Evening star., 1940-11-10

viewpoint and reasons ana 1t would
any of these components of the musi
of another. Yet this eternal wran-
gle as to the merits of artists. per-
formances or compositions is the
very life of music and the element
which makes for continual striving
toward the best accomplishment.
1t is a wholesome practice to air
opinions and to argue regarding the
virtues or faults of what is being
done in music. The contribution
given in this manner is of gain to
every one and the only real way in
which those who give to the public
can know how we'll they are doing
1t or what the public is ready to
receive. If this is done, and re-
ceived, with an open mind, then
music Is still live art making con-
tinual progress.
There are many factors entering
into the forming of verdict on the
value of a performance or the worth
of a composition. The individual
temperament, something impossible
to change, comes first, closely fol-
lowed by the type of education di-
recting the opinion. Some people
are reserved in their character,
shrinking from too much display of
sentiment either in the content OF
music or in its Interpretation.
Others quickly release their feelings
at the first note of what appeals to
them and from that point on lose
control of their judgment and abide
by the initial impulse. Those who
can maintain a moderate attitude
In which both extremes meet are
rare to find.
Cruel Results.
II Is only logical that the lndl-
vidual who has spent lifetime at
musical study, who has thought and
felt for himself in conscientious
fashion, who has mingled with
masters of the profession and lis
tened to expert opinion has a
sounder foundation for Judgment
than those who are less we'll trained.
Much of the trouble with music de-
cisions goes back to that well-knoWn
quotation that "A little knowledge
is a dangerous thing" knowing
lust enough to have some ground on
which to base criticism or praise yet
not having the experience that more
study. effort and association bring
can often work in cruel fashion
either by too complete a condemna-
ton or too voluble praise.
One fact that often escapes con-
sideration is the individuality re-
vealed by an artist or a composer.
In the character and mentality OF
musician lies his success or failure,
for talent alone is not sufficient TO
make him great. When, by that
subtle projection that comes over
the footlights from an artist or the
work he has written to the listener,
these characteristics are made clear,
his future is determined. The gen.
eral public may not be concerned
about putting their reaction into so
many words, but 1t is there none
theless, even if the reason for it Is
not comprehended,
Must Suit Public.
II an artist has not In his make
up warmth and richness of spirit,
he cannot put 1t into his music. If
he has not the mentality that makes
him strive to enlarge his under
standing both from a cultural and
spiritual standpoint, he has little to
give to the greater mass of the pub
lie who seek Just that in music.
Yet he is not wholly to blame for
he is born that way. Occasionally
one meets some musician and real
ICES that he has closed himself to all
progress because he is either de-
luded with his own talent or too in
different to understand that it must
be nourished with constant care.
For him there should be no quarter
given. Both of these musicians,
however. may be blessed with God
given talent of which there Is no
question.
But just the fact that some are
endowed with brilliant gifts is not
enough to warrant acclaiming them
as great artists. One less fortunate
IN this respect may yet have the
greater gift of insight, of feeling and
appreciation and knowledge
springing from an inner mental and
emotional light. When all is said
and done, when the greater con-
sideration of a contribution to music
is thought of, the latter will have
left his mark more clearly than the
more brilliant artist.