A Musical Companion: A Guide to the Understanding and Enjoyment of Music

By John Erskine | Go to book overview

MODERNISM

CHAPTER I
SOME NATIONAL SCHOOLS

THERE ARE STILL a few nationalist movements of more recent growth which claim attention. Of the three founders of modern Spanish music, Pedrell, Albeniz, and Granados, only the last-named wrote any chamber music, and that of little importance. The first to turn his attention to this field was Joaquin Turina, probably through having been a pupil of the Schola Cantorum in Paris, where chamber music was assiduously fostered. He has written a string quartet, a piano quintet, and a piano trio, besides several works bearing "program" titles, such as Escena Andaluza for piano, viola, and string quartet, La Anunciación for piano sextet, and La Oración del Torero for string quartet. Then there is Conrado del Campo, the viola player, composer of numerous quartets, of which few are published. Of these, Caprichos Romdnticos is the best known. Oscar Espla and Adolfo Salazar have also written chamber music, but the most important of living Spanish composers, Manuel de Falla, is represented only by his concerto for harpsichord accompanied by six instruments, a work of profound interest, and by a song accompanied by five. His pupil Ernesto Halffter has published a string quartet.

There is a more fertile activity in modern Hungarian music. Some years ago Hans Koessler, a German musician, pupil of Rheinberger, with some excellent chamber music to his credit, became the director of the Royal Hungarian Academy of Music at Budapest. Like Dvořák, in similar circumstances, he paid his hosts the compliment of introducing the Hungarian idiom into his works, where it is scarcely more prominent than in those of Brahms, on whom he modelled himself. He derives, however, some historical importance from the circumstance that Hungarian music today is completely

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A Musical Companion: A Guide to the Understanding and Enjoyment of Music
Table of contents

Table of contents

  • Music *
  • Title Page i
  • Acknowledgment iii
  • Introductory Note v
  • Contents ix
  • Book I - The ABC of Music 1
  • Musical Notation 3
  • The Fundamentals of Music 19
  • Form 27
  • The Orchestra and Other Instruments 39
  • Book II - The Orchestra and Orchestral Music 53
  • The Rise of the Orchestra 55
  • The Expansion of the Orchestra 78
  • The Orchestra as Instrument 93
  • Orchestral Music; "Absolute" Music and the Symphonists 130
  • Orchestral Music of Mantkinds 174
  • Book III - Opera 189
  • How Opera Arose 191
  • The Eighteenth Century 207
  • From Mozart to Wagner 223
  • From Verdi to the Present Day 241
  • Book IV - The Human Voice 259
  • By Way of Introduction 261
  • The Polyphonic Period 268
  • English Song 284
  • Folk-Song 294
  • Oratorio and Other Choral Music 301
  • European Song in the Nineteenth Century 314
  • Vocal Music in the Twentieth Century 330
  • Book V - Chamber Music 341
  • Before Beethoven 343
  • From Beethoven to Brahms 364
  • National Schools 382
  • Britain 405
  • Modernism 421
  • Book VI - The Solo Instrument 431
  • Keyboard Instruments 433
  • Pianoforte and Violin Sonatas and Duets 468
  • The Violin in Solo and Concerto 477
  • The Violoncello and the Viola 490
  • Glossary and Index 501
  • A Short Glossary of Musical Terms 503
  • Index 517
  • A Note on the Type In Which This Book is Set 552
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