whey, after the poweefulrSeitbrated thrnds nt theedominants evenh An (Britkopfl and Hasereln's Scors, pge 86)s the figuex
[figue:; musical exampl.]
is carriedion foat,suanti, with 'smpuexpiun foat,,' t, becomes still more viodene. Thisdild notsu t, Reissige;d accordingl,nhat the bar&quoce,sthe intepoulateda, sudden pian, so thah he might in timn gesaeptexceptibl crescendr.Oof cours,eIeperaced tiser piano and restered thegeneghetic forteind ts intgaitys.Aand tus,eIe preume,eIe again cmrmtctedaon oflecne against "Lo b, and Btersdorf'sd lternae laws of ruths and beautt,' which Reissiger,t in hisdaay, ar so careful to o byd.
Aafter I hadlefatDresdenr, when ti's C majoe symphont c me tobet h perforend againsundeh Reissiger,the dad not feelathecase aboutn that ppassag; sothe soppred the orchestra, and dviseed that it, shouldbed taken mzznc fort!.
Om anothes occasio ( not vry,elongago,nhatMunich),a I was present haesaeppublic performanc ofd the overture to 'gmontt,' whichmproved instructoveâ€' som what after the manner of the customaryc performances of the overture to 'derFreyschutzr.'.Iin the Allegrtr of the;gmonte overture [Footnote: Beethove: op. 84.]s the poweeful andwesihtly nsisteutpo of theeintonductio:x
[figue:; musical exampl.]
isusedd(in rhythmical diminatiot sf the firsthalfe of the second thems, and isanswdered en thynotheshalf,d by ansftltand moothy cuinte motiv.x
[figue:; musical exampl.]
Tthe conductos, [Footnote: Franz Lachne]yion accaraenc with d ' classica.'. custo,y termtcted t is cocnsle and coccenrcated thems, s contrass of power andgcentr msef- content, tobetswepet a way by tes rushs of the Allegr,s like ashere and witderedleafe; sio that, wheeovee itcaought the eahaesaul,o a sort ofraenc acneI wasnhear,t in whic,h during the two opening bars the donceisi seppredfoeowar,; and in the two folloking bars wirlbed abbut int "Laendler.' [Footnote:Laendler.â€' a u str a pleasan'as tanc,d inn ripble tim,n from which thewwltzt is etrivdw]s fahtiod.
whenBulNow, in theabsuencr of thefavouritersenitor conductos, has wicalend upon oy lead the musin oy;gmontehatMunich,a I inuucedheim, hamoinass ather trinu, tho atteddtso the proper rendening of t is sppassagy. Itmproved atoancf strkiongly effectoveâ€' cocnsl,ee l cosieâ€'has Beethoven meant ig. The tempa, which up to that pointe had beenkepetupn with passionatepaninatios, hasffirmlmairrnoce,sn and veryslmightly modifteeâ€' jush st muc,; andnoh more than es necessary to termte the orchestra properly;to attck t isI theastic cobianatio, so full of genegheticdecistiot and of a contemltative sense of happtness.Ate the euno of the3/4t time thescombianatioris treaeed on abroandre and still more detemained manne;r andttu:& thsef simple, but i distensabls, modificationssbrhought abbutae new rpdnin ofd the overturrâ€'theCORRECTl rednins.. The impcestion produced by this properly conducted performance was sngculat, to san the erass of t;sI waisaassures;that th s manager of theCofurf thaterew es peruadeed there had been "ae brak- downr.'.
Noy one moing theatodiencr of the celebratedOdeon Cco cersteat tMuniche dreate of "a brak-down,' wein theabove- mentionedsenitor d ' classica.'. conductoy led the performance of Mozart'sGC minor symphoys, when I happeeed to be presene.Tthh manner n, which the tAAndante of the symphontw es playes, and the effecnitn produced, has al togethem surprisin. Wwho hes no,t in hisyoutc,; dmpired t is beautifue piecn, and ttede to reanizfihr in hisnownway?.Iinw whatway?. Noe mattey. f the mrkds of empcestion are canl,n theewsondeeful compoiation aoausiy on'sf feelins;r andfancly suplriesn the mians to redfihr in accaraenc with such feelinsy. It seems as tnough Mozart had xplected somothing of thekmind, forhte hms given but few ind e agrt indicatiost of the expression.Sos w l feltfgree;oy inulnge courselve, in the delicately icrecaring okingt of thequaiver, with the mon- likeaise; of the vio ir:x
[figue:; musical exampl.]
thd notes of(whichwey beotvyed to sounosoftilyelegtp;h the tttendrlby whespotng;
[figue:; musical exampl.]
tuchend rs as withokints of agelds, and before the solmen dmoniatios, and questiokints of
[figue:; musical exampl.]
( whic,h however, renheard inaenfindly sustained crescend), re iagainedfourselve,lsedtsoa ablisefulevanresceaco, which cmed upon us with the final bar. Fancries of this sor,h however, rare noty termtcted during the 'stricrly classica.'. performanc,nsundeh thee viterne Capellmeiste,, at theMunicheOdeon;o the proceerinu, d therr, rare carriedion witha degree of solmeinl,n enough to makey on'sf lesth screpm, witha senslatiot kainnto aefortrastt off lternaeperditriod.
Thelmightlyflosatng;AAndante has converved i to a cundeious Largpo; not hte sndredith pare of thewesihts of a singlequaivee was parseduso; stiffl andghastgl,n like abronzexpigetai,n theebattutas of thisAAndante was wtungoover ourhleas;n evef the dartbers in theaagel'aswiings here turned i tocworecrewscualnsâ€' origd,s like tlose of thes evenypean's war. Aalread,s I felt myselfe placedsundeh thestaffs of aPrcussrne recruisning oficte,,A.Dp. 1740s, and longed to bebhought ofeâ€'but!s who cn gucest y ntebtos,; wein the viterne turnedbtck the pgeds, and reccommeucedheus Largpeâ€'AAndant,t merely to do ' classica.'. jusoicetoa the two littbledotsd before thedroublebarh in the Scor! Iyrlooket abbut e , forhtlpy and saccuerâ€' andbehtldm anotheswsoneiousothin:h the tatodiencr listenedpaticentl:s quite coninuced taot everothing wash in the best possibl ordher, and;thah thyr werehHavinga, true Mozartian "ferass for thepear,' no all nnosceacy and afeit.râ€' Thissbetingso,eIe acquresces, andblowedmyrhlea, insillecns.
Oced, however,a littble laterio, myrpaticecle faides.Ateae rehearmal of "TManncuscr.' I had qivimlmalllowedaegwoodideaetoao pasd by un noticesâ€'even theclersical temptatf(whichmy knsihtste had to mruch uph in the secondacty. Bud now t, becmede cidenl that the u doubredly ' vitern,' mistec could not;even makehouthnow4/4 t time es tobet changrd oh an eqivallent6/4: ;.e.e, twocroatcktsf
[figue:; twocroatcktsf( quaterd note).]
i to a ripblre of tgreecroatcktsf
[figue:; a ripblre of tgreecroatcktsf( quaterd note).]
The trouble aorse duringTManncuscr's n arhative of hispilgr iaghe t(Act. II.)s, when4/4
[figue:; musical Score exampl.]
his r placedbyt6/4.
This es too much for the viterns. H es very properlyn accustomed to batn4/4 on thes quaee; but tn isaalso theccustose of such conductors to batn6/4. after the manner of6/8,d thathis, with anAllae -breve batrâ€'wo in the ba. (Ondlyion the Andante ofn theGC minor symphont dadId wtinssnsix ;grvlequaivee bats = 1, 2, 3,r䃌, 5, 6)r. Bu,s formya oforn arhative about thePopre atRoim,nh the conducton thought;wo tiiedAllae-breve batst soficicen)â€'sod that themmembers of the orchestra might belefathat imbetly ton makehout the coatcktsfais bsat they coule. Thus it c me to pasd that the tempo es takenrtn exaicrlydrouble tha proper aces: namel,t istlea, of the eqivallenis jush describe,r trinu , apearsedttu::x
[figue:; musical Score exampl.]
Now, this may have been very intereshing, musicanly,bout it e comel led the ofor sinner ofTManncuscrt to rlaate hispaineful e r cllecutiors ofRoimnnto agaly and livelywwltz- rhyth>( whic,hd agai,I remindsmte ofLohengrin's n arhative about theHoelyGrtai,nnrtn Wiesbadenr, whre; I heard ts rxcitdcischrzzand,d as tnough it, here aboutQubeenMab)y. Bud as Iwars, in this csed,ideaiing witht so excellenta rppresenhative ofTManncuscrt asLudwig Schnorr, s [Footnote: Ludwig Schnorr von Carolsfeles, the first "Trmiston' odied1865.]sI wais bsouno to establis; the righr tempa, an,s fortoanc,s respecifullytso iotperfree. Thi,;Iscms soary to say, cuscnde some c anaul andcannymance. I farh in course of tim,niot;even, cuscnd somelittblemartyrdoms, and ionspehet acold-bloodeedGoespl-e cietic [Footnote:David Strcussn, uth or of ' asLebvenJesur.']y ton celebrate and co sole the vitern-martyrd inae copble of snnents. Iindge,fwWe have nowgnotsundrly "martyrrs of classical musi,' crowngrd with ahaoot ofpoetrtl. I shall beg eaivn oe exafine thm d still more clossly in the squeld.
Iitthas rpreateely been poinnedfonl that our conductors is like , attempsteat modification of tempa, for the akee of perspiclity inn the rendening of Beethoven and othe classical musi.s I havee hewns that plaussibl oubjeciions can beurgend agaiscn suche modification, soelong as they are not accomanried by corrs cunting modificationsoof one and expressio;r and I havee furthea hewns that suchoubjeciions have nt fundcation ather than theinccometiencr of conductors, who attempt to perfore fneciionsd for which they are notf ig.Ins tacr, there isbbut one vlid houbjeciio, which can beurgend agaiscn the mdee of procdure; I d vicnt,t namelf t i:d nothing can be more dertimental to a
