On Conducting a Treatise on Style in the Execution of Classical Music Part 3

[Figure: musical score example]

is replaced by 6/4

This was too much for the veteran. He was very properly accustomed to beat 4/4 on the square; but it is also the custom of such conductors to beat 6/4 after the manner of 6/8, that is, with an Alla breve beat--two in the bar. (Only in the Andante of the G minor symphony did I witness six grave quaver beats = 1, 2, 3,--4, 5, 6). But, for my poor narrative about the Pope at Rome, the conductor thought two timid Alla breve beats sufficient--so that the members of the orchestra might be left at liberty to make out the crotchets as best they could. Thus it came to pa.s.s that the tempo was taken at exactly double the proper pace: namely, instead of the equivalents just described, things appeared thus:

[Figure: musical score example]

Now, this may have been very interesting, musically, but it compelled the poor singer of Tannhauser to relate his painful recollections of Rome to a gay and lively waltz-rhythm (which, again, reminds me of Lohengrin's narrative about the Holy Grail, at Wiesbaden, where I heard it recited scherzando, as though it were about Queen Mab). But as I was, in this case, dealing with so excellent a representative of Tannhauser as Ludwig Schnorr, [Footnote: Ludwig Schnorr von Carolsfeld, the first "Tristan"

died 1865.] I was bound to establish the right tempo, and, for once, respectfully to interfere. This, I am sorry to say, caused some scandal and annoyance. I fear in course of time, it even caused some little martyrdom, and inspired a cold-blooded Gospel- critic [Footnote: David Strauss, author of "Das Leben Jesu."] to celebrate and console the veteran-martyr in a couple of sonnets.

Indeed, we have now got sundry "martyrs of cla.s.sical music"

crowned with a halo of poetry. I shall beg leave to examine them still more closely in the sequel.

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 cla.s.sical music. 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 of conductors, who attempt to perform functions for which they are not fit. In fact, there is but one valid objection which can be urged against the mode of procedure I advocate, namely this: nothing can be more detrimental to a piece of music than ARBITRARY NUANCES of tempo, etc., such as are likely to be introduced by this or that self-willed and conceited time-beater, for the sake of what he may deem "effective." In that way, certainly, the very existence of our cla.s.sical 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 to questions of art does not exist in Germany; and there is nothing amongst us that could effectually put a stop to such vagaries. Thus, the above objection, valid as it is (though seldom put forward in good faith), again points towards the conductors; for, if incompetent persons are not to be permitted to maltreat cla.s.sical 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 cla.s.sical music into such a groove of triviality and actual disfigurement? In many instances the objection in question is merely put forward as a pretext for opposition to all efforts in the direction I have indicated. Indolent and incompetent persons form an immense majority: and, under certain circ.u.mstances, incompetency and sluggishness unite, and grow aggressive.

The first performances of cla.s.sical compositions with us have, as a rule, been very imperfect. (One has but to recall the accounts of the circ.u.mstances under which Beethoven's most difficult symphonies were first performed!). A good deal also has, from the first, been brought before the German public in an absolutely incorrect manner (compare my essay on "Gluck's Overture to Iphigenia in Aulis" in one of the earlier volumes of the "Neue Zeitschrift fur Musik.") [Footnote: Wagner. "Gessammelte Schriften." Vol. V.. p.143.] This being so, how can the current style of execution appear other than it is? In Germany 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 of the manner in which a master like Mendelssohn led such works! How can it be expected that lesser musicians, not to speak of musical mediocrities generally, should really comprehend things which have remained doubtful to their master? For average people, who are not specially gifted, there is but one good guide to excellence--a 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 pa.s.s, 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 left. For these reasons I deem it worth while to strip this spirit of reticence and shallow pretence of the halo of sanct.i.ty with which it poses as the "chaste spirit of German art." A poor and pretentious pietism at present stifles every effort, and shuts out every breath of fresh air from the musical atmosphere. At this rate we may live to see our glorious music turned into a colourless and ridiculous bug- bear!

I therefore think it advisable to take a straightforward survey of this spirit, to look closely into its eyes, and to openly a.s.sert that it has NOTHING in common with the true spirit of German music. It is not easy to estimate the positive weight and value of modern, Beethovenian, music--but we may perhaps hope to get at some negative proof of its worth, by an examination of the pseudo-Beethovenian-cla.s.sicism now in the ascendant.

It is curious to note how the opposition to the things I advocate finds vent in the press, where uneducated scribblers clamour and create a disturbance, whilst in the profession proper, the utterances are far from noisy, though sufficiently bitter. ("You see he cannot express himself," a lady once said to me with a sly glance at one of these reticent musicians). As I have said at the outset this new musical Areopagus consists of 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 are now in the ascendant. Formerly the two species did not think much of each other; but latterly, in the face of certain disturbances which seem to threaten their nouris.h.i.+ng business, they have united in mutual admiration; so that in the South the Mendelssohnian school, with all that pertains to it, is now lauded and protected--whilst, in the North, the prototype of South-German sterility is welcomed [Footnote: Franz Lachner and his Orchestral Suites.] with sudden and profound respect--an honour which Lindpaintner of blessed memory [Footnote: Peter Josef von Lindpainter, 1791-1856, Capellmeister at Stuttgart] did not live to see. Thus to ensure their prosperity the two species are shaking hands. Perhaps at the outset such an alliance was rather repugnant to those of the old native type; but they got over the difficulty by the aid of that not particularly laudable propensity of Germans: namely, a timid feeling of jealousy which accompanies a sense of helplessness (die mit der Unbeholfenheit verbundenc Scheelsucht).

This propensity spoilt the temper of one of the most eminent German musicians of later times, [Footnote: Robert Schumann.] led him to repudiate his true nature, and to submit to the regulations of the elegant and alien second species. The opposition of the more subordinate musicians signifies nothing beyond this: "we cannot advance, we do not want others to advance, and we are annoyed to see them advance in spite of us."

This is at least honest Philistinism; dishonest only under provocation.

In the newly-formed camp, however, things arc not so simple. Most complicated maxims have there been evolved from the queer ramifications of personal, social, and even national interests.

Without going into details, I will only touch one prominent point, that HERE THERE IS A GOOD DEAL TO CONCEAL, A GOOD DEAL TO HIDE AND SUPPRESS. The members of the fraternity hardly think it desirable to show that they are "musicians" at all; and they have sufficient reason for this.

Our true German musician was originally a man difficult to a.s.sociate with. In days gone by the social position of musicians in Germany, as in France and England, was far from good. Princes, and aristocratical society generally, hardly recognised the social status of musicians (Italians alone excepted). Italians were everywhere preferred to native Germans (witness the treatment Mozart met 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-- (think of Beethoven when he came in contact with Goethe at Teplitz). It was taken for granted that the mental organisation of professional musicians was such as to render them insusceptible to the influence of culture. When Marschner, [Footnote: Heinrich Marschner, 1796-1861, operatic composer; Weber's colleague at Dresden, subsequently conductor at Leipzig and Hanover.] in 1848, found me striving to awaken the spirit of the members of the Dresden orchestra, he seriously dissuaded me, 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 journeyman-like sense this had brought about many an excellent result. A certain family feeling, not devoid of warmth and depth, was developed in such patriarchal orchestras-- and this family feeling was ready to respond to the suggestions of a sympathetic leader. But just as, for instance, the Jews formerly kept aloof from our handicraftsmen, so the new species of conductors did not grow up among the musical guilds--they would have shrunk from the hard work there. They simply took the lead of the guilds--much 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 acquire in a sufficient degree, if it was not altogether lacking: namely, a certain varnish of culture (Gebildetheit). As a banker is equipped with capital, so our elegant conductors are the possessors of pseudo-culture. I say pseudo-culture, not CULTURE, for whoever really possesses the latter is a superior person and above ridicule. But there can be no harm in discussing our varnished and elegant friends.

I have not met with a case in 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 a.s.siduously, never got over a certain anxious timidity; and in spite of all his well-merited successes, he remained outside the pale of German art-life. It seems probable that a feeling of isolation and constraint was a source of much pain to him, and shortened his life. The reason for this is to be found in the fact that the motives of a desire for culture, such as his, lack spontaneity--(da.s.s dem Motive eines solchen Bildungsdranges keine Unbefangenheit innewohnt)--and arise from a desire to cover and conceal some part of a man's individuality, rather than to develop it freely.

But true culture is not the result of such a process: a man may grow extremely intelligent in certain ways; yet the point at which these ways meet may be other than that of "pure intelligence" (reinschende Intelligenz). To watch such an inner process in the case of a particularly gifted and delicately organized individual is sometimes touching; in the case of lesser and more trivial 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 superficial observers of our civilization are wont to do, we may indeed grow seriously indignant. And German musicians now-a-days have good reason to be indignant if this miserable sham culture presumes to judge of the spirit and significance 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 much fuss about anything. Thus, whatever is high, great and deep, is treated as a matter of course, a commonplace, naturally at everybody's beck and call; something that can be readily acquired, and, if need be, imitated. Again, that which is sublime, G.o.d-like, demonic, must not be dwelt upon, simply because it is impossible or difficult to copy. Pseudo-culture accordingly talks of "excrescencies," "exaggerations," and the like--and sets up a novel system of aesthetics, which professes to rest upon Goethe-- since he, too, was averse to prodigious monstrosities, and was good enough to invent "artistic calm and beauty" in lieu thereof.

"The guileless innocence of art" becomes an object of laudation; and Schiller, who now and then was too violent, is treated rather contemptuously; so, in sage accord with the Philistines of the day, a new conception of cla.s.sicality is evolved. In other departments of art, too, the Greeks are pressed into service, on the ground that Greece was the very home of "clear transparent serenity;" and, finally, such shallow meddling with all that is most earnest and terrible in the existence of man, is gathered together in a full and novel philosophical system [Footnote: Hanslick's "Vom Musicalish-Schoenen," and particularly Vischer's voluminous "System der AEsthetik."]--wherein our varnished musical heroes find a comfortable and undisputed place of honour.

How the latter heroes treat great musical works I have shewn by the aid of a few representative examples. It remains to explain the serene and cheerful Greek sense of that "getting over the ground" which Mendelssohn so earnestly recommended. This will be best shown by a reference to 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 successors superadded the specific motive of their "CULTURE": namely, "to hide and cover up in general," to escape attention, to create no disturbance. There is a QUASI physiological reason for this which I accidentally discovered once upon a time.

For the performance of Tannhauser, at Paris, I re-wrote the scene in the "Venusberg" on a larger scale: at one of the rehearsals I explained to the ballet master that the little tripping pas of his Maenads and Bacchantes contrasted miserably with my music, and asked him to arrange something wild and bold for his corps-- something akin to the groups of Bacchantes on ancient bas- reliefs. Thereupon the man whistled through his fingers, and said, "Ah, I understand perfectly, but to produce anything of the sort I should require a host of premiers sujets; if I were to whisper a word of what you say, and indicate the att.i.tudes you intend to my people here, we should instantly have the 'cancan,'

and be lost." The very same feeling which induced my Parisian ballet-master to rest content with the most vapid pas of Maenads and Bacchantes, forbids our elegant, new-fangled conductors to cut the traces of their "culture." They are afraid such a thing might lead to a scandal a la Offenbach. Meyerbeer was a warning to them; the Parisian opera had tempted him into certain ambiguous Semitic accentuations in music, which fairly scared the "men of culture."

A large part of their education has ever since consisted in learning to watch their behaviour, and to suppress any indications of pa.s.sion; much as one who naturally lisps and stammers, is careful to keep quiet, lest he should be overcome by a fit of hissing and stuttering. Such continuous watchfulness has a.s.sisted in the removal of much that was unpleasant, and the general humane 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 refreshed and rejuvenated. I have already mentioned that amongst musicians roughness of speech and behaviour are going out, that delicate details in musical execution are more carefully attended to, etc.

But it is a very different thing to allow the necessity for reticence, and for the suppression of certain personal characteristics, to be converted into a principle for the treatment of our art! Germans are stiff and awkward when they want to appear mannerly: BUT THEY ARE n.o.bLE AND SUPERIOR WHEN THEY GROW WARM. And are we to suppress our fire to please those reticent persons? In truth, it looks as though they expected us to do so.

In former days, whenever I met a young musician who had come in contact with Mendelssohn, I learnt that the master had admonished him not to think of effect when composing, and to avoid everything that might prove meretriciously impressive. Now, this was very pleasant and soothing advice; and those pupils who adopted it, and remained true to the master, have indeed produced neither "impression nor meretricious effect;" only, the advice seemed to me 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 Conservatorium was based upon some such negative advice, and I understand that young people there have been positively pestered with warnings of a like kind; whilst their best endeavours met with no encouragement from the masters, unless their taste in music fully coincided with the tone of the orthodox psalms. The first result of the new doctrine, and the most important for our investigations, came to light in the execution of cla.s.sical music. Everything here was governed by the fear of exaggeration (etwa in das Drastische zu fallen). I have, for instance, hitherto not found 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. 106) as it should be played. At length my wish was gratified--but by a person who came from a camp wherein those doctrines do NOT prevail. Franz Liszt, also, gratified my longing to hear Bach. No doubt Bach has been a.s.siduously cultivated by Liszt's opponents; they esteem Bach for teaching purposes, since a smooth and mild manner of execution apparently accords better with his music than "modern effect," or Beethovenian strenuousness (Drastik).

I once asked one of the best-reputed older musicians, a friend and companion of Mendelssohn (whom I have already mentioned apropos of the tempo di menuetto of the eighth symphony), [Footnote: Ferdinand Hiller] to play the eighth Prelude and Fugue from the first part of "Das Wohltemperirte Clavier" (E flat minor), a piece which has always had a magical attraction for me.

[Footnote: i.e. Prelude VIII., from Part I. of Bach's 48 Preludes and Fugues.] He very kindly complied, and I must confess that I have rarely been so much taken by surprise. Certainly, there was no trace here of sombre German gothicism and all that old- fas.h.i.+oned 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-h.e.l.lenic synagogue, from the musical cultus of which all old testamentary accentuations had been most elegantly eliminated. This singular performance still tingled in my ears, when at length I begged Liszt for once to cleanse my musical soul of the painful impression: he played the fourth Prelude and Fugue (C sharp minor). Now, I knew what to expect 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 rendering of this single fugue of Bach's, Liszt revealed Bach to me; so that I henceforth knew for certain what to make of Bach, and how to solve all doubts concerning him. I was convinced, also, that THOSE people know NOTHING of Bach; and if anyone chooses to doubt my a.s.sertion, I answer: "request them to play a piece of Bach's."

[Footnote: See Appendix C]

I would like further to question any member of that musical temperance society and, if it has ever been his lot to hear Liszt play Beethoven's great B flat Sonata. I would ask him to testify honestly whether he had before really known and understood that sonata? I, at least, am acquainted with a person who was so fortunate; and who was constrained to confess that he had not before understood it. And to this day, who plays Bach, and the great works of Beethoven, in public, and compels every audience to confess as much? a member of that "school for temperance?" No!

it is Liszt's chosen successor, Hans van Bulow.

So much for the present on this subject. It might prove interesting to observe the att.i.tude these reticent gentlemen take up with regard to performances such as Liszt's and Bulow's.

The successes of their policy, to which they are indebted for the control of public music in Germany, need not detain us; but we are concerned in an examination of the curious religious development within their congregation. In this respect the earlier maxim, "beware of effect"--the result of embarra.s.sment and cautious timidity--has now been changed, from a delicate rule of prudence and security, to a positively aggressive dogma. The adherents of this dogma hypocritically look askance if they happen to meet with a true man in music. They pretend to be shocked, as though they had come across something improper. The spirit of their shyness, which originally served to conceal their own impotence, now attempts the defamation of other people's potency.

Defamatory insinuations and calumny find ready acceptance with the representatives of German Philistinism, and appear to be at home in that mean and paltry state of things which, as we have seen, environs our musical affairs.

The princ.i.p.al ingredient, however, is an apparently judicious caution in presence of that which one happens to be incapable of, together with detraction of that which one would like to accomplish one's self. It is sad, above all 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 misfortune was that Schumann in his later days attempted certain tasks for which he was not qualified. And it is a pity to see that portion of his work, in which he failed to reach the mark he had set himself, raised as the insignia of the latest guild of musicians. A good deal of Schumann's early endeavour was most worthy of admiration and sympathy, and it has been cherished and nurtured by us (I am proud here to rank myself with Liszt's friends) in a more commendable and commending way than by his immediate adherents.

[Footnote: See Appendix D.] The latter, well aware that Schumann had herein evinced true productivity, knowingly kept these things in the background, perhaps because they could not play them in an effective way. On the other hand, certain works of Schumann conceived on a larger and bolder scale, and in which the limits of his gifts become apparent are now carefully brought forward.

[Footnote: Such as the Overtures to Faust, Die Braut von Messina, Julius Caesar; the "Balladen," Das Gluck von Edenhall, Des Sanger Fluch, Vom Pagen und der Konigstochter, etc.] The public does not exactly like these works, but their performance offers an opportunity to point out how commendable a thing it is to "make no effect." Finally, a comparison with the works of Beethoven in his third period (played as they play them) comes in opportunely.

Certain later, inflated (schwulstig) and dull productions of R.

Schumann, which simply require to be played smoothly (glatt herunter gespielt) are confounded with Beethoven; and an attempt is made to show that they agree in spirit with the rarest, boldest and most profound achievements of German music! Thus Schumann's shallow bombast is made to pa.s.s for the equivalent of the inexpressible purport of Beethoven--but always with the reservation that strenuous eccentricity such as Beethoven's is hardly admissible; whereas, vapid emptiness (das gleichgiltig Nichtssagende) is right and proper: a point at which Schumann properly played, and Beethoven improperly rendered, are perhaps comparable without much fear of misunderstanding! Thus these singular defenders of musical chast.i.ty stand towards our great cla.s.sical music in the position of eunuchs in the Grand-Turk's Harem; and by the same token German Philistinism is ready to entrust them with the care of music in the family--since it is plain that anything ambiguous is 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 if, after a century of 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 inheritance.

Regarded as individuals, there is not much to blame in these musicians; most of them compose very well. Herr Johannes Brahms once had the kindness to play a composition of his own to me--a piece with very serious variations--which I thought excellent, and from which I gathered that he was impervious to a joke. His performance of other pianoforte music at a concert gave me less pleasure. I even thought it impertinent that the friends of this gentleman professed themselves unable to attribute anything beyond "extraordinary technical power" to "Liszt and his school,"

whilst the execution of Herr Brahms appeared so painfully dry, inflexible and wooden. I should have liked to see Herr Brahms'

technique annointed with a little of the oil of Liszt's school; an ointment which does not seem to issue spontaneously from the keyboard, but is evidently got from a more aetherial region than that of mere "technique." To all appearances, however, this was a very respectable phenomenon; only it remains doubtful how such a phenomenon could be set up in a natural way as the Messiah, or, at least, the Messiah's most beloved disciple; unless, indeed, an affected enthusiasm for mediaeval wood-carvings should have induced us to accept those stiff wooden figures for the ideals of ecclesiastical sanct.i.ty. In any case we must protest against any presentation of our great warm-hearted Beethoven in the guise of such sanct.i.ty. If THEY cannot bring out the difference between Beethoven, whom they do not comprehend and therefore pervert, and Schumann, who, for very simple reasons, IS incomprehensible, they shall, at least, not be permitted to a.s.sume that no difference exists.

I have already indicated sundry special aspects of this sanctimoniousness. Following its aspirations a little further we shall come upon a new 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"

(muckerische Tendenzen) in my artistic theories. The man evidently did not know what he was saying; he merely wished to use an unpleasant word. But my experience has led me to understand that the essence of hypocrisy, and the singular tendency of a repulsive sect of hypocrites (Mucker), may be known by certain characteristics:--they wish to be tempted, and greedily seek temptation, in order to exercise their power of resistance!--Actual scandal, however, does not begin until the secret of the adepts and leaders of the sect is disclosed;--the adepts reverse the object of the resistance--they resist with a view to increasing the ultimate sense of beat.i.tude. Accordingly, if this were applied to art, one would perhaps not be saying a senseless thing if one were to attribute hypocritical tendencies to the queer "school for chast.i.ty" of this Musical Temperance Society. The lower grades of the school may be conceived as vacillating between the orgiastic spirit of musical art and the reticence which their dogmatic maxim imposes upon them--whilst it can easily be shewn that the higher grades nourish a deep desire to enjoy that which is forbidden to the lower. The "Liebeslieder Walzer" of the blessed Johannes (in spite of the silly t.i.tle) might be taken as the exercises of the lower grades; whereas the intense longing after "the Opera," which troubles the sanctimonious devotions of the adepts, may be accepted as the mark of the higher and highest grades. If a single member, for once only, were to achieve a success with an opera, it is more than probable that the entire "school" would explode. But, somehow, no such success has. .h.i.therto been achieved, and this keeps the school together; for, every attempt that happens to fail, can be made to appear as a conscious effort of abstinence, in the sense of the exercises of the lower grades; [Footnote: For a curious example of such exercises, see Ferdinand Hiller's "Oper ohne Text;" a set of pianoforte pieces, a quatre mains.] and "the opera," which beckons in the distance like a forlorn bride, can be made to figure as a symbol of the temptation, which is to be finally resisted--so that the authors of operatic failures may be glorified as special saints.

Seriously speaking, how do these musical gentlemen stand with regard to "THE OPERA?" Having paid them a visit in the concert- room to which they belong, and from which they started, we shall now, for the sake of "conducting," look after them at the theatre.

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. I suspect there were very simple reasons for this. A good deal can be got at by means of discussion and arrangement; but a "German" and "n.o.bly-serene" opera, such as Mendelssohn in his delicate ambition dreamt of, is not exactly a thing that can be manufactured--nor old nor new testamentary recipes will serve the purpose. The master did not live to reach the goal: but his companions and apprentices continued their efforts. Herr Hiller believed he could force on a success, simply by dint of cheerful and unflagging perseverance. Everything, he thought, depends upon a "lucky hit," such as others had made in his very presence, and which steady perseverance, as in a game of chance, must, sooner or later, bring round to him. But the "lucky hit" invariably missed. Schumann also did not succeed, [Footnote: "Genoveva," Oper in vier Acten, nach Tieck und F. Hebbel, Musik von Robert Schumann. Op. 81."] and many other members of the church of abstinence, both adepts and neophytes, have since stretched forth their "chaste and innocent" hands in search of an operatic success--they troubled greatly--but their efforts proved fruitless--"the fortunate grip" failed.

Now, such experiences are apt to embitter the most harmless persons. All the more so, since Capellmeisters and Musikdirectors are daily occupied at 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 their inability to conduct an opera properly. Yet such is the fate of our public art, that gentlemen who are not even able to conduct concert music, are the sole leaders in the very complicated business of the opera theatres! Let a reader of discretion imagine the condition of things there!

I have been prolix in showing the weakness of our conductors, in the very field, where, by rights, they ought to feel at home. I can be brief now with regard to the opera. Here it simply comes to this: "Father, forgive them; for they know not what they do."

To characterize their disgraceful doings, I should have to show how much that is good and significant MIGHT be done at the theatres, and this would lead me too far. Let it be reserved for another occasion. For the present I shall only say a little about their ways as operatic conductors.

In the concert room these gentlemen go to work with the most serious mien; at the opera they deem it becoming to put on a nonchalant, sceptical, cleverly-frivolous air. They concede with a smile that they are not quite at home in the opera, and do not profess to understand much about things which they do not particularly esteem. Accordingly, they are very accommodating and complaisant towards vocalists, female and male, for whom they are glad to make matters comfortable; they arrange the tempo, introduce fermatas, ritardandos, accelerandos, transpositions, and, above all, "cuts," whenever and wherever a vocalist chooses to call for such. Whence indeed are they to derive the authority to resist this or that absurd demand? If, perchance, a pedantically disposed conductor should incline to insist upon this or that detail, he will, as a rule, be found in the wrong.

For vocalists are at least at home and, in their own frivolous way, at ease in the opera; they know well enough what they can do, and how to do it; so that, if anything worthy of admiration is produced in the operatic world it is generally due to the right instincts of the vocalists, just as in the orchestra the merit 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 (Wechselbalg) such innocent looking sheets of music paper can be turned into; the mere succession of the transpositions--the Adagio of an Aria in F 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.

It was only at a suburban theatre at Turin (i.e., in Italy) that I witnessed a correct and complete performance of the "Barber of Seville;" for our conductors grudge the trouble it takes to do justice even to a simple score such as "Il Barbiere." They have no notion that a perfectly correct performance, be it of the most insignificant opera can produce an excellent impression upon an educated mind, simply by reason of its correctness. Even the shallowest theatrical concoctions, at the smallest Parisian theatres, can produce a pleasant aesthetical effect, since, as a rule, they are carefully rehea.r.s.ed, and correctly rendered. The power of the artistic principle is, in fact, so great that an aesthetic result is at once attained, if only some part of that principle be properly applied, and its conditions fulfilled: and such is true art, although it may be on a very low level. But we do not get such aesthetic results in Germany, unless it be at PERFORMANCES OF BALLETS, in Vienna, or Berlin. Here the whole matter is in the hands of one man--the ballet-master--and that man knows his business. Fortunately, he is in a position to dictate the rate of movement 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 consensus of all the artistic factors; and now, of a sudden, it comes to pa.s.s that the orchestra plays correctly! A rare sense of satisfaction will be felt by everyone who, after the tortures of an opera, witnesses a performance of one of those Ballets.

In this way the stage manager might lend his aid to the ensemble of the opera. But, singularly enough, the fiction that the opera is a branch of absolute music is everywhere kept up; every vocalist is aware of the musical director's ignorance of the business of an opera; yet--if it should happen that the right instincts of gifted singers, musicians and executants generally are aroused by a fine work, and bring about a successful performance--are we not accustomed to see the Herr Capellmeister called to the front, and otherwise rewarded, as the representative of the total artistic achievement? Ought he not himself to be surprised at this? Is he not, in his turn, in a position to pray, "Forgive them, they 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.