New-York tribune., 1921-05-22
The Degradation of Taste
BY Orchestral Performances
Conductors and Vulgar Effects Perversion of Over
ture to sTannhaeuser'; Appreciation of Euphony
Departing; The Orchestral Situation Elsewhere

found vent at the last concert Of the
National Symphony Society, when
men and women crowded upon the
told, kissed Mr. Mengelberg. We
give credit to the Dutch conductor for
much admirable and genuinely artis-
tic work, accomplished at the previous
concerts; what was it that evoked
such an extraordinary and humiliating
demonstration Nothing more, moth
ing less, than perverted reading OF
Wagner's "Tannhauser" overture, de-
liberately made for the purpose of
appealing to taste which finds its
highest qualification in the music of
what are called "jazz" bands. We
say the appeal was deliberately made
for an artisticslly illicit purpose. be
cause the musical effect sought after,
though unjustifable, is familiar
one and was heightened on this oc-
casion by device IS vulgar rs it was
obvious and as disgraceful to the con-
ductor who employed it as it was
damnatory of the crowd who re-
sponded to it. For the sake of those
who do not know Wagner's music in
timately, let us explain
Claptrap Effects in an Overture
The principal theme of the overture
TO "Tannhauser" is the cantice, pious
in sentiment if not religious in musical
expression, which the pilgrims sing in
the first act as they journey toward
Rome. In the beginning of the piece
we hear it sung by the soft-voiced
wind instruments. AT the close, after
the sensual strains from the cave of
Venus and the proclsimant song of the
minstrel-knight in praise of the god
dess, it reutrns, to grow, under the
fiuttering figuration of the violins
which always accompanies it, into
sweeping, sonorous paan of triumph.
At the last it is hurled out by trumpets
and trombones, eliminating in crash
ing fortissimo. Just before the closing
chord (at the sixth measure before the
end, If we read aright), Wagner gives
his valve horns, flutes, oboes and bas-
soons. q bit of imitation (only two
measures). Long ago DR.. Won Bulow
recognized in this bit of movement in
the middle harmony voices a chance to
make an effect by lifting it into promi-
nence. Mr. Nikisch followed suit; so
did Mr.. Seidl; the trick became COM
mon. Though purely ad captondun it
nevertheless stirred the feelings of the
audiences because it seemed to lift the
Mengelberg, who sees an opportunity
to increase the sensation, already pure
ly neurotic, by calling in an additional
stimulant; at the psychological mo-
ment he has the horn players rise to
their feet, turn up the bells OF their
instruments and blow such blasts.
e. as erst threw down
Old Jericho's substantial town"
And the musical groundlings, red
with cutaneous eruption of excitement,
60 into conniption fits Of delight! Over
what? A noisy outburst Of sound which
submerges the melody, the principal
element in the music, as we'll as the
characteristic fguraton for the violins,
and which is subversive of the COM
poser's purposes.
The Eject Not Contemplated by Wagner
This sensational trick Is in defiance
of the common sense rule that the
melody, which is in music what thought
or idea is in literature, ought to be
made audible; in defiance of good taste
and in defiance of Wagner's express
commands. These commands speak
loudly enough in the score, but they
have been emphasized in the compos-
er's instructions to conductors touching
the proper reading of the overture
Since we cannot believe that any Of
the men who stand in command before
our orchestras are ignorant of such an
elementary principle as that involved
we must assume that their exaggera'
ton Of simple device in part-writine
is willful and mere catchpenny SEN
sationalism. If they feel justified ir
their reading of the score, however
it might be we'll to call their attention
to a passage in Wagner's pamphlet
"On the Performance Of 'Tannhauser'
CUeber die Auffiihrung des Tam
hauser' ~, which tells how he wished
the climax to be developed. 1t reads a:
follows:
"It is of the greatest moment TO
an understanding of the whole clos
ing section of the overture that from
page 81 onward the violins be playe,
in utmost piano, so that above thei
; wavelike figure-almost merely whis
, pered-the theme of Che wind instru
ments may be heard with absolut
: distinctness; for this theme. albeit j
is not to be played at all loud. mus
forthwith rivet the attention of tn
. hearer. Beginning with the third meas
ure on page 66, the conductor mus
accelerate the pace-in regular pro
gression, though with marked effect
in such way that with the entry o
the fortissimo on page 6s that pitc
of rapidity is reached in which alon
the trombone theme, so greatly aug