On Conducting | Page 6

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 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