'The Perfect Fool'; Or the Perfect Opera

Author(s): Donald Tovey

Source: The Musical Times, Vol. 64, No. 965 (Jul. 1, 1923), pp. 464-465
Published by: Musical Times Publications Ltd.
Stable URL: http://www.jstor.org/stable/912361
Accessed: 05-03-2016 15:32 UTC

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464 THE MUSICAL TIMES-JULY 1 1923

I had them here. I have got two subscribers for your

then by the wandering Wotan of Siegfried. To

Handel Society; The King of Prussia wants to have

the Troubadour she does not say that this sort

his name on the Subscribers' list, and likewise the

of thing is out of date and that she doesn't care

Choral Society for the Cathedral at Berlin. Will you

for coloratura ; on the contrary, she carries off his

be so good as to have these two names put down, and

direct the communications which would be made

cadenzas from the point where his efforts fail, and

accordingly to 'Count Redern, Excels., Berlin.' How

bids him 'go home and learn to sing better'; and

does it come that you have my name on the list ? Of

if she says that his voice will never win her, that is
course I should be happy to become a member, but I

evidently because she knows his art better than he

possess Arnolds' complete edition, and many single

works in two or three editions already, and would

does himself. Moreover, the comic failure of the

hardly know where to place another edition. However,

tenor to reach his top notes is by no means ugly in

I am so glad to see my name where so many respected

itself, and it results in exquisite pleasure (a.

and renowned names stand, that at any rate I must

pleasure which, for all its ridiculous simplicity, is

continue a member. Now the paper concludes this

letter, not I. Farewell, be happy, and remember

new) when the Princess relieves him of them.

kindly yours very truly

Again, she does not tell the Traveller that Wotan

(Signed) FEI.IX MENDELSSOHN BARTHOLDY.

is a bore and that life is not long enough to

G. A. Macfarren, Esqre.,
devote an hour to watching him plough Mime in

75, Berners Street,

vivd voce 'Literme Humaniores.' Instead she says,
London.

to the theme of young Siegfried's horn (as far as I

(To be continued.)

have noticed, the only actual musical quotation in

the work), 'But, sir, I think we have heard this

before.' The dear old gentleman expostulates with

'THE PERFECT FOOL' ; OR THE

'noisiest negative' until his own orchestral

PERFECT OPERA

apparatus drowns his voice: but we shall all come

By DONALD TOVEY*
back to the real Wagner with a fresh sense of the

sublime pathos of the Wanderer. For Holst has

It seems that there is a danger that by the time

stolen none of the Wanderer's original harmonies;.

these lines are in print Holst's The Perfect Fool

he has mastered his own Wotanese, and done for

may be decisively labelled as a 'spoof opera.'

Wotan what (pace Queen Elizabeth) Shakespeare

On the other hand, solemn questions have already

did not do for Falstaff: shown him in love, and

been asked as to what Mr. Holst is driving at;

allowed the style to lapse into parody only after it

nor have we been disappointed of the note of the

has achieved its thrill of sublime contrast. In the

sea-captain who put down Gulliver's Travels

same way the Troubadour's ridiculous song is by

with the protest that he didn't believe a word of it.

no means without the glamour of the genuine

Now, while it is almost more important to see

article. Of the three chords of the public-house

jokes than to make them, there are some jokes

pianist's vamping-tutor this style of art lives mainly

which can be seen only by those who take them

upon two, the tonic and the dominant. The subseriously. Analysis is not a good process for

dominant should not appear until the second part

elucidating either the higher or the lower forms of

of the scheme (corresponding roughly to the short

humour, unless it can be so directed as to leave

middle lines of a limerick), when the glorious

the humour to speak for itself ; and the humour of

melody is well under way and it behoves the voice

The Perfect Fool is, both in music and in words

to sound a warmer, deeper note. These principles

and action, of a kind that might be called fool-

Holst has mastered; and not until they are

proof but for the fact that its transparency belies

manifested does he permit the tune (apart from the

its depth. Analysis might reveal its depth; but

shock of its first appearance) to lapse into somenobody is really fond of the professor whose

thing suspiciously below its own modest pretensions.

scientific classification of forms of humour

And so we might continue, arguing that wherever

enables him to approve good specimens with the

the jokes and parodies are tested they ring true,

verdict, 'Yes, there is that joke.' A better way to

that in every case 'there is that joke.' Incidentally,

deal with the humour of Holst's The Perfect Fool

it will follow that Holst is just as cruel, or

might be to classify the people whom it annoys or

sympathetic, to his own style as he is to all the

puzzles. It is a touchstone. Like the touchstone

other objects of his persiflage. But the moralin Stevenson's fable, it gives no startling exclusive

yes, there is that moral-remains, namely, that

illumination of its own; but when other mutually

this is, as I mentioned before, a great work of art.

exclusive touchstones are brought before it they

There is no 'spoof' about it, any more than there

each glow with their proper light and cease to

is in Bach's Phebus and Pan (also a review of

conflict among themselves; while prigs and

musical styles), or Bach's Coffee Cantata, or any

humbugs are seen to smile but as a clock ticks.

other classic, comic or tragic. It has not even that

In other words, The Perfect Fool is a great work of

last infirmity of noble parodists, a vein of

art; and its vein of parody has the effect of

irritability in reaction against the sublime. Two

renewing our appetite for the things parodied. At

artistic virtues are at present almost violently out

the risk of analyzing a joke I will call attention to

of fashion: the one, a sense of the sublime, and

what the Princess says and does not say when she

the other an all-round and constant mastery.

is wooed first by an early-Verdi Troubadour and

Holst has both. Anybody who has heard the

* From The Nation and The Atthenceumn of May 26. Reprinted by

kind permission

Hymn of Jesus would know a priori that, whatever

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THE MUSICAL TIMES-JULY I 1923 465

The only performer who may occasionally

The Perfect Fool was going to be, it was not going

increase our pleasure by being in view is a singer

to have anything to do with Parsizal. A master

whose interpretative outfit includes a comely face

of the sublime may annihilate his worshippers with

and figure, with the former expressively and

ridicule, but he will not dissipate the very subjects

naturally used. I remember a few years ago seeing

and sources of his inspiration, however much he

in an American paper the portrait of a much

may dislike the way other artists have used them.

boomed baritone, whose face might fairly be

The action and dialogue (both spoken and sung)

described as a kind of hatchet. I was willing to

in The Perfect Fool are so clear and the

believe all the accompanying letterpress told me

performance so adequate that I prefer to keep up

about the charm of his voice and interpretation,

the fiction (fairly successfully preserved as a fact

but he was a singer who should be heard and not

before the first performance) that the spectator is

seen, just as some of us whose sole dowry is the

to know nothing about them beforehand. But it

fatal gift of beauty should be seen and not heard.

is permissible to wonder if, consciously or psycho-

And how little of our enjoyment of music depends

analytically, the title-r6le originally symbolized the

on our seeing the performer, even in the case of a

British Public, impossible to awaken, but possessed

good singer, is shown by the gramophone. I have

of a charm which impels the Spirit of Opera (the

heard Chaliapin in the flesh and via the gramophone,

Princess) to woo it in vain. However, in the

and the difference between the amount of pleasure

present instance the public seems unlikely to

I get from the two is so small as to be negligible.

fulfil that r61le: a crowded house showed no sign

When my stock of Chaliapin records reaches

of yawning-though the Fool and a flute in the

double figures, and includes the pick of his

orchestra showed how beautifully that can be done.

repertory, you will have to buy my ticket and send

a car to fetch me before I will go all the way from

What more auspicious opening of an operatic

a comfortable home to the Albert Hall in order to

season could be imagined than this delightful

hear him at first hand. Yet if any singer is

piece, which renews the listener's appetite for

worth seeing as well as hearing, Chaliapin is his

every kind of opera worthy of the arts of music

name. As for the rank and file, the sight of them

and drama ?

doesn't increase the pleasure a penn'orth; in a

good many cases it reduces it by several penn'orths.

The social side of the concert-hall: Is there

1b ?Ltbttum

such a thing? How can we be sociable when

BY 'FESTE'
wedged in solid rows with no room for the knees

of any of us who are over 5-ft. 6-in. tall, and

with too little space for such as are broad in the

In various ways the broadcasting question

beam and of comfortable girth? For us poor

continues to thrust itself on our attention. The

victims of cramp and pins and needles the easing

duel between the broadcasting opera singers and

interval is all too short, and we can enjoy it only

a firm of concert-giving publishers is a domestic

by a struggling and apologetic progress over the

matter which must be left to settle itself. A good

corns of our neighbours. If the concert-hall

deal may be said-and is being said-on both

survives another twenty years, you will find its

sides, but obviously the last word must wait until

patrons sitting round promiscuously, moving about

ample and reliable data is available as to the effect

freely between the items, and dropping in and out

of broadcasting on the box-offices. At present

quietly as they feel disposed. It will be a kind of

the two parties say exactly opposite things. For

large-scale 'at home,' in which starch and stuffiness

my part, I cannot avoid the conclusion that if in

will be as rare as they are common in the concerta few years' time the British Broadcasting Company

room of to-day.
runs a first-rate orchestra, a ditto chamber music

combination, and a batch of fine singers, and sets

them to work daily broadcasting a rich and varied

programme, the concert box-office will feel a draught.

I hear someone say that the concert-room will always

be attractive, because people like to see the artists,

I broke off here to go to an orchestral concert

at Queen's Hall. With this subject still in mind,

I found myself wondering how much of the

conductor's gesturing and posturing was necessary,

and how much was for the benefit of the audience.

and also because of the social pleasures of the

concert hall. As to the first point, it depends on

Do you suppose that the brass department, for

the artist. If I were not a scrupulously polite

example, is unable to enter with afortissimo crash

and tender-hearted man, I could give a list of

on the very nail without being incited by the

conductor? If the conductor were behind a

performers whose appearance and platform

mannerisms, so far from helping me to enjoy

screen, would he at such a crisis bring his right

their performance, are a hindrance.

leg across the wicket, and throw a fist full of

Straddling, restless, and perspiring conductors,

menace at the trumpet? I don't think ! Not for

a moment would I suggest that a conductor is a

singers who make heavy weather of high notes

mere trimming, but I do suggest that his difficult

and show it in their faces, pianists who swank

work would be better done, and with less fatigue,

and pounce, fiddlers who sway and languish

if he were out of sight. As it is, a lot

-all these come between us and the music:

of mental, and even more physical, effort is

there should be a screen betwixt us and them'

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