Scan 11
Musical Courier 1897-09-15: Vol 35 Iss 915, 1897
88 lines. Read by computer on 21 September 2026. Printed page 12. See the scan on archive.org.
1and two are not only more quaint, but really more expressive of the sentiment of the words than the modern chromatic method would have been.
3These tonal peculiarities are observable in the harmonic as well as in the melodic construction of the music under notice. The result was a freer use of secondary (non-transitional) seventh chords than in the music of Haydn, Clementi and Mozart. The older method has this advantage, that it presents a greater variety of harmonies; the modern method employs the dominant seventh chords more frequently; and therefore, while the harmonies are less varied in character, the changing tonalities offer a greater variety of keys. The former is illustrated in this excerpt:
5(Smile.) HANDEL.
7(a) (b) (c)
9IV I V V III IV IV IV I
11EXAMPLE 3.
13There are here four species of the seventh chord, indicated by Roman numerals according to the author's analytical harmony. These secondary discords are much more reposeful than a series of principal seventh chords would be. In fact the almost constant use of transition chords is one of the signs of our impatient electrical age. In Example 3 a dominant relation is maintained in the sequence (see the short slurs below), and yet the tonality of G is not disturbed, even by a passing modulation.
15The modern tendency would be to change the secondary into principal discords, thus substituting the chromatic for the diatonic element:
17(c)
19EXAMPLE 4.
21Occasional examples of this kind may be found in the works of the harpsichord composers, but the prevailing tendency was toward diatonic progressions, as illustrated in Examples 2 and 3. The influence of this upon style and interpretation is so manifest that the author deems it unnecessary to offer further explanation.
23Though Bach was far in advance of his time he adhered very closely to the polyphonic style. Lyric themes may be found among his works, but these are usually accompanied contrapuntally rather than harmonically. His song My Heart Ever Faithful is an instance. Nearly all his clavier music is instrumental, rarely vocal in style, the themes being motivized as in fugue construction. It is so with the clavier music of Couperin, Purcell, Händel and other composers of that epoch—it is mostly thematic, rarely lyric. These styles having been explained and illustrated under their several heads, we may pass on to
25IV.—THE MOZART EPOCH.
27This was a lyrical age. The clavichord and harpsichord began to be superseded about 1750 by the forte-piano, which possessed greater volume and a more sustained tone. Chord progression, in its application to harmonic accompaniment, also became more diversified and more generally understood. It is unnecessary here to exactly trace the origin of harmonized melody as it so abundantly appeared during this period. But the improvements in keyed string instruments undoubtedly enabled Boccherini, Haydn, Clementi, Mozart and other composers to treat the forte-piano in a more lyrical manner. The new style seems almost to have leaped into existence and favor. For example, compare the A major toccata by Paradisi (1710) with the finale of a sonata by Haydn (1782), or the solfeggio by P. E. Bach (1714) with the Mozart fantasia or rondo in D. The pieces by Haydn and Mozart will seem to belong to a different age, though all four composers were living in the year 1770!
29In addition to the more tuneful element of the new instrumental lyric style there is also less strictness of movement than was observed by the earlier clavier composers. And on account of the greater importance attaching to melody it may be stated that a more strict legato is required for the music of Mozart than for that of Scarlatti. The style and expression became more human and less scientific; more musical, but less logical. (It is easier to analyze a rondo by Mozart than an allegro by Bach.) From contrapuntal theorem and rhythmic contrivance we pass to the almost artless simplicity and naïveté of folk music. A greater contrast can scarcely be imagined.
31We read pretty rhapsodies about the "pathos" and "tender sentiment" of the old clavier music, but it rarely sought to express more than the artistic illustration of theory. There is design, as in tapestry or a mosaic; symmetry, as in architecture, and logical application of principles, as in all artistic accomplishment. Major and minor were symbols of sunshine and shadow; rhythm represented the impelling force in nature. For the remainder it was a theoretical problem: How to build a musical structure in a certain form and create variety without sacrificing unity? It was a test of the material to be employed in composition, as here:
33J. E. BACH.
35EXAMPLE 5.
37A two-part design in suspension serves as accompaniment to the theme below. It forms good counterpoint and is consistent, but does it signify anything further? Does it express a scene, a sentiment or an emotion? Assuredly not. We should, however, render due homage to those sturdy pioneers who broke through forest gloom a path which led Mozart and his followers to the sunlit elysium beyond. Without Monteverdi, Scarlatti, Couperin and Bach there could have been no Mozart or Beethoven, no Chopin, Tschaikowsky nor Wagner.
39This era, beginning about 1760, includes the first period of Beethoven and a considerable portion of the music of Méhul, Schubert, Von Weber and Mendelssohn. It dealt almost exclusively with human affairs. Man comes upon the stage and plays his part. There is sorrow and joy, tragedy and burlesque, domestic scenes and rustic life, emotional excitement, vain striving and various other moods and sentiments with which we are familiar.
41A noticeable feature of the music of this Mozart epoch is the regularity of its period construction. The lyric themes were usually periodized in a uniform manner, the rhythmic phrases being equal, as in popular rhymes. Thematic works we have found to be much less regular in this respect, the periods usually being uneven or extended.
43In Chapter 20 the author has attempted to show that lyric compositions require very little punctuating or special accent in order to reveal the outline divisions, which are usually well marked by the regular organic structure of the melody, thus:
45HAYDN.
47EXAMPLE 6.
49The performer may bestow ever so much care upon the delivery of this simple theme, but if he undertakes to "phrase" it (as many do) he will most assuredly destroy that simplicity of expression which is its principal charm. In the great majority of such instances the usual "method of phrasing" is a palpable absurdity.
51The dominant trait in Mozart's music is tenderness. Simplicity and cheerfulness, directness of purpose, regretful yearning and occasional heroic moments find expression in the violin and piano works, the quartets, quintets and symphonies. But the smiles and the tears are nearly akin. Too gentle "to scorn the sordid world," and meeting but little substantial encouragement, Mozart resigned himself to whatever fate might decree, and he was thus induced frequently to fulfill the composer's task in a careless or perfunctory manner. He required a special motive to stir the calmness of his soul life. The Jupiter and the last G minor symphony show the depth and versatility of his genius when an incentive did appear. This is still more apparent in the operas and the immortal swan song.
53After listening to these it seems incredible that such a composer could have written the Turkish March in his A minor sonata!
55Having mastered the style of Mozart it will be an easy matter to interpret his contemporaries. In form and outline the sonatas of Clementi and Hummel are similar, but there is more formality and less poetry in the music.
57Dussek was a follower of Mozart, so was Steibelt. Even Beethoven worshipped at the Mozart shrine, and for a considerable period we can trace distinct echoes of the Salzburg master. But ere long there came a new dispensation, and the Flemish tone poet was its prophet.
59V.—BEETHOVEN—SCHUBERT.
61The principal clue to Beethoven's music is to be derived from a knowledge of the man and the artist. He was an emancipator, a poet and a philosopher; a herald of futurity. We must follow his varied and storm crossed career, weep for his suffering, rejoice in his moments of victory, laugh with his merriment, penetrate his motives, and stand against the world for the psychologic art creed of the choral symphony.
63Almost the entire gamut of emotional expression is to be sounded, and every possible variety and shade of tone color is demanded of the recreative artist.
65Orchestral effects occur in many of the solo sonatas. For example, op. 2, III., first allegro:
67Strings. Wood wind.
69EXAMPLE 7.
71After this there is a cadenza, violins ascending, then two flutes. And in the following adagio this dramatic effect:
73Violins. Brass
75EXAMPLE 8.
77Also the largo, op. 7, measure 20, after the deceptive cadence; horns, trumpets and trombones. Measures 37-38: horns, bassoons and double basses, then flutes. Op. 10, II., Part II.: horns and strings. Op. 10, III., the menuetto: woodwind. Op. 22, the principal motive:
79Trumpet.
81EXAMPLE 9
83Op. 27, I., last allegro: brass, woodwind and strings in antiphonal semiphrases. Same movement: trombones responding to the trumpet:
85EXAMPLE 10.
87Also op. 28, Part II. of the andante: horns and bassoons answered by clarinet or oboe, or woodwind answered by strings. Op. 31, II., the opening: harp and
The computer misreads some letters and numbers. Where a name matters to you, read the scan.