How to Appreciate Music Part 4

Rise of the Amateur.

Characteristic of the period of transition from Bach to Beethoven, from the fugue to the sonata, was the development of popular interest in music. Scarlatti begins a brief introduction to a collection of thirty of his pianoforte pieces which were published in 1746, by addressing the "amateur or professor, whoever you be." Significant in this is the inclusion of, in fact the seeming preference given to the amateur. Music of the counterpoint variety had been music for the church, the court and the professional. Now, with the development of the freer harmonic or melodic system, it was growing more in touch with the people. During Philipp Emanuel Bach's life the increase of popular interest in music was remarkable. The t.i.tles that began to appear on compositions show that composers were reaching out for a larger public. Bie quotes some of them: "Cecilia Playing on the Pianoforte and Satisfying the Hearing"; "The Busy Muse Clio"; "Pianoforte Practice for the Delight of Mind and Ear, in Six Easy _Galanterie Parties_ Adapted to Modern Taste, Composed Chiefly for Young Ladies"; "The Contented Ear and the Quickened Soul"; while Philipp Emanuel Bach inscribes some of his pieces as "easy" or "for ladies." Evidently the "young person" figured as extensively in the calculations of musical composers then as she does now in those of the publishers of fiction. Musical periodicals sprang up like mushrooms--"Musical Miscellany," "Floral Garnerings for Pianoforte Amateurs," "New Music Journal for Encouragement and Entertainment in Solitude at the Pianoforte for the Skilled and Unskilled," such were some of the t.i.tles. These periodicals often went the way of most periodical flesh and in the customary brief period, but they show a quickened public interest in music--the "contented ear and the quickened soul," so to speak.

Changes in Musical Taste.

If I dismiss Philipp Emanuel Bach rather curtly and, in this portion of the book at least, do the same with Haydn and Mozart, this is not because I fail to appreciate their importance in musical history, but because they have failed to retain their hold on the modern pianoforte repertoire. The simple fact is that the pianoforte as an instrument has outgrown their music. We can get more out of it than they gave it.

If we bear in mind that the pianoforte, as well as music itself, has developed, it will aid us in understanding why so much music, once considered far in advance of its time and even revolutionary, has so soon become antiquated. Why ignore facts? Some examples of primitive music still survive because they charm us with their quaintness. But the cla.s.sical period is retiring more and more into the shadow of history. Whatever importance Haydn and Mozart may possess for the student, their pianoforte music, so far as practical program-making is concerned, is to-day a negligible quant.i.ty. I remember the time when, as a pupil, I pored with breathless interest over the pages of Mozart's "Sonata in A Minor" and his "Fantasy and Sonata in C Minor."

But to-day, when I read in a book published about twenty-five years ago that Mozart indulged in harmonies, chord progressions and modulations, "sometimes considered of doubtful propriety even now" and "quite as harshly censured as are to-day the similar licenses of free-thinking composers"--I wonder where they are. For his own day, nevertheless, Mozart was an innovator, as every genius is; for it is through those daring deviations of genius from established rule and tradition, which contemporaries regard as unjustifiable license, that art progresses. This should be borne in mind by those who were intolerant toward the opponents of Wagner, yet now are guilty of a similar solecism in proclaiming Richard Strauss a charlatan.

a.s.suming that the modern pianoforte pupil is but indifferently nourished on the Mozart pabulum, let me add that this composer also was a virtuoso, and by his choice of the pianoforte over the clavichord did much toward making the modern instrument more popular.

He also developed the sonata form so that Beethoven found it ready moulded for his genius. In fact the sonata form as we know it is so much a Mozart creation that Mr. Hanchett, in his "Art of the Musician," suggests calling the sonata movement proper a mozarta--a suggestion which I presume will never be adopted.

Beethoven and the Epoch of the Sonata.

In the history of music there are three figures that easily tower above the rest. Each represents an era. They are Bach, who stands for counterpoint, the epoch of the fugue; Beethoven, who represents the epoch of the sonata; Wagner, who represents the epoch of the music-drama. The first two summed up in themselves certain art forms which others had originated. Bach's root goes back to Palestrina, Beethoven's to Scarlatti. Wagner presents the phenomenon of being both the germ and the full fruition of the art form for which he stands. It is conceivable that the work of these men will at some time fall into desuetude, for in art all things are possible, and the cla.s.sical period seems to be losing its grip on music more and more every day and we ourselves may live to see the sonata movement become obsolete.

It certainly is having less and less vogue, and a composer who now writes a sonata with undeviating allegiance to its cla.s.sical outlines, deliberately invites neglect, because the listener no longer cares to have his faculties of appreciation restricted by too rigid insistence upon form, preferring that genius should have the utmost lat.i.tude and be absolutely untrammeled in giving expression to what it has to say.

Nevertheless, music always will bear the impress of these three master minds, just as our language, although we do not speak in blank verse, always will bear the impress of Shakespeare. "I don't think much of that play," exclaimed the countryman, after hearing "Hamlet" for the first time. "It's all made up of quotations!" Equally familiar, not to say colloquial, are certain musical phrases, certain modulations, which have come down to us from the masters.

Although Beethoven no longer is the all-dominant figure in the musical world that he was fifty years ago, and it requires a performance of the "Ninth Symphony" given under specially significant circ.u.mstances (such as the conducting of a Felix Weingartner) to attract as many to a concert hall as would be drawn by an ordinary Wagner program, I trust I shall know how to appreciate his importance to the development of musical art and approach him with the reverence that is his due.

Like all great men who sum up an epoch, he found certain things ready to hand. The Frenchman, Jean Philippe Rameau (1683-1764), "the creator of the modern system of harmony," had published his "Nouveau Systeme de Musique Theorique"; the sonata movement from its tentative beginnings under Scarlatti had been developed through Philipp Emanuel Bach, Haydn and Mozart into a definite art form awaiting the final test of a great genius--which Beethoven proved to be.

Beethoven's Slow Development.

I already have pointed out that while pianoforte and orchestra have developed side by side, the general belief that the pianoforte merely has been the handmaiden of the orchestra is a mistaken one. On the contrary, until the end of the cla.s.sical period, at least, the pianoforte was the pioneer. It has blazed the way for the orchestra and led it, instead of bringing up the rear. Thus the sonata form was developed by the pianoforte and then was handed over by that instrument to the orchestra under the name of symphony, which, the reader should bear in mind, simply is a sonata written for orchestra instead of for the pianoforte. Even Beethoven, before he composed his first symphony, which is his Opus 21, tested his mastery of the form and his ideas regarding certain further developments in it, by first composing thirteen pianoforte sonatas, including the familiar "Pathetique," which used to be to concert programs what Liszt's "Hungarian Rhapsody No. 2" is now--the _cheval de battaille_, on which pianists pranced up and down before the ranks of their astonished audiences and unfortunate amateurs sought to retain their equilibrium.

This experimentation, this comparatively slow development, was characteristic of Beethoven; is, in fact, characteristic of every genius who works from the soul outward. "Like most artists whose spur is more in themselves than in natural artistic facilities, he was very slow to come to any artistic achievement," writes Sir Hubert Parry.

"It is almost a law of things that men whose artistic personality is very strong, and who touch the world by the greatness and the power of their expression, come to maturity comparatively late, and sometimes grow greater all through their lives--so it was with Bach, Gluck, Beethoven and Wagner--while men whose aims are more purely artistic and whose main spur is facility of diction, come to the point of production early and do not grow much afterward. Such composers as Mozart and Mendelssohn succeeded in expressing themselves brilliantly at a very early age; but their technical facility was out of proportion to their individuality and their force of human nature, and therefore there is no such surprising difference between the work of their later years and the work of their childhood as there is in the case of Beethoven and Wagner."

In writing sonatas Haydn and Mozart had been satisfied with grace of outward form and a smooth and pretty flow of melody within that form.

Beethoven was a man of intellectual force as well as of musical genius. He applied his intellect to enlarging the sonata form, his musical genius to supplying it with contents worthy of the greater opportunities he himself had created for it. There is a wonderful union of mind and heart in Beethoven's work. The sonata form, as perfected by him, is a monument to his genius. It remains to this day the flower of the cla.s.sical period.

The Pa.s.sing of the Sonata.

Nevertheless, the Beethoven sonatas no longer retain the place of pre-eminence once accorded them on pianoforte recital programs. When Von Bulow was in this country during the season of 1875-76 he frequently gave concerts at which he played only Beethoven sonatas.

I doubt if any of the great pianists of to-day could now awaken as much public interest by such programs as Von Bulow did. I remember the concert at which, among others of the Beethoven sonatas, this virtuoso played Opus 106 ("Grosse Sonata fur das Hammerklavier").

After he had played through part of the first movement he became restless, and from time to time peered over the keyboard and into the instrument as if something were wrong with it. Finally he broke off in the middle of the movement, rose from his seat and walked off the stage. When he reappeared, he had with him an attendant from the firm of manufacturers whose pianofortes he used, and together they fussed over the instrument for a while, before the attendant made his exit and the irate little pianist began the sonata all over again. We considered the mishap that gave us opportunity to hear him play so much of the work twice, a piece of great good luck for us.

Would we so consider it now?

Von Bulow has pa.s.sed into musical history as a great Beethoven player, and such he undoubtedly was. I doubt, however, if he was a greater Beethoven player than several living pianists. Some seasons ago Eugene d'Albert played a Beethoven program. His performance did not evoke the enthusiasm he antic.i.p.ated. In fact there were intimations in the comments on his performance that he was not as great a Beethoven player as he thought he was. Personally, and having a very clear recollection of Von Bulow's Beethoven recitals, because I attended every one he gave in New York, and in my mind's eye can see him sitting at the pianoforte, bending away over, with his ear almost to the keyboard, I think d'Albert played his Beethoven program quite as well. What had happened, however, was this: A little matter of thirty years had pa.s.sed and with it the cla.s.sical period and its efflorescence, the sonata form, had faded by just so much, and by just so much no longer was considered by the public the crucial test of a pianist's musicians.h.i.+p. Incidentally it is worth noting that the public usually is far ahead of the profession and of the majority of critics in appreciating new tendencies in music and in realizing what is pa.s.sing away; and the same thing probably prevails in other arts.

Orchestral Instead of Pianistic.

I am aware that Beethoven was a pianist of the first rank and that within the limitations of the sonata form he developed the capacity of the pianoforte. I also have read Richard Strauss's opinion, in his edition of Berlioz's work on instrumentation, that Beethoven treated the orchestra pianistically. Nevertheless, from the modern viewpoint the essential fault of the sonata, Beethoven's sonatas included, seems to me to be that it is too orchestral and not sufficiently _clavierma.s.sig_ (pianistic) in character; not sufficiently adapted to the genius of the pianoforte as we know it to-day. It is possible that for the times in which they were composed, the sonatas of Haydn, Mozart and Beethoven were most pianistic. But as music has become more and more an intimate phase of life, and as our most intimate instrument, the instrument of the household, is the pianoforte, we understand its capacity for the intimate expression of moods and fancies, the lights and shadows of life, as it never was understood before. The modern lover of music, if I may judge his standpoint from my own, feels that while the sonatas of the masters I have named were written for the pianoforte, they were thought out for orchestra, and that even a Beethoven sonata is an engraving for pianoforte of a symphony for orchestra. He composed nine symphonies and thirty-two sonatas. If he had written his nine symphonies for pianoforte, we would have had nine more sonatas. If he had composed his sonatas for orchestra, we would have had thirty-two more symphonies.

This orchestral (as opposed to pianistic) character of the Beethoven sonatas accounts for pa.s.sages in them so awkwardly written for the instrument that they are difficult to master, and yet, when mastered, are not effective in proportion to their difficulty. Between enlarging the capacity of an instrument through the problems you give the player to solve and writing pa.s.sages that are awkwardly conceived for it, and hence ineffectual after they have been mastered, there is a great difference. Chopin, Liszt and others pile Pelion on Ossa in their technical requirements of the pianist; but when he has surmounted them, he has climbed a mountain, and from its peak may watch the world at his feet. I think the orchestral character of much that Beethoven wrote for the pianoforte partly accounts for the fact that his sonatas no longer attract the great virtuosos as they formerly did and that the public no longer regards them as the final test of a pianist's rank.

I speak so unreservedly because I have lived through the change of taste myself. By way of personal explanation I may be permitted to say, that while I am not a professional musician, music was so much a part of my life that I studied the pianoforte almost as a.s.siduously as if I had intended becoming a public player, and that I was proficient enough to meet once a week with the first violinist and the first violoncellist of the New York Philharmonic Society for the practice of chamber music. If there is any one who should wors.h.i.+p at the shrine of the sonata form, and especially at that of the Beethoven sonatas, it should be myself, for I was brought up on the form and those sonatas were my daily bread. When I went to the Von Bulow Beethoven recitals it was with book in hand, to follow what he played note for note for purposes of study and a.s.similation. Those were years when, in the hours during which one seeks communion with one's other self, the Beethoven sonatas were the medium of communication. But now--give me the men who emanc.i.p.ated themselves from a form that fettered the individuality of the pianoforte, Chopin, Liszt, Schumann, and the pianoforte scores of the Wagner music-dramas, which actually sound more pianistic than the sonatas of the cla.s.sical period and in which it is a delight to plunge oneself and be borne along on a flood of free, exultant melody.

Nevertheless, the sonata has had a great part to play in the history and development of music and has played it n.o.bly, and we must no more forget this than we should allow present-day hero wors.h.i.+p to supplant the memory of the heroes who went before. The sonata is the firm and solid bridge over which music pa.s.sed from the contrapuntal period to the romantic, and doubtless there still are some who prefer to linger on the bridge rather than cross it to the promised land to which it leads. Always there are conservatives who stand still and look back; and that these still should let their eyes rest longingly on the great master of the cla.s.sical epoch, Beethoven, is, to say the least, comprehensible. One would have to be unresponsive indeed not to be thrilled by the story of his life--his force of character, his rugged personality, his determination in spite of one of the greatest misfortunes that could befall a musician, deafness; and the intellectual power which he displayed in bending a seemingly rigid art form to his will and making it the receptacle of his inspiration.

Well may these considerations be borne in mind whenever a Beethoven sonata is on a pianoforte recital program. If it does not move us as profoundly as music more modern does, that is not because its composer was less deeply concerned with the problems of life than those who have come after him. For his time he was wonderfully "subjective,"

drawing his inspiration from the heart, yet always preserving a sane mental poise. If to-day the sonatas of this great genius and splendid man seem to us less dramatic and emotional than they once did to audiences, it is because of the progress of music toward greater plasticity of expression and our conviction that such should be its mission.

IV

DAWN OF THE ROMANTIC PERIOD

All art begins with a groping after form, then attains form, and then emanc.i.p.ates itself from too great insistence upon rigidity of form without, however, reverting to its early formless condition. It was absolutely necessary to the establishment of music as an art that at some period or periods in its development it should "pull itself together" and focus itself in certain forms, and adhere to them somewhat rigidly and somewhat tenaciously until they had been perfected.

Without saying so in as many words, I have sought, in speaking of the sonata, to let the modern lover of music know that if he does not like sonatas he need not be ashamed of that fact. A few minutes ago and before writing this sentence, I left my desk and going to the pianoforte, played through Beethoven's "Sonata Pathetique." It used to be a thrilling experience to play it or to hear it played. To-day the Grave which introduces the first movement still seemed portentous, the individual themes throughout the work had lost none of their beauty.

And yet the effect produced in earlier years by this sonata as a whole was lacking. I shall not say that it sounded pedantic, for I dislike to apply that word to anything that sprang from the heart and brain of a genius like Beethoven's, but there was a feeling of restraint about it--the restraint of set form, the restraint of pathos patterned to measure, which is incompatible with our modern notions of absolute freedom of expression in music. Moreover, there is ample evidence that Beethoven himself chafed under the restraint of the sonata form and constantly strove to make it more elastic and more yielding to his inspiration.

What a Sonata Is.

The sonata form (that is to say, the movement from which the sonata derives its name) consists of three main divisions and can easily be studied by securing the Bulow and Lebert edition of the Beethoven sonatas in Schirmer's library, in which the various divisions and subdivisions are indicated as they occur in the music. The first division (sometimes with a slow introduction like the Grave of the "Sonata Pathetique") may be called the exposition. It consists of the main theme in the key of the piece, a connecting episode, a second theme in a related key and contrasting with the first, and a concluding pa.s.sage. As a rule the exposition is repeated--an extremely artificial proceeding, since there is no esthetic or psychological reason for it.

After the exposition comes the second division, the development or "working out," a treatment of both themes with much figuration and imitation, generally called the "free fantasia" and consisting "chiefly of a free development of motives taken from the first part"

(Baker). This leads into the third division, which is a restatement of the first, excepting that the second theme, instead of being in a related key, is, like the main theme, in the tonic.

How Beethoven Enlarged the Form.

This is the form of the sonata movement which was handed down to Beethoven by Haydn and Mozart. It very soon became apparent that the greatest genius of the cla.s.sical period found it too limited for his inspiration. In his third sonata (Opus 2, No. 3) he makes several innovations that, for their day, are most daring. Following the first episode after the main theme, he introduces a second episode with which he leads into the second theme. Then using a variant of the first episode as a connection he leads over to a third, a closing theme. In fact, the material of the second episode is so thematic that I see no reason why he should not be said to use four themes in the exposition instead of the customary two. In the free fantasia he insistently reiterates the main theme, practically ignoring the others, thus familiarizing the listener with it and making it as welcome as an old friend when the third division ushers it in again.

Instead of closing the movement at the end of the usual third division, as his predecessors, Haydn and Mozart, did, Beethoven introduces what is one of the most important innovations grafted by him upon the sonata form--a coda with a cadenza. I can imagine that this movement made his contemporaries look dubious and shake their heads. It must have seemed to them originality strained to the point of eccentricity and more bizarre than effective. As we look back upon it, after this long lapse of time, it must be reckoned a most brilliant achievement in the direction of freer form, and from this point of view--please bear in mind the reservation--its creator not only never surpa.s.sed it, but frequently fell behind it.

One of the movements of this sonata is a scherzo. Beethoven is the creator of this style of movement. It is much less formal than the minuet which Haydn introduced into the sonata. This especial scherzo has a trio which in the broad sweep of its arpeggios is as modern sounding as anything Beethoven wrote for the pianoforte.

His "Moonlight Sonata."

There are other sonatas by Beethoven that indicate efforts on his part to be less trammeled by considerations of form. Regard as an example the "Sonata Quasi Una Fantasia," Opus 27, No. 2, generally, and by no means inaptly, called the "Moonlight Sonata." This begins with the broad and beautiful slow movement, with its sustained melody, a poem of profound pathos in musical accents. It is followed by an Allegretto, "_une fleur entre deux abimes_" (a flower 'twixt two abysses) Liszt called it; and then comes the concluding movement, a Presto agitato, which is one of Beethoven's most impa.s.sioned creations. There are only three movements, and the usual sequence is inverted, for the last of the three is the Sonata movement. At the end of the Adagio sostenuto and at the end of the Allegretto as well, is the direction "_attacca subito il sequente_," indicating that the following movement is to be attacked at once and denoting an inner relations.h.i.+p, a psychological connection between the three movements.

Throughout the work the themes are of extraordinary beauty and expressiveness even for a Beethoven and the whole is a genuine drama of human life and experience. This impression is produced not only by the very evident psychological connection between the movements, but by the manner in which the composer holds on to his themes, developing them through bar after bar as if he himself appreciated their beauty and were reluctant to let go of them and introduce new material. The entire first movement, practically a song without words of the most exquisite poignancy, is built on a single motive with a brief episode which is more like an improvisation than a set part of a movement; while the last movement consists of four eloquent themes with only the merest suggestion of connecting episodes. The working out in the last movement is almost wholly a persistent iteration of the second theme.

This persistent dwelling upon theme and the psychological relation between the different movements make this "Moonlight Sonata" to me the most modern sounding of Beethoven's pianoforte works, although when mere structural greatness is considered, most critics will incline to rank it lower than the "Sonata Appa.s.sionata" and the four last sonatas, Op. 106 and 109-11. Undoubtedly, however, it is the most "temperamental" of his sonatas--and herein again the most modern. My one quarrel with Von Bulow is that he made it so popular by his frequent playing of it and his exceptionally poetic interpretation of it, that the great virtuosos shun it, very much as they shun the sixth Chopin waltz (Mme. Dudevant's dog chasing its own tail), because it is played by every pianoforte pupil of every girls' boarding school everywhere.

Striving for Freedom.

In addition to what I have said of this sonata, it was an immense gain for greater freedom of form, and it is to be regretted that it is a more or less isolated instance and that Beethoven did not adopt it as a standard in shaping his remaining sonatas. Its most valuable attribute from the modern point of view is a characteristic to which I already have called attention several times--the fact that its several movements stand in psychological relation to one another; that there is such real soul or temperamental connection between them, that it would be doing actual violence to the work as a whole if any one movement were to be played without the others or if their sequence were to be inverted.