Springfield globe-republic. (Springfield, Ohio) 1884-1887, 1886-12-09

To the Editor OF the GLOBE-ltFPU RLIC:
Theodore Thomas, when expOstulated
with on the subject Of the severe classical
ity of his programmes, said: Il will not
come down TO the understanding of the un-
cultivated. will raise it up to mine"
And the improved taste of the audiences he
has educated demonstrates the wisdom of
his theory: for even those who clamOred
for popular" music grew, while yet pro-
testing, to have finer appreciation of what
is good. They We're not aware of this
change until they went back TO what once
delighted. and found they had grown be-
yOnd it. The highest. the truly classical
music. Is not the Sky-r0cket, technique, OBJ
tTudimg kind. Technique is only the frame
work. the anatomy, which is clothed upon
with the rounded. glowing flesh of express
sion. The musician perceiveS the lack of
either flesh or bone, talent or training. In
defatigable practice, without natural talent
produces that WEAKNESS TO the music-lOyeT
the musical gymnaSt; while talent which
rushes before the public without sufficient
study, infictS an inferior class of music,
which may delight the unframed ear. Just
as brightly cOlOred painting with defect
i've drawing plea>tS the inartiStic eve The
orator who talks over the heads" of his
audience We call pedant: but
the speaker who betrays an is-
nOrance of the rules of language. and
an imperfect knowledge of his subject,
is also deSpiSed. The pedant filings his ac-
quired knowledge at you in the crude state:
the skillful Oratnr combines and harmoniZes
mis- raw material of exact information, ac-
cumulated facts, and wide reading. and
subjugates them to his individuality. Just
as the food he eats becomes part Of his
physical being. We know that he il a
learned man by his wi dom. his accuracy,
his influence over great minds.
The artists picture charms, but il would
not if he left guide lines and points staring
at US, TO indicate the method of his work
We ara TO infer the guide lines from the
correctness Of the perspective We do not
wish TO see the means viii, h result d in this
perfect end.
The classical musician carries our atten-
ton away from his method. He interprets
to Us the meaning of the grand symphony.
aud his mechanical work is so perfect that
only those who have studied can know and
notice the difficulty" of the composition
The soul of the grand composer speaks to
9pu anu NOu NO ll'l- VANtIl "a dliElOSl
afterthOught, notice the mechanism of the
interpreting medium. The perfection Of
art is to conceal art, " and the highest music
produces an effect of simplicity. which is
really evolved from the,hardest labor. That
were a sorry art, the end of which could
be seen by one just entering its precincts "
The child prefers MARY had little lamb"
to Shakespeare drama, and many adults
sse more beauty in the gospel hymns"
than in Handlers Messiah" In bOth case,
appreciation of the best has not developed.
The child has not had time; the man has
not considered it important. And yet mu-
sic and art are the two things that people
think they can criticise without study. usu-
ally with the preface, Il don't profess 10
bs critic, but | know what | like" This
spirit, however. Is, perhaps, seen oftener
in music than in art, for a man may go to
hear musician who is justly celebrated,
and, instead Of admitting any fault TO be in
himself, will rail at the music for being
above his comprehension; while the same
man, If he be not educated in art will con-
suit the judgment of enlightened specialists
before he purchases a painting to adOrn his
walls. l remember a comparison | read
somewhere: Religion is like a stone ca
thedral, dark, dull, fOrbidding to those
without its confines: but on those within
its doors the light falls glOritied through
myriad-tOned windows and the exalted soul
falls down in alteration of its beauty
Is il not true of these other things,
the highest--fOr classical means best-pro-
ducts of art? They are not appreciated by the !
Indifferent, but when found, their work
shameS the poverty OF what before seemed
sufficient. What can equal the eXtacy of |
TO Wagner's music, conducted
by the king of orchestra leaders. and sung
by rigidly trained and artiStically inspired |
chorus of seven or eight hundred voices?
You. too. had perhaps INDUCED in your
cheap jokes about the music of the future
Did not the lOftineSS of the masters genius |
OverpOwer you with sense of your little !
ness? Were not all your other loves as
unto sunlight. as the twittering
of sparrOwS 10 the music of the spheres?
Did not yOu feel that not only was nature |
in the rushing Of the storm. the |
cries Of a people, the shrek of the wind. |
the peace of the sunshine, but the music /
spoke your own dearest secret, wept your |
jealousy guarded tears, raised your soul to |
purer heights? All. do not think that there
is not music in the best music, because it is |
Ito the Greeks fOOlishness."
Give yourself up to it. Seek it Treat
yourself TO the best. always the best You |
will soon lose taste for the mediocre; and |
the pleasure derived from one good concert |
will compensate for the misery of losing |
delight in six poor ones. c. W. B.