Scan 8
Musical Courier 1897-11-03: Vol 35 Iss 922, 1897
20 lines. Read by computer on 23 September 2026. Printed page 9. See the scan on archive.org.
1these he prefers No. 5 in the ascending order of merit, the so-called "spotted metal," which is practically half tin and half lead. As the market value of these species of "metal" ranges from $50 per ton to $180 per ton, Mr. Lewis proves that "it is the building of cheap organs that pays best," but, at the same time, he very justly describes the procedure of sacrificing good tone for showy superficiality simply because the latter costs less. Zinc for large speaking pipes he does not consider desirable above the 8-foot C, for, he then remarks, "the tone becomes tight, with a sense of deadness."
3With this unsatisfactory effect in much of the organ tone of to-day most of our eminent organists are only too familiar. The author's "standard of an ideal diapason" will be studied with interest by all earnest organ builders, and his remarks upon the misunderstanding of the value of good "mutation work" by the many "amateurs" by whom "organ specifications are now drawn up" are apropos of the fashion in organ design of the present day, which I hope soon to see abandoned for more solid and thorough methods. The treatise then proceeds to consider bells. Having spoken of the two distinct notes which should, by right, belong to a large bell—the "tap tone" and the "hum tone"—the writer then states that, "in defiance seemingly of harmony, a fine bell with the percussion or tap tone, say E, should have its lower, or hum, tone a major seventh below, but flattened to the extent of about a quarter of a semitone; broadly speaking, its pitch should be F rather flat, and this tone forming a peculiar interval with the E above, although it might be supposed to be discording, really gives the best possible result that can be had from a bell, and the musical ear is always seeking that combination of two blended tones when the true ancient bell tone has been appreciated."
5Mr. Lewis adds: "There are many harmonics heard, but these we pass by, as they are quite subordinate in strength." With reference to this relationship of "tap tone" to "hum tone," in spite of the weird, mysterious vibratory effects we have long associated with "the music of the bells," I think that Mr. Lewis has, perhaps unconsciously, touched upon a vital matter in scale construction. As most musicians know, especially those who have studied the science of acoustics even to a slight extent, in our modern diatonic scale the "raised seventh," otherwise "the leading note," is, as far as its vibration number goes, not so closely related to the tonic as was the old "lowered seventh" of most ancient modes. In short, "equal temperament," in the tuning of the octave, demands a certain departure from "nature's scale" in the adjustment of intervals which perhaps has not yet crept into good bell music.
7We would therefore be inclined to say that there is really no "defiance of harmony," but rather a closer approximation to a scale of "just intonation," in the relation of the bell notes just referred to. On one point there is no doubt. In modern times we have not yet excelled the art of ancient bell casters, and it is possible that we have yet much to learn from our ancestors in this department. Lastly, touching upon piano tone, Mr. Lewis notes the certain "laws of relation" which hold good with regard to the stretched string, "which," he says, "if we overstep we go wrong."
9I will not enter into his calculations as to the length and conditions of the middle C string, which he calls the "master note" of the piano, but we feel that pains and experience have been expended upon the subject, and the reader who is versed in the technicalities of piano construction will do well to pay deference to Mr. Lewis' judgment on the matter, as also to his remarks upon the "plank bridge," "sounding board," "action," &c. In conclusion, I trust that the author's "protest" will direct erudite thought more strongly to this subject of modern tone and its abuse, and consequently something may be done, at any early date, to remedy many matters which often render musical sound little else than noise. A.
11by Wagner. But he goes the master one better by making new changes of his own which are nowhere indicated by Weber, are not beautiful in themselves and are therefore not justifiable. I am the last critic to advocate sticking to traditions, but the sport which some conductors cultivate in forcing old works into new shapes and bringing in so-called original effects at all hazards and costs cannot be sanctioned or even allowed to pass without a protest. Just as much as I was on the side of Nikisch in his new horn effect in the close of the "Tannhäuser" overture, just as severely do I denounce his innovation of letting the strings drop and the brass hold out alone the long and joyful, climaxes in the "Freischütz" overture. The former was both beautiful and logical, while the latter was neither of the two and is a mere striving after effect and originality of conception at all costs.
13Weingartner gave us the second of Brahms' symphonies, Nikisch followed with the third one. In this also his reading had something forced and over-studied (ausgekluegelt, as the Germans call it). The interpretation throughout was more brain work than heart, all intellect and very little soul. Added to this defect, of which one could not remain insensible, was a slowness of the tempi which went even beyond Nikisch's well-known habit in this direction. The poco allegretto, the exquisite C minor movement, the only thematically beautiful Satz of the entire symphony, lost much of its natural gracefulness and a certain more melancholy and tender than passionate playfulness, through the slowly and heavily measured beats of Mr. Nikisch. The last time I heard the F minor symphony of Brahms under Hans von Bülow at the Philharmonie four seasons ago this very poco allegretto was irresistibly redemanded. Last Monday night the movement created little more than a pleasing impression.
15Here now cease all points of comparison with Weingartner's program, and I am glad to say also all faults I have to find. The second half of the program brought a soloist; this in itself constitutes a diversion which is but rarely vouchsafed in the Royal Orchestra's symphony concerts. The soloist was our beloved and much appreciated countrywoman, the ever young and ever beautiful Teresa Carreño, and she played a concerto which might have been especially composed for her, if it had not been composed by Rubinstein—for himself. Certainly the D minor piano concerto is one of the few works of the great Anton which will survive, and it showed its vitality again last Monday night under the big, strong and healthy hands, fingers and arms, as well as forceful and imaginative interpretation of Teresa Carreño. If she had had at her command a concert grand which would have responded to the fullest to her by no means small physical demands, the performance would have proved an ideal one.
17As it was, the big, luscious tone with which she used to sing the beautiful melody of the slow movement was lacking in velvety sonority and singing quality, and the tremendous Russian bear growling in the finale was not plainly enough heard above the din and clash of the orchestra. You could see Teresa Carreño work and rush all over the piano, but the effect produced was not commensurate with the effort. After the performance the American artist was called out wildly more than half a dozen times by the audience.
19The only quasi novelty on the program was a very old novelty. It was Wagner's overture to "Die Feen," "an error of my youth time," as the master designates his two first operas, "Die Feen" and "Das Liebesverbot." The overture bears the date of December 27, 1833, and was consequently written at the age of twenty. Still it is a work of more than merely historical interest, and in tonality (E major), orchestration and the power of Steigerung already makes you divine the future creator of "Tannhäuser." The themes are influenced by Weber, whom Wagner admired greatly from his earliest musical cognizance up. Characteristic is the frequent employment of
The computer misreads some letters and numbers. Where a name matters to you, read the scan.