Vol. 24 No. 15 · 8 August 2002
pages 30-32 | 4773 words

Empathy
Robin Holloway
- The Classics of Music: Talks, Essays and Other Writings Previously Uncollected by Donald Francis Tovey, edited by Michael Tilmouth
Oxford, 821 pp, £60.00, September 2001, ISBN 0 19 816214 6
The name Donald Francis Tovey (always rather pompously in full) used to typify, before career musicology swept all before it, the broadly cultured rather than narrowly scholarly writer on music, sometimes browbeating and always unashamedly didactic, avid to improve his readers’ minds, popularising without condescension or dumbing down.
He had begun as a pianist of outstanding gifts in an alternative late 19th-century tradition of high seriousness as opposed to bravura; and remained all his life an aspiring composer, keeping up mainstream Teutonic forms, procedures and idioms with Quixotic ardour, in a world eroded (as he saw it) by feckless and meretricious experimentation. But he was best known in his lifetime and after for the seven volumes of programme notes, preponderantly on standard classics, six of which were published from 1935 onwards as Essays in Musical Analysis; the seventh was on Chamber Music. These notes range from elaborate early pieces (whose mandarin density caused resentment or mockery at the time), written as much to inform taste as to introduce the works in his own youthful London concerts, to casual affairs dashed off for the orchestral seasons given mainly under his own baton with the band he founded on taking up the Chair of music at Edinburgh in 1914.
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Letters
Vol. 24 No. 16 · 22 August 2002
From Robin Holloway
Instancing the triumph in recent decades of a newly discovered baroque in my piece on Tovey's writings on music (LRB, 8 August), I cited 'above all, the Incoronazione di Monteverdi'. I didn't mean what was actually printed – 'Monteverdi's Incoronazione di Poppea' – in my (minority) view a dull work, highly overrated, and certainly not one which I'd choose to show as the culmination of a tendency.
Robin Holloway
Gonville and Caius College, Cambridge
Vol. 24 No. 17 · 5 September 2002
From David Lindley
Robin Holloway's piece on Tovey (LRB, 8 August) is so good that it seems churlish to enter a footnote on the matter of Innigkeit, rendered by Holloway as 'inwardness'. But 'inward' is innerlich. Innig is surely better rendered by either 'deep' or 'intimate', depending on context. This might be a quibble if it weren't that practical musical instances turn on it. Beethoven's mit innigster Empfindung is 'with deepest feeling'. And Schumann's innig is asking the pianist to play intimately. This is not to deny 'inwardness' as a quality in some German music. But Innigkeit is something else.
David Lindley
Cockermouth, Cumbria
Vol. 24 No. 19 · 3 October 2002
From David Drew
David Lindley's footnote (Letters, 5 September) to Robin Holloway's masterly Tovey piece makes a nice distinction that will be as welcome to German scholars as it's puzzling to persons preoccupied with musical matters. Lecturing musicians about the semantics of Innigkeit versus Innerlichkeit is all very well. But once the Germanists have done their job, in what respects are previously misinformed pianists (for instance) to revise their readings of (say) the first of Schumann's Phantasiestücke, a piece Holloway must have played countless times to himself and his students over the past thirty years? More important for the reception of his history-making essay: is Holloway now to return to the drawing-boards of 1971 and 'correct' his own Fantasy-Pieces op.16 wherever he's 'misinterpreted' the Innigkeit of Schumann's Heine Liederkreis and succumbed to an excess of Innerlichkeit? The point about the 'Empathy' of his title is already being made in his first paragraph's tart reference to 'career musicology'; and it's resoundingly confirmed by a phrase in his Brucknerian final sentence (18 lines of it if you ignore an unnecessary fermata). It's there that he openly acknowledges how far Tovey's exceptional feats as writer and teacher were prompted by ambitions that were primarily creative. That so fluent and outgoing a piece as his for the LRB achieves such exceptional intimacy with its profound and wide-eared subject is surely a related phenomenon. Inwardness is of course implicit throughout. But if the piece deserves to be remembered as long as any of Holloway's own compositions, and if we reread it as often as we should, it's because in our present, shifting and shiftless musical culture it rings out like some mighty carillon.
David Drew
London SW6