Paul Rosenfeld

“ The structure is all bone. The style is sharpened to a biting terseness. The coloring is the refinement of all his color; the rhythms have a freedom toward which Sibelius's rhythms have always aspired; the mournful melody of the adagio is well-nigh archetypical. All his life Sibelius has been searching for the tone of this music, desiring to speak with its authority, and concentrate the soul and tragedy of a people into a single and eternal moment. All his life he had been seeking the prophetic gestures of which this work is full. For the symphony is like a summary and a conclusion. ”

“ Oftentimes it is the gray and lonely air of the organ-loft at St. Clothilde, the church where he played so many melancholy years, that breathes through his work. Alone with his instrument and the clouded skies, he pours out his sadness, his bitterness, strives for resignation. Or, his music is a bridge from the turmoiled present to some rarer, larger, better plane. In symphony and quartet, in sonata and oratorio, he attains it. The hellish brood is scattered; the great bells of faith swing bravely out once more; the world is full of Sabbath sunshine and pied with simple field-flowers. ”

“ For such, the world is a far distant thing, lying out on the rims of consciousness, delicate and impermanent as sunset hues or the lights and gestures of the dream. The music of Debussy is the magistral and classic picture of this distant and glamorous procession, this illusory and fantastical and transparent show, this thing that changes from moment to moment and is never twice the same, and flows away from us so quickly. But Strawinsky, on the other hand, is in the very midst of the thing so distant from the other man. For him, the material world is very real, sharp, immediate. ”

“ For Scriabine appears to have wakened in the piano all its latent animality. Under his touch it loses its old mechanical being, cries and chants like a bird, becomes at instants cat, serpent, flower, woman. It is as if the currents of the man's life had set with mysterious strength toward the instrument, till it became for him an eternally fresh and marvelous experience, till between him and the inanimate thing there came to be an interchange of life. There is the rarest of science in his style, especially in that of his last period, when his own individuality broke so marvelously into flower. ”

“ It is only that as a Jew it was necessary for Ernest Bloch to say yea to his own heredity before his genius could appear. And to what a degree it has appeared, one can gauge from the intensity with which his age mirrors itself in the music he has already composed. His music is the modern man in his lately gotten sense of the tininess of the human elements in the race, the enormity of the animal past. For Ernest Bloch, the primeval forest with its thick spawning life, its ferocious beasts, its brutish phallic-worshiping humanity, is still here. ”

“ Despite the audacity with which he realized his amazing and poignant and ironic visions, despite his youthful fire and exuberance—and it was as something of a golden youth of music that Strauss burst upon the world—one sensed in him the not quite beautifully deepened man, heard at moments a callow accent in his eloquence, felt that an unmistakable alloy was fused with the generous gold. The purity, the inwardness, the searchings of the heart, the religious sentiment of beauty, present so unmistakably in the art of the great men who had developed music, were wanting in his work. ”

“ Indeed, he is of the modern masters one of those the most conscious of the tradition of his art. He falls heir to Bach and to Haydn and to Beethoven quite as much as any living musician. Quite as much as that of any other his music is an image of the time. In the quartet, his magistral work, the Hebraic element is only one of several. The trio of the scherzo is like a section of some Polynesian forest, with its tropic warmth, its monstrous growths, its swampy earth, its chattering monkeys and birds of paradise. There is the beat of the age of steel in the finale. ”

“ For there are times when he is close to the bourne of life, when his art is immediately the orifice of the dark, flowering, germinating region where lie lodged the dynamics of the human soul. There are times when it taps vasty regions. There are times when Ravel has but to touch a note, and we unclose; when he has but to let an instrument sing a certain phrase, and things which lie buried deep in the heart rise out of the dark, like the nymph in his piano-poem, dripping with stars. ”

“ More sheerly than any other moment, more even than the infinitely stern and simple prelude that ushers in the last scene of "Boris" and seems to come out of a great distance and sum up all the sadness and darkness and pitifulness of human existence, that scene brings into view the great bleak monolith that the work of Moussorgsky really is, the great consciousness it rears silently, accusingly against the sky. As collieries rear themselves, grim and sinister, above mining towns, so this music rears itself in its Russian snows, and stands, awful and beautiful. ”

“ Ravel and Debussy compose in more liberal and naturalistic fashion. And yet, the genius that animates all this music is single. It is as though all these artists, born so many hundred years apart from each other, had contemplated the pageant of their respective times from the same point of view. It is as though they faced the problems of composition with essentially the same attitudes, with the same demands and reservations. The new music, like the old, is the work of men above all reverent of the art of life itself. ”

“ Oh, magnificent and miserable Abbé Liszt! Strange and unnatural fusion of traits the most noble and the most mean! One can scarcely say which was the stronger in you, the grand seigneur or the base comedian. For in your work they are equally, inextricably commingled. In your art it is the actor who thrones it in the palace hall, the great lord of music who struts and capers on the boards of the itinerant theater. Nowhere, in all music, is grandeur nigher to the dust, and nowhere does the dust reveal more grandiose traits. ”

“ The music of defeat, the insistent cry of the world's pain, sound out of his music because the Russian folk has always known the great mystery and reality and good of suffering, has known that only the humble, only those who have borne defeat and pain and misfortune can see the face of life, that sorrow and agony can hallow human existence, and that while in the days of his triumph and well-being man is a cruel and evil being, adversity often makes to appear in him divine and lovely traits. ”

“ If Mahler is not a great man, he is at least the silhouette of one. The need of expression that drove him to composition was indubitably mighty. The passion with which he addressed himself to his labor despite all discouragement and lack of success, the loftiness and nobleness of the task which he set for himself, the splendor of the intentions, reveal how fierce a fire burnt in the man. He was not one of those who come to music to form little jewels. On the contrary, in gesture he was ever one of the eminently faithful. ”

“ Few composers, certainly, have invented music more divinely sweet than that of the third movement of the quartet, more ecstatic and luminous than the ideas scattered all through his work, that seem like records of some moment when the heavens opened over his head and the empyrean resounded with the hallelujahs of the angelic host. And, certainly, no composer, Mozart alone excepted, has discovered such naïvely and innocently joyous themes as those that fill the close of the sonata and the symphonic variations with delicious vernal sunshine. ”

“ It is as though the world had had to move to behold Berlioz, and that only in a day germane to him and among the men his kin could he assume the stature rightfully his, and live.
For we exist to-day in a time of barbarian inroads. We are beholding the old European continent of music swarmed over by Asiatic hordes, Scyths and Mongols and Medes and Persians, all the savage musical tribes. Once more the old arbitrary barrier between the continents is disappearing, and the classic traits of the West are being mingled with those of the subtle, sensuous, spiritual East. ”

“ Few modern composers of eminence are as singularly uneven as Sibelius. Moods like that which mothered the amiable elegance of the "Valse Triste" and that which produced the hard and naked essentiality of the Fourth Symphony are almost foreign to each other. The creative power itself is extraordinarily fitful in him. It is as if, for all his physical robustness, he has not quite the spiritual indefatigability of the major artist. He has not that inventive heat that permits the composer of indisputably the first rank to realize himself unflaggingly in all his independence and intensity. ”

“ It is the music of the fine ones who stand hesitant on the threshold of the world, and have incessantly to struggle for the power to act, for faith and hope. It is the music of those who in the midst of millions feel themselves forsaken and alone and powerless, and in whose obscure and laborious existence Franck himself shared. It is a thing turned away from the market-place, full of the quiet of the inner chamber. Through so much of Franck one feels the steady glow of the lamp in the warm room. ”

“ No doubt he is not the greatest of the artists who have made music. Colossal as were his forces, colossal as were the struggles he made for the assumption of his art, his musical powers were not always able to cope with the tasks he set himself. The unflagging inventive power of a Bach or a Haydn, the robustness of a Haendel or a Beethoven, the harmonious personality of a Mozart, were things he could not rival. He is even inferior, in the matter of style, to men like Weber and Debussy. ”

“ Few musicians have been more nicely sensible of their gift, better acquainted with themselves, surer of the character and limitations of their genius. Few have been as perseverantly essential, have managed to sustain their emotion and invention so steadily at a height. The music of Debussy is full of purest, most delicate poesy. Perhaps only Bach and Moussorgsky have as invariably found phrases as pithy and inclusive and final as those with which "Pelléas" is strewn, phrases that with a few simple notes epitomize profound and exquisite emotions, and are indeed the word. ”

“ Behind this music there is almost always visible the great, grave, passionate, resigned creature that was Brahms, the man who sought with all his might to hold himself firm and erect and unyielding before the hideous onslaughts of life, the man who lived without hope of fulfilment, loved without hope of consummation, and yet knew that it was enough fulfilment, enough consummation to have loved, to have been touched with a radiant dream ”

“ Mediterranean sky; a music super-European, which would assert itself even amid the tawny sunsets of the desert; a music whose soul is akin to the palm-trees; a music that can consort and prowl with great, beautiful, lonely beasts of prey; a music whose supreme charm is its ignorance of Good and Evil." For he came with some of the light and careless and arrogant tread, the intellectual sparkling, the superb gesture and port, of the musician of the new race. ”

“ The traffic, the restlessness of crowds, the noise of vehicles, of the clatter of horses on the asphalt, of human cries and calls sounding above the street-bass, a couple of organ grinders trying to outplay each other, a brass band coming down the avenue, the thunder of a railway train hurling itself over leagues of steel, the sirens of steamboats and locomotives, the overtones of factory whistles, the roar of cities and harbors, become music to him. ”

“ Wagner's style is stiff and diapered and emblazoned with the sense of material increase. It is brave, superb, haughty with consciousness of the gigantic new body acquired by man. The tonal pomp and ceremony, the pride of the trumpets, the arrogant stride, the magnificent address, the broad, vehement, grandiloquent pronouncements, the sumptuous texture of his music seems forever proclaiming the victory of man over the energies of fire and sea and earth, the lordship of creation, the suddenly begotten railways and shipping and mines, the cataclysm of wealth and comfort. ”

“ It is as though he had surrendered himself quite to them, had relinquished to them his giant Russian strength, his zest of life, his joy, had given them his proud flesh that their cry and confession might reach the ears of the living.
Sometimes, Moussorgsky is whole civilizations discarded by life. Sometimes, he is whole cultures from under which the earth has rolled, whole groups of human beings who stood silently and despairingly for an instant in a world that carelessly flung them aside, and then turned and went away. ”

“ They are the expression of groping, fumbling youth as it feels and as it feels, itself to be. They are music young in all its excess, its violence, its sharp griefs and sharper joys, its unreflecting, trembling strength. The spring comes up hot and cruel in them. There is all the loneliness [Pg 270] of youth in this music, all the mysterious dreams of a world scarce understood, all the hesitancies and blind gropings of powers untried. Always, one senses the pavements stretching between steel buildings, the black, hurrying tides of human beings ”

“ The thing that one sees happening to so many people about one, the extinction of a flame, the withering of a blossom, the dulling and coarsening of the sensibilities, the decay of the mental energies, seems to have happened to him, too. And since it happens in the lives of so many folk, why should it surprise one to see it happening in the life of an artist, and deflowering genius and ruining musical art? All the hectic, unreal activity of the later Strauss, the dissipation of forces, points back to such a cause. ”