Part 5 (1/2)

The universal type of Schubert's music is the melodic. This we find in the pianoforte sonatas quite as plainly as in the songs themselves. In the minuet and march on the present program the melodic ideas are the main thing. Charmingly nave are the little waltzes upon the present list. Beautifully simple, delightfully symmetrical, their simplicity relieved by short modulations into neighboring keys, it is not possible to find elsewhere compositions so short, so simple, and yet so beautiful. In spite of their brevity and simplicity, the student will find them worth knowing thoroughly. It is also an excellent exercise for the student to learn some of these by heart and to play them in several different keys.

As an ill.u.s.tration of Schubert's cleverness in treating the pianoforte, which is already sufficiently evident in the dramatic accompaniments of his larger songs, before mentioned, attention is called to the Impromptu in B-flat--the air and variations known as ”The Fair Rosamunde,” the t.i.tle due to the appearance of this melody in his opera of ”Rosamunde.” At least three of these variations display great finesse in treating the pianoforte. The first needs to be done with the utmost delicacy and lightness, the melody suggested rather than brought out. The third has a new rhythm and a melodic secondary figure in the left-hand part, which, taken with the treatment of the variation in the right-hand part, gives this piece a wholly new content and effect. The fourth, again, is equally novel and equally significant for the pianoforte. The remaining variations are of little importance, although, as a matter of course, all are to be played.

Mendelssohn as pianoforte composer represents two very important and characteristic moods--the scherzo and the song without words. It is probable that by the good fortune of the latter name for his collections of little piano pieces Mendelssohn rendered the musical world a greater service than he did even by the elegant quality of his compositions themselves. It was the happy thought of the t.i.tle which at once puts the listener upon the right track, and disposes him to try to discover what the words of the unworded songs ought to be. It was a fortunate guess rather than a something thought out by reason, and if he had been pressed to a.s.sign a reason for including some of these pieces under the name, he would probably have been driven to confess that they were so included because he did not know what else they were.

The ”Songs Without Words” embody many types, the most important being the true cantabile--pieces in which there is a flowing lyric melody with a soft accompaniment. These pieces are in effect nothing else than ”nocturnes,” quite after the manner of Chopin, only less elaborate in treatment and less extended. Among the best types of this cla.s.s are to be mentioned the first, the two folk-songs in the program following, and the duetto. In all these the connected legato of the melody is of the first importance; and, second, the proper sinking and swelling of the melody in the true manner of impa.s.sioned singing. The accompaniment follows closely and shares in the fluctuations of intensity and mood.

Another type of these pieces is ill.u.s.trated by the eighth, in B-flat minor. This piece, which has the speed and restless movement of a scherzo, has also the true Mendelssohnian flavor of sweet melancholy.

It goes at great speed, and often the melody is suggested by an accent rather than fully expressed. Such cases are found in measures 3 and 4, and elsewhere. In these instances there is a fragment of melody in the middle voice.

Somewhat between the cantabile type and the scherzo is to be mentioned the ”Table Song,” No. 28, in G. This is like a part-song of light and pleasant yet somewhat sentimental character, suitable to be sung at table.

As a composer for voice, Mendelssohn attained a very high rank, producing melodies of great sweetness (yet often also of inherent coldness) and very singable. One of the most beautiful examples of this kind is found in the ”O for the Wings of a Dove,” first sung as soprano solo and then later for chorus, in his setting of a psalm.

Another well-known example for alto is the ”O Rest in the Lord.” The latter melody derives additional beauty from the contrast it makes with the rather dramatic place in the oratorio where it occurs. Further ill.u.s.trations of Mendelssohn's powers in this direction may be taken from the list above, which there is not time at present to discuss more fully.

The part-songs of Mendelssohn for mixed voices deserve to be more frequently sung. They are extremely beautiful and delightfully written for the voices. While of moderate difficulty, they belong among the very best of part-songs for unaccompanied mixed voices. The omission of the accompaniment is of very great importance, as these pieces are strictly written in such a manner that the voices have the complete ideas, both melody and harmony, and when given independent of accompaniment it is possible to obtain a purer intonation and better sympathy.

The present program permits a somewhat greater lat.i.tude of arrangement of parts than those of the preceding chapters. The works do not contrast with each other exactly as was sought in previous programs, but rather form phases of lyric melody, to be sung in such order and combination as best suits the performers, taking care however, that an agreeable succession of keys is generally observed.

PROGRAM.

Schubert: Waltzes.

Minuet, opus 79.

March, from four-hand collection.

”Fair Rosamunde and Variations.”

Songs: ”Hedge Roses.”

”Wanderer.”

”Hark! Hark! the Lark.”

”Gretchen.”

”Fruhlingsglaube.”

Mendelssohn: Songs Without Words. The first.

”Hunting Song,” No. 3.

”Folk-song,” No. 4.

”Gondellied,” No. 6.

B-flat minor, No. 8.

”Table Song,” No. 28.

Duetto, No. 18.

Overture to ”Midsummer Night's Dream”; four hands.

”O rest in the Lord.”

”If with all your hearts.”

”It is enough.”

Scene from ”Elijah,” ”Lord G.o.d of Abraham,” etc.