Chapter XI: The New Movement (2)

(_1st Period._) Reference has already been made to his youthful efforts. After the small choruses, the songs, the string quartet, op. 2, and the symphony in D minor, there appeared some interesting experiments in various fields of composition. The list includes a pianoforte sonata, op. 5; a sonata for violoncello and pianoforte, op. 6; the serenade, op. 7, for wind-instruments, patronized by von Bülow; a violin concerto, op. 8; "Stimmungsbilder" for pianoforte, op. 9; the French-horn concerto, op. 11, already referred to; a symphony in F minor, op. 12; a pianoforte quartet, op. 13; and "Wanderers Sturmlied," for six-part mixed chorus and orchestra, op. 14. This choral work has been called "a broadly flowing stream of polyphonic vocal harmony against an elaborate and independent orchestral accompaniment that was something quite unprecedented." The above compositions comprise what might be termed the first of Strauss' creative periods, having all been written before he was twenty. They present a conventional though rapid development of and graduation from the dominating influences of Mendelssohn, Schumann, Brahms, as suggested above, and gradually point more and more toward Berlioz, Liszt, and Wagner.

(_2d Period._) The symphony in F minor, written in 1883, may be looked upon not only as the culmination of these earliest attempts, but also as the first of Strauss' really significant orchestral compositions. Its maiden performance took place not in Germany but in this country, when, in 1884, Theodore Thomas produced it in New York with the Philharmonic Society.

Several years now elapsed before Strauss was ready to offer to the world the first of his great symphonic tone-poems: "Aus Italien"--sinfonische Phantasie, G-dur (op. 16, 1886). This was a marked advance upon the previous symphony, but though it reveals the subsequent path Strauss was to pursue, and embodies complex polyphony and increased command over the technics of orchestration, it is still dominated by Mendelssohn's and Schumann's subjective idea of program-music.

(_3d Period._) Not until von Bülow and Ritter had fathomed the true depth of their young associate's latent powers did he proceed to evolve his conceptions in a language that has startled the entire musical world.

"Macbeth"--Tondichtung nach Shakespeare's Drama (op. 23, 1887), is the first of these vast color-pictures. Although "Don Juan" is to be recorded as opus 20, Friedrich Rösch, the authoritative reviewer of "Ein Heldenleben," places it after "Macbeth," although classifying it also as opus 20. He gives the date of its completion as 1888. Dr. Riemann's Dictionary of Music, which is the most accurate book of its kind in existence, seems for once to be at fault in stating the various dates at which Strauss penned his creations. "Macbeth," like its successors, at once displays a wealth of melodic utterance in all the principal orchestral voices, a prolific number of themes and sub-themes, and the most intimate acquaintance with the specific characteristics of the various instruments as well as with orchestral combinations and the resultant mixture of tonal tints thereby to be obtained. Like Berlioz, Strauss secures dramatic effects by means of vivid orchestration. The themes are arrayed in a kaleidoscopic sequence of instrumental color rather than being subjected to elaborate thematic treatment, and climaxes are reached by means of dynamic effects instead of by melodic evolution. An elaborately conceived program justifies the requisition for vast orchestral resources. There is further evidence of genuine inspiration, of a true gift for thematic development forming a marvellous filigree of contrapuntally interwoven leading motives, of intellectual power, philosophical reflection, poetic revery, and naïve humor. The following themes from "Macbeth" demonstrate the wide range of thematic conception Strauss possesses:

[Music: No. 1.[66]]

[Music: No. 2.]

[Music: No. 3.]

[Footnote 66: Most of these examples have been selected from the transcriptions in skeleton form of Friedrich Rösch. Nos. 16 and 19 were suggested by Richard Aldrich. Nos. 34, 35, 36, 37 were prepared by Strauss himself.]

The first consists of a flowing cantilena evolved on broad and dignified lines. The second is a striking example of freely used chromatic intervals. The third follows Wagner's precedent in deploying instruments of brass in forceful and incisive utterance.

"Don Juan"--Tondichtung nach Lenau (op. 20, 1888), belongs to the same creative period as "Macbeth" and follows the same general outlines of philosophical, structural, and orchestral procedure. The following four representative themes are suggestive not only of "local" coloring but reveal the highest attribute of a genuine composer in that their very nature suggests the general type of instrument to be employed. Proof is thus to be had that Strauss simultaneously conceives his subject-matter and the orchestral garment in which it is to be attired.

[Music: No. 4.]

[Music: No. 5.]

[Music: No. 6.]

[Music: No. 7.]

(_4th Period._) "Tod und Verklärung"--Tondichtung (op. 24, 1889), is classified with the opera "Guntram" for embodying a certain reactionary trend on the part of the author. There is no lack of intricate polyphony, daring harmonic combinations, complex rhythm, startling contrasts, monumental climaxes, and clever orchestral devices; but in these works Strauss has exercised more restraint than in the preceding "Macbeth" and "Don Juan," whereas the acme of his extreme realism was not reached until after he began his following and mightiest series of symphonic poems beginning with "Till Eulenspiegel." To quote the refined language of Herman Klein: "In 'Tod und Verklärung' is depicted the death struggle of a man before whose mental vision there passes the panorama of a wasted life followed by the man's transfiguration, as his redeemed soul passes out of earthly existence into a higher state." Of the three themes from "Tod und Verklärung" appended below, it is interesting to note that the first of these (No. 8) was subsequently interwoven into the introductory theme of "Ein Heldenleben," and appears as the third phrase of the _Motiv_ representing "Der Held." (See page 113, example 22, bars 6 and 7.)

[Music: No. 8.]

[Music: No. 9.]

[Music: No. 10.]

Strauss has not been so conspicuously successful with his operas as with his orchestral works,[67] but the following themes from "Guntram" disclose the general nature of his operatic conceptions.

[Footnote 67: See footnote on page 118 in reference to Strauss' latest dramatic production.]

[Music: No. 11.]

[Music: No. 12.]

[Music: No. 13.]

[Music: No. 14.]

(_5th Period._) The most radical exposition of modern orchestration is discovered in the fifth period of symphonic creations beginning with "Till Eulenspiegel's lustige Streiche"--nach alter Schelmenweise in Rondo-Form (op. 28, 1895)[68] and culminating thus far in "Ein Heldenleben." Of the following two themes from "Till Eulenspiegel," No. 16, representing the titular character, is a brilliant specimen of horn-writing, as embodied in the Rondo.

[Footnote 68: Appendix, Ex. 102, 103.]

[Music: No. 15.]

[Music: No. 16.]

Flowing cantilena, perverted rhythmic effects and still another illustration of virile horn-writing are presented in the following examples from the musical exposition of Zarathustra's philosophy under the title of "Also sprach Zarathustra"--Tondichtung frei nach Nietzsche (op. 30, 1896).[69]

[Footnote 69: Appendix, Ex. 97 to 101.]

[Music: No. 17.]

[Music: No. 18.]

[Music: No. 19. Credo in unum Deum]

Among the most characteristic of Richard Strauss' pictorial themes are the following two from his portrayal of Cervantes' rueful hero: "Don Quixote"--phantastische Variationen über ein Thema ritterlichen Characters (op. 35, 1897):

[Music: No. 20.]

[Music: No. 21.]

XI.

(=Æsthetics.=) Similar to the orchestral works of Wagner, those of Strauss are worthy of exhaustive critical analysis. To carefully examine them all, however, would require an entire volume by itself. It is therefore proposed to select as typical only a few of the most characteristic points from one of the most characteristic of Strauss' orchestral works: "Ein Heldenleben"--Tondichtung (op. 40, 1898).

In order to appreciate the magnitude of his undertakings, let us first see how he maps out and elaborates upon the programmatic theme chosen for musical setting. The nuclear thought of "Ein Heldenleben" is the simultaneous portrayal of a combined mortal and mental hero belonging to both a worldly and a spiritual realm, or as Friedrich Rösch expresses it: "Eine harmonisch gesteigerte Zusammenfassung eines Volks- und Kriegshelden und eines von künstlerischer Schaffensfreude beseelten Übermenschen aus dem Reiche der Phantasie."

The "program" of "Ein Heldenleben" contains six general divisions:

I. DER HELD.
II. DES HELDEN WIDERSACHER.
III. DES HELDEN GEFÄHRTIN.
IV. DES HELDEN WALSTATT.
V. DES HELDEN FRIEDENSWERKE.
VI. DES HELDEN WELTFLUCHT UND VOLLENDUNG.

No. I is comprised of two general groups of thematic material. The first group is in reality one single and broadly constructed main theme,--the synthesis of five distinctive motives. The second group is made up of four contrapuntally interwoven and super-imposed secondary themes. After these nine themes have been duly presented, they are subjected to recapitulation and development. A tenth figure, based upon previous material, is also introduced.

The first group of themes, given out by low stringed-instruments, horns, etc., begins as follows:

[Music: No. 22.[70]]

[Footnote 70: See Ex. 8.]

The first theme of the second group is assigned to divided first violins, beneath which wind-instruments intone the second theme.

[Music: No. 23.]

No. II contains five sharply contrasted and interwoven themes. (No. 24.) The piercing accents of the wood-wind in their shrillest and most blatant range are here drawn into requisition, and are legitimately suggestive of Wagner's "Beckmesser" orchestration. The section subsequently embodies five modified expositions from the first leading theme of No. I.

[Music: No. 24.]

No. III is ushered in by a tender theme for solo violin:

[Music: No. 25.]

This is followed by an exposition of five themes of intentional similarity, which depict the varying moods of the hero's courtship. These themes are further enhanced by characteristic and contrasted orchestral tone-color.

[Music: No. 26.]

The section further embodies some six motives that are either reminiscences from former or anticipations of subsequent thematic material. Rösch calls attention to an interesting passage at the close of this section, a passage that cannot be justified by any rules of harmony. He suggests that in modern orchestration many seemingly irreconcilable harmonic combinations become perfectly logical if the auditor train himself to follow the harmonic corollary of complex counterpoint "horizontally" instead of "vertically." The passage in question consists of a protracted chord, G flat major, sustained by muted strings, while various instruments of wood super-impose a number of independent themes whose concentrated effect forms chords entirely foreign to the underlying key of G major. The present writer, however, is inclined to regard this hazy film of string-tone as nothing more than a tonic and dominant organ-point with the third of the triad unobtrusively added.

The "program" of No. IV is symbolic of martial strife, the depictment of which, subdivided into three parts together with an introduction, extends almost to the end of the movement, when a coda in two short divisions portrays victory and embodies a hymn of praise. From a musical standpoint, No. IV may be looked upon as that section of the entire symphonic poem in which the leading themes are subjected to systematic and elaborate musical development. In addition, one finds some ten new themes, such as a striking fanfare for trumpets behind the scenes (No. 27) and other warlike strains, of which Nos. 28 and 29 represent the missiles of the enemy.

This fanfare (No. 27) exhibits one of the most remarkable mixtures of three simultaneously combined keys that has ever emanated from the mind of man:

[Music: No. 27.]

By examining the first trumpet part by itself:

[Music]

one discovers a perfectly harmless figure in the key of B flat major. The second trumpet, however, holds tenaciously to the key of G flat major:

[Music]

The third trumpet is unquestionably in the key of B flat minor, or, at a pinch, in its relative major--D flat:

[Music]

The resultant cross-relation caused by such an amalgamation of otherwise unoriginal figures excites a most remarkable impression.

The next two examples embody characteristic employment of wood-wind instruments:

[Music: No. 28.]

[Music: No. 29.]

No. V is primarily noteworthy for the poetic fancy that impelled Strauss to embody no less than twenty-four motives from his preceding symphonic poems, as well as from "Guntram" and from "Traum durch die Dämmerung." These themes are, of course, not presented in a row, but are joined together or subtly interwoven or contrapuntally super-imposed one over the other, and one might again suggest that they must be listened to horizontally and not vertically. Incidentally it might be added that this Division V of "Ein Heldenleben" draws into requisition every single example given above from No. 1 to No. 21 inclusive, with the exception Nos. 16 and 19. Wagner pointed the way for such a procedure by introducing the opening bars from "Tristan und Isolde" into the "Meistersinger." Strauss, however, went much further, and in the course of _Des Helden Friedenswerke_ he has drawn freely upon "Macbeth," "Don Juan," "Tod und Verklärung," "Till Eulenspiegel," "Zarathustra," and "Don Quixote." He further elaborates upon two practically new themes (Nos. 30 and 31), although an anticipation of the second of these themes is already to be found in Division III.

[Music: No. 30.]

[Music: No. 31.]

No. VI brings this noble creation to a fitting end. With the exception of an episodic anti-climax, the movement is dominated by calm and majestic peace, as exemplified by themes No. 32 (evolved from No. 31) and No. 33.

[Music: No. 32.]

[Music: No. 33.]

Such are the vast dimensions of Richard Strauss' orchestral tableaux! His other works are evolved on similarly broad lines. "Ein Heldenleben," with its six well-defined divisions, includes no less than seventy themes. The score makes demand for one hundred and five instrumentalists:--

16 first violins; 16 seconds; 12 violas; 12 violoncellos; 8
double-basses.

2 harps.

1 piccolo flute; 3 flutes; 3 oboes; 1 English horn (also
as 4th oboe); 1 E flat clarinet; 2 B flat clarinets; 1
bass-clarinet; 3 bassoons; 1 contra-bassoon.

8 horns; 5 trumpets; 3 trombones; 1 tenor-tuba; 1 bass-tuba.

Kettle-drums; bass-drum; side-drum; military drum; cymbals.

XII.

Since composing what might be called the Tetralogy of mighty productions that have been classified together as belonging to the _5th Period_, Strauss has written two further important works: the opera "Feuersnoth" and the "Symphonia Domestica." The latter is still in manuscript,[71] and but recently had a hearing in this country under the composer's personal direction. It is as yet too early to suggest a sixth period in Strauss' style of writing.[72] What is more, the two recent offerings have too little in common to justify classifying them together. "Feuersnoth" has shared the fate of its predecessor, "Guntram," in that it has been granted no more than a respectful hearing, and is not to be compared as a work of art with Strauss' symphonic undertakings. As to the "Symphonia Domestica," the very topic chosen for exposition gives rise to some misgivings as to whether it justifies the expenditure of so much vital creative energy. The subject and the elaborate means employed to depict it would appear somewhat incongruous. The sub-title of this paradoxical essay reads: "Ein Tag aus meinem Familienleben," and the orchestra is required to expound upon the charmingly naïve topics of Papa, Mama, and Bébé. Incidentally, one passage introduces the worthy aunts as exclaiming in chorus, "Just like his father"; the uncles, "Just like his mother." The "Symphonia Domestica" is further paradoxical in that the score includes no definite programmatic commentary, and Strauss himself has been quoted as saying emphatically, "This time I wish my music to be listened to purely as music." The work is therefore intended to be accepted not as a symphonic poem but as a symphony "In einem Satz" like Mendelssohn's "Scotch" or Schumann's D minor symphony. In the face of all this we find a program, and a positive one at that, at the root of the matter! In reality, its only claim to the title of "symphony" rests upon the general outlines of its formal structure, which is comprised of three main divisions preceded by an elaborate introduction. But it is assuredly not "absolute" music. On the other hand, its thematic continuity is far more closely knit together than that of the above-mentioned symphonies of Mendelssohn and Schumann.

[Footnote 71: Since published.]

[Footnote 72: Since the above lines were written, a sixth period was assuredly entered upon with the opera "Salome," first performed at Dresden in the fall of 1905 under the magnetic baton of Schuch, director of the Royal Opera. The work, which has since been given throughout Europe and in New York, has universally created a sensation to which nothing in the annals of the musical stage furnishes a parallel unless it be the initial performances of "Tristan und Isolde" in Munich in 1865. "Salome," by reason of its overwhelming dramatic force, the sureness of Strauss' marvellous use of representative themes, together with an orchestral color-scheme beyond anything he has used before, not only marks an epoch in the career of this still young composer and an epoch also in his orchestration, but becomes a landmark in the form of opera as evolved from and built upon the Tetralogy of Wagner.]

In the "Symphonia Domestica" we recognize the personal element that asserted itself, though in an unobtrusive manner, in "Ein Heldenleben." Humorous inclinations, characteristic of "Don Quixote," are also in evidence.

The Introduction is an exposition of the three principal themes. The theme for the father is comprised of three contrasted sections (No. 34, a, b, c). The mother is characterized by a lively and perhaps slightly undignified theme (No. 35). For the child's theme (No. 36) Strauss makes use of an oboe d'amore. The tone of this practically obsolete member of the wood-wind is veiled and tender, and the instrument found favor with Bach who assigned to it an important rôle in his mass in B minor,--in fact two oboi d'amore are employed for accompanying the bass solo "Et in Spiritum Sanctum."

[Music: No. 34, a.]

[Music: No. 34, b.]

[Music: No. 34, c.]

[Music: No. 35.]

[Music: No. 36.]

The following sportive Scherzo or first main division proper presents a sprightly development of the three primary themes and especially of the child's theme. The movement is finally brought to a restful ending.

The succeeding Adagio enlarges upon the father's theme and pictures him alone as if in a revery. The music is reflective and dreamy, at times restless and impassioned as well.

The Finale embodies a lively double-fugue (No. 37, a and b), of which the principal theme consists of a diminution of the child's theme (No. 36). The close of the work is calm and peaceful.

[Music: No. 37, a.]

[Music: No. 37, b.]

By thus analyzing the programmatic foundation of two of Strauss' latest orchestral conceptions one can obtain at least a superficial idea of the somewhat eccentric though intensely original range of his imagination. The philosophical aspect of the "Symphonia Domestica" is, of course, far simpler than that of "Ein Heldenleben" and its companions, nor would it seem to possess the same scope or exert the same fascination that his nobler and more serious works do. The orchestration, however, leaves nothing to be desired. There is no retrogression in the deployment of the instruments whether as solo or in combination. Strauss is in command of an orchestral technique so deep-rooted that it can never fail him. One would have supposed that his works prior to the "Symphonia Domestica" had made requisition for practically every legitimately available instrument in existence, but the addition of an oboe d'amore together with four saxophones proves that Strauss has an insatiable craving for ever novel tonal tints, and whereas "Ein Heldenleben" requires 105 instrumentalists, the symphony demands 108.

Before proceeding to sum up the cardinal features of Strauss' orchestration, it is desired to call attention to his highly commendable foresight in evolving his songs with pianoforte accompaniment on comparatively simple lines, thereby greatly enhancing their effectiveness for vocal utterance as well as their adaptability for extensive rendition. It is a rare attribute of genius to possess the faculty of colossal orchestral language and at the same time of simple and pathetic song-speech.

XIII.

(=Instrumentation.=) The marvellous subtleties of Strauss' instrumentation and the irresistible sweep and large contour of his orchestration have already been so thoroughly aired by prominent critics the world over, that there is little further to say beyond epitomizing in a few brief sentences the general consensus of opinion. Founding his art of scoring upon that of Berlioz and Wagner, Strauss evidently has also made a careful study of the means and methods of his eminent contemporary, Saint-Saëns, for the performances of "Samson et Dalila" at the Berlin Royal Opera, when controlled by Strauss' magnetic force, are a source of artistic delectation. The fundamental reason that makes his scoring so effective is his intimate acquaintance with the characteristics of each individual instrument even to the minutest detail of mechanical limitation or latent potentiality. Therefore his instrumentation pure and simple as distinct from orchestration _en masse_ is unhesitating and authoritative. In thus appreciating the imperative necessity for an exhaustive study of the instruments themselves, Strauss has done no more than to follow the precepts of his illustrious model, Wagner. Strauss would be entitled to but little credit had he not advanced beyond his master, for proportionately, Wagner established a far greater number of unalterable precedents than Strauss has since been able to add to. The criticism has been advanced that Strauss' demands upon the technique of the performers are excessive, and that he is given to force the instruments, and especially those of brass, into unnatural registers. Such points, however, would appear to be for the gentlemen of the orchestra to decide, and the enthusiasm and grim determination with which they overcome seemingly insurmountable difficulties at rehearsal, and the suavity and verve with which the performances of his works by first-class orchestras are carried through, may be looked upon as tangible proof that Strauss knows what he is about. The performers may complain of the demands made upon them, but they realize that the page before them bears the impress of a master of instrumentation whose music is written with special regard for the very instrument they are playing,--can and must therefore be played. And they accordingly respect the author of their arduous though fascinating task. Finally, if the now childlike simplicity of Schubert's orchestration proved a stumbling block to the Viennese orchestra only fifty odd years ago (as stated on page 75), and furthermore Wagner's "Tristan und Isolde" shared the same fate at a still more recent date, it will not be difficult to realize that Strauss fifteen years ago taxed the virtuosity of the performers with passages that are already no longer dreaded. As to the details of instrumentation, he has strengthened and elaborated upon the methods of his predecessors, assimilated the procedures of his contemporaries, besides resuscitating various obsolete instruments and initiating numerous novelties of his own.

The flexibility of execution that formerly was expected only of a first violinist is now imposed upon all five sections of the string band, and each member finds before him the pages of what looks like a concerto.[73] To the wood-wind are assigned passages that Wagner would have hesitated to write.[74] What Strauss demands from them, Beethoven might have demanded from the strings. Most prominent of all is the attention bestowed upon the deployment of the brass as initiated by Wagner.[75] The trumpets are treated with unprecedented freedom, and are expected to perform passages either of flowing melody or of rhythmic intricacy in the fastest of tempos. The horns are taught to display the agility of violoncellos. In four-part writing, the fourth horn is much used as a deep bass-instrument absolutely apart from the three upper horns. The trombones are employed as much for unallied melodic utterance as for combined harmonic effects, and the intricacy of their parts constantly necessitates the use of three staves in the partitur. Incidental mention might also be made of such devices for acquiring weird tonal tints as obtained from muted trombones. Similar to Wagner's procedure in the "Meistersinger" Vorspiel, the tubas--and particularly the tenor tuba--are constantly detached from their conventional association with the trombones, for the purpose of giving expression to flowing cantilena. Novelty in the use of instruments of percussion is restricted to rhythmic peculiarities and original combinations with other instruments of more variable pitch; for Wagner's general methods of handling the battery cannot be improved upon.

[Footnote 73: Appendix, Ex. 100.]

[Footnote 74: Ap. Ex. 102.]

[Footnote 75: Ap. Ex. 103.]

In a word, the three choirs of the orchestra have respectively advanced one step higher. The string band are graduated to the plane of so many virtuoso soloists. The wood-wind replace the strings and are themselves replaced by the brass. The battery acquire prominence such as the classicists formerly allowed to the trumpets and trombones.

(=Orchestration.=) The numerical distribution of Strauss' orchestra is, of course, consistent with the modern custom of employing quartets of uniform tone-color. But he advances yet further by making permanent Wagner's occasional incorporation into the orchestra of a second harp, an E flat clarinet, a double quartet of horns, five instead of four trumpets, and a tenor-tuba in addition to the bass-tuba. The occasional addition of unusual instruments such as an oboe d'amore and saxophones has already been referred to.

The sum total of Strauss' orchestration as a whole consists of what has been termed its "exposed" quality, resulting in a "vast piece of chamber music."[76] The extensive range of his imagination reveals itself in constantly novel combinations and kaleidoscopic variety of effects that are unprecedented. His command of dynamics is superb. His synthesis of thematic counterpoint in all the voices of the different choirs is at times so reckless that the euphony of its harmonic corollary is endangered and the resultant effect presents a chaos of cacophony unless the auditor accustom himself to follow the Melos not vertically but horizontally. The orchestration is the most vivid in existence. Realism is accentuated. The tonal tints are scintillating and glowing. Every single instrument in the orchestra has an indispensable rôle assigned to it. The scores abound in clever orchestral devices, in startling contrasts, powerful crescendos and exciting climaxes, and disclose the mind of a master possessed of poetic fancy, natural humor, artistic culture, strong individuality, philosophical insight and intellectual power.

[Footnote 76: Appendix, Ex. 97.]

The titanic achievements of Richard Strauss have caused him to appear as the most conspicuous living musician, and in the arrangement of a modern program, his works are at present the accepted companions to those of his models in rich and massive orchestration, Wagner and Liszt; to those of Brahms, conservator of classic models and loftiest ideals; to Saint-Saëns' scintillating and unrivalled tableaux; to Tschaikowsky's sombre tone-pictures, to Dvo[vr]ák's brilliant and vivacious portrayals, to Grieg's poetic and popular conceptions.

XIV.

It is high time to bring this fascinating subject of modern German progressiveness to a close; otherwise there is no knowing whither this history might lead us. In these days even a secondary composer is supposed to be thoroughly conversant with every subtlety in the art of orchestration. Germany still leads the van; the number of her eminent masters of modern instrumentation is legion. The ambition of the ultra-modern school is to out-Wagner Wagner. It will suffice to make mention of Max Schillings' "Ingwelde" or of Cyrill Kistler's "Kunihild und der Brautritt auf Kynast" with its poem in alliterative verse in strictly Wagnerian lines by Graf Sporck. The same exaggerated sense of morbidness and pessimism has found its way as well into other fields of German composition as discovered in certain ones of Hugo Wolf's intensely modern and magnificent songs, or in Max Reger's organ works of questionable worth with their atrocious harmonic mixture, their intricacy of contrapuntal treatment, and their extreme difficulty of execution.[77] These restless signs of evolution are perfectly logical and eminently proper. In many instances the results have been highly successful, but again they have not. On the other hand, a number of living German composers could still be cited who are possessed of sufficient poise to accept the spirit of modern progression without allowing their convictions to carry them to extremes. One of the most successful of these is Humperdinck, whose "Hänsel und Gretel" acquires its effectiveness primarily by means of the orchestra. The exceedingly simple vocal parts are founded entirely on Volksmelodien; _Leit-motiven_ add coherence to the opera as a whole, whereas the scoring is amazingly complicated and elaborate though ever lucid and euphonious.[78] Ludwig Thuille[79] has earned deserved success with his charming "Lobetanz," and Kienzl has captivated the masses with "Der Evangelimann," a work that is both dignified and uplifting in spite of its eclectic appropriations from Meyerbeer, Wagner, Gounod, and even Mascagni. Georg Schumann, also, is to be commended for the "healthy" tendencies of his orchestral works, of which both the symphonic chorale variations and the "Liebesfrühling" overture have been heard in America.[80]

[Footnote 77: At the present moment Max Reger is exciting increased comment by reason of his continued revolutionary ideas expressed through the medium of the orchestra.]

[Footnote 78: Engelbert Humperdinck directed by invitation his opera "Hänsel und Gretel" at the Metropolitan Opera House, New York, during the season 1905-1906.]

[Footnote 79: Ludwig Thuille died since the above lines were written.]

[Footnote 80: Gustav Mahler, from 1897 to 1907 director of the Opera at Vienna, has of late invited comment throughout the musical world because of the colossal form and daring orchestration of his symphonies. His present activity in New York should give American critics an excellent opportunity to estimate the importance of his contributions to musical art. Leo Blech is commanding favorable criticism particularly by his opera "Das war ich," while d'Albert's highly effective operas "Die Abreise" and "Flauto solo" are being performed on nearly every operatic stage in Germany. "Flauto solo" is winning popularity only secondary, perhaps, to that of Lehár's internationally favored operetta "Die lustige Witwe," which is at present going the rounds of the United States under its Anglicized title of "The Merry Widow."]

XV.

The reader will pardon the appendage of a few final remarks relating to the progress of lighter German music during the nineteenth century, for otherwise these records would not be complete. By retracing a few of our steps we find that the more important successors of Kreutzer (who was mentioned on page 73 of Chapter IX, and lived from 1780 until 1849) were Lortzing, Nicolai, Flotow, Suppé, and Johann Strauss junior. For charming originality and for naturalness of expression Lortzing (1801) stands head and shoulders above the remaining composers of this list. His works show the unmistakable influence of Weber, and just this romantic tendency accounts for the universal popularity of his "Czar und Zimmermann," this tendency being, moreover, still more marked in his best work: "Die beiden Schützen." Nicolai (1810) wrote in the conventional Italian style. "The Merry Wives of Windsor" is still one of the popular comic operas of the day. Flotow (1812) earned notoriety through "Stradella" and "Martha." His aims are not high, neither is his music on a par with that of Lortzing; he displays, none the less, a happy faculty for instilling warmth of sentiment into his works. Suppé (1820) has acquired the nomenclature of "The German Offenbach" by reason of his pleasing operettas and vaudeville. Johann Strauss junior (1825) owes a world reputation to his sprightly "Fledermaus." These are the men who have been instrumental in transplanting the daintiness and refinement of modern light French opera into indigenous German productions. The results have been directly beneficial. Not only has this transplantation of exotic principles tempered the general taste of the German public for an all too heavy and sedate form of melodic and structural treatment, but quite especially has German orchestration reacquired thereby much of that lightness of touch it apparently had lost after the culmination of Mozart's career. French instrumentation, in spite of certain of its superficial tendencies, is assuredly a very important factor in the evolution of orchestral music, and its continued development during the second half of the nineteenth century affords a fruitful topic for discussion as outlined in the next few pages.

(Summary on page 176.)