William Lovelock - Concise History of Music PDF
William Lovelock - Concise History of Music PDF
William Lovelock - Concise History of Music PDF
A CONCISE
HISTORY OF MUSIC
BY
with drawings by
EDGAR HOLLOWAY
Published by
G. Sell and Sons* Ltd
York ffottse, Portugal St.
London, Wr.C.s
13 Beethoven 170
Inde 233
FOREWORD
The last three are not always entirely in line with the
results of modern research, but nevertheless contain much
useful information.
Records
at the Ospedale delta Pieta in Venice, becoming Maestro del Coneerti (con-
cert director) in 1716. A condition of his appointment was that he
should provide two concertos a month for performance by the orchestra,
so that the total of his works in this form, all more or less written to
order, is immense. And this before 'mass production' was heard of.
See also the mention above of Bach's various posts and the types of
composition resulting therefrom.
ON THE STUDY OF MUSICAL HISTORY 21
P
Hypodorian
58==
^ TT * ,,-
W
Mode III Phrygian Mode IV Hypophrygian
Q
Mode VII
ivioac vii lYiixuiyuian
Mixolydian^ ^ Mode VIII Hypomixolydian
" '
-
ft
order of the Greeks. Further, the first mode was that on
D as against the Greek Dorian^ which began on E. It is
fl
Ionian
Ionia Mode Hypoionian Mode
Ex.3
DEFGABC D
ABCDEFGA
Before leaving this very rough outline of early notation,
one other point must be mentioned. The Greek diatonic
9
system, although largely based on the 'white-note scale,
admitted what would now be called B flat in certain cases,
and this carried over into the medieval system. One reason
for this was the dislike of the augmented 4th F to B
(the
9
medieval theorist's Diabolus in Musica or 'Devil in music ),
9
which could be 'softened into the perfect interval by flat-
tening the upper note. Two kinds of B were therefore
recognised, 'hard' and 'soft
9
The hard B B durum -was
.
indicated when
necessary by the sign b, also known as
B qwdratum or 'square' B; the soft B B mollis was shown
by b, B rotundum or 'round B. These two signs are respec-
9
tively the origins of our t] and [>. The sharp sign # was
a later invention, and was at first used equally with to
t|
Con - di -tor al-me si- der*um, Ac -ter na lux ere -den -ti_-um,
J)J3J'J^J>J Jj J)
Vac -il - la Re - gis pro - de -unt: _
W**
Ful-get Cru-cis
mys-ter - i - mn,
Qua vi -ta mor- tern per
- tu -lit
Et mor te vi - tarn - tu -
pro 1
mercy ), the Gloria, the Credo, the Sanctus ( Holy, holy, holy )
RECORDS
H.M,S,Vol,2,Nos.ntoi3,
CHAPTER THREE
THE EARLY DEVELOPMENT OF
COUNTERPOINT
the latter part of the loth century was written a
work called Musica Enchiriadis. The authorship, as is
IN the case with so many of the early writings, is doubt-
ful, but is now generally attributed to a certain Abbot
Otger.* This book, whoever its author, is a landmark in
the history of music, since it gives the first account of a
method of singing in anything but unisons or octaves. It
expounds the principles of Organum or Diaphony (the two
terms are synonymous medieval writers are always care-
ful to insist on this), of which the essential basis is the
Ex.7
(a)
-e- ** ^ e-
(b)
e- -Q- j? -e-
(c)
-e- .0. j -^.
Ex.8
Ex.9
Principal voice
Organum
Ex. 10
7 .. M
Ex. 12
Ex. 13
opportunities of hearing
it
performed are extremely rare,
artistic
development. Of the Parisians, Leonin and Perotin
are the most important representatives, We shall see in
RECORDS
EM.S,Vol,2.Nos. i6toio.
CHAPTER FOUR
EARLY SECULAR MUSIC
UR study so far has dealt almost entirely with music
I I used in the Church, for the reasons already stated,
><_>/ that since so little of the secular music survives, it
is mainly in sacred music that we can trace growth and
RECORDS
H.M.S. Vol. 2, Nos. 14 and 15.
CHAPTER FIVE
THE 'NEW ART 5
perfect mode, the long dividing into three breves; the second
perfect time, each of these breves dividing into three semi-
breves; and the third imperfect prolation, each semibreve
dividing into two minims. This is comparable, allowing
for the difference in the names of the notes, to 9/8 time.
The whole-bar sound:
THE 'NEW ART' AND ITS DEVELOPMENT 57
IJ. J.J.I
of Ars Nova, but also the more shapely melodic style which
gradually developed, replacing the angularity of Ars Antiqua.
It that as a symphonetes Machaut was ingenious
may be said
and technically competent; as a phonascus .he showed his
genuine inventiveness and musicianship. Some of his 'mono-
9
duple time into France may have been due to the trans-
ference of the papal see to Avignon in 1309, since Italian
musicians would naturally be among the staff of the papal
court; but this cannot be stated with any certainty, and in
any case we know that as early as 1280 Odington refers to
duple measure.
The most notable Florentine composer was Francesco di
Landini (c. 1325 to 1397), who, though blind, had a high
reputation as organist and lutenist. Others were Jacopo
da Bologna and Giovanni da Giscia.
Little is known of English compositions of the i4th cen-
* It is a rather
peculiar fact that the early theorists, even as late as
the 1 6th century, seem continuously to have had great difficulty in
time.
In England after the death of Dunstable music tended
to languish, but around the turn of the century we find a
school of composers who seem to have deliberately held
apart from the methods prevailing
on the continent, in a
rather reactionary manner. Although the effect of their
68 A CONCISE HISTORY OF MUSIC
music is agreeable enough, and the arbitrary use of dis-
cord is rare, interest in contrapuntal devices is lacking;
there is smooth and equable flow of the parts, but little
more. The principal composers of this school were Robert
Fayrfax (d. 1521), Richard Davy (end of I5th to early
1 6th centuries) 9 William Gornyshe (c. 1465 to 1523) and
RECORDS
H.M.S. Vol. 2, No. 19 and Vol. 3, Nos. 20 to 30.
CHAPTER SIX
VOCAL MUSIC
IN THE SIXTEENTH CENTURY
outstanding features of the i6th century are
the culmination of polyphonic sacred music,
THE (a)
Ex. 14
The basic material for Masses and motets was often taken
from plainsong. The use of the secular cantus ftrmus for
masses was rapidly dying out. Early in his career, Palestrina
wrote some Masses on secular cantus firmi, including two on
Uhomme arme, but of his total of ninety-three, only a very
few are based on such material. The Council of Trent, in
1563, severely criticised the use of the secular cantus firmus,
as well as the undue complexity and length of Masses, and
composers found it expedient to follow the lead given by
Palestrina in his Missa Papae Marcelli, written after the
Council's decree and in accordance with its views. The
method of using a cantus ftrmus had changed since the time
of Dufay. Instead of being employed primarily as a melodic
line around which counterpoints were woven, it was now
broken up into its constituent phrases, and points of imita-
tion were worked out based on these phrases. Undue repeti-
tion of words was generally avoided. A simple example of
this method of writing is provided in Palestrina's Missa
Regina Coeli. The melody from which it takes its title is:
Ex. 15
tTTRe - !
- na
^
cae - li lae - ta - re, Al - - lu - a me -
gi le ia; Qui quern
U M
J J^ JJ J J- J
^ J.IJ L
,*
i
,
Ex. 17
Hence Care ! thou.
Ex. 18
etc.
strongly marked.
Besides such large-scale works, we must note the appear-
ance of the 'Anglican Chant' for use with the vernacular
use with the metrical
prose psalms, and of psalm-tunes for
versions. Anglican chants were mainly simple harmonisa-
tions of the old Gregorians, with the tune in the tenor.
The earliest complete metrical psalter was that of Sternhold
and Hopkins, published in 1562; it was a standard work
for over a century.
The great importance of the simplification of style which
was insisted on by all the reformers lies in the fact that it
RECORDS
H.M.S. Vol. 4, Nos. 31? to 38, and 40.
CHAPTER SEVEN
THE RISE OF
INSTRUMENTAL MUSIC
study so far has been concerned exclusively
with the development of vocal music. It was not
OUR
to give
until late in the I5th century that composers began
any serious attention to that for instruments alone.
The undeveloped state of the instruments themselves and
the fact that composers were so largely concerned with the
provision of music for the Church naturally brought about
concentration on the vocal rather than on the instrumental
side. Little seems to have been written purely for instru-
mental performance, and there was little or no differentia-
tion of style.
From the earliest times there was a wealth of dance tunes
for the vielle or fiedel, but their composers are unknown.
In any case, the 'serious' composer had other things to do
than to write such pieces. Of medieval instrumental music
written for use in church a number of short organ preludes
survive, rambling and formless affairs which show clearly
the undeveloped state of the instrument and the com-
posers' lack of grasp of a suitable style. The earliest extant
keyboard music is in the Robertsbridge Codex of about 1325,
an organ estampie. It is to some extent stylised, being in
dance rhythm but not suitable for actual dancing.
Instruments, as we have seen, were often combined with
or substituted for voices, and by the i6th century many
had reached a high state of development. Brief considera-
tion of the most important now follows.
The organ had progressed far beyond its condition in
the days of the pulsator organorum, having one or more
manageable keyboards and a considerable variety of stops.
It was most advanced in Germany, where an adequate
16 A CONCISE HISTORY OF MUSIC
pedal department was considered essential. As early as
the first quarter of the i6th century, in an organ built by
Arnold Schlick in Heidelberg, four of the sixteen stops were
3n the pedal, and as we move on towards the 1 7th century
we find this department tending to increase more and more,
both in size and variety. In England, Italy and France the
organ was less developed and remained so until much later;
pedals were either lacking or but poorly provided with
registers.
Of domestic instruments the chief were the lute, the viols 3
recorders, and the various keyboard instruments.
The lute was of great antiquity. Its body was shaped
rather like a pear cut in half from top to bottom. The
strings fingers and the tone was re-
were plucked by the
strainedand gentle. Like many other instruments of the
time, and since, lutes were made in families of five or more
different sizes, the most popular being the theorbo or tenor
9
lute. notation was called 'tablature and was designed
Its
to show the positions of the fingers on the fingerboard, not
the actual sounds to be played.* The ordinary staff nota-
tion was not used. nature the lute was incapable of
Of its
true polyphony, though by the end of the i6th century
such composers as Molinaro were achieving some remark-
able effects of 'faking'.
In Spain the place of the lute was taken by the vihuela,
an ancestor of the guitar. The number of strings and their
tuning, the notation and the manner of playing the two
instruments were similar, as was also the style of writing
for them.
The viol was a development of the medieval vielle, one
* to do than told
*A true tablature rather directed the player what
him what music to play' (Scholes, Oxford Companion). Tablatures for
various instruments survived into the i8th century. Even in Bach's
time an organ tablature was still in use by the more conservative com-
posers in Germany, and the theorist F. E. Niedt, in his Musikalische
Handleitvng of 1700, castigates severely and amusingly those who still
clung to such an antiquated system. The only present-day survivals of
the tablature system are in connection with such instruments as the
mandoline and the ukulele.
THE RISE OF INSTRUMENTAL MUSIC 87
Recorder
Shawm
Gornett
9
the oboe and bassoon, including the 'great bass pommer
or 'bombard', a ten-foot giant which needed one man to
blow it and another to support it at the front.* There
were also cornetts, trumpet-like affairs of wood, or occa-
a cup-shaped mouthpiece.
sionally of ivory, with
Whencomposers began to take a serious interest in
first
style.
According to Bardi's son, Pietro, Galilei was 'the
9
to let us hear singing in the stile rappresentativo .
first most A
important early example of this was a collection of vocal
title of Le Nuove Musiche
under the
pieces published in 1602
'The New Music
Although
3
experimental,
. a good deal
of emotional intensity and dramatic force is at times
achieved, as in Caccini's well-known Amarilli.
In all these compositions a notable feature is the rhythmic
freedom of the voice part, which is made to approximate
to some extent to speech-rhythm. Equally notable is the
*
Writing as late as 1834, Hector Berlioz remarks, *at the OpeYa, an
excuse for a ballet would be found, even in a representation of the
Last Judgment'!
VOCAL MUSIC IN THE SEVENTEENTH CENTURY 107
RECORDS
H.M.S. Vol. 4, No. 44, Vol. 5 Nos. 45 to 54, andVol. 6, Nos. 57
and 58.
WE
It
century was in the development of new vocal
forms; it was equally so on the instrumental side.
saw the expansion of dance-pairs into the suite, the rise
of the sonata, the concerto, the chorale prelude and other
forms of organ music, and the transformation of the ricercare
into the fugue. Besides all this, there was the achievement
of a truly instrumental style of writing, as opposed to the
often tentative efforts of the preceding century, and the
rise of important schools of violinists and organists. These
were the most important developments, paving the way for
the supreme works of genius of Bach and Handel in the
firsthalf of the i8th century, and it will be necessary to
trace the course of each one separately. Before doing so,
however, we must deal further with the viols and their
music.
In the i
yth century the use of the viols gradually died
out, and they were supplanted by the violin and its larger
brethren, the viola and violoncello. This was due largely
to a change of taste, corresponding in a way to the change
which now preferred the solo voice, interpreting the 'affec-
5
tion of the words, to the old polyphonic complexity of the
c
ping her elder sister, the sombre and heavy viol. The
home of violin-making was Italy, the principal workshops
*
Geiringer, Musical Instruments*
lao A CONCISE HISTORY OF MUSIC
being first at Brescia, and later at Cremona, where the
Amati family produced instruments with unsurpassed
beauty of tone. The greatest of the Amatis was Nicolo, of
the third generation. Even greater, perhaps, was the work
of his pupil Antonio Stradivari (1644 to 1737), whose
remain supreme examples of artistic craftsmanship.
violins
Almost equally great was Giuseppe Guarneri ( 1 687 to 1 742) .
against the violins and their music, and looks back regret-
fully to thegood old days of polyphonic viol music.
In England, Fancies for viols were written until late in
the century, important composers being Alfonso Ferrabosco,
William Lawes, John Cooper (who, presumably for reasons
of prestige, Italianised his name to Giovanni Coperario),
John Jenkins, and above all Purcell. The quality of their
work is apt to be variable, and often shows the intermediate
hovering between the modal system and the major and
minor scales. Purcell's Fancies at times reach great heights
of emotional intensity and are by far the finest of all; they
were also the last to be written. The weakness of the Fancy
as a form lay in its tendency to be split up into a number
of often unrelated sections, a natural consequence of its
derivation from the motet or madrigal. But whereas in
the vocal forms the words gave logic to the musical plan,
the Fancy had no such solid guiding principle. The com-
poser would work a point of imitation for as long, or as
briefly, as he chose; and despite the beauty of many indi-
vidual passages, the impression sometimes remains that
INSTRUMENTAL MUSIC IN SEVENTEENTH CENTURY 121
* It
sometimes stated that the Allemande was not a dance. This
is
is It was a stately court dance from Switzerland and
incorrect.
Germany, originating in the i6th century.
122 A CONCISE HISTORY OF MUSIC
The dance movements were stylised, and their form
into a straightforward
rapidly became conventionalised
binary. The old three-section plan, so common in the i6th
century, was discarded, though faint traces of it linger even
into the i8th century, in some of Bach's dances.
It was in the lyth century that the great French school
of clavednists (=harpsichordists) arose. The founder was
Jacques Champion de Chambonnieres (c. 1597 to 1672),
harpsichordist to Louis XIV. His most important suc-
cessors were Jean Frangois Dandrieu (1684 to 1740) and
various members of the Gouperin family, of whom the
greatest was Frangois (1668 to 1733), known as Couperin
le Grand. The works of this school show a keen insight
into the character of the instrument and its possibilities.
ing not only dances, with or without 'fancy' titles, but also
a number of programmatic pieces, often in rondo form,
having no connection with any dance. Couperin's first
Ordre (1713) contains no fewer than eighteen movements,
of which only eight are dances. He achieved a delicacy
and economy of means which have for long been charac-
of the best of French music.
teristic
In England the outstanding figure is once again Purcell,
whose harpsichord 'Lessons' exhibit his natural tunefulness
and his strong grasp of a true keyboard style. His suites
generally begin with a prelude, and like Couperin he retains
the orthodox allemande and courante; but after that,
anything may happen.
In Germany the first important name in connection with
the suite is that of Johann Jacob Froberger (1616 to 1667),
whose style was to some extent modelled on that of die
French school. He was followed by Johann Adam Reinken
(1623 to 1722), Buxtehude, Georg Muffat (c. 1645 to 1 1 Q
and others, all of whom were more or less influenced by
INSTRUMENTAL MUSIC IN SEVENTEENTH CENTURY 123
* The literal
meaning of sonata, from the verb sonare, to sound, is
something played, as opposed to cantata, something sung. In this sense
it may cover a large range of instrumental music, and was so used in
the lyth century. The student may be warned to disabuse^ his mind ^
of any idea that sonata necessarily means a work with that title in the
style of, say, Mozart or Beethoven. Sonata, the past participle, was
originally associated with the noun canzona, a cawyma sonata (or can&na
da sonare) being a 'played canzona*.
top part. In many cases, each line of the tune was pre-
ceded by a more or less free fugal exposition based on
it. This procedure was used by the early writers as far
back as Scheidt, and many fine examples were written
by Pachelbel. Although perhaps the commonest method
of treatment, it was but one among many, Kipling's
rhyme
'There are nine-and-sixty ways
Of constructing tribal lays,
9
And every single one of them is right
RECORDS
Composer Title Recorded by Cat. JVb.
Corelli Oboe concerto Rothwell/HO HMV C354O
Christmas concerto LSO HMV 063639/40
Sonata D min. ('cello) Stocker NLP PLP54O
Vivaldi Concerto D min. (oboe) Goossens Col. 0X8367/8
Concerto A min. (four NLP HLPi024
harpsichords)
Couperiu Various records, sold insets, not separately, are obtainable
in the HMV Society Edition. The works are played on
the harpsichord by Wanda Landowska.
Frescobaldi Toccata sopra i pedali
Fantasia No. 10 (echo)/
\. Videro
-,
HMV
Sweelinck
Scheldt Variations on Da Jesus Videro HMV DB52I3
an dem Kreuze stand
Buxtehude Prelude and Fugue, G Videro HMV 035248
min.
Purcell Suite in 5 pieces (arr. Wood/QHO De. AK975/6
Henry Wood)
* Clavier
literally means keyboard, and is used in this period to
cover both harpsichord and clavichord.
CHAPTER TEN
THE AGE OF BACH AND HANDEL
Y 1HE half of the eighteenth century is over-
first
|
I shadowed by the colossal genius of Bach and Handel.
JL There are, however, certain lesser but by no means
composers who may first be briefly considered.
negligible
Of these the most striking and important is Domenico
Scarlatti (1685 to 1757), son of Alessandro.
and
Although he wrote a number of operas,
cantatas
other vocal works, Scarlatti is chiefly famous for his harp-
sichord sonatas. He was the great virtuoso of his time,
with outstanding technique and an almost fantastic insight
into the possibilities of his instrument. In these respects
he is to Liszt, taking the art of playing and
comparable
ultimate limit. Despite
writing for the harpsichord to the
the advances made in keyboard technique since his day,
many of his works remain quite difficult enough for any
but the above-average player, the more so since their tex-
ture is always so economical. Arrangements of some of
his pieces by such igth-century virtuosi as von Biilow are
in a easier than the originals, since in the latter there
way
is no room for error of any kind. In this, Scarlatti is com-
parable to Mozart. Any pianist knows that such a piece
as Mozart's Rondo in A minor, so deceptively simple, is far
more testing than, say, a Liszt Rhapsody,
where the occa-
sional handful of wrong notes (though hardly to be recom-
mended) may be lost in the welter of sound.
Scarlatti wrote over 500 sonatas, many under the title
of Exercises for Harpsichord. The majority are short one-
movement affairs in binary form, though there are a num-
ber which subdivide into a series of movements. See, for
example, the sonata in G
minor (Longo 36),* in four
* The standard edition is that of Longo, published by Ricordi.
THE AGE OF BACH AND HANDEL 135
Ex. 19
of Goliath:
Ex. 20
RECORDS
H.M.S. Vol. 6, Nos. 59, 60, 61, 66.
See also:
Composer Title Cat. No.
Scarlatti (D.) 8 Essercizi for Gravicembalo AP. 13001
8 Sonatas (piano) LM. 4541
* It must be
pointed out that this chapter will not deal with opera,
which is, of course, essentially non-contrapuntal.
t Which term, it may be pointed out, means *going*, i.e. moving, not
'slow'.
THE RISE OF CLASSICISM 159
a new style reaching a climax in three-quarters of a century,
and we shall see later how further changes, both in outlook
and technical method, followed in comparatively rapid suc-
cession. It took over 600 years for the modal system to be
played out, but the major and minor scale system, at least
according to some contemporary musicians, is already,
after less than 300, reaching the end of its tether. But
this, of course, is purely a matter of personal opinion.
RECORDS
Composer Title Cat. JVb.
L. Mozart Divertimento and Serenade APM. 14084
J. C. Bach Sinfonias in E fiat and D ABR. 4005
Boccherini String Quartet in D LXT. 2680
Haydn Symphony in F sharp minor
(Farewell) LPM. 18397
Symphony in D Major (London) ALP. 1061
cx-
No. 2
Quartet in E Flat, Op. 64 No. 6 LXT. 2680
With Verdure Clad (Creation) DX. 1052
Mozart Symphonies in G, D and C PL. 10140
Symphony in G Minor LX. 3022
Symphony in C Major (Jupiter) LX. 3010
Overtures OBLP. 1088
Piano Concerto, A Major OALP. 1316
String Quintet, G Minor LXT. 2515
Eine Kleine Nachtmusik 33 OCX. 1 178
CHAPTER TWELVE
DEVELOPMENTS IN OPERA
must now retrace our steps to follow the
9
have so long disfigured Italian opera. His aims, he ex-
c
plains, are to restrict music to its true office of serving
RECORDS
Composer Title Cat. No.
Mozart Operatic arias 33 OCX. 1069
Overture, Alceste LS. 6025
Selection from Orpheus and
JSurydice 19053. LPEM
Rossini Largo atfactotum (Barber of Seville) 0.1406
Una voce pocofa 7 ERO. 5038
Overtures 19041. LPEM
CHAPTER THIRTEEN
BEETHOVEN
the latter part of the i8th century the 'Age of
Patronage was drawing to a close. The day of the
9
tion, the cell being the theme, and the variations exploring
its implications.
In his last works Beethoven was preoccupied with thinking
in musical terms. In the same way as a Bertrand Russell
or a de Madariaga expresses his philosophical deductions
in an essay, so Beethoven gives us the fruits of his medita-
tions in sound. It is music not for 'entertainment9 , in
however high a sense we interpret the word, but to give
expression to thought. For this purpose, fugue and varia-
tions, neither of them 'forms' in the conventional sense,
offered possibilities beyond those of sonata and other tradi-
tional forms. This is not to suggest that Beethoven was
the first to 'think in sound 9 . Bach had done so in the Art
of Fugue (notwithstanding its pedagogical aim) and in the
great Ricercare of the Musical Offering, to name no other
examples. But Beethoven, withdrawn into himself by the
total deafness of his later years, did so on a far greater
scale than any earlier composer. No better summing up
* 9
RECORDS
Composer Title Cat. JVb.
Beethoven Piano Sonatas Op. 13 and
Op. 27/2 33 OCX. 1073
Piano Sonata Op. 57 (Appas-
sionato) OALP. 1094
Violin Sonata Op. 47 (Kreut&r) OALP. 1319
Quartets Op. 18/1 and 2 33 OCX. 1168
Quartet Op. 52/2 33 OCX. 1236
Symphony No. i, C Major KLC 564
Symphony No. 5, C Minor 33 OCX. 1077
Overture, Leonora, No. 3 LWA. 5016
Overture, Coriolan 7 TCA. 40
Song-Cycle: An die feme Geliebte ALP. 1066
CHAPTER FOURTEEN
perfection.
The formal problems of the romantics were intensified
by a 'programme*,
their fondness for illustrative music, since
whether an actual story or merely some more or less vaguely
would not necessarily fit into the con-
poetical background,
fines of a
classical form. Berlioz's programme symphonies,
the Fantastic and Harold in Italy, still retain, broadly, the
traditional outlines. The former has five movements in-
stead of the usual four and uses a kind of motto theme, the
idee fixe,which acts as a psychological connecting thread.
But there is no attempt at a complete break with tradition;
they are symphonies with a programme, but still sym-
phonies. (At least one writer has argued that Berlioz is
actually more of a classic than a romantic.) Liszt, how-
ever, realised that the idea of programme music could only
be carried out logically by breaking with formal tradition
and allowing the form to be dictated by the programme in
each individual case. Hence his adoption of the title sym-
phonic poem, and hence, also, the varied forms of his works
in this genre. Liszt was also largely responsible for develop-
ing the system of thematic metamorphosis, by which means
ideas or characters can be shown in different lights or situa-
tions. The principle is that a basic theme can be varied
in character, and consequently in meaning and significance,
by some kind of modification, often, though not necessarily,
rhythmic. Examples from Les Preludes (of which, by the
way, the programme was written after the music, not before
it) will make this clear. In the opening 'Moods of Spring
and Love* appears this theme:
THE ROMANTICS AND THEIR MUSIC 183
Ex. 21
Andante
Ex. 22
Andante maestoso
Ex. 23
Allegro ma non troppo
Ex. 24
Allegro tempestoso
Ex. 25
Allegro marziale animate
Ex. 26
it had been since the days of the sonata a tre, it became more
my own
9
like to steal from him the way to play Etudes.
What Liszt achieved in brilliance, Chopin matched in
poetry. He was born, near Warsaw, in 1810, and died in
Paris in 1849. Chopin was a pianist pure and simple, and
his compositions in other media are negligible. Schumann's
famous remark, 'Hats off, gentlemen, a genius', is evidence
enough of the impression made by his work as early as
the variations on La d darem la mano, op. 2. (Admittedly
Schumann, in his eagerness to encourage young composers,
was rather apt to confuse geese and swans, but in this
instance he did not err.) Chopin's Preludes and many of
his Mazurkas show him to be unexcelled as a miniaturist,
while such works as the Polonaises and the Ballades, especi-
ally perhaps the latter, prove his mastery of the larger scale.
There great originality and a strong poetic impulse in
is
Ex. 28
MM mh |
i
i
i
|i
Ex. 29
III
Ex, 31
if r if r if f f\r
may (or may not) be derived from the first subject of the
first movement:*
Ex.34
1
Wf" Jjrair f
ir r
RECORDS
Composer Title Cat. No.
Schubert Symphony No. 2, B flat ALP. 1061
Symphony No. 8 (Unfinished) 33 OCX. 1039
Symphony No. 9, C major LXT. 2719
Song Recital 33 CX. 1040
Quintet in C major CLP. 1006
ROMANTIC OPERA
Chapter 12 a brief sketch was given of the way in
which the character of opera changed in France and
IN Italy in the period around 1800. In Germany similar
changes came about, leading to the style which is usually
known as Romantic Opera. As in France, new tendencies
appear in the latter part of the i8th century, the first use
9
of the term 'romantic being in the subtitle of Gotthilf von
Baumgarten's setting of a libretto based on that of Gretry's
Zfmire et Azor. It is 'described as a 'Romantic-Comic
some was
Bizet, notwithstanding limitations, possibly the
most naturally gifted French musician of his time, and in
RECORDS
Cat. No,
Weber Cavatlna from DerFreiscktz OALP, 1076
Overture, Oberm DIP, 1069
Ex.35
c 9
There are no new chords here; even the combination at
(a) can be explained in purely academic terms. It is the
juxtaposition of the chords and the resultant vagueness of
key which are new. It should not be thought that Wagner
and his followers necessarily employed such methods to the
exclusion of anything eke. Their vocabularies included
both the old and the new, and one would merge into the
other according to the expressive needs of the moment. In
Woteafs Farewell (the closing scene of the Valkyrie) the pass-
age quoted above is immediately followed by a long stretch
of almost undiluted diatonic writing.
In this advanced chromaticism and the expansion of
tonality we may see a parallel with what happened to the
modal system during the late i6th and early iyth centuries.
The use of musicajicta gradually destroyed the individuality
of the modes and paved the way for the major-minor scale
2io A CONCISE HISTORY OF MUSIC
system. The chromaticism of the late igth century created
conditions under which new technical methods could
emerge, tending to the disintegration of classical tonality.*
.
In the opinion of some the day of the major-minor system
is over. It is not proposed to argue the point here, but it
appears (in the first and last movements only) always in the
* A view of the processes as they arose in the work of one composer
may be studied in Arnold Schonberg et son osuore by Rene* Leibowitz
(libraire Janin), unfortunately not available in an English translation.
LATE ROMANTICS AND NATIONALISTS 211
'telescoping of first
movement and scher& of No. 5, to the entirely original
structure, in one movement, of No. 7, possibly the greatest
masterpiece of musical architecture since Beethoven.* He
was a master of 'economy of means', as may be seen in his
symphonic poem Tapiola. In this, practically everything
arises from a single short basic theme,
metamorphosis being
employed in a masterly fashion.
Development of the symphonic poem is associated largely
with Richard Strauss (1864 to X 949)- Far more than Liszt
he allowed form to be dictated by programme, so that no
real understanding of the music is possible without
pre-
knowledge of the literary background. Where Strauss goes
farther than any of his predecessors, and this
applies also
in some of his operatic writing, is in his use of realism, even
to the uncanny reproduction of non-musical sounds such
as the bleating of sheep in the second of the Don Quixote
variations-! The question then arises whether such pro-
cedures are musically justifiable. The point cannot be
argued here, but it may be pointed out that the principle is
merely an extension of that used in, for example, the 'storm*
movement of Beethoven's Pastoral symphony.
Nationalism has two aspects, the innate and the culti-
vated. The national or racial characteristics of composers
have always tended to show in their music; each race has
produced its own interpretation of the common stock of
technique and style. We may think, for example, of the
earnest approach of the Germans and their frequent
tendency to complexity; or of the precision and elegance
of the French. No Frenchman could have written the
stories*
The importance of nationalism lies in the breaking away
from alien influence. Leaving aside France, which has
*
During the i8th and early igth centuries the prevailing taste, set
by the court, was for Italian opera. Music and musicians were largely
imported, such men as Galuppi, Paisiello and Gimarosa holding court
positions. Russian musicians were sent to Italy for training and wrote
in the Italian style.
LATE ROMANTICS AND NATIONALISTS 315
political
satire is now 'dated ,
but their continued popu-
larity is assured by the music, which, within its inevitable
of great attractiveness.*
limits, is
Three names herald the real revival of English music,
Alexander Mackenzie (1847 to 1935), Hubert Parry (1848
to 1918) and Charles Villiers Stanford to 1924).
(18512
While hardly of the first
rank, they paved the way for the
next generation, many of whom were pupils of Parry and
Stanford. Stanford, of Irish birth, was perhaps the most
spontaneously gifted. His work has at times an attractive
Irish-folky flavour, and some of his songs are perfect gems.
Parry was at his best, perhaps, in choral works, where his
fine contrapuntal technique, derived from his study of Bach
competition.
* Mention must not be omitted of Johann Strauss (1825 to 1899),
second of the line of great Viennese waltz-kings. His best known
9
In
operetta, Die Fledermaus (The Bat ), is a complete masterpiece.
view of the ultra-serious view of music which is not uncommon among
students and the tendency to look down on 'light* music, it may be worth
while to point out that such great artists as Lotte Lehmann and
Elisabeth Schumann were c[uite happy to turn from The Rxng or The
Mastersingers and take part in The Bat,,
2i8 A CONCISE HISTORY OF MUSIC
The Englishncss of Elgar,
as of Parry, is of the instinctive,
intangible kind; there is no use of a 'folk' idiom. In the
work of Ralph Vaughan Williams (1872 to 1958) we find
an idiom whose roots are largely in the folksong tradition,
influenced by his study of the works of the early poly-
phonists. Dr. H. C. Colles put the matter succinctly
when he remarked, in connection with Vaughan Williams's
Pastoral symphony, that his 'creative power seems to have
been set free by his converse with the folk singers. 9 He was
in no way limited in his harmonic outlook; like Sibelius, he
was prepared to use anything from the mildest consonance
to the most astringent dissonance (as in his 4th symphony)
to give appropriate expression to his thoughts. Vaughan
Williams had a great influence on the younger generation,
and helped them by his example to find their own language.
In his long list of works, from the Fantasia on a Theme of Tallis
onwards, there is none which does not bear the imprint
of a strong and sincere personality.
The work of Gustav Hoist (1874 to 1934), despite the
frequent use of a markedly dissonant idiom, shows nation-
alist feeling, and so to some extent does that of Frederick
Ddius (1862 to 1934), together with influences from Greig
and Debussy (to be considered later).
Nationalism in Hungary is represented by Zoltan
Kodaly (b. 1882) and Bela Bart6k (1881 to 1945). Of the
latter some mention will be made in the next
chapter.
Kodaly's studies of Hungarian folksong have given a
distinctly national flavour to such works as his Psalmus
Hungarian, one of the finest choral works of the present
century.
We
have already referred briefly to Sibelius. It may be
well to mention that he was not a nationalist in the
accepted
sense and made no use of a folk idiom. He has been
described as a 'nationalist in sentiment9 ,* as was
Elgar, but
there is none of the deliberate nationalism of the Russian
c 9
Kve .
*
Sibelius, by Gerald Abraham, article by David Cherniavsky.
LATE ROMANTICS AND NATIONALISTS 219
RECORDS
Composer Title No.
Cat.
Moussorgsky Great Scenes from Boris Godounov OALP. 1
323
Pictures at an Exhibition OBLP. 1003
Borodin Prince Igor Polovtsian Dances
etc. 33 OCX. 1327
Rimsky-
Korsakov Scheherazade 33 SX. 1007
Smetana The Moldau (from Ma Wast) N ooSaoR
Bartered Bride, Overture etc.
402027 NE
Dvorak Symphony, D Minor LXTA. 2801
Symphony, E Minor (New
World} LXT. 2608
Slavonic Dances OCLP. 1019
Grieg Piano Concerto, A Minor 33 OC 1003
Lyric Suite OCLP. 1020
Granados The Lady and the Nightingale 7 EPO 7014
De Falla Suite The Three-Cornered Hat 33 CX. 1049
Franck Symphony, D Minor LXTA. 2905
33 OCX. 1201
Violin Sonata
Tchaikovsky Symphony No. 5 LPM. 18333
Symphony No. 6 LPM. 18334
Nutcracker Suite OCLP. 1060
Bruckner Symphony No. 3 LXTA. 2969
Mahler Symphony No. 4 LXT. 2718
Wolf Song Recital LW. 5 i62
Song Recital 33 OCX. 1162
Strauss TU EuLertspiegel \
Don Juan 33 CX. looi
J
Extracts from Der Rosenkaoalier OALP. 7506
LATE ROMANTICS AND NATIONALISTS
Composer Title Cat. No.
Elgar Enigma Variations KLC. 527
Violin Concerto OALP. 1456
Vaughan Fantasia on a theme of Tallis LXT. 2699
Williams London Symphony LXT. 2693
Pastoral Symphony LXT. 2787
Hoist Planets LXTA. 2871
Delius On hearing the first cuckoo
* OOT
b2QI
Summer night on the river
Sibelius Symphony No. i 33 OCX. 1085
Symphony No. 2 OALP. 1122
Symphony No. 5 33 CX. 1047
CHAPTER SEVENTEEN
IMPRESSIONISM
AND THE CONTEMPORARY SCENE
A LTHOUGH the composer who is regarded as the
f-\ chief exponent of impressionism could chronologic-
JL \. ally have been dealt with in the previous chapter,
as he died in 1918, consideration of his work has been de-
ferred until now, since he brought to music a new outlook
and new methods which are most logically treated in a
section which is concerned with what is usually called
'modern' music.
The principles of impressionism are seen in the work of
such painters as Monet and Cezanne and such poets as
Verlaine and Mallarme. The painters concentrated on
light and colour as the most important elements in a pic-
ture, largely disregarding traditional methods of 'composi-
tion* and eschewing anything that savoured of photographic
realism. The poets were willing to discard prosody and
even to neglect the normal rules of syntax, concerning
themselves with the purely sensuous effect of words words
as sounds and symbols rather than as Hnfcg in a chain of
thought. Both painters and poets sought to suggest rather
than to state.
Born in 1862, Claude Achille Debussy came early under
the influence of the pictorial and poetical impressionists,
and his style came to be based on an application to music
of their underlying principles. (It is arguable that he was
to some extent anticipated by Liszt in some of his latest
piano works.) We have noted the romantics' interest in
sound as such, leading, among other things, to developments
in the use of the orchestra; Debussy's interest was in sounds
as sounds, combinations of notes, whether analysable as
'chords' in the traditional sense or not, calculated, in their
IMPRESSIONISM AND THE CONTEMPORARY SCENE 223
conveying
stractions', no emotional message and represent-
ing nothing except some kind of visual pattern. Composers
attempt to follow their lead, as Debussy followed that of
the impressionist painters and poets.
The new outlook is expressed in 'neo-classicism', of which
we have noted signs but not more than signs in the late
Debussy. It implies a complete turning away from the
emotionalism of the late romantics and a return to many
older forms concerto grosso, suite, fugue, passacaglia, etc.
which are associated especially with Bach. The revival
of contrapuntal writing, alien to the impressionists, and of
the stricter contrapuntal forms, alien to the true romantics,
is a notable feature of contemporary music, as well as the
Ravel
Walton
Britten
Stravinsky
Poulenc
Bartok
Prokofieff
Schoenberg
INDEX
ABEL, 120, 151 Brandenburg Concertos, 127, 143
Abendmusiken, 115 Christmas Oratorio, 141
A cappetta, 65 Forty-eight Preludes and Fugues,
Adam de la Hale, 44, 52, 104
Little 'Organ Book, 14, 143
Addison, 162
Ad Qrganum Faciendum, 37 Marc, 15, 144, 175
Aeolian mode, 25 Mttwca/ Offering, 144, 176
Aesthetics, i?9 iSingr y* *<> the Lord, 15
CasteUone, 97
Cavalieri, 109 Cremona, 120
INDEX 235
Faur6, 220
Cristofori, 14811.
Faust, 205
Crusaders, The, igg
Fauxbourdon, 48, 64, 82
Cui, 215
Fayrfax, 68
..
De Speculatione Musicae, 43
Diabolus in musica, 30 Fontana, 124
Force of Destiny, 204
Dialogues, 109
Forster, 96
Diaphony, 35
Die Feen, 200 Franck, 208, 212, 219
Franco of Cologne, 43, 46
d'Indy, 220
Frederick the Great, 137, 144
Discantus Positio Vulgaris, 41, 46
Freischute, 199
Discantus supra tibrum, 46
Frescobaldi, i27Jf.
Discord, tfff., 63, 102
Dittersdorf, 151 Froberger, 122, 128
Frottola, 75
Divertimento, 149, *54
Divisions on a ground, 121 Fugue, 69, 119, I7
Dodecachordon, 25
Don GABRIELI, ANDREA, 73, 97, "3,
Carlos, 204
180
Donizetti, 168
Giovanni, 73, 97t "3, 4,
Dorian mode, 24
127, 1 80
Dowland, 79, 95 , Galant style, i47i *5i *53, * 81
Drink to me only, 26
32, 99 Galilei, 98, 102
Dufay, 63^., 69, 7i,
Galliard, 91, 121
Dukas, 219
Galuppi, 151, 214^.
Dunstable, 60^., 67, 69, 82, 91
Garland, 43, 6l
Duparc, 220
Garsi, 95, 98
Duplum, 46
Gasparim, 126
Durey, 229 Gastoldi, 78*.
Durum, 30 Gaultier, 95
Dvofak, 208, 211, 216
Gavotte, 121
Gebrauchsmustk, 178, 229
Ecclesiae MiKtantis, 64
Geminiani, 127
Edwards, 77 e Genevan 80
psalter,
Eus Feste Burg, 81
Genoveva, 199
gar, t
Gestes, 51
Error terttt soni, 61
Gesuao, in, 208
Gesualdo,
Estampie, 51, 85 Gibbons, 79, 82, 9$
Esterhazy, 18, 15*
Gigue, 121, 124
Euryanthe, 199 Gilbert, 216
Evangelist, zion. Giraldus Cambrensis, 44-
Glareanus, 25
FALLA, DE, 216 Glazounov, 219
Fdstaffy 204
ia8 Glinka, 214, 215
Fancy, 93, Gloria, 34
Fantasia, 93, 128
236 INDEX
Gluck, 1 06, i63ff., 167, 199 Impressionism, 2,22$.
Goethe, 179 Intermezzi, 161ff.
Gombert, 74 Intrpit, 34
Goudixnel, 80 Ionian mode, 25
Gounod, 205 Ireland, 225
Graduate Romanum, 34 Isaac, 49., 66, 69, 81, 93
Granados, 216
JACCHINI, 126
Graun, 137
Jacob of Liege, 47, 57
Graupner, 147
Great stave, 2971. Jahn, 199
Greeks, 22jf., 27, 30 Jannequin, 80, 98
Jenkins, 120
Gregorian chant, 26 feu de Robin et Marion, 52
Gregory the Great, 26, 31
Gretry, 163, 198
[ohn of Salisbury, 47
Grieg, 216
[ohnson, Dr., 160
Grimm, 162
Guarneri, 120 "ommelli, 164
Guido d'Arezzo, 28, 36, 37, 43, 59 tongleurs, 22, 51, 52
fosquin des Pres, 67, 69, 74
Guilmant, 97 " '
?, la, 167
Schweitzer, 115
Redford, 96
Reformation, 80 Scriabin, 207
Seconda prattica, 101
Reichardt, 137. 189, 190
Semibrevis, 43
Reinken, 122, 129, 142
Serial Technique, 231
Restoration style, 116
Service (reformed),
Rhinegold, The, 202
Sojff.
2 I5I
Symphonetes, 45, 5 > 5
Schlick, 86, 96
219
SchSnberg, 40, 231
Symphonia sacra, 115
Schubert, 32, 180, 184, 186; quartets,
Symphonic poem, 98*
186; songs, 189; symphonies, r" 1