Page:A Dictionary of Music and Musicians vol 3.djvu/626

614 old folk-songs. These two composers' German Lieder are of such beauty as to have found favour with every nation devoted to music. But this distinction is not the exclusive honour of Rubinstein and Tschaïkofsky; it is the due also of their countrymen, Borodin, Napravnik, Genischta, Serof, Davidof, and Dargomijsky. Others again, whose popularity is confined to Russia, have chosen to follow Italian models in their vocal compositions: and in this class Varlamof, Gurilef, Alabief, Vassilef, Bulachof, Paufler, and Derfeldt are all prolific writers. Flowing melodies, simple accompaniments, and an absence of striking modulations are characteristics of their songs. Lvof, Bortniansky, Bachmetief, and Dmitrief, true Russians, are chiefly known for their sacred music.

Poland. The songs of the Poles, also a Slavonic people, differ widely from those of Russia in rhythm and variety of metre. There is more fire and passion about them than about Russian songs, the Poles being more excitable and more keenly susceptible to romance than their neighbours. Polish songs have an instrumental rather than a vocal colouring, which reveals itself in their difficult intervals (such as the augmented fourth), syncopated notes, and intricate rhythms. Thus:—

In this they resemble the Hungarian music. The elasticity of their poetic metre is productive of great irregularity of melodic phrases, showing itself in constant deviation from the four-bar sections, in 7-8 time, and alternate bars of 3-8 and 2-8; thus—

The rare beauty of Polish songs is not due to fertility of melodic invention. The Poles indeed are rather poor in this quality, but the deficiency is hidden by the wonderful skill with which they vary and embellish their songs. The rhythm is always peculiar and striking, as for instance that of their famous national dances, the Polonez and Mazurek (Polonaise and Mazurka), which are constantly heard in their songs.

Of modern Polish songs, Chopin's are the best known and the most beautiful, but the purest national characteristics will also be found in the songs of Monïuszko.

[App. p.795: "Worthy of mention, likewise, are the songs of J. Brzowski, Ig. F. Dobrzynski, J. Elsner, E. Jenike, E. Kania, V. Kazynski, Ig. Komorowski, M. Madeyski, F. Mirec̨ki, J. Nowakowski, W. Prohazka, A. Sowinski, J. Stefani and K. Wysoc̨ki.

In 1818 the poet Niemcewicz published his great work Spiewny historyczne z muzykon (Historical songs with music), and at his invitation the most popular composers of the day wrote or adapted melodies to them. From these songs, cherished as household words by all classes of the people, Polish patriotism has drawn both inspiration on the battle-field and consolation under misfortune and oppression. The collection includes some of the oldest national hymns, arranged in modern notation; among them, for instance, St. Adalbert's hymn to the Virgin (Boga-Rodzic̨a), a hymn of the 10th century which is engraved in plain-chant on its writer's tomb in the Cathedral of Gnesa, and still sung there as well as at Dombrowa on the Warka every Sunday. The characteristics of the old Polish historic chants, such as the Hymn of the Virgin of Czenstochowska and the Hymn of St. Casimir, are their simplicity and dignity."]

Bohemia. The music of Bohemia has never attracted and influenced foreign composers, as that of Hungary has done; but its artistic value, especially in its songs, has of late been fully recognised. Bohemian songs may be divided into two classes. The first, and much the oldest, have a bold decisive character, with strongly marked rhythm, and are in the minor. The second class—in tunefulness and tenderness superior to the former are in the major, and of a simple rhythm. In many of the early songs we find a chorale, as in the middle of the celebrated and beautiful 'War Song of the Hussites,' which dates from about 1460. The more recent songs of Bohemia have a flowing, clear, and distinct cantilène, sometimes recalling Italian songs. Their rhythm is varied, but never exaggerated; and a vein of natural unaffected humour runs through them. Their harmony has been affected by the Dudelsack or bagpipe, a favourite national instrument.

Bohemia is preeminently rich in dances (such as the beseda, dudik, furiant, hulan, polka, trinozka, sedlak, etc.), which take their names from places, or from the occasions on which they are danced, or from the songs with which they are accompanied. There are numerous collections of Bohemian national songs; and of late years native composers, both vocal and instrumental, have brought them into public notice. They have been sung at concerts by Strakaty, Pischek, and Luker; while Simak, Smétana, Dvořák, and others, have arranged both songs and dances for the orchestra and piano. Among modern Bohemian composers Tomaschek (born 1774) was one of the first to introduce the national element into his works. Kníže followed him, and his ballad 'Břetislav a Jitka' became very popular. Krov and Skroup were also authors of many national and patriotic songs, and Skroup's 'Kde domov muj' (or 'Where is my home') may be cited as a characteristic example of their compositions. Skroup and the poet Chmelensky have edited a well-known collection, under the title of 'Věnec' (the Garland), containing songs by 33 Bohemian composers. Among them are Ružíǎka, Drechsler, Vašik, Skřivan, Tomaschek, and Rosenkranz, the author of the popular song 'Vystavim se skromnow chaloupka' ('Let us build a modest hut'). And to later editions of the 'Věnec,' issued by other editors, were added songs by Suchánek, Stasny, Veit, and Gyrowetz. In 1844 the Moravian composer Ludwig Ritter von Dietrich published a volume of 'Bohemian Songs,' including his well-known and patriotic air 'Morava, Moravička milá.' And Košek, Kaván, Pivoda, Zvonař, Bendl, Nápravnik, Zelensky, Krov, Škroup, Zahorsky, Rozkošny, Lahorsky, and Dvořák are all worthy of mention as national composers, whose songs have remained local in their colouring, notwithstanding the dominant influence of Germany.