Page:The New International Encyclopædia 1st ed. v. 14.djvu/218

MUSIC. 182 MUSIC. tere.st in instiuiiiental music. This master was led to iiK-tiuinental composition tiirough the in- lliieiRC of liefthoveii, but, uiiiusijiied by the classic forms, he became the originator of pro- {,'ranime music (q.v.). His works, all conceived in large forms, lack symmetry of eonslriiction and have not yet found universal recognition. 15ut Berlioz first aroused general interest in J'rauce for instrumental music and, independ- ently of Wagner, did much for the art of orches- tration. Soon other composers began to culti- vate instrumental nuisic; and these used the classical forms. Alter liirlioz's ideas of pro- gramme nuisic had been adopted by Liszt, who established the symphonic poem as a recognized art-form, French comi)osers accepted the idea. All through the jiast century German classical and romantic inlluences have been at work in France. The mingling of these influences with the individuality of the French masters has been productive of excellent results, and to-day France can boast an influential instrumental school. The principal masters are: David, Fianck, Lalo. Saint-Saens, Bizet, Delibes, Go- dard. d'Indy, Chausson. Chaminade, Halm. But dramatic music did not remain at a standstill; the German romantic opera and lyric drama in- fluenced French dramatic composers. Although the grand opera (the historic and heroic opera of >Ieyerbeer) was in danger of losing sight of dramatic truth in its striving after mere efTect, the (iin'ni coiiiiiiiic and the later lyrical French drama are distinguished for truth of expression and successful musical characterization. Wag- ner's works have exerted only a wholesome in- fluence, for French composers wisely did not imitate his form, but only followed the German master in the art of orchestration, as well as in a few other principles which can be safely adopted without danger of losing individuality. The most prominent dramatic composers are: (Jounod, Saint-Saens, Bizet. JIassenet, Chabrier, (Juiraud, Kever, Jlasse, Bruneau. XXX. The Polish School (1830— ).— The Sla- vic and Scandinavian nations took no impor- tant part in the development of music until the last century. ( For a comiilcte account the reader is referred to the articles on Scanuix.wian Music and Slavo.nic Music.) Polish music is chiefly represented by the works of Chopin, who 18 one of the founders of a new school of piano- playing. His original harmonic combinations have become a great means in modern emotional expression. He also showed how embellishments can be made an important factor of expression. The other Polish masters show less national char- acteristics, and those living at present in Ger- many are more (Jerinan than Polish. The prin- cipal Polish masters are: Moniuszko. Kurpinski, Dohrzynski, X. and Ph. Scharwenka. and Mosz- kowski. XXXI. The Russian School ( 18.S6— 1 .— The beginning of a distinct school may be dated from the first performance of Glinka's Life for the Czar. At first the national school cultivated chiefly dramatic <'ompo-^ition. but soon composers turned also to instrumental music, in which line several have achieved marked success. The char- acteristics of Pussian music are strength and j;reat variety of rhythm, amounting almost to irregularity. The prominent masters are: Bort- nianski, Verstowski, Glinka. Dargomyszki, BerolT, Borodin, Cui, Balakircff, Mussorgski, Tschaikowsky, Rimski-KorsakoU', Arenski, Glasu- noli', Kubinstein. XXXII. The Scandinavian School (1S40 — ). — Like the Russians, the Scandinavians established a distinct school by emphasizing the national ele- ment in music as it was presented in their folk- music. Denmark made the beginning, but Nor- way soon took the lead. The characteristics of the school are an artistic use of dis.s(]nances and an emphasis of rhythm, rather than of melody. The principal masters are: (Denmark) Berggreen, Hartmann, Gade. Enna ; (Sweden) Hallstroem. Sodermann, Hallen, Sjiigreii; (Nor- way) Kjerulf, Svendsen, Xordraak, Grieg. Sind- ing. See Scaxmxavian Music. XXXIII. The Bohemian School (18G(i— ).— The attempts of Russian composers to establish a national opera led Bohemian musicians to make the same experiment in their own country. A distinct Bohemian school may be said to begin with Smetana's The Bartered Bride (180G). Smetana also was the first notable instrumental master. He, and still more DvorSk, have made the Bohemian school famous, but the merit of the instrumental works overbalances that of the dramatic compositions. The forms cultivated are those of the German classic and romantic masters. The principal composers are: Si-hraup, Skuhersky, Schebor, Rozkosny, Smetana, Dvorak, Fibich. iSee Sl.vvomc Music. XXXIV. The Modern School of the 'Sether- lands (c.lSOO — ). — Although after the time of the great contrapuntal schools of the fifteenth and sixteenth centuries we meet no distinct school in the Xetliorlands, music was not neg- lected in those countries. But the inlluences of the neighboring countries, France, and es]iccially Germany, always predominated, thus preventing the rise of a national school. Both Belgium and Holland have produced a number of excellent composers. But the importance of the Nether- lands during the nineteenth century rests more U|)on the contributions to musical history. In this line Belgian writers are second to none in the world. Without the labors of Fetis, Cousse- maker, and Gevaert our knowledge of the musical past would be very incomplete. Besides, Belgium has produced some of the greatest instrumental performers (De Beriot. Vieuxtemps, Vonard, Servais). The more prominent of the composers are: (Belgium) .Janssens. Benoit. Mcrtcns, Wouters. van den Keden, Tinel, Mathieu. Gilsonj (Holland) Verhulst, Koning, Coenen. Silas, Hoi, Thooft. de Hartog. XXX". The Modern ICnfilish School (18.30— ). — The iircdominaiice of spoken dialogue had caused the downfall of the English opera. About 1S.30 some English comjiosers attempted to writs national oixras with a moderate amoiint of dialogue. The works of Weber assisted them in their efforts, but as these earlier works were of a lighter character English opera soon assumed tho character of operetta. The apiiearance of Sulli- van established this form U]i(in a firm basis. In the field of grand opera England has as yet pro- duced no successful work. The cultivation of instrumental music, through the intbicnce of Beethoven, has yielded more satisfactory results, but the best work has been acconiplistwd in the field of choral music. The modern Knglisli com- posers have not succeeded in developing a char- acteristic style, but their works show solid work- manship and mastery of form. The weak point 1