Part 9 (2/2)

Concertos for pianoforte or violin are usually written in three movements, of which the first and last follow the symphonic model in respect of elaboration and form, and the second is a brief movement in slow or moderate time, which has the character of an intermezzo. As to the nomenclature of chamber music, it is to be noted that unless connected with a qualifying word or phrase, ”Quartet” means a string quartet. When a pianoforte is consorted with strings the work is spoken of as a Pianoforte Trio, Quartet, or Quintet, as the case may be.

[Sidenote: _The Overture._]

[Sidenote: _Pot-pourris._]

The form of the overture is that of the first movement of the sonata, or symphony, omitting the repet.i.tion of the first subdivision. Since the original purpose, which gave the overture its name (_Ouverture_ = aperture, opening), was to introduce a drama, either spoken or lyrical, an oratorio, or other choral composition, it became customary for the composers to choose the subjects of the piece from the climacteric moments of the music used in the drama. When done without regard to the rules of construction (as is the case with practically all operetta overtures and Rossini's) the result is not an overture at all, but a _pot-pourri_, a hotch-potch of jingles. The present beautiful form, in which Beethoven and other composers have shown that it is possible to epitomize an entire drama, took the place of an arbitrary scheme which was wholly aimless, so far as the compositions to which they were attached were concerned.

[Sidenote: _Old styles of overtures._]

[Sidenote: _The Prelude._]

[Sidenote: _Gluck's principle._]

[Sidenote: _Descriptive t.i.tles._]

The earliest fixed form of the overture is preserved to the current lists of to-day by the compositions of Bach and Handel. It is that established by Lully, and is tripart.i.te in form, consisting of a rapid movement, generally a fugue, preceded and followed by a slow movement which is grave and stately in its tread. In its latest phase the overture has yielded up its name in favor of Prelude (German, _Vorspiel_), Introduction, or Symphonic Prologue. The finest of these, without borrowing their themes from the works which they introduce, but using new matter entirely, seek to fulfil the aim which Gluck set for himself, when, in the preface to ”Alceste,” he wrote: ”I imagined that the overture ought to prepare the audience for the action of the piece, and serve as a kind of argument to it.” Concert overtures are compositions designed by the composers to stand as independent pieces instead of for performance in connection with a drama, opera, or oratorio. When, as is frequently the case, the composer, nevertheless, gives them a descriptive t.i.tle (”Hebrides,” ”Sakuntala”), their poetical contents are to be sought in the a.s.sociations aroused by the t.i.tle. Thus, in the instances cited, ”Hebrides” suggests that the overture was designed by Mendelssohn to reflect the mood awakened in him by a visit to the Hebrides, more particularly to Fingal's Cave (wherefore the overture is called the ”Fingal's Cave” overture in Germany)--”Sakuntala” invites to a study of Kalidasa's drama of that name as the repository of the sentiments which Goldmark undertook to express in his music.

[Sidenote: _Serenades._]

[Sidenote: _The Serenade in Shakespeare._]

A form which is variously employed, for solo instruments, small combinations, and full orchestra (though seldom with the complete modern apparatus), is the Serenade. Historically, it is a contemporary of the old suites and the first symphonies, and like them it consists of a group of short pieces, so arranged as to form an agreeable contrast with each other, and yet convey a sense of organic unity.

The character of the various parts and their order grew out of the purpose for which the serenade was originated, which was that indicated by the name. In the last century, and earlier, it was no uncommon thing for a lover to bring the tribute of a musical performance to his mistress, and it was not always a ”woful ballad”

sung to her eyebrow. Frequently musicians were hired, and the tribute took the form of a nocturnal concert. In Shakespeare's ”Two Gentlemen of Verona,” _Proteus_, prompting _Thurio_ what to do to win _Silvia's_ love, says:

”Visit by night your lady's chamber window With some sweet concert: to their instruments Tune a deploring dump; the night's dread silence Will well become such sweet complaining grievance.”

[Sidenote: _Out-of-doors music._]

[Sidenote: _Old forms._]

[Sidenote: _The ”Dump.”_]

[Sidenote: _Beethoven's Serenade, op. 8._]

It was for such purposes that the serenade was invented as an instrumental form. Since they were to play out of doors, _Sir Thurio's_ musicians would have used wind instruments instead of viols, and the oldest serenades are composed for oboes and ba.s.soons.

Clarinets and horns were subsequently added, and for such bands Mozart wrote serenades, some of which so closely approach the symphony that they have been published as symphonies. A serenade in the olden time opened very properly with a march, to the strains of which we may imagine the musicians approaching the lady's chamber window. Then came a minuet to prepare her ear for the ”deploring dump” which followed, the ”dump” of Shakespeare's day, like the ”dumka” of ours (with which I am tempted to a.s.sociate it etymologically), being a mournful piece of music most happily characterized by the poet as a ”sweet complaining grievance.” Then followed another piece in merry tempo and rhythm, then a second _adagio_, and the entertainment ended with an _allegro_, generally in march rhythm, to which we fancy the musicians departing. The order is exemplified in Beethoven's serenade for violin, viola, and violoncello, op. 8, which runs thus: _March_; _Adagio_; _Minuet_; _Adagio_ with episodic _Scherzo_; _Polacca_; _Andante_ (variations), the opening march repeated.

[Sidenote: _The Orchestral Suite._]

[Sidenote: _Ballet music._]

The Suite has come back into favor as an orchestral piece, but the term no longer has the fixed significance which once it had. It is now applied to almost any group of short pieces, pleasantly contrasted in rhythm, tempo, and mood, each complete in itself yet disclosing an aesthetic relations.h.i.+p with its fellows. Sometimes old dance forms are used, and sometimes new, such as the polonaise and the waltz. The ballet music, which fills so welcome a place in popular programmes, may be looked upon as such a suite, and the rhythm of the music and the orchestral coloring in them are frequently those peculiar to the dances of the countries in which the story of the opera or drama for which the music was written plays. The ballets therefore afford an excellent opportunity for the study of local color. Thus the ballet music from Ma.s.senet's ”Cid” is Spanish, from Rubinstein's ”Feramors”

Oriental, from ”Ada” Egyptian--Oriental rhythms and colorings being those most easily copied by composers.

[Sidenote: _Operatic excerpts._]

[Sidenote: _Gluck and Vestris._]

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