Chapter XXIV: The Poet Music Writers—Romantic School

SCHUBERT—MENDELSSOHN—SCHUMANN—CHOPIN

You have seen how Romantic Music began, and why Beethoven is often the first name mentioned when Romanticism is talked about, for he was the colossal guidepost pointing the way.

He was as far from the classical forms of Bach, as from later writers who have “jumped over the musical traces” altogether. All were, and still are, trying to free themselves from conventions, and to express their feelings satisfactorily.

It is natural to begin the Romantic school with Schubert, the first figure of great importance. But there was one John Field (1782–1837) from totally different surroundings who is still remembered for his fine piano nocturnes.

Impressed with the quiet and solemnity of the night, he knew how to put it into beautiful melody. He was born in a little out-of-the-way street in Dublin, not far from St. Patrick’s Cathedral, and near the birthplace of that romantic poet, Tom Moore. His father and his grandfather, both musicians, forced the infant prodigy, and at ten, he played, publicly, a concerto composed by his father.

At twelve, the boy was apprenticed, or “hired out,” as pupil and salesman to Clementi, the composer and piano manufacturer in London. He showed off the pianos so well to the customers, that Clementi soon realized he had made a good bargain. The boy played in London as the “ten-year-old pupil of Clementi,” on whom he no doubt tried out his _Gradus ad Parnassum_. (Page 320.)

Five years later he played his own “Concerto for the grand _fortepiano_, composed for the occasion.” Clementi was shrewd, and started a branch of his piano business in St. Petersburg, taking Field with him.

One of the ear-marks of Romantic music is the title of the piano piece or song. Until the romantic period music was designated usually by the number of the work or by its form such as _gavotte_, _minuet_, _rondo_, _sonata_, etc., but the Romantics wrote what they felt, and with the exception of Chopin, gave descriptive names to their pieces. In 1817 John Field wrote a concerto named _L’incendie par l’orage_ (_The Fire from the Storm_), a musical picture.

His influence was more important than his music. We see his hand in the playing and composing of the poet-pianist, Frederick Chopin.

Although Weber appeared in a different musical field he, too, had a strong influence. He was four years younger than Field but had greater opportunities and was one of the first of the Romantic School.

Charles Mayer (1799–1862) was a direct follower and pupil of Field. His _études_ (studies) ranked with those of Henselt, who wrote the delightful _If I Were a Bird_, and he had an influence upon Chopin, too.

SCHUBERT—MAKER OF SONGS

And now we come to Franz Peter Schubert (1797–1828), born in Vienna of a schoolmaster father, and a mother, who, like Beethoven’s, was a cook.

The musical comedy, _Blossom Time_, was built upon some of Schubert’s most beautiful melodies and episodes from his life. We must never trust too far stories told this way, which often contain unreliable details, however this charming operetta gives an interesting glimpse of Schubert’s devotion to composition. It is true that he wrote wherever he was, covering his cuffs as well as the menus and programs in the taverns with the endless flow of themes which eventually became world-famous songs. Schubert was not a mere writer of songs; he created the form known as _Lieder_ and through all his works, torrents of melody seemed to spring from him eternally.

He was the thirteenth of nineteen children, five of which were of a second marriage, and there was no wealth or luxury for Franz, so his father worked hard to pay for his music lessons.

His teacher said that no matter what he tried to teach him in violin, piano, singing, the organ or thorough-bass, Franz knew it already, for he learned everything almost at a glance.

He was first soprano in the church choir of Lichtenthal and the beauty of his voice attracted much attention. He also played the violin in the services, and stole little stray minutes to write songs or pieces for strings and piano.

When he was sent to the school for Imperial choristers the boys laughed at his coarse, grey clothing, the big “Harold Lloyd spectacles,” and his retiring, bashful manners. They soon changed when they discovered the astonishing things he could do. His home-spun clothes were exchanged for the uniform trimmed with gold lace worn by the Imperial choristers, who formed an orchestra to practise daily music by Haydn, Mozart, Cherubini and Beethoven. Among them was Spaun and when he won his confidence, Franz told him that he had written many pieces and he would write more, but could not afford to buy the music paper. His new friend made it possible for Schubert to have paper and many other luxuries, in which Spaun did something to benefit the world,—a little kindness which brought great results.

The extreme ease with which Schubert absorbed all learning made him neglect the study of counterpoint, because after all he could not give all his time to music, for he was a schoolteacher and had to work hard to get along. His heart was not in his work, for while hearing the pupils recite he wrote themes on every scrap of paper he could find.

He wrote with lightning rapidity. The early songs met with immediate favor which encouraged him to write music in larger form. He was of the people and wrote from the heart, and to the heart. He hoped for the same success with his symphonies and chamber music, but the symphonies never reached the perfection of his songs, and his disappointment was keen when the critics did not rate them as highly.

However, the steady flow of melody, the torrent of themes, never ended and his chamber music is like a song with lovely play of instruments. Who can forget the haunting beauty of the _Unfinished Symphony_? This was left unfinished, indeed, not by Schubert’s death as many suppose, but the composer felt that he had arrived at a summit of beauty in the second movement, and he dared not add a third, lest he could not again reach the heights.

His tenth and last symphony in C major takes an hour to perform and is heard frequently. Robert Schumann wrote that it was of “Heavenly length.”

Schubert lived when the romantic poets gave him wonderful verse for his texts. He loved the literature of Goethe and Heinrich Heine, both of whom knew the hearts of the simple people.

The world will never forget the wonderful heritage left by this genius who died at thirty-two leaving vast quantities of great works. Besides creating new forms in song he also gave the pianists pieces that were new and important. He left no concertos, nor did he write for solo violin, but his piano sonatas and chamber music are of value. _Der Erl-Koenig_ (_The Erl King_), _Der Doppelganger_ (_The Shadow_), and _Death and the Maiden_, all sounded the last note in tragedy, and he also wrote many lovely songs in lighter mood.

THE WELL FAVORED MENDELSSOHN

Most masters who have left the world richer for having lived, were born in poverty and knew the sorrows of privation, not so with Felix Mendelssohn-Bartholdy (1809–1847), loved by the many who have played his _Songs Without Words_, or who have heard Elman’s fingers fly over his violin in the concerto, said to be the best writing ever done for that instrument.

Popular as are many works from the polished and fluent pen of Mendelssohn, the oratorios _Elijah_ and _Saint Paul_ are noble for these contain some of the most dramatic and inspired writing. In that work which is typical of Mendelssohn and his personality, he showed more characteristics of the older classical school than of the romantic. If he had lived during the classical period he would have been a greater composer, for he was romantic by influence and classic in taste.

Has not the _Spring Song_ the shimmer of spring and the _Spinning Song_ the whir of the wheels? One can easily imagine the kindly touch of a loving hand in _Consolation_, while the _Hunting Song_ is alive and going. This is the romantic music that became the model for thousands of small pieces.

It in said frequently that if Mendelssohn had been less conventional, his work would have been more forceful, because he had much that was truly fine.

Mendelssohn lived among the most brilliant literary lights of his day. His refinement was reflected in his music. He was petted by an adoring father, mother and sisters, who gave him every opportunity to study and compose, and he was much sought after socially. He devoted much time to the study of languages, sketching in water colors and traveling in Italy and Switzerland. His sister Fanny, whose musical education was of the utmost assistance to her brother whom she idolized, would have been famous but for her father’s prejudice against women in professional life. She was a gifted composer and it is claimed that she wrote many of her brother’s songs and some of the _Songs Without Words_.

Her death was a mortal blow from which Mendelssohn never recovered. Extremely sensitive, his affection for his family was most intense and filled his life.

His grandfather was the eminent philosopher Moses Mendelssohn, who being a Hebrew, was open to the sorrows caused by prejudice. He was such a great man, however, that he succeeded in breaking down barriers not only for himself, but for his race.

Abraham Mendelssohn was pleased to call himself, “First the son of the famous Moses Mendelssohn, then the father of the eminent Felix Mendelssohn.” His banking house in Berlin is still in the family.

The most noted musicians and artists were entertained in the Mendelssohn home, and heard the compositions of the gifted young man. In 1821 the boy was taken to Goethe’s home where he played and improvised for the poet. He was delighted with him for his musical talent, and because he had inherited the gift of conversation and letters from his grandfather, of whom Goethe was very fond. Young Mendelssohn never shocked the great old poet as did Beethoven, for his manner was always correct.

In 1825 Mendelssohn went to Paris to Cherubini who was asked whether his talent justified cultivation beyond the average stage. The master was very enthusiastic, but his father would not leave him in Paris, even in charge of the noted teacher. Returning to Berlin he wrote the overture to _Midsummer Night’s Dream_ (1826). It reflects the dancing elves and the humor of Shakespeare, while the orchestra has a delicate touch, similar to that shown by Berlioz at the same period. Mendelssohn was only seventeen when he wrote it, with all its finish and its flawless musical treatment. Much that he did at that period shows his natural flow of genius. Music seemed to gush from his soul like pure, fresh water from a spring, making one think of cool fountains, sparkling with melody and clarity. These qualities are also in the _Fingal’s Cave_ or _Hebrides_ overture, and he takes you on his delightful trips in _Calm Sea and Prosperous Voyage_. The way these numbers reflect his impressions and the way he transmitted them to others is typical of the Romantic School. The purity of his musical form related him to the classical and gave inklings of the Symphonic Tone Poem.

In his symphonies Mendelssohn also told tales of his travels, as in the _Italian Symphony_, and in his _Scotch Symphony_ in which he made use of Scotch folk tunes. He also wrote much chamber music. He left some piano concertos which may not attract the professionals of today but are the joy of many piano students who play them arranged for two pianos.

Mendelssohn tried operas but like many others failed to find a good libretto. This was the trouble with one he produced in Berlin. Added to this there were many intrigues and jealousies at the opera house which turned him bitterly against that city.

However, he accomplished one of the greatest things ever done for music. The works of Bach and Handel had been so neglected that they were almost forgotten. He knew them well, and wanting others to love them as he did, he assembled a great chorus and gave Bach’s _Passion according to Saint Matthew_. This was the first performance since Bach’s death, and it brought these works back to us. Imagine Mendelssohn’s popularity and talent as a conductor to have been able to do this at the age of twenty! Then he traveled again, and after roaming through Italy, Switzerland and France, he went to London where he created a stir as pianist, composer and conductor. Besides his splendid education he had a winsome and attractive personality, and his success was very great. He made, in all, nine visits to England.

Having been brought up in the Christian faith, he married the daughter of a French Protestant minister and had five children. They went to live in Germany and becoming conductor of the Leipsic Gewandhaus orchestra, he made the city the musical center of Germany. He founded the Leipsic Conservatory of Music (1843), where he gave his old teacher Moscheles an important post. This conservatory is well known here for many American musicians of the last generation were educated there.

Mendelssohn conducted many festivals and he always aroused new interest in Bach, whom he presented at every opportunity.

His _Saint Paul_ had success in Duesseldorf (1837), and during his last visit to England (1846), he gave at the Birmingham festival _Elijah_, second today in popularity only to Handel’s _Messiah_.

When Mendelssohn returned to Leipsic, he showed traces of overwork and the death of his sister coming at the same time, made him unable to resist the strain. He died November 4, 1847, when only 38. His happy life shines through his music so full of beauty and sunshine.

SCHUMANN—THE SUPREME POET

Robert Schumann (1810–1856), a tower of beauty, strength, imagination and dramatic fervor even judged by 20th century standards, still thrills us as we recognize his genius. What a price he paid for his life filled with joys and griefs!

We are grateful for the solidity of his building, his breadth of vision, the wonders of his imagination, the beauty of his poetic fancy, and above all, the vastness of his musical knowledge. A peak among the composers of the Romantic School, he has scaled the heights of dramatic fervor as he has touched the sun-flecked valleys. To him we owe the naming of pieces, and the feeling of emotion which the composer felt when he named them,—_The Happy Farmer_, _The Prophet Bird_, _The Rocking-Horse_, _End of the Song_, _The Child Falls Asleep_, etc.

All who have been milestones in music have been well educated, yet how unjustly people say musicians know nothing but music. Many have not had only culture from their studies, but also have come from refined homes. So Schumann, born at Zwickau, Saxony, had an educated father, a book-seller. His mother wanted Robert to be a lawyer, and did not wish his musical talent to interfere. He began to compose and study music at seven, but he studied law, literature and philosophy, later, at the University of Leipsic.

After a year he went to the famous University of Heidelberg (1829), which has always been proud that the great composer was one of its students.

Schumann returned to Leipsic on account of the musical life. With his return began the romance of his life, one of the most beautiful love stories in musical history. He studied with Frederick Wieck, whose little daughter Clara was a prodigy pianist. He became a member of the household and was charmed by the talent of the child. Meanwhile he was studying as pianist, and being ingenious, he invented an instrument to develop his weak fourth finger, but it ruined his hand and unfitted him for his career.

Now he gave more attention to composition and to musical criticism. This gave him the chance to help some of the brilliant musicians of the day. He brought Chopin to the notice of Germany, and proclaimed the genius of young Johannes Brahms. He also formed a deep friendship for Mendelssohn.

Valuable as are all writings which reveal his thoughts, his richest gift to the world was his music, in which he preached the gospel of beauty.

As Schumann grew into manhood he began to know the depths of sorrow, some of his finest works having been an outburst of his tortured soul. Clara Wieck was now a young woman and a great pianist. It was natural that an affection should spring up between them. But Clara’s father had greater hopes. He could not see a struggling young musician and critic as the husband of his talented child. During this long and painful courtship when Schumann dared not speak his love to Clara he wrote compositions with which to tell his story, and she understood. One of these expressions was the lovely _Warum_ asking the question, “Why?” so longingly.

In those days a case could be brought into court and the reason demanded why a parent should refuse to allow a marriage. Schumann went to law, and the court decided that Wieck’s objections were without cause. But the year of strain told upon his health and nerves and he began his married life under a cloud of illness. The young pair were ideally happy, he wrote glorious music, and she took pride in playing his piano works on all her programs.

With all her accomplishments—and she was a great artist—she was first a devoted wife who cared for her husband as though he had been her child. Schumann’s very finest work was done during these years. His inspiration drove him chiefly to songs, full of lyric beauty like Schubert’s; indeed, when speaking of _lieder_ the names of Schubert and Schumann are always linked.

Mendelssohn urged Schumann to teach in the Leipsic Conservatory, but he left there soon to make a tour of Russia with his wife. That year they settled in Dresden, a quieter city, because his nerves were beginning to forecast the shadow of his future.

Mendelssohn loved Schumann and admired him as composer, writer and critic. He conducted the first performance of Schumann’s B flat symphony at a Gewandhaus concert of Clara Schumann, and the happiness of the three was tremendous. Schumann did not think of himself alone, but was always trying to help his colleagues. Schubert wrote his C major symphony in March of the year he died and never heard it, but Schumann had the score sent to Mendelssohn in Leipsic for its first performance after a wait of eleven years.

Notwithstanding his nerves, Schumann was now in his full power and the amount he wrote is incredible. Most of his chamber music was written in 1842, three of the string quartets being dedicated to Mendelssohn. The work that gave him fame all over Europe was the quintet for piano and strings, opus 44; with Clara at the piano, Berlioz heard its first performance and spread the news of his genius through Paris. About this time the _Variations for Two Pianos_ were written and played by Robert and Clara Schumann.

Another interesting and popular number is _Carnaval_, a collection of named sketches in three-four time each one portraying some person or thing. _Eusebius_ and _Florestan_ have caused much curiosity—the secret is that Schumann was a student of himself and these were meant to show his conflicting moods. Chopin is represented, also Mendelssohn, while _Chiarina_ is Clara.

A strange thing happened to Schumann in Vienna. He was visiting the graves of Beethoven and Schubert which are not far apart, and he found a steel pen on Beethoven’s tomb. He took this for an omen, but used it only for his most precious works. He wrote the B flat symphony with it and the magic seemed to work!

Schubert is universally praised for the beauty of his themes, but who could surpass the loveliness of Schumann’s melodies? The contrasts between the exquisite little tone-pictures of _Kinderscenen_ and the grandeur of the sonatas and the _Fantasia_ mark the breadth of his genius, while the amount he accomplished in his short span of life was marvelous.

He was but twenty-five when he first showed mental trouble, and at forty-four his case was hopeless. He tried to end his life by jumping into the Rhine and was taken to an asylum near Beethoven’s birthplace, Bonn, where he died two years later, survived by his wife and two daughters.

What a price he paid for his life filled with joys and griefs!

CHOPIN—“PROUDEST POET-SOUL”

Robert Schumann wrote that Chopin was “the boldest, proudest poet-soul of his time.” Such a tribute from him meant more than all the praise we can give him now; it shows that he had admiration and respect from his rivals as he had idolatry from the literary, artistic and refined circles of Paris.

Frederic Chopin (1809–1849) was born in Poland of a French father and a Polish mother. The difference one finds in the date of his birth, February 22 or March 1, is owing to the difference between the Russian and Polish calendars, and those of other countries.

Like Mozart he showed talent very early and at nine played his first public concert. His mother, unable to be present, asked him what the audience liked best. “My collar, Mamma!” he answered, proud of the little lace collar on the black velvet jacket! He was elegant then, and always kept his air of distinction, and a love for beauty.

Shortly after beginning music study, Chopin tried to compose, and felt such authority that he undertook to change certain things written by his teacher. His earliest work was a march dedicated to the Grand Duke Constantin, which was arranged for brass-band and printed without the composer’s name.

From his two teachers in Poland, both ardent patriots, Chopin must have absorbed much of the national feeling so strongly marked in his works. As it was a day of flashy _salon_ (Page 322) playing, his teacher, Joseph Elsner, felt that Chopin was the founder of a new school in which poetic feeling was leading music out of the prevailing empty acrobatic finger feats!

The world owes much to that wise teacher who instilled a love of Bach into his young pupil. He answered some one who blamed him for allowing Chopin too much freedom: “Leave him alone! he treads an extraordinary path because he has extraordinary gifts and follows no method, but creates one. I have never seen such a gift for composition.” Later he marked his examination papers: “Chopin, Frederic (pupil for three years), astounding capacity, musical genius.”

At fifteen Chopin was adored by his companions and always held the affection of those who knew him. He seems to have been the original “matinee idol” of Paris, whenever he played, for he was the most poetic and finest pianist ever heard.

Though Chopin was seemingly French in manner, habits and tastes, he was extraordinarily patriotic and his music is perhaps the finest expression of Poland the world has ever seen.

No one has surpassed, or even equalled Chopin in writing for the piano. He understood its possibilities, limitations, tonal qualities and power to express emotion.

He did not leave a great quantity of compositions, but a well-ordered collection of music, so individual that even today, with all his imitators, when we hear Chopin—(and where is there a piano recital without at least one number?)—we instantly recognize it as his.

Strongly marked rhythms are among his most fascinating characteristics. He glorified and elaborated the dances of Poland, as had others in the past, who made art pieces of the gavotte, minuet, bourrée, gigue, etc.

What lovelier numbers on a program than Chopin’s mazurkas, polonaises, waltzes? There is also irresistible swing in the _Ballades_, _Impromptus_, the _Berceuse_, _Barcarolle_, and what could rival in fantasy the _Nocturnes_ or _Preludes_? The _Etudes_ cover a variety of moods, while his _Scherzos_ stand alone in piano literature.

Chopin left no symphonies, no chamber music, except two piano sonatas and one for ’cello and piano, and what he did for voice could be told in a few words. He also wrote two piano concertos in which the piano work is beautiful but the orchestration is not as fine.

These concertos and his piano sonatas were the largest forms in which he wrote, proving that he could have succeeded here had he not chosen to perfect music in the smaller forms.

Chopin never had a fair start in life in the way of health, and while his delicate appearance made him the more interesting, especially to the ladies, he was a real sufferer. It would be unfair to believe that his work would have been greater had he enjoyed complete health, for his unhappiness and his sufferings gave him a sense of the mysterious and the beyond. He lived in a world far from material things and seemed able to translate all he felt into music.

He had the devotion of many idolizing friends, tireless in their efforts to make him happy and keep him working so that he should not brood over his illness (tuberculosis). Foremost among these was the famous French novelist George Sand, whose love and companionship were the source of rare inspiration and comfort. She was a woman of vast mental and physical power and seemed to impart her strength to him. But Chopin was a favorite not only with women but among the men, as we learn through the letters he left. We find many from Schumann, Mendelssohn, Liszt, Delacroix, the French painter, and innumerable others.

Concertizing began to fatigue him beyond endurance. Returning to Paris from a tour during a hard winter in England, he grew so ill that he rarely left his bed, although he did not die until the following October, 1849.

Chopin had asked that the Mozart Requiem be given at his funeral, which occurred October 30, from the Madeleine Church in Paris. The singer Lablache who had sung the Mozart number at Beethoven’s funeral also performed this tribute for Chopin.

In addition to the Requiem, Lefebure-Wely, one of the fine organists of Paris, played Chopin’s preludes in B and E minor, and the familiar funeral march from the first sonata was arranged for orchestra and played for the first time.

HELLER—THE CHILDREN’S CHOPIN

We may not find the name of Stephen Heller (1813–1888) on many of the “grown-up” programs, but no pupils’ recitals are complete without several of his lovely melodies.

He was the friend of children and devoted himself more to teaching and writing for the young minds and small hands than did any of his companions. Heller was intended for a lawyer, but his talent as shown at nine was great enough for him to study with Carl Czerny in Vienna. He became a fine concert pianist and toured Europe. Taken ill during one of these tours, he was adopted by a wealthy family who allowed him all the time he wanted for composing. Most of his study was done in Paris where he was a friend of Berlioz, Chopin, Liszt and other prominent artists of the day.

He left several hundred piano pieces, nearly all masterpieces in a field where he stands practically alone. He wrote in the style developed by Mendelssohn and Schumann, and what Chopin is to the music world of the “grown-ups,” Heller is to the young student.

_Painted by Kriehuber._

_Franz Schubert._
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_After the Painting by Bendemann._

_Robert Schumann._
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_Felix Mendelssohn-Bartholdy._
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_After the Painting by F. V. Delacroix._

_Frédéric Chopin._
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_Poet Music Writers._

(_Romantic School._)

_After a painting by Lenbach._

_Richard Wagner, the Wizard._
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