On Conducting

  On Conducting

  Richard Wagner

  Richard Wagner. On Conducting

  (translated by Edward Dannreuther)

  This etext was prepared by John Mamoun mamounjo@umdnj.edu with the online distributed prooreading team of Charles Franks.

  POEM FRONTISPIECE

  (1869). 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!" (After GOETHE).

  TRANSLATOR'S NOTE.

  Wagner's Ueber das Dirigiren was published simultaneously in the "Neue Zeitschrift fur Musik" and the "New-Yorker Musik-zeitung," 1869. It was immediately issued in book form, Leipzig, 1869, and is now incorporated in the author's collected writings, Vol. VIII. p. 325-410. ("Gesammelte Schriften und Dichtungen von Richard Wagner," ten volumes, Leipzig, 1871-1883.) For various reasons, chiefly personal, the book met with much opposition in Germany, but it was extensively read, and has done a great deal of good. It is unique in the literature of music: a treatise on style in the execution of classical music, written by a great practical master of the grand style. Certain asperities which pervade it from beginning to end could not well be omitted in the translation; care has, however, been taken not to exaggerate them. To elucidate some points in the text sundry extracts from other writings of Wagner have been appended. The footnotes, throughout, are the translator's.

  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 Germanyâ€"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 ("Capellmeister," "Musikdirectoren," etc.). 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 postâ€"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 [Footnote: Circa, 1861.] 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 musicâ€"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 [Footnote: Appointments at German Court theatres are usually for life.]â€"thus men take first positions when their powers are on the wane, whilst younger and stronger men are relegated to the subordinate partsâ€"a practice, the evil effects of which are particularly noticeable with regard to the wind instruments. Latterly [Footnote: 1869.] 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 (with rare exceptions indeed) 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!

  Such a state of things may be excusable from a humane point of view; it arose from the older methods of instrumentation, where the role of the viola consisted for the most part in filling up the accompaniments; and it has since found some sort of justification in the meagre method of instrumentation adopted by the composers of Italian operas, whose works constitute an important element in the repertoire of the German opera theatres.

  At the various court theatres, Italian operas have always found favour with the Directors. From this it follows as a matter of course, that works which are not in the good grace of those gentlemen stand a poor chance, unless it should so happen that the conductor is a man of weight and influence who knows the real requirements of a modern orchestra. But our older Capellmeisters rarely knew as muchâ€"they did not choose to recognize the need of a large increase in the number of stringed instruments to balance the augmented number of wind instruments and the complicated uses the latter are now put to.

  In this respect the attempts at reform were always insufficient; and our celebrated German orchestras remained far behind those of France in the power and capacity of the violins, and particularly of the violoncellos.

  Now, had the conductors of a later generation been men of authority like their predecessors, they might easily have mended matters; but the Directors of court theatres took good care to engage none but demure and subservient persons.

  It is well worth while to note how the conductors, who are now at the head of German music, arrived at the honourable positions they hold.

  We owe our permanent orchestras to the various theatres, particularly the court theatres, small and great. The managers of these theatres are therefore in a position to select the men who are to represent the spirit and dignity of German music. Perhaps those who have been thus advanced to posts of honour, are themselves cognizant of how they got thereâ€"to an unpractised observer it is rather difficult to discern their particular merits. The so-called "good berths" are reached step by step: men move on and push upwards. I believe the Court orchestra at Berl
in has got the majority of its conductors in this way. Now and then, however, things come to pass in a more erratic manner; grand personages, hitherto unknown, suddenly begin to flourish under the protection of the lady in waiting to some princess, etc. etc.â€"It is impossible to estimate the harm done to our leading orchestras and opera theatres by such nonentities. Devoid of real merit they keep their posts by abject cringing to the chief court official, and by polite submission to the indolence of their musical subordinates. Relinquishing the pretence of artistic discipline, which they are unable to enforce, they are always ready to give way, or to obey any absurd orders from headquarters; and such conductors, under favourable circumstances, have even been known to become popular favourites!

  At rehearsals all difficulties are got over by means of mutual congratulations and a pious allusion to the "old established fame of our Orchestra." Who can venture to say that the performances of that famous institution deteriorate year by year? Where is the true authority? Certainly not amongst the critics, who only bark when their mouths are not stopped; and the art of stopping mouths is cultivated to perfection.

  Recently, the post of chief conductor has here and there been filled by a man of practical experience, especially engaged with a view to stimulating the slumbering energy of his colleagues. Such "chiefs" are famed for their skill in "bringing out" a new opera in a fortnight; for their clever "cuts"; for the effective "closes" they write to please singers, and for their interpolations in other men's scores. Practical accomplishments of this sort have, for instance, supplied the Dresden Opera with one of its most energetic Capellmeisters.

  Now and again the managers look out for "a conductor of reputation." Generally none such are to be had at the theatres; but, according to the feuilletons of the political newspapers, the singing societies and concert establishments furnish a steady supply of the article. These are the "music-brokers," as it were, of the present day, who came forth from the school of Mendelssohn, and flourished under his protection and recommendation. They differ widely from the helpless epigonae of our old conductors: they are not musicians brought up in the orchestra or at the theatre, but respectable pupils of the new- fangled conservatoires; composers of Psalms and Oratorios, and devout listeners at rehearsals for the subscription concerts. They have received lessons in conducting too, and are possessed of an elegant "culture" hitherto unknown in the realms of music. Far from shewing any lack of politeness, they managed to transform the timid modesty of our poor native Capellmeister into a sort of cosmopolitan bon ton; which stood them in good stead with the old-fashioned philistine society of our towns. I believe the influence of these people upon German orchestras has been good in many respects, and has brought about beneficial results: certainly much that was raw and awkward has disappeared; and, from a musical point of view, many details of refined phrasing and expression are now more carefully attended to. They feel more at home in the modern orchestra; which is indebted to their masterâ€"Mendelssohnâ€"for a particularly delicate and refined development in the direction opened up by Weber's original genius.

  One thing however is wanting to these gentlemen, without which they cannot be expected to achieve the needful reconstruction of the orchestras, nor to enforce the needful reforms in the institutions connected with them, viz., energy, self-confidence, and personal power. In their case, unfortunately, reputation, talent, culture, even faith, love and hope, are artificial. Each of them was, and is, so busy with his personal affairs, and the difficulty of maintaining his artificial position, that he cannot occupy himself with measures of general importâ€"measures which might bring about a connected and consistent new order of things. As a matter of fact, such an order of things cannot, and does not concern the fraternity at all. They came to occupy the position of those old fashioned German masters, because the power of the latter had deteriorated and because they had shewn themselves incapable to meet the wants of a new style; and it would appear that they, in their turn, regard their position of to-day as merely temporaryâ€"filling a gap in a period of transition. In the face of the new ideals of German art, towards which all that is noble in the nation begins to turn, they are evidently at a loss, since these ideals are alien to their nature. In the presence of certain technical difficulties inseparable from modern music they have recourse to singular expedients. Meyerbeer, for instance, was very circumspect; in Paris he engaged a new flutist and paid him out of his own pocket to play a particular bit nicely. Fully aware of the value of finished execution, rich and independent, Meyerbeer might have been of great service to the Berlin orchestra when the King of Prussia appointed him "General Musikdirector." Mendelssohn was called upon to undertake a similar mission about the same time; and, assuredly, Mendelssohn was the possessor of the most extraordinary gifts and attainments. Both men, doubtless, encountered all the difficulties which had hitherto blocked the way towards improvements; but they were called upon to overcome these very difficulties, and their independent position and great attainments rendered them exceptionally competent to do so. Why then did their powers desert them? It would seem as if they had no real power. They left matters to take care of themselves and, now, we are confronted by the "celebrated" Berlin orchestra in which the last trace of the traditions of Spontini's strict discipline have faded away. Thus fared Meyerbeer and Mendelssohn whilst at Berlin: what are we to expect elsewhere from their neat little shadows?

  It is clear from this account of the survivals of the earlier and of the latest species of Capellmeisters and Musikdirectors, that neither of them are likely to do much towards the reorganization of our orchestras. On the other hand the initiative has been taken by the orchestral performers themselves; and the signs of progress are evidently owing to the increasing development of their technical attainments. Virtuosi upon the different orchestral instruments have done excellent service, and they might have done much more in the circumstances had the conductors been competent.

  Exceptionally gifted and accomplished players easily got the upper hand of the decrepit Capellmeisters of the old sort, and of their successors, the parvenus without authorityâ€"pianoforte pedagogues patronized by ladies in waiting, etc., etc. Virtuosi soon came to play a role in the orchestra akin to that of the prima donna on the stage. The elegant conductors of the day chose to associate and ally themselves with the virtuosi, and this arrangement might have acted very satisfactorily if the conductors had really understood the true spirit of German music.

  It is important to point out in this connection that conductors are indebted to the theatres for their posts, and even for the existence of their orchestra. The greater part of their professional work consists in rehearsing and conducting operas. They ought, therefore, to have made it their business to understand the theatreâ€"the operaâ€"and to make themselves masters of the proper application of music to dramatic art, in something like the manner in which an astronomer applies mathematics to astronomy. Had they understood dramatic singing and dramatic expression they might have applied such knowledge to the execution of modern instrumental music.

  A long time ago I derived much instruction as to the tempo and the proper execution of Beethoven's music from the clearly accentuated and expressive singing of that great artist, Frau Schroder-Devrient. I have since found it impossible, for example, to permit the touching cadence of the Oboe in the first movement of the C minor Symphonyâ€"

  [Figure: music example]

  to be played in the customary timid and embarrassed way; indeed, starting from the insight I had gained into the proper execution of this cadence, I also found and felt the true significance and expression due to the sustained fermata of the first violins

  [Figure: musical example (a single note, a G atop the treble clef, with a fermata)] [Footnote: Ante, bar 21.]

  in the corresponding place, and from the touching emotional impressions I got by means of these two seemingly so insignificant details I gained a new point of view, from which the entire movement appeared in a clearer and warme
r light.

  Leaving this for the present, I am content to point out that a conductor might exercise great influence upon the higher musical culture with regard to execution, if he properly understood his position in relation to dramatic art, to which, in fact, he is indebted for his post and his dignity. But our conductors are accustomed to look upon the opera as an irksome daily task (for which, on the other hand, the deplorable condition of that genre of art at German theatres furnishes reason enough); they consider that the sole source of honour lies in the concert rooms from which they started and from which they were called; for, as I have said above, wherever the managers of a theatre happen to covet a musician of reputation for Capellmeister, they think themselves obliged to get him from some place other than a theatre.

  Now to estimate the value of a quondam conductor of concerts and of choral societies at a theatre, it is advisable to pay him a visit at home, i.e., in the concert-room, from which he derives his reputation as a "solid" German musician. Let us observe him as a conductor of orchestral concerts. Looking back upon my earliest youth I remember to have had unpleasant impressions from performances of classical orchestral music. At the piano or whilst reading a score, certain things appeared animated and expressive, whereas, at a performance, they could hardly be recognised, and failed to attract attention. I was puzzled by the apparent flabbiness of Mozartian Melody (Cantilena) which I had been taught to regard as so delicately expressive. Later in life I discovered the reasons for this, and I have discussed them in my report on a "German music school to be established at Munich," [Footnote: "Bericht ueber eine in Munchen zu errichtende deutsche Musikschule" (1865). See Appendix A.] to which I beg to refer readers who may be interested in the subject. Assuredly, the reasons lie in the want of a proper Conservatorium of German musicâ€"a Conservatory, in the strictest sense of the word, in which the traditions of the CLASSICAL MASTERS' OWN style of execution are preserved in practiceâ€"which, of course, would imply that the masters should, once at least, have had a chance personally to supervise performances of their works in such a place. Unfortunately German culture has missed all such opportunities; and if we now wish to become acquainted with the spirit of a classical composer's music, we must rely on this or that conductor, and upon his notion of what may, or may not, be the proper tempo and style of execution.