New-York tribune., 1921-05-22

interpretive and moody of Schumann's
compositions had to have an initial pro-
pulsion, like LISTS "Mazeppa." We
have listened to an added kettle
drum part in Beethoven's Pastoral"
cruder imitation of the mutterings of
a thunder storm than the composer
was willing to make. We have heard
the string players in Mozart's G minor
symphony reduced in number and the
flutes doubled We have heard the
brass voices multiplied in Schubcrt's
symphony in G major unit! the gentle
singer of century ago ("Fancy's
child" if ever she had one) seemed
like Malay running amuck. We have
heard the tympani belabored with wood
en- headed drumstcks until they
sounded like barn doors, not only in
Beethoven's symphony in minor. but
also in the chivalric pomp of Weber's
"Obcron" overture. We have heard
the horns blare out Hagen's call from
"Gotterdammerung" in the Trio of
Beethoven's fifth symphony, and heard
the sleepy roar of Fafner in the intro
duction to the second scene OF
"Fidelio."
The Reverence Due to Old Works
All this and much else have we heard
addition of instrumental parts,
changes in texts, fantastic phrasings,
exaggeration of accents-all for
the ostensible purpose of making the
master works of great masters ac-
ceptable to the taste of to-day, but, in
reality, we fear, with the atm of Great
ing popular stir and exaltng the horn
Of the conductor. The question of
Notwithstanding old works to preserv,
them for the modern repertoire is
delicate and difficult one, but without
attempting to answer it might it not
be well to consider the possibility of
preserving by performing them in
their integrity under proper condi-
tions? Is band Of 12o players neces-
sary to render q Beethoven symphony
enjoyable? In such band there must
be an augmentation of the wind in
struments to Offset the great weight of
the string choir. With such augmenta-
tion can we hear a Beethoven SYM
phony as its creator intended it to
sound? Any musician, any physicist
familiar with the phenomena of acous-
tics will answer the question in the
NEGATIVE. A conductor in Paris is Civ
ing concerts now with q small orchestra
(the orchestra of the composers
period), in room of appropriate size,
and winning recognition and success.
Is it not duty to preserve the classics
in their original form for educational
purposes, if for no other? All old works
of art might be revised" so as to bring
them closer to the sympathy and taste
of large element of the public as it is
to-day after having lived under the in
fluence of modern revisers. Shake
speare's tragedies, especially their COM
edy scenes, might, we fancy. be brought
''up to date" to the delight of some lis
teners unable to appreciate them as they
are. We can even imagine a writer in
to-day's newspaper remarking in his
review of such a revised play, well
tell the world that it sure was some re.
freshing to hear some real humor in
Billy the Bard's old drammeri" We
make no doubt but that there are read
ers of the Decalogue who would find the
old code of moral law more piquant and
accordant with their tastes and inclina.
tions by so slight a revisory change as
the elimination of the little word mot;
but such a complacent disposition has
not yet been accepted as a permissbl,
license by any Biblical commentator, SC
far as we know.
Only purists, perhaps, will contend
that the pages written by the master,
of music are equally sacrosanct with
-. those of the masters of poetry anc
prose. In some respects they are not
The content of music is in itself
more vague than the content of poetry
or prose, or the plastic arts, and il
should, therefore, be free to fnd more
varied expression. But the question
may be asked: May the mode of ex
preston which suficed the creativ,
artist in his day and which met the
appreciation of the people of that
day be altered from time to time te
meet the changing taste Of posterity
Admitting that the conception OF
y beauty is a variable factor, ought not
the works of an artist be preserved il
their integrity if only as milestone,
marking the road of human progress
Are we sure, can we be sure, that
every change in the concept beauty i.
progressive stepf The parallel be.