Documentos de Académico
Documentos de Profesional
Documentos de Cultura
85
W12uE 1897
ON * ^ * CONDUCTING BY * *
.)=
RICHARD
^=
WAGNER
^!^
How
Edition, Woodcut and Music Illustrations, cloth. 3/6. With many Illustrations. TO Make a Violin. By J. Broadhoiise, cloth, 3/6. Richard Wagner's Beethoven. Translated by E. Daunrenther, Second Edition, 6/-.
2/-
(cloth 3/6).
full
Pianists. By J. T. Spohr, Paganini, De Beriot, Ole Bull, dementi, Moscheles, Schumann (Robert and Clara), Chopin, Thalberg, Gottschaik, Liszt), 3/6 (bevelled boards, gilt edges. 4/6).
Life of Cherubini. By E. Bellasis, 6/-. Beethoven's Symphonies, Critically and Sympathetically DiscusFed.
Bv
A. T. Teetgen, 3/6.
Mozart, the Life and Works of. By Alfred Whittingham, cloth, 1/6. Handel, the Life and Works of. By Alfred Whittingham, cloth, i/5. yEsTHETics OF MusicAL Art IN Music. By Dr. F. Hand, translated by W. E. Lawson, Mus. B. Second
Series,
5/-.
;
^Esthetics of Musical Art or, the Beautiful in Music, by Dr. F. Hand, translated by W. E. Lawson, Mus. Bic, First Series, Second Edition, 5/-. Music in England, and Music in America. By F. L, Ritter, 2 Vols., 13/6 (or separate. Music in England, 6/-; Music in America, 7/6). By Music and Musicians, Essavs and Criticisms, Robert Schumann edited and translated by F. R. Ritter, 2 Vols., ig/-(or First Series, Fourth Edition, 8/6, Second Series, 10/6). Student's Histoiiy of Music, from the Christian Era to the Present Time. By Dr. F. L. Ritter, Third
;
Edition, 7/6. Life oF, By Dr. L. Nohl, translated by J. J. Lalor, gilt edges, 3/6. Letters on Music to a Ladv. By Louis Ehlert, 4/-. Frederic Chopin, His Life, Letters, and Works. By Mnritz Karasowski, 2 Vols., 12/6
Beethoven,
Hlglily
spoken of
in
Bei.tiiovi:n's
Llt'-rleifl,
Explained
by
W. RICEVES. THK
We'kly,
Yearly. 6s.
6ii.
Fleet Street, Lf)NDON, E.C. THE ORGANISTS' QUARTERLY JOURNAL. MUSICAL STANDARD.
I 1
i<i.
(Abroad,
ON
London
printed by the new temple press,
185,
(1869).
" Fliegenschnanz"
und Miickennas'
im Gras,
"
!
With
all
your kindred,
too,
"
!
(After Goethe.
The lines travestieri are taken from " Oberon und Titanias goldene Hochzeit.' Intermezzo, Walpurgisnacht. Faust I.
^^12Z3
TRANSLATOR'S NOTE.
Dirigiren
was
published
Neue
Zeitschrift fur
Musik
"
and the " New-Yorker Musik-zeitung," 1869. It was immediately issued in book form, Leipzig, 1869,
and
is
now
("Gesammelte Schriften und Dichtungen von Richard Wagner," ten volumes, Leipzig, 1871 1883.) For various reasons, chiefly personal, the book met with much opposition in Germany, but it was extensively read, and has done
writings, Vol. VIII. pp. 325
410.
It is
unique
in the literature
music
grand
style.
in the translation
To
elucidate
some points
of
The
footnotes,
The
of
my
professional routine
to
and
amateur
criticism.
I shall appeal
professional
vocalists,
executants,
both
instrumentalists
;
and
since
the executants
only can
tell
by a competent conductor.
a
mean
to set
system, but
facts,
up and
record a
nmuber
Composers cannot
manner
public
;
in which their works are presented to the and the public, naturally, cannot be expected
to decide
of
a piece of
music
is
no data
beyond
judge by.
I
the
of
the performance to
shall
endeavour
to
throw some
light
upon
many
with regard
Those who have experience in such matters are aware that, in most cases, the defecto the theatre.
tive constitution of
German
(1)
of
their
shortcomB
^Z
WAGNER
the orchestras
has become
;
more
difficult
more complicated
yet
the
directors of
In the
the
days
tasks
when Mozart's
that
scores afforded
the highest
orchestra,
typical
sonage,
German Capellmeister was a formidable perwho knew how to make himself respected
at his post
sure
of
polite.
last
Friedericli Schneider, of
representative I have
met
now may be
extinct species.
Guhr,
of
Frank-
reckoned as belonging to
it.
The
attitude of these
certainly "
men towards modern music was old-fashioned " but, in their own way,
;
more than
old
eight years
man
evidently looked at
;
my
score with
of
some
little
shyness
but,
he took
good care
He
his
was, clearly, a
forces
man
him
not to be
to
trifled with,
and
o])eycd
perfection.
Singularly
enough,
tliis
okl gentleman
conductor
of
repute I
Circa, 1861.
ON CONDUCTING.
time,
who
possessed true
fire
his tempi
;
were more
but they
often a
trifle
H.
Esser's conducting,
in like
pressed
me
manner.
The
found
it
older
conductors of
stamp
if
they
happened
to be less gifted
difficult to
mainly
am
permanent members
rectified
the
Now-aaccording
take
first
to
the rules of
seniority*
thus
are
men
positions
when
their
men
relegated
evil
to
the
of
practice, the
effects
which are particularly noticeable with regard to the wind instruments. Latterly t by discriminating exertions, and particularly, by the good sense of the instrumentalists concerned, these evils have
diminished
;
another
traditional
habit,
however,
* Appointments
for
life,
at
German Court
t 1869.
-4
WAGNEE
With-
parts,
have been
or
sacrificed.
The
viola
is
commonly
tions
indeed) played
by infirm
violinists,
by
decrepit players of
to
wind instruments
at best a
who happen
desk,
so
that he
may
;
play the
occasional
soli
but, I have
was pointed out to me that in a large orchestra, which contained eight violas, there
the
first violins.
It
w^as only
difficult
one player
who
passages in one of
state of things
my
it
later scores
Such a
may
be excusable from a
older
humane
methods
point
of
view
of instrumentation,
where the
role of the
most part
it
in filling
up the
instru-
accompaniments
of justification
and
in
the meagre
method
of
mentation adopted
operas,
German opera
theatres.
always found favour with the Directors. From this it follows as a matter of course, that works which are
not in the good grace of those gentlemen stand a
poor chance,
conductor
is
urilcgs
it
a imui of
who
ON CONDUCTING.
of a
modern
orchestra.
rarely
knew
as
much
attempts at reform were and our celebrated German always orchestras remained far behind those of France in the power and capacity of the- violins^ and parrespect
the
insufficient-
of a later generation
men
they
might
easily
ductors,
who
are
now
at the
head of
We
great.
The managers
fore in a position
to select
the
are to
music.
how
it
to
an unpractised observer
is
rather difficult to discern their particular merits. The so-called " good berths" are reached step by
b
step
:
WAGNER
upwards.
I believe
Now
and then,
manner
some
It
is
harm done
to our leading
Devoid
of real merit
and by
polite
which they are unable to enforce, they are always ready to give way, or to obey any absurd orders from head quarters and such conductors, under favourable circumstances, have even been
;
known
At
to
become popular
all
favourites
rehearsals
of
difficulties
are
got
over by
allu-
means
Who
by year?
Where is
the critics,
who
;
only bark
art
when
of
not stopped
and the
cultivated to perfection.
filled
by a
man
of practical experi-
ON CONDUCTING.
the
slumbering energy of
his
colleagues.
skill
;
Such
in
"bringing
in a fortmight
men's
scores.
Practical
accomplishments
of
this
Dresden Opera
most energetic Capellmeisters. Now and again the managers look out for " a conductor of reputation." Generally none such are
with one of
its
to be
had
at the theatres
supply
and concert establishments furnish a steady These are the "musicof the article.
it
brokers," as
forth
who came
under his protection and recommendation. They differ widely from the helpless epigonae of our old
conductors
:
they are
but respectable
;
composers
listeners
Psalms and
Oratorios,
and
devout
They
possessed
have received lessons in conducting too, and are of an elegant "culture" hitherto un-
known
in the
realms of music.
any lack
of politeness,
them
in
8
society of
WAGNEE
our towns.
I believe the influence of
German
many
;
respects,
results
certainly
;
much
that
has disappeared
many details of refined phrasing and expression are now more carefully attended to. They feel more at home in the modern orchestra which is indebted
;
master Mendelssohn for a particularly and refined development in the direction opened up by Weber's original genius. One thing, however, is wanting to these gentle* men, without which they cannot be expected to
to
their
delicate
the instituself-con-
and hope, are artificial. Each of them was, and is, 80 busy with his personal affairs, and the difficulty of maintaining his artificial position, that he cannot occupy himself with measures of general import iheasTU'cs which might bring about a connected and As a matter of consistent new order of things. fact, such an order of things cannot, and does not
concern the fraternity at
all.
and because they had shewn themselves incapable and it would of a new style
;
ON CONDUCTING.
appear that they
of
in their turn,
fiUing
a gap in
a period of transition.
ideals
of
In the face of
towards which
the
new
is
German
art,
all
that
In the presence of
inseparable from
to
singular
expedients.
;
was very circumspect in Paris he engaged a new flutist and paid him out of his own pocket to play a Fully aware of the value of particular bit nicel}'. finished execution, rich and independent, Meyerbeer might have been of great service to the Berlin
orchestra
**
when
the
King
of Prussia appointed
him
General Musikdirector."
to
Mendelssohn was
mission
called
upon
undertake a similar
;
about the
Mendelssohn was the most extraordinary gifts and attainpossessor of the ments. Both men, doubtless, encountered all the blocked the way difficulties which had hitherto
same- time and,
assuredly,
but they were called upon overcome these very difficulties, and their independent position and great attainments rendered them exceptionally competent to do so. Why then
towards improvements
to
10
WAGNEE
faded
have
away.
Thus
at
Mendelssohn whilst
It is clear
Berlin
from
survivals of
and Musikdirectors, that neither of them are likely to do much towards the reorganization of our
orchestras. On the other hand the initiative has been taken by the orchestral performers themselves
;
of
upon the
they
might have done much more in the circumstances had the conductors been competent.
Exceptionally gifted
easily got the
and
of
accomplished players
the decrepit Capell-
upper hand
pianoforte
pedagogues
Virtuosi
etc., etc.
The
elegant
might
have acted very satisfactorily if the conductors had really understood the true spirit of
German music.
It is
in this
tlie
connection
for
theatres
of
posts,
and even
for
the
existence
their
ON CONDUCTING.
orchestra.
11
their professional
The
greater part of
work
consists in rehearsing
They ought
therefore, to have
made
it
their busi-
the
opera
and
like
to
of the
proper application
the
music to dramatic
in
art,
in
something
manner
ing
to astronom}'.
dramatic sing-
and
dramatic
they
might have
modern
instrumental music.
much
instruction as to
it
movement
Adagio.
C minor Symphony
-^^
^_^i37^-= :
/
to be played in the
way
had gained
into the
found and
violins
12
WAGNEE
new point of view, from which the entire ment appeared in a clearer and warmer light.
a
rnove^
Leaving
influence
am
content to
upon the
higher
if
regard to execution,
he properly understood
he
is
upon
which, on
genre of art at
German
enough)
honour
started
lies in
and from which they were called for, as I have said above, wherever the managers of a theatie happen to covet a musician of reputation for Capellmeister, they think themselves obliged to get
him
conat
from some
Now
quondam
societies
ductor of
concerts and
of
choral
theatre, it is advisable to pay him a visit at home, i.e., in the concert-room, from which he derives his reputation as a " solid " German musician. Let U9
remember
from per-
have
had
unpleasant impressions
classical
formances of
piano or
orchestral music.
At the
things
at
whilst
apparent flabbiness of
Later in
my
report
a "
German music
school to be established at
to
refer readers
Munich," *
which I beg
who
may
cd
Assuredly, the
want
of a proper
,
Conservatorium
German music
a
own
style
of execution
are pre-
served in practice
which,
of course,
* " Bericht ueber eice iu Hiincben zu errichteude deutscbe Musikschule"( 1865). See Appendix A.
(13)
14
WAGNEE
to supervise
chance personally
performances
of their
works
in
such a
place.
all
Unfortunately
;
such opportunities
and
German if we
become acquainted with the spirit of a classical composer's music, we must rely on this or that conductor, and upon his notion of what may, or may not, be the proper tempo and style of
to
now wish
execution.
In the days of
conducted at
my
;
celebrated Leipzig
all
Mathai,
there
was
shape of a conductor
The
the execution were regularly given every winter was smooth and precise and the members of the
;
With
of
Beetlioveii' fi
honour
to
give that
made
I
a pianoforte
so
arrangement
of the
for
two hands
but
was
much
Gewandhaus performance
and gave up the study
the leader of the
of
that I had
lost courage,
Beethoven
i.e.,
first violins.
ON CONDUCTING.
for
15
instructive to note
in
how
performances of
I
it
was when
had a
my
Mozart's cantilena.
I received a
The
of
scales
fell
from
my
eyes
came
to
of
correct execution
a good perfor
formance.
The
Beethoven's melody
cover
every bar
was
the secret.
and to
is
whom
was
due,
Whilst rehears-
he had
tive
felt it
to be incomprehensible
and
ineffec-
(would
confessed as
much?), but he persisted throughout a second and a third season until Beethoven's new melos * was
understood, and correctly rendered by each
of
member
the
orchestra.
;
he
obeyed him.
beauty
of
cannot attempt
Melody
to
describe
the
this performance.
*
However,
to give an
16
idea
of
it,
WAGNEB
I will
select a passage
to to
German
orches-
when
confronted by such
difficulties.
Even
with
first-class orchestras I
first
movement
H= zzzuz^zrk^izM^^.
aemp-e
:^P
pp
setnpre
pp
performed with such equable perfection as I then (thirty years ago) heard it played by the musicians
of the Paris " Orchestre
in later life
by
its aid to
Bayrenth.
("
An
dieser Stelle
ist
meinem spateren
geworden, worauf
klar
ON CONDUCTING.
17
The masterly
Paris
execution
consisted
of
this
passage by the
orchestra
in
played
had occasion
irregularity
sym-
annoying
which
arises
of
bow and
;
change
of strings.
Still
could I suppress an
With
we
G flat
was given
that note.
;
The composer's
it
intention
to
is
clearly indicated
but
remains
difficult
prove to a person
whose
no doubt both
longing
played
heard
it
es beim Orchestervortrag ankommt, weil sie die Bewegung und den gehaltenen Ton, zudleich mit dam Gesetz der
Dynamik
in sich schliesst.")
* Concert of the
18
1839.
WAGNER
In connection with this I
am
conscious that
*
(if
monotony
may
difficult
movement
of intervals in
the
G natural
as
me
spirit.
answers with equal delicacy, initiated by magic to the incomparable mystery of the Keeping my further practical experience in
how
problem?
By
tion
They were
before
difficulties must disappear them as a matter of course. French musicians in the main belong to the Italian school its influence upon them has been beneficial in as much as they
human
(as
voice.
is
The
to be
French idea
of playing
an instrument well
upon
it.
And
The possibility
and
me
at the time.
i.e.
ON CONDUCTING.
:
19
he was devoid of " genius " hut he found the right tempo whilst persistently fixing the attention of his
orchestra upon the
Melos
tempo
* of the
the
symphony.
Melos
is the sole
the right
:
are
inseparable
As
a proof of
my
are
our conductors
German
These people look upon music as a singularly abstract sort of thing, an amalgam of grammar, arithmetic, and digital gymnastics to be an adept
;
in
which may
fit
man
for
a mastership
it
at
conservatory or musical
gymnasium but
does not
life
and
* Melody in
all its
aspects.
The whole
ability
duty of a conductor
is
comprised in his
His
With good
tempo induces
correct phrasing
tempo.
is
This, however,
as
it
appears.
so,
for they
are content
with the
simplest
general
indications.
Haydn and Mozart made use of the term "Andante" as the mean between "Allegro"
and "Adagio," and thought it sufficient to indicate a few gradations and modifications of these terms.
Sebastian Bach, as a rule, does not indicate tempo
at
all,
which
perhaps
whoever does not understand my themes and figures, and does not feel their character and expression, will not be much the wiser for an Italian indication of tempo. Let me be porniitted to mention a few facts which concern me personally. In my earlier operas
best.
He may
ON CONDUCTING.
dicated
21
them
(as I
the
Metronome.
Subsequently, whenever
had
absurd
care-
fully followed.
my
later
works
I omitted
the
in
tempo.
It
would
are
to
when they
Accustomed
German
words.
the music (it was two hours and a half at rehearsals under a conductor whom I had personally
the score of
reported)
"Das Rheingold
"
lasted exactly
instructed
Capellmeister,
to
it
lasted
of
fully
hours
(according
the
report
indeed,
the
I
Allgemeijie
Zeittmg).
Wherefore,
did
To match this I have been informed that the overture to Tannhauser, which, when I conducted it at Dresden, used to last twelve
minutes,
now
lasts
twenty.
No
doubt
[I
am
here
alluding to
who who
beats, four
22
in a bar, merely to
WAGNER
show they
are present
and con-
scious of doing something. Heaven knows how such " quadrupeds " find their way from the village
But "dragging"
is
conductors of
fatal
mark
some details with regard to it. Bobert Schumann once complained to me at Dresden that he could not enjoy the Ninth Symphony at the Leipzig Gewandhaus concerts because
enter into
of the quick
ticularly in the
movement.
I have,
myself,
major).
I noticed that at
and there
almost
random
it
and worked
why he
For the rest, this incomparably bright symphony was rendered in a remarkably smooth and genial manner. Mendelssohn himself once remarked to
me, with regard to conducting, that he thought
most harm was done by taking a tempo too slow; and that on the contrary, he always recommended
ON CONDUCTING.
quick
23
Eeally
tempi
as
being
less
detrimental.
good execution, he thought, was at all thing, but short-comings might be disguised
times a rare
if
care
should
not
appear
very
to get
to do this
was "
accidentally
conversation.
The
master's
more
detailed instruction
for,
subsequently, I have, on various occasions, noticed " take quick the consequences of that maxim,
which may have led to its adoption. I remembered it well, when I came to lead the orchestra of the Philharmonic Society in London, Mendelssohn had conducted the concerts 1855. during several seasons, and the tradition of his
readings was carefully preserved.
It
appears likely
performance (Vortragsweise)
of instrumental
;
certainly
is
it
was
adm.irably adapted to
amount
concerts
only.
Thus
many
and so, I became acquainted with a style of performance which called up a lively recollection of Mendelssohn's
remarks.
fountain
24
there
WAGNER
was no arresting
it,
as an undeniable Presto.
difficult to interfere;
for
and every Allegro ended It was troublesome and when correct tempi and
which the flood had carried along or conbecame painfully apparent. The orchestra generally played mezzoforte no real forte, no real piano was attained. Of course in important cases I
of style
cealed
upon the
right tempo.
;
The
it
excel-
on the contrary
;
the
of the
that
me
to
Symphony
flat
and colourless
even Men-
way
{ruscJdich
herunter
spielen)
accustomed to
and
which, they
symphony by
a very
if
in
me
it
to take the
him
short
its
Beethoven,"
etc.
ON CONDUCTING.
tedious
if
;
2
and inexpressive
felt
it
was played
if
in a vapid
manner
whereas
and as I now sang it to him, Mr. Potter was touched it would certainly please. he agreed, and excused himself, saying that latterly
meant
it
of
Andante he
I
joyfully pressed
my hand.
at the
singularly
leading musicians.
stance, to
communicate
Mendelssohn what I
in
movement
8.
Beethoven's
is
Symphony
upon
in
major, No.
This
one of the
many
We know
link
that
Hadyn
in his
and
the
of the true
he incorporated
the
that,
so
I
with regard to the tempo, the designation " Menuetto " is hardly appropriate, and was retained
conventional
reasons
only.
for
*
Nevertheless,
South German country dance in f time, from which the modern waltz is derived.
26
believe
WAGNER
Haydn's Menuets are generally taken too
this will be felt very distinctly
if,
phonies are
minor, and
for
instance, the
Menuetto
little
in Mozart's
of his
still
more that
Symphony Symphony
in Gin
major, be played a
pace.
is
It will be
Menuet, which
will
in contrast
with
its
delicately
sustained
^\
f^--
is
reduced,
as
usually given, to an
sagende Nuschelei).
Now Beethoven,
as
is
not un-
common
his
F major Symphony; he places it between the two main Allegro movements as a sort of complementary antithesis (ein gewissermassen ergiinzender
Gegcnsatz) to an Allegretto scherzcmdo which precedes
it,
and
to
as to his intenit
Tempo he
designates
not as a
Menuetto
This novel
the
two
the
A llegretto
movements thus
ON CONDUCTING.
and none
of
27
phony
the
as a
sort
of
accidental
hors
d'oeuvre
of
Beethoven's muse
major
rather
symphony had
easily."
"to
after
take the
is
things
Accordingly
the
of
Allegretto
Scherzando,
which
invariably
"dragged"
is
somewhat, the
Tempo
di
Menuetto
any
glad
is
when
This
loveliest of idylls is
by the passage in
if
which
the despair of
violoncellists,
im-
Naturally, this
as
times render
likely to
remember an occasion
then
when
all
my
28
WAGNER
1
I
J^
at
effect
Now,
the
late
Capellmeister
with Mendelssohn
just described,
we
talked about
the dilemma
;
which
I told
convinced Reissiger,
Mendelssohn
We
listened.
The
third
was terrified on hearing but before I could precisely the old Liindler tempo give vent to my annoyance Mendelssohn smiled, and
I
;
if
to say "
now
it's
right
Bravo
"
So
my
terror
changed
to
astonishment.
which
I shall
discuss presently,
to
may
much
;
blame
for
persisting
but
queer
contretemps,
raised
doubts
my mind
an
Soon
of the
after this
Eighth Symphony
at the
Leipzig.
Mendelssohn
Gewandhaus
He
had agreed with my views as to the Tempo di Menuetto, and had invited me to attend a concert at
also
which he promised
pace.
to take
it
at the proper
moderato
He
:
word and
of
offered a queer
excuse
disturbed with
manner
piece
had begun
sufficiently
annoying.
I
Still I
had found somebody to share my views as to the difference between one tempo and another. I doubt, however, whether the conductor could be fairly reproached with a want of forethought and conunconsciously, perhaps, he may have sideration had a very good reason for his " forgetfulness." It would have been very indiscreet to risk a change
;
* Ferdinand Hiller.
(29)
30
of
WAGNEK
tempo which had not been rehearsed.
For the
which, as
demands
We have
point,
now
an appreciation
which
is
indispensable
if
we
Injudicious tempi
of reason inas-
much
conformity with them, and to the uninitiated such conformity of style and tempo might appear
a proof that
all
as
is
was
if
right.
The
evil,
however,
is
apparent enough
taken, in
false style
To
let
C minor Symphony.
Usually
ff
the
fermata of
the
second bar
hardly
is left
our conductors
make use
fix
than to
men upon
the attack
note
\\
ilat
is
bow
will last
ON CONDUCTING.
voice
of
31
Beethoven were
a
!
heard
admonishing
or because I
conductor;
"Hold my
;
firmly, terribly
was
how to proceed
I indulge
emotions in
firm tone
my
I
most sustained tone to express and I use this full and Adagio
;
when
want
it
in a passionate Allegro as
Then
the very
life
stem the clouds, disperse the mist, and show the pure blue ether and the glorious eye For this I put fermatas, sudden longof the sun.
be visible;
or, I
sustained notes in
my
Allegro.
And now
look at
my
flat
what
in
meant
to say
the sequel."*
Suppose
conductor were
:
to
* In the original this fine passage is " Nun setzen wir den die Stimme Beethoven's habe aus den Grabe einem Dirigenten zugerufen Halte du meine Fermate lange und Ich schrieb keine Fermaten zum Spass oder aus furchtbar Verlegenheit, etwa um mich auf das Weitere zu besinnen sondern, was in meinem Adagio der ganz und voll aufzusaugende Ton fiir den Ausdruck der schwelgenden Empffndung ist, dasselbe werfe ich, wenn ich es brauche, in das heftig und
Fall,
;
!
wonnig oder schrecklich anhaldas Leben des Tones bis auf seinen letzten Blutstropfen aufgesogen werden dann halte ich die Wellen meines Meeres an, und lasse in seinen Abgrund blicken oder hemme ich den Zug der Wolken, zertheile die wirren Nebelstreifen, und lasse einmal in den reinen blauen Aether, in das strahlende Auge der Sonne schauen. Herfiir
scbnell figurirte Allegro, als
tenden Krampf.
Dann
soil
32
WAGNER
attempt to hold the fermata as here directed, what would be the result ? A miserable failure. After the initial power of the bow of the stringed instruments had been wasted, their tone would become thin and thinner, ending in a weak and timid piano
:
for
(and here
is
know
meant by equally sustained tone. Let any conductor ask any orchestral instrument, no matter which, for a full and prolonged forte, and he will find the player puzzled, and will be astonished at the trouble it takes to get what he asks for. Yet tone sustained ivith equal power is the basis
what
is
of all expression,*
tra
tone,
upon
it.
"Without such
noise but
much
first
no
of
power.
And
this is
one of the
symptoms
The conductors
of the
day care
little
about a sus-
exaggerated piano.
Now
aetzc icli Fermaten, d. h. plotzlich eintretende lang auszuhaltende Noten in meine Allegro's. Und nun beacbte du welclieganz bcstimmte thematischo Absicht icb mit diesem ausgchalteucu Es uacli drei sturmisch kurzen Noten batte, und was icli luit alien dcu im Folgeudcn gloicli auszubaltenden
will."
ON CONDUCTING.
latter
33
larly the
wood winds do
not.
It is
almost impossible
ments.
tubes
(Gewaltsrohren)
French
oboists,
who have
of the
and our
"
clarinetists,
Echo
why,
at least,
do not conduc-
by demanding a some,
?
what
fuller
tors do not
seem
to notice
any discrepancy.
lies
To
piano
are
much
for
we do not
possess a true
piano, just as
we do
wanting
in fulness of
tone to
winds.
Of course
but
it
is
it
command
of
and the
latter,
again,
The
of,
and the
34
WAGNEE
if
neither the
?
properly forthcoming
Where
means
of expression are
Mendelssohnian rule of "getting over the ground" {des flatten Dariiberhinweggehens) suggested a happy expedient conductors gladly adopted the maxim, and turned it into a veritable dogma so
the
; ;
that,
classical
music
denounced as heretical
returning to the question of
am
persistently
tempo because, as I said above, this is the point at which it becomes evident whether a conductor understands his business or not.
is
requires
ca/ii^i^e?ia
(Figuration).
ingly-
lead accord-
Bewegung) The sustained tone regulates the Tempo Adagio: here the rhythm is as it were dissolved in
.
jyer se suffices
ON CONDUCTING.
expression.
35
it
may
be
slow.
A rapt confidence
grows to ecstasy
;
in the sufficiency of
;
pure
the languor of
was expressed by changes of figuration, is now conveyed by means of variously inflected tone. Thus the least change of harmony may call forth a sense of surprise and again, the most remote harmonic
;
to
our
expectant
None
of
manner
by looking
their
for
some
bit of figuration,
and arrange
the Adagio
tempo
to match.
conductor
Ninth Sym-
phony
at the
its
peculiar character.
This character
conductors
difference,
but our
the
contrive
to
obliterate
leaving
only
triple
the
rhythmical
change
time.
This movement
in the present in
most instructive
the section
twelve-eight
up
of
of the
the cantilena
this section
In
we may
recognise, as
were, a fixed
36
WAGNER
reflex * of the Adagio's
;
and consolidated
towards
in
infinite
tendency
expansion
there, Hmitless
freedom
firm
dehcately
movement
here,
the
rhythm
the
of the figurated
accompaniments, imposing
new
when
fully developed,
we have
movement
its
of
We have
cation
is
modifi-
the basis of
in the third
movement
of his
all
Ninth Symphony,
regulations as to
sense,
result
may
musical time.
Allegro
In a certain
delicate
final
the
of a
may
be regarded as the
by the more
it
restless
moving
figuration.
On
careful
from the Adagio, predominates. The most important Allegro movements of Beethoven are ruled by a
* In the original " Hier erkcnucn wir dasglcichsam fixirte Bild des zuvor uacli unendliclier Ausdclinuug verlaugenden Adagio's, und wie dort eine uneingoscbraukte Freilieit fiir die
:
Befriedigungdes touischen Ausdruckes das zwischcu zartesten Gesetzen schwaukende Maass der Bewegung angab, wird hier durcli die festo Rhyfclimik der figurativ gesclimiickteu Bcglcituug das ucue Gcsctz der Fcstlialtuug ciuer bestimmteu Beweguug gcgcben, wolchcH iu seiuon ausgebildeten Konsequcuzeu uus zum tiosetz fiir das Zeitmaass des Allegro wird."
ON CONDUCTING.
37
predominant melody which exhibits some of the characteristics of the Adagio and in this wise Beethoven's Allegros receive the emotional senti;
naive
species
of
Allegro.
However,
Beethoven's*
'-
r-"^
and Mozart's!
:t==tziiiit:
or
:-
t^
1^^
P
;22:
And with Mozart, as with Beethoven, the exclusive character of the Allegro is
are not far asunder.
only
felt
when
hand
of
when
This
is
Symphony
in
III.
Symphony
C major, "Jupiter."
38
those final
WAGNER
movements which have grov^n out
of
vv^hich
flat,
of the
Rondeau, and
Symphony
movement,
is
in
and
excellent examples.
and
it
too
But whatever
lies
extremes
and interdependance ; and such laws cannot he too delicately and variously applied, for they are fundamentally identical with the laws which modify all
conceivable nuances of the sustained tone,
I shall
now
;
of Tempo
a question of
contempt.
Whoever has
me
so far with
far,
two species
an emotional and
Mozartian Allegro
was
distinguished as showing a
I have adopted the expressions naive character. " sentimental " and " naive " from Schiller's well-
known
It
is
enough
to state here
the overtures to his operas, particularly to " Figaro " and " Don Giovanni " are the most perfect
specimens.
It
is
well
known
that
Mozart wished
own
unheard
he
!
Let us take it still quicker this evening." Quite As I have said of the pure Adagio that, in an right.
(39)
40
ideal sense,
it
WAGNEE
cannot be taken too slowly, so this
of
figurated
movement on
the
is
what
to
is
possible.
The law
of
in the
meet and to unite. The order of the movements symphonies of our masters from the opening Allegro, to the Adagio, and thence by means of a
stricter
or
Scherzo),
to
To my
dance
tunes
for these
more
of tone
sist of
As regards the various degrees of power {Nach der Seite der Dynamik hin) they con;
and, as
show
certain fixed
and stable
rhythmic melodic
traits
much
choice or sifting,
for Orchestra.
ON CONDUCTING.
and which
prising ease.
(in
41
semisur-
the
busthng ever-recurring
more than
of
even
the greatest
common-
are
in
which the
restless incessant
movement
is
intended
It is a significant
Don Giovanni
Here
where
tempo
above
it
becomes necessary
(which
is
to
also
one)
We
need
reflec-
established that
or, as I call
it,
new emotional
Mozart
the
to
Mannheim
it
(in
1777),
when
:
as a novelty
up
shows
that, as a rule,
42
WAGNER
To
first
Sinfonia
ero'ica
how
does this
tempo of one of the Allegros of Mozart's overtures? But do our conductors ever dream of taking it otherwise ? Do they not always proceed monotonously from the first bar to the last? With the members of the " elegant " tribe of Capellmeisters the " conception," of the tempo consists of
played in the
strict
an application
of the
cJii
make
the best of
in passages
<
^ m\i
S'-fci
m-
or the plaintive
ON CONDUCTING.
43
money."
now reached the point in our discussion from which we can judge the music of the day. It
have
will
We
point with
some circumspection.
was anxious
to
make everyone see and Beethoven there has been a very considerable change in the treatment and the execution
expose the dilemma, and to
feel that since
of
instrumental
music.
Things which
formerly
now
that
it
imbued with
tissue.
sical
life
as delicate as the
the thematic
We may consider
is
Tempo
qua non.
No
difficulties will
have to be overcome.
Summing up
is
still
my
far as public
be the right
akin to his.
now attempt to describe what I conceive to way of performing Beethoven, and music
In this respect also the subject seems
few
salient points.
*
i.e.,
in 1869.
44
WAGNER
One
of the principal musical
forms consists
of a
Haydn, and eventually Beethoven, have improved this form, and rendered it artistically significant, by the originality of their devices, and particularly, by connecting the single variations one vi^ith the other, and establishing relations of mutual dependence between them. This
series of
is
that
in
to say,
is
when
a degree of
movement, suggested
is
the one
when
occasioned by
movement, which was wanting in the one before it. The real weakness of the Variation-form, however, becomes apparent when strongly contrasting parts are placed in juxtaposition, without any link to connect them. Beethoven often contrives to convert this same weakness into a source of strength and he manages to do so in a manner which excludes all
;
sustained tone
(in
movement
in
(in
the Allegro)
he contrives
antithesis,
is
to satisfy,
after an antithesis
different
which
by means
of a
now made
of
to
serve as a
ter's
greatest works.
The
last
movement
the
ON CONDUCTING.
Sinfonia
ero'ica, for
45
it
should be understood as a
should be interpreted
movement
with as
properly,
of variations
and accordingly
as in
all
it
much
here
variety as possible.
To do
this
mentioned weakness
disadvantage which
of the Variation-form,
is felt
and the
to result
from
it,
must be
had an independent
effects
conventional manner.
The unpleasant
theme
of
felt in
when
is
followed
by an exceptionally lively variation. The first variation on that most wonderful theme"
in Beethoven's grand
Sonata in
A major
for piano
is
an example.
Virtuosi always
common
type
i.e.,
mere display
all
of musical gymnastics,
which
this
destroys
that,
desire to listen
I
any further.
It is curious
whenever
of
variation to anyone,
my
Everybody agreed with me "on the whole" but in particular, people failed to see what I was aiming at. Certainly (to go on with the example) this first variation of that lovely sustained theme is of a conspicuously lively character when the composer
;
invented
it
of
it
as
46
WAGNER
with
it.
The component
parts of the
by
this fact.
entire piece
is
played,
We
(for
know from
of
the master's
of the
C minor sym-
C minor. Op.
Ill),
which are
all
form
of Variations,
how
deftly
who,
representing the
master in
full,
might, at
relation
least,
attempt to establish
some
sort of
sentiment of
and connection between the the theme and that of the first variation
latter at a
the
ably
from
it
that of
the theme.
interpret
with
artistic
the
first
to the
new tempo
ON CONDUCTING.
the beginning of the
introductory Adagio
first
47
of
is
quartet in
marked movement is thus appropriately indicated. In quite an exceptional way, however, Beethoven has, in this quartet, so arranged the several movements that they are heard
Sharp minor.
*
This
of the entire
immediate succession, without the customary interval indeed they appear to be developed one
in
;
from the other according to certain delicate laws. Thus the Allegro immediately follows an Adagio full of a dreamy sadness, not to be matched else-
where
If
it
were permitted
state of feeling
showing a
shows a most lovely phenomenon, which from the depths of memory, and which, as soon as it has been apprehended, is warmly
that
it
arises, as it were,
phenomenon
(the
new
Allegro
from the sad and sombre close of the Adagio, so that its abrupt appearance shall prove attractive rather than repellant ? Very aparise, naturally,
propriately,
the
new theme
lost in a
first
appears like a
in
dream
unbroken
true
pp.,
and
is
then
melting r
tardando thereenters
its
after,
by means
of a crescendo, it
* Op. 131.
48
WAGNER
its real
nature.
It is
appropriate modification of
to take the
t^ for a link, and so unobtrusively =^-^-t ^3to connect them with the following
$ ^
PP ^
^
'
^
a
fr it
-f ff^-H that
I
change
in
the
jg"
movement is hardly perceptible, and moreover so to manage the rltardando, that the crescendo, which
comes
after
it,
will
now
tone
during the
crescendo.
But the
and the sense of artistic propriety is outraged by a sudden and vulgar vivace, as though the whole piece were meant for a jest, and the gaiety had at last begun People seem to think this " classical."*
!
may have
is
matter
of incalculable
still
proceed to look
more
of
and
requirements
proper
performance
classical music.
will
modern
emotional, sentimental
music
it
unites
all
sus-
the
manifold
changes
and made
to
merge one
Assuredly,
symphonic movement must be set in motion adequate and appropriate manner if the whole
to appear as a monstrosity.
I
in
is
an
not
remember in my young days to have heard older musicians make very dubious remarks about the Ero'ica* Dionys Weber, at Prague, simply treated it as a nonentity. The
* Beethoven's
Symphony, No.
(49)
III.
50
WAGNEE
right in his
man was
tempo
at the
way
he chose to recognise
;
and
in the strict
was such that one could not help agreeing with him. Yet everywhere else the work was thus played, and True, the symphony it is still so played to this day
!
is
now received with universal acclamations but, if we are not to laugh at the whole thing, the real
;
reasons for
its
success
must be sought
is
in the fact
concert-rooms
irresistible
particularly
is
the piano
felt,
and
its
power
thus fully
If fate
though
in rather
had not furnished such a path of safety, and if our noblest music depended solely upon the conductors, it would have perished
a round-about way.
long ago.
To support
a popular example
Has
not every
German heard
the overture to
Der
how
when
it
was rendered
in the
most
trivial
manner;
to conto pass
among when
were surprised
my demands
ON CONDUCTING.
It
51
Andante
duction had habitually been taken as a pleasant in the tempo of the " Alphorn," * or some
such comfortable composition. That this was not " Viennese tradition " only, but had come to be the
universal practice, I had already learnt at Dresden
When
where Weber himself had conducted his work. I had a chance to conduct Der Freyschiitz at Dresden eighteen years after Weber's death
colleague.
which had prevailed under Eeissiger, my senior I simply took the tempo of the introduction to the overture as I felt it whereupon
;
a veteran
cellist
member
"Yes,
Dotzauer,
turned
this
it
towards
the
me and
said
seriously:
is
way Weber
himself
first
took
it
now
hear
who
still
resided at Dresden,
became touchingly
position
of
solicitous for
my
welfare in the
Capellmeister.
She
trusted that
my
to hope.
The
recol-
enough
to insist
ture anew.
entirely
woodnotes
in
52
WAGNER
pompous show
melody
piece.
The magic
per-
fume
of the
for the
horns was
now
shed
Once only
The
accent
^jg-
i: ^Et
like
the
is
Having restored
of the Allegro to
the
mysterious
dignity
of
the
movement
run
its
for I
know
that I should
to
moment, so that the proper movement for might he reached. Evidently the greater number, if not
theme
all
modern
ON CONDUCTING.
essentially different constituent parts
:
5d
in
contrast
Adagio in
of
:=l:
'-=]-
^^=="i*^
t*- 4^-
shows
this contrasted
to the
scheme
of
but, as
is
brought out,
becomes
scheme
siich a
is to
combine
To continue
after the
extreme
of
made use
the
the
character of
which
is
54
WAGNER
tempo
is
in this place,
dissolved
into
so that, in spite of
so beautifully leads
nuance
along.
of the
flat, we had arrived at the very main tempo, which has been kept
up
all
theme
L-z2-^-
^21
it
i2z^izt\ai
:t=
:?2=^=
legato,
i.e.,
without the
7iot
as
^i-^-n*
v-^:t=
-x^r=aL
'-piZI^IL
The good
pulsating
result
was
at
mf
^^
q^Jt
ON CONDUCTING.
55
I had only to give the sHghtest indication of the pace to find the orchestra perfectly ready to attack
the most energetic nuance of the main tempo together with the following fortissimo.
so
It
was not
bring
them out
disturbing the
Here,
when
the
concentrated in
ft
^-^-^i
r
I !
^ !
^
I
best of
all.
well relieved,
surprised
when
is
I asked
them
to play
the second
theme, which
as they
now
nuance
modification of the
main time.
66
WAGNER
at the close of a piece is a habit
theme
all
common
to
is
our orchestras
No
ture
frequently
it
ia
true
Allegro theme, as
it
the
field,
and
finally
apotheosis
of
to "
Leonora
"
is
by the
conductor,
who
to
does not
know how
{e.g.,
to
thematic
to relax
combinations
moment
tempo
of
to
grow
remember
not with
orchestra.
satisfaction,
Viennese
The
necessity for
such an eccentric
main tempo
much
geration
and
])c
work
way,
of art
it
should be exposed
able to bear
difficult to
it.
though, in a rough
why the
close
may
However,
it is
understand
ON CONDUCTING.
of the Freyschiitz overture
57
by Germans, who are supposed to possess some deHcacy of feehng. Perhaps the blunder
and
worried
will
appear
less
inexplicable,
if
it
is
remembered
its
very
first
appearance,
made
:
to trot
principal Allegro
the
tail of
a hussar's charger
and
it
would seem a
case of
when
the
off
whereat,
is
finally,
the
An
this
produced by
which the composer meant to convey, as it were, a maiden's tender and warm effusions of gratitude.* Truly, certain people who sit and listen again and again to a
reading of
a passage, by
own about
t
whose
jubilee
we have
such
in
known
Author
of a
kannten,"
etc.
58
right
WAGNEE
position
to
and
" to point
is
and
maxims."*
of
As
Viennese amateurs
who
The
overture, heard
effect of that
performance
is still felt
at
Vienna.
it.
credited
my assertion that
sole cause.
little secret,
namely this
in
.<2.
f-Jz
^1
-,
which
in the score
might
mark
of
thus
we reached
of force,
Eduard Bernsdorf
in
ON CONDUCTING.
59
were
simo
at
which, I
now
thus the
warm and
supported by the
glorified.
full orchestra,
Our Capellmeisters
it
was
the
at
members
sion
of
of the orchestra
the
new
reading.
:
He announced
this to
let
a
*
!
la
Wagner
I believe there
would
things,
many other
Wagner
all
At
events this
was an
whereas in a
my former
to
of
meet
me
movement
Beethoven's
60
to insert in the parts
WAGNER
when he conducted
the work.
is
sempre piu
This
did
forte,"
it
becomes
Eeissiger
more
violent.
not
suit
And
committed
eternal
an offence against
day,
was
so careful to obey.
left
After I had
major
symphony came
siger,
to be
about that passage so he stopped the orchestra, and advised that it should
feel at case
he did not
On
the
tive
another occasion
(not
very
long
ago,
at
of
somewhat
after the
manner
ON CONDUCTING.
In the Allegro
of
61
the
:
the
Egmont overture*
^
is
l?d-
m
first
half of
The conductor,
custom,
theme, a contrast
to be swept
self-content,
sere
and withered
leaf; so that,
whenever
it
caught
the ear at
was heard, in which during the two opening bars the dancers stepped forward, and in the two following bars twirled about in " Laendler " I fashion
a sort of dance pace
When
Biiloiu,
in
the
senior conductor
*
was
:
called
upon
f
to lead the
music
Beethoven
Op. 84.
Franz Lachner.
' an Austrian peasant's dance, in triple time, I Laendler from which the waltz is derived.
62
to
WAGNEE
Egmont
at
concise,
laconic
as
Beethoven meant
it.
The
just
as
thematic combination,
of the
of
happinesss.
tion
is
At the end
still
manner
overture
No
down
Odeon Concerts
"
one among the the audience of the celebrated at Munich dreamt of " a break-
when
minor
manner
symphony, when I happened to be present. The in which the Andante of the symphony was played, and the effect it produced was altogether surprising. Who has not, in his youth, admired this beautiful piece, and tried to realize it in his own way ? In what way ? No matter. If the marks of
expression
are
composition
ON CONDUCTING.
arouses one's feelings
to
;
63
read
it
in accordance
seems as though Mozart had expected something of the kind, for he has given but few and meagre
indications
of
the expression.
So we
felt free to
moon-like
rise
of
the
violins
we
i^^- ^^
touched us as with wings
of angels,
ii
jo-^-
:t=lzfei
^^r^
we heard
-^Sr
in a finely
eto.
(which, however,
crescendo)
sustained
we imagined
evanescense,
bars.
which came upon us with the final Fancies of this sort, however, were not perstrictly
classical
performance,
64
WAGNEE
:
Odeon
make
one's flesh
The
lightly floating
;
ponderous Largo
ghastly, like a
weight of a single
Andante was converted into a not the hundredth part of the quaver was spared us stiff and
;
bronze
pigtail,
Andante was swung over our heads even the feathers on the angel's wings were turned into
corkscrew curls
war.
of
rigid, like
Already, I
felt
a Prussian
recruithig officer,
off
1740,
and
longed to be bought
terror,
but
who can
guess
my
do
when
recommenced
Largo-Andante
little
merely
to
I looked
about
me
for help
and succour
and
ears" in
so, I
all
innocence
and
safety.
This
my
being
acquiesced, and
bowed
my
head
in silence.
patience
At a rehearsal of " Tannhiiuser " I had quietly allowed a good deal to pass by unnoticed even the clerical tempo, at which my knights had to
march up
But now
it
became
master
evident that
the
ON CONDUCTING.
could not
65
even make out how | time was to be changed to an equivalent ^ i.e., two crotchets
:
The
when
=?=:
:Ust
It
iT^:
;=?==
:c;
is
replaced by
'I
:z^:
=^=^
:t=r :tz;
-f^-i-(:2-
-(=2.
much
He was
;
very
but
it
also
custom
of
such conductors
is,
to
beat
I after the
manner
of ^, that
beat
my poor narrative about the Pope at Eome, the conductor thought two
beat=l,
4, 5, 6).
But, for
might be
left at liberty to
proper pace
66
WAGNER
ipiif:
-(2
fa2=
:^=t
ifirpzuei
t=t
etc.
^-^
-^-P=^-
t^-
Kome
to a
gay and
lively
me
of
Lohen-
Holy
Grail, at "Wiesbaden,
where I heard it recited sellerzando, as though it were about Queen Mab). But as I was, in this case,
dealing with so excellent a representative of Tann-
This, I
am
some scandal
it
and annoyance.
caused some
little
even
cold-
we
have now crowned with a halo of poetry. examine them still more closely
*
beg leave to
in the sequel.
1865.
of
It has repeatedly been pointed out that our conductors dislike attempts at modification of tempo, for
and
other
classical
music.
so
and
who attempt
fit.
to
perform functions
is
for
which
of
In
fact, there
mode
nothing can be
more detrimental
to a piece of
etc.,
nuances of tempo,
the
sake of what he
may deem
" effective."
Now, what
is
to be said or
done
in
to questions of
68
art does not exist in
WAGNER
Germany
;
and there
is
nothing
is
again
if
incompetent
music
at their pleasure,
how
is
it
most influential musicians have not taken this matter in hand? why have they themselves led classical music into such a groove of triviality and actual disfigurement
question
is
'?
In
many
instances
the objection in
opposition to
dicated.
efforts in
immense majority and, under certain circumstances, incompetency and sluggishness unite, and grow
aggressive.
The
first
with us have, as a
(One
difficult
symphonies
were
the
first
first,
good deal also has, from been brought before the German pubhc in
performed
!).
my
essay
volumes
of the
so,
"
Neue
it is ?
Zeitschrift fur
Musik.")
This being
how can
of execution
In Germany
Wagner
ON CONDUCTING.
69
and incompetent.
of the
manner
not
in
!
which
a master
Hke Mendelssohn
led
such works
How
to
can
it
musicians,
comprehend things which have remained doubtful to their master ? For average
generally, should really
people,
who
is
but one
;
good example
and a
Unfortunately,
deem
it
worth while
and shallow pretence of the halo of sanctity with which it poses as the " chaste spirit of German art."
stifles
every
of fresh air
At
this rate
we may
its
has nothing in
music.
It
common with
is
German
of
modern,
Beethovenian,
music
but
we may
70
WAGNEE
of
its
now
in the ascendant.
It is curious to note
how
sufficiently bitter.
("
You
see
me
As
two distinct species Germans of the old type, who have managed to hold out in the South of Germany, but are now gradually disappearing and the elegant Cosmopolites, who have arisen from the school of Mendelssohn in the North, and Formerly the two species are now in the ascendant.
pagus consists
;
much
of
each other
disturbances
but
latterly, in
the face
of
certain
which seem
to
mutual admiration
so that in the
all
South the
it,
that pertains to
now
whilst, in
the North,
South-German sterility is welcomed* with sudden and profound respect an honour which Lindpaintner of blessed memory! did not live to see. Thus to ensure their
the prototype of
at Stutt<4art.
ON CONDUCTING.
prosperity the
71
two
species
are
shaking
hands.
Perhaps
at
the
outset
such
an
alHance
was
;
difficulty
by the aid
of that
;
Germans
namely, a timid feeling of jealousy which accompanies a sense of helplessness {die mit der TJnheliol-
This propensity
temper
of of
one
of
the
most
eminent
to repu-
German musicians
of the elegant
sition
of the
him
and
want
to
others
see
them advance
us."
This
is
at least
honest Philistinism;
provocation.
Most complicated
maxims have
Without
deal
to
hide
and
suppress.
it
at
all;
Our
true
originally a
man
72
WAGNEB
In days gone by the social
position
of
from good.
musicians
Princes and
society
of
the
social
status
Italians
Italians
alone
to
excepted).
native
Germans
Mozart me^
Musicians
were treated as such by their employers. The education, even of the most gifted, bore traces of the
fact that
(think
of
Beethoven
when he came
It
in contact
was taken
was such
influence
them
insusceptible
to
the
culture-
When Marschner*
awaken the
orchestra,
spirit
in 1848,
found
me
me,
striving to
of
the
members
of the
Dresden
he
he seriously dissuaded
Certain
saying
is,
as I
have
were
formerly occupied by
Wcbor'H
Marscbner, 1796-1861, operatic composer at Dresdeu, subsequeutly conductor at Leipzig and Hauover.
colloa<^uo
ON CONDUCTING.
of
73
warmth and
archal orchestras
to
sympathetic
leader.
But
Jews formerly
new
the
musical guilds
they
much
industrial society.
To be
something
.
it
lacking
bildetheit)
whoin
a superior person
and above
ridicule.
which the results of true culture, an open mind and a free spirit, have become apparent amongst them. Even Mendelssohn, whose manifold gifts had been cultivated most
I have not
met with
and in
successes, he
art-life.
German
It
of isolation
and con-
was
source of
much
74
WAGNEB
The reason
for this is to be
found
such as
his, lack
spontaneity
{dass
and arise from a desire to cover and conceal some part of a man's individuality, rather than to
develop
it
freely.
is
But
cess
:
true culture
a
extremely intelligent in
certain
may
ways yet the point at which these ways meet be other than that of " pure intelligence " {rein.
sehende Intelligenz)
in the case of
To watch such an
is
inner process
organized individual
case of lesser and
sometimes touching
trivial
its
in the
more
simply
we
we may indeed grow seriously indignant. And German musicians now-a-days have good reason to be indignant if this miserable sham culture presumes
to judge of the spirit
and significance
is
of
our glorious
music.
Generally speaking,
it
a characteristic trait of
make
niucli fuss
about anything.
is
Thus, whatever is
ON CONDUCTING.
75
something that can be readily acquired, and, if need be, imitated. Again, that which is sublime,
call
;
god-like, demoniac,
because
it is
impossible or
like and sets up a novel which professes to rest upon system Goethe since he, too, was averse to prodigious monstrosities, and was good enough to invent
aggerations,"
and the
of aesthetics,
" artistic
in lieu thereof.
"
The
of
guileless innocence of
art "
becomes an object
so,
laudation
and
Schiller,
too
in
violent, is
new
conception of classicality
is
evolved.
In other de-
partments
service,
home
and
that
is
most earnest
is
gathered
*
together in a
honour.
How
few representative
" getting over the
cheerful Greek
that
* Hanslick's " Vom Musicalish-Schoenen," and particularly Vischer's voluminous " System der ^sthetik."
76
WAGFEE
"
ground
which Mendelssohn
and successors.
so earnestly
recom-
mended.
his disciples
Mendelssohn wished
and also, in case of need, the shortcomings of that which is executed to this, his disciples and suc;
cessors
superadded the
:
specific
motive
of
their
" cidtitre"
namely,
in
There
is
which
I accidentally discovered
of Tannhaiiser, at Paris, I
scale
ballet
at
one
tripping ^s of his
my
him
to arrange
something wild
akin
to
and bold
his
corps
something
his
the
bas-reliefs.
There-
fingers,
and
"Ah,
you
; if I were to whisper a word of what and indicate the attitudes you intend to my people here, we should instantly have the 'cancan,' and be lost." The very same feeling
siijets
say,
which induced
my
Parisian
ballet-master
to
rest
Bacchantes, forbids om^ elegant, new-fangled conductors to cut the traces of their "culture."
They
ON CONDUCTING.
are afraid such a thing
77
to a scandal a la
to
might lead
Offenbach.
them; the
him
"men
of culture."
large part of
consisted in learning to
watch
their behaviour,
;
and
as
much
fit
one
who
stammers,
is
careful to
of
keep quiet,
hissing
he should be overcome by a
Such continuous watchmuch that was unpleasant, and the general human amalgamation has gone on much more smoothly which, again, has brought it about that many a stiff and poorly developed element of our home-growth has been I have already menrefreshed and rejuvenated. tioned that amongst musicians roughness of speech and behaviour are going out, that delicate details in musical execution are more carefully attended to, But it is a very different thing to allow the etc. necessity for reticence, and for the suppression of
and stuttering.
fulness has assisted in the removal of
;
Germans
mannerly
grow warm.
And
are
we
to suppress
'?
fire to
In truth,
so.
looks as
78
WAGNER
in cantact
with Mendelssohn,
I learnt
him not
to think
to avoid everything
Now,
was very pleasant and soothing advice and those pupils who adopted it and remained true to
the master, have indeed produced neither " impression
nor
to
meretricious
effect ;"
only,
the
advice
seemed
it.
me
warnings
of a
like kind;
music
with
first
the
tone of
the
orthodox
psalms.
The
result of the
new
doctrine,
and
to
came
Everything
for instance,
have
hitherto
not
found
later
best
have
actually
For a long time I earnestly wished to meet with some one who could play the great sonata in B flat
(Op. lOG)
as
it
should be played.
At length
my
ON CONDUCTING.
wish was gratified
a
79
but by a
those
person
camp wherein
doctrines
Franz
my
No
Bach
for teaching
purposes,
since
manner
of
effect "
or Beethovenian strenuous-
cians, a friend I
and companion
of
Mendelssohn (whom
of the
tempo di
first
part of
"Das
me.f
Cer-
Wohltemperirte Clavier"
(E
flat
minor), a piece
for
He
much
taken by surprise.
was no
all
trace here of
sombre German
:
gothicism and
under
the hands of my friend, the piece ran along the keyboard with a degree of " Greek serenity" that left
me
at a loss
whither to turn
in
my
innocence
deemed myself transported to a neo-lielenic s5^nagogue, from the musical cultus of which all old testamentary accentuations had been most elegantly eliminated.
This singular performance
* f
i.e.,
still
tingled in
my
ears,
Ferdinand
Hiller.
I.
of
Bach's 48 Preludes
and Fugues.
80
WAGNEE
at length I
when
begged Liszt
for
once to cleanse
;
my
he played
Fugue
(C
sharp minor).
from Liszt at the piano but I had not expected anything like what I came to hear from Bach, though I had studied him well I saw how study is eclipsed by genius. By his ren-
Now,
knew what
to expect
Bach
what
to
me
so that I henceforth
of
knew
for certain
to
make
was convinced, also, that tliose people know nothing of Bach and if anyone chooses " request him to to doubt my assertion, I answer
concerning him.
;
:
would
any member
if it
of
has ever
been his
flat
lot to
at least,
;
am acquainted with
a person
to
who was
so fortunate
And confess that he had not before understood it. to this day, who plays Bach, and the great works of Beethoven, in public, and compels every audience to
confess as
much
? a
member
it is
of
temperance"?
So much
No!
on this subject.
It
might
Sec Appendix C.
ON CONDUCTING.
81
and Billow's.
The
but
we
are concerned in an
dogma.
in
with a true
man
improper.
ally served
The
spirit of their
to conceal
their
ready
with
the
representatives
of things
which, as
home in we have
is
affairs.
The principal
judicious
ingredient, however,
an apparently
happens to be incapable
of that
self.
accomphsh one's
It is sad,
things, to find a
man
so
powerful and capable as Robert Schumann concerned in this confusion, and in the end to see his name
inscribed on the banner of the
new
fraternity.
The
82
misfortune was that
WAGNEE
Schumann
in his later days
And
it is
which he
mark he had
set himself,
of
of
has
am proud here to
commending way than by his immediate adherents.* The latter, well aware that Schumann
had herein evinced true productivity, knowingly kept
these things in the background,- perhaps because
On Schumann conceived
scale,
become apparent
are
forward.!
The
out
point
how commendable
thing
it
is
to
"make no
works
of
effect."
Beethoven
)
comes
to be
played smoothly
are con-
Julius Ciosar
to Faust, Die Braut vou Messina, the " Balladon," Das Gliick von Edenhall, Des
Sanger Fluch,
Vom
etc.
ON CONDUCTING.
founded with Beethoven
to
;
83
show
music
of
German is made
Beethoven
hardly
gleicli-
das
:
and proper a point at which Schumann properly played, and Beethoven improperly rendered, are perhaps comparable withNichtssagende
is
right
out
much
fear of
misunderstanding
Thus these
Grand-Turk's
Harem
is
German
Philistinism
since
it is
plain that
anything ambiguous
that quarter.
is
But now what becomes of our great and glorious German music / It is the fate of our music that
really concerns us.
if,
We
have
little
reason to grieve
wondrous productivity, nothing particular happens to come to light for some little time. But there is every reason to beware of suspicious persons who set themselves up as the trustees and conservators of the " true German spirit " of our
after a century of
inheritance.
is
not
much
to
blame
in these musicians
most
of
them compose
84
very well.
WAGNEE
Herr Johannes Brahms once had the
own
to
me.
I
piece
variations
which
me
he was impervious
pleasure.
friends
of
His performance
of
less
even thought
this
it
gentleman
to " Liszt
themselves
power"
Brahms appeared
have liked to see Herr Brahms' technique annointed with a little an ointment which does of the oil of Lizst's school
;
and wooden.
evidently got
from a more
ethereal region
all
To
appearances,
:
remains doubtful
the Messiah's
how
such a phenomenon
as the Messiah, or
way
most beloved disciple unless indeed, an affected enthusiasm for mediseval wood-carvings should have induced us to accept those stiff wooden figures for the ideals of eccleIn any case we must protest siastical sanctity. against any presentation of our great warm-hearted Beethoven in the guise of such sanctity. If they cannot Ijring out the difference between Beethoven whom they do not comprehend and therefore pervert, and Scliumann, who, for very simple reasons, is
ON CONDUCTING.
85
Following
a
its
aspirations a
field,
further
we
shall
come upon
new
across
which our investigation on and about conducting, must now lead us.
Some time ago the editor of a South German journal discovered " hypocritical tendencies " {muckeriscke
Tendenzen ) in
my
artistic theories.
The
:
man
saying
he
But
my
me
may
be
known by
tain characteristics
they wish to be
of
;
tempted, and
power
of resistance
object of the
with a view to
Accord-
this
were applied to
art,
The lower
vacillating
art
may
be conceived as
spirit of
musical
maxim
ON CONDUCTING.
imposes upon them
that which
87
whilst
it
that the higher grades nourish a deep desire to enjoy The " Liebesis forbidden to the lower.
(in spite of
of the
may
be accepted as the
If a single
mark
of the higher
for
member,
entire
it is more than probable that the But, somehow, "school" would explode. no such success has hitherto been achieved, and this
with an opera,
for,
happens to
fail,
and " the opera," which beckons a forlorn bride, can be made to
of the temptation,
symbol
which
is
to be
resisted
so
that the
authors of operatic
failures
may
Seriously speaking,
men
paid
how do these musical gentleHaving stand with regard to " the Opera
them
belong, and from which they started, for the sake of " conducting," look after
theatre.
them
at the
For a curious example of such exercises, see Ferdinand Killer's " 0;per oline Text ;" a set of pianoforte pieces, a quatre
mains.
00
WAGNEB
Herr Eduard Devrient, in his " Erinnerungen," has given us an account of the difficulties his friend Mendelssohn met with in the search for a textbook to an opera. It was to be a truly " German " opera, and the master's friends were to find the materials wherewith to construct it. Unfortunately, they did
not succeed in the quest.
simple reasons for
this.
I suspect there
were very
at
by means
of discussion
and arrangement
opera,
but a
"German"
Mendelssohn
old nor
and
"nobly-serene"
such as
of,
is
dreamt
nor
purpose.
Herr Hiller believed he could force on a success, simply by dint of cheerful and unflagging
efforts.
Everything, he thought perseverance. upon a " a lucky hit," such as others had
his very presence,
depends
made
in
as in a
game
to
of chance,
bring
round
missed.
him.
invariably
other
succeed,* and
many
of abstinence, both
in search of
an
operatic success
they troubled greatly but efforts proved fruitless the " fortunate grip
* Genoveva,
"
their
"failed.
Oper in vier Acteu, nacb Tieck und F. Hebbel, Musik vou Robert Scbumann, Op. 81."
ON CONDUCTING.
89
Now
harmless persons.
meisters and
more
so, since
Capell-
which they are absolutely helpless and impotent, and the causes of their impotence, with regard to the composition of an opera, are also the causes of Yet their inability to conduct an opera properly. public art, that gentlemen who such is the fate of our
are not even able to conduct concert music, are the
sole leaders in the
opera theatres
Let a reader
!
imagine
our
of
conductors, in
very
field,
where, by rights
they ought to
feel
home.
I can be brief
now
To
characterise
their
disgraceful
is
at the theatres,
it
and
for
this
would lead
a
little
me
too
Let
be reserved
another occasion.
say
For
only
about
their
ways
as
operatic
conductors.
In the concert room these gentlemen go to work with the most serious mein
;
at
deem
it
becoming
to put
on a nonchalant,
cleverly-frivolous air.
smile,
opera,
90
WAGNER
not profess to understand
and do
things
much
about
esteem.
which
they
do not
particularly
towards vocalists,
whom
they arrange the tempo, introduce fermatas, ritardandos, accelerandos, transpositions, and, above
" cuts,"
all,
vocalist chooses
Whence
a
demand
perchance,
pedantically
disposed conductor
For
vocalists
are at least at
home
and, in their
;
own
well
frivolous way,
they
to do
is
know
it
;
enough what
if
how
so that,
anything
worthy
world
of
admiration
produced
in the operatic
it is
vocalists, just
the
lies
One has only to examine an orchestra part of "Norma," for instance, to see what a curious musical
changeling
(
Wecliselhalg
such
innocent
;
looking
the mere
of
the Adagio
an
Aria in
flat
offers
ON CONDUCTING.
It
91
at
was only
)
at a
suburban theatre
Turin
{i.e.,
that I witnessed a correct and complete performance of the " Barber of Seville " for our
in Italy
;
it
takes to do justice
have no notion that a perfectly correct performance, be it of the most insignificant opera can produce an
excellent nnpression
by reason
theatrical
of its correctness.
Even
the
concoctions,
at
smallest
carefully rehearsed,
and
once
correctly rendered.
is,
The power of
an aesthetic result
at
attained,
that principle be
:
conditions fulfilled
it
and
such
level.
is
may
be on a very low
But we do not get such aesthetic results in Germany, unless it be dX performances of Ballets, in Vienna, or Berlin. Here the whole matter is in the
hands
of
one
knows
his business.
in a position
movement
concensus of
sudden,
it
!
all
and now,
of a
correctly
felt
rare
sense
of
satisfaction will
be
by everyone who,
after
the tortures
of
an
92
opera, witnesses
Ballets.
WAGNEE
a performance of
one
of
those
a branch of
absolute
is
music
of the
is
aware
an opera
if
it
and executants
by a
fine
tomed
front, of
to see the
Herr Capellmeister
and otherwise rewarded, as the representative the total artistic achievement ? Ought he not
himself to be surprised at this ? Is he not, in his turn, in a position to pray " Forgive them, they
of Conducting proper, and do not want to lose my way in the operatic wilderness, I have only to confess that I have come
to the
end
of this chapter.
Singers
may
do
so,
to
complain
their cues
of
them
be
properly
in short,
vulgar
journeymanwork,
may
possible.
But from
at
all.
work
am, per-
ON CONDUCTING.
haps, the only
to
93
venture openly
person
who can
maintain that I
province
am
my
distinguish
with
I
which
of
the
Is
qualities
it
of
our
conductors
am
concerned.
the spirit in
which they
or
treat
German music
I believe
it
at the theatres"?
my
particular
my
and personal misfortune that the two spirits meet in operas, and mutually encourage one another in a rather dubious kind of way. Whenever the former
spirit,
classical concert
the
consequences
of I
the
bad
habits
which
is
for instance,
time, at a Leipzig
Gewandhaus
(like
concert, produced
warning), or muddled
the introduction
to
Lohengrin
to
at
and almost everywhere else), muddled (like the introduction " Die Meistersinger," lately, at Dresden and
at Berlin,
other places),
yet
sidered
modifications
as
must count
much
as
94
WAGNER
if
an inteUigible rendering
to be obtained.
To convey some
the latter sort
in
it
way
is
.
to
"Die
Meistersinger "
The main tempo of this piece is inusually given. dicated as " sehr mdssig bewegt " (with very moderate
movement) according to the older method, it would have been marked Allegro maestoso. Now,
;
when
this kind of
piece, particularly
cally, it
demands modification
much
;
as, or
even
more than any other kind of tempo it is frequently chosen to embody the manifold combinations of disand its broad divisions into regular tinct motives
;
and simple.
in
many and
it
may
consist of four
vigorous crotchet-beats,
animated Allegro
transition
(this is
to the
theme
in
major )
or, it
may
ON CONDUCTING.
period made up of two f beats entrance of the shortened theme,
;
95
as
when,
at the
^^^0-^-^--w^-
^
;
it it
of a Hvely
Scherzando
or,
may
would represent the older, easily moving often employed in church music which is to be rendered with two moderately slow I have used it in the latter sense, beats to a bar.
it
when
Tempo andante
theme,
ease, in
now
'ig:^
and
in
common
| time
96
WAGNEE
Not
tempo
main char-
acteristic, delicacy,
it is,
to
sufficiently expresses
passionate haste
thus the
extreme nuance
of a
of the
main tempo,
in the direction
somewhat grave
| time, should be
{i.e.,
adopted here
without really
main tempo),
of this
a bar
is
change.
nuance
theme
indicated
it
sionate)
with " Icidenschaftlicher" (more pasis easy to lead the tempo back into
the original quicker movement, in which, finally, it will be found capable to serve in the above-mentioned
sense of an Andante alia hreve, whereby it is only needful to recur to a nuance of the main te7npo,
which has already been developed in the exposition namely, I have allowed the final of the piece
;
ON CONDUCTING.
development
of
97
to
the
As
--1
y^
hT
'
:-!
>
1
is
:^
/
etc.
the modification of the tempo must obviously begin at the end of the crochets, that
is
to say
introduces notes of the chord on the dominant which sustained the cantabile. And, as this broader move-
ment
minims continues for some time with an increase in power and modulation, I thought conductors
in
speed
left to
the
more
so, as
Being myself an
experienced conductor, I counted upon this as a matter of course, and merely indicated the passage
at
which the tempo returns to the original f time, which any musician will feel, at the return of the crochets and in the changes of harmony.
At the conclusion
of
the overture
the broader
98
WAGNER
^ time, quoted above in the powerfully sustained march-like fanfare, returns again the quick figured
;
embellishments are
exactly as
it
added,
and
the
tempo ends
began.
first
performed at a concert
it
when
I conducted
as described above.
was
so well played
musicians,
accorded.
who The
of the
Gewand-
haus Concerts decided to give the native Leipzig public a chance to hear the new overture.
In this instance Herr Capellmeister Beinecke, who had heard the piece under my direction, conducted it, and the very same orchestra played it in such wise
how
was due
let it suffice
that
competent
musicians,
who were
present at the
performance, described to
me
Herr Capellmeister had thought fit to beat to the overture and therewith I knew enough. If any conductor wishes to prove to his audience
what an ambiguous
risk they
he need take
to beat
which he
wont
it
to
Bach (which
ON CONDUCTING.
fashion suits the works of R.
it
99
fairly well);
is
Schumann
will
dealing
with a very unpleasant kind of music tempo which governs this overture,
let
anyone
become
lie,
of it?
The doom
is is
is:
"Herein
shalt thou
"
!
whatsoever
off,
and whatsoever
Whereupon
of
it
as
was
left after
was presented
to the public
Dresden.
On
and technic*
conductor
consisted
in this
teiupo,
chose
and spread
stiffest
square time
from beginning to end The ultimate results were as follows I had made use of the combination of
:
the two
ideal
Tempo Andante
alia breve
overture, page 95
manner of a burden to some old popular song: I had augmented and enlarged the treatment of the
*
The
100
WAGNEE
tliis
purpose, and
to
now
Hans
art,
employed
and
it
as a sort of
accompaniment
Though
is
the
closing
apostrophe
none the
effect
;
less
meant
to
and,
upon that simple thematic combination, the rhythmical movement of which was intended to proceed smoothly, and was not meant to assume a pompous character, except just
to produce this, I counted
when
Now in the
had
march-like tempo in
;
and, of
at the
he equally
to confine
failed to feel
that the
Hans Sachs
in rigid \ time,
and
to
compel liim
to
deliver his
final
address in the
stiffest
and most
effect
;
me
to permit a large
"cut"
for
Dresden, as the
I
of the close
was
so very depressing.
declined
I
and
to
At length
came
why
artistic
had
ON CONDUCTING.
laid his
101
Cut
Cut
;
"
!
this
is
conductors
by
its
the proper execution of the artistic tasks before them. They remember the proverb " What I know not,
burns me not " was ich nicht iveiss, macht mich nicht heiss " ) and the public cannot object to an
"
!
It only
remains
me
to consider
what
am to
say to a performance
my
failure at Alpha,
and a
failure at
:
Omega ? Outwardly
unusually animated
An
to
join in
of
my
country
But, subsequently,
ominous reports about cuts which had been made, and further changes and abbreviations super-added
;
it
impossible for
me
to agree
and fewer
it.
still
any attempts
to
mend
On
is
some
little
consolation
retains
" effect
work power that fatal power and " against which the professors of the Leipsic some
of
its
102
WAGNEE
sorts of
destructive
tactics
are
applied in vain
assist
Having made up my mind, not to personally at any future performance like the
recent ones of
am
"Die Meistersinger " at Dresden, I content to accept the " success " of the work as
music in the hands of
Classical
our conducting
its
musicians.
continues to
subject
it to.
warmth, and exist in spite of the maltreatment they and It appears truly indestructible
music retains
:
the Spirit of
German
art
It
might be asked
every practical
might be
their
they understand
be " classical."
The
general public
so ready to
doubt as to
festivals, or
who
is
No
is
one but
thought
to
Herr
fit
Herr Lachner,
l)e
for
It
would
simply impossible
ON CONDUCTING.
103
On
of
no one to whom I would confidently entrust a single tempo in one of my operas certainly to no member of the staff of our army of time-beaters. Now and then I have met with some poor devil who showed real skill and
am
sorry to
say, I
know
it
it.
If,
for
man happens
to
takes in the
orchestra parts
" Figaro,"
from
which the opera had been played with special unction heaven knows how often under the solemn conductorship of a celebrity, he is not likely to gain the favour of his chief. Such gifted poor
As everything
and seems
ask,
is
likely to
remain
am
again tempted to
how can
this be ?
We
evi;'
faulty orchestra parts do not happen to every one) they are quick at a 8Core,read and play at sight (many of them,
at least, do so)
:
but alongside of
104
WAGNEE
be
is
so that,
if
music were
list of
would
least of all a
man
of spirit
and sense.
everything
No, no
petent musicians,
Well then ? As soon as they begin to perform music they muddle matters, and feel unsafe all round, unless it be in " Ewig, selig," or at best in " Lord Sabaoth !" That which makes our great music great is the very thing which confuses these people; unfortunately, this cannot be expressed in words and Yet what is it concepts, nor in arithmetical figures.
that pertains to music,
"What, then,
dryness-
can
be the reason of
this
barrenness,
any
vexation, any
or
any
as-
mistaken personal
explanation
notion
'?
Could Mozart's
On
it
nervous system was so excessively any disturbing sound, whose heart beat with such overflowing sympathy the ideal elements of music met and united to form a wondrous whole.
him
whose
sensitive to
On
up
accounts
is
sufflciently well
Compared
ON CONDUCTING.
105
in
with Mozart he appears as a monstrum per excessum the direction of sensibility, which, not being
checked and balanced by an intellectual counterweight from the arithmetical side, can hardly be
conceived as able to exist or to escape premature
destruction,
if it
by a singularly tough and robust constitution. Nor can anything in Beethoven's music be gauged or measured by figures whilst with Mozart a good
;
almost
is
Accord-
and
it is
not
difficult to
understand
how
Beethovenian
kind.
If
temperament,
should
succeed and
system of the
commonest
tors
happen
to be born for
sign of
Numbers
seem very
desirable that
able to teach
by the rule
ever acquire
in the simple
wherefore, I believe, I
my
task.
already in sight.
106
WAGNEE
of
Music" has
of the
Eoyal Academy
of Arts
To
start
such a
are
if
his services
would be a great mistake. I am inclined much from him because everything I know and have heard concerning his method of playto
hope
for
is
a complete master of
for our classical
is
demand
music.
By
whom
I can point as a
of the fore-
going assertions.
Herr Joachim
name mentioned
it
in
such connection
for,
man
what he
thinks
it
profess.
If
Herr Joachim
of
expedient to profess
the
this
company
Schumann,
may
rest
one
may
an
was
first
thought
of,
and
execution.
If,
capellmeistcr in the
way
of
comprehending how he
ON CONDUCTING.
ought to conduct a piece,
I
107
refer
him
to
to the late
Cantor Hauptalive.
mann
at Leipzig,
of the aristocratic
who
some
little
doubt,
when
I see
Herr
Joachim
his
ally
all
hand but a
I
violin
for
felt
have always
fair,"
Mephistopheles
affects
feels
all
whom
he
The
conductor's baton
reported
;
not to have worked well in Herr Joachim's hands composition, too, appears rather
to
have been a
source of bitterness to him than of pleasure to others. I fail to see how " the high-school " is to be directed " high-stool " of the violinist. solely from the
Socrates, at least,
tocles,
was not
Pericles
of
Cimon and
unfortunately, he
of State affairs
Yet another thing appears dubious. I am told that Herr J, Brahms expects all possible good to
108
result
WAGNER
from a return
to the melody of Schubert's Herr Joachim, for his own part, Ought expects a new Messiah for music in general.
who have
"
I, for
my
part,
him
"
Go
in,
and win
is
"
!
If it
should come
to pass that
all
he himself
Jews
him.
FINIS.
APPENDIX.
APPENDIX
BEBIGHT an
II.,
A.
Ludwig
von
Bay em
iiber eine in
(
Mimchen
zii
errichtende
Deutche Musik-schule.
Eeprinted in Wagner's
GesanmieUe Schriften,''
Vol. VIII., p. 159-219, Leipzig, 1873. " We jyossess classical ivorks, hut ive p. 20.
.
.
are not in possession of a classical style for the execution of these ivorks."
..." Does
j)i'oper
Germany
execution of
Mozart's music
Or do our orchestras and their conductors manage to ]play Mozart in accordance with some occult knowledge of their own ? If so, whence do they derive such knowledge? Who taught it them ? Take the simplest examples, Mozart's instrumental pieces (by no means his most
is
taught?
two things are at once apparent the melomust be beautifully sung yet there are very few marks in the scores to shew hoiv they are to be sung. It is well known that Mozart wrote the scores of his symphonies hurriedly, in most cases
stage),
dies
:
(111)
112
APPENDIX
A.
he was about
to give
it is
also well
known
that he
made
demands upon
Obviously
it
was thus
sufficient
to note the
who conducted
the reheardetails,
could
spoken directions as to
and, by singing his themes, communicate the proper expression to the players.
We
are,
now-a-days,
accustomed to mark
;
ail
nevertheless an
it
expedient to
indicate
expression by word of
mouth
;
to
the
particular
musicians
whom
they concern
It is
With Mozart
and the con-
between
slight,
the
main
themes
his
are
frequently
originality
rather
whereas
musical
shows
to greatest
advantage
in the vocal
the
his
in
expressive
vocal
character of
instrumental themes.
possession of
an authoritative institution,
the
APPENDIX
A.
lis
and to
an institution, we might possibly have something Hke an authoritative tradition amongst us a tradi-
and corruption,
is
But
Mozart, as a
casually
;
performed
once,
with
an orchestra
and the
No
trace
is
scores.
And
as the
warmly
living
vibrating
trust,
work
now
guide
let
towards
new
performance.
pressive
Now,
of
theme
Mozart's
Mozart,
the
who was
style of
intimately
acquainted
with
noble
derived
its
who was
the
first
by means
instruments
let
us imagine
such a theme
smoothly, by an instrument in the orchestra, without any inflection, or increase or decrease of tone
114
modification of
APPENDIX
A.
so
indis-
mietical
and then, let us endeavour to form a conclusion as to the vast difference between the master's original intention, and the impression
number
thus produced.
for Mozart,
v^ill
of the veneration
To
shov^ this
more
dis-
tinctly,
for ex-
ample, the
movement
Take this theme as it appears on paper, with hardly any marks of expression fancy it played smoothly and complacently, as the score apparently has it and compare the result with the manner in which a true musician would feel and sing it How much of Mozart does the theme convej^ if played, as
of Mozart's celebrated
symphony in
E flat.
beautiful
it
is
?
played, in a perfectly
" Poor pen and paper
colourless
and
lifeless
way
(Eine
-Hfe^^-^H-
APPENDIX
B.
APPENDIX
See p. 62, et seq. of Wagner's Dannreuther, London, 1882.
''
B.
by E.
BeetJioven," translated
"
A Beethoven Day:"
in
C sharp minor.
"If we
tone-poem to memory, an attempt at illustration snch as the following may perhaps prove possible, whereas it would at least up to a certain degree
;
hardly be
feasible during
an actual performance.
we
are.
bound
to
eschew any definite comparisons, being solely conscious of an immediate revelation from another
world.
Even
reader's fancy,
suffice.
The
probably nothing more melancholy has been expressed in tones, I would designate as the awakening
on the morn
course shall
* "
of
its
tardy
fulfil
Den Tag zu
Nicht einen
Faust,
(117)
118
APPENDIX
the
less
it
B.
None
is
ference with
God
The eye turned inwards here, too, sees the comforting phenomena it alone can perceive Allegrof ),
(
which the longing becomes a sweet, tender, melancholy disport with itself ;* the inmost hidden dream picture awakens as the loveliest reminiscence.
in
And now in
it is
A llegro
;
moderato
as
of his strength,
puts himself in position to work his spells with renewed power he now practices his magic (Andante f ),
in
banning a lovely
figure, the
witness of pure,
he
may
incessantly
of
ever
light
he casts
him,
upon
We may
happy
now
from upon
as
Presto f),
fancy
profoundly
and again,
it
stands before
is
him
Symphony. Everything
happiness.
It is
luminous,
as
though he
firm, in
aerial
and again
He
is
contemplates
and appears
(
to reflect
how he
;
to play a dance
meditation
Short Adagio 4 )
deep dream.
Spiel.
APPENDIX
side of the
for
B.
119
world
(Allegro Finale).
delight,
cries of
wild
anguish,
;
ecstasy,
highest
all
proudly
He laughs at himall,
was, after
but play to
him.
It is not possible to
in
any
once
having
of
recourse
to the
wonderful musician
by way
elucidation.
APPENDIX
C.
APPENDIX
See
p.
C.
" It
is difficult
to understand
a mistake to present
it
and shallow modern way we have grown accustomed to. Those who so present it show that they do not
are about.
The proper
even
if
exeof
solution
it
a difficult problem.
could
little
for
Bach,
the
like
every other
at
means
his
and elaborate works were given and it is not surprising that in the end he should have grown callous with regard to execution, and have
most
difficult
comprehensive musical
to
discover
(123)
124
establish
APPENDIX
a
C.
mode
of executing the
works
of this
APPE NDIX
D.
APPENDIX
D.
Article "
Wagner."
Schumann.
pianoforte works
There
and
I
much
real power,
many
bits are
think
highly, too, of
many
of his songs,
He
at
declamation
him
Dresden
text
to
but then
tired, his
He
*
consulted
me
about
the
opera,
and Hebbel's plays, yet he would not take he seemed to fear some trick."
my advice
(127)
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"
BY JAMES HUNEKER,
Author
Modern Music."
accords admirahis worship is reserved for Chopin. Bemg gifted with clear insight and imagination which grasp many and diverse moods Mr. Huneker is a sane There is no pretence at new material critic and a manly. Mr. Huneker has garnered all that has besn written in the book. about the composer and he has threshed out the grain from the
is
Mr Huneker
to
a Chopin enthusiast.
He
tion
Brahms,
Wagner,
to
Tchaikovsky
charfif.
The
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24
6,
New
Series.
A.
in
C
Orlando
a.
3.
4.
5.
6.
Mansfibld, Mus.B., F.R.C.O. Geo. H. Ely, Memoriam, Reginald Adkins J. E. Adkins, F.R.C.O. R. H. IIeath. Andante iii H ABBRYSTWVTH OfFERTOIRE J. G. MOUNTFORD. Andante in i) (Priere) E. Evelyn Barron, M. A.
TiMPo
Di i>;RGE IN
Menuetto
....
Series.
-
Part
I.
8,
New
8.
4.
5.
Allegretto Scherzando in A flat Andante Relig:oso in G March Pomposo in E flat Andante Con Moto "Twiliglit" Minuet in F
Part
4,
....
-
W
-
W. E. Ashuall. Dr J, Bradford.
Bklchkr, f R.C.O
New
-
Series.
F.
I. a.
3.
4.
5 6.
Andante Moderato Pkbludk and FtiGUK Sketch Fugue Allegro Marchb Mystique
Read.
in
minor
E. A. (^hamberlaynb.
-
Charles H. Fisher.
Times.
S,
a. 3.
DuNDRK
Adagio.
....
Ed.
J.
-
New
Series.
4.
Anbante a major
Allegro,
5.
minot
-.-.-Pari
a.
Geo. Minns
'
,.'
^' ^i)?^'
(Ely).
...----..---.....
in
New
Series.
-
iiHo>)
T. Driffiel.
\V Faulkes. A Kl HU R WANDERER.
A.
E. A.
Chamberlayne W. Ketflbev.
Part
I.
t.
Hew
Series.
a,
3.
Fred.
-
Adf.s] K FiDKi.Ks
Willi
4.
iNTKkMKZZO
Fart
103,
.
GTOWNSHENDl
I.
POSTLUDKin
Suite: No.
G
i,
3.
3.
4. 5. 6.
.-.....;
Prelude
No.
2,
BtKci use
Wii-i.iam I.ockbtt.
83
W. EERVES, 83, CHARING CROSS ROAD, W.C. Note the Price, PENCE not SHILLINGS.
2$^
2D
83,
396.
WILLIAM ^REEVES.
CHARING CROSS ROAD, LONDON. W.C.
QD ^
VOCAL.
Always do as I do 174. Angels at the Casement, 105. Banner of the King 172. Barney O'Hea ...
Tin7tey
flat
W. M.
Hutchison
H. FortesqKe
S. Lover
224. 181. 180. 390. 391. 392. 383. 389. 188. 384. 226. 100. 213. 227.
115. 225.
Bay
of Biscay
...
Maud
Diver.
The
Honey Are You True to Me (Coon Song) Lady Clara Vere de Vere
Last Rose of Summer Sharing the Burden Tom Bowling
...
Dr. W. Boyce Lindsay Lennox Mifs Lindsay Thcs. Moore J. E. Webster C. Djbdin
Roeckel
118. la Valse 373. Belgium Gale p ... 122, Bercenee 376. Blumenlied 379. Bridal Chorus and Weddirg 142. Charming Mazurka 393. Chinete Patrol March ... 243. Cloches du Monabtere ... 377. Edelweiss 374. Emmeline Galop 308. Pille du Regiment
It 7.
PIANOFORTE.
Smallwooi
Roeckel
Gustav Lavge
March
...
Wagner
Grieg Qrieg Grieg Grieg T. Valentine Grieg T. Valentine
Four Humoresqoes
206. Valse in D, No. 1 ... 207. Minuetto in A minor. No. 2 208. Allegretto, No. 3 209. Allegro Alia Burla, No. 4 305. French Air (easy) 210. Funeral March ... 306. German Air (eaty)
151. Grand March of the Warriors 125. II Corricolo Galop (easily arranged)
H. V. Lewis
L. Mullen
304. 303. 133. 171. 246. 135. 162. 136. 137. 140. 141. 143. 247. 211. 163. 385. 147. 103, 165.
T. Valentine T.
Valentina
Kaeeala Gavotte Khartoum Quick March Liberty Bell March Little Dear Gavotie Lohengrin Maiden's Prayer
H. Wilcock
F. P. Rahotiini
Souia
I".
Astrella
Warner Badarazewska
L. B. Mallett
Gungl Badarazetvska
J.
Narcissus Placid Stre in Queenie (Intermezzo) Rienzi 148. Scherzino 301. Scotch Air (easy)
375. 156. 394. 381. 380. 302. 378. 168. 150290.
...
Wagner
Roeckel
T.
Valentine
Seasons Galop ... Silvery Echoes Soldiers' Chorus (Faust) Sonatina in F ... Sonata in G Spbiiisli Air (rasy) Sie^-hanie Gavotte Taunhauser
Tarantella
Smalhuood
Blake
Gounod
Beethoven Beethoven
T. Valentine
A. Czibulka
Wagner
L. B. Mallett
J. P. Sousa IV y man
Washingt n Post March (easy arrangement by Edwin La-iSdale) 291. Woodland Echoes
DANCE.
388. 387. 382. 161. 127. 101. 397.
.395.
Amorosa Mazurka
Blue Bells Sotiottieche British Army Polka Cosmopolitan Quadrille Cyprus Pulka
Electric VValtB
A. H. Osw.ild
S. Leslie
dark
EsmeraWa Waltz
Klein
Jos.
Gungl
Marietta Lena
PIANO DUETS.
156. March of the Cameron 155. Marche dea Croates 169. Minnie, or Lilly Dale
Men
VIOLIN.
170.
March
St.
OlavB
27
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