Fanny Davies and Frederick Corder Source: the Musical Times, Vol

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Robert Schumann. About Schumann's Pianoforte Music (Continued) Author(s): Fanny Davies and Frederick Corder Source: The Musical Times, Vol. 51, No. 810 (Aug. 1, 1910), pp. 493-496 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/908084 Accessed: 07-01-2016 09:12 UTC

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This content downloaded from 138.38.44.95 on Thu, 07 Jan 2016 09:12:31 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.--AGUST I, 1910. 493

Surelywe all agree that Schumann's pianoforte musicis ofan intimatekind. And whatis 'intimate' Th musicaI Eims05 if not the of delicate AND SINGING- CLASS CIRCULAR. presentation esoteric, beauty? AUGUST I, 191o. Again, Schumann's manner of writingis so often in chords that one cannot lay too great stresson the importanceof playingchords in a way that will convey to the hearer the significance ROBERT SCHUMANN. of the harmoniestherein contained. They are not octaves ! And it will not do to forceout (Continued from fage 428.) padded melody or exaggerate a rhythmicscheme which ABOUT SCHUMANN'S PIANOFORTE MUSIC. mustnecessarily imply a neglectof the less obvious By FANNY DAVIES. -but just as great-beauties. Take for example the little 'Nachtstiick' in F: what a different Being far froma practised writer,I should have meaningthe top notes convey when the changing hesitated to undertaketo put into printmy views middle notes get theirfull value ! on Robert Schumann's pianofortemusic. But I In orderto betterrealise the spiritof Schumann's cannot resist the kind invitationof the Editor of pianofortemusic, one should make acquaintance the Musical Times,to say a fewwords on a subject with the literaryworks of Theodor Hoffmannand which has filled such an importantpart in my of Jean Paul Richter. Both these writersare full musical life. of the exuberantmadness of springand youth,and Reviewingthe developmentof the great pianoforte bursting with fantastic imagination ('Schwarmerei' literatureof the world,the firstquestion that occurs and 'Fantasterei '). They, as well as Clara Wieck, is this: What positiondoes Schumann take in it? largely influenced his mind when young. One The great line of strictlyclassical pianoforteshould also become acquainted with Schumann's composers ended with Beethoven. In Schumann own literarywork, and above all with his letters, we find the beginning of that new style of forhere we findthe truekey to the twofoldnature pianofortemusic whichhas been called 'Romantic.' of Schumann, which he christenedseparately as In this sense Schumann was both a revolutionaryE. and F.-Eusebius the tender,the yearning-the and a pioneer in giving us intimate and dreamy (der Schwdirmer); and Florestan the descriptivemusic. He created a new genre of passionate,wild and exuberant. It is characteristic pianoforteliterature, relating as he did, stories in of Florestan when joyous that he almost music,portraying people, and everythingthat went invariablybreaks out into (= valse time!) ; and on in the worldat his time. And here let me say of Eusebius that he is the dreamer of beautiful emphaticallythat his portrayingis spiritualand thingsand not a sicklysentimentalist. emotional and not photographic. Schumann's In playing the music of Schumann, as of any absolutelydescriptive movements-as, forinstance, other great composer,one has of course to follow the clock striking twelve at the end of the the simple law (not so simple to carry out) of 'Davidsbtindler Tanze,' Op. 6-are sub-conscious adapting oneself to the style and type of coincidences. In a letterto Clara Wieck, we find composition. This is a technical as well as an him expressing his delight at discovering this interpretativeproblem, for the techniqueand touch particularinstance, some time after finishingthe must naturallybe in keeping with the style and composition; and his own wordsin anotherletter type of the workone plays. will perhaps throw the clearest light on his whole Take, for instance, those three great 'story- method of writing: 'Everything that goes on in telling' pieces of Schumann: the 'Kinderscenen,' the world affectsme, and I think it over in my the 'Waldscenen,' and the 'Kreisleriana.' Should own way: politics, literature,and people; and it not be obvious (alas! that it is not always afterwards,all this seeks to embody itselfin Music, so) that the 'Kinderscenen,' which are stories to findits outlet there. Everythingtypical of the about childhood and written with correspond- times impressesme, and I have to re-expressit in ing simplicityand directness,should be played Music. All this I do not reflectupon, am not with simplicityand directness. Yet how often consciouslyaware of whilst composing; it comes one hears some of the best known of these little to me afterwardsonly.' pieces renderedin a most offensivelysentimental The salient featuresof Schumann's pianoforteand melodramaticstyle! music are its great rhythmical variety and The 'Waldscenen,' on the otherhand, expressing complexity,the extraordinarywealth and 'fineness' as theymostly do the simplicityof naturebut not -subtlety-(Feinheit) of innervoices, all formingof childhood, obviously demand a greater and a well- balanced whole that fits the idea he broader style of technique and touch; yet they wishes at the moment to convey. The inner would be completelyspoiled if one were to apply to polyphonyis so importantand significant,that even them the style of playing demanded by the when it has only a subordinatepart to play it is an 'Kreisleriana,' with its gorgeous colouring and, indispensable one. It follows,then, that unless throughout,fantastic imagination. Schumann's manifold subtletiesare fullyrealised, Unfortunatelythe composer cannot dispense the more obvious,in factthe leading beauty,of his with the reproducer. Has not, then, the writingis not fullyrealised in presentation. reproducer a very great responsibility,and ought

This content downloaded from 138.38.44.95 on Thu, 07 Jan 2016 09:12:31 UTC All use subject to JSTOR Terms and Conditions 494 THE MUSICAL TIMES.-AUGUST I, 1910. he notto 'know his place' whenhe comes in contact And nowa wordabout Clara Schumann'sdemand witha geniuslike Schumann's? To pick out certain for 'hineinlegen.' This curious and beautiful details arbitrarily,and grosslyto exaggeratethem, word she applied whenever she wanted to bring therebydestroying the whole true proportionof out the full emotional and spiritualimportance of the partsthe composerhas laid stressupon, is often any particularidea in a work,whether melodic or the only way a playerknows of being original. polyphonic. The meaningof the word cannot be Schumann was a poet with full knowledge of realisedby techniquealone. It suggestssomething the balance of constructionwith detail whichgo to spiritualand emotional, and demands the right make a great work of Art; and he was most touch on the pianoforte,and it musthave behind it particularthat his marks should be the means of the warmthof human affectionsuch as is conveyed conveyinghis intentionsas clearlyas possible. by the pressure of a hand one loves. Therefore Is it not, therefore,a gross act of inartisticit will be easily seen that ' hineinlegen' as used by vandalism not to pay the minutest attention to Clara Schumann,does not mean extremedigging everydetail in the worksof a great composer who into the keys in orderto produce a 'warm' tone, knew exactly what he wished to say, and how to which after all that method can never do. As say it; but who being dead cannot defend the element of human affection is such an himself? indispensablefeature of all Schumann's pianoforte Editors too, have a greatdeal to answerfor. To music, 'hineinlegen' cannot and must not be quote an instance among many; in a much-used overlooked. edition of 'Grillen ' (No. 4 of the Phantasiestiicke, In conclusion,may I say that the best guide for Op. I2), the valse passage beginning at bar 26 all Schumann-lovers,far better than any descriptive reads thus: writingof mine, is (notwithstandinga very few insignificantprinter's errors) contained withinthe covers of Clara Schumann's monumental edition t-?r of Robert Schumann'sworks.

IAW , I- -- t .. SCHUMANN'S ORCHESTRATION.-BY F. CORDER.

I l L + - I+ I I + IJ.} _ l+ . ..1 .. - .'J , It is unfortunatethat when a composerhas once been accepted as a his admirerswill no "Mm"- genius longer permit him to be criticised in any way. There lives yet in my memory the storm of awakened in in where slurs indignation Germany, I877, by Observe the are placed. But Schumann a article in which himself newspaper by JosephRubinstein, says: the writeraffirmed that Schumann's over-use of 4 5 4 2 the rosalia, or sequence, in melody was a serious weaknessin his composition. It was an undeniable, i[ - obvious fact,but Schumann was then at the height - of a which has to and L...... popularity latelybegun fade, his worshipperswould not have it spoken. I, too, ;A t;r .L have got myselfsingularly disliked on occasion by 14 venturingto criticise Schumann's orchestration. I doubt if I shall do so on the presentoccasion, because it is evident that people are not so Note the differenceand the fingering,and note controversialor so enthusiasticover the musicians Florestan's exuberantjump, clearly expressed by theyadmire as they once were. Also I am older, the position of the mark -- which separates the and can do my fault-findingmore gently. second fromthe thirdbeat. The art of writingeffectively for the orchestra The one so uncommonand fantastic; the other has arrived in these days to such a pitch that so veryordinary! much music of undeniable merit that once was I cannot lay too much stress on the followingpopular now appears tame and insipid. Schumann's points: (a) the necessityfor the most conscientious works have sufferedreally too severely from the attention,not only to the obvious but to the less competitionof Tchaikovsky,Wagner and Strauss, obvious rhythmicalschemes, and to all the many- even his finestovertures and symphoniesbut rarely sided and varied accentuations,the fantasticand findingtheir way into our London programmes. emotional lines of which are as characteristicof There is no help for this: in the strugglefor Florestan as are the long drawn, deep-breathingexistence the more brilliantworks will inevitably melodies and phrases characteristicof Eusebius. drive out the less; so if I occupy my pen with (b) Das 'Getragene': the giving of full value to discussingSchumann's merits and weaknesses,those the inner voices (but never to the detrimentof who disagreewith me may take comfortfrom the the whole picture); (c) the giving of full value to reflectionthat, as Mr. Toots says, 'It's of no the basses, whetherof Florestan or of Eusebius. consequence, thankyou !' Eusebius begs for an absolute command of Those who know a good deal of Schumann's legato,-tone-binding by the fingers. He also musiccan hardlyfail to notice certaincharacteristics begs not to be played sentimentally,though he is in it which are unorchestral. The uniformityof full of sentiment,which is such a differentthing. method, the almost perpetual full harmony and

This content downloaded from 138.38.44.95 on Thu, 07 Jan 2016 09:12:31 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.--AuGUST I, 1910. 495 wantof interest in thelower parts owingto the paucity in double-bowed quavers, while the trombones of passage-work,the lack of naturalpolyphony and thunderout an energeticphrase below. consequent absence of rests-these are the features The Overtureto ' Manfred,'one of Schumann's which almost preclude successful orchestration.most beautifullyconceived compositions, suffers Again, as with the pianoforte,so with the violin terribly from the badness of the writing for and other instruments:though many lovely ideas strings. The unhappyidea of conveyinga sombre are given them to utter,the composer seems to impression by writing in E flat minor is bad have little feeling for instrumental effect: his enough,but fromthe firstthree fierce chords to the A minorViolin sonata could be played withbetter end the violins are writtenfor with such curious effecton a viola, and all his pieces for clarinetor awkwardness as to suggest a student-composer oboe sound just as well on anythingelse. In who knows no instrumentbut the harmonium. 'Paradise and the Peri' the firstviolins only go The second violins, save for four bars in the outside the treble staffabout once in ten pages, introduction,never touch their first string at and indeed the gravestweakness of his orchestra-all. One can be as gloomyand darklypassionate tion is thatnot onlyis the melodic outlineconfined as possible, as one may see in the third act of to a very narrow space, but the entire musical 'Tristan and Isolde,' without making one's outline is rarelyallowed to spread to the extreme orchestrasound feeble. octaves. The result of this is that the instru- When Schumann writesa fewbars forharmony mentsof high and low pitch are never considered, of wood-windalone, it is reallystrange to observe and only double the principal part an octave how he contrives to place the oboes just where higher or lower. The amount of perfunctorythey refuse to blend with the rest. Having no 'doubling' in Schumann'sorchestration is enormous. valve-horns,he is often obliged to use the high Of course, Schumann wrote at a time when the notes of the horns, which also stick out too horns and trumpetswere limited to the use of prominently. The opening bars of the Pianoforte 'open notes,' a restrictionwhich was particularlyconcerto exemplifythis. In this same work it is unfortunatefor his gracefullychromatic harmony. also interestingto notice the exquisite impression The sagacious Beethoven made musical capital out produced by the subject of the slow movement, of these verydefects of the instruments;Schumann where for once we hear the violoncello and violin could not, and hardlyever triedto do so. For him up high, contrastingso markedlywith the dull music was just poetryand nothing else. Yet we tone-qualityof the otherportions. get glimpsesnow and then of delightfulorchestral In the symphonies,particularly those in B flat effectswhich seem to indicate that, if he could and C, the beauty of the themes makes one have been induced to turn his thoughtstowards disregard the total absence of passage-workand technicalmatters, he would have writtenvery much consequent poverty in the stringparts, but the better. Such glimpses are in 'Paradise and the E flatSymphony might be played throughwithout Peri,' at the tenorsolo commencingPart II., where any wind instrumentsat all, the entirework being the oboe is used most deliciously,and again in the practically in full harmony for strings. What succeeding chorus,where runningpassages on the little technique Schumann had gradually waned violins affordalmost the only semiquaver move- and faded as his brain succumbed to disease, until ment in the entirework. For the rest,it is really his last compositions dwindled to characterless extraordinaryhow dismal this lovely work sounds pieces of four-partharmony. The overture to on the orchestra and how well it sounds on 'Faust,' and many of the minor choral works, the pianoforte. The overture to 'Genoveva' is date from a late period in his life, and therefore perhaps Schumann's most successful piece of may be passed over in sympatheticsilence, but scoring. The effectin the second subject, where the compositionsof his earlier and brightertime the melody is played by stringsand wind together,all exhibit a mere student-knowledgeof the art thus: of orchestration,and-in spite of brilliantflashes here and there-do not, as a whole, show either *- . resourcefulnessor inventionof effects. It is most .. curious to compare Schumann with his contem- b-I porary,Berlioz, in this matter. Berlioz had hardly any melodic invention,nor feelingfor harmony, yet he wrotewith marvellous effectiveness. Schumann is characteristic,but sounds very ugly in the had an inexhaustiblespring of both, yet a large continuation: proportion of even his vocal works has to be laid aside as uninteresting. But you cannot sit down to the and work what- - pianoforte play any III 11 1 I I I ever by Berlioz for pleasure, whereas even Schumann's least successful pieces are pleasant to go through. That fact bears upon their this (like Beethoven's syncopated scale-passage in instrumentation. To write effectively for the 'Leonora' No. 3) being one of those effectsorchestra one does not want only melody and suitableonly to thepianoforte; but the Coda is really harmony: floridpassages are absolutely indispen- brilliant,the violins being at last taken to their sable, and it was just thesewhich were Schumann's upper octave, where they play the above subject weakestpoint and Berlioz's strongest.

This content downloaded from 138.38.44.95 on Thu, 07 Jan 2016 09:12:31 UTC All use subject to JSTOR Terms and Conditions 496 THE MUSICAL TIMES.-AUGUST I, 1910.

SCHUMANN AND MENDELSSOHN. the subject, nor said it in a new way. The only differencebetween one book and In the biographical sketch of Schumann given perceptible in our last numberit was remarkedthat: another is the tendency to brevity noticeable in all modern works. Our forefatherswere Schumannwas in factan ardentadmirer of Mendelssohn's heedless of the value of time, and wrote folio music,but thereis no evidencethat Mendelssohnsimilarly appreciatedSchumann's music. volumes where their descendants write octavos and even duodecimos. I have before me, for Sir AlexanderMackenzie draws our attentionto instance, the treatises of Choron, Reicha and the fromMendelssohn's Letters: followingpassages Asioli, each as large as a family Bible, and a Berlin, 1844. To Buxton, London. French publisher sends me the latest text-book My friendDr. Schumannwishes for an opportunityto adopted by the Paris Conservatoire, which is publishhis new work 'Paradise and Peri' in yourcountry, Choron cut down to about andhas desired me to write of hiswork. simply fiftypages youmy impression of octavo. I mustaccordingly tell you thatI haveheard and read the modest newwork of Schumannwith the greatest pleasure. Did I hear you say that thisdid not interestyou That it has affordedme a treatwhich made me easilyin the least ? Nay, but even so drearya subject foretellthe unanimousapplause it has gainedat the two as Elements of Music has its side. at Dresden entertaining performancesLeipsic and twoperformances at few of the writershave ever (whichtook place lastmonth), and I thinkthat it is a veryVery attempted importantand beautifulwork, full of manyeminent to make it lively,but those that have are worth beauties. our attention. And there are also some who are As forexpression and poeticalfeeling, it ranksvery high : without to be so. well writtenas the solo amusing intending the chorusesare as partsare Most of readers have heard of the 'Plaine melodiousand winning. my In short,it is a worthytranslation of thatbeautiful and Easie Introduction to Practicall Musicke' inspirationof yourgreat poet, Moore,and I thinkthe of Thomas Morley,though fewmay have perused to that forthe charm feelingof beingindebted poet that it. This was the firsttreatise on music published pervadesthe whole music has induced the composer to wish in and the most set out yourcountrymen tobecome acquainted with his work. England, practical,being He intendsvisiting England next year, when I am sure in the formof a dialogue between a masterand he andhis music will be receivedas theyso highlydeserve. two of his pupils. I grieve to say that the first Yourstruly, part,dealing withthe Gam-utand othermysteries, F. MENDELSSOHN-BARTHOLDY. is too much for my poor brain to grasp, but There must, however, have been ructions Counterpoint,which forms the subject of Part II., between them,because he writesto Klingemann: is betterexpounded here than in any other book TRANSLATION. I know. The dialogues are full of a quaint humour,and the verses at the Leipsic, 31Jan., 1847. laudatory beginning I shall notbe able to give Madame Schumann'sletter to (as we should print press notices) are immense. you: Her husband has been behaving very doubtfullyHere are a fewsamples : (zweideutig)(or more than that) to me, and has worked up an ugly businessfor me here, about which I shall not . Whereinit seems that Orpheus he exceedes, waste a word,but which has damnably(verdammt) cooled Forhe wyldebeastes ; this,men with pleasure feeds. downmy keenness to help himalong and be civilto him. A noysedid rise like thunder in myhearing, Alwaysyours, Whenin the East I sawdark clouds appearing : FELIX. WhereFuries sat in Sablemantles couched, Haughtydisdaine with cruell enuie matching The letterrefers to Madame Schumann's first OldeMomus and young Zoilus all watching, visitto London. How todisgrace what Morley hath auouched. (To be continued.) Butlo, theday Star with his bright beames shining ; &c.,&c. MUSINGS IN A LIBRARY. The way in which the master finds endless fault with his pupils' work,and is then persuaded IV. to show them how it ought to be done, whereupon There is a curious phenomenonin the world of they overload him with compliments, is very music, the cause of which I must leave cleverer amusing; but the book is fullof wise sayings,e.g: brains than mine to explain. This is the Master: Pause muchand you shall doe better. publication, from time to time, of new treatises Polimathes:What ! will muchstudy helpe? or text-bookson the Rudiments of Music. The Mas.: Too much studydulleth the understanding;but of each new work when I bid him pause much I will him to correctoften publisher presents a copy beforehe to leave. my library, and the consequence is that Pol.: But when hee hath once set down a thing right, shelves upon shelves are filled with large and whatneed himstudy any more at thattime ? small volumes which are practically the same Mas. . When he hath once set down a point, though it be book writtenin the same words over and over right yet ought hee not to rest there but should rather Does each writer think that looke more earnestly how he may bring it more artifically again. he has about . . And though the Lawyers say, that it were discoveredor invented the alphabet and grammar better to suffera hundred guilty persons escape than to of our art, or is he-as I fear-ignorant of the punish one guiltless, yet ought a musician rather blotte out existence of all these anticipatorsof his wisdom? twentie good points than to suffer one point passe in his compositions unartificallybrought in. During the i9th century at least 500 books of 'Theory' were published in unmusical England Very differentto this is Playford's'Introduction alone, and the expense of their production was to the Skill of Musick,' a workwhich goes over the sheer waste. No one has said a new thing on same ground as Morley's, but does so in a

This content downloaded from 138.38.44.95 on Thu, 07 Jan 2016 09:12:31 UTC All use subject to JSTOR Terms and Conditions Musical The Times.] (Rereoduced for THiE MUSICAL TIMES bylfermission of.3rr. Emery Walker, [August I, 191o. Clifford's Inn, E.C.)

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