The New York herald., 1921-11-20

the interpretative artist, whether he
be player. singer or conductor. 1t is
evident that little enthusiasm about
music itself is invited. But how long
can this last?
Confusion Caused by War.
Probably while the intelligence of
the world is still deadene6 by the
shock of the great war. What force
the human mind retains after such q
horrible reversion to savagery is now
exercised in the struggle to bring the
common industries of the world back
to a normal state. The minds OF men
are occupied with the imperative
problems OF credit, Of international
exchange, of transportation and COM
merce, in short, of all those business
methods which were in fairly good
working order throughout civilization
till the irrepressible conflict threw
them into confusion.
But It is inevitable that just as soon
as the machinery of life begins to run
smoothly again the unquenchable
thirst OF the human spirit for the
possession of ideals, for their defini-
tion, for their artistic expression, will
return; and when 1t does, music will
have things to say which will shame
the gesturings OF publicity men, the
shoutings OF singers or the prancings
OF conductors.
Because he comes, not chiefly as an
interpreter, but rather as the COM
poser OF his own works. Richard
Strauss should receive special con-
sideration. Because Percy Granger.
ardent apostle OF the aloof, ushered in
the long series OF recitals in Aeolian
Hail with a concert arranged to in
troduce works by Selim Paimgren,
the Finnish composer. he deserves our
thanks. The writer does not recall
having read any essay by Mr..
Granger on Mr.. Palmgren in that
eminently reciprocal little magazine.
The ChesteridR, but doubtless that
will come. Later no doubt there VIII
be an appreciation of Mr.. Grainger's
art by Selirn Palmgren. Whereupon
Cyril Scott will bestow his unresolved
blessing on both.
All OF which is inl.lie ely better than
the ceaseless effort TO convince the
UIDuC lldl, IL TIC
ciety performs one Of Mr.. Palmgren's
tone poems, the Interesting matter is
not the composition itself, but the
marvellous magic by which the genius
Of Mr.. Stransky breathes the breath
OF life into it-supposing, OF course,
that he really does.
Love Music, Not Musicians.
Now. there is a sneaking suspicion
that the pernicious power Of PERSONAL
ity worship may be traced TO what
Mr.. Hergesheiner might call the
feminine nuisance in music. This, of
course. cannot be true. Women love
music. not musicians. That is to say,
they value the art more than the
artist, Beethoven more than Stransky,
Tschaikowsl1y more than Mengelberg,
Korngold more than BodanziSy. This
truth can be easily proved at any
piano recital. All the ladies clearly
reveal their love for Chopin. And It
is certain that, II they had known the
man, they would have esteemed his
music far more than himself. They
would have liked neither him nor his
commander In chief. They would with
out doubt have agreed to what was
long ago decided, to wit, that II Chopin
was not a perfect lady, certainly
George Sand was no gentleman.
Schumann, for some inscrutable
reason, does not move the celestial
soul Of woman to such raptures as
Chopin, and yet he poured out tributes
to the eternal feminine which ought 10
enthrone her ego on the golden seat
of the furtheSt star. What with his
"Woman's Love and Life" Poets
Love" ana Loves Spring" he ought
10 tse W. mans darling.
One thing is certain, and that is that
he is the darling Of cert-&h female
pianists who wot not what they do.
Some one may be able TO explain why
many pianists whose chief assets are
force and brittle, unyielding tone al
ways wish to play Schumann's "Carni-
val" The music reviewer OF THE New
York HERALD has observed this prac-
e1es with astonishment for many years.
That such pianists put Chopin groups