The third essential is a faithful reproduction of all the dynamic effects marked by the composer, as well as all the varieties in tempo such as ritards, calando passages, accelerandos, etc., etc.; beyond this may be again mentioned the different varieties of tone, the playing of certain passages on one string in preference to another, artificial shifting for the purpose of a correct phrasing, the increasing or retarding of the tempo other than marked by the composer; these latter liberties are only applicable to compositions of the lyric or romantic type, in the delivery of which it is needful to introduce the emotional element, and are not intended to be introduced in compositions which depend solely or chiefly on rhythm for their effect. Under the latter head may be classed mazurkas, tarantelles, etc., and nearly all dance movements, except those of the sentimental type.
The fugue also comes under the same head, it is possible to express rhythm in musical notation but not emotion, and it must be remembered that the fugue is the outcome of a highly trained intellect, and not the outcome of inspiration in its independent sense. The fugue is really "paper" music, it is possible to write more than could possibly be imagined, this also applies in some degree to pieces of a highly contrapuntal nature. In concluding this part of our subject it may be recommended to the player to learn to anticipate effects—to hear in advance that which he is about to play. "Expression is the manifestation of impression," if the performer is not sensitive to the generating causes of expression—if these make no impression on him, it will be impossible for him to feel what he is playing, this system of reading in advance allows the performer to thoroughly grasp the musical phrase, and to give it a sensible intelligent treatment. In playing at sight, or in the performance of concerted music, this is of great importance.
The foregoing remarks on individuality of interpretation do not apply to the performance of concerted music; in playing trios, quartets, and especially in orchestral work the performers must sink their own individuality, for the sake of the general effect: in orchestral playing, purity of intonation, a strict and decided division of the notes, and especially in large orchestras, what may be termed an exaggerated interpretation of the dynamics, must form the basis. All artificial shifting must be dispensed with, gliding along the strings must also not be indulged in, except in some unison passages where all the players can decide to finger the passage in the same manner; passages marked "piano" must be played throughout "piano," and not as in solo work, be varied by slight crescendos, etc., according as the passage rises or falls, etc. The reader will readily understand that a theme played pianissimo by a half-dozen 'cellos will have an entirely different effect than the same theme played by one instrument, even if the same body of tone is produced. A number of instruments playing in unison impart a grandeur to a passage which is quite characteristic; it must be remembered that composers have this effect in their minds when writing for strings in the orchestra. The conception of the work and its manner of delivery rests entirely with the conductor, each player for the time being must accept his reading, and be as subservient to the will of the conductor as are the keys of a pianoforte to the fingers of the musician.
In concluding it is as well to remember that we are not all constituted alike; some are born to be leaders, they have will, individuality, originality; others are more fit to be lead, they can accomplish much under the guidance of some master mind, but if left to themselves are utterly useless.
To place a fine solo player in an orchestra would be equal to compelling the general of an army to serve in the line. The reverse is not always the case, there are many who although brilliant and successful in the orchestra are useless for any other branch of playing. Let each one perfect himself in the branch of art for which he is most suited; exactly as it is impossible for a musician to be "master" of more than one instrument, so it is impossible to arrive at perfection in every branch of music. There are many fine solo players who have had long experience with the orchestra, but they have been soloists in spite of this.
The End.
TENTH YEAR OF ISSUE.
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