[226] For a convincing account of this tragic marriage see the volume of Recollections by Ernest Legouvé.

[227] It is understood that this is merely a personal opinion of the writer and might well have been prefaced by the Socratic "it seems to me." Too much criticism reminds us of wine-tasting—Mr. So-and-So likes port, Mr. So-and-So sherry. The object of fair-minded appreciation is to understand clearly just what each composer set out to do, i.e., what was the natural tendency of his individual genius; then the only question is: did or did he not do this well? It is futile to blame him because he was not someone else or did not achieve what he never set out to do.

[228] The best edition is the complete one, beautifully engraved and with critical comments, by Malherbe and Weingartner. This is expensive, but should be found in any large library.

[229] The only citations possible in the Supplement are the Overture and portions of a few of the others.

[230] Particularly to be recommended are the following: the essay in Musical Studies by Newman; that by R. Rolland in Musiciens d'aujourd'hui (in French and in English); Berlioz et la société de son temps by J. Tiersot; the essay in Studies in Modern Music by Hadow; Berlioz's own Mémoires (in French and in English) and his entertaining essays, A Travers Chants, Grotesques de la Musique and Soirées d'Orchestre; the excellent résumé of Berlioz's writings in the Amateur Series by W.F. Apthorp; the Symphony since Beethoven by Weingartner; and, above all, the monumental work by Boschot in three parts—La Jeunesse d'un Romantique, Un Romantique sous Louis Philippe, Le Crépuscule d'un Romantique. There is an amusing but far from convincing assault against Berlioz as a programme composer and, to a certain extent, against Romanticism in general, in the New Laocoön by Professor Irving Babbitt.

[231] On the title page of the autograph copy of the full score is inscribed the following quotation from King Lear: "As flies to wanton boys are we to the Gods; they kill us for their sport."

[232] Dannreuther, in his essay in the Sixth Volume of the Oxford History of Music, speaks of the peculiar process of "rabbeting" which serves Berlioz in the place of counterpoint, and the criticism, though caustic, holds much truth.

[233] This movement is also of interest as an early example of the Waltz among the conventional symphonic moods. The example has been followed by Tchaikowsky in the third movement of his Fifth Symphony.

[234] For further comments on this Symphony see Mr. Mason's essay in the Romantic Composers, an essay which, while thoughtful, strikes the writer as somewhat biased.

[235] For an entertaining account of the subject matter of the opera see Chapter VII of Boschot's Un Romantique sous Louis Philippe.

[236] For an extended analysis of the work and also for an account of the alleged connection of the virtuoso Paganini with its composition, see the essay in Niecks' Programme Music. There are, in addition, interesting comments in Stories of Symphonic Music by Lawrence Gilman.

[237] An early example of the modern principle of transformation and transference by theme.

[238] A striking illustration of "association of ideas" may be gained from a comparison of the end of this movement with the closing measures of Strauss's Thus Spake Zarathustra; it seems incredible that Strauss did not have Berlioz's effect in his mind.

[239] See the Mémoires for a rhapsodic account of his state of mind at this time—"basking in the warm rays of Shakespeare's imagination and believing it in his power to arrive at the marvellous island where rises the temple of pure Art."

[240] For extended comments and a long citation of the actual music see the Sixth Volume of the Oxford History of Music.

[241] For valuable analytical comments on Berlioz's orchestral style see Vol. VIII, Chapter X, of the Art of Music (César Saerchinger, N.Y.), and for biographical details and matters of general import, Vol. II, Chap. IX.

[242] The best biographies in English are the one by Huneker and that in Vol. 2 of Grove's Dictionary.

[243] For a lively description of his influence as a pianoforte teacher see Music Study in Germany by Amy Fay.

[244] For a most entertaining description of this work see the Huneker Biography, pp. 64-70.

[245] For stimulating comments see The Symphony since Beethoven by Weingartner, pp. 71-86.

[246] An enlightening and comprehensive account of each of these may be found in Niecks's Programme Music already referred to. See also Chapter VII, pp. 141-155 in Vol. VI of the Oxford History for what is perhaps a rather biased point of view. There is an excellent tabulation of the themes from Les Préludes in Mason's Romantic Composers.

[247] An allegation often brought against Liszt's work by those whose conception of "form" is that of a cast-iron mould.

[248] Translated as follows by Bayard Taylor:—

Chorus Misticus

[249] The way in which the Germans in the recent war have applied this doctrine raises, we must say, many searching questions.

[250] That this is the verdict of the public is shown by the fact that, whenever of late years Faust has been given by the Boston Symphony Orchestra, it has had to be repeated by popular request.

[251] For further comments on the work see Huneker's Franz Liszt, pp. 141-146 and the third part (on Program Music) of Finck's R. Strauss, The Man and His Works. Also Chap. VII passim in Vol. VI of the Oxford History.

[252] Weber and Schubert had, of course, done valuable pioneer work.

[253] Noted as being the original centre of national German opera and for its associations with the early career of Handel.

[254] Another very fine work in this class is the Tragic Overture, worthy of the deepest study.

[255] We cite Saint-Saëns, as one instance.

[256] "From the heart it has come, to the heart it shall go."

[257] For literature on Brahms the following works are recommended: the comprehensive Life by Fuller-Maitland; the essay in Hadow's Studies in Modern Music; that in Mason's From Grieg to Brahms; that by Spitta in Studies in Music by Robin Grey; the first essay in Mezzotints in Modern Music by Huneker; the biographical and critical article in Grove's Dictionary; Chapter IX in Volume 8 of the Art of Music, and Chapter XIII in Volume 2. There are also some stimulating remarks on Brahms's style in general, and on the attitude of a past generation towards his work, in those delightful essays, in 2 volumes, By the Way, About Music by the late well-known critic, W.F. Apthorp.

[258] The eloquence of the work is so integrally involved with its orchestral dress that it should always be studied, if possible, in the full score. For class-room work excellent editions are available for two and four hands.

[259] The only slight exception is the third movement of the Fourth Symphony which, being marked Allegro giocoso, partakes somewhat of the nature of a Scherzo.

[260] "Those eternal sixths and thirds." Weingartner later publicly recanted and became a whole-souled convert to Brahms. (See The Symphony since Beethoven, latest edition.)

[261] A similar effect may be found in the closing measures of the first movement of Beethoven's Eighth Symphony.

[262] There is a striking analogy between the intervals of this theme and those of a well-known peal in a cathedral chime, e.g.

music

[Listen] [MusicXML]

In both the same elemental effect is produced by using the natural tones of the harmonic series (see page 193).

[263] See also a similar eulogy by Weingartner in his The Symphony since Beethoven.

[264] There is a statement in many books that this is a reminiscence of the theme in the Finale of the Ninth Symphony. How such a legend started it is difficult to say; it must be due to what the late W.F. Apthorp called "purblind criticism." For my part I see a resemblance in only one measure—save that both melodies are in quadruple rhythm—between the theme of Brahms and the following:—

music

[Listen] [MusicXML]

[265] It is used at the beginning of three other well-known melodies, e.g., the slow movement of Beethoven's Ninth Symphony, in the middle part of Schumann's Aufschwung and in the first phrase of Wagner's Preislied.

[266] This practice he has adopted in several other works and it is also the structural feature in the slow movement of César Franck's D minor Symphony.

[267] It is to be understood that this is a purely personal interpretation and if any one wishes to consider the piece merely as absolute music with a strong masculine theme in the minor, a lyric melody in the major for the natural contrast, and a coda referring in a general way to the first theme, there is no way to disprove the contention. That Brahms, however, was not entirely averse to out and out programmistic treatment is seen from his two pieces on specific poetic texts, i.e., the first number in op. 10 on the Scottish Ballads of Edward and the Lullaby in op. 117 on the Scottish Folk-song Sleep Soft, My Child.

[268] The same key that Wagner uses for the end of Tristan and Isolde and César Franck for the gorgeous Finale of the Prelude, Chorale and Fugue.

[269] The subject is the same as the story of the Sirens in the Odyssey or of the Lorelei in German Legend.

[270] For further comments on the phraseology see The Rhythm of Modern Music by Abdy Williams, pp. 75-77. We may add that the pieces called Intermezzi, are generally of a meditative, somber nature; whereas the Capriccios are more sprightly, even whimsical in spirit.

[271] For further comments on the style and influence of Saint-Saëns see the essay Mason's From Grieg to Brahms; the article by Professor E.B. Hill in the third volume of the Art of Music; and, for some pungent and witty remarks, the Program Book of the Boston Symphony Orchestra (edited by Philip Hale) for Nov. 22, 1918.

[272] For a comprehensive and discriminating account of his style see the Boston Symphony Orchestra Program Book, for January 17, 1919.

[273] On account of the length of these works it is impossible to include any of them in the Supplement.

[274] Study, if possible, the orchestral score. For class-room work there is an excellent four-hand arrangement by the composer, and one for two hands by Ernest Alder.

[275] This terse phrase is identical with motives from several other works, e.g., the beginning of Liszt's Les Préludes, the motive "Muss es sein?" in Beethoven's quartet, opus 135, and the Fate motive in Wagner's Valkyrie.

[276] See for example the opening measures of the Waldstein and of the Appassionata Sonata.

[277] Brilliant by reason of the fact that the four principal tones in D major, D, A, G, E are open strings on the violin.

[278] The scoring of this theme for trumpets, cornets and trombones has been severely criticized and it is true that the cornet is an instrument to be employed and played with discretion. The writer, however, has heard performances of this work in which the cornets seemed to give just that ringing note evidently desired by Franck.

[279] The harmony of this passage is most characteristic of Franck and should be carefully studied.

[280] See his Course in Composition, book II, pp. 423-426.

[281] Note the correspondence between these measures in the first part and the measures just before the end in the second part.

[282] Already cited on page 57, Chapter IV.

[283] The indication by letters is the same in the full score as in the version for two pianofortes.

[284] This school may be said to contain two groups: one, the pupils of César Franck—d'Indy, Chausson, Duparc, Rousseau, Augusta Holmès and Ropartz, the chief feature in whose style is a modernization of classic practice; a second consisting of Debussy, Ravel, Dukas and Florent Schmitt, whose works manifest more extreme individualistic tendencies.

[285] The well-known German scholar and editor Max Friedländer, who visited this country in 1910, acknowledged—in a conversation with the writer—that he had never even heard of Chabrier!

[286] D'Indy's significant contributions to operatic and choral literature, such as Fervaal, L'étranger, Le Chant de la Cloche and La Légende de St. Christophe, lie without our province.

[287] From the Cévennes region whence d'Indy's family originally came.

[288] See the elaborate analysis by Mr. Mason in the essay above referred to.

[289] For a detailed analysis the student is referred to the account by the composer himself in his Cours de Composition Musicale, part II, pp. 484-486; to Gilman's Studies in Symphonic Music and to Vol. 3 of Mason's Short Studies of Great Masterpieces.

[290] From this comparison we should not wish it to be understood that Debussy is merely an addition to the standard Romantic group of Schumann, Chopin, Liszt, etc.; his style, however, is surely Romantic in the broad sense of the term, i.e., highly imaginative and individual.

[291] The très exceptionnel, très curieux, très solitaire Claude Debussy as he has been aptly characterized.

[292] The first authentic use being probably by Dargomijsky in his opera the Stone Guest.

[293] For an enlightening amplification of this point see the first chapter of Wallace's The Threshold of Music.

[294] See page 193.

[295] For further suggestive comments on Debussy's style consult the Essay on Pelléas et Mélisande by Lawrence Gilman (G. Schirmer, New York) and in particular an article by the same author in the Century Magazine for August, 1918.

[296] Gosse also calls it a famous miracle of intelligibility.

[297] The best books yet written on Debussy and his style are those by Mrs. Liebich and Louis Laloy. Consult also the comprehensive essay by E.B. Hill in Vol. III of the Art of Music.

[298] See the 2d volume of Great Composers by D.G. Mason and also the essay on Debussy in Contemporary Composers by the same author.

[299] According to Ernest Newman in a well-known article in the Musical Times (London).

[300] An excellent collection of modern French songs may be found in the two volumes published by the Oliver Ditson Co. in the Musicians Library.

[301] While he was riding a bicycle.

[302] The best account of his works and style is to be found in the volume Maurice Ravel et son oeuvre by Roland Manuel.

[303] Le Gibbet is without doubt the most realistic piece of musical description in our time.

[304] Witness the wonderful manifestation of these qualities by the French in the recent war.

[305] In Grove's Dictionary, under Bass, occurs this statement: This voice, found, or at least cultivated, only in Russia is by special training made to descend to FF music [Listen] [MusicXML].

[306] The writer had this statement from the lips of Tchaikowsky's own brother, Modeste.

[307] See the passage from his diary (quoted on page 504 of the Biography by his brother) in which he writes—"What touching love and compassion for mankind lie in these words: 'Come unto me, all ye that labor and are heavy laden!' In comparison with these simple words all the Psalms of David are as nothing."

[308] See the detailed program by the composer himself, cited in Nieck's Program Music.

[309] For this simile I am indebted to Mr. Philip Hale.

[310] For further comment see the Life of Tchaikowsky by Rosa Newmarch.

[311] As may be seen by the number of illustrations from it in text books!

[312] The authoritative work on Tchaikowsky is The Life and Letters by his brother Modeste; the abridged biography by Rosa Newmarch should also be read. There are excellent essays in Mezzotints in Modern Music by Huneker; in Streatfield's volume Modern Composers and in Mason's From Grieg to Brahms.

[313] The passage has already been cited in Chapter IV as an example of a deceptive cadence.

[314] By double counterpoint is meant such a grouping of the voices that they may be inverted (the upper voice becoming the lower and vice versa) and sound equally well. For further comments, together with illustrative examples, consult Chapter IX of Spalding's Tonal Counterpoint.

[315] The most authoritative work in English is the History of Russian Music by Montagu-Nathan; in French there are the Essays Musiques de Russie by Bruneau.

[316] Quoted from the chapter on Russian music in Famous Composers and Their Works (2d series).

[317] Towards the end of his life he destroyed many of his compositions.

[318] For a delightful account of the friendship of these two composers consult the volume Borodin and Liszt by Alfred Habets (translated by Rosa Newmarch).

[319] According to Liszt "a compendium of musical science in the form of a jest."

[320] This work in structure is a Suite, i.e., there are four distinct, separated movements.

[321] For biographical information consult the volume by Montagu-Nathan.

[322] Quoted from the article in Grove's Dictionary.

[323] Quoted from the Art of Music, Vol. III.

[324] His surname is to be accented on the first syllable—a fact which may be remembered from the story attributed to Liszt who, once asking Smetana how his name was to be pronounced received this reply: My name is always

Overture to Fidelio

[Listen] [MusicXML]

Smétana, Smétana, Smétana

but never

Overture to Leonora, No. 3

[Listen] [MusicXML]

Friedrich Smetána Friedrich Smetána.

[325] For example in the second movement of Smetana's Quartet and in Dvořák's Suite for small orchestra, op. 39.

[326] For a graphic description of the country and the customs of its people consult the essay on Dvořák in Hadow's Studies in Modern Music.

[327] A detailed account of these works may be found in the article on Smetana in Famous Composers and their Works (2d series).

[328] For his biography, consult the Hadow essay (referred to above) and the chapter on Dvořák in Mason's From Grieg to Brahms.

[329] The author has heard this symphony played in Prague and other continental cities under Bohemian conductors. It is always welcomed as being thoroughly characteristic of Bohemia.

[330] For detailed analytical comment consult Vol. III of Short Studies in Great Masterpieces by D.G. Mason.

[331] Note for example the chords at the opening of the slow movement.

[332] The best biography in English is that by H.T. Finck; the work, however, is somewhat marred by fulsome praise.

[333] During the summer solstice it is dark for only a few hours; and further north, in the land, so-called, of the Midnight Sun, for a few weeks there is perpetual daylight.

[334] He was called by Bülow the Chopin of the North.

[335] An admirable treatment of the whole subject may be found in Vol. III of The Art of Music.

[336] For a detailed account of his life and works consult the essay in Contemporary Russian Composers by Montagu-Nathan and Vol. III of The Art of Music.

[337] For a comprehensive estimate of his style and achievements the following works will prove useful: the Biography, by Eaglefield Hull; the Essay, by Montagu-Nathan in the volume referred to, and an article by W.H. Hadow in the Musical Quarterly for Jan. 1915.

[338] Who lost his life on the Sussex when it was torpedoed by the Germans.

[339] For a comprehensive account, historical and critical, of this influence consult the volume by Carl Van Vechten The Music of Spain.

[340] Some pithy remarks on the habitual English attitude toward music may be found in the history of Stanford and Forsyth, page 313, seq.

[341] See for example the broad theme in the middle portion of the March, Pomp and Circumstance.

[342] This valuation of American composers is made solely on the basis of published compositions.

[343] For additional comments on this point see an article by the author in the Musical Quarterly for January, 1918.