CHAPTER XX.

S already noticed in the previous chapter, the oratorio had its origin at the same time as opera, both being phases of the stilo rappresentativo, or the effort to afford musical utterance to dramatic poetry—at first merely a solemn and impressive utterance, later, as the possibilities of the new phase of art unfolded themselves, a descriptive utterance, in which the music colored and emphasized the moods of the text and the situation. The idea of oratorio was not new. All through the Middle Ages they seem to have had miracle plays in the Church, as accessories of the less solemn services, and as means of instruction in biblical history. The mediæval plays had very plain music, which followed entirely the cadences of the plain song, and made no attempt at representing the dramatic situation or the feelings growing out of it. All that the music sought to do was to afford a decorous utterance, having in it, from association with the cadence of the music of the Church, something impressive, yet not in any manner growing out of the drama to which it was set. The Florentine music drama was something entirely different from this, or soon became so, and in oratorio this was just as apparent as in opera, although the opportunities of vocal display were not made so much of.

The modern oratorio exists in two types: The dramatic cantata, of which the form and general idea were established by Carissimi; and the church cantata, which differed from the Italian type chiefly in being of a more exclusively religious character, and of having occasional opportunities for the congregation to join in a chorale. The former of these types was established by Giacomo Carissimi (1604-1674), who was born near Rome, and held his first musical position as director at Assisi, but presently obtained the directorship at the Church of St. Apollinaris in Rome, where he served all the remainder of his long and active life. Without having been a genius of the first order, it was Carissimi's good fortune to exercise an important influence upon the course of musical progress, particularly in the direction of oratorio, in which all the more attractive elements came from his innovations. Carissimi was a prolific composer, having constant occasion for new and pleasing attractions for the musical service of the rich and important Jesuit church, where he held his appointment. These compositions are of every sort, but cantatas form the larger portion, consisting of passages of Scripture set in consecutive form, with due alternation of solo and chorus, in a style at once pleasing and dramatically appropriate. The majority of his compositions have been lost, many of them going to the waste paper baskets when the Jesuits were suppressed. Enough remain, however, to indicate the interest and importance of his work. Moreover, there, is another curious commentary upon the value of his music, in the fact that Händel took twelve measures well nigh bodily out of one of the choruses in Carissimi's "Jephthah," and incorporated them in "Hear Jacob's God" in his own "Samson." Mr. Hullah gives an excellent aria from this work, but it is too long for insertion here. The more important of Carissimi's innovations were in the direction of pleasing qualities in the accompaniments, and agreeable rhythms. He was teacher of several of the most important Italian musicians of the following generation, among them being Bassani, Cesti, Buononcini and Alessandro Scarlatti.

Fig. 47.

HEINRICH SCHÜTZ.

II.

The other type of oratorio received important assistance toward full realization in Germany, at the hands of Mattheson, as already noticed, and from those of Heinrich Schütz (1585-1672), who, after preliminary studies in Italy, where he acquired the Italian representative style from Gabrieli in Venice, in 1609, three years later returned to Germany, and in 1615 was appointed chapel master to the elector of Saxony, a position which he held with slight interruptions until his death, at the advanced age already indicated. Notice has already been taken in a former chapter of his appearance in the field of opera composition, in setting new music to Rinuccini's "Dafne," on account of the German words being incapable of adaptation to the music of Peri. But before this he had demonstrated his versatility and talent in the production of certain settings of the psalms of David, in the form of motettes for eight and more voices. In his second work, an oratorio upon the "Resurrection," he shows the same striving after a freer dramatic expression. His great work "Symphoniæ Sacræ," consists of cantatas for voices, with instrumental accompaniments, in which the instrumental part shows serious effort after dramatic coloration. The first of his works in this style was the "Last Seven Words" (1645), which contained the distinguishing marks of all the later Passion music. It consisted of a narrative, reflections, chorales, and the words of the Lord Himself. Many years later he produced his great Passions (1665-1666), and in these he accomplishes as much of the dramatic expression as possible by means of choruses, which are highly dramatic in style and very spirited. The voluminous works of this master have now been reprinted, and some of them possess a degree of interest warranting their occasional presentation. Schütz occupies an intermediate position between the masters of the old school, with whom the traditions of ecclesiastical modes governed everything, and those who have passed entirely beyond them and polyphony, into modern monody. The music of Schütz is always polyphonic, but there is much of dramatic feeling in it, nevertheless. He was one of those clear-headed, practical masters, who, without being geniuses in the intuitive sense, nevertheless contrive to impress themselves upon the subsequent activity in their province, chiefly through their sagacity in seizing new forms and bringing them into practicable perfection. Into the forms of the Passion, as Schütz created it, Bach poured the wealth of his devotion and his inspiration; so later Beethoven put into the symphony form, created to his hand by the somewhat mechanical Haydn, the amplitude of his musical imagination, which, but for this preparatory work of the lesser master, would have been driven to the creation of entirely new forms for his thoughts, not only hampering the composer, but—which would have been equally unfavorable to his success—depriving him of an audience prepared to appreciate the greatness of the new genius through their previous training in the same general style.

CHAPTER XXI.

HE beginning of instrumental music, apart from vocal, is to be found in the latter part of the sixteenth century, but the main advances toward freedom of style and spontaneous expression were made during the seventeenth, and, as we might expect, originally in Italy, where the art of music was more prosperous, and incitations to advance were more numerous and diversified. Upon all accounts the honor of the first place in the account of this part of the development of modern music is to be given to Andreas Gabrieli (1510-1586), who from a singing boy in the choir of St. Mark's, under the direction of Adrian Willaert, succeeded in 1566 to the position of second organist, where his fame attracted many pupils. Among the numberless compositions emanating from his pen were masses, madrigals, and a considerable variety of pieces for organ alone, bearing the names of "Canzone," "Ricerari," "Concerte," and five-voiced Sonatas, the latter printed in 1586, being perhaps the earliest application of this now celebrated name to instrumental compositions. The pieces of Gabrieli were mostly imitations of compositions for the voice, fugal in style, and with never among them a melody fully carried out. Among the pupils of Andreas Gabrieli were Hans Leo Hassler, the celebrated Dresden composer, and Swelinck, the equally celebrated Netherlandish organist, of whom there is more to be said.

The beginning of organ composition, and the higher art of organ playing, made by Andreas Gabrieli, was carried much farther by his nephew and pupil, Giovanni Gabrieli (1557-1612), who, born and trained at Venice, early entered the service of its great cathedral, and in 1585 succeeded Claudio Merulo as first organist of the same. As a composer Giovanni Gabrieli continued the double-chorus effects which had been such a feature of the St. Mark's liturgy since the time of Willaert, but especially he distinguished himself in improving the style of organ playing, and in giving it a freedom and almost secular character somewhat surprising for the times. A large number of his compositions of all sorts are in print, very many "for voices or instruments." The alternative affords a good idea of the subordinate position still occupied by instrumental music, but a beginning had been made, which later was to lead to great things.

Fig. 48.

JEAN PIETERS SWELINCK.

The art of organ playing found its next great exponents in Holland and Germany, all of them having been pupils of the Venetian master. The most celebrated of these, considered purely as an organist, was Jean Pieters Swelinck (1560-1621), who was born at Deventer in Holland, and died at Amsterdam. He was more celebrated as a performer and improviser than for the instrumental pieces he published. Among his pupils was the celebrated Samuel Scheidt (1587-1654), organist at Halle, who is memorable as the first who made artistic use of the chorale. Scheidt is also famous as the author of a book upon organ tabulature, or the notation for organ, which in Germany at this period was different from that of the piano, and in fact much resembled the tabulature for the lute, from which it was derived. It consists of a combination of lines and signs, by the aid of which the organist was supposed to be capable of deciphering the intentions of the composer. No especial importance appears to have been attached to the difference of notation for instruments and voices in this period. And in fact, until our own times certain instruments, the viola, for example, have had their own notation, different from the voices, and different from that of other instruments. Another celebrated German organist of this period was Johann Hermann Schein, who, with Scheidt and Swelinck, constituted the three great German musical S's of the sixteenth century. Schein (1586-1630) was appointed cantor of the Leipsic St. Thomas school in 1615, and worked there as above. His numberless compositions are more free in style than the average of the century, and a number of them are distinctly secular. Nevertheless, in the development of instrumental music he had but small part, not being one of the highly gifted original geniuses who impress themselves upon following generations. The great German master of this period was Schütz, chapel master at Dresden, whose career forms part of the story of the oratorio, a form of music which he had so large a share in shaping into its present form.

Fig. 49.

SAMUEL SCHEIDT.

II.

In order to come once more into the path of musical empire, we must return again to Italy, where there was an organist at St. Peter's, who had in him the elements of greatness and originality. Girolamo Frescobaldi (1587-1640) was organist of St. Peter's at Rome from 1615. His education had been in part acquired in Italy, and in part in the Netherlands. As a virtuoso he attained an extraordinary success, and one of his recitals is reputed to have been attended by as many as 30,000 people. He distinguished himself as composer no less than as organist, and particularly by his compositions in free style. His Ricerari, Concertos and Canzones were all protests against the bondage of instrumental music to the fetters of vocal forms. It was the compositions of this master, together with those of Froberger, that Sebastian Bach desired to have, and which, in fact, he stole out of his brother's book case, and copied in the moonlight nights.

It would take us too far were we to enumerate all the composers who distinguished themselves in this century, no one of them succeeding in composing anything satisfactory to this later generation, but all contributing something toward the liberation of instrumental music, and all adding something to its too limited resources. Among these names were those of Johann Kasper Kerl, organist at St. Stephen's church in Vienna, who, after having served with distinction at Munich, returned later and died at Vienna in 1690. Another of these German masters, also one of those whose compositions Bach wished to study, was Johann Pachelbel, of Nuremberg (1635-1706). In 1674 he was assistant organist at Vienna, in 1677 organist at Eisenach, and soon back to Nuremberg a few years later. His multifarious works for organ, among which we find a variety of forms, were perhaps the chief model upon which Sebastian Bach formed his style. He especially excelled in improvising choral variations, and in fanciful and musicianly treatment of themes proposed by the hearer. Yet another name of this epoch, that of George Muffat, is now almost forgotten. He studied in France, and formed his style upon that of the French. A later master, also very influential in the style of Sebastian Bach, was Dietrich Buxtehude (1637-1707). For nearly forty years he was organist at the Church of St. Mary at Lübeck, where he was so celebrated that the young Sebastian Bach made a journey on foot there in order to hear and master the principles of his art. Buxtehude wrote a great number of pieces in free style for the organ, and, while his works have little value to modern ears, there is no doubt that this master was an important influence upon the enfranchisement of instrumental music. Among all these Netherlandish organists few are better known by name at the present day than Johann Adam Reinken (1623-1722), who was born at Deventer, Holland, and after the proper elementary and finishing studies, succeeded his master, Scheidemann, as organist at Hamburg. Here his fame was so great that the young Bach made two journeys there on foot, in order to hear him. He was a virtuoso of a high order, and his style exercised considerable influence over that of Bach.

Fig. 50.

JOHANN ADAM REINKEN.

III.

Return we now to Italy, where the violin led also to an important development of instrumental music, having in it the promise of the best that we have had since. In Fusignano, near Imola, was born in 1653 Archangelo Corelli, who became the first of violin virtuosi, and the first of composers for the instrument, and for violins in combination with other members of the same family, and so of our string quartette. He died in 1713 at Rome. Of his boyhood there is little known. About 1680 he appears in high favor at the court of Munich. In 1681 he was again in Rome, where he appears to have found a friend in Cardinal Ottoboni, in whose palace he died. His period of creative activity extended from 1683, when he began the publication of his forty-eight three-voiced sonatas, for two violins, in four numbers of twelve sonatas each. He also composed many other sonatas for the violin, for violin and piano, and for other instruments. These epoch-marking works are held in high esteem at the present time, and are in constant use for purposes of instruction.

Meanwhile the orchestra had been steadily enriched through the competition of successive operatic composers, each exerting himself to produce more effect than the preceding. In this way new combinations of tone color were contrived, and now and then introduced in a fortunate manner, and effects of greater sonority were attained through the greater number of instruments, and the more expert use of those they had. In the present state of knowledge it would be very difficult, if not impossible, to trace the successive steps of this progress, and to give proper credit to each composer for his own contribution to the general stock. At best, the orchestra at the end of this century was somewhat meager. The violin and the other members of its family had taken their places somewhat as we now have them, but the number of basses and tenors was much less than at present, their place being filled by the archlute and the harpsichord. The trumpet was occasionally employed, the flute, the oboe, and very rarely the trombone. The conductor at the harpsichord, playing from a figured bass, filled in chords according to his own judgment of the effect required. Nothing approaching the smoothness and discreet coloration of the orchestra of the present day, or even of the Haydn orchestra, existed at this time. The violin players were very cautious about using the second and third "positions," but played continually with their hands in the first position. This part of the music, therefore, wholly lacked the freedom which it now has, and the whole progress of this century was purely apprentice work in instrumental music, its value lying in its establishing the principle, first, that instrumental music might exist independently of vocal, and, second, that it might enhance the expressiveness of vocal music when associated with it. The groundwork of the two great forms of the period next ensuing, the fugue and the sonata, had been laid, and a certain amount of precedent established in favor of free composition in dance and fantasia form. Meanwhile the pianoforte of the day, the clavicembalo, as the Italians called it, had been considerably improved. The present scale of music had been demonstrated by Zarlino, and the ground prepared for the great geniuses whose coming made the eighteenth century forever memorable as the blossoming time of musical art.

Upon the whole, perhaps the most important part of the actual accomplishment of this century was in musical theory. While musicians for centuries had been employing the major and minor thirds, and the triads as we now have them, the fact had remained unacknowledged in musical theory, and the supposed authority of the Greeks still remained binding upon all. Zarlino, however, made a new departure. He not only assigned the true intervals of the major scale, according to perfect intonation, but argued strongly for equal temperament, and demonstrated the impossibility of chromatic music upon any other basis. Purists may still continue to doubt whether this was an absolute advantage to the art of music, since it carries with it the necessity of having all harmonic relations something short of perfection; but the immediate benefit to musical progress was unquestionable, and according to all appearance the art of music is irrevocably committed to the tempered scale of twelve tones in the octave.

CHAPTER XXII.

T is not easy to characterize simply and clearly the nature of the musical development which took place during the eighteenth century. The blossoming of music was so manifold, so diversified, so irrepressible in every direction, that there was not one single province of it, wherein new and masterly creations were not brought out. The central figures of this period were those of the two Colossi, Bach and Händel; after them Haydn, the master of genial proportion and taste; Mozart, the melodist of ineffable sweetness, and finally at the end of the century, the great master, Beethoven. In opera we have the entire work of that great reformer, the Chevalier Gluck, and a succession of Italian composers who enlarged the boundaries of the Italian music-drama in every direction, but especially in the direction of the impassioned and sensational. Add to these influences, already sufficiently diversified, that of a succession of brilliant virtuosi upon the leading instruments, whereby the resources of all the effective musical apparatuses were more fully explored and illustrated, with the final result of affording the poetic composer additional means of bringing his ideas to a more effective expression—and we have the general features of a period in music so luxuriant that in it we might easily lose ourselves; nor can we easily form a clear idea of the entire movement as the expression of a single underlying spiritual impulse. Yet such in its inner apprehension it most assuredly was.

Upon the whole, all the improvements of the time arrange themselves into two categories, namely: The better proportion, contrast, and more agreeable succession of moments in art works; and, second, the more ample means for intense expression. In the department of form, indeed, there was a very important transition made between the first half of the century and the last. The typical form of the first part of this division was the fugue, which came to a perfection under the hands of Bach and Händel, far beyond anything to be found in the form previously. The fugue was the creation of this epoch, and while based upon the general idea of canonic imitation, after the Netherlandish ideal, it differed from their productions in several highly significant respects. While all of a fugue is contained within the original subject, and the counter-subject, which accompanies it at every repetition, it has an element of tonality in it which places it upon an immensely higher plane of musical art than any form known, or possible, before the obsolescence of the ecclesiastical modes. Moreover, the fugue has opportunities for episode, which enable it to acquire variety to a degree impossible for any form developed earlier; and which, when these opportunities were fresh, afforded composers a field for the display of fancy which was practically free. This, one may still realize by comparing the different fugues in Bach's "Well Tempered Clavier" with each other, and with those of any other collection. It is impossible to detect anywhere the point where the inspiration of the composer felt itself bound by the restrictions of this form. It was for Bach and Händel practically a free form. And the few other contemporaneous geniuses of a high order either experienced the same freedom in it, or found ways of evading its strictness by the production of various styles of fancy pieces, which, while conforming to the fugue form in their main features, were nevertheless free enough to be received by the musical public of that day with substantially the same satisfaction as a fantasia would have been received a century later. Roughly speaking, Bach and Händel exhausted the fugue. While Bach displayed his mental activity in almost every province of music, and like some one since, of whom it has been much less truthfully said, "touched nothing which he did not adorn," he was all his life a writer of fugues. His preludes are not fugues, and their number almost equals that of the fugues; but the operative principles were not essentially different—merely the applications of thematic development were different. Yet strange as it may seem, within thirty years from his death it became impossible to write fugues, and at the same time be free. Why was this?

A new element came into music, incompatible with fugue, requiring a different form of expression, and incapable of combination with fugue. That element was the people's song, with its symmetrical cadences and its universal intelligibility. Let the reader take any one of the Mozart sonatas, and play the first melody he finds—he will immediately see that here is something for which no place could have been found in a fugue, nor yet in its complement, the prelude of Bach's days. The same is true of many similar passages in the sonatas of Haydn. Music had now found the missing half of its dual nature. For we must know that in the same manner as the thematic or fugal element in music represents the play of musical fantasy, turning over musical ideas intellectually or seriously; so there is a spontaneous melody, into which no thought of developing an idea enters. The melody flows or soars like the song of a bird, because it is the free expression, not of musical fantasy, as such (the unconscious play of tonal fancy), but the flow of melody, song, the soaring of spirit in some one particular direction, floating upon buoyant pinions, and in directions well conceived and sure. The symmetry of the people's song follows as a natural part of the progress. The spontaneous element of the music of the northern harpers now found its way into the musical productions of the highest geniuses. Henceforth the fugue subsides from its pre-eminence, and remains possible only as a highly specialized department of the general art of musical composition, useful and necessary at times, but nevermore the expression of the unfettered fancy of the musical mind.

The discovery of the secret of musical contrast, in the types of development, the thematic and the lyric, led to the creation of a new form, in which they mutually contrast with and help each other. That form was the Sonata, which having been begun earlier, was developed further by the sons of Bach, but which received its characteristic touches from the hands of Haydn and Mozart. This was the crowning glory of the eighteenth century—the sonata. A form had been created, into which the greatest of masters was even then beginning to breathe his mighty soul, producing thereby a succession of master works, which stand without parallel in the realm of music.

CHAPTER XXIII.

Fig. 51.

JOHN SEBASTIAN BACH.

It is the remarkable glory of Bach to have rendered his compositions indispensable to thorough mastery in three different provinces of musical effort. The modern art of violin playing rests upon two works, the six sonatas of Bach for violin solo, and the Caprices of Paganini. The former contain everything that belongs to the classical, the latter everything that belongs to the sensational. In organ playing the foundation is Bach, and Bach alone. Nine-tenths of organ playing is comprised in the Bach works. Upon the piano his influence has been little less. While it is true that at least four works are necessary for making a pianist of the modern school, viz., the "Well Tempered Clavier," of Bach; the "Gradus ad Parnassum," of Clementi; the "Studies," of Chopin, and the Rhapsodies, of Liszt, the works of Bach form, on the whole, considerably more than one-third of this preparation. Nor has the influence of Bach been confined to the province of technical instruction alone. On the contrary, all composers since his time have felt the stimulus of his great tone poems, and Mendelssohn, Schumann, Chopin and Wagner found him the most productive of great masters.

The life of Bach need not long detain us. A musician of the tenth generation, member of a family which occupies a liberal space in German encyclopedias of music, art and literature, Sebastian Bach led the life of a teacher, productive artist and virtuoso, mainly within the limits of the comparatively unimportant provincial city of Leipsic. His three wives in succession and his twenty-one children were the domestic incidents which bound him to his home. Here he trained his choir, taught his pupils, composed those master works which modern musicians try in vain to equal, and the even tenor of his life was broken in upon by very few incidents of a sensational kind. We do not understand that Bach was a virtuoso upon the violin, although no other master has required more of that greatest of musical instruments. Upon the piano and organ the case is different. Bach's piano was the clavier, upon which he was the greatest virtuoso of his time. His touch was clear and liquid, his technique unbounded, and his musical fantasy absolutely without limit. Hence in improvisation or in the performance of previously arranged numbers he never failed to delight his audience. It was the same upon the organ. The art of obligato pedal playing he brought to a point which it had never before reached and scarcely afterward surpassed. He comprehended the full extent of organ technique, and with the exception of a few tricks of quasi-orchestral imitation, made possible in modern organs, he covered the entire ground of organ playing in a manner at once solid and brilliant. Many stories are told of his capacity in this direction, but the general characterization already given is sufficient. He was a master of the first order. The common impression that he played habitually upon the full organ is undoubtedly erroneous. He made ample use of registration to the fullest extent practicable on the organs of his day.

The most remarkable feature of the career of Bach is his productivity in the line of choral works. As leader of the music in the St. Thomas church, he had under his control two organs, two choirs, the children of the school and an orchestra. For these resources he composed a succession of cantatas, every feast day in the ecclesiastical year being represented by from one to five separate works. The total number of these cantatas reaches more than 230. Some of them are short, ten or fifteen minutes long, but most of them are from thirty to forty minutes, and some of them reach an hour. Their treasures have been but imperfectly explored, although most of them are now in print. In the course of his ministrations at Leipsic he produced five great Passion oratorios for Good Friday in Holy Week. The greatest of these was the Passion of St. Matthew, so named from the source of its text. This work occupies about two hours in performance. It is in two parts, and the sermon was supposed to intervene. It consists of recitative, arias and choruses, some of which are extremely elaborate and highly dramatic. The other Passions are less fortunate. Nevertheless they contain many beautiful and highly dramatic moments. Bach's oratorios belong to the category of church works, as distinguished from those intended for concert purposes. This is seen especially in the treatment of the chorale, in which he expects the congregation to co-operate. In one direction Bach was subject to serious limitation. His knowledge of the voice, and his consideration for its convenience, were far below the standard of composers of the same time educated in Italy. In his works, while many passages are very impressive, and while the melody and harmony are always appropriate to the matter in hand, the intervals and especially the convenience of the different registers of the voice are very imperfectly considered, for which reason his works have not been performed to anything like the extent to which their musical interest would otherwise have carried them. This is especially true of the greatest of all, the Passion according to St. Matthew. It was first performed on Good Friday, 1729, in the St. Thomas church at Leipsic, and it does not appear to have been given again until 1829, when Mendelssohn brought it out. Since that time it has been given almost every year in Leipsic, and more or less frequently in all the musical centers of the world, but its elaboration is very great and its vocal treatment unsatisfactory to solo voices, for which reason it succeeds only under the inspiration of an artistic and enthusiastic leader. In fact, all the great works of Bach are more or less in the category of classics, which are well spoken of and seldom consulted. While, in Beethoven's time, the whole of the "Well Tempered Clavier" was not thought too much for an ambitious youngster, at the present time there are few pianists who play half a dozen of these pieces. The easier inventions for two parts, some of the suites, several gavottes, modernized from his violin and chamber music, and a very few of his other pieces for the clavier, are habitually played.

It would be unjust to close the account of this great artist without mentioning what we might call the prophetic element in his works. The great bulk of Bach's compositions are in two forms, the Prelude and the Fugue. The fugue came to perfection in his hands. It was an application of the Netherlandish art of canonic imitation, combined with modern tonality. In a fugue the first voice gives the subject in the tonic, the second voice answers in the dominant, the third voice comes again in the tonic, and the fourth voice, if there be one, again in the dominant. Then ensues a digression into some key upon what theorists call the dominant side, when one or two voices give out the subject and answer it again, always in the tonic and dominant of the new key. Then more or less modulating matter, thematically developed out of some leading motive of the subject, and again the principal material of the theme, with one or more answers. The final close is preceded by a more or less elaborate pedal point upon the dominant of the principal key, after which the subject comes in. With very few exceptions the fugues of Bach are in modern tonality, the major key or the modern minor, with their usual relatives.

The prelude is a less closely organized composition. Sometimes it is purely harmonic in its interest, like the first of the "Well Tempered Clavier." At other times it is highly melodic, like the preludes in C sharp major and minor of the first book of the Clavier, and, as a rule, the prelude either treats its motives in a somewhat lyric manner or dispenses with the melodic material altogether. Thus the prelude and fugue mutually complete each other. But it is a great mistake to regard Bach as a writer of fugues alone. He was also very free in fantasies, and one of his pianoforte works, concerning the origin of which nothing whatever is known, the "Chromatic Fantasia and Fugue," is one of the four or five greatest compositions that exist for this instrument. The remarkable thing about this fantasia is the freedom of its treatment and the facility with which it lends itself to virtuoso handling, as distinguished from the rather limited treatment of the piano usual in Bach's works. The second part of the fantasia is occupied by a succession of recitatives of an extremely graphic and poetic character. Melodically and harmonically these recitatives are thoroughly modern and dramatic, the latter element being very forcibly represented by the succession of diminished sevenths on which the phrases of the recitative end. The fugue following is long, highly diversified and extremely climactic in its interest. In other parts of his work Bach has left fantasies of a more descriptive character. He has, for instance, a hunting scene with various incidents of a realistic character, and in general he shows himself in his piano works a man of wide range of mind and extremely vigorous musical fantasy.

In the department of concertos for solo instruments and orchestra, his works are very rich. There are a large number for piano, quite a number for organ, several for two and three pianos, with orchestra, and various other combinations of instruments, such as two violins and 'cellos, and so on. In these each solo player has an equal chance with the other, and solos and accompaniment work together understandingly for mutual ends. The most noticeable feature of his elaborate works is the rhythm, which is vigorous, highly organized and extremely effective. In the department of harmony, it is believed by almost all close observers that no combination of tones since made by any writer is without a precedent in the works of Bach; the strange chords of Schumann and Wagner find their prototypes in the works of this great Leipsic master. Melodically considered, Bach was a genius of the highest order. Not only did he make this impression upon his own time and upon the great masters of the next two generations, but many of his airs have attained genuine popularity within the present generation, and are played with more real satisfaction than most other works that we have. This is the more remarkable because from the time of his first residence in Leipsic when he was only twenty-four years old he went out of that city but a few times, and heard very little music but his own. He was three times married, and had twenty-one children, many of whom were musical. Three of his sons became eminent, and the principal episode of his later life was his visit to Potsdam, where his son, Carl Phillip Emanuel, was musician to Frederick the Great. Here he was received with the utmost informality by the king and made to play and improvise upon all the pianos and organs in the palace and the adjacent churches. As a reminiscence of this visit he produced a fugue upon a subject given by Frederick himself, written for six real parts. This work was called the "Musical Offering," and was dedicated to Frederick the Great. In his later years Bach became blind from having over-exerted his eyes in childhood and in later life. He died on Good Friday in 1750.

CHAPTER XXIV.

HE companion figure to Bach, in this epoch, was that of George Frederick Händel, who was born at the little town of Halle in the same year as Bach, 1685, and died in London in 1759. Händel's father was a physician, and although the boy showed considerable aptitude for music his father did not think favorably of his pursuing it as a vocation; but the fates were too strong for him. When George Frederick was about eight years old, he managed to go with his father to the court of the duke of Saxe Weissenfels, some distance away, where an older brother was in service. Here he obtained access to the organ in the chapel, and was overheard by the duke, who recognized the boy's talent, and, with the authority inherent in princely rank, admonished the father that on no account was he to thwart so gifted an inclination. Accordingly the youngster had lessons in music upon the clavier, the organ and the violin, the three standard instruments of the time. The older Händel died, and before he was nineteen George Frederick made his way to Hamburg, which was then one of the musical centers of Germany. Here he obtained an engagement in the theater orchestra as ripieno violin, a sort of fifth wheel in the orchestral chariot, its duty being that of filling in missing parts. The boy was then rather more than six feet high, heavy and awkward. He was an indifferent violinist, and the other players were disposed to make a butt of him, although he was known to be an accomplished harpsichordist. It happened presently, however, that the leader of the orchestra, who presided at the harpsichord, fell sick, and Händel, being at the same time the best harpsichordist and the poorest violinist of all, was placed at the head. He carried the rehearsals and the performances through with such spirit that it resulted in his being made assistant director, and two works of his were presently performed—"Almira" and "Nero." The first made a great hit and was retained in performance for several weeks. The Italian ambassador immediately recognized the talent of the young man, and offered to take him to Italy in his suite, but Händel declined, preferring to go with his own money, which, after the production of "Nero," and its successful run of several weeks, he was able to do.

Fig. 52.

GEORGE FREDERICK HÄNDEL.

1685-1759.

Accordingly we find him in Italy, in 1710, first at Naples, where he made the acquaintance of the greatest harpsichord player of that time, Domenico Scarlatti. The style of the young German was so charming, and so different from that of the great Italian player, that he immediately became a favorite, and was called Il Caro Sassone ("The dear Saxon"). He produced an opera in Naples with good success. Afterward he produced others at Rome and Venice. In a few years he was back at Hanover, where he was made musical director to the Elector George, who afterward became George I of England. Here, presently, he took a vacation in order to visit London, where he found things so much to his liking that he remained, having good employment under Queen Anne, and a public anxious to hear his Italian operas. Presently Queen Anne died and George the First came over to reign as king. This was altogether a different matter, for Händel had his unsettled account with the elector of Hanover, upon whom he had so cavalierly turned his back. The peace was finally made, however, by a set of compositions very celebrated in England under the name of "The Water Music." When King George was going from Whitehall to Westminster in his barge, Händel followed with a company of musicians, playing a succession of pieces, which the king knew well enough for a production of his truant capellmeister. Accordingly he received him once more into favor, and Händel went on with his work.

For upwards of twenty years, Händel pursued his course in London as a composer of Italian operas, of which the number reached about forty. During the greater part of his time he had his own theater, and employed the singers from Italy and elsewhere, producing his works in the best manner of his time. His operas were somewhat conventional in their treatment, but every one of them contained good points. Here and there a chorus, occasionally a recitative, now and then an aria—always something to repay a careful hearing, and occasionally a master effect, such as only genius of the first order could produce. His education during this period was exactly opposite to that of Bach. Bach lived in Leipsic all his life, and, being in a position from which only a decided fault of his own could discharge him, he consulted no one's taste but his own, writing his music from within, and adapting it to his forces in hand, or not adapting it, as it pleased him. Händel, on the other hand, had always the public. He commenced as an operatic composer. As an operatic composer he succeeded in Hamburg, and as an operatic composer he succeeded in Italy. The same career held him in London. There was always an audience to be moved, to be affected, to be pleased, and there were always singers of high talents to carry out his conceptions. Hence his whole training was in the direction of smoothness, facility, pleasing quality. Nevertheless, there came an end to the popularity of Händel. A most shabby pasticcio called the "Beggar's Opera," was the immediate cause of his downfall. This queer compilation was made up of old ballad tunes, with hastily improvised words, and the merest thread of a story, and included some tunes of Händel's own. This being produced at an opposition house, took the town. The result was that Händel was bankrupted for the second time, owing more than £75,000.

Some time before this he had held the position of private musical director to the earl of Chandos, who had a chapel in connection with his palace, a short distance out of London, as it then was. In this place Händel had already produced a number of elaborate anthems and one oratorio—"Esther." In the stress of his present circumstances, after a few weeks, he remembered the oratorio of "Esther," and immediately brought it out in an enlarged form. The effect was enormous. Whatever the English taste might be for opera, for oratorio their recognition was irrepressible. "Esther" brought him a great deal of money, and he presently wrote other oratorios with such good effect that in a very few years he had completely paid up the enormous indebtedness of his operatic ventures. At length, in 1741, he composed his master work—the "Messiah." This epoch-marking composition was improvised in less than a fortnight, a rate of speed calling for about three numbers per day. The work was produced in Dublin for charitable purposes. It had the advantage of a text containing the most beautiful and impressive passages of Scripture relating to the Messiah, a circumstance which no doubt inspired the beauty of the music, and added to the early popularity of the work. In later times it is perhaps not too much to say that the music has been equally useful to the text, in keeping its place in the consciousness of successive generations of Christians. In this beautiful master work we have the result of the whole of Händel's training. The work is very cleverly arranged in a succession of recitatives, arias and choruses, following each other in a highly dramatic and effective manner. There are certain passages in the "Messiah" which have never been surpassed for tender and poetic expression. Among these are the "Behold and See if There Be Any Sorrow Like His Sorrow," "Come unto Him," and "He was Despised." In the direction of sublimity nothing grander can be found than the "Hallelujah," "Worthy is the Lamb," "Lift up Your Heads," nor anything more dramatically impressive than the splendid burst at the words, "Wonderful," "Counsellor." The work, as a whole, while containing mannerisms in the roulades of such choruses as "He shall Purify," and "For unto Us," marks the highest point reached in the direction of oratorio; for, while Händel himself surpassed its sublimity in "Israel in Egypt," and Bach its dramatic qualities in the thunder and lightning chorus in the St. Matthew Passion; and Mendelssohn its melodiousness in his "Elijah"; for a balance of good qualities, and for even and sustained inspiration throughout, the "Messiah" is justly entitled to the rank which, by common consent, it holds as the most complete master work which oratorio can show.

In the "Israel in Egypt" Händel illustrates a different phase of his talent. This curious work is composed almost entirely of choruses, the most of which are for two choirs, very elaborately treated. Among them all, the two which perhaps stand out pre-eminent are "The Horse and His Rider" and the "Hailstone," two colossal works, as dramatic as they are imposing. The masterly effect of the Händelian chorus rests upon the combination of good qualities such as no other master has accomplished to the same extent. They are extremely well written for the voice, with an accurate appreciation of the effect of different registers and masses, the melodic ideas are smooth and vigorous, and the harmonic treatment as forcible as possible, without ever controlling the composer further than it suited his artistic purpose to go. Bach very often commences a fugue which he feels obliged to finish, losing thereby the opportunity of a dramatic effect. Händel perfects his fugue only when the dramatic effect will be improved by so doing, and in this respect he makes a distinct gain over his great contemporary at Leipsic. The total list of the Händel works comprises the following: Two Italian oratorios; nineteen English oratorios; five Te Deums; six psalms; twenty anthems; three German operas; one English opera; thirty-nine Italian operas; two Italian serenatas, two English serenatas; one Italian intermezzo, "Terpsichore"; four odes; twenty-four chamber duets; ninety-four cantatas; seven French songs; thirty-three concertos; nineteen English songs; sixteen Italian airs; twenty-four sonatas.

Händel was never married; nor, so far as we know, ever in love. He had among his friends some of the most eminent writers of his day, such as Addison, Pope, Dean Swift and others. His later years were so successful that when he died his fortune of above £50,000 was left for charitable purposes. This was after he had paid all of the indebtedness incurred in his earlier bankruptcy. It would be a mistake to dismiss this great master without some notice of his harpsichord and organ playing. As a teacher of the princesses of the royal family, he produced many suites and lessons for the harpsichord, in one of which, as an unnoticed incident, occur the air and variations since so universally popular under the name of "The Harmonious Blacksmith." It is not known to whom the composer was indebted for the name generally applied to this extremely broad air, and clever variations. Very likely some music publisher was the unknown poet. As an organist Händel was both great and popular. In the middle of his oratorios he used to play an organ concerto with orchestra. Of these compositions he wrote a very large number. They are always fresh and hearty in style, well written for organ, and with a very flowing pedal part. Händel appears to have played the pedals upon a somewhat different plan from that of Bach. Bach is generally supposed to have used his toes for the most part, employing the heel only for an occasional note where the toes were insufficient. Händel seems to have used toe and heel habitually in almost equal proportion.

It is a curious feature of the later part of Händel's career that he brought out his oratorios in costume. Several of the original bills are extant, in which an oratorio is promised "with new cloathes." "Esther" is said to have been given with complete stage appointment at Chandos, like an opera; but the Lord Chamberlain prohibited future representations of the kind on account of the supposed sacredness of the subject. Afterward the characters were costumed, and the stage set, but there was no action. While Händel was German by birth, his long residence in England and his habitual writing for the last ten or fifteen years of his life oratorios in the English language, made him, to all intents and purposes, an English composer. For nearly a century he stood to the English school as a model of everything that was good and great, to such an extent that very little of original value was accomplished in that country, and when, by lapse of time and a deeper self-consciousness on the part of English musicians, this influence had begun to wane, a new German composer came in the person of Felix Mendelssohn Bartholdy, who, in turn, became a popular idol, and for many years a barrier to original effort.

The influence of Händel upon the later course of music is by no means so marked as that of Bach. Nevertheless, he was one of the great tone poets of all times, and his works form an indispensable part of the literature of music. It was his good fortune to embody certain types of melody and harmony with a clearness and effectiveness that no other composer has equaled. The oratorio, in particular, not only fulfilled itself in Händel, but we might almost say completed itself there, for very little of decided originality has been produced in this department since. The Händelian operas have been mostly forgotten for many years, but they contain gems of melody in the solo and chorus parts which have still a future. His first opera, "Almira," was revived at Hamburg a few years ago with remarkable effect, and it is not at all unlikely that extracts from many of the other works will eventually find their way into the current repertory of the singer, as many of the arias already have.

CHAPTER XXV.

ONE of the sons of Bach inherited the commanding genius of their father, although four of them showed talent above the average of musicians of their day, and one of them distinguished himself and exercised an important influence upon the subsequent course of pianoforte music. The most gifted of Bach's sons was Wilhelm Friedmann, the eldest (1710-1784), who was especially educated by his father for a musician. He turned out badly, however, his enormous talents not being able to save him from the natural consequences of a dissolute life. He died in Berlin in the greatest degradation and want. This Bach wrote comparatively few compositions, owing to his invincible repugnance to the labor of putting them upon paper; he was famous as an improviser, and certain pieces of his in the Berlin library are considered to manifest musical gifts of a high order. Johann Christian (1735-1782), the eleventh son, known as the Milanese or London Bach, devoted himself to the lighter forms of music, and after having served some years as organist of the cathedral at Milan, and having distinguished himself by certain operas successfully produced in Italy, he removed to London, where he led an easy and enjoyable life. He was an elegant and fluent writer for the pianoforte. The one son of Bach who is commonly regarded as having left a mark upon the later course of music was Carl Philip Emanuel (1714-1788), the third son, commonly known as the Berlin or Hamburg Bach. His father intended him for a philosopher, and had him educated accordingly in the Leipsic and Frankfort universities, but his love for music and the thorough grounding in it he had at home eventually determined him in this direction. While in the Frankfort University he conducted a singing society, which naturally led to his exercising himself in composition. Presently he gave up law for music, and going to Berlin he obtained an appointment as "Kammer-musiker" to Frederick the Great, his especial business being that of accompanying the king in his flute concertos. The seven years' war having put an end to these duties, he migrated to Hamburg, where he held honorable appointments as organist and conductor until his death. He wrote in a tasteful and free, but somewhat superficial, style; and while his compositions bear favorable comparison with those of other musicians of his time, they are by no means of a commanding nature like those of his father. There were, however, two reasons for this, wholly aside from the question of less ability in the younger composer. One of these is to be found in the free form which Emanuel Bach began to develop. Sebastian Bach had the advantage of writing his greatest works in a form which had been prepared for him, without having been exhausted. The technique of fugue had been created before his time, but its possibilities in the direction of freedom and spontaneity had never been illustrated. Bach proceeded to do this for the fugue form, and, it may be added, did it with such amplitude that no composer has been able to write a free and original fugue since. The son recognizing both that the fugue had been exhausted as a free art-form, and feeling no doubt that something more intuitively intelligible than fugue was possible, addressed himself to composition in the free style, in which the means of producing effects had not yet been mastered. The thematic use of material had been acquired, or was easily inferable from the fugue, but the proper manner of contrasting that material with other, calculated to relieve the attention and at the same time intensify the interest, remained for later explorers. The missing contrast was the lyric element, but it was not until the next generation of composers that it came into pianoforte music in satisfactory form. Accordingly the sonatas of Emanuel Bach sound dry and superficial, and while they are interesting as the remote models upon which Beethoven occasionally built, they do not repay study for the purposes of public performance. There is little heart in them. As a literary musician Bach deserves to be remembered for his work upon "The True Art of Playing the Piano." This was the first systematic instruction book for the instrument of which we have a record, and it still is the main dependence for information concerning the method of Bach's playing, and the way in which he intended the embellishments in his works to be performed.

II.

In the little village of Rohrau, in Austria, was born to a master wheelwright's wife, in 1732, a little son, dark-skinned, not large of frame, nor handsome, but gifted with that most imperishable of endowments, a genius for melody and tonal symmetry. The baby was named Francis Joseph, and he grew to the age of about six in the family of his parents, in a little house which although twice somewhat rebuilt, still stands in its original form. Hither people come from many lands in order to see the birthplace of the great composer Haydn, the indefatigable and simple-hearted tone poet of many symphonies, sonatas, and the two favorite cantatas or oratorios, the "Creation" and the "Seasons." In his earliest childhood the boy showed a talent for music, which, as his parents both sang and played a little, he had often an opportunity of hearing. Before he was quite six years old he was able to stand up in the choir of the village church and lead in solos, with his sweet and true, if not strong, voice. This was his delight. At length George Reutter, the director of the music in the cathedral of St. Stephen at Vienna, heard him, and offered the boy a place in his choir. Now indeed his fortune seemed made, and he embraced the offer with gratitude. As a choir boy he ought to have been taught music in a thorough manner, but as Reutter was rather a careless man this did not happen in Haydn's case, but the boy grew up in his own devices. He composed constantly, without having had the slightest regular training. One day Reutter saw one of his pieces, a mass movement for twelve parts. He offered the passing advice, that the composer would have done better to have taken two voices, and that the best exercise for him would be to write "divisions" (variations) upon the airs he sang in the service—but no instruction. At length the boy's voice began to break, and at the age of fourteen or fifteen, he was turned out to shift for himself. He found an asylum in the house of a wig maker, Keller, with whom he lived for several years, earning small sums by lessons, playing the organ at one of the churches, the violin at another, singing at another and so on, in all managing to place himself upon the road to fortune—that of industry and sobriety. This part of his career lasted from 1748, when he left the choir of the cathedral, to 1752, when he became accompanist to the Italian master, Porpora, who was then living in Vienna in the house of an Italian lady, whose daughter's education he was superintending. With Porpora he learned the art of singing, and the proper manner of accompanying the voice. He also got many hints in regard to the correct manner of composing. He had already produced a number of works in various styles. In 1759 he was appointed conductor of the music at the palace of Count Morzin, where he had a small number of musicians under his direction, only sixteen in all. Here he began his life work. Two years later he was invited to assume the assistant directorship of the private orchestra and choir of Prince Esterhazy, who lived in magnificent style, and for many years had maintained a private musical chapel. Very soon the old prince died, and his son reigned in his place. The new master was the one named "The Magnificent," and greatly enlarged the musical appointment of his predecessor. He built a great palace at Esterhaz, where there was a theater, in which opera was given, and a smaller one where there was a marionette company, the machinery of which had been brought to great perfection. There were frequent concerts. The prince was a great amateur of the peculiar viol called the barytone, and it was one of Haydn's duties to provide new compositions for this instrument. Here for thirty years he continued in service, with few interruptions, and always on the very best of terms with his prince, and with the men under him. The players called Haydn "Papa."

Fig. 53.

Owing to its situation, remote from town, and to the prince's constantly increasing aversion to living in Vienna, Haydn scarcely left the vicinity for years together. Here, wholly from within his own resources, he evolved a succession of works in every style, and for almost every possible combination of instruments, from operas for the large theater, to marionette music for the small place, orchestral compositions, among which the 175 symphonies form a not inconsiderable portion; there are also concertos for many kinds of instruments, and songs, masses, divertissements and the like. In short, there is scarcely any form of music which Haydn did not have to make at some time or other in his long service in the Esterhazy establishment. Being his own orchestral director, he had the opportunity of trying and experimenting and of realizing what would be effective and what would not. The motive mainly operative in his work, necessarily, was that of pleasing and amusing. Nobler intentions were not wanting, but the pleasing element had to be considered in most that he did. Thus he developed a style of his own, original, becoming, with a certain taste and symmetry, and with a melodious element which never loses its charm. Withal he became very clever in his treatment of themes. It was a saying of his that the "idea" did not matter at all; "treatment is everything." From this standpoint it is impossible to deny Haydn the credit of having accomplished his ideal.

He commenced his musical career as a violinist and a singer. His orchestral symphonies were for violins (for strings), with occasional seasoning from the brass and wood wind. The constant study of the violin led to modifications in his style, and evolved first, the string quartette in the form which has always remained standard. The symphonies are only larger string quartettes, for, in the order of the themes, the general manner of treating them and the principles of contrast or relief which actuated them, the quartettes are sonatas, as also are the symphonies. Haydn gave the sonata form its present shape. The insertion of a second theme in the first movement, and the principle of contrasting this second theme with the first in such a way that the second theme is generally lyric in style, or at least tending in that direction, was Haydn's. He also developed the middle part of the sonata into what is known as the "elaboration," "Durchführungssatz". The cantabile slow movement, modeled somewhat after the Italian cantilena, was his. Mozart and Beethoven did wonders with it later, but the suggestion was Haydn's. The endless productivity, the constant succession of new pieces demanded, led to a somewhat systematic proceeding in their production, and so the form and the method of the sonata became stereotyped. All the instrumental movements of this time, whenever there was any serious intention, assumed the form of sonatas; i.e., of the instrumental sonatas—the symphony and the quartette.

At length Haydn's master died, and he accepted an invitation from Salamon, the publisher, to London, where he produced several new symphonies, conducted many concerts and returned to Vienna richer by about $6,000 than when he had left his home a few months before. He had become a great master, known all over the world, without himself knowing it. If any man ever woke up and found himself famous, Haydn was that man, although he had been in the way of having his compositions played and sung before most of the important personages in Europe for years, Prince Esterhazy being a royal entertainer. It was for Madrid that Haydn composed his first Passion oratorio, "The Last Seven Words." This work, by a curious chance, he made over into an instrumental piece for his London concerts, the prejudice against "popery" preventing its being given there in its original form. In 1794 he was again in London. Upon the first visit to London he took the journey down the Rhine, and at Bonn, in going or coming, the young Beethoven showed him a new cantata. In 1794 he was again in London, where the same success attended him as before. He produced many new works, and was royally entertained. Again he went home richer by many thousands of dollars than when he set out. With his savings he purchased a house in the suburbs of Vienna, where he lived the remainder of his life, dying in 1809. It was during these last years that he wrote his two oratorios already mentioned. That by which he is best known is the "Creation," which is a master work indeed, if only we do not look in it for too much of the distinctly religious or sublime. It belongs to the pleasing in art, and certain of its numbers are worthy of Italian opera, so sweetly melodious are they, yet ever refined and beautiful. Of this kind are the solo arias, "On Mighty Pens," the famous "With Verdure Clad," the lovely trio, "Most Beautiful Appear." Several choruses in this work are really splendid. At the head of the list I would place the two choruses, "Achieved Is the Glorious Work," with the beautiful trio between, "On Thee Each Living Soul Awaits." The development of the fugue in the second chorus is masterly and effective indeed. Everybody knows "The Heavens are Telling," which, however, has rather more reputation than it deserves. The English have made much of Haydn's descriptive music in the accompanied recitatives. This part of his work, however, was but clever when first written, and now, through the enormous development which this part of musical composition has since reached, is little more than childish. Withal, the "Creation" is not difficult. It can be rendered effectively with moderate resources. This fact, added to its many charming and engaging qualities, has insured its popularity in all parts of the musical world. It bids fair to remain for amateur societies for many years yet.

As a tone poet Haydn belonged by no means to the first rank—at least in so far as the inherent weight and range of his ideas is concerned. His one claim to musical fame rests upon his graceful manner of treating a musical idea, and upon the readiness of his invention in contrasting his themes, to which may be added the sweet and genial flavor of his music, which in every line shows a pure and childlike spirit, simple, unaffected, yet deep and true. It was his good fortune to stand to Mozart and Beethoven in the rôle of master. Both were in many ways his superiors, yet both revered him, the one until his own life went out in the freshness of his youth; the other until when an old man, having stood upon the very Pisgah tops of the tone world, full of honors, he spoke of the old master, Haydn, with affection, in his very last days. Higher testimony than this it would be impossible to quote. For, in the nature of the case, the composer, Haydn, can never be judged again by musicians and poets who know so well his aims and the value of what he accomplished as the two Vienna masters, Mozart and Beethoven, who were younger than he, yet not too young to understand the condition of the musical world into which Haydn had been born, and the musical world as it had become from his living in it.