The art of music, Vol. 02 (of 14) : $b Classicism and Romanticism
History
The art of music, Vol. 02 (of 14) : $b Classicism and Romanticism
Music -- History and criticism; Musicians
Lyrical song begins with Schubert. Before him there was no standard of
that form which he brought almost instantaneously to perfection. It
is hard for us to realize how little respect the eighteenth century
composer had for the short song. His attitude was not greatly unlike
the attitude of modern poets toward the limerick. Gluck set his hand to
a few indifferent tunes in the song-form, and Haydn and Mozart tossed
off a handful, most of which are mediocre. These men simply did not
consider the song worthy of the best efforts of a creative artist.
If we take a somewhat broader definition of the word song we find that
it has been a part of music from the beginning. Folk-song, beginning
in the prehistoric age of music, has kept pretty much to itself until
recent times, and has had a development parallel with art music. From
time to time it has served as a reservoir for this art music, opening
its treasures richly when the conscious music makers had run dry. Thus
it was in the time of the troubadours and trouvères (themselves only
go-betweens) who took the songs of the people and gave them currency
in fashionable secular and church music. So it was again in the time
of Luther, who used the familiar melodies of his time to build up his
congregational chorales (a great part of the basis of German music from
that day to this). So it was again in the time of Schubert, who enjoyed
nothing better than walking to country merry-makings to hear the
country people sing their songs of a holiday. And so it has been again
in our own day, when national schools--Russian, Spanish, Scandinavian
and the rest--are flourishing on the treasures of their folk-songs. And
when we say that song began with Schubert we must not forget that long
before him, though almost unrecognized, there existed songs among the
people as perfect and as expressive as any that composers have ever
been able to invent. But these songs are constructed in the traditional
verse-form and are, therefore, very different from most of the art
songs of the nineteenth century, which are detailed and highly flexible.
Public-domain text, read in full here on John Shaqi.
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