CORNELL UNIVERSITY LIBRARY FROM MUSIC ML leiil™" ""'™""V Library ""llHlliliiimraK,.te.,S^^ 3 1924 022 266 831 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022266831 CLASSIC GERMAN COMPOSERS MOZART sLucK -y HANDEL HAYDN Music Club Programs FROM ALL NATIONS GIVING AN HISTORIC OUTLINE OF EACH NATIONAL SCHOOL OF MUSIC, WITH QUESTIONS FOR STUDY, AND A SERIES OF PROGRAMS FOR THE USE OF CLUBS AND OTHER ORGANIZATIONS BY ARTHUR El\SON BOSTON OLIVER DITSON COMPANY NEW YORK CHICAGO PHILADELPHIA C. H. DITSON & CO. LYON & HEALY J. E. DITSON & CO. Copyright, mcmvii, by Oliver Ditson Company Stanbope f)re00 I. OILSON OOMPAHl BOSTON, U. S. A. CONTENTS PAGE I. Classical Germany i Questions 12 Programs 13 II. Romantic and Modern Germany 18 Questions 28 Programs 29 III. France 34 Questions 44 Programs 45 IV. Italy 49 Questions 61 Programs 62 V. England 64 Questions 75 Programs , 76 VI. The Netherlands 79 Questions 88; Programs 89 VII. Norway 90 Questions 100 Programs loi VIII. Sweden and Finland 103 Questions 113 Programs 114 IX. Denmark and Switzerland ir6 Questions 125 Programs 126 X. Bohemia, Htjngary, and Poland 127 Questions 137 Programs 138 ill IV CONTENTS PAGE XI. Russia . 141 Questions 154 Programs iSS XII America 158 Questions 173 Programs 174 LIST OF PROGRAMS PAGE Chapter I — Classical Gehmany. General Programs, I. Easy 13 General Programs, II. Medium, III. Difficult 14 Bach, Johann Sebastian 14 Handel, George Frideric 15 Haydn, Franz Joseph . 15 Mozart, Wolfgang Amadeus 15 Beethoven, Ludwig van, I. Medum, II. Difficult 16 Schubert, Franz Peter, I. Medium 16 Schubert, Franz Peter, II. Difficult 17 Chapter II — Romantic and Modern Germany. General Programs, I. Easy, II. Medium ■ . . . . 29 General Programs, III. Difficult 30 Schumann, Robert, I. Medium, II. Difficult 30 Mendelssohn, Felix, I. Medium, II. Difficult . 31 Brahms, Johannes 31 Wagner, Richard 32 Franz, Robert 32 Strauss, Richard 33 German Songs 32 Modem Germany 33 Chapter III — France. General Programs, I. Easy ... 45 General Programs, II. Medium, III. Difficult 46 Old French Music 46 French Opera Composers 47 Massenet and Saint-Saens 47 Debussy and Faure 48 Modem France 4S V vi LIST OF PROGRAMS FACE Chapter IV — Italy. General Ftograms, I. Easy, II. Medium, III. DifiElcuIt 62 Early Italian Music 63 Italian Opera Composers - . . 63 Modern Italy 63 Chapter V — England. General Programs, I. Easy, II. Medium, III. Difficult 76 Shakspearean Songs 76 English Songs 77 The English Renaissance 77 Modern England 78 Scottish Songs 7S Chapter VI — The Netherlands. General PFOgrams, I. Easy, II. Difficult 89 Chapter VII — Norway. General Programs, I. Easy, II. Medium, III. Difficult 101 Grieg, Edvard Hagerup, I. and II 102 Sinding, Christian I02 Chapter VIII — Sweden and Finland. General Programs, I. Easy, II. Medium 114 General Programs, III. Difficult 115 Chapter IX — Denmark and Switzerland. General Programs, I. Easy, II. Medium, III. Difficult 126 Chapter X — Bohemia, Hungary, and Poland. General Programs, I. Easy, II. Medium, III. Difficult 138 The Bohemian School 139 Liszt, Franz 139 Chopin, Fr^dMc. I 139 Chopin, FrM^ric. II 140 LIST OF PROGRAMS VU PAGE Chapter XI — Russia. General Programs, 1. Easy, II. Medium, III. Di£5cult iSS Rubinstein, Anton 156 Tchaikovsky, Peter Ilich , . . . . 156 National Russia 156 The Later Russians 156 Chapter XII — Auerica. General Programs, I. Easy, II. Medium, III. Difficult 174 Paine, John Knowles 175 MacBowell, Edward Alexander 175 Parker, Horatio William 175 Chadwick, George Whitfield 176 Foote, Arthur William 176 Elder Composers. 1 176 Elder Composers. II., Ill 177 Younger Qomposers. I., ILs 178 Women Composers 178 Foreigners in America 179 MUSIC CLUB PROGRAMS FROM ALL NATIONS. I. CLASSICAL GERMANY. In the dark ages music flourished but Uttle in Germany; yet in the time of Charlemagne the art received royal patronage, and the Christian chants must have been heard among the savage races that he baptized by the might of his sword. At a later time, we find the monk, Franco of Cologne, inventing measured notation, possibly in Germany; but the first popular impetus given to music came from the Minnesingers. These minstrel knights, like the troubadours of France, were of gentle birth, and cherished the art of song as one of their greatest accomplishments. While they indulged in less fantastic exuber- ance and extravagant display than their French brothers, their deeper sincerity had its influence on the poetry of the time. Wolfram von Eschenbach's Parzival and the lyrics of Walther von der Vogelweide date froin this period, which finds a modem echo in Wagner's Tannhauser. Another notable figure was Henry of Meissen, whose songs in praise of womanhood won him the title of "Frauenlob" and the homage of the fair sex. At his funeral the women cast a flower each into his grave, and made it overflow with their fragrant tribute. The close of the Middle Ages found German music kept ahve chiefly by the Mastersingers. These guilds of prosaic but worthy burghers reduced the art to a formal basis that could not atone for a lack of real inspiration, but at rare intervals a genius appeared 1 2 MUSIC CLUB PROGRAMS FROM ALL NATIONS. among them. Such a leader was Hans Sachs, whose many Fasl- nachispiele show a humor that is telUng, if somewhat broad. UnUke the old hero of Wagner's opera, Sachs succeeded in making a second marriage late in life, and his young bride was extremely proud of his fame. The contrapuntal schools exerted their influence in Germany, but left fewer famous names to be recorded in that country than in Italy or the Netherlands. Yet in the latter part of the fifteenth century we find such men as Adam of Fulda, Stephan Mahu, Henry Finck, and above all, Henry Isaac. The time of the Reformation brought about the development of Protestant church music. Luther and his friend Franck were largely responsible for this, and their musical taste led the way to something more melodic than the involved vagaries of the early contrapuntists. Another pioneer in the same field was Johann Walther, a singing master at the Saxon court. Ludwig Senfl, a Swiss by birth, was known through settings of the odes of Horace, as well as chorals that are reckoned the best of their time. In those days the tenor part held the melody, the word coming from the Latin verb teneo (hold). The first to take the important step of placing the tune in the highest part was Lucas Osiander, who strove to unite contrapuntal and melodic effects. Calvisius, Prae- torius, Scheidemann, Hassler, and others followed his lead, while Johannes Eccard became the most prominent figure in this field. Michael Praetorius followed the Itahan movement toward recita- tive and solo work, while Samuel Scheldt and Johann Pachelbel became renowned as organ composers. The rise of opera in Italy, beginning in 1600, found no counter- part in Germany until 1678. In that year Hamburg attained the glory of founding the school of German opera, and began its season with Adam and Eve, by Johann Theile. Chaos, the four elements, Lucifer cast from heaven, the creation of Adam and Eve, the temptation, and the casting out from Eden gave ample opportunity for gorgeous scenic and mechanical effects. MUSIC CLUB PROGRAMS FROM ALL NATIOJ^S. 3 Germany found her first great opera composer in Reinhard Keiser, who soon became the leader of the Hamburg school. Not a deep musician, he charmed his audiences by his melodic grace and fertility of invention, and wrote no less than one hundred and twenty works for the stage. His pieces supplanted the Itahan operas in Germany, and even penetrated as far as Paris. Other native composers entered the field, — Mattheson, Telemann, Stningk, Kusser, — but Keiser held his own for many years. One day, however, he was forced to flee from his creditors, and a young man named Handel took his place as leader at the harpsichord. Keiser returned, but found himself unable to obscure the glory of the younger and greater genius. Bach and Handel were bom in the same year, — 1685. These two masters are sometimes spoken of as the Siamese twins of music, but in many respects they show a contrast rather than a resemblance. Both left great religious works to the world, and raised German sacred music to the highest plane. But Bach represents the culmination of the older style of counterpoint, while Handel foreshadowed the newer school of dramatic and harmonic expression. It is also a mistake to give these composers equal rank, for Handel's fame rests chiefly upon his Messiah, while Bach's renown is secured by many other forms of compositirai besides oratorio. John Sebastian Bach (i 685-1 750) came of a long line of distin- guished musicians, dating from Veit Bach, who was bom in the middle of the sixteenth century. Undoubtedly heredity played its part in the great composer's genius, but probably a musical environment was of still more importance. Left an orphan in early childhood. Bach received musical instruction from an elder brother, the organist, John Christopher Bach. A fine soprano voice soon brought him a choir position, and when his voice changed he became violinist in the ducal orchestra at Weimar. In 1703 he gained a more important post as organist at Amstadt. It was his wonderful improvisations on the organ that first brought 4 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Bach to the notice of the musical w^jrld, for on this instrument he displayed fully his marvelous faculty of weaving and inter- weaving simple melodic figures into the most exquisite musical tracery. He became by all odds the greatest master of counter- point that the world has ever seen. Almost all his life was passed as organist. In 17 14 he became director of the court concerts in Weimar, but with so small a salary that he was soon forced to seek a better post. When we consider that he had no less than twenty children, — six by his first wife and fourteen by liis second, — it is not surprising that poverty sometimes pressed him hard. Often he was forced to see lesser musicians chosen before him, as at Hamburg or Halle; yet his long career in the Thomas-Schule at Leipsic brought him honors, if not riches, among them being the homage of Frederick the Great. That monarch gave Bach a hearty reception in his palace, and sent him a sum of money; but the money was embezzled on the way, and the fatigue of the event may have laid the foundation of Bach's last illness. After his death, his widow and others of his family suffered the direst poverty. Bach has given the world a sublime work in his Passion Music according to St. Matthew. His other oratorios are scarcely less notable. He has left the most perfect organ compositions that the world possesses to-day. His wonderful collection of fugues, The Well-tempered Clavichord, remains a monument of tonal greatness, besides having rendered free modulation possible by dividing the scale into twelve equal semitones. In the older days, counterpoint, or the art of melodic part- writing, brought about a dry and pedantic style. This was gradu- ally altered, until in the time of Palestrina and Lasso we find those masters using all the devices of their predecessors, but adding a degree of feeling and emotion that made their music higher in quality. Nearly two centuries later. Bach, on a greater scale, achieved the same happy blending of intellect and emotion. His counterpoint, intricate as it may be, is far more than an arid puzzle. MUS/C CLUB PROGRAMS FROM ALL NATIONS. 5 to be merely solved by following the parts; it is the quintessence of musical architecture, as deUcate in its beauty as the richly traced ornaments on some of the old cathedrals that have resounded so often to his music. And back of it all is emotional power, — more subdued in its expression than that of the modern colorists, but no less deep and sincere. George Frideric Handel, or Handel (1685-1759), was born jjid ^brought up in Halle. Applying himself secretly to spinet playing, he soon became proficient on that instrument, so that when the chance came he was able to step instantly from his post of second violinist in the Hamburg orchestra into Keiser's place as director at the harpsichord. It was not long before Handel became per- manent director, and chief of the German operatic composers. He was a somewhat irascible leader, for he refused to allow Mattheson to conduct a part of his own work, and thus caused a duel that would have been fatal but for a fortunate button on Handel's coat. After an Italian trip, which included a harpsichord contest with Domenico Scarlatti, Handel entered the service of George, Elector of Hanover. Visiting England on a furlough, he met with such success that he decided to stay there. Great was the composer's dismay when George was called to the English throne; but an ingenious friend brought about a reconciliation. At a royal fete on the Thames, the king's barge was approached by another boat, from which issued strains of the most entrancing beauty. When the king inquired, he learned that it was the work of his former composer, and the so-called Water-Music brought Handel into favor again. Handel's operas belong to a school now obsolete, but their success in their day was tremendous. Almira in Hamburg, Rod- rigo and Agrippina in Italy, were names to conjure with. Rinaldo his first London work, was written hastily in a fortnight, yet it surpassed everything that had gone before. In London Handel brought forth piece after piece, during thirty years; managing 6 MUSIC CLUB PROGRAMS FROM ALL NATIONS. theatres, disputing with prima donnas, braving the dandies by composing in his own way, triumphing over his rival Buononcini,' making fortunes and losing them, until at last he retired from the stage, only to begin a new career in oratorio and gain undying fame with the Messiah. Handel's music still wins favor by its dramatic quahties, its direct and forceful utterance. He worked with the utmost speed, and when his genius did not supply inspiration he would remodel his own early themes, or steal boldly from others. Yet it must be confessed that he improved what he plagiarized; and once, when reproached with taking a melody from another composer, he rephed, "That pig doesn't know what to do with such a tune." In orchestral work Handel was certainly original, and many effects of tone color often credited to more modern writers are to be found in his works. Though born near the Bohemian frontier, and passing his later years in Paris, Christoph Willibald von Gluck (17 14-1787) may be classed with the Germans. After study at Prague, Milan, and Lon- don, he wrote an opera that made Handel remark, "He knbws no more of counterpoint than my cook." Later operas by Gluck were conventional in style, and it was not until he met the poet Calza- bigi, at Vienna, that he began to work toward something higher. The opera of Handel and the Italian composers had become wholly arbitrary. The number of characters was prescribed, each demanded his share of display in every act, and the airs they sang were duly classified into set vocal forms — aria cantabile, aria parlante, aria di bravura, and so on.' All this led to a well-con- trasted vocal concert, and prevented any real unity. Gluck's later operas, though all but extinct now, formed a school of dramatic force and real expressive power that have made them landmarks in musical history. From the inception of Orpheus to the final triumph of Iphigenia in Tauris over Piccinni's rival work on the same subject, they represent living reality as opposed to dead conventions. Paris and Helen, Armida, Alceste, and I phi- MUSIC CLUB PROGRAMS FROM ALL NATIONS. 7 genia in Aulis, with the two already named, brought opera back to the path on which Peri had started it, and to which Wagner recalled it in later, days. The chief instrumental form of classical times was the sonata. In its earliest form, the sonata was merely a display piece, or "sounding piece," according to the meaning of the word. It has been customary to speak of CorelU as the father of the sonata, but his works seem rather a set of experiments in different shapes than one definite form. Purcell, in England, seemed really ahead of his time, for his twelve violin sonatas show a balance and symmetry that were far beyond Corelli. The development of the suite from the old dances gave added impetus to the progress of the new form. The suite finally became a somewhat regular succession of Prelude, AUemande, Courante, Sarabande, Gavotte or Minuet, and Gigue, — a fairly close approximation, in contrast of style, to the movements of the sonata or symphony. The sonatas of Domenico Scarlatti represent a distinct advance, especially in the first movement. Kuhnau is credited with estab- lishing the three-movement form. Paradisi, Galuppi, Wagenseil, and others wrote sonatas, but the fiian who did most for the early sonata was Carl Philipp Emanuel Bach, a son of the great Bach. His sonatas, though lacking development, show a contrast of themes and a brilliancy of modulation that have caused him to be called the "father of modem piainoforte playing." Joseph Haydn (i 732-1809), often called "The father of instru- mental form," was the real founder of the sonata as we know it to-day. Son of poor people, he received some training from a cousin, and joined the choir of St. Stephen's, in Vienna. But his voice broke, and the empress said that "Young Haydn sang like a crow," so he was cast on his own resources. A few pupils, ah unexpected loan, and a position as servant to Porpora tided over some very evil times, until at last relief came with an engagement from Count Morzin. As leader of the count's orchestra, Haydn 8 MUSIC CLUB PROGRAMS FROM ALL NATIONS. could at last compose to his heart's content, and in 1759, after many string quartets, came his first symphony. Two years later Haydn became second Kapellmeister (and after- wards director) under Prince Esterhazy. The contract, still in existence, shows that a musician was then little better than an upper servant. Haydn was ordered to be strictly temperate, and to abstain from coarseness in eating, dress, or manners, and he was addressed in the contemptuous third person, as "Er." Still, his salary was good, and he increased it by the sale of his works, then growing famous. Later in life, when the orchestra was dis- banded by the successor of Prince Nicholas, Haydn gained honor and wealth in a trip to England, where the manager, Salomon, ordered six symphonies from him. Six more, on a later trip, completed the "Salomon" symphonies (or "English" symphonies) which were among the composer's greatest works. The pinnacle of his fame, however, was reached with his oratorio. The Creation, and his cantata, The Seasons. The exertion of writing the latter probably hastened his death. The music of Haydn is fully in the modern vein, though at present it often seems tame beside the thunder of more modern composers. His string quartets wear best, for in symphony and oratorio modem writers have gone beyond him. Yet the graphic tone-pictures of The Creation must have seemed wonderful a century ago, while his symphonies, which we regard as merely melodic and graceful, must ha^e been revelations of power when they first appeared. His piano sonatas are dehghtfuUy fresh, but not so advanced in style as his symphonies; because the old piano, of harpsichord, was a rather primitive instrument. Wolfgang Amadous Mozart (1756-1791) was one of the most naturally gifted of composers. With ears of phenomenal dehcacy, he could appreciate his sister's playing when he was only three years old. He began to compose at four, appeared in pubUc before ten, and wrote an opera at twelve. Italian trips and studies brought him more triumphs, and on his return he electrified MUSIC CLUB PROGRAMS FROM ALL NATIONS. 9 Munich with his Finta giardiniera. But the Archbishop of Salz- btirg, whom Mozart served, decUned to give him a respectable salary, and all through life the composer had to struggle with poverty. The success of Idomeneo at Munich brought no relief from his degrading position, and he left the archbishop's service at Vienna. Even in the latter city he won little imperial favor, and his three great operas {The Marriage of Figaro, Don Giovanni, and The Magic Flute) barely sufficed to keep the wolf from the door. His death, just after coinposing his great Requiem for an unknown stranger, took him from the sordid wretchedness of life into a nameless grave. Of his stage works. Die Enlfilhrung aus dem Serail revived the school of purely German opera, which The Magic FhUe continued. The bright, sparkling freshness of Figaro and the serene beauty of Don Giovanni still hold the stage. If anything, their music is less modern in effect than some of Haydn's works; but the inimitable grace of Mozart's compositions makes them stand as models of the simpler melodic style in opera. Mozart wrote forty-nine symphonies, but the last three, com- posed in 1788, are by far the greatest. The one in E'' was the first to introduce a clarinet into the symphonic orchestra; that in C is known as the great Jupiter symphony; while the third, in G minor, shows a tenderness of feeling that makes it Mozart's daintiest work. Haydn's symphonies are at times broader and more virile, but those of Mozart show a far more exquisite delicacy of emotion. The same qualities show in his sonatas, in less degree. He was the first to use the sonata form in overtures. If one were to ask, "Who is the greatest of the composers ? " many would answer " Beethoven." Yet this would not be entirely true. Bach surpassed him in intellect, Chopin in emotional expression; yet in his works we find both of these qualities, and (-so well balanced and blended that he remains the foremost expo- nent of classical music. Ludwig van Beethoven (1770-1827) was the son of one of the 10 MUSIC CLUB PROGRAMS FROM ALL NATIONS Elector's musicians at Bonn. His father had heard of Mozart's fame and decided to make Ludwig a boy prodigy also. He gave the boy lessons with' the utmost rigor and severity, and with a wretched boon companion named Pfeiffer would often make him sit at the piano till midnight. It was a wonder that Ludwig did not grow to hate music altogether under this treatment. Beethoven was taught by Neefe, who gave the youth a solid training in Bach. In Vienna he met Mozart, who was amazed at his power of improvisation. Called home by the death of his mother, he bore all the family cares, receiving his drunken father's salary direct from the Elector, until the death of the elder Beetho- ven, — an event officially reported as "a great loss to the tax on liquors." It is surprising to find a man of Beethoven's uncouth ways and hmited education making so many friends among people of position and refinement. Yet almost from the first this was the case.- Count Waldstein, Prince Lobkowitz, Prince Lichnowsky and many other nobles became his faithful adherents. Many women, too, were objects of an ideal affection which was deep and sincere with him, if not always lasting. All the way from Eleonora von Breuning to Amalia Sebald, their influence is evident in his works, and his letters to GiuHetta Guicciardi were of the most impassioned character. In 1792 Beethoven settled in Vienna. He took lessons from Haydn at twenty cents an hour, but that master, at the height of his fame, neglected the young pupil, and called him the "Great Mogul," because of his arrogant independence. Albrechtsberger, too, denounced Beethoven, and warned his other pupils against him as a dangerous radical. Beethoven's works paid him well, even at first, because of noble patronage; but it was not until his Heroic Symphony appeared that his genius was fully manifested With that work he entered upon what is called his second period, — a time of mature origi- naUty. After exploiting all the resources of sjmiphony and sonata, MUSIC CLUB PROGRAMS FROM ALL NATIONS. 11 he came to a time when the form itself seemed a restriction on his great thoughts, and in his final period he discarded its strict rules. His symphonies, not all equal in value, have lost none of their lustre even when compared with the richest modem tone pictures. There is a story that a teacher, on asking a student how many symphonies Beethoven wrote, received the reply of "Three." "What were they? " asked the astonished teacher. "The Heroic, the fifth, and the ninth," was the answer. These are, in truth, the best of the nine; but the cheerfulness of the Pastoral, and the sunny gaiety of the seventh and eighth are still a perennial pleasure to latter-day audiences. The sonatEjs show the division into periods, but even in the earliest of them we feel the forceful touches of a young giant. The Waldstein and Appassionata are the best representatives of the middle period, while the last and greatest five may well receive the term of "veiled symphonies." The great piano concertos, the noble violin concerto, and the dramatic overtures give further evidence that Beethoven was an orchestral composer par excellence. He thought in orchestral form, just as Schumann thought for the piano, and Schubert for the voice. He brought out the full capacity of each instrument, not even sparing the human voice in his demands. Where books have been written on Beethoven, a few paragraphs can hardly do more than give a general estimate of his music. Polished with the utmost care, it shows a vigor, a forcible direct- ness of utterance, a profound depth of emotion, and a striving after a lofty ideal of humanity that make it still a revelation to its auditors. Franz Peter Schubert (1797-1828) illustrated by his whole life the saying that, — "The anguish of the singer Makes the beauty of the strain." Poor, bashful, unattractive, near-sighted, he had yet in him the spark of real genius. "Whatever I try to teach him, he seems to 12 MUSIC CLUB PROGRAMS FROM ALL NATIONS. know i already," said his teacher, Holzer. This natural gift im- paired the strictness of his training, and in later life he made a manful effort to remedy the error by studying counterpoint. At the Imperial Chapel, in Vienna, he received Httle food, and his enthusiasm for composition was checked by the fact that he was too poor to buy music paper. Later on, his artistic comrades aided himy ibut many of his manuscripts were lost, and are still being sought for. At eighteen he wrote the Erlking, producing this great ballad in a single day. Hark, Hark, the Lark is another instance of his speed in composition, for he read the poem while waiting for his breakfast in a restaurant, and wrote the music on the back of a bill of fare in twenty minutes. Yet he reahzed little cash froms his amazing gifts. The Wanderer alone brought its pubUsher twenty-seven thousand florins, while the composer had sold it, with seventy others, for only eight hundred. Schubert's ^ genius is evident in all his songs, in which his lyrical power had free range. His symi^honies are the perfection of melodic expression, but they are lacking in the figure development that some critics consider necessary in that form. His piano works show the same emotional utterance as his songs, though the sonatas fail because of their length and lack of form. Yet if his music shows flaws to the critic, its perennial beauty and tender pathos lend it a charm that marks Schubert as the greatest lyrical genius the world has ever seen. Questions. 1 . Who were the Minnesingers, and what was their music Uke ? 2. Describe the Mastersingers, and name the most famous poet composer among them. 3. Name some early composers of Protestant church music. 4. What' are the qualities that make Bach's music so great? MUSIC CLUB PROGRAMS FROM ALL NATIONS. 13 5. What is the Well-tempered Clavichord, and what effect did it have on modulation? ,; 6. Describe the opera of Handel's time. 7. How do Handel's oratorios differ from those of Bach ? 8. What were Gluck's greatest operas, and what operatic forms did he introduce? 9. Describe the suite, and name some of the early sonata com- posers. 10. What musical form was employed and developed most by Haydn ? 11. Name three great operas and two symphonies by Mozart. 12. What opposite qualities are blended in Beethoven's music ? 13. Into what three periods are Beethoven's co'mpositons divided? Name some works in each. 14. ftepare a complete Ust of Beethoven's pubhshed works. 15. What are the excellences and the defects of .Schubert's music ? Note. -^ Prepare detailed biographies of Bach, Handel, Hadyn, Gluck, Mozart, Beethoven, and Schubert. 1. Piano. 2. Songs. 3- Piano. 4- Songs. 5- Violin. 6. Songs. 7. Piano. GENERAL PROGRAMS I. Easy Sonata facile . . . Mozart (a) Es taget vor dem Walde*. Eolk Song (b) Das zerbrochene Ringlein t • • • ■ Folk Song Sonata, Op. 49, No. i . . ... Beethoven (a) Lascia ch'io pianga (Sadly I Languish) .... Handel (b) Austrian National H)Tnn (Gott erhalte Franz den Kaiser) . Haydn First Prelude Bach-Gounod (a) Heidenroslein (Hedgerose) Schubert (b) Standchen (Serenade) Schubert Entr' Acta, from "Rosamunde" Schubert * Arranged by Robert Franz. t See Folk Songs of all Nations, edited by Granville Bantock. 14 MUSIC CLUB PROGRAMS FROM ALL NATIONS. II. Medium 1. Piano. Fugue, No. 7. Well-tempered Clavichord, Vol. II. . . Bach 2. Songs, (a) Mein glaubigesHerze (O Heart Ever Faithful) . . Bach (1?) Das Veilchen (The Violet) " . Mozart 3. Piano. SonatainD, from "Ten Celebrated Sonatas" Haydn 4. Songs, (a) In questa tomba . . Beethoven (b) My Mother Bids Me Bind My Hair . . . Haydn 5. Pianfl. . Sonata, Op. 2, No. i ... Beethoven 6. Songs, (a) Die Post (The Post) Schubert (b) Hark, hark the Lark . .... Schubert 7. Piano. Moment musical. Op. 94, No. 3 Schubert III. Difficult Piano. Songs. Fugue, No. s, Well-tempered Clavichord, Vol. II .... Bach (a) Why do the Nations? from "The Messiah" . Handel (b) O Isis and Osiris, from "The Magic Flute" . Mozart Sonata in C Major (Waldstein), Op. S3 . . . Beethoven Adelaide Beethoven Andante and Variations: Kreutzer Sonata '. Beethoven (a) Aufenthalt (My Abode) Schubert (b) Erlkonig (The Erlking) . . . Schubert 7. Piano. Fantasie, Op. 15 . . . Schubert Piano. Song. Violin. JOHANN SEBASTIAN BACH (1685-1750) 1. Piano. Prelude and Fugue, Vol. II, No. 9, Well-tempered Clavichord. 2. Songs, (a) Willst du dein Herz mir schenken? (b) Cradle Song (Wiegenlied), from the "Christmas Oratorio." 3. Piano, (a) Two-part Invention, No. i. (b) Three-part Invention, No. 10. 4. Songs, (a) Mein Seelenschatz is Gottes Wort. (b) Eilt, ihr Stunden. 5. Violin, French Suite No. 5, arranged for violin and piano (Singer). 6. Songs, (a) Bist du bei mir. (b) Mein glaubiges Herze (O Heart Ever Faithful). 7. Piano. Prelude and Fugue, Vol. II, No. 5, Well-tempered Clavichord. See Bach's Piano Music, (2 vols.), edited by Ebenezer Prout. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 15 GEORGE FRIDERIC HANDEL (1685-1759) 1. Piano. ■ Suite No. i, in A major. .i. Songs, (a) Verdi prati, (Verdant Meadows) from "Alcina" (b) Ch'io mal vi possa. 3. Piano. Fugue No. a, in G major. 4. Songs, (a) Lascia ch'io pianga (Sadly I Languish), from "Rinaldo." (b) He shall feed His Flock, from "The Messiah" 5. Violin. Largo, from "Xerxes" (arranged). 6. Songs, (a) Arm, Arm, Ye Brave, from "Judas Maccabaeus"- (b) Revenge, Timotheus Cries, from "Alexander's Feast." 7. Piano. Suite No. 14, in G major. See Songs and Airs by George Frideric Handel, edited by Ebenezer Prout. FRANZ JOSEPH HAYDN (i 732-1809.) Sonata in D major (Pohl, No. 22). With Verdure Clad, from "The Creation. Andante con variazioni, in F minor. She Never Told Her Love. Soi^ta for Violin, No. 6, in C major. My Mother Bids Me Bind My Hair. |. hands. Symphony in D major. No. 7 (arranged). See Twenty Piano Compositions by Haydn, edited by Xaver Scharwenka. I. Piano. 2. Song. 3- Piano. 4. Sortg. S- Violin. 6. Song. 7- Piano, WOLFGANG AMADEUS MOZART (1756-1791) Sonata No. 7 (Halberger) in C major. Das Veilchen (The Violet). Fantasie, No. 3, with Fugue, in C major. (a) Voi che sapete, from "The Marriage of Figaro." (b) Dove sono, from " The Marriage of Figaro. " Sonata for Violin, No. 5, in G major. (a) Batti, batti, from "Don Giovanni." (b) Vedrai carino, from "Don Giovanni." Piano, 4 hands. Symphony in G minor, Op. 45 (arranged). See Twenty Piano Compositions by Mozart, edited by Carl Reinecfce. I. Piano. ,£. Song. 3- Piano. 4- Songs. S- Violin. 6. Songs. 16 MUSIC CLUB PROGRAMS FROM ALL NATIONS. I. Piano. .£. Songs. 3- Piano. 4- Song. S- Violin. 6. Songs. 7. Piano. LUDWIG VAN BEETHOVEN. I. Medium (1770-1827) Sonatina, No. i, in Eb major. (a) An die Hoffnung (To Hope). (b) Mailied (May Song). Bagatellen, Nos. 2, 3, 4, and 7, Op. 33. Neue Liebe, neues Leben (New Love, new Life). Romance, Op. 40. (a) In questa tomba. (b) Der treue Johnie (Faithful Johnnie). Rondo Capriccio, Op. 129. LUDWIG VAN BEETHOVEN. II. Difficult (1770-182 7) 1. Piano. Sonata pathetique, in C minor. Op. 13. 2. Song. An die feme Geliebte, (To the Distant Beloved), No. 1. 3. Piano. Sonata appassionata, in F minor, Op. 57. 4. Song. Adelaide. 5. Violin. Polonaise. 6. Song. Komm, Hoffnung, (Come, O Hope), from "Fidelio." 7. Piano, 4 hands. Symphony, in A, No. 7 (arranged). See Piano Compositions by Beethoven, edited by Eugen d' Albert. FRANZ PETER SCHUBERT. I. Medium (i 797-1828) 1. Piano, 4 hands. Marche militaire, Op. 51, No. i. 2. Songs, (a) Das Fischermadchen (The Fishermaiden). (b) Die Post (The Post). 3. Piano. Entr'acte and Ballets, from "Rosamunde^' (arranged) 4. Songs, (a) Wohin (Whither). (b) Die liebe Farbe (The Favorite Color). 5. Violin. Sonatine, Op. 137, No. i. 6. Songs, (a) Who is Sylvia ? (b) Hark, Hark, the Lark. 7. Piano. Moments musicals, Op. 94, No. 3 in F minor, and No. 6 in A?. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 17 FRANZ PETER SCHUBERT. II. Piffictjlt (1797-1828) 1. Piano. Four Polonaises, Op. 75. 2. Songs, (a) Das Wirthshaus (The Inn), (b) Die Allmacht (The Almighty). 3. Piano. Impromptu, Op. 90, No. 1. 4. Songs, (a) Ungeduld (Impatience). (b) Aufenthalt (My Abode). 5. Violin. Selection from "Marches h&oSques," Op. 40. 6. Song. Der Wanderer (The Wanderer). 7. Piano, 4 hands. Symphony in C major (arranged). See Fifty Songs by Schubert, edited by H. T. Finck. See Piano Compositions by Schubert, edited by August Spanuth. II. ROMANTIC AND MODERN GERMANY. The so-called romantic school of Germany found its first expres- sion in opera, and its greatest popular triumph, in the works of Carl Maria von Weber (1786-1826). The scope of this school was large; it dealt with opera in strong and original fashion, and based much of its force on the employment and treatment of leg- endary lore familiar to every one. The camps and courts of chivalry, the humble peasant life, the many supernatural traditions of the Fatherland, — - all added their lustre to its brightness. In music, too, the appealing beauty of the folk, song lent its charm, and went directly to the hearts of its hearers. The success of the school was attained in an instant. "Greater glory there cannot be," said Weber, when Der Freischutz aroused all Germany to frenzied enthusiasm; adding then, with his usual modesty, "To God alone the praise." Destined to be a child prodigy and rival the young Mozart, Weber did not fulfil his father's desire in this direction. The wandering life of theatrical people, to which his father was forced to subject him, threatened to injure his constitution and character, but gave him the facihty of expression that told so well in his later works. The comic opera Abu Hassan was well received, but Der Freischutz (1821), with its popular flavor and legendary interest, was the epoch-making work of his career. Preciosa was of slightly earher date, but Euryanthe and Oberon belong with the new school, the small success of the former being due to a weak libretto. The world thinks of Weber as an opera composer, but he was active in nearly all great musical forms. His two symphonies are 18 ROMANTIC GERMAN COMPOSERS RAFF JENSEN MUSIC CLUB PROGRAMS FROM ALL NATIONS. 19 not important; but the Concertstuck and the Juhel overture remain favorites, as also the well-known Invitation to the Dance. There are many pieces for solo or concerted instru- ments, four piano sonatas, and a number of lesser works. His vocal compositions include two masses, several cantatas, some good part-songs, and many solos remarkable for their fire and brilliancy. Ludwig Spohr (1784-1859) is regarded by some as the real founder of the romantic school. It is true that some of his operas antedated those of Weber, but they never achieved anything like the same degree of success. Alruna, Faust, and Zemira and Azor all preceded Der Freischiitz, but failed to awaken any truly national enthusiasm. Jessonda, Der Berggeist, The Alchemist, and The Crusaders won later triumphs, but their music was too involved, too chromatic in character, to reach the popular heart as that of Weber did. Spohr, too, won fame in other fields. The Last Judgment and Calvary are worthy oratorios, while The Consecration of Tones, one of his nine symphonies, was for many years a concert favorite. His noble sentiment and warmth of expression made him seem the peer of Weber and Mendelssohn, at least in former years, and his "works would hold their own now but for his deliberate excess of modulation. In speaking of these qualities, Naumann writes, "If, as Salieri says, some composers are like men who jump through the window when the door is open, we may well say of Spohr that he passes the open door at least six times before he decides upon entering." A composer of later date, now also relegated to a second rank because of his fatal facility, was Joseph Joachim Raff (1822-1882). Raff's rare melodic genius was not wholly restrained by artistic discretion, and at times his amazing fertility of invention invests his work with an artificial flavor. His fondness for program music, too, was another quality that prevented him from achieving the very highest artistic success. Yet his Lenore and Im Walde 20 MUSIC CLUB PROGRAMS FROM ALL NATIONS. symphonies are still heard, and his violin music, from concertos to cavatina, shows the utmost melodic charm. Next to Weber and Spohr, Heinrich Marschner (1795-1861) was the chief operatic figure of the new romantic school. His place is less important than theirs, however, for he was in some degree a follower, an imitator. Of his works, three still survive in Germany — Hans Heiling, the most important ; The Vampire, a weird, supernatural tale; and Templar and Jewess, based on Scott's Ivan- hoe. Schumann's criticism of the last is a good estimate of Mar- schner: "The music occasionally restless; the instrumentation not entirely lucid; a wealth of admirable and expressive melody. Considerable dramatic talent; occasional echoes of Weber. A gem not entirely free from its rough covering." With Marschner are often classed Lindpaintner and Reissiger, but neither showed any real inspiration. Both wrote what is called Kapellmeister-Musik, and both are nearly forgotten now. In a hghter style, half romantic, half comic, and wholly enjoyable in their vivacious sweetness, are the operas of Kreutzer and Lortzing. The former's best work is the Nachtlager in Granada, - while the latter's Czar und Zimmermann is a tuneful portrait of the adventures of Peter the Great in the Saardam shipyard. With these two should be classed Nicolai, whose Merry Wives of Wind- sor contains much melodious music. Giacomo Meyerbeer (i 791-1864) won his triumphs in France, and wrote in a rriore cosmopolitan vein. Robert le Diable, Les Huguenots, Le Prophete, and L'Africaine form a renowned quartet of grand operas, while Dinorah, VEtoile du Nord, and the music of Struensee win further laurels. But Meyerbeer was not ani- mated by high ideals and even in his most dramatic moments he wrote to please rather than to educate. Seldom has any man received such different estimates. His great biographer, Mendel, quotes the old saying that Germany excels in harmony and part writing, Italy in vocal melody, and France in choral work and instrumentation, and then adds that MUSIC CLUB PROGRAMS FROM ALL NATIONS. 21 Meyerbeer sums up all these excellences. Per contra, Wagner, at first his admirer, became unsparing in attacks on his blatant vulgarity, and even the gentle Schumann accused him of "going over to the circus" in his effects. Mendelssohn and Schumann are in different ways exponents of what may be termed the romantic movement in instrumental music. Felix Mendelssohn-Bartholdy (1809-1847) shows in all his music the elegance and grace of a nature sensitive to beauty and working out its career in happy surroundings. The note of deep emotion, bom of struggle and adversity, is lacking in his works; he could no more be expected to portray this phase of music than an artist could paint a storm at sea without having seen the ocean. His least successful works are those in which he attempts dramatic power, such as the Ruy Bias overture. Yet if he could not present strong passions, he showed absolute genius in the lighter and more dainty side of musical expression. Over- admired during his hfetime, especially in England, Wagner's attacks have caused him to be rated too low. The modern radicals are apt to mistake simplicity for weakness, and few of them could equal the exquisite clearness and delicacy of Mendelssohn's instru-' mental pictures. He has well been called "Le grand paysagisie." His Midsummer Night's Dream overture remains a perennial delight, and a wonderful achievement of youthful genius, for he wrote it when only seventeen. From this epoch dates also his great octet for strings. In piano music, he has enriched the repertoire with the great Variations serieuses, the six preludes and fugues, Op. 35, and the brilliant E minor fugue. With orchestral accompaniment, the Capriccio and the E-flat Rondo are still favorites, while the two concertos hold their own. For the solo instrument, the Songs •without Words form a set of delightful musical miniatures. For violin the great concerto ranks with the best works in this form, while the two 'cello sonatas are also noteworthy among the chamber works. 22 MUSIC CLUB PROGRAMS FROM ALL NATIONS. In the songs there is an artless sweetness that makes a direct appeal to the heart. In more ambitious choral form, the music to Antigone and CEdipus are masterworks of their kind, while St. Paul and Elijah remain the most popular oratorios except Handel's Messiah. The orchestral works, however, show the composer at his best. Among the overtures, the finest is the in- imitable Hebrides, catching the faint, mysterious rhythm of the ocean in truly marvellous fashion. The Scotch Symphony, too, gives further tone-pictures of that solemn Northern land, Ossianic in their majesty. Robert Schtimann (1810-1856) was in many respects the reverse of Mendelssohn. Schumann represents the deeper and more emotional side of the art, an earnest romanticism of thought and intellect. Lacking the exquisite grace that Mendelssohn often shows, he presents a more fundamental and more reflective style in his music. Where Mendelssohn makes us admire and enjoy, Schumann makes us think and feel, often with the utmost inten- sity of heartfelt sympathy. Schumann was par excellence a composer of piano music. Even his orchestral works seem hke glorified piano passages, and in the solo works he is almost always at his best. A noble and notable list they form, the Papillons, the Carnaval, the Phantasiestiicke, the Kreisleriana, the Noveletten, the Faschingsschwank, the great Etudes symphoniques, and the rest. Each new generation is in turn amazed at their depth of sentiment, their rich imagination, their inexhaustible wealth of musical ideas. In his songs, too, Schumann has sounded a note of deeper emotion than almost any other vocal composer. Franz has more of deli- cacy, Schubert shows a more artless pathos, Strauss and the modem writers strive for a more complex utterance of feehng, but the world has yet to see a more perfect emotional expression than that of the cyclus Frauenliebe und Leben and the Dichterliebe, the former written to celebrate the composer's happy union with Clara Wieck. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 23 Passing over the opera Genoveva, the Faust cantata, the Man- fred music, the chamber works, and the piano concerto, we come to the symphonies, and must pause again in admiration of their warm richness of imaginative beauty. They sum up in their happy measures the roseate dreaims of humanity in the enthusiasm of youth; they transport us to the Fortunate Isles, where we may while away long afternoons of golden sunshine; and they reflect truly the noble words that Browning has put into the mouth of Abt Vogler, — "All we have willed or hoped or dreamed of good shall exist; Not its semblance, but itself; no beauty, nor good, nor power, Whose voice has gone forth, but each survives for the melodist When eternity affirms the conception of an hour." The chief apostle of strict symphonic form in later days has been Johannes Brahms (1833-1897). Schumann's famous descrip- tion of their meeting, where Brahms played his own works, is well worth citing. "There were sonatas, or rather veiled symphonies," says the critic, "songs whose poetry might be understood without words; piano pieces, both of a passionate nature and of most grace- ful form; sonatas for violin and piano, each so unlike the others that they seemed to flow from many different springs." Also, in later years, came the great German Requiem, the Ode 0} Destiny, the bright Academic Overture, and the four noble symphonies. It is the consummate mastery of form and figure treatment in the sonatas and symphonies that made von Biilow speak of the three great B's in music as Bach, Beethoven, and Brahms. The lesson of the symphonies is one that we need to-day. The examples of Liszt, Wagner, and Strauss have led nearly every composer into the freer style of rhapsodical utterance, but Brahms has shown us that form need not be a fetter, and need not impede the expres- sion of great musical thought any more than in Beethoven's day. Two men deserve mention in the operatic field. Hermann Goetz (1840-1876) died while still a young man, but not before 24 MUSIC CLUB PROGRAMS FROM ALL NATIONS. he had composed Der Widerspanstigen Zahmung, a deUcious comedy based on Shakespeare's Taming 0} the Shrew. He is also credited with a worthy symphony. Peter Cornelius (1824-1874), one of Liszt's renowned disciples at Weimar, won his chief fame with the Barber of Bagdad. This Oriental comedy has a rather weak plot, but its music is marked by rare taste and feehng, united with many happy touches of humorous orches- tration. It is said that several excellent scenes in the Meister- singer were suggested by this work. Two later operas, Der Cid and Gunlod, were httle more than an echo of Wagner's later style. Richard Wagner (1813-1883) has long been the world's acknowl- edged master in opera; and it seems strange now to think of the time when his works were assailed as radical, noisy, and altogether without meaning. But every great musical advance has been received thus. In Benjamin Franklin's autobiography he laments that music is no longer the simple affair of his childhood, but has become complex and abstruse. Beethoven's works were attacked in similar fashion, and it may be that our dread of the later Strauss in our own day will turn to admiration in the next generation. Wagner's theories, briefly rehearsed, were not absolutely new. The libretto, best written 'by the composer, should be worthy the music; the music should always reflect the spirit of the words, Wagner's own expression being that "Music is Truth"; the music should not break the work into separate vocal numbers, which he likened to a string of single pearls, but should form a complete whole. Thus far the earlier operas accord with his ideas, — The Flying Dutchman, Tannhduser, and Lohengrin, at least. But in the later music-dramas. The Ring, Tristan, and to some extent Par- sifal and the Meistersingers, he adopts definitely the use of Melos, or endless melodic recitative, and the device of Leit-Motiven, or guiding motives to depict each character or event. Wagner's reforms in the interest of dramatic truth came at a MODERN GERMAN COMPOSERS WOLF REGER HAUSEGGER MUSIC CLUB PROGRAMS FROM ALL NATIONS. 25 time when they were needed to offset the baleful influence of Rossini's meaningless tunes. But the greatness of his works lies in their own innate beauty. His librettos are great dramas in themselves, moving with stately majesty and affording scenes of epic grandeur. His marvelous orchestration opened an entire new world of tone to the ear, a richly woven texture of color undreamed of before his day. His themes, pregnant with impres- sive meaning, are built up into orchestral passages of unequaled power. His music cannot be described; it must be heard. Elsa's dream, the flowing Rhine, the glories of Walhalla, the wild ride of the Valkyries, the exquisite Magic Fire music, the enchanting Waldweben, the magnificent finale of The Ring, are but a few of the many Titanic achievements that have made Wagner one of the immortals in the art of all ages. Carl Goldmark (1830- ) is of Hungarian birth, but has identified himself wholly with Germany. His first decided success was the Sakuntala overture, but he achieved his greatest renown with the Queen of Sheba, in 1875. This opera, delayed by jealousy, won deserved triumph in nearly all civilized countries, for Gold- mark's sumptuous genius was at its best in portraying Oriental subjects. In Merlin, too, the music shows the most luscious charm, although the work is handicapped by a confused libretto. Heimchen am Herd is in the simpler style introduced by Hum- perdinck, and sets Dickens' Cricket on the Hearth to music of appealing and sympathetic fervor. Die Kriegsgefan'gene, Gotz von Berlichingen, and Der Fremdling are later works. In the instrumental field, Goldmark shows the same rich pro- fusion of glowing harmonies. The Rustic Wedding pictures are less striking than the tonal canvases of the modern radicals, and the E-flat symphony is seldom heard, but the overtures hold their own well, — Penihesilea, Spring, and the dignified Prometheus, as well as the earlier Sakuntala. Engelbert Humperdinck (1854- ) is known chiefly by his Hansel und Gretel, which brought him fame at one stroke. This 26 MUSIC CLUB PROGRAMS FROM ALL NATIONS. setting of the old fairy tale of Grimm, altogether delightful in itself, has almost founded a new school of fairy opera. The reasons for its success were twofold: first, its own beauty; second, the fact that it came at a time when Germany had been bombarded with grandiose, but unsuccessful music-dramas, and craved something simpler. Humperdinck's later operas, Dornroschen, Die Konigs- kinder, Saint-Cyr, and Die sieben Geislein, show much beauty, but arouse less enthusiasm than their great predecessor; and Das Wunder von Koln is not Hkely to reverse the verdict. Among the later German opera composers^ Wilhelm Kienzl has aroused great interest with Der Evangelimann, a true story of crime and forgiveness between brothers. Max Schillings has produced the Viking opera, Ingwelde, and the medieval Pfeijer- tag, but neither is more than a weak imitation of Wagner. Cyril Kistler, after many attempts at music-dramas, has drifted into a simpler and more pleasing style. August Bungert has attempted a Hexalogy on Homeric subjects, but without popular success. Siegfried Wagner has written four operas and scored four failures. Eugen d'Albert's works, if not planned on the largest scale, present much delightful music: The Ruby, Gemot, Ghismonda, Cain, Die Abreise, Der Improvisator, and Tiefland have all met with some success. Hugo Wolf's bright Corregidor wins him less fame than his remarkable songs, while Ludwig Thuille's Gugeline is another fairy opera. Strauss' Guntram and Feuersnot do not hold the boards, in spite of much glorious music; and now comes Salome, more involved and more vehement than either. But the name of Strauss brings up other questions. Richard Strauss (1864- ) started out in an orthodox path, and his symphony in F minor is a worthy work, showing the influ- ence of Brahms. But the sea-change he suffered at the hands of Alexander Ritter soon became evident. Aus Italien, the set of free-tone pictures of that historic country, once appeared involved, but is simplicity itself when compared with the later tonal rhap- sodies. Each of the great symphonic poems that followed arouses MUSIC CLUB PROGRAMS FROM ALL NATIONS. 27 our amazement at the composer's mastery of the orchestra, and sooner or later compels our admiration. A grand series they form, — the powerful Macbeth; the passionate Don Juan; Tod und Verkldrung, grandly triumphant; Till Eulenspiegel, with its in- imitable humor and irony; Also sprach Zarathustra, sublime in its mysticism ; Don Quixote, a bold attempt at the most definite sort of program music; Ein Heldenleben, strange and repellent in some of its themes, but colossal in their development; and now the tangled Sinfonia domesiica, which the London critics have shown themselves ready to "First pity, then endure, then embrace.'' The technical mastery of Strauss is beyond all praise. He wields the forces of the largest modem orchestra with absolute ease and entire unconcern. He throws gigantic thoughts upon his musical canvases, and clothes them in vivid colors. But the thoughts themselves, the themes of which they are built, are not always beautiful, and sometimes decidedly ugly. Is Strauss play- ing with us, and trying to see how far he can impose on our credu- lity? Ernest Newman, once his most ardent champion, now incUnes to this belief; but even granting it, we must still pay tribute of homage to the glorious revelation of beauty in the earlier sym- phonic poems. In his songs, too, Strauss has shown that he can produce the most entrancing melodies when he desires. Chromatic in charac- ter, sometimes vague at first, they grow into musical gems of the most perfect unity. Their modulations, strange at the outset, become clear on repeated hearing, and seem natural, correct, inevit- able. They have almost founded a new l)nic school. The symphonic poems of Strauss have formed a text for endless discussions on program music. It is not the highest function of music to tell a story; the Bach fugues and the Schubert symphonies tell none. But the fashion of giving titles to instrumental works, 28 MUSIC CLUB PROGRAMS FROM ALL NATIONS. especially .symphonic poems, must of course suggest certain moods, to be reflected in the piece. Where these are merely general such as Tasso; lamento e trionjo, they are eminently fitting; but the wind-niachine and the bleating sheep in Don Quixote must surely make us pause. Music is meant to paint emotions, and not definite objects or events. Germany boasts other orchestral composers, — Hausegger (1872- :), whose Dionysiac Fantasy, Barbarossa, and Wieland der Schmied- show a gorgeous richness of melodic beauty; Mahler (i860- ), whose efforts to broaden the symphonic form have been interesting if not always successful; Weingartner, famed also as a conductor; and Nicode, less important, but once a leader in the program style. In the field of song, too, Mahler has won emi- nence, nor should we forget, among older vocal works, the lyrics of Jensen and the ballads of Loewe. In organ music, as well as in ultra-modem songs, Max Reger has recently won eminence. Max Bruch, famed for his violin concertos, has made a name for himself in the field of epic cantata, with Frithjof, Odysseus, and others, and still holds a place of activity. All these names show that Germany is still a musical leader among nations, and retains a firm grasp upon the sceptre of supremacy. Questions. 1. What are Weber's chief operas, which won the greatest suc- cess, and why ? 2. What are Spohr's great works, and what is their most notice- able defect? 3. What can you say of Meyerbeer's style of composition ? 4. What is the difference between Mendelssohn and Schumann ? 5. What are Mendelssohn's chief orchestral works? 6. Name as many of Schumann's piano works as you can. 7. How do Schumann's songs compare with the Lieder of other composers? MUSIC CLUB PROGRAMS FROM ALL NATIONS. 29 8. Why is the orchestral work of Brahms so valuable ? 9. What are the main points of Wagner's operatic theories ? 10. Which of Wagner's works are called music-dramas, and how do they differ from the earlier operas ? 11. What are the chief quaUties of Goldmark's music? 12. In what field did Humperdinck become famous? 13. Name as many of the later German opera-composers as you can. 14. What are the chief symphonic poems of Strauss ? 15. Describe the songs of Strauss. 16. What do you think are the limitations of program music? 17. Name some modem German orchestral composers. ±. Piano. 2. Songs. 3- Piano. 4- Songs. S- Violin. 6. Songs. Piano. 1. Piano. 2. Song. 3. Piano. 4. Songs. S- Violin. 6. Songs. 7. Piano, PROGRAMS I. Easy Selection from " Kinderalbum " Schumann (a) Morgengruss (Morning Greeting) Mendelssohn- (b) Volksliedchen (Es ist bestimmt in Gottes Rath) . . Mendelssohn Songs Without Words, Nos. 9 and 22 .... Mendelssohn (a) Marienwiirmchen, (Ladybird), Op. 79, No. 14 . . Schumann (b) Schneeglockchen (Snowbells), Op. 79, No. 27 . . Schumann (c) LuUaby . Brahms Traumerei (arranged) . . . . Schumann (a) Widmung (Dedication) Franz (b) Schwertlied (Sword Song) von Weber Potpourri, "Der Freischiitz, " arranged by Cramer . . von Weber II. Medium Fabliau Raff (a) Im Walde (In the Woods) Schumann (b) Schlummerlied (Slumber Song) Franz Traumerei, from Stimmungsbilder, Op. 9 Richard Strauss (a) Sapphische Ode (Sapphic Ode) Brahms (b) Und schlafst du, mein Madchen Jensen Cavatina Raff (a) Penelope Weaving, from "Odysseus" Bruch (b) Traum durch die Dammerung Richard Strauss 4 hands. Symphony in A minor (Scotch) (arranged) . Mendelssohn 30 MUSIC CLUB PROGRAMS FROM ALL NATIONS. I. Piano. .£. Songs. ,s- Piano. 4- Song. 5- Violin 6. Songs. Piano. III. Difficult Aquarellen, Op. 25 Reger (a) Lied vom Winde Wolf (b) Am Ufer des Flusses, des Manzanares Jensen Prelude and Fugue in E minor Mendelssohn Archibald Douglas. Ballad Loewe Selection from Violin Sonata Thuille (a) Nachtgang Richard Strauss (b) Standchen (Serenade) Richard Strauss Etudes symphoniques, Op. 13 Schumann ROBERT SCHUMANN. I. Medtom. (1810-1856) I. Piano. Nocturne in F major, Op. 23, No. 4. ■^. Songs, (a) Seit ich ihn gesehen (Since Mine Eyes Beheld Him). (b) Du Ring an meinem Finger (Thou Ring upon my Finger). 3. Piano, (a) Warum? Op. 12, No. 3. (b) Novelette, Op. 99, No. 9. 4. Songs, (a) Im Walde (In the Woods). (b) Lied der Braut, (Bride's Song), No. 2. 5. Violin, (a) Romanze, Op. 28, No. 2. (b) Traumerei (arranged). 6. Songs, (a) Im wunderschonen Monat Mai ('Twas in the Lovely Month of May). (b) Aus meinen Thranen spriessen (Where'er My Tears are Falling). 7. Piano, (a) Valse Noble, from "Carnaval," Op. 9. (b) Reconnaissance, from "Carnaval," Op. 9. ROBERT SCHUMANN. II. Diffictot (1810-1856) Novelette in F major. Op. 21, No. i. (a) Wanderlied (Wanderer's Song). (b) Blondel's Song. Arabeske, Op. 18. (a) Widmung (Dedication). (b) Ich groUe nicht'(I'n Not Complain). Marchenbilder, Op. 113. (a) Mondnacht (Moonlight). (b) Er, der Herrlichste von Allen (He the Noblest of the Noble). Piano, 4 hands. Symphony in Bb major, Op. 38 (arranged). See Fifty Songs by Schumann, edited by W. J. Henderson. See Fifty Piano Composiiions by Schumann, edited by Xaver Scharwenka. I. 2. Piano. Songs. 3- 4- Piano. Songs. S- 6. Violin. Songs. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 31 1. Piano. 2. Songs. 3. Piano. 4. Song. 5. Violin. 6. Songs. 7. Piano. FELIX MENDELSSOHN (MEDIUM) (1809-1847) Songs without Words (a) Hunting Song, (b) Spring Song. (a) Morgengruss (Morning Greeting). (b) By Celia's Arbor. Gondellied. O Rest in the Lord, from "EUjah." Overture, Hebrides (arranged for violin and piano). (a) Gruss (Greeting). (b) Volkslied (Es ist bestimmt). Andante cantabile, in Bb major. FELIX MENDELSSOHN. I. Medtom (1809-1847). I. Piano. Prelude and Fugue, No. i, in E minor, z. Song. Infelice. 3. Piano. Rondo capriccioso. Op. 14. 4. Songs, (a) Suleika. (b) Gnomenreigen. 5. Violin. Selection from VioUn Sonata, Op. 4. 6. Song. But the Lord is Mindful of His Own, from "St. Paul." 7. Piano, 4 hands. Symphony in A minor (Scotch) (arranged). See Thirty Piano Compositions by Mendelssohn, edited by Percy Goetschius. FELIX MENDELSSOHN. II. Difficult (1833-1897) I. Piano. Scherzo in Eb minor. Op. 4. z. Songs, (a) Sapphische Ode (Sapphic Ode). (b) Wie bist du meine Konigin (My Queen). 3. Piano. Variations on a Schumann Theme, Op. 9. 4. Songs, (a) Minnelied (Love Song). (b) Sandmannchen (The Little Sandman). J. Violin. Selection from Violin Sonata in A major, Op. 100. 6. Songs, (a) Wie Melodien zieht es mir (A Thought Like Music). (b) Feldeinsamkeit (In Summer Fields). 7. Piano. Sonata in F minor, Op. 5. See Forty Songs by Brahms, edited by James Huneker. 32 MUSIC CLUB PROGRAMS FROM ALL NATIONS. RICHARD WAGNER* (1813-1883) I. Piano. Prelude to "Die Meistersinger. " ■i. Songs, (a) Lullaby. (b) Trauma (Dreams) 3. Piano. Prelude to "Lohengrin." 4. Song. Siegmund's Love Song, from "Die Walkure." 5. Piano, (a) March from " Tannhauser. " (b) Siegfried's Funeral March, from " Gotterdammerung. " 6. Song. Elsa's Dream, from "Lohengrin. " 7. Piano. Parsifal and the Flower Maidens, from "Parsifal. " 8. Songs, (a) Am stillen Herd (By Silent Hearth), from "Die Meistersinger." ■ (b) Walther's Prize Song, from "Die Meistersinger." 9. Piano. Wotan's Farewell and Magic Fire Music, from "Die Walkiire." * Piano arrangements by Otto Singer. See Wagner Lyrics for Soprano, Tenor, and Baritone and Bass (3 vols.), edited by Carl Armbruster. ROBERT FRANZ (181S-1892) Songs. 1. Fiir Musik (For music). 2. Die Lotosblume (The Water-lily). 3. Bitte (Request). 4. Er ist gekommen (His Coming). 5. Aus meinen grossen Schmerzen (Out of My Soul's Great Sadness). 6. Am leuchtenden Sommermorgen (I Wander this Summer Morning). 7. Willkommen, mein Wald (Now Welcome, My Wood). 8. Schlummerlied (Slumber Song). 9. Es hat die Rose sich beklagt (The Rose Complained). 10. Im Rhein, im heiligen Strome (The Rhine, the River of Story). II. Marie. 12. Sterne mit den gold'nen Fusschen (Stars with Golden Sandals). 13. Gute Nacht (Farewell). 14. Stille Sicherheit (Hark! How Still). 15. Die blauen Friihlingsaugen (The Spring's Blue Eyes). 16. Widmung (Dedication). See Fifty Songs by Franz, edited by W. F. Apthorp. GERMAN SONGS L. Lehn' deine Wang' (Press Thy Cheek Against Mine Own) Jensen n. Standchen (Serenade) . . Jensen 3. Am Ufer des Flusses, des Manzanares (By the shore of the Manzanares) Jensen 4. King Olaf Loewe MUSIC CLUB PROGRAMS FROM ALL NATIONS. 33 9- lo. II. 12. 13- 14- IS- Waldesgesprach (In the Forest) Schumann Ein Ton (The Monotone) Cornelius Mit schwarzen Segeln (With Drooping Sails) Franz Erlkonig (The Erlking) Schubert Aus dem hohen Lied Cornelius Gute Nacht (Good-Night) Raff Erinnerung (Remembrance) . Brahms Die zwei Grenadiere Schumann Gesang Weylas (Weyla's Song) Wolf Morgen Richard Strauss Am Briinnele Reger RICHARD STRAUSS (1864) 1. Piano, (a) Haidebild, from " Stimmungsbilder, " Op. 9. (b) Traumerei, from "Stimmungsbilder," Op. 9. 2. Songs, (a) AUerseelen, Op. 10, No. 8. (b) Traum durch die Dammerung, Op. 29, No. i. 3. Piano. Selection from "5 Clavierstiicke, " Op. 3. 4. Songs, (a) Die Nacht, Op. 10, No. 3 (b) Liebeshyranus, Op. 32, No. 3. 5. Violin. Improvisation, from Violin Sonata, Op. 18. 6. Songs, (a) Sehnsucht, Op. 32, No. 2. (b) Du meines Herzens Kronelein, Op. 21, No. 2 7. Piano. Sonata in B minor, Op. 5. MODERN GERMANY 1. Piano, (a) Valse-Impromptu, from Op. 24 Max Reger (b) Rhapsodie Max Reger 2. Songs, (a) Wiegenlied Hans Sommer (b) Ich atmet' einen linden Duft Gustav Mahler 3. Piano. Introduction to Act III, "Konigskinder" (arranged) E. Humperdinck 4. Songs, (a) Spielmannslied Hugo Kaun (b) Erwartung . . Henning von Koss 5. Piano. Selection from "Lose Blatter," Op. 4 Felix Weingartner 6. Violin. Albumblatt and Romanze for Violin, Op. 87 . Max Reger 7. Piano, (a) Auf stillem Waldespfad, Op. 9, No. i . . . . Richard Strauss (b) An einsamft Quelle, Op. 9, No. -^ Richard Strauss 8. Songs, (a) Morgenthau Hugo Wolf (b) Heimat Fritz Koegel 9. Piano, (a) Barcarole, from Op. 26 Max Reger (b) Capriccio, from Op. 26 Max Reger IIL FRANCE. In the great revival of learning that followed the dark ages, France gained a leading position that she was destined to enjoy for "many centuries. In music, her troubadours and trouvhers became renowned for poetic skill, and at that period poet and com- poser were usually one. Coming partly from the Orient, and in part expressing the romantic spirit of Provence, the art of the trou- badours took shape in a dozen different song-forms. These included the vers, chanson, and sonnet (terms of general. meaning); the planh, or dirge, the ienso, or contention in dialogue, the war- Hke or satirical sirventes, . the sestina with its intricate repetitions, the discord, free in style, the pastourelle, aubade, serenade, ballade, and the more ambitious romances. In the north, we find the trouveres developing the narrative form, and one of these, Adam dela Hale (1240 (?) -1287), became a noted composer. His Jeu de Robin el Marion was practically the foundation of comic opera, and its music is not unpleasing after more than six centuries. With the decline of the troubadours and the wandering min- strels, or jongleurs, who served in their train, came the epoch of counterpoint in which England, the Low Countries, and Italy took the lead. In the seventeenth century the development of opera allowed France to regain international prestige through the genius of Jean Baptiste Lully (1633-1687), who washed dishes as a boy, received violin lessons because of liis talent, and rose to be autocrat of all the musical entertainments* at the court of Louis XIV. The folk songs of France* were no longer her only vocal expres- * See Echos du temps passS, ed. J. B. Weckerlin, pub. Durand, Schoenewerk & Cie. 34 FRENCH COMPOSERS FAURE D INDY DEBUSSY MUSIC CLUB PROGRAMS FROM ALL NATIONS. 35 sion, and the many ballets and operas of LuUy and his successors gained wide popularity. The music of Lully is still attractive to the student, though its changing rhythms and monotony of orchestration prevent its frequent performance. Those were the days when "broken music" was regarded as a crime, and if a composer began with strings he had to carry them through a complete number. The royal ballets were elaborate affairs, and many of the dances they contained found an echo in the music of the" period. There was the courtly Minuet, the dignified Sarabande, the rapid Cou- rante, the exaggerated Passacaglia, the quieter Chaconne, and the rollicking Gigue, all in triple ryhthm; also, in even rhythm, the dainty Gavotte, the lively Bdurr&e and Rigaudon, the stately Pavane, and the bright Allemande. These were employed by many nations. In France there are excellent examples to be found in the works of Francois Couperin (1668-1733), and Jean Philippe Rameau (1683-1764). The former was the first great French composer for harpsichord, while the latter became renowned also as opera com- poser, and showed much beauty and originality of harmony in his works. In fact he wrote the very first treatise on harmony as a science. Couperin's G minor suite is an excellent example of his style, containing an Allemande, two Courantes, a Sarabande, a Gavotte, and a Gigue, in the order named. Besides the dance- suites, composers of this epoch wrote many quaint tone-pictures, some of Couperin's being the lively Reveil-matin, The Little Wind- Mills, and the Harvest Air. Rameau, too, excelled in this vein; his Rappel des oiseaux shows much delicacy, and the Musette, an exquisite pastoral effect, while La Poule is a dehghtfuUy humorous imitation of a clucking hen. For a long time the development of music in France meant simply the history of opera. While Rameau and others followed classical models and employed classical subjects, the lighter vein was not neglected. For many years Monsigny (1729-1817) was without a rival in this field, and after him Gretry (1741-1813) 36 MUSIC CLUB PROGRAMS FROM ALL NATIONS. enjoyed even more success. Their operas are not on the stage now, but Gretry's one serious work, Richard, Coeur -de-Lion, con- tains a brilliant aria for Blondel (O Richard, O mon roi) that is still sung. It has been well said that French opera was for a long time the creation of Germans and Italians. Gluck is so thoroughly iden- tified with the German school that his Parisian triumphs need but passing mention here. The dramatic power of his works put an end to the hide-bound formality of the older Itahan style, and founded a school of opera that influenced even Mozart and Beetho- ven. The so-called classical school of Paris included, as its greatest example, Luigi Cherubini (1760-1842), a name famous in musical annals. Cherubini's operas are somewhat overloaded with extreme intensity, and nearly all of his work is at present neglected; but this is altogether unjust, for his music displays a brilliancy, a lofty purity of style, and back of its dignity a warm fervor of expres- sion, that makes him one of the world's great classical masters. Les Deux Journees, with its dramatic plot of revolutionary days in France, still holds the boards, and may well reflect the com- poser's own adventures, for he was actually captured by a mob, and saved himself only by fiddling for them. The Anacreon overture is another charming orchestral number. Cherubini's long career as sacred composer won him fresh laurels in a new field; his two requiems are masterpieces. Gaspar Spontini (i 774-1851) was another ItaKan to win fame in Paris, his Vestale, Fernand Cortes, and Olympic winning unlimited applause in their day. Mehul (1763-1817), another disciple of Gluck, was best known by his Joseph. In his Uthal, an Ossianic subject, he tried the experiment of leaving out the violins, and obtaining the sombre effect he desired by means of the more gloomy viola color. He succeeded only too well, for Gretry, after the performance, said, "I'd give a louis d'or to hear the sound of an E string." Francois Boieldieu (1775-1834) continued the school of light MUSIC CLUB PROGRAMS FROM ALL NATIONS. 37 opera with his Dame Blanche and other successes, though this school soon afterwards began to decline toward the modern op&ra boufe. Daniel Francois Esprit Auber (1782-1871) won more real fame with his dramatic Masaniello than with all his comic operas. Even the easy-going Rossini felt the Parisian influence, and produced a real art- work in Guillaume Tell. During this period there arose at Paris a school of violin playing that became world-famous^ The development of this art can be traced through successive periods in Italy, France and Germany. In the first country, the names of CorelH and Tartini stand at the head of the list. Their art was duly imitated by their pupils, until the time of Viotti, who settled in Paris. The French school then took the lead, and the works and performances of Rode, Baillot, and Kreutzer became justly famous. After their decHne, a newer and broader school was established by the German Spohr while Paganini revived the passing glories of Italy," and Vieux- temps and De B^riot created a Belgian school. The latter, because of his long career in Paris, and his marriage with Madame Mahbran, may almost be considered to belong to the French school. Meanwhile the operatic development continued. Halevy (1799- 1862) reached the height of his triumphs with La Juive, and won success in another vein by the sparkhng comic opera, L'Eclair. Herold, too, captured the public with his Zampa and Le Pre aux clercs, but both were soon eclipsed by the far greater, lustre of Meyerbeer's dramatic successes. F^licien David (1810- 1876) became known through his Perle du Bresil and other operas, but won his greatest success with the symphonic ode Le Desert. This was the first great native work to show those effects of Oriental color that have since become so common in France. Hector Berlioz (1803-1869) was a genius of the vaster sort. Wagner said of him, "He ciphers with notes," but behind his musical intricacy there is always a sense of powerful progression toward some far-off climax. His gifts were symphonic rather than melodic, and, his operas show much grandeur, but win little 38 MUSIC CLUB PROGRAMS FROM ALL NATIONS. popularity. His program-symphonies, such as the Fantastique and the Romeo and Juliet gained his greatest popular triumphs, and his name is justly ranked beside that of Liszt as the founder of the modern style of orchestral tone painting. That he could adopt a simple melodic style he certainly proved, and at the same time turned the tables on his critics; for he pretended to unearth an old work by a certain Pierre Ducre, and after his enemies had praised its direct beauty and contrasted it with the works of Berlioz, he calmly informed them that it was his own. Georges Bizet (1838x1875) was one of the few real geniuses in French music. Cut off in the prime of hfe, his death perhaps hastened by the maUcious attacks with which the critics received his Carmen, he might have won unlimited triumphs, had he been spared. Beetho- ven and Wagner did their greatest work after thirty-seven, and in fact, were little known before that age. It is probable that another decade of activity would have placed Bizet among the world's great masters ; and even now his name is immortal. His early works were of excellent quaHty; Le Docteur Miracle won the Offenbach prize, while La Guzla de I'Emir was another effective comic opera. Les Pecheurs de perles is in more serious vein, and contains a renowned aria. La jolie fille de Perth treated the plot of Scott's novel, while Djamileh gave another example of Oriental coloring. All these works met with preju- dice and hostility, for Bizet was suspected of the horrible crime of admiring Wagner; but the incidental music to Daudet's L'ArU- sienne won a triumph that no ill-will could prevent. The suites arranged from this work are notable examples of Bizet's style, and their rare beauty amply rewards a close inspection. The bold rhythmic figure of the Prelude, the emotional feeling of the Adagietto, the wild, joyous clangor of bells in the Carillon, all show the hand of a master. The second suite too, has its charm, and the broad, fluent Intermezzo, the dainty Minuet, and the rio- tous Farandole enchain the hearer at once. Bizet's most popular triumph, Carmen, is too familiar to need description. The Tore- MUSIC CLUB PROGRAMS FROM ALL NATIONS. 39 odor song is known throughout the civilized world, while piquant Seguidilla and enticing Habanera win scarcely less favor. Charles Francois Gounod (1818-1893) is pre-eminent in the annals of French opera, because of the perennial charm of his Faust. Yet even without this master-work, his fame would be secure. His RomSo et Juliette is even more admired by some French critics, while Mireille is a charming pastoral idyl. His RSdemption, Mors et Vita and other sacred works have won deserved recogni- tion, and his many songs show exquisite emotional feeling. He is a master of delicate sentiment, and throughout his works we recognize the fine sense of beauty that enabled him to add the well-known melody, to the first prelude in Bach's Well-tempered Clavichord. There is also a sweeping effect of power and breadth in his works, well illustrated by his popular Hymn to Saint Cecilia.. Ambroise Thomas (1811-1896) is usually classed as a disciple of Gounod, but he lacked that master's depth of sentiment, and inclined moi-e to graceful and dainty effects. His best work is undoubtedly Mignon, with its piquant gavotte and the dashing polacca Je suis Titania. Francoise de Rimini is another strong work, while many French critics admire Hamlet. But French composers, as a rule, are hardly equal to the task of setting Shake- speare, and the ballet written by Thomas on The Tempest is a fearful and wonderful spectacle for Anglo-Saxon eyes and ears. Thomas was a master of part-writing, however, and his many male choruses form excellent concert selections. Charles Camille Saint-Saens (1835- ) is often reckoned as the foremost living composer of France. He has won renown in many fields, and assimilated many styles. He is well called the "Proteus of modem music," for he can assume almost any manner he chooses. His broad eclecticism and deep erudition have often prevented him from reaching the highest pinnacle of expressive power, but there is still much individuality in his works. The weakness of his theories is most evident in opera, where he has. aimed at " a synthesis of all the different elements, song, declama- 40 MUSIC CLUB PROGRAMS FROM ALL NATIONS. tion, symphony," in a manner that should leave the composer free to make use of all. He is more successful in his symphonic poems, where he insists that the music shall be of good quality, whether it have a program or not. His operatic career began with the performance of La Princesse jaune, followed soon afterward by le Timbre d' argent, a youthful work with a brilliant overture. His greatest success in this field was the biblical opera Samson and Delilah, brought out by Liszt at Weimar. His later dramatic works, Etienne Marcel, Henry VIII, Proserpine, Ascanio, the opera-comique Phryne, the open air spectacle Les Barbares, and the one-act Heltne, contain many musical beauties, but lack dramatic power and vitality. In the instrumental field, his five symphonies are worthy works, but he is better known by his symphonic poems, — Phaeton, La Jeunesse d'Hercule, Le Rouet d'Omphale (a graceful orchestral spinning wheel picture), and the weird Danse macabre, in which the skeletons rise from their graves to hold nocturnal revelries. Among his many concertos the G minor for piano deserves especial mention, and is a concert favorite. Jules Emile Frederic Massenet (1842- ) has often been described as the exponent of passion in music, — not the wildly powerful sort, but the more sensuous and romantic. It is amusing to read that this gifted composer, whose melodic grace has charmed the world, was at fiirst barred from the Conservatoire as being destitute of • talent. He afterwards became professor of compo- sition in the same institution. In opera, he has essayed many styles, with fair success. La grand' tante and Don Cesar de Bazan were early works. Le Roi de Lahore is a spectacular Oriental picture. Herodiade is a very much modernized form of the sacred story: "It follows the biblical ver- sion quite closely," said one critic, "the chief number being a love duet, in prison, between Herodias and John the Baptist": Le Cid lacked the power needed for its heroic subject. Esclarmonde, again on a romantic theme, won a complete and well-merited sue- MUSIC CLUB PROGRAMS FROM ALL NATIONS. 41 cess. Manon is fluent and graceful, while La Navarraise, with its love amid battles, is a frank imitation of Mascagni's realism. Wer- ther, Thai's, and Le Mage are other works. Le Portrait de Manon is a delightful one-act love idyl, while Grisilidis is a more recent success. Le Jongleur de Notre-Dame, telling the quaint story of a poor minstrel who becomes the butt of the monks in a monastery, but wins the Virgin's favor by his sincere desire to please her, has made the rounds of Europe. Massenet's so-called sacred dramas, such as Eve, Marie- Magdeleine, La Vierge, and La Terre promise, are oratorios with an excess of modern dramatic treatment. Mas- senet has written many songs, in which his fervid emotional style is displayed to excellent advantage. With these two men must be classed many others, of whom space forbids more than passing mention, — Lalo, whose Roi d' Ys and vioUn concertos show a style that is earnest to the point of austerity; Godard, master of dainty effects for piano and voice; Delibes, whose harmonic richness is well displayed in the opera LakmS and the ballet Sylvia; Reyer, known to the stage by Erostrate, La Statue, Sigurd, and Salammbb ; Chabrier, with his Viking opera Gwendoline; Dubois, formerly head of the Conservatoire; Jonci feres, Guiraud, and such masters of organ as Widor and Guilmant; and among women, Augusta Holmes, with her broad symphonic odes, and C^cile Chaminade, whose delightful songs and piano works have charmed two continents. But a more radical school now claims the attention of France. The man to whom that country owes her most modern musical tendencies, scarcely recognized during his life, but now held in reverent esteem, was Cesar Franck (1822-1890). Born at Lifege, he became naturalized in Paris, where he passed a secluded life as composer, teacher, and organist of the Sainte-Clotilde church. His deep sincerity endeared him to all his disciples, even though his works were above the comprehension of the crowd. In the words of his gifted pupil, Ropartz, "He stands out from his contem- poraries as one of another age; they are scoffers, he was a believer; 42 MUSIC CLUB PROGRAMS FROM ALL NATIONS. they vaunt themselves, he worked in silence; they seek glory, he let it seek him." His simple faith and earnest work made him seem like one of those old medieval composers who devoted their lives and their music to the glory of the Lord. His chief musical work is Les Beatitudes, an eight-part para- phrase of the Sermon on the Mount. Other oratorios by him are Ruth, RSbecca, and The Redemption. For orchestra he wrote the symphonic poem Psychi, introducing voices; also Les Bolides, Les Djinns, and Le Chasseur maudit. But his best work in that field is the noble D minor symphony, displaying massiye solidity and imposing strength. The Viking opera Hulda, and the early Valet de ferine, were not great successes. Franck's music is modulatory in character, yet it never descends to vagueness, and always has something to say. Vincent d'Indy (1851- ) is the foremost of Franck's pupils. He has won laurels by conducting as well as composing, and is an untir- ing champion of new and little-known works. His own compositions include the Wallenstein trilogy, an overture to Antony and Cleopatra, the early Jean Hunyade symphony, and two later works in similar form, the first being based on a mountain air of the Cevennes. D'Indy is a lover of open air and nature, and the fragrance of flowers and soft earth pervades many of his best works. It is evi- dent in La Forit enchantee, a symphonic poem inspired by Uhland's Harold, in which the rustling murmurs of the forest mask a troop of elves who charm the warriors into eternal slumber. Other symphonic poems by d'Indy are Saugefleurie, on a story of De Bonnieres, and Istar, portraying episodes from an old Assyrian epic. In all these works the composer displays a clearness of style and purity of utterance, but at times he falls into the error so common among Franck's pupils, and shows too much striving for new har- monies. Thus his music does not always appeal to the layman, but the trained musician finds many beauties in it. His two im- portant operas are Fervaal, a Druidic music-drama, and L'Etranger, with what seems a symbolic plot. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 43 Ernest Chausson (1855-1899) would undoubtedly have been a leader of the new school, but for an unfortunate bicycle accident that caused his death." His works are numerous as it is, including the opera ie Roi Arthus, the symphonic poem Viviane, the orches- tral pictures Solitude dans les hois and Soir de jSte, a Pohme with violin, and many smaller pieces. He showed a rare feeling for harmony. His works are full of expressive charm, and display all the wealth of orchestral color that makes much of the modem music so delightful. Alfred Bruneau (1857- ) is an exponent of operatic realism. With the exception of L'Attaque du moulin, a story of the Franco- Prussian war, his works have not met with great popular success. His music is earnest, but not always inspired or attractive. His librettos are always taken from Zola's works, and some of them, such as Messidor, show decided beauty; but the music suffers by being too heavy in style. Gustave Charpentier (i860- ) is a gifted enthusiast who shows himself able to depict emotion of aU sorts. His stay in Rome resulted in the lively suite, Impressions d'ltalie, a concert favorite. His later works show the influence of his life at Montmartre, where he came in daily contact with the laboring classes. His interest in their Mfe became so great that he suggested free opera seats for ' working girls, and became the bijtt of much humorous criticism. His Vie du pohte, a symphony-drama, introduces the local flavor. The poet is at first all enthusiasm; then doubt follows, calmed only for a while by the magic of the summer night; and at last he drowns his despair in the orgies of a Montmartre ball. The opera Louise also introduces much realism. It is the tragic story of a poor girl forced into the vortex of Paris life, and it abounds in local color. Achille Claude Debussy (1862- ) is the best exponent of the radi- cal modem theories. To some, his harmonies seem forced and artificial, while others find them as charming and delicious as a perfume that pervades all the air, but defies analysis. His works 44 MUSIC CLUB PROGRAMS FROM ALL NATIONS. contain much that is beautiful, but at times certainly exhibit the harmonic vagueness and excess of subtlety that his critics attack. Yet this quahty would seem eminently in place in his opera PelUas ■et Melisande, where the words of Maeterlinck offer the same shadowy suggestions. Debussy's other works include L'Aprks- midi d'un faune, for orchestra; sets of songs, such as the Proses lyriques, Ariettes ouhliees, and Chansons de Bilitis; several piano pieces, including Les Estampes, with its deHcate tone-pictures, such as the Garden in the Rain, and a set of orchestral nocturnes (Nuages, FStes) . Many others should be named with these men, — Pierne, Coquard, Ropartz, De Br^ville; Faure, with his songs of many modulations, and Dukas, of orchestral fame; but enough have been given to show the trend of the school. Its composers are men of ability and earnestness. Much of their work is under- stood and valued now; and what seems vague at present may assume more definite form in the clearer light of days yet to come. Questions 1. What was the difference between troubadours and trouveres, and who composed the first French comic opera ? 2. Who first developed serious opera at the court of France? 3. Name as many of the old dance forms as you can. 4. Who wrote the first treatise on harmony, and in what musical forms did he compose ? 5. Nam6 as many French comic opera composers as you can, in chronological order. 6. What ■ German and Italian opera composers won fame in Paris? 7. Who were the leaders of the Itahan, French, German, and Belgian violin schools ? 8. Who was the first great orchestral colorist of France, and what musical form owes much to him ? MUSIC CLUB PROGRAMS FROM ALL NATIONS. 45 9. What great French composer died at thirty-seven, and what were his chief works ? 10. Name the most important works of Gounod, and describe the character of his music. 11. Which are the best operas of Thomas, and which ones seem failures to English audiences ? 12. Why is Saint-Saens called the "Proteus of modern music?" What is his theory of opera, and what are his chief works? 13. Describe the character of Massenet's music, and name his chief operas. 14. What did the following composers write: Lalo, Delibes, Reyer, Guilmant, Chaminade? 15. What are the characteristics of Franck's works, and how did his influence exert itself ? 16. Name as many of d'Indy's works as you can. 17. What composer was killed by a bicycle accident, .and what were his most important works ? 18. In what works does Charpentier's realism show itself, and how does it differ from that of Bruneau ? 19. What are Debussy's chief works, and what are the qualities of his music? 20. State what you think are the merits and defects of the new French school. PROGRAMS I. Easy I. Piano. Dedicace Chausson ^. Songs, (a) Robin m'aime * Adam de la Hale (b) Mon ami Marie Antoinette 3. Piano. Romance sans paroles Faure 4. Songs, (a) Ave Maria Cherubini (b) Noel Adam 5. Violin. Ave Maria Gounod-Bach 6. Songs, (a) Bonne nuit Massenet (b) A Gift of Flowers Gounod 7. Piano. Selection from G minor Suite Couperin * See Echos du temps passS. 46 MUSIC CLUB PROGRAMS FROM ALL NATIONS. II. Medium I. Piano, (a) Reveil-matin Couperin (b) La Poule Rameau ■i. Songs, (a) Romanesca * Folk Song (b) Chanson des matelots * Folk Song 3. Piano. Gavotte, Op. 23 Saint-Saens 4. Songs, (a) Rappelle-toi Rupfes (b) Si j'etais jardinier (Were I Gardener) .... Chaminade 5. Violin. Concerto, No. 4 Rode 6. Songs, (a) Les Roses d'Ispahan (The Roses of Ispahan) . Faur^ (b) Harmonie du soir (Evening Harmony) .... Debussy 7. Piano. Valse romantique Debussy * See Echos du temps passe. III. Difficult 1. Piano, 4 hands. Overture to "Les Deux Journ&s" (ar- ranged) Cherubini 2. Songs, (a) -La Erise (Orientale) Saint-Saens (b) Femme, immortelle ^te Massenet 3. Piano. Jardin sous la pluie Debussy 4. Songs, (a) Je suis Titania. From "Mignon" ...... Ambroise Thomas (b) Mon coeur %. ta voix supreme Saint-Saens 5. Violin. Berceuse, Op. 38 Saint-Saens 6. Songs, (a) Lied maritime (A Sea Song) • d'lndy (b) Les Cloches (The Bells) Debussy 7. Piano, 4 hands. Selection from "Suites arlesiennes " (arranged) Bizet See Modern French Songs (2 vols.), edited by Philip Hale. OLD FRENCH MUSIC. 1. Piano, (a) Les Papillons (Butterflies) Couperin (b) Les Bergeries (Pastoral) Couperin (c) Les petits moulins a vent (Little Windmills) . Couperin. 2. Songs, (a) Romanesca * (b) Vivons heureux * 3. Piano, (a) Le Rappel des oiseaux (The Call of the Birds) Rameau (b) La Poule (The Hen) Rameau 4. Songs, (a) Chanson des matelots * (b) Mon ami Marie Antoinette 5. Piano, (a) La M^lodieuse (Graceful Melody) Daquin (b) Les Tourterelles (The Turtle-Doves) Dagincourt MUSIC CLUB PROGRAMS FROM ALL NATIONS. 47 Songs, (a) Amaryllis * Louis XIII (b) Channante Marguerite t Piano, (a) Gavotte in Rondeau form Lully (b) Hypermnestre. Passecaille Gervais (c) La Provenjale. Tambourin . Candeille See Anthology of French Piano Music (2 vols.), edited by I. Philipp. * See Echos du temps passi, Durand, Schoenewerk & Cie., publishers, Paris, t See Folksongs of Many Nations, edited by Louis C. Elson. FRENCH OPERA COMPOSERS 1. Songs, (a) Faites-lui mes aveux. Flower Song from "Faust" Gounod (b) Ah! je ris (Jewel Song), from "Faust" .... Gounod 2. Piano. Funeral March of a Marionette Gounod 3. Songs, (a) Villanelle Berlioz (b) Pastorale Bizet 4. Violin. Serenade from "Namouna" (arranged) Lalo 5. Songs, (a) Seguidilla from "Carmen" Bizet (b) Habanera from "Carmen" Bizet 6. Piano, (a) Reverie pastorale. Op. 43 Benjamin Godard (b) Au matin, Op. 83 Benjamin Godard 7. Songs, (a) Connais-tu le pays?. From " Mignon '' . . . Ambroise Thomas (b) Oil va . la jeune Indoue ? (Bell Song), from "Lakm^" . Dehbes MASSENET AND SAINT-SAENS I. Piano. Pifeces de genre. Op. 10 Massenet i. Songs, (a) Sonnet matinal Massenet (b) Separation Massenet 3. Piano, (a) Carillon, Op. 7?, No. 1 . . . Saint-Saens (b) Final, Op. 72, No. 6 Saint-Saens 4. Songs, (a) Reverie Saint-Saens (b) La Cloche Saint-Saens 5. Violin. Romance, Op. 37 Saint-Saens 6. Songs." (a) Dans le sentier Massenet (b) Marquise Massenet 7. Piano. Pastoral from "Esclarmonde" (arranged) .... Massenet 8. Songs, (a) Le Sommeil des fleurs Saint-Sagns (b) Soirfe en mer Saint-Saens 9. Piano. Rhapsodie d'Auvergne, Op. 73 Saint-Saens 48 MUSIC CLUB PROGRAMS FROM ALL NATIONS. DEBUSSY AND FAURE 1. Piano. Les Estampes Debussy 2. Songs, (a) Les Cloches (The Bells) Debussy (b) Harmonic du soir (Evening Harmony) .... Debussy 3. Piano. Barcarolle, Op. 41 Faure 4. Songs, (a) Romance Debussy (b) Clair de lune (Moonlight) Faur6 5. Violin. Romances sans paroles, Op. 17 Faur^ 6. Songs, (a) Les Berceaux (The Cradles) Faur^ (b) Les Roses d'Ispahan (The Roses of Ispahan) . Faure 7. Piano. Suite bergamasque Debussy MODERN FRANCE 1. Piano. Trois valses. Op. 17 d'Indy 2. Songs, (a) Le Mariage des roses (Marriage of Roses) . . Franck (b) Lied (The Gathered Ro.se) Franck 3. Piano, (a) Idylle. From Op. 75 Chaminade (b) Chanson bretonne. From Op. 73 Chaminade 4. Songs, (a) Madrigal d'Indy (b) Lied maritime (A Sea Song) d'Indy 5. Violin. Sonata No. i Franck 6. Songs, (a) S6r6nade Pierne (b) Berceuse Ropartz 7. Piano. Espana (arranged) Chabrier See Modem French Songs (2 vols.), edited by Philip Hale. ITALIAN COMPOSERS MASCAGN LEONCAVALLO IV. ITALY The name of Italy is pre-eminent in the annals of musical his- tory. Even in ancient times it had its music, and reckoned among its instruments the tibicB and aulece (bassoons or clarinets as well as flutes) and the somewhat problematical water-organ. At the beginning of the Middle Ages we find Gregory the Great systema- tizing the Christian congregational singing, and introducing the authentic and plagal modes that form the Gregorian chant. It may well be that the old Neume notation, — the earliest written musical 'signs, — had its origin in the Italian monasteries. This queer musical chirography, from which our turn and trill signs come, existed for a time without any staff. In the tenth century, however, some unknown musical genius adopted a horizontal Une for the note F; and a second line was soon added for C, yellow or green in color, while the first was red. Before 1050, the monk Guido of Arezzo introduced a four-lined staff, and adopted the scale-syllables from the old hymn to St. John. Ut queant laxis i?esonare fibris MiTa, gestorum i^omuli tuorum. Solve poUuti Labii reatum, Sancte Johannes. Germany saw the next great step in notation, the introduction of measured notes by Franco of Cologne in the thirteenth century. It is not surely known who first employed the bar line; but Italy again aided the growth of the art when Petrucci of Fossombrone invented music printing from movable types in 1498. 49 60 MUSIC CLUB PROGRAMS FROM ALL NATIONS. The works of the contrapuntal epoch are now laid aside for the most part, and rescued from obHvion only by a few ambitious singing clubs who seek novelty in antiquity. Yet this period lasted at least two centuries, — longer than the time from Bach's birth to Wagner's death. The music of the contrapuntal schools is by no means unpleasing to modem ears. In the earlier times, especially in the Flemish school, many composers aimed merely to display ingenuity in the interweaving of parts; these men were responsible for the intricate canons of their day, that could be sung forward or backward or in other devious ways. But many of the motets and madrigals (favorite sacred and secular forms) sound fresh and attractive to-day, in spite of unusual harmonic effects. The names of Merulo, Nanini, Gabrieli, and others became famous in Italy, but Giovanni Palestriaa (1515 (?)— 1594)', was the greatest as well as the last of the Itahan contrapuntists. He was appointed composer to the papal choir and won renown, if not money, by his noble works. One of these, the Mass of Pope Mar- cellus, saved the cause of music in the church. Secular melodies had crept in, and the Council of Trent was ready to abolish the musical service altogether; but Palestrina was requested to produce a work suitable for sacred purposes, and this mass (one of a set of three) turned the tide in favor of music. Palestrina's hfe was not unalloyed bhss; for he had a constant struggle with poverty and a large family. His work in Rome brought him little reward, and a composition dedicated to Phihp II of Spain earned nothing beyond that monarch's thanks. Yet Palestrina was not without his honors, and once, fifteen hundred of his townsmen entered Rome in triumphal procession, under his leadership. He died in 1594, and by a singular coincidence Orlanda di Lasso, the last and greatest Netherland master of counterpoint, died in the same year. At that time a group of musical enthusiasts in Florence held frequent meetings and discussions, with the idea of reviving the MUSIC CLUB PROGRAMS FROM ALL NATIONS. 51 old Greek drama in a modern form. In that very year the opera Da/we was written; but it was not until six years later, in 1600, that the first opera, Jacopo Peri's Euridice, was performed in pub- lic. Euridice. was free in style, and employed a sort of declamatory chant. The prima donna,' however, if that term may be employed, enUvened the occasion with florid vocal embellishments, and thus in the very first work in the new form we find the origin of the rival schools of dramatic effect and vocal pyrotechnics. Peri's opera led the way for something better, and Monteverde soon made many improvements. He demanded thirty-nine instru- ments instead of ten, and wrote good music for them, music that showed a really modern flavor. His orchestration was marked by originahty, and he invented the violin tremolo that is now so popular in our theatres when the villain is about to kill the heroine. The next important development in opera took place in the hands of Alessandro Scarlatti (1659-1725), who founded the so-called NeapoHtan school. His fertiUty was amazing, for he wrote no less than a hundred and fifteen operas, of which forty- one are still in existence. He also composed music for the harpsi- chord, the piano of his time. This has remained almost wholly in manuscript, but when rescued from the dust-bin by energetic concert-givers, it shows a remarkable freshness. Scarlatti intro- duced the da capo form of aria, in which the repeat of the first part after the second gives the number a pleasing unity. His orchestra included flutes, oboes, bassoons, and horns, besides the usual strings, — enough to give eilects not unworthy of the present day. Domenico Scarlatti (1683 (?) ^1757), son of Alessandro, worked at first in the operatic field, but soon gained renown as harpsichord player and composer. A contemporary of Bach and Handel, he was chosen to compete with the latter in a public exhibition of skill. The result of the contest was a draw, but if Scarlatti could hold his own in execution, he could not vie with his foreign rival in the creative field. Yet his work is of the greatest historical value, for he laid the foundation of the free style of piano compo- 52 MUSIC CLUB PROGRAMS FROM ALL NATIONS. sition. His works, which are numerous, if brief, are no longer contrapuntal, but homophonic; they do not show any mathe- matical interweaAdng of parts, but abound in chord eilects, with graceful ornamentation. A remarkable genius of this period was Giovanni Battista Per- golesi (1710-1736), who won much recognition in the field of sacred music. He, too, attempted the operatic form, but seldom with success. On hearing his Olimpiade, the more popular composer Duni told him that his music was too good for his audiences to understand; and so it proved. He gained recognition after death, but was forced to see lesser men win pubHc favor during his life. His Serva padrona was the first real comic opera,' and made the rounds of Europe. It has but two characters, the choleric master and the dashing servant who makes him a slave to her charms. In the work of Scarlatti we find the word "sonata" frequently employed, yet his compositions are not to' be compared to the classical sonata-form. The term itself means merely a sounding- piece, or display-piece; and the beginning of the form is to be sought rather in the early Ttalian violin school. The father of modern vioHn playing was Arcangelo Corelli (1653-1713). After study and travel, he settled in Rome, where he soon became the popular idol. He founded violin technique, by regulating the bowing, systematizing the shifts of position, and introducing chord playing. His last years were not all honor and glory, for during a trip to Naples he failed to please the king, and on his return to Rome he found himself supplanted by a lesser man; but future generations have given him the homage he deserves. Giuseppe Tartini (1692-1770) was the leader of the next gen- eration of vioHnists, and one of the world's great masters of the instrument. His style of playing and bowing was masterly, and his compositions are regarded as classics. The famous Trille du Diable is stiU a favorite display piece, and one that only the very greatest performers can attempt with success. There were some good violinists in Germany, but Italy kept MUSIC CLUB PROGRAMS FROM ALL NATIONS. 53 the lead for many years. The school can easily be traced down from teacher to pupil, until Viotti settled ia Paris. Under him the French school developed, and soon the names of Rode, Baillot, and Kreutzer became known. At a later date, Spohr built up the German school and introduced a broader style of playing, while Vieuxtemps and De Beriot created a Belgian school that claims Ysaye as its most modern representative. But the greatest of all viohn players was the Italian Nicolo Paganini (1782-1840). Leading a hfe of adventure and dissipa- tion, his strange personaUty made him a victim of the wildest rumors, and his stupendous technique led the credulous to believe that he was aided by the devil. His secret, if secret he had, was probably the well-known one of hard work; for once a fellow- boarder, wishing to see the great artist, peeped into his room, and saw no trace, of His Satanic Majesty, but merely a thin man absorbed in practising fingering without the bow. Paganini's facility with the G string gave rise to another weird tale. It was said that he spent eight years in prison for killing his sweetheart in jealous rage; that the dampness of the cell broke the three upper strings; and that he consoled his sohtude on the remaining one. Unfortunately for the story, Paganini was before the public when eleven years old, so that the murder must have been committed by him at the tender age of three, if at all. Italy retained her leadership in opera longer than in the violin field, and in the time of Mozart we find that master leaving his native land for an Itahan sojourn. After the death of the younger Scarlatti, the names of Cimarosa and Paisiello became famous. Itahan opera was then in one of its periods of development and vitaHty. During the few preceding decades, the opera seria had become a hide- bound model of convention; a male soprano for the hero, a prescribed number of characters, and the necessary arias for each one in every act. But with the advent of hght opera came a style of music that was brisk, Kvely, and altogether dehght- ful, — a style, too, that had a good effect on the more serious form. 54 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Giovanni Paisiello (1741-1816) was trained in a Jesuit school, and at first devoted himself to sacred music; but the success of a comic intermezzo, written by him at twenty-two, started him on his real career. After Italian triumphs, he spent eight years in St. Petersburg, composing operas for the court of the Empress Catherine. More successes awaited him on his return, and he became the favorite of Napoleon, who actually preferred his music to Cherubini's. Paisiello had the gift of writing melodies of sincer- ity and directness, and became immensely popular. His Barber of Seville so pleased the people of Rome that they at first refused a hearing to Rossini's later and greater work on the same subject. Domenico Cimarosa (1749-X801) displayed all the ease and facility of Paisiello, and soon rose to be his rival. Cimarosa, too, was called to St. Petersburg, and his intense dislike of the cKmate did not prevent his winning fresh laurels there. .After leaving Russia he served the Austrian Emperor in Vienna, where his Matrimonio segreto ecUpsed all other operas of its time, and placed him on the pinnacle of fame. In Naples this work ran for sixty- seven consecutive nights, the composer being called to lead the first nine. Cimarosa's music shows remarkable grace, fluency, and orchestral command, and in his happiest moments he rivals Mozart. But trouble was brewing for Italian opera, — at least the more serious branch of it. While the hghtness and brilUancy of the opera buffa were inimitable, these quahties were hardly suited to dramatic effects of breadth or earnestness, and when Piccinni was- brought to Paris as a rival to Gluck, the dramatic truth and force of the latter's IpMgenie en Tauride cast the roulades of his Italian competitor in the shade. A new school arose, the school of Orjeo, of Medie, Les Deux JournBes, Fidelio, La Vestale, and other dramatic works. Italy herself remained behind the times for a century, and has only awakened from her dream of self-sufficiency in the last fifteen years. It is often said that a people get no better government than MUSIC CLUB PROGRAMS FROM ALL NATIONS. 55 they deserve, and the saying certainly applied to Italian opera. When the people, in city as well as country, demanded only trivial melodies and vocal confectionery, there was no incentive for the composers to write- above the level of their audiences. The com- posers did not sit down in soHtude and strive to produce worthy music, but were called from town to town and commissioned by theatre managers to write operas that would succeed with the pubUc, not educate them. Such a career was led by the renowned Gioachino Antonio Rossini (1792-1868), the "Swan of Pesaro." Rossini, indolent and pleasure-loving, broke off his study of counterpoint when he knew enough to write operas, and soon Venice, Bologna, Naples, and Milan vied with one another in paying him public homage and financial tribute. Rome, which frowned on his presumption in resetting the subject of Paisiello's Barber of Seville, greeted the new work with unbounded enthusiasm on the second night. Meeting with a cool reception at last, when he brought out Semi- ramide in Venice, he took his disappointment to London, where five months of popular and royal favor worked a complete cure. Then came a Parisian career that resulted in a real artistic triumph. Revisions of his early works were well received, and once more Italian opera came to dominate the foreign stage. But the higher standard of Paris reacted upon the composer himself, and in Guillaume Tell he produced a work of true dramatic force and artistic value, — something above the appreciation of his easy- going countrymen. After this he ceased composing as if ashamed to revert to his weaker style, and too lazy to continue in the worthier vein. Rossini's music in general shows the usual fatal facility of Italy, and is sometimes none too original. But he wrote frankly to please his pubHc, and if his successes often cast a better class of music in the shade, William Tell proved that he could adopt the higher standard when he chose. Gaetano Donizetti (1797-1848) and Vincenzo Bellini (1801-1835) formed, with Rossini, the famous trio of composers representing 56 MUSIC CLUB PROGRAMS FROM ALL NATIONS. the best of Italian opera in their day. Donizetti was trained for the law, but yielded to the attractions of art, — architecture and drawing, as well as music. Parental opposition drove him into the army, but his operatic ventures were so well received that he was soon exempted from service. He also displayed a facility that was almost too great; for while he produced no less than twenty-nine operas during seven years, they were mostly weak imitations of Rossini, and did not last. He excelled in the lighter vein, for there were no arbitrary conventions in opera buffa, and the music adapted itself naturally to the plot. Don Pasquale, La Fille du regiment, and i' Elisire d'amore may therefore be counted as real art works. But Lucia di Lammermoor, his greatest serious opera, shows the weakness of its school, — the dramatic meaning of the words is not heeded, and at the sHghtest pretext the singers are brought forward to give amazing displays of vocal fireworks; the heroine has her conventional mad scene, and sings better and better as her reason leaves her; the hero is always a tenor, the villain a deep bass; and the music flows on with mellifluous sweetness, while the most tragic events are occurring on the stage. Bellini confined his work to opera seria, and left Norma, La Sonnambula, and I Puritani as his masterpieces. With all the defects of the early ItaKan school, his music often shows a tender- ness and pathos that mark him as a man of real greatness. Giuseppe Verdi (1813-1901) hved through many changes and passed through many periods in his own development. It seems strange to read that the Milan Conservatory rejected him as lacking musical talent; yet such was the case. He revenged himself later by writing a fugue on a theme that had proved too much for the Conservatory pupils. His first stage work, Oherlo di San Bonifacio, brought him into notice, and gained him an order for the comic opera, Un giorno di regno. But his beloved wife and two children died while he was at work, so it is not surprising that the music showed little of comic character. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 57 Of Verdi's early operas, the best known are Rigoletto, Ernani, II Trovatore, and La Traviata. They are often classed with the school of Rossini, but they show far greater vigor and many dra- matic touches of real power. The famous quartet from Rigoletto, for example, shows a force of expression wholly lacking in the sextet from Donizetti's Lucia. Un hallo in maschera was written to a libretto that displeased the poUtical authorities, so the location was changed to Puritan Boston, — an odd place for a masked ball and its fierce intrigues. The composer's very name gained political significance, for the letters could stand for "Vittorio Emanuele, Re d'ltalia"; and the cries of "Viva Verdi" were not confined to musical circles. With La forza del Destino and Don Carlos, Verdi began to develop the richer style of harmony and orchestration that was made fully evident in Aida. The last work, written to order on a plot furnished by the Khedive of Egypt, remains a masterpiece after more than three decades. Its clear form, its clean-cut orches- tral effects, its dramatic fidelity, and the happy blending of the good and the popular in its music, should make it a model for those operatic aspirants who struggle frantically to oUtdo the "Music of the Future" in their scores. Otello, sixteen years later, was more intense in its effects, while Falstaff (1893) combined intricate orchestration with surprising vivacity; but Aida bids fair to remain the favorite. Arrigo Boito (1842- ) wrote one important work, Mefistofele, and then became a librettist. This opera shows the influence that was to be found in the new school, — due to Wagner, in large part, but also to the instrumental masters. While Italy had remained satisfied with tuneful opera, Germany had brought forth Bach, Handel, Haydn, Mozart, Beethoven, and Schubert, — musical Titans who showed that their art meant more than the meaningless roulades of a favorite prima donna. Yet in th^ middle of last century Italy had almost no conception of symphonic music. She possessed her song writers, — Arditi, Pinsuti, Mattel, Tosti, and 58 MUSIC CLUB PROGRAMS FROM ALL NATIONS. others^ — whose lyrics were not without emotional power; but when Pinelli tried to give an orchestral concert in Rome, there were only fourteen francs left in the box-office, to divide among sixty musicians. Sgambati met a similar reception when he pro- duced a Beethoven symphony, and had to pay for it out of his own pocket. Giovanni Sgambati (1843- ) became the leader of the Italian symphonists. Famous as a pianist, he thought of studying with Liszt at Weimar; but Mahomet did not have to go to the mountain, for Liszt came to Rome. His friendship, and that of Wagner, enabled Sgambati to publish his works and devote himself seri- ously to composition. Others followed his lead, — Martucci in Naples, and Del Valle de Paz in Florence ; while many have worked abroad, such as Di Pirani in Germany, and Busoni for a time in America. The new realistic school in opera made a sudden entrance in 1890. Pietro Mascagni (1863- ) then unknown, won the Son- zogno prize with his Cavalleria Rusticana and soon the work had traveled around the world. While its music is not of the very highest order, it has a note of truth and savage power that carries conviction. Composite in style, it is free from all banahty, and such numbers as the Siciliana, the noble Regina Coeli, and the air My King 0} Roses still retain their charm, to say nothing of the sugary Intermezzo. Mascagni's later works include L'amico Fritz Ratclijf, Iris, Silvano, Le maschere, and Arnica, but none of them has gained success, and the composer's fall has been almost as rapid as his rise. Ruggiero Leoncavallo's Chatterton had failed, and his ambi- tious Medici trilogy was hardly a success; but the fame of Rustic Chivalry aroused him to do likewise, and his Pagliacci (strolhng players) has become a companion piece to the earlier work. Its music, if less directly popular, is well knit and powerful, and the opera has won a lasting success. Leoncavallo, too, has been unable to repeat his triumphs, and Roland of Berlin, on a Ubretto MUSIC CLUB PROGRAMS FROM ALL NATIONS. 59 chosen and arranged by the German Emperor, has received attacks that are not wholly the work of envy. In the hands of lesser men, the school rapidly degenerated. Tasca, Coronaro, Cilea, Rossi, and others have won some renown, but their music is not great, and their hbrettos often show only the coarse and brutal side of the "Verismo" idea. Some, Uke Franchetti, have adopted higher standards; but the rest seem to forget that beauty may be real, as well as ugliness and crime. Giacomo Puccini (1858- ) came of a musical family, and was named by Verdi as his probable successor. Time has justi- fied this verdict; for while Puccini has hardly equaled Verdi, his works show real musical value, and true dramatic instinct. Less piquant and sensational than Rustic Chivalry, they will probably be more permanent. Le Villi, the first, was probably the or gin of the modem one-act idea. Edgar, a sort of Gypsy Carmen, was not wholly effective. Manon Lescaut, another early work, seemed rather a succession of scenes than a coherent opera, but some of these show a growing mastery of dramatic effect. La BoMme, based on Murger's Vie de Bohtme, gained world-wide renown, and the note of haunting sweetness in its music gives the opera a perennial charm. Tosca, too, made fhe rounds of all civihzed countries. Its tragic plot is set with a mastery of effect and a reaUstic skill that deserve the highest praise. But Puccini, also, has met with partial failure, and his Madama Butterfly depends largely on its libretto for success. Dom Lorenzo Perosi (1872- ) has made an ambitious attempt to revive the glories of Italian sacred music. A weak constitution has not prevented him from bringing the utmost enthusiasm to his task, and he is so absorbed by the subject in hand that he sees the picture actually before him as he writes the notes.- His sacred trilogy. The Passion 0} Christ, includes the Last Supper, the Ser- mon on the Mount, and the Death of the Redeemer, and the work made a sensation through Italy. Among his other oratorios are 60 MUSIC CLUB PROGRAMS FROM ALL NATIONS. The Transfiguration, The Annunciation, The Raising of Lazarus, and the two-part Moses. In these, as in his masses, he aims to blend the older classical style of Palestrina with the modern dra- matic feeling. If his music is occasionally too popular in effect, he is eminently fitted for his audiences, and may lead the way to a loftier school. In recent years the German influence has gained a firmer hold in Italy, and such men as Bossi, Buongiomo, and Wolf-Ferrari show a more cosmopolitan tendency than their predecessors. Marco Enrico Bossi (1861- ) became famous as organist and con- servatory director, but is better known as composer. His numerous works are mostly for his instrument, and include an organ concerto given at the Chicago fair. A more recent triumph is the oratorio Paradise Lost, a setting suggested by Madame Rubinstein. Buongiomo (1864- ) gained valuable dramatic experience as leader of an operetta troupe. His one-act Michelangelo and Rolla is in refreshing contrast to the "Verismo" crudities, and its hbretto tells a touching story of the ambition, love, and self-sacri- fice of the sculptor Rolla. Das Mddchenherz, a longer work, treats another idylhc theme with sympathetic music. Wolf-Ferrari may justly devote himself to Teutonic ideals, for his father was a German. His Cenerentola really belongs to the new romantic school of Germany, while his Donne curiose, a Hvely comic opera, with deHcious music, is winning favor all over Europe. Italy is still in a transition period, and it is hard to guess what the future has in store for her; but she has bravely shaken off her lethargy, and put herself fully abreast of the most recent develop- ments in music. Even now her achievements in this field are not to be despised. music club programs from all nations. 61 Questions 1. What were Neumes, and how was the staff developed from them? 2. How did the syllables of the scale originate, and who first used them ? 3. What service did Palestrina render to the cause of sacred music ? 4. Who wrote the first opera, and what were his aims in so doing ? 5. In what special fields did Alessandro and Domenico Scarlatti work? 6. What does the word "sonata" mean, and how did the form first develop ? 7. OutUne the different schools of violin playing, and name some men in each. 8. What two composers were called to St. Petersburg, and what great comic opera did each write ? 9. Why may opera bii-ffa be regarded as more strictly artistic than the old opera seria ? 10. What Italian composer was cast in the shade by Gluck? 11. What is Rossini's worthiest work, and what great comic opera did he write ? 12. Name three comic operas by Donizetti, and three serious operas by Bellini. 13. Name three of Verdi's early works, and tell how they differ from those of Rossini. 14. Compare the music of Aida, Otello, and Falstafj. 15. What composer became a librettist, and what opera did he write ? 16. Name three ItaHan song writers. 17. Who is the leader of the ItaHan symphonists? 18. Name the two chief operas of the realistic school, and tell who wrote them. 62 MUSIC CLUB PROGRAMS FROM ALL NATIONS. 19. Describe the music of Puccini, and name his two best operas. 20. Naiiie a large work by each of the following : Wolf-Ferrari, Bossi, Buongiorno, Perosi. PROGRAMS I. Easy I. Piano, (a) Consolation A. Scarlatti (b) Pastorale A. Scarlatti i. Songs, (a) Nina Pergolesi (b) Star vicino Salvator Rosa 3. Violin. Minuet (Arranged for violin) Boccherini 4. Songs, (a) Santa Lucia Cottrau (b) Funiculi-Funicula (A merry heart) Denza 5. Violin. Rustic Chivalry (arranged by Hermann) Mascagni 6. Songs, (a) Beauty's Eyes Tosti (b) Mignarde, Gavotte > Dell 'Acqua 7. Piano. Children's Album Bossi II. Medium Sonata in A major (B. and H. 47) A. Scarlatti (a) Prayer ... Stradella (b) Nocturne Denza William TeU (Potpourri by Cramer) Rossini (a) Dream of Love Tosti (b) Oh, Leave Me Not Mattei Wedding March (arranged) Bossi (a) Dost Know Rotoli (b) Love Ever Faithful Bucalossi Piano. Intermezzo from Suite, Op. 21 Sgambati III. DuTicnxT Sonata, Op. s. No. 12 Corelll (a) Bedouin Love Song Pinsuti (b) Sailor's Prayer Mattel Nocturne, No. 6, E-major Sgambati Una voce poco fa, from "Barber of Seville" Rossini Moto perpetuo. Op. 11 Paganini (a) Non t'accostare all' urno Verdi (b) Magnetic Waltz Arditi 7. Piano. Hymn to Hope Sgambati I. Piano. :£. Songs. .3- Violin. 4- Songs. ,■;• Piano. 6. Songs. I. Violin. .£. Songs. .S- Piano. 4- Song. 5- Violin. 6. Songs. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 63 EARLY ITALIAN MUSIC 1. Fiaru). (a) Minuetto from Toccata, No 4 A. Scarlatti (b) Fugue in F minor A. Scarlatti 2. Songs, (a) O cessate di piagarmi A. Scarlatti (b) Le violette A. Scarlatti 3. Piano, (a) Sonata, No. 6 • , D. Scarlatti (b) Sonata, No. 9 D. Scarlatti 4. Songs, (a) Chi vuol la Zingarella Paisiello (b) Se Florindo e fedele A. Scarlatti S- Violin. Sonata, No. 4 in G Tartini 6. Songs, (a) Star vicino Salvator Rosa (b) Pur dicesti Lotti 7. Piano, (a) Gavotte Martini (b) Prelude and Fugue in E minor Martini See Early Italian Piano Music, edited by M. Esposito. ITALIAN OPERA COMPOSERS 1. Piano. Overture, La gazza ladra (arranged) Rossini 2. Song. . Casta diva, from "Norma" Bellini 3. Song. Cari luoghi ov'io passai, from "Linda di Chamounix" . Donizetti 4. Piano. March from Aida (arranged) Verdi 5. Song. 'Infelice, from "Ernani" Verdi 6. Song. Oh! gioja che si sente, from "Lucia" Donizetti 7. Piano. Fantasia, Trovatore Verdi 8. Song. Bel raggio, from "Semiramide" Rossini 9. Song. Willow Song, from "Otello" Verdi 10. Piano. Overture, William Tell (arranged) Rossini MODERN ITALY 1. Piano, (a) Romance, from Op. 95 Bossi (b) Humoresque, from Op.' 95 Bossi 2. Songs, (a) My King of Roses, from "Rustic Chivalry" .... Mascagni (b) Ave Maria, from "Rustic Chivalry" Mascagni 3. Piano, (a) Air, from Suite, Op. 21 Sgambati (b) Etude melodique, from Suite, Op. 21 Sgambati 4. Songs, (a) Un verde praticello Wolf-Ferrari (b) Asi che non sapevo ? Wolf-Ferrari 5. Piano. Suite aftcienne, Op. 103 Bossi 6. Violin. Selection from Suite, Op. 99 Bossi 7. Piano. Im Walde, Op. 47a Di !^rani 8. Songs, (a) Visione Sgambati (b) Prifere Sgambati 9. Piano. Scherzo-etude, Op. 67 Wolf-Ferrari V. ENGLAND >The music of England date s back to early times , and reached a high state of development at an epoch when conti nental Europ e had scarcely e merged from the dark ages. We find historical glimpses of this in the music of ITi'e early bards, who flourished in still more remote times. In Wales every freeman carried his harp, and to be seen without it meant disgrace. It was in the disguise of a harper, tradition says, that King Alfred penetrated the camp of the hostile Danes and learned tJieir strength and their plans. At a later date we find Canute improvising a song, inspired by the evening sunset and the distant vespers at Ely. In -the battle of Hastings the Norman baron, Taillefer, charged ahead of the ranks singing the Chanson de Roland, and throwing his -mace into the air, — an action that was the origin of our modern drum- major and his antics. That a more developed style of music existed is shown by one of England's most precious manuscripts, — the six men's song, or glee, entitled Sumer is icumen in . This wonderful song is for six voices, fo ur in strict can on form, the melody repeating, in each voice. It dates from the thirteenth centurj', and its grace and liveliness mark it as the product of a sidlled musician and a flour- ishing school. Many of the old glees, rounds, and catches date back centuries into the middle ages. Such a one was Turn again, Whittington, first sung (with other words) in 1453. These works pr ove that England was well adyan ce d in counterpoint long before the beginning of the first Flemish school. The invention of measured notes is usually ascribed to Franco of Cologne, but England may claim it also. The German friar lived at the end of the twelfth century, while " Walter Odington , the 64 BRITISH COMPOSERS PURCELL BALFE SULLIVAN COWEN MACKENZIE BANTOCK COLERIDGE-TAYLOR ELGAR MUSIC CLUB PROGRAMS FROM ALL NATIONS. 65 "Monk of Evesham," was alive in 1316; but the dates are uncer- tain, and Odington's treatise. Be Speculatione Musicae, may have been wholly independent of Franco's work, De Musica Mensura- bili, or may have set forth a more complete system. The early Enghsh school of counterpoint found its worthiest expression in the works of John Dunstable, who lived in the first half of the fifteenth century. A contemporary of Dufay, it has E^-jen said that he invented coun terpoint; but that art was probably : gradual growth, and due to the work of many men. Dunstable rote a fairly large number of compositions, of which a valuable collection was recently found by Fr. Haberl at Trent. His most ktriking work was the three-voiced song, O Rosa Bella . The stricter forms of the day were also represented in Dunstable's writings, and in the British Museum is an enigma canon, by. him, which has not yet been deciphered. Such mathematical music, in which the parts fitted forward, backward, or in other more recon- dite ways, gradually gave way to the motet and the madrigal, — part-songs on sacred or secular subjects, written in contrapuntal style, with melody supporting melody. These, in turn, were followed by the simpler ballads and carols, — melody supported by harmony. The quaint flavor of these ballads is an indication/ of their antiquity, and such examples as The Three Ravens, The Maid of Islington, The Jew's Daughter, and Barbara Allen are sura to interest the student of this early music. The age of Elizabeth suggests the literary triumphs of the Eng- Hsh dramatists. It was marked also by a great musical develop- ment. Such a song as Drink to Me Only With Thine Eyes shows a high standard of excellence, and the fact that its compos er re mains unknown proves that more important works must have held.th e public noticed The names of Tallys. Tye, Bj^rd, L j^orley , Weelkes , Gi bbons, Farrant^ and Wilbye were scarcely less important in music than those of Marlowe and Ben Jonson in literature. Tallys has been called the father of English cathedral music, and enjoyed with Byrd a monopoly of music printing. 66 MUSIC CLUB PROGRAMS FROM ALL NATIONS. All these men worked in the strict polyphonic style, but did not disdain a lighter vein as well. Thus Morley's First Booke of Aires contains many beautiful songs with lute or bass-viol, including // was a Lover and His Lass, from ^4^ you Like It. The great m aster of lute music , however, was Tohn Dowland . who excelled m playing that instrument, no less than in composing for it. That the lute went out of fashion is not surprising, for its pairs of strings, in unison, were often out of pitch, and it was said that if a lute vplayer hved to eighty he had spent sixty years of his Ufe in tuning his instrument. Yet the bright, guitar-like character of accom- paniment renders the old lute music delightful to-day when played 3n our modern pianos. At a later period the division between Cavalier and Roundhead became as marked in music as in political life. The songs of the Puritans were as gloomy and forbidding as their austere prin- :iples. Here, for instance, are the words of one doleful refrain : — 'In the black, dismal dungeon of despair, Pined with tormenting care, Racked with my fears, Drowned in my tears, With dreadful expectation of my doom, And certain horrid judgment soon to come. Lord, here I lie, Lost to all hope of liberty. " The gay, dashing songs of the cavaliers formed the most striking contrast imaginable^to these lugubrious outbursts, as the student may readily see by examining When the King Comes Back to His Own Again, Here's a Health unto His Majesty, and others of their class. With the return of Charl es II came also the restoration of music to her former rights. Coffee became popular in London, and the f music of the coffee-houses paved the way for public concerts. '!At this time, too, England's greate st musical genius c ame upon , the scene, in the shape of Purcell. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 67 Henry Purcell (1658-1695) was the first great English com- poser who can fairly be classed with the modern school. Counter- point and polyphony were now laid aside, and music began to develop along its harmonic path; in fact, Purcell has been called "the originator of English melody, as the term is now understood." He estabhshed a form of English opera that la st ed for nearly two centuries, and in this form he equaled his great contemporary, LuUy, in dramatic power, and surpassed him in melodic grace. He composed sacred works that were studied with eagerness and profit by Handel, and his songs retain their freshness and charm to-day. He worked in all fields of music, and excelled in all. One of his compositions played its part in history, for Lilliburlero, originally written as a quickstep and supplied by Lord" Wharton with words of political meaning, was sung through all England, and aroused the spirit that drove James II from his throne. The London career of Han del i s too well known to need detailed description. The initial success of his opera Rinaldo took the public by storm, and on a second EngUsh trip* he determined to stay permanently, because of Queen Anne's favor. The succession of George I, his former master, whom he had deserted in Hanover, proved an unpleasant surprise; but he regained royal favor by his Water Music, played on a barge following the king's at an aquatic festival on the Thames. His long career as writer of operas and oratorios, resulting in the winning and losing of several fortunes, filled more than fortv years of English musical life. The year 1237 was marked by the production of the remar kabja Beggar's Opera . This work, written by John Gay, with tunes arranged by Dr. Pepusch, was really the first comic opera in Eng- land. Its keen satire .on prevailing fashions, corruption, and crime won for it an instant success; the manager, Rich, gave it sixty-two performances in one season, and it was said that the work made Rich gay and Gay rich. This piece, based as it was on popular times, was the origin of the so-called ballad operas that flourished for many years in England. 68 MUSIC CLUB PROGRAMS FROM ALL NATIONS. One of England's foremost composers in the eighteenth century was the celebrated Dr. Arne (1710 -1778 ). Destined for the law, *>Jike so many other famous musicians, he practiced in secret, and became a skilful player of the spinet and violin. He, too, entered the operatic field, but won his first great success by setting the masque, or allegory, of Comus. A later masque, Alfred, contains the famous song. Ru le, Britannia. He, too, wrote in nearly every musical form, composing oratorios, overtures, violin sonatas, organ pieces, harpsichord music, and songs of varied style. Haydn, like Handel, visited England, but did not make it his home. Though he became the "Hon" of the season on each of his two trips, and composed the Salomon Symphonies during his visit, he did not exercise any permanent influence on English musical hfe. Another notable EngUsh composer was Charles Dibdin (1745-1814). Of his many operas The Waterman and The Quaker held the stage for many years, but Dibdin is best known by his remarkable sea songs , frequently written as parts of his operas or musical entertainments. These songs show a real nautical flavor, — not merely what landsmen imagine as such, but the actual terms and phrases employed by the sailors themselves. Dibdin's eldest brothel" was a sea captain, whose life must have furnished material for the composer, and whose death at sea inspired the renowned Tom Bowling. Such songs as The Token, Saturday Night at Sea, Ben Backstay, and many others of equal interest, made Dibdin known as "The Tyrtseus of the British Navy," and were said to be worth thousands of seamen in time ^of war. English opera was carried into the nineteenth century by Sir Henry Bishop (1786-1855), whose Circassian Bride won an early success. Such works as Cortez, The Fall oj Algiers, The Knight of Snowdon, and Maid Marian are excellent examples of the ballad- opera style at its best. Bishop was actually engaged as a rival to Weber, when the latter brought out Oberon; but he renounced his MUSIC CLUB PROGRAMS FROM ALL NATIONS. 69 natural style in the effort for something more involved, and his Aladdin failed in consequence. The general form of ballad-opera was continued by Balfe, Benedict, and "Wallace, who won immense popular- successes. Michael William Balfe (1808-1870) composed operas by the dozen,- but the Bohemian Girl far exceeded the others in public favor. Sir Julius Benedict (1804-1885) was a native of Stuttgart, but made England his home. Less prolific than Balfe, he won almost as great triumphs with his Crusaders and Lily of Killarney. William Vincent Wallace (1814-1865) was, like Balfe, of Irish birth. His most important production was Maritana. In the middle of the last century music in England was at a low €bb_. Popular taste was satisfied with these simple and conven- tional works, and understood little more than the weaker side of Mendelssohn. Then followed a consistent effort to build up a worthy English school, — an effort that was hardly successful in its time, but paved the way for the greater glories of the present. Of the five men who led in this musical renaissance, Charles Villiers Stanford (1852- ) was the most important. After study in Germany, he became head ot the Koyai College of Music, and organist at Cambridge. His works have met with fair success, but their ambitious character does not wholly redeem them from the reproach of being academic, — displaying more of learning than of inspiration. His operas include The Veiled Prophet, an early work; Shamus O'Brien, popular because of its Irish subject. The Canterbury Pilgrims, picturing the rollicking life of old Eng- land; and Much Ado about Nothing, graceful enough, but receiving the sarcastic criticism that the music justifies the title. He has also written oratorios, cantatas, symphonies, and some excellent Irish folk songs. Sir Charles Hubert Hastings Parry (1848- ) has filled a position at Oxford similar to that of Stanford at Cambridge. He has composed four symphonies, a set of symphonic variations, and two overtures, but he shows at his best in oratorio. His sacred 70 MUSIC CLUB PROGRAMS FROM ALL NATIONS. works include Judith, King Saul, and Job, and show a power and loftiness of style that "bring all heaven before our eyes," according to one enthusiastic critic. Sir Alexander Campbell Mackenzie (1847- ) lived in Edin- burgh as teacher, conductor, and violinist, until 1888, when he became head of the Royal Academy of Music, in London. An early cantata. The Bride, was followed by the opera Co lomba, which really deser ved a lasting success. The Troubadour was less effective, but the comic operaT jZ^y Majesty abounds in musical drollery. The Rose of Sharon and Bethlehem are worthy oratorios, and he has produced four overtures, the Manfred entr'actes, and the Coriolanus music for orchestra. Frederic Hymen Cowen (1852- ) has produced four operas, two oratorios, and seven cantatas. The Sleeping Beauty and The Water Lily being dehghtfuUy poetic. But he is better known by his six symphonies, among which the Scandinavian, Idyllic, and Welsh rank in the order named. The first has become a standard work in England, and contains a striking tone-picture of the sombre Norwegian fiords. Arthur Goring Thomas (1851-1892) showed his French descent by turning to the lighter style of romantic music, in which he excelled. His Esmeralda has shown effective dramatic qualities on the stage, though Nadeshda, a later work, met with a colder reception. The Golden Web was first produced after his death. • His greatest composition, was The Swan an d the Skylark^ a posthu- mous cantata. While these five men are usually grouped together, many others may be classed with them. Sir John Stainer won a leading posi- tion as a sacred composer. Sir George Macfarren of an older generation, clung to the ballad-opera, while Walter Cecil, his younger brother , placed himself abreast of the new instrumental movement. Sir J. Frederick Bridge is organist at Westminster, and is often called in jest " The Westminster Bridge. " He enUvens his teaching with many flashes of wit; but this brightness does not MUSIC CLUB PROGRAMS FROM ALL NATIOJSfS. 71 I always enter into his music, for Ernest Newman once said that Isuch men as Bridge and Mackenzie could no more hatch out a new school of music than a hen could hatch out hard-boiled eggs. But their labors have certainly raised the standard of musical taste in England, and opened the way for a new generation of more advanced composers. At the head of these new leaders ViStands Sir Edward "William Elgar (1857- ), a composer whose orchestral mastery is due wholly to self-education. Son of a cathe- dral organist, he soon mastered his father's instrument, and later on became violinist in a Worcester theatre. As violin teacher, he began to train himself in composition, and studied works on har- mony and instrumentation. Most of these he found unattractive: "I read them, and I still exist," is his way of putting it; but he gives high praise to Mozart's Thorough-Bass School. Like so many great modern composers, including Strauss, he drew his first inspiration from Mozart; and he considers his most valuable training a symphony which he wrote with Mozart's G minor work as a model, using the same number of bars and the same instru-i ments. When he managed to get hold of a new orchestral score, he would stuff his pockets with bread and cheese and go into the fields to study it, leaving his pupils to wait for him in vain. Birmingham saw the production of his early works, but the can- tata The Black Knigh t, given at Worcester, aroused the first pubhc interest in him. The Light of Life and King Olaf followed, the l atter displaying the strength of maturing genius . In 1899 London became acquainted with him through his orchestral variations, each section of this work depicting one of the composer's friends. A wider fame came to him a year later, through his Dream of Gerontius, a setting of Cardinal Newman's poem that treats of the death of Gerontius and the reception of his soul in the celestial regions. Even more ambitious was The Apostles, planned as the first of a set of oratorios. The work is built on a grand scale, but excess of psychological effects and arbitrary guiding motives give it a somewhat artificial flavor. ^ 72 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Elgar's other works include several attractive overtures, — Froissart, In the South, and the popular Cockaigne; the broad Pomp and Circumstance marches; the noble Sea Pictures, for voice and orchestra; incidental' music to Diarmid and Grania; The Banner of St. George, and other early cantatas; also several sacred works and many songs. Elgar stands to-day as a great and original genius, in a land where many talented musicians ^have lacked real inspiration. Samuel Coleridge-Taylor (1875- ) is the first great composer of negro blood. Son of a full-blooded African physician and an English mother , he shows in his music the very passion of the tropics. His favorite instrument is the vioHn, for which he has produced the fervid Southern Love Songs and African Romances, as well as the Hiawatha Sketches. The last subject appealed strongly to the composer, and in 1898 he produced his cantata Hia- watha's Wedding Feast. Its rich, glowing instrumentation and warmth of feeling form an excellent setting for Longfellow's pic- ture, and won instant recognition. This work was followed by The Death of Minnehaha and Hiawatha's Departure. Two later cantatas. The Atonement and The Blind Girl of Castel-CuilU, are less successful, but the composer has already achieved lasting international fame. A school of orchestral romanticists has now come into being, under the efficient lead of Granville Bantock (1868- ). His cantata, The Fire-Worshippers, brought him into notice, and was followed by the one-act operas Caedmar and The Pearl of Iran. A vaster work is the setting of Southey's Curse of Kehama, planned for a series of no less than twenty-four symphonic poems. The Time SHri t is a more recent orchestral triumph, showing true musical inspiration. With Bantock have been associated five other composers: WiUiam Wallace, the eldest, shows much imagination in such works as Ibsen's Lady from the Sea and the Pelleas and Mdisande •overture. Erskine AUon's cantata. The Oak cf Geismar, and MUSIC CLUB PROGRAMS FROM ALL NATIONS. 73 overture, The Maid of Colonsay, have made his early death much regretted. Reginald SteggalTs scenas, AlcesHs and Elaine show expressive ideas. Stanley Hawley has devoted himself to melo- drama (music with spoken words), while Arthur Hinton's songs, piano works and orchestral Triumph of Casar show great beauty. Among many lesser composers who followed the leaders of the renaissance, Arthur Somervell produced The Forsaken Merman and many attractive songs. Robert Bridges won fame also by his vocal works. Algernon Ashton' s piano music is of excellent quality. Alan Grey , Frederick Cliffe, and Arthur Herv£v have shown poetic gifts, while Hamish MacCunn holds the leadership among Scotch composers. The Scottish folk songs, with their i rare beauty and historic value, deserve a chapter by themselves, but have not, as yet, given rise to a real school of Scotch composers. England's many women composers have devoted themselves chiefly to song composition. In the first half of the last century English music was a prey to sentimentalism, — a fault that tinged even Field's nocturnes and other works. Such women as ' ' Claribel ' ' (Mrs. Barnar d) , Virginia Gabrie l, Madame Sainton- Dolby, Clara JViacirone , and Hops Temple catered to the public taste, though often able to do better work. The one really great \ composer among the women waS Alice Mary Smith (Mrs. Meadows I White), whose canta tas and orchestral works show marked power /of expression, united with real melodic gifts. Maude Valerie White upheld the glory of her sex by setting Herrick, Shelley, and other poets with the most delicate musical workmanship. Among more recent women composers are Liza Lehmann, whose cycle, In a Persian Garden, has charmed two continents; Guy d'Hardelot (Mrs. Rhodes ), whose Sans toi and Avec toi show much power of expression; and Frances Allitsen , whose "acting songs," such as The Fan, are favorites with Madame Calve. Many men, too, have put forth their best efforts in the lyrical field, — Roeckel, Hatton, HuUah, MoUoy, 74 MUSIC CLUB PROGRAMS FROM ALL NATIONS. and Marzials, the works of the last showing a most exquisite daintiness. The work of Sir Arthur Sullivan (1842-1900) in light opera, from The Conirabandista to The Gondoliers , almost created a new school. He brought to his music a freshness of inspiration and grace of melodic invention that have been the despair of his imi- tators in this field. His ambition led him into higher paths, for he produced cantatas such as The Prodigal Son and The Golden [Legend. He wrote the grand opera Ivanhoe, and he longed to icreate a great oratorio. A composer of similar gifts is Edward German (1862- ), who was chosen to finish SuUivan's Emerald Isle . German has written two operas. The Rival Poets and Merrie England, but is better known by his incidental music to Shakespearean plays. He has also written a Welsh Rhapsody and other orchestral works. In all of these he shows a most remarkable facihtv of m elodic utteranc £.. ^n(j attains effects of strikin g ; beauty by the simples t diatonic means. This difficult simplicity is a most valuable quality, and should serve as an example to many young aspirants who strive after a more ambitious complexity, — and fail. Modem orchestral music iS certainly flourishing in England, and composers are now becoming as frequent as blackberries in August. Among the younger men, Clarence Lucas has won fame by his orchestral and piano works. Cyril Scott writes instrumental and chamber music of the most modem and modulatory quality. Colin McAlpin has written two operas. Crescent and Cross and King Arthur, while C. E. Pritchard' s Kunacepa is based on an Indian subject. Joseph Holbrooke is attempting involved sym- phonic poems, showing the complexity of Strauss without his power. Recent novelties at the Queen's Hall concerts include York Bowen' s symphonic poem. The Lament 0} Tasso, a pastoral suite by Garnet Wolseley Cox, the introduction to Ernest Blake's opera. Die Bretwalde; a rhapsody. Into the Everlasting, by Rut- land Boughton; W. H. Reed's Suite V'enitienne; Edgar Bainton's MUSIC CLUB PROGRAMS FROM ALL NATIONS. 75 symphonic- poem, Pompilia; and a concerto by Nicholas Gatty . All these names show that the musical movement in England is widespread, and augurs the very best results for her future develop- ment. Questions 1. What Englishman invented a system of measured notation? 2. Name as many composers of the Elizabethan period as you can, including one who wrote lute music. 3. Who is considered England's greatest composer, in what forms did he write, and what work of his gained importance in history ? 4. What was The Beggar's Opera, and why was it important? 5. Who wrote the song, Rule, Britannia? 6. Who was called "The Tyrtaeus of the British Navy," and why? 7. Who wrote the following ballad-operas: Maritana, The Lily of Killarney, The Bohemian Girl ? 8. What operas did Stanford write ? 9. What are the chief works of Mackenzie ? 10. Name three important symphonies by Cowen. 11. What other men are usually classed with the three just mentioned, and what part did they play in England's musical development ? 12. Describe the life and works of Elgar. 13. Who is the first great negro composer, and what are his chief works ? 14. Who are some of England's great women composers ? 15. Name as many modern English orchestral composers, not already mentioned, as you can. 76 MUSIC CLUB PROGRAMS FROM ALL NATIONS. PROGRAMS I. Easy i. Piano. Sellinger's Round. Arr. by Byrd. 2. Songs, (a) Drink to me only (b) Tom Bowling Charles Dibdin 3. Violin. Henry VIII Dances (arranged) Edward German 4. Song. The Maid of Islington. Ballad 5. Piano. Gavotte Frederic Archer 6. Song. My Lady's Bower Hope Temple 7. Violin. Hiawatha Sketches S. Coleridge-Taylor II. Medium I. Piano. Sonata No. 11 Dr. Arne u. Songs, (a) Sally in our Alley (b) The Lass with the Delicate Air Dr. Arne 3. Violin. Romance in D major Julius Benedict 4. Songs, (a) Lilliburlero Henry Purcell (b) Twickenham Ferry Theo. Marzials 5. Piano. Twelfth Nocturne John Field 6. Diiet. O That We Two Were Maying Alice Mary Smith 7. Violin: Revery in F Algernon Ashton III. Difficult 1. Two Pianos. Herod. Suite S. Coleridge-Taylor 2. Songs, (a) O, Bid Your Faithful Ariel Fly Thomas Linley (b) The Vicar of Bray 3. Piano. The Witch of Atlas Granville Bantock 4. Song. Sans toi. Guy d'Hardelot 5. Violin. Sonata, Op. ii Villiers Stanford '6. Song. Sea Slumber Song Edward Elgar 7. Piano. Pavane and Gavotte, Op. 32 Algernon Ashton SHAKESPEAREAN SONGS Farewell, Dear Love. Peg-a-Ramsay. Green Sleeves. Willow Song. Come Unto These Yellow Sands Purcell Full Fathom Five Purcell Sigh no More, Ladies R. J. Stevens MUSIC CLUB PROGRAMS FROM ALL NATIONS. 11 8. When Daises Pied .... Arne g. Where the Bee Sucks Arne 10. Bid Me Discourse Bishop 11. Now the Hungry Lion Roars Linley 12. O, Bid Your Faithful Ariel Fly Linley 13. Fear No More the Heat o' the Sun Parry 14. Sigh No More, Ladies Sullivan 15. O Mistress Mine Coleridge- Taylor See Fijty Shakespere Songs, edited by Dr. Charles Vincent. ENGLISH SONGS 1. Since First I Saw Your Face 2. Lilliburlero ... . Henry Purcell 3. The Token Charles Dibdin 4. Shepherd's Cradle Song Arthur Somervell 5. In the Garden Maud Valerie White 6. Three Jolly Sailor Boys Theo. Marzials 7. Irish Lullaby Alicia A. Needham 8. A May Song . . A. C. Mackenzie 9. Will He Come? Arthur SulKvan 10. Youth Frances AlUtsen 11. I Hid My Love Guy d'Hardelot 12. Roses After Rain . . . Liza Lehmann 13. Serenade . « Granville Bantock 14. She Rested by the Broken Brook S. Coleridge-Taylor 15. Pipes of Pan Edward Elgar THE ENGLISH RENAISSANCE I. Piano, 4 hands. Processional March A. C. Mackenzie z. Songs, (a) A Song of Sunshine A. Goring Thomas (b) Wind in the Trees. . A. Goring Thomas 3. Piano. Three Romances, Op. 14 Sterndale Bennett 4. Songs, (a) My Love's an Arbutus Villiers Stanford (b) The Little Red Lark Villiers Stanford 5. Piano. Scenes in the Scottish Highlands, Op. 23 ... . A. C. Mackenzie 6. Violin. Benedictus, Op. 37, No. 3 A. C. Mackenzie 7. Piano. Rhapsody, Francesca, Op. g2. No. i Villiers Stanford 8. Songs, (a) While My Lady Sleepeth A. C. Mackenzie (b) The Old Grenadier A. C. Mackenzie 9. Piano. Four English Dances (arranged) F. H. Cowen 78 MUSIC CLUB PROGRAMS FROM ALL NATIONS. MODERN ENGLAND 1. Piano. Gipsy Suite s . . Edward German 2. Songs, (a) Once Only Coleridge-Taylor (b) Onaway, Awake, from "Hiawatha" .... Coleridge-Taylor 3. Violin, (a) Chanson de nuit Edward Elgar (b) Chanson de matin Edward Elgar 4. Songs, (a) Roses in June Edward Gennan (b) Daffodils a-Blowing Edward German 5. Piano.* (a) I was Way Down a- Yonder (Dum-a-lum) . . Coleridge-Taylor (b) Deep River Coleridge-Taylor (c) The Bamboula (African Dance) Coleridge-Taylor 6. Sangs. (a) In Tyme of Old Granville Bantock (b) Under the Rose Granville Bantock 7. Songs, (a) A Song of London Cyril Scott (b) Valediction Cyril Scott 8. Piano. The Funeral, from "The Curse of Kehama" (ar- ranged) Granville Bantock 9. Songs, (a) After Edward Elgar (b) Pansies Edward Elgar * From Twenty-four Negro Melodies, transcribed by Coleridge-Taylor. SCOTTISH SONGS I. Scots wha hae.f u. John Anderson, My Jo, John.f 3. Loch Lomond (By Yon Bonnie Banks).t 4. What's a' the Steer, Kimmer. 5. Charlie is My Darling.f 6. Johnny Cope.f 7. Wae's Me for Prince Charlie (A Wee Bird Kam).t 8. Flora Macdonald's Lament (Far over Yon Hills). t 9. Skye Boat Song (Put off and Row Wi' Speed). t 10. Turn Ye to Me.f 11. Lewie Gordon. . 12. Green Grow the Rashes. 13. Auld Robin Gray (Young Jamie lo'ed Me Weel).t 14. Ye Banks and Braes o' Bonnie Doon.f 13. Farewell to Lochaber.t t See Seventy Scottish Songs, arranged by Helen Hopekirk. DUTCH AND SCANDINAVIAN COMPOSERS FRANZ BERWALD OTTO LINDBLAD WENNERBERG VL THE NETHERLANDS When "Music, heavenly maid, was young," her appearance was far dififerent from what it is at present, and she evinced an un- usual devotion to mathematics, in the shape of counterpoint. The origin of counterpoint is lost in obscurity, and it may have, very likely did, developed independently in different countries. Its essen- tial feature, the support of melody by melody instead of by chords, could come about naturally whenever men sang together, and while the most important schools developed in the Netherlands and Italy, yet France and England were both skilled in the art before the rise of the first Flemish school. The earliest French contrapuntist seems to have been Pero- tinus, who flourished in about the year 1130; yet one of his suc- cessors, Jean de Garlande, writes that double counterpoint was known before that time. The French composers soon developed two, three, and four-part styles. The faux-bourdon of this time was a three-voiced chant in parallel motion, the two lower voices a fourth and a sixth below the upper. The motet was a form in which each voice had a sacred text of its own, while the rondeau, like the later madrigal, was secular, and the so-called conduit often instrumental. In England Walter Odington wrote a learned treatise on coun- terpoint as early as 1280, and he is sometimes credited with being the author of the old canon, Sumer is icumen in. That famous song, with its pleasing melodic effects, indicates that English music must have been remarkably well developed at- that time. It is probable that the early Netherland school developed from the French, for both show a dry, mathematical character, unlike 79 80 MUSIC CLUB PROGRAMS FROM ALL NATIONS. the English style. The first great Belgian master was Guillaume Dufay (1400 P-I474), who probably followed French models. In his works, as in all others of the school, the tenor part held the melody {teneo meaning "I hold"), while the other voices wove their parts around it. Dufay did not always employ imitation of parts, but many of his immediate successors devoted themselves to the art of writing intricate canons, — musical puzzles that could be sung forward or backward, or with one part beginning in the middle, and in many other devious ways. While all this was not musical according to our ideas, it gave an excellent tech- nical training, and later writers used this skill in a more euphonious fashion. The Netherland school is often divided into four periods, of which the first contains Okeghem, Hobrecht, and Brumel, besides Dufay and Binchois. Okeghem entered the service of Charles VII and became a favorite of Louis XI, who made him treasurer of St. Martin's Abbey at Tours. He grew renowned as a teacher, and many of the later masters studied under him. The com- positions, though sacred, often introduced popular songs, so that aJl singers could join in the tenor part without difficulty. One of the most common of these songs was V Homme armg, and it is no exaggeration to say that it was included in hundreds of masses; in fact, it became almost a point of honor for every composer to set this tune, using it as the tenor part and weaving counterpoint around it. In the second period (1455-1525) the foremost name was that of Josqtiin des Pres. At this time composers began attempts at euphony as well as intricacy; and we find Luther saying of Josquia "He is a master of the notes; they have to do as he wills; other composers must do as the notes will." As the first great master of tonal expression, he became known and admired in the whole of Western Europe. His chief pupil, Jean Mouton, was another gifted musician. The composers of the third period went still farther along the MUSIC CLUB PROGRAMS FROM ALL NATIONS. 81 same path. Adrian Willaert, the greatest, settled in Italy. Hear- ing one of his own motets sung in Rome as the work of Josquin, he promptly claimed its authorship, whereupon the papal choir refused to sing it again. Disgusted with this treatment, he left the city at once. His later years were spent in Venice, where he became chapelmaster of St. Mark's, and taught many famous organists. Cyprian de Rore followed Willaert, and became his pupil and successor. Clement Jannequin and Jacob Arcadelt were two other masters of this time. The former wrote actual program music, and his Cris de Paris gives a tonal picture of the calls and noises in the streets of the French capital. In the fourth and final period counterpoint was made definitely subservient to emotional expression. The one great master of this time, the flower of the entire school, was Orlando di Lasso. Born at Mons either in 1530 or 1532, he began the study of music at nine. Study in those days meant sacred singing, so he became a choir-boy in the church of St. Nicholas. He attracted such attention by the beauty of his voice that he was twice kidnapped, but recovered both times. The third time he consented to remain permanently with his captor, Ferdinand Gonzague, viceroy of Sicily. After various posts in Italy, France, and Antwerp, he grew so famous as a composer that he was called to Munich in 1557 by Duke Albert of Bavaria. He remained in that monarch's service all his life, and never left his dominions except for a brief visit to Paris. At Munich his wide knowledge, courtesy, and bright conversation made him a favorite with all, and the rest of his career was passed in honored activity until his death, in 1594. The Latin pun on his gravestone certainly pays an appropriate tribute to his fame : — " Hie est ille Lassus, lassum qui recreat orbem.'' Lasso was one of the most prolific composers of all time, having written no less than twenty-five hundred works. Many of these have been preserved and a large number repubHshed in modern 82 MUSIC CLUB PROGRAMS FROM ALL NATIONS. form. Like the works of his famous contemporary, Palestrina, their greatness Hes in the fact that counterpoint is not only mas- tered, but made to serve in the cause of emotional expression. Lasso's music was perhaps more pleasing, Palestrina's more lofty, and Ambros has stated the difference excellently when he says, "The one [Palestrina] brings the angeUc host to earth; the other raises man to eternal regions, both meeting in the realm of the ideal." II In the rise of secular music, after the notable year 1600, and in the classical orchestral period, the Netherlands contributed no name of renown to the world's list of great composers, — though the "van" in Beethoven's name bore witness to his Dutch ancestry. But the nineteenth century, so proUfic in national movements, "was destined to see the rise of a new Flemish school. The leader of the new Belgian movement was Pierre Leonard Leopold Benoit (1834-1901), better known as Peter Benoit. As favorite pupil of the great F6tis, pensioner of the government and afterwards director of the Flemish School of Music at Antwerp, he exercised a constantly growing influence on the art. His mas- sive figure and flowing locks were soon well known in his adopted city, and his intelligence and enthusiasm carried everything before them. His first success was the opera Hei Dorp in't Gebergte (The Village in the Mountains), which quickly made a name for him at Brussels. While traveling on his pension, he produced many songs, motets, and piano pieces; also a Messe solennelle. Another opera, Le Roi des aulnes, was accepted by the Theatre Lyrique, in Paris, but never performed there. Other works by him are a sacred Quadrilogie, the choral symphony De Maaiers (The Reapers), the opera 75a, and incidental music to Charlotte Corday and Willem de Zwijger. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 83 But the especial form in which Benoit excelled was the oratorio- cantata. His many worthy works in this field include Oorlog (PTfflr), Lucijer, De Schelde, De Rhyn, Prome thie, the Rubens Cantata, and the unfinished Van Dyck Cantata. These are all thoroughly modem and dramatic in effect. They have been aptly described as "great decorative pictures in tone, suggesting vistas of grand palaces, armies in battle array,' rich fields of grain, mystic visions of the spirit world, or gorgeous triumphal marches." Paul Gilson (1865- ) is another prominent Belgian composer. A graduate of the Brussels Conservatory, he obtained the Prix de Rome with his cantata Sinai. Since then he has shown activity in nearly all the large forms. Of his fifty or more songs, many have orchestral accompaniment, while his instrumental works include a score of violin and 'cello pieces. His larger works include a Festival Overture, a Dramatic Overture, a Fantasy on Canadian melodies, another on those of Ireland, several suites, the set of symphonic sketches entitled ia mer, the Bucolics, after Virgil, three scherzi, a fanfare march, and many smaller numbers. His activity in the vocal field is shown by an Inaugural Can- tata, the oratorio Moses, the more dramatic Francesca da Rimini, and several sets of a cappella works. He has made some interesting experiments in declamation with orchestra, such as Le feu du del (Hugo), Christine (Leconte de Lisle), and Satsuki, a Japanese fable. Prinses Zonneschijn is the most successful of his four operas. Best known in America is La mer, suggested by a poem of Levis. First comes a picture of the many-colored splendors of sunrise at sea. Then follows some bright sailor's music, in which the Uvely songs and dances of the mariners are suggested with decided animation. The third movement depicts a love scene between a sailor and his sweetheart, idyllic at first, but ending in sadness and departure. The piece closes with a storm at sea, and the sailor's choruses are repeated in mocking irony as the ship goes down. 84 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Guillaume Lekeu (1870-1894) was cut off by an early death from what would undoubtedly have been a career of great achieve- ment. A pupil of Cesar Franck, who was himself of Belgian birth, Lekeu soon developed under the elevating influence of good teach- ing, and in 1891 took second prize, in the Belgian national com- petition, with his cantata Andrombde. For the three remaining years of his life he worked steadily at composition. His Fantasy on Angevin airs was performed in his native town, with due enthusiasm. Of his two Etudes symphoniques, one is a Chant trtomphale, while the other is divided into two parts, Faust and Hamlet. A Poeme for violin and orchestra and an Adagio for viohn, 'cello, and strings show exquisite beauty. Lekeu wrote no opera, but his incidental music to Hugo's Burgraves and Musset's Barberine is of excellent quaUty. His Chant lyrique is an ambitious work for chorus and orchestra, while many of his songs are remarkable-for their elevated melodic style. His chamber music includes an Epithalame for strings, trombones, and organ; a wonderfully effective violin sonata; and a posthumous piano quartet, finished by d'Indy. Lekeu's prose writings, like much of his music, show a pervading spirit of melancholy and gloom, — almost a premonition of his early death. A true disciple of the French school, he showed the freedom from form and the refined delicacy of harmony that we expect from Franck's best pupils. If some of his music is immature, his melodic inspiration and fertihty of invention mark him as a man of rare gifts, and one whose loss should be deeply regretted. Edgar Tinel (1854- ) is another earnest devotee of music. His first studies were much hampered by poverty, and some of his early practice hours were devoted to making and mending his own clothes. By the advice of Raff he persevered, and in 1877 we find him winning the Prix de Rome with his cantata Klokke Roeland. This is a song of the great bell of Ghent, which gave warning of war and fire or resounded the triumphs of Flanders. During his travels he became an earnest advocate of reform in MUSIC CLUB PROGRAMS FROM ALL NATIONS. 85 sacred music, and his work in this direction has been of great value. Tinel's best-known composition is the oratorio Franciscus, tell- ing the story of St. Francis of Assisi. It is in three parts. The first shows us the worldly life of the saint and the pleasures of the court of Assisi. After the festival comes a scene of quiet in pastoral lanes on a moonlit night, and the wanderer hears a voice from heaven which bids him renounce the world. The second part shows him as a monk, and introduces a hymn to poverty that is almost a literal translation of his own words. The work ends with his death and apotheosis. The music shows a varied style, sometimes austere and contrapuntal, sometimes rich in orchestral color. Sainte Godelive, a music drama, is not so strong a work. Other vocal compositions are De Drie Ridders and Kollebloemen, while the music for Polyeucte is purely orchestral. The school of sacred drama, in which Tinel won such success, has interested many modern composers, who have created works of the utmost variety. Liszt's Saint Elizabeth, like Tinel's Franciscus, may be classed as an oratorio in the modern vein. Massenet goes farther, and presents very worldly effects in his Marie- Magdeleine and similar works. Rubinstein's Moses and Christus are definite operas, while Strauss has reached the extreme, or perhaps gone beyond it, with his Salome. Assuredly the modern sacred form is rather an indefinite affair. Jan Blockx (1851- ) was started on a musical career by accident. While learning the upholsterer's trade, he received a bad fall one day, and in order to show that he was not seriously hurt he went to a piano and began playing. He gave such evidence of musical talent that his employers advised him to pursue the art seriously. Blockx has made opera his chief work. He began in 1877, with his one-act lets Vergeien, and in the same year won a prize over twenty-one competitors at the Rubens festival, by his cantata 86 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Ons Vaderland. His orchestral works include an Inauguration March and the Tripiique orchestrate, consisting of the Jour des moris, Noel, and Paques. He too wrote a Klokke Roeland, this one a dramatic work for mixed chorus and children's voices. The ballet Milenka and the opera-comique Matire Martin were well received, but a -great national success was won by the Herbergprinses (Princess oj the Inn), which has been a favorite for ten years. Its plot is a rather melodramatic tale of love and jealousy, but the music, in spite of its polyphonic character, is delightfully fresh and charming. Thyl Uylenspiegel treats of the wars against the Spanish oppressors, while La Fiancie de la mer is a later success. Blockx is now the head of the Antwerp Conservatory. The national movement led by Benoit brought many other composers into pubKc view. Vieuxtemps and De Beriot, both world-renowned as violinists, left many compositions for their instruments. Lenaerts, leader of the Flemish theatre at nineteen, gained attention by his cantata. The Triumph of Light. Keurvels, director at the same theatre, has produced the operas Parisina. Rolla, and Hamlet. Wambach, famous as a vioUnist, composed a symphonic poem, two oratorios, and the drama Nathans Parabel, Mortelmans is responsible for the cantata Sinai, the symphony Germania, a later Homeric symphony, the symphonic poems Aspiration and Helios, and the cantata Lady Macbeth. Vlees- houwer, a pupil of Blockx, has entered the operatic field with his Ecole des phres and Bryni. Van den Eeden is credited with a prize cantata, Faust's Last Night, also the opera Numance, and several oratorios. Van Duyze, son of a well-known poet, has composed the prize cantata Tassos Dood and seven operas. Emile Mathieu, director of the Ghent Conservatory, has devoted himself to incidental music. Waelput has produced four symphonies, several cantatas, and the lyric drama Stella. Huberti and Mestdagh have worked in the choral field. Raway's sacred drama, Neon, and the two-night MUSIC CLUB PROGRAMS FROM ALL NATIONS. 87 lyric opera, Freya, are ambitious creations, while his symphonic .poems are also highly praised. Dupuis, of Liege, is another operatic aspirant. Among the women, Juliette Folville, promi- nent as a violinist, has composed the opera Atala, a march, a violin sonata, and many songs. Ysaye and Marsick have both written concertos for their instrument — the violin. For many years Richard Hoi (1825-1904) was the recognized leader of the Dutch composers. If he had written nothing else, his fame would have been assured by the patriotic hymn, Comme je t'aime, O mon pays! His long life of activity was of the utmost value to the . cause of music. After studying in Amsterdam and Germany, he became a piano teacher, but exerted a far greater influence as leader of choral and symphony concerts. His hundred and fifty pubhshed works include four symphonies, several masses, the sacred opera David, the cantatas Floris and Le Hollaiidais volant and many pieces in smaller form. For many years Hoi was critic of the Cecilia, and afterward editor of the Messager musical. Julius Roentgen (1855- ) was born at Leipsic, but of Dutch parentage. His studies brought him under the tuition of Reinecke and Lachner, and he became composer as well as pianist. At twenty-two he came to Amsterdam, and made it his home. He taught in the music school, aided in founding the Conservatory, and soon became known as a composer. His works include Das Gebet, for chorus and orchestra; , the operetta Toscani ris petti, a piano concerto, and many smaller compositions. Amsterdam has become an important musical centre, and its festivals bring out many excellent native works. Among the Dutch composers thus heard, Van't Kruys is credited with five syfnphonies, as many as eight overtures, and an opera, — De Bloem van Island. Cornelius Brandts-Buys and his three sons have written much excel- lent organ music. Hendriks is another prominent organist, while Averkamp is a vocal writer and leader of singing societies. Gott- fried Mann's opera Melaenis, shows much charm, while Van Milligen has the two dramas Brinio and Darthula to his credit. 88 MUSIC CLUB PROGRAMS FROM ALL NATIONS, Other opera composers are Schey, Wagenaar, and Grelinger. Dirk Schaefer's piano concerto was well received, while Martinus. Sieveking is another pianist-composer. The best of the younger men, however, are Alphonse Diepenbrock and Bernard Zweers, while Verhey has written some good concert pieces. Holland has its women composers also. Catherine van Rennes and Hendrika van Tussenbroek have written children's songs of unusual excellence, and the works of Cornelia van Oosterzee, if somewhat too ambitious, still show some mastery of the larger forms. Cora Dopper has entered the operatic field with Ratcleft. All these names show that the national movement in Holland, as well as in Belgium, is assuming ample proportions and producing excellent results. Questions 1. What is counterpoint, and what is canon ? 2. Explain the terms faux-bourdon, motet, conduit. 3. Name the first great Netherland composer, and name some of his predecessors in England and France. 4. Into how many periods is the old Netherland school divid- ed, and what was the character of the music in each ? 5. In which period does Josquin des Pres belong? 6. What was the first important piece of program music ? 7. Give a short account of Orlando di Lasso's career. 8. What differeijce, if any, was there between his style and that of Palestrina ? 9. In what musical form did Benoit do his best work ? 10. What is Gilson's chief orchestral work ? 11. What is the character of Lekeu's music? 12. Name and describe the chief work of Tinel. 13. What are some of Blockx's operas, and which one gained the most success? 14. Name as many Belgian composers as you can. 15. Name as many Dutch composers as you can. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 89 PROGRAM I. Easy 1. Piano. Pastorale-impromptu . . . ■ Verhey 2. Songs, (a) To Araby Will I Wander* Old Song (b) William of Nassau Old Song 3. Piano. Valse lente Sieveking 4. Songs, (a) Madel, mein Madel Verhey (b) Schlummerliedcheu Verhey 5. Violin. Rgverie and Berceuse, Op. 50 Gilis 6. Songs, (a) Mon coeur se recommandet Lasso (b) A Little Flower W. Nicolai 7. Piano. Chansonette sans paroles Lekeu * See Folk Songs of Many Nations, edited by Louis C. Elson. t See Echos du temps passS. II. Difficult 1. Piano. Valse oubliee Lekeu 2. Songs, (a) Lustige Rath Verhey (b) The Resurrection Verhey 3. Piano. Minuet from Suite Sieveking 4. Song. Hymn to Poverty, from "Frandscus" Tinel 5. Violin. Concerto, Op. 76 De B€riot 6. Songs, (a) Flanders Hoi (b) My Heart's Beloved is Mine . '. W. Nicolai 7. Piano. Danse joyeuse Lekeu VII. NORWAY Norway is pre-eminently a land of song. Its sombre fjords, its deep forests, alternating with smiling meadows, have at all times inspired musical expression. Its very folklore, half Chris- tian, half pagan, translates itself naturally into tones, and the humblest peasants enjoy and appreciate the excellent music that enters so much into Norwegian hfe and customs. Even in the traditional period when Odin and the old Norse gods were worshipped, high honors were paid to the Skald, or bard, who sang the epic legends. During the Christian period, the people developed their own folk music, expressing themselves in the bold, vigorous fashion that blends so well with the melan- choly sweetness usually in evidence in their music. Their very instruments seem adapted to their musical style. The Hardanger fiddle, for example, is not an ordinary violin, but rather resembles the old and sweet-toned viola d'amore in having four extra strings to vibrate in sympathy with the four that are played. The Langleike, shaped like a harp, is another favorite stringed instrument, while the Lur, used in the mountain districts, is a species of wooden trumpet. The musical skill attained' by the peasants, and the innate taste they show, are truly remarkable. Many collections of the Norse folk songs have been made since Lindemarm's day, and an excellent selection from this music is to be found in the so-called Norway Music Album, edited by Forestier and Anderson, and the more recent Songs from the North, edited by Mrs. Valborg Hovind Stub and Auber Forestier. The songs may be divided into two classes, one tender and plain- tive, the other bold and powerful. The most noteworthy example of the latter is the rugged Iceland, its forceful minor phrases creat- 90 MUSIC CLUB PROGRAMS FROM ALL NATIONS. 91 ing an effect really remarkable. In The Major and His Company we find a survival of an old scale-mode from D to D, while The Norse Fisherman shows examples of the flat seventh in the minor mode. The Nordland Peasantry is of interest as being the theme of Grieg's piano Ballade, Op. 24. The Awkward Ballad and the Humorous Lullaby show that the Norsemen are not lacking in the enjoyment of a little nonsense now and then. Many of the songs deal with the simple events of Norwegian life. There is a swingy Herring Fisher's Song, a rhythmic wood- chopper's refrain, a quaintly humorous hunting ditty (Mass aa'n Lass), a really beautiful herder's call, and many similar numbers. Most attractive, however, are the simple and direct expressions of emotion, such as Astri, mi Astri, of which any composer might be proud. The year 1637 marks the first step toward a Norwegian school, for at that time a town musician was appointed in Christiania. Other cities followed this example, and in 1700 we find that women were eUgible, a certain Mme. Barroyer succeeding her husband. At the close of the eighteenth century there were many excellent virtuosos in the country. One of the first composers was O. A. Lindemann, of Trondhjem. His four sons, too, were musicians, and one of them, Ludwig Mathias Lindemann, made the collection of Norse folk songs already alluded to, besides winning renown in theory and counterpoint. Of his many arrangements in the Norway Musical Album, the Underground Music may be taken as an interesting example. Paul Thrane, of Christiania, was another who insisted on music in the family. He mad^ each of his children learn a different instrument, and with the aid of a few friends he could form an amateUr orchestra for the reading of Haydn's and Mozart's symphonies. One of his sons, Waldemar, studied in Copenhagen and Paris, and after a career of activity in orchestral and chamber music, produced the first Norse musical dramatic work, in the shape of Fjeldeventyret. The next important name is that of Ole Bull, whose fame as a 92 MUSIC CLUB PROGRAMS FROM ALL NATIONS. violinist was equaled only by his sincere love for his native coun- try and its music. Born Feb. 5, 1810, at Bergen, he showed his musical tendencies at a very early age. An improvised instrument, consisting of a piece of firewood with a stick for bow, led to his obtaining a tiny violin of his own. At eight he was able to play his part in a Spohr quartet. Educated partly at Berlin and Paris, but chiefly in Norway, he won his first great triumph in Italy at a concert where he replaced the great De Beriot. From that day, fame and fortune were at his call, and all Europe gave him homage. Back in his native land, he heard the youthful Grieg play, and advised the boy's parents to train him in music. Another genius whom Bull wished to aid was Torgeir Audunson, the miller boy of Telemarken, who, without any education, could improvise by the •hour in the most wonderful fashion. Torgeir failed to keep his appointment, but his case will illustrate the fact that the people of Norway are blessed with a natural taste in music. Ole Bull's later tours, his marriage in Paris, his trips to the United States, his second marriage (to an American this time), and his disastrous attempt to found the Norwegian colony of Oleana, in Pennsylvania, may be found in all his biographies. His love for Norway was not confined to its music, but showed itself in the founding of the Norse library at the University of Wisconsin, and the agitation for the Leif Ericson statue in Boston. He died in 1880, at his Norwegian home, lamented by all his countrymen. His praise was sung by the poet Welhaven, whose words are often set to a popular melody. {Norway Musical Album, p. 12.) Of Bull's own works few are complete, for he, like his countrymen, left much to memory and inspiration. His compositions include a concerto, Polacca, Siciliano, and other pieces with orchestra, but the solo part is seldom written in full. Even his melodies for violin alone were often spontaneous, such as The Chalet Girl's Sunday, and In Lonely Moments, in the Norway Musical Album. The name of Halfdan Kjerulf (181 5-1868) is also well known in musical annals. His music forms in some degree a connecting MUSIC CLUB PROGRAMS FROM ALL NATIONS. 93 link between the old and the new. Showing in a marked degree the Norwegian influence, it has still become known in part, at least, to the entire musical world. His songs were favorite num- bers with such famous artists as Jenny Lind, Nilsson, and Sontag. Such an example as Last Night the Nightingale Woke Me, in his song album, is so well known that its melodious sweetness hardly needs description. But his Norwegian numbers are well worth investigating too, even if many of them are frankly popular in style, and do not try to reach the standard of art songs. His Hardanger Bridal Party, arranged for chorus, won renown at two Paris expo- sitions. Ingrid's Song, to Bjornson's words, is an excellent example of the folk style, while On the Mountain is also attractive. His Mountains of Norway is bolder in style, and has become a national song. Kjerulf's piano works, too, abound in local color, as his Album Leaf and Elfin Dance will show. Rikard Nordraak (1842-1866), who died at the age of twenty- four, deserves mention not for his own songs, but for his influence on Grieg. It was he who urged that composer to abandon the formal style of Gade, and return to the simphcity and beauty of Nor- wegian music and poetry. Nordraak's own songs show rare promise, and his early death undoubtedy deprived his country of a great composer. Of his songs, two have become of national import, — There Lies a Fair Land, and Yes, We love with Fond Devotion. More strange in effect is Over the Lofty Mountains, while the short number entitled. The Song, to Bjornson's words, shows an originality really remarkable. Other notable men of his period are Christian Cappelen, who did much for music at Drammen; Edmund Neupert, who became known as a pianist in New York; and Adolf Terschak, who is responsible for some characteristic piano pieces. F. A. Reissiger, though German by birth, Hved many years in Norway; his Olaj Tryggvason became famous as a quartet, and his setting of Wel- haven's tribute to ,01e Bull won much favor. One of the greatest men of this epoch, which boasted Grieg as 94 MUSIC CLUB PROGRAMS FROM ALL NATIONS. its chief figure, was Johan Selmer (1844- ). He was one of the few Norwegians who spent most of his study years abroad. Forced at first to travel in the Orient, because of a lung sickness, he returned to Paris in 1868, and for two years became a pupil of Ambroise Thomas, at the Conservatoire. The stirring events of the Franco-Prussian war were echoed in. his Seine funhbre, for orchestra. The victorious Germans may have carried him off with them, for we soon fmd him hard at work under Richter and Paul, at Leipsic. Selmer represents a more ambitious school than his predecessors and numbers among his compositions many works in large form. The Nordischer Festzug, Finnldndische Festklange, In den Bergen, and Karneval in Flandern all demand full orchestra. La Capptive, Zug der Tiirken gegen A then, and Hilsen til Nidaros are important cantatas, while the composer has also produced some a cappella choruses for mixed voices, many duets, and an album of songs. One of the last, entited Why (Op. 36, No. 4), is remarkable for its delicate beauty. Selmer's Spirit of the North for chorus and orchestra, won a prize at Copenhagen in 1888. His Tempest, produced a year later at a Norwegian concert in Paris, was less successful, and the critics called it a tempest in a tea-pot. Otto Winter-Hjelm is another composer who studied in Germany and followed German models in his work. Born at Christiania in 1837, he became a pupil of the Leipsic Conservatory, completing his musical training with Kullak and Wiierst at Berlin. On his return he became famous as a teacher, and after some years was appointed organist in the Church of the Trinity. He directed the Philharmonic Society for some time, and after it disbanded he gave symphonic and sacred concerts of his own. His compositions include two symphonies, but he excels in the shorter forms. He has written much for piano, and many songs and choruses. His organ and piano schools have been much used, and in the rehgious field he has produced a collection of fifty psalms. Among his songs, the forty Fjeldmelodien (Mountain MUSIC CLUB PROGRAMS FROM ALL NATIONS. 95 Melodies) show the folk music style, but many others are worthy examples of the German Lied, in form and style. His set of ten Deutsche Lieder, issued by Carl Warmuth, the great Norwegian publisher, contains many vocal gems. The setting of Uhland's Fruhlingslob shows much warmth of feehng, while Nach Jahren and Die Verlassene strive for a note of deeper sentiment. Bitte is of interest because it treats a text used also by Robert Franz. The central figure of Norwegian music, however, is Edvard Hagerup Grieg (i 843-1 907). His was an exceptionally gifted nature, inherited from his mother, and carefully nurtured under her wise guidance. When Ole Bull advised a musical, career for the boy, Grieg was sent to the Leipsic Conservatory, where he received a thorough training. At Copenhagen he came under the influence of Gade, whose devotion to Mendelssohn had resulted in a style largely imitative. But Grieg, profiting by Nordraak's wise counsels, determined to remain faithful to the musical ideals of his native land, and the world owes much to his decision. The works of Grieg may be divided into three classes. First in importance come his larger orchestral compositions, the beautiful Autumn overture, the noble piano concerto, the melodrama Ber- gliot, Sigurd Jorsalfar, and the remarkably interesting suites from music to Ibsen's Peer Gynt, to say nothing of the choral, works, guch as Olal Tryggvason. All .these cojupositions have made Grieg known to cultivated concert audiences throughout the musical world. Their strength and sincerity, and above all the striking originahty of his harmonies and modulations, deserve all possible praise, and have made some enthusiasts call Grieg the greatest living composer. A second group includes those of his smaller works that repre- sent his own individuahty, and echo his own personal moods and tastes as composer. Voice, piano, and violin are all included in this division. For the latter instrument Grieg's three sonatas (F major, G major, and C minor) are all valuable works, but 96 MUSIC CLUB PROGRAMS FROM ALL NATIONS. the first makes the most powerful appeal. Its frank style, its convincing directness, and its rare freshness of melody win for it a high position among the few great violin sonatas. It is dis- tinctly national in style, like nearly all of the composer's music. Among Grieg's many piano works, the Humoreskes (Op. 6) are an attractive group, the first and fourth being especially rhythmic and pleasing. His piano sonata (Op. 7) is also characteristic, while his many short Lyric Pieces show a rare gift of expression. Among the many songs his great melodic gift finds its best expres- sion. Often they are tinged with melancholy, perhaps too much so, but they are never lacking in beauty. Such songs as Die Prinzes- sin and Sonnenuntergang are now counted among the world's best lyrics, while Waldwanderung is an excellent example of a more sprightly style, and Hakons Wiegenlied displays a vein of tender charm. The third class of Grieg's music comprises the many pieces that were directly inspired by the music of his native land, or definitely transcribed from it. Many of his lyric pieces belong here, — ballings, spring-dances, the Dwarf's March, Kobold, Even- ing in the Mountains, and so on. Here, to, we find the many sets of Norwegian dances and folk melodies, such as Op. 17, Op. 19, and Op. 35. A more recent collection is the Slatter, or peasant dances, Op. 72. In a preface to this set Grieg himself states that they were taken down from the actual performance of an old fiddler in Telemarken, and draws attention to their strong simphcity and well-balanced Effects of contrast. The Bridal March, No. i, and the final Spring Dance are especially noteworthy, but the entire set will repay study. Grieg has been aptly compared with Chopin, for both empha- sized the poetic and imaginative side of their art. But while the great Pole often filled his works with the sf irit of old-time chivalry and romance, the Norwegian went directly to the simple Hfe and expressive music of his countrymen. Of all the Norwegians Grieg has succeeded best in embodying the spirit of his native MUSIC CLUB PROGRAMS FROM ALL NATIONS. 97 land in music. Those who preceded him were less gifted, those who followed more cosmopolitan; Johan Severin Svendsen, though bom in Christiania (1840) has passed but few years in his native land. Studying in Germany, touring all Europe as a violinist, marrjring an American wife, and settUng in Denmark, he has been as cosmopolitan in his music as in his Hfe. He is not distinctively national in style, and his Rhapsodies norvegiennes give scarcely more of Norway than his Carnival at Paris gives of France. His symphonies, his Zorahayda and his Sigurd Slembe overture figure on many programs; but they are conventional rather than distinctive. His works are chiefly in the larger forms, but he has published a few songs. An early lyric. The Violet (Norway Musical Album), shows much grace and fluency. Christian Sinding must now be reckoned, after Grieg, as the greatest of the Norwegians. He has shown the influence of his native music in subjective rather than objective fashion. He does not give us haUings or spring dances, but all his works do present the Norse fulness of melodic utterance. Already the list of his opus numbers has reached the seventies, and he is still in the prime of life. Bom at Kongsberg in 1856, he belongs to an artistic family; for one of his brothers is a painter, and another a sculptor. He studied several years in Germany, chiefly at Leipsic. It is related that during his student days the copyist charged him more than others, on the ground that his music contained more notes. "Se non e vero, h ben trovato," as the saying runs; for Sinding, at least in his piano works, loves to embroider his harmonies and progressions with a network of graceful runs and broken chords. His orchestral works are already renowned for their melodic charm and inspiration. They include a symphony in D minor, a Rondo infinito, the Episodes chevaleresques, a piano concerto, and two violin concertos. He is more modem in style than Grieg, and handles the full orchestra with all the breadth and skill that 98 MUSIC CLUB PROGRAMS F^OM ALL NATIONS. we have grown accustomed to find in the work of recent composers. He has written much chamber music also, and his sonatas and other works for violin have won him no less fame than his piano pieces and songs. To choose selections from Binding's works in smaller form is not too easy; for they are all attractive, and nearly all worthy of a place on a Norwegian program. Of his piano pieces, the first and fifth of Op. 24 give an excellent contrast between stately dig- nity and a more rapid brilliance of style. No. 5 and No. 3 of Op. 25 afford a similar comparison. The two dozen pieces. Op. 31-34, are described by titles, — Allegresse, Impromptu, Marche grotesque, Chant sans paroles, and so on. The Intermezzi, Op. 65 and Op. 72, show the same thematic excellence, combined with a rare felicity in modulation. In his songs Sinding shows a happy blending of a true artistic style with a more popular flavor, and here he approaches nearest to the Norse national music. Such songs as Moderne Synger, and Der skreg en Fugl are typical, while Maria Gnadenmutter resembles rather the German Lieder. Symra, Op. 28, and From Spring to Autumn, Op. 36, are interesting cycles, and the setting of six Drachmann poems is much admired in Norway. For the violin, the Romance, Op. 30, and the Ballad, Op. 61, No. 3, are excellent examples of Sinding's expressive style. He is a close friend of the violinist Marteau, who plays many of his works. The latter's estimate of the composer may well be quoted here: "It is natural that his early works show the influence of Wagner; this is always true of the greatest geniuses. Sinding is very Nor- wegian in his music, but less so than Grieg, because his works are of a far broader conception, and would find themselves cramped in the forms that are so dear to Grieg. " Foremost among the women composers of her country is Agathe Backer Grdndahl. Bom near Christiania, in 1847, she began her studies at nine, taking lessons from Kjerulf soon after, and finishing with Kullak in Berlin. At the age of eighteen she returned, and MUSIC CLUB PROGRAMS FROM ALL NATIONS. 99 started on a long career of teaching and piano recitals. At a later period she met Von Biilow in Florence. He did not realize her ability, and at first declined to take her as pupil; but Dall' Ongaro, the poet, placed some of her works before him, and his interest was aroused at once. She was also one of Liszt's disciples, at Weimar. As pianist she has made inany European tours, one of her most notable appearances being in the Norwegian concerts given at the Paris exposition of 1889. Her compositions include concert etudes, morceaux, sketches, and a suite for piano. Her songs show the broad power and direct emotional expression that belong to all true children of Norway. Now Sleeps the Wave is an excellent illustration of this artistic tendency. Lind and En Bon are also directly melodic in character. God Grant I Were a Child Again is another example of exquisite sentiment, while Til mil Hjertens Dronning, a trans- lation from Shelley, abounds in quaint rhythmic effects. Ole Olsen (1850- ) is a composer whose works afe much admired in his native land. Born in Hammerfest, the most northern town in the world, he has spent some of his time in Paris. His works, often in the ultra-modem vein, include the symphonic poem Asgardsreien, music to Erik IV, sl symphony in G, an Eljen- tanz, and the opera Stig Hvide, also much salon music for piano. Gerhard Schjelderup is another of the modem radicals, and his Sunday Morning, Christmas Suite, and other works, show an intricacy that rivals the complexity of Strauss, but does not always succeed so well. Johan Halvorsen is another of the modems who has produced some effective songs. Among Norwegian song writers of eminence. Per (or Peter) Winge takes high rank. His Til min Mor (To My Mother) is remarkable for its broad simphcity and noble feehng, and has become a favorite with the entire nation. His other songs keep up the same high standard, the Dansk Folkevise (Danish Folk Song) being an echo of the popular style. Per Lasson is another notable song composer, who numbers 100 MUSIC CLUB PROGRAMS FROM ALL NATIONS. among his works an admirable lullaby, Godnat, and several settings of German texts by Geibel, Beck, and others. Mon Schjelderup also has written an attractive cradle song, and a nocturne in bold minor style. Catharinus EUing's Northmen shows much rhythmic power, while Eyvind Alnaes, in his Jeg laa ved sjoen, has produced a dehcate effect not unhke Eichberg's Swallow Sailing Lightly. Johan Baker-Sunde is another exclusively Norwegian song writer, while Sigurd Lie has written notable works for chorus and orchestra, as well as solos. Signe Lund has written some good piano pieces. Einar MelHng is one of the younger aspirants for fame. The hst might be extended much farther, but the names already given prove amply that Norway has a national school of extensive proportions, including in its ranks composers of world- wide fame. Questions 1. Give an account of Norwegian music before the nineteenth century. 2. Prepare a biography of Ole Bull. 3. Give the biography of Kjerulf, and describe his works. 4. Tell what you can about Johan Selmer. 5. Why is the name of Rikard Nordraak important ? 6. Prepare a detailed biography of Grieg. 7. Give a complete list of Grieg's published works. 8. Give Svendsen's biography, and name his chief works. 9. Tell all you can about Sinding, and name as many of his works as possible. 10. Give a biography of Agathe Backer Grondahl. 11. In what branch of music were the following noted : Ole Olsen, Per Winge, L. M. Lindemann, Per Lasson, O. Winter-Hjelm> Gerhard Schjelderup? 12. Tell what you think of the Norwegian school, as compared with other national schools. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 101 PROGRAMS I. Easy 1. Piano. Hardanger Bridal Party * Kjerulf 2. Songs, (a) Astri my Astri * (b) A Mother's Sorrow Selmer 3. Piano. Underground Music * Lindemann 4. Songs, (a) Yes, We Love with Fond Devotion * ... Nordraak (b) Mit einer Primula veris (The First Primrose) Grieg 5. Violin. Bridal Procession, Op. 19, No. 2 Grieg 6. Songs, (a) Sonnenuntergang (Sunset) . Grieg (b) Til rain Mor '. Per Winge 7. Piano, 4 hands. Peer Gynt Suite, No. i (arranged) . . . Grieg * See Norway Musical Album. II. Medium X. Piano. March of the Dwarfs Grieg 2. Songs, (a) Herder's Call * Folk song (b) I Heard the Gull Sinding 3. Piano. Ritournelle, Op. 53 Ole Olsen 4. Songs, (a) Now Sleeps the Wave Backer Grondahl (b) Friihlingslob Winter-fefjelm 5. Violin. Romance, Op. 30 Sinding 6. Songs, (a) Margarethens Wiegenlied (Margaret's Cradle Song) Grieg (b) Waldwanderung (Forest Wandering) .... Grieg 7. Piano, 4 hands. Suite, Op. 35 Sinding * See Norway Musical Album. See Songs of the North, edited by Valborg Hovind Stub. III. Difficult Piano. Allegresse, Op. 31, No. 6 Sinding Songs, (a) Last Night Kjerulf (b) Sinnove's Love Song Kjerulf Piano. Ballade, Op. 24, on a Folk-Theme Grieg Songs, (a) Barnesang (Cradle Song) Backer Grondahl (b) Iceland* Violin. Sonata in F major, Op. 8 Grieg Songs, (a) Danebrogssang Halvorsen (b) Die Prinzessin (The Princess) Grieg Piano, 4 hands. Symphonic Dances, Op. 64 (arranged) . Grieg * See Norway Musical Album. 102 MUSIC CLUB PROGRAMS FROM ALL NATIONS. EDVARD HAGERUP GRIEG (1843-1907) I. 'Piano, (a) Hailing, Op. 38, No. 4. (b) Springtime, Op. 38, No. s- M. Songs, (a) Margarethens Wiegenlied (Margaret's Cradle Song). (b) Es war ein alter Konig (There was a Monarch Olden). 3. Piano, (a) In der Heimat, Op. 43, No. 3. (b) An der Fruhling (To Spring), Op. 43, No. 6. 4. Songs, (a) Sie ist so weiss (She is so White). (b) Des Dichters letztes Lied (The Poet's Last Song). 5. Violin, (a) Humoreske, Op. 6, No. i (arranged)., (b) Bridal Procession, Op. 19, No. 2 (arranged). 6. Songs, (a) Sonnenuntergang (Sunset). (b) Mit einer Primula veris (The First Primrose). 7. Piano, 4 hands. Suite, "Aus Holbergs Zeit" (arranged). II EDVARD HAGERUP GRIEG (1843-1907) Humoresken, Op. 6, Nos. 2 and 4. (a^ Ich liebe dich (I love Thee), (b) Die Prinzessin (The Princess). Norwegische Tanze, Op. 35. Herbststurm (Autumn Storm). Sonata No. 2, in G major. Vom Monte Pincio (From Mount Pincio). t hands. Sigurd Jorsalfar, Op. 56 (arranged). CHRISTIAN SINDING (1856- ) I. Piano, (a) Marche grotesque, Op. 32, No. i. (b) Rustle of Spring, Op. 32, No. 3. u. Songs, (a) Du, mein All, Op. 36, No. g. (b) Der jungd, brausende Fruhling, Op. 36, No. 8. 3. Piano, (a) A la Menuetto, Op. 33, No. 1. (b) Scherzo, Op. 2^, No. 6. 4. Songs, (a) Staubwolken steigen, Op. 13, No. 2. (b) Als hoch der VoUmond, Op. 13, No. 3. 5. Violin. Selection from "Four Pieces for Violin and Piano," Op. 61. 6. Songs, (a) Windrose, Op. 28, No. i. (b) Die alten Fjelden, Op. 28, No. 4. 7. Piano, 4 hands. Six Pieces, Op. 71. I. Piano. z. Songs. 3- Piano. 4- Song. S- Violin. 6. Song. 7- Piano, VIII. SWEDEN AND FINLAND SWEDEN The folk music of a nation is always a sure foundation of a national school, and Sweden is now proving that she is no excep- tion to this rule. Though her folk songs hardly equal those of Norway in variety and interest, they still are of unusual value. One of the most important collections is . that made by Erik Gustaf Geijer, in the last century. Geijer was a prominent figure in the intellectual and artistic life of his country. Known as a composer, he was also archaeologist, historian, poet, professor, • and for some time rector of the University of Upsala. A collab- orator of Geijer was Afzelius, also a renowned scholar and savant. The name of Haeffner, too, should not be omitted, for he wrote the needed accompaniments, — always a difficult task, for the greatest skill and taste must be employed in order to preserve the artless simplicity and beauty of the songs. At a later period, Erik Drake collected another series of folk melodies. In this work, too, Afzelius collaborated, and spent much effort in grouping the subjects around certain popular tra- ditions. A third collection, even more minute in detail than the other two, was gathered by Arwidsson, a native of Finland, who was driven from his country by Russian tyranny. He unearthed much new material in the libraries of Stockholm and Upsala, and this was grouped under the various heads of war-songs, lyrics, dances and so on. For many years, in Sweden, classical music was wholly a foreign importation. At the end of the eighteenth century, the influence of Haydn and Mozart was at its height there, and their symphonies and chamber music received frequent hearings. On the stage, 103 104 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Mozart and Gluck held their own for years, and it was only slowly that Weber and Beethoven became known. Music received its full share of patronage from royalty. Charles XIV insisted on having the art taught to his son, who afterwards became Oscar I. Charles XV was a musician, as well as painter and poet; and at a later time Prince Gustave composed choruses that are in the permanent repertoire of the Swedish singing societies. One of the earliest important composers was 0. Ohlstrom, who died in 1835. He was a church organist at Stockholm, and accom- panist to the royal court. Influenced wholly by the German classicists, he left a number of chamber works in strict form. He was a pioneer among musical journalists also, editing the Musik- alisk Tidsfoerdrif. A decade later, Arrh^n von Kapfelman came to the front. Pro- fessor of music at the military academy of Karlberg, he wrote part-songs by preference. One of these, a charming quartet entitled Spring, is sung every year on April 30, by the Upsala Choral Union, at its annual spring festival held on a hill near the city. Still another composer, who merely echoed the classical German style, was J. Nordblom, who died in 1848. Another composer deserving mention is Johan Haeffner, who gained valuable experience with a traveling opera troupe in Ger- many. His were the days when Gluck still reigned supreme, and his Electra, Alcides, and Rinaldo were in the style of that classical master. ' Franz Berwald (1796-1868) was in many respects a precursor of the new school. His works grew in appreciation after his death, and exercised a noticeable influence on the work of the most mod- em Swedish composers. They were highly esteemed by Liszt, and praised by Von Biilow, and they had some vogue in Germany and England, — enough to give him a name as a good instrumental composer. Among his orchestral music is a Symphonic serieuse, while his chamber music includes a quintet, quartet, and trio. A large vocal work is based on a text from the myth of Odin, and MUSIC CLUB PROGRAMS FROM ALL NATIONS. 105 is scored with two trumpet bands opposite each other, a la Berlioz. Of his six operas, Estrella de Soria was the most successful. Almost entirely self-taught, Berwald became professor of composition and instrumentation at the Conservatory of Stockholm. Berwald's uncle, Johann Friedrich, was famous as a boy prodigy on the violin. A pupil of the renowned Abt Vogler, he played in public at the age of five, and wrote a symphony at nine. As leader of the royal orchestra, he produced many ambitious compositions, but they are now almost wholly forgotten. Otto Lindblad (i 809-1 864), of Lund, did important service in the cause of student's music. His melodies are remarkably fresh and interesting, and his quartets win constant admiration. One of the latter has become the national song of Sweden. The most noted writer of student music, however, was Wenner- berg, whose patriotic hymns have been known for two generations. His collection of duets entitled Gluntarne, for baritone and bass, gives a delicious tonal reflection of the joyous university Kfe at Upsala. He wrote also several religious works, often made effective by the use of the march tempo. Poet and critic, as well as musician, he served the state as Minister of Public Instruction. Josephson was a composer who studied at Leipsic, Dresden, and Rome, before founding a philharmonic society at Upsala, and leading a Students' Union. As organizer of concerts, he devoted himself chiefly to oratorio work, and in his own compositions the large vocal forms are most favored. Among his smaller choruses. Our Country is especially renowned. Albert Rubenson was a pupil of David and Gade, and became violinist in the royal orchestra. As critic, he made it his special task to arouse appreciation of Schumann's works. Director of the Conservatory, he still found time to write a symphony in C, suites, overtures, string quartets, incidental music for Julius Ccesar and for a drama of Bjornson, a triumphal march, and many lesser works. 106 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Among the pioneer opera composers of Sweden, Brendler deserves mention. His cantatas, Edmund and The Death of Spartara, show much talent and inspiration. Cut off by an early death, he left an opera, nearly complete, entitled Ryno. This work, finished by King Oscar I, showed a decided. advance in expressive power. Adolf Lindblad (1801-1878) won an honorable name with his opera Frondenrerna, but was actjve in other forms also. His many songs, distinctively Swedish in style, won great popularity, especially after being sung by his famous pupil, Jenny Lind. His Symphony in C has been given in the Leipsic Gewandhaus con- certs, but he is best known by his songs, whose artless simplicity and direct melody won for him the title of "The- Schubert of the North." Ivar Hallstrom was the real founder of the Swedish national opera. Born in 1826, he was destined for the law, and passed his examinations at twenty-three. A friend of Prince Gustave, he gained an ofSce on the latter's accession to the throne. At thirty-five he succeeded Lindblad as director of the school of music. His first opera, Hertig Magnus, had no less than twenty numbers in minor keys, and in consequence won httle success. The Enchanted Cat, a second work, fared no better, but The Mountain King was the first of a series of successes that included The Gnome'' s Bride, The Viking's Voyage, Nyaga, and Granada's Daughter. He won his triumphs in part by the introduction of well-known popular songs into his works. In this he resembles Glinka in Russia, and Smetana in Bohemia, both of whom attained immense popularity by the same procedure. There are other traits in Hallstrom's work, — pages that show the influence of Gounod and Meyerbeer; but the composer often achieved greatness in his own style, as, for instance, in the striking Fatherland Hymn from The Viking's Voyage. August Soderman (1832-1876) was another composer whose music showed a distinctively national flavor. Displaying little MUSIC CLUB PROGRAMS FROM ALL NATIONS. 107 musical taste at first, be became in later years as prolific as he was successful. His first . attempts took the form of incidental music, such as that for Richard III and Die Jungfrau von Orleans. He wiote also many operettas, of which The Wedding at Ulfasd is the best known. In 1869 he was enabled, by the aid of Jenny Lind, to make a stay abroad for study. His best work is a solemn mass, and his Concert Overture ranks high. His ballads for chorus and orchestra, of which there are a dozen or more, show a strik- ing originality, and are often cited as being true examples of the Swedish style. His harmonies are individual, and "his orchestra shows^ a breadth and solidity that are wholly modem in effect. The fame of his works has spread far beyond the borders of Sweden. Ludvig Norman (1831-1885) was a disciple of Gade and Schumann. Famous as a pianist, he became the husband of the well-known violinist, Neruda. His three symphonies, over- tures, chamber works, cantatas, and lesser pieces show much science and invention. In the field of organ music, G. Mankell and G. Heintze produced worthy compositions, while Conrad Nordqvist is responsible for a funeral march (orchestral) in memory of Charles XV. In the last few decades a still newer school of Swedish composers has come into being, and an intense national enthusiasm is in evi- dence. The movement owes much to the influence of Liszt and Wagner; there are traces of the program-music theories of Berlioz, and the intellectual romanticism of Schumann; but beneath all these outward traits is found the plaintive sweetness of the native folk music. The first of the new school to become known was Andreas Hallen. Bom at Gotenburg in 1846, he went abroad for study, and came under the influence of Reinecke and Rheinberger at Leipsic. Returning to his native land, he was appointed director of the Gotenburg Musical Society, and afterwards leader of the Stockholm Philharmonic Orchestra. In 1892 he became conductor of the 108 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Royal Opera House in that city, — a post which he has held ever since then. The first of his own stage works, Harold the Viking, appeared in 1881, but met with Uttle success. A better reception awaited his three later operas, Hexfallan, Valdemarsskatter, and Walborgsmassa. His instrumental works include the symphonic poems Aus der Waldemarsage, Aus der Gustav-Vasa-Sage, and Die Todteninsel, as well as a couple of Swedish rhapsodies; and there are also several important choral works, such as Siyrbjorn Starke, Vom Pagen und der Konigstochter, Der Traumkonig und sein Lieb, Das Schloss im Meer, and others. His songs, both Swedish and German, are of rare beauty. Hallen indulges in a forcible utterance that reminds one of the Wagnerian effects. His music is massive and powerful, and seems to reflect in great measure the sombre impressiveq.ess of his native province of Bohuslan. The strength of passion in his music almost makes the hearer overlook his frequent lack of individuality and his melodic gifts win unqualified approval. His marches and dances are full of happy inspirations, and show much originality in their employment of the native style. He cannot claim great skill in polyphony, but his rich instrumentation affords an excellent blending of the Wagnerian manner with the Swedish folk song. Emil Sjogren was born at Stockholm in 1853. He studied at the conservatory in that city, afterwards becoming a pupil of the renowned Kiel, in Berlin. Since 1890 he has held the post of ■organist at the Johankirke in his native city. His works show decided harmonic richness, and a tendency to bold modulations th^t is at times carried too far, creating bizarre effects and arous- ing a feeling of nervous unrest. His aim has been to emulate Grieg in novelty and interest, but in many of his progressions he goes altogether too far afield. His works, like those of his com- patriots, show the influence of the native folk-song style, but many of them, especially his organ pieces, echo the rhythm and emotion of Schubert, while at times he shows a vivid power not unhke that of Mascagni, at the other end of Europe. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 109 Sjogren is too apt to repeat himself, but he can build up great climaxes. His best work is done in the smaller forms, which include such well-known piano cycles as Au] der Wanderschajt, Erotikon, the Noveletten, and the Stimmungen. His chamber music is excellent, especially the three violin sonatas, while his organ works, such as the Bacchanal and the Johannis-Kantate, are thoroughly effective. But his chief renown comes from his songs, and such lyrics as the Tannhduser' Lieder, the seven Spanish Songs, and Der Vogt von Tenneberg rank with the very best of Swedish vocal music. Wilhelm Stenhammar (Stockholm, 1871- ) is of a younger generation than Hallen or Sjogren, and became their pupil before gaining a position as their rival. He is second opera conductor in his native city, and has been active also in leading the Stock- holm Philharmonic Orchestra. His operas do not attain lasting success, for they are too strongly declamatory in style. Such works as Tirfing and the Hochzeit au} Solhaug are therefore laid aside after a few performances. But his smaller pieces, such as the Phantasie-Stiicke or the piano sonata, are of decided excel- lence. Among his larger works for voice and orchestra are Sno- jrid, the Dedication Cantata, and Frinsessan och Svennan, while his string quartets and song albums are also of great interest. All his compositions show a delightful enthusiasm, and a warm rich- ness of harmonic beauty. In these qualities, as well as in poly- phonic skill, he is superior to Hallen, though less able to create striking melodic thoughts. Among the new Swedish dramatic composers, Peterson-Berger perhaps stands at the head. He writes his own librettos, in Wag- nerian fashion. He follows the Bayreuth master in his music, too, but adapts it to the simpler flavor of the Swedish folk song. He regards Mozart as another inimitable model, though a union of these two styles seems hardly possible. His songs, like his operatic lyrics, show much heartiness and warmth of feeling. They are sometimes rather pensive in character, but usually full 110 MUSIC CLUB PROGRAMS FROM ALL NATIONS. of a sunny cheerful sweetness, and altogether singable. His male choruses and E-minor violin sonata are worthy of mention, but his reputation rests chiefly on his operas, which include Sveagal- drar, Das Glilck, and the more recent music-drama Ran. Hugo Alfven (Stockholm, 1872- ) is the chief of the Swedish composers in symphonic form. After his studies at the Stock- holm Conservatory, he became a viohnist in the court chapel. His first two symphonies, in F minor (1897) and D major (1899), marked him as a man of great promise. His Triumphal March, Centennial Cantata, violin sonata, and songs with orchestra, show a commendable skill in contrapuntal part-writing. He is in large degree a follower of Brahms, and shows much fineness of work- manship; but he lacks the creative inspiration of Hallen. His second symphony shows this weakness clearly, in spite of an excel- lent first movement, and his intricate and abstruse style prevents his works from obtaining any lasting success. Tor Aulin (1866- ) has become renowned as a viohnist. After studying with Sauret, he became concertmeister in the court chapel. He has been prominent in the musical hfe of Stock- holm, for the Swedish Musical Union and the Aulin Quartet both owe their origin to him. His three violin concertos and set of four Idylls show decided beauty. Aulin is influenced in part by Schumann, but is distinctively national in style, and gifted with real power of musical expression. Erik Akerberg, leader of the harmonic society has written orches- tral and chamber music, as well as the choral works Der Fliegende Hollander and Tdrnrosds Saga. He is too ultra-Wagnerian in his effects, but his songs contain many beauties. Gustaf Hagg, organist at the Klara-Kyrka, has composed in many forms beside those for his own instrument. Bror Beekman has written some admirable violin pieces and songs, while Gosta Geijer is respon- sible for attractive solos with orchestra. P. Nodermann, of Malmo, has produced the opera King Magnus, and many excellent chil- dren's songs. In the field of piano music, Ruben LiUefors, Patrick MUSIC CLUB PROGRAMS FROM ALL NATIONS. Ill Vletbad, and L. Lundberg are some of many who have achieved prominence. Andersen works in the symphonic field, while Wid6en devoted himself to male choruses. Among the women, Elfrida Andree is the leader, while Valborg-Aulin, Helen Munktell, and Alice Tegn^r have done sterling work. FINLAND With its heaths and forests and thousand lakes, Finland has long been the home of beautiful poetry. The Kalevala, its national epic, though hardly equal to the Homeric poems in power, tells the legends of that country in much the same way that the Iliad gives those of the Greeks. It is even said that Longfellow's Hia- watha was based on incidents related in the Kalevala, though this is probably a chance resemblance. There are also the Kante- letar, or short lyrics, so called from the steel-stringed lute, or " kan- tele. " These two groups of poems are full of imaginative beauty, and form a constant source of dehght for the Finnish people. They were first arranged in permanent form by Elias Lonnrot, in the early part of the nineteenth century. Bemhard Crusell (1775-1838) was the first composer of Fin- land, though he spent most of his life in Sweden and Germany. His works include melodies to. Tegn^r's "Frithiojs Saga," and an opera, Die kleine Sklavin. The real founder of the national school, however, was Fredrik Pacius, who was bom in Hamburg in 1809, but passed his life in Finland. He is responsible for the national hymn Wartland, in which the glowing patriotism of Runeberg is fitly echoed by the inspiration of the music. Suomi's Song also won him national renown. Besides being a prolific composer, he was a violinist, of the school of Spohr, and a teacher in the university at Helsingfors. His early opera, Rung Karls Jagt, was the first dramatic work in Finland, while his later music- drama, Lorelei, and the singspiel, Die Prinzessin von Cypern, brought him further fame. At his death, in 1891, the nation went into public mourning for him. 112 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Karl Collan (1828-1871), son-in-law of Pacius, won great popu- larity with his choral marches, Wasa and Savolaisen laulu. Filip von Schantz, who died at the early age of thirty, wrote songs, choruses, and lyric cantatas that showed him to be richly gifted. Carl Gustaf Wasenius was conductor and director of the organ school at Abo, the former capital. Conrad Greve, of the same city, composed incidental music to Bemdtson's historical drama, Aus dem Kampfe des Lebens. A. G. Ingelius wrote songs that are full of spirit and power, while F. A. Ehrstrom wrote melodies in simpler and more popular style, and K. J. Mohring confined himself to male choruses. Gabriel Linsen was another to win fame by his popular songs. The lyrics of the people show traces of great antiquity, and their odd 5-4 rhythms add a touch of weird- ness that enhances their charm. Richard Faltin (1835- ) became the successor of Pacius. He founded the Helsingfors Gesangverein, and gave concerts of classical German music. He still lives in that city (1906), where he is known and respected as teacher of piano and organ, as well as composer of many songs, choruses, and cantatas. Martin Wegelius (1846-1906) directed the Musical Institute, and his efforts to place it on a stable foundation were of the utmost value. His choral works and songs display much beauty, and his overture to the tragedy Daniel Hjort is an excellent work. His historical writings are of unusual interest. Robert Kajanus has been active as the founder and conductor of the Helsingfors Philharmonic Orchestra and the Symphony Chorus. Among his works are the symphonic poems Aino and Kullervo's Death March, on subjects from the Kalevala ; also a Finnish Rhapsody and Summer Reminiscences, based on national themes. Armas Jarnefelt, born in 1869, belongs to the younger group of nationalists. His instrumental suites and the symphonic poem Korsholm show rich orchestration, melodic beauty, and an epic power of utterance. Ernst Mielck, who died in his twenty-third year, showed such expressive charm in his symphony and other MUSIC CLUB PROGRAMS FROM ALL NATIONS. 113 orchestral works that he has been called "the Finnish Schubert." Oskar Merikanto, born in 1868, is responsible for an opera, "The Maid of Pohja. " Erkki Melartin, who studied in Vienna and Italy, became known as a song writer. Ilmari Krohn, composer of motets and instrumental works, wins recognition also as a teacher at the Helsingfors Hochschule, and an interesting magazine writer. Emil Genetz won national plaudits with his male choruses, especially his Herda Suomi {Awake, Finland), while Sehm Palm- gren has composed songs and piano pieces of much brilliancy. But the chief of the Finnish composers, and the only one who draws a government pension for proficiency in music, is Jan Sibe- lius. Born in 1865, he was trained for the legal profession, but his fondness for the violin led him to adopt a musical career. He studied first under Wegelius, then with Albert Becker in Berlin, and Goldmark in Vienna. On his return to Helsingfors he became the' recognized leader of the younger school of Finnish music. His two symphonies are well-planned works, but are marred by some reserve of expression. There is more inspiration in his symphonic poems, such as Kullervo, with soloists and chorus, and the companion legends Lemminkainen and The Swan of Tuo- nela, on subjects from the Kalevala. Other large choral works are Islossningen, Sandels, and Snofrid. There are also vocal ballads, male choruses, and songs; the suite Carelia; string quar- tets and quintets; and a number of piano pieces. His suite. King Christian II, is a striking work, and the Elegy from it is a remark- able example of the deep earnestness of the Finnish nature. Alto- gether, Sibelius has aded new lustre to the musical renown of his native land, and has shown himself a composer of real greatness. Questions 1. What is the general character of the Swedish folk music ? 2. Why are the works of Berwald regarded important ? 3. In what forms did Wennerberg compose ? 4. Why is Adolf Lindblad called "The Schubert of the North," and what were some of his chief works ? 114 MUSIC CLUB PROGRAMS FROM ALL NATIONS. 5. In what field of music was Hallstrom's work important ? 6. What are the chief works of Soderman ? 7. Name some of Hallen's works, and describe the qualities of his music. 8. In what special field does Sjogren excel ? 9. Name and describe Stenhammar's wplrks. 10. Who is Sweden's most successful Uving opera composer? 11. In what field of music have the following excelled: Alfv^n, Aulin, Akerberg, Beekman? 12. Name three women composers of Sweden. 13. Who is called the real founder of the Fiimish school, and what are some of his works ? 14. What are the chief works of Sibelius ? 15. Name as many Finnish composers as you can. 1. Piano, 2. Songs. 3. Piano. 4. Songs. 5. Violin. 6. Songs. 7. Piano. I. Piano. i!. Songs. 3. Piano. 4. Songs. 5. Violin. 6. Songs. 7. Piano. PROGRAMS I. Easy Erotikon, No. 4 Sjogren (a) The Bird's Song (Fogelns Visa) * Soderberg (b) The Nix * . Soderberg Kinderspiele, Op. 40, No. i A. Hall^n (a) Ever Near (Nara) * A. Lindblad (b) The Chimney Sweep (Sotargosse) * A. Lindblad Selection from Idylls for Violin and Piano . . . Tor Aulin (a) Ingerid Sletten. * Soderman (b) Longing (Langtan) * Soderman Romance Sibelius * See Songs from the North, edited by Valborg Hovind Stub. II. Medium Romance, Op. 40, No. 4 A. Hallen (a) Rose Marie Karl CoUan (b) Thou art My Rest (Du ar min ro) . . . . Karl CoUan Tourterelle,^ Op. 41, No. 4 Sjogren (a) Twilight (Dammerung) A. Jarnefelt (b) Sunday (Sonntag) A. Jarnefelt Andante from Violin Sonata, Op. 19 Sjogren (a) The Seraglio Garden SjSgren (b) Provence Sjogren Barcarolle Sibelius MUSIC CLUB PROGRAMS FROM ALL NATIONS. 115 III. Bebticolt 1. Piano. Sonata . i Stenhammar 2. Song. Der Vogt von Tenneberg , • • • Sjogren 3. Piano. Finlandia Sibelius 4. Song. Was it a Dream? Sibelius 5. Violin. Andante and Finale, from Violin Concerto, No. 3 (arranged) Tor Aulin 6. Songs, (a) Ingalill Sibelius (b) War-Song of Tyrtaeus Sibelius 7. Piano. Humoreske, Op. 41, No. 3 Sjogren IX. DENMARK AND SWITZERLAND DENMARK The music of Denmark is a com.paratively recent product, dating almost entirely from the nineteenth century. Yet an earlier art can be found, if dihgently sought, both in the contrapuntal and the popular school. In the sixteenth century the Danish court music, like that of nearly all Europe, reflected the style of the Netherland school. Among Danish musicians of a later time we find the famous organist Buxtehude, a worthy member of the school that culminated in Bach. It was this same organist whose daughter found so httle favor in Handel's eyes; for Buxte- hude, when ready to retire, had made it a condition that his succes- sor should marry his daughter, and Handel, after seeing her, decHned to try for the post. With the growth of more modern music, Denmark, like Russia, subsisted for some time on the imported article. ItaUan opera flourished in both countries, in spite of the nearness of Germany. From her influence on so many forms and schools of music, Italy has been called the "cradle of music," even though, according to Hanslick's caustic remark, she "remained the cradle," and did not keep abreast of the other nations. Yet many foreign influences played their part in Denmark, for she numbered among her visitors John Dowland, the English lute player, Heinrich Schiitz, the pioneer of German opera, and in a later century the great reformer Gluck. The last named, who conducted for a time at Copenhagen, was succeeded there by Johann Peter Schulz, who remained until 1794. Schulz was a song composer of marked originality and influence, and many of his operas became widely popular. 116 MUSIC CLUB PROGRAMS FROM ALL NATIONS. 117 One of Schulz's pupils was Christoph Weyse, who spent his life in Denmark, though bom in Germany. He produced several operas in Copenhagen, and wrote a symphony, overtures, sonatas, dtudes, and many sacred and secular cantatas. He became renowned as a teacher in the Copenhagen conservatory, where he numbered Hartmann and Gade aniong his pupils. Johan Peter Emilius Hartmann (1805-1900) has been called the real father of Danish music. Of German descent, his grand- father had become one of the royal chamber musicians at Copen- hagen, while his father was an organist and teacher of some note. Like many another musical genius, Hartmann was destined for the legal profession, and held a public office, even while assisting his father as organist and teaching in the conservatory. It ,was in the later place that Weyse noticed his ability, and encouraged him to go on in a musical career. In 1832 he made his operatic debut with The Raven, following this first success with The Golden Horn and The Corsairs. In 1836 he went to Germany for further study, producing his first symphony, dedicated to Spohr, in 1838, at Cassel. Returning to become director of the conservatory, he led a long career of activ- ity and usefulness, lasting almost to the present. In opera, Liden Kirsten (Little Christine) marked the zenith of his success, in 1846, after which his star began to pale before that of Gade. Yet he did not lack triumphs in later life, such as his jubilee con- cert in 1874, or his honorary degree five years later. His works, the first to show any real northern coloring, include overtures, inci- dental music, symphonies, cantatas (including one on the death of Thorwaldsen), a violin concerto, song cycles (Solomon and Sulamith and Hjortens Flugt), and piano pieces, including the Noveletten. These compositions, though known in Denmark, have not yet met in other countries with the recognition they deserve. Emil Hartmann (1836-1898) was a son of Johann, and studied with his father and Gade. At twenty-five he was a full-fledged 118 MUSIC CLUB PROGRAMS FROM ALL NATIONS. organist, and ten years later received the royal appointment. Compelled by ill health to retire after two years, he devoted him- self entirely to composition. His works have been more success- ful than his father's in reaching foreign audiences, and Germany especially has welcomed them. They include the Nordische Volkstanze, for orchestra; Lieder und Weisen im nordischen Volk- ston; the well-known Nordische Heerfahrt overture; three sym- phonies, including Aus der Riiterzeit, Op. 34; a Scandinavian Suite; the choral work Winter and Spring; several operas and a ballet, a violin concerto, another for 'cello, a piano trio, chamber works and lesser pieces, — altogether an imposing array. But undoubtedly the most prominent of Danish composers was Niels Wilhelm Gade (1817-1890). Born at Copenhagen, the son of an instrument maker, he was btought up in his father's trade. His rather desultory instruction in piano, violin, and guitar was intended merely to aid him in his work, and his first teacher was a martinet who cared chiefly for mechanical accuracy. Yet in spite of these adverse conditions he developed such talent that it was deemed wise to let him follow a musical career, under Weyse and other lights of the conservatory. Gade soon secured admission to the royal orchestra as violinist and his training there shows in his later scores, which are always practical and fluent. He composed much at this time, but few of the works were preserved. At last his first great opportunity came, when the Musical Union offered a prize for an orchestral work. The Echoes of Ossian overture won not only the prize, but the friendship of Mendelssohn, who played it at the Gewand- haus concerts. The work is an excellent example of the romantic school, and holds its own up to the present. This success aroused the interest of the Danish king. Christian VIII, who enabled Gade .to travel abroad for further study. The composer at once went to Leipsic, where Mendelssohn aided him to bring out his first symphony, in C minor, and the Ossianic cantata Comala. After an Italian trip, Gade became director pro tern, of MUSIC CLUB PROGRAMS FROM ALL NATIONS. Hg the Gewandhaus orchestra, during Mendelssohn's absence. A return to Copenhagen brought him no position of any worth, so he resumed his Leipsic duties as Mendelssohn's assistant conductor Becoming chief director after the latter's death. In 1848 Gade settled permanently in his native city, where he became in rapid succession organist, leader of the Musical Society . and temporary director of the royal orchestra. In 1861 the death of the chief conductor left the post open for Gade, and from that time his life was spent in the happy activity of conducting, composing, and teaching in the conservatory. Gade married a daughter of the elder Hartmann, so that the music of Denmark became largely a family affair. He rarely left liis native land, the two exceptions being a trip to Birmingham, in 1876, to conduct hi^ 7Aon and The Crusaders, and another English voyage six years later, during which he directed his Psyche. In the musical world Gade occupies a position midway between the classical and the newer romantic school. A disciple of Men- delssohn, he reflects the suave and gentle side of that master's art. The reproach of calling him "Mrs. Mendelssohn" is not entirely, deserved, for Gade shows enough originaUty to stand on his own feet, and his use of northern folk-song coloring, if less bold than that of Grieg, is still praiseworthy. His cantata. The Erlking's Daughter, is almost entirely founded upon the melodies of his native land. Of Gade's eight symphonies the first is the greatest, though the fourth, in B-flat, is sometimes given in concerts to-day. The overture Im Hochland (In the Highlands) shows the sombre character of the earlier Ossian. Other overtures by Gade are Hamlet and Michel Angela. A quintet, sextet, and octet for strings, also two violin sonatas, are the best of his chamber works, while the Noveletten and Aquarellen are but few of his many pleas- ing piano works. But his chief claim to renown rests upon his cantatas, Friihlingsfantasie and Friihlingsbotschaft, which are perennial favorites. The Crusaders, with its varying scenes and 120 MUSIC CLUB PROGRAMS FROM ALL NATIONS. pictures, shows more versatility than is usual with Gade, though it scarcely reaches the height of Comala. Zion is another strong work, and Psyche is attractive, but palls at times by its excessive sweetness. Eduard Lassen (1830-1904) was known in all lands as a song- composer of rare gifts, but he has worked in the larger vocal and orchestral forms also. Born in Copenhagen, he went to Brussels with his parents, and received his musical education in the later place. The Prix de Rome, which he won in 1851, started him on his travels, which lasted for six years. They culminated in the friendship of Liszt, who aided him to produce his opera Land- graf Ludwigs Brautjahrt at Weimar. This success obtained him a court appointment, and from 1861 to 1895 he held the position of court Kapellmeister, succeeding Liszt. One of his triumphs as conductor was the production of Wagner's Tristan in 1874, soon after its first performance at Munich. As composer, Lassen has produced other operas, among them Frauenlob and The Captive. He has written incidental music to Faust, (Edipus in Colonus, and other plays; an orchestral Te Deum; several cantatas, among them Die Kiinstler, two sympho- nies, and half a dozen overtures. But he is best remembered by his songs, whose consummate melodic beauty and expressive feeling have charmed two continents. August Enna, who has won much national renown with his operas, was bom at Nakskov, in i860. Though his grandfather had been in Napoleon's army, his father was only a poor shoe- maker, and he received little beyond the most ordinary education, even when the family settled in Copenhagen. With the exception of a few mediocre violin lessons, he was entirely self-taught, even in the difficult subject of orchestration. Not being proficient enough to enter the royal orchestra, he traveled to Finland with a smaller organization. There he played several instruments, even including a bass drum, in front of a circus tent. On his return he played for dancing lessons, and taught MUSIC CLUB PROGRAMS FROM ALL NATIONS. 121 piano for the munificent sum of twelve cents an hour. Too poor to buy much dance music, he would often improvise the dances. In 1880 his operetta, A Village Tale, was performed, but laid aside; while the operas Areta and Aglaia were accepted, but never given. The latter, in fact, is no longer in existence, for in the days of extreme poverty the composer was forced to use the manuscript for fuel. But better days were in store. A symphony, a suite, and several lesser works won the favor of Gade, and Enna soon received a traveling scholarship. This gave him some much-needed leisure, and resulted in the creation of his chief opera. The Witch. Accepted by the royal theatre, this also was laid aside, and would have remained in oblivion, but for an accidental inspection by Svendsen, who was charmed by its beauty, and spared no pains in having it produced. It met with an unparalleled success, and aroused wide-spread admiration for the boldness and skill with which the young composer handled his orchestral masses and produced his dramatic effects. After this triumph came Cleopatra, which failed at first, but gained some success under better stage conditions. Aucassin and Nicolette followed, while Lamia won its meed of praise, but a new name awaited the composer in the field of fairy opera. If Humperdinck did well in setting one of Grimm's tales, certainly Enna chose wisely in selecting the works of his countryman, Hans Christian Andersen. The Little Match-Girl won decided appre- ciation, in many countries besides Denmark, for its simple pathos and appealing beauty. Die Erbsenprinzessin and other works of the same nature followed, and the composer is still working in this field at present. He is now the chief living composer of Denmark, and the only one widely known outside of his native land. Victor Bendix (1851- ) is another pupil and proteg^ of Gade. After the usual conservatory education he became leader of a choral society, and won decided notice as a violin virtuoso. He is also a pianist, and his piano compositions show remarkable 122 MUSIC CLUB PROGRAMS FROM ALL NATIONS. merit. In the larger forms he has written several symphonies, the first entitled Zwr Hohe, while the second is the interesting Sommer- kldnge aus Siidrussland. August Winding, of an eariier generation (1825- ), is now director of the Copenhagen Conservatory. His numerous and well-known piano works include genre pictures, travel scenes, studies, preludes, waltzes, rustic pictures, and other salon pieces. He has produced also a concerto for piano, and one for vioKn; a string quartet, viohn sonatas, and a number of violin fantasies. Karl Attrup (1848- ) another pupil of Gade, succeeded his master as organist. His fame as a composer rests on some valuable organ studies and songs. Otto Mailing, also connected with the conservatory, receives much praise because of his excellent piano works. Joachim Andersen (1847- ) ^'^^ renown as a flute virtuoso in Berlin and St. Petersburg, afterwards becoming court conductor at Copenhagen. He composed many pieces for his instrument. Hans Lumbye (1810-1874) has been called the Northern Strauss, on account of his popular dande music, while his son, Georg, wrote an opera, The Witch's Flute. Johan Horneman (1809-1870) composed short pieces of some merit, and Emil, his son, is responsible for the opera Aladdin and the overture Heldenleben. August Hyllested (1858- ), though born at Stockholm, was the son of Danish parents. He became a child prodigy on the violin, appearing in pubhc at the age of five and making a success- ful tour at eleven. His studies brought Mm to Copenhagen, where he soon became cathedral organist. Later he took lessons of Kiel and Liszt, and soon afterwards came to this country and became assistant director of the Chicago Musical College. His symphonic poem with double chorus, entitled Elizabeth, was given in London as well as Chicago, while the composer numbers among his other works an opera, Die Rheinnixe, and a Suite romantique for orchestra. He is also the composer of a number of lesser works. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 123 Even better known in America is Asger Hamerik (Copenhagen, 1843- )■ Son of a preacher, who discouraged his musical tastes, he was self-taught at first, though he afterwards came under Gade, Von Biilow, and others. At the first Paris exposition he received a gold medal for his Hymne de la paix, and a little later entered the operatic field. In 1871 he was appointed director of the Peabody Conservatory in Baltimore, and leader of the Pea- body symphony concerts, since when he has been considered a loyal American. In 1890 he was knighted by the king of Den- mark. His works include three operas, a festival cantata for the new Swedish constitution (1866), a Trilogie judaique, a Christ- liche Trilogie, six symphonies, five Nordische Suiten, and many lesser compositions. Another eminent Dane, who has expatriated himself, is Ludvig Schytte (1850- ). Originally a druggist, he made music his vocation when twenty, studying with Neupert, Gade, and Liszt. He settled in Vienna, where he now resides as pianist, teacher, and composer. His works, which number beyond Op. 100, are mostly for piano. They include the Charaktersiiicke, the Natur- stimmungen, Pantomimes, Danish Melodies, Swedish Dances, and many others ; also a concerto and about sixty songs. In recent years the composer has won some recognition on the stage. His one-act Hero was well received at Copenhagen, while the bur- lesque Circus-Damen, the very successful Atelderspuck, and Der Mammeluck have added to his fame. Die Schwalbe is his most recent operatic production. From the work of these men it will be seen that while Danish music is not so distinctly local in flavor as that of Norway or New Russia, it is still sufiiciently national in character to command respect and arouse interest. The folk music, also, partakes of the same character, being less striking than that of the other Scan- dinavian states, but still possessing a distinctive note and showing the charm of artless simplicity. For the collection of the best of her popular songs, Denmark is indebted to Andreas Berggreen 124 MUSIC CLUB PROGRAMS FROM ALL NATIONS. (1801-1880), who spent his life in Copenhagen as a successful teacher. SWITZERLAND In recent years Switzerland, too, has felt the force of the national movement, and now possesses a number of native composers, with at least one really great genius at their head. Hans Huber, the most prominent musical figure of the Httle repubHc, was born at Schonenwerd in 1852. His studies brought him under Richter and Reinecke, at Leipsic. After teaching in Alsace, he was called to the music school at Basel, where he became director in 1896. The list of his works is long and imposing. There are two operas, Kudrwn and Weltfriihling, orchestral works with chotus and soloists, such as Pandora and the Nordseebilder; choral works such as Aussohnung and Meerfahrt; three symphonies, including the Wilhdm Tell, No. i ; two concertos for piano, and one for violin; a Karneval, a Serenade, and other orchestral pieces; and a great quantity of chamber works, piano pieces, and songs. Huber is best known in the United States by his second, or Bocklin, sym- phony. Op. 115. This work, inspired by the noble pictures of the Swiss painter, Arnold BockUn, is well worthy of its great sub- ject, and shows a control of massive effects and expressive power that win it a high rank among the very few great modern symphonies. Emile Jaques-Dalcroze (1865- ) was born at Vienna, of Swiss parentage. His education, musical and otherwise, was received chiefly in Geneva, where he produced a comic opera La Soubrelie, at the age of seventeen. Further study in Paris resuhed in an operetta, while a year in Algiers was marked by the one-act L'Ecolier. He then studied with Bruckner at Vienna, where he wrote another one-act piece. Par les Bois. After reverting to Paris and Delibes, he became professor of composition in the Geneva Conservatory. He soon brought out the cantata La VeilUe, and the opera Le Violon maudit. Other dramatic works MUSIC CLUB PROGRAMS FROM ALL NATIONS. 125 by him are the lyric comedy Janie ^nd the four-act Sancho, a Wag- nerian setting of a subject from Don Quixote. He has composed various instrumental works, among them a viohn concerto, but is best known by his chansons and children's songs. His orchestral works show some of the modem tendency toward vagueness and dissonance. Among many who are working to make Switzerland known, Gustave Doret, a friend of Saint-Saens, shows much passionate strength in his Hymne a la BeautS. Rudolf Ganz, of Zurich (now settled in Chicago), is developing into a mature talent, while Otto Barblan is another composer who shows marked originality. Volkmar Andreae and Friedrich Klose are winning fame in Ger- many. Georg Haeser, of Zurich, has done some excellent choral work, while Lothar Kempter, of the same place, is not far behind. Combe, of Geneva, and T>6n6r6az, of Lausanne, "have shown skill in the smaller orchestral forms; while in chamber music and lesser works mention should be made of Niggli, Suter, Franck, Lauber, Hegar, Reymond, and many others. Questions 1. Tell what you can of the early music of Denmark. 2. Who is called the real father of Danish music and what was his chief opera ? 3. Who was Emil Hartmann, and what were his chief works? 4. Who was the most prominent Danish composer, and what German composer became his model ? 5. What are the chief works of Gade, and what characteristics do they show ? 6. Where did Lassen pass his Hfe, and what are his best works ? 7. What, is the most successful Danish opera, who wrote it, and what struggles did he have in early life? 8. In what field of music did the following work, — Bendix, Attrup, Winding, Schytte, Andersen, Berggreen ? 126 MUSIC CLUB PROGRAMS FROM ALL /NATIONS. 9. Give a brief biography of Asger Hamerik. 10. Give an account of the Ufe and works of Hans Huber. 11. Name as many Swiss composers as you can. 12. What part does good folk music play in a national school? PROGRAMS I. Easy Piano. Six Miniatures, Op. 5 Jaques-Dalcroze Songs, (a) Jutland Dance Folk Song (b) Unhappy Love Folk Song Piano. Selection from "Fleurs exotiques" Schytte Songs, (a) Avec tes yeux mignonne (With Thy Blue Eyes) Lassen (b) Es w^ar ein Traum Lassen Violin. Melody, Op. 49, No. 3 . . . . Huber Songs. From "Lieder von Burns" Mailing Piano, 4 hands. Marches ... Gade II. MEDnjM Piano. Noveletten, No. i J. P. E. Hartmann Songs, (a) Arne's Song * P. A. Heise (b) Fylla's Song * F. Rung Piano. Selection from "Aquarellen" Gade Songs, (a) Remembrance Carl Busch (b) Under the Greenwood Tree Carl Busch (c) The Eagle Carl Busch Violin. Fantasiestiicke, Op. 78 Huber Songs. ■ (a) Knud Savard * Gade (b) You'd have Me Sing * J. P. E. Hartmann Piano. Swedish Dances Schytte * See Songs from the North, edited by Valborg Hovind, Stub. HI. Difficult Piano. Night Songs, Op. 22 Huber Songs. From "Engelsk Lyrik" Mailing Piano. Selection from Sonata, Op. 26 Bendix Song. They Softly Sleep. From "The Crusaders". . . Gade Violin. Sonata in D minor Gade Songs. Peregrina-Lieder, Op. 32 . , Huber Piano. Selection from "Lyric Symphony" (arranged) . Hamerik BOHEMIAN, HUNGARIAN, POLISH AND SWISS COMPOSERS CHOPIN DALCROZE LISZT PADEREWSKI SMETANA HUBER X. BOHEMIA, HUNGARY, AND POLAND BOHEMIA The music of Bohemia, in an artistic sense, dates back but half a century. Its popular music, however, began with the intro- duction of Christianity in the ninth century, and soon after that we find the litanies of Adalbert, Bishop of Prague, sung by the soldiers in camp and battle. Sacred music flourished in Bohemia, as we may see from the Kyrieltes of Bishop Arnest in the fourteenth century, and the songs of Cybulovsky in the seventeenth. Gluck's teacher, Cernohorsky, worked in this field also. In secular music, the early times can furnish their composers, — Brixi, Kozeluch, Ryba, Kopriva, — but their names have little import to-day. In the classical period, Johann L. Dussek (1761- 181 2) won high rank as a pianist, and left a voluminous array of piano, chamber, and even orchestral works. His influence on piano music was almost as important as that of Clementi, and he surpassed the latter in invention and ideality, if not in the solid learning that shows in the Gradus. Of later date and lesser import is KalUwoda, whose music is of the lighter salon type. Frantisek Skroup (1801-1862) became a famous conductor, at first in Prague and later in Rotterdam. His sacred and chamber music shows both taste and feeling. His songs have won their way to the Bohemian heart, and many of them, like the patriotic hymn, Where is My Fatherland, have become actual Volkslieder. His operas, too, are popular in style, and his Dratenik is regarded as the foundation of the Bohemian national school. The advent of Bedrich Smetana (1824-1884) brings oh the 127 128 MUSIC CLUB PROGRAMS FROM ALL NATIONS. scene a really great composer. His works are not yet fully knoWn to outside nations, but they have already won him the right to rank with the world's great masters of music. Smetana (the name is accented on the first syllable) studied the art in spite of parental opposition, and after a course at Prague found his way to Schu- mann. That composer advised him to take lessons of Mendels- sohn, but poverty compelled him to give up his idea, and a study of Bach's works was substituted. Later on, Smetana came under the influence of Liszt, whose works he admired immensely. He said of that master's symphonic poems, "They mark the limit of possibility in the direction of musical suggestion;" but he did not live long enough to hear the frenzied rhapsodies of Richard Strauss. It was at Lizst's house that Smetana determined upon his career; for on hearing Herbeck say that the Czechs were merely reproductive, he determined to spend his hfe in building up a Bohemian national school. The world is just beginning to realize how nobly he fulfilled his promise. During a period of conductorship in Sweden, he produced three symphonic poems, Richard III, Hakon Jarl, and Wallenstein, but his return to Prague brought him more directly into the national field. A fir,st opera, The Brandenburgers in Bohemia, was ultra- Wagnerian in style, and the critics at once assailed him for deliver- ing the music of Bohemia to strange gods. Stung by their attack, he wrote The Bartered Bride in more popular vein, and its delight- ful vivacity won it an immediate and lasting success. At the Vienna musical exposition of 1892, German audiences heard it for the first time, and asked, "How is it possible that a composer of such greatness has remained unknown for so long?" The libretto is a simple story of true love in a country village triumphing over mercenary designs, and the music, nielodious and fragrant, literally sparkles with tonal brilliancy. Smetana's other operas include Dalibor, a dramatic work on a patriotic subject; Two Widows, The Kiss, and The Secret in lighter vein, the second being spoken of as a model for comic-opera com- MUSIC CLUB PROGRAMS FROM ALL NATIONS. 129 posers.; and Libussa and The Devil's Wall, on national legends. Sketches of Viola exist, based on Shakespeare's Twelfth Night. In the orchestral field, Smetana's greatest work is Ma Vlast (My Fatherland), a cycle of six symphonic poems. In the first, Vysehrad the minstrel Lumir, inspired by that historic fortress, conjures up visions of the festivals, combats, and victories of long ago, contrast- ing them with the desolate ruins of the present. Vltava, the second, is the Moldau rising in the peaceful forest, flowing through woods ringing with joyous huntsmen, and past smihng meadows that echo rustic merriment, reflecting moonlit scenes where sylvan nymphs disport, witnessing the martial glories of Prague, and dis- appearing at last in the distance. Sarka, subject of the third, is the legendary Amazon who charmed warriors into ambush. Bo- hemia's Groves and Meadows is the fourth, while the series is com- pleted by Tabor, camp of the Hussite warriors, and Blanik, the magic mountain where they sleep. Smetana has been called the "Bohemian Beethoven"; but his music is beautiful rather than grand, and thrills us by simple charm rather than lofty majesty. The term probably refers to the suffer- ings of both, for Smetana, hke Beethoven, became deaf in his later years, and could not hear the plaudits aroused by his own works. The last decade of Smetana's Ufe was clouded with suffering, for his nerves gave way, and he died in an insane asylum. The pupil and successor of Smetana was Antonm Dvorak (1841- 1904). He was the son of a butcher, and was destined to follow his father's trade, but love of music prevailed. He studied first with the village schoolmaster, but soon went away to a more advanced teacher. It was at this time that he sent home a polka, "to sur- prise his relatives"; and as he had forgotten to allow for transpos- ing instruments in the score, the resulting discords created more of a surprise than he had intended. In 1857 he went to Prague, studying, composing, and supporting himself with his viohn. He has spoken of his period as spent in "hard study, occasional composition, much revision, a great deal 130 MUSIC CLUB PROGRAMS FROM ALL NATIONS. of thinking, and little eating." After his marriage, in 1873, he "ate less and gave more lessons." On being asked what teachers helped him most, he replied once, "I studied with God, with the birds, the trees, the rivers, myself," — an appropriate answer, for Dvof£k was certainly a natural genius. He, too, wrote his first opera (Konig und Kohler) in Wagnerian vein, and met with failure; and like Smetana, he too met with success on rewriting the work in a more national and popular style. Though his operas are little known outside of his own country, he has shown much activity in this field. Wanda, Selma Sedl'ak, The Jacobin, and Dimitry are early works, the last on a Russian historical legend. In later years, when Dvorak returned to Bohemia after long absence, he devoted himself to the modem school of fairy-opera, producing Rusalka, Der Teufel und die wilde Kdihe, and Armida before his death. The performance of his great Stabat Mater in Londpn, in 1883, led to his sojourn in England. There he brought out his patriotic Husitska overture, a type of nationahsm in music, and composed his famous Spectre's Bride, on a Czech version of Burger's Lenore. Saint Ludmila, a later cantata, was more conventional in character, and its lack of success was a partial cause of the composer's depart- ure from England. But England's loss was America's gain, for he came to New York in 1892. A year later he brought, out his New World symphony (Aus der neuen Welt), a glorious tribute to our country. He was already famous as an orchestral composer, having to his credit the three great overtures Mein Heim, In der Natur, and Othello, the Slavic Dances, the Scherzo capriccioso, and four worthy symphonies. He had fenriched the latter form with two new movements, — the elegiac Dumka and the wild Furiant. The New World symphony, however, was a work of more real beauty than any of these, apart from its value as an object-lesson. Its lively allegro, infinitely sweet largo, .bright scherzo, and powerful finale are based wholly on themes of plantation character, though not of actual negro songs. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 131 Dvordk was certainly wise in his choice of material for this sym- phony. While our native composers were chasing the ignis fatuus of recondite Indian music, he based his work on themes whose beauty would win recognition from all hearers. A school is not built from above downward, any more than a house. The foun- dation must be complete first; and in building up a national school of music, the only sure foundation is a folk music that is known to all the people, not merely a learned few. Plantation music, with its persuasive melody and striking rhythm, makes its appeal to all, while the Indian songs, weird, unfamiliar, and even aUen in their scale formations, will never be more than a curiosity. All honor to Dvordk, then, for showing us the only real method of creating an American national school. A composer of great national fame in Bohemia was Zdenko Fibich (1850-1900). Like Smetana, he became a warm admirer of Schumann, and his many little piano pieces show the influence of the German master. He is credited with two pubhshed sym- phonies, and a number of symphonic poems in imitation of Liszt. There are also overtures, — Eine Nacht auf Karlsiein, the Lust- spiel, and others, — as well as much chamber and vocal music. But it is in opera that Fibich won his chief laurels. He did inter- esting work in the field of melodrama, at first following Schumann's Manfred, but later adopting a more independent style. His most ambitious work in this vein was the orchestral trilogy, Hippo- damia. In opera he is considered almost the equal of Smetana, his best productions including Der Sturm (Shakespeare's Tempest), Haidie (from Byron's Don Juan), Sarka (again the Bohemian Amazon), and The Fall 0} Arcona. Emil Nikolaus von Reznicek (1861- ) makes Berlin his home. His apprenticeship in the smaller theatres gave him an experience that has borne fruit in his operas. Produced first at Prague, they have won success in many lands because of their delicious sprightliness. Die Jungfrdu von Orleans came first, on Schiller's play. Satanella treats a poem of Vrchlitzky, while 132 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Emmerich Fortunat is a lighter work. Reznicek's real master- piece, however, is Donna Diana, a sprightly setting of Moreto's charming comedy. Till Eulenspiegel, with the medieval rogue of that name as hero, appeals more especially to German hearers. Among other Bohemian composers, Josef Suk, pupil and son- in-law of Dvorak, numbers among his works a Winter's Tale over- ture, a symphony, and the suite entitled A Fairy Tale. Roskosny, of an older generation, has won renown through seven operas and many choral works. Oskar Nedbal, the viola player, is responsible for an orchestral scherzo. Heinrich von Kaan has produced several ballets and the symphonic poem Sakuntala, besides doing much literary work. Joseph Nesvera won a triumph with his opera Perdita, while his masses and other sacred works are always well received. Eduard Napravnik has become identified with Russian music, his Dubrowski winning an operatic" success in St. Petersburg. These names are enough to show that the Bohemian school is still flourishing. HUNGARY The true Hungarian music, made familiar to modern ears by Liszt and many others, shows the most striking characteristics. Its bold, abrupt modulations, its fierce, almost frenzied power and sharp contrasts, arrest the attention at once. It is the unfet- tered expression of the wild, oriental passion that has come down through centuries of Magyar blood. At present in the hands of the gipsies, it was probably adopted by them from the earlier Magyar sources, though Lizst considered them the originators of it. According to modern opinion, they are really responsible for Httle more than the embellishments they use in playing it. A favorite form is the czardas, or two-part dance, so-called from the inn where it was first introduced. The first half, the lassan, is slow, mournful, gloomy, well expressing the melancholy of an oppressed race. Slower and slower it grows, until suddenly the real dance, the jriska, begins. This is in remarkable contrast MUSIC CLUB PROGRAMS FROM ALL NATIONS. 133 to the preceding movement, being wildly impassioned and work- ing up to a tremendous climax. The gipsies who play these czardas and other pieces show themselves wonderfully gifted, for they use not a scrap of printed music, relying wholly on their powers of improvisation. The leader will vary some famiUar theme, while the rest add harmony or counterpoint to it. The violin is the chief instrument, almost the only onf. Liszt is certainly the best representative of Hungarian music, and to many people he seems the only one. Franz Liszt (1811-1886) became renowned even in childhood as a great piano virtuoso, though the story of Beethoven's hearing him and pre- dicting a wonderful future for him is doubtless apocryphal, because of Beethoven's deafness. A stay in Paris brought more triumphs, terminated by the death of his father. After this blow he devoted himself seriously to philosophy and theology, and the world nearly lost one of its few great composers. A hearing of Paganini brought Liszt back into the musical arena. Paganini so bewitched him that he could not rest until he had produced similar effects on the piano. An acquaintance with Chopin helped him to modify his technique, while the perform- ances of Thalberg tempted him to appear again before the public. He showed that he had all of Thalberg's virtuosity, transfused with an intensity of musical feeUng that Thalberg did not possess. Liszt's piano works, of which many date from this period of renewed activity, are usually divided into original works and transcriptions. In both, however, there is evident a further devel- opment of Liszt's new ideas, and the process he carried out has well been called the orchestralization of the pianoforte. In trans- criptions like Hark, Hark, the Lark no less than in original works like the Sermon to the Birds, the breadth of treatment is evident. There are great antiphonal responses; themes sung out by the keys and embroidered with the richest profusion of instrumental accom- paniment; ideas and passages of a nature so orchestral that they tax all the resources of the piano, and become mere noise in the hands of lesser artists. 134 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Liszt's renewed interest in his native land grew in part from a casual circumstance. Floods in Budapesth having caused great hardship among the poor, the generous artist returned to that capital and gave a set of charity concerts. The scenes of his child- hood aroused the keenest interest in him, and at the same time he studied with fresh ardor the music of his country. The result took shape in the Hungarian Rhapsodies, faithful transcriptions of the national themes, developed with all of Liszt's art. The quaint scale (corresponding to A, B, C, D-sharp, E, F, G-sharp, A) is excellently adapted to the expression of Hungarian passion, and Liszt even visited the fields and the woods to get the true flavor from real gipsy bands. ^ In his noble series of symphonic poems Liszt brought that great form, practically his own invention, to its modern fulness of expres- sion. In the symphonic poem he first gave to the world the free, rhapsodic utterance of untrammeled musical feeling that has made modern orchestral composition a new field. The symphonic poem has not abolished the symphony, and should not do so. In spite of the remark, often repeated, that the symphony reached its culmination in Beethoven, the world could not dispense with the delicacy of Mendelssohn, the romanticism of Schumann, or the earnest sincerity and "sweet reasonableness" of Brahms. Yet the stricter school should not stifle the freer style, and we owe Liszt all honor for leading us to "fresh fields and pastures new." The average student knows few, if any, lesser Hungarian com- posers. Goldmark, it is true, has achieved greatness, but in Ger- many and in the German vein. Bihary, Czermak, Erkel, and Doppler sound unfamihar, while Remenyi and Joseffy are regarded almost as Americans. Bihary was one of the older gipsy violinists, and did much to make his countrymen known in Vienna. Czer- mak, a Hungarian, who adopted the gipsy life, played with such fire and enthusiasm that many compared him with Paganini. Doppler and Erkel were opera composers, as also Mosonyi and Czibulka. Doppler's Ilka, produced at Pesth in 1849, received MUSIC CLUB PROGRAMS FROM ALL NATIONS. 135 forty performances. Firanz Erkel's Hunyady Laszlo and Bank Ban were immensely popular, and are considered as the foundation of the national school. His son Alexander entered the field with Tempefoi in 1883, while Count G6za. Zichy has gained success with his Meister Roland and Emma, and also by being the only great one-armed pianist in the world. Jeno Hubay is credited with a symphony and several operas, besides much piano and vocal music, while Ernst von Dohndnyi has entered the orchestral field with a concerto and a symphony. POLAND The name of Poland suggests at once that greatest of tone poets, Chopin, well named by Rubinstein "the soul of the piano." Frederic Chopin (1809-1849) was educated by his father in a way deemed proper at that time, but one that the twentieth century would consider far too effeminate. This preserved in him a deli- cacy of sentiment that forms one of the chief charms of his music. Warsaw witnessed his early triumphs, and his first serious love affair, with Constantia Gladkowska as the heroine. But unre- quited affection drove him away, and after a short stay in Vienna he settled in Paris. There he became intimate with a chosen circle of notables, — Balzac, Delacroix, Liszt, Meyerbeer; Heine, Berlioz, and Mendelssohn among others. For pubUc appearances before large audiences he cared Httle; in fact his Enghsh tours did much to undermine his constitution. But in private, among friends, he delighted to sit at the piano and draw forth the very soul of the instrument. His long companion- ship with George Sand (Mme. Dudevant) enabled him to accom- phsh much that he might not have done otherwise; but the shock of their quarrels and separation probably hastened his death. His music is the natural expression of his own overmastering sentiment, but in a way it is an echo of the spirit of Poland, — full of noble aspiration, tender and fiery by turns, always poetic, nearly 136 MUSIC CLUB PROGRAMS FROM ALL NATIONS. always melancholy. He remembered the folk music of his country and gave it to the world idealized into its noblest form. A master of intimate moods, he was never at home in handling the larger canvas of the orchestra, and his concertos are merely piano episodes with incidental accompaniment. But in his piano pieces he shows himself always the greatest master of emotion that the world has ever seen. To discuss his works in detail would require a volume. His mazurkas are capricious, ecstatic; his ballades nobly eloquent. There are novelty, originaKty, remarkable contrast, in the scherzos. The polonaises ring with the passionate strength of patriotism and echo the fantastic grace of olden chivalry. The waltzes are veritable dances of the soul, not made for material feet. The grace of the &udes, the charm of the preludes and impromptus, show us the same melodic richness of thought and fancy. The nocturnes, so well known and well beloved, give us the very essence of the yearning poetry of the night. Other pieces there are, — the Barcarolle, the Fantasies ; all of them exquisite, perfect in their tonal beauty. Other composers have existed in Poland, — so many and so active that two histories of Polish opera exist, with material enough to fill them. Josef Eisner, the teacher of Chopin, met with success in this field; also Karl Kurpinski, and Stanislaw Moniuszko at a later date. In the violin field, Joseph Lipinski (i 790-1861) was a voluminous composer, as well as a remarkable virtuoso. Henri Wieniawski (1835-1880) is still remembered by many who heard him during his famous American tour with Rubinstein. His two violin concertos are still played and many of his smaller pieces remain favorites. Two great modern pianists have come to us from Poland, — Josef Hofmann and Ignace Jan Paderewski (i860- ). Hofmann, beginning as a child prodigy, has developed into an artist of sohd attainments, and has written several pieces for his instrument. Paderewski made his debut as composer with his charming minuet, MUSIC CLUB PROGRAMS FROM ALL NATIONS. 137 the first of many original and brilliant piano works. The Humor- esques, Op. 14, are especially noteworthy. A Polish Fantasy, with orchestra, marked his entrance into the concerto field, while his gipsy opera Manru, though not holding the boards too well, contains much excellent music. The name of Leschetizky has become renowned on two conti- nents, because of his admirable method of piano teaching. Such men as Tausig, Moszkowski, and the Scharwenkas are of Polish descent, but identified with German music. Miecislaw Soltys, who studied with Chopin's pupil MikuH, has gained some notice in the symphonic field, while Stalkowsky made a recent success with his opera Philaenis. Last of all, jn point of time, comes Stojowski, who left his native land to take charge of the piano development in the chief music school in New York. These names are certainly enough to justify the famous exclamation, Noch ist Polen nicht verloren ! Questions 1. What Bohemian pianist rivaled Clemen ti in shaping the trend of piano playing ? 2. Who wrote the first national opera of Bohemia? 3. What composer is called the "Bohemian Beethoven," and why? 4. What is Smetana's most successful opera, and how many others by him can you name ? 5. In what great instrumental work did Smetana describe his native land? 6. What are some of Dvord.k's operas ? 7. Describe the New World symphony. 8. Explain the terms Dumka, Furiant, and Czardas. 9. In what unusual.field of music did Fibich work ? 10. What operas did Reznicek write? 11. What other Bohemian composers can you name? 138 MUSIC CLUB PROGRAMS FROM ALL NATIONS. 12. What is meant by the phrase " orchestralization of the piano- forte"? 13. What is the character of Hungarian folk music, and what scale does it employ? 14. What works of Liszt are most national in character? 15. Explain Liszt's connection with the symphonic poem in modem music. 16. Name as many Hungarian composers as you can. 17. Describe the music of Chopin. 18. Name the different forms in which Chopin wrote. 19. What are some of Paderewski's best works? 20. What other Polish composers can you name? PROGRAMS I. Easy 1. Piano. Moment musical X. Scharwenka 2. Song. As My Dear Old Mother (Als die alte Mutter) . Dvorak 3. Piano. La Matinee, Rondo Dussek 4. Song. The Maiden's Wish Chopin 5. Piano. Consolation, No. 5 Liszt 6. Song. Triibe Wellen Chopin 7. Piano. Valse in D flat, Op. 64 Chopin IL Medium 1. Piano. Minuet Paderewski 2. Song. Du bist wie eine Blume (Thou'rt Like a Flower) Liszt 3. Piano. Four Pieces, Op. 26 Stojowski 4. Song. Ah, the Torment . Paderewski 5. Violin. Humoreske Dvorak 6. Songs, (a) The Parted Lovers (Zwei Leichen) Chopin (b) My Delight (Meine Freuden) Chopin 7. Piano, 4 hands. Tanz-Suite, Op. 41 X. Scharwenka III. Difficult i. Piano, 4 hands. Allegro and Largo from "New World Symphotiy" (arranged) Dvor^-k 2. Song. Der Konig von Thule (The King of Thule) . . . Liszt 3. Piano'. Sermon to the Birds Liszt 4. Song. Polens Grabgesang (Poland's Dirge) Chopin 5. Violin. L^gende Wieniawski MUSIC CLUB PROGRAMS FROM ALL NATIONS. 139 6. Song. The Loreley (Die Lorelei) Liszt 7. Piano, 4 hands. Overture, "The Bartered Bride" (arranged) Smetana THE BOHEMIAN SCHOOL 1. Piano, 4 hands. Slavische Tanze, Op. 64 Dvordk 2. Songs, (a) Friihiingssehnung, Op. 36, No. i Fibich (b) Abendgebet, Op. 36, No. 8 Fibich 3. Piano, (a) Novelle, Op. 44, No. i Fibich (b) Selection from " Stimmungen, " Op. 47 . . . Fibich 4. Songs, (a) Mein Lied ertont, Op. 55, No. i Dvorak (b) Rings ist der Wald, Op. 55, No. 3 Dvo^rdk 5. Piano, (a) La Consolation, from "Rgves" Smetana (b) En Bohfeme, from "Rgves" Smetana 6. Violin. Sonata in F major. Op. 57 Dvorak 7. Piano. Suite, Op. 98 ..... Dvorak 8. Songs, (a) Klage, Op. 73, No. 3 Dvorak (b) Gute Nacht, Magdelein, Op. 73, No. i . . . Dvor^ 9. Piano. Hochzeitscenen Smetana FRANZ LISZT (1811-1886) 1. Piano, (a) Pastorale, No. 3, from "Annies de pfelerinage.'' (b) At the Spring, No. 8, from "Annfes de pyerinage." 2. Song. Der Konig von Thule (The King of Thule). 3. Piano. Concert Study, Waldesrauschen. 4. Songs, (a) Wanderers Nachtlied (Wanderer's Night Song). (b) Du bist wie eine Blume (Thou'rt like a Flower). 5. Piano. Sermon of St. Francis to the Birds. 6. Song. Die Lorelei (The Loreley). 7. Piano. Rhapsodie hongroise. No. 15. I FREDERIC CHOPIN (1810-1849) 1. Piano. Prelude in D flat (The Raindrop). 2. Songs, (a) Fruhling. (b) Madchens Wuusch. 3. Piano. Impromptu in Al?, Op. 29. 4. Songs, (a) Das Ringlein. (b) Eine Melodie. 5. Piano. Nocturne in B major, Op. 32, No. i. 6. Songs, (a) M61ancolie. (b) Was ein junges Madchen liebt. 7. Piano. Polonaise militaire. Op. 40, No. i. 140 MUSIC CLUB PROGRAMS FROM ALL NATIONS. II. FREDERIC CHOPIN (1810-1849) 1. Piano. Nocturne, in G major, Op. 37, No. 2. 2. Song, Polens Grabgesang (Poland's Dirge). 3. Piano. Berceuse, Op. 57. 4. Songs, (a) Zwei Leichen (The Parted Lovers). (b) Der Reitersmann. 5. Piano. Funeral March, from Sonata Op. 35. 6. Song. Meine Freuden (My Delight). 7. Piano. Ballade Op, 52, RUSSIAN COMPOSERS BALAKIREFF BORODIN ARENSKY XI. RUSSIA If it be true, as poets tell us, that sorrow and suffering trans- mute themselves readily into song, and that a down-trodden race may often lighten its burden by expressing its sadness in tonal form, we are surely justified in expecting much from Russian folk music. In that land of cold and hunger and oppression, the art of the painter and sculptor has found little to encourage it; but music, on the contrary, has flourished as in no other land, and the pent-up feelings of the people have gushed forth in a veritable flood of song. The great variety of form and style to be found in these songs is another noteworthy point. According to Cesar Cui, Russia's great musical historian, they form numerous groups, each in itself being almost a school of folk music. There are rounds, sung in chorus at holidays or festivals; wedding songs, and others, of special significance; chansons des rues, jovial or burlesque sere- nades in chorus; songs of the bourlaks, or boatmen; and short solos of every description. From the artistic view-point, these songs are of the utmost value. Their piquant and original melody, their quaint, fanciful novelty of effect, their graceful embroidery of ornament, and the crystalline clearness of their harmony, make them a musical gold mine for the Russian composers. Their marked rhythmic qualities, com- bined with the strange cadences of the old plagal modes, produce an effect that enchains the hearer's attention at once. Such songs as the familiar Red Sarafan, or the Russian National Hynm, are hardly .the best examples. For more characteristic music one must delve deeper into the real life of the people. In the Volga Sailor's Song, for instance, there is a crude, rugged HI 142 MUSIC CLUB PROGRAMS FROM ALL NATIONS. strength that seems irresistible. This, like many of the Russian songs, is m a minor key, and the true Moujik is never so happy as when trolling out the most lugubrious strains. This has influenced the composers, too, and their skill in employing the minor mode is remarkable. The opening theme of Tschaikowsky's fourth symphony, for example, suggests the atmosphere of unrelieved gloom that is so characteristically Russian. Yet the minor mode is not always sombre, as we may see in the lively Cossack air of the "1812" overture, or Rimsky-Korsakoff's graceful overture to The Czar's Bride. Occasionally, in the Slavonic folk music, we find traces of the old pagan rites, as in The Sacrifice, which seems to allude to the human tribute often paid to the god Cernebog. The sacred music of Russia is also worthy of mention. Russian singing is renowned, and the deep basses of the Ukraine, blended with higher voices from other districts, form male choruses of wonderful power and smoothness. Their music, too, retains the old modes, and employs them to attain effects of lofty dignity and serene beauty. Composers of sacred music in Russia preceded the national and operatic schools, and if their names sound unfamiliar, it is because their music is limited to the services of the Greek Church. Chief among them was Dimitri Bortniansky (1751-1825), whose attainments earned him the title of "The Russian Palestrina. " Studying with Galuppi in Russia, he received aid from the empress herself, which enabled him to follow that master to Venice. He wrote popular operas for Italy, but adopted a broader style in his native land. He built up the choir of the Imperial Chapel, systematized the whole of the Russian Church music, and composed many important and lofty sacred works. The literature of Russia has been another potent factor in the development of its music. Folk tales of rich, imaginative beauty have afforded abundant material for poets and authors, and have offered fruitful subjects for musical setting. • Yet in early days we find their worth unappreciated. Under Peter the Great there was some attempt at developing all forms of Russian art, but it MUSIC CLUB PROGRAMS FROM ALL NATIONS. 143 was only partly successful. Later emperors and empresses were content to import their music, and we find Cimarosa and Paisiello coming to Russia from Italy, while France furnished Boieldieu. Cavos, a Venetian, wrote an opera in Russian, but gained little sucdess with it. Lvoff, the court favorite, produced little of import- ance beside the National Hymn, and Verstovsky's Tomh of Askold (Moscow, 1835) suffered from lack of real musical knowledge on the part of its composer. It remained for Michael Ivanovitch GUnka to become the real founder of the Russian school. Michael Ivanovitch Glinka (1804-1857) was duly educated in music, studying with Field in St. Petersburg, and finishing at BerUn and Milan. On his return to his native land he became an important member of the circle of leading spirits that included such celebrities as the poets Pushkin and Gogol. Here Glinka expressed his ardent desire to write national music for a national subject, and the result was his Life for the Czar, an opera deal- ing with the early struggles of Russia and the self-sacrifice of a devoted serf who misleads the enemy to save his ruler. Life for the Czar was not the first opera in Russian, as Cavos had treated the same subject, and Verstovsky's opera had appeared in the previous year. But the hand of genius was evident in its pages, and it won a triumph that has endured to the present day. It is based wholly on the folk songs of the country. These do not appear in their entirety, however, but are transfused by the com- poser into forms of real musical merit. Thus the opera does not fairly deserve the reproach of those who have called it musique des cochers. The work that has founded a great national school should never be treated lightly. Russian and Ludmilla, Glinka's second opera, is a more artistic production. It is based on an old fairy tale worked up with deli- cate charm by Pushkin, and the score contains many noteworthy numbers, including a chorus based on a seductive Persian melody. The quaint originality of Russian folk music is less in evidence than in the preceding work, but its greater musical worth has won 144 MUSIC CLUB PROGRAMS FROM ALL NATIONS. widespread appreciation in foreign countries. Glinka was not a prolific composer, but he wrote an orchestral fantasy, Karamin- skaia (the chief national dance of Russia), parts of two symphonies, two string quartets, and several smaller works. The names of Dargomiszky and SerofiF are usually mentioned together, as they represent the transition from the older style of Glinka to the more modem school of the present. Alexander Sergievitch Dargomiszky (i 813-1869) first became known to the upper circles of the capital as a violin and piano player, but an acquaintance with Glinka led him into the field of composition. In Paris he started Lucrezia Borgia, but found it set aside in favor of a mediocre work by Louise Bertin. A few years later, in Moscow, came Esmeralda. This was followed by The Triumph 0} Bacchus, a ballet, and another opera, Roussalka (Undine). Dargomiszky's greatest work is the posthumous opera The Marble Guest. This is a setting of Pushkin's version of Don Juan. The libretto differs somewhat from that of Da Ponte, but offers the same opportunities for dramatic effects. The composer took full advantage of these, and created a work that placed him fully abreast of the modern school. His other productions include parts of the fairy opera Rogdana, three burlesque fantasias for orchestra, and the interesting Tarantelle slave for piano {three hands). His works, not well appreciated at first, seem influenced by the beauty of Schumann's style. Alexander Nikolajevitch Seroff (1820-1871) disliked music extremely as a child, and took little interest in his enforced lessons until the age of fifteen. Mozart, Weber, and Meyerbeer were his early ideals. Seroff practiced the 'cello, but considered law his real profession, and at twenty became a government official in a small Crimean village. Here, for three years, he indulged in musical day-dreams while listening to cases of sheep steaUng. After two more years at Archangel, he bade defiance to parental authority, and started on an artistic career. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 145 At first he subsisted by criticisms and other writings. A violent opponent of Wagner in 1856, we find him writing, two years later, that "one must be a complete idiot in music not to feel the out- flow of life, poetry, and beauty in the works of that master." Seroff's own works were chiefly in the domain of opera. Judith, the first, was based on an Italian drama. Rogneda was a dra- matic subject treating the conversion of the early Russians to Christianity, and its success gained the composer a government pension. His last work. The Demands Power, was completed by Solovieff. On Seroff's death Wagner gave him due return for his eulogy, and spoke of him as "one of the noblest great men that can be imagined." The two great modern Russian composers who first became known to the world were Rubinstein and Tchaikovsky. Widely differing in style, they were both subjected to the same criticism of not being truly national. Yet this, after all, is hardly a reproach, for art is universal, and should not be limited to one clime or one school. Anton Gregor Rubinstein (1829-1894), like his brother Nicholas, became famous as a pianist, and in that capacity made his numerous tours through the civilized world. He received his first instruction from his mother. He was of Jewish race, but the family entered the Christian faith. After his musical studies in Berlin, he would often allude to this with the remark, "The Russians call me a German, the Germans a Russian; the Christians call me a Jew, the Jews a Christian." His works are certainly open to the terrible charge of showing German influence, but his individuality is none the less definite and well marked. Though admiring Mendels- sohn, and copying his fluency, Rubinstein never became a mere imitator, like Gade. As a composer, Rubinstein has worked in many fields, though not with equal success. In the symphonic form, his greatest production is the well known Ocean Symphony, No. 2. Yet even here the composer's varying ability is in evidence, and the work 146 MUSIC CLUB PROGRAMS FROM ALL NATIONS. has undergone many sea-changes. Originally in four movements, of which the first was much the strongest, it has had three new ones added. A Dramatic Symphony, too, is sometimes heard. The musical portrait for orchestra entitled Don Quixote is of interest in comparison with the more radical work of Strauss on the same subject. Rubinstein's operas, though meeting with little stage success, abound in musical beauties. Rich, flowing melodies and luscious orchestral themes follow one another in constant succes- sion. Such numbers as the ballet-music from Feramors and Le Demon have become too well-known to need description. But the composer was most at ease in writing for his own instrument, the piano. His Melody in F, Op. 3, is familiar to every music- student, and his Valse-caprice is another very popular selection. His piano concertos are great, but his sonatas are less important. His several viohn sonatas deserve mention, also a notable work in this form for viola and piano. Of his many songs, the dramatic Asra is the best known; but a more gently flowing melody, not unmixed with a touch of fiery enthusiasm, is found in The Dream, while a flavor of Orientalism tinges the setting of the Persian poem. Golden at My Feet. Between Rubinstein and Tchaikovsky a great contrast exists. It is easy to see how the excessive fluency of the former might find Httle appreciation in a land where strength of expression is so much esteemed. But Tchaikovsky, himself one of the musical Titans, ought to have satisfied the national taste, even though he did not dehberately limit his muse to the realm of Russian folk songs. Peter Ilich Tchaikovsky (1840-1893) was one of the world's great masters of orchestral utterance. In support of this claim one need mention only such works as the wonderful Path6tique symphony, the dramatic Manfred, the masterful first concerto, or the grandly planned "1812" overture. His skill in handling the instruments, especially wood-wind and brass, was marked; but he was not, Uke certain composers in other nations, a mere MUSIC CLUB PROGRAMS FROM ALL NATIONS 147 orchestral virtuoso. With him the orchestra is a means, not an end, — a means of expressing great thoughts, a method of blocking in the rich colors on his grandly planned musical canvases. His life forms' an interesting story. Pursuing the usual studies, and becoming a teacher at the Moscow conservatory, his career shows little of the unusual. But his letters reveal a most remark- able temperament, — at times animated by passionate exaltations, at times a prey to the deepest melancholy and depression ; unsat- isfied when idle, unable to give full expression to the fantastic gorgeousness of the ideas that animated him when at work. His strange friendship with Madame von Meek, as told in his brother's biography of him, is another interesting story, — a friendship between two kindred souls, in the course of which she gave him much needed financial aid, while he poured forth his soul to her in letters, without their ever meeting. His earUer works were chiefly for piano. While some of these are conventional, many of them show the marked rhythm and subtle melodic changes that are evident in his greater works. His songs, too, though few in number, are of artistic value. It is in these that he shows much of the innate sadness of his nature, and such examples as Warum'i, Nur wer die Sehnsucht kennt, and Deception form a study of melancholy in its varying phases. The national Russian school of to-day is due to the efforts of five men who worked deliberately to found it. Of these five, Mili Balakireff, if not the greatest, may fairly be called the originator of the movement, while the other four were C6sar Cui, Modest Mussorgsky, Alexander Borodin, and Nicolai Rimsky-Korsakoff. At their many social gatherings in St. Petersburg, they discussed and formulated the principles upon which they and their successors were to work. Russian folk music was to be made the foundation of the school. It was agreed that after Beethoven and Schumann the symphony could say nothing new, but reform was needed in opera. The old singing concerts, with their musical inanities, were to be discarded, and something akin to the music drama 148 MUSIC CLUB PROGRAMS FROM ALL NATIONS. put in their place. The music was to be of intrinsic value, the drama should be worthy in its material, and the music should illustrate the dramatic situation faithfully. Excellence in vocal execution, beauty of scenic effects, or the charm of the ballet ' were not to tempt the composer from the straight and narrow path of musical rectitude. All this sounds much like the theories of a certain German composer named Wagner. Yet the Russians have in large mea- sure proceeded along their own lines, and many of them disclaim Wagner's influence wholly. In fact, his dramas are spoken of by Cui as enormous mystifications. "It is probable," writes Cui in his history, "that he took his sounds, so void of ideas, for real music, his proUxity for divine melodic utterance, and that he believed each of his notes worth its weight in gold. I should like to preserve my. compatriots from the dangerous contagion of Wagner's decadence; whoever loves his music ceases to appreciate real music. The desire to find something deep where nothing exists can have only dangerous consequences." After this broad- side it is sad to record that Cui's own operas lack originaUty, and win no success, but such is the case. Mill Balakireff (1837- ) gained a broad musical education through friendship with the cultivated amateur Ouhbicheff. At twenty he settled in the capital, and became a warm admirer of Ghnka. Soon afterward he met Cui and began the work of nation- alizing Russian music. His piano playing gained him much fame, and the concerts at the Free Music School, which he founded, were the means of making the five associates known to the world. His own works are not numerous, but show rare beauty. They include a symphony, three overtures (Russian, Czech, and Spanish), the symphonic poem Russia, the King Lear entr'actes, and the symphonic poem Tamara. The last is a richly colored work, based on the Caucasian legend of the captivating but cruel princess who would entertain a cavalier each night, while in the morning the river bore away his corpse. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 149 Balakireff's piano works include many characteristic pieces, — Tyrolienne, Dumka, Humoreske, Scherzo, three Nocturnes, Revery and so on. Most difficult is the Oriental fantasy Islamey. He has also written a score of songs, all showing marked beauty of style. According to Cui, they are "distinguished by broad and limpid melody, elegance of accompaniment, often also by passion and abandon." Cesar Cui (1835- ) is the son of a French soldier who settled in Russia after Napoleon's defeat. Like many other Russian com- posers, his real vocation is outside of music. Graduating from the Engineers' School, he became professor of fortifications. He is none the less interested in the tonal art, and his works include many songs, piano pieces, choruses, orchestral scherzos, and symphonies. His operatic ventures are The Prisoner of the Cau- casus, William Ratcliff, Angela, Le Flibustier, and The Saracen. Of these, Angelo, based on Victor Hugo's drama, is his favorite, and in a recent note to the present writer he expressed the hope that this would be the work chosen to represent him in America. His History of Russian Music, despite his harsh judgment of Wagner, is an invaluable work for the student. Modest P. Mussorgsky (1835-1881) was by all odds the strangest figure in the coterie of five. Like Cui, he received a mihtary training and became an officer. But this post, and later govern- ment positions, proved too irksome for him, and his restiveness under discipHne led him into a Bohemian career. He experienced frequent changes from comfort to abject misery, and his early death was undoubtedly caused by his privations and excesses. Mussorgsky lacked musical training, and was ignorant of some of the simplest rules of composition, yet the weird and formless character of his music could not obscure the remarkably striking and original quality of his melodies. He has been described as a poet by nature, expressing his great thoughts in the form of an art that he had not mastered. The strong passions and deep misery of humanity find an echo in his wild utterances, and their 150 MUSIC CLUB PROGRAMS FROM ALL NATIONS. force carries conviction to his hearers. Many of his works have to be revised, but at times their vitality is refined away in the process. His songs, piano works, and choruses all show this strength, but his larger works have had to undergo revision. They include the operas Boris Godunoff and Khavantschina, an orchestral Intermezzo, and the symphonic Nuit sur le Mont-chauve. The Tableaux d'une exposition are among his best piano works, while his songs include settings of Goethe and Heine, as well as of Russian poets. Alexander Borodin (1834-1887) could boast his descent from the princes of Imeretia, that Oriental kingdom whose sovereigns claimed King David as their ancestor. Medicine and surgery became his vocations, and he wrote authoritative works on chemistry. His spare moments were few, and for a time he composed only when unable to attend to his regular duties, so that his musical friends used to wish him sickness instead of health. He regarded music merely as an avocation, and often refrained from publishing his works.' He began to compose at an early age, almost by instinct. In 1867, after he had become one of the famous five, his first sym- phony was produced, with pronounced success. It was followed by a number of songs, such as La Mer, La Princesse endormie, and others. These are usually painted in sombre colors, and Borodin showed himself a master of dissonance, being at times almost too extreme in his effects. A second symphony was success- ful also, while a third, incomplete, was finished by Glazounoff. An orchestral scherzo and two delightful string quartets deserve mention, and he has written the usual number of smaller pieces. His Steppenskizze, with its suggestions of vast solitude and passing caravans, was the first of the new Russian works to become known in America. Prince Igor, an opera, has for its plot an old war epic treated by Pushkin, and meets with much success in its native country. Rimsky-Kbrsakoff (1844- ) is undoubtedly the greatest of the five nationalists, and has for many years been Russia's greatest MUSIC CLUB PROGRAMS FROM ALL NATIONS. 151 living composer. Like his compeers, lie studied for a government post, graduating in the naval department and afterward attaining the rank of admiral. But he made music his life work, as the large number of his compositions will show. His operatic activity began with The Maid of Pskojf, a work filled with interesting Russian folk themes. May Night was founded on a popular tale by Gogol, and won even more renown. Snegurotschka treated the fairy legend of the Snow Maiden with captivating music. Then came Mlada, on a native subject, Christ- mas Night, on a tale of Gogol, and Sadko, a Novgorod legend of a merchant-mihstrel who marries the sea-king's daughter. Vera Scheloga was a, prologue for the first opera, while Mozart and Salieri and The Czar Sultan are on texts by Pushkin. Servilia treats Christianity in old Rome, while Katschschey deals with another legendary subject. Best known, however, is The Czar's Bride, a tale of intrigue and tragedy in the days of Ivan the Terrible. Its clean cut, animated overture has become a favorite concert selection on two continents. The composer's instrumental works are no less important. Of his three symphonies, Antar, the second, is a remarkable tone picture, in which that hero's three wishes, revenge, power, and love, form the subjects of the last three movements. Schehere- zade is rich in Oriental coloring, while Sadko treats the operatic subject. The two great overtures on popular and sacred themes, are often given, while the Serb Fantasy, Spanish Caprice, Fairy Legend, and concerto for piano are other notable works. The music of Rimsky- Korsakoff is always charming, his orches- tral skill always notable. In the words of an eminent French critic, "His inspiration is exquisite, and the inexhaustible trans- formation of his themes is most interesting. Like other Russians, he sins through lack of cohesion and unity, and especially through a want of true polyphpny .... But the dramatic intention is realized with unusual surety, and he shows &■ mastery and originality that are rarely found among Northern composers, and that no othel of the great five ever possessed. " 152 MUSIC CLUB PROGRAMS FROM ALL NATIONS. But a new star has arisen in recent years, and Riilisky- Korsakoff now finds a rival in one of his own pupils — Alexander Glazounoff (1865- ). Son of a rich bookseller, he was able to devote himself wholly to music, and in his case luxury did not deaden the creative impulse of genius. At eighteen he composed a sym- phony that won the congratulations of Liszt. Six years later he conducted a second symphony at the Paris exposition, and pro- duced his first symphonic poem, Sienka Razine, based on the legend of a Volga pirate who captured a Persian princess. Glazounoff's early works show a tendency to imaginative sub- jects. The haunting beauty of the forest, the inspiring charm of spring, the compelhng magic of the sea, the gorgeousness of the Orient, the majesty of the historic Kremlin, all find an echo in his great orchestral poems and rhapsodies. His later sympho- nies have -amply justified Liszt's interest, for they are veritable marvels of satisfying melodic beau,ty. Their rich harmony and orchestration seem actually to glow upon the ear, with all the warmth that the colors of a Titian show to the eye. Glazounoff has already over eighty opus numbers to his credit. There are overtures, ballads, marches, suites, rhapsodies, mazur- kas, and other orchestral works, to say nothing of his Triumphal March for the Chicago exposition. There are ballets, or panto- mimes, such as Raymonda, Ruses d'amour, and The Seasons. There are many dehcious chamber works, and many piano pieces and songs. Glazounoff handles the full modern orchestra with ease and surety, and understands the best uses of modern tone- color., Endowed with remarkable imaginative power and real inspiration, he has already taken the foremost place, and still has a long career before him. Anton Arensky (1861-1906) was another famous pupil of Rimsky- Korsakoff. A symphony and piano concerto made him known, and resulted in a call to Moscow. His chief fame has been won in opera, with A Dream on the Volga, the one-act Raphael, the ballet A Night in Egypt, and Nal and Damajanti, on an East MUSIC CLUB PROGRAMS FROM ALL NATIONS 153 Indian subject. He has written orchestral and piano works, all marked by real feeling and showing the influence of Schumann and Tchaikovsky. The development of the Russian school has brought to the front a host of men, of whom many would deserve full mention. Taneieff, famed for his classical trilogy Oresteia, held aloof from the national- ists. Wihtol won renown by the use of his native Lett themes. Liadoff has written brilliant piano works, as have also Scriabine and Pachulski among the younger men. Stcherbatcheff is another piano composer, a man of seductive charm and striking audacity in his music. Rachmaninoff has won a high position in quick tempo by con- certos, orchestral numbers, cantatas, piano pieces, and operas. Napravnik, Bohemian by birth, is another opera composer. Solo- vieff is less successful in this field, but IppoUtoff-Ivanoff and Michael Ivanoff have both won laurels in it. Sokoloff has tried orchestral works, while Alpheraky is better known by his songs. Kopyloff is another instrumental composer, while Antipoff devotes himself to the piano. Grodsky and the Blumenfeld brothers have also written well for that instrument. Gretschaninoff has some excel- lent chamber music to his credit, while Liapounoff and Rebikoff have won orchestral fame. A more recent celebrity is Paul Juon, a pupil of Taneieff and Arensky who studied also at Berlin. His second symphony was well received at Meiningen, and he has written some interesting chamber music, as well as many charac- teristic piano pieces. He treats Slavonic material with almost teutonic reserve and discretion, obtaining excellent effects. All these names show the widespread influence of the Russian movement. It may be that the day of great geniuses is passing, and that of lesser talents approaching; for with Glazounoff the music of Russia left the peculiarly national style, and became cosmopohtan again. Be that as it may, the actual achievements of the Russian school are of the highest value, and form the most interesting development in contemporary music. 154 music club programs \from all nations. Questions 1. Describe the Russian folk songs. 2. Who was called " The Russian Palestrina, " and why? 3. What great foreign composers worked in Russia ? 4. Who was the real founder of the Russian school, and what two operas did he compose ? 5. Who were Russia's greatest poets? 6. What two composers represent the transition from Glinka to the modern school? 7. What is Dargomiszky's greatest work, and what other com- poser set the same subject ? 8. What Russian composer was eulogized by Wagner ? 9. What two great Russian composers were not considered truly national by their countrymen ? 10. What are the qualities of Rubinstein's music ? 11. Name three great orchestral works by Tchaikovsky. 12. What are the characteristics of the national Russian school of Balakireff? 13. Describe the qualities of Balakireff's music and name a work by him for orchestra, and one for piano. 14. Name Cui's greatest opera and most important book. 15. Describe the career and works of Mussorgsky. 16. What composer became renowned in surgery? Name his best opera and his most popular orchestral work. 17. Who is the greatest of the five associates, and why? Name his best opera and two of his symphonic poems. 18. Describe the qualities of GlazounofF's music, and name as many of his works as you can. 19. Name as many Uving Russian composers as you can. 20. What do you think of the Russian school, from what you have heard of it ? MUSIC CLUB PROGRAMS FROM ALL NATIONS. PROGRAMS 155 I. Easy 1. Piano. Melody in F Rubinstein a. Songs, (a) The Red Sarafan Folk Song (b) Russian National Hymn Lvoff 3. Violin. Song without words Tchaikovsky 4. Songs, (a) Du bist wie eine Blume (Thou'rt Like a Flower) Rubinstein (b) Der Traum (The Dream) Rubinstein 5. Piano. Melody Rachmaninoff 6. Songs, (a) The Sacrifice * Folk Song (b) Volga Sailor's Song Folk Song 7. Piano. Barcarolle Rubinstein * See Folk Songs of Many Nations, by Louis Elson; also Folk Songs of all Nations, edited by Granville Bantock. II. Medium ±. Piano. Kammenoi-Ostrow Rubinstein 2. Songs, (a) Cherubim Song Bortniansky (b) Legend . Tchaikovsky 3. Violin. Meditation for Violin, Op. 32 Glazounoff 4. Songs, (a) Warum? (Why?) Tchaikovsky (b) Hier ist es schon Rachmaninoff 5- Piano. Etude (based on Chinese theme) Arensky 6. Songs, (a) Der Asra (The Asra) Rubinstiein (b) Schwanenlied Arensky 7. Violin. Selection, "Life for the Czar "(arranged) .... Glinka III. D1FFICUI.T Barcarolle and Novelette, Op. 22 Glazounoff (a) Nur wer die Sehnsucht kennt (None but the Lonely Heart Tchaikovsky (b) Gelb roUt mir zu Fussen (Golden at My Feet) . Rubinstein Romance, Valse and Nocturne, Op. 18 .... Ilynsky (a) Ein einzig Wortchen Tchaikovsky (b) Der Tag entweicht Arensky Suite for Violin and piano. Op. 25 Cui (a) Stales Gluck Arensky (b) Das Veilchen Arensky 7. Piano. Oriental Fantasy, "Islamey" ......... Balakirew 1. Piano. 2. Songs. 3. Piano. 4. Songs. 5. Violin, 6. Duets. 156 MUSIC CLUB PROGRAMS OF ALL NATIONS. 1. Piano. 2. Songs. 3. Piano. 4. Songs. Violin. Songs. 7. Piano. 1. Piano. 2. Songs. 3. Piano. 4. Songs. 5. Violin. 6. Songs. 7. Piano. 1. Piano. 2. Songs. 3. Piano. 4. Songs. 5. Violin. 6. Songs. 7. Piano. ANTON RUBINSTEIN. (1829-1894) Etude, Op. 23, No. 2. (a) Die Lerche (The Lark). (b) Der Asra (The Asra). (a) Tarantella. (b) Valse caprice. (a) Es blinkt der Thau (The Dew it Shines). (b) Morgenlied (Morning Song). Abendstimmung, Op. 11, No. 2. (a) Rathsel. (b) Die blauen Friihlingsaugen. Sonata in E major, Op. 12. PETER ILICH TCHAIKOVSKY. (1840-1893) (a) Nocturne, Op. 10, No. i. (b) Humoreske, Op. 10, No. 2. (a) Nur wer die Sehnsucht kennt (None but the Lonely Heart). (b) Pimpinella. (a) Chant d'automne, Op. 37a, No. 10. (b) Barcarolle, Op. 37a, No. 6. (a) Nur ein Augenblick. (b) Es war zur ersten Fruhlingszeit. Song without Words, Op. ii. No. 3. (a) Immitten des Balles. (b) Standchen des Don Juan. (a) Romance, Op. 5. (b) Danse russe, Op. 40, No. 10. NATIONAL RUSSIA (a) Capriccio Balakireff (b) Humoreske Balakireff (a) Liebesgluck Glinka (b) Erinnerung Glinka (a) Meditation . . Mussorgsky (b) La Couturibre . Mussorgsky (a) Zigeunerlied Lvoff (b) The Sea Borodin Intermezzo Borodin (a) Dis-moi pourquoi Mussorgsky (b) Chant juif . . Mussorgsky Concerto, Op. 30 (arranged) Rimsky-Korsakoff MUSIC CLUB PROGRAMS OF ALL NATIONS. 167 THE LATER RUSSIANS I. Viano. (a) M^lodie, Op. lo RachmaninofF (b) Moments musicals, Op. i6 Rachmaninoff ■A. Songs, (a) O hore, Geliebte Arensky (b) An der See Arensky 3. Piano, (a) Berceuse et £tude, Op. 18 Wihtol (b) Polonaise, Op. 21 Scriabine 4. Songs, (a) Dammening Rachmaninoff (b) Die Antwort Rachmaninoff 5. Violin, (a) Miniature Glazounoff (b) Far niente Cui 6. Songs, (a) Wenn mir Liebe gefehlt Goldweiser (b) Schau's Ihnen ab . Goldweiser 7. Piano, (a) Nocturne, Op. 37 . Glazounoff (b) Scherzo, Op. 18, No. 9 Juon XII. AMERICA Historically speaking, the beginning of American music dates back to the time of the Puritans; but their hymns and psalm tunes were few in number, and exerted no great influence upon future developments, save in the field of sacred tunes. In fact, the Puri- tans set their faces sternly against violin and organ music, though the 'cello was admitted to their services at an early date. One of the earliest native composers was James Lyon (1735-1794), a native of Newark, "patriot, preacher, psalmodist," who published at Philadelphia, probably in 1762, the collection of hymns entitled Urania. The same city saw the birth of Francis Hopkinson (i 737-1 791), composer and harpsichord player, whose song-collection of 1759 and 1760 antedated the work of Lyon. More famous than either was William Billings (i 746-1800), the tanner's apprentice who chalked musiconthe sides of leather while at work. His New England Psalm Singer, or American Chorister appeared in 1770, revised later as The Singing Master's Assistant. Its tunes became widely popular, especially Chester, which was often heard around Revolutionary camp-fires. Four later volumes followed, and many single works. Other early hymn composers were Oliver Holden (who wrote Coronation), Andrew Law (composer of Archdale), Jacob KimbalLJr. (whose collection, The Rural Harmony, was quite successful), Samuel Holvoke (whose chief hymn was Arnheim), and Timothy Swan {Ocean, Poland, and other tunes). One important service of Billings was the formation of a singing club, that afterwards grew into the renowned Stoughton Musical Society. A successful musical jubilee given in King's Chapel, 'Boston, Feb. 22, 1815, after the Treaty of Ghent had concluded the, 158 AMERICAN COMPOSERS VAN DER STUCKEN LOEFFLER MUSIC CLUB PROGRAMS FROM ALL NATIONS. 159 War of 1812, l ed to the beginninpf of the Handel and Haydn Society (M arch 24. 1815). This society has eyer since then seryed as a model tor many similar organizations. It has brought to the front such well-known figures as Lowell Mason , Carl Zerrahn, and Benjamin J. Lang , and has done invaluable service to sacred music in America. Its recent reorganization, which brought in Emil lyTnllpnha iier-a. s leader, has placed it on a higher plane of efficiency than it ever before reached. Lowell Mason (i 792-1872) was at first a bank clerk in Savannah, but the success of an early compilation of sacred music (con- taining many of his own works) led him to adopt a musical career, and in 1827 he became president and conductor of the great Boston organization. As its leader, as composer of many sacred works, as teacher, and as organizer of teachers' conventions, he exercised an invaluable influence upon American music. Not gifted with the highest genius, his attainments were exactly those best suited to make him a leader in his time. The first important impetus was given to orchestral music by Gottlieb Graupner, a German oboe player, whose efforts led to the Boston Philharmonic Society. In 1840 came the Boston Academy Orchestra, after which the Germania Orchestra entered the field, in the middle of the last century. After the war came the work of the Harvard Musical Association, and finally, in Boston, the present Symphony Orchestra, founded in 1881, and led by Heijschel, Gericke, Nikisch, Paur, Gericke again, and after him Dr. Carl Muck. The Musical Fund Society did yeoman service in Philadelphia, from 1820 to 1857, but was hampered by lack of funds. In 1842 came the New York Philharmonic Society, which is still flourishing. Among its leaders have been Uriah C. Hill, its founder, Theodore Eisfeld, Carl Bergmann, Theodore Thomas, Leopold Damrosch, Adolph Neuendorff, Anton Seidl, Walter Damrosch, and Emil Paur, while in recent years it has imported such men as Colonne, Weingartner, Strauss, Henry J. Wood, and Safonoff. 160 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Theodore Thomas (1835-1905) did more than any other man to raise the standard of orchestral music in America. In chamber music, the Mason-Thomas concerts (with William Mason, the famous pianist and son of Lowell Mason) introduced the works of Brahms and Schumann. The Thomas orchestral concerts began in New York in 1864. As leader of many concert tours, as director of the Cincinnati College of Music, and conductor of the great Chicago orchestra, his breadth of taste and unswerving fidelity to the highest ideals of art won him universal homage. Dramatic performances were given in New York as early as 1750, when the Beggar's Opera led the way for other Enghsh ballad- operas. New Orleans possessed a permanent French opera troupe in 1 791, and for many years witnessed excellent performances. In 1793 Philadelphia entered the field. The title of " first American opera " is claimed for several works, among them The Archers, by Benjamin Carr, and Edwin and Angelina, by Pellisier. The first native opera composer of any worth was William H. Fry, whose Leonora was given in 1845. The national music of America may be divided, into two parts, — patriotic songs and plantation songs. The Indian melodies have as yet exerted no important influence on the art, and are valuable chiefly to ethnologists." The national songs are not of deep musical significance. The Star Spangled Banner and America are frankly borrowed from English sources, the real origin of Yankee Doodle is not yet settled. Hail Columbia is rather bombastic, while Keller's American Hymn and other modern efforts are not widely popular. Among the Civil War songs, George F. Root's Battle-cry of Freedom and Tramp, Tramp, Tramp have become permanent. Henry Clay Work achieved even greater success with his Marching through Georgia; Say, Darkies, hab You seen My Massa? and others. John Brown's Body, adapted from an old camp-meeting tune, led to Julia Ward Howe's inspiring words. Dixie was a minstrel tune by Dan Emmett before it became the Southern war song. The real plantation music often partakes of a weirdly impressive MUSIC CLUB PROGRAMS FROM ALL NATIONS. 161 minor character, but of this little has reached the public. The livelier rhythms and plaintive melodies, however, have the distinctive flavor that Dvorak infused into his great New World symphony, and that so many song composers have followed. Most famous among these composers is Stephen C. Foster (1826-1864), whose Old Uncle Ned, My Old Kentucky Home, and The Old Folks at Home are a few of many compositions dear to the popular heart. For many years John K. Paine (1839-1906) has been considered the Nestor of American composers. He was the first to hold a chair of music in America; his work at Harvard began in 1862 and lasted until 1905, being carried on now by Walter Spalding and F. S. Converse. Professor Paine's compositions show a high order of dignity, a true sense of beauty, and the most solid musical learning. There is not much evidence of powerful dramatic expression in them, but they incline rather to a sound conservatism. His Mass in D appeared at Berlin in 1867. Next came the oratorio, St. Peter. A first symphony in C minor was soon eclipsed by the second, or Spring symphony, the composer's favorite work. The Tempest fantasy was the first great American work to appear in the Boston Symphony concerts. Later came the music to (Edipus Tyrannus, remarkable for the loftiness of its inspiration. Subsequent compositions include Phcebus, Arise, Milton's Nativ- ity, The Song 0} Promise, the Columbus March and Hymn (for the Chicago fair), many songs, organ pieces, and chamber works, and the opera Azara. Three other men (Chadwick, Parker, and MacDowell) now share the foremost position. George W. Chadwick (1854- ) has shown a mastery of form and an ability to blend classical dignity with modern passion. Though credited with three sym- phonies, he has attained the highest rank with his overtures, which are heard in concerts on both sides of the Atlantic. Rip Van Winkle, the first, attained a high level, but Thalia and Melpo- mene are even greater, giving the true spirit of comedy and tragedy without becoming too definitely program music. 162 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Chadwick has shown a great versatiKty in his works. They vary from admirable string quartets to the successful popular opera, Tabasco, or from ' the most unassuming songs to the ambi- tious cantata Phoenix Expirans. His piano quintet and his sacred opera, Judith, are other notable works, the latter being full of the most graphic effects. Horatio W, Parker (1863- ) is another who holds an academic position, and under him the musical course at Yale has assumed a growing importance. He, too, has essayed many fields of com- position, and succeeded in them all. His Hora Novissima, a cantata treating the old sacred poem of Bernard de Morlaix, is one of the most important works yet produced in America. The composer reverts to the impressive dignity of the contrapuntal style; but there is not the sUghtest trace of pedantry in it, and its masterly power of expression won it a tnemorable success in the Worcester (England) festival, as well as in the United States. So much was it admired that the composer received an order for a new work to be given at the Hereford festival, for which he wrote A Wanderer's Psalm. The Legend of St. Christopher is another remarkable work, in similar style. His compositions include a symphony, several overtures, a concerto and other works for organ, a string quartet and quintet, piano pieces, songs, and many choral works. But his great oratorio-cantatas alone suffice to win him enduring fame, and have not been equaled in America. Edward A. MacDowell (i86i-)^»») numbered among his teachers such great names as Teresa Carreno and Joachnim Raff, and won the favor and patronage of Liszt by his early piano suites. Since then nearly all of his large works have been heard in Europe. He, too, has been united with the musical movement in the univer- sities, and for some time held the chair of music at Columbia, now occupied by Comehus Riibner. As a composer, critics now place him foremost among all the Americans, and at one time a few enthusiasts rated him the greatest of living music writers. Best among MacDowell's works is the Indian Suite. A notable MUSIC CLi/B PROGRAMS FROM ALL STATIONS. 163 example of orchestral dignity, it would hardly be recognized or understood by the aborigines; but it certainly wins the admiration of more cultivated musicians. Lancelot and Elaine, Hamlet, and Ophelia are other orchestral works, while the two piano concertos grow on repeated hearing. MacDowell's piano compositions, especially his sonatas, deserve the highest praise, and his songs are no less worthy of admiration. Arthur Foote (1853- ') may take rank with the other fore- most men, for the excellent discretion and finished skill of his orches- tral work. His suite in D minor, clean cut, direct, and beautiful in both themes and development, will stand comparison with any work in this form. His D major suite for strings is a lesser work, while The Wreck of the Hesperus and other cantatas are learned rather than dramatic; but his string quartet and piano quintet are always successful, and his songs decidedly beautiful. Other large works by him are Francesca da Rimini and the overture In the Mountains. Edgar Stillman-Kelley (1857- ) is assuredly one of the most original of American composers. His delicacy of style possesses the utmost attraction, and his many playful compositions show inimitable grace. His Gulliver Symphony, his Aladdin Suite, and his Chinese song. The Lady Picking Mulberries, are entirely new in character. His more serious works are also musicianly, — the Macbeth music, for example, and the incidental music for Ben Hur. The light opera Puritania was another remarkable success, at least as far as the music was concerned, while a piano quintet, highly praised by DvoHk, is regarded by its composer as one of his best works. Henry K. Hadley (187 1- ) is of a younger generation, but has already a number of orchestral works to his credit. His two symphonies. Youth and Lije and The Seasons are clear, graceful, and altogether interesting. He has written also three Suites, a festival march, an Heroic overture, and other large compositions, all of them showing a refreshing freedom from morbid tendencies. His symphonic poem Salome is a more recent master work. 164 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Frederick S. Converse (1871- ) is another who seeks orches- tral utterance in the larger forms. He is more in sympathy with the modern colorists, and such works, as the Festival 0} Pan and Endymion's Narrative are spoken of by him as "Romances for orchestra." In these, as in the overture Euphrosyne and his later opera, The Pipe oj Desire, he handles his instruments in masterly fashion. His chief defect is a lack of coherence, but in orchestral rhapsodies this is a fault that leans to virtue's side. Howard Brockway (1870- ) studied much with O. B. Boise, his father-in-law, and at twenty-four was well advanced on the symphonic path. His Sylvan Suite is a charming concert number full of deHcate beauty. Other works by the same composer are a symphony, a symphonic ballad, a violin sonata, and a romance for violin and orchestra. Of greater importance than either of these is Frank van der Stucken (1858- ). His leadership of the Arion Club in New York, his conducting of symphony concerts there and in Cincin- nati, and his activity as head of the Cincinnati College of Music have all been most efficient and valuable. As composer, he is one of the radicals, — one of the very few in America who can handle the full orchestra in the ultra-modern style. His William Ratcliffe, based on the grim tragedy by Heine, is almost as complex and highly colored as the great tone-pictures of Strauss. A later work, entitled Pax Triumphans, is in similar style, and the tri- umph of peace demands about as much noise as the most frenzied battle scene. The opera Vlasda is also an ambitious composition. One of the earlier American composers was Dudley Buck (1839- ), a pioneer in the field of cantata. His Legend of Don Munio, Voyage of Columbus, and Light of Asia are all effective through their melodious style. His long career as organist, in Brooklyn, is reflected in many works for his instrument, such as the triumphal march, two sonatas, and the excellent pedal studies. The religious side is prominent in his vocal works also, such as the cantatas The Coming of the King, The Story of the Cross, and MUSIC CLUB PROGRAMS FROM ALL NATIONS. 165 Christ the Victor, to say nothing of the Forty-Sixth Psalm and many sacred songs. He has won further renown by his music for men's voices, including quartets and choruses as well as songs and ballads. Many consider his works too suave and popular to rank high, but they have been of great importance in the develop- ment of American music. An early composer who ranked as a classic in piano music was Louis Moreau Gottschalk (1829-1869). Educated abroad, and winning fame in many foreign countries, he was far less distinc- tively American than William Mason, and he seemed almost an exotic in this country. His works, too, reflect his French taste, language, and descent, and only the accident of birth, in New Orleans, made him American. But his compositions are those of a true piano-poet, full of fervor and passion and expressive beauty. His works include two operas that were never given, a couple of symphonies, some orchestral marches, and a few songs, but his fame rests wholly on his salon music for piano. William W. Gilchrist (1846- ) upholds the standard in Phila- delphia. A devout formalist, he displays constant ease and skill in his works, even if he does not achieve anything of great power. He has won many prizes, and his works include many of the larger forms, — symphony, suite, cantata, and chamber works, besides songs of real feeling. Another melodious composer is J. C. D. Parker (1828- ), best known by his oratorio. The Life of Man. Benjamin Cutter (1857- ) entered the sacred field with an excellent Mass, and has written also the orchestral ballad Sir Pat- rick Spens and much chamber music. William H. Sherwood (1854- ) is better known as teacher and performer than as composer. Yet he studied abroad, under the most excellent masters (including Liszt), and has pubKshed a number of valuable piano works. Best among them is the Suite Op. 5, while the Scherzo-Caprice, Op. 9, is even more brilliant. There are also Mazurkas, a Romanza appassionata, a Gipsy Dance, an Allegro patetico, and several lesser pieces. 166 MUSIC CLUB PROGRAMS FROM ALL NATIONS. In Chicago Frederic Grant Gleason (1848-1903) held a position of prominence as teacher, critic, and composer. His works include two grand operas, Oiho Visconti and Montezuma, and the sym- phonic poems Edris and The Song of Life, all decidedly modern in effect. Another Chicago composer is Henry Schoenefeld (1857- ), whose clear and unaffected style is well adapted to the plantation flavor that he strives to introduce into his works. A Suite (Op. 15) and the Sunny South overture show this distinctly, while his Rural Symphony received the Dvorak prize, and a violin sonata won a later offering from Marteau. Homer N. Bartlett (1845- ) is another well known piano composer, whose opus numbers run to very high figures. While some of his early works are frankly popular, the later ones show real worth. The Polonaise, Two Mazurkas, Gnomes' Dance, Aeolian Murmurings, Spanish Caprice, and two ballads are among the best of these. His songs, too, both sacred and secular, attain a very high standard. James H. Rogers (1857- ) is another prominent song writer, whose lyrics show strength and dramatic power. He has com- posed a number of piano and violin pieces, which are even more valuable than his vocal works. Of interest are the compositions of Wilson G. Smith (1855- ), a member of the Cleveland colony. His Hommage h Edvard Grieg, Op. 5, brought him warm commendation from the Norwegian master. He has paid homage also to Schumann, Chopin, and Schubert. Echos of Ye Olden Time, Op. 21, is another admirable set of characteristic pieces. The Romantic Studies, the Tarantella, the Mazurka poStique, and the Papillon are but a few of his many excellent works. Adolph M. Foerster (1854- ) is another sterling composer. His piano works include a Valse brillante, a Sonnet, two very original concert 6tudes, and twelve Fantasy Pieces. His songs show a thorough musicianship, as would be expected in a friend of Robert Franz. His larger works include Thusnelda, for orches- tra, a piano quartet, a piano trio, a violin suite, and a dedication march. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 167 More conventional in style is Reginald de Koven, whose Robin Hood, Don Quixote, and other operas have nevertheless been a delight to the public. Of his many songs, O Promise Me is said to have had a sale of a million copies. Far more musically gifted is Victor Herbert (1859- ), who writes light operas by prefer- ence, but whose work in conducting shows him to be a gifted musi- cian. Even in his light operas, such scenes as the Angelus from The Serenade, display a breadth of effect that mark him as above his school. Bruno Oscar Klein (1858- ). has attempted a grand opera with his Kenilworth, but succeeds better in shorter compositions. Silas G. Pratt (1846- ) is a composer who has done much in the line of large patriotic compositions. His opera-cantata Columbus, his Centennial Overture and Homage to Chicago are examples of this tendency. He has produced many other large works; parts of his first symphony have been well received, and his romantic operas, Zenobia and Lucille, were given in Chicago. A New York c6mposer of renown is Henry Holden Huss (1862- ), whose piano concerto, rhapsody for piano and orches- tra, and romance for violin and orchestra show much ingenuity in figure treatment. Harry Rowe Shelley (1858- ) is credited with two symphonies, the symphonic poem. The Crusaders, the overture Francesca da Rimini, a violin concerto, and an opera. Louis A. Coeme (1870- ) is of a younger generation, yet has had time to produce works of real value. His grand opera, Zenobia, was recently given in Germany, while A Woman of Marblehead, treating the Floyd Ireson episode, and the orchestral picture Hiawatha, are worthy attempts to depict American subjects. Otis B. Boise has written symphonies, overtures, concertos, and other large compositions, and has done important educational work in Baltimore. Arthur Bird (1856- ), a pupil of Liszt, has produced a sym- phony, three suites, and many excellent piano works. Templeton 168 MUSIC CLUB PROGRAMS FROM ALL NATIONS. Strong (1855- ) fills his orchestral works and cantatas with a dehcate romantic grace that is altogether charming. His Sintram symphony was given by Seidl, while the symphonic poem Undine is another worthy work. Harvey Worthington Loomis (1865- ) won his spurs as a pupil of Dvorak. In addition to cantatas, burlesque operas, piano pieces, a violin sonata, and songs, he has done some remark- ably interesting work in the field of melodrama and pantomime, in which the music illustrates, a recited poem or a stage ^ scene. Such works as The Song of the P ear-Tree, The Coming of the Prince, the Watteau Pictures, and Sandalphon are in an entirely distinctive school. Another New York composer is Carl V. Lach- mund (1854- ), whose Japanese Overture has won an artistic success. Ernest R. Kroeger (1862- ), leader of the St. Louis colony, has composed a symphony, a suite, Thanatopsis and other overtures, a piano concerto, and much valuable chamber music, besides some excellent piano pieces and songs. Arthur B. Whiting (1861- ) is a composer whose work is always refined and polished. A piano fantasia, a concerto, and lesser instrumental works display some boldness of modulation, but he is at his best in the vocal field, where his settings of Her- ford's Floriana and Kipling's Barrack-Room Ballads show a mastery of opposite styles. Of those who have confined their efforts chiefly to the small forms, Ethelbert Nevin (1862-1901) is one of the best. His songs are delightful in their unforced sweetness, and his piano works, too, show much of the poetry of Schumann. Clayton Johns (1857- ) is another composer whose songs bubble over with sympathetic expression, and his piano and violin works display the same warmth of feeling. Gerrit Smith (1859- ) also finds delight in the exquisite detail needed for the smaller forms. He is known also by his organ works. Victor Harris (1869- ), Nathaniel Irving Hyatt (1865- ), and Charles Fonteyn Manney (1872- ) are prominent among the younger men, while the piano works of John Orth belong to a MUSIC CLUB PROGRAMS FROM ALL NATIONS. 169 somewhat earlier epoch. Benjamin L. Whelpley (1864- ) has won recognition by his musicianly piano pieces, and has written some effective songs also. Rubin Goldmark (1872- ) is a nephew of the great com- poser of that name, and his piano trio caused Dvorak to say, " There are now two Goldmarks." Yet he is American, both by birth and education. His Hiawatha overture is well written and grace- ful if not remarkably great. Other works by him include a Theme and Variations for orchestra, a cantata. The Pilgrimage to Kev- laar, a violin sonata, and several songs and piano pieces. Frederic Field Bullard (1864-1904) is best known to the public by his Stein Song, Barney McGee, and other solos and choruses of similar hearty virility. Yet he was not lacking in a more lyric and expressive style, as the Beam from Yonder Star and My Wife will amply prove. William Arms Fisher (1861- ), another pupil of Dvorak, has little time to devote to composition, but has yet produced three score interesting lyrics, in varied styles, besides some violin music. Among the best songs are Nur wer die Sehn- sucht kennl, The World's Wanderer, Falstaff's Song, Under the Rose, and Sweet is Tipperary. Another vocal composer whose works show a most intense beauty is H. Clough-Leighter (1874- ) whose Silver Rain, Desire, Morningtide, Allah II Allah, Possession, and O Drink the Fragrance of the Rose are but a few of many not- able songs. His cantatas, of which Christ Triumphant is an excellent example, show the most admirable and thorough musicianship. Arthur Farwell (1872- ) was one of the first American composers to develop Indian themes on modern lines. N. Clifford Page (1866- ) has used Japanese melodies successfully in incidental music for plays produced in New York and London. Prominent among American organ composers is George E. Whiting (1842- ), whose sonata and studies for that instru- ment are models of their, kind. He has written, besides orchestral works, four great Masses, a Te Deum, and several worthy cantatas, including The Tale of the Viking and The March of the Monks 170 MUSIC CLUB PROGRAMS FROM ALL NATIONS. of Bangor. His music shows a gift for rich melody, united with unusual vigor in the more martial works. Another notable writer for organ is Samuel B. Whitney (1842- ), whose Anglican ser- vices rank with the very best. Other organ composers worthy of mention are Samuel P. Warren. George W. Warren, H. J. Stewart, (English born) Henry M. Dunham, and Wallace Goodricti. The women composers of America number at their head Mrs. H. H. A. Beach, whose E-flat Mass and Gaelic Symphony are ambitious works of the largest proportions, while numerous can- tatas show a similar largeness of effect. She has written many piano works, but her songs win the most popularity for her. Mar- garet Ruthven Lang is another successful song writer, who has also attempted the larger' forms. Edna Rosalind Park did the same, while Mrs. Clara Kathleen Rogers has written many effective songs. Helen Hood's piano trio and violin suites show her to be a really gifted composer. Julia Rivd-King has published some brilliant piano works, though better known as a peformer. Mrs. C. Merrick (Edgar Thorn) has published several attractive morceaux for piano. Mrs. L. E. Orth, and Mrs. Krogmann are widely known by their teaching pieces, the former having also three operas to her credit. In Chicago, Mrs. Jessie L. Gaynor has won an enviable reputation by her children's songs, while Mary Turner Salter and Mary Knight Wood are other excellent song writers, and Marie von Hammer has composed some excel- lent piano pieces. Among foreigners in America, a composer who handles the largest orchestra with superb mastery of color is Charles Martin Loeffler (1861- ), a native of Alsace. His songs, many of them beautiful, and his Berceuse for violin and piano, are over- shadowed by his larger works. His symphonic poem. The Death of Tintagiles, is a masterpiece of rich coloring, while The Morn- ing Star, based on one of Verlaine's most beautiful poems, is another example of vivid expression. La Villanelle du diable is a highly spiced picture of that satanic worthy prowUng about in MUSIC CLUB PROGRAMS FROM. ALL NATIONS. 17.1 searcli of trouble. The chief defect of Loeffler's work is the cease-, less striving after new harmonic effects, and a consequent lack of continuity; but this cannot obscure the real greatness of his orches- tral music. A foreigner who has gone even farther in search of novel har- monies is Gustav Strube, but the refreshing beauty of his violin concerto shows that he does not always wander far afield. Carl Baermann, pupil of Franz Lachner, is familiar to all as a renowned pianist and excellent teacher; but he deserves increased recognition as a composer, too. His works are nearly all written for piano, and in addition to their technical excellence they are remarkably attractive in material. They are imbued with true musicianship throughout, and show a rare feeling for the highest musical beauty. Another foreigner w^ho has won laurels in America is Hugo Kaun (1863- ), formerly of Milwaukee. Many of his works, such as the Festival March, the symphony, An mein Vaterland, and the symphonic poem Vineta, have been given by Thomas, while a later symphonic poem, Minnehaha, has been well received in all the large musical centres. Bruno Oscar Klein is responsible for the grand opera Kenilworlh, but is better known by his shorter pieces. Emil Liebling, known as a writer in Chicago and New York, has published some excellent piano pieces and songs. Constantin von Sternberg is known by his chamber music as well as his successful teaching. Rafael Joseffy, the well-known pianist, has composed several works -for his instrument. Carl Busch has become known by his long choral works, King Olaj and The League 0} the Alps, and by various orchestral works, songs, and violin pieces. W. C. Seeboeck, Carl Prayer, and Louis Victor Saar have won renown by their piano works, while Fehx Borowski is successful in a lighter vein, and Gastoii Borch has composed some remarkably effective songs. Among the women from other countries, Mme. Helen Hopekirk stands foremost. A sterling musician in every sense, her artistic ability is made 172 MUSIC CLUB PROGRAMS FROM ALL NATIONS. evident by a piano concerto, as well as smaller piano works and songs. With all these names, it must certainly seem that the American school is in a flourishing condition. It may be claimed that we have as yet produced no genius of the first rank, no musica l Titan; but Titans are rare in the twentieth century, and few foreign countries can boast of any. Our musical appreciation is wide- spread, and constantly increasing; we have many gifted composers, working in various fields; and it may well be that the great Ameri- can tone-master is now growing up among us. From these brief reviews, it will be noted that the end of the nineteenth century was marked by a widespread movement toward nationahsm in music. Wherever the folk songs of a nation showed any real musical beauty, composers have arisen to fashion them into schools of well-marked character. Such has been the case in Norway, Sweden, Russia, Hungary, Bohemia, and to some extent Denmark. Those countries whose folk music showed little distinctive flavor, or belonged to the past rather than the present, have had to build anew, by encouraging broad musical education and imitating good models. Among these are Italy, France, England, the Netherlands, Switzerland, and our own heterogeneous America. Germany possesses many styles and models of her own, but there, too, we see a return to the simpler school in the fairy operas. What will be the music of the future ? It is hard to predict. The gorgeous harmonic crashes of Strauss will rule for a while. After them, what? Perhaps nothing new. Every art has its periods of growth and dechne, of fruition and decay. The Htera- ture of imperial Rome languished after the Augustan period. Athens lost her lustre soon after the glorious age of Pericles. Ger- manic poetry has reached its climaxes at intervals of six centuries. It may well be that music, too, has attained its present limits; that we shall have in the immediate future many talents, but no great geniuses. When art becomes widely known, it grows com- monplace, and there is no incentive for the creative impulse. MUSIC CLUB PROGRAMS FROM ALL NATIONS. 173 Yet there are still many beauties to be found. The modern' painter does not throw aside his brush because Raphael and Rembrandt lived; and the modem composer need not despair of success if he translates emotion into tone faithfully, and accord ing to the standards of our later day. \ Questions. 1. Name as many composers of the Revolutionary, period as you can. 2. Describe the work of Lowell Mason and the growth of the Handel and Haydn Society. 3. Describe the rise of orchestral music in the United States. 4. Prepare a brief sketch of Theodore Thomas. 5. Describe the beginnings of opera in this country, and name the first great American opera composer. 6. What can you say of our national music, and of the Civil War songs? 7. Describe the plantation music, name a great song writer who employed its effects, and give a Kst of the composers who have been influenced by it. 8. What are the chief works of John K. Paine? ■ 9. Name and describe the compositions of George W. Chadwick. 10. What is the greatest work of Horatio Parker, and what others has he written ? 11. How does MacDowell rank among American composers, and what are his best works ? 12. Name as many American orchestral composers as you can. 13. In what field of music have the following men worked: Loeffler, Buck, G. E. Whiting, Gottschalk, Baermann? 14. Name five eminent American song writers. 15. What is your estimate of the American school ? 174 MUSIC CLUB PROGRAMS FROM ALL NATI&NS. PROGRAMS I. Piano, 2. Songs. 3- Violin. 4- Songs. 5- Piano. 6. Songs. Piano. 1. Piano. 2. Songs. 3. Violin. 4. Songs. 5. Piano. 6. Songs. 7. Piano. I. Piano. 2. Songs. .s- Violin. 4- Songs. 5- Piano. 6. Songs. 7. Piano. I. Easy Selection from "Children's Album'' . . Mrs. H. H. A. Beach (a) My Old Kentucky" Home .... Stephen C. Foster (b) Auf Wiederseh'n, Op. 12, No. 2 . . Rossetter G. Cole Berceuse i Mrs. H. H. A. Beach (a) A Farewell John K. Paine (b) A Hunting Song Harry Rowe Shelley Amourette Mrs. C. W. Krogmann (a) Ashes of Roses Mary Knight Wood (b) Japanese Lullaby Reginald de Koven Narcissus Ethelbert Nevin II. Medium Suite, Op. 26 Howard Brockway (a) Irish Folk Song Arthur Foote (b) I Cannot Help Loving Thee .... Clayton Johns Elegie, Op. 10 WiUiam Arms Fisher (a) Doris. A Pastoral Ethelbert Nevin (b) The Sea E. A. MacDowell The Flower Seekers Edgar Stillman-Kelley (a) The Lady Picking Mulberries . . . Edgar Stillman-Kelley (b) Fairy's Slumber Song . H. N. Bartlett (a) The Tlyvag Poet L. M. Gottschalk (b) Banjo L. M. Gottschalk III. Difficult Minuet and Gavotte, Op. 18 Henry Holden Huss (a) The Passionate Shepherd to His Love Rubin Goldmark (b) I Drink the Fragrance of the Rose . . H. CIough-Leighter Sonata, Op. 20 Arthur Foote (a) In the Foggy Dew ....... Harvey Worthington Loomis (b) Possession . . H. CIough-Leighter Exultation. Op. 37 Ad. M. Foerster (a) On an April Apple Bough ..... Margaret Ruthven Lang (b) Prospice Sidney Homer Sonata Tragica, Op. 45 E. A. MacDowell' MUSIC CLUB PROGRAMS FROM ALL NATIONS. 175 JOHN KNOWLES PAINE (1839-1906) 1. Piano. Romance, Op. 12. 2. Songs, (a) Beneath the Starry Arch.* (b) A Farewell* , . 3. Fiano. Nocturne, Op. 45. 4. Songs, (a) Early Springtime. (b) I Wore Your Roses Yesterday. 5. Piano, (a) Spring Idyl, Op. 41, No. i. (b) Birthday Impromptu, Op. 41, No. 2. 6. Songs, (a) Matin Song. (b) Moonlight. 7. Piano, (a) Woodnotes, from "In the Country." Op. 26. (b) Village Dance, from "In the Country," Op. 26. * See LMe Songs by Great Composers, pub. by D. Lothrop fii Co. EDWARD ALEXANDER MACDOWELL (1861- ) 3. Piano. 4. Songs. 5. Piano, 6. Songs. 1. Piano. Selection from "New England Idyls," Op. 62. 2. Songs, (a) Deserted^ Op. 9, No. i. (b) Slumber Song, Op. 9, No. 2. (a) Barcarolle, Op. 18, No. i. (b) Humoreske, Op. 18, No. 2. (a) Constancy, Op. 58, No. i. (b) Sunrise, Op. 58, No. 2. 4 hands. Lancelot and Elaine (arranged). (a) Midsummer Lullaby, Op. 47, No. 2. (b) The Sea, Op. 47, No. 7. 7. Piano. Sonata Tragica, Op. 45. HORATIO WILLIAM PARKER {1863- ) 1. Piano, (a) Reverie, from "Six Lyrics." (b) Novelette. 2. Songs, (a) Love's Chase. (b) Night Piece to Julia. 3. Piano, (a) Romania. (b) Scherzino, from "Op. 19." 4. Songs, (a) Oh, ask me not. (b) Egyptian Serenade. 5. Piano, (a) Caprice, from "5 Morceaux caract^ristiques." (b) Scherzo. 176 MUSIC CLUB PROGRAMS FROM ALL NATIONS. 6. Songs, (a) In the Orchard. (b) Three Tokens. 7. Piano, (a) Impromptu. (b) El^gie, from "5 Morceaux caracteristiques. GEORGE WHITFIELD CHADWICK (1854- ) 1. Piano, (a) Congratulation, Op. 7, No. 1. (b) Scherzino, Op. 7, No. 3. 2. Songs, (a) Across the Hills. (b) A Ballad of Trees and the Master. 3. Piano. Drei Walzer. 4. Songs, (a) Good Night. (b) Columbine. 5. Piano, (a) Reminiscence, Op. 7, No. 4. (b) Irish Melody, Op. 7, No. 5. 6. Songs, (a) Walerlily. (b) Allah. 7. Piano. Caprice, Op. ±. ARTHUR WILLIAM FOOTE* (1853- ) I. Piano. Suite in D minor. Op. 15. i!. Songs, (a) On the Way to Kew. (b) O Swallow, Swallow, Flying South. 3. Piano. Five Poems for Piano, after Omar Khayyam. 4. Dtiels. (a) Love Has Turned His Face Away. (b) The Voice of Spring. 5. Violin. Melody for Violin and Piano, Op. 44. '6. Piano, (a) Meditation, Op. 60. , (b) Etude m^lodique, Op. 60. 7. Songs (With violin obbligato). (a) The Sun is Low. (b) Irish Folk Song. * Program suggested by the composer. ELDER COMPOSERS. (Born before i860.) I. I. Piano. Winter Pictures Dudley Buck ■^. Songs, (a) Why Love is King Dudley Buck (b) The Merry Brown Thrush Dudley Buck 3. Piano, 4 hands, (a) Melodie W. W. Gilchrist (b) Styrienne W. W. Gilchrist 4. Sacred Songs, (a) Until God's Day Dudley Buck (b) Refuge of My Soul Homer N. Bartlett MUSIC CLUB PROGRAMS FROM ALL NATIONS. 177 5. Piano, (a) Berceuse L. M. Gottschalk (b) Pasquinade L. M. Gottschalk 6. Songs, (a) O Loving Heart, Trust on . . . . L. M. GottsrfialEr^ (b) Crossing the Bar Homer N,, l|jf ^ft* J. Piano, (a) RSverie po^tique WilliaHj^Mason (b) Danse rustique WilK^ Mason 8. Songs, (a) Autumn W.Ov. Gilchrist (b) Lullaby Wt^. Gilchrist 9. Piano. Folonaise, Op. 38 Homer N. Bartlett ELDER COMPOSERS. II. \::;_2«n^ 1. Piano, (a) Caprice norv^gienne, Op. 40 ... Wilson G. Smith (b) Arabesque, Op. 39 ... . ... Wilson G. Smith 2. Songs, (a) Julia's Garden James H. Rogers (b) A Song of Changing Love . . . James H. Rogers 3. Piano. Valse brillante, Op. 11 ....... . Ad. M. Foerster 4. Songs, (a) My Silent Song Edgar Stillman-Kelley (b) The Lady Picking Mulberries . . . Edgar Stillman-Kelley $. Piano, (a) Impromptu Henry Schoenefeld (b) Prelude Henry Schoenefeld 6. Violin. Barcarolle and Tarantelle, Op. 7, No 2 James H. Rogers 7. Piano. Suite, Op. $ Wm. H. Sherwood 8. Songs, (a) Eldorado Edgar Stillman-Kelley (b) Israfel Edgar Stillman-Kelley 9. Piano, (a) The Flower Seekers, Op. 2, No. i . Edgar Stillman-Kelley (b) The Headless Horseman, Op. 2, No. 3 Edgar Stillman-Kelley ELDER COMPOSERS. III. 1. Piano. (a^Romanza appassionata. Op. 7, No. i John Orth (b) Valse gradeuse, Op. 7, No. 3 . . . John Orth 2. Songs, (a) Autumn Song Clayton Johns (b) Cradle Song Reginald de Koven 3. Piano. Four Poems, Op. 36 Templeton Strong 4. Songs, (a) Put by the Lute Gerrit Smith (b) The Minstrel Boy Harry Rowe Shelley 5. Piano, (a) Canzone Clayton Johns (b) Promenade Clayton Johns 6. Violin. Elegie Clayton Johns 7. Piano, (a) Cradle Song, from "Aquarelles" . . Gerrit Smith (b) Impromptu, from "Aquarelles" . . Gerrit Smith 8. Songs, (a) Einsame Thrane Frank van der Stucken (b) O Jugendlust Frank van der Stucken 9. Piano. Trois morceaux. Op. 31 ,..,.• , Arthur Bird 28 178 MUSIC CLUB PROGRAMS FROM ALL NATIONS. YOUNGER COMPOSERS. I. 1. Piano. Pr61ude Apassionata Henry Holden Huss 2. Songs, (a) Beam from Yonder Star ...... Frederic Field Bullard (b) The Sword of Ferrara Frederic Field Bullard 3. Piano, (a) Barcarolle, from "Water Scenes," Op. 13 . Ethelbert Nevin (b) Dragon-Fly, from "Water Scenes," Op. 13 Ethelbert Nevin 4. Songs, (a) Under the Rose William Arms Fisher (b) Sweet js Tipperary William Arms Fisher 5. Piano, (a) Serenade, Op. 5, No. 3 N. Irving Hyatt (b) Gavotte, Op. 5, No. 2 N. Irving Hyatt 6. Violin. Sonata Ernest R. Kroeger 7. Piano, 4 hands. Suite, in Summer Fields . . . Harvey Worthington Loomi^ 8. Songs, (a) A Love Song Ethelbert Nevin (b) Two Epitaphs Harvey Worthington Loomis 9. Piano, (a) Idylle, from "Six Bagatelles" . . . Arthur Whiting (b) Caprice, from "Six Bagatelles" . . Arthur Whiting YOUNGER COMPOSERS. II. 1. Piano, (a) Ballade Howard Brockway (b) Nocturne Howard Brockway 2. Songs, (a) Wenn ich in deine Augen seh . . . Henry K. Hadley (b) I plucked a Quill from Cupid's wing Henry K. Hadley 3. Piano. Scherzando and Quasi-fantasia, from Suite, Op. 2 Frederick S. Converse 4. Songs, (a) Silver Rain H. Clough-Leighter (b) I Drink the Fragrance of the Rose , . H. Clough-Leighter 5. Piano. Selection from "Twilight Fancies," Op. 7 Rubin Goldmark 6. Violin. Sonata, Op. 9 Howard Brockway 7. Piano. Six tone Pictures Op. 14 Henry K. Hadley 8. Songs, (a) Ask me no more ...... . . Frederick S. Converse (b) Indian Serenade Frederick S. Converse 9. Piano. Character Pieces, from "Evadfie" . . . Louis A. Coerne WOMEN COMPOSERS 1. Piano, (a) Menuet italien. Op. 28, No. 2 . . . Mrs. H. H. A. Beach (b) Danse des fleurs, Op. 28, No. 3 . . Mrs: H. H. A. Beach 2. Songs, (a) Eros Margaret Ruthven Lang (b) My Lady Jacqueminot Margaret Ruthven Lang 3. Piano, (a) Pofeme d'anioiu: Marie von Hammer (b) Menuet Marie von Hammer MUSIC CLUB PROGRAMS FROM ALL NATIONS. 179 4. Stmgs. (a) Serenity Mary Turner Salter (b) Hymn of Trust Mrs. H. H. A. Beach 5. Piano, (a) Festival Minuet, Op. 17, No. i . . Mrs. L. E. Orth (b) An Oriental Scene, Op. 17, No. 3 . Mrs. L. E. Orth 6. Violin. Romance, Op. 23 Mrs. H. H. A. Beach 7. Piano, (a) Amourette Mrs. C. Merrick (Edgar Thorn) (b) Spring Idyl Margaret Ruthven Lang 8. Songs, (a) Clover Blossoms Clara Kathleen Rogers (b) The Convert Helen Hood 9. Piano. Polonaise h^roique Julia Riv^-King FOREIGNERS EST AMERICA I. Piano, (a) Serenade, Op. 34, No. i ..... Emil Liebling (b) Elfin Dance, Op. 34, No. 2 . . . . Emil Liebhng .i. Songs, (a) Bonnie Wee Thing, Cannie Wee Thing Helen Hopekirk (b) A Lament Helen Hopekirk (c) O Can Ye Sew Cushions? Helen Hopekirk 3. Piano, (a) Les Creoles, Op. 68, No. 2 Bruno Oscar Klein (b) At the Window, Op. 68, No. 4 . . . Bruno Oscar Klein 4. Songs, (a) Thou Gavest Me a Rose, Op. 80, No. i Gaston Borch (b) Lullaby, Op. 90, No. 2 Gaston Borch (c) If We Must Part, Op. 74, No. -^ . . Gaston Borch 5. Piano. Serenade in F sharp Helen Hopekirk 6. Violin. Berceuse Charles Martin Loeffler 7. Piano. Variations and Fugue, in G, Op. 29 . . Louis Victor Saar 8. Songs, (a) Nae Shoon to Hide Her Tiny Taes . Bruno Oscar Klein ■ (b) To the Wood-Lark Bruno Oscar Klein 9. Piano. Toccata in A, Op. 36, No. 2 Carl Preyer B S-38. INDEX 0F COMPOSERS Adam de la Hale, 34. Akerberg, Erik, no. Albrechtsberger, J. G., 10. Alfven, Hugo, no. AUitsen, Frances, 73. Allon, Erskine, 72. Andersen, Joachim, 122. Arcadelt, Jacob, 81. Arensky, Anton, 152. Arne, Dr. Thomas A., 68. Ashton, Algernon, 73. Attrup, Karl, 122. AuBER, D. F. E., 37. AxTLiN, Tor, no. Bach, Carl P. E., 7. Bach, John Sebastian, 3, 9, 39. Ba,ermann, Carl, 171. Balakireff, Mili, 147, 148. Balfe, M. W., 6g. Bantock, Granville, 72. Bartlett, Homer N., 166. Beach, Mrs. H. H. A., 170. Beekman, Bror, no. Beethoven, Ludwig van, 9, 38. Bellini, Vincenzo, 55. Bendix, Victor, 121. Benedict, Sir Julius, 69. Benoit, p. L. L., 82. Beriot, Charles de, 37, 53, 86. Berlioz, Hector, 37- Berwald, Franz, 104. Billings, William, 158. Bird, Arthur, 167. Bishop, Sir Henry, 68. Bizet, Georges, 38. Blockx, Jan, 85. Boieldieu, Francois, 36. Boise, Otis B., 167. Bono, Arrigo, 57. Borch, Gaston, 171. Borodin, Alexander, 147, 149, 150. Borowski, Felix, 171. Bortniansky, Dimtri, 142. Bossi, Marco Enrico, 60. Brahms, Johannes, 23. Bridge, Sir John Frederick, 70. Bridges, Robert, 73. Brockway, Howard, 164. Bruch, Max, 28. Bruneau, Alfred, 43. Buck, Dudley, 164. Bull, Ole, gi. Bullard, Frederic Field, 169. Buongiorno, 60. Busch, Carl, 171. Buxtehude, Dietrich, 116. Byrd, William, 65. Chabrier, A. Emmanuel, 41. Chadwick, George W., 161. Chaminade, Cecile, 41. Charpentier, Gustav, 43. Chausson, Ernest, 43. Cherubini, Luigi, 36. Chopin, Frederic, 9, 135. Cimarosa, Domenico, 53, 54. Clough^Leighter, H., 169. Coerne, Louis A., 167. Coleridge-Taylor, S., 72. Collan, Karl, 112. Converse, Frederick S., 164. 181 182 INDEX OF COMPOSERS Corelli, Arcangelo, 7, 37, 52. CosNELius, Peter, 24. CoTjPERiN, Francois, 35. CowEN, Frederic H., 70. CRtrsELL, Bernhardt, hi. Ctrl, Cesar, 141, 147, 148, 149. Cutter, Benjamin, 165. D'Albert, Eugen, 26. Damrosch, Leopold, 159. Daromiszky, Alex. S., 144. David, F^licien, 37. Debussy, Achille Claude, 43. De Koven, Reginald, 167. , Delibes, C. P. Leo, 41. Des Pees, Josquin, 80. DiBDiN, Charles, 68. Dohnini, Ernest van, 135. Donizetti, Gaetano, 55. Doppler, A. F., 134. Dubois, F. C. Theodore, 41. DUFAY, GuILLAUME, 65, 80. Dukas, Paul, 44. Dunham, Henry M., 170. Dunstable, John, 65. dussek, johann l., 127. Dvorak, Antonin, 129. Enna, August, 120. Eccard, Johannes, i!. Elgar, Sir Edward W., 71. Esterhazy, Prince Nicholas, 8, Faltin, Richard, 112. Farwell, Arthur, i6g. Faur^, Gabriel U., 44. FiBiCH, Zdenko, 131. Fisher, William Arms, 169. Foerster, Adolph M., 166. Foote, Arthur, 163. Foster, Stephen C, 161. Franchetti, Alberto, 59, France, Cesar, 41. Franco of Cologne, i, 49, 64. Franz, Robert, 22. Ganz, Rudolf, 125. Gade, Neils W., 118. Gaynor, Mrs., Jessie L., 170. German, Edw^ard, 74. Geiicke, Wilhelm, 159. Gibbons, Orlando, 65. Gilchrist, William W., 165. GiLSON, Paul, 83. GLAzouNOFr, Alexander, 152. Gleason, Frederic Grant, 166. Glinka, Michael I., 143. Gluck, C. W. von, 6, 36. Godard, Benjamin, -41. Goetz, Hermann, 23. Goldmark, Carl, 25. Goldmark, Rubin, 169. Goodrich, Wallace, 170. gottschalk, louis moreau, 164. Gounod, Charles F., 39. Graupner, Gottlieb, 159. Gregory the Great, 49. Gr^ry, A. E. M., 35. Grieg, Edvard Hagerup, 95. Grondahl, Agaihk Backer, 98. Guido of Arrezo, 49. Guilmant, F. Alexandre, 41. Hadley, Henry K., 163. Halevy, J. F. F.^E., 37. Hallen, Andreas, 107. Hallstrom, Ivar, 106. Hamerik, Asger, 123. Hammer, Marie von, 170. Handel, George Frideric, 3, 5, 67. Hardelot, Guy d', 73. Harris, Victor, 168. Hartmann, Emil, 117. Hartmann, J. P. E., 117. Hausegger, Friedrich von, 28. Hawley, Stanley, 73. INDEX OF COMPOSJ^RS. 183 Haydn, Joseph, 7, 10. Herbert, Victor, 167. Heniy of Meissen, i. Henschel, Georg, 159. Harold, L. J. R, 37. Hinton, Arthur, 73. HoFMANN, Josef, 136. HoL, Richard, 87. Holbrooke, Joseph, 74. Hobn&s, Augusta, 41. Hood, Helen, 170. Hopekirk, Mme. Helen, 171. Hopkinson, Francis, 158. Hubay, Jeno, 135. HuBER, Hans, 124. HUMPERDINCK, EnGELBERT, 2$. Huss, Henry Holden, 167. Hyatt, Nathaniel Irving, 168. Hyllsted, AtrotrsT, 122. Indy, Vincent d', 42. Jaqttes-Dalcroze, Emile, 124. Jannequin, Clement, 81. Jarnefelt, Armas, 112. Johns, Clayton, 168. Joseffy, Rafael, 134, 171. Josephson, 105. Kapfebnan, Arrh^n von, 104. Kaun, Hugo, 171. Keiser, Reinhardt, 3, 5. Kjertjlf, Halfdan, 92. Klein, Bruno Oscar, 167, 171. Kroeger, Ernest R., 168. Krogmann, Mrs. C. W., 170. Kuhnau, Johann, 7. Lachmund, Carl V., 168. Lalo, Edouaid V. A., 41. Lang, B. J., 159- Lang, Margaret Ruthven, 170. Lassen, Edttard, 120. Lasso, Orlando di, 4, 50, 81. Lasson, Per, 99. Lehmann, Liza, 73. Lekett, Guillaume, 84. Leoncavallo, R., 58. Leschetizky, Theodor, 137. Liebling, Emil, 171. Lindblad, Adolf, 106. Lindblad, Otto, 105. Lindmann, O. A., 91. LiNDMANN, LtJDWIG M., pi. Liszt, Franz, 38, 133. Loeffler, Charles Martin, 170. Loomis, Harvey Worthington, 168. Lortzing, G. A., 20. Lucas, Clarence, 74. LuLLY, Jean Baptiste, 34. Luther, Martin, z. Lyon, James, 158. MacCunn, Hamish, 73. MacDowell, Edward A., 162. Macfarren, Sir George, 70. Macfarren, Walter Cecil, 70. Mackenzie, Sir Alex. Campbell, 70. Mahler, Gustav, 28. Manney, Charles Fonteyn, 168. Marschner, Heinrich, 20. Mascagni, Pietro, 58. Mason, Lowell, 159. Massenet, Jules E. F., 40, 41. Mattheson, Johann, 3, 5. Mehul, Etienne Henri, 36. Mendelssohn, Felix, 21. Merrick, Mrs. C, 170. Meyerbeer, Giacomo, 20, 37. Mollenhauer, Emil, 159. Monsigny, Pierre Alex., 35. Monteverde, Claudio, si- Morley, Thomas, 66. Mortelmans, 86. Moszkowski, Moritz, 137. Mozart, Wolfgang Amadeus, 8, 71. 184 INDEX OF COMPOSERS Muck, Dr. Carl, 159. Mussorgsky, Modest P., 147, 149. Napravonik, Eduard, 132. Naumann, Emil, 19. Nevin, Ethelbert, 168. Nicolai, Otto, 20. Nikisch, Arthur, 159. NOEDRAAK, RiKARD, 93. Norman, LuDviG, 107. Odington, Walter, 64, 79. Ohlstrqm, O., 104. Okeghem, J., 80. Olsen, Ole, 99. Orth, John, 168. Orth, Mrs. L. E., 170. Osiander, Lucas, 2. Pachelbel, Johann, 2. Paderewski, Ignace Jan, 136. Paganini, Niccolo, 37, 53. Page, N. Clifford, 169. Paine, John K., 161. Paisiello, Giovanni, 53, 54. Palesteina, Giovanni, 4, 50, 82. Park, Edna Rosalind, 170. Parker, Horatio W., 162. Parker, J. C. D., 165. Parry, Sir Charles H. H., 69. Paur, Emil, 159. Pergolesi, G. B., 52. Peri, Jacopo, 7, 51. Perosi, dom Lorenzo, 59. Perotinus, Magnus, 79. Peterson-Berger, 109. Piccinni, Nicola, 54. Piern6, Gabriel, 44. Praetorius, Michael, 2. Pratt, Silas G., 167. Preyer, Carl, 171. Puccini, Giacoma, 59. Purcell, Henry, 7, 67. Rachmaninoff, S. V., 153- Raff, Joseph Joachim, 19. Rameau, Jean Philippe, 35. Reger, Max, 28. Remenyi, Eduard, 134. Reyer, Louis-Etienne E., 41. Reznicek, Emil Nikolaus von, 131. Rimsky-Korsakoff, 147, 150. Riv6-King, Julia, 170. Roentgen, Julius, 87. Rogers, Mrs. Clara Kathleen, 170. Rogers, James H., 166. Rore, Cjfprian de, 81. Rossini, Gioachino Antonio, 37, 55. Rubenson, Albert, 105. Rubinstein, Anton Gregor, 145. Saar, Louis Victor, 171. Sachs, Hans, 2. Safonoff, W. de, 159. Saint-Saens, C. Camille, 39. Salomon, J. P., 8. Salter, Mary Turner, 170. Scarlatti, Allesandro, 51. Scarlatti, Domenico, s, 7; Si. Scharwenka, Philipp, 137. Scharwenka, Xaver, 137. Scheldt, Samuel, 2. Schillings, Max, 26. Schjelderup, Gerhard, 99. Schoenefeld, Henry, 166. Schubert, Franz Peter, ii. Schulz, Johann Peter, 116. Schumann, Robert, 22. Schytte, Ludvig, 123. Scott, Cyril, 74. Seeboeck, W. C, 171. Seidl, Anton, 159. Selmer, Johan, 94. Senfl, Ludwig, 2. Seroff, Alj;xander N., 144. Sgambati, Giovanni, 58. Shelley, Harry Rowe, 167. Sherwood, William H., 165. INDEX OF COMPOSERS 185 Sibelius, Jan, 113. SiNDiNG, Christian, 97. Sjogren, Emil, 108. Skkoup, Franisek, 127. Smetana, Bedrich, 128. Smith, Alice Mary, 73. Smith, Genit, 168. Smith, Wilson G., 166. Soderman, Axjgitst, 106. Somervell, Arthur, 73. Spohr, LuDWiG, 19, 37, S3. SpoNTEsn, Gasper, 36. Stainer, Sir John, 70. Stanford, Chas. Villiers, 6g. StcherbatchefF, Nicolas de, 153. Steggall, Reginald, 73. Stenhammer, Wilhelm, log. Sternberg, Constantin von, 171. Stewart, H. J., 170. Stillman-KellEy, E., 163. Stojowski, Sigismund, 137. Strauss, Richard, 26. Strong, Tempelton, 168. Strube, Gustav, 171. Stucken, Frank van der, 164. Suk Josef, 132. Sullivan, Sir Arthur, 74. SVENDSEN, JOHAN SEVERIN, 97. Tallys, Thomas, 65. Taneiff, Sergei, 153. Tartini, Giuseppe, 37, 52. Tausig, Carl, 137. Tchaikovsky, Peter Ilich, 145, 146. Theile, Johann, 2. Thomas, Ambroise, 39. Thomas, Arthur Goring, 70. Thomas, Theodore, 159. Thrane, Waldemar, 91. TiNEL, Edgar, 84. Verdi, Giuseppe, 56. Vieuxtemps, Henri, 37, 53, 86. Wagner, Richard, 24, 38. Wagner, Siegfried, 26. Wallace, William, 72. Wallace, Wm. Vincent, 69. Walther, Johann, 2. Wambach, Emile, 86. Warren, George W., 170. Warren, Seimuel P., 170. Weber, Carl Maria von, 18. Wegelius, Martin, 112. Weingartner, Felix, 28. Wennerberg, Johann F. C, 105. Weyse, Christolph, 117. Whelpley, Benjamin L., 169. White, Maude Valerie, 73. Whiting, Arthur B., 168. Whiting, George E., 169. Whitney, Samuel B., 170. Widor, Charles M., 41. Wieniawski, Henri, 136. Willaert, Adrien, 81. Winding, August, 122. Winge, Per, 99. Winter-Hjlem, Otto, 99. Wolf-Ferrari, Ermanno, 60. Wolf, Hugo, 26. Wood, Mary Knight, 170. Wood, Henry J., 159. Zerrahn, Carl, 159. The Musicians Library An unrivaled series of splendid volumes, edited with authority and engraved, printed, and bound with surpassing excellence. Each volume con- tains one or more portraits and an elaborate critical and biographical introduc- tion, with bibliography. VOLUMES ISSUED Bach Vol. I. Shorter Piano Compositions Ed. by Ebenezer Prout Bach Vol. II. Larger Piano Compositions Ed. by Ebenezer Prout Brahms Forty Songs Ed. by James Huneker Chopin Forty Piano Compositions Ed. by James Huneker Franz Fifty Songs Ed. by W. F. 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