LITMIR.BIZ

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      Is it not singular, to demand of a composer originality in all things, and to forbid it as regards form? No wonder that, once he becomes original, he is accused of “formlessness.” Mozart! the seeker and the finder, the great man with the childlike heart – it is he we marvel at, to whom we are devoted; but not his Tonic and Dominant, his Developments and Codas.

      Such lust of liberation filled Beethoven, the romantic revolutionary, that he ascended one short step on the way leading music back to its loftier self: – a short step in the great task, a wide step in his own path. He did not quite reach absolute music, but in certain moments he divined it, as in the introduction to the fugue of the Sonata for Hammerclavier. Indeed, all composers have drawn nearest the true nature of music in preparatory and intermediary passages (preludes and transitions), where they felt at liberty to disregard symmetrical proportions, and unconsciously drew free breath. Even a Schumann (of so much lower stature) is seized, in such passages, by some feeling of the boundlessness of this pan-art (recall the transition to the last movement of the D-minor Symphony); and the same may be asserted of Brahms in the introduction to the Finale of his First Symphony.

      But, the moment they cross the threshold of the Principal Subject, their attitude becomes stiff and conventional, like that of a man entering some bureau of high officialdom.

      Next to Beethoven, Bach bears closest affinity to “infinite music.”3 His Organ Fantasias (but not the Fugues) have indubitably a strong dash of what might be overwritten “Man and Nature.”4 In him it appears most ingenuous because he had no reverence for his predecessors (although he esteemed and made use of them), and because the still novel acquisition of equal temperament opened a vista of – for the time being – endless new possibilities.

      Therefore, Bach and Beethoven5 are to be conceived as a beginning, and not as unsurpassable finalities. In spirit and emotion they will probably remain unexcelled; and this, again, confirms the remark at the beginning of these lines: That spirit and emotion remain unchanged in value through changing years, and that he who mounts to their uttermost heights will always tower above the crowd.

      What still remains to be surpassed, is their form of expression and their freedom. Wagner, a Germanic Titan, who touched our earthly horizon in orchestral tone-effect, who intensified the form of expression, but fashioned it into a system (music-drama, declamation, leading-motive), is on this account incapable of further intensification. His category begins and ends with himself; first, because he carried it to the highest perfection and finish; secondly, because his self-imposed task was of such a nature, that it could be achieved by one man alone.6 The paths opened by Beethoven can be followed to their end only through generations. They – like all things in creation – may form only a circle; but a circle of such dimensions, that the portion visible to us seems like a straight line. Wagner's circle we can view in its entirety – a circle within the great circle.

      The name of Wagner leads to program-music. This has been set up as a contrast to so-called “absolute” music, and these concepts have become so petrified that even persons of intelligence hold one or the other dogma, without recognition for a third possibility beyond and above the other two. In reality, program-music is precisely as one-sided and limited as that which is called absolute. In place of architectonic and symmetric formulas, instead of the relation of Tonic to Dominant, it has bound itself in the stays of a connecting poetic – sometimes even philosophic – program.

      Every motive – so it seems to me – contains, like a seed, its life-germ within itself. From the different plant-seeds grow different families of plants, dissimilar in form, foliage, blossom, fruit, growth and color.7

      Even each individual plant belonging to one and the same species assumes, in size, form and strength, a growth peculiar to itself. And so, in each motive, there lies the embryo of its fully developed form; each one must unfold itself differently, yet each obediently follows the law of eternal harmony. This form is imperishable, though each be unlike every other.

      The motive in a composition with program bears within itself the same natural necessity; but it must, even in its earliest phase of development, renounce its own proper mode of growth to mould – or, rather, twist – itself to fit the needs of the program. Thus turned aside, at the outset, from the path traced by nature, it finally arrives at a wholly unexpected climax, whither it has been led, not by its own organization, but by the way laid down in the program, or the action, or the philosophical idea.

      And how primitive must this art remain! True, there are unequivocal descriptive effects of tone-painting (from these the entire principle took its rise), but these means of expression are few and trivial, covering but a very small section of musical art. Begin with the most self-evident of all, the debasement of Tone to Noise in imitating the sounds of Nature – the rolling of thunder, the roar of forests, the cries of animals; then those somewhat less evident, symbolic – imitations of visual impressions, like the lightning-flash, springing movement, the flight of birds; again, those intelligible only through the mediation of the reflective brain, such as the trumpet-call as a warlike symbol, the shawm to betoken ruralism, march-rhythm to signify measured strides, the chorale as vehicle for religious feeling. Add to the above the characterization of nationalities – national instruments and airs – and we have a complete inventory of the arsenal of program-music. Movement and repose, minor and major, high and low, in their customary significance, round out the list. – These are auxiliaries, of which good use can be made upon a broad canvas, but which, taken by themselves, are no more to be called music than wax figures may pass for monuments.

      And, after all, what can the presentation of a little happening upon this earth, the report concerning an annoying neighbor – no matter whether in the next room or in an adjoining quarter of the globe – have in common with that music which pervades the universe?