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"Have you never, in a dream, listened to the most glorious strains, the ideas of unknown composers who have made use of pure sound as nature has hidden it in all things, sound which we call forth, more or less perfectly, by the instruments we employ to produce masses of various color; but which in those dream-concerts are heard free from the imperfections of the performers who cannot be all feeling, all soul?
In these responsoria he always sang along with his sons, and in cantu figurali he sang the alto." The alto which Luther sang must not be confounded with the alto part of to-day. Here it means the cantus firmus, the melody around which the old composers wove their contrapuntal ornamentation. Luther was the creator of German congregational singing.
This teaches you that true and simple tone-sentences, like similar word-sentences, must have for their object to say the fullest and clearest meaning in as little space as possible. For many hundreds of years thoughtful composers have studied about this. They have tried in every way to discover the secrets underlying tone-writing so that the utmost meaning should come out when they are united.
He does everything consummately: really, we are all sensible of it. I am. He must lead us in a symphony. These light "champagne overtures" of French composers, as Mr. Fenellan calls them, do not bring out his whole ability: Zampa, Le Pre aux clercs, Masaniello, and the like. 'Your duet together went well. 'Thanks to you to you. You kept us together.
These are but a few of the more important instances in musical history, which go to show that woman's influence is responsible for many works in connection with which her name does not appear at first glance. The actual women composers, however, form a long and honourable list, and are by no means confined to the present period of female emancipation.
Singers left or pleaded some excuse at the last moment; rival composers produced opera after opera in hope of eclipsing him; critics, for and against, entered into a protracted war of words and wit; and finally Gluck's opponents, under the lead of Madame Du Barry, brought in the Italian Piccini, with the avowed intention of obliterating Gluck's fame.
But the reason modern French composers give the viola special attention is because France now is ahead of the other nations in virtuose viola playing. It is practically the only country which may be said to have a 'school' of viola playing. In the Smetana quartet the viola plays a most important part, and Dvořák, who himself played viola, emphasized the instrument in his quartets.
And he not only avoided puffing his own compositions, but even inserted a contribution by his friend Kossmaly in which he was placed in the second rank of vocal composers! Yet, though he printed the article, he complains about it in a private letter: "In your article on the Lied, I was a little grieved that you placed me in the second class.
If one were set upon paradox, it would not be far from the truth to say that up to the middle of the nineteenth century the most famous French composers had been either German or Italian.
The rococo element jarred. Even the Hudson and the Susquehanna perhaps the Potomac itself had often risen to drown out the gods of Walhalla, and one could hardly listen to the "Gotterdammerung" in New York, among throngs of intense young enthusiasts, without paroxysms of nervous excitement that toned down to musical philistinism at Baireuth, as though the gods were Bavarian composers.
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