Evening star., 1948-11-14
Perfect Music
Often Fails to
Feed the Soul
By Alice Eversmon

Will dl1 Glldt IAdc bCC41 dSSSAA-
plished in music In this country, it
Is becoming more and more evident
that its status as an art Is less com.
pretended than its polish of form.
This Is to be seen on all sides where
perfection of performance takes
precedence over the study of its
meaning. 1t influences the student
and the public alike and is turning
native talent into virtuosi and not
much else, in every branch of music.
This undoubtedly was necessary to
prepare musicians for higher vo-
cation but it is time now to con-
slider another approach.
Ruskin says of art: "All that ID
good in art is the expression of one
soul talking to another and Is pre-
cious according to the soul that
utters it," Here, in a few words, Is
the explanation of music's aim no
less than that of every art form.
It is certainly what the public seeks
and the unfortunate part about it
is that the public must rely on its
own reactions to grasp the ultimate
beauty. The artists who present it
are too busy with its mechanical
side to devote time to the inner
contemplation of music's meaning.
Public Dazed by Glitter.
Standards of performance have
reached an unusually high level and
to meet them requires years Of
mechanical practice. The result is
that the glitter of virtuosity has
bedazzled both public and musician.
True, no artist before the public Is
worth the name if he does not give
evidence of his musicianship in q
fine analysis of form and this, to-
gether with the cultivation of ex-
pressive tone and fleet technique,
is the sum total, in most cases, Of
his right to be included in the select
category.
Now, this question of soul speak
ing to soul will be brushed aside
as a sentiment quite outmoded to-
day. In this practical age music
should be considered from
practical standpoint. This is all
very well for the composer and, in
certain degree, for the performer:
but the banishment of all spiritual
and emotional ingredients in the
forming of music will not prolong it's
life 1t is the music of emotion and
spirituality that holds its unfair
nished brightness and solace today
as it has done through the ages.
The public, according to its physi-
cal makeup. will find in music what
it seeks. 1t is proof Of its dis
corning ability when it discovers
more than the artist gives. Yet this
give and take is not the most i'm
portant part; it is rather the cul-
tivation of the finer things and their
distribution throughout the land
that every musician owes to civili-
zation.
Sometimes people are born with
the qualities that make real artists.
Can this intangible property be
taught, unearthed or trained In stu
dents of music. Apparently not
much attempt is made in this direc-
tion If we are to Judge by the
character of performances today.
Never in the history of this country
has there been such outstanding
talent as displayed on the concert
platform at present. 1t amazes by
it's mastery and brilliance, by its
physical and mental proves. 1t
represents the hardest kind Of labor
and an answering diligence over
many years. 1t represents also, and
unfortunately, the ideals of instruc-
tion.
Deeper Delving Il Profitable.
It is quite possible to make the
study of the quality of which Ruskin
speaks go hand in hand with tech
nical training. 1t can often be dis
covered in its most precious" form
in young children. There Is no rea-
son why, after the musical diff1cul-
| ties of a work are mastered, that
fresh study cannot be given to its
deeper elements. There Is no neces-
sity to make haste so quickly in
gathering a repertoire. One pro-
gram, thoroughly understood and
profoundly felt. If it can demon
strate "one soul talking to another"
is something that can be heard
again and again with profit.
The lack of appreciation of this
great factor in music is what Is
wrong with our teaching principals
today. Granted the time and work
needed to acquire technique
capable of expressing every shade
of sentiment, it still does not excuse
the woeful absence of feeling In per-
formance. We have performers OF
Is and 18 years Of age who are
phenominal in power of execution.
They should stop at this point and
begin again the real study of music.
This is a duty they owe to the lay
man to whom music speaks from
another angle than the mechanical.
For the layman is the public and the
musical public Is a great influence
in the forming of the spiritual at
titude of a community. In spite Of
all the need to be practical man
cannot live and fulfill his destiny
without needing the voice of his
soul.