On Conducting | Page 6

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 master--Mendelssohn--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 import--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 temporary--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 authority--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,