THOUGHTS ABOUT MUSIC

Evening Star, Issue 22202, 3 December 1935, Page 3

THOUGHTS ABOUT MUSIC

[By L.D.A.] Music gives (one to the universe, wings to the mind, flight to the imagination, a charm to sadness, gaiety and life to everything.—Plato. Now that wo are recovering from the aftermath of electioneering, it may be of interest to review the connection of certain great musicians with matters political, for it cannot be denied that some of their finest music was conceived in an atmosphere of conflict—either civil or international. Take, for instance, Beethoven’s socalled ‘ Eroica \ symphony, considered by many to be bis best orchestral work. It was inspired by the career of Napoleon Bonaparte, and originally _ bore the name of that celebrated soldier as its title. But Beethoven was a' rabid in his political views, and when the news reached him that Napoleon had been elected Emperor, he tore off the title page in a fury of disappointment and rage, and dashed it on the ground, later on giving a new name to the work. » * * * The early years of the nineteenth century were filled with wars and rumours <of wars, so it is small wonder if the musical ideas of that generation showed a leaning towards militarism. Innumerable amateur composers , and pianists vied with each other in writing and performing bellicose pieces under such titles as ‘ The Battle of Prague.’ or ‘ The Storming of Badajoz.’ Even Beethoven eventually became infected with the same bacillus when the French were defeated at Vittorio,’ resulting in a remarkably inane composition from his pen entitled ‘ Wellington’s Victory, or the Battle of Vittoria,’ which his most fanatical admirers could not find other than extremely trivial and vulgar. Later he wrote a 1 Military March in D,’ which also has faded into deserved obscurity. • * • • Before leaving the subject of Beethoven and his ‘ Battle Symphony,’ I should like to mention that this work was suggested to the composer by his friend Slaelzel, whose fame rests upon the well-known metronome that bears his name—though as a matter of iact it was actually the invention of a Dutch mechanic named Winkel, and Maelzel, a very shrewd, clever business man, seeing its immense possibilities, purchased the design and improved upon it for his own benefit. Maelzel was at this time on very friendly terms with Beethoven, upon whom ho urged a loan of 60 ducats to relieve the master’s impecuniosity—a transaction that turned out most unfortunately for Beethoven. Among Maelzel’s inventions was an instrument called the panharnionicoii—a sort of glorified musical box which undoubtedly may be termed the forerunner of the gramophone. The inventor, in order to enhance the attractions of this instrument. conceived and—it is alleged—sketched in detail the design of a piece of music to commemorate the Vittoria battle, and it was upon this design that Beethoven wrote the music—which possibly accounts for its being worthless. 1 m But trouble ' began when-Maelzel, having secured tile piece tor his machine, went off on a Continental torn by hnnseli and announced everywhere that the ‘ Battle Symphony ’ was his own property. This caused Beethoven to take legal action in the Vienna courts in the direction of seeking what nowadays is termed an injunction a era hist Maelzel, but the latter retaliated by insisting that the financial transaction above mentioned represented payment for the work, so poor Beethoven found himself compelled to withdraw the action. Matters were •eventually patched up, and the two men resumed their former relationship before Maelzel departed for America, where he died in 1538, • • ' • • Another composer more severely handicapped by political vicissitudes was the great Italian maestro, A erdi. _ \A hen writing * I Lombardi ’ he had his nist experience in the difficulty of a libretto unobjectionable to the Italian Government. In those days Austria was a Power to be feared in Italy; consequently the Italian police were given very strict instructions not to permit anything on the stage which might offend Austrian susceptibilities. As soon as the chief of police got wind of the subject of. the new opera he sent tor composer, author, and manager to appear before him to hear his ultimatum in regard to immediate and drastic alterations. Verdi ignored the summons, bluntly refusing to consider any alterations. “ 1 am satisfied with the opera as it is,” said he, “ and will not change one note or word of it. Either it shall be performed in its present form or not at all! ” Fortunately, the chief of police was a reasonable man, and a lover of the opera, and so impressed was he by the onerous responsibility of turning down an undoubted masterpiece that at last he agreed to pass the whole work if Verdi would consent to alter just one word—i.e., to put “Salve Maria” m place of “ Ave Maria ’’ —and thus the opera at last saw the light, with enormous success, as we know it to-day. But when ‘ Ernani ’ was on the point of production another clash with authority occurred. Just before the first performance the police again interfered — this time much more effectively, as they took strong objection to several scenes and lines m the opera, and positively vetoed the presentation" until all cause of offence was removed. Nevertheless, so cunningly were the alterations made that the sharp-witted audience on the opening night fully appreciated the revolutionary spirit behind the words, and we are told that “ the overcrowded house was in a perfect roar, the noise often drowning both orchestra and chorus, until eventually the police had to intervene to restore order.”

It is fairly well known that Richard Wagner was for years under a cloud on account of his political opinions—actual or imputed. The trouble started when he delivered an indiscreet speech at a notorious political club not long before the outbreak of rioting at Dresden in May, 1849. This brought him a severe reprimand from the police, and a warning to be very careful, but the composer’s fiery temperament would brook no restraint, and the story runs that he later carried a red flag in the streets, and even took part in the barricade fighting—although no authentic corroboration of this is extant. But another warning reached his ears to the effect that a warrant for his arrest had been issued, with the result that he deemed discretion the better part of valour, and quietly “ made a getaway ” —very wisely, as it turned out, because orders were definitely issued by the authorities in Dresden to apprehend “ Richard Wagner, a politically dangerous iudividuair”