Kitabı oku: «The Influence of the Organ in History», sayfa 2

The organ lost nothing of real value to itself by this increased significance of other branches of instrumental music. Its sphere became defined, and in Germany quite limited, as to this day it is but rarely employed there in the way of accompaniment beyond supporting the choral song of the congregation. In France and England it has been different, the organ having been employed to accompany many anthems and other extended pieces of music, which in Germany (at least in the larger cities) would be given with the orchestra. It should be noticed that to England we owe one great improvement, which, especially for the rôle the organ is called upon to fill in this country, can scarcely be overrated. I refer to the invention of the swell, and the great variety of effects we are enabled to achieve by its means in both accompaniment and solo playing.

SECTION III

In the London "Spectator" of Feb. 8, 1712, is the following announcement: —

"Whereas, Mr. Abraham Jordan, senior and junior, have, with their own hands, joynery excepted, made and erected a very large organ in St. Magnus' church, at the foot of London bridge, consisting of four sets of keys, one of which is adapted to the art of emitting the sounds by swelling the notes, which was never in any organ before; this instrument will be publicly opened on Sunday next, the performance by Mr. John Robinson. The above said Abraham Jordan gives notice to all masters and performers, that he will attend every day next week at the said church, to accommodate all those gentlemen who shall have a curiosity to hear it."

Very little is known of this Mr. Jordan, except that his invention pleased greatly, and was found of such practical use, that not only were all new organs in England (virtually from this date) furnished with swells, but himself and son found much occupation in adapting and adding their invention to the older London organs. The lack of a swell is the weakest point of the great majority of German organs. Even Dr. Burney, fifty years after swells had become common in England, expresses, in his famous work entitled The Present State of Music in Germany, the Netherlands and United Provinces, two volumes, also The Present State of Music in France and Italy, his great surprise to find them utterly unknown upon the Continent. His remarks would hold true at the present day with but little modification, as far as Germany is concerned, few instruments outside the larger ones of recent date possessing this great improvement. The reason of this is to be found, partly in the extremely conservative character of their organ-builders, almost a national trait, and still more in the fact that but little use would be found for a swell organ outside solo playing. With us, nearly the reverse is true, the swell being most indispensable in accompanying choirs as here constituted. Notwithstanding this neglect of what seems to us an indispensable addition to the instrument, the glory of the invention and perfection of the organ justly belongs to Germany. Modern organ-building requires the most profound study of the laws both of mechanics and acoustics, and the German mind was constitutionally fitted, by a natural depth and thoroughness of thought, together with the truly artistic quality of patience, to be successful in solving this great problem, – the creation of the most complex instrument known.

France, too, has produced her great organs and organ-builders. If often lacking the sublimity and solidity of tone characteristic of many of the famous German organs, they interest (particularly the American taste) by a greater variety of the so-called "fancy," or solo stops. This difference, too, has grown out of the nature of the duties demanded of the organ and the organist in the service of the Roman Catholic church, and it is these differences of usage which in process of time, combining with further differences of national taste, led to that varied style and treatment which we denominate "Schools of Playing."

We divide these schools into the German, French, and English.

The first of these, the German school, is especially characterized by the importance given to the use of the pedals, the feet being called upon to execute passages of equal melodic value with that assigned to the fingers. This renders it the school of schools for those who would really attain a mastery of the instrument, and gain that independence of foot and finger so difficult to acquire. In fact, it is only possible by a thorough study of the great masters in this school of playing, to destroy that sympathy which exists between the left hand and the feet. This sympathy lies in the fact that should a pedal passage ascending occur in conjunction with a left-hand passage descending, the natural inclination of the left hand is to follow the pedal, instead of executing its own independent part. Of course the same trouble is experienced if the conditions, as just stated, should be reversed. This is the great difficulty of the obbligato, or independent mode of treating the pedals, to conquer which may fairly be termed a life-study. For this reason the earnest student should always begin his studies in this school, and not deviate therefrom until such time as a reasonable degree of skill has been attained, and the sympathy between hands and feet, before alluded to, measurably overcome. And here let me say that far too many of those who feel themselves drawn towards the study of the organ, approach such study unprepared. The organ, as a keyed instrument, has all the main points of technique in common with the piano. All the varied forms of scales, arpeggios, &c., together with the necessary independence of finger requisite to play in the legato style, should first be learned upon the piano, where, by the way, it can be more speedily acquired. Pupils who, having accomplished this, proceed to the study of the organ, can at once begin with the peculiarities and characteristic difficulties of the instrument, and as far as the pedal is concerned, will make far more rapid progress if fair manual players. They are thus enabled to concentrate their attention upon that which is new and strange to them. Such would undoubtedly be the testimony of all those who have had experience in this branch of teaching.

Without questioning the pre-eminence of the German school in all matters of technique and pure science, although educated in that school myself, I would not claim for it, as do some, that it is the Alpha and Omega of all true organ playing. Viewed in relation to the modern organ as it exists to-day, especially in France, England, and America, it seems to me that the instrument is in advance of the school, or that the school is weak in the two following points: —

First: It does not make a sufficient employ of registration within the limits of one and the same composition. Beauties of contrast, to be obtained by this means, are too frequently regarded as a matter of less than secondary importance. This, I am aware, arises from the fact that the majority of German organs are incapable of producing such variety, being built with a single eye to accompanying the congregation. In the direction of the grand and sublime, this school is unequalled; but surely there are many effects possible to-day which lay no claim to profundity, and yet are pleasing and worthy of employment by a true artist.

Second: Ignoring the emotional element in organ music to a great extent, and substituting the purely intellectual and technical. In their melodies we recognize the true inspiration of the great composers. The scientific setting they may give them, the technical dress in which they may clothe them, thus often greatly enhancing their beauty, is, after all, a matter of pure science acquired through schooling and dignified by talent. This appeals to the intellect, and is a most desirable object of study; but the melodic inspiration itself appeals to the heart, and, as the God-given quality, is the higher of the two. Now the German writers for the organ, from Bach to this day, have, as a rule (to which I am aware there are some marked exceptions), apparently avoiding giving to the organ that melodious element which their great composers have so beautifully done, not only in their symphonic writings, but also in their smallest works for the piano or other instruments. The mere lack of means for expression (by means of the swell or other mechanical appliances) is hardly a sufficient explanation of this, nor do I see anything in the character of the organ to account for it. That the great German writers following Bach (Mendelssohn excepted), but more especially the masters of the more recent so-called Romantic School, have contributed little or nothing towards the literature of the organ, is really explained by the following remark of Berlioz, in his treatise on "Modern Instrumentation." Speaking of writing properly for the organ, he says: "The special resources are here so vast and numerous, that the composer will never be well acquainted with them, as it appears to me, unless he be himself an accomplished organist."

The French school of organ playing is usually light, sensational, often pleasing, but too often frivolous and unworthy of the instrument. Yet in a certain direction they have had their great men. No one who has had the opportunity of hearing Lefebure Wely extemporize on that great organ at the church of Saint Sulpice, in Paris, but must acknowledge that the performance was masterly, although widely different from the German school. In fact, these extempore performances of Wely's were far better than his published compositions. The prevailing tone of the French organ-playing is dramatic, and, as before said, too often sensational. As might be expected from the national character, it forms a great contrast to the German style. The use of the pedal for melodic phrases is rare, it being more generally employed simply to give the fundamental support of the harmonies and passages executed upon the manuals. On the other hand, much attention is paid to registration, and frequently much talent displayed in this direction; besides, their organs are built in a manner calculated to assist the player in this respect. Of course the Romish ceremonial, the universally dominant religion in France, gives much opportunity for display of this kind. To judge any of these varieties of organ-playing, it will be seen that the standpoint of use to which the instrument is to be put must be carefully borne in mind. Although this school is by no means devoid of excellencies, it is not to be recommended to the American student who is seeking a solid foundation in organ-playing. Still it may be employed to advantage, both in the way of recreation, general culture, and especially as studies in registration, after the "weightier matters of the law" have received due attention.

The English school, as a distinctive method of treatment, can hardly be said to exist. It forms a sort of middle ground between the two schools of which I have just spoken, and their organs may be described in the same manner as to characteristics of building. In America, of late years, we have followed suit, copying Germany in the voicing of most of our open and stopped pipes, both metal and wood; copying France in the main characteristics of their reed voicing (in which they were long pre-eminent), and copying England in the general plan of our organs, together with their conveniences of mechanism and effects of combination.

In spite of the fact, then, that England has no distinctive national school of the instrument, still there is probably no country where so much interest is taken in organs and organ-playing as in the England of to-day. Her prominent organists are solidly founded on the German school; but while they execute these great works in a masterly manner, their repertoire extends over a far wider range and variety of compositions than the German school alone can supply. This seems to me to be praiseworthy, for although the practice of this theory may be carried too far, and it is certain that everything cannot even approximately be played upon the organ; yet, in view of the vast improvements of the last twenty years, all tending to assist the players in producing effects impossible heretofore, why should the use of these means be ignored? The English organists, to this end, have made a vast number of arrangements and adaptations from works not originally composed for the organ. Very many of these are just as effective as if originally composed for the instrument, and so far form a welcome addition to organ literature; inasmuch as they generally embody the use of the new improvements and facilities referred to. On the other hand, many of these go too far, and attempt transcriptions of compositions totally opposed to the genius of the organ. The careful student will, however, easily be able to recognize and avoid such, if he has had the proper foundation laid before attempting works of this class.

There are those, however (and their opinions are entitled to respect), who claim that such free treatment of the organ is improper. These persons would, with little or no exception, limit the repertoire to such works as have been originally written for the organ; and when they got outside fugue or canon, would still remain carefully within the limits of purely contrapuntal orthodoxy. Any other treatment is styled "illegitimate." I had hoped to avoid this terrible word, – the great bugbear among conscientious students of the organ, – nor do I propose to enter into any analysis of what the "legitimate" may or may not consist in. The fact is, we should all retain our original opinions very much according to our early education, natural tastes, and impressions. There has been much controversy on this point, and I do not think it necessary to contribute to that. In any case, where the subject under discussion cannot be considered as a positive right or wrong, but largely as a matter of taste or preference, there will always be a difference of opinion.

Froude, the historian, says in one of his published lectures: "Controversy has kept alive a certain quantity of bitterness; and that, I suspect, is all that it would accomplish if continued till the day of judgment… Each polemic writes for his own partisans, and makes no impression on his adversary." So it would be in this case.

The inference which I draw from this superficial glance at the main characteristics of these three schools, is this: —

The American student who would excel as an organist, must first be thoroughly educated in the German school of playing. Here alone can he gain the solid technique which will fit him for the execution of any tasks he may propose to himself. Only from that mine of musical wealth, the German school, especially as represented by Bach, can the suitable foundation-stones for the desired structure be derived. But with this foundation broadly and deeply laid, as the building progresses upward, the best of architects may, without fear, add many things that simply please the eye, but bear no relation whatever to the strength or durability of the edifice. So with the education of the organ student; first the broad foundation, and then a judicious liberalism. His auditors will always remain the great public, and that public to the end of time will never be so versed in musical science that it can appreciate the stricter forms of organ music. But very many among the public can appreciate, or at least enjoy; and this number is increasing from year to year. I am by no means arguing that the organist should avoid these stricter forms on this account; quite the contrary; but simply that the judicious liberalism above referred to should provide as great a variety of musical food as will suit and satisfy the musical appetite within the means of the instrument as it now exists. Nor should the "milk for babes" be despised. The workings of this principle will surely attract rather than repel, and maturer musical strength will instinctively call for heartier food. We have to deal with men as we find them, and tastes vary. A programme intended for a miscellaneous audience is, after all, only a musical bill of fare. Real musical hunger can only be satisfied with solids; but if we first quiet the deeper cravings with roast beef, I know of no moral obligation why we should not finish with ice-cream, if inclination should point that way. To invert the order would be manifestly unsound.

To my mind, then, the duty of the American organist of to-day is to be eclectic. He has no "call" to tie himself up exclusively and strictly to any one particular school; nor, if he pursues the right course, need his education, technical or æsthetic, suffer on this account. But he must justify this argument by being thorough in what he undertakes. The skill with which a thing is done goes far to justify it, if there is any question at all about the matter. Not that I suppose that many can be found, who, with all talent and due diligence, can equally excel in all styles; still the effect of liberalism in this respect cannot but have a good effect upon the general culture, and aid not a little towards the accomplishment of that great problem, professional success.

I cannot close without a congratulatory word respecting the standing, present and prospective, of the profession in America to-day. I am proud that we begin to be able to point to so many musicians (even if the number is still relatively few) who, both from their own scientific standpoint, and from that of general culture, are deemed worthy of being placed side by side with the other learned professions. Is not the creation of this college as a branch of a university course, proof of this comparatively new but happily increasing appreciation? Of what importance, then, to keep this present status intact, to secure it, to increase it, by upholding the dignity of our profession! Let such as propose to devote their lives to it, both feel and practise the idea so beautifully expressed by Schiller in his "Ode to the Artists" —

 
"O, Sons of Art! man's dignity to you is given,
Preserve it, then!
It falls with you; with you ascends to heaven."
 
 
While you her thousand paths are tracing,
Press onward, keeping truth in sight!
Come, all together, stand embracing
Before the throne where paths unite!"
 

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