On Conducting a Treatise on Style in the Execution of Classical Music Part 2

a.s.suredly, the novel and infinitely various combinations of a symphonic movement must be set in motion in an adequate and appropriate manner if the whole is not to appear as a monstrosity. I remember in my young days to have heard older musicians make very dubious remarks about the Eroica. [FOOTNOTE: Beethoven's Symphony, No. III.] Dionys Weber, at Prague, simply treated it as a nonent.i.ty. The 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 Eroica! The result was such that one could not help agreeing with him. Yet everywhere else the work was thus played, and it is still so played to this day! True, the symphony is now received with universal acclamations; but, if we are not to laugh at the whole thing, the real reasons for its success must be sought in the fact that Beethoven's music is studied apart from the concert-rooms--particularly at the piano-- and its irresistible power is thus fully felt, though in rather a round-about way. If fate had not furnished such a path of safety, and if our n.o.blest music depended solely upon the conductors, it would have perished long ago.

To support so astounding an a.s.sertion I will take a popular example:--Has not every German heard the overture to Der Freyschutz over and over again? I have been told of sundry persons who were surprised to find how frequently they had listened to this wonderful musical poem, without having been shocked when it was rendered in the most trivial manner; these persons were among the audience of a concert given at Vienna in 1864, when I was invited to conduct the overture. At the rehearsal it came to pa.s.s that the orchestra of the imperial opera (certainly one of the finest orchestras in existence), were surprised at my demands regarding the execution of this piece. It appeared at once that the Adagio of the introduction had habitually been taken as a pleasant Andante in the tempo of the "Alphorn," [FOOTNOTE: A sentimental song by Proch.] or some such comfortable composition. That this was not "Viennese tradition"

only, but had come to be the universal practice, I had already learnt at Dresden--where Weber himself had conducted his work.

When I had a chance to conduct Der Freyschutz at Dresden-- eighteen years after Weber's death--I ventured to set aside the slovenly manner of execution which had prevailed under Reissiger, my senior colleague. I simply took the tempo of the introduction to the overture as I felt it; whereupon a veteran member of the orchestra, the old violoncellist Dotzauer, turned towards me and said seriously: "Yes, this is the way Weber himself took it; I now hear it again correctly for the first time." Weber's widow, who still resided at Dresden, became touchingly solicitous for my welfare in the position of Capellmeister. She 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 recollection of this flattering testimony has frequently cheered and encouraged me. At Vienna I was bold enough to insist upon a proper performance. The orchestra actually STUDIED the too-well-known overture anew. Discreetly led by R.

Lewi, the Cornists entirely changed the tone of the soft woodnotes in the introduction, which they had been accustomed to play as a pompous show piece. The magic perfume of the melody for the horns was now shed over the PIANISSIMO indicated in the score for the strings. Once only (also as indicated) the power of their tone rose to a mezzoforte and was then gradually lost again without the customary SFORZANDO, in the delicately inflected

The Violoncellos similarly reduced the usual heavy accent, which was now heard above the tremolo of the violins like the delicate sigh it is intended to be, and which finally gave to the fortissimo that follows the crescendo that air of desperation which properly belongs to it. Having restored the mysterious dignity of the introductory Adagio, I allowed the wild movement of the Allegro to run its pa.s.sionate course, without regard to the quieter expression, which the soft second theme demands; for I knew that I should be able SUFFICIENTLY TO SLACKEN THE PACE AT THE RIGHT MOMENT, so that the proper movement for this theme might be reached.

Evidently the greater number, if not all modern Allegro movements, consist of a combination of two essentially different const.i.tuent parts: in contrast 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 all its gradations. The second theme of the overture to "Oberon," which does not in the least partake of the character of the Allegro, very clearly shows this contrasted peculiarity.

Technically, the composer has managed to merge the character of this theme into the general character of the piece. That is to say: on the surface, the theme reads smoothly, according to the scheme of an Allegro; but, as soon as the true character of the theme is brought out, it becomes apparent that A COMPOSER MUST THINK SUCH A SCHEME CAPABLE OF CONSIDERABLE MODIFICATION IF IT IS TO COMBINE BOTH PRINCIPLES. (Hauptcharactere.)

To continue the account of the performance of the Freyschutz overture at Vienna: after the extreme excitement of the tempo Allegro, I made use of the long drawn notes of the clarinet--the character of which is quite that of the Adagio--so as imperceptibly to ease the tempo in this place, where the figurated movement is dissolved into sustained or tremulous tone; so that, in spite of the connecting figure:

[music score example]

which renews the movement, and so beautifully leads to the cantilena in E flat, we had arrived at the very slight nuance of the main tempo, which has been kept up all along. I arranged with the excellent executants that they were to play this theme

[music score example]

legato, and with an equable piano, i.e., without the customary commonplace accentuation and NOT as follows:

[music score example]

The good result was at once apparent, so that for the gradual reanimation of the tempo with the pulsating

[music score example]

I had only to give the slightest 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. It was not so easy on the return of the conflict of the two strongly contrasted motives, to bring them out clearly without disturbing the proper feeling for the predominant rate of speed. Here, when the despairing energy of the allegro is concentrated in successively shorter periods, and culminates in

[music score example]

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, the musicians were greatly surprised when I asked them to play the second theme, which is now raised to a joyous chant, NOT as they had been accustomed, in the violently excited nuance of the first allegro theme, but in the milder modification of the main time.

This worrying and driving to death of the PRINc.i.p.aL theme at the close of a piece is a habit common to all our orchestras--very frequently indeed nothing is wanting but the sound 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 overture is frequently demanded by composers; it is a matter of course in those cases where the true Allegro theme, as it were, remains in possession of the field, and finally celebrates its apotheosis; of which Beethoven's great overture to "Leonora" is a celebrated example. In this latter case, however, the effect of the increased speed of the Allegro is frequently spoilt by the fact that the conductor, who does not know how to modify the main tempo to meet the various requirements of the thematic combinations (e.g., at the proper moment to relax the rate of speed), has already permitted the main tempo to grow so quick as to exclude the possibility of any further increase--unless, indeed, the strings choose to risk an abnormal rush and run, such as I remember to have heard with astonishment, though not with satisfaction, from this very Viennese orchestra. The necessity for such an eccentric exertion arose in consequence of the main tempo having been hurried too much during the progress of the piece; the final result was simply an exaggeration--and moreover, a risk to which no true work of art should be exposed--though, in a rough way, it may be able to bear it.

However, it is difficult to understand why the close of the Freyschutz overture should be thus hurried and worried by Germans, who are supposed to possess some delicacy of feeling.

Perhaps the blunder will appear less inexplicable, if it is remembered that this second cantilena, which towards the close is treated as a chant of joy, was, already at its very first appearance, made to trot on at the pace of the princ.i.p.al Allegro: like a pretty captive girl tied to the tail of a hussar's charger--and it would seem a case of simple practical justice that she should eventually be raised to the charger's back when the wicked rider has fallen off--whereat, finally, the Capellmeister is delighted, and proceeds to apply the great whip.

An indescribably repulsive effect is produced by this trivial reading of a pa.s.sage, by which the composer meant to convey, as it were, a maiden's tender and warm effusions of grat.i.tude.

[Footnote: See the close of the Aria in E, known as "Softly sighing," in Der Freyschutz (No. 8).] Truly, certain people who sit and listen again and again to a vulgar effect such as this, whenever and wherever the Freyschutz 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 music, like the venerable Herr Lobe, [Footnote: Author of a "Kompositionslehre," "Briefe eines Wohlbekannten," etc.] whose jubilee we have recently celebrated-- such people, I say, are in the right position to warn the public against "the absurdities of a mistaken idealism"--and "to point towards that which is artistically genuine, true and eternally valid, as an antidote to all sorts of half-true or half-mad doctrines and maxims." [Footnote: (See Eduard Bernsdorf in Signale fur die musicalishe Welt, No. 67, 1869).]

As I have related, a number of Viennese amateurs who attended a performance of this poor maltreated overture, heard it rendered in a very different manner. The effect of that performance is still felt at Vienna. People a.s.serted that they could hardly recognize 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 a.s.sertion that a moderate tempo was the sole cause. The musicians in the orchestra, however, might have divulged a little secret, namely this:--in the fourth bar of the powerful and brilliant entrata I interpreted the sign >, which in the score might be mistaken for a timid and senseless accent, as a mark of diminuendo [Figure: diminuendo sign] a.s.suredly in accordance with the composer's intentions--thus we reached a more moderate degree of force, and the opening bars of the theme were at once distinguished by a softer inflection, which, I now could easily permit to swell to fortissimo--thus the warm and tender motive, gorgeously supported by the full orchestra, appeared happy and glorified.

Our Capellmeisters are not particularly pleased at a success such as this.

Herr Dessof, however, whose business it was afterwards to conduct "Der Freyschutz," at the Viennese opera, thought it advisable to leave the members of the orchestra undisturbed in the possession of the new reading. He announced this to them, with a smile, saying: "Well, gentlemen, let us take the overture a la Wagner."

Yes, Yes:--a la Wagner! I believe, there would be no harm in taking a good many other things, a la Wagner! [Footnote: "Wagnerisch"--there is a pun here: wagen = to dare; erwagen--to weigh mentally: thus "Wagnerisch," may be taken as--in a daring well considered manner.]

At all events this was an entire concession on the part of the Viennese Capellmeister; whereas in a similar case, my former colleague, the late Reissiger, would only consent to meet me HALF way. In the last movement of Beethoven's A major symphony, I discovered a PIANO which Reissiger had been pleased to insert in the parts when he conducted the work. This piano concerned the grand preparation for the close of this final movement, when, after the powerful reiterated chords on the dominant seventh A (Breitkopf and Haertel's Score, page 86) the figure

[Figure: musical example]

is carried on forte, until with "sempre piu forte," it becomes still more violent. This did not suit Reissiger; accordingly, at the bar quoted, he interpolated a sudden piano, so that he might in time get a perceptible crescendo. Of course, I erased this piano and restored the energetic forte in its integrity. And thus, I presume, I again committed an offence against "Lobe and Bernsdorf's eternal laws of truth and beauty," which Reissiger, in his day, was so careful to obey.

After I had left Dresden, when this A major symphony came to be performed again under Reissiger, he did not feel at ease about that pa.s.sage; so he stopped the orchestra, and advised that it should be taken mezzo forte!

On another occasion (not very long ago, at Munich), I was present at a public performance of the overture to "Egmont," which proved instructive--somewhat after the manner of the customary performances of the overture to "Der Freyschutz." In the Allegro of the Egmont overture [Footnote: Beethoven: op. 84.] the powerful and weighty sostenuto of the introduction:

[Figure: musical example]

is used in rhythmical diminution as the first half of the second theme, and is answered in the other half, by a soft and smooth countermotive.

[Figure: musical example]

The conductor, [Footnote: Franz Lachner] in accordance with "cla.s.sical" custom, permitted this concise and concentrated theme, a contrast of power and gentle self-content, to be swept away by the rush of the Allegro, like a sere and withered leaf; so that, whenever it caught the ear at all, a sort of dance pace was heard, in which, during the two opening bars the dancers stepped forward, and in the two following bars twirled about in "Laendler" [Footnote: Laendler--an Austrian peasant's dance, in triple time, from which the waltz is derived.] fashion.

When Bulow, in the absence of the favourite senior conductor, was called upon to lead the music to Egmont at Munich, I induced him, amongst other things, to attend to the proper rendering of this pa.s.sage. It proved at once strikingly effective--concise, laconic--as Beethoven meant it. The tempo, which up to that point had been kept up with pa.s.sionate animation, was firmly arrested, and very slightly modified--just as much, and no more than was necessary to permit the orchestra properly to attack this thematic combination, so full of energetic decision and of a contemplative sense of happiness. At the end of the 3/4 time the combination is treated in a broader and still more determined manner; and thus these simple, but indispensible, modifications brought about a new reading of the overture--the CORRECT reading.

The impression produced by this properly conducted performance was singular, to say the least of it; I was a.s.sured that the manager of the Court theatre was persuaded there had been "a break-down."

No one among the audience of the celebrated Odeon Concerts at Munich dreamt of "a break-down" when the above-mentioned senior "cla.s.sical" conductor led the performance of Mozart's G minor symphony, when I happened to be present. The manner in which the Andante of the symphony was played, and the effect it produced was altogether surprising. Who has not, in his youth, admired this beautiful piece, and tried to realize it in his own way? In what way? No matter. If the marks of expression are scanty, the wonderful composition arouses one's feelings; and fancy supplies the means to read it in accordance with such feelings. It seems as though Mozart had expected something of the kind, for he has given but few and meagre indications of the expression. So we felt free to indulge ourselves in the delicately increasing swing of the quavers, with the moon-like rise of the violins:

[Figure: musical example]

the notes of which we believed to sound softly legato; the tenderly whispering

[Figure: musical example]

touched us as with wings of angels, and before the solemn admonitions and questionings of

[Figure: musical example]

(which, however, we heard in a finely sustained crescendo) we imagined ourselves led to a blissful evanescence, which came upon us with the final bars. Fancies of this sort, however, were not permitted during the "strictly cla.s.sical" performance, under the veteran Capellmeister, at the Munich 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 lightly floating Andante was converted into a ponderous Largo; not the hundredth part of the weight of a single quaver was spared us; stiff and ghastly, like a bronze pigtail, the battuta of this Andante was swung over our heads; even the feathers on the angel's wings were turned into corkscrew curls-- rigid, like those of the seven year's war. Already, I felt myself placed under the staff of a Prussian recruiting officer, A.D.

1740, and longed to be bought off--but! who can guess my terror, when the veteran turned back the pages, and recommenced his Largo--Andante, merely to do "cla.s.sical" justice to the two little dots before the double bar in the score! I looked about me for help and succour--and 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 all innocence and safety.--This being so, I acquiesced, and bowed my head in silence.

Once, however, a little later on, my patience failed. At a rehearsal of "Tannhauser" I had quietly allowed a good deal to pa.s.s by unnoticed--even the clerical tempo at which my knights had to march up in the second act. But now it became evident that the undoubtedly "veteran" master could not even make out how 4/4 time was to be changed to an equivalent 6/4: i.e., two crotchets

[Figure: two crotchets (quarter notes)]

into a triplet of three crotchets

[Figure: a triplet of three crotchets (quarter notes)]

The trouble arose during Tannhauser's narrative of his pilgrimage (Act III.), when 4/4