Harvey, Jonathan (1965) The composer's idea of his inspiration. PhD thesis.

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`,

J. D. Harvey

THE COMPOSER'S IDEA

OF HIS

INSPIRATION

Submix ion for

the degree

Of Ph. D. at the University of Glasgow.

Preface

The souroes are specified letters,

from ihioh

I have made my quotations

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

have been translated period which body of literature important not

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

The books which have played my ideas, Evelyn apart Underhill,

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'

of Tragedy'; 0. Reveez, 'The psychology in Music'; 'The Creative 'Feeling

et alias Nietzsohet 'The World as Will Schopenhauer, of Mu$io'; Laski, various Hansliok, 'Ecstasy'; articles Ortega by

and

'The Beautiful Arthur Koestler,

)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

THE COKPO3ER AND THE UNCONSCIOUS Pago I I 6 9 11 12 14 19

20

Chapter Chapter Chapter Chapter Chapter Chapter Chapter Chapter

Chapter

1 2 3 4 5 6 7 8
9

The Two Sources Direct

of Inspiration Source

Unconscious

Absorption Sterility Necessity Infallibility of Unconscious of Unconscious as in Mist

or Shapes 'Given'

THE PROCE33 OF COMPOSITION Approach

Actual Notes

21 29

Chapter Chapter Chapter

10 11 12

Acknowledgement Preparation Conscious The Gap

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

Inspiration Conscious Powers

Composers Advocate Chronologically

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

THE COMPOSERAND THE Page 1 8 11

IDEAL

Chapter Chapter Chapter

1 2 3

Formal Order 'Let there be Unity: Order

(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

This intruded order, only

thesis

is made out of oomposers' the ideas, arrange if in the thought

ideas.

I have

to clarify logical

them in an intelligible of the time, and extend to be I have tried

show their

background

them to their objective

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

composer of the period, own cultural-atmosphere. The period this period is

1700 to the present, down their views

ohosen because during on the subjeot with are

oomposers wrote Previous

amazing abundance. left to theoreticians,

to 1700 most of the aesthetics they simply have not survived.

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

the music is causing hall'

mental

gymnastics.,

the span of the concert

programme today. ' does not therefore to isolate

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

and simply suggested. several

to arrange

They seemed to organise categories clearly that without inspiration

neatly

enough into

regard

to chronological it plays the period. and the differences one

showing position, in compositional procedure Tot quotations in wording; point will

and the role

have not if

changed much over

they have ohanged,

only

superficially, subtle

must speak for the successions reveal

themselves

of'these quoted

of examples

to illustrate

a kaleidoscope

of different

shades of attitude, atmosphere

and the composer's

name (and the implied

cultural

2..

that goes with it) distinctiveness.

will

be suffioient

oommentarq on the quotation's

The main tendency of the period concerned is a movement from extroversion enormous crescendo is accelerated in self-analytioal

as far as out topic is to introversion. The throughout the period

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

self-analytical is consequently mostly on letters If

and of the period, end.

eto. 9 whereas one relies

at the other

pages seem to be dominated it such as Wagner, Schoenberg or Stravinsky, implies any superiority in proportion Also,

these

by a few composers of course in no way

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

I have naturally though (1895) some of them, make strange

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',

of Wagner's meaning, reproduction the same root as the German. All

and my interjootiona

are in braokets.

Part

TAE

COWPQBER ,AD

TIM

UNCONSCIOUS

L.

The

Two

Souross

of

lira

atio n to musioal It

The term inspiration, oomraonly denotes whether this that be a single

when applied

composition, idea, must be an un.

whiob has given motive source in order

a composer a musical

or a whole work. to warrant

known or mysterious The unknown source projection which rings

the name inspiration. source is the

is

the unoonsoious,

the miaterious

of the unconscious

onto mountains,

and aotivitiest

other muaiop or anything art, the composer and mirrors a bell within

sea, human situations in the external world his own deep

feelings,.

This latter

known and understood,

because symbolioallyp source is partially, the formerp howeverp is totally obscure.

2L

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

howevers, the shadow removes itself

and she reappears'(1).

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 -

of the mystic. of creation

we must now examine. is at the very to light of inspiration, and for

Ecstasy present which purposes involves deeply oneself.

root imply

our sensation are

we may simply

by the word an intense

and brings obscure, This

areas of the psyche which

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

one of overbelief influence); external that

or other is

the main point

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

some are emotional of inspirationsproperties Speaking masters Tohaikovsky

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).

'We have all phrase it stood out, as it

experienced weref

clarifying

moments when a as though

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.

As the wind often

does,

my so do harmonies

around me end so do' things , ' (1i). soul

I am alone, -'When men strange whirling a melody springs ... Fool forth, not

often whirl

about me too in my

and the musical sounds take revealing forever (18). (Wagner)

strings

begin

to'stir at whole for

within last being these

shape of chords to me the idea by thyself,

until i of

unequalled

... blisses'.

to bide

to live

Wagner often referred

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

prelude to Da Rheingold was oonoeived.

and throughg from early life to old age.

He was visionary
For instanoep

through
these

-4experienoe adolesoenoes resulting 'on fire tromereadinge with f E. T. . Hoffman date from

the maddest mystioismp

I had visions and me their

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

the moment of possession phrase,

is 'the

the moment

moment of inspiration; when the creator (Copland) (20). is

or to use Coleridge's in a more than usual state

of emotion'

'Inspiration why not? -a carried forces that tration away), state

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

in which of the individual of faculties

of creatingg

cases of concentration involve concentration 'Musio doubt, their apparently reason ... is not is

a`dolent deprive it

passion, individuals yet

like

love,

it

cans without by it of this

who are possessed that

remains a sublime

to be proved

derangement

exaltation]

ment of the intellect 'Poetin intellect of innermost 'It

and sensibility.

an exceptional (22). ' (Berlioz)

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'

'oreature the familiar sort'

impulse .., blots (Copland) (25).

out ...

onsoiousness of

'The Post is

the knower of the unoonscious"

(Wagner)

(26).

'Kunio express

is

the most duotile

the depths

media to artistio of all (Chaves) (27). of the aubooneoious'

_5_
'Xusio must oome from the shadows' (Debussy) (28).

This has illustrated

those is experienoes impossible lese to analyse than them; in

the recording
suoh a process

in words of some of
it would lead to

whioh are supreme to the oomposer and whioh sinoe

something

they are absolute sense.

and speak of ultimates,

beyond dialeotio

the Hegelian

I-.

Absorption preferred perhaps than the has to behind as

itany, their world of

if

not most,

of the composers in our period to the real It richer, lime they outside world,

the unconscious they fins

an eaoapel outside offer, them.

once there,

more exciting enjoying shut what it

world

and upend mast of 'their composition itself

and during

the door firmly

Kotart who ever lived

was perhaps

the most musically

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

mop my pule* an adagio, plays

I can get no sleep. beating slowly.

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

when I have ah idady begun

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

(3ohubert)(7)" and oompoee as a god'

with (tor London) my now symphony in my mind' (Dvorak)(8). else 'This is

I am oooupied

I go I have nothing

Elgar,

quoting

a theme from Gerontiuei-

what

_7..
I hear all theiro? day - the trees are singing my musio - or have I sung

I suppose I have? '(9).

Rimsky-Koreakov, of Stelyovos 'everything

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 -

the village with harmony my

in

a forbidden the triple sprites

echo heard or other Gluok,

supernatural

- seemed voices (10).

writing

'Aloestett in in despairs in my, head ... to his

'For it

a month now it

has given I have a

me no eleepj hive

my wife

of boas buzzing Wagner writes

seems to me that ' (ii).

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).

Debussys just now; besides

'Pelleas perhaps

anz Malisande we are beginning

are my only

little

friends too

to know each other

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

when the mystic refreshment,. Dark light

and extreme of'the Soul'

and precedes that

the unitive

has turned

from elation

and ecstasy

and the superabundance to his 'her own reason of her-

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

and can think

of nothing

Far from her She feels an

Sovereign extraordinary creature; since to her. neither they

Good, why should loneliness1

she desire finds

no companionship among those Meanwhile all

in any earthly in heaven, torture

nor could She is touch thirst like

she I believe

who dwell

are not her Beloved. a person the earth

company is She burns And this will

suspended in mid-air, the water,

who can with is a quench, a

nor mount to heaven. reach but

consuming thirst

and cannot be borne,

which

cannot

one which nothing

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

$an image to an ineffable separation gives parallel

11 am afraid When fever there abates, it

that

Turandot-'will

never

be finished

ends by disappearing, because emotional of mind, art

and without is 'a kind of every

... fever

is no oreationj state

of malady, fibre and

an exceptional every

over-eioitation

atom of one's

being,

and e one ad astern

' (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,

I was silent, softly and farther Silonoef

round my heart distance#

me altogether!

now the old night ' (Wsgner)(4)"

'Shall
Now there

I ever again find

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.

Haydn was subject $quite incapable of finding

to depreenions even a single

which he was idea for many days

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

of imagination (9). and pain' in pathetic for

as 'veiled Elgar ('the

of depression his wife's. death

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

musio needs freshness

listlessness

that type,

one who oreates keeps for

with

the of

spirit, time art,

who is

the individualist of surviving, '(12).

any length to his

the possibility of writing it

of giving

himself

music?

Thus Honegger incredulously Even the most consistently one suspects, to periods of

asks

whether prolific inferior

is not

to be expeoted.

composers would admits fervour. inspirational

-115.

Neoensity

of

Unoonsoious

Now we move to composers acknowledgement of unconscious action for

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

Of the simple ... There are times is certain without

and complex respeotivelys inspiration could neither

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

and the work would sound like

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

use of the moment at once# whenever must make (Beethoven)(3). be completed'.

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

way, but I9 poor devil, come to me of themselves,

lack

composing

as. altogether

too. easy a matter (Dvorak)(6).

to start

when we feel

enthusiasm,

-12'In
If

art,

as in life,

I am at the meroy of spontaneity.

I

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

gloom au you well

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

out music almost

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:

-6Infallibility of oomes, it Unoonsoioua

When inspiration

is

treated-with worship,

reverence for with the visions

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

long experienoe nor the most beautiful

as the world ...

talent

..

- as old

can save you'(Debuaey)(2).

in his

must forever creator (Copland)(3) impulsos' ...

be instinctive 'have childlike

and spontaneous spontaneity'

(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

gardens and artistic

and control garden-

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

a one as has grown up from below' 'Creation growth of apples

be as natural and inesoapable (Sohoenberg)(7)" to an apple tree' should Neoessity drives

as the

the artist ... fanatical stubbornness wherewith he cries at lasts otherwise! ' (Wagner)(8). not 'Whether one is

OImperious

to that So it iss and

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

of soul-events, I fearlessly built

and from out this innermost up its outer form'(ll).

'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

of the most alien

in order to understand anything,

in something; standing first that is the higher the pillars basis erects of proof.

one must first

Intelligenoe This

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

Kiekegaardian come straight things

involving

and knowledge; 11 only find myself

might

from Gabriel with

in other

and people,

fidelity'. in exciting, as a

These then are the attributes general, intoxicating, Siren, as it appears lucid, to the composer.

of the unconscious He has found it as fatal

as seductive yet

and sometimes

wayward, of divinity.

elusive,

essential

and infallible

to the point

In the next composition'itselfp of the roles their work.

THE

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 -

., types. before, of' set

Kusioal 1. that

invention which

may be very

roughly,

divided

into

two

follows

ocnsoiously

from what has gone such as logio 2. force, oontinuation colour

or is happening of notes

above or below,

or the addition existing

of counterpoint,

harmony,

etc. ', to an already some unconscious,

not of notes.

That which follows as when a

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

partially and natural they alter This is

subjective

they may bei

vulnerable some extent composer).

to the composer who abides from age to age and, from calaulation. i.

composer to

conscious

The second type'is caloulationg or at any rate of its

that. vhioh a different

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

responsible flights of imagination

r15.

serves

to solidity though

and elucidate with a Beethoven

(and also musical

to make the work logio seems almost linked. though to The of course

playable), lead

the expressive

element, generalities clearly

the two are so closely of mood and shape,

second determines these may be very To illustrate procedure accounts. ception, we will Busoni

crystallised. types in compositional and analytical then the con...

the use of these examine two fairly wrotes 'First it,

detailed

comes the idea, then follows

or one seeks for

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

on ... a drop curtain

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,

the orchestra ghostlike

Old and surly, person,

and gruesome,

and above all

an 'Orthodox'. -From this there melody could be used as

'Do you see now that is a limit musical a that motive an extremely

I have the idea? old-, Jewish

synagogue ritual. conception this stage

it.. will certainly -. Thus the interval shortened

be familiar

to you from of time between idea and for me'. (Presumably inspiration when the to

was considerably would normally of my artistic with

be the stage III idea

of musical

'concentration

' as Dvorak said(l) and waits for

absorbs himself composer to be'given'). arrives

the notes

'Now comes the execution, all, to sound deep and gloomy. and the right

I wished

this

song,

above of

That determined for

the choice the

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,

'The first s_ stio

subdivided do

and the ena ideal his

" " of

Busoni's Busoni's getting it

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

in the sense that may lead

preconceived plant while on the other the plan (the element of generality) may of musical ideas to the exclusion of others ...

'The second period call the planning disposition the elements

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

utilizing definite details.

r

'This phase, whioh still

of invention, hesitation the full delight is sometimes of feeling (Finally is and oruel uncertainties

neoesaitates
but it

a oertain
also

amount
him

aooompanied by long himself ... in intimate simply

momenta of brings

communion with writing and calculation). seek to its 'the

the beautilul'(3). orohestration.

exeoution,

This -.

the phase of conscious must first

What 'the determine' musical is the

musical 'ton

conception

d'ensemble'

as Dukas calls they

themes being with

pf no Cocount unless

are closely

assooiated, foresee their It is this

the preliminary use. and intuitively

view of the whole, which must inter-relation'(4). their control or initial vision, oonsider...

preliminary

view of the whole, that

hoverer

partial

and inoomplete, at its

we must first stage.

unconscious

inspiration

profoundest

'the

work of art

is

conceived

whole.

The inspiration

-17Lis not the theme but the whole work' (Sohoenberg)(5).

'A creator

has a vision

vhioh

has not existed

before

this

vision.
'In fact the concept of creator and creation inspiration should and

be formed perfection, coincide

in harmony with

the Divine'Modelp will

wish and fulfillment, spontaneously 'Alas,

and accomplishment

and simultaneously. if they be granted a vision,

human oreatorsp path

must travel

the long

between vision out of Paradise,

and aooomplishment; even geniuses must brows' (Sohoenberg)(6).

a hard road where# driven reap their harvest in

the sweat of their

'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

embodiment in the finished The vision vaguely it will musical

piece

aohieved'(7). it may be so musical, feeling, the composer knows

may be more or less only

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

Midsummer Marriage. later}}.

to the conception of 'Even as I write now (two or three years of these first pictures comes

some of the excitement

"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 . "*

th_in, preordained is finished'(9).

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

inwards through a wondrous transformation,

in its which

...

enabling
had

the Essenne-of-things 'rasp to read the vision coanifeatmeat, .. o himself behold in deepest sloep'(12).

moot immediate the musician

This his musiot it

'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

composer's into the conscious

(by

almost a double personality.

-6-

Approaoh

as

in Bist

Sometimes 'the
sudden flash of musio,

inspiration
but a clearly

takes the form ...

envisaged impulse

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

common among modern composers.

'imagine
which you perceive

a building
vaguely

that you are constructing,

at, first the general plan

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-

once likened in a mist also(4), a tree

composition

to approaohing

and Wellest in the mint; and finally

says much the sames at first we see only the leaves'(5).

approaching

then the branches

the most eloguent

witness

to the

'olarifying'

-20-

method is we see not of arms this

furnished only

by Beethoven

in his

sketch

books in which movements That

themes,

but whole structures

withhtheir

and thesis

becoming more and more crystalline.

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

Actual The third

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).

the unprompted consisting but felt

motives, as tones

of a few tones - tones

merely

as a vague sense of sound'

without

simply of a musioal shape knowing the aotual notes '(Rubbra)(2). 'The melodic idea which suddenly falls upon me.out of the

'I have a visual

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

and flashing for

settings

suoh moments with thought'(Blies)(4)"

most of us ...

suffioe

a few bars

'Yesterday

suddenly for some reason or other, .. e

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

-21an entire symphony' 'I (Tohaikovok7)(5).

sat down, began to improvise, or trifling.

sad or happy it

aooording

to my mood, serious

Onoe I had egized and sustain

my whole endeavour was to develop the rules of art'(Uaydn)(6). 'w grub about guided obstaole. Lucky find' 'It melodies you,
that your

upon an idea, in keeping with

in expectation

of our pleasure against

4iaproviso) an unknown power ...

by our scent, It

and suddenly

we stumble

gives us a jolt, (Stravinsky)(7).

fecundates

our creative

is

very

nice

indeed but if

if

you can pink

out little

on the keyboard;
inner

and not

at the pianoforte,
sense of tone is

to such come spontaneously evon mores for it proves rejoice

awakening'(Sohumann)(8).

Finally, response composer mysteriously tako a good to

as an example Wagner of

of gives

the

same process to

occurring operatic and 'Let which him

in

a atimulue, birth

advice

a young genuinely

on the

a Leitmotiv, the

a motive

connected look at the

with

character for

concerned. instance,

one character,

appeals twilight if fall that

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,

to him the most this

a-moving,

must put up with mouth, intensely out his still kotive him? by that it

and a ghostly seisableg All dream.

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

Many composers hold oontinuous'(1), though

the process

of composing sphere and

'is

sometimes

in the conscious of them into

sometimes in the unoonsoious sphere. impression3 from life and the turning

The absorption

of external musical

-22-

expression continuously water. day'(2), linea;

becomes such a smooth process that one cannot 'I divide it

and happens so and things

any more than milk off dies that

Thus Mozart, and Beethoven, and if I let

could

scribble is

the whole sine she

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

the more active about of this,

'The real he is not later when

composer thinks always conscious he suddenly

knows what he will

To make Stravinsky word 'work' to 'workaty for

more specific they are

we may change works,

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

purpose That is or also

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

of unconscious police (memory) from day-tosuddenly reveals act which to may of

day experiences it is

and when it world;

has the solution,

to the oonooious the confluence

'bisooiative' frames

of two unconnected The occasion

of reference the character

form a higher be a strongly this

synthesis. conducive

of the revelation

mood in harmony with

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

and more profound

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

The ego recognises 'When the opposites attested thesis

to by the egots

and antithesis, the will can no longer strong leads

a suspension be operative by its

equally tension'

counter-motive to a regression functions

has an ' 'Insupportable vize inactivity 'where

to the source, have their of contents exhibits a relation territory,

of oonsoiousness leads the differentiated all root, Since where that and mentality content it forms this the primitive

to activity

of unconsciousness

common, archaic exists of which

promiscuity still discloses a middle

numerous reminders ... to both thesis and upon which the

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

ocnflioting particularly inclined

dangerous activity,

the peak of his

in creation,

to bend his

back to the period world dominated his

and to be carried in the outside when dependence on objects life'(7). "

bead to the Almighty

_Zq_
The solution
euroounting

of Ian inner contest$

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.

! aotlorp the ability

the ecrly

in hia book '; he Creative

to virtually

of primitive

oonaidera organivms such as the flatworm or

any challenge in the case of (because the of the to be one

Lot'

embryo of man to rise

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

which had been

-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

as the regulative " undifferentiated eyotem. not into ideation,

total-pattern-responses of incubation into

The period into

the wombs at least the pre-verbal,

long-outgrown pro-rational

games of the tan-

oonoioue, the wonderland-logio

which sets the process physical do not fit, which going mutilation

of the dream.

The ohallenge
by each

ib in all

oases a traumatic laceration

experiences data which other,

or mental

observations disrupt

which contradict styles in arts

emotions

approved

experienced perplexity. corresponds animals

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

the whole mind; birth

by giving ation

to a new systems tissue

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

gestation few years

between the vision later must involve

and the finding continual

of the music a to the

regression

-26primitive levels. Here are some ezamplest

Berlioz, Romeo and Juliet third aott hardly writing with of a performanoe Harriet Smithson in pain I said of Shakespeare's 'After iron the fullest of the as Juliet:

breathing,

as if

a hand'of with

were squeezing convictions his

at my heart#

to myself,

'Aha I an lost'(8).

And during many years laters

the Domposition 'during those

own work on the subject

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

Ah! the joy onward by the of that me

warmed by the rays I felt blessedg its soaring

sun of love strength

by Shakespeare)

within hidden

the godlike

to win my way to that

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

Symphony was in-

to its composition months previous Wanderings having heard Harriet slandered

near ship-wreok ott impression on him, later

the ooast

of Norway made to emerge as 'The Flying force; from

'Brom my own plight the billows,

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

I teed on memory'(Debussy)(12). for Her wash

have always You will

retained

a sincere

passion

(the

sea).

say that ...

the ocean does not and my seascapes store

exactly

the Burgundian landscapes! mind, this

hillsides

might

be studio

But I have an endless is worth weighs more than reality,

of memorise to my

generally

too heavily

the charm of which (Debussy)(13). on our thought'

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

I was thinking importanoo whatscever

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

drew upon the store - on all

those But how this

textures

which

of myself. the mind,

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

a somewhat long throe an inch

years old He poem as a sons. but after years that he when later,

easily

enough,

not progress

ton or eleven efforts,

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

novmont of my second symphony it the entire

happenod to me that world of literaturo

I actually searched through back to the Bible ...

2$..

'How I got inspiration for the nature of artiatio

for

this

I.

profoundly

signifioant

oreation.
I turned

Por a long time of a chorus in the last ninth, be hesitated4

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

from the organ struck

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

we may touoh lightly

have in many oases provided of memories#

and oonfluenoe

dreams in relating

memory and peroeption,

them to

have been the ground fordnnumerable aotivity'(Stravinsky)(24). 11. Conscious

solutions

in my oomposing

Preparation

for

Inspiration

Now we. turn

to the deliberate

utilisation

of the

unconscious and its

producing is usually into it 'trigger

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)

There aro plenty

way,

This but few of the second. the quest for 'trigger person is

beoaum4 to an artistic and

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

dead to the outer vorid'(Mahier)(4)"

does not oomo without hard work any mors than a crop of oorn'(Delius(5)" and it is as long growing. 01noptratioa is neoesaary to know a great deal, and then to make music from that rhioh one does not know'(Dukao)(6). 'It
A study true preparation 4soieno4j this essentially Stith in them. it is is the of the laws of aoionoe (Leonardo-like) for arts 'Ian must investigate art and nature is however not the goal of his relation to than important if likewise a preparatory moment for his en o are given him primarily nt; he is

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

a steam engines to prepare 'It Myself

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

... the domain of living 'Katya

JanAoek of know that end, terrible

Xabanova' t 'I thing

sheer

and sensitive This misfortune ...

I worked on it about a but then, bow the writing

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

repetition musioal of light

of words; piepe into

und then suddenly into his

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.

each a musioril otivea; 'I

soasona'(14). and have nothing business over

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;

to memory ... After some time the mueio is born'(Castolnuovo-

Tedesoo)(16). Newtan reports the morning 'He would go to made by it down

Ernest Bleep, and in

of Hugo Wolfs

the song would be already

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

the seed Dorn; it grows inperoeptthe When I have invented or disoovered

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

we undorotund by musical in3piration speaking

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

way of continuing of the piano

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

Cap is interesting. 4of

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?

'The whole of research in a former experience

and learning life4

recollection'

up in inspirations layers the store

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

or not although question Only

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 origin seeng heard only

or read previously. of material

any human work is on the earth'(3). believe 11 into

the elaboration By tar

the greater

number of oomposers simply

inspiration must leave

God. Here are a few eaamplesi does involve has infused Spirit behind me what the Eternal

-33Qy ooul and bide me oomplete'(Beethoven)(4).

'the gift Sieg'(5)" 'Consider

from above' (Weber, of 'Kampf: und was -,

it

4new idea} as a gift

from God.

from above (Sohumann)(6),

"Deserve it in order

'A good theme is a gift (Drahms)(7). to possess it"' 'It is the greatest gift

of the divinity

and oannot

be

oompared wth anything

else'(Strauss)(8). I know that gift it 4thematio

'From my own experience can be a subconsciously (Sohoenberg)(9). received

unity4

from the Supreme Commander'

'There

is no-one

great

except

him to whom God speaks, to him'(Hello, quoted by

and in the moment in which God speaks Messaien)(10).

The immense gap between what has gone before astounding inspiration those novelty is and originality This inexplicable leap

and the makes to

of the now masterpiece from preparation It 'pure,

the mind stagger.

at the heart layers

of the subject. the

seems to involve unified self' we there.

primitive

of the mind,

have mentioned'and If musical all

the metaphysical

meohanisms whioh lurk Ninth

the components already

of Beethoven's existed

Symphony,

and emotional, merely

in the worldt'and new way, then

Beethoven

rearranged to him for

them in an entirely a great

we are indebted a new order Symphony. something

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

or physical author it at least

too deep in the with clarity all

to'disouss in this

to say that progress

gap occurs of the

is responsible

for

and achievements says, 'since

imagination,

ors as St.

Thomas Aquinas

God is Being can

the universal cause of all Being, in whatever region be found, there must be the Divine Presenoe'(11).

-34-

The Second Sources

STI14ULI

TO COMPOSITION

A plethora oomposers often inspired what tally in our ears. 'Art quality thin

of argument trees

lies

behind

the simple

assertions

make about what inspired of Romep for formations

by the pine

them, when a work is instanoe, we may wonder vibrations

of wood have to do with

delines

into

hhandioraft

if

it

is without

the

of human vibration.,. that is 'Poetry 'it

everything exception is human'(Busoni)(1). another

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,

intimate essence, , comments a third, very depths

the tempo and energy of our spiritual and Schumann claims that it illuminates Xusict that 'heart', is

of the human heart'(4).

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

the composerls every statement

expresses

always

be understood elso's

the composer's oharaoter0s), It external internal will

sadness? no-one

as 'this piece expresses (not even an operatic,

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

stimuli, psychic for that

phenomenal or noumexl, reality and are simple of oneself In writing in things

projections that

one catches significance Ravel stated

a glimpse one.

excite

Daphnia and Cloe, concerned with

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.

the composition light for all is distinguished is-not

an even clearer 'Music that the copy of it

In the words of Sohopenhauers the other arts by the fact

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,

and the thing-in-itself

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

from the direct

to his unknown with

produced

not be an imitation reason, and must by means of oonoeptions'(6). conscious intention

jA"

Mueioal

Expression

Things

that

can be ' expressed'. by words are not wholly

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

psychologically of our spiritual

'The thoughts that I love are not

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

on the oontraryt was thinking it atands'(3)"

too definite

of when I wrote Mendelssohn's and entirely

famous assertion implies

of music's vast

to speak clearly sphere real.

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

because words are not to his father on his

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

thee more than poor language a hundred his

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

Brahma laments her Music

verbal

41 would gladly seems always

write to have been an expressional man. ' Tohaikovsky yet

basically his

shy and inhibited' and love'lifep

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

and again'(8) everything fully more work to

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

contented and can,

phase of terrestrial the eternal but immanent instead

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

the importance and astonishment is usually,

of extraat the in recent

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

' warns Sohumann,. 'if

they

composers deliberately paintingi estimate

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

and this amidst

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,

The greater the thought poetic

the number of elements or picture the expression

and plastic

of the composition. the musician

the more imaginatively the more his the thought improvisations?

work will move and uplift have seised of immortality Why should not

use Beethoven

grasps these, Why should not during his

the memory of a great

fallen
not Italy,

hero have excited

the Alps,

a oompoaition

in him?

Why", oould
another?... -

the memory of bygone,

happy days have inspired

has music indeed

the eight of the ooean- spring, twilight not told us anything of thess'(13)? composer there is

For the mature he wishes to ex-r9$5

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

always however different

something it may be

perfected order that a definite inner

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,

stimulus expressed, is never

of a new psychic

absorption always

may open new Worlds, for meaning.

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

of Dunstable's as also with

'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

the poetic ideas down to Stravinsky with his

(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

of emotions that musio

he side-steps

a reflection

in man of Divine

The consciousness extreme than in the theories

of music as a language of Janacek. sign rather to being

reaches In this

an

and practice

passage music comes nearer

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

conversation. Life sorrow. speech. Every

I can even feel,

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.

in an echo of we can only detect

Stimulus Before stimulate in a brief the type

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,

For every oomposer there Is one can think

two others

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

(Then Bartok fell

-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

mej whatever a rare

am probablycbsoribing Stravinsky,. listen hand. only to music that

form of kleptomania)(3). to. Robert Craft,

aocording will

will

only

be useful

to him for

the work in he would play

Thus when writing the records Verdi]

The Rake's, Progress and only eto.

of Cosi fan Tutte Rossini, Donizetti,

attend Busonip

operas likeown his

of Kozart, wise, opera's kind

attended sake, of food

performances 'I think

of Italian

opera for

Brarztwahl

I require] flow again'raj.

the go - that is exactly and perhaps it will make the

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

The stimulus performance that is again

can carry

what the composer could lurking within

something perceives

already

the composer suddenly Rostropovioh's

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

mind ... the fingers Nearly extent,

the different

were dictated

themselves'(5). piece

Examples may be multiplied. was stimulated barely to some warrants

every

of music written

even if

the degree

of stimulation

the name inspiration, performers previously

by some performer heard.

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

the genre can excite

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)"

41 have an iinnez_greoib11e opera only

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

There are marry other ouoh examples.

lr

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

of stalactites responao'(2) with his

in a grotto though

'determine

a very this

one would expect with

preoccupation

than from Weber.

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,

by, or has a musical purely reply, visual

experience times,

of movement, line I suppose, '(3)

or patters' that

'Countless

suggests

from the. two examples an almost movement. obviously unconscious

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

says that his

composing he always such a play on his

experiences

a play

of colour-sensation, mind when Purple, the

v

was especially Symphony, the

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

(Green1s), 'The Colour as Spring and, Viatory1'-thus from

the colour seen, with

mind to be an. abstraotion emotional connotations.

Synaesthesia into

a common enough quality

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

century. that on the

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

and charaoters'(4)" oomposere, between vibrations apparently (16

agreed upon by later oorreepondenoe range of

there

a strong

interrelationships 20,000 -

within per'seoond)

the auditive

and the visual

-43(451,000,000,000,000 therofore-oolour, 780P000,000,000,000'par cooond),

may quite naturally notably

it

suggest sound. and Cyril

and therefore

The theosophists,
in musict assign moral musio, aooording This moral,

Soriabin

Soott
to

value

to ooloursp

to the colours 'which

evokes in the mind. nothing material9 effect colours, nothing

is how music can yet

expresses

have a moral Scott).

and spiritual Clear, light

on its equal

listeners'(Cyril value, spiritual depravity(5).

. muddy murky ooloure

equal

spiritual

17 ' 'No-one surely desires to hears conscious definition woods, Nature

oould

love

the country produce

an muoh as I do. the echo which man

For

trees

and rooks

to hear'(Beethoven)(1). himself found found in

The echo which world, attracts is his

man desires inner

in the outer which attitude),

the world

unhim (Jung'a with

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

gnawing, wriggling side the (feeling' strongly his Spring reflective

of nature-inspired of the psychic

Symphony Schumann writes with

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

the season in which structure 'the

the symphony was born make it what it whioh is ia'(2). itself

and helped serenity

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;

echoes and vibrates mangynot something

side'(4).

Here was an absorbed but who sax in the world 'many in

, unity,

the One' as Stravinsky

would

With currently with

some composers the vision

the music seems to arrive

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

at the end of the valley or even I

awakens a feeling at sunset believer is

and aeon in the morning impression absorbed flow 'Towards on the emotions. byVthe (later evening you about belts, soul on); 5). those it

makes a great properly journeys to the creative

should Ravel of

be productive his

Shine-steamer

wo went down to great and and

see the faotories: smelting castles5

How can I tell these great

incandescent

cathedrals whistles

the wonderful terrific

symphony of travelling

hammerbiows in which you are uubmerged? deep red.

And everyall a and

where the sky is a scorching, storm broke. so did this! I... but from joy.

On top of it wanted to cry, in

Ida who was terrified intend

How much music there to use it'(6). the soul call

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

event of man ... symbols the six

can be seen as far of mankind. of ecstasy

or than the life triggering this

type

mountains

eto. '(7). hundred

(An odd instance year old

of a unitive

group of Chestnut trivial'(8). soul,

mention$# think

'What power:

In the shade of such giants In the meta'tu of his

one could

compose anything the vastness 'La mer est

the sea man enoouaters physical spark within -

ton mirroir;

infinit Dang le dfroulement do sa lame .. '

oontempler ton me

Debussy and Rimsky-Korsakov often mention the sea

in their writings in ecstatic terms, and we know it played

-45a significant part (of. p. 26 Wagner's necessary compositions with to point in theirs as in others!, creative it work. is hardly of

sea adventures); out that bore,

but of course as elsewhere, testimony

titles

are the most eloquent features

which Nature

in musical

to the prominence inspiration.

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

The distinction usually quick and

unpleasant

to the

emotion

whioh strikes than what is wills

some deeper note merely advan-

of resonanoe tageous archetypal

the beholder to his

or disadvantageous emotion.

what Jung olled

As. Wagner says of sense, before

Iman must reap the highest he. can mould therefrom

boy from the world

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

of the simple Pavlik. '.

He came to demonstrate for

The inspiration less among his and not with

a University
events

by oruel-murderers'(2). is fairly strong

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.

3ohumann absorbs prooess that literature, of regurgitation

the world expresses affeots

around him and by a it as musiol 'Anything

happens in the world people;

me, politioe, about all

and I reflect

-for example, these things in

-46-

my own way - and those reflootions in musio'(4).

Tip; ett world the niaaing of adopts pieces the reverse of hin 'I

then eak to find

an outlet

process

and seeks in

the known

jig-aavp know that

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

Thus wereo ordained'(5)" 'world' inspires htt, and Tippett'o manifestations

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)

tone etc., without which is the core of the composition,

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

me' wrote ttisoa

the composition

the glorification

solemn day'(7).
190

Sine

Arts themoelvos prompt the most refined

Painting expression

and ooulpturo, sometimes

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

Due Studi. 'I cling

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

and ucuaio has of poems mind turns perhaps,

even apart music.

from the setting Poi examples century, one'a

or libretti naturally with his

to the mid-nineteenth lifo-long of that love love,

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

me as with of art furthest beauty that

a thunderbolt. a sublime depths.

to me with truth. and

I recognised ... I saw ... lasted for

i was alive

and must arise

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

unprecedented plansten' indeed and least

was rather

in Schoenberg's

Stephen George's responsible.

poetry 'With for

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

or aseuranoe of having .. "'(2).

to realise through

Now, however, ofla

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

from the situation

expressions

and there in order

I would not have felt the desired effeot'(3). for

bound to break

Ravel was especially feeling and selected 'Les voiree ero tine

conscious hie

of exploring

new areas. of instance:

accordingly,

Chansons Madeoasses seem to me to have, a news dramatic

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

comments by means of ? lorestan Midsummer Night's would Mendelssohn's light

... 'Had Shakespeare

Dream have seen the

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).

The growth psychological

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.

to those who make use of it

music do this in the drama? Scarcely. they 4heroeo passions}';. 'arouse attaches

the outer of his

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

correcting solely 'the

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 ...

-49expression* Yet, I was absolutely oxproaaion'4 driven to expand . nature 'my

means of musical

by the very

of the objects

I wars seeking to expree'(8).

Literature appeals world usually suggest or ao with it a world Strau3, of feeling whibh that 'Prom n Leaver I have

to the oomposert first sind then finds

he perceives

reflected

in literatures

the moment, when ... the island of Corfu always

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

and music never came closer

one could it aas never i3 that dreamt which forth

than in the
illuminate the

Schumann considered

'The highest identical In this with scnse,

criticism

of by the composers leavos an impression criticised. can

the one oalled Jean Paul, with

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

in the interdependency too subjective

of music and words is universal validity,

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,

of which while in but which recurred subsequent

striking

manner to my mind at every This sort 'If

performance

the quartet'(11). Stravinsky's something, additional stern this

of statement

amply justifies to express simply an It is

correotive

music appears ,.. upon it,

ie only

an illusion

attribute

we have thrust with its

which

.. e we

have come to confuse

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

to music by the process

of meditation

on the poem the unPoetry has

by a natural receiving conscious in surprisingly'large inspired this

followed

of the music from quantities.

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

and elaboration. already until the words Beethoven inspiration Brentano

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

of poetry, who tells

'we can trust

Bettina "Goethe's

Goethe of what Beethoven power over may not rhythm. by this only I het excited, language that

said,.

poems have great content# the mood for build itself

because of their and put into seems to beings,

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,

the ende at last, Stravinsky found

I am triumphant the formal

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

and spiritual and of and pootry'(3). by my love art

works

'The spirit

form of my Duo Coneertante the pastoral technique posts

were determined their

of antiquity, parallel

scholastic

.. o a musical

to the old pastoral

The emotional

power of Goethe held many composers

_51_
in its thrall, alone, there are at least six famous works inspired who touched Gooth seem to have been music from that daimon

by Faust enchanted which to his external,

and all

and received

the magical

Cootho believed groatnosa. a sort

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,

and solemnity, already; the verses

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

the, windows read rounds veil'(5).

and turning do very will

Berlios had,: been he read

picked knocked it

Les Orientales it

one day whop it

on the floor 11 'I and exclaimed

was ppen at; La Captive t it

can hear. it'.

music paper Marie loud there

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 conceive a mood that this field of

I can conooive

But of course

beyond the setting ought

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

in. the plane

of the speaker,

in the looalities

where the different

-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

movement'(Rameau)(2). ' ...

oommentsp when engaged and Mozart's through at least that one most

on King Priam, composer is extreme hundred librettists

the words as such which

setting,

fussiness libretti ruined verses

the situations'(3), ('looked libretti over

and more'(4))

was due to the fact

good situations

to the rhyming entire idea is his

versifioation, which ruin

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

work without a subject

were condemned by all Verdi(7)1

as anti-musical'

writes

and Strauss the powerful

appreciates build-up inspired

emotional

shape,

'When I first ...

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

in musics the dance (the heart

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

both so that this one of his

were very whether

in psyohologioal

content,

have the power to exhaust turned out, Strauss wrote

also'(8).

most powerful related, psychic

works and managed to explore territory.

newt though

As a ourious poatsoript,

we may add the Oase of

-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

which which fear

the Dionysian The simplest make one's poetry. tion

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

and obvious legends,

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

a magic or a comic mirror,

presenting life'(2). the

which

that his librettist Whereas Weber insisted Beethoven wrote in Euryanthe, supernatural

to the librettist

w54+

of his costs iced effect

projected be mo-I this

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).

expression we are advised to 'banish The two attitudes will be discussed

the extreme

superstition

and put on wisdom'. and Apollonian parts. of the supershould composers do Liszt tells Wagner

called

Dionysian

In this natural, obviously not talk of the

section the stimulus. receive 'Gran Maas', much about

at greater which instances attentions this 'I (4)

length

in the two next

the stimulus religion

of the Christian yet

surprisingly though

stimulus, may say that

than composed it',

and Stravinsky, but

I have prayed it rather in defence against of belief in

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'(?

).

of Christian and say

supernaturalism

goes we must acknowledge

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

and supernatural well the

words express 'Here

'we are discussing:

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

is my idea' for (librettist) you The height under of

a mighty of God's a

throughout alive

the earth.

A faithful

handful under

by the tyrant's who announces forces

contempt,

Baithasarl in

the end of the world. him to be present its at

amused scorn,

of the Last quakes,

Day, but during sound gigantic

angels

performance, the True trumpets,

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.

Kunio that pertains

exciting and perhaps wild

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,

Modern works have often and exciting of what they this,

seemed strange, have written; aspect, come into being

and composers are themselves yet tends view the Dionysian

by the strangeness

the passage of time

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;

makes any real says,

to the Dionysian

and as Stravinsky he is

a man does not love musician. So we get

modern music best, back to Socratic to the gates poetry

not a real 'shall

madness, without

which

any man who comes to nought by the

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,

or Monumental, To fulfil man1s

intoxication

more and more new works must be

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

the tiel+ve-. tone is foreign that the Soy to have

to the number of notes sound most foreign it all

have been heard before cold

reappears. appearance

and mathematical

the twelve-note ordinary strange into

system seems to me to be an extraof the search (13)" But this for the mysterious, degenerate

expression and. new'

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

burdensome] order into

in other predict the or the mind.

chaos

yet we may almost whether the Apollonian in his serialist

a young composer's 'mathematical' Dionysian,

success

by ascertaining

or the

'mysterious', is uppermost
"

attraction

iF

Autobiography

We have-been they

trying

to show that portraiture

mimuli

are What the in and moment

are because of a certain in them..

of himself

composer discovers terms of music, he is

'A composer transforms, f'rom the outside his is present

whatever oongenitallyl

he absorbs

whatever

he depicts all music

in musio, so that, ioal'(Chaves)(1). change him, him which it is and yet

in real ityp The things there

autobiograph-

he absorbs

from the outside already and into within which

must be something object

can meet the new external There is no real

absorbed.

ohangeg only

continual Henri to life,

self-disoovery(2). pousseur of this isation secs art interchange

The existentialist-minded as a olarifioationg of man and world, essential a sort

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

the other, makes all

structure

possible. manifests this dynamic a poem, a of

The work of art presence piece

..,

of man in the world. primarily

A painting,

of music are not objeotj but a certain attitude results

the representation of an inner This

an exterior sentiment, extreme music oription

nor the expression

way of ezisting'(3). from an overbelief be considered though well

rather

in the use of des-

to mane and cannot itself, of music illustrate

an accurate

the first

two, sentenoes

of the quote

the point

we are making.

many oomposers have. vouohed that

their

musio as a

-58whole is lative 'I autobiographical# or at least as Eliot an 'objective oorre-

to ps<sonal exp3rienoetl nothing

can write

about my works. myself(4)9

demanded of poetry. Hear them played! In Weber; Kahler said

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

find my music you will 'Wy symphonies exhaust

wrote

at all

simultaneously, case, except

I have learned

to master

myself,

as well

as my art,

Of deliberate there are of course quartet,

autobiography many examples,

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

of what has so momentously

Wagner gives his

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

Before impulse simply himselfp inward

we tackle, himself

in the nett to the world, himeelfg

part,

the composerts

to reveal his impulse

we must oonsider for he is frequently purely for

to reveal

unconscious for

of any sort

of audience

and writes

the sheer pleasure

of writing,

or from an,

neoeasity.

Schoenberg writes music for

wrote

'I

believe

that that

a real it

composer pleases othersp him. and

no other

reason

then

Those xio the kind not if there

compose because they

want to please artists. its to say something

have audiences

in minds are not real

They are not whether they omposing extreme themor

of men who are driven exists dislike not it') one person it

who likes

even if

themselves they

could dislike if it

They .., ... find listenere'(l). rather.

would tenounoe This (seven rather if

adherence selves Indeed$ through

to Truth

than Beauty

they

exoeptedp

the passage is that facts

typical* a medium

were not1 sincerely

the idea personal

music is

which

are communicated

be false, would
lure

for

consciousness of current

audiences can

the composer away from sincerity.

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

were, no-one Kunio

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

the happinooo letters but not years;

and prude it abound in a pride of the the pride It has of

the vanity rather

high-priest, the ohild

his

brillianoe"(3). of creating

been written

by Chaves that

the joy

a work of

arts joy of emulating

a little

unit

oomplete in itself, God, the Creatord(4).

is the unoonaoious This is the more of oreation -

inward reasons the self-suffioienoy maderat

6a. ..
'Art can only be created of creation and pride been present for its own aake'(Soboenberg)(5). these elements, of musical pride in

Yet in the joy communication have always

both

in fulfillment either

aims,

consciously

or unoonsoiously. to oomposere, the second song is

Aa examples after oompletion, the Italian volume of yesterday ... indesorlbable'(6)p

of the pleasure Wolfs 'I

works give finished

hers'are

song book with this

the twenty-seoond aohievement

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

intozioations another ... imprecations where there murders wild rape

where brazen is laughter,

mouths seem to belob, forth voice* blowel in with blasphemy, drinking, destructions the heart! what ... '

and answer suppliant

... shudders I felt

Ah= what a drum roll in leading that

astounding

orchestra

26.
Truth

truth, world

the expression sees its as Beauty

of the real

self,

or the of the

as one sincerely have also Mozart

has become more and more away. The beauties

fashionable past truths

has faded

changed, they did not simply a psychic energies for for

are now seen as purveyors of oorreat: a world, he discovered Hans Keller, the creation roughly of beauty, and (analysis truth of

one, unearthed allotting sexual

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

when the uncreative does not exists for

the artist is

does not need it. (Sohoenberg)(2). me today. serve it That in all

For him truthfulness 'I oan only

is enough'. for 41 and, I

know what the truth upon to serve, After

is what I am oalled luoidity'

(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

'Believe was Wagner's

Schopenhauer $Necessity sense -

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

...

forms the necessary

-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

he put forth aloft

to catiefy foroel

aloo

faculties, can lie

to the fulloot within hie

and height that strength Wagnerian necessity reach'(2). a oompuloion that being'toroed'

on3entially create of fool inner

an urge to be onocelf; We may take it naturally. inward impuloo'(3),

when oompooers write by an which I in many

$an invincible urge for compelled

or #a daily function oreation'(4)t (important to disoharge'(5), vordo they are fulfilling to give it its least

composoral instinotivo description#

vocabularies), drive which0

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

to which ?eats refero'in and

gong-tormented oea$"

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

amt1ofiss and 'is central

me and fills to the life

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

destroyed by the discovery was the utterance of this name and

To a certain extent

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

unapproachable love-yearning, what other could

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

had to be got rid misunderstood,

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

sensuousness solitude the dazzling

And so it mes when it

hardly

enwrapt

the desire

brilliance

of chaste

sanctity

to the sweet heights

of love's shadows my longing glance

humanest caresses. beheld at last

From these

das Weib, to the

the woman who 'depths of

now drew Lohengrin Earth's

from sunny heights

warm breast'(6).

-64Similarly, disappointment exiles element its with The Ring was the release beloved ohill' of his from 'the

Germany when he returned drove him into primal

'hostile

of home, that Most of all'

meets us in the legenda'(7). Tristan and Isolde The affair is with the supreme work Mathilde Wesendonok

of personal

therapeutios"

was the direot

every

oause of it

and yet the positive

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

beoause both were married they knew all love

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

and Wagner writes He writes

the music

inspiration.

to Xathildep

Tristan,

... Mere you will

Help men come to my angel's bleed Here the world of love at its learn

Mathilde's) heal

no more, your wounds will will how high

and aloes. the pain desire radiant

sublimeat, in heart

and noble how mournful is

so agonising. as a god, $I-feel

And you will healed

see me once more and body ... a marvellous Hence-

that will look

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

Completion. with insight;

out upon the world deep and clear at you'(8)" their

a spirit and beyond the

calm,

be gazing

had reooloured tinter

relationship to another very world. ideality,

in purer, world only where aooesa-

they belonged by its this

was justified

who renounoe

Professor

Gilson

says, speaking of these letters,

'This language reminds us

-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

the composition through

of what Ilusoni (of. p. 16 ), that which Although is not helped it is

the execution called intellectual follow-

of inspiration

in most oases provides a conscious by unconscious tlurre:, inspired he is

the bulk that

of the composition. does not mean it the distinction sometimes " is doing cannot is

prooesso hints;

indeed

often

in practice

tell

whethor work'(1);

'a composer ... or whether he many composers work. makes it

more routine it 'the

nevertheless side of their

have commented on this Copland calls

conscious less divine

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

and the conscious reasoning is 'right'. power.

is an attempt to reach of recognition' Thus the 'flash

when it

The struggles facilities. 'Haydn' study'. explain to his Mozart quartets Schubert, in 'the

of genii hints fruit

are as well in his of a long

known as their dedication of the

at this

and laborious would works of his

according logic Chapin,

to, Spaun': 's obituary' the composition

the plainest

friends.

aooording bar.

to George Sand, would frequently mentions

spend hours at a single hard work in his letters. had an easy career. The entry reads

Dvorak

No oomposerg however spontaneous,

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

extreme, alone justifying before austerity brought Apollo.

the fervour ballet

In 1935 he wrote

of classical face to fase with

the eternal

between the Apollonian

and the Dionysian

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....

that is to demands above all In 1940 he must be properly

_67_
Otibjugated before they intoxioate Apollo be made uns, and must findly demands it'(8). And in 1960 question 'You often

to sub-sit, to the laws he goes still eay that farther

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

perhaps appeals that

of abstract

in chaos which and hard work to give the

the idea

of discovery contrives it9

If Stravinsky me'(10). attracts . intellectual impression. of a uniquely we will remaining later see how he oontradiots in his attitude

and calculating though always

man,

unique

to emotion.

"

Self-oritioisi

after

Inspiration

Tohaikovsky calculation knowledge is

tells

Madame von Meok that only;

conscious

a stop-gap

Ssomnabulism',

when they dry it

between the periods of up 'cold reason and technical aaoistanoeto the Dionysian of constant This is is

have to be levied of Stravinsky,

on for

the opposite

approach. is

In any oases he says, ! no artist too great, (i). It is inevitable

the strain could that

ecstasy

survive all,

the strings all,

would snap$ works are

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

passage with wild; nobler

aphorisms

'What is wild

may grow up

demand oars'.

Strauss first 'given'

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

and shaped into the severest

and most detached

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

casts and only

enthusiasm

artwork; in all itself

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

Is the nearest Apollonians

he ever

approaches against

who revolted

such violence.

a1'.
Comnoser$ Advocate Conscious Powers

There are various

other shades of sentiment expressed

delivered of being in the form of a oomposerp

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

the common notion so remarkable',

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.

-69Goethe's equivalent to Edison's remark for ('Genius is industry $) and

was admired probably

by Mendelssohn,

Brahms and Strauss this

in writing

by mcny more in speeohl right

is a characteristic

of German art

up to ilindemith. intellectual their

That composers have advocated hardly 'It is surprise use especially the greatest madness to believe

effort pupils

will

when addressing that

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

'persevere and turning

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).

Implioit technique poetry with Will,

in Weber's by its This

remark

above is'a

fear

that

of music. the remark this

prosaic natures somehow rob from the is summarily disposed of by Busoni vanished from the world the lightning

'Have thunderstorms discovered in both its

because Franklin We may take can consciously thunderstorm, not In fact

construct (two) and

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

Is mind; amd', will 'he which govern the

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 of our manner comprehensibility, to such laws -

and form

obedience

-Toforces the composer along the road of exploration* lie must

find,

if

not laws or rules,

at least

Ways to justify

the

dieaonant

of these harmonies and their oharaoter (3ohoanberg)(8). And, Webern *oboes 'Don't write is

suooesoions' musio entirely

by ear - you must lcow why one progression bad'(9)"

good and another

Wagner's the poet

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

are, not may safely

to the oomposition. that this 'ideal refers

of a work butve 'exooution'

to the

the initial not write of love

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

phaeet certainly to the 1oonoeptioniq

... 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

besets me in composing fact that the feelings

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'

not be moved when he wishes must

#I work very emotion, even.

coolly,

without

agitations master

without of oneself

Ono has to be thoroughly

.D71_
to regulate orchestration. been cold of course, that ohanging5 moving, flowing obese-board

The head that

as marble'(9trause)(15). by Wagner's

must have composed Tristan (Contradicted fervently, ' he would never

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

-the, not be settled will by an instinctive rather of his specific character

decisive

gift'(16).

makes out the very However, in a letter phase in or sketch these worden out a scene I

to the tezeoution' he does refer I go on to write a verse 'before am already intoxicated

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

'I during looked Without creation

may affirm

emotion imperfect

the creation

of those

pages which

are generally

upon as the least

of my production.. artistic upon as lucid

state for any doubt the most favourable (that state which the uninitiated look divine fever) is simply

or lese a more

an extremely

phase of cerebral chary activity balance activity). talking rather

aotivity'(Casella)(18).

We must be

of automatically to conscious is equal In this about of that

states of unemotional assigning (Casella himself says the planes and unconscious the composer is not from the idea, is never type. are, but latter

between conscious quotation

the execution type

as divided

of inspiration

which

permitted But Strayinsky's quite

to subjugate

the composer,

the Stravinsky motif

manipulations as Verdi's and it

of a single constant

as inspired

renewal

of melodies that with

(Chave$'s

ezample)(19),

must be concluded one concerned crystallisation,

two tones of inspiration, there are the plane of their emotions, andt, on with the musical the intellectual

of emotions, and the other expression toner where manipulations of less

"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

'Inspiration the creative chronologically inspiration for-there 'Everything breath aot,

is

in no way a prescribed a manifestation, Stravinsky's is quite worth like careful it.

but rather seoond'(l).

condition that is on

of

discourse

in the Poetics is nothing is balance also

consideration, He continues the

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

Step by step disooveryl that

him to discover as well

chain that

to the emotion a flow closely of saliva

of the appetite that invariably

emotion

Taken strictly sort of pride

the phases of the creative process'. at face value, this view seems closer and pleasure mentioned

to the

have written, opening

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,

Dionysus Dionysian intellectual

really

associations tone his

of the

word 'inspiration'. would not,

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'

does not mean that

-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

$inspiration$

And I do not think

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

' does the

'The work progresses also forgotten, and indescribable gets 'into' may have been on reading to his it day he mind, rapidity come by for

an incomprehensible is forgedp'it but

exoitement'(5).

Thus when a composer really chain fired much inspiration, to write

a work an indissoluble constructed over, reads without the composer is

B; the next C springs

over A and B and immediately If

and then Dp and so on$ often and emotional the time instance# excitement.

in an ever-inoreasing inspiration has not

the composer needs to fulfill

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

TILE COMPOSERAND TILE UNCONSCIOUS 2

Souroe

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

Ibid. Loo. cit. 'Tohaikovsky', Herbert Weinstock.

(1952 Norton

Music and Imagination - Aaron Lectures), III. chapter

Copland

Aphorism of Schoenberg, quoted Hans Keller 'Moses and Aron', The Score Ootober'57.

in article

7
8

Stravinsky, p. 147.

Expositions

and Developments, Faber 1962,

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

Sibelius, of his fifth Choir of Muses, p. 180.

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,

Busoni = Letters under '1915'Schoenberg, Bliss, Letters Letter Style to

letter

15 16 17

and Idea,

'The Chestenian' edited Emily

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,

W. A. Ellis (article 1842, p. 6.

19 20
21

It

'Autobiographic

Sketch'

and Imagination1
Musical Thought

chapter III.
(1958-9 Norton Lectures)

22

Hector Berlioz W. F. Apthorp

from hie writings Selections by 1879i 'Musical Grotesques, ' p. 296.

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

Prose Works,. Vol. Musical Thought,

Opera and Drama, p. 268.

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.,

Lettera, letter 384-

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

Chopin's Letters, 1932, p. 30.

7
g

Schubert -A documentary biography, section '1818'.

Otto Deutsoh, in
Otskar Sourek,

and Reminieoenoesr Antonin Dvorak - Letters R. F. Samson, p. 87translated Letters 11 July of Edward Elgar, 1900.

ed. Percy Young, letter

dated

10

My Musical Life, Rimsky-Korsakov, J. A. Joffe, p. 193. translated

ed. C. Van Veohten,

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

Correepondenoe of Wagner and Liszt, dated April 1853. 1888, letter

F. ueffer

j1

14 15 16 17

Letter Moving Letters, Ibid.,

to Piorre/ into

Louj3 22 Jan. esaay'-

1895. Pernlioher Bekennti. ia.

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

von Weber by Baron Max Maria

Letters,

No. 585. and

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

in 1920. Firenze 1902),

(ed. C. Rossini - Letters 24 Aug. 1852, to Donzelli.

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,

p. 927. p. 46p letter dated

Correspondence of Wagner and Liszt# October 1849"

5 6 7 8

Ibid.,

letter

dated May 1859" Reminiao3noes, p. 101, letter to Simrook.

Lettrsand

Gustav I4ahler, Memories and Letters letter Basil Creighton, translated

by Alma Kahler, to wifop June 1910.

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

Prose Workap Vol. p. 183Style and Idea,

I# The Artwork of the Future 1849,

p. 192.

8 9
10

Prose Works, Vol. Style

II

Opera and Dramas p. 13.

and Idea p. 106.

and Letters of P. I. Tchaikovsky,

Rosa Newmaroh, Life loc, cit.

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

December 1830, Rome. Lost notebook

'A dooument4ry

biography',

THE PROCESS OF COMPOSITION

Letters 'Politik'

Reminiscences, p. 186, interview and (newspaper) 26. Nov. 1899.

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

R. Newmaroh 1809, Jan. 1928,

p.

to the Chesterian, p. 18.

on inspiration.

A Composer's Paul Hindemith, lectures), chapter IV. Stravinsky, Chronicle

(1949 -50 Norton 1935, p" 55'The Birth of

of My Life, Aquarius, 12 April

Tippett, Moving into an Opera'. Letters, letter dated

article 1917. p. 37(1870),

10 11 12

Towards a New Musiog op. cit. Prose Works, Vol. Vp Beethoven,

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

Message' I (Faber '57)

p. 16.
3 4 5 Je Buis compositeur, with British ohapter

In conversation Murray Schalere

the author. Composers in Interview p. 45"

Aotual

Notea

or

Shapes

Given

1A 2 3

Composer's Sohafert

World,

chapter

ZV. p. 72. p. 112,

British

Composers in Interview,

Richard Strausse Recollections in Kunio. 'On Inspiration Letter to The Cheaterian, of Tohaikovsky, Jan.

and Reflections# 1928. Wladimir

4 5 6

The Diaries

translated Notizen (Madison

Lakond.

Joseph Haydn, Biographische Vernon Gotwals, translated

by Griesinger, 1963), p. 61.

7
8

Poetics,

p. 55ed. Konrad Wolff, and Composition',

Robert Schumann, On Music and Musioiansl P. Rosenfeld, translated p. 36. Prose Works, Vol. VIA 'On Operatic (1879 Bayreuther Bltter) p. 170. Poetry

10

Period Acknowledgement of Preparation Gestation,

of

Tippettl, view'. Letters, Letters,

Moving into

Aquarius, (1778).

'A Composerta'point-of

2 3 4

number 286, p. 1542, with

(1826). Stravinskcr, p. 132.

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.

International 389. from his writings

Journal

of

by W. F.

The Life of Hootor Berlioz, Berlioz, (Everyman'e Library), p. 158.

ed. J. M. Dent

10
11

Prose Worker Vol. I, (1851), p" 301.

Ibid., Autobiogrophio

'A Communication to My Friends'

Sketch (1842) p. 17.

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

J. Barzun New, Letters'ed. Berlioz, dated November 1835letter

to Anton"Seidl, Letter Mahler, Morgenstern op. cit. translated

(Now York 1954),

18

17 Feb.

1897.,

19 20 21 22 23 24

The Life

of Hector Vol.

Berlioz, III9

p. 1451861, P-308-

Prose Works, Moving into Prose Works, Letters

Zukunftsmusik 'Persnliches

Aquarius, Vol.

Bekenntnis'. 1864i dated p. 5-

IV 'On State

and Religion'

of Brahma to Clara Expositions

Schumann, letter

July, 1896.
Stravinsky, and Developments, p. 135.

11

Conscious

Preparation

for

Inspiration

1 2 3

Marganita Busoni,

Laski, Letters

Ecstasy to his

(London 1961). Wife, p. 99" 1901, translated

to Raoul Bardao, Letter Clef', in 'The Literary

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

in The Sackbut, p. 205(Paris 1948).

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.

compiled and Reminiscences G. Thomsen, p. 188.

12 13 14 15

Blooh, programme notes op. oit. p. 414. Baron Marc Weber, R. J. Buokley, Sir 'Carl

1933,

quoted

Morgenstern

Maria

von Weber'. 1905, p. 75. dated 'Husio

Edward Elgar,

Letters and Reminiscenoeep 23 September 1985.

p. 100, letter

16

XXX no. 1 (Jan. 1944) artiole Musioal Quarterly Poetrys Problems of a Song Writer'. and

17
18 19 20

'Hugo Wolf'. Ernest Newman,

Style J. Idea, 'Composition and with twelve tones'(1941). 69-70. pp. Brahms (1911), p. 114.

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.

Memories and Commentaries

of Musio, 'how

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

On Mueio and Kuaioiane,

Quoted by Sohoenbergg Reoollootions Style

p. 34Style and Idea$ p. 170p. 112.

and Refleotiona p. 109.

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,

The Easenoe of Musiog p. 132. Musioal Thought, p. 36.

3 4 5 6

Roger Sessional On Kunio Maurice

The Composer and his p. 38-

Message (1941).

and Musioians, Ravel, Esquisse

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

Lotteral Ibid., Letters, Chopin's Lottore, The Life Letters

number 339number 426. letter Letters, dated in October '1818'. 1842.

number 238aof Hector Berlioz, p. 84Schumann, letter dated August 1854-

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

of a Nov Esthetic V, 'Beethoven'

of Music. (1870), P. 72.

Prose Works, Vol. Giuseppe Verdi, A. 0berdorfer, 2 May 1885.

dalle Letters, Autobiographia ed. (Milan 1951), letter to Count Arrivabene,

13
14 15

On Musio and )usioians,

Prose Worka Vol. I

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

Lutyens in Schafer, p. 106. and Reminiscences, II

20 21 22

p. 90.

Prose Worksg Vol. Ibid., p. 316.

Opera and Drama, p. 307-

15

Stimulus

of

Muaio

1 2

Autobiographical Dvorak, Letters

article

(1921)

in Tempo No. 13i p" 119.

1939-

and Reminisoenoes,

3 4
5 6

Memories and Commentaries, p. 110. Letters

Chronicle

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-

No. 219 (1777).

16

Ob eots

1 2 3 4

Baron Max Weber, According

'Carl

Maria

von Weber',

83p. chapter VIII.

to Honegger,

'Je Buis

compositeur',

Memories and Commentaries,

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.

on Music and Musicians,

Letters, Letters, Letters letter letter to his dated dated

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,

Letter to wife 1883 translated The Literary Clef, p. 75.

18

Event

1 2 3 4
5

Prose Works# Vol. Letters of.

I,

Art

and Revolution p. 130.

(Paris

1849),

P. 38-

and Reniniaoenoesp British

Schafer,

Composers in Interview, p. 260.

'The Birth of an Opera'.

p. 116.

On Musio and Xuaioiansp

Moving into Aquarius,

The Listener, 30 July talk by Britten.

1942,

'How a Musioal

Work Originates',

Letters,

p. 948.

19

Fine

Arts

1
2

Letters,
Stravinsky,

letter

dated 16 October 1830.

of my Liter p. 78.

Chronicle

20

Literature

Selections D3rlioz p. 28.1

from his

writings

by W. F. Apthorp,

2
3 4 5 6

Condensed and translated

liana Keller.
to Grand Duke Leopold

dedicatory Correspondence, Coll. Tosoanap December 1767of Esquisse autobiographique.

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-

Prose Works, Recollections Concert review

and Refleotionsp 1838. Louis Spohr" p. 91.

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.

p. 278letter dated 28 August 1831translated

K. von Hellborn, A. D. Coleridge, The Life

The Life Vol. III Berlioz,

of Franz $ohubert, p. 160. p. 117.

of Heotor

The Letters translated

to Marie zu Sayn-Wittgenstein, of Liszt A. E. Hugo (Harvard), p. 250.

22

story,

situation

1
2

In Suzanne Langer, Feeling

and Form p. 159"

chapter 20, quoted

1722, do 1'harmonie Rameaug Traits Source Readings$ p. 564. Strunk,

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

Saint-Saena, Kusioal Boston 1919, p. 74Copialettere di

Be Gile Riob,

Giuseppe

1854 aeotion.

Reoolleotions

and Ref1ootions3

'Elektral

1942,

P" 154"

W'eberg by Sir Julius

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

dated May 1855.

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

Aimsky-Korsakov, The Life Ferrandp

My Musical

of Hector Berlioz, January 1832.

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

Zillig, quoted appendix.

'Composition

14

Towards a New Music,

op. cit.

p. 37.

24

Autobiography

1 2

Musioal

Thought,

p. 5. remark, p. 3Z1 part II.

Compare Copland's

3 4 5 6 7 8

Objet L'Impoasible Pierre Boulez.

in Domaine J4uaioal,

edited

Baron Max von Weber, Carl`Naria

I

von Weber, preface. 2 February 1957" to Kossmaly, 1843-

Quoted in Manchester On Music and Musicians, Letters

Guardian

p. 259r letter p. 190.

and Remirisoences,

Prose Worksp Vol.

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.

to Frau von Lippenheide, from his Writings',

'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

July 1831'The Artist'fl Mandate'. 41

moving into

27

Compulsion r

1 2 3 4

Prose Worksq Vol. Ibid., looe oite Life Style

It

The Artwork

of the Future,

p. 131-

p. 192. and Letters, and Idea, p. 306. 'Criteria for the Evaluation

Tchaikovsky, Schoenberg# of Music'. Stravinsky, Cyril Scott,

5 6

Chronicle

of My Lifeg

p. 283p. 1.

The Philosophy

of Modernism,

28

E eotion

1 2

Correspondence Aaron Copland,

of Wagner and Liszt, Copland on Musio,

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.,

P. 357Wesendonok, Venice. Gilson, translated Maisie Ward.

to Mathilde

of Muses, Etienne

29

Conscious

Calculation

1 2 3 4

Vaughan-William,

The Making of Music, chapter III.

p. 22.

Music and Imagination, Style and Idea! p. 51-

to Nicolas Letter 'Benjamin Britten'

Slominsky, p. 344.

quoted

and translated

H. Keller,

5 6
d

Roberto

Gerhard

Quoted Rufer, Stravinsky,, p. 164-

Composition p.. 26.

with

Twelve Notes.

Conversations Chronicle Poetics,

with

7 8 9 10

of my Life# 80. p. with 51.

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

Prose Works, -Vol. Prose, Works, Vol.

Ip The Art-work II

Opera and Drama, p. 36.

31

Com-oosers

Advocate

Consoioua

Powers

1 2 3 4

Hindemith, Stravinsky,, Letters

A Composer's Chroniole

World,

chapter

II.

of My Life, p. 195.

p. 283-

and Reminiscences, 23 July

to Benedict Letter op. cit. Vincent d'Indy,

1824 quoted (printed

Baron Max von Weber, 1943. Liege).

5 6 7 8

Le Bon Sons. Xusioianst

on )Qeioand

p. 78. 181.

The Essenne of Musiop p. style Ideal and p. 106.

9 10 11 12

Conversations Humphrey 3earle, Times, 19401 p" 405Prose Works# Vol. On Music III

with

Webern, Musical

Opera and Drama, p. 268. p. 51. letter to Mae von Mock,

and Musioiansp

Life and Letter 24 June 1878-

of P. 1. Tohaikovsky,

13
14 15 16 17 18 19

Letter 1856.

to Princess

Carolyne Sayne-Wittgenstein,
p. 40-

12 August

The Essence of Musio! Oxford

Companion to Musioq p. 202. III#;, 'Zukunf tamuoik', 1845p. 291.

Prose Worker Vol. Burrell Collection,

dated

Casella, Alfredo The Chesterian, Musical Thought,

to symposium '0n Inspiration', contribution Vol. XIS January 1928. p. 31.

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.

'The Chesterian' lea. cit.

LXS January

1928,

On Inspiration.

and Letters,

Part

II

TAE COMPOSER AND 1113 AUDIENCE

THE COMPOSER AND HIS

AUDIENCE

Desire

to

Impress

Once again belong

it

will

be seen that of attitude, in their

composers do not but rather have Kost ycu g they ith

to any one oategory of every attitude in

something composers have full technique

make-up. before to impress -

show a strong confidence or with

desire

to impress

themselves

what they

have to say. the oomposer was intrinswith the feeling of at of

ically security

In the days of patronage though bound to impress; and success the desire

such as Haydn soon experienced fades into a different sort

Esterhasy, relationship.

confident, 11 ras interested

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,

and whose concerts not outdo its me.

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

met with highest Encore)

peak at the Andante sounded in every me on the idsa'(l). matters and

himself

complimented

and incompetent dazzling

in worldly

one seourity

was his

desire well) him.

and it was this he wrote Tcr instance,

This oonstant genius. (then all would be and astonish in part, desire, which stimulated 11 Seraglio to impress the and ooming to Vienna

Grand Duke of Russia

who was shortly

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

The sound of applause

runs

and such sentences I can do in an Italian what that auch a profound under himself the world

as 'indeed

paradoxical have felt

and unworldly rather

man should

than above it.

-2-

Similarly in his dazzling early

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,

surprisingly lightly fortified

he frankly

'Such,

won success my views

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.

when he tells singing

my career that talent

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

a more or less or ideal, whereas

dependence on an the latter, the minor strong

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

son 'was one to hie 'deeply Mozart to of -

of his wife

tenderest of

points'(8), 'brilliant applause

and indeed suooesi', etc., yet

letters being as with

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,

he had an overweight espeoially, of course, to his

of the in the deaf brother

autonomous attitude, period. 'my art

Yet in 1796 he wrote is winning me friends And this time

youngest

and renown,

and what more of

do I want? money'(10). 'I

I shall years

make a good deal he wrote

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

of the publio. xaferenoes this

he considers

a virtue illustrates

musically

music but also

oommeroially{ be seen as an evolution should reaction against) audience-regard,

our point that autonomy from (or sometimes the desire for praise.

If
worshipped great simply that

Beethoven gras the first

as a leader oft it was partly und contempt

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

and was even prepared (12), as Chavez calls

to undergo itg in order

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

duokp fool There is element

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

more philanthropic been expres3ed

than the by .. o

has frequently ('music ...

oomposors from Mozart never nature

must please, the hearer

ceaso to be musio'(l) pleasing! giving

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.

we composers were in Moreovert an entirely new

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

once be a source with affairs, This was he.

from which can derive a powerful wrote little 'I

the care-worn,

or the man burdened and refreshment".

a few momenta' rest motive to press

esteem'iyself wherewith

onwards ... '(5) that most fortunate I can give

And later

Qod gave me these to the

talents

satisfaction

amateurs neighbour its

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

the title-pages Epitre Bonheur, essere Versuch Societe tribuant felioita

of the days Bonheur, sulla stets

Boaheuri Warta

our 1e Bonheur, Essas sur'le felioit Disoorso Kunst ubor die civile

Sur la Vie Heurouse5 Della felicita, frolioh

Systeme du vrai di

Die Oluokseligkeit, zu sein, Traits do la

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

'From my earliest poor suffering humanity

ohildhood

my seal

to serve

our

in any way whatsoever

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

in several by a oertain that it like

of my oomplacenoy is totally my

compositions by insufficiently and

is

probably

clear ... for

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

oountry'(Prokofiev)(8). 'Only froin, the fellow-longing force directed

of others, to feed toward his

and at (oomposerts)

skst;,, manyq can spring'the of . higher effortp his effort

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

are typioal. roitatives

Mozart

reoitativee popular'(1Q).

are now vory

Of Prinoe Beethoven wrote

Nikolas in 1824,

Galitzin'a

enthusiasm

for

quartets,

'What an inoontive

to promote

the composition

of such works'(11). 'The geieral'and sixty-nine my another undeserved year

Haydn wrotes . of my Creation I have dared

suooess that

so"inspired to compose yet

old soul

one, The Seasons'i(12).

'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

works was not

chargeable

publio1(15). a crowded

'an effective ensembles

ending

in'opera

...

make bad 'curtains'

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'

... a solo or fortissimo or gives the best of typical letters).

in these

Honeggor can tell in this

what will

please

the audience

I sit "After for

'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

Self-Delight) r,a sentence the terms person of

into

their

porspootive, 'Dialogue

by Carlos

Chavez,

and Monologue

tho oontradiotion, to him--elft are the fruit that, his

the monologue of a first enjoying by himself whatever abilities, the

speaking

achievements enjoying creative realisation the creative

of his

own creative

the more fact art,

in accomplishing

pregnancy

has ended in a sense of and the dialogue - with this public derived the intense of -

and self-satisfaction; artist - first person

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

When a composer desires and therefore vision original,

to be more truly

himself

be frequently enjoying

has to abandon the for is a

of packsd halle

what he writes attitude that

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

come parts of cannot fail

the satisfaction learned whyl(1). circle knowing a small

$connoisseurs to be pleased, kept lovers fioantlyq written little other

without 'for compositions

and he of music-

and connoiescurs'(2). the exact bits for

Conversely

and signihas in

a composer of our own ages ilindemithp opposite and professes to slip

the non-oonnoisseur(3).

There are odd examples addressed Stravinsky's to an elite, Symponies

of compositions

confessedly and 'those

suoh as Strauss's of Wind Instruments

Capriocio (for

-9..
and requests
straightforward complexes, is

strongly

to be spoken to in a brief
'Mature people intelligenoe

and
in

' ... and the higher their language. with

think

the number of units

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

and need and strive seekers to write

the now and the unknown, we naturally few, are'(11). but the

as the incurable This is

of new truths for

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

The almost to before

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

or Brahms Wrote early

(Bimsky-Korsakov
as for instance

similarly
Mozart his

with Balakirev
father(4) (it

(3))

or to please

wrote

one symphony in D Major was Leopold's

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

composition, new desire

I am filled work ... only

some large commence Si ried vibrates and scoring, please

the music of my 'While how this with I am and the

my nervee'(7). of you, dealing

composing other Liszt only will quite

you;

I am always

you'(8).

obviously

had an enormous effect the Dionysian that it

on Wagner, not of' to

because he understood art and realised he must go his for

excitement

Wagner's

was no use trying composer desires

change him,

own supreme way. what every individuals

He was one of and and I must turn

the few who qualified of whom Wagner vrotes ask them whether it with wrote possible his for they

'To these love

me ... enthusiasm and his

me ... sufficiently to be rnysslf'(9). Liter money, was another;

... King Ludwig, Wagner

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-

man audienoesp might have rapidly

we have earlier

Debussy wrote doubtful oountt you it

I am of myself. to give me strength.

I need someone on whom I can When something of mine pleased

gave me atrength'(11).

Janacek was one of the few in a vacuum, even to him, but he

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

in a fairy-tale. urging scarcely me on.

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

beginning to have some purpose, hve., You given me strength'(12).

in my mission.

5i
The fluse She is it is

The role both the stimulus

the muse is of

a more oomplex one.

of the work and the audience

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

other-worldly the deepest inapiratioh.

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

and consequently In music,

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

to the present the impulse me when Then there and that is

day (1851),

to artistic

is

the less

active

muse who simply

enough.

For Gluok there

was Madame de Vainest

-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

'Has she still her in my mind's sufficiently success

beautiful

eye,

when I am working she must contribute Tohaikovsky example.

inspired] of my operae'(4).

and the unseen

Mme. von Hook are another

There in evidenoe of the influenoe

Beethoven's the grain celibacy generally. a possibly istically creative life, but in general of Beethoven's The only spurious idealisings metaphysical

of women in
this runs against (he swore emotion is letters

outlook,

as a young man), and his really relevant

contempt

of feminine

passage in his

passage which is nevertheless characterhe writes to Josephines 'Ohs who can

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).

3imi1arly became Berlios's life; Harriet

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

Shakespeare's later life

married,

he would look to that archetypal Fantastiquen.

back over

the wreck of their

marriage

image which had once inspired

"Symphonie

Wagner and Mathilde Chapter hers 27. Suffice it

we have already these lines of their

disouseed

in

to quote

Wagner sent relationship

testimony

to the idealization

Tristan to 'discover' und Isolde, whizh whioh was used intolerable to heal and embalm their anguish latter was used

and ecstasy s"

`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

I lay at thy feet.

they may give

Who has raised

praise to the angel ere co high'(7).

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

to share his ideas distinction artificial 'the

etc.,

between the mori

referential, being' and Night communicate with

tempo and energy

on a Bars Mountain, people,

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

making themselves not

understood

'at astonishment (unlike men of

-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

when the second

Desire

to

Ignore

Audiono"

As a postscript an awareness partly of, yet

we may add a few remarks from, the audience. of too great desire the dangers

concerning This is

aloofness,

a tsaotion Verdi, his that

against

a desire

to please. and capture naturalness

who exhibited reacted the same thing

a great against created

audienoeg

to please the loss of fellow

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 day will

(the

Wagner, near the end of his thinks of (the Publio), artist)

life,

wrote 'the lese and devotes himself

-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

Didapti ia..., Aim fluent

and make3 actual partioularisea Because it partioularises states. it

... and because

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

may do some good'(6),

charity

was clearly'expressed spurred

and a massive hope in the future'(7) in the First Symphony, must have

him on time and again.

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,

Wagner had this

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 spiritual new life,

of Nature

redemption

Mankind a second speech in with

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.

ecstatically fin an oppressed robotism by petty

hails

indeterminism creative

universe

abuses of power'(11).

Hindemith divides attitudes

other. 1. That deriving into

man's approaoh to musio into

from St. moral Augustine wherein its

two each
sounds 'music

be combined and balanced against whioh should

power. We receive

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

aotivity toiarda This

and use their everything is akin

our souls

to the Apollonian grasp,

understanding, a wider and greater 2. That deriving to vhioh it aspires.

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

and musio as an experienoe Augustinian the Boethian Having now turn

the unoonsoious of heightened existenoe.

oommends understanding and experienoe. Boethian ones. book 'Orpheus' 'Musioa nihil

and knowledge,

attitudes

above,

let

us

to Augustinian

Respighi quotation

heads bis

with

this aliud set in

from Trismegistus soire'(14).

quam omnium ordinem order to know,

That is

the aims but or

one must be taught,

and teacher

messenger is defines teach

the role

assumed by many composers.

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

of the human hsart'(16). only to deliver

Schoenberg

defines

a message to which fills a

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

the most famed Italian the seriousness

prinoipallyt sort

and gravity

vogue and reputation -'tis time now, should

among our Countrymen, begin to loathe

whose humor, and

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.

do-nothings' Reoentlyp not too, dust

who are Rossini,

and Donizetti qualities

oomposere have oalled the musical

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 sign of a renewal in the individual'(21). musical)

2. Desire to Move Audience through

The aim of moving an audience been voiced of words, title. rooooo more often or at any rate

music has the use suggestive

when the music involved the use of a strongly throughout

The aim was prevalent opera, only and Gluok wrote as the art

Baroque and the ear but

in 1777 'As I regarded

musio not also

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,

whence start Through feeling That ie

and whither

the waves of life-blood. tone urges of its forth from the

the sense of hearing, one heart of the important

to the feeling thing,

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

can only into

imagination

aotualityl

extraordinary-that

such as l4allarme' should

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,

Wagner brings mentioned

above

oommunioation-through-feeling of our of emotional impressions,

Is. desirable and therewith

emotion'(5).

Sohoenberg opinion that

in his

assay on Mahler can produce

expressed no greater raged

the effect

Ia work of art transmits

than when it creator

the 'emotions,

which

in the

to the listener

in such a way that and'Hindemith avoid having

they also says rather emotional to neglect that with certain

rage and storm in him'(6), coolly, reactions, them'(7). his 'the listener the mueioien

cannot

must not attempt

He goes on to show the composer calculating effects the knows by experience correspond part. his

emotional

certain emotional these

patterns reactions

of tone-setting frequently

on the listener's and finding the listener's

Writing observations reabtion he

patterns

confirmed, believes To hold but

in antioipatig himself

to be in the same mental is not only

situation'(8). for it

such an opinion

to be over-aesthetic

in Hindemith's the Doethian

omits

case to be self-oontradictory, element.

Beethoven's be emotionally
women'(9)), recommending that

alleged

stirred
a different

opinion that one should not by muaio ('only suitable for

fire one's mind, is only type of emotion. When one's

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

symphony and a Wagner awningsp both

music-drama involve arbitrarily, Wagner uses spotlighting in terms that

or between their.. intellect +tnd

spiritual but

feeling

the mind is# perhaps predominantly. thus be answered as good as in, two ways, Artist) is

distracted

by one aspect

she word understanding (the the argument 'if

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

In this view that

section

we will

discuss

the creative its

music depicts with will unity in fellows

the essence

of the world;

relationship Audience' Dionysian is lost his

the heading

'The Composer and his as we consider of essences; the the individual not a are only

become apparent of the world but with

the universale

the composer mingles all oreationg his he feels

with mystic like

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

Wagner must act

an guide

as in his

writings

-21thin is attitude is most profoundly philosophy and clearly statedi it

the Core of his

and beoause of it Dionysian of all

he bale music.

been called 'There

the most extreme

are abnormal

natures

in which' the ordinary iss the brain originally of in the -

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

the purpose receives

case of an abnormal impressions striking itself

such vivid from outside that for

and such a time it

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

to a sympathy with This

wille their own

sakes and no longer interist'(1). superabundance to 'grasp

was Schopenhauer's and enabling in its

any personal 'genius' with his most immediate

a, art

of will

men through

the Essence-of-things as it were to read beheld

manifestment, musician sleep'(2).

had himself

the vision which the in deepest (metaphorical)

The nature in the course oription at this

of

'essence'

must be allowed any definitive

to emerge desand so

of these stage

quotations,

is bound to be incomplete

to mislead.
ll.

Music

The

Esseme

Or

Things

The oompoeer must have two abilities;

first

he

be able to, peroeive must

able natural to impart his

ea$enoes and aeoond he must be

poetic gift inner image the phenomena presented an

through music. 'His perceptions is the faoulty of condensing into to his senses

rr2

2w

from outside= outwarda'(1). he thirsts too. thou

his

art i, life,

that

of projecting true other fount

this

image

'Not for'(2)

but life's

is what for it

and knows that

men thirst

S0 imagination! inexhaustible drinkl'(3)

thou greatest well-spring writers 9ohubart,

treasure

from uhioh

of man ... artists as well or it is

as savants fount is

and the well refreshmentp grail

a common image of spiritual linked with

in many literatures source of spiritual

the holy

as the

perfection. the second ability as the art the unconscious image of an object presence is arouses in the the nearest

Rousseau describes of that 'substituting for

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

women but to the entire world where 'movements'. is in visionary perception

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

was not a single, cry of lofty

him to utter

of joy#

oomminglinge voices

of creation

songs above us ... with him'(6). stirred

Schumann, although objects,

it

universal inspired itself feels itself

relationshipa, of languages, at home'()

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

brotherhood there where Liszt on this

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

supremacy lies one against

pure flames heart

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

now shows Himself actually from 'the

Only in music ... brushing

does feeling, us ...

and radiantly

present,

away

moments his of this view that

yoke from our furrowed remark tank

brows'(8).

Thinking fegel's

and of Rousseau's 'The special

we may quote

in presenting in

any content the way in which it becomes alive

of music is that, to the mind, it presents it in the sphere of

.. 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

the most inward

'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

away from its

of ordinary aooidentals, to its

upheaves

and sublimates

whatever content

quintessence

of emotional

to which expressing Likewise ttated,

alone Busoni

can Music give held that

a voioe'(ll),

music would say. a oonoenlife'(12).

the pure will

as Schopenhauer opera should

create

essential, that consciously In his

'pretence which

world ... presenting is not to be found in real to the text' approval 'The

essay

'The relationship with

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

in sound ... beyond the superior toi more

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,

feolingo'(15)(8travinaky). truth rather into

unrevealed musio,

with

the crystallization is something strong nised Spirit until it is of Music' in their

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

as in Nietzsche's vague essential and thus

crystallises believe 'tragic'

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

orystallised in his only during

were only the real

libretto that

enough,

essence

of-my poem is revealed which had been in consequence

Everywhere. hidden

I discover

secrets

from me# and everything more impulsivel(16). is referred

grows more passionate, It is

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,

to in Auch 'The musioal

Art

Fefleotion

of

Life

This that it is

mootion life

diffore

from is

the ones on stimuli discussed# on a deep,

in

as auch that rather

essential Wagner may be permitted

level,

than speoifio aspects to set the tone with

of life, this striking

-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

in the soil in its

to grow into inner, life

resembles the parent

of actual

objectification'

'Art life'(2),

is wrote

subject Strauss;

to the selfsame this

laws as ever-changing quite literally

has been taken

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

and of a people'(Strauss)(4), appears fashions

to man, a mixture

and unchanging of his

of changing needs and 'The art of and patterns. to transmute into the sub-

music demonstrates stance

man's ability experience

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

There are also others imitative

those

(like

Mes3aien, life

and many

old and new) who rofleot way, it

in a more direotly though the ideal

has not been sifted

-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

a new aspect. return

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

are not new laws'(12).

21"

Communion The 'healthy

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

more probably with

was atavism,

himself

and earth. Similarly many of the great nationalist

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

with and without in any case he was 'drenohed from with

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

passageel at first, clang subject. with tints

but more and more clearly corresponding everything

to the various

...

was somehow in peculiar of mind'(7).

my pantheistic

frame

And he goes one

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

because in pantheism not

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

to and united with in wonder and magic.

the artistic

mould of Myth'(9), has been clothed he said 'already

in other I lived

bare feeling Writing

in the 'garments, of a story. entirely

R

Tannhduser

the longed-for, However,

now soon to be entered,

world

of lome'(10).

when he got back, from Germany was far too ideal for in its actual reality,

whatever be expected 'This Some# real lifer

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. -

are the two key words'(12)

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

and the vulgar, In this earth. ; zopagation h.+vs already aeatbetic

childhood

exception

sense the artist's is

generous

and idealistic and we

of brotherhood discussed

a childlike

aotiong

what regression

has to do with

ezperienoe. The continuing of a past $It is culture for

significance inherited in this

a man, its testified

magically to by Bloch which

presence passager

in beautifully ... the

Hebrew spirit restless, spirit the freshness violence

interests I feel

met the complex, pulsating through of the Patriaohs,

ardent, the Bible, the love of

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

the Hebrews for Eooleeiasteap

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

me and to translate of my race which is latent further in himself,

And Debussy went still of freedom and individuality

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

and nerve history, living

we bend our ear to the heart-beat the sound of that sempiternal under

and oatoh waters,

however buried which yet pulses

the waste-heap its

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,

That was really

The attraction came after

audience

of the new composerthe realisation that here to be explored; musically, for

in folk-music that

was a new psychic

territory both

was the exciting was beginning and also

new discovery

tonality foundations

to become stale

as a structural

was a 'hitherto tically depth level, repeated)

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

of mind vent with all its

connotations. profound

movement was nevi differences grasped

psychological be perfectly harmonisation

from the classical glance folk-songs.

era were will at Beethovents

by a cursory

of Soottish

it.

Commingling ing From the brotherhood to the brotherhood of the soul ...

With

The

Word instinots. -'Music musical is

of radial

we move a cry work are

of human instinote. Performances of a great

for us what the rites

the ancients human soul'(Delius)(1)..

and festivals
into

of religion
the mysteries

were for
of the awe

an initiation -

Note the sense of religious

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

Wagner brought figure

conscious real

representation

of Siegfried,

naked Man, in whom I might within his of of the type

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

of human nature burn with a love

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

yearning can only

may soar above the limits it with the imprint stamp

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,

subjeotp connects job

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

to portray the loam (Boden)

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.

Faelin g As to be found know that so long I can certainly

aesthetio: it.

as I can sum not create

up any experience music about symphonically

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

peak in Wagner's feels one forthwith, thrusts Hearing

Beethoven

of individuality{ through which

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

whereas the clairvoyant

has to

-32alternate the higher with a perpetually recurrent state of individual

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,

composer who wrote 'I will Soriabins to live.

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;

was wirr suchen ist

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

searoht each new *Who am I? " to the question and

words, self Jungle

narrow which

is nothing, with the -

larger

whole world, it is what, in composition, satisfaction satisfied reason,

sea-bed,

is what we seek for its in life as

at heart,

we are.

We find process just

by the simple or dissatisfaotionc

of experiencing as a composer is definable our souls

with

a discovery something

for

no completely harmonises with

so in life

and causes us satisfaction. Beethoven was more an Apollonian by nature,

-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

idealism, them into 'dwarfs'

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,

the world he saw all

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

and unimportant. or rather,

himself,

G tterfunken'

became increasingly bar the saint

His narrow within. irksome to him, for no himself efforts completely were directed

can detach

exigencies# the perfection

and Beethoven's of his art,

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

he had no energies behind: body was awkwardly left

the world becomes ... of he stops themitselfs to him a quieter

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

as ... it does in the case it does to resignation;

its nature philosophies: and religions to artists. especially well-knownt In all brotherhood, it this is discussion perhaps

is vague,

about mingling that

and the word

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

work of Eros. another

libidinally;

ooaimon work, division

of all instinct emphasises the profound

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,

... hand I too,

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

Wagner abstracts aotivitys for this

particular

object,

Thus doss the egoist

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,

shape to new art his fellow

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

of my own activity The belief

as composer'(23). in all archetypal

in fundamental of course,

patterns

existing

humanity

includes,

the above-mentioned every

humansg 'the partake

purely-human'

of which

hero in opera must

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

the urgenae longings internal thrust despotic

to my own need, viloh

back each alien mastery'(25).

effort Similar

myself from its may be found

from the other

music-dramas. than anyone in

Nietzoohe 'The Birth plus-music. two kinds

wrote

more olearly

of Tragedy' 'Dionysian of influenoes

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

and secondly, in its fullest forth I infer

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

THE COt1PO1EIIAUD 1113 AUDIENCE

ire D, toIm2rea, a

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

1962 p. 36. von Weber.

von Weber, by Baron Max guru to Dansi. edited Emily

Letter

of Beethoven,

Anderson 1960, p. 16.

11
12 13

Ibid.,

p. 1357,
Thought (1958-9 Norton Lsotures)

Carlos Chaves, Kustoal Ch. V. Robert Wolff.

Sobumann, On Music and HuBiOlAn, 81 Ode Konrad Trans. P. Rosenfold; p. 247" Desire to Please

1 2

Mozart's

Letters

No. 426. Languagep 'Our

Nesoaisn. The Teohnique of my Nusioal Olivier 1944, Ch. I. translated Satterfield Aaron Copland, New Muoio'. 'Autobiographioal Sketoh' from

4
50

Hindemitb, 'A Compooer's World (1949-50 Norton Lectures) Chapter 6.

Correspondence 1i. 0. Robbins Landong Collected London Notebooks of Haydn. p. 209. and

Ibid.

Letter

1804.

7
6 9 10 11 12

Beethoven's Letters p. 334"

Xuaios Doouaonta (1948) quoted J. Dartun on Soviet 'The Pleasures of Puoio'. pp. 330-332" prone Worka# Vol. Uozart'e Letters Coil. Letters III. 'On Musical Critioia'(1652 p. 63.

No. 3006

of Beethoven p. 1292. Correspondenoe Haydn, p. 162.

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

Wagner, Prose Works Vol. Correspondence Uoffmannathal. 22.10.1907. Honegger. Chavez,

between Riohard Strauss and Hugo von dated Trans. P. England 1927, letter Ch. VIII.

17 18

Ja suss oompositour Musical Thought* p. 6.

1951.

For Connoisseurs

or

DiQotp1es

1 2 3A 4 5 6 7 8A

Mozart's Ibid.

Letters, N. 541.,

No. 477-

Composer's Stravinalgr, Musical

World Ch. II, Chronicle of my Life 1935, p. 157.

Thought,

Ch. V. 1959.

Stravinsky,

Memories and Commentaries

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

and Idea p. 55.

Musicale No. 3, -August on Nothings p. 131. One Person in Mind

1959. John Cage,

Kozurt's

Vetters,

No. 431.

2 38-. 4
5

Letters

of Brahms to Clara Sohumann; dated Nov. 1853. Life, p. 72.

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.

Correspondenoe Ibid., Ootober

9 10 11

Ibid.,

Ootober

1849" IVY 'To the Kingly tran3. Lookspsieer, F`riend'. The

Wagner# Prose Works Vol.

Letter to K. Vaonier 1887i Literary Clef# p. 96.

12

Lottere

96miniscanoea, p. 118. and

The

Xu4w

1 2

of. of.

Letter

of 2. Cato 1891.

Kax Weber op. oit.

3. 4 5
6

A Co=unioatlon Cluck op. cit., Letters

Chopiri'e

to my Friends# Vol. letter to Cuillard,

I p. 294. June 1778.

p. 112.
Letters p. 29.

Letter to $athildo Pay 1857.

Wseendonok, dated fit.

Sylveotor's

Deairi

to

Shtr

1
2 3 4

Guiseppe Verdi, Autobiographia chile 16 July, 1875 to Count 4rrivabene.

Prose Works Vol* Copland# Kunio YID Publio

Lottere,

dated
p. 66.

and Popularity Cho IV., ohapter entitled

1878,

and Imagination,

Moving in Aquarium Tippett, Composer and his Public'.

'A

moral

or

D1daQtio

Aim

I 2 3 4

Coplsnd, Kuala and Imc4-inatlon, Lettora, 1o" 205.

Ch. VI.

COlleoted Correopondenoo, To Charles OokI 1801, P-187aohubert -A 16.6.1816. documentary biography, Entry in diary

g
6 7

Letters of dvard Elgart edited Peroy Young, letter dated 29.6.1910.

Ibid., Ibid., letter letter dated 17.7.1903. dated 13.11.1908.

8 9
10

Prose Works Vol. p. 278. Ibid.,

III

Preface to The Ring poem - 1862, and Art, p. 249entitled

Vol. VI Religion

Moving into Aquarius,, Tippett, chapter 'A Composer's point of view (1945)"

11
12 13 14 15

Inoontri Muaioali 'Alea' (article).

A Composer's ibid., Ch. I.

No. 3, Aug. '59. Pierre

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

On Music and Xusioiane,

Style and Idea, chapter Evaluation of Kueio. Ibid., ditto.

Aphorisms.
entitled Criteria for the

Letters, Appendix, and Royal Theatres Prose Works, Incantri 'Poesia Vol.

'To the Direotore in Vienna'. VII, A National

of the Imperial p. 355" Berio -

Theatre, Luciano

Musioali e musics

No. 3 Aug. '59, un 'esperienza'. -

Desire

to

Move

Audience

1
2

Gluok, Collected October 1777-

Correspondenoet Letter

to Jean Suard,
by W. F. Apthorp,

from his writings Selections Berlioz, 1879. 'A Travers Chants' p. 357-

3
4

Prose Works Vol. P. 73.

It

The Art-Work of the Future 1849,

For

Prose Works Vol. III Opera and Drama, p. 120t* disouesionp further of. Vol. III p. 338"

5 6
7A g g

Ibid., 8tylo

Vol. I, and Ideal

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

Wagner, Prose Works, Vol. my Friends', p. 1.

I#

'A Communioation

to

ESSENCE OF THE WORLD

Introduction

1
2

Correspondence of Wagner and Liszt, June 1855Proee Worka, Vol. VP Beethoven

letter
p.

dated
75.

(1870),

Music

the

Essence

or

Thin

I 2

Wagner, Prose Works Vol. Ibid., Vol. VIA The Public

II

Opera and Dramas p. 152. in Time and Space.

3
4

Schubert -A of 1824.

documentary biography,
Easai

Lost notebook
I des languea

Jean Jaoque Rousseau, 1753P p. 235" From a notebook

our 1'. origine published

5 6 7 8

of Beethoven, p. 96.

by Nottebohn.

On Music and Musicians, -Ibid., p" 40.

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

Prose Works, Vol. p" 249"

III,

On Liszt's

Symphonic Poems,
R. Ley. From

Busoni, The Essence of Music, 40. $Now Aesthetio'p.

Trans.

13 14
15 16

Style

and Idea, p. 1. in

Vaughan-Williams, The Making of Musio (Lectures America 1954) D" 4.

Expositions and Developments, p. 101 letter dated

Correspondenoe Dec. 1856.1

of Wagner and Liszts

17

Conversations

with Stravinskyo

p. 15.

Art

Rfleotion

of

Life

1 2 3 4 5

Prose Worko, Vol. Rooolleotion$ Cf. Interview, p. 9.

I# The Artist

of the Tuturev p. 16.

p. 197-

and Rofleotione, recorded with

Turangalila

Symphony.

op. oit.

Aaron Copland, Copland on Musiop chapter 'Musio as an aspoot of the human Spirit' The Life

entitled (Talk 1954).

.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

Buaoni, Collected Pranoe't Janaoek,

Sketch

of a New Eothotio letter

of Music. to the 'Meroure do

Correspondenoe, Feb. 1773Letters

and Reninisoonoes,

p. 169. La nuova

Inoontri Mueioali No. 2. Henri consibilita musicale, p. 36.

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

Tohaikovsky by Herbert Weinstook 1946. Mmo, von Nook Marsh 1878.

Rimsky-Koroakov, My Musical'Lifep

Letter

to

p. 201.

7
8

Ibid.,

p. 193I9 A Communioation to my Friends, p. 310.

Prose Workog Vol.

9
10 11 12 13

Ibid.,
Ibid., Ibid.,

100o cit.
ice. loc* cit. cit.

P. 315.
P-311p. 357. National Muaio, ohaptor III.

R. Vaughan-Willia=, Ibid., chapter IV.

14

Blooh, programue notes, p. 413" ope cit.,

19331 quoted by S. Morgenstern

15 16

to Andre Caplet, Debu$ey, letter by S. Morgenstern. ap oit. Prose Workep Vol. III

22. Deo. 1911,

quoted

Opera and Drama, p. 374.

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.

Prose Works, Hahler, letter

of the Future,

p. 190.

to Kam Marsohalk, Vol. V, Beethoven

26, March 1896. Essay p. 69.

Prose Works, Ibid., Ibid., p. 72. p. 73.

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

Copland, Letters, Proud,

Music and Iragination, p. 1405. 'Civilisation and its Schriften I,

Discontents. 1908, p. 128.

'

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-

P, 34Aquarius# chapter entitled

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.

(Public letter of four

23
24 25 26

my Musical Life,
Works, Vol. Prose Ibid., p. 333.

pp. 174 and 141.

29 A Communication to my Friends, p. 307.

The Birth Nietasche, Vol. I, pp. 126-8).

of Tragedy,

1868.

(Complete

Works

Part

III

THE COMPOSER AND THE

IDEAL

THE

COMPOSER AND

THE

IDEAL

1. . r. Formal Orier

We must begin the Ideal of order with without

our survey survey

of composers' of the simple metaphysioal

attitudes attraction

to

a preliminary any readily

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

the more usual of beauty,

Both were reacting. Haydn together the course in bringing 'The free not tolerate arts and

science

and freedoms will

the beautiful

science of composition The mind and soul chains. statement in quoting supplies statements

must be free'(3). a norm from which we that emphasise one

Haydn's will part now depart

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

... music loses its

Once

characteristics individualistic for

as an artistic vagary

becomes an except The

and as such has no validity and his devotees.

the composer himself of music gives 'Contemporary' are

soiontia for the curtailment cation.

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-

Rameau saying, selves making Reason.

'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

abandon himself limited, Webern's therefore

to his

imagination the more it

worked over,

more art is controlled, is free'(6). One remembers serialiom had limited and from

'the

Eurkd cry when he felt ordored, it

the dissolution burdensome but

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

from outer tempted

Stravinsky by nature

the most explicit

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

by the action of this

of a constantly. prooess to

vigilant Stravinsky suddenly

teohnique'(15). is emphasised to-me

The necessity in this

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

upon forms of repetition

preoccupations

must have manifested Mozart's billiards, Beethoven's The fascination

and so on. and others is

has already

been noted.

example of Stravinsky's final of his phrase

fascination

in which

attitude'* (which instance

p4rtioularly 'The fifth cost

interesting (of movement

the understanding 'Movements'), for

uses a construction instead of four, rotated the five, direotionsp quotes while as though

effort me a gigantic of twelve vortioals. with six

I rewrote it twioe)l Five orders are

at the same time through

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

whose statement applies I have seen by a musician' than any statement

powers which no one

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

of the universe, union

the decade,

to the mioroooemio

of 3aand 2 manifested

symbol of man, in concretely also have been Le Corbusier,

and music).

Hen of our century extent, for

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

denoe between Brahma's date of his

the mystic life

of the numbers of their pondence between them'(20)4 relationship

suggest

some mysterious he was so

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,

The point hold

pleasures pleasure And this incites

work ... term artistic

and drench '(Hindemith')(22). for

to comprehend must (the composer's) every phase of Beethoven apparently favoured the of that with which attitude which

the description and intellect

combined fooling (23). music Affinities fascinating

one must approach

are seen in the outside making for is not a closely

world

to these

proportions,

justified yet as in

connection theory, Plato's

between the concrete the abstract

and the abstract, abstracted

or distilled the on Art wrote to us (or)

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

he was explaining ... centres is

'A system of tonal

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).

consoiousnessp (Cr. Pt II,

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

please certain be looked upon as beautiful

connotational from the other. and though we may take 'Untrammelled the'Ding

though neither For Richard

may be entirely ideal talking fairly

Strauss,

music was Mozart, of his similar, own aims

in this it that

passage he is not they are something

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

work of art which

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

must oorrespond of chat

to the laws of reason

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

mechanisms of the mind; their

therefore

one can write confidence have the

scientifically-studied with

mechanisms in full ovneras observed 'How well that

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

is not perception only an intellectual

in perceiving interesting and

stimulating is well illustrated contemplation its its expression, parts,

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 sole purpose', musio has, is 'of establishing

'* 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

and presumably, between man and spaoe, 'Weight and size'(42). -

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

attitudes the final concerns performance

the comment representing balance is also by Busoni, but of the composer's, 'Great artists remodel play thought, own their

articulation works

of his

works differently spur they given

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

supposed to have said

'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

one has thought

is based even on a whole from being

individual We know that

are made here and sketched of rhythmic as one entity movements motion like till the

marking in the essentials the arsis'and thesis view

building. unbuilt architect's 3ohoenberg! s famous dictums

ft

We must mention here 'the unity of musical space

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

Stravinsky's with unity,

oonstant which

obsession

(like

Boboenberg's) influence

it on

has had a far-reaching

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

occupies to the pursuit recent struotion

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

construction. with a baffling

composers are of course of choice is not

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-,

Complementary to the Beethoven view of the whole

there is the attitude from it. of his which emphasises the possibilities and his 'The craftsman ideas starting with a motive or germ and then viewing resulting profundity and consequences

to the most remote 'Every

consequences so it -

of the o capacity of penetrating of an idea'(Sohoenberg)(8).

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

like seems to me - contains itself in each motive there ...

...

own lifer

creator, to evolve

the ideal

envelope

and content potential '... ideas looking

will most fully '(Copland)(10). are themselves for their the unity their live

exploit

beingar

moving whatever they

and acting,

way out and for

may need to achieve Finallyt

end'(Chavez)(11). derived historioally to derive from the development by Webern as twelve-note 'there from

0germ' was peroeived of a is this oonstant this effort being ideal(12)

as muoh as possible

one prinoipal serialiam, development

- and applied regarded

as an even more concentrated

of the prinoiple. that 'the

Some composers have noted is imbued with login ... ' has rooted

subconscious he goes on:

as Chaves saysl rhythmical

'Atavism deeply festation

symmetric

patterns is

very

in our suboonsoicust(13), of them in consciousness

and music 'musics

the manieat exerbitium ' Liszt anima.

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

ways in conformity remains just

conditions as does the

whose inner force

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

Schopenhauer unceasing impialoe-with

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

definite only a perfectly clearly directions, determined impulse in different

by orystallisation will require even at no great no great as it ... if effort a distanoe, is everywhere

and
this, I to .. o eame'(16).

retained says it

we observe of

imagination own nature

recognise, under the

name will,

one and the

Mahler its mystic foroet stones,

wrote feels

to his

wife: created

(that thing,

which draws us by perhaps even

what every with

the very of its calls plaoe, towards right

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

the eternal the goal, the goal in calling

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

new confidence directly

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

to them; and in Order.

those

number move in their a single exists raging music. "); from was made; it tempest (of.

appointed To conform to this rules

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

must never binds

the tiniest $our first

everything insect to man himself. law is

the well-being I never

of the whole impair, by any fault

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

We will attitudes Boethian towards tradition yet

now consider order. it

the more ezplioily

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

such enquiry, trace

the tradition

few but very important.

Beethoven's the harmony' the Infinite created feeling, explicit] is is 'Music gives to the mind a relation 'L endeavour to draw upon it back in of personal show quits the similarities

one suoh;

Busoni's

which

surrounds

mankind and to give

form'(l),

as opposed to expression tindsm-ith's-attitudes touch (Noting

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.

... in a beautiful worked out

IHarmonio

melodio,

and rhythmic

laws,

as

and most exalted

Domposition,

would transform

the world's

woes and falsehood

into

the

-12ideal musical Paradise greatest habitat for human beingar who by the same process creatures vision of Order and of humanity's of

ennoblement is very seeres

would have grown into This noble

worthy

of such a paradise'(2).

in line. with those much thing Beatrice the first is

as. he. onters spiritual)

Paradise gravitation.

to Dante explains (material the law of universal and things seek their and rest time place, therein,

All

and in. the orderly

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.

admired and Stravinsky by Dionysius 'the greater

quotes the dignity

the Areopagite

awe the mystical (in Do Caelesti

assertion Ierarohia?

hierarohy,

the fewer

in the celestial they use= so that the.... words of the angels only a single syllable'(3).

most elevated That Stravinsky

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

sufficient anything purposes love life

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

the blind and

himself in this

and obtain his is sense All is

a metaphysical Idea,

art

of course, loved

but

it

is remarkable of

that Ideas

Mozart

has been especially

as a harbinger because of his extreme sensitivity

by many oomposerst divine ability

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

melody as the Kantian

he goes on to call symbolical, as if 'nor is that other sidered all

all non-intellectual inspiration automatically sentence of oethe'sp

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

operation thinking therefore,

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

-14verbal expression of his innermost feelings thereby rendering

him moat unusually

artioulate.
5.:.

Aspiration

The pattern a progression

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

the soul'(Berlioz)(2). not, experience limitations

we are artists

something desire to create Liszt spoke of links

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

a satisfaction also wrote

and Schoenberg all its great

one content, dissolution its God.

men wish forme for future

to expresss an immortal

the longing souls

of mankind for

the universe alone,

the longing of this soul though reached by many different

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

from the predecessor the to a

to the suooessor, content his but also heritage'(8).

not only and the successor continues the intensity, adding proportionately Just as Sohopenhauer had dared give

name to Kants Liszt saint

Ding-an-sich, to which

was something

so Schoenberg names what to one 'cannot give a name. ' The

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

are exclusive a different and desire

me quote one other

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

to return this same longing a type

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

which finding the human body is

is man

proof this respeot is

of Wagner's is

alignment

with but

Ooarcely; ' neoesearyl part of a letter 'If tenacity I think with

the sake about

of completeness, the great heart,

he wrote

philosophers

of tha storm of my which, against my desire,

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;

free iom from all

salvation. this I have discovered a curious coincidence them differently, the same thing'

thoughts]

religious, (Autumn '54)(11).

and although you express I know that you mean exactly

That the sentiment consolation but also

is not merely philosophy

a personal of life and

an entire is part that

metaphysics by the briefest breath first "the

of which art reference composer let through

seen and parcel is readily ' ... in one long to Tristanj unslaked tremour longing swell from through and of attractions laments hopes and`fears#

avowal of the gentlest sighs,

half-heaved wishes breach love's

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

poem 'My Prayer' of illneas u

'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.

something new proceeds is the way Cyril Scott

from put it,

of the divinely-aspiring Discontent

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).

of the will and of which

which art

- my refugedoubly grateful

'One cannot Art

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

speaks out from after rest up as the composer

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

modern artists certainly art looks

of the world

the abundant

Sublimation

, not in its in its strict to

chemical a purely debased, into

I use the word sublimation sense, nor in its Freudian unconscious process, directions but sense of conscious

sense which refers

more oommonp albeit of psychic energies of the will. into

recanalisation

more spiritual 'Continue

the renunciation higher

to raise of art.

the divine

realm

yourself For there

and higher which

is no more undisturbed, comes from a fellow

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

euch an ezperienoe'(l)t Of himself composer.

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

our present grief

oan still' (5)"

Pain and suffering artist's

the

are often the will as'they

the

connected

with

the

struggle
development

to renounce genius,
of

and have even become are a necessary

wrote 'Pain joy

synonymous with
of the

just
a mystic.

part
sharpens seldom

- Schubert mind; the

understanding about the

and strengthens former

whereas latter worthy avoid test, or

troubles frivolous'(6). the great

and softens in wrote

makes it of any of suffering; that his is

Ani Christian respect

Beethoven, mystics, his

a passage

'Man cannot must stand the

and in to says

this

strength without achieve will

he must and then the

endure again

complaining his

and feel that him'(7).

worth-

lessness tion

perfection, bestow upon

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

of subjectivity author standing

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

of fire a trial way, (serenitas) serenity

and the re-oonquest of the smile of wisdom, of divinity

Wagner, writing two models to follow

own purification, first Christa

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 .. "

to worthlessness so did I now in man's

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

I relinquished at the fire, into the glow in order myself of Beatrice'(11).

Beethoven 'only and of art 'musio life

my personality

in the oontomplation
Undoubtedly mind the when they level of vrotes

and Sohoenberg and science conveys towards

had this can raise

in men to message evolves'

gods'(12) form

a prophetio whioh mankind

a higher revealing (13) respectively.

'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

down against his (Beethoven)(14).

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'

awe we drink with

when, circled the lower Thinker hills

a sea of azure

and valleys. and on this

Such mountain-peaks height imagines he is

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

who have coaled

the heights

know the special where life oeases, in the limitless

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

of immense, superhuman happiness;

possession-of then is to think

is undone the moment one of everyday back into

to the noise

and confusion oneself

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

Christian'(19). as'a skilful..

He must be both person,

and a artisan pure in his renunciation he must be

of the will, supremely

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

'To Hoffman, surrounds

music revealed with

country

us often

strangest

presentiments waking breasts, all

down to us, restricted joyfully

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

$is the bmbodied in that far-off

who dreams of happiness

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

-23with the landsoape and hears harmonies unknown to your trestises'(5).

Messaien giving to the aural writes 'It is a glistening inusio we cook,

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,

ecstasy the Alpine Meylan;

experienced glaciers over

an 'On the horizon

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

upon the threshold

of the empyrean, beneath.

he dreamily

gazes down upon the worlds

'Whyq ohs why! I, too# could sing this

have I not archangelio

auch an orchestra song'(7)!

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',

as he does elsewhere on pain and purifitale, fairly typical

the former cation.

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

home to find funeral

ideal

at the mysterious however# can load you

of a maidens they

to that'oirole, with firm slow steps belief,

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

I was aware of it,

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

But not as much an I1(g).

Intimations

of

Divine

The power of art of course, fundamental a few testimonies

to intimate

of things

divine

iss

to our topio, in previous eta. ) in an article is always

are gathered

and in this section (not that they have together sections 'Ketaphyeioal

boon altogether absent 'Sublimation' Ordert'

Hans Keller, wrote 'the artist

on 'Noses and Aron' traitor

(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

the second of Four Pieces

'You shall You shall

mixed chorus

not, you must) not make rn imagel

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

he does not musical

by pure musio, aooompanied on the other hand, translates

ideas. the

and falsifies

-25message to the people] colouring to colour loft his he sings to an orchestra Because Schoenberg the third rich in

and dance rhythms. the truth he left

refused and

act unwritten,

Pu,, unfinished uaalm 'And nevertheless I pray

at an exactly parallel place (last words set) because I do feeling of one-ness# of

not want to lose unity with you'

the rapturous (unset).

The dilemma Sohoenbergp tial musio though is not

is

not

felt

by many as aoutely have sensed that

as by referen-

many 'purista' as profound sort of or

true in

as non-referential. writing 'the of 'The

Stravinsky absence austerity ballot, sidered converses sublime'(4). of

means this many coloured of itsforms'(3) in

thing

effeota'(2)

and

aristooratio in classical oon-

he so much admires of Latin 'I have that

and also that

his, use

always of

a special

language for

and not

current

was required

subjects

touching

on the

, quotes$ inadequate,

Kahler's 'All that

belief is

was found in Goethe, whom he is nothing but images, transitory in their earthly manifestations inadequaoyg they but

naturally

therep, freed will is is

from the body of earthly and we shall for or images for described,

be actual, in vain it?

similitudes

than need no paraphrase, no them; there is done what here is indescribable. in imagery And what The

it reply

Again I can only feminine

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

will-o'-the-wisp'(6). For Sohubert, great works of art $chow us in

-26the darkness for of this this life o bright, life: olear, up there and happier worlds lovely distance,

which we may hope with dark

oonfidenoe'(7). joy,

'Blissful these blissful ones still and so on'(8). will

moments brighten

moments become continual turn into visions of yet Beethoven He sees unfortunately vague awareness'of

happier

wroter that how fsr'he

$Tho true art

artist

T has'no
his

pride.

has no limits; is from reaohing

he. has a goal;

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

and Schoenberg Hindemith,

humble before 'The ultimate conviction

like humility the as

-Beethoven, be the musician's will rational in which knowledge there is

wrotes

beyond all his

he has amassed and all a region of visionary

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

one way 'New Esthetid).

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

on the way in freeing bars be open'(12). Ninth is a limit. 'the love

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

Schumann and others language

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

where music begins'(14).

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

-28serious inferenoes. The perfeot likoneaa' of the noblest

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,

understanded ezoersise hold life this

the peoples the likeness to life,

and holding

lead us out beyond this

to pure

contentment

and redemption'(18).
of of the inner self, 'the Syntereoia, has man wHoh in

The divinity or Ftfnklein Spark

the for of

Soul it) the is

(mystical the

theology in Belief seen by

many names and symbols creates the the divine of part

element

composition. as we have but it

divinity

man was held,

implication, by two great it played

by many composers; ones, Beethoven

was held in

explicitly thoughts,

and Wagner, role.

whose

an important

and formative

Beethoven, both to this

in a statement pursuit words$ these

of belief 'difficult 'U's finite

pertinent way' beings, of

and to hie wrote

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

but vulgarity joy

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

and radiant, with

seal only to give himself once to the light Big of day. when he pears down into possibilities

widened wondrously, pregnant

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

the depth and infinity

prying eye of Man the Seed-time, man's the other within most her eye

of Nature

herselft

the

unfathomable and her the already This the human of

her

eternal

Begetting, grasp

oven the

because Blossom,

can only the the

Begotten, than its infinite highest

Fulfilled. of

however, which in

none holds their

nature the

shrine

feelings

and love ...

capaoity'(23). ecstasy of con-

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

To oonoludej to the final of direot

and most Qystioal intervention. divine that

A belief composition and Bruoknerq

the hand of God has assisted and sophisticated alike,

the Haydn

was hold

by naive

Schumann and Schoenberg.

-30Haydn said, . If my composing is not proceeding no

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

was the loudest leave

'Haydn made a gesture

the hands heavenward took his

with streaming to the orohestra'(2). hand in blessing Schoenberg said,

comes from there. " - He eyes, and stretched out his

thinker

assist 'From my own experience consciously received

'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

Such references (Tchaikovsky), (Hindemith)

to our topic the eto.,

'supernatural are scattered assigning

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

THE COMPOSER AND TIM

IDEAL

Formal

Order

aluok, Colleoted Marie-Antoinette, Poetioo, p. 77"

Correspondenoe, July 1774.

dedicatory

to

2 3 4A 5 6
7

naydng Letter Composer's Poetiost Ibid.,

Weborn, January

to TonktlnstlersooietltpVienna, World, chapter III.

{ 1779.

p. 76. 63. p.
Towards 1961. a New Music, translated in The Score

8 9 10

Busoni, Copland Casella, January

The Essence of Muaio, on Music. article 1928. On Inspiration,

p. 180.

The Cheaterian in Daily

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.

Stravinsky, Expositions Ibid., Style Ibid.,

1962, p. 101.

p. 102. and Ideas p. 979 World, chapter III. p. 56.

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

of Music. What is happening at the

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.

Le Bon Sens, Vincent Lotterst 228b. p. 50.

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,

Inoontri Musioali, La nuova sensibilita Musical Chronicle Thought,

Pousseurp

40 41 42 43 44

of my Life, with

Conversations

Stravinsky, p. 34-

The Essence of Music, Skutbh of a New Esthetic

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,

Memories and Commentariesp

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,

Brahma the Progressive, of Musio. as an Aepeot of the Human Spirit. '

of a New Esthetio 'Mueio p. 110.

Copland on kusio, Musioal Thought,

Towards a New 2(usiop The Soore, Musical Thought.

Jan.

1961.

his 'Harold' Berlioz and Readings, p. 854Quoted in Josef Schopenhauer, Rufer's

Symphony, quoted 'Composition

Strunk,

Source

15 16 17 18

with

Twelve Notes. ' trans. Haldane.

The World as Will letter

and Idea,

Memories and Letters, Lyriohe Gedichte, in the Eighteenth

dated

June 1909.

17499 Uz. Quoted in 'European Thought Century' Paul Hazard, p. 22. -

-.

Metaphysical

Order

1 2A 3 4

The Essence of Music, Composer's Poetics, World,

'Self-Criticism', chapter V.

p. 49-

Epilogue,

p. 140article

Aveo Stravinsky, Monaco 1958, contributory by Stockhausen - 'Musique Fonotionelle. '

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

Wesendonokp Lucerne, 4 April,

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-

zu Sayn-Wittgenstein, of Fine Arts

Hegel, The Philosophy Vol. Is p. 154. Style

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

The World as Will Notebooks.

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

und Isolde 19489 p. 61.

13 14

Feaot of the Gods, Harvard 'Xy Prayer', 1823 seotion.

Biography,

6.

Refuge

1 2

Cyril Letters,

Soottt

The Philosophy

of Modernism,

p. 1.

p. 1320.

3 4
5 6 7

Felix Ibid.,

Nendelesohn, Letters, January 1843Vol. I

30 November 1839-

prose Works, Correspondence moving into

'A Communioation

to my Friends, January essay. 1859.

' p. 307.

of Wagner and Liszt; title of third

Aquarius,

Sublimation

1 2 3 4A

ootboven,. Ibid., Ibid.,

Lettaro,

804. p.

p. 254. p. 1135. Biography, 1824 aootion, lettor. to

Dooumentary FerdimmA. Ibid., Ibid.,

5 6

1024 sootion. Lost notebook of 1824"

7
8 9

Lottorat
Sketch

633p.
of a flew Esthetic of Kunio. to Paul Dekker, publishod

The Essence of Musiop Letter 1920, p. 21.

10
11 12 13 14 15

Prose Werks, Vol. (1851), p" 379The Correspondence Letters, p. 376.

I,

'A Communication to my Friends'

June 1855.

of Wagner and Liest;

Style and Idea, chapter evaluation of music, ' Lottere, p. 1079.

entitled

'Criteria

for

the

Berlioz and his 'Harold' Readingog p. 850.

Symphony, quoted 13trunk,

9ouroe

16
17 18 19

Prose Work. o p" 339.

Vol.

I 'A Communication to anyFriendo'

p. 20.

Co Saint-3aenag

Problemea at Mystore$, letter

Memories and Letterev The Technique

dated September 1908. Language, Pretaoe.

of my Uusioal

A.

Eder

1
2 3

Yeatet Esaayn (1924), w. D.

Liszt, Berlios and his I

67. p.
Symphony, Strunk 851. p. P. 336.

'Harold'

Prose Workag Vol.

'A Communication

to my Friends'

(artioleayabuse

'Honeieur Crooke'tho 1901-1906), p. 74-

Diletthnte

Hater'

5
6 7

Ibid.,

p. 9.
of My Musical Berlioz, Langu&je, p. 120. Preface,

The Technique The Life

of Hector

8
9A

Ibid.,

p. 255biography, section 118221.

documentary

si

Intimations

of

Divine

1 2 3 4 5 6

The 3oore# Chronicle Ibid., Ibid.,

0otober

1957. p. 220.

of my Life,

p. 164p" 205. June 1909. 17 Feb. 1897, diary quoted Morgenstern

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

Autobiographie to V. Torrelli. A Composer's Sketch

11 12 13

World,

concluding

words.

of a New Esthetic

of Music. Brion, Schumann

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

E. Lookapeiaer, in his Letters'

15

Quoted by Kosoo Corner in article (Men and Music, London 1944)"

16
17 18 19 20 21

Memories and Letters,

Charles prose Letters Letters, Ibid., Ives,

letter

to wife,
a Sonata, and Art,

5 Dec. 1901.
(Now York, p. 261. 1920) p. 81.

Essays before

Works, vol. p. 563p. 427" P. 3739

VI9 Religion

22 23 24 25

Prose Worka, Vol. Prose Works, Vol. Prose Works, Vol.

IVY On State I1

and Religion

(1864),

p. 29" p. 112.

'The Artwork

of the ruture', p. 77.

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

No. 39 p" 15)"

10.

Divine

Intervention

I
2

Joooph Haydn - Grieainger'a

Ibid., p. 49"

Biographicohe

Notizen,

p" 54"

3 4 5A

Style

and Ideal

pp: 71 and 109.1 letter dated March 1878-

Weinstock,

p. 171, World,

Composer's

Ch. VI.