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PAUL ROSENFELD
PAUL ROSENFELD
logo THE QUINN & BODEN COMPANY RAHWAY, N. J. Some of the material of this book was originally printed in the form of articles in "The Dial," "The New Republic," and "The Seven Arts." Thanks are due the editors of these periodicals for permission to recast and reprint it....
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Wagner
Wagner
Wagner's music, more than any other, is the sign and symbol of the nineteenth century. The men to whom it was disclosed, and who first sought to refuse, and then accepted it, passionately, without reservations, found in it their truth. It came to their ears as the sound of their own voices. It was the common, the universal tongue. Not alone on Germany, not alone on Europe, but on every quarter of the globe that had developed coal-power civilization, the music of Wagner descended with the formati
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Strauss
Strauss
Strauss was never the fine, the perfect artist. Even in the first flare of youth, even at the time when he was the meteoric, dazzling figure flaunting over all the baldpates of the universe the standard of the musical future, it was apparent that there were serious flaws in his spirit. Despite the audacity with which he realized his amazing and poignant and ironic visions, despite his youthful fire and exuberance—and it was as something of a golden youth of music that Strauss burst upon the worl
31 minute read
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Moussorgsky
Moussorgsky
The music of Moussorgsky comes up out of a dense and livid ground. It comes up out of a ground that lies thickly packed beneath our feet, and that is wider than the widest waste, and deeper than the bottomless abysses of the sea. It comes up from a soil that descends downward through all times and ages, through all the days of humankind, down to the very foundations of the globe itself. For it grows from the flesh of the nameless, unnumbered multitudes of men condemned by life throughout its cou
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Liszt
Liszt
Oh, magnificent and miserable Abbé Liszt! Strange and unnatural fusion of traits the most noble and the most mean! One can scarcely say which was the stronger in you, the grand seigneur or the base comedian. For in your work they are equally, inextricably commingled. In your art it is the actor who thrones it in the palace hall, the great lord of music who struts and capers on the boards of the itinerant theater. Nowhere, in all music, is grandeur nigher to the dust, and nowhere does the dust re
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Berlioz
Berlioz
The course of time, that has made so many musicians recede from us and dwindle, has brought Berlioz the closer to us and shown him great. The age in which he lived, the decades that followed his death, found him unsubstantial enough. They recognized in him only the projector of gigantic edifices, not the builder. His music seemed scaffolding only. Though a generation of musicians learned from him, came to listen to the proper voices of the instruments of the orchestra because of him, though musi
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Franck
Franck
Belgian of Liège by birth, and Parisian only by adoption, César Franck nevertheless precipitated modern French music. The group of musicians that,—at the moment when the great line of composers that has descended in Germany since the days of Bach dwindled in Strauss and Mahler and Reger,—revived the high tradition of French music, created a fresh and original musical art, and at present, by virtue of the influence it exercises on the new talents of other nations, has come well-nigh to dominate t
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Debussy
Debussy
Debussy's music is our own. All artistic forms lie dormant in the soul, and there is no work of art actually foreign to us, nor can such a one appear, in all the future ages of the world. But the music of Debussy is proper to us, in our day, as is no other, and might stand before all time our symbol. For it lived in us before it was born, and after birth returned upon us like a release. Even at a first encounter the style of "Pelléas" was mysteriously familiar. It made us feel that we had always
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Ravel
Ravel
Ravel and Debussy are of one lineage. They both issue from what is deeply, graciously temperate in the genius of France. Across the span of centuries, they touch hands with the men who first expressed that silver temperance in tone, with Claude Le Jeune, with Rameau and Couperin and the other clavecinists. Undiverted by the changes of revolutionary times, they continue, in forms conditioned by the modern feeling for color, for tonal complexity, for supple and undulant rhythm, the high tradition
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Borodin
Borodin
Borodin's music is a reading of Russia's destiny in the book of her past. "I live," the composer of "Prince Igor" wrote to a friend one summer, "on a steep and lofty mountain whose base is washed by the Volga. And for thirty versts I can follow the windings of the river through the blue of the immeasurable distance." And his music, at least those rich fragments that are his music, make us feel as though that summer sojourn had been symbolic of his career, as though in spirit he had ever lived in
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Rimsky-Korsakoff
Rimsky-Korsakoff
The music of Rimsky-Korsakoff is like one of the books, full of gay pictures, which are given to children. It is perhaps the most brilliant of them all, a picture-book illuminated in crude and joyous colors—bright reds, apple greens, golden oranges and yellows—and executed with genuine verve and fantasy. The Slavonic and Oriental legends and fairy tales are illustrated astonishingly, with a certain humor in the matter-of-fact notation of grotesque and miraculous events. The personages in the pic
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Rachmaninoff
Rachmaninoff
It was in an interview given at the beginning of his recent American tour that M. Sergei Rachmaninoff styled himself a "musical evolutionist." The phrase, doubtless uttered half in jest, is scarcely nice. It is one of those terms that are so loose that they are well-nigh meaningless. Nevertheless, there was significance in M. Rachmaninoff's use of it. For he employed it as an apology for his work. His music is evidently wanting in boldness. On the whole it is cautious and traditional. Even those
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Scriabine
Scriabine
There are solemn and gorgeous pages in the symphonic poems of Scriabine. And yet, despite their effulgence, their manifold splendors, their hieratic gestures, these works are not his most individual and significant. Save only the lambent "Prometheus," they each reveal to some degree the influence of Wagner. The "Idyl" of the Second Symphony, for instance, is dangerously close to the "Waldweben" in "Siegfried," although, to be sure, Scriabine's forest is rather more the perfumed and rose-lit wood
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Strawinsky
Strawinsky
The new steel organs of man have begotten their music in "Le Sacre du printemps." For with Strawinsky, the rhythms of machinery enter musical art. With this his magistral work a new chapter of music commences, the spiritualization of the new body of man is manifest. Through Debussy, music had liquified, become opalescent and impalpable and fluent. It had become, because of his sense, his generation's sense, of the infirmity of things, a sort of symbol of the eternal flux, the eternal momentarine
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Mahler
Mahler
Almost simultaneously with the rise of Russian music and the new birth of French music, that of Germany has deteriorated. The great line of composers which descended from Bach and Haendel for two centuries has wavered and diminished visibly during the last three decades. The proud tradition seems to have reached a temporary halt in Wagner and Bruckner and Brahms. It may be that modern Germany is a difficult terrain, that the violent change in conditions of life, the furious acceleration, has cre
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Reger
Reger
The copies of most of Max Reger's compositions are ornamented with a cover design representing Beethoven's death-mask wreathed with laurel. It was in all sincerity that his publishers placed that decoration there. For there was a moment when Reger excited high hopes. At the time when he appeared, the cause of "absolute" music seemed lost. Musical modernity and the programmatic form had come to seem inseparable. The old classical forms were being supplanted by those of Wagner, Liszt and Strauss.
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Schoenberg
Schoenberg
Arnold Schoenberg of Vienna is the great troubling presence of modern music. His vast, sallow skull lowers over it like a sort of North Cape. For with him, with the famous cruel five orchestral and nine piano pieces, we seem to be entering the arctic zone of musical art. None of the old beacons, none of the old stars, can guide us longer in these frozen wastes. Strange, menacing forms surround us, and the light is bleak and chill and faint. The characteristic compositions of Strawinsky and Ornst
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Sibelius
Sibelius
Others have brought the North into houses, and there transmuted it to music. And their art is dependent on the shelter, and removed from it, dwindles. But Sibelius has written music innocent of roof and inclosure, music proper indeed to the vasty open, the Finnish heaven under which it grew. And could we but carry it out into the northern day, we would find it undiminished, vivid with all its life. For it is blood-brother to the wind and the silence, to the lowering cliffs and the spray, to the
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Loeffler
Loeffler
Legend records of Inez de Castro, Queen of Castile, that she was dethroned and driven into exile by a rival, and that before her husband and her partisans could restore her to kingdom, she had died. But her husband caused her body to be embalmed and borne with him wherever he went. And when finally he had vanquished the pretender, he had the corpse decked in all the regal insignia, had it set upon the throne in the great hall of the palace of the kings of Castile, and vassals and liegemen summon
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Ornstein
Ornstein
Ornstein is a mirror held up to the world of the modern city. The first of his real compositions are like fragments of some cosmopolis of caves and towers of steel, of furious motion and shafts of nitrogen glare become music. They are like sensitive surfaces that have been laid in the midst of the New Yorks; and record not only the clangors, but all the violent forms of the city, the beat of the frenetic activity, the intersecting planes of light, the masses of the masonry with the tiny, dwarf-l
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Bloch
Bloch
Once before, East and West have met and merged. On the plains where the soldiers of Darius and Alexander slaughtered one another, and where the Macedonian phalanxes recoiled before the castellated elephants of Porus, a marriage was consummated. Hovering over the heads of the opposing armies, the angel of Europe and the angel of Asia embraced, and sent their lifebloods coursing through each other. Passage was made to India. The two continents slowly faced about. Two reservoirs that had been accum
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WAGNER
WAGNER
Wilhelm Richard Wagner was born in Leipzig on May 22nd, 1813. He died in Venice February 13th, 1883. The facts of his career are too well known to justify rehearsal. The dates of the composition and first performances of his operas are: "Rienzi," 1838-40; première in Dresden, 1842. "Tannhäuser," 1843-45 (Paris version, 1860); Dresden, 1845. "Lohengrin," 1845-48; Weimar, 1850. "Das Rheingold," 1848-53; Munich, 1869. "Die Walküre," 1848-56; Munich, 1870. "Tristan und Isolde," 1857-59; Munich, 1865
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STRAUSS
STRAUSS
Richard Strauss was born in Munich June 11th, 1864. His father, Franz Strauss, was first horn-player in the Munich Court Orchestra. His mother was the daughter of the beer brewer, Georg Pschorr. He began composing at the tender age of six. From 1870 to 1874 he attended the elementary school at Munich. In 1874 he matriculated at the Gymnasium, and remained there until 1882. During the next year he attended lectures at the University of Munich. From 1875 to 1880 he studied harmony, counterpoint an
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MOUSSORGSKY
MOUSSORGSKY
Modest Petrovitch Moussorgsky was born March 16th, 1839, in the village of Karevo in the government of Pskow, Russia. His parents were members of the lesser nobility. His mother gave him his first piano lessons. At the age of ten he was sent to the School of St. Peter and St. Paul in Petrograd. His piano-studies were continued with a certain Professor Herke. At the age of twelve he played in public a Rondo de concert by Herz. In 1852 he matriculated at the school for ensigns, and the same year h
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LISZT
LISZT
Franz Liszt was born near Odenburg, Hungary, October 22nd, 1811. He died in Bayreuth, July 31st, 1886. He played in public for the first time at the age of nine, in Odenburg. In 1829 he came to Vienna, remaining there eighteen months studying piano under Czerny, and composition with Salieri. He then was taken to Paris, where he studied under Reicha till 1825. In 1831 he heard Paganini play. It is supposed that he was so impressed that he decided to become the Paganini of the piano. He was very m
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BERLIOZ
BERLIOZ
Louis Hector Berlioz was born at La Côte Saint-André near Grenoble on December 11th, 1803. His father was a physician, and wished his son to follow his profession. So Hector was sent to Paris to study. Instead of studying medicine he commenced to compose. A mass of his was performed at Saint-Roch in 1824. In 1826 he sought to enter the Conservatoire, but failed in the preliminary examination. In 1827, 1828 and 1829, he competed for the Prix de Rome, and failed. In 1830 he finally secured it. Whi
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FRANCK
FRANCK
César-Auguste Franck was born at Liège, Belgium, December 10th, 1822. His father hoped to make a piano-virtuoso of him, and supervised his musical education. At the age of eleven the young Franck was touring Belgium as a pianist. In 1835 the family emigrated to Paris, and two years later César was admitted to the Conservatoire. He studied composition with Leborne and the piano with Zimmermann. He took the first prize for fugue in 1840. In 1842 his father compelled him to leave the Conservatory a
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DEBUSSY
DEBUSSY
Claude-Achille Debussy was born August 22nd, 1862, at Saint-Germain-en-Laye. He died at Paris March 22nd, 1918. He entered the Conservatoire at the age of twelve, studying harmony with Lavignac and piano with Marmontel. At the age of eighteen, he paid a brief visit to Russia. But it was not until several years later that he became acquainted with the score of "Boris Godounow," which was destined to have so great an influence on his life, and precipitate his revolt from Wagnerism. In 1884 he gain
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RAVEL
RAVEL
Maurice Ravel was born in Ciboure, Basses-Pyrénées, March 7th, 1875. Shortly after his birth, his family moved to Paris. Henri Ghis was his first piano-teacher, Charles-René his first teacher of composition. He took piano-lessons of Ricardo Viñès, and in 1891 was awarded a "première médaille" in piano-playing at the Conservatoire. In 1897 Ravel entered the class of Fauré. In 1898, his "Sites auriculaires" were publicly performed. In 1901 he failed for the first time to gain the Prix de Rome. His
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BORODIN
BORODIN
Alexander Porfirievitch Borodin was born in Petrograd November 12th, 1834, and died there February 27th, 1887....
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RIMSKY-KORSAKOFF
RIMSKY-KORSAKOFF
Nikolai Andreyevitch Rimsky-Korsakoff was born March 6th, 1844, at Tikhvin, in the government of Novgorod, Russia. His father was a civil governor and landed proprietor. He began to study the pianoforte at the age of six. He was destined for a career in the navy, and, in 1856, he was sent to study at the Petrograd Naval College. In 1861 he made the acquaintance of Balakirew and of the group about him. After a two-year cruise in the navy, Rimsky returned to Petrograd in 1865. In 1866 he was insta
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RACHMANINOFF
RACHMANINOFF
Sergei Vassilievitch Rachmaninoff was born March 29th, 1873, at Onega in the government of Novgorod, Russia. He entered the Petrograd Conservatory in 1882, studying piano in the class of Demyaresky, theory in that of Professor L. A. Sacchetti. In 1885 he entered the Moscow Conservatory, studying under Zviereiff, Taneyef and Arensky. His first public appearance as a pianist took place in 1892. He has been composing steadily since 1894. His first symphony was produced by Glazounof in 1895. His Eur
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SCRIABINE
SCRIABINE
Alexander Nicolas Scriàbine was born in Moscow in 1871, of aristocratic parents. In his tenth year he was placed in the 2nd Moscow Army Cadet Corps. His first piano lessons were taken from G. A. Conus. Musical theory he studied with Professor S. I. Taneieff. While still continuing the Cadet courses, he was enrolled as a student at the Moscow Conservatory of Music. He studied the pianoforte with Vassily Safonoff, counterpoint first with Taneieff and later with Arensky. His studies both in the Con
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STRAWINSKY
STRAWINSKY
Igor Fedorovitch Strawinsky was born at Oranienbaum near Petrograd, June 5th, 1882. His father was a bass singer attached to the court. Igor was destined for a legal career. But in 1902 he met Rimsky-Korsakoff in Heidelberg, and abandoned all idea of studying the law. He studied with Rimsky till 1906. His "Scherzo fantastique," inspired by Maeterlinck's Life of the Bee , which was produced in 1908, attracted the attention of Sergei Diaghilew to the young composer, and secured him a commission to
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MAHLER
MAHLER
Gustav Mahler was born in Kalischt, Bohemia, July 7th, 1860. He died in Vienna May 18th, 1911. He studied the pianoforte with Epstein, composition and counterpoint with Bruckner. In 1883 he was appointed Kapellmeister in Kassel; in 1885 he was called to Prague; in 1886 he was made conductor of the Leipzig opera. In 1891 he went to Hamburg to conduct the opera, and in 1897 he was made director of the Vienna Court Opera. In 1908 he came to New York to conduct the operas of Wagner, Mozart and Beeth
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REGER
REGER
Max Reger was born in Brand, Bavaria, March 19th, 1873. His father was school-teacher at Weiden in the Palatinate, and Reger, it was hoped, would follow his profession. However, the musical profession prevailed. Reger studied with Riemann from 1890 to 1895. At first he decided to perfect himself as a pianist. Later, composition and organ-playing absorbed him. He was made professor of counterpoint in the Royal Academy in Munich in 1905. In 1907 he was made musical director of the University of Le
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SCHOENBERG
SCHOENBERG
Arnold Schoenberg was born in Vienna September 13th, 1874. He was self-taught until his 20th year. His first instruction was received from his brother-in-law, Alexander von Zemlinsky. In 1901 he went to Berlin, and became the Kapellmeister of the "Uberbrettl," the cabaret managed by Birnbaum, Wedekind and von Wolzogen. Due to the influence of Richard Strauss, he secured a position as instructor in Stern's Conservatory. In 1903 he returned to Vienna. He aroused the interest of Gustav Mahler, who
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SIBELIUS
SIBELIUS
Jean Sibelius was born in Tavastehus, Finland, December 8th, 1865. He matriculated at the University of Helsingfors in 1885, but shortly after gave up all idea of studying law, and entered the Conservatory in 1886. Here he remained three years, studying composition with Wegelius. In 1889-90 he studied with Becken in Berlin. In 1891 he went to Vienna to study instrumentation with Karl Goldmark. From 1893-97 he taught composition at the Helsingfors Conservatory. In 1897 the Finnish Senate allotted
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LOEFFLER
LOEFFLER
Charles Martin Loeffler was born in Mülhausen, Alsace, January 30, 1861. He studied the violin under Massart and Léonard in Paris, and under Joachim in Berlin. He studied composition with Guirand in Paris. Played violin in Pasdeloup's orchestra, then in the orchestras at Nice and Lugano. From 1883 till 1903 he was second leader in the Boston Symphony Orchestra. Since 1903 he has been devoting himself completely to composition. He is living at present in Medford, Massachusetts. His compositions i
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ORNSTEIN
ORNSTEIN
Leo Ornstein was born in Krementchug, Russia, December 11th, 1895. His father was cantor in the synagogue. Until 1906 Ornstein was a pupil in the Petrograd Conservatory. Because of the pogroms, his family emigrated to New York. There he attended the Friends' School and studied music in the Institute of Musical Art. Later, he studied with Bertha Fiering Tapper. He made his début as pianist in January, 1911. In 1913-14 he lived in Europe, in Paris chiefly. He was introduced to the French public by
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BLOCH
BLOCH
Ernest Bloch was born in Geneva, Switzerland, July 24th, 1880. He studied in Geneva with Jaques Dalcroze; in Brussels with Ysaye; at the Hoch Conservatory in Frankfort with I. Knorr; and with Thuille in Munich. His opera "Macbeth" was produced at the Opéra Comique in Paris in 1910. In 1915 he was appointed professor of composition in the conservatory in Geneva. In 1916 he came to America as conductor of the Maud Allan Symphony Orchestra. His quartet was performed by the Flonzaleys that season, a
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