, 1874-09-20

made BIZ R.ohael far hia siTr.nstfcurarjou u ttn
figures are ,iudc while, in the painting. they are
d,aped; such course. an told. is customary
with painters 4 composer, in Ike manner, ear
ries Ia his mind nude harmonic progresaions las
in the second example aboyel, and drnpes them
according to l,y fancy and the laws of. grace las
in the tirst). An ignorant critic Of q pxin:i,is,
or Of piece Of music cannot always see throu I'll
proportion
WHICH 1s PERFECTLY CORRECT.
That the Wa"ner ttnr,g,,- e fort IN i. }eantifn1
Do not to rbur Consider co It s
I deaira IN show 1owavor Phct ), .fo,aionrr
ike Wr, White, would not hn likely to f11ilr m
derstand it. When Mozart modiiics a phrase
be generally first gives out the IDEA 10 its sim
tleet form thus. when the idea recurs decked
out in anti2ipatons. suspensions. apporiaturas.
etc., the unciuca:el nearer is able i,o.e easily
to recocnize it. Beethoven often does the samn
thing. But succeeding writers probably rely1np
unon an ADVANCE in noI,u1ar musical peropicacity'
did less and loss oi luis explanatory cou,po.i-
ton. until, in Wagner, Liszt, and Others We find
none of it, To appreciate the works of these
lattor requires knowledge. iuborn, or acquired
bv intense study. OF the whole uunucc of music,
such 3. We have of our mother-toncue: We
must be ablo to watch the rrcdatons OF .
cAord-resolution occupying q whole phrase;
mind ha1f-a-dozen Of the.e resolutions at once
as Murphy used to play AZ many games OF chess
LI.ntlfoltled. We nnst be zh}e. unon hearing but
the frat tone or two Of an idea. to feel what is
called kcy-reIationsl,p az Arsps,z. having cigeu
him a s,nr1e t,nne ct,h constr,1c: tho Whole
ekeletou. These uuu many sucL toa.s. pcrfect-
~ easy and natural to poru musician must be
tiono fo comnrchend and follow. not Wagner and
Liszt only. but much of Schumaup. The
rnu,,ca1 pratent1ers. in attemptins. to do this.
are lka our EchooIboys tta:slatinc Virgil
n1zzline their heaf1s over The connection Of the
subject here and the predicate n dozen lines
away. the verb lost and the limiting clauscs OBJ
.t;n.to. Or to me nv
"LASaUAcE" ILLUSTRATION
in g. more familiar way:
Saopoxe q t!ippant Italian to 70 into England
and af1.r travsl1no af,ont nnd hearn1 tha
eneecl, of its people enough to become vcrv
familiar with its sound. tle imagiues himself
competent to criticise its ,yritcre He takes 8
volume of the native poems, roads, aud COM
1nents:
Hyc0d,e, G5e7e q man ,o7M soul 50 dend-
How can man breathe With soul WHAT
nonsense, But. vor,o still, he iutiruates tba.
the soul can die. which il utterly subyerslve OF
:. and there. M interrogation poiut a1t,r it
A ,lirect question without al intcrroeatiou-po;ut
Whr thc man ia i.uorant of thu first principlcs
nj yrif1en lau,nsre i" This is mn o,eu- mn
,aI,}ire Ioud- An a.sert;on without the
shalov of = oroof ;" V;hose henyi hoiL ,ae'er
,r,N;n him M.rncd A, houe- .Who ever
hcard nj a heart in conflarrat;on ? Though. to
ha .,re 1,c haauttutlv illustrates hia meaning
hv hrinoinp ia mind the inpos1ne spectacle of e
ho1ne IN hamea: still a good poet would never
tn.,rest, the very uncomfortable sensations Of a
mai, with burning house inside OF him.
}E;s foofytens he hath turned- ttNoy. tn
+,,,n r,c,ns tto reyn,ve and ro tr,1fy noeticai
,r-,trr c,n11 eyar c,r1jtier a mans lers as he
womb a carswleel ;" ETC.