Scan 23
Musical Courier 1892-12-21: Vol 25 Iss 668, 1892
71 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 16. See the scan on archive.org.
1A Champion for the Piano.
2(Continued, with apologies for delay.)
3As will be recollected, the standpoint which Dr. Pudor, of Dresden, takes in attacking the piano as an instrument that injures music is the emotional side of music; he almost ignores or overlooks the intellectual part in it and he maintains a strongly marked, but wholly unwarranted prejudice against virtuosity as such; moreover, as we have seen, he gives to the voice the preference over all musical instruments, and declares it to be the noblest, the first, the best adapted organ for musical utterance, for expression of the feelings of the soul.
4But mere emotion is akin to false sentimentality, and might easily turn into such. The most exquisite sensitiveness in music. The grandest, the most refined emotion is intellectual emotion.
5Some time ago I wrote to Paderewski, and talking about emotion said: "He who only feels resembles one who stands outside of the halls of Elysium, gazing from afar and receiving but a glimpse of the delights of the gods; but who, like you, understands what he feels and feels how he understands, he is seated in the midst of the gods in Olympus, feasting on ambrosia and sipping nectar."
6Dr. Pudor forgets that our inner life, of which music is an expression, is not only a feeling (empfindend), activity, but also a formative (vorstellend), an imagining and thinking one.
7The emotions are only the medium of our reasoning faculty; reason ought to be the basis of all human feeling and acting; passion exaggerated rising against reason leads to a conflict with reason, and this conflict between passion and reason, with all its accompanying emotions of the highest ideas, is the fertile ground from which springs much true music.
8Things of abstract thinking, purely spiritual, cannot be expressed by music, but no more can mere abstract sentiment—without an object or limit; such sentiment would be too vague and indefinite for expression in music through an object; however, sentiment becomes recognizable and receives concrete contents.
9Without object and content music would be inane—an empty sentimental dreaming. Of course these objects and contents cannot be definite, but are of a more general nature, divined, imagined, suggested, rather than clearly grasped; this is not a defect; another art, poetry, will give what seems lacking; so that the province of music ends where poetry begins. Object and contents are neither to be defined, nor demonstrated, nor even to be explained by "program"; these objects and contents are foreshadowed, or, like magic lantern pictures, they are mirrored before the aesthetic mind.
10But for this very reason the opera, the oratorio, or any music produced by the voice organ is not the highest type of music, because it has to lean for support, and to rely for its complement largely on another art, that of poetry; and in the case of opera also on the histrionic, mimic, scenic, and other arts. The most complete, comprising, perfect and purely musical kind of music, is that which has for its vehicle the orchestra, with the symphony for its highest form. I believe it is Max Müller, or if not he some other famous researcher into the origin of speech, who thinks that the primeval man first uttered (lallte), in a childlike manner, sing-song sounds imitative of sounds in nature (onomatopoeic) before he articulated speech. It was a reflection on this theory by which I indited some lines in an "Ode to Music":
11"Ah, once in Paradise, that guiltless pair;
12They sang, methinks; but after sin they spoke.
13But should we be redeemed—in heaven,
14Bright angels—we'll sing again!
15Eternity will be one flow
16Of speechless bliss, of perfect harmony!"
17Man sang before he spoke; then the same progressive proportion in which the sing-song of the primeval first man stands to speech, exists between speech and the natural or folk song; between the natural and folk song and the highly cultivated art song; and again between all vocal music, however high its standard and orchestral music. Exceeding excellence in orchestral music means highest musical culture.
18It has been said by the press that Theodore Thomas treated vocal music with supreme contempt. I don't believe it. I believe that Theodore Thomas simply holds vocal music at its own proper estimation, for what it is worth. I fancy that in this as well as in other matters this musician's views and actions are either ignorantly misconceived or purposely and maliciously misconstrued. It shows the greatness of the man's mind that he does not either reply or contradict or vindicate, because below his dignity. Sorry I am, as a musician, to see the world's fair exhibited at Chicago and not in New York. New York and the East had a century's claim. Two hundred years hence the West and Chicago may or may not have it. But glad and comforted I am to see our "chief," Theodore Thomas as "chargé d'affaires" at the head directing the musical department of the fair; for chief he is. That very superiority of orchestral music constitutes him as such; what other man, nay, what other score of eminent musicians together, have done for music in America what Theodore Thomas has done? Look what he has accomplished, what merits he has earned! Excelling in the art of conducting (in which he is at least the compeer of the very few giant wielders of the baton in Europe, and here towers over all), possessing the knowledge, ability, power and genius, and the willingness of exerting these unsparingly on behalf of the cause of good music in America, laboring and toiling for many years, he has educated America, and he has made its musical culture what it is to-day. He has had his colaborers, it is true; not, however, many among the representatives of our art of piano playing, which is not only not keeping pace with the progress of music in this country, but, as I shall try to demonstrate later on, is actually threatening to retard the same.
19Every true musician in America ought to cheerfully cede to Theodore Thomas the honor of chief. "Honor to whom honor is due." Seidl will, if he is the noble as well as able musician I take him to be. Thomas is entitled to the admiration and gratitude of every musician.
20Who knows what sacrifice he is bringing on his mission, preaching the gospel of "Music" among the uncongenial surroundings of Chicago and the West? I wonder how, big as Chicago is, there is room enough to hold both him and a man like Ziegfeld at the same time without a collision! Maybe the same current which carried the "fair" to Chicago drifted Thomas thither too; may be this Grant planted his foot on the West—with prophetic foresight—to save the cause of music from ruin.
21We are indeed worthily represented at the world's fair by Thomas; for dignity, for demanding respect, he is a veritable "Cleveland."
22He enjoys universal, high respect among the most eminent musicians in Europe, where they have long been wont to identify him with musical culture in America. Thomas, as the responsible and representative head of musical affairs during the exhibition, means not only dignity but also disinterestedness, exclusion of all mercenary sordidness, self aggrandisement and some such motives, and, above all the exclusion of mediocrity and half work, of superficiality and of every deficiency and shortcoming; and therefore it means safety from failure and ridicule before the nations of the world; it means exclusion of all scheming and intriguing of "rings," formed for the most part by that genus of musician, who, with little knowledge or only average musical ability, feeling his weakness, bethinks himself of the motto, "In Unity is Strength," and rises and gets but too frequently on the very top by pushing himself forward with his vast amount of self assertion and arrogating impudence.
23I hope my readers will pardon this digression which, however, has more to do with the subject of this essay than at the first look appears; moreover, as our German adage has it, "Of what the heart is full, the mouth runs over." Vocal music has words, and therefore expresses something definite—maybe something very beautiful and most pathetic, but not necessarily so to every listener. It may fail to touch him, and it may leave many a heart cold and irresponsive. On the other hand, orchestral and piano music has no words nor definite meaning; but it conjures up images, reflections, moods, passions of every variety and description, naturally differing with different dispositions of listeners, but causing something to reverberate in every individual heart. There is literally no limit to the flight of fantasy; and thus the listener is enabled to enjoy tenfold more delight than if his soul were bent in one direction by the "word"—his feeling forced to flow in one prescribed channel. Therefore, I repeat it, orchestral music is the superior, and organ and piano music follow next in rank, because both instruments are small (miniature) orchestras in themselves. The fugue for the organ, the sonata for the piano is their highest form of composition—their symphony. I am not, to my lasting regret, a proficient on the organ; I must, however, confess that as an instrument the organ is nobler, more complete and grander than the piano; but the piano, on account of its practicability and facility and other reasons, is of greater value and interest to music than the organ.
24By its peculiar construction, mechanism and qualities the piano has gotten into its music, and we can distinguish three different elements, more or less prevalent, one partaking of the other. They are:
251. The one peculiar to the piano, with its hammers, &c., as a touch instrument differing from the organ, though both have keyboards, what I should like to call the "toccata style, requiring much of the staccato touch—for the most part a harmless playing with tones, tone figures and rhythms, following and satisfying a desire founded in human nature (naturdrang). It is the most inferior.
262. The one imitating the voice: solo, duet, trio, quartet or chorus; soprano, alto, tenor, bass; or chamber music, strings: violin, viola, 'cello, bass, with, or without some accompaniment; the latter often copying such stringed instruments as the harp, the guitar, &c.; this kind is fitting individual soul, emotions, sympathetically translated into tone. It is the superior of the first.
273. The one calling for one and all of the resources and possibilities of the piano, modeling after the orchestra, abandoning vacillating moods and fluctuating emotions, it assumes more fixed, psychologically (motivirt) "motived," founded and developed feelings, embodies this and gives it the plasticity of true life; produces character images; a medium between the ideal and real! It is the grandest and the most important. Of course not every piano composition comes exactly under the head of any one of these three categories: this classification undergoes many modifications. In a mere display of virtuosity the first will preponderate, according to Dr. Pudor the second ought to be "the one," exclusive of the others; the third is the highest type, which raises piano music almost to a level with orchestral music, makes it the next important factor in musical culture—music as a science and as an art—and to this the two former ones ought to be made subordinate and subservient. Of this kind, however, it has been said that it was not "Klaviersatz" (piano fitted). It has been said, here in America, that Beethoven's sonatas are not "Klaviermaessig" (finger fitted). More anon.
28(The Apollo Club Concert.)
29The Apollo Club Concert.
30THE first private concert of the Apollo Club occurred upon the unlucky date of 13, in the pretty concert hall of the Madison Square Garden. As is usually the case with Mr. Chapman's performances, the hall was early filled by a distinctly fashionable audience in full evening dress. The club was assisted by Mrs. Adele Baldwin, contralto; Miss Leonora von Stosch, violinist, and Mr. Emil Levy, accompanist. Mosenthal, Randegger, Nentwich, Karl Appel, Rutenber, Chapman, Spicker, Pache and Foote made the exquisite melodies which were interpreted by forty of the best male voices in the city under the baton of Director W. R. Chapman. The numbers were largely descriptive with varied and charming effects of incidental solo, humming chorus and dramatic surprise. The spontaneous enthusiasm of the audience bore unquestioned testimony to the successful power of appeal of this remarkable club at its initial performance and forecasts its future prosperity. "The Forge Scene," "The Brownies," and Mosenthal's exquisite "Music of the Sea" showed how nearly "musical conversation" songs may be made by forceful and intelligent chorus drill.
31Only rehearsal echoes may know of the difficulties of reaching the absolute artful naturalness of the club's expression. Dr. Carl Dufft, in "Annie Laurie," with humming chorus harmonized by Mr. Chapman, showed what a singer may do by adjusting soft stop combinations upon a naturally robust organ. In this regard Dr. Dufft has gained immensely. Mr. William Rieger sang delightfully the incidental solo in Max Spicker's "The Dew Drops Fall." Mr. J. H. McKinley and Carl Dufft sang "Ye Eyes of Melting Blue," by Appel, as artists only can. In every way the concert was a splendid success. The remaining concerts of the season will be given on the evenings of February 21 and May 2, 1893. The active members of the club are:
32Albert Arveschou, Thomas Kane,
33Perry Averill, Robert C. Lewis,
34J. G. Belder, Richie Ling,
35Fernando V. Benner, Charles S. Mascher,
36Gabriel P. Benjamin, Wm. H. McKee,
37William C. Benjamin, J. H. McKinley,
38George M. Boynton, George Müller, Jr.,
39Oliver P. Carpenter, Frank L. Norris,
40Henry Lincoln Case, Charles S. Ogden,
41J. A. H. Densaghey, Dr. John S. Rieger,
42Dr. Carl E. Dufft, William H. Rieger,
43Roy K. Farwell, Elmer E. Runyon,
44Clayton C. Ferguson, William D. Sands,
45John H. Holzhausen, George W. Schombacher, one of two readings
46John H. Holzhausen, George H. Schombacher, one of two readings
47Frederick Gillette, Edward R. Shipp,
48John W. Hamlet, Herbert R. Smith,
49George A. Holden, Frank G. Stiles,
50Frederick C. Hilliard, Francis R. Warley,
51Chas. H. Holzhausen, Louis Weber,
52William H. Johns, Chas. B. Wikel,
53Charles W. Wilder.
54King Cupid Reigned Supreme.
55"KING CUPID," a musical comedy, adapted by Mr. Wendell Stanton Howard for the Drawing Room Players, was presented by them Thursday evening of last week at the handsome galleries of the American Art Association on Twenty-third street. The following is the distribution of characters:
56La Marquise de Fontenelle………………..Mrs. Adele LaEls Baldwin
57Claire—her daughter………………………..Miss Florence Drake
58Ninnette—her niece………………………….Miss Lucia Nola
59Cupid…………………………………………..Miss Edna Springer
60Prince Louis de Saint-Arnaud………………..Mr. Richie Ling
61Count Bernard de Beaumont………………….Mr. Perry Averill
62Le Marquis de Fontenelle…………………..Mr. Wendell Stanton Howard
63The event was a brilliant social as well as artistic success, and the charities to which the proceeds were given, the Little Mothers' Aid Society and the Manhattan Working Girls' Society, were doubtless greatly benefited. The Players will, on January 2, present "Priscilla," an operetta, in aid of the same societies.
64NEW YORK COLLEGE OF MUSIC,
65128 and 130 EAST 58th STREET.
66ALEXANDER LAMBERT, Director.
67Mme. FURSCH-MADI, Principal of Vocal Department.
68ALL BRANCHES OF MUSIC TAUGHT
69Faculty comprises the most eminent instructors.
70NOTICE.—The New York College of Music will remain open during the entire summer.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.