My Life by Richard Wagner (ebook reader TXT) 📕

perceptible to his senses. What he demanded was that the Roman army should manifest its devout respect in more drastic fashion by flinging themselves as one man to the ground, and marking this by delivering a crashing blow of their spears on their shields. Endless attempts were made, but some one always clattered either too soon or too late. Then he repeated the action himself several times with his baton on the desk, but all to no purpose; the crash was not sufficiently sharp and emphatic. This reminded me of the impression made upon me some years before in Berlin by the wonderful precision and almost alarming effect with which I had seen similar evolutions carried out in the play of Ferdinand Cortez, and I realized that it would require an immediate and tedious accentuation of our customary softness of action in such maneouvres before we could meet the fastidious master's requirements. At the end of the first act Spontini went on the stage himself, in order to give a detailed explanation of his reasons for wishing to defer his opera for a considerable time, so as to prepare by multitudinous rehearsals for its production in accordance with his taste. He expected to find the actors of the Dresden Court Theatre gathered there to hear him; but the company had already dispersed. Singers and stage manager had hastily scattered in every direction to give vent, each in his own fashion, to the misery of the situation. None but the workmen, lamp-cleaners, and a few of the chorus gathered in a semicircle around Spontini, in order to have a look at that remarkable man, as he held forth with wonderful effect on the requirements of true theatrical art. Turning towards the dismal scene, I gently and respectfully pointed out to Spontini the uselessness of his declamation, and promised that everything should eventually be done precisely as he desired.

Finally, I succeeded in extricating him from the undignified position in which, to my horror, he had been placed, by telling him that Herr Eduard Devrient, who had seen the Vestalin in Berlin, and carried every detail of the performance in his mind, should personally drill our chorus and supers into a becoming solemnity during the reception of the vestals. This pacified him, and we proceeded to settle on a plan for a series of rehearsals according to his wishes. But, in spite of all this, I was the only person to whom this strange turn of affairs was not unwelcome; for through the burlesque extravagances of Spontini, and notwithstanding his extraordinary eccentricities, which, however, I learned in time to understand, I could perceive the miraculous energy with which he pursued and attained an ideal of theatrical art such as in our days had become almost unknown.

We began, therefore, with a pianoforte rehearsal, at which the master made a point of telling the singers what he wanted. He did not tell us anything new, however, for he said little about the details of the rendering; on the other hand, he expatiated upon the general interpretation, and I noticed that in doing this, he had accustomed himself to make the most decided allowances for the great singers, especially Schroder-Devrient and Tichatschek. The only thing he did was to forbid the latter to use the word Braut (bride) with which Licinius had to address Julia in the German translation; this word sounded horrible in his ears, and he could not understand how anybody could set such a vulgar sound as that to music. He gave a long lecture, however, to the somewhat coarse and less talented singer who took the part of the high-priest, and explained to him how to understand and interpret this character from the dialogue (in recitative) between him and Haruspex. He told him that he must understand that the whole thing was based upon priestcraft and superstition. Pontifex must make it clear that he does not fear his antagonist at the head of the Roman army, because, should the worst come to the worst, he has his machines ready, which, if necessary, will miraculously rekindle the dead fire of Vesta. In this way, even though Julia should escape the sacrifice, the power of the priesthood would still be unassailable.

During one of the rehearsals I asked Spontini why he, who, as a rule, made such very effective use of the trombone, should have left it entirely out in the magnificent triumphal march of the first act. Very much astonished he asked: 'Est-ce que je n'ai pas de trombones?' I showed him the printed score, and he then asked me to add the trombones to the march, so that, if possible, they might be used at the next rehearsal. He also said: 'J'ai entendu dans votre Rienzi un instrument, que vous appelez Basse-tuba; je ne veux pas bannir cet instrument de l'orchestre: faites m'en une partie pour la Vestale.' It gave me great pleasure to perform this task for him with all the care and good judgment I could dispose of. When at the rehearsal he heard the effect for the first time, he threw me a really grateful glance, and so much appreciated the really simple additions I had made to his score, that a little later on he wrote me a very friendly letter from Paris in which he asked me kindly to send him the extra instrumental parts I had prepared for him. His pride would not allow him, however, to ask outright for something for which I alone had been responsible, so he wrote: 'Envoyez-moi une partition des trombones pour la marche triomphale et de la Basse- tuba telle qu'elle a ete executee sous ma direction a Dresde.' Apart from this, I also showed how greatly I respected him, in the eagerness with which, at his special request, I regrouped all the instruments in the orchestra. He was forced to this request more by habit than by principle, and how very important it seemed to him not to make the slightest change in his customary arrangements, was proved to me when he explained his method of conducting. He conducted the orchestra, so he said, only with his eyes: 'My left eye is the first violin, my right eye the second, and if the eye is to have power, one must not wear glasses (as so many bad conductors do), even if one is short-sighted. I,' he admitted confidentially, 'cannot see twelve inches in front of me, but all the same I can make them play as I want, merely by fixing them with my eye.' In some respects the arbitrary way in which he used to arrange his orchestra was really very irrational. From his old days in Paris he had retained the habit of placing the two oboists immediately behind him, and although this was a fad which owed its origin to a mere accident, it was one to which he always adhered. The consequence was that these players had to avert the mouthpiece of their instruments from the audience, and our excellent oboist was so angry about this arrangement, that it was only by dint of great diplomacy that I succeeded in pacifying him.

Apart from this, Spontini's method was based upon the absolutely correct system (which even at the present time is misunderstood by some German orchestras) of spreading the string quartette over the whole orchestra. This system further consisted in preventing the brass and percussion instruments from culminating in one point (and drowning each other) by dividing them on both sides, and by placing the more delicate wind instruments at a judicious distance from each other, thus forming a chain between the violins. Even some great and celebrated orchestras of the present day still retain the custom of dividing the mass of instruments into two halves, the string and the wind instruments, an arrangement that denotes roughness and a lack of understanding of the sound of the orchestra, which ought to blend harmoniously and be well balanced.

I was very glad to have the chance of introducing this excellent improvement in Dresden, for now that Spontini himself had initiated it, it was an easy matter to get the King's command to let the alteration stand. Nothing remained after Spontini's departure but to modify and correct certain eccentricities and arbitrary features in his arrangements; and from that moment I attained a high level of success with my orchestra.

With all the peculiarities he showed at rehearsals, this exceptional man fascinated both musicians and singers to such an extent that the production attracted quite an unusual amount of attention. Very characteristic was the energy with which he insisted on exceptionally sharp rhythmic accents; through his association with the Berlin orchestra he had acquired the habit of marking the note that he wished to be brought out with the word diese (this), which at first was quite incomprehensible to me. The great singer Tichatschek, who had a positive genius for rhythm, was highly pleased by this; for he also had acquired the habit of compelling the chorus to great precision in very important entries, and maintained that if one only accentuated the first note properly, the rest followed as a matter of course. On the whole, therefore, a spirit of devotion to the master gradually pervaded the orchestra; the violas alone bore him a grudge for a while, and for this reason. In the accompaniment of the lugubrious cantilena of Julia at the end of the second act, he would not put up with the way in which the violas played the horribly sentimental accompaniment. Suddenly turning towards them he called in a sepulchral tone, 'Are the violas dying?' The two pale and incurably melancholy old men who held on tenaciously to their posts in the orchestra, notwithstanding their right to a pension, stared at Spontini with real fright, reading a threat in his words, and I had to explain Spontini's wish in sober language in order to call them back to life.

On the stage Herr Eduard Devrient helped very materially in bringing about wonderfully distinct ensembles; he also knew how to gratify a certain wish of Spontini's, which threw us all into tremendous confusion. In accordance with the cuts adopted by all the German theatres, we too ended the opera with the fiery duet, supported by the chorus, between Licinius and Julia after their rescue. The master, however, insisted on adding a lively chorus and ballet to the finale, according to the antiquated method of ending common to French opera seria. He was absolutely against finishing his work with a dismal churchyard episode; consequently the whole scene had to be altered. Venus was to shine resplendent in a rose bower, and the long-suffering lovers were to be wedded at her altar, amid lively dancing and singing, by rose-bedecked priests and priestesses. We performed it like this, but unluckily not with the success we had all hoped for.

In the course of the production, which was proceeding with wonderful accuracy and verve, we came across a difficulty with regard to the principal part for which none of us had been prepared. Our great Schroder-Devrient was obviously no longer of an age to give the desired effect as the youngest of the vestal virgins; she had acquired matronly contours, and her age was moreover accentuated by the extremely girlish-looking high- priestess with whom she had to act, and whose youth it was difficult to dissimulate. This was my niece, Johanna Wagner, who, because of her marvellous voice and great talent as an actress, made every one in the audience long to see the parts of the two women reversed. Schroder-Devrient, who was well aware of this fact, tried by every effective means in her power to overcome her most difficult position; this effort, however, resulted not infrequently in great exaggeration and straining of the voice, and in one very important place her part was sadly overacted. When, after