On Conducting | Page 5

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 much--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
there--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 Berlin
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.--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