Page:The American Cyclopædia (1879) Volume XII.djvu/98

 90 MUSIC and Galilei was the first to write music for a single voice. Among the members of this circle were the poet Rinuccini and the musician Peri. Their efforts to reproduce the musical declama- tion of the Greeks resulted finally in the mu- sical setting to Rinuccini's Euridice, in which appeared what they called the stilo rappresen- tativo, which in a somewhat altered form we now know as recitative. The opera of Euri- dice was called by its authors a drama per mu- sica, the term opera not being applied to this kind of composition till 1656. The scenery represented first green fields, then the ocean, afterward the abodes of the blest, and finally the torments of the infernal regions. The lan- guage was bombastic, and the music awkward and affected. The solos were in the style of recitative, and the choruses in madrigal form. The instruments were the same as those men- tioned above in the oratorio. The next Italian operatic composer of eminence was Olaudio Monte verde. His Orfeo, composed in 1607, was an advance upon Peri's music. The or- chestration was better, the recitative more dra- matic, and suggestions appeared of the aria, which was yet to be invented. The opera quickly spread over Italy, and finally crossed the Alps, Cardinal Mazarin introducing it in 1645 into France. The first opera there per- formed was La finta pazza, which was given in the presence of Louis XIV. The first French opera was called Akebar roi de Mogol ; the words and music were by the abbe Mailly, and it was performed in 1646. The first French operatic composer of any note was Cambert, who however was speedily supplanted in the favor of the king by the Italian Lulli. This composer for many years controlled the French lyric stage, more by his sense of dramatic situ- ations than by the merit of his musical forms. He was the first to elaborate and give promi- nence to the overture. The first of his operas performed in France was Les fetes de V Amour et de Bacchus, which was represented in 1672. The principal Italian composers during the last half of the 17th century were Cesti, Alessan^ dro Scarlatti, and Carissimi. The last did not write for the stage. Henry Purcell (1658-'95) was at this time one of the few native com- posers on whom the English could look with pride. He had been a close student, almost an imitator, of the style of Carissimi, and did much, both through his operas and church com- positions, for the elevation of his art. The 18th century was the age of great orchestral writers, operatic and oratorio composers, and performers. It would be impossible to name all of the illustrious musicians of that century ; among those of most conspicuous talent were (in the order of their birth) Marcello, Domeni- co Scarlatti, Rameau, Handel, Bach, Porpora, Hasse, Martini, Pergolesi, Jomelli, Gluck, Pic- cmi, Haydn, Gretry, Paisiello, dementi, Cima- rosa, Mozart, Cherubini, Mehul, Beethoven, and Spontini. Auber, Schubert, Rossini, Meyer- beer, Donizetti, and others, though born in the 18th century, belong rather to the 19th, in which their genius began to manifest itself. We can only refer with any detail to such of those whom we have named as exercised a marked and lasting influence upon the art. First among them was Johann Sebastian Bach. Though he was only cantor at St. Thomas's church in Leipsic, and undertook no works that were not in the simple line of his duty, he has given to the world organ and vocal compositions unrivalled in their way. The art of fugue writing, so steadfastly cultivated during the so-called Dutch period, he per- fected. Taking the German chorals for his themes, he wrought upon them his great work, the passion music, the sublimest ever composed for the Protestant church. Though Bach pro- duced also delightful compositions for the stringed orchestra, such as his suite in D, his fame must rest upon his passion music and his organ and pianoforte works. While Bach waa elevating the church music of Protestantism, his great contemporary Handel was working out that mighty chain of oratorios that have since been the delight of the world. For many years he had devoted himself to the composi- tion of Italian operas ; more than 40 of these exist, but never will be placed upon the stage again. From them, however, have been select- ed many arias, such as the Lascia cfrio pianga from the opera of Rinaldo, that are still among the greatest favorites of the concert room. It was fortunate for the world that Handel failed in his operatic enterprises, otherwise such works as "Saul," "Samson," "Judas Maccabeus," "Israel in Egypt," and the "Messiah" would never have existed. In the century and a quar- ter that has elapsed since they were created, no greater works of their kind have been pro- duced. From Haydn composition for the or- chestra received its greatest development. This illustrious composer when a boy had the benefit of instruction from Porpora, the great Italian composer, from whom he derived his knowl- edge of vocal writing ; and he learned the art of setting words to music from Metastasio the poet. But with all these advantages he failed as an operatic composer, while he succeeded in orchestral music and oratorios. His genius for melody was so great that, although he was near- ly contemporary with Handel, his melodies are in advance of Handel's in grace, symmetry, and essential beauty. His muse was kindred with Mozart's. In symphonic writing, in many re- spects, he has not been excelled ; in breadth and depth, however, the palm for that depart- ment has been awarded to his successor Bee- thoven. The form of the symphony, as devel- oped by Haydn, is derived from that of the piano sonato or violin quartet; generally it is composed of four movements: an allegro, usually the principal movement ; then a slow movement; then a minuet, or old dance tune; then a rondo, or finale, of quick movement. There is no organic completeness in this de- sign, so far as the number of movements is