Part 15 (1/2)

Rubinstein: Tarantelle in B minor.

”Kamennoi-Ostrow,” No. 22.

Valse Caprice, in E-flat.

Barcarolle in G major.

”La Melancholic.”

”Polka Boheme.”

Melodie in F.

Staccato Study in C major.

Tschaikowsky: Scherzo from Opus 2.

Barcarolle in G minor. Opus 37. No. 6.

Song without Words. In F major. Opus 12.

”Weihnachten” Waltz. Opus 37, No. 1.

Songs (_ad lib._).

Polonaise from ”Eugen Onegin,” arranged by Liszt. Or Waltz from ”Eugen Onegin,” arranged by Pabst.

Excellent four-hand arrangements are to be had of all the orchestral works by Rubinstein and Tschaikowsky. Address the publishers of this work for particulars.

CHAPTER V.

THE LATER ROMANTICISTS.

Among the numerous composers of Germany in recent times, of whom there are a very large number worthy of special notice, there are four who, by reason of their personal qualities and the general directions in which they have expressed their talent, demand special attention.

Their names are Adolf Jensen, Xaver Scharwenka, Moritz Moszkowski, and I. J. Paderewski. As will be noticed from the names, three of these artists are Polish in nationality and stock.

Adolf Jensen (born at Konigsburg, January 12, 1837; died January 23, 1879) was mainly a self-taught composer, inasmuch as he had only two years' instruction. Nevertheless, at the age of twenty he was sufficiently advanced to be appointed conductor of the orchestra at Posen. Afterward he lived in Russia, and at Copenhagen, and was finally back as teacher in the school of Tausig, in Berlin. Very soon afterward, however, he contracted a pulmonary disease, which was the cause of his death.

Jensen was a very prolific composer in many departments, but especially brilliant as a song writer and as a composer of romantic pieces for the pianoforte. As a song writer, Riemann considers him the legitimate successor of Schumann; and among the hundreds of songs which he produced are many of very great beauty. His piano pieces are elegantly written,--somewhat Schumannesque in point of style, although not nearly so rugged and much more fluent,--and the pieces on the program below give a sufficiently fair idea of the general features of his style in this department. The selection of songs may, perhaps, be left to the convenience and taste of the singers, since it is impossible to designate any two or three songs of his which so fully ill.u.s.trate his capacity as to be held up as models of all the rest.

The second upon the list is Xaver Scharwenka, born at Samper, January 6, 1850. He was educated at the Kullak School, in Berlin, and at the age of eighteen was appointed teacher in Kullak's Academy. His first concert appearance was made at the age of nineteen in the Sing-Akademie, with great success, and his reputation as a distinguished and accomplished player was almost immediately established, and was strengthened by numerous appearances for years.

In 1881 he opened in Berlin the Scharwenka Conservatory, which is still in existence, his older brother, Philip, upholding there the family name.

Scharwenka made a very marked impression on the musical world by his earlier compositions, an impression which perhaps has not been fully reinforced by some of his later works, which seem, somehow, to be wanting in those qualities of spontaneity and innate grace of style which distinguished the earlier pieces. The best work from his pen, undoubtedly, is the first concerto for piano, which is one of the cleverest works in this department of recent years. He is the author of a large amount of chamber music and pieces of different sorts. The most popular of all his compositions is the well-known ”Polish Dances.”

One of the most meritorious is the theme and variations on the program below.

I. J. Paderewski, the famous piano virtuoso, is so well known that particulars are, perhaps, not necessary in his case. He was born November 6, 1859, at Polodien. He has written a considerable number of pieces for the piano and for chamber instruments, and a little for orchestra. His music is melodious and sentimental, occasionally brilliant. Opinions differ very much in regard to the essential originality of his melody, numerous resemblances existing between his successful pieces and others which have been popular some time earlier.

At any rate, he is an interesting personality, with a certain natural grace and style which ent.i.tle him to consideration. The most highly esteemed of his compositions are the three upon the list below, although no one of the pieces of his which attained American popularity is here included.

The most distinguished of this entire group is Moritz Moszkowski, the well-known composer and pianist, who was born August 23, 1854, at Breslau, the son of a Polish father. He had his early musical training at Breslau and Dresden, and later at Berlin, where for many years he has been established as a teacher. He early attracted attention as a pianist, and very soon also began to be distinguished as a composer.

He has produced a large number of piano pieces of various sorts, many compositions for orchestra, songs, etc. His music is melodious and artistic, although, as a rule, of no great depth. Among the more attractive of his works are the pieces on the present list. His fascinating little Serenata in D major for piano will be remembered, as well as a number of more _ad captandum_ pieces which he has turned out at different times.

PROGRAM.

Scharwenka: Theme and Variations.