New-York tribune., 1910-09-11

We now come to the group OF composers
whose names are by universal consent first in
the minds Of men when romantic music is the
topic of discussion. Before their compositions
are studied an effort ought to be made to point
out wherein the characteristic elements OF ro-
mantle expression consist. Any attempt to do
this, however, is likely to be as inconclusive
that to formulate a satisfactory definition of
the term The attitude of man toward music
Is an individual one, and in some Of its aspects
defies explanation; and what is generally true
of the art becomes specifically true OF its par
ticular phases. Pianoforte music is in sin
gulary difficult case because it must perforce
forego helps enjoyed by other kinds 1t cannot
be aided by words as vocal music is which
draws one of its elements from literature; when
these words give expression to ideas associate
with romanticism fitting musical setting of
them may also be said to be romantic music
In orchestral music the voices Of the instru-
me ntS and the color which they mpart may in
spite a feeling of mystery and thoughts of the
supernatural and thus proclaim the romantic
CHARACTER OF the music SO far mystery and
snier13atIralisn are elements of romanticism.
1Iis fianoforte music cannot do: it is thrown
back upon content and the musical elements
which that content influences.
Having in mind the best pianoforte music to
which Beethoven pointed the way it may be
said that the following the principal eIe-
1ncnts introduced into music written for the in
strumcnt by the new spirit, it being prefaced
that all Of them are imposed upon music which
answers the primary notion of classicism as an
embodiment OF excellence:
fa) Freedom in the treatment of structural
1U:ns-1. G., freedom which contracts ex-
pands or otherwise modifes forms to adapt
them to their spiritual contents;
(b) Invention of new forms;
tc) Extension of the harmonic scheme, har-
nony being IN a high degree vehicle of the
emotions, occupying in this respect the place
filled by rhythm in the musical system Of the
ancient Greeks This brings us to
I'D Freedom in modulation. which was also
; factor in the old conception Of form;
(e) Increase in the number and variety Of
rhythns, from which element comes life in the
sense of movement or action as illustrated in
the peculiarly proPulSive effect of SyncopatiOn.
D Adoption Of poetical conceits as UNDER
lying and determining factors OF the compost
imaGinat OF the composer or the recreative
ima sinition of the performer and ultimately the
receptive mood of the hearer.
All these things are summed up IN the axiom
that in romantic compositions matter deter
mines manner. content the dimensions and
shape of the vessel. They might exist in q
greater or lesser degree in music which is prop
erly called classic, music which, for want
of tho quality of beauty, is not entitled to either
Cl tTic CilifletS winch we are applying. Hence
it is that here, in the appreciation of music
Ecneraly, personal equation enters so largely
and G"fnitiveiy. Each individual must for him.
self recognize the existence Of what Rubinstein
called the soul" which came into the art with
Beethoven, and the propriety and effectiveness
of the ha.iinlents with which in each case it
has been clothed.
The names of the high priests in the Temple
OF Music are to its votaries sources of spiritual
rcfresl!ment and inspiration. Those who bore
them seem Though they have
PASSED away their lives still intertwined
Wit. ogsE. We think Of Bach and admiration