Evening star., 1933-07-30

triumphant and relieving climax
taxing exigencies of the clasSicist
This preference of Washington's musi-
bal taste Is undoubtedly indicative of the
faste of musicians in other cities. In
fae music Of Debussy there is that
which delights the player and listener
alike and constant demand Is made for
6is works irrespective of any emotional
kinship Of either party to the composer.
Fhere there may Be willingness to de-
1iare an incomplete understanding Of
Brahms. Beethoven or Bach. Debussy is
played with serene Inconsistencies OF
&ny disability to appreciate his unusual
5diom or his versatile play Of fantasy.
This liking for Debussy is a curious af-
Sair. for no composer is more difhcult to
interpret and no composer Is farther
from the general mental makeup than
This mystical poet OF music.
The individuality of Debussy's style is
. manifestation Of his personality.
throughout his lifetime vein of erratic
temperament colored all his undertake
ings. He was incapable Of doing any
thing As he was told or when he was
told, and from an early age gave evi-
dence Of disregard Of established rules
$alat could be permitted only to genius.
His early difficulties in grasping har-
mony as taught in the Paris Conserva-
toire are well known. The protest he
made when demonstrated with by his
fnstructors-"But.s sir I do not hear your
harmony Il hear only what I have
&ritten"-is typical of his unconscious
ness of an urge that would lead him into
Ahe forming OF new school, as it was
typical Of his inconsistencies Of any
rebellion against old laws
Debussy was never fired by ambition
30 be original or to create in q bizarre
fashion or to attract attention to him.
SELF as an exotic personality He fol-
lowed the dominating strain in his
character that drew him to study and
to admire his great predecessors. such
As Wagner and the leaders of the Rus
SIAN school, and after having touched
the cup of new melody they offered to
his lips, to turn away under the stress
Of his own individuality.
To Debussy's delicate. thoroughly
French nature. the music of Wagner
and the Neo-Russians could not long
be attractive The rich mysticism and
passionate exaltation. the physical
1igor and realistic emotional express
sion were distasteful to him and he
could admire momentarily but never
emulate. He required refinement. not
vlHQ, ElIltS lOI bOlS otdICAiACiieo, NSASA
mysticism for hysterical exaltation. 1t
Rses the natural demand Of French
mind for restraint and good taste.
@Any one" said Roman ROLAND, who
has lived in foreign parts and Is curl
Gus to know what France is like and
understand her genius should study
bebussy's Pelleas and Melisande.
bebussy once said to student. Go not
to others for advice but take counsel
of the passing breezes which relate the
history Of the world to those who can
Esten," and his frequent suggestion to
young musicians was Ito assist at
sunrise"
Is It then any wonder that this man
who by nature could not agree with
the prosaic exactness about him. who
tas repulsed by the bold description of
bald emotions should seek the evan
escent things of life. the delicate soul
shadows that were nearly eclipsed in
their transformation into violent pas
sion. The feeting pictures mirrored in
water. the quickly dissolving story in
the clouds the imaginary diversions OF
q mythical figure, the delicate develop
nent of affection. these were the sub
Sects that charmed him and opened the
Nrings Of his poetic rapture.
Hhe music he heard through their in