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A COMPLETE HISTORY OF MUSIC

FOR SCHOOLS, CLUBS, AND PRIVATE READING

By W. J. BALTZELL

Contributions by

H. A. CLARKE, Mus. Doc.; ARTHUR ELSON, CLARENCE G. HAMILTON, A.M., EDWARD BURLINGAME HILL, A.B., ARTHUR L. JUDSON, FREDERIC S. LAW, AND PRESTON WARE OREM, Mus. Bac.

With Portraits, Reproductions of Instruments and Musical Examples

PHILADELPHIA, PA.

THEODORE PRESSER

1908

Copyright, 1905, by THEO. PRESSER. BRITISH COPYRIGHT SECURED.

PREFACE.

The plan of arrangement used in this book has in view a combination of the recitation and lecture systems, and affords an opportunity for teachers to apply the best principles of both. The paragraph headings should be thoroughly fixed in mind and close attention should be given to the words in heavy type and Italics that occur in the body of a paragraph; together they form a convenient outline for the lesson. The questions at the end of each lesson are to be used to test the pupils’ mastery of the lesson material; all available works of reference should be consulted for fuller information than the limited space of one book will admit of, each member of the class preparing one or more abstracts to be read before the class. The review outlines and suggestions are to be used in the same way, special attention being given to written answers such as would be required in an examination.

With a view of furnishing the reader a considerable amount of material on the _growth_ of music as an art, biographical sketches have been made short, especially since so many excellent works of that description are available at a small price. Emphasis has been laid on the work of the men who developed music, on the influences which shaped their careers and the permanent value of their contributions to music. A clear knowledge of how music reached its present state is not to be had by studying books, biographical and critical; the _works_ of the composers must be examined, played and sung, compared, analyzed as to methods of construction (Form) and expression (Melody, Harmony and Rhythm), so that the student may appreciate the change from simple, elementary processes to the free, polyphonic style found in the complex modern piano and orchestral scores. Reference is made to representative compositions by classical and modern composers, which are part of the average teaching repertoire. The works of the earlier composers are not, however, readily accessible, although good examples of the style of the 16th and 17th centuries are in the cheap editions of Peters, Litolff, Augener, Breitkopf and Härtel, and Ricordi.

The plan of this book provides for two lessons a week for thirty weeks. This will occupy a school year and allow time for quizzes, reviews and examinations. If more time is available, the work may be divided into four, five or six terms and stress laid on the study of representative compositions, the preparation of short papers on the suggested topics, adding, as a feature to interest friends and music lovers generally, public programs including music.

Musical clubs will find in this book material for several years’ programs, special attention having been given to the lessons on modern composers and their music, the suggestions as to class-work applying with equal force to the study classes of clubs. The individual reader should follow out the suggested historical and biographical parallels which help so strongly to fix in the mind the periods in which composers lived.

Lessons III to VI were prepared by Dr. H. A. Clarke, of the University of Pennsylvania; Lessons VIII to XIV by Mr. Arthur L. Judson, of Denison University; Lessons XV and XVI by Mr. Preston Ware Orem, Mus. Bac., of Philadelphia; Lessons XVII to XIX, XXI to XXIII, XXXVII to XL by Mr. Frederic S. Law, of Philadelphia; Lessons XXV to XXXIII by Mr. Clarence G. Hamilton, A. M., of Wellesley College; Lessons XLI to XLVIII by Mr. Edward Burlingame Hill, A. B., of Boston; Lessons L to LVI by Mr. Arthur Elson, of Boston.

W. J. B.

NOVEMBER 1, 1905. SEPTEMBER 1, 1906.

CONTENTS.

PREFACE v

INTRODUCTION 17

LESSON I. MUSIC OF THE CHINESE, JAPANESE AND HINDOOS 24 LESSON II. MUSIC OF THE BABYLONIANS, EGYPTIANS AND HEBREWS 35 LESSON III. MUSIC OF THE GREEKS: SCALES 46 LESSON IV. MUSIC OF THE GREEKS (CONCLUDED) 54 LESSON V. ECCLESIASTICAL SYSTEM 61 LESSON VI. NOTATION 70 LESSON VII. MUSIC OUTSIDE THE CHURCH 77 LESSON VIII. THE CAUSES OF POLYPHONIC DEVELOPMENT AND THE IMPORTANCE OF THE POLYPHONIC ERA 88 LESSON IX. THE PARIS SCHOOL 99 LESSON X. THE GALLO-BELGIC SCHOOL 107

LESSON XI. THE ENGLISH SCHOOL 115 LESSON XII. THE SCHOOL OF THE NETHERLANDS 123 LESSON XIII. THE ITALIAN SCHOOL 131 LESSON XIV. PALESTRINA AND HIS INFLUENCE ON THE MUSIC OF THE ITALIAN SCHOOL. THE MADRIGAL 139 LESSON XV. MUSICAL INSTRUMENTS 147 LESSON XVI. THE ORGAN, ORGAN PLAYING AND ORGAN MUSIC 156 LESSON XVII. THE BEGINNING OF THE OPERA 171 LESSON XVIII. THE ORATORIO. DEVELOPMENT OF THE OPERA 179 LESSON XIX. ALESSANDRO SCARLATTI AND THE NEAPOLITAN SCHOOL 187 LESSON XX. SINGING AND SINGERS 195

LESSON XXI. OPERA IN FRANCE AND ENGLAND 203 LESSON XXII. THE OPERA IN GERMANY. HANDEL AND GLUCK 211 LESSON XXIII. MOZART TO ROSSINI 219 LESSON XXIV. THE ORATORIO 226 LESSON XXV. THE EVOLUTION OF THE PIANOFORTE 236 LESSON XXVI. THE EARLY ITALIAN CLAVIER COMPOSERS 246 LESSON XXVII. THE EARLY ENGLISH AND FRENCH CLAVIER SCHOOLS 255 LESSON XXVIII. THE GERMAN POLYPHONIC CLAVIER SCHOOLS 263 LESSON XXIX. THE GERMAN SONATA COMPOSERS TO HAYDN 274 LESSON XXX. FRANZ JOSEPH HAYDN 283

LESSON XXXI. WOLFGANG AMADEUS MOZART 291 LESSON XXXII. LUDWIG VAN BEETHOVEN 299 LESSON XXXIII. BEETHOVEN AND THE SONATA 307 LESSON XXXIV. THE VIOLIN AND ITS MAKERS 315 LESSON XXXV. VIOLIN PLAYING AND VIOLIN MUSIC 322 LESSON XXXVI. THE ORCHESTRA AND ABSOLUTE MUSIC 334 LESSON XXXVII. THE ROMANTIC OPERA. WEBER, SPOHR, MARSCHNER 345 LESSON XXXVIII. THE FRENCH SCHOOL OF THE 19TH CENTURY 353 LESSON XXXIX. THE ITALIAN SCHOOL OF THE 19TH CENTURY 361 LESSON XL. RICHARD WAGNER’S MUSIC DRAMAS. OTHER SCHOOLS 369

LESSON XLI. PIANO PLAYING AND COMPOSITION: CLEMENTI TO FIELD 380 LESSON XLII. FRANZ PETER SCHUBERT 391 LESSON XLIII. WEBER. MENDELSSOHN 397 LESSON XLIV. ROBERT SCHUMANN 407 LESSON XLV. FREDERIC CHOPIN 417 LESSON XLVI. FRANZ LISZT 425 LESSON XLVII. PIANISTS AND TEACHERS SINCE LISZT. I 436 LESSON XLVIII. PIANISTS AND TEACHERS SINCE LISZT. II 446 LESSON XLIX. THE ART SONG. ORATORIO AFTER MENDELSSOHN 454 LESSON L. THE SYMPHONIC POEM IN GERMANY 463

LESSON LI. GERMAN OPERA SINCE WAGNER 472 LESSON LII. OLD AND NEW SCHOOLS IN FRANCE 481 LESSON LIII. MUSICAL REGENERATION IN ITALY 491 LESSON LIV. ENGLAND AND THE NETHERLANDS 499 LESSON LV. NATIONAL SCHOOLS: BOHEMIA AND SCANDINAVIA 507 LESSON LVI. THE RUSSIAN SCHOOL 515 LESSON LVII. MUSIC IN THE UNITED STATES 525 LESSON LVIII. AMERICAN COMPOSERS: WORKS IN LARGE INSTRUMENTAL FORMS 535 LESSON LIX. AMERICAN COMPOSERS: VOCAL FORMS; PIANO AND ORGAN.—MUSICAL LITERATURE 543 LESSON LX. MUSICAL EDUCATION 552

INDEX 561

INTRODUCTION.

=Purpose of the Study of the History of Music=.—The purpose of the study of the history of music is to trace the development of the many phases which make up modern music which we cannot but regard as a great social force, an intellectual, an uplifting force. If we consider it from the material side, it is one of magnitude; we need but think of the money invested in buildings, opera houses, schools, concert halls, publishing plants, factories, the sums spent on musical instruments, instruction, concerts, opera, etc., to recognize the commercial side. When we think of the great army of persons whose livelihood is conditioned upon musical work, upon the great audiences that support musical enterprises, we recognize the magnitude of music in a social sense, and that it offers a large field for study. These conditions, interesting as they are, represent only phases of musical work, not Music itself, and serve to show the place which Music occupies in the life of today. Our investigation is, then, a consideration of the origin and development of Music, and the means by which it took shape.

=The Place of Intellect in Music=.—When we think of Music we have in mind an organization of musical sounds into something definite, something by design, not by chance, the product of the working of the human mind with musical sounds and their effects upon the human sensibilities. So long as man accepted the various phenomena of musical sounds as isolated facts, there could be no art. But when he began to use them to minister to his pleasure and to study them and their effects, he began to form an art of music. The story of music is the record of a series of attempts on the part of man to make artistic use of the material which the ear accepts as capable of affording pleasure and as useful in expressing the innermost feelings. The raw material of music consists of the sounds considered musical, the human voice, various musical instruments and the use of this material in such ways as to affect the human sensibilities; that is, to make an impression upon the hearer which shall coincide with that of the original maker of the music who gives to his feelings expression in music. We find in music, as in other branches, that man tries to reduce phenomena to order and to definite form. The mass of musical material is vague, incoherent, disorganized. Man seeks to devise ways to use it intelligibly, and to promote esthetic pleasure. If musical sounds are to be combined simultaneously or successively, this combination should be in accordance with design, not haphazard, just as the builder of the house or the temple puts together his material according to a regular plan. Those who have been leaders in the Art of Music have labored in two ways: to _extend_ the limits of expression in music, and to find the means to _contain_ that expression. At one period stress is laid on making music expressive, at another on the medium for conveying expression to others, the latter being comprehended in the term Form. In connection with this statement, the student will do well to remember that every period of great intellectual activity, social or political, reacted upon music and the other arts; to illustrate, we need but refer to the formal, even artificial character of the music of the period preceding the French Revolution and the freedom and vigor imparted by the spirit of Romanticism which followed in the wake of that great political movement, a difference strikingly illustrated in the music of Haydn and Beethoven, Clementi and Schumann. There is also a constant action and reaction of the various racial streams of power such as the Aryan on the Semitic, East upon the West, Latin upon the Teuton, Folk-music upon the Scholastic.

=The Principles in Music=.—The leading principles in music are: Rhythm, Melody, Harmony, Color or Tone Quality, and in the execution of works of music, Dynamic Contrast, an essential factor in Expression. For ages after the birth of Music, Rhythm and Melody were the only real elements, Rhythm being first recognized. The potency of Rhythm, strong and irresistible in the early days of the race and with primitive man, is still acknowledged. Music that lacks a clearly-defined rhythm does not move the masses. Witness martial music, the dance airs and the “popular song.” All primitive languages were characterized by concise, figurative and picturesque qualities; they easily changed from the ordinary into the lofty and the impassioned. Intonation and changing inflection had much to do with meaning, as is the case with the Chinese language of today. Historians ascribe the origin of Melody to this principle of vocal expression. For years prior to the Christian Era, and long after, Rhythm and Melody were the only accepted elements of Music, and the art remained in a low grade of development. It was not until Harmony appeared, clear and unmistakable, that Music was able to claim a position equal to that accorded to the sister-arts, Poetry, Painting, Sculpture and Architecture. These principles, Rhythm, Melody and Harmony, became, when couched in the forms of expression adopted by the great masters, what we call Modern Music, and the story is one of a development from extreme simplicity to the complexity illustrated in modern orchestral scores.

=Means of Expression=.—One more phase must be mentioned here, the means used to present to others the thoughts or feelings of the composer, that is, the human voice and its artistic use, instruments of various kinds, their primitive forms and gradual development, their use singly and in combination with other instruments. This phase is peculiarly associated with modern music; for it was not until the art had freed itself from the fetters imposed by vocal music, that absolute music, availing itself of perfected instruments, came into its own. From that time development was unprecedentedly rapid.

=What is to be Brought Forward=.—The history of Music is, then, a recital of facts bearing upon the development of modern music and we shall lay stress on such facts as show a permanent impress and a solid contribution to progress in one or more of the lines marked out: Form, Expression, Melody, Rhythm, Harmony and Instrumental Color. In the study of a composer, the facts essential to the history of music are critical rather than biographical; not a life chronicle so much as a clear statement of what he specially contributed to forward the art. To gain an educational value, the facts of the history of music are to be studied so as to glean from them their significance, and an understanding of the causes and conditions which made them possible; then we go on to discern the consequences to which they in turn gave rise. No man works for himself and out of himself. He builds upon what others have done, and he builds for others. The student should discern the lesson in the past, and receive guidance for the future.

=What We Learn from Archæology=.—The history of an art such as Music must give the historical data in connection with the development of art and artists, free of all questionable and false features, and give as trustworthy, as accurate a picture of the various stages as possible. If we go backward in our research we reach a point at which ordinary records fail. If we make an inquiry into the beginnings of music we must have recourse to the findings and interpretations of Archæology. The results are by no means satisfactory. In all the digging in the ruins of the once great cities of Egypt, and Western Asia, and of Greece and Etruria as well, with perhaps one exception, no music has been brought to light, and but a few instruments, and these can scarcely be considered perfect. However, the pictorial representations on tombs, monuments, temples and houses give valuable aid, enabling scholars to reconstruct the story of music among the older civilizations. We must not forget, however, that conjecture plays a more or less prominent part in all the translations of the old hieroglyphic and cuneiform writings. We have no direct knowledge of the scales used or how the instruments were played together, what was the nature of the science and system in use. What we have is mere inference from the nature of the instruments and the representations of musicians playing their instruments, together with fragments from contemporary or later writings.

=What We Learn from Ethnology=.—Another source open to students of the beginnings of music is the material gathered by Ethnology. Those who place stress on this means of research lay down the proposition that the primitive people of the world of today occupy a mental and social stage similar to that of the primitive races from which the civilized folk of today have sprung. Therefore, they study the music, the rude chants, the dances, the instruments, etc., of various primitive tribes, and then by comparison try to indicate the various stages through which music came to have the art germ, from which the great product we know has developed.

=Some Theories=.—We can give in this lesson only a few of the theories offered by those who have discussed the matter of the origin of music: The Dance, Poetry and Music form a group which cannot readily be separated; they are not independent of each other, but most intimately connected. This view fails to take account of the fact that Music which is, externally, so closely connected with the Dance and with Poetry, is, in its essence, absolutely distinct. Schopenhauer, the philosopher from whom Richard Wagner drew inspiration, holds this view very strongly. He says: “Music is quite independent of the visible world, is absolutely ignorant of it, and could exist in a certain way if there were no world; which cannot be said of the other arts.” The other arts are essentially imitative and representative; they are based upon Nature. Some writers, the Frenchman Dubos and the English philosopher Herbert Spencer among them, claim that Music does represent Nature. They say that as the painter imitates the forms and colors he sees in nature, so the musician follows the various modulations of the voice, finding there the basic conceptions of Rhythm, Melody and Color. Singing, which Spencer considers the original music, is the emphasizing and intensifying of the properties of speech. Gurney says, _per contra_, that “Music creates audible forms, successions and combinations of tones which have no prototype in Nature and do not exist outside of Music.” Those who believe that Music is a separate entity therefore seek to trace it to a completely independent beginning.[1] Darwin offered another theory as to the way in which man arrived at Music. His idea is that the faculty of producing musical tones and rhythm was first acquired by our animal ancestors as a means of attracting the opposite sex, the faculty being developed and improved by the process of selection.

=The Conception of Fixed Scales=.—The question is sometimes raised: How did man reach the conception of fixed scales? Here again opinions differ. Some consider that the extreme notes were fixed by the average compass of the human voice in impassioned speech, the interval being variously divided. Others claim that along with the vocal phase of music there was an instrumental side, and that the mechanical conditions in connection with instruments had bearing in the matter of organizing sounds into a scale; the rude, primitive trumpet of wood or bark, still found among forest tribes in South America and Africa, gives a series of harmonic notes. Whistles or flutes made in prehistoric times with a series of several tones, examples of combinations of little pipes, such as those known by the name of “Pan’s Pipes,” also bear on this question. Yet the facts are few and we are compelled to satisfy ourselves with mere conjecture.

REFERENCES.

Tylor.—Anthropology.

Rowbotham.—History of Music.

Smith.—The World’s Earliest Music.

Grosse.—The Beginnings of Art.

Raymond.—The Genesis of Art.

Helmholtz.—The Sensations of Tone.

Parry.—Evolution of the Art of Music.

Bosanquet.—History of Aesthetic.

Knight.—Philosophy of the Beautiful, Part II, Chap. IX.

QUESTIONS AND SUGGESTIONS.

Why do we consider music a force in civilization?

What do we mean by Expression in music?

The teacher will cite periods when “Expression” was the chief aim, when Form was.

Cite periods when intense political and intellectual upheaval reacted on music.

Give examples of the leading principles of Music.

What kind of facts are of importance to the history of Music?

What is the value of Archæology to the history of music?

Why is Ethnology valuable to the history of music?

Give several theories as to the origin of music.

Is the scale used by us the scale of all nations?

In preparing for recitation, students should get an outline of each lesson by the use of the paragraph headings and then work out the lesson by the use of the questions that follow. If the reference books suggested are available, additional reading should be done. A good plan is for the teacher to assign one or two paragraphs to a pupil and have the latter bring in such other information of interest as can be secured. Some questions may be grouped and pupils directed to prepare a short essay to be read before the class. In regard to dates, the suggestion is that pupils take turns, lesson by lesson, in presenting a plan by which to memorize them. When the period is one that can be related to some well-known event in general history, as the life of Charlemagne, the Norman Conquest of England, the Crusades, the Wars of the Roses, discovery of America, invention of printing, etc., it is well to do so; or make a well-known musician a contemporary of some artist, statesman, king, scientist, man of letters, etc. The teacher should be prepared in this manner for each lesson. Events before the Christian Era may be related to some event or character in Biblical history.

LESSON I.

MUSIC OF THE CHINESE, JAPANESE AND HINDOOS.