THE SONATA IN ENGLAND
In previous chapters we have been occupied with Italy and Germany.
Without reference to those countries a history of the pianoforte
sonata would be impossible. Italy was the land of its birth; Germany,
that of its growth, and, apparently, highest development. During the
sixteenth and seventeenth centuries England furnished notable
composers for the harpsichord. William Byrd and Dr. John Bull are not
only among the earliest, but at the time in which they flourished,
they were the greatest who wrote for a keyboard instrument. At the
beginning of the seventeenth century English music was indeed in a
prosperous state; it was admired at home, and its merits were
acknowledged abroad. H. Peacham, in his _Compleat Gentleman_,
published in the reign of James I., says of Byrd: "For motets and
musicke of piety, devotion, as well as for the honour of our nation,
as the merit of the man, I preferre above all others our Phoenix, Mr
William Byrd, whom in that kind I know not whether any may equall. I
am sure none excell, even by the judgement of France and Italy, who
are very sparing in their commendation of strangers, in regard of that
conceipt they hold of themselves. His 'Cantiones Sacrae,' as also his
'Gradualia,' are mere angelicall and divine; and being of himselfe
naturally disposed to gravity and piety his veine is not so much for
light madrigals or canzonets; yet his 'Virginella,' and some others in
his first set, cannot be mended by the first Italian of them all."
Then at the end of the seventeenth century came Purcell, a genius who
seemed likely to raise English music still higher in the estimation of
foreign musicians. But, alas! he departed ere his powers were matured;
by his death English art sustained a grievous loss, and from that time
declined. The history of instrumental music during the eighteenth
century is dull, and, so far as the pianoforte sonata is concerned, of
little or no importance. Nevertheless, a brief survey of that century
will be attempted, after which reference will be made to a few sonata
composers of the century now drawing to a close. Just as we referred
to the sonatas for strings and harpsichord before commencing the
history of the clavier-sonata proper, so here a few remarks will be
made concerning the sonata before Dr. T.A. Arne--the first composer,
so far as we can trace, who wrote a work of that kind for the
harpsichord alone.
In 1683 appeared Purcell's Twelve Sonatas for two violins and a bass,
the very same year in which Corelli published _his_ "Twelve Sonatas"
(Op. 1). In his preface, Purcell frankly admits that "he has
faithfully endeavoured a just imitation of the most famed Italian
masters." Sir J. Hawkins supposes that "the sonatas of Bassani,[108]
and perhaps of some other of the Italians, were the models after which
he formed them." In our introductory chapter we mentioned the sonatas
("a due, trè, quattro, e cinque stromenti") by Vitali (1677); and of
these, Mr. J.A. Fuller-Maitland, in his preface to the Purcell Society
edition of the "Twelve Sonatas" of 1683, remarks that "it is difficult
to resist the conclusion that these were the Englishman's models."
Vitali undoubtedly exerted strong influence; yet Purcell himself
describes his "Book of Sonatas" as "a just imitation of the most fam'd
Italian Masters." These sonatas of 1683, also the ten which appeared
after his death (among which is to be found No. 9, called the "Golden
Sonata") in 1697, are of great importance and interest in the history
of English music, but there is no new departure in them; this, at any
rate in the earlier ones of 1683, is fully acknowledged by the
composer.
In 1695, John Ravenscroft, a descendant, possibly, of Thomas
Ravenscroft, published at Rome, sonatas for "violini, e violine, o
arciliuto, col basso per l'organo" Opera prima, but they were mere
imitations of Corelli.[109] In 1728 a certain John Humphries published
by subscription "Twelve Sonatas for two violins and a bass"; and
Hawkins, in his _History_, excites curiosity by declaring that they
are "of a very original cast"; he adds, however, "in respect that they
are in a style somewhat above that of the common popular airs and
country dance tunes, the delight of the vulgar, and greatly beneath
what might be expected from the studies of a person not at all
acquainted with the graces and elegancies of the Italians in their
compositions for instruments. To this it must be attributed that the
sonatas of Humphries were the common practice of such small
proficients in harmony as in his time were used to recreate themselves
with music at alehouse clubs and places of vulgar resort in the
villages adjacent to London; of these there were formerly many, in
which sixpence, at most, was the price of admission." We have quoted
this passage at length, because it indirectly confirms our statement
concerning English music of this period. If Hawkins had had anything
better to talk about, he would not have wasted space on the music of
alehouses and "places of vulgar resort." It may, however, be asked
whether Hawkins' report of Humphries' music is trustworthy. Now,
although the sonatas offer nothing of special interest, we may
certainly venture to say that one does not hear such well-written
melodious strains in or near alehouses of the present day. The sonatas
consist, for the most part, of four short movements. First, a slow
introduction, then an Allegro somewhat in the Corelli style. An
Adagio, often very short, separates this from the final movement, an
Allegro in binary form, a Minuet, or a Gigue. This "Humphries" musical
landmark is the only one we have to offer our readers between Purcell
and Dr. Arne. But before proceeding to notice the sonatas of the
latter, let us say something, if not of English music, yet of music in
England during the first half of the eighteenth century.
Of the influence of Corelli we have already made mention. That
influence was materially strengthened by the two celebrated
violinist-composers, Veracini and Geminiani, who came to London in
1714; the former only paid a short visit; the latter made England his
home. Then a greater composer than the two just mentioned had already
arrived in London; this was Handel, whose Rinaldo had been produced
with wonderful success on the 24th February 1710. The genius of Handel
triumphed over all rivals, whether English or foreign, for well-nigh
half a century; and this fact alone explains the decline of English
art. But there was another strong influence which specially affected
harpsichord music: the Lessons of Domenico Scarlatti had made their
way throughout Europe. Thomas Roseingrave, who went to Italy in 1710,
became acquainted with the composer, and on his return pleaded the
cause of the Italian with an enthusiasm similar to that displayed a
century later by Samuel Wesley for Scarlatti's great contemporary,
J.S. Bach. Roseingrave edited "Forty-two Suites of Lessons for the
Harpsichord" by Scarlatti. Still another Italian influence may be
mentioned. "On the day," says Burney in his _History of Music_, "when
Handel's Coronation Anthem was rehearsed at Westminster Abbey (1727)
San Martini's[110] twelve sonatas were advertised." But Handel and
Scarlatti make up the history of harpsichord music in England during
the first half of the eighteenth century. Burney expressly states that
"the Lessons of the one and the Suites of the other were the only good
music for keyed instruments."
Thomas Augustine Arne (1710-78) is principally known as a writer of
operas and incidental music to plays, but he also wrote organ
concertos, and sonatas for the harpsichord. The latter, entitled
"VIII. Sonatas or Lessons for the Harpsichord," probably appeared
somewhere about 1750. With this double title it is, of course,
impossible to regard them as serious sonatas. No. 8, for instance,
consists merely of a Minuet with variations! No. 1 opens with an
Andante in binary form, while two bars of Adagio lead to another
Allegro of similar structure. No. 2 is of a similar kind. The binary
form is of the later type, _i.e._ there is a return to the principal
theme in the second section. No. 3 opens with a Prelude, and a note
states that "in this and other Preludes, which are meant as extempore
touches before the Lesson begins, neither the composer nor performer
are oblig'd to a Strictness of Tune." The pleasing Allegro which
follows shows the influence of Scarlatti-Handel. The sonata concludes
with an attractive Minuet and variations. No. 5, with its graceful
Gavotta, and No. 7 might be performed occasionally. Arne's sonatas, if
not great, contain some neat, melodious writing.
The second half of the century still offers poor results so far as
national music is concerned. We have spoken of Handel and Scarlatti;
but, after them, music in England again fell under foreign rule. In
the very year of Handel's death, John Christian Bach arrived in
London, which he made his home until his death in 1782. During that
period the sonatas of Mozart and Haydn became known; and the two
visits of the latter to England in 1791-92 and 1794-95 gave greater
lustre to his name, and rendered his style still more popular. And all
this foreign influence (strong inasmuch as Haydn and Mozart belonged
to a school with which J.C. Bach was in sympathy) is reflected in the
English music of the period. John Burton published, in 1766, "Ten
Sonatas for the Harpsichord," which are of interest. Some of the
writing recalls Scarlatti, but there are also many touches of harmony
and melody which tell of later times. The introduction of the Alberti
bass is one clear sign of a post-Scarlatti period. Burton paid a visit
to Germany in 1752, and was, we presume, acquainted with Emanuel
Bach's compositions. We may also name six sonatas by I. Worgan, M.B.,
published in 1769. At the head of No. 5, the composer remarks: "Lest
the consecutive fifths at the beginning of the theme of this movement
should escape the critic, the author here apprizes him of them." They
are as follows:--
[Music illustration]
The critic of those days must have been very dull if he required such
assistance, and his ear very sensitive if offended by such
consecutives as these. Lastly, we may give the name of a lady, Miss
Barthélémon,[111] whose interesting Sonata in G (Op. 3) was dedicated
to Haydn.
In the early part of the nineteenth century, John Field, whose
nocturnes are still played and admired, wrote three sonatas (Op. 1),
and dedicated them to Muzio Clementi, his teacher. No. 1 is in E flat;
No. 2, in A; and No. 3, in C minor. They all consist of only two
movements (No. 1, Allegro and Rondo; No. 2, Allegro and Allegro
Vivace; No. 3, Allegro and Allegretto). In the first two sonatas the
two movements are in the same key; in the last, the first movement is
in C minor, the second, in C major. The Rondo of No. 1 contains
foreshadowings of Chopin. Field's music, generally, is old-fashioned,
and not worth revival; none, indeed, of his sonatas have ever been
played at the Monday Popular Concerts.
Samuel Wesley[112] wrote three sonatas (Op. 3), likewise eight,
dedicated to the Hon. Daynes Barrington, yet we fear that not one of
them would prove acceptable at the present day. One looks in vain for
the name of Wesley in the Popular Concert Catalogue. Cipriani Potter
(1792-1871) deserves a word of mention. Beethoven, writing to Ries, in
London, in 1818, says: "Potter has visited me several times; he seems
to be a good man, and has talent for composition." His Sonata in C
(Op. 1, dedicated to Mrs. Brymer Belcher) consists of three movements:
an Allegro non troppo with a Haydnish theme--
[Music illustration]
an attractive Adagio, and a dainty and pleasing Rondo pastorale. The
influence of Beethoven and Clementi is great; the individuality of
Potter, small. But the sonata is thoroughly well written, and--at any
rate as an educational piece--the Rondo deserves reprinting.
Sir G.A. Macfarren composed three sonatas for the pianoforte. No. 3,
in G minor, dedicated to Miss Agnes Zimmermann, is a work which
presents several features of interest. In the first long movement (an
Allegro moderato) there is no repeat. The exposition section really
contains three subjects: an opening one in the principal key, a second
in D flat, and a third in the orthodox key of the relative major. The
development section, in which there is some solid counterpoint, is
decidedly clever; much use is made in it of the second subject
mentioned above. The Andante is a movement of simple structure. A
brisk Scherzo, in the making of which Weber and Schumann seem to have
lent a helping hand, leads to a long Finale,--the last, but by no
means the most successful of the four movements. We have just spoken
of influences; Weber may be said to have presided at the birth of the
opening Allegro, and Mendelssohn at that of the Finale. The appearance
in the Finale of the D flat theme from the Allegro deserves note. This
sonata may not be an inspired work, yet it has many excellent
qualities.
Of Sir Sterndale Bennett's two sonatas, the 1st, in F minor (Op. 13,
dedicated to Mendelssohn), commences with a long movement (Moderato
expressivo), in which there are traces of the master to whom it is
dedicated; it is followed by a clever Scherzo and Trio, a melodious
Serenata, and a weak Presto agitato. The first, second, and last
movements are in F minor, the third in F major. Schumann, in a brief
notice of the work, describes it as excellent. The sonata (Op. 46)
entitled "The Maid of Orleans" commences with an Andante pastorale in
A flat, above which are written the following lines from Act iv. Scene
1 of Schiller's play, _Die Jungfrau von Orleans_:--
"Schuldlos trieb ich meine Lämmer
Auf des stillen Berges Höh."
"In innocence I led my sheep
Adown the mountain's silent steep."
The movement is graceful and pleasing. Then follows an Allegro
marziale:--
"Den Feldruf hör ich mächtig zu mir dringen
Das Schlactross steigt, und die Trompeten klingen."
Prologue: Scene 4.
"The clanging trumpets sound, the chargers rear,
And the loud war cry thunders in mine ear."
Then an "In Prison" section with suitable superscription--
"Höre mich, Gott, in meiner höchsten Noth," etc.
Act v. Scene 2.
"Hear me, O God, in mine extremity."
Lastly, a Finale--
"Kurz ist das Schmerz, und ewig ist die Freude."
Act v. Scene 14.
"Brief is the sorrow, endless is the joy."
The title and the various superscriptions naturally cause the sonata
to be ranked as programme-music, but of a very simple kind. It is easy
to suggest pastoral scenes: a few pedal notes, a certain simplicity of
melody, and a few realistic touches expressive of the waving of
branches of trees, or the meandering of a brook, and the thing is
accomplished.
Dr. C.H. Parry is an English composer whose name has of late been much
before the public. He has written works both secular and sacred for
our important provincial festivals; also chamber music, songs, etc.;
and all his music shows mastery of form, skill in the art of
development, and eclectic taste. For the present, we are, however,
concerned merely with his sonatas. Like Brahms, he at first composed
pianoforte sonatas: No. 1, in F; No. 2, in A minor and major. Brahms
made a third attempt, but the two just mentioned are all that are
known to us of Dr. Parry's. No. 1 opens with a non troppo Allegro, a
smooth movement of somewhat pastoral character; the music, also the
writing for the instrument, remind one occasionally of Stephen Heller.
A bright, though formal Scherzo, with a well-contrasted Trio in the
key of the submediant, is followed by a melodious Andante and a
graceful, showy Allegretto.
No. 2 has an introductory movement marked _maestoso_; it is divided
into three sections. The first opens with a phrase of dramatic
character; the second, in the remote key of G sharp minor, contains
two short, expressive, Schumannish themes treated in imitation; the
third has passages leading back to the opening key and phrase. The
Allegro grazioso which follows is a compact little movement; in form
it is orthodox, yet there is no repeat to the exposition section. The
influence of Heller is still felt, but also that of Schumann. Grace
rather than power distinguishes the Adagio con sentimento, in the key
of C sharp minor. The Scherzo is clever and effective, and the
Allegretto cantabile, though the last, is scarcely the best of the
four movements.
A manuscript Sonata in D flat (Op. 20) by Dr. C.V. Stanford, another
prominent composer of our day, was produced at the Popular Concerts
(4th February 1884). It consists of an Adagio leading to an Allegro
moderato. Then follows an Intermezzo in the key of the relative minor.
An Adagio (F major) leads to the Allegro Finale in D flat major. It is
thus noticed in the _Musical Times_ of March 1884:--"Some listeners
have professed to perceive in the work a deliberate intention to
violate the established laws of form, but we confess that to us no
such design is apparent. In matters of detail, Mr. Stanford shows
himself an independent thinker, but in all essentials his newest work
is as classical in outline as could possibly be desired. The opening
Adagio is exceedingly impressive, and the succeeding Allegro moderato
is worked out with splendid mastery of the subject-matter, the general
effect being that of a lofty design carried into execution by a
thoroughly experienced hand. The succeeding Allegro grazioso, a
modified kind of Scherzo, is vigorous, and the final Allegro commodo,
with its excellent first subject, seems scarcely less important than
the first movement."