Music Trade Review

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THE MUSIC TRADE
THE REVIVAL OFjV_BEAUTlFUL ART.
Sixteenth Century Music on the Instruments
for Which It Was Written—Interesting
Article on the Move of Chickering & Sons to
Make Clavichords and Harpsichords Under
the Supervision of Arnold Dolmetsch—The
Instruments of the Past and the Present
Contrasted.
Some time since in The Review extended men-
tion was made of the important announcement by
Chickering & Sons that they intended to enter
into the manufacture of clavichords and harpsi-
chords, which move has drawn forth much
notice of a commendatory character among musi-
cians and others interested in modern musical
instruments as well as in the precursors of the
piano. In this connection the following interest-
ing article from the Boston Transcript will be
found worthy of perusal by our readers:
The work of Mr. Arnold Dolmetsch in the cause
ot the beautiful old art to which he has de-
voted his life is well known. His exquisite per-
formances on the instruments which he knows
so thoroughly—the clavichord, harpischord and
spinet—have quickened an interest in an interpre-
tion of the music of the early composers on the
instruments for which it was written. It has,
however, been given to the few to enjoy such
a performance of the old works for the reason
that the antique instruments in perfect order are
very rare.
The Chickerings have for many years been in-
terested in securing specimens of the art of the
early harpsichord and clavichord makers, and
some years ago held at Horticultural Hall in this
city an Historical Musical Exhibition, which at-
tracted wide attention.
Mr. Dolmetsch has for several years been ex-
ploiting the art of clavichord playing in London,
and latterly in this country. As he rightly says,
he is preaching a gospel which it will be hard to
put in practice, and Chickering & Sons, seeing
the need of the means to carry out his ideas, have
instituted a department in their factory for the
making of clavichords and harpsichords, and it
is to be under the direction of Mr. Dolmetsch. It
is expected that within a short time the clavi-
chord will be re-established in its former position
in hundreds of homes, and that the movement will
have such an impetus that this industry will be
made an important factor in the musical affairs
of this country.
Mr. Dolmetsch's motto is that music ought to
be played on the instrument for which it was
written—piano music upon the piano, clavichord
music upon the clavichord, etc. One can am-
agine that many will reply: "Oh, but the piano
represents such an enormous advance over the
older instruments that the old music can be
played upon it to much better advantage." This
is contradicted by Mr. Dolmetsch, who holds that
if we will only become familiar with the clavi-
chord—in blunter words, if we will take the
trouble to know what we are talking about—then
we will share his views.
It is very far from Messrs. Chickering & Sons'
idea, or even from Mr. Dolmetsch's, to supplant
or decry the piano which is and must always be
the favorite instrument of the home. But has
there not been a development too far in the di-
rection of volume of tone which has resulted in a
regrettable sacrifice of quality? The noble in-
strument around which our musical life has
grown, and which must always keep the place
which we have made for it, too often becomes the
medium for the display of mere virtuosity—
music being secondary—and then we are led to
ask, is not the piano in which quality is thus
sacrificed to quantity a despot which is ruling us
all?
At present there is a strong reaction in all
parts of the musical world against the prevailing
conditions; and the influence of the quickened in-
terest in the old instruments will have its effect
on the piano—greater beauty and sweetness of
tone, a piano for the twilight and the evening
hour, a return to something more like what de-
lighted and enthralled the audiences of Chopin
»Dd Schubert and Schumann.
REVIEW
Of the beautiful old instruments, once neglect-
ed, those that remain have been carefully guard-
ed in museums and private collections, and copies
have been made, but it remains for this city,
through the interest of the Chickerings, to be-
gin their manufacture systematically.
The equal of Arnold Dolmetsch to direct such
work could hardly be found. He is deft with
tools, a born craftsman, and has the most fervent
admiration for the instruments for which the
early master-works were written.
That there is a renaissance in music many of
us know. The great movement, which is now
well under way, follows the reaction in other arts,
as Mr. Dolmetsch sees it. He pointed out the
changes in literature, architecture, painting,
sculpture, etc., and said that music was merely
following her sisters. "No art can remain sta-
tionary. It is not reasonable to believe that we
will try to make any increase in the volume of
tone of the orchestra or piano. It is obvious that
we do not wish to make more noise. The change
will be along the line of more color, with greater
de icacy and refinement. Much of our develop-
ment has been in the wrong direction."
The introduction of the clavichord is looked
upon not so much as a return as it is the recrea-
tion of knowledge of the music in the tone-color
originally conceived by the composer. This is
reasonable, but there will be much opposition, for
there are many who, hearing this instrument for
the first time, merely sniff at it because it does
not make noise enough to come up to the stand-
ards they have learned to know. But let them
listen to it—with an open mind—a dozen times or
so; let them notice how music becomes a com-
munion of souls through this medium, instead of
a nerve-racking jangle, then, when the desire for
continual strenuosity wears away, they will begin
to feel the charm of the tone that delighted the
ears of the masters of old. The exquisite tender-
ness and delicacy of this beautiful instrument is
delicious and soothing when once you come to
know it.
Played upon the instrument for which they
were written, the preludes and fugues of the
"Well Tempered Clavichord" are shown to be
full of feeling and tender sentiment. The piano
changes them into little more than a polyphone
skeleton that is dangled before our eyes, often
with the comment that the composer was pedan-
tic, for, of course, defects in the instrument are
not thought of. These same works upon the clavi-
chord appear as beautiful forms clothed in dra-
peries the colors of which delight the senses.
Some of these figures are pensive, some are strong
and vigorous, while others dance before us with
all the vivacious grace imaginable. Indeed we
lost much when the piano was given unlimited
sway.
You believe that the foregoing is overdrawn?
Perhaps it is, as regards some hearers, but it is
only a faint indication of what will pass through
the minds of others. At least permit a sugges-
tion: Do not condemn the clavichord until you
have grown thoroughly familiar with it. It has
inspired some master works and it must have
been selected for good reason, because there were
other instruments in existence which would have
been favored if it had not met the demands made
upon it. Its sound is as tender and sweet as the
fragrance of the wood violet. This delicate
flower of ancient times should not be crushed un-
der foot, and it probably will not be for there
are many who will be glad to cherish it.
Manufacture of clavichords is to begin in April.
Aside from its worth for the purpose of produc-
ing artistic music in the home, Mr. Dolmetsch
says this will be the superior of all other in-
struments for practice purposes, as it will de-
velop extreme delicacy of touch. While talking
recently of this he pointed out the following in-
teresting passage in the old French encyclopaedia
of Diderot and D'Alembert:
"This instrument is much better for beginners
than the harpsichord. First, because it is lighter
of touch; second, because it is capable of piano
and forte and even of sustaining the tone when
you know well how to manage it, and then you
can get accustomed to giving expression to your
playing. A celebrated musician nam.ea" Ba.ch, at
present director of music in the town of Hamburg,
will not judge a harpsichord player until he has
tested his touch upon the clavichord."
Technical exercises upon its keyboard would
not be nearly so wearing as they are on the piano.
Mr. Dolmetsch has worked with the clavichord
for many years, and he firmly believes that it
cught to be made the basis of all musical educa-
tion.
Following out the same tendency, Messrs.
Chickering & Sons will very likely reproduce
some of the fragile pianos of the days of Beeth-
oven. These instruments have more color ana
delicacy of tone than those of the present time,
but they cannot stand up under the force of an
attack by a modern pianist. A heavy blow would
reduce the action of this instrument to kindling.
Even the powerful pianos of the present time can-
not stand the punishment inflicted by certain
pianists. It is well known that after one famous
player gives a recital the piano must always be
sent to the factory for repairs. This fact prompt-
ed Mr. Dolmetsch to point out a difference be-
tween such players and violinists. "Did you ever
hear of a violinist smashing his violin?" he
asked. "No; because he loves his instrument."
There are undoubtedly some artists to-day who
need an instrument with an exceedingly delicate
tone, and these will welcome the new-old pianos.
Busoni was delighted with one of these pianos
which he played in London, and has announced
bis intention of giving recitals on it. If he should
hold fast to this purpose the movement would
spread with great rapidity. Some of the recital
artists of the present time do not use the full
resources of the piano, and are evidently ham-
pered by the fact that they are not in perfect ac-
cord with their instrument. Their more delicate
methods would be much better adapted to a light
er instrument with more tone quality—that is, if
the last mentioned uncertain element can be ob-
tained with certainty.
Such a piano would have to possess a clear
bass. It would no longer be possible for a player
to produce a crash of sound that the ear cannot
analyze. Greater clearness of definition in the
tone is often wanted. The modern piano is some-
what vague in its tone quality. Its tone is fre-
quently gorgeous in certain ways, but at the
same time not sufficiently definite. The piano of
Chopin was nearly the same as that of Beethoven.
Both were light of touch and delicate of tone.
They were supplied with a pedal that made it pos-
sible to play on only one of the strings. It was
much better adapted for chamber music than are
the most recent instruments, because its tone
would blend better with that of the violin, 'cello,
flute, oboe, clarionet, etc. In this regard the
harpsichord has the strongest claim, and with its
return the true home music of other days may be
revived. One of the chief objections to the piano
in its present from is that its tone does not blend
well with that of other instruments.
It should be remembered that the works of
Beethoven, Chopin and those who preceded them
were not written for our piano. Without wish-
ing to displace the piano when music was writ-
ten especially for it, there is much reason in
seeking to produce these compositions as they
were heard by their creators. We have reduced
everything to one level, and it is this fact that
makes the tyranny of the piano evident. It was
Schumann, if memory does not err, who first said
that the piano made paintings over into steel en-
gravings. While admiring these steel engravings,
we might well seek to reproduce the original col-
ors as well.
WEINGARTNER TIED BY CONTRACT.
Walter Damrosch said this week that it would
be impossible for Felix Weingartner to become
the conductor of the Boston Symphony Orchestra
as successor to Wilhelm Gericke for at least two
years. Reports from Boston said that Mr. Wein-
gartner had been approached by Colonel Hig-
ginson with such a proposal. Mr. Damrosch has
a contract with Mr. Weingartner under which he
must appear with the New York Symphony Or-
chestra for one month each in the next two sea^
sons, and with no other American orchestra.