On Conducting | Page 9

1839. In connection with this I am conscious
that the impression of dynamical monotony [Footnote: i.e., a power of
tone the degree of which remains unchanged.] (if I may risk such an
apparently senseless expression for a difficult phenomenon) together
with the unusually varied and ever irregular movement of intervals in
the ascending figure entering on the prolonged G flat to be sung with
such infinite delicacy, to which the G natural answers with equal
delicacy, initiated me as by magic to the incomparable mystery of the
spirit. Keeping my further practical experience in view, I would ask
how did the musicians of Paris arrive at so perfect a solution of the
difficult problem? By the most conscientious diligence. They were not
content with mutual admiration and congratulation (sich gegenseitig
Complimente zu machen) nor did they assume that difficulties must
disappear before them as a matter of course. French musicians in the
main belong to the Italian school; its influence upon them has been
beneficial in as much as they have thus been taught to approach music
mainly through the medium of the human voice. The French idea of
playing an instrument well is to be able to SING well upon it. And (as
already said) that superb orchestra SANG the symphony. The
possibility of its being well sung implies that the TRUE TEMPO had
been found: and this is the second point which impressed me at the
time. Old Habeneck was not the medium of any abstract aesthetical
inspiration--he was devoid of "genius:" BUT HE FOUND THE RIGHT
TEMPO WHILE PERSISTENTLY FIXING THE ATTENTION OF
HIS ORCHESTRA UPON THE MELOS [Footnote: MELODY in all
its aspects.] OF THE SYMPHONY.
THE RIGHT COMPREHENSION OF THE MELOS IS THE SOLE
GUIDE TO THE RIGHT TEMPO; these two things are inseparable:
the one implies and qualifies the other. As a proof of my assertion that
the majority of performances of instrumental music with us are faulty it
is sufficient to point out that OUR CONDUCTORS SO
FREQUENTLY FAIL TO FIND THE TRUE TEMPO BECAUSE
THEY ARE IGNORANT OF SINGING. I have not yet met with a
German Capellmeister or Musik-director who, be it with good or bad
voice, can really sing a melody. These people look upon music as a

singularly abstract sort of thing, an amalgam of grammar, arithmetic,
and digital gymnastics;--to be an adept in which may fit a man for a
mastership at a conservatory or a musical gymnasium; but it does not
follow from this that he will be able to put life and soul into a musical
performance. The whole duty of a conductor is comprised in his ability
always to indicate the right TEMPO. His choice of tempi will show
whether he understands the piece or not. With good players again the
true tempo induces correct phrasing and expression, and conversely,
with a conductor, the idea of appropriate phrasing and expression will
induce the conception of the true tempo.
This, however, is by no means so simple a matter as it appears. Older
composers probably felt so, for they are content with the simplest
general indications. Haydn and Mozart made use of the term "Andante"
as the mean between "Allegro" and "Adagio," and thought it sufficient
to indicate a few gradations and modifications of these terms.
Sebastian Bach, as a rule, does not indicate tempo at all, which in a
truly musical sense is perhaps best. He may have said to himself:
whoever does not understand my themes and figures, and does not feel
their character and expression, will not be much the wiser for an Italian
indication of tempo.
Let me be permitted to mention a few facts which concern me
personally. In my earlier operas I gave detailed directions as to the
tempi, and indicated them (as I thought) accurately, by means of the
Metronome. Subsequently, whenever I had occasion to protest against a
particularly absurd tempo, in "Tannhauser" for instance, I was assured
that the Metronome had been consulted and carefully followed. In my
later works I omitted the metronome and merely described the main
tempi in general terms, paying, however, particular attention to the
various modifications of tempo. It would appear that general directions
also tend to vex and confuse Capellmeisters, especially when they are
expressed in plain German words. Accustomed to the conventional
Italian terms these gentlemen are apt to lose their wits when, for
instance, I write "moderate." Not long ago a Capellmeister complained
of that term (massig) which I employed in the score of "Das
Rheingold"; the music, (it was reported) lasted exactly two hours and a
half at rehearsals under a conductor whom I had personally instructed;
whereas, at the performances and under the beat of the official

Capellmeister, it lasted fully three hours! (according to the report of the