CHAPTER XV.
DELIVERY--STYLE--"FORM" VERSUS "FEELING"--CONCEPTION--ESSENTIALS OF A "FINE" DELIVERY--ORCHESTRAL PLAYING.
DELIVERY, STYLE, ETC.
Up to the present chapter the student has been instructed how to interpret and perform that which he sees on the music sheet before him; to give a soulful and intelligent reading of any composition, he must look beyond the mere written notes, and see if it is not possible to discover some _meaning_, some effect which the composer has been unable to express in musical notation.
True music is conceived in the mind of the composer, in some more or less perfected form, before any attempt is made to transfer the ideas to paper. Of course each composer has his individual way of working, thus Beethoven never was without a note book in which he jotted down any bits of melody or any musical thought which occurred to his mind during his perambulations. Among these ideas may be found the leading themes from which some of his greatest compositions were afterwards developed. Mozart gives us an instance in the extreme opposite direction; it is stated that this wonderful composer carried the whole of a sonata for violin and pianoforte in his mind without a single note being transferred to paper, the composer taking part in a public performance of the same with only a duplicate of the violin copy at the pianoforte.
The student must keep in mind that the composer writes his thoughts; perhaps the reader is unable to conceive the difficulty of transferring to paper the musical thoughts which come unbidden to the mind; to write the notes is simplicity itself, but how impossible to write a melody so that every inflection of tone power, every slight change in tempo, and more than this the exact sentiment which the music should convey. To some people--perhaps to some players--music is merely the sounding of a variety of combinations of sounds, in various rhythms; it expresses nothing more than that. Emotion, sentiment, must not be given a place in the musician's vocabulary, anything which does not appeal solely to the intellect we are told to consider vulgar and sensual. Luckily for the string player these superior people are in a minority, the multitude are yet swayed, and to the end will continue to be moved by a melody sung or played from the heart.
Perhaps it is possible to find a parallel in art; one contemplates a beautiful geometrical design; clever, intricate, graceful, but how much better are we for its contemplation? Has it conveyed any truth? Is it possible to move a crowd either to tears or laughter? Is it possible to awaken either warlike or peaceful feelings in the breasts of the observers? How much greater to portray feelings than forms, thus a picture which depicts love, hatred, happiness, misery or gratitude, must be considered greater than a mere figure study. In landscape painting it is greater to reproduce _living_ nature than mere studies of trees, sky, etc.; thus the painter who makes us see the driving snow, the rushing torrent, the beating rain, the fitful gleam of sunlight or even the passive stillness of the wood, conveys impressions to our minds, not only impressions of nature, but of certain states or moods of nature.
Compare some of the music by such as Romberg to that of Beethoven or Schumann; the first merely studies in sound, the latter brimful of thoughts, impressions, which appeal to the intellect of the performer, and test his musicianship by the manner in which they are expressed or overlooked.
The student should remember that all good music is composed with a strict observance of its effect on the listener; this does not mean that Beethoven wrote a scherzo for the sole purpose of causing people to feel jolly, any more than he wrote a funeral march or an adagio solely to make people sad. In all Beethoven's music, as in that of other great masters, the listener is purposely compelled to pass through various states of mind; where necessary the addition of a movement or section in quite a contrasting mood is purposely made, so that the mind of the listener is prepared for the ensuing movement. The composer writes what inspires him at the moment, but his greatness is shown in the manner in which these themes are contrasted and varied, so that the interest of the listener is sustained throughout the whole performance. This must be considered in the delivery of a musical composition. "It is the effect on the listener which one must constantly have in mind," no matter how turbulent are the feelings of the player, if the passion does not find its way into the delivery, the audience will be quite unaware of the fact. How is this to be accomplished? In reading aloud or reciting, if one only observes the ordinary rising and falling of the voice at the division of the periods, marks of interrogation, etc., it would be hardly possible to say that one read with expression. There is something more than this school boy elocution required; does not an orator hurry an impassioned passage, and drag a doleful one, does he not shout a command and whisper a tender sentence. So if the musician merely observes the rhythmical and dynamic effects, the performance may be correct, yet it will be void of soul, and of that force which carries along the hearer.
Exactly as in elocution, the performer must first grasp the intention of the composer before a soulful interpretation is possible; it is just this "conception," this grasp of the composer's meaning, this transforming of the groups of sound into a real living performance, which at once reveals the real genius. It is quite true that genius must be trained or it will fall into many errors and exaggerations, there are many who, guided by feeling alone, put such an amount of individuality and what is commonly termed expression into their performances, that the listener, led away by the rush of passion, overlooks the many errors with which the performance abounds. It is for the student to cultivate a style which shall satisfy the most refined tastes, at the same time infusing as much of his own personality and feeling into the delivery as the nature of the composition will admit. It is a difficult matter to give any absolute rules for the guidance of young players, let us, however, consider what constitutes a fine delivery.
The first essential is beauty of tone; it is recorded of Jenny Lind--an artist with a reputation more unique it would be difficult to find--that the quality of her voice was of such beauty that even the ordinary diatonic scale sung slowly, was enough to create the utmost enthusiasm. One writer describes the pleasure experienced from hearing the _tone_ of her voice only, as that obtained by the sight of pure, brilliant colour; thousands who heard this great singer were melted to tears, even when the work was quite unintelligible to the majority of them; this was occasioned chiefly by the natural pathos in the tone of her voice, added to a personality as simple as sincere. The performer should always consider that "tone" is the fundamental matter with which he works; as a rule "tone" is generally thought to mean "big" tone, but this is not necessarily so; beautiful, sweet, brilliant tone should be the aim, big tone if possible, but never at the expense of quality, variety and phrasing.
The next matter of importance is a correct conception of tempo; as some writer has remarked, "it is possible to transform a scherzo into a funeral march by a wrong conception of tempo." This is a matter of great importance, but also a matter in which some of our finest players and conductors differ to an alarming extent. In the case of solo players this may be excused, as the tempo which may suit the characteristics of one player would perhaps be quite dull if adopted by a soloist with quite a different style. In the case of conductors, however, it is to be feared that much of this difference arises from a desire to be thought original, even at the expense of all tradition. In determining the tempo of a composition the character and general build of the work itself is the only guide.
The third essential is a faithful reproduction of all the dynamic effects marked by the composer, as well as all the varieties in tempo such as ritards, calando passages, accelerandos, etc., etc.; beyond this may be again mentioned the different varieties of tone, the playing of certain passages on one string in preference to another, artificial shifting for the purpose of a correct phrasing, the increasing or retarding of the tempo other than marked by the composer; these latter liberties are only applicable to compositions of the lyric or romantic type, in the delivery of which it is needful to introduce the emotional element, and are not intended to be introduced in compositions which depend solely or chiefly on rhythm for their effect. Under the latter head may be classed mazurkas, tarantelles, etc., and nearly all dance movements, except those of the sentimental type.
The fugue also comes under the same head, it is possible to express rhythm in musical notation but not emotion, and it must be remembered that the fugue is the outcome of a highly trained intellect, and not the outcome of inspiration in its independent sense. The fugue is really "paper" music, it is possible to write more than could possibly be imagined, this also applies in some degree to pieces of a highly contrapuntal nature. In concluding this part of our subject it may be recommended to the player to learn to anticipate effects--to hear in advance that which he is about to play. "Expression is the manifestation of impression," if the performer is not sensitive to the generating causes of expression--if these make no impression on him, it will be impossible for him to feel what he is playing, this system of reading in advance allows the performer to thoroughly grasp the musical phrase, and to give it a sensible intelligent treatment. In playing at sight, or in the performance of concerted music, this is of great importance.
The foregoing remarks on individuality of interpretation do not apply to the performance of concerted music; in playing trios, quartets, and especially in orchestral work the performers must sink their own individuality, for the sake of the general effect: in orchestral playing, purity of intonation, a strict and decided division of the notes, and especially in large orchestras, what may be termed an exaggerated interpretation of the dynamics, must form the basis. All artificial shifting must be dispensed with, gliding along the strings must also not be indulged in, except in some unison passages where all the players can decide to finger the passage in the same manner; passages marked "piano" must be played throughout "piano," and not as in solo work, be varied by slight crescendos, etc., according as the passage rises or falls, etc. The reader will readily understand that a theme played pianissimo by a half-dozen 'cellos will have an entirely different effect than the same theme played by one instrument, even if the same body of tone is produced. A number of instruments playing in unison impart a grandeur to a passage which is quite characteristic; it must be remembered that composers have this effect in their minds when writing for strings in the orchestra. The conception of the work and its manner of delivery rests entirely with the conductor, each player for the time being must accept his reading, and be as subservient to the will of the conductor as are the keys of a pianoforte to the fingers of the musician.
In concluding it is as well to remember that we are not all constituted alike; some are born to be leaders, they have will, individuality, originality; others are more fit to be lead, they can accomplish much under the guidance of some master mind, but if left to themselves are utterly useless.
To place a fine solo player in an orchestra would be equal to compelling the general of an army to serve in the line. The reverse is not always the case, there are many who although brilliant and successful in the orchestra are useless for any other branch of playing. Let each one perfect himself in the branch of art for which he is most suited; exactly as it is impossible for a musician to be "master" of more than one instrument, so it is impossible to arrive at perfection in every branch of music. There are many fine solo players who have had long experience with the orchestra, but they have been soloists in spite of this.
THE END.
TENTH YEAR OF ISSUE.
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THE STRAD gives every month a beautifully executed portrait on fine art paper, of some leading celebrity in the violin world, together with a biographical sketch; and also smaller portraits of people in whom the violin world takes an interest. Thus, among others, portraits and notices of the following have appeared: Dr. Joachim, F. Louis Schneider, Lady Hallé, L. J. Massart, Emile Sauret, Pietro Nardini, Ludwig Straus, Marie Soldat, George Craske, Carl Courvoisier, Robert Lindley, Henri Marteau, Gabriele Wietrowetz, J. T. Carrodus, Paganini, Louis Ries, Leo Stern, Piatti, C. Dancla, Sarasate, Johannes Wolff, Guido Papini, Nettie Carpenter, E. F. Arbos, Joseph Hollman, Andre La Tarche, J. B. Vuillaume, John Dunn, Rosa Hochman, Joseph Ludwig, Willy Burmester, Alfred Gibson, Alfred Burnett, Henry Saint-George, Achille Rivarde, N. R. Scalero, Richard Gompertz, Felice de Giardini, Frye Parker, Marie Soldat-Röger, David Popper, Franz Ondricek, Irma Seth, Louis Pecskai, Jan Van Oordt, I. B. Poznanski, Eugene Ysaye, Henry Such, W. H. Squire, Leonora Jackson, etc.
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"THE STRAD" LIBRARY, No. I.
_Crown 8vo., Cloth, 2/6, Post Free, 2/9._
_"THE STRAD" LIBRARY EDITION is the only Authorised Edition of_
Technics of Violin Playing
ON
JOACHIM'S METHOD
BY
CARL COURVOISIER.
With Folding Plates, Containing Fifteen Illustrations.
LETTER FROM DR. JOACHIM [COPY].
MY DEAR MR. COURVOISIER: I have read the book on Violin Playing you have sent me, and have to congratulate you sincerely on the manner in which you have performed a most difficult task, _i.e._, to describe the best way of arriving at a correct manner of playing the violin.
It cannot but be welcome to thoughtful teachers, who reflect on the method of our art, and I hope that your work will prove useful to many students.
Believe me, my dear Mr. Courvoisier, to be most faithfully yours,
JOSEPH JOACHIM.
Berlin, November 3rd, 1894.
The New and Revised Edition of "Technics of Violin Playing" issued by The Strad is the only authorised edition of my work. The several English editions which have all appeared without my knowledge are _incomplete_ and _faulty_.
CARL COURVOISIER.
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"THE STRAD" LIBRARY, No. II.
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HOW TO STUDY THE VIOLIN
By J. T. CARRODUS
CONTENTS.
Strings and Tuning. The Bow and Bowing. Faults and their Correction. Scales and their Importance. Course of Study. Advice on Elementary Matters. Concerning Harmonics, Octaves, etc. Orchestral Playing. Some Experiences as a Soloist. With full page portraits of Carrodus, Molique, Paganini, Spohr, Sivori, De Beriot, Blagrove and Sainton, and a photo-reproduction of Dr. Spohr's testimonial to Carrodus.
* * * * *
"An interesting series of articles 'How to Study the Violin,' which Carrodus contributed to THE STRAD, and completed only a week or two before his death, have now been collected in cheap book form. The technical hints to violin students, which are practical, plainly worded, and from such a pen most valuable."--_Daily News._
"But a few weeks before his sudden death the most distinguished of native violinists completed in THE STRAD a series of chats to students of the instrument associated with his name. These chats are now re-issued, with a sympathetic preface and instructive annotations. All who care to listen to what were virtually the last words of such a conscientious teacher will recognise the pains taken by Carrodus to render every detail as clear to the novice as to the advanced pupil. Pleasant gossip concerning provincial festivals at which Carrodus was for many years 'leader' of the orchestra, ends a little volume worthy a place in musical libraries both for its practical value and as a memento of the life-work of an artist universally esteemed."--_Daily Chronicle._
"It is surely, hardly necessary to direct the attention of students to the unique value of the hints and advice given by so experienced and accomplished a virtuoso as the late Mr. Carrodus, so that it only remains to state that the 'Recollections' make delightful reading, and that the book, as a whole, is as entertaining as it is instructive. The value of the _brochure_ is enhanced by an excellent portrait of Mr. Carrodus, as well as of a number of other violin worthies, and the printing, paper, and get up generally are good as could possibly be."--_Musical Answers._
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"THE STRAD" LIBRARY, No. III.
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THE BOW
Its History, Manufacture and Use
BY
HENRY SAINT-GEORGE.
With Full Page Illustrations (exact size) by Photo Process.
* * * * *
MONS. EMILE SAURET writes--"I have read it with great interest, and think that it supplies a real want in giving musicians such an excellent description of all matters referring to this important instrument."
SIGNOR GUIDO PAPINI writes--"Thanks so much for your splendid and interesting book. You are quite successful and all the artists and amateurs are indebted to you for a so exact and correct '_Texte_' on the subject."
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THE TIMES.--"A useful treatise on the Bow, in which the history, manufacture and use of the bow are discussed with considerable technical knowledge."
DAILY TELEGRAPH.--"To the student there is much of interest in the work, which has the advantage of being copiously illustrated."
DAILY NEWS.--"This book seems practically to exhaust its subject."
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"THE STRAD" LIBRARY, No. IV.
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CELEBRATED VIOLINISTS, PAST AND PRESENT
_Translated from the German of_
A. EHRLICH.
_And Edited with Notes and Additions by_
ROBIN H. LEGGE.
_WITH EIGHTY-NINE PORTRAITS._
PRESS NOTICES.
"Those who love their fiddles better than their fellows, and who treasure up every detail that can be found and recorded about their favourite and cherished players will not fail to provide themselves with a copy of this book."--_Musical Opinion._
"This book of 280 pages is a most interesting and valuable addition to the violinist's library. It contains 89 biographical sketches of well-known artists, ancient and modern, of all nations. This is not intended to be a perfect dictionary of violinists; the aim of the Editor of the present volume being merely to give a few more up-to-date details concerning some of the greatest of stringed instrument players, and we must concede that no name of the first importance has been omitted. Germany is represented by 21 names, Italy by 13, France by 10, England by 4, Bohemia by 8, Belgium by 7, and the fair sex by seven well-known ladies, such as Teresina Tua, Therèse and Marie Milanollo, Lady Hallé, Marie Soldat, Gabrielle Wietrowetz, and Arma Senkrah. Altogether this is most agreeable reading to the numerous array of violinists, both professionals and amateurs, and after careful examination we can find nothing but praise for this translation into English of a book well-known on the Continent."--_The Piano, Organ and Music Trades Journal._
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"THE STRAD" LIBRARY, No. V.
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TECHNICS OF VIOLONCELLO PLAYING
BY
E. VAN DER STRAETEN.
COPIOUSLY ILLUSTRATED.
_Copy of Letter received by the Author from the great 'cellist, SIGNOR ALFRED PIATTI._
Cadenabbia, Lake of Como, March 9th, 1898.
DEAR SIR,--I received the book you kindly sent me on "The Technics of Violoncello Playing," which I found excellent, particularly for beginners, which naturally was your scope. With many thanks for kindly remembering an old ex-violoncello player.
Believe me, yours sincerely, ALFRED PIATTI.
_Copy of Letter received by the Author from the eminent 'cellist, HERR DAVID POPPER._
Budapest, February 22nd, 1898.
DEAR SIR,--In sending me your book on "The Technics of Violoncello Playing" you have given me a real and true pleasure. I know of no work, tutors and studies not excepted, which presents so much valuable material, so much that is absolutely to the point, avoiding--I might say, on principle--all that is superfluous and dispensable. Every earnest thinking violoncello student will in future make your book his own and thereby receive hints which will further and complete the instructions of his master.
I congratulate you and ourselves most heartily on the new violoncello book. With kind regards, Yours most sincerely,
DAVID POPPER.
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"THE STRAD LIBRARY," No. VI.
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VIOLIN PLAYING
BY
JOHN DUNN
CONTENTS
INTRODUCTORY--Qualities indispensable to the ideal Violinist--Hints on the Choice of a Teacher--Some Tricks of pretending professors exposed.
ON THE CHOICE OF A VIOLIN AND BOW--Advice regarding general adjustment and repairs.
ON THE CHOICE OF STRINGS--Stringing the Instrument and keeping the Pegs in Order.
ON THE GENERAL POSTURE--The manner of holding the Violin and Bow as accepted by the leading artists of the day.
ON FINGERING GENERALLY--The various positions--Scales recommended--The Modern Orchestral "Principal" or (so-called) Leader.
ON GLIDING--Special Characteristics of some of the most Eminent Players.
DOUBLE STOPPING--The main difficulty in Double Stopping--How to gain independence of Finger.
BOWINGS--Smooth Bowings--Solid Staccato--Spiccato--Spring Bow--Mixed Bowings.
TONE PRODUCTION--Character of Tone--Rules and Condition necessary to produce a good tone--Style and Expression.
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THE OLD "STRAD."
By LIONEL J. COWEN.
Prints from this celebrated Picture, exhibited at the Royal Academy in 1886, engraved in the most admirable manner, in Photogravure.
The size of the engraved surface is 19 by 14 inches.
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"Under the title, 'The Old Strad,' is published a reproduction of Mr. Lionel J. Cowen's picture, which represents a mender of violins carefully surveying a famous old fiddle. The subject is very well suited to reproduction in black and white, it is of special interest to those who watch the reproductive arts grouped under the term of Photogravure."--_Art Journal._
"Mr. Lionel Cowen's 'Old Strad.' The softness and tone of the plate is remarkable."--_Daily Chronicle._
"The Old 'Strad.' An important print from the celebrated picture of a connoisseur inspecting a genuine Stradivarius, by Lionel J. Cowen, exhibited at the Royal Academy in 1886. The picture has been reproduced in a most admirable manner, in photogravure, by the Swan Electric Engraving Company, of London, and cannot fail to have a ready sale amongst violinists, musical instrument makers, and all who take an interest in thoroughly genuine works of art."--_Morning Advertiser._
"Of the illustrations, incomparably the best is 'The Old Strad,' a photogravure of a painting by Mr. Lionel Cowen. As a realisation of quiet ecstacy, it is almost perfect."--_The Spectator._
"'The Old Strad.' We know of no picture in recent years that could give such keen pleasure to the fiddle-lover and confidently recommend our readers to become possessors of the _early_ prints."--_Violin Times._
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Transcriber's Note:
Every effort has been made to replicate this text as faithfully as possible.
Italic text has been marked with _underscores_. Musical symbols which are not available as Unicode characters are represented by [symbol].
The following is a list of changes made to the original. The first line is the original line, the second the corrected one.
action of the wrist, form-arm, and upper arm during action of the wrist, fore-arm, and upper arm during
the above passage at sight, without the slighest difficulty, the above passage at sight, without the slightest difficulty,
its relation to the five open strings, the hand of the its relation to the four open strings, the hand of the
the larnyx. The 'cellist has sometimes to make a sweep the larynx. The 'cellist has sometimes to make a sweep
as perfect fifths, fourths, major and minor sixth, thirds, as perfect fifths, fourths, major and minor sixths, thirds,
of these are the trill, or shake (tr), the praltriller, of these are the trill, or shake (tr), the pralltriller,
former is met with in Popper's well-known "Elfantanz." former is met with in Popper's well-known "Elfentanz."
Paganini the wierd, fiery Italian, astonishing the world Paganini the weird, fiery Italian, astonishing the world
accellerandos, etc., etc.; beyond this may be again accelerandos, etc., etc.; beyond this may be again
End of Project Gutenberg's Chats to 'Cello Students, by Arthur Broadley