(See page 595.)
]
The symphonic poem is a welcome addition to modern music, but it is
capable of further development both in form and character. There is no
reason why the polythematic principle should not be applied to it, or
why the movements should not be extended. In the future the symphonic
poem may rival the symphony, but is not likely to supplant it. The
symphony has undergone many changes of detail since Beethoven, and in
the course of time it is probable that new forms of instrumental music
will be invented, but it will be difficult to reach as high an ideal as
that attained by the great masters of the symphony. In grandeur,
emotional intensity, thematic variety, contrast of movements, the
symphonies of Beethoven, Schubert, Schumann, Brahms and others stand on
a higher plane than the symphonic poems of Liszt, Saint-Saëns and many
less conspicuous composers who have cultivated this form.
It would much exceed the narrow limits set by this article to attempt to
discuss the far-reaching questions connected with the great musical and
dramatic reform of Wagner. This forms the subject of an able special
article, to which the reader is referred. Wagner’s world-wide influence
has not been confined to the dramatic stage. His bold independence of
thought and creative originality served to break down the barriers of
formalism and conservatism, which held back German music after the death
of Mendelssohn and Schumann. The Napoleon of music cleared the way, not
only for himself, but other young composers who were struggling for
recognition. Since his death no German has yet appeared able to follow
in his footsteps, or to strike out a path for himself in dramatic music.
At the same time all serious dramatic composers, Italian, French, etc.,
of the present day, have consciously or unconsciously been affected by
Wagner’s musico-dramatic ideas.
Among all the German composers who have gathered inspiration from the
theories and music of Wagner, only a single one seems to have produced a
musical drama which bears the stamp of real genius and clearly defined
individuality.
[Illustration:
FRIEDRICH von FLOTOW.
From a steel portrait engraved from a photograph by Weger, of Leipsic.
(See page 596.)
]
Peter Cornelius (1824–74) first became prominent at the time when Liszt
at Weimar was doing so much for the advancement of the so-called “new
German school of composition.” Cornelius at once identified himself with
this modern movement. It was on account of the indifference of the court
and the public toward Cornelius’s “The Barber of Bagdad” that Liszt gave
up his directorship of the theatre at Weimar in 1858. In the same year,
Cornelius’s opera, “The Cid,” was produced at Weimar. The completion of
a third opera, “Gunlöd,” was prevented by his death, which occurred at
Mayence in 1874.
His comic opera, “The Barber of Bagdad,” gives Cornelius a unique
position among the composers of the new German school. This seems to be
the only work of genius which has been produced in Germany as a result
of the Wagnerian cult; and it remains the single but the sufficient
ground for a denial of the charge made by disbelievers, that the
theories of Wagner can lead to nothing beautiful and good in opera. The
opera-poem is by Cornelius himself, and is a marvel of bubbling humor
and literary ingenuity; and the music is of exceeding complexity and
intensely difficult to render. The methods of treatment are distinctly
Wagnerian, but there is not a suggestion of Wagner in the character of
the melodies or in the instrumentation. All is delightful and
individual, in short, the work of a genius. On the other hand, in the
“Cid,” a tragic opera founded on Herder’s poem, Cornelius was not so
successful. It is certain that “The Barber” will ultimately be
appreciated; for its sparkling wit and delightful music are
irresistible, matched only among German composers by the “Figaro” of
Mozart.
Cornelius was far from being a Wagner, but he has done one thing which
Wagner probably could not have done: he has written an opera libretto
which is considered superlatively witty and entertaining by other people
than Germans, and set it to music which is noble, charming and
characteristic.
Anton Bruckner has also been prominently identified with the new German
school. In his heavy and massive instrumentation and style of writing he
is pronouncedly Wagnerian, but he has not endeared himself to the lovers
of sweet sounds.
Another prominent disciple of Liszt and Wagner is Felix Draeseke, born
1835, who became enthusiastic for the new school, and contributed to the
literature devoted to the propagation of the ideas of Berlioz, Liszt and
Wagner. He was one of the few who were openly praised by Wagner. His
numerous compositions consist of symphonies, chamber music, songs and
piano pieces. Draeseke has written two operas, “Herrat” and “Gundrun,”
the latter of which has been performed with success. Among his latest
orchestral productions are two symphonic preludes to dramas by Calderon
and Kleist.
Jean Louis Nicodé (born 1853) is another staunch believer in the new
tendencies in modern music. His compositions for orchestra include
“Symphonic Variations,” the symphonic poem, “Maria Stuart,” Suite in B
minor, Introduction and Scherzo. He has written piano and chamber music,
and several large choral works. His “Symphonic Variations” are
especially admired. Nicodé manifests the most astounding technique in
composition, and delights in producing startling orchestral effects.
Edward Lassen (born 1830), though a Dane by birth, has been identified
with music in Germany for the greater part of his life. He was first
made known as a composer through the kind offices of Liszt, who produced
on the Weimar stage Lassen’s “Le Roi Edgard,” “Frauenlob,” and “Der
Gefangene.” These operas met with a decided success. Lassen succeeded
Liszt as chief director of the Weimar opera, and still holds that
position. His published works include the music to Hebbel’s
“Nibelungen,” Sophocles’ “Œdipus,” Calderon’s “Circe,” and Goethe’s
“Faust” and “Pandora,” “Fest Cantate,” “Te Deum,” and several
symphonies. During the last few years he has occupied himself
principally with the composition of songs, which are much admired. His
latest work of importance is his violin concerto.
Another worthy representative of the new German music is Alexander
Ritter, the composer of numerous vocal works, including operas. There is
no doubt concerning the seriousness of his artistic endeavors, nor of
his great abilities; but, as with Nicodé, he has large utterance, and
but little of real importance to say.
[Illustration:
FRANZ von SUPPE.
From a photograph from life by Luckhardt, of Vienna.
(See page 596.)
]
By far the most interesting and the most promising of this class of
modern composers is Richard Strauss. He is not related to the Vienna
Strauss family. Young Strauss is now Lassen’s assistant director at the
Weimar theatre, and has shown remarkable ability both as an opera and
concert conductor. Although not yet thirty years old, he has produced a
considerable number of large works and numerous smaller ones. His
earlier efforts show the influence of Brahms, but for the last few years
he has adopted the Wagner-Liszt manner. Three symphonic poems, “Death
and Redemption,” “Macbeth” and “Don Juan,” as well as a symphonic
fantasia, “In Italy,” have been greatly admired. Evidently this young
composer has a more promising future than any of his young
contemporaries.
Felix Weingartner, the talented conductor of the Royal Opera of Berlin,
is a young composer of promise. Besides numerous songs and a serenade
for string orchestra, he has written two operas. The second of these,
“Genesius,” was produced in Berlin in November, 1892, but, as might have
been expected, it was not warmly received by the public. Weingartner,
like Strauss, is extremely modern in his musical tendencies, and his
works, although interesting to connoisseurs and lauded by certain
critics, will not at once find public recognition.
It would far exceed the limits of this article to give a complete
account of pianoforte playing and composition in Germany since
Beethoven’s time. The influence of the piano on modern music has been
greater than that of any other single instrument. It is not only the
favorite of the amateur, but is _par excellence_ the composer’s
instrument. As almost every modern German composer has written for the
piano, its literature is far more voluminous than that of any other
instrument, and piano players are as countless as the sands of the sea.
Modern representatives of piano style may be classed as follows:
1. Composers with whom technical execution is held subordinate to
musical thought and feeling, perfect form, and poetic beauty. Beethoven,
Schubert, Von Weber, Mendelssohn, Schumann, represent this class. 2.
Piano specialists who have brought manual execution into the foreground
and have carried it to an extreme, chiefly for its own sake; as for
example, Kalkbrenner, Herz, Henselt, Döhler, Thalberg, Dreyschock,
Litolff and Liszt in the earlier period of his career. 3. Remarkable
teachers of technique and style, like Czerny, Moscheles, Kullak and
Wieck. 4. Virtuosos who unite great technique with remarkable powers of
interpretation, like Tausig, Von Bülow and others. 5. Composers who are
likewise great virtuosos and interpreters, like Liszt and Rubinstein.
[Illustration: