The Russian School of Music.

New Zealand Graphic, Volume XXV, Issue III, 21 July 1900, Page 104

The Russian School of Music.

As in politics, so in music, the question is: What will Russia do? Nothing in the history of music has been more remarkable than the sudden development within less than two generations of a Russian school of music—fresh, vigorous, charactei istic—apparently independent of the musical art of other nations. Its sudden maturity seems to contradict the sober laws of growth. As Lavignae aptly says, "though Russian music doubtless has a future it appears to have had no past.”

An explanation may be found in the isolation of Russia —artistic and social as well as geographical—from the rest of the world. Her composers have worked mid studied unknown to their artistic contemporaries. Then, too, they have profited by the tochnic and experience gained by other schools. They have been saved many trials and much time by being thus enabled to apply principles learned at first hand without being" obliged to work them out by long and laborious experiment.

Thus it is that this great nation, hardly yet awake to her own might, has burst out with a school of music astonishing the rest of the world by its freshness and originality.

It would seem that to Russia the world may look for the musical inspiration which appears to be failing in other nations heretofore leaders. Germany has lost in Brahms her lastgreat svmphonist. while Wagner's place seems hopelessly vacant. Italy possesses her octogenarian Verdi, but his career is ended with no successor in sight. France, the founder of a school which has flourished for upwards of two centuries, cannot be said to stand on the same level as even that of half a century ago.

Foreign influences dominated in Russia until nearly the middle of the century, when the spell was broken by the production in 183(5 of Glinka's "Life for the Czar." founded upon Russian themes, both in libretto and music.

A national musical spirit was aroused. Musicians began to realise what a treasure they had in their rich store of folk-songs, exceeding in beauty and quantity those of all other nations. These had hitherto been contemptuously regarded anil left to the peasants. but now composers drew their inspiration from them, as in later years Tourgeniev and Tolstoi created an unrivalled and characteristic Russian literature based on the rude lives of the tillers of the soil.

Russian folk-songs a re remarkable in founded on the complete major or minor diatonic scale. They showno trace of the imperfect five-tone scale which predominates in the primitive music of other nations. Ibis is the case as far back as they can be traced, and argues either an extraordinary musical development or a natural endowment greatly superior to that of most nations. The later folk-songs exhibit great variety in melody and rhythm; harmonies of a highly coloured and original character also often occur. They have been sources of inspiration to composers of the highest rank. Beethoven utilised them in two of his late.-t string quar ettes; Rubinstein introduced them into his operas, and many traces of the airs of Little Russia and Lithuania may be found in Chopin's compositions. The religious music of Russia is in many ways unique; with the fo.ksong. it is the chief cause of the originality of the present Russian school. The service of the Greek Church is entirely vocal; no instruments are allowed: the singers are only men and boys—women never being admitted to the choirs. A peculiarity of these choirs is the low ba-s voices, which appear to be found alone in Russia, and which produce an indescribable effect. These voices possess an immense power ami an enormous downward range. They extend an ociave and more below the ordinary bass voice, and sing a part corresponding to the 16-foot pedal notes of the organ. The men sing in four-part harmony, which is duplicated by the boys' voices an octave higher: so that the illusion of an organ with its sixteen, eight, and four-foot stops is all but perfect.

The present writer remembers a remarkable service at the Russian chapel in Paris. The lioys’ voices were so clear, the men’s voices so deep, that the impression was that of pure organ tone. It was only after they had sung some time and the voices grew fatigued that this purity of tone was lost to a slight degree, and the ear realized that there was no instrumental support. These deep voices are highly prized ami eagerly sought for. AVhen discovered they are liberally paid, and those destined for the Imperial Chapel are trained in a school established for that purpose. Since they lye not desired for solo singing, power is the chief requisite; when heard alone they are intolerably coarse and rough. The singer is tested by being placed in a room with closed doors and windows. If he succeed in breaking the windowpanes by the tones of his voice he is accepted. These voices soon wear out; when this becomes apparent the singers are retired on pensions. It is only within the present century that the instrumental.music of Russian composers has been at all worthy of consideration. Music has always been extensively patronized at court, but until late years foreign influences have predominated; native composers had no standing in their own country. During the last century Italian composers were most in favour. Sarti, Cimaiosa. and Martini spent much time in St. Petersburg, where many of their works were produced. Later this influence was superseded by" that of the French, not only in music, but in fashion, literature, and customs as well.

Glinka, born in 1803. was the first Russian composer to infuse national characteristics into his music, and thus may be considered the founder of the Russian school. His two operas, “Life for the Czar" and “Ruslan and Ludmilla.” are so essentially Russian that they have never been successful outside of Russia. His comparatively early death in 1857 prevented further valuable editions to the then small number of Russian works.

Russian Musicians of Note.

Anton Rubinstein, born in 1829, occupies an anomalous position in this connection. Jew by birth, Christian by baptism. German by education, Rusia 11 by conversation and synipatliies, lie is of a too broadly cosmopolitan character to be classed as a distinctively Russian composer. He once said,’half in jest, half in earnest: “The Christians call me a Jew. the Jews call me a Christian; the Germans call me a Russian; the Russians call me a German. What am I?”

His influence, however, on the development of nativf talent was of inestimable value. In 1862 he founded the Conservatory of St. Petersburg, lie introduced many radical reforms iu the teaching of music, which he raised to the dignity of a profession, and all lessons were given in the Russian language. Up to that time there were no native teachers of harmony' and composition; students in those branches were obliged to study under a foreigner or go to Germany for instruction.

Tsaikowsky. one of the latest, and, in the opinion of some, the greatest, of the Russian school, excels in instrumental forms. His songs and operas are not all successful, but he has written a large number of interesting piano pieces. He is not extreme in national characteristics —indeed, some of the ultra-Russian school place him in the same category as Rubinstein.

A worthy successor of Glinka and Trchaikowsky is Rimsky-Korsakoff. Hike many of the modern Russian school, he was not at first a professional musician, but an officer in the navy. He excels as a symphonist; his orchestral works are gorgeously orchestrated and saturated with national colour. Associated with him is a group of musicians forming a new and radical Russian school who look down upon all that has been accomplished outside of their own ranks. The other members of this young Russian school are Cesar Cui, Bored me, Balakireff, Moussorgsky, and Glazounoff. These composers bamle together in a club for the purpose of discussing the works of all schools and composers. They decided that there were grave defects in what was considered their national music, and determined to produce something which should be more characteristically Russian.

Cesar Cui is a major-general and Professor of Fortifications in several military schools, Borodine was a mathematician, Balakireff is chiefly known outside of Russia as the composer of an Oriental fantasy. “Islamey,” said to be the most difficult work ever composed for the piano. Glazounoff's sixth symphony has been heard in American concert rooms during the present season.

Many charming piano pieces, fresh and unconventional, have lately come to us bearing the names of Paefiulski. Liadoff, Seriabine, Rachmaninoff, Stojowsky, Ujinski, etc., who are, as yet, unknown to the outside world by works of larger form. Though but few details concerning these latest composers are at hand, it is perhaps safe to say that the further development of Russian music will be along the lines laid down by Glinka. Tshaikowsky, and Rubinstein, rather than through the extreme and self-sufficient views held by Cu: and his associates. —FRED S. LAW.

Royal Composers.

Many members of royalty have tried their talent at compositions in music, and some of them, says a writer, have had notable success. The German Emperor is known as the composer of the “Song to Aegir." He is well versed in the technique of composition and in counterpoint.

The Duke of Coburg is also a composer whose works are known by publications in musical circles all over the world. For the occasion of his recent silver wedding' he wrote an effective march, and he is also the composer of a light opera, to which the mother-in-law of his daughter, the Queen of Roumania (Carmen Sylva), wrote the libretto.

A capable composer, even of stage productions of some pretension, is Landgrave Alexander Frederick of Hesse. Princess Frederick Charles of Prussia, widow of the celebrated “Red Prince,” has also composed a number of quite attractive pieces. The Berlin military band frequently plays march-

es composed by the two sons of Prince Albrc<Tit, the regent of Brunswick. An exceedingly remarkable composer was the late King of Holland, William ill., who was a whimsical man in many other respects. The King's method of composition was simple. lie ordered his secretary to the piano, and paced the loom humming melodies. After a while he would ask. "Did you mark my melody?” and if the secretary answered in the affirmative, which was n matter of course, the King would direct: “Then go home and write out the score." It goes without gain-saving that the unfortunate secretary frequently forgot the melody. In such a ease lie invented another, and when he brought the manuscript to the King, the latter would exclaim with evident pleasure: “I am not nt all a bad composer. What do you think?" In this wa,\ the King composed an opera. “L'Esclave de Camoens," which was produced at the royal theatre at Arnheini and listened To by the audience respectfully, lint with chilly silence.

Auckland Notes.

The Parnell Musical Society's production of Wallace's “Muri tana” last week gives the organisation a musical standing it did not previously possess. If it was mainly the popularity of the opera which attracted the large audience, it was the excellence of the performance which kept them entertained. In Miss Pratt, who took the part of Mari tana, the Society has a singer with a voice of very marked power and finish. Iler fresh clear notes sealed the heights and sounded tiie depths of the familial- airs with a delightful case and harmony. In “Scenes that are Brightest" she particularly charmed the audience, and the number had to be repeated. Miss Clara Lorrigan as Lazaril.’o was very successful. Mr Horace St ebbing (Don Jose), and Mr A. L. Edwards (Don Caesar) were the male soloists. Mr Stubbing was particularly effective in his part, being iu splendid voice, and infusing into his songs much dramatic vigour. There was an excellent chorus, strong, considering its numbers, and an equally good orchestra. Miss Sybil Lewis led the latter and Mr Leslie Hunt conducted. Mrs Edward Sealy presided at the piano.

The Onehunga Musical Society gave the second concert of the season in the Foresters' Hall, Onehunga, last week. The soloists were Miss Gribble. Miss Noonan, Mr S. J. Harbntt, Mr \V. Astley. The Glen fern Quartette (Messrs Cousins, Connell, Hamerton and Charter) gave several selections and instrumental numbers were given by the orchestra.

Auckland’s New Professor.

Dr. William Edwin Thomas, who has been appointed to the Chair of Music at Auckland University and also conductor of the Choral Society, is comparatively a young man, having - been born at Oxford iu 1867. He was a pupil of Dr. (’orfe, and when a boy he possessed a good voice, and for four successive years sang at the festival services at St. Michael’s, Tenbury, when conducted by Sir F. Ouseley. His first organ work was done early in the eighties at St. I'aul’s, Oxford, where he held the position of deputy organist. A little later on he was appointed organist to a church at the village of Hlesboro’, in Tring, which appointment he only held for a. few months. He then became organist and choirmaster of the Church of the Cowley Fathers, Oxford. In 1886 he became organist and choirmaster at All Saints' Church, at Bloxham. and it was there he founded a. Choral Society. In 1894 he was appointed conductor of a Philharmonic Society in Bournemouth, and a year later became organist of St. Clement's Church in that town. He Ims composed a Communion Service; also the Madrigal entitled "Ami Wilt Thou Weep?" which gained a prize given by the Philharmonic Society at Brighton. He lias also written sontq songs, including “The Holy Child." At the age of twenty-one he graduated Mus. Bae., and in 1894 obtained bis Doctor of Music degree at Oxford.

Miss Jessie King, an English contralto widely known in the Ohl Country, will make her first public appearance with the Sydney Ann. tear Orchestral Society on July 25. Miss Jessie King sang at the Sheffield Musical Festival last October with Mme. Albani. Mr Edward Lloyd, and Mr Andrew - Black.