CHAPTER I

THE SYMPHONY DURING THE NINETEENTH CENTURY


After the long dominance of German masters of the musical art, a
reaction could not fail to come with the restless tendencies of other
nations, who, having learned the lesson, were yet jealous of foreign
models and eager to utter their own message. The later nineteenth
century was thus the age of refraction of the classic tradition among
the various racial groups that sprang up with the rise of the national
idea. We can see a kind of beginning in the Napoleonic destruction of
feudal dynasties. German authority in music at the beginning of the
century was as absolute as Roman rule in the age of Augustus. But the
seed was carried by teachers to the various centres of Europe. And, with
all the joy we have in the new burst of a nation's song, there is no
doubt that it is ever best uttered when it is grounded on the lines of
classic art. Here is a paramount reason for the strength of the modern
Russian school. With this semi-political cause in mind it is less
difficult to grasp the paradox that with all the growth of
intercommunication the music of Europe moves in more detached grooves
to-day than two centuries ago. The suite in the time of Bach is a
special type and proof of a blended breadth and unity of musical thought
in the various nations of Europe of the seventeenth century. In the
quaint series of dances of the different peoples, with a certain
international quality, one sees a direct effect of the Thirty Years'
War,--the beneficent side of those ill winds and cruel blasts, when all