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The master transcribed the works of these composers with his own hands, and arranged the violin concertos of Vivaldi for the harpsichord and organ. It is ever with the greatest artists. They assimulate all the forms of kindred art, yet never sacrifice their individuality.
We now begin to feel how definitely these rules treat everything. They pick out the important subjects and tell the simplest truth about them. The meaning of these two rules is this: From the beginning we must try to understand the grammar of music. Some of the great composers could in childhood write down music with the greatest fluency.
How about it can we count on you to be among those prominently present?" Forewarned is forearmed, and you know all about this person already. You know him to be one of the elect in the most exclusive musical coterie of your fair city, wherever your fair city may be. You know him to be on terms of the utmost intimacy with the works of all the great composers.
Brockway was born in Brooklyn, November 22, 1870, and studied piano with H.O.C. Kortheuer from 1887 to 1889. He went to Berlin at the age of twenty and studied the piano with Barth, and composition with O.B. Boise, the transplanted American. Boise gave Brockway so thorough a training that he may be counted one of the most fluent and completely equipped American composers.
Similar remarks might be quoted by the score from the letters of composers and other great men devoted to music, showing that music is valued like a personal friend who is always ready to sympathize with our joys and sorrows.
A prominent critic asserts that "the world is still hungry" for florid singing. "It is altogether likely," continues this writer, "that composers would begin to write florid works again if they were assured of competent interpretation, for there is always a public eager for music of this sort."
He was very exact about the phrasing, "What cannot be sung in one breath cannot be played in one breath," he said; "many composers have their own terms for expression and interpretation; Brahms is very exact in these points next to him comes Mendelssohn. Beethoven not at all careful about markings and Schumann extremely careless. Brahms, Beethoven, and Wagner have the right to use their own terms.
And yet the great opera composer who is to come in great likelihood will be a disciple of Gluck, Mozart, and the Wagner who wrote "Tristan und Isolde" and "Die Meistersinger" rather than one of the tribe of Debussy. The great opera composers of the nineteenth century were of one mind touching the greatness of "Don Giovanni."
There remains yet another current in the stream of musical development of at least equal importance with the growth of dance and song. I cannot here enter fully into the history of ecclesiastical music. We are only concerned with the influence exerted by Dutch and Italian composers of the fifteenth and sixteenth centuries upon the development of later German music.
The French composers seem to excel in marches, in lively airs that abound in striking passages calculated for the popular taste, and yet more particularly in those simple melodies they call romances: they are often in a very charming and singular style, without being either so delicate or affecting as the Italian.
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