Page:The New International Encyclopædia 1st ed. v. 18.djvu/282

* SLAVONIC MUSIC. 236 SLAVONIC MUSIC. where they called forth the unqualified admira- tion of Berlioz. The approbation of two such men spread GIinka"s fame bcjond his native land. Whereas Glinka wrote in a naive manner, in accordance with a natural bent of his genius, the works of his immediate successors show evi- dence of careful study. Dargomyzhsky {1813-69) (q.v.) began his career under French influences, but soon became an enthusiastic follower of Wag- ner's reforms. Tlie result was a national opera Rii- salka (1S5G). which was followed by two others. But the most powerful influence Dargomyzhsky exerted not so much through his own composi- tions as through the interest he inspired in some of the younger composers. Five of these organized themselves into a society called The Innovators. They were Cui, Balakirefl. Mussorgsky. Borodin, and Rimsky-KorsakofT. While their instrumental works are well kuown. tlieir national operas have not succeeded in gaining friends outside of Russia. The more recent of the prominent Russian compos- ers are Count Yussupofl", Sokoloff', Arensky, Glazimofi', Taneyeff, and Rebikoff. Among all the Russian composers Rubinstein and Tsehai- kowsky (qq.v.) stand forth preeminent. Russia has also produced soimd theorists who have done much to preserve the old folk music and to estab- lish the qualities that constitute the specific na- tional characteristics upon a theoretic scientific basis. Faminzin published several collections of Russian folk songs, and translated many of the famous theoretical works of German authors into Russian ; Arnold showed the influence exerted by the old church modes upon Russian melodies; Melgunoff published many Russian folk songs with characteristic national harmonization ; Li- senko collected and edited many folk songs and popular dances, and Shafranoflf wrote a valuable book. The Structure of Russian Folk Melodies. The principal characteristics of Russian music are archaic harmonies reminiscent of the old church modes; peculiar grace notes; intervals pertaining to the /j«/t minor scale (see MixOR), which are expressive of deepest mehmclioly; frequent use of melismas: augmented and cliro- matic intervals: strongly accented rliythm ; a marked tendency toward the employment of hassi ostinali. Although the classic masters favor periodic structures of an even number of meas- ures (two, four, eight, sixteen), the Russians manifest a strong leaning toward periods of three, five, or seven measures. PoLAJJD. Much that has been said about the development of the national element in Russian music through the folk song and the general state of musical affairs applies to the art music of Poland. But whereas the older Russian songs are mostly melancholy, quiet, of even rhythm, and regular periodic structure, those of the Poles are more fiery and passionate. Tlie melodies, which for the greater part are not remarkable in them- selves, are rendered efTective by means of skillful ornamentation and piquant rhythms. Difficult and unusual intervals occur with great frequency, imparting to the Polish folk songs something of an instrumental character. Polish music during the nineteenth century is represented by the works of only a single great musician. This re- markable man is Frederic Chopin (q.v.). In ad- dition to Chopin, Poland has produced a few other composers, some of whom devoted their energies to the establishment of a national Polish opera. When the singspiel (q.v.) became popular in Germany, Kamienski (1734-1821) conceived the idea of writing similar works in Polish. Thus he wrote the farst Polish opera, Ncndza Vszesli- wiona (Luck in Misfortune), which was pro- duced in Warsaw in 1775. This was followed by five others. Eisner ( 17tJ0-1854), although a Ger- man by birth, was identified with Poland. He wrote no less than nineteen operas, while his successor in the post of principal conductor of the Warsaw National Opera, Kurpinski (1785-1857), composed twenty-six. Chopin's friend Dobrzynski (1807-67) contributed only one opera, but wrote chamber music of sterling merit. Moniuszko (1820-72), who wrote fifteen operas, ranks next to Chopin, but the gap that separates him from his great compatriot is enor- mous. His reputation rests chiefly upon his Polish songs, which are full of local color. In 1901 the opera Manru. by Paderewski (q.v.), was performed in Europe and America, and elicited favorable comment. BoHEMi.. The folk music of Bohemia is es- pecially ricli in popular dance tunes, some of which, like the polka, have also found great favor in other countries. The influence of church music is pronounced in many of the folk songs, especially in those dating from the fifteenth and sixteenth centuries, where we find entire chorales introduced as middle sections. The later songs are distinguished by a broad melodic outline, showing to some extent Italian influences, and by a spirit of humor. As in the case of Russia and Poland, a distinctive national trait appeared in the music of Bohemia as soon as national com- posers introduced the folk music into their seri- ous works. The first of these was Tomaczek (1774-1850), who wrote several Bohemian songs and also occasionally introduced national themes into his instrumental works. Just fifty years after the appearance of the first Polish opera, a Bohemian opera by Franz §kroup (1801-62) was performed at Prague. This was a very simple work in the style of the German singspiel. Two other and more serious operas followed, Udalrich and Bozena (1828) and Libussa's Wedding (1835). But these attempts for many years re- mained the only evidences of a national school of opera. The erection of a new Bohemian National Theatre in 1862 fired the ambition of national composers. Skuhersky (1830-92) had written his first two operas, Wladimir and Lora, to German texts. He had both these works translated into Bohemian, and then they were produced at the new theatre. These were followed by an original Bohemian opera. The General. Johann Skroup (1811-92), a younger brother of Franz, con- tributed in 1867 The Su-edes in Prague. In the same year Blodek (1834-74) added 7n the Well to the national repertoire. Schebor (1843 — ) be- tween 1865 and 1878 wrote five Bohemian operas; Bendl (1838-97) wrote seven; and Rozkosny (1833 — ) eight. But all these men attained only local fame. The first Bohemian musician whose works attracted general attention in Europe was Smetana (1824-84). He was not satisfied to ob- tain a national coloring in his music by the mere introduction of folk songs and dances in their primitive dress. As conductor of the National Theatre in Prague he wrote eight national operas^ which not only constitute the stock of the Bo- hemian national repertoire, but have also met