Scan 4
Musical Courier 1909-03-17: Vol 58 Iss 11, 1909
22 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 5. See the scan on archive.org.
1Richard Strauss rarely writes for publication, but when he does take his pen in hand he always has something of interest to say. Dr. Leopold Schmidt, the well known critic of the Berlin Tageblatt, has just published in book form, under the title of "Aus dem Musikleben der Gegenwart," a collection of his criticisms written during the last ten years. Richard Strauss, upon the request of Dr. Schmidt, has written the preface to this book, in which his opinion of critics and criticism is expressed. This is what he says:
3"The author of this book, appealing to my 'Eulenspiegel' nature, which I suppose I shall have to carry around all my life on my back—to be sure, a broad one—requests me to write a few words of introduction to his work. This seemed to me at first quite as amusing as if I had asked Dr. Leopold Schmidt to write the overture to my 'Electra'; on gaining a better ideal of the book, however, and upon realizing how widely our artistic views diverged, I had to confess to myself that Dr. Schmidt had rightly judged of my lack of enthusiasm in point of criticism. Hence, I gladly comply with his request and recommend his book as a backward look over the musical doings of the last ten years to all readers who are interested in tracing the change in the musical taste of a man who is, to be sure, somewhat faint-hearted toward the new, but who is, at any rate, competent and conscientious. For it seems to me to be a circumstance adapted to the spirit of the age that Dr. Schmidt has not hesitated thus to confess that his understanding has developed and that his attitude toward the new has not infrequently changed during the years.
5"This frank confession will please every one who has experienced in his own life the vacillations to which art values are subject during different periods of culture, in all works of art, more especially in the development of music. What is not expected of criticism? I do not hesitate to acknowledge that a critic has done his duty in full—provided, of course, he is properly equipped with education, knowledge and feeling—if he puts on paper in proper form his impressions of the moment. How far these momentary impressions have permanent value, history alone can decide, just as it decides on the criticised art production itself. one of two readings
6"This frank confession will please every one who has experienced in his own life the vacillations to which art values are subject during different periods of culture, in all works of art, more especially in the development of music. What is not expected of criticism! I do not hesitate to acknowledge that a critic has done his duty in full—provided, of course, he is properly equipped with education, knowledge and feeling—if he puts on paper in proper form his impressions of the moment. How far these momentary impressions have permanent value, history alone can decide, just as it decides on the criticised art production itself. one of two readings
8"I do not wish to awaken the impression that I have taken the pen in hand simply in order to make known the fact that Dr. Schmidt's book contains well known, every day truths, so I will take the liberty, even in face of the danger of being misunderstood, to declare that critics who fulfill their duty in the sense mentioned above are not always the most interesting from the viewpoint of the artists. I know of nothing that promotes the artist more than the criticisms of a deadly enemy, who listens with a preconceived intention, no matter what the grounds for it may be, of tearing to pieces wherever he can. The sharper his intelligence is, the surer is he to discover the hidden weaknesses which the enthusiast or even the well meaning critic either consciously or unconsciously overlooks. It is well known how difficult it is to discover one's own weak points, so the utility of the deadly enemy in furthering self criticisms, so far as it is exercised at all, is apparent.
10"It is an indisputable fact that all really great works, however new and strange they be in form and contents, can look diverse criticism just as steadily in the eye as they can listen to praise. I often quietly laugh to myself when I see colleagues who are more sensitive than I am so exorcised because their works have not found the recognition they expect. What fabulous importance was attached at the time to Hanslick's pamphlets on Wagner!
12"Now, I will touch upon the relations between composer and critic. While subalterns generally think that they must isolate themselves from the creative artist in order to retain their high critical independence, the more cultivated representatives of this responsible and much maligned, much misunderstood profession deem it their duty to keep in close touch with the composers, in order to have the necessary insight into their ideas and intentions. How can a critic judge of a composer's power if he does not know what his intentions are? Aside from critical instructions written by creative minds like Berlioz, Schumann, Liszt and Wagner, the character of normal musical criticisms is, for the most part, after all, only retrospective.
14"Now, naturally, not every work of art is so matured that it gives expression in finished form to the intentions of the creator. Many a dreamy, poetic artist is incapable of giving the necessary last energetic touch to his work, but who would, for that reason, like to do without refined masters like Schumann, Brahms, Bruckner and Berlioz as dramatists? Are their creations not very necessary and inspiring as cornerstones of development? It is just such works—works that have difficulty in maintaining themselves between the masterpieces of the first rank and rubbish, these two extremes, which possess drawing power such as is the joy of the public and the cashiers of the theaters—it is just such works as these which require conscientious and emphatic mention of their importance and the instructive explanations of the intentions of the composers, for the reason that they lack the elementary creative power that sweeps over every obstacle. It really does not require any great amount of understanding to see that such works, while having glorious qualities, have weaknesses which are more apparent to the flippant observer than their good points; but, unfortunately, in just such cases the superficial criticism is zealously at work trying to show off its knowledge. In 'Tristan' and the 'Meistersinger,' on the one hand, to 'Mignon' and 'Bajazzi' on the other. If our public had been properly educated and compelled to hear and appreciate refined works, let us say, of the second rank, we should not be confronted with the fact that 'Fidelio,' 'Freischütz' and 'Figaro' show smaller box office receipts from year to year, while a noble and appreciative public gratifies its art desires every evening on the most stupid operettas, or, what is worse, on absolutely idiotic variety performances. But these complaints are as old as the history of music; yet to emphasize them again and again is the duty of all who take to heart the furtherance of art, even with the danger of becoming tedious. I thank the author of this book heartily that in the introduction to his work he has given room for this ancient complaint.
16"Now, as to my personal attitude toward criticism, a point on which surely the friendly reader would like to learn something authentic, I confess, in brief, the following: If my works are good and of any importance whatever for the further development of art, they will maintain their place in spite of all diverse criticism and in spite of all hateful suspicions attached to my artistic intentions; if my works are of no account, why, then, the most gratifying success of the moment and the most enthusiastic approval of the augurs cannot make them endure. The waste paper press can devour them as it has devoured many others, and I will not shed a tear. For a time my son, out of piety, will occasionally play my tone poems on the piano, and then even these will cease, and the world will move on just the same."
18Kussewitzky, the king of contrabass players, was heard again on Tuesday evening after a pause of more than a year. This unique artist gave a concert at Beethoven Hall, with the assistance of Henri Casadesus, viole d'amour, and Fritz Lindemann, piano, playing the Mozart A major concerto, his own concerto in F sharp minor, and also a "Chanson triste" from his own pen and a "Salterello" by Glère; he was also heard in a sonata for viole d'amour and double-bass by Borghi. Sergei Kussewitzky stands absolutely alone as a solo performer on the double-bass, and his playing on Tuesday evening called forth tumultuous applause. The salient features of his remarkable art have often been commented upon in these columns in times past, yet I was charmed and delighted, on hearing him again, with the beauty and richness of his tone, with the brilliancy of his virtuosity, and with his great musicianship. He woos tones from his ponderous instrument—soft and enticing, mellow and luscious—tones more like those of a rare old Amati cello than anything else I can compare them with. Yet there is a quality unlike the cello. There is nothing nasal, nothing crude in Kussewitzky's tone; all earthly dross has been eliminated; it flows and sets in motion the sound waves as if caught from the air itself, rather than produced by the friction of hairs and strings. The left-hand agility and accuracy of this renowned Russian virtuoso are simply astounding; his hand flies up and down the huge unwieldy instrument with a speed and certainty that baffle description. The artist's manipulation of the bow also shows great strength and flexibility. His conceptions always reveal the true musician of lofty aims, and the soul of the real artist shines forth with a glowing luster in every piece he plays. The Mozart concerto was originally written for the bassoon, and has been transcribed by Kussewitzky for the bass. It is a charming youthful work, full of genuine Mozart grace and feeling. Kussewitzky's own concerto is a work of real musical value, and it shows off the possibilities of his chosen instrument from a virtuoso standpoint in a brilliant light. Kussewitzky has real creative talent, as was shown again in his "Chanson triste." The "Salterello" is a brilliant morceau, and calls for great manual dexterity. A perfect gem is the old Borghi sonata for viole d'amour and contrabass. It was exquisitely performed by Casadesus and Kussewitzky, and the gigue was stormily demanded. Fritz Lindemann, who is Lilli Lehmann's special accompanist, gave Kussewitzky sympathetic support at the piano, and he also contributed a couple of solos in a praiseworthy manner. It was a very distinguished audience that came to hear the renowned double-bass soloist, including such celebrities as Eugen d'Albert, G. B. Lamperti, Madame Nikita-Murray, Friedrich Haase, the famous actor, now in his eighty-fifth year, and many other notabilities. one of two readings
19Kussewitzky, the king of contrabass players, was heard again on Tuesday evening after a pause of more than a year. This unique artist gave a concert at Beethoven Hall, with the assistance of Henri Casadesus, viole d'amour, and Fritz Lindemann, piano, playing the Mozart A major concerto, his own concerto in F sharp minor, and also a "Chanson triste" from his own pen and a "Salterello" by Glèire; he was also heard in a sonata for viole d'amour and double-bass by Borghi. Sergei Kussewitzky stands absolutely alone as a solo performer on the double-bass, and his playing on Tuesday evening called forth tumultuous applause. The salient features of his remarkable art have often been commented upon in these columns in times past, yet I was charmed and delighted, on hearing him again, with the beauty and richness of his tone, with the brilliancy of his virtuosity, and with his great musicianship. He waxes tones from his ponderous instrument—soft and enticing, mellow and luscious—tones more like those of a rare old Amati cello than anything else I can compare them with. Yet there is a quality unlike the cello. There is nothing nasal, nothing crude in Kussewitzky's tone; all earthly dross has been eliminated; it flows and sets in motion the sound waves as if caught from the air itself, rather than produced by the friction of hairs and strings. The left-hand agility and accuracy of this renowned Russian virtuoso are simply astounding; his hand flies up and down the huge unwieldy instrument with a speed and certainty that baffle description. The artist's manipulation of the bow also shows great strength and flexibility. His conceptions always reveal the true musician of lofty aims, and the soul of the real artist shines forth with a glowing luster in every piece he plays. The Mozart concerto was originally written for the bassoon, and has been transcribed by Kussewitzky for the bass. It is a charming youthful work, full of genuine Mozart grace and feeling. Kussewitzky's own concerto is a work of real musical value, and it shows off the possibilities of his chosen instrument from a virtuoso standpoint in a brilliant light. Kussewitzky has real creative talent, as was shown again in his "Chanson triste." The "Salterello" is a brilliant morceau, and calls for great manual dexterity. A perfect gem is the old Borghi sonata for viole d'amour and contrabass. It was exquisitely performed by Casadesus and Kussewitzky, and the gigue was stormily demanded. Fritz Lindemann, who is Lilli Lehmann's special accompanist, gave Kussewitzky sympathetic support at the piano, and he also contributed a couple of solos in a praiseworthy manner. It was a very distinguished audience that came to hear the renowned double-bass soloist, including such celebrities as Eugen d'Albert, G. B. Lamperti, Madame Nikita-Murray, Friedrich Haase, the famous actor, now in his eighty-fifth year, and many other notabilities. one of two readings
21A large crowd assembled at the Philharmonie on Thursday evening to greet Felix Mottl, who gave a concert with the Philharmonic Orchestra. Mottl made a tremendous impression with his interpretation of Beethoven's fifth symphony and Wagner excerpts at his last appearance here some weeks ago. This time he did not seem to be quite so well disposed; at least, his reading of the "Pastorale" failed to produce a great effect. He was splendid in the Wagner 'Faust' overture and in Liszt's symphonic poem, 'Tasso,' but this is by no means one of the most effective of Liszt's symphonic creations. The soloist of the evening was Franz von Vescey, who gave a beautiful, noble rendition of the Beethoven concerto. This youth is steadily
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