I. _The Combat between David and Goliath_

The portrait given in Scripture of great Goliath is something quite uncommon: a monster of nature appears, a giant, tall as a tree. Six ells will not suffice to measure his length; the high helmet of bra.s.s which he wears on his head makes him appear still taller; and the scaly coat of mail, the greaves of bra.s.s placed about his legs, together with the enormously heavy shield which he carries, also his strong spear, tipped with iron, like unto a weaver's beam, sufficiently show that he is of mighty strength, and that all these exceedingly heavy loads do not inconvenience him in the slightest. If the mere description of this man creates fear, how much greater will not the terror of the poor Israelites be when the living image of this their enemy appears before them. For he stands before them in his brazen armour, rivalling the sun in brilliancy, makes with the rustling of his armour a terrible din, and snorts and bellows as if he would devour them at one mouthful; his words sound in their ears like dreadful thunder. He holds in contempt his enemies and their equipage, and demands that a hero be sent out to him from their camp; this combat is to show whose shoulders shall bear the yoke of bondage. By this means he imagines that the sceptre will soon pa.s.s from the Israelites to the Philistines. But a miracle is about to happen! When courage fails all the heroes of Israel, when the giant has only to show himself, to cause them to flee, when, also, the terrible warrior continues, according to his custom, to pour contempt on the enemy, David, a slim, courageous stripling, a simple shepherd-boy, then appears, and offers to fight the bully. He is accused of rashness.

This, however, troubles David but little; he adheres firmly to his heroic resolution, and seeks audience of King Saul. By G.o.d's help, he had fought with a bear and a lion who had taken from him a lamb, had s.n.a.t.c.hed the prey from the jaws of these cruel beasts, and, further, had slain them. Thus he hoped would end the struggle with this bear and lion of a Philistine. Strongly relying upon G.o.d, he advances towards the powerful giant, with a sling, and with some specially selected pebbles. Then the Philistines think to themselves, "Now will the great hero blow away the enemy like a speck of dust, or kill him as he would a fly." All at once Goliath becomes terrible in his rage, and raves, uttering frightful oaths at David, declaring that he is treated as if he were a dog, and that David comes to him with shepherd's staff, and not with weapons worthy of a warrior. David, however, is fearless. He relies on his G.o.d, and prophesies to the enemy that, though without sword, spear, or shield, he will cast Goliath to the ground; that he will cut off his head, and leave his carcase as food for birds and wild beasts. Hereupon David rushes at the Philistine, wounds him in the forehead with a sharp stone cast from his sling, so that Goliath falls to the ground. Before he has time to rise, David, making use of his opportunity, slays him with his own sword, and bears away from the field of battle, the hewn-off head as a trophy of victory. As formerly the Israelites fled before the snorting and stamping of the great Goliath, so now flee the Philistines in consequence of the victory of young David. Thus they give opportunity to the Israelites to pursue them, and to fill the roads with the corpses of the slain fugitives. It is easy to imagine how great must have been the joy of the victorious Hebrews. In proof of it, we learn how women came forth from the cities of Judea, with drum, fiddle, and other musical instruments, to meet the victors, and sang alternately: "Saul hath slain his thousands, but David his ten thousands."

Thus the sonata expresses--

1. The stamping and defying of Goliath.

2. The terror of the Israelites, and their prayer to G.o.d at sight of the terrible enemy.

3. The courage of David, his desire to humble the pride of the giant, and his childlike trust in G.o.d.

4. The contest of words between David and Goliath, and the contest itself, in which Goliath is wounded in the forehead by a stone, so that he falls to the ground and is slain.

5. The flight of the Philistines, and how they are pursued by the Israelites, and slain by the sword.

6. The exultation of the Israelites over their victory.

7. The praise of David, sung by the women in alternate choirs.

8. And, finally, the general joy, expressing itself in hearty dancing and leaping.

II. _David curing Saul by means of Music_

Among the heavy blows dealt to us at times by G.o.d, for holy reasons, are to be counted bodily sicknesses. Of these one can in a real sense say that they cause pain. Hence the invention of that physician of Padua was by no means ridiculous, who thus represented in picture-form, over his house-door, the various sicknesses: a man attacked by many dogs and gesticulating wildly, through pain. To each of these dogs was given a name, and each acted accordingly. The dog, Gout, was biting the man's foot; the dog, Pleurisy, his loins; Stone, his kidneys; Colic, his belly, and so on. Finally, a great sheep-dog, representing daily fever, had thrown the man to the ground. The inventor could easily have known (for that he did not require any special experience) that sicknesses act upon men in a manner not less gentle. By the exercise of patience, pain can at length be conquered, although the soul, so intimately combined with the body, must feel it not a little. But when the soul is attacked by sickness, patience always gives way; for bodily, cannot in any way be compared with mental, suffering. Inner anguish shows itself in restless gestures.

Scripture takes us into a lazaretto of such afflicted persons. Among others, we meet with a royal and singular patient. Saul is his name.

Of him we read: "The spirit of the Lord departed from Saul, and he was vexed by an evil spirit from the Lord." Where G.o.d is absent, and the Evil One present, there must dwell all manner of evil. The hateful aspect of this man in his paroxysms of pain can readily be imagined.

His eyes turn the wrong way, and sparks of fire, so to speak, dart out one after the other; his face is so disfigured, that human features can scarce be recognised; his heart casts forth, as it were, a wild, stormy sea of foam. Distrust, jealousy, envy, hatred, and fear burst forth from him. Especially does the javelin, constantly flying from his hand, show that his heart rages fiercely with anger. To sum up: his soul-sickness is so great that the marks of h.e.l.lish tortures can be clearly traced. At lucid intervals (_lucidis intervallis_) or quiet hours, the tortured king realises his indescribable evil; and he therefore seeks after a man who can cure him. But under such extraordinary circ.u.mstances can help be hoped for? From human arts, Saul could not expect any salvation. But G.o.d sometimes works wonders among men. So he sends to him a n.o.ble musician, the excellent David, and puts uncommon power into his harp-playing. For when Saul, so to speak, is sweating in the hot bath of sadness, and David plays only one little piece, the king is at once refreshed, and brought into a state of repose.

Thus the sonata represents--

1. Saul's sadness and madness.

2. David's refreshing harp-playing, and

3. Tranquillity restored to the king's mind.

CHAPTER III

BERNARDO PASQUINI: A CONTEMPORARY OF J. KUHNAU

In the year 1637 was born at Ma.s.sa de Valnevola (Tuscany) Bernardo Pasquini,[48] who is said to have been one of the most distinguished performers on the organ and also the harpsichord. He studied under Loreto Vittori and Antonio Cesti, but his real master was evidently Palestrina, whose scores young Bernardo studied with fervent zeal. He was appointed organist of Santa Maria Maggiore, Rome, and, according to the monument erected to his memory by his nephew, Bernardo Ricordati, and his pupil, Bernardo Gaffi, in the church of San Lorenzo in Lucina of that city, the composer was for a time in the service of Battista, Prince Borghese. The inscription runs thus:--

"D.O.M.

"Bernardo Pasquino Hetrusco e Ma.s.sa Vallis Nevolae Liberianae Basilicae S.P.Q.R. Organedo viro probitate vitae et moris lepore laudatissimo qui Excell. Jo. Bap. Burghesii Sulmonensium Principis clientela et munificentia honestatus musicis modulis apud omnes fere Europae Principes nominis gloriam adeptus anno sal. MDCCX. die XXII. Novembris S. Ceciliae sacro ab Humanis excessit ut cujus virtutes et studia prosecutus fuerat in terris felicius imitaretur in coelis. Bernardus Gaffi discipulus et Bernardus Ricordati ex sorore nepos praeceptori et avunculo amantissimo moerentes monumentum posuere. Vixit annos LXXII.

menses XI. dies XIV."

Pasquini enjoyed reputation as a dramatic composer, and the success of an opera of his performed at the Teatro Capranica, Rome, during the festivities in honour of Queen Christina of Sweden (1679), is specially noted; or, according to Mendel, he wrote two successful operas, one for the opening of the Teatro Capranica, and a second for the festivals. He also wrote an oratorio: _La Sete di Christo_.

Pasquini died in the year 1710.

But, it will be asked, Why is he mentioned in a book which is concerned with the sonata? It is known that he was a skilful performer on the harpsichord, and some Toccatas and Suites of his appear to have been published in a collection of clavier music at Amsterdam in 1704.

Fetis, in his _Biographie Universelle des Musiciens_, even states that he wrote sonatas for _gravicembalo_. Here are his words:--

"Landsberg possedait un recueil ma.n.u.scrit original de pieces d'orgue de Pasquini, dont j'ai extrait deux toccates, composees en 1697. Ce ma.n.u.scrit est indique d'une maniere inexacte dans le catalogue de la bibliotheque de ce professeur (Berlin, 1859) de cette maniere: Pasquini (Bernardo) _Sonate pei Gravicembalo_ (libro prezioso). Volume grosso _E scritto di suo (sua) mano in questo libro_. Ce meme catalogue indique aussi de Bernard Pasquini: _Saggi di contrapunto_--Anno 1695. Volume forte. _E scritto di suo (sua) mano in questo libro_. Malheureus.e.m.e.nt ces precieux ouvrages sont pa.s.ses en Amerique avec toute la bibliotheque musicale du professeur Landsberg."

Whether these precious volumes actually went to America seems doubtful. Anyhow both volumes are now safely housed in the Berlin Royal Library. It may be mentioned that the first contains no real sonata: its contents consist princ.i.p.ally of suites, toccatas, variations, and fugues.

In the story of Italian instrumental music, Pasquini is little more than a name. The fourth volume of A.W. Ambros' _History of Music_ concludes thus:--"So ist uns von dem geruhmten Meister nichts geblieben, als seine Name u. seine stolze Grabschrift in San Lorenzo in Lucina." (Thus of the famous master (_i.e._ Pasquini) nothing remains except his name and his proud monument in San Lorenzo in Lucina). The writer of the article "D. Scarlatti," in Sir George Grove's _Dictionary of Music and Musicians_, remarks that the famous harpsichord player and composer "has been called a pupil of Bernardo Pasquini." But he considers this "most improbable, seeing that Pasquini was of the school of Palestrina, and wrote entirely in the contrapuntal style, whereas Domenico Scarlatti's chief interest is that he was the first composer who studied the peculiar characteristics of the free style of the harpsichord."

Of Pasquini as a performer on the harpsichord, Mattheson relates "how on his visit to Rome he found Corelli playing the violin, Pasquini the harpsichord, and Gattani the lute, all in the orchestra of the Opera-house." And, once more, in the notice of Pasquini in the same dictionary, we are informed that the composer "exercised a certain influence on German musicians." In C.F. Weitzmann's _Geschichte des Clavierspiels_ there is an interesting reference to some Toccatas of Pasquini published in "Toccates et suites pour le clavecin de MM.

Pasquini, Paglietti et Gaspard Kerle, Amsterdam, Roger, 1704." A Toccata was published (most probably one of those in the above work) by I. Walsh in his

Second Collection of Toccates, Vollentarys and Fugues made on purpose for the Organ and Harpsichord Compos'd by Pasquini, Polietti and others The most Eminent Foreign Authors.

Of Polietti,[49] court organist at Vienna before J.S. Bach was born, Emil Naumann has, by the way, given an interesting account in an article "Ein bisher unbekannt gebliebener Vorganger Seb. Bach's unter den Italienern" (_Neue Berl. Mus.-Ztg._ Jahrgang 29). The Toccatas of Pasquini, published by Roger, and a so-called "Sonata,"[50] printed by Weitzmann in the work just referred to, const.i.tute, we believe, all that has. .h.i.therto appeared in print of this composer.

And yet surely Pasquini may lay claim to a place in the history of instrumental music and the sonata, for he not only wrote suites, but also sonatas for the harpsichord, or, to be quite exact, for two harpsichords. Some, at any rate, of his music is to be found in the British Museum. There are three volumes (Add. MSS. 31,501-3). On the fly-leaf of the first is written:--

"Ad Usum Bernardi Felicij Ricordati de Baggiano in Etruria."

Then comes in pencil a note probably made when the volumes came into the possession of the British Museum:--

"These are original MSS. by the hand of Bernardo Pasquini, 1637-1710, the greatest organist of Italy in the second half of the 17th century, and written for his nephew B. Ricordati. They are the only MSS. of Pasquini known to be in Europe. This vol. is dated at the end, Dec.

3, 1704; at the beginning, May 6, 1703."

And now for its contents. The first piece is a short suite,[51]

consisting of a Tastata (the old term for Prelude), a Corrente and an Aria; and it shows that Pasquini could write h.o.m.ophonic as well as polyphonic music. Then follows a piece in the key of D major, headed

"A due Cembali, 1704, Bernardo Pasquini,"

which consists of three movements. First one commencing with chords, after which, fugal imitation. Next we have a fugal movement, like the preceding one, in common time; lastly, one in six-eight time. All three movements are in the same key. The part for each cembalo is written on a separate stave, the one below the other. Only the ba.s.s notes are written, and the upper parts are indicated by figures. But this will be clearer presently, for we shall give one or more ill.u.s.trations. At the close of the six-eight movement is written _fine_, and on the following page another piece begins in C major, marked merely 2a, commencing thus:--

[Music ill.u.s.tration]

This theme reminds one of Bach's Adagio from the 2nd Organ Concerto--

[Music ill.u.s.tration]

or even Handel's "Along the Monster Atheist strode."[52] The movements of this second piece are similar in structure and character to those of the first. Next we have a piece of lighter character in two movements, and, apparently, for one cembalo: there is, of course, only one ba.s.s part (figured). At the commencement is merely marked _Ba.s.so continuo_. The following piece is headed 3a Sonata (3rd Sonata). It is in the key of D minor, and it has three movements, all in the same key. Now, as all the pieces for _two cembali_ in the volume after this are marked as sonatas, coupled with the fact that before this 3rd Sonata there are two pieces for two cembali, the latter of which is marked 2a (second), we may conclude that these two are also sonatas.

The piece for one cembalo between the 2nd and 3rd Sonatas is, as we have remarked, of lighter character, and was possibly considered a suite. After the 3rd Sonata comes a fourth, then a _Ba.s.so continuo_ (containing, however, by exception, more than one suite), and so on, alternately, until the 14th Sonata is reached. Then follows the last piece in the volume. The superscription, "For one _or_ two cembali,"[53] leads us to believe that the preceding _Ba.s.so continuo_ numbers were intended for one cembalo. It should be stated that movements in binary form are rare among the sonatas, frequent among the _Ba.s.so continuo_ pieces,--another reason for considering the latter suites.

The structure of the 3rd Sonata[54] is extremely simple. The first, probably an Allegro moderato, opens with a bold characteristic phrase, which is repeated in the second bar by the second cembalo; points of imitation, in fact, continue throughout the movement. At the seventh bar there is modulation to the dominant, and at the ninth, to the subdominant, in which the opening theme recurs. A stately antiphonal pa.s.sage leads back to the princ.i.p.al key, and the movement concludes with a cadence such as we find in many a work of Bach's or Handel's.