Four Weeks of Musical Life in London: The Impressions of a German Musician Author(s): Theodor Müller-Reuter Source: The Musical Times, Vol. 51, No. 810 (Aug. 1, 1910), pp. 513-514 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/908105 Accessed: 12-12-2015 00:04 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 138.253.100.121 on Sat, 12 Dec 2015 00:04:30 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-AUGUST I, 1910. 513 FOUR WEEKS OF MUSICAL LIFE IN LONDON: of stringand windtone alike in pp andffisso perfectthat one could almostsay that the wind tone is embraced the THE A by IMPRESSIONS OF GERMAN MUSICIAN. strings. This perfectblending is not due to the disposition BY PROFESSOR THEODOR MUiLLER-REUTER, OF CREFELD. of the orchestra,which is in the formof a fan and not wedge-shapedas is usual in Germany; for at Covent It was with the object of makinghistorical researches in Gardenand His Majesty'sTheatres, where the orchestras are the musicalarchives of the BritishMuseum, and of learning of course differentlydisposed, the same peculiarityis somethingof the actualitiesof London's musicaland concert noticeable. The mostimportant factor in the productionof lifeduring its season, thatI visitedthe metropolisin May of so beautifula toneseems to be the stringquartet, in which thisyear. In a stayof fourweeks it is manifestlyimpossible, the bowing suggeststhe influenceof the French school. even withthe best will in the worldand the exerciseof the The welcome, too, which London orchestrasgive their greatestenergy, to arrive at a conclusionon London's conductorwhen he comes on to the platformis a pleasing musicalactivities that can in any way be regardedas final feature: there is respect on both sides, an earnest of and all-embracing. Nevertheless,performances in concert harmonious working. The London Symphony (1o3 hall and theatre,and constantintercourse with distinguished members) seems to stand at the head of the three English artists,professors, composers and others of the orchestras. I had the opportunityof studyingtheir quick musical world have contributedto produce a numberof readinessin accompanimentboth at concertsand rehearsals. impressionswhich may not be withouta certainvalue. It (To avoid misunderstanding,I may add that I heard the is thereforewith the greatestpleasure that, in compliance Queen's Hall and Philharmonicorchestras each at one with the courteousrequest of the editorof this journal,I concertonly, and the London Symphonyat several.) Two now set my impressionson paper,at the same timeasking worksfor pianoforte and orchestraby Hintonand Delafosse thatwhat I have writtenmay not be consideredin any sense (performedat differentconcerts) were easilymastered each a treatiseon English,or even London, musicallife. at one rehearsalin spiteof theirmany rhythmical difficulties ; and experiencehas shownthat the capabilityof an orchestra LONDON AS A MUSICAL CENTRE. and the extentof its musicalknowledge are best evidenced For a that marvel of has by its elasticityand power of adaptationin accompaniment. long period London, cities, An standard was been duringthe season the all-compellingmagnet to the equally high attainedin Tchaikovsky's musical artistsof all countries. Here Pianoforteconcerto in B flatminor, played by Katherine leading composers, Goodsonand Of orchestral conductors,virtuosi, and singershave soughtand foundthat Lambrino. pure performances, whichleads to both artisticand financial I would mentionfirst Wagner's 'Siegfried Idyll' as a heartyrecognition of tonal and with it the last move- success. Germany,the land of musicpar excellence,has pattern beauty, contributeda ment of Brahms's fourth Symphony,the Passacaglia, always specially large contingentof musical which under whilethe free of Germanmusic into Nikisch's master-handseemed to lose its visitors, import England austere and was with the utmostverve. has everflourished, carrying with it manyand unquestionable colour, played benefits. In fact,a carefulobserver cannot fail to notice Among other works given by the London Symphony thatfor therehas existedbetween and Orchestra were Tchaikovsky'sfourth and Beethoven's manyyears England seventh Brahms's the Germanya musicalreciprocity which has beenmade possible symphonies, 'Haydn variations,' increasedmusical in A 'Coriolan' and 'Euryanthe' overtures,a new symphony largelythrough activity England. the Russian M. of native, musicianshas by young composer Steinberg,and several generation highlycapable sprung With the of the up, and conspicuousin the forefrontstand artists who compositionsby Wagner. exception Beethoven and competewith the best thatGermany and the Continentcan symphonies by Steinberg,which were conducted Albert Coates-known in produce. ContemporaryBritish composers are making by Germanythrough theirfoothold in ever and in the realmof his workas conductorat Elberfeldand Mannheim-every- Germany surer, was in the hands of Arthur with whose choralmusic Englishmen have achievedlasting success. In thing Nikisch, mention of absolute masteryof the orchestrait was difficultfor the thisconnection special mustbe made Sir Edward artist whose orchestralworks also have a younger to compete. The favourshown to Russian Elgar, prominentplace music cannotfail to strikethe Germanmusician. In five in Germanprogrammes ; indeed, his Symphonyin A flat (Op. 55)-a very important work, the first German concerts Tchaikovsky'sSymphonies Nos. 4 and 6, the performanceof which was conducted ArthurNikisch in Pianoforteconcerto (twice), and symphoniesby Rachmaninoff by and were The ' Berlin-will certainlybe performedseveral times in Germany Steinberg performed. Pathetic'symphony next winter. I must not omit mentionof those other was played by Henry J. Wood with the Queen's Hall Orchestra the eminent musicians, Sir Hubert Parry, Sir Alexander at the impressivememorial service to late Mackenzieand Sir CharlesStanford. King Edward. Threethousand people in deepestmourning, the ladies' a English virtuosiand singersare not verywell known to head-dressespresenting swayingsea of black German but theexcellent feathersand ribbons-the absence of applause-the visible audiences, judgingby performancesemotion of the Madame Ada I have heard, the visits of English artiststo Germany soloist, Crossley--Chopin's will certainlybe more numerousin the near future. The Funeral March receivedstanding at the commencementof the and at the close the '- competitionsof Germanmale-voice choirs have theirEnglish programme, 'IGod Save King in the the betweenthem Mendelssohn'saria from 'Elijah,' 'O rest parallel importantmixed-choir competitions, the influenceof which on music is of much in Lord' and Sullivan's aria 'And God shall wipe English greater all Mozart's Masonic Funeral value thanthat of Germanmale-voice competitions on music away tears,' Music, and of the Fatherland. That the of music in a Tchaikovsky's'Pathetic' symphony-madea movingand quantity given tributeto the of the dead cityof seven millions-the Mecca of artistsof everycivilised fitting memory ruler, 'the visibly nation-is than in the beloved' ofhis sorrowingpeople. The 'Pathetic' symphony greater Berlin,is natural,but to me the qualityalso appearedhigher. hardly seemed appropriateto reverentfeeling and sadness pervading the audience, at least as regards THE QUEEN'S HALL AND LONDON SYMPHONY ORCHESTRAS. the two nmiddlemovements, which are certainlynot in keepingwith the expressionof mourning. The Queen's As a conductor,I found most to interestme in the Hall Orchestra,especially the wind,revelled in it. Every orchestras of London, of which I heard three in conductorknows that uncomfortableplace in the first the following order--Queen's Hall, Philharmonicand movement,where the melody in D major played by the London Symphony. In addition to these, I made the clarinetis taken up in the lower registerby the bassoon. acquaintanceof the opera orchestrasof Covent Garden and It would be impossibleto imaginea nearerapproach to a His Majesty'sTheatre (the Beecham Orchestra),and the perfectblend of tonebetween the two instrumentsthan was orchestrasof the Empire and Palace Theatresof Varieties. obtained on this occasion. The tempoadopted for the Let us consider the concert orchestrasfirst. One's secondmovement, and the strettoat the end of the thirdare first impression is of the wonderfulorchestral tone, open to question,and the climax of the firstmovement did which withoutany doubt exceeds that of our German not attainthe tremendouseffect possible. But these details orchestrasin its round,full quality. This beautyof tonehas in no way detractfrom the veryhigh opinionI formedof somethingbewitchingin it, the purity of intonation isexcellent, the orchestra'swork, which, in the fullestsense of the word, and theorchestral discipline truly remarkable. The blending was excellent. This content downloaded from 138.253.100.121 on Sat, 12 Dec 2015