Oratorio

Oratorio in Italy after Carissimi.—After the beginning made by Carissimi, the next work of importance in Oratorio is that of Alessandro Scarlatti, who established the Aria form as explained in the study of the Opera. The composers of the Italian school of the last part of the 17th and the early part of the 18th […]

Music – Art Of The Interpreter

Music on paper signifies very little to the world at large. It must be vitalized by performance or it has no practical value. The professional critics at the end of a concert season, weary with a surfeit of performances to which it has been their business to listen, sometimes express a hope that the time […]

Art And Music

THE statement that Music is an Art is likely to pass unchallenged. And yet it may not be amiss, in undertaking an examination of the work of composer and performer, to inquire at the outset as to just what we mean by Art, and just what by Music. There surely is much that is called […]

Beginning Of Romanticism

WE have seen that the process of art is a gradual evolution which is the result of a clearer perception of ideals. This process may be divided into three periods, the symbolic, the classic and the romantic, corresponding to similar periods in the development of man. Symbolic art is limited and its meaning is not […]

Grand Symphony Concerts

Although it was an urgent matter that young French composers should unite to withstand the general indifference of the public, it was more urgent still that that indifference should be attacked, and that music should be brought within reach of ordinary people. It was a matter of taking up and completing Pasdeloup’s work in a […]

Chamber Music Societies

On parallel lines with the big symphony concerts and the new conservatoires, societies were formed to spread the knowledge of, and form a taste for, chamber-music. This music, so common in Germany, was almost unknown in Paris before 1870. There was nothing but the Maurin Quartette, which gave five or six concerts every winter in […]

Schola Cantorum

The Lamoureux Concerts had served their purpose, and, in their turn, their heroic mission came to an end. They had forced Wagner on Paris ; and Paris, as always, had overshot the mark, and could swear by no one but Wagner. French musicians were translating Gounod’s or Massenet’s ideas into Wagner’s style ; Parisian critics […]

New Musical Institutions

Before 1870, French music had already in the Opera and the Opéra-Comique (without counting the various endeavours of the Théâtre Lyrique) an outlet which was nearly enough for the needs of her dramatic productions. Even when musical taste was most decadent, the works of Gounod, Ambroise Thomas, and Massé, had always upheld the name of […]

French And German Music

IN May, 1905, the first musical festival of Alsace-Lorraine took place at Strasburg. It was an important artistic event, and meant the bringing together of two civilisations that for centuries had been at variance on the soil of Alsace, more anxious for dispute than for mutual understanding. The official programme of the fêtes musicales laid […]

Musical Institutions Before 1870

It is not by any means the oldest and most celebrated musical institutions which have taken the largest share in this evolution of music in the last thirty years. The Académie des Beaux-Arts, where six chairs are reserved for the musical section, could have played a very important part in the musical organisation of France […]