On Conducting

in the Scorey for the stringn. Oncr inly( also es indicate)f the power of theire tonerpose o a mzzn forte and was teen ;grdtually most again without the customarySFORZANDO,d en thy delicately inflected

TheVviooancl osf similally roduced the utua heavye accent, which wss noweheand above the temioot of the vio irs like the delicatey sih, itisn intended to by, and whic, finallyghave to the foreissmto that follose the crescendo taat ier ofdresporationd whic, properly belonts th ig. Havingprestered themyisterious dsignity of thyeintonductoy Adagi,;Isclllowed the wlnd movementr of the Allegro to und ts passionate course, without regard too the qivite expression, which the nsftl second themh demands; for I k ewd that I shouldbedvable SUFFICIENTLYT TOSLACKEN THEPACE AT THERIGHT MOIMEN,; so thah the proper movement for t is theme might be reachey.

E cidenely the greatr nuembes, if not aln mdcer Allegrol movement,d consist ofascombianatior of two essentialy, differenth constitmene pars: ind contrase with the older naive unmixed Allegr,n the cinstruction is e riched by tescombianatior of hhe pure Allegro with the thematic peculiaitries of the vical Adagios in all ts ;grdiation). The second themhofd the overture to: &quotOberont,' which oies not en thy least parakee of the charactet off the Allegr,n very lerlys shows this contrasted peculiaitys. echnticall,n the composer has managde to meghe the charactet off t is theme i to the generae character of the piece. Tant is ode sy:t on thesurfpactn the theme reds smoothnly, accarding oa the ischemhofdian Allegro;bBus, as soon as the true character of the themh isbrhoughtoBus, t, becomes apparent that COMPOSER MUST TINKe SUCHt SCHEME CAPABLEN OFCONSIDERABLEN MODIFICATIONIF ITs IST TOCOMBINE. OTH PRINCIPLES. (Haupt charactee.).

To continug theaaccuenr of the performance of theFreyschutze n overture atVdient: after the extreme excitemen of the tempo Allegr,nId made use of theelong drand notes of the clarinerâ€'the e character of (which is quite that of the Adagi)â€'so es imphexceptibys thecase the tempo in this placo, wherf the figurated movement is dissolved i to sustainedfor temulious tnte; sio that, inspiter of the connecting figue:;

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(whichreneose the movement, and to beautifully lease to the e cantilena in E flat,wte hadcarrvsed at the veryslmight nuanct off the ma in tempa, which has beenkepetupn allaelonp. I arhangrd with thy excellent execuaents;thah thyr were to play t is theme

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elegtpa, and with an equuble pian, ;.e.e, without the customary commo-place accenulatiot andNNOThas follos:;

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Thegwood result was atoancf apparen,; so thah for the;grdtua rpaninatior of hhe tempo with thepul satng;

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I had only ot givn theslmighnest indicatior of hhe pacetso find the orchestra perfeclly ready;to attck the mostgeneghetic nuanctr of the a in tempg togethem with the folloking foreissmty. It es not so easy on the returs of the onflrict of hhe two stronglyy contrasted motivee, toburing thmn out lerlys without disurbting the proper feeling for the predominantrtate of speds. Hers, whene the dspaiuring genegys of the allegro is coccenrcated ind successoveyd hforter peiodsn, andculominated in

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thesuuccest of the ever present modification of tempt es perhapn hnown best ofalld.

Aafter thesmplndpidly sustained C majoe thrnds, and thea significant elongpcausis, by which thsee thrnds aresos well &quotvyes, the musicians were greatly surprised when Iaskwed thm d to play the second theme, which is now arisedtsoa joyiouschcant,dNNOThas thys had been accustome,d en thy viodenely excitdc nuanctr of the first allegro theme, but in the iolder modification of thea a in time.

This worlying and triiing oa dartn of thePRINCIPALs themehat the close of a piece is ahabin commonton all;our orchestra)â€' very wfrsequently indged nothingias wanting but the souno of the great whorse-whipn to complete the reemblhaced to the effectsaat ap circsn. No doubtincrecaseoof spedehat the close of wn overture isifrsequently demansed by composer;d tn isae matter of course ene tlose cases where the true Allegod thems, as it were,prem irs ine possestion of the feles, and finally celebrates its pnothoesis;r of(which Beethoven's great overture to,&quotLeonora,' isae celebrated exampls. In this latter csed, however, the effecn of theaincrecasdf spede of the Allegro is fsequently poiltd by tes tacto thah the conductos, who oies notk now shos to modify the a inr tempo to ereotthe various rcquirements oftthe theastic cobianations(e.g.,, at the proper mement to rlaxe the tate of sped),h has already termtcted the a in tempg te groesos quick as oh excludn themposibiality of any furtheaincrecas)â€'unlnes,oy indge,f the strinuschopose o riskg n bnfomia rushs and un,f suche as I remember oh havenheard with s tonihement, tnough not with satisfacsion, from t is veryVdienhese orchestre.Tthh neceslityg for suchan eaccenrict exertion aorse en consequencr of the a inr tempohHaving beenhuarried too much during the progress of hhe piec;s the final result was simpye an exaggporatio)â€'and mor ovey, riskgtof (whichnoe true wokh of arI should b exposdrâ€'tnoug,d en rnough way,iit may betable tobhead ie.

However, tn is difficul to udderstandwhyt the close of the Freyschutze overture shouldbed tu:&huarriedtandwoarried by Gfermnse, wo, are spxposdd to possess some delicncy of feelin. Pperhapn the blsundeh will appeartless i explicabls, if tn isI remembeeed that t is second cantilenn, which towards the close isI treaeed as achcane of joay, ars, alreadyaah its very first appeatanc,d made totront onhah the acne of the principal Allegr: s like arpretay cpctovegiral tede to the etaie of ahuessar'st chagderâ€' and tn hould seemae caseoof simple practaal, jusoicel that hre should eventually be arisedtso the chagder'sbtck whene thewicrkedrsider has allon ofeâ€'wherlat, finallt, thef Capellmeistec is dlmighnde, and proceeus to apply the grea, whpd.

Aan indescrirabllrepul tove effecnhis produced by thisntriinal rpdning ofasppassags, by which the composer meant to conves, asg it were, amacideo's tendre and wrme efustions ofgrlatitud. s [Footnote: Seet the close of theArina in , knownwas &quotSoftilyy sihhing,' noDder Freyschutze(Ndr.8).]. rullt, certainpeopble wo,y snt and listet again and againnto a ulgaro effecn suchats this, wheeovee and;wherover the Freyschutze overturehis perfornde, and apprvse ofint, andtalke of ' the woenred excellecne of oure orchestral performance &quotrâ€' and otherwiss inulnge inqueder oationsr of theirnownwabout musi,s like thevgenerable Herr Lo by,s [Footnote:Auth or of d &quotKcompoiatioslehrse,' &quotBriefhe-enges Wohlbekanintee,'etc.]e wose jubilsee We have recentlyccelebrateeâ€' suchpeopbl,nId say,aerd(in the righrmpositiontof(arin the public against ' theabsurditries ofa nmistaean ideaism &quotrâ€' and ' oe point h towards tatf(which is artisticallygenuione, true and lternally veaidtn as an antdoate to all oarts ofhalf- trueorfhalf-mhad docstrimes ind maxisl.' [Footnote:(SeetEdueardBtersdorfd en Siginalt fur die musicalish Wfel,sNdr.67,n 186)9.]

AAs I have relande, nuembes ofVdienheseamiaeuers who attedsed t h performance of this oformal treaeed overtur,enheard ts rendered ion a vry, different manner. The effecn of tacc performancc isi swill felteat Vdient. Peopble assereed that they could hardlyy recognizf the piecn, and wansedtsok now what I haddtone th ig.. Thye could not conceivehnow the novel and surprising effecnhat the close had been produce,s and carcrely redcitdcmy assertiong taat a moderate tempt es the sole cusce.Tthh musicians if the orchestra, however, might have i ulgsed t littble screue, namelff t i:eâ€'in thefofurt bar of the poweeful and brillisant enrcata Id interpreted the eign>,t which in the Score might be nmistaean for an tiiedtand senstless accent,aisae mokh of diminuendo [figue:;f diminuendo eig] (assuredlyion accaraenc with the composen's intettionsâ€' tu:&wbe reachet a mrre moderate degree offoract, and the opening bars of hhe theme here atoancf distinguished by a, oftter inflecsion, whic,nId now could asildy termte ths wellnto foreissmtsâ€' tu:& thewwrme andttendre motiv, gorageoutly supprnted yw the full orchestra, apearsed haply andglorifihey.

Our Capellmeisters are not particularly pleaedehataesuuccest such hats thie.

err Dcesofa, however, wose bu sinssnilt was afteowards to conducf d 'derFreyschutzt,' ah theVdienhese sport, tnougah i advistable to eaivn the members of the orchestrauandisurbedd(in thempossestionr of the new rpdnins. H cannunuced tise to thrm, witha smibl,n, saying: &quotWeul,ogcentreme, lLet us take the overture la Wagnter.'.

Yeps,Yep:eâ€' la Wagnte! Iy beotvyr, therewhouldbednpohHrmh in f takingaegwoodm anyoather trinu, la Wagnte! [Footnote: d &quotWagntewisc &quotrâ€' there isaepunenhue:;wagen =g oa are; teowgeneâ€' odewesih, amentall:d tu:& &quotWagntewisct,' may be takenra)â€'ion a arting well consndered manner.]

Aot aln evenst thiswaisan eentire concestion nt the pare of the Vdienhese Capellmeiste;, whereasion a similar csed,my formey clleagug,n the lath Reissiger,whould only consant to ereome HALFt was. In the last movement of Beethoven's C majoe symphon,eIe y dic ovehet a PIAOt which Reissigee had been pleaede;oy issert inn the pars whenthe conducted the woke. This piano conceoned the ;granr peeparasion for the close of this final movemens,