: On Conducting (Üeber Das Dirigiren) : A Treatise on Style in the Execution of Classical Music by Wagner Richard Dannreuther Edward Translator - Conducting Music

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POEM FRONTISPIECE

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MOTTO NACH GOETHE:

"Fliegenschnauz' und Muckennas' Mit euren Anverwandten, Frosch im Laub und Grill' im Gras, Ihr seid mir Musikanten!"

"Flysnout and Midgenose, With all your kindred, too, Treefrog and Meadow-grig. True musicians, YOU!"

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TRANSLATOR'S NOTE.

ON CONDUCTING

The following pages are intended to form a record of my experience in a department of music which has hitherto been left to professional routine and amateur criticism. I shall appeal to professional executants, both instrumentalists and vocalists, rather than to conductors; since the executants only can tell whether, or not, they have been led by a competent conductor. I do not mean to set up a system, but simply to state certain facts, and record a number of practical observations.

Composers cannot afford to be indifferent to the manner in which their works are presented to the public; and the public, naturally, cannot be expected to decide whether the performance of a piece of music is correct or faulty, since there are no data beyond the actual effect of the performance to judge by.

I shall endeavour to throw some light upon the characteristics of musical performances in Germany--with regard to the concert-room, as well as to the theatre. Those who have experience in such matters are aware that, in most cases, the defective constitution of German orchestras and the faults of their performances are due to the shortcomings of the conductors . The demands upon the orchestras have increased greatly of late, their task has become more difficult and more complicated; yet the directors of our art-institutions, display increasing negligence in their choice of conductors. In the days when Mozart's scores afforded the highest tasks that could be set before an orchestra, the typical German Capellmeister was a formidable personage, who knew how to make himself respected at his post--sure of his business, strict, despotic, and by no means polite. Friedrich Schneider, of Dessau, was the last representative I have met with of this now extinct species. Guhr, of Frankfort, also may be reckoned as belonging to it. The attitude of these men towards modern music was certainly "old fashioned"; but, in their own way, they produced good solid work: as I found not more than eight years ago at Carlsruhe, when old Capellmeister Strauss conducted "Lohengrin." This venerable and worthy man evidently looked at my score with some little shyness; but, he took good care of the orchestra, which he led with a degree of precision and firmness impossible to excel. He was, clearly, a man not to be trifled with, and his forces obeyed him to perfection. Singularly enough, this old gentleman was the only German conductor of repute I had met with, up to that time, who possessed true fire; his tempi were more often a trifle too quick than too slow; but they were invariably firm and well marked. Subsequently, H. Esser's conducting, at Vienna, impressed me in like manner.

The older conductors of this stamp if they happened to be less gifted than those mentioned, found it difficult to cope with the complications of modern orchestral music--mainly because of their fixed notions concerning the proper constitution of an orchestra. I am not aware that the number of permanent members of an orchestra, has, in any German town, been rectified according to the requirements of modern instrumentation. Now-a-days, as of old, the principal parts in each group of instruments, are allotted to the players according to the rules of seniority --thus men take first positions when their powers are on the wane, whilst younger and stronger men are relegated to the subordinate parts--a practice, the evil effects of which are particularly noticeable with regard to the wind instruments. Latterly by discriminating exertions, and particularly, by the good sense of the instrumentalists concerned, these evils have diminished; another traditional habit, however, regarding the choice of players of stringed instruments, has led to deleterious consequences. Without the slightest compunction, the second violin parts, and especially the Viola parts, have been sacrificed. The viola is commonly played by infirm violinists, or by decrepit players of wind instruments who happen to have been acquainted with a stringed instrument once upon a time: at best a competent viola player occupies the first desk, so that he may play the occasional soli for that instrument; but, I have even seen this function performed by the leader of the first violins. It was pointed out to me that in a large orchestra, which contained eight violas, there was only one player who could deal with the rather difficult passages in one of my later scores!

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