The Poet Music Writers—Romantic School
SCHUBERT—MENDELSSOHN—SCHUMANN—CHOPIN
You have seen how Romantic Music began, and why Beethoven is often the
first name mentioned when Romanticism is talked about, for he was the
colossal guidepost pointing the way.
He was as far from the classical forms of Bach, as from later writers
who have “jumped over the musical traces” altogether. All were, and
still are, trying to free themselves from conventions, and to express
their feelings satisfactorily.
It is natural to begin the Romantic school with Schubert, the first
figure of great importance. But there was one John Field (1782–1837)
from totally different surroundings who is still remembered for his fine
piano nocturnes.
Impressed with the quiet and solemnity of the night, he knew how to put
it into beautiful melody. He was born in a little out-of-the-way street
in Dublin, not far from St. Patrick’s Cathedral, and near the birthplace
of that romantic poet, Tom Moore. His father and his grandfather, both
musicians, forced the infant prodigy, and at ten, he played, publicly, a
concerto composed by his father.
At twelve, the boy was apprenticed, or “hired out,” as pupil and
salesman to Clementi, the composer and piano manufacturer in London. He
showed off the pianos so well to the customers, that Clementi soon
realized he had made a good bargain. The boy played in London as the
“ten-year-old pupil of Clementi,” on whom he no doubt tried out his
_Gradus ad Parnassum_. (Page 320.)
Five years later he played his own “Concerto for the grand _fortepiano_,
composed for the occasion.” Clementi was shrewd, and started a branch of
his piano business in St. Petersburg, taking Field with him.
One of the ear-marks of Romantic music is the title of the piano piece
or song. Until the romantic period music was designated usually by the
number of the work or by its form such as _gavotte_, _minuet_, _rondo_,
_sonata_, etc., but the Romantics wrote what they felt, and with the
exception of Chopin, gave descriptive names to their pieces. In 1817
John Field wrote a concerto named _L’incendie par l’orage_ (_The Fire
from the Storm_), a musical picture.
His influence was more important than his music. We see his hand in the
playing and composing of the poet-pianist, Frederick Chopin.
Although Weber appeared in a different musical field he, too, had a
strong influence. He was four years younger than Field but had greater
opportunities and was one of the first of the Romantic School.
Charles Mayer (1799–1862) was a direct follower and pupil of Field. His
_études_ (studies) ranked with those of Henselt, who wrote the
delightful _If I Were a Bird_, and he had an influence upon Chopin, too.
SCHUBERT—MAKER OF SONGS
And now we come to Franz Peter Schubert (1797–1828), born in Vienna of a
schoolmaster father, and a mother, who, like Beethoven’s, was a cook.
The musical comedy, _Blossom Time_, was built upon some of Schubert’s
most beautiful melodies and episodes from his life. We must never trust
too far stories told this way, which often contain unreliable details,
however this charming operetta gives an interesting glimpse of
Schubert’s devotion to composition. It is true that he wrote wherever he
was, covering his cuffs as well as the menus and programs in the taverns
with the endless flow of themes which eventually became world-famous
songs. Schubert was not a mere writer of songs; he created the form
known as _Lieder_ and through all his works, torrents of melody seemed
to spring from him eternally.
He was the thirteenth of nineteen children, five of which were of a
second marriage, and there was no wealth or luxury for Franz, so his
father worked hard to pay for his music lessons.
His teacher said that no matter what he tried to teach him in violin,
piano, singing, the organ or thorough-bass, Franz knew it already, for
he learned everything almost at a glance.
He was first soprano in the church choir of Lichtenthal and the beauty
of his voice attracted much attention. He also played the violin in the
services, and stole little stray minutes to write songs or pieces for
strings and piano.
When he was sent to the school for Imperial choristers the boys laughed
at his coarse, grey clothing, the big “Harold Lloyd spectacles,” and his
retiring, bashful manners. They soon changed when they discovered the
astonishing things he could do. His home-spun clothes were exchanged for
the uniform trimmed with gold lace worn by the Imperial choristers, who
formed an orchestra to practise daily music by Haydn, Mozart, Cherubini
and Beethoven. Among them was Spaun and when he won his confidence,
Franz told him that he had written many pieces and he would write more,
but could not afford to buy the music paper. His new friend made it
possible for Schubert to have paper and many other luxuries, in which
Spaun did something to benefit the world,—a little kindness which
brought great results.
The extreme ease with which Schubert absorbed all learning made him
neglect the study of counterpoint, because after all he could not give
all his time to music, for he was a schoolteacher and had to work hard
to get along. His heart was not in his work, for while hearing the
pupils recite he wrote themes on every scrap of paper he could find.
He wrote with lightning rapidity. The early songs met with immediate
favor which encouraged him to write music in larger form. He was of the
people and wrote from the heart, and to the heart. He hoped for the same
success with his symphonies and chamber music, but the symphonies never
reached the perfection of his songs, and his disappointment was keen
when the critics did not rate them as highly.
However, the steady flow of melody, the torrent of themes, never ended
and his chamber music is like a song with lovely play of instruments.
Who can forget the haunting beauty of the _Unfinished Symphony_? This
was left unfinished, indeed, not by Schubert’s death as many suppose,
but the composer felt that he had arrived at a summit of beauty in the
second movement, and he dared not add a third, lest he could not again
reach the heights.
His tenth and last symphony in C major takes an hour to perform and is
heard frequently. Robert Schumann wrote that it was of “Heavenly
length.”
Schubert lived when the romantic poets gave him wonderful verse for his
texts. He loved the literature of Goethe and Heinrich Heine, both of
whom knew the hearts of the simple people.
The world will never forget the wonderful heritage left by this genius
who died at thirty-two leaving vast quantities of great works. Besides
creating new forms in song he also gave the pianists pieces that were
new and important. He left no concertos, nor did he write for solo
violin, but his piano sonatas and chamber music are of value. _Der
Erl-Koenig_ (_The Erl King_), _Der Doppelganger_ (_The Shadow_), and
_Death and the Maiden_, all sounded the last note in tragedy, and he
also wrote many lovely songs in lighter mood.
THE WELL FAVORED MENDELSSOHN
Most masters who have left the world richer for having lived, were born
in poverty and knew the sorrows of privation, not so with Felix
Mendelssohn-Bartholdy (1809–1847), loved by the many who have played his
_Songs Without Words_, or who have heard Elman’s fingers fly over his
violin in the concerto, said to be the best writing ever done for that
instrument.
Popular as are many works from the polished and fluent pen of
Mendelssohn, the oratorios _Elijah_ and _Saint Paul_ are noble for these
contain some of the most dramatic and inspired writing. In that work
which is typical of Mendelssohn and his personality, he showed more
characteristics of the older classical school than of the romantic. If
he had lived during the classical period he would have been a greater
composer, for he was romantic by influence and classic in taste.
Has not the _Spring Song_ the shimmer of spring and the _Spinning Song_
the whir of the wheels? One can easily imagine the kindly touch of a
loving hand in _Consolation_, while the _Hunting Song_ is alive and
going. This is the romantic music that became the model for thousands of
small pieces.
It in said frequently that if Mendelssohn had been less conventional,
his work would have been more forceful, because he had much that was
truly fine.
Mendelssohn lived among the most brilliant literary lights of his day.
His refinement was reflected in his music. He was petted by an adoring
father, mother and sisters, who gave him every opportunity to study and
compose, and he was much sought after socially. He devoted much time to
the study of languages, sketching in water colors and traveling in Italy
and Switzerland. His sister Fanny, whose musical education was of the
utmost assistance to her brother whom she idolized, would have been
famous but for her father’s prejudice against women in professional
life. She was a gifted composer and it is claimed that she wrote many of
her brother’s songs and some of the _Songs Without Words_.
Her death was a mortal blow from which Mendelssohn never recovered.
Extremely sensitive, his affection for his family was most intense and
filled his life.
His grandfather was the eminent philosopher Moses Mendelssohn, who being
a Hebrew, was open to the sorrows caused by prejudice. He was such a
great man, however, that he succeeded in breaking down barriers not only
for himself, but for his race.
Abraham Mendelssohn was pleased to call himself, “First the son of the
famous Moses Mendelssohn, then the father of the eminent Felix
Mendelssohn.” His banking house in Berlin is still in the family.
The most noted musicians and artists were entertained in the Mendelssohn
home, and heard the compositions of the gifted young man. In 1821 the
boy was taken to Goethe’s home where he played and improvised for the
poet. He was delighted with him for his musical talent, and because he
had inherited the gift of conversation and letters from his grandfather,
of whom Goethe was very fond. Young Mendelssohn never shocked the great
old poet as did Beethoven, for his manner was always correct.
In 1825 Mendelssohn went to Paris to Cherubini who was asked whether his
talent justified cultivation beyond the average stage. The master was
very enthusiastic, but his father would not leave him in Paris, even in
charge of the noted teacher. Returning to Berlin he wrote the overture
to _Midsummer Night’s Dream_ (1826). It reflects the dancing elves and
the humor of Shakespeare, while the orchestra has a delicate touch,
similar to that shown by Berlioz at the same period. Mendelssohn was
only seventeen when he wrote it, with all its finish and its flawless
musical treatment. Much that he did at that period shows his natural
flow of genius. Music seemed to gush from his soul like pure, fresh
water from a spring, making one think of cool fountains, sparkling with
melody and clarity. These qualities are also in the _Fingal’s Cave_ or
_Hebrides_ overture, and he takes you on his delightful trips in _Calm
Sea and Prosperous Voyage_. The way these numbers reflect his
impressions and the way he transmitted them to others is typical of the
Romantic School. The purity of his musical form related him to the
classical and gave inklings of the Symphonic Tone Poem.
In his symphonies Mendelssohn also told tales of his travels, as in the
_Italian Symphony_, and in his _Scotch Symphony_ in which he made use of
Scotch folk tunes. He also wrote much chamber music. He left some piano
concertos which may not attract the professionals of today but are the
joy of many piano students who play them arranged for two pianos.
Mendelssohn tried operas but like many others failed to find a good
libretto. This was the trouble with one he produced in Berlin. Added to
this there were many intrigues and jealousies at the opera house which
turned him bitterly against that city.
However, he accomplished one of the greatest things ever done for music.
The works of Bach and Handel had been so neglected that they were almost
forgotten. He knew them well, and wanting others to love them as he did,
he assembled a great chorus and gave Bach’s _Passion according to Saint
Matthew_. This was the first performance since Bach’s death, and it
brought these works back to us. Imagine Mendelssohn’s popularity and
talent as a conductor to have been able to do this at the age of twenty!
Then he traveled again, and after roaming through Italy, Switzerland and
France, he went to London where he created a stir as pianist, composer
and conductor. Besides his splendid education he had a winsome and
attractive personality, and his success was very great. He made, in all,
nine visits to England.
Having been brought up in the Christian faith, he married the daughter
of a French Protestant minister and had five children. They went to live
in Germany and becoming conductor of the Leipsic Gewandhaus orchestra,
he made the city the musical center of Germany. He founded the Leipsic
Conservatory of Music (1843), where he gave his old teacher Moscheles an
important post. This conservatory is well known here for many American
musicians of the last generation were educated there.
Mendelssohn conducted many festivals and he always aroused new interest
in Bach, whom he presented at every opportunity.
His _Saint Paul_ had success in Duesseldorf (1837), and during his last
visit to England (1846), he gave at the Birmingham festival _Elijah_,
second today in popularity only to Handel’s _Messiah_.
When Mendelssohn returned to Leipsic, he showed traces of overwork and
the death of his sister coming at the same time, made him unable to
resist the strain. He died November 4, 1847, when only 38. His happy
life shines through his music so full of beauty and sunshine.
SCHUMANN—THE SUPREME POET
Robert Schumann (1810–1856), a tower of beauty, strength, imagination
and dramatic fervor even judged by 20th century standards, still thrills
us as we recognize his genius. What a price he paid for his life filled
with joys and griefs!
We are grateful for the solidity of his building, his breadth of vision,
the wonders of his imagination, the beauty of his poetic fancy, and
above all, the vastness of his musical knowledge. A peak among the
composers of the Romantic School, he has scaled the heights of dramatic
fervor as he has touched the sun-flecked valleys. To him we owe the
naming of pieces, and the feeling of emotion which the composer felt
when he named them,—_The Happy Farmer_, _The Prophet Bird_, _The
Rocking-Horse_, _End of the Song_, _The Child Falls Asleep_, etc.
All who have been milestones in music have been well educated, yet how
unjustly people say musicians know nothing but music. Many have not had
only culture from their studies, but also have come from refined homes.
So Schumann, born at Zwickau, Saxony, had an educated father, a
book-seller. His mother wanted Robert to be a lawyer, and did not wish
his musical talent to interfere. He began to compose and study music at
seven, but he studied law, literature and philosophy, later, at the
University of Leipsic.
After a year he went to the famous University of Heidelberg (1829),
which has always been proud that the great composer was one of its
students.
Schumann returned to Leipsic on account of the musical life. With his
return began the romance of his life, one of the most beautiful love
stories in musical history. He studied with Frederick Wieck, whose
little daughter Clara was a prodigy pianist. He became a member of the
household and was charmed by the talent of the child. Meanwhile he was
studying as pianist, and being ingenious, he invented an instrument to
develop his weak fourth finger, but it ruined his hand and unfitted him
for his career.
Now he gave more attention to composition and to musical criticism. This
gave him the chance to help some of the brilliant musicians of the day.
He brought Chopin to the notice of Germany, and proclaimed the genius of
young Johannes Brahms. He also formed a deep friendship for Mendelssohn.
Valuable as are all writings which reveal his thoughts, his richest gift
to the world was his music, in which he preached the gospel of beauty.
As Schumann grew into manhood he began to know the depths of sorrow,
some of his finest works having been an outburst of his tortured soul.
Clara Wieck was now a young woman and a great pianist. It was natural
that an affection should spring up between them. But Clara’s father had
greater hopes. He could not see a struggling young musician and critic
as the husband of his talented child. During this long and painful
courtship when Schumann dared not speak his love to Clara he wrote
compositions with which to tell his story, and she understood. One of
these expressions was the lovely _Warum_ asking the question, “Why?” so
longingly.
In those days a case could be brought into court and the reason demanded
why a parent should refuse to allow a marriage. Schumann went to law,
and the court decided that Wieck’s objections were without cause. But
the year of strain told upon his health and nerves and he began his
married life under a cloud of illness. The young pair were ideally
happy, he wrote glorious music, and she took pride in playing his piano
works on all her programs.
With all her accomplishments—and she was a great artist—she was first a
devoted wife who cared for her husband as though he had been her child.
Schumann’s very finest work was done during these years. His inspiration
drove him chiefly to songs, full of lyric beauty like Schubert’s;
indeed, when speaking of _lieder_ the names of Schubert and Schumann are
always linked.
Mendelssohn urged Schumann to teach in the Leipsic Conservatory, but he
left there soon to make a tour of Russia with his wife. That year they
settled in Dresden, a quieter city, because his nerves were beginning to
forecast the shadow of his future.
Mendelssohn loved Schumann and admired him as composer, writer and
critic. He conducted the first performance of Schumann’s B flat symphony
at a Gewandhaus concert of Clara Schumann, and the happiness of the
three was tremendous. Schumann did not think of himself alone, but was
always trying to help his colleagues. Schubert wrote his C major
symphony in March of the year he died and never heard it, but Schumann
had the score sent to Mendelssohn in Leipsic for its first performance
after a wait of eleven years.
Notwithstanding his nerves, Schumann was now in his full power and the
amount he wrote is incredible. Most of his chamber music was written in
1842, three of the string quartets being dedicated to Mendelssohn. The
work that gave him fame all over Europe was the quintet for piano and
strings, opus 44; with Clara at the piano, Berlioz heard its first
performance and spread the news of his genius through Paris. About this
time the _Variations for Two Pianos_ were written and played by Robert
and Clara Schumann.
Another interesting and popular number is _Carnaval_, a collection of
named sketches in three-four time each one portraying some person or
thing. _Eusebius_ and _Florestan_ have caused much curiosity—the secret
is that Schumann was a student of himself and these were meant to show
his conflicting moods. Chopin is represented, also Mendelssohn, while
_Chiarina_ is Clara.
A strange thing happened to Schumann in Vienna. He was visiting the
graves of Beethoven and Schubert which are not far apart, and he found a
steel pen on Beethoven’s tomb. He took this for an omen, but used it
only for his most precious works. He wrote the B flat symphony with it
and the magic seemed to work!
Schubert is universally praised for the beauty of his themes, but who
could surpass the loveliness of Schumann’s melodies? The contrasts
between the exquisite little tone-pictures of _Kinderscenen_ and the
grandeur of the sonatas and the _Fantasia_ mark the breadth of his
genius, while the amount he accomplished in his short span of life was
marvelous.
He was but twenty-five when he first showed mental trouble, and at
forty-four his case was hopeless. He tried to end his life by jumping
into the Rhine and was taken to an asylum near Beethoven’s birthplace,
Bonn, where he died two years later, survived by his wife and two
daughters.
What a price he paid for his life filled with joys and griefs!
CHOPIN—“PROUDEST POET-SOUL”
Robert Schumann wrote that Chopin was “the boldest, proudest poet-soul
of his time.” Such a tribute from him meant more than all the praise we
can give him now; it shows that he had admiration and respect from his
rivals as he had idolatry from the literary, artistic and refined
circles of Paris.
Frederic Chopin (1809–1849) was born in Poland of a French father and a
Polish mother. The difference one finds in the date of his birth,
February 22 or March 1, is owing to the difference between the Russian
and Polish calendars, and those of other countries.
Like Mozart he showed talent very early and at nine played his first
public concert. His mother, unable to be present, asked him what the
audience liked best. “My collar, Mamma!” he answered, proud of the
little lace collar on the black velvet jacket! He was elegant then, and
always kept his air of distinction, and a love for beauty.
Shortly after beginning music study, Chopin tried to compose, and felt
such authority that he undertook to change certain things written by his
teacher. His earliest work was a march dedicated to the Grand Duke
Constantin, which was arranged for brass-band and printed without the
composer’s name.
From his two teachers in Poland, both ardent patriots, Chopin must have
absorbed much of the national feeling so strongly marked in his works.
As it was a day of flashy _salon_ (Page 322) playing, his teacher,
Joseph Elsner, felt that Chopin was the founder of a new school in which
poetic feeling was leading music out of the prevailing empty acrobatic
finger feats!
The world owes much to that wise teacher who instilled a love of Bach
into his young pupil. He answered some one who blamed him for allowing
Chopin too much freedom: “Leave him alone! he treads an extraordinary
path because he has extraordinary gifts and follows no method, but
creates one. I have never seen such a gift for composition.” Later he
marked his examination papers: “Chopin, Frederic (pupil for three
years), astounding capacity, musical genius.”
At fifteen Chopin was adored by his companions and always held the
affection of those who knew him. He seems to have been the original
“matinee idol” of Paris, whenever he played, for he was the most poetic
and finest pianist ever heard.
Though Chopin was seemingly French in manner, habits and tastes, he was
extraordinarily patriotic and his music is perhaps the finest expression
of Poland the world has ever seen.
No one has surpassed, or even equalled Chopin in writing for the piano.
He understood its possibilities, limitations, tonal qualities and power
to express emotion.
He did not leave a great quantity of compositions, but a well-ordered
collection of music, so individual that even today, with all his
imitators, when we hear Chopin—(and where is there a piano recital
without at least one number?)—we instantly recognize it as his.
Strongly marked rhythms are among his most fascinating characteristics.
He glorified and elaborated the dances of Poland, as had others in the
past, who made art pieces of the gavotte, minuet, bourrée, gigue, etc.
What lovelier numbers on a program than Chopin’s mazurkas, polonaises,
waltzes? There is also irresistible swing in the _Ballades_,
_Impromptus_, the _Berceuse_, _Barcarolle_, and what could rival in
fantasy the _Nocturnes_ or _Preludes_? The _Etudes_ cover a variety of
moods, while his _Scherzos_ stand alone in piano literature.
Chopin left no symphonies, no chamber music, except two piano sonatas
and one for ’cello and piano, and what he did for voice could be told in
a few words. He also wrote two piano concertos in which the piano work
is beautiful but the orchestration is not as fine.
These concertos and his piano sonatas were the largest forms in which he
wrote, proving that he could have succeeded here had he not chosen to
perfect music in the smaller forms.
Chopin never had a fair start in life in the way of health, and while
his delicate appearance made him the more interesting, especially to the
ladies, he was a real sufferer. It would be unfair to believe that his
work would have been greater had he enjoyed complete health, for his
unhappiness and his sufferings gave him a sense of the mysterious and
the beyond. He lived in a world far from material things and seemed able
to translate all he felt into music.
He had the devotion of many idolizing friends, tireless in their efforts
to make him happy and keep him working so that he should not brood over
his illness (tuberculosis). Foremost among these was the famous French
novelist George Sand, whose love and companionship were the source of
rare inspiration and comfort. She was a woman of vast mental and
physical power and seemed to impart her strength to him. But Chopin was
a favorite not only with women but among the men, as we learn through
the letters he left. We find many from Schumann, Mendelssohn, Liszt,
Delacroix, the French painter, and innumerable others.
Concertizing began to fatigue him beyond endurance. Returning to Paris
from a tour during a hard winter in England, he grew so ill that he
rarely left his bed, although he did not die until the following
October, 1849.
Chopin had asked that the Mozart Requiem be given at his funeral, which
occurred October 30, from the Madeleine Church in Paris. The singer
Lablache who had sung the Mozart number at Beethoven’s funeral also
performed this tribute for Chopin.
In addition to the Requiem, Lefebure-Wely, one of the fine organists of
Paris, played Chopin’s preludes in B and E minor, and the familiar
funeral march from the first sonata was arranged for orchestra and
played for the first time.
HELLER—THE CHILDREN’S CHOPIN
We may not find the name of Stephen Heller (1813–1888) on many of the
“grown-up” programs, but no pupils’ recitals are complete without
several of his lovely melodies.
He was the friend of children and devoted himself more to teaching and
writing for the young minds and small hands than did any of his
companions. Heller was intended for a lawyer, but his talent as shown at
nine was great enough for him to study with Carl Czerny in Vienna. He
became a fine concert pianist and toured Europe. Taken ill during one of
these tours, he was adopted by a wealthy family who allowed him all the
time he wanted for composing. Most of his study was done in Paris where
he was a friend of Berlioz, Chopin, Liszt and other prominent artists of
the day.
He left several hundred piano pieces, nearly all masterpieces in a field
where he stands practically alone. He wrote in the style developed by
Mendelssohn and Schumann, and what Chopin is to the music world of the
“grown-ups,” Heller is to the young student.
[Illustration:
_Painted by Kriehuber._
_Franz Schubert._
]
[Illustration:
_After the Painting by Bendemann._
_Robert Schumann._
]
[Illustration:
_Felix Mendelssohn-Bartholdy._
]
[Illustration:
_After the Painting by F. V. Delacroix._
_Frédéric Chopin._
]
_Poet Music Writers._
(_Romantic School._)
[Illustration:
_After a painting by Lenbach._
_Richard Wagner, the Wizard._
]