COPYRIGHT r9M, BY Alt r ignis resefved PRINTED Itf THK UNITED
SXATSfl OF AMERICA To my Father Contents PAGE Music AND BAD MANNERS
11 Music FOR THE MOVIES 4 SPAIN AND Music t SHALL WE REALIZE
WAGNERS IDEALS 165 THE BRIDGE BURNERS 169 A NEW PRINCIPLE IN Music
217 LEO ORNSTEIN Music and Bad Manners Music and Bad Manners
SINGERS, musicians of all kinds, are notori ously bad mannered. The
storms of the Titan, Beethoven, the petty malevolences of Richard
Wagner, the weak sulkiness of Chopin Chopin in displeasure was
appalling, writes George Sand, and as with me he always con trolled
himself it was as if he might die of suffoca tion have all been
recalled in their proper places in biographies and in fiction but
no attempt has been made heretofore, so far as I am aware, to lump
similar anecdotes together under the some what castigating title I
have chosen to head this article. Nor is it alone the performer who
gives exhibitions of bad manners. As a matter of fact, once an
artist reaches the platform he is on his mettle, at his best. At
home he or she may be ruthless in his passionate display of floods
of temperament, I have seen a soprano throw a pork roast on the
floor at dinner, the day before a performance of Wagners consecra
tional festival play, with the shrill explanation, Pork before
Parsifal On the street he may shatter the clouds with his
lightnings as, indeed, Beethoven is said to have done but on the
stage he becomes, as a rule, a superhuman being, an in Music and
Bad Manners terpreter, a mere virtuoso. Of course, there are
exceptions. Audiences, as well, may be relied upon to behave badly
on occasion. An auditor is not necessarily at his best in the
concert hall. He may have had abad dinner, or quarrelled with his
wife before arriving. At any rate he has paid his money and it
might be expected that he would make some demonstration of
disapproval when he was displeased. The extraordinary thing is that
he does not do so oftener. On the whole it must be admitted that
audiences remain unduly calm at concerts, that they are
unreasonably polite, in deed, to offensively inadequate or
downright bad interpretations. I have sat through perform ances,
for example, of the Russian Symphony So ciety in New York when I
wondered how my fel low-sufferers could display such fortitude and
patience. When Prince Igor was first performed at the Metropolitan
Opera House the ballet, danced in defiance of all laws of common
sense or beauty, almost compelled me to throw the first stone. The
parable saved me. Still one doesnt need to be without sin to sling
pebbles in an opera house. And it is a pleasure to remember that
there have been occasions when audiences did speak up In those
immeasurably sad pages in which 12
General
Imprint: |
Read Books
|
Country of origin: |
United Kingdom |
Release date: |
March 2007 |
First published: |
March 2007 |
Authors: |
Carl Van Vechten
|
Dimensions: |
216 x 140 x 14mm (L x W x T) |
Format: |
Paperback - Trade
|
Pages: |
248 |
ISBN-13: |
978-1-4067-3912-1 |
Categories: |
Books >
Arts & Architecture >
Music >
General
Books >
Music >
General
|
LSN: |
1-4067-3912-X |
Barcode: |
9781406739121 |
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