XXVI. The Berlin Academicians (1830-1000). Xxvi. The Berlin Academicians (1830-1000). —While Brahms was not hostile to the develop ment of music, a number of composers refused to recognize that Romanticism xvas an advance in the art of music. They closed themselves to the new influences and sought their ideals in the past. The strongholds of this school were several Ber lin institutions. notably the ,Cinpaf•ad-rmic. (See CHORAL SOCIETIES.) The energies of these mas ters were directed to the cultivation of the poly phonic style of the older Italian schools and Bach. But some of the later masters finally adopted the principles of Romantieism. The im portant names are: Dehn, Oren, Kiel. Bargiel, Blumner, Becker, Bruch, Hofmann, Herzogenberg, Gernsheim.
XXVII. The School (1847—) Xxvii. The School (1847—)- —The beginning of Liszt's activity in Weimar in 1847 may be regarded as the commencement of this school. Liszt attracted a great number of young musicians who enthusiastically devoted themselves to the cultivation of programme music, carrying out ideas. But the Xeo German masters did not devote their energies entirely to the field of instrumental music. Wag ner's works attracted more and more admirers, and composers began to imitate him. Up to the present day a great many dramatic works con structed upon Wagner's principles have been written. The failure of all would seem to indi cate that one might almost be justified in stating that Wagner's art-form is one suited to his own gigantic genius, but hopeless fur lesser masters. This would seem to be confirmed by the fact that the new dramatic works that have achieved success are all by non-German composers who adopted many of \Vaguer's ideas, but not his form in. 1010. The Neo-German School has been marked by earliest effort, but its composers have made no lasting impression. The only one whose work seems destined to outlive contemporary criticism is Richard Strauss, a man of pro nounced originality and as a master of orchestra tion equal to Wagner himself. The dramatic composers of this school are: Cornelius, Ritter. Bungert, Kistler, llumperdinek, Kienzl, D'Albert, Weingartner, Schillings, S. Wagner. The instru mental composers are represented by: Krug, NieodO, Mahler, Ilausegger.
XXVIII. The Modern Italian School (1851—) . Xxviii. The Modern Italian School (1851—) . —Beginning about 1750, the history of Italian music is practically the history of the decline of the opera. When Verdi scored his first success in 1839 no one dreamt that this man, beginning in the degenerate style, would raise the Italian opera to a high level. In Iligoletto (1851) there is a very perceptible effort for dramatic truth and characterization, which the school of Bel Canto entirely ignored. The successive works ad vance along this line until in .4.'ida (1872) we have a rare combination of exquisite melody, dra matic characterization, and truth of expression. Otello (1887) and Falstaff (1893) mark the culmination of Italian opera. Wagner's principle of dramatic truth is strictly observed. Neverthe less these works are not imitations of Wagner. Verdi has retained all the forms of the opera, but has knit them together into an artistic whole. The principle of the leitmotiv is not used. The orchestration shows a mastery never ex hibited by any previous Italian composer. The influence of Verdi is noticeable in a number of composers known as the Veriotic School (Mas efgni, Leoneavallo). who for some years at tracted much attention. Among the many operatic composers. none of whom can approach Verdi, the following deserve mention: Boito, Ponehielli, Marchetti, Faccio, Coronaro. Puccini, Smareglia. The elevating influence Verdi ex erted upon dramatic musie turned some serious composers to the field of instrumental and choral musie, which had been sadly neglected in Italy. The principal instrumental and choral compos ers are: Pirelli, Sgambati, Cesi, Grazzini, Man einelli, Martucci, Franehetti, Perosi.
XXIX. The Modern French Schoo? (1830—). Xxix. The Modern French Schoo? (1830—). —So far we have spoken of musical development in France only in eonneetion with the theatre. Instrumental music had not been cultivated to a. very great extent. But we cannot disregard the name of the family of Couperin during the seventeenth and eighteenth eenturies. Several members have become famous through their contribution to the perfection of the suite form. Under section XX11. the history of dra matic music up to the death of Meyerbeer has been given. Berlioz first awakened a deeper in terest in instrumental music. This master was led to instrumental composition through the in fluence of Beethoven, but, uninspired by the classic forms, he became the originator of pro gramme music (q.v.). His works, all conceived in large forms, lack ..yinnietry of construction and have not yet found universal recognition. But Berlioz first aroused general interest in France for instrumental music and, independ ently of Wagner, (lid much for the art of orches tration. Soon other composers began to culti vate instrumental music; and these used the classical forms. After Berlioz's ideas of pro gramme music had been adopted by Liszt, who established the symphonic poem as a recognized art-form, French composers accepted the idea. All through the past century German classical 11 nil romantic influences 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, Franck, Lido, Saint-Saens, Bizet. Delibes, Go dard, dimly, 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 Meyerbeer) was in danger of losing sight of dramatie truth in its striving after mere effect, the opera Colnique and the later lyrical French drama are distinguished for truth of expression and successful musical characterization. \Vag ner's works have exerted only a wholesome in fluence, fur 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: Gounod, Saint-Saens, Bizet, .Massenet, Chabrier, Guiraud, Beyer. Masse, liruncau.
XXX. The Polish School (1830—).—The Sla vic and Scandinavian nations took no impor tant part in the development of mush- until the last century. (For a account the reader is referred to the articles on SCANDINAVIAN 1111d SLAVONIC Music.) POli-11 music is chiefly represented by the works of Chopin, who is one of the founders of a new school of piano playing. His original harmonic combinations have become a great means in modern emotional expression. lie 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 German than Polish. The prin cipal Polish masters are: Moniuszko, Kurpinski, Darzynski. X. and Ph. Seharwenka, and Mosz kowski.
X X X f. The kussian School (IS3(l—) .—The beginning of a distinct school may be dated from the first performative of Glinkn's Life for the At first the national school cultivated ehietly dramatic. composition. but soon composers turned also to instrumental music, in which line several have aehtcved marked success. The ehar neterisIles of music are strength and great variety of rhythm, amounting almost to irregularity. The prominent masters are: Bort n la nski. \"ewidow-k (Dinka l)argumyszki, tScroff, Borodin, Balakireff, \lussorgski, Tschaikowsky, Rimski-Korsakofl', Arenski, Glasu puff, Rubinstein.