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'''.''
JUDAISM IN MUSIC
'
in style
ON CONDUCTING.
'
"
'
Weingartner, speaking of this celebrated work, says : " Wagner's book laid the foundation for a new understanding of the
function of the conductor, in whom we now recognise, not only
the eternal factor that holds together an orchestral, choral or
operatic performance, but above all the spiritualising internal
factor that gives the performance its very soul."
BEETHOVEN.
the.
Judaism
fy)l
in
(Das Judenthum
in
Music
der Musik)
q-io
t>
Being
V\J
j\
The
Essay
Original
together
IVo
BV
RICHARD WAGNER
TRANSLATED FROM THE GERMAN
AND FURNISHED WITH EXPLANATORY NOTES AND INTRODUCTION
BY
EDWIN EVANS,
senior, f.r.c.o.
Author of " The Relation of Tchaikovsky to Art-Questions of the Day " ; "Handbook
to the Works of Brahms " ; " How to Compose within the Lyric Form," etc.
London
WILLIAM REEVES,
83
MCMX.
W.C.
MUSICAL BOOKS
By
EDWIN EVANS,
Technics
of the
Senior,
R.C.O.
Organ.
How to
How to
Write
Write
for Strings.
for
tH6 UP**
UGHAM
PROVO. UTAH
//RS1H
CONTENTS.
PAGE.
Introduction
ix
...
xiii
...
xvi
JUDAISM IN MUSIC.
PART
I.
I.
1850.
Introductory.
Chapter
II.
Characteristics.
Chapter
III.
Art-Relations.
The ennoblement of money. Origin disdained. The true poet. The Jewish musician. Absolute music and its Jewish imitation.
The Folk-
Plastic art.
spirit
...
17
Contents.
vi
Musical Creation.
Chapter IV.
No Jewish
Chapter V.
Endowments.
Bearing of
25
Mendelssohn.
case
his
upon the
subject.
The language
of
Bach.
...
...
32
40
The language
Resume
of Beethoven.
Chapter VI.
...
Meyerbeer.
EPILOGUE.
The Poet Heine and Brne the Author
PART
II.
...
THE SUPPLEMENT OF
...
...
47
1869.
Chapter VII.
Chapter VIII.
The new party and Franz
51
"Zukunftsmusiker."
Liszt's persecution in
...
...
...
...
61
vn
Contents.
The Theatres.
Chapter IX.
Difficul-
Specialities in
Hos68
tility
Chapter X.
Chapter XI.
74
First impulses.
Chapter XII.
The triumph
of
pediments to
Conclusion
Note.
Judaism.
81
Apostrophe.
The present
a closer friendship.
position.
Aspirations
Im...
88
...
...
...
93
...
...
94
...
...
...
...
INTRODUCTION.
may
IT
Judenthum
in der
Musik"
"
Das
to
The
of
ner's
original
account to
suffice to
point un-
is,
may now
the essay
those valuable
to seek to
it
at
draw from
lessons relating
to
Art-
the
IX
Introduction.
Just as
was natural
it
to so great a
mind
to be
afflict
us
imaginary causes, so
engage
service
in
it
was
also natural to
him
to
The
present
issue,
therefore,
differs
it;
materially
and primarily
stress is laid
inci-
dental to
their
neutral
character,
been rather
in
the direction of
all, it
has
pointing to some
in the desire to
faintest
spirit
of
fault-finding
and not
either
in the
with
the
whom
the
xi
Introduction.
remained necessary in the way of either criticism or explanation of it; and it is due to this fact
little
that
stated, to
the way.
As
selves
these
comments
we have only
method pursued
to
in the translation.
is
more accustomed
The German
to
this
student, ac-
and
at the
same
which he
is
made
it is
to feel
a trans-
engaged.
Not
"
Introduction.
xii
may
be induced by an
at-
tion
may
that,
in
ing to his
written
own
by
account,
Hanslick
the
for
way
own
writing
as did, accord-
article
Vischer's
on
"
Music
system
of
^Esthetics,
is
It
may
further be
it
undoubtedly
may
be his particular
groove of thought.
EDWIN EVANS,
LONDON, January,
Senr.
igio.
* Lethargy of the
New Esthetes":
Chap. X.
To
Honoured Madam,
quiry
even
England
hostility
inconceivable
to
you,
dis-
paragement.
It
only in
though
somehow
to be extant that
my
An
art-
it
would appear
xiv
Address.
impossible to explain
why
selected
to
be,
under
should be so invariably
every
scrupulously classified as a
circumstance,
un-
an incompetent
trifler or
also
will
it
why
be explained
The
causes
in
settlement.
me
doing
at the
its
am, myself,
am
so, I
same
time.
answer publicly;
enabled to reply to
This
is
many
a duty which
my
friends; for
as,
others
could not
know
of
in a position so
tected that
enmity to which
against which
can do
all I
my
is
am
myself exposed
power of defence
is
and one
so slight that
my
friends.
Such an undertaking
case,
attended, even in
is
my own
It
proceeds rather
and the
national-religious element of
question
whom
European
society
irreconciliable hatred of
which
in
I
xv
Address.
to our culture.
Against
this,
ment which
however,
must
set the
encourage-
same
or even
in a
worse position
sion
scarcely
hope to
human development
own race.
This being so, I will commence with an article
written and published by me some eighteen years
really
ago.
of
its
NOTE.
rendering of the Title here employed
THEsanctioned
by
common
usage;
but
is
that
one of
rather
the
"
Christendom
" as
Jewish
religion,
which
is
not
applied
indicate
here in
,f
the expression.
xvi
JUDAISM IN MUSIC.
PART
The
I.
CHAPTER
I.
Introductory.
IN "the
"
Neue
The
the
Question
not
Zeitschrift fr
question
fail
to
"
being
one
which
could
call
forth
both
attack
It
seems to
me
of some
importance to state more particularly the real sub* There are two versions of this section, one being that
"
of its first appearance in the " Neue Zeitschrift fr Musik
The Editor
'
JUDAISM I MUSIC.
which
ject,
is
in the
glow of
enthusiasm.
In respect of this there
is
which people
character,
By
in general evince
to>
desire of artificially, or
tion,
attempting
to
an inward
we
dislike.
vivify
anything
unpractical.
whether
it
it
should be governed.
is
Limitation
to Art-
particular, for
matters,
ment
and
In that
thanks
much
itself,
to
have
whilst
occasion
to
1850.
in
drift
establishment of a
remain as he
is
by the Jews
tendency nas simultaneously served as an invitaof Modern tion to the exercise of human justice,
Liberal
thought,
having
awakened
to
greater
degree
dwells within
us.
JUDAISM IN MUSIC.
concrete case.
with them
so
our zeal
emancipation of the
for
on
their behalf,
we
continue to be repelled by
them*
This brings us more clearly within sight of the
fulfilment of our project; for
ourselves
why
we must explain
to
the person
awaken.
that
it
is
to>
classify as
bad manners
all
frank
we
new thing
It is quite
to
it is
The
is
is
1850.
of complete intelligibility
state
our
ill-will
all
To
astonishment
our
iii
flight
'
antics,
take
the
initiative
indemnifying
in
us
for
the
"King
"
Creditor of Kings
we
own
condition
is
much
Jew
is
petition, seeing
In the present
more than
free,
for he
all
The
JUDAISM IN MUSIC.
We
why
nas
The Jew's
now
arrived,
its
and the
development
fact of
its
is
natural,
day
to
that,
day
their
bondmen
in
torment and
into gold.
Who
is
there to recognise
the
them?
of. Art,
sticking
to
during two
efforts,
human joy,
demon Art-foe
And who
of exchange.
the
manner
in
is
there to perceive,
article
from
The
of
1850.
this
Jewification
"
modern
of
for
Art,
is
it
The
We
should have,
the reasons
we
from the
That which
emancipation
for
is
freedom,
is
to test
should
Judaism*
No
force,
but
an accurate
The oppressions
*
of
Judaism seeing
Jew-category
"
Wer
sich
all
in question
who do not
to be entirely
Wagner comprises
within the
JUDAISM IN MUSIC.
'
form of an invariable
quite frankly
avow
that feeling
We
it is
If
we
may
be
we
its
study
opposition to what
we know
for certain,
and even
its
sooth,
and
who
it
is
is
CHAPTER
IL
Characteristics.
all
we
as
all
to himself,
life
Character- appearance.
istics gener-
ally-
particular
by
firstly
It
matters
attention in
exterior
his
not
to
which
him.
we wish
to
have nothing
Formerly no doubt
fortune, but
this
;*
so
fail to
quite permits
much
common with
redounded
nowadays we cannot
as a misfortune which
in
so, that,
to his mis-
recognise
of his
it
still
considering the
is
We
this disagreeable
consideration of
relation to Art
10
JUDAISM IN MUSIC.
nection,
medium.
generally draws
it
its
His
exterior,
upon the
Never
in his
and
wander-
number
that they
No
lover,
may
rule.
modern, hero or
Jew without an
The
This
is
extremely important;
much
for, if
we hold
to
(Original Note).
On
this subject
man
1850.
to be exteriorly disqualified
presentment whatever
artistic
II
that
him
it
we should
follows that
as unfit for
any
artistic
The speech of
the
Jew
is
effect
upon us
.
to
Jewish
Jew converses
amongst whom
but
of
he
a
without
also regard
an
relation to
in
is,
effect
its
which constitutes
does
he
tongue
As
it
is
after
foreign
fact
of
from
dwells
invariably
this
foreigner.!
upon
influence
the
in
upon
feature to dwell
the essential
referring
all
pronouncement.*
say, not
to
is
all
The
Music.
people
the
age
age,
to
manner
the
to
in
our
pur-
for
that
we may
accusation against
to
acquit
the
latter
of
works
for presentation.
it
follows
'12
JUDAISM IN MUSIC.
the
to treat of
such results.
On
hand
the other
character
aesthetic
of
Ui s
artistic in-
Immediately,
capacities,
that a
native to
if
shuts
it
in
one
is
full
force.
circumstance
general
the
Jew speaks
language only as
full,
circumstances
these
modern European
his
all
if
he were
capability of
his ideas.
mode
language
is
of expression and
its
development are
community; and
but
its
only he whose
life
his
with
all
tongue
development denied to
the
Hebrew
being
it;
even
its
peculiar
only sustained to
it
as
it
a dead language.
Even
One
poetry
M
ist,
foreign
Wagner's writing
any undue vehemence
in
tongue.*
the
As
mained.
1850.
European
entire
in the
tongue to
civilisation
and even
re-
part, but,
hostile, as is natural to a
homeless unfor-
tunate.
naturally
but
echo and
and is perforce
expression and pure creative
imitate,
work.
His
of the Semitic
defeated
has
mode
culture
all
of expression, which
through
sounding
buzzing
and
The
grunting
the
strange
hissing, shrill-
mannerisms
of
isms
also'
words
These manner-
is
cor-
bisher selbst
'
JUDAISM IN MUSIC.
14
is
being said.*
The
"Gelabber"t never
of
indifference
rises to
any warmth
his
its
peculiar
not even
in
On
sion.
happen that we
such ardour when speaking to a
become impelled
to
it
Jew, his incapability of effective response will invariably cause him to give way.
in
If ever he
becomes excited
at all
it is
this description
Wie
enthaltenen
als bei
Was
dem
darin
The language
of Bach.
verweilt."
"
Geplap
it
of
some
his material
is
profit
personal vanity
tion, or his
and
special
1850.
selfish
which
is
interest.
in
ques-
effect
upon
his speech,
it
No doubt
their
mutual
it is
affairs,
and particularly
human
in
family con-
feeling finds
may
its
most
nevertheless
another.*
purview, as
tion of the
we are
Jew so
and
art-intercourse,
he affects ourselves.
But, if the defects of speech to which reference
has been
made
practically withhold
words,
it
medium of spoken
through the medium of song,
follows that,
is
JUDAISM IN MUSIC.
l6
ble.
is
medium
of speech,
may make
himself ridiculous,
he
will,
become
unsupportable.
In
the
latter,
moved us unfavour-
disagreeably
is
unquestionably
the
truest
very naturally at
is
expression
of
sion,
and
personal
we may
feel inclined to
song, at all
its
be eternally denied.
CHAPTER
III.
Art-Relations.
Plastic
their
having been
more
practical
ranks
Art.
far
from
my knowledge
we have no
extends,
Thus, as far
record of any
decide
really
It will
whether
those
of
Jewish
critic
to>
their
and
art.
the
have
extraction
to
we
much
to music;
will
now
turn.
Though
in
making any
less attained in
17
JUDAISM IN MUSIC.
of modern
public taste*
we must
arts,
first
of
how
enquire
all
it
The
resulted in
The
at all.
en-
only
is
is
no
Not
title.
the
being more or
latter
less
matter of
course.
Modern education
level of a
mere
in the
Jew
naturally subjected to a
being
At
new appearance
that of
interest
and
his
Now
*
uneducated brother.
the educated
is
has,
By what
power
him
follows
it
will
it
more
cate the
Origin
disdained,
salient signs
humble confrere
in this direction
zeal
19
1850.
his
His
distinguished.
is
many
has in
by which
so
tism,
we
do not
its
which,
complete isolation
his
transformed
having
heartless specimen of
his
race.
himself
mankind, he has
His position
lost the
most
symof
all
connection with
having succeeded
the
besides
into
is
in
by
new Society
As
with
in
to which he aspired.
whom
nection are
the educated
union between
and
and
Without friends or
in the
midst of a
to the history
no
part,
completely indifferent.
is
20
JUDAISM IN MUSIC.
Such
is
true poet
true poet
at the past,
who
looks only
in contradistinction
relate rather to
who
to the
fulfils
whose utterances
see the
a thinker answering
The
mon
is
we
entire
strivings of a great
what
is
to come.*
suffi-
for
it is
by
this
is
enabled
But
from
superior
Jew
such
is,
community
He
A
Art
the
his position,
own
race, the
education he
and
sentiment
of
is
to
employment.
The
Jewish
musician
sister arts
in
its
acquirement.
who
"Der Denker
ist
21
1850.
From
pression.*
this height
it
was
able,
by means
arts,
to
also,
in
will,
that
for
trivial
and
him-
communication of the
indifferent, t
Assuming
self in
the
Jew
and that
*
The contention
had been already reached lies at the root not only of Wagner's
argument but of all the various opinions put forth in favour
programme music.
22
JUDAISM IN MUSIC.
He had
some
domain of
As
interest lying
art
in order to
to delivering himself of
necessary
or
Having no
to
was
he
such
that.
never
impelled.
anything, though
"What
did not trouble him at
"
to
all,
How
to
say"
but the
speak
"
This
art of
Absolute
one f r
^e
is
for the
Music and offers exceptional opportunity
its Jewish reason
that the great masters have
;
imitation
already said in
expressing! as a separate
it
all that it is
art.
capable of
all
minded one of
to imitate
the
human
way
in
and deceptive,
re-
speech; for
it
was naturally
as
23
1850.
Yet even
is
in this
in
it
The mannerisms
peculiar to the
Jew
the educated
is
is
such that he
is
both speech
in the case of
a matter to which
grateful obstinacy
in
is
pai:is, their
un-
never
To
free.
capable of being
some
To
light
Jew must
for
necessarily throw
it.
The
aspire
Folk-spirit. tion
it
By
gaged
draws
his
may
this
it
is
irrespec-
among
It
may be
full right
of existence.
JUDAISM IN MUSIC.
24
the
is
But where
may
be, to find
such a people
domain of
it,
to
do
so within the
a mere actor?
Society at
Can he hope
all,
If he has
it
this
healthy stem.
bound
to be
Even
this
connection, moreover,
is
this un-
dislike
in
which he
is
held will
all
sides
hurtfully
to
interest.
CHAPTER
IV.
Musical Creation.
REPULSED
to his feelings
unable to
No
all
is
therefore in a
by a Society of which he is
seize the spirit, the educated
events everything
is
own
race,
immeasurably
where
clearer.
"What
to
say";
is
that
it
is
How
to
life replete
of universal
human
had an Art of
with art-possibilities.
The
fact
their
own
Features
words he can
elucidated laler on
* In other
"
never a
speak
Wie
25
'
JUDAISM IN MUSIC.
26
One
mode
itself to the
may
be said to
offer
lies in
the
inspiration.
if
he hopes to
obtain
folk-character.
this
spired in
fail
descended to us
is
in-
we cannot
which
it
has
for,
still
its
Music in
the
last,
Who,
it
had occasion
to
way*
become
an ordinary synagogue
* " Eine
Form welche
is
nie
Who
1850.
2J
may
easily
perfect naivete
It
may
recently
and earnestness.*
shown
itself
From
Divine Song.
this
is,
mere
however,
merely that of an
effort
fruitless
labour.
It
is
to
Jew,
their
life
at
of his
is
to
Yet,
is
the
as before.
3.
in the
synagogue
JUDAISM IN MUSIC.
28
necessities
from
same way as an
instinctive familiarity
own
folk-
whether
vocal or instrumental.
is
open
ca n be intelligible to him,
in
the
found
to present
to
Were
and
soul of
its
inner
life,
he would
The
common
would probably be
it
2Q
1850.
him that
to dissuade
him
compete with us
The
Jew, however,
tion in general
of our
is
as
Whether
it
tions
and
merely
in either case
their
whether instinctively,
under-
to
organism
inner
life-giving
superficial
with
hi s rea i position or
stand
is
it
as
any such
to indulge in
meditations.
design,
Music.
our art-creation.
amongst us
in
in
manner.
him no
nature.
Thus
the
it
manifestations
domain
in
our
musical
and
life
Thus
artit
is
unnatural
and distorted;
to
such
degree that
if recited
we might expect
before us in the
Jewish gibberish.
"
In the same
way
as a confused
heap
is
made
of
JUDAISM IN MUSIC.
30
The
Jewish
composer.
all
chaos
lovely
in this
formal
peculiarities
The
of
most
in the
the
various
intention in these
to
ear
mode
is
continually
to
at all exciting to
of expression*
striving
to
make
The
nection, has
no
real
passion
or,
in
any
case,
no
wahre
remembrance.
stillness is
naught
appeased in resignation.
previous passion
dullness;
work,
we
usual
the
Where
recognise no calm
contrast
to
for
devoid of
the
it;
is
only
so noticeable
aforesaid
spirit as
but
no
which, in Jewish
is
way
1850.
dullness, which
is
make
one as
of feeling.
yielded
and of a
CHAPTER
V.
Mendelssohn*
WHERE
is
could
preceding
where
lated
is
be
rendered
clearer
instantly to convince us
than that
specific
Everything which
into the antipathy
acter
feel
tradictions
#
we
in
of
this
character
whether
within
the con-
itself
and
The
32
or
us,
33
whilst outside
incapacity,
its
1850.
to formulate so
rise
tragic
as
nature, life
and
much
or,
as
its
an
earnest desire to
conflict
our
accumulated
all these
we
find
art-career
Felix
Mendelssohn-Bartholdy.
Jew may be
that a
acquired
the
he
upon the
Subject,
and
most
honour
much
deep
may
most
yet,
varied
of
notwithstanding
all
finely-tempered
and
these advantages, he
and
finest
may have
may remain
unable, even in so
many
direction
a time
and oft
in fact,
it
in
it
whenever a hero of
mouth
to speak to us *
it
JUDAISM IN MUSIC.
34
To
sarily
the critics by
profession,
who must
falls
fact
Character- ^
istics of his
Music
by
references
among
individual
to
instances
by
we
made
in
hearing a
only fixed
clear
sufficiently
piece
neces-
if
recall
and
that,
combined more or
entertainment of our
But never do we
moved
feel
at those
At
that point
to
appropriate
without
scruple
any
individual
later.
Mendelssohn we
whom
1850.
35
In doing so
is
it
to
grew up
was
still
when
struggling for
The
hold upon
it
that,
still
so strong a
it
was
The danger
clear to those
of being
who
tedly necessary.
feeling free,
JUDAISM IN MUSIC.
36
The language
The
language of
Bach
Bach seem
to strive to
an
to
figure of
ancient periwig.
its
The
human
its
inconceivable
which
lies in
at one
Beethoven's
and
mode
thoughtless
subject
is
confusion;
we complacently
Bach and
time, to discussion of
of expression.
We
listen,
actually
make
of
the
fact
that
it
really
stands
for
an
The reason
of this
is,
so,
arts
extension.
to
music
as
utmost
their
and, in
to the fruition of
their
only
successful
1850.
37
even though
employed
it
it.*
it
not so com-
"What
to
say"
and
too much engaged
is
it
is still
in the throes of
"How
The
style
flimsiness
to speak."
Mendelssohn's
difficulty in
reading between
has a mind
to !
The
JUDAISM IN MUSIC.
38
in the
pushed
if
not actu-
utmost
to its
form of
his
tone-pictures,
Mendelssohn dwindles
tastic shadow-pictures.
By
may
be excited, but
is
scarcely so
much
as
moved
to
in-
any hope of
fulfilment.
Only when
the
irksome
consciousness
of
this
power appears to influence the composer's mood, compelling him to the expression of a
soft and melancholy resignation, does Mendelssohn
limitation of
;*
and he does
This,
its
as
own
impotence.
has been
said,
constitutes
the
tragic
the essay.
1850.
39
the
we
desire
domain of
art,
we could not
refuse
it
when we
in a strong
its
force
is
ing conviction.
CHAPTER
VI.
Meyerbeer*
NO
day
able to
General
view.
awaken a
like
sympathy
had a portion of
was
less a
to exploit.
The
now
in
The
seats at
all
with
whom
ennui
is
is
not ex-
is
The
1850.
infirmity of ennui,
to
disperse
The
form.
41
it
merely
it
in another
formed
poser alluded
It
to.
ployed for
bition*
His success
sufficiently
to his
this
jaded
and as
if
It is to
art-
JUDAISM IN MUSIC.
42
piquant description,
their original
all
inanity
the
which
in
trivialities
It
composer should be
also bent
upon
if
they consider
gone conclusion.
and does
as
that
which he
applies
to
the
deceit
of
his
audience.
we
believe that he
symptoms
of like indifference
elusion of Part
I.
means of making
This, nowadays,
hand.
Under
(which
is
the
stress
though the
effect is
of
this
artist before-
self-deception
and the
us,
the would-be-emo-
really laughable
personal interest
just
as
it
nowned composer
more
Its relation
01U
,
Art-life.
now
this re-
in his music.
precise examination of
stances brought
present
the
posed) he appears to
tures
is
in
tional
43
1850.
forward
instances
which we can
...
Jewish nature
will
result in
showing us
in the first
place the
for,
That, however,
is
JUDAISM IN MUSIC.
44
nounced
than
its
The
to represent
diminution.
Jonging as
it
does for a
upheld.
The shortcomings
of
toil,
our
is
art,
from
at present
art-style
are
Mendelssohn
musician.
that specially
composer we have mentioned make the worthlessness of our public taste with
its
absolutely inartistic
Upon
these
# (Original Note).
The
position taken
up by other Jewish
away from
this
enquiry
1850.
either
45
because no
this
art
until
the
when
time arrived
was
it
of music,
of
down
to the time
it
an element so foreign
that
part of
its
to
living organism.
inner death of a
It
life
is
should
form
ex-
Jews that Wagner found fault; for, the whole question taking
in his mind the form of a result of Jewish influence, everyone
who came under the sway of that influence became, to him, a
Jew.
JUDAISM IN MUSIC.
46
terior
though only
to destroy
body
Then
it.
is
it is,
that,
maybe,
would dare
spirit
kindred.
to
Only
meet that
life
body
still
lives?
who
The
spirit
it;
we
its
ever be able
EPILOGUE.
The Poet Heine and Brse the Author.
HAVING
duced no genuine
Heinrich
Heine.
to
say
At
the
"poet,
But,
Heinrich
of
Goethe and
time of
becomes necessary
it
something
when
had proHeine.
Schiller's
what might
spring from the unpoetical life-standard we had
adopted; save the one exception that, from it, no
Then it was that a highlytrue poet could arise.
became a
lie,
gifted poetical
there
was no
limit
Jew undertook
to
hypocrisy of Verse,
cal*
He
also
still
scourged
unmercifully
the
cele-
JUDAISM IN MUSIC.
48
"
own
artists.
though he were
for
race
it
for
No
in-
decep-
seemed as
less
Through
all
he went, until at
last
of denial.
life
restlessly
the illusions of
modern
civilization.
Another
_
Borne
Jew
remains
to
be
He came
mentioned;
one
us as an author.
Jew
but found it
ing
Compare
Ludwig Brne.
common
his only
trait in
1850.
49
with our
own
men could he
ever
find
man
it.
common
in
deliverance as true
with us
is
But
same thing
Brne
fulfilled
as
it
also does to us
intoil,
work of deliverance;
which, beginning in self-effacement, continues by
being again productive and we remain one and
Participate
frankly
in
this
undivided
But,
remember
that
there
is
only
one
real
We
11
JUDAISM IN MUSIC.
50
sets
you
that
of Ahasuerus
the
"Untergang"!
many
Chap,
xxi., v.
22
" If
will that
he tarry
till
Paris.
* This term, employed in the original, has not been translated as it will serve the "English reader for an euphemistic
indication of what is probably intended, viz. consignment to
the inferno.
PART
II.
The Supplement
of
869
CHAPTER
VII.
THE
and
in
presented,
now
in
slightly
It still
my
Hostilities.
I
have
"
Neue
Zeitschrift
fr
Musik "
friend,
said,
me
that
and now recently deceased, should have ever preTribute to va e d upon himself to risk its publication.
In any case, this earnest-minded
Franz
Brendel.
ma n, actuated as he was by the most
honourable intentions, and habited to regard every
question straight in the face, had no other object in
view than merely to accord the necessary space for
consideration of a subject having reference to the
history of music,
attention.
But
JUDAISM IN MUSIC.
52
he had to deal.
Brendel held at that time an appointment as professor at the conservatoire of Leipzig; where, as a
Leipzig
may be
described
and,
This
in all
and
city,
rarity.
German
its
music,
life,
its
university
sympathies of
German town,
and become exclusively a Jewish musical metroThe story which now arose against Brendel
polis.
extended even to the threatening of his
istence; and, with all his firmness
it
civic ex-
and calm
in the
at
the
conservatoire.*
* Mit Recht und nach Verdieust.
THE SUPPLEMENT OF
After the
first
869.
53
to
was a very
least intention of
denying
el ^ e
sonal
have
at
and
objectively,
others"
been
opinion,
that
name
of
"
in
cast
had spoken
my
would, in
composer jealous
into
the
my
communicated
light.
from the
force in
my
effects
direction, he
it
its
to
entirely himself.
Soon there appeared not only signs but clear indications that I had been recognised as the author;
and such imputations have never been met by me
with
denial.
This discovery
sufficed
to
bring
no symp-
JUDAISM IN MUSIC.
54
torn appearing of
any
in
intellectual or even
With
ner.
my
article
and
upon the
scene.
so
enemy's
forces
arrayed.
attention
to
should
it
was that
have
been
when once my
name had been mentioned, there was a
aroused
especially
as,
es ^
my own name*
It
me
*
to ignore
to
THE SUPPLEMENT OF
taneously letting
all talk
about
869.
quietly subside;
it
my
and,
ability
which
duced.
vulner-
had published
the
art-
latter
of
was
certain in
The
ment which
it
to be offered
any case
this
55
total
suppression of
would
certainly be presumptuous
ment
jijjq
tactics
employed,
was
at Zrich, if I
closer
of
description
adopted
pursuit
in
my
on
part,
living in retire-
were to attempt a
the
of
inner
tactics
inverted
this
now
set
against me.
in
will
lie
therefore
open to everyone.*
summer of
1850, there
confine
Weimar
me and my
work, certain
men
of important literary
human
feeling "
would seem
to
of a purely
and
Those
to Art,
JUDAISM IN MUSIC,
56
and
reputation, such as
artistic
Even musical
Robert Franz.
tendency became
all
journals of doubtful
authors were
individual
concerned,
on one
only
and according
to circumstances, with
more
or less
towards me.
hostility
As
was
P r f essor
Develop
ments in
Bischoff,
friend
and
ad-
the Press,
the
"
Klnische Zeitung
"
or,
if
and
as descending
from a superintendent.
On
in future.
Even
*
to
this
The prevalence
many readers.
date,
memory
of
THE SUPPLEMENT OF
"music of the future"
hear
these
is
869.
S7
sayings
Reflect,
repeated.
Nicknames.
and
European press,
-to
continually
give
it
the
air of
As
it
me
it
so,
my
my
theories.
to
who was
_.
jurist of
Vienna
and a
who
He
at first
inclination
JUDAISM IN MUSIC.
58
did,
and pronouncedly.
This gentleman
"
it
now wrote
had
was displayed
Firstly, his most
in view
talent.
deceived
last
was
among them
ally
which
"
Beautiful
"
in
cult
that
the
really
this
dogma was
The
attained
Haydn,
tacit
quite
of
recognition
imperceptibly by
office
of
re-
THE SUPLLEMENT OF
869.
59
somewhat
in confusion
With
Mendelssohn
by
his
immediate predecessor.*
enthroned,
so
him
in
which
was
by means of placing
company with
Christian notabili-
But
journal
cal
proceeded to
to
most
and immediately
pronounce both me and all my doings
in
circulation
my
his
nimbus. f
*
And
in all this
From
um
so grsseren
Nimbus geben."
00
JUDAISM IN MUSIC.
at
world
and wide
the
specially
this
attitude
to
me
so aston-
become
everywhere
has
meeting,
at
hostile
which, honoured
ished
least
the
fashion.
The
talk
great masters,
composition
But of
"
my
in
in
the
more
in all
hostility to melody,
short,
Judaism
my
of
Music
The
"
"
horrible
there
latter,
effectively in secret, as
may
be observed
whom
my
an inconsiderate movement
to
in
It
was
the
anyone
my
in
favour
might be observed.
* This allusion to the Gorgones in illustration of Wagner"s
idea is masterly in the literary sense and goes far to obliterate
the conception of him as suffering persecution. A heavy
undertaking, indeed, to really victimise one so capable of
turning the tale upon his enemies. The above passage recalls
that in Dante's Inferno (Canto IX.), which runs:
Venga Medusa, si il farem di smalto
"'
CHAPTER
The Liszt
VIII.
Phase.
IT
and
have resulted
'
liar
which
together
out
is
of the most
various elements
way
now
to assure itself
The next
my
my
share and
me
JUDAISM IN MUSIC.
62
This
is
my
place,
first
how
it
fared with
greatest friend
Franz
Liszt.
It
draw
just
distasteful
Jewish question,
though,
cel the
from
all that
the
for
course,
personalities
whereas
of
an
to
quite
remove
all
honourable
enemy had
in
an opposite
embittering
art-dispute;
THE SUPPLEMENT OF
was
once
by
adopted
63
869.
Netherlanders.
the
My
who was
thus re-
respect;
for,
with the
title
of
"
Zukunftsmusiker
"
fection of a hitherto
violin virtuoso,
upon
whom
in
it
the
Netherlanders ran
Now
(pre-
However
ingenious, therefore,
the
tactics
of
Wagner's
nothing.
JUDAISM IN MUSIC.
64
Liszt proved
last.
to be in
awakening
Weimar
frustrated.
And
may
ask
if
you
which
fell to
by the
The
lot
had
certainly,
by the
liancy
envy
my
of his
German
stick-in-the-mud
fact of giving
up
bril-
excited
the
colleagues.
this feeling,
age,
in a fairly conceivable
degree.
I
for the
my
own
casCj constituted a
war of persecution.
mere pretext
closer examination
made
THE SUPPLEMENT OF
sible to judge, to discuss, to
65
869.
do something.
That, however, was just what was not wanted.
in short, really to
the contrary,
this
closer examination
On
new
of the
but, with a
may
what
"Judaism in Music."
Even we, however, did not find all this out so
very quickly. There are always so many interests
in natural opposition to any new manifestation, and
which easily proceed to fix the taint of heresy upon
whatever
it
may
we thought we
Vere only encountering the effects of having disturbed the comfort and lethargy of the ordinary
the press,
political
As
business in Art.
hostility
friends
who were
that
it
was necessary
for
them
to
trary action.
With
Liszt's
oversight,
persecution even
in the Press.
the
it
by
best-reasoned
Liszt-composition
could
criticism
find
no
of
inser-
JUDAISM IN MUSIC.
66
contrary,
was
all
might
inflict
know what
it is
to experience
about art-taste?
way
to Offenbach in a suitable
will
Matters had, in
fact,
German
proceeded
greater Press
THE SUPPLEMENT OF
bitterly their
having
869.
67
left the
Roman "Ultras"
seek to
know
by Jews can be
tirely directed
how
And,
the
if
a Press en-
justified in joining in
perception of
how
as.
showing an accurate
ducted.
A
The
closures
lie
open to everyone
how
for
It is
is
that
these dis-
is
political
importance;
most dishonourable
prattle,
as
this.
it is
no sensible person
and control
to
which every-
is
subject,
uniform exactitude.
CHAPTER
IX.
The Theatres.
IN
Paris,
secret
to
my
astonishment,
whatever
made
was
found that no
of
this
control.
wonderful account of
its
doings
par-
(known
as
it
to so
is
many
persons and
from being,
nal
is
The
slightest crevice
by which
it
it
might
Thus, every-
against
me
"
THE SUPPLEMENT OF
by the Paris journals and which
good
In
upon
ness
"
69
869.
taste in
London
was met
point.
The musical
beg you
to reflect of
this
world-newspaper
am now
of the
critic
what a colossal
speaking
)
!
me
attacked
arrived; and,
Davison con-
me up
to
popu-
As
own
far
was con-
which Mendelssohn
there
is
and,
held,
in
secondly,
who know
it,
seems to be
New
Testa-
ment.
Only
in
St.
Petersburg and
musical Press.
receiving as
warm
Moscow did
had neglected
find
to exploit the
was
JUDAISM IN MUSIC.
JO
the public.
prevent
one
in
to
The
ma Y
Difficulties
created for
draw your
Operas.
ing
my
honoured Madam,
the later
to
it,
its
more
serious
side.
commence
exercises an influence
spirit
of our
Art.
pened
to say just
against
me on
now
my
as
hap-
me
had not
hitherto
That
is
But
correct
it is
to bar
my way
obviously calculated
mately succeed.
that,
even though
my
may
fail
not
ulti-
to note
earlier operas
their representation,
THE SUPPLEMENT OF
869.
the
favour with
their established
any attack.
to
make out
after
my
my
that
formulation
of the
means,
had fallen away from my original innoand that henceforward it was every man's
cence,
that,
by
this
duty to shun
As
aforesaid
my
music.
it is
in-
in general
everything
sure
its
if
are the
and what
Specialities
to our shame
is
hands which
by them?
expressed
larger treatise
and again,
I have expounded in deon German Art and Poli-
in
hostility,
tail, in
my
quite recently,
here,
purpose.
Whose
tics,
stood as
so,
this
art.
subject;
Do you
think that
parties concerned
that
it
is
72
'
ministrations
JUDAISM IN MUSIC.
now proceed
to the representation of
as
but,
it,
they might be
as a consequence of
regard to
my
operas,
the pretence
my
not
Do you
it ?
why
they should
recognised at
an
when
my
undertaking
sufficiently specuT
my
value
artistic
is
not even
home ?
Relations with
do not
offer
even more
my new
works
on the contrary,
am
obliged to
my
consent to
to
any
theatre, but,
may
It
THE SUPPLEMENT OF
869.
73
necessary,
to
secure for
But
affairs to
* (Original Note).
It
was only by
moment, out of necessary regard for my pubthat the Dresden Court Theatre was recently induced
my
" Meistersinger."
CHAPTER
The New
X.
^Esthetes.
IN
began,
wound
of the
present
Art-spirit.
since
Beet-
who found
in the oblitera-
with
its
lack of form
semblance of solidity
ing.
in which,
without either
life
composing; and
me
in
my
all
definition of musical-Jewdom,
no matter
Compare note
74
to comprise every
f , p. 49.
THE SUPPLEMENT OF
one who either composes music
directs
I
869.
75
unfortunately,
or,
it.
many
my
writings.
It
my
said article,
of in order immediately to
sion of
my
first
stifle all
theoretical advances
laid hold
proper discus-
on other subjects;
With
as
continued to be dis-
spirit
so
in
prone to abstract
and
in the
founding of
aesthetic
views of the
make way
for a con-
Even
in this quarter I
met
at first
with an
down
in
in-
my
Beautiful
and Sublime).
JUDAISM IN MUSIC.
;6
art-writings "with
But, as the
amount of good-will.
certain
"
Beautiful in Music,"
it
had
German
ill
so
much
of Herr Vischer
who,
aestheticist
we cannot
so that
thorough blond*
in
"
Music
"
to
this
thinking thereby to secure some comfort for himself as well as security for his great
ject itself
work
the sub-
nothing about, t
Thus
it
was
became
re-
of
creator,
its
being
now
praised very
its
very
unamusing
much
to read
character,
The
increase of protection
it.
dogma;
questions relating to
#
Compare note
*,
to
musical aesthetics
p. 52.
me
directly-attracted one
never knew
THE SUPPLEMENT OF
questions
869.
JJ
philosophers,
greatest
terms of uncertainty
being taken
in
in
measured
hand by Jews
that, if
anyone had
to
made
the Ninth
Now
further
these
Symphony
all this
result
sterile
Their
negative
zeal.
of Beethoven.
was bound
that
at last to
when,
in
have the
still
contradistinction
art-spirit,
to
at-
always
en-
its
which was
own
behalf.
an Accomplishment.
It
or
an Attempt
JUDAISM IN MUSIC.
78
happen on
producing the
in
"
least stir
matter of course.
If,
like myself,
being
hand
in order
yourself
seen,
this called
Then
was that
were displayed within the community
it
and force
of modern Israel
The principal feature of it all
was the deprecatory and extremely contemptuous
tone which I believe to have been prompted not
merely by blind passion but by a shrewd calculation of its inevitable effect upon the minds of the
fire
patrons of
my
undertakings;
in
trust
whom
and
if
for,
who can
fail
to
manner ?
#
The King
of Bavaria, probably.
is evi-
THE SUPPLEMENT OF
Everywhere and
869.
79
in all
sarily attendant
p^e
by depreciative comments
How
easy, then,
in
Italy,
to
new
that
it
about.
all
waged
have nevertheless their own good reasons for hindering undertakings such as those which emanate from
all
but
find everything
quite natural.!
The
p. 11).
f (Original Note).
If
you
JUDAISM IN MUSIC.
8o
The outcome of
the preceding
therefore this
is
my
influence
my
works or for
action an
theatrical or musical
Art.
What
my
does
all this
view; which
amount
believe
to
am
great deal, in
justified in offering
That
action
all
may
I
I
also perceive
way
from time
in
to time
which the
my
have treated of
latter class
in
which
this subject.
named by me
tone in
every sym-
utilise the
The
Hebbel
me once
described
the peculiar vulgarity of the Viennese comic, Nestroy, by saying that a rose would stink if he had smelt it. The fate of the
idea of Love as foundation of Society as formulated in the
brain of a man like Frbel must be something similar.
But do you realise how well calculated is the effect produced, when even he who suffers by the slander is too disgusted to punish the author of it ?
late
in conversation with
CHAPTER XL
Schumann and Brendel.
1HAVE
that
is
to
me by
covertly-designed persecution of
First
impulses,
movement
in
there
the
Jews
down
in
my
both
art-writings,
German
spirit.
it
how
the matter
German
culture-life,
am
would have
fairly
resulted.
not
much
in
any
case,
some-
we understand
JUDAISM IN MUSIC.
us by
dim?
^ a(^
musical
set
characteris- cal
tics of
the
Both
literature
it
in
was
to be a
felt
duty
perio
merij
succession,
w 10)
j
all
the world.
was the
question
question.
was of
the
For music,
most urgent
in particular, this
description,
due
to
the art
had
set in
completely eclipsing
all
the views
and prospects which had previously been entertained, music had become, under the influence of
the Italian vocal style, an art of
mere agreeableness.
Its capacity to
it
totally
among
new acknowledgment of
in
the Arts.
the nature of
It
was urgent
to
art
THE SUPPLEMENT OF
ment was
to be
have nothing in
system for
founded
common
83
869.
its aesthetic
judg-
moved from
The right
Robert
German masters of
this
Schumann, gifted of
whom
name
to
you
Robert
Schumann.
a
in
first
In the
art.
Com-
and of the
first
there
is
and general
ill-will
upon those
* After Palestrina the break in the chain of musical development was such that the excellencies'of his school have
never been engrafted upon the modern, and remain to this
JUDAISM IN MUSIC.
84
the
to
his
the
what
sort of spirit
it
you can
I
should
new
I
aesthetical doctrines
upon
insist
it
Jewish influence
His
an understanding indicative of
to
it
and
language
power
to the
Unfortunately,
one
The
him
ward
sary
truth may,
fire,
idleness
spirits
if
many
and leads
his
a deed of in
we now
see
aye,
nearly
all
those
man
spirit
on the part of
political authorities,
had
THE SUPPLEMENT OF
The genius
this
idleness,
it
too
much
85
also into
869.
Schumann sank
of Robert
as
spirit.
own
He found
self,
So he was unconsciously bereft of his noble freedom, and his old friends disowned by him at last
are also now called upon to suffer seeing him
own
their
*
!
Now, honoured
really
this
* It
instance renders
it
The
this
does
introduction of
description of
C. van
methinks that
friend,
may
as one of
Bruyck
Schumann
in a letter
if
we
dated
May
words to
enables us
to see how completely he was unswayed by the adverse judgment of him then passed. The following quotation is from
May Herbert's translation
' What you tell me about Wagner has interested me very
much. To put in as few words as possible, he is not a good
musician ;. he lacks feeling for form and harmony. But you
must not judge him from the pianoforte scores. If you were
to hear his operas on the stage I am sure you could not but
feel emtoion iu a great many instances.
And, though it may
not be the bright sunlight radiating from a genius, yet there
is often a mysterious charm in his music which captivates the
senses.
But, as I said before, the music apart from the whole
performance is poor often downright amateurish, meaningless and repulsive and unfortunately it is a proof of depraved
artistic taste, when
in the face of the many dramatic
masterpieces Germany has produced, people try to depreciate
to
Wagner.
8,
1853
as
it
JUDAISM IN MUSIC.
86
much easier
The success
to obtain.
in personal cases, however, finds its
natural
Societies.
cording to
its
The
bent,
idea which
showed
I set
itself
German
spirit, ac-
significance of which
was due
to the
cellent
First
impulses
m &ly
the
Jewish
journals
Franz
Brendel,
common
accord-
started
to
what was
The
defect
mighty sphere of State organisations under Government control by which other free unions are also
rendered ineffectual but also between it and Juda-
ism;
that
organisation
is
of
supremest might.
THE SUPPLEMENT OF
fulness by
87
869.
the practical
lutely finished
German musical
this.
But,
the
question was
style.
to
do
many
people, no
all,
mained for us ?
Just a
little
Wagner makes
once
frequent reference to the futility of disputations, notwithstanding that, as his writings show, he was
personally beset by a strong proclivity in that direction. But
the circumstances of his life rendered much of this a necessity and his real view is probably represented by the passage
in the paper written for F. Villot where he says
"The great repugnance I now experience against so much
as reading through my theoretic essays teaches me that I was
in a thoroughly abnormal state of mind when I wrote them
a state such as well may arise for once in an artist's life, but
cannot fitly be repeated."
CHAPTER
XII.
Apostrophe.
you
AS you
see,
honoured Madam,
bear witness to
my
The
once
my
But, as
peculiar
spirit
culture-question
may seem
relating
to
the
German
my
this victory.
previous articles, a
new
question,
spired by astonishment,
may
well be suggested to
you
as to why
this agitation
I
my
challenge.
based
my
in-
by
equally
this
by pleading that
estimation of the
"
causa finalis
"
"
upon any
causa emciens
"
as
in-
the philo-
THE SUPPLEMENT OF
89
869.
in the
I
truth of this
I
by republishing
me
in testifying to the
my
description of them.
may
me
then, so clear to
impending ruin
in our
it
Possibly
it.
may
it
also
with a
concluding apostrophe
in
which
themselves.
way
In the same
have conceived
as
that,
humane
by an appeal
lower clergy,
The
to the oppressed
its
be effected, so
present
kept in
vievfl
the great
comfort.
character
pathetic
bears
Jew
in
German
and sym-
the
my
felt.
JUDAISM IN MUSIC.
90
In view of
to,
and excused
much
in the intelli-
We
anecdotes,
and
for instance,
are also
familiarised
which
as
does to
it
Still, to
much
to themselves
us.
make
who
is
an
this
fallen to
tyranny
An
let
my lot
almost as
German
if
folk-life,
and with
whom
sustained com-
many ways
upon
make
the
who seems
question
Judaism,
of
the acquaintance of
des Nibelungen
"
and
"
proceeded
my poems
Tristan und
"
:
to
Der Ring
Isolde."
He
my
was inclined
friends
intelli-
publicly
THE SUPPLEMENT OF
poems
This
You
literary circles.
to do.
honoured
understand,
will
him
for
869.
by our
so strangely ignored
it
Madam, from
.....
have
by a hope
dear to
still
be expressed.
Were
my
heart,
though
to seek to describe
remove
all
difficult to
it I
appearance of
its
Judaism; for
it
is
this
but
of
nearly
all
seem-
my
re-
concealment which
should,
my
not
only
sympathetic
friends.
If this confusion
is
due
to
my
former pseudonym
the
covery to
well
my
known
is
already too
In believing that
much of drawing
friends for me from the opposite camp as of
strengthening them in the struggle for their own true
this
openness
emancipation,
in
me
if
it
capable, not so
may perhaps
be found pardonable
from me the
heart.
is
traits
of an illusion nestling at
my
92
JUDAISM IN MUSIC.
For, about one thing
am
perfectly clear.
In the
it
is
also
to
be
CONCLUSION.
WHETHER
powers for
this
ence of which
purpose are
am
cannot say
requisite,
as
of the exist-
not aware.
common,
to ripen
of the nobler
human
concealment of the
it
it is
difficulties
clearly not
by any
of this assimilation,
In the event of
impetus
in
this
my
direction to issue
my
per-
be induced to accept
it
Madam, might
as an excuse for
my
having
RICHARD WAGNER.
Tribschen,
near Lucerne.
New
Year, i86g.
93
NOTE.
On
ALIGHT
is
him
in introducing the
volume of
made by
Having alluded
to the
advantages enjoyed by
on
to
com-
is
usually directed to the subject used for mere exemplification instead of to the thought which
be
"
illustrated
Judaism
in
all intention
by
Music
"
and he
specially
as a case in point
to
mentions
disavowing
He
it;
was
artistic investigation.
was
commending
principles which
in order to serve a
personal animosity.
The
reference
is,
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BIOGBAPHICAL.
BIOGRAPHICAL.
MOZART: THE STORY OF HIS LIFE AS MAN AND
ARTIST.
According
to
Authentic
Documents
and
Published
and Unpublished.
With 23 Portraits
gathered from Various Sources.
With Index. 2
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:
Salz-
[Translation.]
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that has not been done previously in English.
I
" The most complete work extant on the Salzburg composer, or at any
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Mozart, as everyone knows, died young, but irrespective of his creative
work, his life, short as it was, afforded the diligent biographer far greater
scope than have the lives of not a few composers who attained comparative longevity. The author of the French work now translated went to
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TCHAIKOVSKY.
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Portrait
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Morning
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Post.
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CHOPIN:
THE
James
is a Chopin enthusiast.
He accords admiration to Brahms,
his worship is reserved for Chopin. Being
to Wagner, to Tchaikovsky
gifted with clear insight and imagination which grasp many and diverse
moods Mr. Huneker is a sane critic and a manly
There is no pretence at new material in the book. Mr. Huneker has garnered all that has
:
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books for the amateur and the professor." Publishers' Circular.
" The best and safest method for the inexperienced to adopt, is to make
application to some leading and trustworthy publisher of musical books of
the class in question, relying on his judgment and the traditions of his
house to supply what is genuine and suitable. Without being invidious,
we may say that such a rsublisher is Mr. W. Reeves." Bazaar.
HISTORY
14
HISTORY.
CHRONOMETRICAL CHART OF MUSICAL HISTORY.
Presenting a Bird's Eye View from the Pre-Christian
Era to the XXth Century. By C. A. Harris,
A.R.C.O., etc. On linen, folded in case, 2s. net (on
special paper, Is. net).
"
'
" Technically though it occasionally must be, the book is one which
should charm all music lovers." Morning Leader.
" The book, which is profusely illustrated, is most interesting, and is, in
its handsome cloth binding, well worth its published price, 6/-"
The
Musical Star.
" I confess to a very considerable ignorance, natural and acquired, of
the ancient instruments; but it seems to me that Mr. Smith has got as near
the truth as a twentieth-century mortal can." J. F. Runciman in The
Saturday Review.
" It is a pleasantly written volume dealing with the earliest conditions
of music in ancient lands. From rock carvings, wall paintings, tablets
and vases, sculptures, papyri and so forth, Mr. Smith has drawn the
materials for a volume which has involved an immense amount of research
and contains a vast quantity of information conveyed in a very lucid and
readable manner." H. A. Scott in The Academy.
" No more enthusiastic worker, nor patient student, exists than Mr
Hermann Smith. The structure, character and capabilities of every kind
of musical instrument have been the objects of his study for many years.
To an intense love of his subjects he adds an attractive style. .
The
liking of the ear in music is a liking by inheritance, transmitted as a
facial type is. This view is new, etc."
Birmingham Daily Post.
J. Kaldy (Director
Crown 8vo, bevelled
musical shelf."
else
Internationalen. MusikgexelUchajt.
should be on very
HISTOBY.
GROWTH
THE
AND
DEVELOPMENT
15
OF
MUSIC.
Cultured
the Ancient
of
Music.
2. Music
Chapters
1. Primitive
Nations Assyrians, Egyptians, Hebrews, Greeks and Romans. 3. Song in
the Early Christian Church. 4. The Catholic Liturgy. 5. The Catholic
Liturgie Chant. 6. Beginnings of Polyphonic Music. Popular Music in the
Middle Ages. 7. The Age of the Netherlanders, 1400-1550. 8. Choral Music
of the Sixteenth Century. 9. Early German Protestant Music. 10. Protestant Church Music in England. 11. The Madrigal The Opera Modern
Tonality. 12. Early Growth of Instrumental Music. 13. The Violin and
First Stages of the Suite and Sonata. 14. Keyed Chamber Inits Music
struments Progress of the Clavier Suite and Sonata. 15. The Italian Opera
16 The Opera Buffa, Seventeenth and Eighin the Seventeenth Century.
teenth Centuries. 17. Rise of the Opera in France, Seventeenth Century.
19. Introduction of
18. Italian Opera Seria' in the Eighteenth Century.
the Italian Dramatic Forms into German Religious Music. 20. Johann
Sebastian Bach, 1685-1750. 21. Handel, 1685-1759. 22. Opera-Comique in the
Eighteenth Century. 23. Gluck, 1714-1787. 24. Haydn, 1732-1809. 25. Mozart,
1770-1827.
27. The
German Romantic Opera.
1756-1791.
26. Beethoven.
Weber, 1786-1826. 28. The German Lied. Schubert, 1797-1828. 29. Piano
Playing to about 1830. 30. Schumann, 1810-1856. 31. Mendelssohn, 180933. Programme Music.
34. Berlioz, 1803-1869.
1847.
32. Chopin, 1809-1849.
36. The Opera in the Nineteenth Century to about
35. Liszt, 1811-1886.
37. The Opera in the Nineteenth Century to about
1850.
I. Italian Opera.
39. Recent Music in Ger1850. II. French Opera. 38. Wagner, 1813-1883.
many and Austria. 40. Recent Music in France. 41. Recent Music in
Italy. 42. Recent Music in Russia, Bohemia and Scandinavia. 43. Recent
Music in England and America. Bibliographical List. Index.
:
Mr. Dickinson
Preface says
The vastness and complexity of the
study of the history of music are bewildering to those who enter upon it
unassisted. This volume is intended to clear the way by indicating the
problems, the method and the materials. The narrative and critical portion gives a terse and comprehensive summary of music history, showing
what are the important subjects involved and their connections and relations. The bibliographical sections lead the student to the best critical
commentaries in the English language on every phase and detail of the
in his
subject
general treatment of his subject one can have nothing but praise; His
method is to take each stage in the development of music separately,
characterise it in a short but highly concentrated chapter and then give
references to the complete English literature upon the subject. Hia summaries are models of sound judgment and swift statement, not more than
once or twice, perhaps, could one find fault with either their completeness
in every essential point of their cool and Catholic impartiality. The
bibliographical guides are practically as full as they could be made
the total omissions are exceedingly trifling, while the extent and the
accuracy of the information conveyed make the book indispensable to
students and to public libraries.
HISTORY
16
History of Music,
By Dr.
F.
478 pages of Letterpress
With
Critical
Estimates of
its
Synopsis
The Pianoforte and its Immediate Precursors (the Harpsichord and Clavichord) Polyphonic Music (Bach, Handel, D. Scarlatti)
Homophonie Music (E. Bach, Haydn, Mozart) The Emotional Content of
Music (Beethoven) The Classic and the Romantic in Music (Weber, SchuTechnique of the First Clasbert, Mendelssohn, Chopin and Schumann)
sical Period Technique of the Second- Classical Period Technique of the
Transition Period Technique of the Romantic Period Minor Composers
and Virtuosi of the Different Epochs Index.
Dudlet Buck says of it
" In my judgment the work should be in the
hands of every earnest student."
:
the Epoch of
By Dr. F. L.
2s. 6d,
HISTORY.
17
It will be seen that this work is not a history of music in the ordinary
sense, but rather a tracing of the organic unfolding of the musical art.
At the same time it presents a perspective of both the history and con-
stitution of music, in
history.
which history
is
ENGLAND
may
of the
Band,
G. Farmer.
Artillery
11.
growth
Inaugural Lecture at
By J. Frederick Bridge.
6d.
IIISTOBY.
18
in
England.
PARTHENIA Or the First Musick ever Printed for the Virginals.
Composed by three famous Masters, William
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With Fac-similes of the original
Engraved Title, showing a Lady playing the Virginals,
a page of the Music, and the Curious and Interesting
Dedication. Followed by the whole of the Music
arranged for Playing on the Piano in the Modern Notation this forming a further 50 pages.
Together with an
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"
OBCHESTBAL.
19
ORCHESTKAL.
ON CONDUCTING.
E. Dannreuther.
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Third Edition, Revised and Enlarged.
HOW TO
subject.
6.
5.
On
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OKGAN.
THE ORGAN FIFTY YEARS HENCE. A
of
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Present
Study
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PIANOFORTE.
23
PIANOFOETE.
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riANOFOBTE.
24
etc.)
Crown
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Contexts
Touch in Piano-Plating and Some of its Curiosities.
I.
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InstrumentLimitations of " Touch "Possibilities of " Touch "Confused Ideas on " Touch "Tone-Colour Causes of Confused Ideas
"Touch" as Applied to the General Effect produced by the Player Objective Results of Subjective Desires. Melody-Playing Diverse Kinds of
" Touch "Brilliant Legato Passage " Touch "Two Broad Varieties or
Schools of " Touch "Recommendation of Lucidity. II. On the Mtstert
of Phrasing in Piano-Plating. The Cant of Phrasing What is Phrasing? Clear Perception of the Formal Divisions of Music The Foundation
of Phrasing Erroneous Notion of Bar to Bar Construction Appeal made
Effective by Intelligible Illustrations The Right Method of Making
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Musicians Bach's Conflicting Interpreters The Simple Rule of the Trusting Disciple Subjects of Conflicting Opinion The Text Interpretation
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Standpoint of Style Analysis of the Right Foundations for Phrasing
Tempo Legato Staccato Use of Pedal Time Variations Interpretation
of Bach's Ornaments Conclusion. IV. Educational Editions of Piano
Classics. Modern Educational Progress in Music Some Uses of Good
Annotated Editions Objections to Annotated Editions Comparative Rank
of Piano Classics Editions of Bach's Woltempirirte-Clavier Editions of
Beethoven's Sonatas Editions of Chopin's Works Editions of Mozart,
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How Bach's Fugues should be rightly interpreted on the piano is one
which is still at issue. The various opinions on the subject already set
forth are here examined, and practical suggestions are made on many
:
PIANOFORTE.
A
25
Giving a Detailed
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Authors.
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The subject matter of the above volume is treated of under the divisions of Music from the East, Music from the South, Music from the
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PIANOFOBTE.
26
fechter.
tion.
Fourth Edi-
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am
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PLAYINXJ, On
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AN ESSAY
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PIANOFORTE.
27
them with
By Charles
to Play,
Aberdeen
Daily Journal.
28
COMPOSE.
Practical Guide to the Composition of all Works within the Lyric Form, and which
include the Valse,
Gavotte, Mazurka, Polonaise,
March, Minuet, and all Ordinary Dance Forms as also
the Nocturne, Impromptu, Berceuse, Reverie and
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collection as this.
29
EXERCISES IN FIGURED BASS AND MELODY HARMONIZATION. By Dr. James Lyon. 4to, paper
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at
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32
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VIOLIN.
34
VIOLIN.
THE ART OF HOLDING THE VIOLIN AND BOW AS EXEMPLIFIED BY OLE BULL. His Pose and Method
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NeckFingerboardBridgeTail-Piece SaddleViolin Holder Tail pin Bar Sound Post On the Stringing of Bow In
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Contents
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Pegs
VIOLIN.
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37
VOCAL.
PHYSICAL DEVELOPMENT IN RELATION TO PERFECT
VOICE PRODUCTION. By H. Travers Adams, B.A.
8vo, sewed, 2s. net.
This work is especially intended for students and is divided into sections,
such as Vibration, Breaks and Registers, The Speaking Voice, Attack,
Practical Application, Breathing, Inspiration, Final Exercise in InspiraExpiration, Active or Forced Inspiration, Completion of Breathing,
Practice of Sounds, Placing, Classification of Voices.
tion,
Or Sentiments
of
Singing by the
Lunn.
" The readers of the Etude have frequently been treated to quotations
from this remarkable work. To the teacher and student of singing it has
a peculiar message. It stands for all that is sound and final in the philosophy of singing and shows that the aesthetics and morals of the art are
changeless. Those who need a healthful mental stimulus should read this
reprint of a work that represents the best thought and practice of the
old Italian singers and singing masters." The Etude.
" It is a practical treatise on singing in which the aged teacher embodies his own experience and that of his contemporaries at a time when
the art was probably more thoroughly taught than it has ever been since.
Many of its remarks would still be highly useful." Grove's Dictionary of
Music and Musicians.
" The treatise of Tosi is altogether practical and contains a great number
of particulars respecting the management of the voice, and the method of
singing with grace and eloquence. Moreover it contains short memoirs
and general characters of the most celebrated singers, male and female,
of the author's time. Tosi was not only a very fine singer, etc." Dictionary of Musicians, 1827.
Third
Is.
Dr.
VOCAL.
38
By Geo.
By
Mr. Thorp's two books have from time to time been recommended by
various eminent vocal specialists as giving practical aid and advice for
the training, care and development of the voice. They are free from any
biased " system " or " discovery."
With
GRADUATED
COURSE
CHORISTERS.
OF
EXERCISES
FOR
BOY
With
Accompaniment.
Pianoforte
For Use in Conjunction with Above.
By G. T.
Fleming. 4to, album, sewed, Is.
Ditto, Boy's Voice Part only, 6d.
50
Management
Management
of
of
Breath, Classification of Male Voices,
specially
written
twenty
the Voice, The Service. With
By Geo. F. Grover. Crown 8vo, sewed, Is.
Exercises.
By
HOW TO MANAGE
Mus. Bac.
6d.
HOW TO
"
lie
42 Preparatory
WAGNEB.
39
WAGNER.
JUDAISM AND MUSIC. By Richard Wagner. In the Press.
THREE IMPRESSIONS OF BAYREUTH. The 1908 and
Previous Wagner Festivals. By Rose Koenig. With
Two Facsimile Programmes. Crown 8vo, cloth, 2s. net
(paper,
Is.
net).
"
RING OF THE
NIBELUNG."
Being the Story and a Descriptive Analysis of the "Rheingold," the "Valkyr," "Siegfried"
and the " Dusk of the Gods." With a number of MusiBy Gustave Kobbe. Sixth Edition.
cal Examples.
Post 8vo, bevelled cloth, gilt top, 3s. 6d.
To be appreciated
advance.
in
the
snallest
studied
in
WAGNER.
Crown
WAGNER. A
burn.
WAGNER'S "PARSIFAL."
haus.
By N. Kil-
By N. Kilburn.
BEETHOVEN.
Fest-Spiel-
"
tral Section."
See "Orches-
tral" Section.
WAGNER.
Section.)
MISCELLANEOUS.
40
12 Staves.
(a)
6).
is
(b)
12
Staves.
Oblong
folio
(14
by
for
Exercises
on
Ruled
in
10).
The paper is
Arrangements,
e.g., Best's
(c)
folio,
5 quires
Organ Music,
etc.
Exactly the same in size as ordinary folio printed music so that upon it
Songs or Organ Pieces may be written just as they are to be printed. It
is a very useful paper, as Manuscript music written on it can be bound
with Printed Music.
(d)
12 Staves.
(f)
(g)
(h)
size (11
by
9*).
5 quires (120
(e)
Quarto
12 Staves.
Oblong quarto
(9J
(120 sheets), the lot 3s. 6d.
by llf).
5 quires
1.
No.
2.
No.
3.
1.
No.
3.
4.
per 100.
Morn, and Even. Printed in Red.
2.
Black.
No.
Is. 8d.
Is. 4d.
per 100.
DATE DUE
19L
MAY 1 7
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