Pa.s.sages which to the casual player seem dry and forbidding, when properly interpreted, and played gently and melodiously as Brahms demanded, reveal themselves full of an inner warmth and ideality such as no recent master has surpa.s.sed or equaled.

From the piano-playing side these new effects rest upon the utmost equality and suppleness of the fingers, a much wider extension of the hand than any previous composer demanded (save possibly Schumann in the "Kreisleriana" and the "Phantasie"), and a melodic quality in all the voices. When to these are added the necessary discrimination of touch and the clear definition of the contrasting voices, together with a sensitive and changeful use of the pedal, the new worlds open.

Beginning with the most advanced of these technical unfoldings, let us take the variations upon a theme from Paganini, of which there are two books. At first view the variations in the first book seem to address themselves exclusively to technical objects, the first variation containing a succession of sixths in the right hand which is extremely trying, the second variation having the same succession for the left hand. In the third variation a very capricious figure is taken as pattern, and the piano is covered in a new way. In the fourth variation there is a long capricious figure and trills high up in the treble with the weak fingers of the right hand. These trills are afterward transferred to the ba.s.s, where the thumb and second finger have them, the design being apparently technical. In the fifth variation a very characteristic trick of Brahms' music is brought out in strong light. It is his way of carrying on together a cantus firmus in two's and a counterpoint in three's. All his writing is full of this expedient, one design of which is to mystify the rhythm and to impart to the music a more flowing and ideal character, and at the same time to concentrate the attention of the player upon the large meter, with which these conflicting two's and three's never interfere. In the sixth variation a syncopated effect. In the seventh, very brilliant octave effects. In the eighth a sort of caprice. In the ninth, an extremely brilliant octave effect. In the tenth, the excitement quiets a little, and the variation begins _sotto voce_. In the eleventh, we enter the major key, and a very delightful and beautiful effect is here produced. The twelfth, again, begins to contain greater difficulties, and our old friend of the two's and three's greets us. The thirteenth, a very brilliant octave variation, which in the fourteenth is carried to a still higher point, and leads immediately to a finale, which concludes the first book.

In the second book technical discussion of this theme is resumed with some running thirds in the ba.s.s, which are very troublesome; and in the course of this second book a variety of highly ingenious technical effects are unfolded, almost any one of which affords practice for a very good player for quite a long time. In fact, from a technical point of view, a moderately accomplished pianist might spend perhaps a year in mastering these variations, and at the end of the time would be unable to play them with any artistic effect, unless exceptionally gifted. At the same time, in spite of the technical complication and the apparent absorption in technical treatment of the instrument which these variations show, they each and every one have a legitimate musical object, and when played with a sufficiently masterly technic--as, for instance, by Joseffy, G.o.dowsky, or Rosenthal--they are among the most interesting examples of the evolution of piano playing.

Similar qualities also show themselves in the earliest set of variations upon a theme of Schumann's, and in the beautiful variations upon an original theme in D major, opus 21; but perhaps even better than anywhere else in the variations upon a theme of Handel, opus 22, where the beautiful, the musically fresh and pleasing, and the technically unforeseen meet and intermingle with one another.

The Handel variations begin somewhat modestly, and as the theme is in the major mode and the harmonies limited almost entirely to tonic and dominant, Brahms was almost compelled to be simple and melodious at times. He contents himself in the earlier variations with rhythmic complications, which are very ingenious and delightful, particularly in the second variation, where a chromatic movement in two's is accompanied in the soprano by a triplet formation. It is doubtful whether any pianoforte work of recent times affords such a brilliant ill.u.s.tration of how much can be done in art by a fortunate combination of constructive ability of the most masterly character with high ideality as Brahms has given in these variations upon the Handel theme.

They are, at the same time, musical, melodious, rhythmically interesting. The student will do well if he desires a lesson in musical evolution to refer to the variations in their original form as written by Handel. They can be found in the Handel "Lessons for the Harpsichord," edited by Kohler, in the Peters edition. Handel gives but five variations, and these are all of very moderate difficulty.

Nevertheless, while they were written for the use of amateurs, they contain nearly all of the Handel art of variation-making, as the reader can easily satisfy himself by comparing their treatment with that in the famous "Harmonious Blacksmith" variations in E major.

A very remarkable, and at present almost unknown, chapter of the Brahms cult is afforded by his four Ballads, opus 10. These are short,--only about four pages each,--and when properly interpreted are very n.o.ble and beautiful. The first, in D minor, has an opening theme of a very serious and almost antique character, like an old ballad. After one page of this a second subject comes, allegro, in D major, very much more dramatic and broken. This lasts about a page; the princ.i.p.al theme is resumed again, with certain variations of treatment, and the whole concludes at the end of the third page. The second ballad is of a softer and more tender character in its princ.i.p.al subject, and very beautiful it is, too; but the second subject, in B minor, is very emphatic in rhythm, and is followed by a middle piece in B major, in 6/4 time, which is rather difficult to play satisfactorily to one's self. Then the second subject returns, and finally the first, in the key of B major, changing afterward to minor, and thus the end. The third ballad is marked intermezzo, and has the character of a scherzo.

It is rather difficult. The fourth ballad, again, is a purely lyric composition, and is precisely what its name implies--a story, a melody with a past. The middle piece of this ballad is in F-sharp major, the original key of the whole being B major, and there is a very pretty and reposeful melodic effect. Nevertheless, the tonality of the piece throughout is extremely vague, no key being adhered to for any length of time, but modulations occurring with a free hand. This ballad is carried out to the extent of eight pages, and is the longest of the lot.

A careful study of these ballads will show them to be works of the deepest poetry, which, while never appealing to the player in search of the grateful and effective, nevertheless richly reward the most intimate acquaintance, and show themselves full of ideality and musical suggestiveness. That they are devoid of all kinds of pa.s.sage work and pianoforte effects, as such, is merely another way of saying that they are entirely and exclusively loyal to the ideal and the poetic; and these elements in them must eventually give them long life.

A lighter side of the Brahms cult is shown in the Waltzes, opus 39.

There are sixteen of these, all short, and very poetic and not at all forbidding in their manner of writing. One or two of them are quite difficult; as, for instance, No. 6. Most of them, however, are within the reach of players of medium grade.

The later works of Brahms have already begun to find currency in the more advanced musical circles in Europe, but for some time after their first publication their value was persistently denied, and they are as yet entirely unknown to the amateur. The following works have been selected as on the whole representing the later development of Brahms to the greatest advantage.

The first intermezzo in opus 119 is in B minor, adagio. A very ideal and poetic movement, requiring, however, to be played with great delicacy and a deep and musical tone, which rarely rises to forte. The other intermezzi of this book I do not much care for. In the opus 116, the fourth number, ent.i.tled Intermezzo, is also a very beautiful adagio in E major, and it is one of the most poetic and delightful short pieces for the piano of any recent master. Both these pieces are of quite moderate difficulty. Of a somewhat more dramatic and diversified character is the second intermezzo in the opus 116. This is in A minor, with a somewhat capricious middle piece. The great beauty of these short, slow movements of Brahms is the moderation with which they are treated, and, at the same time, the masterly manner in which the interest is kept up to the end. The most fortunate ill.u.s.tration of Brahms' treatment of the piano in the dramatic and highly moved direction is afforded, perhaps, by the second of the rhapsodies, opus 79. These are in no respect to be mentioned in connection with the rhapsodies by Liszt, which, as is well known, are somewhat _ad captandum_ show pieces founded upon popular airs. The Brahms rhapsody is a poetic rhapsody, perhaps such as the rhapsodists of Greece used to deliver; and in this particular case the music is very dramatic and strongly marked, and at the same time the treatment of the piano is free and the effect brilliant. It is, however, considerably more difficult than any of the pieces mentioned above except the Paganini variations.

This program might well be diversified by a few songs of Brahms; and for this purpose selections may as well be made from the first book of songs by this writer as from any other, as they are among his best-known works.

The first volume of selected songs of Brahms contains six. The first one,--

"O sink, O sink thy grief, my child, To the bottom of the deep, deep sea,"--

is founded upon a poem by Robert Reinick. In the edition which I notice (Schirmer) there are three texts--German, English, and French.

This song is of a very serious and impa.s.sioned character, the melody somewhat slow and deliberate. The accompaniment, as so often happens in the songs of Brahms, is purposely developed out of a different rhythmic figure from that of the song itself. In this instance the melody runs in pulses and half pulses, whereas the accompaniment runs in triplets; that is to say, the chords in the right hand run in triplets, while the ba.s.s preserves the rhythm of the song itself. The entire rhythmic sense is sustained, or nearly sustained, by half-pulse motion, running at the same time with a continually sustained triplet motion, three to a pulse.

The musical handling of this song presents several peculiarities, the most notable of which is the entrance of the ba.s.s upon a dissonance, which at the same time is an advance imitation (to speak Hibernically) of the leading motive of the melody. The effect of this combination with the rhythmic figure already noticed gives the song a much more impa.s.sioned character than it would otherwise have.

It would be difficult to say why Brahms has so long remained unpopular with singers, considering how well he uses the voice. In the second line, "A stone, alas, in the sea will sink; my grief returns to me,"

the lower part of the accompaniment is at the same pitch and identical with the melody itself, but the voice breaks through at the emphatic climax of the phrase, "grief." This is taken upon high G-flat, and is supported with full harmony by both hands, giving the effect of a much stronger harmonic climax, and also affording the singer the needed a.s.sistance in maintaining the high pitch.

The second song in the series is a very beautiful one, "To a Violet."

This is on a poem by Holty, beginning:

"Hide, O flow'ret, within thy blue recesses, Hide these pale dews of sorrow."

The entire effect of the song and the accompaniment is extremely tender and delicate, one of the important features in the artistic effect being the arpeggios of the accompaniment, which is throughout in sixteenth-note motion, whereas the melody, in 6/8 time, runs in dotted quarters and eighths.

Another very famous piece, which comes in this volume, is, "Like a Blossoming Lilac My Love Is Fair," here written in the fearfully uninviting key of D-sharp minor. It is poetic and lyric in the extreme, and a more charming selection can not be found.

The next song is "The Old Love," on a poem by Candidus. This is a moderate movement:

"The dusky swallow flieth toward her northern home, The songsters build and flutter beneath the leafy dome; The morn is warm and cloudy, the sky bedimmed with rains, My heart awakes from slumber to old forgotten pains."

Then comes "To a Nightingale," and, last of all, "In Summer Fields."

In closing this somewhat extended discussion of the works of Brahms the writer desires to emphasize the importance of this music and its inherent beauty. In consequence of the entire absence of show pa.s.sages in the Brahms works, and his uniform adherence to lofty and poetic ideals, together with his fondness for deep and somewhat mystical and meditative effects, his nature has been misunderstood by the greater part of the musical world. It has been charged against him that his music is purely mechanical in its construction, and that he took delight in putting together forbidding and repelling figures without regard for the convenience of players or the pleasure of the hearers.

The tone of the previous discussion is perhaps sufficiently clear to define the position of the present writer in regard to this notion.

Nevertheless, it is perhaps well to say something a little more definite, and this I will do presently.

It is to be observed, further, that the Brahms symphonies have at length made their way, and are heard now with pleasure in all parts of the world where enlightened audiences listen to orchestral music. Even the Fourth, which in some respects is less attractive at first sight than the others, awakened very great popular applause when it was last played by the Chicago Orchestra, and the Second Symphony is universally recognized throughout the world as a very beautiful masterpiece.

However, Brahms has written about 100 songs which have more or less entered into the current of concert appearance, and there are not two opinions concerning their general melodiousness, rare musical quality, and exquisitely poetical effect. But they require beautiful and true voices, finished art of the singer, and, from the accompanist, a real mastery of the instrument. That these qualities are, unfortunately, not always provided by our musical education is one of the reasons why the public at large has made the acquaintance as yet of only a limited number of these songs, among which those in the list above are the best known.

In the judgment of the present writer it is as certain as anything in the future can be that the works of Brahms are destined to enter into the pantheon of the cla.s.sical in musical art; and are ent.i.tled to that distinction by the purity and beauty of their style no less than by the intense originality of the ideas themselves and of their treatment.

Musical students, therefore, are earnestly recommended not to permit themselves to be discouraged by the difficulties which their first acquaintance with Brahms will reveal. It is, first, to play the pieces; and, second, to play them in a musical way; then, if the instrument itself is of a musical tone, with a good singing quality, the beauties of the works will more and more appear, and the study will become a delight and an inspiration no less than a great technical education.

PROGRAM.

Symphony in E minor. Four hands. (Schirmer.) Waltzes, opus 39.

Variations upon a Theme by Handel. Opus 21.

Four Ballads. Opus 10.

Intermezzo, No. 1, opus 119.

Intermezzo, No. 4, opus 116.

Rhapsody, No. 2, opus 79.

Serenade in D major. Four hands.

Songs ad libitum.

If it is possible to command the services of capable instrumentalists, very attractive modifications of the foregoing program can easily be made.

CHAPTER III.

GRIEG.

EDVARD GRIEG.

Born 1843, at Bergen, Norway.

Edvard Hagerup Grieg was born June 15, 1843, at Bergen, Norway. His musical talent a.s.serted itself early, and fortunately his parents were able to provide him with the best of conditions for its development.

The famous violinist Ole Bull was a friend of the family and encouraged him to devote himself to the musical profession. In 1858 Grieg went to Leipsic to study under Moscheles, Hauptmann, Wenzel, and Reinecke. He graduated in 1862, receiving praise for one or two small compositions which were played at the final rehearsal, but he was not considered as marked for certain distinction.

Soon after he went to Copenhagen and studied with Gade. Here he met a compatriot, Nordraak, with whom he struck up a warm friendship. The latter, so it is said, imbued Grieg with the idea of giving form and expression to the national spirit and life, and from that time on he devoted himself a.s.siduously to national music, literature, and folk-lore.

Later he married Miss Nina Hagerup, a popular Norwegian singer, who has helped to make his songs well known in all Europe.