Walter Raymond Spalding

“ Nothing is farther from the truth, as a slight examination of musical literature will show. For we see that the fugal form has been used to express well-nigh every form of human emotion, the sublime, the tragic, the romantic; very often the humorous and the fantastic. When we recall the irresistible sparkle and dash of Mozart's Magic Flute Overture, of the Overture to the Bartered Bride by Smetana, of the Finale of Mozart's Jupiter Symphony, and of many of the fugues in the Well-tempered Clavichord, it is evident that to call a fugue "dry" is an utter abuse of language. ”

“ No one can define rhythm except by saying that rhythm, in the sense of motion, is the fundamental fact in the universe and in all life, both physical and human. Everything in the heavens above and in the earth beneath is in ceaseless motion and change; nothing remains the same for two consecutive seconds. Even the component parts of material—such as stone and wood, which we ordinarily speak of as concrete and stationary—are whirling about with ceaseless energy, and often in perfect rhythm. Thus we see how natural and vital is the art of music, for it is inseparably connected with life itself. ”

“ Make art the hand-maiden of humanity. Seek not for beauty but for truth. Go to the people. Hold out the hand of fellowship to the liberated masses and learn from them the true purpose of life.' To this democratic and utilitarian spirit, to this deep compassion for the people, to this contempt for the dandyism and dilettantism of an earlier generation Moussorgsky strove to give expression in his music, as Perov expressed it in painting, as Tchernichevsky, Dostoyevsky, and Tolstoi expressed it in fiction. ”

“ No composition of any scope can be considered truly great unless it abounds in beautiful modulations. Certain composers, to be sure, have in this respect more genius than others—notably Schubert, Chopin, Wagner and Franck whose music seems to waft us along on a magic carpet of delight. But just as Unity depends upon a definite basic tonality, so Variety is gained by this very freedom of modulation. Without it is monotony; with too much modulation, an irritating restlessness. By the perfect balance in his works of these two related elements a genius may be definitely recognized. ”

“ The Fifth Symphony in C minor, op. 67, is deservedly popular because it is so human; a translation, in fact, of life itself into the glowing language of music. Beethoven's emotional power was so deep and true that, in expressing himself, he spoke, like every great philosopher, poet or artist, for all mankind. Which one of us in his own experience, has not felt the same protests against relentless Fate that find such uncontrollable utterance in the first movement? ”

“ Schubert was well named by Liszt the most poetic of musicians, i.e., a creator of pure beauty which enthralls the imagination of the hearer. Why expect the work of any one composer to manifest all possible merits? If we crave dynamic power of emotion or sublimity of thought we may have recourse to Bach and Beethoven; but the spontaneous charm of Schubert never grows old; and it is not without interest to note that his music fulfils the definition of one of the most poetic composers of our time, Debussy, who claims that music is chiefly meant "to give pleasure." ”

“ Beethoven at all costs resolved to be himself. With him music ceases to be a mere "concourse of sweet sounds"; it must always bring some message to the brooding human soul, and be something more than a skilful example of abstract ingenuity. These personal tendencies of Beethoven were fostered by the spirit of the times, and his music became in turn a vital expression of revolt against existing conditions and of passionate aspiration towards something better. He was the first musician to free himself from the enervating influence of having to write exclusively for aristocratic patronage. ”

“ Music is the oldest as well as the youngest of the arts, i.e., it has always [7] existed generically, and all human beings born, as they are, with a musical instrument—the voice—are ipso facto musicians; and yet in boundless scope of possibilities it is just in its infancy. For who can limit the combinations of sound and rhythm, or forecast the range of the human imagination? The creative fancy of the composer is always in advance of contemporary taste and criticism. Hence, in listening to new music, we should beware of reckless assertions of personal preference. ”

“ Music should seek humbly to give pleasure; great beauty is possible between these limits. Extreme complexity is the opposite of art. Beauty should be perceptible; it should impose itself on us, or insinuate itself, without any effort on our part to grasp it. Look at Leonardo da Vinci, Mozart! These are great artists."
No account of modern French music would be satisfactory which omitted to mention several composers who, though of somewhat lesser importance than d'Indy and Debussy, have nevertheless achieved works of distinction and charm. These are Chabrier, Fauré, Duparc, Chausson and Ravel. ”

“ Again, "It benefits me more to watch a sunrise than to listen to a symphony. Go not to others for advice, but take counsel from the passing breezes, which relate the history of the world to those who listen." Thus we see that Debussy submits himself to the spells of Nature and tries to transmute them into sound. The only analogies to use in a verbal description of his music must be drawn from nature, for in each are the same shadowy pictures, the same melting outlines. ”

“ We may picture an enthusiastic gathering, with hats thrown aloft and shouts of triumph ringing from every throat. It is of historical interest to know that the theme of this Finale must have been a favorite with Beethoven, for he had used it in three former works: a Contre-dance, as the basis for a set of Pianoforte Variations and in the Ballet Music to Prometheus. It may not be too fanciful to trace a dramatic relationship between its use in portraying the daring spirit who first stole fire from Heaven and as the crowning message of a work meant to glorify all heroic endeavor. ”

“ Fate sounds its warning, but in vain; nothing can repress the exultation of the composer. "Enjoy the joy of others and—you still can live." The work is sensational, even trivial in places; but it reveals sincerity and elemental life. The composer lays himself bare and we see a real man—not a masked hypocrite—with all his joys and sorrows, caught, as Henley would say, "in the fell clutch of circumstance," bludgeoned by Fate.
The Sixth Symphony, the Pathetic, is the most popular and, on the whole, Tchaikowsky's most sustained work. ”

“ So powerful is the horn in evoking a spirit of suspense and revery that this tone introduces the beautiful, swaying second theme more impressively than a whole series of routine modulations. The Development speaks for itself. Though there is little polyphonic treatment, it holds our interest by reason of the harmonic variety and the dramatic touches of orchestration. In Schubert we do not look for the development of a complicated plot but give ourselves up unreservedly to the enjoyment of pure melodic line, couched in terms of sensuously delightful tone-color. ”

“ Often the greatest pieces of art are rather rude technically, but they grip the soul and command attention for intrinsic values. This is apparent in the works of Michelangelo, of Shakespeare, of Turgenieff, and of Mozart. The beauty that fascinates us most is that which is most individual. I regard technique as a necessary but subservient element. It may, however, become dangerous and kill individuality as it has done with those favorites of our public, whose virtuosity I despise more than mere crudities. ”

“ But dissonances contain the real life and progress of music. They arouse, even take by storm our imaginations and shake us out of our equanimity. Consonant chords represent stability, satisfaction and, when over-used, inertia. The genius of the composer is shown in establishing just the right proportion between these two elements; but if there is to be any disproportion let us have too much rather than too little dissonance, for then, at any rate, the music is alive. Since Beethoven the whole development of music as a human language shows the preponderating stress laid on dissonance ”

“ Because Beethoven was more elemental we must never belittle the genius of his predecessor. Any familiarity with Mozart's works will convince us of the gratitude we owe him for his original harmonies, for the stimulating contrapuntal texture and for the perfect finish and care for detail found therein. Could we be forever content with "abstract music"—that which justifies itself by a fulfilment of its own inherent laws—Mozart's music would remain the acme of the art. ”

“ Much of present day music excites and thrills but does not exalt. Brahms, in his great moments, lifts us high above the earth. His universal acceptance is alike hindered by a deficiency which, though as natural as his reserve, may yet justly be cited against him—the occasional monotony of his color scheme. In the symphonies, notwithstanding the dignity and sincerity of thought, we find pages in the style of an engraving which would be more effective as a glowing canvas, e.g., in the slow movement of the Second Symphony and in the last two movements of the Fourth. ”

“ As Franz Liszt says in his life of Chopin, "The Mazurka is not only a dance, it is a national poem, and like all poems of conquered nations, is shaped so as to let the blazing flames of patriotic feeling shimmer out through the transparent veil of popular melody." ”

“ When we thoroughly know a symphony, symphonic poem or sonata so that, for example, we can sing the themes to ourselves, the music will reveal itself. The difference between the trained listener and the person of merely general musical tendencies is that the former gains a definite meaning from the music often at a first hearing; whereas, to the latter, many hearings are necessary before he can make head or tail of the composition. Since the creative composer of music is a thinker in tones, our perceptions must be so trained that, as we listen, we make sense of the fabric of sounds and rhythms. ”

“ Whatever Brahms is or is not, he is universally recognized as an inspired song-composer and those who do not know his songs are cut off from one of the greatest joys music has to offer. As Huneker so well says, "Although his topmost peaks are tremendously remote, and glitter and gleam in an atmosphere almost too thin for dwellers of the plains, in his songs he was as simple, as manly, as tender as Robert Burns." In Brahms's songs we cannot say which is the most significant factor: the words, the vocal part or the accompaniment; all go together to make up a perfect whole. ”

“ That is, the material must hold together, be coherent and convince the participant of the logical design of the artist; not fall apart as might a bad building, or be diffuse as a poorly written essay. And yet, with this coherence, there must always be stimulating and refreshing variety; for a too constant insistence on the main material produces intolerable monotony, such as the "damnable iteration" of a mediocre prose work or the harping away on one theme by the hack composer. In no art more than music is this dual standard of greater importance, and in no art more difficult to attain. ”

“ With many musicians, there is so disconcerting and inexplicable a discrepancy between their deeds as men and the artistic thoughts for which they seem to be the unconscious media, that it is inspiring to come into touch with one who rings true as a man whatever demands are made upon him; whose music is free from morbidity or carnal blemish, as pure as the winter wind, as elemental as the ocean, as uplifting as the stars. ”

“ Schumann's career was peculiar in that, beginning as a pianoforte composer, he tried successively every other form as well—the song, chamber music, works for orchestra, and for orchestra with solo voices and chorus—and won distinction to a greater or less degree in every field save that of the opera. Notwithstanding the beauty of poetic inspiration enshrined in the four symphonies, a grave defect is the quality of orchestral tone which greets the ear, especially the modern ear accustomed to the many-hued sonority of Wagner, Tchaikowsky, Debussy and others. ”

“ Our studies should have made plain two definite facts: first, that the real message of music is contained in its melody—that part of the fabric which we can carry with us and sing to ourselves. Harmony and color are factors closely involved with melodic inspiration, but their impression is more fleeting; and in general, no work lacking in melody, however colorful or filled with daring harmonic effects, can long endure. But we must be judicious and fair in estimating exactly what constitutes a real melody. The genius is always ahead of his time ”

“ The writings of all the great poets, such as Milton, Shakespeare, Browning and Whitman, abound in eloquent tributes to the power and influence of music, but it is noticeable that no one attempts to define it. The mystery of music must be approached with reverence and music must be loved for itself with perfect sincerity.
Some insight, however, may be gained into the nature of music by a clear recognition of what it is not, and by a comparison with the more definite and familiar arts. Music consists of the intangible and elusive factors of rhythm and sound ”

“ Such inexhaustible fancy, such coherence of structure, such subtlety of transformation were unknown in former times, when development was often as lifeless as the perfunctory motions of an automaton. Beethoven's developments are no mere juggling with tones; they are vast tonal edifices, examples of what the imagination of man controlled by intellect can achieve. Possibly Beethoven's greatest skill as a musical architect was shown in his treatment of the Coda, which became the crowning climax of a movement, a last driving home with all possible eloquence of the message heretofore presented. ”

“ The best eulogy of Schumann is the recognition that many of the tendencies in modern music, which we now take for granted, date from him: the exaltation of freedom and fancy over mere formal presentation, the union of broad culture with musical technique, and the recognition of music as the art closest in touch with the aspirations of humanity. ”