole
also
of
all the
flight
to
"Death
song,
musical
Schumann
major, "and
.
things
of
with
string quintet with
is his
this branch
put
own
minor
theme
a
pianoforte trios
trio," writes
flat
his
in D
of the greatest works
His
to
that
vioHn, the
one
movement,
being
One
of chamber
range
quartet is the
famous
most
the
with
and
second
played
private
a
being"professionals.
others
the
maintained
who
he
which
in
string quartet
MUSIC
APPRECIATE
TO
HOW
226
wrote
his
when,
to
the
no
be
songs
folkless
during
string quartet
A
in
F
NOTE
(Opus
96)
Franck,
of
the
programs.
\
Negro
themes.
Arensky,
and
on
like
neo-Rtissians
Saint-Saens,
modern
MUSIC
CHAMBER
ON
names
d'Indy
that
227
and
Tschaikowsky
the
and
figure
Cesar
Frenchmen,
Debussy,
on
are
chamber-music
some
HOW
TO
APPRECIATE
VOCAL
MUSIC
XIV
SONGS
AND
either
are
SONGS
(composed
and
than
a
the
although
moods
is
song
principal
the
poem.
is the
first
first
its
Lied,
the
great
proper
is
composer
place
of
odes
remembered
by
"Das
by
and
one
form
of
trivial
Mozart
which
or
Veilchen*'
other
two
composition
and
beneath
they
may
pianoforte
of
at
231
thing
one
their
the
way
song
to
freer
for
set
is
zart
; Mo-
day
But
genius.
By
the
"Adelaide"
something
contributed
accompaniments.
Zu"
Schubert's
have
be
writer
song
mir
did
prepared
to
by
as
ous
seri-
Gluck
a
least
song-writing.
more
with
lifted
hor'
;
originator
the
Beethoven
dignity
possibly
they
as
regarded
was
music,
music.
in
Before
songs.
the
requires
have
to
Haydn
and
poem
acknowledged
Madchen
;
the
Beethoven
and
of
the
music;
the
accordance
strictly
and
*'Liebes
in
changed
un-
repeated
who
not
importance
to
be
composer
universally
of
through,
may
the
song
repeated
strophe
changes
to
song
song
Klopfstock's
strophic
are
composed
While
he
the
or
melody
of
consideration.
of
In
stanza
subjected
Schubert
"durchcomponirt"
or
accompaniment
is
once,
the
strophic
each
through
when
COMPOSERS
through).
melody
while,
SONG
to
this
rather
Haydn,
through
the
writing
the
Schubert
velopment
de-
for
'APPRECIATE
TO
HOJV
232
Schubert
Where
His
mystery.
father
wife, Schubert's
fourteen
and
is somewhat
been
Schubert
He
thirty-one
His
were
times
Shortly
had
who
at
in the
the
chapel.
so
rapid
that
of the school
liad
the
no
the
of
Convict,
kindness
of
nor
a
he
to
food
to
music
lishers,
pubare
worth
are
the
playing
for
fourteen
eke
paper.
pupil and
buy
out
Had
old he
conductor
the
hard.
was
a
few
not
friend, named
He
luxuries
wretched
it
was
years
for
even
the
Court
the
his progress
Life, however,
to
violin
Convict,
so-called
there
was
Schubert,
old,
and
substitute
which
own
they
and
training boys
before
fellow
his
all to
at
years
to
five years
his
with
way
sent
for
orchestra.
money
and
poor,
Paper.
solos
soprano
occasionallyasked
was
in
school
Music
twelve
was
in poverty.
gold.
Buy
was
singing
even
enriched
so
disposed of
in
His
1797.
passed
masterpieces
as
to
he
During
be
weight
parish choir,
Imperial
history, for
beggarly prices. Now
Poor
been
would
there
were
wretchedly
was
sold
before
dren
chil-
fourteen
who
genius
"
could
Too
come
in-
of the
size
the
had
had
If this
$175.
January,
only thirty-one
they
their
they
in
this
universallyrecognized
many
of
less in musical
for
father
when
first
couple
Otherwise
Vienna
"
be
to
that
name
in
years
lived
works,
income
a
fourteenth.
the
born
was
music
great
was
The
cook.
a
thirteen.
only
is
schoolmaster, whose
was
an
from
genius
disproportionate to
of
one
musical
a
it yet is fortunate
instead
have
was
mother,
children
family,
his
got
MUSIC
fare
been
of
for the
Spaun,
he
HOW
234
bert
to
one
of
TO
APPRECIATE
his brother
Ferdinand,
such
on
to
Five
after
years
the
"Erlking"
them
to
forego royaltieson
refused
had
its
and
lieu of
led to
these
Schubert
it
which
friend
the
close
hofer
the
the
who
Convict,
relates
the
walked
up
down
hand,
then
the
three
"Erlking"
with
afterward
and
when
some
the
lishers
pub-
circumstances
provided
that
him
with
went
the
over
of those
and
down
paper.
to
over
The
several
room
on
the
same
old
His
present
toward
the poet
Mayrall
composer
himself.
He
times, book
fast
Having
his
as
and
in
pen
piano,
no
Convict, w-here
evening
Court
himself
as
music
with
afternoon
one
to
sat
der
un-
especialinterest.
aloud
the
it
the
and
composers,
"Erlking"
sung
played
from
Yet
Composed.
was
the
hurried
enthusiasm.
in
florins between
found
put the music
was
songs,
florins
Wanderer,"
They
suddenly
men
other
"Erlking."
of
181 5 he
year
visit Schubert.
travel
expense,
hundred
thousand
are
same
and
offered
Schubert's
own
eleven
greatest of song
written
of the
to
the
"Erlking"
aglow, reading
could
and
his greatest song,
was
Spaun,
at
paper
the
the
"Erlking"
several
1861.
and
being
aloof.
held
of
their
issuingof
twenty-seven
How
unheard
composed,
at
alone, "The
songs
1822
years
the
the
these
royaltyon
and
Finally,some
published
song
received
the
it.
like
appear
new
was
unwisely accepting eight
of
one
the
we
print it,although Schubert
to
success
Schubert
that
Publishers, however,
of
friends
"so
occasions, is something
listeners."
our
MUSIC
the
received
organist,Ruziczka,
without
the
voice,
objected to
the
disso-
SONGS
which
nance
king,
and
Schubert's
song
dramatic
and
Erlking, the
to
quality.
The
Schubert
than
interval
become
and
be
should
able
Goethe, who
Lilli
music, did when
by
"Thank
you
achievement.
like it
the
a
all, but
at
to
times
thousand
When
I heard
to
real
its
terror.
this
way
song
greatness,
he
this
as
bert's
Schu-
to
him
to
sung
was
whom
for
tioned
men-
higher
a
sing
exclaimed
:
artistic
great
I did
before
this song
in your
sung
have
shrill with
"Erlking"
Schroeder-Devrient,
Fran
all song
utterly indifferent
remained
had
rise
Lehmann
appreciate
to
I
which
more
old
years
in
founxi
repeat
time
tions
por-
music; yet there
to
be
to
each
each
heard
has
Whoever
with
which
and
eighteen
but
pression,
ex-
the horse
accompaniment
dissonances
those
the
of
voice
narrative
the
Goethe's
thrilling climax
more
tive
descrip-
its characteristic
from
was
of
this ballad
set
literature
in
out
in its
coaxing
has
each
in the
while
gallops along.
no
the
child, the efforts of the father
yet is different
of the poem,
is
Wagnerian
of the
terror
which
he
plained
ex-
spiritof
worked
is almost
allay his boy's fears,
when
and
resolution.
musical
their
Erl-
the
of
the
were
the
of
course
chords
these
felicitouslythey
how
-^6D
terror
reflected
perfectly they
how
poem
child's
the
struck
organist
old
the
depicts
and
the
in
times
three
occurs
composition
COMPOSERS
SONG
AND
it becomes
a
not
true
picture."
Finck
More
than
published, and
on
six hundred
when
sonatas,
we
shorter
Schubert.
songs
remember
by Schubert
that
he
have
wrote
pianoforte pieces,
been
phonies,
sym-
chamber
TO
HOW.
236
music
and
his
of
due
not
"He
composed
as
Avell
gushes from
the
Song Writers."
a
mountain-side,
spectacles on,
right to
go
locking
wrote
of
the songs
credit
the
to
less than
in
one
in
a
morning,
the
in
poem
slowly turning
paper!"
he
promptly
ruled
about
on
Of
course,
of such
a
lines
it is
is, as
of
means
only
few
a
the
to
the
accompaniment,
zu
Singen"
;
the
the
times
he
posed
com-
to
chanced
he
his
was
music
some
friends
Speise Karte,
of the
then
tavern
and
all the
on
his
Hark,
clear
with
a
and
ing
gothere.
aspects
ful
beauti-
descriptive
description is given
chords, like the preluding
other
around
his
song
the
through
ser
of
In his songs
At
dance
he
of
one
touch
Meer."
flash and
5-16
songs
had
noises
in "Am
entire
181
which
of
only
back
the
Sometimes
could
wasting time
where
leaves
I
kept
he
up
eight
rule, combined
a
accompaniment.
by
the
impossible
his.
and
cycle were
tavern
the varied
as
he
he
charming "Hark,
a
a
fifty-foursongs.
and
w^hereupon
on
bed
years
had
him, jotteddown
genius
melody
he
"If
exclaimed,
as
because
to
woke
the two
The
at
over.
went
"Winterreise"
book
a
Schubert, with
and
In
and
written
was
spring, or
without
compose
single day.
Lark"
see
in the
compose.
bert's
authority of Schu-
he
hundred
two
to
simply
he
when
glasses.
loved
the
on
when
that
so
table and
his
for
no
Six
the
it
have
that
ever,
how-
Finck, in his "Songs
Mr.
tounding.
as-
spontaneity
the
in the
sings
life is
composed,
to
he
bird
We
brief
he
a
friend, Spaun,
his
which
fact that
help it," says
not
his
carelessness, but
to
and
MUSIC
fertilityof
rapidity with
genius
could
the
operas,
The
was
APPRECIATE
the
melody
galloping horse
description runs
like the
of
ones
"Auf
in the
waves
dem
that
Was-
"Erlking"
;
SONGS
AND
wonderfully
bird
of the
"
the
feted
his
of
of
that
of
knit
Schumann's
and
interwoven
Schubert's,
so
and,
clearly.While
called
by
German
a
vocal
of
a
the
most
of
the
he
bered
remem-
than
more
one
Song."
piano part
the
vocal
result, the voice
his songs
are
does
closely
more
than
melody
what
not
is
stand
not
they
have
critic,"pianoforte pieces with
If asked
the
to
although
writer
song
him
neglected
most
who,
Wings
pianoforte gains
the voice.
song
Individuality.
with
a
as
accompaniments,"
the
over
as
the
by barely
the
songs
Mad-
das
und
rapidly dropping
is
Schumann's
In
"Hurdy-Gurdy
reputation
poet, and
tone
"On
"Linden
the
Mendelssohn,
now
Germany
Lied, the familiar
from
tragic "Doppel-
"Todt
growing
eighty-threesongs,
outside
bids
for-
space
It extends
the
perhaps
but
minor
a
bert
Schu-
greatest genius among
was
comi^osers,
of
of
to
the
life, with
Mill"
the
with
again
the
to
drone
is the
all musicians
position
wrote
here
"
"Serenade"
Compare
of
during
work
whispering foliage of
Schubert
composers.
of
that
dozen.
his
pathetic
flutter
brook
that
examples
Roslein"
the
from
chen."
who
of
the
the
to
;
the
by
"Haiden
; from
ganger"
Man"
of the
"Maid
the
the
;
the
;
in the
scenes
Stadt"
Lark"
the
through
few
a
range
naive
Tree"
are
"Die
multiplicationof examples.
the
the
Hark,
be cited
could
And
"Hark,
leitmotif
a
these
cycle
poem,
237
the
hang- over
to
seems
dramatic
in
like
flows
that
mist
the veiled
COMPOSERS
SONG
to
at
times, in his vocal
too
draw
great
a
an
with
out
been
dental
accipositions,
com-
ascendancy
distinction
between
TO
IV
HO
238
interest
twofold
that
vocal
the
Schumann,
Nearly
but
and
the
leave
does, and
by
in the
than
ones
fallingofif after
decided
Wieck.
It
his best
her
of
'T
during
was
stern
am
w-e
summer
him
of
1840.
it is to
and
what
write
a
saying
in
"Hardly
for
turmoil
he
is Schumann.
and
to
her
voice
and
show^
produced
command
the
in music.
great
songs,
friend
a
I tell you
instead
tumult
Clara
w^on
he
letter to
can
;
his first
the whole,
by
a
hundred
wrote
her
but
regret
equally great
on
love
he
by Schubert
us
wooed
writing nothing
find
for
courtship that
his
father, he made
now
left
songs,
he had
should
is, however,
many
Separated from
songs.
small,"
the
Schumann's
year,
every
position,
com-
everything
Schumann
added
compositions,
vocal
great
of
the two
time
tone,
effect his purpose.
cause
among
the
descriptive.
is
Schumann
heritage
from
w4iile Schubert,
picture.
composer
not
Schubert,
is
forty-fivecomposed
smaller
and
a
Schubert
songs
much
each
imitator, it is
an
feeling,
the
method
individuality on
his
proportion of fine
The
and
be
not
while
that
of
seal
pianoforteto
it is better that
as
;
out,
with-
picture in
mood
a
is Schumann's
this,however,
produces
re-
encroach
to
mood
or
hand, rarely
voice and
requires both
a
melody
vocal
gives
melody
produces
he
He
accompaniment,
description
other
the
on
always
As
The
the
is
descriptivesuggestion,he
a
it in his
melody.
accompaniment
the
in his
poem
there
songs.
allowing the pianoforte part
however,
on
of
phase
that
say
Schubert's
the
contains
then, if the poem
produces
of
in most
feeling of
the
MUSIC
I should
Schumann,
and
Schubert
APPRECIATE
of
I
how
and
in
licious
de-
for
ments,
instru-
feel
within
AND
SONGS
when
me
his
I sit down
them."
composing
them
a
I intend
as
her
again,
musical
it
soul
was
death,
to
"The
the
Night," "He,
"Where'er
Complain,"
his songs
"Nightly
inspired by
Grenadiers," which
"Two
Phases
Robert
Franz
by neglect
was
and
brother, who
was
addressed
subsequently
of
physical
But
his
in order
was
as
had
writes
in
such
"Spring
Month
Falling,"
"Fll
Not
Among
the
be mentioned
his
had
His
ills.
inimitably.
so
life embittered
family
having
father
in
the
Yet
him
a
Christoph
his
from
business,
same
Christoph h^ranz,
nally
origi-
name
been
distinguish
legalized.
of
Genius.
Franks
engaged
Ring
"Thou
Plan9on sings
to
er,"
Flow-
Lotos
Lovely
should
love
as
songs
Dreaming."
My
a
participatein
to
Noble,"
the
to
such
there
was
Are
(1815-1892)
Knauth,
Knauth.
in
Tears
My
and
not
'Twas
this
could
"I
wish
the
such
and
"
(Waldesgesprach),
of
posed
com-
...
Tree," "The
Noblest
"
music
listening to
Almond
Finger,"
My
May,"
the
who
or
Forest"
I
without
;
such
Never
those
and
her, in
"When
nightingale," he
a
15th.
May
"Dedication,"
upon
like
by singing
so
write
while
joy
writes
yours
I
best
the
for
he
specialcompliment."
on
"In
could
one
no
within
:
twenty-seven
which
:
songs
Clara
to
wrote
wept
later
my
wooing,
do
can
month
printed
a
sing myself
A
composing
was
written
and
laughed
first
love, indeed,
he
concerning
his
her
sending
I
is that
tell you
can
2yj
he
I have
all new,
music,
of
While
Myrthen,"
yesterday morning
pages
COMPOSERS
it."
to
cycle, "Die
song
"Since
SONG
name
which
critics insisted
he
he
that
Franz
Robert
had
adopted
was
as
was
great
Franz
the
composer
indicate
to
Schumann
that
he
Schubert
Franz
and
strongly influenced
was
of whose
many
accompaniments,"
of their
custom
their
Franz's
Bach
had
down
additional
for
their
for
the
for their
of
lower
or
"When
I
Franz
in order
than
he
not
deeply
emotional
than
dramatic
songs
well
to
tions
transposi-
so
for
singable
originalkey.
publisher,"I
his
to
long
as
not
can-
I
am
fight them."
did
that
to
wrote
endeavor
any
the
into
knew
who
that
voice
is
disliked
had
the
often
in his songs
melody
He
passages.
composer,
one
reproduce visible tilings
to
and
declamatory, merging
said
regard
the
transpositions,but
pianoforte parts,
a
in
them
use
of the
the mood
careful
could
simply
not
originality,but
or
make
phony
poly-
interesting
are
employed
expressing
to
out
through
their
decidedly objected
voices
these
I shall
in his
and
dead,"
am
prevent
alive
key
if
as
song
for him
songs
are
extremely
was
his songs,
of
higher
of
in
Franz
Besides
cleverness
showing
also
choice
do
which
appropriateness
He
poem.
to
was
Bach, Franz's
from
modulations,
sake
a
in
said
looked
Abend,"
accompaniments.
derived
the
to
critic. Ambrose,
composed
Franz
which
gaps
this influence
show
Schwere
and
known
according
scores
German
"Der
Handel,
are
fillingout
songs
the
for all that
of thanks
the
and
song,
sat
their
His
day.
polyphony,
that
his
left in
composers
and
Each
by
supplied with what
he
scores
"additional
these
is
in order
vanity
Robert
as
which
pseudonym
a
from
MUSIC
together.
put
as
APPRECIATE
TO
HOW
240
only
a
in the
reflective
opera,
and
more
rather
himself
penetrated deeply into his
dramatic
element
v\ as
not
to
him
he
when
even
APPRECIATE
TO
HOIV
242
totallydeaf,
and
few
a
and
the
totallydeaf,
was
the Bach
from
his
Society
admirers,
and
rescue
his
Among
Zieht
durch
"Das
songs
mein
Gemuht,"
is ein Brausen
"Ich
Auge,"
Die
Rose
der
Ragt
sich
but
he
what
as
if he
started
a
it
cared
Hab'
Lotos
in Deinem
Hat'
"Es
and
all
with
or
obviated
find
repellant.
these.
passages
But
in his
those
who
its
least
at
or
not
gression,
pro-
logicalconclusion,
utterly
might result,
here
is the
music
have
and
gardless
re-
though
al-
there
why
reason
which
not
;
cal
rhythmi-
harmonic
of
he
paper
certain
a
This
on
the
cal.
theoreti-
right
through rigidlyto
to,
the
right
scheme
tonal
little for
with
sclieme
losophe
phi-
a
musicianship,
it sounded
out
not
"
too
by slightlyaltering his
people
"Leise
"Die
in music
that
have
his
to
in Music.
blemishes
of, any
sound
"Ich
compared
certain
utterly oblivious
might
But
"Meerfahrt,"
Taugen,"
he
whether
to
as
he carried
some
"Bitte,"
looked
wrote
figurationor
he
him.
came
poet, whose
that
of his art
consequently,
from
Eborus,"
seele
reflective
great
so
indifferent
was
he
received
had
"Widmung,"
Thinker
a
a
was
If
away
profound thinker
a
practicalside
poor
Beklagt."
was
however,
he
Heulen,"
meine
Brahms
Brahms
a
life,when
which
are
Alte
und
Will
was
for his support.
fund
a
was
Americans,
them
became
right arm
in his
taken
finest
"Es
Blume,"
of
many
raised
pension
was
his
He
time
worst
he
1876
thumb.
to
small
a
later
years
shoulder
right at
In
composed.
paralyzed from
man,
MUSIC
to
allowed
them
this
Brahms's
aspect of
is
of
one
staff.
He
with
give
his best
Among
a
wonderful
a
masterpiece)
songs
(and
Bist
One
of
the
Meine
beautiful
prolix in
is
these
Konigin,"
Liebe,"
"Wie
mein
wird
wir
wandelten,
which
Rolls
the
"Du
Thau,"
among
in the
my
will
than
"Lehn
the
Schaffy")
The
known
Bist
of
wie
eine
Rubinstein's
repertoire of
every
mir
songs
which
mann's
Schu-
are
into
less
branches,
and
of
"Yellow
Fussen)
"Es
and
a
fascinating
zu
these; while
Blume,"
of
is
poems
are
"Asra,"
Feet," (Gold Rollt
also
considerably
Persian
the
to
Wang'
unduly
in other
in his music
wrote
it
cast
found
be
coloring.
best
deine
popularity
has
poem
("Mirza
Oriental
at
among
same
he
Bodenstedt
in their
the
bursts
lyrical out-
modern
"Friihlingsnacht"
although
song,
his songs
those
Von
are
of
leiser
Heine's
his
Rubinstein
shade.
and
and
Wang',"
setting of
the
paniment.
accom-
"Feldeinsamkeit,"
impassioned
most
Jensen's settingof
is
very
and
meine
"Wir
of
rhythm,
ewiger
"Immer
his
zusammen."
Swei,
an
never
in
of
each
"Von
Lieder,"
"Meine
Schlummer,"
voice
du
to
outbursts
change
or
to
mir,"
es
that
pen
as
songs,
by great
Liebschen,"
zeiht
his
"lift"
"Wiegenlied," "Minnelied,"
Melodien
have
sensational,
of
*'Wie
:
put
ever
never
not
known
are
"Siiss
"Ruhe,"
that
modulations
sound, but by sudden
which
souls
produced
are
and
music, well know
his
climaxes
the
243
prejudice them
is drastic,
never
music,
COMPOSERS
to
loftiest
the
superficial;and
other
work
themselves
familiarized
he
SONG
AND
SONGS
"Der
or
are
blink't
der
Traum"
should
singer. Tschaikowsky
be
and
HOIV
244
Dvorak
and
noteworthy
not
are
former's
APPRECIATE
TO
"Niir
setting of
the latter's
MUSIC
as
Songs"
"Gypsy
the
kennt"
Sehnsucht
die
wer
but
writers,
song
highly successful.
are
Grieg's Originality.
of
One
the
is the
writers
fascinating
most
Norwegian,
fortunate
Finck
Mr.
his
as
the
set
of
hands
fine
a
song
been
has
singer
Ibsen, after
this musical
wife.
sing
her
hearing
couple, the
usually
un-
a
as
by Grieg, whispered
music
to
He
Grieg.
having
that
relates
poems
shook
in
modem
among
he
as
word,
one
"Understood."
Grieg's originalityhas
because
been
attributed
origin.
or
his individual
so
popular
tinged
music
with
"The
mourning
Young
Woman,"
among
His
his
genius
as
his
"By
dead
and
is much
a
product
made
be
him
wrongly
come
to
it is
Norway
His
preted
inter-
music
Riverside,"
the
a
is
not
fortunately
significance,
"The
Mother
child),
You,"
tide,"
"Spring-
Sings"
"At
the
(a
of
Bier
Pincio,"
Monte
"From
a
are
or.
little known
too
composer
songs,
is the
has
in
not
individuality. "I Love
her
his finest Lied
Chopin
has
has
Norwegian
but
true,
ciated,
appre-
music
be its
genius
universal
of
Heart,"
mother
his
and
his
music
His
whereas
Swan,"
"Wounded
to
genius of Grieg.
the
dialect, but
supposed
is his
Norwegian,
of
beauty
sense.
what
through
Ibsen's
is
genius,
that
considered
the
thoroughly
national, it is
is
narrow
of
a
what
to
Grieg
cramped
of
much
been
not
and
for
the
the
as
a
song
writer.
pianoforte has
public is
familiar
shadowed
over-
with
AND
SONGS
little else
of
Sembrich's
Madame
slie
her
plays
is
song,
plenty
national
of
plenty
lyricalpassion
in
all
of this song
so
capital
are
one
which
to
delightfully.But
in
the
"Lithuanina"'
and
Dirge,"
Finck
acccl-
piu
accellcr-
and
applied
when
has
twelve
the
sempre
words
that
kiss
a
in
(always)
plenty
says
thrill of
the
"crescendo
marked
is
so
ecstaticallyas
Certainly sempre
(faster)
atido
and
Delights."
dramatic,
expressed
lerando."
encores
color
"My
in
music, lyric or
been
which
in "Poland's
pathos
of
of
never
favorite
245
Wish,"
accompaniment
own
there
bars
Maiden's
"The
save
COMPOSERS
SONG
to
a
kiss!
Richard
Wagner,
Paris, tried
songs,
is
which
among
Ronsard's
"Dors
"The
Grenadiers"
Two
laise"
in the
of
this
1862
In
written
by
famous
"Traume,"
that
enfant."
mon
later
the
poems
by
way
to
of
which
wie
rare
impression
same
poem
eine
Blume"
adds
as
a
of
to
mann's.
Schu-
as
five
poems
is the
which
among
theme
of the
love
are
exposition
musical
Rubinstein's
purity,
Thus
composed.
setting
gives through
that
ner
Wag-
for Song.
complete
they
to
"Marselthe
effective
music
of
in "Tristan."
Genius
comparison,
Bist
not
few
Heine's
set
whole,
a
utilizes the
appeared
are
songs
as
composed
which
on
but,
Wesendonck,
Liszfs
Liszt's
;
is
poem
Mathilde
also
music, utilizingthe
to
he
He
a
setting
charming
very
accompaniment
version
duet
a
old, in
years
by composing
his poverty
relieve
to
twenty-six
when
Liszt
purity
in
the
its
his
sense
of
while,
of
"Du
simplicity
setting of
a
the
of sacredness
man's
heart
is
contemplation
and
causes
river,
beautiful
a
the
watch
and
hurries
will
of
music,
he
the
greatest of song
Richard
as
become
a
Strauss's
favorites
genius
who
difficulties
in
the
players
its
with
"Standchen,"
play
the first of Strauss's
songs
it
the
was
that
art
it
made
durch
of
our
Now
so.
"Allerseelem," "Breit
Haar,"
and
many
There
the
from
the
into
just
with
case
the
melody
with
(or
few
so
Strauss.
song
is
but
the
accompaniment,
more
varied.
"Traum
schwarzes
quency.
fre-
growing
with
composers
with
and
Nordica,
Dein
with
whom
entirely distinct
so
difficult to
As
was
Aufforderung,"
songs
in
and
ment,
accompani-
Nacht,"
Haupt
suggestion contained
declamatory
Strauss's
popular here,
"Heimliche
iiber mein
music
requisitegrace,
"Die
be
to
sure
are
singer, Madame
hear
we
it is
When
much.
so
become
of his other
are
impossible,have
singers, and
and
pianoforte accompaniment
the
the
regarded
been
these
the
to
great
Dammemng,"
die
of
one
deliciously delicate
difficult to
so
of
branches
repertoire.
difficulties
ambitious
be
to
as
song
technically by
advances
Land?"
das
as
having
from
songs,
creates
by
overcome
sphere"
call "atmo-
du
day
what
composers.
bristlingwith
so
And
other
some
that
current
quality we
in
flowing
temptress,
his doom.
Liszt
recognized
be
of the
of "Kennst
with
lei"
"Lore-
the
stormy
to
version
case
will
and
valuable
that
His
her.
voice
seductive
fills a
woman
pure
\\'e view
boatman
Liszt's
be
a
worship
to
treacherous
more
than
As
the
the ensnared
has
song
him
of
lyric scene.
hear
to
seem
MUSIC
the
which
with
APPRECIATE
TO
IV.
HO
246
play),
as
is
often
scriptiv
de-
Schubert,
every
the
is carried
Even
poem
vocal
now
part
it
is
seems
more
cer-
tain
the
Stranss's
that
still is
I find
although
too
Saint-Saens, Delibes, Godard,
and
the
late
N\Titers
work
whose
rank
tation
bei
Konig
"Der
and
"Elfenlied"
the
who
him
"Well
accomplished
female
struck
with
of
"Ave
the
the
the
The
Maria."
level
much
of
a
songs
Arthur
are
Bach
Edward
A.
Lang,
for
of
"Ave
sinks
course,
for
it has
monium,
har-
the
with
the
vocal
the
Goimod-Bach
have
to
to
be
the
taken
produced noteworthy
MacDowell,
Foote, Clayton Johns, Homer
Ruthven
words
intended.
who
composers
been
have
fitted the
away
small
chorus
the
supplement
the
prelude,
him
a
single voice
a
can
was
with
to
melody
accompaniment,
than
American
result
Bach
mere
slower
still
anything
make
replaced
seems
obbligato, did
an
and
the
substituted
however,
with
melody
that
fact
Maria,"
violin, which,
he
Finally
hannonium.
a
he
Then
came
Bach's
from
to
it for violin
scored
off stage.
chorus
time
et
that
idea
than
more
that
his rqDU-
"Romeo
and
the
me
nod's
Gou-
below
prelude
a
did
to
up
Originally he
famous.
with
Clavichord"
Tempered
had
above
placing a melody
of
to
matter.
is much
Juliette." Oddly enough, however,
song
seem
with
"Faust"
of
composer
French
among
than
composer
song
a
are
manner
Chaminade
Massenet,
clever, but
is
with
as
as
Holmes
Augusta
concerned
more
he
ists,"
Tambour."
"Der
to
songs,
"Er
by
attracted
Weyla's,"
"Gesang
affirm
to
Wolf's
Hugo
myself strongly
Kroning,"
acquisitions
however,
soon,
"Friihling iibers Jahr," "Fussteise,"
der
247
permanent
of the unfortunate
thing
same
COMPOSERS
are
songs
rq^ertoire.It
the
to
SONG
AND
SONGS
and
the
G.
N.
W.
Chadwick,
garet
Bartlett, Mar-
late Ethelbert
Nevin.
XV
ORATORIO
its
had
ORATORIO
sixteenth
church
who
people
to
a
if music
come
mind
than
the
of
compositions
the
Music
still
churches,
the
is
when
it
is concerned,
have
to
and
is
that
Neri,
singer
the
did,
with
secular
made
that
been
engaged
religious
four
with
card
it you
sermon
doing
When
hundred
years
what
ago
the
well-
a
church
just
going
are
such-and-such
a
phrase
para-
the
music."
for
after
can
as
it
the
means
monk,
fishing
"
in
for
a
music.
oratorio
to-day, however,
and
worship,
surroundings,
evening
for
some
them.
rises
we
far
of
with
basso
so
up
to
is
alxDut
it exists
enough
mon
com-
astical
ecclesi-
drawing
fine
portunity
op-
masters
in
enough,"
make
listen
Reverend
congregation
As
has
is
is
to
to
announcement
known
"It
now
chance
a
"It
a
the
to
other
prime
a
nowadays
meaning,
as
as
sings
and
and
to
persuaded
capella)
thrown
were
regarded
and
sermon
Palestrina
school,
polyphonic
be
(a
unaccompanied
vine
di-
the
by
could
a
draw
to
"
entertaining
more
make
to
attracted
but
sermon,
trifle
a
monk
be
not
by
attempt
an
interesting
more
might
hear
to
Italian
century
service
in
origin
attire
with
and
usually
a
a
248
has
is
female
male
chorus
little
practiced
chorus
in
in
to
do
amid
gated
varie-
clavv-ham-
parently
be
ninst
more
hereafter
the
than
as
let
been
San
and
the
after
the
for
the
old
the
naive.
least, were
and
and
his
about
family
declares
that
worldly friends,
forces
and
this kind
with
her
in
been
it and
to
the
aid
the
up
for
of
back, and
the
rib.
gestion
sugfrom
to
the
say
to
a
had
a
seizes
the
play
But
rib-bone
of
efforts
be
a
of
pigs
horse,
with
name.
to
her
SJicm
another
cow's
Noah
by giving
mastiff
a
formation
Eve
the
with
son
Creation,
the
it off, in spite of the
him
and
came
behind
In
ear.
spied
the
order
ark, Mrs.
retaliates
Adam
to
that
text
last her
and
noses,
In
before
unlikely
stay
at
the
on
Fathers
renderings of
in the
ark, she
mastiff
provided
whistle
the
their
carried
when
work
these, representing Noah
to
represented
brought
were
performance
had
box
a
which
rings
collar
and
into
Noah
worthy
prefers
she
that
of the
musical
embark
to
"The
in 15 15,
plays, which,
of
one
of
of oratorio.
dramatic
hear,
tO'
in Florence
It is not
Finck
in America.
instituted
and
Miracle
In
of
Congregation
underlying
Mystery
obliged
of oratorio
originator
Scripture.
T.
Henry
be
he
picture
gloomier
Mr.
born
was
dramatic
legal
while, for
that
so
auditions
church,
to
considered
performances
salvation
the
sermon
from
scenes
a
would
of the
was
people
attract
he
who
founder
Oratory,
draw
Christmas
annual
the financial
was
;
semi-weekly
Filippo Neri,
of the
to
the
minds
critic like
a
be
to
Fortunately, however,
well
w^here
suggest,
Messiah,"
order
many
not
for
place
a
me
have
could
MUSIC
bore.
a
of
men
one
in
less of
or
many
example,
of
diversion
any
be
there
APPRECIATE
TO
HOW
250
brass
in
one
which
Ez'e, grabbed
of
the
Angel
created
out
with-
ORATORIO
251
Efforts.
Primitive
It is
likelythat
not
but
dell' Aninia
Body),
of
before
the
production,
the
of
other
the
early
"with
scenes
the
was
continue
is
solo
a
montes"
has
of
solos
to
for
Up
be
for
recitals
this
to
through
to
the
sopranos
Alessandro
recitatives
said
some
cording
ac-
enliven
tain
cer-
others
dately
"se-
also
and
gave
more
a
which
first
who
being
Ije-
recitatives
ye
at
colles, dokitc
"Plorate
mountains), which
the end
of each
developed
Scarlatti, who
definite
more
dramatic
related
to
phrase
form
to
the
accompaniment
action, leaving the
unaccompanied.
point,
have
Carissimi,
oratorio, "Jephtha," there
hills; mourn,
two
in opera,
narrative
his
In
ye
in oratorio
the
to
was
explanatory
Jephtha's daughter,
melody.
aria
the
with
numbers.
echo
the
in
as
execute
to
regarding
in oratorio, this function
action
(Weep,
an
and
died
who
ballet, w'hich,
a
was
Giovanni
narrator
the
the
tween
capers"
composer,
the
introduced
to
there
the
reverentially."
and
It
oratorio,
composer's directions,
its
to
In
the
in
1600,
directions
ones,
and
Soul
(The
this
a
Rappresenta-
left minute
action.
and
scenery
"La
Vallicella, but
della
Maria
Santa
ting
set-
Cavaliere,
February,
in
performed
was
Church
Corpo"
del
e
only
scenic
of
del
oratorio,
torios,
ora-
not
were
kind
Emelio
whose
composer,
zione
they
some
for
costumes;
nied
accompa-
FiHppo's primitive
San
with
acted
also
and
Roman
contretemps
yet it is probable that
and
sung,
of
performances
the
such
any
in
fact, oratorio
developed
influence
of
hand
German
in
and
hand,
composers
opera
may
but
now,
and
espe-
Heinrich
by
in
and
1623,
Words
Christ), subjects which
of
by
set
as
of
of
works
pioneer
German
many
Music
Passion
grand
people, which
have
of
mark
Jesu,"
the
work
of
to
the
as
oratorio
whose
is
of
in
ing
form-
"Tod
in the
Graun,
a
temporary
con-
According
advanced
by
German
distinguishing
a
of
lovers
in oratorio
quasi-
or
still
English
the
style, although
is
church
the
"Passion
own
all works
of
of
Heinrich
regarded
greatest
development
conspicuous
Karl
regarded
influence
that
are
by
Bach,
St. Matthew"
music
character
They
the
melodies
tially
reveren-
are
made
was
incalculable
had
race.
famous
a
use
sacred
stabilityof
the
In
kind.
much
chorales, the
been
composers,
their
Seven
(The
have
urrection)
Res-
Dresden
in
Christi"
Worte
more
a
(The
Schiitz, produced
"Sieben
his
it assumed
Music,
Auferstehung- Christi"
"Die
form.
distinct
Passion
their
ciallythroug-h
MUSIC
APPRECIATE
TO
HOW
'":"^
cling
to
Handel.
"However
close
of
the
"we
at
a
(Handel)
his parts
making
on
in
He
run
totally different
bringing harmony
of
hard
introducing
himself
of
the
Bach
so
store
by
notes"
modern;
music
of
discord
among
since
that
"runs
and
in
notes
effect
"inharmonious
are
aimed
have
Bach,
ing
writ-
principle,evidently delighted
passing
pleasant
The
passing
out
to
; whereas
velvet
on
inharmonious
an
always
seems
volutio
in-
in writing
Rockstro,
with
meet
never
the
complicated
or
voices," says
several
of Handel,
collision.
imitation
the
of
their
made
order
modern
on
very
things
ears
velvet."
do
to
ultimate
point
avail
lution."
reso-
the
"hard
which
make
collisions,"
the
a
not
set
much
ORATORIO
Bach's
It is
is in
between.
came
Friedrichs
using
their
A
text.
the
double
is
chorus
but
populace;
Peter
in form,
in
to
and
others
the
sacred
sometimes
sometimes
riated
infu-
the
treated
always
of
events
employed,
Disciples,
the
various
according
words
own
Christian
partly epic
St.
Lord,
sermon
pseudonym
the
the
relate
to
with
representing
under
writing
EvangeHst
an
the
prepared by
was
the
was
as
Filippo Neri,
partly dramatic,
is
story, but
the
text
Henrici,
Picander, and
with
of San
The
that,
parts, and
two
According
this "Passion
that
note
the oratorios
with
case
Mtisic."
"Passion
interestingto
St. Matthew"
to
253
dramatic
in
fashion.
of the choruses
certain
the
narrated
events
expected
Rockstro
by
is remarkable
when
attention
the opera.
by Johann
to
for the first tim.e
Thomas.
St.
Good
Friday,
it
was
at
the
heard
and
it
was
again, when
to
It
service
afternoon
where
paid
never
forms,
St. Matthew,"
work
his greatest
of all times.
Leipzig,
1729,
was
which
power
Bach
Bach
one
it
was
are,
the choruses
of all musical
According
Bach,
of the greatest works
one
of
dramatic
the most
Sebastian
that
was
iour
Sav-
the
to
in
and
only, and
of dramatic
considers
one
"Passion
The
assigned
gentle dignity, w^hile
amount
an
on
congregation
by string orchestra
full of
says,
marked
are
any
recitatives
accompanied
are
"Soliloquise";
the
chorales,
The
meditations
contained
called
were
join.
to
written, the arias and
was
which
beautiful
the
singing
as
"Passion"
the
the time
At
produced
was
in the
was
and
Church
Cantor,
hundred
revived
years
by
on
fore
be-
Men-
TO
i-fOJV
J54
MUSIC
APPRECIATE
delssohn, in Berlin,
March
on
12th, 1829
epoch-
an
"
inaking performance.
Strictlyspeaking",Passion
but
to
service, and
church
a
serve
Roman
in the
under
who
Handel,
1685,
in
buried
Westminster
in
Messiah,"
had,
he
mastered
operas,
the
in his oratorios
the
recall
chorus
of
into
thrown
the
sea")
;
expressive melody
them
forth
like
by
or
and
that
in
for Handel
and
so
well
feelingon
on
the
writing,
makes
text
only
sary
neces-
in
Chorus"
and
the
his rider
hath
He
the
derly
ten-
people, He
led
an
adept
Handel
H'dndeL
in fact be called
I do
ous
numer-
in "Israel
for His
what
"The
expression.
may
freedom
of
of contrast,
way
of "As
Rockstro
Handel
and
sheep," to realize
in dramatic
was
It is
Choruses"
horse
rejoicing ("The
wrote
dramatic
the
was
and
composition
"Hail-Stone
Eg}'pt," especially the
and
Handel
expression.
"Plague
plished
accom-
1759
aims, whenever
he
Saxony,
Egypt"
in
formed
per-
erick
Fred-
was
in
principlesof
it permissible,at dramatic
to
the
as
George
Before
Abbey.
through
his
understand
we
work
died
greatest oratorios, "Israel
his two
and
he
where
Mass
in Lower
Halle
at
important
most
London,
What
vitalityfrom
born
was
whose
but
its
oratorio,
an
the
to
Church.
derived
oratorio
is not
actually designed
Bach
counter-attraction
a
as
Music
writing for
not
share
for "The
the
the
chorus,
Rockstro's
Messiah,"
founder
of
^^''hile I must
intense
nevertheless
in this country
fess
con-
enthusiasm
general feeling in England
part of those
variety
who
he
and
presses
ex-
the
crowd
ORATORIO
annual
the
of
to
what
"He
that
helped
stripes
the
he
when
Who
but
healing only,
And
calls
hearing
the
noble
Lord,' led off by the
reinforce
to
feel
'Hallelujah
Chorus'
listening to
it for
his heart
must
"He
contains
shall
His
feed
of Handel's
two
flock"
"I
and
the
long
not
does
not
of
he
the
be
may
indeed
Hard
when
of his chorus."
voice
praise.
first bar
hear
to
it
unto
Who
time?
refuse
can
the
sing
completed, though
hundredth
the
be who
preaches through
also
is
not
obedience
altos, does
the
'With
which
of
hymns
*I will
before
feci
we
at
equal
his own?
his throat
in
choking
a
in his
and
with
their voices
it, is
sensible
price
him
subject of
tenors
an
varied
that
us
are
cruel
join
and
and
tells
we
yield
to
us
upon
God'
He
the
we
like
free
of
so.
of
conveying
says:
healed,' and
are
we
Messiah,"
who
those
Lamb
do
to
of
Handel's
to
the
us
purchased.
was
signifiesto
'Behold
"The
of
means
writing,he
chorus
us
he has
His
of
bids
best
Referring
of
treatment
the
oratorio
him.
quote
performances
that
that, work,
toward
idea
Christmas
255
Handel
The
most
famous
know
that
siah"
"Mes-
solos,
my
deemer
Re-
liveth."
This
work
was
at
the
13, 1742,
on
a
visit to
of
people
performed
Music
of
The
object
that
the
their presence
as
it would
Devonshire,
rehearsals,
present by invitation, had
were
enthusiasm, that those
favor
the first time
Hall, Dublin, when
the Duke
Ireland.
for
for
who
which
ladies
would
who
be
this
pleased
the
was
Lord
tenant
Lieu-
aroused
many
much
so
in the charitable
"as
given, requested
was
honor
greatly increase
Handel
which
at
interested
were
it
then
April
on
to
come
performance
without
charityby making
a
with
hoops,
room
256
for
to
HOW
without
come
that
followed
place and,
singing
which
of
still is
by
the
"The
from
the
"The
"The
"And
there
was
of orchestration
earlycomposers
freer, more
But
for
In
creation
both
of
of
than
Haydn
was
He
homophonic
flow
of
the
and
Beethoven's
"Mount
Judgment"
(Die
Paul," followed
introduced
oratorio, "Elijah," which
he
discarded
these.
The
founded
on
after
poem
earlier
the
it
is much
there
animals
torio,
ora-
is related.
for
passages
and
muted
chorus,
far greater master
a
also
of the
one
was
school, and
is
there
a
in his oratorios.
melody
of
grandeur
Mendelssohn,
of Olives"
Letzten
enty
sev-
Handel's.
Oratorios.
oratorio, nothing need
sionists, and
the
Handel.
of the
nearly
of orchestra
Mendelssohn's
his "St.
custom,
familiar
these
various
light."Haydn
they undoubtedly lack
of
his
during
Lost," and
especiallyin
outburst
famous
when
Thomson's
which
spontaneous
Between
the
in
the
thus
1798,
"Paradise
Milton's
the
the
when
rose
Creation,"
Creation," too, after
strings,is
King
that
in
Haydn
purely descriptive music,
In
It is
reason.
audience, stood
and
chorus,
text.
when
same
the
out,
the entire
wrote
Seasons,"
supplied
the
requested
were
observed, originated.
old,
passages
also
performance,
rang
Following Handel,
years
for
first London
Chorus"
"Hallelujah
the
swords,
the
at
MUSIC
Gentlemen
company."
more
said
"APPRECIATE
TO
and
is
purely
dramatic
excepting
"The
Spohr's
Last
Mendelssohn,
example
chorales,
ment
develop-
the
be mentioned,
Dinge).
the
in
but
an
of
in
the
his
Hebraic
old
in
pas-
greater
subject,
qualityof "Elijah"
in fact would
important solo;
conductor
the
that
it
Messiah"
"The
undeniable
is
works
that
oratorio
and
of
Society
Musical
Art
choruses
from
"Stabat
Mater"
Mater"
of
Mozart's
cantatas,
Beethoven's
and
the Peri"
to
hearing
"Requiem,"
with
its
and
his music
to
Babel"
and
a
and
"Christus"
"Paradise
noble
but
Lost";
;
;
wrote
and
also the
the
Bach
tions;
tragic associadise
"Para-
Schumann's
Byron's
Mass,"
Brahms's
erere"
"Mis-
Mozart
"Manfred"
"Legend
of
"Tower
of
Rubinstein's
difficult work;
Marcelli
the
twice)
it
phonic
poly-
exclusivelyby
which
are
D;"
of
Italian
"Papae
There
in
Damrosch's
early
Pergolesi.
"Mass
of
programs
beautifully some
be retained
Chapel, but
lar
secu-
even
"Requiem";
(with recitation)
; Liszt's "Graner
St. Elizabeth"
and
Frank
of the
and
after
memory
while
scores,
the
Palestrina's
as
of the Sistine
Mr.
sings very
Allegri (sought
the choir
his
figure on
to
from
derive
to
unimportant.
allied societies.
"Stabat
of
is
he
this composer,
interesting in
apt
are
unaccompanied
Mass,"
of
it is too
while
sacred, semi-sacred
school, such
out
opinion
land
Eng-
in
excitement
much
and
Gerontius"
of
"
certain
are
of
less.
spine-
rather
whole,
a
lacking in individuality
is
demption"
"Re-
Gounod's
interest here, but
originalwith him
There
the
created
definite
a
whatever
Wagner
what
be
to
appears
as
Elgar's "Dream
hazard
to
soon
to me,
considerable
and
climaxes
Vita," in spite of passages
et
Apostles" have
fact
the
to
its successive
"Elijah."
and
beauty, seem
Edward
"The
reached
"Mors
and
attention
her
not
begin.
to
that oratorio
I think
with
her
for
it,had
missed
have
called
sharply
time
was
MUSIC
APPRECIATE
TO
HOIV
258
"German
Dvorak's
quiem,"
Re-
"Stabat
ORATORIO
Mater";
Rossini's
Mater";
Berlioz's
Faust,"
one
"Moses
the
of
the
;
and
in
"Requiem"
American
late
259
Dr.
Verdi's
Egypt"
and
production
Leopold
"Manzoni
of
Damrosch's
Requiem."
and
"Stahat
"Damnation
which
de
latter
finest
was
ments
achieve-
XVI
OPERA
MUSIC-DRAMA
originated
OPERA
of
AND
the
in
sixteenth
musical
have
been
The
Conte
first
Galileo,
cenzo
in
similar
These
the
neither
in
the
for
in
upon
these
tragedy
and
centuries,
These
recitative,
so
other
Anshorter
claim
from
260
the
were
but
melodious,
wished,
had
historical
have
sixteenth
them
dation
founduced
intro-
he
back
fallen
and
back
early
Greek
to
flutes.
and
then,
composers,
different
late
lyres
scores
which
might
through
of
any
recitative
the
dering
ren-
polyphonic,
Wagner
he
and
their
however,
not,
to
of
its bands
Italian
Vin-
by
oratorical
sense
if Richard
music-dramas,
with
ment
accompani-
several
exact
an
were
declamatory
composers
seventeenth
the
wrote
other
century,
the
his
at
any
They
nineteenth
"II
cantata,
a
astronomer.
Consequently,
in
nor
declamatory;
Greek
of
composed
famous
aimed
strictly monodic.
but
and
Caccini,
words.
fugal
with
to
style.
composers
of
voice
the
of
Giulio
composer,
pieces
single
father
in
ducing
repro-
believed
they
resulted
dose
astic,
enthusiat
representation
instrument,
single
a
the
of
aimed
which
attempt
for
Ugolino,"
of
of
the
band
A
composers
declamation
characteristic
tragedy.
toward
century.
intellectual
the
Florence
were
the
creators
polyphonic
church
of
OPERA
of
music
classed
AND
privately performed
So
1597.
great
in
1600,
incidental
The
Claudio
Monteverde,
capella,who
of
the
Savoy.
by
(from
standpoint
greater
even
showed
a
in the
as
lover
Monteverde's
suggestions
in
of
continuous
founder
Alessandro
of
modern
it flourished
earlier
period
of
free
from
Verdi's
and
riage
mar-
bewails
her
written
that
it produced
brought
out
which
"Orfeo,"
opera
these
well
expression, as
the
score,
besides
manency
per-
recitative,
suggestions
ritomelles.
The
introduced
melody
relieve
form
which
Melody,
to
and
recitative,
developed by
the
but
instrumental
the aria
of the
course)
of
contained,
melody,
in order
di
maestro
dramatically
instrumental
Cavalli, however,
score
from
assured.
was
scores
the
composer
vocal
the
stimulus
Alargherita, Infanta
in dramatic
of
the
public.
Monteverde
his
France
"Euridice,"
Ariadne
day.
was
ties
festivi-
of
in honor
so
when
great advance
of opera
only
of the
IV
of Mantua's
which
success
treatment
in
with
was
sensation, and
a
with
her
is
sioned,
commis-
was
for the
great
Duke
in
scene
desertion
the
produced
Gonzaga
The
Peri
Henry
"Arianna"
composed
Francesco
of
of
received
"Dafne,"
work
performed
art-form
new
similar
a
usually
Corsi, Florence, in
that
success
marriage
ever
opera
Peri's
Palazzo
Medici, and
de
first Italian
the
to
Maria
with
its
write
to
What
Jacopo
the
at
^vas
261
Palestrina.
first opera,
^e
as
of
school
the
MUSIC-DRAMA
the
Scarlatti, who
his
day
into the
effect of
voice
destined
was
Italian
Venetian
monotonous
in his airs for
which
occurred
to
is
in
opera
and
to
he
be
shadowed
fore-
freely
regarded
the
form
including
as
in
the
activity.
beautiful
melody, soaring
above
a
262
TO
HOW
APPRECIATE
MUSIC
comparatively simple accompaniment,
Itahan
of
"L'Onesta
Verdi's
The
nell' Amore,"
"Trovatore,"
besides
names,
brilHant
successes,
"L'Elisir
Puritani"),
d' Amore,"
"La
straight
always hit
the
for
mark,
Reforms
The
charge
is that
opera
to
the
depth
is
as
between
the
vocal
of
those
upon
consists
the
abuse
Italian
Gluck,
was
he
nearly fiftyyears
opera
his entire
that
to-day
repertoire, and
faro
senza
truth
well-balanced
score,
portions, to
for
preters.
its inter-
practicallyagainst
from
who,
Euridice"
produced by Gluck,
method
old.
"Orfeo
containing
(I
have
in Vienna,
late
as
still holds
the
the
Italian
brief, that
show-pieces
German,
and
which
copying
style of operatic composition early
changed
oldest
subserA^ient
dramatic
in
"
Italian
musicianship
and
stage
of
a
career,
was
too
first to protest
the
Among
this
the
much
too
been
instrumental
and
best
bull's-eye.
against
the
as
well-written
a
These
their
at
laid
sacrificed
well
expression, as
of
opera
have
have
"La
Gluck.
by
its composers
required
vanity
in the
Si-
great degree,
a
when
frequently
most
singers, and
of
to
and
operatic target
most
di
Regiment").
verve
to
("Lucia,"
Donizetti
and
Fille du
the
its
("Norma,"
Bellini
possessed dramatic
composers
aimed
"I
Tell"),
with
("II Barbiere
Rossini
are:
1680,
city in 1853.
same
Verdi's, associated
vigh"a," "Guillaume
Sonnambula,"
in the
produced
in
in Rome
produced
teristic
charac-
first opera,
Scarlatti's
from
opera
the
was
et
as
favorite
lost my
in the
1762,
his
when
Euridice," the
place
a
in
in the
air, "Che
Eurydice),
year
ratic
ope-
was
mentioned.
OPERA
There
Gluck
lite."
But
him
as
champion
a
in
ensued
capital a
veritable
a
musical
Gluck's
reform
of
in
dramatic
and
and
the end
introduce
also
in his
greater
gave
of his
ceased
well
These
will
"Don
fact, what
music,
its
importance
when
at
this end
the
to
ticipants,
par-
of the
vocal
hesitated
never
aimed
with
and
sake
senseless
he
he
all
own
unfolding
for the voice
the
view
in
tion
ac-
matic
dra-
was
instrumental
discovered
in
operas
in
in
musical
spontaneity
and
of
not
for
he
tion
por-
Operas.
di
"Zauberflote," which
being
based
the
expression, as
heroic
on
general
well
as
They
opeia.
''Nozze
Figaro,"
differ
or
advance
Mozart's
invention, his keen
to
years
many
of German
Mozart's
exhibiting
melodic
Certain
remained
distinguishingmarks
subjects,and
in freer
genie
"Iphi-
score.
Giovanni"
Gluck's
until
display of singers'
a
of opera,
melody
characteristics
the
be
that
his soloists
as
the
make
to
Comparative Popularity of
come
fierce
with
for
avoided
he
purpose
In
justifiedit.
merely
as
while
beautiful
truth
effect
"
actively,in
But
story.
embellishments
to
then
abandoning
his
in
lay
his choruses
making
musically and
talents
there
Roses
the
Piccini
over
opera
claptrap effect
at
and
of
so
upon
Tauride."
en
effort
seized
and
rivalry
War
completely triumphed
Au-
Italian
the
there
party
pit against Gluck,
to
French
the
it became
Gluck
Italian
Piccini, the
of
Paris,
arrival, in
the
went
"Iphigenie en
with
triumph
a
"Alceste," then
with
it up
scored
on
composer,
"
followed
Paris, and
to
263
MUSIC-DRAMA
AND
sense
from
classical
made
greater
of
the
They
will be
also
which
degree
in which
differs
from
from
of
that
the
the
to
step
"Lohengrin"
German
from
it is but
the
the
French
a
"Tannhauser,"
Richard
of
music-dramas
and
ters
en-
opera
which
Dutchman,"
"Flying
same
"Frei-
Weber's
With
period,
romantic
in the
great composer
one
"Oberon,"
and
"Fidelio,"
operas
another.
schijtz,""Euryanthe"
upon
Mozart's
individualityof
the
in orchestration.
in Beethoven's
discovered
differs
again
MUSIC
superior skill
his
and
element
dramatic
APPRECIATE
TO
HOW
264
Wagner.
Meanwhile,
had
opera
of their own,
which
"Les
Huguenots,"
Gounod's
live
to
stage, and
French
far
and
"Faust,"
that
opera
any
is
whole
form
is better
thought out,
shows
greater
and
such
a
inspiration.
but
It is true,
final test
Unquestionably,
Siviglia,"
tore"
or
are
operas
in
1835,
in
1816,
1787,
"Trovatore"
is
than
in
be
whereas
In
1853
It
effort
musical
absolute
claptrap in Meyerbeer,
vitality
and
"
like
"II
assigning
Barbiere"
in
and
Mozart's
for
reasons
Italian
these
Giovanni"
"Don
"II
"Trova-
and
than
country
was
183 1,
Verdi's
di
Barbiere
forgotten that
Sonnambula"
in
serious.
"Lucia,"
modem.
more
"La
voices
intellectual
to
operas
in this
generally to
far
In
art-work.
an
operatic works.
are
produced
Italian
popular
seems
the
more
still lives
Sonnambula,"
more
Weber's
this it
out
"La
of
the
graces
of
is much
there
Huguenots"
"Les
is,after all,the
abandon
complete
tined
des-
"Carmen."
support
the
not
now
delicatelydiscriminating
and
opera,
apparently
absolutely unique
more
of
style
a
represented by Meyerbeer's
instrumental
the
opera
Italian
as
Bizet's
by
richer
long
as
is
developed
brought
"Lucia"
last
was
work
in
in
266
TO
HOW
in the most
dinck's
APPRECIATE
modern
phases
"Hansel
"Feuersnot"
of
out
"Salome"
doubt
drama
Italian
the
whether
the
or
opera
sought
and
in
with
their
of
theory
derly it;
found
dramatic
words
from
that
a
in their
love
be
of
and
detriment
Opera
ward,
after-
then
state
theories,
Greece
this brief
or
say
would
beautiful
other
of
be had
relation
so
"book
the
an
opera,
it not,
and
written
of
out
which
crises
choose
of
but
the persons,
to
and
you
un-
aspect,
passions
and
singing, become
"numbers"
the
is the
outward
their
press
ex-
which
words
characterization, it
is not
it should
is that
mere
clearlydefined melody
for
duets
don't
you
music-drama
should
but
in ancient
situations, climaxes
scenes,
as
even
thought
his
upon
them
music
play, the libretto,if
long
so
he
in the
be made
controllingideas, impulses
written
which
early
originated
he
that
undeviating fidelitythe
not
the
the
suggestion,
attacks
in
deeper significance
grow
is
Greek
the
of
when
opinion
and
either
Italy.
renascent
His
ing
work-
further
the
recitative
mind
would
for prototypes
Strauss's
Germany.
extraneous
Germany
Richard
had
in
My
any
Humper-
Music-Dramas.
composers
anticipating the
of music
in
declamatory
free from
opera.
represent
Wagner
music-drama.
it out
and
art-form
Wagner's
Wagner's
I
of ItaHan
Gretel"
und
and
MUSIC
of the
call it
to
"
For
opera."
be
must
but
through
what
the
the Italian
patent
opera
Italian
tion
admira-
a
string of solos,
in
set
form
to
the
action.
of
glorification
the voice
and
the deifica-
OPERA
of the
tion
diva?
vocal
and
Do
"
music
musical
and
Opera,
stage.
form, but music-drama
serious
its
and
expression
Wagner
Luther,
in the
German
their
origin,had
of
indicated
work
his
from
he
well
as
through
meant
impetus
the
to
in the
of
blood
out-and-out
while
of
of
in
progress,
share
in
is
the
national
a
of
what
immense
gave
fested
mani-
as
as
the
"Rienzi,"
was
style.
and
"Lohengrin"
is
many
Ger-
as
men
Sedan.
legendary
which
of
for
well
as
work,
giving
may
ment
move-
far
so
in
The
works
Germany
Meyerbeerian
besides
"Ring
that
of united
a
he
scores,
folk-lore
music-dramas,
and
motives,
his
art
argument
He
this
the dramas
in Germanism.
whole
empire.
had
everything
for
as
"Studies
his
practical illustration
own
already
the
in
always Teutonic
if not
the
first successful
opera
leading
scores
his
"Tannhauser"
technical
because
national
For
bases
his
development
Dutchman"
art-
elevated
as
"
by Wagner's
that
his
as
iron
Wagner's
attractive
like
activity,and
German
and
Italian
more
core
steeped
itself is concerned,
art
the
by
aptly, in
the
made
by saying
dates
and
thinker.
a
as
become
profound impression
be
truth
very
which,
legends which,
to
a
most
Drama,"
created
back
is
the
to
critic writes, is the work
went
handled
and
dramatic
higher art-form,
a
Krehbiel
Mr.
Wagner
cation
glorifi-
is the
emotion.
of
Wagnerian
which
of
as
searching
more
was
says
is
a
instrumental
deification
the
donna
prima
hand,
sense,
French, undoubtedly
the
more
other
the
on
267
call the
not
we
in its broadest
combined,
the
on
singer.
Music-drama,
of
MUSIC-DRAMA
AND
a
clue
The
to
ing
"Flyserious,
more
show
immense
his
fully developed
Nibelung,"
an
"Tristan
system
in
the
und
268
HOW
Isolde," "Die
his
theories
for many
with
with
raged
of
matters
this phase of
^in the
storm
a
Finck's
Mr.
It sometimes
of
earlier
"Wagner
and,
"Pilgrim's Chorus"
leading motives
brief
when
he
melodies
"Love
in
love
the
heard
which
themselves
the dramatic
which
Duet
the
consists
melody of
The
and
alone
March
entirely of
a
are
end
Siegmund's
:
in
"Die
"Siegfried,"
of
of
the
any
Song
brief
sidered
con-
reference
be clear to any
in
odies.
mel-
beautiful
leading motives,
without
are
music-dramas,
eloquence
call
we
they
Isolde," the Prize
und
situation,must
Funeral
less
introduced
the
the
soul-
They
be.
may
"Farewell,"
at
pils
pu-
Moreover,his
in themselves
Wotan's
in "Tristan
phrases
by
has
Love
the
hear
the
in his
episodes
Meistersinger."
melodious
to
and
dist.
meloin his
abound
can
the
none
complete
scene
"Die
requirement
that
Song"
a
descriptivelyor
are
it permissible,he
are
I
singing
deemed
Walkure,"
the
the
in certain
And,
not
was
that
I write,
as
it is true, but
phrases,
he
from"Tannhauser."
as
guage,
lan-
adopted his
Wagner
melodies
themselves
fully melodious
plore
ex-
Works."
His
and
nearby public school
a
to
in any
biography
because
even
wishes
will find it set forth
that
the
by
musical
in the
Melodist.
a
motives
is refuted
works;
in
vigor
career
is contended
leading
This
anti-
history. Whoever
Wagner
system
and
Wagnerism
unabated
Wagner's
That
that
interestingWagner
most
"Parsifal."
of opposition and
the battle between
years
are
MUSIC
Meistersinger," and
met
Wagnerism
world,
APPRECIATE
TO
one
who
"Gotterdammerung,"
series
of
leading
motives
AMD
OPERA
that
occurred
have
music
and
story of
just
this Funeral
being
the
summed
of
sense
and
whole
the
final
recurring salient points in
be
ideas
personages,
musically
with
certain
a
music
to
ideas
a
musical
through
of
had
indeed
been
a
complete
To
the
for
herich
shall
curses
come.
like
of
Weber
the
the
take
Nibelung,"
When,
that
and
near
tain
cer-
whether
be
have
they
treated
certain
to
the
presuppose
motives.
Berlioz
of
ployment
em-
They
tral
in orches-
("Euryanthe"),
the
up
suggestion
but
into
system.
method,
Ring,
music-
of
association
suggest
leading
work
to
a
fact, the adaptation of
in opera
Wagner
his
trait
drama,
tentativelyby
consistent
and
illustrate
"Ring
unity, and
used
by
to
seem
something
music, and
it remained
would
drama
In
tervenin
in-
scene
work.
similarity,and
recognizable characteristics.
it does
one
situations, should
or
in
curtain, it gives
whole
the
that
as
"unity" suggests
term
very
nifican
sig-
Nibelung"
coming
but
the
the
will find
distinguishing
a
the
know
you
of the
and
the
to
lute
in abso-
significanceof
"Ring
the
unity
equal
the story and
you,
it and
Unity is, in fact,
drama;
the
"Gotterdamraerung,"
between
wonderful
without
know
this
Cycle, yet give
phrases, you
for
up
of
do
269
whether
and
musical
March
the end
near
the
effective
as
If you
not.
or
of these
is
in
music-drama
the
motives,
earlier
overpowering pathos
an
passage
MUSIC-DRAMA
the
which
all into
the
end
Curse
Motive,
is heard
when
in
Al-
whose
possessionit
of
"Rheingold,"
270
HOW
Fafner
kills his
Fasolt
lands
and
is
the
at
entrance
sinister
birth of
the
although
a
in
"Die
son
to
Walkiire,"
of
-f-
T-'
hero
young
again
her
of
when
with
a
Siegfriedhimself,
seeing
There
hear
the child
the
its
conveys
circle of flames
-r-rjt
none
are
motives
which
;
the
is
motive
but
to
round
sur-
a
hero
also when
"Siegfried,"tells
brook.
are
almost
wholly rhythmical,
"Nibelung" Smithy Motive,
slavery of
and
than
^E
Briinnhilde
which
the
iy,
The
in the music-drama
in the
other
none
r
promises
predicts
tive,
Siegfried Mo-
drama.
next
Wotan
the
will be
Z\f-'r
image
his
like the
the
fried
Sieg-
Gibichungs,
and
jDenetrate, Siegfried being that hero
of
the
greeting seems
Briinnhilde
Sieglinde,you
^^
can
of
when
the
is heard
motive
signifying that
heard
first victim
lure.
When,
the
is the
the castle
to
greeted by Hagen,
hearty enough,
which
significance
a
"Gotterdammerung,"
in
Again,
with
recurs
readily understood.
curse.
MUSIC
brother, Fasolt, in wresting the Ring
him, the motive
from
is
'APPRECIATE
TO
which
Nibclungs, eternally working
depicts
in the
OPERA
mines
of
AND
Nibelheim;
harmonies,
Hke
and
motives
the motive
of the
of
sense
a
Motives
Leading
motives
Leading
themselves
and
things
The
with
With
persons.
Curse
Motive
its dark
circle.
is weird,
it bodes
The
its
the
the
love
of
Funeral
by
March
bov. Avho
with
his
Hagen,
the
slew
funeral
significancethat
The
phrase
the
with
which
the
we
You
feel when
the
on
when
dragon,
soul
being
borne
heroic
brings
is
of
a
tears
to
have
your
it
are
to
tragic
a
eyes.
of
a
practicallyremains
music-drama.
by
mountain
good example
which
listen
to
calls
re-
geous
coura-
murdered
the
strains
it
BrunnhUde
and
over
with
it in
hear
you
awakened
betrayed
other
vibrates
courage;
stirs the
and
for.
within
come
yet
Motive
contour
through
stand
all who
But
be
almost
Siegfried
these
tender
those
pyre,
what
gay-hearted,
the
of
acter
char-
express
and
to
is
now
;
concern
"Gotterdammerung"
the
kiss, only
and
they
youth, vigor,
in
its
superficialaspect
evil to
heroism.
association
They
sinister.
achievement
of
suggestion
veys
con-
Labels.
Siegfried Motive,
hand, is buoyant with
with
giving
persons
things they symbolize
it that
Tarnhelm
the
; with
listeningto
which
labels.
mere
than
more
Tarnhelm,
Mere
not
not
are
strange, weird
his form.
change
to
271
with
the
mystery,
the power
wearer
MUSIC-DRAMA
The
varied
effected
by
cal
musichanged
un-
tions
emo-
associa-
572
HOJV
lion.
But
APPRECIATE
TO
of
many
plasticand
the
of
certain
the
action
dramatic
of
This"horn
bids
he
call
the
or
are
tremely
ex-
ing
in illustrat-
specialbearing
those
upon
As
concerned
in
gay-hearted youth,
a
horn:
becomes, when,
farewell
motives
changes
of character
drama.
his
leading
many
situations
the
Siegfried wdnds
Wagner's
undergo
development
MUSIC
to
his
knightly adventure,
the
bride
as
Briinnhilde's
and
in
departs
statelyMotive
of
husband,
quest
of
Siegfried,the
Hero:
And
rude
when
dead
bier, is borne
of the
we
have
call, each
harking
back
to
Siegfried,
from
tragedy with
Thus
horn
the
two
with
the
the
scene,
overwhelming
derivatives
its
own
stretched
it voices
power
from
upon
the
a
climax
:
the
"Siegfried"
special significance,yet
originalgerm.
HOW
wrath
when
ship and
times
APPRECIATE
TO
274
she
invokes
it.
all upon
in the
the
elements
Examples
of
scores
MUSIC
like these
music-dramas.
are
several
characters
when
the act
or
or
scene,
for which
resources
of
described
how
has
he
with
this
done
gives
endless
an
I
in
the
variety of
all the
have
Magic
Fire
page
after
add
I have
bines
com-
already
also
through
color
tone
of
spoken
instrumentation,
of
mastership
ciple
prin-
skill
rare
could
one
examples of this kind.
he
the
or
a
drama, is potent, though
Elsewhere
Walkiire," and
his supreme
which
participatingin
of one,
Wagner
present,
counterpoint.
in "Die
of
page
in the
many
motives, utilizingfor this purpose
several
Scene
influence
he stands
is not
himself
he
occur
Wagner's
Often, when
the
destroy
to
to
his
a
far
score.
Wagner
was
There
greater musician.
climaxes
and
in the
if he had
achieved
have
the other
long stretches
should
but
his
a
in which
He
hand
music
there
derive
music
be
connection
with
the
the
of
played simply
the
as
"
is
music
great
to
scenes
instrumental
would
not
for
which
in
On
many
layed
de-
unconsciously
and
equal
interest
own
own
have
to
sake
"
but
interestingonly
it
his
selections
;
of life from
supposed
its
drama
his
disproved
the breath
and
intelligible
drama
music,
tragedy.
of
music
has
is
his
possiblehe
be of
each
and
and
scenes
in his dramas
are
that
Theoretically,he
would
scores
writer
musicianship
absolute
that
it is
a
believed
theories, for his dramas
written
as
was
for
wrote
the action
in hand
supreme
his music.
he
composer
however,
talk.
go
been
he
splendid
many
which
immortality
hand,
by
are
dramas
not
dramatist, but
great
a
was
set.
in
But
music-dramas,
in concert
and
OPERA
without
given
absolute
the
place,
music
MUSIC-DRAMA
AND
slightest
clue
constitute
that
history
meaning
up
END
to
in
their
in
achievements
greatest
show.
THE
their
to
the
27s
the
present
time
can