The sun., 1916-10-29

these attributes Of this essentially
modern art. When Walter Damrosch
revived Mozart's Manner symphony
he set every hearers pulses t%hrobbinS
with sheer delight ia the charms of
music.
II il inessential that any listener
should know that the Hairners were
solid burghers of Salzhurg. tina Mozary
wrote the symphony at his fathers
command at n time when he was very
busy with his opera Die E~ntfuehruns
aus dem Serial" and that he had al
ready long before composed "A serenade
for the wedding Of Sigismund Haffner's
daughter. One ncea not care what
moved Mozart to make the symphony.
One need not ASK hat this music have
"A title or that II attach itself To "A story
or a personality in order that one I've
, supplied with q key to It's content.
I. sings for itself. II publishes In
unmistakable terms It's own happy
moods. and. standing firmly upon its
own feet, II discloses itself as an art
work complete in itself without any
reference to anything existing in ali
the world saving only the SOU OF the
composer.
On the other hand Richard STRAUSS
Alpine" symphony IL a representative
work. It invites us 10 consider 1t as
music acting In Its dual capacity OF
telling Us Of things outside itself while
it never ceases to be beautiful music.
beautiful as music and hat only.
At this moment the performance OF
the symphony Ia too recent to admit Of
-.,.A- -. ,l--taa,s ,lll,t-v ., ,lnA
! was said the morning after its intro
duction ny the Philharmonic Society,
But let us at any rate be grateful that
Strauss has shown a disposition to re-
turn to the true basis of musical art.
There has been much confusion of
thought in the abundant and fire.
Quently excited discussion Of the COM
positions OF this extraordinary man.
The ardent admirers OF his skill have
lost sight Of the indisputable fact that
Strauss himself had abandoned adher-
ence to the elementary law Of art that
II shall express mans ideals of beauty
Strauss has written much marvel
lousy clever music and some really
beautiful music. but has too otter
asked us to regard his work as the
lIlufICdI cAITeSSlph vi htliIIN,ttipIl VI
things ugly and hateful in themselves
Those who have quarrelled with hin
have been writer's who have infeXIbl,
chung to the theory that the bushes:
of art Is TO create beauty and enshrin'
high ideals.
? This doctrine need no. lead us baci
TO an acceptance of the Platonic theor,
which recognized as beautiful In ar
. only that which included imitation G
the good. Art was In this state wher
, IL was born in the cradle Of The mod
ern Christian church, but when II saw
= that the body Of man WAS good In II
self and that expression could SELF
upon the entire drama of the soul ar
. rose to It's true position as tho finest
4 broadcast and deepest method OF com
municati0n known to mankind.
a When Strauss seeks to publish tn
Q emotions aroused In him by a visit t
Y the high Alps he aims at somethin;
: which IL perfectly within the realm q
r musical expression. He Is striving I
r give form and intelligibil!ty to feeling
which every thinking man recognize
as among those awakened by the con
= temptation Of lofty beauty. even cub
Unity, feelings which ennoble the sol
and All the heart with gratitude.
v When composers resOlutcly tur
8 their attention To sources Of inspiratio
which do really inspire and no merel
r arouse evil passions they are les
prone to depart from the narrow ron
Il to the heaven of beauty. But this do,
NOT mean that they are not TO touc