THE NATURAL LAWS OF MUSICAL EXPRESSION — By Hans Schmitt — 1st Edition / 1st Printing, 1894 — Very Scarce Music Theory and Physics, Musical Law of Force, Musical Law of Velocity: Rhythm, Duration, Pitch, Harmony Publisher: Clayton F. Summy, Chicago (1894)
A very scarce first edition, first printing copy from 1894 of "Natural Laws of Musical Expression" by Hans Schmitt, in well preserved condition. We have been unable to find any other first edition copies on the market, save for library or private editions. The boards and binding are solid and tight save for light shelfwear. The pages are crisp and clean save for previous owner's stamp on the title page. 47 pages, semi-hardbound pamphlet form. Please see below for a review of the book from 1896:
Book Review - Music: A Monthly Magazine, May (1896)
This work of the
eminent professor of the Conservatory of Music at Vienna is worthy the attention
of every thoughtful student of music. The central idea
of Mr. Schmitt's work is to measure the value in expression of musical notes
per se according to their value in rhythm, duration, pitch and harmony. By this
mean she points out two fundamental laws at work in the expression of music,
viz. the law of force or accent and the law of velocity or tempo. Referring to the
law of accent Herr Schmitt says: “If a rhythm is a note is at the same time long
in duration, high in pitch and dissonant in harmonic character it demands an
accent for these four reasons." In this manner, he causes the notes of a
composition to stand out like the actors in a Shakespearian drama, each note
having its part to fulfill, nothing more nor nothing less. There is no such
thing as a “Star" note dazzling the other parts into insignificance and
destroying the all important unity of an interpretation, according to this law.
A careful study of this portion of Herr Schmitt's work ought to give us more
unity in musical interpretation. The second half of
this work is devoted to a consideration of the laws of Velocity in musical expression
Herr Schmitt arrives at this law in the same manner as in the proceeding one,
indicating the tempo according
to the harmonic structure, pitch and rhythm of the notes. Indeed, the proof of
the efficacy of these laws is seen in the possibility of a consistent
application of them to all forms of music. What Herr Schmitt says concerning
the influence of the harmonic structure upon the tempo should elevate the
importance of a thorough knowledge of the laws of harmony to every interpreter
of music.
