Music-Study in Germany Part 1

Music-Study in Germany.

by Amy Fay.

PREFATORY NOTE.

Comparatively few books on music have enjoyed the distinction of reissue. Twenty-one editions is an amazing record for a book of so narrow a subject as "Music Study in Germany." The case of Miss Amy Fay's volume becomes all the more unusual, if one considers that her letters were written only for home, not for a public audience and further that within twenty years from the year of first publication, her observations had become more or less obsolete.

The Germany of the years 1869-1875 was quite different from the Germany of 1900 and certainly of 1912, even down to German table-manners. The earlier "Spiessburgertum" of which Miss Fay gives such entertaining glimpses even in high quarters with their pomp and circ.u.mstance, was rapidly being replaced, at least outwardly, by the more cosmopolitan culture of the _fin de siecle_, not to mention the ambition for political, industrial and commercial "Weltmacht" in a nation thitherto known, perhaps too romantically, as a nation of "Denker und Dichter."

Most of the heroes of the book are long since dead, Miss Fay included, who died in 1921. While even as late as 1890, Miss Fay's volume could have been used as a guide of orientation by the would-be student of music in Germany, certainly it could no longer serve such a purpose during the years just prior to the war, when the lone American student of her book who despised Germany and everything German was definitely in the ascendency. In other words, her personal observations had ceased to be applicable except in certain details of ambient and had pa.s.sed into the realm of autobiography valuable for historical reading. As a piece of historical literature proper, I doubt that the book would have survived the war, because it is lamentably true that the average American music-student or even cultured lover of music is not particularly interested in musical history as such.

To this must be added the indisputable fact that "music study in Germany" or in France, for that matter, had become a mere matter of personal taste and predilection, and was not a necessity as in the days of Miss Fay's amusing experiments with this or that German teacher of renown. An endless stream of excellent European artists and teachers had poured into America since then, augmented by the equally broad stream of native Americans who had learned their _metier_ abroad. Music study in America thus became an easy matter and many an aspiring virtuoso would have done more wisely by staying and studying at home, instead of venturing to a European country with its different language, its different temperament, its different mode of living, customs and so forth. Germany, in particular, is still a "marvellous home of music," to quote an editorial remark of Miss Fay's sister, but it is no longer the "only real home of music," thanks precisely to such artists as Miss Amy Fay herself.

To point out the radical change in conditions in that respect is one thing, quite another to deny, as some rather zealotic patriots do, that Europe, Germany included, can still give the American music-student something which he does not have at home quite in the same manner.

Debate on that subject is futile. Let the American music-student at some time in his career, but only when he is ripe for further study in a foreign country, sojourn a few years in Paris, Berlin, Leipzig, Munich, Vienna, Rome, London, and he will profitably encounter, whether it be to his taste or not, that indefinable something which the old world in matters of life, art, and art-life possessed as peculiarly its own in 1870, still possesses to-day, and will possess for many, many years to come.

What, then, gives to Miss Fay's book its vitality? What is it that justifies the publisher in keeping the book accessible for the benefit of those who wish to study music in Germany instead of elsewhere or of those even who study music in America?

Of course, there is first of all the charm of Miss Fay's own personality, the charm of her observations intimately, entertainingly, and shrewdly expressed. That makes for good reading. Incidentally, it teaches a student-reader to be observant, which unfortunately many musicians are not, even in matters of technique on their chosen instrument. Secondly, the seriousness of purpose of the auth.o.r.ess, the determination to improve her understanding of art and technique to the very limit of her natural ability, will act as a stimulating tonic for him or her who despairs of ever conquering the often so forbidding difficulties of music. The book will teach patience to Americans, patience and endurance in endeavor, qualities which are none too frequent in us. Young America forgets too often that the _Gradus ad Parna.s.sum_ is not only steep; it is long and rough.

There is furthermore in these letters that respect for solid accomplishment of others, that reverential att.i.tude toward the great in art and toward art itself, without which no musician, however talented, will ever reach the commanding heights of art. There permeates these letters the enthusiasm of youth, that perhaps sometimes overshoots its mark but for which most of us would gladly exchange the more critical att.i.tude of maturer years. For we learn to appreciate sooner or later that enthusiasm is the propelling force and the refreshing source of inspiration. Finally, born of all these elements there appear on the pages of Miss Fay's letters such fascinating pen-portraits as that of her revered master, Franz Liszt, the incomparable. Turning the pages of the volume to refresh my memory and impression of it, I confess that I skipped quite a few because their interest seemed so remote and personal, but I found myself absorbing every word Miss Fay had to say in her chapters about Liszt and his Weimar circle. An enjoyable experience which one may safely recommend to those who desire first-hand impressions of the golden days of pianism in Germany, of the romantic, indeed almost legendary figure of Franz Liszt, and consequently a touch of the stuff out of which art-novels are made, into the bargain.

O. G. SONNECK

PREFACE.

In preparing for the public letters which were written only for home, I have hoped that some readers would find in them the charm of style which the writer's friends fancy them to possess; that others would think the description of her masters amid their pupils, and especially Liszt, worth preserving; while piano students would be grateful for the information that an a.n.a.lysis of the piano technique has been made, such as very greatly to diminish the difficulties of the instrument.

How much of Herr Deppe's piano "method" is original with himself, pianists must decide. That he has at least made an invaluable _resume_ of all or most of their secrets, my sister believes no student of the instrument who fairly and conscientiously examines into the matter will deny.

M. FAY PEIRCE.

CHICAGO, Dec., 1880.

PREFACE

TO THE ENGLISH EDITION.

Miss Fay's little book has been so popular in her own country as to have gone through half a dozen editions, and even in German, into which it was translated soon after its first appearance, it has had much success.

It is strange that it has not been already published in England, where music excites so much attention, and where works on musical subjects are beginning to form a distinct branch of literature. This is the more remarkable because it is thoroughly readable and amusing, which books on music too rarely are. The freshness and truth of the letters is not to be denied. We may laugh at the writer's enthusiasm, at the readiness with which she changes her methods and gives up all that she has already learnt at the call of each fresh teacher, at the certainty with which every new artist is announced as quite the best she ever heard, and at the glowing and confident predictions--not, alas, apparently always realised. But no one can laugh at her indomitable determination, and the artistic earnestness with which she makes the most of each of her opportunities, or the brightness and ease with which all is described (in choice American), and each successive person placed before us in his habit as he lives. Such a gift is indeed a rare and precious one. Will Miss Fay never oblige us with an equally charming and faithful account of music and life in the States? Hitherto musical America has been almost an unknown land to us, described by the few who have attempted it in the most opposite terms. Their singers we already know well, and in this respect America is perhaps destined to be the Italy of the future, if only the artists will consent to learn slowly enough. But on the subject of American players and American orchestras, and the taste of the American amateurs, a great deal of curiosity is felt, and we commend the subject to the serious attention of one so thoroughly able to do it justice.

GEORGE GROVE.

December, 1885.

PREFACE

TO THE GERMAN EDITION.

Die vorliegenden Briefe einer Amerikanerin in die Heimath, die im Original bereits in zweiter Auflage erschienen sind, werden, so hoffen wir, auch dem deutschen Leser nicht minderes Vergnugen, nicht geringere Anregung als dem amerikanischen gewahren, da sie in unmittelbarer Frische niedergeschrieben, ein lebendiges Bild von den Beziehungen der Verfa.s.serin zu den hervorragendsten musikalischen Personlichkeiten, wie Liszt, v. Bulow, Tausig, Joachim u. s. w. bieten.

Wir geben das Buch in wortgetreuer Uebersetzung und haben es nur um diejenigen Briefe gekurzt, die in Deutschland Allzubekanntes behandeln.

Hingegen glaubten wir die Stellen dem Leser nicht vorenthalten zu durfen, welche zwar nicht musikalischen Inhalts sind, uns aber zeigen, wie manche unserer deutschen Zu-oder Mistande von Amerikanern beurtheilt werden.

Robert Oppenheim, Publisher.

Berlin, 1882.

IN TAUSIG'S CONSERVATORY.

MUSIC-STUDY IN GERMANY.

CHAPTER I.

A German Interior in Berlin. A German Party. Joachim. Tausig's Conservatory.

BERLIN, _November 3, 1869_.

Behold me at last at No. 26 Bernburger Stra.s.se! where I arrived exactly two weeks from the day I left New York. Frau W. and her daughter, Fraulein A. W., greeted me with the greatest warmth and cordiality, and made me feel at home immediately. The German idea of a "large" room I find is rather peculiar, for this one is not more than ten or eleven feet square, and has one corner of it snipped off, so that the room is an irregular shape. When I first entered it I thought I could not stay in it, it seemed so small, but when I came to examine it, so ingeniously is every inch of s.p.a.ce made the most of, that I have come to the conclusion that it will be very comfortable. It is not, however, the apartment where "the last new novel will lie upon the table, and where my daintily slippered feet will rest upon the velvet cushion." No!

rather is it the stern abode of the Muses.

To begin then: the room is spotlessly clean and neat. The walls are papered with a nice new paper, grey ground with blue figures--a cheap paper, but soft and pretty. In one corner stands my little bureau with three deep drawers. Over it is a large looking-gla.s.s nicely framed. In the other corner on the same side is a big sofa which at night becomes a little bed. Next to the foot of the sofa, against the wall, stands a tiny square table, with a marble top, and a shelf underneath, on which are a basin and a minute soap-dish and tumbler. In the opposite corner towers a huge grey porcelain stove, which comes up to within a few feet of the ceiling. Next is one stiff cane-bottomed chair on four stiff legs. Then comes the lop-sided corner of the room, where an upright piano is to stand. Next there is a little s.p.a.ce where hangs the three-shelved book-case, which will contain my _vast_ library. Then comes a broad French window with a deep window-seat. By this window is my sea-chair--by far the most luxurious one in the house! Then comes my bureau again, and so on _Da Capo_. In the middle is a pretty round table, with an inlaid centre-piece, and on it is a waiter with a large gla.s.s bottle full of water, and a gla.s.s; and this, with one more stiff chair, completes the furniture of the room. My curtains are white, with a blue border, and two transparencies hang in the window. My towel-rack is fastened to the wall, and has an embroidered centre-piece. On my bureau is a beautiful inkstand, the cover being a carved eagle with spread wings, perched over a nest with three eggs in it. It is quite large, and looks extremely pretty under the looking-gla.s.s.

After I had taken off my things, Frau W. and her daughter ushered me into their parlour, which had the same look of neatness and simplicity and of extreme economy. There are no carpets on any of the floors, but they have large, though cheap, rugs. You never saw such a primitive little household as it is--that of this German lawyer's widow. We think our house at home small, but I feel as if we lived in palatial magnificence after seeing how they live here, _i. e._, about as our dressmakers used to do in the country, and yet it is sufficiently nice and comfortable. There are two very pretty little rooms opposite mine, which are yet to be let together. If some friend of mine could only take them I should be perfectly happy.

At night my bed is made upon the sofa. (They all sleep on these sofas.) The cover consists of a feather bed and a blanket. That sounds rather formidable, but the feather bed is a light, warm covering, and looks about two inches thick. It is much more comfortable than our bed coverings in America. I tuck myself into my nest at night, and in the morning after breakfast, when I return to my room--_agramento-presto-change!_--my bed is converted into a sofa, my basin is laid on the shelf, the soap-dish and my combs and brushes are scuttled away into the drawer; the windows are open, a fresh fire crackles in my stove, and my charming little bed-room is straightway converted into an equally charming sitting-room. How does the picture please you?