The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-05-03

fort Of tho intellect, not at q o,s,. :.
Imagination.
But when one calls up visions a. -.
now masters works from out tho y. =.
deep OF this stormy season. one ia co,.
PEELED to confess that while here OIL.
ono finds the product Of profound me-.
tai labor. one sees this labor bestovsA
upon different object. True. Scnm,,,.s
'Tragedie de Salome" liz prorran,,s
music. but II is legitimate. Using an
the methods and manners OF IN. a.,
treme modernists, Schmitt has cor,-
posed q work which is neither unc..
tain In purpose nor wavering in d.vs,.
opment. 1t is Il finely wrought. br,,.
ianIy orchestrated delineation :.
moods. piece OF music which ia s,,,.
to be heard again and which IL going "a
demand a high position among recsn,
productions.
Schoenbergs remarkable quartet. mn.
duced by the FlOnzaleys and played nv
them In manner not to be forpo,,sn
Will also take hiHh rank among the crea.
tons of the new men. Schmtts ou,n,.,
belongs to the new thought and .aI.
| only little behind the Schoenbsr-
| quartet.
1t IS not essential now 70 Discus, ~.
Significance OF the latest phase OF m,ui.
! cal art in Europe. Whether Il n "a
contribute anything OF permanent mi.
ity to the materials or ID open ,rntrodd.s
territory to the imagination cannot NOV
be finally determined. But II In follv 4.
endeavor to brush aside the music ~
these post lmpressionlsts" or "futur.
! Icto haS
Their work II perhaps tho product Of
| q transitional period. Later observrn
| will be able to gauge with clearness the
value OF st. They will be able to discern
what II has offered to new creative
masters OF the first rank when such
shall again enter the domain Of musical
art. Meanwhile there is some ground
for the pointed comments OF writer 10
the London Times. who declared that
no composer had ever succeeded IN WIN
ing anything to appeal to the world a
largo If he declined to uss tho "house-
hold words Of music.
Tho expression IL at once happy and
, unhappy. To this writer Il Immediately
conJures up THE heart bowed down"
the soldiers chorus from Faust" and
similar choice selections These belong
to the Household words Of music, with
out which no family and no record pos-
SCISSOR is entirely at peace.
But perhaps the common idioms'' Of
music In q better title. When com
posers set out 20 treat tho major scale
as an exception and the common chord
a. an exotic they are certain 20 come to
grief in the long run.
One cannot make real music with
out employing the system which ha,
been developed through ten centuries
| of experiment and study. Complex and
wide reaching AS the modern musical
system is when compared with that H.
let us say. Alessandro Scarlatti. II none
| the less rests upon the foundations
built when the modern major scale
| became accepted as the source from
which all else was to be derived.
The new masters apparently are Try.
| ing to make this condition except ioral
} instead Of fundamental. 1t il incor-
ceivable that they can succeed. Bu'
that their work may vastly enrich
music in the extent Of its chord com
binations. its tonal relations ana ~
methods OF thematic development Is
altogether likely. One has only ~ re-
call what has already been effected IN
these directions by tae innovations NJ
masters OF almos, the latest period
! namely. Wagner, Debussy and Strauss
As yet there is no evidence that Hrv
one of the futurists Is quite as in
portant "A parsonage us even the least
OF these. hut In music II has occurr,I
/ before now that men % small musical
! invention have immensely influenced
: the It v.l,Inipnf II ~ ar TN, ~