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diff --git a/42097-h/42097-h.htm b/42097-h/42097-h.htm index fc7de84..0693d39 100644 --- a/42097-h/42097-h.htm +++ b/42097-h/42097-h.htm @@ -4,7 +4,7 @@ <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Musical Criticisms, by Arthur Johnstone. @@ -232,45 +232,7 @@ td { </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Musical Criticisms, by Arthur Johnstone - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Musical Criticisms - -Author: Arthur Johnstone - -Release Date: February 15, 2013 [EBook #42097] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK MUSICAL CRITICISMS *** - - - - -Produced by Veronika Redfern, Adrian Mastronardi and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive/American Libraries.) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42097 ***</div> <div class="figcenter" style="width: 382px;"> <img src="images/cover.jpg" width="382" height="600" alt="Musical Criticisms by Arthur Johnstone" title="Cover" /> @@ -1003,7 +965,7 @@ to be the reverse of an incentive to work. Perhaps it was fortunate for him that he failed, for though he would have found a great interest in the natives (and extended -his <i lang="fr" xml:lang="fr">rpertoire</i> of tricks) he would have been +his <i lang="fr" xml:lang="fr">répertoire</i> of tricks) he would have been repelled by the average Anglo-Indian; besides, his abilities did not lie in the direction of legal and political administration. In @@ -1068,7 +1030,7 @@ them the moment after opening his eyes in the morning. They can best be illustrated by his more familiar style in his writings and letters; the latter, indeed, give a fairly exact -reflex of his talk. A <i lang="fr" xml:lang="fr">flneur</i> of the best +reflex of his talk. A <i lang="fr" xml:lang="fr">flâneur</i> of the best kind, he observed closely and curiously; in spite of long spells of apparent idleness, the alert quality of his mind never showed the @@ -1128,7 +1090,7 @@ our time, though often enough professed. He wanted art and beauty. This desire, of course, in others often was a cant; there were scholars and verse-makers—more or less of -the "sthetic" type—sentimental and hard at +the "æsthetic" type—sentimental and hard at bottom like most such persons, who cultivated beauty, and have usually come to nothing except prosperity. Johnstone was of another @@ -1201,16 +1163,16 @@ century, from the Romantic School onwards. It is no wonder, therefore, that the reaction from the High Church influences and<span class="pagenum"><a name="Page_xii" id="Page_xii">[xii]</a></span> surroundings of his youth was severe and -complete, and that his highly sthetic nature +complete, and that his highly æsthetic nature demanded the fullest artistic and intellectual -freedom. The so-called "sthetic movement," +freedom. The so-called "æsthetic movement," as we have before implied, left him untouched. He would have nothing to do with the attempt to symbolise and revive a civilisation that had utterly passed away, nor with the deliberate neglect of the modern world, and its most intense and living art—Music. -Johnstone had not much medival +Johnstone had not much mediæval sense, and was sparing in his appreciation of Rossetti, to whom he became unjust. What he liked best was "Jenny," though he was @@ -1252,7 +1214,7 @@ respectable. Concealing the place and circumstance, he afterwards cast the incident of the "Fantine of Shotover" (we also conceal, of course, the name of the village) into a kind -of prose sketch or <i lang="fr" xml:lang="fr">pome</i>, which he finished +of prose sketch or <i lang="fr" xml:lang="fr">poème</i>, which he finished when he was about twenty-six, re-wrote twice, and thought of printing. It is unfortunately not now to be traced. Its musical, @@ -1275,7 +1237,7 @@ sympathies, and make ill worse. He may be superior, and spoil everything by clumsy missionary benevolence, hard of hand. It is something if he can get behind the ordinary, -blind, damnatory formul of society. This +blind, damnatory formulæ of society. This however, is not so difficult to a free mind. What is harder is to do it, and yet to see the facts without mere theorising, without @@ -1286,7 +1248,7 @@ our memory Johnstone rose to the occasion thus presented, and acted and judged with balance. But we are more concerned now with the road by which he arrived at his force -of sympathy. stheticism of the rootless +of sympathy. Æstheticism of the rootless academic kind had, it is evident, no hold upon him; he was too angry to be precious; but his motive power at bottom was that of the artist, @@ -1306,7 +1268,7 @@ chanced to be retrieved—by any fortunate and final escape. All this revolts the deepest of human feelings, which distinguishes us from most of the beasts, namely the -sthetic feeling, which at this point happens +æsthetic feeling, which at this point happens to coincide closely with the religious. A certain depth and rarity were thus super-added to the plain good feeling and kindliness @@ -1478,9 +1440,9 @@ it. Early in October he entered the Conservatorium as a student, and engaged himself to take the year's course. His chief friend was M. Sidney Vantyn, now Professor of the -Piano at the Lige Conservatoire, and then in<span class="pagenum"><a name="Page_xxi" id="Page_xxi">[xxi]</a></span> +Piano at the Liège Conservatoire, and then in<span class="pagenum"><a name="Page_xxi" id="Page_xxi">[xxi]</a></span> his last year of study. They met in the class of -Professor Eibenschtz, one of the most severe +Professor Eibenschütz, one of the most severe masters there, who made no allowance for Johnstone's previous amateur training, and was rather harsh and discouraging. He @@ -1506,8 +1468,8 @@ thorough. At my request he completed the <i lang="fr" xml:lang="fr">Valse</i> which I played shortly afterwards at a concert, where it met with a decided success. A little later it was sold to a music -publisher at Lige. He soon left Herr -Eibenschtz for Dr. Klauwell, with whom he +publisher at Liège. He soon left Herr +Eibenschütz for Dr. Klauwell, with whom he studied the piano and harmony." Among the other professors at the Conservatorium were<span class="pagenum"><a name="Page_xxii" id="Page_xxii">[xxii]</a></span> Humperdinck, afterwards famous as the composer @@ -1600,7 +1562,7 @@ which he had chosen.</p> <p>In the March following, 1889, he received an offer to go as tutor to the young son of -Prince Abamlek in Podolia, a province of +Prince Abamélek in Podolia, a province of Southern Russia. The following account of his journey is interesting:—</p> @@ -1716,10 +1678,10 @@ and the aspect of the whole country is <i lang="fr" xml:lang="fr">riant</i>.</p> <p>"I have not yet seen much of the <i lang="de" xml:lang="de">kirchliches Wesen</i>. The priest at Osipoffka, I gathered, is a man who has to get in a mass as often as -he is sober enough. The Abamleks do not +he is sober enough. The Abaméleks do not receive him, and never go to Church while there. In any case, I do not think the -Princess is particularly <i lang="fr" xml:lang="fr">dvote</i>. She is of +Princess is particularly <i lang="fr" xml:lang="fr">dévote</i>. She is of Polish descent, and her family having given up Western Catholicism, have never become, I suppose, enthusiastic as Russian orthodox.</p> @@ -1731,7 +1693,7 @@ somewhat gaping and lumbering stage. The younger one is much smaller, though only a little younger than her sister, also of better intelligence, if worse temper. She laughs -with a curious <em>abandon</em> and is full of <i lang="fr" xml:lang="fr">clineries</i>,<span class="pagenum"><a name="Page_xxix" id="Page_xxix">[xxix]</a></span> +with a curious <em>abandon</em> and is full of <i lang="fr" xml:lang="fr">câlineries</i>,<span class="pagenum"><a name="Page_xxix" id="Page_xxix">[xxix]</a></span> and is two totally different persons when pleased and bored.</p> @@ -1751,7 +1713,7 @@ changes in the hundredth part of a second from bubbling laughter to a sort of Last Judgment seriousness.</p> -<p>"He wags his little <i lang="fr" xml:lang="fr">tte de Polichinelle</i> +<p>"He wags his little <i lang="fr" xml:lang="fr">tête de Polichinelle</i> over his victuals, and converses with them in several languages. Sometimes his mother interrupts him and asks if he knows what he @@ -1773,12 +1735,12 @@ shook him warmly by the hand. He was full of tales; he told of the English journalist, so aggressively and deliberately English that he would not uncover before the Tsar's portrait in -a hairdresser's shop; of the Prince Abamlek, +a hairdresser's shop; of the Prince Abamélek, who was always talking of taking him out shooting, but never did so; of the Princess, who feared that her little Paul was "trop jeune encore pour profiter de son esprit -eminemment cultiv"; of the social tyranny +eminemment cultivé"; of the social tyranny of Russian orthodoxy, which drove free-thinking persons of quality in the country to church and sacrament at all the Christian @@ -1865,7 +1827,7 @@ over any shrinking of the nerves. In Edinburgh he also managed to find some amusement. He was a foreigner in his<span class="pagenum"><a name="Page_xxxiii" id="Page_xxxiii">[xxxiii]</a></span> adaptiveness to restaurant life, and found -a quiet French caf to his taste, where +a quiet French café to his taste, where he took his visitors. The odd stratification of Edinburgh society into the various aristocracies of the country, University, @@ -1897,7 +1859,7 @@ the fullest advantage of them. Music in Edinburgh had, for many years, maintained a high standard. The orchestral concerts were second only to those conducted by<span class="pagenum"><a name="Page_xxxiv" id="Page_xxxiv">[xxxiv]</a></span> -Hall and Richter; the latter brought his own +Hallé and Richter; the latter brought his own band occasionally, and every solo player of eminence came there from time to time. He found many congenial friends, and was a @@ -2039,7 +2001,7 @@ his school work he composed a Gavotte which had a quaint origin. He was one day in a music publisher's shop in Edinburgh, when he saw a gavotte on the counter which -had won a prize of 5 or 10 offered by the +had won a prize of £5 or £10 offered by the firm for the best composition in gavotte form submitted to them. "And is this your prize gavotte?" said Johnstone, "Well, if I @@ -2174,9 +2136,9 @@ instance, he soon outgrew his early enthusiasm for Swinburne, wondered "whether he ever actually gets there," and was even too severe in revulsion. Intentional obscurity irritated -him. Mallarm and his school he would not +him. Mallarmé and his school he would not attempt to understand. His suspicions indeed -were well founded, for at the last Mallarm +were well founded, for at the last Mallarmé in his lecture on "<span lang="fr" xml:lang="fr">La Musique et les Lettres</span>" had arrived at forecasting a new future for music when the sound and rhythm of words @@ -2268,7 +2230,7 @@ works, while reading Fantine, misled me; that the escape from the high-pew and hassock flavour of Methodism to Hugo's 'prophetic soul of the wide world' blinded. -Yet, when a work like 'Les Misrables,' with +Yet, when a work like 'Les Misérables,' with the prodigious activity of its dramatic impulse, takes in its sweep the story of Fantine, something may surely be expected, if ever a @@ -2287,7 +2249,7 @@ nothing to have achieved that this benediction<span class="pagenum"><a name="Pag should have been possible after such a life?...</p> -<p>"Yes, 'Les Misrables,' notwithstanding +<p>"Yes, 'Les Misérables,' notwithstanding incidental impossibilities, albeit ever in extremes, looms in my mind as incomparably the greatest thing in fiction with which I am @@ -2451,10 +2413,10 @@ and manly feeling, the feeling that I tried to suggest at the beginning.</p> <p>"Hardy is a strong example of that curious, -inverted Manichism so characteristic of our -time—a sort of medival horror of the +inverted Manichæism so characteristic of our +time—a sort of mediæval horror of the grossness of matter, balanced by a most -unmedival sense of the utter madness of +unmediæval sense of the utter madness of insulting and despising matter, seeing that the tyranny of it is absolute.</p> @@ -2471,14 +2433,14 @@ in literature."</p> <p>About Zola he writes in a letter of July, 1893:—</p> -<p>"Perhaps you have read 'Le Rve.' It -and 'La Debcle' are the only two of Zola's +<p>"Perhaps you have read 'Le Rêve.' It +and 'La Debâcle' are the only two of Zola's longer novels that could be recommended to a lady, and even the latter with some misgiving. I cannot say that I think 'Le -Rve' one of Zola's best works. I am far +Rêve' one of Zola's best works. I am far from sure that the French critic who said: -'Nous prfrons Monsieur Zola quatre<span class="pagenum"><a name="Page_lii" id="Page_lii">[lii]</a></span> +'Nous préférons Monsieur Zola à quatre<span class="pagenum"><a name="Page_lii" id="Page_lii">[lii]</a></span> pattes' was not in the right. Nevertheless, there are passages in it stamped by Zola's unique greatness. With regard to its defects, @@ -2529,7 +2491,7 @@ half a glance who has ever been under it."</p> that Russians seem to look at religious questions like intelligent children, he writes:—</p> -<p>"Did you ever hear of the Soo-r-ye-vites, +<p>"Did you ever hear of the Soo-ré-ye-vites, the sect of which Leo Tolstoi is a member?</p> <p>"Soorayeff was a peasant ignorant of @@ -2628,7 +2590,7 @@ whether moral, sensuous, or intellectual, that is, of real worth, contributes to the artist's dream. Johnstone posed so little and lived by this principle so naturally and unwittingly -that he could not be called a doctrinair. +that he could not be called a doctrinairè. But few men save up their vital impressions about everything so carefully, engraving them patiently on the memory, and dismissing the @@ -2656,7 +2618,7 @@ of his own doubts, hesitations, or revulsions; he gives his results, he gives what he thinks the truth. Or, if a figure from another calling be preferred, the critic <em>operates</em>, -beneficently if often without ansthetics. +beneficently if often without anæsthetics. Further, there was something to be said for the late specialisation of Johnstone's ruling talent. His nature was rich; his articles @@ -2767,7 +2729,7 @@ of the season was over, for some byplay as a reviewer. He wrote in commanding style about books on conjuring, on billiards, and on cooking. He used to say that cooking -was his real gift. To go to a certain caf and +was his real gift. To go to a certain café and quote Mr. Johnstone's name, was to ensure a respectful and an even terrified service; and the well-drilled waiter would commend a @@ -2897,7 +2859,7 @@ an orphan nephew of Vogelreuther, indebted to the famine for his upbringing. In the opening of the play George has made a good start in life, having been apprenticed to an -architect in Knigsberg and done well. He +architect in Königsberg and done well. He is betrothed to the farmer's daughter Gertrude, but some years before there had been a love affair between him and Heimchen, who @@ -2928,7 +2890,7 @@ to punch drinking, dancing, and excitement. George is requested by the unsuspecting farmer to escort Heimchen to the railway station, she having a night train to catch -to Knigsberg. The ending is intensely +to Königsberg. The ending is intensely Ibsenesque in style. George, on the very day fixed for his wedding with Gertrude, is ready to fly with Heimchen, but, mindful of the @@ -2966,7 +2928,7 @@ disreputable mother earlier in the day, when she had been obliged to buy back things that her mother had pilfered. At last she throws herself on her knees before George and says, -<span lang="de">'Du! Kss' mich nicht! Ich will dich kssen. +<span lang="de">'Du! Küss' mich nicht! Ich will dich küssen. Ich will alles auf mich nehmen. Meine Mutter stiehlt. Ich stehl' auch'</span>—and the curtain falls."</p> @@ -3152,7 +3114,7 @@ the southern nature seems soft and vague in comparison. But the free talk of the real capitals, and their resources for witty amusement, imply a large leisured class, an element -of <i lang="fr" xml:lang="fr">flneurs</i> in the population, which is hardly +of <i lang="fr" xml:lang="fr">flâneurs</i> in the population, which is hardly possible in a big North-English city. There is personal isolation in a curious measure—a want of rallying points for talk. The atoms @@ -3197,7 +3159,7 @@ daring line as a critic, both in talk and print, caused him to be under-estimated by some otherwise intelligent persons. He might<span class="pagenum"><a name="Page_lxxv" id="Page_lxxv">[lxxv]</a></span> have said, with Saint-Simon, that he was -not <span lang="fr">"un sujet acadmique."</span> He disliked dons +not <span lang="fr">"un sujet académique."</span> He disliked dons as a class; at Oxford and elsewhere they made him, of course wrongly, restive. He had not been through their mill, and they did @@ -3307,7 +3269,7 @@ might never reach the ship alive. Johnstone, being on good terms with the patriotic party, pleaded for his life and undertook to get him away; he cycled behind him for the four -miles from Athens to the Pirus, and when +miles from Athens to the Piræus, and when they reached the harbour kept the mob off until he was safely on board an Austrian Lloyd steamer. The ride was an exciting @@ -3368,7 +3330,7 @@ of Eastern prejudice against the clean-shaved.</p> <p>At the beginning of the musical season in October, 1898, a considerable storm was raised in Manchester by the action of the -guarantors of the Hall concerts, who had +guarantors of the Hallé concerts, who had offered the post of conductor to Dr. Richter, instead of renewing Dr. Cowen's appointment. It fell to Johnstone to write the two leading @@ -3395,7 +3357,7 @@ in the years that followed.</p> <p>There is no doubt as to the kind of power that he exerted. He did not touch the actual administration of music in Manchester, in the -College of Music, or the Hall concerts, or +College of Music, or the Hallé concerts, or elsewhere. He did not directly advise, therefore, in the choice of programmes, players, or singers. But he went to every @@ -3477,7 +3439,7 @@ But the taste for inferior music needs no fostering. If, therefore, the organisers of these festivals prescribe second-rate works for the competitions, they simply destroy the -<i lang="fr" xml:lang="fr">raison d'tre</i> of these competitions. It is +<i lang="fr" xml:lang="fr">raison d'être</i> of these competitions. It is music as an art—not music as a sport or trade—that requires fostering. There is a danger that such concerts may degenerate @@ -3592,7 +3554,7 @@ but not entirely for rest. He greatly expanded his knowledge, and also his musical reputation and that of his paper, by his visit to festivals at Bayreuth, at Oberammergau, at<span class="pagenum"><a name="Page_lxxxviii" id="Page_lxxxviii">[lxxxviii]</a></span> -Dsseldorf, and at Vienna. Forced to +Düsseldorf, and at Vienna. Forced to choose, we have hardly been able, within these limits, to quote from the contributions he sent home. The last of his foreign @@ -3901,14 +3863,14 @@ instance his early estimate of Elgar and indeed of Strauss too (for his position then was uncertain) as having been in advance of<span class="pagenum"><a name="Page_xcviii" id="Page_xcviii">[xcviii]</a></span> general musical opinion, though unquestioned -at the present day. Tchakovsky's Pathetic +at the present day. Tchaïkovsky's Pathetic Symphony was a more obvious discovery; here he showed his critical power rather in quenching the popular enthusiasm (which he had at first assisted in creating) for this work when the public seemed to have lost all sense of proportion, by reminding his readers that -after all "Tchakovsky and Dvork are inspired +after all "Tchaïkovsky and Dvoràk are inspired barbarians and must not be put on the same level with Beethoven and Schumann." Mention too should be made of his appreciation @@ -3985,7 +3947,7 @@ be an end of imaginative literature; and similarly, in music, any person whom Bach entirely fails to interest had better give up all pretence to being musical. For Bach is not one of the composers, -like Berlioz, Liszt, Tchakovsky, Dvork, or Richard +like Berlioz, Liszt, Tchaïkovsky, Dvoràk, or Richard Strauss, whom it is allowable to like or dislike. Bach is the musical Bible—the foundation of the faith. Historically considered, both Bach and @@ -4050,7 +4012,7 @@ Mass in B minor.</h3> <p>Under Dr. Richter's irresistible generalship the most arduous task ever yet undertaken by the -Hall Choir was yesterday carried +Hallé Choir was yesterday carried through to a brilliantly successful issue. Bach's great Mass illustrates his tendency to throw all the weightier @@ -4135,7 +4097,7 @@ people, and his religion was inward and personal. Again, Handel was cosmopolitan, whereas Bach was thoroughly German. Not that Bach was wanting in knowledge of Italian and other foreign -music. He was a perfectly comprehensive encyclopdia +music. He was a perfectly comprehensive encyclopædia of the musical knowledge that existed in his time. But the basis of his character was too homely, simple and loyal to be modified by foreign @@ -4162,10 +4124,10 @@ often, the Passion music seldom.</p> <p>A long line of Christian aspiration and endeavour culminates in the "St. Matthew Passion" music. The Good Friday service, or mystery, of the -Passion dates back to medival times. Musical +Passion dates back to mediæval times. Musical settings of it are quite innumerable. They fall into three main groups, according to style. The -earliest are in the "Plain-song" of the medival +earliest are in the "Plain-song" of the mediæval church. At the period of Luther's Reformation the plain song gave way to the chorale style. Finally, there are many settings in the oratorio @@ -4297,7 +4259,7 @@ rhythm of the bass finds a poetic and delicately fanciful commentary in the solo part. Here one perceives the difference between Bach's and Beethoven's religious standpoint, between the ages -of faith and of strife, between the <i lang="fr" xml:lang="fr">ancien rgime</i> +of faith and of strife, between the <i lang="fr" xml:lang="fr">ancien régime</i> and the revolutionary period. For Bach the ancient faith is enough, while in the spirit of<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> Beethoven there ferment, fume and rage the ideas @@ -4474,7 +4436,7 @@ than the movement that is called a march in the Heroic Symphony. In the finale the rhythmical emphasis attains a degree of reckless violence that has never been surpassed by any composer except -Tchakovsky. A scherzo is always strongly +Tchaïkovsky. A scherzo is always strongly rhythmical; but in the scherzo of this symphony<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> one finds a kind of frenzied rushing, whirling movement that is rare in Beethoven's works. @@ -4793,7 +4755,7 @@ felt it his duty to compose an opera on a subject that should be "strictly proper," and despite its thin vein of invention—inevitably retains its hold on the musical world. To call the success of it a -<i lang="fr" xml:lang="fr">succs d'estime</i> would be a misuse of words. It +<i lang="fr" xml:lang="fr">succès d'estime</i> would be a misuse of words. It focuses a certain range of poetic ideas that nothing else of its kind touches, and stands—with its Wordsworthian simplicity and moral goodness—among @@ -4891,7 +4853,7 @@ own love-theme with a jig-like variation on a specially ugly instrument (the E flat clarinet) introduced into the orchestra for that purpose, and the use of the stern and majestic Plain Song -theme of the "Dies Ir" as a <i lang="la" xml:lang="la">cantus firmus</i>, to +theme of the "Dies Iræ" as a <i lang="la" xml:lang="la">cantus firmus</i>, to which the mocking laughter of witches (rushing past through the air in a huge weltering broomstick cavalcade) makes a kind of fantastic @@ -4948,7 +4910,7 @@ here be understood in its widest acceptation, and thus as including architectural, musical, graphic, plastic, and literary art. In one of the earliest <i lang="fr" xml:lang="fr">critiques</i> on his "Faust," which was -first performed at the Opra Comique in Paris in +first performed at the Opéra Comique in Paris in 1846, the opinion was expressed that he ought to have been a chemist, not a musician—a remark that gives extraordinary point to a piece of advice<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> @@ -4977,13 +4939,13 @@ flea and a rat's requiem, ending with an "Amen" chorus in mock ecclesiastical style, to say nothing of a scene in Pandemonium and an <i lang="fr" xml:lang="fr">orgie infernale</i>? Berlioz was a sort of a belated -medival. The very title, "Damnation de Faust," -is medival. Shakespeare and the other poets of +mediæval. The very title, "Damnation de Faust," +is mediæval. Shakespeare and the other poets of Renaissance and later times recognise the fate of a soul as a matter <i lang="la" xml:lang="la">sub judice</i> till the end of the world. But Berlioz had no more scruple than Dante in anticipating the Last Judgment. -Medival, too, is the coarseness of the scene in +Mediæval, too, is the coarseness of the scene in Auerbach's cellar; and the <i lang="fr" xml:lang="fr">chanson gothique</i>, about the King of Thule, sounds as if it had come to the composer as a reminiscence from some previous<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span> @@ -4995,13 +4957,13 @@ torture-chambers, with crusades and knight-errantry, with impossible heights of holiness and unimaginable depths of diabolism. But not to any of the defects or qualities rooted in the composer's -medivalism must we look for the +mediævalism must we look for the popularity which the work acquired in this country some thirty-four years after the original production in Paris and has retained ever since. What the general public enjoys is the superb peasants' chorus near the beginning, the arrangement of the -Rcoczy March, which is the finest piece of +Rácoczy March, which is the finest piece of military music in existence, the chorus and dance of sylphs, Margaret's Romance, and Mephistopheles' Serenade. Perhaps, too, a good many of @@ -5012,7 +4974,7 @@ the King of Thule, because no one who is musical at all can entirely fail to perceive the charm of that wonderful melody. It appeals to plenty of listeners who have no idea that there is anything -Gothic or medival about it.</p> +Gothic or mediæval about it.</p> <div class="sidenote"><h3>The Centenary @@ -5050,8 +5012,8 @@ not allowed to enter the promised land to which he had led his people; or, more literally, that Berlioz was not able to make really good use of his own discoveries, the importance of which is -to be recognised in the music of Wagner, Dvork, -Tchakovsky, and others who learned from Berlioz, +to be recognised in the music of Wagner, Dvoràk, +Tchaïkovsky, and others who learned from Berlioz, rather than in his own music. While admitting that later men, such as those mentioned, have used the Berlioz instrument to a more spiritual @@ -5070,7 +5032,7 @@ the most perfect, on the whole, of the extended works—is the "Faust," which must not be judged as an operatic version of Goethe's "Faust," but rather as a musical setting of the "Faust" story -in the racy and drastic manner of the medival +in the racy and drastic manner of the mediæval puppet plays, Goethe's drama being only used in so far as it affords suggestions for scenes of the well-salted and drastic animation that Berlioz @@ -5088,7 +5050,7 @@ been better rendered than in the first pages of ensuing peasant choruses are by far the best musical expression of that "sunburnt mirth" which outside the world of art is only possible -under a southern sky. The Rcoczy March as +under a southern sky. The Rácoczy March as orchestrated by Berlioz is not only the finest piece of military music in the world but is an immeasureably long way ahead of the next best piece. The @@ -5107,7 +5069,7 @@ by creating the rhythm and accent of laughter too monstrously whole-hearted and full-blooded for a mere man. Another miracle is the "Chanson Gothique" (about the King of Thule), which is, -as it were, the distilled essence of all medival +as it were, the distilled essence of all mediæval romances about lovesick maidens looking forth from their casements. In the latter part the composer falls a victim to his evil genius—the @@ -5183,7 +5145,7 @@ considerable),—and in the telling of this story he conveys lessons to the heart that are much too delicate for words. A good many composers have made "Faust" music of one kind or another. -Spohr and Schumann, Berlioz and Boto, Wagner +Spohr and Schumann, Berlioz and Boïto, Wagner and Liszt, all paid their tribute to the inexhaustible interest of the theme, besides Gounod—most superficial and consequently best known of them @@ -5230,7 +5192,7 @@ beautiful is the contrast between the fancy-free and the loving Gretchen. There is nothing in all music more rich and rapturous than the ensuing love-scene, which reminds one of the point in the -first act of "Die Walkre" where the doors swing +first act of "Die Walküre" where the doors swing open and reveals to the enchanted gaze of the lovers the spring landscape bathed in moonlight. But Liszt is here more to the point than Wagner. @@ -5257,7 +5219,7 @@ glaring case is the transformation music just before the entry of the "chorus mysticus," which has been conveyed bodily by Wagner, with only quite unimportant changes, into the third act of -"Die Walkre," after the words—"So streif' ich +"Die Walküre," after the words—"So streif' ich dir die Gottheit ab." But dozens of other ideas in Wagner's "Tristan" and "Siegfried" and Strauss's "Till Eulenspiegel" one here finds in @@ -5298,10 +5260,10 @@ all subsequent composers of genius, except two or three of the Latin races. In the early nineteenth century we made precisely the same mistake in regard to Mendelssohn and Schumann; now we -are making it once more by preferring Tchakovsky +are making it once more by preferring Tchaïkovsky to Strauss. But worse still is our mistake of refusing to listen to Liszt, without whom neither -Tchakovsky nor Strauss could have existed as +Tchaïkovsky nor Strauss could have existed as musical personages. Once more yesterday the superb Liszt Concerto in E flat was played and received with a kind of tolerance. Very fine @@ -5364,7 +5326,7 @@ powers that do not exist; and a man of genius who, without private means, had thrown up his employment and taken himself and his wife on a long journey to a foreign country in order to win recognition -in "la ville Lumire" must, in the course of three +in "la ville Lumière" must, in the course of three fruitless years, have felt something worse than misgiving. That Wagner did so feel is a matter not of speculation but of history. He has described<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span> @@ -5413,7 +5375,7 @@ Dramas.</h3> <p>Whatever may have happened in former years, it was scarcely possible to leave the theatre -after the "Gtterdmmerung" +after the "Götterdämmerung" performance on Saturday with any disposition to satirise the management for the failure of the stage effects in @@ -5436,7 +5398,7 @@ a great task nobly carried out, and the concluding fizzle, however tiresome and distressing to the stage managers, could but seem a trifling matter to any appreciative spectator. It is a terrible -business, that <i lang="fr" xml:lang="fr">finale</i> of "Gtterdmmerung." +business, that <i lang="fr" xml:lang="fr">finale</i> of "Götterdämmerung." Conceived in a mood of frenzied protest, it bears a peculiar stamp of extravagance and violence. It shows Wagner as an Anarchist of the Bakounine @@ -5451,7 +5413,7 @@ Wagner such bitterness of spirit as little men are saved from by their natural limitations, and it is that bitterness of spirit which finds expression in the smashing and burning and drowning of the -"Gtterdmmerung" <i lang="fr" xml:lang="fr">finale</i>. Heroes and demigods, +"Götterdämmerung" <i lang="fr" xml:lang="fr">finale</i>. Heroes and demigods, renouncing a hopeless conflict with the ugliness and meanness of the world, involve heaven and earth in one red ruin. Such is the @@ -5468,7 +5430,7 @@ they gave the public the only possible guarantee for adequate rehearsal. For that privilege London has had to wait twenty-seven years since the original production in Bayreuth, though "Die -Walkre" and "Siegfried" were long ago taken +Walküre" and "Siegfried" were long ago taken up into the ordinary Covent Garden repertory. There can be little doubt that "Rhinegold" is in all important respects the most difficult part of @@ -5541,10 +5503,10 @@ certain importance.</p> <p>In strong contrast with the embarrassment and falling back on the mere picturesque of the "Rhinegold" presentation was the rendering of -"Die Walkre" on Wednesday. A dramatic +"Die Walküre" on Wednesday. A dramatic interpretation of Wagner at all comparable to the musical interpretation which we derive from the -Liszt-Blow-Richter tradition is not for the +Liszt-Bülow-Richter tradition is not for the present, or for some time to come, to be expected. But, making allowance for the difference in standard between the musical and scenic arts, @@ -5554,9 +5516,9 @@ music's proper scenic background and framework as was given at Covent Garden on all but the first of the four evenings in the production of the<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span> present year. In the opening act of "Die -Walkre" the setting was adequate, and a +Walküre" the setting was adequate, and a strikingly well-balanced performance was given -by Mr. Van Dyck (Siegmund), Mr. Klpfer +by Mr. Van Dyck (Siegmund), Mr. Klöpfer (Hunding), and Mme. Bolska (Sieglinda). At the end of the only scene in which the three figure together Sieglinda, dismissed by her husband, @@ -5574,7 +5536,7 @@ peculiar atmosphere of that moment big with fate being successfully caught. Throughout the act Mr. Van Dyck's suppleness and resource were finely exemplified, the sombre figure of Mr. -Klpfer's Hunding contrasting effectively, while +Klöpfer's Hunding contrasting effectively, while Mme. Bolska did much by intelligent acting and good singing to compensate for a certain lack of personal adaptation to the part.</p> @@ -5631,7 +5593,7 @@ into a perfect woman, every phase of that development being touched with a kind of demonic power that makes it impossible for anyone altogether to miss the point. In the second act of -"Walkre" Brynhild comes forth on to the crags +"Walküre" Brynhild comes forth on to the crags in her shining armour, with helm and shield and corselet of steel. In the leave-taking with her obdurate father, who, against his better judgment, @@ -5647,7 +5609,7 @@ rhythmic for us at every moment. She is the vessel into which Wagner has poured the very finest vintage of his genius. No blackguardly characteristics of the <i lang="de" xml:lang="de">Uebermensch</i>, such as -develop so very freely in the Siegfried of "Gtterdmmerung," +develop so very freely in the Siegfried of "Götterdämmerung," are allowed to deform the figure and melody of the superb heroine, who to the end glows with intense and untainted life. Adequately @@ -5715,7 +5677,7 @@ Siegfried holds converse with the birds. Where there is room for improvement in the Covent Garden staging of these dramas is, above all, in the meteorological background of "Rhinegold" -and "Gtterdmmerung"; secondly, in the "Ride +and "Götterdämmerung"; secondly, in the "Ride of the Valkyries," which has not hitherto been done in a sufficiently spirited manner anywhere but in Paris; thirdly, in the final scene of conflagration @@ -5735,7 +5697,7 @@ final scene of "Rhinegold."</p> <p>Never have the musical splendours of the "Ring" been revealed to British audiences as in the past three weeks. The windy and cloudy -eloquence of the "Walkre" music and the heroic +eloquence of the "Walküre" music and the heroic pathos of Brynhild's leave-taking have long been pretty thoroughly appreciated, but not so the songs of the forge in "Siegfried," where Wagner @@ -5751,7 +5713,7 @@ and tumult of the instrumentation—all these things came out as never before at a performance in this country. So, too, with the long love duet of Siegfried and Brynhild and the ravishing trio -of the Rhine Maidens in the last act of "Gtterdmmerung." +of the Rhine Maidens in the last act of "Götterdämmerung." But, apart from such dazzling moments, the performances were in their completeness and sustained excellence an extraordinary @@ -5769,7 +5731,7 @@ progress, do we find the symbol of Nibelung hatred developing from a comical snarl into those<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span> monstrous and multitudinous yells that rend the welkin and dismay the soul amid the gathering -horror of the "Gtterdmmerung" tragedy. +horror of the "Götterdämmerung" tragedy. Persons who are in the habit of chattering about the <i lang="de" xml:lang="de">Leitmotiv</i> as though it were a nostrum might with advantage take note of a few such points. @@ -5893,7 +5855,7 @@ of another. Then comes further reflection and the inevitable question how it is done. Is it primarily by means of the music, which passes through the chambers of consciousness like the -fumes of an ansthetic, or does the peculiar +fumes of an anæsthetic, or does the peculiar potency lie in the dramatic symbols, for the elaboration of which the subtlest essences of a hundred arts seem to have been brought together? @@ -5910,7 +5872,7 @@ embroideries and jewels. In the first and last acts it has the atmosphere of a Christian sanctuary, and the second act, passing in Klingsor's garden, seems to represent the pleasures of sin as imagined -by the most innocent of medival monks. All +by the most innocent of mediæval monks. All this the orthodox moralist regards with some distrust as tending to create a distaste for hard work and cold water. But let him remember the @@ -5949,7 +5911,7 @@ multifarious choir-singing of boys and men was beautifully done; the only mistakes were made by Amfortas and Titurel. The conductor was Dr. Muck, of Berlin, whose <i lang="it" xml:lang="it">tempi</i> seem to have -been considered too slow by some of the <i lang="fr" xml:lang="fr">habitus</i>, +been considered too slow by some of the <i lang="fr" xml:lang="fr">habitués</i>, though his interpretation was admitted to be in all other respects above reproach.</p> @@ -5986,7 +5948,7 @@ place up in the clouds, down in the waters, or where the forges resound in the fiery caverns of Nibelheim, and not one of the characters is a plain human being. Gods, goddesses, giants, dwarfs, -and water nymphs make up the <i lang="la" xml:lang="la">dramatis person</i>, +and water nymphs make up the <i lang="la" xml:lang="la">dramatis personæ</i>, and the whole drama is more completely outside the range of ordinary operatic art than any other musical and dramatic work. It is therefore @@ -6048,7 +6010,7 @@ done probably better than ever before. Besides doing justice to the drama as an allegorical picture of life in the light of certain nineteenth-century ideas, the performance was a specially good -revelation of its amusing and navely entertaining +revelation of its amusing and naïvely entertaining qualities. Regarding the show simply as an enacted fairy-tale, one could not but call it a mighty good one, and that aspect of the matter @@ -6081,7 +6043,7 @@ Of course the instrumental came first, for without it there could have been no attempt to bring the new art before the world. Here the most important influence, in addition to the composer's own, was -that of Liszt, Blow, and Richter—the original +that of Liszt, Bülow, and Richter—the original stalwarts of the Wagnerian school. Next arose a new race of dramatic singers, of whom Schnorr von Carolsfeld, Niemann, and Materna were early @@ -6103,7 +6065,7 @@ display of musical embroideries. But a dramatic work with music as an integral part lay outside the range of all that was then believed to be possible, and long after the new race of dramatic -singers had arisen the peculiar problems of <i lang="fr" xml:lang="fr">mise-en-scne</i> +singers had arisen the peculiar problems of <i lang="fr" xml:lang="fr">mise-en-scène</i> and stage management which Wagnerian drama presents were left quite unsolved. However, no such battle had to be fought over the stage<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span> @@ -6152,14 +6114,14 @@ lady sidles up to Loge to inquire whether the gold cannot also be used to make nice ornaments for ladies.</p> -<p>In regard to "Walkre" and "Siegfried," which +<p>In regard to "Walküre" and "Siegfried," which have long been in the repertory of London, Paris, and other capitals, the superiority of Bayreuth is very much less certain—that is to say, of Bayreuth as represented by this year's performances. There was serious weakness in two out of the three great protagonists, Wotan and -Brnnhilde, and for that weakness no degree of +Brünnhilde, and for that weakness no degree of skill in the presentation of the finely fantastic and ever-shifting backgrounds could compensate, nor even the superb orchestral interpretation. The @@ -6168,8 +6130,8 @@ whole a very striking performance, as it was at Covent Garden in 1903. It was best in Acts i. and ii. of "Siegfried"—the forging of the sword and the slaying of the dragon, preceded and -followed by the wonderful forest <i lang="fr" xml:lang="fr">rverie</i>,—and it -was least good in the "Gtterdmmerung" scene, +followed by the wonderful forest <i lang="fr" xml:lang="fr">rêverie</i>,—and it +was least good in the "Götterdämmerung" scene, where the hero tells the story of his youth to his hunting companions. Here a certain lack of resource in purely lyrical expression was a serious @@ -6180,7 +6142,7 @@ the part without mutilation.</p> <p>No excellence in the staging and general interpretation<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span> could obviate or appreciably soften the -unsatisfactoriness of "Gtterdmmerung." The +unsatisfactoriness of "Götterdämmerung." The final drama of the "Ring" series remains a terrible monster among the dramatic works of mankind, with a dreary first and second act, in which little @@ -6193,13 +6155,13 @@ which the tragedy of the curse resting on the Ring is worked out remained, as before, almost intolerable; and, despite the ravishing Rhine-daughter music in the third act, the romantic beauty of the -"Erzhlung" (story of Siegfried's youth), and +"Erzählung" (story of Siegfried's youth), and the monumental grandeur of the funeral scenes, the last day of the trilogy left one with the old sense of oppression. As most persons are aware, the whole "Ring" drama began in the composer's mind with "Siegfried's Death"—that part which -is now called "Gtterdmmerung,"—and the other +is now called "Götterdämmerung,"—and the other three parts were written to lead up to it. Nevertheless the original nucleus remains the monstrous product of a disordered imagination, while the @@ -6208,7 +6170,7 @@ a series of masterpieces. Books, we know, have their fates, and the fate of this one is not the least curious. The experience of this year, while tending to show that the supposed defects of -"Rheingold," "Walkre," and "Siegfried" almost +"Rheingold," "Walküre," and "Siegfried" almost entirely vanish in a rendering that is harmonious on all sides, leaves one with a greatly increased sense of the final drama's inherent unsatisfactoriness.</p> @@ -6220,7 +6182,7 @@ of the final drama's inherent unsatisfactoriness.</p> -<h2 class="chapter"><a name="CHAPTER_VI" id="CHAPTER_VI">CHAPTER VI.</a><br /><span class="big"><b>——</b></span><br /><b>TCHAKOVSKY.</b></h2> +<h2 class="chapter"><a name="CHAPTER_VI" id="CHAPTER_VI">CHAPTER VI.</a><br /><span class="big"><b>——</b></span><br /><b>TCHAÏKOVSKY.</b></h2> @@ -6240,19 +6202,19 @@ doubt whether any other composer besides Wagner has ever withstood such a test quite satisfactorily. It was, of course, inevitable that the unparalleled wave of -popularity upon which Tchakovsky's "Pathetic" +popularity upon which Tchaïkovsky's "Pathetic" symphony has been carried over the country during the past two years should have had the result of bringing other works by the same composer to the fore. That result is in no way to be regretted. -Tchakovsky is a thoroughly interesting composer. +Tchaïkovsky is a thoroughly interesting composer. His power and originality can scarcely now be disputed, and, whatever may be the verdict upon his art arrived at by those competent to judge when the excitement of novelty shall have passed off, one fact seems already to be quite clear, namely, that he was a great master of the -orchestra. Listening to Tchakovsky's music for a +orchestra. Listening to Tchaïkovsky's music for a whole evening and comparing the new with former impressions may have revealed more defects and limitations than merits; but the experience confirms, @@ -6274,8 +6236,8 @@ it is sufficient alone to make a composer very famous. There remain, of course, certain questions about the self thus expressed, and not till we reach those questions do the defects and limitations of -Tchakovsky's art come into view. The great -prevalence of melancholy moods in Tchakovsky's +Tchaïkovsky's art come into view. The great +prevalence of melancholy moods in Tchaïkovsky's music is a matter of common observation. When he desires to shake off his habitually gloomy and brooding state, how does he set about it? Just as @@ -6286,27 +6248,27 @@ lighter music is bizarre or sardonic when it is not merely intoxicating. The enormous predominance of the rhythmical interest over every other kind of interest, such as that of melody or harmony, in -Tchakovsky's music, can scarcely have escaped +Tchaïkovsky's music, can scarcely have escaped notice; and rhythm is the lowest element in music; it is the element representing animal impulse, as shown by its preponderance in every kind of religious music (Palestrina, for example). The music of -Tchakovsky rocks, tramps, jigs, whirls, and flies<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span> +Tchaïkovsky rocks, tramps, jigs, whirls, and flies<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span> far more than it sings; and when it does sing it is either profoundly melancholy, bitterly sardonic, or merely bizarre. The composer has absolutely no serenity in his disposition, no love of nature or -of innocence, no navet, no calmness or coolness, +of innocence, no naïveté, no calmness or coolness, no healthy activity, no religion, though much picturesque patriotism, and very little intellectuality—only just enough for the purpose of expression. Such is the disposition revealed in -the art of Tchakovsky. Like Rubens, the painter, +the art of Tchaïkovsky. Like Rubens, the painter, he cares for nothing but exuberant animalism—for Rubens' Madonnas and other quasi-religious pictures are all just as much studies of exuberant animalism as his Venuses and his boar-hunts. -Tchakovsky, too, loves hunting; though his more +Tchaïkovsky, too, loves hunting; though his more special tastes are for fighting and military display, and for dancing. Such a character could not be otherwise than profoundly melancholy in the @@ -6316,7 +6278,7 @@ power, and his creations have their value. The fifth symphony, which was given yesterday, affords a most interesting comparison with the sixth and last. Such a nature as, according to our view, -Tchakovsky has revealed in his art would never be +Tchaïkovsky has revealed in his art would never be thoroughly dignified except in great grief or in some situation bringing his patriotism to the fore. This, we believe—added to the more complete @@ -6361,7 +6323,7 @@ Schumann, and indeed shows the spirit of that composer in one of his moods—that which produced <span lang="de">"Ich grolle nicht"</span>—very strongly. All the songs were interesting. In fact, the lyrical -power of Tchakovsky is so striking that it may be<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span> +power of Tchaïkovsky is so striking that it may be<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span> placed side by side with his mastery of the orchestra among those qualities which make him a great composer. All that has been said with @@ -6382,7 +6344,7 @@ F Minor.</h3> 1898.</em></p></div> <p>The fourth symphony of -Tchakovsky, which formed the +Tchaïkovsky, which formed the principal orchestral work at yesterday's concert, is full of life and zest, affording an @@ -6415,7 +6377,7 @@ the influence of any strong feeling, and simply revelling in his powers of gorgeous orchestration, ingenious thematic work, and marshalling of tone masses with a view to picturesque effect. -Tchakovsky is nearly always martial in one part +Tchaïkovsky is nearly always martial in one part or another of an orchestral work. In the great symphony the first movement has a ferocious section suggesting actual slaughter, while the @@ -6441,7 +6403,7 @@ composer is irresistible. The music is ballet-music,<span class="pagenum"><a nam not worthy of a symphony, but it is so exhilarating that there has to be a "truce with grimace." And the finale? On a former occasion we -have declared our view that none of Tchakovsky's +have declared our view that none of Tchaïkovsky's music except his last symphony has dignity, but probably in no other quasi-serious work has he committed himself to such an astounding piece of @@ -6471,7 +6433,7 @@ Overture.</h3> <p><em>December 14, 1900.</em></p></div> -<p>The case of Tchakovsky, with his +<p>The case of Tchaïkovsky, with his one great Symphony overtopping by such immeasurable heights all his other compositions of @@ -6490,7 +6452,7 @@ in the scherzo, of the triumphal note in the March, of the final despairing wail. But all else is faint and fragmentary by comparison with the great symphony. The "Romeo and Juliet" overture, -played yesterday, is probably Tchakovsky's +played yesterday, is probably Tchaïkovsky's best early composition, and it is certainly that which suggests the great last symphony in the most unmistakable manner. The poetic basis of @@ -6502,7 +6464,7 @@ in the overture is extremely well done—the fighting music is graphic and the love music is deeply fraught with feeling,—but it is not a bit Shakespearean in spirit. The peculiar neuralgic -pathos which haunts nearly all Tchakovsky's works +pathos which haunts nearly all Tchaïkovsky's works takes us into a fevered and unnatural atmosphere very unlike Shakespeare's; and the fighting is gory and realistic in the haggard manner of @@ -6533,21 +6495,21 @@ E Minor.</h3> <p>There is a great diversity of opinion as to the merits of -Tchakovsky's fifth Symphony. +Tchaïkovsky's fifth Symphony. More than one London critic has expressed the view that it is equal to the much-better known sixth and last. Mr. Jacques declares in yesterday's -programme that, though No. 6—the "Pathtique"—appeals +programme that, though No. 6—the "Pathétique"—appeals more strongly to the emotions, No. 5 is constructively the finer work. On the other hand, we have the opinion of the Russian critic Berezovsky—quoted together with the same writer's detailed account of the work in a recent English -book on Tchakovsky—that No. 5 is the weakest of +book on Tchaïkovsky—that No. 5 is the weakest of all the Symphonies. There is something rather depressing in such extreme divergence of opinion. -It proves one of two things;—either Tchakovsky +It proves one of two things;—either Tchaïkovsky is not one of the sane composers whose works stand in a certain clear relation to the musical needs of human nature; or else, for all our greatly @@ -6556,40 +6518,40 @@ were the men of Beethoven's day in our perceptions; and, in the absence of perception, we are even more tied down than were our predecessors by pedantic notions. The reception of the great<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span> -"Symphonic Pathtique" in this country disposes +"Symphonic Pathétique" in this country disposes of the former alternative. No other instrumental work ever aroused so great a wave of genuine public interest, and even persons who are no great -admirers of Tchakovsky ought, if they care for +admirers of Tchaïkovsky ought, if they care for the musical life of this country, to take an interest in him, on account of the astonishingly sudden and powerful grip that he took of the public imagination. It is not to externals—such as instrumentation, counterpoint, form, and so forth—that we must look for the explanation. Glazounoff -orchestrates no less brilliantly than Tchakovsky +orchestrates no less brilliantly than Tchaïkovsky and has probably a greater mastery of scholastic -device, and the same is true of Saint-Sans. Yet +device, and the same is true of Saint-Saëns. Yet neither of those masters ever did or could stir anything in the least like the interest that -Tchakovsky stirs. We believe the secret of -Tchakovsky lies first in his sincerity, his being in +Tchaïkovsky stirs. We believe the secret of +Tchaïkovsky lies first in his sincerity, his being in earnest, his intentness, his search after the true symbol of his idea or feeling, his rejection of mere fabricated music. In listening to Glazounoff one perceives the trotting out of device. "Note how cleverly," the composer seems to say, "how cleverly I introduce this theme in augmentation." -Whereas Tchakovsky is always intent on his idea, +Whereas Tchaïkovsky is always intent on his idea, and, when he uses device, it is with the air of a man deeply in earnest and grasping at a resource of expression. Thus the centre of gravity is with Glazounoff as often as not in the device, with -Tchakovsky always in the message, and with that +Tchaïkovsky always in the message, and with that dim sub-consciousness of the musical soul we perceive the one to be a cultivated trifler, the other a man with something important to say. That is -the first and chief point. Next comes Tchakovsky's +the first and chief point. Next comes Tchaïkovsky's gift of rhythm—the quality in music for which<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span> the general public of the present day cares most. When a person of rudimentary musical notions @@ -6600,7 +6562,7 @@ his perceiving it. The same taste exists in the higher stages of cultivation. A hundred times commoner than a real sense of melodic beauty is the love of a powerful rhythm that carries the -listener off his feet. Now Tchakovsky does that +listener off his feet. Now Tchaïkovsky does that for the listener much more often than any other composer. He first captivates by something in which his gift of rhythm plays a leading part, and, @@ -6613,7 +6575,7 @@ his vastness of design; his warmth of colouring, and his picturesque force. Needless to say, that to explain sudden and signal success with the general public there must always be a mention of -weak points. Among Tchakovsky's weak points +weak points. Among Tchaïkovsky's weak points that which has gained him most popularity is his persistent habit of presenting his ideas in a sort of balanced and antithetical manner. He does not @@ -6642,7 +6604,7 @@ One may go over all the orchestral composers from Haydn to Wagner and Brahms, asking oneself whether that theme could be by any one of them. Obviously it could not be the work of anyone else -except Tchakovsky. On hearing that theme for +except Tchaïkovsky. On hearing that theme for the first time the listener pricks up his ears. "Here is a man with something to say," he thinks. Now there is nothing of that kind in No. 5. The @@ -6684,7 +6646,7 @@ Symphony.</h3> <p>"Eighth time at these concerts," says last night's programme, in -reference to the great Tchakovsky +reference to the great Tchaïkovsky Symphony, which is only eight years old. The performances in London are to be @@ -6702,14 +6664,14 @@ this respect. There is astounding potency in the charm of the work and in the appeal that it makes to the imagination. For some time past we have been preoccupied with the notion that it forms a sort<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span> -of pendant to Dvork's "New World" Symphony. -Dvork has caught in his music the breezy, +of pendant to Dvoràk's "New World" Symphony. +Dvoràk has caught in his music the breezy, hopeful, democratic, optimistic, and free-thinking spirit of American life, with its upper side of furious go-ahead civilisation, and its under side of primitive humanity (Negroes and Red Indians) in which energy of feeling is out of all proportion -to intellectual faculty. Dvork's slow movement is +to intellectual faculty. Dvoràk's slow movement is undoubtedly a hymn of such primitive humanity, with an undercurrent of meditation on the prairie by night, in which the movements of sap and the @@ -6718,8 +6680,8 @@ inexhaustibly fertile nature become, as it were, audible. It is something like the poetry that Walt Whitman would have written had he been a much better poet. In an analogous manner -Tchakovsky has caught up and fixed in his -"Symphonie Pathtique" the soul of modern +Tchaïkovsky has caught up and fixed in his +"Symphonie Pathétique" the soul of modern Russia. Just as the American Symphony is breezy, democratic, optimistic, and free-thinking, so the Russian is languorous and oppressed, @@ -6744,7 +6706,7 @@ good many performances, especially in a place where there is a Richter to interpret it. Of course neither the "New World" nor the Muscovite Symphony is for a moment to be compared with -Beethoven. Fellows like Dvork and Tchakovsky, +Beethoven. Fellows like Dvoràk and Tchaïkovsky, belonging to the fringe of civilisation, have something of the savage about them, whereas Beethoven inherited the central European culture @@ -6752,7 +6714,7 @@ and expressed in music the emotions of a completely civilised character. The part of the nineteenth century subsequent to the death of Wagner will probably be remembered for the -<i lang="fr" xml:lang="fr">avnement</i> of the semi-savage in music. But, be +<i lang="fr" xml:lang="fr">avènement</i> of the semi-savage in music. But, be it remembered, music is an art of expression, and all thoroughly and richly expressive music is good music, no matter what the informing emotion or @@ -6929,7 +6891,7 @@ modern romantic variations was Schumann, whose "Etudes Symphoniques" revealed a fresh source of life in the form, that has proved less austerely inaccessible than Beethoven's; Brahms, -Tchakovsky, and many others having obviously +Tchaïkovsky, and many others having obviously derived inspiration from it. Mr. Elgar stands in a peculiar relation to the modern masters of variation-form. He seems to be much preoccupied @@ -6967,7 +6929,7 @@ according to the usual principles of contrast, and they are all extremely effective. However much the composer may call his theme an enigma—Berlioz called his variation-theme in an early -symphony <i lang="fr" xml:lang="fr">ide fixe</i>—one can scarcely escape the +symphony <i lang="fr" xml:lang="fr">idée fixe</i>—one can scarcely escape the impression that it represents the temperament of the artist, through which he sees his subjects; for that, and nothing else, is what forms the connecting @@ -7042,7 +7004,7 @@ existing expression in music of everything most un-Christian and anti-Catholic—has been performed without public protest in a British Cathedral. We here refer, of course, to the -"Symphonie Pathtique." Dr. Elgar is another +"Symphonie Pathétique." Dr. Elgar is another composer whose music means something; but what chance is there for us to understand him? One quails before the task of discussing in a concert @@ -7196,15 +7158,15 @@ an important question, but not one with which musical, or any artistic, criticism is concerned. For nothing is more certain about art than that it is subservient to a person's view of life. Artistic -or sthetic criticism must be humble, and must +or æsthetic criticism must be humble, and must abstain from trespassing on the ground of faith -and morals. Indirectly, indeed, sthetics may +and morals. Indirectly, indeed, æsthetics may have a bearing on these more serious subjects. For is it not written of religious doctrines, "By their fruits ye shall know them"?—and nothing else is in so complete a sense a "fruit" of a religion as a work of art arising therefrom. -Nevertheless, the function of sthetics is not to +Nevertheless, the function of æsthetics is not to commend or blame a view of life, but rather to enquire with what eloquence, with what sincerity, with what measure of convincing power the artist @@ -7263,7 +7225,7 @@ Priest (baritone), chanting "Proficiscere, anima Christiana." Among the supplications for the departed is a chant three times repeated, each of the two parts ending with a choral "Amen" that -bears a tender echo of the medival "Cantus +bears a tender echo of the mediæval "Cantus fictus." An extended section of chorus and semi-chorus bring the first part of the cantata to a peaceful and prayerful ending.</p> @@ -7311,7 +7273,7 @@ poem, fairly merits the epithet "Dantesque."</p> <p><b>Lower Rhine Festival,</b></p> -<p><b>Dsseldorf.</b></p> +<p><b>Düsseldorf.</b></p> <p><em>May 22, 1902.</em></p></div> @@ -7374,7 +7336,7 @@ interest. Full justice was done to the instrumental part of the work by the magnificent Festival orchestra of a hundred and twenty-seven performers. Those peculiar qualities of the -imagination which make of Dr. Wllner, jun., by +imagination which make of Dr. Wüllner, jun., by far the best representative of Gerontius as yet found were once more demonstrated, and the part of the Angel was given by Miss Muriel Foster @@ -7524,7 +7486,7 @@ study between.</p> <div class="sidenote"><h3>"Gerontius,"</h3> -<p><b>Hall Concerts.</b></p> +<p><b>Hallé Concerts.</b></p> <p><em>March 13, 1903.</em></p></div> @@ -7680,7 +7642,7 @@ Elgar's "Gerontius" a dramatic composition from beginning to end. To find fault with it for the absence of choral climax in the manner of Handel and Mendelssohn is as much out of place as it -would be with Wagner's "Tannhuser." On the +would be with Wagner's "Tannhäuser." On the other hand, we do not agree with the criticism that "Gerontius" is Wagnerian music. In two places there is a brief and faint suggestion of @@ -8013,7 +7975,7 @@ have done. He works on a great scale; in the handling of musical symbols he is not dismayed by tasks that might well be considered impossible, and he thus reminds one of the compliment which -Erasmus paid to Albrecht Drer—"There is +Erasmus paid to Albrecht Dürer—"There is nothing that he cannot express with his black and white—thunder and lightning, a gust of wind, God Almighty and the heavenly host."</p> @@ -8021,7 +7983,7 @@ Almighty and the heavenly host."</p> <div class="sidenote"><h3>"The Apostles,"</h3> -<p><b>Hall Concerts.</b></p> +<p><b>Hallé Concerts.</b></p> <p><em>February 26, 1904.</em></p></div> @@ -8128,7 +8090,7 @@ Thereupon are heard the watchers singing an echo of the music from the great sunrise scene at the beginning. After a dozen bars the fluting notes of a celestial chorus begin gliding in, and then we -have an example of that <i lang="fr" xml:lang="fr">naf</i> medivalism at +have an example of that <i lang="fr" xml:lang="fr">naïf</i> mediævalism at which the second part of "Gerontius" here and there hints. A kind of unearthly exhilaration begins to sound in the music. The Resurrection @@ -8212,7 +8174,7 @@ it has already acquired a good many nicknames. The "steam-roller" theme, it has been called; elsewhere, the "seven-league-boot" theme, the "Jack the Giant-killer," and, among Germans, -the "Siebentter" theme. In any case it is a +the "Siebentöter" theme. In any case it is a most extraordinary piece of musical expression, of a kind scarcely ever foreshadowed by any other composer, except once or twice by Beethoven, who @@ -8271,7 +8233,7 @@ which I beg to suggest is as broad as "God Save the King," "Rule Britannia," and "See the Conquering Hero," and is perhaps the broadest open-air tune composed since Beethoven's "Freude -schner Gtterfunken." Moreover, it is distinctively +schöner Götterfunken." Moreover, it is distinctively British—at once beefy and breezy. It is astonishing to hear people finding fault with Elgar for using this tune in two different @@ -8299,7 +8261,7 @@ frankly I find them uninspired.</p> <div class="sidenote"><h3>"Don Quixote,"</h3> -<p><b>Dsseldorf.</b></p> +<p><b>Düsseldorf.</b></p> <p><em>May 26, 1899.</em></p></div> @@ -8367,7 +8329,7 @@ to the rest of the work that, so far as I know, is unique. It is a preparation for the principal<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span> theme, successively emphasising all the different kinds of significance supposed to be contained in -that theme. First we have a nave, stilted, +that theme. First we have a naïve, stilted, and pompous phrase suggesting Don Quixote's absorption in the romances of chivalry. Succeeding passages touch upon the hero's pose @@ -8375,7 +8337,7 @@ of gallantry and the great predominance of imagination over reason which leads him into grotesque adventures. The psychological method of the composer causes him to lay stress on the -crisis forming the <i lang="fr" xml:lang="fr">point de dpart</i> of Don +crisis forming the <i lang="fr" xml:lang="fr">point de départ</i> of Don Quixote's career—a vow of atonement for sins and follies. At last we get the theme in its complete form—a masterpiece of droll characterisation,—and @@ -8434,7 +8396,7 @@ Strauss, is a typical example of his overwhelmingly rich and effective orchestration. It also exemplifies the peculiar quality of his design, -crowded with a Dreresque multiplicity of forms +crowded with a Düreresque multiplicity of forms and details, his indifference to symmetry and sustained rhythmical flow, and his systematic endeavour to render the musical medium less @@ -8449,7 +8411,7 @@ isolated, without any close analogue in the romance of other countries, Don Juan—a somewhat later creation—has much in common with several heroes of Germanic legend, such as -Tannhuser, the Wild Huntsman, and Faust. The +Tannhäuser, the Wild Huntsman, and Faust. The closest parallel is between Don Juan and Faust. Both are rebellious spirits; but Faust is ruined by intellectual pride, Juan by sensual passion. As @@ -8503,7 +8465,7 @@ masterpiece.</p> <div class="sidenote"><h3>"Don Juan,"</h3> -<p><b>Hall Concerts.</b></p> +<p><b>Hallé Concerts.</b></p> <p><em>January 18, 1901.</em></p></div> @@ -8568,7 +8530,7 @@ Eulenspiegel."</h3> 1902.</em></p></div> <p>"Till Eulenspiegel" was the -great medival <i lang="fr" xml:lang="fr">farceur</i>. His +great mediæval <i lang="fr" xml:lang="fr">farceur</i>. His name is well known to students of folk-lore. In Flemish books it figures as Thyl Uylenspiegel, @@ -8593,12 +8555,12 @@ figure of Till has appealed with the most extraordinary results to that composer who first brought into the domain of the musical art the specific qualities of the South German imagination, as -represented, for example, by Holbein, Drer, and +represented, for example, by Holbein, Dürer, and Adam Krafft. Incisive, graphic, ornate, and with<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span> no less unheard-of power of characterisation is Richard Strauss in his music than those other masters in their graphic or plastic achievements. -His "Till" reminds one of Drer's woodcut +His "Till" reminds one of Dürer's woodcut illustrations to the Apocalypse, but, of course, with colour added. And what colour! and what characterisation in the colour! He controls the @@ -8625,7 +8587,7 @@ the special province of music to express what cannot be expressed in any other way—what is too delicate, or too indelicate, to be expressed in any other way. The most wonderful quality of "Till" -is its medivalism. Listen to those triplets, in +is its mediævalism. Listen to those triplets, in four-part chromatic harmony for five solo violins with <i lang="it" xml:lang="it">sordini</i>, expressing the agony of terror into which Till is thrown by his own wicked mockery @@ -8654,7 +8616,7 @@ eminent South German composer would have found it necessary to be so persistently galvanic in his procedure had he not addressed a musical generation that is too fond of taking opium with -Tchakovsky; whether it is with Eulenspieglish +Tchaïkovsky; whether it is with Eulenspieglish intent that he sets so many unsophisticated love-song texts to music that betrays contempt of mere lyrism, or whether he genuinely misunderstands @@ -8673,7 +8635,7 @@ horror, was such that it had to be repeated. Nothing about Strauss is more disquieting than<span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span> his after-effect on the musical palate. Whether one likes his style or not, any other sounds are tame -by contrast with it, and a naf and mild composer +by contrast with it, and a naïf and mild composer such as Grieg (the Hans Andersen of music) seems almost bread-and-butter.</p> @@ -8681,7 +8643,7 @@ almost bread-and-butter.</p> <div class="sidenote"><h3>"Faust Symphonie,"</h3> -<p><b>Dsseldorf.</b></p> +<p><b>Düsseldorf.</b></p> <p><em>May 23, 1902.</em></p></div> @@ -8749,7 +8711,7 @@ a process of sharp self-examination.</p> <div class="sidenote"><h3>"Tod und -Verklrung."</h3> +Verklärung."</h3> <p><em>October 17, 1902.</em></p></div> @@ -8780,7 +8742,7 @@ the wrong. He has in a few cases played tricks on the public, but he is nevertheless a master-composer, in the full and simple sense of those words—a master-composer just as Mozart was. In -"Tod und Verklrung" we find him in a mood +"Tod und Verklärung" we find him in a mood of absolute seriousness. The theme is a death-bed scene, the phantasmagoria of a sick brain during the last moments of earthly consciousness, the @@ -8810,13 +8772,13 @@ restraint in depicting the terrors of the struggle with death. It cannot be denied that Strauss is greatly preoccupied with such ideas. He has set the very article of death to music on at least four -different occasions ("Tod und Verklrung," "Don +different occasions ("Tod und Verklärung," "Don Juan," "Till," and "Don Quixote"). The hanging of "Till" is inconceivably drastic in its realism, and the last sigh of Don Quixote is the most unearthly thing in all music. Don Juan's death is purely <i lang="fr" xml:lang="fr">macabre</i>; but in "Tod und -Verklrung" a certain suggestion of the <i lang="fr" xml:lang="fr">macabre</i> +Verklärung" a certain suggestion of the <i lang="fr" xml:lang="fr">macabre</i> gives way to something very different—the suggestion of the soul rising to immortality; and thus is initiated the final section, dominated by @@ -8877,9 +8839,9 @@ musical centres, has displayed the readiest appreciation of Strauss—the great and typical modern. It is the part of the country served by the Scottish Orchestra, where "Tod und -Verklrung" has before now been chosen for performance -at a <i lang="fr" xml:lang="fr">plbiscite</i> concert. This seems very -natural, for "Tod und Verklrung" is the +Verklärung" has before now been chosen for performance +at a <i lang="fr" xml:lang="fr">plébiscite</i> concert. This seems very +natural, for "Tod und Verklärung" is the clearest, simplest, and least heterodox of Strauss's orchestral works, and much easier to understand at a first hearing than Beethoven's C minor @@ -8891,7 +8853,7 @@ eccentricity. We can only hope that after hearing large order—some of our conscientious objectors may reconsider their position. The extraordinary thing is that it was better received than the far -more generally comprehensible "Tod und Verklrung." +more generally comprehensible "Tod und Verklärung." This was no doubt, in part, due to sheer astonishment, but also, we believe, to the perception that whatever else there may be in the work there @@ -9014,7 +8976,7 @@ nothing whatever for music. It is a monstrous excrescence and blemish—a product of musical insanity, bearing no trace whatever of that genius which produced the lovely and perfect "Tod und<span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span> -Verklrung" and the superbly racy and pithy +Verklärung" and the superbly racy and pithy orchestral Scherzo "Till Eulenspiegel."</p> <p>The expression of such views carries with it the @@ -9171,7 +9133,7 @@ very broad kind of recognition.</p> <h2 class="chapter"><a name="CHAPTER_IX" id="CHAPTER_IX">CHAPTER IX.</a><br /><span class="big"><b>——</b></span><br /><b>CHAMBER MUSIC.</b></h2> -<div class="sidenote"><h3>Dvork<br /> +<div class="sidenote"><h3>Dvoràk<br /> <small>Quintet in A Major.</small></h3> <p><em>February 2, @@ -9184,7 +9146,7 @@ on anything but democratic principles, the percussion instrument standing to the others in very much the same relation as Jupiter to his -satellites. But the splendid quintet by Dvork +satellites. But the splendid quintet by Dvoràk given last night forms an honourable exception to this principle, the Bohemian composer's well-known preference for bow instruments having apparently @@ -9201,7 +9163,7 @@ beautiful accompanying passages constructed from chords in extended position. The second movement bears the name "Dumka," which, we believe, was first used as the name of a musical movement -by Dvork, or at any rate first became familiar to +by Dvoràk, or at any rate first became familiar to the world in general through his works. It is<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span> derived from a Slavonic root meaning "to think," and may be taken as something like the equivalent @@ -9224,7 +9186,7 @@ The finale is dominated by a dance theme in double time of enormous energy and vivacity.</p> -<div class="sidenote"><h3>Dvork<br /> +<div class="sidenote"><h3>Dvoràk<br /> <small>Quartet, Op. 96.</small></h3> <p><em>December 6, @@ -9247,16 +9209,16 @@ the wonderful Bohemian composer's American period. That music has taught some of us a rather important lesson. The value of folk-melody has long been recognised, but until these works by -Dvork became known it was pretty generally +Dvoràk became known it was pretty generally thought that Negro tunes formed an exception to the principle that all sincere, unsophisticated, and original musical utterance has artistic value. -Dvork has taught us the danger of regarding any +Dvoràk has taught us the danger of regarding any natural thing as common or unclean. He has shown that Negro melody may give rise to beautiful works of art no less than Irish, Hungarian, or -Scandinavian melody. Dvork is the most impossible -to classify of all composers. He is naf +Scandinavian melody. Dvoràk is the most impossible +to classify of all composers. He is naïf and yet a master of complex and ingenious design; a scorner of scholastic device and at the same time a successful worker in the classical forms; the @@ -9341,7 +9303,7 @@ animation and perfection of detail.</p> <p><em>January 15, 1903.</em></p></div> -<p>The association of Lady Hall +<p>The association of Lady Hallé and Dr. Brodsky in Bach's Concerto for two violins yesterday brought together by far the @@ -9395,7 +9357,7 @@ Quartet, which occupies quite forty-five minutes in performance, is remarkable for an opening movement in which adagio and allegro sections alternate with wayward frequency, for the curious fourth -movement in a sort of Lndler rhythm, and for the +movement in a sort of Ländler rhythm, and for the Cavatina in E flat preceding the Finale. It is capricious and multifarious, but has neither the abstruseness nor the occasional violence of the @@ -9405,10 +9367,10 @@ and Sonatas.</p> <p><span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span></p> -<div class="sidenote"><h3>Tchakovsky<br /> +<div class="sidenote"><h3>Tchaïkovsky<br /> <small>Quartet in D Major.</small></h3></div> -<p>Tchakovsky's first Quartet is +<p>Tchaïkovsky's first Quartet is chiefly remembered in connection with the Andante, which makes a peculiar appeal to the imagination. @@ -9418,7 +9380,7 @@ of the muted instruments are such as one associates with "soft Lydian airs" that merely play upon the senses without further significance, there is in this movement a strange mystical exaltation that is not -often met with in Tchakovsky. It sounds like a +often met with in Tchaïkovsky. It sounds like a dream of the shepherds who watched their flocks by night and heard the angels sing, or an illustration of some kindred theme in which a homely and @@ -9433,7 +9395,7 @@ speak with such free, ready, and natural eloquence.</p> -<div class="sidenote"><h3>Tchakovsky<br /> +<div class="sidenote"><h3>Tchaïkovsky<br /> <small>Trio in A Minor.</small></h3> <p><em>February 26, @@ -9443,7 +9405,7 @@ eloquence.</p> that one hears and reads occasionally on such "In Memoriam" pieces as -Tchakovsky's noble Trio, written +Tchaïkovsky's noble Trio, written in honour of Nicolas Rubinstein—brother of the more famous Anton and a pianist of nearly equal eminence. The psychological basis @@ -9455,7 +9417,7 @@ if not for the third time. Frequenters have therefore enjoyed unusually good opportunities of becoming acquainted with the music, which we regard as on the whole the best example of -Tchakovsky's chamber composition. As in +Tchaïkovsky's chamber composition. As in Schubert's "Wanderer Fantasie," the centre of the whole is the theme of the second movement—a beautiful and expressive strain that, in the composer's @@ -9504,7 +9466,7 @@ throughout of paramount importance. Like Dr. Brodsky, Mr. Siloti was an intimate friend of the composer, and as he is also an acknowledged master of pianoforte technique and a highly accomplished -musician, his Tchakovsky interpretations have a +musician, his Tchaïkovsky interpretations have a certain authority. Moreover, no living instrumentalist can charm a melody into life in a more suave and natural manner, and the lines of a composition @@ -9521,7 +9483,7 @@ fine entry.</p> <p><span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span></p> -<div class="sidenote"><h3>Csar Franck<br /> +<div class="sidenote"><h3>César Franck<br /> <small>Quintet in F Minor.</small></h3> <p><em>December 12, @@ -9536,7 +9498,7 @@ his lofty ideal as a musical artist, and of his quite marvellous originality. Judging by such a composition, one would hardly claim the gift of melodic charm -for Csar Franck. He has little or no +for César Franck. He has little or no lyrism, and he seems to be chiefly interested in delivering music from the bondage of the tonic and dominant system, while calling upon each instrument @@ -9565,7 +9527,7 @@ system is disconcerting at first. The composer<span class="pagenum"><a name="Pag seems to insist that two chords so unlike tonic and dominant as F major and D flat minor (if anyone thinks there is no such key he cannot have studied -Csar Franck) will do just as well for the main +César Franck) will do just as well for the main props of an extended composition; and he has all the best of the argument. The technical interest of the work is of the keenest from beginning to @@ -9573,19 +9535,19 @@ end; but the poetic interest seems to develop slowly, the imaginative play being nowhere as definite as in the finale, which begins with strong passages of extreme nervous agitation and culminates in a -tumultuous <i lang="fr" xml:lang="fr">dnoment</i> with strong reiterated insistence +tumultuous <i lang="fr" xml:lang="fr">dénoûment</i> with strong reiterated insistence on the two chords aforementioned, above which the strings rush towards their point of repose in a unison of unparalleled energy and breadth. The subtle and heavy emotion of the slow movement reminds one of Maeterlinck. -Csar Franck (1822-90) was a Ligeois who +César Franck (1822-90) was a Liégeois who migrated to Paris, where he became the founder of the young French school—that school of which Mr. Vincent d'Indy is now the principal ornament. Another follower, much less truly distinguished than d'Indy but better known in this country, is -Gabriel Faur. Franck is the only great composer +Gabriel Fauré. Franck is the only great composer that Belgium has produced in modern times. The task of interpreting the wonderful Quintet was one of the most formidable that Dr. Brodsky and his @@ -9625,7 +9587,7 @@ great reputation. In his rendering of Schumann's "Paganini" intermezzo, occurring in the middle of the slow waltz, gave a foretaste of the quite extraordinary technical powers which were more -fully displayed later on. The "Davidsbndler" +fully displayed later on. The "Davidsbündler" finale was played with less noise and more subtlety than is usually bestowed upon this curious march, with the Grossvaterstanz creeping in unobserved, @@ -9633,7 +9595,7 @@ much as the "Marseillaise" creeps into the "Faschingschwank in Wien" by the same composer. In certain numbers the pianist showed a tendency to prefer pieces of a secondary and -almost trivial character such as the "Rondo +almost trivial character such as the "Rondo à Capriccio" to which Beethoven has given the whimsical sub-title "Rage over the lost penny stormed out in a Caprice." Not that this work is<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span> @@ -9656,7 +9618,7 @@ the least trace of those licences which even first-rate players commonly allow themselves in order to facilitate such manœuvres. To the ear the effect was absolutely that of three independent -hands. The "Erlknig" transcription, on the +hands. The "Erlkönig" transcription, on the other hand, was much less impressive. It was performed with an exaggerated <i lang="it" xml:lang="it">tempo rubato</i>, and was altogether too noisy. Of the Chopin Nocturne @@ -9755,7 +9717,7 @@ common between that clumsy dance of Western Europe called the Polka Mazurka and the elaborate figure dance the music of which has been so wonderfully idealised in the Mazurkas of -Chopin, Tchakovsky, Winiawski, Moszkowski, +Chopin, Tchaïkovsky, Wiéniawski, Moszkowski, and Scharwenka.</p> @@ -9803,7 +9765,7 @@ it was a failure at Leipsic in 1859, when that centre of enlightenment was given up to the Mendelssohn cult! After the composer himself, the first pianist to take up the Concerto was Hans -von Blow, who with a performance at a Philharmonic +von Bülow, who with a performance at a Philharmonic Concert in Berlin won early recognition of its surpassing merit. Other performers who contributed towards the success of the work with @@ -9886,7 +9848,7 @@ work of that curious composer, who made a great reputation as a pianist though he scarcely ever played in public, and some reputation as a composer though he never did anything more original -than the pianoforte Etude "Si oiseau j'tais," and +than the pianoforte Etude "Si oiseau j'étais," and for the most part rested satisfied with giving enfeebled reproductions of Chopin's ideas thinly disguised by arpeggio accompaniments in extended @@ -9973,7 +9935,7 @@ of the variations, too, contain examples of graceful movement, but there is not much more to be said for them. They are not for a moment to be compared<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span> with the typical modern works in variation -form, such as Mendelssohn's "Variations Srieuses," +form, such as Mendelssohn's "Variations Sérieuses," Schumann's "Etudes Symphoniques," or the variations on a chorale of Haydn by Brahms. The one really fine work of considerable scope for pianoforte @@ -10018,7 +9980,7 @@ with consummate ability. Mr. Siloti rendered the solo part with the restraint and the mature mastery of his resources that are characteristic of him. He tears no passion to tatters; he does not play "in -Ercles' vein"; the tricks of the "Oktavenbndiger" +Ercles' vein"; the tricks of the "Oktavenbändiger" delight him not; nor does he tickle and paw the notes in the velvety-ineffable style. Mr. Siloti is so considerate as not to obliterate the composer in @@ -10083,7 +10045,7 @@ has, nevertheless, a legitimate place in the Palace of Art, being nothing more than the logical development to the highest possible point of the <i lang="it" xml:lang="it">bravura</i> style that originated with Liszt. The -latter of the two variations on "<i lang="it" xml:lang="it">L ci darem</i>"—that +latter of the two variations on "<i lang="it" xml:lang="it">Là ci darem</i>"—that section which precedes the entry of the champagne song—is the most bewildering and repugnant<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span> part of the piece to the general public. @@ -10260,7 +10222,7 @@ in thirds for the right hand. In playing the exquisite F minor Concert Etude by Liszt he deliberately kept the tone down to a minimum, to avoid the buzz and confusion as far as possible. -Liszt's transcription of the "Tannhuser" Overture +Liszt's transcription of the "Tannhäuser" Overture was used for the display piece that audiences expect at the end of a recital. It is characteristic of Mr. Godowsky that his favourite amusement is @@ -10326,7 +10288,7 @@ wrote things of such power and eloquence as the "Mazeppa" Etude. Mr. Lamond's mind seems recently to have been running on Liszt's Tarantelle Fantasias. He played the "Venezia e Napoli" -Tarantelle at the Hall Concert and the "Muette +Tarantelle at the Hallé Concert and the "Muette de Portici" Tarantelle yesterday—both pieces which are chiefly of interest as proving that Liszt could improvise effectively upon any conceivable @@ -10362,7 +10324,7 @@ have rebelled against the hothouse atmosphere of the composition. The opening performance of Schumann's "Carnaval" was powerful and distinguished, but too broad in style to be in -keeping with the sub-title "Scnes mignonnes." +keeping with the sub-title "Scènes mignonnes." On neither of these recent occasions has Mr. Lamond played anything of his own, though he has composed plenty of effective stuff for his @@ -10426,7 +10388,7 @@ scarcely expects to find in a work composed so long before Beethoven's time, and the finale brings the work to a close upon a note of simple and hearty feeling. If strong contrast with the style of Bach -was desired, the Saint-Sans concerto was well +was desired, the Saint-Saëns concerto was well chosen for the second example of violin music. Rich in colouring and surcharged with sensuous delights, the modern Frenchman's composition @@ -10470,9 +10432,9 @@ are the most obvious qualities of Mr. Ysaye's art. He is not a genuine classic, like Joachim. Bach and Beethoven he plays in virtue of infallible artistic <i lang="fr" xml:lang="fr">savoir vivre</i>; but he is obviously in fuller -sympathy with a Sonata or Concerto by Saint-Sans, +sympathy with a Sonata or Concerto by Saint-Saëns, a Suite by Vieuxtemps, or a Fantasia by -Winiawski. Yet that artistic <i lang="fr" xml:lang="fr">savoir vivre</i> is so +Wiéniawski. Yet that artistic <i lang="fr" xml:lang="fr">savoir vivre</i> is so complete that it is nearly always impossible to find specific fault with his renderings of the classics. This was the case yesterday in the Bach Sonata, @@ -10484,11 +10446,11 @@ Vieuxtemps Suite, too, was given with such beauty of tone that the superficiality of the composition was entirely disguised, the slow movement sounding almost as though Bach had written it. In the<span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span> -concluding sonata—a late work by Saint-Sans—it +concluding sonata—a late work by Saint-Saëns—it is scarcely necessary to say that the violin-playing was perfect. Perhaps some of the listeners remembered a performance by the same violinist -of Saint-Sans's Third Concerto at a Hall Concert +of Saint-Saëns's Third Concerto at a Hallé Concert not long ago. Again yesterday we were treated to such playing as bewilders the senses and seemed to place the transcendental cleverness of the French @@ -10563,7 +10525,7 @@ scrap of Bach that he played yesterday—the unaccompanied Prelude in E major—was not<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span> specially well done, and how he plays Beethoven, Mozart, or any of the great masters we do not -know at all. His most <i lang="fr" xml:lang="fr">recherchs</i> effects of tone +know at all. His most <i lang="fr" xml:lang="fr">recherchés</i> effects of tone Mr. Kubelik seems to hold in reserve for the encore pieces. In the allegretto movement of the Grieg Sonata—a most tenderly homesick and lovesick @@ -10662,7 +10624,7 @@ Franz Schubert of Dresden—not, of course, the famous Schubert, but a violinist who died some twenty-five years ago; an arrangement by Marcello Rossi of the "Song without Words" in F, by -Tchakovsky; and, finally, the Allegretto grazioso +Tchaïkovsky; and, finally, the Allegretto grazioso from the same Nardini Sonata, played as an encore piece. "L'Abeille"—a clever show-piece in perpetual motion triplets, played with a mute @@ -10889,7 +10851,7 @@ chilling, afflicting, alienating effect on a soul in which any spark is left either of youthfulness or of sympathy with youth. Stanford's musical<span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span> cleverness, exceeding that of any other mortal -except Camille Saint-Sans, has been his bane. +except Camille Saint-Saëns, has been his bane. His sense of humour, too, is perversely adjusted. In connection with any but an Irish subject it is always liable to mislead him, and I have little @@ -11016,7 +10978,7 @@ of his first triumphs was Covent Garden Theatre, where he was accustomed to appear in composite operatic entertainments, his own part being almost invariably written by himself. A few years after -the London <i lang="fr" xml:lang="fr">dbut</i> of Braham the penny-whistle +the London <i lang="fr" xml:lang="fr">début</i> of Braham the penny-whistle melodies of Sir Henry Bishop sufficed to make him the most popular composer of the day. In 1810, when Bishop became director at Covent Garden, @@ -11028,7 +10990,7 @@ for a very long time already. But there was no Philharmonic Society, no genuine opera, no Saturday and Monday popular concerts of chamber-music, no Academy or College of Music, no Crystal -Palace or Hall orchestra. The great choral +Palace or Hallé orchestra. The great choral associations, independent of Cathedral authorities, had not yet been formed, and England was far too much isolated from the rest of the world in regard @@ -11132,12 +11094,12 @@ on the formation of taste, were the more regular visits of distinguished Continental performers, some of whom, indeed, not only came regularly but came to stay. Of these the most important -were Mr. (afterwards Sir Charles) Hall, who in +were Mr. (afterwards Sir Charles) Hallé, who in 1857 founded the Manchester concerts that still bear his name; Mr. August Manns, who became conductor at the Crystal Palace in 1855; and Dr. Richter, who has been our regular visitor since -1877 and is now, to the great credit of the Hall +1877 and is now, to the great credit of the Hallé Committee and their supporters, living in our midst. Scarcely less important among such foreign influences making for the welfare of musical art @@ -11187,7 +11149,7 @@ for the improvement of musical education during the intervening period Mr. John Hullah's is worthy of specially honourable mention. After studying popular musical education in France, and especially -the Orphon movement, Mr. Hullah began classes +the Orphéon movement, Mr. Hullah began classes at Exeter Hall for the musical instruction of schoolmasters, and thus originated the vast development of musical training in English @@ -11226,7 +11188,7 @@ we make a somewhat similar mistake in regard to Mendelssohn and Schumann, and it is even possible to recognise the same unfortunate tendency at the present day in the public attitude towards Richard -Strauss and Tchakovsky respectively, the former +Strauss and Tchaïkovsky respectively, the former a rugged composer teeming with ideas and varied suggestions, the other a remarkable painter in tones but peculiarly restricted in the range of his @@ -11268,7 +11230,7 @@ his orchestral concerts, gradually opened the ears of the public and brought home the music to their hearts. In that task he was well supported by Mr. Manns at the Crystal Palace and by Sir Charles -Hall in the Manchester neighbourhood. Hence +Hallé in the Manchester neighbourhood. Hence the fact that though the two impresarios who gave performances of the great "Ring" drama in London in the eighties incurred grievous loss, Mr. Schultz @@ -11422,7 +11384,7 @@ impossible of performance.</p> that along with Wagner certain performing musicians, who were not so easily frightened, had been ripening towards their life's task. From -Liszt and Von Blow presently came demonstrations +Liszt and Von Bülow presently came demonstrations of the fact that Wagner's music was not so impossible as at first thought to be, though requiring a method of interpretation different from @@ -11433,13 +11395,13 @@ and, whatever may be thought of the style of that pamphlet, it is beyond question that it marks the beginning of a new era in the history of orchestral music. Besides Richter, all modern conductors -of world-wide reputation—Blow, Levi, Seidl, +of world-wide reputation—Bülow, Levi, Seidl, Weingartner and Richard Strauss—were found in the same school. They learned from Wagner how to play Beethoven, and their method has revolutionised the musical world.</p> -<p>Now that Blow is gone, the acknowledged +<p>Now that Bülow is gone, the acknowledged leader and master of them all is Hans Richter, the incarnate genius of musical interpretation.</p> @@ -11494,7 +11456,7 @@ two men which only terminated at Wagner's death.</p> <p>Trial performances with orchestras brought -together from the musicians of Zrich and +together from the musicians of Zürich and Lucerne quickly convinced the Wagnerian circle of Richter's genius for selecting, training and conducting an orchestra, while the preparation of @@ -11524,7 +11486,7 @@ Nevertheless, everything was carried through to a brilliantly successful issue, and the first performance of "Meistersinger," which took place at Munich in June, 1868, was really the first great -triumph of the Wagnerian cause. Though Blow +triumph of the Wagnerian cause. Though Bülow was at the conductor's desk, it is unquestionable that the labour of Hercules, which was necessary to bring the work to a first hearing, was performed @@ -11545,15 +11507,15 @@ entire work, and on one occasion, at any rate, he enacted one of the characters. The qualities<span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span> exhibited by Richter in connection with the production of "Meistersinger" caused him to be -appointed fellow-director with Blow at the Royal -Opera in Munich, and when Blow resigned in the +appointed fellow-director with Bülow at the Royal +Opera in Munich, and when Bülow resigned in the following year Richter stood alone in that post.</p> <p>The impatience of the King of Bavaria to have Wagner's immense "Nibelung" trilogy performed was the cause of a premature attempt to present "Rheingold" before the extraordinary -<i lang="fr" xml:lang="fr">mise-en-scne</i> required by that work was ready. +<i lang="fr" xml:lang="fr">mise-en-scène</i> required by that work was ready. Rather than take part in an unworthy rendering, Richter tendered his resignation and quitted the brilliant post to which he had been so recently @@ -11563,8 +11525,8 @@ nothing else in view. He simply had to look about for employment, and we next find him in Paris, working in combination with Pasdeloup, who was engaged in a scheme for bringing out "Rienzi" -at the Thatre Lyrique. The scheme came to -nothing, but the authorities of the Thatre de la +at the Théatre Lyrique. The scheme came to +nothing, but the authorities of the Théatre de la Monnaie in Brussels, who had heard of Richter's fame, invited him to come and superintend the first production of "Lohengrin" in French which @@ -11691,7 +11653,7 @@ old-fashioned orchestras never played anything but mezzo-forte); mastery of Wagner's system of phrasing, his far-reaching investigations with regard to <i lang="it" xml:lang="it">cantabile</i> passages, his treatment of -<i lang="it" xml:lang="it">fermate</i>, his distinction between the naf <i lang="it" xml:lang="it">allegro</i> +<i lang="it" xml:lang="it">fermate</i>, his distinction between the naïf <i lang="it" xml:lang="it">allegro</i> and the poetic <i lang="it" xml:lang="it">allegro</i>; mastery and practical<span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span> realisation of all Wagner's other ideas concerning musical interpretation or public performances, a @@ -11733,7 +11695,7 @@ Germany on account of Protestant convictions. Friedrich Nietzsche was born in 1844. He received a classical education, and at twenty-eight years of age became Professor of Classical Philology in the -University of Ble; but throughout life his love +University of Bâle; but throughout life his love of art, and especially of music, remained an absorbing passion. It appears that his musical instinct was first aroused by the works of Schumann, @@ -11743,17 +11705,17 @@ ardent of Wagnerians, and finally the fiercest of Wagner's assailants. Nietzsche's earliest writings are academic monographs on various classical subjects, the brilliant scholarship of which led to -his appointment at Ble. The philosophical essays +his appointment at Bâle. The philosophical essays began to appear towards his thirtieth year, during<span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span> -his professorship at Ble. There are verses, too, +his professorship at Bâle. There are verses, too, by Nietzsche which exhibit a genuine poetic faculty. The manner and order of Nietzsche's mental awakening is worthy of attention—first, the love of music, leading to a general interest in art; next, philological studies, originally undertaken, -in the opinion of his sister Madame Frster-Nietzsche, +in the opinion of his sister Madame Förster-Nietzsche, as a relief from the feverish problems -of modern sthetics, and pursued to such purpose +of modern æsthetics, and pursued to such purpose that he became a master of Roman and Greek learning. His writings also reveal a wide knowledge of Hebrew and Indian literature, @@ -11768,7 +11730,7 @@ were on both sides of exceptional energy, ability, and character. There is also abundant testimony to the simplicity, amiability, and charm of his personal character. His friends and colleagues at -Ble seem to have had no suspicion of the explosive +Bâle seem to have had no suspicion of the explosive energies which appear in his writings. His tastes were throughout life reserved and fastidious, and the ultimate breakdown of his mind can only be @@ -11837,7 +11799,7 @@ of the striving after perfection to be found in the history of mankind, while the "Antichrist," the last essay in the volume now before us, is a new and more formidable version of the Voltairian -"Ecrasez l'Infme," a furious denunciation not +"Ecrasez l'Infâme," a furious denunciation not merely of Christian dogma, but also, and more especially, of the ethical principles that are the essence of the Christian system for the modern @@ -12040,7 +12002,7 @@ fact, "reverted to type," and from 1876 onwards he figures as a feudal aristocrat in exile.</p> <p>In his general type of culture Nietzsche was -very un-English. The questions of sthetics have +very un-English. The questions of æsthetics have never been treated in this country as anything but an affair of dilettantes—at best a superior kind of trifling; whereas for Nietzsche they were a matter @@ -12075,7 +12037,7 @@ and leading have had nothing important to say about music, whereas for Nietzsche, a scholar and critic of commanding reputation, music was the one art possessing genuine vitality in the modern -world, and the questions of musical sthetics were +world, and the questions of musical æsthetics were anything but an affair of dilettantes; they were the questions connected with a tremendous power for good or evil.</p> @@ -12227,7 +12189,7 @@ as Nietzsche understands him, the decadent. Christianity, according to Nietzsche, has made decadence into a religion, Schopenhauer has turned it into a philosophy, Wagner into an -sthetic theory. Hence the constant polemic +æsthetic theory. Hence the constant polemic against all three which recurs in all Nietzsche's writings. The "Genealogy of Morals" is devoted to the exposition of a favourite theory of @@ -12297,7 +12259,7 @@ which I first went.)</p> <p>Page <a href="#Page_41">41</a>, missing "on" added. (... a man of genius who, without private means, had thrown up his employment and taken himself and his wife on a long journey to a foreign country in order to win recognition in "la -ville Lumire" must, in the course of three fruitless years, have felt +ville Lumière" must, in the course of three fruitless years, have felt something worse than misgiving.)</p> <p>The absence of the sub-heading, I., in <a href="#CHAPTER_V">CHAPTER V</a> has been kept true to the @@ -12306,12 +12268,12 @@ original.</p> <p>Page <a href="#Page_42">42</a>, "aud" changed to "and". (... it is that bitterness of spirit which finds expression in the smashing and burning ...)</p> -<p>Page <a href="#Page_58">58</a>, "naively" changed to "navely" for consistency. (Besides doing +<p>Page <a href="#Page_58">58</a>, "naively" changed to "naïvely" for consistency. (Besides doing justice to the drama as an allegorical picture of life in the light of certain nineteenth-century ideas, the performance was a specially good -revelation of its amusing and navely entertaining qualities.)</p> +revelation of its amusing and naïvely entertaining qualities.)</p> -<p>Page <a href="#Page_61">61</a>, duplicate "which" deleted. (In regard to "Walkre" and +<p>Page <a href="#Page_61">61</a>, duplicate "which" deleted. (In regard to "Walküre" and "Siegfried," which have long been in the repertory of London, Paris, and other capitals, the superiority of Bayreuth is very much less certain—that is to say, of Bayreuth as represented by this year's @@ -12332,7 +12294,7 @@ Professor Hugo Becker, of Frankfurt, of the violoncello solo which throughout the work is identified with the person of the titular hero.)</p> <p>Page <a href="#Page_129">129</a>, "Symphony" changed to "Symphonie" for consistency. (<b>"Faust -Symphonie," Dsseldorf.</b>)</p> +Symphonie," Düsseldorf.</b>)</p> <p>Page <a href="#Page_129">129</a>, "like" changed to "likes". (Whether one likes his style or not,...)</p> @@ -12369,382 +12331,6 @@ fact that Nietzsche has more boldly than any other writer of our time raised the most important of social questions ...)</p> </div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Musical Criticisms, by Arthur Johnstone - -*** END OF THIS PROJECT GUTENBERG EBOOK MUSICAL CRITICISMS *** - -***** This file should be named 42097-h.htm or 42097-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/0/9/42097/ - -Produced by Veronika Redfern, Adrian Mastronardi and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive/American Libraries.) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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