The daily Gate City and constitution-Democrat. (Keokuk, Iowa) 1916-1922, 1918-08-20
German Music in the United States

editions of it could be issued, at
minimum price, by joint effort and
under thoroughly competent editorial
supervision, there could be gathered
body Of American music which
| would make the people of Europe
at least look to the United States
for editions, instead of Gas has hap
pened in many cases) publishing
their own editions because American
ones were so carelessly done and SO
unnecessarily expensive.
But the points which would be In
the mind of our supposed euestioner
have not been touched. He would
be thinking of music as heard, not Of
music as printed-though he would
perhaps not be inappreciative OF
efforts made toward publicational in
dependence and responsibility.
AS to possible demands for the
Punishment of German music, prob
ably everybody would object to hav-
ing restrictions put on any work OF
an author whose career ended as
early as 1860. There are few things
which would naturally be unpopular,
and some that would certainly not
be performed-the "Kaiserquartet" Of
Haydn, for instance, and Beethoven
ruins Of Athens" (unless the sub
stance and meaning of the work
were carefully concealed from the
audience). But by and large. 1860
would seem to be date with an
ample margin Of safety.
AS to authors who have flourished
since 1860, there might easily be
differences Of opinion. To some,
Wagner will typify Teutonic bru-
tally; while to others his Danish
activities In 184S Will constitute a
claim to immunity. AS for Brahms,
who seems to have been as negative
politically as anyone could be, his
dislike of the English may discredit
him with some; and his German re-
QUEEN, If performed at all, will be
programmed as a requiem. We need
not even consider Roger. He has
almost completely disappeared from
American programs-except, perhaps,
of organ recitals.
AS to present-day authors, there is
no doubt that some program makers
will decline to list them.
Is there, then, any reasonable and
practicable thing that can be done
by all who desire to take cognizance
OF the enmtty of the Teutons? Clear
ly there Is
First, on a policy Of exclusion, pub
lie performance can be denied, until
further notice, to any work published
since June Is, 1883, the date of the
accession Of William II. This Is
reasonable, because there Is ample
STA did not morally, officially or philo-
sophically dominate Germany, and
there is also evidence that she began
to do so shortly afterward. 1t is
practicable to do so, because 1t takes
away very little that is needful to
train the oncoming student in the
fundamentals Of his art Also, what
is indisputably great Cor, perhaps
better stated, finaD in German music
can still be passed in review. For
instance, of the larger works of
Brahms only the third violin sonata
and the clarinet trio and quintet
would retire to private life. or Rich
ard Strauss tone poems, Don JUAN"
Macbeth" and TOD und verklar-
ung" could still be heard. Some
would be sad to have Mahler's works
under the ban; others would be glee-
full.
Second, on a policy Of promotion,
SicdtSI pTOmlHeuCo Call De given 10
non-German composers of all periods.
and the product Of living artists who
hail from the allied countries can be
fostered. And the American COM
poser could, hereafter, certainly come
in for part of the attention that
has been given to some obviously in
considerable contemporary Teutons.
By publicly substituting series
of whole rests" for all the Teutonic
works published since June Is, 1883,
we shall miss little and signify much;
which will be better than prattling
about art for arts sake; better
than jauntily or ponderously quoting
obiter dicta like, Music Is the uni
versal language of the emotions and
has no national or political connota-
ton; better than saying "Shoo, fly!"