The Wheeling daily intelligencer. [volume] (Wheeling, W. Va.) 1865-1903, 1876-01-14
"Quid" as - Musical Critic Grill
cally Considered.

WHEELING, January, l3th, 1917.
Perhaps it is giving too much signiii-
cancc to an affair like the Titiens concert
to refer to the criticism in regard to it
that appeared in your columns over the
signature of "Quid." II is no doubt i'll
advised to quarrel with musical people,
such ms "Quid," they are so differently
organized from common mortals. The
history OF their souls cannot be writ.
We are unfortunate enough to agree
with the opinion expressed in your arti-
Gle on "Quid's" first criticism. In his
reply he makes you to say something that
you did not say, viz: that the literary
part Of music is paramount to its musical
features. This is not the general esti.
mate Of music entertained, as he inti-
mates, by admirers OF such songs us "Thc
last Rose OF Summer" nor do l under
stand it as being your estimate. 1t Is the
admirable combination Of sentiment with
music that it gives such songs their charm,
We do not love "Ifome, Sweet Home"
simply for its sentiment nor yet for its
music alone, but for both; for their touch.
ing and inspiring combination. "Quid"
should understand that even the music
loving world does not altogether subsist
on what he terms classical music. Even
French dishes, quite classical" in their
get up, do not satisfy the natural appetite
all the time. We long for little whole.
some and more nourishing diet. Feed n
horse on nothing but fine flour and he
will soon die, but mix it with something
more substantial and he will live and do
we'll. This principle holds good in mem
tai as we'll as physical dietetics. 1t holds
good also in music. The popular instincts
naturally and properly appreciated and
applauded "The Last Rose OF Summer"
The heartfelt applause that greeted il was
the expression Of correct and refined in.
stincts-of instincts that will find express
ion in That way despite the cold fOrmality
by which they are girded round in the
shane OF n self.constituted musical aris-
tocracy. n... -.
"Quid" regrets that Mile Titiens did
not favor her audience with some "new
and brilliant classic song in place OF the
one she gave them. And yet he tells us
that classic music is music Of "acknowl-
edged excellence and authority" How
could she fll such requirement? How
could she give us something new and at
the same time something OF well establish.
ed authority in the musical world How
could "Quid" have been satisfied that it
was really classical until it had been pass.
ed upon and received the stamp OF age
and authority from competent hands?
As to the ravishing Of the musical soul
by listening to fine music, we all know
that such talk is often nothing but undig.
nified and soft loquaciousness at nero
brilliant noise. When Richard S. Willis,
for years editor Of the New York
Musical World, was in Germany studying
music, he became we'll acquainted
with Mcndelssohn at the Spa OF Hamburg:
They conversed much about music, and
one day, after speaking Of American mu:
sic, Willis sang and played some OF
stephen Fosters melodies. MendclsSohn
was strangely delighted with them, and
day after day he begged Willis to sing
and play them for his qualification. He
seemed to be spell bound when listening to
them; "Well Sir" said he at length to
Willis, "this Is like walking in the green
| forests, tho odIr Of violets all around
YOU. wild roses and lilies winking at you
as in dreams, pure rills dancing over
many colored pebbles, and the God OF
Music and Poetry wearing everywhere
her mystic spells. Itis u relief, my friend,
oh such relief, from the weariSome
brilliant and elegant noise often SO incor'
rectly called classic music" =,
Such were the sentiments OF n critic
like Mendelssohn-.a master ofmusic who
intensely hated all hollow pretenses inmu-
sic-all mere yirtuosity, and who was dis
gusted with fellows who would affect talk
about classics, yet had no moro ofthe real
soul OF music than horse. n
"Quid" says that classical music Is "ot
necessity expensive" which is his argu'
ment for having no other kind at high
priced concert. We greatly suspect
6Ouid" OF Hebraism in his musical tastes,
as Richard Wagner calls 1t, which means
simply the atrocious idea that a thing is
classic or aristocradt, or select, because
Il costs a deal Of money. Cultivated
people are not quite ready to subscribe to
10 such a low standard Of taste, although
tho tendency OF so many Of our So
called society people is tha!Tway.
"N[usicians must pre.eminently be per-
sons Of refined tastes" says "Quid." We
differ with him. They may be such, and II
they are it is often owing to the influence
Of their associations with refined people,
who are not professed musicians but
merely admirers of music. In some
musicians there is a natural fitness to
profit by such influences, and in some
there is not. There are plenty Of protes!sed
musicians with very little either Of brains,
refinement or education about them. :,
What cultured people Of musical
TASTES desire at a concert is a pleasant
varicty-a sprinkling Of tho natural with
tho classical-sometRing that appeals to
tho heart rs we'll as to cold criticism
W" ''''' ~ MAUD.