Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-04-15
OLD MASTERS OF MUSIC.
Early Makers of Melodies and Har-
mony Feature of Programs.
From the Forum.

From the Forum.
The tendency exhibited among thinking
artists in America to offer works of the old
masters upon their programs represents
also perhaps the most conspicuous feature
of the present musical life abroad, where
the dearth of contemporary musical COM
positions of high order seems to warrant
these revivals, which have taken place both
in the field of opera and in that of purely
instrumental or choral music. The general
revival of earlier works is spreading all
over Europe Though a modern art, music
strange to say, is already engaging the re-
searches of the antiquary in nearly every
country on the continent.
There are many reasons for this interest
ing phenomenon. In the first place it is
far easier for musical manuscripts to get
lost than it is for piece of statuary or a
painting Then, again, it was formerly
somewhat difficult for some of our great
composers always to get their works into
the hands of publishers. The relations be-
tween the usually impractical musician and
the commercial intermediary who under
takes to print The works and bring them
before the public would furnish inter-
esting chapter to the history of the art
Finally-and this, after all, is the raison
d etre of the numerous researches now on
foot-the great musician is rarely or never
fully recognized during his lifetime, or in
deed, until a long time after his death. The
frequent appearance of mans name in
public prints, even a general perform
ance of his works, can hardly be accepted
as implying thorough recognition in the full
sense of the term. 1t would be possible to
point even to very modern names in SUBJ
sanitation of this statement. We have
gotten into the habit of considering our
age a sort of finality, something sur
passing all that has ever gone before. Yet,
making all due allowance for greater ia
cility of communication and a more rapid
dissemination of facts, the principle Of COM
pensation is still in operation, and, in the
deeper sense, much remains intrinsically
unchanged.
Bach, like many of our modern musicians,
also had his friends and patrons. His
name was widely known-a fact attested by
the circumstances that he was even invited
to play before Frederick the Great Yet
nearly half century had elapsed after
his death before the world even began to
realize that it had lost in him one of the
greatest masters of all time. Hence, we
can we'll account for the worthy and COM
mendable researches of that host of in
vestigators abroad who are now endeav-
gems of former centuries. Germany and
Austria have their "Denkmaler der Ten
kunst;" Belgium may boast of Gevaert;
in France the work is conducted by men
like Diemer; Spain has its indefatigable Pc
drell, and Italy is represented by men like
Torchi and Chlessotti. The last men,
toned alone has recovered many long for
gotten dances Of the sixteenth century,
which, by their form, may stimulate anew
the endeayors Of modern composers; for
the dance, as we know, has ever exercised
most powerful influence upon the develop
ment of music. The results of these re-
searches are to be found in colossal vol
umes representing many teasures of past
times.