Other orchestras give performances, readings, approximations; the
Meiningen orchestra gives an interpretation, that is, the thing itself.
When this orchestra plays a piece of music every note lives, and not, as
with most orchestras, every particularly significant note. Brahms is
sometimes dull, but he is never dull when these people play him;
Schubert is sometimes tame, but not when they play him. What they do is
precisely to put vitality into even those parts of a composition in
which it is scarcely present, or scarcely realisable; and that is a much
more difficult thing, and really a more important thing, for the proper
appreciation of music, than the heightening of what is already fine, and
obviously fine in itself. And this particular quality of interpretation
has its value too as criticism. For, while it gives the utmost value to
what is implicitly there, there at least in embryo, it cannot create out
of nothing; it cannot make insincere work sincere, or fill empty work
with meaning which never could have belonged to it. Brahms, at his
moments of least vitality, comes into a new vigour of life; but Strauss,
played by these sincere, precise, thoughtful musicians shows, as he
never could show otherwise, the distance at which his lively spectre
stands from life. When I heard the "Don Juan," which I had heard twice
before, and liked less the second time than the first, I realised
finally the whole strain, pretence, and emptiness of the thing. Played
with this earnest attention to the meaning of every note, it was like a
trivial drama when Duse acts it; it went to pieces through being taken
at its own word. It was as if a threadbare piece of stuff were held up
to the full sunlight; you saw every stitch that was wanting.
The "Don Juan" was followed by the Entr'acte and Ballet music from
"Rosamunde," and here the same sunlight was no longer criticism, but
rather an illumination. I have never heard any music more beautifully
played. I could only think of the piano playing of Pachmann. The faint,
delicate music just came into existence, breathed a little, and was
gone. Here for once was an orchestra which could literally be overheard.
The overture to the "Meistersinger" followed, and here, for the first
time, I got, quite flawless and uncontradictory, the two impressions
which that piece presents to one simultaneously. I heard the unimpeded
march forward, and I distinguished at the same time every delicate
impediment thronging the way. Some renderings give you a sense of
solidity and straightforward movement; others of the elaborate and
various life which informs this so solid structure. Here one got the
complete thing, completely rendered.
I could not say the same of the rendering of the overture to "Tristan."
Here the notes, all that was so to speak merely musical in the music,
were given their just expression; but the something more, the vast heave
and throb of the music, was not there. It was "classical" rendering of
what is certainly not "classical" music. Hear that overture as Richter
gives it, and you will realise just where the Meiningen orchestra is
lacking. It has the kind of energy which is required to render
Beethoven's multitudinous energy, or the energy which can be heavy and
cloudy in Brahms, or like overpowering light in Bach, or, in Wagner
himself, an energy which works within known limits, as in the overture
to the "Meistersinger." But that wholly new, and somewhat feverish,
overwhelming quality which we find in the music of "Tristan" meets with
something less than the due response. It is a quality which people used
to say was not musical at all, a quality which does not appeal certainly
to the musical sense alone: for the rendering of that we must go to
Richter.
Otherwise, in that third concert it would he difficult to say whether
Schumann, Brahms, Mozart, or Beethoven was the better rendered. Perhaps
one might choose Mozart for pure pleasure. It was the "Serenade" for
wind instruments, and it seemed, played thus perfectly, the most
delightful music in the world. The music of Mozart is, no doubt, the
most beautiful music in the world. When I heard the serenade I thought
of Coventry Patmore's epithet, actually used, I think, about Mozart:
"glittering peace." Schumann, Brahms, Wagner, and Beethoven all seemed
for the moment to lose a little of their light under this pure and
tranquil and unwavering "glitter." I hope I shall never hear the
"Serenade" again, for I shall never hear it played as these particular
players played it.
The Meiningen orchestra is famous for its wind, and when, at the first
concert, I heard Beethoven's Rondino for wind instruments, it seemed to
me that I was hearing brass for the first time as I had imagined brass
ought to sound. Here was, not so much a new thing which one had never
thought possible, as that precise thing which one's ears had expected,
and waited for, and never heard. One quite miraculous thing these wind
players certainly did, in common, however, with the whole orchestra. And
that was to give an effect of distance, as if the sound came actually
from beyond the walls. I noticed it first in the overture to "Leonore,"
the first piece which they played; an unparalleled effect and one of
surprising beauty.
Another matter for which the Meiningen orchestra is famous is its
interpretation of the works of Brahms. At each concert some fine music
of Brahms was given finely, but it was not until the fourth concert that
I realised, on hearing the third Symphony, everything of which Brahms
was capable. It may be that a more profound acquaintance with his music
would lead me to add other things to this thing as the finest music
which he ever wrote; but the third Symphony certainly revealed to me,
not altogether a new, but a complete Brahms. It had all his intellect
and something more; thought had taken fire, and become a kind of
passion.