Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1897-12-19

erwards be referred to. in whole or in
part, SO never to be quite absent from
the mind.
AS symmetry is the opposite of princi-
pality so contrast is the opposite of re-
petition and that it is essential to mus
ic is evident. The slow tempo is con-
trasted with the fast; conjunct movement
with disjunct; and forte with piano. But
beyond these, there is. of course, the most
obvious opportunity for contrast of every
kind in the movement which is based on
two subjects One will be bold in char
acter and loud in tone the other soft and
sweet.The notes in one case may be state
~ minims and Crochets. while the 9TH
er sparkles in contrast with brilliant pas
sages. Persons far less endowed with ar
tistic genius than Bach or Handel would
not fail to sieze such opportunities for
contrast as are thus afforded. Genius, on
the contrary displays itself in the very
avoidance of these too obvious effects.
1t delights in the production of a second
subject which, while it contrasts enough
with the first to give it novelty, yet pos
sesses sufficient similarity to preserve
intact the unity of thought. Again, the
great charm of modulaton-the special
gem of music-lies in, contrast between
two keys, being modified by gradual, in
Atead Of abrupt, transition.
Thus it will be seen that in the hands
of the great masters whose works are
our models violent and sudden contrast
has been refined into delicate and grad
ual change in. the forms of subjects, in
quantity and quality of tone and in pro-
gression of keys.
Another law, opposed to the law of con-
trast, is that of graduation, two forms of
which are found in music, and frequently
together. There is gradaton in quantity
Of sound-that is, a constant change from
loud to soft. or from soft to loud; and
there is also. but perhaps less often,
graduation of pace-a constant change IN
time, from quick to slow, or from slow 10
quick. Where these are very decided
they are marked in the music by the
words ''crescendo.' or 'decrescendo."
and ''rallantando." or ''accelerando."
Beyond these marked features, however,
there are the more delicate changes
which are too Slight for any marking,
and which may vary, without any mac
curacy, not only with different perform
ers, but from time to time with the same
performer-the gentle pressing forward or
holding back. with tender care, of some
one note or a group of notes. is what we
call phrasing. 1t is by his phrasing that
we can tell whether the player has grasp
ed the true hidden meanings of the com
poser which cannot be placed on paper.
While graduation in music is almost uni
versaI. the hard line may appear to ex-
rs-
the end of Mendelssohn's Ninety-eighth
Psalm the inevitable future judgment.
which none can escape is suspended over
us as the voices thunder forth TO the same
note. repeated with the same force, He
shall judge; judge with truth"
In every art We know that simplicity
affects us more than the most Titanic
p!lng up Of masses In the old masters
it is simplicity OF style tina. compels US 10
admiration. Why was the Introduction 20
the last act Of "L'Africaine" encored
seven times on the production
Of the opera? Because the house
was carried away By the sim
plicity OF a few bars az melody in
absolute unison. without any accompani-
ment. But that melody is written with
an exquisite knowledge Of the peculiar
tiles OF the instruments TO which II Is
assigned. Thus 1t is in music. as in every
thing else. II requires real genius TO be
simple. man may crowd his score with
parts. but an the scraping and blowing In
the world viii not produce the effect or
the first four notes Of Beethoven's Fifth
symphony, or Of some OF Mozart's simple
movements. Mendelssohn. in his choral
works. almost always flies to unison for
the voices in his most telling passages.
No composition IS more respected than the
"Hallelujah" chorus in the Messiah
and yet observe its simplicity, A most
interesting occupation would re TO study
the analogy between the grotesdue in r1u-
sic and in other arts. What IS thus
doubtfully true Of the pathetic grotesque
is assuredly and always true Of the hu-
morous grotesque. SO far as it expresses
any transient flash OF Wit or satire. the
less labor Of line or color given to its ex-
preston the better. elaborate jesting
being always intensely painful" How
well this describes the touches OF nunor
with which we meet in Haydn and Bee
thoven.
From literature generally may be taken
another illustration OF an object which
should be kept in view in musical com
position. One of the beauties OF
Macauleys style Is thu skill with which
he returns from digrtsslon to his prin-
cipaI subject Not onl3 does the dirrea-