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Observations on the term, “ Playing at Sight.”

nomenon, unless where the music was of the easy kind and written in the prevailing taste of the day; or perhaps, to speak more clearly, every-day music. I am aware that the man who has to support the title of a performer at sight displays all the hardihood of one sure of his object. But let us remember that it is the author whom he ought to satisfy, and not the hearers who are ignorant of the true character and expression of a work, the execution of which they believe to be ably accomplished merely because it is boldly got through."

We will adduce a few examples to show how apprehensive some great virtuosi have been lest they should commit themselves by playing at first sight, aware how much more forcibly great names speak than mere dry precepts.

The violinist, Lamotte, was an able performer at sight. With the view of putting his skill to the test, the celebrated Jarnowick proposed that they should play a concerted piece together. "Agreed," said Lamotte, "provided you will allow me to make you a proposal in return. It is, to bring me afterwards a concerto of your composition, and I will produce one of mine; we will make an interchange, you shall perform mine and I yours." Jarnowick no doubt found the proposal rather hazardous for he declined accepting it.

It

The celebrated singer, Garat, is another example. He was the pupil of nature, and perfected the gifts he had received from her by assiduous and unremitting application. Yet, with all his abilities, he was never able to sing a single bar at sight; and happy, perhaps, it was for the art that he never attained this mechanical capability. is true he was obliged to labor, and yet when once he had become thoroughly penetrated with the spirit and character of a composition, his expression was even more forcible than the feeling of the author in the very moment of inspiration. Few artists have yet appeared to rival his admirable manner of singing compositions of every kind and in every style. “I allow," observed some one to the great Sacchini, "that Garat sings well, but then he does not know music." "Sir, he is music itself," was the reply of this fine composer. The celebrated Italian singer, Viganoni, was also once heard to say of Garat, "This Frenchman possesses a more original taste than the Italians themselves."

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The author of these remarks once heard an expression from Garat, which struck him very forcibly. Others," said he, "attain the song by means of the notes, but I attain the notes by means of the song.' These remarkable words might furnish an admirable text for some useful remarks on the true art of singing. In a word, with respect to Garat, he was all instinct for music. When he sang, so completely did he conquer all difficulties as regarded the notes, that he stamped every composition with its true character, and astonished even the composer himself by the delicate shades of feeling and sentiment which he had the happy art of imparting to it.

Sebastian Bach used to call those performers at sight who never

hesitated to play off whatever was placed before them, whatever its difficulties might be, hussars of the harpsichord.

By the way, the mention of the name of this great composer recalls to my mind an anecdote relative to him, which bears immediately upon the subject before us, and which, if our note-grinders, of whatever description they may be, are at all capable of reflection, will afford them ample room for exercising it.

"Sebastian Bach," says Dr. Forkel, "had such an admirable facility in reading and executing the compositions of others (which, indeed, were all easier than his own), that he once said to an acquaintance, while he lived at Weimar, that he really believed he could play every thing at first sight without hesitating. He was, however, mistaken, and the friend to whom he had thus expressed his opinion, convinced him of it before a week had elapsed. He invited him to breakfast, and upon the desk of his Instrument laid, among other pieces, one which at the first glance appeared to be very trifling. Bach came, and, according to his custom, went immediately to the instrument, partly to play and partly to look over the music that appeared on the desk. While he was turning over and performing what was laid there, his friend went into the next room to prepare breakfast. In a few minutes Bach got to the piece which was destined to make him change his opinion and began to play it. But he had not proceeded far when he came to a passage at which he stopped. He looked at it, began anew, and again stopped at the same notes. 'No,' cried he to his friend, who was laughing to himself in the next room, and at the same time going away from the instrument, 'No! one cannot play every thing at first sight; it is not possible!"" Musical World.

ON SOLEMNITY IN MUSIC

TRANSLATED FROM THE GERMAN.

The idea of solemnity is nearly synonymous with that of elevation; for it also refers to the elevation of our mind to the highest object which it is able to conceive. The expression is therefore derived from our religious worship, which always must have the character of solemnity, and which, therefore, generally is called upon, where that character is intended to be stamped upon any important event, such as processions, festivals, and so forth.

Every thing which gives our mind a serious and elevating disposition, is therefore generally called solemn. It is not utterly necessary, that complete silence should accompany it; even very noisy events may be very solemn; for instance, the chime of bells, only they must not divert the mind, but must direct it in all its energy and life to the object of the solemnity. From this reason, those philosophers

1

who, in their doctrine of æsthetics, did not admit the idea of solemnity in music at all, have found much opposition. The silence of night, or the perfect quiet, which they state to be a prominent characteristic, has certainly something very solemn, but it is only a vigorous means, to put the mind into a disposition corresponding to solemnity; but it is not in itself, solemnity.

Solemn music, therefore, where it can be done, makes use of such means as these; its melody likes to float, if possible, in soft and less penetrating lower notes, as for instance, in the choral; but music may be solemn, even where this is not the case; if it only elevates the mind and gives it a serious disposition. This will be done, if it observes great simplicity of melody and harmony, without either being very predominant, if it moves in slow time and in long, well-connected rhythms. Thus, the second piece in Bethoven's symphonia Eroica, the first finale of Mozart's opera of Titus, the chorus " God of Israel," in Mehul's opera of Joseph, are all specimens of true solemnity. Generally, however, the character of quiet, of soft sweet tones is combined with it, as for instance, in the Agnus Dei in Mozart's Requiem, in the chorus of the priests in his "Magic Flute," in the choruses of the priestesses of Vesta in Spontini's opera (in this latter the character of solemnity is almost entirely superseded by that of mere sweetness, on account of the very perceptible predominance of the melody) in the chorus at the sacrifice of the priestesses in Gluck's "Iphigenia." The effect of truly solemn music on the mind is nearly the same as that of elevated or sublime music; it leads to the idea of the infinite-to God.

CONCERTS.

We are obliged to postpone our Concert Report from want of room, for which we are the more sorry since we had several Concerts of uncommon interest; and we shall have to refer again in particular to the last concert of the Academy of Music, which most brilliantly closed their season, and to that of Mr. Paggi, who developed a power on that most difficult instrument, the Oboe, of which but few amateurs among us have had any idea hitherto.

THE MUSICAL MAGAZINE.

NO. LX.

BOSTON, SATURDAY, APRIL 24, 1841.

Hints upon a Rational Method of Instruction for Teachers of Music generally, with special Application to the Piano Forte, by Conrad Berg.

[TRANSLATED FROM THE GERMAN FOR THE MUSICAL MAGAZINE.]

THE

[Concluded from page 106.]

$7. Choice of the Music.

proper choice of music to be played by the pupil, is a matter of the first importance. It contributes so very materially to the correct and quick development of all his capacities, that the greatest care should be taken in it. But in this very matter the teacher has often to encounter the more difficulties the more seriously he has the benefit of his pupil at heart. The purchase of music is an expensive affair, and those compositions which are too exclusively conformed to the taste of a particular period, usually have, after a little time, no longer any value and are then not much better than waste paper.

Not all parents are able to purchase for their children all the music that is necessary for their instruction. It is desirable, that the teacher should provide himself with such works as are needed for instruction rather than for exhibition. Not that he should furnish himself with all the works necessary for instruction; in order to dimin

ish the difficulty on the part of the scholar-a correct feeling will easily ascertain the proper limits; but it is better that the teacher should sometimes suffer a small sacrifice than that, for the want of a good piece of music he should slight a several months' course of instruction, or even sometimes entirely fail in it.

But what music should be selected? It again is a fault to select exclusively certain favorite authors, and to attempt in all cases to adapt these as a universal model. The wants of each individual scholar must determine what species is the best adapted to him. What developments are in general to be made? The answer is, musical apprehension, feeling, and facility of mechanism. What is the most important point in musical apprehension? Readiness in reading, analyzing, and arranging.

What is the most important point in feeling? TIME, unquestionably.

What in mechanical facility? A dexterous use of the fingers, exclusively.

In all music composed for the pianos we may distinguish two varieties: 1. The musical, by which I mean that species where the use of the fingers is less concerned than a correct feeling; 2. The bravura species, that is to say, the music in which, whether it be easy or difficult, there is less depending upon musical feeling than upon a dexterous fingering.

In these remarks, however, I will not say, that the two species are to be entirely separated. There are compositions where both are combined in the most beautiful harmony. An excellent example of this sort is found, for instance, in Hummel. Still, on an average, every composer approaches, at one time more and at another less, the one or the other species.

I should think that one would always select for scholars that species of music in which they most show their weakness, without entirely neglecting the other variety. But in that kind of music which is rather easy to him, it is a matter of course that he should make progress of his own accord without a great deal of foreign assistance, while in others he must necessarily be led to proficiency.

In the case of scholars, whose perception of time is imperfect, the teacher should especially choose music with an accompaniment, that is to say, if he himself plays an accompanying instrument: In the case of those who have a clumsy, heavy manner of playing, the bravura pieces are to be preferred. In the case of others who are in a