[Sidenote: _Tone of the harpsichord and spinet._]

[Sidenote: _Bach's "Music of the future."_]

The spinet, virginal, and harpsichord were quilled instruments, the tone of which was produced by snapping the strings by means of plectra made of quill, or some other flexible substance, set in the upper end of a bit of wood called the jack, which rested on the farther end of the key and moved through a slot in the sounding-board. When the key was pressed down, the jack moved upward past the string which was caught and tw.a.n.ged by the plectrum. The blow of the clavichord tangent could be graduated like that of the pianoforte hammer, but the quills of the other instruments always plucked the strings with the same force, so that mechanical devices, such as a swell-box, similar in principle to that of the organ, coupling in octaves, doubling the strings, etc., had to be resorted to for variety of dynamic effects.

The character of tone thus produced determined the character of the music composed for these instruments to a great extent. The brevity of the sound made sustained melodies ineffective, and encouraged the use of a great variety of embellishments and the spreading out of harmonies in the form of arpeggios. It is obvious enough that Bach, being one of those monumental geniuses that cast their prescient vision far into the future, refused to be bound by such mechanical limitations. Though he wrote _Clavier_, he thought organ, which was his true interpretative medium, and so it happens that the greatest sonority and the broadest style that have been developed in the pianoforte do not exhaust the contents of such a composition as the "Chromatic Fantasia and Fugue."

[Sidenote: _Scarlatti's sonatas._]

The earliest music written for these instruments--music which does not enter into this study--was but one remove from vocal music. It came through compositions written for the organ. Of Scarlatti's music the pieces most familiar are a Capriccio and Pastorale which Tausig rewrote for the pianoforte. They were called sonatas by their composer, but are not sonatas in the modern sense. Sonata means "sound-piece," and when the term came into music it signified only that the composition to which it was applied was written for instruments instead of voices. Scarlatti did a great deal to develop the technique of the harpsichord and the style of composing for it.

His sonatas consist each of a single movement only, but in their structure they foreshadow the modern sonata form in having two contrasted themes, which are presented in a fixed key-relations.h.i.+p.

They are frequently full of grace and animation, but are as purely objective, formal, and soulless in their content as the other instrumental compositions of the epoch to which they belong.

[Sidenote: _The suite._]

[Sidenote: _Its history and form._]

[Sidenote: _The bond between the movements._]

The most significant of the compositions of this period are the Suites, which because they make up so large a percentage of _Clavier_ literature (using the term to cover the pianoforte and its predecessors), and because they pointed the way to the distinguis.h.i.+ng form of the subsequent period, the sonata, are deserving of more extended consideration. The suite is a set of pieces in the same key, but contrasted in character, based upon certain admired dance-forms.

Originally it was a set of dances and nothing more, but in the hands of the composers the dances underwent many modifications, some of them to the obvious detriment of their national or other distinguis.h.i.+ng characteristics. The suite came into fas.h.i.+on about the middle of the seventeenth century and was also called _Sonata da Camera_ and _Balletto_ in Italy, and, later, _Part.i.ta_ in France. In its fundamental form it embraced four movements: I. Allemande. II.

Courante. III. Sarabande. IV. Gigue. To these four were sometimes added other dances--the Gavotte, Pa.s.sepied, Branle, Minuet, Bourree, etc.--but the rule was that they should be introduced between the Sarabande and the Gigue. Sometimes also the set was introduced by a Prelude or an Overture. Ident.i.ty of key was the only external tie between the various members of the suite, but the composers sought to establish an artistic unity by elaborating the sentiments for which the dance-forms seemed to offer a vehicle, and presenting them in agreeable contrast, besides enriching the primitive structure with new material. The suites of Bach and Handel are the high-water mark in this style of composition, but it would be difficult to find the original characteristics of the dances in their settings. It must suffice us briefly to indicate the characteristics of the princ.i.p.al forms.

[Sidenote: _The Allemande._]

The Allemande, as its name indicates, was a dance of supposedly German origin. For that reason the German composers, when it came to them from France, where the suite had its origin, treated it with great partiality. It is in moderate tempo, common time, and made up of two periods of eight measures, both of which are repeated. It begins with an upbeat, and its metre, to use the terms of prosody, is iambic. The following specimen from Mersenne's "Harmonie Universelle," 1636, well displays its characteristics:

[Music ill.u.s.tration]

[Sidenote: _Iambics in music and poetry._]

Robert Burns's familiar iambics,

"Ye flowery banks o' bonnie Doon, How can ye bloom sae fair?

How can ye chant, ye little birds, And I sae fu' o' care!"

might serve to keep the rhythmical characteristics of the Allemande in mind were it not for the arbitrary changes made by the composers already hinted at. As it is, we frequently find the stately movement of the old dance broken up into elaborate, but always quietly flowing, ornamentation, as indicated in the following excerpt from the third of Bach's English suites:

[Music ill.u.s.tration]

[Sidenote: _The Courante._]

The Courante, or Corrente ("Teach lavoltas high and swift corantos,"

says Shakespeare), is a French dance which was extremely popular in the sixteenth, seventeenth, and eighteenth centuries--a polite dance, like the minuet. It was in triple time, and its movement was bright and brisk, a merry energy being imparted to the measure by the prevailing figure, a dotted quarter-note, an eighth, and a quarter in a measure, as ill.u.s.trated in the following excerpt also from Mersenne:

[Music ill.u.s.tration]

The suite composers varied the movement greatly, however, and the Italian Corrente consists chiefly of rapid running pa.s.sages.

[Sidenote: _The Sarabande._]

The Sarabande was also in triple time, but its movement was slow and stately. In Spain, whence it was derived, it was sung to the accompaniment of castanets, a fact which in itself suffices to indicate that it was originally of a lively character, and took on its solemnity in the hands of the later composers. Handel found the Sarabande a peculiarly admirable vehicle for his inspirations, and one of the finest examples extant figures in the triumphal music of his "Almira," composed in 1704:

[Sidenote: _A Sarabande by Handel._]

[Music ill.u.s.tration]

Seven years after the production of "Almira," Handel recurred to this beautiful instrumental piece, and out of it constructed the exquisite lament beginning "_Lascia ch'io pianga_" in his opera "Rinaldo."

[Sidenote: _The Gigue._]

[Sidenote: _The Minuet._]

[Sidenote: _The Gavotte._]

Great Britain's contribution to the Suite was the final Gigue, which is our jolly and familiar friend the jig, and in all probability is Keltic in origin. It is, as everybody knows, a rollicking measure in 6-8, 12-8, or 4-4 time, with twelve triplet quavers in a measure, and needs no description. It remained a favorite with composers until far into the eighteenth century. Shakespeare proclaims its exuberant l.u.s.tiness when he makes _Sir Toby Belch_ protest that had he _Sir Andrew's_ gifts his "very walk should be a jig." Of the other dances incorporated into the suite, two are deserving of special mention because of their influence on the music of to-day--the Minuet, which is the parent of the symphonic scherzo, and the Gavotte, whose fascinating movement is frequently heard in latter-day operettas. The Minuet is a French dance, and came from Poitou. Louis XIV. danced it to Lully's music for the first time at Versailles in 1653, and it soon became the most popular of court and society dances, holding its own down to the beginning of the nineteenth century. It was long called the Queen of Dances, and there is no one who has grieved to see the departure of gallantry and grace from our ball-rooms but will wish to see Her Gracious Majesty restored to her throne. The music of the minuet is in 3-4 time, and of stately movement. The Gavotte is a lively dance-measure in common time, beginning, as a rule, on the third beat. Its origin has been traced to the mountain people of the Dauphine called Gavots--whence its name.

[Sidenote: _Technique of the Clavier players._]

[Sidenote: _Change in technique._]

The transferrence of this music to the modern pianoforte has effected a vast change in the manner of its performance. In the period under consideration emotionality, which is considered the loftiest attribute of pianoforte playing to-day, was lacking, except in the case of such masters of the clavichord as the great Bach and his son, Carl Philipp Emanuel, who inherited his father's preference for that instrument over the harpsichord and pianoforte. Tastefulness in the giving out of the melody, distinctness of enunciation, correctness of phrasing, nimbleness and lightness of finger, summed up practically all that there was in virtuosos.h.i.+p. Intellectuality and digital skill were the essential factors. Beauty of tone through which feeling and temperament speak now was the product of the maker of the instrument, except again in the case of the clavichord, in which it may have been largely the creation of the player. It is, therefore, not surprising that the first revolution in technique of which we hear was accomplished by Bach, who, the better to bring out the characteristics of his polyphonic style, made use of the thumb, till then considered almost a useless member of the hand in playing, and bent his fingers, so that their movements might be more unconstrained.

[Sidenote: _Bach's touch._]

[Sidenote: _Handel's playing._]

[Sidenote: _Scarlatti's style._]

Of the varieties of touch, which play such a role in pianoforte pedagogics to-day, nothing was known. Only on the clavichord was a blow delivered directly against the string, and, as has already been said, only on that instrument was the dynamic shading regulated by the touch. Practically, the same touch was used on the organ and the stringed instruments with key-board. When we find written praise of the old players it always goes to the fluency and lightness of their fingering. Handel was greatly esteemed as a harpsichord player, and seems to have invented a position of the hand like Bach's, or to have copied it from that master. Forkel tells us the movement of Bach's fingers was so slight as to be scarcely noticeable; the position of his hands remained unchanged throughout, and the rest of his body motionless. Speaking of Handel's harpsichord playing, Burney says that his fingers "seemed to grow to the keys. They were so curved and compact when he played that no motion, and scarcely the fingers themselves, could be discovered." Scarlatti's significance lies chiefly in an extension of the technique of his time so as to give greater individuality to the instrument. He indulged freely in brilliant pa.s.sages and figures which sometimes call for a crossing of the hands, also in leaps of over an octave, repet.i.tion of a note by different fingers, broken chords in contrary motion, and other devices which prefigure modern pianoforte music.

[Sidenote: _The sonata._]

That Scarlatti also pointed the way to the modern sonata, I have already said. The history of the sonata, as the term is now understood, ends with Beethoven. Many sonatas have been written since the last one of that great master, but not a word has been added to his proclamation. He stands, therefore, as a perfect exemplar of the second period in the scheme which we have adopted for the study of pianoforte music and playing. In a general way a sonata may be described as a composition of four movements, contrasted in mood, tempo, sentiment, and character, but connected by that spiritual bond of which mention was made in our study of the symphony. In short, a sonata is a symphony for a solo instrument.

[Sidenote: _Haydn._]

When it came into being it was little else than a convenient formula for the expression of musical beauty. Haydn, who perfected it on its formal side, left it that and nothing more. Mozart poured the vessel full of beauty, but Beethoven breathed the breath of a new life into it. An old writer tells us of Haydn that he was wont to say that the whole art of composing consisted in taking up a subject and pursuing it. Having invented his theme, he would begin by choosing the keys through which he wished to make it pa.s.s.

"His exquisite feeling gave him a perfect knowledge of the greater or less degree of effect which one chord produces in succeeding another, and he afterward imagined a little romance which might furnish him with sentiments and colors."

[Sidenote: _Beethoven._]

[Sidenote: _Mozart's manner of playing._]

Beethoven began with the sentiment and worked from it outwardly, modifying the form when it became necessary to do so, in order to obtain complete and perfect utterance. He made spirit rise superior to matter. This must be borne in mind when comparing the technique of the previous period with that of which I have made Beethoven the representative. In the little that we are privileged to read of Mozart's style of playing, we see only a reflex of the players who went before him, saving as it was permeated by the warmth which went out from his own genial personality. His manipulation of the keys had the quietness and smoothness that were praised in Bach and Handel.

"Delicacy and taste," says Kullak, "with his lifting of the entire technique to the spiritual aspiration of the idea, elevate him as a virtuoso to a height unanimously conceded by the public, by connoisseurs, and by artists capable of judging. Clementi declared that he had never heard any one play so soulfully and charmfully as Mozart; Dittersdorf finds art and taste combined in his playing; Haydn a.s.severated with tears that Mozart's playing he could never forget, for it touched the heart. His staccato is said to have possessed a peculiarly brilliant charm."