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Popular History of the Art of Music

<h2>CHAPTER XXX.</h2> <h3>PIANO PLAYING AND VIRTUOSI; THE VIOLIN; TARTINI AND SPOHR.</h3> <hr style="width: 15%;" /> <h3>I.</h3> <ANTIMG src="images/capi.png" width-obs="53" height-obs="100" alt="I" title="I" class="floatl" />T was during the eighteenth century that the pianoforte definitely established itself in the estimation of musicians, artists and the common people, as the handiest and most useful of domestic and solo instruments. The progress was very slow at first, the musicians such as Bach, Händel, Scarlatti and Rameau, the four great virtuosi of the beginning of this century, generally preferred the older forms of the instrument, the clavier or the harpsichord, both on account of their more agreeable touch and the sweetness of their tones. Nevertheless the style of playing and of writing for these instruments underwent a gradual change at the hands of these very masters, of such a character that when the pianoforte became generally recognized as superior to its predecessors, about the middle of the century, the compositions of Bach and Scarlatti were found well adapted to the newer and more powerful instrument. The pianoforte itself underwent several modifications from the primitive forms of action devised by Cristofori in 1711, rendering it more responsive to the touch. All this, relating to the mechanical perfection of the instrument, although appropriate in part to the present moment of the[Pg 353] narrative, is deferred until a later chapter, when the entire history of this instrument will be considered in detail. From that it will be seen, by comparing dates, that every important mechanical step in advance was followed by immediate modifications of the style of writing and playing, whereby the progress toward fullness and manifold suggestiveness of music for this instrument has been steady and great. The first of the great virtuosi was Domenico Scarlatti (1683-1757), son of the great Alessandro Scarlatti, and a pupil of his father, and of other masters whose names are now uncertain. He was a moderately successful composer of operas and works for the Church, but his distinguishing merit was that of a virtuoso upon the harpsichord—the pianoforte of that time. He was the first of the writers upon the harpsichord who introduced difficulties for the pleasure of overcoming them, and who, in his own country, was without peer as performer until Händel came there and surpassed him, in 1708. Scarlatti was also a performer upon the organ, but upon this instrument he unhesitatingly confessed Händel to be his superior. In 1715 Scarlatti succeeded Baj as chapel master at St. Peter's in Rome, where he composed much church music. His operas were successful in their own day, but were soon forgotten. His pianoforte compositions still remain as a necessary part of the education of the modern virtuoso. They are free in form, brilliant in execution, and melodious after the Italian manner. Many of them are still excessively difficult to play, in spite of the progress in technique which has been made since. There were many other composers in the early part of this century who exercised a local and temporary[Pg 354] influence in the direction of popularizing the pianoforte and its music, through the attractiveness of their own playing, as well as by the compositions they produced. Among these must not be forgotten Mattheson, the Hamburgh composer of operas (), who published many works for piano, including suites, sonatas and other pieces in the free style. Johann Kuhnau (1667-1722), predecessor of Bach as cantor at Leipsic, published a variety of sonatas and other compositions in free style, about the beginning of the eighteenth century. Of still greater importance than the last named, was Rameau, the French theorist and operatic composer (). His compositions were attractive and very original, and in addition to the charm of his own playing, and that of his works, he placed later musicians under lasting obligations by his treatise upon the art of accompanying upon the clavecin and organ, in which his theories of chords were applied to valuable practical use. The work of all these and of many others who might be mentioned, not forgetting several English writers, such as Dr. Blow, Dr. John Bull and the gifted artist Purcell (see ), must be regarded as merely preparatory for the advance made during the last part of the eighteenth century. It was Haydn who began to demand of the pianoforte more of breadth, and a certain coloration of touch, which he must have needed in his elaborative passages in the middle of the sonata piece. This kind of free fantasia upon the leading motives of the work, was planned after the style of thematic discussion of leading motives by the orchestra, and the obvious cue of the player is to impart to the different sequences and changes of the motives as characteristic tone-colors as possible, for the sake of rendering them more interesting[Pg 355] to the hearers, and possibly of affording them more expression. Haydn's work was followed by that of Mozart, who gave the world the adagio upon the piano. Then in the fullness of time came Beethoven, who after all must be regarded as the great improver of piano playing of this century, as well as that of the next following. Beethoven improved the piano style in the surest and most influential manner possible. In his own playing he was far in advance of the virtuosi of the eighteenth century, and in his foresight of farther possibilities in the direction of tone sustaining and coloration he went still farther. This is seen in all his concertos, especially in the fourth and fifth, in the piano trios, and the quartette; but still more in the later pianoforte sonatas. Here the piano is treated with a boldness, and at the same time a delicacy and poetic quality, which taxes the greatest players of the present time to accomplish. The most advanced virtuoso works of Chopin, Schumann and Liszt, the three great masters of the pianoforte in the nineteenth century, are but slightly beyond the demands of these later sonatas of the great Vienna master. In the later part of the eighteenth century there were a number of pianoforte virtuosi whose merits claim our attention at this point. At the head, in point of time, was the great Italian master, Muzio Clementi (1752-1832). Born at about the same time as Mozart, he outlived Beethoven. His early studies were pursued at Rome with so much enthusiasm that at the age of fourteen he had produced several important compositions of a contrapuntal character. These being successfully performed, attracted the attention of an English amateur living in Rome, who offered to take charge of the boy, carry him to England and see that his career was opened under[Pg 356] favorable auspices. Until 1770, therefore (the year of Beethoven's birth), Clementi pursued his studies near London. Then, in the full force of his remarkable virtuosity, he burst upon the town. He carried everything before him, and had a most unprecedented success. His command of the instrument surpassed everything previously seen. After three years as cembalist and conductor at the Italian opera in London, he set out upon a tour as virtuoso. In 1781 he appeared in Paris, and so on toward Munich, Strassburg, and at length Vienna, where he met Haydn, and where, at the instigation of the Emperor Joseph II, he had a sort of musical contest with the young Mozart. Clementi, after a short prelude, introduced his sonata in B flat, the opening motive of which was afterward employed by Mozart in the introduction to the overture to the "Magic Flute"; and followed it up with a toccata abounding in runs in diatonic thirds and other doublestops for the right hand, at that time esteemed very difficult. The victory was regarded as doubtful, Mozart compensating for his less brilliant execution by his beautiful singing touch, of which Clementi ever afterward spoke with admiration. Moreover, from this meeting he himself endeavored to put more music and less show into his own compositions. Clementi was soon back in England, where he remained until 1802, when he took his promising pupil, John Field, inventor of the nocturne, upon a tour of Europe, as far as St. Petersburg, where they were received with unbounded enthusiasm. In 1810 he returned to London and gave up concert playing in public. He wrote symphonies for the London Philharmonic Society, published very many sonatas for piano (about 100 in all), and in 1817 published his master work, a set of 100 studies for the piano, in all[Pg 357] styles, the "Gradus ad Parnassum," upon which to a considerable extent the entire modern art of piano playing depends. Clementi's idea in the work was to provide for the entire training of the pupil by means of it; not alone upon the technical, but upon the artistic side as well, and the majority of the pieces have artistic purpose no less than technical. The wide range taken by piano literature since Clementi's day, however, reduces the teacher to the alternative of confining the pupil to the works of one writer, in case the entire work is used, or of employing only the purely technical part of the "Gradus," accomplishing the other side of the development by means of compositions of more poetic and older masters. The latter is the course now generally pursued by the great teachers, and this was the reason influencing the selection of studies from the "Gradus" made by the virtuoso, Tausig. Clementi's compositions exercised considerable influence upon Beethoven, who esteemed his sonatas better than those of Mozart. The opinion was undoubtedly based upon the freedom with which Clementi treated the piano, as distinguished from the gentle and somewhat tame manner of Mozart. The element of manly strength was that which attracted Beethoven, himself a virtuoso.   <ANTIMG src="images/fig64.png" width-obs="257" height-obs="300" alt="Fig. 64" title="Fig. 64" /> Fig. 64. J.L. DUSSEK.   Another of the first virtuosi to gain distinction upon the pianoforte, in the latter part of this century and the first part of the nineteenth, was J.L. Dussek (1761-1812). This highly gifted musician was born in Czaslau, in Bohemia, and his early musical studies were made upon the organ, upon which he early attained distinction, holding one prominent position after another, his last being at Berg-op-Zoom. He next went to Amsterdam, and presently after to the Hague, still later, in 1788,[Pg 358] to London, where he lived twelve years. It was there that Haydn met him, and wrote to Dussek's father in high terms of his son's talents and good qualities. Afterward he was back again upon the continent, living for some years with Prince Louis Ferdinand, and having right good times with him, both musically and festively. He died in France. He made many concert tours in different periods of his life, and his playing was highly esteemed from one end of Europe to the other. A contemporary writer says of him: "As a virtuoso he is unanimously placed in the very first rank. In rapidity and sureness of execution, in a mastery of the greatest[Pg 359] difficulties, it would be hard to find a pianist who surpasses him; in neatness and precision of execution, possibly one (John Cramer, of London); in soul, expression and delicacy, certainly none." The brilliant pianist and teacher Tomaschek said of him: "There was, in fact, something magical in the manner in which Dussek, with all his charming grace of manner, through his wonderful touch, extorted from the instrument delicious and at the same time emphatic tones. His fingers were like a company of ten singers, endowed with equal executive powers, and able to produce with the utmost perfection whatever their director could require. I never saw the Prague public so enchanted as they were on this occasion by Dussek's splendid playing. His fine declamatory style, especially in cantabile phrases, stands as the ideal for every artistic performance—something which no other pianist since has reached. He was the first of the virtuosi who placed the piano sideways upon the platform, although the later ones may not have had an interesting profile to exhibit." The published works of this fine musician and creditable composer number nearly 100, and the sonata cuts a leading figure among them. He treated the piano with much more freedom and breadth than Mozart, though this is not so much to his credit as if he had not lived many years after Mozart died, his earliest compositions falling very near the last years of that great genius. He was distinctly a virtuoso, loving his instrument and its tonal powers. He was the first of all the players whose public performances called attention to the quality of tone, and its singing power. This also points not alone to the fact of his career falling in with[Pg 360] the increased powers of the pianoforte, as a result of the inventions of Érard, Collard and Broadwood, but is to his personal credit, since it was genius in him enabling him to recognize these possibilities, at a time when most players were still in ignorance of them. As a composer he wrote many things of more than average excellence, and some of his lighter compositions still have vitality. It is altogether likely that Beethoven was influenced by Dussek's playing, in the direction of tone-color. Indeed, the third sonata of Beethoven can hardly be accounted for without recognizing Dussek as the composer upon some one of whose works its general style and form were modeled. Another pianist of considerable importance, a disciple of Mozart, yet with originality of his own, was J.B. Cramer (1771-1858). This talented and deserving musician was the son of a musician living at Mannheim, who removed to London when the young Cramer was but one year old. There the boy grew up, receiving his education from several reputable masters, Clementi being among them. His taste was formed by the diligent study of the works of Emanuel Bach, Haydn and Mozart. In spirit Cramer was a disciple of the last named, but from living to a good old age, he naturally surpassed his ideal in the treatment of the pianoforte. In the latter part of the eighteenth century there were few musical compositions sold over the music counters in Vienna and the musical world generally, but those of Dussek, Cramer and Pleyel, while those of Beethoven were comparatively neglected. Cramer's compositions were slight in real merit, his fame resting upon his studies for the piano, of which about thirty out of the entire 100 are very good music. The second, and last, book of[Pg 361] these were published in 1810. They do not form a necessary part of the training of a virtuoso, but they have decided merits, and are generally included to this day in the list of pianistic indispensables. Cramer's style of playing was quiet and elegant. Moscheles gives an idea of it in his diary, and regrets that he should allow the snuff, which he took incessantly, to get upon the keys. Cramer's studies preceded those of Clementi, and very likely may have inspired them through a desire of illustrating a bolder and more masterly style of pianism. Among the many talented pupils of Clementi was Ludwig Berger (1777-1838), of Berlin, whose unmistakable gifts for the piano attracted the master's attention when he was in Berlin in 1802, and he took him along with him to St. Petersburg. After living some years in that city, and later in London, he returned to Berlin, where he was held in the highest esteem as teacher until his death. Among the distinguished who studied with him were Mendelssohn, Taubert, Henselt, Fanny Hensel, Herzsberg, and others. He was an indefatigable composer of decided originality. But few of his works were published. A set of his studies is highly esteemed by many. In further illustration of the Mozart principles of piano playing, and with a reputation as composer, which in his lifetime was curiously beyond his merits, was J.M. Hummel (1778-1837). He was born at Presburg, and had the good luck to attract the favorable notice of Mozart. He was received into the house of the master, and was regarded as the best representative of Mozart's ideas. He made his early appearances as a child pianist under the care of his father, in most parts of Germany and Holland. In 1804 he succeeded Haydn as musical[Pg 362] director to the Esterhazy establishment. He afterward held several other appointments of credit, and played much in all parts of Europe. He was a pleasant player, with a light, smooth touch, suited to the Viennese pianofortes of the time.   <ANTIMG src="images/fig65.png" width-obs="247" height-obs="300" alt="Fig. 65" title="Fig. 65" /> Fig. 65. HUMMEL.   The latest of the virtuosi representing the classical traditions of the pianoforte, uninfluenced by the new methods which came in with Thalberg and Liszt, was Ignaz Moscheles (1794-1870). He was born at Prague, his father being a cloth merchant and Israelite.[Pg 363]   <ANTIMG src="images/fig66.png" width-obs="271" height-obs="300" alt="Fig. 66" title="Fig. 66" /> Fig. 66. MOSCHELES.   He had the usual childhood of promising musicians, playing everything he could lay his hands upon, including Beethoven's "Sonata Pathetique," and at the age of seven he was taken to Dionys Weber, whose verdict is worth remembering. He said: "Candidly speaking, the boy is on the wrong road, for he makes hash of great works which he does not understand, and to which he is entirely unequal. But he has talent, and I could make something of him if you were to hand him over to me for three years, and follow out my plan to the letter. The first year he must play nothing but Mozart, the second Clementi, the third Bach; but only that—not a note as yet of Beethoven, and if he persists in using the cir[Pg 364]culating musical libraries, I have done with him forever." Having completed his studies after this severe régime, Moscheles began his concert appearances, which were everywhere successful. He continued his studies in Vienna with Salieri, and Beethoven thought so well of him that he engaged him to make the pianoforte arrangement of "Fidelio." This was in 1814. In 1815 he produced his famous variations upon the Alexander march, Opus 32, from which his reputation as virtuoso dates. His active concert service began about 1820, and extended throughout Europe. In 1826 he settled in London, where he was held in the highest esteem, both as man and musician. He became a fast friend of Mendelssohn, who had been his pupil in Berlin, and in 1846 joined him at Leipsic, where he continued until his death. Moscheles was originally a solid and brilliant player. Later he became famous as one of the best living representatives of the true style and interpretation of the Beethoven sonatas. He never advanced beyond the Clementi principles of piano playing, the works of Chopin and Liszt remaining sealed books to his fingers, to the very last. As a teacher he was painstaking and patient, and he was honored by all who knew him. All his life he kept a diary, from which a very readable volume has been compiled, with many glimpses of other eminent musicians. It is called "Recent Music and Musicians." <h3>II.</h3> The art of violin playing also made great progress during this century, its most eminent representative being Giuseppe Tartini (1692-1770). He was born in Pirano, in Istria, and was intended for the church, but[Pg 365] upon coming of age he fell in love with a lady somewhat above him in rank, and was secretly married to her. When this fact was discovered by her relatives he was obliged to fly, and having taken refuge in a monastery he remained there two years, during which he diligently devoted himself to music, being his own instructor upon the violin, but a pupil of the college organist in counterpoint and composition. Later, being united to his wife, he made still further studies on the violin, and by 1721 had returned to Padua, where he evermore resided, his reputation bringing him a sufficient number of pupils to assist his rather meager salary as solo violinist of the cathedral. He was a virtuoso violinist greater than any one before him. Besides employing the higher positions more freely than had previously been the case, he appears to have made great improvements in the art of bowing, and his playing was characterized by great purity and depth of sentiment, and at times with most astonishing passion. He was a composer of extraordinary merit, several of his pieces for the violin still forming part of the concert repertory of artists. His famous "Trillo del Diavolo," is well known. He dreamed that he had sold his soul to the devil, and on the whole was well pleased with the behavior of that gentlemanly personage. But it occurred to him to ask his strange associate to play something for him on the violin. Cheerfully Satan took the instrument, and immediately improvised a sonata of astonishing force and wild passion, concluding it with a great passage of trills, of superhuman power and beauty; Tartini awoke in an ecstasy of admiration. Whereupon he sought after every manner to reduce to paper the wonderful composition of his dream. Fine as was the work thus produced, Tartini[Pg 366] always maintained that it fell far short of the glorious virtuoso piece which he had heard. Tartini was in some sort a forerunner of the modern romantic school. He was accustomed to take a poem as the basis of an instrumental piece. He wrote the words along the score and conducted the music wherever the spirit of the words took it. He was also in the habit of affixing to his published works mottoes, indicative of their poetic intention. With this general characterization his music well agrees, for in dreamy moods it has a mystical beauty till then unknown in music. He is also entitled to lasting memory on account of his having first discovered the phenomenon of "combination tones," the under resultant which is produced when two tones are sounded together upon the violin, especially in the higher parts of the compass. These tones are the roots of the consonances sounding, and Tartini directed the attention of his pupils to them as a guide to correct intonation in double stops, since they do not occur unless the intonation is pure. He made this important discovery about 1714, and in 1754 he published a treatise on harmony embodying the combination tones as a basis of a system of harmony. This having been violently attacked, his second work of this kind, "On the Principles of Musical Harmony Contained in the Diatonic Genus," was published in 1767. Tartini, therefore, must be reckoned among the great masters who have contributed to a true doctrine of the tonal system. Copies of his theoretical writings are in the Newberry Library at Chicago. In the latter part of the eighteenth century and the first of the next following the art of violin playing was best illustrated by the German artist, Louis Spohr (1784-1859), who was almost or quite as great as a composer,[Pg 367] as in his early career of a virtuoso. In his own specialty he was one of the most eminent masters who has ever appeared. His technique was founded upon that of his predecessors of the school of Viotti and Rode, but his own individuality was so decided that he soon found out a style original with himself. Its distinguishing quality was the singing tone. He never reconciled himself to the light bow introduced by Paganini, and all his work is distinguished by sweetness, singing quality and a flowing melodiousness. He was fond of chromatic harmonies and double stops, which imparted great sonority to his playing. He was born at Brunswick, and early commenced to study music. At the age of fifteen he played in the orchestra of the duke of Brunswick, at a yearly salary of about $100. Later he studied and traveled with Eck, a great player of the day, and upon his return to Brunswick he became leader of the orchestra. His virtuoso career commenced about 1803. Two years later he became musical director at Gotha, where he married a charming harp player, Dorette Scheidler, who invariably afterward appeared with him in all their concerts. They traveled in their own carriage, having suitable boxes for the harp and the violin. In 1813 he was musical director at the theater, "An der Wein," at Vienna, where among his violinists was Moritz Hauptmann, afterward so celebrated as theorist. Soon after his arrival in Vienna, Spohr received a singular proposition from one Herr von Tost, to the effect "that for a proportionate pecuniary consideration I would assign over to him all I might compose, or had already written, in Vienna, for the term of three years, to be his sole property during that time; to give him the original scores, and to keep myself even no copy of them.[Pg 368] After the lapse of three years he would return the manuscript to me, and I should then be at liberty either to publish or sell them. After I had pondered a moment over this strange and enigmatical proposition, I asked him whether the compositions were not to be played during those three years? Whereupon Herr von Tost replied: 'Oh, yes! As often as possible, but each time upon my lending them for that purpose, and only in my presence.'" He desired such pieces as could be produced in private circles, and would therefore prefer quartettes and quintettes for stringed instruments, and sextettes, octettes and nonettes for stringed and wind instruments. Spohr was to consider the proposition and fix upon the sum to be paid for the different kinds of compositions. Finding on inquiry that Herr von Tost was a wealthy man, very fond of music, Spohr fixed the price at thirty ducats for a quartette, thirty-five for a quintette, and so on, progressively higher for the different kinds of composition. On being questioned as to his object, Von Tost replied: "I have two objects in view: First, I desire to be invited to the musical parties where you will execute your compositions, and for that I must have them in my keeping. Secondly, possessing such treasures of art, I hope upon my business journeys to make extensive acquaintance among the lovers of music, which may then serve me also in my manufacturing interests." This singular bargain was duly consummated and faithfully carried out, and the wealthy patron proved of great service to the Spohrs in procuring their housekeeping outfit from various tradesmen with whom he had dealings, and he would not suffer Spohr to pay for anything, saying only, "Give yourself no uneasiness; you will soon square everything with your compositions."[Pg 369] The most important of Spohr's works is his great school for the violin, published in 1831. He left also a vast amount of chamber music, fifteen concertos for violin and orchestra, nine symphonies, four oratories, of which "The Last Judgment" is perhaps the best, ten operas, many concert overtures, etc.—in all more than 200 works, many of them of large dimensions. His best operas are "Jessonda" (1823), "Faust" (1818), "The Alchemist" (1832) and "The Crusaders" (1845). His orchestral works are richly instrumented, and the coloring is sweet and mellow, yet at times extremely sonorous. During his residence in Vienna, Spohr met Beethoven many times. He was one of the first to introduce the earlier quartettes, in his concerts throughout Germany, and valued them properly. But in regard to the Beethoven symphonies he placed himself on record in a highly entertaining manner. He says of the melody of the famous "Hymn to Joy," in Beethoven's ninth symphony, that it is so "monstrous and tasteless, and its grasp of Schiller's ode so trivial, that I cannot even now understand how a genius like Beethoven could have written it."   <ANTIMG src="images/deco2.png" width-obs="200" height-obs="50" alt="decoration" title="decoration" /> <hr style="width: 65%;" /> [Pg 371] <ANTIMG src="images/book5.png" width-obs="200" height-obs="38" alt="Book Fifth" title="Book Fifth" /> <hr style="width: 15%;" /> <h3>THE</h3> <h1>Period of the Romantic.</h1> <hr style="width: 15%;" /> <h3>WEBER, PAGANINI, SCHUBERT, BERLIOZ, MEYERBEER, MENDELSSOHN, SCHUMANN, CHOPIN, LISZT, WAGNER; THE VIRTUOSI; MUSIC OF THE FUTURE.</h3> <hr style="width: 65%;" /> [Pg 373] <div style="break-after:column;"></div>

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