New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-08-12

art can only be produced By those who
have survived the long process OF
learning 20 understand the meaning
and purpose Of artistic procedures, and
still have some vitality left. But me
public is by this time quite incapable
Of distinguishing between what ls built
upon genuine foundations and what is
pure recklessness.
They like rscklessness, and the
mower 20 recognize the mind when
builds so difficult an ediAce Of ind,vidu-
atty on loyalty 90 his art requires TOO
much education. So many contrive the
Appearance Of orr ginality by the easy
process Of merely doing what they have
been advised not to do. They cry out
against the soul-subduing labor OF haY-
ing TO learn how 70 do things that are
worth doing IN the best way.
A familiar illustration here springs
20 mind. Nearly every ignorant ego
fist in composition class, When
faulted By his teacher for his consecu-
tive fftns, is quick with the story OF
Beethoven. who, when told tnat Ale
brachtsberger had forbidden such Sc
cueuce. replied 81 allow them Inc
~etort which ought 20 be on the lips OF
every teacher Is: "You, too, may write
them when you become a Beethoven
and write them as Beethoven
cid: QuId Iicct joni non ilcet OoUl.
But let Sir Hubert Parry finish;
"Nen no longer expect music 10 be
the EXPRESSION Of noble and exalted
thoughts only. but accept 1t as the eN-
preston Of all kinds of moods, emo
lions feelings and aspirations, whether
thew be little and intimate, satyrlc ana
strange. wildly extravsgant, genlally
humorous, pugnacious, pacific, pastoral
even unroariouslv domestic. IL ls a
new kind Of differentiation. IN when
there is inevitably q new kind or waste.
But the ideal public, which Is infinitely
longer than IL is broad, will ultimately
applv the Judgment based on the eE-
Daricnco IF generations, ana WI STU
out the products of the gelulneiy ar
+igtfc beings from the rOl.leS or Jhe
needless ones. The purlsts are ln ae-
spair. but those whose optimism ls IN
yr,IoarsbIe can look forward in the un-
shaken belief that art Will go on ex-
handing healthily, In spite OF the con-
fusion of tongues, through the lpeHUn-
punishable passion of true composers, 20
find the most perfect and complete eX-
pression Of their own personalities
For each OF the volumes there IS a
department editor; sometimes more
than one. as in the first, where Cesar
Saerchinger, managing editor OF the
series, is associated with Leland Hall
The former contributed the chapters on
'The Music of the Ancient Greeks
"Tbe Italian Renaissance and New
Forms: Vocal and Instrumental OF
the sixteenth and seventeenth cen
turtles: Mr.. Hall writes on The Be-
rinnings Of Polyphony," 1.-THE Seven
teenth Century" Handel and the Ora
torio" and Johann Sebastian Bach:
Other writer's represented IN the vol
ures are Henry T. Gilbert, on Print
tive Music" an entertaining presenta-
ton of the subject, containing an eT-
Yositior Of the theories Of Darwin
Spencer and others touching the origin
of music and leaning toward the lat
teri: T. II. Martens, on Exotic
Music and "The Music Of the Most
Ancient Civilized Nations; Amelia van
den Ende, on Secular Music IN the
Middle Ages; W. Dermot Darby, on
'The Age Of Plain Song" and Franz
Bellinger. on 1.-THE Rise Of the Neither
land Schools" and "The Golden Age
of Polyphony"