New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-08-12
AZ AMERICAN SCHOOL or MUSIC

7, is the Judgment of Charles Dalcoufs'
Frouch critic writing in ." lie Figaro III Io
Wow Of the concert recently given by N.Y. d"
der ~tucken in Paris that American hlu'lc -
net vet horn. but is seeking ITSELF ms Is
mot III said though the criticism is not on 'he
vbole Of the kind 10 impress reader win the
sooacitv Of the writer, or even his abIhty 10
ro,m IN opinion on the basis Of actual things
l. will surprise many Of the American COM
rcse,s themselves we fancy. to learn tbll III
fhe technical matter Of Writing III Wha1 ME-
Darrour. calls facture," they are supeilo'
"a the Russians. while they lall snort oi inc
latter i'm the voetica and picturesque ch1Iac'e'
If their melodies II we were disposed 10 al
tempt a comparison Of schools SO WdelI III
vcroent-using he word schools in not toH
st,jct sense--as the American and Russian, we
should be likely to inyert the frenchhiah
Indictment completely. 1t i the marvellous IN
genuity. skill and audacity OF the RUSSIANS III
building UP compositions ont OF simple ana
unmeaning melodies. q capacity when ehaDleS
them TO produce such striking effects with melr
folE-tuneS as Glinka's kOmarnskaja'" Tor eN-
annie. which we should set down aS the CHIEF
characteristic of their school. Their penchant
for these melodies, or melodies formed after
them. has stamped their compositions with an
mdeniaby national character, mournfuneSs
The shadow that rests Oh the people is not
thrown off even in the most desperate pletence
Of gayety The waltz rhythm, which In the
hands Of Strauss acts like the tabled horn oil
Huon of Bordeaux, that set all who heard 1t
to dancing, causes no Utilization OF the soles
when used by the Russians. We have had
pensive waltzeS and sentimental waltZeS from
the Germans but the allurng swing OF the
dance was always in them; it remained for
TSchaikowSby and his confreres to write mel
ancholy waltzeS, that weight the feet OF dancers
rs with lead. We are not striving to depleciate
the merit Of the Russian school Of composers.
On the contrary. expression has several times
been given in this journal to the belief that in
the near future Russia will hold the musical. if
not the political, sceptre Of Europe This be-
lief. however. is based less on the poetic rich
mes, and pictmesquenesS Of their melodies than
on the visor, daring and ingenuity displayed
in the handling Of forms, instrumental colors
and harmonies. In these things one might
easily trace Che influence OF their political and
social traits and surroundings. They tel Of u
huge yeaIning for characteristic expression
which will one day break through all the re-
SuictionS that now coniine it.
The development Of the American school
must be on different lines We are a mixed
people. and our traditions are those Of Europe.
We have 10 folk melody to build upon, but
must develop that As well a characteristic
mode of expression. The most natural infer
cnce is that ultimately American Music will re-
fleet the best Of that produced by the parent
peoples. The lofty ideals inspired by the
elasticity and excellence Of our political insti-
tutions, the social buoyancy resulting from
our freedom from the bonds of caste and II
hereditary aristocracy, the comprehensiveneSs
Of thought and feeling invited by the outlook on
a horizon which embraces every possibility Of
individual social and national lfe-theSe
things, combined with the quiclness Of intel
lect and fertility Of invention. cultivated by
the labors Of snbduing 4 continent. and com
bining the many units of our people into
single whole will give to the American music
Of the future an individuality which will be
just az striking and unmistalable as that based
On National peculianties OF melody and rhythm