THOUGHTS ABOUT MUSIC

Evening Star, Issue 20958, 24 November 1931, Page 3

THOUGHTS ABOUT MUSIC

[By L.D.A.]

“ Music gives tone to the universe, wings to the wind, flight to the imagination, a charm to sadness, gaiety and life to everything.” —Plato. In one of the earliest articles in this column 1 made allusion to events connected with Paganini’s visit to England a hundred years ago. Lately I came across a reference to this visit in an excerpt from the London ‘ .Observer 1 of June 14, 1831, which speaks for itself, besides throwing some light upon the somewhat pedantic and circumlocutory journalistic style of that period: “ The appearance in the newspapers of a letter signed by M. Laporte renders it indispensable for the friends of Paganini to interfere in order to disabuse the public mind in respect cf the imputations endeavoured to be thrown upon him on the subject of the high prices of admission for his proposed concerts. Paganini comes to England expressly at the invitation cf Laporte, fettered by a contract the object of which is to ensure to Laporte a largo proportion of the profits of his performances, and, further, secure to Laporte each night fourteen boxes and thirty-three free admissions. HoW, then, can it be fairly imputed to a foreigner on his first arrival in England that he should bo the person to hazard any measure calculated to excite public indignation, when it is evidently so greatly to his interests to conciliate the favour of a nation he justly considers as the most zealous in their patronage of the arts?”

Newspapers in those days were not very jealous of their space if the above is a fair example of 1831 reporting. A sub-editor of to-day would condense all that Micawber-like outburst into a couple of lines. But, as a matter cf fact, it was rather clover advertising; and, although the admission prices wore subsequently much reduced after considerable public controversy, the wellplanned Press campaign had served its purpose, and Paganini finished up his English tour of a century ago some £17,000 richer than when he began it. The great violinist had a very shrewd man as business manager, and there can be little doubt that Laporte knew every trick in the game. I should imagine ho would have made an excellent poker player: every bluff ho put up seemed to succeed. For instance, when Sir George Smart offered Paganini £I,OOO for three performances, Laporte turned it down, and demanded £5,000 for a season of twelve nights, an un-heard-of price in those' days, and one which would not be entertained at the present time. But Paganini got away with it. » * * • The common idea associated with Paganini is that he was the_ most wonderful violinist who ever lived. This has arisen from the distorted legends which have survived concerning his unique personality and amazing _ feats of, virtuosity. Seeing that he jiimself invented most of the chief difficulties of the instrument, it is small wonder that ho continually astonished the natives. Ha was the originator of those daring flights into the realm of hitherto unexplored technical resource which wore destined to revolutionise the scope of the violin. Before his time executants knew little about harmonics, _ for example. A few players employed natural harmonics for isolated effects, but the practically illimitable possibilities of the stopped harmonic were unknown until Paganini developed them to an astounding degree. Ho may be said to have recreated the instrument’s potentialities in three respects: (1) in extending its compass; (2) in adding charm and brilliance; (3) in the execution of passages in double stopping, formerly believed to bo impossible. _ It was the novelty of these unimagined effects, the facility with which they were executed, and the sensational qualities of his renderings that enabled Paganini to throw the whole of musical Europe into paroxysms of hysterical wonder, excitement, and admiration. Whether his playing was imbued with characteristics of higher artistic value may be open to doubt, and in this respect he has probably been excelled by many performers of later date. • • * * November is prolific in musical anniversaries, not the least interesting being that of Thomas Alsager, who may be described as the father of newspaper music critics. Ho died on November 15, 1846, after fifty years of strenuous activity, largely in the interests of the art he" loved so well.. Part proprietor of the London * Times,’ it was at his suggestion that a professionally-trained man was added to the staff in the capacity of commentator upon everything appertaining to music, and this was the first time in newspaper history that musical doings and events received official recognition. Alsager’s devotion to musical pursuits was truly remarkable when one considers how much of his time was taken up by other business calls. His practical ability in music was so great that it is a matter for astonishment where he found leisure to acquire it. This is well exemplified ■by the range of his knowledge of musical instruments. He was an excellent performer on every unit of the orchestra; from piccolo to double bass there was no instrument he could not play,' and had his inclinations run in that direction there is little doubt he could have attained eminence as a virtuoso of unique, accomplishment. a « * * But, fortunately for the cause of the art, Alsager was destined to serve music in a much wider and more beneficial sphere. The frequent private concerts given by him at his London residence played a leading part in the dissemination of general musical knowledge and acquaintance with the works of the great masters. Also, Alsager may be said to have originated the cult of chamber music in England. Many of Beethoven’s trios, _ quartets, and pianoforte quintets received their first London performance at his house, and in a perfection of manner probably never since excelled, as the host made a point of doing things in tho best possible style, expense being no object, and the coterie of musicians ho assembled around him was truly a remarkable one, to say nothing of notable persons in other walks of art. Lamb, Wordsworth, Leigh Hunt, Mendelssohn, Moscheles, and Sivori—these are but a few of the mighty names whoso owners wero frequent visitors at Alsager’s soirees, and it is scarcely surprising that under such auspices and encouragement the practice of chamber music gradually won esteem and love' among tlio cultured section of society, finding ultimate public expression in the establishment of tho popular concerts at St. James’s Hall. * • * ♦ The funny part of these so-called “ pops.” lay in the singularly inapposite title—anything less “ popular,” in

the usual meaning of the word, could hardly be conceived. As I have said before in this column, chamber music has always been the least appreciated form of musical art amongst music lovers generally, and to the ‘‘ man in the street ” it is simply intolerable. This has been proved by the outcry from the the wireless “ fans.” whenever that particular form of broadcasting is put over the air. I do not think the taste for it can over be acquired unless already present in embryo, which hypothecates a certain cultural predisposition not widely distributed. However, the race of chamber music lovers does not appear to be dying out, and what its adherents lack in numbers they fully atone for in faithfulness and enthusiasm. The rest of the world little knows what it misses by ignoring this phase of art. /»» » » Another important November anniversary is that of Thomas Attwood, born^ on the 23rd of the month, 1765. He is remarkable for three reasons. In the first place, he was one of Mozart’s favourite pupils; secondly, he was among the earliest to recognise Mendelssohn’s genius; and thirdly, not only was he organist of St. Paul’s Cathedral for over forty years, but on death his remains were accorded the unique honour of burial beneath the instrument. Several of Mendelssohn’s corapos'tions were dedicated to Attwood, who must rank as one of England’s most distinguished musical sons. He also played a prominent part in the establishment of the Philharmonic Society and the P..A.M.