Scan 12
Musical Courier 1897-09-15: Vol 35 Iss 915, 1897
45 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 13. See the scan on archive.org.
1horn, then the violins. Adagio, same opus, measures 17 to 22: tympani, violoncello and fagotti. These examples were selected almost at random from Volume I. of the piano sonatas and are merely intended as hints to the young pianist.
3A composer so original and spontaneous as was Franz Schubert necessarily demands particular attention. His life was obscure, but his personality will, if properly understood, afford assistance and inspiration to the singer, the performer or the conductor who essays Schubert's music. Though mostly lyric in style, he anticipated to a considerable extent the romanticists who came immediately after. Refined touch and poetic imagination are required in the interpretation of his works.
5VI.—THE NINETEENTH CENTURY.
7The epoch of Chopin and Schumann is the most important in piano literature, especially since it includes the greatest of all keyboard virtuosi, Franz Liszt. When Kalkbrenner remarked that he would like to give Chopin some piano lessons, because "his method was very faulty," the famous professor merely voiced a belief generally entertained at that time that the music and the performances of Chopin alike were heterodox. And so they were.
9The works of Chopin and Schumann do not, as commonly supposed, represent anti-classicism, but art development. Piano manufacture had made rapid progress; the material of composition had been greatly enlarged, and Chopin and Schumann merely expressed in their individual ways the spirit of the age in which they lived. The music changed with changed conditions, and since the tonal expression was new, so was the style of performance. Greater variety of harmony and rhythm, more sparkling brilliance, less conventionality, finer nuances, and withal a certain mysterious significance (which the interpretive artist must discover for himself)—these are the principal characteristics of Chopin's and Schumann's best works.
11Alas! what vain attempts are made to cajole and conjure the spirits of those ever living masters! Loud and soft, fast and slow, these are the weapons with which amateurs and alleged pianists attack and mutilate the creations of romanticism.
13It is true that the best music of this period admits greater freedom of movement in performance; but it is not true that all semblance of regular tempo disappears. Chopin, Schumann, Liszt, Rubinstein, all have recorded their opinions on this point, and the unanimity which characterizes their various statements leaves no room for doubt as to the proper application of that much abused license, tempo rubato. It is recorded of Liszt that while hearing a lesson he severely criticised a pianist for his spasmodic accelerando and ritardando. In answer to the master's query, "Why do you so?" the pupil gave as a reason that the music was marked "tempo rubato." "But," replied Liszt, "that is not tempo rubato. Come here by the window and I will show you." Pointing to a large shade tree hard by, he continued: "You observe the swaying of those branches and the agitation of those fluttering leaves, but the trunk of the tree remains firm and steady. That is an illustration of tempo rubato."
15It is known that the peculiar expressiveness of Chopin's playing was in a large measure owing to the ad libitum style of the right hand part, while the left hand maintained the regular movement of the accompaniment.
17Melody notes may thus be shortened or lengthened, declaimed or sung without arresting the progress of the music or disturbing the poise of the accompanying background. Brief examples of this have been given in Chapters 13, 20 and 26.
19Slow movements are more susceptible to these effects than are fast movements. A quick rate of speed is a sign of motion and animation, whereas a slow movement is associated with meditation, deliberation and repose. Moreover, the expressive deviations from the regular beats of an andante or largo do not suggest that unpleasant, hysterical effect which results from an unsteady allegro movement. It was this uncertain, "drunken gait" against which Schumann so vigorously protested. The tendency of the present time is to exaggerate musical expression into bathos and to degrade psychologic emotion to the level of mawkish affectation. Yet the example of all great pianists is against this misapplication of tempo rubato. Not alone the profoundly analytical Von Bülow, but the electric Rubinstein disdained this convulsive style of performance.
21The works of Schumann are even more romantic and mystical than those of his great contemporary. If the German was less poetic he was also less mutable. There are, however, many features of style common to both composers, though each must be studied independently and sympathetically. Schumann was one of the most unfortunate of men, but his soul-life was as beautiful as any which history records. All this, and more, is impressed upon his musical creations.
23The changes which have taken place since the death of Chopin and Schumann are unimportant so far as piano literature is concerned.
25Wagner created an epoch in dramatic music, yet his influence, like that of Händel in England, has been more harmful than helpful to creative impulse. Especially in Germany and to considerable extent in France, Italy, Great Britain and North America, we hear more or less distant echoes from Bayreuth. These impressive compilers deceive no one, excepting themselves, with their leading motives and portentous sounding chords. Fortunately, there are composers who have retained their individuality: Rubinstein, Balikarew, Stcherbatchef, Tschaikowski, Gounod, Saint-Saëns, Bizet, Brahms, Max Bruch, Volkmann, Heinrich Hofmann, Raff, Smetana, Dvorák, Grieg, Verdi, Bazzini, Mascagni, Jensen and Moszkowski. Some of our American composers also are striving creditably to express that which they find within their own experience.
27The various styles of the present period present insurmountable obstacles to the interpretative artist. This is an eclectic, as well as an electric age. It does not seem possible for a violinist or a pianist to faithfully represent or reproduce all the styles which have been described, because some of these conflict with others. From the stupendous psychologic tone impressions of a Tschaikowski to the thematic sphinxes of the sixteenth and seventeenth centuries is too great a span to be encompassed by a single artist. Rubinstein, with his almost universal genius, came the nearest to a solution of this many-sided problem. Yet a remark which he made to the author in New York shows that even he could not wholly satisfy the demands of every musical epoch.
29After his first series of American concerts the author mentioned in a gratulatory way the antique halo which Rubinstein imparted to the old harpsichord music. Modestly remarking that he could not conceive of Scarlatti and Bach in Prince Albert coat, mutton-leg trousers and patent leather boots, he confessed that the music of certain composers was "uncongenial" to him, and that he "could not do justice to it." Unfortunately there is too much of eclecticism and conventionality in the arranging of our recital programs. The Chromatic Fantasie and Fugue; Beethoven's op. 27, II., 58, 57, or III; several numbers from Chopin and Schumann (usually the most familiar works); Brahms variations on a Paganini theme (because they are difficult); a rhapsody from Liszt, and a paraphrase on Wagner (who ought not to be heard without scene or orchestra), these are the works upon which so many changes have been rung. Would it not be better if artists confined themselves to compositions with which they are in touch and sympathy? Temperament rather than custom should be the controlling influence in the choosing of solo works. one of two readings
30After his first series of American concerts the author mentioned in a gratulatory way the antique halo which Rubinstein imparted to the old harpsichord music. Modestly remarking that he could not conceive of Scarlatti and Bach in Prince Albert coat, mutton-leg trousers and patent leather boots, he confessed that the music of certain composers was "uncongenial" to him, and that he "could not do justice to it." Unfortunately there is too much of eclecticism and conventionality in the arranging of our recital programs. The Chromatic Fantasie and Fugue: Beethoven's op. 27, II., 58, 57, or III; several numbers from Chopin and Schumann (usually the most familiar works); Brahms variations on a Paganini theme (because they are difficult); a rhapsody from Liszt, and a paraphrase on Wagner (who ought not to be heard without scene or orchestra), these are the works upon which so many changes have been rung. Would it not be better if artists confined themselves to compositions with which they are in touch and sympathy? Temperament rather than custom should be the controlling influence in the choosing of solo works. one of two readings
32(Copyright by the author.)
34THE Promenade Concerts open to-night, and as every preparation has been made to make the season as successful as possible I anticipate that Mr. Newman's scheme, which is only now entering on its third season, will be a record of artistic and probably financial success not heretofore seen in London.
36As I have before stated, the audience come to hear the music rather than to meet for drinking, so that the revenue for the latter is small. The seats are all taken out of the body of the hall, except a row around the walls and a row around a small fountain, which plays over beautiful plants in the centre. The standing room, which will accommodate some 2,000 people, is pretty well occupied. The admission to this part is 1s., the second balcony 2s., unreserved, and the first balcony 3s., and 3s., reserved, according to the row. I shall speak of the programs and the work of the orchestra next week. The system of devoting the first half of the program to the works of a single composer last year proved to the public taste, and consequently Mr. Newman has adopted the same plan this year. Each of these evenings is alternated with "popular" nights. Wagner is chosen for Monday, Tschaikowski for Wednesday and Beethoven for Friday next week.
38The metropolis of London is growing to such an extent that managers have found ready remuneration in giving the successes of our leading theatres in the suburban districts. To that end there has been a large number of well equipped and commodious theatres built in all of the suburban districts. The last one to be finished was at Fulham. It was opened Monday night with The Geisha.
40Mr. Ffrangcon-Davies, since his return from America, has taken up more than ever the reciting of poems, like The Lost Soul, Lorraine, Lorraine Lorree and others, to the accompaniment of music. Mr. Stanley Hawley, who has achieved considerable fame in England for his settings of these poems, is about to accompany Mr. Davies on a tour in the provinces, when the latter part of the program will be devoted to two of these selections. The superb vocal equipment that Mr. Ffrangcon-Davies possesses—the power to color his work according to the meaning of the text and the intelligence he evinces in the interpretation of these masterpieces of English verse—has enabled him to make a sensation in reading them. It would not surprise me if he went to America and gave a series of recitals—when these poems would largely figure in the program—taking the composer with him.
42I understand that Mr. Plunket Greene will visit America about the middle of October for a series of forty recitals.
44Mr. Arthur Rousbey, who, with his wife, form the leading artists of the company which gives popular English operas through the provinces, will add to their repertory
The computer misreads some letters and numbers. Where a name matters to you, read the scan.