Daniel Gregory Mason

I INTRODUCTION THE APPRECIATION OF MUSIC

II EDVARD GRIEG

III ANTONIN DVO?AK

IV CAMILLE SAINT-SAENS

V CESAR FRANCK

VI PETER ILYITCH TSCHAIKOWSKY

VII JOHANNES BRAHMS

VIII EPILOGUE: THE MEANING OF MUSIC

FROM GRIEG TO BRAHMS

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BRAHMS AT THE PIANO

Copyright, 1902, by
THE OUTLOOK COMPANY

Published November, 1902.

PREFACE

«Music may be hard to understand, but musicians are men;» so remarked a friend of mine when I was first planning these essays. The sentence sums up very happily a truth I have constantly had in mind in writing them. As all music, no matter what its complexity on the technical side, is in essence an expression of personal feeling, and as the qualities of a man's personality show themselves not only in his works, but in his acts, his words, his face, his handwriting and carriage even, it has seemed natural and fruitful, in these studies, to seek acquaintance with the musicians through acquaintance with the men.

But personal expression depends not alone on the personality of the artist; it depends also on the resources of art, which in turn are the product of a long, slow growth. Accordingly, if we would understand the individual composers, we must have a sense of the scheme into which they fall, the great universal evolution of which they are but incidents. It is for this reason that I have tried, in the introductory essay on The Appreciation of Music, to describe some of the fundamental principles of the art, and to sketch in their light the general movement of musical history, in order to give the reader a perspective sense, a bird's-eye view of the great army of artists in which the supreme masters are but leaders of battalions and regiments. Without this sense it is impossible truly to place or justly to estimate any individual.

At the end of the introduction I apply the principles worked out to determining in a general way how the half dozen composers to be studied are related to modern music as a whole. My result is that although they are practically contemporary, they are by no means peers in the scope and significance of their work. If we arrange them in the order of their influence on art, which depends upon their power both to assimilate previous resources and to add new ones, we must pass «from Grieg to Brahms.»

The purpose of the last essay in the book, on The Meaning of Music, will be obvious enough. Just as the introductory essay tries to sketch the general musical environment, as determined by basic principles and developed in history, in relation to which alone the individuals discussed can be understood, so the epilogue seeks to suggest that still larger environment of human feeling and activity on which music, like everything else, depends for its vitality. The first essay considers music as a medium for men, the last considers life as a medium for music.

It would be impossible to acknowledge here all that these studies, particularly the first, owe to the writings of others. Perhaps the books which have most influenced my treatment of musical Æsthetics are Dr. George Santayana's «Sense of Beauty» and Dr. C. Hubert H. Parry's «Evolution of the Art of Music,» though I have got much help also from Dr. William James's «Principles of Psychology,» from Dr. Josiah Royce's books, from Mr. Edward Carpenter, and of course from Helmholtz, Gurney, Mr. W. H. Hadow, and the other standard writers on musical theory. In gathering the biographical material I have had much cordial and skillful help from Miss Barton, of the Boston Public Library, for which I here record my thanks.

Cambridge, Massachusetts,
August 23, 1902.

CONTENTS

LIST OF ILLUSTRATIONS