Musical Myths and Facts Volume II Part 9

5. The conditions proposed by the Philharmonic Society as regards my non-appearance in any other public orchestra than its own, about not conducting the orchestra, and about suchlike matters for the advantage of the Society, I consent to unreservedly. My feeling of honour would have dictated them to me as a matter of course.

6. I dare to hope that the Philharmonic Society will oblige me with its a.s.sistance in the preparation and promotion of one benefit concert, or perhaps more....

7. I must beg that the conditions, or the agreement to the above, shall be written in the English language, signed by three Directors of the Philharmonic Society in the name of the Society, and forwarded to me."

Failing health prevented Beethoven from undertaking the journey. The Philharmonic Society, believing him to be in want, which was far from being the case, in a delicate way presented him with 100. Indeed, Beethoven had every reason to feel gratified by the generous attention shown to him by those Englishmen who were able to appreciate his merits.

In the year 1817, some of his London admirers gave him great pleasure by sending him a new grand-piano of Broadwood's manufacture; and in 1826, the kind-hearted Mr. J. A. Stumpff, in London, a German by birth, and a harp-maker in by no means affluent circ.u.mstances, made him a present of Arnold's edition of Handel's works, in forty volumes folio,--a gift which was taken to the bedside of the dying composer, and which soothed his last days of suffering.

Also Haydn received from England touching marks of veneration. Some instances of homage offered by enthusiastic amateurs, must have caused him amus.e.m.e.nt on account of their singularity, if for no better reason.

The worsted-spinner W. Gardiner, of Leicester, forwarded to him a present of six pairs of cotton stockings in which he had worked the notation of some popular melodies by Haydn,--such as the air "My mother bids me bind my hair;" the theme of the Andante in the Surprise Symphony; the tune of the Hymn "G.o.d preserve the Emperor," etc. W.

Gardiner was himself a musical composer, his mode of composing being that of the Bavarian prince Joseph Clemens, who set about it "like the bees which extract honey from the most beautiful flowers, and mix it together."[40] Thus W. Gardiner "composed" a whole oratorio, which he made up of choruses and airs borrowed from various masters, and more or less distorted to suit them to their new place. Only the overture was wanting. He wrote to Beethoven to induce him to compose one for this oratorio, and offered to pay 100 guineas for it. Beethoven never answered the letter.[41] Had he been really as greedy of gain as in his correspondence with Birchall he appears to be, he would probably have accepted the offer, which was rather liberal. Nevertheless, had he accepted it, the result would very likely have proved the manufacturer a more practical man than the composer. Be this as it may, it is quite comprehensible that to Beethoven an attempt to a.s.sociate him with musical jobbery must have been especially repulsive.

Perhaps no opera composer had a better chance of becoming a rich man than had Carl Maria von Weber. The success of 'Der Freischutz' was immense. The fascinating melodies of this opera were sung, played and whistled everywhere, by musical and unmusical people. It would be difficult to point out a civilized country in which 'Der Freischutz' has not been performed and listened to with rapture. Before the popularity of the opera was fully established, Weber offered the pianoforte score to the publisher Schlesinger, in Berlin, for sixty Frederick-d'ors (51). Schlesinger thought the demand exorbitant, and offered two hundred and twenty thalers (33), which Weber accepted.[42]

Nevertheless, in consequence of the many performances of 'Der Freischutz' in various towns on the Continent, from which the composer derived some pecuniary advantage, the opera proved rather lucrative to him. Still, it was more remunerative indirectly than directly, inasmuch as its universal success induced Charles Kemble, the manager of the Theatre Royal, Covent Garden, to engage Weber to compose 'Oberon,' and to visit London for the purpose of conducting the new opera. Thus Weber had an excellent opportunity of exercising his apt.i.tude for business.

How he acquitted himself of the task, may be gathered from his rejecting at the outset the terms offered by Kemble,--which were 500, and all his expenses paid,--and proposing his own terms, which, with the help of some one acquainted with the English language, he had penned as follows:--

"At my arrival at London I will first of all preside at the piano in six representations of the 'Freischutz'; for the first five you will give me every night a pecuniary compensation of two hundred pounds, and the sixth as a benefit for me. During this time we will prepare 'Oberon' and I will preside at the piano also the first six representations at the same conditions. I must be a.s.sured that all this be settled in three months, otherwise I should claim an adequate indemnification. The music of 'Oberon' (Part.i.tion, and adapted by me for the Piano) is then your property for Great Britain. The poem and the music are mine for all the rest of Europe."

According to this proposal Weber would have realized in the course of three months 2,400. But he soon experienced that one may also be too practical. His shattered health rendered the journey to England exceedingly fatiguing, and the trouble, excitement and disappointments connected with the rehearsals and representations of 'Oberon,' and with the necessary preparations for his concerts, accelerated his dissolution. He died in 1826, when he had been about three months in London, and the proceeds of his toil during the time amounted to about 1,100, or less than half the sum which he at first demanded from Kemble.

The musical student, in perusing the master-works in his art, has continually occasion to admire the careful consideration which the composers have given to every bar so as to produce great effects by simple means, interesting variety in unity, thus achieving as nearly as possible a perfect work of art. Also, their remarks upon their compositions show how thoughtfully they laboured, considering and reconsidering every step they took. It is unnecessary to ill.u.s.trate this fact by quotations, as instances will probably occur to the reader.

Suffice it to notice a remark by Mozart, which shows how cleverly he contrived to make concessions to the popular taste, in as far as he could accomplish this without deterioration to his compositions as works of art. In a letter to his father, which he wrote from Paris, he thus describes the performance of a new symphony, which he had been requested to compose for the _Concert Spirituel_:--

"In the middle of the first Allegro is a pa.s.sage of which I knew well that it would please. All the auditors were transported by it, and there was great applause. As I knew, when I wrote the pa.s.sage, what its effect would be, I introduced it once more towards the end of the movement.

Then they demanded a repet.i.tion of the entire Allegro. The Andante pleased also; but especially the last Allegro. As I had been told that it was the usual custom with the composers here in Paris to commence the last Allegro of a symphony, like the first, with the full orchestra, generally in unison, I commenced mine with only the first and second violins, _piano_ through eight bars. Then came suddenly _forte_.

Consequently, the auditors made first, as I had expected,--hush! and then the _forte_ surprised them so greatly, that they applauded as a matter of course."

Is this not thoroughly practical in an artistic point of view?

[Ill.u.s.tration]

[26] 'Biographie von Ludwig van Beethoven, verfa.s.st von A. Schindler;'

Munster, 1845; p. 246.

[27] 'Biographische Notizen uber L. van Beethoven, von Wegeler und Ries;' Coblenz, 1838; p. 34.

[28] 'Historisch-Kritische Beitrage zur Aufnahme der Musik, von F. W.

Marpurg.' Vol. II., Berlin, 1756; p. 575.

[29] 'Franz Schubert, von H. Kreiszle von h.e.l.lborn;' Wien, 1865, p. 272.

[30] 8.

[31] 'Franz Schubert, von H. Kreiszle von h.e.l.lborn;' Wien, 1865; p. 388.

[32] Op. 114.

[33] 6.

[34] 'Franz Schubert, von H. Kreiszle von h.e.l.lborn;' Wien, 1865; p. 442.

[35] 'Biographie W. A. Mozart's, von G. N. von Nissen;' Leipzig, 1828, p. 584.

[36] See above, page 23.

[37] Barbaja, the Impressario of the San Carlo Theatre at Naples.

[38] 'Aus dem Tonleben unserer Zeit, von Ferdinand Hiller; Leipzig, 1868.' Vol. II., p. 22.

[39] 'Jahrbucher fur Musikalische Wissenschaft, herausgegeben von F.

Chrysander.' Leipzig, 1863, p. 434.

[40] See above, p. 45.

[41] 'Music and Friends, by William Gardiner.' Vol. III., London, 1853, p. 378.

[42] 'Carl Maria von Weber, ein Lebensbild,' von Max C. M. von Weber; Leipzig, 1864. Vol. II., p. 270.

[Ill.u.s.tration]

MUSIC AND MEDICINE.

Music is capable of exercising a favourable influence upon health, but it may also prove injurious. In order to know how to employ it with good result in certain illnesses, an exact acquaintance with its various effects is requisite. First of all, it ought to be borne in mind that music may serve as a remedy either by directly affecting the mind, or by acting primarily upon the body. In the former case its influence may be called psychical; and in the latter, physical.

Considering how much in the cure of certain illnesses depends upon the spirits of the patient, it will easily be understood that the affecting power of music deserves special attention. There are illnesses in which the attainment of a calm state of mind may be a most important condition for the recovery of the patient,--nay, instances are conceivable in which with this attainment the illness is already in a great measure removed. Some persons are much more susceptible of music than others; but there are few in whose heart it finds not some response, however slight. Indeed, the beneficial influence of music is almost universally felt, and is evidenced by examples the authenticity of which is indisputable. No other art is so capable of easily moving man to tears of grief, of exciting him in a moment to cheerfulness, of inspiring him with courage, and of making him forget his real or imaginary troubles and anxieties. Hence, with almost every nation we find the employment of music resorted to on occasions of sadness and mourning, at solemn celebrations and joyful festivities, in warlike exploits, in religious worship,--in fact, wherever a definite direction of a certain feeling is especially requisite.

Also the popular stories, of which a selection is given in the present work, testify to the universally-felt power of music. In many of the stories miraculous effects are ascribed to music. What stronger proof can be cited of its intense impression upon the human heart than the popularity of such conceptions traditionally preserved through centuries!

But also the direct influence which the cultivation of music may exercise upon the body is not insignificant, considered medically. Thus, for instance, singing, if judiciously practised, is conducive to health, inasmuch as it benefits the lungs and the chest; and the playing on certain musical instruments is salutary, while on others it is injurious. Moreover, in combination with dancing, music is likely to prove in some complaints an efficacious remedy. Of course, everything depends upon its judicious employment, if it is to serve medically. In order exactly to ascertain its efficacy it is advisable to examine its employment as we find it in different nations. Even the most uncivilized tribes ought not to be ignored in this enquiry, because the dictates of instinct are often not less suggestive than the speculations of reason.

Nations, or tribes, in a low state of civilization, as there are many still existing at the present day, have generally so-called "mystery-men," or "medicine-men," who combine in one person the avocation of the priest, physician, and musician, and who are also usually prophets, sorcerers, rain-makers, shrewd advisers,--in short, men who by their comparatively superior knowledge and skill obtain considerable influence over their ignorant and superst.i.tious fellow-men.

The most ancient nations historically known were far more advanced in civilization than these our contemporaries. However, we find with them traces of the original existence of "mystery-men." With the Greeks, music, or the art of the Muses, originally comprised, besides the tone-art, several other arts and sciences; from which it may be conjectured that the earliest Greek musicians practised also the healing art like the mystery-men of our time. The ancient Egyptians, at an early period, had attained a considerably higher stage of development in the cultivation of music than many nations of the present day have achieved. This a.s.sertion will not appear exaggerated to any musician who has carefully examined the ancient representations of the variously-constructed instruments which were in use with the Egyptians, centuries before our Christian era. Equally suggestive is a statement of Herodotus, indicating the progress which the Egyptians had made in the healing art, nearly 500 years before our era. He remarks (Euterpe 84): "The art of medicine is thus divided amongst them: each physician applies himself to one disease only, and not more. All places abound in physicians; some physicians are for the eyes, others for the head, others for the teeth, others for the parts about the belly, and others for internal disorders." Such a high degree of cultivation of an art or science, in which each professor occupies himself especially with a particular branch in order to achieve the utmost possible perfection in it, is known at the present day only among the most civilized nations.

If, therefore, we desire to obtain an accurate idea of the primitive treatment of diseases by means of music, a reference to the usages of some rude tribes in uncivilized lands will be the proper step for acquiring the information.

Considering that the mystery-men alluded to are, as a rule, mentally the most gifted and the most crafty personages of the tribe to which they belong, and that they are especially familiar with the views, inclinations, customs, and weaknesses of their people, a detailed account of the social position and doings of these extraordinary individuals in different parts of the world might be very interesting.

It would, however, be out of place here to describe them further than as they appear in their medical and musical capacities.

The mystery-men of the North American Indians, or the "medicine-men," as they are more usually called, are acquainted with the medicinal virtues of a great many different kinds of roots and herbs, of which they make use in their prescriptions, and for which they are paid. Some of them enjoy a high reputation on account of their skill; and in general the medicine-man takes a high position among the people. Only when the common remedies of roots and herbs have proved unsuccessful does he resort to "medicine" or mystery. He arrays himself in a most grotesque dress, and provides himself with a rattle, commonly made of a gourd, which is hollowed and partly filled with pebbles. Thus equipped, he approaches his dying patient to cure him by a charm. He dances about him, singing songs of incantation, and producing a frightful noise by shaking his rattle. Catlin records a scene of an attempted cure of this description which he himself witnessed, as follows: "Several hundred spectators, including Indians and traders, were a.s.sembled round the dying man, when it was announced that the medicine-man was coming. We were required to form a ring, leaving a s.p.a.ce of some thirty or forty feet in diameter around the dying man, in which the doctor would perform his wonderful operations; and a s.p.a.ce was also opened to allow him free room to pa.s.s through the crowd without touching any one.... He approached the ring with his body in a crouching position, with a slow and tilting step. His body and head were entirely covered with the skin of a yellow bear, the head of which--his own head being inside of it--served as a mask; the huge claws of which also were dangling on his wrists and ankles. In one hand he shook a frightful rattle, and in the other he brandished his medicine-spear, or magic wand; to the rattling din and discord of all of which he added the wild and startling jumps and yelps of the Indian, and the horrid and appalling grunts, snarls, and growls of the grizzly bear, in ejaculatory and gutteral incantations to the Good and Bad Spirits, in behalf of his patient, who was rolling and groaning in the agonies of death, whilst he was dancing around him, jumping over him, and pawing him about, and rolling him in every direction. In this wise the strange operation proceeded for half an hour to the surprise of a numerous and death-like silent audience, until the man died; and the medicine-man danced off to his quarters, and packed up, tied and secured from the sight of the world his mystery dress and equipments."[43] Should the exhausted patient unaccountably recover after such a ceremony, the lucky medicine-man will be seen for several days after the event on the top of a wigwam, extending his right arm, waving it to the gaping mult.i.tude, and boasting of his skill.

With the Indian tribes in Columbia and Vancouver Island the medicine-man, although he may become of great importance if he is clever, is liable to be put to death if he fails to cure his patient; it being presumed that he possesses the power, but not the wish, to cure. A strange procedure of one of these fellows in trying to cure a female who lay dangerously ill, was witnessed by an Englishman, who has given a circ.u.mstantial description of it, from which the following extract will suffice:--

"Towards night the doctor came, bringing with him his own and another family to a.s.sist in the ceremony. After they had eaten supper, the centre of the lodge was cleared and fresh sand strewed upon it. A bright fire of dry wood was then kindled, and a brilliant light kept up by occasionally throwing oil upon it. I considered this a species of incense offered, as the same light would have been produced, if desired, by a quant.i.ty of pitch-knots which were lying in the corner. The patient, well wrapped in blankets, was laid on her back, with her head a little elevated, and her hands crossed on her breast. The doctor knelt at her feet, and commenced singing a song, the subject of which was an address to the dead, asking them why they had come to take his friend and mother, and begged them to go away and leave her. The rest of the people then sung the chorus in a low, mournful chant, keeping time by knocking on the roof with long wands they held.... As the performance proceeded, the doctor became more and more excited, singing loudly and violently, with great gesticulation, and occasionally making pa.s.ses with his hand over the face and person of the patient, similar to those made by mesmeric manipulators."[44]