in New York, on February 15, 1902. It had not been adequately rehearsed
although the principal singers--M. Bandrowsky (Manru), Mme. Sembrich
(Ulana), Miss Fritzi Scheff (Asa), Mr. David Bispham (Urok) and Herr
Muhlmann (Oros)--seem to have done their work well enough. Opinions as
to the merits of the opera were divided. The libretto was blamed for its
weaknesses, and Paderewski's Wagnerisms were duly impaled. After a third
performance, Mr. H. T. Finck was of opinion that "Manru" gained by being
heard repeatedly "While some of its melodies are so catchy that they can
be remembered at once, the orchestra score grows more and more
beautiful, and what is particularly odd is that the reminiscences of
other composers become less noticeable." The composer himself had a good
deal to say to an interviewer of the _New York Herald_ on this question
of reminiscences in his opera.
"In music absolute originality does not exist. It is the temperament of
the composer that makes his work. In method one cannot help but follow
those who have gone before. When a great genius like Wagner introduces a
method that will give better expression to an idea it is not only not a
sin to follow it, but it is a duty to follow it. In employing such a
method it concerns not so much the idea as its treatment in a musical
way. A piece of music must be built like a house or a church. You would
not accuse an architect of being a copyist if he put windows in a house,
would you? And yet he is merely doing what others have done. Likewise
when you read the works of the great poets, you would not accuse
Browning or Longfellow of plagiarism if they used the same style of
verse as some one else? Their thoughts you would consider and not so
much their method. Music, you see, is different from poetry. It appeals
to the ears. A sound, or a combination of sounds in a work that only
have to do with the method, may remind one of some other music, and the
whole is set down as not original. Let us look at the prelude to the
third Act in 'Manru.' That has been criticised. There is one run, a
little run, that reminds one of 'Die Walküre.' I knew it. I tried to
avoid it, but could not. Others heard it and they talk of the suggestion
from 'Die Walküre.' Yet the first theme is not the same. The second
theme is not the same, the orchestration is not the same. I defy any one
to show that anything except this one little run is borrowed. Yet for
this detail of method the prelude is condemned. If I were to make an
analysis, I could show a likeness in method among the greatest of
composers. For instance, look at Schumann's Concerto in A minor. The
first theme is taken almost wholly in method from Mendelssohn. And
Wagner, in his first period and even well into the second period, is not
entirely original. One may easily find the influence of Weber and then
of Meyerbeer. Beethoven was not free from the influence of other
masters, for, in his works, we often find the suggestion of Mozart. And
witness also the first concerto of Chopin. Is it not suggestive very
strongly of Hummel? And 'Carmen.' Can we not find here an enormous
influence exerted by Gounod? And it not only reminds you of Gounod, but
some of the themes, as sung, are taken wholly from Spanish music. The
'Habanero' is not even Bizet's, but in all the scores that are published
is shown to be taken from a composer who was alive when the opera was
written."
The composer made out a good case, but he forgot that, as Weingartner
once pointed out, the most subtle form of musical imitation is that of
mood and style, and not necessarily of themes. However, "Manru" contains
sufficient originality to make the musical world look forward with
interest to the production of the new opera on which Paderewski has been
engaged. I had hoped that it would have been possible to round off this
estimate of the pianist as composer by a consideration of a symphony at
which he has been working. It was to have been performed at one of the
concerts of the London Symphony Orchestra this season, but it was not
ready in time. This work together with the new opera, will enable the
musical world to come to a definite conclusion as to the place
Paderewski will occupy as a composer.
End of Project Gutenberg's Ignaz Jan Paderewski, by Edward Algernon Baughan