, 1876-11-12
PROGRAMME-1IAKING.

40 Ete E6tt0F ~ lne IFl0nTG.
CHICAGO, Nov. u.-Eyery professional mus-
clan who is truly devoted to his art soon learns
that the natural mind is hostile to the best
music. The question then prcseutsitsclf whether
heshall bid for popular applause aud patronage
By lowering the standard Of his music, or hold
last to his high ideal, trusting to the education
of the public for ultimate success. This qucs-
ton is presented in similar way to all artists;
but its answer seems to be more inperat!Vely
demanded OF musicians than Of any others. A
world till it finds an arpreciative pur~
chaser. But pianist or organist ap~
peas only to his immediate audience,
and the effect of his music is instantaneous.
II people like it.. they 60 again; # not, they
stay away. And, moreover, people do not take
home with them the music they lave just heard;
generally they do not cren carry away vivid
recollection Ut it. Their impressions are vague
likes and dislikes. It is the duty OF every pro-
fcssional musician to contribute his share to the
genuine education of audiences that listen to
lin. This cannot be done in L spasmodic way,
but must be the result of constant thought and
much tact. Ba1atka WAS Ill illustration Of how
not to DO it. oseas1o1ay MS orchestra
symphony by Beethoven to scant and
dwindling audiences. Then despair would
seize him. For long years, concert after concert
would be given, all badly performed, all we'll
down to popular taste, and all on dead level
of merit. At last flor the 'popular-music"
audience is Gckle) lie abandoned the u;lgracious
task and left us. We do not suffer, however,
for lack Of good musicians. There are, for In
stance, half dozen thoroughly good organists
here,-men who, like Mr.. Eddy and Mr.. White,
have the nerve to play good music only. But
let any one go to the excellent organ recitals
Mr.. White is now giving ut st. James Church,
aud think the true difficulty will be apparent
to him. The programmes are too good. 1t Is
hnron ha
ing.
Let US take organ music as good example Of
all the rest. AS music written for The organ
rises in merit, it passes beyond popular COM
prehension. Indeed it is the most difficult mu-
Sic to appreciate. The best work Of great organ
composers has its beauty in such retnemcnts,
III such nice technical adjustment of parts, in
such scholarly finish anu perfection of detail,
that 1t is appreciablc only BY educated uusi-
people ont Of hundred Bach's & st. AIMS
Fuguc ~ is unmcaning noise. So that, when
man goes to an organ concert even prepared to
BE- taught he is stunned and dazed by music
utterly incomprehensble to him. Nothing
the average intelligent man, doing his level
best to look highly entertained through the
performance Of long variation By Ihlele
or Mcrkel, that bristles with the beau
ferers let our organsts make some concession.
This does not mean thnt they must abandon
their high ideals and yoke their Pegasus to q
plow. II simply means that they Shall start on
the plane OF popular knowledge and soar alo1t
US unaccustomed eyes get used to the 'S azure
fields Of air.' From the works OF every COM
noser q iudicious organist in arranging his pro-
grammes, can select such as are marked by
Strong melodic flow, by simple form, and ny
varied coloring Or programme & can pe d,,.5 n,sS
composers as Wely and Batistc, keee[*lng the
heavier guns in the background. By small.
almost imperceptible degrees, this class OF
music is withdrawn, and works o1 ii5ler o,ucr
substituted Our first acquaintance with ~Bach
aud such noble composers inadc through some
simnlc prelude, when they are III their lighter,
less awful moods. We are not frightened away
by lessons too hard for us, but learn to love the
best music as men learn Inc @ Eaeulus, - ue
grces. For an orgaaist OR orchestra conductor
to do this requires patience and some time; but
the demand on either patience or tune IS oy no
means so great rs might be 1anslcd; lw9 WIN
tcrs given to organ recitals, or ofcnestra. coa-
certs. viii, programmes arranged in this ascend
ing scale, would work wonders. Take the pro,
pr1n1mcs OF any series OF concerts We nave 4ao
here, except Thomas, and the dliicrent selec,
tions mirlit be rcarranged SO that each would
reinforce the other, aud tue entlrc enece oe Feif
How short has been the time since Thomas,
a genius in Recommending, Was glVing up
his splendid orchestra to Strauss, ana ouppc'
and Nicolai9 Does any Que know at "naI Ltnlc'
and by what mysterious process, thcsc pros Gti
mes have SO changed their complexion that Chl-
raro neople now 20 and listen with some lntel-
lgenre and pleasure to IN entire programme OF
Wagner or Beethoven! This is sunlect 70
which our musicians shouldglVcserloust t1ouEnts; G"s
A series of historical concerts, such as oSsoou
and Petersiea have given in Boston, "oulu ac-
complisa this result in some measure, out not
completcly. The best, indeed the only, way TO
educate popular taste to hlsn sta4na.u Fra[a
.Ia ,n,,s;cons esne,ia1ly Qrganists, who