Part 3 (1/2)

These roving musicians, who generally united the qualities of the poet, the musical composer, and performer, were treated with much favor by princes and all the n.o.bility, and were everywhere warmly welcomed for a long period. It is, however, far from pleasant to have to say that this for a long time n.o.ble cla.s.s of musicians, to whom we owe so much for the preservation unbroken for three hundred years of the chain of musical life, as well indeed, also, as that of general literature, spoiled perhaps by the excessive praises and indulgences accorded them, became at last quite dissolute, and fell from their high position. All royal favors were finally withdrawn from them, and orders for their restriction were issued from the throne.

Mr. B.W. Ball (in that faithful exponent of art, ”The Boston Commonwealth”) thus expressively sings the story of the ancient troubadour, styling him--

”THE POET OF OLD.”

Once the poet wandered, With his lyre in hand,-- Wandered, singing, harping, On from land to land.

Like a bird he hovered; And, where'er he came, Kindled he each bosom With his song to flame.

Careless of the morrow, Journeyed he along; Opened every portal To the sound of song.

_Sua sponte_ heart's-ease In his bosom grew: Happiness as birthright, Like the G.o.ds, he knew.

All life's haps and changes On his chords he rung: Every thought, emotion, In him found a tongue.

Voiced he for the lover Pa.s.sion of his breast; Feigned he, death to lighten, Islands of the Blest.

Up in ether throned he G.o.ds, the world to sway,-- G.o.ds to bend and listen While their votaries pray.

Soul and sense, enchanted, Drank his accents in: E'en to marble bosoms He his way could win.

From her cas.e.m.e.nt Beauty Leaned his song to hear: E'en the haughty conqueror Bent a willing ear;

For without the poet And his epic lay Pa.s.sed his vast existence, Whirlwind-like, away,--

Trace nor vestige leaving Where his legions trod, Which the year effaced not From the vernal sod.

Thus the poet wandered In a n.o.bler time,-- Wandered, singing, harping, Free of every clime.

During the fourteenth century, music was most cultivated by the people of the Netherlands, who carried the art towards much perfection, producing several fine composers, and furnis.h.i.+ng the leading musical instructors for the other parts of Europe. Among some of the ablest musicians of the Netherlands may be mentioned Dufay, Jan of Okenheim, and Josquin Despres, the latter being the most celebrated of contrapuntists. The Netherland musical supremacy lasted until 1563.

In the year 1400 the claims of music received the recognition of the crown in England, a charter being granted to a regularly formed musical society.

Commencing with the invention of movable type in 1502 (which invention so vastly facilitated the publication and spreading of the thoughts of the composer), and with the Reformation in the sixteenth century, the n.o.ble art of music began a new, unimpeded, and brilliant career among the civilized nations of the world. Dating from thence, the steps in the progress of this delightful science can be plainly traced. Unvexed and unfettered by the obscurities that attach to its antique history, we can contemplate with pleasure and profit the wonderful creations and achievements of its devotees.

This I need not attempt here, save in the briefest form; my purpose in preparing this chapter being only to give, as indicated in the t.i.tle, a glance at the history of music.

To Palestrina, a learned Italian of the sixteenth century, and whose musical genius and industry were most remarkable, is due the greatest homage and grat.i.tude of a music-loving world. Of him an eminent musical writer says, ”It is difficult to over-estimate his talent and influence over the art of music in his day. He was regarded as the great reformer of church music. His knowledge of counterpoint, and the elevation and n.o.bility of his style, made his ma.s.ses and other compositions, of which he wrote a great number, examples for all time of what music should be.”

In this century lived many notable composers, nearly all of whom distinguished themselves in the production of madrigal music. To the latter the English people were much devoted. Reading at sight was at that day, even more than now, a common accomplishment among the educated. The English queen Elizabeth was quite fond of music, and was somewhat accomplished in the art, performing upon the lute, virginals, and viol. She often charmed the _attaches_ of and visitors to her court by her skilful performances. During her reign, and by her encouragement, the cultivation of this n.o.ble art received a new and strong impulse in England, and several composers and performers of high merit lived.

In the year 1540 oratorio was first composed, followed by opera in 1594. During this period, instrumental music began to be used in the churches; and the violin was brought by the celebrated Amati family to a beauty of form, and sweetness of tone, not since excelled.

During the seventeenth century such great composers as Stradella, Scarlatti, Caldara, and Claudio lived; and the different forms of opera were developed in England, France, and Italy.

During the seventeenth and eighteenth centuries the art of music, in its new, rich, and deep developments, as shown in the masterly, wonderful creations of several of the great composers of those periods, and in the scientific performances of many fine instrumentalists, attained a height of surpa.s.sing grandeur. Many men of brilliant musical genius and of remarkable industry and perseverance were born; and, with new conceptions of the scope and capabilities of the divine art, they penetrated its innermost depths, and brought to the ears of the music-loving world new and enrapturing forms of harmony. Among these great masters, leaving out those already mentioned, were Handel, Henry Purcell, Bach, Gluck, Haydn, Mozart, Beethoven, and Spontini.

But, before proceeding farther, the writer considers it proper to remark, that to give a extended description of the progress of music during the three last centuries, mentioning in detail the many creations and achievements of those who have become great, nay, in some instances he might say almost immortal, in its sacred domain, would require a volume far beyond the pretensions and intended limits of this one.

Besides, the author confesses that he pauses with feelings of reverence while contemplating the mighty genius and divinely approximating achievements of Haydn, Mozart, Beethoven, Spohr, and Mendelssohn, fearing that his unskilful pen might fail in an attempt at description. Nor does he feel much less embarra.s.sed when he contemplates the accomplishments of those wonderful interpreters of the works of the n.o.ble masters, who have, either through the enchanting modulations of their voices or with skilful touch upon instruments, evolved their magic strains. Let an abler pen than mine portray the sublime triumphs of Ha.s.se, Mario, Wachtel, Santley, Whitney; of Albani, Malibran, Lind, Parepa Rosa, Nilsson; of Haupt, Paganini, Vieuxtemps, Ole Bull, Rubinstein, Liszt, and Von Bulow.[4]

[Footnote 4: For an able criticism of the composers and some of the performers mentioned, the reader is referred to Professor Ritter's very valuable History of Music, in two volumes.]