MT 85
W12uE 1897
THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES
9
ON * ^ * CONDUCTING BY * * .)=
RICHARD
WAGNER
^=
^!^
STANDARD MUSICAL WORKS. How
The Works of Chopin and By Klecz3iaski. Third
TO Play Chopin.
their proper Intf-rpretation.
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/-.
How
Musical Directory of Great Britain and Ireland, 400 pages, paper
2/-
(cloth 3/6).
Franz Liszt's Life of Chopin, new and only translation,
full
6/-.
Great Violinists and Great
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). Ferris.
(Viotti,
Life of Cherubini. By E. Bellasis, 6/-. Beethoven's Symphonies, Critically and Sympathetic-
Bv
ally DiscusFed.
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
Bei.tiiovi:n's Llt'-rleifl,
in
Grove's I")irtiona'y of Music and Musicians.
Pianoi'orte Sonatas. Third Edition, 3/6.
W. RICEVES. THK
Explained
by
Fleet Street, Lf)NDON, E.C. THE ORGANISTS' QUARTERLY JOURNAL. MUSICAL STANDARD. 185,
I
1
We'kly, Yearly. 6s.
6ii.
Edited nv Dr. Spark.
i
(Abroad,
8s.
!
Yearly, ios.6d. SinKle Numbers, 5s.
ON
London printed by the new temple press, 185,
fleet street ex.
(1869).
MOTTO NACH GOETHE
" Fliegenschnanz"
und Miickennas'
Mit euren Anverwandten, Frosch im Lanb und
Grill'
Ihr seid inir Musikanten
im Gras,
" !
" Flysnout aud Mid','enose,
With
all
your kindred,
too,
Trecfrog and Meadow-grig,
True musicians, you
" !
(After Goethe.
The lines travestieri are taken from " Oberon und Titanias goldene Hochzeit.' Intermezzo, Walpurgisnacht. Faust I.
•^^12Z3
TRANSLATOR'S NOTE.
Wagner's Ueber das simultaneously in the "
Dirigiren
Neue
was
published
Zeitschrift fur
Musik
"
and the " New-Yorker Musik-zeitung," 1869. It was immediately issued in book form, Leipzig, 1869, and
is
now
incorporated in the author's collected
— 410.
("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
—
a great deal of good. of
music
:
It is
Classical Music, written of the it
unique
in the literature
a Treatise on Style in the Execution of
grand
by a great practical master
Certain asperities which pervade
style.
from beginning to end could not well be omitted
in the translation
;
care has, however, been taken
not to exaggerate them. in the text
To
elucidate
some points
sundry extracts from other writings
Wagner have been appended. throughout, are the translator's.
The
of
footnotes,
The
following pages are intended to form a record
my
of
experience in a department of music which
has hitherto been
amateur
I shall appeal
criticism.
executants,
both
instrumentalists
rather than to conductors
only can
tell
system, but
nmuber
record a
public
;
vocalists,
the executants
I do not
mean
up and
to set
facts,
of practical observations.
afford to be indifferent to the
in which their works are presented to the and the public, naturally, cannot be expected
to decide
music
since
professional
and
simply to state certain
Composers cannot
manner
;
to
whether, or not, they have been led
by a competent conductor. a
and
professional routine
left to
a piece of
of
correct or faulty, since there are
is
beyond
whether the performance
the
actual
effect
of
no data
the performance to
judge by. I
shall
endeavour
to
throw some
light
upon
the characteristics of musical performances in Ger-
many
—with regard
to the concert-room, as well as
Those who have experience in such matters are aware that, in most cases, the defecto the theatre.
tive constitution of
of
their
German
orchestras and the faults
performances are due (1)
to the
shortcomB
WAGNER
^Z
ings of the conductors (" Capellmeister," " Musik-
The demands upon
directoren," etc.)
have increased greatly
more
of late, their task
more complicated
and
difficult
negligence in their choice of
days
when Mozart's
tasks
that
sonage,
has become yet
;
the
our art-institutions, display increasing
directors of
typical
the orchestras
In the
conductors.
the highest
scores afforded
could be set before an
orchestra,
the
German Capellmeister was a formidable perwho knew how to make himself respected
at his post
— sure
of
and by no means Dessau, was the
now may be
his business, strict, despotic,
Friedericli Schneider, of
polite.
representative I have
last
with of this
extinct species.
fort, also
reckoned as belonging to
Guhr,
of
met
Frank-
it.
The
men towards modern music was old-fashioned " but, in their own way,
attitude of these certainly "
;
they produced good solid work
more than old
eight years
as I found not ago * at Carlsruhe, when
Capellmeister Strauss conducted " Lohengrin."
This vcncral)le and worthy
my
:
score with
good care
of
some
little
man
evidently looked at
shyness
;
but,
he took
the orchestra, which he led with a
degree of precision and firmness impossible to excel.
He
was, clearly, a
man
not to be
his
forces
o])eycd
him
to
enough,
tliis
conductor
of
perfection.
and
Singularly
was the only German had met with, up to that
okl gentleman
repute I
trifled with,
Circa, 1861.
3
ON CONDUCTING. time,
who
often a
possessed true
H.
pressed
The found
in like
older
it
were more
his tempi ;
but they
Esser's conducting,
me
happened
;
and well marked. Subseat Vienna, im-
were, invariably firm quently,
fire
too quick than too slow
trifle
manner.
conductors of
to be less gifted
difficult to
stamp
this
they
if
than those mentioned,
cope with the complications of
modern orchestral music
—mainly
because of their
fixed notions concerning the proper constitution of
an orchestra.
I
am
not aware that the number of
permanent members
of
German town, been
an orchestra, has, in any
rectified
according
the
to
Now-a-
requirements of modern instrumentation.
days, as of old, the principal parts in each group of instruments, are alloted to the players
the rules of
to
positions
when
seniority*
their
parts
men
take
first
powers are on the wane, whilst
younger and stronger subordinate
—thus
according
—a
men
are
relegated
practice, the
evil
to
effects
the of
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,
regarding the choice of players of stringed instru-
* Appointments for
life,
t 1869.
at
German Court
theatres are usually
WAGNEE
-4
With-
ments, has led to deleterious consequences.
out the slightest compunction, the second violin
and especially the Viola
parts,
The
sacrificed.
tions
viola
indeed) played
to
by infirm
(with rare excepor
violinists,
by
who happen
wind instruments
decrepit players of
have been
parts,
commonly
is
have been acquainted with a stringed instrument
once upon a time occupies
a
occasional
at best a
;
desk,
first
so
competent viola player
that he
for that instrument
soli
may
play the
but, I have
;
even seen this function performed by the leader of
was pointed out to me that in a large orchestra, which contained eight violas, there the
first violins.
w^as only
It
who
one player
could deal with the rather
passages in one of
difficult
Such a
state of things
my
may
humane
point
methods
of instrumentation,
of
view
of justification
;
in
and
it
it
!
be excusable from a
arose from the
where the
most part
viola consisted for the
accompaniments
;
later scores
older
role of the
in filling
up the
has since found some sort
the meagre
method
of
instru-
by the composers of Italian whose works constitute an important ck:^nient
mentation adopted operas,
in the repertoire of the
At the various court
German opera
theatres.
theatres, Italian operas have
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,
urilcgs
conductor
a imui of
is
it
should so happen that the
weight and influence
who
ON CONDUCTING.
knows the real requirements But our older Capellmeisters
of a
5
modern
rarely
knew
orchestra.
as
much
they did not choose to recognize the need of a
number of stringed instruments augmented number of wind instru-
large increase in the to balance the
ments and the now put to.
complicated
uses the latter are
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 par-
in this
the
respect
insufficient-
ticularly of the violoncellos.
Now, had the conductors been
men
might
of a later generation
of authority like their predecessors,
easily
have mended matters
tors of court theatres took
they
but the Direc-
;
good care to engage none
but demure and subservient persons. It
is
ductors,
well worth while to note
who
are
now
at the
head of
how the conGerman music,
arrived at the honourable positions they hold.
We
owe our permanent orchestras
to the various
theatres, particularly the court theatres, small eynd great.
The managers
fore in a position
of these theatres are theare-
to select
the
men who German
represent the spirit and dignity of
are to
music.
Perhaps those who have been thus advanced to posts of honour, are themselves cognizant of
they got there
—to
an unpractised observer
how it
is
rather difficult to discern their particular merits. The so-called " good berths" are reached step by
WAGNER
b step
men move on and push
:
the Court orchestra at of
upwards.
Now
conductors in this way.
its
I believe
BerHn has got the majority and then,
however, things come to pass in a more erratic
manner
grand personages, hitherto unknown, sud-
;
denly begin to flourish under the protection of the lady-in-waiting to
some
princess, etc., etc.
harm done
impossible to estimate the
It
is
to our leading
orchestras and opera theatres by such nonentities.
Devoid
of real merit
they keep their posts by abject
cringing to the chief court
and by
official,
polite
submission to the indolence of their musical subRelinquishing the pretence of artistic
ordinates.
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 discipline,
;
known At
to
become popular
rehearsals
means
all
favourites
!
are
difficulties
got
over by
mutual congratulations and a pious
of
allu-
sion to the "old established fame of our Orchestra."
Who
can venture to say that the performances of
that famous institution
Where is
deteriorate year
the true authority ?
the critics,
who
not stopped
;
only bark
and the
art
by year?
Certainly not amongst
when of
mouths are stopping mouths is their
cultivated to perfection.
Recently, the post of chief conductor has here
and there been
filled
by a
man
of practical experi-
ence, especially engaged with a view to stimulating
ON CONDUCTING. the
slumbering energy of
his
"chiefs" are famed for their
out" a new opera " cuts "
7
Such
colleagues.
in a fortmight
"bringing
in
skill
for their clever
;
for the effective " closes " they write to
;
please singers, and for their interpolations in other
men's
Practical
scores.
accomplishments
sort have, for instance, supplied the
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
had
to be
its
at the theatres
;
but, according to the
feuilletons of the political newspapers, the singing societies
supply
and concert establishments furnish a steady These are the "musicof the article.
brokers," as forth
it
were, of the present day,
from the school
of
who came
Mendelssohn, and flourished
under his protection and recommendation. They differ widely from the helpless epigonae of our old conductors
:
they are
not musicians brought up
in the orchestra or at the theatre,
but respectable
pupils of the new-fangled conservatories of
Psalms and
Oratorios,
and
;
devout
composers listeners
at rehearsals for the subscription concerts.
They
have received lessons in conducting too, and are of an elegant "culture" hitherto un-
possessed
known
in the
any lack
Far from shewing they managed to transform
realms of music.
of politeness,
the timid modesty of our poor native Capellmeister into a sort of cosmopolitan hon ton
them
in
;
which stood
good stead with the old-fashioned Philistine
WAGNEE
8 society of
our towns.
in
many
results
;
much
certainly ;
orchestras has been good
and has brought about
respects,
has disappeared
I believe the influence of
German
these people upon
that
beneficial
was raw and awkward
and, from a musical point of view,
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
achieve the needful reconstruction of the orchestras, lior
to enforce the needful reforms in
the institu-
tions connected with them, viz., energy, fidence, and personal power.
self-con-
In their case, unfor-
tunately, reputation, talent, culture, even faith, love
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.
They came to occupy German masters,
the position of those old-fashioned
because the power of the latter had deteriorated
and because they had shewn themselves incapable and it would of a new style
to meet the wants
;
ON CONDUCTING. appear that they of
in their turn,
y
regard their position
— fiUing
a gap in
to-day as merely temporary
a period of transition. ideals
of
German
In the face of towards which
art,
the
all
new
that
is
noble in the nation begins to turn, they are evidently at a loss, since these ideals are alien to their nature.
In the presence of
modern music they have recourse
inseparable from to
singular
certain teclinical difficulties
Meyerbeer, for instancy,
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, Meyer;
beer might have been of great service to the Berlin orchestra **
when
the
King
General Musikdirector."
upon
to
of Prussia appointed
Mendelssohn was
undertake a similar
mission
him
called
about the
Mendelssohn was the extraordinary gifts and attainmost possessor 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
It would seem as if They left matters to take now, we are confronted by
did their powers desert them.
they had no real power. care of themselves and,
the " celebrated " Berlin orchestra in which the last trace of the traditions of Spontini's strict discipline
WAGNEE
10
have
faded
Thus
away.
Mendelssohn whilst
at
expect elsewhere from their
from
It is clear
Meyerbeer and what are we to neat little shadows ? fared
Berlin
:
this account of the
survivals of
the earlier and of the latest species of Capellmeisters
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 ;
and the signs
of
progress are evidently owing to
the increasing development of their technical attain-
ments.
Virtuosi
upon the
different orchestral in-
struments have done excellent service, and
they
might have done much more in the circumstances had the conductors been competent. Exceptionally gifted easily got the
and
upper hand
accomplished players the decrepit Capell-
of
meisters of the old sort, and of their successors, the
parvenus without authority
—pianoforte
patronised by ladies in waiting,
pedagogues Virtuosi
etc., etc.
soon came to play a role in the orchestra akin to
The
that of the prima donna on the stage.
elegant
conductors of the day chose to associate and ally
themselves with tho virtuosi, and this arrangement
might
have acted very satisfactorily if the conductors had really understood the true spirit of
German music. It is
important to point out
that conductors arc indol)tod their
posts,
and even
for
the
in this
to
tlie
connection
theatres
existence
of
for
their
ON CONDUCTING.
The
orchestra.
work
and conducting operas.
made
therefore, to have
ness to understand the theatre
of the
music to dramatic
in
manner
in
art,
opera
— and
to
proper application
something
like
the
which an astronomer applies mathematics
to astronom}'.
Had they understood
and
expression
ing
their busi-
it
— the
make themselves masters of
their professional
greater part of
consists in rehearsing
They ought
11
dramatic
dramatic sing-
they
might have
applied such knowlege to the execution of
modern
instrumental music.
A
long time ago I derived
much
instruction as to
the tempo and the proper execution of Beethoven's
music from the clearly accentuated and expressive singing of that great artist, Frau Schroder-Devrient. I
have since found
it
impossible, for example, to
permit the touching cadence of the Oboe in the
movement
of the
first
C minor Symphony
Adagio.
-^^
^_^i37^-»—= »:
/ to be played in the
way
;
customary timid and embarassed
indeed, starting from the insight I
into the
had gained
proper execution of this cadence, I also
found and
felt
the true significance and expression
due to the sustained fermata of the
first
violins
?^-——t—-— in the corresponding place, and from the •
* Ante, bar 21.
WAGNEE
12
touching emotional impressions I got by means ot these two seemingly so insignificant details I gained
new point of view, from which the entire ment appeared in a clearer and warmer light. a
Leaving
this for the present,
I
am
rnove^
content to
point out that a conductor might exercise great
upon the
influence
regard to execution,
higher if
musical culture with
he properly understood
|iis
position in relation to dramatic art, to which, in fact,
he
is
indebted for his post and his dignity.
But our conductors
are accustomed to look
the opera as an irksome daily task
(for
upon
which, on
the other hand, the deplorable condition of that
genre of art at
enough)
honour
;
German
theatres furnishes reason
they consider that the sole source of
lies in
the concert rooms from which they
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 Capellstarted
;
meister, they think themselves obliged to get
from some
Now
to estimate the value of a
ductor of
him
place other than a theatre.
concerts and
of
choral
quondam
con-
societies
at
a
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
observe him as a conductor of orchestral concerts.
Looking back upon my earliest youth to
had
have
formances of piano or
I
unpleasant impressions
At the
orchestral music.
classical
whilst
remember from perthings
reading a score, certain
appeared animated and expressive, whereas,
at
a
performance, they could hardly be recognised, and
was puzzled by the Mozartian Melody (Cantilena)
failed to attract attention.
apparent flabbiness of
which I had been taught expressive. for this, oti
a "
I discovered the reasons
and I have discussed them to
to
want
—a
my
report
refer readers
be interested in the subject.
German music
in
school to be established at
which I beg
treasons lie in the cd
to regard as so delicately
life
German music
Munich," *
may
Later in
I
who
Assuredly, the
Conservatorium
of a proper
Conservatory in the strictest ,
sense of the word, in which the traditions of the classical masters'
own
served in practice
—which,
style
of execution
are pre-
would imply least, have had a
of course,
that the masters should, once at
* " Bericht ueber eice iu Hiincben zu errichteude deutscbe Musikschule"( 1865). See Appendix A. (13)
WAGNEE
14
chance personally
works
to supervise
such a
in
culture has missed
now wish
all
performances
Unfortunately
place.
such opportunities
of their
German if we
and
;
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
execution.
my
In the days of
celebrated Leipzig
conducted at
all
;
youth, orchestral pieces at the
Gewandhaus Concerts were not they were simply played through *
under the leadership of Conzertmeister
Mathai,
and enfracts at a theatre. At least no " disturbing individuality," in the
like overtures
there
was
shape of a conductor
!
The
principal classical pieces
which presented no particular technical
difficulties
the execution were regularly given every winter was smooth and precise and the members of the ;
;
orchestra evidently enjoyed the annual recurrence of their familiar favourites.
With
Beetlioveii' fi
Ninth Sijmphonij alone they
could not get on, though of
honour
to
give that
it was considered a point work every year. I had
copied the score for myself, and
arrangement
for
two hands
;
made
but
I
a pianoforte
was
so
much
astonished at the utterly confused and bewildering effect
of the
lost courage,
*
Gewandhaus performance and gave up the study
i.e.,
the leader of the
that I had
of
first violins.
Beethoven
for
ON CONDUCTING.
15
some time. Later, I found it I came to take true delight
instructive to note
how
Mozart's instrumental works
in
it
:
performances of
was when
I
had a
chance to conduct them myself, and when I could
my
indulge of
feelings as to the expressive rendering
Mozart's cantilena. I received a
good lesson at Paris in 1839, when I
heard the orchestra of the Conservatoire rehearse the enigmatical Ninth Symphony.
my
from
eyes
came
I
;
The
formance.
to
scales
of
m
every bar
of
a good per-
orchestra had learnt to look
Beethoven's melody
fell
understand the value
and the secret
correct execution
The
for
— that melody which
the worthy Leipzig musicians had failed to dis-
cover
was
;
and the orchestra sang that melody.
This
the secret.
Habeneck, who sovled the
difficulty,
the great credit for this performance
not a conductor of special genius.
and to is
whom
due,
was
Whilst rehears-
ing the symphony, during an entire winter season,
he had tive
and
to be incomprehensible
felt it
(would
German conductors have
ineffec-
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
the
orchestra.
the old stamp
obeyed him. beauty
of
;
I
he
Habenek was a conductor of was the master and everyone
—
cannot attempt
this performance. *
member
Melody
to
describe
However,
in all its aspects
the
to give an
WAGNEB
16 idea
of
I will
it,
to
by the aid of shew the reason why
to
render as well as the
select a passage
which I shall endeavour Beethoven is so difficult
German
orches-
difficulties.
Even
reason for the indifferent success of tras
when
with
first-class orchestras I
confronted by such
get the passage in the
first
H«= zzzuz^zrk^izM^^. aemp-e
have never been able to
movement
:^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
du Conservatoire."* Often have I recalled this passage, and tried
its aid to
enumerate the desiderata in the execuit comprises movement and
tion of orchestral music
;
sustained tone, with a definite degree of power. •Wagner, however, subsequently admitted that the passage was rendered to his satisfaction at the memorable pertorinance of tlie Ninth Symphony, given May azad, 1872, to celebrate the laying of the foundation stone of the theatre at
Bayrenth. ("
An
dieser Stelle
ist
es nur, bei oft in
Leben erneueter Erianeruog, recht
klar
meinem spateren geworden, worauf
ON CONDUCTING.
The masterly Paris
execution
orchestra
passage by the
this
of
consisted
17
the fact that they
in
played
it exactly as it is written. Neither at Dresden, nor in London * when, in after years, I
had occasion irregularity
change
sym-
to prepare a performance of the
phony, did I succeed in getting
which
arises
of strings.
rid of the
from the change less
Still
annoying
of
bow and
could I suppress an
involuntary accentuation as the passage ascends
;
musicians, as a rule, are tempted to play an ascending
passage with an increase of tone, and a descending
With
one with a decrease. above passage
we
that the sustained
the fourth bar of the
invariably got into a crescendo so
G flat
of the fifth bar
was given
with an involuntary yet vehement accent, enough to spoil the peculiar tonal significance of
The composer's it
remains
intention
difficult
is
clearly indicated
prove to a person
to
musical feelings are not of a refined is
that note. ;
but
whose
sort, that there
a great gap between a commonplace reading, and
the reading meant by the composer
:
no doubt both
readings convey a sense of dissatisfaction, unrest,
longing
—but the quality
of these, the true sense of
the passage, cannot be conveyed unless as the master imagined
heard
it
it,
it is
played
and as I have not hitherto
given except by the Parisian musicians in
es beim Orchestervortrag ankommt, weil sie die Bewegung und den gehaltenen Ton, zudleich mit dam Gesetz der
Dynamik
in sich schliesst.")
* Concert of the
Philharmonic Society, 26th March. 1855,
B
WAGNER
18
In connection with this I
1839.
the impression of dynamical
am
conscious that
monotony
*
(if
I
may
such an apparently senseless expression for a
risk
difficult
phenomenon) together with the unusually
varied and ever irregular
movement
of intervals in
the ascending figure entering on the prolonged flat to
be sung with such infinite delicacy, to which
the
G natural
me
as
spirit.
answers with equal delicacy, initiated by magic to the incomparable mystery of the Keeping my further practical experience in
view, I would ask
how
did the musicians of Paris
arrive at so perfect a solution of the difficult
By
G
problem?
They were
the most conscientious diligence.
not content with mutual admiration and congratulation
{sicli
gegenseitig Complimente zw machen) nor
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
did they assume that
before
;
have thus been taught to approach music mainly through the medium of
French idea
of playing
able to s'uuj well
upon
the
human
it.
And
(as
impressed
me
is
The to be
already said) that
superb orchestra sang the symphony.
The possibility
sung implies that the true tempo
of its being well
had been found
voice.
an instrument well
:
and
which Old Habeneck was not
this is the second point
at the time.
the mediiiiu of any al)stract-a}sthetical inspiration *
i.e.
,
a powisr of tone the degree of which remains unchanged.
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
* of the
The right comprehension of guide
to
inseparable
As
tempo
the right :
;
the
symphony.
Melos
is the sole
these two things
are
the one impHes and quahfies the other.
my
a proof of
assertion that the majority of
performances of instrumental music with us faulty
it is
sufficient to point out that
so frequently fail to find the true
are ignorant of singing.
German
I
are
our conductors
tempo becatise they
have not yet met with a
Capellmeister or Musik-director, who, be
it
with good or bad voice, can really sing a melody.
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
a
man
conservatory or musical
for
—
a mastership
gymnasium but ;
it
follow from this that he will be able to put soul into a musical performance.
* Melody in
all its
aspects.
at
a
does not life
and
The whole ability
duty of a conductor
is
comprised in his
always to indicate the right tempo.
choice of tempi will
With good
the piece or not.
tempo induces
His
show whether he understands players, again, the true
correct phrasing
and expression and
conversely, with a conductor, the idea of appropriate
phrasing and expression will induce the conception of the true
tempo.
This, however, as
it
appears.
for they
is
by no means so simple a matter
Older composers probably
are content
with the
simplest
felt
so,
general
Haydn and Mozart made use of the term "Andante" as the mean between "Allegro"
indications.
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
He may
in a truly musical sense is
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.
have said to himself
;
I gave detailed directions as to the tempi, and in(20)
ON CONDUCTING. dicated
the
them
(as I
21
thought) accurately, by means of
Metronome.
Subsequently, whenever
occasion to protest against a particularly
I
had
absurd
tempo, in Tannhauser for instance, I was assured that the
Metronome had been consulted and In
fully followed.
my
works
later
care-
the
I omitted
metronome and merely described the main tempi
in
general terms, paying, however, particular attention to the various modifications of
tempo.
would
It
appear that general directions also tend to vex and
when they
confuse Capellmeisters, especially expressed in plain
German
words.
are
Accustomed
to
the conventional Italian terms these gentlemen are apt to lose their wits when, for instance, I write " moderate." Not long ago a Capellmeister com-
plained of that term (massig) which I employed in
"Das Rheingold
"
the music (it was two hours and a half at rehearsals under a conductor whom I had personally
the score of
instructed
:
whereas, at the performances and under
the beat of the three
;
lasted exactly
reported)
hours
Allgemeijie
!
official
Capellmeister,
(according
Zeittmg).
to
the
Wherefore,
it
lasted
report
fully
of
indeed,
the
did
I
write " Massig " ?
To match this I have been informed that the overture to Tannhauser, which, when I conducted it at Dresden, used to last twelve minutes,
No
am
here
thoroughly incompetent fpersons
who who
now
alluding to
lasts
twenty.
doubt
[I
are particularly shy of Alia breve time, and stick to their correct
and normal crotchet
beats, four
WAGNER
22 in a bar, merely to
show they
are present
and con-
scious of doing something. Heaven knows how such " quadrupeds " find their way from the village
church to our opera theatres.
But "dragging"
not a characteristic of the elegant these latter days
conductors of
on the contrary they have a
;
is
fatal
tendency to hurry and to run away with the tempi. TJiis tendency to
hurry
is
so characteristic a
mark
of our entire musical life latterly, that I propose to
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
tempi Mendelssohn chose to take, par-
ticularly in the
first
movement.
I have,
myself,
only once been present at a rehearsal of one of
Beethoven's Symphonies, when Mendelssohn conducted
:
the rehearsal took place at Berlin, and the
Symphony was No. he chose a
detail here
and worked
at
it
8
(in
F
major).
and there
I noticed that
—almost
at
random
with a certain obstinacy, until
stood forth clearly.
it
This was so manifestly to the
advantage of the detail that I could not but wonder
why he
did not take similar pains with othev nuances.
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
23
ON CONDUCTING. quick
tempi
as
being
Eeally
detrimental.
less
good execution, he thought, was at all thing, but short-comings might be disguised
times a rare
was taken that they prominent
;
and the best way
over the ground quickly."
been
casual
a
view,
The
conversation.
received further and
not
should
care
if
appear
very
was "
to get
to do this
This can hardly have
mentioned in pupils must have
accidentally
master's
more
detailed instruction
;
for,
subsequently, I have, on various occasions, noticed " take quick the consequences of that maxim,
tempi," and have I think, discovered the reasons
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
that the habits and peculiarities of the Philharmonic
Society suggested to Mendelssohn his favourite style of
performance (Vortragsweise)
adm.irably adapted to
amount
it
was
meet their wants. An music is consumed at these unusual
of instrumental
concerts only.
— certainly
;
but as a rule, each piece
Thus
in
many
is
rehearsed once
instances, I could not
avoid
and so, I became acquainted with a style of performance which called up a lively recollection of Mendelssohn's
letting the orchestra follow its traditions,
remarks.
The music gushed forth like water from a
fountain
WAGNER
24
was no arresting
there
it,
as an undeniable Presto. difficult to interfere;
for
and every Allegro ended It was troublesome and when correct tempi and
proper modifications of these were taken the defects
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
;
took care to enforce the reading I thought the true one, and to insist
upon the
right tempo.
lent musicians did not object to this
;
The
excel-
on the contrary
they showed themselves sincerely glad of
it
the
;
public also approved, but the critics were annoyed,
and continued so to browbeat the directors society
that
the latter actually requested
permit the second movement of Mozart's in
E
way
to be played in 'the flabby
flat
herunter
{ruscJdich
accustomed to
— and
spielen)
which, they
of the
me
to
Symphony
and colourless
they had been said,
even Men-
delssohn himself had sanctioned.
The fatal maxims came to when I was about to rehearse
the front quite clearly a
symphony by
mistake not.
pleasant way, and asked
me
rather quickly as he feared I assured
short
its
him
a very
Mr, Potter,* The composer approached me
amiable elderly contrapuntist,
if
I
in
a
Andante might prove tedious.
to take the
it
that his Andante,
no matter how
duration might be, would inevitably prove
* Cij)riani Potter, of " ItecollcctiouH of
1792-1871, pianist and composer, author
Beethoven,"
etc.
2
ON CONDUCTING. tedious
manner
if ;
was played
it
whereas
and inexpressive
in a vapid
the orchestra could be got to
if
play the very pretty and ingenious theme, as I
felt
and as I now sang it to him, Mr. Potter was touched it would certainly please. he agreed, and excused himself, saying that latterly confident he
meant
it
;
he had not been in the habit
Andante he
reckoning upon this
of
In the evening, after the
sort of orchestral playing.
joyfully pressed
my hand.
have often been astonished
I
slight sense for
leading musicians. stance, to
at the
singularly
tempo and execution evinced by I found
communicate
to
it
impossible, for in-
Mendelssohn what I
felt
to be a perverse piece of negligence with regard to
the tempo of the third
Symphony
in
F
movement
major, No.
instances I have chosen out of
upon
Beethoven's
in
This
8.
many
is
one of the
throw light amongst us. principal later symto
certain dubious aspects of music
We know
that
Hadyn
in his
phonies used the form of the Menuet as a pleasant
between the Adagio and the
link
final Allegro,
and
that he thus was induced to increase the speed of
the
movement considerably, contrary to the character
of the true
Menuet.
It is clear that
he incorporated
"Landler,"* particularly in the "Trio"
the
— so
with regard to the tempo, the designation " Menuetto " is hardly appropriate, and was retained
that,
for
conventional
A
reasons
only.
Nevertheless,
I
South German country dance in f time, from which the modern waltz is derived. *
WAGNER
26
Haydn's Menuets are generally taken too
believe
quick; undoubtedly the Menuets of Mozart's Sjnn-
phonies are
;
instance, the
minor, and
this will be felt very distinctly
Menuetto
more that
still
major, be played a pace. is
in Mozart's
little
of his
for
in Gin
C
slower than at the customary
found that the
It will be
if,
Symphony Symphony
latter
Menuet, which
usually hurried, and treated almost as a Presto,
will
now shew an amiable,
in contrast
^\
sustained
trio,
f
f^--
usually given, to an
with
—
its
is
delicately
reduced,
as
empty hurry-skurry (einenichts-
Now Beethoven,
sagende Nuschelei).
common
firm and festive character
with which, the
as
is
not un-
with him, meant to write a true Menuet in
F major Symphony; he places it between the two main Allegro movements as a sort of complementary antithesis (ein gewissermassen ergiinzender his
Gegcnsatz) to an Allegretto scherzcmdo which precedes
it,
and
to
remove any doubt
tions regarding the
Menuetto
:
Tempo he
as to his inten-
designates
but as a Tempo di Menuetto.
and unconventional characterization middle movements of entirely overlooked
:
not as a
This novel of
the
two
symphony was almost scherzando was usual Andante, the Tempo di a
the
taken to represent the
it
A llegretto
Menuetto, the familiar " Scherzo " and, as the two
movements thus
interpreted seemed rather paltry,
ON CONDUCTING. and none
27
the usual effects could be got with
of
them, our musicians came to regard the entire sym-
phony
as a
sort
of
Beethoven's muse
A
the
things
major
Menuetto
d'oeuvre
"dragged"
chosen
Accordingly
easily."
Scherzando,
Allegretto
hors
of
who, after the exertions with
symphony had
rather
invariably
—
accidental
the
time
of
somewhat, the
"to
take
after
the
which
is
Tempo
di
universally served up as a refreshing
is
" Landler," which passes the ear without leaving
any
distinct impression.
glad
when
loveliest of idylls is
by the passage in if
Generally, however, one
turned into a veritable monstrosity
triplets for the violoncello
taken at the usual quick pace,
violoncellists,
is
;
which
the despair of
who are worried with the hasty staccato
across the strings and back again, and find possible to produce anything scratches.
is
This
the tortures of the Trio are over.
Naturally, this
it
im-
but a painful series of difficulty disappears
as
soon as the delicate melody of the horns and clarinets is
taken at the proper tempo
;
these instruments are
thus relieved from the special difficulties pertaining to
them, and which, particularly with the clarinet, at
times render
it
likely to
produce a " quack " * even in
the hands of skilful players.
when
my
all
I
remember an occasion
the musicians began to breathe at ease on
taking this piece at the true moderate pace
:
then
the humorous sforzato of the basses and bassoons
* Anglice, " a goose."
WAGNER
28
1
effect
;
—
at
J
J^
I
once produced an intelligible
the short crescendi became clear, the delicate
pianissimo close was
effective,
movement was properly
of the returning principal
Now,
felt.
the
and the gentle gravity
Capellmeister
late
Reissiger,
of
Dresden, once conducted this symphony there, and I happened to be present at the performance together
with Mendelssohn just described,
which
I told
;
we
the dilemma
talked about
and its proper solution concerning Mendelssohn that I believed I had ;
convinced Reissiger,
who had promised that he would
take the tempo slower than
movement began and
Mendelssohn
usual.
We
perfectly agreed with me.
The
listened.
third
was terrified on hearing but before I could precisely the old Liindler tempo give vent to my annoyance Mendelssohn smiled, and I
;
pleasantly nodded his head, as all
right
!
Bravo
astonishment.
blame
for
So
my
if
to say "
terror
Reissiger, for reasons
discuss presently, to
!
"
may
to
I shall
much
not have been so very
persisting
contretemps,
it's
which
in
the old tempo
Mendelssohn's indifference, with regard artistic
now
changed
raised
doubts
to this in
but
;
queer
my mind
whether he saw any distinction and difference in the case at
all.
I fancied myself standing before
abyss of superficiality, a veritable void.
an
Soon
had happened with Reissiger, the
after this
very same thing took place with the same
Eighth Symphony
of the
ductor, in the latter case, of
Mendelssohn
at the
Leipzig.
at
movement The con-
was a well-known successor
Gewandhaus
concerts.*
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
He
pace.
excuse
:
to take
did not keep his
it
at the proper
word and
he laughed, and confessed that he had been
disturbed with
all
manner
of
administrative busi-
ness, and had only remembered his promise
piece
moderato
offered a queer
had begun
;
the tempo, etc.
annoying.
Still I
after the
naturally he could not then alter
The explanation was
sufficiently
could, at least, flatter myself that
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
I
;
* Ferdinand Hiller. (29)
WAGNEK
30
tempo which had not been rehearsed.
of
For the
orchestra, accustomed to play the piece in a quick
tempo, would have been disturbed by the sudden imposition of a more moderate pace a matter of course,
demands
which, as
;
a totally different style
of playing.
We have
now
reached an important and decisive
an appreciation
point,
of
which
is
indispensable
we
if
care to arrive at a satisfactory conclusion regarding
Injudicious tempi
the execution of classical music.
might be defended with some show
much
of reason inas-
as a factitious style of delivery has arisen in
conformity with them, and to the uninitiated such conformity of style and tempo might appear a proof that
was
all
apparent enough
which case the
To let
if
right.
The
only the right tempo
false style
as
however,
evil,
is
is
taken, in
becomes quite unbearable.
illustrate this, in the simplest possible
Usually
way,
C minor Symphony.
us take the opening of the
fermata of
the
the
ff
second bar hardly
than to
is left
make use fix
after a slight rest of this
\\
ilat
is
our conductors
fermata for anything else
the attention of their
of th
note
;
men upon
the attack
In most cases the
not held any longer than a forte
produced with a careless stroke u})on the stringed instruments.
of the
bow
will last
Now, suppose the
voice
ON CONDUCTING.
31
heard
from the grave
Beethoven were
of
admonishing
firmly, terribly
or because I
conductor;
a
"Hold my
fermata
I did not write fermatas in jest,
!
was
at a loss
how to proceed
;
I indulge
most sustained tone to express and I use this full and Adagio
in the fullest, the
emotions in firm tone
my
when
I
;
want
it
in a passionate Allegro as
Then
a rapturous or terrible spasm.
the very
life
blood of the tone shall be extracted to the last drop. I arrest the waves of the sea, and the depths shall
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
my
sustained notes in
my
look at
clear thematic intention with the sustained
what
I
meant
to say
with other such sustained notes
Suppose
the sequel."*
E
stormy notes, and understand
after the three
flat
in
And now
Allegro.
a
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
;
;
WAGNER
32
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 :
(and here
for
one of the results of indifferent
is
conducting) our orchestras now-a-days hardly
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,
with the voice as with the orches-
the manifold modifications of the power of
which constitute one
of musical expression, rest
of the principal elements
upon
basis an orchestra will produce
power.
And
one of the
this is
it.
"Without such
much
noise but
no
first
symptoms
of
the weakness of most of our orchestral performances.
The conductors
of the
day care
little
about a sus-
tained forte, but they are particularly fond of an
exaggerated piano.
Now
the strings produce the
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
Noteu gosagt baben
will."
* Die Batis aller Dynamik.
ON CONDUCTING.
33
with ease, but the wind instruments, particu-
latter
larly the
wood winds do
not.
It is
to get a delicately sustained piano
almost impossible
from wind instru-
ments.
The players, flautists particularly, have transformed their formerly delicate instruments into formidable
(Gewaltsrohren)
tubes
French
.
oboists,
who have
preserved the pastoral character of "their instrument,
and our "
Echo
when they make use
clarinetists,
of the
effect," are the exceptions.
This drawback, which exists in our best orchestras, suggests the question
:
why,
tors try to equalise matters
what
fuller
tors do not
To
at least,
piano from the strings
seem
to notice
do not conduc-
by demanding a some, ?
but the conduc-
any discrepancy.
a considerable extent the fault
lies
not so
much
with the wind instruments, as in the character of the
piano
of the strings
are
wanting
for
;
we do
piano, just as
we do not
possess a true
not possess a true forte; both
in fulness of
tone— to
attain which our watch the tone of the easy enough to produce a
stringed instruments should
Of course
winds.
it
is
buzzing vibration by gently passing the bow over the strings
;
but
it
requires great artistic
command
of
the breath to produce a delicate and pure tone upon a wind instrument.
Players of stringed instruments
should copy the full-toned piano of the best winds,
and the
latter,
again,
should endeavour to imitate
the best vocalists.
The
sustained soft tone here spoken
of,
and the
WAGNEE
34
sustained powerful tone mentioned above, are the
two poles of orchestral expression.* But what about orchestral execution one nor the other
if
neither the
properly forthcoming
is
?
Where
come from if defective ? Thus
are the modifications of expression to
the very
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
;
;
nowadays, attempts to perform
that,
correctly are openly
am
I
classical
music
denounced as heretical
persistently
returning to the question of
tempo because, as I said above, this is the point at which it becomes evident whether a conductor understands his business or not.
Obviously the proper pace of a piece of music
is
determined by the particular character of the rendering this
it :
requires
;
the question, therefore, comes to
does the sustained tone, the vocal element, the
ca/ii^i^e?ia
predominate, or the rhythmical movement?
(Figuration).
The conductor should
lead accord-
ingly-
The Adagio stands
to the Allegro as the sustained
tone stands to the rhijthmical niovement (figurirte
Bewegung) The sustained tone regulates the Tempo Adagio: here the rhythm is as it were dissolved in .
pure tone, the tone
jyer se suffices
for the musical
* Dynaviik den Orchcstcrs.
ON CONDUCTING. In a certain delicate sense
expression.
said of the pure Adagio that
A rapt confidence
slow.
35
grows to ecstasy
may
be
cannot be taken too
it
in the sufficiency of
musical speech should reign here feeling
it
pure
the languor of
;
that which in the Allegro
;
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 ;
progressions prove acceptable
expectant
our
to
feelings.
None
our conductors are courageous enough to
of
manner
take an Adagio in this
by looking their
for
tempo
some
pace proper to
at the
This character
is
and arrange
to take
the Adagio
of the
Ninth Sym-
movement
section of the third
phony
they always begin
I am, perhaps, the only
to match.
who has ventured
conductor
;
bit of figuration,
its
peculiar character.
distinctly contrasted with that of
the Alternating Ajidante in triple time
conductors
invariably
leaving
difference,
contrive
only
between square and (assuredly one of the respect), finally, (in
triple
the
;
obliterate
to
rhythmical
time.
the
change
This movement
most instructive the section
but our
in the present
in
twelve-eight
time), offers a conspicuous example of the breaking
up
of the
of
an independent accompaniment, during which
pure Adagio by the more marked rhythms
the cantilena this section
is
steadily
we may
and broadly continued.
recognise, as
it
In
were, a fixed
WAGNER
36
and consolidated towards
infinite
reflex * of the Adagio's
expansion
tendency
there, Hmitless
;
freedom
the expression of sound, with fluctuating, yet
in
dehcately
rhythm the
new
movement
regulated
of the figurated
firm
regulation of a steady and distinct pace
in the consequences of which,
we have
the
here,
;
accompaniments, imposing
when
fully developed,
got the law that regulates the
movement
of
the Allegro in general.
We have cation
is
seen that sustained tone with
the basis of
all
its
modifi-
musical execution. Similarly
the Adagio developed, as Beethoven has developed it
in the third
may
movement
of his
be taken as the basis of
In a certain
musical time. Allegro
may
all
Ninth Symphony, regulations as to
delicate
be regarded as the
final
sense, result
the of a
refraction (Brechung) of the pure Adagio-character
by the more
restless
moving
figuration.
On
careful
examination of the principal motives of the Allegro it
will
be found that the melody (Gesang) derived
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;
mental significance which distinguishes them from the earlier
naive
species
of
However,
Allegro.
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
the figuration gets the upper
the melody (Gesang) that
is,
when
hand
rhythmical movement against the sustained tone entirely carried out. * f
This
Symphony
Symphony
in
is
III.
of
the reaction of the is
particularly the case in "Eroica."
C major, "Jupiter."
WAGNER
38 those final
movements which have grov^n out
Rondeau, and
Symphony
in
of
E
flat,
excellent examples.
movement, is
of the
the Finales to Mozart's
vv^hich
and
to Beethoven's in A, are
Here the purely rhythmical
so to speak, celebrates its orgies
;
and
it
consequently impossible to take these movements
too
quick.
extremes
is
But whatever
lies
between these two
subject to the laws of 7nutual relationship
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
of Tempo
now ;
turn to the question of the modification
a question of
which our conductors know
nothing, and for which they consequently profess
contempt.
Whoever has
followed
me
so far with
attention will, I trust; understand that this question
goes to the root of the matter before us.
In the course of the argument so of Allegro have been mentioned
;
far,
two species
an emotional and
sentimental character has been assigned to the latter, the true Beethovenian Allegro,
Mozartian Allegro
was
whereas the older
distinguished as showing a
I have adopted the expressions naive character. " sentimental " and " naive " from Schiller's well-
known It
essay upon " sentimental and naive poetry."
is
needless to discuss the aesthetic problems
Schiller touches upon.
It is
enough
to state here
movements The Allegros
that I take Mozart's quick Alla-breve as representative of the naive Allegro.
the overtures to his operas, particularly to " Figaro " and " Don Giovanni " are the most perfect
of
specimens.
It
is
well
known
that
Mozart wished
these pieces to be played as fast as possible. Having
driven his musicians into a sort of rage, so that to their
own
unheard
surprise they successfully rendered the
of Presto of his overture to " Figaro,"
commended them, saying
:
he
" that was beautiful
!
Let us take it still quicker this evening." Quite As I have said of the pure Adagio that, in an right. (39)
WAGNEE
40 ideal sense,
it
cannot be taken too slowly, so this
pure unmixed Allegro cannot be given too quickly.
The slow emanations hand and the most rapid
pure tone on the one
of
figurated
movement on
the
and in both the sole measure of
other, are subject to ideal limits only,
directions the law of beauty
what
The law
possible.
is
is
of
beauty establishes the
point of contact at which the opposite extremes tend
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 to
—
in the
dance-form (the Menuet
stricter
the quickest Allegro (Finale) of fitness.
To my
or
Scherzo),
to
— shows a perfect sense
luind, however, there are signs
of a deterioration of the sense of fitness
when com-
posers exhibit their platitudes in the Suite,* and
attempt to bolster up that old form, with
its less
dance
thoughtfully arranged succession of typical
tunes
for these
;
have been fully developed elsewhere,
and have already been embodied extensive, and complex forms.
in far richer,
more
Mozart's absolute Allegros belong to the naive species.
of tone sist of
As regards the various degrees of power {Nach der Seite der Dynamik hin) they con-
simple changes of piano and forte
regards structure they
rhythmic melodic
much
show
traits
choice or sifting,
certain fixed
;
and, as
and stable
(Formen) which, without are placed side by side and
juade to chime with the changes of piano and /or^e; •
Comparo Franz Lachuer's Suites
for Orchestra.
41
ON CONDUCTING. and which
(in
busthng ever-recurring
the
But such things
prising ease.
— even
neghgence (Achtlosigkeit) in the use place phrases and sections
— are
semi-
more than
cadences) the master employs with
sur-
the greatest
common-
of
explicable and ex-
cusable from the nature of this sort of Allegro, which is
not meant to interest by means of Cantilena, but
in
which the
restless incessant
movement
to produce a certain excitement. trait in
intended
It is a significant
the Allegro of the overture to
that this restless
is
Don Giovanni
movement ends with an unmistak-
able turn towards the " sentimental."
Here
— where
the extremes meet, at the point of contact indicated
above
—
it
becomes necessary
to
modify the tempo in
the bars leading from the overture to the of the opera
one)
(which
— and the pace
But our conductors,
is
also
first
must be slackened accordingly. in their
customary crude way,
We
generally miss this point in the overture. not, however, tions.
now
tempo
an alla-breve but a slower
be lead into premature
Let us merely consider
it
need
reflec-
established that
the character of the older classical
or, as I call
naive Allegro differs greatly from the
it,
new emotional
sentimental Allegro, peculiar to Beethoven.
Mozart
became acquainted with the orchestral crescendo and diminuendo
at
Mannheim
orchestra there had acquired
it
(in
1777),
when
as a novelty
:
the
up
to
that time the instrumentation of the old masters
shows
that, as a rule,
nothing was inserted between
the forte and the piano sections of the allegro move-
WAGNER
42
merits which can have been intended to be played
with emotional expression.
Now, how does
the true Beethovian Allegro appear
To
with regard to this ?
take the boldest and most
inspired example of Beethoven's unheard-of innovation in this
Sinfonia
direction, the
ero'ica
:
how
movement of his movement appear if
first
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
Mendelssohnian maxim "
va presto va sano.'' Let the players who happen for proper execution like
make
to
cJii
have any regard
the best of
in passages
it
:—
« m
\
•
«
or the plaintive
•—^—
<
^ m—\—i
S'-fci
m-
:
the conductors do not trouble their minds about
ON CONDUCTING.
43
such details; they are on "classic ground," and will not stop for
trifles
they prefer to progress rapidly
:
" grande vitesse," " time
We
is
money."
now reached the point in our discussion from which we can judge the music of the day. It have
have been noticed that I have approached this
will
point with
some circumspection.
I
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
instrumental
of
Things which
music.
formerly
existed in separate and opposite forms, each complete in itself, are
now
placed in juxtaposition, and further
developed, one from the other, so as to form a whole. It is essential that the style of
with the matter set forth
imbued with tissue. sical
life
We may consider is
a sine
difficulties will
my
—that
the tempo shall be
as delicate as the
music written in the
Tempo
execution shall agree
it
life of
the thematic
established that in clas-
later style moclification of
qua non.
No
doubt very great
have to be overcome.
Summing up
experiences I do not hesitate to assert that, as
far as public
performances go, Beethoven
is
still
a
pure chimera with us.* I shall
now attempt to describe what I conceive to way of performing Beethoven, and music
be the right akin to his.
In this respect also the subject seems
inexhaustible, and I shall again confine myself to a
few
salient points. *
i.e.,
in 1869.
WAGNER
44
One
of the principal musical
forms consists
of a
Variations upon a theme.
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
accomplished with the happiest results in cases
where one variation is
when
to say,
the one
is
is
developed from another
a degree of
— that
movement, suggested
carried further in the other, or
certain satisfactory sense of surprise
in
when
a
occasioned by
is
one variation supplying a complementary form of
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 ;
the point which I
—
namely at have described above as marking
sense of accident or of awkwardness
:
the limits of the laws of beauty with regard to the
sustained tone
movement in
a
(in
the Allegro)
—he contrives
to satisfy,
seemingly al)rupt way, the extreme longing
after an antithesis different
;
which
antithesis,
and contrasting movement,
serve as a ter's
the Adagio), and the unfettered
(in
relief.
by means
is
of a
now made
to
This can be observed in the mas-
greatest works.
The
last
movement
of
the
45
ON CONDUCTING. Sinfonia
instance, affords excellent instruc-
ero'ica, for
tion in this respect
movement
;
should be understood as a
it
consisting of a greatly expanded series
of variations
;
and accordingly
with as
much
properly,
here
it
should be interpreted
To do
variety as possible. as
in
all
mentioned weakness
of the Variation-form,
disadvantage which
is felt
to result
from
it,
and the
must be
Single and sej)arate variations
taken into account.
are frequently seen to each have origin,
had an independent
and to have merely been strung together in a
The unpleasant
conventional manner.
effects
such fortuitous juxtaposition are particularly
when
cases
this
similar cases, the above
a quiet, and sustained
theme
is
of
felt in
followed
by an exceptionally lively variation. The first variation on that most wonderful theme" Sonata in
in Beethoven's grand
and violin (Kreutzer)
is
A major
an example.
Virtuosi always
treat this as " a first variation " of the
—
i.e.,
a
destroys that,
mere display all
I
common
of musical gymnastics,
desire to listen
whenever
for piano
any further.
It is curious
have mentioned the case
variation to anyone,
my
di minueto of the eighth
type
which
of
this
experience with the tempo
symphony has been repeated-
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
he could hardly have thought
of
it
as
WAGNER
46
immediately following the theme, or as being in with
direct contact
it.
The component
parts of the
Variation-form are each complete in themselves, and
perhaps the composer was unconsciously influenced
by
But when the
this fact.
entire piece
is
played,
the parts appear in uninterrupted succession.
We
know from
(for
movements instance the second movement other
above
of the
C minor sym-
of the great quartet in
C minor. Op.
the great sonata in wT^itten in the
form
how
Ill),
of Variations,
which are
deftly
the different variations can be contrived.
who,
all
but in which the
as standing in immediate conand delicately the links between
parts are conceived nection,
the master's
E flat, and from the wonderful second movement of
phony, the Adagio all
of
in a case like that of the so-called
A player " Kreutzer
Sonata," claims the honour
of
master in
attempt to establish
some
full,
sort of
sentiment of
might, at
least,
representing the
and connection between the the theme and that of the first variation relation
•
he might begin the
latter at a
and gradually lead up to
more moderate pace, lively movement.
the
Pianoforte and violin players are firmly persuaded that the character of this variation differs consider-
ably
from
interpret
the
first
to the
it
that of
with
the theme.
artistic
Let them then
discrimination and treat
part of the variation as a gradual approach
new tempo
;
thus adding a charm to the
interest the part already possesses per se.
A
stronger case, of similar import, will be found in
ON CONDUCTING. the beginning of the
first
introductory Adagio
of
47
Allegro 6-8 after the long the
quartet in
string
C
" molto vivace,"
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
*
and the character
is
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
in the master's works.
to interpret the Allegro as
If
were permitted
it
showing a
state of feeling
such as could in some sort be reproduced in pictorial language (deutbares Stimmungshild) one might say
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,
taken up, and cherished.
Evidently the question,
with regard to execution, here
phenomenon
(the
new
Allegro
how can this theme) be made to is
:
from the sad and sombre close of the Adagio, so that its abrupt appearance shall prove attractive rather than repellant ? Very aparise, naturally,
propriately,
new theme
the
delicate, hardly distinguishable
pp.,
and
after,
is
then
lost in a
by means
first
melting r
of a crescendo, it
* Op. 131.
appears like a
dream
in
unbroken
tardando thereenters
its
true
WAGNER
48
sphere, and proceeds to unfold
its real
nature.
It is
obviously the delicate duty of the executants to indicate the character of the
new movement with an
appropriate modification of
tempo
i.e.,
to take the
notes which immediately succeed the Adagio
t^ for a link, and so unobtrusively =^-^-t ^3to connect them with the following
$ ^
^—
PP ^
i
^
-f— — ff^-H that
fr it
a
change
in
the
jg"
'
I
movement is hardly perceptible, and moreover so to manage the rltardando, that the crescendo, which comes
after
it,
introduce the master's quick
will
tempo, in such wise that the molto vivace
now
appears as the rhythmical consequence of the increase
of
during the
tone
crescendo.
But the
modifications here indicated are usually overlooked
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."* !
I
may have
matter
is
of incalculable
proceed to look
and
been too circumstantial, but the
still
requirements
importance.
more of
a
closely into
proper
Let us now the wants
performance
of
classical music.
•
For further comments iipou this (Quartet see Appendix B.
In the foregoing investigations I hoped to have elucidated the problem of the modification of tempo,
and to have shewn how a discerning mind recognise and solve the difficulties inherent in
Beethoven has furnished the im-
classical music,
mortal type of what I may
music
—
it
will
modern
unites
all
call
emotional, sentimental
the separate and peculiar con-
stituents of the earlier essentially naive types
sus-
;
tained and interrupted tone, cantilena and figurations, are no longer kept formally asunder
changes
of a series of variations are
together, but are
and made
to
— the
manifold
not merely strung
now brought into immediate contact,
merge one
into the other.
Assuredly,
the novel and infinitely various combinations of a
symphonic movement must be set in motion adequate and appropriate manner if the whole
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
to appear as a monstrosity.
* Beethoven's
I
Symphony, No. (49)
III.
D
WAGNEE
50
man was
right in his
way
he chose to recognise
;
nothing but the Mozartian Allegro
and
;
in the strict
tempo
peculiar to that Allegro, he taught his pupils
at the
Conservatorium to play the Ero'ica ! the result
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 !
now received with universal acclamations but, if we are not to laugh at the whole thing, the real
is
;
reasons for
success
its
must be sought
that Beethoven's music
concert-rooms irresistible
is
—particularly
power
is
in the fact
studied apart from the at
thus fully
the piano felt,
— and
though
its
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.
If fate
long ago.
To support
so astounding an assertion I will take
a popular example
the overture to
:
Der
—Has
not every
Freyschiitz over and over again?
I have been told of sundry persons to
find
how
German heard
who were surprised
frequently they had listened to this
wonderful musical poem, without having been shocked
when
it
was rendered
these persons were
in the
most
trivial
among when
manner;
the audience of a concert
given at Vienna in 1864,
to con-
duct the overture.
to pass
I was invited At the rehearsal it came
that the orchestra of the imperial opera (certainly one of the finest orchestras in existence), at
my demands
were surprised
regarding the execution of this piece.
ON CONDUCTING. It
51
appeared at once that the Adagio of the intro-
duction had habitually been taken as a pleasant in the tempo of the " Alphorn," * or some
Andante
such comfortable composition. That this was not " Viennese tradition " only, but had come to be the universal practice, I had already learnt at Dresden
where Weber himself had conducted his work. I had a chance to conduct Der Freyschiitz at Dresden eighteen years after Weber's death
When
—
—
ventured to set aside the slovenly manner of execu-
which had prevailed under Eeissiger, my senior I simply took the tempo of the introduction to the overture as I felt it whereupon
tion
colleague.
;
member
a veteran
Dotzauer,
cellist
seriously:
"Yes,
took
now
it
of the orchestra, the old Violon-
;
I
turned this
hear
it
time." Weber's widow,
became touchingly position
of
is
towards the
me and
way Weber
said
himself
again correctly for the
who
still
solicitous for
She
Capellmeister.
first
resided at Dresden,
my
welfare in the
trusted that
my
sympathy with her deceased husband's music would bring about correct performances of his works, for
which she had no longer dared
to hope.
The
recol-
lection of this flattering testimony has frequently
At Vienna I was bold upon a proper performance. The
cheered and encouraged me.
enough
to insist
orchestra, actually studied the
ture anew. entirely
too-well-known over-
Discreetly led by B. Lewi, the Cornists
changed the tone *
A
of the soft
woodnotes
sentimental song by Proch.
in
WAGNER
52
the introduction, which they had been accustomed to play as a
fume
of the
pompous show melody
piece.
for the
The magic
now
horns was
per-
shed
over the Picmissivw indicated in the score for the
Once only
strings.
their tone rose to a mezzoforte ally lost
power of and was then gradu-
(also as indicated) the
again without the customary sforzando, in
the delicately inflected
The
accent
Violoncellos similarly reduced the usual heavy
^jg-
which was now
i: ^Et
heard above the tremolo of the violins delicate sigh
it
is
like
the
intended to be, and which finally
gave to the fortissimo that follows the crescendo that air of desperation which properly belongs to
Having restored
mysterious
the
dignity
introductory Adagio, I allowed the wild of the Allegro to
run
of
it.
the
movement
passionate course, without
its
regard to the quieter expression, which the soft
second theme demands be able
sufficientlij
to
;
for I
know
that I should
slacken the pace at the right
moment, so that the proper movement for might he reached. Evidently the greater number, if not
this
all
theme
modern
Allegro movements, consist of a combination of two
ON CONDUCTING.
5d
essentially different constituent parts
contrast
in
:
with the older naive unmixed Allegro, the construction
is
enriched by the combination of the pure
Allegro with the thematic peculiarities of the vocal
Adagio in
The second theme
gradations. " the overture to Oberon," all its
:=l:
'-=]-
^^==-
t*- 4^-
"i*^
which does not
in the least partake of the character
of the Allegro, very clearly
peculiarity. to
shows
this contrasted
managed theme into the general That is to say on the
Technically, the composer has
merge the character
of this
character of the piece.
:
surface, the
theme reads smoothly, according
scheme
an Allegro
of
;
character of the theme
but, as is
brought out,
becomes
is to
scheme
combine
the account of the performance of the
Freyschiitz overture at Vienna
:
after the
excitement of the tempo Allegro, I long drawn notes of the clarinet is
it
siich a
capable of considerable modijication if it both principles. (Hauptcharactere).
To continue
to the
soon as the true
apparent that a composer must think
which
of
quite that of the Adagio
extreme
made use
— the
of
the
character of
WAGNER
54
SO as imperceptibly to ease the
tempo
where the figurated movement sustained or tremulous tone
the connecting figure
dissolved
is
into
so that, in spite of
;
:
which renews the movement, and to the cantilena in
in this place,
so beautifully leads
E
flat, we had arrived at the very main tempo, which has been kept
slight
nuance
of the
up
along.
I arranged with the excellent executants
all
that they were to play this
theme
^21
L-z2-^-
legato,
:?2=^=
:t=
i±2z^izt\ai
it
and with an equable piano,
i.e.,
without the
customary commonplace accentuation and follows
7iot
as
:
P
^i-^-n*
The good
-x^r=aL
v-^-
result
was
at
once apparent, so that for
the gradual reanimation
of
the tempo with the
pulsating
mf
'-piZI^IL
:t=
^^
tSE^: :*=:W: ^^'
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
was not
It
easy on the return of the conflict of the two
strongly contrasted motives, clearly without
disturbing the
them out
bring
to
proper feeling for
the predominant rate of speed. despairing energy of the allegro
when
Here, is
the
concentrated in
successively shorter periods, and, culminates in
r
ft
—r— — — — —
^-^-^i
I
!
^
!
—
^ I
I
I
|—
^
the success of the ever-present modification of tempo
was perhaps shown
best of
all.
After the splendidly sustained
C major chords, and
the significant long pauses, by which these chords are so
well relieved,
surprised
when
theme, which
is
the musicians were greatly
I asked
now
them
as they
had been accustomed,
nuance
of the first allegro
modification of the
to play
the second
raised to a joyous chant, not in the violently excited
theme, but in the milder
main time.
This worrying and driving to death of theprincipal
WAGNER
66
theme
at the close of a piece is a habit
—
our orchestras
all
common
very frequently indeed nothing
wanting but the sound
to is
of the great horse-whip to
complete the resemblance to the effects at a circus.
No
doubt increase of speed at the close of an over-
ture
demanded by composers where the
frequently
is
it
;
a matter of course in those cases
Allegro theme, as
the
and
field,
it
were, remains in possession of
finally
celebrates
its
which Beethoven's great overture a celebrated example.
apotheosis
to "
Leonora
of
;
"
who to
spoilt
by the
know how
does not
fact that the
{e.g.,
is
conductor,
modify the main tempo
to
meet the various requirements
combinations
is
In this latter case, however,
the effect of the increased speed of the Allegro frequently
ia
true
at the proper
of the
thematic
moment
to relax
the rate of speed), has already permitted the main
tempo of
to
grow
so quick as to exclude the possibility
any further increase
— unless, indeed, the strings
choose to risk an abnormal rush and run, such as I
remember
to
not with
satisfaction,
have heard with astonishment, though
The
orchestra.
from
this
necessity for
very
exertion arose in consequence of the
having been hurried too of the piece
geration
;
of art
way,
it
may
However,
main tempo
during the progress
the final result was simply an exag-
— and
work
much
Viennese
such an eccentric
moreover, a risk to which no true
should be exposed ])c
able to bear
it is
difficult to
— though, in a rough
it.
understand
why the
close
57
ON CONDUCTING. of the Freyschiitz overture
should be thus hurried
by Germans, who are supposed to possess some deHcacy of feehng. Perhaps the blunder
and
worried
appear
will
inexplicable,
less
if
remembered
is
it
that this second cantilena, which towards the close is
treated as a chant of joy, was, already at
appearance,
first
principal Allegro
the
tail of
case of
made :
to trot
its
very
on at the pace of the
like a pretty captive girl tied to
a hussar's charger
— and
it
would seem a
simple practical justice that she should
when
the
finally,
the
eventually be raised to the charger's back
wicked rider has fallen Capellmeister
is
— whereat,
off
delighted, and proceeds to apply the
great whip.
An
indescribably repulsive effect
is
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 this
trivial
a passage, by
reading of
vulgar effect such as this, whenever and wherever the Freyschiitz overture is performed, and approve of it, and talk of " the wonted excellence of our orchestral performances "
— and otherwise indulge in
queer notions of their
own about
venerable Herr Lobe,
whose
recently celebrated
in
t
— such
f
Author
of a
etc.
we have
people, I say, are in the
* See the close of the Aria in E, Der Freyschiitz (No. 8).
kannten,"
music, like the
jubilee
known
as " Softly sighing"
" Kompositionslehre," "Briefe einesWohlbe-
WAGNEE
58 position
right
warn the pubHc against " the
to
absurdities of a mistaken ideaHsm "
towards that which
is
— and
" to point
and
artistically genuine, true
eternally valid, as an antidote to all sorts of half-true
or half-mad doctrines and
As
I
who
have related, a number
of
Viennese amateurs
attended a performance of this poor maltreated
overture, heard
The
maxims."*
it
effect of that
rendered in a very different manner.
performance
is still felt
at
Vienna.
People asserted that they could hardly recognise the piece,
and wanted to know what I had done to
it.
They could not conceive how the novel and surprising effect at
the close had been produced, and scarcely
credited
my assertion that
sole cause.
a
moderate tempo was the
The musicians in the
might have divulged a
orchestra, however,
little secret,
namely this
:
—in
the fourth bar of the powerful and brilliant entrata
f-
.<2.
^1
-Jz
I interpreted the sign
-,
which
in the score
might
be mistaken for a timid and senseless accent, as a
mark
of
diminuendo IIi:i=^ assuredly in accordance
with the composer's intentions
more moderate degree of the theme • (See
of force,
Eduard Bernsdorf
Welt, No. 67, 1869).
in
— thus
we reached
a
and the opening bars
Signale fiir die musicalish
ON CONDUCTING.
were
once distinguished by a softer inflection,
at
now
which, I
simo
—
59
could easily permit to swell to fortis-
thus the
warm and
supported by the
tender motive, gorgeously
full orchestra,
appeared happy and
glorified.
Our Capellmeisters
are not particularly pleased at
a success such as this.
Herr Dessof, however, afterwards to conduct "
whose business Der Freyschiitz,"
it
was
at
the
Viennese opera, thought
it
members
undisturbed in the posses-
sion
of the orchestra
new
the
of
advisable to leave the
He announced
reading.
them, with a smile, saying
:
this to
" Well, gentlemen,
let
us take the overture a la Wagner.'' Yes, Yes
:
—a
la
Wagner
I believe there
!
be no more harm in taking a good a la
Wagner
At
all
many other
* !
events this
was an
entire concession on the
part of the Viennese Capellmeister similar case,
my former
would only consent last
would things,
movement
of
to
;
whereas in a
colleague, the late Eeissiger,
meet
Beethoven's
me
A
half way. In the major symphony, I
discovered a piano which Eeissiger had been pleased
—
=
* " Wagnerisch " there is a pun here wagen to dare erwagen = to weigh mentally: thus " TFa^nerisch," may be taken as in a daring well considered manner.
—
:
WAGNER
60
when he conducted
to insert in the parts
the work.
This piano concerned the grand preparation for the close of this final
movement, when, after the powerdominant seventh A
reiterated chords on the
ful
(Breitkopf and Haertel's Score, page 86) the figure
is
carried on forte, until with "
becomes Eeissiger
still ;
more
violent.
sempre piu
forte,"
This
not
did
it
suit
accordingly, at the bar quoted, he inter-
polated a sudden piano, so that he might in time
this piano
Of course, I erased and restored the energetic forte in its
integrity.
And
get a perceptible crescendo.
thus, I presume, I again
an offence against
committed
Lobe and Bernsdorf's
'*
eternal
laws of truth and beauty," which Reissiger, in his day,
was
so careful to obey.
After I had
symphony came he did not
left
Dresden, when this
to be
A
major
performed again under Reis-
about that passage so he stopped the orchestra, and advised that it should siger,
feel at case
be taken mezzo forte
On
;
!
another occasion
(not
very
long
ago,
Munich), I was present at a public performance the tive
overture to " Egmo?it,"
— somewhat
after the
at of
which proved instrucof the customary
manner
performances of the overture to " Der Freyschiitz."
ON CONDUCTING. In the Allegro
the
of
61
Egmont overture*
the
powerful and weighty sostenuto of the introduction
^ is
m
l?d-
used in rhythmical diminution as the
the second theme, and
is
:
first
half of
answered in the other half
y a soft and smooth countermotive.
The conductor, custom,
theme, a contrast to be swept
sere
t in accordance with "classical"
permitted this concise and concentrated of
power and gentle
away by the rush
and withered
self-content,
of the Allegro, like a
leaf; so that,
whenever
it
caught
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
the ear at
When
all,
a sort of dance pace
in
Biiloiu,
was
senior conductor *
Beethoven
—
:
the
absence of the favourite
called
Op. 84.
upon f
to lead the
music
Franz Lachner.
' an Austrian peasant's dance, in triple time, I Laendler from which the waltz is derived.
62 to
.
Egmont
WAGNEE
Munich, I induced him, amongst
at
other things, to attend to the proper rendering of this passage.
— concise,
It
laconic
proved at once strikingly effective
— as
Beethoven meant
it.
The
tempo, which up to that point had been kept up
with passionate animation, was firmly arrested and very slightly modified
—just
much, and no more
as
than was necessary to permit the orchestra properly to attack
this
thematic combination,
so
full
of
energetic decision and of a contemplative sense of
At the end
happinesss. tion
is
manner
;
f time the combinamore determined
of the
treated in a broader and
still
and thus these simple, but indispensible,
modifications brought about a
overture
— the correct reading.
new reading of the The impression pro-
duced by this properly conducted performance was singular, to say the least of
it
;
I
was assured that
the manager of the Court theatre w^as persuaded there had been " a breakdown."
No
one among the the audience of the celebrated at Munich dreamt of " a break-
Odeon Concerts
down
"
when
the above-mentioned senior " classical"
conductor led the performance of Mozart's
G
minor
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
manner
expression
are
scanty, the wonderful
composition
ON CONDUCTING. arouses one's feelings to
read
it
;
63
and fancy supplies the means with such feelings.
in accordance
It
seems as though Mozart had expected something of the kind, for he has given but few and meagre indications
of
So we
the expression.
felt free to
indulge ourselves in the delicately increasing swing of
moon-like
the quavers, with the
violins
the notes of which legato
rise
of
the
:
;
we
believed to sound softly
the tenderly whispering
i^^- ^^ touched us as with wings
of angels,
solemn admonitions and questionings
and before the of
/
ii
:t=lzfei
^^r^
jo-^-
(which, however, crescendo)
we heard
we imagined
1
-^Sr in a finely
eto.
sustained
ourselves led to a blissful
which came upon us with the final Fancies of this sort, however, were not per-
evanescense, bars.
mitted during the
strictly
classical
performance,
under the veteran Capellmeister, at the Munich
WAGNEE
64
Odeon
:
the proceedings, there, were carried on with
a degree of solemnity, enough to
make
one's flesh
creep with a sensation akin to a foretaste of eternal perdition.
The
Andante was converted into a not the hundredth part of the quaver was spared us stiff and
lightly floating
ponderous Largo
;
weight of a single
;
bronze
ghastly, like a
pigtail,
the hattuta of this
Andante was swung over our heads even the feathers on the angel's wings were turned into ;
corkscrew curls
of
—
Already, I
war.
a Prussian
rigid, like
felt
recruithig officer,
longed to be bought terror,
when
those of the seven years
myself placed under the
off
—but
!
who can
staff
and
1740,
guess
my
the veteran turned back the pages, and
recommenced
Largo-Andante
his
" classical" justice to the two
double bar in the score
and succour
a.d.
— and
!
little
I looked
merely
to
do
dots before the
about
me
for help
beheld another wondrous thing
the audience listened patiently
:
quite convinced that
everything was in the best possible order, and that
they were having a true Mozartian "feast for the
ears" in so, I
all
innocence
acquiesced, and
and
bowed
my
safety.
head
Once, however, a Httle later on,
— This
being
in silence.
my
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 failed.
march up
the
But now
it
became
undoubtedly " veteran "
master
in the second act.
evident that
I
ON CONDUCTING.
65
even make out how | time was to be changed to an equivalent ^ i.e., two crotchets could not
:
f
r
into a triplet of three crotchets
The
trouble arose during Tannhauser's narrative of
when
his pilgrimage (Act III.),
=?=:
is
'I
-(=2.
:t=r :tz;
This was too
much
for the veteran.
He was
properly accustomed to beat | on the square is
also
G
custom
the
I after the
beat
•;=?== :c;
-f^-i-(:2-
=^=^
iT^:
It
:Ust
replaced by
:z^:
^
manner
— two in the bar.
minor symphony did
—
such conductors
of
of ^, that
is,
;
to
very but
it
beat
with an Alia breve
(Only in the Andante of the I
witness six grave quaver
my poor narrative about the Pope at Eome, the conductor thought two beat=l,
2, 3,
4, 5, 6).
But, for
timid ^^/a^reye beats sufdcient of the orchestra
might be
— so that the members make out Thus it came to
left at liberty to
the crotchets as best they could.
pass that the tempo was taken at exactly double the
proper pace
:
namely, instead of the equivalents just
described, things appeared thus
:
WAGNER
66
-(2—
ipiif:
fa2=
t=t
:^=t
etc.
•^-^
-^-P=^-
ifirpzuei
—
t^-
No w, this may have been very interesting, musically, but it compelled the poor singer of Tannhauser to relate his painful recollections of
Kome
to a
waltz-rhythm (which, again, reminds grin's narrative about the
Holy
gay and
me
of
lively
Lohen-
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-
hauser as Ludivig Schnorr* I was bound to establish the right tempo, and, for once, respectfully to interThis, I
fere.
am
and annoyance. caused some
little
sorry to say, caused I
some scandal
fear in course of time,
it
even
martyrdom, and inspired a
cold-
blooded Gospel-critic t to celebrate and console the veteran-martyr in a couple of sonnets.
Indeed,
we
" got sundry " martyrs of classical music
have now crowned with a halo of poetry. examine them still more closely *
Ludwig Schnorr von
I shall
beg leave to
in the sequel.
Carolsfeld, the first " Tristan," died
1865. f
David Strauss, author
of
" Das Leben Jesu."
It has repeatedly been pointed out that our conductors dislike attempts at modification of tempo, for
the sake of perspicuity in the rendering of Beethoven
and
other
music.
classical
I
have shewn that
plausible objections can be urged against such modifications,
so
long as they are not accompanied by
corresponding modifications of tone and expression
and
I
;
have further shewn that such objections have
no foundation other than the incompetence ductors,
who attempt
they are not
In
fit.
to
perform functions
fact, there
more detrimental
to a piece of
nuances of tempo,
etc.,
:
which
but one valid
is
objection which can be urged against the
procedure I advocate, namely this
of con-
for
mode
of
nothing can be
music than arbitrary
such as are likely to be
introduced by this or that self-willed and conceited time-beater,
" effective."
for
the
sake of what he
may deem
In that way, certainly, the very exist-
ence of our classical music might, in course of time, be undermined.
Now, what
is
to be said or
done
in
the face of so sad a state of things ?
A
sound public opinion with regard (67)
to questions of
WAGNER
68
Germany
art does not exist in
amongst us that could
and there
;
is
nothing
effectually put a stop to such
Thus, the above objection, valid as
vagaries.
(though seldom put forward in good points towards the conductors
;
for,
faith),
if
it
is
again
incompetent
persons are not to be permitted to maltreat classical
music
at their pleasure,
how
is
it
that the best and
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
In
'?
is
many
instances
the objection in
merely put forward as a pretext for
opposition to
all
efforts in
the direction I have in-
Indolent and incompetent persons form an
dicated.
immense majority and, under certain circumstances, incompetency and sluggishness unite, and grow ;
aggressive.
The
first
performances of classical compositions
with us have, as a
rule,
been very imperfect.
(One
has but to recall the accounts of the circumstances
under which Beethoven's most
were the
first
first,
difficult
symphonies
A
good deal also has, from been brought before the German pubhc in performed
!).
an absolutely incorrect manner (compare
my
essay
on " Gluck's Overture to Iphigenia in Aulis " in one of the earlier
Musik.")
*
of execution
Wagner
volumes
of the
This being
so,
"
Neue
how can
appear other than
it is ?
" Gesammelte Schriften.'^
Zeitschrift fur
the current style
In Germany
Vol. V., p. 143.
ON CONDUCTING.
69
the " conservators " of such works are both ignorant
and incompetent.
And, on the other hand, suppose
one were to take an unprejudiced and impartial view
manner
of the
led
such works
musicians,
not
in !
which
How
a master
can
it
Hke Mendelssohn
be expected that lesser
speak of musical mediocrities
to
comprehend things which have remained doubtful to their master ? For average generally, should really
people,
who
are not specially gifted, there
good guide to excellence
—a
but one
is
good example
;
and a
guiding example was not to be found in the path
chosen by the host of mediocrities.
Unfortunately,
they entirely occupy this path or pass, at present,
without a guide or leader
— and any other person who
might, perchance, be capable of setting up a proper
example, has no room
deem
it
worth while
For these reasons
left.
I
to strip this spirit of reticence
and shallow pretence of the halo of sanctity with which it poses as the " chaste spirit of German art."
A
poor and pretentious pietism at present
every
effort,
and shuts out every breath
At
from the musical atmosphere. live to see
I therefore think
it
forward survey of this
of
we may
!
advisable to take a straightspirit, to
look closely into
and to openly assert that
common with is
of fresh air
this rate
our glorious music turned into a colourless
and ridiculous bug-bear
eyes,
stifles
the true spirit of
it
its
has nothing in
German
music.
It
not easy to estimate the positive weight and value
modern,
Beethovenian,
music
—but
we may
WAGNEE
70
perhaps hope to get at some negative proof
of
its
worth, by an examination of the pseudo-Beethovenian-classicism
now
in the ascendant.
how
It is curious to note
the opposition to the
things I advocate finds vent in the press, where un-
educated scribblers clamour and create a disturbance, whilst in the ^profession proper, the utterances are far
from noisy, though
sufficiently bitter.
("
You
he cannot express himself," a lady once said to with a
As
I
see
me
one of these reticent musicians).
sly glance at
have said at the outset this new musical Areo-
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
of
:
;
did not think
much
the face
certain
of
each other
of
disturbances
;
but
latterly, in
which seem
to
threaten their flourishing business, they have united
mutual admiration
in
;
so that in the
Mendelssohnian school, with is
now
lauded and protected
all
South the
that pertains to
— whilst, in
it,
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
—
Franz Lacbner, and his Orchestral Suites, t
Peter Josef von Liudpaiututr, 1791-1B56, Capellmeister
at Stutt<4art.
ON CONDUCTING. two
prosperity the
Perhaps
at
the
species
shaking
are
an
such
outset
71
hands.
alHance
was
rather repugnant to those of the old native type
but they got over the
difficulty
by the aid
not particularly laudable propensity of
;
of that
Germans
;
namely, a timid feeling of jealousy which accompanies a sense of helplessness {die mit der TJnheliol-
This propensity
fenheit verhiindene Scheelsucht),
temper
of
German musicians
of
spoilt the
diate his true nature of the elegant of the
sition
one
of
most
the
later times,* led
and
to
him
eminent to repu-
submit to the regulations
and alien second species. The oppomore subordinate musicians signifies
nothing beyond this; "
want
others
to
them advance
see
to
we cannot advance, we do advance, and we are annoyed
at least
in
spite
honest Philistinism;
of
us."
This
is
dishonest only under
provocation.
In the newly formed camp, however, things are not
so simple.
Most complicated
maxims have
there been evolved from the queer ramifications of person, social, and even national interests.
Without
going into details, I will only touch one prominent point, that here there is
deal
to
hide
and
fraternity hardly think
are " Jimsiciafis"
a good deal to conceal, a good
The members of the desirable to show that they
suppress.
at
it
all;
and they have
sufficient
reason for this.
Our
true
German musician was * Robert Schumann.
originally a
man
WAGNEB
72
In days gone by the social
difficult to associate with.
position
musicians in Germany, as in France
of
and England, was aristocratical
the
status
social
excepted). native
far
musicians
of
{
Italians
alone
were everywhere preferred
Italians
Germans
Princes and
from good.
generally, hardly recognised
society
to
Mozart me^
(witness the treatment
with at the Imperial Court at Vienna)
Musicians
.
remained peculiar half-wild, half-childish beings, and
were treated as such by their employers. The education, even of the most gifted, bore traces of the fact that
they had not really come under the influence
of refined and intelligent society
when he came It
was taken
in contact
— (think
for granted that the
tion of professional musicians
was such influence
When Marschner* awaken the orchestra,
spirit
to
the
in 1848,
of
the
Beethoven
mental organisa-
them
insusceptible
of
with Goethe at Teplitz)
me
found
members
he seriously dissuaded
as to render of
striving to
of the
me,
culture-
Dresden
saying
he
thought professional musicians incapable of understanding what I meant.
Certain
it
is,
as I
have
already said, that the higher and highest professional posts
were
formerly occupied by
men who had
gradually risen from the ranks, and in a good jour-
neyman-like sense this had brought about excellent result. * Hoiuricli
A
many an
certain family feeling, not devoid
Marscbner, 1796-1861, operatic composer at Dresdeu, subsequeutly conductor at Leipzig and Hauover.
Wcbor'H
colloa<^uo
;
ON CONDUCTING. of
warmth and
depth, was developed in such patri-
archal orchestras to
73
— and this family feeling was ready
respond to the suggestions of
But
leader.
just as, for instance, the
sympathetic
a
Jews formerly
new
kept aloof from our handicraftsmen, so the
not grow up among
species of conductors did
musical guilds
— they
hard work there. guilds
—much
the
would have shrunk from the
They simply took the
lead of the
as the bankers take the lead in our
industrial society.
To be
able to do this creditably
conductors had to show themselves possessed of
something that was lacking to the musicians from the ranks
— something
at least very difficult to ac-
quire in a sufficient degree,
lacking
:
if
it
was not altogether
namely, a certain varnish of culture (GeAs a banker is equipped with capital, so
bildetheit)
.
our elegant conductors are the possessors of pseudoI say pseudo-culture, not culture, for
culture.
ever really possesses the latter
and above
ridicule.
is
who-
a superior person
But there can be no harm
in
discussing our varnished and elegant friends.
met with
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
a case in
assiduously, never got over a certain anxious timidity
and in
spite of all his well-merited
remained outside the pale
of
seems probable that a feeling straint
was
a
source of
German
art-life.
of isolation
much
;
successes, he It
and con-
pain to him, and
WAGNEB
74
The reason
shortened his hfe.
for this is to be
found
in the fact that the motives of a desire for culture,
such as
spontaneity
his, lack
{dass
dem Motive eines
solchen Blldungsdranges heine Unbefangenheit inne-
—
and arise from a desire to cover and conceal some part of a man's individuality, rather than to
wolint)
develop
But cess
it
freely.
true culture a
:
extremely intelligent in
ways yet the point at which these ways meet be other than that of " pure intelligence " {rein-
certain
may
not the result of such a pro-
is
man may grow ;
sehende Intelligenz) in the case of
.
To watch such an
inner process
a particularly gifted and delicately
organized individual case of lesser and
is
sometimes touching
more
trivial
;
in the
natures however, the
contemplation of the process and
its
results
is
simply
nauseous. Flat and empty pseudo-culture confronts us with a grin, and
if
we
are not inclined to grin in return, as
our civilization are wont to
superficial observers of
we may indeed grow seriously indignant. And German musicians now-a-days have good reason to be indignant if this miserable sham culture presumes do,
to judge of the spirit
and significance
of
our glorious
music.
Generally speaking,
it
is
a characteristic trait of
pseudo-culture not to insist too much, not to enter deeply into a subject or, as the phrase goes, not to
make
niucli fuss
about anything.
high, great and deep,
is
Thus, whatever is
treated as a matter of course.
75
ON CONDUCTING.
a commonplace, naturally at everybody's beck and
something that can be readily acquired, and, if need be, imitated. Again, that which is sublime, call
;
god-like, demoniac,
because
it is
must not be dwelt upon, simply
impossible or
Pseudocopy. " excrescences," " ex-
difficult to
culture accordingly talks of
—
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
and the
aggerations,"
of aesthetics,
—
" artistic
calm and beauty "
guileless innocence of
laudation
;
violent, is
and
who now and then was
treated rather contemptuously
;
service,
home
is
in
new
In other de-
Greeks are pressed into
of art, too, the
on the ground that Greece was the very
of " clear transparent serenity" and, finally,
such shallow meddling with
and
evolved.
of
too
so,
sage accord with the Philistines of the day, a
conception of classicality
partments
The
becomes an object
art "
Schiller,
"
in lieu thereof.
together in a
all
that
is
most earnest
the existence of man,
terrible in full
is
gathered
and novel philosophical system
*
wherein our varnished musical heroes find a comfortable
How
and undisputed place
of
honour.
the latter heroes treat great musical works I
have shewn by the aid examples.
It
of
a
few representative
remains to explain the serene and
cheerful Greek
sense
of
that
" getting over the
* Hanslick's " Vom Musicalish-Schoenen," and particularly Vischer's voluminous " System der ^sthetik."
WAGFEE
76
ground
"
which Mendelssohn
recom-
so earnestly
This will be best shown by a reference to
mended.
his disciples
and successors.
Mendelssohn wished
to hide the inevitable shortcomings of the execution,
and also, in case of need, the shortcomings of that which is executed to this, his disciples and suc;
superadded the
cessors
" cidtitre"
namely,
:
specific
motive
their
of
"to hide and cover up
in
general," to escape attention, to create no disturb-
There
ance.
which
is
a quasi physiological reason for this
For the performance scale
:
at
of Tannhaiiser, at Paris, I
scene in the " Venusberg " on a larger
re- wrote the
ballet
once upon a time
I accidentally discovered
one
of the rehearsals I explained to the
master that the
little
tripping ^«s of his
Maenads and Bacchantes contrasted miserably with
my
music, and asked
and bold
for
his
him
corps
to arrange
— something
groups of Bacchantes on ancient
"Ah,
I
akin
bas-reliefs.
upon the man whistled through said,
something wild
his
to
the
There-
fingers,
and
understand perfectly, but to produce
anything of the sort I should require a host of ; 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
liremicrs
you
siijets
say,
which induced
my
Parisian
ballet-master
to
rest
content with the most vapid pas of Masnads and
Bacchantes, forbids om^ elegant, new-fangled conductors to cut the traces of their "culture."
They
ON CONDUCTING. are afraid such a thing
might lead
77 to a scandal a la
Meyerbeer was a warning
Offenbach.
Parisian opera had tempted
him
them; the
to
into certain ambigu-
ous Semitic accentuations in music, which fairly scared the
A
"men
of culture."
large part of
their education has ever since
consisted in learning to
watch
their behaviour,
to suppress any indications of passion
one
who
naturally lisps and
keep quiet,
lest
stammers,
;
is
and
much
as
careful to
he should be overcome by a
fit
of
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 hissing
and stuttering.
fulness has assisted in the removal of
;
certain personal characteristics, to be converted into
a principle for the treatment of our art are
stiff
mannerly
Germans
!
and awkward when they want to appear :
and superior ivhen they
hut they are nohle
grow warm.
And
are
we
please those reticent persons
to suppress '?
though they expected us to do In former days, whenever
I
In truth,
our it
fire to
looks as
so.
met a young musician
WAGNER
78
who had come
in cantact
with Mendelssohn,
that the master had admonished
when composing, and
of effect
him not
I learnt
to think
to avoid everything
that might prove meretriciousl}' impressive.
Now,
was very pleasant and soothing advice and those pupils who adopted it and remained true to this
:
the master, have indeed produced neither " impression
nor
seemed
effect ;"
meretricious
to
me
the
only,
advice
rather too negative, and I failed to see
the value of that which was positively acquired under it.
I believe the entire teaching of the Leipzig Con-
servatoium was based upon some such negative advice,
and I understand that young people there have been warnings
positively pestered with
whilst their best endeavours
ment from the masters unless with
fully coincided
psalms.
The
first
the
like kind;
of a
met with no encouragetheir taste in
the
tone of
result of the
new
music
orthodox
doctrine,
the most important for our investigations, light in the execution of classical music.
and
came
to
Everything
here was governed by the fear of exaggeration {etica in das Drastische zu fallen).
hitherto
not
found
I
have
for instance,
any traces that those
later
pianoforte works of Beethoven in which the master's peculiar
style
is
best
developed,
have
actually
been studied and played by the converts to that doctrine.
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
— but by a
camp wherein
a
Franz
No
those
79
who came from
person
do not prevail-
doctrines
Liszt, also, gratified
my
longing to hear Bach.
doubt Bach has been assiduously cultivated by
Liszt's opponents, they esteem
purposes,
since
Bach
smooth and mild
a
for teaching
manner
of
execution apparently accords better with his music
than " modern
effect "
or Beethovenian strenuous-
ness {Drastik). I
once asked one of the best-reputed older musi-
cians, a friend I
and companion
of
Mendelssohn (whom
have already mentioned a propos
of the
tempo di
menuetto of the eighth symphony*) to play the eighth ,
Prelude and Fugue from the
Wohltemperirte Clavier"
first
(E
flat
part of
which has always had a magical attraction
He
"Das
minor), a piece for
me.f
very kindly complied, and I must confess that I
much
have rarely been so tainly, there
was no
gothicism and
all
taken by surprise.
trace here of
Cer-
sombre German
that old-fashioned stuff
:
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
I
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
Ferdinand
Prelude VIII., from Part
and Fugues.
tingled in
my
ears,
Hiller. I.
of
Bach's 48 Preludes
WAGNEE
80
when
my
at length I
begged Liszt
once to cleanse
for
musical soul of the painful impression
the fourth Prelude and
knew what
Fugue
(C
;
he played
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,
I
to expect
;
dering of this single fugue of Bach's, Liszt revealed
Bach
to
me
what
to
make
;
so that I henceforth
Bach, and how
of
knew
for certain
to solve all doubts
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.
I
;
:
play a piece of Bach's."* I
would
like further to question
any member
that musical temperance society, and,
been his flat
if it
hear Liszt play Beethoven's great
lot to
of
has ever
B
him to testify honestly really known and understood
Sonata, I would ask
whether he had before that sonata ?
who was
I,
at least,
so fortunate
;
am acquainted with
a person
and who was constrained
to
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
temperance"?
? a
No!
member it is
of
that " school for
Liszt's chosen successor,
Hans von Billow. So much
for the present
on this subject.
It
might
prove interesting to observe the attitude these reticent *
Sec Appendix C.
ON CONDUCTING.
81
gentlemen take up with regard to performances such as Liszt's
The
and Billow's.
successes of their policy, to which they are
indebted for the control of public music in Germany,
need not detain us
we
but
;
are concerned in an
examination of the curious religious development withIn this respect the earlier
in their congregation.
maxim, "beware of effect" ment and cautious timidity
—the result embarrass—has now been changed of
from a delicate rule of prudence and security to a positively aggressive
The adherents of this dogma
dogma.
hypocritically look askance
with a true
man
shocked, as though they had
The
improper. ally served
they happen to meet
if
They pretend to be come across something
music.
in
spirit of their
to conceal
their
shyness, which origin-
own impotence, now
attempts the defamation of other people's potence.
Defamatory insinuations and calumny acceptance
with
the
representatives
Philistinism, and appear to be at
and paltry state
The principal judicious
self.
home in we have
seen,
affairs.
ingredient, however,
is
an apparently
caution in presence of that which one
happens to be incapable of that
ready
German that mean
which, as
of things
environs our musical
find of
of,
which one would
It is sad,
above
all
together with detraction like to
accomphsh one's
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
WAGNEE
misfortune was that
Schumann
in his later days
attempted certain tasks for which he was not quaHfied.
And
a pity to see that portion of his work, in
it is
which he
mark he had
failed to reach the
set himself,
raised as the insignia of the latest guild of musicians.
A
good deal most worthy
Schumann's early endeavour was
of
admiration and sympathy, and
of
been cherished and nurtured by us
(I
it
has
am proud here to
rank myself with Liszt's friends) in a more commend-
commending way than by his immediate adherents.* The latter, well aware that Schumann able and
had herein evinced true productivity, knowingly kept these things in the background,- perhaps because
On Schumann conceived
they could not play them in an effective way. the other hand, certain works of
on a larger and bolder
scale,
become apparent
of his gifts
The
forward.!
and in which the limits
are
now carefully brought
public does not exactly like these
works, but their performance offers an opportunity point
to
out
"make no works
of
how commendable
a
thing
it
is
to
effect."
Finally, a comparison with the
Beethoven
in his third period (played as
they play them
)
comes
in opportunely.
Certain later, inflated {schwillstig) and dull productions of
Schumann, which simply require
11.
played smoothly
(
glatt herunter gespielt
)
to be
are con-
* See Appendix D. +
Such as the Overtures
Julius Ciosar
;
Sanger Fluch,
to Faust, Die Braut vou Messina, the " Balladon," Das Gliick von Edenhall, Des
Vom
Pagen und der Kouigstochter,
etc.
ON CONDUCTING. founded with Beethoven to
show
83
and an attempt is made spirit with the rarest,
;
that they agree in
boldest and most profound achievements of
music
!
Thus Schumann's shallow bombast
German is made
to pass for the equivalent of the inexpressible purport of
Beethoven
— but always with the reservation that
strenuous eccentricity such as Beethoven's admissible
;
whereas, vapid emptiness
is
das
(
hardly gleicli-
and proper a point at which Schumann properly played, and Beethoven improperly rendered, are perhaps comparable withgiltig
out
Nichtssagende
much
fear of
is
)
right
:
misunderstanding
!
Thus these
singular defenders of musical chastity stand towards
our great classical music in the position of eunuchs in the
Harem
Grand-Turk's
German
Philistinism
is
;
and by the same token
ready to entrust them with
the care of music in the family
anything ambiguous
is
— since
it is
plain that
not likely to proceed from
that quarter.
But now what becomes of our great and glorious German music / It is the fate of our music that really concerns us.
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 if,
after a century of
inheritance.
Regarded as individuals, there
blame
in these musicians
;
most
of
is
not
much
to
them compose
WAGNEE
84
Herr Johannes Brahms once had the
very well.
own
kindness to play a composition of his
—a
with very serious
piece
variations
to
me.
— which
I
thought excellent, and from which I gathered that
he was impervious
His performance
to a joke.
other pianoforte music at a concert gave pleasure. friends
I
of
even thought this
gentleman
me
of
less
impertinent that the
it
themselves
professed
unable to attribute anything beyond "extraordinary technical
power"
to " Liszt
the execution of Herr
and his school," whilst
Brahms appeared
and wooden.
so painfully
have liked to see Herr Brahms' technique annointed with a little an ointment which does of the oil of Lizst's school dry, inflexible
I should
;
not seem to issue spontaneously from the keyboard, but
is
evidently got
from a more
than that of mere " technique."
To
ethereal region all
appearances,
however, this was a very respectable phenomenon only
it
remains doubtful
how
could be set up in a natural
:
such a phenomenon
way
as the Messiah, or
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 at
least
the Messiah's
ON CONDUCTING.
85
incomprehensible, they shall, at least, not be per-
mitted to assume that no difference exists. I have already indicated sundry special aspects of this sanctimoniousness. little
further
we
shall
Following
come upon
a
its
new
aspirations a field,
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 " {muck-
my
Tendenzen ) in
eriscke
man
evidently did not
saying
merely wished to use an unpleasant word. experience has led
me
sect of hypocrites (Mucker)
tain characteristics
:
But
:
he
my
understand that the essence
to
and the singular tendency
of hypocrisy,
The
artistic theories.
know what he was
,
may
of a repulsive
known by
be
—they wish to be
cer-
tempted, and
greedily seek temptation, in order to exercise their
power
of resistance
!
—Actual scandal, however, does
not begin until the secret of the sect
object of the
of
the adepts and leaders
— the resistance — they
is
disclosed
adepts reverse the
;
resist
with a view to
increasing the ultimate sense of beatitude. ingly,
if
this
were applied to
art,
Accord-
one would perhaps
if one were to attribute hypocritical tendencies to the queer " school
not be saying a senseless thing for chastity " of this
The lower vacillating art
Musical Temperance Society.
grades of the school
may
between the orgiastic
be conceived as
spirit of
and the reticence which their dogmatic (86)
musical
maxim
87
ON CONDUCTING. imposes upon them
— whilst
it
can easily be shewn
that the higher grades nourish a deep desire to enjoy The " Liebesis forbidden to the lower.
that which
lieder-Walzer " of the blessed Johannes the
lower grades " the Opera,"
;
whereas
which troubles the sanctimonious
may
for
be accepted as the
and highest grades.
of the higher
member,
of the
the intense longing after
devotions of the adepts,
mark
(in spite of
might be taken as the exercises
silly title)
If a single
once only, were to achieve a success
it is more than probable that the But, somehow, "school" would explode. no such success has hitherto been achieved, and this
with an opera, entire
keeps the school together
happens to
fail,
effort of abstinence, in the
the lower grades
symbol
finally
resisted
failures
may
for,
every attempt that
sense of the exercises of
and " the opera," which beckons a forlorn bride, can be made to
;*
in the distance like figure as a
;
can be made to appear as a conscious
of the temptation,
— so
that the
which
is
to be
authors of operatic
be glorified as special saints.
men
how do these musical gentleHaving stand with regard to " the Opera
paid
them
Seriously speaking,
V
which they we shall now,
a visit in the concert-room to
belong, and from which they started, for the sake of " conducting," look after
them
at the
theatre.
For a curious example of such exercises, see Ferdinand Killer's " 0;per oline Text ;" a set of pianoforte pieces, a quatre mains.
WAGNEB
00
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
by means
this.
of discussion
were very
I suspect there
A
good deal can be got
and arrangement
"German"
and
Mendelssohn
in his delicate ambition
"nobly-serene"
opera,
but a
;
such as
dreamt
not exactly a thing that can be manufactured old nor
purpose.
new testamentary recipes The master did not live to
at
of,
is
— nor
will serve the
reach the goal
but his companions and apprentices continued their
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,
as in a
game
round
to
in
and which steady perseverance,
of chance,
him.
depends
made
must, sooner or
But the " lucky
Schumann also did not members of the church
hit,"
later,
bring
invariably
many
missed.
succeed,* and
other
of abstinence, both
adepts and neophytes, have since stretched forth their " chaste
and innocent " hands
in search of
— they troubled greatly— but efforts proved fruitless — the " fortunate grip
operatic success
an
their
"failed.
* Genoveva,
Oper in vier Acteu, nacb Tieck und F. Hebbel, Musik vou Robert Scbumann, Op. 81." "
89
ON CONDUCTING.
Now
such experiences are apt to embitter the most
more
All the
harmless persons.
Capell-
so, since
Musikdirectors are daily occupied at
meisters and
the theatres, and are bound to serve in a sphere in
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. who gentlemen public art, that such is the fate of our are not even able to conduct concert music, are the
very complicated business of the
sole leaders in the
opera theatres
Let a reader
!
the condition of things there I
of discretion
imagine
!
have been prolix in showing the weakness
conductors, in
they ought to
very
the
our
where, by rights
field,
home.
at
feel
of
I can be brief
now
Here it simply comes them for they know not
with regard to the opera. to this
:
" Father, forgive
To
what they do."
;
characterise
their
good and significant might be done
and for
this
would lead
me
too
say
a
little
about
is
at the theatres,
Let
far.
For
another occasion.
only
disgraceful
show how much that
doings, I should have to
it
be reserved
the present I shall
their
ways
as
operatic
conductors.
In the concert room these gentlemen go to work with the most serious mein
deem
it
becoming
to put
;
at
the opera they
on a nonchalant,
sceptical,
They concede with a not quite at home in the
cleverly-frivolous air.
smile,
that they are
opera,
WAGNER
90
and do
not profess to understand
which
things
they
do not
much
about esteem.
particularly
Accordingly, they are very accommodating and com-
whom
female and male, for
towards vocalists,
plaisant
they are glad to
make matters comfortable
;
they arrange the tempo, introduce fermatas, ritardandos, accelerandos, transpositions, and, above " cuts,"
whenever and wherever a
Whence
to call for such.
indeed are they to derive
the authority to resist this or that absurd If,
perchance,
demand
?
disposed conductor
pedantically
a
all,
vocalist chooses
should incline to insist upon this or that detail, he will, as a rule,
be found in the wrong.
are at least at
home
at ease in the opera
they can do, and
worthy world
vocalists
own
frivolous way,
know
well
enough what
;
how
admiration
of
For
and, in their
they to do is
it
;
so that,
produced
if
anything
in the operatic
generally due to the right instincts of the
it is
vocalists, just
as
in
orchestra the merit
the
lies
almost entirely in the good sense of the musicians.
One has only to examine an orchestra part of "Norma," for instance, to see what a curious musical changeling
(
Wecliselhalg
)
such
innocent
sheets of music paper can be turned into
succession of the transpositions
Aria in
F
;
looking
the mere
—the Adagio
of
an
sharp major, the Allegro in F, and between
the two (for the sake of the military band) a transition in
E
flat
—
offers
a truly horrifying picture of the
music to which such an esteemed conductor cheerfully beats time.
91
ON CONDUCTING. It
was only
at a
suburban theatre
at
Turin
{i.e.,
that I witnessed a correct and complete performance of the " Barber of Seville " for our in Italy
)
;
conductors grudge the trouble
it
takes to do justice
even to a simple score such as "II Barbiere." They
have no notion that a perfectly correct performance, be it of the most insignificant opera can produce an excellent nnpression
by reason
upon an educated mind, simply
Even
of its correctness.
theatrical
concoctions,
the
at
the shallowest
smallest
Parisian
theatres, can produce a pleasant aesthetical effect, since, as a rule, they are
correctly rendered. is,
attained,
its
true art, although
is
is
conditions fulfilled it
once
at
that principle be
only some part of
if
properly applied, and
such
the artistic principle
an aesthetic result
in fact, so great that
and
carefully rehearsed,
The power of
may
and
:
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
level.
man — the ballet-master— and that man
hands
of
knows
his business.
one
to dictate the rate of
Fortunately, he
movement
is
in a position
to the orchestra, for
the expression as well as for the tempo, and he does so,
not according to his individual whim, like an
operatic singer, but with a view to the ensemble, the
concensus of sudden,
it
correctly felt
!
all
the artistic factors
;
and now,
of a
comes to pass that the orchestra plays
A
rare
sense
by everyone who,
of
after
satisfaction will
the tortures
of
be
an
WAGNEE
92 opera, witnesses
a performance of
one
those
of
Ballets.
In this way the stage manager might lend his aid to the ensemble of the opera.
the fiction that the opera
But, singularly enough, is
a branch of
absolute
music
is
of the
musical director's ignorance of the business of
everywhere kept up; every vocalist
an opera
;
yet
—
should happen that the right
it
if
instincts of gifted singers, musicians
generally are aroused
by a
fine
about a successful performance
tomed
to see the
aware
is
and executants
work, and bring
— are we not accus-
Herr Capellmeister
called to the
and otherwise rewarded, as the representative the total artistic achievement ? Ought he not
front, of
himself to be surprised at this ? Is he not, in his turn, in a position to pray " Forgive them, they
know not what they do ? " But as I wished to speak
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.
I
cannot dispute about
the conducting of our capellmeisters at the theatres.
Singers
may
do
so,
that this conductor
when they have is
or that the other one does not give
properly
;
in short,
journeymanwork,
But from all.
them
from the standpoint
a
complain
discussion
may
be
their cues of
vulgar
possible.
the 2^oint of view of truly artistic
this sort of conducting
at
to
not accommodating enough,
work
cannot he tahen into account
Among Germans, now
living, I
am, per-
ON CONDUCTING.
93
who can
venture openly
person
haps, the only
pronounce so general a condemnation, and I
to
am
maintain that I
not exceeding the limits of
my
when I do so. sum up my experiences, regarding performances of my own operas, I am at a loss to
province
If I try to
distinguish
with
conductors
I
which they
which
am
treat
the
of
concerned.
German music
qualities
Is
it
of
our
the spirit in
in the concert rooms,
the spirit in which they deal with the opera
or
at the theatres"?
I believe
it
to be
my
particular
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
my
spirit,
which practices upon our
classical concert
— as in the instrumental introductions to my operas — I have invariably discovered
music, gets a chance
the
consequences
disastrous
of the tempo,
for instance,
which
is
the
of
already described at such length.
I
bad
habits
need only speak
either absurdly hurried (as,
under Mendelssohn, who, once upon a
Gewandhaus
time, at a Leipzig
concert, produced
the overture to Tannhauser as an example and a
warning), or muddled
(like
the introduction
to
to
and almost everywhere else), muddled (like the introduction " Die Meistersinger," lately, at Dresden and
at
other places),
Lohengrin
at Berlin,
or both dragged and
sidered
I
yet
modifications
must count
as
much
never with those well-conof
as
the tempo, upon which upon the correct intonation
WAGNER
94
of the notes themselves, is
an inteUigible rendering
to be obtained.
To convey some the latter sort in
if
it
notion of faulty performances of will suffice to point to the
which the overture
to
"Die
way
Meistersinger "
is
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
tempo continues through a long if
the themes are treated episodi-
demands modification
as
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 ;
;
bars of four beats are found convenient, as these
tend to render modifications of
and simple. in
movement both easy
This moderate f time can be interpreted
many and
various ways
;
it
may
consist of four
vigorous crotchet-beats,
and thus express a true
animated Allegro
the main tempo I intend,
(this is
which becomes most animated
in those eight bars of
transition
which lead from the march proper
E
major )
;
or, it
may
to the
theme
in
be taken to consist of a demi-
.
ON CONDUCTING. period made up of two f beats entrance of the shortened theme,
^^^0-^-^-»-
-w^-
it
assumes the character
it
may
when
95
when,
as
;
3Ce -*-^ i=t =t
of a Hvely
at the
^
Scherzando
;
or,
even be interpreted as Alia hreve (f time)
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
Tempo andante
(
beginning from the eighth bar after the return to C major, in a combination of the principal march
theme,
now
allotted to the basses, with the second
main theme, now sung broadly and with commodious ease, in
rhythmical prolongation, by the violins and
violoncellos
'ig:^
This second theme has previously been introduced in diminution,
and
in
common
| time
:
WAGNEE
96
Together with the greatest dehcacy which the proper execution demands,
declaration of love
)
acteristic, delicacy,
to
hold back the
here exhibits a passionate,
it
ahnost hasty character
(
something Uke a whispered
Not
.
it is,
to disturb the
therefore, necessary slightly
tempo
(
the moving figuration
sufficiently expresses
passionate haste
extreme nuance
main tempo,
of a
of the
somewhat grave
{i.e.,
a bar
marked poco Through the more
thus the
adopted here
without really
disfiguring the general character of the
change.
),
in the direction
| time, should be
and, to do this without a wrench
is
main char-
main tempo),
rallentando, to introduce the restless
nuance
of this
theme
which, eventually, gets the upper hand, and which is
indicated
sionate)
it
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 ;
97
ON CONDUCTING. development
of
pompous march theme
the
to
expand to a lengthy coda of a cantabile character conceived in that tempo Andante alia
As
breve.
this full-toned cantabile
-•-1
is
y^
1
1
1
1
hT
'
*
1
:-!
1
> 1
^—
preceded by the weighty crochets of the fanfare
etc.
:^ /
the modification of the tempo must obviously begin at the end of the crochets, that
is
to say
with the more
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
could be trusted to attain the proper increase of
speed left to
;
the
more
so, as
such passages, when simply
the natural impulse of the executants always
induce a more animated tempo.
Being myself an
experienced conductor, I counted upon this as a matter of course, and merely indicated the passage
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
At the conclusion
of
the overture
the broader
G
WAGNER
98
^ time, quoted above in the powerfully sustained march-like fanfare, returns again the quick figured ;
embellishments are exactly as
it
It
was
tempo ends
the
began.
This overture was at Leipzig,
and
added,
when
performed at a concert
first
I conducted
so well played
as described above.
it
by the orchestra that the small
audience, consisting for the most part of non-resident friends,
demanded an immediate repetition, which the
musicians, accorded.
who The
was much talked
agreed with the audience, gladly favourable impression thus created of,
and the directors
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
—
that the audience hissed
how
far this result
I
!
do not care to investigate
was due
to the straightforward
honesty of the persons concerned
competent
musicians,
;
who were
performance, described to
me
let it suffice
that
present at the
the sort of time the
Herr Capellmeister had thought fit to beat to the overture and therewith I knew enough. If any conductor wishes to prove to his audience
—
or to his directors, etc.,
what an ambiguous
will run with " Die Meistersinger,"
no further trouble than after the fashion in
risk they
he need take
to beat time to the overture
which he
is
wont
the works of Jjcethoven, Mozart, and
to beat
it
to
Bach (which
ON CONDUCTING. fashion suits the works of R. it
will
99
Schumann
fairly well);
then be sufficiently obvious that he
is
dealing
—
let
anyone
with a very unpleasant kind of music
imagine so animated, yet so sensitive a thing as the tempo which governs this overture,
let this delicately
constituted thing suddenly be forced into the Pro-
crustus-bed of such a classical time-beater, what will
become lie,
off,
of it?
whatsoever
The doom is
"Herein
shalt thou
too long with thee shalt be chopped
and whatsoever
Whereupon
is:
is
too short shall be stretched
" !
the band strikes up and overpowers the
cries of the victim
!
Safely bedded in this wise, not only the overture, but, as will sCppear in the sequel, the entire opera of
Die Meistersinger, or as much the Capellmeister's cuts, of
Dresden.
On
:
it
was
as
this occasion, correctly
ally speaking, the merits of the
in this
of
was presented
the broadest nuance of
it,
and technic-
conductor
he made a guess at the main
and spread
whole, beating the steadiest and
left after
to the public
*
consisted
teiupo,
chose
this over the
stiffest
square time
from beginning to end The ultimate results were as follows I had made use of the combination of !
:
the two
main themes under an
alia breve
(
ideal
Tempo Andante
quoted above from the conclusion of the
overture, page 95
)
to
form a pleasant and cheerful
conclusion to the entire opera, something after the
manner of a burden to some old popular song: I had augmented and enlarged the treatment of the *
The
late Julius Rietz.
WAGNEE
100
thematic combination for
employed
it
as a sort of
now
purpose, and
tliis
accompaniment
Hans
to
Sach's epilogising praise of the " Master-singers,"
and
to his consolatory
rhymes upon German
Though
with which the work ends. serious,
meant
to
the
apostrophe
closing
art,
the words are
none the
is
have a cheering and hopeful
effect
less
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
before the end,
when
Now in the
the chorus enters.
overture, the conductor
had
failed to see the necessity
of a modification of the original
march-like tempo in
the direction of an Andante alia breve course, here
— at the
failed to feel
close of the opera
movement was not directly march tempo his first mistake
—
was therefore continued, and he proceeded of
fast the
Hans Sachs
deliver his
and, of
that the
connected with the
and hold
;
— he equally
in rigid \ time,
final
to confine
warmly-feeling singer of the part
and
address in the
compel liim
to
stiffest
to
and most
awkward manner possible. Friends of mine requested
me
to permit a large
of the close
was
"cut"
for
Dresden, as the
so very depressing.
the complaints soon ceased
understand the reason
why
;
I
declined
At length
I
effect ;
and
came
to
the Capellmeister had
acted for the obstinate composer;
" solely with a
view to the good of the work," he had followed the dictates of
liis
artistic
insight and conscience,
had
ON CONDUCTING.
hands on the troublesome apostrophe, and
laid his
simply " cut " "
101
Cut
it.
"
Cut
!
conductors
;
!
by
—
this
the ultirno ratio of our
is
aid they establish a satisfactory
its
equilibrium between their
own incompetence, and
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 "
!
(
arrangement so eminently practical. for of
me
my
to consider
what
I
am to
It only
remains
say to a performance
work, which thus appears enclosed between a
failure at Alpha,
and a
failure at
Omega ? Outwardly
An
unusually animated
things look very pleasant
:
audience, and an ovation for the Herr Capellmeister
—to
join in
which the royal father
returns to the front of his box.
of
my
country
But, subsequently,
ominous reports about cuts which had been made, and further changes and abbreviations super-added ;
whilst the impression of a perfectly unabbreviated,
but perfectly correct performance, at Munich, remains in
my mind, and makes
with the mutilators.
it
impossible for
me
to agree
So disgraceful a state of things
seems inevitable, since few people understand the gravity of the
any attempts
On
evil,
to
and fewer
mend
still
care to assist in
it.
the other hand there
is
some
little
consolation
work power that fatal power and " against which the professors of the Leipsic
in the fact that in spite of all ill-treatment the
retains
" effect
some
of
its
—
WAGNEE
102
Conservatorium so earnestly warn their pupils, and against which
assist
sorts of
all
destructive
tactics
are
Having made up my mind, not to personally at any future performance like the
applied in vain
!
"Die Meistersinger " at Dresden, I content to accept the " success " of the work as
recent ones of
am
a consolatory example illustrating the fate of our classical
music in the hands of
musicians.
continues to subject
it to.
the Spirit of
our conducting
warmth, and exist in spite of the maltreatment they and It appears truly indestructible music retains
Classical
its
:
German
art
bility as a consoling fact,
may accept this indestructiand may fearlessly continue
its efforts in future.
It
might be asked
but what do the queer con-
:
ductors with celebrated
names amount to, considered ? Looking at their
simply as practical musicians perfect unanimity in
might be
every practical
led to think that, after
business properly, and
their
all,
that, in spite of the
protest of pone's feelings, their
be " classical."
The
matter one
they understand
ways might even
general public
is
so ready to
take the excellence of their doings for granted, and to accept
it
as a matter of course, that the middle-class
musical people are not troubled with the slightest
doubt as to festivals, or
who
is
to beat time at their musical
on any other great occasion when the
nation desires to hear some music.
Herr fit
Hiller, Ilerr liietz, or
for
this.
It
would
No
Herr Lachner, l)e
is
one but thought
simply impossible
to
ON CONDUCTING.
103
celebrate the hundredth anniversary of Beethoven's birth
if
these three gentlemen should happen sud-
On
denly to sprain their wrists.
the other hand,
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
I
am
sorry to
know
say, I
of
:
talent for conducting
:
but such rare fellows find
it
on, because they are apt not only to
difficult to get
see through the incompetence of these celebrities,
but imprudent enough to speak about instance,
a
man happens
takes in the
to
it.
If,
for
discover serious mis-
orchestra parts
of
" 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
—
—
fellows are destined to perish like the heretics of old.
As everything and seems ask,
is
likely to
how can
thus apparently in good order
remain
this be ?
so,'I
We
whether these gentleman
am
again tempted to
entertain lurking doubts
really are musicians
evi-
;
;'
dently they do not evince the ^W^ite^i musical feeling yet, in fact, ical,
they /^ear very accurately (with mathemat-
not ideal, accuracy
;
contretemps like that of the
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
in short, they prove true professionals; this, their general education (Bildung)
WAGNEE
104
—
in spite of all efforts
—
is
such as can pass muster
in the case of a musician only
struck from the
be
little left
No, no
!
—
list of
;
so that,
if
music were
their attainments, there
least of all a
man
would
and sense.
of spirit
they certainly are musicians and very com-
petent musicians,
who know and can do
everything
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,
other than music? and music only!
can
be the reason of
this
"What, then,
barrenness,
dryness-
coldness, this complete inability to feel the influence of true music, and, in its presence, to forget little
vexation, any
mistaken personal
notion
'?
any
or
any
Could Mozart's
as-
small jealous distress,
tonishing gift for arithmetic serve us for a vague
explanation
?
On
the one hand,
it
seems that with
— whose
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
sensitive to
—
On
the other hand, BeetJioven's naive
up
liis
accounts
is
sufflciently well
way of adding known arith;
metical problems of any sort or kind assuredly never
entered into his social or musical plans.
Compared
105
ON CONDUCTING.
with Mozart he appears as a monstrum per excessum the direction of sensibility, which, not being
in
checked and balanced by an intellectual counterweight from the arithmetical side, can hardly be conceived as able to exist or to escape premature destruction,
had not fortunately been protected
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 ;
deal that appears regular
— almost
has already been touched upon)
is
too regular (as conceivable, and
can be explained as the result of a naive mixture those two extremes of musical perception.
of
Accord-
ingly the professional musicians under examination
appear as monstrosities in the direction of musical arithmetic
;
and
it is
not
difficult to
understand
how
such musicians, endowed with the very reverse of a
Beethovenian
temperament,
flourish with a nervous
succeed and
should
system of the
commonest
kind. If
tors
then our celebrated and uncelebrated conduc-
happen
sign of
to be born for
Numbers
seem very
desirable that
able to teach
by the rule ever acquire
some new school might be
them the proper tempo of three. it
I
for our
music
doubt whether they
will
way of musical feeling have now reached the end of
in the simple
wherefore, I believe, I
my
music only under the it would
(im Zeichen der Zahl),
;
task.
Perhaps the new school
is
already in sight.
I
WAGNEE
106
understand that a "High-School
Music" has
of
been estabhshedat BerHn, under the auspices
Eoyal Academy
of Arts
of the
and Sciences, and that the
directorship of the school has been entrusted to the
To
celebrated violinist, Herr Joachim.
school without Herr Joachim,
if
start
such a are
his services
would be a great mistake. I am inclined much from him because everything I know and have heard concerning his method of playavailable
to
hope
for
;
ing proves that this virtuoso
music.
By
a complete master of
the only living musician to
whom
It is
such connection
;
name mentioned
thinks
it
to
profess.
expedient to profess
veloped his fine style in Hiller, or of E.
in
with regard to that which a
can do and actually does, chooses
of the fore-
immaterial whether or not
likes to see his for,
is
I can point as a
and example in support
going assertions.
Herr Joachim
what he
for our classical
the side of Liszt and his disciples he
practical proof
man
is
demand
the style of execution I
Schumann,
the this
matters
it
If
little
Herr Joachim
that he has de-
company
may
rest
Herr upon its
of
merits, provided he always plays in such wise that
one
may
recognise the good results of several years
intimate intercourse with Liszt.
I also think
it
an
advantage that when a "High-School of Music"
was
first
thought
of,
the promoters at once secured
the services of an admirable j^rac^ica^ master of style
and
execution.
If,
capellmeistcr in the
to-day, I had to put a theatre
way
of
comprehending how he
ON CONDUCTING.
107
would much rather
ought to conduct a piece,
I
him
to the late
Frau Lucca, than
to
mann
at Leipzig,
even
if
refer
Cantor Haupt-
the latter were
still
alive.
In this point I agree with the naive portion of the
and indeed, with the taste
public,
of the aristocratic
patrons of the opera, for I prefer to deal with persons
who
actually bring forth something that appeals to
the ear and to the feelings. entertaining
Joachim
—
all
some
little
his
hand but a
violin
:
have always
I
doubt,
when
I see
Herr
— sitting on high in Academy — with nothing in
alone and solitary
the curule chair of the
ally
Yet, I cannot help
towards " the in the plural."
fair,"
for felt
towards violinists gener-
whom
The
Mephistopheles
as
he
affects
feels
" once for
conductor's baton
is
all
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,
Cimon and
was not
of
opinion that Themis-
would prove capable
Pericles
of
guiding the State by reason of their abilities as
commanders and speakers
;
for,
unfortunately, he
could point to the results of their successes, and
shew that the administration the case
is different in
became But perhaps
of State affairs
a source of personal trouble to them.
the realms of music.
Yet another thing appears dubious. I am told that Herr J, Brahms expects all possible good to
WAGNER
108
to the melody of Schubert's Herr Joachim, for his own part, Ought expects a new Messiah for music in general.
result
from a return
songs, and that
he not to leave such expectations to those chosen him " high-schoolmaster say to
him
"
to pass that all
Go
in,
and win
he himself
is
" !
?
"
who have
I, for
If it
my
part,
should come
the Messiah, he may, at
events, rest assured that the
him.
FINIS.
Jews
will not crucify
APPENDIX.
APPENDIX BEBIGHT an II.,
von
Bay em
A.
Seine Majestdt den Konig
Mimchen
iiber eine in
Deutche Musik-schule.
(
zii
Ludwig
errichtende
Keport concerning a German
music-school to be established at Mmiich)
Eeprinted in Wagner's
"
1865.
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
possess a school at which the
j)i'oper
Germany
execution of
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
Mozart's music
is
taught?
important works, for these belong to the operatic
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)
APPENDIX
112
A.
simply for the purpose of performance at some concert
he was about
known
also well
to give
that he
;
on the other hand,
made
it is
demands upon
great
Obviously
the orchestra in the matter of expression.
he trusted to his personal influence over the musiIn the orchestra parts
cians.
main tempo and piano
to note the
periods, since the master, sals,
was thus
it
could
sufficient
or forte for entire
who conducted
the rehear-
spoken directions as to
give
details,
and, by singing his themes, communicate the proper expression to the players.
We
accustomed to mark
now-a-days,
are,
details of expression in the parts
;
intelligent conductor frequently finds
indicate
ail
nevertheless an it
expedient to
important but very delicate nuances of
expression by word of
musicians
whom
mouth
they concern
;
to
the
particular
and, as a rule, such
spoken directions are better understood and attended to
than the written signs.
obvious that in the
It is
rendering of Mozart's instrumental music spoken directions played an important part.
With Mozart
the so-called development sections,
and the con-
necting
between
links
frequently originality
rather
shows
the
to greatest
character of the melodies.
main
whereas
slight,
themes
advantage
in the vocal
Compared with Haydn's
the significance of Mozart's symphonies extraordinarily
expressive
instrumental themes. possession of
are
musical
his
vocal
lies in
character of
the his
Now, had Germany been
an authoritative institution,
like
in
the
APPENDIX
lis
A.
Conservatoire of Paris, and had Mozart been asked to assist in the
and to
execution of his works,
superintend the spirit of the performances at such
an institution, we might possibly have something Hke an authoritative tradition amongst us a tradi-
—
tion such as, in spite of decay still
and corruption,
is
surprisingly vivid at the Paris Conservatoire
for instance, in the
case of Gluck's operas.
nothing of the sort exists with us.
But
Mozart, as a
wrote a symphony for some special concert,
rule,
performed
once,
it
with
an orchestra
engaged, at Vienna, Prague, or Leipzig
casually
and the
;
traditions of such casual performances are completely lost.
No
trace
And
scores.
preserved, except the scantily-marked
these classical relics of a once
work
vibrating trust,
is
as the
performance.
are sole
Now,
theme
pressive
of
now guide let
its
a
new
— Mozart, the
who was
noble
first
style
of
whose musical expression
very soul from the delicate vibrations,
swellings and accents of that style, and
the
living
us imagine such an ex-
with
classical Italian singing,
derived
towards
Mozart's
acquainted
intimately
warmly
accepted, with mistaken
who was
to reproduce the effects of this vocal style,
by means
of orchestral
such a theme
of the
instruments
—
let
us imagine
Master's played neatly and
smoothly, by an instrument in the orchestra, without any inflection, or increase or decrease of tone
and accent, without the slightest touch of that
H
APPENDIX
114
A.
movement and rhythm
modification of
pensable to good singing
so
indis-
—but monotonously enun-
one might pronounce some arith-
ciated, just as
number
—
and then, let us endeavour to form a conclusion as to the vast difference between the master's original intention, and the impression
mietical
The dubious value
thus produced. for Mozart, v^ill
professed by our music-conservators,
To
then also appear.
tinctly,
let
ample, the
of the veneration
shov^ this
more
us examine a particular case first
eight bars of the second
symphony in
—
dis-
for ex-
movement
E flat.
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
beautiful
—
!
in nine cases out of ten
colourless
and
lifeless
it
way
is ?
played, in a perfectly " Poor pen and paper
music, without a shadow of soul or sense." Seelenlose Schriftmusik).
-Hfe^^-^H-
(Eine
APPENDIX
B.
APPENDIX See p. 62, et seq. of Wagner's Dannreuther, London, 1882.
"
in
A Beethoven Day:"
C sharp minor.
''
B.
BeetJioven," translated
by E.
Beethoven's string quartet
"If we
rest content to recall the
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.
For, whilst listening to the work,
we
are.
bound
to
eschew any definite comparisons, being solely conscious of an immediate revelation from another world.
Even
then, however, the animation of the
picture, in its several details, has to be left to the
reader's fancy, suffice.
and an outline sketch must therefore
longer introductory Adagio, than which
The
probably nothing more melancholy has been expressed in tones, I would designate as the awakening
on the morn course shall * "
of
fulfil
Den Tag zu Nicht einen
a day that throughout
its
tardy
not a single desire:* not one. sehen, der mir in seinem Lauf Wunsch erfullen wird, nicht Einen."
Faust,
(117)
118
APPENDIX
None
the
less
is
it
God
ference with
B.
a penitential prayer, a con-
in the faith of the eternally good.
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
as
A llegro
the short transitional
though the Master, conscious
moderato
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
witness of pure,
figure, the
may
heavenly innocence so that
he
enrapture himself by
new and unheard
its
ever
incessantly of
transformations, induced by the refraction of the rays of (
fancy
Presto f),
upon
he casts
light
him,
it.
We may
now
happy
from upon
profoundly
within, casting an inexpressibly serene glance
the outer world in the Pastoral
;
and again,
stands before
it
Symphony. Everything
reflecting his inner
happiness.
It is
him
as
is
luminous,
as
though he
were listening to the very tones emitted by the
phenomena, that move,
and again
aerial
He
rhythmical dance before him. life,
and appears
for Life itself
meditation
(
to reflect
how he
Short Adagio 4 )
;
is
firm, in
contemplates
to play a dance
a short but troubled
— as though he were diving into the soul's He has again caught
deep dream. •
Ein wehmiithig holdes
sight of the inner
Spiel.
APPENDIX side of the
world
;
he wakens and strikes the strings
dance such as the world has never heard
a
for
World's own dance
(Allegro Finale).
It is the
delight,
anguish,
cries of
rapture, misery, rage ful
love's
wild
highest
voluptuous now, and sorrow-
;
the gigantic musician
proudly
things,
!
banning and compelling
;
him.
all
and firmly wielding them from
whirl to whirlpool, to the abyss. for the incantation
—He laughs at him-
was, after
all,
but play to
Thus night beckons.
It is not possible to
in
ecstasy,
;
lightning's quiver, storm's roll, and high above
;
self
119
B.
any
recourse
sort
of
to the
elucidation.
His day is done. consider the man, Beethoven,
light,
without
at
wonderful musician
once
having
by way
of
APPENDIX
C.
APPENDIX See
p.
C.
24 of " Bericht," add " Wagner, Ges. Scliriften,"
Vol. VIII., p. 186.
" It
Bach's music with-
to understand
is difficult
out a special musical and intellectual training, and is
a mistake to present
it
it
to the public in the careless
and shallow modern way we have grown accustomed to. Those who so present it show that they do not
know what they
are about.
cution of Bach's
.
.
.
The proper
music implies the
a difficult problem.
Tradition,
even
if
;
for
Bach,
master, never had
the
like
little
German command We know
every other
means
at
his
adequately to perform his compositions. the embarrassing
of
could
it
be shown to exist in a definite form, offers assistance
exe-
solution
circumstances under which 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
considered his works as existing merely in thought. It
is
a
task reserved for the highest
comprehensive musical
culture,
(123)
to
and most and
discover
APPENDIX
124 establish
a
mode
C.
of executing the
works
of this
wonderful master, so as to enable his music to appeal to the emotions in a plain direct manner.
APPE NDIX
D.
APPENDIX
D.
See Sir George Grove's " Dictionary of Music and Musicians." Article "
Vol. IV., p. 369.
Wagner."
" In earl}' days I thought
Schumann.
more would come of was brilliant and his
His Zeitschrift showed great
pianoforte works
was much ferment, but
many
bits are
highly, too, of
also
of his songs,
He
not as great as Schubert's.
declamation
*
I
consulted
me
of
him
at
tired, his
about
the
and
think
though they are
took pains with his
— no small merit forty years ago.
on I saw a good deal already his head was
He
real power,
quite unique and perfect.
many
There
originality.
much
Dresden
;
Later
but then
powers on the wane. text
to
his
opera,
Genoveva,' which he was arranging from Tieck's
and Hebbel's plays, yet he would not take he seemed to fear some trick."
—
(127)
my advice
W. REEVES and Reeves & Turner's.
ublications
CATALOGUE OF WORKS
Literary Art and Music. Bool
.
.
.
.
,
.
Freemasonry.
London 83, Charing Cross
Rd
W. REEVES, 83, CHARING CROSS ROAD, W.C.
Now Ready
in 4
Essays .'*l^
Volumes, 8vo.
of
Montaigne,
TRANSLATED BY
IN I
CHARLES COTTON. ENTIRELY NEW EDITION formed from a Collatiou of the Foreign Quotations
;
a fresh
Englibh rendering and a careful revision of the text throughout.
Some account
of the Life of
Montaigne, Notes to which are added, a Translation of all the Letters
Edited by
known
to be extant.
WILLIAM CAREW HAZLITT.
NEW AND ENLARGED INDEX PORTRAIT AND OTHER ILLUSTRATIONS. •$-
London: W. Reeves,
83,
Charing Cross Rd., W,G.
W. REEVES, 83, CHARING CROSS ROAD, WC. Dedicated by permission
Alfred the Great
to Sir
Henry
Drama).
(a
Irviog.
The Ballad
of
Dundee and other Poems, by Florence G. Attenborough. Cr. 8vo, cloth, 3s. 6d.
A Creed for Christian Socialists, with Expositions by Charles William Stubbs, D.D. (The Cr. 8vo, cloth, 2s. (paper, is.)
Comte
Dean
of Ely).
(Augusta), General View of Positivism, transCr. 8vo, cloth, z=. 6d. J. H. Bridges.
lated by
The
Social Aspects of Christianity, and other
Essays by Richard T. Ely, Ph.D. (paper,
Cr. 8vo, cloth, 25.
is.)
Progress and Poverty, by Henry George. IS. 6d.,
Cloth,
or Cabinet Edition, cloth, 2t. 6d. (paper,
Karl Marx's Theory of Value
the First 9 Chapters of " Capital.'' (paper, is.)
Cr. 8vo, cloth, 23.
Edward Bellamy, with
Backward, by
Looking
is.)
(Complete), forming
Limp
copious Index and Portrait.
cloth, is. 6d.,
Cabinet
Edition, Sieel Portrait, 2s. 6d. (also cheap editions, paper covers, 6d. and is.)
Cooperative Modern
Third Edition. (paper,
Commonwealth:
Exposition
by L. Gronlund. Edited by B. Shaw.
Socialisji,
of
English Edition* Cr. Svo, cloth, 2s'
is.)
Tennyson
as a Thinker, by Henry S. Salt, paper, paper copies, is. 6J.)
6d. (or large
Patriotism and Christianity, by Count Leo Tolstoy. Cr. 8vo, cloth, n. (paper, 6d.)
of Eternal Life Being Studies in the Church Catechism by Rev. Stewart D. Headlam. Cr.
Laws
:
Svo, cloth, 2s. (paper,
Woman.
Her
is.)
Position
Future, by August Bebel,
What
is
Proterty
?
An
in
the
Past, Present
and
cr. Svo, cloth, 2S.
Inquiry into the Principle
of Right and of Government, by P.J. Proudhon, lated by B. R. TucKEK, crown Svo, cloth, 3-. 6d.
Trans-
—
W. REEVES, Crown
83, C HARING
.
5
8yo, Special Designed CoYer, 5-/
MASTERSINQERS ^ „ YOUNG
By FILSON
CROSS ROAD, W.C
appreciations of music and MUSICIANS WITH AN ESSAY ON hector berlioz
Contents.— The Pistoral Symphony—Tiistan and Isolda— Bach's Organ Fugues— Mozart's Rtqiiiem-T'schi^kivvsky's S xih bj nipbony TheConiposer in England- Charles Halli— Camille Saint-Saen^- An Irish Musician— Hecior -
Berlioz.
Heady.
roy. 8vo boards, 1/6
"THUS SPAKE ZARATHUSTRA" By F. NIETZSCHE, A BOOK FOE ALL AND NONE, TRANSLAT D BY THOMAS COMMON, coctainiri^ Zarathustra's Prefatory Discourse, with Critical and Bibliographical Notices, Part
"
Part
I.
II. Shortly.
Nietzsche's Ethics, however, are not the Ethics for boys, nor for old
women, nor f^r dreamers either ; t hey are the Ethics for noble, strong, wide-awake men, whj shape the wjria
fr s
full
groum men,
desiiny."
— EDITOR. ^____^ crown 8vo, Limp Cloth, 2sTHE ART OF MODULATING. A SERIES OF PAPERS ON MODULATING AT THE PIANOFORTE. WITH 62 MUSICAL EXAMPLES. By HENRY C. BANISTER.
—
Not only at Examiations viva voce— but in Actual Experience, is ability required to pass rapidly w th very litth "process " fn one key to an< ther.
m
2nd Edition just Published. Thick Crown
«vo. Cloth, Price 7/6.
THE LIFE OF HENRY GEORGE. Author of With Portraits
"
Progress and Poverty, By his Son.
"
HENRY GEORGE, JUN.
TMck Crown
8vo., Cloth 10s.
Important Critical Contribution.
CHOPIN
THE MAN AND HIS MUSIC.
:
BY JAMES HUNEKER, Author "
Mr Huneker
of " Mezzotints in
Modern Music."
a Chopin enthusiast.
He
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 tion
to
Brahms,
is
to
Wagner,
.
charfif.
The
result
is,
.
to
Tchaikovsky
:
.
therefore, of value."
Musical Standard.
W. REEVES, 83, CHARING CROSS ROAD, W.C.
6
The Large
Edition, over 1,000 pp., imp. 8vo.
CHAFFERS (Wm.), MARKS AND MONOGRAMS ON EUROPEAN AND ORIENTAL POTTERY AND PORCELAIN, with Historical Notices of each Manufactory, preceded by an Introductory Essay on Ancient Pottery and on the Vasa FictiUaot England and Mediaeval Earthenware Vessels, with over 3, 500 Potters Marks and Illustrations, revised and edited by F. Litchfield, ornamental cloth. Ninth Edition, with Additional Information and Marks, 42s.
New
Edition in Hand.
CHAFFERS
(W.),
HALL MARKS ON GOLD AND
SILVER PLATE,
Illustrated with Revised Tables of in the Assay Offices cloth.
Annual Date Letters employed of the United Kingdom, roy. 8vo,
This edition contains a History of the Goldsmith's Trade in France, with extracts from the decrees relating thereto, and engravings of the standard an(| other Marks used in that country as well as in ott)er foreign States. The Provincial i abl'-s of England and Scotland contain many hitherto unpublished Marks all the recent enactments are quoted The London Tables ly now be considered Cwhich have never been s'jrpassed for correctness) Many valuable Hints to Collectors are giv^n, and cases of fraud complete ;
m
alluded
to, etc.
The Companion
to
"
Hall Marks on Gold and Silver Plate."
CHAFFERS (W.),GILDA AURIFABRORUM, A History Goldsmiths and Plateworkers and their Marks stamped on Plate, copied in facsimile irora celebrated Examples and the earliest Records preserved at Goldsmiths' Hall, London, with their names, addresses and dates of entry, 2 500 Illustrations : also Historical Account of the Goldsmiths' Company and their Hall Marks and Regalia; the Mint; Closing of the Exchequer; Goldsmith Bankers: Shop Signs, a of English
Copious Index,
etc.,
a
New
Edition, 267 pp., roy, 8vo,
cloth, 128.
(W), COLLECTORS HANDBOOK OF MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN OF THE RENAISSANCE AND MOD-
CHAFFERS
ERN PERIOD,
selected from his larger work. New Edition Revised and considerably Augmented by F. Litchfield, Twelfth Thousand, 234 pp., post 8vo, cloth, gilt, 6s.
—
—
W. REEVES, 83
,
—
CHARING CROSS ROAD, W.C.
7
CHAFFERS (Wm.) HANDBOOK TO HALL MARKS ON GOLD AND SILVER PLATE, with Revised Tables of Annual Date Letters Employed in the Assay Offices of England, Scotland and Ireland, Extended by C. A, Markham, F.S.A., cr. 8vo, cloth, 5s. 1902
MARKHAM
F.S.A.) (Chr. A., HANDBOOK TO FOREIGN HALL MARKS ON GOLD AND SILVER PLATE (except those on French Plate),
containing 163 stamps,
cr. 8vo, cloth, 5s.
MARKHAM
(C). HANDBOOK TO FRENCH HALL MARKS ON GOLD AND SILVER PLATE. lUustrated.
COBBETT
Crown
8vo, cloth, 5s.
1900
RURAL
(W.), RIDES in the Counties of Surrey, Kent, Sussex, Hants., Wilts., Gloucestershire, etc., edited witn Life, New Notes, and the addition of a copious Index, New Edition by Pitt Cobbett, 7nnp and portrait, 2 vols, cr. 8vo, xlviii. and 806 pp.), cloth
gilt, i2s. 6d. Cobbett's " Rural Rides "is to us a delightful book, but it Is one which few people know. We are not sure that up to the present time it was impossible to get a nice edition of it; We are therefore glad to see that Messrs Reeves &Turner'srecently published edition is a very creditable production two handy well-filled volumes. Gardening
KEATS (John), THE POETICAL WORKS OF JOHN KEATS (large type), given from his own Editions and other Authentic Sources, and collated with many Manuscripts, edited by H. Buxton Forman, /or/rai^, Seventh Edition, 8 pp., cr. 8?o, buckram, 7s. 6d. 1902
THE LETTERS OF JOHN KEATS
(Large type), Complete Revised Edition, with a Portrait not published in previous Editions, and 24 Contemporary Views of Places visited by Keats, Edited by H. Buxton Forman, 519 pp., cr. 8vo, buckram, 8s.
THE AWAKENING OF WOMEN
or Woman's Part in Evolution, by Francis Swiney, crown 8vo, cloth, 5s. net. "StroDR and soul-stirring The book of the age on the woman
question."
;
The Woman's, Tribune.
It is most carefully thought out The authorities quoted all seem to point to the fact that woman is more highly evolved than man. Mrt. Ada Ballin, iditer of " Womanhood."
8
W. RBBVES, 83, CHARING CROSS ROAD, W.C.
SHELLEY'S PRINCIPLES has
time refuted or confirmed them, a Retrospect and Forecast, by H. S. Silt, post
8vo,
IS.
PERCY BYSSHE SHELLEY, graphical Study by H.
Poet and Pioneer, a Bioetched portrait, cr. 8vo,
S. Salt,
cloth, 3s. 6d.
SHELLEY LIBRARY
(The), An Essay in Bibliography, by H. Buxton Forman, Shelley's Books, Pamphlets and Broadsides, Posthumous Separate Issues, and Posthumous Books, wholly or mainly by him, 127 pp„ 8vo, parts i and 2, wrappers, 3s, 6d. each.
A SHELLEY
PRIMER, By
H.
S.
Salt, cr.
bds,
8vo,
28. 6d.
SHELLEY
(Percy Bysshe),
THE POETICAL WORKS
OF (m
large type), given Irom his own Editions and other Authentic Sources, collated with many MSS., and with all Editions of Authority, together with his Prefaces and Notes, his Poetical Translations and Fragments, and an Appendix of Juvenalia, Edited by H. Buxton Forman, with the Notes of Mary Wollstonecraft SbeUey, fine etched portrait, 2 vols., cr. 8vo, cloth (with Design in Gold on cover by Rossetti), 12s. Fourth Edition in the press.
SIDONIA THE SORCERESS,
by William Meinhold. Translated by Lady Wilde, with the Aniber Witch, translated by Lady Duff Gordon, in 2 vols., crown 8vo, 8s. 6d.
THOMSON
1894
(James,
"B
V."),
POETICAL WORKS,
City of Dreadful Night, Vane's Story, Weddah and Om-el-Bonain, Voice from the Hell, and Poetical Remains, Edited by B. Dobell, with Memoir and Portrait, 2 vols, thick cr. 8vo, cloth, 12s. 6d.
The
THOMSON
AND
(James, " B. V."), BIOGRAPHICAL 483 pages, or. 8vo, clotb,
CRITICAL STUDIES,
6«.
W. REEVES, 83, CHARING CROSS ROAD, W.C.
Now
Quarto cloth.
Ready.
Price
Q 7/6.
Modern Orchestral Instruments Their Origin, Construction, and Use.
BEING A PRACTICAL ILLUSTRATED HAND BOOK for
tlie uisc
of
AMATEURS OR STUDENTS. Withmanyaddilionanilustrations, Tables, an Appendix, and an Explanatory Index. BY
SCHLESINGER. •
!'
PREFACE This work owes its origin to a great want which has been felt by amateurs who wished to linow something about the orchestra, and yet coulJ find no practical book
English conveying the necessary information
in
about the various instruments, accompa7iied in each case by an illustration, which shoull enable them to identify
each one. Written to supply
this want,
not to weary the reader with too
was advisable
it
many
technicalities,
while omitting no essential point. Finally, I wish to express
who
my
their just criticism, encouraged
me
enabled A.
many
gratitude to the
have, by their generous help and advice as well as
J.
to
complete
Hipkins, Mr. R.
it,
J.
me
in
my
work, and
and more especially
to
Mr.
White, Mr. H. Grice, Mr.
Algernon Rose, Mr. George Morley, Mr. Arthur
Hill,
Klussmann, Mr. A. C. White, and Mr. SchulzCurtius to Miss Mabel Goschen, to whom lam inMr.
;
debted for help
who have
in
compiling the index; also to those
kindly lent
me
blocks or photographs for the
purpose of illustration, and whose names in a separate
list.
will
be found
W. REEVKS, 83, CHARING CROSS ROAD, W.C.
lO
\
HISTORICAL. BIOGRAPHICAL WORKS, &o.
Makers of Music, Biographical Sketches
I
of the
Great Composers, WitQ Chronological Summaries of their Works, and Facsimiles from Musical MSS. of Bach, Handel, Purcell, Dr. Arne, Gluck, Haydn, Mozart, Beethoven, Weber, Schubert, Berlioz, Mendelssohn, Chopin, Scbu nann,Wagner, Verdi, Gounod, Brahmsand Grieg, with General Chronological Table. By R. Farquharson Sharp, Portrait of Purcell, Second Edition, or, 8vo, cloth, 5s.
How
TO Manage a Choral Society.
burn, 2nd Edition, post 8vo.
,
By N.
Kil-
6d.
Wagner's Parsifal and
the Bayreuth Fest-SpielBy N. Kilburn, cr. 8vo., 6d. Wagner, A Sketch of his Life and Works, by N. haus.
Kilburn, 6d. as a Musician, F. R. Ritter, Svo., is.
Woman
an
art Historical
Study by
iEsTHETics OF MusiCAL Art, Of the Beautiful in Music by Dr. F. Hand, translated by W. E. Lawson, Mus. Bac, cr. Svo., cloth, 5s. Ehlert (Louis), Letters on Music to a Lady, translated by F.
Raymond
Ritter, cr. Svo., bevelled cloth, gilt
edges, 4s. 6d., plain cloth, 4s.
Cherubini, Memorials Bellasis, thick
illustrative of his Life,
crown Svo,
by E.
cloth, 6s.
Berlioz, Life and Letters, from the French by H. M. Dunstan,
2 vols., cr. Svo., cloth, los. 6d. (pub. 21s.)
The Bach Letters.
Letters of Samuel Wesley,
relating to the Introduction into England of the Works of Bach. Ed. by E. Wesley. 2nd Edition, Svo. el., 2s. 6d.
Mezzotints
in
Modern Music, Brahms, Tchaikov-
sky, Chopin, Strauss. Liszt, and Wagner, ker, cr. Svo, cloth, gilt top, 7s. 6d.
By
Sketches of English Glee Composers,
Jas.
Hune-
Historical, Biographical and Critical (From about 1735-1866), by D. Baptie, post Svo, cloth, 5s. Life of Robert Schumann, with Letters, 1833-1852, by von Wasielewski, Translated by A. L. Alger, with Preface by W. A. Barrett, B. Mus. cr. Svo, cloth, 8s. 6d.
W. REEVES, 83, CHARING CROSS ROAD, W.C.
Franz Liszt, by T. Carlaw Martin, 6d. Half a Century of Music in England, By
II
1837-1887,
F. Hneffer, 8vo, cloth, 3s. 6d. (pub. 8s. 6d.)
Templeton and Malibran
:
Reminiscences of these
Renowned
Singers, with Original Letters and Anecdotes, 3 Authentic Portraits by Mayall, 8vo, cloth, 2s. 6d.
Balfe, His Life and Works, by
W.
A. Barrett,
cr.
8vo, bevelled cloth, 3s. 6d. (pub. 7s. 6d.)
H.), Form and Design in Music, a Brief Outline of the /Esthetic conditions of the Art, addressed to general Readers (in a readable Literary torm ... in everyday language), 8vo, cloth, 2s. (pub. 5s.)
Statham (H.
Beethoven, by Richard Wagner, with a Supplement from the Philosophical Works of Arthur Schopenhauer, trans, by Edward Dannreuther, 2nd Ed., cr. Svo, cl., 6s. Chopin, Life of, by Franz Liszt, new and very much Enlarged Edition, Englished in full now for the first time by John Broadhouse, cr. Svo, cloth, 6s. des Nibelungen, being the story concisely told of Das Rhinegold, D,e Walkiire, Siegfried and Gotterdammerung, by N. Kilburn, post 8vo, gd.
Wagner, Der Ring
Richard Wagner's Letters
to his
Dresden
Friends,.
Theodor Uhlig, Wilhelm Fischer and Ferdinand Heine, translated with a preface by J. S. Shedlock and an
Wagner by C. W. Sherborn, thick cr. Svo, cloth, gilt top, 6s. 6d. (pub. 12s. 6d.) etching of
Box
(C), Church Music in the Metropolis, its Past and present Condition, with Notes Critical and Explanatory, post Svo, cloth, 3s.
The Past and the Future, Inaugural Lecture at Gresham College, Nov. 1890, by J. Frederick Bridge Mus. Doc, cr. Svo, sewed, 6d. English Hymn Tunes from the i6th Century to the Present Time, by the Rev. A. W. M&lim, containing 21 Musical Illustrations, Svo, sewed, is.
Beethoven, Life John
J.
edges,
of,
by Louis Nohl, translated by
Lalor, 2nd Edition,
cr. Svo,
bevelled cloth,
gilt
3s. 6d.
English Glee and Madrigal Writers, by Barrett, 8vo, sewed, 2s. 6d.
W. A^
W. REEVES, 83, CHARING CROSS ROaD, W.C-
12
Beethoven, Reminiscences
of the artistic and Hon:? from the diary of a Lady in close personal intercourse with him, by L. Nohl, translated by A. Wood, 8vo, cloth, 3s. 6d (pub. los. 6d.) Beethoven Depicted by his Contemporaries, by Ludwig Nohl, translated by E. Hill, 2nd Edition, thict Life of the
Artist,
8vo, cloth, 7s. 6d.
cr.
|
educational
|
Dictionary of Musicians, (Cocks')
New
and En-
larged Edition brought completely up to date, post 8vo, sewed, IS cloth is. 6d, ,
Music, A First Book
for Beginners embodying the most recent English and Continental Teaching by a Professor (Alfred Whittingham] post 8vo, 4d. ,
The two principal objects kept in view in writinej this little book were Thoronghnf-ss o( Detinliion and Regnlar Order in ihe arrangement of Subjects. It dlfTers from all other similar Works In that all the Technical Terms In Music are introduced in the Answers not In the Questions.
A Simple and Intelligible Treatise, Containing the most Important Rules of all Text Books, in Catechetical Form (Forming an Answer to the Question " What is Counterpoint ? ") Intended for Beginners. By A. Livingstone Hirst, cr. 8vo, sewed, gd. Manual of Musical History, from the Epoch of Ancient Greece to our present time by Dr. F. L. Ritter,
Counterpoint:
;
2nd Edition,
On
8vo,
cr.
ci., 2s.
6d.
Conducting, by Richard Wagner, translated by
E. Dannreuther, Second Edition,
Music Music
in
England, by Dr.F. L.
IN America, by Dr. bevelled cloth, 7s. 6d.
DUDLEY BUCK'S
cr. Svo., cloth, 5s.
Ritter, cr. Svo, cl.,6s.
F. L. Ritter,
cr.
8vo,
Complete Pronouncing Dictionary of Netv Edition with Dr. Dudley Buck. each Term accurately given, cr. Svo, paper
By
Musical Terms. Ihe Pronunciation
of
covered., (cloth
Is).
The Student's Helmholtz,
Musical Acoustics or Sound as connected with Music, by John Broadhouse, with more than 100 Illustrations, 3rd the
Phenomena
of
Edition, cr. Svo, cloth, 7s. 6d.
The
Student's History of Music. History of Music, from the Christian Era to the present time by Dr.3rd Edition, thick cr. 8vo., cloth, 7s. 6d. F. L. Ritter.
—
CHARING CKOSS ROAD, W.C.
W. KEEVHS, 83,
I3
A book for Beginners, by Dr. Westbrook, with Questions and Vocal Exercises, Twelfth
Elementary Music. Edition,
is., (cloth, is. 6d).
Purity
Translated in Music, by A. F. Thibaut. by J. Broadhoiise. Schumann says: "A tine book about music, read it frequently." Crown 8vo., cloth, 2S. 6d.
Life and
Works
IS. (cloth, IS.
Life and
Works
IS. (cloth, IS.
of Handel.
By
A. Whittingham.^
of Mozart.
By
A. Whittingham.
6d.)
6d.)
Exercises on General Elementary Music. Book for Beginners, by K. Paige, 4th Edition, Part
A I.
price gd.jPart II. price is. (2 parts complete in cloth, 2/^ Tbe Musical 2'imM speaks in the highest terms of this work,
Dr. Ahn's First French Course. Edited by S. Bartlett (Head Master Mercers' and Stationers' School), Post 8vo,, cloth,
IS.
6d.
of Melodies, A Text- Book for Students and Beginners, by H. C. Banister, or. 8vo, 2s.
The Harmonising
Musical Shorthand
for Composers, Students of Harmony, Connterpoint, etc., can be written very rapidly and is more legible than printed music, with Specimens from Bach, Handel, Chopin, Wagner, Men-
delssohn, Spohr, Mozart, etc., by Francis Taylor, 14 pages, i2mo, 6d. " Composers and Students of Music expend a vast amount of time in mei e
We
have only sis totally ui like signs. These liom painlul mechanism." their simplicity can be written with great rapidity, one dip of th«i pen sufficing for an entire page, and tbe writing being as legible as possible. Pi e/ace
r WORKS ON THE PIANOFORTE, &c. Greater Works of Chopin, (Polonaises, Mazurkas |
Nocturnes, etc.) and how they should be played, by Kleczynski, translated by Miss N. Janotha and J. edited by Sutherland Edwards, with Portrait, Facsimile, etc., cr. 8vo, cloth, 5s.
Music and Musicians, Essays and
Criticisms, by Robert Schumann, translated, edited and annotated by F. R. Hitter, Portrait of Robert Schumann, photographed from a Crayon by Bendemann, First Series, Fourth Edition, thick cr. 8vo, cloth, 8s. 6d. Ditto, 2nd Series, 2nd Edition, thick cr. 8vo, cl.,ios. 6d.
W. REEVES, 83, CHARING CROSS ROAD, W,C.
14
Ehrenfechter
(C. A.), Technical Study in the art of Pianoforte Playing (Deppe's principles), with numerous illustrations, fourth edition, cr. 8vo, bevelled cl. 2s. 6d ,
An
Essay on the Theory and Practice of Tuning
General, and on Schiebler's Invention of Tuning Pianofortes and Organs by the Metronome in Particular, Trans, by A. Wehrhan, sewed, is. UN
A
The Art
Hand-book Showing at of Modulation, a Glance the Modulations from one Key to any other on the Octave, etc., Edited by Carh Zoeller, 2nd Edition, roy. 8vo, paper, 2S. 6d. or cloth, 4s. Ehrenfechter (C. A.), Delivery in the Art of Pianoforte Playing, on Rhythm, Measure, Phrasing, Tempo, cr.
8vo, cloth, 2P.
Beethoven's Pianoforte Sonatas Explained by Ernst V'-'U Elterlein trans, by E. Hill, with Preface by Ernst Pauer. entirely new and revised edition (the Fifth), with Portrait, Facsimile and View of House, cr. Svo, cloth, 3s. 6d.
Beethoven's Symphonies
in their Ideal Significance, explained by Ernst von Elterlein, translated by Francis Weber, with an account cf the facts relating to Beethoven's loth Symphony, by L. Nohl, Second Edition, with Portrait, cr. Svo, cloth, 3". 6d. Beethoven's Symphonies Critically discussed by A. T. Teetgen. Second Edition, cloth, 3s. 6d. The Deppe Finger Exercises for rapidly developing an Artistic Touch in Pianoforte Playing, carefully arranged, classified and explained by Amy Fay, English Fingering, fulio, is. 6d. (Continental Fingering, is. 6d.)
How
TO Play Chopin.
The Works
of
Chopin and
their proper Interpretation. By Kleczynski, translated by A. VVhittingham, 3rd. Ed., Woodcut and Music Illus. Post Svo, cloth, 3s. 6d.
Schumann's Rules and Maxims cians.
for
young Musi-
4d.
Practice Register specimen,
id.,
for Pupil's
Daily Practice.
A
or is. 4d. per 100.
Reeves' Vamping Tutor, Art of Extemporaneous Accompaniment or Playing by ear on the Pianoforte, rapidly enabling anyone having an ear for music (with or without any knowledge of musical notation), to
W. KEKVES, 83, CHARING CROSS RCAD, W.C.
15
accompany Waltzes, Polkas, Songs, and with equal any key, with practical examples, including (in C), Lilla's a Lady, The Swiss Boy, Home, Sweet Home, Blue Belh of Scotland, Nancy Dawson, Ma Normandi (in A), The Miller of the Dea by Francis Taylor, folio, 2S, The Great Classic for the Piano. Bach (J. S.), 48 Preludes and 48 Fugues in all the major and minor keys in 2 vols, folio, 3s. each (or in i facility in
Ma Normandi
vol, stiff covers, cloth back, 7s. 6d.
Mozart's Don Giovanni, a Commentary, from the 3rd French Edition of Charles Gounod, by and J. T. Hutchinson, cr, 8vo, cloth, 3s. 6d.
W. Clark
Tuning the Pianoforte. — Smith (Hermann), The Art of Tuning the Pianoforte, a New and Comprehensive Treatise to enable the musician to Tune his Pf. upon the System founded on the Theory of Equal Temperament, cr. 8vo, limp cloth, New Ed. thoroughly revised, 2s.
A
History of Pianoforte Music, With
Critical
Estimates of its Greatest Masters and Sketches of their Lives, by John C. Fillmore, cr. 8vo, cloth, 3s. 6d. Transposition at Sight, For Students of the Organ and Pianoforte, by H. Ernst Nichol, 2Qd Edition, cr. 8vo, sewed, is., cloth, is. 6d.
THE
VIOLIN.
I
Information for Players, Owners, Dealers and Makers of Bow Instruments, also for String Manufacturers, taken from Personal Experiences, Studies and Observations, by William Hepworth, with Illustrations of Stainer and Guarnerius Violins, etc., cr. Svo, cloth, 2s. 6d,
Notice of Anthc ny Stradivari, the celebrated Violin Maker known by the name o^ Stradivarius, preceded by Historical and Critical Researches on the Origin and Tiansformations of Bow Instruments, and followed by a Theoretical Analysis of the Bow, etc., by F. J. Fetis, translated by J. Bishop, Facsimile, Svo, cloth, 5s. Biographical Dictionary of Fiddlers, including Performers on the Violoncello and Double Bass, Past and Present, containing a Sketch of their Artistic Career, together with Notes of their Compositions, by A.
Mason
Clarke, with g portraits, post Svo, bevelled
cl., 5s.
l6
W. KEEVKS, S3, CHARING CROSS ROAD,
How
TO Make a Violin, Practically Treated, 2 Fold-
ing cr.
Plates aadmany Illustrations, by J. 8vo, bevelled cloth, 3s. 6d.
W.C.^
Broadhouse,
in Italy and its German by Dr. E. Schebek, translated by W. E. Lawson, 8vo., sewed, is.
Violin Manufacture Origin,
Sketches of Great Violinists and Great Pianists, Biographical and Anecdotal, with Account of the Violin Violinists (Viotti, Spohr, Paganini, De Benot, Ole Bull, Clementi, Moscheles, Schumann (Robert and Clara), Chopin, Thalberg, Gottschalk, Liszl), by (i. T. Second Edition, bevelled cloth, 3s 6d. (or gilt Ferris edges, 4s. 6d.)
and Early
;
Facts about Fiddles, Violins Old and New.
By
J'.
Broadliouse, 3rd Edition, 6d.
Technics of Violin Playing. By Karl Courvoisier. IVtih Illustrations, iifXh Edition, paper is. (or cloth, thick 2s. 6d.) Highly commended by Joachim.
paper,
How
TO Play the Fiddle, for Beginners on the ByH.VV. and G.Gresswell. 4th edition, is., (cl, 2s.) Autobiography of Louis Spohr. 2 volsin i,tliick Violin.
8vo, cloth, 7S. 6d. (pub. 15s.)
Treatise on the Structure and Preservation of the Violin and all other Bow Instruments, together with an account of the most celebrated makers and of the genuine characteristics of their Instruments, by J. A. Otto, with additions by J. Bishop, cr. Svo, cloth, 3s. I
ORGAN WORKS.
1
Analysis of Mendelssohn's Organ Works, aStudy Features, for the use of Students, 127 Musical Examples, portrait and facsimiles, cr. Svo, bevelled cloth, 4s. 6d. Organists Quarterly Journal of Original CompoEdited by Dr. W. Spark, non-subscribers, 5s. sitions. net, per part. For Contents see end of Catalogue. New Series Volume, 160 large pages, oblong folio, bound ot their Structural
in clotii,
I'^s.
Rink's Practical Organ School:
A New Edition*
Careiullv Revised. '1 he Pt-dal Pait printed on a separate Staff, and the Preface, Remarks and Technical Terms translated from the German, expressly for this
W. KEEVES, 83, CHARING CROSS ROAD, W.C.
I7
John Hiles. The Six Books Complete, handsomely bound in red cloth, gilt edpes, ob. folio, los. 6d.
edition by
(issued at 20s.), or the six parts 7s. 6d. (issued at 6s. each.)
Organs and Organists in Parish Churches, A Handbook of the Law relating to the Custody, Control and Use
of Organs, and to the Position, Lights, and Disabilities of Organists, to which is Added a Chapter on the Hiring of Pianos, and on " The Three Years System," bv William C. A. Blow, M.A., Oxon., of the Inner Temple, Esq., Barrister-at-Law, cr. 8vc, ci., 2s. 6d.
A Short History
of the Organ, Organists, and
Services of the Chapel of AUeyn's College, Dulwich, with Extracts from the Diary of the Founder, by W. H. Stocks, cr. 8vo, sewed, is.
The Influence of the Organ Dudley Buck,
in
History.
By
is.
Henry Smart's Organ Compositions Analysed. By
J.
Broadhouse,
Reform
in
cr.
8vo, cloth, 2S. 6d.
Organ Building, by Thomas Casson,
The Organ,
6d.
Compass, Tablature, and Short and Incomplete Octaves, by John W. Warman, A. CO.
iiip. 8vo,
sewed,
3s. 6d.
or boards, cioth back, 4s. 6d.
for the Harmonium and Hiles, post 8vo, sewed, is.
Catechism by John
Its
American Organ,
(Dr. E. F.), The Early English Organ Builders and their Works, from the 15th Century to the Period of the Great Rebellion, an unwritten chapter on the History of the Organ, Well printed, with woodcuts, post Svo, cloth, 3s. 6d.
Rimbault
VOICE AND SINGING
Twelve Lessons on Breathing and Breath Control, for Singers, Speakers and Teachers, by Geo. E. Thorp, crown Svo, limp cloth, is.
Twenty Lessons on the Development
of the
Voice, or Singeis Speakers and Teachers, by Geo. E. Thorp, crown f\o, inrp. cloth, is.
50 Musical
Hints to Clergymen, Management of
Breath, Classification of Male Voices, Management of the Voice, The Service, with twenty specially written Exercises by Geo. F. Grover, is.
w. reeves, 83, charing cross road, w.c.
l8
Catechism of Part Singing and the Choral Services.
By John
Hiles, 3rd Edition, thick post 8vo, price is. Or gant in its Relation to Singing, a series
Ailvici to Singers oh every point of tnttrest in reference to the Vocal
The Throat
of Popular Papers by Whitfield engravings, cloth, 3s. 6d.
How
Ward, A.M., M.D. With
to Sing an English Ballad.
By
E. Philpi
7th Edition, 6d.
Vocal Exercises for Choirs and Schools. By DrWestbrook, 2d.
Rudiments of Vocal Music.
With 42 Preparatory
Exercises, Rounds and Songs in the Treble Clef, by T. Mee Pattison, 2nd Ed., 4d.
Some Famous Songs, an Art F. R. Ritter.
Historical Sketch.
By
is.
Voice Production and Vowel Enunciation, by F. F. Mewburn Levien, Diagrams by Arthur C.Behrend, post 8vo, 6d.
Position and Action in Singing, a Study of the True Conditions of Tone, a Solution of Automatic (Artistic)
Breath Control, by
Edmund J. Myer, cr. 8vo,48.6d. being The in England
National School of Opera
;
Substance of a Paper read before the Licentiates of Trinity Ccllege, March, 1882, by Frank Austm, post8vo, sewed, 6d.
Imiscellaneous Lord Chesterfield's Letters to his Son. I
— Edited
with Occasional Elucidatory Notes, Translations of all the Latin, French and Italian Quotations, and a Biographical Notice of the Author. By Chas. Stokes Carey, 2 vols, cr. 8vo, bevelled cloth, los. 6d.
Flagellation and the Flagellants,
A
History
of the Rod, in all Countries by the Rev. W. M. Cooper, Plates and Cuts, thick cr. 8vo, cloth, 7s. 6d. (pub. 12s. 6d.)
CLASSICAL WORKS. Edited by Prof. Anthon.
Anthon's Horace, Edited by Rev. James Boyd, LL.D., thick post 8vo,
5s. 6d.
—
W. REEVES, 83, CHARING CROSS ROAD, W.C.
Anthon's Homer's
Iliad, First
I9
Three Books, Edited
by B. Davies, LL.D., thick post 8vo,
53. 6d.
Anthon's Cesar's Commentaries, Edited by Rev. G. B. Wheeler, thick post 8vo,
4s. 6d.
Anthon's Eclogues and Georgics of Virgil, with English Notes, Critical and Explanatory, and a Metrical Indez, post 8vo, price 4s. 6d.
Anthon's Sallust, Edited by Rev.
J.
Boyd, L.L.D.,.
post 8vo, 4s. 6d.
Anthon's Juvenal and Persius' Satires, Edited by J. T. Wheeler, post Svo,
4=. 6d.
Anthon's Cicero's Orations, with EngHsh Commentary and Historical, Geographical and Legal
In-
dexes, Revised and Edited by Rev, G. B. Wheeler, post Svo, 4s. 6d.
Rudiments of Greek Grammar, by E.
Wettenhall,^
D.D., transldted by Rev. G. N. Wright, numerous annotations and Questions for Examination, by Rev. G. B.
Wheeler,
3s.
How
TO Understand Wagner's " Ring of the NiBELUNG," being the Story and a Descriptive Analysis of the " Rheingold," the " Valkyr," " Siegfried " and the " Dusk of the God?," with a number of Musical Examples by Gustave Kobbe, Sixth Edition, post Svo,
cloth, 3s, 6d.
"To
ba appreciated in the smallest way Wagner must be studied advance." Illustrated London News.
Rational Accompaniment to the Psalms by F. bert
Webb, post
How
in
Gil-
Svo, 6d.
—
TO Play from Score. Treatise on Accompaniment from Score on the Organ or Pianoforte, by F. J. Fetis, trans, by A. Whittingham, cr. Svo, cloth,,
3s. 6d.
20
w. reeves, 83, charing cross road, w.c.
Choir Lists for Sunday Services. No. I. Morning and Evening, printed per 100. ^o.
2.
in red, is. 4d.
Morning, Afternoon, and Evening, printed in
red, IS. 6d. per 100.
No.
3.
black,
Morning and Evening, printed IS,
red and
in
8d. per 100.
No. 4. Morning and Even., 'printed in red per 100.
is.
6d.
Quarto Size, Matins, Litany, Holy Com5. munion, First Evensong, Second Evensong, Gothic
Ko.
Letter, printed in red, 6d. per dozen, 3s. per 100.
Choir Attendance Register, 8vo,
cloth.
No. I. Ruled for a Choir of 20 or beginning at any date, is. 6d.
less, for
one year,
No. 2. Ruled for a Choir of 40 or beginning at any date, 2s.
less, for
one year,
No. 3. Ruled for a choir of 60 or beginning at any date, 2s. 6d.
less, for
one year,
Performing Edition.
The Creation, A
Sacred Oratorio composed by Joseph Havdn, Vocal Score, The Pianoforte Accompaniment arranged and the whole edited by G. A. Macfarren, 8vo, paper covers, 2S., boards, 2^. 6d., scarlet cloth, 4s.
A Record of the Art in England during the Victorian Era, containing 70 Portrait, of the most Eminent Musicians, obljcg quarto, boards, cloth back, 2s. 6J.
Sixty Years of Music
:
From Lyre to Muse, A History Union
of Mufic cloth, 2=. 6d.
and Poetry, By
J.
of the Aboriginal
Donovan,
cr. 8vo,
W. REEVES, 83, CHARING CROSS ROAD, W.C.
21
KING'S ROYAL ALBUMS, Nos. 1 and 2. NATIONAL AND PATRIOTIC SONG ALBUM. With
Pf.
Ace, containing the
following popular pieces,
in 2 Bks., IS. each.
Book
Book
1.
2.
Hearts ot Oak God Save the King God Bless the Prince ofWales Stand United There's a Land (Dear Eng- The Cause of land) Victoria God Bless our Sailor Prince Here's a Health unto His
Majesty
Lord
England's Greatness The Last Rose of Summei: The Leather Bottle Home, Sweet Home Three Cheers for the Red,. White and Blue
Sea Roast Beef of Old England The Minstrel Boy The Blue Bells of Scotland The British Grenadiers Auld Lang Syne Tom Bowling Rule Britannia Come Lassies and Lads Ye Mariners of England The Bay of Biscay of the
King's Royal Albums, No.
10
MARCHES FOR THE 1.
The Washington
PIANO.
Manhatton Beach.
3.
The
4.
High School Cadets.
5.
7.
8. 9.
10.
P.
1/-
SOUSA.
Liberty Bell.
The Belle tf Chicago. The Corcoran Cadets. Our Flirtation. March past of the Rifle Regiment. March past of the National Fencibles. Semper Fidelis. King's Royal Album, No.
SIX
Price J.
Post.
2.
6.
3.
BY
i.
Price 1/-
ORGAN PIECES FOR CHUKCH USE.
Edited by William Smallwood. With Ped. Obb., Selections from rarely known works. 1. Moderate con moto 4. Andante Religioso 2. Adagio Expressive 5. Andante con moto 6. Lento Cantabile 3. Andante Moderate King's Royal Album, No.
SMALLWOOD
S
Belgium (Galop). Belle of Madrid (Tempi
Emmeline
5.
Price
1/-
ESMERALDA ALBUM FOR THE
PF.
di Polka).
(Galop).
Esmeralda (Transcription on Levey's Popular Song). Placid Stream (Morceau).
The Seasons
(Galop).
W. REEVES, 83 CHARING CROSS ROAD, W.C.
22
King's Boyal Album, No.
BALFE'S ROSE OF CASTILLE. Favourite Melodies easily an anged
6.
Price 6
'.
for the Pianoforte
by
E. F. Rimbault.
Convent Cell (The). 'Twas Rank and Fame. Tho' fortune darkly o'er me frown. I am a simple muleteer, I'm not the Queen.
List to tne
Gav
Castanet.
Popular Part Songs. 1.
2.
3.
4.
5.
Merrily goes the Mil', by T. B. Southgate, id. O Take those Lips away. Part Song for S.A.T.B. by Claude E. Cover, A.R.C.O., i^d. Pack Clouds Away, for S.A.T.B., by Claude E. Cover, A.R.C.0.,2d. Summer Roses, fjr S.A.T.B., by G. Riyleigh Vicars, 2d. Erin, Dear Erin, for T.A.T.B, by Churchill
Take,
Sibley, 2d.
Modern Church Music. 1.
2.
Easter Anthem, "Jesus Lives!" by Rev. T. Herbert Spinney, price 2d. Anthem tor Whitsuntide and General Use, "Come Holy Ghost our Souls Inspire," by Thomas
Adams, F.R.C.O
,
price 2d.
3.
Story of the Ascension, by Rev. John Napleton,
4.
Anthem, ''God so Loved the World," by J. Jamou-
price i^d.
5.
6.
7.
8.
9.
(lo.
12.
neau, price 2d. Magnificat in B flat, by Thomas Adac:s, F.R.C.O., Price 3d. Nunc Dimittis in B flat, by Thomas Adams, F.R.C.O., Price 2d. Four Kyries, by Charles Steggall, Berthold Tours, E. J. Hopkins, J. M. W. Voung, price i^d. Te Deum, by T. E. Spinney, i^d. Anthem, " I am the Good Shepherd," by G. Rayleigh Vicars, 2d. Story of the Cross, Music by H.Clifton Bowker, 2d. Story of the Cross, Music by Dr. Geo. Prior, 2d.
W. REEVES, 83, CHARING CUOSS ROAD, W.C.
23
The Organists Quarterly Journal (Bi (f^rigiual
Founded by DR. Non
New
Wm. SP\RK,
subscribers,
Series,
Town
Hall.
Leeds
Subscription, iOj6 for 4 issues
each.
s/-
Compositions.
I.ato organist,
Volume, coutaiuiuj> 160 large pages, bound in cloth, lUs.
Pan
1.
a3.
12. New Series Rev. Geof. C. Hyly, M.A., Mus. Bac Oxon. G. B. Polleri. OVKRTURB from Epiphany Alfred King, M.U.
In
Mbmoriam
-
-
....
Toccata
Part XI 1.
2. 3. 4.
,
New
Series.
Prelude ANu Fugue wiih Postluue Prelude and Fugue HUGUB Fuguk Part
10,
New
Chamberlaynb. f- Young. Archibald UoNALD. William Hope.
E. A.
-
Series.
Archibald Donald
1.
Fugue
2.
Preluiie and Fugue with PosTLUDK
3.
Prelude anp Fugub
I.
Andante con Moto
...
Part .
9, .
New .
-
E. A.
-
-
-
Chamberlaynb F. Young
Series.
W.
».
Montgomery, L.TC.L.
Cuthbert Harris, Mus. B., 2 Fantasia In E minor ."ii libi placeat, Miiil con displicet 3. PosTLUDB at Ephes. V. v. 19. W.Conradi.(Y.oi B 1816 .Paul'tOr^.St.Ciiiircii.Soliweriii i/niGermany
HbnrvJ
4.
Harvest March
1.
Scherzo Minuet W.Mullinkux, Organist of
2.
Introduction
Part "
Wunden 3.
4. 5. 6.
to the
1.
3.
Mew
Series.
Hyuin on the Passion,
Town
tlie
O Haupt
Hall, BoHon, Voll Blut and
W. CoNRADi. Organist Paul s Church, Schwerin, Germany, Thesis AND Antithesis, or Dispute, Appeasement, Conciliation W. CoNRADi, Organist Paul's Church Schwerin, Germany. Carillon in E Cuthbert HARRIS, Mus B., F.R.C O., &c. Inglis Bkrvok. Andante" Hope" -
Orchestral March
C
In
James Crapper. L. Mus
2.
8,
I'oole,
,
Organist of the Parish
«
h..
KlrUcudbriglit,
Part 7, New Series. Andantk Grazioso In G (has. R. Mflvii.le, F.RC.O. Polish Song, Arranged for the organ by Percival Garrett .Chopin. Introduction, Variations, and Finale on the Hymn Tune RockCh, R FiSHtR, Mus. B. ingham. '
'
4.
Two Soft Movements
5.
Andante
1.
W. 6.
in
A
W.
" Esp^rance."
2.
C. Fu.by, I.S.M.
"Tendrerse,"
flat
Griffi-^hs, Mus. B Org. FuGi'K, 4 Voice, 3 Subjects ,
ol St.
Sepulchre Church, Northampton. Dr. J. C. Tn ly.
W. REEVES, 83, CHARING CROSS ROAD, W.C.
24
The Organist's Quarterly Journal Part .
Con Moto Moderato
in
New
6,
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
3
4. 5.
....
a.
3.
4.
5 6.
New
8,
Series.
Allegretto Scherzando in A flat Andante Relig:oso in G March Pomposo in E flat Andante Con Moto "Twiliglit" Minuet in F
-
-
Andante Moderato Pkbludk and FtiGUK Sketch Fugue Allegro Marchb Mystique
-
New
4,
-
W. E. Ashuall. Dr J, Bradford.
-
....
Part I.
A.
Menuetto
Part I.
8.
{cont.).
Series.
Charles Daknton. Ch. R Fisheb, Mus.B.
W
E.
Bklchkr, f R.C.O
Series.
D
minor
-
E. A. (^hamberlaynb.
-
-
Arthur Geo. Colborn. James Turpin.
-
Charles H. Fisher.
'iHEME BY Roland, vk I.arsus.— A Kelic Part I.
MiNUEi AND Trio
a.
•'
DuNDRK
3.
Adagio.
Anbante a major
5.
Allegro,
D
minot
Pari
Andantk Semi TICK Fkstai March
3.
4.
iNTKkMKZZO
I.
POSTLUDKin
3.
Suite: No.
4. 5. 6.
G
' -
'
,.'
^' ^i)?^'
(Ely).
Series.
»ii«Ho>)
-
-
E
-
T. Driffiel.
Chamberlayne W. Ketflbev.
A.
t.
Hew
Series.
Fred. -
W
Dal (Leipzig), William Spark. Charles Hunt.
GTOWNSHENDl
103, -
-
Prelude
-
-
-
Vaiiailonb and Fngue)
No.
.
;
2,
Nocturne Andantk Pastorale In B minor Introddctohv Voluntary Fugue
LONDON Win lAM REEVES
RIFFIRLD.
July 1894. PkKKERK-.K W. HOLLOWAY.F.C.O No. 3, Toccata Laukknt Paroki (Genoa
BtKci use
.-.....-
i,
^
Geo. Minns
E. A.
Willi
.
Bellerby, Mus. B., Oxon. John P. Attwater. Chas. R. Fisher, Mus- B.
\V Faulkes. A Kl HU R WANDERER.
Fart
3.
C
OFFERTOIRE in A minor Seconp Fanta.sia on ScoTf H Airs
Adf.s] K FiDKi.Ks
J.
-
-
New
a.
in
Times.
Series.
Ed.
...----..---..... Part
I.
of Ancient
....
-.-.--
Toccata Fantasia (.SM/J) Andantk Grazioso MARCH^ FlNEBRE
a,
New
S,
. in F " ("or Fiencli ") In uilnoi G An Klegy
4.
Read.
F. in
;
Wii-i.iam I.ockbtt.
D., Oxon Albkrt W. Krtelbey. K. J. Kowe, L.R.A.M.
Jacob Bradford; Mus. -
83
-
-
CHARING CROSS ROAD,
W
W. EERVES, 83, CHARING CROSS ROAD, W.C. Note the Price, PENCE not SHILLINGS.
2$^
POPULAR AND COPYRIGHT MUSIC. Full Music Size, Well Printed and Critically Coirect.
2D
WILLIAM ^REEVES. 83,
CHARING CROSS ROAD, LONDON. W.C.
QD ^
(Postage Id. each)
(Postage ^d. each.)
VOCAL. Always do as I do 174. Angels at the Casement, 105. Banner of the King 172. Barney O'Hea ...
396.
224. 181. 180. 390. 391. 392. 383. 389. 188. 384. 226. 100. 213. 227. 115. 225.
Bay
of Biscay
Tin7tey
A
S. Lover
J. I avey Miss Lindsay R.J. Stark L. Kirgsmilt O. Barri 0. Barri Balfe
Border Lands (Sacred) Borderer't- Cballenge Cat in the Chimney Child's Good Morning Child's Good Night Cone into the Garden Dawn of Heaven
Diver.
Maud
Buonetli E. J. Loder Dr. Jno. Bull
The
God Save the King Hearts of Oak ...
Honey Are You True to Me (Coon Song) Lady Clara Vere de Vere Last Rose of Summer Sharing the Burden Tom Bowling
A
Hutchison
H. FortesqKe
...
...
Dr. W. Boyce Lindsay Lennox Mifs Lindsay Thcs. Moore J. E. Webster C. Djbdin
PIANOFORTE.
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.
W. M.
flat
Roeckel
Smallwooi Roeckel
Gustav Lavge
March
...
Flying Dutchman (La VaisEeau Fantome)
Four Humoresqoes
Wagner Gungl D. Pecorini Lefib -re-Wely Gustav Lange Smallwood Oesten
Wagner
:
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)
Grieg Qrieg Grieg Grieg T. Valentine Grieg T. Valentine
151. Grand March of the Warriors 125. II Corricolo Galop (easily arranged)
L. Mullen
H. V. Lewis
W. REEVES, 83, CHARING CROSS ROAD, W.C. 26 Cheap Music (oontinued) .
304. 303. 133. 171. 246. 135. 162. 136. 137. 140. 141. 143. 247. 211. 163. 385. 147. 103, 165.
Irish Air (easy) Italian Air (easy)
T. Valentine T.
F. P. Rahotiini
Souia I".
Astrella
Warner Badarazewska
March in E flat Maj-Day Galopade Mazurka
L. B. Mallett
Gungl Badarazetvska J.
Melodie
Melody in F Minuetto Mountain Echo March
Narcissus Placid Stre in Queenie (Intermezzo) Rienzi 148. Scherzino 301. Scotch Air (easy) 375. 156. 394. 381. 380. 302. 378. 168. 150290.
Valentina
H. Wilcock
Kaeeala Gavotte Khartoum Quick March Liberty Bell March Little Dear Gavotie Lohengrin Maiden's Prayer
Roeckel Rubinstein Grieg ...
...
G. GaribJdi Nevin Smallwood P. D' Or say
Wagner Roeckel T.
Seasons Galop ... Silvery Echoes Soldiers' Chorus (Faust) Sonatina in F ... Sonata in G Spbiiisli Air (rasy) Sie^-hanie Gavotte Taunhauser
Valentine
Smalhuood Blake
Gounod Beethoven Beethoven T. Valentine
A. Czibulka
Wagner L. B. Mallett
Tarantella
Washingt n Post March (easy arrangement by Edwin La-iSdale) 291. Woodland Echoes
J. P. Sousa IV y man
DANCE. 388. 387. 382. 161. 127. 101. 397.
Amorosa Mazurka
A. H. Osw.ild
Blue Bells Sotiottieche British Army Polka Cosmopolitan Quadrille Cyprus Pulka
Alec Carlton L. Gautier
S. Leslie
i-cotson
Electric VValtB
EsmeraWa Waltz
Fancy Dress Ball Quadrille 386. Hor e Guards Sohottische
.395.
102. Lucifer i'ulka 144. j\Iunioh Polka 866, Roselund Waliz
S. Leslie II.
Klein
Jos.
...
dark
H. Klein S. Osborne Posenberg
Gungl
Marietta Lena
PIANO DUETS. 156. March of the Cameron 155. Marche dea Croates 169. Minnie, or Lilly Dale
Men
A. Mullen A. Mullen A. Mullen
VIOLIN. 170.
March
St.
OlavB
F, Jamtt
W. REEVES, 83, CHARING CROSS ROAD, W.C.
Books on Freemasonry'
27
l:rr^.r'f^7
12mo, red cloth, gilt, 323 pp., 3/6. Carlile (R.). Manual of Freemasonry, coutaiuing the First Three Degrees, The Royal Arch aud Knights' Templar Druids, The Degrees of Mark Man, Mark Master, Architect,
Grand
Architect., etc., etc.
12mo. blue cloth, gilt, 374 pp., 3/6. Mysteries of Freemasonry; or. An Exposition of the Religious Dogmas and Customs of the Aucient Egyptians showing, from the origin, nature and objects of the rites and ceremonies of remote antiquity, their identity with the Order of Modern Masonry, with some remarks on the Metamorphosis of Apuleiue. tvWi numerous illustrative
Fellows
(J.),
;
woodcuts,
12mo, green cloth, gi.t, 254 pp., 3/6. Ritual and Illustrations of Freemasonry accompanied by very numerous engravings, ai,Tad a Key to the Phi Beta Kappa. 8vo, sewed,
26
pp.,
1-
Investigation into the Cause of the Hostility of tlie Church of Rome to Freemasonry, and an Inquiry into Freemasonry as it Was, and Is with a Criticism as to how far the Order fulfils its Functions, by the Author of " The Text Book of Freemasonry." f ost 8vo, sewed, 48 pp., 1/or, an Authentic Key to the Door of Joachin and Boaz botli Freemasonry, Aucient and Modern, i'ost 8vo, sewed, bOpp., IThree Distinct Knocks at the Door of the Most Ancient :
;
•
Freemasonry 8vo, sewed» 1/or the 1717
The Origin of Freemasonry, by
Theory Exploded
C. J. Paton, 8vo. Is.
Weisse (John
___^
8vo, paper, 2'6 (post free 3-) The Obelisk of Freemasonry, according
A.),
to the Discoveries of Belzoni and Commander Gorringe also Egyptian Symbols compared with those discovered in :
American Mounds. P'ifth
thousand, i2mo, cloth
1/-
Pocket Lexicon of Freemasonry, by W. J. Morris, 18" P.D.D.G.M., St. Lawrence, District and Past Inspector Gen. Royal and Select Masters. /m Fox (T. Ti
of
T
N
-n
I2mo,
cloth,
62pp
,
2/-
Freemasonry An Account of the Early History Freemasonry in England, with Illustrations of the L.),
;
Principles and Precepts advocated
The above Post Free on
by that
Institution,
receipt of remittance
for price named.
W. REEVES, 83, CHARING CROSS R D., W.C.
28
Books on Freema^omy_^':::::::,^Xc. l>2mo, blue cloth, red edges,
270
pp. 5/-
Text Book of Freemasonry a Complete Handbook of Instruction to all the Workings in the Various Mysteries and Ceremonies of Craft Masonry, containing the Entered Apprentice, Fellow-craft, and Master Mason's degrees the Ceremony of Installation of the W. Master and Officers of the Lodge, together with the whole of the Three Lectures also the Ceremony of Exhaltation in the Supreme Order of the Holy Royal Arch, a Selection of Masonic Songs, etc., tllustrated with four engravings of the TRACING BOARDS, by " A Member of the Craft," new and revised edition. Ditto, Ditto, on thin paper, bound in leather pocket-book ;
;
;
style, 5s.
The Three Tracing Boards,
in 12mo, cloth line, Is. 6d. Ditto, Larger Size, roy. 8vo, 4 plates. Is. 6d.
Post 8vo, cloth, 278 pp., 10 (or crimson calf limp, gilt edges, 15/" Text Book of Advanced Freemasonry, containing for the self-Instruction of Candidates, the Complete Rituals of the Higher Degrees, viz.. Royal Ark Mariners, Mark Master, Royal Arch, Red Cross of Rome and Constantinople, Knights' Templar and Rose Croix de Heredom also Monitorial Instructions on the 30th to the 33rd and last degree of Freemasonry, to which are added Historical Introductions and Explanatory remarks by the Author of the " Text -
;
Book."
HONE
Bvo, cloth,
300 pp.,
3/6
(William), Ancient Mysteries described, especially the English Miracle Plays founded on the Apocryphal New Testament Story, extant among the unpublished MSS.in the British Museum, including notices of Ecclesiastical shows and Festivals of Fools and Asses, the English Boy Bishop, Descent into Hell, the Lord Mayor's Show, the Guildhall Giants, Christmas Carols, etc., with engravings and Index.
HONE
8vo, cloth. 3/6
New Testament, being the Gospels, Epistles and other pieces now extant attributed in the first four centuries to Jesus Christ, his Apostles and their Companions and cot included in the New Testament by its compilers. (William) The Apocryphal
all
Any
of the above sent r
BemiHanee
W. REEVFa, 83, CHARING CROSS ROAD, WC.
30
Monthly, 2d.,
THE VIOLIN TIMES, Edited by E.
(
8,
bound, price
post 2^(1.
POLONASKI. Abroad, 3a.
Subscription, 2s. 6d., per Year Vols. 1 to
by
6/-
Each.
Covers 2s.
lor bindin,
each.
IlliistyaUd Supplements have appeared Including the following (2\d. each.
(continued.: PORTRAITS (continued. W. Ten Have 4. Vieuxteinps Md.le. Wieirowitz G. Viotti
PORTRAITS
PORTRAITS. VOL.
7.
W.
A. Mozart Miss Kate Lee R. Peckotsch
VOL. T. G. Briggs
Gordon Tanner Eugene Meier
W.
Cologne Gurzenich
Henley Miss Leonora faekson
Guarnerius Violin, 1733
VOL.
lar
Wm.
Paganini T. B. Parsons
Gesu
Q
tette
V. Fisher
Joseph
5.
6.
del
Koh-Alblis A. 0,ipenheim
J.
A.
Oppenheim
(violinist) (pianist)
Mdlle. Jeanetle Orloff Dr. H. Pudor
Miss Hildegard Werner Fred Furnace Miss Kathleen Thomas M. Cesare Thomson F. Whiteley H. Lvell Tayler Stanley W. G. Barfoot G. fie Angelis Marcello Rossi
FACSIMILES AND PICTURES
C L Wilger
Paganini on his Death-bed
J. R. Bingley
W.
Ole Ball Arcangelo Corelli Fer-iinand Divid
Letter of Ch. de Beriot Letter of Camillo Sivori De'easance of a bond by
J.
Pierre Baillot C. A. de Beriot
E. Whitehouse
N. Paganini
Miss Gladys May Hooley Harold Henry Adolphe Pollitzer Mdlle. Edith Smith John Dun'i Heinrich Maria Hain Edina Bligh I. B. Poznanski
Louis Spchr
Rene Ortmans
A. Stradivarius
.\.
Klderhorst Quartette H. Wilhelm Hrnst Miss Muriel Handley
Miska Hauser
Simoneiti
Roger
Wade Crowder
Viola di Gamba by Cailoi Bergonzi, 1713 Facsimile Labels In Nos^ 32. 34. 35. 37. 505. .58
LiradaGamba.byLlnaro'o, reproduction of Paintingi by Tintoretto
David Techler's Viola
W. REEVES, 83, CHARING CROSS ROAD, W.C. Price One Shillvig
3I
(Cloth ijG)
^^ eoNiDUexoKS Notes AND __^=^^==^==r— ^^ eoNiDUexiNG.
T. R.
CROGER,
F.R.G.S., F.Z.S.,
Fellow of the Philharmonic Society,
Conductor
With " "
A
three
Nonconformist Choir Union Orchestra and Hon. Seo. Nonconlorinist Choir Uni jn.
of the
Full-page Illustratiors of the various " Beats," and Plan of an Orchestra.
—
mine
One
Musical Opinion. of good things." of the best guides to conduciing."
Piano and Music Trades Review. " Calculated to be eminently useful "
The Strad.
Musical Times. ''Brightly written and companionable " very cordiallv advise all young conductors to read this Nonconformist Musical Journal, instructive work." " To these (village Conductors) the author's many hints and picturesque category of 'Do not's cannot fail to be of value." Musical News. " A little book which is as full of good things as an egg is full and in this book budding Conductors, and of meat Buy the book ! " full-blowQ ones also, will find food for thought.
"We
'
—
.
.
— Mus
ica I
Op in ion
" Mr. T. R. Croger has sat under many bato s during the last thirty years, and he chats about the ways and needs of ConductorsHe is interesting, and to the point " very pleasantly. The Musical Herald. " Without going into a long description of what conducting is, and how to do it, we may confidently say that the work before us is one of the best of guides to the art of conducting an OrchesPiano and Music Trades' Journal. tra or Choir.' " Great Conductors are born, not made still, there are thousands who have to wield the baton in Church, Chapel, and other Choirs, and would be the better for a little schoolins. Mr. Croger gives here some good practical hints." Monthly Musical Rtc rd. " Some truthful illustrations of choir competitions and public performances are very humorous. advise all to read and study this little book, and we feel sure much good will be the result to those who require guidance in this direction." .
.
—
.
;
.
We
— The Minim
W. REEVES, 83, CHARING CROSS ROAD, W.C.
3^
Prizes for Compositions given (See any number).
THE
Weekly, with Supplement, 2d.
"Musical Standard,' A
NEWSPAPER FOR MUSICIANS, PROFESSIONAL AND AMATEUR.
-
-
Gives Supplements of Illustrations of British and Foreign Organs, Portraits of Eminent Musicians, Orj^au Music, Violin Music, Anthems, Part Songs, Songs, Piano Pieces. Subscription, one year, los. lod., six m ntlis, 5=. 5d. ABroad, one year, 135., six months, 6s. 6J. Illustrated Series, Vols. 1,2,3,4. 5.6,7. 8, 9
&
10
bound In brown Cloth,
5s. each.
Handsome Covers
for Binding, Is. 6d. each, (by post Is. Od).
Publishing and Advertising Offices
:
CHARING CROSS ROAD, LONDON,
83,
W.C.
Paper, 23 net: or Cloth, 33.6d.net.
MUSICAL DIRECTORY FOR GREAT BRITAIN AND IRELAND. THE TRADES, PROFESSORS AND OTHERS CONNECTED WITH MUSIC, CHORAL SOCIETIES, STAFF OF CATHEDRALS, COLLEGES AND ABBEY CHURCHES, ETC.
W
REEVES,
83,
CHARING CROSS
Third Edition, 8to. boards, cloth back,
RD.,
LONDON, W.C.
6/- net
(by post 6/4.)
The International
DIRECTORY OF PATENT AGENTSNew
and Enlarged Edition
{the third),
•Contains over 4000 Patent Agents, practising in
London
all
parts of th
Arranged Alphabetically, and, also Geographically.
world.
:
W.
Reeves, 83, Charing Cross Road, W.C.
University of Caiifornia
SOUTHERN REGIONAL LIBRARY 305 De Neve Drive
LOS
FACILITY
Parking Lot 17 • Box 951388 ANGELES, CALIFORNIA 90095-1388 -
Return this material to the library from which
it
was borrowed.
Univefsity ol Calilorni
L 006 614 368 6
MT 85 W12uE 1897
UC SOUTHERN REGIONAL LIBRARY FACILITY
AA 000 850 400
3
