Scan 13
Musical Courier 1895-06-26: Vol 30 Iss 799, 1895
318 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 14. See the scan on archive.org.
1An Examination at Vassar.
3THE largest and perhaps the most brilliant class
4Vassar College has had in the course on History of
5Dramatic Music—a course instituted four years ago by
6Professor Bowman, who has recently resigned the chair of
7music in that institution—has just passed its examination
8with so much satisfaction to its instructor that THE MUSICAL
9COURIER presents one of the papers—one that was selected
10as representing the average excellence of all.
12In this course Professor Bowman has given about thirty-
13five lectures, illustrated at the piano; the students have
14taken notes, returned them to the instructor for correction,
15and have based their examination on these revised ab-
16stracts. The final examination was in writing and con-
17ducted with all the impartiality that characterizes the tests
18applied by the American College of Musicians. Eighty
19minutes was allowed for the work. Questions, which some-
20times serve as prompters to the memory, were entirely
21omitted, and Professor Bowman's secretary was instructed
22to place before the class the sole direction: "Write of the
23rise and development of dramatic music."
25Considering the largeness of the subject, the time allowed,
26the accuracy of the information given and the systematic
27plan by which it is presented, it is simple justice to say that
28the paper which follows is a remarkable epitome of oper-
29atic history. No greater compliment could be paid to a
30teacher than to have a class so brilliantly give back to him
31the evidences that it has thoroughly grasped and assim-
32ilated the subject under consideration. It is not surprising
33that Professor Bowman's resignation is so generally re-
34gretted by the students and faculty of Vassar.
36If it were not that his resignation was tendered only to
37make it possible for him hereafter to do more work in New
38York, which, after all, is the centre of widest influence in
39America and perhaps in the world, it would be a matter of
40regret not only among those immediately connected with
41the college, but wherever the influences of Vassar are felt.
43Examination in the History of Dramatic Music.
44VASSAR COLLEGE, June, 1895.
46I.—GREEK MUSIC.
481. By music the Greeks meant more than modern tonal art. They
49included all of a liberal education under that term—grammar,
50history, rhetoric, &c.
522. Era extends approximately from B. C. 1000 to third century, A. D.
53It is divided into four periods: a, rhapsodists; b, choral songs;
54c, Attic period; d, period of philosophizing, theorizing, &c.
563. Choral songs became very popular, and here we have the germ of
57the opera, for they had singing and dancing combined. Not like
58our modern choruses; simply chanting to cithara.
59In the fifth century, b. c., a room was rented at public expense on the
60market place, and there we had the beginning of subsidized opera.
61The singing for prizes came into vogue, and the art of the poet
62was taxed to its utmost. On such occasions the leaders improvised
63rhapsodies, and the interest in these rhapsodies opened toward a lyric drama.
654. Decadence.—Attic drama reached its height under Eschylus
66Sophocles and Euripides. After Euripides, Aristophanes appeared (420 B. C.) and ridiculed mystic drama. Socrates and
67Plato also instituted an era of purely intellectual development,
68into which music in its then crude tonal scope could not enter.
705. Instruments.—Lyre and cithara. Notation consisted of the letters
71of the alphabet in various forms placed over the tones to be
72played or sung.
74II.—BEGINNING OF OPERA, 1600 A. D.
76Heretofore music had been a product for the intellect rather than of
77the emotions. In the Netherlandic school, which was founded by
78Dufay early in the fifteenth century, De Pres was the first to
79write from an emotional standpoint. Then the musicians sought
80to find for every thought its suitable musical expression. Opera
81was invented or rediscovered in an effort to recreate the music
82of the old Greek drama.
84Camerati, 1590 to 1600.—A band of litterati in Florence who sought to
85find out the music which had accompanied the Greek drama; had
86only the computations of some Greeks to guide them, so they were
87practically unsuccessful. Vincenzo Galilei, one of the Camerati,
88wrote some music to a part of Dante's Purgatorio. The Camerati
89thought that in this they had found the old Greek music. The
90production was something between an aria and recitative. It
91had rhythm, yet freedom of a chant.
93First Opera Composers.—Rinuccini, libretto; Peri and Caccini, mu-
94sic. They wrote Daphne (1597). It served as a beginning of Ger-
95man opera. Music lost. Eurydice (1600). Written to celebrate
96marriage of Henry IV, and Marie de Medici. Cavaliere, claimed
97to be inventor of the new style, Il sillo rappresentivo; wrote
98Soul and Body. Monteverde in 1607 wrote music to Arianna of
99Rinuccini. Very successful, so he wrote Orfeo, Il Combattimento
100di Tancredi e Clorinda (intermezzo). Innovations: dramatic duet,
101some orchestral coloring, pizzicato and tremolo, violin in or-
102chestra. Pupils or followers: Legrenzi, Cesti, Cavallo. These
103plays were given in houses of the nobility, for the first opera
104house was not built in Venice until 1637.
106The Neapolitan School.—Scarlatti, 1659 to 1724, principal of the Naples
107Conservatory and founder of the Neapolitan chool. Wrote 109
108operas, innovations, da capo, aria, recitativo stromentato, or-
109chestral ritornelle. Founded Italian school of singing on the
110basis of some sonatas of Corelli, a violinist.
112Porpora.—Pupil of Scarlatti and responsible for embellishments of the
113Italian school.
115Händel, 1685 to 1759.
117French School, 1645.—Cardinal Mazarin invited some Italian singers
118to Paris. They were criticised according to standards of Corneille
119and Molière and found wanting. Their failure stimulated native
120talent, and Perrin and Cambert began to write comic opera.
121Finally, in 1669, they gained the right to produce their plays
122in Paris and France. This is the beginning of the French
123Academy.
125Lulli, 1665 to 1710.—Ambitious and pushed himself forward. Fulfilled
126the French ideas. Dramatically superior, but musically inferior
127to predecessors.
129Condition at the end of the seventeenth century—Two styles:
130a. Italian; popular in England, Germany and Italy.
131b. French style: Dramatic truth primary, melody secondary.
132Opera in the eighteenth century—Italian opera; Gluck, 1714 to 1785.
133First work was Artaxerxes in Milan. Then went to London, where
134he failed in writing a Pasticcio. Adversely criticised by Händel.
135Then went to Vienna, 1750 to 1760. His work shows advance, but
136not full perfection. His opera principles: To make the music
137support the text, and to get rid of all those flourishes like the
138cadenza, &c.
1401762, birth of music drama—Gluck wrote Orpheus and Eurydice.
141There are some concessions to popular taste, but many innova-
142tions.
143a. Instead of the overloaded aria he used simple, dignified music.
144b. Powerful instrumentation.
145c. Great dramatic effect when Orpheus goes to Hades.
146d. Chorus with an integral part in the action. Next work, Alceste.
147Incensed by criticism he went to Paris and wrote (1774) Iphigenia
148en Aulide. Very successful. Classically severe. Armide: This
149gave rise to controversy with Piccini, which ended with Gluck's
150production of (1779) Iphigenia en Tauride. Successful portrayal
151of two opposing peoples (Scythians and barbarians).
153(no line here) one of two readings
154Mozart 1756 to 1791.—Invented conversational opera, Marriage of Fi-
155garo; romantic opera, Don Giovanni; fairy opera, Magic Flute;
156comedy opera, Cosi feen Tutti. Ensemble to express conflicting
157emotions (Zaide.) Style: midway between Gluck and the Neo-
158politans.
159Graun.—Neapolitan writer and wrote operas for the singer, for the
160composer and for the poet.
162(no line here) one of two readings
163French opera in eighteenth century.—Rameau, versatile genius. Ad-
164vocated equal temperament and simplified harmony. Rousseau,
165made scheme of notation similar to tonic-sol-fa system. Gossec,
166improved instrumentation most of any eighteenth century writer;
1671795 founded school of singing out of which came the Paris Con-
168servatory. [School founded in 1784. Conservatoire founded in
1691795.—Ed.] Boieldieu, greatest master light opera: Caliph of
170Bagdad, La Dame Blanche, Jean de Paris. Other names: Méhul,
171Gretry. Century one of preparation in France.
173(no line here) one of two readings
174Italian opera in eighteenth century—Paisiello, Piccini, Zingarelle,
175Pergolesi, 1710 to 1737. Works: Stabat Mater, La Serva Padrona.
176Opera in England in eighteenth century.—Händel dwarfed all talent
177after Purcell, so there was but little activity. Purcell wrote
178grand opera—Dido and Aeneas.
180(no line here) one of two readings
181Opera in nineteenth century.—Italian opera, Spontini, founder of
182grand opera in Paris. Works: La Vestale, Ferdinand Cortez; Donizetti, Lucia de Lammermoor, Linda di Chamounix, Il Bell-
183sario, La Favorita. Style: agreeable melody, effective concerted
184pieces, constructive ability.
186Rossini, 1790 to 1868.—Clamituation of the florid, conventional Italian one of two readings
187Rossini, 1790 to 1868.—Clumination of the florid, conventional Italian one of two readings
188style. Works: Semiramide, Otello, Tancredi, Barber of Seville,
189William Tell. Style: florid and aimed to exploit all the sing-
190er's art. Raised melody to foremost place again.
192(no line here) one of two readings
193Verdi, 1813.—Greatest master of Italian opera Works: Falstaff,
194Ernani, Otello, Il Trovatore, &c. Style: powerful instrumenta-
195tion, fine orchestrations, fine dramatic instinct, good concerted
196effects. Student but not imitator of Wagner. Free from most
197Neapolitan traits. Younger men: Ponchielli, the greatest after
198Verdi.
199Mascagni: Cavalleria Rusticana; Leoncavallo; Pagliacci. These
200last two presage a remarkable career, and may have permanent
201influence on music.
203(no line here) one of two readings
204French Opera.—Characteristics: Sprightly rhythm, clearness in
205melody forms, variety of tone color.
206Auber—Works: Masaniello, The Crown Diamonds, Fra Diavolo, The Black Domino, &c.
207Gounod, 1818 to '93.—Style: Lyric inventiveness, finely blended orchest-
208ral effects. Works: Faust (here we have beginning and end
209of his genius), Tribute of Zamora, Romeo and Juliet. Culmina-
210tion of French art and style.
211Other composers—Camille Saint-Saëns: Henry VIII, Ascanio.
212Herold: Zampa
213Massenet: Werther.
214Opera in Germany.—Characteristics: Full and dramatically con-
215ceived treatment of orchestra; melody and recitation equally
216carry the text. Aim of German opera is to bring text and music
217into harmony, and to develop music from dramatic standpoint.
218Weber, 1786 to 1826, founder of modern German opera—Works: Eury-
219anthe (medieval chivalry), Oberon (fairy elves and elements), Der
220Freischutz (German forester and spectral world), Preciosa (music
221of gypsies). Here we have the four fields of his romantic treat-
222ment.
223Liszt.—"Romantic composer," and first to use "leit motive."
224Meyerbeer.—Works: Robert the Devil, Dinorah, L'Africaine, The
225Prophet, The Huguenots. Style: Italian grace of melody; German richness of harmony; French refinements of rhythm.
226Brilliant composer, but unwholesome influence.
227Wagner, 1813 to 1883.—Last and greatest master in operatic history.
2281839, Rienzi; 1843, The Flying Dutchman; 1845, Tannhäuser;
2291850, Lohengrin, Nibelungen: 1. Das Rheingold; 2 Die Walküre;
2303. Siegfried; 4. Die Göttterdammerung. Closely allied to Greeks,
231for he was both composer and poet. He thought the drama the
232highest form of art and strove for a national drama. He used
233mythological subjects. He first developed "leit motive." Char-
234acteristics: Music and text fit; vein of magic; reformer, not only
235of opera, but of music; full and sonorous instrumentation. His
236theories as librettist: 1. Avoided rhythm. 2. Employed allitera-
237tion. 3. Subjected composer to librettist. Will have extended,
238elevating and lasting influence on the drama.
240Mr. and Mrs. Georg Henschel.
242IT is now definitely arranged that Mr. and Mrs.
243Georg Henschel will visit America in the spring of 1896.
244While the artists will on several occasions be heard in song
245recitals, the principal object of Mr. Henschel's visit will
246be the production of his latest choral work, his Stabat
247Mater.
249When produced in London this spring it achieved a phe-
250nomenal success, and most of the English choral societies
251made arrangements for its production. Already a number
252of leading societies have it on their programs for the com-
253ing season. It will be given under the personal direction
254of the composer himself. Mrs. Henschel will sing the so-
255prano part. Also in several musical festivals it will be one
256of the leading attractions. The Henschels will be un-
257der the sole management of Henry Wolfsohn's Musical
258Bureau.
260A New Irish Opera.—W. A. Brady announces that he
261will invade the comic operatic field next season with a new
262work entitled The Maid of Erin, the book by Stanislaus
263Stange, music by Julian Edwards. The scenes are laid in
264Ireland, in the time of Brian-Boru. A large number of
265people will be engaged in the production, the place of
266which will be the Academy of Music, probably late next
267season. The affair will rather partake of spectacular
268dimensions.
270A Correction.—Mr. Morris Reno has called attention to
271the article published in THE MUSICAL COURIER of May 29
272under the head, The Fight Begins—Abbey & Grau versus
273Damrosch. He wishes to correct the statement there made
274relative to Mme. Brema, that she sang for the sum of $150
275a week. Without stating what she did receive, it is only
276justice to this successful artist to say that it was many
277times that amount, and also that she was not paid by the
278week, but by the performance. Her success attracted the
279attention of Messrs. Abbey & Grau, who approached Mr.
280Reno with regard to her long before Damrosch decided to
281give a second season of opera.
283Just Published: Elementary Principles of Harmony,
284for School and Self-Instruction, by Dr. S. Jadassohn. Cloth, $1.50
285The eminent theorist, Herr Jadassohn, has finally given to the
286world an elementary Harmony Book which is certain to have the
287largest circulation of any work of its kind. His "Manual of Har-
288mony" is known and used everywhere, but it is somewhat voluminous
289and minute, except for those who intend to pass from it into the study
290of Counterpoint, etc. The Elementary Harmony, however, is pre-
291cisely adapted for self-instruction and does not extend too far, nor
292with suspension. No happier idea could have been conceived by
293so great a harmonist, his simplicity and lucidity being beyond all
294praise. There is, therefore, no exaggeration in predicting a popularity
295for this new booklet greater than has been realized by any similar
296publication. Its scientific and practical value will be recognized
297and acknowledged so long as harmony is studied. We recommend
298a careful and thorough examination of it, both to teachers and ama-
299teurs. It will be found worth while.
301Accounts received. Correspondence solicited.
302New Musicians' weekly from Europe will be sent for selection one of two readings
303New Music received weekly from Europe will be sent for selection one of two readings
304BREITKOPF & HÄRTEL, NEW YORK,
305Importers and Publishers of MUSIC, BOOKS, ETC.
306Importers and Makers of STRINGED INSTRUMENTS.
308ARTHUR M. ABELL,
309VIOLINIST,
310Potsdamerstr. 27 B, 2Ed Villa, BERLIN, W.,
311WILL ACCEPT A LIMITED NUMBER OF
312PUPILS.
313Especially recommended by CARL HALIR, Principal (together
314with JOACHIM) of Violin Department at Berlin Royal High School
315and Concertmeister of Berlin Royal Orchestra.
316Empowered to teach his method and prepare pupils for him.
317Four years his private pupil.
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