Part 28 (1/2)

Scandinavian music, as far as the outside world is concerned, practically centres about the Norwegian co[332]

(1843-1907) just as its dramatic art centres about Ibsen The naian composers deserve mention: the pioneers Kjerulf (1815-1868) noted for his s; Svendsen (1840-1911) endoith a fine sense for orchestral color; and Nordraak (1842-1866) the first self-conscious representative of the Norwegian spirit: a talented --his promise cut short by an early death In(1856-still living) whose songs and poetic pieces for the pianoforte have becoian music we find the exuberant rhythhly colored scenery of that sun-lit land[333] Grieg, a born lyric poet saturated with folk-music, has es and descriptive pianoforte pieces; though in his Pianoforte Concerto, in his Peer Gynt Suite, in the Violin Sonatas and String Quartet he proved that he was not lacking in power to handle larger forms But most of his work is in miniature--the expression, like the music of Schubert and Chopin,[334] of 's ian folk-dances and folk- far more He has evoked froinal harhly his own He rand, mais je bois danssunshi+ne and the breezes of the North

In fact, Grieg was the first popular iit from academic routine his fame will endure We have cited in the Supples--the _ for string orchestra--and a pianoforte piece which illustrates his rhythmic life and also in certain iantone, _ie_, G, F-sharp, D

[Footnote 332: The best biography in English is that by HT Finck; the work, however, is so the summer solstice it is dark for only a few hours; and further north, in the land, so-called, of the Midnight Sun, for a feeeks there is perpetual daylight]

[Footnote 334: He was called by Bulow the Chopin of the North]

For a complete appreciation therefore of national music, we must always take into consideration the traits and environ Music, to be sure, is a universal language, but each nation has used this language in its oay The ained fro upon universality of appeal

[Footnote 335: An admirable treatment of the whole subject may be found in Vol III of _The Art of Music_]

CHAPTER XX

THE VARIED TENDENCIES OF MODERN MUSIC

Modernof the twentieth century--is certainlysurvey has shown to be inherent in its nature: that is, it has grown by a course of free experiest of the arts, and it is a hue as well as a fine art Hence we find thatexperiments in dissonance, in rhythmic variety, in subtle blends of color and, above all, in the treatment of the orchestra In comparison with achievements in the other artslimited by no practical or utilitarian considerations, and e the boundless possibilities of sound and rhythm, there is so , that est as well as the oldest of the arts, becoinally had iinative life can never die, yet nition simply because they have been superseded by er listen hole-hearted enthusiass and pianoforte pieces, because Brahiven us better ones

These experiments, just referred to, have been particularly notable on the part of two coroup, Stravinsky and Scryabin Stravinsky,[336] in his brilliant pantomime ballets, _L'Oiseau du Feu_, _Petroushka_, and _Le Sacre du Printe of the essence of genius to create so absolutely new These works, in their expressive inality and picturesque orchestration, have widened the bounds of musical characterization Scryabin[337]

(1871-1915) is noted for his esoteric harmonic scheme, shown in a series of pianoforte preludes, sonatas and, above all, in his orchestral works, the _Divine Poem_, the _Poem of Ecstacy_ and _Prometheus_ or _Poereat power, and, as previously said of Debussy in his earlier days, his iination has undoubtedly heard sounds hitherto unrealized The sensational style of _Promented by the use of a color machine which flashes upon a screen hues supposed to supplement the various moods of the music How many of these experiments will be incorporated into the accepted idiom of music, time alone will tell; but they prove conclusively thattrue to that spirit of freedo

[Footnote 336: For a detailed account of his life and works consult the essay in _Conteu-Nathan and Vol III of _The Art of Music_]

[Footnote 337: For a comprehensive esti works will prove useful: the _Biography_, by Eaglefield Hull; the Essay, by Montagu-Nathan in the volume referred to, and an article by WH Hadow in the Musical Quarterly for Jan 1915]