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`,
J. D. Harvey
OF HIS
INSPIRATION
the degree
Preface
from ihioh
in the notes.
I have drawn upon most of the of composers of the, into English. The lese translated I have also
theoretical
works stoop
well as I could, though no doubt there are covered as I have used reliable such as Strunk's anthologies omissions. Source Readings in Musical History, and in this way have found translations of nearly all the most interesting and German translations in the notes. titles some part in shaping My ownf Trenohp Italian writings. by the untranslated are indicated
themselves, from the composers' writings area 'An 1911; Rosamond Harding, 'Mysticism', 1940; E. Newman, 'Art Jung! Psychological and the Freud, Types;
Anatomy of Inspiration', Creative 'Civilisation 'The Birth Idea'; Unconscious'; and its
Discontents'
et alias Nietzsohet 'The World as Will Schopenhauer, of Mu$io'; Laski, various Hansliok, 'Ecstasy'; articles Ortega by
and
)iarganita Act';
Hans Keller;
Be Langer,
and Form';
y Gasset,
'The Dohumanisation
of Art'.
other books I have read, or any aspects of the various or tabulation any analysis attempts They supply in the process of composing. of inspiration I have followed up deductively, and which generalisations None of these, hints which I have developed into demonstrable facts. The original in orderly previously quite in music. has been the collecting and categorising work of a large body of evidence, succession known but never plan synthesized, thus of creative revealing action a of the field
intelligible
CONTENTS
Introduotion Part I
1 2 3 4 5 6 7 8
9
of Inspiration Source
Unconscious
21 29
10 11 12
tf
Period for
of Gestation, Inspiration
Preparation
32
34
Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter
13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32
The Second Sources Musical Stimulus Objects Nature Events Fine Arts Literature Poetry Story, Situation Supernatural Autobiography Self-Delight Truth Compulsion Ejection Conscious Self-criticism Calculation after Expression of Music
STI4ULI
TO COMPOSITION
35
39
41
43
45
46 47 50 51 53 57 59 60 61 62 65 67 68 72
Second
At
Part
II
THE C0IIP03ER AND 1113 AUDIENCE Page 1 4 7 9 11 13 14 15 18 20 21 24 26 30 Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Desire Desire to Impress to Ploase or Diaoiples
For Connoisseurs
One Person in Kind The Muse Desire Desire Moral Desire to Share to Ignore or Didactic Audience Aim
to Move Audience
ESSENCEOF THE WORLD, Introduction Music the Essence of Thinge Art a Reflection of Life Communion with Race Commingling with The World
Part
III
IDEAL
1 2 3
(etaphysioal
12
14
17
Chapter 4
Chapter
Chapter
Platonic
Aspiration
'Refuge
Ideas
5
6,
18 21
Chapter Chapter
7 8
Sublimation Eden
24
29
Chapter 9
Chapter 10
Intimations
Divine
of Divine
Intervention
introduotion
thesis
ideas.
I have
to clarify logical
show their
background
conclusion#
necessary.
and have only used argument stemming from the composers' (thus the Apollo. -Dionysus dichotomy dominates much of own milieu the second part, and Sohopenhauer much of the third), and-so it that the thesis his represents idea the voice of the average influenced by his of inspiration
may be said
or else
I wish to view Haydn in the same breath formity about the period sufficiently
the period
as a whole and to consider thore is a strong unias Stravinsky in aesthetic alike It attitudes and I think even to be lumped into represents one bag without
mental
gymnastics.,
The thesis
attempt
any one
the views on inspiration, or even any one school's composer's, of the 'period in time brings to light oriss-crossing constant what the Renealitp eccentric all relevant dissenting of the composers thought, from all with an occasional was to glean within they the themhere and there. - Ky procedure available writings the headings themselves them under
statements
period selves
to arrange
neatly
enough into
regard
have not if
only
superficially, subtle
themselves
of'these quoted
of examples
to illustrate
a kaleidoscope
of different
cultural
2..
will
be suffioient
The main tendency of the period concerned is a movement from extroversion enormous crescendo is accelerated in self-analytioal
writings
by Freud and his transformation and intensified of had been (to the romantics) a subject of poetry to a subject what Thais the render of Stravinsky's views today demands of science. to be told not just beautiful. and mystical opinions, of theoretical but harshly essays truths. richest The literature this
at the other
pages seem to be dominated it such as Wagner, Schoenberg or Stravinsky, implies any superiority in proportion Also,
these
as oomposersq they have been represented they have written. to the amount of relevant opinions if
or something as 'in music itself arguments such ' are apt to reourt this is because some of the statements else? and the obvious solution quoted tend to one We or the other, (that it is always both) must only emerge dialectically. - Contradictory opinions it are sometimes held by the same oomposerg and dialectically. here again be shown why they were held, must left untampered all
translationsp
Prose Works of Wogner suoh as W. A. Ellis's reading now, yet he strove for a faithful finding, italios if possibleg' words of are the composers',
and my interjootiona
are in braokets.
Part
TAE
COWPQBER ,AD
TIM
UNCONSCIOUS
L.
The
Two
Souross
of
lira
atio n to musioal It
when applied
a composer a musical
is
the unoonsoious,
the miaterious
of the unconscious
onto mountains,
and aotivitiest
other muaiop or anything art, the composer and mirrors a bell within
feelings,.
This latter
Dizeoanaiou,,,
First let
9ouroe
us take the unknown and totally obscure source the direct This notion of the unconscious of inspiration, mind. is often sharply divided from the everyday conscious activity illustrates Tohsikovzky this point wells of the composer; activity 'ohe leaves place me' he writes of his Muse, because my workaday human living when she feels out of has intruded. Always, 'In a 'only
lives a double lifer an everyday human life and artist word, an 'Without life'(2). reason for rejoicing, any cpscial an artistic wood, and vice-versa, I may be moved by the most cheerful creative in the happiest may be touched with surroundings a work composed and gloomy oolours'(3). flow of creativeness productive dark 'Sometimes I look curiously by itselfs, at this which entirely separate
I may at the moment be participating ing from any conversation from the people with ms at the times goes on in the region separate Thus a sharper brain that is given over to musio'(4). of my division occurs in the artist aware of his than in ordinary darker men, because he is face. more than uoually other,
between conscious and unconscious also occurs 'one half of the personality in the process of creation itself, emotes and dictates while the other half listens and notates'(5); and the half witch emotes and dictates does so in an utterly The split
-2compulsive it is only 'Kunst kommt nicht von knnen, sondern von mtlsoen'(6) . ........ . comparable to the state of extreme joy and purposefulness way It is this unconscious activity within the process that -
root imply
we may simply
normally outside
hence the sensation of standing of duality, element is present in many remarks made by
composers about. the unconscious - 'I am the vessel through which Le Saore passed'(7) novel work; wrote Stravinsky of that appallingly of his 3rd symphony Kahler wrotes 'Try to conceive a work so vast, that in it the entire world is mirrored one iss so to speak, only In such moments an instrument on which the whole universe plays ... I no longer belong to myself'(8), 'the creation and elsewhere writes from beginning-to and the genesis of a work is mystical end since one - himself unconscious - must create something as though through outside it inspiration. And afterwards of supernatural he scarcelyj aid, others understandsthe unfor is the largely do riot; how happened'(9). is Some composers naturally leave the matter (belief formed open for in accord assume that the difference with fashion
conscious present
recipient
we will
or other is
which will
be shown later
of awe accompanies the revelations of metaphysical a sense 'When the final shape of our work depends on, the unconscious. this more powerful or thatt passage than ourselves, but taking it we can later give reasons for
forces
as a whole one is merely an logic which The power driving us is that marvellous instrument. Let us call it God' (Sibelius)(10). governs a work of art. This it'(11) is amazing force testified in tone, which Olives us rather than we-live quotations; '
best
to by a list others
of relevant
emphasise
the clarifying
of this
is in which the unconscious condition 'I would try vainly to express in writes:
that comes over me when a new that unbounded sense of bliss words form. to take on definite idea opens up within ras and starts Everything Then I forget and behave like one demented. everything inside before me begins one thought to pulse begins and quivers tumbling I hardly begin the sketch 'There is over another'(12).
-3something vivre to somnambulistic It is impossible about this oondition. 'On ne. s'entend ouch moments. '(13). feel it pas
to describe
Of 'Dr. t
Paust'
Buaoni wrote
11 oannot
any other
to this point in the same strange state way, and I was led straight of somnambulism in which the whole seems to have been dictated to
(i4). me'
'Intoxioationg artist's fantasy or Apollonian, whether Dionysian increases the clarity of his vision'. those of an (Sohoanberg)(l5).
experienced weref
clarifying
in bas-relief,
inevitable,
had been presented to us suddenly, brought to truth complete, Kinerva like. These are times of the greatest when receptivity, One to a marked degree. all the senses are alive and responsive is living in a state of inward harmony and vitality, as in a white, intense clarity. light wherein objects impinge on the retina with remarkable One .. s grasps as with a fist bunch of notes a clotted dangling hitherto It is in fact a state of clairvoyance evasively. from one's environment in which abstraction is and everyday life (Bliss) (16). complete'. momentarily 'As for kingdom is me'ezolaims Beethoven 'why, good heavens,
in the air.
does,
my so do harmonies
often whirl
about me too in my
strings
begin
until i of
unequalled
... blisses'.
to bide
to live
to the blissful
dream-state
into
he fell when oomposingo a state very similar to Yeats's which 'between sleeping and raking' when symbols and ideas reveries float into the brain - in faut that is immense significance of
the phrase he uses for the famous moment in La Spezia when the
He was visionary
For instanoep
through
these
-4experienoe adolesoenoes resulting 'on fire tromereadinge with f E. T. . Hoffman date from
by day in semi. alumber in whioh the 'Keynote', 'Third' 'Dominant' form and reveal-to seemed to take on living mighty meanings' (19). 'All we know is
that
is 'the
the moment
of emotion'
a state of mind, and a state of spirit, of ecstasy (in its rigorous sense of being psychic and spiritual for a single purpose) concur intensely in a total composing or investigating concenall in a given direction. inspiration, but all I (Chaves) (21). We do not call all.. oases of inspiration the rental,
is
of creatingg
cases of concentration involve concentration 'Musio doubt, their apparently reason ... is not is
a`dolent deprive it
like
love,
it
remains a sublime
to be proved
derangement
exaltation]
and sensibility.
pretended develop-
may be somehow oonneoted with the is the absolute revelation musioal inspiration (Strauss) (23). secrets' is
inspiration
of our unoonsoious which remains a manifestation 'an impulse for whioh we are not, so to to us'..,.. inexplicable (Honegger) (24). speak, responsible'
out ...
onsoiousness of
'The Post is
(Wagner)
(26).
'Kunio express
is
the depths
_5_
'Xusio must oome from the shadows' (Debussy) (28).
the recording
suoh a process
in words of some of
it would lead to
something
beyond dialeotio
the Hegelian
I-.
if
not most,
of the composers in our period to the real It richer, lime they outside world,
once there,
world
and during
was perhaps
absorbed
composer
'You know that I am soaked in musio, that I am immersed in it all day long, and that I love to plan works, study He even wonders ifs when composing Idomeneo, he and meditate1(1). Haydn will 'turn into the 3rd Aotv I'm so Obsessed with it'(2). was much the same -'"Usually I oannot point of torture, before beating notice me. If it's faster, my pulse musical ideas are pursuing stand like men to the walls keeps then I enoape thee, that they
an allegro
pursues If its
My imagination
the blood rushed Haydn smiled, I were a clavier". just a living " '(Interview clavier and he said, "I an really ... Dies) (3). with
on as as if to his faoeq
Other exampleas.
hardly have I oompleted (Beothoven)(4)" another'
11 live
entirely
in my musiaf and
one oomposition
is as if the best in man could shut itself up and him sallied forth dreaming' (into the daily routines only halt of (Brahms)(5). life) of fit
#How often often i live I take night for day and day for in the daytime; how night; $ (Chopin)(6).
in my dreams,
and sleep
'I live
'Not and wherever
I am oooupied
I go I have nothing
Elgar,
quoting
what
_7..
I hear all theiro? day - the trees are singing my musio - or have I sung
of his
summertime holiday
Inpeculiar was somehow frame of mind at the time and my passion for the subject pantheistic A thick crooked knot or stump overgrown with moss of Snyeohka. appeared to me the forest} . ood-demon or his the bare Kopytyeta from our balcony beings' abooeg the forost hillock Tarilo's Volohinyets mountain; of wood -
in
supernatural
writing
'For it
a month now it
me no eleepj hive
my wife
Isolde/muse
Mathilde -
Wesendonoks
'I an living
And with
wholly
in this
music ...
I live
in it
eternally.
All his accounts of the creative ne e., you'(12), process involve a feeling of immersion, often in the anoieut symbol of the hp to the eara into the fount unconscious - water, such as 'diving of music' (13).
'Pelleas perhaps
are my only
little
friends too
tell whose endings we know perfectly; stories continually well and this a little like tha death of then, to finish a work, isn't and The sufficiency of the world of imagination you love? '(14). someone which long absorbed tyranny the composer was perfect; 'The Fall exactly the same was the held over him of Poe's of the House of Usher'
he once wrote0 to see the sister he would not be surprised, Roderick Usher coming through his study door.
of the unwarns of this world of imagination, 'those depths of the psyche where the god - and devil of certainty (he has had reason to beware)$ 'the artist images also hibernate' has to animate his imaginative powers in order to create, who Tippett
thereby endangers partially or altogether at times his sense of
(15). reality'
'I dream awake; dream and wake up 'scorched with ecstasy$ 'I am gay on the outside ... but inside somethey eay'(16). as
8. .
dream, - or anxiety, at met come proaentimont, deuire for life oloopleaonece melonoholy, and the next instants desire for deaths some kind of oweot peaoe, eome kind of numbness, '(Chbpin)(17). absent-mindedness gnaro These paoaages simply assert is traditionally The artist absorption. another the fso of iosginative contemplating
thing
a dreamer,
for this his 12Mferenos Later we will exemplify world. ('The Composer and the Ideal') and in the nett section we world being thwarted. of this preference will show the results
AS:
Sterility
it side of the coin may be termed sterilitya is barred and enrichment occurs when the door to the unconscious fades to apathy. This domineering unconscious which 'lives us' will ruthlessly keep us out - against it we are helpless. Here draw a parallel with mystic writings at that feels himself abandoned by God, by all depression often follows life itself. and inertia a period In it sets of intense the
The other
we may profitably stage spiritual in. Me illumination mystic of energy smallness, is reduced self
the unitive
has turned
from elation
and ecstasy
goes with
to aridity.
the apprehension of Reality St., Theresa wrote of herself that she is no lcnger but her affliction. tc live?
to such a state
mistress
of nothing
she I believe
who dwell
consuming thirst
which
cannot
she have it quenched with any other water than that of nor would Lord spoke to the Samaritan woman and this water is which our denied her'(1). communion with God is the aot of experienoe results.
For the oompoeer, creation (.: hie) of in whioh he gives inner life'(2)f
that
Turandot-'will
never
be finished
... fever
is no oreationj state
an exceptional every
over-eioitation
atom of one's
being,
' (Puooini)(3).
-10'I generally wound itself from farther no longer. devour often felt beautifully but it gently supported was from inner joy= even hope ... till But the word resounded at last holds I oould me again; hear let it it elevated,
me altogether!
'Shall
Now there
a single
thought within
me?
I feel au if I had never composed nothing. that the operas could never have been note in my life, a and (Weber) (5). really mine$ is nothing see into my heart people is cold - cold as I should almost feel ashamed. To me everything 1790 was a year of uniquely ioe'(6). for slender production Mozart, it only bore K. 589-594. Two of these six works were Mozart wroto in 1790, 'if could instrumentations Allegro for of Handel, one was the obstinate Adagio and mechanical to on the next during
organ referred
page.
thereafter'(7). So were Brahma ('oould new fresh strain'(8)1 fall longing for
sink
with
and Smetana who onoe wrote as though his by a mist life after 'striving'
of the world
finished
apathy
old artistic
and Rossini more'(10), me no if more oheerfulp state, similarl impotence ... and rabies'(11). 'Do you really believe
world exists passed most of his in a a 'state of ever-increasing of ideas; I have only
mental
listlessness
that type,
with
the of
who is
of giving
himself
music?
Thus Honegger incredulously Even the most consistently one suspects, to periods of
asks
is not
to be expeoted.
-115.
Neoensity
of
Unoonsoious
of the necessity
Soma relied the act of composition. so heavily on unoonsoioun aid that they could not accept commissions (like them, like BerThz. Some Smbtans) or at least disliked inspiration, could be reasonably which sure that they would receive was a fairly out inspiration frequent visitor, but they all acknowledge much is possible: 'Only that with-
of some sort,
nothing
one thing
be accomplished.
when I an unable to write a single example of in two voioea, simple counterpoint auch as I ask sophomores to do in my classes. And, in order to write a Lood example of this sort, I must receive )Iosart, the co-operation of inspiration '(Sohoenberg)(l).
in the more extrovert eighteenth century# blames the 'high-pitched and childish' mechanical organ for ... 'it he. feelss is a kind of composition the lack of inspiration which And indeed important able large I detest, I'd reason I have unfortunately give the whole thing to go on with gradually it. it ... not been able to finish up, if I had not such an hope I shall be But I still it. If it were for a
to force instrument
myself
to finish
an organ pieoeq
then I might
get some fun out of it'(2). resemble inspiration in this respect, a noble i. e. one work can
'Debts
11 must have time and leisure to wait for inspiration, I can expect only from some'r6mote region of my nature, which (Magner)(4)"
Of 'Tristan's be right. " Very well, 'people in its act 10o to work, then all will I cannot
if ideas do not routine, and them'. (Kagner)(5). make 'You imagine it is only possible
lack
composing
as. altogether
to start
when we feel
enthusiasm,
-12'In
If
art,
as in life,
I had to composes not a note would come ... ' One Summer ... my mind to finish the Seventh, both Andantes of which made up were on the table'. baok into Dolomites. I plagued myself for two weeks until off then I tore to the
I sank
remember;
There I was led the same danoet and at last gave it I home, oonvinoed the whole summer was lost ... up and returned At the got into the boat (at Knumpendorf) to be rowed aoross. the rhythm and first the oars the theme (or rather of stroke to the first of the'intoduotion charaoter) head - End in four weeks the first, third done' (Mahler)(7). were Even Riohard Kapellmeister alone, found tradition, Strauss able who is to spin movement came into my movements and fifth with the by craft --
often
aligned
the Composition
for composed while writing 'in the meantime I am toiling away at a symphony, which I find loos amusing than shaking down oookohafers'(8). rather
dull Alpine Sympbonyt of his rather the next libretto, rather unpleasant:
When inspiration
is
treated-with worship,
trust, amounting in modern times and the breakdown of the old metaphysical of the unoonsoious
to rear
oartainties
are the one sure guide through a ohaos of The bypassing of reason in the arts is more contradictions. in the fine arts and theatre of our own day, yet seen obviously in the infallibility foroes in musio a belief of the irrational in man is over stronger than anywhere elseq and increases gradually the course 'Instinct is no longer instinct' of our period. is infallible. (Stravinsky)(1). If it loads it
us astray,
'neither
instinct only 'the
talent
..
- as old
in his
(Vaughan-Williams)(4).
-13Liszt artificial natural employs the analogy of the natural 'Why all this desire to stunt impulses? ... The first time garden the little and the
artist mislays his eheare grows as it should everything (For a revealing Schumann p. 67 ). of. oontradiotiong (Art must be) Ithe blossom of a natural (Wagner)(6). culture,
and must'(5).
is.
such
as the
the artist ... fanatical stubbornness wherewith he cries at lasts otherwise! ' (Wagner)(8). not 'Whether one is
OImperious
a good composer or not - one must be convinced of the infallibility of one's on fantasy and one must in one's own inspiration' (Sohoenberg)(9). believe In the 'everything that 1somnambulistio flows from one's Tohaikovsky
condition'
ezperienoed,
pen ... invariably good, and if obstaole Domes to hinder the oreative glow, the result no external best and most perfect be an artist's work. '(10). will Wagner often contexts into oantre 'Here (in used the idea of 'trust' in this
sort
of
'Tristan')
in perfect
trustfulness
I plunged
the inner
depths
of the world
'Trust
your inepirationd
There is no alternative'
n (Web.(12).
'nothing the deepest has not heart', product faith art) except what has sprung from of the innermost soul ... If the object alone it will never speak 'from heart to oreationg is then nothing thoughts' the most superficial (Kendelssohn)(13). but is valid (in
inspired
imitation and
believe
is interest-
on which feeble
under.
nothing else than analysed faitht ing remark of Sohubert's not only
(Sohubert)(14). Rousseau-like
condemns the
-14superiority later, it of reason over loving notions intuition fidelity Naroel but anticipates much
involving
might
in other
and people,
fidelity'. in exciting, as a
These then are the attributes general, intoxicating, Siren, as it appears lucid, to the composer.
as seductive yet
and sometimes
wayward, of divinity.
elusive,
essential
and infallible
to the point
section
we will
turn
to the process
of in
played
and the oomposer"s more specific analysis by unconscious and conscious composition
PROCESS OF COUPC9ITION -
Kusioal 1. that
invention which
may be very
roughly,
divided
into
two
follows
ocnsoiously
or is happening of notes
above or below,
of counterpoint,
harmony,
not of notes.
or partially-apprehended
though he has not knows his next passage is 'right', composer it out (unconscious or when a composer follows unity), some worked national atmosphere, such as Nature, poetry$ character, stimulus, emotional experience The first laws, whiahi etc. is that login which has its seem inby them, (to
type
of musical though
own
subjective
to the composer who abides from age to age and, from calaulation. i.
composer to
conscious
entails sort
less
effort
and no It some
of oalou]Aion. aided'by
comes apparently internal emotion by some thing second type for all it is
own aooord
or is in
simply turn
or sensation,
which
may be stimulated
This happening in the external world. or some of the two, perhaps the grander position occupies for the initial within of the work and conception the work. The first usually
r15.
serves
to solidity though
to make the work logio seems almost linked. though to The of course
playable), lead
the expressive
second determines these may be very To illustrate procedure accounts. ception, we will Busoni
detailed
the execution
In the opera I am now working a change of scene ooours following mysterious intermission this big Hebrew. imposing shows a half-dark Jews Kanasse, to. paint with site with
the Bra ntwa l, between. The scene the ancient I used this of portrait rather of a
Weinstube alone
in which a kind
and silent,
and gruesome,
'Do you see now that is a limit musical a that motive an extremely
be familiar
to you from of time between idea and for me'. (Presumably inspiration when the to
of musical
'concentration
the notes
'Now comes the execution, all, to sound deep and gloomy. and the right
I wished
this
song,
above of
instruments, choice
position
them determined
of key. 'In this ray the exeoution advanoes further and builds
Harmony, Charaoteristicsg Form, Atmosphere, Colour up on (with what preoedes and what follows) and a Contrast and (viz. details hundred other oonooious oalculation)p my until itself Manasse stands there ready'(2).
46.. .
art D'Indy gives this aooounti 'The oreator of any work of , demands .. # three diotinot periods of work, the oonoeption,
and the exso_____utionn. is two operationss the (D'Indy's conception. synthetic Busoni's " execution conception, being simply his the act into
...
the planning,
subdivided do
" " of
analytic D'Indy'e
planning
executions
down on paper. together the D'Indy's aooount_brings 'conception' (good or movement to be expressed) 'idea' and (musical expression of it) account as being closely of Busoni's especially in absolute music). but'are 'These two undernevertheless' the nature artist the creative generally succeed each other, each other element)
interrelated takings
and may modify connected, the idea (the personal of to change the order hand$ the nature invoke certain of types of his
preconceived plant while on the other the plan (the element of generality) may of musical ideas to the exclusion of others ...
in the creation of a vorkj which we is that in which the artist, or ordering, peviously of his upon the work as a whole and in its minutest conceived* decides
neoesaitates
but it
a oertain
also
amount
him
momenta of brings
exeoution,
This -.
musical 'ton
conception
d'ensemble'
pf no Cocount unless
are closely
view of the whole, which must inter-relation'(4). their control or initial vision, oonsider...
preliminary
hoverer
partial
unconscious
inspiration
profoundest
'the
work of art
is
conceived
whole.
The inspiration
'A creator
has a vision
vhioh
before
this
vision.
'In fact the concept of creator and creation inspiration should and
in harmony with
and accomplishment
must travel
the long
'What the genius has is vision 19 writes Hindemith. ... He goes on to compare creative inspiration to a flash of illuminating lightning but a vast landscape in all its details is concentrated the suddenness no detail on as in daylights gives a vivid vision of the totality; details the conception danger of losing istics ability to retain of the whole. the original the keenness 'A composer ... One of the charactervision ... genius is seems to be the vision until its of the first would detract is always in from
of the talent
of a creative
piece
as to be still
to more or"less good-acoording probably". lead. to-musio, This famous vision of Stravinsky's of the feeling. the strength unaccompanied by any., musioal ideass 'One day, when I was quite the last finishing was vision I had a fleeting pages of L'Oiseau which de You in St. Petersburg, came to me as a complete surprise, full I saw in of other things. seated in a circle, They were sacri... I must confess
the moment being my mind at sage elders imagination a solemn pagan rite; dance herself to death. girl a young watched fioing that her to propitiate this vision Similarly, soene'(man rebuffed the god of spring made a deep impression Tippett by girl) describes central his
on me'(8). first
visions
of a
to the conception of 'Even as I write now (two or three years of these first pictures comes
"26bank.... ovorything In accepted or rojooted eventualir which itself according will not
to Yhther it fi s this be fully it known until Elgar set your but it . "*
writes
to Binyoni
splendid
poem ne all
'Thank you for allowing me to I fear I have been a very long time this time to overtake the first
has taken
Eigams eignifioant variation on Herriok rapturo'(10). tho preoision an opposed to more underlines of inspiration osrful
sensation.
Even music normally depends cerebral rather considered diaoovery, opposed to on visionary which is by definition 'How does the aeries sriee? Our - 3ahoenberg's,, oerbrations Berg's and my - aeries mostly arose when an idea occurred to If us# linked with an intuitive work ... vision of the entire (uebeW (11). you like - inspiration'
S
Wagner in his famous Beethoven essay demoribes how his inner vision becomes musics he uses as a comparison the notion that in Bleep one has a deep dream, so deep it is never dream which can be an allegorical remembered by the waking mind; it is a go-betweens 'the musician by an urgent impulse to impart the vision ioioontrolled of , ... dream, he therefore his inmost dream; like the second, allegoric and after at last enabled 41% is not particularly for itself, chiefly preserve a reoorr, Whilst with communication yeti of the inner vision concerned ,.. Space nor. Time, remains the most belonging to neither harmon through tho h hmto sequence of inalienable element of musiot brain4 his tones in point'of time the musician reaches forth a plastic ... to strike hoed ... a compact with the Thus, though music draws har nearest into her dream-realm 4vis. ina2'vorld 'this 'is only in order vii rahm} ... waking world affinities to turn of semblance* in the phenomvia movement the notions`(Vorstellun, npprosohea thou* notions whereby it 4vaking n) of the waking is brain to known in itself, it
Finally,
human gesturot
our visual
faoultioA
them to
...
enabling
had
the Essenne-of-things 'rasp to read the vision coanifeatmeat, .. o himself behold in deepest sloep'(12).
'vision'
is not the oomposer's0 who visualises is rather the musio'a, which vieualiaee or portrays
-19the unfathomable untranslatable composer, unconscious or to put it the more simply, vision is translated
the compromise of rhythm) composer's music. Thug we arrive back at the beginning of the section with the idea of the sharp division the composer making him within
(by
Approaoh
as
in Bist
Sometimes 'the
sudden flash of musio,
inspiration
but a clearly
not of a
toward
' the composer was obliged to strive,. goal for'vhioh a certain When .. * this perfect however, there realisation was attained, would have been no hesitation rather a flash of recognition that this was exactly in Thus Sessions, what he wanted'(]). speaking of the Hammerklavier Sonata in partioularp gradual clarifying as the striven-for my find' goal. This may introdiioe our next categoryt'the to the point of recognition 41 usually sort of statement and is very recognise implies of a vague idea
(Stravineky)(2). of quest
the proooss
and disoovery
'imagine
which you perceive
a building
vaguely
of
and which
becomes progressively more and more precise in the mind ... for the contour, the general. aspect of the work. 'I look first in a very thick that I see outlined. Let us sa.yt for instance, mist mist a sort of palace. Contemplation gradually more blearly. dissipates this"* one to see a little Sometimes a
and allows
up a wing of this palace under of the sun comes and lights ray this fragment becomes my model' (8onegger)(3). construotiont with And when satisfied it but recognises nises. Britten house slowly fit is like the outline, By. far the-work-or that 'there passage he not only was no other solution'. reoog-
composition
to approaohing
approaching
witness
to the
'olarifying'
-20-
furnished only
by Beethoven
in his
sketch
themes,
withhtheir
and thesis
subject was not discussed by older introversion, to lack of analytical partly the emphads on creation modern attitude quoted above.
L. .
composers one may attribute but mostly I think to which latter, as those more
rather
than disoovea,
has tended
to foster
such statements
Notes or Shapes
'Given'
way in whioh the unoonscious presents material to the conscious mind is when actual notes are presented ready to down. just as they are, ors a little be written less orystallised, in. when a musical shape is sensed with not all the notes filled 'When we talk describes little felt about Einfalle appearance 4einfallen of ideae4 - to drop ins we usually often mean not even (findemith)(l).
motives, as tones
merely
without
simply of a musioal shape knowing the aotual notes '(Rubbra)(2). 'The melodic idea which suddenly falls upon me.out of the
impression
blue,
of an external sensual emotion ... appears in the imagination or of some spiritual stimulant by reason. It is the uninfluenoed unaonsoioualys, immediately, the divinity and cannot be compared 'with anything of gift greatest (Strauss)(3). else$ ihioh emerges without 'at rare not ability infrequent only moments there imaginative down in a final only flashes thought through a the
the prompting
personality creative
the vivid it
but also
to pin
settings
most of us ...
suffioe
a few bars
'Yesterday
everything
to music. began to play and sing inside me after a long indifference in my head and Ono theme, an embryo in B majort enthroned itself fascinated me to such an extent as to make me attempt unexpectedly
sad or happy it
aooording
to my mood, serious
my whole endeavour was to develop the rules of art'(Uaydn)(6). 'w grub about guided obstaole. Lucky find' 'It melodies you,
that your
in expectation
by our scent, It
and suddenly
we stumble
fecundates
our creative
is
very
nice
indeed but if
if
out little
on the keyboard;
inner
and not
at the pianoforte,
sense of tone is
as an example Wagner of
of gives
the
same process to
in
a atimulue, birth
advice
a young genuinely
on the
a Leitmotiv, the
a motive
with
character for
concerned. instance,
one character,
day ... Let him set it in a spot, where he can. merely see the gleaming of its eye; will now most likely speaks to him, the shape itself very which that; perhaps at last voice but will its even terrify lips will him - but he it opens its part, quite distinct,
a-moving,
must put up with mouth, intensely out his still kotive him? by that it
breathes
something
sings .., is
that he wakes from so unheard-of ... has vanished; but in the spiritual ear it he has had an idea 4Ein_fall4, a so-called. oat musical please X, Yj or displeaso"Z? legally delivered wonderful fit What's that to to and settled on him
does it his
motive,
marvellous
shape in that
of absorption'(9).
10.
Aoknowlednement of Period of that Gestation. Preparation
the process
'is
sometimes
sometimes in the unoonsoious sphere. impression3 from life and the turning
The absorption
of external musical
-22-
could
scribble is
Nullo always my Muse go to sleep it is only 'my motto when she awakes'(3). work the whole time; but he is aware of it do'(3travineky)(4). his
may be all
his
separate
one
another, sometimes overlapping, upon which the composer's in action. It is the history mind is continuously of the from its very be considered, single work that must therefore beginnings. after Composers have generally that their recognised inspirations are preceded by's period of unconscious prepDuring this'period aration. a oertain psychic energy is evident as-if in the unconscious I had gone through of its own. This (I mind an illness' purpose a kind of restlessness ... Wellesz(5)) which has a -" in usually a tidying-up we. to be resolved, is important to, feel
to say, there is either some conflict there is some aspect of reality which the mind;
it can grasp the mind must work until yet make it part of itself, this aspeot of reality, understandq and disorder. There are two ways for the unconscious mind dislikes baffles in which it 1. force which accomplishes The psychic gradually this. is
energy collects
a sort
evidence Koestler's
day experiences it is
'bisooiative' frames
synthesis. conducive
of the revelation
which opens the valves similarly of material collection it might be the last small shred of material or an ecstasy, I the straw to break the oamel's, back, to complete the picture, irrelevant Equally well it may occur in completely surroundings for no apparent reason.
23-
2.
The unconscious
also
has another
It involves method of finding to the solutions. regression infantile state of mind when the world was more of a unity, by reason, united by instinct. Freudians and undivided Jungiane alike of a primitive of art reality such is stands which its agree that the great work of art is an expression The work answer to profound wishes of the age. for something greater than itself, some psychic can be expressed only by aymbolq not by description,
obscurity. is only the great composer who is able to delve layers, by his desire and this is effected symbols, the into for 'never-
It these
primitive his
with existing contented mind that ever broods the New' from which Wagner It involves his lowest instinctive claimed to suffer. and his (primitive, highest 'archetypal' feelings mental activity desiring rational expression order). and intellectual desire for more advanced The two must come into conscious opposition. its affinity with both and its own disunity. are given a complete equality unconditioned participation of the will results; while side every ... motive of right, in both for
progressp
dissatisfaction
to by the egots
equally tension'
of oonsoiousness leads the differentiated all root, Since where that and mentality content it forms this the primitive
to activity
of unconsciousness
antithesisp
Jung calls this the transbe rooonoiled'(6). can opposites Ernst Xri, function. a Freudian, commenter 'The cendent is dominated by the ego and put to its own purposes process in creative Thus inspired activity. creation for sublimation solves an inner contests sometimes as a compromise between against one Where man seems to be at he is still sometimes forces, sometimes instinct. as a defence
dangerous activity,
in creation,
to bend his
_Zq_
The solution
euroounting
is in music the
of oomo problem, as when a composer deliberately to his unoonsoious end patiently submits a difficulty awaits Or it may happen quite further. an answer without worrying unexpectedly, suddenly to find when a composer is delighted the solution to a problem he had given up a long time ago.
by Kris - 'the defense mentioned the contest dangerous instinct' aesinot one particularly between id and super-ego - is rather outside the scope of The other solution
than metaphysical; whereas medical rather his Beethoven be was sublimating the analyst would tell problems in an attempt to make his miserable vorld babitablev Beethoven would retort that he was aspiring to heights that this thesis hei the ignorant The other cernod analyst, aide had never of the coin even dreamt of. in confor it is
where regression
to the positive than the negative rather emphasis, the quo st for the beauty and truth of the world of infantile than the uoe of it for the unity for its own sake rathor process of reoul_er, pour described oieux saut er (e.g Koeetier it)q the pro:, ass of resolving motapbyeical conflicts. discuss emphasie and we will This it involves the later.
of primitive
Lot'
such as amputation or event of re-adaptation into one segment, being slices the flatworm, the code, the potential, Celle contain primitivo vhole organism not just of a spocialised part),
the same scale of behaviour lawn of which creative end of 'Differentiation forms the other. and specialregression isation of the parts are neoeesary for the normal functionabnormal conditions call for radical a retreat of the over-exerted which may include mcaaures less differentiated, functionally to. a structurally part ing of the whole; lees uieoialised 'part' may be the newt's stages if the whole is Amputation to survive. The stump, or the unsolved
mind which tortures and obsesses problem in the scientist's him, We have seen that such regressions are mostly pathothey may redress conditions geniog but under favourable
the situation
by re-aotivating
potentials
-25operative in"the past - suoh powere oi, the embryo in the womb or the of its a similar nervous retreat, forms of if is but are inhibited in the adult
long-outgrown pro-rational
of the dream.
The ohallenge
by each
ib in all
or mental
observations disrupt
emotions
approved
which
dissonances Create mental confliotp The 'creative or scientist of the artist stress' 'general alarm reactions of the traumatised
to the
the anabolio
- catabolic
soquonoo of de-differentiation
oorreeponds to the deatruotivo-ooristruotive and reintegration iBolation$ The 'pbysiologioal sequenoe in the oreative aot. of the over-exoited part whioh tende, to dominate (i. e. the amputation obeesoive ises stump), oorreeponde with it will to the single-minded and the idi efixe ... which monopoleither lead to its reorganisation proliferor to the oanoerous 463).
preocoupation
by giving ation
of a degenerate
of ideae'(p.
It
is not
the purpose
of this
thesis
to oryotalliee
a psychological Koestler
theory
of creation,
or anybody also to musio, with hencivoly beyond the sort of general statement Koeatlor and go (about weaving threads. into new patterns and so on), it unsatisfactorily with its lees aesthetically
and I doubt whether theories could apply their oompreits intangible to life, relationship makes luImping
oomplez:
sister-arts. In the present teal that section we will exemplify how composers
or wish has set them off on a course some experience unoonsoiously, which has boon pursued completely of creation in by regression, perhaps by confluence of material perhaps experience the memory: of course the initial may be a vision (like Stravinsky's of the Rite of Spring) which is itself culled from the depths of regression, and the period of
regression
breathing,
as if
a hand'of with
at my heart#
to myself,
'Aha I an lost'(8).
life months, What a burning, exhilarating on the halcyon sea of poetry; of floating sweet, golden isle, soft breeze of imagination] unveiled
I led! wafted
by Shakespeare)
within hidden
the godlike
where the temple of pure art raises Similarly to the sky' (9). The Fantastic spired by the experience six of two deys4distraoted by a friend. Wagner's an indelible Dutchman's the storms,
columns
the ooast
he won a psychic
shouts and the rook-bound 'He Northern shore, a physiognomy and oolour! (l0). ... never to fascinate my fantasy'(il). ceased 'I anything this have never striking that been able really happens in my life; to do anything and it is whenever for
the sailors'
preoisely
reason 'I
retained
a sincere
passion
(the
sea).
exactly
hillsides
might
be studio
of memorise to my
generally
too heavily
of the Andante of his seoond Piano Quartet: Faure wrote 11 remember wishing to set down - and even then it Was almost
unoonsoicusly ringing --the very remote memory of the sound of bells ... The tolling of these one evening at Nontgansy
_27_
bells draw out all aorta of idoae' (14). And in the next memories and mental yet observable,
paaaaco we coo the oonfluonoe patterns way: 01 Whilst working 'Something in a trangely very
of raurege
autonomous,
amucin3 has happoned to me recently, of a thousand different a kind of ahyihm4oal shape in my mind. of no theme in the style And this theme just me in any in any it of my in fact things
of a Spanish
canoe took
went on its own uayg so to speak, without. bothering 4it devoloped of itself became harmonised way ... differont ways, changed and underwent modulations, Germinated by itself. since Obviously, it memories over musical strange is this I have been in the world have become part funotioning'of
textures
which
unconscious
precise working out of an idea in this Way! If it down it would have a very definite form'(15). 'When he 4tho he tried wrote could to set the first writer, versos ... early his Stanford} dramatic
I were to write
was fourteen
years old He poem as a sons. but after years that he when later,
easily
enough,
not progress
he had quite
forgotten
he opened a book at
the came poem, sat down and wrote it straight off without a But the surprising hitch. proof of 'unconscious cerebration' the song was written years after when, fourteen and came published, the first those be found three the juvenile were ... attempts practically in an old box, and identical with
verses
His brain had remembered what of the completed song. had wholly forgotten, and found the way out for be himself his being in the least conscious of the prooses'(16). him without Berlioz describes phrase. how he had difficulties Its for two months
solution was 'found' with typical particular with a 'I fell into the water during a walk by the Tiber, eccentricity in the mud up to my knees. After I had pulled and was stuck myself pioce out I started was dond(17). Mahler problemes 'In doacriboe, the last the name solution of long-borne oo to sing the long sought phrase and so the
2$..
for
this
I.
profoundly
signifioant
oreation.
I turned
over in my mind the inclusion 40n account of Deethoven0s movement. At this time Dalow died and I was present of
The mood in which I sat there and thought at his memorial. the spirit bim who had passed away was exactly of the work which loft I was then mulling intoned the Kopstook over. chorale Then the chorus "Resurrection"! This
appeared quite clear me like a flash of lightning and everything for this flash: this within Mai The creator we and distinct is the "holy conception") ' .. * had I not already borne this I have had suoh an experienoe'(113)T When Berlios men how
work within
oould
reoeived a state grant to enable him to his Requiem, this aas the results 01 bad oo long asked vrito to try my hand at a Requiem that I flung myself into it body Ky head seamed bursting and soul. with the ferment of ideas, had to invent and I actually got en fast enough'(19). Similarly after half the Bona Art-work their a sort of musical ohortbund to
a lifetime's that
of the Mueio-drama came to Wagner 'Whilst to picture trying meditations all the single art-varieties own highest I lit upon a completion, which had unconsciously before the longing
to pyeelf should
in which
combine for
conscious glimpse of that very ideal been forming in my mind and hovering artist'(20)u
of creation in ... primary through all in other social activities, of interest the apparent manifestations is doing these other social activities to serve, the artist ... unmanifest needs of artistic if unknowingly# some still creation' (Tipp. tt) (2I ). 'the function What there I sought ('in realms of state beyond my art'(W'agner)(22). vas aeelly nevor aught yinally and religion'),
here is a aase of the oppotte proossa, the Soon after Brahms finished follow in the inspiration. ozperisnoe the Your Serious Songs he was surprised to hear of Clara
-29Schumann's deathl premonitions time. he oonsidered the songs prophetic, that had been deep inside him for a long 'Some ouch words as these
of her death
He wrote
to her daughter:
have long been in my minds and I did not think that worse news about your mother was to be expected - but deep in the heart of man something perhaps, often whispers may ring Oase is and stirs, furnished quite unoonsciously or belief whioh intime (A similar musio'(23). that his Kindertotenlieder Finally dreamst problems whioh out in the form of poetry by Mahler's
wore prophetic). on those border-line similar 2 believe solutions the role of 'Whatever oases, of
and oonfluenoe
dreams in relating
them to
solutions
in my oomposing
Preparation
for
Inspiration
to the deliberate
utilisation
of the
preparation
for
the oracular
is expected
function
of it.
of
This
the required
answers that
done in one of two ways: either information is fed for it to work one or else what Marganita Laski calls (conditions likely to stimulate conditions' elation are sought. of illustrations iss I think,. of the first for beauty
or ecstasy)
way,
This but few of the second. the quest for 'trigger person is
conditions':,
so natural and unceasing that he is stimulation aesthetic its being anything doliberate or functional. of unaware nearest to this in that passage where ho says Tippett comes 'the artist is doing other social activities to nerve, if unmanifest needs of artistic creation' some still unknowingly, (1). The Dort of example one finds of this sort of preparation because visited is when Dusoni specially a monastery in Trient in the he 'wanted the atmosphere for my church vision'(2)
Debussy commented, 'one can never spend too opera Brautwahl. that special atmosphere in which a work much time constructing
of art should move. I believe that one should never hurry to
-30write but leave everything to that many-sided play of thoughts thooe mysterious workings of the mind which we too often disturb'(3). 'before (the work) organises And a more introspective attitudes ups and ferments in his brains it must be preceded by much preoccupations engrossment with self, a being. builds itself itoelft
harmonies of nature, to absorb the divine to breathe out in his art the melodies of his heart and the sighs of his souu (Lisst)(1). 'When after logg studies the soul takes command with it does not leave the mind time to go astray* such impotuosity, (Ore try) (8)" $I am like takes (9). a long. tiers And later this I need to be heated, for it
he vritest
Taal cork'(aonegger) . is neoesoary to do muoh work to to undertake ausio'(10). was caught by it. You one of those brief
deserve
happy trigger
into voyages
sheer
in mans Which is without had to be made into a work ... I carried it in ay head, Pondered sr. went forward like a aaohine'(ll).
01 composed Macbeth in the Woods and mountains of For a Year I immersed myeeif in the poem# Switzerland ... Then came the musical work which I dreaming it. living and completed rather quiokly'(Biooh)(12).
Benedict reports that 'the genius'of the composer would sometimes long its dormant during his frequent 'Kober's pupil
-31r
the idea
of a whole
would flash
mind like
a sudden gleam
the darkness'(l3).
for 'The Apoatlee'e preparations 'I first I can lay my hands on which of all road everything bears on the subject directly moditatins or indirectly, on Elgar writes of his all that I have sifted it out as likely to servo my purposes peroonality give character to and
blending appears
Every with my musical oonooptiona. to me in musical dress I involuntarily ... character come in all ... I do not seek for at all they places of St.
am in the throes
Ludmilla,
this oomposing is a terrible else in my thoughts ... before you get down to its and what a lot of thinking and study it requires'(Dvorak)(15). 'When I find arouses I sing it my emotion, quite a poem that I commit it interests
partioularly
me and
naturally;
of Hugo Wolfs
formed that in noting alchemy .. so full some ystorious ' hardly keep pace with his brain'(17). his pan could mind can operate creator's tones' (Sohoonberg)(18)e a row of 'The idea ibly in secret. is like $a musical
eubooneciouily
with
beginning
book and 'go for a walk shuttvp-vthe of a cong .. "I I think no more of it for perhaps take up something else; or though, When I come back to Nothing is lost, half a year. it for again, it has unconsciously working taken a new shape and is ready me to begin at it'(Drahms)(19).
'Generally
the invention suddenly, after
a motives a molody which occurs to one of by the intellect, immediately especially unsolicited in the early morning or in dreama, Sach's -
awakening
-32words in Wahn wird 'Die Meiotersinger'i'laubt mir dos Mensohen Vahreter that of sense? my
ihm in Trauma aufgaton'. Am I to believe imagination has been at work all night independently consciousness and without recollection 4i. e. of a former inoarnation4. 'My own experience a certain profitable close point has been this at night in the platonic
If
I am held
up at I
in my composition
and cannot
see a
in spite
of much delibration,
book or the cover of my manuscript and go up to bed, and when I wake up in the morning - lo and (Strauss)(20). I have found the continuation' behold! 12.
the lid
The Strauss's
mention
of Platonic is
recollection only
says Soorates(1), and he adduces from the evidence of inspiration the petitio it principitif did not come from a former life whence did it come? If we are not tolalieve the Jungian to provide thrown and its modern psychological equivalent, too crude a source of knowledge arohetypep is rather this, precise infantile inspirations, where then does new knowledge Previously we have This come from?
recollection'
motioned
of the mind and memories generally material for the new work.
as supplying
of old
may not be the whole story depending on whether may or God. Stravinsky, is considered to involve inspiration profoundly 'What does "creation" religious, believes it does not; he replies to Craft's 'Nothing. mean to you', Busoni's
view seoms to hover halfway God can oreato'(2). tion the idea, the musical conception and : ge 'through what (which must be fashioned out of many execution the successful hit upon is a secret of inspiration, a thought ideas) are which leads us ... the idea of into the sphere of Catholic be referred all, mysticism ... can sometimes After existent to something
the greater
God. Here are a few eaamplesi does involve has infused Spirit behind me what the Eternal
it
'A good theme is a gift (Drahms)(7). to possess it"' 'It is the greatest gift
of the divinity
and oannot
be
unity4
'There
is no-one
great
except
The immense gap between what has gone before astounding inspiration those novelty is and originality This inexplicable leap
primitive
of the mind,
the metaphysical
of Beethoven's existed
Symphony,
Beethoven
disoovery, 9 the discovery of ing, the Ninth of the components which form a new th we may asks what caused this or something cause lies already 'here', the mystery; it lies rearrangement, in a new the
Yet,
'beyond'
arrangement? be metaphysical solution psyche for or certainty. that the present Suffice
In this
whether
to'disouss in this
is responsible
for
imagination,
ors as St.
Thomas Aquinas
the universal cause of all Being, in whatever region be found, there must be the Divine Presenoe'(11).
-34-
STI14ULI
TO COMPOSITION
A plethora oomposers often inspired what tally in our ears. 'Art quality thin
of argument trees
lies
behind
the simple
assertions
by the pine
delines
into
hhandioraft
if
it
is without
the
But what is not human? Without felt and undertaken by human beings and music express states of mind'(2) 4musio4 reproduces for us the most being'(3) 'the a 'mind*,
composer writes,
the tempo and energy of our spiritual and Schumann claims that it illuminates Xusict that 'heart', is
then%'expresses
psychic reality, , the 'soul', the Music expresses to emphasise, sadness' should for
to say something to do with the the $spiritual being', the $personality$. psychic realitys this piece is important such as 'this
expresses
always
be understood elso's
sadness? no-one
nor sadness in the abstract. be the function of this to show how of the are parts of the same. or have instance, than the for
section
projections that
a glimpse one.
excite
he was 'less
archaism
The factual Greece is only a backGreece of my dreams'(5). of Greece which, is of immense importance to the fantasy ground to the oomposer, already within Greece has served is to invoke it a psychic reality In the composer and bring this to see. reality brought to light into of day.
from all
a copy of the phenomenon, ors more accurately, but is the direct of the will, adequate objectivity
-35the will everything itself, and therefore in represents the metaphysical of, -" of
physical
the world,
the composer has been able to every phenomenon. ' .., when language of music the emotions of express in the universal the-heart of an event, then the melody will which constitute of the song, analogy proceeded world the music of the opera, knowledge is expressive. But the by the composer between the two must have of the nature of the
discovered
produced
Mueioal
Expression
Things
that
in the domain of musio, though the two domains overlap. Mozart, for instance, that words could say quite naturally be set to music unless 'they oan'be perfectly should not expressed by it'(l), and soon after make the proviso that 'even in the most terrible situations music must ... never in other words never cease to be musio'(2). the ear ... offend 'express' ideas, situations Music must perfectly objects, and autonomous laws of its own. These one and yet follow so laws, the patterns of repetition, tension variation, autonomous what Hapaliok called Das Musiksohdn, become more and etc., to human values and less and lese apart and more related views as we approach our independent it-composers' written own time. Thus what Mozart examined being'. simply called music is now tempo and energy and found to be 'the
which are expressed to me by music to be put into words, but too indefinite ... its I would for itself If you would ask me what I say, just the song as right this
too definite
of music's vast
in which words have no part but which is none the less in letter-writing Composers often feel frustration their first language, only thus Chopin writing his feelings
name-day could
express
-36of love'if Mozart love they could father(5)), be-put into notes of musio'(4)(similariy Camille I[oke 01
to his
and Berlioz
tells
musicians,
can express. - Give me a hundred then Ioan tell thee'(6). and fiftjvoioes, clumsiness to you only to Clara Schumann and tells for this about by means of musio'(7). outlet was, inhibited '1time
verbal
basically his
emotional
in many'work;
expressing he uses music as the perfect outlet, far from social Speaking condemnation. yet secretly, generally of expression he writes 'I
wish no symphonic
emanate from me that has nothing to express and is made up merely of harmonies and a purposeless of rhytjima' pattern and modulations ... words cannot be found, demand expression'(9)? Should it not express all the things arise in for which and the heart
which nevertheless
There are words, though, which, by music. can be 'perfectly expressed' provided music? by Busoni: 'Contented'is 'Can a poor, a soul state
to return to Kozart, Here is an example man be expressed 'poor' connotes not to be found eternal in a in
and social
conditions is
harmony'(10).
Similar
to Busoni's
harmony,
of external,
the Wagnerian
conception
later. Wusio expresses the refer of Essenoesp to which'we will Necessity# Will, or Instinct which governs oneself and all pure the unity of oneself with all the world the world, and reveals hence the real nature, and 'Music is itself musician, the world definition immediately the essence a world's its of the world. an Idea To the in which In this Idea,
displays
essenoe'(ll).
of music as an Idea, an Idea of the world, we see link between Platonism and the modern intermediary a sort of ideal form, the truly Langer etc., existing of aesthetics little the world (the work copy of symbolic and the virtual, of art) complete and self. -sufficient To this we will big world. actual Let us beware of underrating musical stimuli in our admiration logio of a work - this yet return, existing within the
purely-musioal.,
the oomposer's. the critic's times, at least, mistakes rarely Verdi asks incredulously of a critic whose new book he has
-37-
this phrase, "If you read 'On the last page I read ... believe that music is the expression of sentiments of love, of pain eto. l etc. ", abandon it ... it is not made for you!!! " just And why can one not believe that love, pain eto. eto., '(12)?? p 'People suppose that certainly err, music is the expression of
they
the purpose of sketching, Yet we must not too lightly impressions. simultaneously well as the ear; outlines pace with 'Unconsciously with
take pen and paper with this or that. expressing outward influences and
an idea sometimes developes the musical image; the eye is awake as ever-busy all organ frequently follows
certain keeping
the sounds and tones which, the musiot may take form and crystallize. cognate tones in musics which the more And created or keenly in contains,
and plastic
work will move and uplift have seised of immortality Why should not
use Beethoven
fallen
not Italy,
a oompoaition
in him?
Why", oould
another?... -
the eight of the ooean- spring, twilight not told us anything of thess'(13)? composer there is
music, else we knorz in fact it is often so different from anything (pure music' are called it, terms like on to describe that 'the tempo and energy of our spiritual for sxaotness but being' is to be preferred!. in For him technique should be
something it may be
in the same manner as one learns a language, 'stand ready at (one's) to impart it'may call ... in keeping with (one's) impression or emotion 'One kind is my kind. of music is instinctive, Of course one must first Technique is sometimes a reality to be but 'Art it is
pulse'(Wagner)(14). that feelings made of learn the oraft'(avel)(15). to the perception technical absolute,
of a new psychic
absorption always
the vehicle
they have a as language; as much a means of communication have served identkal purposes'(Chavee)(16). common origin and
I
-38This must be remembered in thinking his mathematical of<his metaphysics, piano sonatas
'divine'
numbers, projected
of Beethoven's
edition
on which they were based, right famous lmusi 'in powerless 'to express anjrthing at all"' (17). Stravinsky this assertion, frequently as when he contradicts talks of the progress of musics 'advance is only in the sense of developing lese the instrument of the language'(18), noverthewe must acknowledge the meaning of what he says fully. that music achieves an order In the same passage he asserts between 'man and times this order producing a unique emotion the emotion is different,. but Certainly in us. that the music is 'simply organised sound' mean in the music itself' remotions are not inherent that that does not the
(Lutyens)(19).
The composer used the music to achieve this meaningful order, if it does have meaning then it expresses something and human however deep and unconscious that may be. Hindemith's similar, represents though theory on the expression by emphasioing Order. is
he side-steps
a reflection
in man of Divine
reaches In this
an
and practice
than symbol
in any other music or theory, other extremes of to some rules of subordinated music being usually programme but not so here; the exact imitation logic or other, musical 'Tor map is fundamental to the musical structures of nature music emanating Beethoven truth tonal saying, whether from instruments, composer, whether in the works little of or of any other contains real,
more to the when anyone speaks to men I listen .. * in his voice than to what he is actually modulation he is like, what he is agitated is what he feels, or is merely whether bear, he is lying, making conventional any hidden
or rather
of the human sound, the tonal modulation being is filled living with the deepest truth. I
Thatp you seep has been one of the main needs of my life. have been taking down speech melodies since the year 1897. I have a vast you see they soul but this collection is of note-books filled with into them the they window through are my what I should I look
which like
to emphasises
_39-.
are of the utmost importance to dramatic muoio'(20). attitude, Wagner for
though more theoretical profeosed a similar, instance he hold that 'the musical inotrurnent
the human voice, but so constituted that in it the vowel resolved Tonop like that tr. into the'musioal it 'poeoeeoee a faculty tone of all human speeoh'(21); of epeeoh'(22).
il.
of
Kueto
upon an enumeration of phenomena which the composer to express them in music, I must slip to the stimulus roferenoe of the medium of expressiong starting to be used, the instrument himself. and the actual performer or
of musical-language
medium of performance,
of at least
him. Composers only use what already who influenced but in new ways, with new associations. I do not exists, composers' acknowledged debts of gratitude, propose to list in his musioj they only aooount for what is least original of some of Bartok's early debts will 1 was aroused as examples 'From stagnation. a typical as serve by a lightning stroke by the first performance in Budapest of in 1902. At last there was a way of Thus 8pake Zarathustra, howovor, account composing once 1threw which At seemed to hold the seeds of a new life. myself into the study of Strauss's score and again y5o1f. this
began to vrito
under the influence of folk.. muaio). A Meanwhile the magic of Biohard Strauss had evaporated. thorough study of Liezt'o uvra,.;. revealed to me the really r, true eoaoaoe of oompoeing'(l). A rather more unusual prooees, 'stimulus by exas' is referred to by Janacek$ speaking of Dvoraks peration!
to me in a flash the secret of his 'Cne moment always revealed 'Kde it. had not words sharp enough for 3kroup'e creation. be would have composed a new Ceeoh anthem - and domov maj''= he is oomposing the music on Skroup's long afterwards not motifs to 'Kajetan Tyl'. Its is turning ovor the pages of
-4o..
Berlioz'a Requiem with every sign of imitation and soon he
announoee the publication I see him with of his own Requiem. Liszt's 3t. Elizabeth, to and very soon London is listening Dvorak's Saint Ludmilla. Was he influenoed by the same ... to oreate his other oomposition, his ohamber exasperation musio' ever (2)? interests Related to this is Stravinsky's remark! 'whatI love, I wish to make my own (I
aocording will
will
only
be useful
to him for
attend Busonip
of Italian
opera for
Brarztwahl
I shall
no real
Examples of pastiche are well known, but there is dividing line between the overt stimulus of another
composer and the subtle absorption of his language into of Babb, ' for instanoel one's own. The influence manifests in verbal aoknowledgeon every phase of the scale, (from unashamed imitation to simply profound love) as ment itself in musical stylo. of an instrument or medium of the excitement of seeing something say, In other words
can carry
something perceives
already
by what means it
may be expressed.
Benjamin Britten are one such example, Kdhlfeld's cello and Vogl's voice and Schubert and Brahms another, clarinet another. Arthur Stravinsky Rubenstein 'I finished wrote, and his strong, agile rhythmic episodes a piano clever piece fingers with in by
the different
were dictated
themselves'(5). piece
every
of music written
even if
the degree
of stimulation
or body of
i_ ..
tho otimslue of instruments, of the message sonority, somewhat regardless they have'to conveys rraohe an extreme in modern ensemble 'ohenoe' soores. As onlez says 'in the case of ensembles Perhaps sheer preoccupation with we must think parts in terms may be assembled is the most inspirod instruments Thirdly, of pound montages whose component The choice of as dealred'(6)o part of the composition. the
and stimulate
for his thoughts. IXE for my composer an the ideal vehicle parts feel at this moment the moat urgent desire to write to commence oporap and yet I soaroely have the leisure an that if the libretto even any smaller works but I do believe were to to given me today, the opera would be written Formerly morrow# ao strong is my impulse towards it. idea of a symphony was co exciting that I could think by tothe bare of
nothing else when one was in my head; the sound of the instruments has such a solemn and heavenly effeot'(Mendelesohn) M7)"
on in
to write
another
For I have only to hear an opera diaoueced, I have ... hear thoorohetra to sit in a theatre, tuning their oh, I an quite beeide myself at onoe'(Kozart)(8).
instruments
eo a end of the scale of stimuli Unless they have great we may plaoe objects. to inpiration or some other revered assooiationg ordinary objects antiquity (that is, face value have few 'trigger taken at properties' At to trig off deep emotion or inspiration). ability .. At the most prosaic beat they suggest music by their Weborg for instance propertiest formal9 sculptural was inspired by the aright up$urned tables and chairs 'Look thore! ' h at a cafe of 'dose not that look exactly like a great triumphal said What chords there are for the Donnervetter! march? trumpets) I can use that? I can use thati(l). Apparently
-42he did forms musical Xessaien of Nature Craft, use. itg in. Oberon" Similarly in Mesoaien the sharp exact more from
in a grotto though
'determine
a very this
preoccupation
the form and symmetry by means of Robert Stravinsky# to you a His apart
asks himself
'Has music ever been suggested idea ever occurred to you from,
experience times,
or patters' that
'Countless
suggests
he. mentions he has. had in his composing liaison with the world of shapes and
The movements of animals and humans have had a great influence upon composers (though titles is
not the. G rmans), and observation of pieces' perhaps 'Moths' from Couperin b'The Butterflies' to Ravel's sufficient evidence, Finally, stimulating and that working have played music;
colours,
a certain Bliss
part
in when
and accompanying
experiences
a play
vivid-in Significantly
Colour
ovements being
Bed, Blue and Green respectively. movements have such subtitles of Emeralds, showing objects Hope, Joyg'Youth, in his their is
Synaesthesia into
and came
the arts (perhaps via in considerable theosophy) There were earlier 'the lowered examples, or flatted
Swedenbourg and# laterl measure in the nineteenth such as Ore try, have the same effect
who found
tones
dark, gloomy colours on the eye; the raised or ear as to that tones havep on the contrary, an effect similar sharp Between these lively colours. the brighto of in music as well as in painting, find, all we which are appropriate to the description This much is is two extremes the colours emotions
of varied
there
a strong
interrelationships 20,000 -
within per'seoond)
the auditive
The theosophists,
in musict assign moral musio, aooording This moral,
Soriabin
Soott
to
value
to ooloursp
expresses
on its equal
equal
spiritual
oould
love
For
trees
and rooks
the world
of the extrovert
connected
European culture from the early Renaissance nature throughout (the discovery of Mother Earth) to the beginning of our own (the hangover of its disgust with materialism modernism with the discovery unconscious of Mother'Earth) itself. than tone-paintings Beethoven and its inward march to the
'More feeling
writes
}is Pastoral. Symphonyq and although there are many about (Israel in Egypt, much tone-painting inspired of examples of Haydn's representing The Seasonal the Prelude of nature, to The Rite of Spring 'the awakening of birds the scratching, it is obviously and beasts'), music which reality 'I within. this is most Of symphony I do not but I do
wrote urge
at the end of wtmter attempt believe influenced Mendel$eohn to depict that its
a spring+-like anything
to describe or
... in itj
loved
of nature,
-44costly vision every like muaio'(3), ... Xozartj the No lank and describes of music the Alban hills it as 'a lovely on internally of a musical say.
there;
side'(4).
, unity,
would
con-
is remembered and stored to be expressed feelings, exciting already writes soon in the section of Trients it if it of longing 'The perspective
the feeling with others, of nature, in the notebook of strange and later in music, gestation. as we have Busoni
on musical
and aeon in the morning impression absorbed flow 'Towards on the emotions. byVthe (later evening you about belts, soul on); 5). those it
should Ravel of
be productive his
Shine-steamer
incandescent
cathedrals whistles
symphony of travelling
where the sky is a scorching, storm broke. so did this! I... but from joy.
in all
and I certainly -
The sea seems to mirror powerfully, 'en object, the life and basic earth, Chabrier I don't is symbol it is what Laski or idea that
of man particularly a unitive symbol older than Obvious are sea, trees
would
type
mountains
of a unitive
mention$# think
'What power:
one could
ton mirroir;
oontempler ton me
-45a significant part (of. p. 26 Wagner's necessary compositions with to point in theirs as in others!, creative it work. is hardly of
titles
which Nature
in musical
18.
Ev.ene _. Events may rouse except strong in the ordinary, emotions in as opposed to imaginary, the aomposerp though rite and a gio, these usually world area in-
in the field
of religion,
profound to inspire sufficiently music. here is between strong emotion which is short-lived beholder! such as anger and profound within at an event
unpleasant
to the
emotion
or disadvantageous emotion.
the implements of his art; for from the world of sense alone creation'(l). can he derive so much as the impulse to artistic (in this sense) of composers Leos Janacek That ma* sensual for inetanoe, in his inspiroa by an event frequently; was 'Street piano sonata Soene. l. X. 1905', subtitled.:
'The white marble staircase Of the Beseda house in Brno so* Indelibly stained with the blood workman Frantisek And was bayonetted of prlitioal
a University
events
minds - Dallapiooola and metaphysically-inclined Shootakovitoh work3, Nono and Hiroshima, anti-Fasoist his visit to Belson (apparent Britten and Leningrad, only in the Donne Sonnets) idealist and, his self-identification of his Peter -'to Grimes at the time name only
the tortured
conscientious
objection(3)
modern oompouero.
and I reflect
-46-
an outlet
process
and seeks in
the known
of which he only
the outline
the picture.
somewhere or other,
in books, in pictures, in dreamsp in real situations, for all is sooner or lator to be found which be1e
detailo of the work, which ! spas it that the Zohumann'e euggeoting idea that he finds in the world
everything the
of unformulated inapiratione tho more are two ways of saying the came thing, eraphateing the cubjeotive naturally and introspective modern aspeots. Aloo an event something of its fora, the musical when it sition, Dritten vision =y provoke a composition and determine inspiring actually as type of oompo. one may feel the event"(6)
provides an occasion for a particular 'Sometimes a funeralp wedding etc. -. either a private saidg
need of celebrating
or a public
end the need to celebrate one of man's oldest and most balloweds Beethoven contemplating my poor solemnia, 'so that of that talents
with music is certainly 'and God will enlighten of. the to may contribute
the composition
the glorification
solemn day'(7).
190
Sine
Painting expression
of iuoio, but works of fine art too near the composer in time do not do so, for one thing because both composer and usually paintor different with to expreae roughly similar things through their they look upon each other's thorefore nediusm3, in itselfs leading nowhere'beyond absolute# work as porfoot for anothor because the mystery of antiquity itaolf, and associated with a unitive symbol in absent, euch as
of a payobe,
a piece
-47Piero delle Francesco's Mendelssohn to the ancient freaooea found this provided mystery for 1)allapiooola's art
in Venetian
and study how they wonted. inspired Often$ after doing so, I feel musically and since I came here I have been busily engaged in oomposition'(1); found it in Debussy (Poiesone d'or eto. j) and Stravinsky 'the graphic solution Japanese art, of problems of perspecmasters, art incited me to find somespace shown by their and -- the Japanese Lyrics were the thing analogous in inusio'(2) tive result.
20,
Literature The oonnection always been strong as vocal between literature
to Berlioz
caption Ophelia:
'Shkespearo,
here is the inwhen he watched his futuro wife playing struck coning upon mo thus suddenly, His lightning orashl true opened the heaven up its grandeur, ... I felt This activities. ... and lighted dramatic I understood and walk'(1). a lifetime's
of Shakespeares
i was alive
Shakespearean
ecstasy
as not to need multiplioationg Examples are so well-known interesting seems to point is that literature but another have led into composers originality. a turning a now world 'lob of feeling Luft and consequently fhle point von aulerer career
was rather
in Schoenberg's
seems to have been at the Songs after an ideal years, it. George', 'Das Duch der 71ngenden of form and having I
partly in his be wrote Carton', expression the strength am conscious past aesthetic 'I
programme note
succeeded
in approaching for
which
I had envisaged
without
to realise through
broken Cluck
the barriers
was writing
music almost
as
intense
and original
when he followed
the dramatic
emotions
.-48-of Aloeste if it in 1767 'I, have not placed emerge naturally is no rule to achieve literature any value on novelty, and the in duty
did not
expressions
bound to break
Ravel was especially feeling and selected 'Les voiree ero tine
conscious hie
of exploring
accordingly,
itself of Parny's element which the subject The situation is clearly to them'(4).. songs has introduced by_Mendeleaohn, Dream', speaking of 'A Midaunmor Night's statzd. 'i it
to inspire great luck to have had ouch a subject me ... call the What I could do as a composer I could do before writing overture, as that. but I had not yet boforo my imagination '(5). not auch a subject Schumann existed, "" That was indeed an inspiration
even though Beethoven had written many a one without The thought might make me sad'. title? To which Easebius 'Yes, else why does it happen that so many characters replies only others clarified freely display for their individuality This slightly themselves after speaks true. they have looked statement to is act support? ' by Raro only when they
enigmatic
'Eusebius feel
Many people
oonditioned'(6).
in musical
technique
is attributed
to new
exploration
by Liszt]
regarded his tone-poems clearly to enlarge the form 4of a pibcet is granted procisnly
as by Wagner, and Liszt 'To enrich in this lights it and make it serviceable,
only ... the means of expressions as one of the languages as one of they employ in accordance with the dictates of the which ideas to*a]o expressed'.. 4apio heroes like natures language ? The interest itself far ... could which 'Is music unsuited Cain, to cause such to speak its ... Faust, Manfred.
music do this in the drama? Scarcely. they 4heroeo passions}';. 'arouse attaches
to more to inner events than to actions related Hence the Tone-Poem. Wagner believed worldV(7). himself into the unconscious all dictated his archetypal to him, only as a musician world
in submerging subject
and accepting
later.
He attributes
development through
to the subjects
he has lived
and expressed:
was the sole matter of regard in all eat of expransion ob I no longer had to refer to the mode of my workmanship ...
means of musical
by the very
of the objects
he perceives
reflected
in literatures
I saw from the deck- of the Italian and the blue mountains of Albania, day.
been a German Greokp even to this For I can look back on azrtistio
achievements
whiohq
Aegyptiaohe Ariadne, Helena, Daphne and Die Liebe Elektra, rf der DcAnae do Lhoinage to the genius of the Greek nation' (9). like
Literature
Romantic others Ave even though
than in the
illuminate the
Schumann considered
criticism
by the thing
a poetic
compassion,
more to the. understanding of a symphony perhaps contribute even speaking of the musio, or fantasy by Beethoven, without than a dozen of those their This ladders naive against faith rather little oritios of the arts and take its who lean measurements'(D). the Colossus
obviously
to contain
of what could happen in the Romantic era yet as a reflection, this curious note, of Spohr's is worth quoting in confirmation: $Jean Paul ... new oomposition to it it a highly i certainly appeared 4 String poetic never to interest tuartet himself very much for this Op. 45 No. 14 and ascribed composing a very of
signification, thought,
striking
performance
of statement
correotive
ie only
an illusion
attribute
which
.. e we
essential
beingO(12).
-50P2.
Pow
In an earlior
inspiration' creation often set were cited
aootion
in evidence
'Conooiouu preparation
of poetry that of the fact
for
on musical is
many instances
of the effect
poatry
of meditation
followed
more music than any other extra-musical phenomenon; is because it is often rich in trigger to deep qualities and also because it is already half and forms, aeomingly oryinZ out for Burns, poetry in contrary visa, half music with fuller felt its
emotion rhythms
statement music to be
tunes and hummed over his old Scottish Ocamat to him quite of their own accord. cecma to have stated that is, if his thoughts on the
Bettina "Goethe's
Goethe of what Beethoven power over may not rhythm. by this only I het excited, language that
said,.
but by their
oompoaing, up like
a work of higher
spiritual
to contain already the secret of its harmonies. It and from forces me to pour out the melody in all directions,
the burning overtake joy it point again of my enthusiasm, ... I cannot 4t. in all part I pursue from it# its passionately eager and in and with
I have to repeat
possible
modulations,
over musical
ideas"(1).
ole, enta alone of and rhythmic in 'Les Roles' tremendous stimulus Russian folk poetry a 'What fascinated me in this verse was the sequence of the words and oyllablest produces to that elements an effect of musio'(2). a stimuluh in and the cadence they on one0s sensibility He found both a non-vocal formal create, which akin
very
closely
works
'The spirit
of antiquity, parallel
scholastic
.. o a musical
The emotional
_51_
in its thrall, alone, there are at least six famous works inspired who touched Gooth seem to have been music from that daimon
and all
and received
the magical
worked on every man of reniue according it was rosily he believe& Curiously, and no mere projection of himself.
of liorysus
in tors is something that cannot be explained I do not find it in, my nature but I am thought. of mind and Walppuurgiena to it'. oht was just uuch an inspiration subject iniorms. Ooethe, 'when the old Druid offors to }endelosohn who 'The daimonio up hie there sing sacrifice and the scene grows to immeasurable heights there is no need of inventing music; it is everything to myself sounds clear, before and I started of the to,
even thinking
composition'(4). Cases of immediate was handed Orillparzer's he merely twice its took with deep attention. done alreadyp. and it up Hugo's the verses-to inspiration 'Z15 d leise! are frequents Sohubert
and asked to set, it; them through said 'I have its
picked knocked it
Les Orientales it
and he wrote
His companion ruled him down complete(6). tells Liszt reading Saar's I immediately poem "The sang its notation'(7),
zu Sayn-V'ittgonstein voicco
'After,
of the day are silent" dorm the enclosed remained only to-write
k
't
trrz
"i titatien
frequently
we find
that
the emphasis
in the getting
is on the situation of words (for. a poem) only if music it'(Xondolssohn)(1). produces stimulus extends
or mood.
I can conooive
But of course
of poems to the setting to surrender and, like himself a skilful imagine events he to
dramas - 'A good musioicn of he wishe8 the oharaotera all aotorg himself put himself
to depiot
of the speaker,
in the looalities
-52to represent occur, and take in these the same interest he ought to know when the voice as those most concerned; ... in order to should be raised or lowered, by more or by less, wishes adapt his to this his melody, it but his harmony, his modulation, and the As Tippett is not
oommentsp when engaged and Mozart's through at least that one most
setting,
and more'(4))
good situations
by paying too much attention 'I mean, words or even etc., entire idea'(5). The of the situation, Indeed in opera, born of his
the composer's
musical
conception
dramatic perception. the situation unerring 'What music must have above all' is the supreme stimulus 'are emotions and passions, Saint-Saone, laid bare or writes And where can one not in action by what we term the situation. find basic better situations than in histor/(6)Z The stimulus powerful worry. set my other that of a enough 'I situation on which an opera is based is the entire confidence it
to see a composer through should blood artists compose with going, utter even though the magnificent of a libretto: (Elektra) play
as anti-musical'
writes
emotional
shape,
saw fofaiannsthal's recognised, it might libretto I appreciated to the very the end. In of be ...
I immediately
operatic course, what a magnificent just as previously with Salome and, tremendous Elektra, completely Salome after apotheosis of attack.... 'But subjects I doubted subject at first I vas put similar I should As it off increase in musical after the recognition scene,
tension
realised
which could only be the release in dance - in of the plot), wonderful the dreadful musical points
of the end.
Both offered
by the idea
that
in psyohologioal
content,
also'(8).
newt though
As a ourious poatsoript,
-53-
Weber who was a brilliant improvisor and whose dramatio imagination by a romantio dory. inspired Duke Emil was readily August had him to stay and passed the time diotating 'as it were sentiments and images whioh I have to embody in my performanoes, so that he invents whole ramanoes while I and relates illustrate them by musio andp through tones# amplify them still day, and I may rely on returning further. So passes day after to my room every evening enriohed by some new idea or impression'(9).
U" .
Supernatural
Next we must consider that area of the psychic territory deals in supernatural, ideas, magical, and nightmarish irrational the contains primitive, awe, wonder and fear, of Pan. To continue element way to define hair stand classical Dionysian allusions music is we may call that it this in man as opposed to the Apollonian. should real as Housman demanded of all
on and,
Such crude physical indicasymptons are the clearest in words. to circumscribe of a concept that is difficult The stimulus of the supernatural of the Uonysian which dready is the most extreme Poetry, in awe of
manifestation
in music.
situations
make us shudder
in power tenfold by the spell the supernatural are increased 'The Fantastiol Hell, Paradises the Jinns, music. of phantoms, and prove truth, ghosts, fairies there there could in the domain of artl be art based on reason, Try to me that
I declare that if you As a musician, ... fanatioismp crime, imprudence and the adultery, suppress to write another note. it would be impossible supernatural and fact
I even go so far, as to say that I would write better music (iset)(I). that is untrue if I believed everything 'The opera the comic as an alternativer Busoni admits of the supernatural or the unnatural should take possession
as its should reflected consciously only create proper sphere of representation world is not and feeling life and is a pretence that in such a way that to be found in real include
in either
which
that his librettist Whereas Weber insisted Beethoven wrote in Euryanthe, supernatural
to the librettist
w54+
opera
against
' ... now there must at all cannot deny that on the whole I am prejudsort of things because it has a soporific 'AloineI Kosart's 'Apollonian' Magic Flute attitude, is where of this
on feeling
and reason'(3).
the extreme
superstition
and put on wisdom'. and Apollonian parts. of the supershould composers do Liszt tells Wagner
called
Dionysian
length
surprisingly though
emphasises modern abstraction figures', 'not merely 'symbolic Lord, (5), the Person of the Devil, for the composition Haydn tells
the importance
the Person of the o. o of the Chureht and the Miracles forms. Best of
of music in sacred
how he composed the famous Agnus Doi of the alle Maass 'I prayed to God not like fourth a miserable sinner In this I felt that an in despair but oalmlyp slowly. infinite God would pardoning dust for I experienced up. to express creature, surely have meroy. on his finite being dust. These thoughts cheered me a sure joy so confident that as I wished
the words of the prayer# I could not suppress my but gave vent to my happy spirits and wrote above the joy, The composition Allegro'(6). of this Joyful misere stoop the beautiful meroy epitomises an& often misunderplea of oentury5 one thinks of the eighteenth religiosity stood in our own the felix oulpa sentiment of expression a similar for tongue e 'If I were pure, 'never could of sins. Of, the forgiveness never could behold I taste the sweets If I were holy, I the tears
Of Love ... for our lack of material must be reverenoe5 and The reasons experience is hardly expressible in the fact that religious And yet these reasons are not wholly adequate when words. the amount and quality of the music the we contemplate
Christian subtler, as far religion connections as the direct has stimulated. We shall deal with later, other, but between music and metaphysics and emotional stimulus
0 Mercy) 0 divine
liumanityl'(?
).
supernaturalism
ignorance
-55there is a secret hidden power in the texts with Byrd I ... themselves; so that to one who, ponders on things divine ... in some way, I cannot tell how, ' the aptest numbers occur as if of their own aooord'(8). of the stimuilua of nonThere are many instanoes their Christian sometimes remote and with religions mysterious being poetry operas power, Rimaky-Korsakov with his sun-worshippers 'my enthusiasm for the he writes, to a series of worship led (with May Night) of pagan in which the worship of the sun and of sun-gods was though sun-worship yet very had entirely faded before the whole cycle of ceremonial day rests on the ancient pagan in the people'(9). apocalyptic idea is Berlioz' and grand his
a good example;
... the light of Christianity, and games to this songs which lives sun-worship
introduced
unconsciously
A fascinating might-have-been was perhaps too terrible which ever'to sort be'accomplished, of stimulus yet
the more carcass# that 'The World's Last Day'. must vitalises oivilisationj tyrant, people, prophet, The tyrant, a travesty the earth Christ left the depth of corruption,
an oratorio
a mighty of God's a
throughout alive
the earth.
A faithful
handful under
contempt,
Baithasarl in
amused scorn,
angels
appears, This is
the Judgement has come'(10). the deepest of manta psyche from into the world
side
whence issue
those
phenomenar he projeots
demons, godaj infernosp enchanted gladea, Iparadisesg as to find them in some remote mountainous thinks and even places. or forest-darkened that to inspiration stimuli they Yet they differ from previous in that have been discussed
they cannot be found with the from within, come the others have been found in the world senses, whereas and have been seen as a reflection of something within.
to the Dionysian
or mysterious.
is strange,
works
Musical
-56.
seem to be born nearer they wild, excited with are old. mysterious to this category than they are when new,
by the strangeness
to fade and others more Apollonian aspects (Jagy, which depends largely on the players
worked
and on a correspondingly up to a fever pitch of inspiration from the audience, direct is strongly reception emotional in our sense of. the. wordq and its comparatively Dionysian For all except the real nature is the result). ephemeral scholar immersed in another alone age as if if he lived appeal in its 'modern music' element;
to the Dionysian
and as Stravinsky he is
madness, without
which
of poetry
be brought
of madness, and see (the works of sanity's) place is nowhere to be found'(ll). The problem concerned Wagner deeply, declare as they he called need for and he was such an extreme that in future works should is an insult. to become Apollonian, as this Dionysian as to as soon as be destroyed
started it,
intoxication
he perceived ' ... the need of an ever freshwritten directly from, born Artwork of the Future, springing belonging only toi the present; an Artwork which and shall not be fettered by the Monumental'(12). omposer has justified same point. $A note if
A serialist technique with this the ear in proportion it will it; preceded other eleven in spite of all its
reappears. appearance
and mathematical
system seems to me to be an extraof the search (13)" But this for the mysterious, degenerate
can easily
theory prinoiples heretical abuse of information a (desire for maximum information and minimum redundancy) it is not balanced with a little of the Apollonian.
if
-57Most axmpooera are ostensibly because they striotj words it often brings linde like to the system Webern 'adherence (to the row) attracted but it is salvation(1q)1
is
chaos
success
by ascertaining
or the
'mysterious', is uppermost
"
attraction
iF
Autobiography
We have-been they
trying
mimuli
of himself
whatever oongenitallyl
he absorbs
whatever
autobiograph-
he absorbs
absorbed.
ohangeg only
of rational-
en-soi process - 'The conof Sartre's pour-soi the object end the subject and the world, sciousness cannot exist it separately, is their the one articulates unceasing# itself through which complex reaction
structure
..,
A painting,
rather
an accurate
the first
two, sentenoes
of the quote
the point
we are making.
their
musio as a
can write
the content of my entire existence. Whoever listens to my music intelligently will see my life Schumann is more oatiousw and transparently revealed'(5). perhaps the more usual 'Mostly they pasoagos reflections musician times may be gleaned from this standpoint (some blder' compositions) are former life; the man and the of my agitated attempted to express that themselves this is still the and I almost that a little better'(6). believe
wrote
at all
I have learned
to master
myself,
as well
as my art,
in
the obvious
sense
one being
Smetana's
E minor
he wrote IT had wanted to give (he goes on to give at some length tone picture life a of my the autobiographical mesaing of the various movements). That is roughly the aim of this composition which is almost of which one and therefore which, circle (7). me' as it of friends purposely written for four wereq are to talk to each other
a private instruments
in a narrow affected
us abundant
encouragement
to regard
therapeutic and 'an works as autobiographical# (all correlative' aspects of the same thing), objective In 'A Communication to My Friends' the other., one after he gives with a detailed account of his self-identification Lohengrin and a The Plying Dutohman, Tannhuserp
siegfried"
In describing
the hesitations
when beginning
'Only when his choice is made) when this he writes: work born from pure Neoessityp when thus the choice was
has found himself again in the subject of his choice, artist Stan finds his true self in Nature, - then as perfected then first is it a real the Art-work into life, steps thing, a self-conditioned and immediate entity'(8).
-592.1.
Seif-Delight
we tackle, himself
part,
the composerts
to reveal
unconscious for
of any sort
of audience
and writes
of writing,
or from an,
neoeasity.
wrote
'I
believe
that that
a real it
no other
reason
then
have audiences
of men who are driven exists dislike not it') one person it
who likes
even if
themselves they
could dislike if it
to Truth
than Beauty
they
exoeptedp
typical* a medium
music is
which
are communicated
be false, would
lure
for
consciousness of current
audiences can
Vaughan-Williams
Ofusio iss first and foremostf self-expression wrotes that it is a falsehood. I feel sure that a an without for life on a desert island would oontinue to marooned musio for make there his own spiritual to hear him'(2). exaltation even though
is not only
fun
to invent,
it
is worth
doing
for the sense of aohievement, Mozart's boings afterwards. almost amounting who is to vanity, in more reoent as loved for
his
brillianoe"(3). of creating
been written
by Chaves that
the joy
a work of
a little
unit
6a. ..
'Art can only be created of creation and pride been present for its own aake'(Soboenberg)(5). these elements, of musical pride in
both
in fulfillment either
aims,
consciously
hers'are
Xy Joy about
wonderful
violent concert
writing of an even more and Berlioz, 'In the finale Joy to Heines of Harold (at a that ferooious in Brunewiok) orgyO in whioh the of wine, blood, joy, and rage vie with one
mouths seem to belob, forth voice* blowel in with blasphemy, drinking, destructions the heart! what ... '
astounding
orchestra
26.
Truth
truth, world
of the real
self,
or the of the
has faded
are now seen as purveyors of oorreat: a world, he discovered Hans Keller, the creation roughly of beauty, and (analysis truth of
reality.
the propagation aggressive accounts for the truthfulness of is a form of aggression), frustration by showing that there is unprecedented our age energies of the aggressive the supreme vice considered 'Beauty miss it. comes into Before being that it instinct (1). Hypocrisy is undoubtedly in arts to begin nowadays, especially
the artist is
(Stravinsky)(3).
Beethoven,
-61talking the about, 'truth', and, until started composers the one most frequently used and forms word 'hearts was sort, of transition between classical truthfulness'. in 1831, as "Every feel extroversion For instanoe# day I am more sincerely own 'psyohologioal Mendele$ohn wrote to write
and our
and to have even less exaotly anxious ,I and when I have than ever for outside opinions regard then I Just as it sprang, from my heart, oomposed a piece it brings fames thereafter have done my duty; whether honour, deoorationst or snuff-boxes eto. 9 is a matter of indifference to ms'(4)" Tippett takes up the theme of artistic terms is the importance in our no question
Finally, duty
to mandate from society But is to entertain The mandate of society create. .. a the mandate of the Artist's own nature ... is to reach down into the depths of the human psyche and bring forth images of things to come. These images are Z ta1as a lifetime's work to mould them not yet art. For this the artist into works of art. ocn have no reward He oreatesp because without but in the joy of doing it. the tremendous art, in this mandate is deep und serious inesoapable'(5). sense, the nation dies. His
in no uncertain and proclaims 'There the discovery of Truths of day of the artist receiving a free
27
Compulsion of what ye do(T'. ' This in the way necessity and'he means war-cry, (of"p. 10Pt2II) 'will' and in Leonardo's means in the necessity is idd the theme inventor of nature, its
Composing was for him as natural law'. a curb and eternal so that the bee will the blossoming of a flower, process as other flowers and so propagate pollinate and be attracted, One Thing ('strongest need-urged impulse') 'When this life. is reoognised this One and indispensable, reach by man as his fundamental essence, then to he has power to ward off Only the weak and appetite . ", every weaker, subordinated longing of the no mightiest impotent knows no imperious, however, feels in himself If the individual, soul:...
a mighty longing,
an impulse that
...
-62inner if urgonco lift which all his constitutes hie force own peculiar hie soul and being; and its he thuz will and all his special ever is to
to catiefy foroel
aloo
and height that strength Wagnerian necessity reach'(2). a oompuloion that being'toroed'
or #a daily function oreation'(4)t (important to disoharge'(5), vordo they are fulfilling to give it its least
an flattering
of sublimated anal and or which# to give it ito more worthy and sexual creation, is the transoendontal de3oription0 instinct, positive that powerful urge which gives man no reotq the 'divine discontent' that of which an English composer has epokon(6)
i, a combination
the line:
'That dolphin-torn,
28
Motion The creative 'alone
not
a de3ire of lifa'(1), with (2), Wagner erld Copland speaks prooees' possesses Ia oignifioanoe creation whom relieioua use their
me
experienoe'(3); art in much the some way their ancestors used The confessional feature the church* was an essential of it helped to set'rid men forsook# the churoh'these of fcroeo within sooietiee men by naming themI muoh as in the Dower of one'o tribal enemy's god
ara men for akin to that of from one angle at least they
both
powerful primitive
of ito name.
olosoly
guarded
the attraction
of composing for
the composer in that it dantOroua forces caster solving negative unduly problems cocount emphaoieed.
him to objectify and so him. It is a release valves within This, again, is a of personal life. and therefore of the art, must not be allow3
-63Examples are often connected with the torments of love; for instance, Webers spurred to pour forth his, feelings in music after hie sad affair Brunetti; with Frau Borlioco their separated from his idol Harriet Smithson before the Symphonie Fantastique he. called $a for the extremes of pain he had suffered(4); clever revenge' the singer and Wagner, his love for Frau SohrBder-Dovrint marriage doomed to by rojeoted, consolation, forced to Love the absolute, for Tannhluser, thus writing where a pure, ideal 'If at last I turned impatiently love wars with Venus (from his sensual love of Sohrder-Devrient) away ... inevitably of man and artisstq so did that double revolt, take nobler on the form of a yearning element for appeasement in a higher, unseizable and .. " a pure chaste, virginal, ideal of love. What5 in fine, could this the noblest thing my heart could feel -" it
be than a longing for release from the for absorption Present, into an element of endless love# through the gates of a love denied to earth and reachable When I reached the sketch and working out of Death alone? the Tannhttuser exaltation throbbing'(5). The failure feeling of being loneliness which utterly of Tannhduser oausedl in its turn, more ofp feelings of isolation, 'The very feeling of this that musiop it held was in a state and every of burning nerve a fevered my blood
to mo with the spur and the ability supplied this could only myself to my, surroundings address ... fanatical from a mood of well-nigh yearning, which proceed By the itself of isolation was born of that feeling .. " strength purity life of my longing, and chastity I fain would flee, ... I bad mounted to the realms ... but the vaporous was that] woke ... it was not where abide the warmth of morass of trivial had this ... blessed from
hardly
enwrapt
the desire
brilliance
of chaste
sanctity
From these
warm breast'(6).
-64Similarly, disappointment exiles element its with The Ring was the release beloved ohill' of his from 'the
'hostile
meets us in the legenda'(7). Tristan and Isolde The affair is with the supreme work Mathilde Wesendonok
of personal
therapeutios"
oause of it
side,
as with
in evidence also; Wagner used great work, in strongly beoause he wished to oreate a great love musioKathilde the love of Siegfried drama epitomising and Brtinnhilde.. During yet the writing knew that of this theirs libretto he saw her oonstantly love, plane not only and both was an impossible but on the higher and for tre
because 'Tristan
must fade
eako of
this must not happen - the work was to be the and Isolde' love. hymn to their Thus the work and life were inextricably They separated at a passionate mingled, peak ostensibly because their spouses brought things to a head, and on the other it part Isolde aid. is level because the only could heightq way in which remain in strong 'Tristan' in a white 'brave (vin. the beauty and They the love-story was by cutting by death. heat of Lady
power-of at its
symbolised
the music
inspiration.
to Xathildep
Tristan,
Help men come to my angel's bleed Here the world of love at its learn
Mathilde's) heal
sublimeat, in heart
when it
is finished its
in my life epooh forward I shall renewed, with world I shall Art more perfeot their ible love to those
have found
calm,
be gazing
was justified
who renounoe
Professor
Gilson
-65irresistably spirituality long of another not only with purer rhioh the masters of a order have
but of a different
familiarised
us'(9).
2.
Consoioue
Calculation
This brief
section
would be unbalanced
without
at least of
consideration
of inspiration
of the composition. does not mean it the distinction sometimes " is doing cannot is
prooesso hints;
indeed
often
in practice
tell
whethor work'(1);
afflatus
that
for us to compose each day - to produce inspiration, possible intuition in which the as it were -a species of creative faculty is much more involved'(2). The type of critical to by Beethoven's sketh books must be composing witnessed is a quest for a goal dimly seen, yet nevertheunderstood less very real and powerful. is present, process In other words, some sort hidden, it through of though very deeply
unconscious
vision
when it
The struggles facilities. 'Haydn' study'. explain to his Mozart quartets Schubert, in 'the
at this
the plainest
friends.
aooording bar.
spend hours at a single hard work in his letters. had an easy career. The entry reads
Dvorak
in Tohaikovaky's
diary
for
31st
July
1884
'Worked# without
any inspiration,
but suooesafully'.
66".
flow is this possible? Schoenberg denies it (of# p. 10) yet
in music - 'He who really he Is also a champion of 'Brain' his brain for thinking can only be possessed of one uses desires to 'reoolve his task ... Two times two in four -
In other words the vision likes it or not, '(3). whether one by reasoning as well as by intuition and the in attainable the name in the conscious mind as in the unconscious. prooeou Is
With'serial writing, technique, the calculation in fugal and contrapuntal Of oourae, as the conscious mind reaches the of tbe'technique naturally was aimed but also quite the aim to base the idea which also the Gerhard takes
thinking. of"mathematical complexity by Schoenberg quite at and employed consciously. 'I was always occupied
of my music consciously structure not only all the ideaep. but regulated produced Roberto accompaniment and the harmonies'(4). this further
with unifying on a
in a statement which would piob. bly have a stage his master's view of approval - he quotes Eliot's received the surface meaning. of poetry -" !_ 'to satisfy one habit of to keep his mind diverted the reader, while the and quiet, poem does its work upon him; much an the. imaginary burglar is always provided with a bit of nice meat for the housefulfills technique In my view the use, of the serial dog'. in the creative process of the a comparable function composer ... work which serial imposes on the composer fulfills organisation ... a similar function which allows free play to the of diversion The complex intellectual
unconsoicus'(5). (which famous attachment to technique Stravinsky's 'the whole man' (6) and calculation are all as he defines a man who wrote 'The Rite of Spring' the more remarkable'in (af. 2 p. )' it is'almost of his the fervour he has reacted in the before Dionysus prostration as if of his to his subsequent prostration comparing the ordered own arts 41 aua thus conflict in art The
In 1935 he wrote
the eternal
principles. goal
ecstasy to be, the final latter assumes of oneself whereas art the losing aayg of the artist'(7). full the consciousness wrote that the 'Dionysian element....
_67_
Otibjugated before they intoxioate Apollo be made uns, and must findly demands it'(8). And in 1960 question 'You often
in answer to Craft's
Is it no more to oompose is to solve a problem. ...? He quotes Seurat 'Certain have done me the honour to oritios see poetry in what I dog but I paint by my method with no other thought simply to him. in mind'(9). the discovery 'It is Thus it is abstract order order, or
of abstract
the idea
If Stravinsky me'(10). attracts . intellectual impression. of a uniquely we will remaining later see how he oontradiots in his attitude
man,
unique
to emotion.
"
Self-oritioisi
after
Inspiration
tells
conscious
a stop-gap
Ssomnabulism',
between the periods of up 'cold reason and technical aaoistanoeto the Dionysian of constant This is is
on for
the opposite
approach. is
ecstasy
survive all,
or nearly
of inspiration and calculation, composed with an alternation be 'inside and outside the work at the same time' one must (2). is that in which a passage is A common pattern received checked as compulsive over and revised 'During inspiration and then it is carefully by the cool hand of reason.,
the moment of divine oonseoration we should inspiration; to the first but meroilooa1y ourselves abandon searohing reason must have its due and with palm afterwards its bear's paws scratch that have orept this fruits out mercilessly in'(3). any human imperthe teotions Sohumann oonoludes
aphorisms
'What is wild
may grow up
demand oars'.
describes a melodic
his phrase
usual
method,
wherein
he is he
by inspiration,
secondly
-68expands it immediately, its the whole is then revised and thirdly form 'whioh must hold its own, againat final self-oritioism'(4). holds
Wagner, as does Tohaikovsky, calculation . his soever, but in considerable to itself heavy dependenoe, on, iti purely
conscious
oontemptj yet, elsewhere admits ('owes, its being to no human Need ..., quits, incapable of, answering
1_ any sou_ need')(5)" 'The naive inspired his artist its (or 'natural's himself when this with is as in Sohiller), reckless finished$ when it truly into shows
enthusiasm
actuality,
does he win from practical which preserves of Reflection case of yet in the specific by hia. imaginationg This and the him oompletely'(6). to Stravinsky him with
that genuine force experience him in general from illusions, his loses feeling driven again once more its
to art-work
power over
he ever
approaches against
who revolted
such violence.
a1'.
Comnoser$ Advocate Conscious Powers
mostly by oompoeers on this subjeot, advioe as to the prerequisites general and we will Firnt, lovely thought mention there them one by one. is
that
'to
have a ringing
is nothing
the inner
Tog as Hindemith puts its may and singing is found 'inspiration be just as great as any oomposer's(l); force in every kind of human activity'i writes, driving as a 'But that force is only brought into action by Stravinsky. of Kr. M or Nrs. an efforts difficult that and things that effort iss in vork'(2). in fact 'That 'is tba mcst
- art'(Dvorak)(i)Jb
Many have held prowess on this side of aotivitie be the ear-mark of genius# the famous assooiation of to
genius of all seems to be borne with perspiration the most extreme Dionysians, except out by the remarks suoh as Wagner.
by Mendelssohn,
in writing
is a characteristic
of German art
That composers have advocated hardly 'It is surprise use especially the greatest madness to believe
effort pupils
will
serious study 'Weber to a pupil the artistic wrote spirit'(4), cripples (for such a belief was far from dormant at this time of D'Indy cautioned ferment), his pupils similarly romantic of Debussy and Ravel in his essay advoagainst and named, 'Le Bon Sens' - 'good sense$ which alone eatingt the notions of logic and balance can make us appreciate the excesses without a pupil which there is no Art'(5) out of this mentally ... And Schumann advises conscious ... process and keep on twisting on the carrying with
composing
the principal melodies about in your head until 'Nov they will do'. To hit upon you can say to yourselfs the right thing all in a moment ... 'does'not happen every day'(6).
remark
above is'a
fear
that
prosaic natures somehow rob from the is summarily disposed of by Busoni vanished from the world the lightning
meaningal music as breathtaking that the knowled nor the appreciation and Wagner claim
conductor'(7)? (one) that composers as the does of inspired that it is the of technique
impede inspiration,
music. desire
Schoenberg one's
that own unconscious notions (Most students start by the otudy of technique. leads to Other composers' inspirations). rationalising to understand 'The desire and forms will arise for a oonsoious artist control of the new means wish
in every
to know oonsoious
1 the laxe
and rules
he has conceived *as in a dream % Strongly forms which this dream may have beeng the conviction as convincing these of obey the laws of nature new sounds that orders the conviction thinking cannot be present without
that
and form
obedience
find,
if
at least
Ways to justify
the
dieaonant
of these harmonies and their oharaoter (3ohoanberg)(8). And, Webern *oboes 'Don't write is
interest
in, teohnique
is
of this
kinds
'If
(by which Wagner means oompoaer-dramatist), who thus from unoonsoiousness, to,. oonsoiousness1 would fain take speaks Zwar) which bids him use the natural compulsion count of this nature expression and none others, then he learns to know the he of this expression= and in his impulse to impart, this expression wins from that nature the power of mastering in all its neoessity'(10). itself Finally, conducive take not it to the we learn that
strong
emotions
to the
phase and even less (of@ p. 16 ). 'A frenzied Roland could vision Orlando. Furioso; a loving heart cannot discourse In order to move something tThose who imagine we must not that stand on
... it'(Sohumann)(11)"
a creative
at the moment when he can ... express his feelings artist Emotions, is moved, make. the greatest sad or mistake. joyfulp can only be. expressed retrospeotively'(Tohaikovsky) (12)" ," Berlioz wrote of Lee Troyene the music for lam called 'Another this danger that
drama is
in the are
upon to express
This can bring the whole to move one too deeply. inclined Passionate. aubjeots must be dealt with to. nought. matter in cold blood'(13)" 'The artist, to be lost, (Buaoni)(14)" if the oontrol over his medium in not to move others'
coolly,
without
agitations master
without of oneself
.D71_
to regulate orchestration. been cold of course, that ohanging5 moving, flowing obese-board
as marble'(9trause)(15). by Wagner's
leave own'vritings,. for one sentenoe, and speaks the domain of the instinctive 'even where he thus of the rational side of compositions needs deliberation, to an objective teohnique,. to shape the picture of his intuition of art by aid of his on familiar work ohoioe. of his expressional (Reason) proper, by Refleotion. bent that means but
decisive
gift'(16).
makes out the very However, in a letter phase in or sketch these worden out a scene I
with the musical aura of my I have all the notes,. all the characteristic creation. once the text is ready and motives in my. head, so that, the scene laid out, the whole opera is already complete for me and a detailed completion is already musical treatment is more a quiet, of a work whose moment of actual ) over'(17). that has never been present
considered creation
may affirm
emotion imperfect
the creation
of those
pages which
are generally
state for any doubt the most favourable (that state which the uninitiated look divine fever) is simply
or lese a more
an extremely
aotivity'(Casella)(18).
We must be
states of unemotional assigning (Casella himself says the planes and unconscious the composer is not from the idea, is never type. are, but latter
as divided
of inspiration
which
to subjugate
the composer,
of a single constant
as inspired
renewal
(Chave$'s
ezample)(19),
two tones of inspiration, there are the plane of their emotions, andt, on with the musical the intellectual
"r
-72referential greater for that meaning are worked out more smoothly and with (a more exaot word is'not $rightness$ poooibls, it is 'right' is all the oomposer knows).
L2" ,
Chronologioally
Seecond
is
condition that is on
of
discourse
and calculation
through
which
(a perfect blows' definition of the speculative spirit tone' of inspiration). 'It is only our 'intellectual of that the emotive disturbance afterwards which is at the root '.. 0 this emotion is merely a of inspiration may arise+. reaction on the part which is is of the creator still only grappling with of his this that unknown entity and which be granted discoveries, givesriae causing follows the object It is creating it will of
to become a work of art. the work. as each individual ... this -like
chain that
emotion
the phases of the creative process'. at face value, this view seems closer and pleasure mentioned
to the
composers feel about what they above on page 60, than to any valve with its accompanying
of the unconscious
trance or transcendentalism. emotion, of revelation, aura is overstating that Stravinsky Yet it seems more likely his case in emphasis generally, of his and his distaste quibble for is Wagner and with to his the The mind,
really
of the
Kuse adopts
But that there is something beyond the word. qualify (obvious to all listeners) is shown plain calculation to by his later remark 'I can only start more clearly for hope to leap work and surely, it is a little in my spirit'(2), and this, the fact it that does is more than a 'manifestationf'and 'chronologically second'
-73not set affect what is chronologically, third. inspiration 'an artist Composers frequently in any sense of the
to work with
no particular says,
word but,
need not necessarily fall if he has started has not something to which inspiration intervenes Often enough inspiration forced him. spontaneously 'in Ravel writes, undemanded'(3). and gives its blessing when I first took in hand the Sonata for determined its violin and form, I had already
as Schoenberg
1924, piano
... for the instruments, the manner of writing and even the of the themes for each of the three movemen"tu beforo. character had begun to prompt that a single one of these way'(4). themes. Only I chose the shortest
somewhat unusual
$inspiration$
the composer has determined a few passages when hand of the unconscious begin to take over. automatic is describing this Inspiration Tohaikovsky which follows, in this and aids composition with inconceivable rapidity. the soul throbs with passages Everything is
'The work progresses also forgotten, and indescribable gets 'into' may have been on reading to his it day he mind, rapidity come by for
exoitement'(5).
and then Dp and so on$ often and emotional the time instance# excitement.
a commission#
to oonsmenoe the work he may feel it is his 'duty' 'he must not wait. is a guest Inspiration nonetheless those who are indolent' does not care to visit who (Tohaikovsky)(6).
Notes
Direot
Unoonaoious
dated June 1878 to Hmee von Heok, quoted Letter by Herbert Weinstock 1946. 'Tohaikovsky'
in
New York,
dated June 24th 1878 quoted in 'Life Letter and Letters translated Rosa Newmaroh, of P. I. Tohaikovsky',
p. 306.
3 4
5
Copland
Aphorism of Schoenberg, quoted Hans Keller 'Moses and Aron', The Score Ootober'57.
in article
7
8
Stravinsky, p. 147.
Expositions
18 July 1896. Mahler, letter to Anna Bahr-Mildenburg 'Gustav Mahler: Briefs' S. Morgenstern. Alma Mahler, trans. Letter quoted by G. Etvesz, Psychology of Music, p. 199. Gilson,
9 10
symphony,
quoted Etienne
11
12 13 14
Moving into Aquarius, 1959, chapter Michael Tippett, 'A Composer's Point of View. ' entitled
dated March 1878 quoted Letter p. 170Letter Weinstock, Tohaikovsky, p. 306.
dated 24 June 1878, R. Newmaroh ope cite to his Wife, trans. p. 71. Vol. IX Jan. R. Ley,
letter
15 16 17
and Idea,
1928. p. 462.
of Beethoven,
Anderson
1960,
18
Biohard Wagner's Prose Works1 translated 1895, Vol. VII 'The Artist and Publicity' 1841) P. 134. Prose Works Vol. Copland, jMusic
Carlos p. 30. Chavez,
19 20
21
It
'Autobiographic
Sketch'
and Imagination1
Musical Thought
chapter III.
(1958-9 Norton Lectures)
22
23
Richard Strauss - Recollections and Reflections, L. J. Laurence, essay Schuh, translated edited Willi 1940) p. 112. in Music' (circa 'On Inspiration Arthur VIII. Kunio Honegger, Je suss oompositeur, chapter III. 1951, chapter
24
25 26 27 28
and Imagination, II
p. 51-
between Debussy and Unpublished conversation 1889, taken down by Maurice E. Guirand, '0otober in Debussy exhibition Paris Emmanuel (exhibited
1962).
Ab3orntion
I 2 3
Mozart's Ibid.,
edited
Emily
Anderson 1938,
letter
319"
by Vernon Cotwals of the Joseph Haydn -A translation (1810) and Notizen by C. A. Criesinger Biographisohe by A. C. Dies (1810), Nachrichten the Biographische (Madison 1963) p. 141. Letters, Letters (Arnold 52 (1801). p. of Brahma to Clara Schumann, edited Dr. 1872. dated April & Co. London), letter oolleoted Opieneki, translated Litzmann Voyniok
4 5 6
7
g
Otto Deutsoh, in
Otskar Sourek,
and Reminieoenoesr Antonin Dvorak - Letters R. F. Samson, p. 87translated Letters 11 July of Edward Elgar, 1900.
dated
10
11
Correspondence and Papers of Cluck, ed. The Collected Stewart Thomson 1962, B. K. Mueller von Asow translated du Roullet, librettist to Bailli of 'AloesteO, letter dated July 1775" Wagner, letter to Mathilde Wesendonok, Autumn 1858, translated Venice.
12 13
F. ueffer
j1
14 15 16 17
to Piorre/ into
Aquarius, 1641.
dated dated
1831.
Sterility
1 2 3
Interior', Moradas Sextaa, St. Teresa, 'El Castillo XIS quoted E. IUnderhill 'Mysticism' 1911, p. 395chap. 'British Murray Schafer, interview with Tippatt. Composers in Interview', p. 97,
Letter to Giuseppe Adamip librettist of 'Turandot', 'Composers on 10 Nov. 1920, quoted Sam. Morgenstern, Uusio', p. 295Correspondenoe Carl Maria of Wagner and Liszt, Jane- or Feb. 1854von Weber, p. 368.
4 5 6 7 8
Letters,
H. C. Robbins Landon - Collected Correspondence Landon Notebooks of Haydn, p. 154" Letters August of Brahms to Clara 1855Sohumann, letter
dated
Bedrioh Smetana - Letters and Reminiscenoesp by Frantisek Bartor, translated D. Rusbridge, Letters of Edward Elgarj letter written,
compiled p. 259-
10 11
Mazzatinti,
12
Je suie compositeur,
Introduotion.
Necessity
of
Unconscious
1 2
3ohoenberg, Letters,
Style
and Idea,
p. 166.
number 586;
of K-594-
3 4
Letters,
5 6 7 8
Ibid.,
letter
Lettrsand
Correspondence between Richard Strauss and Hugo von P. England 1927, letter translated dated }Iofmannsthalp 15 May 1911.
Infallibility
of
Unoonsoious
1 2 3 4 5
Stravinsky,
Poetics
of Music,
p. 25.
Letter to Jacques Durand, 3 September 1907, quoted S. Morgenstern, Composers on Music, p. 330Aaron Copland, Copland America'. 1952. R. Vaughan Williams, on Music, talk 'Creativity 1932, in VI.
National
Music,
chapter
Liszt, Symphony 18559 trans. Berlioz and his 'Harold' 0. Strunk, Source Readings in Musical History, p. 853-
6
7
p. 192.
8 9
10
II
11
r Prose Works, Vol. III Zkunftsmuaik (Public n, Villot as preface to Yrenoh translation 1861), p. 330libretto-poems
Webern, Towards a New Music, lecture The Score, Jar.. 1961, p. 379 Mendelssohn, 0. Deutsch. of 1824. Letters, letter dated
letter to of four
in
12
translated
13 14
'A dooument4ry
biography',
Letters 'Politik'
in
}3usoni, The Essence of Music, translated 'How I Compose' (answer to questionnaire D'Indy, Dukas, Style Ibid., Cesar Franck, Letter and Idea, p. 102. World translated
R. Ley, 1907).
p. 50, 97.
3 4 5 6 7 8 9
p.
on inspiration.
10 11 12
P" 75"
Approaoh
as in
Mist
Roger Sessions, essay 'The Composer and his Suzanne Langer, Feeling and Form. quoted Conversations with Stravinsky, Robert VIII. Craft
p. 16.
3 4 5 Je Buis compositeur, with British ohapter
Aotual
Notea
or
Shapes
Given
1A 2 3
Composer's Sohafert
World,
chapter
British
Composers in Interview,
Richard Strausse Recollections in Kunio. 'On Inspiration Letter to The Cheaterian, of Tohaikovsky, Jan.
4 5 6
The Diaries
Lakond.
7
8
Poetics,
Robert Schumann, On Music and Musioiansl P. Rosenfeld, translated p. 36. Prose Works, Vol. VIA 'On Operatic (1879 Bayreuther Bltter) p. 170. Poetry
10
of
Moving into
Aquarius, (1778).
'A Composerta'point-of
2 3 4
Conversations
5
6
British
Jung, Types'.
Composers in Interview,
definition of 'Symbol'
p. 45.
in glossary of 'Psychological
7 8
#on Inspiration'; Ernst Kris, Vol. XX'p. ,Bayoho-Analysis, Seleotions Heotor Berlioz, Apthorp, p. 28.
Journal
of
by W. F.
ed. J. M. Dent
10
11
12
to Pierre Lout's 29 Maroh 1898, translated Letter Clef* p. 106. The Literary Lookepeiaer, Letter to Andre l4eeaager, 12 Sept. 1903-
in
13 14
to wife 11 Sept. 1906, translated Faure, letter Clef'. in 'The Literary Edward Lookapeicer Ibid., Stanford, letter to vife, 21 April 1904. p. 143.
by
15 16 17
Musical
Conpoaitiong
18
17 Feb.
1897.,
19 20 21 22 23 24
The Life
of Hector Vol.
Berlioz, III9
p. 1451861, P-308-
Zukunftsmusik 'Persnliches
Aquarius, Vol.
IV 'On State
and Religion'
Schumann, letter
July, 1896.
Stravinsky, and Developments, p. 135.
11
Conscious
Preparation
for
Inspiration
1 2 3
Marganita Busoni,
Laski, Letters
Ecstasy to his
31 August p. 10.
to Anna Bahr-Uildenburg, Letter biorgenstern op. cit. P. 312. 'At the Crossroads' Morgenstern quoted Dukas, Eorits article op. cit.
18 July
1896, (1920),
5 6 7
I,
our la Musique
Berlioz and his 'Harold'`EyVphcny', Liszt, Readings, p. 861. Source Memoirs, 2nd edition Cretry, Readingsp p. 717Je Buis Ibid. Letters Leos Janacek translated D. Stedron, compositeur, chapter, 1797, Strunk,
Strunk,
Source
9 10 11
VIII.
12 13 14 15
Blooh, programme notes op. oit. p. 414. Baron Marc Weber, R. J. Buokley, Sir 'Carl
1933,
quoted
Morgenstern
Maria
Edward Elgar,
p. 100, letter
16
XXX no. 1 (Jan. 1944) artiole Musioal Quarterly Poetrys Problems of a Song Writer'. and
17
18 19 20
A. Puller-Maitland,
Rsooilootions
and Refleotione,
12
The
Gap
1 2
;,
iooratea Stravinsky,
Busoni,
to kono,
'Mono'
p. 124,
translated 1959,
C. M. A. Opube. p. 114.
p. 51.
Bosenoe The
I Compose',
Letters,
p. 1308.
quoted in 'Carl Maria
'8ampf und Sieg' Literary notice'on von Weber' by Baron Max Weber.
6
7 8 9 10
and Ideas
The Technique of My Musical Language, 1944, preface. Satterfield translated Summa Contra Gentiles iii chapter LXVIII. translated Fr.
Olivier
Messasen,
il
J. Riokaby
S. J.
13
STIMULI
TO COMPOSITI08
1 2
Bu$oni, Chavez,
3 4 5 6
Message (1941).
Autobiographique.
Arthur Schopenhauer, The World as Will and Idea I, translated R. Be Haldane (London 1908)0 P. 339.
14
Nusioal
Expression
1 2 3 4 5 6 7 8
of Brahma to Clara
'Tohaikovsky', Weinstook, letter to Mine von Hook dated 21 February 1878. She asked him if he had ever experienced love other than platonic, he replied 'the answer to that is to be heard in my music. ' question Ibid., Busoni, letter Sketch to Taneyer dated April 1878.
9 10 11 12
13
14 15
p. 181.
to my Friends', p. 363. 1907,
'A Comiunioation
Ravel's reply to Jules Renard in Journal 12 January J. Barzun 'Pleasures translated of Musio', p. 163. Musical Thought, p. 20.
16
17 18
19
Stravinsky, Conversations
Elizabeth Interview, Letters
Chronicle
of My Life,
p. 91.
with Stravinsky
p. 126.
British Composers in
20 21 22
p. 90.
15
Stimulus
of
Muaio
1 2
article
(1921)
1939-
and Reminisoenoes,
3 4
5 6
to his Wife,
of my Life,
'19081
p. 137, Pierre Boulez; in United States
'Trends in Modern Musio', Lines Paris Review 1958. Letters, Letters, letter dated
7 8
August
1831-
16
Ob eots
1 2 3 4
'Carl
Maria
von Weber',
to Honegger,
'Je Buis
compositeur',
p. 95-
Gretryp Memoires on Essair sur la musique 1789, (Liege 1914) p. 354, translated Morgenstern op* cit. p. 74Cyril Soott, The Philosophy of Modernism, p. 16.
17
Nature
1 2
3 4 5 6
Letters,
p. 258p. 258.
1. December 1830January 1831, Rome.
Wife's p. 101.
to Maurice Delage from Rhine steamer, 29 July 1905, Letter E. Lookspeiser, The Literary Clef, p. 130. translated
7
8
Marganita Laski,
Ecstasy (1961),
p. 106.
E. Lookepeiser,
18
Event
1 2 3 4
5
I,
Art
(Paris
1849),
P. 38-
Schafer,
p. 116.
1942,
'How a Musioal
Work Originates',
Letters,
p. 948.
19
Fine
Arts
1
2
Letters,
Stravinsky,
letter
Chronicle
20
Literature
from his
writings
by W. F. Apthorp,
2
3 4 5 6
liana Keller.
to Grand Duke Leopold
Conversation repeated by Lobe, Music 8th Edition p. 199. on Music and Musicians, p, 51.
Oxford
Companion to
7 8 9 10 11 12
Liozt, Strunk,
his 'Harold' Symphony, translated Berlioz and Source Readings p. 863 and p. 866. Vol* It A Communisation 89. p. to My Friends, p. 365-
Autobiography, Chroniole
of my Liles
21
Poetry
1 2 3 4 5. 6 7
Beethoven, Briefe und Qeaprftohe p. 145" tranilated Langer, Feeling and Form p. 153. Chroniole Ibid., Letterer of my Lifeq p. 91.
of Heotor
22
story,
situation
1
2
3 4 5 6
71
'At work on King Priam'# article Michael Tippett, Score, January 1961. The Letters, Ibid., 489. no. no. 428. Memories, translated
Verdi,
in
Be Gile Riob,
Giuseppe
1854 aeotion.
Reoolleotions
and Ref1ootions3
'Elektral
1942,
P" 154"
Benedict,
1881.
23
Supernatural
Ootober 1666, to Edmond Galabert, letter Biset, Clef, p. 43. The Literary E. Lookepeiaer, Buaoni, Letters, The Es enoe of Insio, p. 175. of Wagner and Liszt, ich Stravinsky, letter p. 40.
translated
2 3 4 5 6
Correspondence Converuationa
p. 125-
A. Co Dies, 33iographiaohe Nachrichten von Joseph Haydn (1810), translated Vernon Qotvals (Madison 1963) P" 139Blake, Preface 'Jerusalem' to Gradualia LXL. 44. (1610) edition. Life, p. 174to Humbert
7 8 9 10
My Musical
p. 118, letter
11
'The in Moving into Aquarius, Quoted by Micael Tippett, feature Artist's Mandate'. An interesting of this Dionysus to Apollo movement is that most musicians have two phases (the more or less modern love, one Dionysian of musical (works of them), the other Apollonian that thrill works beauty), classical and between them is a gap which is It seems that the most avant-garde musicians neither. now hail Chopin and early Romantics as composers of classical have beauty just as the most backward of the rear-guard hardly got over him as a thrilling modernist. Prose Worksg Vol. Winfried Notes', Il 'A Communication in Rufer, to my Friends', with p. 326. Twelve
12 13
'Composition
14
op. cit.
p. 37.
24
Autobiography
1 2
Musioal
Thought,
Compare Copland's
3 4 5 6 7 8
in Domaine J4uaioal,
edited
Guardian
and Remirisoences,
Ig The Art-Work
of the Future
(1849),
P"73"
25
Self-Delight
1
2
Style
and Idea,
p" 154.
in America, Vaughan-Williams, The Making of Musio (lectures 1954)r'Pr 551 butp as with many composerst, the opposite is stated element of. ''The actual with equal corviotion; invention process of artistic an audience; presupposes ... to hear A composer wishes to make himself someone ... intelligible. ' (Nationd. is the prime motive. This surely Musiot 1932).
3 4
5 6 7
See, for
instance,
Letters,
no. 452"
Musical Thought, p. 33Style Letter and Idea, p. 5127 April p. 156. 1896.
'Selections
26
Truth
to 'Benjamin Britten', by Hans Keller Contribution and Hans Keller. edited by Donald Mitchell symposium Ibid., Zeller quotes Sohoenberg's p. 286. Haroniglehre.
2 3
Chroniole
of My Life,
4 5
Letters,
letter'dated Aquarius
moving into
27
Compulsion r
1 2 3 4
It
The Artwork
of the Future,
p. 131-
p. 192. and Letters, and Idea, p. 306. 'Criteria for the Evaluation
5 6
Chronicle
of My Lifeg
p. 283p. 1.
The Philosophy
of Modernism,
28
E eotion
1 2
letter
dated
January, 1859.
P. 52.
3
4
Ibid.,
be.
cit.
do Musicians
Autobiographical sketch in Tiorsot's'Lettros Vol. II. eorito on Francais, Prose Works, Ibid., loos Vol. cit., I, A Communication
5 6
to my Friends,
P. 322.
p. 339-
7
8 9
Ibid.,
Letter Choir
be.
cit.,
to Mathilde
of Muses, Etienne
29
Conscious
Calculation
1 2 3 4
Vaughan-William,
p. 22.
Slominsky, p. 344.
quoted
and translated
H. Keller,
5 6
d
Roberto
Gerhard
with
Twelve Notes.
with
7 8 9 10
Conversations Poetiost'p.
Stravinsky,
p. 20.
30
Self-oritioism
VIII
after
Inspiration
1 2
Weinstock, Copland,
Tohaikovsky's Music
p. 171,
letter chapter
dated III.
March
1878.
and Imagination,
Letter received at the age of eighteen from an older by Schumann in Neue Zeitschrift fOr composer published Musik, quoted Oxford Companion to Music, eighth edition, p. 201. Recollections and Reflections, p. 115. of the Future, p. 118.
4 5 6
Ip The Art-work II
31
Com-oosers
Advocate
Consoioua
Powers
1 2 3 4
A Composer's Chroniole
World,
chapter
II.
of My Life, p. 195.
p. 283-
5 6 7 8
on )Qeioand
p. 78. 181.
9 10 11 12
Conversations Humphrey 3earle, Times, 19401 p" 405Prose Works# Vol. On Music III
with
Webern, Musical
and Musioiansp
of P. 1. Tohaikovsky,
13
14 15 16 17 18 19
Letter 1856.
to Princess
Carolyne Sayne-Wittgenstein,
p. 40-
12 August
dated
32
Chronoloioally
Second
1 2 3 4 5 6
Stravinsky,
Poetioa,
p. 50. p. 117.
Memories and Commentaries, Style Letter Life Ibid. and Idea, to p. 156.
LXS January
1928,
On Inspiration.
and Letters,
Part
II
AUDIENCE
Desire
to
Impress
it
will
desire
to impress
themselves
what they
ically security
In the days of patronage though bound to impress; and success the desire
Esterhasy, relationship.
In Londoxy where Haydn vas Qt first not he wrote the 'surprise' Andante for this reasons in surprising the public debut, with something in so that
new, and in making a brilliant Pleyel, who was at that time London (in before 1792)
my student
engaged by an orchestra had opened a week The firnt countless Enoorel Allegro Bravos,
mine,
should
of but
my symphony had already the enthusiasm reached with the Drum Stroke. throat, Mozart his and Pleyel was insecure was to impress
himself
complimented
in worldly
one seourity
was his
This oonstant genius. (then all would be and astonish in part, desire, which stimulated 11 Seraglio to impress the and ooming to Vienna
to hear that Mozart had specially be delighted would this opera, and in auch a short time 'the oiroum.. written with the date of performance andq in stances connected generals degree all that my other I rush seated prospects stimulate me to such a eagerness his love delight'(2). letters, to show to my desk with there with jubilantly I should opera'(3)!. the greatest through dearly It is
and remain
the greatest
runs
and such sentences I can do in an Italian what that auch a profound under himself the world
as 'indeed
man should
-2-
Wagner wished to "show what he could do" 'When I attended the days (up to Rienzi),
of the Grand Opera ... a pleasurable performances into my brain and kindle the desirep the warmth would steal hope, triumph aye even the oortaintyt there'(4)" servile; The great this (of that, that I, also# could one day off high-priest
started admits,
he frankly
'Such,
Incidentals in order
musio,
1835) much
to please, one must not too scrupulously choose one's means. In this sonne I the composition of my Liebesverbot, and took no continued echoes of the French and care whatever to avoid-the Italian stagea'(5). Smetana,
piqued by criticisms of Wagnerianiamt wrote 'The Bartered Brides in order to 'prove to all my opponents that I knew my way about very well in the pinor musical forms, a thing they disputed confirmed a Wagnerian back b their elders is the desire therefore be regarded as the, basis and changes ensue. was partly, creativeness won praise 'Whether realisation' of musical but not for considering to. manage it'(6). of all me to be too To be patted cLstdron on the
and must
of whatever developments Stravinsky suggests that this motive for his musical entirely, responsible hoer, before a song held he could speak, he heard in the country.
to the early should be attributed entirely love and praise can'be won through a display is another matter, however'(7)" between major exhibit and minor a degree of
One of the differences Deems to be'that composers autonomy mixed with audience, actual
the former
in undue proportion. have one of these two qualities composers for instance, A glance at Spohr'c Autobiograpy, will reveal and burdensome awareness of the audience and very a strong little attitude that else, just as Stockhausen's articles for exhibit public an taste is of undue autonomy. Catering
bo. 30on most oommonly in pre-Beethoven days may a sin less successful the Telemans, Kaisers eto. l -, while their colleague sincerity in Leipzig remains a supeme exception of and profundity.
-3As with for public Kozert, Weber had an 'over-anxious to his regard
opinion',
which according
of his wife
tenderest of
are full
kingo again
moved', they
undnding
also
show evidence
of many other
powerful
stimuli
balance
the scales.
-Weber suffered
from
the conflict
to please and to be truthfully himself the dichotomy by writing in two styles. and only resolved He saw his championing of German opera as an act of the two desires courage (in Euryanthe) before 'I have not attempted to fall down and worship Beethoven the great the spirit of the age'(9). to Mozart in that,,
is
the opposite
of
composors,
youngest
and renown,
I shall years
Twenty-nine
later
of Op. 124
for it. was given much praise and so forth But what is that compared with the great composor above - above the All-Highest, above - and rightfully cooing that here below. pomposing the all-highest'(11)!!!? man from lofty find which the defiant is only fl ridiculed, the dwarfs being Thus h8*: 3tarted a different individualist he became, with his In between these to the not 'novelty' only stages we of his
soorn frequent
he considers
a virtue illustrates
musically
our point that autonomy from (or sometimes the desire for praise.
If
worshipped great simply that
to wish to be
that fort he had a (not the public "message") of "quarantine" to be all
awareness
he was absorbed
in his
leaders period
his
eventually
the more honoured; he would have approved of Sohumann'e 'The publio must sometimes be imposed upon attitudes for it considers itself the composer's equal as soon as
-4things time all are made too easy for to time throws a stone it. in its But if a composer from
will simultaneously loudly praise himt(13). abcut all this, yet this
way, and even at its heads terror, and in the and something oaloulating and
must be admitted
even oondoned# as wo admit basic selfishness. The error is the notion that since Beethoven we are correcting composers are less others aware of the effect This is untrue of their music on
than previously.
because in both
to a public demand - before oases composers are supplying Deethovenj to please with beauty, and after, to lead with The Wagner-type is unthinkable in a message of truth. the earlier The only period exception and would have been merely ridiculed. in Bach who served the truth yet could not lead in his own day, he has had to wait to our day f or a time of spiritual leadership he probably never desired.
2.
Desire The desire desire to imprezst to Please
to pleasep
than the by .. o
we oeok,
pleasures'(2)). to please. 'mission' a when he adopted mission European danger public graph. writing born works 'It
i. e. music is by its very ) to Messaien ('It is a glittering music to the aural sense voluptuously refined Indeed Dvorak claims that composers have Copland a simpler felt something after style of this the 'difficult',
seemed to me that
of working for
in a vacuum.
music had grown up around the radio and phonoIt made no sense to ignore them and to continue Hindemith was a as if they did not ezist'(3). and constantly pleaded people intricate against difficult are problems' 'who simply musical
missionary
away cultured which drives muaio in the mood to solve not always (4). ' Likewise Haydn saw his art
as a source
of comfort
to otheras when daunted by weakness and obstaclesp he saidt 'a secret voice whispered to me: "There are no few happy and contented people here belows grief and sorrow are
-.
5r
always
their
lots
perhaps
your
labours
will
the care-worn,
esteem'iyself wherewith
And later
talents
satisfaction
of music,
the more so because ... I can benefit my Haydn's age was oharaoterised by the poor'(6). pursuit of happiness, Reflexions as witness our is folicitag some of
unprecedented
Boaheuri Warta
our 1e Bonheur, Essas sur'le felioit Disoorso Kunst ubor die civile
Systeme du vrai di
at du moyen de se rendre heureux on conLa au bonheur dos personnee aveo qui on vit, Of National Felicity, Of Happiness.
publioa, Here,
without
further this
introduotiona, oategory,
are more
attitudes
falling
within
ohildhood
my seal
to serve
our
by means
of my art had made no oompromise with any lower motive; (except) the feeling of inward happiness which always attends such aotions'(Peethoven)(7). for men in which
they
11 wanted ... to build dwellings might feel at home and happy'(Grieg). 'The existenoe of formalism explained I should the olear
of my oomplacenoy is totally my
is
probably
recognition
by our people unwanted to our Party gratitude resolution, oonprehensible 0 ur great whioh help
to express languago
deoisions
of the
me to find
a musioal
'to our'people,
worthy
of our people
and of
and at (oomposerts)
the Art-work
_6_' iteelf"(Wagner)(9).
There are many remarks aorta of whioh the following 'for in operas of the supply and demand writes
Mozart
reoitativee popular'(1Q).
Nikolas in 1824,
Galitzin'a
enthusiasm
for
quartets,
'What an inoontive
to promote
the composition
suooess that
old soul
'My maxims have been vindicated by suocesa, ' writes 'and the universal Gluck, approval expressed in such an (Vienna) has convinced me that simplicity, enlightened city truth beauty and lack in all 'I letter stand of affectation artistic are the solo principles of
creationa'(13). to set
would be willing
even a newapaper
or a will
the publio eto. 't to musio, but in the theatre for anything exoept boredom'(Verdi)(14).
Wagner writes
small his intrin3io gift, value but natural For stage and, big
that Rossini
of his simply to his
told
him 'that
the
to
chargeable
publio1(15). a crowded
ending
in'opera
...
jubilant ending either with'a 'Pianissimo,; 'dying fall', with a poetical (8. Strauss to Hofmannathal(16), results'. a love-duet, his constant discussion of leffeots'
in these
what will
please
the audience
'When an unforeseen obstacle stops me ... ways chair and say to myselfs down in the listener's having heard what goes before5 give men if not what would I wish of genius, What, logically, the shiver
which
could
at least
the impression
of suooess'..
-7ought this to happen to satisfy method, fairly my score is me?"q ... Bit oom; leted'(17). it epitomises by bit, This following process of is
applied public
gonercily,
the action
upon composer. To put these two ohnptera true (and that entitled I shall quote are
into
their
porspootive, 'Dialogue
by Carlos
Chavez,
and Monologue
speaking
of his
own creative
in accomplishing
pregnancy
has ended in a sense of and the dialogue - with this public derived the intense of -
second person - from vhioh is happiness of having something to say and being able to to others'(18). say it in a way convincing and agreeable The two terms will always be present, and always fructify each other in their
I --
subtle
interplay.
For
Connoisseurs
or
Disoiples
to be more truly
himself
be frequently enjoying
of packsd halle
half-way to this vision. more intimate famous passage where he writes Mozart's of his piano concertos alono', though are for yet #the less
and he of music-
Conversely
and signihas in
the non-oonnoisseur(3).
of compositions
Capriocio (for
-9..
and requests
straightforward complexes, is
strongly
to be spoken to in a brief
'Mature people intelligenoe
and
in
think
which
the greater they are familiar'(10). reete easiness# that on matter and for
And Chavez says 'We like quietude, the ground of our passive leanings, we like like, oomfortableg repetitional fore
patterns;
but we also
the now and the unknown, we naturally few, are'(11). but the
the intelligent
music of such avant-garde more for musicians which his or at least Cage's to a desire a philosophical of the age. music is assented for
oomposere as John Cage is written school than for oriental must first the most advanced philosophy of be understood
an expression
rejection
the music has 'any meaning. of memory in music as using tantamount (12) would be welcomed by us if possession
we were Buddhist monks, and that is virtually what we must become before we can be the sort of audience he is aiming (if audience is the word, for there can be no communiat, cation in chance itself). Undoubtedly overiding idea behind 'ideal all these audience' attitudes varying is the
of the
from
to composer in its nature and manifesting itself composer the emotionally in auch ideas, an 'an intelligent elite' sympathetic 'posterity'; audience that and receptive' or simply but it may be said that the composer mostly and rather it is, for either sadly the ideal consciously
writes,
or unoonsoiously.
one,
Person
In
Kind
either
for, may be a single parson the oomposer writes to imprees. (as Mozart wrote the 3erenae, for. vind it carefully' to impress works Herr von Straok(1), Sohumann(2), to impress
K. 375 'rather
(Bimsky-Korsakov
as for instance
similarly
Mozart his
with Balakirev
father(4) (it
(3))
or to please
wrote
especially
to please
0'-1
favourite key), turn is or Chopin wrote to you before because with to his every 'my thoughts whether it friend actions Tytus Wojoieokowoki know I don't
but whenever I write I want to kr. ow whether you like it '(5). anything, ... Similarly for whom and Marie zu Sayn-Wittgonstein, with Liszt 'X shall go back to work on your he wrote a lot of musics Elizabeth I want so much to do something for you - and I am only good at doing useless things, the thought ' them a price beyond oompare'(6). of you given though Wagner, in his for his turn, found Liszt a sympathetic with target to
you I learned
to feel
especially endeavours, 'Whenever I have news of you, artistic through all I think
during
The Ring's
you;
I am always
you'(8).
obviously
excitement
Wagner's
change him,
the few who qualified of whom Wagner vrotes ask them whether it with wrote possible his for they
to make
of hims 'Thou art the gentle Spring that leaf-bedecked map That filled each branch and twig with quickening sap, 'thine was the call that out of darkness beaked me lap'(10 Set free my powers from chill of Winter's . Without any of these that state set in. to Vasnier 'You`, know when I work how enoouragingg understanding called sterility one-
we have earlier
gave me atrength'(11).
worked most of his life composers who suggest 'corrections' his pupils would
and when at last encouragement came in 1916 persevered, to compose of Jenufa, he started with a performance prolifically: 'You cannot imagine what pleasure your
-11letter (praising gave me Jenufa), I feel as if I were living something and is were
I compose and compose an if I no longer saw any worth ... I now feel and I believe
in my vorkp that
believed
what I said
my life
in my mission.
5i
The fluse She is it is
the muse is of
at which
directed. typal
As the stimulus, she is closely aligned with womang ehe is seen as something far more wonderful than layers she really iss of the unconscious
aroheand
she has the power to awaken and shake the man with
She must not make a falee"move be or she will It has been said of Baudelaire Ideal no longer. and Mlle. that, h, asked for a muse and she gave him Mlle. Sabatier Sabatier, part though, ,nof for lack his x'ilh plain, who made of persuasion sending on Baudelaire's her hymns
immortelle, 'A fange, a l'idole Salut on l'immortalite'. The greater Muses, like Petraroh's adorers their Laura and Dante's Beatrice, have been glimpsed timeg by their once in a lifeuntarnished.
perhaps ideality
retained
to be detected only muses are generally First there is the type which through composers' letters. his emotions the music of the oomposerp she inspires performs Haydn becomes the imagined vehicle of them, for instance and Frau von Cenzinger, and his Caroline Weber and Schumann and Clara, Brahma and Clara, both of these latter two wife(2)9
in the composer's mind with imaginary critics acted as also Wagner and 'Der Sohr!! derfavour or disfavour, imagined Devrient', fired though of other's was her singing music that ('for devotion many a long year, down even it S saw, I heard, production I felt seized her near me'(3)). is
Wagner with
day (1851),
to artistic
is
the less
active
enough.
-12wife of a french state that official about whom he asked a friend Circassian head? I often see and do not feel greatly to the
beautiful
eye,
inspired] of my operae'(4).
of women in
this runs against (he swore emotion is letters
outlook,
contempt
of feminine
passage in his
name you - and not feel that however much he could speak that would never attain to yon - only in musio'(5). about Z, rou, The 'you' must obviously to something quite essential refer and Sohopenhauerean. One naturally that thinks of Chopin as
is part of the creed of romanticism 11 ... have my (woman), which I have served faithfully, ideal though own for half a year; of which I dream, to thoughts of silently, which morning the adagio inspired of my concerto the little waltz his first belongs, and which this I am sending
,&
muse-worshipper,
you'(6).
love, and inaooesaible unseen muse and remained with him all his was also Berlioz an ideal woman, but not Harriet, was and in it
Estelle,
Smithson Ophelia
married,
back over
marriage
"Symphonie
disouseed
in
to quote
testimony
to the idealization
Tristan to 'discover' und Isolde, whizh whioh was used intolerable to heal and embalm their anguish latter was used
`0 ,
-13'All is blissful beyond pain's reach* Free and pure Thine to eternity The anguish And the renunoiation Of Tristan and loolde kisses Their tearap their In musia'e sheer gold That
6L
Desire
to
Shi
to share, as an impulse of without any specific generosityt audience in mind, is another this category. Beethoven simply shado of statement within that he wishes - Ito reveal says on more than one oooaeion, (1). Schumann says that if you receive from myroolf' a gift 'It is your duty to share it with othere'(2), above ... and will not be like the be the sharing of a alms passed on to the beggars it will 01indemith), man's every possession with his friend'(3), and lies somewhere in between these twos the Stravinsky attitude 'tiox are we to keep from succumbing to the irresistible need gift of sharing with our fellow something men that that joy that we fool when we our see come to light own aotion'(4)= 'Art is a means of communioating with peoples not '(Mouasorgaky)(5). Between this statement above, but lies a distinction. wishes Both with to the former to share music and through music. It is and the of our spiritual for instance. To has taken form through in more homely language, 'this
The oompoeor'a
desire
aim in itself an 3travinsky'a and 'share' the letter the old logs in nusioi
etc.,
scale not private, one possible the coat 'public' and intelligible his criticized their as an order contemporaries
the composer must employ a public, of valuesi and the harmonic series is in musioj to everyone. for their it is rational In 1722 Rameau
understood
-14Zarlino's Rea3on'(6). be conscious it is safe time) because of the lack of intelligible-making though it need not tell you ... for (composers)
Reason means law and orders law and orders to assume that 'Whatever although
a conscious
desire
of their mindsp may not be in the forefront and coherence in composing is in every move towards logic It. is only a. slight fact a move toward communication. step` communication when a composer tries audience'(Copland)(7). Wagners as-usual, he considered 'I sharing took all this First much. further. of profound brotherhood for coherence in terms of a particular
music a matter
of Music as aught but Love'(8). cannot conceive the spirit deeply depend pct on being understood Seoondp he was personally (this drama is brought into actuality in the and accepted person wrote Third, of Lohengrin) nothing for he developed and when he felt believing point, the first himself rejected laison or their must of is not so he ten years, he had come to an end. the loving
demand and the composer's fulfilment demand, to the extent that - 'the Folk (das Volk) necessity ideal point be the artist of the futurs'(9), think which and unrealistic as one might is borne in mind.
Z
between public
Desire
to
Ignore
Audiono"
we may add a few remarks from, the audience. of too great desire the dangers
concerning This is
aloofness,
against
a desire
audienoeg
in his
come when one will no longer, talk oomposerss of harmony nor of German or Italian schools melod or of eto. g dto. g stool then perhaps will or future nor of past begin the reign of art the fruit people. are We ... of fear.. All the works of these with young abandon ... loo-one writes
(the
life,
-15own works as from the depths of his own soul entirely 'for him' t words for him an Ideal Public' there will arise disillusion testify to a sadness and tentative with which hoped so much. All this he really his audience, of which to his be calla sheer 'the Coood in art' he defines and The subjective the Tamed 'the as Ideal Public is a
aim-to-please'(2).
The composer In as we have seen above. more recent audience his musio'(3) he (is) writing 1unoertain for whom, exaotlyp or simply he postulates audience, an inexact consequently in this 'I know of no other absolute himself projects than the power' (producer and consumer relationship) matter of euch creative 'my passion is to project is rich or into and generous'(4). what he projects energies Tippett; as I posseso$ writes into our mean world music which knowing where To project without is not the desire to be out off the desire to be cut
from the audiences but, as always, from all but the ideal audience. off
SL
$ ral-_'Art emotional it
humaine. gives meaning to la condition makes actual I would has purpose. If it gives meaning it necessarily This latter add that it has moral purpose'(l)" even opinion has always been held, from Plato to Shakespeare though and over since; I think, never, it has been questioned, recently by any great composers.
Notart
thought-'Wit
ao enlightening
one another(2)
'tae sacred emotions in the heart ilaydn as heightening and and to put him in a frame of mind where the listener, of to the kindness and 0mnipotenoe of he is most susceptible the Creator'(3)t few years later both referring to religious banish the romantics A music. between any division
is no longer only sacred in art, religion secular and Schubert says it includes anything spiritual. Christian (people) to loves ... lifting 'dissolving his aims are to his compositions them up to God'(4), presumably referring his black old ago Elgar was full Until of in general. moral seal in his work, and the thoughts that the violin
-16.
concerto philosophy 'great was 'human and`right'(5), in 'The Apostles' (love) that the optimistic that
charity
and a massive hope in the future'(7) in the First Symphony, must have
Wagner would have agreed with Haydn in m far as into a frame of mind the listener he said musio must'put It is almost he is most susoeptible. to divinity. where
$a pertain if music isp as Pousseur said, manner of existing' as (of ' p"S't Pt. Z) man enters into a different-plane of time, of there is an entry into'the'lower of oonsoiousnessp values and levels greater Writing (listeners') first mystio of the mind not normally the 'possession' 'The Ring' occupied by the egos the the deeper 'with the level. all his the
of the musio,
in minds
powers refreshed
and readily
responsive,
sound of the unseen orchestra will attune him to that devotional feeling without'whioh no genuine artimpression,, is so muoh as possible'.. he will now revel * the easy exeroise of a hitherto of Beholding unknown faoulty filling him with a 'new sense of w4rmth, and kindling a light in which he grows aware of things whereof he never dreamt before'(8). in
As suoho music is a moral refreshiment', teaching filling r teaoh sphere - starved can voice-, itself
force,
source with
of Nature
redemption
definition' clearest which Is 'manifesto (9). to this, is, modern counterpart .A lTippett in the music I write, I can create a world of 'Ifs theme can find where'someq at l"astl,. of my generation sound for refreshOAV, properly'(10).., and, endeavours-to Boules the inner He feels give it life, then I am doing thirst, my work Wagner, Likewise from down mankind's a little as did as liberation weighed
the Infinite
assuagement.
hails
indeterminism creative
universe
abuses of power'(11).
two each
sounds 'music
has to be converted
-17and forms but ' they remain meaningless unless we inolude fermenting noble, superare the
them in our own mental quality to turn humant aad ideal'(12). attitude, goals
our souls
from Boethius
wherein 'musio is a part of human nature= it hau the power either This is to improve or to debase our oharaoter'(13). akin to the Dionysian quality' attitude spirituality instanced attitude entering and lays into stress on musio's levels, The
'fermenting
oommends understanding and experienoe. Boethian ones. book 'Orpheus' 'Musioa nihil
and knowledge,
attitudes
above,
let
us
to Augustinian
Respighi quotation
heads bis
with
That is
and teacher
the role
Chavez to
a great others#
composer as 'one who has many things things that were not known before'(15); 'shed light into the
and Schumann, as one who should very depths him as 'living in order
Schoenberg
defines
mankind'(17); in the knowledge gap asks exists expect. prefatory Author) that is by implication Is not to
has he produced
'something
he of mankind'(16)? and culture The didactic the criterion. attitude far Puroell's more widely than one might 'To the Reader' Letter of III Masters; Parts' just this? imitation to bring of Musick into The of
'Sonnata's
has faithfully
endeavoured of that
a just
prinoipallyt sort
and gravity
the levity,
balladry
of our neighbours'. The 'aim to raise .. * is the taste the publio' didaotic
of
(one of Beethoven's)(19)
a more generalised
-l..
one, but blindness, to. ignore the moral aspeot also present is 'Could as Wagner is at pains to make clear.
taste remain without an effeminate and frivolous influence Both go hand in hand and on a man's morality? act to reciprocally 'active upon each other; ' he goes on to refer and the Dellini for 'rich and
and energetic'
Beethoven
lordly (2Q.
man, -but the whole man. for instanoep Berio, speaking of. eleotronio music - 'onto this renewal of material and form - which is concerned with subjects of acoustical research our spiritual ever more-far- are added also problems, this (not only of conscience
involving
reaching being
The aim of moving an audience been voiced of words, title. rooooo more often or at any rate
The aim was prevalent opera, only and Gluok wrote as the art
of entertaining
means of moving and exciting as one of the greatest I turned my attention to the stage, I the senses ... '(i) not just sought deep and strong expression ... Berlioz music but heart music. gave this entertainment definition of music, 'the art of moving intelligent men, gifted with special ,r and praotised himself organs, to his by combinations of fellow of tones'(2), primitive and Wagnerp going back to the idea
man expressing
through
finds in music (vocal musiog and instruvocal sounds in so far as it is an imitation of vocal) a mental 'Tons in the immediate to feeling. direct appeal utterance of feeling and has its flow seat within the heart,
and whither
fellow'(3). emotion
the uplifting
-19experienced frequently by the audience reiterates, at the time; and one must, reason he
beware of sober
which later
the audience must not be made to Therefore picks holes. 'reflect' to ask 'why'; nothing must be I[t to or made the imagination, 'the from It is true Artwork lesser art the imagination, be engendered by an advance addreaoea i. e. Sinnliohkeit'(4). and other a strong aspeot; was
imagination
aotualityl
extraordinary-that
worshippers
of understatement
have found
in Wagner when we oonsider this partioular appeal they have in oommon but understatement symbolism foreign to Wagner.
This rather
Dionysian teaoherly this ment powers approaoh attitude
extreme
statement
into
of the emotional
line p. with 16)9 the dubbing enriohof our (of,
above
emotion'(5).
in his
the effect
the 'emotions,
which
in the
to the listener
rage and storm in him'(6), coolly, reactions, them'(7). his 'the listener the mueioien
cannot
He goes on to show the composer calculating effects the knows by experience correspond part. his
emotional
patterns reactions
of tone-setting frequently
patterns
in antioipatig himself
situation'(8). for it
such an opinion
to be over-aesthetic
omits
Beethoven's be emotionally
women'(9)), recommending that
alleged
stirred
a different
mueio should
-20. mind is patterns emotion. one is plane, attitudes musical fired both moved and actively understanding intellectual in an and new syntheses, pleasure oneis Wagner emphasised preoccupied thanks there prowess with feeling because in his meaning on a far yet despite of kind lese their works intangible
to the words
different
is no difference of a Beethoven
between the
spiritual but
feeling
the mind is# perhaps predominantly. thus be answered as good as in, two ways, Artist) is
distracted
by one aspect
of the Understanding,
then it
he has not been understood'(10). Hans Keller's said music is emotional aphorism 'Intellectual music we don't sums up the emotion/understanding yet understand' relationship neatly and no more need be said.
OF THE WORLD
ESSENCE
10.
Introduction
section
we will
discuss
the essence
of the world;
the heading
'The Composer and his as we consider of essences; the the individual not a are only
the universale
affinity invitations
and consequently
compositions
to a. brotherhood, invitations to a level This is not yet erplioitlyv all is unified. of mind where though in many philosophies it is quickly metaphysical, but in the present developed into the metaphyaioalt section the strictly metaphysical will play little part, be psyohologicalt essences existing the in the mind and the mind in the worlds leaving 'Ideal to the next part, World. metaphysical the emphasis will herep
an guide
as in his
writings
he bale music.
are abnormal
natures
that measure of the organ of perception is exceeded ... This organ of perception, and in normal satisfying oases icoks outward for the wants of the will development of life,
which
from the service of the will, wisch emancipates had fashioned it for its own ends. It thus originally to a 'will-less' i. e. aesthetic attains - contemplation and these external of the world; objects# contemplated the ideal images which are exactly apart from the will, in a , manner fixes and reproduces. the artist The in sympathy with the external world which is inherent this contemplation is is developed in powerful things with natures for to a forgetfulness of the original external in connection
permanent that
personal
a, art
of will
men through
had himself
of
'essence'
to emerge desand so
of these stage
quotations,
is bound to be incomplete
to mislead.
ll.
Music
The
Esseme
Or
Things
first
he
through music. 'His perceptions is the faoulty of condensing into to his senses
rr2
2w
his
art i, life,
that
this
image
'Not for'(2)
but life's
is what for it
men thirst
treasure
from uhioh
as savants fount is
the holy
as the
perfection. the second ability as the art the unconscious image of an object presence is arouses in the the nearest
of the movements which its heart of the beholder'(4) which eighteenth-century 'movements .. * in a passionate object' only suggests to beautiful
any
composer came to a theory of essences the heart' rather of course suggesting though 'image of an than visionary reaction, that the subjective reaction extends not
essential
Pastoral We must remember here Beethoven's than tone-painting'(5) Symphony - 'more feeling and this was a classic example of essential the depth in his perception of his for Sohumannt one can tell this aspect it sympathy for
of Beethoven his
comments on the Pastoral' short spring day that but the dark the manifold Kusio, for
Symphonyt inspired
him to utter
of joy#
oomminglinge voices
of creation
it
speaks of the essence of many things, yet 'speaks the moat situations that through indefinite which the soul finds manner, and yet
in a freep
and by this he means the bloodmen's souls at the level of essenosa, of between all. is perfect understanding music for level that its to communicate in the from
praises
ability
subrational
'(its) beat
of emotion without
another and he
to heart
the aid
of reflection' feeling
goes on to describe
essential
by means of
-23analogy having miraolest liberate for brief 'just as the God of the Chriatians, Himself to the chosen through to them ... demon Thought', after signs and
revealed
and radiantly
present,
away
brows'(8).
Thinking fegel's
we may quote
in presenting in
.. e
subjective_inwardness'(9). An eaaenoe in Berlios calls his he means ezaotly strives subjeotj thus a deeply musio 'passionate emotional expression' that impression; by whioh
this
to reproduoe
'an expression
eagerly
meaning of the
is foreign even when the subjeot itself to (like) He instanoes passion ... profound oalm'(10). Heaven in The Damnation of Faust, Sanotus in the Requiem, eto. Wagner alsot the incidents details lies and its within it 'The Musician life, looks entirely
quite
upheaves
and sublimates
whatever content
quintessence
of emotional
alone Busoni
a voioe'(ll),
create
'pretence which
world ... presenting is not to be found in real to the text' approval 'The
essay
Schoenberg
quotes
Sohopenhauer
the inmost essence of the world and reveals composer the most profound wisdom in a language which utters reason does not understand'(13) eto.; he defends the music and varns against adding of non-referential purity Aa..a quite different 'programmes' on these grounds. type of composer, 'it probably is ignorant great of Schopenhauer patterns and
Wagner1 wrote
these
enable us to understand what is which .. * The essence is of life'(14). appearances more real than1 the appearance, it is
the world
-24truly peroeived.
To take this
the attitude that 'something entirely oom; oser'a yet put into
a little
$art is
further
is to get bank to
... of
a dieoovery, of reality' t*. now beyond what can bo called the The discovery is not made and then subsequently is tho, diaoovory musio. In other simultaneous words,
unrevealed musio,
with
an asuenoe
but vague and o&nnot really be recogin a concrete fora such as music. The famous book, feelings gives is what us to to the helps birth
these
reality,
outlook and identification with the world of (Wagner read. the book every morning before essences. to get himself into the right breakfast frame of mind when working on atltterdmmerung). Wagner found the essences Siegfried composition to me. previously that the spirit 'Curiously of music finally vaguely formulated it is
libretto that
enough,
essence
Everywhere. hidden
I discover
secrets
an essenao xhiah
Craft asks Stravinsky as thisz statements idea, when do you reoognioe it as an idea? # to whioh he 'When something in my nature is catisfiod by roplies The essence is of an auditive ahapel(17). some aspect too vague to be recognised to which certain nature) my in as more than-a 'something sounds mysteriously correspond. 12,
Art
Fefleotion
of
Life
This that it is
mootion life
diffore
from is
in
level,
-25Images 'The dramatia. is M1Aotion the bough from the Tree of Life instinotj lavst (the muaio-drama whioh, of the future) sprung thereand shed its from in new# more tree and force
... from by an unocnaoious fruit obediently the stems is planted beautiful, which truth (1)* eternal fully tree
has bloasomed
to vital life,
ands now dissevered of Arti there the spreading necessary .., its
of actual
objectification'
'Art life'(2),
is wrote
subject Strauss;
for new laws to replace by some modern composers# looking the old; for example , Resaaien, who takes the rhythm of the seasons, of bird-song reflection calling Life the form of the snow-! lake and the structure To some it is a as his lax-givers'(3). of patterns of Nature, to others it is 'its natural of an age a reflection of to the oivilisation to all forms
in to bear witness as it
to man, a mixture
of changing needs and 'The art of and patterns. to transmute into the sub-
a body of sound ... Thus the greatest may be momants. of the human spirit in musio! (Copland)(5). deduced from the greatest moments everyday Berlioz be directly him he cannot to Wagner that unlike writes inspired by nature and real life: it is too 01 only feel. I can but describe the at the bottom oompose'on ideal of a'well'(6). cannot the materialistic never
all-absorbing from her reflection moon Similarly level, imitative 'all Rossini (must be) as certain
and expressive,
thinkers have it'(7). materialistic by and reflected Busopi defined music as 'Nature mirrored for it is sounding air and floats the human breast; from Man himself beyond the air; within as universally above and in Creation entire! (8). '` Music is humanas absolutely and
r
ised, Nature.
or idealised,
Nature
and therefore
the essence
of
those
(like
Mes3aien, life
and many
-26the ... aim' luok(9)). Janacek is a good example= he said 'I do not play about with empty I dip them in life his theories and nature'(10); melodies. nature in this on the imitation of speech make him an extremist (of. p. 38 Pt. I). The electronic theories category of Pousseur life and others 'the the subject Pousseur decries give to everyday an acute life of the reflection the ideal world, ... for can only leave the vanishedr of in ('to imitate is
because its
wake regrets,
nostalgia
disgust invincible for ordinary, life. The an perfection, accepts our condition as new languagep on the contrary, it iss places itself at the centre of lifer at the centre human activity, that of oeeative work, of the most specific which raises consciousness. Many of these the riches Art writers of nature to the level out off is no lcnger of enlightened from life'(11).
write with a glowing humanistic human happiness, fervour; freedom and fulfilment have become for them a part of music. Again, 'Man continues nature ... imitating and working as it does, transmitting the breath natures of life it to-the forms he imagines. Art situated govern on a higher plane than existence, is a new but the
laws which
With
Race
in every artist to find his in his fellowman'(I) deepest feelings reflected as is nowhere more paramount than in Copland has put itt nationalistic the ideal not music. world, Nationalistic the metaphysical music aims to express psychic area, common to all fellownor
desire
psychic area which is the purely-human strong racial sympathies humans, but the equally of family sympathies to one's
which
are an extension share the artistic with whom one will countrymen the music, and beyond them to the past of communion of its dead# its traditions and its culture the country, the very earth itself. and to box of Polich little silver Chopin always earth with carried the a him and in
he valued Polish national music in his exile same way from it; 'I have longed to gain refreshment tried and to feel our national music, and to some extent have
-27succeeded with yet its in feeling unity it'(2). Perhaps happy childhood lured his longings towards Poland, a desire to identify Polish blood to commingle with
of being, it Polishneasq
was atavism,
himself
composers
to immerse themselves in the 'character' of folk sought that (as Bartok recommends) the music to the extent all about it and use it as composer 'is able to forget In other, his musical mothsr-tongue'(3). more Jungian words, the old mother-earth until archetype is contemplated mind and she can carry the oonsoious
reactivated
through vivid expression after vivid expression swirling by means of her own languages the essence of the racial Smetana, for instances took a pride in the fact past. that he was a thoroughly for special Czeok folk-music Cssoh musician purposed in idiom(4). yet his who only used folk-tunes like
music sounded
Tohaikovsky intent, earliest popular devoted brief, he said, childhood songs'. to every
used Russian
tunes
beauty of Russian the wonderful 'I am therefore He oontinues# passionately expression through of the Russian and through'(5). quite often, and as an spirit. In
I am a Russian
Rimsky-Korsakov
used folk-tunes
in example we may take a single work, Snyegooroohka, from his own Collection. He wrote he drew heavily which frame of this work 'in obedience to my pantheistic of I had hearkened to the voices of folk-creation and mind (viae bird-calls), and what they had sung and of nature suggested towards warmth I made the basis ancient of my creative art'(6). 'My Russian custom and pagan pantheism,
itself by little, little had manifested now biased which Immediately flame. in a bright on reading it forth there began to come into and there my mind motives) before later, themes, chordbegan to glimmer me fleetingly the words and moments of the harmony
to the various
...
my pantheistic
frame
48in a pa3aa e already hoer ovary quoted under 'Absorption', to describe a demon, every echo the Folk, -musia here signifies voice of a wood-eprtto and so on. of the Russian communal a mingling with the deepest levels found in atavism (or this professed atheist soul, and stump of wood appeared unitive gave bis simplest art if symbols as Laski art form, excitement the religion in divinity, would call and mystery. which man is them) the depths Pantheism all is, which in its
informs
nationalistic
equal
matter#
man wishes to lose his and become submerged the in his kinship with the earth or more particularly Wagner was a great nationalists espeolally motherland. of when away from Germany, though it was the profundity his own Lerman coul (evoked by German myth and culture) than the Germany he found outside revered rather door. Tannhnuser was a legend about Home hic own front (fetmath) for the exiled Wagnori and on another level Tannh.luser's longing for the 'redeeming Woman ... here that"he found oxpreouion in the ideas one's Native fome'(). (Hence Wagner's'idea of the German Jews as rootless 'This figure imitators). parasites and unnatural (Tannhduser) the Folk it sprang from my inmost it into its heart has plunged inner. ... soulg the eye of and given words the in
at least individuality
the artistic
in other I lived
Tannhduser
world
of lome'(10).
when he got back, from Germany was far too ideal for in its actual reality,
qy longingl could nowise satisfy lay behind my impulse, that a deeper instinct thus I felt one that needs must have its source in some other and than merely for the modern homeland. As though yearning I sank myself in the primal down to its root, to get Home that meets us in the legends of a past element of which attracts its hostile with us. more warmly to the present ohill'(ll). The result repels us was The Ring.
Let us take another example, from the nationalIn his writings istio movement proper# Vaughan-Williams. ho passionately extolled the Raoe Nemory; it is more
29important the desired 'Integration than a study naturalness and love It of Baoh or Beethoven. (in the Wagnerian sense) ... epitomises of musio. -
here we have the natural of the mother-language absorption 'One day perhaps we shall it implies. the brotherhood and be neither find an ideal mueio xhioh will popular nor classical, 'Das Volk expresses similarities forgotten. always highbrow or lowbrow, This but an art like in which Wagner's all can take part'(13). sentiment,
be the artist of the future', of necessity must in which our deep-down the hope for a brotherhood differences are emphasised and surface-level But society, as Ortega divide is itself the only y Basset into has said, on this will the illustrious
and obstinately
childhood
exception
generous
of brotherhood discussed
a childlike
aotiong
what regression
has to do with
presence passager
interests I feel
which
and ingenuousness
of the books of the Prophets, justice, the'despair the sorrow and grandeur of the Song of Songs. in men is to feel fervour
the fierce
in the book of of the book of Job, in All this resides part or me. Ana into in
the sensuality all this resides use this is what I try the holy my musics our soul'(14). lack a certain
the best
within
in observing
just part of a vast machine - $our souls if he were as from a mass of unknown people who seem inherited are on our actions' a strange influence to exercise from afar (15); Wagner reoo=onds until this 'We shall not win hope of vein of
we bend our ear to the heart-beat the sound of that sempiternal under
of historic pristine
civilisation, freshness'(16).
on in all
-30The nationalistic was not only half a sudden desire the picture., relationship movements only for brotherhood. now dying out,
audience
in folk-music that
territory both
new discovery
tonality foundations
to become stale
as a structural
psychologically, as this territory (as Grieg often enthusias-' unexploited' element, a new depth the. communication Dionysian and what its With the of mind. on a deep instinctive Why this
connotations. profound
by a cursory
of Soottish
it.
Commingling ing From the brotherhood to the brotherhood of the soul ...
With
The
of radial
and festivals
into
of religion
the mysteries
were for
of the awe
an initiation -
surrounds the depths of the psyche and their which , 'The )tatter of what the Word-Tone poet has uncovering. to utter9l wrote (Reinmensohliohe), (2). Although Wagner, freed matter to its 'the 'i the Purely-human shackle of convention' of all his musiog in the from every is
this it
the content
conscious real
representation
of Siegfried,
throbbing each stir of his pulses, spy each in unoramped, freest motions mighty muscles
In other words the epitome true ' human`being'(3). the humans have in common, natural and without what all distortion or uperfluity. Wagner considers projections God could his
many mythical gods profound 'Who had taught men that a an earthly Woman? For
toward
_31_
certain of his want, only Man himself ... who, however high the object of his earthly human
of his
naturel(4). The profundity profundity everything this whioht in unity; like it of the heart the Jungian is iss is his sea-bed,
the orchestra's
so to speak, Feeling, from which the individual universal of endless, feeling of the separate actor drawn power to shoot aloft height of growths it dissolves the hard, to fullest 'The Orchestra immobile ground
of the actual scene into a fluid, elastic, aetherp impressionable whose unmeasured bottom is the ' Debussy evinces the same great sea of Feeling Itself. in his emphasis on feeling attitude and objectivity and self-abnegation, This Mahler's he aligns indivisible 'I himself with universal in feeling.
aesthetio: it.
in words,
My need to express myself in music begins precisely hold where dark feelings
sway, at the gate which leads into the 'other world', the world in which things no longer are divided by time Wagner speaks of a similar $other world$ and spaoe'(6). is this inner life through which we are directly 'it allied of Nature, and thus are brought into a relation with the Essence of things that eludes the forms of outer knowledgel Time and $paoe'(7). with The Dionysian reaches in music its 'the all-time will for brotherhood the whole -
with
all
creation Essays
Beethoven
above all bounds has opened it the gate home to its it to the
the world
itself the almighty Will the will perceives world .. e it has not mutely to yield place to things: of all (like the Apollonian but plastic arts), contemplation itself one aloud as conscious World - Idea. proclaims state chiefly surpasses through his, its the Saint's, permanence and imperturbabilityl and one alone, ecstasy of the musician and
has to
oonsoiousneae,
which we must account the more distressful him above all bounds has his inspiration carried
of individuality'(8). The will, oonplete time and spaoeg it All' (9). There is extreme love life. Dionysian then, with has a temporary the world,
experience both
of One and
brotherhood
'beyond
the bounds of
knows itself
the world's
only
one other
terms,
in I
I am God.
I am nothing.
I wish to be everything.
to me - time# space I have engendered that which is opposite I myself am that which is opposite to mop number. and because I am only that which I engender I will to be ... God.... The world, I am the search for God, because I am only that which I seek'(10). apostate (This follower, is music's Nietzsche). equivalent of Sohopenhauer's $Wir sind (Hlderlin).
nichts;
alles
'My me in God, nor do I know my selfhood except in God' (St. Catherine of Genoa, the attitude of Christian mystioism)(11). 91 must create since self-knowledge is in order to know myself,
and
a never-ending
work is only a part-answer brings with it the need to go on to other and different part-anevers'(Copland)(12). In other but the deep, like individuality is in contact
narrow which
larger
sea-bed,
at heart,
we are.
with
a discovery something
for
so in life
-33but he will well his his as his maturity coarseness his serve to illustrate type. this Everyone principle who visited character just as
opposite noticed
him in -
two elements
in his
and abruptness and his transcendental He projected famous 'Blick nach oben'. in the forms of the vulgar, coarse round him in Vienna and the ideal,
fore yet and writes people he postulates 'Believe to most in actuality. as when I never seems that my supreme aim is that my art should be welcomed say good and noble by the noblest are dragged too rudely As his became lese into and most cultured the earthly deepened, real, people. Unfortunately element in art we only down from the supernatural
mysticism
and human sides of life'(13). these people he wrote for the brotherhood self he sought people What he consciously and the real
and less
became more and more a larger around him more and more vulgar sought himself, individuality human being from its towards left for became increasingly the 'sohner
himself,
G tterfunken'
His narrow within. irksome to him, for no himself efforts completely were directed
can detach
himself, his 'The intellect of man is forced to choose Perfection of the life, or of the world And if it take the second must refuse A heavenly mansion, raging in the dark'. Ors as Beethoven4a greatest contemporary wrote in 1818, 'that pure$ true and deep knowledge of the inner nature for him (the it artist) an end in Therefore does not become
of the will,
the saint who has attained of him for ever from life, only at moments, deliver not Ibut but is therefore not for him a path' out of life, and in it. ' The larger consolation self only an occasional is not be said something about it we may disouss has been said further. many times All that can in many but
its nature philosophies: and religions to artists. especially well-knownt In all brotherhood, it this is discussion perhaps
is vague,
surprising
-34boon mentioned. The desire for unity 'Eros ... aims at binding is an ezprosnion of love. then families, together tribes, single human individuals, that of humanity. into one great unityp races, nations, Why this has to be done we do not know; it is simply the These masses of men must be bound to one neoesaity alcneq the advantages of would not hold into them together'(14). Fraud's 'love' has not yet
libidinally;
Eros and Death instincts nature and importance of our exactly love itself half
composers' urge to commingle, it represents 'For music is truly his basic make-up. of and while thousand it is understood different people, Lohengrin,
... at one and the same time by a it contains but one basic for Wagner, symbolised
truth'(Weber)(15).
'ans whop from the midst of lonely is athirst splendour, through Love'(16), for taing understood for being accepted artist). redeeming for what, he is (the thirst of every revolutionary for whose 'Elea was the Spirit as artist-man,
of the Folk,
When the artist loves . (on the artistic artist istioally the artist's not to a love Love itself. the unit century tration all,
was longing'(17). the world and the world loves the level) all is love, and characterthe principle ... as the be-all yields himself, but to of 'The artist or that
particular
object,
become a oommunistp
Or in twentieth the man God ... '(18). for oonoenterms: 'Egoism brings concentration, brings about loneliness; but loneliness implies with others, By himself gives with and egoism then becoming 'pall things"l forms, and
the urge to communicate into altruism. dissolves the artist thus attains synthesizes,
communication
men'(Chavez)(19).
The use of legend and myth, though it might have is really to Composition' under 'Stimuli been mentioned Its strange, viceof human brotherhood. an assertion both creative its partakers, and receptive, like grip on been noted - 'the creative artist has already of some collective has become the instrument he ors as Wagner put experience imaginative I know that, more to life. is coming once I am held willy-nilly this thing starts, as itj for ... that knows a Myth
men no soon
and cannot
-35turn baok ... '(20) 'the more collective an artistio imaginativo is going to bet the more the disoovery experience is involuntary'(Tippett)(21). 'through of suitable material the legendary dream-liko olairvoyanoel world's tonep the mind is wherein it and thus brotherhood. forthwith shall is planed in that in the level oome to full
state
presently This
perceive
a new ooherenoe
phenomena'(Wagnor)(22).
the Dionysian
of universal This
Rimsky-Korsakov of the psyche attracted same level of the ancient pagan period when he wrote of 'The pictures loomed before me, as it then seemed, with great spirit and clarity, tion luring me on with the charm of antiquity. influence in These the direohad a great
occupations
subsequently
in fundamental of course,
patterns
existing
humanity
includes,
purely-human'
of which
Once again Wagner is the one who to be common to all speaks most clearly of what I believe composers; for instance# of the Flying of the figure Dutchman he wrote a primal trait heart-enthralling '(it) is a mythical creation of the Folks with 'this of human nature foroe'(24). speaks out from it And of Lohengrin
to be sympathetic.
by reason chiefly gathered fresh force to itself power ... to know the myth of Lohengrin in its simpler that I learnt and alike in its deeper meaning, as the genuine of the Folk ... After I had thus seen it as a noble poem by no means merely seeded from of man's yearning poem traits, the Christian's truest depths bent toward supernaturalism, human natures and thus it but from the this figure grew of universal to adopt ... it
became ever
more endeared
to meq and even stronger give utterance became a dominating to withdraw examples
effort Similar
wrote
more olearly
foroe of mythof the Dionysian (musio) is wont to exeroise art on the Apollonian art-faoulty:
-36music firstly univorealityi to stand facts incites to the symbolic it of Dionysian causes the symbolic image From these intuition
significance.
to of music to give birth ... the myth which speaks of Dionysian knowledge in myth ... ' He goes one 'Dionysian art socks to convince us symbols. We are to perceive how joy of existence the eternal of ... be ready for a sorrowful that comes into being must all to look into the terrors of individual ende we are compelled the capacity existence ".. Being itselfp and joy tion We are really and feel its for brief indomitable moments Primordial desire for being the pain, the destruo-
in existence;
the struggle,
of phenomena, now appear to us as something necessary, forms of existence the surplus of innumerable considering throng and push one another into life, considering which We are the exuberant fertility of the universal will. sting of these pains at the very pierced momont when we have beoome, as it were, one with the joy in existence, immeasurable primordial and: vhen we by the maddening antioipatel in Dionysian of this and eternity we are the happy living as the on living are blgnded'(26). eostasyg, the. indestruotibilitkt In spite of fear and pity, joy. beings, not as individalsf but joy we whole procreative Nietzsche was above all
being,
with I think it
the'.. Apollo-Dionysus Schoenberg and Stravinsky who gave they found so significant. terminology
Notaa
I 2 3 4 5
6
Haydn. 13iographisoh4 Notizent, Grieoingerp p. 33. Kocart's Lettern, edited Emily Anderson 1938,2To. 411. Mosart'o Lattera, No. 489Richard Wagner's Prose W'orksp Translated V. A. Ellis 1895. 'A Commutiioation to my Friends' 1851 Vol. i p. 301. Wanors Prose Worksg Autobiotraphio
Vol. I p. 10.
Sketob 1842,
compilod p. 96.
Dedrioh Smetana - Letters and Reminieoenoesq translated Barton, D. Rusbridge, by rrantiaok Stravinsky, Carl Ibid., Letters Haria Expositions and Developments
7 8 9 10
Letter
of Beethoven,
11
12 13
Ibid.,
p. 1357,
Thought (1958-9 Norton Lsotures)
Sobumann, On Music and HuBiOlAn, 81 Ode Konrad Trans. P. Rosenfold; p. 247" Desire to Please
1 2
Mozart's
Letters
Nesoaisn. The Teohnique of my Nusioal Olivier 1944, Ch. I. translated Satterfield Aaron Copland, New Muoio'. 'Autobiographioal Sketoh' from
4
50
Ibid.
Letter
1804.
7
6 9 10 11 12
No. 3006
13
The Collected Correspondence and Papers of Gluck (1962) Stewart Thomson; edited E. H. Mueller von Asox, trans. Dedicatory preface to Aloeste. Letter to Antonia Sotama. May 17,1854. VI in 'Public L and Popularity'.
14 15 16
between Riohard Strauss and Hugo von dated Trans. P. England 1927, letter Ch. VIII.
17 18
1951.
For Connoisseurs
or
DiQotp1es
1 2 3A 4 5 6 7 8A
Mozart's Ibid.
Letters, N. 541.,
No. 477-
Thought,
Ch. V. 1959.
Stravinsky,
Gustav Mahler, Memories and Letters by Alma Mahler, letter Creighton datad 14.12.1901, trans'-8. n. Communioatio to my Friends p. 327.
9
10 11 12
Correspondence of Wagner and List, 1888, p. 75Arnold Musical Inoantri Lecture Schoenberg, Thought, Style p. 82.
trans.
7. ueffer
Kozurt's
Vetters,
No. 431.
2 38-. 4
5
Letters
K- t Ky ausioal Letters,
Chopin's
No. 4559
Letters, p. 30-
6
7 8
Letters
of Liszt
to H. su Sayn-Wittgenstein
of Wagner and Liszt, 1849" dated
p. 123August 1850.
9 10 11
Ibid.,
Ootober
12
Lottere
The
Xu4w
1 2
of. of.
Letter
of 2. Cato 1891.
3. 4 5
6
p. 112.
Letters p. 29.
Sylveotor's
Deairi
to
Shtr
1
2 3 4
Lottere,
dated
p. 66.
1878,
and Imagination,
'A
moral
or
D1daQtio
Aim
I 2 3 4
Ch. VI.
COlleoted Correopondenoo, To Charles OokI 1801, P-187aohubert -A 16.6.1816. documentary biography, Entry in diary
g
6 7
8 9
10
III
Vol. VI Religion
Moving into Aquarius,, Tippett, chapter 'A Composer's point of view (1945)"
11
12 13 14 15
Boulez,
Wor1dl Ch. I.
0. Respighi Musical
a 9. A. Luoiani,
Orpheus (Firenze
1925)-
Thought,
Ch. Vt p. 99.
16
17 18 19 20 21
Aphorisms.
entitled Criteria for the
Letters, Appendix, and Royal Theatres Prose Works, Incantri 'Poesia Vol.
Theatre, Luciano
Musioali e musics
Desire
to
Move
Audience
1
2
Correspondenoet Letter
to Jean Suard,
by W. F. Apthorp,
from his writings Selections Berlioz, 1879. 'A Travers Chants' p. 357-
3
4
It
Prose Works Vol. III Opera and Drama, p. 120t* disouesionp further of. Vol. III p. 338"
5 6
7A g g
Ibid., 8tylo
A Communication to my Frionda, 8. p.
Cho III.
p. 343"
Composer's Ibid.,
World,
loo. oit.
to Appendix, possible spurious letter Letters. Schumann in referring to this Bettina von Arnim,. 'the majority aim at emotional letter, comments They ought to be punished by being dressed effeots. Op. cit. in women's clothes'. p. 71.
10
I#
'A Communioation
to
Introduction
1
2
letter
p.
dated
75.
(1870),
Music
the
Essence
or
Thin
I 2
II
3
4
Schubert -A of 1824.
documentary biography,
Easai
Lost notebook
I des languea
5 6 7 8
of Beethoven, p. 96.
by Nottebohn.
Symphony 1855" Berlioz Liszt, article and his 'Harold' Translated Strunk Source Readings p. 847. The article by Princess Caroline from sketches was probably written by Liszts to him for his approval. and then submitted Ibid., Hector quoted by List. Berlioz Selections from his writings, p. 9
9 10
11
12
III,
On Liszt's
Symphonic Poems,
R. Ley. From
Trans.
13 14
15 16
Style
and Idea, p. 1. in
17
Conversations
with Stravinskyo
p. 15.
Art
Rfleotion
of
Life
1 2 3 4 5
I# The Artist
p. 197-
Turangalila
Symphony.
op. oit.
Aaron Copland, Copland on Musiop chapter 'Musio as an aspoot of the human Spirit' The Life
.6 7 8 9 10 11 12
p. 229. of Hootor Berlioz, 7 (Frienze Letters Mazzatinti Rossini, Giuseppe od. r. tto dottor Pilippi. 26 `August 1868
1902),
latter
dated
Sketch
and Reninisoonoes,
p. 169. La nuova
Pousseur,
Ibid., No. 4. Henri Pousseurf Caso e Musioa, quotes Wladimir Weiidlo 'Biologie do 1'Art' as his. musical creed.
Communion
with
Race
1 2 3 4
Aaron Coplandp Our New Xusio. Chopin's Artiole Musio, Letters Letters, dated 1831-
The Influence of Peasant Music on Modern in Tempo, Winter 1949=50Bela Bartok, and Reminieoenoes, p. 175-
5
6
Letter
to
p. 201.
7
8
Ibid.,
9
10 11 12 13
Ibid.,
Ibid., Ibid.,
100o cit.
ice. loc* cit. cit.
P. 315.
P-311p. 357. National Muaio, ohaptor III.
14
15 16
to Andre Caplet, Debu$ey, letter by S. Morgenstern. ap oit. Prose Workep Vol. III
quoted
Commingling
with
the
World
At the Crossroads in The Saokbut Article S. Morgenstern opo oit* p. 205. Prose Works, Vol. Ibid., Ibid., p. 357p. 335. Vol. The Artwork Ip A Communication
I (1920)
quoted 364.
2 3 4 5 6 7 8 9 10
to my Frionda,
p.
of the Future,
p. 190.
by Martin Cooper. Beliefs Article, Soriabin's Mystical (of. Wagner's 'We are what we are only while we create. Wagner-Liszt 7.6.55) oorrespondenoe, St. Catherine of Genoa, Vita e Dottrina, chapter chapter III. XIV.
'
11 12 13 14 15 16 17 18 19 20
'
Weber, Sfinttiohe Prose Works, Vol. Ibid., Ibid., Musical P,1347The Art-Work Thought,
A Communication
to my Friends,
p. 345-
of the Future,
P-94-
Moving into Michael Tippett, 'The Birth of an Opera. ' Ibid., loo. oit.
21 22
1861, Prose Works, V01.111, Zuc.unftsmusik to Villot as Preface to French translation libretti), p. 329.
23
24 25 26
my Musical Life,
Works, Vol. Prose Ibid., p. 333.
of Tragedy,
1868.
(Complete
Works
Part
III
IDEAL
THE
COMPOSER AND
THE
IDEAL
1. . r. Formal Orier
attitudes attraction
to
apparent
implications.
in a dedications Cluck wrote to Marie-Antoinette to introduce 'The genre I am trying seems to me to restore dignity. The music will no longer be conart ib original fined to the cold, conventional to adhere'(l). beauties to which writes composers have been obliged in truth, express imitate familiar is eternal, wrote implies concepts technical Stravinsky
to
'do we not,
ask the impossible of music when we expect it to feelings, to translate dramatic situations, even to Nature'(2)? These two attitudes the represent situation neither from which we shall start. side is right or wrong. music and Stravinsky unified music. middle The argument Cluck sometimes too
over-dramatic
sometimes wrote
self-consciously
Both were reacting. Haydn together the course in bringing 'The free not tolerate arts and
science
the beautiful
science of composition The mind and soul chains. statement in quoting supplies statements
of the creative science - knowledge Hindemith you lose here s this firm
picture at the expense of otherse is one such part, emphasised by 'Musica est scietia bone modulandi stand on solid ground, manifestation, bewitched it
Once
as an artistic vagary
The first us a firm stand'(4). reason of freedom, then, is efficient communicomposersp ... their as we have already at their lack of intelligiblequoted not making them-
'astonished because of
understood'
is born of The second reason is that 'strength and dies in freodoa' (Stravineky)(5), by which he constraint ensure unity means that limitations and therefore communifurther cation and the composer can then without scruples
r2
to his
worked over,
more art is controlled, is free'(6). One remembers serialiom had limited and from
'the
the chaos of posaibilities; resulting 'Adherence is strict, tonality. of often is vation'(7). eal___ characteristic of the
'It
is
the distinguishing
that he sots himself now problems continually artist and .. * in the solution looks for his satisfaction of them'(Busoni)(8); is a mature discipline discipline because it is 'the artist's to the creative acting as a stimulus mind' 'In the act of composition I have - especially been much more concerned with the since I reached maturity of musical problems than with the description of solution self-imposed, (Copland)(9). 'I am particularly or that personal emotion '(Casella)(10). that there should be no misunderstanding desirous as to my It is an experiment Bolero. in a very special and limited direction'(Ravel)(11). this Beethoven felt to a certain of this workings is he had 'Yet I
wrote
of a coach accident
extent the pleasure I always feel when I have overcome some difficulty successfully' and as if the writing profound turn external of his incident immediately own mind he continues to inner experienoes... example of this needing aug, ested the 'Well, let me '(12). types 'I am
quickly
Stravinsky by nature
always
by anything
prlongcd
in overcoming diffioulties'(13). and prone to persist effort, in the very process this feeling I can exprienoe of pleasure forward -to the joy which any find or and in looking of work, And I admit that I am not sorry that discovery may bring. facility have been so# because perfect would, of should have diminished my eagerness in striving, and the necessity, would not have been oomplete'(14). of having "found' satisfaction at its oriai na sort of appetite presupposes ! All creation This is brought on by the fore tasty of discovery. that this foretaste entity that ... already will not take accompanies the intuitive but not yet shape except grasp intellir! of an unknown ible, an entity
of a constantly. prooess to
statement
'should
my work I
be given
in a perfectly
complete
form*
-3-
be embarrassed and nonplussed by its as by a hoas'(16). should to the creative Thus problems to be solved are a stimulus to its and they are mind by way of being a challenge deliberately chaos. quite from order it is being coon as an antidote is often to sought because freedom not curtailed is unbearable
apart
what would otherwise in itself, fascinating of the other Beethoven to Nikolaus without cogitating of aotivitiesg of Natures Messaien
be unbearable
ohaos'l it
aeon as
as alluring
to composers as any
Both Mozart and we have mentioned. stimuli (the former to his oousint the latter letters write Zmeskall) which lapse Their into pure word-pattern meaning. minds were constantly and symmetry, and these themselves in all sorts observation forms an the for Here is of Nature's for form, for
discursive
preoccupations
has already
been noted.
fascination
in which
uses a construction instead of four, rotated the five, direotionsp quotes while as though
for each of. alternatives the six 'work' in all He also to music 'more
a orystal'(17).
a mathematician
of mysterious are the result of and in which the unconscious recognition understands, Out of an infinity important of part. beauty must play an for beauty's chooses one pattern designs a mathematician it down to earth'(18). Stravinsky
precisely 'Mathematios
writes pulls sake and not a 'The composer works through a perceptual, later he combines ... he seleotst He perceives, process. conceptual# of the contour knows or cares about is his apprehension All be As Arthur for the form is everything'(19). the form, of to show in his recent book, has gone to great lengths Koestler have been made discoveries scientific of the greatest many than discovery by logic by beauty rather through selection a sort of noble tidiness was the cause of the scientist's is not apparent only from noble a That this tidiness the truth. at arrival is mystial to man's mind but frequently
-astudy of the Pythagorean with all life tradition of ideal mathematics (having symbol connections the pentacle architecture fascinated Kondrian, in his and relating the maorocosmio
the decade,
to the mioroooemio
of 3aand 2 manifested
and music).
by numbers to this
instance
Yeats -'and perhaps also Schoenberg ... for instance he notices the corroeponessay 'Brahms the Progressive' bith 1833, 'Wagner's 'Does not dates In later death 1883 and the corresessay 1933 and asks
suggest
that he numbered bars of the number thirteen superstitious 14 (of. Violin Fantasia), 12,12a, and on his deathbed at 16, he awoke at eleven o' clock one night, asked the date, was told that it was Friday the thirteenth, and before midnight he was dead. But hero ire are'straying into mystical territory. we are emphasising fascination caused by structural deriving pleasures inspire from emotional this 'desire is that for numbers and proportion an invincible man and in music 'the mental beauty can be tantamount to the qualities'(Sohoenberg)(21). to know,
to comprehend must (the composer's) every phase of Beethoven apparently favoured the of that with which attitude which
world
to these
proportions,
justified yet as in
it has an independent existence from the concrete, 'Nature is founded is its manifestation. concrete and, with Prince solely again, Art is founded on Nature'(24). process reference aalitzin for to a harmonic
Beethoven
given
of achieving a certain order ... (25)9 he notes that the ingredients Stravinsky form' writes , in nature, it is up to the for order are already latent to concoct with them the real order in which they artist are made articulate. Wagner, ouriouslyq agrees. 'holy
the purpose
-5glorious blossom Art, in like the daughtor fulness of the noblest with Manhood (will) Mother Nature,
and perfection
the conditions of whose now completed harmony of form have issued from the birth-pangs Liszt of the elements'(26). hierarchy of development from nature sees a continuous through man to arts it appears# is nature's 'Art, proceeding from man as he himself as he this a Chaves calls prooeedsp himself projection modelled factions need for ego...., from natures man's masterpiece
masterpieoe'(27).
of man, the throwing out of something like man, to perfection as Nature has modelled hin to perfrom ... not so much the 'Creation of form results communication as ... in a universe we live the impulse of creation, tool birth to project our and we ourselves we ourselves to creatures the of
want to be able to create in our turn have a given form and we want to give The affinity a given shape, also'(28). world was very 'Music is part p. 25). These beautiful Forms (or much in the front of the vibrating
of music with
of Busoni's universe'(29).
Platonic
Ideas)
which
in earthly things and which the composer tries are manifested to capture in a purer form in his music have an absolute and timeless vAlue, as opposed to tho., 'language of music' which changes continually strictly distinction and wfeotion speakingg thus and eventually incomprehensible. ': hors is an aboolute, that is out of date and, beauty Busoni words the demonstrable
and there
are things
times and will at certain people (30), and proceeds to extol-', the former and hastily by them' (the opposite of Wagner, with his the latter condemn the 'Monumental'. ) As Chavez says 'archetype condemnation of forma are for us beautiful in themselves. (That is why they and they remain so always, and so some are arohetypes)'(31), it a more. worthy task to concenhave considered composers Apollonian, the eternal elements of music with their trate on Platonic, elements beyond-passion with their connotations than on the fluctuating ian, passionate separated Dionysian, 1Ieracl. ite; side
connotational from the other. and though we may take 'Untrammelled the'Ding
Strauss,
in this it that
by any mundane Form, the Mozartian melody is Eros between sich. ' It hovers like Plato's an
6-.
between mortality heavon and earth, and immortality set free -, it is the deepest penetration from 'the Will' of artistic . into fanny and of the ouboonaoioua into the innermost ooorote, ' (32). But bore, again, we arcs the realm of the 'prototypes. A bad$ yet more typical into the metapbysioal. straying example of ooncontration '1o bon nano by D'Indyi to oliwinato order from'the to keep only that elements was provided on the eternal when it knows bow claims its rights all excessive matter in of the to etornals the balance
olemonta
of beauty'(33)" Balance,
in neatness and logio are words frequontly they imply but do not state the existence composers' mouths; wo have been sym otries the unconsoicua, archetypal of discussing. of the tailor's biozart, for instance, to describe he desiredi coMotimeo used the onalogy the neatness and 'Finally it occurred to noatneso
effortless (when extemporising a prelude and fugue) 'could I not me' lively tune (middle section) as the theme for a fugue? use my I did not waste much time in aakingg but did so at once, and itW(34). had fitted if Dauer (his tailor) it vent no neatly as 'Everything which the breath starts through and calculation blowe'(35) opirit of the speculative is balanoe with the conscious
achievement
Stravinsky
elements and allows the 'leaps of the spirit' to coma through that framework rarer The cane method in more crudely put by if they will. John Cages 'That musio in simple to make comes from one's Structure to accept the limitations of structure. willingnesa figured-out, is simple because it can be thought-out, It is a discipline which, aoaeptedg in return measured. accepts whatovor even those rare moments of ecstasy, which,
as sugar-loaves make'(36)"
'Ytusioal human logioi
train
horses,
train
us to make what we
ideas
they
Ure it part
=en apperoeive,
(37) -- t3ohoenbr, rho also wrote $for sae the and express' Logic tlogioal' evokes thuoe ar; eooiationss expreosion human world - human tnueio . human thinking human way of perception of natural Henri within law, and so forth'(38), aware of a 'new v8u3ioal crusiop which is presumably
Pousseur
is
sensibility' comprised
h writes which
his
-7of oompooors for pattern-malting for these whom psychology has brought to the surface the
therefore
scientifically-studied with
of communicating Gestalttheorie
psychologists
to which a chaos of amorphous sensations forme sense and coherence. ' act can give The joy something of the 'pattern-meohanism', complex to make it
sufficiently to grasp,
yet not no complex as to be chaotic, two rejoioe in the in Chavez's remarks complete in itself, complex in in
of an entity,
beautiful coherent in all its functions# harmonious in its ensemble' (40). and according an order to Stravinsky, in things that
'* the ..
between man and time'(41), oo-ordination though he says this in other oontextsp or man and proportion The attitude man, or rather 'the implies of in the abstraot
a desire to grasp the world in terms of (co-ordination), but iith Stravinsky oneself abstraott many
as highly must be understood world' removes from oonorete existence. In a daring takes the possibilities article entitled
'Proportion' balanoeq
Busuni which he
of calculated
'It is even con'an aim'p to their ultra. ne plus calls that in the future an aims developed to the ceivable may take the place in art of pre-eminenoe, highest point the instinct of compositions inspiration' various it his which is fading gradually and produce produced by of a quality (43)9 The final towards as alive as those
the comment representing balance is also by Busoni, but of the composer's, 'Great artists remodel play thought, own their
articulation works
of his
at each repetition,
them on the
in a way which and retard, accelerate of the moment, to the do by signs - and always according could not conditions of that "eternal harmony" '(44).
-8-
z.
$Let there be Unity!
Beethoven
is
'Musio
gives (1){
the
Any single, to the Harmony. mind a relation has in it the feeling of the Harmony, which and he wrote bad text, destroyed there'(2). in toto, he could it if to someone who requested out a whole work which difficult to prevent alterations he usually is
separate is Unity'
idea
alterations, this
'once
are made here and sketched of rhythmic as one entity movements motion like till the
demands an absolute In this space and unitary perception. in Balzao'a Seraphita) as in Swedenborg's heaven (described is no absolute down, no right forward or or'leftq baokward'(3). Stravinsky encourages us to take this by drawing a diagram of his music (4)9 which seems attitude than proceed in any consistent to turn in on itself rather direotion s there
oonstant which
obsession
(like
Boboenberg's) influence
it on
younger gifted
they are not usually composers, though unfortunately such an minds and therefore with such fertile can be'unhealthy. the musician.... ''The always essential question that back and. inevitably
obsession
reverts
writings
In his most of tie One out of the kany'(5). he taken this yet further, saying 'oonoontrasts'(6), referring and so it to serial faced surprising Electronic breadth
must rcplaco
that, as Stockhausen writes the strong desire to submit principle longer all the aspects anything
'a few composers have nourished radically to a unitary oompositiona, existent standard and no which might
of their objectively
to accept
from which in any way lead the oomposition into tendencies they had some time ago freed themselves once and for all'(7). (Hence total sorialism).
-9-,
consequences so it -
is proud...
motive
within a seeds its life-germ deroloped form; each one must lies the embryo of its fully differently, follows the yet each obediently unfold itself harmony'(Busoni)(9). law of eternal '... for find colour creative their These germinal asking for that ideas their them, seem to be begging the oomposer, a shape and their to
...
own lifer
creator, to evolve
the ideal
envelope
will most fully '(Copland)(10). are themselves for their the unity their live
exploit
beingar
and acting,
end'(Chavez)(11). derived historioally to derive from the development by Webern as twelve-note 'there from
as muoh as possible
Some composers have noted is imbued with login ... ' has rooted
symmetric
patterns is
very
as numerari mathematicae oocultum nesoientio 'art has .. * an existence not determined by man's wrote the successive phases of which follow intention, a Course independent flowers of his deciding and predicting. with It basic exists
and
in various origin
as much hidden
holds the world in its course'(14). And which Schoenberg demands that the efficient use of this faculty
-10be the criterion in judging a composers 'the capacity fulfil instinctively the demands of and unconsciously oonstruotive natural lawfulness in music should be considered of a talent'(15). wrotea which 'if we observe hurry the strong to
the
oondition
and
the waters
to the ooeang
the persistency with which the magnet turns ever to-the North Pole :.. "if we see the crystal quickly and suddenly take which form with is euch wonderful regularity of construction, and accurately seized
all the our
and
this, I to .. o eame'(16).
retained says it
we observe of
name will,
wrote feels
to his
wife: created
(that thing,
being,
absolute certainty as the centre Goethe here - again employing an image what that is to say, the resting in opposition to the striving and struggling (the eternal masculine) - you are quite the force of love. There are infinite and names for it'(17). feminine
representations Liszt's
lawfulness comparison of unconscious with is significant, for the the law of gravity especially ideal few which the coming of the classical revolution Galileo, Kepler and 1ewton earlier achieved. generations to us in their role of order-bringers in the age of the Enlightenment light-bearers -' laws lay hid'-In night, Nature and Nature's God said 'Let Newton be'# and all was light. are familiar Mature widely Haydn and Xozart contrasting exhibit a new type of orders and
' where
elements
of melody,
rhythm
and harmony
this is a into one law-abiding equilibrium; are welded than grasp of unity more highly developed and confident the Baroque (Bach, always on the fringe, seeks unity that this is excluded), uniformity, in the whiohp broadly One cannot reality help in affective
speaking, feeling
of Law in
the world
resulted
or indirectly
-11from Newtonian the times physics. This the view of a German ; post of in the spheres assigned glitter spaoesp where stare without orbits, all is obedient to Order, everything that is
'Legions
of worlds ethereal
those
number move in their a single exists raging music. "); from was made; it tempest (of.
alike the gentle zephyr and the 'even in the most terrible Mozart's offend the ear ... that exists ' never with cease to be its oharmt
situations, it
creation.
Happy shall
I be if
OOood, to maintain and contribute my own, the Universal of to which is the sole object of my ezietenoe'(18).
-I-Netaphfeioal Order
metaphysical
The cosmic rue tea mundana of the would be the obvious place to start any is well out of our way and we must where its imprints are in our own period
the tradition
one suoh;
Busoni's
which
surrounds
form'(l),
another; "'tho-3oethian
between the measurement of music and that of the other that there is 'td could lead us to the belief sciences) idea of a universe in the ancient foundation some sound by. musioal laws - or, to be more modest, a universe regulated whose laws of construction by a spiritual reflection and operation in musical are complemented organisms.
IHarmonio
melodio,
and rhythmic
laws,
as
Domposition,
would transform
the world's
into
the
-12ideal musical Paradise greatest habitat for human beingar who by the same process creatures vision of Order and of humanity's of
worthy
of such a paradise'(2).
Paradise gravitation.
to Dante explains (material the law of universal and things seek their and rest time place, therein,
All
to it, movement
things, to Cod - 'all of the universe consists Swedenborg order. ' The main impression mutual observe a was of its wondrous order and organisation. got of paradise With the doctrine of the Maximus Homo he compares it to the the likeness working allocated of the human body wherein task in harmony with Swedenborg, Wagner Dante, with each member performs Schoenberg Boetfi : us, made ) liindemith its the whole.
the Areopagite
assertion Ierarohia?
hierarohy,
the fewer
in the celestial they use= so that the.... words of the angels only a single syllable'(3).
of all
pronounces
has read such a book at all is signifioantt order is going on; as of metaphysical new revival a Stockhausen says 'the new function of music must be its very essence, of sacred order'(4).
within
-4w
Platonic Ideas
of of the principle to in causality it bears no relation rea3on, It has also nothing to do withthe ordinary else. A lives, will-to-live. our instinctive of our The Idea is independent canonly occur vill-to-live, objectivity, in a man who aspires above to forget who desires to transcend love. himself; and
Ideas of
himself in this
a metaphysical Idea,
art
of course, loved
but
it
is remarkable of
that Ideas
Mozart
undoubtedly to balance
seemingly
-13of expression degree of Mozartian (mirror of the will or instinct) discussed 'Ding c'tth a high Strauss's view etc., and Ideas# con-
of Order.
We have already
an sich' inspiration
discovers 'I
have always
any more my work and achievement as symbolical', than a paraphrase of that unconscious creative urge manifested in its purest and most immediate form in melodic inspiration, in so far 'inspiration' it, is really as on the part of the intelleot'(1). of Mozart let in writing 'from us be thankful without any coBusoni is also the depths of our hearts, few who are
to the select
through taste and at least on a small scale, privileged, form, inspiration to set up a miniature and mastery, model of that sphere from which all beauty and power flow to them. Mankind will never know the. essence of music in its reality (2), because, one may add, Ideas really have and entirety' a metaphysical existence. of objective contemplation of Ideas illustrated than in
The attainment
is nowhere better, more beautifully-, this letter their after of Wagner to Mathilde meeting later in life had when 'Tristan' was completed and separation become a long-accustomed other again facts 'The dream of seeing ... I do not think each has been realised! I saw
thick mists separated us through which we you clearly; You also, heard the sound of each other's voice. scarcely I fancy, did not see met a ghost entered your house in my place. realise Did you recognise its this in of things me? Ohs heavens, sanctity! I begin Life to itself, the road toward
the reality
take on more and more the shape of a eyes wide open I see but no longer hear
dreams the senses are deadened, with oy ears are keenly attentive nothing, the voice that speaks. We do not our eyes are fixed are, is nothingness. the future existence, indeed merit that I should give it
see the place where we The present has no on distance. Does my work being? What
my entire
life must go on'(3). about your children about your what hesitant about taking the final steps Wagner is naturally and throwing overboard all will-to-live. of renunciation (Schopenhauer) how a philosopher to perfection Here we see to suit exactly the has given a composer a terminology
artioulate.
5.:.
Aspiration
of the next
few sections
will
be broadly
from aspirations
to metaphysical
aims to
through the use of Aspiration these aims. achievements of in the Catholic by religions, has always been sanctioned music the use of tropes was intended as a for instance liturgy,, in the celebrant to speechless rapture and congregation; stimulus the expression the power of words having been exhausted, of the Composers have Ideal passed over to wordless melody. pure 'Why, Daedalus, when confined in music wings to rises invented him upwards the wings which lifted to the labyrinth Ohs I too shall find them, these wings' and out into the air. found (Beethoven)(1)2 Music? ... 'Which power raises them? 'We alle man the higher? Love or of or Why separate They are the twin whether
wings
we are artists
moments when we want to get outside the life, of when we use dimly a vision of ordinary find the those whom we call artists beyond. ... beauty 'that irresistible'(Vaughan-Williama)(3). Jacob's Ladder with which mysterious
he thought of art always heaven and earth'(4) art in Hegelian termsg 'ideal embodied in 'sensuous content' duty to climb the ladder form'(5) and it was the artist's in order thought images for to bring similarly higher things 'to earth. in fact instance Schoenberg he used many Kahler of Jacob's Ladder, for
the Unspeakable;
in his
'but we must longing he concludes with passionate essay to us'(6). the Tenth has not yet been revealed since fight one Liszt, impelled longing further, 'Man ... feels himself by an innate and sovereign alternation wrote to which he cannot 'there is only for for give a name'(7) which into This
in perpetual for
to expresss an immortal
of mankind for
roads
and detours
-15and expressed their by many different and with they yearn for it it its is accomplished. full intensity means, is all their so long the content strength, and desire longing it of with so is
the works of the great; all will until with intensely transmitted
And this
not only and the successor continues the intensity, adding proportionately Just as Sohopenhauer had dared give
Ding-an-sich, to which
was something
Schopenhauer says, the artist achieve thief alone will 'It is not the restless long, and glimpse occasionally. must the jubilant delight which has keen suffering of life, strain or succeeding as its preceding but the man who loves life, of shaken, cannot a deep rest behold without and inward in the experience condition, it is a peace that cannot be serenity, a state which we
the greatest longing when it is brought before our eyes or our imaginations because we at once it as that which alone is right, infinitely recognise surour better self cries Then we feel that every us the great sapere aude. within gratification of our wishes won from the world is merely like from life to-day that he the alms which the beggar receives passing everything elset, upon which on, the contrary, may hunger again on the morrow; resignation, is like an inherited state? it frees the owner for ever from all lot care'(9). In case it, be suggested that these thoughts milisu" from quite the hope own country like in its that of to the Sohopenhauer-Wagner-Sohoenberg great artist-philosopher, 'behold, Leonardo: to one's longing is of chaos is
age and culture, back (repatriarsi). of going to the primal ... state But this
and returning the moth to the light quintessence imprisoned itself longing that that
the spirit
of the. elementst
ever as the soul within to its sender; and. I would have you know is that quintessence in natures and of the world'(10). Sohopenhauer here, for Liszt in
is man
of Wagner's is
alignment
with but
he wrote
philosophers
the terrible
46it feel used to cling this to the hope of liter within and if even now I men I have at least found a me to sleep. for absolute This unoondreams is is
hurricane
helps in wakeful nichts quietus which the genuine ardent icnging for death, aoiousness, our only final 'In with being your total non-existence;
salvation. this I have discovered a curious coincidence them differently, the same thing'
thoughts]
seen and parcel is readily ' ... in one long to Tristanj unslaked tremour longing swell from through and of attractions laments hopes and`fears#
to the ... most resolute attempt to find the ... to the heart a path into the Sea of endless unbarring Its power spent, the heart sinks delight. In vain! of its desire without attainment; in its of the for
-'desire till fruition sows the seeds of fresh desire, each the breaking eye beholds a glimmer lassitudo final highest bliest of last it is the bliss into of quitting that life,
back to pine
of being
wondrous realm from redemption no more, to enter it by the farthest when we strive which we stray Shall we call it Death? Or is it not Night's force. fiercest as the story says - an ivy and a vine whence, wonder-world, in lockt embrace o'er Tristan grave'(12)? and Isolde's up sprang As Edgar Wind has shown, renaissance painters were
by the teaching of Hesiod, and much attracted familiar with Plato (later repeated by Ficino and Pico) Orphica and the it grows passion, and turbulent is born in discord that Love in concord dieaordia (love oonoorst on earth), a union and its oonsumtiozi is a of both which is when the mortal
(divine love), but the love of himself the god is loved by Thus Tristan death (13). would seem to be the god means of the ancient doctrine. reformulation a traditional
-173ohubert little dreamod of a similar whioh he wrote death-in-love after a serious in his attaok
'With a holy seal I yearn Life in fairer worlds to learn; Would this gloomy earth might seem dream. Tilled with Love's almighty
4th verse l
Take my life,
flood, Plunge it all in Lethe's To a purer stronger state Deign men Great Onep'to tr nslate'(14).
my flesh
and blood,
'
-6.
Refure The 'capacity divine a certain the discontent being with the world as it to create disoontent'(t) that is.
composer
with the world is his brothers apparent with none more than Beethoven, he tells in the Heiligstadt Testament that he would have committed suicide, saw that but like suicide a true Sohopenhauerean his path before lay is his time, he is no solution, (of and objectivity he said 'this art in renunciation the concomitant, Thank God')(2).
which art
- my refugedoubly grateful
help being
for
that -
of its own, far away from everything which has a life to which we can flee and be happy'(3) was a solitude he Mondelssohn's sentiment, and in his time of sterility wrote 'At a time when everything else that ought to interest
empty and vapid, the smallest the mind appears repugnant, to art takes hold of one's innermost being, real service leading one away from town and country# and the earth itself, a blessing and seems What starts Dutchman ('a it with primal sent by God'(4). in Wagner as the figure trait of human nature force of life') to go deaf ... finishes like of the Flying
heart-enthralling
the longing
from amid the storms himselft Venice whoa unable for its silence,
Beethoven all
yet
chose and
and negated
sharp lines
-18hard edges in his rooms in order to turn from the world . ideal demands have inoreasedy inwards -*y compared with and my sensitiveness during the last ton years ('49 from artistic public separation absolute beyond all doubt that the sot of creating alone satisfie$ me and fills m with I should It is not understand'(6). a truism to say that former times, has become much more acute '.59) while I lived in ... and completing a desire of life, which life I recognise
otherwise
perhaps
in general are out off from the. worldq inward, but so do moot modern people and so there is a certain (in discussing Tippatt of attitudes our world solidarity generally) coins one slogan that wars and modern corruption will do for many others like it 'Contracting-in for to life Abundance, ' renunciation of the spirit.
L
of the world
the abundant
Sublimation
I use the word sublimation sense, nor in its Freudian unconscious process, directions but sense of conscious
recanalisation
to raise of art.
the divine
realm
more unalloyed
or purer
pleasure thus
than that
he wrote 'For you, poor Be no happiness for You must create everything from outside. can come in your own heart; and only in the world of ideals yourself 'I have written find friends'(2). manyjworks indeed can you I can more nothing. practically have gained by writing but Schubert wrote: to direct my gaze upvards'(3). accustomed recognition of a miserable is ... a period of fateful 'it in I endeavour to beautify as far as possible which reality, (thank Cod)'(4). my imagination
Beethoven
advises
-19_
'But thee, In effigy To soften 0 sacred art, the gods yet will to pioture anoient glory, with the pow'r of song and story
The fate
whioh ne'or
connected
with
the
struggle
development
to renounce genius,
of
synonymous with
of the
just
a mystic.
part
sharpens seldom
a passage
and in to says
this
endure again
complaining his
worth-
lessness tion
perfec-
which
Almighty
then
Busoni every
wrote
'admirable
works of genius
arise
in
period ... it seems to me that of all these beautiful That none lead u ward'(8). paths leading so far afield he recommends by this exactly what the other composers and their mouthpiece Schopenhauer have recommended is made apparent is in the following passages '... A third the casting off of what is 'sensuous' (thee road to objectivity, back from his and water) work, ... and the renunciation which means the road, a hard point
a purifying
... Not profundity, and personal feeling and absolute music. but Music which is absolute, distilled, and metaphysics, and ideas which are under a mask of figures and never borrowed from other is opheres'(9). The reference to The the apposite - only by purification will the Flute (i. e. musics harmony on earth) be reign of surely no theme could have been nearer Mozart's accomplished, Magic Flute heart. of his found 'Since
in this
respects
I saw the modern world of nowadays a prey to that which then surrounded Jesus, akin recognise this longing as in truth .. "
deep-rooted
-20nature, which yearns sentient Uinnliohkeit towards a nobler his nature purified'(10). sympathy I rose battled ... the deepest pure air. the others last, and threw from out an evil and dishonoured that shall answer to reality 'I followed'Dante Then Dantes with the divine morning, the
I enjoyed
by step; deadened one passion after step till of life, with the wild instinct at all desire of life, to sink
arrived
my personality
in the oontomplation
Undoubtedly mind the when they level of vrotes
gods'(12) form
'air from another planet', of breathing is of inhabiting a purer, detached region of the universe 'sad to relate the artist quite commonly experienced, ... is not allowed to be Jupiter's vulgar will humanity guest only unfortunately, in Olympus every days too often drags him heights'
The fooling
from those
pure ethereal
Liszt
wings into which it
in price art it
I of 'absolute'
musics
it
'On the
of the infinite
draws us with
to regions
in the ringing alone can penetrateg*wherep the heart expands and, in anticipation, shares in ether, life that recalls inoorporealp spiritual an immaterialg ... to us the indescribable cradles, thirsting ... after that inspires inexhaustible recollections us with all rapture that that with surrounded ardour of the blissful our
that takes hold of us and sweeps us into the experience .. o us out turbulent maelstrom of the passions which carries life'(15). the world into the harbour of a more beautiful of Wagner - of the modern world, in the transport delicious 'Tannhlluser'$ 'I felt myself outside
aether whiohg and mid a saoredg limpid filled me with that of my solitude, in upon the summits of the Alps, air, we look down upon the 'cleansed'
a sea of azure
olimbsq
-21r
from all
that
is
earthly,
the topmost
branoh
of the tree
of
man's omnipotenoel(16). Saint-Saens, 'All those impressions where there azure, 'talking of muaioal experience
generallys
the heights
there, to which they give birth; is nothing but rocks and glaciers a sort
one experiences to the town from which one comes, the civilisation one pities one no longer wishes to go down amongst which one belongs; men again'(17). Kahler entering-intoreturns only thing wrotet 'Unfortunately, oneself this wonderful life. that The blissful
to the noise
to look and to make it a practice state, at every opportunity back at that othor world and to draw one breath of that other air'(18). And finally the doors spring a great great Messaient 'to raise to give there a great upon the mountain our century the shall have to be
of our prison of flesh, water for which it thirsts, artist vho will be both
and as a musician
8.
Eden the renunciation and the passions, of the will inward-moving Preud's death instinott predominantly If the
exhibits
turn aside to consider briefly we must now aggression, to the other half of Freud's that corresponds attitude division,
Just as we saw there the Eros instinct. namely by way of Thanatos, so there is idealism attainable was an by way of Eros. Both instincts idealism attainable also an themselves in every phase from debasement to may manifest metaphysics. Yeats symbolised the two idealisms by two, wells;
-22the dry well has a dried-up which tree only fills rarely nearby and with represents difficulty complete
and
standing
the renunciation mystical of the lower for the higher unity, (death instinct), the difficult way incompatible self with human happiness; the full the other well, well with green tree lower represents planes Unity of Being, that harmony within of integrated the two personality
of existenoep
this way in compatible with human happiness. and sensuality; In 'At the Hawk's Well' he symbolises his own spiritual higher way by Cuohulain's to choose the diffioultt water because he was asleep, although missing the dry well's far in search of it. Writing he had travelled of William failure Morris Rosetta with whom he compared himself he saidr 'Shelley, and ... the early Christians were of the kin of the wilderness and the dry tree, and they saw an unearthly but he was of the kin of the (full) paradises well and of He wrote and he saw an earthly paradise ... (or well) indeed of ... the heathen Grail that gave every man his own food, and not the Grail of kalory and Wagner'(l). the green We may sense this Liszt "that quotes faraway with approvals which ideal in E. T. A. Roffman, whom the call trees
country
us often
strangest
and from which wondrous voices the echoes that sleep in our awakened now, shoot making
which echoes,
rays, gladly ups as though in fiery and of that paradise"(2). us sharers in the bliss According wish land of the yearner he cannot French only ideal the ideal sensual to Wagner, Lohengrin
sen3e'(3). mentioned not composers have frequently of beauty and human happiness but also the 'Musio, and music alone, has the imaginary
worlds
scones - that real yet power of evoking in secret to the mystic gives birth world which elusive the night and the thousand nameless sounds of poetry of the leaves caressed by the moonlight'(Debunsy)(4), and at will M. Croohe says 'Music is a sum total forces. of scattered ballad of them! You make an abstract I prefer the simple notes of an Egyptian shepherd's pipe; for he collaborates
sense voluptuouoly refined pleasures' to speak of the 'oharm, at once voluptuous and goes on and the ideal sensual with which he associates oontemplative'(6) 111, tout nest qu'orcbo at beaute, world ... Luxe, calme at volupta. ' For Berlioz, with any other the ideal than
was more closely sexual here he describes composer of our period; at the age of sixteens shone in the rising those mountains lay for sun. Italy, Here was Naples,
far
Posilippo
Ohl the whole world of my story. to leave this clogging earth-bound its for highest and best; clasps for loves for the clinging
the wings of a dove, body! Ohl for life at rapture, for Love! ecstasy; glory) where
of hot embraces!
is my bright 0 my heart? my Stella Montis? ' particular star, And in 1858 he wrote to Ferrands 'Last night I dreamt of music, those forth radiate this morning I recalled All it all and fell into one of poured that the tears
supernal ecstasies ... to those as I listened from the angels 'So sings alcne
of my soul smiles
divinely ...
sonorous
great
Michael
asp erect
he dreamily
that
he apologises Towards the and or his autobiography the to the reader - 'always this wild desire to realise for perfect love! thirst impoosible, always this frantic How can I help repeating myselfl are not all its waves akin'(8)? We may cautiously to this category with its assert The sea repeats itself;
that
Schubert
also
belongs to
'My dream',
category it is a brief
with
emphasis
allegorical
of romantic
literature
yet undoubtedly,
knowing Schubort,
-24deeply sinoere, describing love how he waa twice and reconciliation 'Only said. a miracles banished from
ideal
of a maidens they
and lowered
But I wont to the gravestone gaze, filled with devotion and I found myself lovely sound, and together into and loving.
and before
in the circle, a wondrously which uttered bliss I felt though eternal wore gathered as a single moment. He took me in his My father too I sax, arras and wept.
2.
reconciled
Intimations
of
Divine
to intimate
of things
divine
iss
are gathered
and in this section (not that they have together sections 'Ketaphyeioal
(1)
... the bond between appearance and essences ultimate secret, between man and Godt his dilemma is that he must and must three spirits it ('Sei verschweigen' warn not reveal Tamino). times art its The dilemma often solution, ' reaches which its is olimaxt in musiot for the metaphysical text Schoenberg's Op. 27,
a potential
to the
and somefor
par excellence.
He then quotes
mixed chorus
limits, For an image confines, grasps, What shall remain unlimited and unimaginable, An image desires a name
Which you Y ou shall can only take from the the small! not worship small;
in the spirit! Y ou must believe Spontaneously; undesiring And selfless. You must, chosen one, you must if you are to remain chosen. ' This is but Aron, is also the central contaot with theme of Moses and Aron. the Unspeakable, absolute Moses sing
in direot is
ideas. the
and falsifies
-25message to the people] colouring to colour loft his he sings to an orchestra Because Schoenberg the third rich in
refused and
act unwritten,
is
not
felt
as by referen-
true in
thing
effeota'(2)
and
his, use
always of
a special
language for
and not
current
was required
subjects
touching
on the
, quotes$ inadequate,
belief is
was found in Goethe, whom he is nothing but images, transitory in their earthly manifestations inadequaoyg they but
naturally
from the body of earthly and we shall for or images for described,
similitudes
than need no paraphrase, no them; there is done what here is indescribable. in imagery And what The
it reply
and says
has drawn us on - we have arrived - we are at rest - we possess what on earth we could only 'eternal this Christ for. calls strive and struggle than employ this blessedness' and I cannot do better - the most complete beautiful mythology and sufficient to which at this epoch of humanity it is conception eternal possible to attain'(5). Mahler
ideal of enticing said of this eternally 'Like a somnamto his felloxas he must intimate which (composer) wanders toward them (goals) - he bulist he (it may skirt doesn't know which road he is following dizzy whether enticing abysses) this but he walks toward the distant stars light, or an be the eternally shining
-26the darkness for of this this life o bright, life: olear, up there and happier worlds lovely distance,
oonfidenoe'(7). joy,
moments brighten
moments become continual turn into visions of yet Beethoven He sees unfortunately vague awareness'of
happier
artist
T has'no
his
pride.
others may perhaps be admiring him, he laments and while his the faot that he has not yet reaohed the point whither the way for him like a distant better genius only lights sun1(9). Verdi future, wrotes 'The artist must scrutinise the
see in the chaos neu worlds; and if on the new let him not road he seen in the far distance a small light, be frightened of the dark which surrounds him; let him go on and if and still Busoni sometimes press he etumblea and falls, let on'(10). There are similar (Jacob's Ladder). the Infinite reason that for this him get up passages by
wrotes
dexterity
a craftsman
irrationality
the veiled secrets of art dwell, sensed but not implored but not commanded, imparting but not understood, Be cannot enter this region, he can only pray yielding. If his prayers are to be elected one of its messengers. and hei armed with wisdom and gifted with granted for the unknowable# it the man whom Heaven has reverence blessed with the genius of creation, we may see in him the donor great of the precious present of our time'(ll). music Busoni, more daring yet, we all long for in the
vriteas
$If
Nirvana
be the realm "beyond the Good and the Evil" is here pointed out (in his thither leading
To the bare that divide Man from A way to the very portal. Eternity or that open to admit that which was temporal. Not the strains Beyond that portal of sounds music. 'musical art. ' It may bei that we must leave Earth
_27_
to find that musio. But only himself to the pilgrim who has suooeedod
from earthly shaokles, shall the (Sohoonberg has said 'It seems that the to go beyond it must parse
H. who wants
away' -
of the god means death. ') felt that 'music is always the
it in which one can converse with the beyond'(13), Faure, is not of the beyond and yet it can intimate of it. tolling the distant of evening bellsv muses, 'an recalling incident promote a as this does in fact frequently such torpid state of mind, and a very agreeable one, in which thoughts this fact merge imperceptibly into each other. other Mahler world? said 'all moment reaching out to that of the life Are wo at this is in my works
and we clear to up any vagueness here with this passage from a letter 'If you will his wife, turn a sympathetic eye on Hoffman's are an anticipation Talesl you will for find"a musics a flash new light mysterious to reality; our souls of music on the relation as it is, often illumines
to come'(15)
feel that lightning, and you will with of For any one who the only true reality on earth is soul. is no more than has once grasped thisg what we call reality formula, no oubstance ... and ... this ... a a shadow with is a conviction that I write can hold rather its own at the bar of sober on the subject reason. at length
... because it has so alone a bearing on my earnest desire ... to set up my Cod in place of the idols of clay. '(16). the surface Thus the tradition which came prominently-to Schopenhauer reality in renunciation, full clarity is,. denied the full vision the same reason that to be denied'(l7). are circle 'for The definitive the true again propounded, and the beyond is is glimpsed on earth and seen in which is or death., But at present use as Charles Ives said, the beginning and end of a
with
statement
upon art
as an
the divine must come from the aged Wagner, intimation of the truly in 1880e 0 "Complete contentment, writing present themselves to us but in never state, acceptable From which in the Arty kt the Poem, in Music. image, an one surely they exist might in Booth" derive ... the confidence the starting that point somewhere of very
our heart that we should plainly artwork would so transport find the arohetype, whose 'somewhere' must perforoe reside full filled with time-less, our inner selff within apaooleaa Love and Faith and Hope. art can gain the force not even the highest while it lacks the uupport of a a revelation such 'But moral symbol of the most perfect through which alone can it be truly only by borrowing from life's can the artwork of the Divine, ordering of the of itself up
for
religious world,
and holding
to pure
contentment
and redemption'(18).
of of the inner self, 'the Syntereoia, has man wHoh in
the for of
(mystical the
element
divinity
was held in
explicitly thoughts,
whose
an important
and formative
of the
renunciation,
who
are the embodiment of an infinite spirit, are born to both pain and joy; and one might almost say that suffer the best of us obtain by through sufferinK'(19). Beethoven striving finito'(20), frequently in man'(21). And Wagnerr primal deepest, source holiest and sole inner 'Religion true lives, but only at its the is infinite, his with refers to music in such remarks with makes everything drdly life contrasting of 'the divine element as 'our
vexation his
in the life
... dwelling-place,
within
chamber of the Individual'(22). to musics the 'sea 'The eye knows but of harmony' the surface in of
Applying particular,
this
he writes'
-29this seal its depth the depth into this of heart alone can fathom ..
Man dives more, refreshed heart this thus bottom feels depth, his
seal only to give himself once to the light Big of day. when he pears down into possibilities
fills
whose eye shall never plumb, whose seeming bottomlessness him with sense of marvel and the presage of It
from
unimaginable
Infinity.
who veils womb of ? earning; manifested, Nature heart desire 'Music is, itself,
is
of Nature
herselft
the
her
eternal
Begetting, grasp
oven the
because Blossom,
Fulfilled. of
however, which in
nature the
shrine
feelings
transports of our
us to infinitude'(24).
the
soiousness
combines the ideas of infinity, timolessnoss in this enraptured, and immanence of divinity 'All, heard yet exact assertion offhiths all melodies, Dusoni or never heard, resound completely and simultaneously, If carry you, hang over you, or skim lightly past you ... you focus your attention on one of them, you perceive how it is connected with all the others, how it is combined with all the rhythms, by all coloured by all kinds of soundsp how planets Now you realise ... and hearts are ones that nowhere can there be an end or an in that infinity lives obstacles completely and indivisibly the spirit of all beings'(25). harmonies 10 Divine it Intervention would be fitting to draw attention that phase of inspiration, before
Finally,
accompanied
the Haydn
was hold
by naive
w9119 I walk up and down the room with my rosary in my hand, He say several Avesl and then ideas come to me again'(1). often story there wrote is told Soli that Deo Gloria at the end of his public after "It scores. The at his last of The Creation, applause. and said, appearance, to hear 'And there van light' of
a performance
thinker
'Has the Lord granted to a (musical) a brain of unusual power? Or did the Lord silently him now and then with a bit of his own thinking? I know that gift can ... be a subfrom the Supreme Commander'(3). as 'a supernatural origin'(5) widely of through it
foroe'(4) inspiration
the glory to God alone are found in the scores of many (Haydn, Mozart, Weber, Bruckner, Messaien and Dvorak, Elgar, Liszt, and inscriptions Stravinsky I have collected some in the section intervention to divine statements relevant The Gap (p. 32 Pt. I) and for further entitled evidence I the reader to this. Thu3 in perceiving the few of them. ) are a
the literature,
refer
nature of inspiration we should from the 'direct nevertheless observe that in the spiral interdivine to direct source' unconscious of inspiration vention we have been dealing with one of the most concrete to man. truth accessible of metaphysical manifestations ultimately mysterious
Notes
IDEAL
Formal
Order
dedicatory
to
2 3 4A 5 6
7
{ 1779.
p. 76. 63. p.
Towards 1961. a New Music, translated in The Score
8 9 10
p. 180.
Vol.
XI
11
Interview by M. D. Calvocorreesi 16 July 1931. Letterap Stravinsky, Ibid", Poetical Ibid., p. 373Chronicle of my Life,
Telegraph,
12 13 14 15 16 17 18 19 20 21 22 23
p. 185.
p. 29. P. 51. loo* oit. Memories and Commentaries, and Developments, 1959.
1962, p. 101.
A Composer's
by Joseph Rufar in 'Composition with Twelve Xotes; ' doted to Prinoe Berman von PtioklerArnim reporting Bettina von Beethoven's meeting with Goethe at Teplitz. Muskau on Lettern, Poetioe, p. 1405p. 41Vol. Il' The Art-Work of the Future, p. 77.
24 25 26
Prose Works,
27
Berlios Liszt, and hie oit. p. 854op. Musical Sketch Thought, p. 28.
'harold$
Symphony, quoted
Strunk
28 29 30
of a New Esthetic
The Essence of Kusio, article Present Time? P. 44. Musical Thought, p. 51-
31
32
33 34 35 36 37 38 39
Recollections
Essay, Mozart's Stravinsky,
and Reflections,
p'. 76.
d'Indy, published 1943 Liege.
Poetics,
No. 39 August 1959, John Cage, Musioali Inoontri Nothing. ' p. 131on Schoenberg# Letter Style and Idea, 1923. No. 29 May 1958, Henri musicale, p. 4. p. 36p. 91. p. 132. p" 109.
'Lecture
to Hauer,
Pousseurp
40 41 42 43 44
of my Life, with
Conversations
Stravinsky, p. 34-
of Music.
2.
'Let
there
be
Unityt
to Goethe, Briefe und Gespraohe p. 146, Bettina's report of her extrashe assured him, on the strength which quoted by memory,,was very nearly verbatim, ordinary ' 3. Langer in 'Form. and reeling. 2 3 4 5 6 7 Letters, Style '4p. 323. and Ideal Composition with Stravinsky# p. 140. p. 106. Stockhauseng with Twelve Tones, p. 108. ti 1941.
Conversations Poetics,
Epilogue,
No. 1. Dec. 1956, Karlheinz l(usioali Inoontri di musioa elethronioa, ' p. 70. a proposito
8 9 10 11 12 13 14
Style Sketoh
and Idea,
Jan.
1961.
Strunk,
Source
15 16 17 18
with
and Idea,
dated
June 1909.
-.
Metaphysical
Order
1 2A 3 4
'Self-Criticism', chapter V.
p. 49-
Epilogue,
p. 140article
Platonio
Ideas
I
2
Recollections and Refleotions, 1940, p" 113The Essenne of Music 1924, title
'On Inspiration
essay, p. 200.
in Nusio'
Letter
to Mathilde
1859"
rI.
Aspiration
1
2 3 4 5 6
Letters,
Berlioz National Letters
p. 350"
The Life Musiol to Marie of Hector chapter I. p. 233translated F. P. B. Oomaston, Berlioz, p. 271-
and Ideap p" 36.7 Symphony, quoted II 'Gustav Mahler', Strunk, p. 26" trans. Haldane. Source
Berlioz and his 'Harold' Readings, p. 8558 9 10 11 12 Style and Idea, chapter
8ohopenhauerl Leonardo
and Ideas
da Vinci,
Correspondence of Wagner and Liezt, September and December 1854. Prose Works, Vol. VIII, (Programme note 1860), Edgar Wind', Dellini's A Documentary Prelude p. 385.
letter
written
betwaen f
to Tristan
13 14
Biography,
6.
Refuge
1 2
Cyril Letters,
Soottt
The Philosophy
of Modernism,
p. 1.
p. 1320.
3 4
5 6 7
Felix Ibid.,
30 November 1839-
'A Communioation
' p. 307.
Aquarius,
Sublimation
1 2 3 4A
Lettaro,
804. p.
5 6
7
8 9
Lottorat
Sketch
633p.
of a flew Esthetic of Kunio. to Paul Dekker, publishod
10
11 12 13 14 15
I,
entitled
'Criteria
for
the
9ouroe
16
17 18 19
Vol.
Co Saint-3aenag
of my Uusioal
A.
Eder
1
2 3
67. p.
Symphony, Strunk 851. p. P. 336.
'Harold'
'A Communication
to my Friends'
(artioleayabuse
Diletthnte
Hater'
5
6 7
Ibid.,
p. 9.
of My Musical Berlioz, Langu&je, p. 120. Preface,
of Hector
8
9A
Ibid.,
documentary
si
Intimations
of
Divine
1 2 3 4 5 6
0otober
1957. p. 220.
of my Life,
Memories and Letters) Letter to Anton Seidi, op. cit. p. 311. documentary Ibid., diary biography,
7A 8
16 June 1816.
8 gept.. 1816. ,.
9
10
Letters,
Ps 376.,
dalle Lettere, letter dated 23 Dec. 1867
11 12 13
World,
concluding
words.
of a New Esthetic
18321 quoted Maroel Letter to Ritzhatlptg and the Romantic Age, p. 321. to his wife$ 11 Sept. Letter C]d p. 149. The Literary 1906, trans. 'Kahler
14
15
16
17 18 19 20 21
letter
to wife,
a Sonata, and Art,
5 Dec. 1901.
(Now York, p. 261. 1920) p. 81.
Essays before
VI9 Religion
22 23 24 25
IVY On State I1
and Religion
(1864),
p. 29" p. 112.
'The Artwork
Vq Beethoven,
Letters hie Wife, 1910. (of. Boules on indeterminism to is perhaps the only 'this immersed in uncertainty periplus ' Inoontri Nuaioali to try and fix the Infinite. way
10.
Divine
Intervention
I
2
Biographicohe
Notizen,
p" 54"
3 4 5A
Style
and Ideal
Weinstock,
p. 171, World,
Composer's
Ch. VI.