(c)

Ob2

(d) From the Scherzo.

In Figure 3 will be found quotations from the three themes of the first movement of the Fifth Symphony, and from the secondary theme of the scherzo.

It will be observed that the first motive in theme I. consisting of three short notes followed by a long one-is the germ from which both the conclusion theme and scherzo theme spring, and that the same motive serves as the bass to the second theme. This motive, in fact, dominates the entire first movement, the extraordinary vitality of which is largely due to the incisive quality of the motive itself and to the occasional thunderous proclamations of it by the entire orchestra. Here we have the virility of Beethoven's style admirably illustrated; no time is given to platitudes, no single measure wanders away from the chief issues. At times this first motive is extended into a succession of loud chords from the full orchestra; again the prevailing two-measure rhythm is interrupted by a measure of silence that shifts the accents dramatically from one place to another, dislocating the whole passage. This intensity of utterance each phrase hammered home-gives to the whole work a quite unique place among symphonies.

3

The complete movement may be tabulated as follows:

(3) The presence of measure 389-which is silenthas been a subject of discussion among musicians; it is sometimes omitted in performance.

between themes I. and II. is thereby provided. The coda is extended far beyond that of the old model, and becomes an important part of the structure-important, because at this stage of the development of sonata-form (audiences having become accustomed to listening to long pieces of pure music) the repetition of the whole first section (A) is a little too obvious, and the introduction of a dramatic coda after the recapitulation section provides fresh interest at the point where it is most needed.

Sir Hubert Parry writes of Beethoven's innovations in this phase of musical development as follows: "It was his good fortune that the sonata-form had been so perfectly organized and that the musical public had been made so perfectly familiar with it, that they were ready to follow every suggestion and indication of the principle of form; and even to grasp what he aimed at when he purposely presumed on their familiarity with it to build fresh subtleties and new devices upon the well known lines; and even to emphasize the points by making progressions in directions which seemed to ignore them."

But most important of all is the close reasoning (if we may use the term) displayed throughout this movement. There is hardly a single note in it that has not some direct bearing on the subject-matter, the two chords in the transitions being the only portions not derived from the themes proper. With all these elements of strength, and the added cohesion resulting from the similarity of themes, this movement stands as a model of what a symphonic first movement should be.

III. THE DRAMATIC ELEMENT IN
BEETHOVEN'S MUSIC.

We have referred in Article VIII. to that process of development whereby a theme be

(4) "Evolution of the Art of Music," Chapter XII.

opposite of development, nothing but its rhythm ren gradually denuded of its

at least, is to produce some of a germinal motive, an moment, that insistence or acterizes the first section. favorite one with Beethove ment he makes interesting

passage begins at measure figure) with the phrase use the theme as before, but in second theme, as if it inten

a long passage of half-not the outline of the half-note p retained, and the passage be for a while, after which th chords floating mysteriously lined as in a cloud ((c) in original motive crashes th 228) for a moment, the s again, and then the whole rapidly to the end of the sec

The effect of this cessati movement that has thus fa music is very dramatic, and terruption of its peaceful fl chords at measures 228-231impatient to begin the turm the whole passage a peculiar This device is analogous to th the novel when the author pr

ers, by a page or two of peaceful narrative, for his most dramatic episode. The significance of this passage is, of course, due to its connection with the introductory phrase from which it sprang, but it should be noted that the whole passage is a re-creation from the original motive and not a restatement of it in another key. And its position in the movement is exactly at the point where some relief is needed from what might otherwise be a too great insistence on the first theme, and just before the beginning of the recapitulation. where the first theme is to appear in its original form. It will be found that such passages are usually placed in this position..

The themes in Beethoven's finest works are not only hammered out, as it were, from the rough metal, but we may say of them-as we cannot say of those of Haydn's and Mozart's -that they are pregnant with possibilities which are not fully realized until the composition is finished. With Haydn and Mozart the development section is usually a string of different versions of the original theme-as is the latter's G-minor symphony, first and last movements. With Beethoven the development section reveals what was latent in the original

theme, but what had not been before realized. In the development section of the fifth symphony he not only convinces us by his logic, but overpowers us by the sweep of his elo

quence.

IV. THE SIGNIFICANCE OF THE FIRST MOVE

MENT OF THE FIFTH SYMPHONY.

It is impossible to express in words the significance of this music, but it runs almost the complete gamut of human feeling. The opening theme is so incisive and has such a tremendous energy that it takes us into a new world. If we compare it with Mozart's first movement themes we realize at once that it deals with things that music had never attempted to express before. The second theme is not by any means a fine melody, being made up of a constantly reiterated phrase, but it has. an appealing beauty of its own that we would not exchange for perfection. Occasionally the terrible asserts itself, as in those ominous chords with empty fifths in the coda (measures 481-482), while the whole movement seems to have been struck off at white heat.

That this was not the case, however, but that on the contrary even the first theme itself took

its present shape only after a laborious effort of the composer's mind, we know from the evidence of his sketchbook. The theme first appears there in the following form.

FIGURE V.

This commonplace theme evidently lay generating in Beethoven's mind for a long period. Various sketches on it appear from time to time, and it was only after much thought that it finally emerged in its permanent form. This was always his method of composition. Unlike Mozart, who wrote music with the utmost fluency and rapidity, Beethoven re-wrote his themes many times before they satisfied him, and the process caused him actual mental agony. With him composing was a struggle, a fight; he stamped, and sang, and shouted over the composition of some of his larger works, and finally emerged from his solitude exhausted.

There is no doubt but that Beethoven was affected by the prevailing social unrest of his time-by the revolutionary ideas that were then stirring. then stirring. Although we cannot attempt to translate into words the significance of the fifth symphony, there is no mistaking its language as that of independence and freedom from conventional shackles. "Writing in a period of revolution," says Mr. Hadow," "himself an ardent revolutionary, he broke in upon the politeness of the Austrian court with an eloquence as tempestuous as that of Mirabeau or Danton." So that, looking at his music as a whole, we are not only struck by its signifi

(5) "Oxford History of Music."

cance, but by the close relation in which it stands to the life of Beethoven's period. Never before had music been so untrammeled, so free. The medium itself-harmony, melody, rhythm-had become more plastic, and the old incubus of tradition had been thrown off. Not only that, but the various elements in composition were fused for the first time in Beethoven's music. Polyphony takes its place as a means and not an end; pure melody-even folk-melody becomes a part of the larger scheme in which its beauty is set off against contrasting elements and is thereby enhanced; rhythm becomes a means of expression in itself, and not merely a vehicle; harmony is made an important part of the general design, and its latent possibilities as a means of expression are realized.

All these threads were gathered together by Beethoven, and woven into the complex fabric of his music. Great men are usually born at just the right moment, and Beethoven was no exception to the rule; for he found the art at just the point where a master spirit was needed to take its various elements and fuse them. Under his hands all the inessential parts dropped away, and the essentials were placed in such relation to each other that a completely organic work of art resulted.

SUGGESTIONS FOR COLLATERAL READING. "Oxford History," Vol. III.: Chapters X. and XI. Grove's "Beethoven and His Nine Symphonies." Grove's "Dictionary of Music and Musicians": articles "Beethoven," "Symphony," and "Form." Mason's "Beethoven and His Forerunners," Chapters VII, VIII. and IX.

Ernest Goerlitz, general business manager of the Conried Opera Company, has resigned his position, but this resignation is not to take effect until the end of the present season. Mr. Goerlitz says his action was prompted by the great pressure of work that accompanies his position, and he wanted Mr. Conried to feel that his mind was fully made up to vacate his present post at the end of the opera season. The stress of the San Francisco earthquake, the Caruso incident and Mr. Conried's physical breakdown had made inroads upon his health, Mr. Goerlitz declared; but he refused to discuss any of his future plans, insisting that his first call was to recuperate from the strain of his duties.

Ecclesiastical Music.

Edited by

G. EDWARD STUBBS, M.A., Mus. Doc.

Contributions to this Department will be welcome from any and all sources, provided they are of distinct value, and touch upon topics of general importance, falling under the head of ecclesiastical music.

Letters containing questions of interest pertaining to sacred music, choir-training, choral ritual, and kindred subjects, are solicited, and will receive due attention.

Communications may be addressed to Dr. G. Edward Stubbs, 21 East 17th Street, N. Y.

The Adult Male Alto, or Counter-Tenor Voice.

(Continued from the December Issue.)

N SUMMING up, we may classify the counter-tenor under two general varieties, with a further dual division of the falsetto alto.

There are therefore three types, as follows: I. The natural counter-tenor, in which the singing and speaking tones agree. A decidedly valuable and legitimate voice that has been slighted in the accepted works on singing. A one-register voice, without a break.

2. The falsetto alto, in which the singing and speaking tones disagree. There is a break between the registers which can be smoothed, and (in young voices), eliminated by training. A two-register voice, in which both registers are used in singing.

3. The falsetto alto, in which the singing and speaking tones disagree. There is a break which cannot be removed. A two-register voice, in which the upper register only is employed in singing.

Choirmasters should always be on the watch for type one. We have already explained why it is misunderstood and neglected. As for its supposed rarity, no one can wonder at it, as the voice

Three Types

is practically unsought.

Type two is commended in an indirect way by various authorities. Untrained, it is justly scored by Mackenzie for causing undue preju

dice. He says: "There is a strong impression in unsophisticated minds (the italics are ours) that the falsetto is a kind of 'dodge,' to which it is not fair to resort. This idea is probably founded on the fact that the untrained falsetto is usually so poor and disagreeable in quality." Type three is at present the one most frequently met with in choirs. As already stated, an important feature of it is that the break is often so low that it does not show in ordinary church compositions. In some cases this voice appears to be incapable of any decided messa di voce, but there are marked exceptions.

While we have any amount of testimony proving that his voice production is harmless, its exclusive use is not advocated. But what is meant by "exclusive use"? A choir singer during one weekly rehearsal and two Sunday services, consuming altogether four or five hours, sings about a quarter of the time, or at most an hour and a half. During the rest of the one hundred and sixty-eight hours of the week, deducting for sleep and silence, he uses his colloquial voice as bass, baritone, or tenor. Does this mean "exclusive" use of falsetto? Can any sane person believe such use to be injurious? The truth of the matter is that the reasonable and judicious employment of the falsetto can hurt no one.

When the distinguished organist of Magdalen College speaks of basses and baritones using this production "exclusively," he means only with reference to choir singing and vocal practice. They are still to remain basses and baritones, although their voices as such may be too light to be of any particular choral value.

What would happen to a bass or baritone if the upper register were to be used always, in singing and in speaking, nobody knows. We may theorize, and venture hypothetical statements as to the probabilities of such a vocal proceeding. The age of the singer would have a bearing upon the final result. Instead of the lower register becoming lost, it might be retained in a modified form, especially if a persistent effort were made to extend the falsetto downward as far as possible.

As far as we know, such an experiment has never been tried under scientific regulation. To be of positive value, it would have to be carried on for a number of years, and the result vouched for by authoritative testimony.

The final outcome might completely upset some theories which are now supposed to be invulnerable.

A

LL THREE varieties of counter-tenor suffer and degenerate from lack of correct vocal exercise. This is especially true of voices classed under the second and third divisions. The male alto is essentially an ecclesiastical voice, and as such fails to get the use and practice other voices get through secular employment. secular employment. *All voice users, and particularly chorus singers in church choirs, should bear in mind the care and trouble soloists take to keep their vocal organs in the best possible condition. They practice assiduously, and regularly. Any singer, whether he be a bass, baritone, tenor, or alto, who confines himself merely to chorus

Practice Necessary work, and neglects to exercise his voice outside of his regular church duties,

is very apt to run down and deteriorate vocally. Little by little defects creep in and become chronic. The male alto requires constant supervision and careful practice and training. There is no voice that declines more rapidly under neglect.

I

T HAS BEEN asserted that the use of the chest register of the boy alto, as heard in the majority of choirs, forms one of the strongest arguments in favor of the countertenor. The boy alto has its proper place, and deserves recognition. The writer does not wish his views in regard to this question to be misinterpreted. In his work on the Training of Choir Boys he has outlined the proper method of cultivating the lower octave of the voice. The belief that boys cannot be taught to sing alto with absolute purity of tone, entirely free from chest quality, is a delusion. Skilfully trained boy trebles sing all the way from

Church singers often express amazement and indignation at the bad singing of the clergy, especially in places where an advanced type of choral service compels them to take their due part. The inartistic intoning of clergymen, who neglect their voices and never practice, should serve as a valuable object-lesson to choristers. The average clergyman persistently fails to see the connection between singing and elocution. The fact that an artistic singing voice goes hand in hand with an artistic speaking voice is generally lost upon him.

*See page 60, 61, and 82, of "Practical Hints on the Training of Choir Boys." (The H. W. Gray Co, N. Y., Agents for Novello & Co., London,)