THOUGHTS ABOUT MUSIC

Evening Star, Issue 21714, 8 May 1934, Page 3

THOUGHTS ABOUT MUSIC

[By L.D.A.]

“ Music gives tone to the universe: wings to the mind; flight to the imagination: a charm to sadness; gaiety and life to everything.”—Plato. Reference to the introduction of the conductor’s “ baton ” as the medium of directing orchestral music has already been made in this column, but lately [ have gathered some fresh information on the point that may he of interest. As showing the general ignorance concerning this subject I may quote Murray’s ‘ English Dictionary,’ which gives the year 1867 as ' the earliest date which chronicles the universal use of “ Ijaton ” in its now accepted musical sense. This shows that Dr Murray did not have expert assistance on the musical side of. his monumental work. My information proves that just a century has elapsed since conductors of orchestras waived the practice of directing from a keyboard in favour of waving “ the stick.” * * * * Even in 1829 we find the ‘ Quarterly Musical Eeview ’ writing as follows; — “ It is tin? habit of some conductors, when presiding at the pianoforte, to keep the pedals down ' and play throughout the piece, thus making their instrument far too prominent. . . . A great obstacle opposed to the conductor is the shape of the grand pianoforte, which prevents his facing the band.” In Spohr’s ‘ Autobiography ’ he has this to say:—“At that time (1820) it was still the custom of the Philharmonic Society, when symphonies and overtures were being performed, for the pianist to have the score before him, but the real conductor was the first violin, who, whenever the orchestra showed signs of faltering, gave the beat with his fiddle bow. ... I had resolved, when ray turn came to direct, that an attempt to remedy this defective system should he made, as I had already done in Germany. Accordingly, by arrangement with the pianist, ‘ at the morning rehearsal I took up my stand at a separate desk in front of the orchestra with the score before me: then drew ray directing baton from my pocket and gave the signal to begin. Quite alarmed by such novel procedure, some of the Philharmonic big-wigs protested, and begged me to comply with convention; but when I besought them to grant me at least a trial they .became pacified, and the rehearsal proceeded. . . •” * * * * “ My methods soon impressed themselves upon the members of the orchestra, since it was found that not only did I indicate the beat most precisely, but showed each individual player exactly where he should make his entry, etc., which ensured a feeling of confidence not previously known. The result was that the orchestra played with a spirit and correctness never before heard, and as soon as the rehearsal was _ over the members unanimously voiced their enthusiastic approval of the innovation. ... In the evening at the public performance the result ' ' was still more brilliant : and eclipsed my wildest anticipations. The audience, it is true, were at first somewhat startled at the novelty, and were seen whispering among themselves; but when, the music .began, and the orchestra executed the- opening symphony with so unusual" a power and precision, the general approbation found vent, at the close, in a prolonged outburst of applansei The triumph of the baton as a time-heater was complete, and no conductor was seen any more seated at the piano to direct symphonies and overtures.”

But iu this las* utterance Spohr proved a false prophet. British folk do wot so readily uproot their traditions, and the Philharmonic Society shared the national characteristics. No sooner was Spohr’s back turned than the old custom was revived. We gather this from the ‘ Life of Moscheles,’ which contains the following reference to the Philharmonic concerts of 1823: — ■‘“Moscheles was very much astonished at the English custom of placing a musician at the piano, iu front of the band, during orchestral concerts, and at one function Moscheles could not refrain from asking; ‘ What is meant by the term conductor, as applied to the pianist “ Ho only sits there and turns over the leaves of the score, but without his marshal's staff—i.e;, his baton —he cannot possibly lead his musical army. The first violin does this actually, whilst the conductor remains a mere figure-head.’ ” * * * * Even when Rossini conducted the Italian opera in London, in 1824, he did not use a baton. Contemporary records show that the opera followed the Philharmonic in the method of orchestral conducting. Here are two Press excerpts of the time: ‘‘The orchestra is much improved by placing the Maestro (Rossini), who presides at the pianoforte, in the centre.” “ Directly the orchestra began to assemble Signor Rossini quietly made his appearance amongst the other musicians, and wended his way to the pianoforte, where, he bowed to the audience, and then sat down at the instrument and prepared his copy.” (The ‘ Morning Post’s ’ allusion to Rossini’s debut in England.) Then we have the case of , Weber, who came to England in 1826 to conduct his opera 1 Oberon,’ and who died shortly afterwards. Of this production (Covent Garden, April 12, 1826) the ‘ Morning Post ’ said: “ Herr Weber entered the orchestra with the other performers, and took his seat at the pianoforte amidst the loud plaudits of the audience.” * * $ * When Mendelssohn visited London iu 1832 the same paper thus chronicled his conducting of his famous ‘ Fingal’s Cave ’ overture: , “ The author conducted with a baton; the intelligence of his look, gesture, and movement- of the baton imparted a confidence to the band, which was productive of the most beneficial results. It is almost superfluous to repeat that we have always-strenu-ously advocated this method of orchestral conducting, so strikingly exemplified in the performance under review.” Some years later John Ella wrote of Mendelssohn’s conducting; f “ Mendelssohn spoke very favourably of the Philharmonic Orchestra, but complained bitterly of the adverse comments heard in consequence of his conducting with a baton. The leading violinist was especially annoyed at having his usual functions disturbed, and •I well remember bis ferocious frowns while the great Mendelssohn’s baton assumed the fiddler’s former authority'” *** * , The ‘ Athenaeum,’ iu a review of the 1833 concerts, said: “Sir George Smart stood with a baton m his hand, the ideal attitude of a conductor, and the music never went better.” And again: “Mr Bishop conducted with, a baton, so let us hope that the old-fashioned method is now entirely superseded.” The year 1833-34 may therefore be safely accepted as the period when the baton came into general use in England. But it must not be imagined that this practice had hitherto obtained everywhere on the European Continent, despite Spobr’s remarks. For it would seem ns if the baton was not in evidence at the Leipzig Gewandhaus concerts until Mendelssohn began his regime there in 1835—two years or so after its establishment in London. We gather this from a notice in the ‘ Allgeraeine Musikalische Zeitung ’ of October 14, 1835, which thus refers to Mendelssohn’s first concert: “In the second part we had Beethoven’s ‘Fourth Symphony,’ and seldom, or never, have we heard it so well played. As a new and desirable plan, the musical director conducted the symphony with the baton—a vast improvement upon the old styles of direction from the piano or first violin.” . In all the accounts of Mendelssohn I have previously read, this important fact is missing. But, notwithstanding the unquestionable advantage of thus directing an orchestra of large dimensions, 1 have proved by personal experience that with orchestras up to about thirty performers the finest results are obtainable by a competent pianist-con-ductor. as this is controversial matter, it had better not be pursued.