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Musical Courier 1895-03-20: Vol 30 Iss 784, 1895
91 lines. Read by computer on 21 September 2026. Printed page 29. See the scan on archive.org.
1into three or four sections. As regards technical difficulty it will be found that the principal movements are not more elaborate than Mendelssohn's two part songs for women's voices. Yet it must not be supposed that the music is Mendelssohonian, although it is smooth, carefully constructed and free from far-fetched crudities.
3Graceful rhythms, diatonic harmonies and well prepared modulations, fluent melodies and recognized forms are here found, all of which are sufficiently original to be interesting, but not so strange or startling as to astonish rather than please. All is as particularly polite and restrained as conversation in a drawing room, to which the music of the cantata is somewhat analogous in this particular, and to this extent also is Mendelssohonian, although there is no trace of plagiarism.
5The language is adapted for the use of even young children. The Elfin Dance, No. 6, is a pretty little theme, which deserves to be published separately for use in domestic music.
7Here again thoughts of Mendelssohn arise in the mind, and especially the Fairy March in his music to Shakespeare's A Midsummer Night's Dream, partly because previous to this work by him such fairy music was a style almost unknown, and partly because although Mendelssohn wrote good counterpoint (which seems to depend upon a sturdy bass part), he nevertheless excelled in the most dainty and delicate movements associated in idea with fays and sylph-like dances.
9Raabe & Plothow, Berlin.
10LEO DEHMLER, . . . . Sonata for Violin and Piano.
11A work covering thirty large folio plates here appears as opus 14 of the composer, and is dedicated to Mr. Wm. Stoll, violinist, Philadelphia. It consists of an allegro moderato (which contains a short adagio sostenuto), an andante con moto and a finale (allegro molto).
13These movements are duly carried out in the ordinary sonata form and style in an orderly and musician-like way, and may all prove useful to teachers who wish to give pupils pieces longer than ordinary drawing room solos, in order to train the mind to give close attention for a considerable period, as demanded by works of the classic school. The work will also interest amateurs and prove within their powers, because none of the passages for either instrument is difficult of execution or intended for mere display. For this reason, however, it may not be found on concert room programs frequently.
15Modern works in this style too frequently contain an overabundance of episodal matter and passage work that is tiresomely long, because objectless and meaningless, and often induces the thought that the author wished to create great expectations before bringing in his chief subjects. Such heraldic phrases resemble a series of conjunctions, like but, whereas, nevertheless, &c., used to usher in some important statement.
17In this violin sonata there is no such glaring disproportion between subject matter and episodes or digressions; but the themes themselves appear wanting in character, aim or intention, and therefore make insufficient impress on the mind to become principal objects of thought, being regarded with indifference rather than increased pleasure on their recurrence.
19All seems vague or purposeless. There is a sense of aimless drifting, although the formal molds are filled in accordance with the usages of writers of chamber music. This is the most that can be said by way of modification of any terms of general praise that the work calls forth.
21On the whole, it is well constructed; and there are only occasional lapses, perhaps inadvertently made, as on page 25, in a cadence where the violin part moves through E flat, F natural to G, while the piano moves from a sustained F sharp to G. The composer shows the ability to write with continuity of thought prolonged movements in forms employing counterpoints, and therefore with more happily chosen themes, or motives having greater intrinsic worth, may produce works that will compel the admiration of the art world.
23Stanley Lucas, Weber, Pitt & Hatzfeld, Limited, London and Leipsic.
24HERBERT BEDFORD, . . . . . . . April Songs.
25A collection of nine songs is found here that will probably while away many an idle hour and refresh both singer and hearer. Good Night and In a Fairy Boat are simple, artless effusions, requiring little or no practice; but the Spring Song is highly artistic. Much thought was evidently given to its production, and some preliminary considerations must be made that it may be fully appreciated before it is offered an audience.
27The modulations are frequent, original and startling, without being crude. The accompaniment is an unbroken series of arpeggios, which in the hands of a good player will do much to support and inspire the singer, and by well establishing the tonality make the melody intelligible. With a really good executant, entering fully into the nature of the song, a vocalist may revel with passionate enthusiasm in many of the phrases that portray exalted moods. Shelley's words, I Pant for the Music That Is Divine, is set in a style still more high-flown, and shows such heat, impetuosity, and unbridled emotion as to be worthy a tenor singer of the highest powers, and the assistance of a grand orchestra to make more and more intense the general effect. To many persons it may appear that in the matter of modulatory construction much is overdone; but when one considers the character of the poem (which may be placed side by side with the song of Venus by Tannhäuser) it is evident that a wild, maddening dithyrambic style is thoroughly in keeping. It seems hardly fair that the coldly critical eye should closely scrutinize all these impassioned harmonies in the expectation that they would bear such reflection. Yet marvelous to relate (although they would never have been invented or brought to paper had not the composer been driven by a kind of passionate fury, or completely possessed by a demoniacal spirit), when the chords are parsed syntactically they appear orderly and consistent as well as novel and fascinating.
29The advice to young composers—invent and plan with the greatest speed, and subsequently scan that which is brought into existence with the utmost deliberation—is probably followed by Herbert Bedford. To be deterred in the act of writing by considerations of grammar, &c., is like pausing in the middle of a fight to philosophize on motives. To sustain any elevation there must be no unnecessary distracting influence, even if the nature of the theme (like Milton's Paradise Lost) admits of deliberate meditation; and if so, nothing more need be said to point out that when, as in this case, all is tempestuous, vehement, impatient and uncontrollable as a delirious frenzy, the consideration of any logical processes would act as a deterrent.
31The composer seems to have carried over this furious, paroxysmal style to the following song, Although You Pass Me Lightly By, for it is similarly agitated, feverish and highly excited, notwithstanding the fact that the words are comparatively calm, being a rejected lover's plaint.
33Should it appear that herein all is overdone, let it be remembered that myriads of lyrics issuing daily from publishers' presses are so characterless, musically objectless and inane, showing not only ignorance, but even insincerity and indifference on the part of composers, that the expression of any real, earnest feeling, even though it might be out of all proportion to the character of the poem, deserves and finds welcome. Critics searching for something to admire and praise do not relish hunting through large stacks of music in vain, however willing they may be in certain cases to let charitable intentions restrain outspoken truth respecting shortcomings. They are led to admire intensity for its own sake, much as we admire marvelously brilliant lights or concentrated essences. Exhibitions of mental energy are praised in art works, because any indifference or want of enthusiasm leads to an objectless toying with sounds, which no more resembles music, in any true sense, than a waxwork exhibition or galvanized corpse resembles life.
35Louis H. Ross & Co., Boston.
36R. CALDWELL, . . . . . . . Jack and the Beanstalk.
37A juvenile operetta, with libretto by Laura F. Armitage, occupying sixty-four octavo pages, is here offered for a few cents.
39It is printed from musical types, and yet although the notes are bold, the effect on the eye is not agreeable. Over a dozen characters are required and a chorus of children. The costumes may be found in almost any wardrobe, excepting the giant's boots, &c.
41Two scenes only are demanded for the four acts, and but one man is required—for the part of the giant. Very small children may take some of the inferior parts. The solos and choruses make together twenty-three numbers.
43The words are wholesome and well suited to children, and therefore should the musical themes impress them so deeply that they become popular no harm will be done by their persistently rising to the lips in idle moments. Such subjects as Off We Go to the Woods Away, Waste no Time in sighing, We Play Among the Flowers in the Early Morning Hours, &c., are specimens.
45In households where the work cannot be presented formally it may be found useful during the children's hour, with an intelligent musician at the piano, in the nursery.
47De Reszke Will Sing.—Jean de Reszké is to sing at Bayreuth in 1896 the part of Siegfried in Siegfried, and in the Götterdämmerung Edouard de Reszké will be the Wotan.
49Refused $5,000.—Herr Humperdinck, according to the Frankfurter Zeitung, has refused $5,000 for two years' royalties on Hänsel and Gretel for Vienna alone. By the end of this year he will have made $50,000 out of the opera.
51Insulted Pride.—A little boy, disgruntled at some remarks of the critic who found fault with the skaters in Meyerbeer's Prophet, wrote to the Altenburger Landeszeitung this card: "In regard to the representation last Sunday of The Prophet, I beg to ask in what respect the skating appeared to be done slovenly? Perhaps you have been disturbed by the fall of a boy here and there? This also happens on the ice; besides, we have executed the dance to the best of our abilities. I would beg of you not to hold us up to ridicule the next time."
53The Human Voice as a Force Acting Through the Physical Body.
54(Continued.)
55IN very few cases is singing an intelligent act, and yet positive knowledge should ever be the demand.
57Could we make a better beginning than in trying to locate the "Point," the nucleus of a tone? If a tone is vibrating action the point may stand for the atom, and a study of its laws would necessarily result in our gradually gaining a correct knowledge of tone in its varied relations.
59In throwing a ball all will agree that the distance, velocity and return are all governed by law, and that the only place where the sender possesses any power is at the starting point. We study for and recognize the necessity for elasticity of muscular action in the hand, and the deep thinker knows how the mind must be educated to think quickly, as that is really the power behind the throne. Law everywhere. The ball travels by law, the hand is governed by law and the mind follows law. With these facts before us we learn that there are no accidents, and while we may often fail to recognize causes, they are ever present, and effects always show how far the law has been followed.
61In making a special study of the so-called head tones I have sought for demonstrable facts, irrespective of tradition or known methods, and I have freed myself from the past as much as possible.
63Understanding the law of vibrating action as applied to the high tones does not mean they are to become a "fad" or that anyone will gain them by wishing; but feeling that many singers are hampered by a lack of upper tones, it seemed to me reasonable that if the positive law of their production could be understood we might gain greater knowledge of the possibilities of the voice in every direction. When one is hampered by limitations a vein of discouragement is pretty sure to run through the work, and the effects often crop out when least expected.
65Again, when we feel that our powers or limitless discouragement can never be more than a passing cloud—and it often acts likes the waves of the ocean—the lower the hollow the higher the crest.
67In discussing the subject of voice as a vibrating action or force, we are unable to separate it from its media, hence we speak of muscles, nerves and mind. It will not admit of careless thinking, and the reader or investigator who desires to learn the laws of vibrating action must necessarily study cause, means and effects.
69In studying the law of atomic action as applied to the voice and designated by me the "Point of Voice," we find it is the highest and most rapid expression of muscular and nervous action.
71Taking this point and following the law of atomic action, we find we are able to produce a tone wave, the point being the centre or radiant of the undeviated atoms, or the nucleus of a tone, and upon its elasticity depends the length and form of the wave, according to a common law of vibration.
73This wave I shall designate as a "developed tone," which follows a law common to hearing and sight.
75The molecular living force becomes more diffusive as the wave progresses and in proportion to the elasticity of the point takes a corresponding form, presenting its convexity to the front, but invariably at a given point the deviated atom or wave turns its concavity to the front, returning along the line of its former path to a focus, to be again and again repeated according to demand.
77While I am not yet able to say positively, I should infer from various experiments that this current took on a spiral form from radiant to focus.
79While each wave follows a common law of motion, each tone when applied to language probably varies in shape. This claim would seem to be substantiated by various experiments in sound and relation to color.
81As the "point" is the finest possible muscular action in one direction, so the developed tone is its opposite, or the finest continuous muscular action, and is the counterpart of the long bow of the violin. In studying the two extremes we are naturally master of all the intermediate muscular accommodations.
83In applying these principles to practical work the student must necessarily constantly compare the relations existing between mind, tone and physical sensation. It will be found that, as the law of atomic action be understood and expressed, the physical sensation is gradually eliminated. The novice need never be at fault. If physical sensation increases, the vibrating action is deteriorating; if, on the contrary, a singing quality of tone is being produced, the physical sense of singing is gradually disappearing.
85One might as well hope for a brilliant electric light with only occasionally connected wires, as to hope for a good voice without the proper connection between physical sensation and correct vibrating action. The subject of vibrating action seems to be a subject discussed by many, and bids fair to explain phenomena that have been a subject of discussion for ages.
87The ancient Aryans plainly understood its value and laws, and Plato well expressed what I have tried to show in this paper, when he said: "The rhythm of the body hath a rhythm in common with the motions of the voice."
89ANNIE FILLMORE SHEARDOWN,
9062 Boylston street, Boston.
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