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Enhanced photo-Fenton degradation of tetracycline hydrochloride by 2, 5-dioxido-1, 4-benzenedicarboxylate-functionalized MIL-100(Fe) Mingyu Li

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Enhanced photo-Fenton degradation of tetracycline hydrochloride by 2, 5-dioxido-1, 4-benzenedicarboxylate-functionalized MIL-100(Fe)

Mingyu Li a, b , Yuhan Ma a, b , Jingjing Jiang a, b , Tianren Li a, b , Chongjun Zhang c , Zhonghui Han a, b , Shuangshi Dong a, b, *

a Key Laboratory of Groundwater Resources and Environment, Ministry of Education, Jilin University, Changchun, 130021, Jilin, China

b Jilin Provincial Key Laboratory of Water Resources and Environment, Jilin University, Changchun, 130021, Jilin, China

c Engineering Lab for Water Pollution Control and Resources Recovery of Jilin Province, School of Environment, Northeast Normal University, Changchun, 130117, China

ARTICLE INFO

Keywords:

H2DOBDC-Functionalized MIL-100(Fe)

Photo-Fenton

Contaminant removal

Degradation mechanism

ABSTRACT

Heterogeneous photo-Fenton technology has drawn tremendous attention for removal of recalcitrant pollutants. Fe-based metal-organic frameworks (Fe-MOFs) are regarded to be superior candidates in wastewater treatment technology. However, the central metal sites of the MOFs are coordinated with the linkers, which reduces active site exposure and decelerates H2O2 activation. In this study, a series of 2, 5-dioxido-1, 4-benzenedicarboxylate (H2DOBDC)-functionalized MIL-100(Fe) with enhanced degradation performance was successfully constructed via solvothermal strategy. The modified MIL-100(Fe) displayed an improvement in photo-Fenton behaviors. The photocatalytic rate constant of optimized MIL-100(Fe)-1/2/3 are 2.3, 3.6 and 4.4 times higher compared with the original MIL-100(Fe). The introduced H2DOBDC accelerates the separation and transfer in photo-induced charges and promotes Fe(II)/Fe(III) cycle, thus improving the performance. •OH and •O2 are main reactive radicals in tetracycline (TCH) degradation. Dealkylation, hydroxylation, dehydration and dealdehyding are the main pathways for TCH degradation.

1. Introduction

Emerging contaminants in wastewater, such as dyes, pesticides, microplastics, pharmaceutical and personal care products, have caused severe damage to the health of the animals and humans (Cantoni et al., 2021; Huang et al., 2020). Developing effective treatment technology is essential to mitigate the growing concern of water pollution. Heterogeneous Fenton, as a kind of typical advanced oxidation process, has attracted tremendous attention. However, the practical process in Fenton reaction is limited by the sluggish Fe(II)/Fe(III) cycle (Liao et al., 2019; He et al., 2019a; Ren et al., 2020). An introduction of visible light is an efficient strategy to promote the production of photogenerated electrons, promote Fe(II)/Fe(III) cycle and improve the degradation efficiency of pollutants (Wu et al., 2020; Ahmad et al., 2020; Ye et al., 2020). However, the rational design of efficient and durable Fenton-like photocatalysts is of great significance but remains a big challenge.

Metal-organic frameworks are regarded to be promising candidates in photo-Fenton reaction (He et al., 2019b; Hu et al., 2019; Zhong et al., 2020; Zhu et al., 2022). Compared with the semiconductor

photo-Fenton catalysts (Jiang et al., 2020; Ozores Diez et al., 2020), Fe-based MOFs (Fe-MOFs) display the superiority of their controllable topology and large surface area, which is beneficial for the regulation of structure and transfer of charge carrier (Yi et al., 2021; Wang et al., 2022a; Dai et al., 2022). Besides, the non-toxicity and abundant reserves of the central iron are promising for practical applications (Jiang et al., 2019; Fan et al., 2018). Furthermore, Fe-MOFs exhibit superior visible light adsorption, which originates from both the ligand-to-metal charge transfer and Fe–O cluster charge transfer (Wu et al., 2020; Zhao et al., 2020). The photo-generated electron is transferred from O(II) to Fe(III), leading to the acceleration of Fe(II)/Fe(III), which is critical to trigger the heterogeneous photo-Fenton reaction (Wang et al., 2022b). The charge carrier separation and migration performances could be flexibly tuned through rational introduction of functional groups in the organic linkers of MOFs (Marleny Rodriguez-Albelo et al., 2017; Liu et al., 2019; Vermoortele et al., 2013). The charge carrier separation and migration performances could be flexibly tuned through rational introduction of functional groups in the organic linkers of MOFs. It was found that the introduction of –Br and –NO2 in terephthalic acid was beneficial for the

* Corresponding author. Key Laboratory of Groundwater Resources and Environment, Ministry of Education, Jilin University, Changchun, 130021, Jilin, China. E-mail address: dongshuangshi@gmail.com (S. Dong).

https://doi.org/10.1016/j.envres.2022.113399

Received 22 January 2022; Received in revised form 23 April 2022; Accepted 28 April 2022

Availableonline10May2022

0013-9351/©2022ElsevierInc.Allrightsreserved.

improved Fenton activity of MIL-88B(Fe) (Gao et al., 2020). The reduced electron density of central iron with the electro-withdrawing substituent was conductive to the acceleration of Fe(II)/Fe(III), thus leading to an enhanced Fenton performance. Amino-grafted MOFs were also demonstrated as superior candidate in photo-Fenton system. The photo-induced electron generated by –NH2 and Fe–O excitation promoted the Fe(II)/Fe(III) cycle and the •OH production (Liu et al., 2022). Moreover, –OH could also work as intramolecular hole scavenger in hydroxyl modified UiO-66 to promote Cr(VI) reduction (Shi et al., 2015; Li et al., 2021). The addition of desirable molecules to the MOF system could also facilitate the charge transfer and increase the stability. It was demonstrated the introduction of anthraquinone in zirconium MOFs resulted in acceleration of charge transfer (Liu and Thoi, 2020). Besides, the involved benzothiadiazole in Co-doped MOF also promoted separation and migration of photo-induced charge carriers (Lv et al., 2020). Moreover, the coordination of the phenolic-inspired lipid molecule with central metal could improve the water resistance and stability (Zhu et al., 2018). However, little research has been explored by guest molecule functionalization of Fe-MOFs for the enhancement of photo-Fenton performance. Besides, the relationship between the structure regulation and photo-Fenton performance has not been considered.

Herein, a series of 2, 5-dioxido-1, 4-benzenedicarboxylate (H2DOBDC)-functionalized MIL-100(Fe) was successfully constructed via solvothermal strategy. The photo-Fenton property was explored by removal of tetracycline (TCH) and carbamazepine (CBZ). The regulation of the structure and the performance of photo-Fenton degradation efficiency were investigated to explore the relationship between the structure and performance. The reactive oxidation species (ROS) participated in photo-Fenton process were clarified by electron spin resonance (ESR) technique and radical scavenger experiments. Liquid chromatographymass spectrometry (LC-MS) equipment and quantitative structure activity relationship (QSAR) were applied to evaluate the main pathways and product toxicity assessment for TCH degradation, respectively.

2. Experimental

2.1. Chemicals

N, N-dimethylformamide (DMF) and ferric chloride hexahydrate

(FeCl3•6H2O) were ordered in Sinopharm Chemical Reagent Co., Ltd. H2DOBDC was ordered in Jilin CAS-Yanshen Technology Co., Ltd. 1, 3, 5-Tricarboxybenzene (H3BTC) was bought from Aladdin. Deionized water was used during the experiments with a resistivity of 18.2 MΩ using a Millipore Direct-Q System.

2.2. Synthesis of the Fe-MOFs

2.2.1. Construction of MIL-100(Fe)

A one-pot solvothermal strategy was applied for the synthesis of MIL100(Fe) as described previously (Ahmad et al., 2019). 675 mg of FeCl3•6H2O (2.5 mM) and 525 mg of H3BTC (2.5 mM) were dissolved in DMF with a volume of 50 mL, which was then heated in Teflon-lined stainless-steel autoclave at 150 ◦ C for 12 h. The as-prepared precipitate was then centrifuged by DMF and ethanol for many times after cooling down to room temperature. Finally, the MIL-100(Fe) powder was synthesized after dried at 80 ◦ C overnight.

2.2.2. Construction of H2DOBDC-functionalized MIL-100(Fe)

H2DOBDC-functionalized MIL-100(Fe) was constructed via similar process as mentioned above, except that 99 mg, 297 mg and 495 mg of H2DOBDC was solved into the solution of FeCl3•6H2O and H3BTC (Mei et al., 2017). The as-made catalysts were named to be MIL-100 (Fe)-1/2/3, separately.

2.3. Characterization

Microstructures and morphologies of the catalysts were observed via emission-scanning electron microscopy (XL30 FEG). A D8 Advance Xray diffractometer was applied for the collection of powder X-ray diffraction (PXRD) patterns. Energy dispersive spectroscopy (EDS) mapping was carried out in Oxford instruments X-MAX. A VERTEX 70 FTIR Spectrometric Analyzer was applied to obtain the Fourier transform infrared (FT-IR) spectroscopy. An Al Kα radiation excitation source ((h = 1486.6 eV, Thermo ESCALAB 250) was used to measure X-ray photoelectron spectroscopy (XPS) spectra. The N2 adsorption/desorption isotherms were collected at 77 K via an ASAP 2020 physisorption analyzer. The calculation of the specific surface area was by the Brunauer-Emmett-Teller (BET) method. Persee TU-1901 spectrometer was applied to measure UV–vis diffuse reflectance spectra (DRS). The

Fig. 1. Scanning electronic microscopy (SEM) images of (a) MIL-100(Fe), (b) MIL-100(Fe)-1, (c) MIL-100(Fe)-2 and MIL-100(Fe)-3.

Fig. 2. (a) XRD patterns, (b) FT-IR spectra (c) Nitrogen adsorption-desorption isotherms (d) XPS survey spectra of the original MIL-100(Fe) and modified MIL-100 (Fe)-1/2/3.

photoluminescence (PL) spectra were recorded on Edinburgh instruments FS5 fluorescence spectrophotometer at 320 nm excitation. A Bruker EMX/Plus spectrometer was applied to measure ESR spectra with a dual-mode cavity. Leaching of the iron ions was monitored with atomic absorption spectrophotometer (Shimadzu AA-6000CF).

2.4. Degradation experiments

The as-obtained catalysts were applied for the removal of CBZ and TCH in photo-Fenton system. 2 mg of original MIL-100(Fe) and modified MIL-100(Fe)-1/2/3 was added into TCH solution (20 mL, 50 ppm) for a typical degradation procedure. The suspension was mixed well for 30 min without light irradiation. After that, 25 mM of H2O2 was dropped to the suspension. Next, the solution was irradiated with the Xenon lamp, and the ultraviolet light was filtered by a cut-off filter of 420 nm. Equivalent samples were taken every 2 min by a syringe and filtrated through 0.22 μm membrane to remove the catalyst. The amount of the contaminant was obtained with a high performance liquid chromatography (HPLC, Agilent 1260) and UV–vis (TU-1901). Tert-butanol (tBuOH, 300 mM), Formic acid (FA, 10 mM), L-histine (L-his,10 mM), 2,2,6,6-tetramethyl-4-piperidine (TEMP, 1 mM) and KBrO3 (20 mM) were used to capture •OH, h+ , 1O2, •O2 and electron, respectively. The scavenger experiments were carried out by similar procedures, except for the addition of radical capture agent after adsorption-desorption equilibrium. Moreover, the ESR measurements with TEMP or 5,5dimethyl-1-pyrroline N-oxide (DMPO) were performed to investigate the main active radicals involved in photo-Fenton reaction.

2.5. Electrochemical measurements

A CHI660C electrochemical workstation was applied to achieve the photocurrent and electrochemical impedance spectroscopy (EIS) tests. A standard three-electrode system was used in a 0.2 M Na2SO4 electrolyte by using Ag/AgCl as a reference electrode, sample-coated FTO plate as a working electrode and Pt sheet as a counter electrode. The EIS measurements were operated with a frequency varying between 10 1 and 105 I-t curves were acquired on the open voltage potential using a UVlight cut-off filter equipped Xenon lamp.

3. Results and discussion

3.1. Characterizations

A particle-like architecture with a diameter of ca 29 nm was observed in the as-prepared MIL-100(Fe) (Fig. 1). The respective EDS elemental results in the as-prepared MIL-100(Fe) reveal that Fe, Cl, O and C species are existed (Figure S1). Chloride ions tend to coordinate with unsaturated iron sites in the framework, and the result are in accordance with the reported literature (Wu et al., 2020). After the introduction of H2DOBDC, the diameter of MIL-100(Fe)-1 varies from ca. 40 nm–72 nm (Figure S2). Except for the particle-like structure, shape-like structure appears at MIL-100(Fe)-2/3. An average diameter varies from ca 180 nm and ca 190 nm was obtained, respectively. It is obvious that the introduction of H2DOBDC could effectively control MIL-100(Fe) morphology by modulating its growth, and the size distribution is broadened with the increased amount of H2DOBDC. Moreover, EDS mapping results in H2DOBDC-functionalized MIL-100(Fe) demonstrate the uniform distribution of C, O and Fe elements

Fig. 3. High-resolution XPS (a) C1s, (b) O 1s and (c) Fe 2p spectra in MIL-100(Fe) and MIL-100(Fe)-1/2/3.

(Figure S3).

X-ray power diffraction (XRD) characterizations were executed for clarifying crystal structure in the Fe-MOFs (Fig. 2a). Typical

characteristic diffraction peaks are existed in original and modified FeMOFs, and the patterns are similar to the ones reported elsewhere, indicating the successful synthesis of the basic structure (Zhong et al.,

Fig. 4. (a) The photo-Fenton removal of TCH, (b) The change of reaction conditions on TCH removal; (c) TPR and (d) EIS plots in original and modified MIL-100(Fe).

Fig. 5. (a) Leached iron after equilibrium and degradation process; (b) The stability test and the leached iron in each cycle; (c–d) XRD patterns and XPS spectra before and after stability test in MIL-100(Fe)-1.

2020). With the increase of H2DOBDC content, additional small peaks appear in MIL-100(Fe)-2/3. The slight change in peak character is originated from the difference in crystal selective growth with an addition of H2DOBDC, which matches with SEM images in Fig. 1 It could also be seen that the crystallinity of MIL-100(Fe) decreased with the increase in amount of H2DOBDC. Similar results were observed in other reported MOFs (Zheng et al., 2021; Zhao et al., 2018; Yang et al., 2019). However, the main peaks of H2DOBDC-grafted MIL-100(Fe) are in agreement with the original one, which indicates an introduction of H2DOBDC has little influence to the whole crystal structure of MIL-100 (Fe).

It could also be noted the bands located at 1720, 700 and 460 cm 1 belong to stretching vibration of C–– O in –COOH groups, C–H bending vibrations in benzene ring and Fe–O stretching vibration in the FT-IR spectra, separately (Fig. 2b). The band from 1660 cm 1 to 1360 cm 1 belongs to skeleton vibration in benzene. Typical peaks in FT-IR spectra of MIL-100(Fe)-1/2/3 match with MIL-100(Fe), which results from similar absorption peaks of the grafted-H2DOBDC and H3BTC linker. N2 physisorption was measured to explore the specific area of the samples (Fig. 2c). All curves are the typical type-IV isotherms, which demonstrates the existence of mesoporous structure. Besides, the incorporation of H2DOBDC could decrease the specific surface area of MIL-100(Fe) (Table S1). The reduced surface area might be attributed to that the functionalized H2DOBDC molecules block the pores of the MIL-100(Fe)1 with structural collapse, thus leading to a decline of surface area (Mei et al., 2017).

XPS spectra were collected to acquire the composition and chemical states of the catalysts. The XPS survey spectra demonstrate the composition of Fe, C and O, which matches with that of the EDS analysis (Fig. 2d). The high-resolution XPS spectra in C1s are fitted with C–H/ C–– C and C–– O in the linkers, separately (Fig. 3a). As for O 1s spectra in Fig. 3b, two deconvoluted peaks at 531.4 and 532.6 eV are in

correspondence with the carboxylic groups in linkers and Fe–O in Fe3μ3-oxo cluster. Fe 2p spectra show two deconvoluted peaks at a binding energy of 711.7 eV (Fe 2p3/2) and 725.1 eV (Fe 2p1/2), separately (Fig. 3c). The distance of these two peaks is 13.4 eV, which matches well with α-Fe2O3 (Wu et al., 2020; He et al., 2019b). The XPS results further demonstrate the valence of Fe in as-prepared MIL-100(Fe) is trivalent.

3.2. Photo-Fenton performance

TCH removal experiments were measured to explore the photoFenton degradation property for as-made catalysts. The adsorption/ desorption equilibrium could be achieved in 30 min for all samples (Figure S4). The adsorption performance decreases with the increase of the H2DOBDC, which matches well with the results in specific surface area. The photo-Fenton efficiencies for TCH degradation were 48.2%, 76.3%, 85.0%, and 84.6% in original MIL-100(Fe) and modified MIL100(Fe)-1/2/3 within 12 min, respectively. The corresponding degradation rate constants for MIL-100(Fe)-3/2/1 and MIL-100(Fe) are 0.17062 min 1 , 0.14456 min 1 , 0.10379 min 1 and 0.03139 min 1 , separately (Fig. 4a–S5). The degradation experiment with visible light or H2O2 only was also carried out to clarify the synergistic effects between photocatalysis and Fenton reaction. The degradation efficiencies were 22.1%, 42.9% and 79.2% for photocatalysis, Fenton and photo-Fenton reaction in 12 min (Fig. 4b). This demonstrates that the involvement of visible light accelerates the oxidation reaction of TCH in heterogeneous Fenton process. The modified MIL-100(Fe) also exhibits enhanced photo-Fenton performance in CBZ degradation (Figure S6).

PL measurements were applied to clarify the effectiveness of photoinduced carrier separation (Figure S7). It could be seen that MIL-100 (Fe)-1 shows much lower PL intensity than that in pristine MIL-100 (Fe), indicating that an introduced H2DOBDC is in favor for the separation of charge carrier and the enhancement of photocatalytic

Fig. 6. (a) ROS scavenger experiments in photo-Fenton TCH degradation for MIL-100(Fe)-1. (b–d) ESR spectra of MIL-100(Fe) and MIL-100(Fe)-1 in photo-Fenton system (b) •OH-DMPO in water (c) •O2 -DMPO in methanol (d) 1O2-TEMP in water.

efficiency.

The photocurrent measurements were executed to clarify the migration abilities of photo-induced charge carrier. (Fig. 4c). MIL-100 (Fe)-1/2/3 shows increased photocurrent intensity than MIL-100(Fe) with a grafting of H2DOBDC. MIL-100(Fe)-1 shows ca 16 times higher in transient photocurrent response (TPR) intensity than that of MIL-100 (Fe) during several on-off cycles in visible-light illumination. An enhancement of photocurrent signal reveals an acceleration of the photo-induced charge transfer after the functionalization of H2DOBDC (Li et al., 2021). Electrochemical impedance spectroscopy (EIS) Nyquist plots also demonstrate the enhanced charge transfer performance in H2DOBDC-functionalized MIL-100(Fe)-1/2/3 (Fig. 4d).

3.3. Reusability and stability of H2DOBDC-functionalized MIL-100(Fe)

The reusability and stability of the MIL-100(Fe)-1 was clarified by measurement of the concentration of leached iron ions. After adsorption-desorption equilibrium, the concentrations of leached iron for MIL-100(Fe)/-1/2/3 in reaction liquor were 0.13, 0.15, 0.15 and 0.23 mg L 1 , separately, which demonstrates the stability of original and modified MIL-100(Fe). However, the stability dramatically decreases with an increased amount of H2DOBDC ratio in H2DOBDC-functionalized MIL-100(Fe), and the concentration of leached iron reaches 5.06 mg L 1 in MIL-100(Fe)-3 (Fig. 5a). Fig. 5b shows that there is no significant decrease in efficiency over 3 cycles for MIL-100(Fe)-1. Besides, XRD and XPS results in the MIL-100(Fe)-1 reveal the negligible change after 3 cycles (Fig. 5c and d). SEM images and EDS mapping results could further confirm the superior stability of MIL-100(Fe)-1, as the iron content shows negligible changes varying from 16.75 wt% to 15.73 wt%

(Figure S8).

3.4.

Degradation mechanism in photo-Fenton reaction

Scavenger experiments were carried out to explore the ROSs involved in photo-Fenton reaction (Fig. 6a). The degradation performance decreases after the addition of t-BuOH, TEMP, FA and L-his, which demonstrates the participation of •OH, •O2 , h+ and 1O2 in photoFenton process. ESR measurements were further carried out to explore the ROSs involved in different systems. The ESR results show that the DMPO-•OH, DMPO-•O2 and TEMP-1O2 adduct signals could be observed in MIL-100(Fe) and MIL-100(Fe)-1 after visible light irradiation, and the ROS intensity were further enhanced with the introduction of H2O2 (Fig. 6b–d). The photo-induced electron generated by Fe–O excitation and separated by the hole scavenger promoted the Fe(II)/Fe (III) cycle, Therefore, the amount of produced reactive oxidation species was enhanced in H2DOBDC modified MIL-100(Fe) consequently (Figure S9). The modified MIL-100(Fe)-1 shows a obviously stronger ROS intensity than original MIL-100(Fe), indicating its enhancement in photo-Fenton reactivity.

The original MIL-100(Fe) exhibits the same valence band potential (EVB) edges of 2.73 eV with modified MIL-100(Fe)-1 according to VBXPS spectra results. Besides, the valence band potential (ECB) values were identified as 0.17 and 0.23V vs. Ag/AgCl by Mott-Schottky measurements in pristine MIL-100(Fe) and modified MIL-100(Fe)-1 (Figure S10). As a result of the ROSs scavenger experiments, ESR results and the band position analysis, the reactive species in MIL-100(Fe)1 are produced by the following steps:

Fe3+ +H2 O2 → Fe2+ +HO2 +H+ (1)

Fe2+ +H2 O2 → Fe3+ + ⋅OH + OH

100(Fe) 1 + hv → h+ + e

e + Fe3+ → Fe2+

HO2 ⋅ ↔ ⋅O2 + H+

⋅OH +H2 O2 → HOO + H2 O

HOO + HOO → 1 O2 + H2 O2

OH + ⋅O2 + 1 O2 + TCH→ Degraded products (8)

It could be inferred that the reactive •O2 could not be produced by photogenerated electron reduction of oxygen. The reason is both MIL100(Fe) and the modified MIL-100(Fe)-1 exhibit higher oxidation and reduction potentials than redox potentials in O2/•O2 with the value of 0.33 eV vs. NHE) and •OH/OH with the value of 2.38 eV vs. NHE, respectively. Reactive •O2 could not be produced by photogenerated electron reduction of oxygen. Therefore, the active species of •O2 and 1O2 could only be generated by the conversion of •OH (eqs. 1-2 and 5-7).

The introduction of visible light accelerates the generation and transfer of photoinduced electron from O(II) to Fe(III). The produced Fe(II) reduced by Fe(III) initiates Fenton reaction, which further promotes the oxidation of contaminants (eqs. (3) and (4)). Since MIL-100(Fe) exhibits similar valence band positions with MIL-100(Fe)-1, so the enhancement of degradation efficiency results from the promotion of Fe(II)/Fe(III) cycle, and the transfer and separation of photo-induced charge carrier after the H2DOBDC modification.

3.5. Degradation pathways and toxicity assessment

The TCH and its degradation products were identified by LC-MS

measurement (Figure S11), and possible degradation pathways were shown in Figure S12. P2 (m/z = 436) and P3 (m/z = 428) were obtained by dealkylation and hydroxylation reaction of TCH (m/z = 445) (Yu et al., 2020). Through the reaction of deamination and dealkylation, P4 and P5 with m/z = 397 and m/z = 414 could be achieved. An intermediates of P6 (m/z = 319) and P7 (m/z = 296) were also observed by dehydration (Liu et al., 2021), alcohol oxidation and deamination of P4 and P5. P8 and P9 with the m/z value of 264 and 256 were produced by the dealkylation and dealdehyding reaction (Guo et al., 2020; Cao et al., 2019). Further degradation of P8 and P9 by dealkylation and dehydration resulted in the production of P10 (m/z = 249), P11 (m/z = 234) and P12 (m/z = 217). Furthermore, all intermediates will be degraded into smaller molecules, CO2, and H2O (Li et al., 2020).

The Toxicity Estimation Software Tool was applied to evaluate the acute toxicity, bioaccumulation factor and developmental toxicity of TCH and corresponding intermediates by QSAR predication (Sun et al., 2021). Two methods were used to evaluate the actual toxicities, i.e., the LC50 of fathead minnow (half lethal dose for the intermediates to fathead minnow after 96 h) and daphnia magna (half lethal dose of the intermediates to daphnia magna after 48 h). According to biological resistance to contaminants, the acute toxicity is classified to be “very toxic” , “toxic” , “harmful” and “not harmful” , respectively (Fig. 7a and b). It could be seen that the values of most LC50 are higher in intermediates compared with the TCH for fathead minnow. In daphnia magna, equivalent intermediates show increased/decreased toxicity. The developmental toxicity and bioaccumulation factor were also evaluated. The results show that most of the intermediates show lower developmental toxicity and higher bioaccumulation factor than that of the original TCH (Fig. 7c and d). These findings reveal that TCH could be effectively degraded to low toxic products.

4. Conclusions

In summary, we have designed H2DOBDC modified MIL-100(Fe) via

Fig. 7. Acute toxicity LC50 in (a) fathead minnow and (b) daphnia magna; (c) developmental toxicity and (d) bioaccumulation factor of TCH and the corresponding intermediates.

a solvothermal route. The photocatalytic rate constant of MIL-100(Fe)3/2/1 is increased by 4.4, 3.6 and 2.3 times in contrast to the original MIL-100(Fe), separately. The enhanced degradation performance is attributed to an improvement in Fe(II)/Fe(III) cycle and an improvement of separation and migration of photo-induced charges. Besides, MIL-100(Fe)-1 exhibits superior stability and reusability with less iron ion leaching. This work paves a novel pathway for effective synthesis of modified-MOFs, it will also provide theoretical basis in MOF-based catalysts for contaminant removal field.

Author contributions

Mingyu Li: Data curation, writing - original draft. Yuhan Ma: Methodology, conceptualization. Jingjing Jiang: Resources, investigation. Tianren Li: Validation. Chongjun Zhang: Software. Zhonghui Han: Writing - review & editing. Shuangshi Dong: Supervision.

Declaration of competing interest

The authors declare that they have no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper.

Acknowledgements

This work was financially supported by the National Natural Science Foundation of China (52100087, 52170079), Natural Science Foundation of Chongqing, China (cstc2021jcyj-msxmX1032, cstc2021jcyjmsxmX0954), and the Programme of Introducing Talents of Discipline to Universities (B16020), China.

Appendix A. Supplementary data

Supplementary data to this article can be found online at https://doi. org/10.1016/j.envres.2022.113399

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Title: Music after the great war, and other studies

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Music After the Great War

Music

After the Great War AND OTHER STUDIES

G. Schirmer
MCMXV

FORFANIA

Music After the Great War

Music After the Great War

WHEN the great war was declared, Leo Stein, in Florence at the time, asserted that the day of the cubists, the futurists, and their ilk was at an end. “After the war,” he said, “there will be no more of this nonsense. Matisse may survive, and Picasso in his ‘early manner,’ but Renoir and Cézanne are the last of the great painters, and it is on their work that the new art, whatever it may be, will be founded.”

Leo Stein belongs to a family which, in a sense, has stood sponsor for the new painters, but his remarks can scarcely be called disinterested, as his Villa di Doccia in Florence contains no paintings at present but those of Renoir and Cézanne. There are mostly Renoirs.

Of course a general remark like this in regard to painting is based on an idea that there is no connection—at least no legitimate connection—between the painting of Marcel Duchamp, Gleizes, Derain, Picabia, and the later work of Picasso, and the painters (completely legitimatized by now) who came before them. Without arguing this misconception, it may be stated that a similar misconception exists in relation to “modern” music. There are those who feel that the steady line of progression from Bach, through Beethoven and Brahms, has broken off somewhere. The exact point of departure is not agreed upon. Some say that music as an art ended with Richard Wagner’s death. There are only a few, however, who do not include Brahms and Tschaikowsky in the list of those graced with the crown of genius. There are many who are generous enough to believe that Richard Strauss and Claude Debussy have carried on the divine torch. But there are only a few discerning enough to perceive that Strawinsky and Schoenberg have gone only a step further than the so-called impressionists in music.

Since the beginnings of music, as an art-form, there has always been a complaint that contemporary composers could not write melody. Beethoven suffered from this complaint; Wagner suffered from it; we have only recently gone through the period when Strauss

and Debussy suffered from it. The reason is an obvious one. Each new composer has made his own rules of composition. Each has progressed a step further in his use of harmony. Now it is evident that in this way novelty lies, for an entirely new unaccompanied melody would be difficult to devise. It is in the combination of melody and harmony that a composer may show his talent at invention. It is but natural that any advance in this direction should at first startle unaccustomed ears, and it is by no means uncertain that this first thrill is not the most delicious sensation to be derived from hearing music. In time harmony is exhausted—combinations of notes in ordered forms—but there is still the pursuit of disharmony to be made. We are all quite accustomed to occasional discords, even in the music of Beethoven, where they occur very frequently. Strauss utilizes discords skilfully in his tonal painting; in such works as Elektra and Heldenleben they abound. The newer composers have almost founded a school on disharmony.

To me it seems certain that it is the men who have given the new impetus to tonal art in the past five years who will make the opening for whatever art-music we are to hear after the war, and I am referring even to occasional pieces after the manner of Tschaikowsky’s overture, 1812, in which the Russian National Anthem puts to rout the Marseillaise.... Perhaps it will be Karol Szymanowski of Poland (if he is still alive) or a new César Franck in Belgium who will rise to write of the intensity of suffering through which his country has struggled. But it seems to me beyond a doubt that music after the great war will be “newer” (I mean, of course, more primitive) than it was in the last days of July, 1914. There will be plenty of disharmonies, foreshadowed by Schoenberg and Strawinsky, let loose on our ears, but, in spite of the protests of Mr. Runciman, I submit that these disharmonies are a steady progression from Wagner, and not a freakish whim of an abnormal devil. I do not predict a return to Mozart as one result of the war.

There are always those prone to believe that such a war as is now in progress has been brought about by an anarchic condition among the artists, as foolish a theory as one could well promulgate, and

keep one’s mental balance. It is this group which steadfastly maintains that, after the war, things will be not merely as they were immediately before the war broke out, but as they were fifty years before. Now, it should be apparent to anyone but the oldest inhabitant that the music-dramas of Richard Wagner are aging rapidly. Public interest in them is on the decline, thanks to an absurd recognition, in some degree or other, everywhere from Bayreuth to Paris, from Madrid to New York, of what is known as the “Master’s tradition.” Some of this tradition has been invented by Frau Cosima Liszt von Bülow Wagner and all of it is guaranteed to put the Wagner plays rapidly in a class with the operas of Donizetti and Bellini, stalking horses for prima donnas trained in a certain school. Without going into particulars which would clog this issue, it may be stated that the tradition includes matters pertaining to scenery, staging, lighting, acting, singing, and even tempi in the orchestra. It is allinclusive.

It must have been quite evident to even the casual concert-goer that German music has passed its zenith. It has had its day and it is not likely that post-bellum music will be Germanic. In an article in a recent number of “The Musical Quarterly,” Edgar Istel reviews German opera since Wagner with a consistent tone of depreciation. The subject, of course, does not admit of enthusiasm. He calls Edmund Kretzschmer and Karl Goldmark “the compromise composers.” There are probably not many Americans who have heard of the former or his “most successful opera,” Die Folkunger. Goldmark is better known to us, but we do not exaggerate the importance of DieKönigin von Saba, the Sakuntalaoverture, or Die ländlicheHochzeitsymphony. Nor do we foreigners to the Vaterland know much about Victor Nessler’s Der Trompeter von Säkkingen, although we hear one air from it frequently at Sunday night concerts in the opera house. August Bungert tried to outdo Wagner with a six-day opera cycle, Homerische Welt, produced in 1898-1903 and already forgotten. Max Schillings, whose name has occasionally figured on symphony orchestra programmes in America, is thus dismissed by Istel: “Schillings’ last work, DerMoloch(1906), proves

his total inability as a dramatic composer.” Hans Pfitzner is another name on which we need not linger. Engelbert Humperdinck, of course, wrote the one German opera which has had a world-wide and continuous success since Parsifal Hänsel und Gretel. But the music he has composed since then has not awakened much enthusiasm. Hänsel und Gretel is, after all, folk-music with Wagnerian orchestration. It assuredly is not from Humperdinck that we can look for post-bellum music. We have heard Kienzl’s very mediocre Der Kuhreigen and we have been promised a hearing of Evangelimann. The name of Siegfried Wagner signifies nothing. Ludwig Thuille wrote some very interesting music in the last act of Lobetanz, but that opera could not hold the stage at the Metropolitan Opera House. W. von Waltershausen’s Oberst Chabert has been given in London, not, however, with conspicuous success. D’Albert has written many German operas in spite of his Scotch birth. Of these the best is Tiefland, negligible in regarding the future. Leo Blech’s unimportant Versiegeltgave pleasure in Berlin for a time. Wolf-Ferrari, one of the most gifted of the German composers, is half Italian. His work, of course, is not notable for originality of treatment. Suzannen’s Geheimniss is very like an old Italian or Mozart opera. So is Le Donne Curiose. His cantata, Vita Nuova, is archaic in tone, a musical Cimabue or Giotto. IGiojellidellaMadonna is an attempt at Italian verismo. Richard Strauss! the most considerable German musical figure of his time. His operas will still be given after the war and his tone-poems will be heard, but he has done his part in furthering the progress of art-music. He has nothing more to say. In TheLegendofJoseph, the ballet which the Russians gave in Paris last summer, it was to be observed that the Strauss idiom exploited therein had fully expressed itself in the earlier works of this composer. Salome and Elektra represent Strauss’s best dramatic work, and DonJuan and TillEulenspiegelare, perhaps, his best tone-poems. Richard Strauss, however, is assuredly not postbellum. His music is a part of the riches of the past. One can easily pass rapidly by the names of Bruckner, Weingartner, and Gustav Mahler. Max Reger, I think, is not a great composer. But there are two Austrian names on which we must linger.

One of them is Erich Korngold, the boy composer, who is now eighteen years old. His earlier work, such as the ballet, Der Schneemann, sounds like Puccini with false notes. It is pretty music. Later, Korngold developed a fancy for writing Strauss and Reger with false notes. And he is still in process of development. What he may do cannot be entirely foreseen.

Arnold Schoenberg is another matter. He is still using as propaganda music which he wrote many years ago. No public has yet caught up with his present output. That is an excellent sign that his music is of the future. The string sextet, Verklärte Nacht, which the Kneisel Quartet played more than once in the season just past, dates from 1899. The string quartets were written in 1905 and 1908. The five orchestral pieces, the six piano pieces, and Pierrot Lunaire, other music of his on which what fame he possesses outside of Austria rests, are all over two years old. Now the Boston Symphony Orchestra has only recently deemed it fitting to play the five orchestral pieces, and I believe the piano pieces received their first public performance in New York at one of the concerts given by Leo Ornstein, although several pianists, notably Charles Henry Cooper and Mrs. Arensberg, had played them in private.

In 1911 Schoenberg issued his quite extraordinary “Handbuch der Harmonielehre,” which is one of the best evidences that, even though the composer dies in the war, others will follow to carry on the torch from the point where he dropped it. Yes, Schoenberg, no less than Henri Matisse, is a torch-bearer in the art race. He is a stone in the architecture of music and not an accidental decoration.

May I quote a few passages from the “Handbuch”?

“The artist does not do what others find beautiful, but what he finds himself bound to do.”

“If anyone feels dissatisfied with his time, let it not be because that time is no longer the good old time, but because it is not yet the new and better time, the future.”

“Though I refrain from overprizing originality, I cannot help valuing novelty at its full worth. Novelty is the improvement toward which we are drawn as irresistibly, as unwittingly, as towards the future. It may prove to be a splendid betterment, or to be death—but also the certainty of a higher life after death. Yes, the future brings with it the novel and the unknown; and therefore, not without excuse, we often hold what is novel to be identical with what is good and beautiful.”

With the single exception just noted it is not from the German countries that the musical invention of the past two decades has come. It is from France. Whether Debussy or Erik Satie or Fanelli first developed the use of the whole-tone scale is unimportant; they have all been writing in Paris.

Erik Satie is one of the precursors of a movement—not important in himself, but of immense importance as an indication. He is not a genius, and therefore his work has received little attention and has had no great influence. But it must be remembered that he was born in 1860 and that his Gymnopédies and Gnossiennes, composed respectively in 1888 and 1890, make a free use of the whole-tone scale and other harmonic innovations ordinarily attributed to Debussy. A Sarabande, written in 1887, should be tried on your piano. It will certainly startle you. Satie has recently achieved a little notoriety, thanks to Debussy and Ravel, who have dragged his music into the light. The more dramatic resurrection of Fanelli by Gabriel Pierné has been related too often to need retelling here.

Debussy, beyond question, is one of the high-water marks in the history of music. L’Après-midid’unFauneis certainly post-Wagnerian in a sense that Salome is not. Maurice Ravel, Paul Dukas, RogerDucasse, Florent Schmitt, Chausson, Chabrier, and Charpentier are all revolutionists in a greater or less degree, and all of them are direct descendants of the great French composers who came before them. But what has been accomplished in France in the last few years? Dukas has written nothing important since Ariane et BarbeBleue. Debussy’s recent works are not epoch-making: a makeshift

ballet, Jeux, a few piano pieces; what else? Ravel’s ballet, Daphniset Chloë, is lovely music. Some people profess to find pleasure in listening to Schmitt’s Salome. It is unbearable to me, danced or undanced. Vincent d’Indy—has he written a vibrant note since Istar? Charpentier’s Julien—a rehash of Louise. It sounds some fifty years older, except the carnival scene. There is live futurist music in that last act. When Charpentier painted street noises on his tonal canvas, were they of night or morning, he knew his business. But certainly not a post-bellum composer, this. Charpentier will never compose another stirring phrase; that is written in the stars. Since Pelléaset Mélisande and Ariane et Barbe-Bleue, is there one French opera which can be called great? There are two very good ones, Raoul Laparra’s La Habanera and Maurice Ravel’s l’Heure Espagnole, and very many bad ones, such as Massenet’s Don Quichotte, the unbelievable Quo Vadis? of Jean Nouguès, and the imitative and meaningless MonnaVannaof Février. I do not think it is from France that we may expect the post-bellum music.

Italy, long the land of opera, has held her place in the singing theatres. Verdi and Puccini still dominate the opera houses. But Puccini’s work is accomplished. His popularity is waning, as the comparative failure of The Girl of the Golden West will testify. You will find the germ of all that is best in Puccini in ManonLescaut, an early work. After that there is repetition and misdirection of energy, gradually diffused talent. It does not seem necessary to speak of Mascagni and Leoncavallo. They have both tried for so long a time to repeat their two successes and tried in vain. Cilea, Franchetti, Catalani, and Giordano—these names are almost forgotten already. Is Sgambati dead? Does anyone know whether he is or not? Zandonai—ah, there’s a name to linger on! Watch out for Zandonai in the vanguard of the post-bellum composers. Save him from the war-maw. His Conchita disclosed a great talent; that opera shimmered with the hot atmosphere of Spain, a bestial, lazy Spain. This work I place with Debussy’s Iberia as one of the great tonal pictures of Spain. I have not heard Zandonai’s opera, Francesca da Rimini, which was produced at Covent Garden Opera House last

summer, but I have been told that its beauties are many. I hope we may hear it in New York. Pratella is one of Marinetti’s group of futurists, one of the noise-makers. I am not so sure of Pratella as I am sure that many of his theories will be more successfully exploited by someone else.

Spain has been heard from recently Spain, which has lacked a composer of “art-music.” Albeniz and others have been writing piano music and now we are promised a one-act opera by Granados. Perhaps in time Spain may lift her head high and tinkle her castanets to some purpose, on programmes devoted to her own composers. But now it is Bizet, Chabrier, Debussy, Laparra, and Zandonai who have perverted these castanets and tambourines to their own uses.

I am no admirer of modern English music. I take less pleasure in hearing a piece by Sir Edward Elgar than I do in a mediocre performance of LeProphète and I assure you that Meyerbeer is not my favorite composer. A meaner skill than Sir Edward’s, perhaps, lies in Irving Berlin’s fingers, but a greater genius. I once spent a most frightful afternoon—at least nearly all of an afternoon—listening to Elgar’s violin concerto, and I remember a dreadfully dull symphony, that sounded as if it were played on a throbbing organ at vespers in a dark church on a hot Sunday afternoon. The Cockaigneoverture is more to my taste, although I think it no great achievement. Has there been a real composer in Britannia since Sir Arthur Sullivan, whose works one rehears with a pleasure akin to ecstasy? I do not think so. Cyril Scott is interesting. Holbrooke, Delius, Grainger, Wallace, and Bantock write much complex music for the orchestra, to say nothing of piano pieces, songs, and operas. (Holbrooke supplements his labors in this direction with the writing of articles for “The English Review” and other periodicals, in which he complains bitterly that the English composer is without honor in his own country.) I find Scott’s piano pieces better. But since Il Barbiere di Sivigliaand LeNozzediFigarothere have been but few comic scores comparable to Patience. You will hear the Sullivan operas many times after the war, but one cannot think of founding a school upon them.

I shall not hesitate on the music of America, because in a country that has no ante-bellum music—one cannot speak with too great enthusiasm of Ethelbert Nevin and Edward MacDowell—there is no immediate promise of important development. However, in a digression, I should like to make a few remarks on the subject of the oft-repeated charge, re-echoed by Holbrooke in relation to British musicians, that American composers are neglected and have no chance for a hearing in their own country. Has ever a piano piece been played more often or sold more copies than MacDowell’s To a Wild Rose, unless it be Nevin’s Narcissus? Probably The Rosary has been sung more times in more quarters of the globe than Rule Britannia. Other American songs which have achieved an international success and a huge sale are At Parting, A MaidSings Light, From the Land of theSky-blue Water, and The Year’s at the Spring. Orchestral works by Paine, Hadley, Converse, and others, are heard almost as soon as they are composed, and many of them are heard more than once, played by more than one orchestra. Of late years it has been the custom to produce an American work each season at the Metropolitan Opera House, a custom fortunately abandoned during the season just past. No, it cannot be said that the American composer has been neglected.

Finland has presented us with Sibelius, whose latest works indicate that Helsingfors may have something to say about the trend of tone after the war, and from Poland Karol Szymanowski has sent forth some strange and appealing songs.

But it is to Russia, after all, I think, that we must turn for the inspiration, and a great deal of the execution, of our post-bellum music. Fortunately for us, we have not yet delved very deeply into the past of Russian music, in spite of reports to the contrary. Mr. Gatti-Casazza once assured me that Boris Godunow was the only Russian opera which stood any chance of success in America. He has doubtless revised his feeling on the subject, since he has announced Prince Igor for production this season, an opera which should be greeted with very warm enthusiasm, if the producers give any decent amount of attention to the very important ballet.

It is interesting, in turning to Russian literature, to discover that Turgenev in the middle of the nineteenth century was writing a masterpiece like “A Sportsman’s Sketches,” a work full of reserve and primitive force, and a strange charm. And Turgenev was born and bred a gentleman in the sense that Thackeray was born and bred a gentleman. In English literature we have travelled completely around the circle, through the artificial, the effete, and the sentimental, to the natural, the forceful, the primitive. Art like that of D. H. Lawrence, George Moore, and Theodore Dreiser is very much abroad in the lands. Russia began her circle only in the last century with her splendidly barbaric school of writers who touch the soil at every point, the soil and the soul: Turgenev, Gogol, Pushkin, Dostoievsky, Andreyev, Tolstoy, Tchekhov, Gorky, and Artzybachev, a noble group of names. We find in Russia a situation very akin to that of Ireland, a people commercially under-developed, in a large measure born to suffering, keenly alive to artistic impulse.

In Ireland this impulse has expressed itself almost entirely through the written word, but in Russia it has found an outlet in a thousand channels. (The arts have grouped themselves together in the glowing splendor of the Russian Ballet productions.) Music, like literature, sprang into being in Russia, fed on the rich folk-songs of the Slavic races, during the nineteenth century; and again like Russian literature, its first baby notes were wild, appealing, barbaric, forceful, and sincere—the music of the steppes and the people, rather than the music of the drawing-room and the nobility. Let us remember that about the time Richard Wagner was writing Tristan undIsolde, Moussorgsky was putting on paper, with infinite pain, the notes of the scores of the poignant Boris Godunow and the intense La Khovanchina. Since then the Russian music world has been occupied by men who have given their lives to the foundation of a national school. Their work has been largely overshadowed in America by the facile genius of Tschaikowsky, who wrote the most popular symphony of the nineteenth century, but who is less Russian and less important than many of his confrères.

If for a time after the war one must turn to the past for operatic novelties, one can do no better than to go to Russia. It is my firm conviction that several of the Russian operas would have a real success here. La Khovanchina to many musicians is more beautiful than Boris. It is indeed a serious work of genius. The chorus with which the first act closes has power enough to entice me to the theatre at any time. I do not know of a death-scene in all the field of opera as strong in its effect as that of the Prince Ivan Khovansky. He is stabbed and he falls dead. He does not sing again, he does not move; there are no throbs of the violins, no drum beats. There is a pause. The orchestra is silent. The people on the stage are still. It is tremendous!

Rimsky-Korsakow’s music is pretty well known in America. His Scheherazadeand Antarsuites are played very often; but his operas remain unsung here. Why? He wrote some sixteen of them before he died. Even so early a work as A Night in May contains many lovely pages. It is a folk-song opera built along the old lines of set numbers. It reminds one of The Bartered Bride. First produced in 1880, it does not show its age. TheSnowMaidencontains the Song of the Shepherd Lehl and one or two other airs familiar in the concert répertoire. Sadko, if given in the Russian manner, would fill any opera house for two performances a week for the season; and Ivan the Terrible is a masterpiece of its kind. But the greatest of them all is the last lyric drama of the composer, TheGoldenCock, in which this great tone colorist bent his ear further towards the future than he had ever done before.

The death of Alexander Scriabine recently in Petrograd created little comment, although the papers had been filled a few weeks before with descriptions of the very bad performance of his Prometheusby the Russian Symphony Orchestra. Scriabine, another Gordon Craig, was too great a theorist, too concerned with the perfect in his art, ever to arrive at anything approximating the actual. As an influence, he can already be felt. His synchronism of music, light, and perfumes was never realized in his own music, although the Russian Ballet has completely realized it. (How cleverly that organization—or

is it a movement?—has seized everybody’s good ideas, from Wagner’s to Adolphe Appia’s!) As for Scriabine’s strange scales and disharmonies, Igor Strawinsky has made the best use of them—Igor Strawinsky, perhaps the greatest of the musicians of the immediate future. I hope Americans may hear his wonderfully beautiful opera, TheNightingale; and if all the music of the future is like that, I stand with bowed and reverent head before the music of the future (with the mental reservation, however, that I may spurn it when it is no longer music of the future). His three ballets are also works of genius.

It is indeed to Strawinsky, whose strange harmonies evoked new fairy worlds in TheNightingale and whose barbaric rhythms stirred the angry pulses of a Paris audience threatened with the shame of an emotion in the theatre, to whom we may turn, perhaps, for still new thrills after the war. Strawinsky has so far showed his growth in every new work he has vouchsafed the public. From Schoenberg, and Korngold in a lesser degree, we may hope for messages in tone, disharmonic by nature, and with a complexity of rhythm so complex that it becomes simple. (In this connection I should like to say that there are scarcely two consecutive bars in Strawinsky’s ballet, The SacrificetotheSpring, written in the same time-signature, and yet I know of no music—I do not even except Alexander’sRagtimeBand— more dance-compelling.) We may pray to Karol Szymanowski for futurist wails from ruined Poland; a rearranged, disharmonic version of the national airs of the warring countries may spring from France or Italy; but for the new composers, the new names, the strong, new blood of the immediate future in music, we must turn to Russia. The new music will not come from England, certainly not from America, not from France, nor from Germany, but from the land of the steppes—a gradual return to that orientalism in style which may be one of the gifts of culture, which an invasion from the Far East may impose on us some time in the next century.

June,1915.

Music for Museums?

Music for Museums?

I SAW people actually enjoying themselves at a recent piano recital. During the performance of some of the numbers they laughed; at other times they nudged one another and made comments. The conclusion of each piece was punctuated by a certain amount of vociferous applause, and an almost equal amount of disapprobation. One group of pieces on the programme, Claude Debussy’s Children’s Corner, was familiar; as a result, it aroused less interest than some of the other music played. Albeniz, one of the new men who is making the list of Spanish compositions extend beyond the folksong, was represented by his ElAlbaicin; Maurice Ravel by Gaspard de la Nuit, a very successful attempt to paint atmosphere and character in the very limited tonal medium of the pianoforte; Scriabine by four preludes and a sonata; and Leo Ornstein, the pianist, by Seven Sketches and Two Shadow Pieces. Mr. Ornstein’s compositions have no truck with majors and minors, thirds and fifths, pentatonic and diatonic scales. His descending fingers strike masses of keys; some auditors seemed to think there is no plan in these assaults on the board. Personally, I am willing to wager that the last piano sonatas of the deaf Beethoven meant just as little to their first hearers. We have become accustomed to the sweet and unsubtle way of the tonic and dominant. Arnold Schoenberg and Igor Strawinsky are yet discordant to our melody-soaked and harmony-demanding ears.

Yet, if concert programmes are consulted, one will find in them very little music earlier than the eighteenth century. The symphony orchestra is really a discovery of the nineteenth century. When our symphony orchestras play Bach, Haydn, or Mozart, the reënforcements, the rearrangements, would astonish those old composers as much as the electric signs on Broadway, could they be brought back to hear them. Either one-half the band—nay, twothirds—must sit still during the playing of these numbers, if the original body of tone is to be preserved, or else some readjustment is necessary. For instance, it is quite customary to allow the full body

of strings to play a Mozart symphony, although the wood-winds and brasses are not appreciably greater in number in the modern orchestra than they were in Mozart’s time. Lack of proportion and over-emphasis are the natural results.

It is only the composers who have invented the modern orchestra, Berlioz, Liszt, Wagner, Strauss, Reger, Strawinsky and Scriabine—to mention a few names—who get justice done to their compositions. In fact, as it stands, the modern orchestra exists for the perfect playing of modern music. It is a dizzy, vertiginous force; floods of sound are let loose on the hearer to drown his sensibilities and to make him “feel.” Now, there was something very precise and exact and prim about the peruked band of the day of Haydn, which would have played the Symphonie Pathétique as if it were the Marche Funèbred’uneMarionnette. Music in the good old days did not cause women to swoon and men to swear. There were no Wagnerites then. (Are there any now?) The composer of Armidewould not have inspired an Aubrey Beardsley drawing. So when the modern orchestra plays Mozart it makes just a little too much of it. Mozart and Strauss! It is the difference between Cimabue and Michael Angelo.

The conflict between periodic conventions and contemporary methods and tastes is always great and will always serve as an excuse for discussion. There seems to be no adequate reason why we should give up Shakespeare because we do not perform his plays in the Elizabethan manner. After all, a tune is a tune, and Voi che sapetewould probably sound very well played on mandolins if Mme. Sembrich did not happen to be handy to sing it. The Anglican church has found it well adapted for hymnal purposes, as anyone knows who has heard Adeste Fideles. So, perhaps, Bach rearranged by Gustav Mahler, or Josef Stransky, or anybody else who happens to have the time, is to be listened to, just as we are all forced to lend our ears several times a year, whether it be in a concert hall or a restaurant, or on an ocean liner, to Gounod’s idea of a Bach prelude.

There is a great deal of the old music which gives a pleasant impression to the ear if it be not heard too frequently. Mozart, Bach, and Gluck, however, stand the test of frequent repetition better than Beethoven. It would also be a mistake, perhaps, not to give the students of music an opportunity to hear past examples of the art, to establish in their minds a knowledge of the successive steps which have been taken in building up this arbitrary thing which we call “art-music,” although it is neither the music of the Chinese, who, after all, may be considered an artistic race, the African negroes, the Indians, nor the Japanese. It would not be advisable, perhaps, to have any admirer of present-day art-music believe that it was all that could be said or done in music; an historical survey is necessary. For some of us there is always the question of relative importance. It may be a fact that nobody in the future will be able to extract more beautiful arbitrary art-music out of the air than has been composed by Mozart and Wagner. We are sure that Berlioz, Liszt, Meyerbeer, and Mendelssohn can be improved on because they have been. Perhaps Beethoven’s Fifth Symphony is really better music than any which has been composed before or since. (Personally, I do not for a moment think so.) For the purpose of argument, however, it is necessary to presuppose that some people set up standards of this sort. There are those, doubtless, who are really sincere in their devotion to the composers whose names begin with a B; but there is a larger group whose ears find it easier to listen not merely to music based upon a certain scale, but to certainmusic based on this scale. As a result, one might say that the very limited attendance on which our symphony orchestras may count is largely made up of middleaged people who are never contemptuous of familiarity. The principle, of course, is all wrong. Still, when every person in a vast population is expected to enjoy arbitrary art-music, one cannot expect perception or taste. In our civilization everybody is supposed to “love” music. Poor though we may be, we send our daughters to the music-masters. From cottage to cottage the echoes of the pianoforte resound and, especially in the beginning, each pupil is given a taste of what is known in the provinces as “classical” music.

Czerny is hauled out to teach the fingers how to be agile. There must be a taste of Bach’s WohltemperirtesClavier, a Chopin waltz or two.... Heller is a favorite with small-town teachers, and then the student may burst gaily into the intricacies of the latest air by Irving Berlin. Now, why is it that the newest of the arts—at least the newest from the arbitrary point of view from which we consider music as an art—is taught to almost all the children of all the lands? They are actually beaten with sticks to drive them to the keyboard. To be sure, children are also taught to read, for more cogent reasons. It would do no harm to anyone to be taught to read music; but to be taught to play it is like being taught to act. What if we should all be taught to paint?—Well, after all, why not?

The results are not heartening. The fact is that over fifty per cent. of the audiences who attend symphony concerts cannot carry a tune. Naturally they are not averse to hearing Beethoven’s Fifth Symphony played over and over and over again, but I should like to ask these same people how many times during the course of a season they would listen to a masterpiece in words—Hamlet, for instance. How much less often would they care to hear a play by Bernard Shaw?— and yet there are some overtures and symphonies which every orchestra plays every season to its patrons. Some of this music one also hears in restaurants and in the opera house. It is monstrous!

I really do not think that a modern symphony orchestra ought to be allowed to play more than one Beethoven symphony a season. This fossilization would be deadening to any art. A set concert programme is almost an occasion for despair under the brightest conditions, but with no new life in its make-up, it had better remain an unperformed programme. When an orchestra is the medium through which a new musician pours out his inspiration to the world, there is meaning in the organization. When it ambles idly through Brahms and Bach it occupies the same place in the world’s affairs that the museum does. Why should all our orchestras insist, except on rare occasions, on being museums?

We have seen that only an inert audience may be counted upon from the ranks of the music students of the country. More interest might be expected from auditors prepared to be unprepared. To be sure, every conductor is keen to put a few “novelties” on his programmes every year. This season, for instance, a symphony by Sibelius, which has been played in Europe for some time and has been performed here before, has been hauled out again to make the critics foam at the mouth. Igor Strawinsky’s early work, Fireworks, composed and published in 1908, has been vouchsafed us. Since then Strawinsky, who, to my mind, is the most brilliant of the new composers, has written three ballets, The Firebird, Petrouchka, and The Sacrifice to the Spring, and an opera, The Nightingale. Not a note, so far as I am aware, of these most interesting scores has been heard in New York, although Paris and London are thoroughly familiar with them. Schoenberg is as yet barely a ghoulish name in this country, to be whispered shudderingly until some daring soul makes the Austrian composer a conventional thing of the past. The Kneisels have at last taken him up, if that means anything, and, of course, Ornstein has played him. The Flonzaleys have played a quartet and the Boston Symphony Orchestra has performed the five orchestral pieces. Chicago, too, has heard these. This is as far as we have gone with Schoenberg. There is really no use of referring to so bad a performance as the Russian Symphony Orchestra gave of Scriabine’s Prometheus. We hear too much Strauss now. There was a time when we did not hear enough. The academic Reger was feared like the plague for whole years. Now that his message means as little as possible, he jumps from programme to programme.

Symphony concerts, then, as they exist in America—and to a lesser degree elsewhere—are museums, where one may inspect bits of old musical armor, tunes in Sèvres, tinkling lace shawls from Brussels, or harmonious bowls of the Ming period. The audiences are shameless so-called music-lovers who dawdle through endless repetitions of the Euryantheoverture, and who whisper exquisite trifles to one another about the delights of an audition of a Mozart symphony. Really there is nothing so smug, so snobbish, to be found in the world as the

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