Page:The New International Encyclopædia 1st ed. v. 14.djvu/215

MUSIC. 179 MUSIC. of the later Venetian masters. A distinctive leature is the development of some jiarticular theme which begins in a lower register and gradually rises higher and higher, leading to an effective climax. The growth of the orches- tra also gave the composers an opportunity to heighten the efi'ect of their vocal polyphonic works. The chief masters of this school are: Legrenzi. Lotti, Caldara, ilarcello. XV. The Enijlish School of the Restoration (ltiOO-04). — After the death of Gibbons in 1025 music declined rapidly in England. This decline is due to the unsettled state of affairs during the reign of Charles I. and the fanaticism of the Puritans, who objected to the cultivation of music, and destroyed many valuable manu- scripts. When, at his accession in lliOO, C'luules II. attempted a restoration of music, practically a new start had to l>e made. In spite of many drawbacks, however, music soon attained its former importance. Purcell, the greatest mu- sical genius England has ever produced, now- appeared, and imder his inspiration English music rose to such a height that for a short time England boasted a national school of opera. The principal composers of the Restoration are: Humfrev. Wise, Blow, Purcell. XVI.'r/ip School of Italian Sonafists (1620- 1800). — Up to the seventeenth century the organ was tlie great means of developing instrumental music (toccata, ricercare, fugue). By the be- ginning of that century the violin had been considerably perfected and attracted a number of musicians in Northern Italy. These composers prepared the way for our highest musical art- form, the sonata. About 1050 a distinction began to be made between sonata da chicsa and sonata da camera; the former consisted of sev- eral movements of contrapuntal writing, the lat- ter employed various dance-forms. Great atten- tion was paid to thematic development. The instrumental concerto was introduced and the concerto grosso was cultivated. The principle of musical dualism, first announced by Scar- latti, was strongly emphasize<l. While in the eighteenth century all the art-forms in Italy declined, this school of sonata writers was the only one that made progress in the art. The principal masters are: Legrenzi, Bassani, Torelli, Veracini, Corelli. Tartini, Boccherini. XVII. The School of the (Icrman Singspiel (c.1030-1800).— (A) In the beginning of the seventeenth century there arose in Germany the so-called "school comedy' — dramatic representa- tions Vjy students. Each act was preceded by a short musical dialogue introducing mythological personages. This custom led to the establish- ment of the German singspiel (q.v.), in which the acting personages were shepherds, shep- herdesses, nymphs, etc. These singsjiicle finally gave rise to a national German opera in Ham- burg, but not until Hiller in Leipzig established the singspiel upon the basis of the folksong did this form rise to an artistic level. The composers of this school are: Strungk, Kusser, Keiser, Mattheson, Handel, Telemann, Hiller, Dittersdorf. Schenck, Weigl. Winter. (B) While the singspiel was popular with the masses, the German princes, decrying everything that was German, favored the Italian opera. Especially Vienna and Dresden became strongholds of the foreign style. Many German composers began to write Italian operas, and thus aided the rapid decline of dramatic composition. Among these composers we find: Ilasse, Graun, Doles, Xau- mann. See Opera. XVIII. The Italian School of Decadence (c.I750-1810t. — With the aria the Neapolitan School had given to nmsic that form which was soon to bring about a general decline of dramatic music. Dramatic truth counted for nothing; sensuous charm of melody and display of vocal art were paramount. Composers became the slaves of singers. The ballet became an im- portant factor in the opera. Naturally com- posers did not waste time in studying counter- point and polyphonic writing when success was so easily won by writing pretty melodies over the plainest harmonic accompaniment. The prin- cipal names of this scliool are: Porpora, Pergo- lese, Jomelli, Piecinni, Sacchini. Paisiello, Salieri, Cimarosa, Zingarelli, Righini, Paer. See Opera. XIX. The Classic Masters (c.1700-1827 ) .— As the contributions to music by our great classic masters are fullj' treated under the separate titles, mention is made of them here merely for the sake of completeness. Bach marks the culmination of the polyphonic period of music ( see Polyphony ) , as' well as the beginning of the new homophonic-harmonic period. (See Ho- MOPHOXT. ) In him the passion (q.v.) and the instrnmental fugue reach their highest develop- ment. He brings equal temjierament (q.v.) into universal use. Ha.xdel brings the oratorio (q.v.) and the vocal fugue to perfection. Tak- ing up English music where the premature death of Purceir had left it, he becomes the founder of a new English school. Gfi-UCK reforms the opera by emphasizing the dramatic in opposition to the purely musical element, without, however, disturbing the forms of the aria, chorus, duet, ensemble, etc. He greatly advances the art of orchestration. Haydn perfects the sonata (q.v.) and establishes the modern form of the sym- phony and string quartet (q.v.), as well as the s.ymphony orchestra, by individualizing the sepa- rate instruments. He is the 'father of modern instrumental music." Mozart invents no new forms, but fills those existing with the contents of his wonderful genius. He is a univcrsalist, equally great in all the forms he handles. In the works of Beethoven absolute music reaches a point which would indicate the highest possible development, Ijcyond which no progress can be imagined. He greatly enlarges the forms of Haydn and Mozart, and replaces the minuet (q.v.) of the symphony by the sclierzo (q.v.). He strikes passionate accents never heard before in music, and discloses marvelous depths of emo- tion. Schubert creates the art-song (fcurts^- lied). (See Lied.) In the field of instrumental music he follows the path opened by Beethoven, but preserves his own strong individuality. XX. The English School Since Ilandrl (1750- 18-29).— When Handel settled in England in 1718 the national opera of Purcell had been entirely superseded by the Italian. Handel's own Italian operas exerted no u])lifting influence, and have shared the fate of the works by his contempo- raries. But when Handel liegan to cultivate the oratorio he laid the foundation of his fame as well as that of tlie Englisli School. Unfor- tunately, he remained the only master. His contemporaries and immediate successors were unable to carry on his w-ork. although they made earnest efforts. They, therefore, turned