^.>«»«.»i.i.iiMi^wMi>OT^'fiSSIhSSi«iriiini»iinnn«nwnt imnnHttimnHBimHWiWHimn' ISTANDARD SYMPHONIES >>i*Hk»i^ THE STANDARD SYMPHONIES. THE SYMPHONY. j|YMPHONY " (Symphonic, Fr., Sinfonia, //a/., Symphonic, Ger.) is derived from the Greek word ax^^t^wta, literally "with sound," and signifying consonant intervals. In its present form it is a composition for full orchestra, generally with four movements, but never less than three, — first, an Allegro ; second, an Andante or Adagio ; third, a Scherzo, or Minuet and Trio ; and fourth, an Allegro, finale. This is the conventional form as fixed by Haydn, though variations of the order named not infrequently occur. In its earliest application the word was used for exclusively instrumental compositions, but its form was hardly more than that of an introduction or prelude to vocal works. In all the music of the sixteenth and during the early part of the seven- teenth century the chief interest centred in the 14 THE STANDARD SYMPHONIES. voices, and whatever the instruments played inde- pendently was comprehensively called " symphony." In Italy the word has always signified the preface, or overture, to vocal works, and both Handel and Mozart have used it in the same sense. Haydn, during his visit to London in 1791, even wrote symphonies which were announced as overtures. The French composer LuHi is usually credited with the invention of the overture or symphony, which he first composed for the Bande des petits Violons of Louis XIV. He not only used them as intro- ductions to his own operas, but other composers, among them Vinci, Leo, and Pergolesi, also em- ployed them for their works. His overtures, which are written for a violin part and bass, begin with a slow, heavy movement, followed by another in lighter and quicker style, and close with a finale resembling the first, though not so solid in its form. Scarlatti followed Lulli as an overture composer, and enriched the form, besides giving it more definite construction. The symphony to one of his operas is marked " Allegro, Adagio, Allegro," and to an- other, "Grave, Allegro, and Minuet," the three movements leading into each other. Shortly after Scarlatti's time the term was applied to concertos, numerous illustrations of which are found in the works of Corelli, Porpora, Vivaldi, Bononcini, Jo- melli, Handel, Sacchini, Bach, Gr^try, Mehul, and Cherubini. These concertos were not in the mod- ern form, however. Instead of being designed to show off a solo instrument, the fugue was the salient THE SYMPHONY. 15 feature, though a prominent part was given to the violin or some other instrument. It was still further closely identified with the early madrigals, fantasias, and serenades, and was also related to dance move- ments which brought it into close affinity with the sonata,^ in which form we first recognize the fa- miliar outlines of the modern symphony. It was not until Haydn had evolved and con- centrated the sonata form, based upon the works of Sammartini and Karl Philipp Emanuel Bach, second son of Sebastian, though stripped of their conventionality, that we find the symphony as an estabhshed musical form for orchestra to which all 1 The great work of Haydn's life was the gradual develop- ment of the constructional scheme, now generally described as the sonata form. Though the details of this were entirely dictated by the bold originality of his genius, the main lines of the design were based upon the already existent dance tune — whether Ga- votte, Bouree, Minuet, Branle, or Allemande — which in so many instances consisted of two sections, the first ending with a perfect cadence in the dominant of the principal key, while the second con- cluded with a similar passage in the principal key itself. — Rock- strd's History of Music, p. 267. A modern sonata is generally constructed upon the following plan : The first movement is an Allegro, sometimes with an in- troduction, but more frequently without one ; the second move- ment, ordinarily called the slow movement, is set in any time, between Adagio and Andante; and the final movement is an Allegro, written either in sonata or rondo form. If there is a fourth movement, it is usually placed after the slow movement, and is either a Scherzo or Minuet and Trio. — Staincr's Dictionary. The earliest compositions to which the title of sonata or suo- nata was attached were written by Bonifacio Graziani (1609-1672), Marc Antonio Cesti (1624-1675), and Paolo Colonna (1630-1690), among others. — Idem. 1 6 THE STANDARD SYMPHONIES. composers since his time have more or less closely adhered. As it is really an orchestral sonata, its development kept even pace with it. Haydn was the first who aimed at the use of each instrument according to its characteristics. His predecessors had been satisfied with the assignment of the vocal parts to the various instruments, but he was the first to divide them into different groups. He used the strings, the wood wind instruments, such as the flute, clarinet, and oboe, the brasses, such as horns, trumpets, and trombones, and the drums, kettle- drums, triangles, cymbals, and other percussion instruments according to their individual character- istics, as his genius conceived them. With this en- larged apparatus and the well-defined use of each instrument the style of the symphony was propor- tionately evolved. The moods of the sonata gained in breadth and intensity of expression, and the en- larged individual experience was merged in tlie grand life of nature and mankind. From his first symphony to his last Haydn remained under the spell of the instruments. The tones of the flutes were his idyls ; the clarinets and oboes, the rep- resentatives of the herdsmen's joys and sorrows ; the horns and trumpets, the natural expression of forest life ; and the strings were the endless but ever tuneful and melodious interpreters of the mani- fold phases of human existence. In his " Creation " and "Seasons," as well as in his symphonies, there are always the same fresh and loving pictures of Nature, — the tillers of the soil, the peaceful shepherds, the THE SYMPHONY. 17 maids at their spinning-wheels, the sturdy hunters, the melody of the birds, the moods of animal hfe, and the dances and songs of the people. His music is not only the reflex of the national charac- ter, but of his own childlike, joyous nature.^ Mozart appears next in the chronology of the symphony. His intense musical nature carried him farther than Haydn. Instead of deriving his ideas from the instruments he made them his servants in developing his musical creations. As his inner life was deeper than Haydn's, so the expression of his thoughts was more intensified. In his works joy and sorrow speak to us in truer and more lasting tones. Moods are transformed into passions, con- tentment into longing, and joviality into quiet hap- piness, as is shown in the three great symphonies of the year 1788, — the E flat, G minor, and Ju- piter. In depth of feeling, richness and variety of color, warmth of melodious expression, clearness of plan, and perfection of structural treatment, he un- questionably surpassed his great contemporary.^ Beethoven, the great master of instrumental mu- sic, succeeds Mozart in the history of the sympho- ny. He not only further developed the technique of the orchestra, but also enlarged the scope of 1 Haydn composed in all one hundred and twenty-five sym- phonies. The first was written in 1759 for Count Morzin, and was a small work in three movements for two violins, viola, bass, two oboes, and two horns. 2 Mozart wrote in all forty-nine sjTnphonies. He composed the first, in E flat, in London, 1764, when he was but eight years of age. l8 THE STANDARD SYMPHONIES. instrumental expression from the inspirations of his deeper nature as a man and his greater genius as a musician. Haydn's symphonies were characterized by cheerfulness, good-humor, and pastoral sim- plicity. Mozart brought to his work the qualities of grace, ardor, tenderness, melancholy, and some- times passion. Haydn himself avowed that he always formed a little story as " the guide to the workings of his spirit." Mozart in his wider field developed the varying moods of individual feeling. Beethoven, after he had emancipated himself from the influence of these two, and stamped his own individuality upon his music, wrote a succession of musical epics, setting forth with the boldness, sure- ness, and strength of a master hand human hfe and its destiny, man's struggles with fate, the as- pirations of the soul toward liberty, the nobility of human brotheihood, the grandeur and beauty of Nature, and its mighty mysteries. His faith rested upon a pantheistic abstraction which he called " Love," and that emotion is the keynote to his work. It imparted majesty, nobility, elevation, and profound seriousness to his music. His ideas not only reflected the sentiment of his own time, which is one of the tests of a great artist, but they were broad and far-reaching enough to comprehend the great world of humanity, like those of his fa- vorite Shakspeare before him ; and this it is that insures immortality. He has left us nine great tone-poems which will delight generation after gen- eration of listeners, and which still remain as the THE SYMPHONY. ig models of symphonic composition. During his first period, so called, or down to the year of the Heroic Symphony (1803), he shows the in- fluence of Haydn and IMozart; but from that time on he impressed himself on his work with all the strength of his powerful subjective nature. Even before this time he had enlarged the sym- phony and revolutionized its character. He had trampled the forms of the pedants and canons of the doctrinaires under his feet and defied the critics. In the First and Second symphonies he appears to have been experimenting with the materials left by Haydn and Mozart. In the Third a fixed pur- pose of his own appears, and he develops it with an earnestness and through such massive move- ments as the symphony had never known before. In the Fourth he seems to rest after his bold flight in the higher regions of sentiment and to content himself with experimenting in new forms. The Fifth will always remain a masterpiece in its description of that struggle which is waged in every human breast, and to which Beethoven himself gave the clew in his sententious reply to one who asked him its meaning : " Fate knocks at the door." The Sixth (Pastoral), every movement of which has a title given to it by the composer, though with the cau- tion " Mehr Empfindung als Malerei," intimating that it was rather the sensations caused by Nature than a pictorial delineation of natural scenes, is a glowing picture of a day in the country. Then follows the romantic Seventh, with its almost inde- 20 THE STANDARD SYMPHONIES. scribable fascination and joyous exaltation. In the Eighth, " Eine kleine Symphonic " (" A Httle sym- phony "), he calls it, Beethoven again seems to rest and to give himself up to joyous light-heartedness in movements full of sunshiny humor. Then comes a long pause, and at last appears the greatest of the series, massive in its proportions, dramatic in its expression, conceived out of his deep, abiding love of humanity, and fitly closing with the human voice, vi^hich can alone give utterance to the sentiments the instruments in the preceding recitative have vainly essayed to speak. Before leaving this period in the development of the symphony the following extract from the London Musical Review (Vol. VIII., 1 82 6) may prove of interest, as expressing the judgment of a contemporary of Beethoven : — "The mind of this master is, we apprehend, of a very peculiar formation ; and if we read his works aright, we should say that he possesses a lofty though not a rich imagination, and that this, com- bined with great simplicity and strength of concep- tion, raises him nearer the sublime than either of those who preceded him, at the same time that he ap- pears to possess an inexhaustible fund of originality, from which he draws so constantly as to render it sometimes (as we have demonstrated) a failing rather than an excellence (!). This was, we regret to say, too much the case in his last grand symphony,^ pro- duced at the Philharmonic concert in the season of 1 No. g, D minor (Choral). THE SYMPHONY. 21 1825. We mention this work more particularly be- cause in it was introduced the single innovation upon Haydn's original plan, before alluded to, in the shape of a chorus, which formed a part of the fourth and last movement, as also in the symphony opening with an Allegro, and having no Minuet or Trio. Beethoven has aided the advance of the symphony toward per- fection by strength and sublimity, whilst at the same time his own particular style is distinguished besides these attributes by originality, simplicity, beauty of melody, and great power of description, which is alone displayed in that really stupendous work, his Pastoral symphony. " The result of this investigation, to our apprehen- sion, is that by a happy concurrence three minds more perfectly formed for the establishment of this magnifi- cent invention could not have succeeded each other, than those of Haydn, Mozart, and Beethoven. The first gave it form and substance, and ordained the laws by which it should move, adorning it at the same time by fine taste, perspicuity of design, and beautiful melody; the second added to the fine creations of his fancy by richness, warmth, and variety; and the last has endowed it with sublimity of description and power." Spohr, who stands next in the series, was con- temporary with Beethoven. Of his nine sympho- nies, three are written after the strict classical methods and are more or less subjective in their origin. Four of them diverge sufficiently from the conventional lines to entitle them to the appella- tion of programme-music, and set a fashion which has been followed by many a subsequent composer. 22 THE STANDARD SYMPHONIES. The first of these (No. 4, C minor) is entitled " Weihe der T5ne " (" Consecration of Sound "). Its full characterization by the composer is " Cha- racterisches Tongemalde in Form einer Sinfonie, nach einen Gedicht von Carl Pfeiffer " (" Charac- teristic tone-picture in the form of a symphony after a poem by Carl Pfeiffer "), to which is ap- pended a direction by the composer that the poem should be read whenever the symphony is played. The Sixth, in G, is entitled the Historic sym- phony, and is intended to commemorate four dis- tinct musical periods : first, that of Handel and Bach, 1720; second, that of Haydn and Mozart, 1780; third, that of Beethoven, 18 10; and fourth, "the most modern period," 1840. This attempt at writing in various styles called out severe censure from some of the critics, particularly Schumann, though Mendelssohn speaks of the symphony in very flattering terms. His next work, No. 7, C major, entitled " Irdisches und Gottliches in Men- schenleben " (" The Earthly and the Divine in the Life of Man "), is a double symphony for two or- chestras, in three movements: first, " Kinderwelt " ("World of Childhood") ; second, "Zeit der Lei- denschaften " (" The Age of the Passions ") ; and third, " Endlicher Sieg der Gottlichen " ( " Final Victory of the Divine Principle "). In the scheme of this work the larger orchestra represents the principle of evil in the human heart, and the smaller, that of good. The last of Spohr's programme sym- phonies is called " Die Jahreszeiten " (" The Sea- THE SYMPHONY. 23 sons "), the first part of which is entitled " Winter, transition to spring, spring," and the second part " Summer, transition to autumn, autumn," enriched in its close with stirring hunting music and a pop- ular vintage song of the Rhine. After Spohr we enter upon the romantic school of the symphony as illustrated by Schubert, Men- delssohn, and Schumann. We hear no more of the happiness or sorrow of men. We are in the realm of fantasy, peopled with sprites and elves, fairies and ghosts. The dreamy side of human nature, with all its fanciful shapes and visions, its rich imaginings as well as its sombre creations, ap- pears in the works they have left as heirlooms for the lovers of music through all time. Schubert, like Beethoven, wrote nine symphonies ; but it was not until after his death that the world became acquainted with any of them, — an acquaintance which even now hardly extends beyond his Fourth (" the Tragic "), the Eighth, which was left un- finished, and the Ninth, in C major. Sir George Grove, who has done so much for Schubert's music, was the first to present his symphonies to the world in their regular order. His catalogue is as follows : No. I, in D, 1813 ; No. 2, in B flat, 1815 ; No. 3, in D, 1815 ; No. 4, in C minor ("Tragic"), 1816 ; No. 5, in B flat, i8i6; No. 6, in C, 1818; No. 7, in E, a fragment, 182 1 ; No. 8, in B minor, familiar to the concert-goer as "The Unfinished," 1S22 ; and No. 9, in C major, 1828. It is known that there was another besides these, probably written in 1825, 24 THE STANDARD SYMPHONIES. the manuscripts of which are lost. Of these sym- phonies the Eighth and Ninth are characterized by an originaHty and richness of melody that have made them prime favorites with all lovers of music. His earlier works show the traces of Mozart's, Haydn's, and Beethoven's influence ; but these two reflect his own personality, and teem with the same beautiful thoughts and fancies which abound in his matchless songs. Schumann did not begin orchestral composition until late in his career. He was bom in 1810, died in 1856, and his First symphony is dated 1841. His earlier years were devoted to the piano and vocal works, but his first symphonic production showed extraordinary success in mastering the high- est form of music. He has left but four sympho- nies : No. I, in B flat; No. 2, in C major; No. 3, in E flat, and No. 4, in D minor (the numbers referring to publication, not creation) ; and the " Overture, Scherzo, and Finale " which is also classed as a symphony. The qualities of Schu- mann's nature are as clearly marked in the sym- phonies as in his cycles of songs, into which he has so closely projected himself that they bear no relations to any others, or in his characteristic works for the piano, such as the " Papillons," " Carnival," " Davidsbtindlertanze," " Kreisleriana," or "Faschingsschwank." He was warmly enthusias- tic, highly poetical, and visionary, wellnigh to mys- ticism. His fancy colored his musical thoughts sometimes with radiant tints and again with sombre THE SYMPHONY. 25 colors, foreshadowing the mental gloom into which he was destined to sink. His friend EUert says of him : — " He moved so little in real life that, as a result, the most alive of his creations ever carried with them traces of a dream. All who have enjoyed his personal acquaintance will find this statement confirmed by his whole manner. When he spoke, it seemed as though he were first compelled to come to terms with an inner vision ; everything appeared to beam in a radi- ance from another world. His glance, his speech, and motions seemed veiled. The gentle flower-image of his inner hfe unveiled itself only to the moonlight. One became imbued with the feeling that to him all the phenomena of the actual world were but correlative to his dreams." Schumann's symphonies represent not so much the results of education, for he had no special schooling for orchestral waiting, as his feeHngs ex- pressed in a musical form of his own, — a form which after all bears closer relation to Beethoven's and Mozart's works than any of his contemporaries have reached, though he frequently departs from the conventional rules, reproduces the thoughts of one movement in another, runs movements together, and allows his fancies full rein even to the extreme of melancholy in a Scherzo. The B flat symphony, which Schumann himself called " Spring," is full of joy and freshness and a longing which sometimes grows pensive. In the C major there is no unrest. 26 THE STANDARD SYMPHONIES. Its mood is brisk, stirring, delightfully imaginative, and warm in color. The E fiat, a so-called Rhen- ish symphony, is the most striking of them all. It is in reality a series of impressions as they passed through the composer's mind. The Scherzo recalls legends of the Rhine ; the third movement has sub- jects closely identified with the songs of the people ; the fourth gives the feelings which filled his soul during a ceremony in the Cologne Cathedral, and the fifth, the out-door holiday life of the city, in contrast with the grandeur of the religious pageant. The D minor symphony, the title of which in the original autograph is " Symphonische Fantasie," is a portrayal of various thoughts and emotions, sometimes in conflict, but mostly based upon a genial contemplative mood. Mendelssohn followed in the same general direc- tion of programme-music, but his happier nature led him on more genial and sunny roads. He had written thirteen symphonies before he reached his sixteenth year, — the last of them, in C minor, a very mature work in the classical form ; but his fame as a symphony writer rests upon the four which followed them. The Reformation symphony, which was intended for the Augsburg Protestant Confession in 1830, is a clear illustration of the conflict which Luther precipitated, the old church being typified by the Amen passage in the earlier part of the work, and the new by the use of the stately old chorale " Ein' feste Burg " in the close. In his next sym- phony, the Italian, written in Rome and Naples, THE SYMPHONY. 27 there is confessedly a purpose to reflect phases of ItaHan Hfe, though it does not appear conspicuously except in the graceful and vivacious Saltarello. The Scotch symphony in A minor is another musical picture recalling reminiscences of Scotland, and more remarkable for local color than the Italian. His remaining symphony, the Lobgesang, is also programme-music of a religious character, introduc- ing the vocal parts of the " Hymn of Praise " in the manner of Beethoven's ninth. Since the period of Schubert, Schumann, and Mendelssohn numerous symphony composers have appeared, among them Rubinstein, Berlioz, Brahms, Gade, Raff, Liszt, Volkmann, Reinecke, Tschai- kowsky, Hofmann, Dvorak, Saint-Saens, Goetz, Lachner, and others, among whom Brahms stands at the head as the clearest representative of the symphony in its old classic form. All of these \vriters have aimed with more or less success to embody definite characteristics in their works, as the names given to them signify ; such as " The Forest," " Leonora," " Ocean," " Dramatic," " Spring," " Elegiac," " Manfred," etc. Among the moderns, however, none have followed the pro- gramme more closely than Liszt in his " Faust " and " Dante " symphonies, and Berlioz in his " Harold in Italy " and " Episodes in the Life of an Artist." It remains to mention briefly the Symphonic Poem, — a term invented by Liszt for orchestral compositions which, dispensing with the four dif- 28 THE STANDARD SYMPHONIES. ferent movements, condense the poetical contents into one, though different tempos may be employed according to the need of musical expression. Strik- ing examples may be found in the " Preludes " and " Tasso " of Liszt, and the " Phaeton " and " Rouet d'Omphale" of Saint-Saens. They are always dramatic and poetical, but at the same time are sufficiently musical and well defined in form to lend themselves to legitimate musical and even thematic treatment. BEETHOVEN. HE story of Beethoven's life and career has been told with so much of detail in the preceding works of this series de- voted to the opera, oratorio, and cantata, that it is only necessary in this sketch to suggest a iew general points in connection with his sympho- nies. Beethoven's nine symphonies extend over a period of about twenty-four years, or from 1799, which is presumed to be the date of his first, to 1823. The critics, by very general consent, have divided his years of composition into three differ- ent periods, which are defined by peculiarities of style. The first is the Haydn-Mozart period, clos- ing with the year 1802, and to this are referred the First and Second symphonies, in which the in- fluence of his two great predecessors is clearly ob- served. It is uncertain when the First was written. Beethoven made sketches for it as early as 1795, but it was not brought to performance until 1800. The Second was finished in 1802. The second 30 THE STANDARD SYMPHONIES. period, or that of Beethoven's strict style, is in- cluded between the years 1802 and 1815, i^^ which are to be found those great works of his genius reflecting his own individuality and which will al- ways commend themselves to the musical world. To this period belong the Third (Heroic), 1805 ; Fourth, 1806 ; Fifth, 1808 ; Sixth (Pastoral), 1808 ; Seventh, 1812 ; and Eighth, 1812. The third pe- riod, from 1816 to 1826, covers that sorrowful time in his life when his ears were closed to all outward sounds, and in this he produced his Ninth, or Choral, symphony (1823), which forms the cHmax of his wonderful career. To the composition of these great symphonies Beethoven brought unusual knowledge of harmony and orchestral effects, inexhaustible fancy, and the highest pitch of human sentiment and poetical purpose. He broadened, enlarged, and dignified the symphony by making it not only the agency for the proper expression of musical themes, but a revelation of the inner nature of the individual and of mankind. SYMPHONY No. 1, IN C MAJOR. Op. 21. 1. Adagio molto. Allegro con brio. 2. Andante cantaeile con moto. 3. !Menuetto e Trio. 4. Adagio. Allegro molto e vivace. The date of Beethoven's First symphony has not been definitely ascertained. Sketches of its Finale are found as early as 1795, though the work was THE SYMPHONY IN C MAJOR. 31 not performed until April 2, iSoo, at a concert in Vienna, conducted by the composer. It was prob- ably completed in 1799, as shortly after that time he offers the manuscript to the music publishers, Hofmeister and Peters, of Leipsic, for what seems now the ridiculously small sum of twenty ducats (350). With the first bar Beethoven puts himself on record, saying : " This is I, gentlemen ; and please do not forget that, although I have studied under Albrechtsberger, and have feasted on the fruits of Haydn's and Mozart's genius, I mean to introduce myself and remain hereafter yours individually." The symphony, in the key of C major, does not begin with the common chord of C, but with a seventh chord on C, resolving into F major, at that time an unheard-of proceeding : — Adagio molto. V~^ 9. ^^ I -^H-5i -J- : r f^- ^ ♦ ~ " :±: ± ♦ i -T 1 — ■& • ' ^ r}r» • •— H*^ I etc. ^•r, N "--t- -m 1= •— • 1- 1 I I bj This short introduction, in which Beethoven also gives us a foretaste of his inherent predilection for the extraordinary use of dynamics (sudden changes from forte to piano) leads us in twelve measures to the first movement, Allegro con brio, with this prin- cipal theme : — 32 THE STANDARD SYMPHONIES. Violin. Flutes. ^^t -P-etc. *psp^^i The flutes take up the cadence and lead through C and C sharp into a repetition of the theme one step higher in D minor, bringing it the third time in a slightly altered form on the dominant chord of G and leading back into the principal key of C. The second theme — Oboe. i #: ^ Oboe. r-irr^nr i^ ^fe ^ Violin. r Flute. A.- i fFF^^^f^ —^ — r 4 ^ h s/ includes in its melody another of Beethoven's idio- syncrasies, namely, the syncopations at a, while the broken chords in the staccato accompaniment foreshadow his preference for decided figures in his basses. This application of a melodious bass we find a few measures farther on in the following passage : — Violin. Fifff etc. S K ^^iI^C=^55tr-=?S^ THE SYMPHONY IN C MAJOR. 33 The second part opens with the principal theme in A major, which after some modulations is re- iterated fortissimo and in unison by the whole orchestra. The chromatic step C, C sharp, for the winds, which we found in the beginning, leading into a repetition in D minor, is now extended to a quasi chromatic scale, running through an octave and a half, and leading in a steady crescendo into the dominant and thus back to the second theme, which appears now in the original key of C. Near the close of the movement, Beethoven very in- geniously gives us a reminder of his opening chords and their resolution by using the principal theme in part, thus, — Flute. ^ ^ ^ ^ i- T3t overlaying it in the winds with a seventh chord. The connecting figures and phrases remind one of Mozart, and the treatment throughout is simple and clear. Tlie Andante cantabile con moto, % time, in the key of F, opens with the following melody, — VtoUn II. answered in canon by the violas and 'cellos. The opening step C to F, enlarged to a sixth, G to E, makes the second phrase of the movement a natural 3 34 THE STANDARD SYMPHONIES. sequence of the first. In the last eight measures of the first part, Beethoven again steps out of the beaten track of using the kettle-drum only as a kind of metronome, by giving it the following rhyth- mic phrase accompanying a triplet figure in the violins : — Violin. ^^##^g ^S^iS^^^SS Timpani. The step C to F, in connection with the pulsating beat of the drum, furnishes the composer the ma- terial for the opening of the second part of the Andante, which is worked out with the utmost deli- cacy and closes with one of those dynamic contrasts of which Beethoven was so fond. The Minuet, Allegro molto vivace, | time, in C major, was the composer's most serious attempt to impress his individuality upon a form which had been so strongly defined by his predecessors, and which, as the representative of the dance Minuet, seemed to have been almost exhausted by Haydn and Mozart. Beethoven, recognizing the fitness of a bright and sprightly movement between the An- dante and the last movement of the sonata form, aimed at once to break through the form of the Minuet proper and create the Scherzo and Trio, which he afterward developed so successfully. The movement under consideration, although en- THE SYMPHONY IN C MAJOR. 35 titled " Minuet," is really a Scherzo. Its beginning reveals those characteristics of the composer which further study of his works forces us to admire the most in him, — simolicity and strength. Look at the opening : — f iJ^ Its tonal design appears to be nothing but the scale of G major, but what does it become under the hands of the young master? etc. The second part of the Minuet is remarkable for its modulation, and there is something infinitely humorous in the measures which follow this tour de force, when A nudges B, as much as to say : Did you hear that? — Violin. etc. Fagotto and Oboe. ^ ^■5E 5=?= -5=gq r4=— 1=- fSP Basses. until their pianissimo comments are cut short by the statement of the opening scale fortissimo. Referring to the syncopations — 36 THE STANDARD SYMPHONIES. f * 3r =^ £ ^ E^ ^ ^ :^ f =t: r r ■ f r ■ r r r we have before us most of those qualities which elevated the composer above all his rivals in his after life. The Trio is very simple and chiefly based on the interchange of the wind and string choirs, and the Minuet, da capo, closes the move- ment. The Finale opens with a few bars of Adagio. After a hold on G, the first violins daintily explore the ground in this fashion, — but no sooner have they reached the last lookout and made sure that the ground is clear, than they rush off in their mad dance. Allegro molto vivace : The duenna of the party puts in her word of caution, — 1 Violin. f 5SJ _^dji -a Fagotto. LU -a^ •etc. Bass. ■liJ but it is taken up in mockery by the basses, and the whole company are off again. It goes without saying that this movement reminds us of Haydn. Why? Chiefly because the composer, in inventing THE SYMPHONY IX C MAJOR. his theme, suffered himself to be influenced entirely by the characteristics of the instruments, — a method which he discarded as he grew stronger. The opening phrase of the Allegro is a violin figure, pure and simple, and the scale runs of the second part are but threads compared with the scale which we found overlaying the harmonic structure of the opening of the Minuet. The second theme of the Finale is the following, — coquettishly set off against the steady basses and entirely in keeping with the spirit of the whole. In the First symphony Beethoven still clings to the accepted musical forms. He has not yet emancipated himself from the domination of the instruments, nor risen to bid them keep silence until he needs them for his individual expression ; hence the occasional phrases which remind us of Haydn and Mozart. And yet the symphony shows us in embryo all those qualities which made Beet- hoven the greatest symphonic writer the world has thus far produced. As music the work is charming. It is not heroic in the Allegro, nor oppressively sad in the Andante, but delightful from beginning to end. It is not without intricacies and occasional discords, yet everything is clear, bright, and grateful to the ear. 38 THE STANDARD SYMPHONIES SYMPHONY No. 2, IN D. Op. 36. 1. Adagio molto. Allegro con brio. 2. Larghetto. 3. Scherzo and trio. Allegro. 4. Allegro molto. Beethoven's Second symphony was completed in the year 1802, the composer then being in the thirty-second year of his age. The first sketches for this symphony were found in his note-book, which was edited and published by Nottebohm some years since. It is evidence of the care which Beethoven bestowed upon his work that the sketches for it occupy eleven pages of the book, and we have the further testimony of Cipriani Potter that he wrote three complete scores before he was satisfied. When finished, it was dedicated to Prince Lich- nowski, who was also honored with the dedication of the exquisite Sonate Pathdtique. The sym- phony was first heard at the Theater an der Wien (Vienna), April 5, 1803. The Second symphony, although laid out on a somewhat larger scale than the First, shows us the composer in the normal condition of a man at peace with himself and the world, happy in his art, and not yet stirred to his very soul by the sorrows of life. It begins, like the first, with an introduc- tory Adagio, although of much greater length. The sturdy opening on a hold on D, in unison by the whole orchestra, is at once followed by an ex- quisite phrase for the oboes and bassoons. Similar THE SYMPHONY IN D. 39 contrasts prevail until the opening of the Allegro con brio, \ time. The theme is given out by the 'cellos, and in the repeat E^£ -#- -&-^ ^ ^ 'Cello. the basses softly join them. The last part of the motive is somewhat emphasized by repeating the step of a third on the quarter notes at a, to a connecting melody in the winds, until the strings take up the first part of the theme given above, and carrying it up into the seventh, enlarge the scope for a sweeping violin figure, which with a pro- nounced staccato phrase serves as a connection with the second theme : — ■ t Clar. g %=^=^h^ W r^ ^-^*- Fag. I Violins, Wm^^ This theme is scarcely inferior in its jubilant expression to any similar outburst in Beethoven's later works. The Finale of the Fifth symphony may have a more impetuous rush, but we have here the same joyous spirit, exulting in its youth and strength. This feeling is intensified in the repeat by a trill-like figure in the violins, apparently trem- bling with excitement to break into the fortissimo 40 THE STANDARD SYMPHONIES. of the second half of the theme, which now runs into this motive — f Violin, until after a number of abrupt chords fortissimo the full orchestra stops on a diminished seventh chord (Gif, B, D, F), followed by three quarters' rest, dur- ing which the question naturally arises in the mind of the hearer, " What next? " We are in expecta- tion of some crashing resolution, when a soft mur- mur strikes the ear from the strings, — Violin. cresc. etc. and not until after a crescendo of eight measures are we gratified with a satisfactory closing. The second part deals chiefly with the same material, a new feature being added by the counter-movement of a broken scale against the theme, — Violin. i m^^ m f / etc. g ?nY ^ ^ f i W tfM -y^-^ f Basses. and the constant tossing about of the motive i =?=5^ % THE SYMPHONY IN D. 41 The second half of the second theme furnishes the composer the material for the following exquisite phrase : — Flutes. m *-^k- 3Z *r f r-r1r W I III I Odae. yiolin.~^ Fagotti. 1 J f H etc. i m It It Basses. The close is exceeding bold, the basses rising in a slow chromatic scale throughout an octave from D to D, the violins trj'ing to counterbalance it by the other extreme of gigantic strides, thus : — m 4 ? ^ «/ «f «/ «/ The movement ends with a feehng of exultant joy and happiness. The Larghetto in A major, I time, is one of the loveliest slow movements Beethoven ever wrote, and is a special favorite in the concert-room. The opening theme, — ^m 9 r^fpr :e±: UL' l f C l J ^ -etc. given out by the strings and repeated by the winds, is a flowing cantilena of exceeding beauty, unin- terrupted by any staccato or even any well-marked incision in the phrasing. Even the syncopations 42 THE STANDARD SYMPHONIES. on E in the violins have a coaxing character, rather than the spirit of stubbornness. The second phrase, ^^m f i» ir^ ^ s • I* > ^ t»l^ with its endearing half-step, only intensifies the gen- eral feeling expressed in the first. A long dialogue follows between two lovers, which hardly needs musical quotation to be thoroughly understood by the attentive listener. It is one of those grateful feats of genius that captivates the casual hearer as much by its perfect beauty, as it delights the stu- dent who investigates the means by which such perfect expression of a lovely sentiment is obtained. The Scherzo here appears under its own name ■^"1^^°' and is in the key of D, \ time. \ \1^ % 4 I* r '~1 It is built up on the short motive of three notes repeated over and over again, first by the basses, then by the violins, and again by the horns, after which the oboes bring it reversed, at one time fortissimo and again piano, but ever tripping along staccato until the violins in the sec- ond part indulge in a temporary sweep of descend- ing scale, followed by a reminder of the leading figure of the first Allegro : — --B^^ The three-note motive, however, soon stops such vagaries, and barring a short chromatic phrase car- ries the day. The Trio begins with a short phrase THE SYMPHONY IN D. for oboes and fagottos played twice and ending in D. The violins, as if vexed by the liberty the winds have taken, in appropriating sixteen meas- ures to themselves, follow with a determined stroke on the third (F sharp) ; and as if bent on destroy- ing any pleasant impression that the winds might have left, turn the note into the tonic of the chord of F sharp, — t bis. ^ S ^DC TT ■poc w rJ ■ I - - J / «/ Tj- I ■^ '-J-j J etc. eventually quieted down on the same F sharp, thus preparing the way for a more social feehng among all the members of the orchestra during the rest of the Trio. The Finale, Allegro molto, in D major, expresses the same happy mood that characterizes the pre- ceding movements. The opening motive is thor- oughly characteristic of Beethoven, and for piquancy has few rivals among the composer's works : — _ Violin. *^- •^ ^E :t ^m M ItE -etc. Then follows a longer period, in which the winds carry the melody while the strings furnish an ap- parently monotonous staccato accompaniment. h\ the further working up, that part of the motive con- taining the trill is also more extensively emjjloyed, but the peculiarity of the appoggiatura during a fortissimo phrase of sixteen measures shows us Beethoven at his best. Right here we have also 44 THE STANDARD SYMPHONIES. an instance where the composer exchanges humor for downright fun. Imagine the beginning of the following quotation Violin. ± , ,« J ^J- l^^ r f r r r-F^pamncmpE^ 'W:^^ f etc. fortissimo, supported by the whole orchestra, clos- ing at a with a sforzando crash, followed by the weazened little gasp of the first violin pianissimo, then by a pause and a repetition of this whimpering appoggiatura, finally after a second pause the whole orchestra breaking in at b with the opening motive, forte. The close is worked out into a Coda of considerable length, starting from two successive holds with a new rhythmic figure, which however soon merges into the general whirl of joyous mirth pervading the whole movement. SYMPHONY No. 3, IN E FLAT (EROICA). Op. 55. [Heroic symphony, composed to celebrate the memory of a great man. Dedicated to his serene highness, Prince Lobkowitz,] 1. Allegro con brio. 2. MaRCIA FUNiBRE. AdAGIO ASSAI. 3. Scherzo and Trio. Allegro vivace. 4. Finale. Allegro molto. Beethoven first projected the Third symphony in 1802 and finished it in 1804. "Eroica"is hkely to mislead the hearer if he supposes the music to THE SYMPHONY IN E FLAT. 45 be of a martial character, and we therefore add the complete title of the work, as it first appeared in print. It was : " Synfonia Eroica, composta per pes- teggiare il sovvenire di un grand' Uorao, dedicata," etc. ; that is, " Composed to celebrate the memory of a great man," namely, the heros, in its widest sense. The first manuscript copy, however, bore the following inscription : — Sinfonia grande, Napoleon Buonaparte, 1804 in Augiist : del Sigr ; Louis van Beethoven. Sinfonia 3. Op. 55. And the fly-leaf of the copy, which the composer retained, had the words, " Luigi van Beethoven " at the top, and " Buonaparte " at the bottom. It is known that Beethoven watched with deep interest the great revolution in France, hoping that the free- dom he imagined and desired would rise above the sans-culotte's liberie and enlighten the world. One man attracted his attention and kindled his enthu- siasm. Napoleon Bonaparte had appeared like a sun above the sea of confusion and mediocrity, ris- ing rapidly but steadily until it seemed he would be the foremost hero of the republic. For Beethoven the 1 8th Brumaire had no forebodings of an i8th Mai ; and when he first heard of the " Vive FEfn- pe7-eiir'' he took the score of his Eroica, tore its titlepage in two, and threw the work on the floor. His idol was shattered. The copy which had been prepared for the French legation at Vienna was 46 THE STANDARD SYMPHONIES. withdrawn, and the symphony was finally published in memory of " un grand' Uomo." Such, in brief, are the facts relating to its origin. As biographical data, they will be received with the interest usually attached to such information, but in their bearing on the composition they become of far greater interest and importance. Had Beetho- ven written the first two movements only and called the work " Napoleon, a Symphonic Poem," a run- ning text could easily have been supplied, and, although there might be different versions, the fun- damental idea would have been the same in all. But he was still in the bondage of the symphonic form as it then existed, or at any rate chose to adhere to the four classical movements, thereby sorely puzzling the enthusiastic critics who were to dissect his work and explain to the admiring listener the intention and meaning of every phrase ; for that he had a very decided meaning and purpose in writing this work we may well believe. The Eroica was not thrown off in ten days nor ten months. Beethoven had for years been gathering the material and crystallizing the different musical thoughts which go to make up this mighty drama, and when he called the symphony " Napoleon Bonaparte," we are bound to believe that he in his way had sung the paean of the hero, as he then supposed him to be. Admitting in the first movement the strife, the battle, whether of warring races or of one man fighting against fate and fortune, and in the " Mar- THE SYMPHONY IN E FLAT. 47 cia Funebre " the grandest dirge ever sung, whom do we follow to the grave amid those solemn sounds, — the hero of the play, Napoleon ? Then what of the third and fourth movements? The biography ends with the grave, and the character of the Scherzo and Finale will not admit the explanation of a r^sum^ or commentary on the life just closed. Marx conceives that the symphony is a battle-piece. In the Scherzo he sees the busy life of the camp the day after the strife ; in the Finale the joys and festivities of peace. Wagner finds no military hero, but literally " a great man," whose qualities are described in the text. Overpowering force leading to a tragic result characterize the first two move- ments. In the Scherzo all is serene. In the Finale the "grand' Uomo " is harmoniously devel- oped, freed from passion, and conquered by the power of love. Berlioz compares the Scherzo to the solemn rites which the warriors of the Iliad celebrated at the grave of their leader, continued in the Finale, and closing with a hymn of victory. But every hearer may exercise his ingenuity and fancy upon this problem, and most will probably arrive at the conclusion that the music of these two movements was written for music's sake, rather than to portray any phases of a hero's career. The first movement, Allegro con brio, in E flat, 4 time, has a number of themes in the highest degree characteristic, showing Beethoven's power in terse and precise expression of musical ideas. The main theme is given out at the very beginning 48 THE STANDARD SYMPHONIES. by the 'cellos in a quiet manner, but after twenty- four measures we encounter the syncopations which play so decided a part in this great picture of strife and at times change the rhythm practically to \ time, although the movement is written in triple time. A tender episode for the winds, repeated by the strings, interrupts the turmoil, but after a short repose a rapid crescendo leads again to the clash- ing syncopations. A similar treatment is adopted in the second part, the whole forming one of the most remarkable pieces of orchestral writing ever accomplished. The Adagio assai appeals more directly to the listener with its sad melody in C minor and its heartfelt tones of melancholy. This solemn dirge, designated by the composer " Marcia Funebre," is followed by the Scherzo, Allegro vivace. The con- trast in the heading of the two movements would naturally suggest startling incongruities in the music ; but it is one of the greatest achievements of Beet- hoven's genius that he surmounts the difficulty in a way which does not admit of an idea of unfitness. The Scherzo begins with a pianissimo staccato, which has something mysterious in its character, moving four measures in the step of a secunda only, and that on the lower notes of the violins. Not until the fifth measure does the melody rise into the higher octave, and only in the ninth measure do we find a hint of the lighter character of the Scherzo in a short group of connected descending notes. Even the second part moves in a similar THE SYMPHONY IN E FLAT. 49 manner of steps and half-steps always pianissimo. It is not until the middle of this part that it breaks forth with a sudden fortissimo, and not even then without a reminiscence of the syncopations of the first Allegro. A change from \ into alia breve \ during four measures, and back again into \ time, is a conspicuous example of Beethoven's masterly application of rhythm as a means of expression. The Trio, with its horn passage, finally dispels the gloomy character of all that precedes, and calls up more peaceful visions. The last movement, Allegro molto, begins with a dominant seventh chord in the form of a cadenza, after which the theme enters pizzicato. This mel- ody, in its intervals, is really a fundamental bass, and is worked up in the form of variations, ever and anon interrupted by a hold on the dominant chord, until a new theme appears, happier and brighter than any, dominating the last part of the movement. It gives room to a severe treatment of the first theme in strict counterpoint, only to reappear in a Poco andante of some length, which without warn- ing breaks into the final Presto fortissimo that brings the work to a close. The principal theme of the first movement is given out by the 'cellos as quoted at a : — • g^tV^-f--^1=p-"J I r r r I f. -r-r^ ^m > r^r ^ ^ I J ^ -etc. Clarinet. Flute- Violin. 4 50 THE STANDARD SYMPHONIES. The second subject at b is in fine contrast with the first, and is thrown about from instrument to instru- ment. The episode given out by the winds, as mentioned above, is indicated at ^ .• — „ ■ Clar. I 1 ObA j Flute. r I i i ^ ^ £ i :#c: Fagotti. etc. ^^ ^ ^ Basses. pizz. Another prominent theme starts in about the middle of the second part, as at d, — Ohoe. rX.CiXr^ ^f^,^-flJT3 J=:J= S 'Cf//^. ^jy^iia£tJ^#fj^7f^7^H74^ etc. followed by that remarkable passage in the basses at e. The melody of the Adagio we give aty with mi.a •'^75 ■ ^^^=p^^^f*^ etc. its counterphrase at g. The main theme of the Finale is a subject chosen from an air in Beetho- THE SYMPHONY IN B FLAT. 51 ven's music to " Prometheus," the present Finale adopting the bass at a for a melody, and only bringing in the original melody at b, at the third variation. We give them here condensed, one above the other : — ^ =^=z= 2= -| •>- i?^=t ^ A — — > -; r J"" I g"" I g = etc. SYMPHONY No. 4, IN B FLAT. Op. 60. 1. Adagio. Allegro vivace. 2. Adagio. 3. Menuette. Allegro vivace. Trio, un poco meno ALLEGRO. 4. Allegro ma non troppo. The Fourth symphony, as the original manuscript shows, was written in 1806, and dedicated to Count Obersdorf, one of Beethoven's Viennese patrons. It was first performed at a subscription concert for the composer's benefit in the spring of 1807, and was subsequently given at a charitable concert on the 15th of November of the same year, which may be called its first public performance. It lies 52 THE STANDARD SYMPHONIES. like a gleam of sunlight between the heroic Third and majestic Fifth. Although written at a time when Beethoven was harassed by intrigues and cabals growing out of the production of his opera " Fide- lio," then known by its original title of " Leonore," it is the happiest and most serene of all his sym- phonies. With the exception of the introduction, which bears traces of anxious uncertainty, if not of sadness, there is scarcely a measure in the work which is not bright, peaceful, and happy. The symphony begins with the customary slow introduction, an Adagio in \ time, in the key of B flat, which opens in this mysterious manner to a long-held B flat in the wind instruments : — Flute _ _ It is not the mystery of dreadful adventure, for the tiptoeing figure in the seventh and eighth meas- ures assures us that there is roguery abroad. This tripping around in the dark is kept up through thirty-six measures, and then the light is turned upon the masqueraders suddenly and in full force with a seventh chord on F fortissimo, which, after expos- ing the entire company in the opening measures of the Allegro vivace, hurries them on at an accel- erated pace : — f.ff.Mt.-^ '-^U^»^P^ ^ -1 i .-l>1 a " r ff etc. THE SYMPHONY JN B FLAT. IZ While the violins are indulging in mysterious whisperings, the bassoon, as the clown of the com- pany, skips around as nimbly as Figaro, until it is silenced by a crescendo of four measures, and the rush of the opening of the Allegro is repeated. A mocking syncopated phrase now occurs, followed by a little small talk between the bassoon, oboes, flutes, and violins, until a unison figure for the strings, of a peculiarly buoyant character in its harmonic design and well calculated for a fine crescendo — Violin. 3 ^ 5^ ie: -etc. brings us to a little canon, — Clarinet. ^ I > I — -*- • i -♦- I 1 I Fagotto. ' y \ ' I ' a simple enough proceeding for Beethoven, but in its very simplicity admirably in keeping with the general character of the music. A mysterious tre- molo pianissimo for the violins is followed by the boisterous laugh of the whole company, and after repeating this little by-play a syncopated figure in the violins forces the repetition of the first part. The second part, though dealing essentially with the same thematic material, is exceedingly rich in har- monic changes and transpositions, to follow which would lead us too far ; but the listener should note the exquisitely roguish humor that pervades a phrase 54 THE STANDARD SYMPHONIES. in which the kettle-drum takes part individually in the general fun. This part also contains an unac- companied, unbroken scale, started by the first vio- lins on G sharp above the staff and carried down into the basses to E sharp below the bass staff, always pianissimo, breaking into an upward sweep tluough a diminished seventh chord and landing again within four measures on a high D in the flutes. This freak sets the kettle-drum to growling, and while it keeps up its rumbling for twenty-six meas- ures the scattered forces are called back one by one until they unite in the opening theme fortissimo. Thus the first movement, though abounding in fine effects and wonderful modulations, flows along in an unbroken and perfectly spontaneous manner, nowhere showing an effort of serious labor.^ The Adagio in E flat, \ time, is less liable to very widely different interpretation, and would well fit into a love poem. The following measure, given out by the second violins, — A dagio. ^ Violin. M 1 In the fanciful meanings given to musical phrases we have simply reproduced such impressions as naturally occur from the score. In doing so we do not by any means intend to convey the idea that Beethoven wrote with such a programme in his mind. In fact, as learned a critic as the late G. A. Macfarren suggests that this music is essentially a love poem, but prefaces his remark with a similar reservation : " that music bears interpretation as various as the perceptions and the sympathies are various of those who hear it." THE SYMPHONY IN B FLAT. ^e is used by the composer as the chief and character- istic design for his accompaniment throughout. A lovely air — CantabiU. f i^j^^i-u^;;fh=ifj ^ Fioiin I. ^ ^^^^^j ^g ^^lfr ^:^ ^i enters at the second measure, marked " cantabile," sung by the violins, and closes in its eighth measure on the fifth of the chord, producing an effect of vague- ness, " as if its loveliness might go on forever." It is then repeated by the wind instruments, to which is also given the greater part of the second phrase. In its workmanship this Adagio is remarkable for what the Italians call "fioriture," but in this case more strictly "decorative accompaniment," which at times reminds us of delicate carving and at others wreathes itself around the melody, while in the re- peat it is even woven into the melody itself. Just at the close the opening motive claims its right for the first time as a solo for the ketde-drum, the use of which no one but a master could have withstood the temptation to employ many times before. The Minuet, Allegro vivace, in B flat, differs in its form somewhat from any of Beethoven's former third movements, inasmuch as it is divided into five sections instead of three, by repeating both the Minuet and the Trio and returning again to the Minuet. The i»rincipal motive shows what care 56 THE STANDARD SYMPHONIES. Beethoven bestowed upon these movements. The jostling, pushing effect of the first part of the open- ing phrase, offset by the sweeping legato answer, which sounds like a kindly remonstrance, is all he needed for the Minuet proper, — m Tutti. ^J =g^3=CT:F £ ^ i ^Ah Clarinet. r4T^=^ feg; ::&it3t e^^ =N=§i Violin. Clarinet. but how wonderfully these means are employed when we come to look at their distribution as far as harmony and color (that is, the use of differ- ent instruments) are concerned ! The Trio, un poco meno allegro, consists of a short phrase for the wind instruments, interrupted by a playful remark of the violins — Violin „ , Oboes. rk ^E^^ Horns. ^-r- :^ -etc. "f- repeated on three ascending steps, with a short trill toward the end imparting a peculiar elegance to the dainty dialogue. The final repeat of the Minuet proper winds up with the following, — Horns. J J 3^ 3^^^ 4- "" i ^ -^ -etc. the horns putting, as Schumann says, " one more question," though cut short by the last fortissimo chord. THE SYMPHONY IN B FLAT. 57 The last movement, Allegro ma non troppo, i again in the key of B flat, \ time. It starts off merrily with the violins, — etc. followed by a figure which, considering its limited compass, looks as if it had stepped out of a Bach fugue. Its very closeness, however, seems to check and keep the merrymaking within bounds ; only one of the motives, skipping through a broken chord, is allowed the liberties of a privileged and noisy couple ; all else is cheerful and happy in its nature. The close is as playfully dramatic as Beethoven ever allowed himself to be. After a general call to order, followed by a pause of one measure, the first violins, somewhat out of breath, make their adieux, answered by the bassoon and finally by the violas, when the humor of the thing gets the best of them all, and they rush off helter- skelter, shouting at the tops of their voices : — Violin. ^ Fagotto. Violas. mi ^yT^ : ^^ ^^ ^!f^i p\^^ gS THE STANDARD SYMPHONIES. SYMPHONY No. 5, IN C MINOR. Op- 67. 1. Allegro con brio. 3. Allegro (Scherzo). 2. Andante con moto. 4. Allegro. Presto. The Fifth symphony was finished in 1808, al- though its composition had occupied Beethoven's attention for many years before. The first two movements were written in 1805, and sketches for them have been found as early as 1800. At its first performance, at Vienna, Dec. 22, 1808, it was numbered on the programme as the Sixth ; and the latter, the Pastoral, appeared as the Fifth. Both were finished in the same year, but the priority of the C minor is clearly established by Beethoven's own numbering in the autograph. Like the Sixth, it is dedicated to Prince Lobkowitz and Count Rasoumowsky, noble patrons of music, whose names are thus consigned to immortality. The C minor symphony is probably the best known and most admired of the nine, perhaps be- cause it is the most human in its qualities. Beet- hoven himself has left us a clew to its meaning, and with that clew nearly all critics have arrived at substantially the same decision, — namely, that it pictures the struggle of the individual with Fate, the alternations of hope and despair, and the final triumph, in contradistinction, for instance, with the motives of the ninth symphony, where the same struggle is fought, only upon the broader field of the world ; where the triumph is the same, only it is the triumph of the universal brotherhood. THE SYMPHONY IN C MINOR. 59 In speaking of the first four notes of the opening movement, Beethoven said, sometime after he had finished the symphony : " So pocht das Schicksal an die Pforte " (" Thus Fate knocks at the door ") ; and between that opening knock and the tremen- dous rush and sweep of the Finale, the emotions which come into play in the great conflicts of life are depicted. Berlioz says of this symphony : — " The symphony in C minor appears to me to be the direct and unmixed product of the genius of its author, the development of his most individual mind. His secret sorrows, his fits of rage or depression, his visions by night, and his dreams of enthusiasm by day, form the subjects of the work; while the forms of both melody and harmony, of rhythm and instru- mentation, are as essentially new and original as they are powerful and noble." Mendelssohn in one of his letters relates an incident connected with a visit to Goethe : — "He (Goethe) did not wish to hear anything of Beet- hoven, but I told him that I would not let him off, and played the first part of the C minor symphony. It seemed to have a singular effect upon him. At first he said : 'This causes no emotion, nothing but aston- ishment. It is grandiose.' He continued grumbling in this way, and after a long pause began again : 'It is very grand, wildly mad ; it makes one fear that the house is about to fall down ; and what must it be when played by all in concert?'" In the Fifth, as in the Third, symphony wc find that concentration of thought and labor which 6o THE STANDARD SYMPHONIES. makes these two musical poems so all-powerful ' and overwhelming in their effect. It is not marked by a spontaneous flow of musical phrases lightly strung together, or by mere toying with musical forms ; but each motive represents a concentrated essence of thought which, once heard, makes an indelible impression, and apparently admits of no change. His sketch-book shows what infinite labor Beethoven bestowed upon the modelling of these unique themes before he adopted the forms in which they are used in the symphony. Once they had left the master's hand, however, they were no longer fancies, but facts ; and it took little more than the musical Vulcan at his smithy to drive these facts home until the merest tyro should feel their weight. We give only a few quotations, but bearing them in mind, the listener will be able to follow the development of this passionate outpouring of a passionate mind while brooding over its fate : — A llegro con brio. ^ ^S3S333 Horns, e Violin, d MJ^ i ^'iO ii r'f i ^ Wff- m^, ff h^ sf .»/ -a- ^-zr -zr .F f=gi #■ m iiii ?* J jAj etc. f=iv=f IVind Inst. Strings. irind. Strings. etc. THE SYMPHONY IN C MINOR. 6i The holds at a occur frequently, as well as the abrupt chords leading up to a pause. The per- sistency with which the theme at d is repeated and carried upward in a steady crescendo, only to vent its rage in those terrible three notes, dropping into a third below and cut short by two abrupt chords, well depicts the persistent struggle of a great mind with the misfortunes of life. After the statement of inexorable fate by the horns at c, it almost seems as if the proud mortal were pleading his case and appealing for mercy ; but the pitiless cry at the five-fold repetition of the four notes at ^/ grows unendurable, and stung to the quick he hurls his defiance against the gods. A period of exhaustion characterizes a passage in which the winds alternate during thirty-two measures with the strings, in short chords ever drooping until roused again to life and strife by the motive at c, given in unison by the whole orchestra. The last motive, at /, may sim- ply be described as a hammer and anvil, and no one who hears it can mistake our meaning. Of the Andante con moto, in A flat, | time, we quote only the principal phrases : — ptzz. I ffd 62 THE STANDARD SYMPHONIES. The opening is given out by the violas and 'cellos, while the phrase at b is always started by the winds, breaking into a sudden fortissimo at d and enriched at every repeat by a more animated figure in the violins. The first phrase breathes sweet consola- tion, while the second points onward and upward, promising peace and happiness to the anxious heart, with a bold transition at d assuring the sufferer of glorious triumph and happiness. The measures preceding this outburst produce a thrill- ing effect by the use of the ominous ninth below the melody, which in the second violins and violas raises the ghost of the Fate motive of the first part with its three strokes indicated at c. The many other beauties of this movement will not escape the attentive listener. Doubt, consolation, reassur- ance, and trustful hope in Love, the loadstone of human life, are the salient though continually changing emotions of the entire Andante. The Scherzo, Allegro, in C minor, starts out with a timid question, — poco ritard- /T\ but in the answer it seems as if the youthful hero had grappled with the decrees of Fate and boldly turned the point of the weapon against his foe. The three strokes of the first movement which started on an up beat i J J J | J | are now de- fiantly turned into | • * * | f ' | , and boldly carry THE SYMPHONY IN C MINOR. 63 the day. The second part of .the Scherzo, in the key of C major, which represents the Trio, opens with a strong and boisterous passage for the 'cellos and basses, gradually reinforced by the violins, and carried to a joyful climax, from which a gradual decrescendo leads back into the first part. After the hold the now victorious triple beat starts pianissimo in the clarinets and changes from instrument to instrument, but always pianissimo, as if intended to repress thoroughly any premature ex- ultation. The kettle-drum finally takes up the beat, and for forty-eight measures persistently furnishes the rhythm. The violins take courage and begin an upward sweep, always pianissimo and in ever widening intervals, until it reaches the dominant seventh chord, when the footing for a triumphant onslaught seems secured, and with a short crescendo we rush into the jubilant march of the last Allegro, in the key of C major, common time : — Allegro. m =^^Tt i 3c==t: a- tkiM -i t -i H f "^ ^^sfU-hr&Jll^M. This is joy unbounded, not without manly dig- nity in the first four measures, but soon giving way to an abandon of exultation. The upward sweep from the sixth measure, ending twice on the octave, is in its third repetition carried a third higher, as if breaking all bounds, and naturally flows into 64 THE STANDARD SYMPHONIES. a dotted rhythmic figure which only increases the excitement. The tender element, the loving figure, be it woman or angel, that breathed its consolation in the second movement is recognized in the fol- lowing short episode, — # E^ f 3 J» -3t-Tt- T I ^ -etc. but is soon drawn into the general hymn of joy. After a perfect whirl on the dominant chord of G for twenty measures, the violins having a tarantelle- like figure in triplets, the movement is suddenly interrupted by an episode of fifty-four measures in triple time, recalling the Scherzo in its rhythm, but in reality only a prolongation of the dominant chord, which was cut short at its climax so as to make a more deliberate change at the repetition of the grand march of joy. In conclusion, we quote only the principal phrase of the middle section of this movement : — if:>± . ttti Oboes. ^ ♦ .^ =t=fq Fagotti. I THE SYMPHONY IN F. 65 SYMPHONY No. 6, IN F (PASTOEAL). Op. 68. 1. Allegro ma non- troppo. (The cheerful Impressions ex- cited on arriving in the Country.) 2. Andante molto moto. (By the Brook.) 3. Allegro. (Peasants' Merrj-making). 4. Allegro. (Thunder-storm.) 5. Allegretto. (The Shepherd's Song ; glad and thankful Feelings after the Storm.) The Pastoral symphony was composed by Beet- hoven in the meadows near Heiligenstadt in 1S08, and was first performed at a concert given in Vienna, December 22 of the same year. No doubt can attach to the meaning of this symphony, as the com- poser has left his own explanation prefixed to each movement. It is absolute programme-music, and yet both in the sketches as well as in the autograph of the completed work a caution is conveyed to the effect that it is not an actual representation of the rural scenes that form the motive of the work. In the sketches it is entitled " Sinfonie caracteristica. Die Erinnerungen von der Landleben " (" Symphony Characteristic. Memories of Country Life "), and the following note is appended : " Man iiberlasst dem Zuhorer sich selbst die Situationen auszu- finden" ("The hearer must find out the situations for himself "). When the symphony was completed, however, Beethoven changed his intentions, and in the programme of its first performance, as well as in the printed score, gave explicit descriptions of tlie meaning of each movement, prefaced, however, 5 66 THE STANDARD SYMPHONIES. with the significant caution : " Mehr Ausdruck der Empfindung als Malerei" ("Rather expressive of sensations than painting, or actual description "). Schindler, his biographer, also relates an interest- ing incident connected with the second movement which occurred during a walk he took with Beetho- ven on a bright day in April, 1823. He says : — " After visiting the bath-house at Heiligenstadt, and the adjoining garden, and talking over many a pleasant reminiscence having reference to his creations, we continued our ramble toward the Kahlenberg in the direction of Grinzing. Strolling through the de- lightful meadow valley between Heiligenstadt and the latter village, which was crossed by a swiftly flow- ing and softly murmuring brook from a neighboring mountain, Beethoven stopped repeatedly and let his look, full of blissful feeling, wander over the beautiful landscape. Then seating himself upon the grass, and leaning against an elm, he asked me whether there was no yellow-hammer to be heard in the tops of those trees. But it was all still. Thereupon he said : ' Here I wrote the " Scene at the Brook ; " and the yellow-hammers up there, and the quails, and night- ingales, and cuckoos round about composed with me.' " This symphony, in fact, reveals Beethoven as the lyric poet. It is by no means the sentimental strain of the conventional spring poet, but the mas- terly expression of that happy and contented feeling which the lover of Nature experiences during a ramble through a lovely country. The motives em- ployed are apparently of the simplest kind, but THE SYMPHONY IN F. 67 demonstrate the evolution of intense thought. They cannot be altered by a note without the sacrifice of their meaning. They are short and close in design, and to a great extent lean on the tones of the hunt- ing horn. Their force rather lies in the fact that by their continuous repetition they produce that train of thought in the hearer which causes him to recog- nize the music at once as pastoral. We quote a few of the motives that will attract the hearer's attention : — etc. The first movement, of which the above are the themes, is an Allegro ma non troppo in F major, I time, and is in keeping with the general descrip- tion we have made of the music. The Andante molto moto in B flat, ^i time, gives vorce to the listless dreaming of the wayfarer who is resting at the banks of the brook. The monoto- nous accompaniment, sustained through nearly the entire movement by the strings, is of a flowing figure, containing a gentle rise and return to its level. The first violins give out the principal melo- dic theme, while the wind instruments respond with the second phrase. Short figures abound, flitting 68 THE STANDARD SYMPHONIES. about among the different instruments, sometimes in imitation, again in euphonious thirds or sixths, and at times a brief trill or the short snapping of pizzicato notes. Its effect is that of the evening air alive with songs of birds and the buzz of insects. In the last twelve measures of this movement, the composer even introduces the bird-songs, — a pro- ceeding which has been pronounced childish and utterly unworthy of Beethoven, but which to the unprejudiced listener seems to belong in its connec- tion. When we consider that its use by Beethoven cannot possibly have sprung from a desire to write catchpenny claptrap, it would perhaps be well to accept the intention of the composer. The third movement, Allegro, in F major, 4 time, representing the Minuet, introduces the purely hu- man element. The first eight measures usher in the good country people tripping briskly along. But what a woful failure the clumsy peasants make at the end of the phrase, with their attempt at gracefulness, — p^^^^E^^^^ ^^F^f^ and how they stumble over their wooden shoes at those three lower A's indicated by the asterisk ! In the next phrase, however, the fair damsels carry their part of the programme quite gracefully. Then we strike the dance proper with its " band accompani- ment." The whole movement shows how perfectly, as the Merry-Andrew has it in the prelude to " Faust," Beethoven could " grasp the exhaustless life THE SYMPHONY IN F. 69 that all men live," not disdaining even to include the pleasures of the lowly peasantry in his inimitable tone-picture. The minuet-like movement is inter- rupted by a short Tempo d'allegro, \, which seems like the change to another dance, though being rather more boisterous it comes to a close by two short pauses as if to give the dancers a chance to catch their breaths before returning to the triple time of the Minuet closing the movement. The next movement, an Allegro in A flat, is en- titled " Thunder-storm " and brings before us the lowering sky, the distant rumbling of thunder, the sultry air, and the cumulus clouds as they rise higher and higher above the horizon until we are almost in darkness, and the storm breaks forth in all its fury. It soon passes over, however, the clouds break, and sunshine illuminates the refreshed land- scape. Without interruption the closing measure leads into the last movement, — the shepherd's song of joy, and his feeling of relief from the dangers of the tempest. The motives are formed from the rep- resentative intervals of the instruments chiefly used by shepherds, and move in the steps of the chord rather than in the successive notes of the scale, although the middle section of the movement brings the violins to the front with just such runs as were excluded from the first part, which more strictly represent the song of the shepherd. The move- ment closes with one of those dynamic contrasts in which Beethoven delighted. After the horn once more sings the principal theme, — 70 THE STANDARD SYMPHONIES. Horn. Con sordino. %k iS ^-p: softly, con sordino, and while the violins are twin- ing around it in a descending figure, the whole orchestra breaks in suddenly and without any prepa- ration on the closing chord fortissimo, as indicated above. SYMPHONY No. 7, IN A MAJOR. Op. 92. i. poco sostenuto. vivace. 2. Allegretto, 3. Presto. Presto mend assai. 4. Finale. Allegro con brio. The Seventh symphony, which vies in popularity with the Fifth, was finished in the year 181 2, and was first performed Dec. 8, 1813, at a concert in Vienna for the benefit of the Austrian and Bava- rian soldiers wounded at the battle of Hanau. The now little regarded Battle symphony by Beethoven was included in the same programme. The con- cert was a notable one, not only because the Seventh symphony was given for the first time, but for the large number of eminent musicians and composers who played in the orchestra, among them Spohr, Mayseder, Dragonetti, Hummel, Salieri, Moscheles, Schindler, Romberg, and Meyerbeer. The sym- phony was also played Nov. 29, 18 14, before the allied sovereigns at the meeting of the Congress of Vienna, and made a great impression. There were THE SYMPHONY IN A MAJOR. 71 not wanting many hostile critics, however, among them Karl Maria von Weber, who went so far as to declare that " the extravagances of his genius had reached the ne plus ultra, and that Beethoven was now quite ripe for the mad-house." It did not prevent him, however, when his own opera " Eury- anthe " was poorly received, from taking it to Beet- hoven and asking him to revise it. Of all the Beethoven symphonies, the Seventh is the most romantic, as well as the most happy. The composer left no clew to its meaning, though we know from his letters that he esteemed it as one of his best works. Modern critics, however, have busied themselves trying to interpret the story it tells. Berlioz and Ambros call it a rustic wedding ; Marx, Moorish knighthood ; Oulibicheff, a masked ball ; and Bischoff, a sequel to the Pastoral sym- phony. Richard Wagner, with his keen insight into the subjectivity of music, declares that it is the apo- theosis of the dance, the ideal embodiment in tones of the bodily movement, — a definition which ad- mirably applies to the symphony, as nearly all its motives are ideally perfect dance rhythms. The introduction, a Poco sostenuto in the key of A major, is almost a movement in itself, and con- tains one of the happiest and most delicate phrases to be found anywhere in Beethoven's music, as follows : — 72 THE STANDARD SYMPHONIES. This episode occurs twice, preceded and followed by ascending scales running through two octaves, which are significant for the very staccato manner in which they are given. The last part of the above quo- tation, occurring as it does in the repeat on the chord of F major, is reiterated during a short crescendo, and suddenly resolves into the note E, given out by all the instruments fortissimo and repeated during the remaining ten measures of the introduction and the first four bars of the following Vivace, in various rhythms. At the entrance of the new movement it has the dotted rhythm of the quail-call, which is the predominating feature of the whole movement : I 4 times. I In these quotations the musician will be able to detect the germ in one form or another of nearly every measure of the first movement. The skipping rhythm and the melodic structure, not only as a whole but also in the smaller sections, are so preg- nant that they are sufficient for the magician who in the working out brings all his art and devices into play. The opening suggests the dancing along of a bevy of happy girls, but when Beethoven feels in that mood it is impossible to trace him step by step. The giggling of the girls, the boisterous fun THE SYMPHONY IN A MAJOR. 73 of the boys, the Homeric laughter of the elders, an attempt at dignity followed by a reckless plunge into hilarity, sudden pianissimos followed by fortis- simos, harmonic changes for which there is no time to prepare in the general rush, now a coaxingly gen- tle phrase, now a war of words short but emphatic, — these are the characteristics of the first part. The ill-tempered outbreak at the end of this part is repeated at the beginning of the second, only the flutes scream a third higher than before ; then a pause, and the violins move off again pianissimo J. "J , 4-'% i , while the basses come in with a long scale in the same rhythm, as if they were ashamed of having been led into loud words and were now trying to re-establish good feeling. The Coda con- tains one of those phrases which by their monoto- nous repeats partake somewhat of the nature of a pedal point ; and on the other hand remind us of the peculiarity of Slavonic music, in which this everlasting and monotonous repeat of one figure plays so characteristic a part. The basses support a steady crescendo from pianissimo to fortissimo during twenty-two measures with this figure : — The Allegretto, which takes the place of the slow movement, is in A minor, \ time, and is built up on the following rhythmic figure : I J J^ 1 J J I • The melody of the first part moves within the in- terval of a third, and is of the simplest construc- tion. The movement itself is constructed on a long 74 THE STANDARD SYMPHONIES. crescendo as gradual as it is persistent, and irre- sistible in its natural strength. Tlie production of such colossal effects by such simple means is one of the glories of Beethoven's genius. The second part, in A major, opens with this lovely melody, — Claritiet. y=^^T^=f1?=g^3?3]f7rrrrg accompanied in triplets by the violins, with the steady dactylus | J J^ | as a support in the basses. A short interlude of staccato scales brings us back to the first theme, which is now worked up in the accompaniment in the style of a variation. Then the A major episode is repeated. The Coda, in A minor, after a few sudden dynamic transitions, falls back on the original theme and dies away in a pianissimo, in the last six measures, however, rising phcenix-like in this most original manner : — lSi^:S= The Scherzo, marked " Presto," in F major, opens with the simple device of moving through the intervals of the chord of F, but stamped by the master's hand with the form at a, — )1 b ^ ->^ / Tf"^^Trr=fT^ ^ etc. THE SYMPHONY IN A MAJOR. 75 f L^^* ^- followed by a descending scale motive, b. The third motive, growing out of c, furnishes by the repe- tition of the half-steps (*) the principal material for the middle section of the second part. The last four measures of the Presto dwell on a pro- longed A held by all the instruments, and ringing in some part of the orchestra throughout the whole Trio, which changes into the key of D major, Assai meno presto. This A, suspended in mid- air as it were, with only an occasional pulsation into the G sharp below, sheds an air of serenity over the whole which greatly enhances the restfulness of the melodic theme : — The second part contains a most peculiar effect for the second horn, which on a low A and G sharp in different rhythms for twenty-six measures leads to a fortissimo repeat of the main theme, the trum- pets ringing out the sustained A, supported by the kettle-drums, — a phrase which is almost without parallel for the expression of exalted, noble, and serene sentiment. An interlude, piano and diminu- endo, changing between the chords of D and A, with a sudden drop into the seventh chord on C, leads back to the Presto. The Trio is then played again, followed by another repeat of the Presto and 76 THE STANDARD SYMPHONIES. a short Coda, reminding one of the Scherzo in the Fourth symphony. The last movement, Allegro con brio, in A major, 4 time, takes up the joyous strain of the first move- ment and opens with the following whirling figure in the violins : — which is supplemented by Si r^^SXJ^XJ^ J ^^^!^ accompanied by full short strokes of the string in- struments. The following two motives complete the material for this movement : — W f M~ f^ /.S~/etc. The hghtness and grace of the theme at a and the dance-like rhythm at d, with the mazurka ac- centuation of the second quarter, the use of dotted groups in the connecting phrases, the almost martial tread produced by the frequent employment of full chords, abruptly and forcibly marking the beats, the frequent changes of key, etc., — all these factors impart to the movement an exuberant spirit which stamps it and the whole symphony as one of the most complete expressions of whole-souled enjoy- ment of life our musical literature contains. THE SYMPHONY IN F. 77 SYMPHONY No. 8, IN F. Op. 93. 1. Allegro vivace e con brio. 2. Allegretto scherzando. 3. Mexuetto e trio. 4. Finale. Allegro vivace. The Eighth symphony was written in 18 12 at Linz, whither Beethoven had repaired upon the advice of his physician for the benefit of his health. It was composed at a sad period of his hfe, for besides his sufferings from shattered health he was engaged in a most unpleasant law-suit forced upon him by his unworthy sister-in-law and undertaken in the interest of a graceless nephew. Notwith- standing these depressing events the symphony is one of the brightest, most cheerful, and most hu- morous works that he ever conceived. He speaks of it himself in a letter to Salomon as the " Kleine Symphonic in F," not that it was little, but to dis- tinguish it from the " Grosse Symphonic in A " (the Seventh), composed in the same year. As a separate movement it is doubtful whether any one that he ever wrote is as popular as the Allegretto of the Eighth. The melody which forms its principal motive was extemporized by Beethoven as a short vocal canon at a farewell supper given to Malzel, the inventor of the metronome, in the spring of 18 1 2, and set to the words, "Ta, ta, ta, lieber Mal- zel, lebewohl, lebewohl " (" Ta, ta, dear Malzel, farewell "). It has also been claimed that the melody in its style as utilized in the symphony is 78 THE STANDARD SYMPHONIES. a parody upon Rossini's music, though there is the best of evidence that Beethoven had never heard any of Rossini's operas when this symphony was written. We know from Beethoven's sketch-book that this symphony had occupied his mind for a long time, but its actual production must have been the spon- taneous expression of a very happy mood of the composer, when he felt inclined to banter jokes and give free play to that humor which, as we know by his letters, occasionally seized him in spite of his great and growing misfortune. As if serious prepa- ration were unnecessary he plunges at once into the work and opens the first Allegro vivace con brio, in F major, with the main theme : — m £=#fe *6 m TOt. w=^ -etc.— An intermediate phrase, closing with h M. M. ah g^ r] r ^ 1 = pi r 1^ 1 --Ss^^^jp. V^ leads into the second theme, — W which containing a short ritardando, is then repeated by the wind instruments, and after a series of modu- lations runs into this motive for the full orchestra : ^ f ■ ^UUU I" —etc' The first part closes with the following skipping figure, — f THE SYMPHONY IN F. 79 £ L I r " L-L. :p=^ £ ± which is in reality only an extension into the octave of the motive at b. The latter is frequently util- ized during the second part in connection with ■P ^ ;'~" ^ , ^1^1 — I the motive from the open- ^ ' I I I r ' ing phrase, which is em- ployed with all the art of the contrapuntist either in imitations or enlarged into longer phrases for the basses, which during seventy-six measures really dominate the melody and finally rest on the octave skip at e. Then follows a pianissimo passage, which appropriates the tetrachord at the close of the first theme a marked *, and in canon form leads through a crescendo to a hold, after which a Coda commencing with i fj^ ♦'>•." ^^ w etc. brings the first movement to a close, in its jocular way reminding us forcibly of the closing of the Minuet in Mozart's G minor symphony. The slow movement is again supplanted by an Allegretto scherzando in B flat, % time. It is the well-known Oboes. which depends on its staccato character and fine instrumentation for its daintiness, and has only one legato phrase in the whole movement : — So THE STANDARD SYMPHONIES. h Oboe.^ — ?ff^^ 4 ili3C 6; ?5 « ?= =^ \ ill •ss= ioliti. -etc. The Minuet, in F, appears this time in its own true character, and develops the stately dance with its gliding figures to a perfection only found in the best efforts of Haydn and Mozart. The third part, or Trio, has this opening for the horns, — -^ -^ etc. anticipating a vein of which Schubert frequently availed himself. The Minuet is then repeated. The last part, Allegro vivace, in F major, opens with this tremulous figure for the vioUns, pianissimo : 1 ^1-jJj jJEg As we have had occasion several times to mention Beethoven's sketch-books we copy this motive as he jotted it down at its first inception : — etc. The reader can form some idea from this how con- scientiously and diligently Beethoven matured these fundamental ideas before he established the forms in which we now have them, and which, as we have said before, cannot be altered in any degree with- THE SYMPHONY IN F. 8i out destroying them. The second theme is the following cantilena : — i isHilt ■^ o i-zyr 3c5c -b#— •-^ SiSi I I I i I I etc. After a jubilant fortissimo about the middle of the movement, the music is interrupted by frequent rests, the triplet figure gliding past like a spider across his web, stopping short, then rushing on again to a second hold, after which a new design is introduced in a descending scale in the strings, and is opposed in the wind instruments by a similar scale, ascending. These scales move quietly and pianissimo in semibreves, while the triplet figure is flitting about here and there until the scale mo- tive is brought in fortissimo. The marvellous skill of the composer which is brought into play in this movement could only be pointed out at great length, and is of secondary importance to the listener. To the ear all is joyous excitement. Surprise chases surprise. Fortissimos are relieved by sudden pianis- simos, the close figure of the opening theme by the octave jumps in the basses, and the tremulous double triplet by crashing syncopations, running at last into a most boisterous phrase with a sforzando on every other note, — an apparently reckless performance, but produced and subordinated by scientific devices. The main themes are once more hastily touched, and the movement exhausts itself in a long repeti- tion of the final chord, as if trying to reach the longed-for rest. G 82 THE STANDARD SYMPHONIES. The joyous, happy spirit pervading the whole composition, with its intermezzos of fun and quiet humor, will not fail to impress any hearer. When compared with the works of the later romanticists, Schubert, Mendelssohn, and Schumann, it seems to contain many ideas foreshadowing those which they developed to such perfection, though to Beethoven's more serious cast of mind these sportive fancies were only incidental. Listen to the motives at a, b, and e; the pizzicato closing of the first movement; the airy, perfectly magic opening of the Allegretto ; and last, but not least, to the peculiar buzzing char- acter of the double triplet in the last movement when employed pianissimo. These phrases only need an intentional interpretation to suggest the best samples of elfin music from Mendelssohn's " Midsummer Night's Dream," or Berlioz's " Queen Mab." Sir George Grove in his admirable analysis of this symphony says : " It may not touch the ex- treme heights and depths of the spirit as some of the nine do, but it has no less its own place in the circle which nothing but itself can fill ; and if the outward result is an index of the inward mind, it is pleasant to think that Beethoven when he wrote it must have been very happy and full of enjoyment." THE SYMPHONY IN D MINOR. g^ SYMPHONY No. 9, IN D MINOR (CHORAL). Op. 125 I. Instrumental. 1. Allegro ma non troppo ux poco maestoso. 2. Scherzo, molto vivace; Trio, presto. 3. Adagio molto e cantabile. 4. Recitative, Presto ; Allegro ma non troppo, etc. 5. Allegro assai. II. Vocal. 1. Recitative. 2. Quartet and Chorus ; Allegro assai. 3. Tenor Solo and Chorus : Allegro assai vivace ; Alla MARCIA. 4. Chorus: Andante maestoso. 5. Chorus: Allegro energico, sempre ben marcato. 6. Quartet and Chorus : Allegro ma non tanto. 7. Chorus: Prestissimo. The Ninth, or "Choral," symphony, written in 1823, the last and greatest of the immortal group, stands prominently out among all other works of its class by its combination of voices and instru- ments. Before its composition, Beethoven had been preparing the way for such a union. In the Choral Fantasie, ^vritten in 1808, he advanced upon the idea by employing a chorus in the Finale ; but in the Choral symphony he made a still bolder advance, and introduced a chorus with variations on a colossal scale. There is a striking resem- blance between the two in the choral parts, and Beethoven himself describes the symphony as being " in the style of the Pianoforte Choral Fantasie, but on a far larger scale." Schiller's " An die Freude," the " Ode to Joy," was selected by Beethoven for the P'inale. Thirty 84 THE STANDARD SYMPHONIES. years before the composition was really begun he had had this poem in mind as a fitting subject for musical treatment, as is shown by the following ex- tract from a letter written to Schiller's sister : " I have preserved," says the writer, " a setting [published in 1805 as op. 52, No. 2] of the 'Feuerfarbe' for you, of which I should like your opinion. It is by a young man of this place whose musical talent is becoming notorious, and whom the Elector has just sent to Vienna to Haydn. He intends to compose Schiller's ' Freude,' verse by verse." This was in 1 793, and the symphony was not performed until 1824. In 181 1 an attempt to set the words is found in sketches of the Seventh and Eighth sym- phonies. The first of these sketches is given as follows, by Thayer : — Oiwerture Schiller. h^-H hM ["M -* r r ^frr^ [=M h^ ^^ Freu de scho - ner Got ter Fun - ken r r l r r =^ ^ =^=^ -«— P4=- Toch ter E After various attempts, as indicated by his sketch- books, Beethoven adopted an entirely new melody, which was finally evolved into the present setting. The composer did not use all of Schiller's words, nor did he retain the order in which they occur in the Ode. Schindler, in his " Life of Beethoven," tells how he struggled with the text. He says : — " In November, 1823, Beethoven began to compose the Ninth symphony, for which he brought many sketches from the country to town with him; and in THE SYMPHONY IX D MINOR. 85 February, 1S24, this colossus was completed. It may not be uninteresting to notice the way in which Beet- hoven introduced Schiller's ' Hymn of Joy ' into the fourth movement of the symphony. At that time I was seldom from his side, and could, therefore, closely observe his strugsjles with the difficulties of his com- position: the highly interesting sketches and mate- rials for this, all of which I possess, bear witness to these difficulties. One day when I entered his room he called out to me, ' I have it ! I have it ! ' holding out to me his sketch-book, where I read these words : ' Let us sing the immortal Schiller's song — The Hymn of Joy,' which introduction he afterwards al- tered to 'Friends, not these tones.' The recitative of the double-bass also was not comprehended in his original plan, and was added when he changed the above-mentioned introductory movement ; in conse- quence of which it was necessary to give a different form to almost all that preceded, as the fundamental sentiment of that device required. He had nearly the same process to go through with the melody in the first verse, which the bass has to sing. The sketch- book shows a four-fold alteration ; and above each he wrote, according to his practice, ' Meilleur.' " The progress and performance of the symphony come next in order. On the 6th of April, 1822, Beethoven wrote to his friend and pupil Ferdinand Ries, then in London, asking what the Philhar- monic Society would be likely to pay him for a sym- phony. Ries brought the matter to the attention of the Society, and it authorized him to offer Beet- hoven $250 for a manuscript sympliony. On the 20lh of December he accepted the commission. 86 THE STANDARD SYMPHONIES. He concluded his labors in 1824, and sent the manuscripts to London, though it was first given in Vienna at the Karnthnerthor Theatre, May 7 of that year. Of this initial performance, in which Miles. Sontag and Ungher were the soprano and alto soloists, Schindler says : — " It was the occasion of an enthusiastic demonstra- tion, such as has seldom been accorded to any music or man in or out of Germany. We are told : ' The glorious Jupiter symphony seemed to act upon the im- mense mass of human beings that thronged the build- ing in every part like ambrosial nectar. They became intoxicated with delight ; and when the refrain was caught up by the choir, "Seid unschlungen Millionen," a shout of joy rent the air, completely drowning the singers and the instruments.' " ' But there stood the master in the midst, absorbed and sunk within himself. His face turned toward the orchestra, he saw nothing, and his entire deafness prevented his hearing either the sounds he had cre- ated or the roaring tumult it had inspired. Fraulein Ungher, the contralto, turned him gently round, and then what a sight met his astonished gaze! — a multi- tude transported with joy. Almost all were standing, and the greater number melted to tears, now for the first time fully realizing the extent of Beethoven's calamity.' " The manuscript copy in the possession of the London Philharmonic Society bears the following inscription in Beethoven's handwriting : ^ — 1 The first performance by the London Philharmonic Society was given March 21, 1825, Mme. Caradori, Miss Goodall, Mr. THE SYMPHONY IN D MINOR. 87 Grosse Sinfonie, geschrieben fiir die Philharmonische Gesellschaft in London, von Ludwig van Beethoven. Erster Satz. The symphony is without introduction proper. There is a prologue introducing the first subject, " ahvays pianissimo," in which the instruments seem to be feehng their way. It begins with an incom- plete chord, 'cello, second violin, and horns, the first violins following sotto voce : — U^ SemPre. Sotto voce. ^ Violin I. ^ JCPF i^ ^••>»>> • • ■ • »»«»»■ Violin II. ^ 'Cello. I'iola. ± " — vr Vaughan, and Mr. Phillips taking the solo parts, and Sir George Smart conducting. The " Harmonicon " contains the following unique criticism of the symphony : — "In the present symphony we discover no diminution of Beet- hoven's creative talent ; but with all the merits it possesses, it is at least twice as long as it should be. The last movement, a chorus, is heterogeneous, and though there is much vocal beauty in parts of it, yet it does not, and no habit will ever make it, mix up with the first three movements. What relation it bears to the symphony we could not make out. The most original feature in this sym- phony is the Minuet, and the most singular part the succeeding Trio. We were also much pleased by a very noble march which is introduced. In quitting the present subject we must express our hope that the new work of the great Beethoven may be put into a produceable form ; that the repetitions may be omitted, and the chorus removed altogether. The symphony will then be heard with unmixed pleasure, and the reputation of its author will, if possible, be further augmented." 88 THE STANDARD SYMPHONIES. After a repetition the real work begins. Against the background of the second violins and 'cellos, strengthened by the sustained tones of the horns, clarinets, and flutes, the violins, tenors, and contra- basses appear in broken phrases. Then the wind instruments come in one by one, and at last with a mighty crescendo the whole orchestra in unison sweeps into the first subject : — ^^^^^ ^ w ^ ff m r^ =p The great crescendo dies away, but the titanic crash is renewed again and again whenever the theme occurs. It is a struggle full of hopelessness and melancholy, a many-colored picture of the feelings and moods which must have possessed the mind of the composer. The second subject — Clarinet. I ^ ^ Flute. f\ I Clarinet. ^i=^i=¥ m f^izy f^'«em^"^ t^ — =^ Sempre fi ^ ^ Flute. I ±: J. te.\ ± J.^ g, 6 |^-^_i5 -SSI is in striking contrast with the first, being tranquil and gentle in its inception. At its conclusion, the THE SYMPHONY IN D MINOR. 89 violins announce another energetic phrase, and the strife is resumed, at last reaching an episode from which is developed a brief but very melodious pas- sage followed by a second episode for the strings in unison, that leads on to the close of the first part of the movement, ending fortissimo and in unison. This division is not repeated. In its place Beet- hoven proceeds with the working out of his ma- terials with a vigor and majesty that have never been surpassed, the orchestral parts moving inde- pendently of each other and frequently opposed, yet forming well-developed parts of a grand whole, until the Coda is reached, into which he seems to have thrown not only all his skill but all of his own conflicting moods and restless, agitated spirit ; for this symphony was written during a period of his life filled with deep, brooding melancholy. The old subjects and episodes are worked up with pro- found skill ; but before he closes, a new and darker subject appears in the strings, companion to a threnody sung by the reeds, the strings repeating a chromatic passage through and above which is heard the wail of the oboes, until the movement closes with a powerful outburst, as if the soul were seeking to free itself from the menaces of destiny. Wagner has aptly characterized this movement as "a grandly conceived struggle of the joy-seeking soul against the pressure of that hostile power which interposes itself between us and earthly happiness." In the Scherzo there is a radical change from 90 THE STANDARD SYMPHONIES. gloom to gladness. Wagner, in his analysis of the symphony, says of this movement : — "A wild delight seized us at once with the first rhythms of this second movement : it is a new world into which we enter, in which we are whirled away to giddiness, to loss of reason ; it is as if, urged by des- peration, we fled before it, in ceaseless, restless efforts chasing a new and unknown happiness, since the old one that once sunned us with its distant smile seems to have utterly forsaken us. Goethe expresses this impulse, not without significance perhaps for the pres- ent case, in the following words : — ' The end I aim at is not Joy. 1 crave excitement, agonizing bliss,' etc. ' In depths of sensual pleasure drown'd, Let us our fiery passions still ! ' "With the headlong entrance of the middle subject, there suddenly opens upon us one of those scenes of earthly recreation and indulgence; a certain down- right jollity seems expressed in the simple, oft-re- peated theme ; it is full of naivete and self-satisfied cheerfulness." After twelve bars of prelude the orchestra is fairly launched into the Scherzo, as follows, — Molto vivace. Vinlin n. i Violin II. Viola. etc. ^^ l?fT lfTT *l f ^r^S^ ^ i243. 'Cello. -^^ in which all the instruments successively join with spirited and brilliant effect. The wind instruments THE SYMPHONY IN D MINOR. 91 follow with a second theme, accompanied by the strings, which, after repetition, leads up to still other tuneful motives given out by the winds. The Scherzo closes pianissimo, but at last the horns and trombones joyfully announce the Trio with its charming pastoral opening : — Oboes and Clar. i =i i* i ^ w f=^ Bass Trotnb. 1 etc. ' 0S-^'^ \ ! rrf | j^ij= |= ( ±rr | fi^^ l ^ff l^ Fagotto. A vivacious subject for violas and 'cellos follows the first, and then the horns fairly revel in the prin- cipal theme until the Coda is reached, in which the whole orchestra joins with the utmost joyousness. From the storm and stress of the Allegro and the geniality and hilarity of the Scherzo, the third movement. Adagio, changes to celestial rest and serenity, and is among the noblest, purest, and most grandly beautiful hymns of joy the great master has written.^ It is made up of two distinct subjects 1 Third Movement (Adagio molto c cantabile, in B fiat major). How differently these tones speak to our hearts ! How pure, how heavenly soothing ! They melt the defiance, the wild impulse of the soul tormented by despair, into a tender and melan- choly feeling. It is as if memory awoke within us, the memory of an early enjoyed and purest happiness : — " Then would celestial love, with holy kiss, Come o'er me in the Sabbath's stilly hour, Whilp, fraught with solemn and mysterious power, Chimed the deep-sounding bell, and prayer was bliss." And with this recollection there conies over us once more that 92 THE STANDARD SYMPHONIES. differing in every musical respect, which are alter- nately developed until the second disappears. The first, Adagio molto e cantabile, is in B flat, and for delicious repose and ethereal sweetness can hardly be excelled in the whole realm of musical art. It is taken by the quartet of strings with in- terludes by the clarinets and horns, as follows : — I dagio molto e cantabile. After the strings have finished the melody, and the first part of the movement comes to a close, the time changes as well as the key, and the second violins and tenors announce the following subject in unison, which in its quiet, graceful, and smoothly flowing measures almost rivals its companion : — A iidiinte moderato. Con espressione. iiu , i, r,ro ;^^ *: m. §*'» sweet longing that is so beautifully expressed in the second theme of this movement (Andante moderato, D major), and to which we may not unfitly apply Goethe's words : — " A yearning impulse, undefined, yet dear, Drove me to wander on through wood and field; With heaving breast, and many a burning tear, 1 felt with holy joy a world revealed." It seems like the longing of love which again is answered, only with more movement and embellishment of expression, by that hope-promising and sweetly tranquillizing first theme, so that on the return of the second it seems to us as if love and hope em- braced, so that they might the more entirely exert their gentle power over our tormented soul. It is as when Faust speaks, after the Easter bells and chorus of angels. — Wagner. THE SYMPHONY IN D MINOR. 93 The transition from this serene movement to the Finale is a startling one. The wind instruments and drums, reinforced by the double-bassoon, break out in a most clamorous fanfare, which is inter- rupted by a recitative passage for the double-basses, marked " Selon le caractere d'un recitatif, mais in tempo," as if expostulating against the uproar. It is to little purpose, however, for the clamor is re- newed even more boisterously. Again the recita- tive is heard, and again the clamor ; but at last there is an instant's hush. The opening bars of the first three movements appear, alternating with recitative, but these evidendy are not wanted. At last the final theme is foreshadowed, quietly and almost timidly, until the 'cellos and basses vigorously and unmistakablv give it out in the " Hymn of Joy " : — A llegro assai. setting of the Next the violas and 'cellos take the theme, then the first violins, and at last the whole orchestra in full force. After its variation, the ominous clamor which introduced the Presto is heard again. This time it is not interrupted by the basses, but by the solo bary- tone intoning the recitative : ' — 1 The translation adopted is that made by Mr. Arthur Mecs for a performance of the symphony at the first Chicago May Festival, given in 18S2. 94 THE STANDARD SYMPHONIES. " O Brothers, these tones no longer ! Rather let us join to sing in cheerful measures a song of joyfulness." The same voice sings the Hymn, accompanied by the oboes and clarinets, and is followed by the chorus, at first without the sopranos, and alternating with the solo quartet : — " Hail thee, Joy, from Heaven descending, Daughter from Elysium 1 Ecstasy our hearts inflaming, To thy sacred shrine we come. " Thine enchantments bind together Those whom custom's law divides ; All are brothers, all united, Where thy gentle wing abides. '• He whom fickle fortune blesses, Giving friendship firm and strong, Who a loving wife possesses, Let him join our joyful song, " Even he to whom one being In the whole world may belong. He who never knew this, weeping, Let him leave our happy throng. " Pleasure every creature living From kind Nature's breast receives ; Good and wicked, all are walking In the rosy path she leaves. " Vines and kisses she is giving, Friendship, fearless of death's hand. E'en the worm has joy in living. While near God the cherubs stand." Now the orchestra resounds Avith martial strains in which the percussion instruments are used with THE SYMPHONY IN D MINOR. 95 mighty effect, introducing the tenor solo, with cho- rus, in a variation of the theme : — "Joyful like his suns so glorious, Fly through Heaven day by day, Hasten, brothers, on your way Like a hero e'er victorious. Hasten, brothers, on your way. Chorus — Hail thee, Joy, from Heaven," etc. The next number is also for chorus, and its so- lemnity and religious sentiment finely contrast with the martial clang of its predecessor. It is at first given out by the male voices, the female voices following : — " Millions, loving, I embrace you. All the world this kiss I send. Brothers, o'er yon starry tent Dwells a God whose love is true. " Millions, bow ye down in wonder? Earth, feel'st thou thy Maker nigh ? Seek Him o'er the starry sky ! He must dwell in glory yonder." Following this comes a chorus full of spirit, Alle- gro energico, sempre ben marcato, with a lively accompaniment, based upon the two related themes that have been employed : — " Hail thee, Joy, from Heaven descending, Daughter from Elysium," etc. The solo quartet again intones the Hymn, alter- nating with chorus, — " Hail thee, daughter from Elysium, Thine enchantments bind together," etc. 96 THE STANDARD SYMPHONIES. The time is gradually accelerated to a Prestissimo, and voices and orchestra in full volume close the work with the triumphant shout, — " Millions, loving, I embrace you, All the world this kiss I send," etc. CHORAL FANTASIE IN C MINOR. Op. 80. [For Piano, Orchestra, and Chorus.] 1. Adagio (Piano). 2. Finale, Allegro. a. Allegro (Orchestra). b. Meno Allegro (Piano and Orchestra). c. Allegretto, ma non troppo (Chorus). Beethoven's sketch-book shows that some of the materials for the Choral Fantasie were collected as early as i8oo, though it was not given until Dec. 2 2, i8o8, when Beethoven himself produced it. It is written in two general sections : an Adagio and Allegro, for piano solo, orchestra, solo quartet, and chorus. While the work is very beautiful and effective in itself, it derives special interest from its being the prototype of the Choral symphony. In a letter written to Probst, March lo, 1824, the com- poser mentions the Finale of the symphony as " in the same style as the Fantasie, but more extended." A striking resemblance indeed will be found be- tween the two finales, not only in their general form of variations, but in the consecutive character of the notes and the melody of the themes themselves, the one clearly anticipating the other in many re- CHORAL FANTASIE IN C MINOR. 97 spects. The Fantasie was first published in 1811, under the title of " Fantasie fiir das Pianoforte, mit Begleitung des ganzen Orchesters und Chor" ("Fantasie for pianoforte with accompaniment of full orchestra and chorus"), and was dedicated to Maximilian Joseph, king of Bavaria, the only dis- tinction the master was pleased to bestow upon that monarch. The poem which forms the subject of the Finale was written by Kuffner, and is de- voted to the praise of music, beginning, — " Schmeichelnd hold und lieblich klingen Unsers Lebens Harmonien," freely translated by Mrs. Macfarren for the usual English version, — " Soft and sweet through ether winging Sound the harmonies of hfe." The Adagio with which the work opens is a fan- tasie for piano alone, after which the Finale begins with an Allegro in C minor, the opening theme of which is given out pianissimo by the basses in a very grave and dignified manner and subsequently developed in canon form by the violins. The oboes and horns now introduce a new theme which is taken up by the piano with accompaniment of the horns, the melody being adapted from one of Beethoven's songs, " Seufzer eines Ungeliebten," written in i 795 : — Do/ce. 98 THE STANDARD SYMPHONIES. First the piano and then the other instruments repeat this theme with variations, after which the entire orchestra brings it to a close in firm and stately style. A short phrase by the piano preludes a development of the first section of the melody through an Allegro, an Adagio, and a march tempo, at the close of which the piano introduces a new phrase closing with an arpeggio. A genuine con- test ensues between the piano and the basses, which comes to an end as the wind instruments give out the leading theme, which is first taken up by the solo voices with piano accompaniment and then by full chorus and orchestra, bringing the work to a brilliant and powerful close. fw^mm T BERLIOZ. works. ECTOR BERLIOZ (1803-1869) has car- ried programme-music to an extreme beyond that reached by any other com- poser, particularly in his symphonic They present no parallel with the sym- phonies of the recognized masters, though he was a close student of Beethoven, Haydn, and Mozart, wrote about them with remarkable knowledge and appreciation, and knew their works by heart. He brought rare qualities to the composition of his sym- phonies, — rich imaginative power, courage in the use of effects to the very verge of audacity, pro- found knowledge of instrumentation and orchestral resources, great skill in the combinations of instru- ments, and a highly fanciful if not poetic tem- perament ; but his music of this class is not only dramatic but theatrical in its style. He made the picture the dominant idea. Beethoven in his Pas- toral symphony left the hearer to his own sensa- tions. He sought not to present a transcript of lOO THE STANDARD SYMPHONIES. the picture itself, but of the emotions caused by it ; Berlioz, on the other hand, pictured the scene or situation and even took pains to describe it defi- nitely, leaving nothing to the hearer's imagination. Indeed, in a note to his " Romeo and Juliet " he says, " The public has no imagination." Berlioz wrote much about his own music, and in his autobiograph- ical sketch says with much truth : " The dominant qualities of my music are passionate expression, internal fire, rhythmic animation, and unexpected changes." In his preface to the " Symphonic Fan- tastique " he thus clearly explains his ideas of pro- gramme-music : — "The composer has aimed at developing various situations in the life of an artist, so far as seemed musically possible. The plan of an instrumental drama, being without words, requires to be explained beforehand. The programme (which is indispensable to the perfect comprehension of the dramatic plan of the work) ought therefore to be considered in the light of the spoken text of an opera, serving to lead up to the pieces of music, and indicate the character and expression." In all his symphonies Berlioz carried out this idea. They are four in number : " Symphonic Fan- tastique, premiere partie de I'Episode de la vie d'un artiste " (" Fantastic Symphony, first part of the Episode in the Life of an Artist"), op. 14^, and " Lelio, ou le Retour a la Vie, monodrame l}Tique, deuxieme partie de I'Episode de la vie d'un artiste " (" Lelio, or the Return to Life, lyric THE SYMPHONY FANTASTIQUE. loi nionodrama, second part of the Episode in the Life of an Artist"), op. \^b; "Grande Sympho- nic funebre et triomphale, pour grande harmonie militaire, avec un orchestre d'instruments a cordes, et un choeur ad libitum " (" Grand Funeral and Triumphal Symphony, for full military band with string orchestra and chorus ad libitum "), op. 15, first performed July 28, 1840; "Harold en Italie, symphonic en quatre parties, avec un alto principal " (" Harold in Italy, symphony in four movements, with viola obbligato"), op. 16; and " Rom^o and Juliette, symphonic dramatique avec choeurs, solos de chant, et Prologue en rdcitatif choral, d'apres la Trag^die de Shakspearc " (" Romeo and Juliet, dra- matic symphony, with chorus, solos, and prologue in choral recitative after Shakspeare's tragedy "), op. 1 7, first given in Paris, Nov. 24, 1839. SYMPHONIE FANTASTIQUE. Op. 14. 1. Adagio. Allegro agitato. (Reveries and Passions.) 2. Le Bal. (The Ball.) 3. ScfeNE aux Champs. (Scene in the Fields.) 4. Marche du Supplice. (Journey to Execution.) 5. SoNGE d'un Nuit de Sabbat. (Dream in a Witches' Sabbath Night.) The " Symphonic Fantastiquc," also entitled by its composer " Episode in the Life of an Artist," was written by Berlioz in his nineteenth year (1S29), while a pupil at the Paris Conservatory. Li his autobiography he says : — 102 THE STANDARD SYMPHONIES. " It was while I was yet strongly under the influ- ence of Goethe's ' Faust ' that I wrote my ' Symphonic Fantastique.' Some portions cost me great labor, while others were composed with incredible ease. For instance, I labored for three weeks over the ' Scene aux Champs,' which always affects the public so keenly, — and myself too for that matter, — and three times gave it up as hopeless. ' La Marche au Supplice,' on the other hand, was written in one night. Still I kept on adding finishing touches to both num- bers and to the whole work for several years." This symphony will always be noteworthy as his first attempt at programme-music. Every move- ment of this strange work is prefaced by a regular programme and accompanied by notes which call the hearer's attention beforehand to the scenes which the music is intended to describe. Nothing is left to conjecture. The symphony is a distinct story of a melodramatic character in five chapters, and each chapter is headed with a table of contents carefully and explicitly made out. To describe the symphony it is hardly necessary to do more than to tell the bizarre story of this episode in the life of an artist, which is a very nightmare of passion. In the opening movement he introduces a young mu- sician madly in love with a woman of ideal perfec- tion, represented by a musical figure which he calls the " id^e fixe." Like a Wagner motive this melody binds the various sections of the symphony to- gether, and appears sometimes clear and sometimes distorted in every changing phase of the artist's THE SYMPHONY FANTASTIQUE. 103 gloomy experiences. The whole movement is based upon this "fixed idea," representing the vague long- ings of love, its melancholy, ecstatic, jealous, and frenzied moods. The theme haunts the music as the vision of the ideal woman haunts the artist. In his autobiography Berlioz describes the origin of this melody. In his twelfth year he met Estelle, a niece of Madame Gautier, " a tall, slight girl of eighteen, with splendid shining eyes, a mass of hair which might have waved on the casque of Achilles, and the feet of a thoroughbred Parisian, clad in a pair of pink shoes." Writing of this episode in his career, he says : — " I composed a very sad song to some words which expressed my despair at leaving the woods and the spots which had been 'honoitfs par les pas, ^clair^s par les yeux,' and, I might add, by the pink shoes of my cruel fair one. The song was burnt before I went to Paris, but when I undertook to write my ' Symphonie Fantastique,' in 1829, the melody came back to me, and as it seemed to express the overwhelming grief of a young heart in the pangs of a hopeless passion, I adopted it. It is the air for the violins at the opening of the Largo in the first part of the work, * Reveries, Passions.' I put it in just as it was." The second movement introduces us to a ball, but even in the midst of the festivity, and listening to the sensual strains of the waltz, the face of the loved one haunts the artist. From a technical point of view this movement shows the great skill of the composer in the symphonic treatment of a waltz 104 THE STANDARD SYMPHONIES. rhythm, but the brilliant dance music is ever and anon interrupted as the melody which belongs to the loved one asserts itself through the bewitching strains. The third movement, " Scene aux Champs," is one of quiet pastoral beauty, though it gathers gloom as it proceeds and closes in ominous dark- ness and silence. The lover is in the fields at evening and hears the shepherd's answering songs, sung by the oboe and horn. The charm of the spot, its peaceful repose, the gentle approach of evening, and the rustic chants call up the vision of the loved one and inspire him with hope, which soon clouds over again as darkness comes on. One of the shepherds repeats his song, but the other does not answer. The low rumble of a storm is heard in the distance, and the despairing lover gives way to melancholy. In the fourth movement, " Marche du Supplice," persuaded that his affection is not reciprocated, the frenzied lover takes poison with the intention of suicide, but the drug instead of killing him only produces a stupor filled with wild hallucinations. He imagines that he has killed his mistress and is the witness of his own execution. The march to the scaffold begins amid the chanting of the Dies Irae, the tolling of bells, and the mournful roll of muffled drums. Even the rush of the multitude and the tramp of their feet are heard in this realistic music. The fatal melody, however, does not leave him even here. It is constantly heard in the gloom HAROLD IN ITALY. 105 until it is cleft in twain by the sharp stroke of the headsman's axe. The last movement, which is really a continuation of the fourth, pictures the lover in the midst of the witches and demons who have gathered to witness his burial. The interment takes place accompanied by a wild orgy which reminds one of the chorus of demons in " The Damnation of Faust," and is best described by the programme : " Howls, laughs, cries of pain, complaint. The beloved melody is again heard, but as a common, vulgar dance theme now. It is she who comes. Loud rejoicings at her arrival. Demoniac orgies. Death bells. The Dies Irse again, but travestied." HAEOLD IN ITALY Op. 16- 1. Harold aux Montagnes. Scenes de m^lancolie, DE BONHEUR, ET DE joiE. (Harold in the mountains. Scenes of melancholy, happiness, and joy.) 2. MarCHE de Pj^LERINS, CHANTANT la PRifeRE DU SOIR. (March of pilgrims, singing the evening prayer.) 3. S^r^nade d'un Montagnard des Abbruzes a sa Maitresse. (Serenade of a mountaineer of the Abruzzi to his mistress.) 4. Orgie des Brigands. Souvenirs des SciNES VRtct- dentes. (Orgy of brigands. Souvenirs of preceding scenes.) " Harold in Italy " was written in 1834, and first produced at the Paris Conservatory, November 23 of the same year, the viola obbligato, which forms such an important feature of the work, being played by M. Urban. The story of its composition, as told io6 THE STANDARD SYMPHONIES. by Berlioz in his autobiography, is of more than ordinary interest. On the 2 2d of December, 1833, he gave a concert at which the " Symphonie Fan- tastique " was performed with great success. Among the auditors was Paganini, who was so dehghted that he overwhehned Berlioz with compliments. Some weeks afterward he visited the composer and entreated him to write a solo for a wonderful Stradivarius viola which he possessed. After some hesitation Berlioz consented, and wrote the solo in concerted form, giving the orchestra its due con- sideration. No sooner was the first movement fin- ished than Paganini desired to see it, and promptly expressed his dissatisfaction at the numerous waits, whereupon Berlioz abandoned the project. The viola solo was not lost, however. He says : — " Finding that my plan of composition did not suit him, I applied myself to carrying it out in another way ; and without troubling myself any further as to how the solo part should be brought into brilliant re- lief, I conceived the idea of writing a series of scenes for the orchestra in which the viola should find itself mixed up, like a person more or less in action, always preserving his own individuality. The background I formed from my recollections of my wanderings in the Abruzzi, introducing the viola as a sort of melancholy dreamer, in the style of Byron's ' Childe Harold.' " Thus from this afterthought came the Harold symphony, though its title is something of a mis- nomer if one seeks to connect the work, either in HAROLD IN ITALY. 107 its general character or its incidents, with the Italian wanderings of Byron's hero. The viola theme, how- ever, typifies Harold, reveals to us his presence, and pictures his mental conditions in every movement of the symphony. In his reference to the work Berlioz accurately defines the part which the theme plays in the development of the scheme. He says : — "As in the ' Symphonie Fantastique,' one principal theme (the first strain of the viola) is reproduced throughout the work, but with this difference, that in the 'Symphonic Fantastique' the theme, the 'idde fixe,' is obstinately introduced amid scenes wholly foreign to it, like a passionately episodic subject, whilst Har- old's strain is superadded to the other orchestral strains, with which it contrasts both in movement and character, without hindering their development." The story of the symphony is the story of what Harold witnesses in his wanderings. The restless, melancholy exile beholds Nature in her loveliest as well as her most majestic aspects, but they fail to cheer him. He is in the midst of a band of happy and devoted pilgrims journeying along to worship at some shrine, but religion no more than Nature can calm his troubled spirit. He witnesses a moun- taineer serenading his mistress beneath her window, but the simple love-scene has no charm for him. In despair he joins the bandits, and rushes into one of their orgies, where at last all his better thoughts and noi)lcr feelings arc lost in a vortex of dissipation and frenzy. Io8 THE STANDARD SYMPHONIES. The first movement, " In the Mountains," is di- vided into two sections, both in the key of G, — an Adagio expressive of Harold's melancholy, and a strongly contrasting Allegro signifying his transient feeling of happiness and joy. The Adagio opens with a characteristic phrase for the basses and 'cellos, to which the bassoon adds a theme in chromatic progression. This is relieved by a second theme, at first taken by the wood winds and then devel- oped by the viola, typifying the reflective character of Harold, as it does throughout the rest of the work. The harps and clarinets accompany the monologue as it moves on toward the second section of the movement. Four times the viola seeks to make the change and at last seizes the joyous melody of the Allegro, and the music flows on to the close brightly and gracefully, richly col- ored and always original and characteristic. The second movement, " March of the Pilgrims," is one of the most charming numbers Berlioz has ever written. The march themes are very simple, but the composer has invested them with a peculiar charm by their sweetness and grace as well as by the richness of the instrumentation. The music is also very descriptive, and a pleasing eflect is made by crescendo and diminuendo as the pilgrims approach, file past, and slowly disappear in the distance. The pretty scene closes with an evening prayer, in which Berlioz shows his skill in treating simple religious song. The third movement, "The Serenade," is a fit HAROLD IN ITALY. 109 sequel to the second in its general character. It opens in genuine pastoral style, the horn and oboe giving a Tyrolean effect to the music and leading up to a quaint and very refined serenade in slower time. But even in the serenade of the mountaineer, as in the march of the pilgrims, the unrestful and sad plaint of the viola is heard. In the last movement, " The Orgy," Berhoz gives free rein to his audacity and love of the horrible, and ends the career of Harold, like that of the ar- tist in the " Symphonic Fantastique," in a wild and crashing hurly-burly of sound intended to picture a foul and frenzied org)'. The movement opens with reminiscences of preceding themes, woven together with great skill. Among them is the Harold theme, announcing his presence, and the march of the pil- grims taken by two violins and 'cellos in the wings, indicating their passage in the distance. As if Har- old had turned for a moment and longingly listened to the beautiful melody, wishing that he were with them, the viola replies to it. It is only a snatch, however, for at once the furious orgy begins which drowns every reminiscence, and goes on with con- stantly increasing din and volume to the end, as if all the demons of the underworld had been let loose. BRAHMS. OHANNES BRAHMS, one of the most conservative of the modern symphonic writers, played some of his compositions when but nineteen years of age before Schumann, who placed himself on record in the " Neue Zeitschrift fiir Musik " in the following en- thusiastic description of the young composer : — " Following with the greatest interest the paths pursued by these elected ones, I thought that after such a state of things there would and must suddenly appear one destined to give expression in an ideal manner to the deepest feelings of the age ; one who would present us with the qualities of a master, not developed gradually, but like Minerva springing com- pletely armed from the head of Jupiter. He has now come, — a youth at whose cradle graces and heroes kept guard. His name is Johannes Brahms." Brahms did not produce his first symphony until a comparatively late period in his life. His earlier works had shown the influence of Mendelssohn and particularly of the composer who had given BRAHMS. 1 1 1 him such a flattering introduction to the musical world ; but in this, his first large work, notwithstand- ing his debut in romanticism, it was at once ap- parent that he had gone farther back and grounded himself upon Haydn, Mozart, and Beethoven, and that his future work was to be based upon the pure classic form in its most absolute sense. Unques- tionably he has many of the new-school tendencies, and he brings to his work poetic feeling, strong imaginative power, and genuine dramatic intensity, but these qualities are never allowed to transcend the fixed limits of the pure form. They are always subordinated to scholarly treatment and dignity of purpose, with such truth and earnestness indeed that many critics have found him plodding and pedantic. Such he may appear when compared with the writers of programme-music, or with those who are constantly searching for the bizarre or the sensational, but it must be conceded his ideas are new and original. The difference between him and many of his contemporaries is that he expresses them in the old forms, and will not depart from the conservative standards. At the same time, within those limits he not only secures artistic develop- ment and unity, but displays unusual strength and freedom. While his themes are always original and sometimes very striking, it is not until they have been thoroughly developed and their treatment made complete that his work is recognized as per- fect in its balance, always lofty in its purpose, and artistic in its effect as pure instrumental music. 112 THE STANDARD SYMPHONIES. SYMPHONY No. 1, IN C MINOR. Op. 68. 1. Un poco sostenuto. Allegro. 2. Andante sostenuto. 3. Un poco allegretto e grazioso. 4. Adagio, piu andante. Allegro moderato ma con BRIO. Notwithstanding Schumann's panegyric, Brahms waited until he was forty-nine years of age before he produced his first symphony. Rumors of its coming preceded it many years, but when the com- poser was questioned about them he only remarked there had been one C minor (Beethoven's Fifth), and there was no need of another. In the fall of 1876, however, it made its appearance, and was performed successively at Stuttgart, Carlsruhe, Mannheim, and in the Gewandhaus at Leipsic, as well as at Cam- bridge, England, everywhere creating an enthusiasm which found its most flattering expression in Von Billow's remark : " We have at last a tenth sym- phony." The attempt to estabUsh Brahms as Beet- hoven's immediate successor and peer is hardly justified ; but it cannot be questioned that the sym- phony made a profound impression in the musical world, and that it will hold its place as a work of the first class. The symphony opens with a short introduction, Un poco sostenuto, espressivo e legato, of an agi- tated and somewhat melancholy but harmonious character and based upon the two themes of the Allegro, from which it is separated by four measures THE SYMPHONY IN C MINOR. 113 of prelude. It is in reality a clear general state- ment of the movement, the principal theme of which is given out by the violins, accompanied by a chromatic phrase for the 'cello and bassoon, which appears again with a phrase derived from the first theme for its accompaniment, thus admirably pre- serving the unity of the movement. The second subject, full of hopeful aspiration, is taken by the oboes, clarinets, bassoons, and horns, treated as we have already indicated, and supplemented by a new melody for the oboes, supported by a sus- tained passage for bassoons, violas, and 'cellos, one measure of which is used in imitation between the clarinet, horn, flute, and bassoon, producing a quieter and more restful feeling. A new figure for the strings, however, soon recalls the old unrest, and thus the first section of the Allegro closes. After the repeat and in the working out of the movement a fine effect is made by a long decres- cendo, leading up to a passage which begins almost in a whisper and developed by degrees to a tre- mendous fortissimo. The movement closes with a Coda in the same time and general character as the opening, and developed with constantly increasing power. The second movement, Andante sostenuto, opens with an exquisitely melodious theme in % time for the strings, followed by an intensely passionate second theme, also for strings, accompanied by a phrase from the opening melody, — a form of treatment already observed in the Allegro move- 8 114 THE STANDARD SYMPHONIES. ment. After this the first theme returns, this time, however, for the oboe, with response by the clarinet and an accompaniment of staccato chords for the violins and violas. In the close of the movement the first melody is divided as a solo between the violin and flute, with a charming accompaniment and characterized by genuine romantic sentiment. The third movement, Un poco allegretto e gra- zioso, is introduced with a sweet and graceful melody for the clarinet, followed by an equally graceful subject for clarinet and flute. The third melody is also announced by the clarinet and fin- ished by the flute and oboe with string accompani- ment. The Trio is in % time, strongly contrasting with the opening of the movement. At its close the first section is not repeated, as is customary in a Scherzo, whose place the movement occupies, but its themes are developed with charming grace and skill in a Coda. The Finale is the most powerful and dramatic section of the work, and is evidently intended as a summary of the whole symphony. It is composed of an Introduction (Adagio, piu andante) and an Allegro. The Introduction opens with three de- scending bass notes of highly tragic expression, gradually increasing in power, which are subse- quently utilized for accompaniment in the Allegro ; and the violins give out a very dramatic phrase, which also forms the opening theme of that move- ment. All through this majestic Adagio, which seems to be an alternation between hope and fate, THE SYMPHONY IN C MINOR. II i there is a spirit of restlessness and mj'stery ; and this is intensified when with an acceleration of the time and change of key to C major the horns and trombones are introduced, the former uttering a most passionate theme and the latter fiUing in a solid background of mysterious harmony. The opening theme of the Allegro recalls the choral melody of Beethoven's Ninth symphony, as will be seen : — f PS^^eS r3=?^'i=f^ss?=^=^ s- -t -^ It is introduced by the strings, assisted by the horn and bassoons, and is then repeated by the wind instruments accompanied pizzicato by the strings. Its effect is magical. To the preceding gloom, mystery, and passion succeeds a spirit of joy- ousness and healthy contentment. The work con- cludes with reminiscences of the preceding themes, but they only remind us of the fine lines of rain that follow the storm and glisten in the reap- pearing sunlight. Il6 THE STANDARD SYMPHONIES. SYMPHONY No. 2, IN D MAJOR. Op. 73- 1. Allegro ma non troppo. 2. Adagio ma non troppo. 3. Allegretto grazioso. 4. Allegro con spirito. The Second symphony of Brahms was finished in 1877. Only a year had intervened since his d^but in this important field of music, but the second work is widely different from the first in its general char- acter. The first, as we have seen, is full of passion and unrest, suggesting strong emotions and a strug- gle with destiny almost as clearly as we know it is expressed in Beethoven's C minor symphony. In the second, however, the composer occupies entirely new ground. It is characterized by cheerfulness, repose, and almost pastoral simplicity, and betokens peaceful existence. Less dignified perhaps in its purpose, certainly less pedagogic, if we may so call it, in its structure and working out, it is none the less interesting for the beauty of its themes, the strength of its contrasts, the sustained character of the various movements, and the unity of the work, secured by that contrapuntal skill which Brahms so often displays in his compositions. It has been charged that he has freely imitated Mendelssohn, especially in the first movement, but this is hardly just. The music may remind one of that composer in its general color and outline, but the form, the workmanship, and all the symphonic devices employed are peculiarly those of Brahms. The movement of the symphony is so THE SYMPHONY IN D MAJOR. 117 peaceful, — for it is only here and there that either melancholy or passionate emotion is displayed, — and it flows along in such an even current that it is more pleasant to call attention to its salient passages than to attempt anything hke a close analysis. The first movement, Allegro ma non troppo, as we have already intimated, suggests pastoral simplic- ity and repose ; and it is in this movement that the critics, some of them at least, find the Mendels- sohnian resemblances. The opening subject is beau- tifully set for the wind instruments, and is thoroughly melodious, the horns fairly giving out festive strains. The second theme, in F sharp minor, sings itself most sweetly and gracefully on the 'cellos and viola. In the working out, however, a more passionate key is struck and the idyllic character of the movement is disturbed. Then follows a succession of passages which are almost stormy in their effect, so strong are the brasses and blaring even to dissonance ; but the angry waters are calmed again when the first theme returns, this time on the oboes, and the movement glides peacefully along to the Coda, in which the horn is used with fascinating effect and a peculiar tone-color is given by the quaint pizzicato string accompaniment that follows. The second movement is somewhat sphinx-like as to its real purport. The themes are less clearly stated. The form is more unifjue, but the work- manship shows the same consummate perfection that characterizes all this composer's work. Unques- tionably there is a deep meaning underlying it both iiS THE STANDARD SYMPHONIES. in the form itself as well as in its expression, which we may leave to the hearer to interpret. Deiters explains this movement by saying that " the com- poser has intentionally striven to express the hesita- tion and fearfulness experienced on beholding a weird apparition which still irresistibly entices and beckons us onward." This criticism does not apply, however, to the third movement, Allegretto grazioso, for here every- thing is clear and full of cheerfulness, even to the verge of frolicsome gayety. It is made up of two sections, an Allegretto and Presto. In beauty and vivacity it resembles the opening movement and strongly partakes of the Haydn spirit. It begins with an exquisite pastoral melody for the reeds which is most deUciously treated and full of charm- ing variety. It then rushes on to the Presto, which is a merry rustic dance in itself abounding with sparkling humor and even boisterous gayety. Then comes a repetition of the Allegretto, which brings the happy scene to its close. The Finale, Allegro con spirito, has been likened to the Mozart finales by the critics, not in a plagia- ristic sense but in the general manner of treatment. As in his First symphony, the movement is full of reminiscences of preceding themes which are han- dled with great skill. After treating them in va- riations and with constantly changing shades of tone-color, sustaining them with all the strength of a master, he seems to give a free rein to his powers, and the movement rushes on with constantly in- THE SYMPHONY IN F MAJOR. 119 creasing vigor and spirit to a brilliant and sonorous close. SYMPHONY No. 3, IN F MAJOR. Op. 90- 1. Allegro con brio. 2. Andante con moto. 3. poco allegretto. 4. Allegro. Brahms's Third symphony was first performed at one of the concerts of the Vienna Philharmonic Society, Dec. 2, 1883, and is undoubtedly the most popular of the series for the reason that it is clearer in its general construction than the others. At the same time, while less complicated and elaborate in its development, it is not lacking in ideas of a thoroughly poetical kind and great variety of color. Indeed, in this work, much more clearly than in the other two, the picture in the composer's mind may be traced. The first movement, Allegro con brio, opens with a short prelude of powerful chords by the wind in- struments, introducing the first theme, a majestic melody, which is given out by the violins, accom- panied by the violas and 'cellos, and supported by the trombones. The theme, which is peculiarly brilliant and even heroic in its style, is treated with masterly skill as it progresses from a steady and peaceful flow to the highest point of vigor and majesty. In the transition to the second theme, however, announced by the clarinets, occurs a more I20 THE STANDARD SYMPHONIES. restful period ; and the theme itself, which is very graceful and pastoral in style, imparts a serious, earnest character to the movement, which is still farther enforced by the skilfully constructed Coda. The second movement, Andante con moto, might almost be termed a rhapsody, as it is very short and is not elaborated after the customary manner. The greater part of the movement indeed rests upon and grows out of the opening theme, which is a simple but very graceful and joyous melody, breathing the spirit of inward happiness and contentment, though in strong contrast with the epic character of the work. This theme is taken alternately by the wind instruments, violas, and 'cellos, and is freely treated in variations, which give beautiful tone-color to it. It has a brief rest while the clarinets and bassoons give out a resonant, stirring phrase as if foreshadow- ing what is to come. It is hardly pronounced enough, however, to be called a second theme. The first subject at once returns and goes on to the end in a series of delightfully contrasted effects. The third movement, Poco allegretto, which takes the place of the ordinary Scherzo, is mostly serious in its style, and really fixes the general character of the symphony. Its principal theme, a genuine sam- ple of the Lied, is given out by the 'cellos, at first fanciful, tender, and full of simple grace, then remi- niscent and contemplative, and at last dreamy ; to which succeeds a passage for the wind instruments, soothing and almost suppliant, as if deprecating the THE SYMPHONY IN E MINOR. 121 Struggle that must come. There is nothing of the Scherzo character in this movement. To have given it that form would have seriously conflicted with the ideas that uphold the structure of the symphony and introduced a foreign spirit and color. The Allegretto dies away in soft chords which lead to the Finale, — a passionate, agitated, and sombre movement, yet heroic, elevated, and strong in its style. The theme with which it opens rushes past with all the haste and mystery of a vision in a dream, and then reappears in a new harmonic form, only to grow more sorrowful and gloomy with the en- trance of the trombones preluding a new phrase, for now the sentiment changes and we have in its place a passionate conflict. Through the fierce and de- termined phrases of the violins, however, is heard the steady, jubilant song of the 'cellos. As they announce the victory the gloom disappears, and gives place to peace and rest once more, dignified and ennobled by the heroic theme of the first movement. SYMPHONY No. 4, IN E MINOR- Op. 98. 1. Allegko non assai. 2. Andante moderato. 3. Presto giocoso. 4. Allegro e.nergicg e patetico. The Fourth symphony is universally recognized as the most individual of all Brahms's works of this 122 THE STANDARD SYMPHONIES. class. It was first performed at Meiningen under the direction of Von Btilow and Brahms himself. The German critics claim that in this music the composer has displayed himself for the first time. Kretschmar enthusiastically exclaims : " The singer of the ' German Requiem ' stands before us." In his preceding symphonies the influence and some- times the style of Beethoven, Mozart, Haydn, Mendelssohn, and Schubert have been traced, but in the simplicity and originality of its themes, and in the subjective character of its ideas, as well as in its development, it bears the unmistakable impress of its composer. The same organic unity which characterizes the other three symphonies in such marked degree is also found in this, though the various movements illustrate different ideas. The first movement, Allegro non assai, opens with a melodious theme of unusual length which is treated in a masterly but intricate style. It is a wayward fancy, now cheerful and again serious, but coming to a sombre close as the second theme enters in the same general manner. As the move- ment draws to an end its melodious character grows more joyous, strong, and dramatic, and the development leaves little to desire in the way of pleasing variety and artistic effect. The second movement. Andante moderate, is almost akin to the Lied in the gracefulness and sweetness of its melody, its warmth of tone and its refined and spirituelle character; and the third. Allegro giocoso, in rondo form, is full of animation THE SYMPHONY IN E MINOR. 123 and good-humor, and yet is dignified in style and strong in expression, as befits tlie serious purpose of the composer, who always has a lofty object in view. The Finale, Allegro energico e patetico, a devel- opment of the Passacaglia form, is a model of ear- nest, serious, artistic workmanship, every measure of it revealing the conscientious and scientific scholar. It opens with a succession of massive chords intro- ducing a stately first theme which frequently reap- pears. A melodious flute solo intervenes, and then the development begins, in which the subjects are given out in a broad and restful manner and treated with a richness of color and refinement of style, as well as a perfection in workmanship, which have rarely been excelled. COWEN. REDERICK H. COWEN, the English composer, is perhaps better known in the musical world by his vocal than by his in- strumental compositions. As a song-writer he has been very successful. He has also written three cantatas — " The Corsair," "The Rose Maid- en," and " The Sleeping Beauty " — which are much esteemed. Besides these his opera " Pauline," first performed by the Carl Rosa troupe at the Eyceum Theatre, London, Nov. 22, 1876, is a favorite in England. His instrumental repertory has not been large. A fantasie-sonata, trio, quartet, pianoforte con- certo, and the incidental music to Schiller's " Joan of Arc " prepared the way for his symphonic d^but, which was made in 1869 with his No. i in C minor. Since that time he has written four, namely, F major, 1872 ; C minor (Scandinavian), 1880 ; B flat minor (Cambrian), 1884; and F major, 1887. Of these the Scandinavian is unquestionably his best and most finished work, and is particularly noticeable for its local color and scholarly treatment. It has frequently been heard in this country, and has always been received with enthusiasm. THE SYMPHONY IN C MINOR. 125 SYMPHONY No. 3, IN C MINOR (SCANDINAVIAN). 1. Allegro moderato ma cox moto. 2. molto adagio. 3. Scherzo. Molto vivace quasi presto. 4. Finale. Allegro ma non troppo. Allegro molto vivace. Cowen's symphony in C minor, better known as the Scandinavian symphony, was first performed in London, Dec. 18, 1880, and since that time has made the tour of the musical world in England, Germany, and the United States, and been received with a cordial welcome. It is a charming example of programme-music in a romantic form, and, as its name suggests, seeks to convey impressions of tlie Northland. The opening movement, Allegro mod- erato ma con moto, is sombre and almost melan- choly in character, and delineates the natural emotions inspired by the forests and mountains of Scandinavia. It begins with a quiet and serious theme for clarinets and bassoons alone, to which the violins reply without changing its general character, leading up after a repeat to the full orchestral effect, in which, excepting horns and trumpets, the instru- ments are in unison. After a short development of this theme, the second is given out by the violins, repeated by the 'cellos, and then taken by 'cellos and first violins. This theme is local in its color and in strong contrast with the first, — the one sombre, the other cheerful. After the repetitions, the subjects are worked up in the orthodox manner, the general 126 THE STANDARD SYMPHONIES. character of the music alternating between energy and quiet ; but the first theme ultimately asserts it- self with great power and dominates the close of the movement. The second movement, Molto adagio, is very poetical in its sentiment. It is entitled " Summer Night at the Fjord," and is intended to represent the impressions of one standing by the water in the moonlight, looking out on the one hand at the shimmering waves, and on the other at the darkling mountains. Even more than the opening move- ment the Adagio is colored with the Northern tone. It opens with a short passage for the strings, which alternates between them and the wood winds and is charmingly treated. As it comes to a close an unexpected but delightful intermezzo occurs, — an Allegretto, representing a party of pleasure-seekers sailing along the other shore, whose song comes across the water to the listener and disturbs his meditations. The song is given out by the horn quartet with harp accompaniment, and diminishes as the boat sails along in the darkness, finally dying away into the stillness of the night. Once more the flute and oboes, followed by the violins, take up the principal theme of the Adagio, and the develop- ment proceeds to the end, interrupted for a few measures only by the horn theme, which is once more heard in the distance through the dreamy visions of the fjord. The movement as a whole is charming for its poetical ideas and tender, romantic effect. THE SYMPHOiYY LV C MINOR. 127 The Scherzo, molto vivace quasi presto, presents a third picture entirely different from its predecessors in color and outlines. From the moonlight night on the fjord we are transported at once into the heart of a Northern winter, and enjoy a sleigh-ride. The opening theme, introduced by the strings, and its treatment are full of the freedom and exhilara- tion of the drive, and ingeniously reproduce the motion of the horses, while the triangle's clang sup- plies the jingle of the bells. The Scherzo is in con- ventional form, and has a pretty Trio and a Coda reuniting the themes of each. The final movement, Allegro ma non troppo, leading to Allegro molto vivace, is constructed upon a larger and more energetic plan than any of the others, and has the genuine Northern sturdiness and rugged force. It enters with its main subject in unison, which increases in vigor with the Allegro molto vivace. The second theme is introduced by the violins, followed by the basses, and after its working up, the first part of the movement closes with the repetition of the opening theme. From this point on, the movement is in the nature of a fantasie, which is devoted not alone to the first theme, but includes in its scheme the second motive of the first Allegro, the opening bars of its first theme, and the principal theme of the Adagio. The entire close, however, is dominated by the strong theme which opened the movement, and is treated in a very skilful manner. DVORAK. NTON DVORAK, the Bohemian com- poser who is making such a stir in the musical world, has earned his reputation by hard and persevering work in the face of many obstacles. His father combined the busi- ness of tavern-keeper and butcher, and young Dvorak was his assistant in both occupations, amid the environments of which it may be assumed he had little opportunity to pursue the study of music. An uncle first recognized his artistic ability and secured his admission to an organ-school, where for the first time he heard the music of Mozart, Beethoven, and Mendelssohn. From i860 until 1871 he earned a precarious livelihood by playing in strolling bands and theatre orchestras, but during all this time he persisted in composition, though piece after piece was rejected. At last his sym- phony in F was laid before the Minister of Instruc- tion in Vienna, and upon the recommendation of Herbeck a grant of two hundred dollars was THE SYMPHONY IX D MAJOR. 129 awarded him. When Brahms replaced Herbeck on the committee which reported upon artists' stipends, he fully recognized Dvorak's ability, and not only encouraged him but also brought him be- fore the world by securing him a publisher and commending him to Joachim, who still further ad- vanced his interests by securing performances of his works in Germany and England. Since that time he has risen rapidly, and is now recognized as one of the most promising of living composers. He has written four symphonies : No. i, in F major, 1871 ; No. 2, in E flat, 1874; No. 3, in D major, 1884; and No. 4, in D minor, 1885, but of these the D major was the first published and is the only one known in our concert-rooms. Though peculiarly Slavic in many of its characteristics, it is nevertheless orthodox in its form and treatment and shows great mastery of orchestral resources. SYMPHONY No. 3, IN D MAJOR. Op. 60. 1. Allegro non tanto. 2. Adagio. 3. Scherzo (furiant). 4. Finale. Allegro con spirito. Dvofdk's Third symphony was written in 1884, and is the best known of the group. It was also his first published work, and is the only one yet per- formed in this country. Notwithstanding its essen- tially Slavic character the regular symphonic form is not modified in any particular. Instruments are y 130 THE STANDARD SYMPHONIES. sometimes employed in very peculiar and unique ways, and the modulations are often striking and unusual ; but the adaptability of the symphonic form as originated by Haydn and developed by Mozart and Beethoven is clearly shown in this work of Dvorak's. The first movement, Allegro non tanto, contains a rich display of musical ideas in its group of themes. The prelude to the opening theme is divided between the wind instruments, basses, and bassoons, and after four bars the subject is reached ; but the key soon changes and a vigorous interrup- tion occurs, after which the theme returns in the original time with a brilliant forte passage for the brasses. Its stay is transient, however, and the in- terruption occurs, very vivacious in its character, which leads up to the introduction to the second theme, — a thoroughly unique melody given out by the 'cellos and horns, with a picturesque string accompaniment. A duet for oboe and bassoon fol- lows, with a melodious figure in accompaniment for the second violins and violas, and a long-sustained tone by the first violins. The theme is then re- peated by full orchestra, after which all the ideas of the movement, of which there are no less than six distinct ones, are worked out in the orthodox form. The second movement. Adagio, is rich in color, though gentle and dreamy in its sentiment. After a short prelude, as in the first movement, the first theme is given out by the strings with accompani- ment by the wind instruments. After a short epi- THE SYMPHONY IN D MAJOR. 131 sode we reach the second part of the theme, taken by the flutes, with a refrain by the oboes, — one of the tenderest and most fascinating songs imagina- ble. The key then changes, and another short episode brings us back to the original key and principal subject. Another episode developed from the materials of this theme occurs and is followed by the Coda, in which there is a characteristic 'cello solo. The third movement, Scherzo, gives a national character to the whole symphony. It is marked " Furiant," and is in form and substance almost identical with the Slavonic dances, so many of which Dvorak has arranged. Its opening theme is fresh, piquant, and spirited, and is repeated over and over to a wild and furious accompaniment, punctuated and emphasized with all the strange accents and unusual rhythms that characterize the Bohemian and Hungarian music. The excitement reaches its climax in the Trio, in which the flutes and strings, pizzicato, carry the melody, and the pic- colo gives it the genuine Slavic color. The second theme of the Trio is broader and more dignified in style, and at its close the Scherzo is repeated and ends this stirring movement. The last movement. Allegro con spirito, is made up of simple Bohemian melodies, treated in the most vigorous style. The opening theme is given out by the strings and clarinets, and with constantly accelerating tempo dashes on with a second theme for oboes and horns, which grows foirly furious 132 THE STANDARD SYMPHONIES. when taken by the whole orchestra and yet shows humorous features in the peculiar entrances of the horns and trombones. The Coda opens with the first theme splendidly set forth by the horns and violas, and is developed with great skill. The move- ment comes to an end with a brilliant and vigorous Presto. GADE. I ELS WILHELM GADE, the representa- tive Scandinavian composer, was born at Copenhagen, Oct. 22, 18 17. Though he pursued his early studies with Wyse, a prominent Danish teacher, he was in many respects a self-made musician. He made his d^but in com- position in i84i,when he obtained the prize offered by the Copenhagen Society of Amateurs for the best overture for full orchestra, with his " Nachklange von Ossian." The work was printed at the Society's ex- pense, and not only was well received at home, but made a very favorable impression in Germany, where it attracted the personal notice of Mendelssohn. The latter was so struck with Gade's ability that he accepted his next work, the symphony No. i, in C minor, and produced it at the Leipsic Gewandliaus concerts, of which he was then conductor. His rapidly growing fame commended him to the king of Denmark, who sent him to Italy, where he prose- cuted his studies until 1843, when he returned to Copenhagen. The next year he had the lionor of 134 THE STANDARD SYMPHONIES. an appointment as conductor of the Gewandhaus concerts, and brought out his Second symphony, in E, the Third, in A minor, and other works. He retained this position until 1848, when he returned to Copenhagen again, where he devoted himself to the organ and the direction of the concerts of the Musical Union. In 1861 he was appointed Hof- capellmeister, and was honored with the title of Pro- fessor of Music. Since that time he has devoted himself to composition, and has produced many excellent works, among them the well-known can- tatas "Comala." "Spring Fantasie," "The Erl King's Daughter," "The Holy Night," " Spring's Message," " The Crusaders," and " Zion," besides several overtures and a large number of songs and piano pieces. His symphonic works are seven in number: No. i, in C minor, op. 5 ; No. 2, in E, op. 10 ; No. 3, in A minor, op. 15 ; No. 4, in B flat, op. 20 ; No. 5, in D minor (with piano) op. 25 ; No. 6, in G minor, op. 32 ; No. 7, in F, op. 45. SYMPHONY No. 1, IN C MINOR. Op. 5. i. moderato con moto. allegro energico. 2. Scherzo. Allegro risoluto quasi presto. 3. Andantino grazioso. 4. Finale. Molto allegro con fuoco. As has been stated in the biographical sketch, Gade's First symphony followed his famous overture " Nachklange von Ossian," and was written for the Gewandhaus concerts at Leipsic in 1843, then THE SYMPHONY IX C MINOR. 135 under the direction of Mendelssohn. The latter has left his impressions of this first essay in serious composition by the young Dane, who was then in his twenty-sixth year. In a letter to his sister, WTitten at Leipsic, Jan. 13, 1843, he says : — " We yesterday tried over a new symphony by a Dane of the name of Gade, and we are to perform it in the course of the ensuing month. It has given me more pleasure than any work I have seen for a long time. He has great and superior talents, and I wish you could hear this most original, most earnest, and sweet-sounding Danish symphony. I am writing him a few lines to-day, though I know nothing more of him than that he lives in Copenhagen, and is twenty-six vears of age ; but I must thank him for the delight he has caused me ; for there can scarcely be a greater than to hear fine music, admiration increasing at every bar, and a feeling of congeniality. Would that it came less seldom ! " On the same day, as intimated above, Mendels- sohn wrote a most flattering letter to Gade, con- cerning the impression made by his symphony in rehearsal, and on the following 3d of March ac- quainted him with the remarkable success it made at the first public hearing, saying in his letter : — "Your C minor symphony was performed for tlie first time yesterday at our eighteenth subscription concert here, to the lively and unalloyed delight of the whole public, who broke out into the loudest applause at the close of each of the four movements. There was great excitement among the audience after 136 THE STANDARD SYMPHONIES. the Scherzo, and the shouting and clapping of hands seemed interminable ; after the Adagio, the very same; after the last, and after the first, — in short, after all ! ... ' Whoever wrote the last half of this Scherzo is an admirable genius, and we have a right to expect the most grand and glorious works from him.' Such was the universal opinion yesterday evening in our orchestra and in the whole hall, and we are not fickle here." In this symphony, as in his others, Gade evi- dently sympathizes with the school of Mendelssohn, but for all that the work is full of individuality and originality. It is romantic in the best sense, and its romance is that of the North. It reflects the poeti- cal sentiment of the Sagas, and is per\^aded by the influence of their traditions, as well as by the pecul- iar plaintiveness and melancholy of the Northern people. In its w-ay it is as characteristic of the Northern elements of Nature, locahty, and art as the Frithjofs Saga. The first movement opens with an Introduction, Moderato con moto, in which a graceful melody with a melancholy background, given out by violas and violins, and full of the true Northern feeling, is skilfully developed and leads up to the movement proper, Allegro energico, with a brilliant passage for horns and trumpets, the strings being used with antiphonal effect. The second subject, which has already been observed in the Introduction (Moderato), is announced in the heroic manner, after which the first is skilfully developed. The clarinets and bassoons now give out a new THE SYMPHONY IN C MINOR. 137 motive, also evolved from the Introduction, which, frequently repeated with sudden key changes, is ultimately taken by full orchestra, and leads back to the theme and time of the Moderato, now presented with increased energy and power, the brass instru- ments carrying the melody, and the strings furnishing a characteristic accompaniment. Thus the develop- ment goes on in orthodox form to the end. The Scherzo is the most fanciful and graceful movement of the four, and is the one which particu- larly attracted the admiration of Mendelssohn, pos- sibly because it was so suggestive of some of the strains in his own Midsummer Night's Dream music. It is rhythmic throughout, and its first theme is reached by a fine crescendo. This theme, with its iterations, dominates the movement, for the second is used in a subordinate way. The Trio is made up of scanty materials, but they are used with great skill and always with a lightsome, fantastic effect. Though Gade was not a plagiarist in any sense, it is impossible to listen to this Scherzo without being reminded of Mendelssohn's " Midsummer Night's Dream," for the same spirit animates both. The third movement, Andantino grazioso, is more serious in character, though graceful and fan- ciful in its development. The opening theme is given out by the oboes, with accompaniment of violas, 'cellos, and double-basses. After its an- nouncement it is taken by the first violins and clari- nets ; but shortly the flute announces a new subject, and then the oboe resumes with a portion of the 138 THE STANDARD SYMPHONIES. first, but with brighter and clearer effect. The remainder of the movement is constructed of a passage for the horns and another for the 'cellos, worked up in the usual form. The last movement, Molto allegro con fuoco, is a masterpiece of brilliant effect. The drums give a martial character to the Introduction, which leads up to a spirited theme given out by the strings in thrilling style. A subsidiary melody appears for the wind instruments alone. Again the leading theme enters, leading forward the second subject, which is now treated by the oboes, clarinets, bassoons, and 'cellos with a broad and free string accompaniment. In the midst of this development the heroic theme of the introduction to the first movement, com- bined with the drum passage of the last, reappears, and the Finale goes on to its close with grand and steady development. SYMPHONY No. 4, IN B FLAT. Op. 20. 1. Allegro vivace e grazioso. 2. Andante con moto. 3. Scherzo. Allegro ma non troppo e tranquil- LAMENTE. 4. Allegro molto vivace. The Fourth of the series of Gade's symphonies, written in 1854, is usually considered his broadest and most dignified work, though it still preserves the Northern color and sentiment in a large de- gree. It is evident, however, that in this symphony, THE SYMPHONY IX B FLAT. i^fj as well as in all its successors, the composer has aimed to produce not a Scandinavian symphony, but one that should be cosmopolitan and firmly based upon the classic models of Haydn, Mozart, and Beethoven. The symphony opens with a short and somewhat plaintive Introduction, leading up to the Allegro, the first theme of which is given out by the \iolins and flutes. After brief treatment, a minor passage for the violins prepares the way for the second theme, first announced by the 'cellos and a single horn, and then joined by the bassoons, the flutes, oboes, and clarinets, having a triple accompaniment. The first part of the movement ends with the repeti- tion of the second subject. The second part is in the nature of a fantasia, in which a part of the first theme, and the minor violin passage, are combined with the leading theme. The various subjects then recur m regular succession, leading to the Coda, in which the strings tremolo and the flutes and reeds in sustained notes play an important part. The opening phrase is then treated, and the movement comes to an end with great vivacity. The second movement, Andante con moto, is delightful for the grace, richness, and tenderness of its harmonized effects, particularly in the opening subject, given out by the strings and accompanied by the clarinets, horns, and trombones in harmony of the most plaintive and yet thoroughly musical expression. The second subject, announced by the clarinets, accompanied by the strings in triplets, is I40 THE STANDARD SYMPHONIES. equally beautiful in its effect. After it is fully devel- oped, the first theme returns in the minor, charm- ingly varied. The violins and reeds repeat the second theme, and then a passage from the first acts for the Coda and brings the movement to a close. The Scherzo, like its comrade in the First sym- phony, is remarkable for its sweetness, fancy, and grace. The first violins announce the opening sub- ject, with string accompaniment, through which are heard the low, tender tones of the clarinets. The movement has two Trios, the first of which is based upon a delightful folk-melody. The Scherzo is then repeated, and an equally beautiful and charac- teristic melody introduces the second, which is also followed by a repetition of the Scherzo, the devel- opment of which, in connection with the melody of the first Trio, forms the Coda. The last movement is full of energy and spirit. Without introduction or preparation of any kind, the flutes and violins give out the vivacious first sub- ject. After brief treatment two more melodies are introduced, either of which is bright and broad enough to have served for a leading theme. They lead the way to the second subject, worked up in the usual form, and followed by the melodious pro- cession of subjects leading to a brilliant Coda clos- ing the symphony. GOETZ. ERMANN GOETZ, a composer of con- siderable prominence, was born at Konigs- berg, Dec. 1 7, 1840. It was not until after his graduation from the University at that place that he decided to enter upon a musical ca- reer. His ability in this direction had been mani- fested at a very early age, but his regular study with Von Billow and Ulrich was not begun until 1857. Six years later he oljtained a position as organist at Winterthur, gave music lessons, and in other ways connected with his vocation managed to support himself and find opportunities for composition. His first important work, and the one by which he is best known, " Der Widerspanstigen Zahmung," an adaptation of Shakspeare's " Taming of the Shrew," was produced at Mannheim, Oct. 1 1, 1874, and met with a success so emphatic that it was soon a favor- ite in most of the German cities. The symphony in F followed the opera, and was also successful. Goetz then began his second opera, " Franccsca di 142 THE STANDARD SYMPHONIES. Rimini," but did not live to complete it. He had finished the first two acts and sketched out the third so fully that, through the services of a friend to whom he intrusted its completion, it was performed after his death and met with a success almost equal to that of his first dramatic work. He died in Switzerland, Dec. 3, 1876, in his thirty-sixth year, full of promise and giving every indication that he would have made a conspicuous place for himself among the modern composers had his life been spared. SYMPHONY No. 1, IN T. Op. 9. 1 Allegro moderato. 2. Intermezzo. 3. Adagio, ma non troppo lento. 4. Finale. The symphony in F, the only work of this class by Goetz, was written in 1876. It has enjoyed great popularity in Europe, and has also been produced in this country with conspicuous success, although the composer's fame had not preceded him, except as the author of " The Taming of the Shrew." Its opening movement, Allegro moderato, is perhaps the most effective, though not the most popular. Without mtroduction the horns give out the first subject, afterward reinforced by the clarinets, — a theme of very romantic character, flowing on in a broad and serious manner, with striking alternations of expression, as the mood changes from gladness THE SYMPHONY IN F. 143 to sadness. The second theme is more cheerful, and maintains throughout a strong, hopeful, and healthy feeling. It is introduced by the flutes and oboes, and at the close of its treatment the opening theme recurs and is finely developed until a marked crescendo at last brings the movement to a brilliant conclusion. The second movement, Intermezzo, is full of charming effects, and will always be a prime favorite. It is thoroughly original in form and treatment, and its contents are bright, cheerful, and joyous. It opens with an effective theme for the horns, to which the wood winds reply with another melodious passage, which is delightful for its piquant delicacy and beauty, and is subsequently taken up and de- veloped by the violins. A brilliant flute cadence leads into the second part of the movement, which is introduced by a quiet but happy theme announced by the flutes and afterward sung by the 'cellos, second violins, and bassoons. These ideas are skil- fully developed, and after a charming episode which takes the place of the Trio, the movement closes with an effect in broad, free harmony which is peculiarly noticeable for its naivete and childlike serenity. The third movement. Adagio, though differing in form, has a close sentimental connection with the Intermezzo. The 'cellos and violas announce its opening, and are succeeded by the wood winds in a theme which is peculiarly happy in treatment. In the second part of the movement the horns, with 144 THE STANDARD SYMPHONIES. string accompaniment, give out the leading subject, which is still further developed by the wood winds. In the close of the movement, which is in the nature of a free fantasie, the strings are used with telling effect, especially in working up to the climax ; and thus with real power, sometimes of the most pas- sionate description, the work moves on to the Finale, the opening theme of which is given out by the vioHns. This movement is developed with great vigor, and culminates in an expression of pathos and passion which of itself is a sufficient indication of the success this brilliant composer might have achieved as a symphony writer had not death cut him down on the very threshold of his career. GOLDMARK. \RL GOLDMARK was born May i8, 1832, at Keszthcly in Hungary, and received his elementary musical education from Jansa, the violinist, at the Vienna Conservatory. It was not long, however, before he abandoned the violin and began the study of composition, and with the assistance of Hellmesberger brought out some mi- nor works with success. He has devoted himself to this branch of work for many years past. He is well known, not only in Europe, but also in this country, by his charming " Sakuntala" overture, his operas, the " Queen of Sheba " and " Merlin," and the first of his symphonies, the " Laendliche Hoch- zeit," or " Country Wedding." A second symphony has recently appeared, and has also been heard in this country, though it is not yet familiar. It is in E flat, and unlike the " Country Wedding," which is in the nature of a suite, adheres strictly to the sonata form. 10 146 THE STANDARD SYMPHONIES. LAENDLICHE HOCHZEIT (COUNTBY WEDDING) SYMPHONY. 1. MoDERATO MOLTO. (Wedding March with Variations.) 2. Allegretto. (Bridal Song.) 3. Allegretto moderato scherzando. (Serenade.) 4. Andante. (In the Garden.) 5. Finale, allegro molto. (Dance.) The Country Wedding symphony, written in 1876, was first performed in that year at Vienna, where it met with a decided popular success. Since that time it has become equally popular in England and this country. Its brightness, freshness, and pe- culiarly close interpretation of the programme which it represents will always make it a favorite among concert-goers. Strictly speaking, it is not in the sonata form, though the composer has divided it into the conventional movements and sought to pre- serve the classic framework of the symphony proper, and hence cannot justly be called a symphony. It is rather a suite or series of musical pictures, in- tended to illustrate the programme contained in its title ; and this it does, not only with absolute fidel- ity, but with genuine musical skill and happiness of expression. It is a series of charming fancies woven and held together by the slightest of sym- phonic threads. Its programme is a sketch of a country wedding. The march and procession, the nuptial song, which we may imagine sung by the friends of the happy pair, the inevitable serenade, the discourse of the lovers in a garden, interrupted COUNTRY WEDDING SYMPHONY. j^y by the entrance of friends whose greetings lead up to a genuine country dance in the Finale, are the various scenes in this series of cheerful pastoral pictures. The various movements are so characteristic and tell their story so simply and unmistakably to the hearer that they hardly need detailed analysis. The first is a most decided innovation, and at once an- nounces that the work is not in the usual symphonic form. It is a march with thirteen variations, in which the theme only appears in fragments. They are scored in the freest possible manner, the composer evidently not wishing to restrict himself to the march form. The theme, which is very simple and yet quite impressive, enters upon the 'cellos and basses alone in a very quiet manner, and without any of the stir and brilliancy which usually charac- terize the march. Then follow the variations in regular order. The first horn, with an accompani- ment by the other horns and a moving bass in the strings, followed by a new melody for clarinets and flutes, takes the first variation. The violins give the second in a very animated manner, and the full or- chestra sweeps in on the third with the utmost viva- city and good feeling. The strings again take the fourth, but the mood changes to a tender and very expressive minor. In the fifth the theme returns to the basses, assisted by bassoons and horns. The sixth is also assigned to the basses, the flutes and vi- olins weaving a very fanciful accompaniment around the theme. The seventh is in the minor, and is 14S THE STANDARD SYMPHONIES. very quaintly written, the utmost freedom being al- lowed to all the instruments. The eighth is divided between the first violins, flutes, oboes, and clari- nets. In the ninth the theme is suggested in the bass, reinforced by a new subject for flute and vio- lin. In the tenth the first violin introduces a fanciful figure with the theme appearing in the basses and strings. The eleventh, in the minor, is charac- terized by an entirely fresh subject, assigned to the violin and oboe, then to clarinet and violin, and finally to the clarinet. The twelfth introduces another new theme, growing out of the first, an- nounced by the oboe with bassoon accompaniment, the flutes and clarinets moving independently, and the violins and violas enhancing the effect in a very quaint manner. With the thirteenth, which returns to the original tempo, the charming series closes. Though treated very freely and fancifully, they never lose the " country " spirit of the work. The second movement, "Bridal Song," is a charm- ing melody in genuine aria form in which the oboe is prominent, the subject of the march being heard in the basses. It is short, but very graceful and delicate, and admirably fills its place in the fanciful scheme of the work. The third movement, " Serenade," comes nearer to the sonata form, and yet preserves the pastoral characteristics throughout. The prelude is some- what elaborate, and leads up to a melody for the oboes, which is afterward worked up by the violins and other instruments. COUNTRY WEDDING SYMPHONY. 149 The fourth movement, " In the Garden," is a charming picture of the lovers tenderly conversing with each other and exchanging vows of constancy and passionate utterances. It is a dreamy epi- sode with alluring bits of color, at times, as in the solo for clarinet, rising to the very intensity of pas- sion, while in the middle part occurs a genuine love dialogue. The scene now changes, and in the final move- ment we have the dance. Oddly enough, its prin- cipal theme is in fugal form, led off by the second violins, the first coming in last. It is very brilliant and picturesque in its effect, and contains many charming episodes, among them a return to the garden music in the middle part. £> HAYDN. nOSEPH HAYDN was the creator of the symphony in its present form. The manner in which he developed it from the sonata form, broadened and inten- sified the contemplative mood of the latter, and the new freedom, vivacity, and individuality which he imparted to the instruments, as well as the union of absolute with dramatic music in the symphony by which he gave expression to the episodes of Nature and the phases of human life, have already been indicated in the preliminary essay to this volume, so that it only remains to give a brief sketch of his symphonic career. Haydn was born in 1732, In 1759 Count Morzin, a Bohemian nobleman, who passed his winters in Vienna and his summers at his country seat in Lukavec, where he kept his orchestra, appointed him his musical director and chamber composer. It was in his ser- vice that he wrote his First symphony, in D major, — a small work in three movements, for two violins, HA YDN. 151 viola, bass, two oboes, and two horns. Two years later Count Morzin broke up his establishment ; and the noble patron of art, Count Esterhazy, secured the services of Haydn, who remained with the family nearly all the rest of his life. The first of the Esterhazy symphonies was that in C major, known as " Noon," which was speedily followed by the " Morning " symphony and a concerto called " Evening." His connection with the Esterhazy orchestra was not terminated until 1 790, and during these twenty-nine years he composed eighty sym- phonies, besides an immense number of other vocal and instrumental works. In the above year he went to London with Salomon under contract to give a series of concerts, which met with such an extraordinary success that he made a second visit in 1 792. During these two seasons he wrote twelve symphonies, known as the Salomon set. The au- thorities differ as to the total number of his works of this class. Haydn himself catalogued 118, but it is known that his list was incomplete. His personal friend Bombet fixes the number at 180, and Grove at 125. Other writers place the num- ber at 156. The discrepancy evidently grows out of the difficulty of accurate definition, as some of his works entitled symphonies can hardly be classed as such in the modern acceptation of the term. It is only a limited number that have held their place in the concert-room, including principally the Parisian set and the twelve written for Salomon. Those best known have been selected for analysis, 152 THE STANDARD SYMPHONIES. their numbering following the Breitkopf and Hartel arrangement, although the individuality of an or- chestral conductor may bring any of them into particular prominence. SYMPHONY No. 1 (B. &< H.), IN E FLAT. 1. .^DAGio. Allegro con spirito. 2. Andante. 3. Minuet. 4. Finale. Presto. The symphony in E flat was composed in 1795, and is the eighth in the set written for Salomon, and the first of the Breitkopf and Hartel edition- It opens with an Adagio, introduced by a roll on the kettle-drum, with the following theme : — 'Cello, Bass, and Fagotto. ^ A dagio. ^1 UU-^IV* j k ^ This broad and sombre melody gives the key to the whole work, and shows us the composer in a somewhat serious mood. It ends in a unison phrase in C minor, in a half-mysterious way on G, the fifth of the chord. Then enters the Allegro con spirito, in g time, with the following theme : t rLUVJL^rcl^^"-- i r^-^ ^ n -etc. The half-step in the first group, forced in the repetition by an accidental, keeps the otherwise THE SYMPHONY IN E FLAT. 153 humorous theme within bounds ; and the sforzando strokes, as well as the fortissimo unison passage at the end of the first part, show how seriously the master took his work. The second part is worked up in strict compliance with the sonata form, and displays Haydn's mastery in counterpoint. After a hold, the basses take up the melody of the open- ing Adagio, pressed into the new mould of the | tempo. This middle movement is again interrupted by a hold, followed by the working-out of the second theme and closing on the dominant seventh chord and a grand pause, after which the first part is repeated. At the halfcadence the opening Adagio unexpectedly enters with its solemn roll of the drum and deep-toned melody, followed by a short Coda, allegro. This procedure shows how serious the man who wrote the Children's sym- phony could be when in the mood. The Andante, in C minor, \ time, opens with the following melody : — ^■ijj^ i .nj^3s^^ The first bar, with its C, E flat, F sharp, has a vein of inexpressibly sad loveliness which also pervades the whole song, as it may be called. When in the third part, or the Maggiore in C major, the sky brightens, it is interesting to see how simply the composer accomplishes his purpose by filling up the third, C, E, and enlivening the rhythm in this way : — 154 THE STANDARD SYMPHONIES. sf T^ ^m :^ ^/" IOC ^ -*— r- ^1^ The Minore and the Maggiore are then repeated in the form of variations, exquisitely worked out. The third variation, in C minor, is scored for full orchestra, and is one of the many examples we find in Haydn which show that the minor mood or minor key was for him rather the expression of the grand and heroic than of sadness or sorrow. The Coda, in its simplicity, however, shows the sad un- dercurrent of his thought while writing this lovely Andante, although tlie close is in the major key. The Minuet, with the following theme, — ^^^f»ft^ T=^=^ r T i J^i.4J ^ ^^^ a^^cj^ ^g i-l» '1/ 1 i reaches far higher than the dance form, and its working-up in the second part is unusually rich in harmonic treatment. The Trio contains the flowing legato figures which Haydn so often used to offset the broken rhythm and skipping melody of the minuet proper. The Finale, in E flat, is founded on the following theme, with underlying figure for horns, as marked : ■ ^ V 9 >-^ 1-&: 1 * I M f rr It is broad in treatment, and often reminds us of Mozart. The whole movement is symphonic in character, and shows little of the playfulness we are wont to look for in Haydn's compositions. THE SYMPHONY IN D MAJOR. 155 SYMPHONY No. 2 (B. & H.), IN D MAJOE. 1. Adagio. Allegro. 2. Andante. 3. Minuet. 4. Finale. Allegro spiritoso. The symphony in D major — No. 7 of the Salo- mon set ; No. 2, Breitkopf and Hartel — was written in 1 795. It has the usual Adagio introduction, in D minor, with a theme as weighty and bold as anything we admire in Beethoven, closing on the dominant pianissimo and leading into the Allegro with the following theme : — Allegro. The second theme of the first movement, in the key of A, appears only once. In the working-up of the second part, the composer utilizes the four quarter-beats followed by two half-notes, given above, as a separate motive, which by its more decisive character imparts to the whole movement a certain brusqueness and force. The Andante, in G major, \ time, is based on the following lovely song written in a popular vein, A ndante. WW^ -*-^ */ ^ ^^^ ii. *-&- and treated in the form of variations ; not, however, in the usual strict manner, but interspersed with significant and deeply effective intermezzos, show- 156 THE STANDARD SYMPHONIES. ing with what perfect freedom the genius of the master soared above conventional forms. The second part of the melody proceeds with the fol- lowing tuneful counterpoint, using the opening bars of the Andante for an accompaniment : — ^ g;-rd%^^^ ^ L3 The Minuet, in D major, is very energetic in character, owing to its pecuhar accentuation, as well as strong harmony, and yet preserves the humor and piquancy of the master's most favorite movements in a wonderful degree. The Trio has the same character, in its contrast to the Minuet proper, as that in the E flat symphony. The Finale, in D major. Allegro spiritoso, has a flavor of country life and its enjoyments. It begins on a pedal bass for horns and 'cellos, over which runs the most natural, simple song, — a happy- go-lucky air,— which however gives free play to the master's art in counterpoint. We select only a few- bars in which he combines three melodies over a pedal point in the most masterly manner : — ^k 4. -5S J jL 1 f ^ r I2ZI $1: r rril 1 J. THE SYMPHONY IN G MAJOR. 157 SYMPHONY No. 6 (B. &- H.), IN G MAJOR (SUEPEISE). 1. Adagio. Vivace assai. 2. Andante. 3. Minuet. 4. Finale. Allegro molto. The symphony in G major, popularly known as " The Surprise," — No. 3 of the Salomon set ; No. 6, Breitkopf and Hiirtel, — was written in 1791. It has a short introductory Adagio, in which an unusual number of chromatics are employed, leading at once into the main Vivace assai, % time, with the followin^r for the first theme : — ^^^^ Daintily as it steps in, it soon develops into the full rush of life, beginning at the figure of sixteenth, the working-up of the theme, however, being chiefly based on a group of eighth notes at the beginning. The .Andante, in C major, the movement which gave the name of " Surprise " to the symphony, is based on this exceedingly simple melody, moving through the intervals of the chord : — -r-r i ■9—9 ?^^ It opens piano, is repeated pianissimo, and closes with an unexpected crash of the whole orchestra. Here we have the genial "Papa Haydn," who enjoyed a joke, and when in the humor for it did not think it beneath his dignity " to score " the 158 THE STANDARD SYMPHONIES. joke ; for to a friend, who was visiting him when writing the Andante, he remarked : " That 's sure to make the ladies jump ; " and his waggish purpose has been secured to this day. The theme is car- ried out in his favorite form of variations, and the movement closes with a pedal point giving the opening phrase and dying away in a pianissimo. The Minuet seems the natural sequence of this extremely simple Andante. The sweep of the vio- lins in the last two measures of the first part is made the motive for the second part, which is used in canon form between the violins and basses and connected with the Trio, written in the usual manner. The last movement. Allegro molto, in G major, 4 time, has this happy theme for its foundation : A Uegro di Miolto. ^ The piquancy of its phrasing is in the master's happiest vein, and although worked out with less display of science than some of his other finales, it gathers new interest by the rushing violin figures that are used quite lavishly and fully sustain its joyful character. Haydn also introduces some finely conceived harmonic surprises, when he follows a half-cadence on D major with the quarter strokes on C natural, pianissimo, as well as rhythmic, by the introduction of a grand pause, which he uses twice. THE SYMPHONY IN C MINOR. 159 SYMPHONY No. 9 (B. &, H.), IN C MINOK. 1. Allegro. 2. Andante. 3. Minuet. 4. Finale. Vivace. The symphony in C minor — No. 5 of the Salomon set ; Breitkopf and Hartel, No. 9 — opens at once with an Allegro in common time : — f '?r ^ fi ^ f3 :^-*- ^^ ■*■ *=M=^ f # The bold steps at the opening and the march-like rhythm of the third and fourth measures, although subdued in a dynamic sense, and never used in a military mood, give the movement a certain crisp- ness which is effectively offset by the second theme : This is followed by scale runs in triplets, that alter- nate between the higher and lower instrumental groups and well preserve the strong character of the otherwise short movement. Though brief, it is especially interesting as showing plainly the influence of the younger master, Mozart, and at times re- minds us of the latter's C minor Fantasie. The Andante cantabile, in E flat, in its idyllic theme — A ndante. _ , . ^ ^m ^f. SSt i6o THE STANDARD SYMPHONIES. betrays the composer of " With Verdure Clad," and vies with that well-known melody in sweetness. It is worked out in a number of variations, among which the one in E flat minor is especially notice- able. The Minuet is one of the popular concert num- bers, and is a masterly specimen of grace and refined humor, combined with the stateliness of the old-fashioned dance. Its theme is the following : ^ / The Trio varies from many of the previous ones in that the movement of eighth notes appears staccato throughout, and is given to the 'cellos, the violins only marking the rhythm. The Finale vivace, in C major, is very rich in the treatment of counterpoint and fugue ; but a glance at the leading theme — Vivace. will show at once that we have nothing to fear in the way of dry or heavy music. The general treatment reminds us of his earlier symphonies, but much of it also shows the influence of Mozart. THE SYMPHONY IN G MAJOR. l6i SYMPHONY No. 11 (B. &- H.) (MILITARY), IN G MAJOR. 1. Largo. Allegro. 2. Allegretto. 3. Minuet. 4. Finale. Presto. The symphony in G major — No. 12 of the Salo- mon set, and No. 11 of the Breitkopf and Hartel edition — was written in 1794. It opens with a slow movement of broad and even pathetic character, closing on the dominant chord with a hold. The first movement proper, Allegro, starts in with the following theme, given out by the flutes and oboes : ?fi-rr%-Kfi4^j#^#r?g g|±^ 5=3= and is repeated in ever new instrumental com- binations, leading into a play of questions and answers between wind and string instruments, which Haydn's successors have made use of so often. After the half-cadence, the second theme — !f | f£rff | rrrff^ enters piano. In spirit it is a lively march, and although at its first appearance it is quite subdued, the staccato marks relieve any uncertainty as to its meaning. The working-up in the second part relies chiefly on this second theme ; and when the double- basses take it up, it rises to its full importance. The greater length of the movement, its ingenious harmonic treatment, the stubborn character in the II 1 62 THE STANDARD SYMPHONIES. sforzando strokes after the second theme appears fortissimo, the crisp staccato scales in broken thirds in the violins, stamp this Allegro as one of the most important the master has left us, and establish his fame as the worthy predecessor of Beethoven. The Allegretto, in C major, which here takes the place of the usual Andante, has given to this sym- phony the name of " The Military " and is based on an old French romanza : — ri^r^-ffT^^^nrnLnUg In its treatment of interchanging instrumental groups, and in its quiet yet cheerful movement, it sounds like the last farewells of soldiers as they take leave of their beloved homes. Haydn displays a wonderful mastery in the dynamic treatment, which in this movement serves almost exclusively to bring out the ever-changing character of the theme. After several repeats, the trumpets sound the signal for falling into line, and with a few strong chords in the key of A flat, the march is resumed. Observe also the masterly use which the composer has made of the drums, cymbals, and triangle, in the various repeats of this simple theme, relying almost entirely on the tone-colors of the different orchestral instruments and their combination for the maintaining of the interest in the simple march theme. The Minuet, moderate, in its form comes nearer the dance minuet in graceful groups of violin figures THE SYMPHONY IN B FLAT. 163 than any we have considered ; while the Trio is worked up in a more distinct character than usual, and with its dotted rhythm remains nearer the original dance than the legato trios of former symphonies. The last movement, Presto, in | time, is in Haydn's happiest vein. Its theme — is playful and charming, and the whole Finale, although not devoid of more forcible intermezzos, broken by unexpected pauses, and elaborate treat- ment in harmonic changes, moves along in a happy and natural manner, while in conciseness of ex- pression it is a model of brevity. SYMPHONY No. 12 (B. &. H.), IN B FLAT. 1. Largo. Allegro. 2. Adagio. 3. Minuet. 4. Finale. Presto. The symphony in B flat, written in 1 794, is the ninth in the Salomon set, and No. 12 of the Breit- kopf and Hiirtel edition. A short Largo opens pompously with a hold on the keynote, followed by a phrase for wind instruments reflecting the sadness of the whole Introduction. The first movement. Allegro vivace, brings in the main theme — Allegro. g^^^^a 1 64 THE STANDARD SYMPHONIES. at once fortissimo by the whole orchestra, and reversing the order to repeat, appears as a piano phrase. This is followed by a Hvely figure for vio- lins through sixteen measures, working up into a fine crescendo fortissimo that reaches its climax on a whole note on A in unison, and with the grand pause following prepares the entrance of the second theme in A major, as follows : — J2. f i; ^'^M^IiP ^^^gi^g ^ g #- — X ff This, with several other shorter themes, furnishes the material for the working-up of the second part, and shows the composer's extraordinary power of invention and combination. The whole scheme is broader than usual. The rhythmic, harmonic, and dynamic changes form a picture of real hfe, pulsat- ing with vital force, and this symphony, Haydn's last tribute to his friend Salomon, was by no means the least of the series. The Adagio in F major, | time, is comparatively short, and has Italian touches of elegance in the rich ornamentation with which the melody is em- bellished. In character it leaves the popular vein which Haydn's slow movements generally show, and leans more toward the elegiac and sentimental. The Minuet, although its first part inclines toward the dance form, assumes a style of its own by the stubborn assertion of a group of three notes in repeat, leading to a hold, after which a playful treatment of the same motive brings us back to the original THE SYMPHONY IN B FLA T. i6s theme. The Trio also differs from many of Haydn's, its rocking movement and tender chromatics re- minding us of Schubert. The Finale, in B flat, Presto, | time, opens with the following gay song, — PreHo. ^ ^ ^ i^^ which flows along without intemiption, for even the occasional attempts at stubbornness have an under- current of jollity. The composer's fancy for the humorous and playful side of life finds free swing in this Finale. Syncopations, pianissimo staccatos, unexpected pauses, clashes of the full orchestra, sudden transitions of key, the playful use of parts of a motive, etc., combine in making a picture of hap- piness and joyous life for which we may well envy the composer in his sixty-second year. HOFMANN. EINRICH KARL JOHANN HOFMANN was born Jan. 13, 1842, at Berlin. In his younger days he was a scholar at the Kullak Conservatory, and studied com- position with Grell, Dehn, and Wiirst. Prior to 1873 ^^ devoted himself mainly to private instruc- tion, but since that time he has been engaged exclu- sively in composition. Among his works which. first attracted public attention by their intrinsic ex- cellence, as well as by the knowledge of orchestration which they displayed, were an " Hungarian suite " and the " Frithjof symphony." Among his piano compositions are the following four-handed pieces which have been remarkably popular : " Italienische Liebesnovelle," " Liebesfruhling," " Trompeter von Sackingen," " Steppenbilder," and "Aus meinem Tagebuch." His choral works are " Nonnenge- sang," "Die Schone Melusine," " Aschenbrodel/' and "Cinderella." Among his operas are "Car- touche" (1869), "Armin" (1878), and "Annchen THE FRITHJOF SYMPHONY. 167 von Tharau " (1878). He has also written several works for mixed chorus and male chorus, piano pieces, songs, duets, a violoncello concerto, piano trios and quartets, and a string sextet. THE FRITHJOF SYMPHONY. Op. 22. 1. Allegro con fuoco. (Frithjof and Ingeborg.) 2. Adagio ma non troppo. (Ingeborg's Lament.) 3. Allegro moderato. Vivace. (Elves of Light and Frost Giants.) 4. Finale. (Frithjofs Return) The Frithjof symphony, the first of Hofmann's larger compositions to attract public attention, was \vritten in 1874. Its subject, as its title indicates, is taken from the cantos of Bishop Tegner's well- known " Frithjofs Saga," describing the banishment of Frithjof, son of Thorstein, by the brothers of Ingeborg, daughter of King Bele, with whom the Norse hero was in love ; her lament for him by the seashore ; and his return in his good ship " EUi- da." The story of this episode is really described in the first, second, and fourth movements ; the third being a fantastic intermezzo, which, though it has no part in the development of the programme, really gives local color to the symphony by its evident expression of that sentiment of super- naturalism which characterizes the Norse legends so conspicuously. Indeed, were it not for the composer's own programme, the other movements would hardly be suspected of identification with i68 THE STANDARD SYMPHONIES. the story of the hero and heroine of the Saga. They do not deviate from the classical models in their structure, or differ from other similar move- ments, as Allegro and Andante pure and simple. At the same time, they are brilliant and picturesque in style, beautifully elaborated, and scored in a very skilful manner. The opening Allegro, "Frithjof and Ingeborg," has genuine dramatic strength and color, notwith- standing its adherence to form. The hero and heroine are represented in the two leading subjects by motives in the Wagner style, introduced re- spectively by the clarinet and oboe, and returning again in the Finale of the symphony. One of these themes is vigorous and fiery in its nature, the other sweet, gracious, and tender. As solos with charming string accompaniments, they may be identified with the two lovers ; and in duet form alternating with energetic string passages, the composer evidently intended a genuine love- dialogue. The second movement, an Adagio, called " In- geborg's Lament," is plaintive and sad in character, and represents the sorrowing maiden walking by the seashore and gazing out wistfully over the deep, sighing for the return of Frithjof in " EUida," and lamenting that death may come to her before he sails back again from the South, whither her brothers have driven him. The working up of this movement is very short, but before it closes there is a notable subject given out by the trombones which bears THE FRITHJOF SYMPI/ONY. 169 a Strong resemblance to Siegfried's motive in Wagner's Nibelungen Trilog)'. The third movement, an Allegro, entitled " Elves of Light and Frost Giants," is in reality an episode or intermezzo in scherzo form, and thoroughly Northern in its color. The "light elves" are introduced in a dainty, delicate theme, strongly suggestive of ^Mendelssohn, to whom the fairy world in music belongs of right. The "frost giants" come in with a resonant and blustering theme which is in reality a dance of the wildest character. The elves' theme is then repeated, and the movement comes to an end after a most fascinating display of color and fancy in tones. The Finale is animated, exultant, and triumphant throughout. Its character is at once indicated by the joyous calls of the horns and the answering strains of the violins, betokening festivity. The latter at last give out a joyful theme announcing the return of the victorious hero. The second theme is equally exultant, and is followed by Inge- borg's theme from the first movement, not only binding the symphony together and preserving its unity, but, as may well be imagined, representing the reunion of the lovers. LISZT. ISZT has written two symphonies, the " Faust " and " Divina Commedia," and twelve symphonic poems : i. "Ce qu 'on entend sur le Montagne." 2. "Tasso." 3. " Les Preludes." 4. " Orpheus." 5. " Prome- theus." 6. "Mazeppa." 7. " Festklange." 8. " He- roide funebre." 9. " Hungaria." 10. "Hamlet." II. " Hunnenschlacht." 12. "Die Ideale." They are, in the strictest sense of the term, " programme- music," and yet not so much descriptions of scenes or events as poetical expressions of moods and feelings and subjective attributes ; whence it happens that the listener may not always appreciate their meaning and purpose upon a first hearing, unless he is en rapport with the poetical sentiment which the composer is seeking to express. He does not follow the orthodox symphonic form, as established by Haydn and developed by Mozart and Beethoven, and in this respect is an innovator if not an icono- clast. In the symphonic poems the movements THE FAUST SYMPHONY. 171 flow into each other without dividing lines, but their unity is never disturbed ; for sometimes a single theme, skilfully treated and varied with sur- prising skill, dominates the whole. He is a musical painter and decorator rather than a creator, but the material which he uses is always poetical. His subjects are adorned with an exuberance of color and richness of fancy which on the surface appear sensuous if not rhapsodical, but when tested by the rules of thematic development they will always be found true and logical. THE FAUST SYMPHONY. 1. Allegro. (Faust.) 2. Andante. (Gretchen.) 3. Scherzo. (Mephistopheles.) The Faust symphony, the most important and most artistically conceived of all Liszt's orchestral works, while it is a prominent illustration of pro- gramme-music, is unique in this respect, that it is not a programme of scenes or situations, but a series of delineations of character. Liszt himself styles the three movements of the symphony " Charakter- bilder " ("character-pictures"), and has named them for the three leading dramatis i:)erson3e in Goethe's poem, — Faust, Gretchen, and Mephistopheles. He gives us no further programme. Indeed that would have been impossible, for he confines his purpose to the development of these " bilder " from a psycho- logical point of view, paying no regard to the dra- 172 THE STANDARD SYMPHONIES. matic side of the poem, except in the Finale of the last movement, where the poet's Chorus Mysticus is introduced, typifying the final salvation of Faust and his reunion with Margaret. The first movement, " Faust," an Allegro accord- ing to one of the best Liszt authorities, is intended to typify the longings, aspirations, and sufferings of man, with Faust as the illustration. In carrying out the poetical idea Liszt cuts loose from all conven- tional forms and gives rein to his imagination in the freest possible manner. Though the movement is denominated Allegro, he violates it at will to suit the demands of his subject, and changes key, tempo, and tonal expression in the most bewildering manner. Through all the broken melody and strange harmo- nies, however, run strong and impressive themes, richly poetic ideas, and beautiful color decoration. Four themes are utilized in the expression of Faust's traits of character. The first, Lento, clearly enough illustrates the dissatisfaction, restless longing, satiety, and aspiration, which are so forcibly defined in Goethe's prologue. Massive chords introduce it. It changes to a monologue, passing from instrument to instrument, and then develops into an Allegro impetuoso, as if the sadness of the character had given place to fixed resolution. The second theme. Allegro agitato, which is brighter and more vivacious in character, shows the dawning of hope. A brief episode, a moment of wild fancy, as it were, passes, in which the old feeling appears in hints of the opening theme, but soon gives way to the third THE FAUST SYMPHONY. 173 theme, introduced by the homs and clarinets. It is a melody at once refined and enthusiastic, very dramatic in expression, and forming one of the prin- cipal motives of the work. The fourth and last theme now appears, full of power and vigor, fore- shadowing, with its trumpet calls, the stirring activity which has taken the place of doubt in Faust's na- ture. After this the thematic material as set forth is worked up in genuine symphonic form. There is as marked a contrast between the first and second movements of the symphony as there is between the restlessness and supernaturalism of the opening scenes of Faust and the sweetness and simplicity of Margaret's life before it is disturbed by passion. After a short prelude the first theme of the Gretchen movement — a gentle, tender melody — is given out by the oboe, with double-bass accompani- ment. The second theme, marked Dolce amo- roso, tells its own story of the love which has made Margaret its victim. Between these are several charming episodes, one of them with its gradual crescendo evidently indicating her questioning of the daisy, " He loves me, he loves me not." At last the horn sounds Faust's love motive, which we have already encountered in the first movement, followed by the love-scene, which is wrought out with fascinating skill, rising to the ecstasy of passion and dying away in gentle content. The third movement, " Mephistopheles," takes the place of the Scherzo in the regular form. It typi- fies the appearance of the spirit who denies, with all 174 THE STANDARD SYMPHONIES. his cynicism and sneers. Liszt has indicated these qualities in a subtle way. Mephistopheles has no symbolical theme. His constant purpose is to sat- irize and pervert the motives of his victim, and he begins his cynical work at once. The themes which characterize Faust in the opening movement reap- pear, but they are only distorted and caricatured reminiscences, showing the power which the evil principle has gained over its intended victim. The love motive is burlesqued and sneered at, but after the fiend has satisfied his malicious humor there comes a solemn episode. The uproar ceases, and in the grateful silence is heard the tender Gretchen motive in all its beauty. Even Mephistopheles can- not withstand its pure influence. He leaves the field discomfited ; and then by a sudden transition we pass to the purer heights. The solemn strains of the organ are heard, and a mannerchor, the Chorus Mysticus, intones, a la capella^ the chant : — " All things transitory But as symbols are sent : Earth's insufficiency Here grows to event : The Indescribable Here it is done. The Woman-soul leadeth us Upward and on." A solo tenor enters with the Gretchen motive, and the symphony comes to its mystic and triumphant close. THE "DIVINA COMMEDIA:'' 175 A SYMPHONY TO DANTE'S " DIVINA COMMEDIA." 1. Inferno. 2. PuRGATORio. Magnificat. Liszt's symphony to the " Divina Commedia " of Dante is in two parts, " Inferno " and " Purgatorio ; '' though by the introduction of the Magnificat after the Finale to the " Purgatorio," the composer also indicates the other division of the poem, the " Para- diso." The Inferno opens at once with a charac- teristic phrase for the bass instruments with a crashing accompaniment, announcing in recitative the inscription over the door of hell : " Per mi si va nella citta dolente," etc. (" Through me pass on to Horror's dwelling-place "), whereupon the trombones and horns sound out the well-known warning, " Lasciate ogni speranza," etc. (" All ye who enter here, leave hope behind "). After the enunciation of the curse the composer paints the infernal scenes with all the fury and barbarity of which apparently music is capable. Unnatural combinations, chro- matic phrases, grating dissonances, strange wild episodes, furious rushes, and weird cries picture the horror and suffering of the damned amid which the curse appears with literally " damnable iteration." In the midst of all this din, however, there is a lull. Amid the tinkling of harps and graceful figures for the strings and flutes, the bass clarinet intones a recitative (the " Nessun maggior dolore," of the original;, and the English horn re- 176 THE STANDARD SYMPHONIES. plies, the two instruments joining in a dialogue which tells the mournful fate of Paolo and Francesca da Rimini, — a story of infinite love and endless despair in the Inferno. At its close the curse sounds again, and once more the hellish storm breaks out, and the movement comes to a close amid the shrieks and blasphemies of the damned in an Allegro frenetico which is graphic enough not to need words. The second movement, " Purgatorio," opens with a quiet, restful theme in choral style, its soft and gentle melody picturing that period of expec- tancy which is the prelude to the enjoyments of Paradise. It is followed by a masterly fugue (Lam- entoso) expressive of resignation and melancholy. Before it closes the first theme returns again and peacefully dies away, leading to the Finale. A solo followed by a chorus chants the Magnificat in the old classic style. All the resources of the orchestra are employed in enhancing the effect of the chant, and the work comes to a close with im- posing Hosannas. For this Finale Liszt has written two endings, — the one dying softly away like music heard from a distance, the other full of ecstasy and ending with a mighty Hallelujah. h^j^-^^ .s \^ MENDELSSOHN. i^ENDELSSOHN'S First symphony, C mi- nor, op. 1 1, bears the date of 1824. the com- poser being then in his fifteenth year ; but prior to that time he had written twelve others, which are not included, however, in the cata- logue lists. The C minor reveals little of the romantic element which characterizes his later symphonies or of his individuality. It plainly shows the influence of Mozart, — a composer whose graceful and melo- dious fancies would naturally attract him. The work, however, is by no means immature, but on the other hand displays carefully studied form and remarkable knowledge of orchestral resources. It was followed by the Reformation symphony (1830), written in his twenty-first year, — an illustration of programme- music to which he afterward adhered in his sym- phonic work. Three years later appeared the Italian symphony, containing his Roman and Neapolitan impressions. In 1840 his " Loljgesang," con- structed on the model of Beethoven's Ciioral sym- 12 178 THE STANDARD SYMPHONIES. phony, the vocal parts having a long symphonic introduction, was warmly welcomed, and is still a delightful number on the concert-stage. The last and greatest of his symphonies is the A minor (Scotch), which was inspired by his visit to Holyrood. His symphonies will always occupy a prominent place in the romantic school by reason of their thoroughly lyric style, poetical conception, and the grace and delicacy of their themes. With all this, they are strictly classical in form, Mendelssohn was not a creator nor an innovator, however romantic he might be ; and yet his symphonies will always retain their popularity, so clearly do they reflect his fasci- nating individuality as well as the lyrical beauty of his musical thought. They do not sound the depths of human feeling, but as pictures of travel and the life of his times they are drawn with great fidelity. SYMPHONY No. 3, IN A MINOK (SCOTCH). Op. 56. 1. Introduction. Allegro agitato. 2. Scherzo. Assai vivace. 3. Adagio cantabile. 4. Allegro guerriero. Finale maestoso. The A minor symphony, the third of the Men- delssohn series, is familiarly known as the " Scotch," the composer having given it that name in his let- ters written from Rome in 1832. The first concep- tion of the symphony dates still farther back. In April, 1829, Mendelssohn, then in his twentieth year, paid his first visit to England. After remaining in THE SYMPHONY IN A MINOR. ijg London two months he went to Scotland, arriving in Edinburgh July 28 ; the next day he heard a competition of the Highland pipers, which, it may well be imagined, gave him a good idea of the national melodies. The next day he visited Holy- rood. He writes in his letters that he saw the place where Rizzio was murdered, and the chapel where Mary was crowned, " open to the sky, and surrounded with grass and ivy, and everything ruined and decayed ; and I think I found there the beginning of my Scotch symphony." He wrote down on the spot the first sixteen bars of the intro- duction, announcing the theme which not only opens but closes the movements and thus gives an unmistakable clew to its meaning. The melancholy grandeur of this Introduction shows how the influ- ences of the scene affected his imaginative and poetical mind. It is somewhat curious that the work suggested in Scotland was sketched out in Italy, and completed in Germany. He planned it in Rome in 183 1, but did not finish it until 1842 in Berlin. It bears date January 20 of that year, and was first played March 3, at the Gewandhaus, Leip- sic. It was repeated a week later, and was next heard in London June 13, when Mendelssohn himself con- ducted it at a Philharmonic concert. A few days later he was entertained by the Queen and Prince Consort, and obtained permission to dedicate it to Her Majesty. The Scotch symphony is not the only souvenir of the visit. To it we owe also the overture to "Fingal's Cave," the pianoforte fan- iSo THE STANDARD SYMPHONIES. tasia in F sharp minor, op. 28, originally entitled, *' Senate Ecossaise," and probably also the two-part song, " Oh, wert thou in the cauld Blast." By the composer's own direction, the symphony is to be played without pause between the move- ments. At the least, they are to follow each other as quickly as is practicable, thus giving the effect of a continuous whole. This style of performance suits its general character, for it is not so much a symphony, in the orthodox form of announcing and developing subjects, as it is a capriccio upon a national theme, whose arrangement is intended to give expression to the romantic and poetic phases of Scotch life. Its Introduction begins with the Andante theme already mentioned, a melody of a sombre and even melancholy cast, which admira- bly reflects the influence of that gray evening at Holyrood. The first theme, Allegro un poco agi- tato, is of the same cast. A subsidiary theme, of a tender, plaintive character, leads back to the An- dante of the Introduction, which closes a move- ment rarely equalled for its musical and poetical expression and graceful finish. A short passage for flutes, horns, and bassoons, added after the first rehearsal in London, connects this earnest, serious movement with the Scherzo, which gives us a different picture. In its form, it departs from the Minuet and Trio, and is purely a caprice, and a most lovely one ; while, at the same time, it differs from all his other Scherzos, in the absence of their sportive, fantastic quality. It is a THE SYMPHONY IN A MINOR. i8i picture of pastoral nature, characterized by a con- tinuous flow of rural gayety. Its opening theme, given out by the clarinets, dominates it throughout ; for the second theme plays but a small part, though it has its place in the general working up. The first motive is frequently reiterated, and fills the movement with glowing life and spirit. As one writer has characterized it : " It is the most wonder- ful compound of health and life, heath and moor, blowing wind, screaming eagles, bagpipes, fluttering tartans, and elastic steps of racing Highlanders, all rounded off and brought into one perfect picture with consummate art." Schumann says : " I doubt whether a Scherzo more full of genius has been written in modern times." The Adagio cantabile presents still another pic- ture. The first movement gave us the sombre tints ; the second, those of rural freedom and idyllic gay- ety ; the third, though still infused with melancholy, is evidently a reverie in which the composer meditates upon the ancient state and grandeur of the country. Its majestic strains might almost have been swept from Ossian's harp, and it well prepares the way for the final movement, the impetuous first part of which is marked Allegro guerriero. The romantic sentiment disappears. In its place, we have the heroic expressed with astonishing force and exuber- ant spirit in its three themes, which finally give place to a short second part, maestoso, colored by national melody, and closing this exquisite tone- picture of the Scotch visit. It is needless to ana- l82 THE STANDARD SYMPHONIES. lyze the work theme by theme, or indicate their musical treatment. It is the stuff of which dreams are made, and it is only necessary to call attention to its general meaning to secure the enjoyment of the listener. SYMPHONY No. 4, IN A (ITALIAN). Op. 90. 1. Allegro vivace. 2. Andante con moto. 3. Con moto moderato. 4. Saltarello. Presto. Like the A minor symphony, the A major gets its familiar name from the composer himself, who always styles it the " Italian " in his letters. In 1830 Mendelssohn decided to continue his travels. He had already visited England, Scotland, and Hungary, and his next journey was made to Italy. From a letter written in February, 1831, and dated at Rome, we learn that he has four important works in hand, — the " Fingal's Cave " Overture, the " Walpurgis Night " Cantata, and the Scotch and Italian sym- phonies, — and tliat he is anxious to finish one of the latter. As he could not " call up a misty Scotch mood " under the bright Italian skies, he devoted himself with ardor and unflagging industry to the Italian. In a letter to his sister written during the same month he says : " The Italian symphony is making great progress. It will be the gayest thing I have ever done, especially the last movement. For the Adagio I have not found anything yet exactly right, and I think I must put it off for THE SYMPHONY IN A. 183 Naples," Again he writes : " If I could do but one of my two symphonies here ! But the Italian one I will and must put off till I have seen Naples, which must play a part in it." As the first and last movements were written in Rome, the Andante must have been due to the Neapohtan visit, though it shows none of the gayety or bustle of that city, but rather the sentimental feeling which would naturally be inspired among Roman ruins. The first movement, Allegro vivace, reflects as clearly the blue skies, clear air, brightness, and joy- ousness of Italy as the first movement of the A minor symphony does the sombre and melancholy aspect of Holyrood, and shows by its spirit and gayety how much Mendelssohn enjoyed the country. After a moment of preparation, the violins sweep off at once in a vigorous theme to an accompaniment of horns, bassoons, clarinets, and flutes. After its develop- ment, the order is reversed ; and a second theme, more restful in character, appears for the clarinets and bassoons, with string accompaniment. It is taken by the flutes and oboes, and leads the way to a new theme for the first violins and clarinets, the development of which brings us back to the first theme, closing the first part of the movement. The second part opens with a fresh, bright theme given out by the second violins, and continued by the other strings and flutes, followed by an episode for the strings alone, which furnishes a remarkable display of the composer's contrapuntal skill. It is finally interrupted by the wind instruments. The J 84 THE STANDARD SYMPHONIES. principal themes reappear in various forms, at last returning to the first. Toward the close of the movement an entirely new subject appears for the first violins. The Coda is full of spirit and joyous feeling, and at last the happy, vivacious movement comes to an end. The Andante, sometimes called the " Pilgrims' March," though the title is merely fanciful, opens with a unison phrase, which has been construed by one authority as a call to prayer, and by another — with more propriety, as it would seem — the call to attention. It is followed at once by the principal theme, given out by the oboe, bassoon, and violas, and then repeated by the first violins, with an elabo- rate accompaniment by the flutes. After the an- nouncement of the second theme, with a similar instrumental setting to the first, the second part opens with a bright, joyous strain from the clarinets, reinforced by the violins and flutes. At the close of its development the call is heard again, summon- ing attention to the development of the thematic materials already presented. The third movement, Con moto moderato, is sup- posed to have been taken from one of his youthful works, though its identity in this respect has never been discovered. It opens with a simple but very graceful melody. The Trio is fresh and full of deh- cate fancy. At its conclusion the first theme re- turns, and a charming Coda constructed upon sug- gestions of this theme brings the movement to a close. THE REFORMATIOiV SYMPHONY. 1S5 If there were any doubt about the national signifi- cance of this symphony, it would be removed by the Italian Finale, Saltarello presto, evidently in- spired by the Roman carnival, of which Mendelssohn was a dehghted spectator. The movement is a Saltarello, a favorite dance rhythm in Italy, com- bined with a whirling Tarantella with astonishing skill. After a short introduction the flutes lead off in the merry dance, the other instruments soon joining as if they too had caught the mad contagion. At the close of the theme, a soberer melody is given out by the violins, the wind instruments still busied with fragments of the dance measures. Soon the Saltarello returns again, however, this time with a fresh accompaniment. At last it gives place to the rush of a Tarantella whirling gayly along until the Saltarello combines with it, and the two rhythms go on to the end, now alternating, now together, in a general terpsichorean hurly-burly, full of genuine Italian brilliancy and vivacity. THE EEFOEMATION SYMPHONY, No. 5. Op. 107. 1. Andante. Allegro con fuoco. 2. Allegro vivace. 3 Andante. 4. Chorale. Allegro vivace. 5. Finale. Allegro maestoso. The Reformation symphony was written by Men- delssohn in his twenty-first year, with the expecta- tion of its performance at the Tercentenary Festival of the Augsburg Confession (June 25, 1830), being l86 THE STANDARD SYMPHONIES. the anniversary of the confession of faith which was presented bj'SLuther and Melancthon to the Emperor Cliarles V. at the Diet of Augsburg, 1530. It was finished in May, 1830, but was not brought to the anticipated performance in Leipsic owing to the fierce and even riotous opposition made by the Roman CathoHcs to the proposed celebration of their religious opponents. In 1832 it was re- hearsed in Paris with the view to performance, but again circumstances proved unfavorable, and it was not heard until December of that year, when Mendelssohn himself produced it in Berlin for the benefit of the "Orchestral Widows' Fund" of that city. The work was then laid aside for more than thirty years, when it was revived in London, and since that time has been frequently performed both in England and this country. Though a programme symphony, it is constructed in strict form, and will always be interesting, not only for the religious conflict which it typifies, but also as a fine example of the youthful work of the composer. Though marked in five, it is really made up of three, movements : an Andante leading to an Allegro con fuoco ; an Allegro vivace ; and an Andante, a Chorale leading to Allegro vivace on the same theme, and a Finale, Allegro maestoso, ending with the Chorale by full orchestra. The first movement typifies the struggle between the old and new faith, and is strong and serious throughout. The first theme is given out by the violas, and at once taken up by the 'cellos. During THE REFORMATION SYMPHONY. 187 its development the wind instruments in unison announce the second theme, which is answered by the strings in a gentle strain, modulating to the domi- nant cadence, which is twice repeated ; the response being the passage used for " Amen " in the Catholic Church at Dresden, known as the " Dresden Amen." It is also employed by Wagner as a viotif in the latter part of " Parsifal." At the close of this significant introduction follows an Allegro con fuoco, built up on two principal themes, the development of which, as well as the stormy char- acter of its progress, unquestionably indicates the conflict, which is significantly marked by the return of the " Amen " passage at the very height of the struggle, as if the Church were still dominant. The Coda restates the material of the Allegro, but in a subdued manner. Then follows a crescendo leading up to a vigorous close. The second movement. Allegro vivace, except for the pure and spiritual nature of its contents, can hardly be called a part of the programme. Its two themes are charming in their grace and re- finement, but play no particular part in telling the story of the progress of the new faith. One writer has very aptly likened it to a confession of faith (Jewish?), it is so tenderly sweet. The opening of the third movement, Andante, is exceedingly beautiful and effective. The leading theme, most pathetic in character, is given out by the violins, accompanied by the other strings. After a brief reminiscence of the second theme of the l88 THE STAA'DARD SYMPHONIES. Allegro con fuoco, the plain, popular melody of Luther's hymn, " Ein' feste Burg ist unser Gott," is given out by a single flute, unaccompanied, herald of the triumph of the coming new religion. After three bars the wood winds take up the theme and fill out the harmony. The violas and 'cellos come in to enrich it. A variation follows, Allegro vivace, in which the violins take part, while fragments of the theme are treated by the clarinets, oboes, and flute, leading up to the Finale, Allegro maestoso. The first theme is a fugal passage for strings which occurs twice, and the second a triumphant strain, prophetic of victory. At the second appearance of the fugue, led off by the first violins, the Chorale, given out by the wind instruments, disputes its superiority. The fugue continues independently, and finally the Chorale combines with it. The second theme also reappears, but at last the climax is reached, and the full orchestra fortissimo pro- claims the " Ein' feste Burg ist unser Gott " in all its sonorous majesty. MOZART. HE important part which Mozart played in the development of the symphony has already been described in the preliminary essay of this work. It is only necessary in this place therefore to supplement it with a brief glance at his symphonic works. Kochel in his list catalogues forty-nine of them. The First symphony was written at London during a sickness, in 1 764, in the eighth year of his age. It has but three move- ments, — a Molto Allegro, Andante, and Presto, — and is for two violins, viola, bass, two oboes, and two horns. He wrote three more in London, and the next. No. 22, was composed at the Hague in 1765, for the installation festival of Prince William V. The next in the list. No. 43, was composed in Vienna in I 76 7, and in this the Minuet appears. Five more were composed in that city between 1767 and 1770. He is next heard from in Rome, where his symphony, No. 81, is dated April 25, 1770. Another followed at Bologna in the same year. His first Salzburg symphony appeared in 1771, for two violins, viola, 1 90 THE STANDARD SYMPHONIES. bass, two oboes, and two horns, with two flutes and two bassoons in the Andante movement. Then fol- lows one in Milan, and he returns to Salzburg, where he gives twenty more to the world. In 1778, while in Paris, he wrote the symphony in D, in three movements, known as the Parisian, the Andante of which he twice composed. Three more followed at Salzburg ; No. 318, in the form of an overture, possibly for Gebler's play of " King Thamos," for which he composed other incidental music ; No. 319, originally in three movements, the Minuet hav- ing been added later ; and No. 338, a serious work which made a great success. The next, No. 385, written for a festival of the Haffner family at Salz- burg, and known as the " Haffner symphony," was composed at Vienna in 1782. The next two, Nos. 425 and 440, were composed at Linz. No. 504 was written at Prague in 1786, and is one of his most artistic works. The last three — E flat. No. 543 ; G minor. No. 550 ; and Jupiter, No. 551, the greatest in the series — were composed in Vienna in the same year, 1788. SYMPHONY No. 543 (KOCHELi), IN E FLAT. 1. Adagio. Allegretto. 2. Andante. 3. Minuet and Trio. Allegretto. 4. Finale. Allegro. The symphony in E flat is the first of the three great works of its class composed by Mozart in the I Numbered from Kochel's theme catalogue. THE SYMPHONY IN E FLAT. 191 year 1788. It was written at a time when he was in sore financial straits, and yet breathes the very spirit of joy and gayety throughout, except in the Andante movement. It is an extraordinary proof of his marvellous powers of creation that while he was writing minuets, waltzes, and other music for the court balls at Vienna to obtain the means of subsist- ence, besides many pieces of a more important character, he found time between the 26th of June and loth of August to compose the three greatest symphonies of his forty-nine, — the E flat, G minor, and C ( Jupiter ), and the last three of the series, for after the Jupiter no more works of this kind came from his facile pen. The E flat is inscribed by him June 26, 1788, but it was probably written between the 17th and 26th of that month. Though not constructed upon as grand a scale as its two associates it is characterized by remarkable beauty and felicity of expression, and is familiarly known as " the Swan Song." Hoffmann, in his " Phantasie- stiicken," says of it : — '■ Love and sadness breathe in sweet spirit-tones throughout. Night falls in purple gloom, and with in- expressible longing we follow the forms which with friendly gestures invite us into their ranks, as they fly through the clouds to join the never-ending dance of the spheres." The less rhapsodical Jahn says : — " The feeling of pride in the consciousness of power shines through tiie magnificent introduction, while the Allegro expresses the purest pleasure, now 192 THE STANDARD SYMPHONIES. in frolicsome joy, now in active excitement, and now in noble and dignified composure. Some shadows ap- pear, it is true, in the Andante, but they only serve to throw into stronger relief the mild serenity of a mind communing with itself and rejoicing in the peace which fills it. This is the true source of the cheerful transport which rules the last movement, rejoicing in its own strength and in the joy of being." The symphony opens with a short Adagio built up on solid chords by the whole orchestra, with inter- vening scale passages for the first violins, and subse- quently for the second violins and basses, leading up to the Allegro, which is introduced by the fol- lowing restful and melodious theme, — gE^E^a^^ ^ ^ ^^ H ^ ^ ^±=J=zj4:ig=^ £ ^ first announced by the violins and on the repeat given over to the basses. The second theme is a cantabile melody of equal beauty and grace, divided between the violins and clarinets. The develop- ment of the movement is short, and the second theme is mainly used in association with a phrase at first employed as an accompaniment. The Andante movement is principally based upon the following theme, — given out by the strings, which leads up to a second theme of more serious character. The second part THE SYMPHONY IN E FLAT. 193 begins with a passionate, almost impetuous theme, at the close of which there is a genuine harmonic display in which the bassoons play a very character- istic part. The Minuet opens thus cheerfully : — ^s^ r^; i ju-^^ / The Trio sung by the first clarinet, the second playing an arpeggio accompaniment, is one of those lovely passages, lovely in its very simplicity, which are so characteristic of Mozart. In the Finale the composer gives free rein to his humor and fancy, as well as to his skill in devel- opment. It opens with the following theme, — which is fairly fascinating by its sportive and tan- talizing mood. The second theme is so similar in character as to amount to little more than an em- phasis of the first, and seems to have been intro- duced to give more room for the merry thoughts of the composer, which are expressed in bewildering variety of development. The themes themselves count for little as compared with the fanciful, elabo- rate structure of which they are the foundation. The Finale in fact is a very carnival of gayety and sunshine. 13 T*-»- 194 THE STANDARD SYMPHONIES. SYMPHONY No. 550 (KOCHEL), IN G MINOE. 1. Allegro molto. 2. Andante. 3. Minuet and Trio. Allegro. 4. Finale. Allegro assai. In Mozart's autograph catalogue, the symphony in G minor is set down as written July 25, 1788, which refers probably to the day of completion. As the E flat was finished June 26, it is evident that it was composed between these two dates. Of the sixteen symphonies written between 1773 and 1788 this is the only one in the minor key, and from this fact many authorities have attributed to it an expression of sorrow. It is curious, by the way, how these authorities differ. Nohl says it displays energy, struggle, and victory. Hoffmann writes : " Love and melancholy breathe forth in pur- est spirit tones ; " and Jahn attributes to it a feeling of deep sadness. " Minor key " has become with us the synonyme of sombreness, sadness, and mel- ancholy ; but Mozart's sadness is not of the tragic kind. Once in the realm of instrumental music, his Hellenic nature never could succumb to the deep distresses of the soul. The restlessness of the first and second movements, the energy of the themes of the Minuet and Finale, the sudden tran- sition from piano to fortissimo, instead of giving us the impression of real anguish or despair, as these writers would have us believe, seem more like the expression of a ruffled temper on the part of the THE SYMPHOXY IN G MINOR. 195 composer. The symphony has always been a great favorite with composers. Schubert said : " You can hear the angels singing in it." Mendelssohn held it in high esteem ; and there is a report that Beethoven scored it over for orchestra from a piano edition, though the score has never been found. Mozart himself was very fond of it, and after its first performance made a second score, adding two clarinets to the oboes, and making other changes to suit the new arrangement. Without the Adagio, which was customary at that time, or any attempt to call the attention of the hearers, the first movement begins at once with the principal theme, — g ^#V^ i^^r, -^ir\f^x -. *-*^ ^ ^ * r followed by a new theme which is afterward em- ployed in the most elaborate fashion. Then follows an exquisite melody, — Viol. U answered in the basses by — ^ ^ ^ =?-M^^f-^ In the second part the principal theme is broken up into bits, shaken about in true kaleidoscopic fashion, and transparent at every turn, thus in- creasing its beauty. The Andante is not based on a long cantilena, 196 THE STANDARD SYMPHONIES. like most of his Adagios, but betrays rather a restless spirit by the short groups which are thrown from the instruments. The germ of the melody appears at the opening in the bass — S ^ -=i — =?- T^^ri^ g^g ^ -f=-^ ^ The Minuet, Allegro, opens with : U\-^\-^^P^^^ ^^m W^- Se The stubborn syncopation is enforced at the begin- ning of the second part in the following manner, — £ ^ ^m^ w^ e :£ ^3feS and we easily realize that poor Mozart feels out of sorts ; but the cloud soon passes, and in the Trio he smiles again, and dismisses his " blues " with a joke : — drz -^ ^ ^^^ The Finale, Allegro assai, is a work of such mar- vellous skill that, while the musical student can alone appreciate the genius of the master by close study of the score, yet the listener never is op- pressed by its intricacies. All is clear, beautiful, and full of life and energy from the opening phrase. fji=^^^=^-M ^ tf ItTT?^ ^ THE SYMPHONY IN C. 197 which embodies the character of the whole move- ment, to the last note. Mozart reared this monu- ment of orchestral writing with the modest means of what would nowadays be called a small orches- tra, consisting, besides the string quartet, of two horns, a flute, two clarinets, two oboes, and two bassoons. SYMPHONY No. 551 (KOCHEL), IN C (JUPITER). 1. Allegro vivace. 2. Andante cantabile. j. Minuet and Trio. Allegretto. 4. Finale. Allegro molto. Among all the symphonies of Mozart not one can equal the dignity, loftiness, and skill of the symphony in C, the last from his pen, which by common con- sent, as it were, has been christened the " Jupiter, " both as compared with his other symphonies and with the symphonic works of other composers be- fore Beethoven appeared with his wonderful series. It was composed within a period of fifteen days, and completed Aug. 10, 1788. It has no introduction, but begins at once with the principal theme of the Allegro, which is con- structed upon two subjects, — the first strong and bold in character at times, and again restful ; and the second gay, even to the verge of hilarity. The first theme is as follows : — Tutti. ^_^ '^ Strings. 198 THE STANDARD SYMPHONIES. The second theme, which is full of the genuine German Geiniithlichkeit , is given out by the strings, and its hilarity is intensified by the following epi- sode, which dominates the whole movement, so far as its expression is concerned : — -*-*-*■ ■*^-i--i-«!#-^* i? ♦ ••■■•-••-a ♦■^ ^ The Andante is highly expressive. The materials which compose it are exquisite melodies whose beauty, especially that of the first, with muted vio- lins, must appeal even to the dullest ear. The opening theme is as follows : — After a repetition of four bars by the basses a new melody appears for the bassoons, which leads up to the second theme, given out by the oboes and full of rest and contentment. A charming Coda brings the beautiful first part of the movement to its close. The second is devoted to the contrapuntal develop- ment of all this melodious material, which is accom- plished with marvellous skill, and at the close returns to the original key and melody. The Minuet is one of the happiest and most charming of all his numbers in this rhythm. There is a swing, an elasticity of movement, at once light and free, and a gayety and freshness which belong THE SYMPHONY IN C. 199 almost exclusively to Mozart, following theme : — It begins with the m -(2^ #-=(—•— =!-TtI^ g The Trio is in the same key, and is equally happy in its expression of naivetd and cheerful humor. The Finale is the masterpiece of the symphony. In combinations of the most astonishing contrapun- tal skill with freedom of movement it will always re- main a monument to the genius and knowledge of the composer. It almost seems as if in this last movement of his last symphony Mozart desired to give to the world an immortal legacy which should forever bear witness to the greatness of his musical name. It is built up on four themes developed in fugal treatment. Colossal figures of counterpoint are combined with the most graceful motives, each thoroughly individual in character and all fitted to- gether in every variety of union, but never at the sacrifice of that grace and fancy for which Mozart is so conspicuous. The first theme is an old church- music phrase which was a favorite with him : — i ^£6 ii^^^^^ The second theme is announced at once ^ =(L= g_j f^-^^^JT^UU-J-j zJ^jLj i^ At its close the first is treated as a five-part fugue, after which the third theme appears on the violins : 200 THE STANDARD SYMPHONIES. =r=^=^ ^ The fourth theme enters in graceful fashion : — $ 3: 5^ ^fe ^ ^^ These are the materials which Mozart elaborates with marvellous skill. As the development pro- ceeds he inverts the second theme, giving a fresh melodic subject, which enters into the combination as clearly and individually as its companions. Thus on into the Coda, which again reveals the masterly skill of the composer and the ease with which he treated the most intricate contrapuntal difficulties. It is not necessary to follow the progress in detail, for in spite of all its complications the movement will always commend itself to the hearer by its smooth, flowing character, showing that however difficult these ingenious and elaborate contrivances may seem they did not exist as difficulties to the composer, but were only used as symbols to express the glowing, animated picture which occupied his thoughts. That picture was one of human life in its most powerful, active, and dignified phases. PAINE. iJOHN K. PAINE, one of the few really emi- nent American composers, is well known, not only in this country, but also in England and Germany, by his symphonic works. His larger orchestral pieces have been made familiar to American audiences by Mr. Theodore Thomas's band, and have met with great success. His style of composition is large, broad, and dig- nified, based upon the best classic models, and evinces a high degree of musical scholarship. The list of his principal instrumental compositions is as follows : First symphony, in C minor, op. 23, com- posed in 1875, and first performed in Boston by the ThomasOrchestra, Jan. 26, 1876 ; Second symphony, in A major, op. 34, entitled "Spring," composed in 1879-80, and first performed in Cambridge, Mass., March, 1880, the composer himself having also con- ducted it at a Brooklyn (N. Y.) Philharmonic concert in 1883 and in Boston in 1884 ; symphonic poem to Shakspcare's " Tempest," in D minor, op. 31, 202 THE STANDARD SYMPHONIES. composed in 1876, and first performed in New York by the Thomas Orchestra in October, 1877; overture to Shakspeare's " As you like it," op. 28 ; Duo concertante for solo violin, violoncello, and orchestra, in A major, op. t^Z ', piano and violin sonata, in B minor ; and trio in D minor, for piano, violin, and violoncello, op. 32. SYMPHONY No. 2, IN A. (SPRING.) Op. 34. 1. LvTRODucTiON. Adagio sostenuto. (The Departure of Winter.) Allegro ma non troppo. (The Awakening of Nature.) 2. Scherzo. Allegro. (May Night Fantasy.) 3. Adagio. (A Romance of Springtime.) 4. Allegro giojoso. (The Glory of Nature.) As already stated, the Spring symphony was composed in 1879-80. It is a work characterized by scholarly dignity and purity of style, as well as by the grace and freedom of its musical ideas and their adaptation to the expression of definite programme-music through the medium of brilliant and effective instrumentation. Altogether, it is by far the most important work yet produced by an American composer. The Introduction is clearly typical of the mel- ancholy and frigid desolation of winter. It begins with a suggestive minor theme for the tenors and 'cellos, the contrabass and horn furnishing the back- ground. As the harmony is increased it grows grimmer and more agitated in tone, until a tremolo of the strings makes way for a melody for the THE SYMPHONY IN A. 203 clarinet, — harbinger of spring. It is followed by a tempestuous climax. The winter is going out like a lion. As the storm subsides, it gives place to a pianissimo tremolo of the strings leading to a change to the major key. Spring has come. The violins keep up their tremolo, as if filled with anticipations, when suddenly the principal theme is given out by the second violins and 'cellos, soon joined by the violins and clarinets in a bright stream of melody, after which the violins resume their suggestive episode. Fresh motives, clear, cheerful, and buoyant in character, are introduced, with which the winter theme strives in vain contention. Near the close a sweet melody for the violins occurs, and the Allegro ends with the tremolo taken at first fortissimo and gradually dying away. The Scherzo is entitled " May Night Fantasy," and well answers to its name. It opens with a graceful, airy theme, which in its melodious progress, ac- companied by the songs of birds and the sounds of animated nature calling from instrument to in- strument, is a genuine bit of spring poetry, full of gay color and warm, rich tone. The Trio finely contrasts with the tenderness of its cantabile melody. The Adagio is broadly laid out. The principal theme is in sombre color, but very poetic in its feeling, and tinged here and there with reminis- cences of the winter theme. It is undoubtedly intended for a reverie, full of restless aspiring and serious introspection. The theme pervades the 204 THE STANDARD SYMPHONIES. whole movement, and is enriched by subsidiary phrases from the various instruments of the same general character. The Finale, Allegro giojoso, is a noble and ex- alted climax to the work, its distinguishing feature being a grand chorale-like theme of thanks- giving expressing the joy of man over the return of spring and the glory of Nature. The opening theme is bright and exhilarating, and after its full development alternates with the swelling psean of praise, which is exceedingly impressive in its re- peated utterances by full orchestra. RAFF. OSEPH JOACHIM RAFF has left the world eleven important symphonies, which are among the finest illustrations of pro- gramme-music that the modern German school has yet given us. The No. i, "An das Vaterland," was written in 1863, and secured the prize offered by the Gesellschaft der Musikfreunden, Vienna. This was followed by No. 2, in C, and No. 3, " Im Walde," in 1869 ; No. 4, in G minor, in 1871 ; and No. 5, "Lenore," in 1872. In 1876 No. 6 appeared, with the somewhat formidable motto, " Gelebt, gestrebt, gelittcn, gestritten, gestorben, umworben " (" Lived, struggled, suffered, fought, died, crowned "), which clearly enough typifies the career of many an artist who has struggled and suffered through life, and to whom the " woven " wreath of success has come only after he has passed away. In 1877 ^'^ Alpcn symphony appeared, the first movement of which is a remarkable piece of tone-painting. No, 8, " Sounds of Spring," was 2o6 THE STANDARD SYMPHONIES. written in 1878, and is in four movements, whose character is described by these mottoes : Allegro, " Nature's Awakening," " Walpurgis Night ; " Lar- ghetto, " First Blossoms of Spring ; " and Allegro, " The Joys of Wandering." This was followed by three more symphonies completing the cycle of the year, — " Smiimer " (1880), "Autumn" (1882), and "Winter" (1883). SYMPHONY No. 3, IN F MAJOR (IM WALDE). Op. 153. 1. Allegro. (Am Tage Eindriicke und Empfindungen. "Day- time. Impressions and Sensations.") 2. Largo. (In der Dlimmerung. a. Traumerei. b. Tanz der Dryaden. " Twilight. Reverie. Dance of the Wood- nymphs.") 3. Allegro. (Nacht. Stilles Weben der Nacht im Walde. Einzug und Aiiszug der Wilden Jagd mit Frau Holle und Wotan. Anbruch des Tages. " Night. The Quiet Mur- mur of Night in the Forest. Arrival and Departure of the Wild Hunt with Dame Holle and Wotan. Break of Day.") The mottoes of the symphony in F major clearly enough express its meaning. It is a picture of day- time, twilight, and night in the woods. The first two movements are suggestive. The third attempts ac- tual description, and with remarkable success. The first movement bears the title " Impressions and Sensations," reminding one of Beethoven's guide in the Pastoral symphony : " Expressive of feeling rather than painting." It begins with an introductory call fi-om the horns, followed by the strings, pastoral THE SYMPHONY IN F MAJOR. 207 and mysterious in its effect, and throwing out hints of the subsequent theme-material of the movement. The first theme is given out by the strings, followed by a new phrase for strings and wind instruments, and leading up by ingenious modulations to a long second theme, which after full statement is partially repeated by the horns, with accompaniment of vio- lins. A new figure follows for the bassoons, with the development of which the first part of the move- ment comes to a close. In the further treatment of the thematic material frequent use is made of the horn signal in the Introduction. This and a fresh phrase for the violins, used as accompaniment, play an important part in the elaboration. All the themes pass in reuew, the beautiful second entire, and the Coda brings to its close this charming pic- ture of the quiet surprises of woodland in an autumn day. The second movement, entitled " Twilight," con- sists of two parts, " Reverie " and " Dance of the Wood-nymphs," the first, Largo, and the second corresponding to the Scherzo and Trio of the or- thodox form. After a short introduction the Largo begins with a beautiful and suggestive melody, — the reverie of the dreamer. After a short episode it is repeated, this time by the first horn and violas, with the remaining horns, violins, and 'cellos accompany- ing, — an effect which is not only thoroughly in keeping with the character of the dream-picture itself, but admirable from an artistic point of view. After another episode the theme returns twice, — 2oS THE STANDARD SYMPHONIES. the first time with heightened pastoral effect, and the second time in much the same manner as when originally given out. The Scherzo opens with a lively passage for the flutes, and the Trio starts off on the strings. It is in reality a dance movement, — the dance of the Dryads, — but before its close the Reverie motive of the Largo appears, and thus unifies the movement and completes the picture of the dreamer and his reverie intruded upon by the dancing wood-nymphs. In the final movement, the mythologies are some- what mixed. The graceful Dryads disappear in the twilight. Night comes on, and the grim spectres of the Northern sagas make their appearance, rising from the caverns of the earth and joining in the Wild Hunt in the air, — sad presage of coming death to the unfortunate spectator at the diabolical scene. Darkness has overspread the forest, and the opening theme, with its fugal treatment and fre- quent repetitions, is typical of the stillness of night. That stillness is soon broken. In marked rhythm the strings and clarinets, supported by the 'cellos and bassoons, announce the approach of the Wild Hunt and its unearthly saturnalia. It is needless to follow the musical devices which the composer employs to produce his effect. There is no mis- taking the meaning of this orgy. The same theme which announced the tramp of the hellish crew tells us they have passed by. Once more the Still- ness of Night theme returns, but, like Emerson's " Brahma," they " turn and pass and come again." THE LENORE SYMPHONY. 209 The horrible uproar is resumed ; but at last they disappear, and stillness settles down once more, not to be disturbed again until a theme from the first movement appears. It is the dawn of breaking day, and from this we pass on into the sunrise. SYMPHONY No. 5 (LENOEE). Op. 177. 1. Allegro. Andante quasi larghetto. (Liebesgliick. " Happiness in Love.") 2. March Tempo. (Trennung. " Separation.") 3. Allegro. (Wiedervereinegung. " Reunion in Death." In- troduction and Ballad after Biirger's " Lenore.") The Lenore is confessedly the best of Raff's sym- phonic works. It is ^^Titten in illustration of Biir- ger's grewsome ballad, although it is only the third movement that is so marked by the composer. In the ballad itself the maiden Lenore mourns for her lover William, who has gone to the wars and from whom she has received no tidings, although peace has been declared. Hearing nothing of him from his returning comrades she becomes frenzied, and blasphemes. In the night, however, there is a knock at her door. It is her lover, who informs her that he must bear her away a hundred leagues to their bridal chamber. She mounts his steed behind him, and away they fly through the darkness. They meet with many grim encounters on the ride. A train of mourners bearing a corpse to the grave for- sake it and join in the ghastly ride. Spectres dan- cing about a gibbet also fall in. At last, as day 14 210 THE STANDARD SYMPHONIES. dawns they rush through a gate into a cemetery, William discloses himself to her as a skeleton, and the unfortunate Lenore at last finds rehef from her sorrows. The symphony is divided into three parts, the first of which, " Happiness in Love," consists of two movements corresponding to the first Allegro and Adagio of the usual symphonic form. They are entitled Allegro and Andante quasi larghetto. The two principal themes of the Allegro are simply ex- pressions of happy, passionate scenes between the two lovers. In the third melody tenderness and longing speak out, which change to anxiety and fore- boding in the development of this section of the movement. The second part of the movement is a delightful representation of the discourse of the lovers, in which it is not difficult to imagine William listening to the anxious expressions of Lenore and seeking to quiet her and allay her apprehensions. The second movement is in march form, for war has broken out, and the lover must take his departure. The fascinating march is so familiar by its frequent performance that it hardly needs more than mere reference. It is interrupted by an epi- sode of an agitated character, which graphically de- picts the parting of the lovers and Lenore's grief and despair. Then the march is resumed, and dies away in the distance as the movement comes to a close. The final movement is the one which the com- poser has indicated as being after Burger's ballad. THE LENORE SYMPHONY. 211 to which the other two are introductory. It opens with a plaintive theme given out by the strings, sug- gestive of Lenore mourning for her lover as she wakes from troubled dreams. Then follows an intimation of her fate in a brief phrase for the trom- bones. The Trio of the march tells the story of her despair, for the anny has returned without her lover. Her blasphemy and the remonstrances of her mother are clearly indicated. The recurrence of the first theme leads up to a rhythmical figure for the viola, representing the tramp of the steed bear- ing the spectre bridegroom. The bell tinkles softly, and Lenore descends to meet her lover. Then the 'cellos take up the figure, retaining it to the close. The terrible ride begins. The bassoons and oboes carry on the dialogue between the spectre and his bride. One after another the constantly intensified and impetuous music pictures the scenes of the ride, the 'cellos and other strings keeping up their figure. A gloomy dirge tells us of the funeral train, and a weird theme in triple time of the spectres' dance about the gibbet, accompanied by wild cries of the night birds. More and more furious grows the ride until the graveyard is reached, when after a moment of silence following the transformation, a chorale strain is heard, with a sad and tender accompaniment. The wretched maiden has at last found rest. 212 THE STANDARD SYMPHONIES. SYMPHONY No. 8, IN A (FEUHLINGSKLANGE). Op. 205. 1. Allegro. (" Nature's Awakening.") 2. Walpurgis Nacht. 3. Larghetto. (" First Blossoms of Spring.") 4. Allegro. ("The Joys of Wandering.") The symphony No. 8, in A, is entitled " Friih- lingsklange " (" Sounds of Spring ") and is the first of a series of four, the other three being " Im Sommer- zeit " (" In Summer Time "), " Zur Herbstzeit " (" In Autumn "), and " Im Winter " (" In Winter "). The first movement, Allegro, begins with a long Introduc- tion intended to depict the quiet of Nature before the awakening from her winter sleep. It opens with long-drawn pianissimo chords given out by the string orchestra, with bassoons, to which the first horn im- parts warmth and vitality with the opening tones of the first subject. The oboe, and after a few meas- ures the flute, take up the theme with increasing life ; and at last the violins give decided animation to the movement, followed by the wood winds, which furnish bright and cheerful color. The call of the various instruments is answered by the full orchestra, which announces the theme entire, and with it the full awakening of Nature and her freedom from the sombre influences of winter. A charming pastoral episode leads up to the second theme, — a spring song for the violins, followed by a free canon for the strings, resolving into a Coda for the new subject. The development of the two themes then occurs in THE SYMPHONY IN A. 213 the usual form, and the reprise closes with a jubilant outburst suggestive of a chorus of praise. The second movement, " Walpurgis Night," brings us into Mendelssohn's world of fancy, but not with his light and airy step. It is weird and grotesque, in- stead of fanciful. Witches take the place of elves. They enter quietly at first, but as their numbers in- crease, with suggestions of the Wild Hunt, — a super- naturalism of which Raff is very fond, — they march on to their May orgies amid a din of trumpets, trom- bones, and horns, filling the air with horrid sounds sufficient to scare away all the spring nymphs and dryads. Their song accompanies a wild and furious Tarantella as they perform their sacrifice. Then comes a sudden alarm ; and the ghostly celebrants disperse, for the dawn is approaching. The third movement, Larghetto, brings welcome relief after all this blare and din. It is entitled "The First Blossoms of Spring," and opens with a suave and tender melody, most poetically orches- trated, and treated \vith unusual refinement to the end. The second theme is equally pretty and sen- timental, and enhances the graceful and spring-like effect of the movement. The theme is intoned by the violins with a pizzicato accompaniment by the 'cellos, which in turn take up a fresh, melodious phrase, the violins carrying the accompaniment in graceful semi-quavers. In the close there is an ef- fective imitation of a bell, produced by the flutes in combination with the pizzicato of the second violins. 214 THE STANDARD SYMPHONIES. The fourth movement, " The Joys of Wandering," is characterized by a resumption of the clamor and noisy resonance of the first two. Spring, with its blossoms and songs of birds, is evidently left be- hind, and the wanderer is out in the world seeking freedom and happiness. The symphony closes with a long Coda in which the brass instruments domi- nate. Though very pleasing by its variety in effects and realistic color, it has not made such an impres- sion as the " Lenore " or " Im Walde," — his earher works ; but of the series to which it belongs it is unquestionably the most popular. RHEINBERGER. OSEPH GABRIEL RHEINBERGER was born at Vaduz, in Lichtenstein, March 17, 1839, and displayed Iiis mu- sical talent at a very early age. He studied the piano in his fifth year, and in his seventh was organist in the church of his native place. At the age of twelve he entered the Munich Conser- vatory, where he remained until he was nineteen, when he was appointed one of its teachers ; at the same time he became organist at the Hofkirche of St. Michael, and afterward director of the Munich Oratorio Society, In 1S67 he was appointed pro- fessor and inspector of the Royal Music School, and since 1877 has been the royal Hof kapell- meister, directing the performances of the Kapell- chor, — an organization similar to that of the Berlin Domchor. He is a very prolific comjioscr, nearly two hundred works having proceeded from his pen. Among them are the " VVallcnstein " and ""Flor- entine " symphonies ; a Stabat Mater ; two operas, " The Seven Ravens " and " Thlirmcr's Tochtcr- 2i6 THE STANDARD SYMPHONIES. lein ; " incidental music to a drama of Calderon ; a symphony-sonata for piano ; a requiem for the dead in the Franco-German War ; theme and va- riations for string quartet ; a piano concerto ; five organ sonatas ; the choral works " Toggenburg," " Kliirchen auf Eberstein," " Wittekind," and " Christophorus ; " and a large number of songs and church pieces, besides much chamber music. SYMPHONY No. 1 (WALLENSTEIN). Op. 10. 1. VORSPIEL. 2. Adagio. (" Thekla.") 3. Scherzo. Poco piu moderato. ( " Wallenstein's Camp. The Friar's Admonition.") 4. Finale. ("Wallenstein's Death.") The great hero of the Thirty Years' War has been celebrated by Schiller in two of his dramas, — " The Piccolomini " and " The Death of Wallen- stein." The former is introduced by a one-act prologue entitled " The Camp of Wallenstein." They are episodes from this trilogy which the com- poser has chosen for musical illustration. Thus in the Vorspiel, or prelude, he undertakes a sketch of the great soldier himself; the Adagio brings before us a picture of the devoted Thekla ; the Scherzo is based upon the prologue already mentioned ; and the Finale delineates the close of the tragical story. The opening movement, an Allegro, entitled Vorspiel, in its animated principal theme sketches THE WALLENSTEIN SYMPHONY. 217 the hero conscious of his strength, full of ambition, and dominating the camp. Other themes more tender in character follow, evidently suggestive of his relations to Max and Thekla, the devoted but sorrowful princess of Friedland. Short and sombre motives occur, foreshadowing the impending doom of the hero. The Vorspiel plays the same part for the symphony that the overture does for the opera. It sketches its scenes and sentiment, and its themes reappear in the other three movements. The Adagio, entitled " Thekla," is a character- sketch, opening with a first theme of extraordinary beauty. The second theme, given out by the wind instruments, accompanied by the violins, is very tender and plaintive in character, and is evi- dently intended for a picture of VVallenstein's daughter. A short episode follows, touching upon her love for Max, and the movement closes with a delineation of the unrest which ever after follows the unfortunate maiden. The third movement, Scherzo, " Wallenstein's Camp," is a graphic tone-picture of the stirring, picturesque scenes, the laxity of discipline, the mu- tinous character of the soldiery, and the utter disre- gard of all law, save camp-law, that obtained among Wallenstein's insubordinate, plundering troops. It opens with a theme full of gayety and abandon, given out by the violins, followed by several shorter themes and episodes intended as pictures of the wild scenes among the Croats, Uhlans, Yagers, Cuirassiers, and camp-followers of Wallcnstein. 2i8 THE STANDARD SYMPHONIES. After the development of this material the prin- cipal subject returns and leads up to a new theme, — an old Netherlandish troopers' song, called " William of Nassau," which was a great favorite in the time of the Reformation. After its develop- ment, which is accomplished in a very effective manner, the Trio, poco piu moderato, called " The Friar's Admonition " (which in the prologue is a scene for a Capuchin who enters amid the general revelry and hurls his maledictions at Wallenstein), begins with a phrase in mock ecclesiastical style, leading up to the principal theme, to which subsid- iary phrases respond, evidently suggestive of the soldiers' taunts and menaces. After the develop- ment of these episodes, the violins give out a light, vivacious melody in dance tempo. At the close of the Trio, the Scherzo is repeated. The Finale, " Wallenstein's Death," opens with a short prologue foreshadowing in sombre tones the coming tragedy. The movement really begins with an Allegro vivace which recalls martial sur- roundings. The hero wanders in dreams, and the music delineates his visions. He awakes, and again it paints the bustle of camp-life, then changing to an Adagio, as the hero slumbers again. Thus the music alternates between the spirited scenes of the camp and Wallenstein's dream-fantasie, until the trumpets and trombones, in wild dissonances, accompanied by a general outburst from the whole orchestra, announce the catastrophe. -^ RUBINSTEIN. UBINSTEIN occupies a unique position among all his musical contemporaries. As a pianist, he holds perhaps the first place since Liszt's death. At the same time, as a composer, — not alone for the piano, but in a more marked degree as a writer of large works for orchestra and the operatic stage, — he has made an extraordinary success. As a symphonic writer of the romantic school, his work is characterized by the originality and spontaneity of his themes, con- summate knowledge of orchestral resources, and boldness and unconventionality in handling his sub- jects ; though all his symphonies are in the ortho- dox form, except perhaps the " Ocean," which has been amplified and extended to a most unusual length since it was first written. His symphonies are six in number. The First, in F major, was writ- ten in 1854; No. 2, in C major (the "Ocean"), appeared in 1868, and some years after its compo- sition he added another slow movement, which now stands as the second, and an additional Scherzo, 220 THE STANDARD SYMPHONIES. which is the fifth, — making six movements in all. The Third symphony, in A major, was written in 1870 ; and the Fourth (the " Dramatic "), in D mi- nor, in 1875. The Fifth, in G minor, was written in 1880, and is dedicated to the memory of the Grand Duchess H^lene Paulowna, his early friend and pa- tron. No. 6, in A minor, was written in 1886, but does not sustain the reputation of its predecessors. SYMPHONY No. 2, IN C MAJOR (OCEAN). Op. 42. 1. Allegro maestoso. 2. Adagio non tanto. 3. Scherzo. 4. Finale. Allegro con fuoco. 5. Adagio. (Supplementary.) 6. Scherzo. (Supplementary.) The Ocean symphony, written in 1868, is dedi- cated to Franz Liszt, the founder of the programme- music of the new school. Although generally considered that it has no definitely pronounced character of tone-painting, the writer has it from the lips of the composer that the headings for the dif- ferent movements, if he had wanted to make use of them, would have been somewhat like this : First movement, wind and water; Adagio, an evening on the ocean; Scherzo, dance of Tritons and Naiads ; while the idea of a triumphal procession of Neptune and his attendants underlies the Finale. With the supplementary numbers five and six the composer laughingly remarked, " I am trying to get THE SYMPHON-Y IN C MAJOR. 221 on dry land again." As they are not likely to be performed in connection with the symphony, it is not necessary to consider them. The opening movement, an Allegro maestoso in C major, begins with the chord of the tonic, in a tremolo piano for two measures, above which rises in the third measure a figure in the flutes which sounds like the springing up of a gentle breeze. Later on, this airy triplet figure is offset by a motive for the violins, which, by its even motion of quarter notes and the rise and fall of its melody, seems to portray the slow rolling of the mighty waves. But although such outward signs are obvious, we cannot call this music " programme-music " in the sense that Liszt used the thematic treatment in his sym- phonic poems. It is rather the appropriate expres- sion of an artistic temperament fully imbued with the grandeur and beauty of Nature (in this case the ocean), and foregoing every temptation to draw on the resources of mechanical dexterity to astonish or coax the public. The symphony breathes the spirit of Beethoven ; and the melodic richness and poetic treatment of the separate episodes, broadening into solemn grandeur as the movement proceeds, place Rubinstein in the front rank of the later sympho- nists. To single out suggestive phrases and striking instrumental combinations would lead too far in a short review like this, and would not enhance the pleasure we feel in listening to this great work, so overpoweringly suggestive of the wondrous theme of Nature. 222 THE STANDARD SYMPHONIES. The Adagio non tanto, in E minor, common time, has for its leading theme a sombre and pa- thetic melody. Night has spread over the water, and the starry heavens span the billowy deep ; but in the music human interest predominates in this solitude of Nature. It is the contemplative dream- ing of the man, the yearning of the human heart for the mystery shrouded from mortal vision by the vast expanse, the almost agonized cry for the solution of the riddle of life, while trying to pierce the impenetrable void between the glittering can- opy of night and its dark-faced mirror. The ques- tioning step of the major fourth, D, E flat, A ; the long-sounding call of the horn through the still night ; and the ever-rippling motion in the ac- companiment, — are expressions of the poetic na- ture of the composer through a medium as natural to him as human speech. The third movement, or Scherzo, is an Allegro in 4 time, in G major, and displays the rollicking sport of the sea-people. The ponderous gyrations of the basses at the opening may represent the sports of Tritons or sailors. The accompaniment is full of original force and humor, often broad and at times unrestrained, and displaying a certain barbaric trait in the composer. Frequent hearing or thorough study, however, will reveal a dexterity in the hand- ling of the profuse material scattered throughout the movement not often found in Rubinstein. The Finale, Allegro con fuoco, in the step of the third in the first motive, has the germ of pompous THE SYMPHON'Y IN D MINOR. 223 festivity, which, although relieved by strains of a quieter character, dominates the whole movement, and reaches its climax in a grand chorale. The trombones carry the noble hymn through the agi- tation of roaring waves, which storm against it in the rushing figures of the violins, and bring this grand ocean poem to an imposing and befitting close. The plastic lines of the Finale are drawn in grand and noble fashion ; and although the detailed working-out does not have the charm of the first movement, the music nowhere loses itself in mere play of sound, but retains the noble char- acter throughout. Whatever may be said of Ru- binstein's other symphonies and orchestral writings, with the " Ocean " he has firmly established him- self as one of the world's great composers. SYMPHONY No. 4, IN D MINOR (DRAMATIC). Op. 95. 1. Lento. Allegro moderato. 2. Presto. Allegro ma non troppo. 3. Adagio. 4. Largo. Allegro con fuoco. The Dramatic symphony (Symphonic Dramatique), next to the "Ocean "the greatest of Rubinstein's works of this kind, was written in 1875, and first pro- duced at a concert given by the St. Petersburg Con- servatory in that year. It is written for full orchestra, thus placing the most complete resources in the hands of the composer ; and in technical skill, bold- ness of treatment, and largeness of conception is a 224 ^-^^ STANDARD SYMPHONIES. masterpiece of musical art. It illustrates no partic- ular programme, like the " Ocean," but is evidently intended to impress the emotions of the hearer through the agency of music in the same manner as the hearer would be influenced by the progress of a drama. To accomplish this the composer has given free rein to his fancy and moods, and uses strange melodic forms, eccentric rhythms, and un- usual changes of tempo ad libitum. The first movement, Lento, developing to Alle- gro moderato, is essentially tragic in its style, though its themes are simple, despite their elaborate treat- ment and its intrinsic difficulties. The introduc- tion, Lento, opens with a theme given out by the bass strings in unison. It is subjected to an ingen- ious variety of treatment, passing from instrument to instrument and repeated in many combinations, finally leading up to the Allegro moderato, or real opening of the movement. It begins with a theme which is developed in a truly dramatic manner, speaking out in interjectory phrases, fragmentary episodes, and even sharp dissonances, rather than in a smooth, flowing expression of musical thought, and leading up to a short prelude consisting of a gentle strain sung by the clarinet, with accompaniment by the strings and- introducing the second theme, a stately melody given out by the horns and bassoons and answered by the strings, — a struggle, as it were, between hope and doubt. These two themes are skilfully combined with other matter, and prepare the way for the introduction of still another broad THE SYMPHONY IN D MINOR. 225 and heroic theme, which closes the first part of the movement. Tlie development of the remainder of the movement is masterly. There are allusions to all the themes. Sometimes they appear in sharp conflict and again are involved with fresh thematic ideas. As the movement draws to its close, start- ling dissonances and complicated chromatic pas- sages occur, but they finally resolve themselves, and the principal themes are asserted with unmistakable force and expression, continually increasing in en- ergy to the end. The second movement. Presto, begins with short, sharp signals and intervening pauses, introducing a furious but very rhythmical theme which dominates the whole movement. In the Moderato assai a vio- lin solo of a grotesque character occurs. This and other episodes of a somewhat eccentric character give a pleasing variety to the first part. The furious Presto soon returns to give place to a delicate and pleasing Trio based upon two principal subjects, accompanied by a great variety of melodic figures which play an important part in the development. The Presto is then repeated, and a phrase from the Trio forms the Coda. The Adagio is a simple, beautiful movement, in striking contrast with what has pre(Sfeded it. It has three principal themes, — the first given out by the violins, the second by the 'cellos, and the third again by the violins. It opens with an exquisitely tender and graceful melody, developed in a delightfully har- monious manner and finally giving way to the second 15 226 THE STANDARD SYMPHONIES. theme, equally beautiful but more energetic. At its close the opening theme is again heard, first stated by the horns and then as a clarinet solo, with string accompaniment. At its conclusion a third subject appears, given out by the violins. The elaboration of these themes is accompanied by a chorale-like strain for the bass strings, which gives a religious tone to the close. The Finale opens with an introductory Largo for the full orchestra, at the close of which the Allegro con fuoco enters with furious energy upon a theme for all the strings in unison, followed by an auxiliary subject which is hardly more than stated before the first theme returns, this time the melody being in the basses, and the violins accompanying. These two subjects are developed in the most elab- orate and grandiose manner, the fiery, energetic character of the movement being always preserved. During their development a new phrase appears for the violins which is treated in ingenious varia- tions. The remainder of the movement is occupied with the broad and dignified treatment of this thematic material, with numerous episodes inter- woven. It flows on with resistless force, constantly gathering fresh energy as new ideas are added, and finally closes with a triumphant outburst in which the principal subject is heard again asserting its superiority. SAINT-SAENS. HARLES CAMILLE SAINT-SAENS was born in Paris, Oct. 9, 1835. He began the study of the piano in his seventh year with M. Stambati, and of composition with M. Maleden. His organ master was M. Benoit, and under his tuition he made such good progress that he took the Conservatory second prize in 1849 ^^^ the first prize in 185 1. In 1853 he was appointed organist at the Church of St. Mery in Paris, and five years later secured the same position at the Madeleine, where he remained nineteen years, finally resigning in favor of Theodore Dubois. Since those days he has become eminent as a composer. His operatic career began about 1872 with "La Princesse jeune." " Le Timbale d'Argent " followed in 1877, " Samson et Dalila" in the same year, and " Eticnne Marcel " in 1879. Among his oratorios and cantatas are the " Oratorio de Noel," " Le Deluge," " Les Soldats de Gddd^on " and " La Lyre et la Harpe." His symphonies are five in number: No. i, E flat (1S51); No. 2, F (1856); No. 3, A minor 2 28 THE STANDARD SYMPHONIES. (1878); No. 4, D (1883) ; and No. 5, C minor (1886). Besides these he has written the sym- phonic poems : " Danse Macabre ; " " La Rouet d'Omphale ; " " Pliaeton ; " and " La Jeunesse d'Hercules." SYMPHONY No. 3, IN A MINOE. Op. 55. 1. Allegro marcato. Allegro passionato. 2. Adagio. 3 Scherzo. Presto. 4. Prestissimo. Saint-Saens's Third symphony, dedicated to the late M. Pasdeloup, the eminent Parisian conductor, was written in 1878. It is scored for full orchestra, except trombones, and is characterized by the gracefulness rather than the depth of its ideas. Two strong chords leading to an animated passage for the strings, which is recitative in its style, and a short episode lead to the first theme, Allegro pas- sionato, given out by the violins, which after imita- tion by the other strings gives place to the second theme. The two subjects are then ingeniously and spiritedly combined. After the inversion of the second, forming a new melody, a third subject ap- pears for flute and strings. The three are then combined in various positions until the first reap- pears. The second is used episodically. There are reminiscences of the Introduction, and a Coda formed out of the third closes the movement. The Adagio is a charming movement for its grace, delicacy, and sweetness, though very short. THE SYMPHONY IN A MINOR. 229 It is built up on two themes, — the first of a pas- toral character, for the strings, con sordini ; and the second for the English horn, with strings, this instru- ment being used with peculiarly happy effect. The Adagio is in the major key, but the Scherzo returns to the minor. There is no seriousness in the movement, however. It opens with a lively, piquant theme, which after varied repetitions gives place to a second theme, introduced by the horns and taken up by the strings and oboes. The first theme is repeated, and leads to a solo for the oboe. The development of this material is very skilful, and with a vigorous pizzicato, accompanied by the wind instruments in sustained chords, the movement closes. The final movement. Prestissimo, is rightly char- acterized. It is an exhilarating dance rhythm of the Saltarello order, starting off with a theme for the first violins, accompanied by the other strings piz- zicato. The vigorous skipping melody is followed by a second theme which preserves the same rhythm. The two are then combined in a diversity of styles, and gather fresh interest as the horns take up the merry effect, the piccolo doing good ser\'ice with the melody. After a slower episode the first theme reappears and goes skipping off again in its spirited dance. In the Coda, the second theme is heard in unison among the strings, and with a few strong, harmonious chords the symphony closes. 230 THE STANDARD SYMPHONIES. SYMPHONY No. 5, IN C MINOK. Op. 78. 1. Adagio. Allegro moderato. Poco adagio, 2. Allegro moderato. Presto. Maestoso. Allegro. Saint-Saens's Fifth symphony was written for the London Philharmonic Society ; and its first perform- ance (July 19, 1886) was conducted by the com- poser himself. It is somewhat remarkable for its innovations, — such as the division of the symphony into two parts, though in reality they contain in themselves in a vague way the conventional sym- phonic movements linked together, " to avoid," says the composer, " the endless resumptions and repe- titions which more and more tend to disappear from instrumental music under the influence of increas- ingly developed musical culture," — also for the un- usual combination of instruments, the prominent place he gives to some which usually play a sec- ondary part, and his new ideas in their arrange- ment and use, which he justifies upon the plea that " symphonic works should benefit by the progress of modern instrumentation." The peculiar redis- tribution of parts will be observed in the following array : Three flutes, two oboes, one English horn, two clarinets, one bass clarinet, two bassoons, one double bassoon, two horns, two valve horns, one trumpet, two valve trumpets, three trombones, one tuba, three drums, organ, pianoforte, one tri- angle, one pair of cymbals, one bass drum, and the customary strings. THE SYMPHONY IN C MINOR. 2^-1 Upon the occasion of the first performance of this symphony, the composer himself prepared an analysis of its contents and structure for the pro- gramme, which we fireely follow. After a slow and plaintive introduction for violins and oboes, the string quartet gives out the first theme, sombre and agitated in character, which after transformation by the wind instruments leads to a second subject, marked by greater repose. After a short develop- ment, presenting the two themes simultaneously, the second reappears in new and striking form, though brief in its duration. This is followed by a fresh transformation of the first theme, through the rest- lessness of which are heard at intervals the plaintive notes of the opening Adagio. Various episodes, introducing a gradual feeling of repose, lead to the Adagio, in D flat, the subject of which is given out by the violins, violas, and 'cellos, sustained by organ chords. It is then assigned to clarinets, horn, and trombone, accompanied by the divided strings. After a fanciful and elaborate violin variation, the second transformation of the initial theme of the Allegro reappears, restoring the old restlessness, which is still further augmented by dissonant har- monies. The principal theme of the Adagio then returns, this time played by a violin, viola, and 'cello solo, accompanied by the chords of the organ and the persistent rhythm in triplets of the preceding episodes. The movement closes with a Coda, " mystical in sentiment," says the composer. The second movement, Allegro moderato, opens 232 THE STANDARD SYMPHONIES. with a vigorous figure, which is at once followed by a third transformation of the initial theme of the first movement, in more agitated style than the others, and limited to a fantastic character which de- clares itself in a tumultuous Presto, through which flash at intervals the arpeggios and rapid scale pas- sages of the pianoforte, accompanied by a synco- pated rhythm in the orchestra, and interrupted at last by an expressive motive. After the repetition of the Allegro moderato, a second Presto is introduced, in which shortly appears a calm, earnest figure for trombones, in striking contrast with the fantastic character of the first Presto. There is an evident conflict between the two, ending in the defeat of the latter ; and after a vague reminiscence of the initial theme of the first movement, a Maestoso (C minor) announces the ultimate triumph of the new and earnest figure. The initial theme of the first movement in its new form is next stated by the di- vided strings and the pianoforte (four hands), and taken up by organ and full orchestra. After devel- opment in three-bar rhythm, there is an episode for organ, followed by a pastoral theme twice re- peated. A Coda, in which the initial theme by a last transformation appears as a violin passage, finishes this unique work. SCHUBERT. CHUBERT'S symphonic works are com- paratively unknown to the world, with the exception of the Eighth and Ninth, and the former is only a fragment. They had no influence in their day, as they were not performed during the composers life-time. The two mentioned above were not played so that the musical world recognized their beauty until many years after his death ; but they have made an im- pression which will unquestionably be lasting. The others, with the exception of the Fourth, are un- familiar, and the Fourth is principally known only by its beautiful Andante movement. Like Beet- hoven, he wrote nine, so far as now known, but it was not until the Eighth that he succeeded in infusing his symphonic work with his own in- dividuality, so clearly expressed in its melodiousness and orchestral color, and displayed freedom and originality both in design and treatment. The influence of the Lied was always strong with him, 234 ^-^-^^ STANDARD SYMPHONIES. and it is clearly manifest in his symphonies, in which the lyric element can easily be traced. They are literally tone-poems. Sir George Grove, an en- thusiastic admirer of Schubert, in an appendix to Kreissle von Ilellborn's life of the composer, has thrown much light upon the identity of his sym- phonies. The First, or the earliest known, in D, was written in 1813, Schubert being then in his seventeenth year; the Second, in B flat, in 1815 ; the Third, in D, in 1815 ; the Fourth, in C minor, known as the "Tragic," in 1816; the Fifth, in B flat, undated ; the Sixth, in C major, in 1818; the Seventh, in E, incomplete, in 1821 ; the Eighth, in B minor, incomplete, in 1822; and the Ninth, in C, in 1828, written eight months before his death, and after an interval of five and a half years since the Eighth. SYMPHONY No. 8, IN B MINOR (UNFINISHED). 1. Allegro moderato. 2. Andante con moto. Schubert's Eighth symphony is but a fragment. The first two movements are complete. There are nine bars of a Scherzo, and with them the symphony stops ; and yet among all of the composer's works, not one is more beautiful in ideas or perfect in form than this. No more of it has ever been found, and no one knows why Schubert should have abandoned it. The first page of the score is dated, " Vienna, Oct. 30, 1822." For forty-five years it remained THE SYMPHONY IX B MINOR. 235 unknown, and it is due to Sir George Grove that it was rescued from its obscurity and given to the world for its constantly increasing delight. That celebrated critic says of it : " Every time I hear it I am confirmed in the belief that it stands quite apart from all other compositions of Schubert or any other master. It must be the record of some period of unusual atiendrissement and depression, unusual even for the susceptible and passionate nature of Schubert." The score was published in 1867, and the first performance was given at the Crystal Palace, London, on the 6th of April in the same year. Since that time the symphony has become one of the favorite numbers on the concert- stage. The Allegro opens at once and without intro- duction with an impressive subject given out by the 'cellos and basses. At its close the oboes and clarinets take up a melodious theme pianissimo, the violins accompanying it in an agitated manner. After a short development of this theme the 'cellos enter with a melody which will never cease to fas- cinate the hearer with its wonderful beauty and grace of motion. After its repetition by the violins in octaves there comes a pause followed by a most passionate ileclaration in the minor, as if to drown the memory of the former moment of happiness. The beautiful theme again returns, however, and the first part of the movement closes with a struggle between these expressions of perfect happiness and wild passion. The second part opens with the 236 THE STANDARD SYMPHONIES. original subject varied for the basses, which is grandly developed amid full orchestral outbursts up to a powerful climax. As it dies away, the first theme re-enters, and is again treated with charming variety, the whole closing with another climax in which the opening subject forms the material of the Coda. The Andante begins with an introductory passage for the horns and bassoons, the double-basses ac- companying pizzicato, leading up to another lovely theme given out by the violins. After a striking development of this theme the second subject is stated by the clarinets with string accompaniment, repeated by the oboe with the addition of a new phrase, in which the flute joins. The whole or- chestra follows with stately harmony, succeeded by an episode which leads up to a new treatment of the second theme by the strings. Then follows the customary repetition in brilliant detail. The Coda is full of melodious beauty, and closes this delightful work. SYMPHONY No. 9, IN C MAJOK. 1. Andante. Allegro ma non troppo. 2. Andante con moto. 3. Scherzo. Allegro vivace. 4. Finale. Allegro vivace. The symphony in C, the last and culminating work of Schubert's genius, is literally his swan- song. It was begun in March, 1828, and on the THE SYMPHOA'Y JN C MAJOR. 237 19th of November of the same year he passed away. After the completion of the work he gave its score to the Musik-Verein of Vienna; but it was found too difficult for performance, and was laid aside at Schubert's own request. After his death, however, the Verein seems to have been animated with fresh zeal, as it mastered the work. On the 1 2th of December following his death, it was produced at the Redouten-Saal in that city, and was repeated in the ensuing March. It was then neglected and forgotten until 1838, in which year Schumann visited Vienna, and finding the score, obtained permission to take it with him. He at once went to Leipsic, where Mendelssohn was at that time conducting the Gewandhaus concerts, and together the two friends and composers studied it. It did not take them long to discover its beauty, notwithstanding its length. It was performed at the Gewandhaus, March 22, 1839, and Schumann, writing of the impression produced upon him, says : — " One must appreciate that more than mere melody, something above sorrow and joy, lies concealed in tliis symphony. Nay, more ! In listening to sympho- nies like this, we are transported to a region where we never remember to have been before. Here we have, besides masterly power over the musical tech- nicality of composition, life in all its phases, color in exquisite gradations, the minutest accuracy and fitness of expression, and permeating the whole work a spirit of romance such as we recognize in other works of Franz Schubert. This heavenly, long-drawn-out 238 THE STANDARD SYMPHONIES. symphony is like some romance of Jean Paul's which ought never to end." There is no motto to give us a clew to the com- poser's meaning in any part of the symphony, ex- cept a mere hint, "a la Zingaresa," over one theme. Schubert's residence in Hungary at the country- seat of Count Esterhazy has left a certain impress upon many of his works ; and if we consider the manner in which he reproduced the spirit of Hun- garian music in his piano divertisement for four hands we shall certainly find an undercurrent of the same feeling in this symphony, and particularly in the first two movements. The Finale has been compared to an illustration of the myth of Phaeton and his adventures in the chariot of the sun, but this is a mere fancy. The first movement opens with an introductory Andante, the tender, fairy-like melody of which is assigned to the horns alone, afterward repeated by oboes and clarinets. After working up at some length a start is made pianissimo, and a grand crescendo, enlivened by a triplet figure, leads to the Allegro, the strings giving out the bold, deci- sive first theme answered by the winds in triplets. The second theme, stated by the oboes and bas- soons, is in striking contrast with the first, and really estabhshes the rhythm of the movement. An epi- sode growing out of this theme, and a third broad subject in which the trombones are employed with striking effect, constitute the principal material of the movement. The Coda is long and copious, THE SYMPHONY IN C MAJOR. 239 closing in rather accelerated tempo marked by a repetition of the triplet figure of the initial theme. The Andante opens with a short prelude for the strings, after which the oboe starts off with the first theme, — a quaint, plaintive, bewitching strain which has every characteristic of gypsy music, closing with a significant four-note cadence which seems to have haunted Schubert throughout the rest of the work. The theme is repeated with variation and the addition of the clarinet, after which the oboe gives out a new phrase succeeded by an episode of an agitated, even furious, character, after which the fascinating first theme returns. The second sub- ject, entering pianissimo, is ingeniously treated, and closes with a charming horn episode of which Schumann said : " There is one passage in it where the horn is calling as though from a distance. It seems to come from a heavenly sphere. Here everything else waits and listens as though some celestial messenger were hovering around the or- chestra." The opening subject then returns, this time for oboe, which soon plays its part as ac- companiment for a charming solo passage for the 'cello. A change of key, and the second subject returns with fresh treatment. The horn episode is heard again, and the movement closes with the fascinating opening theme. The Scherzo starts with a unison passage for strings, followed by a boisterous episode for the oboes and horns in which the four beats already alluded to make themselves felt. The second 240 THE STANDARD SYMPHONIES. subject, given out by the strings, with accompani- ment of clarinets and bassoons, is light and playful in character. The Trio opens with horns and clarinets, leading to a broad melody for the winds, with string accompaniment, producing a brilliant orchestral effect ; and with the Scherzo, da capo, the movement closes. The Finale crowns this extraordinary work with a fitting climax, impetuous and resistless in its rush, with the four beats asserting themselves all through it. After an introduction of a most energetic and sonorous character, the first theme is announced by the oboes and bassoons, with the violins accom- panying in triplets of fiery velocity. The second theme is led off by the horns, the violins still in the mad impetuous sweep of their triplets, and the first half of the movement closes with a working- out of part of the second theme. The second part is fiery in its energy, and closes with an immense crescendo, beginning with the violas, double pianis- simo, and spreading over one hundred and sixty- four measures before coming to a final rest. SCHUMANN. |CHUi\IANN'S symphonic work was clearly evolutionary in its origin. At the time of his highest development he was filled with the idea that he must create some- thing out of his romantic imagination and produce it in a form which had been already established. His songs are pictures, but they did not satisfy him. He then tried the sonata form, with still less satisfaction. In 1839 he writes to Dorn : "There remain only symphonies for me to publish and make heard. I often feel that I would like to crush the pianoforte ; it grows too confined for my thoughts. It is true I have as yet but little practice in orchestral com- position ; still I think I shall master it." That he needed and appreciated the necessity of this mas- tery is shown by his remark in another letter, to Mcinardus : " If one would create in free forms, one must first be master of the strict forms which hold good for all time." He commenced that mas- tery at once with all the ardor of his nature. He grounflcd himself on Beethoven, Haydn, and 16 242 THE STANDARD SYMPHONIES. Mozart, and critically studied and analyzed Schubert, and was specially influenced by Mendelssohn. How well he accomplished his task was shown by his very first symphony, the B flat, op. 38, as well as the " Overture, Scherzo, and Finale," in E major, op. 52, and the three symphonies which followed it. He kept the old form, and yet he retained his indi- viduality. He grafted the romantic upon the classic form, and it remains as entirely Schumannish as his songs. Though he began this work late in life, and when he was not thoroughly acquainted with all the possibilities of instruments, he has left these evi- dences of his skill in the higher forms which by com- mon consent are adjudged as superior to any of the works of his contemporaries, and which have had and will continue to have, an important influence in the world of symphonic forms. The dates of his symphonies are given in the sketches which follow. SYMPHONY No. 1, IN B FLAT. Op. 38. 1. Andante un poco maestoso. Allegro molto vivace. 2. Larghetto. 3. Scherzo. Molto vivace. 4. Finale. Allegro animato e gracioso. Schumann's First symphony, in B flat, was written in 1841, and was first performed at the Leipsic Gewandhaus concerts, under Mendelssohn's direc- tion March 31 of that year, together with his " Over- ture, Scherzo, and Finale," which is symphonic in its dimensions. It was his first important work for THE SYMPHONY IN B FLAT. 243 orchestra, and being w-ritten at a very happy period of his hfe, when at last all obstacles to his marriage with Clara Wieck had been removed, is marked by vivacity and joyousness. According to Hanslick, Schumann himself characterized it as the " Spring symphony." Ehlert, in one of his rhapsodies, says : " It is imbued with the fragrant breath of a young pine grove, amid which the sun plays at hide and seek. It embodies as much of a joyful, bridal air as though Schumann were celebrating his sym- phonic honeymoon. All its thoughts are aspira- tions." Schumann himself, in a letter to a friend, writes : " I have now a household of my owti, and my circumstances are different from what they were. The time since you last heard from me has passed in happiness and work. I wished for you to hear my symphony. How happy I was at the per- formance ! — I and others also, for it had such a favorable reception as I think no symphony has had since Beethoven." In another letter he says : " My symphony was born in an hour of ecstasy." The first movement is prefaced with a brief intro- duction, Andante un poco maestoso, of a passionate and earnest character, its opening phrase, given out by the horns and trumpets, playing an important part in the progress of the movement. In the de- velopment there are sombre suggestions ; but with a sudden change in the harmony, the flute is heard with a more cheering tone, the violins rush in, and with a grand sweep the whole orchestra opens the fresh and vigorous Allegro, its first theme being 244 THE STANDARD SYMPHONIES. similar to that of the Andante. The second theme, prefaced by the horns and given out by the clarinets with viola accompaniment, is a unique and thor- oughly characteristic melody. As it is developed it gathers fresh life and force. New and piquant phrases are introduced, and blend with it, one of them forming a charming accompaniment to the first theme. The Coda is constructed freely and broadly, and works up to a magnificent climax lead- ing at last, after a pizzicato passage, to a joyful rhyth- mical song given out first by the strings and then by full orchestra. The Larghetto movement is a grand fantasie, full of passionate devotion and almost religious in its character, showing unmistakably the influence of Beethoven. Its opening theme is given out by the violins and then repeated by the 'cellos, a new and characteristic phrase appearing in the accompani- ment. Again it appears for the oboes and horns, most ingeniously varied. Its treatment on each re- appearance grows more elaborate, and fresh phrases wander from one instrument to another. The beautiful fantasie finally dies away, and with slight pause the Scherzo opens, Molto vivace, with a vigorous theme which has already been in- dicated in the close of the Larghetto. As opposed to it Schumann has written two trios in different rhythms. The first, Molto piu vivace, is thoroughly original, and rich and tender in its harmony. The second is equally characteristic, and clearly enough reveals the union of Schumann's romantic style with THE SYMPHONY IiV C MAJOR. 245 the old minuet form. At the close of the Scherzo the first Trio again appears, and the movement ends with a diminuendo. The Finale begins with a scale passage, which is a prominent feature in the movement. Its first theme is fresh, gay, and vigorous, and after its state- ment leads to an interesting dialogue in which a new and lively subject and the scale-passage of the opening take part. The second theme is full of joyous contentment, and in the development the first theme appears opposed to it, with freshly varied treatment, until the brilliant and powerful close is reached. SYMPHONY No. 2, IN C MAJOR. Op. 61. i. sostenuto assai. allegro ma non troppo. 2. Scherzo. Allegro vivace. 3. Auagio espressivo. 4. Allegro molto vivace. Schumann's C major symphony No. 2^ was sketched in 1845 and completed in 1S46. It was first performed at a Leipsic Gewandhaus concert, under Mendelssohn's direction, Nov. 5, 1S46. Un- like the No. I, it was written at a time of physical suffering and mental affliction, — the precursors of the malady which led to a distressing fatality ten years later. The symphony itself is a represcnta- 1 The C major is in reality the Third symphony, though num- bered as the Second, and in order of date follows tlie B flat, U minor, and E, — known as the "Overture, Scherzo, and Finale." 246 THE STAXDARD SYMPHONIES. tion of conflict, but with a happier result, as the triumphant Finale shows. As compared with the First, also, it is laid out on a grander scale, and is more finished in form, — the outgrowth of Schu- mann's contrapuntal study. Its movements are also closely bound together and related to each other, and by the skilful use of the material of the Introduction an admirable unity of design is secured. The prelude, Sostenuto assai, which introduces the first movement, is in the nature of an overture to the symphony, setting forth its story, furnishing a clew to its meaning, and constituting a bond of union between the various movements. Its open- ing theme, which is of a lofty and serious character, will be found in each of the movements, and it also foreshadows the leading theme of the first. It is given out by the trumpets, horns, and trombone, with an harmonious accompaniment by the strings. After a few bars a romantic phrase appears in the accompaniment for the wood winds, which is also repeated in the other movements. As the Intro- duction progresses the time is accelerated, and a new subject is assigned to the flutes and oboes, which leads up to the principal theme, Allegro ma non troppo, — a resolute, energetic melody sugges- tive of conflict, and followed by a vigorous phrase, already heard, but now appearing with a fresh ac- companiment and leading to the second theme, of a less energetic character, which closes the first part of the movement. The second part is devoted THE SYMPHONY IN C MAJOR. 247 to the elaborate development of this thematic ma- terial, which leads up to a return of the first theme, after a long organ-point in the basses, with unique wind accompaniment. In the Coda, after a treat- ment of associated subjects, the trumpets take up the opening of the prelude again, this time in so- norous and aggressive style, clearly indicating the conflict. The Scherzo shows us Schumann in one of his rare joyous moods, though the movement is domi- nated by the same general sentiment of energetic resistance. Its first theme is given out by the vio- hns, and is characterized by feverish restlessness, to which a counter-theme is opposed, with an accom- paniment in contrary motion. The Scherzo has two trios. The first is a melody in triplets, divided between the wood winds and strings. The second, which is more subdued, is taken by the strings in full harmony. In the return the Trios are displaced by the first theme ; and in the Coda, the trumpets and horns, with scale accompaniment by the violins, again give out the theme of the prelude. The Adagio is in marked contrast to the pre- ceding movements, expressing tenderness and de- votion instead of conflict. Without introduction the strings alone sing a passionate love-song, the oboes and clarinets subsequently adding their voices to the beautiful strain. A brief interlude leads to the seconfl theme, assigned to the strings, accompanied by the trumpet and horns. After its statement the love- song is repeated by the violins in octaves trill- 248 THE STANDARD SYMPHONIES. ing downward, the wood winds closing it. The second part closely resembles the first, though very elaborate in its development, and closes peace- fully, with no allusion to the trumpet theme of the prelude. In the Finale Schumann returns to the conflict with renewed ardor and force. It begins with a rapid scale-passage leading up to the martial first theme. The transition to the second theme is char- acterized by vigorous and striking rhythms. The theme itself, suggestive of the Adagio, is given out by the violas, 'cellos, clarinets, and bassoons, accom- panied by the violin scale-passage mentioned above and the wind instruments in triplets, and gradually leads back to a return of the first subject. The end of the conflict is marked by a climax in which the trumpet theme is again heard. After suggestive rests the oboe intones a simple theme, but full of joy and victory, vv^hich is worked up to a climax. It then appears broader and more freely for the strings, and from this point moves on to the close like a grand hymn of thanksgiving, the trumpet theme making its last appearance near the end. SYMPHONY No. 3 (ETTF.NISH), IN E FLAT. Op I. 4- Allegro. Lento. 2. Scherzo. 5. Allegro 3- Finale Andante. The symphony in E flat, though numbered the Third, was the Fourth in order of composition, and is familiarly known as " the Rhenish," the title being THE SYMPHONY IN E FLAT. 249 derived from the impressions of life in the Rhine- land made upon the composer. It was sketched and instrumented between Nov. 2 and Dec. 9, 1850, in which year Schumann was the municipal director of music at Dusseldorf. Its first performance took place in that city, Feb. 6, 1 85 1 . It is a work characterized by exuberant fancy, extraordinary inventiveness and originality and joyousness of feeling, considering the mental disorder which was already preying upon the unhappy composer. The first movement opens without Introduction, the first theme being at once given out by the vio- lins. After short development it is heard again with increased animation, and leads up to a lively second theme for the oboes, bassoons, and clarinets. The elaboration of these two themes is very long arid skilful, and the manner in which Schumann un- folds, develops, and contrasts them and leads up to the reprise shows what rapid progress he had made in his contrapuntal studies. The Scherzo begins with a characteristic theme given out by the violas, bassoons, and 'cellos, — a melody which is fairly replete with good-nature and old-fashioned humor. After its development a second lively theme occurs and leads up to a sub- ject given out by the clarinets, horns, and bassoons, corresponding to the Trio, and full of color. After its statement the principal theme returns and is in- geniously varied. The Andante opens with a quiet and beautiful melody for the bassoons and clarinets. The move- 250 THE STANDARD SYMPHONIES. ment is serene and sentimental throughout, and pre- pares the way for the succeeding Lento, the inspi- ration of which has been outlined by Schumann himself. It is marked " Feierlich." The com- poser at first superscribed the movement, " In the character of accompaniment to a solemn ceremony." This ceremony was the festivity in the cathedral of Cologne consequent upon the elevation of Arch- bishop von Geissel to the rank of Cardinal, which he had witnessed. When the symphony was pub- lished, however, he erased the superscription, ex- plaining his action by saying : " One must not show the people his heart. A more general impression of a work of art is better for them ; then at least they will make no false comparisons." The religious pomp which he had seen is clearly apparent, and would have impressed itself upon the hearer even had Schumann left no clew to its inner meaning. Its foundation is a broad and unmistakably ecclesi- astic harmony given out in a solemn and stately manner by the trombones, and on this foundation he builds up an elaborate contrapuntal structure which retains the same ecclesiastic form, with added rich- ness and brilliancy. The Finale is written in strict form, and introduces new and fresh themes, with the exception of the appearance of the ecclesiastical motive, of which the principal one is the most strik- ing. As to the general character of the symphony Schumann says : " Popular elements had to be prominent, and I believe I have succeeded," which may be an explanation of its title, " Rhenish." THE SYMPHONY IN D MINOR. 25: SYMPHONY No. 4, IN D MINOR. Op. 120. 1. Introduction. 2. Allegro. 3. RO.MANZA. 4. Scherzo and Finale. Schumann's Fourth symphony, really his Second, was originally written in 1841, but was not revised and put into its present form until 185 1. Its title is " Symphony No. 4, D minor, Introduction, Alle- gro, Romanza, Scherzo and Finale, in one piece," the parts passing into one another without pause, and united by the use of subjects already stated. The Introduction opens with a theme for the violas and 'cellos of a somewhat melancholy char- acter, and after its brief development, with a grad- ually accelerated tempo, the Allegro enters with a theme, dry and difficult in its contents, but used with masterly effect in its development, and pre- senting unusual strength, in spite of its unmelodious nature. Though there is a second theme, more gracious in style, the first dominates the whole first part of the movement. After the usual repeat the second part is treated in the style of a free fantasie, with entirely new material, in which respect Schu- mann makes a wide departure from the established forms ; and yet there is the same general feeling, the same strength, and no apparent lack of unity, for in this part of the movement appears a semi-quaver figure already used in the Introduction. It is built up mainly on two episodes, — the first given out 252 THE STANDARD SYMPHONIES. with full strength by the winds, and in the repeat by the strings, and the second by the violins. The entire second part is devoted to the elaboration of these two episodes in a bold and striking manner, and it closes with fiery emphasis, in strange contrast with the movement to which it leads. A single chord binds it to the Romanza, which one critic has beautifully described as " like a shower out of the blue sky." It opens with a sim- ple, plaintive, and exquisitely refined melody, which, once heard, will always linger in the memory. It is given out by the oboes and 'cellos, with the strings pizzicato. A short phrase follows for the violas. Then succeeds a passage from the Introduction which reminds us that this tender Romanza is filling its part in the general symphonic design. A repeti- tion of its phrase leads to a second subject given out by the strings, while a solo violin heightens the beautiful effect with a variation on the principal theme. The movement closes with the tender song that opens it. The Scherzo opens with a strong, energetic theme for full orchestra, except trombones, which has few reminders of the ordinary Scherzo lightness and caprice. The second part, however, is more gra- cious, and the Trio is soft and dreamy. At its close the Scherzo reappears, followed by the Trio, in the midst of which there is a moment of restlessness, as if the instruments knew not which way to turn. In- stead of leading back to the Scherzo the music diminishes in tone as if it would disappear, when THE SYMPHONY IN D MINOR. 253 suddenly the winds give out a melodious plirase leading into the Finale, The short introduction, which contains familiar material, prepares the way for the opening theme, which is also familiar, as it has appeared in nearly the same form in the first movement. At its close occurs a subject only a bar in length which plays an important part in the final development. The second theme is an odd mixture of fancy and frolic. After the customary reprise Schumann gives himself up to his mood, quitting the first subject altogether and elaborating the second until in the Coda we meet with a new and unexpected theme. The Finale closes presto with a genuine Italian stretta. SPOHR. puis SPOHR, one of the world's greatest violinists and a composer of world-wide fame, was born at Brunswick, April 25, 1784, and died in 1859, after an unusually long and brilliant musical career. As an extended sketch of his life has already appeared in "The Standard Oratorios " of this series, it is only neces- sary in this connection to consider his relations to the symphony. Spohr was one of the first of Ger- man composers to carry into effect the attractive scheme of programme-music. In almost every one of his symphonies he illustrates definite ideas. His best-known work, " The Consecration of Tone," describes the relation of sound in the various phases of life, — the cradle, the dance, the serenade, the battle-field, and the grave, — showing that music accompanies man from the beginning to the end of his career. In the Historical symphony he illus- trates four distinct musical periods, as shown by its title : " Theme the First, the Period of Bach- SPOHR. 255 Handel, 1720. Adagio, Haydn-Mozart, 1780. Scherzo, Beethoven Period, 1810. Finale, the ^[ost Modem Period, 1840." In his double sym- phony for two orchestras, called " The Earthly and the Divine in the Life of Man," he sought to repre- sent the two principles of good and evil. The first movement is entitled, " The World of Childhood ; " the second, "The Age of the Passions ; " the third, " Final Victory of the Divine Principle ; " and be- sides this a special explanatory motto is given to each theme. His Ninth symphony, "The Seasons," is irregular in its form, being in two parts, as fol- lows : " Part I. Winter and Spring. Part H. Sum- mer and Autumn." Spolir wrote nine symphonies in all, covering the period from 181 1 to 1849 ; but those we have cited are among the most remarkable as instances of programme-music. Though they have had but little influence upon the later sym- phonic composers, they will always be of interest as marking a clear departure from absolute form, in which respect Spohr may be regarded as the pre- cursor of the modern school which has grafted the romantic ideas upon the old stock. Though some- what antiquated in style, viewed from modern stand- points, some of them, and notably the Fourth, still hold their place in concert repertories, and are re- ceived with favor by reason of their melodiousness. 256 THE STANDARD SYMPHONIES, SYMPHONY No. 4, IN F (CONSECRATION OF SOUND). Op. 86. 1. Introduction and Allegro. (Silence of Nature before the Creation of Tone.) 2. Andantino, ETC. (Cradle Song, Dance, and Serenade. ) 3. Tempo di marcia. (Military Music. Off for the Battle. Feelings of those left behind. Return of the Victors. Thanksgiving.) 4. Larghetto. Allegretto. (Funeral Chant. Consolation of Tears.) The Fourth symphony of Spohr's, " Die Weihe der Tone " (" Consecration of Sound "), is a notable example of programme-music. The circumstances leading up to its composition are unusually inter- esting. In the summer of 1832 the composer had been advised by his physician to take the waters at Nenndorf. His wife accompanied him ; and among the books selected by her for their reading was a volume of poems by Carl Pfeiffer, a friend of Spohr at Cassel. He had always wished to set something of his to music, and upon looking through the book the "Weihe der Tone" struck him as suitable for the cantata form. When he began the work, however, he found that the text did not readily adapt itself to the voice parts. He accord- ingly changed his intention and decided to set it to instrumental music, using the words as a programme. The work was soon finished with the title, " Charac- teristiche Tongemalde in Form einer Sinfonie nach Gedicht von Carl Pfeiffer " (" Characteristic Tone- Pictures in the Form of a Symphony after a Poem THE SYMPHONY IN F. 257 by Carl Pfeiffer "), and accompanied it with a notice directing the poem to be printed or recited when the symphony was performed. In a letter written Oct. 9, 1832, he says : — " I have again lately completed a grand instrumental composition, a fourth symphony, which differs greatly in form from the preceding ones. It is a musical com- position inspired by a poem of Carl Pfeiffer's, ' Die Weihe der Tone,' which must be printed or recited aloud before it is performed. In the very first part I had for task the construction of a harmonious whole from the sounds of nature. This, as indeed the whole work, was a difficult but a highly attractive problem." Schumann's remarks after the first performance of the symphony are also pertinent. He says : — " It was perhaps the example of Beethoven's Ninth symphony — the first movement of which contains perhaps the same poetic ground-thought as Spohr's first — that induced him to take refuge in poetry. And what a peculiar choice he made, — how true to his nature, his being ! He did not grasp Shakspeare, Schiller, or Goethe, but a poem more formless than music itself (if this be not too boldly said), — a poem in praise of music and painting its effects, describing in tones the tone described by the poet, eulogizing music with music." In a work which is so clearly an illustration of the programme, — a series of suggestive tone-pictures whose meaning lies on the surface, — it is not neces- sary to enter into detailed analysis. The opening movement, " Silence of Nature before the Creation '7 258 THE STANDARD SYMPHONIES. of Tone," is introduced by a vague, formless Largo, like Haydn's Chaos in " The Creation," character- ized by portentous, heavy harmonies for the basses and wood winds, and leading up to an Allegro which opens with a principal theme full of melo- dious sweetness given out by the violins and sup- ported by the flutes. The movement has no second theme. After the opening melody the movement partakes of the nature of a symphonic poem, illus- trating the various sounds of Nature, the songs of birds, the uproar of the elements, and the blessings of human speech. In the second movement, which takes the place of the customary slow movement, we have three distinct themes, forming the ground-work of three pictures. The first is a cradle song of a gentle, soothing character. From this we pass to a dance tempo of a lively, tripping style, and again to a serenade for the 'cello. These three themes are delightfully combined, and give to the movement a peculiar grace and refinement. The third movement, corresponding to the Scherzo, is marked " Tempo di Marcia." It begins with a brilliant military march announced by the trumpets with full accompaniment of drums and cymbals, and to the same strain the soldiers depart to the battle. Meanwhile the clarinet touchingly sings the grief of those left behind, while, as if in the distance, is heard the tempo of the march. After the return of the troops the movement closes with a hymn of thanksgiving, based upon the old Ambrosian chorale. THE SYMPHONY IN F. 259 " God, we praise Thee," with characteristic choral accompaniment. The last movement begins Larghetto, with a fu- neral chant which in its general form resembles the Finale of the third movement, being based upon the chorale, "Now let us bury the Dead," given out by the clarinets and 'cellos with full accompani- ment. After the funeral episode follows " The Con- solation of Tears " in a soothing melody. Allegretto, which gradually develops to a celestial strain. Music follows man from the cradle to the grave, and its tones are heard in the better world beyond. STANFORD. HARLES VILLIERS STANFORD was born at Dublin, Sept. 30, 1852. After holding various positions in England, among them that of conductor of the Cambridge University Musical Society, he went to Germany and studied with Reinecke and Kiel. Among his first compositions were an overture for the Gloucester Festival of 1877 and a psalm, which was performed in the same year at Cambridge. He also wrote at Mr. Tennyson's request the overture and Entr'acte music for his play " Queen Mary," which was produced during the previous year. His First symphony, in B flat, was performed at the Crys- tal Palace in 1879. His three-act opera, "The Veiled Prophet of Khorassan," was given for the first time in Hanover in February, 1881. The next year brought his Second symphony, in D minor, " Elegiac," and a serenade for full orchestra. His Third symphony, the Irish, was written in 1887, and has met with decided success. In addition to these larger works Stanford has been conspicuous as a THE SYMPHONY IN F MINOR. 26 1 composer of chamber and sacred music, and has done good service as a conductor in bringing out works hitherto unknown in England. His position at present is that of Professor of Composition and Orchestral Playing at the Royal College of Music, London. SYMPHONY No. 3, IN F MINOR (IRISH). Op. 28. 1. Allegro moderato. 2. Allegro molto vivace. 3. Andante con moto. 4. Allegro moderato. Stanford's so-called Irish symphony was com- pleted in 1887, and was first performed June 27 of that year in one of Herr Richter's London con- certs. It met with remarkable success, and this year has made its way to this country, as well as to Germany, Mr. Walter Damrosch having produced it in Nesv York, and Herr von Biilow in Berlin. Like Mendelssohn's Scotch and Cowen's Cambrian, it is said to have grown out of a visit made by the composer to Ireland. It is certainly Irish in spirit as well as in the thematic material employed, and is sufficiently national to secure instant recognition by even an untutored Irish listener. A Latin motto accompanies the score, — " Ipse fave clemens patrize patriamque canenti Phcebe, coronata qui canis ipse lyra," — invoking Apollo's assistance in this transcription of the melodies of the composer's native land. 262 THE STANDARD SYMPHONIES. The first movement, Allegro moderate, opens with a melodious theme in the string quartet, uni- son and pianissimo, supported by the winds. After a short development it is repeated in a powerful crescendo by full orchestra. A phrase from the theme is then treated, and leads to the second, given out by the 'cellos in cantabile style and then taken up by the violins. The usual repetition follows, and closes the first part. The second part opens with a working-up of the first theme, followed by the second with ingenious variations. Both themes also appear in the Coda closing the movement. The second movement, Allegro molto vivace, which takes the place of the customary Scherzo, begins at once with a first theme in jig-like move- ment for the first violins. After its development a short episode follows, given out by the wood winds, which leads up to a genuine peasant melody. The Trio opens with an attractive theme, leading to the Coda, in which the jig returns, closing the move- ment in spirited style. The slow movement after some introductory harp arpeggios opens with a sombre, pathetic theme for the flutes and clarinets, several times repeated, and assigned to various instruments until the oboe ap- pears with a second theme, the accompanying figure of which is based upon the old Irish song, ** The Lament of the Sons of Usnach." Fresh sub- jects follow with elaborate treatment, leading to a general pause, which prepares the way for the THE SYMPHONY IN F MINOR. 263 Lament theme. A reminiscence of the beginning of the movement and the harp arpeggios furnish the close. The Finale, Allegro moderate ma con fuoco, is based upon t\vo Irish songs, — the first of which, " Remember the glories of Brian the brave," consti- tutes the first theme. After its development a fresh modulation leads up to the second theme for string orchestra with bassoons, horn and contrabasses, piz- zicato, followed by a very melodious figure which prepares the way for further treatment of the the- matic material already presented. The second of the Irish themes mentioned above, " Let Erin re- member the days of old," is now given out by three trumpets pianissimo with tremolo accompaniment of violins. After the development of this theme occurs the ordinary reprise, and a very skilfully treated Coda concludes the symphony. ^^ SULLIVAN. RTHUR SEYMOUR SULLIVAN during the past ten years has been principally known to the musical public by the comic operettas which he has produced in col- laboration with Mr. Gilbert, and which have met with a popular success almost unprecedented in the record of such entertainments. It goes without say- ing, however, that these works are ephemeral, and form no bases for judgment of his musical ability. His future reputation must rest upon the more legitimate compositions he has produced, and which have almost been forgotten in the excitement oc- casioned by the humor and melodiousness of works of the " Pinafore " kind. Among the former are the beautiful " In Memoriam " overture, the bril- liant " Overture di Ballo," the oratorios " Prodigal Son," "Light of the World," and "The Martyr of Antioch," and his symphony in E minor, which shows how successful he has been in the highest form of music. THE SYMPHONY IN E MINOR. 265 SYMPHONY No. 1, IN E MINOE. 1. Andante. Allegro ma non troppo vivace. 2. Andante espressivo. 3. Allegretto. 4. Allegro vivace e con brio. Mr. Sullivan's First symphony was wi'itten in 1866, and was first played at the Crystal Palace, London. It adheres to the old form of absolute music in that it has no programme. It begins with an Introduction, Andante, in which a phrase is an- nounced by the basses that not only dominates the Introduction proper, but does good service in the succeeding Allegro. The Introduction leads direct- ly to the Allegro, the first theme of which is given out by the violins, and based upon the phrase al- ready mentioned. The full orchestra is employed in its development, after which follows an episode for the wind instruments, accompanied by the violas, and leading to the entrance of the second subject, which is first indicated by the violins and clarinet, but not clearly shown until it is given out by the flute with the violins in octaves. The usual repeat brings the first part of the movement to a close. In the second part the first and second themes are elaborated with great ingenuity, and reach a very impressive climax, after which a vigorous Coda ends the movement. The second movement, Andante espressivo, after a brief prelude begins with a theme for the horns and alto trombones, which is fully developed, and 2 66 THE STANDARD SYMPHONIES. then gives place to the second theme, for the clari- nets. The new theme, however, occupies a subor- dinate position, as the first soon returns, and is treated with charming effect. A new subject pre- sents itself near the close in a solo for clarinet, and the movement ends quietly with reminiscences of the principal subject. The third movement, Allegretto instead of Scher- zo, opens with a fresh and effective theme given out by the oboe with string accompaniment. It is twice repeated, first by the 'cellos and bassoons with flute and clarinet accompaniment, and then by the winds with string accompaniment, after which the second theme appears, divided between the flutes and violins. Its treatment leads to the Trio, the subject of which is assigned to the clarinets in oc- taves. After its repetitions, the principal theme re- turns, and closes the movement. The Finale, Allegro vivace e con brio, opens at once with a vigorous subject for full orchestra which is developed in masterly style. A graceful little episode prepares the way for the second subject, given out by the violins with counter-theme for the winds. The rest of the movement is devoted to the elaboration of this material until the reprise is reached, after which the movement progresses clearly and forcibly to the end. VOLKMANN. "RIEDRICH ROBERT VOLKMANN was bom in Saxony, April 6, 1815, and after his early instructions in his native town and at Freyberg went to Leipsic, where he met Schumann, whose suggestions were of great assistance to him. His first work, " Phantasie- bilder in Leipsic," appeared in 1839 i but his prin- cipal compositions were written in Pesth, where he resided after the year 1858. His published works include a long list of chamber compositions and numerous pieces for the piano, as well as masses, cantatas, and sacred songs. The serenades and his two symphonies. No. i, in D minor, and No. 2, in B flat major, have given him a widely extended reputation. Though belonging to the romantic school, his symphonies are based on the classic form. Both in his vocal and instrumental work he shows the results of Schumann's influence, in the choice of ideas as well as in modes of expression, but not at the sacrifice of his own individuality. 268 THE STANDARD SYMPHONIES. SYMPHONY No. 1, IN D MINOR. Op. 44. 1. Allegro patetico. 2. Andante. 3. Scherzo. Allegro ma non troppo. 4. Finale. Allegro molto. Volkmann's First symphony, written during his stay in Pesth, in its general structure and spirit clearly shows the results of Beethoven's influence, and yet is characterized by great freedom and origi- nality. The first movement, Allegro patetico, begins with a theme given out by the strings in unison, which determines at once the vigorous, energetic character of the whole movement. The motive is retained tenaciously by the double-basses, while the wind instruments take up a quiet melody, leading through a steady crescendo into the second theme, given out by full orchestra. This is followed by a melodic phrase very carefully and skilfully treated. The first theme is then repeated, after which the various subjects are employed with such combina- tions and additions as appear to grow naturally out of the material, the whole forming a move- ment of great strength in the genuine symphonic form. The Andante is thoroughly melodious. Its open- ing theme is first given out by the clarinet, lead- ing to an effective climax. This is followed by a beautifully harmonized passage, moving pianissimo around a rhythmic figure on one note given to the horns, which in turn leads back to the principal THE SYMPHONY IN D MINOR 269 melody now taken up by the strings and subjected to elaborate treatment. The Scherzo starts off briskly with a theme de- veloped from material in the first movement. In the second part the customary Trio changes to an Andantino, and is thoroughly romantic and win- some in style. After elaboration it leads back to the Scherzo. The Finale, Allegro molto, is stately in character and severe in treatment. It contains some fine contrapuntal writing, but is always clear in outline, and closes with a grand climax. The second sub- ject of this movement is particularly noticeable for its combination of pathos and joyousness. WAGNER. HE life of Richard Wagner has been fully sketched in the first volume of this series, " The Standard Operas." In this con- nection, therefore, some description of the romantic history of Wagner's only symphony may be of more interest than a repetition of purely biographical matter. It was written in 1832, when the composer was in his nineteenth year. It had two performances, one of them in Leipsic ; and the manuscript was then left with Mendelssohn. After his death in 1847 it could not be found, and for years nothing more was heard of it. The master was too busy with his great work of the fu- ture, which culminated at Bayreuth, to give much thought to this work of his youth. In his later years, however, when his fame was assured, he manifested much interest in his earlier compositions, and seemed to be particularly desirous of finding his symphony which had been lost so many years. He wrote in all directions, but could get no trace of it. At last, in 1876, he commissioned his friend, Wilhelm Tappert of Berlin, to go in quest of it. THE SYMPHONY IN C. 271 Tappert made it a labor of love. He went to va- rious cities where Wagner had visited or resided, and made inquiries in every direction. In Dresden he called upon the famous tenor, Tichatscheck, who had been familiar with the composer's cir- cumstances in that city, and who knew that Wagner had left some trunks there when he was forced to flee. At first Tichatscheck disclaimed any knowl- edge of them, but subsequently remembered that there were some in his attic, though he was ignorant of their contents. Subsequent examination revealed the symphony hidden away there ; and it was re- stored to the composer. Some of the parts were missing, but in 1881 Wagner completed the in- strumentation. In 1882 he went to Venice, and in that city the symphony was privately performed in honor of the birthday of his wife, Cosima, he himself conducting. As he laid down his baton at the close, he remarked, " Now I have conducted for the last time." It was a fatal presentiment, for he lived but a short time afterward. SYMPHONY IN C. i. sostenuto e maestoso. allegro con brio. 2. Andante ma non trotpo. 3. Scherzo. Allegro assai. 4. Finale. Allegro molto e vivace. The Introduction, scored for flutes, oboes, clar- inets, bassoons, iiorns (four), trumpets, drums, and strings, is marked Sostenuto e maestoso, and ex- tends over fifty-four bars, — eight bars less than 2 72 THE STANDARD SYMPHONIES. the introduction to Beethoven's No. 7.^ Its exor- dium is ten detached chords, struck with the full power of the orchestra, — a sufficiently emphatic call to attention. Wagner then proceeds to develop a single idea, which serves, with two or three ac- cessories, for the entire prelude, and is therefore very closely worked, principally in imitation. It is carried on by free modulation, variation in de- tails, and transposition of the extreme parts, but always preserving its imitative feature, and nearly tliroughout sustaining a tremolando upon the me- dium strings. The composer, as a matter of course, relieves the progress of his main thought by epi- sodical phrases and passages, which twice actually stay its course. The episodical phrases, two in number, may be regarded as interludes, — the first and more important coming between repetitions of the main subject, and being heard well-nigh exclu- sively from the wood wind. A striking feature is occasional loud blasts upon the horns and trum- pets, — one sound, followed by its octave below ; noteworthy, also, is the close of the Introduction. The Allegro con brio is founded upon two themes, which so well serve the composer's pur- pose that no episode, properly so-called, enters into the movement. No sooner has the subject been ' A score of the Wagner symphony not being available at the present writing, the author has made use of the excellent analysis printed in the London " Daily Telegraph," and used in the pro- gramme-book of the concert in New York, where the symphony was performed under the direction of Mr. Seidl. The text has been slightly condensed. THE SYMPHONY IN C. 273 Stated than little canons begin in the wind parts, the strings accompanying with ascending scale-passages upon a pedal C. A restatement of the theme by the full orchestra is followed by another obvious exercise, — the passage in quavers being used as counterpoint to repetitions of the first five notes. So the regulation development of the leading sub- ject proceeds, coming presently to an end, with a full close in the orthodox dominant. But before it ends, and quite incidentally, a phrase is introduced from which he evolves the second motive. The new theme is no less naively adapted for counter- point than its predecessor. Very little examination shows that it may be treated as a canon in the uni- son at one bar distance, and to this use Wagner puts it first of all, adding a very graceful cadence. Here, however, the composer chiefly takes advantage of a march-like rhythm to produce bold and ener- getic effects, without adhering to the theme. These continue to a full close in the dominant and the end of the first part, which is marked to be repeated. Entering upon the second part, Wagner begins the "working-out" section with the first theme, treating it in much the same manner as before, though at greater length and with more freedom of tonality. Once the second subject appears, but only for a moment, so fruitful does the composer find its asso- ciates to be. On the re-entrance of the first, a new thought presents itself, and very beautiful and wel- come it is. While the wind instruments ])lay with the theme, — the horn reiterating the first five notes, 18 274 THE STANDARD SYMPHONIES. and the flute, clarinet, and bassoon accompanying with the remainder, — the strings have a graceful passage, the development of which leads to a cli- max and preparation for the usual reprocession of the themes. Here the composer does his best to emulate the Jove-like utterances of Beethoven. His basses, far down the scale, sustain long-drawn notes, or move by semi-tones with the elephantine slowness, while the upper strings, tremolo, and wind shriek from their topmost heights in short, chro- matic phrases, the intervals of which are filled up by the bassoons with the now familiar first five notes of the leading theme. Thus grandiloquently the reca- pitulation is reached. Going over the themes a second time, Wagner abbreviates, but is otherwise faithful to the original statement, save, of course, that the second subject appears in the tonic, accord- ing to rule. The Coda draws upon both themes, and is of important dimensions, but presents noth- ing new. Indeed, it principally concerns itself with such contrapuntal treatment of the leading motive as we have several times met with already. The Andante ma non troppo un poco maestoso is in A minor, \ time ; and reversing the usual practice, employs a larger orchestra than the Allegro, — three trombones and a double bassoon being added. The movement has an exordium, with a brief development. But more remarkable than the passage itself are two wailing notes, C and E, for clarinets and oboes which precede and follow it, each marked by a " pause." When the exor- THE SYMPHONY IN C. 275 dium ends, we have a long melody for violas and 'cellos, lightly accompanied by double-basses, pizzi- cato, and second violins. This, of course, was sug- gested to the composer by a like feature in the slow movement of Beethoven's " C minor." Wagner deals with it in simple fashion. He gives the melody for repetition to violas and second violins, adding clarinets and bassoons to the accompaniment ; and next, to the first violins, with a still fuller accompaniment, — the violas and 'cellos having a counterpoint of continuous semiquavers. Then a sort of Codetta, based upon the first phrase of the subject, brings the section to a speedy end in what would be the tonic key but for an inter- rupted cadence, which opens the second section in F major. So far, interest has been exclusively with the strings, but now these are silent altogether, and the entire wind band — trombones, double bassoon, and all — makes a pompous entry. The theme is repeated with slight variation, the strings now add- ing brilliant ascending scale-passages, after which some development of an interesting character takes place, giving here and there a suggestion of a later manner. The section ends with an interrupted cadence in C major. Presently the second subject returns in its original form. Then we have the exordium again, and after it the principal melody once more (second violins and violas), with a varied accompaniment. This is followed by the Coda, which, like the Codetta of the opening section, is based upon the first phrase of the leading theme. 276 THE STANDARD SYMPHONIES. In the Scherzo, Allegro assai, C major, Wagner returns to the orchestra of the first movement, trombones and double bassoon being silent. At the outset of the movement, he appears to have taken a hint from the Scherzo of Beethoven's Ninth symphony. As there, the principal rhythmic figure is abruptly announced in the opening bars, in four notes, the germ from which the greater part of the movement springs. With tonic and domi- nant harmonies, they enter into the leading theme, and give a curiously jerky effect to the whole of the first section. Wagner, however, takes care to relieve this in the second section, where, as the wind instruments continue the characteristic figure, the strings have an independent legato theme, treated as a kind of very free canon in the octave. The combination is effective, and serves, along with the leading subject in its pristine form, for the whole of the Scherzo proper. As may be supposed, Wag- ner plays vivaciously with his exclamatory " figure," throwing it from wind to strings and back again with Beethoven persistence, and sometimes employ- ing the wind to fill up the third beat of the bar with quickly interjected staccato chords. The whole piece is full of this gay, energetic, and rather hu- morous life. Going on to the Trio, we are not long in again discovering the influence of Beethoven upon its young composer. Every amateur remem- bers the opening of the delicious Trio in that mas- ter's Seventh symphony, where, while clarinets, bassoons, and horns have the theme, with simple THE SYMPHONY IN C. 277 tonic and dominant harmonies, the violins sustain an inverted, dominant pedal. Wagner gives his sub- ject to the same instruments, plus oboes, also with tonic and dominant harmony, and with somewhat similar use of the violins. The resemblance is obvious, and the conclu- sion inevitable. Wagner constructs the second sec- tion of his Trio by treating a single phrase for the most part on a dominant pedal. The manner here is decidedly juvenile, though far from unpleasing. When the leading theme comes back, it does so with imposing accessories, drums and trumpets join- ing in the accompaniment, while the lower strings have an independent counterpoint of a very bold and rhythmic character, all the strings afterward interjecting unison passages of quavers between the plirases of the melody. Repetitions follow. First the Scherzo, then the Trio, are heard again, the whole closing with a Coda, which incessantly plays upon the " figure " now so well known. In the Finale, Allegro molto e vivace, Wagner is nothing if not contrapuntal, — his model being Mozart rather than Beethoven. The exordium has a peculiarity which, as far as we know, is unique ; that is to say, it passes in review a part of the lead- ing subject, the whole of an episodical theme, and a part of the second subject, each section being divided from its neighbor by a blank bar. The preacher thus early gives out his text, but not quite the whole of it, as we shall presently see. Having brought the Introduction to a full clo.-,c, Wagner 278 THE STANDARD SYMPHONIES. States his leading theme, going on at once to a con- tinuation, the first phrase of which is of immense importance as a contrapuntal factor. At present the composer is satisfied with reiteration of the lead- ing phrase, then passing on quickly to the episode (founded on the first subject), which, without de- velopment, gives way to a brief tutti, ending with a return of the leading theme in its original key. By this, something of rondo form is imparted to the movement. The second subject next enters for clarinet and bassoons. It is a capital imitation of the old style, and the composer develops it with evident gusto, at one time giving the bassoon counterpoint to the whole of the strings. Again the first subject is heard, introductory to the "working-out." Only perusal of the score can afford a clear idea of the elaborate manner in which the composer has dealt with his themes in this section of the movement. It must be said, however, that he inverts the continua- tion subject, and produces interesting results by com- bining the direct and inverted forms. Now and then the episode comes in to relieve the tension of scien- tific treatment, but only for a moment or two, the composer hastening to plunge once more into the labyrinth, through which he moves with a step firm and assured. The rest of the Finale may be passed over quickly. It comprises the usual recapitulation, an interesting lead up to the Coda (trombones intro- duced) and a peroration, presto, full of fire, end- ing with as many tonic and dominant chords as there are in the close of Beethoven's "C minor." SYMPHONIC POEMS. LISZT. LES PEELUDES. HAT is our life but a succession of pre- ludes to that unknown song whose first solemn note is sounded by death ? Love is the enchanted dawn of every heart, but what mortal is there, over whose first joys and happi- ness does not break some storm, dispelling with its icy breath his fanciful illusions, and shattering his altar ? What soul thus cruelly wounded does not at times try to dream away the recollection of such storms in the solitude of country life ? And yet man, it seems, is not able to bear the languid rest on Na- ture's bosom, and when the trumpet sounds the signal of danger, he hastens to join his comrades, no matter what the cause that calls him to arms. He rushes into the thickest of the fight, and amid the uproar of the battle regains confidence in himself and his powers." This quotation from Lamartine's " Md-ditations Pod'tiques " prefaces the score to the " Preludes," 28o SYMPHONIC POEMS. and serves as a guide to the meaning of the com- position. As this work is heard, perhaps, more often than any of the other symphonic poems, and also displays Liszt's manner of thematic treatment in as clear and intelligible a way as any, we will un- dertake to point out to the reader the many-sided uses in which a simple motive can be employed, and will attempt it in such a way as to make it in- telligible to the lay reader. The " Preludes " is based on two themes, and we present them with their variations in two groups, A and B : — t f 3^ 3: -^^^ ^ A Basses. ^^ arco. pizz. pp Trombones. ^iy r ^ / alr^ . ^^4^^x,Eg ; -etc." 3 f ff Violins. Espressivo cantando. 4f 'M-^^ ^^^ ^^^t^ 3 I - -1 4 m Wind instruments. rrg^^^^ -» — $- -^ — etc. 5 Oboe. %J Dolce espressiv S5^ '^% ^^^ F=^6 ^ «,♦ m& v^'T c r" h 'tm -H-H' f^ a ftpp^tf^ ? Horns and Trumpets. E£Efi g= g^^P ^ ^ ff W LES PRELUDES. 2S1 a Horns. A moroso cantando. S=2l ^i ^^]^g j?]-^' /^" ^ \=i= ^ri:^ ?S?^ Dolce. # Tuiii fr^-P-^ =i=icS= -etc. 6 # ^fr^d^fe^ 3b 3^ ^ s ^^^^^g/^£ ff^ Given a number of intervals at i, by playing the eight lines through, or humming them, the reader will at once see that although they appear in very different shapes they contain essentially the same notes as *i. The line 2 opens the composition pizzicato pianissimo by the double basses with mys- terious effect, hinting at the " unknown song." The theme is then enlarged and repeated on D, running finally into a dominant chord on G, and working up in a grand crescendo to the fortissimo outbreak at 3, in which all the bass instruments carry the melody as given above, repeated with different harmonies and with ever increasing force, until it appears after a rapid decresccndo in a I'istcsso tempo in the vio- lins, as at 4. The accompaniment of the phrase in this form is very beautiful, the basses moving in mysterious pizzicatos, with an occasional responsive motive which also grows out of the theme. After repeating the theme in the key of E and an antith- esis in the key of C, the motive at B is brought in, finely scored for horns, as at a. The violins con- 282 SYMPHONIC POEMS. nect or lead into the different repeats with a soaring figure, while the basses have a figure somewhat like the one given at d, which appears in that form in the accompaniment of the " pastorale." Then fol- lows the stormy period breaking in on hfe's happy spring. It will not be difficult for the listener to trace the detached portions of the motive, which appear throughout in connection chiefly with chro- matic runs and a superabundance of diminished seventh chords. The trumpet motive, in its form as at 5, is also brought in toward the end of that tempestuous passage. When the skies brighten again, the motive ap- pears in its most charming form as at 6 and 7, with an accompaniment in color and form exceedingly graceful, and flowing naturally into the Allegretto pastorale, which is built up on the motive at d, using the same at first with great ingenuity as a lead- ing motive, and bringing out its pastoral character by the skilful use of oboes, clarinets, etc., while later on it is used in connection with the theme a, as an accompaniment at times below the melody, as indi- cated in c, d, and at times moving above it. The dreamy, swinging motion of the movement is finally interrupted by two abrupt chords, and the Allegro marziale opens with horns and trumpets, as at 8, connecting with the second theme in its martial garb at c, and leading in triumphant measures to a repe- tition of the main theme, as we heard it once at 3, only reinforced with all the resources known to the modern orchestra. TASSO. 283 To point out the varied employment of the lead- ing motive by using it only in part or dwelling on its more characteristic intervals, by inverting it and otherwise, would lead too deeply into technicalities ; but enough has been given to show how by change of rhythm and other means of expression an appar- ently simple succession of intervals can be developed into a tone-poem. In Liszt's orchestral composi- tions, one should always keep the leading motives in mind, as nearly all are written from that stand- point. TASSO. The sad fate of the unhappy Italian has furnished Goethe and Byron with the material for great poeti- cal works. Liszt, as he says, was most impressed by the powerful conception of Byron, who intro- duces Tasso in prison, in a monologue, but could not confine himself to the English poet, as he wanted to portray also his final triumph. Misjudged in life, he secured at his death a glorification of his genius which overwhelmed his lifelong enemies and persecutors. Liszt therefore called his symphonic poem, " Lamento e Trionfo," suffering and trium- phant vindication being the great contrasts in the life of the poet. ■;*-■■♦-•■ •'g-^'"^' f-'-'M-*- *-'~'^*--»- "^ «ul t!«'^ ^ rtl. 284 SYMPHONIC POEMS. " This song of the Venetian gondoliers once made a powerful impression on me," says Liszt, " and when I attempted to illustrate Tasso musically it recurred to me with such imperative force that I made it the chief motive for my composition." The work opens with the last measures of the above song. Full of sadness and grief almost beyond endur- ance, it expresses the very soul of Tasso. After developing the phrase, an accelerando leads to an Allegro strepitoso, which takes us to the prison of the poet, the harsh chords, although still formed on the triplet figure of the main theme, fairly making us feel the rattling of the chains, while the chromatic steps of the lament appear fortissimo to ever-changing, diminished seventh chords. After a repetition of the Lento, the main theme at a enters at an Adagio mesto, the melody being given to bass clarinet and 'cellos at first, con sordini, and then repeated by the violins. A new melody then appears for 'cellos and horn, repeated by the violins, which continue with an imploring motive accompanied by descending chromatics, after which the main theme at a reappears, this time with an instrumentation rich and full, the brasses carrying the melody and changing its character to one of stately festivity, ending in a recitative embodying the closing motive. An Allegretto mosso con grazia quasi menuetto, in F sharp major, follows with a theme representing, as it were, the prin- cess who ensnared the heart of the poet, and which FESTKLANGE. 285 in its further working-up appears in the wind in- struments, contrasted with a broader and more sentimental phrase for the strings. This phrase is developed to some length, after which the Alle- gro strepitoso re-enters and closes the Lamento. From here on, the Trionfo claims its rights. The very opening of the Allegro molto con brio, although still built upon the same material, is changed by characteristic instrumentation and appropriate tem- pos into jubilant triumph. This last part displays in the most brilliant manner the composer's mastery over musical forms, in combining the different themes and motives, and moulding them by his great feeling for tone-color into apparently new forms, startling us throughout by the magic transformation of the lament into glorious triumph, yet all based on the same melodic design. FESTKLANGE. The Allegro mosso con brio, in the key of C major, begins with a martial rhythm given out by the kettle-drums, which is taken up by the horns and other instruments, until, passing through a non-accord, it rests on a second accord of C with the C flat in the basses, and as such is treated in the manner of a cadenza, various devices of scale figures and broken chords furnishing the superstruc- ture. This whole section, repeated a step higher, and closing on a second accord of D, with C in the basses, then runs into an Andante sostenuto, 286 SYMPHONIC POEMS. which, after a short passage for the brasses, develops a deHcate treatment of a non-accord on G and A, and after eight measures returns into the first tempo, and with a short modulation, strikes the principal theme, which is worked up to consider- able length, when the rhythm of the Introduction r U* r Cj* enters in a Coda of eight measures, connecting with an Allegretto un poco mosso, Tempo di Polacca, — a dance form which, next to the march, and akin to the stately polonaise, is most appropriate for the expression of a festive scene. Its chief melody closes with a trill ca- denza, after which the violins respond with a phrase based on inversion, followed by a livelier figure of a more pronounced polacca character, which appears alternately in the violins and flutes, and which pre- dominates during the rest of the movement, until its return to the Tempo primo. The Allegro mosso con brio is repeated in more extended form, and with new and enriched orchestration, only to return once more to the Polacca intermezzo, treated with similar variations and leading into the last Allegro in common time. Utilizing the themes of the march movement and reiterating the more essential motives, it runs into the Coda, which by the free use of the trumpet figure at the very open- ing and a very forcible ascending motive in the basses brings the composition to a close in truly festive style. MAZEPPA. 287 MAZEPPA. " Mazeppa " is the sixth in the list of Liszt's symphonic poems, and has for its theme the story of the hero of the steppes which has been made famihar by Byron's poem. Liszt, however, took for the ground-work of his composition the Ma- zeppa of Victor Hugo, who, although following the story as told by Byron, idealizes the incident into an allegory of " the unbridled flight of genius and its final triumph through suffering and ad- versity." The musical treatment is divided into three sec- tions. An Allegro agitato, in D minor, illustrates the wild flight of the maddened horse, and the torture, suffering, and despair of Mazeppa. The second movement, a short Andante, pictures the end of the mad race, the dead steed, the human victim lying in utter misery, his life-blood ebbing slowly (" redder than the maple when spring forces the young leaves"). A short interlude leads into the Allegro marziale, in D major (" To him great- ness arises from suffering and anguish ; the mantle of the hetman will fall upon him, and all will bow before him"). The treatment of the musical themes is similar to that generally employed by Liszt as set forth in the description of " Les Precludes." After an Introduction of eighteen measures, which starts from an abrupt discord with a passage in triplets for the strings, like the wild tramping of the horse (" They fly through the narrow straits 288 SYMPHONIC POEMS. of the valley as storms that force their way through the mountain gorges, like a falling star "), we strike the main theme. It is given out by the basses and trombones, and worked out with great effect. It may be mentioned here that in the first part Liszt, in rushing through diminished seventh chords, makes great use of " violini divisi ; " that is, by using as many as six different violin parts, and once as many as eleven, thereby gaining great richness of sound, and at the same time retaining the rushing motion expressive of the fearful ride. A chromatic scale in the basses pressing upward against a trill on C sharp in the violins forms a short counter-theme, and leads to the introduction- of the main theme, which has been called the Mazeppa motive proper. In calling attention to the first three steps, re- peated by the winds through twelve measures, with the note gemendo (" groaning ") as a guide for their characteristic expression, we turn to the Andante, only to find the same motive, used this time plaintively, " quasi recitative." During the next twelve measures the step of the sixth con- tinually appears as a fragment of the motive. The final Allegro marziale enters with a new theme, the ascending intervals of which form a fine contrast with the drooping character of the Mazeppa motive. An original Cossack tempo in the Trio brings the composition to a triumphant close, not, however, without an occasional reminder of the first motive. The instrumentation is mas- terly. Though easy to comprehend in the expres- HUNNENSCHLA CHT. 2 S9 sion of the different phrases, only a study of the score or repeated hearings will fully reveal the consummate skill displayed by the composer. HTJNNENSCHLACHT. The " Hunnenschlacht " (" The Battle of the Huns") was suggested by Kaulbach's cartoon rep- resenting the legend of the battle in mid-air be- tween the spirits of the Huns and of the Romans who had fallen before the walls of their city. The music depicts the war of races and the final triumph of the Christian faith. The opening, Allegro non troppo tempestuoso, in C minor, begins with the low rumbling of kettle drums, and an ascending motive in which the uncanny step of the minor scale prevails. The 'cellos start, and are soon re- inforced by the other strings in unison. The di- minished seventh chord, most befitting to the minor scale, is extensively employed in the brasses and farther ,on in the double basses. At a Piu mosso allegro energico assai, these chords in a somewhat altered form are made the chief motive for the first part. After a repetition of the opening theme, the 'cellos and bassoons give out the war-cry, piano, as if in the far distance, to the low rumbling of the drums. The time then changes, and a new rhythmic motive enters, closing with a short sixtole figure in the violins which enhances the wild character of the music. During the fray the trombones give out the strains of the chorale, representing the >9 290 SYMPHONIC POEMS. Christian warriors. The war-cry motive resounds through all the wind instruments, while the other themes to which we have drawn attention, in suc- cession or used jointly, keep up the turmoil. Only twice appears a new feature in a succession of scale runs, fortissimo, in unison for the strings. The peculiar rhythm ^ | ^ | ^ | ^ I ^ lends itself well to the increasing stormy character. The fortissimos grow into double fortissimos, the agitato mto a furioso, until all the forces are engaged, and enter with the whole weight of the orchestra on the Andante, in E flat, the chord being held by the higher instruments, while the basses of strings and brasses repeat the war-cry double fortissimo, on the three steps of the major chord of E flat. They cease abruptly, and the organ takes up the old hymn, " Crux fidelis, inter omnes." The strains of the chorale, which sounded as if from afar, are interrupted by the overwhelming fanfare opening the Andante, until the " Crux fidelis " claims its right, and a very beautiful scoring of the fine old melody, set off by truly gothic ara- besques in solo figures for the violin, oboe, and flute, leads to a peaceful and restful mood. The final Allegro, in the key of C, grows gradually into the hymn of triumph. The war-cry resounds only mezzo forte, and in stately, solemn tempo, the chorale increases in breadth of instrumentation. The stretto opens a long crescendo, and the organ finally joins the orchestral forces with whatever resources the instrument may have, dominating TODTENTANZ. 291 the grand close with long held chords, while the orchestra accents only with abrupt chords the pom- pous triumphal march of the victorious legions. TODTENTANZ (DANSE MACABRE). The "Todtentanz " of Liszt has for its sub-title, " Paraphrase of ' Dies Irge,' " and is composed of a series of variations for piano and orchestra, for the basis of which he has used the Cantus firmus, so long associated with the hymn. The sub-title, however, is somewhat misleading. The work is not a para- phrase of the " Dies Irae," but a series of tone- sketches meant to illustrate the pictures in Hans Holbein's " Dance of Death," at Basle. The mo- tive of the hymn itself, however, I ^ iE s i^^ ^ i i gJz^-ji^jg^ runs through the whole work, sometimes as the melody, and again as the basis of the variations, but always playing its part as the motive of death, the common lot of humanity. Each picture in the Holbein series is represented by a variation, and the characters pass before us in the music with almost equally realistic effect. Liszt's skill in characterizations of this kind was extraordinary. It will not be difficult for the attentive hearer to re- cognize the student, man of business, youth, sceptic, 292 SYMPHONIC POEMS. monk, soldier, maiden, child at play, and the other figures in Holbein's sombre procession. One of the variations, the fourth, which is in canonic form, is the work of another composer, Weitzmann, of Ber- lin, and was added by Liszt in 1880. A portion of the title, '•' Danse Macabre," may also leave the im- pression that its subject is the same as that which Saint- Saens has treated in his symphonic poem of the same name ; but the two bear no resemblance, the latter being a short and fanciful waltz measure, intended to illustrate a poem by Cazalis, which is explained elsewhere. A MIDSUMMER NIGHT'S DREAM. 293 MENDELSSOHN. MUSIC TO "A MIDSUMMER NIGHT'S DEEAM." Op. 61. HE incidental music to Shakspeare's " Mid- summer Night's Dream," composed by Mendelssohn, though not strictly a sym- phonic poem, partakes sufficiently of its nature to entitle it to a place in a work of this kind. It is divided in two parts, an overture, op. 21, and the music to various scenes of the play, op. 61. The overture in A major was written in 1826, Mendelssohn being then in his seventeenth year, though the original score was considerably changed in accordance with suggestions made by Marx. It was played several times as a four-hand piece for the piano by Mendelssohn and his sister in the pleasant garden-house of their new home, where also it was performed to a large gathering of friends, and was first heard in public at Stettin, in February, 1827, where it was received with ex- traordinary enthusiasm. It is especially interesting as being the starting-point in his musical career. Though he had written several minor pieces previous to this, the overture was the first to express his own individuality and a genuine maturity of form, and this to such a degree that when he wrote the music 294 SYMPHONIC POEMS. to the play seventeen years later, it filled its place in the perfected scheme as freshly and fittingly as if it were composed simultaneously with the rest. It contains all the motives of the play, — the songs and dances of the fairies, the chases of the lovers, the dance of the rustic clowns, the grace of Titania, and the airiness of Puck. It leads us into the fairy kingdom, and fascinates us with its poetical beauty, refinement, grace, and lightness ; and yet this almost ethereal mixture of humor and fancy is constructed in the strongest and most solid manner. It is of in- terest in this connection that the melody near the close of the overture, suggested by Titania's request to the fairies to sing her to sleep, is almost identi- cally the same as the Mermaid's song in Weber's " Oberon ; " and the charge of plagiarism has more than once been brought against Mendelssohn. Sir George Grove, however, by a comparison of the dates of the two compositions, has demonstrated that it was impossible for Mendelssohn to have seen the Weber song when he wrote the melody, and that the resemblance, therefore, is only one of those coincidences which are often found in music. An interesting story is also told by his friend Schubring, showing how closely he studied the sounds of Nature. Schubring says : — " On the sole occasion I rode with him we went to Panknow, walking thence to the Schonhausen Garden. It was about the time when he was busy with the over- ture to ' A Midsummer Night's Dream.' The weather was beautiful, and we were engaged in animated con- A MIDSUMMER NIGHT'S DREAM. 295 versation as we lay in the shade on the grass, when all of a sudden he seized me firmly by the arm, and whispered, ' Hush ! ' He afterwards informed me that a large fly had just then gone buzzing by, and he wanted to hear the sound it produced gradually die away. When the overture was completed, he showed me the passage in the progression where the 'cello modulates in the chord of the seventh of the descend- ing scale from B minor to F sharp minor, and said, ' There, that 's the fly we heard buzzing past us at Schonhausen.' " In 1843, Mendels5oliii received orders from the King of Prussia, Frederick William IV., to compose the music for Tieck's arrangement of '' A Midsum- mer Night's Dream," which was to be performed in September of that year. He completed the music in the middle of July, and brought it to Berlin, but the rehearsals did not begin until September 27, and after eleven of them it was finally produced at the new palace at Potsdam, October 14. The music did not at first meet with success. It was some time before the public fairly appreciated it ; but this was owing rather to the shortcomings of the stage management than to any defects in the music. Devrient, who took the part of Lysander, has left some interesting facts concerning it in his " Recol- lections." He says : — "The only bright spots in the Berlin transactions were the commissions of the king.^ This time it was the ' Midsummer Night's Dream' that formed Felix's 1 These also included the music to " Antisonc." 296 SYMPHONIC POEMS. relaxation. When he brought it with him, at the end of September, completed, some incongruities were perceptible, in consequence of his not having written it with the scenic requirements constantly in view. Tieck also had neglected some points that had been settled upon. Thus, he divided the piece into three acts, certainly not without good reason, so that the night in the wood might not be interrupted ; but P^elix did not know of this, and had composed two entr'actes according to Schlegel's division (Nos. 5 and 7) that were too lovely to be suppressed. Some ex- pedient had to be found to bring in these pieces in the course of the act without dropping the curtain. This could be done with the Agitato in A minor (No. 5) to accompany Hermia's seeking after her lover, especially if filled by the actress with grace and variety; but with the Notturno in E major (No. 7) the long contem- plation of the sleeping lovers was rather a painful ef- fort, and Tieck's escape from the dilemma, by pushing forward some pieces of scenery to screen the lovers, was rather coarse and stagy and of doubtful effect. The beauty of the composition made people indul- gent to these shortcomings, no less than with the song of the fairies (No. 3. A major,) because it does not fulfil Titania's ' Sing me now asleep,' and is less a slumber song than a merry round of the fairies and their sprightly 'good-night' wishes through the wood." The incidental music is divided into twelve num- bers. The first, a Scherzo, in G minor, comes after the first act of the play. The realities of the happy love of Theseus and Hippolyta, the distressing per- plexities of Hermia and Helena in their cross game A MIDSUMMER NIGHT'S DREAM. 297 of love with Lysander and Demetrius, and the jolly assignment of parts in " Pyramus and Thisbe " to Quince and Bottom's famous company have already transpired. The Scherzo rings up the curtain, dis- closes the fairy world of Titania and Oberon, with its chattering elves and their mischievous gambols, interrupted now and then by the griefs of the un- fortunate and tormented lovers, and gradually dies a.vay in airy lightness. Xo. 2 is a melodrama accompanying the first scene of Act II., — the reply of the fairy to Puck, — " Over hill, over dale, Thorough bush, thorough brier, Over park, over pale, Thorough flood, thorough fire, I do wander everywhere. Swifter than the moon's sphere," etc., — and the continuation of their dialogue, until it is in- terrupted by the entrance of Oberon and Titania with their respective retinues, at which point the music leads up to the Elfenmarsch (Fairy March), one of the daintiest of rhythms. At its close the music accompanies the dialogue between Oberon and Titania, Oberon's instructions to Puck, and the melancholy encounter of Demetrius and Helena. No. 3 is a song and chorus, Allegro ma non troppo, for the beginning of the second scene, where Titania requests, " Sing me now asleep, then to your offices and let me rest." The entire song — 298 SYMPHONIC POEMS. " You spotted snakes, with double tongue, Thorny hedge-hogs, be not seen. Newts and blindworms, do no wrong, Come not near our fairy queen. Chorus. — Philomel, with melody. Sing in our sweet lullaby," — is set for a soprano duet with chorus, closing with the exit of the fairies and the sleep of Titania. No. 4 is a melodrama, Andante, accompanying the episode where Oberon squeezes the juice of the purple flower upon Titania's eyelids ( " What thou seest when thou dost wake," etc.), and the short dialogue in the wood between Lysander and Hermia. No. 5 is an Intermezzo, Allegro appassianato, which in agitated, restless, and yet dainty style ac- companies the sad quest of Helena for Demetrius, and her encounter with Lysander, with its magical results, and leads up to an Allegro molto commodo, preparatory to the introduction of the rustic actors at the beginning of the third act. No. 6 is a melodrama, Allegro, accompanying the rehearsal of the actors, Puck's interruption and the mischievous tricks he plays upon them, Titania's awakening and declaration of love for Bottom, the entrance of the fairies, and the subsequent adven- tures of Hermia and Demetrius, Lysander and Helena. No. 7 is the well-known Nocturne, in E major, with its exquisite horn passages and genuine feeling of the woods, to the strains of which Bottom has his " exposition of sleep " and Titania falls into slumber, A MIDSUMMER NIGHT'S DREAM. 299 caressing and doting upon her uncouth lover in the ass's head. No. 8 is a melodrama, Andante, accompanying Oberon's welcome to Puck (" Her dotage now I do begin to pity "), the awakening of Titania, the dia- logue between her and Oberon, and the entrance of Theseus, Hippolyta, and their train. No. 9 is the wedding march, Allegro vivace, at the end of the fourth act, whose brilliant and stirring rhythm and the festive passages for the procession are so familiar that they need no description.^ No. 10 is a melodrama, Allegro commodo, accom- panying the performance in the fifth act of " The most lamentable comedy and most cruel death of Pyramus and Tliisbe;" and Mendelssohn has not forgotten to write a short funeral march when the trusty sword sends Pyramus's " soul to the sky " and *' imbrues " tlie gentle breast of Thisbe. No. II, EinTanz von Riipeln, Allegro molto, ac- companies the Bergomask dance which follows the play with uncouth jollity until it is interrupted by Theseus's injunction, — " The iron tongue of midnight hath told twelve. Lovers, to bed; 'tis almost fairy time," etc. No. 12, melodrama. Allegro vivace, begins with the departure of the wedding procession. Dark- 1 Ehlert has made a very penetrating criticism of this favorite march. He says: " Would it not have been possible to give this piece a more ideal stamp ? Would it not have been possible for this hand, so wondrously gifted with the power of proportion, to write a wcd- ding march in which, without detriment to its festive character, our minds, but lately made familiar with the supernatural, might have been spared the trivial colors of reality ? " 300 SYMPHONIC POEMS. ness now comes on apace, and Puck begins his sombre soliloquy, — " Now the hungry lion roars, And the wolf behowls the moon ; Whilst the heavy ploughman snores, All with weary task fordone," etc, — and the music leads up to the Finale, — a captivating song and dance of the fairies as Oberon blesses the palace, and bestows his benediction upon the three happy couples ; — " With this field-dew consecrate, Every fairy take his gait, And each several chamber bless Through this palace with sweet peace; And the owner of it blest Ever shall in safety rest. Trip away; make no stay; Meet me all by break of day ! " JOAN OF ARC. 301 MOSKOWSKI. JOAN OF ARC. n^roalORITZ MOSKOWSKI, a composer whose h^k \ works are rapidly taking a prominent "^*"^'"| place in concert repertories, was born in Berlin in 1854, and made his debut as a pianist. His earlier works were piano composi- tions, among them some Spanish dances and duets which were favorably received at once. Among his larger works are a pianoforte concerto and two symphonies ; but his symphonic poem, "Joan of Arc," and an orchestral suite are best known. The former was first played at the London Philharmonic con- certs, May 20, 18S5. It is programme-music in the strict sense, and is divided into four movements, the character of which is clearly enough indicated by the mottoes, " Pastoral Life," " Inner Consciousness," " Former Memories," "Joan in Prison, her Triumph, Death, and Apotheosis." The first two movements, though not very clearly connected, contain some very beautiful thoughts. The " Inner Conscious- ness " is not strikingly portrayed, but the substance of the music is unusually attractive. The final movement which brings forward the catastrophe is one of great power. Considered as a whole, it is 302 SYMPHONIC POEMS. doubtful whether the poem will ever be as popular as the suite to which reference is made above. This is in five movements ; and as the composer was not restricted by any dramatic necessities, he has given his fancy free range, and produced an unusually pleasant series of sketches. It is in five movements, — the first, an Allegro molto, in symphonic form, with two principal themes and a horn quartet; the second, Allegro giojoso, characterized by spark- ling, tinkling, bell-like effects ; the third, an Andante theme with variations, the melody itself, though very long, being in the nature of a pretty song ; the fourth, an Intermezzo, in the Minuet and Trio form ; and the last, Perpetuum mobile, a very vivacious move- ment, though barely escaping the reproach of being monotonously insipid. THE TEMPEST. -,0" PAINE. THE TEMPEST. ROFESSOR PAINE'S symphonic poem. " The Tempest," illustrative of Shak- speare's play, was composed in 1S76, and first performed in New York by the Thomas orchestra in 1877. It is written in four connected movements, and the clew to its meaning is sufficiently given in the programme which the composer has furnished. The first move- ment, Allegro con fuoco, in D minor, describes the storm ; the second, Adagio tranquillo, in E major, a calm and happy scene before Prospero's cell and Ariel's appearance, the motives given out by solo flute, clarinet, and harp, supported by the strings and winds ; the third, Allegro moderato e maestoso, in C major, Prospero's tale ; and the fourth. Allegro ma non troppo, in D major, the happy love of Fer- dinand and Miranda and an episode with Caliban (solo bassoon) and Ariel (flutes, harps, clarinets, and strings), closing with the triumph of Prospero's potent art. The work is written in a scholarly manner, and is not only poetically suggestive, but wonderfully rich and clear in its expression. 304 SYMPHONIC POEMS. REINECKE. HAKON JARL. alARL REINECKE was born at Altona, June 23, 1827, and received his first instructions from his father, who was also a musician. He proved so apt a pupil that he appeared in public in his eleventh year, and at eighteen made a concert tour in Sweden and Denmark which was very successful. In 1843 he prosecuted his studies in Leipsic, and the next year made a second tour, this time going to Russia. In 1846 he was appointed court pianist to the King of Denmark, and in 185 1 went to Italy and France, where his previous successes were repeated. A year afterward he secured a professorship in the Conservatory of Cologne. In 1859 he was ap- pointed musical director at the University of Breslau ; and in i860 he secured the eminent position of conductor at the Leipsic Gewandhaus, succeeding Rietz. Since that time he has made many musical tours. He has written several large works for the piano which are highly esteemed, particularly the F sharp minor concerto. Besides two symphonies and several instrumental quartets and quintets, he has composed the five-act opera, " King Manfred," HAKON JARL. 305 incidental music to Schiller's " William Tell," the oratorio, " Belshazzar," the two charming overtures, '• Dame Kobold " and " Aladdin," and many songs. " Hakon Jarl," the work by which Reinecke is best known in this country, is sometimes classed as a symphony, in which form it appears as No. 2 in C minor, but it is more frequently set down as a sym- phonic poem or series of orchestral sketches. It is in four movements, and is based upon Oehlen- schlaeger's tragedy of the same name, — a work well known in Danish literature. The scene of the play is laid in Norway, and its subject is the downfall of Paganism at the hands of Olaf, who has embraced Christianity. While the latter, who is heir to the crown, is absent, Jarl Haco seizes the throne. Upon Olafs return a rebellion breaks out in which the brothers of Thora, who has been persecuted by Haco, take a prominent part. Dreading the anger of the gods, Haco sacrifices his own and Thora's child in the grove of Odin. He is at last defeated in battle, and seeks refuge at Thora's home, where he kills himself to escape the revenge of his enemies, Thora refusing to survive him. This is the story which the composer seeks to illustrate. The first movement, Allegro, is entitled " Hakon Jarl," and is intended to portray the impressions of his heroic character. Indeed, Reinecke himself says that his intention is " to reflect musically the general impressions which this Northern dniidical hero and his companions made upon him." The second 20 3o6 SYMPHONIC POEMS. movement, an Andante, called " Thora," which is characterized by a sweet and gracious melody, given out as a duet for flute and viola, in like manner de- picts the character of the heroine. The third, In- termezzo, an Allegretto moderato ( " In Odin's Grove "), is a gloomy picture of the sacrifice \ and the last movement, "Olaf's Victory," is martial and jubilant in style, as befits the subject. PHAETON. 307 SAINT-SAENS. EOTIET D' OMPHALE, Op. 31. HE symphonic poem, " Rouet d' Omphale " (" Omphale's Spinning-wheel "), illustrates the old story of Hercules serving as slave to the Lydian queen, and running her spinning-wheel in female attire by her side. The composition is in sonatina form, and very short, but exceedingly naive and graceful. It begins with a characteristic imitation of the wheel by the violins in a well-known figure. The second motive, a som- bre melody in the bass, characterizes the lamenting, groaning Hercules ; but Omphale soon sets him at work again, and the wheel resumes its lively, char- acteristic rhythm. The poem is vivacious and elegant throughout, and a good illustration of Saint-Saens's cleverness in instrumentation. PHAETON. Op. 35. The symphonic poem of " Phaeton " has for its story the legend of the unfortunate amateur chario- teer of the sun, who, having obtained permission to drive the fiery steeds, approaches so near the earth that it is only saved from destruction by Jupiter, 3oS SYMPHONIC POEMS. who interposes with a timely thunderbolt, and hurls the reckless driver into the outer limbo. It begins with a very pleasant melody, the driver evidently contemplating an agreeable journey. Soon another theme comes in ; the chariot is taking an upward flight. Anon he loses his course, and the first theme appears with significant chromatic changes. His indecision, fear, and despair are clearly indi- cated in the uncertain, abrupt, and wandering char- acter of the music. At last Jupiter settles matters with an outburst of trumpets ; and the poem closes with the second theme in dirge form, singing a lament for the unfortunate victim of over-curiosity and confidence. DANSE MACABRE. Op. 40- The "Danse Macabre," or "Dance of Death," does not, as might be supposed, follow the well- known episodes which Holbein's pictures have made so familiar, but is based upon a grotesque poem by Henri Cazalis, beginning, — " Zig et zig et zig, la Mort en cadence Frappant una tombe avec son talon, La Mort, a minuit, joue un air de danse, Zig et zig et zig, sur son violin." Death is described as a fiddler, summoning the skeletons from their graves at midnight for a dance, the hour being indicated on the harp. The ghastly merriment, interrupted by some sombre strains, is kept up until the cock crows, the signal for the DANSE MACABRE. 309 instant disappearance of the grim and clattering revellers. The poem is based upon two themes, — one in dance measure, punctuated with the clack of bones, and the other a more serious strain, symbolical of night and the loneliness of the grave. The variations upon these two themes continue until the cock-crow, given out by the oboe, sounds the signal for the close. The poem, in a word, is a waltz measure set off with grotesque, but very inge- nious, instrumentation. APPENDIX. jHE following alphabetical list has been pre- pared with the view of presenting the reader a catalogue of all the important symphonies, with names of composers and dates of com- position. It has been compiled with much care and labor, and it is believed will furnish musical students, as well as the general reader, with as complete and accurate a reference list as can be desired. Bargiel, Waldemar. No. i, C major (1861). Beethoven, Ludwig von. No. i, C major (1800) ; No. 2, D major (1S02) ; No. 3, E flat (Heroic) (1804); No. 4, B flat (1S06) ; No. 5, C minor (1808) ; No. 6, F major (Pastoral) (180S); No 7, A major (1812) ; No. 8, F major (1812); No. 9, D minor (Choral) (1S23) ; Battle Symphony (i 816); Choral Fantasie (1808). Benedict, Julius. No. i, G minor (1862). Bennett, William Sterndale. No. i, G. minor (1864). -12 APPENDIX, o Berlioz, Hector. Symphonie Fantastique (1830) ; Harold en Italic (1834) ; Romeo at Juliette (1839) » Grande Symphonie Funebre et Triompbale (1840). Bird, Arthur G. No. i, A major (18S6). Brahms, Johannes. No. i, C minor (1876) ; No. 2, D major (1877) ; No. 3, F major (1883) ; No. 4, E minor (1885). Bristow, George F. No. r, E flat (1845) ^ No. 2, D minor (1855); No. 3, F sharp minor (1856); Arcadian (1874). Bruch, Max. No t, E flat (1868) ; No. 2, F minor (1869). Bruckner, Anton. First six unpublished ; No. 7, E flat (1879). BuRGMULLER, NoRBERT. No. I, C minor (1830) ; No. 2, D major, unfinished (1850). CowEN, Frederick H. No. i, C minor (1869) ; No. 2, F major (1872) ; No. 3, C minor (Scandi- navian) (1880) ; No. 4, B flat minor (Cambrian) (1884) ; No. 5, F major (1887). David, Felicien. No. i, F major (1835) ; No. 2, E major (1835) ; No. 3, E flat (1841); Le Desert (ode symphonique) (1844) ; Christophe Colombe (ode symphonique) (1847). Dietrich, Albert H. No. i, D minor (1869). Dietrich, Anton. No. i, D minor (1866). D'Indy, Vinart. Wallenstein, Symphonic Trilogy (1887). Dvorak, Anton. No. i, F major (1871) ; No. 2, E flat (1874) ; No. 3, D major (1884) ; No. 4, D minor (1885). Florio, Caryl. No. i, G major (1887); No. 2, C minor (1887). Gade, Niels W. No. i, C minor (1843) J No. 2, APPENDIX. 213 E major (1844) ; No. 3, A minor (1845); No. 4, B flat (1854) ; No. 5, C minor (1855); No. 6, D minor, with piano (1856) ; No. 7, F major (1861) ; No. 8, B minor (1S69). Gernsheim, Friedrich. No. i, C minor (1887). GoETZ, Hermann. No. i, F major (1875). GoLDMARK, Karl. Landliclie Hochzeit, op. 26 (1884). Hamerik, Asger. No. i, Symphonic poetique in F major (1880); No. 2, Symphonic tragique in C minor (1882) ; No. 3, Symphonic lyrique in E major (1884). Haydn, Joseph. Twelve Symphonies. Salomon Set: No. I (1790); No. 2(1791); No. 3 (The Surprise) (1791); No. 4(1792); No. 5(1791); No. 6(1791); No. 7 (179s); No. 8 (Mit dcm Paukenwirbel) (1795); No. 9(1795); No. 10 ('1793); No. 1 1 (The Clock)(i794); No. i2(The Mihtary) (1794). Sym- phonies with Titles: Le Soir (1760) ; Le Midi (1761); Dor Philosoph (1764); Le Matin (1764); Lamentations (1772); Mercury (1772); Letter L (1772); Letter I (1772); Farewell (1772); Maria Theresa (i773); La Passione (1773); Feuer Sym- phonic (1774); The Schoolmaster (1774); Letter H (1774); II Distrato (1776); Roxelane (1777); Laudon (1779); Letter A (1780); La Chasse (1780); Kinder Symphonic (1780) ; La Reine de France (1786); La Poule (1786); L'Ours (1786); Letter T (1787); Letter V (1787); Letter W (1787); Let- ter Q, "The Oxford" (1788); Letter R (1788); Concertante (1792) ; and eighty-four others. HiLLKR, Ferdinand. Nos. i and 2, dates unknown ; No. 3. E major (Spring) (1840). HoF.MANN, Heinkich. FHthjof Symphony (1874). 314 APPENDIX. Holmes, Henry. No. i, C major (Boscastle)( 1871). HuBER, Hans. Eine Tell Symphonie (1879). Jadassohn, Solomon. No. i, C major (1862); No. 2, A major (1863) ; No. 3, D minor (1875). Kalliwoda, Johann W. No. i, F minor (1S26); No. 2, E flat (1827); No. 3, D minor (1829); No. 4, C major (1835); ^o- 5) ^ minor (1836); No. 6, G minor (1840) ; No. 7, F major {1S45). Klughardt, August. No. i, Lenore(i88o); No. 2, D major (1882). Lachner, Franz. No. i, E flat; No. 2, F major; No. 3, D minor; No. 4, E major; No. 5, C minor (Appassionata) ; No. 6, D minor ; No. 7, G minor. Dates unknown. Leslie, Henry. No. i, F major (1847). Liszt, Franz. Divina Commedia(i859); Eine Faust Symphonie (1862). Symphonic Poems: (i) Ce qu'on entend sur la Montagne ; (2) Tasso ; (3) Les Preludes; (4) Orpheus; (5) Prometheus; (6) Ma- zeppa ; (7) Festklange ; (8) Heroide funebre ; (9) Hungaria; (10) Hamlet; (11) Hunnenschlacht ; (12) Die Ideale. All written during his Weimar period. LoHR, G. S. L. No. I, A minor (1874). Maas, Louis. American (1883). McDowell, Edgar A. Symphonic Poems : Ham- let (1S841; Ophelia ( 1 886). Macfarren, George A. No. i, C major (1828); No. 2, C minor (1829); No. 3, A minor (1830) ; No. 4, F minor (1831) ; No. 5, B flat (1833); No. 6, C sharp minor (1834); No. 7, D major (1836;. Mendelssohn, Felix. No. i, C minor (1824); No. 2, Lobgesang (1840); No. 3, A minor (Scotch) APPENDIX 315 (1842); No. 4, A major (Italian) (1S33) ; No 5, D major (Reformation) (1830). MoSKOWSKi, MoRiTZ. Symphonic Poem, Joan of Arc (1885). Mozart, Wolfgang Amadeus. No. 338, C major (1780) ; No. 385, D major (Haffner) (1782); No. 425, C major (Linzer) (1783); No. 504, D major (1786); No. 543, E flat (Swan Song) (178S) ; No. 550. G minor (17S8) ; No. 551, C major (Jupiter) (178S) ; and thirty-four others. The numbers refer to the Kochel Catalogue. Paine, John Knowles. No. i, C minor (1875) ; No. 2, A major (Spring) (1880); Symphonic Poem, The Tempest (1876). Parry, Hubert. No. i, G major (1882) ; No. 2, F major (University) (1883). Pratt, S. G. No. i, E minor (1870) ; No. 2, A major (The Prodigal Son) (1875) ; Symphonic Sketch, Magdalena's Lament (1870); Symphonic Suite, The Tempest (1885). Prout, Ebenezer. No. i, C major (1873) ; No. 2, G minor (1876) ; No. 3, F major (1885) ; No. 4, D major (1886). Raff, Joseph Joachim. No, i. An das Vaterland (1863); No. 2, C major (1870); No. 3, F major (Im Walde) (1869); No. 4, G minor (1871); No. 5, (Lenore) (1872); No. 6, D minor (Gelebt, ge- streht, gelitten, gcstritten, gestorben, umworben) (1876); No. 7, Alpcnsinfonie (1877); No. 8, Friihlingsklange (1878); No. 9, Im Sommcrzeit (18S0); No. 10, Zur Herbstzeit (1S82) ; No. 11, Im Winter (1883). Reinecke, Karl. No. i, A major (1872); No. 2, C minor (Hakon Jar!) (1880). 3 1 6 APPENDIX. Rheixberger, Joseph. Wallenstein (1875) ; Flo- rentinische (1876). RiTTER, Frederick Louis. No. i, A major ; No. 2, E minor; No. 3, E flat. Unpublished. RosENHAiN, Jacob. No. i, G minor (1846); No. 2, F minor (1854) ; No. 3, F minor (Spring) (1855). Rubinstein, Anton. No. i, F major (1854) ; No. 2, C major (Ocean) (1868); No. 3, A major (1870); No. 4, D minor (Dramatic) (1875) ; No. 5, G minor, in memory of the Grand Duchess Hdlene Paulovna (1880) ; No. 6, A minor (1886). Symphonic Poem, Eroica (1885). Saint-Saens, Charles Camille. No. i, E flat (1851) ; No. 2, F major (1856) ; No. 3, A minor (1878); No. 4, D major (1863); No. 5, C minor (1886). Symphonic Poems : La Rouet d'Omphale (1874) ; Phaeton (1874); Danse Macabre (1875) ; La Jeunesse d'Hercules (1875). Scharwenka, Xaver. No. i, C minor (1885). Schubert, Franz Peter. No. i, D major (1813); No. 2, B flat (1815) ; No. 3, D major (1815) ; No. 4, C minor (Tragic) (1816) ; No. 5, B flat (1816) ; No. 6, C major (1818) ; No. 7, E major, a sketch (1821) ; No. 8, B minor (unfinished) (1822) ; No. 9, C major (1828). Schumann, Robert. No. i, B flat (Spring) (1841) ; No. 2, C major (1846) ; No. 3, E flat (Rhenish) (1841); No. 4, D minor (1841) ; Overture, Scherzo, and Finale (1841). Silas, Edward. No. i, A major (1850) ; No. 2, C major (1852) ; No. 3, Symphonie burlesque (1853)- Singer, Otto. Symphonie Fantasia (18S8). Spohr, Louis. No. i, B major (1811); No. 2, APPENDIX. ;i7 D minor (1815); No. 3, C minor (1829); No. 4, Consecration of Sound (1834); No. 5, C minor (183S) ; No. 6, G major (Historical) (1841) ; No. 7, Double Symphony (Irdisches und Gottliclies im Menschenleben) (1842) ; No. 8, G minor (1847) ; No. 9, B major (The Seasons) (1849). Stanford, Charles Villiers. No. i, Bflat (1879) 5 No. 2, D minor (Elegiac) (1882) ; No. 3, F minor (Irish) (1887). Strong, G. Te.mpleton, No. i, F major (1886). Sullivan, Arthur Seymour. No. i, £ minor (1866). Svendsen, Johann Severin. No. i, D major (1863) ; No. 2, B flat (1871). TSCHAIKOWSKY, Peter Iltitsch. No. I, G major (1874) ; No. 2, C minor (1875); No. 3, D major (1875); No- 4' ^ minor (1S75) ; No. 5, Manfred (1876). Symplionic Poems: Francesca von Ri- mini ; The Storm. Ulrich, Hugo. No. i, B minor (1852); No. 2, G major (Triomphale) (1853). VOLKMANN, Friedrich Roijert. No. I, D minor (1863) ; No. 2, B flat (1865). Wagner, Richard. No. i, C major (1832). Weher, Carl Maria. No. i, C major (1807); No. 2, C major (1807). ^-m^M^^^^^ INDEX. Albrechtsberger, 31. Ambros, 71. Bach, 14, 22. Bach, Karl Philipp, 15. Beethoven, 17, 20, 22-25, 27, 99, III, 112, iij, 116, 122, 128, 130, '39. "55. '7". '97. 2°^. "'. 233. 241, 26S, 274-27S ; sketch of, 29. Benoit, 227. Berlioz, 27, 47, 59, 71,82; sketch of, 99. Bischoff, 71. Bombet, 151. Bonaparte, 45-47. Bononcini, 14. Brahms, 27, 129; sketch of, no. Burger, 20 >. Byron, loO, 107, 283, 287. Ca.mbrian symphony, 124, 261. Caradori, 86. Cesti, 15. Chcrubini, 14. Childe Harold, 106, loS, 109. Choral Fantasie, 83, 96, 115. Choral symphony, 20, 30, 83. Colonna, 15. Consecration of Tone, 22, 254, 25'.. Corelli, 14. Country Wedding symphony, 145, 146. Cowen, sketch of, 124. Creation, 16. Damrosch, 261. Danse Macabre, 228, 292, 308. Dante, 170, 175. Dante symphony, 27, 170, 175- Dehn, 166. Deiters, 118. Devrient, 295. Dies Irae, 104, 291. Dorn, 241. Dragonetti, 70. Dramatic symphony, 27, 220, 223. Dubois, 227. Dvordk, 27; sketch of, 12S. Ein' ff.stk Uvkg, 26, 18S. Episodes in the i^ife of an Artist, 27. Esterhazy, Count, 151, 238. Euryanthc, 71. Faust, 68, 92, 102, 171-174. Faust symphony, 27, 170-172. Fcstklange, 285. Fidelin, 52. Friihjof Saga, 136, 167. Frilhjof symphony, 166, 167. Friihlingsklilngc symphony, 205, 212. 320 INDEX. Gade, 27; sketch of, 133. Gautier, Mme., 103. Gebler, igo. Goethe, 59, go, 92, 102, 171, 172, 257. 283. Goetz, 27; sketch of, 141. GoldmarU, 145. Graziani, 15, Grell, 166. Grdtry, 14. Haffner, 190. Hakon Jarl, 305. Handel, 14, 22. Hanslick, 243. Harold in Italy, 27, loi, 105. Haydn, 13-19, 21, 22, 24, 29, 31, 34, 36. 37. 80, 84, gg, iii, 118, 122, 130,- isg, 170, 241 ; sketch of, 150. Hellmesberger, 145. Herbeck, 128. Heroic symphony, ig, 30, 44. Hofmann, 27 ; sketch of, 166. Holbein, 291. Hugo, Victor, 287. Hummel, 70. Hunnenschlacht, 170, 289. Hymn of Praise, 27, 177. Im Walde symphonv, 205, 206, 214. Irish symphony, 260, 261. Italian symphony, 26, 177, 182. Jahn, igi, 194- Jansa, 145. Joachim, 129. Joan of Arc, 124, 301. Jonielli, 14. Jupiter symphony, 17, 190, igr, 197. Kaulbach, 28g. Kiel, 260. Kretschmar, 122. Kuffner, g7. Lachnhr, 27. Lamartine, 279. Lenore symphony, 27, 205, 209, 214. Leo, 14. Leonore, 52. Lichnowski, Prince, 38. Liszt, 27, 219-221, 279 ; sketch of, 170. Lobkowitz, Prince, 44, 58. Lulli, 14. Macfarren, 54, 97. Maleden, 227. Maize!, 77. Marx, 47, 71, 293. Maximilian Joseph, 97. Mayseder, 70. Mazeppa, 170, 287. Mehul, 14. Meinardus, 241. Melancthon, 186. Mendelssohn, 22, 23, 26, 27, 59, 82, no, 116, 117, 122, 128, 133, 135- 137, 169, 186, 195, 237, 242, 245, 270, 293 ; sketch of, 177. Meyerbeer, 70. Midsummer Night's Dream, 82, 137. 293- Military symphony, 161. Moscheles, 70. Moskowski, 301. Mozart, 14, 17-19, 21, 22, 24, 25, 29. 31. 33. 34, 37i 79. 8°, 99, i". 118, 122, 128, 130, 139, 154, 159, '7°, 177, 242, 277 ; sketch of, 189. NoHL, 194. Nottebohm, 38. Ocean symphony, 27, 219, 220, 223. Oehlenschlaeger, 305. Oulibicheff, 71. Paganini, 106. Paine, 303 ; sketch of, 201. Pasdeloup, 228. Pastoral symphony, 19, 30, s8| 65, gg. Pergolesi, 14. Pfeiffer, 22, 256. INDEX. 321 Phaeton, 28, 22S, 307. Porpora, 14. Potter, Cipriani, 38. Preludes, 28, 170, 279. Probst, 96. Prometlieus, 51, 170. Raff, 27; sketch of, 205. Rasoumowsky, Count, 58. Reformation symphony, 26, 177, .85. Reinecke, 27, 260; sketch of, 304. Rheinberger, 213. Rhenish symphony, 26, 248. Richter, 261. Ries, 85. Romberg, 70. Romeo and Juliet, too. Rosa, Carl, 124. Rossini, 78. Rouet d'Omphale, 28, 228, 307. Rubinstein, 27 ; sketch of, iig. Sacchini, 14. Saint-Saens, 27, 28, 292, 307 ; sketch of, 227. Salieri, 70. Salomon, 77, 151, 152, 157, 159, 161, 163, 164. Sammartini, 15. Scandinavian symphony, 124, 125. Scarlatti, 14. Schiller, 83, 84, 124, 216, 257. Schindler, 66, 70, 84. Schubert. 23, 27, 80, 82, 122, 165, 195 ; sketch of, 233. Schubring, 294. Schumann, 22, 23, 27, 56, 82, no, 112, 181, 237, 239, 256; sketch of, 341. Scotch symphony, 27, 178, 182, 261. Seasons, 16. Shakspeare, 18, 141, 201, 202, 257, 293. 303- Smart, 87. Sonata, 15, 16. Son tag, 86. Spohr, 21, 70 ; sketch of, 254. Spring symphony, 201, 202. Stambati, 227. Stanford, 260. Sullivan, 264. Symphony, origin of, 13 ; earlier forms, 14, IS ; Haydn's sympho- nies, 15, 16; Mozart's sympho- nies, 17; Beethoven's sympho- nies, 17 ; Spohr's symphonies, 21 ; Schubert's symphonies, 23 ; Schumann's symphonies, 24 ; Mendelssohn's symphonies, 26 ; modern symphonies, 27. Symphonic poems, 27, 279. Symphonic Fantastique, 100, 101. Tappert, 270. Tasso, 28, 170, 283. Tegner, 167. Tempest, 201, 203. Tennyson, 260. Thomas, Theodore, 201, 202. Tichatscheck, 271. Tieck, 295. Todtentanz, 291. Tschaikowsky, 27. Ulrich, 141. Unfinished symphony, 23, 234. Ungher, 86. Urban, 105. Vinci, 14. Vivaldi, 14. Volkmann, 27, 267. Von Billow, 112, 122, 141, 261. VVagnbr, 47, 71, 90, 92, :02, 168, 187 ; sketch of, 270. Wallenstein symphony, 215, 216. Weber, 71, 294. Wcitzmann, 392. Wiirst, 166. Wyse, 133. I IMIW HP r.AI IF I IRRARY I OR ANGELES UC SOUTHERN REnio\iflL ; lORsny r vr^-'.-Y AA 000 547 763 3 University of California Library Los Angeles SEP > 3 1999 This book is DUE on the last date stamped below.