Criticism of Mendelssohn Author(s): A. Ford Source: The Musical Times, Vol. 52, No. 817 (Mar. 1, 1911), pp. 176+182 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/906393 Accessed: 19-03-2016 04:55 UTC
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This content downloaded from 194.27.18.18 on Sat, 19 Mar 2016 04:55:22 UTC All use subject to JSTOR Terms and Conditions 176 THE MUSICAL TIMES.-MARCH I, 1911.
THE NATIONALITY OF FOLK-SONGS. Steinhiusen and Breithiupt, were particularly inter-
esting. It is true that Breith1iupt pleads for a tech-
TO THE EDITOR OF ' THE MUSICAL TIMES.'
nique more in accordance with natural physiological
conditions, and as a pupil of his I would like to bear SIR,-Mr. James A. Browne's letter under the above
testimony to his success in obtaining this object. title must not be allowed to pass unnoticed. Forsooth,
As Professor Niecks pointed out, finger and wrist the argument as to the nationality of an air, whether
gymnastics were formerly the beginning and end of English, Irish, or Scotch, is 'very stupid'! Dr.
the technique of pianoforte-playing. In Breithdiupt's Ernest Walker rightly says that ' the popular tunes of
technique the upper arms and shoulders are the sup- England and Wales, Scotland and Ireland have their
pliers of energy, the forearms and hands merely the own broadly racial characteristics,' and he adds that
conductors of it. It is not strictly the case that ' the finest melodies of each race, bear upon them un-
Breithiupt sets aside finger work. What he urges mistakable signs of their origin. Were I to say that
is that 'all active isolated fingering-i.e., all finger Irish folk-music ' is, on the whole, the finest that exists,'
spreading, over-stretching, clutching, pawing without it might be put down to my patriotic leanings, but this
participation of the weight of hand or arm, with stiff statement is due to Dr. Walker, who also tells us that
wrist or forearm-must be abandoned.' As the 'for sheer beauty of melody the works of Mozart,
foundation of pianoforte-technique, Breithiupt pleads Schubert, and the Irish folk-composers form a triad
for the free, elastic, natural rhythmic movement of the that is unchallenged in the whole range of the art.'
combined playing-organs (shoulders, arms, hands, Again, Mr. Browne states that the songs of Ophelia
fingers). 'were entirely traditional until about the end of the
By this change in technique important advantages 18th century, when Mr. Linley took them down as they
are gained. It not only places greater possibilities, in were sung by Miss Field, and Dr. Arnold noted them
a strictly musical sense, within the reach of the musi from the singing of Miss Jordan.' This statement is
cian, but it also is a complete prevention of the muscular at variance with facts. One of Ophelia's folk-songs
fatigue and pain that give so much trouble to pianists was set by two distinguished Elizabethan composers,
who pursue the prevailing method of 'finger and wrist' namely, by Giles Farnaby, Mus. Bac., about the year
technique. The fatigue and pain arise mainly from
1590, and by John Mundy, Mus. Doc., about the year
the tightening and cramping of the muscles of the 1595-both of which are to be found in the Fitzwilliam
hand and forearm involved in the old system. For Virginal Book.
this system of rigid muscle substitute the technique May I remind Mr. Browne that the fact of the airs
urged by Breithaiupt, and all risk of the players' being taken down in England or Wales or Scotland
trouble disappears. or Ireland does not altogether obscure their original
An instance of this has come within my own ex- provenance, and the diligent student of folk-music will
perience. A young lady friend of mine, who had for soon recognize the racial characteristics of the air even
years pursued pianoforte playing on the old system in a varied guise. Fortunately, a number of old Irish
with considerable success, was, two and a half years ago MS. songs and ballads in the Irish language have the
seized by severe fatigue and pain in the muscles of the names of the tunes added, and thus we have a clue,
left forearm. Amongst others she consulted a leading in addition to tradition.-Yours faithfully,
Edinburgh physician, but nothing could be done, and W. H. GRATTAN FLOOD.
ultimately she had entirely to abandon playing.
Getting to learn of the Breithiupt technique, she took
THE STUDY OF RHYTHM.
a three-months' course of instruction in that method,
TO THE EDITOR OF 'THE MUSICAL TIMES.' and is now able to play with the greatest ease and
SIR,-It is evident that Dr. Yorke Trotter fails to without the slightest pain or fatigue, even though
grasp the 'inwardness' of Greek rhythmical theory practising three or four hours a day. Imagine my
as much as I fail to understand his reference to 'the friend's delight at thus being able to resume her
fallacy of the division of motion.' I have nowhere favourite pastime !-I am, &c.,
found any attempt to divide abstract 'motion' in BREITHXiUPT PUPIL.
Greek theory; on the contrary, Aristoxenus is very Edinburgh.
explicit in stating that rhythm cannot exist without
some material, whether sound (as in music), bodily
A CHANT BY GOSS. movements (as in the dance), or speech (as in poetry),
through which it can act. And rhythm consists of
TO THE EDITOR OF ' THE MUSICAL TIMES.'
the division of the time occupied by one of these materials,
by means of arsis and thesis. The combination of DEAR SIR,-In the Musical Times for July, 19o5,
arsis and thesis forms a foot, or measure, and the page 457, in your article on 'Great Composers and
combination of several feet form a rhythm. All Chants,' there is the following statement: 'Goss
music must have a rhythmical basis, though the arranged a double chant in F sharp minor from a sub-
composer may obscure the arsis and thesis occasionally, ject by Jeremiah Clark, the origin of which is not at
for a definite object. present traceable.' Not having seen this point
I do not understand Dr. Yorke Trotter's allusion cleared up in the Musical Times since the article in
to 'pauses.' A pause (fermate) serves to break the question appeared, I venture now to do so for you.
rhythmical flow. Does Dr. Trotter propose to break The chant in question, which, I take it, is No. 194
up Beethoven's beautiful rhythm by placing a pause in the Westminster Abbey Chant Book, is evidently
at the end of every measure ? If this is to be the adapted from Clarke's hymn tune 'King's Norton,'
result of Greek theory, then, like him, I would have No. 226, in Dr. Wesley's ' European Psalmist.'-Believe
none of it !-Yours faithfully, me, yours faithfully,
C. F. ABDY WILLIAMS. (REV.) T. P. LEVETT.
PIANOFORTE TECHNIQUE.
CRITICISM OF MENDELSSOHN.
TO THE EDITOR OF ' THE MUSICAL TIMES.'
TO THE EDITOR OF ' THE MUSICAL TIMES.'
SIR,-Will you kindly give me a little space to make
SIR,-Lovers of the gracious and delicious strains reference to the interesting paper on ' New ideas and
of Mendelssohn at his best have been bearing in much ideals of music-teaching' read by Professor Niecks at
patience, for years now, a constantly growing load. the recent Edinburgh Conference of the Incorporated
But the silence of one at least of these breaks down Society of Musicians and reported in your February
beneath the proverbial last straw, as embodied in several issue? Professor Niecks's observations on the tech-
nique of pianoforte-playing, as promulgated by (Continueca o z Aage 182.)
This content downloaded from 194.27.18.18 on Sat, 19 Mar 2016 04:55:22 UTC All use subject to JSTOR Terms and Conditions 182 THE MUSICAL TIMES.-MARCH I, 1911.
(Continuedfrom page 176.)
RIGOLETTO ...... Verdi
of the most recent of the sneering allusions made by SONNAMBULA .. .. Bellini
more than one critic, in more than one paper or maga- TESS Erlanger
zine, to that master. With such writers, the name TOSCA Puccini
that stands for something like the nadir of achieve- TRAVIATA ...... Verdi
ment (I speak of quality) in musical composition-the GLI UGONOTTI ...... Meyerbeer
name to be pitched on as a foil to that of either of the GERMANIA ...... Franchetti
acknowledged giants-seems to be that of the com-
poser of the music to the 'Midsummer night's Dream ' The season will open on April 22, and continue
-of the Pianoforte trio in D minor-of 'Hear ye, until July 29.
Israel' and the Sanctus in 'Elijah,' of at least two
truly noble Organ sonatas, and so much else of equal
beauty. 'PELLEAS AND MELISANDE.'
What, exactly, is the idea-one would like to learn-
BY ARNOLD SCHONBERG. of some critics, in making a point, not only of never
giving necessary mention to Mendelssohn without a
(FROM OUR BERLIN CORRESPONDENT.) sneer, but of going out of their way to drag in his name
for the purpose of bestowing that sneer ? Is it that
This time in writing of 'Pelle'as' there will be no their distaste for him, alone among the greater com-
question of Debussy. The musical expression of the posers, demands the relief of these little ebullitions ?
now familiar story is not exhausted by one version- -or is it merely that it is less trouble to shoot at that
in fact, one might wish that every capable composer ever-handy target than to select a fresh one ?-I am,
would give his interpretation of this poem, as Heine
Sir, yours faithfully,
said that every poet should write a ' Faust.' A second
A. FORD.
composer of unusual ability has taken Pell6as as
Hampstead Heath.
pretext for a. symphonic poem.
Arnold Sch6nberg is now thirty-six years of age
and is still unknown to Grove. He is the composer
@bituarV. of several groups of Lieder, two String quartets,
and of more important works-a ' Kammer sinfonie,' a
We regret to have to record the following deaths: sextet for string instruments, 'Verkldrte Nacht '
HENRY JOHN TSCHUDI BROADWOOD, head of the (after Dehinel), and the present work, 'Pelleas and
firm of John Broadwood & Sons. He was born in M61isande.' Most of these compositions have scarcely
1852, and was educated at Eton and Cambridge. He been performed outside Vienna, where each in turn
invented the barless steel pianoforte- frame about. has received a welcome 'de scandale.' This is the
twenty years ago. best of signs, as Vienna has accorded the same reception
to all its great musicians during the last hundred AUGUSTUS HAYTER WALKER, Mus. Doc., London,
years, from Beethoven to Mahler. Sch6nberg had who died at Cambridge on February I3.
no difficulty in gaining the support of men who are
ELIZABETH ROBINSON, who died at Seacombe,
both artists and musicians, such as Prof. Arnold Ros6
Cheshire, on February 12. She was known as a pianist
and Oscar Fried, who have worked for Sch6nberg by of exceptional gifts.
playing his works.
WILHELM BERGER, at Jena. lie was born of German
Fried conducted ' Pellas' at a recent concert of parents at Boston, U.S.A., on August 9, 1861. Since
the 'Gesellschaft der Musikfreunde' for the first
1903 he had held the post of conductor of the Meiningen
time in Berlin. It is Op. 5, but, as it is preceded
Court orchestra, formerly held by Hans von Biilow
only by lieder, ranks among the larger works as
and Fritz Steinbach. He was well known as a com-
Op. I. It is written for the usual orchestra with
poser of symphonies, smaller orchestral works, choral
quadruple wood-wind, eight horns, and the rest in
compositions, songs and pianoforte pieces, including an
proportion. It lasts fifty minutes. The work is
excellent Sonata in B major.
divided roughly according to the play, and one may
WILLIAM H. SHERWOOD, the well-known American
recognize the figures of Pell6as, M6lisande, Goland, and
pianist, at Chicago, fifty-seven years of age.
Yaiold; and also certain scenes-in the forest, at
the fountain, at the window, in the ' souterrains,' the
final love-scene, and the death of M61isande.
THE ROYAL OPERA, COVENT GARDEN. Of Sch6nberg's musical skill it is difficult for me
to speak without exaggeration. To those who are
The following works have been promised for per-
not accustomed to hear music, his scores seem mon- formance during the coming Grand Opera Season at
strous. But really they are complicated only in
Covent Garden:
appearance. In performance the style is perfectly
FRENCH. clear. Perhaps the principal characteristic of this
style, and musically its greatest novelty, lies in the CARMEN ...... Bizet
FAUST ...... Gounod masterly modelling of the part-writing. Apparently
each part is absolutely independent of the others. LOUISE ... Charpentier
It is in their interweaving that Sch6nberg's extra PELLEAS ET MELISANDE Debussy
ordinary sense of the value of line combinations is ROMiO ET JULIETTE .. Gounod
realized. The art with which each part is put into SAMSON ET DALILA .. .. Saint-Sains
relief is consummate. Sch6nberg has discovered a THXIS ...... Massenet
new meaning in counterpoint which makes, with that
ITALIAN.
of Strauss, the only musical development of this art
A'iDA ...... Verdi since Wagner. The strength of it lies in the certainty
IL BARBIERE DI SIVIGLIA .. Rossini in the handling of the themes. Even his farthest-
BOHME ...... Puccini sought effects-such as the trombone glissando in
CAVALLERIA RUSTICANA Mascagni Pelleas-are got in the simplest possible way, and
LA FANCIULLA DEL WEST Puccini never interrupt or attract attention from the general
LAKME . .. D61ibes movement of the music. At the same time the work
LUCIA DI LAMMERMOOR .. Donizetti stands large and distinct to the last detail, a sign that
MADAMA BUTTERFLY .. Puccini Sch6nberg's invention is strong enough to include
MANON LESCAUT...... Puccini unity of impression. The wonderful colour which
PAGLIACCI...... Leoncavallo Sch6nberg obtains through the interweaving of
This content downloaded from 194.27.18.18 on Sat, 19 Mar 2016 04:55:22 UTC All use subject to JSTOR Terms and Conditions