In 1840, the year of Schumann's marriage with Clara Wieck, most of his wonderful songs were composed. In some ways these surpass even Schubert, especially in delicate treatment of subtle shades of meaning in the poems and in variety of piano accompaniment. Many of his most inspired songs are set to poems by Heine. In his four symphonies, Schumann was of unequal power, and opinions vary as to their permanent worth. There is no doubt of the warmth and variety of the original ideas, but sustained development is often lacking and the orchestration leaves much to be desired. By far the strongest of the symphonies is the Sec ond in C major in which the Adagio with its poignant pathos reaches a high point of emo tional expression. The Fourth symphony is noteworthy for experiments in a more plastic treatment of the conventional symphonic form. Schumann's vocal works, though unequal, con tain much fine inspiration— the most sustained is
Mendelssohn (q.v.) (1809-47), Schumann's contemporary, although classed with the Ger man school from the style of his works, is, strictly speaking, outside the Teutonic line, as he was of Jewish extraction on both sides.
Franz Liszt (q.v.) (1811-86), although likewise not of pure Teutonic blood—his father was a Hungarian—is of far greater im portance, not only for his intrinsic powers as composer and pianist, but for the stimulating influence he has had upon the musical culture of the day. Any sketch of Liszt must be in adequate, and is to be supplemented by refer ence to the vast amount of biographic and criti cal literature connected with him and his tendencies. He is one of the compelling forces in music of our times. The greatest pianist the world has ever seen, the modern school of pianoforte playing is largely derived from him. In his pianoforte compositions many new ele ments were introduced in rhythm, harmony, freedom of form and pure pianistic effect. In many of these pieces a strong Hungarian, gipsy element is found. In his orchestral works Liszt is a firm adherent of the program school, agreeing with Berlioz as to the descriptive value of music. His two great symphonies, the 'Faust' and the 'Dante,' are unique works in their subtle musical characterization and in their beauty of orchestral tone-painting. In the 'Symphonic Poem' an entirely new form was contributed, one which has had far-reach ing consequences not yet exhausted. A sym phonic poem is a work in a single movement in which the classic sonata form is abjured and the entire structure and style of treatment are made subservient to the guiding spirit of the poetic subject. Of these works the most
famous are 'Orpheus,' and 'Les Preludes.' Liszt was also a prolific vocal composer and his masses and oratorios of 'Saint Elizabeth' and contain many noble thoughts. His solo songs are of rare distinction. Liszt's rank as a composer is still hotly debated and cannot yet be settled. His influence was certainly many-sided, as composer, critic, conductor, and teacher. From the loftiness of his ideals and the generosity of his character he has done an inestimable service in raising the standard of music in the eyes of the world. His championship of the dramatic reforms of Wagner is an inspiring chapter in the annals of art.
The comparative youth of modern music and likewise its continuity of development is strikingly shown by the fact that the birth of Wagner in 1813 is within four years of the death of Haydn in 1809. The mere name of Wagner (1813-83) provokes a wide range of discussion, but though to the specialist he may be of interest as a philosopher, a writer on msthet ics and a sociologist, by the general public he is admired as the founder of the music-drama, and as a mighty musician. Considerable harm, in fact, has been done to Wagner's music by the metaphysical speculation in which his rabid admirers have tried to submerge it. require nothing from the public," writes Wagner to Liszt, '(but healthy senses and a human heart." Surely he may be taken at his own word in an estimate of his works. Wagner's reforms may be briefly summarized as follows: (1) To make the opera a serious and uplifting form of art instead of a mere passing amusement; (2) to treat in his dramas subjects which had moral and intellectual value; and (3) to combine all the factors, poetry, music, action and scenery into a homogeneous means of direct influence upon the emotion and intellect of the hearer. Wonderful as was Wagner's growth in origi nality, his early works show distinctly derivative influence. Brought up in the shadow of the theatre, his inborn dramatic instinct was strengthened by an early acquaintance with the works of Shakespeare, Goethe and Schiller, while on the musical side he became familiar with the operas of von Weber and the instru mental works of Beethoven, many of which he had copied out in score before his 18th year. The real Wagner begins with 'Der Fliegende Hollander. In this, notwithstand ing traces of French and Italian influence, the effort toward dramatic and musical unity is apparent. 'Tannhauser) and are transitional works in which we find certain sur vivals of conventional opera, together with prophecies of the highly developed, later style.