Scan 33
Musical Courier 1900-10-31: Vol 41 Iss 1075, 1900
44 lines. Read by computer on 21 September 2026. Printed page 34. See the scan on archive.org.
1Review of Music Recently Copyrighted.
3Capriccio, Op. 24, by Adolf Schuppan.
5The new capriccio for piano by Adolf Schuppan might well be named "pathétique." It is dramatic in greater part, but cannot be called tragic, as it begins in A minor and ends in A major. The opening measures, forming an introduction, however, are decidedly tragic. The first measure, which follows, indicates the spirit of the entire introduction of seven measures, which are so full of notes as to cause the first part of the piece to appear lengthy:
7This introduction prepares us for the minor theme which follows, and which is a superb expression of keen, yet grand and noble sorrow:
9After this the principal theme of the composition is announced by the left hand, and subsequently taken up by the right in a three-part imitation. This theme is so interwoven in the rest of the composition as to be most always heard in part if not in whole. The rhythm of its second part is often used as an accompaniment to its first, and vice versa, and the real contrapuntal genius of the composer is here shown most unmistakably.
11The most interesting part, however, is the theme itself. Of a Russian flavor it seems, and is most unique in its peculiar melody and rhythm. It is given below as first announced in the left hand part:
13It will be difficult to imagine this uncouth barbaric melody as being played "dolce" in the next movement, but so it is, soon to be followed, however, by the return of the tragic and a final dramatic ending "Allegro risoluto" in A major with rushing octaves and scales in irregular groups of fours, fives, sixes and sevens, terminating in four chords "ff largamente."
15It is doubtful whether this composition would be fully appreciated on first hearing. It is one of those works which will always be a delight to the serious piano student, revealing new beauties at each new reading. The successive stages of grief—first, the acute, unrestrained bursts; then the more settled melancholy of resignation, followed by a barbaric roughness as indicated by the last theme—form a complete evolution. Then the very uncouthness changes to a softening and soothing influence which finally brings relief, as suggested in the dignified but not yet joyful major ending.
17Barjansky, Sonate No. 3, Op. 12.
19The Piano Sonata in E minor by Adolf Barjansky is published by Breitkopf & Härtel, as is the capriccio just reviewed, and like the former composition it contains a dramatic introduction most stirring and impressive, in which the effect is intensified by the doubling of the chords in the right hand part by left hand:
21Like the last composition, also, this dramatic introduction, ten long measures in all, prepares us for the first theme. It is a good theme, though not worth remembering, and the second theme is in C major. There is the usual repeat, after which the themes occur in different keys, then in the original keys, leading to the "coda" or "finale."
23It is in the second part of the first movement that Mr. Barjansky shows the weak point of his musical writing. This appears in his inability to mold his material into contrapuntal shapes. After the announcement of the themes, and the repeat, the real kernel of the music should be found. Here the composer may elaborate as he pleases, bound by no particular form of writing. There is full scope for the play of imagination and constructive genius here, and one might safely turn to the development or fantasia in the first movement of a sonata even without examining the rest of the composition, and judge the merits of the composer by this test alone.
25Wherever the themes are to be elaborated Mr. Barjansky writes a succession of arpeggios on diminished seventh chords in various keys, or sometimes thirds appear in both hands, contrary motion. In one instance, he repeats one figure a number of times, each time in a different key, modulating always by the dominant seventh chord, and at other times arpeggios in contrary motion and scale runs are used for padding. This is mere finger exercise, not music. Such passages are no doubt excellent hand and wrist developers, but music—never!
27There are some very good parts of this work, however, in spite of the contrapuntal shortcomings. The second movement, which is in song form, is a very pleasant one to play over, and has a lively first theme, as follows:
29The opening theme of the third movement, with variations, is not an unpleasant one, though neither is it particularly original. The rondo, which concludes the composition, also has a reminiscent flavor. Compare the first part of it, which follows, with the "Molto allegro e con brio" from Beethoven's "Sonata Pathétique":
31In writing variations for the melody in the third movement there is another lack of contrapuntal technic, mentioned above. There are five variations in all, and in each one the original melody and harmony are retained intact. Extra notes are put in, of course, in different rhythms, but the modern school frowns on this sort of variation. It is too commonplace, reminding us of the variations commonly played by flute or clarinet soloists for the display of technical skill. This, again, is certainly not music. If Mr. Barjansky had made some changes in the harmony and contrapuntal treatment his variations would have been better.
33In finishing this description a very pretty theme in the first movement must not be forgotten. It is a merry, tinkling melody, quite delightful to remember:
35and if it were possible for the sonata itself to end with this little theme, as this paragraph does, a more pleasant impression of the composition would remain than that which it makes in its present form.
37Other Piano Works.
39Under the title "Twelve Piano Pieces for Instruction and Amusement" there have been written a series of so-called pencil sketches by Ludwig Schytte, published under separate covers. They are correctly written and very nicely arranged for the piano. They are easy and pleasant to read, but leave no distinct impression on the mind. In playing one after the other it is impossible to remember any differences, or likenesses for that matter. They are like the numberless daily occupations, such as dressing, eating and sleeping, which are performed mechanically and forgotten. In fairness, however, it may be admitted that all of these occupations are necessary, and so, perhaps, are compositions of the aforesaid type.
41One of the set mentioned above is entitled "Im Negerlager" ("The Negro Camp"). The music of this piece is perhaps more attractive than that of the others, but the title is unfortunate as far as Americans are concerned. The music is barbaric, and there are frequent passages in which the drone bass is employed, the whole producing a sort of gypsy or savage effect. It is to be hoped that Mr. Schytte intends the music to represent the dance of Africans, and not Americans, but for all I know he may consider this country a land of savages and the writer of this article an American Indian.
43"A Summer Outing," by P. A. Schnecker, is a set of easy pieces for piano. They are entitled "Blind Man's Buff,"
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