Beruflich Dokumente
Kultur Dokumente
On conducting
MT
85
W513
1906
CONDUCTING
t
FELIX WEINGARTNER
TRANSLATED BY
ERNEST NEWMAN
54,
ZIG
BERLIN
BRUXELLES
J906
NEW YORK
ON CONDUCTING
BY
FELIX WEINGARTNER
TRANSLATED
ERNEST NEWMAN
LONDON W.
BREITKOPF & HARTEL
GREAT MARLBOROUGH STREET
LEIPZIG o BERLIN o BRUXELLES o NEW YORK
54,
1906
-,17358
TRANSLATOR'S NOTE.
Herr WEINGARTNER'S "On Conducting"
the "Neue Deutsche Rundschau", Berlin,
first
appeared in
and then
in
book
form in 1895.
translation
is
'
E. N.
the
same
title
RICHARD
WAGNER
Under
new understanding
whom we now
its
very soul.
WAGNER was
the
certainly
way
not the
first
a piece of music
is
to realise
rendered.
He
my theme and my
figuration,
has no
I believe
incapable of looking at art in this resigned way.
rather that he so rarely indicated the tempo or gave any
BACH performance
at
the
1
in his
little
If
in 1887
How many
must
mortality,
the Feast-day
in his
one!
as
It
the
of the continue*
them with
large orchestras
and
to
The "continue"
English thorough-bass.
or "basso
[Tr.]
continue"
is
that each
the equivalent
of the
own
and
artistic standpoint,
in
book of
the
with
tioned.
fought energetically
did this is
How WAGNER
errors of taste.
all
his I
have men-
its
perfect outspokenness,
This, however,
seems quite mild when we read the flaming words with which
BERLIOZ opens his treatise on "The theory of the conduc-
He
tor's art".
says:
my
own
conductor
into
crippled by him;
hausted; there
is
fallen
is
the finest singers are perplexed and exno longer any ardour or precision in the
or a
madman;
is
thrown from
its
pede-
is
first
performance of a
new
What
pot-pourris.
with the orchestra of the Conservatoire, must have given performances of a technical perfection that as a rule could not
be met with
fesses
really
in
Germany
at
the
it
HOVEN himself
these
1
.
of his rank must have been able to judge from his knowof which indeed he had made a
ledge of the score
manuscript copy
for himself
little
to
marred.
Of
our masters.
course
Only
my
outspoken
as I
expression
what
felt
to
them.
this
As
desire
gave im-
and
to
my
pp.
heard,
it
300-302.
[Tr.]
vol. IV,
ashes
the
after
cially
the visit
BULOW'S
but
arbitrarinesses,
his
let
And as
great- featured simplicity.
better orchestra, the effect was such
itself in
When WAGNER,
after .his
first
Parisian
sojourn,
came
to
line,
selves
its
noble countenance,
the artwork
its
inability to
understand WAGNER'S
melody".
His desire
to
make
this
literally "pigtail"
in art.
[Tr.]
is
used to
IO
carried him so far that in some places in BEETHOVEN'S works
where he held the evident purpose of the composer to be
whether because
not fully realised in the orchestration,
the instruments at BEETHOVEN'S
disposal were imperfect,
or because his increasing deafness sometimes clouded his
Of
literalists screamed
open to question whether all these
retouchings were happy and deserving of imitation; there is
no doubt however that he very often hit upon the right
I believe, for example, that nowadays no conductor
thing.
who can think at all will play the Rinth Symphony without
WAGNER'S instrumental emendations; the vocal changes, on
1
the contrary, I look upon as both purposeless and tasteless
Added to this desire for clarity in WAGNER was the passionate temperament with which, aided by a keen understanding, he threw himself into his work; he brought to it also a
faculty of immediate^ f.nmmu*iifntigp with the players and imin a word that genius which,
position of his will on them,
in spite of other acknowledgments, he had to deny to HABENECK, but which made some of his own performances histo-
anathema.
It
is
certainly
enough.
Temperament, however, can be given neither by
education, nor conscientiousness, nor, by the way, by favour;
it must be inborn,
the free gift of nature.
Therefore performances of genius can only receive recognition either by
just as the height and beauty of a
tain are best appreciated from another summit,
or
another genius,
See WAGNER'S
Symphony,
in Vol.
article
among
non-artists
mounby that
[Tr.]
II
But they
that gives itself up spontaneously to the beautiful.
are quite incomprehensible to those "aesthetes" who consider
them
like a
not of the understanding, but also because the curb that the
artist has to put on his temperament has to be directed by
like
in the face
flying
truth
critical
in cases
where the
that
strong
that
regret
earlier
will
idol.
never
He was
needing the score at the concert; fixing his expressive glance on the players and ruling the orchestra imThe
perially, like the WEBER he used to admire as a boy.
old flautist
WAGNER
Each
yet
conducted,
they
mighty
all
will
own
feeling,
was WAGNER'S
that powerfully but unperceived had overborne
It
reality
fully that
siasm.
12
After
to
WAGNER had
transfer
his
feeling,
and
insight
his
power
to
some
His
younger, plastic spirits in whom they might live on.
plan of an ideal school, where singers and conductors of the
1
was not realised owing
type he desired should be trained
,
associated
cians
champion
spirit.
his
,
the master-conductor
first
whom
Of these, the oldest is the most signiintimate friend, at that time his most faithful
his alter ego , as he himself once called him
parted of his
ficant
shone
to part
again
brilliantly
After a comparatively
when
whose scenic
art
troop of
musical
the
armies
schooled
that
were
admirably
players
big
mostly led by ordinary time-beaters.
By dint of diligent,
nidas
indefatigable practice he
his
own conception
exactitude
ical
artistic
a balance of the
conductor was
justifiable,
seemed
^s
on a
played
chestra
to
pianoforte.
[Tr.]
-5
_____
lessness,
orchestra
better
followed more
composers to-day can set problems that even a few years ago
would have seemed insoluble, while at the same time a better
of the works of the old masters has been made
These things represent the gain from BULOW'S work,
and make his name an ineradicable landmark in the evolution
of the art of conducting; to him alone, after those great
composers who themselves were notable conductors we owe
the diffusion and the strengthening of the consciousness that
conducting is an art and not a handicraft.
But BULOW'S work had also its harmful features, for which
the guilt lies both with himself and a number of his followers; and to expose these and attack them is as much a
rendering
possible.
duty
often to be detected a pedagogic element in BULOW'S renderIt was clearly seen that he wished to deal a blow on
ings.
one side at
the
other side
modification
phrasing,
at
it
quite clear to
into a quite
1
,
his
new tempo
The "Egmont"
us
a propos of
this
point.
WAGNER
tells
motive
vol. [Trj
14
which, as he says,
earnestness
like a
first
the crotchets, thus preventing the last quaver of the first bar
from being turned, as often happens, into a semiquaver,
whereby indeed, as WAGNER says, the effect of a dance-step
given; and when
part of the overture
is
we
is
It
is
common
if
the
tempo
is
are taken very slowly and the main sections very fast, and
numerous gradations of these broad tempo- differences
the
^"7
I
15
ma
non tanto"
marked
The
introduction to
ma
the
"Egmont" overture
non troppo
which does not at
signify an actually slow tempo; while the next section
is
marked
sostenuto,
all
is
of the
/ 4 section is
/2
section,
become about
way any
and the
movement
movement played
so
=
=
WAGNER
discusses.
[Tr.]
i6
It
of the "Coriolan"
=r^
^^i ^
_r*
and
all
allegro
xi
^j
ten.
iT=
i^
N
=^~
rr^~
^ ^ n9
"*
'
_^->
brio\
it
but
~-
'
'
JT* fl^'f
<jjj-J-y
that follows
con
JTf
fj
jr
~^
BULOW began
it
then increased the tempo until the pause in the seventh bar,
to begin again andante and accelerate the sequence in the
same way. In the first place, taking the incredibly charac-
in
ways gave
his
directions
for
performance with
the
greatest
precision.
**
full
a homogeneous
whole work,
- -
a continuous
that dominates
conception
all
detail.
It is this homogeneous conception of the essential nature
of a musical work that constitutes what there is of specially
in
artistic
its
interpretation;
it
originates
in
a deep feeling
is
everything
strong
and
leads, as
me
with
art,
which
is
at its best
Here
must digress
vitality
and
veracity.
to
to
this
WEINGARTNER, On conducting.
i8
simply a rendering on a par with the real
He has done the best that is possible
work.
value of the
if his performance expresses just what the composer meant;
he can give
is
anything more there is not and cannot be, since no conductor in the world can, by his interpretation, make a good
work out of a bad one. What is bad remains bad, no matter
how
well
it
will
excellent
interpreter
is
If
however the
critic inserts in
the above
falls
into
less,
as
of yore.
the public
ig
able
is
the
it,
work
against
make the artistic
and merely
serves
to
inflict
as
much harm
as
those sinister currents that run so strongly beneath our artistand against which the individual has often a bitter fight.
life,
The effort
much as
to
possible,
manum
merely for the success of a day, yet for eternity, i. e. for the
kingdom of free and progressive souls above time and space,
2O
Tell's quiet,
man
is
splendid answer
strongest
when
is
"The strong
always true,
alone".
to
in
BULOW'S
last years
of his
distemper.
This
capriciousness
him
led
into
eccentricities
he be up
will
to
to
the question
"What
to-day?"
the
would
first
gladly
movement remarkably
fast,
and not
/'
~^7
until
21
--
ZZTZZ^PE?
-r=+r-
4-. 4- 49-'
4-4-.
?>M
when he
}ust
as
fast
What was
tempo.
derangements
the Ninth
Symphony
andante
sion-free
melody
of the third
movement with
the
following nuances'.
Andante
accelerando
molto
molto accelerando
crescendo
molto ritenuto
ff
making
Italian
mollo diminuendo
sound
it
opera.
like
The
truth
is
that
BEETHOVEN'S markings of
delicate
movement
bad.
sense
gression
larly
22
a characterless
great
third
The
"Leonora" Overture.
And
so on.
him
in his
made
his
personal acquaintance
in
him by LISZT.
He
interested
me
When
little
without success,
to his friend BRONSART, the director.
the post of second conductor in Meiningen became
He
then advised
me
not to turn up
my
so far as
only I were independent
this is possible in the theatre
and above all had no other
conductor over me.
Two years
Thereupon we separated.
unimportant post
later
we met
in
if
Hamburg.
He had
engaged himself
to
the
opera-performances in the
season 1887/8; I was engaged as permanent conductor there.
The first opera that he took up was "Carmen". I am still
convinced, and was so from the first moment, that at that
thirty
23
time he was bent on the joke of trying what you can palm
a practice
off on the public if you bear a famous name,
that has unfortunately found its counterpart to-day in the field
He took almost all "Carmen", that is so
of composition.
full of passion and piquancy, in a tempo that was often in-
tolerably slow
and dragging,
Allegro giocoso
the beginning,
for
example
116.
*"*
-*"t-t-
112.
Auf
in
denKampfTo
re
ro!
was given
to the world.
This opinion indeed found some
support in the fact that the ensemble was faultless and the
opera given without cuts, which were unusual things at the
Hamburg
Stadttheater.
slow tempi,
When
BULOW
general admiration,
opportunity to confirm
except
my
from me.
opinion
by
soon found an
BULOW
acts.
to
being
my
lot
it
fell
It
was absolutely
impossible for me to imitate him, and against my own conI therefore held a
victions, to take the opera in his style.
,
rehearsal of
my own, and
conducted as
felt
was
right,
in
24
accordance with the instructions of the composer, in a generally
to the joy of the
lively tempo, without any affected nuances,
orchestra and of such singers as dared to express their opinion.
After I had conducted two performances,
BULOW
ran to POLLINI,
who was
Nor was
years
later
in
Berlin
Symphony Concerts;
he gave
temper towards
his
tried
to
his jeering
exert
an influence on the
free
play
friends took
kept me
could prejudice the admiration I had for what was great in
him.
In the present book, however, I hope that by separat-
ing the insignificant and the paltry I have shown his greatness in its true light; and while I steadfastly maintain a
standpoint in
what
many respects contrary to his, I render
objective history will some day render to this most successful
furtherer of that art of conducting that WAGNER
brought into
new being
25
this aphorism in a humorous paper: "Nothing
more than when a wise man does something
stupid, since it is just this that we are apt to imitate in
him."
A true saying, true at all times and especially in the'
once saw
us
misleads
man
finally
built the
to
have
it
and
runs through the Act from beginning to end,
to bind the separate Acts together in the right relation to each other,
that this is surely much harder than
poem
further
to
write
a succession of arias,
duets,
ensembles
and
finales
end or in the middle, the demand for logical development and treatment extending no further than the narrow
What
sphere of each separate and relatively short number.
was it, however, that after WAGNER had gradually become
Not
popular stimulated modern Germany to composition ?
at all the reflection whether and how the problem posed by
him could be worked out to a still further solution, but the
at
the
they
all
do
26
geniuses
wrote
in
quite
solid
almost
Nowadays
style.
but
little,
hardly
everyone who
to put a pure four-part piece together, thinks he must
That deliverance of the opera from
write a "music-drama".
is
able
is
WAGNER
biretta
it
gaily
likes!
last to
deny the
inevitability of a
kind of WAGNER-epigonism ;
directly
force
at
WAGNER'S
style the essential part of the Wagnerian reform.
world of feeling and his view of life may come to be alien
to us, and later on we may also bring the most objective
criticism to bear upon his work; but that he has shown the
obvious gulf between the dramatic art and the form of the
even in its masterpieces, this will remain his
enduring service, from which no dramatic composer of the
future will be able to get away, even though his own works
old opera,
may be
quite independent.
He
only
is
original
who remains
27
It is really lamentable how
of his reformatory work.
musicians have squandered much painful
and often clever work on texts the impossibility of which
root
many accomplished
for the
also
copied
industrial
if
epoch
angel of art.
on
to its author by a work like "Cavalleria Rusticana",
the quality of which I will not enlarge here
that called
forth in
verit-
able
The
and
actually divide
it
between two
do with
prize should
it.
to
imitations.
who copied
whole
tribe
of
"little
Billows"
sprang up,
BULOW
some
the great
special nuance,
and
finally the
nuances themselves.
His
concert-speeches alone no one dared to imitate. I have ventured to label this kind of conductor, whose manner was a
more or less complete caricature of his master's, the "tempo-
28
rubato conductor". WAGNER speaks of "elegant" conductors,
whether with justice I rather doubt,
at the head of whom,
he puts MENDELSSOHN
fastest possible
- - conductors
who
sight obscure
exact opposite to
first
skip
difficult
in
and
the
at
Now
passages obscure by hunting out insignificant details.
an inner part of minor importance would be given a significance that by no means belonged to it; now an accent that
should have
been
just
lightly
in a sharp
would be inserted,
sforzato; often a so-called "breath-pause"
particularly in the case of a crescendo immediately followed
by a piano, as if the music were sprinkled with fermate.
These little tricks were helped out by continual alterations
and dislocations of the tempo. Where a gradual animation
often howor a gentle and delicate slowing-off is required
a violent, spasmodic acever without even that pretext,
celerando or ritenuto was made. The latter was more frequent
than the former, since as a rule the tendency to drag,
thanks to the sport that has been for some time carried on
2
an express.
to
-^N
1
See Mr. ELLIS'S translation of "About Conducting", in WAGNER'S
Prose Works, Vol. IV, pp. 295, 296, 306 308. WAGNER says MENDELSSOHN himself informed him that "a too slow tempo was the devil, and
for choice he would rather things were taken too fast", because
"things
29
the piece
and no
is
fast
tempo
so fast
no longer recognisable.
melody
The rhythmic distortions to which I have referred were
in no way justified by any marks of the composer, but althat the
is
ation
of his ardour,
become passionate
which
own
gradual
increase
or
decrease.
their
may
seem,
it
is
directed to
even came
the
person
to regard the
audience
as the creatures, as
it were,
composers
of their interpreters, and in conjunction with the name of a
conductor people spoke of "his" BEETHOVEN, "his" BRAHMS,
or
"his"
WAGNER.
Of
the
the professor
works played in
little
more
left
this
eccentric
than of a plant
30
leaves, stamens,
and
pistils,
lie
after
Thus I once heard the '"Hebrides" Overture of MENDELSSOHN played with literally not one bar in the same tempo
Even the second and fourth bars, which are
as the rest.
repetitions of the
first
II
^ f
and the
third
were "characterised" as against these by means of a pointedly different tempo; and the same kind of thing went on
All that was humanly possible in the way of
to the end.
the unnatural was done, with the result that the lovely work
was deformed and its real character obliterated. Certainly it
would be just as false to play one crotchet after another with
as
WAGNER
aptly
says,
gentle, noble
Is it
peculiar charm is also preserved in the music.
then not a matter for vigorous censure when something that
a master has sincerely felt and expressed in faultlessly
their
beautiful
music
is
distorted by the
irresponsible additions of
a conductor?
was communicated to me by a
G minor Symphony of MOZART
with the Meiningen orchestra, and had produced a deep impression by his temperate handling of the chief theme
The
friend.
following instance
BULOW had
==?
played the
=j-f
LUU
->
that
is
BULOW'S success
*
--f- _
j=
iil
X^
Z*l__)_^^
-^
tr
the conductor
made
-l->>wip^-S
?C^
wj
P
^J!L
-?-i
---- ~
&
?>
^x :<-^
--f-
^"Ccrttr
in the
quaver quite a "breath-pause", so that a complete interruption ensued, and the third bar, detached from
after the last
came
in without
in
him
that just as
brook suddenly
to
it
of his
interpretation,
would be impossible
be made to stand
still,
so
pointing out
a rippling
for
it
was unnatural
this
from
arbitrarily
BULOW
the flow
that I take
it
in the
same way".
thought
33
it
useless
make any
to
further
effort
on behalf of
truth
and
of the most
which
evil feature
am
In many other
pleasure by flying in the face of this habit.
cases the trouble mostly came from unconscious defect of
artistic feeling, and a certain fumbling after something fine
without being quite able to achieve it, - - much as the good,
childlike ANTON BRUCKNER wrote a "Ninth" Symphony also
minor and would also have a chorus for the last movement, in which however the "good God" to whom he had
dedicated the work wisely prevented him by opportunely rein
calling
him
BCLOW, by
word,
BULOW
out -Billowed in
so as
conducting,
than
successes
in
virtue
of
external
if
possible
case
of his
features
he.
"Carmen"
the
to
greater
just that
the
deep
imitators.
WEINGARTNER, On conducting.
34
one tempo grow out of another, but made
capable of letting
a jerk, or that he began what should have
with
every change
by some passage he had not properly thought out the conductor either flew over it, or else, through would-be "temperament", made too sudden a rush at the crescendo and
spoilt
it.
The
difficulty
rubato manner
is
touring.
BiJLOW
orchestra,
- but to distort
assist him
them, has not the time, in
few
rehearsals
that are usually allowed him, to elaborate
the
ways
properly
all
these
35
in
many
was obliterated,
my own
The
BULOW had acquired the reputation of a master-conductor of BEETHOVEN, and his followers wanted to outbid him.
even there; though one would have thought that reverence
since
put
all
To
was cited to
for
first
biographer, SCHINDLER,
is
entirely
SCHIND-
responsible.
why
so
was andante^
est.
In
the
stuff
him
that
to
be andante
3*
36
usually so
so
that
he threw
"got
enraged
is
at
one place
a five-bar group -
Now
group
the
succeeding
to which
there
five-bar
-according
group as the up -take
whether we take
it
that the
four-bar sentence
first
or
allegro
time thus -
bar, thus
-Bi-
chord of the diminished seventh become, just by their prolongation, terrific, gigantic, powerful, menacing, overwhelming,
37
volcanic.
it
It
is
Will
The most
tasteless
The
like
an elegiac sigh.
1
this is
The themes
are spun out of perfume and light, the treatment of them is full of
chaste, refined charm; it has an atmosphere of immaculate maidenliness
that
suggests
two cadenzas
unmelodious
the
freely
admit that
38
The
moto.
played the
satisfied
fully
with
movement
andante', the
modern
hand, appear to see only the "con moto", and drop into an
allegretto, thus giving the wonderful theme
Andante con moto.
own conception of
is
quite alien to
which the
its
andante
nature.
My
maintained
while the con moto is regarded as the spiritual breath that
unites and animates the movement, I cannot adequately exit,
in
is
am
per-
may mention
in
this
m
in so slow a
^^=r=
i"
^-+4
tempo
that he
39
in
his words.
- -
If
noted
fect
This
prices.
little
bitrary
for
perverted,
that finally
is
all
more dangerous
the
education may, in
artistic
its
as
an audience with
if
you
If
its
will,
But when
new
paths.
that
all
had
my
described as the worst of the tempo-rubato conductors, I consoled myself with GOETHE'S fine saying, that it more becomes
the good
the right
man
is
to
do the
So
realised.
scientious self-education to
remove from
my own
conducting
40
everything that,
and
externally
internally,
savour
might
of
joy finally to
My
taste
In the
judged.
last
few years
little.
premium as formerly, and that its unhealthy excrescences represent a fashion that is gradually dying out if not yet quite
We know however that fashions may return, and so
extinct.
when a
for,
I felt that
Some demands
ductor
that I
hold to
still
them here:
the work he
is
He
public.
"What can
before
to produce,
make out of
composer wanted
this
work?"
but,
"What has
the
to say in it?"
He should know it so thoroughly that during the performance the score is merely a support for his memory, not
a fetter on his thought.
If his
own
of
it,
he must reproduce
this
up into pieces.
must always bear in mind that the conductor is the
most important, most responsible personality in the musical
world.
By good, stylistic performances he can educate the
public and promote a general purification of artistic perception; by bad performances, that merely indulge his own
He
vanity,
genuine
art.
To have
be
his
greatest
own.
his
composer
To
to
this I will
"The beat
nies.!
demand
that
(the
hammer, impeding
or
of dragging.
is no presto that does not need a quiet
places, so as not to throw away the chance
"Conversely there
delivery in
many
of expressiveness by hurrying."
He continues immediately, however:
"But from what I have here said, for heaven's sake
no singer
way
isolated bars,
ful
let
sensation as
all
his
limbs.
"We
in
the sentient
human
soul\
if
Of
42
I
how
superfluous and
not warned
by painful experiences
and how liable to be misconstrued."
WAGNER also was afraid of his remarks on
being misunderstood and thereby giving occasion
this
point
for
in his writings,
he
when we survey
the
is
certainly
There remain some special points for me to discuss, conducting from memory.
This makes a great impression on the audience, but I do
not place too high a value on it. In my opinion a conductor
may really know a work by heart and yet fear that his memory
may play him a trick, either through pardonable excitement
in the first place,
better to
work, not to admire the memory of the conductor; T recommend doing without the score only "when knowledge of
it
is
[Tr.]
translation,
in
that reference
Vol. IV,
43
to it is more a hindrance than a help, and the conductor,
though he may read a page now and then, yet feels that to
use the score throughout the whole work would be putting
a needless fetter on himself. It is all a purely personal matter,
the
to
title
of
artist.
Now
portance;
reliable
it
can be
memory.
by
memory, "improvising"
as
in
who
so
have~th~eir
in their heads.
cTeeply,
heads
I
in the score
ductors see only the notes, others see what is behind the notes.
Then again there are conductors whe destroy the unity of a
work that
is
one and
indivisible,
44
Some conductors
are
gestures
in conducting
by no means beautiful
is
in
and the
itself,
uncontrollable
ever just as
moments
any blood
An
in his veins.
excess of
movement
therefore
is
since
at any rate as" a
always Jbetter than jts opposite
which
there is no
without
it
indicates
rale,
temperament,
art.
We should not laugh at a talented young conductor
,
that
strictness of the
rhythm may
much
further question,
than very
latter the
be deranged.
discussed at one time and even
easily
now and
then to-day, is the relative artistic value of touringWhat indeed can there be to object to if the
conductor secures excellent performances to-day in
conducting.
same
Dresden
for
Petersburg?
example
"question"
and
little
arises only
while
afterwards
in
when
the performances
If however the public
performs with an orchestra that he does not regularly conduct, or he travels with an orchestra that is permanently
under him, or at
for the
45
tour
in
The
question.
latter
that
disadvantage,
of the transport
of the day being often spent in travelling, it is imposto rehearse new works during the tour.
The absence
of rehearsals indeed obviates some physical fatigue, but on
part
sible
the
hand
other
too
often
in
intellectual
when
addition
to
lassitude
the
organisations
in
Berlin,
and
latterly
in the
also
hands of
the
Vienna
visiting
to infer
intelligent person will try
diminution in the value of those concerts.
that
now
no
confrom
far spoken only of conducting in the concertin the theatre. That is a chapter in itself,
of
that
not
room,
The conductor of a
and unfortunately not a pleasant one.
46
formances can often be given. Now and then such performances in the smaller towns, - - not so-called "music-centres"
are surprisingly good. I may mention as an instance the
chorus and orchestra at Chemnitz in Saxony. At the theatres
in small towns, however, the great obstacle to all artistic
effort
is
the
many
is
education of
often
sons,
teacher that
able
to
its
for
fortunate possessor, but the singer takes leshalf a year, from the first
comes
his
range
He
chorus-master.
to hand.
of voice
learns
Then some
are
how
to
drummed
centage which,
sum
and then an
of
how
to
orchestral
find his
he really does
"On
now
47
despair
far as
He
for
no voice
make
left,
but
know
the
ins-and-outs
of the
stage
and
to the stage,
ducting as an art.
But even at the larger municipal theatres, where the singers
are of better quality and often highly paid and the orchestra
is finer, art is sometimes difficult to detect, since too often
a
man
the
is
at
the head
complicated
apparatus
simply
to
fill
of
his
exploitation of forces
the "Herr Director"
art,
but uses
own
is
pockets.
not unusual
can finally so
theatres, and
for
himself
that
he
loses
nothing if a member
arrange things
has worn himself out as the result of the excessive demands
in
these
been
in
the
sad condition
to
have
to
subscribe
to
such
48
Much
agreements.
in conjunction with
but
ors;
high-minded and
intelligent theatre-direct-
if
singers
bread
indisposition, their
for
themselves
reserve
they
for
important
especially
represen-
e.
premieres,
g.
of assistants?
lot
He
soon
pocket.
The
greatest
relatively
possibility
of
artistic
achievement
the
first
entirely,
-- of a
opera should be in the hands of an artist
musician,
committee
under him that
an
administrative
fact, with
in
shall
Then again
too much is
at
all
theatres,
the
in
artistic matters.
played. No theatre is
performances of equal value; it would need at
least
more
than twice as
than
of a
twice
sufficient
over- fatiguing
everyone.
number of
is
rehearsed
rehearsals
An
bound
afresh,
opera
taking
that has
to suffer if
especially
it
is
place
without
when
long
intervals
49
The ensemble
elapse between these unrehearsed repetitions.
has been produced by such vigilant care is imperilled
when, owing to the absence of the players of one or more
that
chief roles
other singers
who have
own
in
performances.
are
pompous
rt-
clame, and to which famous singers from all parts are invited who often do not attend even the general rehearsal,
are the merest absurdity.
"Thrift, thrift, Horatio!"
Need
opens up
when money-making
ment trumps, look
is
rather
Could not
to give the answers, in spite of their uselessness.
the public be gradually made to see that it would be better,
for the same money that is spent on the average in going
to go less often and pay higher entrancehave
thus the certainty of seeing only first-class
but
prices,
to
the theatre,
school,
them?
a splendid lead.
WEINGARTNER, On conducting.
things taken
Germany has
To emancipate
in
many
the dramatic
4
50
as
armies
and navies?
Is
it
not
unpardonable
that
the
worthiest works are rarely given, because the public has lost
touch with them? But why? Simply because it hardly ever
gets
evil
as a stop- gap
imperfectly rehearsed
badly sung, and
worn-out decorations.
At the Paris Opera Comique
"Orfeo" and "Alceste" are stock pieces.
Make the experiment of giving them in Germany in the way they are given
in Paris, and the public will go to them.
Does not the
"Midsummer -Night's
positively unheard-of success of the
Dream", so finely produced at the "Neues Theater" in Ber- as we
lin, prove that many "old Schmoker"
piously speak
of our master- literature
only need to be given properly
It is just the same
for an interest to be created in them ?
with the classical music-drama; also with some notable new
works, which after a few performances have been taken off
stage
with
in
terror,
lacked
interest
good
1
The reference is to the comic opera "Der Trompeter von Sak1890), founded on the mock-heroic
kingen" by VICTOR NESSLER (1841
poem of the same name by J. V. VON SCHEFFEL. [Tr.j
vult Schundus, jested LISZT with bitter irony; and our theatres
take the greatest pains to avoid bettering this state of affairs 1
a theatrical director should prove
Conviction, conviction
.
this.
He can only do so, however, if he is
independent of daily receipts and press scribblers, and can
he possesses
fully
and
noblest
too
has
still
freshness
enough
if it
willingly
must in the
is
and
only offered to
first
netivett
it.
To
place be indeed an
receive the
to
good
end the director
this
artist,
who
thinks of
means
it.
But an end
As
WAGNER
tre,
says very truly that just as the right comprehension of the melos of a piece ot music suggests the right tempo
for it, so the right way of conducting an opera presupposes
have the stage in his eye. This will give him, consistently with due fidelity to the markings of the composer,
the criterion as to whether he shall take the tempo faster or
slower, how he shall modify it, and where he shall expand
things
or contract the
He
will
not allow
tempo,
means
"rubbish", "offal".
point in
[Tr.]
Drill counts
a translation.
"Schund"
52
for
may be
it
nothing;
who
with
necessary
the
less
endowed
for
for
it
impress
parts correctly
way to attain
stage,
performance
individual
faultless
ensemble.
liberties
to
When,
after
begin
he should see that these do not contradict the
study,
whole work
thorough
be taken by the
spirit
singers,
of the
Once more
must
cite
for-
dered his
development.
delicacy as to
"It
full
He
PRAEGER:
letter to
is
singer
that
actually
and
unconsciously colours each role. A man with a nimble, flexible voice and one with a big quality of tone will render
the same rble in quite different ways, - - the first certainly
several
he
passion
But
it
is
worth of an
opera conductor
is
not, as
many
think, to
be
53
estimated by
how
far
he
is
whims of
be
tempted by convenience to make inartistic cuts, and when
he conducts foreign operas must see to the improvement of
the translations, which are generally very bad in the matters
of phraseology, sense and musical declamation; for nothing
- - to
corrupts the artistic feeling of the singers more
say
than
nothing of the harm done to the whole performance,
when
musical.
Anyone in whom both gifts exist in equal
measure will be equally successful in both styles.
I must mention one more defect which, in the light of
pure reason and of all that WAGNER has said and done,
purely
--
--
painter,
have to
when
alter his
business,
since a
good deal
that he
had
Then
with that particular scenery.
the conductor comes in with singers and orchestra it
planned
will
not
fit
in
54
is
clear
that,
e.
g.
its
musical
work
Then bad
and
the
best
face
on it,
possible
put
temper,
which however only leads to further mischief; and at the
last rehearsal but one the end of it is that they would all,
if they could, gladly begin again from the beginning.
But
allowed only about four square feet; and so on.
a scramble,
go as best
good
it
stories;
can.
for
known Brynhilde
example,
to
wake up
in
quite another
stage-setting
in the
when he
detail
only
trifling
changes
may be
necessary.
Only after
55
this preliminary
artist
by the
appointed to a theatre
an opera, and no
musical part
is
just
my
who
stage
as
of the work.
It
is
perfectly
nonsensical
that
Myself:
Why
Some days
-
later the
"Orchestral rehearsal
chorus"
'Siegfried',
is
for
no chorus
this
notice
principals and
in "Siegfried".
During
preparation of BERLIOZ'S "Benvenuto Cellini"
I saw unloaded before the theatre a number of specimens
the
of that statuette
of Perseus
that
is
necessary
in
the
third
56
Then,
Cellini
worry myself about anything else. Notwithstanding this, however, they never gave me sufficient power as regards the orchestra to prevent the engagement of incompetent but favour-
ed players.
For these and many other reasons
teen
years
spent
in
the
theatre
as
to
get
ideal.
my
capabilities,
vain strugg-
cannot recall
without bitterness.
Finally,
he
is
than a workman,
who
and precisely
that each of them knows his place and what he has to do
there; he first becomes an artist when the moment comes
for the production of the work. Not even the most assiduous
schools
the
so
conscientiously
of the conductor.
It
is
personal will,
the work itself into
takes
being
transcending the narrow limits
a new-creator, a self-creator.
of creation
in
place again
of reproduction,
that
called
him, and,
he becomes
his
per-
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On conducting
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