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 His story may be quickly told for he got most of his education from
the libraries and from reading the scores of the great masters.
Having no piano he could be found daily sitting on a bench in the
park studying the Beethoven sonatas. But he loved Wagner best of
all, and held his meeting with that master his life’s greatest joy. Wolf
had composed little until after he was twenty-eight, then his writing
was feverish, interrupted only by his lapses of mind. He died in one
of these spells, of pneumonia, at 37. All his work was done in four or
five years, for of the last nine years during five of them (1890–95) he
was prostrated and often unable to speak.
 Bruckner

Among the composers around this time and later, there are but
few who have left more than a ripple on the musical ocean. Some
created a stir in their own day and even now there is hot discussion
about them among the critics, while some people are pleased and
others are not.
In those days, as now, every composer had his friends and people
who felt it to be their duty not only to stand up for their friend, but to
ridicule “the other fellow.” So it was with Brahms, for in the same
way that he was abused by those who measured him against Wagner,
his friends refused to recognize in Anton Bruckner (1824–1896) a
rival of their idol (Brahms).
Brahms was living in Vienna but he was not born there, so the
feeling was strong against him when he began to threaten the
position of the Viennese, Anton Bruckner, who though nine years
older than Brahms, was not recognized so early. There was much in
favor of Bruckner. He was a very fine musician. Themes, melodies
bubbled forth constantly like an oil-gusher, but he did not know how
or when to stop them. If he had only known how to control this
continuous flow, he might have been as great a figure as Brahms and
the story of his life been different.
It is wonderful, however, what he made of himself, for he was a
poor schoolmaster and organist who had only his natural gifts to
start with, and had little education. But he wrote symphonies by the
wholesale and they were so long that they fairly terrified conductors
to whom he brought them in the hope of having them performed. He
won his point, however, and lived to gain no small amount of
recognition. We heard several of his symphonies in America in 1924,
the hundredth anniversary of his birth in Ausfelden, Upper Austria.
He died in Vienna in 1896.
Anton Bruckner wrote during the time of the height of Richard
Wagner’s glory and the dawn of Richard Strauss’s fame, and was
eleven years younger than Wagner, whom he idolized.
 Mahler in America

Gustav Mahler (1860–1911) enters at this point. It would be

difficult to make a definite statement about him, for whatever be said
for or against him, is sure to draw argument. He had been a storm-
center for many years before his death, and even afterward those
who were against him waged war quite as bitterly, while those for
him fought more valiantly than ever.
America was in the thick of this fight and many friendships of long
standing were broken on account of it. Mahler living in New York as
recently as 1908–1911 makes us realize the more fully what men of
genius have had to suffer.
Mahler was a powerful musical genius, with astounding ability to
work and amazing skill in handling his massive scores. He died at the
age of fifty-one leaving so many symphonies, choral and festival
works that it was a wonder how one man could have accomplished
that much even had he lived to be a hundred.
We marvel at his genius, but do we want to hear often works that
last for hours and hours? Some do, who can follow his themes, his
amazing treatment of them and his ingenious writing for
instruments. Others are fatigued by the length of time he dwells
upon one subject and by the length of the work itself, and they
sometimes object to his strong contrasts in light and shade. But all
this must be left to the future, the scales in which all art is weighed.
We should be thankful that America enjoyed the benefits Mahler
brought.
He made his American début as conductor at the Metropolitan
Opera House, January 1, 1908, and in 1909 he became conductor of
the New York Philharmonic Orchestra. The labor was so hard, more
in trying to adjust himself to the ideas of his Board of Directors than
in the work itself, that it broke his health and he returned to his
home to die that same year.
He came here with a tremendous career behind him. It was
strange, having all his life led operas and produced them in lavish
fashion, he did not write one! But he did write many beautiful and
very difficult songs. When his works are given, it is usually made a
gala occasion, as they can only be done by the largest organizations
and with the greatest artists. The Society of the Friends of Music give
some work by Mahler each season in New York.
Gustav Mahler was born in Kalischt, Bohemia, and died in Vienna.
He studied philosophy at the Vienna University and among his
teachers of music were Julius Epstein and Anton Bruckner.
When Anton Seidl left the opera house of Prague, 1885–86, Gustav
Mahler jointly with Angelo Neumann succeeded him. He made a
great success of the Court Opera of Vienna where he was director of
the house and conductor for ten years, but he demanded nothing
short of perfection. His insistent ardor for the best in music and in its
performance caused him the greatest unhappiness and really cost
him his life.
 Max Reger

Max Reger (1873–1916) caused a stir during the latter part of the
19th century and the beginning of the 20th. His father, a
schoolmaster and good organist, wanted Max to be a schoolteacher,
but at an early age young Max began to write for piano and organ.
After hearing Die Meistersinger and Parsifal in Bayreuth (1888) he
was so stirred that he began to write big works. Reger was perhaps
most influenced by Bach, and notwithstanding his very modern ideas
he never lost sight of the old classic form which may have made his
work seem stiff and formal at times. Some of his songs are very fine
and his orchestral numbers are frequently played in America.
Max Bruch (1838–1920) was born in Berlin and besides being a
composer of chamber music, three symphonies and familiar violin
concertos, he wrote many choral works.
 Father Franck

From this period, but not from this same country, arose one of the
most important and most beautiful influences of the 19th century.
We have learned enough about the world’s great men to know that
we can never judge by appearances, unless we are keen enough to
recognize a beautiful soul when it looks through kindly eyes.
Such was the countenance of César Franck (born in Liège,
Belgium, 1820—died in Paris, 1890), often called the “French
Brahms”—but he was neither French, nor was he enough like
Brahms to have been so called. While César Franck was not French,
we may say that the entire French school of the second half of the
19th century was of his making. This, because instead of devoting
himself to playing in public and making long concert tours, he
preferred to have a quiet home life so that he could compose. This
seriously disappointed his father who had sent him from Liège to the
Paris Conservatory.
He was but five years of age when Beethoven died, but his work
throughout his entire life strongly showed the influence of the
Master of Bonn, perhaps because his first teacher in Paris was Anton
Reicha, a friend and admirer of Beethoven.
While all of Beethoven’s nine symphonies are known and played
all over the world, César Franck is known by one which is played very
often and by all orchestras. Where Beethoven wrote many sonatas
both for piano alone and for piano and violin, when we hear the
name of César Franck, we immediately think of the one famous
sonata for violin and piano which was so popular that it was also
arranged for violoncello. This was written in very free and practically
new form.
César Franck has written a number of fine works for piano and for
orchestra, and for stringed instruments, but when it comes to organ
works, it would take a large volume to tell of them. Most pianists play
the Prelude, Aria and Finale, also the Prelude, Chorale and Fugue,
just as nearly all the violinists play the sonata, which are
masterpieces. Being deep in church music, and also a very religious
man it was perhaps natural that among his best known works should
be Les Béatitudes for orchestra, chorus and soloists, and
Redemption, a work sung frequently by the Oratorio Societies of
America and Europe. It was d’Indy who said: “In France, symphonic
music originated with the school of César Franck.” There were not,
however, many symphonies, but he was a master in the symphonic
poem. The best known among these are Les Éolides (The Æolides),
Les Djinns on Victor Hugo’s splendid poem of that name and Le
Chasseur Maudit (The Accursed Hunter). Also very well known is
the piano quintet, and we hear sometimes the Symphonic Variations
for piano and orchestra.
 Franck at the Paris Conservatory

César Franck was different from most composers, for his father,
like Father Mozart, was very determined that he should be a pianist
and took the boy on a concert tour when he was only ten years of age!
He gave concerts throughout Belgium, and at fourteen his father
took him with his brother Joseph to the Paris Conservatory, where
later he became a distinguished professor.
There are many examples in life where a talent runs away with its
possessor. So it was with young César, who, after only a year’s
schooling, entered the concours or competition. He covered himself
with glory in the piano piece he had to play, but when he was tested
for reading at sight, it flashed through his head how funny it would
be to transpose the piece three notes lower! And so he did, without a
mistake! But the judges were so horrified that he should dare do
anything different from what was expected that they decided not to
give him the prize because he had broken the rules! But, Cherubini,
our old acquaintance there was great enough to know what the boy
had done, and through his influence a special prize was created for
César Franck called the Grand Prix d’Honneur which has never,
since then, been conferred upon anyone!
César Franck was very mild and sweet in nature but when it came
to his music he was almost rebellious in his independence. To
understand the degree of his daring you must know what a concours
means.
The graduating classes of the Paris Conservatory are drawn up to
play their pieces and to receive the criticism of the judges, and the
prizes. They all play the same thing so the judges can tell exactly how
each compares with the other. Five of the most famous musicians of
the world are selected and they sit in judgment. Imagine this
terrifying ordeal! A couple of years after the first occurrence, César
Franck had to enter an organ competition, and again his genius got
away from his judgment. He was expected to improvise a sonata on
one subject given him by the judges and a fugue on another subject.
Franck passed in very orderly fashion through the first part, but
when it came to the fugue he thought how amusing it would be to
work the sonata subject into the fugue subject, a feat which startled
these wise judges by its colossal daring and the stupendous manner
in which he accomplished it. But did they give him the first prize?
Not they! Talk about “Red Tape”—he had not followed the rules and
all he received out of the brilliant feat was a second prize! But the
world got César Franck.
 Composer, Teacher, Organist

We little realize how a tiny deed may influence the world! We may
almost reckon that a kind-hearted priest was responsible for what
César Franck became as a composer! After he had had the wonderful
musical training at the Conservatory he refused to travel as a concert
artist, but wanted to remain at home and marry. This separated him
completely from his father. Besides wanting his son to play, he
objected to his marrying an actress when he was twenty-six. Here is
where the priest first befriended him, for he performed the ceremony
that made them man and wife.
But the days of revolution in Paris (1848) were upon them and
pupils did not come in great numbers. Poverty such as Franck had
never known faced him and his bride. But his good friend the priest
was called to a church and he immediately appointed César Franck
as organist. The instrument was very fine and his happiness was
complete for he loved church services above everything. This brought
him directly under the musical influence of Bach, which after all, was
the greatest in his life. Later he became organist of Saint Clothilde
where the organ was even finer and his composing hours were fairly
absorbed by writing for the organ.
The programs given by concert-organists are usually divided
between Bach and César Franck, with a few numbers by Alexandre
Guilmant, the great French organist, Charles Marie Widor, Theodore
Dubois and a few other Frenchmen.
With all the composition that this grand old man of musical France
left behind him, he left a still greater thing in the young men who
were his pupils, some of whom were among the most important
figures in the late 19th century.
It is a singular fact that César Franck died almost exactly as did
two of his most famous pupils, Ernest Chausson and Emmanuel
Chabrier. The former was killed in the Bois de Boulogne while riding
a bicycle and Chabrier was killed by a fall from a horse. Their beloved
professor was knocked down by an omnibus, and although he
seemed to recover and continue with his lessons and composing, he
became ill from the effects and died a few months later, in his 68th
year.
During this last illness he wanted to get out of bed to try three new
chorales for organ, which he read through day after day as the end
approached. This was the last music from his pen for the
manuscripts were lying beside him when the priest gave him the last
rites of the Catholic Church.
If one could sum up the outstanding features of César Franck’s
music, they would be nobility and lofty spirit, true reflections of his
unfaltering religious faith.
 Franck’s Pupils

César Franck did more than just devote teaching hours to his
pupils. He had them come to his home, and surrounded by youth and
enthusiasm, his own power grew greater. They played their new
works for each other and for the Master, and out of this was born the
Société Nationale (National Society). It swung both the public taste
and the composers out of the light, frivolous opera of the day into a
love for, and a support of French symphonic and chamber music.
The Society was founded in 1871, just following the Franco-Prussian
war and was a protest against the German musical domination in
France, in fact it was a direct aim against Wagner. In spite of the fact
that Franck was influenced by Bach, Beethoven and Wagner, he
worked sincerely to develop the classic French school outside of
opera form.
Another great national institution which grew out of the influence
of César Franck was the famous Schola Cantorum founded by
Vincent d’Indy and Charles Bordes, his pupils, and Alexandre
Guilmant.
Among the Franck pupils in addition to d’Indy and Bordes may be
mentioned, as a few of the foremost, Alexis de Castillon (1838–1873),
Emmanuel Chabrier (1842–1894), Henri Duparc (1848) famous for
some of the most beautiful songs in all French music, Ernest
Chausson (1855–1899), Guillaume Lekeu (1870–1894), of the
Netherlands, and composer of Hamlet, a tone poem and other
pieces, Pierre de Bréville (1861), Guy Ropartz (1864), Gabriel Pierné,
Paul Vidal, and Georges Marty.
But his influence did not stop here, for it touched many, including
such close friends as Alexandre Guilmant and Eugene Ysaye, the
renowned violinist, as well known in America as in Europe. He was a
countryman of César Franck and played for its first performance
anywhere, Franck’s violin sonata dedicated to him.
Alberic Magnard (1865–1914), was related musically to Franck
through d’Indy his chief teacher. Magnard met death by the enemy in
his own home during the war.
 We could fill a volume concerning these interesting men, but we
must continue our musical journey. From among them, however, we
must learn a little more about Vincent d’Indy, not only because he is
a great composer and teacher, but he has taught many Americans.
 Vincent d’Indy

Vincent d’Indy (1851) a musician of finest qualities and almost

countless achievements, is a cultured and educated gentleman. He
was brought up by his grandmother, a woman of education and
refinement, for his mother died when he was very young. He
therefore learned to love culture and elegance early in his life, but
this did not prevent him from doing the sort of work which make
men a benefit to art and to mankind. In addition to being a musician,
he is a skilled critic and writer, also a great teacher and organizer,
proof of which may be found in what he has done for France, indeed,
for the world, in the Schola Cantorum. He has written many books as
well as magazine and newspaper articles and an immense number of
musical compositions. He was born in Paris and was a member of the
Garde-Mobile during the Franco-Prussian war.
Until the time that he left home for military service he studied the
piano with Louis Dièmer, a noted pianist and teacher of Paris, and
harmony with Marmontel and Lavignac, both equally famous. Upon
his return from war service, his days with César Franck began, and
these were precious hours for both the pupil and the teacher who
recognized the young man’s power.
He made several trips to Germany, the first in 1873 when he
carried to Brahms the César Franck score of Redemption sent with
the composer’s compliments. At this time he also met Liszt and
Wagner, and later he attended the Bayreuth performances including
the world première (first performance) of Parsifal. His musical
activities led him from the organ loft to becoming tympani (kettle-
drums) player in the Colonne Orchestra, where he went, no doubt, to
learn the instruments of the orchestra and how to handle them. He
found out, because he is most skilled in writing for orchestra.
He has had many prominent pupils, and it is his pride and his
ambition to continue along the lines laid down by César Franck. He
has had more than ordinary success as a conductor going to many
countries to conduct his own compositions. He came twice to
America as guest conductor of the Boston Symphony appearing with
that organization in its home and also in New York.
 Vincent d’Indy, following the ideal of Franck is largely responsible
for the return of music in his country to symphony, from which it
had strayed far. In this period there was a general feeling to bring
music back to classical form. This young school was doing it in
France as Brahms had done it in Germany and the result was that
many composers wrote symphonies. If we look through musical
history since then, we will find that the revival of a feeling for the
classics has helped to make the latter part of the 19th century very
rich.
Although d’Indy has written several operas, there has been no
attempt to give them in this country, which is strange because it is
very difficult to get operas that are worth producing at the
Metropolitan Opera House or in Chicago, the only other city in
America that supports its own opera on a large scale.
D’Indy is living in Paris (1925), where the life around him bristles
with study, achievement and ambition. He is as much of an
inspiration to his pupils as was his own teacher, but this is the 20th
century, in which conditions, and men, are different from those of
the past! He has not stood still but has gone steadily ahead, although
his influence upon the very modern writers must have been healthy
and restraining, notwithstanding the fact that only a few years ago he
was regarded as a modern.
 Gabriel Fauré

In the musical history of France, the name of Gabriel Fauré (1845–

1924) looms high. He was born in Pamiers, and was taught by the
Dean of French musical folk, Camille Saint-Saëns. Like all the
musicians of France, no matter whether or not they planned to use it
as a profession, they devoted as much time to the organ as to the
piano, and most of them became famous organists even though they
had not planned to be organists. For this reason France has more
great organists and organ compositions to offer than any other
country of the world.
Gabriel Fauré became the organist of Rennes and later went to
Saint Sulpice and Saint Honoré, and finally he became organist of
the Madeleine in 1896. These churches are among the greatest in
France, and to be organist in any one of them means that he is a
great musician.
Fauré had honors showered upon him for he gave his country
some of the most brilliant works contributed by any of her sons. In
France the compositions of Gabriel Fauré are highly valued, but with
the exception of a few songs, are not known in America, the more the
pity. Fauré is better known here as the head of the Conservatory in
which his life was spent until his very recent death. He went there to
share the classes in composition, counterpoint and fugue with André
Gédalge, succeeding Jules Massenet, and in 1905 Fauré succeeded
Theodore Dubois as Director of the Conservatory. Still more honors
heaped upon him made him a member of the Académie, for which no
one can be named until there is a vacancy. He was therefore the
successor to Ernest Reyer.
In 1910 the world was much stirred when Gabriel Fauré was made
Commander of the Legion of Honor, a distinction given only when a
man has done something very great.
In addition to these tributes to his standing in the community and
his achievements as an artist, he took numerous prizes for his
compositions of which there were three operas, much incidental
music, symphonies, a well known violin and piano sonata, some fine
chamber music and much music for the organ and for choruses. But
beyond the appreciation always shown Fauré for his larger works, he
will always be loved in France because he was regarded as the French
Schubert, so lovely were his melodies and so lavishly did he write.
He kept pure and true the ideals and characteristics of French
music, more so, indeed, than did many who may be better known to
the concert-goers of this country.
 English Composers in Classical Forms

While the Germans, French and Austrians were writing, England

had composers, who although not so famous, nevertheless kept
music alive in England.
Sir William Sterndale Bennett (1816–1875) with his many
orchestral and choral works of which his cantata, The Woman of
Samaria, is best known; Sir George A. Macfarren (1813–1887) with
operas and oratorios, especially his cantata, Rebekah; his brother,
Walter Cecil Macfarren (1826–1905), conductor, and composer of
orchestral music; Sir John Stainer (1840–1901), organist, composer
of very lovely anthems, and much church music, and Professor of
Music at Oxford; Sir Frederick Bridge (1844–1924), organist of
Westminster Abbey, writer of text-books on music, and of anthems,
part songs and oratorios; Sir Arthur C. Mackenzie (1847), composer
of many works including two Scotch symphonies and a cantata, The
Cottar’s Saturday Night; Sir Charles Hubert Hastings Parry (1848–
1918), Professor of Music at Oxford after Stainer, and writer of many
important books on music and of compositions in many forms;
Arthur Goring Thomas (1851–1892), who wrote operas, cantatas,
and many songs; Sir Frederick Hymen Cowen (1852), with operas,
cantatas, symphonies and chamber music; Sir Charles Villiers
Stanford (1853–1924), born in Dublin, Ireland, Professor of Music at
Cambridge since 1887, student of Irish folk music, and writer of
chamber music and short pieces, also of valuable books on musical
history and other musical subjects; Edward German (1862), famous
for his Henry VIII Dances, much incidental theatre music, and an
operetta, The Moon Fairies, in which he used the last libretto written
by Sullivan’s inimitable partner, Sir W. S. Gilbert; and Samuel
Coleridge-Taylor (1875–1912), an Englishman of African descent,
whose music for chorus and for orchestra is based on American
Indian legend, and on Negro folk songs.
And living today is Edward William Elgar (1857), the dean of
English composers. While not adding to the new music, he is famous
for many pieces, among which are The Dream of Gerontius, The
Apostles, other oratorios, symphonies, and his march, Pomp and
Circumstance.
 Women Writers in England

Among the women in England, Dame Ethel Smyth (Dame is an

honorary title in England) (1858) is known for her opera The
Wreckers, and her comic opera The Boatswain’s Mate. Some of her
operas have been performed at the Metropolitan Opera House in
New York and at Covent Garden, London. Besides she has written
songs for the Suffrage Movement, incidental music, and music in
large forms.
Liza Lehman (1862–1918), wrote In a Persian Garden, Nonsense
Songs, and The Daisy Chain, which made her famous.
“Poldowski,” Lady Dean Paul, daughter of Wieniawski, the Polish
composer and violinist, has written piano pieces and lovely songs in
Debussy style. She has had considerable influence in getting the work
of the younger British composers and her countryman,
Szymanowski, heard in London.
Rebecca Clarke, a young Englishwoman, has written several
chamber music works which place her in the foremost rank of
women composers. On two occasions she received “honorable
mention” in the Berkshire chamber music prize competition offered
by Mrs. F. S. Coolidge, at Pittsfield, Massachusetts.