In the study of the history of musical art, nothing can strike our mind
more impressively than the observation of its coherency, of the connection
between the different phases in the development of each particular field
and between its most prominent representatives; but most striking is this
impression when we become aware of an influence directly felt through
generations. When about a generation ago the conservative Professor
Bischoff sarcastically threw the term "music of the future" into the
world with reference to Wagner's music dramas, the master accepted it as
a watchword, and in his pamphlet "The art work of the future," laid down
the hopes and ideals which he strove to realize. Numberless times since
then has this phrase been used everywhere, and those who, standing in the
midst of the movement, wanted to become clear as to its true meaning,
had at least to admit that all great music has ever been "music of the
future," whether its value has been recognized by contemporaries or not.
But most eminently it has seemed to apply to the great master, Johann
Sebastian Bach. Of him, who died more than fourteen decades ago, it could
have been said, that only a very remote future would do his works justice,
for even to-day they must still be regarded as "music of the future," and
the influence which they were destined to exert upon the development of
musical art in various fields, is still far from having reached its end.
It is inspiring to see how the thorough understanding and appreciation
of this genius, and of the wealth, depth and greatness of his style, are
progressing in the different countries, and just as inspiring to examine
his extraordinary influence upon the more recent epochs of musical
history. While some composers tried to follow him in his own fields,
as Mendelssohn in the oratorio or Rheinberger in compositions for the
organ, others, as Schumann and Brahms in instrumental works, have adopted
his wonderful polyphonic and contrapuntal art, showing his influence
just in those productions, which otherwise exhibit most strongly their
own individuality. Even the revolutionary Wagner held Bach's genius in
veneration, and paid a noble tribute to it in his Mastersingers. Indeed,
considering these facts, an overwhelming sense of admiration and gratitude
must fill our hearts, particularly in thinking of the great master of
modern German song to whom this article is devoted.
Not an imitator, but a worthy successor of Bach, in a field, the highest
cultivation of which has been preserved to modern time as one of its
noblest tasks, is Robert Franz, whose life and works may perhaps awaken a
double interest, if viewed in the light of the above introductory remarks.
In outward appearance this life was, perhaps, even more quiet and simple
than that of Bach. Franz's soul and mind had always turned toward the
inner world, just as in his songs he studiously avoided all ostentation
and meaningless brilliancy. There is indeed a significant harmony between
his life and songs, the latter being the outgrowth of the former, not
occasionally written down from a vain ambition to compose, nor as a
pastime or fashion, but as the fulfilment of his life's task, to which his
genius had committed him.
Robert Franz was born June 28, 1815, in Halle, the old university town
in the centre of Germany, the birthplace of Handel. Here Franz has
remained all his life. He did not descend from a musical family, but from
plain, honest, business people; nor were there any direct early proofs
of his musical genius, as only in his fourteenth year he was given an
opportunity, on an antique, spinet-like pantaleon (or large dulcimer) to
make his first practical experiments, at the same time trying, unaided,
with a touching perseverance, to find out the secrets of musical
notation. However, he had received his first musical impressions when very
young. At two years of age he had been amply impressed by Luther's choral,
"A Mighty Fortress is Our Lord," played by trombones from the steeple of
a church at the celebration of the third centenary of the Reformation.
At home his father was accustomed to sing the old church and folk songs.
The effect of these early impressions on his young musical soul was soon
obvious, for he says that in school he had an irresistible desire to add a
second voice to the melodies which were being practised. His unsolicited
assistance was looked upon as a crime by the teacher, who punished him
for it repeatedly. It was the mother who first lent a helping hand to the
boy's outspoken talent and inclination, and who succeeded in persuading
his father to buy the already mentioned pantaleon. Naturally the
instruction which young Robert received, first from a relative and then by
nearly all the different music teachers of Halle in succession, was not of
much value. He achieved more by his own impulses, practising chorals with
friends, eagerly studying the organ and using every opportunity to play
accompaniments, as for instance, in the choral rehearsals of the famous
Franke Asylum. There he became acquainted with the music of Mozart, Haydn,
and his great fellow citizen, Handel, and there he was first fired with
the spirit of composition. Unadvised and without the least theoretical
preparation he yielded to his desire to compose, neglecting even his
school duties in favor of this impulse, the results of which, however, he
has declared utterly worthless. It was difficult for him, especially in
his own home, to brave all depreciation of his talents and to overcome all
opposition; only the firm belief in his artistic calling enabled him to
fight the battle through victoriously.
Franz was twenty years old, when at last his parents consented to his
thorough professional education. The Leipsic Conservatory not having been
founded, the music school of the famous theorist and composer, Friedrich
Schneider, in Dessau, was at that time held in highest esteem, and there
Franz was sent. The rather patriarchal, old fashioned, pedantic spirit
which prevailed in this school, could certainly offer to the young
aspiring student substantial knowledge, though it could do but little to
develop his poetic nature. Yet he learned a great deal there, and laid
a most excellent foundation to the eminent theoretical knowledge and
mastery in the strict contrapuntal and polyphonic style by which he later
won such a high distinction.
Besides this, the ever fresh impulses of his own nature and the inspiring
intercourse with congenial fellow students helped to mature his own
musical individuality. A peculiar influence is attributed to a certain
Reupsch, whom Franz describes as quite extraordinary in improvisations on
the organ and in the treatment of chorals. Nothing has ever been published
of all the works (consisting of pianoforte sonatas, a mass, etc.) which
were composed during these years. Franz felt that his nature would lead
him upon an independent path of his own, but his instinct had not yet
found this sphere. After two years of study he returned home, only to
meet with new opposition and mistrust in his talent. No position was
offered him, no compositions appeared in print; and it was then that the
sympathy of his faithful mother remained his best comfort. In the circles
of cultivated dilettanti he learned that the intrinsic value of a work of
art is found in its inner significance, and that its formal value, if it
be a really artistic production, should be a matter of course. This is the
very idea for which Robert Schumann was then fighting, and which men like
Wagner, Liszt and Berlioz have made the principle of their artistic creed.
Yet all true art rests on the closest harmony between both elements,
where the form is the necessary and most perfect expression of the ideal
contents, the two forming a perfect union. What a blessing was it that
Franz in this way found rich opportunities to become acquainted with old
Italian music, and with the three great German masters, Bach, Schubert and
Schumann, whose works have most essentially influenced the moulding of his
own musical language.
He gave such close study to their works that his nervous system was
overwrought, and becoming his own severest critic he destroyed all his
former compositions. Courage and confidence seemed to leave him and for
years his production ceased. This did not prevent him from striving to
acquire a higher general education, however, and he applied himself
especially to the study of philosophy and literature, availing himself of
the rich opportunities afforded by the University of his city. At last a
short dream of love brought forth the music of his soul, his first songs,
which came forth from the depths of his heart. This was in 1843. Schumann,
to whom he sent the songs, honored him with a most hearty recognition of
his talent, and was helpful in finding a publisher. But Franz's nervous
condition and ominous, early developing auricular sufferings obliged him
to take an extended trip to Tyrol and Italy. The journey strengthened
him so much that after his return he was finally able to devote with
enthusiasm his rich talents untrammelled to the cultivation of his new
field. Others followed Schumann in their sincere recognition of our
composer's talent, among whom were Gade, Mendelssohn, and especially
Liszt, who was so often the noble champion for new talents, and who wrote
one of his finest pamphlets in praise of Franz's songs. Wagner, who
certainly never could be accused of being too liberal in his praise of
others, was not to be outdone. In a letter to Uhlig he says he will never
forget that Franz was, after Liszt, the first German musician who had done
him justice.
[Illustration: ROBERT FRANZ.