New-York tribune., 1919-01-19
Echoes Of u Concev5
Some Effects Of The y ar pon Music - Cmagoniuns
on@ Ano'al"sions in ConAict-T|,c american Up
rising

cally feigncd admiration for our peo-
! pie and institutions.
All these banefu things appeared
in perspective to The Tribune more
than four years ago and were set forth
more or less fully in the first article
which attempted to tell of the probable
effects Of the war. At later date. we
believe. attention was called to what
would be the natural outcome of the
spirit of nationalism, which this strug-
spirit of nationalism which this strug-
grew great national political organiza-
lions in Europe fell apart and resolved
themselves into their racial units, and
it was easy to forescc that demand
for racial expression in government
would soon swell into universal
chorus. In unison with this is bound
to come racial expression in art, espc-
cially in music, which has more dis
tinctive idioms than arc possible to the
plastic arts. The reasons for this need
not be discussed, the fact is incontro-
VeltiDlc. 1t is an extremely interesting
fact. There ought to be many more
national, or racial schools of musical
composition than there are. Govern
ments have had much to DO with the
repression of the movement which may
be said to have begun with Gade neor-
ly a century ago. The most flourish
ing school has been that of Russia
Iilrir ir,cr lo loc+
speaking. of course, Of schools based
upon the idioms of folk music. All
others are purely adventitious, their
roots striking no deeper than the city
or country to which a master drew his
pupils. The leaders Of the Roman
school of ecclesiastical music in the
7 sixteenth century were Netherlanders;
they founded the Roman school because
the church attracted their activities to
the seat Of ecclesiastical power
The present cry for popular deter
mination in government is already ac-
companied by an appeal for popular
expression in music. Russia won her
way to a leading position by encourage
government was under the empire, it
gave greater encouragement to the
musical expression of her people than
any other government. 1t was recog-
milton of that fact which moved The
Tribune's reviewer to utter the warn
ing, Look out for the Muscovite,"
when the voice of Tschaikovskv was
still a strange one in our concert
rooms. The Russian came, and came
to stay unless anarchy stiles the utter
ance which autocracy encouraged. We
know musical Poland slightly and
musical Bohemia better. We shall soon
learn to know musical Serbia Ru-
mania and Bulgaria, for there are ma
tional voices there. England Will some
day regain something like the glory she
enjoyed in Elizabethan days. We
heard echoes of those days in the lusty
popular songs, especially the catches,
which were sung at the concert of the
Schola Cantorum last Wednesday night,
as well as in the artistic mndrigals of
Byrd, Dowland and Greavcs In the
popular songs appeared the spirit OF
the period-a period in which musical
culture was so general that Shake
speake dared to throw out allusions
10 the science and its practice in the
most offhand way, knowing that his
technical terms and his quotations
from the music Of the day would be
understood by his public. All Of Mr.
Schindler's music did not date back to
a. D. 1900, as the programme init
mated, but some Of it did, and per
haps whoever it was that stood for
the portrait Of Sir Toby, who was
"dog at a catch" and felt that with his
friends he could sing one which would
Grouse the night ow' and "draw three
souls out Of one weaver sang some
Of the very music that the audience
heard in Carnegie Hall four nights