Music and Some Highly Musical People Part 4

"When the table was cleared, the father of the family arose, and opened an old clavecin. The three sons took each a violin, and the mother and daughter occupied themselves in some domestic work.

"The father gave the key-note, and all four began playing with that unity and precision, that innate genius, which is peculiar only to the people of Germany. It seemed that they were deeply interested in what they played; for their whole souls were in the instruments. The two women desisted from their occupation to listen, and their gentle countenances expressed the emotions of their hearts.

"To observe all this was the only share that Beethoven could take in what was pa.s.sing; for he did not hear a single note.

He could only judge of their performance from the movements of the executants, and the fire that animated their features.

"When they had finished they shook each other's hands warmly, as if to congratulate themselves on a community of happiness; and the young girl threw herself weeping into her mother's arms. Then they appeared to consult together: they resumed their instruments; they commenced again. This time their enthusiasm reached its height; their eyes were filled with tears, and the color mounted to their cheeks.

"'My friends,' said Beethoven, 'I am very unhappy that I can take no part in the delight which you experience; for I also love music: but, as you see, I am so deaf that I cannot hear any sound. Let me read this music which produces in you such sweet and lively emotions.'

"He took the paper in his hand: his eyes grew dim, his breath came short and fast; then he dropped the music, and burst into tears.

"These peasants had been playing the allegretto of Beethoven's Symphony in A.

"The whole family surrounded him with signs of curiosity and surprise.

"For some moments his convulsive sobs impeded his utterance; then he raised his head, and said, 'I am Beethoven.'

"And they uncovered their heads, and bent before him in respectful silence. Beethoven extended his hands to them, and they pressed them, kissed, wept over them; for they knew that they had amongst them a man who was greater than a king.

"Beethoven held out his arms, and embraced them all,--the father, the mother, the young girl, and her three brothers.

"All at once he rose up, and, sitting down to the clavecin, signed to the young men to take up their violins, and himself performed the piano part of his _chef-d'oeuvre_.

The performers were alike inspired: never was music more divine or better executed. Half the night pa.s.sed away thus, and the peasants listened. Those were the last accents of the swan.

"The father compelled him to accept his own bed; but, during the night, Beethoven was restless and fevered. He rose: he needed air: he went forth with naked feet into the country.

All nature was exhaling a majestic harmony; the winds sighing through the branches of the trees, and moaning along the avenues and glades of the wood. He remained some hours wandering thus amid the cool dews of the early morning; but, when he returned to the house, he was seized with an icy chill. They sent to Vienna for a physician. Dropsy on the chest was found to have declared itself; and in two days, despite every care and skill, the doctor said Beethoven must die.

"And, in truth, life was every instant ebbing fast from him.

"As he lay upon his bed, pale and suffering, a man entered.

It was Hummel,--Hummel, his old and only friend. He had heard of the illness of Beethoven, and he came to him with succor and money. But it was too late: Beethoven was speechless; and a grateful smile was all that he had to bestow upon his friend.

"Hummel bent towards him, and, by the air of an acoustic instrument, enabled Beethoven to hear a few words of his compa.s.sion and regret.

"Beethoven seemed re-animated; his eyes shone: he struggled for utterance, and gasped, 'Is it not true, Hummel, that I have some talent, after all?'

"These were his last words. His eyes grew fixed, his mouth fell open, and his spirit pa.s.sed away.

"They buried him in the little cemetery of Dobling."

Among the most eminent composers of the present century may be mentioned Auber, Schubert, Rossini, Meyerbeer, Mendelssohn, Weber, Verdi, and Wagner.

In "The Contemporary Review" there lately appeared the following beautifully worded tribute to the n.o.ble qualities of Mendelssohn:--

"Mendelssohn reigns forever in a sweet wayside temple of his own, full of bright dreams and visions, incense, and ringing songs, and partly is he so sweet, because, unburthened with any sense of a message to utter, a mission to develop, he sings like a child in the valleys of asphodel, weaving bright chaplets of spring flowers for the whole world, looking upon the mystery of grief and pain with wide eyes of sympathy, and at last succ.u.mbing to it himself, but not understanding it, with a song of tender surprise upon his lips."

Since the times of the great writers of the eighteenth century, and of the first half of the present one, no new developments or advancements have been made in musical creations.[7] Indeed, it would seem that the time has not yet come for attempts to be made to improve upon the works of those great musical luminaries; for they have left too much that is deep, cla.s.sical, charmingly beautiful, and soul-satisfying.

The musical world has paused, not caring to go farther, to conscientiously study their n.o.ble creations, so fruitful in the delights, the soul-elevating influences, which they afford.

[Footnote 7: It would, perhaps, be better at present to except those of Wagner, upon the _surpa.s.sing_ merits of which the best critics are as yet divided.]

But, although no great genius has of late years appeared with newer and greater creations to claim our attention from those of the past, it is gratifying to know that great advancement is being made in a more general musical culture among the people; while the number of really great instrumentalists and vocalists is quite large, and is constantly increasing. In these latter respects the present far exceeds the past.[8] In fact, the study of the art of music has begun to be considered a necessity; and ability in its comprehension and performance is now far from being considered as merely an ornamental accomplishment. All this springs from the very nature of this divine art, the mission, so to speak, of which is, to constantly open new fountains of pleasure in the human heart; to cheer, to soothe, and to bless mankind throughout all time.

[Footnote 8: It should also be here remarked, that there has been, too, a remarkable improvement made in the construction of most all musical instruments; they having been brought to a nicety and beauty of form and tone probably not dreamed of by the makers of the past.]

But, after all, we know not how soon another great musical genius may startle us from our complacent studies of the masters of the past; for we are even now somewhat threatened in this respect by Richard Wagner, the eminent composer of Germany. He is not satisfied with the music of the past nor the present, and points to his own present and prospective creations as samples of what the "music of the future"

will be. Just now, musical critics, while generally conceding to him much power as a composer, are divided in opinion as to whether his ideas are to be accepted in their entirety.

Still, who can now tell what the "music of the future" _may_ be?

Before closing this chapter on the history of music, I think it highly proper, as a matter of record and of appropriate interest, to refer briefly to the almost wonderful achievements of that brilliant impressario, P.S. Gilmore of Boston, who in the year 1869 conceived the idea of having a grand musical festival, the n.o.ble objects of which were to celebrate the restoration of peace in the United States, and to quicken and increase the interest felt in music throughout this country, and also the world, by bringing together in a single performance a larger body of most skilful musicians than was ever before attempted. An immense building called "The Coliseum" was constructed for the purposes of the festival, which was to continue five days. On the 15th of June, in the city of Boston, "The National Jubilee and Great Musical Festival" was begun. The number of instruments and performers composing the great orchestra was 1,011; and an organ of immense proportions and power, built expressly for the occasion, was employed. The grand chorus and solo vocalists numbered 1,040. Besides, one hundred anvils (used in the rendering of Verdi's "Anvil Chorus") were played upon by a hundred of the city's firemen in full uniform; while to all this was added a group of cannon, the same being used in the performance of the "Star-spangled Banner." The vast chorus, the orchestra, and all the leading performers (among the latter were Ole Bull, Parepa, and Carl Rosa), were selected from the finest musical people of the country, being accepted only after strict testing by skilful judges. At this great gathering many of the works of the great composers were performed, and only works of real merit had a place on the programme. These were all performed by this vast _ensemble_ with a precision and an excellence that were really grand and wonderful. This achievement of Gilmore was considered the most brilliant entertainment of modern times. Of it, it has been truly said,--

"This great event, by the sublimity of its music, held the nation spell-bound. The great volume of song swept through the land like a flood of melody, filling every Christian heart with 'glad tidings of great joy.' It came like a sunburst upon a musical world, shedding light where had been darkness before, and revealing a new sphere of harmony, a fairy-land of promise, and triumphantly realizing greater achievements in the divine art than were hitherto thought possible. It will ever be a memorable epoch in the history of music, a glorious event; and thousands upon thousands are happier for that week of glorious music. The boom of the cannon, the stroke of the bells,[9] the clang of the anvils, the peal of the organ, the harmony of the thousand instruments, the melody of the thousands of voices, the inspiring works of the great masters, the song of the 'Star-spangled Banner,' the cheers of the mult.i.tude, the splendor of the spectacle,--the memory of all this is the rich possession of many, and will be ever recalled as the happiest experiences of a lifetime."

[Footnote 9: The church-bells of the city were also employed in rendering some of the music.]

The success of the "National Peace Jubilee" was so perfect, and had produced a musical enthusiasm and revival so great, that, in the year 1872, Gilmore, still prolific in startling musical conceptions, projected and carried into execution another festival of the same general character as the first, only that it was far vaster and more daring in its proportions. This one he styled "The World's Peace Jubilee and International Festival." Several times during the week that this great musical festival was held, not less than fifty thousand people were present in the immense Coliseum building. This time the orchestra consisted of two thousand instruments, and the chorus numbered over seventeen hundred voices; while a mighty organ and cannon and anvils were used as before. The great soloists engaged were Mme. Leutner, Johann Strauss, Franz Abt, and Bendel. Foreign governments being invited to send representatives from among their best musicians, England sent the Band of the Grenadier Guards; Germany, its great Prussian Band; France, the brilliant French Republic Band. King William of Prussia sent also, as a special compliment, his cla.s.sical Court Cornet Quartet; and Ireland sent its best band. To this galaxy of star military bands, perhaps the greatest ever a.s.sembled, the United States added its own favorite Marine Band of Was.h.i.+ngton. At this second great and vast a.s.semblage of artists the almost marvellous achievements of the first "Jubilee" were repeated to the utmost delight of many thousands of people, and Gilmore became at once the most brilliant and daring impressario genius of the world.

As before intimated, Wagner is not at all satisfied with pausing where Mozart, Beethoven, and other great composers, left off. He believes that their music can be improved upon. According to his theory, the music of the opera, in the most highly-developed form of the latter, is but an incidental element, the dramatic part being princ.i.p.al. He lately composed a triology--three operas connected as one--with a prologue, the subjects of the dramas being taken from mythology, and forming beautiful fairy tales. To carry to the greatest perfection his views and firmly-held ideas as to what music should be, and as to what he stoutly avers it will be in the future, he selected from far and near only the best artists for the performance of his opera (these were subjected to long and careful rehearsals under his own conductors.h.i.+p), and erected at Bayreuth, in Bavaria, a large and beautiful theatre, which, in its minutest details even, was built under his own supervision, and after his own peculiar ideas. It being calculated to show to the highest advantage his conception, that, in the expression of sentiment, music is only secondary, his orchestra of one hundred and ten performers was placed out of sight of the audience during the acting of the opera.

The great "Musical Festival," as it was called, continued three days, the performance of each part of the triology occupying--exclusive of a wait of one hour after each act--from four to five hours.

At these performances the n.o.bility of Germany and other countries, together with the Abbe Liszt, and many others in the higher walks of music, were present. The audiences were immense, brilliant, and exceedingly demonstrative in applause. At the close of the opera, Wagner was called before the curtain, receiving quite an ovation: and in his speech he said, "Now we see what can be done: at last we have a German art."

It is perhaps too early, as yet, to decide that Richard Wagner's ideal will be adopted by the musical world; nor should we be in too much haste to conclude that it will not be. Certainly he has succeeded, at least, in dividing the highest critics of the glorious art; and the history of music shows, as does also that of all art, that what is rejected to-day may be warmly and even rapturously accepted to-morrow.

Of the festival at Bayreuth, Mr. Hazard, musical critic of "The New-York Tribune," writes, "The effect of the music was magnificent beyond all description. It far surpa.s.sed all expectation; and the general verdict is that it is a triumph of the new school of music, final and complete."

Of the impression created by one of the parts of the opera, "Rheingold" (Mr. F.A. Schwabe), of "The New-York Times," says, "Musically considered, it is not significant. It is hopeless, therefore, to look for popularity for the work; at present, at least."

"The agony is over; and the grandest of all operatic conceptions, the musical drama over which Richard Wagner toiled and dreamed for twenty years, has been given to the world in its complete form."[10]

[Footnote 10: From a writer in the New-York Herald.]

Very recently, Mr. Moncure D. Conway thus expresses his high admiration for the work of Wagner:--

"I am satisfied that the English-speaking world is little aware at present of the immensity and importance of the work Wagner has done for art. Plato declared that the true musician must have poetry and music harmonized in himself; and the world has waited twenty-five hundred years for that combination to appear. Having carefully read the poems all written by himself which Wagner has set to music, or rather which incarnated themselves in music, and costumed themselves in scenery as he wrote them, I venture to affirm that none can so read them without the conviction that their author is a true poet. In the first place, the general conception of his chief operas, taken together, is in the largest sense poetic, and I might even say Homeric. This man has transmitted an entire religion to poetry, and then set it to music. And it is one of the greatest of religions,--what Nature engraved on the heart of our own Teutonic ancestors. It is all there,--its thousand phantasmal years, from the first cowering cry of the Norse savage before the chariot of his storm-G.o.d to the last gentle hymn that rose to Freya under her new name of Mary,--all. It is interpreted as a purely human expression; and, I repeat, no man has done so vast and worthy an artistic work in our time."

While America has perhaps produced as yet no _great_ composers, it has several of very high merit, such as J.K. Paine, Dudley Buck, and others. In the United States there are many remarkable vocal and instrumental artists, a large number of cla.s.sical musical clubs and societies; while several of its great vocalists, male and female, accept and decline engagements in Europe. Perhaps no finer orchestra exists anywhere than that of Theodore Thomas of New York; while nearly as high praise may be given to the Mendelssohn and Beethoven Quintette Clubs of Boston, and to others in different parts of the country.

Music is quite generally cultivated in this country; and there are many excellent critics, musical writers, and periodicals devoted to this beautiful and elevating science.

A very startling late American musical invention is the "telephone," a description of the working of which is given below:--

"MUSIC BY TELEGRAPH.

"A most interesting field for the musical student is the progress that is being made in _telegraphing musical sounds_.