New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1902-11-02

II VIII not he difficult for musicians 20 recognize
v hat was spooking in the head OF the witness who
thought lie could make his point better by per
Vcrting MI IIerberf's alleged MODEL. II Was the
effect produced Icy what Is called empty fifth,
~ cAcmplihed ia the tremoio accompaniment and
lhe descending figure 81 tones which drops az
snieryals from the top 81 the upper STAFF down an
octave and n halt. This empty interval is used
harmonicslly when composers Wish either TO give
sn air Of mystery their music there being no
third the mode Is vague neither major minor
or 10 lend il exotic Oriental color dhe open fifth
sustained prod ucing the familiar drone which suf-
sices people who do not make use Of modern har-
rnouyD. Beethoven uses Il fer the first purposes
end enhances its effect by yelling has key, ID minor.
until tho entrance Of his principal theme Wagner
has a similar purpose Nhen he uses the device for
7hc theme Of his Plying Dutchman' II is plain
from the continuation Of Mr.. Herberts music that
he WAS after Eastern color merely
The contention Of The Musical COurier's' pro-
sessor has served its purpose in amusing musicians
md helping Mr.. Herbert TO win his case; It may
serve again to briRg the general subject of the
matte resemblances and condolences into court
There arc few critics Of knowledge experience and
relf-restect who trouble themselves TO hunt down
or record phases that sound reminiscent They all
know that musical literature is fun Of thematic
soincdences, that some OF them are the products
OF unconscious imitation, others of conscious quo
sation AND stiI others the fruits OF familiar de-
vices Of composition employed frequently because
they make easy The process Of composition when
the inventive faculty becomes faded IL would be
simple task to cite examples by the score Of each
Of these classes For entirely conscious and frank
use OF other mems ideas among the great com
,aosers We should nave TO go back century
more. There was time when all musical ideas
were considered much In the light OF public prop
srty. Then IL was not the idea itself SO much as
she treatment given TO il by which the musicians
skill was Judged HANDLES HABIT OF taking themes
from the works Of his predecessors and contempt
rares has caused voluminOus comment, but none
az IL has iluminatiye Of the customs Of his
period as incident related 10 the writer by Or.
Chrysa nder in 1880. While Handel playing
ond violin ia the opera at Hamburg, keyseT, the
sconductor and composer. called on for new
opera. IIe Of dissoute habits and
prone laziness. Feeding secure in the vast fame
which he had already won. he handed Hbretto
80 Handel and asked him 10 set IL. The second
fddler went TO work and produced a score that
caused a sensation when II performed. IT
was "AlnliFa," HANDLES FIRST opera ia which the
famous melody ''Lasela chic pianga" appears as
an instrumental sarabaRd. The light OF Keyser's
name hogan 10 grow dim in the rays Of the rising
sun This was most tOlerable and not 10 be
dured." KeyseF took the libretto changed the
title and set il himself in the hope OF giving Han
del's opera deathbiOw. Meanwhile the young
composer had found a noble patron and gone 40
Italy. There he heard OF keysefs proceeding and
he contriTed an ingenious revenge. He sent 20 a
friend IN the orchestra AZ Hamburg procured a
copy Of the new opera. selected the most pleasing
numbers and utilized their melodies IN a series OF
pieces which he brought OUT
Nothing could more patty illustrate the frank
ness with which communal ownership in musical
ideas was recognized in the eighteenth century
than this story. The art OF composition was then
not altogether original creation q also trans
formation and TRANSPORTATION. the superior genius
the great composer disclosing itself IN the higher
and better life with which ne informed existing
organisms. when Handel utilized tie melodies Of
Keyser. ETba. Trio. StFadeila. Kuhnau and half a
dozen other composers he die something analogous
ShakespeaHe's proceeding in rewriting the PLAYS
OF some OF his predecessors. The parallel was sug-
Eested 90 Dr. chrysaDder by The IrIbsifle's
Musical Pilgrim after he had heard the story OF
the Keysef score, and the learned biosrapher OF
Handel replied; The parallel IS absolutely com
plete" lie then told OF his discovery, recently
made. that not only has ia Ponfe helped himself
literally 20 Bertatis book the same subject in
writing the lIbrettO OF don Giovanni but even
Mozart had not soorned 10 borrow some clever sug-
sesti0ns from Gazzanga's score.
There has been no more nOnchalant utilizer OF
sls4odie phrases which have come 10 belong 10 the