Music: An Art and a Language Part 24

In measure 53 appears a long pianissimo meditation by the violin on a phrase--the second generative motive (_b_)--from the preceding movement, supported by beautifully s.p.a.ced arpeggio chords on the pianoforte, _e.g._

[Music]

In measure 71 occurs the first appearance of the bold theme which is to be twice used for episodes in the Finale, _e.g._

[Music]

The closing cadence[282] of the movement, one of the most original and truly beautiful in all literature as it seems to the writer, furnishes a marvellous contrast to the stormy measures immediately preceding.

[Footnote 282: Already cited on page 57, Chapter IV.]

The Finale is perhaps the most spontaneous canon in existence, an imitative dialogue between the two instruments; this form (which is often rigid and mechanical) being used so easily that it seems as if each instrument were naturally commenting upon the message of the other. Observe also the sonorous background provided for the violin melody by the widely s.p.a.ced chords on the pianoforte, _e.g._

[Music]

The first episode, beginning in F-sharp minor at measure 38, is based on the third generative phrase (_c_) brought over from the Fantasia and embroidered by running pa.s.sages (delicato) on the violin. This leads to a return of the canonic first theme which, with an interchange of statement and answer and with free modulations, is developed to a brilliant climax--the canon still persisting--in the dominant key of E major. Some transitional modulations, in which the excitement cools down, bring us to the second episode, in B-flat minor. This at first develops the phrase (_b_) from the middle part of the second movement, _e.g._

[Music]

and later, also in the ba.s.s, a phrase from the main theme, _e.g._

[Music]

It is soon followed by a bold entrance of the dramatic theme from the Fantasia which, twice presented--the second time grandioso--leads to a thrilling cadence in C major. The third and last refrain is a complete restatement of the original canon and closes in A major with a still more brilliant imitative treatment of the pa.s.sage formerly in the dominant. The last measures--with the high trill on the violin and cutting dissonances on the pianoforte--are far too exciting for mere verbal description.

SYMPHONIC VARIATIONS FOR PIANOFORTE AND ORCHESTRA

This is one of Franck's most significant works, containing all his individual characteristics: melodic intensity, novel chromatic harmony and freedom of form combined with coherence. Franck always claimed that the variation form, rightly treated, was a perfect medium for free, imaginative expression; surely this work is a manifestation of his belief. A careful study will justify the statement that his style is founded on that of Bach and Beethoven; for the naturalness of these melodic variations can be compared only with the _Pa.s.sacaglia in C minor_, and the general structure of the work finds its prototype in the Finale of the _Heroic Symphony_. It is a set of free variations, or rather organic transformations of two themes; the first sombre, entirely in the minor, the second brighter, with some pa.s.sing emphasis on the major. The variations are not numbered and there are no rigid stops; though, of course, when objective points are reached, there is natural punctuation. The two themes, as follows--a striking example of Franck's peculiar harmonic scheme--should be carefully studied, _e.g._

[Music: 1st theme]

[Music: 2d theme]

The work opens with a series of restless dotted notes for the strings _ff_ which diminish and r.e.t.a.r.d to an entrance of the first theme, piu lento, for the pianoforte; the two phrases of which are interrupted by a pa.s.sage, somewhat modified, from the introduction. Some preludial measures, expanding the material presented, bring us at B[283] to a premonitory statement of the second theme _pp_ (in wood-wind and pizzicato strings) over a m.u.f.fled roll of the kettle-drums on C-sharp, _e.g._

[Music]

[Footnote 283: The indication by letters is the same in the full score as in the version for two pianofortes.]

Then follows a long rhapsodic presentation of the first theme for pianoforte solo--the melody in octaves and the accompaniment in the widest arpeggios possible. This pa.s.sage is one of great sonority and reveals clearly the influence of the organ upon Franck's style. Some further measures of general development, containing at E a reminiscence of the first theme, bring us (after an elaborate half-cadence on the dominant of F-sharp minor) to the entrance of the second theme. Now that all the melodic material has been presented, Franck allows it to grow and blossom. In the first variation at F we have phrases of the second theme broken up into a dialogue between strings, wood-wind and pianoforte; and in the second at G the violas and 'cellos sing the whole second theme accompanied by some ingenious figuration on the pianoforte. This is followed at H by a brilliant amplification for the solo instrument, lightly accompanied on the orchestra, of phrases already heard and leads at I to a fortissimo orchestral tutti in D major--the next variation--which proclaims a portion of the second theme. This is developed with great power on both instruments and is combined, nine measures after J, with a variant of the first theme. At K there is a bold treatment of the second theme (sostenuto) for oboes and clarinets against rus.h.i.+ng octaves on the pianoforte.

At L we have some further development of the second theme, the melody being in the strings with a background of broken triplet chords on the pianoforte. We now reach at M--molto piu lento--the most poetic variation of the work. All the 'cellos, dolce e sostenuto, sing the second theme in the rich key of F-sharp major, the closing phrases answered by the wood-wind; while the pianoforte supports them with coloristic, arabesque-like broken chords containing a melodic pattern of their own. At N the 'cellos continue with phrases from the first theme, the accompaniment being in extended arpeggios against a background of sustained strings (_ppp_ con sordino). A climax is gradually reached which ends, smorzando, with a descending chromatic run on the pianoforte, followed by a long trill on C-sharp which ushers in the closing portion of the work. The structure, as a whole, is divided into three main portions: the first preludial, the second sombre and often meditative--largely in the minor--the third entirely in the major and of extraordinary brilliance and vivacity. At the Allegro non troppo after the trill, we find a variant of the first theme for the 'cellos and ba.s.ses in F-sharp major, _e.g._,

[Music]

accompanied by broken chords on the pianoforte and wood-wind. This is followed at P by a free treatment for pianoforte, con fuoco, of the first theme which develops at Q into a most pianistic presentation (in the upper register of the instrument) of the phrase just announced by the 'cellos. In the fifth measure after R the ba.s.ses begin, pizzicato but forte, a modified statement of the second theme, accompanied by a new counter melody on the pianoforte, dolce ma marcato, _e.g._

[Music]

This leads into a brilliant climax for orchestra alone based on the first theme which, at the very end, modulates to E-flat major. Then follows an episodical portion of unusual beauty--a long, dreamy pa.s.sage, dolce rubato, for solo pianoforte, in which the first theme is merely hinted at in shadowy outlines, _e.g._

[Music]

Abounding in fascinating modulations and coloristic effects it shows Franck's genius equally for real melodic germination with an avoidance of all perfunctory manipulation of his material. This leads, four measures after T, to an entrance _pp_ in the wood-wind, of a variant of the first theme. Due to the effect of contrasted accents the pa.s.sage is most exciting--two rhythms being treated at once. A climax for full orchestra brings us at V to a repet.i.tion of the former pianoforte presentation of the first theme, followed as before, at W by the counter-melody against the second theme, forte, in the ba.s.ses.

The first theme, now in complete control, is here proclaimed most eloquently in antiphonal form between the full orchestra and pianoforte, _e.g._

[Music]

The work ends with a rapid iteration, molto crescendo, of the first motive--in diminution. Now that we have reviewed the entire composition, there is one feature worthy of special emphasis. The structure as a whole (as we have stated) is clearly divided into three main parts; but when we examine the third part by itself, we find that it follows the lines of the sonata-form. For there is a first portion, with a main theme in F-sharp major, and a second theme--the new melody--in D major; the pa.s.sage for pianoforte in E-flats major stands for the development, and the movement concludes with a distinct third portion, both first and second theme being in the home key. Thus the structure represents a carefully planned union of the variation form and the sonata-form which were special favorites of Franck. The work, which, after earnest study, will surely be enjoyed and loved, ranks with the _Istar Symphonic Variations_ by d'Indy and the two sets on themes from Paganini by Brahms as the acme of what the variation form may indeed be when treated by a master.

CHAPTER XVIII

THE MODERN FRENCH SCHOOL--D'INDY AND DEBUSSY

Not only as the most distinguished of Cesar Franck's pupils, but by reason of his undoubted musicians.h.i.+p and marked versatility--his works being in well nigh every form--Vincent d'Indy (1851-still living) is rightly considered to be the most representative composer of his branch of the modern French school.[284] Whether history will accord to him the rank of an inspired genius it is as yet too early to decide; but for the sincerity and n.o.bility of his ideas, for his finished workmans.h.i.+p and the influence he has exerted, through his many-sided personality, in elevating public taste and in the education of young musicians, he is worthy of our grat.i.tude. D'Indy is a patriotic Frenchman believing profoundly that French music has an important _role_ to bear; who has incarnated this belief in a series of works of such distinction that, if not unqualifiedly loved, they at least compel recognition. If he swings a bit too far in his insistence upon the exclusive glories of French genius, let us remember that the modern Germans[285] have been just as one-sided from their point of view--and with even less tangible proof of attainment.

For it seems incontestable that, since the era of Wagner and Brahms, the modern French and Russian Schools have contributed to the development of music more than all the other nations combined. It is for us in America who, free from national prejudice, can stand off and take an impartial view, to appreciate the good points in _all_ schools. A detailed account of d'Indy's life and works will not be necessary, for the subject has been admirably and comprehensively treated by D.G. Mason in his set of _Essays on Contemporary Composers_ and in the article by E.B. Hill in the _Art of Music_, Vol. 3.

[Footnote 284: This school may be said to contain two groups: one, the pupils of Cesar Franck--d'Indy, Chausson, Duparc, Rousseau, Augusta Holmes and Ropartz, the chief feature in whose style is a modernization of cla.s.sic practice; a second consisting of Debussy, Ravel, Dukas and Florent Schmitt, whose works manifest more extreme individualistic tendencies.]

[Footnote 285: The well-known German scholar and editor Max Friedlander, who visited this country in 1910, acknowledged--in a conversation with the writer--that he had never even heard of Chabrier!]

D'Indy's compositions, as in the case of Franck, are not numerous, but finely wrought and of distinct and varied individuality. His chief instrumental[286] works comprise a _Wallenstein Trilogy_ (three symphonic poems based on Schiller's drama) notable for descriptive power and orchestral effect; a Symphony for orchestra and pianoforte on a mountain air[287]--one of his best works, because the folk-song basis furnishes a melodic warmth which elsewhere is sometimes lacking; a set of Symphonic Variations on the a.s.syrian legend of Istar; a remarkable Sonata for violin and pianoforte; a String-Quartet, all the movements of which are based on a motto of four notes, and lastly the Symphony in B-flat major--considered his masterpiece--in which the same process of development from generative motives is followed as in Cesar Franck. All these works contain certain salient characteristics proceeding directly from d'Indy's imagination and intellect. There is always an ideal and n.o.ble purpose, a stoutly knit musical fabric and melodies--d'Indy's own melodies, sincerely felt and beautifully presented. Whether they have abounding power to move the heart of the listener is, indeed, the point at issue. Since d'Indy is on record as saying, "There is in art, truly, nothing but the heart that can produce beauty," it is evident that he believes in the emotional element in music. That there is a difference of opinion however, as to what makes emotional power is shown by his estimate of Brahms (set forth in his _Cours de Composition Musicale_, pp. 415-416) in the statement that, though Brahms is a fine workman, his music lacks the power to touch the heart (faire vibrer le coeur). There is no doubt that, in any question of Brahms versus d'Indy, such has not been the verdict of outside opinion. D'Indy is admired and respected, whereas Brahms has won the love of those who know him; and the truth in the saying, "Securus judicat orbis terrarum" is surely difficult to contravene. D'Indy's melodies can always be minutely a.n.a.lysed[288] and they justify the test; but we submit that the great melodies of the world speak to us in more direct fas.h.i.+on. For there is, in his music, a seriousness which at times becomes somewhat austere. He seems so afraid of writing pretty tunes or ear-tickling music, that we often miss a sensuous, emotional warmth. He hates the commonplace, cultivating the ideal and religion of beauty. Bruneau, himself a noted French critic and composer, says, "No one will deny his surprising technique or his unsurpa.s.sed gifts as an orchestral writer, but we might easily wish him more spontaneity and less dryness." We cannot, however, miss the dignity and elevation of style found in d'Indy's works or fail to be impressed by their wonderfully planned musical architecture. His music demands study and familiarity and well repays such effort. D'Indy's work, as a teacher, centres about the "Schola Cantorum" so-called, in which several talented American students from Harvard and other Universities have already worked. Here all schools of composition are thoroughly studied, and the rigid and formal methods of the Conservatoire abandoned. D'Indy believes that the materials for the structure of modern music are to be found in the Fugue of Bach, and in the cyclical Sonata Form and the free Air with Variations of Beethoven--these forms, by reason of their inherent logic and simplicity, allowing scope for infinite freedom of treatment. D'Indy is also a thoroughly modern composer in that he is an artist in words as well as in notes. His life of Cesar Franck is a model of biographical style, and he has recently published a life of Beethoven refres.h.i.+ngly different from the stock narratives. In fine, d'Indy is a genius, in whom the intellectual aspects of the art, rather than purely emotional appeal, are clearly in the ascendant.

[Footnote 286: D'Indy's significant contributions to operatic and choral literature, such as _Fervaal_, _L'etranger_, _Le Chant de la Cloche_ and _La Legende de St. Christophe_, lie without our province.]

[Footnote 287: From the Cevennes region whence d'Indy's family originally came.]

[Footnote 288: See the elaborate a.n.a.lysis by Mr. Mason in the essay above referred to.]

We shall now comment briefly on one, only, of d'Indy's compositions, the Symphonic Poem, _Istar_, which is a set of variations[289] treated in a manner as novel as it is convincing; the work beginning with variations which gradually become less elaborate until finally only the theme itself is heard in its simple beauty. This reversal of customary treatment is sanctioned by the nature of the subject, and the correspondence between dramatic logic and musical procedure is admirably planned. The story of the work is that portion of the a.s.syrian epic Izdubar which describes, to quote Apthorp's translation of the French version, "how Istar, daughter of Sin, bent her steps toward the immutable land, towards the abode of the dead, towards the seven-gated abode where He entered, toward the abode whence there is no return." Then follows a description of the raiment and the jewels of which she is stripped at the entrance to each of the gates. "Istar went into the immutable land, she took and received the waters of life. She presented the sublime Waters, and thus, in the presence of all, set free the Son of Life, her young lover." The structural novelty of the work is that, beginning with complexity--typifying the gorgeously robed Istar--the theme discloses itself little by little, as she is stripped of her jewels, until at last, when she stands forth in the full splendor of nudity, the theme is heard unaccompanied, like Isis unveiled or, to change the figure, like a scientific law which has been disclosed. The work is based on three generative themes; the second, derived from the first and of subsidiary importance, called by d'Indy the motif d'appel. It plays its part, however, since it introduces the work and serves as a connection between the variations, seven in all. These themes are as follows:

1. Princ.i.p.al theme:

[Music]

2. Motif d'appel.

[Music]

3. Subsidiary theme, in form of a march.

[Music]

[Footnote 289: For a detailed a.n.a.lysis the student is referred to the account by the composer himself in his _Cours de Composition Musicale_, part II, pp. 484-486; to Gilman's _Studies in Symphonic Music_ and to Vol. 3 of Mason's _Short Studies of Great Masterpieces_.]