ake extreme types for
the sake of vivid contrast, let us compare the compositions of Haydn
and Mozart with those of Berlioz and Liszt. In the former there is
repose, restraint and a perfect finish in the structural presentation;
a feeling of serenity comes over us as we listen. In the latter, a
peculiar intensity of expression, an attempt to fascinate the listener
by the most intimate kinds of appeal, especially to the senses and
fancy, regardless of any liberties taken with former modes of
treatment. The purely classical composer is always master of his
subject, whereas the romanticist is often carried away by it.
Classical works are objectively beautiful, commending themselves to
everyone like works of nature, or, let us say, like decorative
patterns in pure design. Romantic works are subjective, charged with
individuality and demand a sensitive and sympathetic appreciation on
the part of the hearer. It is evident that many of these tendencies
are found clearly outlined in the works of Beethoven. In fact, as has
been said, he was not only the climax of the classical school, but the
founder of the new era--opening a door, as it were, into the
possibilities of a more intense, specialized form of emotional
utterance and a freer conception of form. These special
characteristics were so fully developed by Beethoven's successors,
Schubert, Weber, Schumann, Chopin, etc. that they are always grouped
together as the Romantic School. A striking feature in this whole
Romantic group is the early flowering of their genius and the
shortness of their lives--Weber, forty years, Schubert, thirty-one,
Schumann, forty-six, Mendelssohn, thirty-eight, Chopin, forty. In the
case of all the composers we have hitherto studied, with the exception
of Mozart, their masterpieces have been the result of long years of
patient, technical study and hence show that finish and maturity of
style which come only with time. But the precocity of the Romanticists
is astounding! Many of Schubert's famous pieces were composed in his
earliest manhood; Mendelssohn's _Midsummer Night's Dream_ Overture
dates from his sixteenth year; Schumann's best pianoforte works were
composed before he was thirty. The irresistible spontaneity and vigor
of all these works largely atone for any blemishes in treatment. We
feel somewhat the same in the case of Keats and Shelley in comparison
with Milton, and are reminded of Wordsworth's lines, "Bliss was it in
that hour to be ali