Critical and Historical Essays by Edward MacDowell (famous ebook reader .TXT) 📕

did not bear more direct fruit in his day, for it would have turned Mozart, as well as many others, from the loose, clumsy mannerisms of the later virtuoso style, which ran to the Alberti bass and other degrading platitudes, paralleled in our comparatively modern days by the Thalberg arpeggios, repeating notes, Döhler trill, etc.

Two masters in music, Händel and J.S. Bach, were born the same year, 1685; their great French contemporary, Rameau, was born two years earlier and died in 1764; while Händel died in 1759, and Bach in 1750. Bach was destined to give to the world its first glimpse of the tremendous power of music, while Rameau organized the elements of music into a scientific harmonic structure, laying the foundation for our modern harmony. Händel's great achievement (besides being a fine composer) was to crush all life out of the then promising school of English music, the foundation for which had been so well laid by Purcell, Byrd, Morley, etc.

Jean Philippe Rameau was born in Dijon, and after travels in Italy and a short period of service as organist at Clermont, in Auvergne, went to Paris. There he wrote a number of small vaudevilles or musical comedies, which were successful; and his music for the harpsichord, consisting almost exclusively of small pieces with descriptive titles, soon began to be widely played in France. Much later in life he succeeded in obtaining a hearing for his operas, the first of which, "Hippolyte et Aricie," was given in 1732, when he was fifty years old. For thirty-two years his operas continued to hold the French stage against those of all foreigners.

His style marked a great advance over that of Lully, the Italian, of the century before. Rameau aimed at clearness of diction and was one of the first to attempt to give individuality to the different orchestral instruments. By some strange coincidence, his first opera had much the same dramatic situation that all the early operas seemed to have, namely, a scene in the infernal regions. Rameau's operas never became the foundation for a distinctly French opera, for at the time of his death (1764), Italian opera troupes had already introduced a kind of comedy with music, which rapidly developed into opéra comique; it was reserved for Gluck, the German, to revive grand opera in France.

As a theoretician, Rameau exerted tremendous influence upon music. He discovered that the chord which we call the perfect major triad was not merely the result of an artificial training of the ear to like certain combinations of sounds, but that this chord was inherent in every musical sound, constituting, as it does, the first four harmonics or overtones. All chords, therefore, that were not composed of thirds placed one above the other, were inversions of fundamental chords. This theory holds good in the general harmonic system of to-day. But although the major triad and even the dominant seventh chord could be traced back to the harmonics, the minor triad proved a different matter; after many experiments Rameau gave it up, leaving it unaccounted for.

Rameau was also largely instrumental in gaining recognition for the desirability of dividing the octave into twelve equal parts, making all the so-called half-tones recur at mathematically equal distances from each other in the chromatic scale. In 1737 his work on the generation of chords through overtones caused the equal temperament system of tuning to be generally accepted, and the old modes, with the exception of the Ionian and Aeolian, to be dropped out of use. The former became known as major and the latter as minor, from the third, which was large in the Ionian and small in the Aeolian.

Händel, as before stated, was born in 1685 (February 23), in Halle, in the same year as J.S. Bach, who was a month younger (born March 21). His father was a barber, who, as was common in those days, combined the trade of surgery, cupping, etc., with that of hairdressing. He naturally opposed his son's bent toward music, but with no effect. At fifteen years of age, Händel was beginning to be well known as a clavichord and organ player, in the latter capacity becoming specially celebrated for his wonderful improvisations. In spite of an attempt to make a lawyer of him, he persisted in taking music as his vocation, after the death of his father.

In Hamburg, whither he went in 1703, he obtained a place among the second violins in the opera orchestra.[15] Realizing that in Germany opera was but a reflection of Italian art, he left Hamburg in 1707 and went to Italy, where he soon began to make a name for himself, both as performer and composer. One of his operas, "Agrippa," was performed at Venice during the Carnival season of 1710.

The Hanoverian kapellmeister, Staffani, was present and invited him to Hanover, whither he went, becoming Staffani's successor in the service of the Elector of Hanover. Several trips to England, where he was warmly welcomed, resulted in his accepting from Queen Anne, in 1713, a salary of two hundred pounds yearly, thus entering her service, notwithstanding his contract with the Elector. In 1714 the Queen died, and the Elector of Hanover was called to the English throne under the title of George I. Händel, in order to escape the impending disgrace occasioned by having broken faith with his former employer, wrote some music intended to be particularly persuasive, and had it played on a barge that followed a royal procession up the Thames. This "Water Music," as it was called, procured for him the King's pardon.

From this time he lived in England, practically monopolizing all that was done in music. In 1720 a company for the giving of Italian opera was formed, and Händel placed at its head. In 1727, on the occasion of the accession of George II, Händel wrote four anthems, one of which "Zadok the Priest," ends with the words "God save the King," from which it has been erroneously stated that he wrote the English national hymn.

In 1737 Händel gave up the writing of operas, after sinking most of his own savings in the undertaking, and began to write oratorios, the germs of which are found in the old Mysteries and Passion plays performed on a platform erected in the chapel or oratory of a church. Much has been written about Händel's habit of taking themes from other composers, and he was even dubbed the "grand old robber." It must not be overlooked, however, that although he made use of ideas from other composers, he turned them to the best account. By 1742 Händel was again in prosperous circumstances, his "Messiah" having been a tremendous success. From that time until his death he held undisputed sway, although his last years were clouded by a trouble with his eyes, which were operated upon unsuccessfully by an English oculist, named Taylor, who had also operated on Bach's eyes with the same disastrous result. Händel became completely blind in 1752. Up to the last year of his life he continued to give oratorio concerts and played organ concertos, of which only the tutti were noted, he improvising his part.

Händel's strength lay in his great ability to produce overwhelming effects by comparatively simple means. This is especially the case in his great choruses which are massive in effect and yet simple to the verge of barrenness. This, of course, has no reference to the absurd fioriture and long passage work given to the voices,-an Italian fashion of the times,-but to the contrapuntal texture of the work. Of his oratorios, "The Messiah" is the best known. Two of his "Concerti Grossi," the third and sixth, are sometimes played by string orchestras. Of his harpsichord music we have the eight "Suites" of 1720 (among which the one in E is known as having the variations called "The Harmonious Blacksmith"), and a number of "Harpsichord Lessons," among which are six fugues. All these may be said to have little value.

J.S. Bach differed in almost every respect from Händel, except that he was born in the same year and was killed by the same doctor. While Händel left no pupils, with perhaps the exception of his assistant organist, Bach aided and taught his own celebrated sons, Krebs, Agricola, Kittel, Kirnberger, Marpurg, and many other distinguished musicians. Bach twice made an effort to see Händel at Halle, but without success. On the other hand, there are reasons for believing that Händel never took the trouble to examine any of Bach's clavichord music. He lived like a conqueror in a foreign land, writing operas, oratorios, and concertos to order, and stealing ideas right and left without compunction; whereas Bach wrote from conviction, and no charge of plagiarism was ever laid at his door. Händel left a great fortune of twenty thousand pounds. Bach's small salary at the St. Thomas Church in Leipzig made it necessary for him to do much of his own engraving; and at his death, though he had helped many young struggling artists, his widow was left so poor that she had to be supported by public benevolence. Bach's works were neglected by his contemporaries, and it was only in the nineteenth century that he began to be appreciated in a way commensurate with his worth.

Bach was born in Eisenach, in Thuringia, and it is of interest to know that as far back as his great grandfather, Veit Bach (born about 1550), music had been the profession of the family. Bach's parents died when he was a boy of ten, and his education was continued by his elder brother, Johann Christoph, at a town near Gotha, where he held a position as organist. The boy soon outstripped his brother in learning, and continued his studies wholly by himself.

After filling a position as organist at Weimar, in 1703 he accepted one at a small town, Arnstadt, at a salary of about fifty-seven dollars yearly. He had already begun to compose, and possibly in imitation of Kuhnau, whose so-called "Bible" sonatas were at the time being talked about, he wrote an elaborate clavichord piece to illustrate the departure of his brother, Johann Jakob, who had entered the service of Charles XII of Sweden as oboist. This composition is divided into five parts, each bearing an appropriate superscription and ending with an elaborate fugue to illustrate the postillion's horn. I believe this is the only instance of his having written actual programme music. After leaving Arnstadt he filled positions as organist at Mühlhausen, Weimar, Coethen, etc. It was before 1720 that he paid his two visits to Halle in the hope of seeing Händel. At this time he had already written the first part of the "Wohltemperierte Clavier," the violin sonatas, and many other great works. Ten years later, when Händel again came to Germany, Bach was too ill to go to see him personally, but sent his eldest son to invite Händel to come and see him, although without success.

In 1723 he obtained the position of Cantor at the St. Thomas School, in Leipzig, left vacant by the death of Kuhnau; here he remained until his death. In 1749 the English oculist, Taylor, happened to be in Leipzig. On the advice of friends, Bach submitted to an operation on his eyes, which had always troubled him. The failure of this operation rendered him totally blind and the accompanying medical treatment completely broke him down. On the eighteenth of July, 1750, he suddenly regained his sight, but it was accompanied by a stroke of paralysis from which he died ten days later.

So far as his church music is concerned, Bach may be considered as the Protestant compeer of the Roman Catholic, Palestrina, with the difference that his music was based on the tonalities of major and minor and that his harmonic