New-York tribune., 1896-12-27

their own works. For this they always held
bameworthy by the composer most interested and
generally commended by his colleagues AS a rule
both blame and praise proceed from motives which
can bring no Joy to the reviewer whose position in
the matter is generally misunderstood. The COM
mendaon OF the composers rivals is less olerable
than the blame Of the composer. because the re-
viewer Is apt in Il exhibition Of one OF the
unlovely traits in human nature The composer
VINO gives the concert. however, + segregated from
his human-nature hurdened fellows only for brief
space and sometimes the reviewer cannot see
proof Of his TRANSPORTATION in that temporary
segregation II may be that he has convinced him
self that a concert composed Of one composers
music is a weariness to the flesh If the com
poser be Beethoven or Wagner. Believing this he
finds 1t difficult to make a distinction in favor Of
Smith or Jones. Very unwillirgly he IS plunged
into struggle to determine which Of the paths be-
fore him Is the path Of duty. In this dilemma the
ordinary guides desert him. Mayhap he would like
to hold brief for the public. but he knows that
all the people Interested least the Overwhclm
ing majority OF them. are the personal friends Of
the composer and therefore allied with him before
a note has been played sung. The composers
cause Is their cause. Shall he put on n fine show
of lofty principle and enter the forum the advo-
cate OF High Art? Who will recognize his creden-
tals? Not the composer unless the pleadings show
that the advocate considers him the next friend
or guardian Of Art: not the people who have no in
terest for they not IN court at ALI not the
friends OF the composer. for his convictions are
theirs Moreover knows better than the
reviewer that in nine out OF ten the interests
OF art would not be subserved by the remuneration
on his part OF all considerations Of personality.
What are composers concerts given for? Not in
the hope OF direct and immediate gain. IT does no,
require much experience to know that the cost OF
orchestra solo performers. rental. printing and
attendance is so large that such concer. cannot
be undertaken in the hope Of profit 10y musician
unless he Is famous. But famous musicians do not
give concerts Of thei- works: 1t IS the men who
want to achieve fame who do II. The purpose Is
primarily TO bring the concert-Giye- to the notice OF
the public secondary purpose Is tina, whlch EN-
harnesses the honest reylewer-one which appeals
chiefly him and the compose Compared win other
creative artists he is at disadvantage nasmuch as
he can neither appeal 10 the public with works in
the larger forms nor himself judge OF the efficiency
Of his own creations without the help of costly
agencies Of performance HIS need OF middle
man IS much greater than that OF playwright
whom he resembles in some respects. for drama
can be read In the study and understood. but
symphony only becomes a symphony by perform
ancc An orchestra must create the sounds whose
symbols the composer put upon paper. This con-
s,doration invites kindress Of judgment for II IS
against human nature 20 go on creating what ono
hopes and believes be things OF beauty and never
acquire the conviction which hearing alone can
bring In music I; Is only hearing that is believing
and IL IS therefore essential 10 the development OF
q COMPOSER OF course there are exceptions. but
,hev have been created by extraordinary genius.
Schubert could compose his major and Tn
finished" symphonies and In them make the instru-
ments sing like angelic choir. though he heard
not a note OF them and indeed was privileged to
listen to but few OF his orchestral works; but Schu-
bert was an altogether exceptional genius. The
,-f,s' erf.Io nit ri r
forn,ance for three long years before the nerces-
sion OF It's creator with List gave II life. and the
people OF Wemar. Wiesbaden Siettin. Breslau.
frankfort schwcrin. I.eipsic Hanover. Darmstad..
Riga Prague. Hamburg. Cologne. Wirzburg. May
ence Karlsruhe Munich Sondershausen. Vienna.
Dresden Berlin Mannheim, Dang and K6nigs-
here had heard II before Wagner knew by actual
exnarience what It sounded Ike. That was thirteen
vears after Il had been composed but Wagner had
heard all that he had written before and needed
not 10 hear "Lohengrin'' to learn that he could
write for orchestra
Facts like these plead with reviewer in the case
., inexperienced composers and ask him to adopt
. rhoral standard. They provide all the tustihca-
,ior that can be urge n favor Of such concerts az
those of the Manuscript Society II The composer Is
no, rich enough 10 hire an orchestra he canno;
hear his overture or symphony unless It be per-
formed by one Of large concert organizations or
,he COMPOSERS friends help him to hire the band
and give a concert. The first contre eoncy is an ex-
cecdingly remote one. II the Philharmonic and Sym
nhonv societies were to perform one-haf OF the
connositions offered 10 them by compc-ers whose
training experience and approved talent give them
title TO consideration. little opportunity would be
left for those organizations 10 fulhl their Obvious
mission which Is TO cultivate the best that the
world has 10 offer The question what TO do is be-
set with difficulties. So Is the other one how TO
provide public hearings for ambitious young artists
without infringing the rights 81 the public. Apropos
Of recent occurrences on Sunday nights In Carnegie
Hail. II may he said that these rights are nfringed
when concert after concert unripe pupils per-
mltted 10 exploit themselves for the qualification