(See page 589.)
]
It has been the custom among historians of music to consider the epoch
of the older masters as the “classic period,” and to apply the term
“romantic school” to a long list of modern composers of which Schubert,
Schumann, Mendelssohn, Spohr and Weber are the most important names.
Such a classification is of considerable convenience; particularly as
the so-called romantic movement which pervaded literature was not far
from contemporary with the appearance of these composers. But it would
be difficult to define and enumerate the various elements which enter
into the adjective “romantic” as used in this connection; for nearly all
the praiseworthy characteristics of these later composers are present in
certain great works of the so-called classical composers, not excepting
him who is considered so “unsympathetic” by many of the enthusiastic
admirers of modern music, Sebastian Bach. It is certainly true that the
tone-poems of Beethoven possess romantic characteristics which have been
misunderstood or ignored by those who claim for his successors a wholly
new direction of musical development. But in a general way we recognize
in modern “romantic” music the tendency to set less value on musical
construction or form for its own sake than on the subjective expression
of musical ideas. Further than this there has been a tendency to enlarge
the scope of descriptive music, not only in connection with the drama,
but in the application of fanciful titles to instrumental movements as
exemplified by the piano pieces of Schumann.
[Illustration:
JOHANN PETER SCHULZ.
]
As we have said, the same period was not without strong indications of
similar changes in the domain of letters. We have not space to give
details of literary history, but it may suffice to point out that, with
the advent of the music of Weber, Schumann and others, Germany was
overflowing with intense sympathy and enthusiasm for the writings of
Byron and of the prose-poetizer, Jean Paul Richter.
In the general mental and emotional tendencies of the epoch, classic
calm and reflectiveness began to be lost in “romantic” storm and stress.
The first indications of the new school of composition are to be found
in the works of two musicians whose lack of appreciation of Beethoven’s
genius is one of the anomalies of musical history. Both of them—Spohr
and Weber—were great men, epoch-makers in certain things. The
compositions of the former have, indeed, been eclipsed by later
achievements in music; but we ought not to underrate Spohr’s progressive
zeal. His musical individuality was narrowed by mannerism; and yet
within the limits of that individuality the variety of his work is
enormous. In the development of violin technique his activity as teacher
and soloist has borne rich fruit. His double quartets for strings have
become well known, but perhaps the general popularity of Spohr’s works
in this exceptional form has militated against their performance, and
consequently against the appreciation of other interesting works for odd
combinations of a small number of instruments, as for instance his octet
and nonet.
[Illustration:
CARL FRIEDRICH ZELTER.
]
Weber, more than Spohr or any previous master, realized for the German
people their ideal of a truly national style of opera. His “Der
Freischütz” appealed irresistibly to the popular taste for the romantic
and supernatural, a phase of imagination embodied in the fairy tales and
domestic poetry of Germany. Spohr, in his “Berggeist,” “Faust” and
“Jessonda,” had already worked in this field with considerable success;
but Weber, with greater musical genius, created in his “Der Freischütz”
an opera which was destined to take as deep a root in the hearts of the
German people as the “Zauberflöte” of Mozart, or “William Tell” of
Schiller.
On the other hand, “Euryanthe,” the most important work of Weber from
the musical dramatic point of view, did not win universal favor at
first; but nowadays it is estimated at its true worth. In this
masterpiece, Weber pointed out the direction which Wagner instinctively
followed, a new path which led to stupendous results in his
music-dramas.
Heinrich Marschner as a dramatic composer was stimulated and influenced
by his friend and associate, Weber. “Hans Heiling” is considered his
masterpiece. We feel the influence of Weber and Marschner in the earlier
operas of Wagner, though almost from the outset his powerful originality
asserted itself. Lesser lights of the so-called romantic school were
Lindpaintner (1791–1858) and Reissiger (1798–1856). The best of
Lindpaintner’s numerous operas were “Der Vampyr,” “Der Bergkönig” and
“Die Sicilianische Vesper.” Some of his symphonies, overtures, etc.,
were highly esteemed by his contemporaries, but his most popular works
were his songs, of which his “Roland” and “Standard Bearer” are
celebrated. Lindpaintner was one of the foremost orchestral conductors
of his time. Reissiger succeeded Weber as conductor of the Royal Opera
at Dresden. His most popular operas were “Turandot,” “Ahnenschatz” and
“Adele von Foix.” They are no longer given on the German stage.
“Kapellmeister” music well describes the works of both Reissiger and
Lindpaintner. They had nothing in particular to say, and said it
thoroughly.
Before Wagner’s conquest of the stage the opera-loving public of Germany
were largely under the sway of foreign composers. The sudden and
universal popularity of Rossini, Bellini and other Italian composers
absorbed public attention, and native composers were cast into the
shade. The example of Meyerbeer was hardly stimulating to the national
musical feeling. Meyerbeer, it is true, was a German, trained by German
masters, but his masterpieces were written for the Paris Opera: his
“Robert,” “Prophet” and “Huguenots” are eclectic in character, in which
Italian, French and German elements of style are blended; hence his
world-wide influence has not been as a German, but as a cosmopolitan in
music.
This indifference of the German public was not confined to the field of
opera; even Beethoven was neglected during the era of Rossini, and did
not live to see his symphonies appreciated by the many. With the rise of
Mendelssohn and Schumann, however, a new impulse was given to German
music, and the great public trained to appreciate the older as well as
newer masters. Under the shadow of the St. Thomas School of Leipsic,
with its glorious musical traditions, a group of gifted artists
assembled, who represent a new and bright epoch in the further
development of modern music. Mendelssohn’s noble character as a man, his
earnest, aspiring devotion to his art, cannot be over-estimated. His
remarkable gifts as composer, pianist, and conductor served to gain the
attention of the public everywhere; and this advantage, combined with
his personal magnetism, enabled him to accomplish more for the
advancement of music than others of his time.
Mendelssohn’s genius was exercised in almost every form of musical
composition, except the opera.
There are two peculiar phases of his musical individuality which are
most remarkable: first, the fantastic, imaginative vein so happily
brought to light in his scherzos, the most charming of which is the
scherzo in the “Midsummer Night’s Dream”; second, the lyric element,
which is not only characteristic of his “Songs without Words,” but of
nearly all his slow movements. His most poetical and romantic works are
his concert overtures to “Midsummer Night’s Dream,” “Fingal’s Cave,”
“Calm Sea and Prosperous Voyage,” “Melusina” and “Ruy Blas.” These
overtures are “program” music in the best sense of the term, and hold a
unique place among the foremost.
Mendelssohn’s genial and refined nature mirrored itself in his music.
Nevertheless, with all the beauty, sweetness, classic form, and purity
of his music, one thing is missed,—tragic depth and fire. He did not
touch the deepest chords of the heart like Beethoven and Bach, perhaps
because his existence was not clouded by adversity, or because he
arrived without serious struggles at the complete development of his
artistic powers.
[Illustration:
CONSERVATORY OF MUSIC IN LEIPSIC
]
Schumann, on the contrary, for years was denied the artistic
opportunities and companionships for which he longed. It was only in his
maturity that he acquired the technical facility which had become second
nature with Mendelssohn long before he was of age.
In depth of sentiment and emotional power, Schumann was the worthy
successor of Beethoven. Like Mendelssohn, he was an earnest student of
Bach’s music, and we perceive the influence of the older master in such
compositions as Schumann’s fugues on Bach’s name, the finales of his
piano quartet and quintet, and the grand polyphonic opening of his C
major Symphony. Like the old Leipsic cantor, Schumann was a subtle
ponderer and deep thinker. As a harmonist he showed more freedom and
boldness than Mendelssohn. In his orchestration he followed the
footsteps of Mendelssohn, but does not show equal mastery. His piano
works stand higher, and here he owed much to Chopin, whom he appreciated
more keenly than did Mendelssohn, and followed his example in the use of
extended chords, unusual figures of accompaniment, pedal effects, etc.,
as well as in poetical imagination, that rendered every little dance or
melody a miniature poem in tones.
In his four great symphonies, Schumann ranks next to Beethoven and
Schubert. As a song composer he stands nearest to Schubert in
spontaneity and poetic feeling. In spite of the gloomy melancholy that
broods in some of his music, he, like Beethoven, was a true humorist.
Schumann did not abandon the symphonic form, as perfected by Beethoven,
but, like Schubert and others, stamped it with his own individuality;
his poetical and romantic nature are revealed in all his creations.
Among the gifted associates and disciples of Mendelssohn and Schumann
were the following composers:—
Niels Wilhelm Gade (1817–91) first attracted attention by his “Ossian”
overture. The production of his first symphony, under Mendelssohn’s
direction at the Gewandhaus in Leipsic, made his name generally known;
and subsequently Gade was associated with Mendelssohn as conductor of
the Gewandhaus concerts. Although Gade was under the influence of
Mendelssohn and Schumann, his musical nature was not the reflex of
theirs; on the contrary, his Danish nationality comes to light in his
works. His style is truly poetical and vigorous.
William Sterndale Bennett (1816–75), the most gifted English composer
since Purcell, should be mentioned here as the friend of Mendelssohn and
Schumann. He profited by their advice and enthusiasm, but his style is
his own, although undoubtedly influenced by Mendelssohn. His charming
overtures, “The Naiads” and “The Wood Nymph,” have a place among
classical orchestral music.
[Illustration: