Music Trade Review

6
THE MUSICAL CRITIC AND TRADE REVIEW.
S e p t e m b e r 5th, 1880.J
through the overture before making a comment; then returned to this flute
passage, or that violin phrase, etc. This course has much to recommend it
To the Editor of the Musical Critic and Trade Review :
where time is short, but requires an unerring memory.
SEVERAL weeks ago, while rusticating in the White Mountains, I perused
The directing while sitting, as he did, although sometimes done in Eng-
one of the Sunday papers, and found a reproduction of an article from the land, was a novel experience here.
London Athenaeum on Verdi's opera, '' La Forza del Destino." The article
Other conductors drill in the reverse manner from the one indicated
stated that the opera produced at St. Petersburg in 1862, and since performed above, studying phrase by phrase of a period, then the period, and so on from
in various parts of the world, had never gained any lasting success. Com- point to point, until finally the whole is rehearsed ; this, although the more
menting on this article, the New York paper remarks : "The mere fact that wearisome method to the musician, is handiest to the conductor, and is the
Russian barbarians could not appreciate it in 1862 is of no account." I am one generally pursued.
not an incarnate Russian. I do not wish to speak pro patriam meam ; but
Of the conductors who will appear in Boston the coming season, the most
•when I read those lines I felt my blood boil, not because they insulted my persevering
may be said to be M. Bernhard Listeman. He is well known as
countrymen, but because they were evidently .written by somebody who a violin soloist,
his orchestral direction in Boston is of comparatively re-
either never had been at St. Petersburg, or if there, had loafed around with cent date. As a and
he had but little repose of position in performing,
mushiks and isvostshik drivers, and had made them his standard of Russian and it was feared violinist
by many that his gestures would be too violent for the
society. Whoever the writer may be, I do not want to have anything to do higher grades of conducting,
first public appearance was an agreeable
with him, but I thought that you might take sufficient interest in the matter contradiction of these doubts. His
He had evidently left nothing to chance ;
to investigate why we should be called "barbarians" in musical matters.
rehearsal after rehearsal had been carefully gone through with, and the mu-
I have no right to claim the title of a professional musician, but I have sicians under him who knew him as one of themselves (for he is leading
studied piano under Leschetitzki, and in later years have been a pupil of the violin in another orchestra), bore his yoke cheerfully. His beat is given with
Brussels Conservatory. When "La Forza del Destino " was performed in a quick nervous energy, without effusiveness of any kind. His readings are
1862 under the composer's own direction at St. Petersburg, I was among the fiery, and sometimes err by hurrying a little, but they are always virile and
audience—consequently one of the barbarians. Let me tell you that the powerful.
orchestra was headed by Henri Wieniawski as chef d'Attaque, Davidoff (first
regards general musicianship, the palm among Boston conductors
violoncello), Ciardi (first flute), Wurm (first cornet), and many others of may As
be given to Mr. B. J. Lang, whose work has been many-sided enough
equal rank. The audience of the Italian opera at St. Petersburg is composed to constitute
a musical " admirable Crichton." He is an excellent or-
of the best class of musical society : Russians, Germans, French, English, ganist, a fine him
composer, an exact pianist, a superb organizer. As a con-
and last, but not least, Americans. In New York the musical people patron- ductor he is also
worker, and sure as a rock. There is no man so
ize symphony concerts, and not the operas. As in St. Petersburg the concert cool-headed as he a in faithful
musicians when they get into a bog at a
season begins only after the close of the opera season (theatrical perform- public performance ; (xtricating
his presence of mind is marvellous. His conducting
ances in Lent being forbidden), the public with musical taste enjoys both is in the highest degree
but not inspiring ; he explains carefully
kinds of musical entertainments thoroughly. A great deal of money being to the musicians, insists intelligent,
on
gradations
shading, and has a firm beat, but
spent by the Government for the opera, the audience expects a great deal, cannot impart to an orchestra or to the of public
any great degree of fire. He
and is severe in its judgment. Whether the Government acts wisely, to is the intellectual of music, as Listeman is the emotional.
spend these enormous amounts for operas and the above, is neither here nor
He has been called to many posts of duty where others have failed.
there. I do not wish to discuss political questions. I only want to show
•what is actually done in St. Petersburg. We have in Russia a music pub- When Biilow was here, it is doubtful whether anybody but Lang could have
lisher who publishes orchestral scores of modern composers. I have yet to filled the onerous post of conductor for the peppery pianist. Bergmann came
learn the name of the first American publisher who has done likewise. to Boston with Biilow, and the combination seemed good ; but Bergmann's
Those barbarians have produced Anton Rubinstein, who has been acknowl- easy-going nature never could submit itself to all the requirements of the
edged in this country, as everywhere else. Among the Russian composers I disciplinarian. The first rehearsal passed off charmingly ; the doctor- was
mention Glinka, Tschaikowsky, Dargomierschki, Korsakoff and Alieneff, in good humor, and was fairly pleased with the work done ; the next day
and, according to my opinion, they compare very favorably with the Ameri- (Sunday) he called upon Bergmann to make further suggestions, but the
can composers, whatever their individual merits may be. Glinka's opera, genial conductor was out of town with some old acquaintances, enjoying
" The Life for the Czar," has been given in the Italian version in several himself. Worse than this : knowing that the trombone part of the Monday
large theatres abroad, and is on the repertoire of the London Covent Garden evening concert was almost nothing, he had allowed a trombone player to be
theatre for next season. Tschaikowsky's name, as a symphony writer, ranks excused from attending the next rehearsal; but just on that occasion the
very high in Germany, and his works stand on an equal footing with those pianist took it into his head to rehearse everything of the week's work, and.
of Brahms, Raff, and Heinrich Hofmann. There are excellent critics in St. it was not long be lore an important trombone passage was reached. " The
Petersburg, who have no need to blush before their American brethren. I trombone ! where is the trombone ?" yelled Biilow, and an explosion
mention among them Faminzin, the historian, Caesar Cui, a colonel of the followed ; Bergmann indignant and Bulow pacing up and down the stage,
engineers, who has composed an opera, and Monsieur de Tolstoi, very often muttering " Too cheap ! I sold myself to them too cheap." A still more
called the Russian Fetis. I have never heard a chorus in New York equal to serious collision occurred at the next rehearsal, and Bergmann laid down his
those at the Italian Opera and at the Marinski theatre, where Russian opera stick and walked off, not deigning to reply to the doctor's inquiries as to-
is given. After the statement I have made, the correctness of which every- where he was going.
body can vouch for who has lived at St. Petersburg, the impartial reader
Then the man for the emergency was found in B. J. Lang, and the post
will coincide with me when I ask, " Why does an American writer call us was instantly and well filled, Lang's intelligence.being admirably adapted to
barbarians ?" I have lived now in this country for more than 10 years. I support the most intellectual of pianists. Another trying post was that
have enjoyed the hospitality of the United States. My personal friends are which he filled with that musical comet—Joseffy ; and everybody knows
mostly Americans, and I have watched the developments in regard to art in now (but did not then) how difficult it is to keep up with his capricious
New York with the greatest interest. I accept readily the good where I find pace. He also subsequently performed with Joseffy(two pianos), the most
it, and am always willing to acknowledge merit; but I cannot see with effective concerted piano work which Joseffy gave in Boston.
sangfroid the refined society of St. Petersburg outraged by a writer whose
But the most popular and oldest conductor in Boston is Carl Zerrahn.
traveling propensities must probably have been limited by Coney Island His imposing figure and pleasant ways have well fitted him physically for
East and Hoboken West.
the task of conducting in Boston. He is a hard worker, and deserves a large-
of the credit of Boston's music. He is at his best in directing oratorio
Excuse my liberty of having taken up so much of your valuable space. share
work, although his reading of the musical classics is of high rank. We
NEW YOBK, August 27, 1880.
ONE OP THE BARBARIANS.
admire him least in the modern school where some of the fire and brio is
lost. No one can pay a real tribute to Mr. Zerrahn's work without under-
standing the difficulties under which he has labored ; he had not an orchestra
CONDUCTING IN BOSTON.
which depended on concert work alone, as Thomas had ; it was rather a pro-
HPHE return of Thomas to the field of orchestral music, and the com- vincial gathering of musicians who played at balls, parades and what not,
J_ mencing of two new orchestras in Boston, bids fair to create a certain and who come to the rehearsals fatigued and at times careless ; they grudged
rivalry in conducting in that city, and to give its music-lovers, almost for too many rehearsals, and some of them valued their position lightly. With
the first time, a thorough opportunity of comparing many conductors with such auxiliaries it certainly required all the conductor's tact and stiavity to
each other, and understanding the delicate differences which make a grand hold the mass together, and Mr. Zerrahn not only did this for many years,
work pregnant with life and meaning under one man's baton, and cold and but gave good concerts too, only the programmes (through the lack of op-
impressionless when led by another.
position) fell into a rut, from which they are now freeing themselves.
There is no art whose details are so little comprehended by the general
Of Paine and Osgood, both great musicians, we cannot speak as
public as the difficult one of conducting. Of the true leader, as of the orchestral conductors ; we have heard and seen them so seldom in that
poet, it may be said, nascitur nan fit. A recent article in no less a magazine capacity.
than Scribner's Monthly, gives, as unknown matter to the general reader, a
In closing, let us narrate two anecdotes of real occurrences in Music
mere outline of the form of an orchestral score : it speaks of the ability of Hall which befell two famous conductors. A certain symphony contained a
the conductor to read his 20 or more lines simultaneously ; it alludes to very soft phrase for the second violins, and the conductor was continually
the firmness with which he must signal to flute, trombone or violins, to at- shouting,'' Softer, softer !" At last the musicians conspired among themselves,
tack a phrase ; but this, after all, is to the conductor only what the reading and at the next rehearsal only moved their bows but gave no sound, as they
of notes and the observance of time are to the pianist; the real essence, the did not touch the strings ; but it was of no use. "Softer, softer ! " shouted
soul, is not and perhaps cannot be described. The conductor must be, to a the absent-minded conductor.
certain extent, a pantomimist ; we are aware that many will dissent from
Another leader was in 'the midst of a fortissimo passage when he heard a
this proposition,, and we at once hasten to add that when he has his per- note entirely off pitch. Where was it ? He thought it might be the clari-
formers constantly under his rule the necessity vanishes somewhat; but the net, but it sounded like the high note of a bassoon, and had the quality of
conductor who has a comparatively strange orchestra before him must, by oboe and violin combined. He rapped his stand, and stopped the musici-
gesture, glance, and swing of baton, convey to them the feelings which the ans. "Let that instrument play in tune next time," said he, vaguely.
music awakens in his breast, and attempt to inspire them with a responsive Again came the ff; again came the mysterious tone ; this time he caught the
thrill.
direction ; it was behind him. Turning around quickly, he saw upon one of
Strauss was perhaps the reductio ad absurdam of this manner, yet his the seats a tom-cat, who, excited by the efforts of the other Thomas, joined
earnest and unmistakable gestures conveyed to the musicians as much direc- 1 in, con calore, at each fortissimo. The unwelcome soloist was banished, and
tion as an hour's talk Avould have done. With the true conductor the ges the rehearsal proceeded without further cat-astrophe.
L. C. E.
ture will be spontaneous, as is said to have been the case with Beethoven.
The very phrasing is explained to the intelligent musician by the wave
ANOTHER '' MARGHERTTA ".—The late Sig. Toroni's '' Margherita," will be
of the baton ; the bold swoop at the commencement of the period, the weaker brought
out in the autumn at the Teatro Nuovo, Verona.
beats at its close (or, at times the reverse) are only the broader understanding
of the pulsations of the bar (aesis and thesis). Of course each conductor has
DONADIO.—Signora Donadio is engaged to appear in "La Stella del
details of his own. Sullivan (in rehearsing his " Prodigal Son ") went entirely Nord," at the Dal Verme, Milan.
" BUSSUN BARBARIANS."