A Popular History of the Art of Music Part 13

CHAPTER XVII.

CONDITION OF MUSIC AT THE BEGINNING OF THE SEVENTEENTH CENTURY.

In justification of the name "apprentice period" for that part of the history of music ending with Palestrina as the representative of the finished art of the Netherlands (helped out, we may well enough admit, with no small measure of the original insight and genius of his own), a general view of the condition of music in all European countries at the beginning of the seventeenth century may well be taken. The fullness with which the details have already been treated renders it unnecessary to repeat them here, but it will be enough to recapitulate the princ.i.p.al features of the art thus far attained, adding thereto a number of incidents omitted. Upon the side of musical phraseology, then, we find in the north the attainment of a simple and expressive form of melody almost or quite up to the standard of modern taste. In the direction of the musically elaborative element we have the schools of the Netherlands and of Italy, in which absolutely everything of this kind was realized which modern art can show, saving perhaps the fugue, which involved questions of tonality belonging to a grade of taste and harmonic perception more advanced and refined than that as yet attained. It took nearly another century before the ecclesiastical keys were thoroughly disenchanted in the estimation of cla.s.sical musicians. It was Bach who finally made true tonality the rule rather than the exception.

In the line of instruments the harp had had its day, its never ending tuning having been one of the most operative forces in the development of the ear. Its successor, the lute, equally weak in tenacity of intonation, but with greater artistic resources, had been fully tested in every direction. The organ had attained a very respectable size, even when measured according to modern ideas, and its influence in the direction of harmonic education had been well begun. The keyed instrument, of which our pianoforte is the living representative, had found its keyboard and a practical method of eliciting tones, which, whatever their weakness, were at least better than those of the lute, the chitarrone, the psaltery or harp. Best of all, the violin had found master hands able to shape it into a model graceful to the eye, and sonorous beyond anything else which the art of music can show.

True, it was not until about sixty years later that the powers of this instrument in the direction of solos were fully recognized, or, indeed, brought before the public. This was the work of Corelli, whose sonatas were published in the third quarter of the century with which we are now dealing. The viol, the weaker predecessor of the violin, had made great headway, and Monteverde put himself on record in 1607, much to his credit, by placing it at the head of his orchestra.

Moreover, not only were the instruments of music in a condition creditable even in the light of modern ideas, but the popular taste for music was more lively and far-reaching than ever before.

Everywhere in the civilized world the practice of music was the universal attribute of a gentleman. In Italy we shall find a circle composed of some of the best minds of the nation engaged in the regular study of cla.s.sical learning, and in discussions having for their object the re-discovery of the art of ancient music, which the seekers wrongfully imagined to have been as far superior to the music then in vogue as the sculpture of the ancients had been superior to that of mediaeval Italy. In no country was the art of music more highly esteemed, or, we may add, in a more advanced state than in England.

Richard Braithwaite, a writer of the reign of Elizabeth, formulated certain rules for the government of the house of an earl, in which the earl was "to keep five musicians, skillful in that commendable sweet science"; and they were required to teach "the earl's children to sing and to play upon the ba.s.s viol, the virginals, the lute, the bandour or cittern." When he gave great feasts, the musicians were "to play whilst the service was going to the table, upon sackbuts, cornets, shawms and such other instruments going with wind, and upon viols, violins or other broken music during repast." In barber shops they had lutes and virginals wherewith the gentlemen might amuse themselves while awaiting their turn. It was the same in reception rooms; musical instruments were provided as the surest method of enabling waiting guests to amuse themselves.

If it be asked why it was that in spite of this high esteem for music so little came out of its cultivation in England that was creditable upon the highest plane, according to the scales in which we are accustomed to weigh the music of Italy and Germany, the answer is not hard to find. It was in consequence of the little attention paid to musical learning in the highest sense, as compared with the learning and training in musicians.h.i.+p on the continent. English music died out, or grew small, for want of depth of earth. High ideals and thorough training in the technique are two prime conditions of a successful development of an art. Besides, the art of music suffered irreparable damage in England at the hands of the Puritans. The protectorate lasted long enough to put the art under an eclipse from which it did not fully emerge until nearly our own time.

A similar fondness for this form of art pervaded all European countries. In Italy music was the delight of the common people and the favorite pursuit of the great. In Germany the Reformation and the influence of Luther had set the people singing. The organ had attained an advanced state there, and other instruments of every sort were cultivated. It was the same in France. The love for music was universal. Hence the times were ripe for a great advance in art. There was concentrated upon music an attention which it has rarely enjoyed at any other period of its history, and the advances now to be mentioned were correspondingly abundant and striking.

The contrapuntal schools had done more to educate harmonic perception than is commonly supposed. All the devices of counterpoint, as we have them to-day, were invented by the various schools of this period, and brought to a high degree of perfection. But the learning had somewhat overshot its mark. The multiplicity of parts in the compositions of Willaert, and the other masters of the polyphonic schools, served for the cultivation of chord perception just as surely as if they had intentionally written chord successions without troubling themselves with imitative canon in any degree. For, when there were so many voice parts as ten, fifteen or twenty within the limits of the compa.s.s of the human organ, that is to say, mainly within the limits of two octaves and a half, the parts had no recourse but to cross continually, and since there was no aid afforded the ear by differences in tone color between one voice part and another, it necessarily followed that they fell upon the ear with the effect not of voice parts, in which the melody of each could be followed independently of the others, but rather as chord ma.s.ses, in which here and there a prominent melodic phrase occasionally emerged, only to be lost the next moment by the prominence of a bit of the melody of some other voice. The effect of a composition of this kind was no other than that of a succession of chords, and the ear was as thoroughly educated to chord perception by this cla.s.s of music as if the composer had intended only to write successions of chords. Still the training of these schools, while incidentally affording education to the ear upon the harmonic side, was thoroughly contrapuntal, and the study of every composer was to make something more elaborate than anything that had been written by his predecessors.

Nevertheless there was an influence in another direction. An art form was invented, which by the end of this period had established itself as the type of a musical form whenever the composer would arrive at something more spontaneous than could conveniently be attained by the way of a motette or conduit. That form was the madrigal. The meaning of the name is unknown. Some have derived it from Mary, and point to the sacred madrigals, many of which were composed by all the contrapuntal writers. Others have a.s.signed a different origin for it, and it is not possible now to decide which is the true one. Enough if we find this form emerging from obscurity by the middle of the fifteenth century. The first writer of compositions under this t.i.tle whose name is known to us was Busnois, and in the same collection are compositions of the same cla.s.s by many other composers of the Netherlandish schools. A madrigal was a secular composition, generally devoted to love, but in polyphonic style, and in one of the ecclesiastical modes. They were always vocal down to the seventeenth century, but from that time forward they were generally marked for voices and instruments. One of the best composers of madrigals was Arkadelt, of the Netherlandish school. The success of the great Orlando La.s.sus in this school has already been mentioned, together with the name of one of the best known of his compositions in this line (p. 167).

The strange modulations, like that from F to E flat in one of Arkadelt's madrigals, are current incidents of the ecclesiastical mode in which they are written. Many of the secular works of this cla.s.s are hardly to be distinguished from those intended for the Church, and some are to be met with, having two sets of words, one secular, occasionally almost profane; the other sacred, some hymn or other from the offices of divine service.

In England this school had a great currency, and the madrigals of the British writers of the seventeenth century are every whit as free and melodious as the best of those of the Italian school. The number of writers of this cla.s.s of works was innumerable, so much so that we might well cla.s.s it as the ruling art form of the century, just as the dramatic song was in the eighteenth century, the fugue in the last half of it, and the sonata in the beginning of the nineteenth.

Everybody wrote madrigals who ever wrote music at all. According to the dates of collections published, the English followed the Italian composers. The earliest Italian compositions of this cla.s.s are contained in three collections printed by Ottaviano di Petrucci, the inventor of the process of printing music from movable type. These collections were published in Venice, 1501-1503, and copies are still retained in the library at Bologna and at Vienna. The English cultivation of this form of composition became general toward the last of this century, and in the first part of the next ensuing, and it is but just to say that the English composers finally surpa.s.sed the continental in this school, and developed out of it a beautiful art genre of their own, the glee. Toward the latter part of the sixteenth century certain attempts were made in Italy at something resembling our opera, but in place of solo pieces by any of the performers there were madrigals. When Juliet, for example, would soliloquize upon the balcony, she did so in a madrigal, the remaining four parts being carried by chambermaids inside. When Romeo climbed the balcony and breathed his sweet vows to Juliet, one or two of his friends around the corner carried the missing melodies in which he sought to improvise his warm affection. The absurdity of the proceeding was manifest, but it needed yet another point of emphasis. There was a grand wedding in Venice in 1595, at which the music consisted of madrigals, all in slow time and minor key. The contradiction between the doleful music and the festive occasion was too plain to be ignored, and led, presently, to the invention of a totally different style of song of which later there is much to say.

The seventeenth century was one of the most memorable in the history of music, not so much, however, for what it fully accomplished as for the new ideas brought out and in part developed. The specific part of the general development of music which this century accomplished was _the development of free melodic expression_. While, as already noticed, the musical productions of the preceding centuries had manifested an increasing melodic force and propriety, the secret of genuine melodic expression had yet to be found. In the madrigal and motette the conditions were wholly unsuited to the development of this part of music. Instead of one prominent voice, in which the main interest of the production centered itself, the composer of that period had a certain number of equally important voice parts, all taking part in the development of the one leading idea of his piece.

Melodically speaking, the standpoint was wrong and the situation false. Melody means individuality, individualism; the free representation of a personality in its own self-determined motion. At the point of the year 1600, speaking with sufficient exactness for ordinary purposes, the ruling standpoint of musical production changed, in the effort to rediscover the lost vocal forms of the Greek drama. The new problem was that of finding, for every moment and every speech of the drama, a form of utterance suitable to the sentiment and the occasion. Thus entered into music, through the ministry of self-forgetfulness, the most important principle which has actuated its later progress, the principle namely, of dramatic expression--in other words, the _representative_ principle, the effort to represent in music something which until now had been outside of music. Out of this principle, co-operating with that other idea of two centuries later, the inherent interest of the individual, has grown the richness and manifold luxuriance of modern romantic music, together with the entire province of opera and oratorio. We have now to trace the steps which led to this great transformation in the art of music; and to ill.u.s.trate the application of the new principles to the province of instrumental music, which had no beginning of genuine art value before this period. When examined with reference to the matured productions of the century next ensuing, those of the seventeenth appear quite as much like apprentice efforts as those of the latter part of the period covered in the preceding book of our story; but they have in them, however, the seeds of the later development, and stand to us, therefore, in the character of first fruits. To state it still more unmistakably, we have to trace in the operations of the seventeenth century the _origin of dramatic song_, the beginnings of _free instrumental music_, the discovery of the _art of voice training_ and the formation of what is called the "old Italian school of singing,"

and the operation of the representative element in music, together with the new forms created through its entrance into art.

The musical movement of this century in its entirety was a part of the general operation of mind, which was now of great amplitude and spontaneity. The fervor of the Renaissance indeed had pa.s.sed, having resulted in the creation of masterpieces of architecture, sculpture, painting and poetry during the previous two centuries. Music came to expression last of the forms of art, and when mental movement was less intense. For this reason the Italian mind failed to rule in it after the early beginnings in the new direction had been made. The representative element entered the art of music in Italy; but the mastery of its application, and the development of new forms fully completing the representation, were carried on by other nationalities where the mental movement still retained the pristine vigor of new impulses and rich vitality.

The city of Florence was the center where the drama and song-like melody found its beginning. Almost immediately, however, Venice became the home of music, and fostered the growth of dramatic song for more than half a century. At this time, as for a century previous, Venice was the most active intellectual center of Europe. Perhaps nothing gives so clear a realization of this supremacy as the statistics of books printed in the leading centers of Europe from 1470 to 1500. The largest centers were Stra.s.sburg, with 526; Basle, 320; Leipsic, 351; Nuremburg, 382; Cologne, 530; Paris, 751; Rome, 925; Bologna, 298; Milan, 625, while Venice heads the list with 2,835. Toward the end of the century, the appearance of the genius, Alexander Scarlatti, effected the transference of the musical supremacy of Italy to Naples.

[Ill.u.s.tration]

CHAPTER XVIII.

FIRST CENTURY OF ITALIAN OPERA AND DRAMATIC SONG.

During the last decade of the sixteenth century a company of Florentine gentlemen were in the habit of meeting at the house of Count Bardi for the study of ancient literature. Their attention had concentrated itself upon the drama of the Greeks, and the one thing which they sought to discover was the music of ancient tragedy, the stately and measured intonation to which the great periods of aeschylus, Euripides and Sophocles had been uttered. The alleged fragments of Pindar's music since discovered by Athanasius Kircher (p.

69) were not yet known, and they had nothing whatever to guide their researches beyond the mathematical computations of Ptolemy and the other Greek writers. At length, one evening, Vincenzo Galilei, father of the astronomer Galileo, presented himself with a monody. Taking a scene from Dante's "_Purgatorio_" (the episode of Ugolini), he sang or chanted it to music of his own production, with the accompaniment of the viola played by himself. The a.s.sembly was in raptures. "Surely,"

they said, "_this_ must have been the style of the music of the famous drama of Athens." Thereupon others set themselves to composing monodies, which, as yet, were not arias, but something between a recitative and an aria, having measure and a certain regularity of tune, but in general the freedom of the chant. Among the number at Count Bardi's was the poet Rinuccini, who prepared a drama called "Dafne." The music of this was composed in part by an amateur named Caccini, and in part by Jacopo Peri, all being members of this studious circle meeting at the house of Count Bardi. "Dafne" was performed in 1597 at the house of Count Corsi, with great success, but the music has been lost, and nothing more definite is known about it.

This beginning of opera, for so it was, was also the beginning of opera in Germany, as we shall presently see, for about twenty years later a copy of "Dafne" was carried to Dresden for production there before the court, but when the libretto had been translated into German, it was found unsuited to the music of the Italian copy, whereupon the Dresden director, Heinrich Schutz, wrote new music for it, and thus became the composer of the first German opera ever written. In 1600 the marriage of Catherine de Medici with Henry IV of France was celebrated at Florence with great pomp, and Peri was commissioned to undertake a new opera, for which Rinuccini composed the text "Eurydice." The work was given with great _eclat_, and was shortly after printed. Only one copy of the first edition is now known to be in existence, and that, by a curious accident, is in the Newberry Library at Chicago. The British Museum has a copy of the second edition of 1608. The opera of "Eurydice" is short, the printed copy containing only fifty-eight pages, and the music is almost entirely recitative. There are two or three short choruses; there is one orchestral interlude for three flutes, extending to about twenty measures in all, but there is nothing like a finale or ensemble piece. Nevertheless, this is the beginning, out of which afterward grew the entire flower of Italian opera. On page 225 is an extract.

The new style thus invented was known to the Italians as _il stilo rappresentivo_, or the representative style, that is to say, the dramatic style, and there is some dispute as to the real author of the invention. About the same time with the production of "Eurydice," a Florentine musician, Emilio del Cavaliere, wrote the music to a sacred drama, of which the text had been composed for him by Laura Guidiccioni, the t.i.tle being "_La Rappresentazione del Anima e del Corpo_." The piece was an allegorical one, very elaborate in its structure, and written throughout in the representative style, of which Cavaliere claimed to be the inventor. This oratorio, which was the first ever written, was produced at the oratory of St. Maria in Vallicella, in the month of February, ten months before the appearance of "Eurydice" at Florence. It is evident, therefore, that if the style had been in any manner derived from the Florentine experiments already noted, it must have been from the earlier opera "Dafne" and not from "Eurydice." The princ.i.p.al characters were "_Il Tempo_" (time), "_La Vita_" (life), "_Il Mondo_" (the world), etc. The orchestra consisted of one lira doppia, one clavicembalo, one chitarrone and two flutes.

No part is written for violin. At one part of the performance there was a ballet. The whole was performed in church, as already noticed, as a part of religious service.

Seven years later we enter upon the second period of the opera, when, on the occasion of the marriage of Francesco Gongeaza with Margherita, Infanta of Savoy, Rinuccini prepared the libretti for two operas, ent.i.tled "Dafne" and "Arianna," the second of which was set to music by Claudio Monteverde, the ducal musical director, a man of extraordinary genius. The first of these operas has long since been forgotten, but Monteverde made a prodigious effect with his. The scene where Ariadne bewails the departure of her faithless lover affected the audience to tears. Monteverde was immediately commissioned to write another opera, for which he took the subject of "_Orfeo_," and, being himself an accomplished violinist, he made an important addition to the orchestral appointments previously attempted in opera. The instruments used were the following:

2 Gravicembani.

2 Contraba.s.si de viola.

10 Viole da brazzo.

1 Arpa doppio.

2 Violini piccolo alla Francese.

2 Chitaroni.

2 Organi de Legno.

2 Ba.s.sa da Gamba.

4 Tromboni.

1 Regale.

2 Cornetti.

1 Flautino alla vigesima secunda.

1 Clarino, con 3 trombi sordine.

[Music ill.u.s.tration: FLUTE TRIO AND SCENE.

(From the first opera, "Eurydice" (1600). Jacopo Peri.)

Nel pur' ar-dor del-la piu bel-la stel-la au-rea sa-cel-la di bel foc' accen-di E qui dis-cen-di su l'au-ra-te plu-me, etc.]

A very decided attempt is made in this work at orchestra coloring, each character being furnished with a combination of instruments appropriate to his place in the drama. These works were not given in public, but only in palaces for the great, and it was not for more than twenty years that a public opera house was erected in Venice. In 1624 Monteverde at the instance of Girolamo Mocenigo composed an intermezzo, "_Il Combatimento di Tancredi e Clorinda_," in which he introduced for the first time two important orchestral effects: The _pizzicati_ (plucking the strings with the fingers) and the _tremolo_. These occur in the scene where Clorinda, disguised as a knight, fights a duel with her lover Tancredi, who, not knowing his opponent, gives her a fatal wound. The strokes of the sword are accompanied by the _pizzicati_ of the violins, and the suspense when Clorinda falls is characterized by the tremolo--two devices universal in melodrama to the present day.

Monteverde had already for some time been a resident in Venice as director of the music at St. Mark's, where his salary had originally been established at 300 ducats per annum, and a house in the canon's close. In 1616 his salary was raised to 500 ducats, and he gave himself up entirely to the service of the republic. The first opera house was erected in 1637 and was followed within a few years by two other opera houses in Venice. In these places Monteverde's subsequent works were produced. The greater number of his ma.n.u.scripts are hopelessly lost. We possess only eight books of madrigals, a volume of canzonettes, the complete edition of "Orpheus," and a quant.i.ty of church music.

The new path opened by this great composer was followed a.s.siduously by a mult.i.tude of Italian musicians. Among these the more distinguished names are those of Cavalli, who wrote thirty-four operas for Venice alone, Legrenzi and Cesti. The latter wrote six operas, some of which were very successful. By 1699 there were eleven theaters in Venice at which operas were habitually given; at Rome there were three; in Bologna one; and in Naples one. It would take us too far to discuss in detail the successive steps in the history during this century, since in the nature of the case, an individual work like an opera can with difficulty rise above the popular musical phraseology of the day, the object being immediate success with a public largely uncultivated.

Hence, popular operas for the most part are short-lived, rarely retaining their popularity more than thirty years.

The greatest genius in opera in this century after Monteverde was Alessandro Scarlatti, of Naples, the princ.i.p.al of the conservatory there, and, we might say, the inventor of the Italian art of singing--_bel canto_. For as there had been no monody, so there had been no solo singing, and as the operas of the first three-quarters of this century, in spite of the improvements of Monteverde, consisted mostly of recitative, there was still no singing in the modern acceptation of the term. Scarlatti introduced new forms. To the _recitativo secco_, or unaccompanied recitative, which until now had been the princ.i.p.al dependence for the movement of the drama, he added the _recitativo stromentato_, or accompanied recitative, in which the instruments afforded a dramatic coloring for the text of the singer.

To these, again, he added a third element, the aria. The first he employed for the ordinary business of the stage; the second for the expression of deep pathos; the third for strongly individualized soliloquy. These three types of vocal delivery remain valid, and are still used by composers in the same way as by Scarlatti. His first opera was produced in Rome at the palace of Christina, ex-queen of Sweden, in 1680. This was followed by 108 others, the most of which were produced in Naples. The most celebrated of these were "_Pompei_"

(Naples, 1684), "_La Theodora_" (Rome, 1693), "_Il Triompho de la Liberta_" (Venice, 1707) and, most celebrated of all, "_La Principessa Fidele_." In addition to this he wrote a large number of cantatas, more or less dramatic in character. Scarlatti not only created the aria, calling for sustained and impa.s.sioned singing, but also invented or discovered methods of training singers to perform these numbers successfully. He was the founder of the Italian school of singing, and the external model upon which it was based undoubtedly was furnished by the violin which, having been perfected by the Amati, as already noted in the previous chapter, and its solo capacities having been brought out by Archangelo Corelli, whose first violin sonatas were published a few years before Scarlatti's first opera, had now established a standard of melodic phrasing and impa.s.sioned delivery superior to anything which had previously been known. It was a pupil of Scarlatti, Nicolo Porpora (1686-1766), who carried forward the work begun by his master. Porpora was even a greater teacher of singing than Scarlatti himself, and his pupils became the leading singers in Europe during the first quarter of the eighteenth century.

The progress of vocal cultivation was remarkably helped by the fact that at this time women were not permitted to appear upon the stage, all the female parts being taken by male sopranos, _castrati_. These artificial sopranos, having no other career before them than that of operatic singing, devoted themselves vigorously to the technique of their art, and were efficient agents in awakening a taste for florid singing impossible for ordinary or untrained voices. Women did not appear upon the stage in opera until toward the middle of this century. Handel, in London, had male sopranos such as Farinelli, Senesimo, and the earlier of the female sopranos, of whom the vicious Cuzzoni was a s.h.i.+ning example. The artistic merits of Porpora have been greatly exaggerated by certain writers, notably by Mme. George Sand in her "_Consuelo_," where he figures as one of the greatest and most devoted of artists. Her work, however, has the excellence of affording a very good representation of the artistic end proposed by the Italian masters of singing in their best moments. Porpora spent the early part of his life in Naples, but afterward he resided for some time in Dresden, Vienna, Rome and Venice, being princ.i.p.al of a conservatory in the latter place. In the latter years of his life (1736) he was invited to London to compose operas in compet.i.tion with Handel, in which calling he but poorly succeeded. Porpora represents the ideal which has ruled Italian opera from his time to the present, the ideal, namely, of the pleasing, the well sounding, and the vocally agreeable. He is responsible for the fanciful roulades, the long arias and the many features of this part of dramatic music which please the unthinking, but mark such a wide departure from the severe and n.o.ble, if narrow, ideal of the original inventors of this form of art.

It is to be regretted that the limits of the present work do not permit the introduction of selections of music sufficiently extended for ill.u.s.trating the finer modifications of style effected by the successive masters named in the text. The brief extracts following are taken from the excellent lectures of the late John Hullah upon "Transitional Periods in Musical History." The same valuable and suggestive work contains a number of more extended selections from these and other little known masters of the period, for which reason the book forms a useful addition to the library of teachers, schools, etc. Other ill.u.s.trations will be found in Gevaert's "_Les Gloires d'Italie_" ("The Glories of Italy"). There are sixty arias in this collection, all well edited, and chosen for their effectiveness for public performance at the present day.

[Music ill.u.s.tration: ARIA PARLANTE.--"LASCIATE MI MORIR."

(From the opera "Ariadne," 1607. Monteverde.)

La-scia-te mi mo-ri-re, La-scia-te mi mo-ri-re, E che vo-le-te voi che mi con-for-ti in co-s du-re sor-te, in co-s gran mar-ti-re?

La-scia-te mi mo-ri-re, La-scia-te mi mo-ri-re.]