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 ST. JIIES' MILL. 
 
 Thursday Evening, May 6th, i88o. 
 
 Historical and JInalytical Programme 
 
 OF 
 
 PIANOFORTE RECITAL, 
 
 TO BE GIVEN BY 
 
 MR. O. A. KING, 
 
 PIANIST TO 
 
 H. R. H. PRINCESS LOUISE. 
 
 WRITTEN BY 
 
 MR. J. W. F. HARRISON. 
 
PROGRAMME. 
 
 FANTASIA AND FUGUE. G mitwy (Organ). Arranged by 
 Liszt Bach — 1685, 1750. 
 
 A detailed analysis of the great G minor Fantasia and Fugue 
 would require more space than can be devoted here, and be more cal- 
 culated to confuse than assist, as a clear idea of the work could not 
 be gained without a closer acquaintance with it than is possible at one 
 hearing. 
 
 Originally written for the organ, its chief interest on the piano con- 
 sists in its partial unsuitability for the instrument. What is, in the 
 original, divided between hands and pedals has to be all produced by 
 the hands alone, and Liszt in making this arrangement has displayed 
 great ingenuity, particularly in the Fantasia; which presents very great 
 technical difficulties, and is a noble specimen of Bach in his freer style 
 of composition. 
 
 The Fugue is transcribed from the organ edition without alteration, 
 being note for note the same ; the left hand has some exceedingly dif- 
 ficult work, as it has to play the pedal part as well as its own. The 
 subject of the Fugue is as foUowG : 
 
 
 N ^Uj 
 
 I I 
 
 The answer, according to usage, is the same theme repeated imme- 
 diately a fourth below, accompanied by the counter-subject 
 
 These, together with an episode or third subject, 
 
form the text of the Fugue, which is worked out on these themes alone 
 without the introduction of any fresh matter. By careful attention to 
 the ijerformance, and comparing it with these illustrations, a fair idea 
 may be gained of the manner in which such a work is constructed. 
 PRELUDE AND TOCCATA. Op. 57 Vincenz Lachner, 1811. 
 
 Vincenz Lachner belongs to a family all the members of which are 
 remarkable for great musical ability and also high moral worth and 
 excellence of character. His father was an organist at Rain in Bavaria, 
 was poor, but highly respected. All his brothers and sisters have been 
 successful musicians, es]jecially Franz, the greatest of the family. 
 Vincenz, the youngest, born in 181 1, was brought up at the Augsburg 
 Gymnasium, became organist at Vienna, afterwards Court Kapell- 
 meister at Mannheim, from 1836 to 1873, when he retired on a pen- 
 sion. His works are much admired by his countrymen, and the one 
 before us is certainly in parts almost worthy of J. S. Bach. 
 
 The term '• Toccata " (from '' toccare " to touch,) has been applied 
 to various forms of music. On the organ it is usually a very long 
 briUiant cadence for either hands or pedals, treated as a solo, and is 
 often used by Bach as an introduction to a P\igue. On the piano it 
 has a similar character ; the piece consists of one long passage which 
 forms the subject, and is accompanied by whichever hand is unoccu- 
 pied by the working out of the passage. The one before us opens 
 with a majestic prelude in D minor, almost choral in effect, and, after 
 working up with a bass in octaves, leads by a fine passage of chords to 
 a most impressive climax introducing us to the subject of the Toccata 
 
 This does not recur as though it were a melody or fugue subject, but 
 works itself out in fresh ramifications, leading to a resumption of the 
 prelude which returns unexpectedly with the happiest effect. After 
 this the Toccata proceeds exactly as at first in D minor until th« 
 bass takes possession of it when, by the introduction of an E flat 
 where E natural had formerly been heard, the key is changed to B 
 flat major, and the whole course of the subject altered. From here 
 it progresses through G minor, then by the minor ninth on C to F 
 major and so to the relative minor in which, with ever increasing bril- 
 liancy and rapidity, it progresses to the end. 
 
BALLADE. Aflat. 
 
 .Chopin, 1809-1849 
 
 The term ^a//a</ originally applied to a song containing a narrai ve 
 of some kind, and Chopin seems to have adopted this meaning most 
 fully in his Ballades^ of which form of pianoforte music he may almost 
 be called the creator. They are all pieces of great brilliancy, and 
 may be admired even on the ground of the ample opportunity they 
 offer for the display of technique., but no musical person of sensihility 
 can fail to perceive that there is in all of them, but particularly in this, 
 something behind the music, a train of thought and emotion far 
 beyond the mere form into which it is crystallized. If the daily joys 
 and sorrows of any ordinary person of feeling could be portrayed in 
 music they would be tt.uching and worth listening to ; but when so 
 morbid and sensitive a mind as Chopin's, seconded by a genius so 
 transcendant, tells us in music of all he suffers and thinks, it is worth 
 while trying to get below the form and to penetrate, so far as we may, 
 the poet's mind. 
 
 This, however, each person must interpret for himself, all that 
 analysis can do is to simply point out musical beauties of which this 
 piece is full, showing a wonderful power, not alone of poetic expres- 
 sion but also of musical form. This perfect control of form is the 
 more surprising as Chopin's subjects are often of so vague and fitful a 
 character that his music seems to hover on the confines of formless- 
 ness. His harmonies and changes are so startling that we often 
 wonder where he is leading us, but he, nevertheless, works his ideas 
 out clearly to a logical and grand conclusion. 
 
 The first few bars ef this piece must be listened to attentively as 
 the subject they contain is important, and recurs more than once. It 
 is of a graceful and almost playful character, giving little indication 
 of the cHmax of passion to which it is to be worked up later. 
 
 
 «— 5!1- 
 
 z&iSizzin: 
 
 
 -) 1——; 
 
 This is rudely interrupted by a harsh blow of an octave A flat for 
 both hands, followed by a very broken subject in octaves. This closes 
 with a few brilliant passages leading to ^a short resumption of the 
 
6 
 
 opening theme already given. After a sombre, mysterious finish in 
 the l)ass, and a long pause on the common chord of the key, the real 
 subject, on which most of the piece is founded, enters pianissimo in 
 the follow iiig dainty manner : 
 
 Iff: :e 
 
 -^ 
 
 
 ^z^^^zi± 
 
 
 The careless quaintness of this commencement soon deepens into 
 solemn earnest, and from that to fervid passion. During siicty-four 
 bars this wonderful theme goes through every shade of emotion from 
 light abandon to excitement and deep despair. This again resolves 
 itself into bravura passages for twenty-eight bars m.ore, after which 
 the subject recurs, always in the same dreamy manner but this time 
 on different notes. 
 
 From here it is developed from A flat to C sharp minor and back 
 to A flat, in which it is varied in every imaginable manner, in the bass 
 and in the treble alternately. At last, accompanied by a gusty threat- 
 ening bass, it works its way up vehemently in the treble with a grand 
 succession of chords until, as a climax, the almost forgotten theme 
 with which the piece opened bursts forth, now no longer placid, but 
 advancing with resistless force to the close. 
 
 No words can do justice to the surpassing beauties of this work. 
 Putting poetic meaning on one side, its musical form, notwithstand- 
 ing its fantastic character and numerous changes, Is simply wonder- 
 ful. It almost defies analysis, for quotations sufficient to give an 
 adequate idea of it would involve printing the piece entire. 
 
 BERCEUSE Chopin. 
 
 This forms an excellent contrast to the foregoing. Its chief pecu- 
 liarity is in the bass, which has throughout the same fundamental 
 note and almost the same chords in 2very bar. This gives it a placid 
 and monotonous effect admirably suited to the title. The treble coa- 
 
sists of a quiet melody afterwards varied by passages whose extreme 
 delicacy and rapidity require perfect execution, and render the piece, 
 although a quiet one, a veritable tour deforce. 
 
 VALSE CAPRICE Rubinstein. 
 
 Anton Rubinstein, whom it is safe to call, with the exception of 
 Liszt, the greatest pianist in the world, has also a high position as a 
 composer, both for his own instrument and the orchestra. His vocal 
 music also is very fine, and his duets for two female voices are 
 remarkable, being so thoroughly original in style and treatment as to 
 form an entirely new school in that branch of composition. The 
 Valse Caprice is an instance of what a merely light style of music can 
 be made in the hands of a great artist. It is particularly brilliant, and 
 at the same time worked out with consummate skill. 
 
 *' CARNAVAL," Scenes Mignonnes surQuatre '^oXt^... Schumann. 
 1810 1856. 
 
 Pr^ambule, Pierrot, Arlequin, Valse noble, Eusebius, Florestan, 
 Coquette et Replique, Sphinxes, Papillons, A. S. C. H.,S. C. H. A., 
 (Lettres Dansantes), Chiarina, Chopin, Estrella, Reconnaissance, 
 Pantalon et Colombine, Valse Allemande, Paganini, Aveu, Promen- 
 ade, Pause, Marche des ** Davidsbiindler " contre les Philistines. 
 
 Although many of Schumann's compositions have greater artistic 
 worth than the " Camaval," a peculiar interest attaches to this work 
 through its being, more than his others, connected with his own inner 
 life. The " Quatre Notes" on which he has built these "Scenes 
 Mignonnes " are A. S. C. H., which spell the name of a Bohemian 
 town which was endeared to him by pleasant associations, and are 
 also the only letters in his own name which form part of the musical 
 scale. 
 
 The German way of naming a flat is to place the letter S after the 
 name of the note, thus, Es signifies E flat, and when pronounced 
 sounds like S, and is used to denote that letter by Schumann. The note 
 B is called by the Germans H, and so he has two means of spelling 
 the name of his favorite town in music. 
 
 ■s 
 
 5 
 
 A. Eb. C. H. 
 
 As. C. H. 
 
 :i~_znr:z2: 
 
 and 
 
 :C^zz2: 
 
 :s2: 
 
 I 
 
 both of which he uses ; and it is interesting to observe, whilst com. 
 mencing so many of these sketches with the same four notes, how 
 
8 
 
 completely he avoids monotony or any appearance of self-plagiarism. 
 Thus, " Arlequin " commences 
 
 A. Es. c. ir. 
 
 I — 5 IS. •- 1 
 
 " Florestan." 
 A. Eb. C. 11. 
 
 ITie Sphinxes stalk along the key-board with ponderous stony tread 
 to the same notes 
 
 g^^^ 
 / 
 
 v^n^ 
 
 -H- 
 
 Es. 
 
 C. 
 
 U;^4i:14z2tb 
 
 H. 
 
 A. 
 
 ii^itt-nitit:: 
 
 l^V 
 
 Ab. 
 
 ^(^^ 
 
 I 
 
 H. 
 
 tntt 
 
 A. Es, C. H. 
 
 followed in graceiul contrast by the ** Papillons," 
 
 A. Es. C. H. 
 
 WM^MM 
 
 The " Valse noble," " Lettres Dansantes," " Estrella," " Reconnais- 
 sances/' " Pantalon et Colombine," ** Valse Allemande," " Aveu," 
 " Promenade," and " Davidsbiindler " March, all open with the same 
 four notes, and yet in no case is there sam'^ness or even resemblance. 
 Besides the interest attaching to this peculiar construction certain 
 numbers have special meanings. Florestan and Eusebius represent 
 himself, — Eusebius the calm and contemplative, Florestan the impas- 
 sioned, side of his nature. 
 
 These names were often used as noms de plume^ and appended 
 to the articles which he wrote for the musical journal published in 
 Leipsic and edited by himself " Chiarina " stands for Clara Wieck, 
 afterwards his wife. " Estrella," for Ernestine, an earlier love, whose 
 engagement with him was broken off. The exciting '• March of 
 David's Spearmen against the Philistines " is an allegorical picture of 
 the progress of true art over all obstacles, 
 
 Schumann himself describes the " Davidsbiindler " as a secret society 
 
existing only in his own imaginative brain, and devoted to the de- 
 struction of all that can hinder the progress of music, especially that 
 antiquated pedantry known as " Philistinism," which is so thoroughly 
 opposed to all true art. 
 
 In this march •' Philistinism " is symboUized by the " Grandfather's 
 Dance," an old-fashioned German air which appears in the bass, 
 
 ^ ' J- 
 
 li^^gi^lii^ 
 
 F:=t^:3:zi t 
 
 then gathers strength and appears in the treble, stopping for a moment 
 the course of the *' Davidsbiindler," who, however, quickly stifle 't 
 and it disappears, to reappear later, when it finally receives its quietus, 
 after which the victors advance with ever increasing enthusiasm and 
 excitement to the close. The whole march is full of wild fun, min- 
 gled with grim earnest. 
 
 As a framework for these person.al remii^cences the '* Camaval " 
 has been chosen with its usual chii'^rvCteril^' Pierrot," *' Arlequin," 
 ** Pantalon et Colombine." We have also a Preamble in which some 
 of the subjects of the " Davidsbiindler " March are anticipated, and a 
 promenade, in which our fancy roar is among the masquers ; and, 
 whilst we join the crowd in one street, we hear strange snatches of 
 sounds from distant groups until slowly withdrawing from the scene 
 the sights and sounds become fainter in an exquisite piario phrase, 
 and the battle of David's Spearmen begins. 
 
 Mingled with all these are a few pieces, — " Reconnaissance," 
 " Aveu," &c., simply miscellaneous compositions which the motley 
 character of the work enabled him to insert without incongruity. 
 
 This fine work is most interesting, musically as well as poetically. 
 It is so brilliant as to call for a high degree of virtuosity in the player, 
 is full of grace, passion and ingenuity ; it teems with imagination and 
 with that wonderful power of description in which Schumann has 
 rarely been rivalled, whether he describes actual scenes or mental 
 pictures. In " Pierrot" we see the clown moving before us, even to 
 his shambling gait, suggested by the quaint accent on the usually un- 
 accented part of the bar. As " Arlequin" flits by we catch the glim- 
 mer of dazzling spangles, as with agile bound he disappears, all too 
 quickly. 
 
10 
 
 In the Aveu " we have another class of musical poem, an exqui- 
 site piece of melody, ful of tenderness and passion, a mere fragment, 
 but one which speaks volumes. 
 
 The fight between the " Davidsbundler " and Philistinism has 
 b»ien long and bitter, and has resulted in the genius of Schumann 
 resting long in the shades of non-appieciation ; every year, however, 
 makes his music more popular and brings his name nearer the place 
 it should occupy as one of the greatest composers the world has ever 
 seen. 
 
 .Oliver A. King. 
 
 BARCAROLE, 
 LEGENDE, 
 IMPROMPTU CAPRICE, 
 
 Three well-contrasted pieces. The Barcarole has a flowing melody 
 on a arpeggio bass. The Legende is of a more dramatic and impas- 
 sioned character, while the Impromptu Caprice is quite a study in 
 regard to brilliancy of execution, and is varied by the Larghetto move- 
 ment forming the second part. 
 
 HUNGARIAN DANCE Brahms, 1833. 
 
 The above is a slighl^pbmposition in which the Hungarian charac- 
 ter will be readily recognized by the curious accentuation caused by 
 tne ahnost constant use of syncopation, which effect is of Magyar 
 origin, together with the abundance of turns and embellishments 
 which are derived from the gipsey music. 
 
 Besides being a fine pianist, Brahms is one of the greatest living 
 German composers. Schumann early discovered hio great powers, and 
 wrote about him in his newspaper, which was always at the service 
 of young and deserving musicians. He has written much chamber 
 and orchestra music, besides a large number of songs. It is now too 
 soon to say what will be his ultimate status, but some critics have 
 not hesitated to place him already beside the greatest composers. 
 
 HUMORESKEN Grieg— 1843. 
 
 Eduard Grieg, composer and pianist, was born at Bergen in Norway, 
 and studied at the Conservatorium at Leipzig. During his four years 
 study 'here, he devoted himself chiefly o the romantic school. 
 Chopin & Schumann have partly inluenced his style which, however, 
 ovv's more to the inspiration of his own national music than any other 
 source. Although still a young man, his works place him in the first 
 rank of living musicians, and, notwithstanding the Scandinavian char^ 
 acter of his 1 usic, it is full of originality, both of ideas and treatment. 
 
 I' 
 
11 
 
 ¥i 
 
 Undoubtedly, this fine musician, now residing and following his pro- 
 fession at Christiana, must every year become better known and 
 appreciated wherever musical taste exists. 
 
 The ■' Humoresken" are two delightful sketches, which, as in most 
 true humor, have an undercurrent of pathos and melancholy. The 
 first, a minuet in G sharp minor, afier a quaint and vigorous opening, 
 full of reckless gaiety, leads, by a graceful interlude of four bars, to the 
 second part, which is of a lighter and more playful character. After 
 this, we have a gradual return to the first suh']ect, />iani;'st mo, then an 
 increase to /orJissimo, after which it dies away in fitful interchanges of 
 the air between the two hands, concluding with a striking phrase where 
 the treble and bass take it in unison. 
 
 The second, allegretto con grazia, opens in C major with a theme of 
 the most exquisit'=;ly graceful character, worthy of Chopin, whose 
 manner it slightly recalls, although the ideas are throughout perfectly 
 original. The first part, consisting of only eight bars with a repeat, 
 closes in G, and then, with an abrupt transition, the second commences 
 in B minor with a bold and vigorous burst which, after eight bars 
 more, ends with a \ .cct cadence in G as follows : 
 
 pE^|E? 
 
 :4:=:flS 
 
 
 -**-«- 
 
 The next bar to this gives a curious surprise. Commencing in the 
 same way as that jus<- given it ends with a delightful change by the 
 introduction of F natural. 
 
 :z:rq.-z!z^zi:|=zr~=^i:i;=pz:jzSz^q 
 
 The cour':e of the piece is thus turned by the dom.inant chord on 
 G, prepared by this unexpected F natural, into its first key and theme. 
 The whole of this second portion is, like the first, repeated, and 
 ends with a quaint and beautiful coda. 
 
 It is difficult to speak too highly of these compositions, they are 
 worthy the study of every musician, and, as the composer has been 
 hitherto but little known in this country, their performance will be a 
 revelation to many, although they are, perhaps, rather Chamber than 
 Concert pieces, and can be appreciated better after private Jtudy. It 
 is not too much tc say that, with every repetition they will be better 
 liked. 
 
12 
 
 "SI OISEAU J'ETAIS, A TOI JE VOLERAIS.".Henselt, 1814. 
 One of the most beautiful of light modern pieces. It forms one of 
 an interesting set of studies, all of which have equally poetic tides. 
 Henselt is a great pianist, and his compositions, though they do not 
 rank with those of Chopin or Mendelssohn, are of so high a class as to 
 be almost amongst the classics of the art. 
 
 Liszt ^ 181 1. 
 
 WALDESRAUSCHEN, ) 
 
 GNOMENREIGEN, \ 
 
 WILDE JAGD, 3 
 
 No. 8 of the " Etudes d'execution transcendante." 
 
 A set of descriptive pieces, tone poems and tone pictures in one, 
 forming an admirable illustration of the style of the high priest of 
 modern music. Ihe first describes the various sounds of a forest, the 
 rustlings, the distant unaccountable echoes, the murmuring of the wind, 
 the gradual rising of the storm, ihe crash of thunder, the fall of trees 
 and the dying away of the tempest. It is not, however, merely a 
 descriptive piece, it portrays al o the emotion aroused by the scene, 
 and the poet has succeeded in surrounding the whole with the solemn, 
 gloomy mystery of the dark forest. 
 
 I'he piece opens with a graceful rapid figure in the treble which, in 
 the hands of ordinary composers would have been merely a sensuous, 
 eartickling piece of brilliant pianism, but, as employed by Liszt, 
 subserves the higher purpose of poetic description. This accompanies 
 a subject in the left hand whic!i is almost too vague to be called an 
 air, and yet, sufficiently coherent to be easily recognizable through all 
 its developments. A few bars are given in order that the hearers 
 may appreciate the skilful manner in which it is worked out. 
 
 :r: 'r' tT^T'-.^-v 
 
 =:l=i-|e--(:z.t:t=:t= 
 
 This, after a change of key, is hcird again in T) flat, in octaves for 
 the right hand, accompanied by ; running bass. Then becoming 
 interrupted by some charmingly f,'raceful j)assages, it is taken in 
 rapid interchanges between the two hands in varying keys. In this 
 process, the subject just quoted, perhaps representing the Spirit of the 
 Wind, or. in Wagnerian phraseology, the Wind-motive, gradually 
 loses its temper, and becomes worked to a terrific tempest, before 
 which we think we see the hail driving and the trees breaking. This 
 ijulminates in a tremendous shake of chords which, like a roll of 
 
13 
 
 4- 
 of 
 s. 
 ot 
 to 
 
 thunder, dies away in echoes ; the " Wind- motive," now only a Zephyr, 
 is heard in the bass, as at first, and the poem comes to an exquisite 
 close, pianissimo. 
 
 )f 
 
 '* The Revel of the Gnomes " is also highly poetic and fanciful. It 
 opens in F sharp minor with a fantastic staccato subject, highly 
 suggestive of grotesque forms appearing above tlie ground when the 
 twilight falls. This soon changes into a wild, whirling, danceHke 
 movement in A major full of unearthly glitter and gaiety. After a 
 short return to the first staccato movement, this is repeated, m B flat, 
 a rallier startling change from F sharp minor, and rendered more so by 
 the fact that the same chord (augmented fifth on F) is used to lead 
 both to its first appearance, in A, and its second in B flat, an interest- 
 ing instance of the importance of this chord in modern modulation. 
 After this dance movement has been heard in the new key it flits away 
 in broken passages, and a new element appears, a curious limping 
 movement, as though from the gnarled roots of the forest trees had 
 appeared a company of elderly gnomes, who commence a dance on 
 their own account, cf an entirely different character. 
 
 This is shortly invaded and broken in upon by the more impetuoiis 
 revehy already heard twice, and which reappears suddenly in F 
 sharp major. It now becomes perfectly irrepressible and, working up 
 to passages of great speed and brilliancy, breaks off, fortissimo, as 
 though that section of the elfin tribe had suddenly disappeared, leaving 
 the staider portion to limp away after them, which they contrive to do 
 with tolerable agility, pianissimo in F sharp minor. It is worthy of 
 remark that these two pieces are intended as studies, the first for the 
 use of the 3rd and 4th fingers, the second tor rapid passing of the 
 thumb and first finger. The composer has, however, succeeded in 
 producing something of great artistic, as well as scholastic, value. 
 
 When music tells a story it cannot, of course, undertake to furnish 
 details ; therefore, all that the " Wild Hunt " gives us is the fact that 
 something is hunting and something is hunted. The hunters may be 
 demons or men ; what the hunted being is we cannot tell, but we do 
 most fully realize its emotions from the musical description. Having 
 regard to the intangible nature of music as an art, it is preferable to 
 adopt the idea of a phantom hunt although, from the very realistic 
 character of the piece, some may be disposed to find a more mate- 
 rial interpretation. Whether a hare, a man, or a spirit is being 
 
14 
 
 chased, the emotion is much the same, and emotion is all that music 
 can thoroughly portray. 
 
 The opening is simply indescribable, a fierce presto of octaves, 
 chords and passages in reckless confusion, it seems to suggest the 
 headlong rush of the cavalcade at starting. All this resolves itself into 
 the hunting song proper 
 
 
 followed shortly after by a breathless, hurrying motive, apparently de- 
 picting the thing hunted. It enters pianissimo, and consists of an air, 
 rapid but full of pathos, with an accompaniment so accented as to give 
 the effect of one hand playing in common time and the other in * 
 thus causing a whirling confused effect, in striking contrast to the bold 
 rush of the hunter's song. 
 
 
 :--M: 
 
 iv 
 
 
 ■>r 
 
 This subject is carried out at some length, and, after becoming 
 rrore and more agitated, finally bursts o\xi fortissimo as though in an 
 agony of terror, and dies ayf ay pianissimo. 
 
 Then is heard the distant beat of pursuing hoofs, fitful snatches of 
 the hunters' song seem floating along on the wind, mingled with 
 staccato passages in Ihe bass and tremolo in the treble. Soon, with a 
 great burst, the hunters' song sounds close at hand, and immediately 
 after the pleading subject of the hunted one, which finally, in its 
 agitation, loses its character and becomes mingled with the noise of 
 the hunters 
 
 $ 
 
 J^-m- 
 
 
 ^J^ 
 
 fff ^ u 
 
 who seem to have overtaken their prey and, with a tremendous crash 
 of chords, the " study " closes.