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Updated: May 29, 2025
At Oxford he earned a degree with honors. His musical instructors include Speidel, Lebert, and Pruckner, at Stuttgart, Huff the contrapuntist at Frankfort, and Vannucini, who taught him singing, at Florence. He made also a special study of light opera under Genée and Von Suppé.
As I have said, not Bach himself managed a score of many parts with finer mastery, nor gives one a more satisfying sense of complete security; not Bach, nor Handel, nor Mozart was a greater contrapuntist; instructively, instinctively, he knew the way his stream of music was going, and so mighty a craftsman had he grown that to achieve new harmonies and harmonic progressions by the interweaving of many melodies, each individual and expressive, seems almost like child's-play to him.
Of course, in important cases I took care to enforce the reading I thought the true one, and to insist upon the right tempo. The fatal maxims came to the front quite clearly when I was about to rehearse a symphony by a very amiable elderly contrapuntist, Mr. The composer approached me in a pleasant way, and asked me to take the Andante rather quickly as he feared it might prove tedious.
With the production of 'Euridice' the history of opera may be said to begin; but if the new art-form had depended only upon the efforts of Peri and his friends, it must soon have languished and died. With all their enthusiasm, the little band of Florentines had too slight an acquaintance with the science of music to give proper effect to the ideas which they originated. Peri built the ship, but it was reserved for the genius of Claudio Monteverde to launch it upon a wider ocean than his predecessor could have dreamed of. Monteverde had been trained in the polyphonic school of Palestrina, but his genius had never acquiesced in the rules and restrictions in which the older masters delighted. He was a poor contrapuntist, and his madrigals are chiefly interesting as a proof of how ill the novel harmonies of which he was the discoverer accorded with the severe purity of the older school But in the new art he found the field his genius required. What had been weakness and license in the madrigal became strength and beauty in the opera. The new wine was put into new bottles, and both were preserved. Monteverde produced his 'Arianna' in 1607, and his 'Orfeo' in 1608, and with these two works started opera upon the path of development which was to culminate in the works of Wagner. 'Arianna, which, according to Marco da Gagliano, himself a rival composer of high ability, 'visibly moved all the theatre to tears, is lost to us save for a few quotations; but 'Orfeo' is in existence, and has recently been reprinted in Germany. A glance at the score shows what a gulf separates this work from Peri's treatment of the same story. Monteverde, with his orchestra of thirty-nine instruments brass, wood, and strings complete his rich and brilliant harmonies, sounding so strangely beautiful to ears accustomed only to the severity of the polyphonic school, and his delicious and affecting melodies, sometimes rising almost to the dignity of an aria, must have seemed something more than human to the eager Venetians as they listened for the first time to music as rich in colour as the gleaming marbles of the C
Weinlig saw what was wrong and what was wanted; instead of Müller's "you must not do this or that: it is against 'rule," he explained matters and showed Richard that if he once learnt the tricks of the trade he would be able to compose just as he liked; in six months Richard had become an expert contrapuntist and could fugue it with students who had toiled for years.
Consequently the sequences and combinations of the chords and the course of the modulation are easily followed by those who know harmony. Similarly, his polyphonic style is easily intelligible to the trained contrapuntist" and more to the same effect, Jadassohn is here only expressing what every competent musician knows. Mr.
By others he has been called the greatest contrapuntist after Bach, the greatest architectonist after Beethoven, the man of creative power who assimilated the older forms and invested them with a new life entirely his own.
The counterpoint is not so obviously wonderful as in Tristan and the Mastersingers, but only a contrapuntist equal to Bach and Handel could have written such counterpoint. We may gain a clearer idea of what this means if we compare, not to the disadvantage of one or the other, this Ride with Berlioz's "Ride to the Abyss." At first sight, Berlioz seems the more daring.
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