Chapter I: Front Matter

FOR EVERY MUSIC LOVER

A SERIES OF PRACTICAL ESSAYS ON MUSIC

BY AUBERTINE WOODWARD MOORE

AUTHOR OF "FOR MY MUSICAL FRIEND" ETC.

NEW YORK DODGE PUBLISHING COMPANY 55 FIFTH AVENUE

Copyright, 1902, by DODGE PUBLISHING COMPANY

PRINTED IN U. S. A.

Illustrations

1. MALIBRAN _Frontispiece_ 2. MOZART 22 3. BRAHMS 54 4. FRANZ LISZT 86 5. LILLIAN NORDICA 118 6. PAGANINI 150 7. JENNY LIND 182 8. CORELLI 214 9. SAINT-SAËNS 246

Contents

Preface 17

How we can approach knowledge of music. Mistaken isolation of the
art. Those who belong to the privileged class. Music, as well as
religion, meant for all. Business of its ministers and teachers.
Promise of the twentieth century. Fruitage of our own free soil.
American world-view. Purpose of volume.

The Origin and Function of Music 21

Story of music affording knowledge of man's inner life. Mythology
and legendary lore. Emerson's dualism. Music a mirror. Ruskin and
art. Beethoven's lofty revelation. The real thing of Schopenhauer.
Views of Carlyle, Wagner and Mazzini. Raw materials. Craving for
sympathy in artistic type. Evolution of tone-language. French writer
of 1835. Prince of Waldthurn, in 1690. Spencer's theory. Controversy
and answer. Music of primeval man and early civilizations. The
Vedas. Hebrew scriptures. Basis of scientific laws. Church ritual.
Folk-music. Influence of crusades. Modern music architect of its own
fortunes. Present musical vocabulary and literature. Counsel of
Pythagoras. What Plato taught. Euripides on song. Auerbach. Martin
Luther. Napoleon Bonaparte. Bain and Dr. Marx. Shakespeare, in
Merchant of Venice. Wagner's unspoiled humanity. Tolstoi in art.

Blunders in Music Study 43

Voice from the unseen. Perverted soul. Normal instincts. Genius and
talent. Æsthetic tastes. Musical sound and rhythmic motion. Average
child. Frequent blunders. Appeal to intellect. Teacher with strong
personality. Experimenting with beginners. Legal protection. Vienna
musician. Class instruction. French solfège. English tonic sol-fa.
Mrs. John Spencer Curwen. Rev. John Curwen. Time a mental science.
Musical perception of the blind. Music in public schools. Phillips
Brooks on school song. Compulsory study. Socrates. Mirabeau.
Schumann on brilliancy. Unrighteous mammon of technique. Soul of
music. Neglect of ensemble work. As to accompaniments. Underlying
principles. Hearing good music. Going abroad. Wagner's hero. A
plumed knight wanted.

The Musical Education That Educates 61

Symmetrical development. Well-rounded musician. Well-balanced
individual. Profits proportionate to investment. Living force. What
Goethe said. Rich harvest. Aristotle on command over mind. Music
study many-sided. Madox-Brown on art. Mabie on beauty. Practical
forces in shaping character, purifying taste and elevating
standards. Master-works. Human voice as music teacher. Scientific
methods of study. Both art and science. Mental discipline. Stephen
A. Emory. Huxley on education.

How to Interpret Music 73

College professors on criticism and interpretation. External and
technical forms. Distrusting impressions. Trampling on God-given
intuitions. Throb and thrill of great art. Insight requisite for
interpretation. Living with masterpieces. Three souls of Browning.
Dr. Corson. Every faculty alive. Vital knowledge. Musical
imagination. Technical proficiency. Head, hand and physical forces.
In service of lofty ideal. Musical art work. Theme. Unfolding.
Climax. Labor of composition. Mind of genius. Elementary laws. Tonal
language. Karl Formes and operatic aspirant. Motto of Leschetitzky.
Marks of expression. Adolph Kullak. Hans von Bülow. Pulse of music.
Memory. Ruskin's fatal faults.

How to Listen to Music 89

Listening an art. Painting completed whole. Music passing panorama.
Not translatable into words. To follow, even anticipate composer.
Bach's absolute knowledge. Fire of Prometheus. Inner sanctuary of
art. Science of acoustics. Prime elements. Dr. Marx and Helmholtz.
Motive. Beethoven's fifth symphony. Phrase. Period. Simple melody.
"God Save the King." Our "America." Masters of counterpoint. Bach's
fugues. Monophony and polyphony. Classical and romantic. Heretic and
hero. Hadow on musical laws. Form the manifestation of these. Good
music versus ragtime. Dr. Corson on spiritual appeal.

The Piano and Piano Players 105

Pythagoras and musical intervals. Pan pipes. Portable organs.
Monochords with keys. Guido d'Arezzo. Clavier type. Virginal in
Elizabethan age. Early clavier masters. First woman court clavier
player. Scarlatti and Bach. True art of clavier-playing. Sonata
form. Where Haydn gained much. Mozart and Clementi. Pianoforte and
improvements. Viennese school. Clementi school. Giant on lofty
heights. Oscar Bie on Beethoven. Golden age of pianoforte. Piano
composers and virtuosi, from Weber to the present time. Teachers and
performers often corrupters of music.

The Poetry and Leadership of Chopin 135

Rubinstein on Polish patriot and tone-poet who explored harmonic
vastness of pianoforte. Like exquisitely constructed sounding-board.
Enriched and spiritualized the pianoforte for all time. Universal
rather than individual experiences. National tonality. Zwyny and
Elsner. Intimate acquaintance with Bach. Prince Charming of the
piano. Liszt on Chopin. Raphael of music. Playing and teaching.
Tempo rubato. Compositions. Schumann's words. Oscar Bie.

Violins and Violinists--Fact and Fable 151

Volker the fiddler. Nibelungen lay. Videl of days of chivalry. Bow
fashioned like sword. Hagen of Tronje. Wilhelm Jordan, in
"Sigfridsage." Henrietta Sontag and the coming Paganini. Wagner's
Volker-Wilhelmj at Bayreuth. Magic fiddles and wonderworking
fiddlers. Grimm's Fairy Tales. Norse folk-lore. English nursery
rhymes. Crickets as fiddlers. Progenitors of violin. The violin of
Queen Elizabeth and her age. Shakespeare in Twelfth Night. Household
of Charles II. Butler, in Hudibras. Viola d'amore in Milwaukee, Wis.
Brescian and Cremonese violin-makers. Early violinists. Value and
history of some violins. Strings and bow. Violin virtuosi from
Corelli to our day. Mad rush for technique.

Queens of Song 183

Florentine lady, Vittoria Archilei. Embryo opera of Cavalieri.
Peri's "Eurydice." Euterpe. Marthe le Rochois and Lully's operas.
Rival queens in London. Steele, in "Tattler." Second pair of rivals,
Cuzzoni and Faustina. Master Handel. Germany's earliest queen of
song. Frederick the Great and German singers. Mrs. Billington. Haydn
and Sir Joshua Reynold's St. Cecilia. Mozart's operas introduced
into England. Catalani. Pasta. Sontag. Schröder-Devrient and
Goethe's "Erl King." Malibran a dazzling Meteor. Another daughter of
Manuel del Popolo Garcia. Marchesi, Grisi and Mario. Manuel Garcia
and the Swedish Nightingale. Other Swedish songstresses. Patti.
Queens of song pass in review. Two Wagner interpreters. A Valkyrie's
horse. A word for American girls.

The Opera and Its Reformers 213

Evolution of drama. At the altar of Dionysus. Greek poetry and
music. Aristotle on Greek stage-plays. Æschylus and Sophocles.
Euripides. Words, music and scenic effect. Lenæan theatre
exhibitions. More costly than Peloponnesian war. Roman dominion.
Primitive Christian church. St. Augustine. Mystery, miracle,
morality and passion plays. Strolling histriones, etc. Florence
"Academy." Vincenzo Galilei. Monody. Polyphonic music. Emilio del
Cavalieri. Vittorio Archilei. Music of Greeks recovered. Peri.
Monteverde and his work. First opera house. Alessandro Scarlatti.
Troubadours. Lully, Rameau and French opera. Purcell, Handel and
music in England. Gluck, the regenerator. German opera. Mozart,
Beethoven, Weber and Wagner. What came from Bach, Chopin and
Berlioz. Rossini's melodies. Wagner's influence. Verdi, the grand
old man.

Certain Famous Oratorios 235

Neri's oratory. Dramatized versions of biblical stories. Palestrina
and harmonies of celestial Jerusalem. Religious dramas of Roswitha.
Laura Guidiccioni's first oratorio text. Music by Cavalieri. At
Santa Maria della Vallicella. Orchestra behind the scene.
Description. Carissimi, "father of oratorio and cantata."
Alessandro Scarlatti. Another Alessandro. Dr. Parry's opinion. "San
Giovanni Battista" and famous air. Tradition about Stradella. What
recent writers say. Handel and the "Messiah." Bach and the "Passion
Music." "The Creation" and Haydn. Beethoven's "Mount of Olives."
Mendelssohn, in "St. Paul" and "Elijah." Oratorios of Liszt and
Gounod. Next step in the evolution.

Symphony and Symphonic Poem 247

That adventurous spirit, Monteverde. Charm in exploring resources of
instrumentation. Operatic overture. Forge of genius. Dance of
obscure origin. Craving for individual expression. Touch of
authority by Corelli. Cardinal Ottoboni's palace. Symphony, a sonata
for orchestra. Purcell, Scarlatti, Sammartini and the Bachs.
Monophonic style. Contrasting movements. German critic on early
sonata. Further explanation. Meaning of symphony. Haydn with
Esterhazy orchestra. Father of the symphony. Mozart. Beethoven.
Schubert. Schumann. Mendelssohn. Berlioz, the musical heretic. His
"fixed idea" and programme music. Liszt and symphonic poem.
Saint-Saëns. Tschaikowsky and Russian spirit. Sinding. Grieg. Gade.
Brahms and absolute music.

Preface

We cannot gain experience by being brought into contact with the experiences of others, nor can we know music by reading about it. Only by taking it into our hearts and homes, by admitting it to our intimate companionship, can we approach a knowledge of the art that has enriched so many lives, even though it has never yet completely fulfilled its function. At the same time, every music lover is helped to new ideas, inspired to fresh efforts, by suggestions and statements from those who have themselves had deep experiences in their search for the inner sanctuary of the Temple of Art.

Musicians have been too much inclined to treat their art as something to be exclusively appropriated by a favored class of men and women, and are themselves greatly to blame for its mistaken isolation. True, music has its privileged class. To this belongs the mind of creative genius that can formulate in tones the universal passions, the eternal verities of the soul. In it may also be numbered those gifted beings whose interpretative powers peculiarly adapt them to spread abroad the utterances of genius. Precisely in the same way religion has its prophets and its ministers. Music, as well as religion, is meant for everyone, and the business of its ministers and teachers is to convey to all the message of its prophets.

The nineteenth century was the period of achievement. There is every reason to believe that the twentieth century will be the period of still nobler achievement, beyond all in the realm of the spirit. Then will music find its most splendid opportunity, and in our own free soil it will yield its richest fruitage. Amid the favorable conditions of liberty it will flourish to the utmost, and will come to afford blessed relief from the pressure of materialism. During the era we are entering no unworthy teacher will be permitted to trifle with the unfolding musical instincts of childhood. The study of music will take an honored place in the curriculum of every school, academy, college and university, as an essential factor in culture. Then music among us will come to reflect our deepest, truest consciousness, the American world-view.

It is with a desire to stimulate thought and incite to action that the present volume has been prepared for every music lover. The essays contained in it have not previously appeared in print. They are composed to a large extent of materials used by the author in her lectures and informal talks on music and its history. That her readers may be led to seek further acquaintance with the divine art is her earnest wish.

Many thanks are due L. C. Page & Company, of Boston, for kind permission to use the portrait of Corelli, from their "Famous Violinists," by Henry C. Lahee.

AUBERTINE WOODWARD MOORE. MADISON, WIS.

FOR EVERY MUSIC LOVER