Beacon Lights of History, Volume 14: The New Era. John Lord
writers (a colorist of rare charm), but because he presided for several years over Mrs. Thurber's National Conservatory of Music in New York, and there wrote that truly melodious and deeply emotional work, "From the New World," which has become almost as popular as Tschaikowsky's "Pathétique." His Bohemian rhythms have a unique charm.
Among the Scandinavian composers the greatest, by far, is Grieg, one of the most original melodists and harmonists of all times. His songs, in particular, are destined to immortality; they are among the very best written since Schubert. Of his pianoforte and chamber music, too, it can be said that everything is new, free from commonplace, and ultra-modern. He has written mostly short pieces, and for that reason has had to wait (like Chopin in his day) a long time for full recognition of his genius, the critics not having yet got over the foolish habit of measuring art-works with a yardstick. Like Chopin, moreover, Grieg has had the ill-fortune of having his most original and individual traits accredited to his nation and described as "national peculiarities." His music does contain such peculiarities; but it is necessary to distinguish between what is Norwegian and what is Griegian. Grieg's little pieces and songs are big with genius.
The Hungarian Liszt is another immortal master who, beside the fruits of his individual genius, contributed to the current of modern music some of those exotic national traits which distinguish it from that of earlier epochs when it was almost exclusively Italian, French, and German. His fifteen Hungarian rhapsodies constitute, however, only a small part of the invaluable legacy he has left the world. He was the most many-sided of all musicians,–the greatest of all pianists, and one of the best composers of oratorios, songs, orchestral, and pianoforte works,–everything, in short, except operas and chamber music. He was also the greatest of teachers and (with the exception of Wagner) the greatest of conductors; as such, he carried out both his own and Wagner's new and revolutionary principles of interpretation, which have gradually made the orchestral conductor a personage of even greater importance, in concert hall and opera-house, than the prima donna, travelling, like her, from city to city, to delight lovers of music.
One might have expected that the prince of pianists, being at the same time a composer, would do for the pianoforte what Bach had done for choral and organ music, Beethoven for the symphony, Schubert for the art song, and Wagner for the opera. But he could not, for Chopin had anticipated him. In only one direction was it possible to go beyond Chopin,–in that of making the piano capable of reproducing orchestral effects. This, Liszt achieved in his own works and his transcriptions. But, after all, the grandest pianoforte, while delightful as such, is but a poor substitute for an orchestra. Hence it was natural that Liszt should give up the pianoforte as his specialty and devote himself particularly to the orchestra.
In this domain he was destined to achieve reforms similar to those of Wagner in the opera. The "classical" symphony, like the old-fashioned opera, consists of detached numbers, or movements, that have no organic connection with one another. For the detached numbers of the opera Wagner substituted his "continuous melody;" and he provided an organic connection of all the parts by means of the "leading motives" or characteristic melodies and chords which recur whenever the situation calls for them. In the same spirit Liszt transformed the symphony into the symphonic poem, which is continuous and has a leading motive uniting all its parts.
There is another aspect to the symphonic poem, in which Liszt deviated from Wagner. In Wagner's operas there is plenty of descriptive or pictorial music, but no program music, properly speaking; for even in such things as the Ride of the Valkyries, or the Magic Fire Scene, the music does not depend on a programme, but is explained by the scenery. In programme music, on the other hand, the scene or the poetic idea is simply explained in the programme, or else merely hinted at in the title of the piece. Crude attempts in this direction were made centuries ago, but programme music as an important branch of music is a modern phenomenon. Beethoven encouraged it by his "Pastoral Symphony," and the French Berlioz did some very remarkable things in this line in his dramatic symphonies; but it remained for Liszt to hit the nail on the head in his symphonic poems. The French Saint-Saëns followed him, rather than his countryman Berlioz; so did Tschaikowsky, Dvorak, and most modern composers, up to Richard Strauss, whose symphonic poems are the most widely discussed, praised, and abused compositions of our time.
To the great names contained in the preceding paragraphs another must be added,–that of an Italian. By an odd coincidence, Verdi was born in the same year as Wagner, 1813. But what is far more remarkable is that at the close of their careers, so different otherwise, these two great composers met again–in their music, Verdi as a Wagnerian convert. Up to his fifty-eighth year Verdi had written two dozen operas, all made up of strings of arias in the old-fashioned way,–superb arias, many of them, especially in "Il Trovatore" and "Aïda," but still arias. Then he rested from his labors sixteen years; and when he appeared on the stage again, with his "Otello" and "Falstaff," he had adopted Wagner's maxims that arias are out of place in a music-drama; that "the play's the thing," and that the music should follow the text word for word.
Surely, this was the most remarkable of Wagner's triumphs and conquests. He who had been denounced for decades as being unable to write properly for the voice was actually taken up as a model by the greatest composer of Italy, the land of song. Moreover, all the young composers of Italy have turned their backs on the traditions of Italian opera. The chief ambition of Mascagni, Leoncavallo, Puccini, and all the others has been to be called "the Italian Wagner;" and their operas are much more like Wagner's than like Rossini's and Donizetti's, being free from arias and the vocal embroideries that formerly were the essence of Italian opera. The same is true of the operas written in recent decades in France, Germany, and other countries. Massenet, Saint-Saëns, Humperdinck, Goldmark, Richard Strauss, Paderewski, and all the others have followed in Wagner's footsteps.
Such, briefly told, is the story of Richard Wagner and Modern Music. The "music of the future" has become the music of the present. What the future will bring no one can tell. Croakers say, as they have always said, that the race of giants has died out. But who knew, fifty years ago, that Wagner and Liszt, or even their predecessors, Chopin and Schumann, and the song specialist, Robert Franz, were giants? We know it now, and future generations will know whether we have giants among us. Things of beauty that will be a joy forever have been created by men of genius now living in Europe; such men as the Norwegian Grieg, the Bohemian Dvorák, the French Saint-Saëns and Massenet, the Hungarian Goldmark, the German Humperdinck and Richard Strauss, the Polish Paderewski. England has more good composers and listeners than it ever had before; and the same is true of America. We have no school of opera yet, but the best operettas of Victor Herbert and De Koven deserve mention by the side of those of the French. Offenbach, Lecocq, and Audran, the Viennese Strauss, Suppé, and Milloecker, the English Sullivan. The orchestral compositions of our John K. Paine are masterworks, and the songs and pianoforte pieces of MacDowell are equal to anything produced in Europe since Chopin and Franz. We have several other men of great promise, and altogether the outlook for America, as well as for Europe, is bright.
AUTHORITIES
The books, pamphlets, and newspaper articles on Wagner would fill a library. He has been more written about than any writers except Shakspere, Goethe, and Dante. He was also fond of writing about himself. His autobiography (extending only to 1865) has not yet been given to the public; but there are many autobiographic pages in the ten volumes of his literary works, which have been Englished by Ellis. Of great value are Wagner's letters to Liszt and to other friends. These were utilized for the first time in "Wagner and His Works," the most elaborate biography in the English language, by the author of the foregoing article. Shorter American and English books on Wagner have been written by Kobbé, Krehbiel, Henderson, Hueffer, Newman, &c. Of French writers Lavignac, Jullien, Mendès, Servières, Schuré, may be mentioned. Of great value are Kufferath's monographs on the Wagner operas and Liszt's analyses. In Germany the standard work of reference is the third edition of Glasenopp, in six volumes, four of which are now (1902) in print. Other German writers are Porges, Wolzogen, Pohl, Nohl, Tappert, Chamberlain, &c. The best histories of Modern Music in general are Langhaus's larger work and Riemann's "Geschichte der Musik seit Beethoven." The best general work for reference is "Great Composers and Their Works," edited by Professor Paine of Harvard. References to about 10,000 articles on Wagner may be found in Oesterlein's "Katalog Einer Richard Wagner Bibliothek," 3 vols.
JOHN