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JUDAISM IN MUSIC

'

WORKS OF RICHARD WAGNER.

Uniform

in style

with this volume.

(Veber das Dirigiren). A

the Execution of Classical
Style
in
on
Treatise
Music. Translated by Edward Dannreuther.

ON CONDUCTING.

One of the finest of his minor publications, and to a professional

Treatise on Style.
musician, perhaps, the most instructive.
giving his views as to the true way of rendering classical music,
with minute directions how to do it and how not to do it, together
with many examples in musical type from the instrumental work,
of Beethoven, Weber, Mozart, etc. Intending readers of Wagner's
prose works -says Mr. Dannreuther had better begin with

'
"

Veber das Dirigiren.

'

Weingartner, speaking of this celebrated work, says : " Wagner's book laid the foundation for a new understanding of the
function of the conductor, in whom we now recognise, not only
the eternal factor that holds together an orchestral, choral or
operatic performance, but above all the spiritualising internal
factor that gives the performance its very soul."

BEETHOVEN.

With a Supplement from

the.

Works of Arthur Schopenhauer.

Translated by Edward Dannreuther. 6s.
Philosophical

"This characteristic essay, a written exposition of Wagner's

thoughts on the significance of the master's music, may be read
with advantage by all students." W. H. Webbe in The Pianist'*
A. B. C.
"It is a plain duty to be familiar and even intimate with the
opinion of one famous man about another. Gladly therefore we
welcome Mr. Dannreuther's translation of the work before us.
Mr. Dannreuther has achieved his task with the conscientiousness
of his nature and with a success due to much tact and patience."
- Musical Tunes.

Judaism
fy)l

in

(Das Judenthum

in

Music
der Musik)

q-io
t>

Being

V\J

j\

The

Essay

Original

together

with the later Supplement

IVo

BV

RICHARD WAGNER
TRANSLATED FROM THE GERMAN
AND FURNISHED WITH EXPLANATORY NOTES AND INTRODUCTION

BY

EDWIN EVANS,

senior, f.r.c.o.

Author of " The Relation of Tchaikovsky to Art-Questions of the Day " ; "Handbook
to the Works of Brahms " ; " How to Compose within the Lyric Form," etc.

London

WILLIAM REEVES,

83

CHARING CKOSS ROAD,

Publisher of Musical Works.

I

MCMX.

W.C.

MUSICAL BOOKS
By

EDWIN EVANS,

Technics

of the

Senior,

R.C.O.

Organ.

The Modal Accompaniment of Plain-Chant.

How to Accompany at the Piano.

How to
How to

Write
Write

for Strings.
for

Wood, Brass and Drums.

tH6 UP**

UGHAM

PROVO. UTAH

//RS1H

CONTENTS.
PAGE.

Introduction

ix

...

Address (to Madame Muchanoff)

Note regarding the Title ...

xiii

...

xvi

JUDAISM IN MUSIC.
PART

I.

THE ORIGINAL ESSAY OF

Chapter

I.

1850.

Introductory.

The Question introduced. Limitation to Art-Matters.

Liberal tendency of modern thought. Its effects.
The Jew's introduction to Art. The oppressions of
Judaism

Chapter

II.

Characteristics.

His exterior. His

His mannerisms.
speech. His artistic incapacities.
His vocal attempts

The Jew's characteristics generally.

Chapter

III.

Art-Relations.

The ennoblement of money. Origin disdained. The true poet. The Jewish musician. Absolute music and its Jewish imitation.
The Folk-

Plastic art.

spirit

...

17

Contents.

vi

Musical Creation.

Chapter IV.

No Jewish

Only source of inspiration. Music in

the Synagogue. Our Folk-song unavailable. The
...
inner life of our music. The Jewish composer
art.

Chapter V.

Endowments.

Bearing of

25

Mendelssohn.
case

his

upon the

subject.

The language

of

Bach.

...

...

32

General View. Summary of his case. Its relation to

our present art-life. Reasons for Jewish appearance
...
...
...
...
...
in the field of music ...

40

Characteristics of his music.

The language

Resume

of Beethoven.

Chapter VI.

...

Meyerbeer.

EPILOGUE.
The Poet Heine and Brne the Author

PART

II.

...

THE SUPPLEMENT OF

...

...

47

1869.

Being an Account op Events Subsequent to the

Original Publication.

Chapter VII.

The Opening Phase of Hostilities.

Tribute to Franz Brendel. The pseudonym of K. Freigedank.

The enemy's forces arrayed. The tactics
employed. Developments in the Press. Nicknames.
Dr. Hanslick on the "Beautiful in Music." His appearance as musical critic ...
...
...
...
...

Chapter VIII.
The new party and Franz

51

The Liszt Phrase.

Liszt.

"Zukunftsmusiker."

Secrecy of the enemy's tactics.

the Press
...
...
...

Liszt's persecution in
...

...

...

...

61

vn

Contents.

The Theatres.

Chapter IX.

Experiences in France, England and Russia.

ties

created for the later operas.

Difficul-

Specialities in

Hos68

tility

The New ^Esthetes.

Chapter X.

Feebleness of the present art-spirit. Lethargy of the

new ^Esthetes. Their negative zeal. The position of
...
...
the German composer
...
...
...

Chapter XI.

74

Schumann and Brendel.

Leading musical characteristic of the

His conversion. First
period. Robert Schumann.
impulses revived by Franz Brendel
...
...
...

First impulses.

Chapter XII.
The triumph

of

pediments to
Conclusion

Note.

Judaism.

81

Apostrophe.

The present

a closer friendship.

position.

Aspirations

Im...

88

...

...

...

93

(On the Author's subsequent view)

...

...

94

...

...

...

...

INTRODUCTION.
may

IT

be fairly presumed that none will deem

the re-issue in English dress of Wagner's

Judenthum

in der

Musik"

"

Das

imply any desire to

to

revive the matters of controversy therein contained.

The
of

lapse of nearly sixty years since publication

the

ner's

original

account to

and of forty since WagMadame Muchanoff (and hence to

essay

the world) of the consequences attracted to himself

by the publication should alone

suffice to

point un-

mistakably to the unlikelihood of any such proposition.

It

is,

on the contrary, because, on one side as on

the other, the bitterness of feeling evoked

may now

be counted upon to have entirely subsided that

last

becomes possible calmly

the essay

those valuable

to seek to

it

at

draw from

lessons relating

to

Art-

culture which are contained, not in that aspect of

main subject by which

agner was most excited, or his adversaries most offended, but in those
subsidiary references and explanations by means of

the

IX

Introduction.

which he then thought merely to support his case,

but to which time has given a greater value than to
i

the case itself.

Just as

was natural

it

to so great a

mind

occasionally beset by the infirmities which

all,

to be

afflict

us

such as that of attributing our misfortunes to

imaginary causes, so

engage

service

in

it

was

also natural to

him

to

of his argument a strength of

reasoning and depth of feeling which, in a condition

of such strenuous exercise, were sure to produce a
dissertation far too rich in subjects for reflection to

be allowed to remain associated in our minds with

a mere quarrel.

The

present

issue,

therefore,

from those which have preceded

in

differs
it;

materially

and primarily

the fact that, in the annotations, the principal

upon such themes as are merely

the main argument and which, by

stress is laid

inci-

dental to

their

neutral

character,

promise to confer more benefit

upon the reader in elucidation than would be likely

to accrue from any enlargement upon the more personal subject.
So far as any comment upon the
merits of the case has been permitted at

been rather

in

the direction of

all, it

has

pointing to some

weaknesses in Wagner's contentions; but this has

been merely

in the desire to

render the whole matter

intelligible to the ordinary reader

faintest

spirit

of

fault-finding

and not
either

reasoning or display of feeling of one to

in the

with

the

whom

the

whole world of music owes so great a debt.

xi

Introduction.

Fortunately the circumstances of the quarrel are

described in such detail by the pamphlet itself that

remained necessary in the way of either criticism or explanation of it; and it is due to this fact
little

that

occasion has been taken to refer, as before

stated, to

such propositions as are enunciated by

the way.

As

selves

these

comments

we have only

method pursued

also speak for them-

bestow a word upon the

to

in the translation.

The philosophic prose of Wagner is so peculiarly

German that, when quite literally reproduced in our
language, it is liable to appear vague, and therefore
to produce an effect differing

German mind, which

is

particular literary style.

from that upon the

more accustomed

The German

to

this

student, ac-

customed to lengthy and complicated sentences with

an unbroken flow of text, is thus in the enjoyment
of a double advantage as compared with an English
reader; for he has not only the original in hand,

but also in the very form which a life-long habit

has rendered most suitable to him.

In view of these facts the object has been to translate (as far as this has

been possible without undue

divergence from the original) into flowing English

and

at the

same

time, to divide the matter according

and subcontents whereby

to its intention, prefixing to the divisions

divisions an indication of their

the English reader may, so to speak, be

at

home, and to some extent forget that

lation in the perusal of

which he

is

made
it is

to feel

a trans-

engaged.

Not

"

Introduction.

xii

altogether for his mere pleasure has this been done,

but principally that he

may

be induced by an

at-

tractive aspect to give the subject a sustained atten-

tion

may

that,

in

other words, Wagner's

not here suffer in the same

ing to his
written

own

by

account,

Hanslick

the

for

way

own

writing

as did, accord-

article

Vischer's

on

"

Music

system

of

and which, as he tells us, though loudly

praised in the press, was never read by anyone, in
consequence of its unamusing character.*
The hope is indulged that, as now presented, the

^Esthetics,

subject will prove as entertaining as

instructive.

is

It

may

further be

it

undoubtedly

hoped that the

comments ventured upon with every impartiality of

intention may be fortunate enough to appear grateful

to the reader, whatever

may

be his particular

groove of thought.

EDWIN EVANS,
LONDON, January,

Senr.

igio.

* Lethargy of the

New Esthetes":

Chap. X.

To

MADAME MARIE MUCHANOFF

(nee Countess Nesselrode).

Honoured Madam,

short time since

quiry

received the report of an en-

made by you with some astonishment during

you took part as to the origin

of the hostility met with by all my artistic producand
tions, especially from the press of the day
that not only of Germany, but also of France and
a discussion in which

even

England

hostility

inconceivable

to

though obviously designed for the purpose of

you,
dis-

paragement.
It

has also happened to me, occasionally, to en-

counter the like expression of astonishment, even in

the press itself
the report of

this usually occurs

only in

some inexperienced new-comer.

idea has seemed

theories

though

somehow

to be extant that

my

An
art-

must necessarily contam some quality pro-

vocative of dispute; for otherwise

Xlll

it

would appear

xiv

Address.

impossible to explain

why

selected

to

be,

under

should be so invariably

every

scrupulously classified as a

circumstance,

un-

an incompetent

trifler or

and afterwards to be treated accordingly.

Not only will a ray of light be shed upon this
question by the communication I am about to make,
and with which I venture to reply to your enquiry,
but

also

will

it

why

be explained

obliged personally to engage in

The
causes
in

settlement.

fact of your not being alone in your surprise

me

doing

at the

its

am, myself,

to give the necessary

am

so, I

same

time.

answer publicly;

enabled to reply to

This

is

safely depute to any of

many

a duty which

my

friends; for

as,

others

could not

know

of

none who are

in a position so

tected that

should dare to draw upon them the

enmity to which
against which

can do

all I

my
is

am

independent and pro-

myself exposed

power of defence

is

and one

so slight that

to explain clearly its origin to

my

friends.

Such an undertaking
case,

attended, even in

is

with some misgiving

my own

but this does not proceed

from fear of my enemies, seeing that, from

that quarter, as I have nothing to hope for, so I have
at all

also nothing to be afraid of.

It

proceeds rather

from anxious solicitude for those generous and

truly sympathetic friends with

dowed me, and who by

;

and the

Fate has en-

race are connected with the

national-religious element of

question

whom

European

society

irreconciliable hatred of

which

in
I

xv

Address.

have attracted to myself by discussion of characteristics

both hard to root out and disadvantageous

to our culture.

Against

this,

ment which

however,

must

set the

encourage-

derive from observing that these rare

friends are in the

same

or even

in a

worse position

than myself; seeing that they are called upon to

suffer

sion

even more poignantly from the same oppres-

my lot. I could therefore

make my exposition entirely clear

which has fallen to

scarcely

hope to

without elucidating also this oppression, by means

of

which the ruling Jewish society impedes the

human development

own race.
This being so, I will commence with an article
written and published by me some eighteen years
really

ago.

of

its

NOTE.
rendering of the Title here employed
THEsanctioned

by

common

usage;

but

is

that

one of

absolute correctness would involve the use of some

term of kindred value to

to Christianity.

rather

the

"

Christendom

" as

The term Judaism would

Jewish

religion,

which

is

not

applied
indicate

here in
,f

and the precise idea of " Judenthum

would be better conveyed to an English reader, say,
by the term " Jew-dom " were it permissible to use
question

the expression.

xvi

JUDAISM IN MUSIC.
PART
The

I.

Original Essay of 1850.*

CHAPTER

I.

Introductory.

IN "the

"

Neue

Hebraic Taste in Art

The

the

Question

not

Musik " the subject of

was recently discussed,

Zeitschrift fr

question
fail

to

Introduced and defence.!

"

being

one

which

could

call

forth

both

attack

It

seems to

me

of some

importance to state more particularly the real sub* There are two versions of this section, one being that
"
of its first appearance in the " Neue Zeitschrift fr Musik

and the other that prepared by Wagner for publication with

the 1869 Supplement. The difference between them is, however, too slight to form a matter of concern for the English
reader.
f

The Editor

of the " Neue Zeitschrift " seems to have

-ehended the same thing in this case, for he was careful

an explanation of his reasons for printing the article.

The
apologetic tone of his remarks probably added to
his crime m the estimation of the Jews, as showing that he
clearly foresaw that the writing would give offence.
to

'

JUDAISM I MUSIC.

which

ject,

is

one, until now, either strictly concealed

by the writers or alluded to only

in the

glow of

enthusiasm.
In respect of this there

is

no intention to say any-

thing new, but merely to explain the latent feeling

which people

and which amounts

character,

By

in general evince

to>

thus dealing with a reality

desire of artificially, or
tion,

attempting

to

towards the Jewish

an inward

we

dislike.

shall avoid all

by mere force of imagina-

vivify

anything

unpractical.

Criticism having any other end than this in view,

whether

it

be for the purpose of attack or defence,

stands in opposition to the qualities by which

it

should be governed.

This popular dislike* of the Jewish character

is

here desirable to be explained only in reference to

Limitation
to Art-

particular, for

matters,

ment

and

and that of Music in

which reason its present-

tne Arts generally,

in the respective fields of religion

politics will be completely disregarded.

In that

of religion, indeed, the Jews have long ceased to be

regarded as deserving of any hatred

thanks

those who, within the Christian religion

so

much

itself,

to

have

attracted the feeling of hatred to them-

The reader must decide for himself what significance

may lie in the fact of Wagner opening with references to an
*

main object of the whole

exposition (that of defending the development of the phase of
musical art represented by Beethoven's third period) would
seem to an impartial observer somewhat remote from the
question of any such dislike.
intuitive dislike of the Jews, as the

THE ORIGINAL ESSAY OF

selves!*

whilst

occasion

to

1850.

we have never had

The
into conflict with them.
new Jewish kingdom was even
pure politics

in

drift

establishment of a

granted to them, and our only regret in that con-

was that Rothschild was too generous to

allow himself to become "The King of the Jews";
preferring on the contrary, and as we well know, to
nection

remain as he

is

"The Jew of the Kings."

Matters are altogether different when politics take

the form of a social question, for this aspect of the

by the Jews
tendency nas simultaneously served as an invitaof Modern tion to the exercise of human justice,
Liberal

peculiar situation occupied

thought,

having

awakened

to

greater

degree

of consciousness the impetus to social freedom which

dwells within

us.

Whilst we struggled to befree the

Jews we were, however, more properly to be regarded

as combatants for an abstract principle than for a
* Whilst

undeniable that Tartuffes and others within

the Christian fold have done much to justify this allusion, the
scant generosity of making such a public taunt lends colour
to the supposition of Wagner himself having been of Jewish
origin.
Both Nietzche and Pudor have made statements to
this effect, the former supporting the contention somewhat
offensively by references to Wagner's birthplace
and
(whether in the spirit of repartee or no it is difficult to say)
he accuses Wagner of the very characteristic which the latter
so specially attributes to the Jews that of being bereft of
purely national trait and of having merely learned to imitate
It is also believed possible to trace the imagination of the
Oriental in the glitter and glow of his music wherein no
doubt the reader will trace an incidental result of playing
with edged tools.
it is

JUDAISM IN MUSIC.

All our Liberalism was likewise but

concrete case.

a mere play of the mind,

and that not of a very

clear-seeing description.
Just as we engaged for
popular freedom without special knowledge of the
people on whose behalf we strove nay, more, with

actually a disinclination for any immediate contact

with them

so

our zeal

emancipation of the

for

Jews resulted more from a general upheaval of

thought than from any real sympathy. Thus, in
spite of all speech-making and written manifestations

on

their behalf,

we

continue to be repelled by

any prospect of actual and practical contact with

them*
This brings us more clearly within sight of the
fulfilment of our project; for
ourselves

why

we must explain

to

the involuntary repulsion exists which

and character of the Jew is thus found to

What we most distinctly know of it is
stronger and more weighty than the zeal

the person

awaken.
that

it

is

which we are prepared to

In continuing

to>

enlist for its effacement.

classify as

bad manners

all

frank

reference to our natural antipathy to the Jewish character

we

deliberately deceive ourselves.

new thing

It is quite

more reasonable to> free ourselves from the thraldom of such

self-deception and thus acquire the power to regard
quite soberly the object of our sympathy to bring
a

to

have perceived that

it is

The

intention of these remarks

clear as might be desired; as

is

perhaps not quite as

not necessary to like a

person in order to have the desire to do justice to him.
it

is

THE ORIGINAL ESSAY OF

to

1850.

of complete intelligibility

state

our

ill-will

towards him, which continues to exist in spite of

all

our liberal representations.

To

now perceive that,

warfare, we have been inwe

astonishment

our

throughout this liberal

and directing our

Its Effects.
hostilities to the clouds; whereas, meantime, the fine site of absolute reality found an
appropriator, who, however amused at our lofty
dulging an aerial
.,

iii

flight

'

has too low an estimate of our intelligence to

antics,

take

the

initiative

indemnifying

in

us

for

the

ground he has usurped.

Thus, quite unobserved, the
has become the

"King

"

Creditor of Kings

of the Faithful";* and

we

can only regard this prayer for emancipation of the

Jews from us as a singularly childish

that our

own

condition

is

much

rather one justifying

an appeal to be delivered from them.

state of things the

Jew

is

petition, seeing

In the present

more than

free,

for he

dominates; and, as long as money continues the

power before which

all

our doings and strivings are

do so. Nor can it be

necessary in this place to go over the historical
ground, and to show that it was the period of misery
of the Jews and the plundering savagery of
Christian-German despots which ultimately led this
power into the hands of the sons of Israel.
as naught, he will continue to

The

play of words in the original (Der " Glubiger der

Knige " ist zum " Knig der Glubigen " geworden) is unavoidably lost in translation.

JUDAISM IN MUSIC.

We
why

have now to examine more closely the reasons

the particular stage at which

nas

The Jew's

now

arrived,

its

and the

development
fact of

its

Introduction present basis being inconsistent with any

to Art.

further advance of that which

is

natural,

necessary and truly beautiful has brought the public

Art-taste of our time within the Jew's busy fingers*

That which the lords of the Roman and mediaeval

world extracted from
suffering

day

to

that,

day

their

bondmen

in

torment and

nowadays, the Jew converts from

into gold.

Who

is

there to recognise

the strips of paper of innocent appearance as having

blood of numberless generations

the

them?

That which the heroes

of. Art,

sticking

to

during two

thousand unblessed years, and with untold

efforts,

human joy,
demon Art-foe

as exhaustive to life as destructive of

succeeded in wringing from the

that,

nowadays, the Jew converts into a mere

And who

of exchange.
the

manner

in

is

there to perceive,

article

from

which these things are presented, that

they are really cemented by the holy sweat of Genius

for these

two thousand years?

conditions alluded to may, by the light of later

explanations, be perceived to work out, as far as music is
concerned, in the form of a continued exploitation of material
*

The

already accumulated. In the Wagnerian argument it would

appear to be denied that any further possibilities lie open to
absolute music which is also a point to be accepted or not
by the reader according to his own pre-conceptions.
;

THE ORIGINAL ESSAY OF

It is

of

1850.

unnecessary to add anything in confirmation

"

this

Jewification

"

modern

of

for

Art,

is

it

patent to the eye and proves itself to our

The

Oppressions senses quite unaided.

We

should have,

of Judaism, moreover, to extend this enquiry a great

deal too far were

tract

the reasons

we

to desire to undertake to ex-

various features of our Art-history.

to be

from the

for this manifestation

That which

esteemed as of supreme importance

our powers in this struggle

emancipation

for

is

freedom,

from the oppressions of

is

to test

should

Judaism*

present itself to our minds as indispensable.

No

abstract definition of the manifestation itself will

enable us to acquire this

force,

but

an accurate

acquaintance with the nature of that involuntary

The oppressions

*
of

Judaism seeing

Jew-category
"

Wer

sich

all

in question

that, later on,

who do not

would seem not

to be entirely

Wagner comprises

within the

agree with him.

von dieser Erforschung abwendet, den eben

begreifen wir jetzt mit unter der Kategorie der Judenschaft in

der Musik." Also, in the following:

" Ich bezeichnete alle diejenigen Musikerwelche, etc
als in dem von mir geschilderten Musikjudenthum mitinbegriffen."

would seem from this that, in some instances, Wagner's

choice of terms may have contributed to the offence given,
and that in reality his views were more reasonable than they
appeared. Thus he alludes to the whole mass of opposition
as proceeding from " Eine seltsam verzweigte und aus der
unterschiedlichsten Elementen zusammengefgte Partei"
which certainly did not consist entirely of Jews, though naturally we have to allow for the contention that the outlying
elements were brought in by Jewish influence.
It

JUDAISM IN MUSIC.

'

feeling which, asserting itself within us takes the

form of an invariable
quite frankly

avow

dislike of the Jew.

that feeling

counted upon to reveal what

so dislike.

We

it is

If

we

may

be

that, in the Jew,

we

its

study

can then show a better front of

opposition to what

we know

for certain,

and even

its

mere discovery will be sure to assist in driving this

demon from the field. Only under the protection
of a misty twilight
at all

sooth,

and

who

it

is

is

he at present able to stay there

we, benevolent humanitarians for-

have, ourselves, cast that twilight round

about him, though only to render his ordinary aspect

less distasteful.

CHAPTER

IL

Characteristics.

THE Jew who,

God

all

we

as

all

to himself,

The Jew's ordinary

life

Character- appearance.
istics gener-

ally-

particular

know, claims to have a

arrests our

by

firstly
It

matters

attention in
exterior

his

not

to

which

European nationality he may

belong, the Jew's appearance strikes us

as something so unpleasantly incongruous that, involuntarily,

him.

we wish

to

have nothing

Formerly no doubt

fortune, but

this

feeling very well

;*

so

fail to

quite permits

much

common with

redounded

nowadays we cannot

as a misfortune which

in

so, that,

to his mis-

recognise

of his

it

still

considering the

measure of his success, his dissimilarity from us

is

even liable to be esteemed by himself as a distinction.

We

are not concerned with the moral side of

this disagreeable

consideration of

play of Nature but merely with the

its

relation to Art

and, in this con-

* " Er bei diesem Unglcke sich ganz wohl fhlt." The

humorous touches in Wagner's writings are too rare for them
to be allowed to pass without quotation of the original.
9

10

JUDAISM IN MUSIC.

nection,

must be mentioned the inconceivability of

the Jew's exterior as a representative

medium.

Thus, when plastic Art wishes to represent the

Jew,

generally draws

it

its

model from imagination;

His

either discreetly ennobling or leaving out

exterior,

altogether those traits which characterise

his presence in ordinary life.*

ings does he stray

upon the

Never

in his

theatrical stage; excep-

tions to this being so rare, both in point of

and

wander-

number

in respect of the circumstances attending them,

that they

No
lover,

may

be said to confirm the

character, whether antique or

rule.

modern, hero or

can be even thought of as represented by a

Jew without an

instant consciousness on our part of

the ludicrous inappropriateness of such a proceeding, t

*

The

This

is

extremely important;

much

for, if

we hold

do with these judgments.

Thus, in literature, such characters as that of Shylock were
at one time deemed worthy of unqualified execration, but we
have now a far more correct appreciation of the human
point of view has

to

features they present.

T

(Original Note).

On

this subject

much more might be

based upon experience of the activity of Jewish actors

since the above was written. During that time they have more
than successfully invaded the theatrical stage, for they have
juggled the poet's dramatic creations. A certain Jewish " character-player," for example now disdains the poetical forms
of Shakespeare, Schiller and so forth substituting for these
the wonderful emanations of his own fancy, and producing an
effect something equivalent to that of a picture of the Cruci-fixion from which the figure of the Saviour had been cut out
and its place occupied by that of a democratic Jew. The
falsification of our art upon the stage has nowadays gone to
said,

THE ORIGINAL ESSAY OF

man

1850.

by race for any

to be exteriorly disqualified

presentment whatever

artistic

II

that

merely for any one in particular but for

exception

him

it

we should

follows that

as unfit for

any

artistic

The speech of

the

Jew

is

effect

upon us
.

to

Jewish

Jew converses
amongst whom
but
of

he
a

without

also regard

however of even greater

an

relation to

in

is,

effect

its

which constitutes

does

he

tongue

As

it

pose to account for this

is

after

foreign

fact

reason claim not only to omit

of

from

dwells
invariably

this

foreigner.!

upon

influence

the

in

upon

feature to dwell

the essential
referring

all

pronouncement.*

importance; considered, that

His speech.

say, not

to

is

all

The

Music.

people

the

age

age,

to

manner

the
to

in

our

pur-

for

that

we may

accusation against

Christian civilisation for having forcibly kept the

Jew secluded, but also

to

acquit

the

latter

of

such a degree that Shakespeare and his contemporaries' are

now condescendingly discussed with regard to the conditional
suitability of their

works

for presentation.

Here again the reader must decide whether

it

follows

event of a man's exterior being incompatible with

his representating in Art, as Wagner puts it, "any character
whatever"' he is ipso facto debarred from all Art-expression.
that, in the

The standpoint of Wagner being thoroughly German it

behoves us to remember that the features he here alludes to
may reasonably be supposed to be more pronounced in his
f

country than in our own, besides being everywhere applicable

to the individual Jew only in inverse ratio to the latter's
standard of education.

'12

JUDAISM IN MUSIC.

responsibility for consequences of the separation; at

same time that we permit ourselves

the

to treat of

such results.

On

hand

the other

character

aesthetic

the duty of elucidating the

of

which devolves upon us

Ui s
artistic in-

Immediately,

capacities,

that a

native to

if

shuts

it

in

one

is

full

force.

circumstance

general

the

Jew speaks

language only as

full,

circumstances

these

modern European

his

acquired and not as

him out from

all

if

he were

capability of

independent and characteristic expression of

his ideas.

mode

language

is

not the work of one man,

of expression and

its

development are

the joint emanation of an ancient

community; and

but

its

only he whose

life

has been fostered within that

community can expect

But alone with

his

all such, his race

with

all

tongue

to take part in its creations*

Jehovah stood the Jew outside

divided and bereft of native land,

development denied to

the

Hebrew

being

it;

even

its

peculiar

only sustained to

it

as

the greatest genius has hitherto found

it

a dead language.

Even

impossible to write genuine

One

poetry

M
ist,

foreign

Wagner's writing
any undue vehemence

of the golden sayings with which

bestrewn and which amply atone for

of expression. The original runs thus:
is

in

Nur wer unbewusst in dieser Gemeinsamkeit aufgewachsen

nimmt auch an ihren Schpfungen theil."

THE ORIGINAL ESSAY OF

But

tongue.*

in the position of a foreign

Jew has our

the

As

mained.

1850.

European

entire

in the

tongue to

civilisation

formation of the one so in the

development of the other he has borne no

at the most,

and even

re-

part, but,

merely looked on, with feelings cold

hostile, as is natural to a

homeless unfor-

In such language or in such art the Jew can

tunate.

naturally

but

echo and

and is perforce
expression and pure creative

debarred from fluent

imitate,

work.

But the mere audible twang of the Jew's speech is

also particularly offensive.
Two thousand years of
intercourse with

His

European nations have

mannerisms, in his case not sufficed to eradicate peculiarities

of the Semitic

defeated

has

mode

culture

all

of expression, which

through

obstinacy of the Jewish nature.

sounding

buzzing

and

The

grunting

the

strange

hissing, shrill-

mannerisms

of

Jewish speech fall at once upon our ear as something

strange and disagreeable in kind.

isms

also'

words

These manner-

take the form of an application of the

entirely inappropriate to our national speech;

of an arbitrary prolongation of them; and of a

phrase-construction producing the total effect of a

confused babble; in listening to which our attention

monopolised by the manner of utterance and

is

cor-

Another saying worthy of remembrance, and of which the

original text is as follows

" In einer

bisher selbst

fremden Sprache wahrhaft zu dichten, ist nun

den grssten Genies noch unmglich gewesen.

'

JUDAISM IN MUSIC.

14

respondingly diverted from the sense of what

is

being said.*

The

exceptional importance of this circumstance

upon us particularly by the music works of modern Jews must

Hear a Jew speak; every
first of all be recognised.
as explaining the impression produced

shortcoming in point of human expression has

sting,

and the cold

"Gelabber"t never

of

indifference

rises to

any warmth

his

its

peculiar

not even

in

presence of the stimulation to higher or heated pas-

On

sion.

happen that we
such ardour when speaking to a

the other hand, should

become impelled

to

it

Jew, his incapability of effective response will invariably cause him to give way.

Jew become aroused

sion with us.
*

in

merely sentimental expres-

If ever he

The analogy between

Never does the

becomes excited

at all

it is

and that applied to

Chap. X) is worthy of

this description

the musical language of Bach (see

attention as elucidative of Wagner's entire argument. It is
even more evident in the original, for which reason the two
passages, in abridged form, are here given side by side

The Jew's Speech.

"Eine Verwendung und
Verdrehung der Worte giebt
diesem Lautausdruck den
Character eines Geplappers
bei dessen Anhrung unsere
Aufmerksamkeit unwillkrlich mehr bei diesem widerlichen

Wie

enthaltenen

als bei

Was

dem

darin

The language

of Bach.

Der reinmenschliche Ausdruck noch nicht das so

bestimmt Vorherrschende ist,
"

dass in ihr bereits unbedingt

nur das Was ausgesagt werden knnte oder msste, da
sie eben noch in der Gestaltung des Wie begriffen ist."

verweilt."

mocking (supposed Hebrew) pronunciation of

per"; meaning babble.
f

"

Geplap

THE ORIGINAL ESSAY OF

on behalf
Either

it

of

some

his material

is

profit

personal vanity

tion, or his

and

special

has usually a distorting

1850.
selfish

which

is

interest.

in

ques-

and, as his excitement

effect

upon

his speech,

it

also assumes a ridiculous character not in the least

calculated to arouse sympathy for the speaker.

No doubt
their

mutual

it is

conceivable that in connection with

affairs,

and particularly

cerns where the purely

human

in

family con-

feeling finds

natural scope for exercise, the Jews

may

its

most

nevertheless

be capable of an adequate expression of feeling, at

all

events in the sense of appearing sufficient to one

That, however, scarcely falls within our

another.*

purview, as
tion of the

we are
Jew so

expressly engaged in contemplafar as, in life

and

art-intercourse,

he affects ourselves.
But, if the defects of speech to which reference

has been

made

practically withhold

from the Jew

His vocal the capacity for all artistic delivery of

attempts,

words,

it

medium of spoken
through the medium of song,

feeling through the

follows that,

* Surely this is a strange admission, for, if the argument

were perfect, there should not be this power of expression at
The question of whether such emotional expression is
all.

not touched upon, though it was highly

necessary to the completeness of Wagner s thesis, considering
that elsewhere (Chap. IV.) he alludes to the Jew's incapacity
to draw inspiration from our folk-song expressly on the ground
that it is unintelligible to him. ("Verstndlich ist ihm nur
Dasjenige was durch irgend eine Annherung jener jdischmusikalischen Eigenthmlichkeit hnelt.'')
also intelligible to us

is

JUDAISM IN MUSIC.

l6

such expression must be far more distinctly impossi-

Song, for example,

ble.

is

but speech intensified or

raised to the level of passion.

If the Jew, in allow-

ing himself a greater intensity of expression through

the

medium

of speech,

may make

himself ridiculous,

but cannot excite our sympathy in the least degree,

he

will,

become

should he proceed to the height of song,

entirely

unsupportable.

everything which had previously

In

the

latter,

moved us unfavour-

ably, whether relating to his speech or to his out-

ward appearance, becomes intensified; and we are

either driven from the scene or else chained to the
spot by the utter absurdity of such a manifestation.
In Song the peculiarity of the Jewish nature which
affects us so

disagreeably

is

height, considering that song

unquestionably

the

truest

very naturally at
is

the most vivid

expression

of

feeling; so that, to whatever branch of Art

sion,

and

personal

we may

admit the Jews as capable, that of

events, must to him, by a natural admis-

feel inclined to

song, at all

its

be eternally denied.

CHAPTER

III.

Art-Relations.

THE physical perceptions of the Jews have never

any
resulted in sending forth

Plastic

their

having been

plastic artists; their vision

more

practical

than beauty and the spiritual

contents of a world of imagination.

as

ranks

always too steadily fixed upon things

Art.
far

from

my knowledge

we have no

extends,

Thus, as far
record of any

Jewish architect or sculptor in our time; though, as

to painters,

decide
really
It will

must leave the professional

whether

those

of

Jewish

critic

to>

their

same as those of the Jewish composer

and

art.

be fairly safe, however, to assume that the

relations of the latter to plastic art are very

the

have

extraction

contributed anything of value

to

to the consideration of the latter

we

much

to music;
will

now

turn.

Though

in

himself incapable, alike by exterior

appearance, by speech and especially by song, of

making any

Jew has nevertheMusic, the most widely promulgated

artistic experience, the

less attained in

17

JUDAISM IN MUSIC.

of modern

public taste*

we must

to the position of governing the

arts,

first

In order to explain this appearance

of

how

enquire

all

it

was that the Jew

was enabled to educate himself musically

The

turn taken by our social development has

resulted in

The

at all.

money becoming more and more frankly

In con-

exalted to the level of nobility.

en-

noblement sequence of this the Jew, whose money

of money, has not been acquired by personal labour
but merely by his one and only trade of usury,
longer excluded from the enjoyment of

only

is

is

no

Not

title.

he no longer excluded, but the money he

possesses has become almost equivalent to his admission

the

being more or

latter

less

matter of

course.

Modern education
level of a

mere

in the

same way has sunk to the

article of luxury, its benefits

the more open to the

as they are principally

Jew

accessible to the well-to-do.

is

naturally subjected to a

the educated Jew;

being

At

this point Society

new appearance

that of

whose case has a special

interest

for us in consequence of the contrast between

and

his

Now
*

uneducated brother.
the educated

is

Jew has spared no pains

has,

become clear that this governing

but there is no referultimately ascribed to money

By what

power

him

follows

ence to any share in

it

will

it

on the part of other classes who might

also possess the qualification of riches.

THE ORIGINAL ESSAY OF

in fact, given

himself an infinity of trouble to eradi-

more

cate the

Origin
disdained,

salient signs

humble confrere

in this direction

zeal

19

1850.

his

His

distinguished.

is

many

has in

by which

cases gone the

length of inducing him to submit to Christian bap-

anxious has he become to obliterate the

so

tism,

traces of his origin.

we

Yet, in spite of all this firmness of purpose,

do not

find that the educated

means has been

its

which,

complete isolation

his

transformed

having

heartless specimen of

his

race.

himself

mankind, he has

pathy which we formerly

His position

lost the

most

symof

all

connection with

former companions in misfortune, but without

having succeeded
the

besides

now, therefore, that, of

having disdainfully cancelled

his

into

felt for the tragic fate

is

in

All that he has effected

reaping the desired harvest.

by

Jew has succeeded

new Society

As
with

in

obtaining a genuine footing in

to which he aspired.

to the latter the only

whom

nection are

members of that Society

the educated

Jew stands in any conthose who want his money.

But never

has money yet proved effective as a means of lasting

union between

man and man.

sympathy the Jew stands alone

Society which
strivings

and

and

Without friends or
in the

midst of a

he does not understand, with the

inclinations of which he has

to the history

no

part,

and development of which he

completely indifferent.

is

20

JUDAISM IN MUSIC.

Such

is

the state of things from which

Jewish thinker emerge but he

;

true poet

true poet

at the past,

who

looks only

in contradistinction

relate rather to

Nothing but deep and

who

to the

a prophet-like vocation and

fulfils

whose utterances

see the

a thinker answering

the description of a poet

The

mon

is

we

entire

strivings of a great

what

is

to come.*

sympathy with the com-

community can form a

suffi-

cient qualification for the exercise of this high office,

for

it is

by

this

sympathy that the poet

is

enabled

to give unconscious expression to such aspirations.

But

from

superior

Jew

such
is,

community

He

connection with his

one, moreover, for

loss to find a suitable

A
Art

the

his position,

has separated himself from

own

race, the

education he

him a mere luxury

which he is somewhat at a

has acquired and paid for

and

sentiment

by the very nature of

completely shut out.

all

of

is

to

employment.

portion of this education had been applied to

the preference of selection having been accorded

The
Jewish
musician
sister arts

to the art which

seemed most easy of

This was Music; which,

in

the condition of being separated from

its

acquirement.

had, by the force and power of genius,

der rckwrtsschauende Dichter; der

wahre Dichter ist aber der vorverkndende Prophet." Wagner's greatness is clearly shown in such definitions as this,
which abound with instruction to those whom they most
concern, and show such a clear insight of the true nature of
musical creation that they should be ever in the minds of all
*

who

"Der Denker

ist

aspire to excel in composition.

THE ORIGINAL ESSAY OF

21

1850.

been raised to the utmost level of capacity for ex-

From

pression.*

this height

it

was

able,

by means

of the newer combination with the sister

arts,

become the medium of sublime expression, or

to

also,

continued separation from them to become, at

in

will,

that

for

trivial

and

to feel a desire to express

him-

communication of the

indifferent, t

Assuming
self in

the

Jew

Art the substance of what he had to say could

only be of this latter indifferent and trivial kind;

and that
*

for the reason that his entire incentive in

The contention

that in absolute music the utmost capacity

had been already reached lies at the root not only of Wagner's
argument but of all the various opinions put forth in favour

programme music.

Notwithstanding the question having

and therefore,
been so belaboured it is still an open one
even in the case of Wagner the assumption can only be
accepted hypothetically. Unfortunately for progress in this
matter the terms employed in argument are often confusing;
for, notwithstanding that such theories virtually amount to
the denial of music as a language, their advocates frequently
apply to the art that special term. This points to the probfor otherwise
ability that music is both scenic and logical
advocates of the one view would not so unconsciously borrow
terms more properly belonging to the other.
of

This seems to be as much as to say that when un-allied

with other arts music is only capable of expressing the trivial
and indifferent. If this be so, the view is not so important
for its own sake as it is in the light of an illustration of
Wagner s militant style such a side thrust not being in the
least necessary to his argument, and showing, therefore, a
mere exuberance of vigour. No one denies that the Arts are
mutually helpful and that, in combination, one derives assistance from the other.
f

22

JUDAISM IN MUSIC.

an art-direction originated unnecessarily, and merely

He had

in the pursuit of luxury.

some

sult his inclination, or possibly

domain of

altogether outside the

settle

As

interest lying

art

in order to

whether he should speak in this way or

to delivering himself of

necessary

or

thus only to con-

Having no

to

anything positive, actual

was

he

such

that.

never

desire really to say

impelled.

anything, though

sorely wanting to speak the

"What
did not trouble him at
"

to

all,

How

to

say"

but the

speak

"

was, on the other hand, a grand object of solicitude*

This

art of

Absolute

talking without saying anything

one f r

^e

is

cultivation of which music

for the
Music and offers exceptional opportunity
its Jewish reason
that the great masters have
;

imitation

already said in

expressing! as a separate

it

all that it is

art.

capable of

This once done,

all

that followed could be but after-babble, the very

correctness of which, so painful

minded one of
to imitate

the

human

way

in

and deceptive,

re-

which parrots are taught

speech; for

it

was naturally

as

The reader will scarcely need to be told that in the

original we have here to do with our old friends " Wie" and
" Was."
It was undoubtedly a stroke of genius on Wagner's
*

part in these two monosyllables to have chrystallised the whole

difference between the pedantic capellmeister style of composition and that proceeding from a true inspiration.
f See note p. 21.

THE ORIGINAL ESSAY OF

23

1850.

bereft of all true expression as the familiar per-

Yet even

formances of those stupid birds.

apish tongue there
utterance,

is

in this

a specially Jewish style of

and our Jewish music makers have

in

it

a dialect as special to their race as the one already

described.*

The mannerisms

peculiar to the

Jew

and song are most glaringly manifest

the ordinary

Jew who has remained

But, although their obliteration

the educated

is

is

such that he

whatever degree this misfortune

is

both speech

in the case of

true to his race.

a matter to which

Jew devotes the utmost

grateful obstinacy

in

is

pai:is, their

un-

never

To

free.

capable of being

explained physiologically, a consideration of the

position of the educated

some

To

light

Jew must

upon the reason

for

necessarily throw

it.

whatever height of fancy our art-luxury

The

aspire

Folk-spirit. tion

it

can never entirely lose connec-

with the Folk-spirit.

By

so truly held fast that the inspired poet

tive of the particular art in

gaged

draws

his

may

this

it

is

irrespec-

which he may be en-

impetus from the loving contem-

plation of that instinctive life to be found

among

questioned whether Wagner does not herein

attempt to prove too much. At all events granting to the Jews
a special style of utterance in music (especially when in that
style works of the level of Mendelssohn's " Elijah " may be
conceived) comes perilously near to granting their creations a
*

It

may be

full right

of existence.

JUDAISM IN MUSIC.

24
the
is

community within which he dwells *

But where

may

be, to find

the Jew, however cultivated he

such a people

domain of

it,

to

do

so within the

a Society in which he plays the part of

a mere actor?

Society at

Can he hope

all,

If he has
it

any connection with

this

can only be with an off-shoot of

and one hopelessly detached from the original

healthy stem.

bound

to be

Even

this

connection, moreover,

an entirely loveless one; and

is

this un-

become more and more apparent to

him as he endeavours to approach this Society for
loveliness will

the purpose of finding food for his artistic crav-

Not only everything in it will become even

more foreign and incomprehensible, but the general
ings.

dislike

in

which he

is

held will

frankly and hurtfully on

him because, unlike the

all

now meet him

sides

hurtfully

to

richer class generally, his

nature has never been either softened or disciplined

by any considerations for the common

*
this

interest.

The composer among Wagner's contemporaries in whom

feature was most pronounced was Brahms, whom we

might therefore have expected to see regarded by him with

greater favour than was actually the case. But the principle
thus enunciated by Wagner is none the less to be remembered.
The original text is " Der wahre Dichter gewinnt seine
Anregung aus der Auschanung des Lebens das sich ihm im
Volke zur Erscheinung bringt."

CHAPTER

IV.

Musical Creation.

REPULSED

to his feelings

unable to

No

Jewish Art. Jew

at

all

is

manner most hurtful

therefore in a

by a Society of which he is
seize the spirit, the educated

driven back to his

events everything

is

own

race,

immeasurably

where

clearer.

Whether he will or no> this is the source from which

he needs must draw what he requires, but here again
he is confronted by the dearth of material for

"What

to

say";

as assistance in the direction of

"
is all

is

that

it

is

How

to

life replete

of universal

human

had an Art of

with art-possibilities.

The

fact

their

own

Features

application are not to be found

words he can
elucidated laler on

* In other

"

capable of offering him.*

that the Jews have never

never a

speak

Wie

but not the " Was.'

This is
in the paragraph where the Jew is
described as listening to our music only superficially, and
thereby failing to catch its spirit, though he is able to imitate
its audible style of expression.
find the "

25

'

JUDAISM IN MUSIC.

26

amongst them, the sum of

peculiar

One

mode

their resource being the

of expression indicated above.

source and one only

itself to the

may

be said to

Jewish composer, and that

offer

lies in

the

Only source solemn musical service dedicated to his

Jehovah for after all it is to the synaof
;

inspiration.

gogue that he must look

if

he hopes to

motives alike comprehensible and of true

obtain

folk-character.

Now, however much we may

gard

this

spired in

feel inclined to re-

musical divine-service as noble and

its

condition of original purity,

to observe that the condition in

fail

descended to us

is

in-

we cannot

which

it

has

one of the greatest corruption;

also in this domain, have thousands of years

for,

passed by without any development or movement

of inner life; and, like everything else in Judah,

has stood stark

still

But a form which

of

both as to form and contents.

is

never enlivened by renewal

contents becomes ever disintegrated at

its

Music in
the

last,

us t as words which no longer represent

a living feeling are liable to become dis-

Synagogue torted and obsolete in the same

Who,

it

for example, has not

had occasion

to

way*

become

convinced that what goes on at the present day in

an ordinary synagogue
* " Eine

Form welche

is

the merest caricature of

durch Erneuerung des Gehaltes

belebt wird, zerfllt aber; ein Ausdruck, dessen Inhalt lngst
nicht mehr lebendiges Gefhl ist, wird sinnlos und verzerrt
sich.''

nie

THE ORIGINAL ESSAY OF

Church-song?

Who

to the spot, partly

1850.

2J

has not been shocked and held

by horror and partly by a sense

of their absurdity, at hearing those gurgling, jode-

and babbling sounds confusive of all trace of

sense and spirit, and which no intentional caricature
could depict 0 horribly as all appears in fact, and
ling

may

easily

be witnessed going on with the most

perfect naivete
It

may

recently

and earnestness.*

be admitted that a spirit of reform has

shown

itself

and has taken the legitimate

direction of trying to restore the primitive purity of

From

Divine Song.

this

the point of view of the

higher and more reflective Jewish intelligence the

result

is,

mere

however,

merely that of an

effort

fruitless

labour.

It

is

on the part of culture

to

improve the people; but the improvement of the

latter

can obviously never be such that the higher

Jew,

seeking the satisfaction of his art-needs

their

proper source in the instinctive

life

at

of his

people, can find amongst

the reflection of his
stinctive

and not the Reflected that he longs

find; for the latter

all

them anything more than

own efforts. But it is the In-

is

simply his own creation.

of the former which he can hope to meet

same distorted expression

If,

to

Yet,
is

the

as before.

like artists in general, the

educated Jew has

been led back to the folk source, not premeditatedly,

*

Wagner's familiarity with what goes on

appertains to the subject of the note p.

3.

in the

synagogue

JUDAISM IN MUSIC.

28

but instinctively, and from the very nature of the

which press upon him, the impression

necessities

produced may, and with completeness of survey

from

his point of view, be applied to the art-pro-

ductions of his race.

Those melismi and rhythms of the synagogue

captivate the musical fancy of the Jewish composer
quite in the

same way as an

instinctive familiarity

with the melodies and rhythms of our

own

folk-

song and dance constitutes a nucleus of power for

the creators of our musical works of art

whether

vocal or instrumental.

Out of our copious range of folk-song only such

material

is

open

to the musical faculty of perception

of the educated Jew as may happen to

Q ur
Folksong strike his fancy as intelligible;* but only
unavailable, fo^t

ca n be intelligible to him,

in

the

sense of being able to be applied artistically, which

is

found

to present

some feature of approach

to

Jewish musical peculiarities.

Were

the Jew, by listening either to our simple,

or to our professedly artistic music, to endeavour to

trace the heart

and

soul of

its

inner

life,

he would

be inevitably driven to the conclusion that these

present nothing in
nature.

The

common

with his own musical

total strangeness of such a manifesta-

* See notes pp. 15 and 25

THE ORIGINAL ESSAY OF

tion

might be counted upon so

would probably be

it

2Q

1850.

him that

to dissuade

in future impossible for

him

to sustain sufficient courage to pursue the endeavour

to

compete with us

The

Jew, however,

tion in general

of our

is

never induced by his posi-

as

Whether

it

tions

and

merely

in either case

their

whether instinctively,
under-

to

he listens to our art-produc-

organism

inner

life-giving

superficial

with

happens when he recognises

hi s rea i position or

stand

is

it

happens when he lacks the capacity

as

any such

to indulge in

meditations.

design,

Music.

our art-creation.

amongst us

The inner deep

life

in

in

But such an unsym-

manner.

pathetic hearing can necessarily convey to

him no

more than exterior resemblances with what may be

either intelligible in his view or

consonant with his

nature.

Thus
the

it

happens that he mistakes the exterior of

manifestations

domain

in

our

musical

for the real substance of them.

that his conceptions of

and

life

Thus

artit

is

them when he ventures upon

a reproduction strike us as strange, odd, indifferent,

unnatural

and distorted;

to

such

degree that

Jewish musical works often produce upon us an

impression similar to that which

from a poem of Goethe,

if recited

we might expect
before us in the

Jewish gibberish.
"

In the same

way

as a confused

heap

is

made

of

JUDAISM IN MUSIC.

30

words and phrases

jargon does the Jewish

composer make a confused heap of the

The

forms and styles of

Jewish
composer.

ages and masters.

all

Cheek-by -jowl we meet them

chaos

lovely

in this

formal

peculiarities

schools all huddled together.

The

of

most

in the

the

various

intention in these

productions having merely been to speak, and to do

and therefore to the exclusion of

consideration of any object sufficiently worthy
confer upon the speech some value, the only

this at all hazards,

all

to

means of rendering such babble

the

ear

mode

is

continually

to

at all exciting to

change the means and

of expression*

Heartfelt excitement and true passion find their

own appropriate tongue when,

striving

to

make

themselves intelligible, they formulate an utterance.

The

Jew, however, as already described in this con-

nection, has

no

real

passion

or,

in

any

case,

no

passion of a nature to impel him to art-creation.

But without such passion there can also be no

* Without necessarily endorsing this as judgment in a

particular case, we cannot fail to recognise it as a masterly
description of the impression produced upon a real artist by
a pretentious though uninspired work, and to feel that such

valuable instruction would have been more suitably conveyed

to us in the direct form of admonition.
f " Die

wahre

Leidenshaft findet ihre eigenthmliche

Sprache in dem Augenblicke, wo sie, nach Verstndniss
ringend, zur Mittheilung sich anlsst." This adds another
to the collection of dicta which the student should hold in

remembrance.

THE ORIGINAL ESSAY OF

and noble

repose, for a genuine

else

stillness is

naught

than passion which has subsided and become

appeased in resignation.
previous passion
dullness;

work,

we

usual

the

Where

there has been

recognise no calm
contrast

to

for

devoid of

the

it;

is

only

so noticeable

only ceasing in fact to

aforesaid

spirit as

but

no

which, in Jewish

that pungent unrest which

is

from end to end of

way

1850.

dullness, which

is

make

one as

of feeling.

All that the Jew's ambition to engage in Art has

really

yielded

must therefore necessarily possess

and indifference, if not

and nonsense; so that the

the properties of coldness

even those of triviality

period of Judaism in modern music can only be

described historically as one of complete unfruitfulness

and of a

stability fast perishing.

CHAPTER

V.

Mendelssohn*

WHERE

is

the manifestation by which all the

could

preceding

where

lated

is

be

rendered

clearer

one to be found more calcu-

instantly to convince us

than that

presented to us in the works of a composer of Jewish

extraction

who was endowed by Nature with

specific

musical gifts to a degree hitherto equalled by few?

Everything which
into the antipathy

acter

the course of our enquiry

feel

towards the Jewish char-

gave ground for reflection

tradictions
#

we

in

of

this

character

whether
within

the con-

itself

and

The

general terms in which Mendelssohn is described

entirely prevent the supposition that he was regarded by
Wagner otherwise than with a gentle and respectful feeling
All vehemence becomes suddenly absent upon the mention of

Mendelssohn's name, and Wagner's sincerity may easily be

traced in the fact of the kindly tone being so well sustained.
The latter forms not only a grateful feature but it also
adds to the clearness of the elucidations any disagreement
with the drift of which will not diminish the value of the instruction they contain.
;

32

THE ORIGINAL ESSAY OF

towards

or

us,

33

whilst outside

incapacity,

its

1850.

domain, to deal with us on that ground

want of the power even

to formulate so

which have sprung from us

considerations

rise

tragic

as

nature, life

and

much

or,

as

its

an

further develop the productions

earnest desire to

conflict

our

accumulated

all these

up with the importance of a

we

them exhibited in the

of the composer who was

find

art-career

taken from our midst at such an early age

Felix

Mendelssohn-Bartholdy.

By him we have been shown

Jew may be

that a

gifted with the ripest specific talent, he

Bearing

acquired

the

he

of his case education,

upon the
Subject,

and

most

honour

much
deep

may

most

yet,

varied

possess the highest

sense

of

notwithstanding

all

finely-tempered

and

these advantages, he

and

finest

may have

may remain

unable, even in so

as one solitary instance, to bring forth that

effect

upon our hearts and souls which we ex-

we know its capability

because we have experienced

pect from Art because

that

many

direction

a time

and oft

in fact,

our craft has designed, as

it

in
it

whenever a hero of

were, to open his

mouth

to speak to us *

The boldness of this statement may make many readers

curious to know whether the challenge it contains was ever
taken up. The replies to the original article were so numerous
*

would be impossible without a laborious investigation

to say whether or no this was the case.
Moreover, the
information might satisfy our curiosity but could scarcely
that

it

JUDAISM IN MUSIC.

34

To
sarily

the critics by

profession,

who must

have arrived at a similar view, the duty

falls

confirming this unquestionable

fact

Character- ^
istics of his

Music

by

references

among

individual

to

instances

the Mendelssohnian productions.

Tfie general statement, however, will here be

by

we

made

in

hearing a

this composer, our attention is

only fixed

clear

sufficiently

piece

neces-

if

whilst graceful, smooth

progress.

recall

and

that,

artificial figures are in

These are brought forward ordered and

combined more or

less for the

entertainment of our

fancy; their changes being akin to those of the

kaleidoscope.

But never do we

moved

feel

at those

situations where the figures are intended to express

At

any deep or pithy heart-sensation*

that point

even formal productive capacity for Mendelssohn

entirely ceased
oratorio, he

to

for which reason wherever, as in

approached the Drama, he was obliged

appropriate

without

feature which he could

scruple

any

individual

gather from this or that

increase our knowledge. The kind of effect to which Wagner

alludes is nowadays so largely a question of colour that the
public are often susceptible in cases which fail to command
the musician's esteem. So great a master of instrumentation
may be well pardoned for regarding these matters in a special
light in other words he sets up his own standard of excellence,
arriving naturally by that means at conclusions peculiar to
:

himselfand to those who think with him.

* (Original Note). Of the New-Jewish system designed

upon the basis of

speak

later.

this particular quality of

Mendelssohn we

THE ORIGINAL ESSAY OF

predecessor, according to
his

whom

model for the time being.

1850.

35

he had taken for

In doing so

is

it

to

be well observed that, in his expressionless modern

speech, he had a marked preference for our old
Bach's musical language

master, Bach, as model.

grew up

at that period of our musical history

the universal musical tongue

was

still

when

struggling for

The

the power of individual and exact expression.

purely formal and pedantic had

hold upon

it

that,

still

so strong a

even in the case of Bach,

it

was

only through the stupendous power of his genius

that purely human expression was enabled to break

through such an obstacle*

dubbed reactionary may well be
faced in order to express the regret that, in modern music, that
which Wagner calls and which it is the fashion to esteem as
a "purely formal and pedantic hold" has been so greatly
relaxed. The modern course of musical matters is perfectly
*

The danger

clear to those

of being

who

strive to preserve impartiality in spite of

the multitude of rival contentions.

Some concession was admit-

The time had

arrived for a reform of even

a revolt against the old stringency. Then, in the delight of

tedly necessary.

composers went to such extremes as to abandon

the advantages which that stringency embraced. As to the
disadvantages we have Wagner's own admission that they
could not prevent a really-great master from attaining to a

feeling free,

purely human expression. History repeats itself and, just as

the beauty of the ancient scales and the delights of free
rhythm were thrown away after Palestrina, so those of a
mastery of counterpoint and adherence to symmetrical form
are now wantonly sacrificed. All our present-day declamation
will not affect the revenges that Time has in store
and whatever of the old ground was really within the domain of
artistic truth will be revived in spite of it.
;

JUDAISM IN MUSIC.

36

The language

of Bach stands to the language of

Mozart, and finally to that of Beethoven, in the

same relation as did the Egyptian

Sphinx to Grecian sculpture and, in the
same way as the Sphinx with human

The
language of

Bach

face seems to strive to quit

the noble
quit

Bach seem

to strive to

luxurious musical taste of our time

an

to

figure of

animal body, so does

ancient periwig.

its

The

human

its

inconceivable

which

lies in

at one

and the same

Beethoven's

and

the fact that

mode

thoughtless

subject

is

confusion;

we complacently

Bach and

time, to discussion of

of expression.

We

listen,

actually

make

ourselves believe that the difference between them

was merely an individual and formal one; losing

sight

of

the

fact

that

it

really

stands

for

an

important landmark in the history of our culture.

The reason

of this

is,

however, obvious enough;

was the musical lanThe

g ua S e f a complete, finished, warmlanguage of feeling man, and could necessarily proBeethoven, ceed from no other. It was the speech
of a music-man so perfect that, of irresistible
impulse, he had pressed forward beyond the domain
of absolute music, the limits of which he had
for the speech of Beethoven

measured and extended

doing
all

so,

arts

extension.

to

had shown us the way

through

music

as

utmost

their

and, in

to the fruition of

their

only

successful

THE ORIGINAL ESSAY OF

The speech of Bach, on

1850.

37

the other hand, can be

suitably imitated by any well-equipped musician;

even though

employed

it

be not in the same sense that Bach

In

it.*

it

the formal element predomin-

human element being

ates; the purely

not so com-

pletely the governing feature that the

"What

to

say"

and
too much engaged

able to assert itself quite unconditionally,

is

this for the reason that

it

is still

in the throes of

"How
The
style

flimsiness

to speak."

and waywardness of our musical

has been, in consequence of

Mendelssohn's

endeavour to deliver unclear and worthless material

The student should have no

difficulty in

reading between

"Die Sprache Bachs kann von

einem fertigen Musiker, wenn auch nicht im Sinne Bachs
nachgesprochen werden." In other words, anyone may write
Bach, but not as Bach himself did. It reminds one of the
old pleasantry that anyone can write like Shakespeare, who
the lines at this passage:

has a mind

to !

The

features of Shakespeare's language might

nowadays be successfully imitated by a scholar but

there could be no question of any man of our time doing as
Shakespeare did in any other sense. The latter's vocabulary
and diction were both different from ours but we do not on
that account accuse them of having impeded him, and say
that only his greatness enabled him to break through the
also

obstacle they presented.

Again, as in the case of Bach, his

language not only served him for a full* expression, but for an
expression superior to our own. If, therefore, we are unable
to do the same, we should not blame the language; but
ourselves.

JUDAISM IN MUSIC.

38
in the

most agreeable manner possible,

ally introduced, at all events,

limits.

pushed

if

not actu-

utmost

to its

For, whilst Beethoven, the last in the chain

of our genuine music-heroes, with intensest longing

and miraculous powers, strove ever for the clearest

and most accurate expression of that which was
otherwise unspeakable, by the sharply-cut plastic

form of

his

tone-pictures,

Mendelssohn dwindles

these trophies in his productions; thus reducing his

effects to the level of dissolving

tastic shadow-pictures.

By

views and of fan-

such uncertain tints our

capricious imaginative powers

may

be excited, but

our pure and manly longing for clearer artistic

sight

is

scarcely so

much

as

moved

to

in-

any hope of

fulfilment.

Only when

the

irksome

consciousness

of

this

power appears to influence the composer's mood, compelling him to the expression of a
soft and melancholy resignation, does Mendelssohn
limitation of

present himself to us characteristically

;*

and he does

so then in the subjective sense of a refined character

which, confronted by the impossible, makes confession of

This,

its

as

own

impotence.

has been

said,

constitutes

the

tragic

Nur da wo das drckende Gefhl von dieser Unfhigkeit

ihn zu dem Ausdrucke weicher und schwermthiger Resignation hindrngt vermag sieh Mendelssohn characteristisch
darzustellen." The only admission of any form of originality
in composition on the part of the Jew to be found throughout
* "

the essay.

THE ORIGINAL ESSAY OF

1850.

39

feature in Mendelssohn's life; and, should

to

the

we

desire

extend our sympathy to any personality within

domain of

art,

we could not

refuse

it

measure to him, notwithstanding that

likely to be diminished

when we

in a strong
its

force

is

reflect that, in his

was rather a passive resultant feeling

than one leading to active, suffering and enlightencase, the tragic

ing conviction.

CHAPTER

VI.

Meyerbeer*

NO

other Jewish composer has, however, been

in us.

celebrated Jewish music-setter of our

day

able to

General
view.

awaken a

like

sympathy

has, in his productions,

had a portion of

our public in view whose entire confusion of musical

taste

was

less a

to exploit.

matter for him to accommodate than

The

present opera-going public has

now

more and more and,

at last, totally drawn away from a sense of the requirements which are to> be stipulated for not only
for a long time been gradually

in

work of good taste.

these places of amusement are generally

dramatic art-work, but in

The

seats at

all

occupied by that portion of our middle-class society

with

whom

ennui

is

the only reason for preferring

* This composer, though obviously in question,

pressly named in the original.
40

is

not ex-

THE ORIGINAL ESSAY OF

one occupation to another.
however,

is

The

1850.

infirmity of ennui,

one not to be cured by art-enjoyments,

and any deliberate attempt

to

disperse

results in the deception of reproducing

The

form.

41

it

merely

it

in another

cultivation of this deception has

formed

the artistic life-study of the renowned opera-com-

poser alluded
It

to.

could serve no useful purpose to describe in

means which he has emthe attainment of the object of his am-

detail the array of artistic

ployed for
bition*

His success

sufficiently

shows that he thor-

oughly understood this form of deceit; and

was principally attained by serving up

to his

this

jaded

audience in the jargon which has already been

described,

and as

if

they were modern sayings of a

be regretted that Wagner did not dwell upon this

" array of artistic means." But the omission is partly supplied
by a passage in his " Memories of Spontini." The following
quotation is from Ellis' translation of the same.
"Meyerbeer, starting from the Rossinian line, made the
public's ready-found taste his artistic law-giver: nevertheless
confronted with a certain measure of art-intelligence, he tried
to give his art-procedure the appearance of something charhe added the Spontinian to the
acteristic and on principle
Rossinian line, and thereby necessarily twisted and distorted
each. Indescribable is the repugnance felt both by Spontini
*

It is to

and Rossini against the despoiler and commingler of

art-

tendencies belonging severally to themselves; just as to the

genially sans-gene Rossini he appeared a hypocrite, so Spontini considered him a trafficker
n the most inalienable
mysteries of creative art."

JUDAISM IN MUSIC.

42

piquant description,
their original

all

inanity

the

which

in

had been represented before

them over and over again.*

one the

trivialities

It

need not cause any-

least surprise that this

composer should be

also bent

upon

utilising the effect of catastrophes

and involved emotional situations. Anyone who

knows how necessary such features are deemed by
those who are bored will feel no astonishment at
the success of his intention, which,

if

they consider

well the circumstances, they will regard as a fore-

gone conclusion.

This deceiver amongst composers

succeeds, in fact, so well that he deceives himself,*

and does
as

that

so perhaps with an intention as deliberate

which he

applies

to

the

deceit

of

his

audience.

we

would like to proSummary duce art-works, knowing at the same time

of his case, that he cannot do it
so, in order to
escape from this painful conflict between what he
would like, and what he is able to do, he writes, for
In reality

believe that he

Note). Whoever has noticed the impudent

nonchalance and indifference of a Jewish congregation during
ths musical divine service in the synagogue, will easily perceive why a Jewish composer of opera scarcely feels hurt at
* (Original

on the part of his audience at

the theatre, and why he is enabled to work on undisturbed;
the fact being that such behaviour naturally seems to him
even less ill-mannered than when occurring in the house of
God.
* Compare this with the passage relating to Heine at con-

symptoms

of like indifference

elusion of Part

I.

THE ORIGINAL ESSAY OF

Paris, operas

means of making

This, nowadays,

hand.

Under

(which

is

the

stress

though the

effect is

of

this

artist before-

self-deception

and the

moreover, in a tragic light,

us,

rendered tragi-comic by injured

is

the would-be-emo-

really laughable

which are the fea-

personal interest

just

as

it

by which we recognise the Judaism of

nowned composer

more

Its relation
01U
,

Art-life.

now

this re-

in his music.

precise examination of

stances brought

present

the

not so devoid of trouble as might be sup-

posed) he appears to

tures

is

in

for oneself an art-celebrity

without the necessity of becoming an

tional

43

which he can then easily get played

other parts of the world.

surest

1850.

forward

instances

the various in-

which we can

appreciate in detail, having by this

time ascertained the basis of and justi-

...

fication for our invincible dislike of the

Jewish nature

will

result in

showing us

in the first

place the

Incapacity of our musical Art-epoch.

had really been advanced to a

higher degree of bloom by the two Jewish composers alluded to, we should be constrained to admit that our remaining behind them indicated some
For, if our music

organic incapacity on our part.

not the case,

for,

That, however,

is

on the contrary, the individual

and purely musical capacity which we possess, as

compared with that of past art-epochs, must be pro-

JUDAISM IN MUSIC.

44

nounced
than

its

The

to represent

an increase of power rather

diminution.

incapacity lies in the very spirit of our

Jonging as

it

does for a

life quite different

the artificial one which, with such

upheld.

The shortcomings

of

toil,

our

is

art,

from

at present

art-style

are

already sufficiently evident to us in the works of

Mendelssohn
musician.

that specially

But the successes

and remarkably gifted

of the renowned Jewish

composer we have mentioned make the worthlessness of our public taste with

its

absolutely inartistic

and requirements abundantly clear. Such

are the weighty points which everyone who feels
sincerely towards Art must take upon himself perexistence

Upon

we have to enquire and to

question ourselves until we come to a right understanding.* Whoever declines this trouble whoever
sonally.

these

# (Original Note).

The

position taken

up by other Jewish

musicians and by the educated class of their race generally

towards their two principal composers is highly characteristic.
Mendelssohn's adherents find the other famous composer a
bugbear, for they have a keen sense of the fact that he compromises Judaism in the estimation of the educated musician,
and their judgment of him is merciless accordingly. His own
adherents are, however, much more circumspect in passing a
verdict upon Mendelssohn contemplating his good fortune in
the more serious music world more with envy than in the
A third party is that of the Jews whose
spirit of opposition.
only care is to be always writing something. To them it is of
great importance to avoid all scandal amongst themselves,
the result of which they foresee to be exposure. Their desire
being to proceed comfortably with their music production
;

THE ORIGINAL ESSAY OF

turns

away from

this

enquiry

1850.

either

45

because no

him to it or because he dreads

the increased knowledge of himself which might
accrue to drive him from the lazy ruts of an old
direct necessity forces

custom devoid of thought or feeling that person

we comprise in the one category of the "Jews" in
regard to Music *

The Jews were

in

this

art

until

utterly unable to secure a footing

the

when

time arrived

was

it

Reasons for demonstratively incapable of an inner

the Jewish llfe; as
th
have SQ
r J shown.
appearance
During the whole period that Music as
in the field
,

of music,

a separate art possessed a really organ-

ised necessity for existence, right

of

down

to the time

Mozart and Beethoven, we find no trace of

was impossible that

any Jewish composer; for

it

an element so foreign

that

part of

its

to

living organism.

inner death of a

It

life
is

should

form

only when the

body becomes apparent that

ex-

without any painful disturbance, they find the continuous and

decided success of their opera composer worthy of respect
deeming that there must be some good cause for it even if not
much of the music can be called absolutely good or given out
as " solid." The fact is that the Jews are far too clever not
to know how the matter really stands.
* This passage clearly shows that it was not alone with the

Jews that Wagner found fault; for, the whole question taking
in his mind the form of a result of Jewish influence, everyone
who came under the sway of that influence became, to him, a
Jew.

JUDAISM IN MUSIC.

46
terior

elements have the power to seize upon

though only

to destroy

the flesh of this

body

Then

it.

is

it is,

that,

maybe,

transformed into a mass

of swarming worm-life; but, at sight of that,

would dare
spirit

kindred.
to

assert that the

which was the

Only

meet that

life

body

still

lives?

who
The

has taken refuge with

in active life shall

spirit

it;

we

its

ever be able

again; and never by the side

of the worm-eaten corpse.

EPILOGUE.
The Poet Heine and Brse the Author.

HAVING

stated above that the Jews

duced no genuine
Heinrich
Heine.

to

say

At

the

"poet,

poetical creations, at all events,

But,

Heinrich

of

Goethe and

time of

of any poetical Jew.

becomes necessary

it

something

when

had proHeine.

Schiller's

no one had heard

poetising with us

what might
spring from the unpoetical life-standard we had
adopted; save the one exception that, from it, no
Then it was that a highlytrue poet could arise.

became a

lie,

gifted poetical

there

was no

limit

Jew undertook

to

to cover with scath-

ing irony the counterfeit moderation and Jesuitical

hypocrisy of Verse,

cal*

He

also

still

fondly regarded as poeti-

scourged

unmercifully

the

cele-

* As Heine had joined Christianity in 1825 there may have

been in this some admixture of the zeal of the neophyte. The
reference is probably to Heine's " Reisebilder," in which he
lashed the colourless sentimentality in literature, the prevail47

JUDAISM IN MUSIC.

48

"

brated musical members of his

own

dulging the idea that they were

tion could stand against him,

artists.

though he were

for

race

it

for

No

in-

decep-

seemed as

urged on by some mercidemon to seek out whatever might seem worthy

less

Through

all

he went, until at

last

of denial.
life

restlessly

the illusions of

modern

he lied himself into being

and was duly rewarded by having his

poetical lies set to music by our own composers. He
was the conscience of Judaism, in the same way as
Judaism itself is the evil conscience of our modern
a poet,*

civilization.

Another
_

Borne

Jew

remains

to

be

who appeared amongst

He came

mentioned;

one

us as an author.

forth from his isolation as a

seeming to seek deliverance amongst us,t

Jew
but found it

not; and had to convince himself, perforce, that only

German narrow-mindedness and

other failings of the

period. His wit, irony and satire called forth much, enthusiasm but this was partly due to the fact that the condition of
literary matters upon which he dwelt had long attracted
public attention, and that, in consequence, his writings enjoyed

ing

the good fortune of falling

Compare

upon prepared ground.

this with a similar

passage relating to Meyer-

beer, Chapter VI.

f This refers to Brne's action in 1817 when he joined the
Evangelical Church and changed his name from Lion Baruch
to

Ludwig Brne.

Embracing Christianity was not

common

his only

with Heine yet the personal relations of the

two were unfriendly as may be gathered from Heine's
special work upon the subject.

trait in

THE ORIGINAL ESSAY OF

1850.

49

with our

own

men could he

ever

find

But, to a Jew, the idea of becoming a

man

it.

common

in

deliverance as true

with us

is

pretty nearly the

as that of ceasing to be a Jew.*

this.

But

his case precisely

same thing

Brne

fulfilled

shows us that deliver-

ance cannot be attained in comfort or in cool,

different ease; but costs

as

it

also does to us

intoil,

want, anxiety and fulness of suffering and pain.

work of deliverance;
which, beginning in self-effacement, continues by
being again productive and we remain one and
Participate

frankly

in

this

undivided
But,

remember

that

there

is

only

one

real

form of deliverancet from the curse which be-

We

have elsewhere seen that in Wagner's estimation his

opponents became " Jews " by the very fact of their opposition
" no matter to what nationality they might belong " (mchten
sie einer Nationalitt augehren welcher sie wollten).
It
follows that he should have regarded Heine and Brne as
''Christians" seeing that both had been received into the
Christian Church.
*

Ahasuerus, the hero of the legend of the

Wandering Jew," the prospect held out to the Hebrew
aspirant is not of the most cheerful description.
As this legend may not be familiar to every reader it may be
mentioned that, according to it, Ahasuerus was a shoemaker
of Jerusalem who drove Christ away from before his house,
when, on the road to Golgotha, the Saviour there sought a
momentary rest. As punishment of his sin he cannot die
but is condemned eternally to wander over the face of the
earth, seeking rest but finding none, till Christ shall pronounce
his doom upon the Judgment Day.
The legend exists in
several forms and has been from time to time the basis of
f If this relates to

11

JUDAISM IN MUSIC.

50
sets

you

that

of Ahasuerus

the

"Untergang"!

many

literary works, one of the most familiar of the latter

being Eugene Sue's " Juif Errant." The text upon which it

rests is St. John,

Chap,

xxi., v.

22

" If

will that

he tarry

till

come"; and the story can be traced back as far as the

thirteenth century having been then related by Matthew
I

Paris.

* This term, employed in the original, has not been translated as it will serve the "English reader for an euphemistic
indication of what is probably intended, viz. consignment to
the inferno.

PART

II.

The Supplement

of

869

Being an account of events subsequent to the

original publication.

CHAPTER

VII.

The Opening Phase of

THE

foregoing essay appeared, as

and

in

presented,

now

in

slightly

It still

my

Hostilities.
I

have

a form essentially the same as here

the

"

Neue

Zeitschrift

fr

Musik "

more than eighteen years ago.

remains almost inconceivable to

friend,

said,

me

that

Franz Brendel, the editor of that journal,

and now recently deceased, should have ever preTribute to va e d upon himself to risk its publication.
In any case, this earnest-minded
Franz
Brendel.
ma n, actuated as he was by the most
honourable intentions, and habited to regard every
question straight in the face, had no other object in
view than merely to accord the necessary space for
consideration of a subject having reference to the
history of music,

and well worthy of

51

attention.

But

JUDAISM IN MUSIC.

52

him with whom

the consequences soon proved to

he had to deal.

Brendel held at that time an appointment as professor at the conservatoire of Leipzig; where, as a

consequence of prolonged activity there, the name

of Mendelssohn was deservedly* held in the greatest

honour and esteem.

Leipzig

may be

described

as having in a sense received Jewish baptism

and,

as a writer once complained, fair-haired musicianst

in that place

This
in all

and

city,

rarity.

which occupied so important a place

German

its

music,

were ever becoming a greater

both by virtue of

life,

its

university

important book-trade, had, in respect of

forsworn the .most natural

sympathies of

local patriotism so dear to every other

German town,

and become exclusively a Jewish musical metroThe story which now arose against Brendel
polis.
extended even to the threatening of his
istence; and, with all his firmness

statement of his convictions,

it

civic ex-

and calm

in the

was with consider-

able trouble that he retained his position

at

the

conservatoire.*
* Mit Recht und nach Verdieust.

The term "blond" is used by Wagner to signify "not a

Jew." Compare the mention of Vischer, Chapter X.
All doubt upon this point is removed by Glasenapp, who
I
gives us the names of the professors who signed a petition to
t

the directors to give Brendel notice to quit his appointment

These were Becker. Bhme, David, Hauptmann,
at once.
Joachim, Klengel, Moscheles, Plaidy, Rietz and Wenzel,
:

THE SUPPLEMENT OF
After the

first

869.

53

ill-considered explosion of anger

from the offended party, what helped Brendel

return to a condition of apparent repose
characteristic
I

to

was a very

phase which the matter assumed.

had never had the

least intention of

denying

myself as author of the pamphlet

The
All that I
pseudonym should the question arise.
of K.
desired was to prevent any purely per.

el ^ e

sonal

element from being immediately

imported into the matter; which, as

earnestly

have

at

and

objectively,

others"

been

For that reason

Freigedank

opinion,

that

name

of

"

any case of the reputation of

in

cast

had spoken

my

would, in

once accrued had my*

composer jealous

into

the

arena straight away.

signed with the pseudonym K.

(Freethought), thus purposely choosing

one which should be recognisable in that

my

communicated

light.

view in this respect to Brendel

and, although he might at once have befreed himself

from the

force in

my

effects

of the storm by deviating

direction, he

bear the brunt of

it

was courageous enough

its

to

entirely himself.

Soon there appeared not only signs but clear indications that I had been recognised as the author;
and such imputations have never been met by me
with

denial.

This discovery

sufficed

to

bring

about an entire change in the tactics hitherto pursued.

Until now, only the coarsest weapons of

Judaism had been brought

into the fray,

no symp-

JUDAISM IN MUSIC.

54

torn appearing of

any

in

intellectual or even

With

ner.

any desire to reply to

my

article

commonly decorous man-

the exception of absurd distortions

and

mis-statements of what the article contained, coarse

and insulting rebuffs ..were exclusively what

the author was called upon to suffer for what was
deemed in him a mediaeval, Jew-hating tendency
such as to bring disgrace upon our enlightened age.
Now, however, things were different; for it was
attacks

evident that superior Judaism was about to appear

upon the

scene.

so

enemy's
forces
arrayed.

What was annoying

much

attention

to

should

it

was that

have

been

when once my
name had been mentioned, there was a
aroused

especially

as,

^^ drawing it back again, attention should be increased.

But the means of
avoiding all this had been already placed in their
fiamd by my having substituted a pseudonym for
ear

es ^

my own name*
It

me
*

seemed now the most desirable course

to ignore

henceforth as the author of the essay, simul-

The pseudonym was already known

to

Brendel and the

between the literary style of the article and known

writings of Wagner had already awakened a wide suspicion of
his being the author. The similarities in question were indeed
far too pronounced to have any chance of escaping general
Whether therefore Wagner's adversaries had
attention.
really such a ready means of avoiding, scandal is distinctly
open to question. As to the author's intention, with that,
however sincere, the enemy had obviously not so much concern as with the effects his action had produced.
similarity

THE SUPPLEMENT OF
taneously letting

all talk

about

869.

quietly subside;

it

my

on the other hand, to consider

and,

on different points, for

ability

which

duced.

vulner-

had published

writings and had composed operas

the

art-

latter

of

was

certain in

The

best chance for effecting the chastise-

ment which

it

to be offered

any case

to wish to see pro-

was desired to inflict upon me seemed

by systematic libel and persecution in

domain; coupled with a

this

55

total

suppression of

the obnoxious Jewish question.

It

would

certainly be presumptuous

considering that at the time

ment

jijjq

tactics

employed,

was

at Zrich, if I

closer

of

description

adopted

pursuit

in

my

on

part,

living in retire-

were to attempt a
the

of

inner

tactics

inverted

this

Jewish persecution, which, in ever-increasing scope,

now

set

against me.

in

will

myself to such experiences as

lie

therefore

open to everyone.*

After the production of "Lohengrin" at

in the

summer of

1850, there

confine

Weimar

came forward some-

what ominously in the press, for the special purpose

of drawing the attention of the German public upon

me and my

work, certain

men

of important literary

* Wagner's favour of the "full expression

human

feeling "

would seem

to

of a purely

have been confined

and
Those

to Art,

not to have extended to the affairs of ordinary life.

less gifted however, must regard some retaliation for the
awful vilification which the Jew had received as proceeding
from a feeling quite as purely human as that which forms the
theme of Wagner's eloquence.

JUDAISM IN MUSIC,

56

and

reputation, such as

artistic

Even musical

Robert Franz.

tendency became

all

journals of doubtful

of a sudden seriously inter-

This happened, however, so far as

ested about me.

authors were

individual

Adolf Stahr and

concerned,

on one

only

single occasion; immediately after which each

silent again,

conducting himself as things went on,

and according

to circumstances, with

more

or less

towards me.

hostility

As

was

against that, the next thing was that a certain

P r f essor

Develop
ments in

Bischoff,

friend

and

ad-

mirer of Ferdinand Hiller, started off in

the Press,

the

"

Klnische Zeitung

"

with the system

me which has since then been

steadily pursued.
He dwelt specially upon my artwritings, distorting my idea about " art-work of the
of slander against

future" into a ridiculous notion about "music of

you will, a sort of music which,

though it sounds badly now, will improve in time.*
Not a single word about Judaism escaped him; on
the future,"

or,

if

the contrary, he took delight in posing as a Christian,

and

as descending

from a superintendent.

On

had described Mozart and even

Beethoven as a bungler; I wanted to abolish melody
completely and to allow nothing but psalmodising

the other hand,

in future.

Even
*

to

this

The prevalence
many readers.

date,

honoured madam, whenever

of this joke will be within the

memory

of

THE SUPPLEMENT OF
"music of the future"
hear

these

is

869.

S7

under discussion you will

sayings

Reflect,

repeated.

Nicknames.

what must have been the mighty

stubbornness with which this absurd libel was originally established and promulgated, considering that,
side by side with the actual and popular spread of
my operas, as soon as ever my name was mentioned
then,

and

in nearly the entire

European press,

cropped up in such youthful vigour as

-to

continually
give

it

the

a proposition both undeniable and undenied.

air of

As

it

such senseless theories were ascribed to

me

it

followed that the musical works which had sprung

from them must be of disgusting character;

so,

whatever might be their success, the press maintained that

my

music must be as horrible as

my

That was the point selected upon which

lay the stress. It was necessary to win over the

theories.

to

specially cultured intelligence to this view.

This plan was carried out by a

who was

_.

jurist of

Vienna

a great musical amateur

and a

Hanslick's student of Hengel's Dialectics; inde" Beautiful pendently

of
which his gracefully
in Music.
hiddgjQ Jewish descent* rendered him

appropriate for the purpose.

of those
siastic

who

He

was, moreover, one

had evinced an almost enthutowards me, so that I became

at first

inclination

* This refers to the

detailed explanation given by Dr.

Hanslick in assurance that he was not a Jew.

JUDAISM IN MUSIC.

58

quite startled at his apostacy, happening, as

so suddenly

did,

and pronouncedly.

This gentleman
"

it

now wrote

lampoon upon the

Beautiful in Music," in course of which the general

object which Judaism

had

by him with remarkable

was displayed
Firstly, his most

in view

talent.

elegant dialectic form, by appearing to be in ac-

cordance with the

finest philosophic spirit,

deceived

the entire intellect of Vienna into the belief that

at

last

was

a prophet had arisen

among them

precisely the effect intended.

ally

which

For what he actu-

decked out with such elegant dialectic colours

consisted of the most trivial commonplaces, such as

could be seriously propounded only in a field like

that of music, in which the attempt to aestheticise

has always resulted in talking nonsense.

There was certainly nothing specially clever

advancing the

"

Beautiful

"

in

as the chief postulate

worked matters that

everybody marvelled at such genial wisdom. Now,
however, he succeeded also in a task far more dimfor music; but the author so

cult

that

of holding up modern Jewish music as

"beautiful."

the

really

this

dogma was

taking the series

The

attained

Haydn,

tacit

quite

of

recognition

imperceptibly by

Mozart and Beethoven

and not only tacking on to it Mendelssohn in the

most natural possible manner, but, if we understand
his theory of the Beautiful aright, he ascribed to

Mendelssohn the peculiarly benevolent

office

of

re-

THE SUPLLEMENT OF

869.

59

arranging .the Web of Beauty, which had been left

somewhat

in confusion

With

Mendelssohn

by

his

immediate predecessor.*
enthroned,

so

effected with a special grace

--.

him

in

which

was

by means of placing

company with

Christian notabili-

appearance ties such as Robert Schumann, many

as Musical further traits in the region of modern

music could be rendered believable.

But

was that the grand object of

the whole aesthetic undertaking had now been attained.
By means of his ingenious lampooning the
author had placed himself in general respect and
created for himself a personal position of some importance.
When, therefore, as a widely-admired
aesthete, he assumed the office of critic to the politithe principal thing

journal

cal

proceeded to
to

most

and immediately
pronounce both me and all my doings
in

circulation

be simply null and void, the fact of his not being

misled by the applause which the public gave to

my

works could only add to the dimensions of

his

nimbus. f
*

And

in all this

he succeeded so well (or

From

the musical stand-point of fifty years ago this did

not appear so absurd as at present a circumstance which

has to be taken into account in rendering justice to Dr.

Hanslick. The wit of Wagner's allusion corresponds in character with that of his allusion to the dimensions of Hanslick's
nimbus in the next paragraph.

Dass ihn hierin der grosse Beifall, den meine Werke

beim Publicum fanden, gar nicht beirrte, musste ihm nur einen
f "

um

so grsseren

Nimbus geben."

00

JUDAISM IN MUSIC.

rather they succeeded so well through him) that far

at
world

and wide
the

specially

this

attitude

to

me

so aston-

become

everywhere

has

meeting,

at

hostile

Madam, you have been

which, honoured
ished

wherever newspapers are read in

least

the

fashion.

The

talk

was ever now of

great masters,

composition

But of

"

my
in

in

the slightest sign.

the

more

in all

contempt for the

hostility to melody,

short,

Judaism

my

of

Music

The

"
"

horrible

Music of the Future."

was never again

however, worked all

there

latter,

effectively in secret, as

may

be observed

such sudden works of conversion.

head of Medusa* promptly held up

whom

my

an inconsiderate movement

to

in

It

was

the

anyone

my

in

favour

might be observed.
* This allusion to the Gorgones in illustration of Wagner"s
idea is masterly in the literary sense and goes far to obliterate
the conception of him as suffering persecution. A heavy
undertaking, indeed, to really victimise one so capable of
turning the tale upon his enemies. The above passage recalls
that in Dante's Inferno (Canto IX.), which runs:
Venga Medusa, si il farem di smalto

Gridavan tutte riguardando in giuso.

" Let Medusa come that we may change him into stone
they all cried, looking downwards.)

"'

CHAPTER
The Liszt

VIII.

Phase.

would certainly not be uninstructive, as bearing

upon the culture-history of our time, were the
singular works of conversion alluded to
T
new party followed up more closely because they

IT

and

have resulted
'

liar

in the formation of a pecu-

party within the musical domain

that territory hitherto held

such considerable renown.

tion

which

together

out

is

by the Germans with

But the party in ques-

strangely divided, having been got

of the most

various elements

seems to have gone the straight

way

now

to assure itself

an entire lack of both productiveness and power.

The next

honoured Madam, which will

probably occur to you is how it should be that the
thing,

indubitable success which came to

the friends which
for

my

my

share and

works quite openly gained

me

could not be applied to rebut these hostile

machinations ?
61

JUDAISM IN MUSIC.

62

This

is

not altogether easy to reply to in short.

Note, however, in the

my

place,

first

how

it

fared with

and most enthusiastic champion,

was specially due to the large-

greatest friend

Franz

Liszt.

It

hearted confidence which he ever displayed that he

supplied the enemy (who was always on the alert

to

draw

just

from the slightest circumstance) with

the weapons he wanted.
The isolation of the
profit

distasteful

Jewish question,

which the enemy so

urgently desired, happened to be also agreeable to

Liszt;
reason.

though,

cel the

from

all that

the

for

course,

His desire was

personalities

whereas

of

an

to

quite

remove

all

honourable

enemy had

in

an opposite
embittering
art-dispute;

view was to can-

motive of a dishonourable quarrel and pre-

vent the real

explanation of the slanders which

had been uttered to our detriment from ever coming

That will explain why, on our side also,
to light.
silence was preserved regarding the mainspring of
the whole commotion.
On the other hand, it was a playful idea of Liszt's
Zukunfts- to accept the nickname of " Zukunfts"musiker." musiker" which had been applied to us
very much in the same way as that of " gueux
and
* Liszt's idea was even more clever than playful
Wagner's comparison of it with the historical action of the
Netherlanders is so exact and so powerful in argument that,
;

even at the cost of a slight digression, it is desirable to remind

the reader of the parallel between the two cases.

THE SUPPLEMENT OF
was

once

by

adopted

63

869.

Netherlanders.

the

My

friend's good-natured traits of this description were

extremely welcome to the enemy,

who was

thus re-

lieved of the trouble of all further slander in this

respect;

for,

with the

title

of

"

Zukunftsmusiker

"

was now so much easier

io be up-sides with this zealous and untiring artist.
The agitation against him started with the dethus fastened upon him,

fection of a hitherto
violin virtuoso,

upon

warmly-devoted friend, a great

whom

The memorable sarcasm

Duches Margaret

in

it

the

Medusa head may

of Berlaymont, addressed to the

1566 and relating to the Confederate

Netherlanders ran

"Comment votre Altesse a-t-elle crainte de ces gueux?"

(How can your highness have any fear of such beggars ?)

Now

Brederode one of the confederate leaders was

(pre-

cisely as Liszt in this instance) keenly alive to the value of a

popular and original name possessing the instinct by which

adroit partisans in every age have been accustomed to convert
the reproachful epithets of their opponents into watchwords
of honour.
He therefore recounted to his companions how
the term had been applied to them saying
" They call us beggars we will accept the name !"
Forthwith he had brought to him the leathern wallet worn
by professional mendicants of that day, and hanging it around
his neck he cried
" Vivent les gueux " (Hurrah for the beggars !)
;

However

ingenious, therefore,

the

tactics

of

Wagner's

opponents, the balance of resource lay upon the side of the

" Zukunftsmusiker, who thus adroitly engrafted the wisdom
gained by political aspirants of three hundred years before
for, in comparison with the gain of an effective war cry the
frustration of Liszt's merely local efforts in Weimar was as
;

nothing.

JUDAISM IN MUSIC.

64

be presumed to have worked at

Liszt proved

last.

every respect courageously unconcerned

to be in

but in the end, he had, nevertheless, to suffer a sad

awakening

to the disappointment of seeing all his

splendid efforts for the improvement of music in

Weimar

frustrated.

And

now, honoured Madam,

may

ask

if

you

are less astonished at the hostilities to which our

great friend was separately exposed than at those

which

fell to

by the

The

lot

You might perhaps be misled

fact that Liszt

had

certainly,

by the

of his exterior artistic career,

liancy

envy

my

of his

German

stick-in-the-mud

fact of giving

up

bril-

excited

the

colleagues.

his place in the race for vir-

by mere preliminaries for an appearance as composer might also

cause a doubt as to his vocation in that line and
tuosity having been attended only

this feeling,

age,

being one so easy for envy to encour-

had already been excited

in a fairly conceivable

degree.
I

believe, however, that the explanations to follow

Secrecy of w ^^ prove that in the background this

the enemy's doubt, no less than the art-theories in
tactics.

for the

my

own

casCj constituted a

war of persecution.

mere pretext

closer examination

of either case, an estimation of our doings

made

by the light of correct impressions of them would

have been enough to place the question upon quite
Then it would have been posa different footing.

THE SUPPLEMENT OF
sible to judge, to discuss, to

65

869.

urge for and against

do something.
That, however, was just what was not wanted.

in short, really to

the contrary,

this

closer examination

On
new

of the

productions was not to be allowed at any price;

meanness of expression and insinuation

but, with a

such as has never before been exhibited in a similar

field,

the whole press proclaimed that the case ad-

mitted of no discussion worthy of intelligent men.

I

may

therefore confidently assure you that

what

Liszt suffered originated also with that article about

"Judaism in Music."
Even we, however, did not find all this out so
very quickly. There are always so many interests
in natural opposition to any new manifestation, and
which easily proceed to fix the taint of heresy upon
whatever

it

may

contain, that even

we thought we

Vere only encountering the effects of having disturbed the comfort and lethargy of the ordinary
the press,
political

As

came principally from

and particularly from the most influential

business in Art.

hostility

journals, those of our

friends

who were

deeply interested in the forthcoming appearance of

Liszt as an instrumental composer were of opinion

that

it

was necessary

for

them

to

adopt some con-

trary action.

With

the exception of a few cases, happening

Liszt's

oversight,

persecution even
in the Press.

the

it

by

soon became apparent that

best-reasoned

Liszt-composition

could

criticism

find

no

of

inser-

JUDAISM IN MUSIC.

66

Their space, on the

tion in the greater journals.

contrary,

was

occupied and sequestered before-

all

hand, in the hostile sense.

Now, who can

seriously entertain the notion that

in this attitude of the great

newspapers there was

any genuine concern about a possible injury to the

good art-taste of Germany which the new art-direction

might

inflict

know what

it is

to experience

the impossibility in these papers of alluding even

after that, profess to

about art-taste?

way

any one dare,

think that there was any care

to Offenbach in a suitable

will

Matters had, in

so far that the door of the

fact,

German

proceeded

greater Press

was completely shut against us.*

But to whom does this Press belong? Our
Liberals and Progressists are called upon to expiate
* Though

would be encroaching upon polemical ground

to make direct allusion to coteries amongst ourselves the fact
of our not being free from such influences may be fairly
alluded to, in a general sense. There would be no difficulty in
exposing the detrimental effect upon our progress of all such
influences, but this would not affect the dead weight of public
opinion, which is bound to take guidance from constituted
authority whether right or wrong (not always wrong, by the
way, as some aspirants seem to think) and which also has
a tendency to go with the stream to say nothing of a human
preference for the winning side. The work of every great
innovator must pass through three inevitable stages. At first
he can do no right after which he can do no wrong and the
second is the stage, with regard to Wagner's work, at which
we have at present arrived. The third stage is that in which
his merits and position are correctly assessed to do which,
with regard to Wagner, belongs to those who come after us.
it

THE SUPPLEMENT OF
bitterly their

having

869.

67

old Conservative op-

left the

position party by being thrown into one pot along

with Judaism and

its specific interests.

Roman "Ultras"

seek to

know

by Jews can be

tirely directed

how

And,

the

if

a Press en-

justified in joining in

the discussion over Christian matters, the enquiry

bears an ominous meaning,

perception of

how

as.

showing an accurate

these great newspapers are con-

ducted.
A

The

curious thing in all this

closures

lie

open to everyone

some experience of them?

how

for

It is

is

that

these dis-

who has not made

not for me to say

far this factitious relation applies to the treat-

ment of matters of great

although the Bourse
But, within the
to the

is

political

importance;

a fairly open index of

domain of music, abandoned

most dishonourable

prattle,

as

this.
it is

no sensible person

can entertain a doubt of the existence of this highly

energetic organisation

and control

to

which every-

and the action of which extends to

the remotest circles, operating amongst them with
thing

is

subject,

uniform exactitude.

CHAPTER

IX.

The Theatres.

IN

Paris,
secret

to

my

astonishment,

whatever

made

was

Experiences Everyone there

in France,

found that no

of

this

control.

was possessed of some

wonderful account of

its

doings

par-

England ticularly in respect of the stringent care

and Russia. f detail which is exercised to prevent
the secret

(known

as

it

to so

is

many

persons and

therefore in the greater danger of being found out)

from being,
nal

is

The

at all events, publicly disclosed.

slightest crevice

by which

it

might creep into a jour-

accordingly stopped up, even though

it

might

be only by means of a visiting card thrust through

the key-hole of a sky-chamber door.*

Thus, every-

body here acted with the same obedience as reigns

in the best disciplined army during a battle.
You
are aware "of the peloton-nre directed

against

me

* " Sei dies selbst durch eine Visitenkarte im Schlsselloche

eines Dachkmmerchens." This seems to relate to some
special experience; but, if so, Wagner has not treated us to
the anecdote.
68

"

THE SUPPLEMENT OF
by the Paris journals and which

good
In

upon

ness
"

69

869.

this solicitude for

Art exacted from them.

taste in

London

was met

point.

The musical

beg you

to reflect of

this

Times " (and

at the time with great open-

world-newspaper

am now

of the

critic

what a colossal

speaking

)
!

me

attacked

arrived; and,

in the course of his outpourings, Mr,

Davison con-

with a shower of insults as soon as

sidered himself justified in holding

lar

me up

to

popu-

execration as the calumniator of the greatest

As

composers on account of their Judaism*

as his

own

position with the English public

far

was con-

cerned he had, in any case, far more to gain than

to lose; firstly,

on account of the great honour

which Mendelssohn

there

is

and,

held,

in

secondly,

because of the peculiar character of the English

religion which, to those

who know

it,

based more upon the Old than upon the

seems to be

New

Testa-

ment.

Only

in

St.

Petersburg and

that Jewish influences

musical Press.
receiving as

warm

Moscow did

had neglected

find

to exploit the

there experienced the miracle of

a welcome from the Press as from

sometimes been doubted whether Wagner quite

understood what was really said, as he depended principally
upon its being translated to him. There may be some ground
* It has

for this doubt, as referring to the drift of detailed expressions.

But the likelihood of his narrative favours the view that in

material respects the judgment he formed of his reception

not far out.

was

JUDAISM IN MUSIC.

JO

But the Jews had never been able

the public.

prevent

one

in

to

my good reception by the latter save only

place, my native town of Leipzig, where
:

people simply kept away.

The

ludicrous features of the matter having thus

led me, in describing

ma Y

Difficulties

created for

draw your

Operas.

ing

my

adopt an almost play-

honoured Madam,

ful tone, this,

the later

to

it,

must now forsake

Permit myself in conclusion to

attention to

its

more

serious

This probably you will esteem to

side.

commence

at the point where, disregard-

hunted person, we proceed to contemplate

the effect of this remarkable persecution, so far as

it

upon the very

exercises an influence

spirit

of our

Art.

In taking up this road

necessarily be touched

pened

to say just

against

me on

now

my

personal interest must

upon once more,

as

hap-

that the persecution brought

the part of the Jews

succeeded in estranging from

me

had not

hitherto

the cordial public

favour which everywhere awaited me.

That

is

But

correct

it is

necessary to add, never-

theless, that such persecution is

to bar

my way

obviously calculated

to the public; or, so to render that

access difficult that

can never be assured that their

spiteful activities, even in this respect,

mately succeed.
that,

even though

Already you cannot

my

may
fail

not

ulti-

to note

had carved out

the German stage, where a

earlier operas

for themselves a road to

uniform success had attended

their representation,

THE SUPPLEMENT OF

869.

same theatres exhibit a cold and even unThe

friendly demeanour towards my recent works.
reason for this is simply that my earlier works were
introduced to the stage before commencement of
the very

the

Jew agitation and

;

favour with

their established

the public does not augur well for the success of

any attack.

The attempt, however, was

new works had been written

to

make out

after

my

my

that

formulation

of the

" senseless " theories

means,

had fallen away from my original innoand that henceforward it was every man's

cence,

that,

by

this

duty to shun

As

aforesaid

my

music.

always by utilising the weakness and

it is

in-

completeness of our social conditions that Judaism

succeeds in undermining us,

in general

ground was easily found upon which

everything
sure

its

if

are the

and what
Specialities

to our shame

specially prepared to en-

is

hands which

direct our theatres

the real tendency followed

Often and copiously have

myself upon

by them?
expressed

larger treatise

and again,
I have expounded in deon German Art and Poli-

the various reasons

which exist for the de-

in
hostility,
tail, in

my

quite recently,

cadence of our theatrical

I

here,

purpose.

Whose

tics,

stood as

so,

this

art.

subject;

Do you

think that

have by such measures endeared myself to the

parties concerned

They have proved

that

it

is

only with great disinclination that theatrical ad-

72

'

ministrations

JUDAISM IN MUSIC.

now proceed

any new work of mine;*

to the representation of

as

but,

otherwise compelled to grant

it,

they might be

as a consequence of

the universally favourable attitude of the public in

regard to

my

how welcome must

operas,

the pretence

be to them which they can so easily base upon the

fact that

my

newer works are so questioned

not

only in the Press generally, but even in the most

influential section of

Do you

it ?

the question proceed from Paris

not already hear

why

they should

be expected to further the acclimatisation of

operas in France
lative in itself

recognised at

an

when

my

undertaking

sufficiently specuT

my

value

artistic

is

not even

home ?

Relations with

me have now become

difficult; as, at present, I

do not

offer

even more

my new

works

on the contrary,

am

obliged to

reserve to myself the right to couple

my

consent to

to

any

theatre, but,

may

not be uninstructive, and will in

any case show how we stand in matters of art if I describe to
yon more fully the treatment which, to my great astonishment,
I lately had to experience from the two great theatres of
Berlin and Vienna with regard to my "Meistersinger." It
took me some time in my dealings with the leaders of these
two Court Theatres before I perceived, from the tricks which
they brought to bear, that they were concerned not only to
avoid giving my works themselves but also to prevent other
theatres from doing so. You cannot fail to draw the obvious
conclusion that a positive influence was at work and it was
evident that the appearance of a new work of mine was regarded with consternation. It may possibly amuse you, one
of these days, to have some further details, taken from the
store of my experiences of this kind.
* (Original Note).

It

THE SUPPLEMENT OF

869.

73

the representation with conditions which never before

have been considered

necessary,

and which turn

upon the fulfilment of requirements destined

to

me an absolutely correct performance.*

am now about to touch upon the more serious

secure for

But

aspect of the pernicious consequences which arise

through admitting an admixture of Jewish

affairs to

take place in connection with art-matters.

* (Original Note).

It

was only by

setting these conditions

moment, out of necessary regard for my pubthat the Dresden Court Theatre was recently induced

aside for the

lisher,

to undertake the representation of

my

" Meistersinger."

CHAPTER
The New

X.

^Esthetes.

the older essay with which

IN

began,

wound

up by showing that it was the weakness and

Feebleness incapacity which marked the period of

German musical production

of the

present
Art-spirit.

since

Beet-

hoven which allowed of the Jew putting

m an appearance at all, I indicated all

those of our musicians

who found

in the oblitera-

tion of the great plastic style of Beethoven the in-

gredients for the constitution of the newer manner,

with

its

lack of form

semblance of solidity

and depth and with its feeble

produced by an over-plaster-

This was the style

ing.

in which,

without either

life

drowsy comfort went on

such writers were comprised by

or strife, they now, with

composing; and

me

in

my

all

definition of musical-Jewdom,

no matter

what particular nationality they might happen to

belong.* Combined, they form that peculiar comto

munity which seems nowadays

#

Compare note
74

to comprise every

f , p. 49.

THE SUPPLEMENT OF
one who either composes music
directs
I

869.

75

unfortunately,

or,

it.

quite believe that

many

of these have been thor-

oughly confused and startled by

my

writings.

It

was, in fact, their honest embarrassment which the

Jews, in anger over

my

said article,

of in order immediately to
sion of

my

first

stifle all

theoretical advances

laid hold

proper discus-

on other subjects;

notable signs being at hand of a likelihood of such

being brought about by certain honourable German

musicians.

With

the pair of catchwords which has

been mentioned every fruitful, explanatory, enlight-

ening or formal utterance

as

also every chance of

mutual understanding upon the whole subject was

destroyed.

The same enfeebled

continued to be dis-

spirit

played as a consequence of the havoc wrought

the

German mind (already

so

in

prone to abstract

meditation) by the Hegel philosophy, both in this

and

in the

neighbouring domain of aesthetics; after

Kant's great idea which Schiller* had so cleverly

utilised for the

founding of

aesthetic

Beautiful had been obliged to

views of the

make way

for a con-

fused wilderness of dialectic nothings.

Even

in this quarter I

met

at first

clination to approach the views laid

with an

down

in

in-

my

The reference is to Schiller's essay " Ueber das Erhabene"

(Upon the Sublime) and to Kant's " Beobachtungen ber das
Gefhl des Schnen und Erhabenen " (Observations on the
*

Beautiful

and Sublime).

JUDAISM IN MUSIC.

;6

art-writings "with

But, as the

amount of good-will.

certain

lampoon upon the

"

Beautiful in Music,"

written by Dr. Hanslick of Vienna, and which has

already been mentioned, was written with a deliberate object in view,

it

had

high degree of celebrity

think any

German

ill

also been rushed into a

so

much

of Herr Vischer

who,

aestheticist

we cannot

so that

thorough blond*

carrying out a great

in

system, entrusted the writing of the special article

"

Music

"

to

this

much-praised aesthete of Vienna,

thinking thereby to secure some comfort for himself as well as security for his great
ject itself

work

the sub-

being one which he confessed he knew

nothing about, t

Thus

it

was

became

that musical Jew-beauty

re-

corded right in the heart of a full-blowp German

Lethargy of system of aesthetics, and therefore conthe new tributed so much the more to the glory
^Esthetes

of

creator,

its

being

now

praised very

loudly in the papers; even though, in consequence

of

its

very

unamusing

much

to read

character,

no one ever troubled

The

increase of protection

it.

afforded by this not only new, but also Christian-

German, celebrity promoted musical Jew-beauty

the level of a complete
difficult

dogma;

questions relating to
#

Compare note

*,

to

the most peculiarly

musical aesthetics
p. 52.

me

Professor Vischer himself once told

I (Original Note).
this at Zrich; but in what degree the collaboration of Hanslick

was a personal and

directly-attracted one

never knew

THE SUPPLEMENT OF
questions

upon which the

869.

JJ

philosophers,

greatest

whenever they wished to say anything f serious

import,

always expressed themselves

terms of uncertainty

being taken

in

in

measured

hand by Jews

and humbugged Christians with the greatest confidence.

This went on to such a degree

that, if

anyone had

desired to think the matter out, and, in particular,

explain to himself the overpowering effect of

to

Beethoven's music upon his feelings, he would have

inevitably been

made

to feel as if he were bartering

for the Saviour's garments at the foot of the Cross

upon which, presumably, the celebrated

Biblical critic, David Strauss, would be just about
as well able to express himself instructively as upon
subject

the Ninth

Now
further
these

Symphony

all this

result

sterile

Their
negative
zeal.

of Beethoven.

was bound
that

at last to

when,

in

have the

still

contradistinction

though exciting proceedings, an

tempt to strengthen the

art-spirit,

to
at-

always

too inclined to relapse into a dormant

condition,

was made, we not only

en-

countered the natural obstacles which at all times

interpose themselves, but also a completely organised opposition,, each separate element of

quite well able to operate actively on

its

which was

own

behalf.

we appeared dumbfounded and resigned, nothing

went on in the opposite camp which could be reIf

garded as indicative of a Will

or

an Accomplishment.

It

or

an Attempt

might rather be said

JUDAISM IN MUSIC.

78

that they allowed anything whatever to

happen on

the part of the connoisseurs of Jew-music-beauty;

and each new calamity*

over the heads of the

producing the
in

"

la Offenbach " broke

German Art-body without

amongst them a fact which

be found "selbstverstndlich"!

least stir

any case will

matter of course.
If,

on the other hand, anyone

like myself,

being

encouraged thereto by a favourable combination of

circumstances, took artistic powers in
to

hand

in order

lead them into energetic action, have you not

yourself

honoured Madam, what an outcry

seen,

this called

Then

was that
were displayed within the community

forth on all sides?

it

and force
of modern Israel
The principal feature of it all
was the deprecatory and extremely contemptuous
tone which I believe to have been prompted not
merely by blind passion but by a shrewd calculation of its inevitable effect upon the minds of the
fire

patrons of

my

undertakings;

become ultimately affected

one

in

trust

whom

and

if

for,

who can

fail

to

he always hears the

before all the world he places high

true respect* spoken of in this disdainful

manner ?
#

Compare Wagner's complaint

of not being allowed to

The excriticise Offenbach "suitably" (see Chap. VIII).
pression calamity enables us to see in what vigorous terms
such criticism would have been given.

Original expression incorporated above as there

dently some special allusion intended.
f

The King

of Bavaria, probably.

is evi-

THE SUPPLEMENT OF
Everywhere and

869.

79

the circumstances neces-

in all

sarily attendant

p^e

upon complicated under-

positionof takings the natural elements, both of the

the German disfavour of non-participants and of

Composer, those who find themselves participating

too much, are duly in evidence.

by depreciative comments

How

easy, then,

in the press, to give to

the undertaking itself a doubtful appearance in the

eyes of both these classes?

Can anything of that kind happen in France, in

the case of a Frenchman honoured by the public ?
Or,

in

Italy,

to

an applauded Italian composer?

This form of opposition being only possible in the

case of a

new

that

German composer in Germany* was so

we have to begin by enquiring into the

causes which brought

it

about.

You, honoured Madam, were astonished at

this.

But those who

in this battle, ostensibly

all

waged

about Art-interests, though otherwise disinterested,

have nevertheless their own good reasons for hindering undertakings such as those which emanate from

me, are not astonished at

all

but

find everything

quite natural.!

The

condition of things described by Wagner has already

been alluded to as somewhat peculiar to Germany (see note *,
*

p. 11).

f (Original Note).

If

you

will give yourself the trouble to

read through the Feuilleton of the present New Year's number

of the " Sddeutsche Presse " (South German Press) which
has just been sent to me from Munich you will be able to
form a thoroughly satisfactory notion of the above and of the

JUDAISM IN MUSIC.

8o

The outcome of

the preceding

therefore this

is

more and more resolutely sustained opposition of

every undertaking which might by any chance tend

my

to gain either for

upon the condition of

influence

my

works or for

action an

theatrical or musical

Art.

What

my

does

all this

view; which

amount

believe

to

am

great deal, in

justified in offering

as devoid of all pretension.

That
action
all

may

I
I

also perceive

way

by the earnest avoidance of

comment upon those of my publications

from time
in

to time

which the

my

venture to impute a real value to

have treated of

latter class

in

which

this subject.

named by me

tone in
every sym-

utilise the

which I am described for the purpose of stifling

pathy calculated to assist my undertakings.
There Julius Frbel quite seriously denounces me to the
Bavarian government as the founder of a sect having for its
object the abolition of the state and of religion. This is all
to be replaced by an opera theatre, which is to be the seat of
government besides which the sect has a scheme for the

satisfaction of " hypocritical sensuality " in view.

The

Hebbel

me once

described
the peculiar vulgarity of the Viennese comic, Nestroy, by saying that a rose would stink if he had smelt it. The fate of the
idea of Love as foundation of Society as formulated in the
brain of a man like Frbel must be something similar.
But do you realise how well calculated is the effect produced, when even he who suffers by the slander is too disgusted to punish the author of it ?
late

in conversation with

CHAPTER XL
Schumann and Brendel.

1HAVE

related how, at the beginning

that

is

to

say before commencement of this strange and

me by

covertly-designed persecution of

First

impulses,

movement

in

there

had been signs of a

favour of a treatment and estimation

the

Jews

of the views laid

down

in

my

both

art-writings,

honourable in intention and conducted in a truly

German

spirit.

Let us assume that this agitation had not arisen;

or that, having arisen,
itself to its first cause.

had reasonably confined

We should then have had

it

to ask ourselves, after the

analogy of similar pre-

vious occurrences in tranquil

how

the matter

German

would have taken form.

culture-life,

am

of the optimistic view that in that case very

would have
fairly

resulted.

not

much

Something, however, might

have been expected, and,

in

any

case,

some-

thing different from what did happen.

If

we understand

the matter aright a period de81

JUDAISM IN MUSIC.

voted to the collection of the works bequeathed to

us by

dim?

^ a(^

musical

set

characteris- cal
tics of

the

incomparable great masters

Both

literature

it

in

music and in poeti-

was

to be a

felt

duty

the that the value of the works of these great

perio

merij

succession,

w 10)
j

following one another in quick

had brought the German Art-renaissance

to the height of representing a national treasure,

should be brought home to

all

the world.

In what sense this value was to be established

that

was the

question

question.

was of

the

For music,

most urgent

in particular, this

description,

due

to

the fact that, with the last period of Beethoven's

life-work, a perfectly

the art

had

set in

new phase of development of

completely eclipsing

all

the views

and prospects which had previously been entertained, music had become, under the influence of
the Italian vocal style, an art of

mere agreeableness.
Its capacity to

bear a signification equal to the art

of Dante, or of Michael Angelo was denied by that

very fact; and

it

was accordingly relegated

general sense to a lower rank

totally

among

new acknowledgment of

in

the Arts.

the nature of

Music was therefore to be gained, based upon our

great Beethoven's achievements.

It

was urgent

to

follow up with intelligence through Bach to Palestrina the root

from which the

art

had been enabled

THE SUPPLEMENT OF

ment was

to be

have nothing in

system for

founded

common

83

869.

and meaning.* Upon

to spring to its present height

this a totally different

its aesthetic

judg-

system which should

with one which recognised

a description of musical development entirely re-

moved from
The right

that represented by these masters.

feeling respecting this

instinctively planted in the

Robert

was vividly and

German masters of

this

period; as the most sensible and highly

Schumann, gifted of

whom

name

to

you

Robert

From the course of his development as

composer we may unmistakably prove the effect

Schumann.
a

which the admixture of Jewish influences to which

I

have alluded has exercised upon our

pare the Robert Schumann of the

second half of his life-work.

an aiming at plastic form

in

first

In the

art.

Com-

and of the

first

there

is

the last a gradual

degeneration into bombastic superficiality and shallowness.

It

accords entirely with this view that during his

second period Schumann should have looked with

disfavour, discontent

and general

ill-will

upon those

* After Palestrina the break in the chain of musical development was such that the excellencies'of his school have
never been engrafted upon the modern, and remain to this

day as so much human achievement in abeyance, waiting only

the time and the man for its revival. Wagner's reasoning is,
on the other hand, that musical progress has been one straight
and uninterrupted course, not even broken by the Jew divergency and that he himself appeared to continue the work of
;

Beethoven's third period.

JUDAISM IN MUSIC.

84

whom, in his first period, and as editor of

" Neue Zeitschrift fr Musik," he had extended
hand with such truly German amiability. By

the

to

his

the

attitude of his journal, in which with instinctive

correctness he also occupied himself as writer for
the furtherance of this all-absorbing topic,

likewise perceive with

what

sort of spirit

have had to take counsel had

it

you can
I

should

only been a question

of coming to a personal understanding with him

upon the problem which so excited me. In his

writings we meet with a language far removed from
that of the dialectic Jewish jargon with which the

new
I

aesthetical doctrines

upon

insist

it

would have led

some progress.
But what was

that the adoption of this

that imparted such

Jewish influence

His

an understanding indicative of

to

it

and
language

have been introduced

power

to the

Unfortunately,

one

Conversion, of the German's principal virtues forms

also the source of his weakness.

The
him

peaceful, trusty self-confidence which causes

to disregard all evil forebodings

even and undisturbed nature to

ward
sary

truth may,
fire,

idleness
spirits

if

many

and leads

his

a deed of in

but slightly wanting the neces

easily transform itself into that surprising

wherein the most

we now

see

aye,

nearly

all

those

plunged who, during the con-

tinued neglect of all higher aspirations of the Ger-

man

spirit

on the part of

political authorities,

remained true to the German character.

had

THE SUPPLEMENT OF

The genius
this

idleness,

it

too

much

85
also into

wearied him to hold his

against the busy, restless Jewish

it

869.

Schumann sank

of Robert
as

spirit.

own

He found

trouble to be obliged to explain to him-

by the thousand features which came closely

self,

under his observation, what was really happening.

So he was unconsciously bereft of his noble freedom, and his old friends disowned by him at last
are also now called upon to suffer seeing him

by the music- Jews

carried off in triumph

own

their

*
!

Now, honoured
really
this
* It

instance renders

it

The

this

does

introduction of

unnecessary to bring for-

enable the reader better to appreciate Wagner's

description of
C. van

methinks that

friend,

count for something.

may

as one of

Bruyck

Schumann
in a letter

if

we

dated

recall the latter's

May

words to

enables us
to see how completely he was unswayed by the adverse judgment of him then passed. The following quotation is from
May Herbert's translation
' What you tell me about Wagner has interested me very
much. To put in as few words as possible, he is not a good
musician ;. he lacks feeling for form and harmony. But you
must not judge him from the pianoforte scores. If you were
to hear his operas on the stage I am sure you could not but
feel emtoion iu a great many instances.
And, though it may
not be the bright sunlight radiating from a genius, yet there
is often a mysterious charm in his music which captivates the
senses.
But, as I said before, the music apart from the whole
performance is poor often downright amateurish, meaningless and repulsive and unfortunately it is a proof of depraved
artistic taste, when
in the face of the many dramatic
masterpieces Germany has produced, people try to depreciate

them by comparing them

to

Wagner.

8,

1853

as

it

JUDAISM IN MUSIC.

86

ward subordinate cases of subjugation, because, in

consequence of this most important one, they become
so

much easier
The success

to obtain.
in personal cases, however, finds its

completion in those of Associations and

natural

Societies.

In this field also the

cording to

its

The

bent,

idea which

showed

I set

itself

German

spirit, ac-

disposed for action.

before you, as the problem of

our post-Beethoven period, actually brought together

and increasing number of

for the first time a large

German musicians and

the natural

friends of music; for objects,

significance of which

was due

to the

appreciation of that problem.

It is to

cellent

be accounted as true celebrity to the ex-

Franz Brendel, who bravely gave the impetus

First

impulses

*^ s movement (and whom

m &ly

the

Jewish

journals

revived by vilify) that he also realised

Franz
Brendel,

necessary in this direction.

common

accord-

started

to

what was

The

defect

German Associations was

obliged, however, to be so much the more felt in this
case as a competition was thus set up, not only
between this union of German musicians and the
to all

mighty sphere of State organisations under Government control by which other free unions are also
rendered ineffectual but also between it and Juda-

ism;

that

organisation

of our time which

is

of

supremest might.

Obviously any union of musicians conceived upon

a large scale could only pursue an existence of use-

THE SUPPLEMENT OF
fulness by

87

869.

method of giving absoperformances of works of the first

the practical

lutely finished

importance calculated to assist the cultivation of

German musical
this.

But,

the

question was

style.

Funds were necessary

to

German musician being poor, the

who was to help him? No amount

of talking and disputing about art interests could

do

so; for these things have, for

many

people, no

and easily lead to the ridiculous.* The

power which we fell short of was, however, possessed by the Jews.
With the Theatre given over to the young squires
and the scum of the coulisses and the Concert-institute entirely the property of the Jews, what resense at

all,

mained for us ?
Just a

little

musical paper in which to report the

outcome of our conferences

*

Wagner makes

once

every two years.

frequent reference to the futility of disputations, notwithstanding that, as his writings show, he was
personally beset by a strong proclivity in that direction. But
the circumstances of his life rendered much of this a necessity and his real view is probably represented by the passage
in the paper written for F. Villot where he says
"The great repugnance I now experience against so much
as reading through my theoretic essays teaches me that I was
in a thoroughly abnormal state of mind when I wrote them
a state such as well may arise for once in an artist's life, but
cannot fitly be repeated."

CHAPTER

XII.

Apostrophe.
you
AS you

see,

honoured Madam,

bear witness to

of the complete triumph of Judaism in

my

every sense; and the fact of

The

once

triumph of more loudly expatiating thereupon does

Judaism, not proceed from any belief in my power
to stem in

my

But, as
peculiar
spirit

any way the completeness of

present exposition of the course of this

culture-question

may seem

relating

to

the

German

to bear the character of being a

result of the agitation

my

this victory.

amongst the Jews evoked by

previous articles, a

new

question,

spired by astonishment,

may

well be suggested to

you

as to why

this agitation
I

my

challenge.

might excuse myself for

based

my

in-

should have originally called forth

by

equally

this

by pleading that

resolution for the attack not

estimation of the

"

herent force of the

sophers would say.

causa finalis
"

"

upon any

but upon the

causa emciens

"

as

in-

the philo-

certainly did not indulge the

notion that, in writing and publishing that essay,

88

THE SUPPLEMENT OF

89

869.

had any chance of successfully waging war with the

The maininfluence of the Jews upon our music.
springs of all the successes which have accrued to
them
that

meantime were, even

in the
I

have some satisfaction

truth of this
I

by republishing

me

in testifying to the

my

description of them.

should not be able, therefore, to state any ex-

press object; though

may

plead, on the other hand,

that an acute perception of

music matters rendered

me

then, so clear to

impending ruin

in our

inwardly incumbent upon

it

to state the causes of

Possibly

it.

have had at heart the desire of uniting

may
it

also

with a

hopeful reception, as will be revealed to you by the

concluding apostrophe

in

which

appeal to the Jews

themselves.

way

In the same

have conceived

as

that,

humane

by an appeal

lower clergy,

The

to the oppressed

wholesome reform might

its

be effected, so

present

friends of the church

kept in

vievfl

the great

endowments of heart and mind which

have emanated from Jewish circles to my own true
position,

comfort.

am, further, also of the emphatic opinion

that whatever has hitherto oppressed

character
pathetic

bears

Jew

in

German
and sym-

the

upon the intellectual

a still more frightful degree.

fancied at the time that there were indications of

appeal having been both understood and deeply

my
felt.

Dependence in any position is a great evil and an

impediment to free development, but that of the
Jews amongst themselves appears to be a slavish

JUDAISM IN MUSIC.

90

misery of the most extreme hardship.

In view of

the decision to live not only with us but in us

should be both granted

to,

and excused

much

in the intelli-

gent Jew by his more enlightened race-associates.

We

hear from them the most entertaining Jewish

anecdotes,

and

for instance,

are also

familiarised

with a certain amount of unrestrained free talk,

regarded anyhow as permissible on their part, and

which
as

in general refers quite as

does to

it

Still, to

much

to themselves

us.

make

who

a close friend of anyone

is

an

outlaw of one's own race must necessarily be ever

Impediment regarded by the Jew as a mortal offence.

to a closer Moving experiences on this subject have
friendship,

this

fallen to

tyranny

An

let

my lot

but, in order to describe

one case stand for many.

admittedly, highly-gifted, really talented and

intellectual author of Jewish extraction,

almost as

German

if

he had grown up amid characteristic

folk-life,

and with

whom

sustained com-

many ways

munications for a long time and in

upon

make

the

who seems

question

Judaism,

of

the acquaintance of

des Nibelungen

"

and

"

proceeded

my poems

Tristan und

"
:

to

Der Ring

Isolde."

He

expressed himself upon them with such appreciative

warmth, as well as with such conspicuous

gence, that he
tion of

my

was inclined

friends

intelli-

to respond to the invita-

publicly

to state his views of

THE SUPPLEMENT OF
poems
This

You

was not possible

literary circles.

to do.

honoured

understand,

will

him

for

869.

by our

so strangely ignored

it

Madam, from

these indications, that, in replying to your question

respecting the enigmatical origin of the

Aspirations.

.....

hostilities directed against

me, and par-

ticularly of those of the press, I should not

have

allowed myself the risk of almost exhausting your

patience by such extension had

by a hope

dear to

still

be expressed.

Were

my

heart,

not been impelled

though

to seek to describe

remove

in the first place,

all

difficult to
it I

appearance of

its

ing to be founded upon any concealment of

lation to

Judaism; for

it

is

this

but

of

nearly

all

seem-

my

re-

concealment which

has contributed to the present confusion

of yourself,

should,

my

not

only

sympathetic

friends.
If this confusion

is

due

to

my

former pseudonym

employment of the latter gave the enemy

strategic means for a successful attack against me,
it follows that I was now obliged to make the disif

the

covery to
well

my

known

friends of that which

to the opposite party.

is

already too

In believing that

much of drawing
friends for me from the opposite camp as of
strengthening them in the struggle for their own true
this

openness

emancipation,
in

me

if

it

capable, not so

may perhaps

be found pardonable

a broad view of our culture-history conceals

from me the
heart.

is

traits

of an illusion nestling at

my

92

JUDAISM IN MUSIC.
For, about one thing

am

perfectly clear.

In the

same way as the influence upon our spiritual life

which the Jews have won is shown by the deviation
or falsity of our highest culture-tendencies to be no
mere physiological accident, so

it

is

recognised as undeniable and decisive.

also

to

be

CONCLUSION.

WHETHER

the decadence of our culture can

be prevented by forcible expulsion of foreign

elements of pernicious character

powers for

this

ence of which

purpose are

am

cannot say

requisite,

as

of the exist-

not aware.

Should, on the other hand, this element become so

assimilated with us as to render
in

common,

to ripen

of the nobler

human

concealment of the

it

possible for both,

toward the higher cultivation

talents,

it is

difficulties

clearly not

by any

of this assimilation,

but by their most candid avowal that service can be

rendered.

In the event of

impetus

in

this

my

having caused an earnest

direction to issue

from what our

newest aesthetics would describe as the harmless and

agreeable domain of music the circumstance might

appear as not altogether unfavourable to

my

per-

sonal view of the important vocation of the art;

and, in any case, you, most honoured

be induced to accept

it

Madam, might

as an excuse for

my

having

held forth before you so long upon an apparently

abstruse subject.

RICHARD WAGNER.
Tribschen,

near Lucerne.

New

Year, i86g.
93

NOTE.

On

the Author's Subsequent View of this

Essay.

ALIGHT

is

thrown upon Wagner's subsequent

view of the foregoing in the remarks

him

in introducing the

volume of

made by

his collected writ-

ings of which the essay forms part.

Having alluded

to the

advantages enjoyed by

journalism in being enabled to use current events

for the demonstration of ideas he goes

on

to

com-

plain that, on such occasions, the main attention

is

usually directed to the subject used for mere exemplification instead of to the thought which

be
"

illustrated

Judaism

in

all intention

by

Music

"

and he

specially

as a case in point

to

mentions

disavowing

of insult and maintaining his only pur-

pose to have been

He

it;

was

artistic investigation.

also claims that, in that respect, his plan

was

precisely the opposite of that pursued in the retaliative

measures by which he was met; and which, in

his view, consisted in

commending

had been purposely formulated

principles which

in order to serve a

personal animosity.

The

reference

is,

of course, to Dr. Hanslick; possi-

bly also, in a lesser sense, to journalistic criticism.

95

CATALOGUE

REEVES'

MUSICAL LITERATURE

LIST

BIOGRAPHY

ORGAN

HISTORY

ORCHESTRA

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PIANO

/ESTHETICS
ESSAYS

VIOLIN

VOCAL
GENERAL
ETC

CONTAINING WORKS
In All Departments of
.

Musical Literature

PUBLISHED BY

W. REEVES,

83,

Revised Editions of

Charing Cross Rd., London, W.C.

this

Catalogue B issued in the Spring and

of each year.

Autumn

GENEBAL.

GENERAL.
IMAGINARY INTERVIEWS WITH GREAT COMPOSERS.
A Series of Vivid Pen Sketches in which the Salient
Characteristics and the often Extravagant Individuality
of each Composer are Truthfully Portrayed. By Gerald
Cumberland. Crown 8vo, cloth. In the Press.

504

OLD WELSH

My

Land. Alawon Fy
Ngwlad. Collected by N. Bennett. Arranged for
the Pianoforte or Harp by D. \E. Evans. With 12
Portraits of the old Welsh Harpers, and a short Account
of their Lives.
Together with an Essay on Pennilion
AIRS.

The Lays

of

Singing. Portraits of 10 Celebrated Pennilion Singers.

198 pages, the original two volumes bound in one vol.,
folio, cloth gilt, lettered 12s. 6d. net.

The above is the largest collection of Welsh Airs ever published and
includes some of the oldest Cambrian melodies extant, and contains in the
one volume the original publication to subscribers issued in two volumes
at 2 2s. Notwithstanding the collections of Parry, Jones, Thomas and
others, hundreds of old Cambrian melodies still remained scattered
throughout the country in manuscripts, or were retained in the memory
of harpists, Pennilion singers and others who loved and cherished the
folk-songs of the past.

To collect some of these treasures, and rescue them from inevitable

oblivion, says the compiler, has been to me a labour of love for more
than half a century * * I secured many an old air of exquisite beauty
from some venerable harpist, or aged Pennilion singer tottering on the
brink of the grave.

ENGLISH GLEE AND MADRIGAL WRITERS.

Barrett.

By W.

A.

8vo, cloth, 2s. 6d.

highly to be commended, no less for the vast amount of

reliable information which he has collated upon the subject in hand, than
for the concise manner in which, for the benefit of the reader, he has
compressed it into a small space."Monthly Musical Record.

" Mr. Barrett

is

NATIONAL SCHOOL OF OPERA

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Being

the Substance of a Paper read before the Licentiates of

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Post 8vo, sewed, 6d.

RATIONAL ACCOMPANIMENT TO THE PSALMS.

Gilbert Webb.

By

F.

Post 8vo, 6d.

SONGS FROM THE RAVEL. (Words for Musical Setting).

A Book of Prose-Lyrics from Life and Nature. By
Ernest Austtn.

Op

30.

Crown "8vo,

sewed,- 2s. Cd

ESTHETICS, CBITIC1SMS, ESSAYS.

ESTHETICS, CRITICISMS, ESSAYS.

THE SYMPHONY WRITERS SINCE BEETHOVEN,

Schubert, Schumann, Gtz, Brahms, Tchaikovsky, Brckner,

Berlioz, Liszt, Strauss, Mahler, Mendelssohn, SaintSaens, etc. By Felix Weingartner. Translated by
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" Most stimulating and suggestive, full of acute thinking, of felicitous

expression." Neiv York.
" The book is certainly well worth reading." Daily Chronicle.

The author's intimate familiarity with the works he discusses lends a

peculiar interest to the volume, which is certainly worthy a music lover's
attention.

"

A most

fascinating book

* * *

critically discussed in regard to

the works of the various composers are

form and orchestration." Musical Star.

GREATER WORKS OF CHOPIN.

Nocturnes,

etc.),

and how

(Polonaises, Mazurkas,
they should be played. By

Kleczynski. Translated by Miss N. Janotha and

Edited by Sutherland Edwards. With Portrait, FacJ.

simile, etc.

Crown

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"

A new book on Chopin which will doubtless receive a warm welcome

from the lovers of the greatest genius of the pianoforte. * * * What gives
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contains some valuable and interesting hints which will benefit all pianists
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IN MODERN MUSIC. Brahms, Tchaikovsky, Chopin, Strauss, Liszt and Wagner.
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Is.

Mr. Baughan rejects the academic view of form as firmly as Mr. SaintGeorge rejects the academic view of harmony and counterpoint. The
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Has joined Mr. Saint-George in
the attack which will end in the total discomfiture of the aoademics.J. F.
Runciman in the Saturday Review.

AESTHETICS, CBITICISMS, ESSAYS.

MUSIC AND MUSICIANS.

Essays and Criticisms, by Robert

Schumann. Translated, Edited and Annotated by F.
Portrait of Robert Schumann, photoR. Ritter.
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V

There are two sides to musical criticism, both equally interesting the
one, which is scientific analysis of musical form and treatment, possible
only to experienced musicians, the other, which is the spiritual percep;

and influence of music, possible for any great

are
keenly cultivated in the highest canons of
perceptions
mind whose
represented
the ideal musical critic, in that both
Schumann
any art.
criticism
are to be found in his writings.
points
in
essential
of these
"
Music."
to
Ruskin
on
Introduction
From the
Scarcely find words sufficiently strong to express our delight * * * a
book so rich in thought, so full of humour, so remarkable for its refined
sarcasms, so original in its criticisms, so sprightly and elegant in language. Kael Merz in the Musical World.

tion of the aesthetic side

translations are vigorous and clear, and the exaot sense of the
as far as possible, has been preserved. New York Musical
Courier.
A disquisition upon the value of Schumann's labour as an art critio
eems quite uncalled for at the present date. Suffice it to say that it can
hardly be over-estimated, and that his writings are as interesting and
instructive at the present as they were when they were first penned.

The

originals,

Monthly Musical Record.

There is no use in trying to quote characteristic passages, because the
volume is of such uniform merit and such continuous interest that it is
impossible to make a selection. Musicians who take up the book will not
find it easy to put it down again. Athenaeum.
Most fascinating reading, even to those who are not deeply versed in
music. Westminster Review.
Schumann was so just and fearless a critic, and his opinions are conspicuous for such sound judgment, that they are valuable in themselves,
altogether apart from the celebrity of their author. Some parts of the
book will attract special notice, such, for instance, as the able defence of
of
the then condemned Berlioz * * * * the book also oontains notices
composers whom the world has forgotten. Music Trades' Review.

MOZART'S DON GIOVANNI.

A Commentary,

from the

French Edition of Charles Gounod. By W.

Clark and J. T. Hutchinson. Crown 8vo, cloth, 3s. 6d.

Third

imsays in his Preface : Don Giovanni, that unequalled and

a
attained
has
mortal masterpiece, that apogee of the lyrical drama,
accepted
universally
hundred years of existence and fame; it is popular,
Is it
and consecrated for ever. Is it understood? * * * Is it admired?
in
the
exercised
has
loved as it should be? The score of Don Giovanni
remains
and
been
has
fluenoe of a revelation upon the whole of my life it
infallibility. I
for me a kind of incarnation of dramatic and musical
and this
perfection,
regard it as a work without blemish, of uninterrupted
gratitude
and
veneration
commentary is but the humble testimony of my
joys of my
to the genius to whom I owe the purest and m-st permanent
life as a musician, etc.

Gounod

ESTHETICS, CBITICISMS, ESSAYS.

THE DEEPER SOURCES OF THE BEAUTY AND EXPRESSION OF MUSIC. By Joseph Goddard. Author of
"Musical Development," "A Study of Gounod's Redemption," etc. With many Musical Examples. Crown
8vo, bevelled cloth, 3s. 6d.

Chapter I.The Seeming Anomaly between the Human Origin

Music and its Elevated Beauty. Chapter II. Abstract Musical, like
Natural, Beauty is a Chance Fitness or Coincidence, of which the Visible
Conditions are the Plasticity in Human Faculties and the Diversity in
Outward Nature. Chapter III. Timbre and Vowel-Sound briefly Analyzed
the Sensibility formed in the Ordinary Course of Natural Evolution to
answer to them, lets into our Nature the World of Harmony. Chapter
IV. The Larger Reasons why Music is Free of the Objective World, and
Chapter V. Contrast in Scenio Effect and in Music.
Discontinuous.
Chapter VI. The Source of those Distinct Suggestions of the General
World which are Fundamental to the Musical Sensation Position, Direction, Movement and Visual Form. Chapter VII. The Second Factor in
the Sense of the
the Inherent Connection between Music and Motion
Horizontal latent in the Principle of Time. Chapter VIII. Tonality. The
Principles of Unity and Delimitation. Chapter IX. Statement of the Full
Case for the Explicability of Musical Expression from the Standpoint of
the Influence of Speech. Chapter X. Darwin's Hypothesis of Musical Expression. The Tendency of Music to Grow Old. The Influence of Inherited Feeling in the Effect upon us of Art and Nature. Chapter XI.
The Limitation involved in Music being the World of a Single Sense, is a
Source of its Power. Statement of the Principle of Arbitrary Association.
Chapter XII. Summary and Concluding Remarks.
Contexts.

of

BEETHOVEN'S PIANOFORTE SONATAS

Explained for the

Lovers of the Musical Art. By Ernst von Elterlein.
Translated by E. Hill, with Preface by Ernst Patter.
Entirely New and Revised Edition (the Sixth). With
Portrait, Facsimile and View of Beethoven's House.

Crown

8vo, cloth, 3s. 6d.

" He writes with the ripe knowledge and thorough understanding of a

practical musician. Every musical student or amateur can safely trust
him as a competent and agreeable guide. This English translation is most
opportune, and will doubtless assist many a lover of Beethoven's music to
appreciate more keenly the master's Sonatas." E. Pauer.

BEETHOVEN'S SYMPHONIES

in their Ideal Significance,

Explained by Ernst von Elterlein.

Translated by
Francis Weber. With an Account of the Facts Relating to Beethoven's Tenth Symphony.
By L. Nohl.
Second Edition, with Portrait.
Crown 8vo, cloth,
3s. 6d.
This small volume is intended in the first place, and more especially, for
the earnest and thoughtful amateur, to whom it is to be a guide and companion in the artistic enjoyment and conscious appreciation of Beethoven's
Symphonic Masterpieces. At the same time the work may not be unwelcome also to the practical musician.

ESTHETICS, CBITICISMS, ESSAYS.

HOW TO

Chopin and their

By J. Kleczynski. Translated
Woodcut and
Fifth Edition.

PLAY CHOPIN. The Works

of

proper Interpretation.
by A. Whittingham.
Music Illustrations. Post 8vo. cloth.

3s. 6d.

" Contains the cream of Chopin s instructions to his own pupils. To

admirers of Chopin and players of his music we should say this book is

indispensable."
" It contains

Bazaar.

many interesting details and profitable hints. The author

has much to tell us about the great pianist, as a teacher as well as a
composer. Chopin as a composer remains to us as a heritage, but the
tradition of his playing and teaching is naturally becoming every year
more and more vague. So our author deserves praise for his attempt to
snatch from oblivion any remembrances of the manner and touch of the
master." Academy.
'

'

FROM LYRE TO MUSE. A

History of the Aboriginal

Union of Music and Poetry. By J. Donovan. Crown
8vo, cloth, 2s. 6d. net (pub. 5s.)

Chapters: 1. Musical Impression. 2. History of Aboriginal Music. 3.

Music and Individuality. 4. Fusion of Rhythm and Tones. 5. Fusion of
Tones and Words. 6. How Harmony was Developed 7. Definition and

Diagram

of Evolution of Music.

SCHUMANN'S RULES AND MAXIMS.

For young Musi-

Sewed, 2d.
cians.
" The ' Rules and Maxims might have been entitled Proverbs,' for the
truth of none oi them can be called into question, and they give students
'

'

the very best advice."

"

Figaro.

valuable store of hints and information, shrewdly written and pertinently put." Musical Opinion.

BEETHOVEN'S SYMPHONIES

Critically Discussed by A.

With Preface by John Broadhouse.

Tebtgen.

Second

Post 8vo, cloth, 3s. 6d.

that many of his observations

Edition.

" We must say

are not only acute but
extremely just." Musical Times.
" Mr. Tee^gen gives evidence of deep knowledge of his hero's works, he
supplies the reader with food for thought and reflection. We commend this
Musical Opinion.
little book to the attention of our readers."
" Mr. Teetgen is a devout, though not a blind, worshipper of Beethoven."
Musical Standard.

PURITY IN MUSIC. By
Broadhouse.

A. F. Thibaut.

Translated by J.

Crown

8vo, cloth, 2s. 6d.

Contents.1. On the Chorale. 2. Church Music other than the Choral.
4. The
Educating Influence of Good Models. 5.
3. Popular Melodies.
Effect. 6. On Judging the Works of Great Masters. 7. As to a Liberal
Judgment. 8. On Perversions of Text. 9. Choral Societies.
Schmann eaye
" A fine book about music, read it frequently."
:

WOMAN

AS A MUSICIAN.

F. R. Ritter.

An Art

8vo, sewed, Is.

Historical Study.

By

BIOGBAPHICAL.

BIOGRAPHICAL.
MOZART: THE STORY OF HIS LIFE AS MAN AND
ARTIST.

According

to

Authentic

Documents

and

other Sources. By Victor Wilder. Translated by F.

Liebich. To which is now added a Comprehensive Bibliography of Mozart Literature from every source,
English and Foreign and a List of his Compositions

Published
and Unpublished.
With 23 Portraits
gathered from Various Sources.
With Index. 2
volumes. Crown 8vo, cloth, 10s.
Jan. Ev. Engel, Imperial Librarian, writing from the Mozarteum,
burg (Mozart's birthplace) on behalf of the Mozart Society, says
:

Salz-

[Translation.]
congratulate the publisher on the exemplary correctness of the edition and the author on having had at his disposal such rich and almost
inexhaustible material from ancient down to most modern times, as
foundation for his excellent work. This beautiful and valuable work,
which has been translated with great thoroughness, has every right to a
place in the foremost ranks of English literature to the honour of the
great master whose life and work the gifted author has had presented to
the English people in a most attractive way, besides conveying to them
his appreciation of his (Mozart's) immortal compositions in a manner
that has not been done previously in English.
I

" This biography in two handy volumes and published at a moderate

price, will, we are sure, be warmly welcomed by the thousand and one
admirers of one of the most astounding geniuses in musical history."
Pall Mall Gazette.
" Its merits are its enthusiasm, its judicious selection from an enor-

mous mass of material, and its consecutiveness." Birmingham Gazette.

Arthur Stmons, in an appreciative notice in The Saturday Review
said
" The book is living, and to read it is to suffer over again this
:

perfect and punished life."

" The most complete work extant on the Salzburg composer, or at any
rate it is comparable with the biography written by Otto Jahn, inasmuch
as it contains many things relating to Mozart which are not to be found in
other works. It is impossible and unnecessary to review so comprehensive a work as this in a limited space. We can only recommend
a carefully written work which is invaluable for reference." Music.

The Daily Telegraph

it

as

review says
No apology was needed in
offering to music-lovers a remarkably comprehensive record of the career
of one of the most astonishing geniuses the world has ever known.
Mozart, as everyone knows, died young, but irrespective of his creative
work, his life, short as it was, afforded the diligent biographer far greater
scope than have the lives of not a few composers who attained comparative longevity. The author of the French work now translated went to
so many sources for authentic details and general information that his
pages were well entitled to consideration even of readers acquainted with
the salient facts in the life of the famous composer, and the two volumes
under discussion would be welcome if only for their completeness, and
at the same time their freedom from trivial anecdotage of the kind of
which so much clings to the lives of many great musicians.
in a long

BIOGBAPHICAL.

MUSICAL MEMORIES.

By William Spark, Mus.Doc.

(late Organist of the Town Hall, Leeds).
Revised
Popular Edition. With 16 Portraits. Thick crown 8vo,
cloth.

Published at

6s.

"

A pleasantly written book of reminiscences of a large number of

distinguished persons in the world of music .... Dr. Spark knows how
to tell a good story, and has not a few new and old to tell
while the
tone of his book is so invariably cheerful and good natured. ''Saturday
;

Review.
" The author speaks of things that he understands and of persons
that he has known." St. James' Gazette.
" Just one of those pleasant books which are instructive without being
tedious, and amusing without being frivolous. The book is very pleasant
reading and we counsel our readers to get it without delay." Musical
Standard.

TCHAIKOVSKY.

His Life and Works.

With Extracts
from his Writings and the Diary of his Tour Abroad in
1888.
By Rosa Newmarch. Edited with Additional
Chapters by E. Evans, 1908. With a Complete
Classific Account of Works, Copious Analyses of Important Works, Analytical and other Indices also Supplement dealing with "The Relation of Tchaikovsky to
;

Art-Questions

the

of

Day."

Portrait

and

Index.

Thick crown 8vo, cloth, gilt top, 7s. 6d.

" The chapters written by Mr. Edwin Evans, Senr., are excellent and
should be perused with attention, as they denote a keen, critical insight
and a broad outlook on matters generally. * * * The popularity of Tchaikovsky in England is certainly not on the wane, and the present volume
will doubtless be welcomed by the many admirers of the Russian master."

Morning
"

Post.

well planned and in parts fascinating study of a composer whose

of melodic beauty and fine sense of musical proportion have
completely captured the taste of the time * * * It is the fullest and
most authoritative monograph of Tchaikovsky available for English
readers." The Scotsman.

rare

charm

" Issued from the Press which in recent years has given to the musical
world so much that is of intrinsic value that of the firm of William
to
Reeves, publisher of The Musical Standard this volume, dedicated
Henry J. Wood, who has helped to realise so many of Tchaikovsky's
masterpieces, and to his wife,' is first in the field in thoroughness and
in style. * * * is so presented as to be of absorbing interest to the ordinary lover of music, of value to the student, and indispensable to such
as desire to have at hand reliable analyses of the compositions of the
greatest of Russian composers. Rosa Newmarch is perhaps responsible
to a greater degree than anyone in this country for bringing under notice
Tchaikovsky. To her pen is due the best and ripest of the original
matter the volume contains although the work of Mr. Edwin Evans is
also of such a character as to merit high praise. * * * Tchaikovsky was
a world artist and he speaks in a language that is growingly appreciated
by the scholars of all nations. * * The volume will assuredly rank amon?
the standard works relating to musical art." Sheffield Daily Independent.

'

BIOGBAPHICAL.

NOTICE OF ANTHONY STRADIVARI.

The

celebrated
Violin Maker known by the name of Stradivari us, preceded by Historical and Critical Researches on thr
origin and Transformations of Bow Instruments, *nd
followed by a Theoretical Analysis of the Bow and Remarks on Francis Tourte. By F. J. Fetis. TransFacsimile of a Letter of Stradilated by J. Bishop.

varius.
8vo, cloth, 5s.
The greater part of the matter in above

is the work of M. Vuillaume,

spent the greater part of his life in studying the principles which
guided Stradivarius in his labours. With the aid of Fetis and his additional suggestions and matter the now celebrated work was produced.

who

CHOPIN:

THE

MAN AND HIS MUSIC. By

James

Huneker. Author of "Mezzotints in Modern Music."

With Musical Examples. Thick crown 8vo, cloth, 10s.
" Mr. Huneker

is a Chopin enthusiast.
He accords admiration to Brahms,
his worship is reserved for Chopin. Being
to Wagner, to Tchaikovsky
gifted with clear insight and imagination which grasp many and diverse
moods Mr. Huneker is a sane critic and a manly
There is no pretence at new material in the book. Mr. Huneker has garnered all that has
:

been written about the composer and he has threshed out the grain from
the chaff. The result is, therefore, of value." Musical Standard.

" The volume will at once take its place in the front rank of books on
Chopin
the masterly chapter of 74 pages on the etudes will soon
be found indi^n^n sable bv all teachers and students of the pianoforte."
The Nation (U.S.A.)
" A work of unique merit, of distinguished style, of profound insight
and sympathy and of the most brilliant literary quality." The New York
Times.
" Of works on Chopin published since Niecks' life, this is by far the
most important." 6. C. Ashton Jonson in " A Handbook to Chopin's
Works."

LIFE OF CHOPIN.

By Franz

Liszt.

New and

very much
now for the first

Enlarged Edition. Translated in full

time by John Broadhouse. Crown 8vo,

cloth, 6s.

George Sand describes it as " uri peu exuberent en style, mais rempli
de bonnes choses et de tres belles pages."
G. C. Ashton Jonson says in his " Handbook to Chopin's Works " :
" For the personal reminiscences of one of the greatest composers by one
of the greatest executive artists of the world must be invaluable to the
Chopin student."
" Franz Liszt has written a charming sketch of Chopin's life and art."
Ency. Brtt.
" Liszt's criticisms upon his separate works have all the eloquent mysticisms to be expected from him and the biography is a book musicians
will always prize." Sunday Times.
"It will afford the student the greatest' help in understanding the
undercurrent of emotion which characterises the works of Chopin."
Morning Post.
" Let us therefore contribute one good word to help it forward, as we
would tend a flower which springs up spontaneously over the grave of
one we love." Musical Times.
;

'

BIOGBAPHICAL.

10

FREDERIC CHOPIN: HIS LIFE AND LETTERS.

By

Moritz Karasowski. Translated by E. Hill. New

Edition Revised and further Letters added written
during the composer's Sojourn in England and Scotland, 1848-9.
Second and Revised Edition. With 8
Portraits and a Facsimile.
2 volumes.
Crown 8vo,
bevelled cloth, 10s.
" Chopin
uye.

"

is

AfcOBEKT

and remains the boldest and proudest poetic

spirit of the

CHUMA.NJN.

book with which all students of Chopin must needs be acquainted.

good deal of first hand information and is our only source
many
valuable
documents." The Guardian.
for
The author in his Preface says
Several years of friendship with the
family of Frederic Chopin have enabled me to have access to his letters and
to place them before the public. ... In compliance with the wishes of
many of Chopin's friends and admirers I have undertaken to sketch his
oareer from the materials afforded me by his one surviving sister, from his
letters, etc. ... in this work which contains full particulars about Chopin's
youth I have corrected the erroneous dates and mis-statements which have
found their way into all the German and French periodicals and books.
Grove's Dictionary of Musicians says
The truth about Chopin's birth,
family, health, character, friendships, early training, and the dawn of his
career as a player and composer was not known until the publication of
Moritz Karasowski's recent and trustworthy biography.
'The first serious attempt at a Biography of Chopin." Prof. Niecks.
" Gives bits of information found nowhere else and the Letters of Chopin
make the book invaluable to those who would really know the Polish
It contains a

master."

Musical America.

MAKERS OF MUSIC.

Biographical Sketches of the Great

Composers. With Chronological Summaries of their
Works and Facsimiles from Musical MSS. of Bach,
Handel, Purcell, Dr. Arne, Gluck, Haydn, Mozart, Beethoven, Weber, Schubert, Berlioz, Mendelssohn, Chopin,
Schumann, Wagner, Verdi, Gounod, Brahms and Greig,
with General Chronological Table. By R. Farquharson
Sharp. Portrait of Purcell. Third Edition. Crown
8vo, cloth, 5s.

The author's endeavour throughout this work has been to convey an impression of the personality of each composer, as well as to furnish biographical detail. At the end of each biography is a tabulated list of the
composer's works and dates of production, together with a facsimile from
one of his original manuscripts. A useful volume, got up in good style and
well adapted for a gift or prize. Has speedily run into three editions.

TEMPLETON AND MALIBRAN.

Reminiscences of these
Renowned Singers, with Original Letters and Anecdotes.
Three Authentic Portraits by Mayall. 8vo>

cloth, 2s. 6d.

BIOGRAPHICAL.

11

CHOPIN: AS REVEALED BY EXTRACTS FROM HIS

DIARY. By Count Tarnowski. Translated from the
Polish by N. Janotha. With Eight Portraits.
8vo, bevelled cloth, 2s. 6d. net (or paper cover

Crown
Is.

6d.

net).
" Throws many curious sidelights on the character of the great comSunday Sun.
" The notes on Chopin were written by special request and under the
direction of Princess Marceline Czartoryska. From her, Count Tarnowski
received many interesting details as well as letters written by Chopin, in
which the master alludes to many of his compositions as well as to the
conditions under which they were written. Really an absorbing little
tome, etc." Musical Standard.

poser."

BEETHOVEN. By Richard Wagner.

With a Supplement

from the Philosophical Works of Arthur Schopenhauer.

Trans, by Edward Dannreuther. Third Edition.

Crown

8vo, cloth, 6s.

" This characteristic essay, a written exposition of Wagner's thoughts on

the significance of the master's music, may be read with advantage by all
students." W. H. Webbe in The Pianist's A. B. C.
" It is a plain duty to be familiar and even intimate with the opinion
of one famous man about another. Gladly therefore we welcome Mr.
Dannreuther's translation of the work before us. Mr. Dannreuther has
achieved his task with the conscientiousness of his nature and with a
success due to much tact and patience." Musical Times*

BIOGRAPHICAL DICTIONARY OF FIDDLERS.

Including Performers on the Violoncello and Double Bass,

Past and Present. Containing a Sketch of their
Artistic Career, together with Notes of their Compositions.
By A. Mason Clarke. 9 Portraits. Post 8vo,
bevelled cloth, 5s.
" We may here take the opportunity of recommending a useful book to
and violinists. Fiddlers, Ancient and Modern, is pracBiographical Dictionary, well arranged with some excellent

all lovers of violins

tically

little

portraits."

Northern Whig.

CHERUBINL
Bella sis.

Memorials illustrative of his Life.

Thick crown 8vo, cloth, 6s.

The standard biography

FRANZ LISZT.

By

By

E.

of Cherubini.

T.

Carlaw Martin.

12mo, bound,

Is.

(paper, 6d.)

LIFE OF BEETHOVEN. By Louis Nohl. Translated by

John J. Lalor. Third Edition. With Portraits and
Facsimile. Crown 8vo, bevelled cloth, gilt edges, 3s. 6d.
" A standard biography."

BI0GBAPH1CAL.

12

SKETCHES OF ENGLISH GLEE COMPOSERS.

Historical,

Biographical and Critical. From about 1735-1866.

D. Baptie. Post 8vo, bevelled cloth, 5s.

BALFE: HIS LIFE AND WORKS.

Crown

By

By W. A. Barrett

8vo, bevelled cloth, 3s. 6d. net (pub. 7s. 6d.)

WORKS OF MOZART. By

LIFE AND

A. Whittingham

Cloth, Is. 6d. (or paper, Is.)

WORKS OF HANDEL. By

LIFE AND

A. Whittingham.

Cloth, Is. 6d. (or paper, Is.)

THE BACH LETTERS.

Letters of Samuel Wesley, relating

to the Introduction into England of the Works of Bach.
Ed. by E. Wesley. Second Edition. 8vo, cloth, 2s. 6d.

DICTIONARY OF

4,000

Earliest Times.
2s. (paper, Is.)

By

BRITISH MUSICIANS.
F. J. Crowest.

Crown

From

the

8vo, cloth,

Dictionary of British Musicians a work devoted exclusively to the

of native composers, instrumentalists, vocalists, writers, etc., who
have contributed to the making- of English musical art from the earliest
times to the present. Blank spaces are left to each letter for any additional names to be written in.

names

PURCELL.

By William H. Cummings, Mus.Doc.

Crown

8vo, cloth, 2s. 6d.

The only available life of

this great English musician. Dr. Cummings

spared no time or tiouble in making it as far as possible a complete and
exhaustive treatise.

CHERUBINI. By

F. J. Crowest. Crown 8vo, cloth, 2s. 6d.

Contents
Birth and Parentage Under Sarti Earliest Works Visits
London Lodoiska Medee Les Deux Journees Faniska Berlioz and Alt
Baba Cherubini's Overtures A Sacred Music Composer Mass in F
Mass in D minor Mass in C Requiem in C minor Requiem in D minor
Cherubini's Prolificness At Catel's Grave Death, Obsequies and Career
His Influence upon Music Estimate of his Dramatic Works Of his
Sacred Works Influence as a Teacher Temperament and Disposition
Anecdotes of Cherubini Catalogue of Compositions Index.
:

SKETCHES OF GREAT VIOLINISTS AND GREAT

PIANISTS. Biographical and Anecdotal, with Account of

the Violin and Early Violinists. Viotti, Spohr, Paga-

De

Beriot, Ole Bull, Clementi, Moscheles, Schumann (Robert and Clara), Chopin, Thalberg, Gottschalk,
Liszt.
By G. T. Ferris. Second Edition. Crown 8vo,
bevelled cloth, 3s. 6d. (or cloth, gilt edges, 4s. 6d.)
nini,

very useful book for a prize or gift.

POBTBAIT GALLEEIES.

13

POBTKAIT GALLEKIES.
SIXTY YEARS OF MUSIC.

Record of the Art in England

during the Victorian Era. Containing 70 Portraits of
the most Eminent Musicians. Oblong quarto, boards,
cloth back, 2s. 6d.

NATIONAL PORTRAIT GALLERY OF BRITISH MUSICIANS.

By John Warriner, Mus.D.

Trinity College,

Dublin. Introduction by Joseph Bennett. Over 500

Photo Portraits of well-known and eminent living Musicians of Great Britain and Ireland, with short Biographical notice of each. The whole bound in one
handsome oblong folio volume, cloth lettered. Offered
for 7s. 6d. net, post free (or 8s. post free abroad), (published 14s. net).

REEVES'

CATALOGUE

OF

MUSIC

AND

MUSICAL

LITERATURE. Ancient and Modern, Second-Hand

and New containing the Contents of Libraries recently
;

purchased, with a large quantity of Curious, Scarce, and

Useful Music Full Scores, Organ Music, Duets, Trios,
Quartetts, Quintetts, Sextetts, Septetts, etc.
Tutors,
Historical, Theoretical and Biographical Works in English, French, German, Italian, Spanish, Dutch,
etc.,
including some Works of the greatest rarity and value.
On Sale for Cash. This Catalogue sent post free on
:

application.
" Mr. W. Reeves, who has established his claim to be regarded as the
recognised publisher of English Musical Literature, has a strong list of
books for the amateur and the professor." Publishers' Circular.

" The best and safest method for the inexperienced to adopt, is to make
application to some leading and trustworthy publisher of musical books of
the class in question, relying on his judgment and the traditions of his
house to supply what is genuine and suitable. Without being invidious,
we may say that such a rsublisher is Mr. W. Reeves." Bazaar.

HISTORY

14

HISTORY.
CHRONOMETRICAL CHART OF MUSICAL HISTORY.
Presenting a Bird's Eye View from the Pre-Christian
Era to the XXth Century. By C. A. Harris,
A.R.C.O., etc. On linen, folded in case, 2s. net (on
special paper, Is. net).

Prof. Prout says

I have examined your chart with great interest,
both plan and execution seem to me to be excellent. You have managed
to get a wonderful amount of information into a very small space. I
think the Chart should be most useful and cordially wish you success.
:

THE WORLD'S EARLIEST MUSIC.

Traced to its Beginnings in Ancient lands. By collected Evidences of

Relics, Records, History and Musical Instruments, from
Greece, Etruria, Egypt, China, through Assyria and
Babylonia to the Primitive Home, the Land of Akkad
and Sumer. By Hermann Smith. With 65 full page
Illustrations and Cuts, nearly 400 prp.
Crown 8vo,
cloth, 6s.

"

return the sheets you entrusted to me of

The World's Earliest
Music.' There is nothing I could criticize in those interesting pages."
A. J. Hipkins in a letter to the Author.
" Should be in the hands of every musician
Most interesting is
nie Chapter upon the music of Japan." Pall Mall Gazette.
I

'

" Technically though it occasionally must be, the book is one which
should charm all music lovers." Morning Leader.
" The book, which is profusely illustrated, is most interesting, and is, in
its handsome cloth binding, well worth its published price, 6/-"
The
Musical Star.
" I confess to a very considerable ignorance, natural and acquired, of
the ancient instruments; but it seems to me that Mr. Smith has got as near
the truth as a twentieth-century mortal can." J. F. Runciman in The
Saturday Review.
" It is a pleasantly written volume dealing with the earliest conditions
of music in ancient lands. From rock carvings, wall paintings, tablets
and vases, sculptures, papyri and so forth, Mr. Smith has drawn the
materials for a volume which has involved an immense amount of research
and contains a vast quantity of information conveyed in a very lucid and
readable manner." H. A. Scott in The Academy.
" No more enthusiastic worker, nor patient student, exists than Mr
Hermann Smith. The structure, character and capabilities of every kind
of musical instrument have been the objects of his study for many years.
To an intense love of his subjects he adds an attractive style. .
The
liking of the ear in music is a liking by inheritance, transmitted as a
facial type is. This view is new, etc."
Birmingham Daily Post.

HISTORY OF HUNGARIAN MUSIC. By

J. Kaldy (Director
Crown 8vo, bevelled

of the Royal Hungarian Opera).

*

cloth, 2s. 6d. net.

Information not to be had anywhere

musical shelf."

else

Internationalen. MusikgexelUchajt.

should be on very

HISTOBY.

GROWTH

THE

AND

DEVELOPMENT

15

OF

MUSIC.

Described in Chapters on the Study of Musical History.

By Edward Dickinson. With an Annotated Guide to
Music Literature. Over 400 pp. Thick 8vo, cloth, 10s.

Cultured
the Ancient
of
Music.
2. Music
Chapters
1. Primitive
Nations Assyrians, Egyptians, Hebrews, Greeks and Romans. 3. Song in
the Early Christian Church. 4. The Catholic Liturgy. 5. The Catholic
Liturgie Chant. 6. Beginnings of Polyphonic Music. Popular Music in the
Middle Ages. 7. The Age of the Netherlanders, 1400-1550. 8. Choral Music
of the Sixteenth Century. 9. Early German Protestant Music. 10. Protestant Church Music in England. 11. The Madrigal The Opera Modern
Tonality. 12. Early Growth of Instrumental Music. 13. The Violin and
First Stages of the Suite and Sonata. 14. Keyed Chamber Inits Music
struments Progress of the Clavier Suite and Sonata. 15. The Italian Opera
16 The Opera Buffa, Seventeenth and Eighin the Seventeenth Century.
teenth Centuries. 17. Rise of the Opera in France, Seventeenth Century.
19. Introduction of
18. Italian Opera Seria' in the Eighteenth Century.
the Italian Dramatic Forms into German Religious Music. 20. Johann
Sebastian Bach, 1685-1750. 21. Handel, 1685-1759. 22. Opera-Comique in the
Eighteenth Century. 23. Gluck, 1714-1787. 24. Haydn, 1732-1809. 25. Mozart,
1770-1827.
27. The
German Romantic Opera.
1756-1791.
26. Beethoven.
Weber, 1786-1826. 28. The German Lied. Schubert, 1797-1828. 29. Piano
Playing to about 1830. 30. Schumann, 1810-1856. 31. Mendelssohn, 180933. Programme Music.
34. Berlioz, 1803-1869.
1847.
32. Chopin, 1809-1849.
36. The Opera in the Nineteenth Century to about
35. Liszt, 1811-1886.
37. The Opera in the Nineteenth Century to about
1850.
I. Italian Opera.
39. Recent Music in Ger1850. II. French Opera. 38. Wagner, 1813-1883.
many and Austria. 40. Recent Music in France. 41. Recent Music in
Italy. 42. Recent Music in Russia, Bohemia and Scandinavia. 43. Recent
Music in England and America. Bibliographical List. Index.
:

Mr. Dickinson

Preface says
The vastness and complexity of the
study of the history of music are bewildering to those who enter upon it
unassisted. This volume is intended to clear the way by indicating the
problems, the method and the materials. The narrative and critical portion gives a terse and comprehensive summary of music history, showing
what are the important subjects involved and their connections and relations. The bibliographical sections lead the student to the best critical
commentaries in the English language on every phase and detail of the
in his

subject

" Mr. Dickinson has written a book of unquestionable value

the
author's critical judgment is highly discriminating." Musical Standard.

Mr. Ernest Newman in the Manchester Guardian writes

Mr. Dickinson
has had the excellent idea of furnishing the musical student with a guide
to the best literature in English upon the Art
For Mr. Dickinson's
:

general treatment of his subject one can have nothing but praise; His
method is to take each stage in the development of music separately,
characterise it in a short but highly concentrated chapter and then give
references to the complete English literature upon the subject. Hia summaries are models of sound judgment and swift statement, not more than
once or twice, perhaps, could one find fault with either their completeness
in every essential point of their cool and Catholic impartiality. The
bibliographical guides are practically as full as they could be made
the total omissions are exceedingly trifling, while the extent and the
accuracy of the information conveyed make the book indispensable to
students and to public libraries.

HISTORY

16

THE STUDENT'S HISTORY OF MUSIC.

History of Music,

from the Christian Era to the present time.

By Dr.

F.
478 pages of Letterpress

L. Ritter. Third Edition.

and 72 Plates of Musical Illustrations. Thick crown
8vo, cloth, 7s. 6d.
" To such as are preparing for examination this valuable work must
render great service." Christian Age.
" A reliable guide to those students who as he says ' feel the desire, the
want, of a deeper and more general knowledge of and information as to,
the growth and progress of their art than is common.' That this intention
has been successfully carried out in the present volume we can conscientiously affirm." Musical Times.
" With the exception of Mr. Hullah's Lectures, we can recall no book
in the English language of recent date which attempts to cover the same
ground. Both as useful to the student as a work of reference, and as
interesting and instructive to the general reader on musical subjects, this
work of Professor Ritter may confidently be recommended." Monthly
Musical Record.

HISTORY OF PIANOFORTE MUSIC.

With

Critical

Greatest Masters and Sketches of their

Lives.
By John C. Fillmore. Edited with an Introductory Preface by Ridley Prentice. Crown 8vo,

Estimates of

its

cloth, 3s. 6d.

Synopsis
The Pianoforte and its Immediate Precursors (the Harpsichord and Clavichord) Polyphonic Music (Bach, Handel, D. Scarlatti)
Homophonie Music (E. Bach, Haydn, Mozart) The Emotional Content of
Music (Beethoven) The Classic and the Romantic in Music (Weber, SchuTechnique of the First Clasbert, Mendelssohn, Chopin and Schumann)
sical Period Technique of the Second- Classical Period Technique of the
Transition Period Technique of the Romantic Period Minor Composers
and Virtuosi of the Different Epochs Index.
Dudlet Buck says of it
" In my judgment the work should be in the
hands of every earnest student."
:

MANUAL OF MUSICAL HISTORY. From

the Epoch of
By Dr. F. L.

Ancient Greece to our present time.

Ritter. Second Edition. Cr. 8vo, bevelled cloth,

2s. 6d,

"An agreeably and cogently written volume, dealing with a variety of

topics which bear more or less directly on the history of music." W. H.
Webbe in The Pianist's A. B. C.
"Portable and well arranged * * * well up-to-date and contains a useful
index. Students preparing for examinations will find the book distinctly
serviceable." Teacher's Times.

CATECHISM OF MUSICAL HISTORY AND BIOGRAPHY,

By

Revised and Enlarged Edition.

F. J. Crowest.
Tenth Thousand. 187 pp. Post 8vo, cloth, 2s. (paper, Is.)
This work gives special attention to English musicians, and is brought
down to 1905.
,

" An excellent little book yet not so little

Musical Education says
since it^contains an immense. amount of information historical, biographical and critical in a very small compass.
:

HISTORY.

17

THE RISE OF MUSIC.

Being a Careful Enquiry into the

Development of the Art from its Primitive Puttings
forth in Egypt and Assyria to its Triumphant Consummation in Modern Effect. Especially bringing out the
Influence of the Church upon the Joint Development of
Harmony and Notation the Importance of that Great
Central Development the Enweavement of the Scales
the Creative Consequences of the Clavier Type of Instrument and the Explanation of a New and Perfect
Order of Beauty resting upon our Tempered System.
By Joseph Goddard. With Illustrations of early Instruments and numerous Musical Examples drawn from
Ancient and Modern Sources. With Index. Thick
crown 8vo, cloth, gilt top, 7s. 6d.

It will be seen that this work is not a history of music in the ordinary
sense, but rather a tracing of the organic unfolding of the musical art.
At the same time it presents a perspective of both the history and con-

stitution of music, in
history.

which history

is

seen to elucidate theory and theory

Readers will greatly appreciate the numerous musical examples culled

from all sources which appear throughout the book.
" Musical enthusiasts, whom the technical language of their art does
not appal, will delight in this scholarly book. Mr. Goddard's object is
to show that music, commonly regarded as the youngest of the arts, had
its roots in primeval man, but needed a longer time to develop into a
fully constituted art than did painting and literature. It was comparatively easy for the painter to perfect his art. He had his model, Nature,
always before him. The poet, in like manner, once he possessed an alphabet, had only to look around him to find the grandest subjects ready to
his pen. But the musician had to discover and fix his own rules and
principles, slowly revealed to him by the march of science and by chance
inventions. The ancient Egyptians, for instance, used the flute, lyre and
harp, but, as Mr. Goddard points out, the mass of our modern musical
forms date only from the invention of the clavier type of instrument, a
Modern dramatic music, too, springs
little over a couple of centuries ago.
as an art-form largely from the light interludes played in the Italian
theatres only two centuries ago. Mr. Goddard's book is well illustrated
and should find a place in many a musical home." The Christian World.

AN ACCOUNT OF THE RISE OF MILITARY MUSIC IN

ENGLAND

and Memoirs of the Royal

its Origin, History and Progress.
By
With 14 Illustrations. 8vo, cloth, 5s.
The Records

may

of the

Band,
G. Farmer.

Artillery
11.

U.A. Band date as far back as

fairly be stated to represent the

growth

1762, and its history

of the military band.

THE PAST AND THE FUTURE.

Inaugural Lecture at
By J. Frederick Bridge.

Gresham College, Nov., 1890.

Mus. Doc. Crown 8vo. sewed.

6d.

IIISTOBY.

18

The First Music Printed from Engraved Plates

in

England.
PARTHENIA Or the First Musick ever Printed for the Virginals.
Composed by three famous Masters, William
Byrd, Dr. John Bull and Orlando Gibbons. Translated into Modern Notation and Edited by E. F. Rmbacjlt, LL.D., F.S.A.
With Fac-similes of the original
Engraved Title, showing a Lady playing the Virginals,
a page of the Music, and the Curious and Interesting
Dedication. Followed by the whole of the Music
arranged for Playing on the Piano in the Modern Notation this forming a further 50 pages.
Together with an
account of the Virginals, Method of Playing, Early
References, etc. By Dr. Rimbault. This Reprint
limited to 250 copies only.
Folio, gilt top, rough edges,
imitation old boards, cloth back lettered To Subscribers,
12s. 6d. (pub. 21s.)

The Virginal or Virginals from Henry the Seventh's time to nearly the
close of the 17th century, included all quilled Keyboard instruments, the
Harpsichord, Spinet, etc. Henry the Eight, according to a contemporary,
played well on the Virginals. Queen Mary is said to have equalled if not
surpassed Queen Elizabeth in music playing, the Regals and Lute as well
as the Virginals. The first music for this tribe of instruments including
the Harpsichord was the " Parthenia."
It
consists principally
of
" Pavans and " Galliards," in common use for dancing purposes in Queen
Elizabeth's time, " Preludiums," " Fantazia of Foure Parts," etc.

The printing of music from engraved copper plates is supposed to have

begun at Rome where a collection of Canzonets was engraved by Simone
Verovio in 1586. In France towards the end of Louis XIV. 's reign the
great house of Ballard began to make use of engraving, some of Lully's
operas being printed from type and some from engraved copper plates.
The Germans, of course, practised the art, one early book of Exercises
being composed and engraved by the great John Sebastian Bach himself.
In England " Parthenia " was the first produced, appearing in 1611.
Virdung in 1511 is the oldest authority mentioning the virginals, but
Ptimbault quotes the following proverb that was formerly inscribed on a
wall of the Manor House of Leckingfield, Yorkshire, and if, as thought to
be, as old as the time of Henry the Seventh (1485-1509) contains a reference
earlier than Virdung
:

"

Slac Strynge in a Virginall soundithe not aright,

It doth abide no wrestinge it is so loose and light
The sound board crasede, forsith the instrumente,
Throw misgovernance to make notes which was not his intente."

OBCHESTBAL.

19

ORCHESTKAL.
ON CONDUCTING.
E. Dannreuther.

By Richard Wagner.

Translated by

Second Edition,

cr. 8vo, cloth, 5s.

Treatise on Style in the Execution of Classical Music, written by a
practical master of the grand style.
Weingartnek, speaking of this celebrated work, says :" Wagner's book
laid the foundation for a new understanding of the function of the conductor, in whom we now recognise, not only the eternal factor that holds
together an orchestral, choral or operatic performance, but above all the
spiritualising internal factor that gives the performance its very soul."

NOTES ON CONDUCTING AND CONDUCTORS. By

T. R.

Croger, F.R.G.S., F.Z.S., also the Organising and Conducting of Amateur Orchestras, with three full-page
Illustrations of the Various "Beats" and Plan of the
Orchestra.
Third Edition, Revised and Enlarged.

Crown 8vo, cloth, 2s. (paper, Is.)

" A mine of good things." Musical Opinion.
" One of the best guides to conducting." Music Trades Review.
" A capital little book brightly written and full not only of entertaining
and racily-told anecdotes, but also of clear and sensibly-expressed opinions
on musical matters." The Stage.
" The book appeals particularly to conductors of provincial societies,
whether instrumental or choral it is written in a pleasant style, and is
full of practical hints by one who knows his subject well."
Monthly
Musical Record.
" Many practical hints on the organizing and conducting of amateur
orchestras and choral societies." Morning Post.
;

HOW TO

PLAY FROM SCORE.

Treatise on Accompaniment from Score on the Organ or Pianoforte. By F.

Fetis. Translated by A. Whittingham. With 40 pages
of Musical Examples. Crown 8vo, bevelled cloth, 3s. 6d.
Contents: Introduction. 1. On the Different Arrangements of Voices
and Instruments in Scores (Partitions). 2. On Vocal Parts; Instrumental
Parts, their Fixed Pitch and the Manner in which they are Written. 3.
Concerning the Manner in which the Accompanist should Read a Score in
order to grasp its Substance and its Details. 4. The Mechanism of Accompaniment.

Concerning the Influence of the Accompanist on the

Difference of Style. 7. Oh the Accompaniment of Early
Music without Orchestra, the Duets and Trios of Clari, Durante, Handel
and the Psalms of Marcello. 8. On the Reproduction of Ancient Orchestral Accompaniments.
9. On the Modern Style of Accompaniment.
10. On
Mozart. Cherubini, Mehul, Spontini, Rossini and the Modern School. 11.
Conclusion.
This popular and useful book might have been entitled " The Art of
Making Arrangements for the Organ or Pianoforte from Full Orchestral
and other Scores." It contains all that is necessary to know upon this
Vocalist.

subject.

6.

5.

On

OBGAN

20

OKGAN.
THE ORGAN FIFTY YEARS HENCE. A

of

its

the Light of its Past History and

Tendencies.
By Francis Burgess, F.S.A.,

Development
Present

Study

in

Scot. 8vo, Is. net.

" All organists should read Mr. Francis Burgess' lecture on The Organ
Fifty Years Hence.' We have every sympathy for the opinions Mr.
Burgess expresses, though we have our doubts as to whether the unpopularity of electric action is not fully justified, etc." The Church
'

Union Gazette.
" Gives us an excellent

summary of what has been and is being done

towards improvement in organ construction and tone, and his criticisms
are always sound and convincing." Glasgow Herald.

A PRACTICAL TREATISE ON ORGAN BUILDING. By F.

With Working Drawings and AppenE. Robertson.
dices for ready calculation of all parts.
Text in one
vol.
Demy 8vo, and numerous plates in a royal 4to
vol.

2 volumes, 31s. 6d. net.

" Many books upon Organ Building have been published in recent years,
but for fulness of information not one approaches Mr. Robertson's work,
wherein practical details and directions are given in every department of
Organ construction. The book is of course based upon old Don Bedos'
famous work, and contains the most valuable portion of Dr. Topfer's German treatise, together with his learned diagrams and illustrations."
Hermann Smith's " The Making of Sound In the Organ and In the Orchestra." W. Reeves.

MODERN ORGAN TUNING,

How and Why,

The

Clearly
Explaining the Nature of the Organ Pipe and the
System of Equal Temperament, Together with an Historic Record of the Evolution of the Diatonic Scale
from the Greek Tetrachord.
By Hermann Smith.

Crown

8vo, cloth, 3s.

6.4,

" The greatest authority on acoustical matters connected with organ

who has ever lived." G. A. Audslet in his Art of Organ Building.
" I have read
Modern Organ Tuning with great interest. It is a
book of value and should find appreciative readers. It should be a handbook with students of the organ and organ tuning." A. J. Hipkins.
" Simple non-technical terms sets out with an attractiveness and lucidity
I have never seen surpassed the history of the evolution of the diatonic
scale from the Greek tetrachord * * * by no means intended for organ
students alone * * the historical explanations add to the fascination o,f
this volume." Daily Telegraph.
" The book is just such another as its author's similar manual on the
tuning of pianos, a workmanlike handbook; full of sound praotical advice
for the craftsmen concerned." Scotsman.

pipes

'

'

" Recommended to the notice of organists with the fullest confidence that
they would derive both pleasure and profit from its perusal."Scottish
Guardian.

ORGAN.

21

RINKS PRACTICAL ORGAN SCHOOL: A New

Edition.
Carefully Revised. The Pedal Part printed on a Separate Staff, and the Preface, Remarks and Technical
Terms translated from the German expressly for this
Edition by John Hiles. The Six Books Complete, handsomely bound in red cloth, gilt edges, ob. folio, 10s. 6d.
net (issued at 20s.), or the six parts 7s. 6d. net (issued
at 6s. each.)
The best edition ever published of this Grand Classical work. No other

edition will bear comparison with it for care and skill in editing, nor for
beauty of engraving and excellence of printing. One special merit of this
edition is that the bar lines are bold, and that they are drawn right through
the score, instead of through each staff, as was the custom in days gone by.
The student who will take the trouble to test this edition against any
other, will at once perceive the advantage he gains from this clear and
distinct style of " barring " to an advanced performer the matter may be
.perhaps of less importance, but even he cannot fail to appreciate the comfort of increased legibility.
;

As a royal road

to

thorough and sound Organ Playing

in all styles, there

School which will bear comparison with this:

is no other
can follow no better course than to go through it slowly.

SHORT HISTORY OF THE ORGAN,

a Beginner

Organists, and Ser-

vices of the Chapel of Alleyn's College, Dulwich.

Extracts from the Diary of the Founder. By

Crown

Stocks.

With
W. H.

8vo, sewed, Is.

THE EARLY ENGLISH ORGAN BUILDERS and

their

Works, from the 15th Century to the Period of the Great

Rebellion. An Unwritten Chapter on the History of
the Organ. By Dr. E. F. Rimbault. Well printed.

With woodcuts,

post 8vo, cloth, 3s. 6d.

ANALYSIS OF MENDELSSOHN'S ORGAN WORKS.

Study

For the Use of

Students. By Joseph W. G. Hathaway, Mus. B. Oxon.,
127 Musical Examples. Portrait and Facsimiles. Crown
of their Structural Features.

8vo, bevelled cloth, 4s. 6d.

THE MAKING OF SOUND

IN

ORCHESTRA. With many

Smith.

THE ORGAN AND

illustrations.

IN

THE

By Hermann

Crown

8vo, cloth, 7s. 6d. In the Press.

Highly recommended by the late A. J. Hipkins.

ORGANIST'S QUARTERLY JOURNAL

tions.
Edited by Dr. W. Spark,

Composiper part. New

of Original
5s.

Series Volume, 160 large pages, oblong folio,

cloth, 18s.

bound

in

OBGAK

22

THE ORGAN PARTS OF MENDELSSOHN'S ORATORIOS

AND OTHER CHORAL WORKS. Analytically ConBy

sidered.

Orlando A. Mansfield, Mus. Doc.,

With numerous Musical Examples. Crown

F.B.C.O.

8vo, cloth, 4s. 6d.

HENRY SMART'S ORGAN COMPOSITIONS ANALYSED.

By

J.

Broadhouse.

Crown

8vo, bevelled cloth, 2s. 6d.

THE INFLUENCE OF THE ORGAN IN HISTORY. By

Dudley Buck. New Edition with Illustrations. Crown
8vo, sewed, Is. net.

THE PEDAL ORGAN:

tion.

By

Design and ConstrucWith Folding Plate. 8 vo. sewed,

Its History,

T. Casson.

Is. net.

CATECHISM

for the

John Hiles.

REFORM
Crown

IN

Harmonium and American Organ.

Post 8vo, sewed,

By

Is.

ORGAN BUILDING.

By Thomas Casson.

8vo, sewed, 6d.

THE MUSICAL STANDARD. A Weekly Newspaper

for

Established
Musicians, Professional and Amateur.
nearly Half a Century. The Organ of no Clique. Independent Criticisms. Correspondents in all Parts of
the World. Translations of Important Articles from
the foreign musical press. Illustrated Supplement
"The Violin and String World" given
every week.
with the first number of each month. Price Twopence
(by post, 2^d.) Annual Subscription 10s. 10d., 6
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Portraits of celebrated musicians are given from time to time in " The
Musical Standard." Price 2d. each. List of Portraits that have already
appeared sent post free on application.

PIANOFORTE.

23

PIANOFOETE.
REEVES' VAMPING TUTOR.

Art of Extemporaneous Accompaniment, or Playing by Ear on the Pianoforte,

Rapidly Enabling anyone having an Ear for Music (with
or without any knowledge of Musical Notation) to Accompany with Equal Facility in any Key with Practical Examples.
By Francis Taylor. New Edition,
to which is added Instructions for Accompaniment
with Equal Facility in every Key illustrated by Examples.

Folio, 2s.

PIANOFORTE TEACHER'S GUIDE. By

lated by

Fanny Raymond Ritter.

L. Plaidy.

Crown

Trans-

8vo, boards,

Is.

" Evidently written by a pianist who is a thorough master of his instruas a good teacher." Educational Times.
" Some of the finest pianists f the day owe much of their technical

ment as well

method." Bazaar.
" The best possible advice of a veteran no teacher can read it without
benefit. Affixed is a list of studies in order of difficulty.
This is especially
facility to Plaidy's excellent

valuable. "Schoolmaster.

THE ART OF TUNING THE PIANOFORTE, A New

and

Comprehensive Treatise to Enable the Musician to Tune

his Pianoforte upon the System founded on the Theory
By Hermann Smith. Crown
of Equal Temperament.
8vo, limp cloth,

New

Edition, thoroughly Revised,

2s.

Readers will welcome this note of approval signed by A. J. Hipkins, a

associated with the Pianoforte and familiar to most musicians
No better voucher could be
in the musical literature of the present time.
desired of the fair claims of this little book upon the reader's attention and
confidence. " I have had the privilege of reading the proofs of Mr. Hermann Smith's clear and exhaustive treatise on Pianoforte Tuning, and I
am satisfied that for the professional tuner, or the amateur who desires to
understand the subject and put the knowledge he acquires into practice,
there is no book upon it yet published that may be compared with it. I
recommend all tuners or would-be tuners to study this unpretending and
excellent work, wherein the theory is laid down in clear and correct terms,

name long

and the practice, as

far as this

is

possible, is indicated judiciously."

THE DEPPE FINGER EXERCISES

for Rapidly Developing

an Artistic Touch in Pianoforte Playing, carefully Arranged, Classified and Explained by Amy Fay (Pupil
of Tausig, Kuliak, Liszt and Deppe).
Folio, English
Fingering,

Is. 6d.

(Continental Fingering,

Is. 6d.)

We are asked by a well-known pianist to say

The Musical Times says
that Herr Emil Sauer was trained up to his seventeenth year on the Deppe
system and that he owes his wonderful technique almost solely to that
method * * * Our correspondent adds that Herr Sauer speaks as enthusias
tioally of the Deppe method as did Miss Amy Fay.
:

riANOFOBTE.

24

PIANO TOUCH, PHRASING AND INTERPRETATION. By

J. Alfred Johnstone (author of "The Art of Teaching
Expression in Piano Playing,"
3s.

etc.)

Crown

8vo, cloth,

6d.

Contexts
Touch in Piano-Plating and Some of its Curiosities.
I.
Varied Meanings of the Word " Touch " " Touch " as Applied tq the
InstrumentLimitations of " Touch "Possibilities of " Touch "Confused Ideas on " Touch "Tone-Colour Causes of Confused Ideas
"Touch" as Applied to the General Effect produced by the Player Objective Results of Subjective Desires. Melody-Playing Diverse Kinds of
" Touch "Brilliant Legato Passage " Touch "Two Broad Varieties or
Schools of " Touch "Recommendation of Lucidity. II. On the Mtstert
of Phrasing in Piano-Plating. The Cant of Phrasing What is Phrasing? Clear Perception of the Formal Divisions of Music The Foundation
of Phrasing Erroneous Notion of Bar to Bar Construction Appeal made
Effective by Intelligible Illustrations The Right Method of Making
Phrase Divisions Clear in Piano-Playing Motival Phrasing Expressive
Treatment of Phrases. III. Hints on the Right Interpretation of
Bach's Woltemfirirte-Clavier on the Piano. Eulogiums of Eminent
Musicians Bach's Conflicting Interpreters The Simple Rule of the Trusting Disciple Subjects of Conflicting Opinion The Text Interpretation
Clavichord or Harpsichord Bach's Clavichord Playing Emotional Element in Bach's Fugues Clavichord or Piano Interpretation How to Interpret Polyphonic Music on the Piano Interpretation Regarded from the
Standpoint of Style Analysis of the Right Foundations for Phrasing
Tempo Legato Staccato Use of Pedal Time Variations Interpretation
of Bach's Ornaments Conclusion. IV. Educational Editions of Piano
Classics. Modern Educational Progress in Music Some Uses of Good
Annotated Editions Objections to Annotated Editions Comparative Rank
of Piano Classics Editions of Bach's Woltempirirte-Clavier Editions of
Beethoven's Sonatas Editions of Chopin's Works Editions of Mozart,
Haydn, Schumann, Mendelssohn Curiosities of Doctrine on Piano Touch.
How Bach's Fugues should be rightly interpreted on the piano is one
which is still at issue. The various opinions on the subject already set
forth are here examined, and practical suggestions are made on many
:

aspects of this most interesting question.

" We can unreservedly recommend this book to all musical people who
are pianists." Cheltenham Examiner.
" This is a book of rare educational excellence the work of an expert
of acknowledged standing and experience, who possesses not only a very
complete knowledge of his subject, but also the faculty of expressing
himself in clear and unmistakable terms." Aberdeen Daily Journal.
" Valuable hints on phrasing." Freeman's Journal.

" A thoughtful and instructive discussion of many vexed question of

musical taste and particularly of musical execution, with a special reference to the inner mysteries whereby the piano is made to talk to you."
Scotsman.
" Without any difficulty, the author disposes of most of the cant about
touch and shows that the so-called mystery is only a matter of proper
technique. Willingly would I quote from the text, only I think it better
for the reader to get the book and go through it quietly, marking his
favourite passages for future reference." The Musical Star.
" The aid he gives to the student in search of the best annotated editions of works is invaluable." Sheffield Daily Independent.
" Deals at some length with the technique of pianoforte-playing."
Yorkshire Post.
'

PIANOFORTE.
A

25

HANDBOOK TO CHOPIN'S WORKS.

Giving a Detailed
Account of all the Compositions of Chopin. Short
Analyses for the Piano Student and Critical Quotations from the Writings of Weil-Known Musical
Authors.
By G. C. Ashton Jonson. The Whole
Forming a Complete Guide for Concert-Goers, Pianists
and Pianola-Players, also a Short Biography, Critical
Bibliography and a Chronological List of Works, etc.

Crown

8vo, cloth, gilt top, 6s.

Will be found equally useful and helpful to concert-goers, for whom it
forms a permanent analytical programme, to pianists, and to those amateurs of music who can now, owing to the pianola, pursue for the first
time a systematic and co-ordinated study of Chopin's works, a delight
hitherto denied to them owing to their inability to read or play the more
difficult

compositions.

" Here in one compact volume, is all that it is necessary to know about
Chopin and his works except by the leisured enthusiast * * * Each separate opus is placed in its proper sequence, and attached to them are brief
extracts, again from very many writings, together with Mr. Ashton
nothing has apJonson's own lucid criticisms. The task is well done
parently been left out that ought to have been put in, and never once
can our author be accused of being tedious. The book should be greatly
studied by all." Daily Chronicle.
" We would go further and welcome this carefully compiled handbook
;

in the interests of all musicians."

Daily Telegraph.

" It is obvious to us that Mr. Jonson has done exceedingly well, and it
to be hoped that the many lovers of Chopin will reward his labours by
purchasing his clever, eminently practical and highly interesting and
instructive handbook." Musical Standard.
" A most useful addition to Chopin literature in the English language."
Musical Times.
" A volume full of interest and instruction, even for those who think
they know their Chopin well already." Truth.
is

In the Press.

THE ART OF TEACHING. By J. Alfred

Johnstone. Crown

8vo, cloth.

THE NATIONAL MUSIC OF THE WORLD. By H.

F.

Chorley. Edited by H. G. Hewlett. Contains many

Musical Illustrations. New Edition with Index. Crown
8vo, cloth, 6s.

1910

The subject matter of the above volume is treated of under the divisions of Music from the East, Music from the South, Music from the
North, and Music from the West.

PIANOFOBTE.

26

TECHNICAL STUDY IN THE ART OF PIANOFORTE

PLAYING (Deppe's Principles). By C. A. EhrenWith numerous
Crown 8vo, bevelled

fechter.
tion.

Fourth Edi-

Illustrations.
cloth, 2s. 6d.

Contents : Position Arm Wrist Fingers; Touch (Tone Production);

Legato Equality of Tone Tension and Contraction Five Finger Exercises
Skips The Scale Arpeggio Chords Firm Chords High Raising of
the Arm; Melody and its Accompaniment; Connection of Firm Chords;
The Tremolo The Shake (Trill) The Pedal Fingering.
;

detailed and exhaustive exposition of Deppe's principles of the Pianoforte technic in all its features, notably with regard to touch and passage playing, showing the immense advantage to be gained by their application^ from the elementary to the higher stages of technical development.

A piano-student writes :" Most useful.

studying it. It has helped me a lot."
A

am

always rereading

and

who studied." after tins metnod, writes in an issue

Standard as follows
" I am sure many must have felt
with me that the old system of teaching was useless for the production of
a technique fit to grapple with the appalling difficulties of much of the
music of the modern romantic school of composers. Let all whom are
ambitious to overcome such difficulties attack them on the lines laid down
by C. A. Ehrenfechter, and I am convinced they will find, as I bve done,
their desires realised in a most astonishing manner."
professional musician

of the Musical

DELIVERY IN THE ART OF PIANOFORTE

Rhythm, Measure, Phrasing, Tempo.
fechter. Crown 8vo, bevelled cloth,

PLAYINXJ, On

By

C. A.

Ehren-

2s.

" Deals with rhythm, measure, phrasing and tempo as applied to pianoforte playing * * explains the difference between the subjective and objective in delivery and expresses his opinion that a performance of the born
artist must of necessity be subjective, while the wavering, undecided, and
uninspired amateur will be safest in giving an altogether objective rendering. The section with reference to accent is particularly good. There are
numerous illustrations from the works of the masters." W. H. Webbe in

The Pianist's A. B.

C.

PIANO TEACHING. Advice to Pupils and Young

By F. Le Couppey (Prof, in the Conservatory

Teachers.
of Music,
Paris, etc.) Translated from the Third French Edition
by M. A. Bierstadt. Post 8vo, cloth, 2s.

*'
Well worthy of perusal both by young teachers and pupils. The book
contains sound advice, particularly applicable to the study of Pianoforte
playing." W. H. Webbe in The Pianist's A. B. C.

AN ESSAY

on the Theory and Practice of Tuning in General,

and on Schiebler's Invention of Tuning Pianofortes
and Organs by the Metronome in Particular. Translated by A. Wehrhan. Crown 8vo, sewed, Is.

PRACTICE REGISTER
Specimen,

Id., or Is.

for

Pupil's

per 100.

Daily

Practice

PIANOFORTE.

WELL-KNOWN PIANO SOLOS. How

27

them with
By Charles

to Play,

Understanding, Expression and Effect.

W. Wilkinson. First Series. Containing 26 Articles
dealing with the Works of Sinding, Scarlatti, PaderewSchumann,
ski,
Handel, Rubinstein, Scharwenka,
Godard, Delibes, etc. Crown 8vo, Is.
Second and Third Series. Uniform with above. Each
dealing with twenty-six various pieces. Is. each.
Contents of the First Series : Sinding, Rustle of Spring. Scarlatti,
Pastorale e Capriccio. Paderewski, Minuet in G. Handel, Harmonious
Polish
Blacksmith. Rubinstein, Melody
in
F. Scharwenka,
Dance.
Schumann, Nachtstcke. Godard,
Delibes,
Mazurka.
Pizzicati
from
Sylvia. Grieg, Wedding Day at Troldhangen. Elgar, Salut d'Amour.
Paderewski, Melodie. Raff, La Fileuse. Tchaikovsky, Troika.
Godard,
Chaminade,
Moszkowski,
Berger et Bergeres.
Pierrette.
Etincelles.
Paderewski, Minuet in A Major. Grieg, Norwegian Bridal Procession.
Liszt, Regata Veneziana. Chaminade, Automne. Moszkowski, Serenata.
Lack, Valse Arabesque. Schumann, Arabeske. Chopin, Etude in G Flat.

Durand, First Valse.

Draws one's attention to the beauties in a piece, explains difficulties here

and there, draws attention to a pedal effect and any peculiarity of fingering, and generally gives all the information a professor is expected to
give to his pupils.

" Described in detail in a manner to be understood by the youngest

student, and with a charm that must ensure the popularity of the book."

Aberdeen

Daily Journal.

TECHNICAL AND THEORETICAL

28

TECHNICAL AND THEORETICAL.

HOW TO

COMPOSE.

Practical Guide to the Composition of all Works within the Lyric Form, and which
include the Valse,
Gavotte, Mazurka, Polonaise,
March, Minuet, and all Ordinary Dance Forms as also
the Nocturne, Impromptu, Berceuse, Reverie and
Similar Characteristic Pieces. By Edwin Evans,
Senior, F.B.C.O. (author of "The Relation of Tchaikovsky to Art-Questions of the Day," ct A Handbook to
;

Brahms' Works," "The Modal

Plain Chant," etc.).
With 60

Crown

Accompaniment
Musical

to

Examples.

8vo, cloth, 2s. 6d. (paper, Is. 6d. net).

This work is a store of the most valuable and practical musical

ledge, so condensed as to be of immense utility for its purpose.

know-

The plan adopted is that of gradually developing a full composition

under the reader's own observation
and of explaining to him every
feature as it occurs in such plain terms that the merest average musical
knowledge is alone required for its comprehension. The principles of
this little book aie in complete accord with those of the very highest
authorities and full indices have been provided in order to bring every
fact of its contents within instant reach. Independently of composition
whilst to the musician and
it is of special interest to the general reader
based
upon the analogy of the
student it is invaluable. This work is
taken
of the reader's knowledge
above to lyrical poetry advantage being
;

of the latter.

" A daring subject to tackle, and one that in most cases would be
better left alone. We must confess that we opened the book feeling very
sceptical but the author who is well known as one of the most thoughtful of our musical litterateurs has handled his subject in a manner that
compels our admiration. To the young musician who feels that he has
something to say, we strongly advise the immediate purchase of this
thoughtful and distinctly practical treatise. It will save him from that
loose, meandering, formless music so characteristic, unfortunately, of
many of the early works of our young composers." Aberdeen Daily
;

Journal.

EXERCISES IN VOCAL SCORE READING.

Collected from
the Works of Orlando di Lasso, Palestrina, Vittoria,
Barcroft, Redford, Peter Certon, Byrd, Gibbons, Croft,
Rogers, Boyce, etc. For Students preparing for the
By James Lyon,
R.C.O. and other Examinations.

Mus. Doc. Oxon.

4to,

paper covers,

3s.

Although there are books on vocal score reading in existence, the author
has found the exercises contained in this book taken from the works of
writers of the early contrapuntal school of the greatest possible value in
his private teaching, and he ventures to think that students preparing
for diplomas where vocal score reading is required, will welcome such a

collection as this.

TECHNICAL AND THEOBETICAL.

29

EXERCISES IN FIGURED BASS AND MELODY HARMONIZATION. By Dr. James Lyon. 4to, paper
covers, 2s.

EXAMPLES OF FOUR PART WRITING FROM FIGURED

BASSES AND GIVEN MELODIES. 4to, paper covers,
4s.

These exercises are printed in open score so as to be of use in score

"
This volume forms a key to " Exercises in Figured Bass
by the same author.
reading: tests.

THE RUDIMENTS OF GREGORIAN MUSIC. By

Burgess, F.S.A., Scot.

Crown

Francis

8vo, 6d.

Plainsong or Gregorian Music, is the generic name given to that great

system of ecclesiastical melody formulated by the primitive Church and
retained in later ages as the official chant for use during the most solemn
acts of Christian worship. As a system it represents the accumulated
knowledge of several centuries usually accounted great by those who
respect tradition and whilst its peculiar and characteristic solemnity
marks it out as an ideal form of sacred music which the modern composer
may study with profit.
" An entertaining and instructive brochure." Burton Daily Mail.
"

very clear and concise treatise."

Liverpool Daily Post.

THE ART OF MODULATION. A

Hand-book Showing at a
Glance the Modulations from one Key to any Other in
the Octave, consisting of 1,008 Modulations. For the
Use of Organists and Musical Directors. Edited by

(Jarli Zoeller.

Third Edition.

Roy. 8vo, cloth,

4a.

(paper, 2s. 6d.)

EXERCISES ON GENERAL ELEMENTARY MUSIC. A

Book for Beginners. By K. Paige. Fourth Edition,
Part I. Price 9d. Part
sewed (2 parts complete in

II.,

price

Is.

Crown

8vo,

cloth, 2s. 4d.)

Contents of Pakt I.1. Pitch. 2. Length of Sounds. 3. Time. 4. Time

and Accent. 5. Intervals. 6. Scales. 7. Transposition. 8. Syncopation. 9.
Signs and Abbreviations. 10. Notation. 11. Miscellaneous Questions and
Exercises.

Contents of Part II. 1. Triads. 2. First Inversion of a Triad. 3. Second

Inversion of a Triad.
4. Dissonances.
5. Suspensions.
6. Sequences.
7.
Cadences. 8. Dominant Sevenths, etc., etc.
" We have much praise not only for the general arrangement of the book,
but for the lucid manner in which the questions are put. The Chapters on
Time and Accent are exceedingly good, and there are some useful exercises
to accustom the pupil to transposition.
We are especially pleased, too,
with the method of writing incomplete bars, and asking the pupil to supply
the missing parts with rests also of requiring notes to be changed into
rests and rests into notes." Musical Times.
;

TECHNICAL AND TIIEOBETICAL.

30

THE STUDENT'S HELMHOLTZ.

Musical Acoustics or the

Phenomena of Sound as Connected with Music. By
John Broadhouse. With more than 100 Illustrations.

Crown

Fourth Edition.
" In

8vo, cloth, 7s. 6d.

The object of the present book

is to
*
his Preface the author says
who
can
general
view
the
subject
those
of
to
give, in one volume, a good
large
and
to
buy
a
number
of
time
read,
nor
money
neither spare
to
expensive works.' A perusal of the book justifies us in asserting that this
design is most satisfactorily carried out and it is not too much to say
that although the plan of the work excludes the possibility of minutely
dissecting every subject treated upon, any careful reader may obtain so
clear an insight into the principle of acoustics, as to enable him not only
to pass an examination but to store up a large amount of general know:

ledge upon the phenomena of sound." Musical Times.

" The Student's Helmholtz will be very useful to many musicians, to
whom much in Helmholtz's work must appear obscure. I shall recommend
the book whenever an opportunity offers itself." Dr. Rittee.

This work has been specially designed for musical students preparing
for examination.

THE ART OF MODULATING. A

the Pianoforte.
With 62 Musical Examples.
lating

at

Series of Papers on ModuBy Henry C. Banister.

Crown 8vo, limp cloth, 2s.

Moreover in writing a composition there is time to think, devise and

contrive but that which is the subject of the above work is promptness,
readiness, and quick thought under special circumstances.
;

Not only at examinations viva voce

required to pass rapidly with very
another.
"

but
little

in actual experience, is ability

" process "

from one key to

great portion of the book is taken up with analyses of the modulaemployed by the great composers in their most significant works
these are always scholarly and ingenious and certainly show how by practice wedded to adequate knowledge it may be possible to pass rapidly with
very little of what the writer calls process from one key to another."
tions

'

'

London Musical Courier.

PRONOUNCING DICTIONARY OF MUSICAL TERMS. By

Dr. Dudley Buck. Sixth Edition, with the Pronunciation
Edited and Revised by
of each Term accurately given.
A. Whittingham.

Crown

8vo, cloth, Is. (paper, 6d.)

A most valuable and useful little book to all musical people. The method
adopted for giving the correct pronunciation of each term is most concise
and

clear.

HARMONY, EASILY AND PROGRESSIVELY ARRANGED.

Presenting in a Simple Manner the Elementary Ideas as
well as the Introduction to the Study of Harmony.
With about 300 Musical Examples and Exercises. By
Paul Colberg. Crown 8vo, cloth, 2s. (paper, Is.)

August Wilhelmj says

" This work is distinguished by brevity and
clearness
I most warmly recommend it."
:

TECHNICAL AND TI1E0BETICAL.

ELEMENTARY MUSIC. A Book
Westbrook.

With

for Beginners.

Questions

Thirteenth Edition.

Crown

31

and

Vocal

8vo, cloth, Is.

By Dr.

Exercises.
Cd. (paper,

Is.)

Contents
Staff and its Clefs. 2. Notes and their Rests. 3.
1. The
Bars and Time. 4. Accidentals. 5. Keys and Scales. 6. Intervals. 7.
Musical Pitch. 8. Accent. 9. Secondary Signs. 10. Ornaments and Groups
of Notes. 11. Voices and Scores. 12. Church Modes. 13. Italian and other
Directions. 14. Foreign Note-Names. 15. Questions. 16. Vocal Exercises
" His explanations are extremely clear. The questions at the end will
be found very useful." Musical Times.
This little primer is one of the best of its kind, and forms an admirable course of preparation for the local examinations in music * * * * it
ensures, as far as a book oan, an intelligent and thorough grasp of the
elements of musical knowledge. The questions at the end of the book will
be found invaluable to teachers." Journal of Trinity College, London.
:

'

HOW TO MEMORIZE

MUSIC.

By

numerous Musical Examples.

C. F.

Kenyon.

Crown

8vo,

With

cloth,

2s.

(paper, Is.)
" Mr. Kenyon proves himself an excellent guide and indeed we know
of no other work devoted to the subject with which he has dealt so thoroughly and so successfully." Glasgow Herald.
;

" Points out the paramount importance of being able to play from
Many useful hints are given on the course of study to be
adopted." Morning Post.

memory.

" A most valuable little book of eight chapters, containing valuable

information on the art of memorising, with many illustrations." Western

Morning News.

"May do much good inducing young pianists to exert their brains

gether with their fingers." Yor kshire Post.

to-

HARMONY AND THE CLASSIFICATION OF CHORDS.

With Questions and
Vol.

1,

Exercises.
By
8vo, boards, cloth back, 5s.

Ditto, Vol. 2.

Dr.

J.

H. Lewis.

8vo, boards, cloth back, 5s.

COUNTERPOINT: A

Simple and Intelligible Treatise. Containing the most Important Rules of all Text Books, in
Catechetical Form (Forming an Answer to the Question
"What is Counterpoint?") Intended for Beginners.
By A. Livingstone Hirst. Crown 8vo, sewed, 9d.
;

THE ART OF MODULATION. A Hand-book

showing
Glance the Modulations from one Key to any Other in
the Octave, consisting of 1,008 Modulations. For the
Use of Organists and Musical Directors. Edited by
Carli Zoeller. Third Edition. Roy. 8vo, cloth, 4s.
(paper,

2s. 6d.)

TECHNICAL AND THEORETICAL.

32

THE HARMONISING OF MELODIES.

Text-Book for
Students and Beginners. By H. C. Banister. Third
Edition, with numerous Musical Examples. Crown 8vo,
limp cloth, 2s.

Chapters : Introductory, The Resources of Harmony; Harmonising with

Couplets of Common Chorda
Only, General Principles
Plan, Rhythmical Structure, Phrases, Cadences Cadences in Connection
with Modulation, Melodies in the Minor Mode Continuity, Congruity with
Words Illustrations of Harmonising the same Melody in Different Ways
with Changed Mode Florid Melodies, Unessential Notes, Different Forms
Arpeggio AcPianoforte Accompaniment to a Melody
of Harmonising
Accidentals and Chromatic Passing Notes, A Caution,
companiment

Common Chords

Summary.

MUSICAL SHORTHAND

Harmony, Counterpoint, etc., can be Written very Rapidly

and is more Legible than printed Music, with Specimens
from Bach, Handel, Chopin, Wagner, Mendelssohn,
Spohr, Mozart, etc. By Francis Taylor, 14 pages,
for Composers, Students of

12mo, sewed, 6d.

" Composers and Students of Music expend a vast amount of time in mere
painful mechanism." We have only six totally unlike signs. These from
their simplicity can be written with great rapidity, one dip of the pen
sufficing for an entire page, and the writing being as legible as possible.
Preface.

TRANSPOSITION AT SIGHT. For Students of the Organ

and Pianoforte. By H. Ernst Nichol. Third Edition,
with numerous Musical Exercises.
Is. 6d.

Crown

8vo, cloth,

(paper, Is.)

There is no need to dwell upon the usefulness or even the necessity of

transposition to the organist or the accompanist of songs. The practice of
transposing upon the lines here laid down developes the " mental ear,"
quickens the musical perception and gives ease in eight-reading as it is
evident that, if the student can transpose at sight, he will not have much
difficulty in merely playing at sight. The author has made free use of the
tonic sol-fa as well as the old notation in his many musical examples.
;

MUSICAL ANALYSIS.
H. C. Banister.

A Handbook
With Musical

for

Students.

Illustrations.

By

Crown

8vo, limp cloth, 2s.

This aeries of Papers has not been intended as a Treatise on its boundonly illustrative of the way in which students may go to

less subject

work

To work at it is much more

interesting and improving than to read Analysis already made for them.
The student should look out for beauties, even of the simpler kind, as
well as endeavour to solve recondite problems. Try and enjoy the landscape and not merely map out the country.
in the interesting process of Analysis.

" This neatly-got-up volume is indispensable to all students of music. It

at once thorough and popular, scientific and interesting, and whilst most
instructive, it is charmingly luminous." Gentleman's Journal.

is

TECHNICAL AND THEORETICAL.

THE STUDENT'S BOOK OF CHORDS. By
ham.

Crown

8vo, sewed, 6d.

The Author says A very large number

33

Pascal Need-

of music students, executive and

theoretical, have expressed to me from time to time a desire for a cheap
book, in which the chords with their inversions and resolutions are briefly
and clearly explained. To these students I dedicate this work.
:

A FIRST BOOK OF MUSIC FOR BEGINNERS, Embodying

Recent English and Continental Teaching. By Alfred
Whittingham. Sixth Thousand. Crown 8vo, sewed, 2d.
The two principal objects kept in view in writing this little book were
Thoroughness of Definition and Regular Order in the arrangement of Subjects.
It differs from all other similar works in that all the technical
terms in music are introduced in the Answers not in the Questions.

VIOLIN.

34

VIOLIN.
THE ART OF HOLDING THE VIOLIN AND BOW AS EXEMPLIFIED BY OLE BULL. His Pose and Method
proved to be based on true Anatomical Principles. By
A. B. Crosby, M.D., Professor of Anatomy.
Por-

Diagrams

trait,

and

Illustrations.

8vo,

cloth,

2s.

(paper, Is.)
Included in the above are some interesting recollections and anecdotes
of Ole Bull.

THE HISTORY OF THE VIOLIN

and other Instruments

Played on with the Bow from the Remotest Times to the
Present. Also an Account of the Principal Makers,
English and Foreign. With Coloured Frontispiece and
numerous Full-page Illustrations and Cuts. By William
Sandys, F.S.A., and Simon Andrew Forster.
390
pages, 8vo, cloth,

THE VIOLIN,

7s. 6d.

Its History

net (published at 14s.)

and Construction.

Illustrated
Together with a List

and Described from all Sources.

of Tyrolese and Italian Makers.
With Twenty-nine Illustrations and Folding Example of the First Music
Issued for the Lute, Viol and Voice. From the German,
of Abele and Niederheitman.
By John Broadhouse.

Crown

8vo, cloth, 2s.

" The learned and instructive treatise of Abele, skilfully rendered by
J. Broadhouse and supplemented by a version of Niederheitmann's list of
Italian and Tyrolese violin makers, a compilation invaluable to collectors
and connoisseurs of rare fiddles * * * a work wh*ich forms a noteworthy
addition to the small number of English books upon this interestingsubject."

Scotsman.

The importance of this work has been long recognised on the Continent,
where it is eagerly sought for at a high price. The above is a full translation, special attention

has been given to a proper rendering of technical

portions.

INFORMATION FOR PLAYERS,

Dealers and
Makers of Bow Instruments, Also for String Manufacturers. Taken from Personal Experiences, Studies
and Observations. By William Hepworth. With Illustrations of Stainer and Guarnerius Violins and Guage
of Millimetres and Centimetres, etc.
Crow" 8vo, cloth,

Owners,

2s. 6d.

NeckFingerboardBridgeTail-Piece SaddleViolin Holder Tail pin Bar Sound Post On the Stringing of Bow In
etrument8 in General Use Strings Rosin Cleaning of the Instrument and
the Bridge Bow Violin Ca6e Repairs Preservation Conclusion.
Contents

The

Pegs

VIOLIN.

35

TECHNICS OF VIOLIN PLAYING.

By Karl Courvoisier.

With

Tenth Edition.

Illustrations.

Cloth,

6d.

2s.

(paper, Is.)
"

my

It is

players."

opinion that this book will offer material aid to all violin

Joachim.

" As far as words, aided by diagrams, can make clear so practical a

subject as the playing of a musical instrument, this little book leaves
nothing to be desired. The author, who was a pupil of Joachim, has
treated the subject in a most thorough manner, and we can highly recom-

mend

his little

book." Educational Times.

" Illustrated in the

Graphic.

clearest

possible

manner,

by

really

admirable

drawings."

" Courvoisier, a pupil of Joachim, has aimed at presenting an exposition

of the methods of that great master, in which attempt he has, according
to Herr Joachim's own explicit declaration, been very successful."

Scotsman.
" A most thorough exposition of everything connected with this
instrument." Schoolmaster.

difficult

TREATISE ON THE STRUCTURE AND PRESERVATION

OF THE VIOLIN and all other Bow Instruments. Together with an Account of the most Celebrated Makers
and of the Genuine Characteristics of their Instruments.
By J. A. Otto, with Additions by J. Bishop. With
Diagrams and Plates. Fourth Edition, further En-

Crown

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8vo, cloth, 3s.

Contains instructions for the repair, preservation and bringing out the
tone of instruments tracing model for violin, mutes and fiddle holders
list of classical works for stringed instruments.
This work is especially
valuable for makers of violins.
;

HOW TO
Violin.

PLAY THE FIDDLE. For Beginners on the

By H. W. and G. Gresswell. Eighth Edition.

Crown

8vo, cloth, 2s. (paper, Is.)

Joachim says
" Contains many useful hints about violin playing."
Contents :^General and Introductory On Teaching the Violin On Instruction Books On Practice Relating to the Purchase of a Violin Importance of Buying a Good One How to Set about Securing a good Violin
The Merits of Old Fiddles, Age and Use The Testing or Making Trial
of a Fiddle Preservation and Repair of Violins General and Historical
:

Short

History of Some Celebrated Violin Makers The Sound Bar and the Sound Post The Bridge
A Few Words on the Pegs, Mute, Resin and FingerboardThe Strings
The Mode of Stringing The Bow Bowing The Method of Tuning the
Violin Some Rules to be Observed in Playing Double Stopping Harmonics Remarks on the Shift The Shake On Playing with an Accompaniment Concluding Observations.
" We can cordially recommend this clever little work to all who are
studying the violin." Graphic:

Few Short Remarks

of a General Character

FACTS ABOUT FIDDLES.

Broadhouse.

Violins Old and New, By J

Fourth Edition. Crown 8vo sewed, d;

30

VIOLIN.

OF THE VIOLIN FAMILY.

By K.
Schlesinger. Many illustrations. 8vo, cloth. In the

PRECURSORS
Press.

VIOLIN MANUFACTURE IN ITALY and its German Origin.

By Dr. E. Schebek. Translated by W. E. Lawson.
Second Edition.

HOW TO

Square 12mo, sewed,

REPAIR VIOLINS and

By Alfred
boards,

SKETCHES

F.

Is.

other Musical Instruments.

Common.

With Diagrams.

GREAT

VIOLINISTS

Crown

8vo,

Is.

OF

PIANISTS.

AND

GREAT

See " Biographical Section."

LIFE OF STRADIVARIUS.

See "Biographical Section."

BIOGRAPHICAL DICTIONARY OF FIDDLERS.

See 'Bio-

graphical Section."

THE VIOLIN AND STRING WORLD.

ation of

ments.

"The

Violin Times.")
Annual Subscription 2s.

Monthly

ContinuWith Portrait Supple6d. (Abroad 3s.)

(in

HOW TO MAKE

A VIOLIN, Practically Treated. By J.

Broadhouse. New and Revised Edition. With 47 Illustrations and Folding Plates and many Diagrams,
Figures, etc. Crown 8vo, bevelled cloth, 3s. 6d.

Introduction The Parts of the Violin-~On the Selection of

Tool Required The Models The Mould The Side-pieces and
Side Linings The Back Of the Belly The Thickness of the Back and
Belly The Bass Bar The Purfling The Neck The Finger-Board The
Nut and String Guard Varnishing and Polishing Varnishes and Colouring Matter The Varnish A Mathematical Method of Constructing the
Outline The Remaining Accessories of the Violin.
Contents

Wood The

VOCAL.

37

VOCAL.
PHYSICAL DEVELOPMENT IN RELATION TO PERFECT
VOICE PRODUCTION. By H. Travers Adams, B.A.
8vo, sewed, 2s. net.
This work is especially intended for students and is divided into sections,
such as Vibration, Breaks and Registers, The Speaking Voice, Attack,
Practical Application, Breathing, Inspiration, Final Exercise in InspiraExpiration, Active or Forced Inspiration, Completion of Breathing,
Practice of Sounds, Placing, Classification of Voices.

tion,

OBSERVATIONS ON THE FLORID SONG.

Or Sentiments

on the Ancient and Modern Singers. By P. F. Tosi.

Translated by Mr. Galliard. With folding Musical
Examples. 184 pages. A Reprint of this Celebrated
Book, first published in 1743. Crown 8vo, boards with
vellum-like back, price 5s. (pub. 10s).
Recommended to all Students of the Italian Method
late Charles

of

Singing by the

Lunn.

" The readers of the Etude have frequently been treated to quotations
from this remarkable work. To the teacher and student of singing it has
a peculiar message. It stands for all that is sound and final in the philosophy of singing and shows that the aesthetics and morals of the art are
changeless. Those who need a healthful mental stimulus should read this
reprint of a work that represents the best thought and practice of the
old Italian singers and singing masters." The Etude.
" It is a practical treatise on singing in which the aged teacher embodies his own experience and that of his contemporaries at a time when
the art was probably more thoroughly taught than it has ever been since.
Many of its remarks would still be highly useful." Grove's Dictionary of
Music and Musicians.

Les principes de l'ancienne et belle ecole du chant italien sont exposes

dans cet ouvrage avec Clarte et sont accompagnes d'observations qui demontrent que Tosi fut un grand maitre dans cet art. Galliard a donne une
traduction anglaise de ce livre accompagne de notes, laquelle Burney
accorde des Eloges, et que Hawkins critique amarement. Fetis, Biographie
des Musiciens.

" The treatise of Tosi is altogether practical and contains a great number
of particulars respecting the management of the voice, and the method of
singing with grace and eloquence. Moreover it contains short memoirs
and general characters of the most celebrated singers, male and female,
of the author's time. Tosi was not only a very fine singer, etc." Dictionary of Musicians, 1827.

CATECHISM OF PART SINGING. And

By John Hiles.
sewed, price

Third

the Choral Services;

Edition. Thick post 8vo,

Is.

Advice to singers on every point of interest in reference to the vocal

organs.

VOCAL EXERCISES FOR CHOIRS AND SCHOOLS. By

Westbrook.

Post 8vo, sewed, 2d.

Dr.

VOCAL.

38

TWELVE LESSONS ON BREATHING AND BREATH CONTROL.

For Singers, Speakers and Teachers.

E. Thorp. Crown 8vo, limp cloth, Is.

By Geo.

TWENTY LESSONS ON THE DEVELOPMENT OF THE

VOICE.

By

For Singers, Speakers and Teachers.

Geo. E. Thorp. Crown 8vo, limp cloth, Is.

Mr. Thorp's two books have from time to time been recommended by
various eminent vocal specialists as giving practical aid and advice for
the training, care and development of the voice. They are free from any
biased " system " or " discovery."

TREATISE ON THE TRAINING OF BOY'S VOICES.

With

Examples and Exercises and Chapters on Choir-Organization.

Compiled for the Use of Choirmasters. By
George T. Fleming. Crown 8vo, cloth, 2s.

GRADUATED

COURSE

CHORISTERS.

OF

EXERCISES

FOR

BOY

With

Accompaniment.
Pianoforte
For Use in Conjunction with Above.
By G. T.
Fleming. 4to, album, sewed, Is.
Ditto, Boy's Voice Part only, 6d.

50

MUSICAL HINTS TO CLERGYMEN.

Management
Management

of

of
Breath, Classification of Male Voices,
specially
written
twenty
the Voice, The Service. With
By Geo. F. Grover. Crown 8vo, sewed, Is.
Exercises.

SOME FAMOUS SONGS. An

F. R. Ritter.

Art Historical Sketch.

By

8vo, sewed, Is.

HOW TO MANAGE
Mus. Bac.

A CHORAL SOCIETY. By N. Kilburn,

Third Edition, Revised. Crown 8vo, sewed,

6d.

HOW TO

SING AN ENGLISH BALLAD. By E. Philp,

Seventh Edition. Crown 8vo, sewed, 6d.

"
lie

It would be difficult to find a casket of brighter gems than those which

within the cover of this little work."Illustrated London News.

RUDIMENTS OF VOCAL MUSIC. With

42 Preparatory

Exercises, Rounds and Songs in the Treble Clef. By

T. Mee Pattison. Second Edition. Post 8vo, sewed, 4d.

VOICE PRODUCTION AND VOWEL ENUNCIATION. By

F. F. Mewburn Levien. Diagrams by Arthur C. Behrend.

Post 8vo, sewed, 6d.

WAGNEB.

39

WAGNER.
JUDAISM AND MUSIC. By Richard Wagner. In the Press.
THREE IMPRESSIONS OF BAYREUTH. The 1908 and
Previous Wagner Festivals. By Rose Koenig. With
Two Facsimile Programmes. Crown 8vo, cloth, 2s. net
(paper,

Is.

net).

" Entertaining and agreeable reading, as recording the impressions of a

musical and susceptible hearer." Yorkshire Post.

HOW TO UNDERSTAND WAGNERS

"

RING OF THE

NIBELUNG."

Being the Story and a Descriptive Analysis of the "Rheingold," the "Valkyr," "Siegfried"
and the " Dusk of the Gods." With a number of MusiBy Gustave Kobbe. Sixth Edition.
cal Examples.
Post 8vo, bevelled cloth, gilt top, 3s. 6d.
To be appreciated
advance.

in

the

snallest

way Wagner must be

studied

in

WAGNER.

"Der Ring des Nibelungen." Being the story

concisely told of "Das Rheingold," "Die Walkre,"
"Siegfried" and "Gtterdmmerung." By N. Kilburn.

Crown

8vo, sewed, 9d. net.

WAGNER. A
burn.

WAGNER'S "PARSIFAL."
haus.

By N. Kil-

Sketch of his Life and Works.

Sewed, 6d.

By N. Kilburn.

BEETHOVEN.

And the Bayreuth

Crown

Fest-Spiel-

8vo, sewed, 6d.

By Richard Wagner. See " Biographical

"

tral Section."

ON CONDUCTING. By Richard Wagner.

See "Orches-

tral" Section.

WAGNER.

See "Makers of Music." (" Biographical Sect.")

See " Mezzotints in Modern Music." (^Esthetics,
etc.,

Section.)

MISCELLANEOUS.

40

MANUSCRIPT MUSIC PAPER.

*

12 Staves.

(a)

Roy. 8vo (10 by

Ruled even (120

6).

sheets), the lot 2s. 6d.

This

is

pre-eminently the Musical Students' Paper, as

smooth and easy to write upon each sheet, too,

quantity of matter. There is no paper better suited
Counterpoint and Harmony.
able,

(b)

12

Staves.

Oblong

folio

(14

by

it is light, portwill hold a large

for

Exercises

on

Ruled

in

10).

groups of 3 Staves for Organ Music.

(120 sheets), the lot 5s.
of the same size as ordinary oblong

The paper is
Arrangements,

e.g., Best's

(c)

folio,

5 quires

Organ Music,

etc.

12 Staves. Folio music size ruled in threes (10 by

5 quires (120 sheets), the lot, 5s.
14).

Exactly the same in size as ordinary folio printed music so that upon it
Songs or Organ Pieces may be written just as they are to be printed. It
is a very useful paper, as Manuscript music written on it can be bound
with Printed Music.
(d)

12 Staves.

(f)

(g)
(h)

size (11

by

9*).

5 quires (120

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(e)

Quarto

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Oblong quarto

(9J
(120 sheets), the lot 3s. 6d.

by llf).

5 quires

12 Staves. Folio music size, ruled even (10 by 14).

5 quires (120 sheets), the lot 5s.
12 Staves. Folio music size, full score, 24 staves
5 quires (120 sheets), the lot 5s.
(10 by 14).
14 Staves. Quarto size (11 by 9J). 5 quires (120
sheets), the lot 3s. Gd.

CHOIR ATTENDANCE REGISTER.

No.

1.

No.

2.

No.

3.

Ruled for a Choir of 20 or less for One Year,

beginning at any date. Is. 6d.
Ruled for a Choir of 40 or less, for One Year,
beginning at any date. 2s.
Ruled for a Choir of 60 or less, for One Year,
beginning at any date. 2s. 6d.

CHOIR LISTS FOR SUNDAY SERVICES.

No.
No.

1.

No.

3.

Morn, and Even. Printed in Red. Is. 4d. per 100.

Morning, Afternoon and Evening. Printed in
Red. Is. 6d. per 100.
Morning and Evening. Printed in Red and

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Morn, and Even. Printed in Red.

2.

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No.

Is. 8d.

Is. 4d.

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