Page:The New International Encyclopædia 1st ed. v. 14.djvu/209

* MUSIC. 173 MUSIC. a high character, notably the pianoforte quintet. (See QiARTET; Quintet.) The concerto for pianoforte in A minor is justly beloved by artists and public alike. It contains passages of rare romantic beauty. But it is in his songs and smaller pieces for the pianoforte that the pecu- liarly introspective nature of this German mu- sician is seen at its best. The Carnanit. C major Fantasia, F sltarp Minor f<onata, the Htjmphonic Studies, the Fantasiesl'iicke, Krcis.lcriana, Toc- cata — most spiritual of technical studies — Pupil- Ions, and the rest are Schumann's monuments. As a song-writer he ranks below Schubert and with Robert Franz and Brahms. Franz Liszt (1811- 86), after bewitching the world with his won- drous pianoforte playing, composed an incredible quantity of music, and the twentieth century will doubtless give him the laurels of the composer he craved. His pianoforte nuisic is in the high- est degree stimulating; his orchestral composi- tions, Syinplionic Poems, and symphonies Foiist, Dante, and the superb Graner }lass proved too tempting for his son-in-law, Richard Wagner, who assimilated their melodic content and har- monic audacities in his music-dramas. Liszt's is still music of the future. The exact antipodes of this gifted Hungarian was Johannes Brahms 1 18.33-97 I, who, finding the classic forms suffi- ciently strong for his new wine, poured it out with gravity and unhurrying serenity. His four symphonies (colored by Hungarian feeling), his .piano and chamber music, are the revelations of a noble nature. Brahms is not dramatic in the theatric sense, but he has epic breadth of utter- ance, and his music is always noble. A romantic in feeling, his Teutonic reserve checked extrava- gance; and yet his later piano music, with its formal freedom and novel content, proclaims Brahms to be far from the ascetic classicist his critics style him. He is the great symphonist since Beethoven, and in his chamber music is second only to the Bonn master. fHs songs prove him to be a born romanticist and a poet of recondite moods. Raflf, Rubinstein, Henselt. Heller, Bruch, Hiller. Rheinberger. Ciade, Rein- eeke, Scharwenka. Moszkowski. Saint-Saens. Grieg, Svendsen. Goldmark. Bruckner, Dvorak. Cfoar Franck. Bizet, d'.lbert, Goiuiod, Cha- brier, Humperdinck, Massenet, Godard, Bun- gert, Debussy, C. M. Loeliler, d'Indy; the Russians, Glinka. Dargomyzhky, Rubinstein. Borodin. BalakirelT, Mussorgsky. Cui, Rimsky- Korsakoff, GlaziiinofT, Rachmaninoff, Scriabine. Tschaikowsky ; the memorable army of virtuosi and singers. Paganini, Bottesini. Wieniawski, Popper. .Joachim. Davidoflf. Wilhelmj, Kalkbren- ner, Thalberg, Biilow. Clara Schumann, Karl Tausig, ,7oseffy, Rosenthal. EssipofT. Padercwski, Pachmann, Sophie Jfenter: the singers, Sontag. Malibran. .lbani. Rubini. Lablnehe. Mario, .Tenny Lind. Tamburini, the two Pattis, the de Reszkes, and others whose name is legion — all these are derivative composers or interpreters. Grieg and Dvor-lk deserve especial mention for their nation- al characteristics — Xorwegian and Bohemian. Grieg is a harmonist of rare skill, and Dvorfik a master of orchestration. His sympaUietic nnisic displays influences of Schubert and Smetana (1824-84), the latter Bohemia's representative musician. Tschaikowsky ( 1840-03), Russia's one supreme composer, is treated at length else- where, as is Richard Strauss. Mus:c IN THE United States is largely the history of the past (juarter of a century. Before tliat, Italian opera ruled the eastern shore of the land, and previous to the advent of Italian opera in 1825 — a company that included tiarcia and his daughter, ilalibran — the ]).salmody was the sole musical pabulum of our nation. Struggling for independence, transfixed liy many wants and dan- gers, it is not surprising that hymn-tunes of the most primitive order should prevail. Our an- cestors were too busy fighting, or toiling for daily food, to find solace in the arts. And the Puritan draped the country in the deepest mo- rality, so that music with dilhculty conquered a place. Thomas Hastings, Lowell Mason, and Dudley Buck have done much to elevate church music, though our real musical culture began not with the numerous visits of Italian opera, but with the formation of local orchestras; the Philharmonic Society of New York, the Boston Symphony Orchestra, the Chicago Symphony Orchestra, the Pittsburg and Philadelphia or- chestras, and also the riiany choral societies throughout the country. Theodore Thomas was our pioneer in matters symphonic, and, both with the Philharmonic and Chicago Symphony Orchestra, his work will never be forgotten. Carl Zerrahn, Carl Bergmann, llenschel, Louis Maas, Leopold Damroseh, Asger Hamerik, Anton Seidl — who first taught us the beauties of the Wagner music-drama — Frank Van der Stucken, Arthur Xikisch, Wilhelm Gericke, and Emil Paur have all contributed their quota to the general fund of culture. Resident conductors are George Chad- wick. Victor Herbert, the Damroseh brothers, Walter and Frank, Fritz Seheel, Arthur Mees, F. X. Arens, B. .J. Lang, E. Heimendahl, Jules Jordan, and many others, while in the domain of popular music the names of Gilmore and Sousa have become classic. The so-called vein of negro music, so dear to folk-lorists, was mostly written by white men. John Howard Payne wrote "Home. Sweet Home," to which Stephen C. Foster's "Old Folks" is a close second in popularity. But the present generation of composers contains men in its ranks of real worth, though their culture has been attained under European masters: .John K. Paine, William Mason. I^ratt, Gleason, George W. Chadwick, W. W. Gilchrist, Arthur Foote, Converse, Edward A. MacDowell, Horatio W. Parker, Frank Van der Stucken, Henry Holden Huss, Harry Rowe Shelley, Edgar Stillman I:el- ley, Walter Damroseh, Arthur Whiting, Reginald de" I'ioven, Rubin Goldmark, and last but not least that most brilliant pianist and composer of Creole music, I^ouis Moreau Gottschalk (1820- 69), who was long considered a representative American by Europeans. ]Misic is now a neces- sity in America, and the culture of choral singing makes several of the larger universities like Har- vard. Yale, Columbia. Pennsylvania, . n Arbor, and Oberlin. have chairs of music. Foreign artists find in the United States a veritable gold mine, for singers draw higher salaries here than in any other part of the globe. So we have enjoyed the great music-makers of the world, from ilalihran to Ternina. ilany of the famous virluosi. Thal- berg. Von Billow, EssipofT, Rubinstein. .Joseffy, Rosenthal, Padercwski. de Pachmann, d'.Albert. Fannie Bloomfield Zeisler among pianists; and Vieuxtemps. Sivori. Ole Bull. Camilla Urso. Wieniawski. Sarasate, Wilhelmj, Rem^nyi, Cesar Thomson, and Y'saye, violinists, are a few of the prominent artists who have earned applause and